PRESENTS
SUNDAY, MARCH 20, 2022 AT 11 AM EDT VIEWING: FEB 2 5 - MAR 19 (DAILY 11 - 6 ) TO BE HELD LIVE AND ONLINE AT
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The front cover is a detail of lot 147, “Firebird” & “Petrushka,” by Boris Bućan. Page 2 is a detail of lot 215, Bordeaux, by Jean Dupas. Page 4 is a detail of lot 170, Nice, by Leonetto Cappiello. Page 5 is a detail of lot 406, Le Jockey, by Henri de Toulouse-Lautrec. Page 208 is a detail of lot 132, PKZ / So Kleidet, by Karl Bickel.
ACKNOWLEDGMENTS
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OUR NEXT SALE We are pleased to announce that the PAI-LXXXVII sale will be held on Tuesday, July 12, 2022. Consignments are accepted until April 22, 2022.
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TABLE OF CONTENTS Bicycles.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1-29 Automobiles
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30-38
Aviation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39-53 War & Propaganda . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54-75 American Literar y Posters . . . . . . . . . . . . . . . . . . . . . . . . . 76-99 International Posters . . . . . . . . . . . . . . . . . . . . . . . . . . . 100-423 Leonetto Cappiello . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 151-170 A.M. Cassandre.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 171-178 Jules Chéret.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 183-198 Paul Colin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 199-204 Continued on next page
TABLE OF CONTENTS Continued
Ludwig Hohlwein . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 254-259 Privat Livemont . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 275-280 Charles Loupot.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 281-286 Alphonse Mucha.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 302-337 Henri de Toulouse-Lautrec . . . . . . . . . . . . . . . . . . . . . 381-411 Books & Periodicals . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 424-425 Selected Index . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Page 196 Bibliography . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Page 197 Conditions of Sale.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Page 205 Absentee Bid Form.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Page 207 Bidding Tips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Page 208
BICYCLES
1 1. Cycles Perfecta. ca. 1898. Artist: Achille Butteri 45 7⁄8 x 60 3⁄4 in./116.5 x 154.4 cm Affiche Kossuth, Paris Cond A. Ref: Collectionneur, p. 221 & cover; PAI-XXX, 281 “The public gardens of the Belle Époque were a prime location for the sociable cyclist. One could avoid the troublesome pedestrians that filled the city with greater ease than battling the traffic of the avenues. However, the traffic (in the parks) could create charmingly opportune confusion favorable to encounters. Such is the plot of the scene the artist has set down with large areas of flat color. It resembles a puzzle structured around a central element composed of the woman’s wardrobe, at once simple and refined. All the more so with the rose or the wide hat elegantly swept back by the breeze, it’s the dress that captures the attention” (Collectionneur, p. 221). It’s a lovely design that also makes it clear that Perfecta has models to suit the requirements of every possible rider. Rare! Est: $7,000-$9,000.
BICYCLES
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2 2. Georges Richard. 1896. Artist: Fernand Fernel (1872-1934) 52 5⁄8 x 38 3⁄4 in./133.6 x 98.4 cm Imp. J. van Gindertaele, Paris Cond B/Restored tears, largely in top and bottom text areas. Ref: DFP-II, 341; Petite Reine, 29; Weill/Art Nouveau, p. 60; Masters 1900, p. 214; PAI-LXXXIII, 134 This charming design has us imagine that we’re trailing this stylish family of four on their bicycles and tandem bike. Though Fernel includes the word “automobiles,” the design is devoid of them; Georges Richard was just gearing up automotive production at this point. Est: $3,000-$4,000.
3. Marque Georges Richard / Cycles & Automobiles. 1899. Artist: Eugène Grasset (1841-1917) 57 3⁄4 x 42 1⁄4 in./146.7 x 107.3 cm Imp. de Vaugirard, G. de Malherbe, Paris Cond A-/Restored tears at edges. 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
4. Rouxel & Dubois. ca. 1894. Artist: Ferdinand Lunel (1857-1933) 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-LXXXV, 32
Here, in one of the most appealing of Grasset’s posters, atmosphere is paramount. “Of the product, we see barely a handlebar: it is the moody and enigmatic rider who carries the weight of the sale. The twilight effect adds warmth to the image in which type and design are beautifully integrated. Georges Richard was one of quite a number of bicycle manufacturers who were hurriedly adding automobiles as a sideline around the turn of the century; within a few years, the sideline would become the main, or as here, the only product of the company” (Gold, p. 56). This is the larger format.
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: $3,000-$4,000.
Est: $3,000-$4,000.
BICYCLES
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BICYCLES
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7 5. Cycles Hanzer. Artist: Léon Valentin 36 7⁄8 x 50 1⁄4 in./93.6 x 128.7 cm Imp. P. Leménil, Asnières Cond A-/Unobtrusive folds. Poor Pierrot, exhausted from his hike, has landed in the devil’s cave. But the Satanic creature might not be all bad, for he’s tantalizing our friend with a magic bicycle so he can easily continue his journey. Cycles Hanzer was a small and short-lived producer of bicycles in Petit-Ivry. Note that interested customers are advised to call the factory, and yet no phone number is provided. Rare! Est: $1,400-$1,700.
6. St. George’s Engineering / “New Rapid” Cycles. ca. 1890. Artist: Servando 29 1⁄8 x 40 in./74 x 101.5 cm Imp. Gaffré Fils, Paris Cond A-/Unobtrusive folds. Using a British-made St. George’s cycle to gain some height, a mother helps her young boy paint a sign to advertise their bike of choice. Developed in 1889, this safety cycle had an improved cross frame and a small footrest on the front wheel for coasting. Est: $1,200-$1,500.
7. La Française Diamant. 1910. Artist: Maurice Marodon 62 3⁄8 x 45 3⁄4 in./158.4 x 116.2 cm Imp. Paul Dupont, Paris Cond A. Ref: Petite Reine, 109; Publicité, p. 44; PAI-LV, 40 Known as “les deux Emiles,” Emile Georget and Emile Friol were the French champions in two different bicycling disciplines—the former in road racing, and the latter in sprints. As national athletic heroes, it seems only natural that they should be chosen to endorse the French “Diamant” brand of bicycle while wearing their country’s colors. Est: $2,000-$2,500.
BICYCLES
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8 8. La Française. ca. 1899. Artist: Maurice Marodon
9. La Guêpe. ca. 1893. Artist: Eugène Ogé (1869-1936)
10. Bicyclettes Terront. 1892. Artist: Lucien Baylac (1851-1913)
42 1⁄2 x 58 7⁄8 in./108 x 149.5 cm P. Dupont, Paris Cond A. Ref: PAI-LXXXI, 73
38 3⁄4 x 52 5⁄8 in./98.5 x 133.7 cm Imp. Charles Verneau, Paris Cond A. Ref: Petite Reine, 62; Ailes, p. 16
36 3⁄4 x 51 3⁄ 8 in./93.2 x 130.5 cm Imp. Kossuth, Paris Cond A. Ref: Petite Reine, 88
The Bordeaux-Paris bicycle race was an event of such interest that crowds of spectators lined the entire 360mile route between the two cities. While the rest of this poster for the winning La Française “Diamond” bicycle is handled in bright, flat colors, the face of the unidentified winner is done as an expressive portrait (but on the basis of the colors he’s wearing, chances are he’s Belgian). Guidon handlebars and Persan tires are also given some credit.
“For the cycle brand La Guêpe, undoubtedly a brand of the French manufacturer E. Lévy, Ogé portrays a dapper young woman on a bicycle in a fresh and assertive design. The young velocipedist (is it an allegory of the animal or a young music hall artist dressed as a wasp?) wears a canary yellow tutu, tights, a leotard, long black gloves, and above all a curious headpiece with antennae and splendid transparent wings on the back; here we recognize the premises of the humorous style that Ogé will develop at the turn of the century. As for the name of the brand, which undoubtedly evokes lightness and speed, it will also gain a great notoriety for another type of two-wheeler: wasp is called ‘vespa’ in Italian” (Ailes, p. 16).
“After the Bordeaux-Paris of May 23-24, 1891, won by the Englishman Mills in 16 hours and 35 minutes, the journalist Pierre Giffard, alias ‘Jean sans terre’ (John without land), had the idea of an incredible race: Paris to Brest and back, reserved for the French. The start was given on Sunday, September 6, 1891, at 7:03 am. Charles Terront, represented here in the medallion on his Humber bicycle fitted with the first Michelin tires, gained real glory there. Wearing the tricolor armband No. 5, he won after 72 hours of effort, without sleep, with a 7 hour and 40 minute lead over the Bordelais Jiel-Laval” (Petite Reine, 88).
Est: $1,400-$1,700.
Est: $1,400-$1,700.
Est: $1,700-$2,000.
BICYCLES 11. Cycles Clément. 1898. 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-LXXXV, 39 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. Est: $1,400-$1,700.
12. Phébus. ca. 1899. Artist: Pal (Jean de Paléologue, 1860-1942) 42 3⁄4 x 58 1⁄ 8 in./108.7 x 147.7 cm Imp. Paul Dupont, Paris Cond A. Ref (all var but PAI): Petite Reine, 28; Collectionneur, p. 232; Pierrot, 69; PAI-LXXX, 132 The perennially lovelorn commedia dell’arte clown Pierrot finally turns the tables on Columbina: he’s speeding off on Phébus’ motorized tricycle, bidding a cheerful adieu to his beau and her bicyclette. By 1899, the “bicycle craze” of the previous decade, with all the overtures toward greater female independence, was morphing into the Automobile Age, and this poster finds the Phébus brand in the midst of this transition. With its hints of Theseus abandoning Ariadne on Naxos (we, as Dionysus, are here to comfort her), this is a magnificent work of bold, tender, and curious emotions. Est: $3,000-$4,000.
13. Patin-Bicyclette / Richard-Choubersky. ca. 1899. Artist: Pal (Jean de Paléologue, 1860-1942)
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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-LXXXV, 41 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.
14. Humber. Artist: S. Marchetin 38 5⁄8 x 50 3⁄4 in./98 x 129 cm Affiches Camis, Paris Cond A. Ref: Ailes, p. 38; PAI-LXXXV, 26 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.
15. La Vérité / Le Vélo-Caténol! 1897. Artist: Decam 30 1⁄2 x 62 1⁄2 in./77.3 x 159 cm Imp. P. Lemélin, Asnières Cond B+/Slight tears, largely near edges. Ref: Bicycle Posters, 53; Veloscopie, p. 85; Petite Reine, 57; PAI-LXXVII, 7
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While Decam has provided us with a few references, this iconic image remains to be a largely unsolved puzzle. The design references Jean-Léon Gérôme’s painting, “La Vérité sortant du puits” (Truth Coming Out of Her Well), in which a nude female representing Truth is seen leaping forth from a well. But here, we are presented with an alternative heroine: she is chained to the well with what appears to be a bike chain, while a bikechain-like mechanism is depicted behind her as she makes a superstitious hand gesture against bad luck. Whether the chains are meant to protect or punish the Truth, we may never know—but this Vélo-Caténol bicycling ad is undeniably engrossing. Est: $2,000-$2,500.
BICYCLES
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15 16. Cycles Plasson. 1897. Artist: Manuel Robbe (1872-1936) 33 x 47 1⁄4 in./84 x 120 cm Ste. Parisienne d’Impressions, Paris Cond B/Slight tears at edges. Framed. Ref: Ailes, p. 121; Petite Reine, 34; Gold, 70; DFP-II, 749; Weill, 75; PAI-LXXVIII, 14 It’s the height of the bike craze in 1890s France, and Robbe has given us a glimpse of the impact: our stylish lass has substituted bloomers for the typical skirt, and by the look of her cool offside glance, she knows that she’s creating a fissure with fashion. Accompanied by her steadying comrade, she has everything she needs to hit the road. Robbe styles them photographically, and applies minimal color to create an eye-catching and lovely scene.
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Est: $1,200-$1,500.
BICYCLES
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17. Tom Linton / Orient Bicycles. 1898. Artist: Anonymous
18. Rudge / La Déesse. ca. 1900. Artist: Peter Alfred Gross (1849-1914)
19. Cycles “Brillant.” ca. 1900. Artist: H. Gray (Henri Boulanger, 1858-1924)
16 1⁄2 x 15 in./42 x 38 cm Providence Albertype Co., Phillipsdale, Rhode Island Cond A. Framed.
29 x 41 1⁄4 in./74 x 104.7 cm P. A. Gross, Paris Cond A. Ref: Ailes, p. 29; PAI-LXXXIII, 140
23 1⁄2 x 31 in./59.7 x 78.8 cm Imp. Lemercier, Paris Cond B/Slight tears, largely near edges. Ref: PAI-LXVI, 10
One of Rudge’s best known models was La Déesse, or “the Goddess,” personified here by a golden-clad, Pre-Raphaelite damsel bidding farewell to an unseen party. Below, Gross—an American landscape artist who lived in France from 1874 to 1914—is noted as the “artistic painter” of this fine poster.
Cycles “Brillant” received the highest honors for spare part replacement at the Universal Exposition of 1900, spurring these two winged seraphs to greet the new bicycle, only to nearly faint from its brilliance. This is among Gray’s finest designs: the luminous diamond casts rays of light that mimic the bike’s spokes and shimmer in the angels’ diaphanous accessories.
The Massachusetts company Waltham Manufacturing produced bicycles, motorcycles, and automobiles from 1893 to 1910. Here, Welsh cycling star Tom Linton poses on one of their Orient models, which is noted as “The first American cycle that has ever held the World’s Hour Record.” Photography credit: Elmer Chickering. Est: $1,700-$2,000.
Est: $1,700-$2,000.
Est: $2,500-$3,000.
BICYCLES
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22 20. La Française / Michelin. ca. 1909. Artist: Pierre Gonzague-Privat (1880-1915)
21. Cycles & Automobiles Clément. ca. 1902. Artist: René Leverd (1872-1938)
22. La Française / Georget - Bordeaux - Paris. 1910. Artist: Pierre Gonzague-Privat (1880-1915)
45 x 63 1⁄2 in./114.4 x 161.3 cm Imp. Paul Dupont, Paris Cond A. Ref: PAI-LXXXII, 72 (var)
62 1⁄4 x 46 in./158 x 116.7 cm Imp. E. Bougard, Paris Cond B+/Slight stains at edges. Ref: PAI-LVII, 45
89 3⁄4 x 62 1⁄8 in./228 x 157.8 cm Imp. Paul Dupont, Paris Cond A-/Unobtrusive folds. Ref: Handlebars/Joystick, 34
This remarkably detailed portrait of the cyclist Victor Dupré aboard his La Française Diamond bicycle also promotes Michelin tires. A later version of this poster exists in which Dupré is seen wearing the French tricolor, the phrases Champion du Monde and Champion de France written across the sky. Records suggest that Gonzague-Privat was an avid cyclist himself and competed in a number of Tour de France races.
Along with Gladiator—with which it merged financially in 1896—Clément was one of the bicycle makers that accounted for more posters than any other. In a genre full of fanciful imagery and exotically costumed muses, here is a straightforwardly charming narrative scene: several cyclists and a lady in her car wait for a train to pass a country crossing. Like the other images for Clément, there is a certain air of high society that goes along with the brand.
Est: $1,700-$2,000.
Est: $2,000-$2,500.
“Created in 1891, the Bordeaux-Paris race was for a long time considered the ‘Derby of the Road.’ This extraordinarily difficult event, with its night section launched from the Quatre-Pavillons... was often the scene of some startling reversals of fortune, the race often being decided on the slopes of the Vallée de Chevreuse, just outside the capital. In 1910 Emile Georget, French champion that year, replaced the ‘Lion of Flanders,’ Cyrille van Houwaert and Louis Trousslier (winner of the Tour de France in 1905), who came second. At the pinnacle of his career, the young man from Châtellerault would in 1911 be the first man to reach the summit of the Galibier—inspiring a famous lyric text by Henri Desgrange—and winner of the third Paris-Brest-Paris, beating Lapize, before winning the ‘Derby’ again in 1912. [Here,] in the light of a following car, Georget on his spindly La Française follows in the slip stream of his trainers, his face exuding pain. While his pacemakers were able to take turns, he covered the 592 kilometers of the tough route at over 32 km/h” (Handlebars/Joystick, p. 84). This is a two-sheet poster. Est: $3,000-$4,000.
BICYCLES
24 23. Acatene Metropole. Artist: Achille Butteri 45 3⁄4 x 61 in./116.2 x 155 cm Affiches Kossuth, Paris Cond A. Ref: PAI-XXVI, 193 Butteri provides us with the lovely image of a cyclist bathed in the ochre glow of dusk, the hues echoed in the clouds and the waters of the port. He pauses for a moment to enjoy the view from this summit, thanks to his chainless Metropole bicycle. Est: $3,000-$4,000.
24. Pneu Vélo Michelin. 1912. Artist: O’Galop (Marius Rossillon, 1867-1946) 29 3⁄4 x 38 7⁄8 in./75.5 x 98.8 cm Imp. Chaix, Paris Cond B/Restored tears at folds and edges. Ref: PAI-XXIX, 45
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In 1896, O’Galop created the first Bibendum design (see PAILXXXVIII, 17). About to down a cup full of rusty nails to prove his strength, the tire-character was paired with the venerable Latin phrase “Nunc est Bibendum!” (Let us drink!). Henceforth, the Michelin mascot was known as Bibendum. Here, we see him in a much more casual atmosphere, puffing on his characteristic cigar and cruising off, handsfree, on a bike outfitted with Michelin tires. Rare! Est: $1,700-$2,000.
25. Iver Johnson Racer. ca. 1920. Artist: Anonymous 16 1⁄2 x 13 in./42 x 33 cm Cond A. Framed.
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From 1871 to 1993, Iver Johnson manufactured firearms, bicycles, and motorcycles from their Jacksonville, Arkansas headquarters. By 1898, they offered aluminum alloy bicycles that weighed about 20 pounds. Perhaps their most heralded model is the one seen here: the truss-frame racer featured a curved tube under the top tube to strengthen the frame for use on rough roads. Within the spokes, friends and fellow Iver Johnson cyclists Harry D. Elkes and Major Taylor are featured. Elkes led a successful but shortlived career; he held the world record for “paced-cycle racing” before his fatal accident at the age of 25. As for Major Taylor, he led a revolutionary—though terribly troubled—career. In 1899, he became the first African American to become a cycling world champion and the second Black athlete to win a world championship in any sport. But Taylor suffered from the racism of the era; some race organizers would not allow him to race against white cyclists, while other cyclists physically and verbally abused him. That Iver Johnson sponsored his career and featured him on this poster is a commendable feat for the era. Rare! Est: $2,000-$2,500.
BICYCLES
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26. L’Huile Aeroshell. 1930. Artist: Francis Bernard (1900-1979)
27. Opel. ca. 1928. Artist: Max Bittrof (1890-1972)
30 1⁄4 x 45 1⁄2 in./77 x 115.4 cm Editions Paul Martial, Paris Cond B/Slight tears and stains, largely at edges. Ref: Bernard, unnumbered; PAI-LXXXIV, 33
18 1⁄2 x 27 3⁄4 in./47 x 70.5 cm Cond A.
The typography is perhaps the only giveaway that this image was created during the Art Deco period; otherwise, it could almost be mistaken for a contemporary design. “Like Cassandre in France and McKnight Kauffer in England, Francis Bernard absorbed the influences of the art and design movements of his era: Cubism, Purism, Machine Age, Constructivist typographic design and photomontage” (Bernard introduction). Several scholars lament the fact that Bernard was largely overlooked in his day; he was perhaps too Avant Garde for the tastes of the time. But this stylish photomontage seems ripe for appreciation now. Est: $2,500-$3,000.
For another by Bernard, see No. 129.
Max Bittrof created designs for Opel from 1927 to 1929. Unlike most of the German posters of the era, which relied more on traditionally elaborate forms, Bittrof took a Modernist approach, using simple geometric shapes and custom typography to suit the composition. He not only helped to define a new visual identity for Germany, but also designed the first stamps and bank notes for West Germany after World War II. Here, montaging a photograph by Dr. Paul Wolff, Bittrof underscores that Opel has the “biggest production in the world.” Est: $2,500-$3,000.
BICYCLES - AUTOMOBILES
28 28. Cicli Dei. 1934. Artist: Marcello Dudovich (1878-1962)
29. Michelin. 1959. Artist: Anonymous
39 1⁄ 2 x 27 1⁄2 in./100.4 x 69.8 cm Arti Grafiche, Milano Cond A-/Slight tears at folds. Ref: Dudovich, fig. 89
18 3⁄8 x 26 in./46.7 x 66 cm Verga, Milano Cond A-/Slight stains at edges. Framed. Ref: Discount, p. 229 (var); PAI-LXXXIV, 36
Dudovich created several designs for Pirelli, and this is certainly one of the rarest. And unlike those other designs, which largely feature a beautiful woman alongside the Pirelli product, this image is all masculine bravado. Hunched over his Swiss Cicli Dei racing bike, our cyclist is about to fly right off the page, thanks to his Pirelli tires.
Bibendum, the Michelin Man, is one of the world’s oldest trademarks, born in 1894. Here, the portly gent is a speed demon on a motorcycle, promoting fat tires for narrow motor vehicles.
Est: $6,000-$7,000.
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Est: $1,200-$1,500.
AUTOMOBILES
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30. Huile Rigal. Artist: Noël Dorville (1871-1938)
31. Automobiles Eclipse. ca. 1900. Artist: Anonymous
46 1⁄8 x 62 7⁄8 in./117 x 159.6 cm Imp. Ch. Wall, Paris Cond A-/Unobtrusive folds. Ref: Handlebars/Joystick, p. 121; PAI-LXVII, 64 (var)
31 5⁄8 x 47 3⁄ 8 in./80.3 x 120.3 cm Imp. Ch. Wall, Paris Cond B/Slight tears and stains at folds.
While a crowd gathers around a broken-down vehicle in the background, this smug mechanic gestures towards his bottle of Rigal motor oil, the key to keeping his boss’s car running on a cold day in Paris. In the distance, the ancient Trocadéro palace looms above the Seine. Dorville was best known for his drawings and caricatures, especially political ones, that he contributed to many satirical journals of the day; his talent for capturing personalities is wonderfully evident in this design. This is the larger format and rare! Est: $3,000-$4,000.
While no information exists on Automobiles Eclipse, this design is a standout: rarely do we see images of two women driving without a male companion in the days of early automobiles. The bicycle helped paved the way for female independence, and once cars became commercially available, the ladies immediately took the wheel. Rare! Est: $1,200-$1,500.
AUTOMOBILES
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36 32. Cabanne-Nirouet. ca. 1905. Artist: Ernest Montaut (1879-1909) 54 5⁄8 x 39 in./138.7 x 99 cm Imp. Ch. Wall, Paris Cond A. Ref: PAI-LXX, 69 Better known for his racing imagery, Montaut gives us a busy street scene through which both buggy and car must navigate. There’s no better tool to rely on for this purpose than Cabanne-Nirouet, an allpurpose lubricant that keeps things running smoothly. Est: $1,400-$1,700.
33. La Licorne. 1920. Artist: Anonymous 29 3⁄4 x 22 1⁄4 in./75.4 x 57.2 cm Imp. Riegel, Neuilly Cond B/Slight tears and stains at edges. Ref: PAI-XX, 54 This instructive poster displays the entire 1920 line of La Licorne cars, from several sporting models to commercial vehicles and even a bus. The company experienced tremendous growth after World War I, and their reliable, economic cars appealed equally to farmers, small businessmen, and urban consumers.
34
Est: $1,200-$1,500.
AUTOMOBILES
37 34. Peugeot. ca. 1925. Artist: René Vincent (1879-1936)
35. Salmson. 1929. Artist: Alexis Kow (Alexei Kogeynikov, 1901-1978)
37. Monaco Grand Prix 1930. Artist: Robert Falcucci (1900-1989)
62 1⁄2 x 47 1⁄8 in./159 x 119.6 cm Imp. Draeger, Paris Cond A-/Slight tears at folds. Ref: Affiches Automobiles, p. 37; Auto s’Affiche, 1; Graphicar, 312; PAI-LXXXIII, 150
24 x 33 3⁄4 in./61 x 85.7 cm Cond A. Ref: Kow, p. 135
31 1⁄ 2 x 47 in./80 x 119.4 cm Imp. Monégasque, Monte-Carlo Cond A-/Slight creases. Framed. Ref: Monaco, p. 19; Automobile/Lopez, p. 116; Auto Show I, 73; Affiches Azur, 331; Deco Affiches, p. 81; Affiches Riviera, 256; PAI-LXXV, 72
We’re not sure when luxury automobiles began to be referred to as “exotic cars,” but it’s not impossible that René Vincent coined the phrase with this ad. Two native Africans, in their turbans and patterned clothes, stare at this new Peugeot with the precise mixture of curiosity and awe that must have greeted them on the streets of 1920s Paris. Vincent virtually invented auto advertising for the moneyed elite with an elegant and precise line extending from the machinery to the women he drew. Est: $2,500-$3,000.
Salmson began as a manufacturer of water-cooled airplane engines. Their first automobiles appeared in 1921, and graduated from amusing cycle-cars to sports cars, and from there to majestic luxury sedans like this one. In 1925, Salmson won 76 races and set 14 speed records for its class. Russian-born Kow created smart and sleek automobile print advertisements and posters. Here, he makes effective use of monochrome geometry to create a hypnotizing effect. Est: $1,400-$1,700.
36. XIV. Grosser Preis von Deutschland. 1951. Artist: Viktor Mundorff (1897-1973) 23 7⁄8 x 33 1⁄ 8 in./60.5 x 84.2 cm Maindruck, Frankfurt Cond A. Mundorff uses a soft painterly focus to create a sense of dynamic motion at this 14th edition of the German Grand Prix at the Nürburgring. First place was won by Italian Alberto Ascari in a Ferrari; he was closely followed by Argentinean driver Juan Manuel Fangio in an Alfa Romeo. Est: $1,400-$1,700.
It’s a red, red, ripping, and roaring sunset in this gripping design by Falcucci. Created for the second running of the Monaco Grand Prix, it’s arguably one of the best created for the event. (The first Grand Prix was just announced with text; this is the first image done for the competition). We don’t know the maker of this blazing white beast of a racecar, but René Dreyfus took the checkered flag that year in his Bugatti T35B. Est: $25,000-$30,000.
AUTOMOBILES - AVIATION
38 38. Monaco Grand Prix 1932. Artist: Robert Falcucci (1900-1989) 31 x 46 1⁄2 in./78.7 x 118 cm Imp. Monégasque, Monte-Carlo Cond A-/Slight creases in bottom area. Framed. Ref: Automobile/Lopez, p. 117; Affiches Automobiles, p. 48; Monaco, p. 23; PAI-LXIV, 25 This is the third poster Falcucci created for the glamourous Monaco Grand-Prix. “In a masterful display of pastels, he contrasted the tranquil and sunny slopes of the Riviera with the blue of two speeding racers. As in his first two Monaco posters, he drew streaks of white around the lead car to convey a feeling of breathless velocity. The cars have emerged from the Tir aux Pigeons tunnel to rush daringly into a tight curve at the water’s edge and on to the finish line. At the top of the hill sits the casino and the majestic Hotel de Paris, 130 feet above the sea. Since the race was now a major success, some streetcar tracks were removed and much of the road was resurfaced to improve the course for the 1932 event” (Monaco, p. 22). That year, first through third place were swept up by Italy in Alfa Romeos, with Tazio Nuvolari leading the pack. Est: $20,000-$25,000.
AVIATION
39 39. Meeting d’Aviation / Nice. 1910. Artist: Charles Léonce Brossé (1871-1945) 30 1⁄4 x 42 1⁄4 in./77 x 107.5 cm Affiches Photographiques Robaudy, Cannes Cond A. Ref: Affiches d’Aviation p. 6; Looping the Loop, cover & 34; Toujours Plus Haut, p. 90; Perier, cover; Affiches Azur, 315; PAI-LXXXIV, 39 From a bird’s eye view above the cockpit of an early monoplane resembling a Blériot, we share in the pilot’s vertiginous, breathtaking vista of Nice and the Gold Coast as he scatters a bouquet of roses to the town at his feet. Brossé, a graphic chronicler of the city of Nice, not only provided us with a magnificent poster for the 1910 air show, but was also one of the event’s key organizers. Est: $10,000-$12,000.
AVIATION
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40. Exposition Internationale de Locomotion Aérienne. 1919. Artist: Dominique Charles Fouqueray (1872-1956)
41. Imperial Airways. 1929. Artist: Harold McCready
31 3⁄8 x 47 1⁄4 in./79.8 x 120 cm Imp. Lapina, Paris Cond A-/Slight stains at edges. Ref: Toujours Plus Haut, p. 100; Affiches d’Aviation, p. 93; PAI-LXVII, 10
19 7⁄8 x 30 in./50.4 x 76.2 cm John Horn, London Cond A. Ref: PAI-XLV, 383
The Sixth Paris Air Show was the first to occur after the end of World War I, having been on hiatus since 1913. This poster presents a solid sense of nationalism celebrating the recent victory—a trumpeting embodiment of the French people heralding in the now-peaceful developments in aviation.
This promotion for Imperial Airways provides a magnificent aerial view of the three-engined Argosy known as the “City of Wellington” in the process of tarmac boarding in front of England’s Croydon control tower. It was one of the great Armstrong Whitworth airliners from the interwar period. These Argosies constituted the fleet which maintained Imperial Airways’ lunchtime service to Paris, known as “Silver Wing,” which is believed to have been the world’s first named airline service.
Est: $2,000-$2,500.
Est: $4,000-$5,000.
AVIATION
42 42. Deutsche Luft Hansa. 1930. Artist: Werner Beucke (1903-1940) 18 1⁄8 x 25 3⁄4 in./46.2 x 65.5 cm Cond A. Ref: PAI-LXXXV, 75 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. Deutsche Luft Hansa was in operation from 1926-1945 and was the unofficial precursor to today’s largest German airline, Lufthansa.
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Est: $1,200-$1,500.
43. Royal Air Force / Hendon. 1935. Artist: W. E. C. Book 19 7⁄8 x 30 1⁄8 in./50.5 x 76.5 cm McCorquodale, London Cond A. From 1908 to 1968, the Hendon Aerodrome was home to pivotal developments in aviation, including the first airmail, the first parachute descent from a powered aircraft, the first night flights, and the first aerial defense of a city. It also became the home to the Royal Air Force displays from 1920 until the onset of World War II; these annual events attracted hundreds of thousands of visitors. Flight magazine described the 1935 event as “a gorgeous spectacle, dazzling all eyes with every variety of flashing, glimmering, floating argent against a background of blazing azure.” Book gives us an appropriately dreamlike Deco vision in which a soaring biplane cuts across geometric planes. Rare! Est: $4,000-$5,000.
44. Deutsche Zeppelin / Traversez L’Atlantique en 2 Jours. ca. 1936. Artist: Ottomar Anton (1895-1976) 23 1⁄8 x 32 1⁄2 in./58.7 x 82.6 cm Muhlmeister & Johler, Hamburg Cond A. Framed. Ref: Airlines, p. 37 (var); PAI-LXXXIV, 44 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 the French language version. Est: $2,000-$2,500.
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AVIATION
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45. 2me Rallye Aérien. 1949. Artist: Anonymous
47. TWA / Disneyland. ca. 1955. Artist: David Klein (1918-2005)
22 3⁄4 x 30 3⁄4 in./57.8 x 78 cm Lith. André Plantet, Epernay Cond A-/Unobtrusive fold.
15 5⁄8 x 25 1⁄4 in./39.6 x 64.3 cm Cond A.
The 2nd Champagne International Aviation Rally gets double-booking with an auto show known as a “Concours d’élégance féminine.” The elegance competition was born in France in the 1920s, and paired attractive women in couture designs with the newest automotive models. Est: $1,400-$1,700.
46. Panair. ca. 1946. Artist: Anonymous 17 3⁄4 x 27 1⁄2 in./45.2 x 70 cm Fluminese, Rio Cond A. Ref: PAI-XLVI, 134 A PBY-5 Catalina flying boat—a converted military plane that was one of the most widely used multi-role aircraft of World War II—soars above the South American continent in the service of Panair. It was Brazil’s flag airline and Latin America’s largest carrier from the 1940s through the 1960s. Officially known as Panair do Brazil, the local subsidiary of the New York, Rio, and Buenos Aires Line began operations on October 22, 1929. One year later, Panair was acquired by Pan American World Airways and utilized for a seaplane route servicing Buenos Aires, Argentina, and Santiago, Chile. The airline ceased operations abruptly on February 10, 1965, when the Brazilian military government suspended its routes and allotted them to Varig. An interesting side note: whereas Pan Am referred to their planes as “Clippers,” Panair christened their aircraft with the names of “Bandeirantes,” famed Brazilian colonial scouts who took part in expansion expeditions. Rare!
48
Est: $2,500-$3,000.
Klein’s fanciful image for the newly opened Disneyland lets us know that TWA will take us there—and will be waiting for us on arrival, too. Rising up in the foreground is the TWA Moonliner, the park’s tallest structure at 76 feet tall (and 8 feet taller than the Sleeping Beauty Castle in the background). The model rocket was part of the first futuristic exhibit in Tomorrowland, and forecasted what a commercial spaceliner might look like when traveling to the Moon in 1986. It was also an ingenious early example of product placement, which Klein reinforces in this design. Est: $1,200-$1,500.
48. Fly TWA Jets / Paris. 1962. Artist: David Klein (1918-2005) 15 5⁄8 x 25 in./39.7 x 63.3 cm Cond A. Ref: PAI-LXXXIV, 64 This is one of David Klein’s most celebrated posters, and the image itself is jubilant: the City of Light is ablaze with Klein’s stylized fireworks that mimic the illustrated showgirls of the Folies-Bergère in Belle Époque posters. This is the smaller format. Est: $1,200-$1,500.
AVIATION
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49. Air Afrique. 1963. Artist: M. Hermerel
50. Piedmont Airlines / Washington, D.C. Artist: Anonymous
52. Piedmont Airlines / Key West. Artist: Anonymous
24 3⁄8 x 39 1⁄4 in./62 x 99.8 cm Havas Afrique, Abidjan Cond A.
24 x 35 in./61 x 91 cm Cond A/P.
24 x 35 in./61 x 91 cm Cond A/P.
Piedmont Airlines got its start in 1961 in Hagerstown, Maryland with its first flights to Washington National Airport. This poster brings the airline back to its home base with a romantic view of the Capitol Building at night.
In 1983, Piedmont bought Henson Airlines and saw rapid growth, particularly in Florida. Here, a Queen angelfish attracts us to visit the world’s third largest coral barrier reef.
Est: $600-$800.
Est: $600-$800.
51. Piedmont Airlines / Virginia. Artist: Anonymous
53. American Airlines / New York. ca. 1980. Artist: Anonymous
24 x 35 in./61 x 91 cm Cond A/P.
29 7⁄8 x 40 in./76 x 101.7 cm Cond A.
Virginia has a long history of horse racing: colonists brought the first horses in 1609, and horse betting quickly became a sport for the wealthy. In fact, in its early days before statehood, the colony relied on these lotteries to survive. Fast forward some 350 years, and jockeying has become a fully integrated, professional activity.
The Brooklyn Bridge, Financial District, and original World Trade Center towers make for a quintessential New York image. The green and blue city lights reflecting in the East River add a surreal quality to this view of the city at night.
Hermerel transforms the white trail of a DC-8 plane into a vibrating, geometric wave that swirls around the African continent. Founded in 1961 in Côte d’Ivoire, Air Afrique was the official transnational carrier for Francophone West and Central Africa, whose destinations are depicted in white lines. Faced with mismanagement, corruption, and the downturn in the aviation industry following the September 11 attacks, Air Afrique folded in 2002. Est: $800-$1,000.
Est: $600-$800.
Est: $1,400-$1,700.
WAR & PROPAGANDA
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54. I Want You For the Navy. 1917. Artist: Howard Chandler Christy (1873-1952)
56. Colored Man is No Slacker. 1918. Artist: Anonymous
27 x 41 in./68.5 x 104.2 cm Forbes, Boston Cond A-/Restored tears in bottom text. Ref: Rawls, p. 78; PAI-LXXXV, 117
15 3⁄4 x 19 3⁄4 in./40 x 50.2 cm E. G. Renesch, Chicago Cond A. Framed. Ref: PAI-LXXXV, 115
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 PAI-LXXXV, 118), but the sheer sexiness with which she dons the sailor’s dress uniform anticipates the Van Heusen shirt campaigns of many years later.
“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 noncombat 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: $1,200-$1,500.
55. Some Backing / The Empire State. ca. 1917. Artist: James Montgomery Flagg (1870-1960) 27 x 40 1⁄4 in./68.5 x 102.2 cm Cond A. Flagg’s stern Uncle Sam is recruited to promote enlistment in the New York State Guard in this very rare design. In front on him stands Father Knickerbocker, the civic personification of New York City from the illustrated Daily Graphic newspaper and other publications. (An interesting side note: the New York Knicks were named after him). And in the foreground, a doughboy stands firm, his role in the war no less diminished by the towering figures behind him. Rare! Est: $1,400-$1,700.
Est: $2,500-$3,000.
WAR & PROPAGANDA
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57 57. U.S. Food Administration / Doctrine of Clean Plate. ca. 1918. Artist: William Crawford Young (1886-1947) 20 1⁄8 x 28 7⁄8 in./51 x 73.3 cm W. F. Power Litho., New York Cond A. Ref: Rawls, p. 114; Rickards, 228; Theofiles, 117 (var) After the United States declared war on Germany in 1917, Belgian relief director Herbert Hoover was asked by President Wilson what part food would play in the war. His response? “Second only to military action it was the dominant factor.” And so, the United States launched a new campaign to feed the Allies during the European food shortage. And while we all know that the food left on our plates won’t feed those across the ocean, posters like this one provided the practical reminder that food is a valuable resource not to be disregarded. Est: $1,000-$1,200.
58. British Empire Union / Once a German - Always a German! 1918. Artist: David Wilson (1873-1935) 19 3⁄4 x 30 1⁄8 in./50 x 76.5 cm Globe Printing, Finsbury Cond A. Founded in 1915 as the “Anti-German Union” before renaming itself “British Empire Union,” this group promoted patriotism, social reform, industrial peace, and antisocialism; they also published a regular journal from 1922 to 1952. The BEU published this poster, featuring numerous atrocities committed by German soldiers, aristocracy, and even average businessmen. The text reads: “Once a German - Always a German! Remember! Every German employed means a British Worker idle. Every German article sold means a British article unsold.” There is also a vignette of Edith Cavell’s grave; the British nurse is celebrated for saving the lives of soldiers from both sides without discrimination, and for helping some 200 Allied soldiers escape from German-occupied Belgium, for which she was arrested.
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Est: $2,000-$2,500.
WAR & PROPAGANDA
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59 59. Anarchie. 1918. Artist: Julius Ussy Engelhard (1883-1964)
60. Arbeit / Anarchie. 1919. Artist: Siegmund von Suchodolski (1875-1935)
36 3⁄4 x 49 1⁄4 in./93.3 x 125.2 cm Oscar Consée, München Cond A-/Unobtrusive folds. Ref: Imperial War Museum I, p. 23; Plakate München, p. 115; Zwanziger, 33
37 5⁄8 x 49 1⁄4 in./95.5 x 125 cm Oscar Consée, München Cond B+/Slight tears at folds. Ref: Zwanziger, 36
This poster “was also produced in another version bearing the text ‘Bolshevism brings War, Unemployment and Hunger.’ Both posters were directed against the German Spartacus League... which attempted to bring about a Communist revolution in Germany in 1918 and 1919. Their accusations must be seen against a background of appalling want. The swift growth of Germany’s population in the second half of the nineteenth century made for a dependence on imported foodstuffs. She was therefore particularly vulnerable to the Allied blockade during the First World War. Deaths from actual starvation and from diseases caused or aggravated by malnutrition rose dramatically. It is true that the armistice in 1918 brought an easing of the blockade but the hunger remained for a long time and reached a new height during the revolutionary period; the Spartacists therefore provided a convenient scapegoat for reactionary groups such as the Freikorps. It is interesting that the ape-figures so common in Allied propaganda of the 1914-1918 war hardly appear in German war propaganda; it is only during the post-war revolutionary period that they are constantly used as a symbol of Anarchy and Bolshevism” (Imperial War Museum, p. 23). The text here reads, “Misery and ruin follow anarchy.” Est: $2,500-$3,000.
In the wake of World War I, Germany was left in political and societal disarray. As the country wavered between democracy, Bolshevism, and anarchy, artists like Suchodolski opted for a more conservative approach. In the case of this poster, the message is: work will protect us from anarchy. A blacksmith, ablaze in the glow of a postwar inferno, is about to strike the devilish snake that plagues society. Rare!
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Est: $1,700-$2,000.
61. Pour la Liberté. 1917. Artist: Sem (Georges Goursat, 1863-1934) 39 1⁄2 x 46 1⁄ 2 in./77.5 x 118 cm Imp. Devambez, Paris Cond A. Ref: Rickards, 163; Paillard, 157; Rawls, p. 84; Propagande/Affiche, p. 68 Just 31 years after the Statue of Liberty was installed in New York’s harbor, Sem imagines our Lady sinking into the ocean of despair ignited by World War I. As a gift from France, her symbolic collapse surely helped convince the French to subscribe to the national loan to support the war effort. One publication from 1919 called this image “the most popular poster in France.” Est: $1,200-$1,500.
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WAR & PROPAGANDA
62. Teufel Hunden / U.S. Marines. Artist: Anonymous 19 1⁄8 x 28 in./48.6 x 71 cm Cond A-/Slight tear at bottom edge. Ref: PAI-XXXIX, 92 It’s not often that you see a propaganda or armed forces recruiting poster that displays a good-natured, practically playful sense of humor. But during World War I, that’s exactly the tactic the United States Marines took to encourage young men to join their ranks. Having been labeled “Devil Dogs” by the German forces that they engaged, it was only a matter of time before the Marines commissioned an artist (identified by the sole initial “H”) to show a ferocious bulldog in its helmet chasing down a dachshund in a Kaiser helmet. It’s certainly an aggressive image, but the fleeing wiener dog is a much more subtle image than those normally used in recruiting posters. The term “teufel hunden” was originally used by the German populace to describe the vicious, wild, and ferocious mountain dogs of Bavarian folklore.
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Est: $1,400-$1,700.
63. Join the Cavalry. 1920. Artist: Horst Schreck (1885-1967) 18 1⁄2 x 25 in./47 x 63.5 cm Engineer Reproduction Plant, U.S. Army, Washington Barracks, D.C. Cond A. Ref: PAI-LXXXIV, 98 “As the Cavalry slowly faded away, the last cavalry poster, like a dying swan’s exquisite last song, is exceptional. Elegant cavalrymen are seen watering their horses on a placid river bank. After the introduction of cars, trucks, and planes the cavalry transitioned into a mechanized force” (Meehan, Cat. 53). Rare! Est: $2,000-$2,500.
64. Wenn Juden Lachen. ca. 1938. Artist: Anonymous 12 x 16 7⁄ 8 in./30.5 x 42.8 cm Cond B/Slight tears and stains. Let us preface this by saying: yikes. “When Jews laugh” advertises the German anti-Semitic newspaper Der Stürmer, founded by Julius Streicher and published from 1923 to 1945. Its deplorable claims about the Jewish influence on everything from the economy to rape and crime were astonishingly popular, with a circulation of 800,000. In the bottom right corner, the text reads: “Jews are born criminals. They cannot laugh freely and openly. Their face is merely distorted into a diabolic sneer. Read the latest issue, no. 11, of Der Stürmer.” Despite its seeming allegiance with the Nazi party, the newspaper was so outrageous that it was intermittently banned for fear of party embarrassment. After the war, Streicher was arrested by the U.S. Army and later tried, convicted, and executed for his incitement of annihilating the Jewish race. Est: $1,700-$2,000.
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WAR & PROPAGANDA
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67 65. Czech Worker Fights Against the Grifter. 1941. Artist: Relinke 23 7⁄8 x 35 in./59.5 x 88.8 cm Lidova Knihtiskarna, Praha Cond A-/Slight creasing.
66 66. La Chute des Dictateurs est Assuree : 4 Posters. ca. 1940. Artist: Ron Jobson Each: 19 3⁄4 x 29 7⁄8 in./50 x 76 cm Cond A-/Slight tears and stains in margins.
This anti-Jewish propaganda poster was produced by the Nazi-controlled National Central Association of Employees in 1941 in Prague. “It depicts a Czech Christian worker pulling back a curtain to reveal an insolent Jewish businessman taking bags of money. Germany annexed a Czech border region in fall 1938, and Bohemia and Moravia, which included Prague, and the country ceased to exist. Jews were expelled from professions and organizations, and ostracized from Czech society. Trade unions were abolished in June 1939 and replaced with this Central Association to maintain wartime production. German propaganda incited antiSemitism by claiming to reveal the worldwide Jewish conspiracy which enriched itself by stealing from honest Czech laborers. In September 1941, Heydrich became Reich Protector and soon began mass deportations of Jews; only about 11 per cent survived the Holocaust” (United States Holocaust Memorial Museum).
The horrors of war are on prominent display in this series of four British posters with French text. Each proclaims: “The downfall of the dictators is assured,” accompanied by various R.A.F. missions: “The big bombers of the R.A.F. often cover a total distance of nearly 2,000 kilometers and fly over the highest ranges of the Alps to bombard the industrial towns of northern Italy,” states one. Another reads, “The Allies’ overwhelming superiority in sea power is demonstrated by the employment of 850 merchant ships and warships for the invasion of North Africa. [The image is] part of the huge convoy passing the Rock of Gibraltar.” In the third poster, “British ‘Beaufighters’ constantly harass Rommel’s fleeing columns in North Africa.” Lastly, we see British de Havilland Mosquito aircraft drop bombs on Berlin’s administrative center.
Est: $1,700-$2,000.
Est: $1,400-$1,700. (4)
67. Hinaus mit dem Schwowe Plunder. 1945. Artist: P. Sainturat 22 x 27 3⁄4 in./56 x 70.5 cm Cond A-/Slight stains at edges. P. This French-issued silkscreen print is actually a direct response to a Nazi design created in 1941. Upon occupation of the Alsace-Lorraine region, the Nazis banned several national treasures—mainly, the French language and the beret, instead enforcing the German language. To reinforce this message, Alfred Spaety created the poster “Out with the Welsch junk” (”welsch” being an old Germanic term for Romans and Celts). In it, a broom sweeps away the French cultural items deemed to be deplorable: the Gallic rooster, a beret, a miniature Eiffel Tower, newspapers, and political books. Four years later, once the region was liberated, Sainturat turned the tables with this design, “Out with the Swabian junk.” Employing German to get back at the enemy, the broom now sweeps away all sorts of Nazi paraphernalia, thereby restoring France to its original glory. Rare! Est: $1,200-$1,500.
WAR & PROPAGANDA
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68 68. Buy War Bonds. 1942. Artist: N. C. Wyeth (1882-1945)
70. We’ve Made a Monkey Out of You! ca. 1943. Artist: J. H. King
30 x 40 1⁄2 in./76.2 x 103 cm U.S. Government Printing Office, Washington, D.C. Cond A. Ref: PAI-LXXVII, 97
15 x 20 in./38 x 50.6 cm Cond A/P.
This iconic World War II propaganda poster was one of the first advertisements printed for the first war bonds drives in early 1942. Uncle Sam, dramatically rising from the clouds, points toward the audience in demand of war bond investment, while fighter planes and soldiers dash across the sky above and field below.
The Allied leaders have united outside of the Capitol Building to make a fool of Hitler. Uncle Sam acts as the organ grinder while John Bull, Joseph Stalin, and Chiang Kai-shek amusedly watch the German dictator dance and beg for coins. Est: $800-$1,000.
Est: $1,400-$1,700.
71. Vie Nuove Ho Ci Min. ca. 1968. Artist: Anonymous
69. This is Nazi Brutality. 1942. Artist: Ben Shahn (1898-1969)
39 1⁄8 x 55 in./99.5 x 139.8 cm Poligraf, Roma Cond A-/Unobtrusive folds. Ref: PAI-LXXIX, 234
28 1⁄2 x 38 3⁄8 in./72.4 x 97.5 cm U.S. Government Printing Office, Washington, D.C. Cond A-/Unobtrusive folds. Ref: Affiches/WWII, vol. VI, cover; Shahn/Morse, 16; Shahn/Hiroshima, 29; Shahn/Prescott, VII; Shahn, 144; Takashimaya,127; PAI-LXXVI, 122 When a Nazi official was shot by two Czechs in 1942, the Germans retaliated by literally wiping out the entire mining village of Lidice. Over a tenhour period, every man in the city was shot, while the women and children were sent to concentration camps. This massacre became an eye-opening emblem of Nazi brutality the world over. Here, by not allowing the viewer to see the man’s face, we can impose any image—ourselves even—on the figure, making the poster all the more visceral and horrifying a reminder of that day’s events. This poster was issued by the U.S. Office of War Information. Est: $1,200-$1,500.
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Vie Nuove, or New Ways, was a weekly 12-volume publication that detailed the life and politics of Ho Chi Minh and his path to making Vietnam independent. Along with articles and historical photographs, the serial included illustrations by Pino Dangelico and texts by Paolo Bracaglia Morante and Camillo Pisani. This promotion by an unknown artist promises that the work will be available in all newspaper shops beginning in February. Est: $1,000-$1,200.
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WAR & PROPAGANDA - AMERICAN LITERARY POSTERS
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73 74
72. From Creation to Struggle. 1949. Artist: Shlomo Ben-David (1906-1968)
74. Death to the Zionists. 1967. Artist: Anonymous
19 3⁄8 x 26 3⁄4 in./49.2 x 68 cm Cond A-/Unobtrusive fold.
17 5⁄8 x 23 3⁄4 in./44.8 x 60.2 cm Cond B/Stains at folds and edges. P.
“From creation to struggle” is a fitting theme for the founding of Israel: settlers were tasked with working the land and preparing a new life while also defending the country in the Arab-Israeli War. Ben-David visually combines these two elements with a tractor-riding soldier who’s armed with military weaponry. The text at top describes this duplicity: “one hand works while the other is at war.”
A supposedly Syrian soldier, rendered in aggressive black and white, looms over a caricature of a Jewish man with the Star of David on his chest. This proPalestinian image relates the conflicts of the Six-Day War fought by Israel against Jordan, Syria, and Egypt.
Est: $1,400-$1,700.
73. Palestinian Struggle Day. 1958. Artist: Hassib Al Jaseem 13 x 26 3⁄4 in./33 x 68 cm Cond A/P. Palestinian Struggle Day, otherwise known as Nakba Day, is the annual commemoration of the Palestinian Catastrophe of 1948. It typically takes place on May 15th, which marks the end of the British Mandate for Palestine and the creation of the State of Israel. Starting in 1949, the event has been marked by demonstrations and strikes, as well efforts for unity and understanding.
75
Est: $1,000-$1,200.
Est: $800-$1,000.
75. The Twins. 2001. Artist: Anonymous 27 3⁄4 x 39 1⁄4 in./70.5 x 99.7 cm Cond A. Following the September 11 attacks, this poster was plastered throughout the streets of Jerusalem. Depicting Osama bin Laden and Palestinian President Yasser Arafat, the text reads: “The Twins: kick Arafat out, fight the terror.” Est: $1,400-$1,700.
AMERICAN LITERARY POSTERS Lippincott’s was published monthly in Philadelphia from 1868-1915. Each issue contained literary criticism, poetry, and short stories—most notably, “The Picture of Dorian Gray,” by Oscar Wilde, was published in their July, 1890 issue. After relocating to New York City in 1915, the magazine merged with Scribner’s in 1916.
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77
76. Lippincott’s / July. 1895. Artist: Will Carqueville (1871-1946)
77. Lippincott’s / May. 1895. Artist: Will Carqueville (1871-1946)
12 1⁄2 x 18 7⁄8 in./31 x 48 cm Cond A/P. Ref: DFP-I, 201; Reims, 1205; Lauder, 51; PAI-XXXIV, 25
12 x 18 1⁄2 in./30.5 x 47 cm Cond B+/Horizontal fold. Framed. Ref: DFP-I, 199; Reims, 1203; Lauder, 48; Margolin, p. 81; PAI-XXXIV, 23
The blasted kid! Fireworks aren’t nearly as fun if they’re being tossed directly at you by an impish cyclist. And although her Lippincott’s has also gone flying, it looks undamaged enough to console the assaulted reader—once she gets her bearings, that is.
Exhibited: “Posters in an Age of Elegance,” Brandywine River Museum, Chadds Ford, PA, 1999.
Est: $1,200-$1,500.
Carqueville reminds us that regardless of the promotion, one must never bury one’s nose too deeply in the words of others at the expense of natural pleasures. Est: $1,200-$1,500.
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AMERICAN LITERARY POSTERS
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79 78. Lippincott’s / June. 1895. Artist: Will Carqueville (1871-1946) 12 1⁄4 x 19 in./31.2 x 48 cm Cond A-/Horizontal fold. P. Ref: DFP-I, 200; Reims, 1204; Lauder, 48; Keay, p. 23; Margolin, p. 81; PAI-XXXIV, 24 Carqueville gives us one of the best dressed fisherwomen we’re likely to encounter, whiling away a lazy summer day in the company of lily pads and the newest issue of Lippincott’s. Est: $1,200-$1,500.
79. Lippincott’s / October. 1895. Artist: Will Carqueville (1871-1946) 12 1⁄4 x 18 3⁄4 in./31 x 47.5 cm Cond A-/Slight tears at upper corners. Framed. Ref: DFP-I, 204; Reims, 1208; Lauder, 54; Internationale Plakate, 136; Kauft Bücher, p. 99; PAI-LVIII, 432 Carqueville creates a perfectly autumnal scene for this fashionable young lady to stroll among the falling leaves while searching for the ideal spot to sit and read her newest issue of Lippincott’s. Est: $1,200-$1,500.
80. Lippincott’s / May. 1896. Artist: Joseph J. Gould, Jr. (1880-1935) 11 1⁄4 x 16 1⁄ 2 in./28.8 x 41.8 cm Cond A. Framed. Ref: DFP-I, 248; Lauder, 81; Margolin, p. 83; PAI-XLVI, 6 Though their relationship may appear to be sedately respectful, the magazine’s headlining feature—An Impending Sword—hints that all may not be as cordial as it seems. After the estimable Will Carqueville left the Philadelphia magazine Lippincott’s in 1895, Gould took over as poster artist until sometime in 1897. His work for the magazine is often compared to Penfield’s for Harper’s—not to suggest imitation but, instead, comparable quality.
80
Est: $1,200-$1,500.
AMERICAN LITERARY POSTERS
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81. Lippincott’s / September. 1896. Artist: Joseph J. Gould, Jr. (1880-1935) 13 3⁄4 x 19 in./35 x 48.2 cm Cond A. Framed. Ref: DFP-I, 252; Lauder, 84; PAI-LXXXI, 299 In 1901, W. S. Rogers noted: “It is sufficient to say that [Gould’s posters for Lippincott’s] conform to the best tradition of poster art.” And here we have arguably his best in the series, consisting of a quiet slice-of-life scene publicizing the September 1896 issue of this literary magazine. Est: $1,400-$1,700.
82. Lippincott’s / October. 1896. Artist: Joseph J. Gould, Jr. (1880-1935) 13 1⁄2 x 18 in./35 x 45.6 cm Cond A. Ref: DFP-I, 253; Lauder, 85; PAI-LXII, 411 In one of Gould’s most simple—yet elegant—designs for Lippincott’s, a society lady sits down to read the latest issue. Est: $1,000-$1,200.
83. Lippincott’s for March. 1897. Artist: Joseph J. Gould, Jr. (1880-1935) 13 1⁄2 x 16 1⁄ 2 in./34.3 x 42 cm Cond B+/Horizontal fold. Ref: Lauder, 90; Keay, p. 60; DFP-I, 259; PAI-LXXX, 361 The stern old woman looks like she should not be messed with—but the young lady in green tilts her hat with a friendly nod, Lippincott’s in hand. It’s a savvy way to appeal to the younger demographic and position the magazine as a signifier of the cool and intellectual leisure class. Est: $1,200-$1,500.
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AMERICAN LITERARY POSTERS
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84. Lippincott’s / April. 1897. Artist: Joseph J. Gould, Jr. (1880-1935)
87. Harper’s / June. 1895. Artist: Edward Penfield (1866-1925)
13 x 15 7⁄8 in./33 x 40.3 cm Cond A. Framed. Ref: Margolin, p. 82; DFP-I, 260; Keay, p. 65; PAI-LVIII, 446
12 3⁄8 x 18 1⁄8 in./31.5 x 46.2 cm Cond B+/Slight tears and stains at edges. Ref: DFP-I, 345; Lauder, 166; PAI-LXXX, 457
In the midst of April rains, one young woman has her eye on the man so buried in his issue of Lippincott’s that he can’t be bothered to open his umbrella—or notice her bemused gaze.
Pipe in mouth, diploma in the left hand, and a copy of Harper’s in his right: this young grad is ready for the world with all the essentials firmly in place.
Est: $1,700-$2,000.
Est: $800-$1,000.
85. Lippincott’s / July. 1897. Artist: Joseph J. Gould, Jr. (1880-1935)
88. Harper’s / November. 1895. Artist: Edward Penfield (1866-1925)
11 3⁄4 x 16 3⁄4 in./29.8 x 42.5 cm Cond A-/Unobtrusive horizontal fold. Framed.
13 1⁄2 x 18 in./34.2 x 45.6 cm Cond A. Ref: DFP-I, 350; Lauder, 171; PAI-LXXX, 458
Two young women are heading out to picnic, and their excursion wouldn’t be complete without a copy of Lippincott’s in tow. Rare! Est: $1,700-$2,000.
86. Harper’s / February. 1895. Artist: Edward Penfield (1866-1925) 12 3⁄4 x 18 3⁄ 8 in./32.5 x 46.7 cm Cond A/P. Ref: DFP-I, 387; Lauder, 162; Reims, 1258; PAI-LXXXIII, 428 With subtle elements of romantic intrigue, Penfield gives us his Valentine’s Day-themed design for Harper’s February issue. Est: $1,400-$1,700.
Here, an elegant couple appraises a thoroughbred—a not-so-subtle suggestion that Harper’s readers are of similarly good breeding. Est: $1,000-$1,200.
AMERICAN LITERARY POSTERS
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89. Harper’s / July. 1896. Artist: Edward Penfield (1866-1925)
90. Harper’s / Christmas. 1896. Artist: Edward Penfield (1866-1925)
91. Harper’s / April. 1897. Artist: Edward Penfield (1866-1925)
13 3⁄4 x 18 3⁄4 in./34.7 x 47.5 cm Cond B/Slight folds and creases. Ref: DFP-I, 358; Lauder, 182; Reims, 1275; Penfield, 10; PAI-LXXXII, 105
12 3⁄4 x 17 1⁄4 in./32.5 x 43.8 cm Cond B+/Slight tears at left edge. Ref: DFP-I, 363; Lauder, 187; PAI-LXXXV, 412
12 3⁄4 x 18 1⁄8 in./32.5 x 46 cm Cond B+/Slight tears, largely at top edge. Ref: DFP-I, 377; Lauder, 195; PAI-LXXVII, 332
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.
Spring has sprung, and this blonde has put together a spiffy ensemble that’s perfect for the season, including a prudent parasol in case of April showers. It’s a simple but stylish design from Penfield.
The lively colors of this redhead’s ensemble contrast marvelously with her serious demeanor in this simple promotion for the Harper’s July issue. Est: $1,200-$1,500.
Est: $800-$1,000.
Est: $1,000-$1,200.
AMERICAN LITERARY POSTERS
92
93 92. Harper’s / March. 1897. Artist: Edward Penfield (1866-1925)
93. Harper’s / July. 1897. Artist: Edward Penfield (1866-1925)
94. The Chap-Book / Being a Miscellany. 1895. Artist: William H. Bradley (1868-1962)
19 x 14 in./48.4 x 35.5 cm Cond A-/Slight tears at edges. Ref: DFP-I, 376; Lauder, 194; Penfield, 4; Modern Poster, 22; PAI-LXXX, 464
19 1⁄8 x 14 1⁄8 in./48.5 x 35.8 cm Cond B/Slight tears at vertical fold and text area. Ref: DFP-I, 380; Penfield, 8; Margolin, p. 69; Lauder, 198; PAI-LXXIII, 424
Reminiscent of Bonnard’s 1895 screen “Promenade,” this simple yet stylish couple quietly passes a row of horsedrawn carriages. While their garments imply brisk winter weather, the time of year tells us that spring is right around the corner.
“On April 27, 1897, Penfield married Jennie Judd Walker, a daughter of Major Charles A. Walker, a prominent Civil War veteran and a railroad executive... The strong personality of his father-in-law apparently dominated Penfield’s life. Major Walker accompanied the newlyweds on their honeymoon to Europe, and father and daughter are presumed to be the two figures in [this] poster” (Penfield, p. 14). Penfield sent this drawing off to his New York office from London and this is indicated below his signature. The combination of colors and patterning make this one of the most pleasing in the series.
8 1⁄4 x 12 3⁄4 in./21 x 32.5 cm Cond A. Framed. Ref: DFP-I, 155; Margolin, p. 106; Hiatt, p. 301; Lauder, 16; Price, p. 153; Keay, p. 16; Affiches Etrangères, p. 157; Maitres, 136; Bambace, p. 156; Gold, 105; PAI-LXII, 284
Est: $1,700-$2,000.
Est: $1,000-$1,200.
Published from 1894 to 1898, The Chap-Book was one of America’s first literary magazines, and an important vehicle to discuss the artistic values of the poster. Launched by two Harvard students as a casual exercise, it became surprisingly prosperous, thanks in part to Bradley’s contributions. He designed “store-counter placards such as this one and created a total of five designs for the publication; this is the only one in black and white. The influence of Art Nouveau, and especially its British exponent Aubrey Beardsley, is clearly apparent, and the tender, romantic image piques our interest in the ‘curious and interesting songs, ballads, tales, histories etc.’ promised in the text below” (Gold, p. 75). Est: $1,000-$1,200.
AMERICAN LITERARY POSTERS
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96 95. The Century for April. 1895. Artist: George Wharton Edwards (1869-1950) 11 1⁄ 2 x 16 1⁄ 2 in./29 x 42 cm Cond A. Framed. Ref: Reims, 1225 Exhibited: “Posters in an Age of Elegance,” Brandywine River Museum of Art, Chadds Ford, PA, 1999. A successor to Scribner’s, The Century was published from 1881 to 1930 in New York City. In addition to publishing fiction by the likes of Mark Twain and Henry James, the magazine offered journalistic investigations of the Civil War, politics, and science. One New York Times writer asserted that The Century “made New-York, instead of London, the centre of the illustrated periodicals published in the English language.” For the April, 1895 issue, highlighted articles include “Napoleon’s Campaign in Italy” and “Recent Inventions of Nikola Tesla.” Edwards contrasts the excitement over Tesla’s new oscillator with an Art Nouveau nymph tending to her garden. Est: $1,400-$1,700.
96. May Scribner’s / Wellesley College. 1898. Artist: C. Allan Gilbert (1873-1929) 13 1⁄ 2 x 22 3⁄ 8 in./34.3 x 56.8 cm J. Ottmann Co., New York Cond B+/Unobtrusive horizontal fold; slight tears at edges. Framed. Ref: Margolin, p. 56; PAI-VI, 118 This bookstore placard highlights an article in the May issue of Scribner’s on Wellesley College, the private women’s college in Massachusetts. Appropriately, Gilbert gives us a scene flooded with female intellectuals strolling and biking around campus.
95
Est: $2,000-$2,500.
AMERICAN LITERARY POSTERS - INTERNATIONAL POSTERS
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99 97. French Illustrators. 1893. Artist: George Auriol (1863-1938)
98. The Bookman for November. 1896. Artist: Howard Chandler Christy (1873-1952)
99. The Bookman. 1896. Artist: Howard Chandler Christy (1873-1952)
11 3⁄4 x 15 1⁄4 in./29.8 x 38.7 cm Charles Scribner’s Sons, NY Cond A/P. Ref: PAI-LIX, 679 (var)
14 3⁄8 x 16 5⁄8 in./36.6 x 42.2 cm Cond A-/Slight tears at top edge. Framed. Ref: DFP-I, 213; Lauder, 59; PAI-XXXIV, 34 (var)
18 3⁄4 x 12 1⁄2 in./47.6 x 31.8 cm Cond A. Framed. Ref: DFP-I, 211; Lauder, 59; Margolin, p. 87; Kauft Bücher, 24; PAI-LI, 278
George Auriol was a French poet, songwriter, graphic designer, type designer, and artist. He contributed this illustration as the cover of Part II of Louis Morin’s book, “French Illustrators.” The American publication offered a personal critique, both artistic and social, of the period’s top illustrators.
In this cover illustration for The Bookman, Christy enlists a contemplative young lady, enjoying her newest issue in the fresh outdoors air. Est: $1,400-$1,700.
Est: $1,000-$1,200.
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The Bookman was a monthly literary journal started by Dodd, Mead & Co. in February of 1895. It contained reviews of books, magazines, and newspapers; articles on authors; and notes on theatre. Its editor, Harry Thurston Peck, was the first to publish a “Best Seller” list. It continued in circulation until 1933. Though best known for his patriotic World War I recruitment posters, Christy calls his fresh-faced, slightly seductive young woman into the promotional service of The Bookman, where she wistfully whiles away the hours in the company of quality reading. Est: $1,200-$1,500.
A-Z | ANONYMOUS
Anonymous 100. Wagons-Lits / Club-Train. ca. 1891. 32 3⁄4 x 44 1⁄4 in./83.2 x 112.4 cm Imp. F. Champenois, Paris Cond A. Ref: Wagons-Lits, p. 59; Wagons-Lits II, p. 75; Train à l’Affiche, 17 The Wagons-Lits train company most famously ran the luxurious Orient Express Line and Trans-Siberian Railway, and also offered high-end train service with sleeping and dining cars throughout Europe. From 1889 to 1893, their Club-Train offered railway to ship service between Paris and London with several stops and international connections in between. After the London, Chatham, and Dover railway prematurely canceled their contract, there was no other train service between these cities for more than 30 years, until the Flèche d’Or (Golden Arrow) was introduced in 1926. Here, Big Ben and the Eiffel Tower bookend the many sights to see on the short-lived deluxe train ride. Rare! Est: $4,000-$5,000.
101. Bal à l’Opéra. ca. 1898. 38 5⁄8 x 49 7⁄ 8 in./98 x 126.7 cm Affiches Camis, Paris Cond A-/Slight creases. Ref: PAI-LV, 131
100
This gorgeous stock poster promotes the Camis printing company in Paris. In it, we see a set of amused dandies reach out to touch a marble statue, unable to believe that it is not real flesh and blood. Meanwhile, a coy coquette glances over her shoulder, fluttering her feathered fan. A host of charming characters await whatever lavish night at the theatre this poster would ultimately advertise. It’s simply lovely. Est: $2,000-$2,500.
102. Katzen-Ausstellung. 1900. 37 1⁄ 2 x 49 5⁄ 8 in./95.4 x 126 cm J. Weiner, Wien Cond B/Folds; tear at left edge. P. While Steinlen famously used images of his cats to promote his own exhibitions, this anonymous artist uses the felines to announce an actual exhibition of cats in Vienna. This poster is for the first edition of the event, held at the Horticultural Society in May, 1900. Rare! Est: $1,400-$1,700.
103. La Mascotte. ca. 1900. 57 5⁄8 x 42 3⁄4 in./146.4 x 108.6 cm Imp. Cassan Fils, Toulouse Cond B+/Slight tears at folds. Repeating the bottle’s image as the content of this large poster, our anonymous artist extols the wonders of La Mascotte apéritif, which claims to be “without rival.” Additional text informs us to “offer your best friend a brown or blonde Mascotte according to his tastes” and “a drink before each meal stimulates the appetite.” Est: $1,400-$1,700.
104. Royale Clairette. ca. 1905. 30 1⁄4 x 47 in./76.8 x 119.5 cm Imp. Courmont Frères, Paris Cond A-/Slight tears at bottom text area. From an unknown artist for an unknown champagne producer, we’re given a simple but effervescent design with information for the local Toulouse distributor. Rare!
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Est: $1,200-$1,500.
ANONYMOUS | A-Z
104
102
103 105. Schichtl’s Marionetten. ca. 1908. 26 5⁄8 x 36 7⁄8 in./67.6 x 93.6 cm Adolph Friedländer, Hamburg Cond A. Ref: Manege frei, p. 209 “As early as 1896, ‘Marine Dramas’ made a great impression at the sensational trade exhibition in Berlin... The demonstrations also offer exciting and educational entertainment; the boats are recreated in the most faithful way of the mighty originals and bob around as if guided by an invisible hand. All classes of ships in [the] navy are represented... the portrayals of the defense of the coastal forts by submarine mines, and the attack of torpedo boats on ironclad ships—one of which is blown up—are of lively effect and exciting... The long-established marionette theater, known far beyond Bavaria, adapted to the trends and tastes of the time, and happily presented monumental acts, including imitating pop singers. Old Schichtl, whose descendants still dedicate themselves to puppetry today, was a showman at the Munich Oktoberfest where he demonstrated the ‘execution of a living person’ so dramatically that, in keeping with the down-to-earth ‘rustic’ humor of Bavaria, she was named ‘Mordsgaudi’ [lots of fun]. Town criers served as advertisers for these performances until the poster superseded them, and Schichtl has—with Friedländer—used them often” (Manege Frei, p. 208). Est: $1,000-$1,200.
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A-Z | ANONYMOUS
106
108
Anonymous
107
109
(Continued)
106. Charlie Chaplin / Garçon de Café. ca. 1918.
107. Syphilis. ca. 1926.
109. Canadian Pacific / To Canada. ca. 1931.
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-LXXXV, 132
31 3⁄4 x 47 1⁄ 8 in./80.5 x 119.7 cm Pub. PAG Cond B-/Slight tears at folds. Ref: Santé, 677; PAI-LXIII, 43
25 1⁄8 x 40 1⁄8 in./63.8 x 102 cm Hammond & Griffiths, London Cond A-/Slight tears at edge. Ref: Canadian Pacific, unnumbered; Canadian Pacific II, p. 49
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: $1,500-$1,800.
Put out by the Ministry of Hygiene, this poster attempts to fight the spread of syphilis by encouraging those affected to seek treatment immediately in order to not risk becoming blind, paralyzed, or crazy. Est: $1,200-$1,500.
108. Salsomaggiore. 1930. 24 1⁄2 x 39 1⁄4 in./62 x 99.8 cm Grafia, Roma Cond A-/Unobtrusive folds. Ref: Manifesti Posters/Travel, p. 235; PAI-X, 77 The thermal bathhouse of this resort in the Parma region is the chief attraction here; the intense blue of the text panel suggests the purity of its healing waters. Est: $1,400-$1,700.
Following World War I, Canadian Pacific worked with the government to transport immigrants from Europe to Canada. Posters were, of course, instrumental to this initiative. Here, a little girl is making the journey alone, but she’s in good hands with one of the Canadian Pacific crew members. Est: $1,000-$1,200.
ANONYMOUS | A-Z
110
113 111
110. Québec.
112. Svärmor vill skiljas. ca. 1935.
23 7⁄8 x 35 7⁄8 in./60.8 x 91.2 cm Cond B+/Slight stains at edges.
27 x 39 in./68.5 x 99 cm Kopia, Stockholm Cond A.
Though Quebec is perhaps better known for its urban centers, the Central Canadian province is actually quite sparsely populated, with the majority of the land hosting mountains, Arctic tundra, forests, and one of the world’s largest reserves of fresh water. Here, a fly-fisher gives us a glimpse of some local trout and moose, which represent only a small portion of the enormous Canadian wildlife population. Est: $800-$1,000.
112
This Swedish design adopts a Russian Constructivist aesthetic to advertise the release of the 1935 American film, “People Will Talk.” The comedy follows pictureperfect suburban couple Henry and Clarice Wilkins, who pride themselves on never having a squabble in their 23-year relationship. But when their daughter has a spat with her husband, the parents try to teach them a lesson by having their own fake fight—which soon turns into real drama.
111. Adloyada / Purim Parade. 1933.
Est: $1,000-$1,200.
25 1⁄4 x 37 1⁄8 in./64.2 x 94.2 cm Straub, Tel Aviv Cond B/Slight tears and stains.
113. Mazawattee Tea. ca. 1900.
This very early advertisement for Purim Celebrations in Tel Aviv adopts an entirely festive approach. Tel Aviv’s shield and skyline from its city emblem are iterated in the colorful Purim mask. The holiday got its start in 1912 as a humorous procession; its name comes from the rabbinic saying in the Talmud that one should revel on Purim by drinking “until he cannot tell the difference between ‘cursed be Haman’ and ‘blessed be Mordecai.’” But the event was commanded to be celebrated only in “walled cities,” and thus only takes place in Jerusalem now. Rare! Est: $1,700-$2,000.
30 x 39 3⁄4 in./76.2 x 101 cm Stafford & Co., Netherfield Cond A-/Unobtrusive folds. Ref: PAI-LVI, 190 This sweet and quiet two-sheet image presents a redhead and her dog calmly enjoying a spot of afternoon tea and cake in the park. Although no longer available today, Mazawattee Tea dates back to the early 1850s when it was brought by John Boon Densham from China to England; it rose to extreme popularity up through World War II. Est: $2,000-$2,500.
A-Z | ANONYMOUS - AUZOLLE
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117
Anonymous
(Continued)
114. Western Australia. 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. Ref: PAI-LXXXV, 147
115
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: $1,400-$1,700.
F. Hugo d’Alesi
(1849-1906)
30 1⁄4 x 42 1⁄4 in./76.6 x 107.5 cm Ateliers d’Alesi, Paris Cond B+/Slight tears at folds. Ref: PAI-XXXVII, 121 D’Alesi’s graceful wizardry of transferring place to poster is once more evidenced in a train-free design promoting rail travel to the Italian center of intrigue, a city delicately balanced midway between the sea and the sky. From our vantage point in the Grand Canal, Venice’s treasures are laid out before us: St. Mark’s Square and the Basilica in the background, the gondolas, the campanile adorned with the city’s emblematic griffin, and maidenly floral offerings—all of them bound by the pellucid light of ethereal splendor. Est: $1,200-$1,500.
28 5⁄8 x 41 3⁄ 8 in./72.6 x 105 cm Imp. Hugo d’Alesi, Paris Cond A-/Unobtrusive folds. In another intoxicating dream-vision of rail travel to Venice, d’Alesi emphasizes the splendor of the local aquatic travel, from modest gondolas to statuesque sailboats. The various pinks of the architecture, sails, and sun-setting clouds add a quality of saccharine bliss that contrast beautifully with the sea-green canal below. Est: $1,700-$2,000.
Jane Atché
(1872-1937)
117. Rêverie. ca. 1897.
115. Venise.
116
116. Venise.
Diameter: 13 3⁄4 in./35 cm Cond A. Framed. Ref: Atché, p. 48; PAI-LXVIII, 246 Printed on vellum, this is one half of the decorative panel series known as Rêverie et Méditation. Clearly influenced by Mucha’s Têtes Byzantines, Atché’s spin on female beauty in profile is far more contemplative than the Art Nouveau master’s. Like a fine Renaissance lady, she is lost in thought against an intricate weaving of dusty jewel-toned foliage within a circular period frame. Est: $1,700-$2,000.
ANONYMOUS - AUZOLLE | A-Z
118
Raoul Auger
(1904-1991)
119
Marcellin Auzolle
(1862-1942)
118. Pile Mazda. 1945.
119. Bière St. Nicolas de Port. 1933.
39 x 58 1⁄2 in./99 x 148.6 cm Imp. Croutzet & Depost, Paris Cond B+/Slight tears at folds.
39 1⁄2 x 59 3⁄4 in./100.5 x 152 cm Imp. P. Vercasson, Paris Cond A-/Slight tears at edges. Ref: PAI-LXXVII, 128
While we’ve seen this Mazda battery-man in jauntily patriotic scenes before (see PAI-XVI, 452 and PAI-XXVI, 454), this image bears the additional celebratory layer of the end of World War II. The civil and military battery promises “18 months of active service,” which means our fellow has a right to enjoy this well-earned victory. Rare! Est: $1,700-$2,000.
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 Français de la Brasserie, or French Brewery Museum. Still using the original red rooster emblem shown in this poster, the museum chronicles the history of brewing in that region. This is the larger format version of the poster. Est: $2,000-$2,500.
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A-Z | BARRÈRE - BELLE
121
120
Adrien Barrère
122
(1877-1931)
120. Scala / Viens Fou-Foule.
121. Clémence Isaure. 1910.
122. Suzanne Delvé.
23 7⁄8 x 31 3⁄4 in./61 x 80.8 cm Imp. Ch. Wall, Paris Cond B/Slight stains at folds. Ref: PAI-VII, 32
37 x 51 in./94 x 129.5 cm Imp. Ch. Wall, Paris Cond B/Slight tears at folds and edges. Ref: PAI-XXIV, 157
31 3⁄8 x 47 1⁄2 in./79.7 x 120.6 cm Imp. R. Philippe de Girard, Paris Cond B-/Slight tears, largely at folds.
Barrère is well known for his portrayal of France’s leading music hall and theatrical personalities of the first quarter of the 20th century. His caricature style, using flat colors and broad treatments, turned these images into delightful and witty designs. Here, for a revue called “Come Crazy-Crowd,” the gentleman appears to have some eyes on the young lady carrying a hat box.
Caricaturist and chronicler of the Paris stage with a far kinder pen than Toulouse-Lautrec, Barrère gave us portraits of performers who we might never know otherwise. Isaure seems to have been something of a theatrical oddity, singing early French songs and transforming herself top to bottom for each period. Barrère captured her pursed expression wonderfully, but it’s the strong shapes and colors of her medieval dress and hat that hold our attention today.
Est: $1,700-$2,000.
Est: $1,700-$2,000.
Barrère fully embraces Jazz Age glamour in this promotion for Suzanne Delvé (1892-1986), a Parisian film actress who worked largely in the silent era. Est: $1,400-$1,700.
BARRÈRE - BELLE | A-Z
123
124
125
Otto Baumberger
Pierre Belle
(1889-1961)
(1926-2019)
123. Jecklin. 1919.
124. Baumann. 1928.
125. Ripolin Triptych : 3 Maquettes.
35 3⁄4 x 50 7⁄ 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-LXXXV, 188
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-LXXXV, 190
Each: 7 5⁄8 x 10 in./19.5 x 25.5 cm Signed gouache and ink maquettes. Framed.
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.
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.
Back in 1898, Eugène Vavasseur helped cement the Ripolin paint brand with a two-sheet design featuring three male painters (see PAI-XXVIII, 577). Here, Pierre Belle pays homage to that original design while updating the figures, colors, and typography for a more modern Art Deco audience. Est: $1,200-$1,500. (3)
A-Z | BELLE - BICKEL
126
129
Belle
(Continued)
126. Martini : Maquette. 11 1⁄2 x 15 1⁄4 in./29 x 38.8 cm Gouache and ink maquette. Framed.
127
Before there was “Red Bull gives you wings,” Pierre Belle posited that Martini & Rossi vermouth gives you horsepower. And while we can’t ascertain that this clever design was made into a final poster, the maquette provides ample charm. Est: $1,400-$1,700.
127. Cinzano : Maquette. 9 3⁄ 8 x 7 in./24 x 17.8 cm Signed gouache, ink, and collage maquette. Framed. Likely referencing Cappiello’s red Cinzano zebra, Belle updates the equine by collaging the Cinzano label on its head. Though this design was likely also not realized, it’s an interesting riff on the past and future of this popular Italian vermouth. Est: $1,000-$1,200.
G. K. Benda
(Georges Klugelmann)
128. Mistinguett. ca. 1913. 45 1⁄4 x 59 1⁄4 in./115 x 150.5 cm Philippe G. Dreyfus, Paris Cond B/Restored tears in dress. Framed. Ref: PAI-LXXVII, 136 My, is it windy out there! G. K. Benda may well have taken a page from L. Frank Baum’s “The Wizard of Oz,” as he depicts Mistinguett fetchingly pulling a Toto-esque purse pup back from the whipping winds. Over her 50-year career in French song, dance, and cabaret, Mistinguett was known both for her coquettish whimsy and for her flamboyant costumes, which we see here: a red chrysanthemum-like butterfly at the end of her hat, extending from caterpillar-like stripes; ivy on her shoe-buckles; the candy-cane-like line of the dog leash. This costume is perfect for both December and March holidays.
128
Est: $1,500-$2,000.
BELLE - BICKEL | A-Z
130
Francis Bernard
(1900-1979)
129. Nicolas. 59 1⁄8 x 90 5⁄8 in./150.2 x 230.2 cm Edition Paul-Martial, Paris Cond A. Ref: PAI-XXIII, 148 Originally a caricaturist, Bernard began working exclusively as a designer for Paul Martial around 1927. The association gave him the opportunity to become a first-class graphic designer. This two-sheet poster is Bernard’s extremely unusual—and rare—image for the Parisian wine dealer and distributor Nicolas. Most of the company’s advertising features the famous delivery man Nectar, effortlessly handling whole clusters of bottles. Here we get a stylized faceless figure, which is entirely different, and powerful just the same. See also his Aeroshell poster, No. 26. Est: $3,000-$4,000.
Paul Berthon
131 (1872-1909)
130. 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-LXXXV, 193 “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.
131. 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-LXXXV, 192 “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 a 1903 calendarium flanking the lovely image. Est: $3,000-$4,000.
Karl Bickel
(1886-1982)
132. PKZ / So Kleidet. 1928. 35 3⁄4 x 50 1⁄4 in./90.8 x 127.6 cm Wolfsberg, Zürich Cond A. Ref: PAI-XV, 138 Bickel produced fashionable posters for all the leading Swiss merchants, notably Seiden Grieder of Zurich and Chaussures Scheuer of Geneva. And this poster for the men’s clothier PKZ helps explain his popularity: he had a flair for classy images which complemented the fashions they promoted. And who wouldn’t be convinced to become a PKZ customer after seeing this dapper gentleman? Rare! Est: $4,000-$5,000.
132
A-Z | BOCCASILE - BONNARD
134
133
Gino Boccasile
(1901-1952)
133. Viareggio / Forte dei Marmi. 24 1⁄4 x 39 3⁄8 in./61.6 x 100 cm Coen & C., Milano Cond A. Twelve miles northwest of Pisa in Italy’s Tuscany region lies Viareggio, the fashionable seaside resort on the Tyrrhenian coast, home to lovely beaches and plenty of amenities for the holiday maker. With a curvy brunette as his muse, Boccasile does his best to entice us on a trip. Est: $2,000-$2,500.
134. Castroreale-Bagni. 1949. 19 1⁄2 x 27 1⁄ 2 in./49.5 x 69.8 cm Graf. Successori Begozzi, Milano Cond A. Ref: Manifesti/Travel, p. 246 While this signora seems to be having an absolute blast under a gushing shower, the text below lets us know that the alkaline sulfur and sodium baths of Messina will also heal a variety of medical conditions, including sterility, arthritis, gout, PTSD, gynecological issues, and upper respiratory diseases. Ultimately, these waters provide “a suitable source for every evil!” Est: $1,700-$2,000.
135. Olio Radino. 1950. 39 1⁄ 2 x 55 in./100.4 x 139.7 cm Fiorin, Milano Cond A. Ref: Manifesti Posters/Eat & Drink, p. 73; PAI-LVI, 330 A smiling Neapolitan beauty appears overjoyed to be using Radino, a high-quality olive oil.
135
Est: $1,700-$2,000.
Gus Bofa
(Gustave Blanchot, ?-1968)
136. Lampe ‘Sirius.’ 54 1⁄ 2 x 76 1⁄2 in./138.5 x 194.4 cm Imp. Ch. Verneau, Paris Cond A. Ref: PAI-XLVI, 200 This is not your standard issue “Beautiful People” Romeo and Juliet to be sure, but Bofa’s cleverly illuminated vision for Sirius light bulbs reveals the starcrossed pair in an irreverently humorous light. Bofa, son of an Army colonel, was a colorful personality with a checkered career—from infantryman to metallurgical engineer—who inexplicably and suddenly drifted to humorous drawings and caricature. His incisive, witty work was so good that he became a member of the editorial staff of Le Rire, Le Sourire, La Petite Semaine, and La Baionnette; together with printer Devambez, he founded the Salon de Araignée, a haven for independent artists. This is the larger, two-sheet format. Est: $1,700-$2,000.
136
BOCCASILE - BONNARD | A-Z
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137
Pierre Bonnard
138
(1867-1947)
137. L’Estampe et l’Affiche. 1897.
138. Salon des Cent. 1896.
24 ⁄4 x 32 ⁄8 in./61.6 x 83.5 cm Cond A-/Unobtrusive folds. Ref: Marx, 38; Bouvet, 44; DFP-II, 80; Gold, 89; Iskin, 24; PAI-LXXXII, 173
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-LXXXV, 201
1
7
Although it appeared for only two years during the heyday of postermania (March 1897 to December 1899), this magazine exercised a major influence on poster designers and collectors alike. Bonnard’s poster was featured on the first page of the first issue, and it was seen as a declaration of intentions on the part of the posterists: we see the older woman—representing the Print—look with curiosity at the brash kid with her portfolio—representing the up-and-coming Poster—obviously ready to take over as the collectible of choice. Est: $3,000-$4,000.
The drawing of a woman admonishing her dog appears only half-finished, with the right side remaining blank, but all the pertinent elements are there: the fashionable veiled hat, the gesture of the gloved hand, and the attentive pose of the pooch. Colta Ives, in the catalogue of the Bonnard exhibition at the Metropolitan Museum, speaks of “the softly delineated forms, enhanced with touches of modeling and color” and feels that although he was part of the Nabis group, “his adoption of a more relaxed and lyrically sensuous approach” set him apart from that fraternity (Ives, p. 6). This charming invitation is surely one of the finest and most sensitive lithographs of Bonnard and of the entire Salon des Cent series. Est: $5,000-$6,000.
A-Z | BOUISSET - BRODERS
140
Firmin Bouisset
(1859-1925)
139. Chocolat Menier. 1893.
139
33 x 49 3⁄8 in./83.8 x 125.5 cm Affiches Camis, Paris Cond B+/Slight tears at folds and edges. Framed. Ref: DFP-II, 85; Reims, 237; Maindron 1896, p. 42; Musée d’Affiche, 49; Weill, 75; Masters 1900, 75; Chocolate Posters, cover & p. 20; Karcher, p. 75 (var); PAI-LXXXI, 193 “Originally seen from the back in an 1892 design writing the words ‘Chocolat Menier’ on a wall, she returned many times over the years, sometimes scrawling different words in other languages, but always cutting an irresistible tomboyish figure” (Gold, p. 43). Est: $4,000-$5,000.
Fortune Bovard
(1875-1947)
140. Teppich-Haus Schuster & Co. 1916. 33 1⁄8 x 47 1⁄2 in./84 x 120.7 cm J. E. Wolfensberger, Zürich Cond B+/Slight tears at edges; creasing at bottom. Ref: PAI-LXXX, 45 With their red carpet entry, Schuster and Co. simultaneously advertises the plushness of their wares and the kind of treatment you can expect when visiting their stores —not to mention the class of clientele you can expect to find as well. Est: $1,700-$2,000.
William H. Bradley
(1868-1962)
141. Narcoticure. 1895. 13 5⁄8 x 20 in./34.6 x 51 cm Cond A. Framed. Ref: DFP-I, 162; Reims, 1146; Bambace, p. 159; PAI-LXXXV, 202 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.
141
Est: $2,000-$2,500.
BOUISSET - BRODERS | A-Z
142
Friedl Dicker-Brandeis
(1898-1944)
142. Comedian Harmonists. ca. 1930. 37 x 27 3⁄8 in./94 x 69.5 cm Cond A. Ref: PAI-LXXX, 342 The internationally renowned harmony ensemble, Comedian Harmonists, “only sing for Odeon Records” for this bold Art Deco design. Formed in 1927 Berlin, the group quickly found success with their innovative harmonies and wide ranging repertoire. Unfortunately, three of the six members were Jewish or of Jewish descent, and the censorship of the Nazi regime eventually forced the group to dissolve. During the war, a non-Jewish group was reformed under the name “Meistersinger.” In the 1970s, their music and historical recordings were recovered, and in the 1990s, the German film “Comedian Harmonists” led to a musical play in Berlin. In 1997, an English adaptation of the musical premiered with music by Barry Manilow.
143
Est: $1,200-$1,500.
Brignola 143. Livorno. 1910. 38 3⁄4 x 55 in./98.5 x 139.7 cm S.A.I.G.A., Genova Cond B+/Slight tears at folds. Imagine if today’s infrastructure advertisements contained this amount of drama. But in 1910 Italy, inaugurating the Livorno-Cecina railway and expanding the port merited godly celebrations—and a poster to match. Mercury, the god of financial gain and commerce, glows under the setting sun as he draws our attention to the various modes of transit offered to us earthly beings. It’s an altogether stunning artifact, and rare! Est: $2,500-$3,000.
Roger Broders
(1883-1953)
144. Le Tour du Mt. Blanc. 1927. 30 1⁄2 x 42 1⁄ 8 in./77.5 x 107 cm Imp. Lucien Serre, Paris Cond A. Framed. Ref: Broders, p. 68; Broders/Travel, p. 63; Alpes, 36; Montagne, p. 257; Voyage, p. 36; PAI-LXII, 117 Around Mont Blanc we go on a PLM Railway car tour. The circuit—which begins in Chamonix and passes through three countries—is cleverly and graphically depicted in Broders’ diminishing circular typography, which also draws attention to the highest mountain in the Alps. Est: $4,000-$5,000.
144
A-Z | BRODERS - BUĆAN
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145
Broders
(Continued)
146
Willem Frederick ten Broek
(1905-1993)
145. Grasse. 1927.
146. New York / Holland-Amerika Lijn. 1938.
30 1⁄4 x 42 1⁄8 in./76.8 x 107 cm Imp. Lucien Serre, Paris Cond A. Framed. Ref: Broders, p. 89; Broders/Travel, p. 25; Affiches Riviera, 63; PAI-LXII, 114
24 1⁄2 x 38 in./62.2 x 96.5 cm Jon Enschede, Haarlem Cond A. Ref: Trylon, p. 46; Schip & Affiche, p. 111; Crouse/Deco, p. 233 (var); PAI-XLVI, 214
This PLM poster features stylish vacationers enjoying a sunny terrace in the Alpes-Maritimes resort of Grasse, which overlooks the Côte d’Azur. The Old City rises behind like a man-made mountain, crowned by the ancient cathedral. Delicate coloring evokes the delicious mixture of southern warmth and the chill of the mountains in a place described as “the village of flowers and perfume.” Est: $3,500-$4,500.
Broek’s poster for the Holland-American line uses a montage of symbols: the World Fair’s Trylon and Perisphere, the Manhattan skyline, and the U.S. and Dutch flags to advertise excursions to the 1939 Fair. The ship is, appropriately, the Nieuw Amsterdam—one of the most beautiful ever built, according to some ship-lovers. She had just gone into service the year of this poster, and from October of 1939 to May of 1940 she traveled exclusively between the World Fair and Rotterdam. When the Germans overran Holland in 1940, she was stationed in Venezuela. She subsequently served as an Allied troop transport during the war. English, French, and German versions of the poster also exist; this is the Dutch-language variant. Est: $5,000-$6,000.
BRODERS - BUĆAN | A-Z
147
Boris Bućan
(1947- )
147. “Firebird” & “Petrushka.” 1983. 78 1⁄8 x 79 1⁄2 in./198.5 x 202 cm Cond A. Ref: V & A, p. 67 & cover; Saunders & Timmers, p. 58; PAI-XXXVIII, 240 This spectacular six-sheet silk-screened Bućan graphic conjuring was utilized by the Croatian National Theatre in Zagreb to promote their 1983 productions of Stravinsky’s “The Firebird” and “Petrushka.” The poster, described by the editors of “The Power of the Poster” as “a stunningly original creation” (p. 67), is at once bizarre, enthralling, and sumptuous. In all, it’s a perfect design for the mythic flights of fancy undertaken by the Stravinsky ballets. It’s also an amazing study in contrasting geometry and stark coloring, though it’s difficult to pin down precisely what effect Bućan meant to achieve with his androgynous, vaguely Egyptian avian creature poised atop red sling-back pumps. Obviously one associates it with “The Firebird,” but it’s more austere than fiery, and there isn’t a trace of “Petrushka’s” puppetry. But it is unquestionably provocative, and when the issue is attracting the attention of harried commuters, perhaps provocation is more than enough. Est: $10,000-$15,000.
A-Z | BRUNO VETTERLI - CAPPIELLO
148
149
Emile Bruno Vetterli
(1935-?)
Charles Livingston Bull
150 (1874-1932)
Gaspar Camps
(1874-1942)
148. Knie / Borra. 1956.
149. Bathe / Learn to Swim. 1931.
150. Tender Temptation. ca. 1904.
35 x 49 in./88.8 x 124.5 cm Cond A-/Unobtrusive folds.
15 1⁄8 x 19 1⁄ 2 in./38.5 x 49.5 cm Cond A/P. Ref: PAI-LXXXIV, 219
12 3⁄4 x 26 3⁄4 in./32.3 x 68 cm Imp. F. Champenois, Paris (not shown) Cond A-/Matted to image. Framed. Ref: Imprimerie, 52 (var); PAI-LV, 181
This very colorful design advertises an Italian performance of Borra, “The Thief of Baghdad,” with the famous Knie circus. The most famous stage pickpocket of all time, he became the highest-paid European circus performer during the 1950s. Born in Yugoslavia, Borra (Borisav Milojkovic Borra) began working as a magician and show pickpocket at 15. He worked with several European circuses, and also trained police officers in pick-pocketing techniques. Est: $1,200-$1,500.
This is one of four posters Bull designed for the Michigan Tuberculosis Association (the others were “Sleep,” “Eat,” and “Play”). For “Bathe,” he gives us an incredibly heartwarming scene of a mama bear teaching her young’uns to swim. Bull was considered to be the top wildlife illustrator of his time; he gained renown for illustrating famous books like “The Call of the Wild” and “White Fang.” He lived on four lots of land in Bergen County, New Jersey and often traveled to the South and Canada to study wildlife and draw them. Est: $800-$1,000.
To show off the full range of their reproductive skills, many printers created fabulously detailed decorative panels as gifts for their important and potential clients. Many were printed just on paper, while a few, like this one, were done on silk, making them fine collector’s items and beautiful decorations for the home. Here, a porcelain-skinned Pre-Raphaelite lady gently strokes a baby bird sitting inside its nest. The weight of her velvet green gown tumbles in heavy folds down to her feet, spilling over the border. It’s a rich, highly textured design. Est: $2,000-$2,500.
LEONETTO CAPPIELLO
151
Leonetto Cappiello
(1875-1942)
151. Absinthe Gempp Pernod. 1903. 54 3⁄4 x 77 3⁄4 in./139 x 197.5 cm Imp. P. Vercasson, Paris Cond B+/Slight tears at folds and edges. Ref: Cappiello/Rennert, 13; Wine Spectator, 173; Menegazzi-I, 393; PAI-LV, 186 The leader in the absinthe business, Pernod dominated the market from the late 18th century until the beverage was banned. This two-sheet poster, still calling upon Cappiello’s early work as a caricaturist, advertises the branch of the company owned by Pernod’s son-in-law, Charles Gempp. Est: $6,000-$7,000.
A-Z | CAPPIELLO
153 152
Cappiello
(Continued)
152. Louise Balthy / Folies-Bergère. 1902.
154. Savoy Theatre / Mrs. Brown-Potter. 1904.
39 ⁄2 x 54 ⁄8 in./100.2 x 137.5 cm Imp. P. Vercasson, Paris Cond A-/Slight tear at bottom edge. Ref: Cappiello/Rennert, 31b; PAI-LXXXIV, 231
50 1⁄4 x 95 5⁄8 in./127.5 x 243 cm Imp. P. Vercasson, Paris Cond B+/Unobtrusive folds. Ref: Cappiello/Rennert, 60
“Louise Balthy (1869-1926), like Réjane, got off to a precocious start, being hired by the Eldorado at 17, and getting favorable notices in the revue ‘Taraboum’ in 1892. She became best known for comic songs that she delivered while maintaining a somewhat stern demeanor. However, her talents also included parodying various styles of dancing, impersonating other actresses (most notably Sarah Bernhardt), and playing a mean xylophone. A native of Bayonne near the Spanish border, she sometimes affected the occasional Spanish mannerism, a fact that Cappiello makes clear in this design for the revue’s opening at the Folies-Bergère on March 8, 1902” (Cappiello/Rennert, p. 57).
“As can be seen from some of [Cappiello’s] prior posters, Vercasson was very active in marketing his artists’ work abroad; this, however, is the first foreign sale of a Cappiello design to advertise a play at London’s Savoy Theatre. In fact, The Golden Light by George Daring—a theatrical event that was mounted and apparently best forgotten—was a part of English grand-dame Mrs. Cora BrownPotter’s 1904 season at the Savoy Theatre. This is a three-sheet poster; in addition to the image, there are text banners top and bottom. No doubt this allowed the theatrical manager to change venues—and actresses—as needed” (Cappiello/ Rennert, p. 72). Rare!
Est: $2,000-$2,500.
Est: $3,000-$4,000.
1
1
153. La Marquisette. 1901. 38 5⁄8 x 79 in./98 x 200.7 cm Imp. P. Vercasson, Paris Cond A-/Restored tear in black hair. Ref: Cappiello/Rennert, 19; PAI-LXXXIV, 225 This charming little slice-of-life moment reveals the more daring of the two girls introducing the other to the joys of Marquisette dessert liqueur. It’s a delightful scene played out on this larger, two-sheet version of the poster. Est: $2,500-$3,000.
154
CAPPIELLO | A-Z
155 155. Zeste. 1906. 46 3⁄8 x 62 1⁄2 in./118 x 158.7 cm Imp. P. Vercasson, Paris Cond A-/Slight creases in background. Ref: Cappiello/Rennert, 102; Wine Spectator, 180; PAI-LXXXIV, 229 “It’s the incongruity—the wild exaggeration—of the woman struggling with an oversized potted lemon tree that gives the design its unmistakable Zeste. Attention must be paid. This is the first of three designs by Cappiello for the Fournier-Demars distiller; they also called on him to advertise their Triple-Sec in 1907 and their regular Curacao in 1921” (Cappiello/Rennert, p. 91). This printing boasts exceedingly fresh colors! Est: $8,000-$10,000.
A-Z | CAPPIELLO
156
Cappiello
157
(Continued)
156. C. Beriot / Belle Jardinière. ca. 1910.
157. Docteur Rasurel. ca. 1911.
49 3⁄4 x 77 1⁄2 in./126.5 x 197 cm Imp. P. Vercasson, Paris Cond A-/Slight tears at edges. Ref: Cappiello/Rennert, 163; PAI-LXXXIV, 238
46 x 60 3⁄4 in./116.7 x 154.5 cm Imp. P. Vercasson, Paris Cond B+/Slight tears at folds. Ref: Cappiello/Rennert, 108; PAI-LXXXIV, 233
Chicory, that wonderful rich flavoring for coffee, is being sold at La Belle Jardinière, a department store in France—which is why Cappiello has this beautiful gardener trailing a basket of blossoms as she steps forward with a caffeinated spring in her step. La Belle Jardinière is also the name of a famous 1507 painting by Raphael— which may have inspired the proprietors—and the department store clearly embraced the visual arts, as seen by Grasset’s beautiful calendar (see No. 237).
Docteur Rasurel was a line of thermal underwear, union suits, and other warming textiles for the home. Cappiello designed five posters for the brand; this one and a 1906 design (see PAI-XLIX, 153) each shows an ideal family gathering which only seems to be lacking the slogan, “‘The family that wears long-johns together, stays together.’ Cappiello shows that he could always manage to find an interesting angle, whether he showed the clan striding determinedly into the future or striking a pose for a family undergarment portrait to leave for posterity” (Cappiello/Rennert, p. 95).
Est: $3,000-$4,000.
Est: $2,000-$2,500.
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CAPPIELLO | A-Z
158 158. Ramos Pinto / Vinho do Porto : Maquette. 1912. 20 x 25 in./50.8 x 63.5 cm Signed pastel and crayon maquette. Framed. Ref (both var): Cappiello/Rennert, 241; PAI-LXXXIV, 246 “The Adriano Ramos Pinto winery boasted that it was bigger than all the others, at least in Porto. Cappiello took this catch phrase literally and shows a giant figure striding away with an oversized bottle as Lilliputian townsfolk scatter with their port between his legs” (Cappiello/Rennert, p. 164). In this preparatory work, the bottle is indeed massive—Cappiello sized it down to a more reasonable scale in the final poster. Est: $12,000-$15,000.
A-Z | CAPPIELLO
159
Cappiello
(Continued)
159. Pineral. 1912. 62 3⁄ 8 x 47 in./158.5 x 119.5 cm Imp. P. Vercasson, Paris Cond B+/Slight tears at folds. Ref: Cappiello/Rennert, 243 “In this promotion for Pineral apéritif aimed at the Spanish market, the devil appears mid-grove, praising the orange-based beverage” (Cappiello/Rennert, p. 165). The Argentinean apéritif was incredibly popular from the 1890s on, and even inspired tango pioneer and singer Ángel Villoldo to write a tango about it. Rare! Est: $8,000-$10,000.
160. Bougies à Pied Cannelé. 1912. 49 5⁄8 x 78 in./126 x 198 cm Imp. P. Vercasson, Paris Cond B+/Unobtrusive folds. Ref: Cappiello/Rennert, 178; PAI-LXXXIV, 235 “It’s a clever idea L. F. Fournier came up with: ridging the bottom end of its candles so that they stand upright and perky in their candleholders. That lack of wobble in the Bougies à Pied Cannelé is creating one happy butler” (Cappiello/Rennert, p. 130). Est: $2,000-$2,500.
161. Unic. 1913. 46 3⁄4 x 62 1⁄4 in./118.5 x 158 cm Imp. P. Vercasson, Paris Cond A-/Slight tear at fold in bottom text area. Ref: Cappiello/Rennert, 257; Publicité, p. 63; PAI-LXXXII, 201 As rare as Cassandre’s design is for this shoe manufacturer, Cappiello’s is even rarer. And while the former focuses on handsome simplicity in his design, Cappiello gives us nothing but pure luxury when presenting the brand’s signature footwear on a bed of silk.
160
Est: $7,000-$9,000.
CAPPIELLO | A-Z
161
A-Z | CAPPIELLO
162
CAPPIELLO | A-Z
163
Cappiello
(Continued)
162. Cordial Campari. 1921. 52 5⁄8 x 77 1⁄4 in./133.7 x 196.2 cm Maga, Paris Cond A-/Slight tear at bottom edge. Ref: Campari, Vol. 3, p. 94; PAI-XLVII, 153
164
Cappiello executed several posters for this company, and although this stupendous image is unsigned, it bears all the hallmarks of the master—and the archives of the Campari company have confirmed that he was in fact the designer. What we are shown is an eerily illuminated harlequin as he begins the process that we suspect will end in the draining of his bottle of Cordial Campari. Est: $17,000-$20,000.
163. Savon La Tour. 1920. 46 1⁄2 x 62 1⁄2 in./118.2 x 159 cm Imp. Devambez, Paris Cond B/Tears at folds. Ref: Cappiello/Rennert, 298; PAI-LXXVI, 184 Interpreting the company’s name quite literally, Cappiello gives us a lively Pierrot enthusiastically blowing bubbles on top of a parapet in celebration of Tower Soap. Est: $1,700-$2,000.
164. Royal Melchior. 1921. 47 1⁄4 x 63 in./120 x 160 cm Imp. P. Vercasson, Paris Cond A. Ref: Cappiello/Rennert, 277; PAI-LXIX, 265 This design, printed by Vercasson after Cappiello’s departure from the firm, shows an eager King Francois I reaching for a bottle of Royal Melchior sparkling wine. Est: $4,000-$5,000.
165. Femme Espagnole : Painting. 1917. 28 1⁄4 x 32 in./53.3 x 81.2 cm Signed gouache & crayon painting. Framed. Ref: PAI-LXIII, 151 A colorful yet modestly dressed Spanish woman poses in her silk mantones de Manila in this unique painting by Cappiello. While much has been made of Cappiello as a poster artist, rarely do we see examples of his more traditional output. Est: $12,000-$15,000.
165
A-Z | CAPPIELLO
166
168
Cappiello
167
(Continued)
166. Contratto. 1922.
167. Cognac Monnet. 1927.
168. Nitrolian. 1929.
39 1⁄4 x 55 in./99.7 x 139.7 cm Les Nouvelles Affiches Cappiello, Paris Cond A-/Restored tear at upper left corner. Ref: Cappiello/Rennert, 366; Menegazzi-I, 436; PAI-LXXXIII, 264
50 1⁄4 x 78 1⁄2 in./127.7 x 199.5 cm Imp. Devambez, Paris Cond A. Ref: Cappiello/Rennert, 443; Publicité, p. 92; PAI-LXXXV, 223
46 3⁄8 x 62 3⁄8 in./118 x 158.4 cm Imp. Devambez, Paris Cond A. Ref: Cappiello/Rennert, 470; Publicité, p. 126; PAI-LXXXIII, 266
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.
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, and has incredibly vivid colors!
In one of Cappiello’s most inspired and clever designs, he provides us with visual evidence that Nitrolian truly is the fastest drying paint on the market: almost as soon as the man gets down his first coat of red, a lady in white whizzes past, the paint remaining perfectly intact.
Est: $2,500-$3,000.
Est: $4,000-$5,000.
Est: $3,000-$4,000.
CAPPIELLO | A-Z
169 169. “VOV” : Maquette. 1922. 11 x 17 3⁄4 in./28 x 45.2 cm Signed watercolor and ink maquette. Framed. Ref: Cappiello/Rennert, 379 (var) Provenance: Collection Jacques Crépineau. In the final poster, “a Harlequin in black, complete with scoundrel’s mask, holds forth two bottles of VOV, standing atop a combined mound of eggs and grapes, for the product’s producer, Pezziol of Padova. ‘Why grapes and eggs’ is a question that begs to be answered. As unlikely as it sounds, VOV is an Italian liqueur that is essentially a mixture of marsala wine and egg. It’s yellow and dense, and frequently served with espresso or cappuccino. And, undoubtedly, an acquired taste” (Cappiello/Rennert, p. 240). Est: $14,000-$17,000.
A-Z | CAPPIELLO - CASSANDRE
170
Cappiello
(Continued)
170. Nice. 1927. 30 1⁄2 x 45 1⁄8 in./77.6 x 114.6 cm Imp. Devambez, Paris Cond B+/Slight tears and stains at edges. Framed. Ref: PAI-XV, 171 Cappiello, always a glutton for excess, shrouds this family in hefty doses of roses and coastal grass. These bountiful accessories provide another benefit to the design: they contrast wonderfully with the azure of the Riviera background. Rare! Est: $7,000-$9,000.
A. M. CASSANDRE
171
A. M. Cassandre
(Adolphe Mouron, 1901-1968)
171. Nord Express. 1927. 29 1⁄2 x 41 3⁄4 in./74.3 x 106.2 cm Hachard, Paris Cond A. Ref: Cassandre/BN, p. 12; Cassandre/Weill, p. 53; Mouron, 10; Brown & Reinhold, p. 9; Cassandre/Suntory, p. 49; Deco Affiches, p. 27; Avant Garde, p. 162; Word & Image, p. 80; Art Deco, p. 77; Weill, 310; Affiche Réclame, p. 80; Modern Poster, p. 155; Crouse/Deco, p. 254; PAI-LXXXIV, 251 In this magnificent poster, Cassandre perfectly portrays the two most important factors in early rail travel: romance and speed. Our eyes are both focused on the geometric whirl of the wheels and the seemingly endless far-off horizon. The size and power of the engine is so brilliantly executed that one can almost feel that solid wall of hot air hitting you as it races by. Est: $20,000-$25,000.
A-Z | CASSANDRE
172
CASSANDRE | A-Z
173
Cassandre
(Continued)
172. Étoile du Nord. 1927.
173. Statendam. 1928.
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-LXXXV, 237
25 3⁄4 x 35 3⁄ 8 in./65.2 x 89.8 cm Hijgh & Van Ditmar, Rotterdam (not shown) Cond A-/Restored edges. Ref: Cassandre/Weill, p. 76; Cassandre/BN, 18 (var); Mouron, 104, pl. 13; Brown & Reinhold, 12; Cassandre/Suntory, 20; PAI-XLIII, 231
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: $14,000-$17,000.
A dramatic arrangement of ventilation cowlings and funnels creates a powerful impact. In contrast with the rigid geometry of the ship’s lines, the wavy trail of smoke provides the feeling of three-dimensional plasticity. It’s a masterly poster by any standard, which is more often seen with a wide brown border surrounding the central image (see PAI-LXXIII, 241). Est: $10,000-$12,000.
A-Z | CASSANDRE
174
CASSANDRE | A-Z
175
Cassandre
(Continued)
174. Normandie. 1935.
175. The Continent via Harwich. 1928.
24 1⁄4 x 38 3⁄4 in./61.5 x 98.5 cm Alliance Graphique, Paris Cond A-/Slight tears at edges. Framed. Ref (all var but Cassandre/Weill and PAI): Mouron, 56; Brown & Reinhold, 53; Cassandre/Suntory, p. 91; Cassandre/Weill, p. 181; Weill, 345; Deco Affiches, p. 33; Moderno Francés, p. 194; PAI-LXXX, 296
25 x 40 in./63.4 x 101.6 cm Haycock, Cadle & Graham, London Cond A. Ref: Mouron, p. 50 & 14 (var); Brown & Reinhold, 16 (var); Cassandre/Suntory, p. 94; PAI-XXXII, 241
This stately design—one of several from 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.
This is the rare version of this poster with English text—and the only one with lettering by Cassandre. Most copies of this poster show the Dutch text across the ship (”Naar Engeland”) with the bottom lettering featuring low-priced tickets to London (”Naar Londen”). The geometric Art Deco design uses graphic shorthand to show the combination of rail and sea service that conveys you across the Channel, and its English text—”Day and Night Services”—better explains the contrasting slash across the design. Rare!
Est: $10,000-$12,000.
Est: $17,000-$20,000.
A-Z | CASSANDRE
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CASSANDRE | A-Z
177
Cassandre
178
(Continued)
176. La Route Bleue. 1929.
177. Scotland by LMS. 1928.
24 3⁄8 x 39 1⁄4 in./62 x 99.8 cm Imp. L. Danel, Lille Cond A. Ref: Mouron, 17; Cassandre/BN, 31; Cassandre/Weill, p. 57; Modern Poster, p. 150; Brown & Reinhold, 19; Cassandre/Suntory, 58; PAI-LXXII, 172
25 x 40 1⁄8 in./63.5 x 101.8 cm Bemrose & Sons, Derby Cond A. Ref (all var): Mouron, 108; Brown & Reinhold, 41; Cassandre/Weill, p. 58; PAI-LI, 201
For a luxury bus service from London to the Côte d’Azur, Cassandre erases the bus. There’s nothing but the gorgeous road, as seen from the front right bumper’s perspective: a stylized, Deco, geometrically perfect beam toward the horizon, with the ghostly outlines of trees on either side. But then—pull back—and one realizes the black forms of trees actually delineate the spaces between windows, and we are inside the coach, sensing the air and trees outside. Cubism goes on a road trip, and the conventions of the humble travel poster are suddenly turned upside-down.
One of three posters which Cassandre created for LMS travel to Scotland, this image shows a departure from his very geometric, linear style toward a more ethereal, Cubist expression. Specifically, the dividing of objects into areas of light and dark was a technique used prominently by Braque around this time. And yet, he does not delve fully into Cubism, but retains much of his harsh lines mixed with minimalist naturalism. In the end, these elements all work together to convey the requisite haunting mystery of the Scottish castles. This is the rare English-language version of this poster. Est: $2,500-$3,000.
Est: $20,000-$25,000.
178. Fêtes de Paris. 1935. 24 1⁄4 x 39 1⁄8 in./61.8 x 99.3 cm Alliance Graphique, Paris Cond A. Ref: Mouron, 52; Brown & Reinhold, 52; Cassandre/Weill, p. 146; PAI-LXXXIV, 260 A surrealistic face and a grouping of Parisian landmarks against an early summer sky comprise the poster for the 1935 Paris Fair. During this period, Cassandre deviated from his purely geometric lines and experimented with more decorative approaches. These posters “were designed to appeal to the eye and, to give them their due, they succeeded in doing so perfectly” (Mouron, p. 71). This is the smaller format—and the finest specimen we’ve ever seen! Est: $3,000-$4,000.
A-Z | CARLU - CHÉRET
179
181
Jean Carlu
180
(1900-1997)
(1887-1985)
179. Paris 1937.
181. Nice / Soleil, Fleurs. 1962.
24 1⁄2 x 39 1⁄4 in./62.2 x 99.7 cm Imp. Jules Simon, Paris Cond B+/Slight offsetting ink stains. Ref (both var): Carlu, 43; PAI-XLIII, 226
24 3⁄8 x 39 in./62 x 99 cm Imp. Mourlot, Paris Cond A. Ref: Affiches Azur, 56; Sorlier, p. 38; PAI-LXXXV, 246
Carlu was in charge of the Graphic Arts Pavilion at the Paris World’s Fair of 1937. In addition to commissioning images from Colin and Cappiello, he created this poster himself: the head of Marianne, symbol of the French republic, silhouetted against a montage of flags from the many participating nations. The design was printed in several sizes. This is the smallest format, with text in French.
Far above the Corniche, in the midst of a midnight blue, a mermaid hovers, clasping and smelling a bouquet of flowers: this is Marc Chagall’s dream of Nice, the city of flowers on the Côte d’Azur. Chagall arrived in Paris from Vitebsk, Russia in 1910 and soon made a name for himself with his art of surreal and poetic dream-visions. This design was appropriated from a print entitled “The Bay of Angels.”
Est: $1,000-$1,200.
Est: $2,000-$2,500.
Henri Cassiers
(1858-1944)
180. 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-LXXXV, 244 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 a luxury liner on the high seas. Est: $1,700-$2,000.
182
Marc Chagall
182. Die Zauberflöte / Metropolitan Opera. 1966. 25 3⁄4 x 39 3⁄4 in./65.5 x 101 cm Imp. Mourlot, Paris Cond A. Ref: Sorlier, p. 107; PAI-LXXXIV, 271 Marc Chagall’s rapturous poster for the Met’s 1967 production of Mozart’s “The Magic Flute” is the final note on Chagall’s top-to-tail visual rendering, having created the sets and the costumes as well. The poster borrows a detail from “The Triumph of Music,” one of two large murals that flank the entrance to the Metropolitan Opera at Lincoln Center. The “welter of color” Chagall splashed onto the Met’s stages received mixed reviews, but his visual interpretation of Mozart’s final joyous opera influenced the Met’s stagings through the 1981-82 season. Est: $1,700-$2,000.
JULES CHÉRET
183
Jules Chéret
184
(1836-1932)
183. Théâtre Déjazet / Gaulois Revue. 1868.
184. Théâtrophone. 1890.
35 1⁄8 x 51 in./89.2 x 129.6 cm Imp. Jules Chéret, Paris Cond B+/Slight tears at folds. Ref: Chéret, 285; Broido, 226; Maindron 1896, 195; Reims, 372; PAI-LXXXIV, 273
33 1⁄ 2 x 47 3⁄ 8 in./85.3 x 120.4 cm Imp. Chaix, Paris Cond A-/Slight stains at horizontal fold. Ref: Chéret, 341; Broido, 271; Maindron 1896, 237; DFP-II, 192; Driehaus, p. 37; PAI-LXXVI, 222
This unsigned, early Chéret design was executed at the artist’s 18 Rue St. Marie address, the location of his second printing shop where he plied his trade for the brief period of January to August of 1868. The poster advertises a Gallic revue taking place nightly at the Théâtre Déjazet, which opened in 1770 and remains open to this day. Chéret provides hyper-detailed vignettes of the debauchery and enchantment awaiting spectators. Posters from his early printing firm (Imp. Jules Chéret) are especially rare. Est: $1,700-$2,000.
“I can be visited in bed by the brook and the birds of [Beethoven’s] Pastoral Symphony,” wrote Marcel Proust because of the wonderful invention of the Théâtrophone. Clement Adler invented the prototype in 1881 (the first demonstrated use of binaural audio) to broadcast a Paris Opera performance to listeners at the Palais de l’Industrie. In 1890, however, the technology became commercially available—and Chéret’s poster was the definitive advertisement for it. In lightning-quick time, home subscriptions became available, while Théâtrophones were set up in hotels, restaurants, cafés, and vestibules throughout Paris. Fifty centimes bought you five minutes of live music straight from the Ópera Garnier. Today, 3D audio in headphones and VR is an innovation derived directly from the binaural audio innovation of the Théâtrophone, making this poster an important artifact in the history of the recording arts and sciences. Est: $2,500-$3,000.
A-Z | CHÉRET
185
Chéret
(Continued)
185. The Arts. 1891. Each: 32 7⁄8 x 48 3⁄4 in./83.5 x 124 cm Imp. Chaix, Paris (not shown) Cond B+/Recreated borders; slight tears. Framed. Ref: Chéret, 76-79 & p. 230-231; Broido, 60-63; Maindron 1896, p. 53-56; Maitres, 193, 197, 201, 205; Posters of Paris, p. 35-38; PAI-LXXXIV, 279 Maindron makes it clear that it was Chéret who invented “placards décoratifs, which are neither prints nor posters, but which contain a bit of both... There is nothing to say about these designs other than that they are perfect” (Maindron, p. 178-79). Abdy calls these four decorative panels “triumphs of color and printing” (Abdy, p. 31). Being freed from having to sell a product, Chéret lets his imagination soar—and these light-footed nymphs representing the Four Arts are the first clear examples of what was to adorn the walls of Paris for the next decade: the unabashedly hedonistic, carefree spirits that became known as “Chérettes.” Est: $20,000-$25,000. (4)
CHÉRET | A-Z
186
187
188
186. Purgatif Géraudel. 1891.
187. Olympia / Anciennes Montagnes Russes. 1892.
188. Folies-Bergère / La Loïe Fuller. 1893.
33 1⁄2 x 47 1⁄4 in./85 x 120.2 cm Imp. Chaix, Paris Cond A-/Slight tears at horizontal fold. Ref: Chéret 1165; Broido, 894; Maindron, 743; DFP-II, 221; Health Posters, 273: PAI-LII, 217
33 5⁄8 x 48 in./85.4 x 122.2 cm Imp. Chaix, Paris Cond A-/Unobtrusive folds. Framed. Ref: Chéret, 454; Broido, 345; Maindron 1896, 278; Gold, 146; Maitres, 133; DFP-II, 225; Folies Bergère, 28; Masters 1900, p. 12; PAI-LXXXII, 242
33 1⁄ 2 x 48 in./85 x 122 cm Imp. Chaix, Paris Cond B+/Slight stains at folds. Framed. Ref: Chéret, 154; Broido, 125; Maindron 1896, 113; DFP-II, 233; Maitres, 73; Reims, 411; Wine Spectator, 13; Loïe Fuller/Current, p. 129; PAI-LXXXV, 251
As the oldest surviving music hall in Paris, the Olympia was originally opened in 1889 under the name “Montagnes Russes.” While this was also the French word for roller coaster, there is no evidence of there ever being an actual ride in the particularly narrow building. This is the poster for the establishment’s reopening in 1893, when it was renamed Olympia, a name which stays with it even today. This is the larger format.
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).
A lively Chérette is caught in a whirlwind of blossoms and boxes of Purgatif Géraudel, a product that promises “a fresh rosy complexion, excellent digestion, physical strength, perfect health and regular sleep”—all for only 1.5 francs per box. One is often asked how much posters cost in their own day relative to other commodities. The 1891 Sagot catalogue lists this two-sheet poster for 3 francs—the cost of two boxes of these miraculous little pills. This is the one-sheet format. Est: $2,000-$2,500.
Est: $3,000-$3,500.
Est: $4,000-$5,000.
A-Z | CHÉRET
189
CHÉRET | A-Z
Chéret
(Continued)
189. La Danse : Painting. 17 5⁄8 x 24 7⁄8 in./44.6 x 63.2 cm Signed pastel painting. Framed. Exhibited: “Exposition des œuvres de Jules Chéret,” Musée des Arts Décoratifs, Paris, 1912. “Exposition-rétrospective de Jules Chéret,” Grand Palais, Paris, 1933. Provenance: E. Lévy and A. Barasse. Swishing and swirling, Chéret’s dancing ladies are full of verve and charm as they leap off into the ether. The leading lady’s characteristic yellow dress contrasts beautifully with the varying shades of blue that make up the Impressionistic background. It’s a quintessential Chéret work. Est: $15,000-$20,000.
190. Les Belles Musiciennes : Painting. 8 1⁄ 2 x 16 3⁄ 8 in./21.6 x 41.7 cm Signed pastel painting. Framed. More somberly hued than most of his works, this original painting nevertheless imbues a sense of hapless joy: our two musicians float through pastel clouds, strumming away with palpable glee. Est: $8,000-$10,000.
190
A-Z | CHÉRET
192
191
Chéret
(Continued)
191. Théâtre de la Tour Eiffel / Paris-Chicago. 1893.
193. Saxoléine. 1895.
33 x 48 in./84 x 122 cm Imp. Jules Chéret, Paris Cond A-/Unobtrusive folds. Framed. Ref: Chéret, 343; Broido, 273; Maindron, 239; DFP-III, 2379 (var); Reims, 467; PAI-LXX, 294
34 1⁄2 x 48 1⁄2 in./87.6 x 122.5 cm Imp. Chaix, Paris Cond B+/Slight tears at vertical fold. Ref: Chéret, 1246; Broido, 953; Maitres, 13; DFP-II, 261; Reims, 511; Gold, 26; PAI-LXXX, 309
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 400seat 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.
Over a ten-year period, Chéret created more than a dozen different designs for this lamp oil company. Each consists of a single woman delicately turning on a lamp, making the most mundane of tasks suddenly appear terribly romantic and intimate.
Est: $2,000-$2,500.
14 5⁄8 x 21 1⁄2 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-LXXXV, 260
192. Au Quartier Latin. 1894. 11 3⁄4 x 16 in./29.8 x 40.6 cm Cond A. Framed. Ref: PAI-XLVI, 277 (var) It’s not that Chéret used an incredibly diverse cast of characters in his posters or wandered far off the lithographic trail that he blazed—once you get a gander of a pretty young woman gamboling about amidst a cast of commedia dell’arte characters with streamers and confetti flying about her, one can feel fairly secure that they’ve entered Chéret territory. It is, however, the zest with which the artist approaches his subject matter and the sheer unabashed joie de vivre that flows off the page that make his posters and panels both immediately identifiable and widely appreciated, whether it’s for an established product or event, or for purely decorative purposes. This is the lithographic print of a cover design that the artist created for Au Quartier Latin. Est: $1,000-$1,200.
193
Est: $1,700-$2,000.
194. Pastilles Poncelet. 1896.
“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.
194
CHÉRET | A-Z
195. Jolie en Rose : Painting. 9 7⁄8 x 19 3⁄4 in./25 x 50 cm Signed oil painting. Framed. While most Chérettes express demure femininity and are usually dressed in yellow, this “pretty in pink” femme offers up a refreshing dose of sass. Though small in scale, this oil painting bursts with energetic emotion, thanks to Chéret’s capable hands. Est: $8,000-$10,000.
195
A-Z | CHÉRET - COLIN
196
197
Chéret
(Continued)
196. Musée Grévin / Fête d’Artistes. 1900. 34 3⁄8 x 48 1⁄4 in./87.2 x 122.7 cm Imp. Chaix, Paris Cond A. Ref: Chéret, 609; Broido, 471A; PAI-LXXXI, 251 The Grévin Museum was one of the many small establishments of the late 19th century which discovered that its permanent exhibits didn’t attract enough paying customers; hence, they created events to bring in bigger crowds. The Grévin specialized in recreations of recent news events, slide shows, pantomimes, magic shows, and concerts, many of which had promotional posters designed by Chéret. This particular design was used again for the puppet show of John Hewlett (see PAI-LXXXV, 261), as well as the animated pseudo-film “Pantomimes Lumineuses” (see PAI-LXXVI, 229), but here is the original, very rare version for an artists’ festival. Est: $2,500-$3,000.
197. Ambassadeurs / La Jolie Fagette. 1901. 34 1⁄2 x 50 1⁄2 in./87.7 x 128.3 cm Imp. Chaix, Paris Cond B+/Slight tears at folds. Ref: Broido, 201 & pl. 11; DFP-II, 269; PAI-XXXI, 54 The singer Fagette is portrayed in a bright yellow dress and hat and holding sprigs of narcissus. Both flirtatious and coy, this songbird definitely lives up to her billing. Est: $2,500-$3,000.
198. Le Figaro. 1904. 23 1⁄8 x 32 1⁄2 in./58.8 x 82.7 cm Imp. Chaix, Paris (not shown) Cond A. Ref: Broido, 571; PAI-XXXIII, 290
198
The message here seems to be that if a ravishing beauty like this reads Le Figaro, why not you? It’s a flawless argument composed of three basic colors—no black plate required. Est: $2,000-$2,500.
PAUL COLIN
199
Paul Colin
(1892-1986)
199. Musée d’Ethnographie. 1930. 31 1⁄2 x 47 1⁄2 in./80 x 120.8 cm Imp. Joseph-Charles, Paris Cond A. Ref: Affiche Réclame, 112; PAI-XLVII, 217 “In the past two years a great current of sympathy and interest in ethnography has arisen in France,” this museum declared in its Bulletin as it opened new rooms—the occasion for which Colin created this poster. To his powerful, brooding image of an Easter Island menhir belonging to the museum, Colin added a mask from his own collection, lending a not unfitting touch of comic theatricality: after all, the Trocadero housed both the Ethnographic Museum and the Théâtre Nationale Populaire —much as Colin’s own interests embraced both popular entertainment and “serious” culture. “Colin immediately saw the potential in such singular forms, and reinforced it in the play of planes and by representing the head in profile and the mask face-on” (Affiche Réclame, p. 140). Est: $7,000-$9,000.
A-Z | COLIN
200
Colin
201
(Continued)
200. Les Mathurins / Le Collier. 1929.
202. Bal Nègre. 1927.
15 1⁄4 x 23 in./38.8 x 58.5 cm Imp. H. Chachoin, Paris Cond A. Framed. Ref: Colin, 56 (var); Colin Affichiste, 14 (var); PAI-XI, 185
46 x 62 3⁄8 in./116.8 x 158.5 cm Imp. H. Chachoin, Paris Cond B+/Slight tears at folds and edges. Framed. Ref: Colin, p. 19; Colin/Spectacle, p. 107; Colin Affichiste, 113; PAI-LVII, 284
The play Le Collier (The Necklace) dealt with a society woman whose necklace, through an unhappy coincidence, betrays her shadowy past—and Colin virtually reveals the whole plot in this exceedingly economical double-image design. A tenebrous night shades the entire image, again hinting at the drama to come. Rare!
“It had been more than a year since the Revue Nègre started a ‘black craze’ in Paris. American Negro art, music and dress, as perceived by the Parisians, was tremendously popular. On Rue Blouret a Negro dance hall had opened its doors and the Parisian smart set gathered there each evening to dance with themselves and with the blacks... And as if one night was meant to crown or synthesize all this, the Bal Nègre was held on February 11, 1927... Colin recalls this event fifty years later: ‘I organized the Bal Nègre and I put up the money myself for this evening of dance at the Théâtre de Champs-Elysées. We had a full house. All the society people were there. There must have been at least 3,000 people.’ For poster collectors today, [this poster] is the most prized—and most expensive—of all [Colin’s] posters” (Colin, p. 7).
Est: $3,000-$4,000.
201. Lyvia Holos. ca. 1935. 46 3⁄4 x 63 in./118.7 x 160 cm Cinématographie Française, Paris Cond A-/3” tear at bottom edge. Ref: PAI-LXIX, 327 While no information remains on Lyvia Holos, one can gather from Colin’s dynamic composition that she was an athletic and charming Modern dancer. Est: $1,700-$2,000.
Est: $70,000-$90,000.
COLIN | A-Z
202
A-Z | COLIN - COMBAZ
203
Colin
204
(Continued)
203. Katherine Dunham. 1947.
204. Tabarin : Menu Design. ca. 1970.
46 1⁄8 x 62 1⁄2 in./117.2 x 158.7 cm Imp. Bedos, Paris Cond B+/Slight stains at folds. Ref: Colin 98; Dance Posters, 61; PAI-LXXVIII, 254
18 5⁄8 x 24 3⁄4 in./47.3 x 63 cm Imp. Lafayette, Paris Cond A. Framed. Ref (all var): Colin, 25; Colin Affichiste, 172; Timeless Images, 91; Weill, 365; Art Deco, p. 101; PAI-LXXXIII, 296
Chicago-born Katherine Dunham has been called “the matriarch and queen mother of black dance.” While a student at the University of Chicago, she took a leave of absence to study Caribbean dance and ethnography—a performance path she’d follow for the rest of her life. 1947 was a huge year for her. She began it by choreographing the musical play Windy City, which debuted in her hometown; then she opened a cabaret show in the brand-new tourist destination of Las Vegas, and followed that up with tours in Mexico and Europe, where she was an immediate sensation. Colin’s poster, a spiritual successor to his world famous Revue Nègre and Bal Nègre (see No. 202) for Josephine Baker, captures the Windy City jazz opening in Paris: all fishnets and flappers and zoot suits and gangster hats. This version is before the addition of Théâtre de Paris dates on top. Est: $4,000-$5,000.
Originally created in 1928 to advertise the home to the cancan, the Bal Tabarin, Colin decided to revisit his design some 40 years later. Here, his trio of dancing ladies likely served the purpose of a menu cover or other marketing material for a Parisian restaurant. Colin has hand-signed and dedicated the image to restauranteur Louis Jarrasse, who ran the famous seafood restaurant Jarrasse in the Paris suburb of Neuilly. Est: $4,000-$5,000.
COLIN - COMBAZ | A-Z
205
Gisbert Combaz
(1869-1941)
205. 1er Congres International des Avocats. 1897. 62 1⁄2 x 30 1⁄ 2 in./158.8 x 77.6 cm J. L. Goffart, Bruxelles Cond B+/Slight tears at seam and edges. Ref: Belle Epoque 1970, 21; Belle Epoque 1980, 1; DFP-II, 1001; PAI-LI, 295 Combaz was an Oriental scholar, painter, and graphic designer as well as a lawyer, often indicated by the “Me.” (for “Maitre”) before his signature. So, who better to create some promotional material for Brussels’ First International Lawyers Convention? Combaz presents his two-sheet stylized design with an Oriental flavor with the Palace of Justice placed at its center. The curlicues, however, are pure Art Nouveau: Belgian poster art at its finest. Est: $7,000-$9,000.
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A-Z | CORBELLA - DOMERGUE
206
Tito Corbella
(1885-1966)
206. Tosca. 1917. 37 ⁄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); Manifesti Italiani, p. 30; PAI-LXXXV, 141 1
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: $3,000-$4,000.
207
Enric Crous-Vidal
(1908-1987)
207. Salon International des Papetieres & Graphiques. 1950. 23 1⁄2 x 31 1⁄2 in./59.8 x 80 cm Imp. G. Ballon, Paris Cond B/Slight tears at folds. Launched in Paris in 1948, the TPG Salon was a biannual fair of graphic arts that brought together international designers. Spanish-born graphic designer Crous-Vidal moved to France after World War II, where he created posters for Air France and Perrier and also designed typefaces. Est: $800-$1,000.
208
Paul Davis
(1938- )
208. For Colored Girls. 1976. 41 5⁄8 x 82 3⁄4 in./105.6 x 210.2 cm Cond A. Ref: Davis Posters, VI; PAI-XLV, 286 Born in Oklahoma, Davis attended New York’s School of Visual Arts and was an early member of Push Pin Studios. Since the 1960s, his illustrations and graphic designs have appeared in countless magazine pages and covers, as well as on book jackets, record covers, and film posters. After opening his own graphic design studio, he began creating the images for which he is perhaps best known: Joseph Papp’s New York Shakespeare Festival and The Public Theater. Davis’ strength as a posterist lies in his powerful, often idealized portraiture. His talents are spectacularly on display in this poster for the play For Colored Girls Who Have Considered Suicide When the Rainbow is Enuf, which uses the forceful image of Ntozake Shange, the work’s playwright, for her presentation at the New York Shakespeare Festival. Set against a background of a tiled subway station that’s been graffitied with colorful lettering, this larger two-sheet format of the design makes quite an impression. Est: $800-$1,000.
CORBELLA - DOMERGUE | A-Z
209
S. Dola 209. Bullier. 31 x 47 1⁄8 in./78.8 x 119.7 cm Hérold, Paris Cond B+/Slight stains, largely in margins. Ref: PAI-LXXXV, 274 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.
210
Est: $1,500-$1,800.
Jean-Gabriel Domergue
(1889-1962)
210. L’Hiver à Monte-Carlo. 1937. 24 5⁄8 x 39 1⁄4 in./62.5 x 99.8 cm Imp. Lucien Serre, Paris Cond A. Ref: Deco Affiches, p. 103 (var); Affiches Azur, 211 (var); PAI-LXXXIV, 301 The Gatsby is strong in Domergue’s life and work. A resident of Monte-Carlo, swanning about with the glitterati was both his artistic subject and his life’s object. It was a rather ideal business model: illustrate the world’s most beautiful women on the Riviera, design fashion accessories for them, and organize elegant balls in which to show them all off. He became a local celebrity in the process. This is one of Domergue’s finest designs—a perfect balance of colors and forms as the flashbulb-Hollywood couple is caught by the paparazzi, and in the larger format. Est: $8,000-$10,000.
211. L’Été à Monte-Carlo. 1937. 24 5⁄8 x 38 3⁄4 in./62.5 x 98.4 cm Imp. Lucien Serre, Paris Cond A. Ref: Affiches Riviera, 102; Sport à l’Affiche, 176; Art Deco, p. 78; PAI-LXXXI, 268 “The most beautiful women in the world”—that’s “The Summer in Monte-Carlo.” With an image like this, we dare not disagree. Domergue made his home in Monte-Carlo and the Côte d’Azur, where he found much inspiration for subjects like these, who he illustrated with deft sensuality and infused with the styles of Modigliani and Ingres for good measure. Est: $3,000-$4,000.
211
A-Z | DOMERGUE - DUPAS
212
213
Domergue
214
(Continued)
212. Monte-Carlo. ca. 1937.
213. Monte-Carlo. 1937.
214. Galeries Lafayette. 1920.
24 ⁄4 x 38 ⁄4 in./63 x 98.5 cm Imp. Nationale, Monaco Cond A. Ref: Affiches Riviera, 441; Affiches Azur, 216; PAI-LXXXV, 275
25 ⁄8 x 38 ⁄ 8 in./64 x 98.6 cm Imp. Nationale, Monaco Cond A. Ref: Affiches Riviera, 440; Affiches Azur, 215; PAI-LXXXV, 276
47 3⁄8 x 63 in./120.2 x 160 cm Imp. J. E. Goossens, Paris Cond B+/Unobtrusive folds. Ref: Affiche Réclame, p. 64; Plakatkunst, p. 90; PAI-LXV, 216
As if a willowy tan nude weren’t enough to lure us into the languidly beautiful world of Monte-Carlo, Domergue also presents us with a veritable cornucopia of flora to demonstrate the area’s lush bounty.
Known for his lithe, elongated women in comely poses, Domergue was the designer of choice when one wanted coy elegance to exude from an advertisement. Here, a sun-kissed nymphette is perched on a diving board, charming us into taking a swim with her.
This poster for the Paris department store is actually meant to encourage the purchase of French savings bonds, and Domergue attracts us to this otherwise banal marketing goal with a chic Parisian sophisticate.
3
3
Est: $1,700-$2,000.
1
7
Est: $1,700-$2,000.
Est: $3,000-$4,000.
DOMERGUE - DUPAS | A-Z
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215
Jean Dupas
216
(1882-1964)
215. Bordeaux. 1937.
216. Woman with Bun : Drawing. 1926.
24 ⁄4 x 39 ⁄4 in./61.6 x 99.7 cm Rousseau Frères, Bordeaux Cond A. Ref: Weill, 317; Affiche Réclame, 98; PAI-LXXVI, 265
5 3⁄ 8 x 7 1⁄4 in./13.6 x 18.5 cm Signed ink and charcoal drawing on paper. Framed.
1
1
In this poster created for the 1937 World’s Fair, Dupas gives us an allegorical composition in which the nude representing the city presents examples of its greatest achievements: fine architecture, shipping and, of course, the famous Bordeaux wine. Est: $5,000-$6,000.
This original drawing was likely intended for an American fashion magazine. Dupas’ annotations illuminate his final plans for the work: a blue sky, fine and sharp; fresh pink flesh and fairly dark black hair; a pearl ear pendant; cold foliage; make the hair volume much higher or lower, to be determined. He also includes references to other works: page 478 from Vie journal of 1865, a poster from the XV Salon of Decorative Arts in 1924, and the painting “La femme à la boule,” presented on Rulhmann’s stand in 1924. It’s an insightful look into this prolific artist’s process. Est: $2,000-$2,500.
A-Z | DUPAS - FALIZE
217
Dupas
(Continued)
217. Saks Fifth Avenue : Maquette. 1928. 10 1⁄4 x 12 3⁄4 in./26 x 32.5 cm Signed charcoal and ink drawing. Framed. Between 1928 and 1930, Dupas lent his elegant illustrative skills to Saks Fifth Avenue, which had opened its flagship store in Manhattan in 1924. Although its soon-to-be neighbor, Rockefeller Center, would not unveil its ice skating rink until 1936, Dupas had the foresight to place his statuesque femmes on ice. Wind-blown and bundled up in Jazz Age winter fashions, these chic moms let us know that we, too, can be as cool as a Dupas woman by shopping at Saks. The text at bottom reads: “Adolescents sur glace, 19 novembre 1928. Saks Fifth Avenue.” Based on notes from Dupas, this work was likely intended to be displayed in Saks stores for their Winter 1928 campaign. Est: $6,000-$8,000.
DUPAS - FALIZE | A-Z
218
219
Jim Evans
(1950- )
218. Allman Brothers / Wipe the Windows, Check the Oil, Dollar Gas. 1976. 30 x 20 1⁄8 in./76.2 x 51 cm Münstermann-Druck, Hannover Cond A. Wipe the Windows, Check the Oil, Dollar Gas is a 1976 double live album by the Allman Brothers Band, released after the group had already dissolved. Despite a lack of press or praise at the time, drummer Jaimoe later said, “that’s a hell of a record and I’m glad we captured the Chuck and Lamar era. It didn’t last all that long.” Evans embraced the album’s title—which references Chuck Berry’s “Too Much Monkey Business”—by depicting a highly detailed gas station that elicits good ol’ nostalgic Americana. Est: $800-$1,000.
Robert Falcucci
220 (1900-1989)
Pierre Falize
(1876-1953)
219. Paris-Alger. ca. 1935.
220. Prunier.
24 1⁄2 x 39 in./62.2 x 99 cm M. Dechaux, Paris Cond A-/Slight creases at edges. Ref: PAI-LXXXIV, 308
55 x 86 1⁄4 in./139.8 x 219 cm Daudé Frères, Paris Cond A. Ref: Gourmand, p. 63; PAI-LXI, 266
Falcucci gives us a dark and bold image which superimposes the various routes between Paris and North Africa over grayscale renderings of the train and ship which will take you there.
Prunier, the famous Parisian restaurant specializing in seafood, is successful enough that they don’t need to take themselves all that seriously. In this droll design for their “quick and good delivery service,” the speed of the service and the freshness of the goods is conveyed by their delivery man emerging straight out of the ocean with a basket of oysters on his head, a defeated fish in one hand, and a huge steaming clam in the other.
Est: $1,400-$1,700.
Est: $3,000-$4,000.
A-Z | FAURE - FENNEKER
L. Lucien Faure
(1892-?)
221. Yvette Guilbert. ca. 1902.
221
42 1⁄2 x 58 3⁄8 in./108 x 148.2 cm J. Minot, Paris Cond B/Slight tears and stains at folds and edges. While most designs for the Parisian singer emphasize her lithe figure and elegance, Faure showcases the less desirable elements of what looks like a middle-aged Yvette Guilbert: a bit of weight gain, a rounded face beginning to show signs of wrinkles, and a black dress that is fit for mourning. She was probably only about 37 in this image, but time apparently did not take kindly to poor Yvette. Her shock of red hair, however, seems perfectly in tact. Est: $2,000-$2,500.
Georges Fay
(1871-1916)
222. Amieux-Frères. 1899. 53 1⁄8 x 38 1⁄2 in./135 x 98 cm Imp. P. Vercasson, Paris Cond B/Slight tears at folds and edges. Ref: Maitres, 183; PAI-LXXXI, 284 Fay creates a vibrant setting for the employees of AmieuxFrères sardines and canned goods: the unusually bright red sky contrasts with the aquamarine ocean and the muted tones of the beach and workers’ clothes. The text at right reads: “11 factories, employing 3,500 workers, producing 12 million cans yearly, our motto is like our name, make sure each can says Toujour à mieux [always the best].”
222
Est: $1,400-$1,700.
FAURE - FENNEKER | A-Z
223
Josef Fenneker
(1895-1956)
223. Marmorhaus / Der Teufel und die Circe. 1921. 37 x 28 1⁄8 in./94 x 71.5 cm Dinse & Eckert, Berlin Cond B+/Slight tears at folds; mat stains at edges. Ref: PAI-XXIX, 355 Fenneker, an important German Expressionist artist in 1920s Berlin, became the eye of the cultural and political hurricane that was Weimar Germany. There is a foreboding of gathering storms in almost all his work. Fenneker designed numerous film posters between 1910 and 1924 for two major Berlin movie palaces, most notably the Marmorhaus, the paramount cinema of Germany. A combination of Radio City Music Hall and Grauman’s Chinese Theatre, any film premiering there gained instant prestige. Thus, Fenneker’s position was not that of just another movie poster designer, but the film posterist of his day, in whose hands the art of the film poster arguably reached its zenith. As these Marmorhaus posters were produced specifically for a single venue, the print runs were very limited and all of these designs are therefore today quite rare. As “The Devil and Circe” was an independent film produced outside the embrace of the mighty UFA, the plot of this gem is nonexistent. However, the image of the chivalrous Lucifer draping this brazen temptress proves to be as luring as the mythological Greek siren was to Ulysses’ sailors. Est: $3,500-$4,000.
A-Z | DE FEURE
Georges de Feure
(1868-1943)
224. Salon des Cent / 5me Exposition. 1894. 16 1⁄4 x 24 in./41.3 x 61 cm Imp. Bourgerie, Paris (not shown) Cond A. Framed. Ref (all var but PAI): DFP-II, 343; Maitres, 10; Maindron 1896, p. 63; Abdy, p. 153; Salon des Cent, p. 21; Salon des Cent/Neumann, p. 39; de Feure, p. 61; Reims, 619; PAI-LXXXIV, 312
224
The Salon des Cent (Salon of the One Hundred) was an exhibition of commercial art in Paris—one of the very first to showcase the work of contemporary graphic artists — established in 1894 by Léon Deschamps, founder of La Plume, an avant-garde literary and artistic magazine. As such, the designs advertising the exhibition almost always featured women, whether alone, lost in contemplation, reading, or in the process of creating art. De Feure’s image for the Fifth Salon is no exception. As noted by Abdy, “She is expensively and discreetly dressed” (with a fox wrap); “the face of the woman is troubled,” or at least intelligent, thoughtful, and pensive, absent-mindedly fondling a white flower as if wishing to respond to an idea, yet still composing that answer. This is the rare proof before letters. Est: $3,000-$4,000.
225. Paris-Almanach. 1894. 23 3⁄4 x 31 in./60.3 x 78.8 cm Imp. Bourgerie, Paris Cond A-/Slight tears at edges. Framed. Ref: DFP-II, 342; Maindron 1896, p. 64; Abdy, p. 155; Timeless Images, p. 40; de Feure, p. 72; Gold, p. 79; Reims, 618; Posters of Paris, p. 50; Weill/Art Nouveau, p. 118; PAI-LXXXII, 269 Paris-Almanach is one of de Feure’s most collectable posters. Look carefully at the fine gradations of skin tones on our Parisian tourist’s face, or “brush your hands” against the textured fox-fur fringe of her cloak. Her vibrancy, and her look of sagaciousness, is in direct contrast to the grayscale, cold, and aloof crowd behind her. One gentleman looks over, stunned by her shine. She is enlightened, because she has read “Paris-Almanach,” a tourist guide to the City of Light, just as the city was being illuminated. Est: $2,000-$2,500.
226. Le Journal des Ventes. 1897. 17 1⁄4 x 25 1⁄2 in./44 x 64.8 cm Imp. Lemercier, Paris Cond A. Framed. Ref: de Feure, p. 74; DFP-II, 351; Affichomanie, 125; Abdy, p. 150; Maitres, 146; PAI-LV, 302 This poster for the Belgian Journal of the Auctions was immediately seized upon by contemporary critics and hailed as one of the finest works of its kind. Years later, Jane Abdy had the last and best word on it: “de Feure’s finest poster, and one of the most beautiful of the whole period... It is a triumph of color and design. He uses only brown, green, and the dull pink of roses. Yet every possible shade of brown is in the poster, and the effect is a great richness and concentration of colour, like a mountain of brushed up autumn leaves... She is dressed in the height of imaginative fashion, and her hat is a victory of the milliner’s art” (p. 156).
225
Est: $10,000-$12,000.
DE FEURE | A-Z
226
A-Z | FISCHER-NOSBISCH - GESMAR
227
230
228
Dorothea Fischer-Nosbisch
Raimundo Garcia
(1921-2009)
229. Carnaval Cuba.
227. Marilyn Monroe / The Seven Year Itch. 1966.
17 3⁄8 x 23 3⁄ 8 in./44 x 59.5 cm Cond A.
23 ⁄ 8 x 33 in./60 x 83.8 cm Cond A. 5
Fischer-Nosbisch truly embraces the psychedelic vibes of the ’60s in this design for the German rerelease of “The Seven Year Itch.” Swirling letters, boldly contrasting colors, and a Pop Art-style collage announce the Billy Wilder title starring Marilyn Monroe. The film was responsible for creating one of the most iconic images in history: Monroe standing over a subway grate with her dress blowing in the wind of a passing train. Est: $800-$1,000.
Sergio Franciscone
(1912-?)
228. Merano. 1937. 27 1⁄ 2 x 39 5⁄8 in./69.8 x 100.6 cm Coen & C., Milano Cond B+/Slight tears and stains at edges. Ref: PAI-LIV, 440 Presumably peering through the delicate foliage, we see evidence of golf, tennis, horseback riding, and perhaps even skiing in this simple poster for the tranquil city of Merano, Italy.
229
Est: $1,700-$2,000.
(1937-2017)
This simple advertisement for Carnaval in Cuba imbues all the color, joy, and beauty that one can expect from this festive event. Est: $1,000-$1,200.
Paul Gervais
(1859-Ca. 1945)
230. Fêtes de Gascogne. 1898. 44 1⁄2 x 57 1⁄4 in./113 x 145.5 cm Imp. Cassan Fils, Paris Cond A-/Slight tears at folds. Ref: Rogers, p. 65 The “Cadets of Gascony,” a troop of literary, artistic, and political personalities, embarked on a trip to the South of France to honor the nearby city of Carcassone in August, 1898. Once there, many artistic honors were bestowed by the city, including the unveiling of a new sculpture of Jacques Gamelin, a poetry reading, an awards presentation, concerts, a banquet, and finally, fireworks. Here, two allegorical figures invite us to join in on the celebrations. Est: $1,700-$2,000.
FISCHER-NOSBISCH - GESMAR | A-Z
231
Charles Gesmar
(1900-1928)
231. Maurice Chevalier. 1917. 46 1⁄2 x 63 1⁄4 in./118.2 x 160.6 cm Imp. Réunies, Lyon Cond A-/Unobtrusive folds. Ref: Gesmar, p. 65; PAI-LXXXIV, 318
232
Chevalier is 29 years old in this design, but Gesmar shows him with the blush of youth, which is perhaps more appropriate for the posterist—he designed this at the tender age of 17. Or perhaps Chevalier is blushing because this poster is for his inaugural revue at the Casino de Paris in December of 1917, where he performed with his partner at the time, Mistinguett (Gesmar made her a separate poster for the event; see PAI-LXVII, 104). Est: $1,700-$2,000.
232. Betty Rowe : Maquette. 1925. 11 1⁄8 x 19 1⁄8 in./28.2 x 48.6 cm Hand-signed gouache and crayon maquette. Framed. Ref: PAI-L, 257 A newspaper clipping that reproduces this Gesmar design—which is actually glued to the back of this artwork—bears the following caption: “Paris is eagerly awaiting the return of the Rowe Sisters in the Revue des Printemps at the Casino de Paris after their legitimate success at the Alhambra in Brussels transformed them into stars. We have the pleasure of reproducing the silhouette of Betty Rowe, a delicate work by the artist Gesmar.” And we have the pleasure of presenting to you the actual artwork from which that reproduction was taken, which presents Rowe beneath an eruption of plumage, the leggy and not-all-that-clothed svelte eye of a showgirl hurricane. Apart from the single fact that Betty Rowe appeared briefly as a dancer at the Folies-Bergère and the information doled out in the aforementioned newspaper clipping, nothing is known about the career path of this lithesome, auburn-haired flapper. A dedication (“To Theo, with best wishes”) appears beneath Ms. Rowe. Est: $2,500-$3,000.
233. Mitty et Tillio. 1925. 45 5⁄8 x 61 1⁄2 in./115.8 x 156.3 cm Cond B+/Unobtrusive folds; slight tears at top and bottom. Framed. Ref: Gesmar, p. 118; PAI-LXXIX, 336 In skintight body stockings ornamented with red and green beads, the dancing duo assumes an acrobatic pose. Mitty’s trailing green-splashed veil makes for an impressive backdrop. Est: $4,000-$5,000.
233
A-Z | GENÉS - GRASSET
234
235
Genés
Raymond Gid
234. Dieppe.
235. Bally : 2 Posters. 1976.
24 3⁄4 x 40 1⁄8 in./63 x 102 cm Gossart, Paris Cond B+/Slight tears at folds and edges. Ref: PAI-LXXXIII, 322
Each: 46 1⁄4 x 61 3⁄4 in./117.5 x 156.7 cm Imp. I.P.A., Champigny Cond A. Ref: PAI-XIV, 267
This perfectly balanced Deco poster beckons golfers, tennis players, sailors, and gamblers to come enjoy the fun in Dieppe, a fishing port on the Normandy coast of northern France.
Posters for Bally shoes always put style first, and these two complimentary designs have a flair that lands them among the best of the bunch. Gid was a respected graphic artist who originally studied architecture but later went into commercial design, illustration, and typography; in posters, he favored the cinema, producing a number of works for major French directors.
Est: $2,500-$3,000.
(1905-2000)
Est: $1,200-$1,500. (2)
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GENÉS - GRASSET | A-Z
236
Mary Golay
(1869-1944)
236. Poppy Perfection. 15 5⁄8 x 38 1⁄2 in./39.8 x 98 cm Cond A. Framed. Ref: PAI-LXXXV, 296 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: $1,400-$1,700.
Eugène Grasset
(1841-1917)
237. Belle Jardinière / 1896 Calendar. 1895. Each: 7 1⁄4 x 9 1⁄4 in./18.5 x 23.5 cm Cond A/P. With usual grommets; all 12 loose sheets in new, marbled cardboard folder. Ref: Berthon & Grasset, 54, p. 26-28; PAI-LXXVI, 285 La Belle Jardinière (The Beautiful Gardener) was a department store in Paris, and it asked Grasset for a promotional calendar for 1896. The result is one of the most charming artifacts of the entire Belle Époque: a portfolio of 12 romantic Art Nouveau images of beautiful gardeners, gardening beautifully, in whatever weather—from the frozen-over fountains of January to the Van Gogh irises of May, the sunflowers of August, and beyond. It’s undoubtedly Grasset’s most famous work, reproduced (under the title “The Months”) and fashioned into all manner of objects, from coasters and trivets to scarves. These are the original prints, and they are a true artistic treasure to blossom the romantic soul in your own home. Est: $2,500-$3,000. (12)
237
A-Z | GRASSET - GREIT
238
Grasset
(Continued)
238. Abricotine. ca. 1905. 57 3⁄4 x 42 1⁄ 2 in./146.8 x 108 cm Imp. Devambez, Paris Cond A-/Unobtrusive folds. Framed. Ref: DFP-II, 420 (var); PAI-XLVI, 344 In this late, rare Grasset poster, we don’t get to see the product—a liqueur made from apricots—but we get the next best thing: a comely young maiden harvesting fruit. We’ll drink to that! This is the larger format. Est: $6,000-$8,000.
239. Le Parasol. 1900. 34 1⁄ 8 x 51 1⁄4 in./86.7 x 130 cm Imp. Chaix, Paris Cond A-/Slight tears at edges. Ref: Murray-Robertson, p. 189; Grasset, fig. 176; Gold, 206; Berthon & Grasset, p. 87; PAI-LXII, 416 The companion piece to L’Eventail (see PAI-LIX, 364), this image is modest and reserved where the other is free and flirtatious. Together, they are a study of two very different types of ladies, one as charming as the other is beautiful.
239
Est: $2,000-$2,500.
GRASSET - GREIT | A-Z
242
H. Gray
(Henri Boulanger, 1858-1924)
240. Riz Abadie. 1898.
240
39 1⁄4 x 55 1⁄ 8 in./99.8 x 140 cm Imp. Courmont Frères, Paris Cond B+/Slight tears, largely at edges. Ref: PAI-LXXIX, 339 In the Belle Époque, it was rare enough for a young woman to smoke, let alone roll her own, which is why cigarette paper companies of the period subtly encouraged women to take up the habit. This is one of Gray’s finest posters, with a wealth of decorative detail not usually found in his images. And although the central medallion recalls Mucha, Gray poses his model far more seductively than Mucha’s famous poster for Job cigarette papers done the same year. A prolific caricaturist and illustrator who worked for a halfdozen Paris periodicals, Gray also designed posters for music halls and other clients using several different styles. Est: $3,000-$4,000.
241. Pétrole Stella. 1897. 39 x 50 7⁄8 in./99 x 129.2 cm Imp. Courmont Frères, Paris Cond A. Ref: DFP-II, 421; Affichomanie, 116; Collectionneur, p. 53; PAI-LXXXIII, 331 Gray’s impressive design may at first belie the mundanity of the product being advertised. Winged nymphs swoop in to admire the light cast by Stella lamp oil—only to be blinded by its brilliance. This is the finest specimen we’ve ever seen of Gray’s masterpiece. Est: $4,000-$5,000.
Greit 242. Les Foies Gras Marie : Maquette. 16 1⁄2 x 12 1⁄2 in./42 x 31.8 cm Signed gouache and ink maquette. Framed. The French foie gras brand Marie commissioned several posters, most of which show happy geese inspecting a tin of the product. Here, the unknown Greit updates the imagery to a more modern composition, while a single needle hints at the more sinister aspects of foie gras production.
241
Est: $1,700-$2,000.
A-Z | GRÜN
244
Jules-Alexandre Grün
(1868-1938)
243. Guide de l’Etranger à Montmartre. 1900. 16 7⁄ 8 x 25 in./43 x 63.5 cm Cond A-/Unobtrusive folds. Ref: Grün, p. 40; PAI-XXXV, 332
243
Surely some of the best and most fun posters of the Belle Époque are by Grün. His theme is usually the charming women from Montmartre—playful, lusty, well-endowed—and typically being pursued by leering men. All this is accomplished with a minimum of color—red and black are his favorites—and a maximum of wit. In fact, in an interview featured in the March 1899 edition of The Poster, Grün summed up his graphic goals as follows: “Since [1891], I believe that I have done about fifteen [posters], in which I have tried to find new and simple effects. Two or three colors are quite sufficient to produce something interesting. Black and white, with a touch of red or green... As for my subjects, I search for them always in the same places: in the theatres or café-concerts, for which I have done all my affiches” (p. 100). And hence, a poster for the “Foreign Visitor’s Guide to Montmartre” was given life, a publication no doubt chock-full of every salaciously lurid distraction that Montmartre had to offer to visitors of the World’s Fair. Rare! Est: $2,500-$3,000.
244. La Cigale / Allo! Allo! 1898. 35 x 49 1⁄ 2 in./88.8 x 125.7 cm Imp. Chaix, Paris Cond B/Slight tears and stains at folds. Ref (all var): Grün, p. 47; Spectacle, 967; PAI-LXX, 392 One of La Cigale’s most famous performers was Jeanne Bloch, a rotund actress known for her incredible comedic timing. Here, in this printing before the addition of text, she is prominently featured as one of the stars in the latest revue, Allo! Allo! Est: $1,400-$1,700.
245. Bal Tabarin. 1904. 32 x 46 3⁄4 in./81.3 x 118.7 cm Imp. Chaix, Paris Cond B+/Slight tears and stains at edges; horizontal fold. Framed. Ref: Grün, p. 41; Noël & Herbaut, p. 72; PAI-LXI, 287 In 1904, the owner of the Tabarin expanded his operation, commissioning Grün to announce the wild and exciting experiences available within his establishment’s walls. While the second version of this poster, featuring two white men and a brunette, is the most well known (and common), this is the extraordinarily rare initial design.
245
Est: $3,000-$4,000.
GRÜN | A-Z
246 246. Scala / C’est d’un Raid! : Maquette. 19 3⁄4 x 25 7⁄ 8 in./50.2 x 65.7 cm Signed gouache and ink maquette. Framed. Ref: PAI-L, 270 (var) This is the preparatory work for “‘C’est d’un Raid’ [in which] Grün doesn’t push his luck and, making use of a black background and a red dress, he draws one of his famous ‘sex bombs.’ Biting on a flower, she courts the viewer in an unmistakable fashion. The revue, consisting of 2 acts and 9 scenes, was led by two experienced comedians—Maryville and Suzanne Derval—and authored by P. L. Flers, the talented revue writer. However, as suggested in the Paris pleasure guide: ‘The ladies ought to carry fans’” (Grün, p. 62). Est: $6,000-$8,000.
A-Z | GRÜN - HENRI
249
Grün 247
(Continued)
247. Soirée des Affiches Réclames. 1909. 23 1⁄4 x 31 in./59 x 78.7 cm Imp. Charles Verneau, Paris Cond A. Ref: PAI-XLVII, 275 Here’s quite a pair: a billposter and a coquettish young woman who appears to have leaped off the poster that he was employed to paste to the walls of Paris. The truly charming poster-within-a-poster design promotes a late March Advertising Poster Party, an unbridled affair whose inner-poster calls attention to itself with a Chinese lantern hanging from a high-kicked heel. Rare! Est: $2,000-$2,500.
Albert Guillaume
(1873-1942)
248. A la Scala. 1908. 35 3⁄8 x 49 1⁄2 in./89.8 x 125.7 cm Imp. Minot, Paris Cond B+/Slight tears at folds and edges. Framed. Ref: Masters 1900, p. 57; PAI-LXXXIII, 335 Considered one of Guillaume’s masterpieces, the painterly quality of this poster elevates it above his usual caricatures into the realm of fine art. Rather than showcase any of the marvelous acts at La Scala, he chose instead to depict the glitterati emerging from their carriage—implying that the audience is just as interesting as the performers. Est: $4,000-$5,000.
249. Rivoire & Carret. ca. 1900. 36 1⁄2 x 49 1⁄8 in./92.6 x 124.8 cm Imp. Camis, Paris Cond B/Slight tears at folds. Ref: PAI-LVI, 291 Founded in Lyon in 1860 by Jean-Marie Carret and Claudius Rivoire, this eponymous brand of pasta revolutionized the dried pasta industry by being the first to make its product out of semolina, thereby quickening the drying process. Here, the household product is presented as high-end restaurant quality.
248
Est: $1,400-$1,700.
GRÜN - HENRI | A-Z
250
252
André Hardy
(1887-1986)
250. St. Aubin s/ Mer. 1936. 24 1⁄4 x 39 3⁄4 in./61.7 x 101 cm Imprimerie Rotophot, Paris Cond A. Ref: PAI-LXXVI, 241 “The Queen of Iodine”—the monarch of fine sand and salty air—is the sobriquet of Saint-Aubin-sur-Mer on the Calvados coast, and the title of this bathing beauty with her beach ball and her back to us. Rather than clear sky, Hardy boldly delivers gathering clouds upon the Normandy beaches, which—in hindsight—can be read as foreshadowing. Est: $1,400-$1,700.
251
Erich Heckel
(1883-1970)
251. Kaiser Wilhelm Museum Crefeld / I Ausstellung. 1920. 20 3⁄5 x 28 3⁄4 in./51.8 x 73 cm Cond A. Framed. Ref: Art Deco, p. 27 Based on his 1919 self-portrait titled “Männerbildnis,” Heckel used his self image again in this woodblock engraving to advertise the first exhibition of German Contemporary art at the Kaiser Wilhelm Museum in Krefeld. Heckel was a founding member of the influential expressionist group, Die Brücke. He was a prolific painter and printmaker; he created over 1,000 prints that explored his interests in isolation, melancholy, philosophy, and literature. Sadly, his work was deemed unacceptable by the Nazi regime. He was prohibited from exhibiting and 729 of his works were confiscated from public collections. His Berlin studio—and all of its contents—were destroyed during World War II. This poster is hand-signed and rare! Est: $7,000-$9,000
Paolo Henri 252. Granville Mont St Michel. 1895. 35 1⁄2 x 51 1⁄8 in./90.2 x 129.8 cm Pierrefort, Paris Cond A-/Slight stains at edges. Ref: PAI-XLVI, 357 Henri’s Western Railway promotion for its service to the Basse-Normandy resort town of Granville provides the viewer with an aerial view of the casino, as well as a list of all the day-trip possibilities. Situated on the Cotentin Peninsula in the northern portion of the bay of Mont-Saint-Michel, the resort is a popular weekend and holiday destination. But, above all, Henri grabs our attention with a lithe bather with a plunging neckline, possessed of a sunny disposition and a fantasy figure that appeals to a passerby’s less wholesome nature. Est: $1,200-$1,500.
A-Z | HOHENSTEIN - HOHLWEIN
253
Adolfo Hohenstein
(1854-1928)
253. Monaco / Exposition de Canots Automobiles. 1900. 33 1⁄8 x 47 7⁄8 in./84.3 x 121.7 cm G. Ricordi, Milano Cond A. Ref: Ricordi, 168; Menegazzi-I, 124; Manifesti Italiani, p. 67; Timeless Images, 66; Gold, 135; PAI-LIII, 279 Hohenstein’s design for a motorboat exhibition and race is simple but spectacular: from aboard a boat, looking across the bows of a smart helmswoman, we see the waters off Monaco teeming with craft and sparkling in the sun. The artist returns to his trademark method for balancing the visual interest of a distant background versus a large format figure, which in this case is a charming lady: he allots most of the color to the former, and renders the latter in a few sparse lines and the brown of the paper. Est: $10,000-$12,000.
LUDWIG HOHLWEIN
254
Ludwig Hohlwein
(1874-1949)
254. Hermann Scherrer / Breechesmaker. 1907. 35 x 48 1⁄8 in./89 x 122.3 cm Vereinigte Druckereien und Kunstanstalten, München Cond B+/Restored margins. Ref: Hohlwein, 101; Hohlwein/Stuttgart, 3; DFP-III, 1328; Internationale Plakate, 212; Plakate München, 173; Gagel, p. 20; PAI-LXXVI, 307 Hohlwein’s second design for the tailor Scherrer became one of his most resounding successes; with it, he created a distinctive style that was much admired and set the trend for German poster art for a decade or more. His own career took off spectacularly and a graphic domination was launched. Est: $8,000-$10,000.
A-Z | HOHLWEIN
255
Hohlwein
(Continued)
255. Café Odeon und Billard Akademie. 1908. 34 1⁄4 x 46 1⁄4 in./87 x 117.6 cm Vereinigte Druckereien und Kunstanstalten, München Cond B/Restored top text area and margins; slight tears at edges. Framed. Ref: DFP-III, 1333; Hohlwein/Stuttgart, 12; Hohlwein, 117; Timeless Images, 133; Negripub, 167; Gagel, p. 22; PAI-LXXV, 343 In his classic poster for the Café Odeon—which also served as Munich’s leading and most fashionable pool hall at the time—a sportily attired billiards player receives a drink from a liveried black waiter. Note the use of the vertical and horizontal lines: the cue stick and the piping on the waiter’s trousers are exactly parallel, and so is the tray and the baize surface of the pool table. And of course, the checkered pattern on the man’s vest reinforces the dominance of right angles. Est: $10,000-$12,000.
HOHLWEIN | A-Z
256
257
256. Wonalancet / Direct China Cotton Importers. 1909. 23 1⁄4 x 32 5⁄8 in./59 x 82.8 cm Vereinigte Druckereien und Kunstanstalten, München Cond A. Ref: Masters 1900, p. 152; Weill/Art Nouveau, p. 237; Graphic Design/Taschen, p. 144; PAI-LXXXV, 321 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). Est: $3,000-$3,500.
257. Oberurseler Umlaufmotor / Motorenfabrik Oberursel. ca. 1914. 27 1⁄2 x 34 5⁄8 in./69.8 x 88 cm Kornsand, Frankfurt Cond B+/Tear at horizontal fold. Ref: Hohlwein/Stuttgart, 160; PAI-XXXVII, A28 (var) The Germans are known for precision engineering, and Hohlwein leaps at the opportunity to depict the nitty-gritty details of this Fokker E-III monoplane fighter with an Oberursel aircraft engine. This company also provided the engine for the famed Fokker DR-I triplane, made famous by Manfred von Richthofen, the legendary Red Baron. As World War I was just beginning, Hohlwein was also gaining his footing in the area of propaganda posters and images of national pride; this powerful image is a great example of his artistic ability and observational renderings before his political affiliations took a drastic turn. Rare! Est: $2,500-$3,000.
258. Münchener Renn Verein. 1910. 34 1⁄4 x 47 7⁄8 in./87 x 121.6 cm Vereinigte Druckereien und Kunstanstalten, München Cond B-/Slight creases; restored margins. Ref: Hohlwein/Stuttgart, 42; Hohlwein, 109; Gagel, p. 24; Rademacher, 83; PAI-LX, 297 Hohlwein gives us a dramatic image for a Munich-based horse racing club, in which a trio of jockeys are galloping toward the viewer on their respective steeds. Est: $3,500-$4,000.
258
A-Z | HOHLWEIN - KAUFFER
259
Hohlwein
Charles W. Holmes
L. F. Hurd
259. Zoologischer Garten München. 1912.
260. Simpson Spring Beverages.
261. Stories of the Wagner Opera. 1895.
35 7⁄8 x 49 3⁄4 in./91.2 x 126.3 cm Vereinigte Druckereien, München Cond A-/Unobtrusive folds. Ref: Hohlwein/Stuttgart, 69; Rademacher, 84; PAI-VIII, 388
27 1⁄4 x 39 3⁄4 in./69 x 101 cm Cond B+/Slight tears at edges. Framed.
11 3⁄4 x 17 in./29.8 x 43.3 cm Cond A. Ref: Lauder, 105
(Continued)
The rarest of Hohlwein’s images for the Munich Zoo is also his boldest and most striking. Against a deep black background, an unnaturally saturated pink flamingo strikes a pose. The surreal coloration and simplicity of forms make for an entirely unforgettable design. Rare! Est: $8,000-$10,000.
Simpson Spring began bottling beverages in Easton, Massachusetts in 1878, making it the oldest independent bottling plant in America. Today, they continue to blend sodas with vintage flavors, including sarsaparilla and white birch, as well as more contemporary flavors: lemon & lime, pineapple-coconut, and fruit punch. Here, our bathing beauty demonstrates just how refreshing these drinks are. Rare! Est: $1,700-$2,000.
Hélène Adeline Guerber’s “Stories of the Wagner Opera” is a biography of the life of Richard Wagner. In keeping with the composer’s flair for the romantic, Hurd gives us a nymph playing the lute against a dramatic background. Est: $1,000-$1,200.
HOHLWEIN - KAUFFER | A-Z
Underground Modernist: E. McKnight Kauffer The most comprehensive exhibition of the artist’s graphic work is on view at the Cooper Hewitt Museum in Manhattan through April 10, 2022.
260
261
263
Robert Indiana
(1928-2018)
(1890-1954)
262. Viva Hemisfair / San Antonio. 1968.
263. Eno’s Fruit Salt. 1924.
29 3⁄4 x 46 in./75.7 x 116.8 cm Cond A/P. Ref: Kunstlerplakat, p. 103; PAI-LXXVI, 313
80 1⁄2 x 120 in./204.5 x 305 cm Eyre & Spottiswoode Printers, London Cond B+/Slight tears and stains at folds. Ref (all var but Kauffer/Berman): Raffe, 55; Kauffer, 26; Kauffer/MoMA, 16; Kauffer/V&A, 42; Kauffer/Cooper Hewitt, p. 21; Kauffer/Berman, p. 47
The star at right / glows big and bright / deep in the heart / of Hemisfair! San Antonio was the chosen city for the 1968 World’s Fair. Despite this bright vivid orange announcement for the festival, it suffered from the political shocks of that year, beginning with Martin Luther King Jr.’s assassination two days before the opening. This poster is hand-signed by the artist and dedicated to Evelyn and Leo Farland, the leading art poster publishers and distributors of the 1960s. Est: $1,200-$1,500.
262
E. McKnight Kauffer
This is one of only two known copies of Kauffer’s largest, sunny design for Eno’s Fruit Salt. Other variations in smaller formats denote the product as “the world-famed effervescent saline.” In this printing, we’re advised that it “invigorates, refreshes, and purifies the system.” “Kauffer championed the belief that the promotion of anything from dry cleaning to an antacid [as seen here] was an occasion for graphic innovation, but he also insisted that a designer ‘must remain an artist. He must be more interested in [commercial] art as an art than as a business’” (Kauffer/Cooper Hewitt, p. 20). This is the largest, four-sheet version and extremely rare! Est: $10,000-$12,000.
A-Z | KAUFFER - LEFÈVRE
265
264
Kauffer
(Continued)
264. New Architecture. 1937. 20 x 30 1⁄8 in./50.8 x 76.4 cm Cond B+/Slight tears at edges. Ref: Kauffer, 58; PAI-XVI, 308 One of Kauffer’s frequent abstractions shows his grasp of modern industrial design—the British style of the time which he found lamentably “characterless” (Kauffer, p. 68). The Royal Society of Art agreed, and in 1936 it awarded him a newly designated title, Honorary Designer for Industry. Est: $2,500-$3,000.
265. Ringling Bros. Barnum & Bailey / Holidays. 1943. 41 1⁄2 x 28 in./105.4 x 71 cm Cond B/Slight tears at folds and edges. Ref: Kauffer checklist, p.133; PAI-LXVII, 384 This cheery wartime image for Ringling Brothers and Barnum & Bailey’s holiday show is a distinct departure from Kauffer’s typical graphic style, indicating the breadth of his talents as an artist. Est: $1,700-$2,000.
Eric Henri Kennington
(1888-1960)
266. London Underground / Seeing it Through: Bus Drivers. 1944. 22 x 32 in./51 x 81.2 cm Baynard Press, London Cond A-/Slight tears at edges. Ref: PAI-LXXI, 110 One of Britain’s most significant war artists, E. H. Kennington’s work now hangs in the Imperial War Museum; his bust of T. E. Lawrence (Lawrence of Arabia) is in St. Paul’s Cathedral. Anticipating World War II, he planned camouflage schemes for London’s most prominent landmarks. His WWII poster series “Seeing it Through” for London Transport is widely admired for championing the quiet heroism of London’s municipal workers, who fought the fires and comforted Londoners during the Blitz. This one features a poem by A. P. Herbert, “Virtues of the Bus Driver,” whose final stanza reads in part: Bus driver, bus driver, the sirens have gone: The bombs may come down, but the buses go on.
266
Est: $1,400-$1,700.
Charles Kiffer
(1902-1992)
267. Maurice Chevalier / La Voix de son Maitre. 1937. 47 x 63 in./119.3 x 160 cm Cond A-/Unobtrusive folds; slight tears at edges. Ref: PAI-XXIX, 430 The expected Chevalier elements are firmly in place, only this time, the chanteur’s name is incorporated into the design as a facial feature. This variation on the essential Kiffer design for the performer promotes the French EMI records subsidiary. This printing boasts vivid colors! Est: $2,000-$2,500.
267
KAUFFER - LEFÈVRE | A-Z
268
270
269
Burt Kleeger
Hugo Laubi
268. Manhattan. 1979.
269. PKZ / Le Vêtement Confortable. 1925.
270. Kangourou Boxeur. 1893.
20 x 28 in./50.8 x 71 cm Cond A. Framed.
36 x 50 3⁄8 in./91.5 x 127.8 cm Wolfsberg, Zürich Cond A. Ref: PAI-LXIV, 338
34 1⁄2 x 49 1⁄8 in./87.5 x 124.8 cm Imp. Chaix, Paris Cond B/Slight tears at folds.
This is a rarely seen variant of the iconic poster for Woody Allen’s celebrated film, “Manhattan.” In all other versions of the poster, the image occupies about a third of the entire sheet, while the rest of the space is dedicated to film credits. Here, we can fully appreciate the infamous bench scene: Woody Allen and Diane Keaton’s characters sit below the 59th Street Bridge, and Allen’s character Isaac says, “This is really a great city. I don’t care what anyone says. It’s really a knockout, you know?” We couldn’t agree more.
(1888-1959)
PKZ stands for Paul Kehl of Zurich, who in 1881 founded Switzerland’s first large-scale men’s clothing firm. Here, a dashing dandy shows off some chic summer attire, complete with straw hat, pleated trousers, and cigarette holder. Est: $4,000-$5,000.
Est: $1,200-$1,500.
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Lucien Lefèvre
(1850-?)
The kangaroo boxer was a real sensation at the Nouveau Cirque from roughly the 1890s to early 1900s. In 1906, the scientific journal La Vulgarisation scientifique wrote, “It was not a question of explaining to a kangaroo the rules of human boxing; the trick is much simpler. Simply wrap the front paws in big mittens, like those who play this sport, and you have your boxer kangaroo. The mittens, in fact, annoy the beast, which feels its trapped paws there, and it will struggle with fury, simulating for the public attacks and boxing retorts... The mittens also have the advantage of protecting man against the terrible scratches of the animal, which would tear his face. A bit of skillful staging completes the whole thing. But does not the kangaroo get used to wearing mittens in the long run, and will it not stop gesticulating, one day or another? No, because on the contrary, this action gradually becomes inseparable for him from the mittens he wears; the punches with which his trainer threatens his muzzle and stomach, and which he feels he cannot defend himself, are there, moreover, to maintain this gesticulation which makes the spectators happy.” Est: $1,200-$1,500.
A-Z | LEMMON - LIVEMONT
Georges Lemmon
(1865-1916)
271. La Libre Esthetique. 1908. 19 x 25 1⁄2 in./48.2 x 64.8 cm Imp. Monnom, Bruxelles Cond A-/Slight tears at edges. Ref: Belgische Affiche, 72; Belle Epoque 1970, 63; PAI-LXXIX, 362 For La Libre Esthetique’s Jubilee Exhibition, Lemmon situates a draped nude holding a rose at a balance between the classical ideal and the erotic present. Est: $1,200-$1,500.
Franz Lenhart
(1898-1992)
272. Trentino. 1947. 18 1⁄4 x 26 1⁄4 in./46.3 x 66.8 cm Amilcare Pizzi, Milano Cond A-/Slight stains at edges. Framed. Ref: Dolimiti, 65; Viaggio, p. 155
271
272
“An artist endowed with a great sensitivity and with an output stretching over a period of more than fifty years to his credit, Lenhart has perhaps better than any other artist managed to identify and transfigure in a masterly fashion all the places that constitute the tourist and cultural spell of the Dolomites. Having worked for all the major centres in the area, Lenhart has bequeathed such an extensive and widely varying output that it can in itself be regarded as a monograph of tourist posters” (Dolimiti, p. 18). Here, our intrepid polar bear is on his way to the province of Trentino to indulge in the Dolomite Alps. Est: $1,200-$1,500.
Joseph C. Leyendecker
(1874-1951)
273. Art in Dress. 33 1⁄2 x 20 in./85 x 50.6 cm Edwards, Deutsch & Heitmann, Chicago Cond B-/Tears at folds and edges. Framed.
273
Most famous for his “Arrow Collar Man,” Leyendecker contributed his images to a number of department stores and fashion brands, including Hart, Schaffner, & Marx in Chicago. This clearly predates his sharp Art Deco years, as he’s embraced more lavish ornamentation and a lively street scene to promote the spring and summer fashions for men. Rare! Est: $1,400-$1,700.
Roy Lichtenstein
(1923-1997)
274. Los Angeles 1984 Olympics. 1982. 35 7⁄8 x 24 3⁄8 in./91.2 x 62 cm Knapp Communications / Alan Lithograph Cond A-/Slight stains and creases at edges. Ref: Lichtenstein, 41; Olympics, p. 137 The Olympic Committee of the 1984 Los Angeles Olympics commissioned 15 artists to create posters for the event, including David Hockney, Robert Rauschenberg, Jennifer Bartlett, John Baldessari, and Roy Lichtenstein. The latter opted to adapt his 1975 painting, The Red Horsemen, in which Cubist jockeys are rendered with energetic motion. “The 1980s were marked by nonconformism, eccentricity, audacity and joie de vivre. All these elements are clearly expressed in the stylistic vocabulary chosen by the organizers of the 1984 Games in Los Angeles, with its fun approach and acid colors” (Olympic Museum, Lausanne, 2017).
274
Est: $1,700-$2,000.
PRIVAT LIVEMONT
275
Privat Livemont
(1861-1936)
275. Absinthe Robette. 1896. 30 7⁄ 8 x 41 3⁄4 in./78.4 x 106.2 cm Goffert, Bruxelles Cond A-/Slight creases at right edge. 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-LXXXV, 329 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: $12,000-$15,000.
A-Z | LIVEMONT
Privat Livemont, Master of Belgian Art Nouveau The first retrospective of his work in the Netherlands since 1904. On view at the Steendruk Museum, Valkenswaard through July 31, 2022.
276
Livemont
277
(Continued)
276. Helm Cocoa. 1900.
277. Rajah. 1899.
24 3⁄4 x 59 3⁄ 8 in./63 x 151 cm Van Leer, Amsterdam Cond A. Framed. Ref (all var): DFP-II, 1068; Belle Epoque 1970, 88; Schoonbroodt, 27; PAI-LXXIX, 367
16 1⁄4 x 29 3⁄ 8 in./41.3 x 74.6 cm Van Leer, Amsterdam Cond A. Framed. Ref: Belle Epoque 1970, 87; DFP-II, 1071; Wine Spectator, 82; Schoonbroodt, 28; Müller-Brockmann, 31; Hillier, 175; PAI-LXXXV, 331
The vertical design is divided into three color-coordinated areas: the text at the top is submerged in garnet; the center is dominated by the rich, plush emerald of the mother’s dress; and the bottom is all fresh pink—the flowers as well as the baby’s skin. Utterly charming! This printing is before letters.
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: $5,000-$6,000.
Est: $4,000-$5,000.
LIVEMONT | A-Z
278A. Bitter Oriental. 1897. 30 5⁄8 x 42 1⁄8 in./77.7 x 107 cm J. L. Goffart, Bruxelles Cond B+/Slight tears at folds and edges. Framed. Ref: Belle Epoque 1970, 82; Belle Epoque 1980, 90; Belgische Affiche, p. 197; Weill, 92; Wine Spectator, 81; PAI-XII, 282
278A
“Bitter Oriental has a girl with hair meandering about in luxuriant abundance, almost in Mucha’s style. Another similarity is the circular motif in the ornamentation— and then again, there is Livemont’s characteristic white outline and distinctive lettering. The Oriental bitter was basically gin with a flavoring of various herbs” (Wine Spectator, 81). Rare! Est: $5,000-$6,000.
278B. La Vague. 1897. 27 x 20 in./68.5 x 51 cm Cond A/P. Mat stains at edges. Ref: Schoonbroodt, p. 16; Belle Epoque 1980, 70; Gold, 199; PAI-LIX, 422 In this particularly rare and haunting decorative panel, Livemont returns to his favorite subject: beautiful women. “One of the feminine characteristics he habitually emphasized was long, flowing tresses, and here he carries his worship to a virtual apotheosis, seeing an ocean wave as a manifestation of woman’s mystique—deep and restless, yet eternally soothing” (Gold, p. 136). Est: $4,000-$5,000.
278B
A-Z | LIVEMONT - LOUPOT
279
Livemont
(Continued)
279. Automobile Club de France / 6eme Exposition. 1903. 18 3⁄4 x 14 in./47.6 x 35.6 cm Imp. J. Barreau, Paris Cond A-/Slight crease in top area. Framed. Ref: Livemont, 40; Schoonbroodt, 40; PAI-LXX, 65 By 1903, France was the world’s leading auto maker. In this exhibition poster, we see our lady of autos—with her insignia of gears and roses—motoring confidently toward the Grand Palais in what may be a 1903 Richard-Brasier. Est: $2,500-$3,000.
280. Automobile Club de France. 1903. 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; Schoonbroodt, 41; Automobile/Lopez, p. 144; PAI-LXXXV, 333 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.
280
Est: $7,000-$9,000.
CHARLES LOUPOT
281
Charles Loupot
(1892-1962)
281. Confection Einhorn. ca. 1918. 35 3⁄4 x 50 in./89.8 x 127 cm Artis, Lausanne Cond A. Ref (both var): Loupot/Zagrodzki, 25A; PAI-LXXIII, 355 Two cherubic children grasp at their mother’s fur in this rare promotion for a Lucerne, Switzerland department store. In previously seen versions of this design, the Loeb outlets in Bern and Zurich are advertised, but this is the only known version with this specific text. Est: $4,000-$5,000.
A-Z | LOUPOT
283
282
Loupot
284
(Continued)
282. Les Chaussures Cecil : Maquette. 1923.
283. Mira. 1929.
284. Valentine. 1932.
44 ⁄4 x 62 ⁄2 in./113.6 x 158.6 cm Signed gouache and ink maquette. Ref: Loupot/Zagrodzki, 55 (var)
8 ⁄8 x 11 ⁄2 in./22 x 29 cm Imp. Chaix, Paris Cond A. Framed. Ref (all var but PAI): Crouse/Deco, p. 76; Loupot, 46; Loupot/Forney, 34; Loupot/Zagrodzki, 80; Weill, 358; Publicité, p. 121; PAI-LXXXII, 334
9 x 11 3⁄4 in./23 x 29.8 cm Cond A. Framed. Ref: Loupot/Zagrodzki, p. 107; PAI-LXXXII, 337
3
1
Provenance: Atelier of Charles Loupot “The poster for Cecil shoes begins the series of works signed by Loupot as part of Belles Affiches. It appeared in early 1925 and was reissued a year later. Along with the paper poster, Aubrespin has had a daring mobile version produced. It was a huge 70 meter square panel, installed at the Richelieu-Druout crossroads, where a disc hidden inside scrolled different models of shoes under the characters. This elegant composition, as well as its variations, were also used in the Cecil house catalog” (Loupot/Zagrodzki, p. 63). Est: $8,000-$10,000.
3
1
“While it is perhaps not the most visually intelligible advertisement, this poster for Mira razor blades is without a doubt one of Loupot’s most interesting. The product itself is shown in a straightforward, realistic manner, but the object being ‘shaved’ is slightly confusing. It is Loupot’s most cubist rendering of the human form... we know what it is, but we can’t quite explain how we know” (Crouse/Deco, p. 76). This is the smaller format. Est: $1,700-$2,000.
In his poster life, Loupot’s famous Valentine harlequin would trade his spray gun for a brush in order to get his point across. In fact, the harlequin with the clearly delineated diamonds would evolve into nothing more than a solid flat-black figure or line drawing so as to better show off the colorful Valentine palette behind him. Here, in a more recently discovered smaller, in-store display format (which easily could have been used as a mailer as well), his avid brusher is captured in the process of making a blue chair goldenrod, while the background burst and can-enhancing triangles hint at the broad, profound Valentine prismatic array. It’s a neat conceit from the master colorist who can make even black look brilliant. The figure of the jolly painter himself is still used by the company today. Est: $1,400-$1,700.
LOUPOT | A-Z
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285
285. St. Raphaël. 1937. 61 3⁄4 x 45 1⁄ 2 in./156.8 x 115.7 cm Imp. Joseph-Charles, Paris Cond A-/Unobtrusive folds. Ref: Loupot/Zagrodzki, 103; Loupot, 84; Loupot/Forney, p. 141; PAI-LXIII, 377 This is the very first poster that Loupot created for the St. Raphaël brand of bitters that featured the two waiters who would become, in a series of redesigns and refinements, the company’s trademark. While future advertisements would evolve in style and situation, what remained was their stark contrast of size and shape, and well as their signature red and white colors. “This premiere realization for St. Raphaël only represents the beginning of a long road to conceptual purity attained somewhere around 1950. One finds in this poster several incongruous elements... rare to an artist with little interest (least of all in his posters) in the third dimension, in the end wavering between the pictorial manner and the graphic. In this composition overflowing with charm, Loupot not only fits his personages to suit the taste of the time, but widens, if only temporarily, the range of the St. Raphaël colors, until then restricted to black, white, and red” (Loupot/Zagrodzki, p. 90). Est: $25,000-$30,000.
A-Z | LOUPOT - MARFURT
286
Loupot
(Continued)
Boris Lovet-Lorski
(1894-1973)
Louis Macouillard
(1913-1987)
286. St. Raphaël / Quinquina. 1938.
287. Mme. Anna Robénne. 1925.
288. American President Lines.
165 3⁄8 x 122 in./420 x 310 cm Imp. Courbet, Paris Cond A/Lined in two parts. Ref (all var): Loupot/Zagrodzki, 104; Loupot, 87; Loupot/Forney, p. 143; Moderno Francés, p. 132; PAI-L, 304
41 x 80 1⁄4 in./104 x 204 cm The Hegeman Print, New York Cond A-/Slight stains at seam and folds.
27 1⁄ 8 x 39 5⁄8 in./69 x 100.7 cm Cond B+/Slight tears at folds.
In this 8-sheet creation—his second for the apéritif producers, and the only known copy of this largest format—we see the attendant pair relaxing after the completion of their shift, enjoying a nip of the beverage that they faithfully tout. Not surprisingly, opposites attract: red likes white, white likes red, and in Loupot’s talented hands, both drinks look enticing, refreshing, and delicious. “Loupot once more leaves the two garçons their two-dimensionality in order to put them in a situation, transformed into consumers of their apéritifs. The publication of this version also provided an opportunity to experiment with its posting: the photographs of the time show this poster on slight inclines on the palisades and surrounded with bands of text laid out in a very erudite way” (Loupot/Zagrodzki, p. 90). Rare! Est: $35,000-$45,000.
For the Russian Dancer Mme. Anna Robénne, LovetLorski embraces an appropriately Russian Constructivist aesthetic. While little information exists on the dancer herself, Lovet-Lorski had a definite impact on the world of Art Deco. Born in Lithuania, he trained as an architect at the Imperial Academy of Art in St. Petersburg before moving to the United States in 1925. He taught at the Milwaukee Art Institute and exhibited frequently in New York. His poster work is rare, likely because he focused his efforts more on sculpture—he even created a statue of a young Abraham Lincoln for the courthouse in Decatur, Illinois. This is a two-sheet poster and rare! Est: $3,000-$4,000.
Staring up at the helm of this massive ship, Macouillard gives us a perspective of immense grandeur. In operation from 1921 to 1992, United States Lines was launched by the Emergency Fleet Corporation to operate German liners seized by the U.S. in 1917. Here, a map outline depicts the line’s destinations, from San Francisco to Manila and in between. Est: $2,500-$3,000.
LOUPOT - MARFURT | A-Z
288
287
Leo Marfurt
(1894-1977)
289. Dover-Ostend. 1932. 24 3⁄8 x 39 1⁄2 in./62 x 100.3 cm Les Creations Publicitaires, Bruxelles Cond B+/Slight tears at folds. Ref (all var): Crouse/Deco, p. 300; Art Deco, 307; Weill/Art Deco, p. 252; PAI-LXXVIII, 351 This particularly colorful Art Deco design advertises the three hour passage from Ostend in Belgium to Dover in England. Once docked, convenient train service would take you the rest of the way to your destination of choice. It is interesting to compare this design with any of Cassiers’ for the same service (see PAI-LIX, 218)—while his images focus on the local working class, Marfurt emphasizes glamour and style. Est: $5,000-$6,000.
289
A-Z | MARISCAL - METLICOVITZ
290
291
292
Javier Mariscal
(1950- )
(1897-1961)
290. IBM / Olympics. 1992.
291. New Haven R.R. / Ski. ca. 1940.
26 1⁄4 x 27 3⁄ 8 in./66.5 x 69.5 cm Cond A-/Slight tears at bottom edge.
27 5⁄8 x 41 3⁄ 8 in./70 x 105 cm Plampin Litho. Cond A. Framed. Ref: Affiches Sports d’Hiver, p. 171; PAI-LXXXIII, 18
The mascot of the 1992 Barcelona Olympics, Cobi, is dressed for success in this joint advertisement for IBM and the Summer Olympics. Mariscal took inspiration from Picasso’s “Las Meninas” when designing this Catalan Sheepdog in a Cubist style. And for the associated Paralympics, Mariscal invented Petra, an armless girl meant to convey positivity, independence, energy, and bravery. Est: $1,200-$1,500.
293
Sascha Maurer
In its heyday, the New York, New Haven, & Hartford Railroad’s main line sizzled with famous trains shuttling tycoons and business leaders between Boston’s South Station and New York City’s Grand Central Terminal. In the 1930s, the New Haven ordered a fleet of steam locomotives of the Hudson type (four lead wheels, six drivers, and four trailing wheels). These massive engines took advantage of the latest in steam technology, providing increased tractive effort and horsepower for more rapid acceleration and faster speed. Not that any of this would have mattered to this courteously overjoyed lad making his way towards the slopes, but he certainly would have appreciated the fairly instant gratification the fleet provided. Est: $1,200-$1,500.
MARISCAL - METLICOVITZ | A-Z
Eileen Mayo
(1906-1994)
292. Australia / Great Barrier Reef. ca. 1950. 25 x 39 1⁄4 in./63.5 x 99.6 cm Lith. McLaren, Melbourne Cond A-/Slight stains at edges. Framed. Ref: PAI-LXXXV, 150 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: $1,700-$2,000.
A. T. Méneret 293. Pêcheurs. ca. 1930. 39 3⁄8 x 55 in./100 x 139.5 cm Imp. E. Chambrelent, Paris Cond B-/Slight tears. Now that’s a catch! Although this riveting design doesn’t seem to be tied to any particular location, Méneret captures the excitement and energy of hooking a massive fish while being surrounded by breathtaking wilderness. Est: $1,000-$1,200.
Jean A. Mercier
294
(1899-1995)
294. Buster Keaton / L’Opérateur. ca. 1928. 45 x 60 1⁄4 in./114.3 x 153 cm Imp. de la Cinématographie Française, Paris Cond B+/Slight tears at folds. Ref: Portraiture, p. 66 “Film comedian Buster Keaton is both behind the camera and in the spotlight in this image, made... at a time when Keaton claimed his silent movies actually did a bigger business in Europe than in America. This poster for ‘The Cameraman’ attracts attention with brilliant colors and clever geometric stylization of forms. But it also advertises the latest film by incorporating two of the actor’s trademarks: the deadpan, expressionless face and a lively chase scene pitting the agile human figure against relentless mechanical forces. The latter is suggested by a circle of sketches expressing speed and motion in a never-ending contest. In Keaton’s movies, James Agee wrote in his 1949 appraisal of silent film comics, ‘it seems that the whole universe is in exquisite flying motion and the one point of repose is [Keaton’s] effortless, uninterested face’” (Portraiture, p. 67). Rare! Est: $7,000-$9,000.
Leopoldo Metlicovitz
(1868-1944)
295. Flouvella. ca. 1910. 31 3⁄4 x 43 3⁄8 in./80.6 x 110.3 cm Ricordi, Milano Cond A-/Unobtrusive folds. Ref: Publicité, 38; Metlicovitz e Dudovich, p. 68; Manifesti Italiani, p. 47; Frivoli, p. 111; PAI-LXIV, 367 One of several designs Metlicovitz prepared for the Sauzé Frères cosmetics firm, this dreamy, twilight rendering of a scantily clad woman in a field beautifully expresses the romantic and heady nature of their popular Flouvella perfume. Est: $5,000-$6,000.
295
A-Z | MISTI - MOOS
297
296
Misti
298
(Ferdinand Mifiliez, 1865-1923)
(1893-1978)
296. The Rose Tea Rooms.
298. Le Vêtement “Superchic.” 1931.
19 1⁄2 x 29 3⁄8 in./49.5 x 74.6 cm Hare & Co., London Cond A-/Slight tears at paper edges. Framed.
47 x 63 1⁄2 in./119.4 x 161.2 cm Les Affiches Lutetia, Paris Cond A.
“[Misti] eschews decoration and relies on a figure, generally charmingly posed and full of grace... none would give less praise to his very beautiful design that appeared in London to advertise the ‘Rose Tea Rooms’” (Rogers, p. 68). Indeed, our charming Victorian lady seems to thoroughly enjoy her spot of afternoon tea. Rare!
“For the chic man, the ‘Superchic’ clothing” is quite a redundant catch phrase, but luckily le Monnier salvages the ad campaign with a tunnel-vision image of two fabulously dressed men. The landscape beyond is rendered in desaturated greens, allowing their brown attire to catch our attention and interest.
Est: $1,400-$1,700.
Est: $1,400-$1,700.
297. Bougie à 5 Trous. 1900.
Jean Montels
39 3⁄8 x 55 in./100 x 139.7 cm Imp. H. Laas, E. Pecaud, Paris Cond A-/Slight tears at folds. Ref: Collectionneur, p. 51 “The Louis et Frédéric Fournier factory, which had become the owner of the Etoile Candles, was founded in Marseille in 1836. Before the First World War, the factory supplied thirty-five million packages of candles per year. It is equipped with modern tools and in particular a candle casting machine which allows the manufacture of five-hole candles. These five small holes provide better stability in the candlesticks. Misti transformed this simple candle into an element of complicity between this young woman and her servant; their contentment is visible and shared. The packaging of the candles appears discreetly in the right corner, and we see a reminder of the two grand prizes obtained. Notice the small thumbnail at the bottom right, illustrated with a painter in letters seated on his harness, the choice of certain printers to thus graphically affirm their presence, in parallel to that of the illustrator” (Collectionneur, p. 51).
299
Henry le Monnier
Est: $1,400-$1,700.
299. Cameroun / Toute l’Afrique. ca. 1950. 25 1⁄4 x 34 1⁄4 in./64 x 87 cm Imp. Service Géographique, Brazzaville Cond A/P. Ref: PAI-LXXXV, 361 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. Est: $1,700-$2,000.
MISTI - MOOS | A-Z
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300
Carl Moos
301
(1878-1959)
300. Kemm & Cie. 1916.
301. Pontresina.
34 3⁄4 x 50 1⁄8 in./88.3 x 127.3 cm Fretz Frères, Zürich Cond B+/Slight tears near top and bottom edges. Framed. Ref: Affiches Sports d’Hiver p. 198; Art/Skiing p. 80; Swiss Winter Posters, 19; Margadant, 330; Masters 1900, p. 190; PAI-LXXXIII, 3
24 5⁄8 x 39 1⁄2 in./62.6 x 100.4 cm Fretz Frères, Zürich Cond A. Framed. Ref: PAI-X, 315
If it’s warm and fit for the skiing competitor, it’ll most certainly do for the businessman-in-town: the Swiss clothier wraps this ad up in sport, as the Alps surround and protect the country from the crucible of World War I raging without. Est: $2,000-$2,500.
Moos can always come up with something different. Here, using only black and white and a tan undertone, he creates a starkly powerful image of a skier in silhouette. Rare! Est: $1,700-$2,000.
ALPHONSE MUCHA
302
Alphonse Mucha
(1860-1939)
302. Monaco-Monte-Carlo. 1897.
303. Lorenzaccio. 1896.
28 7⁄8 x 42 in./73.5 x 106.5 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-LXXXV, 388
29 3⁄4 x 82 in./75.5 x 208.3 cm Imp. F. Champenois, Paris Cond B+/Slight tears at seam and edges. Ref: Rennert/Weill, 20; Lendl/Prague, p. 47; DFP-II, 626; Maitres, 144; Mucha/Art Nouveau, 7; Bernhardt/Drama, p. 62; Posters of Paris, 87; PAI-LXXXIV, 381
“Mucha went all out with a most opulent design. The shy maiden, kneeling, enraptured with the tranquility of the bay of Monte-Carlo, is completely encircled by the curving stalks of lilacs and hydrangeas, featuring some of the most intricate conflorescences ever painted by Mucha. Since the client was a railroad—Chemin de Fer P.L.M.—it is probable that the design is meant to suggest the tracks and wheels that convey the public to Monte-Carlo. The maiden is probably Spring herself, enraptured with the beauty of the seascape” (Rennert/Weill, p. 136). Est: $17,000-$20,000.
Sarah Bernhardt adopts the pose of a pensive Lorenzo the Magnificent (1449-1492), the most powerful of the Medicis, in this play by Alfred de Musset. In the drama, Lorenzaccio struggles to save Florence, which had grown rich during his reign, from the grip of a power-hungry conqueror. Mucha represents this tyranny with a dragon menacing the city coat of arms (top left); Lorenzo has closed the book he was reading to ponder his course of action. Bernhardt adapted this 1863 play for herself, and the new version, represented by this poster, opened December 3, 1896. “Never afraid to tackle a male role, Bernhardt made Lorenzaccio one of the regular parts of her repertoire” (Lendl/Prague, p. 47). Anatole France’s review says it all: “In her latest transformation she is astonishing... She has created a living masterpiece by her sureness of gesture, the tragic beauty of her pose and glance, the increased power in the timbre of her voice, and the suppleness and breadth of her diction—through her gifts, in the end, for mystery and terror” (Bernhardt/Gottlieb, p. 140). This is the two-sheet larger format with exceedingly fresh colors! Est: $12,000-$15,000.
MUCHA | A-Z
304 304. Lorenzaccio. 1896. 14 5⁄8 x 39 1⁄8 in./37.3 x 99.5 cm Imp. F. Champenois, Paris Cond A-/Slight creases in top text area. Framed. Ref: Rennert/Weill, 20, Var. 2; Lendl/Prague, p. 47 (var); DFP-II, 626; Maitres, 144; Mucha/Art Nouveau, 7 (var); PAI-LXXV, 377 This is the smaller format version of the previous lot. Est: $4,500-$5,500.
303
A-Z | MUCHA
Mucha
(Continued)
305. Cassan Fils. 1895. 25 3⁄8 x 67 3⁄4 in./64.5 x 172 cm Cassan Fils, Toulouse Cond B+/Slight tears and stains at seam and edges. Ref: Rennert/Weill, 11; Lendl/Prague, p. 109; DFP-II, 640; Reims, 897; PAI-LXXVII, 296A ”Mucha’s tendency to combine the real with the imaginary may be witnessed in this design where the seminude model is a real person whereas the muscular printer is an allegorical figure, representing the printing industry. An unusual border of eyes in the mosaic background probably is meant to indicate the multitude of readers for whom the printing trade works. It is also one of the mystic symbols used by Mucha in several other works” (Rennert/Weill, p. 70). This is the rare, larger two-sheet version. Est: $8,000-$10,000.
305
MUCHA | A-Z
306. Medée. 1898. 28 3⁄4 x 81 3⁄8 in./73 x 260.7 cm Imp. F. Champenois, Paris Cond A. Ref: Rennert/Weill, 53; Lendl/Prague, p. 53; Bernhardt/Drama, p. 102; DFP-II, 645; Mucha/Art Nouveau, 13; PAI-LXV, 419 Sarah Bernhardt was chosen specifically for the role of Medea in Catulle Mendès adaptation of the play based on the Greek classic by Euripides. The story deals with love, betrayal, uncontrollable passion, and violent vengeance. And although contemporary reports bemoan the fact that a 54-year-old Bernhardt was unable to capture the emotional turmoil of her teenage character, Mucha’s poster amply provides any of the drama she may have lacked on stage. “Mucha’s exquisite design used Medea’s arm and the dagger as a giant exclamation point, emphasized by the look of stark horror in her face as she extracts gothic vengeance. It is one of his most powerful posters and an unusual departure from his normal choice of tranquil, sunny scenes” (Lendl/Prague, p. 53). Est: $20,000-$25,000.
306
A-Z | MUCHA
307
Mucha
308
(Continued)
307. Biscuits Lefèvre-Utile. 1896.
308. Flirt. 1900.
309. Salon des Cent / XXme Exposition. 1896.
17 1⁄2 x 24 1⁄4 in./44.5 x 61.7 cm Imp. F. Champenois, Paris Cond A. Ref: Rennert/Weill, 22; Lendl/Prague, p. 71; Weill, p. 42; Gold, 59 (var); Champenois, 90 (var); PAI-LXXXI, 397
11 1⁄8 x 24 3⁄8 in./28.2 x 61.8 cm Imp. F. Champenois, Paris Cond A. Framed. Ref: Rennert/Weill, 72, Var. 1; Lendl/Prague, p. 73; Art du Biscuit, p. 9; Gold, 63; PAI-LXXXV, 393
17 x 25 3⁄8 in./43.2 x 64.4 cm Imp. F. Champenois, Paris Cond A. Ref: Rennert/Weill, 12; Lendl/Prague, p. 133 (var); DFP-II, 634; Modern Poster, 9; Wine Spectator, 74; Salon des Cent/Neumann, cover & 19 (var); Mucha/Art Nouveau, 18; Gold, 192; Reims, 901; Posters of Paris, 69; PAI-LXXXII, 372
“One of Mucha’s most personable young ladies, her hair cascading irrepressibly in fine style, is offering a dish of wafers. The design of the girl’s dress incorporates sickle and wheat emblems... appropriate to the subject” (Rennert/Weill, p. 113). This is the original version of the poster with the 1897 calendarium. Est: $12,000-$15,000.
“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: $7,000-$9,000.
In 1896, Mucha was flush with success after his work for Sarah Bernhardt. But he was about to be exhibited alongside the stars of French fin-de-siècle lithography—Toulouse-Lautrec, Bonnard, Steinlen, Grasset—in the Salon des Cent (the Salon of the One Hundred), a new series of exhibitions hosted by the literary magazine La Plume, which championed the art of lithography. “Mucha’s ambition was to become a member of this group,” wrote Victor Arwas. The artist succeeded by attracting the attention of the gallery’s owner, Deschamps. “Deschamps visited Mucha in his studio while he was designing the poster. Fascinated by what he saw, he persuaded Mucha to print it… Mucha agreed, and the publisher’s feeling, that this lightly outlined, impressive poster would make Mucha famous, proved to be correct” (Mucha/Art Nouveau, p. 156). Est: $14,000-$17,000.
MUCHA | A-Z
309
A-Z | MUCHA
Mucha
(Continued)
310. Salon des Cent / XXme Exposition. 1899.
310
16 3⁄4 x 25 in./42.5 x 63.5 cm Imp. F. Champenois, Paris (not shown) Cond A-/Slight tears at edges. Framed. Ref (all var but Rennert/Weill): Rennert/Weill, 12, Var. 2; Lendl/ Prague, p. 133; DFP-II, 634; Wine Spectator, 74; Salon des Cent/ Neumann,19; Gold, 192; PAI-LXXXV, 372 “Only 25 copies of this poster were printed on vellum in gold ink, according to Album La Plume, and offered for sale at 12 francs per copy; this is the rarest version. As far as we know, the offer was made only once, in the first (1899) issue of this special catalog, and therefore it is reasonable to assume that this edition was specially prepared for the occasion at that time” (Rennert/ Weill, p. 74). This printing is hand-signed and numbered 19. Rare! Est: $20,000-$25,000.
311. Seated Woman : Drawing. 18 x 13 5⁄8 in./46 x 34.6 cm Signed sepia drawing. Framed. Mucha was meticulous in his studies for future designs; he produced many photographs and sketches of his models before moving on to the lithographic plans. While most of his studies can be linked directly to final designs, this sketch of a seated woman has not been seen in his other works, making it a rare and intimate look into the artist’s creative process. Est: $7,000-$9,000.
311
MUCHA | A-Z
312A
312B
312A. Lefèvre-Utile: 2 Box Tops. 1901.
312B. Lance Parfum “Rodo.” 1896.
Each: 8 5⁄ 8 x 11 1⁄4 in./22 x 28.5 cm Cond A. Framed. Ref: PAI-LXXX, 441; PAI-LXXXII, 389
12 5⁄8 x 17 1⁄2 in./32 x 44.4 cm Imp. F. Champenois, Paris Cond A. Framed. Ref: Rennert/Weill, 14; Lendl/Prague, p. 113; Livre de l’Affiche, 13; PAI-LXXXII, 377
Mucha created a host of box designs for the Lefèvre-Utile biscuit company, each consisting of a central design and two back-to-back trademarks, all printed on one sheet. In the individual distinguishing pictures, Mucha depicted fashionable social occasions at which biscuits are being consumed, mostly with wine—otherwise, lush nymphs enjoying the outdoors also suit the purpose. All of the background patterns, ornamental borders, and decorative elements are executed with Mucha’s typical attention to detail. Here are two images for the Biscuits Madère and their general product, the latter featuring picturesque scenes of rural and urban Italy. Est: $1,700-$2,000. (2)
“Mucha’s beauteous maiden advertises a spray perfume— apparently something of a novelty at this time, as the fact that the container dispenses the fragrance ‘automatically’ is stressed in the copy. The design is one of the earliest to feature what were to become Mucha’s trademark elements: a girl with buoyant hair, an elegant dress whose every fold is meticulously noted, a circular background with a mosaic pattern and decorative rosettes, well executed lettering which complements the theme of the poster, and gentle pastel colors” (Lendl/Prague, p. 112). Est: $8,000-$10,000.
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313
Mucha
(Continued)
313. The Seasons. 1896. Each: 20 3⁄4 x 40 in./52.7 x 101.5 cm Imp. F. Champenois, Paris (not shown) Cond A/Horizontal folds in Summer. Framed. Ref: Rennert/Weill,18; Lendl/Prague, p. 182-183; Mucha/Art Nouveau, p. 186-187; PAI-LXXXV, 373 “One of Mucha’s most endearing and enduring sets... Spring is a blonde sylph who seems to be fashioning a makeshift lyre out of a bent green branch and her own hair, with some birds as interested spectators. Summer, a brunette, sits dreamily on the bank of a pond, cooling her feet in the water and resting her head against a bush. Autumn is an auburn lady, making ready to partake of the ripe grape. Winter, her brown hair barely visible as she huddles in a long green cloak, snuggles by the snow-covered tree trying to warm a shivering bird with her breath” (Rennert/Weill, p. 90). It’s not only the passage of time that makes this series rare—they were difficult to find even at the time of their publication. The editor of The Poster couldn’t help a reader locate this set back in 1899, concluding: “they are getting scarce” (January 1899, p. 42). This is the first state before the addition of the seasons’ names at bottom and in the larger format. Est: $40,000-$50,000. (4)
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314
Mucha
315
316
(Continued)
314. The Seasons / Autumn. 1896.
316. The Seasons / Autumn, On Silk. 1900.
21 1⁄4 x 41 7⁄8 in./54 x 106 cm Imp. F. Champenois, Paris (not shown) Cond B/Slight tears at edges. Framed. Ref: Rennert/Weill, 18c; Lendl/Prague p. 180; Mucha/Art Nouveau, 44c; PAI-LXVI, 393
12 3⁄8 x 27 7⁄8 in./31.4 x 70.5 cm Imp. F. Champenois, Paris Cond B/Slight tears, largely at edges. Framed. Ref: Rennert/Weill, 74, Var. 1; Lendl/Prague, p. 193 (var); PAI-LXXIV, 371
“A mature beauty personifying autumn is surrounded by an abundance of dark red hair decorated by a wreath of chrysanthemums. She holds grapes in her right hand, contributing to the atmosphere of autumn’s rich natural tapestry. Golden color augments the characterization of the season. The indistinct shadows under the woman’s feet invoke the melancholic feelings of the approaching winter” (Mucha/Art Nouveau, p. 187).
This Mucha benediction to Autumn, on silk, is a perfect transmutation of Byzantine aesthetics into Art Nouveau. The text at lower right reads: “L’Automne, symbolisant la maturité de l’Année et portant le Thyrse des Vendanges, présente les Fruits qu’a dorés le Soleil de l’Eté” (Autumn, symbolizing the maturity of the Year and bearing the Harvest Thyrse, presents the Fruits that the Summer Sun has gilded).
Est: $8,000-$10,000.
Est: $7,000-$9,000.
315. The Seasons / Spring, On Silk. 1900.
317. Champenois Calendar. ca. 1898.
12 3⁄4 x 27 7⁄ 8 in./32.3 x 70.5 cm Imp. F. Champenois, Paris Cond B-/Slight tears and stains. Framed. Ref: Rennert/Weill, 74, Var. 1; Lendl/Prague, p. 192 (var); PAI-LXXIV, 370 (var)
7 3⁄4 x 22 in./19.6 x 56 cm Imp. F. Champenois, Paris (not shown) Cond A. Framed. Ref: Lendl/Prague, 177; Rennert/Weill, 59
A standalone panel from Mucha’s “The Seasons” series, Spring is “emerging from the mists of winter, [bringing] the joy of the new year with its sunshine and flowers” (Rennert/Weill, p. 270). It’s a singularly beautiful work of art, and the epitome of turn-of-the-century design— made even more sensuous by being printed on silk. Est: $7,000-$9,000.
“This rare item turned up in the catalog of the Alexander Kaspar collection offered for sale... [in] 1983. Up to then, this image had been known only in an altered version which was used on the cover of the Champenois catalog of 1899; there, it has the word ‘Champenois’ in the circle around the girl’s head, and there is no calendarium at the bottom. To offer a supposition, Champenois probably had the design prepared with the blank calendarium in the
hopes of finding a client for it, and when the deal did not materialize, used it instead for the firm’s own catalogue. The pose is reminiscent of Reverie, in that it also shows a girl carelessly leafing through a printer’s sample book, letting some of the pages fall out while lost in thought” (Rennert/Weill, p. 226). This is one of only three known copies. Est: $17,000-$20,000.
318. Champenois Calendar. ca. 1898. 8 1⁄4 x 24 1⁄8 in./21 x 61.2 cm Imp. F. Champenois, Paris (not shown) Cond A/P. Framed. This is the only known copy of this design for a Champenois calendar. A typical Mucha maiden, dressed elaborately before a classic mosaic halo, holds a Zodiac globe. Metallic gold highlights add to the celestial quality; a blank calendarium at bottom is included. Rare!! Est: $17,000-$20,000.
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317
318
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319
321
Mucha
(Continued)
319. 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-LXXXV, 381 This is the brunette half of the Byzantine duo, with the decorative border. Est: $7,000-$9,000.
320. Salomé. 1897. 15 7⁄8 x 20 in./40.5 x 53.3 cm Imp. F. Champenois, Paris (not shown) Cond A/P. Ref (both var): Mucha/Bridges, R10c; PAI-LIX, 486 Mucha created this unbelievably seductive lithograph expressly for L’Estampe Moderne, a monthly portfolio of four lithographs issued between 1897 and 1899. His rendering of Salomé presents the legendary temptress as a Byzantine gypsy—wearing diaphanous apparel and raven tresses hung with rings, and plucking an ancient stringed instrument, no doubt to accompany herself in the “Dance of the Seven Veils.” This is an extremely rare version of this design printed on chine paper, with the publisher’s blindstamp from L’Estampe Moderne (see No. 425). Est: $3,000-$4,000.
321. Design for Musical Poster. ca. 1900. 11 1⁄4 x 15 1⁄2 in./28.6 x 39.4 cm Cond A. Framed. Ref: Mucha/Sarah Mucha, p. 58 (var)
320
This rare design is included in a book by Sarah Mucha. Aside from her title and date, there is no information that exists on this work or what Mucha had planned for it—but it’s a delightful sketch centering on an alluring young woman enraptured with nature. Est: $3,000-$4,000.
MUCHA | A-Z
322
323
324
322. Au Quartier Latin. 1898.
323. Máj. 1903.
324. Job. 1896.
12 1⁄8 x 16 3⁄4 in./31 x 42.5 cm Cond A/P. Ref: Lendl/Prague, 140; PAI-XXX, 588
9 1⁄ 8 x 12 1⁄ 8 in./23.2 x 30.7 cm Cond A. Ref: Mucha/Bridges, R26
This is one of three covers designed by Mucha for the periodical Au Quartier Latin. Paris’ Latin Quarter is shown allegorically as a woman draped in a regal flow of exquisite fabric, with some of her typical denizens crowding about her. Showered also with gold metallic ink, this “numéro exceptionnel” is also an exceptional Mucha design.
Máj (May) was a magazine published by the Association of Czech Fiction Writers from 1902 to 1915. It featured prose, poetry, travelogues, and regional reports. For the October 2, 1903 issue, Mucha has designed the cover with two demure women surrounded by flowers. This is the entire 34-page issue. Rare!
16 x 20 7⁄8 in./40.6 x 52.8 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-LXXXV, 369
Est: $1,000-$1,200.
Est: $2,000-$2,500.
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This is Mucha’s single most famous work, though it seems impossible that such flamboyant effort would be devoted to selling cigarette papers. But the exotic tendrils of her hair conjure up the fractal whorls of smoke from an idle cigarette. The image is breathtaking; the beauty intoxicating. Photographs are seldom able to capture the metallic gold paint used for the hair, which gleams and radiates in the light, delivering an experience not unlike a religious icon. Est: $25,000-$30,000.
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325
326
328
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329
Mucha
(Continued)
325. Bohemian Heart Society. 1917.
327. Luchon. 1895.
328. Sea Holly. 1906.
16 7⁄8 x 27 1⁄2 in./43 x 69.8 cm Cond A-/Slight stains. Framed. Ref: Lendl/Prague, p. 283; Mucha/Bridges, CP12h
28 x 39 1⁄8 in./71 x 99.4 cm Imp. Camis, Paris Cond B+/Slight tears at folds and edges. Ref: Rennert/Weill, 6; Lendl/Prague, p. 107; Golden Age of Travel, 38; Chemins de Fer, p. 30; Reims, 900; PAI-LXXV, 387
11 5⁄8 x 27 3⁄8 in./29.5 x 69.5 cm Cond A-/Slight tears at edges. Ref (all var but PAI): Rennert/Weill, 80, Var. 2a; Lendl/Prague, p. 229; PAI-LXXXIII, 401
“The text under the reproduction of Mucha’s 1917 painting makes it clear that this was used as a certificate issued to donors contributing to this charity: ‘The Bohemian Heart National Aid Association designates... as a founding member.’ ‘The Bohemian Heart’ was something like the Red Cross, an organisation dedicated to helping the poor and needy” (Lendl/Prague, p. 282). In this case, the certificate is inscribed with the name of Josefa Boháce Hermanského and dated 1940. Rare! Est: $5,000-$6,000.
326. Letem Ceským Svetem. 1898. Each: 11 1⁄2 x 15 in./29.2 x 38 cm Publisher: Jos. R. Vilímek, Praha Excellent condition.
Mucha failed to sign this railway poster for the prestigious Pyrénées resort, thereby creating a bit of a mystery for this early design. It was later attributed by different authorities to Grasset and even Tamagno; yet the catalogue of the 1896 Reims poster exhibition credits Mucha correctly, and many decades later a preliminary sketch was found in his estate’s papers. Nevertheless, while he certainly created the man on the horse, the architectural renderings of the spa and casino on the right were most certainly done by a different artist. It’s one of Mucha’s most offbeat and unusual works. Est: $2,000-$2,500.
This is the “Sea Holly” half of Mucha’s “Heather and Sea Holly” set of decorative panels, which proved to be one of his most popular designs. “Both the plants and the costumes worn by the ladies are representative of two ancient seacoast provinces of northwestern France, Brittany and Normandy. Mucha himself, according to his son Jiri, always referred to the pictures as ‘la Bretonne’ and ‘la Normande’... The thistle depicted here, however, is a common European plant of the eryngo family named Sea Holly—the real thistle would be too prickly for the girl to carry in her hands without discomfort” (Rennert/Weill, p. 290). Est: $4,000-$5,000.
329. Ivy & Laurel. 1901. Each: 15 7⁄8 x 22 1⁄2 in./40.3 x 57 cm Imp. F. Champenois, Paris (not shown) Cond B/Slight tears and stains at folds and edges. Framed. Ref: Rennert/Weill, 76; Lendl/Prague, 227; PAI-LXXXV, 386
“A Flight Over the Czech World” is a two volume book with over 500 black and white photographs of Bohemia, Moravia, Silesia, and Slovakia. Mucha provided the cover design of an Art Nouveau goddess for both volumes, as well as original wrappers on Volume 1. Both volumes are in the original shipping cartons. Rare!
“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 [see No. 337]” (Rennert/Weill, p. 280).
Est: $4,000-$5,000. (2)
Est: $17,000-$20,000. (2)
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330
Mucha
(Continued)
330. Times of the Day. 1899. 30 1⁄4 x 24 3⁄ 8 in./76.8 x 61.9 cm Imp. F. Champenois, Paris (not shown) Cond A. Framed. Ref: Rennert/Weill, 62, Var. 1; Lendl/Prague, p. 214-215 (var); Wine Spectator, 77 (var); PAI-XXXVI, 437 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. Est: $20,000-$25,000.
MUCHA | A-Z
331
331. Times of the Day, On Silk. 1899. Each: 15 x 40 3⁄4 in./38 x 103.5 cm Imp. F. Champenois, Paris (not shown) A: Cond B/Tears at edges and horizontal fold. B: Cond B+/Slight tear at right edge. C: Cond A. D: Cond B/Slight tears at bottom. All framed. Ref (all var): Rennert/Weill, 62; Lendl/Prague, p. 214-215; Wine Spectator, 77; PAI-LXXXV, 377 This variant presents the lustrous Times of the Day printed on silk. Est: $25,000-$30,000. (4)
332. Lefèvre-Utile / Sarah Bernhardt. 1903. 20 x 27 3⁄8 in./50.7 x 69.6 cm Imp. F. Champenois, Paris Cond A. Framed. Ref: Rennert/Weill, 86; Lendl/Prague, p. 75; PAI-LXXX, 433 “A sensitive portrait of Sarah Bernhardt in a wistful pose from one of her major stage successes, La Princesse Lointaine, is used here to promote Lefèvre-Utile’s biscuits, with Sarah’s own handwritten testimonial: ‘I haven’t found anything better than a little LU—oh, yes, two little LU’” (Lendl/Prague, p. 74). It’s one of the earliest examples of a celebrity endorsement, proving that Bernhardt was not only a great actress, but a sharp businesswoman as well. Est: $7,000-$9,000.
332
A-Z | MUCHA
334 334. Mucha’s Easter Girl. 1906. 15 x 19 1⁄4 in./38.2 x 49 cm Cond A-/Horizontal fold. Framed. Ref: Mucha/Bridges, R32 Mucha designed this romantic image of his “Easter Girl” as the front page of the April 1, 1906 Easter Magazine section of Boston Sunday American. The text here calls Mucha “The Great Bohemian Artist.” The issue was published by the American Journal-Examiner. Rare! Est: $1,700-$2,000.
335. Exposition de St. Louis. 1903. 28 7⁄8 x 39 1⁄4 in./73.3 x 99.8 cm Imp. F. Champenois, Paris Cond A-/Unobtrusive folds. Framed. Ref: Rennert/Weill, 87 Var. 1; Lendl/Prague, p. 155; Mucha/Art Nouveau, 30; DFP-II, 650 (var); PAI-LXXIX, 400
Founded by Alexandre Bisquit in 1819, Cognac Bisquit has a long history of excellence, having been noted as a favorite of King George IV and Winston Churchill. Here, Mucha offers us one of his most alluring designs: the curvaceous blond, nestled in the privacy of the lush vines, coyly glances over her shoulder at us while she takes a sip of the beverage. This is one of only two known copies of the Cognac Bisquit used for the Chinese market. It employs the same bottle produced by Bisquit Debouche—and the same tempting drinker. The text in Chinese is a phonetic translation of Bisquit’s Brandy. Rare!
“The Mucha maiden holding hands with the Indian chief advertises the 1904 World’s Fair at St. Louis, Missouri, and invites the French traveler to take a journey involving six days by steamer and one day by train... The theme of the fair was science and industry, as shown in the circle at right. The star in it represents the rather unusual first day of the Fair, which demonstrated the sensitivity and scientific value of a rather new discovery of the time, the photocell. A photocell at the bottom of a long tube was aimed at a spot in the heavens where a bright star—Arcturus—would appear at the exact opening hour of the Fair. As the star’s light reached the photocell at the precise moment, it activated a switch which lit all the lights in the fair grounds” (Rennert/Weill, p. 310). Note the interesting marketing approach for this World’s Fair: in a typically American bent, size comparisons are listed for prior fairs in Philadelphia, Paris, and Chicago. This fair has the largest amount of real estate—in fact, twice the size of the 1893 Chicago show. For an official poster Proclamation for this event, see PAI-L, 111.
Est: $10,000-$12,000.
Est: $12,000-$15,000.
333
Mucha
(Continued)
333. Bisquit’s Brandy. 1899. 11 3⁄4 x 22 in./30 x 56 cm Imp. F. Champenois, Paris Cond A. Framed. Ref (all var but PAI): R/W, 61; Lendl/Prague, p. 99; PAI-LXXIX, 395B
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335
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336
Mucha
(Continued)
336. Le Pater. 1899. 11 7⁄8 x 15 3⁄4 in./30 x 40 cm Imp. F. Champenois, Paris Complete loose plates, with slight stains at edges of a few plates. Ref: Mucha/Art Nouveau, 72; Le Pater; PAI-LXX, 501 Consisting of a series of seven drawings, Le Pater is considered to be Mucha’s printed masterpiece, an intense visual study of the Lord’s Prayer. The seven verses of the prayer are represented here through Byzantine symbolism, and are executed and decorated in the very best Art Nouveau style. “In the context of Mucha’s oeuvre, this artistic and literary work combines in a fortuitously unique way his philosophy, imagination, talent, and skill; reflects his past achievements in decorative design, and is also a precursor of his future artistic developments... The ornamental pages of Le Pater allowed Mucha to represent the symbolism of the Lord’s Prayer in the extravagantly decorative style that made him famous... Without exception, the French critics perceived Le Pater as a work of art in its own right, noteworthy for its imagery and vision... In the increasingly materialistic world, it is important for man’s spiritual growth to contemplate works that are inspired by well-known text, and have the ability to enrich and invest it with additional meaning. Le Pater is one of such works; it challenges the imagination and the mind, and, as Mucha would have it, leads man towards the Light” (Le Pater, p. 10-20). This complete collection consists of the seven illuminated verses, the text and illustration pages, as well as the title and Amen page, in loose plates. Est: $14,000-$17,000.
MUCHA | A-Z
337
337. Documents Décoratifs. 1902. 13 1⁄8 x 18 in./33.3 x 46 cm Complete; loose plates in original binding; worn cover; 72 excellent plates. Ref: Lendl/Prague, p. 246-250; PAI-XVIII, 392 “Documents Décoratifs, published in 1902 by the Librairie Centrale des Beaux-Arts, was Mucha’s artistic creed, and a book that authoritatively set down the precepts of Art Nouveau and its decorative elements. It was used for years by many art schools as a textbook and influenced a whole generation of artists” (Rennert/Weill, p. 288). In it, Mucha exemplifies the highest Art Nouveau standards for the most ordinary objects in life, from tableware to wallpaper to menus and jewelry, to floral applications of all kinds and, yes, even giving us two lessons on poster design, one for a liqueur and another to promote the book itself. Mucha’s object in all this was simple and direct: “More and more frequently, I was asked to design all sorts of objects in every type of material from wood, gold, and ceramics to paper and tapestry. It was impossible to meet all these requests so I decided to publish a special work containing decorative elements and items where these elements could be used so that everybody would find what he wanted ready made... Of course I imagined quite wrongly that now I would be left in peace. Not at all. I started getting even more requests from people who wanted jewelry or some other things that the others hadn’t got” (Jiri Mucha, p. 137-138). Rare! Est: $25,000-$30,000.
A-Z | NITSCHE - PAL
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338
Erik Nitsche
(1908-1998)
339
Alfred Ost
(1884-1945)
338. General Dynamics / Hydrodynamics. 1955.
339. Bruxelles / Théâtre Royale de la Monnaie. 1926.
35 1⁄4 x 50 1⁄4 in./89.5 x 127.5 cm R. Marsens, Lausanne Cond A/P. Ref (all var but PAI): Modern American Poster, 82-84; Modern Poster, 209; Images of an Era, 22; Encyclopedie/Weill, p. 104; PAI-LXXV, 401
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-LXXXV, 402
Possibly the most famous image in the series, “It was an indelible logo in its day... the shell was a virtual cornucopia of progress” (I Heart Design, p. 55). “The symbol of our progress is the great atomic submarine ‘Nautilus,’” General Dynamics’ CEO said, downplaying the global nuclear strategy of which submarines were a part. The text is in French, in homage to Jules Verne’s “Twenty Thousand Leagues Under the Sea,” from which the Nautilus is named. The USS Nautilus (SSN-571) is a National Historic Landmark permanently berthed as a museum in Groton, Connecticut. Est: $3,000-$4,000.
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: $2,500-$3,000.
NITSCHE - PAL | A-Z
340
Pal
341
(Jean de Paléologue, 1860-1942)
340. Rayon d’Or. 1895.
341. Olympia / Brighton. 1893.
31 1⁄2 x 47 3⁄4 in./80 x 121.4 cm Imp. Paul Dupont, Paris Cond A-/Slight stains in margins. Ref: DFP-II, 688; Reims, 951; Timeless Images, 22; Weill, 71; Femme s’Affiche, 154; Wine Spectator, 129; Masters 1900, p. 32; Gold, 21; PAI-LXXXIII, 419
32 x 48 3⁄4 in./81.4 x 124 cm Imp. Paul Dupont, Paris Cond A-/Unobtrusive folds. Ref: Maitres, 35; Maindron 1896, 99; Dance Posters, 33; Reims, 929; Spectacle, 1279; Femme s’Affiche, 63; Gold, 162; PAI-LXXXIV, 405
“Rarely has a product so humdrum as a kerosene lamp been promoted with such uninhibited zest—but then Pal, given free rein to his imagination, could be relied on to come up with something featuring one of his incomparably alluring nymphs every time. The secret of his success is the fact that even though he makes it clear in some way... that these are purely imaginary spirits, the loving care with which he draws every curve and flesh tone gives them a sensuality much too solid for make believe” (Gold, p. 17).
Just as Pal was arriving to Paris from London, the Olympia was opening its doors to the public. Here, he’s clearly enjoying introducing two Parisian cancan girls to the seashore along Brighton’s famous pier to promote Leopold Wenzel’s “grand ballet.”
Est: $2,000-$2,500.
Est: $2,000-$2,500.
A-Z | PAL - PROUVÉ
342
Pal
343
(Continued)
342. Folies-Bergère / La Loïe Fuller. 1897.
343. Folies-Bergère / La Loïe Fuller. 1897.
25 3⁄8 x 36 3⁄8 in./64.5 x 92.5 cm Imp. F. Hermet, Paris Cond B+/Slight tears at folds. Ref: Spectacle, 1140; Loïe Fuller/Current, p. 144e; PAI-XIV, 391
25 3⁄8 x 36 in./64.5 x 91.5 cm Imp. F. Hermet, Paris Cond A-/Unobtrusive folds. Ref: Loïe Fuller/Traces, p. 14; Loïe Fuller/Current, p. 144e; PAI-LXXXIV, 407
This is one of five spectacular designs by Pal—and the rarest of the bunch—for this great American dancer from Fullersburg, Illinois. She created a psychedelic show (decades before the word was even invented) by dancing in gauzy fabrics under many-colored spotlights, and made such a hit in Paris in 1892 that she settled there permanently. Every posterist of note, from Chéret to ToulouseLautrec, tried his hand at capturing the dazzle of her performance—but Pal managed to depict her perhaps most spectacularly.
One of the most iconic images of Loïe Fuller, Pal’s illustration catches both aspects of Fuller’s spectacle: the upsweep of the arms in her draperies, like the Winged Victory of Samothrace in kinetic action; along with the illusion of fire created by her lighting effects. It’s a most sensuous image, illuminating the dancer bare-breasted, yet whirling in fabric.
Est: $6,000-$7,000.
Est: $6,000-$7,000.
PAL - PROUVÉ | A-Z
344
345
René Péan
346
(1875-1940)
Gertrud Pfeiffer-Kohrt
(1875-1939)
344. A la Place Clichy. 1898.
346. Breslauer Festwoche. 1909.
34 3⁄ 8 x 49 3⁄8 in./88.5 x 125.5 cm Imp. Chaix, Paris Cond A-/Unobtrusive folds. Ref: Gold, 115; PAI-LXXXIII, 425
24 1⁄ 8 x 35 1⁄ 2 in./61.2 x 90.2 cm Klein & Volbert, München Cond A/P.
Announcing new clothes for spring, along with the arrival of fresh violets and mimosa flowers from the Riviera, this work is a lively document of the styles—and lifestyles—of the era. Péan was a pupil of Chéret’s and worked under him at the Chaix printing firm; this piece definitely reflects the master’s influence. He specialized in theatre and cabaret posters from around 1890 to 1905. After being among the first to produce posters for the fledgling movie industry, he faded into obscurity.
In 1871, Breslau was the sixth-largest city in the German Empire. A historically German region, it was the center of German Baroque literature during the Enlightenment period. Following World War II, the region was incorporated into Poland and renamed Wrocław. Here, Pfeiffer-Kohrt offers up a jubilant prewar celebration in the historic city. The “Fest Week” included sports, games, and art; her adorable child and baby goat must have been a wonderful incentive to attend. Est: $1,700-$2,000.
Est: $1,700-$2,000.
345. La Danseuse : Painting. ca. 1919. 18 x 21 1⁄2 in./45.6 x 54.6 cm Hand-signed oil painting on canvas. Framed. Ref: PAI-LV, 433 One of a handful of Arabian-themed dancers painted by the prolific posterist Péan, all the women from this series glance off to the right, their bodies arched in every direction as colorful bits of fabric billow out behind them. This performer is the most sultry of the bunch, scantily clad and proudly displaying her graceful limbs. Est: $2,000-$2,500.
347
Victor Émile Prouvé
(1858-1943)
347. Cartes Bergeret. ca. 1903. 29 3⁄8 x 41 1⁄4 in./74.6 x 105 cm Imp. Draeger, Paris Cond B/Slight tears at folds and corners. Ref: PAI-LXXXIII, 437 A whirlwind of posters, placards, handbills, and postcards celebrates the art of printing—specifically, the work of Albert Bergeret. Prouvé had painted their family portrait the previous year, and Bergeret returned to him for this promotion. At the beginning of the 20th century, A. Bergeret & Cie. was already an internationally renowned company that specialized in collotype work and fantastical postcards. By 1903, they produced 75 million cards, as well as tourist albums, brochures, and other publications. This poster is signed “d’après Prouvé.” Est: $1,000-$1,200.
A-Z | REB - ROBYS
349
348
Reb
George Renevey
348. Le Cubisme : Maquette. 1912.
350. American Export Lines. 1954.
23 x 30 1⁄2 in./58.5 x 77.5 cm Hand-signed gouache and ink maquette.
25 1⁄4 x 39 1⁄4 in./64.2 x 99.7 cm Publicitor, Nice Cond A.
We’re all familiar with the starving artist trope, but did you know that some artists get their nourishment right from the artistic movement? Reb seems to think that Cubism will “feed her man,” and although we have no idea what on earth this design is meant to advertise, it’s a fun exercise in humorous surrealism.
(1915-?)
Reinoso
One of the greatest modern indulgences of a cruise ship to warmer climates is air-conditioning, which Renevey makes sure to point out in this sunny design. From 1919 to 1977, American Export Lines was the leading U.S. shipping company between the East Coast and the Mediterranean. Their most famous liners, the SS Constitution and SS Independence, also get a mention here. Renevey was a type designer and graphic designer who created a number of posters for this company.
349. Boris Kniaseff. ca. 1926.
Est: $1,200-$1,500.
Est: $2,500-$3,000.
46 ⁄2 x 62 ⁄8 in./118 x 159 cm Affiches Gaillard, Paris Cond B/Slight tears, largely in text area. Ref: PAI-LXXXIV, 416 1
350
5
Emigrating from Russia to Paris in 1924, Boris Kniaseff quickly became known as both a gifted dancer and teacher, developing the floor barre method that is still used today. Here, his lithe form is contorted to promote an Egyptian themed ballet, much in tune with the lavish Oriental style of the Ballet Russe. Est: $1,500-$2,000.
Louis J. Rhead
(1858-1926)
351. Mandeville and King / Superior Flower Seeds. 1897. 18 1⁄4 x 29 in./46.3 x 73.7 cm J. Ottman, New York Cond B-/Tears and stains at fold and edges. Framed. Ref: Margolin, p. 183; PAI-LVIII, 177 With a heavy nod to Grasset, this intricate and contemplative design for Mandeville and King flower seeds delicately portrays the romanticization of nature so popular at the time. Est: $1,700-$2,000.
351
REB - ROBYS | A-Z
352
Oliva Robain 352. Cuba / Just a Hop. ca. 1950. 21 x 30 1⁄4 in./53.3 x 76.8 cm Artes Graficas, Habana Cond B+/Slight tears at edges. Ref: PAI-XXXIII, 516 Despite the contemporary political malaise between the United States and Cuba, it was not that long ago that the largest of the West Indian islands was the Caribbean vacation destination of choice for many Americans, due in large part to its geographic proximity—a scant 90 miles from Key West—and a reputation as a hedonistic bastion of tropical indulgence. The country attracted celebrities like Ava Gardner, Frank Sinatra, and Ernest Hemingway; by the 1950s, the average American could book a $50 round-trip ticket from Miami. This all-American duo is all too eager to hop over and experience the pre-Castro delights for themselves. Est: $1,200-$1,500.
Manuel Robbe
(1872-1936)
353. Corsets “Le Furet.” 39 1⁄4 x 55 in./99.6 x 139.8 cm Affiches Atlas Cond A-/Unobtrusive folds. Ref: PAI-LXXXIV, 421
353
For Le Furet corsets, Robbe gives us a wistfully intimate portrait of a woman at her vanity, exquisitely detailed and frosted with the romance of midsummer hues. It’s a gorgeous design, from the silver-topped crystal jars on the dressing table to the unaffected demeanor of his primper. Robbe was known mainly for producing a great many decorative prints in a bold, robust style. His posters are rare, and show an incredible flair for compositions and use of simple colors. Est: $4,000-$5,000.
Robys
(Robert Wolff, 1916-?)
354. Bitter Secrestat. 1935. 78 x 50 1⁄2 in./198.2 x 128.3 cm L. Marboeuf, Paris Cond A-/Unobtrusive folds. Ref: Karcher, 132; Apéritif, 72; PAI-LXXXIV, 422 This dynamic design announces a beverage claiming to be the oldest form of Gentian mixer. Est: $2,000-$2,500.
354
A-Z | RODMELL - SCHWARZ
356
355
Harry Hudson Rodmell
(1896-1984)
Erik Rohman
(1891-1949)
355. Belfast-Liverpool.
357. Revolver Jane. 1919.
25 x 39 7⁄8 in./63.5 x 101.3 cm Carew Wilson Massey, London Cond A.
23 1⁄2 x 35 in./59.6 x 89 cm Skandinaviska Tryckeriet, Stockholm Cond B+/Folds; stain at top edge. P.
To advertise nightly passenger service (Sundays excepted) between Belfast and Liverpool, Rodmell depicts the Ulster Prince sailing off into the sunset. The Belfast Steam Ship Company was created in 1852; it was absorbed into P&O Ferries in 1895, but was allowed to keep its own name. Rodmell, after attending the College of Arts in his native Hull, worked extensively for the Swedish-American Line and for Norddeutscher Lloyd.
“Battling Jane” was the name of this 1918 American film, but the Swedish re-release opted to call it “Revolver Jane,” which is a much snappier title. Dorothy Gish stars as Jane, a young vagabond who moves to Maine, finds an abandoned child, and adopts it as her own. At a prize show for babies, her child takes the prize, which leads to some financial battles with the previously absent father. Rare!
Est: $2,500-$3,000.
357
Est: $1,200-$1,500.
Auguste Roedel
(1859-1900)
356. Chocolat Menier. ca. 1898. 35 3⁄4 x 49 1⁄2 in./90.7 x 125.7 cm A. Farradesche, Paris Cond A. Framed. Ref: Chocolate Posters, p. 16; PAI-LXXXIII, 444 In 1892, Firmin Bouisset introduced a young schoolgirl into Menier’s chocolate advertising (see No. 139) and it became one of the most popular poster characters of the period—so much so that even when other artists were used, the company insisted on using the girl. Obligingly, Roedel came up with a particularly winsome charmer in a polka-dot dress toting an oversized bar of chocolate. Roedel was a caricaturist, illustrator, watercolorist, and lithographer; he aligned himself in Paris with a group of Montmartre artists such as Willette, Léandre, and Caran d’Ache, supplied drawings for Le Courrier Français, and produced posters, mostly for the local cabarets and theatres. Est: $1,400-$1,700.
Rod Ruth
(1912-1987)
358. Go Greyhound / New York. ca. 1959. 29 3⁄8 x 39 5⁄ 8 in./74.5 x 100.6 cm Cond A-/1-inch tear at bottom edge. Ref: PAI-LXXIX, 465 While technically inaccurate, this idealized view of Central Park with the city’s skyline perfectly reflecting in a pond makes New York seem like a metropolis with the best of both worlds. Est: $1,700-$2,000.
358
RODMELL - SCHWARZ | A-Z
359
361
Raymond Savignac
(1907-2002)
360
Walter Schnackenberg
(1880-1961)
Schwarz
359. Collie. 1952.
360. Odeon Casino. 1912.
361. Süddeutsche Zeitung.
23 1⁄4 x 34 in./59.2 x 86.2 cm Cond A. Ref: Savignac/Affichiste, 107
35 1⁄8 x 46 3⁄8 in./89.2 x 118 cm Consée, München Cond A. 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-LXXXV, 427
33 x 46 1⁄8 in./83.8 x 117 cm Cond B+/Horizontal folds.
Savignac is the enfant terrible of French poster art, who, along with Villemot, had more impact on that country’s mid to late 20th century graphics than any other artist. As for his style, there are no displays of technical virtuosity that might compete with his undeniable wit— only disarmingly simple, almost childish brushwork, basic colors, and uncluttered design. For Germany’s Collie cigarettes, he created a series of designs, each featuring a single figure, with cigarettes acting as building blocks for specific forms. Est: $1,200-$1,500.
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). Est: $25,000-$30,000.
“Anyone who studies the SZ every day is always well informed.” The slogan is certainly catchier in the original German, but no translation is needed to appreciate the adorable newspaper-toting dog gazing up at us. Munich’s Süddeutsche Zeitung ran its first issue in 1945, and today it’s one of the largest daily newspapers in Germany. Est: $1,000-$1,200.
A-Z | SENTREIN - STEAD
REGISTER FOR ONLINE BIDDING AT POSTERAUCTIONS.COM
362
363
J. Sentrein
J. Spring
362. Oostende Dover.
363. Cognac Sorin. 1930.
25 ⁄2 x 39 ⁄2 in./64.8 x 100.4 cm Phoebel, Bruxelles Cond A. Ref: PAI-XXVII, 585 (var)
45 3⁄4 x 61 3⁄ 8 in./116.2 x 156 cm Imp. P. Vercasson, Paris Cond A. Ref: PAI-LXXIX, 477
To advertise the Belgian channel ferry service, Sentrein depicts a spiffy family decked out in their seagoing finery. The ferry line, under the auspices of the Belgian state Railroad and Mail Boat Service, offered two daily crossings in a leisurely three hours.
In a design obviously influenced by Cappiello, an enamored Pierrot toasts the night sky with a glass of Cognac Sorin. The odd perspective adds interest and gives the image a capricious, mysterious quality. A printed notation next to Vercasson’s name in the margin indicates “4e Édition Décembre 1930.”
1
1
Est: $2,000-$2,500.
Est: $4,000-$5,000.
SENTREIN - STEAD | A-Z
364
366
365
G. Stadler
J. Stall
364. Cosi Fan Tutte. 1955.
365. Champagne Joseph Perrier. ca. 1929.
366. Newfoundland Salmon. ca. 1929.
27 ⁄8 x 33 ⁄8 in./80.8 x 84.2 cm Plakat-Wurm, München Cond B+/Slight tears at folds.
46 ⁄4 x 62 ⁄ 2 in./118.8 x 158.7 cm B. Sirven, Paris Cond A-/Slight creases. Ref: Publicité, p. 82; PAI-LXXIV, 435
19 7⁄8 x 29 7⁄8 in./50.5 x 76 cm John Horn Ltd., London Cond B/Slight tears at folds.
7
1
An elegant harlequin invites us to attend a night of opera in Munich’s Nymphenburg Palace park. The program features Mozart’s “Cosi Fan Tutte” and Strauss’ “Eine Nacht in Venedig.” Est: $800-$1,000.
3
(1874-1933) 1
Established in 1825, the champagne house of Joseph Perrier is still in production today. Here, in one of the more famous champagne posters, a bunch of grapes has come to life, holding a bottle of her destiny aloft. Est: $2,500-$3,000.
P. H. Stead
A very realistic rendering of a wild salmon urges us to buy the omega-rich fish from Newfoundland. Along with Labrador, these two regions make up 60% of North America’s wild Atlantic salmon population, and as the text here reminds us, these specimens promise both “richness and flavour.” Est: $800-$1,000.
A-Z | STEINLEN
367
Théophile-Alexandre Steinlen
(1859-1923)
367. Motocycles Comiot. 1899. 53 3⁄4 x 77 in./136.5 x 195.6 cm Imp. Charle Verneau, Paris Cond A. Framed. Ref: Bargiel et Zagrodzki, 36A1; Crauzat, 506; DFP-II, 792; Petite Reine, 35; Ailes, p. 23 (var); Posters of Paris, 86; PAI-LXXVI, 426 Based off of models by Dion-Bouton, Comiot Cycles was a short-lived brand produced around the turn of the century. “For Comiot, Steinlen signs one of his most famous works. The machine, a motorized bicycle, is barely visible in the composition, but the sensation of speed is very present: the movement of the scarf and the long dress; the noisy flight of the frightened geese. Thanks to this engine, the young woman, though haughty, crosses the countryside with elegance and ease. In the background, Steinlen evokes... with a vigorous line a couple of peasants in the fields, bent over their hoes: one immediately thinks of the compositions of Millet or the sketches of van Gogh. The political commitment, the sensitivity of the artist, and his animal talent are reflected in the realism of this poster” (Ailes, p. 22). This is the larger, two-sheet version. Est: $25,000-$30,000.
STEINLEN | A-Z
368
369
368. Le Journal / Les Mystères de la Tour Pointue. 1899. 23 1⁄2 x 31 3⁄4 in./59.8 x 80.5 cm Imp. Charles Verneau, Paris Cond B+/Unobtrusive folds; slight tear at left edge. Ref: Bargiel & Zagrodzki, 38B; Crauzat, 506; Fit to Print, 9; PAI-LXXXII, 438 Based on the memories of a retired police chief, “Les Mystères de la Tour Pointue” (Mysteries of the Pointed Tower) is one of many autobiographical installments in this series which ran for at least two years in Le Journal. Each involved some sort of gruesome murder, such as the one portrayed here in which a dastardly pair strangle an elderly gentleman, presumably over what is or is not written on the pages placed on the table. Est: $1,000-$1,200.
369. Lait pur Stérilisé. 1894. 37 3⁄4 x 55 1⁄8 in./96 x 140 cm Imp. Charles Verneau, Paris Cond B+/Restored tears at left edge. 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-LXXXV, 438 All the warmth, humanity, and affection for which Steinlen is so loved comes through gloriously in this poster for the newly marketed “lait stérilisé” that was touted over the “lait ordinaire” at that time. Charles Knowles Bolton, writing a year after its publication, proclaimed that this “is perhaps the most attractive poster ever made. No man with half a heart could fail to fall in love with the child.” Louis Rhead himself commented: “When I saw it in Paris last year... it seemed to me the best and brightest form of advertising that had appeared.” This printing has excellent colors! Est: $12,000-$15,000.
370. Seamstress : Drawing. 13 3⁄4 x 17 3⁄ 8 in./35 x 44 cm Signed pencil drawing. Framed. Steinlen provides us with an intimate scene of a woman quietly sewing in her room. On the verso, a rough sketch shows a woman stretching from behind. Est: $3,000-$4,000.
370
A-Z | STEVENS - TAMAGNO
373
Leopold Stevens
(1866-1935)
371. La Goualeuse / Eugénie Buffet. ca. 1898.
371
31 7⁄ 8 x 47 in./81 x 119.5 cm Imp. Charles Verneau, Paris Cond A. Often depicted in posters as sullen, introverted, and battling the elements, chanteuse Eugénie Buffet ramps up the drama in this promotion for her play at the Théatre des Bouffes du Nord. Dressed in all black and balancing on the edge of the Seine, she gazes up into the night sky, perhaps contemplating her fate. In 1898, Cosmopolis magazine summed up the play as such: “The Bouffes du Nord, with La Goualeuse, by MM. G. Moret and A. Lévy, transports us into the world of pimps and girls. There are also a few honest people whom justice naturally takes for culprits; but in the end everything works out, the real culprit dies, and everyone seems happy to have heard La Goualeuse, Miss Eugénie Buffet, in the text and in the songs of her repertoire.” Rare!! Est: $2,000-$2,500.
Kay Stewart 372. 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: Voyage, 12; PAI-LXXXV, 441 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. Est: $2,500-$3,000.
Eduard Stiefel
(1875-1967)
373. Arosa. 1927. 35 3⁄ 8 x 50 in./90 x 127 cm Gebr. Fretz, Zürich Cond A-/Horizontal fold. P. Ref: PAI-XXI, 415 Stiefel studied lithography at the Kunstgewerbeschule in Zurich, where he later became one of its teachers. He painted portraits, landscapes, and even murals; designed stage decorations, illustrated books, and produced a number of posters. This design of a view through an open train window allows the artist to contrast the cool greens, blues, and lavenders of the passing landscape with a bright red dress on his traveler.
372
Est: $1,400-$1,700.
STEVENS - TAMAGNO | A-Z
374
377
Émile Tabouret
(1850-1927)
374. Absinthinette. 1895.
375
37 1⁄ 8 x 51 1⁄4 in./94.4 x 130 cm Affiches Tabouret, Paris Cond A-/Unobtrusive folds. Ref: Absinthe Affiches, p. 41; PAI-LXX, 654 First formulated around 1890, Absinthinette was an alcohol-free, powdered absinthe which one could add to water for a refreshing drink. (Although that takes all of the fun out of absinthe, doesn’t it?) Here, additional flavors such as anise, lemon, and mint are also offered. Est: $1,700-$2,000.
Francisco Tamagno
(1851-1933)
375. L’Absinthe Cusenier Oxygénée. 1896. 36 3⁄8 x 49 3⁄4 in./92.4 x 126.4 cm Imp. Camis, Paris Cond A-/Unobtrusive folds. Framed. Ref: DFP-II, 807; Reims, 1042; Absinthe, p. 107; Boissons, 285; PAI-LXXVII, 373 A young woman peering into a cafe window gets an invitation from the actor Albert Brasseur to join him as he goes through the ritual of preparing a glass of absinthe. This is the larger format. Est: $2,000-$2,500.
376
376. Cachou Lajaunie. ca. 1900. 38 1⁄2 x 51 in./97.7 x 129.5 cm B. Sirven, Toulouse Cond A-/Slight tears and stains at top edge. Ref: Health Posters, 220; PAI-LXXXIV, 448 Tamagno’s truly remarkable work here is in the background. Each one of the six gentlemen is a fully formed, individual personality—despite representing “a sample of the professions where the Cachous were deemed particularly indispensable, notably: chauffeurs... racing cyclists, magistrates and tobacco vendors.” Their winning smiles and witty glances show Tamagno’s “great technical virtuosity, and faultless artistic sense” (Health Posters, p. 169) in promoting breath fresheners for tobacco smokers. Est: $1,700-$2,000.
377. Naumann. ca. 1900. 46 5⁄8 x 62 3⁄4 in./118.5 x 159.3 cm Affiches Camis, Paris Cond A. As the moon beams down above Paris rooftops, our friend Pierrot watches on excitedly while his friend mends his beloved jacket. Launched in Dresden in 1868 by entrepreneur Karul Robert Bruno Naumann, the company would eventually be renamed Seidel & Naumann for businessman/investor Erich Seidel. The company, which lasted until 1992, was one of the largest producers of not only sewing machines but also typewriters and even bicycles and motorcycles. Est: $2,500-$3,000.
A-Z | TAMAGNO - TOULOUSE-LAUTREC
378
379
380
Tamagno
(Continued)
378. Marra. ca. 1905. 38 1⁄2 x 53 1⁄2 in./97 x 136 cm La Lithographie Parisienne, Paris Cond A-/Slight tears in top text area. Ref: Gold, 48; PAI-LXXVIII, 455 In the Southern French dialect of the region where Marra is produced, the woman pouring the “apéritif without rival” exclaims that she drinks Marra not only to stay beautiful, but to stay healthy. Est: $1,400-$1,700.
H. Tanconville (Henri Ganier, 1845-1936) & H. Gray (Henri Boulanger, 1858-1924)
Fred Taylor
379. Vichy. ca. 1898.
49 1⁄2 x 39 1⁄2 in./125.7 x 100.3 cm Charley & Pickersgill, Leeds Cond A-/Slight tears at edges. Framed. Ref: PAI-XXXII, 523
29 x 41 ⁄8 in./73.5 x 104.4 cm Imp. Courmont Frères, Paris Cond A. Ref: PAI-LXVIII, 407 1
Sponsored by the PLM, this painterly design for the French spa town of Vichy promotes its fashionable daytime vistas. Est: $1,400-$1,700.
(1875-1963)
380. Harrogate / L.N.E.R.
This LNER destination poster captures the sumptuous sophistication of the Royal Hall located in the elegant spa town to the north of Leeds. The text here tells us to “Come for Health — Stay for Pleasure.” But the design, which seats us in the upper orchestra of the theatrical venue, is definitely showcasing the “pleasure” portion of Harrogate; the “health” aspect can be addressed later. Now if only these latecomers would sit down already so that the rest of us can enjoy the show! Known for his prolific works for railway and shipping clients, Taylor is also considered one of the principal, and finest, designers for the London Underground. Rare! Est: $5,000-$6,000.
HENRI DE TOULOUSE-LAUTREC
381
Henri de Toulouse-Lautrec
(1864-1901)
381. La Revue Blanche. 1895. 36 3⁄4 x 51 in./93.4 x 129.6 cm Imp. Edw. Ancourt, Paris Cond A. Ref: Wittrock, P16B; Adriani, 130-II; Driehaus, p. 117; PAI-LXXXV, 460 “This official poster for La Revue Blanche is considered by many to be Lautrec’s strongest individual work. In it, using a combination of economical line and implied movement, large flat areas of color and carefully observed detail, he shows Misia Natanson, wife of the magazine’s editor, Thadée Natanson, ice-skating at the Palais de Glace, an ice rink opened at the Rond-Point des Champs-Élysées by Jules Roques in 1894. The entire poster is like a little joke, as if Lautrec were amusing himself by proving that he could show an ice-skater without ever showing her skates” (Frey, p. 408). Est: $17,000-$20,000.
A-Z | TOULOUSE-LAUTREC
382
TOULOUSE-LAUTREC | A-Z
383
Toulouse-Lautrec
(Continued)
382. Moulin Rouge / La Goulue. 1891.
383. La Goulue : Drawing. 1892.
48 3⁄4 x 67 1⁄4 in./124 x 171 cm Imp. Ch. Levy, Paris Cond A-/Slight tears at top edge. Framed. Ref: Wittrock, P1B; Adriani,1; DFP-II, 822; Maitres, 122; Wagner, 1; Weill, 46; Wine Spectator, 40; PAI-LXXXIV, 452
4 x 6 1⁄2 in./10 x 16.3 cm Pencil on paper with red monogram stamp at lower left. Framed. Ref: Dortu, Vol. V, No. D3.311, p. 547
Both Lautrec’s first poster as well as his first lithograph, the Moulin Rouge design marked not only a new direction for the artist, but for art and advertising in general. It is a masterpiece in every respect of the word, magnificently capturing the essence of two popular performers at the music hall: the dancer La Goulue and her partner Valentin le Désossé. By leaving the paper blank, Lautrec captures at dead center the heart and soul of the cancan: the rush and swirl of layer upon layer of lacy petticoats, erotically calling to the viewer. In a letter to his mother, Lautrec wrote: “I am still waiting for my poster to come out—there is some delay in the printing. But it has been fun to do. I had a feeling of authority over the whole studio, a new feeling for me” (Lautrec by Lautrec, p. 90). This is the two-sheet version of the poster, without the top text banner. It should be noted that this is the way that it was sold in the 1890s. With the missing banner, it would have been too large for the print galleries and print collectors who began the collecting craze of the era. And how prized was this image at the time? Arnould, in his 1896 catalogue, sold this two-sheet version for the highest price of any French poster: 25 francs, which was 10 times the price of the Elles poster and five times the price of La Revue Blanche. It was rare then—and it’s rarer still today! Est: $230,000-$250,000.
Provenance: Collection of Gabriel Tapié de Celeyran, cousin of Toulouse-Lautrec. Gutekunst & Klipstein, Bern. Galerie Michel, Paris. Fritz Gross Collection, London. Exhibited: “Henri de Toulouse-Lautrec, Gemälde, Zeichnungen, Monotypien, Lithographien, Radierungen, Plakate,” Ingelheim am Rhein, C. H. Boehringer Sohn, 1968. “Impressionist and Modern, The Art and Collection of Fritz Gross,” Ashmolean Museum, Oxford, 1990. “Like many of the cabaret dancers, [La Goulue, or The Glutton] had acquired her nickname as a descriptive term. It was given to her by the regulars at the dance hall, who said she was willing to try anything and showed a voracious appetite for all life’s pleasures, particularly food and drink. On occasion she was known to wander around the room emptying customers’ glasses. La Goulue’s real name was Louise Weber, and she had arrived fresh from the farm to make her way in Paris, where she had started out as a dancer in the Cirque Fernando aged about sixteen. A stocky strawberry blonde with a reputation for audacity, she was described variously as ‘a strange girl, with a vampire’s face, the profile of a bird of prey... who danced always with definite gestures’” (Frey, p. 190). Est: $100,000-$120,000.
A-Z | TOULOUSE-LAUTREC
384
Toulouse-Lautrec
(Continued)
384. Elles. 1896. 18 1⁄2 x 23 1⁄2 in./47 x 59.7 cm Cond A-/Slight stain at upper left corner. Framed. Ref: Wittrock, 155-III; Adriani, 177-IV; DFP-II, 842; Reims, 782; PAI-LXXXV, 459 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.
385
Est: $10,000-$12,000.
385. Elles. 1896. 18 1⁄2 x 23 7⁄8 in./47 x 60.6 cm Cond A. Framed. Ref: Wittrock, 155-III; Adriani, 171-III; DFP-II, 842; Reims, 782; PAI-LXXI, 515 This is the rare before-letters version of the previous poster. Est: $17,000-$20,000.
386. Elles / Femme au Plateau, Petit Déjeuner. 1896. 20 3⁄8 x 15 3⁄4 in./51.7 x 40 cm Cond A. Framed. Ref: Wittrock, 157; Adriani, 173 One of the 100 copies in the Elles suite, this image shows “Juliette Baron carrying the breakfast tray and her daughter Paulette, Mademoiselle Popo, both of whom worked in the brothel in the Rue des Moulins” (Adriani, p. 230). This is numbered 60 with Lautrec’s red monogram stamp and publisher Pellet’s stamp, all printed on a Pellet-watermarked sheet. Est: $20,000-$25,000.
386
TOULOUSE-LAUTREC | A-Z
387 387. The Ault & Wiborg Co. 1896. 11 3⁄4 x 15 3⁄4 in./30 x 40 cm Courier Lithographic Co., Buffalo (not shown) Cond A. Framed. Ref: Wittrock P28C; Adriani, 196-III; Wagner, 27; Posters of Paris, 98; DFP-II, 847; PAI-LXX, 666 Lautrec’s smallest poster is also the only one executed by him on zinc plates and the only one printed in the United States. He sent the plates to the Cincinnati ink and printing company, Ault and Wiborg, who commissioned it from him. It represents the actress Emilienne d’Alençon and Lautrec’s cousin, Dr. Gabriel Tapié de Céleyran, in a loge. Lautrec also printed a small edition under the title “Au Concert” in Paris. Est: $30,000-$40,000.
A-Z | TOULOUSE-LAUTREC
388
Toulouse-Lautrec
(Continued)
388. The Chap Book. 1896. 21 3⁄4 x 14 3⁄4 in./54.3 x 37.5 cm Cond A. Framed. Ref: Wittrock, P18A; Adriani, 139-I; Wagner, 24 (var); DFP-II, 846 (var); Wine Spectator, 51 (var); PAI-LXXXII, 459A Toulouse-Lautrec may have been embedded in raffish Montmartre, but from 1894 onwards, he’d descend every afternoon to hold court at the Irish and American Bar, at 33 rue Royale in the upscale Right Bank. Behind the gleaming mahogany bar, a Chinese-Indian bartender named Ralph maintained the establishment with stoical calm as he served the British jockeys and trainers who frequented the house. For ToulouseLautrec, this was his home-away-from-home, and he “presided over the clients in the bar as he had over his house guests, insisting to Ralph that people he didn’t like not be admitted” (Frey, p. 390). This scene proved irresistible to Stone & Kimball, the Chicago publishers of The Chap Book, a biweekly American literary magazine, who commissioned the piece from La Plume (which was provided by Lautrec). The poster was never used in the United States; possibly it was intended to promote the magazine’s sales in France. As Alain Weill indicates, “One hundred copies were run off but without any mention of the printer’s name” (Weill/Art Nouveau, p. 40). This is that rare version before letters, and the finest specimen we’ve ever seen! Est: $40,000-$50,000.
389. La Tige, Moulin Rouge. 1894. 10 1⁄8 x 13 5⁄ 8 in./25.7 x 34.6 cm Cond A. Framed. Ref: Wittrock, 63; Adriani, 97 Adriani translates this title to “The Stalk, Moulin Rouge,” although the Stalk in question remains anonymous. This is one of 100 numbered copies (#22) with Lautrec’s red monogram stamp.
389
Est: $8,000-$10,000.
TOULOUSE-LAUTREC | A-Z
390 390. La Vache Enragée. 1896. 22 3⁄8 x 30 3⁄4 in./56.8 x 78.2 cm Imp. Chaix, Paris Cond A-/Slight stains. Framed. Ref: Wittrock P27A; Adriani 165-II; PAI-LXXXII, 457 This is the rare first state of the design, before letters. The poster was created to advertise Willette’s magazine, La Vache Enragée, which lasted for only a single year. Wittrock, who rates the rarity of this state as “uncommon,” also indicates that “the image in the poster was drawn by Toulouse-Lautrec in imitation of the style of A. Willette” (p. 808). As Ebria Feinblatt points out, “La Vache Enragée was also the name of the yearly fête held by writers and artists at Montmartre to mark their low economic status” (Wagner, p. 29). This is one of the few Lautrec posters with movement: the runaway cow is the centerpiece of a remarkable caricature depicting sheer panic in some and curious complacency in others—an obvious reflection of the world that swirled around the artist. Est: $25,000-$30,000.
A-Z | TOULOUSE-LAUTREC
391
Toulouse-Lautrec
(Continued)
391. La Loge au Mascaron Doré. 1894. 11 1⁄2 x 16 5⁄8 in./29.2 x 42.2 cm Imp. Edw. Ancourt, Paris (not shown) Cond A. Framed. Ref: Wittrock, 16; Adriani, 69-I; PAI-LXXXV, 452 “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 numbered and hand-signed copies with the Kleinmann blind stamp. Est: $35,000-$40,000.
TOULOUSE-LAUTREC | A-Z
392 392. Folies-Bergère / Les Pudeurs de Monsieur Prudhomme. 1893. 11 x 15 in./28 x 38.2 cm Cond A. Framed. Ref: Wittrock, 36; Adriani, 51 “This lithograph depicts a scene from the pantomime ballet, Bal des Quatr’z’ Arts, at the Folies-Bergère. It was reproduced in L’Escarmouche, No. 6, on 17 December 1893, with illustrations by Hermann Paul, Vallotton and Ibels” (Adriani, p. 85). This is one of 100 numbered impressions, with Lautrec’s red monogram stamp.
393
Est: $4,000-$5,000.
393. Aristide Bruant Dans Son Cabaret. 1893. 37 7⁄8 x 52 3⁄4 in./96.2 x 134 cm Imp. Charles Verneau, Paris Cond B/Restored tears at edges. Framed. Ref: Wittrock, P9A; Adriani, 12-I; Wagner, 10; DFP-II, 827 (var); PAI-LXXXIII, 469 Bruant’s strong, forceful, and in many ways vulgar style was ideally suited to the intimate cabarets where fashionable society went “slumming” for thrills. Lautrec captures this brutal quality of the entertainer and the disdain with which he treated his audiences by having him show us the broad of his back. The red scarf forms an exclamation point that punctuates the black expanse while the pose itself makes a complete, self-contained statement—Toulouse-Lautrec at his very best. This is the rare proof before the addition of letters. Est: $30,000-$40,000.
394. Théâtre Aristide Bruant. 1893. 23 1⁄4 x 31 3⁄4 in./59 x 80.6 cm Imp. Chaix, Paris Cond A. Framed. Ref: Wittrock, P10B; Adriani, 57-III; PAI-LXXVI, 444 This is the very rare version (both Wittrock and Adriani recognize only two known copies) of the famous image of the chansonnier Bruant with text announcing the opening of his new cabaret. What distinguishes it is Bruant’s insolent stance: the point being made is that we can recognize the famous performer not only despite his turning his back on us, but because of it. Est: $8,000-$10,000.
394
A-Z | TOULOUSE-LAUTREC
395
TOULOUSE-LAUTREC | A-Z
Toulouse-Lautrec
(Continued)
395. L’Artisan Moderne. 1896. 24 7⁄8 x 35 3⁄4 in./63.2 x 91 cm Imp. Bourgerie, Paris Cond A. Framed. Ref: Wittrock, P24A; Adriani, 59-II; Wagner, p. 13; PAI-LXXXV, 449 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).
396
Est: $25,000-$30,000.
396. Divan Japonais. 1893. 23 3⁄4 x 31 3⁄ 8 in./66.3 x 79.7 cm Imp. Edw. Ancourt, Paris Cond A-/Slight stains at edges. Framed. Ref: Wittrock, P11; Adriani, 8; DFP-II, 824; Maitres, 2; Wagner, 3; Modern Poster, 5; Wine Spectator, 42; Posters of Paris, 92; Lautrec/Montmartre, 164; Reims, 780; PAI-LXXXIV, 463 Pictured at the Divan Japonais café concert, Jane Avril “appears to be almost smiling, as if the whole thing were an inside joke. Jane is accompanied—or, more likely, being accosted—by noted critic Edouard Dujardin, no doubt with amorous intentions, but Avril’s faintly bemused expression indicates that she is used to this, and will be able to handle him without any trouble. Note that the performer—although it is a great celebrity, the famous Yvette Guilbert—is not the focus of the poster, and Toulouse-Lautrec makes sure of it not only by placing her somewhat indistinctly in the poorly lit background, but even by going to the length of deliberately cutting her head off... Toulouse-Lautrec has made good use of spatter, a technique which adds another dimension to poster art: here, for example, it effectively separates the solid black of Jane’s dress from the less important dark mass of the bar and the orchestra” (Wine Spectator, 42). Est: $20,000-$25,000.
397. L’Argent. 1895. 9 3⁄8 x 12 1⁄ 2 in./23.8 x 31.8 cm Imp. Eugène Verneau, Paris Cond A. Framed. Ref: Wittrock, 97 (theatre program edition); Adriani, 133-II; PAI-LXXXIV, 466 A program for the comedy L’Argent (Money) by Émile Fabre is distinctly uncomedic: the gentleman leads the woman out the door, her eyes narrowed to a slit, both rising from a table with a half-finished glass of wine and lingering carafe. “Henriot and Arquillière (as Monsieur and Madame Reynard) are only coloured shapes” (Adriani, p. 186). Both show us their formless backs in an image reminiscent of a Degas or even an Edvard Munch, and create a beautiful composition out of basic forms in an acerbic comment of society and manners. “L’addition, s’il vous plait.” Est: $6,000-$7,000.
397
A-Z | TOULOUSE-LAUTREC
398
Toulouse-Lautrec
(Continued)
398. Salon des Cent. 1896. 17 5⁄8 x 24 1⁄4 in./44.7 x 61.7 cm Imp. Bourgerie, Paris (not shown) Cond B/A few restored tears. Framed. Ref: Wittrock, P20II; Adriani, 137-III; Salon des Cent, p. 37; Wagner, p. 31; Gold, 195; Reims, 790; PAI-LXXIX, 492 Summer, 1895: Lautrec and fellow artist Maurice Guibert are on board the steamer Le Chili, en route along the Atlantic coast from Le Havre to Bordeaux. Lautrec cannot keep his eyes off the young woman berthed in cabin No. 54. She’s meeting her husband in Senegal. Lautrec, suddenly obsessed, ignoring pleas from Guibert, refuses to get off the boat at Bordeaux. Finally, he is persuaded off the boat at Lisbon. But not before he’s captured a photograph of the unknown woman, which he turned into a lithograph of the exact same pose, “exquisite both in its execution and in the remoteness of the subject’s personality” (Wagner, p. 31): ideal for the Salon des Cent, with its running themes of meditation, admiration, and preoccupation. This is the rarest state of his design: one of 50 impressions, before letters, hand-signed, and numbered (#4). Est: $35,000-$45,000.
TOULOUSE-LAUTREC | A-Z
399
400 402 399. Ce Que Dit La Pluie. ca. 1895.
401. Le Secret. ca. 1895.
9 1⁄2 x 12 1⁄4 in./24 x 31.2 cm C. Joubert, Paris Cond A. Framed. Ref: Wittrock, 126; Adriani, 147
9 1⁄2 x 12 1⁄4 in./24 x 31.2 cm C. Joubert, Paris Cond A. Framed. Ref: Wittrock, 130; Adriani, 151
Lautrec created this song-sheet cover with music by Désiré Dihau as part of the series Mélodies de Désiré Dihau. “Lautrec was very fond of sentimental ballads, which he would intone fervently off-key and in a loud voice” (Adriani, p. 204).
This is a song sheet cover for “Le Secret,” the seventh song in the Mélodies de Désiré Dihau series.
Est: $1,700-$2,000.
400. Le Fou. ca. 1895. 9 1⁄2 x 12 1⁄4 in./24 x 31.2 cm C. Joubert, Paris Cond A. Framed. Ref: Wittrock, 127; Adriani, 148 This is another song-sheet cover for the series Mélodies de Désiré Dihau. This one promotes the fourth song title, “Le Fou” (The Madman).
401
Est: $1,700-$2,000.
Est: $1,700-$2,000.
402. La Tribu d’Isidore. 1897. 4 5⁄ 8 x 7 1⁄4 in./11.8 x 18.4 cm Cond B/Frayed edges. Framed. Ref: Wittrock, 234-II; Adriani, 232, 4th state “The magazine La Critique reproduced this picture on 5 November 1897 without the text. It was used with the text as the cover for Victor Joze’s novel ‘La Tribu d’Isidore’ (The Tribe of Isidore), which was published in 1897” (Adriani, p. 293). Est: $1,200-$1,500.
A-Z | TOULOUSE-LAUTREC
403
TOULOUSE-LAUTREC | A-Z
Toulouse-Lautrec
(Continued)
403. L’Automobiliste. 1898. 13 x 19 1⁄2 in./33 x 49.5 cm Cond A/P. Framed. Ref: Wittrock, 293; Adriani, 290 “The little dog, now so familiar, takes not the slightest notice of the snorting, smoke-spitting hellish machine rattling past, with Gabriel Tapié de Céleyran in an astonishing get-up clinging to the wheel. He and Paul Guibert were among the first motorists in Paris” (Adriani, p. 355). Wittrock calls this lithograph “very rare.” This is from an edition of 25 with Lautrec’s red monogram stamp. Est: $40,000-$50,000.
404. May Milton. 1895. 23 3⁄4 x 30 1⁄2 in./60.2 x 77.5 cm Cond A-/Slight stains in dress. Framed. Ref: Wittrock, P17B; Adriani, 134-II; PAI-LXXXV, 455 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).
404
Est: $17,000-$20,000.
405. L’Aube. 1896. 31 1⁄4 x 24 1⁄8 in./79.4 x 61.3 cm Cond B+/Slight tears at folds. Framed. Ref: Wittrock, P23; Adriani, 184; Wagner, 25; DFP-II, 845; PAI-LXXX, 503 Night. The downtrodden trudge with their belongings down the empty avenue. Their backs are bent, the cart is freighted, and the horse strains at the load. It’s a completely counterintuitive—and brilliant —way to advertise the new Socialist periodical L’Aube (The Dawn), which appeared on the racks of the bouquinistes in May, 1896. Lautrec designed the scene in turquoise, using his spatter technique to suggest the grainy quality of the day’s first early, uncertain light. Ebria Feinblatt points out that “the robust female pushing the cart illustrates Lautrec’s mastery of movement, here almost geometrized in her shape” (Wagner, p. 29). Est: $15,000-$20,000.
405
A-Z | TOULOUSE-LAUTREC
406
TOULOUSE-LAUTREC | A-Z
407
Toulouse-Lautrec
(Continued)
406. Le Jockey. 1899.
407. Le Jockey. 1899.
14 1⁄4 x 20 1⁄4 in./36 x 51.5 cm H. Stern, Paris (not shown) Cond A. Framed. Ref: Wittrock, 308-II; Adriani, 345-II; PAI-LXXXIII, 464
15 x 21 1⁄8 in./38 x 53.7 cm H. Stern, Paris (not shown) Cond A. Framed. Ref (all var): Wittrock, 308-II; Adriani, 345-II; PAI-XXXV, 487
“In Paris from the autumn of 1899 to the summer of 1900, [Lautrec] seemed to live his former existence, making paintings and prints and maintaining contact with friends... In some ways he seemed more willing to live conventionally than he had before. He returned to his childhood interest in horses and the race track, having driven himself regularly to Chantilly, the Bois and Longchamps to watch horses. The works he did now maintained the fine-lined, almost drawing-like quality of his painting” (Frey, p. 480). Though “The Jockey” and three other lithographs were created with the intention of publishing a portfolio of horse racing subjects for the print dealer Pierrefort, this was the only one of the four ever realized as a print. But it’s one of his finest, conveying the raw energy and speed present on the track. You can almost feel the weight of the hooves as they hit the turf and hear the breath of the animal as it gallops by on this overcast, cold morning. This is one of 112 impressions.
This is the only known copy of a proof, on a slightly larger sheet, and before the additional colors of blue in the sky and green in the grass. Lautrec’s supreme craftsmanship is eminently on display here, perhaps all the more so due to the stark, unflinching nature of the design’s more desaturated state, which allows both musculature and competitive union to seethe across the surface of the page unhindered.
Est: $50,000-$60,000.
Est: $30,000-$40,000.
A-Z | TOULOUSE-LAUTREC
408
Toulouse-Lautrec
(Continued)
408. Sagesse. 1893. 10 x 13 1⁄2 in./25.4 x 34.3 cm Cond A. Framed. Ref: Wittrock, 9; Adriani, 31; PAI-XLIV, 488 This is one of 100 numbered impressions (#70), hand-signed by the artist, on vellum, and with the Kleinmann blind stamp at lower left. This expression of “Wisdom” was the eighth title in the Vieilles Histoires suite. And from what Lautrec is showing us, you’d have to imagine that it’s the woman with her back to the viewer that’s the wise one in his design, unless the moonfaced gentleman is far shrewder than his anxious appearance would seem to indicate. “Henri Gabriel Ibels had persuaded the music publisher Gustave Ondet, who lived in the building which housed the Ancourt printing works at 83 Rue de Faubourg Saint-Denis, to have his titles designed by well-known artists. In addition to Ibels himself, Ondet asked Lautrec, Henri Rachou and others to design title pages... These were poems by Jean Goudezki set to popular romance melodies by Désiré Dihau. Lautrec designed the cover and titles 2, 4, 5, 8 and 9 in the first series published by Ondet, which consisted of ten songs in all at 2 francs each” (Adriani, p. 59).
409
Est: $4,000-$5,000.
409. Au Bal des Etudiants. 1901. 15 x 21 5⁄8 in./38 x 55 cm Cond A-/Slight tears at edges; usual horizontal fold. Framed. Ref: Adhémar, p. XXXI; Wagner, p. 34; Dortu, D.4.636, vol. VI; Joyant, p. 240; Lautrec by Lautrec, p. 71; PAI-LXXIII, 473 This is Lautrec’s last poster, designed a few months before his death. At the time, he was living in Bordeaux, where this Students’ Ball was to take place. It’s a fitting coda to Lautrec’s career, featuring the sort of audacious and lecherous personalities he was always so drawn to. And he especially loved masked balls: “Henry was very interested in this sexually charged fad. The masked ball and its accompanying reputation for libertine behavior—a happy combination of bordello and circus—[appeared] repeatedly in his work and became a long-lasting fascination” (Frey, p. 244-245). It should be noted that Lautrec was not involved with the printing process, nor did he create the lettering. Est: $6,000-$8,000.
410. Le Matin / Au Pied de l’Echafaud. 1893. 24 x 32 7⁄8 in./61 x 83.5 cm Imp. Chaix, Paris Cond A-/Unobtrusive folds. Ref: Wittrock, P8; Adriani, 14; DFP-II, 830; Reims, 787; PAI-LXXXIV, 467 This design advertises the serialization of the 1891 book “At the Foot of the Scaffold” in the newspaper Le Matin. Written by a former prison chaplain, the book carried a “true crime” quality which would have been particularly appealing at the time. The poster perfectly echoes this feeling: the prisoner’s gritty face is contorted as the giant hand of the executioner weighs down upon his shoulder. Beyond him, faceless shadows on horseback will be the last thing he sees before death. All known copies of this image are trimmed at the bottom. Est: $5,000-$6,000.
410
TOULOUSE-LAUTREC | A-Z
411 411. Jane Avril. 1899. 14 3⁄8 x 21 3⁄4 in./36.5 x 55.2 cm H. Stern, Paris Cond A-/Restored tears in dress. Framed. Ref: Wittrock, P29B; Adriani, 354-II; Abdy, p. 80; DFP-II, 851; Driehaus, p. 111; Wagner, 30; PAI-LXXXIV, 474 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 work for the artist. Avril and Lautrec’s friendship blossomed with their careers. Beautiful but shy, elegant but melancholic, Avril was the opposite of La Goulue, her boisterous rival at the Moulin Rouge. But with several superb early posters, Lautrec elevated her fame such that Avril replaced La Goulue as the star of the show in 1895. In the early months of 1899, Toulouse-Lautrec had a nervous breakdown and was confined to a sanatorium. Out of friendship, Avril commissioned this work from him. Working from a photograph as an aide-mémoire, Lautrec “distilled the very essence of Avril, where the serpentine nature of her dancing is emphasized by her swaying body... and the wrap-around snake motif” (National Gallery of Australia). “She liked the poster very much, but her impresario refused it, and it was never shown” (Abdy, p. 80-81). For this poster, Lautrec used an innovative process which required only three printings for the four colors used (Adriani, p. 411). Est: $60,000-$70,000.
A-Z | TROMPF - VILLEMOT
413
Percy Trompf
(1902-1964)
412. Australia. 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-LXXXV, 144
412
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: $1,400-$1,700.
Tomi Ungerer
(1931-2019)
413. Tout ça... Pour ça! 1993. 38 7⁄8 x 32 1⁄4 in./98.6 x 82 cm Cond A/P. “Tout ça... Pour ça!” (All That... for This?!) is a French film directed and written by Claude Lelouch and starring Marie-Sophie L. and Francis Huster. The leading couple and their friends leave behind their ordinary jobs to milk money from tourists until being apprehended, which leads to more comedic drama. Est: $800-$1,000.
Marcel Vertès
(1895-1961)
414. Rivalda. 1920. 37 1⁄2 x 49 1⁄2 in./95.2 x 126 cm Radó, Budapest Cond A-/Folds. P. Ref: PAI-LXVI, 505 Edited by the journalist Egyed Zoltan, Rivalda was an offbeat theatrical magazine printed in Budapest during the early 1920s. This is one of those rare instances where the poster is far better than the product being advertised, as Vertès gives the viewer a Lautrec-like figure scrutinizing every detail of a barely clad redhead for her interview in the publication.
414
Est: $2,500-$3,000.
TROMPF - VILLEMOT | A-Z
415
416
Bernard Villemot
417
(1911-1989)
415. Gitanes. 1955.
416. Bally. 1979.
46 1⁄8 x 63 3⁄8 in./117.2 x 161 cm Imp. Courbet, Paris Cond A. Ref: Bon Salle, 456; Villemot/Forney, 60; PAI-LXXXIV, 490
47 5⁄8 x 69 in./121 x 175.3 cm Imp. IPA, Champigny Cond A. Ref: Bon Salle, 307; Villemot/La Femme, p. 68; Villemot/A to Z, p. 27; Villemot/Forney, 121; PAI-LXXXIV, 493
In 1947, the maker of one of France’s best known cigarettes approached designer Max Ponty to create a new logo for them. The silhouette of a Spanish style dancer which evoked the Gypsy (la Gitane) that he drew became the firm’s trademark and product identification, still used to this day. Properly, Villemot gives credit to Ponty by placing the gypsy in the center of the image, and then dots the scene with cigarettes that mirror her shape. Est: $1,000-$1,200.
It shouldn’t work, but it does: this tripping, off-kilter jumble of reds, blacks, blues, browns, and the palest pink amid Villemot’s tangle of legs and shoes manages to be witty, flirtatious, and a little erotic at the same time. This is the larger version of the poster. Est: $1,200-$1,500.
417. Orangina / A la Pulpe d’Orange : Maquette. ca. 1965. 46 3⁄4 x 61 3⁄4 in./119 x 157 cm Signed gouache and watercolor maquette. Ref: Bon Salle, 350 (var) Bright and zesty, this effervescent beverage is so refreshing that even the sun wants a sip of cold Orangina. Villemot began working for this company in 1953 and created their brilliant advertisements for decades to come. This large maquette uses only a few shapes, but powerfully conveys the brand’s message. “Villemot came up with the idea of the famous zest; that is to say the motif of the peel cut with a knife, which winds gracefully around itself. It is quite physically beautiful and remains central to the brand’s look to this day... Rapidly, we came to comprehend the exceptional value of the zest design. With its creation, Villemot had established the Orangina color code: the blue background, the orange drawings and the yellow product. We hadn’t set out to design an emblem, much less a logo, but we realized that we had happened upon something powerful” (Bon Salle, p. 188). Est: $14,000-$17,000.
A-Z | VILLON - VINCENT
418
VILLON - VINCENT | A-Z
419
420
Jacques Villon
(1875-1963)
René Vincent
(1879-1936)
418. Guinguette Fleurie. 1901.
419. London / Paris. 1908.
420. Au Bon Marché. 1925.
35 3⁄4 x 51 5⁄ 8 in./90.8 x 131 cm Cond A. Framed. Ref: Villon, E33; Musée d’Affiche, 30; Masters 1900, 52; Le Coultre, p. 114; PAI-LXXXIII, 482
57 7⁄ 8 x 19 3⁄4 in./147 x 50 cm Cond B+/Slight tears at folds. Ref: PAI-LXXX, 512 (var)
71 x 53 3⁄4 in./180.3 x 136.4 cm Imp. Duval et Bedos, Paris Cond B/Slight tears and stains at folds, seam, and edges. Ref: PAI-LXXVII, 401
Villon’s celebrated design promotes Guinguette Fleurie—noted below as “The Flower of the SingerPoets”—at the Manège Central, a Montmartre music hall that was formerly a riding school. Villon was an important figure in the history of Modern art and a quintessential figure in the bohemian scene of Fin-deSiècle Paris. A Cubist painter, illustrator, and filmmaker, he created only six posters—all graced by his superb drawing skills and observation of character. We fancy that the small bearded figure in the distant background of this poster is a self-caricature. Est: $40,000-$50,000.
Best known for his designs for automobiles and Au Bon Marché, here Vincent explores a posh street scene with elegant men and women, golfers and horseback riders, and children and dogs milling about. This is the second of a duo of panels; for the other, see PAI-LXXX, 512. Est: $1,200-$1,500.
Vincent was particularly smart in how he created a visual brand for the department store Au Bon Marché. Here, he’s created a thoroughly consistent composition, with a fashionable Deco dame kneeling and looking off in the distance. This two-sheet charmer sweeps up the hopes for summer amid a hint of April showers, while the box kite at left creates a smart visual line that takes your eyes down the hill to the tousle-headed tyke threading the twine. Est: $2,500-$3,000.
A-Z | WILLETTE - BOOKS AND PERIODICALS
421
422
423
Adolph L. Willette
(1857-1926)
Franz Wischnewski
(1920-?)
424
Josef R. Witzel
(1867-1924)
421. Côte d’Azur. 1898.
422. Fasching in München. 1970.
423. Deutsche-Kunst und Dekoration. 1898.
30 x 41 3⁄4 in./76.2 x 106 cm Ateliers d’Alesi, Paris Cond A-/Slight stains and tears, largely at bottom edge. Ref: Affiches Riviera, 108; Affiches Azur, 1; Karcher, 401; PAI-LXXXIV, 501
23 1⁄4 x 33 in./59 x 83.8 cm Klein & Volbert, München Cond A.
40 x 33 3⁄4 in./101.6 x 86 cm Meisenbach Riffarth, München Cond B+/Unobtrusive folds. Ref: DFP-III, 3453; Gallo, p. 142-143; Hillier, p. 194; Rademacher, p. 38; Sachs, 510; PAI-XX, 498
Overflowing with characters, this fanciful pastel design for the PLM Railway seems more like a painting than an advertising poster. Shown are the various delights, from shopping to entertainment, by which one can get swept up along the Côte d’Azur. Est: $2,000-$2,500.
Munich’s Carnival season, known in that region as Fasching, is a month-long celebration with a variety of traditional balls and events. But during the last three days, the event is notoriously rowdy, with open street parties, wild costumes, and an anything-goes mentality. For the 1970 fest, Wischnewski gives us a colorful dame who’s letting it all hang out—and she’s having a blast doing so. Est: $800-$1,000.
Witzel was an active and successful illustrator, caricaturist, painter, and posterist. He contributed to the magazine Jugend, for whom he also produced a poster, and was actively involved with the monthly Deutsche-Kunst und Dekoration magazine, a leading exponent of German Art Nouveau (known as Jugendstil), for which he created this conceptual design. It’s totally different from Witzel’s usual light, decorative images of chic women in elaborate gowns and hats; here, his more serious design is an inspirational ode to the new generation of decorative arts. Rare! Est: $2,500-$3,000.
WILLETTE - BOOKS AND PERIODICALS | A-Z
See also Mucha’s books and periodicals, Nos. 323, 326, 334, 336, and 337.
425
Books And Periodicals 424. Affiches Illustrées 1886-1895, by Ernest Maindron. 1896.
425. L’Estampe Moderne. 1897-1899.
8 3⁄4 x 12 1⁄4 in./22.2 x 31 cm Excellent, with slight wear on hardcover. Ref: PAI-LXXIV, 503
12 1⁄4 x 16 1⁄ 8 in./31 x 41 cm Imp. F. Champenois, Paris Complete, excellent condition, with textural tissue overlays. 100 loose plates in their 24 Mucha-designed covers. The first 12 portfolios in original boxed presentation case. Slight wear at edges on a few. Overall, one of the finest specimens ever seen! Ref: PAI-LXXXIV, 511
256 pages, with 64 color reproductions, 102 in black and white. Limited, numbered edition of 1,025 copies. This is probably the single most important reference work in the field of poster art. This updated version of his earlier 1886 volume contains the most complete listing of Chéret posters (882) prior to the Broido update. Est: $2,000-$2,500.
The publication contains twenty-four monthly portfolios plus four bonus plates, with twenty-four original covers by Mucha, with four original lithographs in each. Almost all of these lithographs were commissioned especially for this series, featuring works by Mucha (2), Donnay, Evenepoele, Rassenfosse, Louis Rhead, H. Meunier, Léandre, Lepère, Grasset, Berchmans, Ibels, de Feure, Robbe, Helleu, Roedel, Steinlen, Bouisset, Gottlob, Détouche, Boutet, Bellery-Desfontaines, Lenoir, and Willette. Includes supplements as well. Est: $12,000-$15,000.
196
SELECTED INDEX ALCOHOL
FILM
SCIENCE & TECHNOLOGY
Absinthe . . ...................... 151, 275, 374, 375
106, 112, 122, 206, 227, 268, 294, 357, 413
136, 184, 193, 241, 338, 340, 377
FOOD / DRINK
SPORTS
57, 113, 135, 139, 156, 220, 222, 242, 249, 255, 260, 276, 277, 296, 307, 308, 312A, 332, 348, 356, 366, 369, 417
Boxing.......................... 2 70
Apéritifs / Digestifs......... 1 03, 159, 378 Beer............................. 1 19 Champagne / Wine. . ........ 1 04, 129, 158, 164, 166, 365 Liqueur s / Spirits............ 1 26, 127, 153, 155, 162, 167, 169, 238, 278A, 285, 286, 333, 354, 363
Olympics....................... 2 74, 290
LITERARY 64, 71, 76-99, 137, 192, 198, 225, 243, 261, 322, 361, 368, 388, 402, 405, 410, 414, 423
ANIMALS Birds.. ........................... 1 19, 147, 242, 259, 263, 367 Cats............................. 1 02, 369 Dogs. . ........................... 6 2, 90, 113, 128, 138, 254, 290, 361, 390, 403, 419 Horses.......................... 5 1, 63, 88, 92, 228, 258, 273, 327, 405-407, 419 Other............................ 5 2, 110, 149, 220, 270, 272, 292, 293, 299, 346, 366, 390
ART EXHIBITIONS 131, 138, 196, 199, 224, 251, 264, 271, 309, 310, 398
BEAUTY / HEALTH / PERFUME 107, 134, 163, 186, 194, 263, 283, 295, 312B
FASHION 124, 132, 157, 161, 214, 216, 217, 235, 254, 269, 273, 281, 282, 298, 300, 344, 353, 416, 420
Golf.............................. 2 28, 234
MUSIC / DANCE
Tennis. . ......................... 2 28, 234 Winter Sports................. 2 34, 272, 291, 300, 301, 381 Other............................ 1 3, 258, 406, 407
Ballet. . .......................... 1 47, 341, 349, 392 Bals. . ............................ 1 01, 209, 339, 409 Cabarets / Music Halls.. ... 2 45, 341, 360, 382, 396 Dance........................... 1 85, 188, 189, 201, 202204, 233, 287, 345, 349, 404, 411
THEATRE 105, 120, 154, 183, 191, 208, 303, 304, 306, 391, 397
TOBACCO 141, 240, 324, 359, 376, 415
Folies-Bergère.. .............. 1 52, 188, 342, 343, 392 Josephine Baker............. 2 02
TRAVEL
Loïe Fuller..................... 1 88, 342, 343
By rail. . ......................... 2 00, 144, 145, 171, 172, 175, 177, 219, 302, 327, 373, 380, 421
Mistinguett.................... 1 28 Opera........................... 1 82, 184, 206, 261, 364 Singers......................... 1 21, 142, 152, 221, 231, 267, 371, 418 Other............................ 1 23, 218, 190, 321, 399-401, 408
POSTERS ON POSTERS 131, 137, 247, 305, 347
By ship.. ........................ 1 09, 146, 180, 288, 289, 350, 355, 362, 372 New York....................... 5 3, 61, 146, 182, 217, 268, 358 World’s Fairs / Expos . . ..... 4 0, 43, 102, 178, 179, 207, 262, 335 Other............................ 4 1, 44, 46-53, 108, 110, 114-116, 133, 134, 170, 176, 181, 210-213, 215, 228, 234, 250, 252, 253, 272, 292, 293, 299, 301, 352, 358, 379, 412
BIBLIOGRAPHY
197
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 85 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
Alpes
The French poster, by Jane Abdy. New York : Clarkson N. Potter, 1969.
Les Alpes à l’affiche, by Yves Ballu. Grenoble : Editions Glenat, 1987.
Absinthe
Apéritif
Absinthe : history in a bottle, by Barnaby Conrad, III. San Fransisco : Chronicle Books, 1988.
Apéritif : affiches et réclames, by Thierry Devynck & Béatrice Cornet. Barbentane : Equinoxe, 1998. Catalogue of the exhibition at the Bibliothèque Forney, Paris, October 6-December 5, 1998.
Absinthe Affiches L’absinthe : les affiches, by Marie-Claude Delahaye. Auvers-sur-Oise : Musée de l’Absinthe, 2002.
Adriani
Art Deco Art deco graphics, by Patricia Frantz Kery. New York : Harry N. Abrams, 1986.
Toulouse-Lautrec : the complete graphic works, by Götz Adriani. London : Thames & Hudson, 1988. The catalogue raisonné, featuring the Gerstenberg collection.
Art du Biscuit
Affiche Réclame
Art/Skiing
Quand l’affiche faisait de la réclame! : l’affiche Francaise de 1920 à 1940. Paris : Editions de la Réunion des Musées Nationaux, 1991. Catalogue of the exhibition at the Musée National des Arts et Traditions Populaires, Paris. November 12, 1991-February 3, 1992.
The art of skiing, by Jenny de Gex. New York : Universe Publishing, 2006.
Affiches Automobiles 100 ans d’affiches automobiles/100 years of auto posters, by Dominique Dubarry. Paris : Maeght, 1991.
Affiches Azur Affiches d’Azur : 100 ans d’affiches de la Côte d’Azur et de Monaco, by Charles Martini de Chateauneuf. Nice : Editions Gilletta, 1992.
Affiches d’Aviation Affiches de l’histoire d’aviation, by Gerard Hartmann & Francoise Leloup-Perier (with English-language insert: The history of aviation in posters). Paris : Citadelles & Mazenod, 2009.
L’art du biscuit, by Patrick Lefèvre-Utile. Verona : Éditions Hazan, 1995.
Atché Jane Atché, by Claudine Dhotel-Velliet. Le Pont du Nord, 2009.
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.
Auto Show III
Affiches Etrangères
L’automobile et la publicité. Catalogue of the exhibition at the Musée de la Publicité, Paris, 1984.
Les affiches etrangères illustrées, by M. Bauwens, T. Hayashi, La Forge, Meier-Graefe & J. Pennel. Paris : Boudet, 1897.
Auto s’Affiche
Affiches Riviera Affiches de la Riviera, by Annie de Montry, Françoise Lepeuve & Charles Martini de Chateauneuf. NiceMatin : Editions Gilletta, 2001.
Affiches Sports d’Hiver
L’auto s’affiche, by Thierry Favre. Paris : Massin, 2007.
Automobile/Lopez Affiches de l’automobile, by Emmanuel Lopez. Paris : Citadelles & Mazenod, 2011.
Avant Garde
Affiches de Sports d’Hiver, by Jean-Daniel Clerc & Jean Charles Giroud. Lausanne: Citadelles & Mazenod, 2014.
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.
Affiches/WWII
Bambace
La Deuxieme Guerre Mondiale racontée par les affiches. Andorre : Transworld Publications, 1974.
Affichomanie L’affichomanie : collectionneurs d’affiches, affiches de collection, 1880-1900, by Alain Weill. Paris : Musée de l’Affiche, 1980. Catalogue of the exhibition on the subject of the Postermania of the 18801900, held at the Musée de l’Affiche, Paris, January 30-April 30, 1980.
Ailes
Will H. Bradley : his work, a bibliographical guide, by Anthony Bambace. New Castle, Del. : Oak Knoll Press, 1995.
Bargiel et Zagrodzki Steinlen affichiste : catalogue raisonné, by Réjane Bargiel and Christophe Zagrodzki. Lausanne : Editions du Grant-Pont, 1986. (Distributed in the United States by Posters Please, Inc., New York City).
Baumberger
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.
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
Belgische Affiche
Poster art of the airlines, by Don Thomas. Dunedin, Florida : D. Thomas, 1989.
De Belgische affiche : 1892-1914, by Yolande Oostens-Wittamer. Brussels : Koninklijke Bibliotheek Albert I, 1975.
198
BIBLIOGRAPHY (CONTINUED) Belle Epoque 1970
Carlu
La Belle Epoque : Belgian posters, watercolors and drawings from the collection of L. Wittamer-De Camps, by Yolanda Oostens-Wittamer. New York : Grossman, 1971. The catalogue of the touring exhibition of the Wittamer-De Camps collection.
Retrospective Jean Carlu, by Alain Weill. Paris : Musée de l’Affiche, 1980. Catalogue of the exhibition at the Musée de l’Affiche, Paris, November 26, 1980-March 29, 1981.
Belle Epoque 1980
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.
La Belle Epoque : masterworks by Combaz, Léo Jo, and Livemont : a loan exhibition from the Collection of L. Wittamer-De Camps, by Yolande Oostens-Wittamer. Washington : International Exhibitions Foundation, 1980. Catalogue of the loan exhibition from the Wittamer-De Camps collection.
Bernard Francis Bernard : affichiste, by Merrill C. Berman & Alain Weill. Paris : D. Ozanne; New York : N. Bailly, 1980. Catalogue of the exhibition at the Chisholm Gallery, 1980.
Bernhardt/Drama Sarah Bernhardt : the art of high drama, by Carol Ockman and Kenneth Silver. New Haven, Conn. : Yale University Press, 2005. Catalogue of the exhibition at the Jewish Museum, New York, December 2, 2005-April 2, 2006.
Bernhardt/Gottlieb Sarah: The Life of Sarah Bernhardt by Robert Gottlieb. New Haven, Conn. : Yale University Press, 2010.
Berthon & Grasset
Cassandre/BN
Cassandre/Suntory Every face of the great master Cassandre, by Masutani Yoko. Tokyo : Suntory Museum, 1995. Catalogue of the exhibition held at the Suntory Museum, Osaka, Japan, June-August, 1995.
Cassandre/Weill Cassandre, by Alain Weill. Paris : Editions Hazan, 2018.
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.
Champenois
Berthon & Grasset, by Victor Arwas. London : Academy Editions; New York : Rizzoli, 1978.
Champenois Imprimeur : publicité et vie bourgeoise 1875-1915, by Daniel Bordet. Paris : Editions Dabecom, 2004.
Bicycle Posters
Chaplin
100 years of bicycle posters, by Jack Rennert. New York : Harper & Row, 1973.
Charlie Chaplin : movie posters, by Israel Perry & Jean-Louis Capitaine. New York : Queen Arts Publishers, 2005.
Boissons Les boissons : un siècle de réclames, by F. Ghozland. Toulouse : Editions Milan, 1986.
Bon Salle Embracing an Icon: The Posters of Bernard Villemot, by George & Jeanne Bon Salle. New York: The Poster Art Library, Posters Please, 2015.
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
Chemins de Fer 100 ans d’affiches des chemins de fer, by Pierre Belves. Paris : Edition NM–La Vie du Rail, 1980.
Chéret La Belle Epoque de Jules Chéret : de l’affiche au décor, ed, by Réjane Bargiel and Segolène Le Men. Paris : Les Arts Décoratifs, 2010. (Distributed in the U.S.A. by Posters Please, Inc.) Catalogue of the exhibition at the Musée des Arts Décoratifs, Paris, June 23-November 7, 2010.
Chocolate Posters Chocolate posters, by Israel Perry & Alain Weill. New York : Queen Art Publishers Inc., 2002.
Colin 100 posters of Paul Colin, by Jack Rennert. New York : Images Graphiques, 1977.
Colin Affichiste Paul Colin : affichiste, by Alain Weill & Jack Rennert. Paris : Editions Denoel, 1989.
Colin/Spectacles Paul Colin et les spectacles, by Claude Pérty-Parisot. Nancy : Musée des Beaux-Arts. Catalogue of the exhibition at the Musee des Beaux‑Arts, Nancy, May 2-July 31, 1994.
The poster art of A. M. Cassandre, by Robert K. Brown & Susan Reinhold. New York : E. P. Dutton, 1979.
Collectionneur
Campari
Collectionneur d’affiches, edited by Laurence Prod’homme. Paris : Editions Apogé, Musée de Bretagne, 1996.
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
Crauzat L’oeuvre gravé et lithographié de Steinlen, by E. de Crauzat. Paris : Société de Propogation des Livres d’Art, 1913. Reprinted, San Fransisco : Alan Wofsy Fine Arts, 1983.
Crouse/Deco The art deco poster, by William Crouse & Alastair Duncan. New York : Vendome Press, 2013.
Posters of the Canadian Pacific, by Marc H. Choko & David L. Jones. Richmond Hill [Canada] : Firefly, 2004.
Dance Posters
Cappiello/Rennert
Deco Affiches
Cappiello : the posters of Leonetto Cappiello, by Jack Rennert. New York : Poster Art Library, Posters Please, Inc., 2004.
Affiches art deco, by Alain Weill. Paris : Inter-Livres, 1990.
100 years of dance posters, by Walter Terry & Jack Rennert. New York : Avon Books, 1973.
DFP-I Das frühe plakat in Europa und den USA. Volume I, British and American Posters. Edited by Ruth Malhotra and Christina Thon. Berlin : Mann Verlag, 1973.
199
BIBLIOGRAPHY (CONTINUED) DFP-II
Gourmand
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.
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.
DFP-III
Graphic Design/Taschen
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.
The History of Graphic Design, by Jens Müller and Julius Weidermann. Koln : Taschen, 2017.
Discount
Graphicar, by Claudio Bertieri. Milano : Fratelli Fabbri, 1976.
Posters from the collection of Discount Tires, by Susan Driver. Scottsdale, Ariz. : ReinaltThomas Corp., 2007.
Grasset
Dodge The bicycle, by Pryor Dodge. Paris, New York : Flammarion, 1996.
Dolimiti
Graphicar
Eugène Grasset, 1845-1917 : l’art et l’ornement, by Catherine Lepdor. Milan : 5 Continents, 2011. Catalogue of the exhibition at Musée Cantonal des Beaux-Arts de Lausanna, March 18-June 13, 2011.
Grün
Le Dolomiti nei Manifesti, edited by Roberto Festi and Eugenio Manzato. Ivrea : Priuli & Verlucca, 1990.
Jules-Alexandre Grün : the posters/les affiches, by Alain Weill & Israel Perry. New York : Queen Art Publishers, 2005.
Dortu
Handlebars/Joystick
Toulouse-Lautrec et son oeuvre, by M. G. Dortu. New York : Collectors Editions, 1971. In six volumes.
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.
Driehaus L’Affichomania : Catalogue of the exhibition at the Driehaus Museum, Chicago, by Jeannine Falino. Chicago: University of Chicago Press, 2017.
Dudovich Marcello Dudovich : cartellonista, 1878-1962, by Roberto Curci. Treiste : Lint Edizioni, 1976.
Encyclopédie/Weill
Health Posters Posters of health, by Marine Robert-Sterkendries. Brussels : Therabel Pharma, 1996.
Hiatt Picture posters, by Charles Hiatt. London : George Bell and Sons, 1895.
Encyclopédie de l’affiche, by Alain Weill. Paris : Hazan, 2011.
Hillier
Femme s’Affiche
Posters, by Bevis Hillier. London : Weidenfeld and Nicholson, 1969; New York : Stein & Day, 1969; New York : Spring Books, The Hamlyn Publishing Group, 1974.
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.
de Feure Georges de Feure : maitre du symbolisme et de l’art nouveau, by Ian Millman. Paris : ACR Editions, 1991.
Fit to Print
Hohlwein Ludwig Hohlwein, 1874-1949 : kunstgewerbe und reklamekunst, by Volker Duvigneau & Norbert Gota. Munich : Klinkhardt & Bierman, 1996.
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.
Fit to print : the newspaper and the poster, by Marc Davidson. Daytona Beach, Fla. : The News-Journal Corporation, 2004.
I Heart Design
Folies-Bergère
Images of an Era
100 years of posters of the Folies Bergère and music halls of Paris, by Alain Weill. New York : Images Graphiques, 1977.
Images of an era : the American poster, 1945-1975, by John Garrigan. Washington, D.C. : National Collection of Fine Arts, 1975. Catalogue of the exhibition at the Corcoran Gallery of Art, Washington, D.C., November 21, 1975-January 4, 1976.
Frey
I Heart Design, by Steven Heller. Beverley, MA : Rockport Publishers, 2011.
Toulouse-Lautrec : a life, by Julia Frey. New York : Viking Penguin, 1994.
Imperial War Museum I
Frivoli
First World War Posters: The Imperial War Museum, by Joseph Darrecott and Belinda Loftus. London: The Corwin Press, 1972.
I manifesti frivoli/Popular posters, by Nicoletta Citrini. Milano : BE-MA Editrice, 1987.
Gagel Studien zur motivgeschichte des Deutschen plakats 1900-1914, by Hanna Gagel. Berlin : Omnia-Organisations, 1971. Doctoral thesis at Freien Universität Berlin.
Imprimerie Les cent plus belles images de l’imprimerie, by Daniel Bordet. Paris : Éditions Debecom, 2004.
Internationale Plakate
The poster in history, by Max Gallo. New York : American Heritage Publishing, 1974.
Inlernationale Plakate 1871-1971, by Heinz Spielmann, et al. München : Ausstellungsleitung Haus der Kunst, 1972. Catalogue of the exhibition at the Haus der Kunst, Munich, October 9, 1971-January 2, 1972.
Gesmar
Iskin
Gallo
Charles Gesmar : 1900-1928, by Angelo Luerti, Milano : Luerti, 2009.
Gold First ladies of the poster : the Gold collection, by Laura Gold. New York : Poster Art Library, 1998.
Golden Age of Travel The golden age of travel posters : 1880-1939, by Alexsis Gregory. London : Cassell, 1998.
The Poster, by Ruth E. Iskin. Hannover, New Hampshire: Dartmouth College Press, 2014.
Jiri Mucha Alphonse Maria Mucha : his life and art, by Jiri Mucha. New York : Rizzoli, 1989.
Joyant Henri de Toulouse-Lautrec, by Maurice Joyant. Paris : H. Floury, 1927. In two volumes.
200
BIBLIOGRAPHY (CONTINUED) Karcher
Looping the Loop
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).
Looping the loop : posters of flight, by Henry Serrano Villard & Willis M. Allen, Jr. San Diego, Calif. : Kales Press, 2000.
Kauffer E. McKnight Kauffer : a designer and his public, by Mark Haworth-Booth. London : Gordon Fraser, 1979.
Charles Loupot, by Alain Weill. Paris : Musée de l’Affiche, 1978. Catalogue of the exhibition at the Musée de l’Affiche, Paris, November 1978-March 1979.
Kauffer/Berman
Loupot/Forney
E. McKnight Kauffer : Works from the Merrill C. Berman Collection, ed. by Adrian Sudhalter. New York : Merrill C. Berman Collection, 2021.
Loupot: Peintre en Affiche. Catalogue of the 2018 exhibition at Bibliothèque Forney, Paris. Edited by Thierry Devynck.
Kauffer/Cooper Hewitt
Loupot/Zagrodzki
E. McKnight Kauffer : The Artist in Advertising, ed. by Caitlin Condell and Emily M. Orr. New York : Cooper Hewitt, Smithsonian Design Museum, 2020.
Charles Loupot : l’art de l’affiche, by Christophe Zagrodzki. Paris : Le Cherche-Midi, 1998. (American distributor: Posters Please Inc., New York)
Kauffer/MoMA
Maindron 1886
Posters by E. McKnight Kauffer, by E. McKnight Kauffer & Aldous Huxley. New York : Museum of Modern Art, 1937. Catalogue of the exhibition at the Museum of Modern Art, New York, 1937.
Les affiches illustrées: ouvrage orné de 20 chromolithographies, by Ernest Maindron. Paris, France : H. Launette, 1886.
Kauffer/V&A
Maitres
Memorial exhibition of the work of E. McKnight Kauffer, born Montana 1890, died New York 1954 : October to November 1955. London : Percy Lund, Humphries & Co., 1955. Catalogue of the exhibition at the Victoria & Albert Museum.
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.
Kauft Bücher
Manege frei
Kauft bücher! : verlagsplakate um die jarhhundertwende, by Herbert Fleissner. Dortmund : Harenberg, 1982.
Manege frei : Artisten- und Circusplakate von Adolph Friedländer, by Ruth Malhotra. Dortmund : Harenberg Kommunikation, 1979.
Keay
Manifesti Italiani
American posters of the turn of the century, by Carolyn Keay. London : Academy Editions, 1975.
Manifesti Italiani : dall’art nouveau al futurismo, 1895-1940, by Giampiero Mughini & Maurizio Scudiero. Milano : Ricordi, 1997. Posters of the Massimo & Sonia Cirulli Collection.
Kow
Loupot
Quarante ans de création publicitaire automobile, by Alex Kow. Paris : Editions de l’Automobiliste, 1978.
Manifesti Posters/Advertising
Kunstlerplakat
Manifesti Posters: Irony, Imagination and Eroticism in Advertising, 1895-1960, by Dario Cimorelli. Spa: Silvana Editoriale, 2010.
Kunsterplakat, by Jurgen Doring. Hamburg : Museum fur Kunst und Gewerbe, Edition Braus, 1998.
Lauder American art posters of the 1890s in the Metropolitan Museum of Art : including the Leonard A. Lauder Collection, by David W. Kiehl, Phillip Dennis Cate & Nancy Finlay. New York : Metropolitan Museum of Art, 1987. Catalogue of the exhibition of the Metropolitan Museum of Art, New York, October 22, 1987– January 10, 1988.
Lautrec by Lautrec
Manifesti Posters/Eat & Drink Manifesti Posters/Eat & Drink in Italian Advertising 1890-1970 by Mario Piazza & Alessandro Bellenda. Milano : Silvana Editoriale, 2014.
Manifesti Posters/Travel Manifesti Posters: Traveling Around Italy, 1895-1960, by Anna Villari & Dario Cimorelli. Milano: Silvana Editoriale, 2010.
Lautrec by Lautrec, by Ph. Huisman & M. G. Dortu. New York : Galahad Books, 1976.
Margadant
Lautrec/Montmartre
Das Schweizer plakat/The Swiss poster : 1900-1983, by Bruno Margadant. Basel : Birkhaus Verlag, 1983.
Toulouse-Lautrec and Montmartre, by Richard Thomson, Phillip Dennis & Mary Weaver Chapin. Princeton, N.J. : Princeton Unversity Press, 2005. Catalogue of the exhibition at the National Gallery of Art, Washington, D.C., March 20-June 12, 3005, and the Art Institute of Chicago, July 16-October 10, 2005.
Margolin American poster renaissance, by Victor Margolin. New York : Watson-Guptill Publications, 1975.
Le Coultre
Marx
A century of posters, by Martin F. Le Coultre & Alston W. Purvis. Burlington, VT : Lund Humphries, 2002.
Bonnard : lithographie, ed. by Claude Roger-Marx. Monte Carlo : Éditions du Livre, 1952.
Lendl/Prague
Masters 1900
Ivan Lendl : Alfons Mucha, by Jack Rennert & Karel Srp. Bratislava : Nakladatelství, 2013.
Masters of the poster 1900, by Alan Weill. Paris : Bibliothèque de l’Image, 2001.
Lichtenstein
Meehan
Lichtenstein Posters, by Jürgen Döring and Claus von der Osten. Munich : Prestel Verlag, 2019.
Meehan Military Posters. Catalogues regularly published since 1981.
Livemont
Menegazzi-I
Privat Livemont : entre tradition et modernité au Coeur de l’Art nouveau, 1861-1936, by Benoit Schoonbroodt. Bruxelles : Editions Racine, 2007.
Il manifesto Italiano : 1882-1925, by Luigi Menegazzi. Milan : Electa Editrice, 1975.
Loïe Fuller/Current
Metlicovitz e Dudovich : due cartellonisti del ‘900 dalla Raccolta Bertarellil di Milano, by Giovanna Ginex. Milano : Skira, 2002. Catalogue of the exhibition held at Paicenza, ex Centrale Elettrica Emilia, April 24-June 23, 2002.
Loïe Fuller: Goddess of Light, by Richard Nelson Current & Marcia Ewing Current. Boston: Northeastern University Press, 1997.
Metlicovitz e Dudovich
201
BIBLIOGRAPHY (CONTINUED) Modern American Poster
PAI-V
The modern American poster, by J. Stewart Johnson. Boston : Little Brown, 1983. Catalogue of the Japanese exhibition of the posters from the N.Y. Musuem of Modern Art collection, December 14, 1983-January 22,1984.
Poster Pizzazz. Auction held in Universal City, California, November 22, 1987.
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.
PAI-VI Poster Splendor. Auction held in New York City, May 1, 1988.
PAI-VII Poster Potpourri. Auction held in New York City, November 13, 1988.
Monaco
PAI-VIII
Gand Prix Automobile de Monaco posters : the complete collection: the art, the artists and the competition, by William W. Crouse. New York : Crouse, 2009.
Poster Treasures. Auction held in New York City, May 7, 1989.
PAI-IX
Montagne
Poster Palette. Auction held in New York City, November 12, 1989.
La montagne s’affiche, by Daniel Hillion. Rennes : Editions Ouest-France, 1991.
PAI-X
Mouron
Elegant Posters. Auction held in New York City, May 20, 1990.
A. M. Cassandre, by Henri Mouron. New York : Rizzoli, 1985.
PAI-XI
Mucha/Art Nouveau
Poster Passion. Auction held in New York City, November 11, 1990.
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.
PAI-XII
Mucha/Bridges Alphonse Mucha : the complete graphic works, by Ann Bridges. London : Academy Editions, 1980.
Müller-Brockmann History of the poster, by Josef & Shizuko Müller-Brockmann. Zurich : ABC Edition, 1971.
Murray‑Robertson Grasset : pionnier de l’art nouveau, by Anne Murray‑Robertson. Paris: Bibliothèque des Arts; Lausanne : Editions 24 Heures, 1981.
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.
Poster Panache. Auction held in New York City, May 5, 1991.
PAI XIII Poster Jubilee. Auction held in New York City, November 10, 1991.
PAI-XIV Poster Extravaganza. Auction held in New York City, May 3, 1992.
PAI XV Rarest Posters. Auction held in New York City, November 8, 1992.
PAI-XVI Poster Parade. Auction held in New York City, May 2. 1993.
PAI-XVII Poster Classics. Auction held in New York City, November 14, 1993.
Negripub
PAI-XVIII
Negripub : l’image des noirs dans la publicité, by Raymond Bachollet, Jean-Barthelemi Debost, AnneClaude Lelieur & Marie-Christine Peyrière. Paris : Somogy, 1992. The catalogue of the exhibition at the Bibliothèque Forney, Paris.
Winning Posters. Auction held in New York City, May 1, 1994.
Noël & Herbaut Jules Grün (1868-1938) : trublion de Montmartre, seigneur du Breuil-en-Auge, by Benoît Noël & Véronique Herbaut. Sainte-Marguerite-des-Loges : Éditions BVR, 2012.
PAI-XIX Prima Posters. Auction held in New York City, November 13, 1994.
PAI-XX Poster Panorama. Auction held in New York City, May 7, 1995.
Olympics
PAI-XXI
L’olympisme par l’affiche/Olympism through posters : 1896-1984, by Monique Berlioux. Lausanne : International Olympic Committee, 1983.
Timeless Posters. Auction held in New York City, November 12, 1995.
Ost
Positively Posters. Auction held in New York City, May 5, 1996.
Alfred Ost : affiches/posters, 1884-1945 : oeuvrecatalogus, by Karl Scheerlinck. [Antwerpen] : SnoeckDucaju & Zoon, 1997. Catalogue of the exhibition held at the Cultureel Centrum A. Spinoy, in Mechelen, Belgium, April 18-May 25, 1997.
PAI‑XXIII
PAI – Books of the auctions organized by Poster Auctions International, Inc. PAI-I Premier Posters. Auction held in New York City, March 9, 1985.
PAI-II Prize Posters. Auction held in Chicago, November 10, 1985.
PAI-III Poster lmpressions. Auction held in New York City, June 1, 1986.
PAI-IV Prestige Posters. Auction held in New York City, May 3, 1987.
PAI‑XXII
Poster Delights. Auction held in New York City, November 10, 1996.
PAI-XXIV Poster Pleasures. Auction held in New York City, May 4, 1997.
PAI-XXV Sterling Posters. Auction held in New York City, November 9, 1997.
PAI-XXVI Postermania. Auction held in New York City, May 3, 1998.
PAI-XXVII Poster Ecstasy. Auction held in New York City, November 8, 1998.
PAI-XXVIII Poster Vogue. Auction held in New York City, May 2, 1999.
202
BIBLIOGRAPHY (CONTINUED) PAI-XXIX
PAI-LIII
Posters for the Millennium. Auction held in New York City, November 4, 1999.
Rare Posters. Auction held in New York City, May 1, 2011.
PAI-XXX
PAI-LIV
Poster Allure. Auction held in New York City, May 7, 2000.
Rare Posters. Auction held in New York City, September 8. 2011.
PAI-XXXI
PAI-LV
Poster Power. Auction held in New York City, November 12, 2000.
Rare Posters. Auction held in New York City, November 13, 2011.
PAI-XXXII
PAI-LVI
Dream Posters. Auction held in New York City, May 6, 2001.
Food & Wine. Auction held in New York City, February 12, 2012.
PAI-XXXIII
PAI-LVII
Swank Posters. Auction held in New York City, November 11, 2001.
Rare Posters. Auction held in New York City, May 6, 2012.
PAI-XXXIV
PAI-LVIII
Poster Pride. Auction held in New York City, May 5, 2002.
American Posters. Auction held in New York City, September 6, 2012.
PAI-XXXV
PAI-LIX
Posters Perform. Auction held in New York City, November 10, 2002.
Rare Posters. Auction held in New York City, November 18, 2012.
PAI-XXXVI
PAI-LX
Posters Persuasion. Auction held in New York City, May 4, 2003.
Rare Posters. Auction held in New York City, March 10, 2013.
PAI-XXXVII
PAI-LXI
Poster Holiday/The Wright Stuff. Dual auction held in New York City, November 9, 2003.
Rare Posters. Auction held in New York City, September 12, 2013.
PAI-XXXVIII
PAI-LXII
Poster Style. Auction held in New York City, May 2, 2004.
Rare Posters. Auction held in New York City, January 12, 2014.
PAI-XXXIX
PAI-LXIII
Poster Intoxication. Auction held in New York City, November 14, 2004.
Rare Posters. Auction held in New York City, May 4, 2014.
PAI-XL
PAI-LXIV
Posters Excel. Auction held in New York City, May 1, 2005.
Rare Posters. Auction held in New York City, September 21, 2014.
PAI-XLI
PAI-LXV
Matchless Posters. Auction held in New York City, November 13, 2005.
Rare Posters. Auction held in New York City, January 25, 2015.
PAI-XLII
PAI-LXVI
Posters Charm. Auction held in New York City, May 7, 2006.
Rare Posters. Auction held in New York City, May 3, 2015.
PAI-XLIII
PAI-LXVII
Posters Va-Va-Voom. Auction held in New York City, November 12, 2006.
Rare Posters. Auction held in New York City, October 11, 2015.
PAI-XLIV
PAI-LXVIII
Winning Posters. Auction held in New York City, May 6, 2007.
Rare Posters. Auction held in New York City, January 31, 2016.
PAI-XLV
PAI-LXIX
Top Posters. Auction held in New York City, November 11, 2007.
Rare Posters. Auction held in New York City, May 15, 2016.
PAI-XLVI
PAI-LXX
Picture-Perfect Posters. Auction held in New York City, May 4, 2008.
Rare Posters. Auction held in New York City, October 30, 2016.
PAI-XLVII
PAI-LXXI
Posh Posters. Auction held in New York City, November 9, 2008.
Rare Posters. Auction held in New York City, March 12, 2017.
PAI-XLVIII
PAI-LXXII
Poster High. Auction held in New York City, May 3, 2009.
Rare Posters. Auction held in New York City, June 22, 2017.
PAI-XLIX
PAI-LXXIII
Soaring Posters. Auction held in New York City, November 8, 2009.
Rare Posters. Auction held in New York City, October 22, 2017.
PAI-L
PAI-LXXIV
Poster Celebration. Auction held in New York City, May 3, 2010.
Rare Posters. Auction held in New York City, February 25, 2018.
PAI-LI
PAI-LXXV
Rare Posters. Auction held in New York City, November 14, 2010.
Rare Posters. Auction held in New York City, June 26, 2018.
PAI-LII
PAI-LXXVI
The Winter Sale. Auction held in New York City, February 13, 2011.
Rare Posters. Auction held in New York City, October 28, 2018.
203
BIBLIOGRAPHY (CONTINUED) PAI-LXXVII
Posters of Paris
Rare Posters. Auction held in New York City, February 24, 2019.
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-LXXVIII Rare Posters. Auction held in New York City, June 23, 2019.
PAI-LXXIX Rare Posters. Auction held in New York City, October 27, 2019.
PAI-LXXX Rare Posters. Auction held in New York City, February 23, 2020.
PAI-LXXXI
Price Posters, by Charles Matlack Price. New York : George W. Bricka, 1913.
Propagande/Affiche La prapogande par l’affiche, by Laurent Gervereau. Paris : Editions Syros-Alternatives, 1991.
Publicité Affiches de la Publicité, by Emmanuel Lopez. Paris : Citadelles & Mazenod, 2013.
Rare Posters. Auction held in New York City, July 21, 2020.
Raccontano
PAI-LXXXII
I Muri Raccontano : 100 anni di manifesti stampati della Pozzo gros Monti, ed. by Elvio Soleri. Torino : Edizioni d’Arte Fratell Pozzo, 1991.
Rare Posters. Auction held in New York City, November 15, 2020.
PAI-LXXXIII
Rademacher
Rare Posters. Auction held in New York City, March 14, 2021.
Masters of German art, by Hellmut Rademacher. New York : October House, 1966 (Original German edition published in 1965 by Edition Leipzig).
PAI-LXXXIV
Raffe
Rare Posters. Auction held in New York City, July 20, 2021.
PAI-LXXXV Rare Posters. Auction held in New York City, November 14, 2021.
Poster Design, by W. G. Raffe. London : Champan & Hall, 1929.
Rawls
Paillard
Wake up, America : World War I and the American poster, by Walton Rawls. New York : Abbeville Press, 1988.
Affiches 14-18, by Rémy Paillard. Reims : R. Paillard, 1986.
Reims
Le Pater
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.
Alphonse Mucha, Paris 1900 : Le Pater/The Lord’s prayer, by Anna Dvorák, Helen Bieri Thomson & Bernadette de Boysson. Paris: Somogy, 2001. Catalogue of the touring exhibition at Fondation Neumann, Spetember 27, 2001-January 27, 2002; Obecní dum, Prague, June 19-September 29, 2002; Musée des Arts Décoratifs, Bordeaux, October 3, 2003-January 4, 2004; and Musée Royal de Mariemort, Belgium, April 2-June 27, 2004.
Penfield 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.
Perier Ils s’envolèrent, by Jacques Perier & Françoise Leloup-Perier. Catalogue of the exhibition held at LeBourget from the collection of Jacques Perier on the 100th Anniversary of the Fédération Aéronautique Internationale, October 2005.
Petite Reine La petite reine : le vélo en affiches à la fin du XIXeme, by Réjane Bergiel. Paris : Musée de l’Affiche, 1979. Catalogue exhibition held at Musée de l’Affiche, Paris, May 31-September 23, 1979.
Plakat Schweiz Das plakat in der Schweiz, by Willy Rotzler, Fritz Schärer & Karl Wobmann. Zurich : Edition Stemmle, 1990.
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.
Plakatkunst Plakatkunst von Toulouse-Lautrec bis Benetton, by Jürgen Döring. Hamburg : Edition Braus und Museum für Kunst und Gewerbe, 1994.
Portraiture Ballyhoo! : posters as portraiture, by Wendy Wich Reaves. Seattle : University of Washington Press, 2008. Catalogue of the exhibition at the National Portrait Gallery, Washington, D.C., Mat 8, 2008-February 8, 2009.
Rennert/Weill Alphonse Mucha : the complete posters and panels, by Jack Rennert & Alain Weill. Boston : G. K. Hall, 1984.
Rickards Posters of the First World War, by Maurice Rickards. New York : Walker & Company, 1968.
Ricordi Grafica Ricordi : dal manifesto storico all produzione d’avanguardia, by Giovanni Sangiorgi, Giorgia Mascherpa & Giulia Veronesi. Roma : Ente Premi, 1967.
Rogers A book of the poster, by W. S. Rogers. London : Greening & Co., 1901.
Sachs Kunst! Kommerz! Visionen! : Deutsche plakate, 1888-1933, by Hellmut Rademacher & René Grohnert. Heidelberg : Braus, 1992. Catalogue of the exhibition of the Hans Sachs collection at the Deutsches Historisches Museum in Berlin, May 16-August 18, 1992.
Salon des Cent Le Salon des Cent, 1894-1900 : affiches d’artistes, by Jocelyne Van Deputte. Paris : Paris-Musées, 1994. Catalogue of the exhibition held at the Musée Carnavalet, Paris, 1995.
Salon des Cent/Neumann Les affiches du Salon des Cent, by Helen Biri Thomson, Patricia Eckert Boyer, Jocelyne van Deputte & Edith Carey. Gingins : Fondation Neumann, 1999. Catalogue of the exhibition sponsored by the Foundation Neumann at the Musée de Pont-Aven, Paris, Jannuary 31, 2000, and the Musée des Arts Decoratifs de Bordeaux, May 17-August 19, 2001.
Santé La santé s’affiche, by Marine Robert-Sterkedries. Bruxelles : Thérabel, 2003.
204
BIBLIOGRAPHY (CONTINUED) Saunders & Timmers
Toujours Plus Haut
Wagons-Lits II
The Poster: A Visual History, by Gill Saunders and Margaret Timmers. New York : Thames & Hudson, 2020.
Toujours plus haut : affiches aviation, by François-Régis Gastou & Laurence Berasategui-Couranjou. Paris : Chorus, 2004. Catalogue of the aviation poster exhibitions at the Centre de l’Affiche, Toulouse, France, Spetember 2004-August 2005.
Traveling in luxury (revised and expanded), by Albert Mühl & Jürgen Klein. Freiburg, EK-Verlag, 2006.
Savignac/Affichiste Savignac : affichiste. Paris : Editions Robert Laffont, 1975.
Schermi di Carta 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.
Schip & Affiche Schip & affiche : honderd jaar rederijreclame in Nederland/100 years of Dutch ship posters, by Tanja de Boer. Rotterdam : Maritime Museum Prins Hendrick, 1987.
Shahn
Train à l’Affiche Le train à l’affiche : les plus belles affiches ferroviaires française, by Florence Camard & Christophe Zagrodzki. Paris : La Vie du Rail, 1989.
Trylon Trylon and perisphere : the 1939 New York World’s Fair, by Barbara Cohen, Steven Heller & Seymour Chwast. New York : Harry N. Abrams, 1989.
V&A
The complete graphic works of Ben Shahn, by Kenneth W. Prescott. New York : Quadrangle/New York Times Book Co., 1973.
The power of the poster, by Margaret Timmer. London : V & A, 1998. Catalogue of the exhibition at the Victoria & Albert Museum, London, April 2-July 26, 1998.
Shahn/Hiroshima
Veloscopie
Ben Shahn. Hiroshima : Hiroshima Prefectural Museum of Art, 1970. Catalogue of the exhibition at the Hiroshima Prefectural Museum of Art, September 19-October 4, 1970.
Shahn/Morse Ben Shahn, ed. By John D. Morse. New York : Praeger, 1972.
Shahn/Prescott Prints and posters of Ben Shahn, by Kenneth W. Prescott. New York : Dover, 1982.
Sorlier Chagall’s posters : a catalogue raissonné, ed. by Charles Sorlier. New York : Crown Publishers, Inc., 1975.
Spectacle Les arts du spectacle en France : affiches iIllustrées, 1850-1950, by Nicole Wild. Paris : Bibliothéque Nationale, 1976. Catalogue of the Bibliothèque de l’Opera (part of the Bibliothèque Nationale).
Sport à l’Affiche 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.
Swiss Winter Posters A century of Swiss winter sports posters, by Jean-Charles Giroud. Geneva : Patrick Cramer, 2006.
Takashimaya The poster : 1865-1969. Tokyo : Nihon Terebi Hosomo Kabushiki Kaisha, 1985. Catalogue of the exhibition largely of posters from the Deutsches Plakat Museum of Essen, Germany, at the Takashimaya Art Gallery, Nihonbashi, Tokyo, April 18-May 7, 1985.
Theofiles American posters of World War I, by George Theofiles. Dafran House, New York.
Timeless Images Timeless images, by Jack Rennert. Tokyo : Isetan Museum of Art, 1984. Catalogue of the exhibition at the Isetan Museum of Art, Tokyo, October 10-23, 1984.
Veloscopie. Knotte-Heist [Belgium] : Casino Knokke, 1977. Catalogue of the exhibition help at Casino Knokke, June 26-September 4, 1977.
Viaggio Manifesti : viaggio in Italia attraverso la publicità, 1895-1960/Posters : traveling around Italy through advertising, 1895-1960, ed. by Anna Villari & Dario Cimorelli. Milano : Silvana Editoriale, 2010.
Villemot/A to Z Villemot : l’affiches de A à Z, by Guillaume Villemot. Paris : Éditions Hoëbeke, 2005.
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 DecaenLe Boulanger. Cabourg : Editions du Temps, 2006. Catalogue of the exhibition at the Musée de Trouville, October 14, 2006-January 28, 2007.
Villon Jacques Villon : les estampes et les illustrations, by Colette de Ginestet & Catherine Pouillon. Paris : Arts et Métiers Graphiques, 1979.
Voyage L’invitation au voyage, by Alain Weill. Paris : Somogy, 1994.
Wagner Toulouse-Lautrec and his contemporaries : posters of the Belle Epoque from the Wagner collection, by Ebria Feinblatt & Bruce Davis. Los Angeles : Los Angeles County Museum of Art, 1985. Catalogue of the exhibition at the Los Angeles County Museum of Art, April 9-June 16, 1985.
Wagons-Lits 125 jahre Internationale Schlafwagen-Gesellschaft : die luxuszüge, geschichte und placate/125 years International Sleeping Car Company, by Albert Mühl & Jürgen Klein. Freiburg : EK-Verlag, 1998.
Weill The poster : a worldwide survey and history, by Alain Weill. Boston : G.K. Hall, 1985.
Weill/Art Nouveau The Art Nouveau Poster, by Alain Weill. Francis Lincoln Limited, 2015.
Weill/Art Deco L’Affiche Art Deco, by Alain Weill. Paris: Editions Hogan, 2013.
Wine Spectator Posters of the Belle Epoque : the Wine Spectator collection, by Jack Rennert. New York : The Wine Spectator Press, 1990.
Wittrock Toulouse-Lautrec : the complete prints, by Wolfgang Wittrock. London : Sotheby’s, 1985.
Word & Image Word and image : posters from the collection of the Museum of Modern Art, by Mildred Constantine & Alan Maxwell Fern. New York : New York Graphic Society & the Museum of Modern Art, 1968. Catalogue of the exhibition at the Museum of Modern Art, New York, January 25-March 10-1968.
Zwanziger Die Zwanziger Jahre in München. Munich : Münchner Stadtmuseums, 1979. Catalogue of the exhibition at the Münchner Stadtmuseum, May-September, 1979.
CONDITIONS OF SALE
205
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.
206 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.
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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-LXXXVI: 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.
Date (Signed) Name Address City Phone:
State Home:
ZIP
Office:
Fax:
Email Address Bank:
Name Address Account Number
Officer
Credit Card #
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n Order Bid n Telephone Bid - Telephone numbers where you can be reached on Sunday, March 20
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BID (excluding premium) $ $ $ $ $ $ $ $ $ $
START BIDDING NOW YOU CAN JOIN OUR AUCTION FROM ANYWHERE IN THE WORLD THROUGH THESE OPTIONS: LIVE BIDDING Join us in person on auction day. You may register for a paddle with our staff at any point during the sale. The buyer's premium is 20 % .
ONLINE BIDDING Bid now and on auction day through our site: visit posterauctions.com and click Register to Bid. Or download our app — Poster Auctions International is available for Apple iOS and Android. To bid on either platform, you must register a credit card ; please be sure to do this before the live auction. On auction day, follow the Live Auction link on our website to begin bidding—and remember to confirm your bid. We recommend using our platforms for a lower buyer’s premium ( 23%), but you may also bid through Invaluable and AuctionZip ( 25%).
ABSENTEE & TELEPHONE BIDDING Complete the form on page 207 or download at posterauctions.com. For absentee bidding, indicate your maximum bid for each desired lot. You may indicate an “either-or” bid if you want to purchase only a portion of the items on your wish list. You can also indicate an overall maximum dollar amount. We’ll execute your bid on your behalf at the lowest price possible. For telephone bidding, complete the absentee bidding form with the best phone number to reach you on March 20. When your lot comes up, one of our staff members will call you and execute your bids on your behalf. The buyer's premium for both is 20 % .
SEND US THE COMPLETED FORM Email: info @ posterauctions.com Fax: 212-604-9175 Mail: 26 W. 17th St. N Y, N Y 10011. It should arrive by Friday, March 18. 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 205. Beginning at 11am EDT on auction day, you’ll be able to access a live video feed at posterauctions.com.
Lot 176: La Route Bleue, by A. M. Cassandre.
Poster Auctions International, Inc. 26 West 17th Street, New York, NY 10011