PAI-XCIII: Rare Posters

PRESENTS

THURSDAY, JULY 11 , 2024 AT 11 AM EDT

VIEWING: JUNE 21 -JULY 10 (DAILY 11-6 )

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This sale is organized by Mr. Jack RENNERT and Ms. Terry SHARGEL. The catalogue is edited by Ms. Jessica ADAMS and designed by Mr. James M c COBB.

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

The front cover is a detail of lot 150: New York Central Building, 1930, by Chesley Bonestell. This page is a detail of lot 234: Pennsylvania Railroad / Atlantic City, ca. 1935, by Edward M. Eggleston. Page 188 is a detail of lot 389: Caudieux, 1893, by Henri de Toulouse-Lautrec.

Rennert’s Gallery

ACKNOWLEDGMENTS:

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

First and foremost, our thanks to the 90 consignors in 19 states and 12 foreign countries who entrusted their finest works to us for this very special occasion.

Our staff has been materially helpful in all aspects of this auction, and I wish especially to single out my associate Ms. Terry Shargel.

Our editorial staff was headed by Ms. Jessica Adams; Mr. James M c Cobb was in charge of production and design. Helping with many of the administrative aspects were Ms. Julie Press, Mr. Xavier Serbones, Mr. Angel Caraballo, and Mr. Oliver James L’EROE. And, as always, I benefit immensely from the support of Barbara Rennert, the director of the Poster Photo Archive.

The printing of this book was again in the hands of the GHP printing firm, and I am grateful for the cooperation and expertise shown by its staff, most notably Mr. Wayne Bruno, Ms. Chandanee Dempsey, and Mr. Carlos Luna.

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

Jack Rennert President

BIDDING INCREMENTS

Bidding at our auction will be strictly by the following increments.

To $2,000 by $100

$2,000 — $5,000 by $200

$5,000 — $10,000 by $500

$10,000 — $20,000 by $1,000

$20,000 — $50,000 by $2,000

$50,000 — $100,000 by $5,000

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Complete the form on page 187 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.

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BID WITH CONFIDENCE — EVEN IF YOU CANNOT ATTEND

We recommend all participants familiarize themselves with the Conditions of Sale before auction day: see page 185.

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OUR NEXT SALE

We are now accepting consignments for our Fall 2024 sale. Consignments are accepted until September 13, 2024.

Jack Rennert

TABLE OF CONTENTS 1

Detail of lot 104: Anything Goes, 1987, by James McMullan.

TABLE OF CONTENTS 2

CHARLES LOUPOT 279-283

ALPHONSE MUCHA 292-326

WALTER SCHNACKENBERG 358-361

THÉOPHILE-ALEXANDRE STEINLEN 366-371

HENRI DE TOULOUSE-LAUTREC 375-393

BOOKS AND PERIODICALS 408-410

SELECTED INDEX PAGE 179

BIBLIOGRAPHY PAGE 180

CONDITIONS OF SALE PAGE 185

ABSENTEE BID FORM PAGE 187

Detail of lot 295: Cycles Perfecta, 1902, by Alphonse Mucha.

LEVI’S

The following posters were all created under the art direction of Ida van Bladel at the Young and Rubicam agency in Belgium for the European market. “Photography has remained the main medium for posters, but the types of images have changed. In 1971, Levi’s distributed an image of a nude female back, reflecting the sexual liberation of the late 1960s and early 1970s and a period when denim jeans were synonymous with youth and rebellion” (V&A, p. 214).

1

Ida van Bladel (1931- )

1. Miss Levi’s. 1971.

28 x 40 1⁄ 8 in./71 x 102 cm

Cond A-/Slight creases at right edge. P.

Ref (all var but PAI): V & A, 215; Gallo, p. 276; Belgique/Paris, 150; Affiches Belges, 26; PAI-XCII, 136

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

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

van Bladel (Continued)

2.

1⁄ 2 x 38 3⁄ 8 in./64.8 x 97.5

This version of the “bare butt” poster includes the brand’s trademark at bottom.

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

3.

Van Bladel harnesses the Wild West and delivers it to the masses in the form of loose-fitting Levi’s jeans.

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

4.

Van Bladel takes a more town-andcountry approach to this Levi’s campaign ad.

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

5.

In this German-language promotion for Levi’s, the hardiness and longevity of Levi’s is clearly expressed—with a bit of morbid humor, naturally.

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

Miss Levi’s. ca. 1971. 25

cm Cond A/P.

Miss Levi’s / Wild West, Tamed. 24 3⁄4 x 37 1⁄4 in./62.7 x 94.7 cm Cond A/P.

Miss Levi’s / Wild West, Tamed. 24 3⁄4 x 37 1⁄4 in./62.7 x 94.7 cm Cond A/P.

Levi’s / Seit 1850. 21 5⁄ 8 x 34 5⁄ 8 in./55 x 88 cm Cond A/P.

6. Levi’s. 1971.

25 7⁄ 8 x 37 in./65.6 x 94.2 cm

Cond A/P.

Ref: V & A, 215; Gallo, p. 276; Belgique/Paris, 150; Affiches Belges, 26; Le Coultre, p. 409; PAI-LXXIII, 480

Succinct, unmistakable in meaning, practically wordless, and immediately eyecatching: it’s perhaps the perfect poster for the 20th century’s, erm, bottom half.

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

7. Levi’s / Beachcomber.

23 1⁄ 2 x 37 in./59.6 x 94 cm

Cond A/P.

Van Bladel ramps up the sex appeal in this sun-bronzed and flirtatious scene.

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

8. Levi’s / The Original Jeans.

26 3⁄ 8 x 37 1⁄4 in./67 x 95 cm

Cond A-/Slight tears at edges. P.

A witty photomontage proves that there’s a pair of Levi’s for every fit— even for a pair of oversized hands.

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

9. Levi’s / The Original Jeans.

26 3⁄ 8 x 37 1⁄4 in./67 x 95 cm

Cond A-/Slight tears at edges. P. A boxing glove makes for a tongue-incheek model for this Levi’s campaign.

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

van Bladel (Continued)

10. Levi’s.

26 3⁄ 8 x 37 1⁄4 in./67 x 95 cm

Cond A-/Slight tears at edges. P.

David gets a fashion upgrade with a fresh pair of cropped Levi’s.

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

26 3⁄ 8 x 37 1⁄4 in./67 x 95 cm

Cond A-/Slight tears at edges. P.

Although we’re not sure which painting is being referenced here, van Bladel gives the young girl a contemporary Levi’s outfit that nevertheless fails to cover her chest.

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

12. Levi’s.

26 3⁄ 8 x 37 1⁄4 in./67 x 95 cm

Cond A-/Slight tears at edges. P.

In another riff on classical imagery, Eve asks Adam which pair of Levi’s she should wear.

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

26 3⁄ 8 x 37 1⁄4 in./67 x 95 cm

Cond B+/Slight tears at edges. P.

Literally nothing gets between these ladies and their Levi’s! Or was that the Calvin Klein slogan? Regardless, the repeating lines make for a great display of denim.

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

11. Levi’s.

13. Miss Levi’s.

AVIATION

14. Une Semaine d’Aviation / Denhaut. 1909.

Artist: Anonymous

46 3⁄4 x 60 1⁄4 in./119 x 153 cm

Lith. J. Coqueugniot, Autun Cond A.

This extremely rare poster advertises a week of aviation celebrations (plus theatre, gymnastics, bicycle races, walking trails, and a grand concert) hosted by the connoisseur of the flying boat, François Denhaut. He built his first biplane in 1908; after making some modifications, he successfully constructed the first flying boat in 1912. Also mentioned here is one Bouyer a M. Mercier, a mechanic who was instrumental in Denhaut’s constructions.

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

15. Semaine d’Aviation de Lyon. 1910.

47 1⁄4 x 62 3⁄ 8 in./120 x 158.5 cm

Imp. Emile Pecaud, Paris Cond A.

Ref: Affiches d’Aviation, p. 52; Looping the Loop, 36; Toujours Plus Haut, p. 94; PAI-LXXIII, 71

Just six-and-a-half years after the Wright Brothers first achieved flight, this Great Aviation Week in Lyon “took place in front of one hundred thousand spectators” (Affiches d’Aviation, p. 33). The numerous biplanes and novel monoplane architectures in this image testify to the excitement, creativity, and ambition of the new era. The year 1910 was notable for a proliferation of aviation firsts and failures—including the first seaplane flight and the first experiments with airborne weaponry.

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

Artist: Charles Tichon

16. Planeyse Aviation. 1911.

Artist: Charles Wasem

27 3⁄4 x 41 in./70.5 x 104 cm

James Guinchard, Neuchâtel

Cond A.

Ref: PAI-XLIX, 35

Wasem keeps the skies evocatively wide open and romantically hued in his poster for the air show held at the Planeyse Aerodrome near Neuchâtel, a seminal event that helped to introduce aviation to Switzerland. And while the fly-in offers audience members the chance to experience flight themselves in a Farman biplane, and gives them an opportunity to see Swiss aviation pioneer Rene Grandjean (who had just recently caused a sensation by flying his monoplane across Lake Neuchâtel), it’s somewhat amusing to take note of the lottery prize being offered at the event: a brand-new car.

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

17. Grande Semaine d’Aviation / Reims. 1910.

Artist: Harald

46 1⁄ 2 x 61 in./118 x 155 cm

Atelier Harald, Paris

Cond B/Slight tears at folds.

Ref: DFP-II, 464; Wember, 390; Looping the Loop, 39; PAI-XXXII, 344

In this most dramatic design with hues of sunlight and shadow, a magnificent bird of prey appears dubious, and perhaps a little shocked, as he turns to see the multitudinous forms of flying machines invading his airspace. This is the larger format.

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

18. Aviation Populaire. 1936.

Artist: Georges Villa (1883-1965)

23 3⁄4 x 31 1⁄ 2 in./60.4 x 80 cm

Cond A-/Unobtrusive tears in bottom text area. Ref: PAI-LXXVIII, 89

It’s a bird! It’s a plane! It’s a... very large teenage boy appearing out of the clouds? Villa created this powerful image to encourage young people to practice light aviation—an initiative prompted by the Popular Aviation Service, which was created in 1936 by the Ministry of Air and organized by Jean Moulin. Interestingly, Geo Ham created a promotion for the Ministry a year later, which was clearly inspired by Villa’s design ( see PAI-LXXIV, 67).

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

19. American Airlines : Maquette. ca. 1930.

Artist: Anonymous

15 x 19 3⁄4 in./38 x 50 cm

Gouache and ink maquette on board.

This preliminary design for American Airlines likely never made it to the final stage of printing, but it displays some of the airline’s earlier destinations: Rome, Moscow, and Paris, which indeed circle the globe.

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

20. Air Orient. 1932.

Artist: Paul Colin (1892-1986)

13 x 20 1⁄ 8 in./33 x 51.2 cm

France Affiches, Paris

Cond B+/One-inch tear at right edge. P.

Ref: Air France, p. 32; PAI-LXXI, 144

Colin created an apt double portrait of a European and an Asian woman for an airline flying between Europe and the Far East. This was to be the last Air Orient poster: in 1933, the company merged with Air Union, S.G.T.A. (Lignes Farman), and C.I.D.N.A. to form Air France.

This is the smallest format.

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

21. Pan Am / Africa. 1941.

Artist: Anonymous

25 x 39 5⁄ 8 in./63.5 x 100.5 cm

Cond A.

Ref: PAI-LXVIII, 56

Haloed by the many other attractions within the vast continent, a leopard invites the viewer to Africa by Clipper.

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

22. Pan Am / Bermuda. 1949.

Artist: Boris Artzybasheff (1899-1965)

28 1⁄4 x 42 in./71.7 x 106.6 cm

Cond A-/Slight tear at upper left corner.

Ref: PAI-LXXXIV, 49

In 1939, Pan Am began to offer flights to Europe via Bermuda—but after the war, England was reluctant to host American flights to their territories, at least not

until the British had their own planes to travel there first. In 1945, the American and British governments met in Bermuda for negotiations, resulting in the Bermuda Agreement, which set the precedent for about 3,000 other international agreements regarding air travel. Once that was settled, Pan Am launched their ’round-the-world trips on the Lockheed 749 Constellation. Artzybasheff created this stylized and seductive design to lure travelers to the newly available islands of Bermuda. Like a finely detailed embossment, his mermaid carves her way around the territory, mimicking its shape, which is again echoed in the luscious Easter lilies opening up to the sky. Rare!

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

23. El Al Israel Airlines. ca. 1950.

Artist: Franz Krausz (1905-1998)

25 x 37 in./63.5 x 94 cm

Cond A.

Ref: PAI-L, 63

El Al Israeli Airlines began service in 1948 after the founding of Israel, using Israeli Air Force aircraft—such as the Douglas C-54 and the Curtiss C-46 Commando— for service to Paris, Switzerland, and London starting in 1949. Using Lockheed Constellations, the airline began New York services in 1950. Krausz uses a central structural assemblage to sum up El Al’s four-continent service with colorful brevity. Krausz, a pioneer of Israeli graphic design, immigrated to Palestine in the 1930s and is probably most widely known for his classic “Visit Palestine” poster.

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

25

24. Pan American / Africa. ca. 1950.

Artist: Anonymous

28 x 42 1⁄ 8 in./71 x 107 cm

Cond A.

This anonymous artist brings us to Africa via Clipper and shows us an intimate scene of some of the continent’s locals.

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

25. Air France / Carries Anything Anywhere. 1952.

Artist: Alphonse Dehédin

23 3⁄4 x 39 1⁄4 in./60.5 x 99.8 cm

Perceval, Paris

Cond A.

Ref: Air France/Dream, p. 57 (var); PAI-LXXXIV, 55

Air France is “transporting everything, everywhere” —from a delicate gilt decorative clock, to a canary in a cage, to a bunch of roses, as well as anything else. The succinctness of the tag line is matched by the cleverness of the design, which inscribes the motion of an ampersand, realizing an economic, graphic way to say “and everything else, too.” The plane is a celebrated Lockheed Constellation that made “everything, everywhere” possible.

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

26. Pan Am / Africa. 1967.

Artist: Anonymous

28 x 42 in./71.4 x 106.6 cm

Cond A.

Ref: Tourism/Suntory, p. 144; PAI-LXXXVII, 93

Despite the constant reproduction of this image on blogs and online shops, no record seems to exist of the artist’s name. But the reason for its popularity is clear: the image is bold, striking, and transfixing. The woman alone is a vision with her angular face and long eyelashes— and the Ankara fabric she wears simply adds to her allure. The repetition of pattern in the text below further references Pan Am’s groovier 1960s aesthetic.

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

27. Pan Am / Paris. ca. 1958.

Artist: Aaron Fine

28 1⁄4 x 41 1⁄ 2 in./71.7 x 105.3 cm

Cond A.

Ref: PAI-LXXXIX, 44

Bienvenue à Paris! With a healthy pour of vin rouge and a view of the Haussmann architecture beyond, we’re guaranteed to have a wonderful time in the City of Light thanks to Pan Am’s Jet Clipper service.

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

28. Pan Am / Europe. 1960. Artist: Bobri (Vladimir Bobritsky, 1898-1986)

28 x 41 5⁄ 8 in./71.2 x 105.6 cm Cond A.

Ref: PAI-XLIV, 106

Bobri puts the squeeze on the earth for Pan American Airlines, cleverly compressing the world at large to cheekily demonstrate how their “7 magic jet hours” service from New York to Europe is so easily achieved. Bobritsky, who signed the majority of his work “Bobri,” was born in Kharkov, Ukraine. Because of the turbulent events of the Revolution, he fled Russia in 1917, never to return. He passed safely into Turkey, supporting himself by designing sets and costumes for the Russian ballet in Istanbul, producing movie posters, and creating iconographic paintings in a monastery. He emigrated to New York in 1921, establishing himself as a fashion illustrator. At the peak of that career in the 1930s and ’40s, Bobri was a leading artist in New

York’s burgeoning advertising world—working on such prestigious accounts as Saks Fifth Avenue and Hanes—and was a frequent contributor to the New Yorker, Vogue, and Harper’s Bazaar . His drawing style was bold, yet elegant, marked by technical refinement and an excellent use of space.

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

29. Pan Am / Bermuda. ca. 1960. Artist: Zdinak

28 1⁄4 x 41 3⁄4 in./71.7 x 106 cm

Cond B+/Slight tears at fold.

Although none of the local characteristics are visible in this scene, the mysterious designer has captured the essence of a joyful and romantic getaway in tropical Bermuda.

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

30. TWA / India. ca. 1960. Artist: David Klein (1918-2005)

25 x 39 3⁄4 in./63.7 x 101 cm

Cond A.

Ref: PAI-LXXXIII, 115

Klein created at least two designs for TWA’s route to India; both posters that we’ve seen favor the Hindu symbol of luck—the elephant—over the country’s landscape or architecture. And it’s no wonder why he chose this magnificent creature as his subject: the elephant is associated with Ganesha, one of the most worshipped and highly revered deities in Hinduism. And in Indian weddings, it’s common for grooms to ride atop an elephant in the procession. Klein adopts the latter tradition as his focus and adorns the animal in typical jewels and vibrant fabrics.

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

31. Air France / Europe. 1964.

Artist: Jacques Nathan-Garamond (1910-2001)

24 5⁄ 8 x 39 3⁄ 8 in./62.5 x 100 cm

Perceval, Paris

Cond A.

Ref: Air France/Dream, p. 122; PAI-LXVIII, 26

The posterist assembles Europe’s beloved architectural landmarks into a stained glass design that recalls the continent’s many awe-inspiring churches. It’s a succinct mosaic of the wonders of travel and sightseeing.

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

32. Air France / The Caribbean. 1964. Artist: Jacques Nathan-Garamond (1910-2001)

24 3⁄ 8 x 39 1 4 in./62 x 99.6 cm

Cond A.

Ref: Air France/Dream, p. 164; PAI-LXXVII, 57

Much like its varied origins, the Caribbean is home to an enormous diversity of animals, fungi, and plants, as seen here in Nathan-Garamond’s saturated tones and collagelike stylings. From exotic birds to colorful foliage and fascinating ocean life, the islands offer a menagerie of exciting opportunities. This is the English text version.

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

33. Pan Am / Russia. ca. 1965.

Artist: Anonymous

28 1⁄ 8 x 42 in./71.3 x 106.7 cm

Cond A.

This anonymous artist relies on the instantly recognizable onion domes of Moscow’s St. Basil’s Cathedral to entice us on a journey via Pan Am. And while the vibrantly colored swirls are breathtaking on their own, the artist’s psychedelic interpretation makes for a delicious visual treat.

Est: $800-$1,000.

34. SAS / Late Flight. 1997.

Artist: Anonymous

24 1⁄4 x 35 3⁄4 in./61.5 x 91 cm

Cond A-/Slight crease at top edge.

Goodbye, New York City—and hello, Scandinavia! Founded in 1946, SAS is the collective flag carrier of Denmark, Norway, and Sweden. The anonymous artist whisks us away from the hustle and bustle of the concrete jungle to the peaceful countries of Northern Europe.

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

BICYCLES

35. Victor Bicycles / Overman Wheel Co. 1896.

Artist: William H. Bradley (1868-1962)

38 3⁄4 x 62 1⁄ 8 in./98.6 x 157.8 cm

Arti Grafiche, Bergamo

Cond A-/Slight tear at horizontal fold.

Ref: DFP-I, 165; Reims, 1148; Lauder I, 35; Masters 1900, 211; Bicycle Posters, 24; Weill, 120; Margolin, p. 208 (var); Bradley, 23 (var); Bradley/Koch, p. 53; Bambace, p. 164; PAI-LXXXII, 46

Known for his love of intricate patterns based on nature and the work of Art Nouveau bad boy Aubrey Beardsley, Bradley does not shy away from giving a heavy nod to both in this painstakingly detailed design. With its rhythmic variety and organic flow of line, it’s obvious why it is considered one of the greatest examples of American poster art. As for the product itself, the Victor bicycle was launched by A.H. Overman in 1887, and was among the first to include wheels of matching height (as opposed to the velocipede which had a higher front wheel). Here, Bradley promotes the Torinobased Italian distributor of the brand.

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

36. Deuxième Salon du Cycle. 1894.

Artist: Jean-Louis Forain (1852-1931)

40 1⁄4 x 17 in./102.3 x 43.3 cm

Imp. H. Harold, Paris

Cond B+/Slight tears and stains at edges. Ref: DFP-II, 362; Maindron 1896, p. 64; Maitres, 51; Bicycle Posters, 20; Wagner, 55; Abdy, p. 106; PAI-LXX, 6

In advertising the second annual Salon du Cycle, Forain created an image which would cause Maindron to later exclaim, “This poster is perfect.” Delicate in sweet pastel shades, this is the smallest version of the image.

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

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

Artist: Eugène Grasset (1841-1917)

23 3⁄4 x 17 1⁄4 in./60.2 x 44 cm

Imp. de Vaugirard & G. de Malherbe, Paris

Cond A/P.

Ref: DFP-II, 415; Bicycle Posters, 21; Berthon & Grasset, p. 34; Weill, 41; Timeless Images, 28; Dodge, p. 132; Gold, 78; Encyclopédie/Weill p. 41; Posters of Paris, 54; PAI-XCI, 40

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

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

38. Terrot & Co / Dijon.

Artist: Francisco Tamagno (1851-1933)

38 1⁄ 2 x 54 1⁄ 2 in./97.7 x 138.4 cm

La Lithographie Parisienne, Paris

Cond A-/Unobtrusive folds.

Ref: PAI-XC, 55

Tamagno was very fond of this sassy female. We’ve seen her climb mountaintops, beat out trains, and best her male companions—all with a flippant but elegant kiss-off to those she’s left in the dust. But here, for the first time, she’s edging out not only an automobile, but a Wright airplane as well! She’s the very picture of feminine empowerment, made all the more lovely with a golden autumnal sunset.

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

39. Cycles Georges Richard. ca. 1896.

Artist: Anonymous

42 1⁄ 2 x 59 1⁄4 in./108 x 150.5 cm

Imp. G. Chevalier, Paris

Cond A-/Unobtrusive folds.

Ref: PAI-LXIII, 9

With its signature four-leaf clover in the upper left, there can be no mistaking that this is an advertisement for Georges Richard bicycles. Here, we see models for the entire turn-of-the-century family, promoting cycling as an ideal family activity.

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

40. Cycles Clément. ca. 1890. Artist: René Leverd (1872-1938)

46 3⁄ 8 x 63 1⁄ 2 in./117.7 x 161 cm

Imp. E. Bougard, Paris Cond A.

Ref: PAI-LXIV, 61

Along with Gladiator, Clément was one of two bicycle manufacturers that accounted for more posters than any other. In a genre full of fanciful imagery and exotically costumed muses, this design still manages to stand out, as the Clément cycle proves it can turn heads even as far away as Japan.

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

41. Patin-Bicyclette / Richard-Choubersky. ca. 1899. Artist: Pal (Jean de Paléologue, 1860-1942)

37 x 51 1⁄ 2 in./94 x 130.8 cm

Imp. Paul Dupont, Paris Cond A-/Unobtrusive folds.

Ref: Gold, 124; Sportissimo, p. 198; PAI-LXXXVI, 13 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: $1,700-$2,000.

42

42. Acatène Métropole. 1895.

Artist: Lucien Baylac (1851-1913)

50 5⁄ 8 x 72 1⁄4 in./128.7 x 183.7 cm

Imp. J. Kossuth, Paris

Cond A.

Ref (all var but PAI): Reims, 223; Maindron 1896, p. 120; PAI-LXXXVII, 47

Baylac gives us a street scene from the days when women were required to wear long skirts—even on bicycles. But the voluminous fabric could easily tangle in the cycle’s chain drive. Métropole’s “Acatène” provides a solution: this chainless model allows the young lady to more easily mount the bike in her bloomers. The design features another Métropole poster by Baylac, also used to sell the chainless version. A smaller poster-withinthe-poster advertises the American-made G & J tires. There’s a lot going on in this two-sheet poster, including the shocked expressions of the old chain guard, but it’s all organized with clarity and wit.

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

43. Clément. ca. 1900.

Artist: Arthur Foache (1871-1967)

37 3⁄4 x 54 1⁄ 2 in./96 x 138.4 cm

Imp. Bourgerie, Paris

Cond B/Slight tears at folds.

Ref: Bicycle Posters, 65; DFP-II, 610; Schardt, p. 158; Dodge, p. 121; Weill/Art Nouveau, p. 61; PAI-XCII, 13 Arthur Foache created a radiant—even erotic—image for Clément bicycles, a field that he certainly specialized in. Adolphe Clément opened his first bicycle manufacturing business in 1878, complete with a repair shop and cycling school. By 1890, his small local business had become the most popular bicycle brand in France. As Clément was also a fanatical racer, it seems only fitting that the muse in this poster should be carrying the many laurels won by him and his brand.

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

44. Cycles & Automobiles Clément. ca. 1902.

Artist: René Leverd (1872-1938)

61 5⁄ 8 x 46 in./156.6 x 116.8 cm

Imp. E. Bougard, Paris

Cond A-/Slight tears at edges.

Ref: PAI-LXXXVI, 21

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.

45. La Française. ca. 1899.

Artist: Maurice Marodon

42 1⁄4 x 58 7⁄ 8 in./107.5 x 149.5 cm

P. Dupont, Paris

Cond A.

Ref: PAI-LXXXVI, 8

The Bordeaux-Paris bicycle race was an event of such interest that crowds of spectators lined the entire 360-mile 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.

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

46. Hutchinson.

Artist: Mich (Michel Liebeaux, 1881-1923)

23 3⁄4 x 15 3⁄4 in./60 x 40 cm

Affiches Gaillard, Paris

Cond A.

Mich created at least four other designs for Hutchinson tires, with most showcasing a rider in polka dot overalls accompanied by his beloved pooch atop an automobile

or a bicycle. Here, the duo unfurl a film strip that showcases about 20 cycling champions, who presumably met their success with Hutchinson’s support. The brand, founded in 1853, continues to be a leader in tires and polymer technologies around the world.

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

47. Pneu Vélo Michelin. 1912. Artist: O’Galop (Marius Rossillon, 1867-1946)

31 1⁄ 2 x 47 3⁄4 in./80 x 121.3 cm

Imp. Chaix, Paris

Cond A.

Ref (all var): Michelin/Le Codiac, p. 12; Discount, p. 121; PAI-LXII, 218

“Although Michelin frequently advertised its tires as le meilleur, le moins cher (the best, the least expensive), they generally were not cheaper than the competition. In this image, a jaunty Bibendum smokes his cigar while riding a bicycle with one leg flung over the handlebars. The cigar was such an intrinsic part of his character that when the Michelin brothers copyrighted Bibendum, in 1908, the legal paperwork specifically included it. Artists created more than twenty thousand images of him between 1898 and 1930, many showing him with the cigar” (Discount, p. 121).

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

48. Pneu Vélo Michelin. 1913. Artist: O’Galop (Marius Rossillon, 1867-1946)

31 3⁄ 8 x 47 3⁄4 in./79.8 x 121.3 cm

Imp. Chaix, Paris

Cond A.

Ref (both var): Discount, p. 129; PAI-LXII, 219

O’Galop shows Bibendum smirking over his shoulder as he rides toward a blazing sunset astride his Michelintired bicycle.

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

49. Bicyclette Jean Louvet. ca. 1931. Artist: Mich (Michel Liebeaux, 1881-1923)

46 3⁄4 x 62 1⁄ 2 in./118.8 x 158.8 cm

Publicité Wall, Paris

Cond B+/Slight tears at horizontal fold.

Ref: PAI-LXX, 51

In this less common of two designs by Mich for Jean Louvet bicycles, a jockey claims that this brand is equivalent to a horse on wheels.

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

AUTOMOBILES

50. Motricine. ca. 1901.

Artist: J. L. Lesourd

37 5⁄ 8 x 54 5⁄ 8 in./95.6 x 130 cm

Imp. Courmont Frères, Paris

Cond A-/Unobtrusive folds.

Ref: Gold, 25 (var); Collectionneur, p. 235; PAI-LXXXIX, 2

“Careening recklessly down the road at speeds surely in excess of 15 mph, the early motoring couple gives nary a thought to mechanical trouble because they have trusty Motricine in the gas tank. At this time cars were still considered a hobby for eccentrics: you had to enjoy barreling down dusty country lanes where cows and geese were often the only other traffic, endure the weather in open autos, and in the absence of service stations, occasionally locate a blacksmith shop that might sell you a can of gasoline if you needed it. Brava to the plucky passenger here!” (Gold, p. 19).

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

51. Continental / Rouge Ferré. ca. 1910. Artist: Erhmann

45 7⁄ 8 x 62 3⁄4 in./116.5 x 159.5 cm

Imp. Robert, Paris

Cond A-/Slight tears at folds.

Ref: Pneu, p. 57; Continental, p. 42; Discount, p. 21

The dramatic arm hoisting up a Continental tire became the company’s logo, and the authors of “Les Cent plus belles images du Pneu” propose that Marcel Duchamp, who passed by the Neuilly factory daily, may have been inspired by this image to create his first readymade, “Bicycle Wheel” (p. 57). It certainly is a compelling image.

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

52. Continental. 1907.

Artist: Mich (Michel Liebeaux, 1881-1923)

89 1⁄4 x 61 in./227 x 155 cm

Imp. G. Delatre, Paris

Cond A-/Unobtrusive folds.

Ref: Continental, p. 90; Pneu, 11; Discount, 18; Affiches Automobiles, p. 24 (var); PAI-LIII, 357

Calling upon the hobo and dog mascot he created years prior for Continental bicycle tires, Mich now upgrades our derelict friend’s ride to a makeshift car promoting the company’s automotive end. To the left of this two-sheet design, the text loosely reads that “it doesn’t matter what engine you have, provided you have the right tires.”

Est: $2,200-$2,500.

53. Continental. 1910. Artist: Raoul Vion

89 3⁄ 8 x 61 1⁄ 2 in./227 x 156.2 cm

Imp. G. Delattre, Paris

Cond B+/Unobtrusive folds.

Ref: Continental, p. 100; PAI-XXIV, 568

We don’t know anything about this talented graphic artist other than he created bicycle posters with an exuberant humor. His high spirits are evident here in a design that makes maximum use of its two-sheeted horizontal format. Showing the range of Continental’s line, a diminutive goggled driver makes for an amusing weightlifter as he hefts tires over his head like a barbell. They’re plenty strong, and they make him, behind the wheel, pretty strong as well.

Est: $2,200-$2,500.

54. Flanders Colonial Electric. 1912.

Artist: Clarence Coles Phillips (1880-1927)

40 1⁄4 x 27 in./102.3 x 68.5 cm

Joseph Mack, Detroit

Cond B+/Slight creases.

Ref: Timeless Images, 164

A trio of young sophisticates are ready to paint the town thanks to their Flanders Colonial Electric Model-30. The text included here gives us plenty of information: the 1913 make “has set a new standard in design, in finish, in mileage, hill-climbing, riding qualities, and all those other requisites of a high-class equipage for city and suburban service. Combines electrical excellence with faultless coach work—utility with beauty and grace.” Born in Ohio, Phillips began illustrating for Life Magazine in 1907 at age 26, leading to a lifelong career with that publication. He was known for his illustrations of stylish young women surrounded by his signature negative space. Rare!

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

55. Spyker-Auto’s. ca. 1920.

Artist: Pieter Vanderhem (1885-1961)

30 3⁄ 8 x 42 1⁄4 in./77.2 x 107.3 cm Senefelder, Amsterdam

Cond A-/Slight creases at top and bottom; matted to image. Framed.

Ref: PAI-XV, 70

A wealthy couple out on the town have their Spyker waiting to take them home, and the young porter is doing his best to earn a tip. The red jacket of his uniform is the only prominent color, other than the orange sidewalk rug they’re standing on. As is usual with Vanderhem, his drawing has a gentle touch of irony to it: he was, after all, an outstanding caricaturist. Rare!

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

56. Diatto. 1924.

Artist: Luciano Achille Mauzan (1883-1952)

9 3⁄ 8 x 13 1⁄4 in./23.8 x 33.8 cm

Affiches Mauzan Morzenti, Milano

Cond A-/Slight scrapes in margins. Framed.

Ref: Mauzan, A085; Menegazzi-III, p. 89

Mauzan restrained his usual sense of humor to design an image befitting an elegant Diatto model. The railway carriage company was founded in Turin in 1835 by Guglielmo Diatto; his sons expanded the automotive division with Adolphe Clément-Bayard, forming Diatto-Clément. Although they ceased operation in 1929, the company made notable contributions such as supplying frames to Bugatti. This poster is on a display board with grommets.

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

57. Englebert. ca. 1925.

Artist: Paul Ordner (1900-1969)

12 x 16 1⁄ 8 in./30 x 41 cm

Cond B/Slight stains.

Founded by Oscar Englebert in 1877, Englebert quickly became one of Europe’s leading rubber manufacturers. Here, we see a lovely young lady waving to an admiring driver as he takes a quick pit stop. This poster is on a display board with a calendarium pad. Rare!

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

58. Ford. ca. 1928.

Artist: René Vincent (1879-1936)

43 x 52 3⁄4 in./109.2 x 134 cm

Cond B+/Slight tears at folds.

Ref: PAI-LXXVIII, 62 (var)

René Vincent virtually invented auto advertising for the moneyed elite, with an elegant and precise line extending from the machinery to the women he drew. In this ad, as in so many since, we can see the wealthy couple leading the children to the back seats in the new family sedan. The bright burst of golden leaves, matching the wife’s coat, supplants an exhaust plume with clever placement. Together with the Racing Green of the car, it’s a superb visual shorthand for “topdown fun from Spring to Fall.” Strikingly, this French advertisement doesn’t name the car; we suspect it’s the 1928 Model A Convertible. And although this copy is missing the bottom half of text, the full-text variant would inform us to “See all Ford agents for the latest Ford creation: new line, elegance and indisputable chic, refined comfort, and mechanical improvements for all models.”

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

59. Citroën C6. ca. 1928.

Artist: Pierre Louÿs

46 1⁄ 2 x 61 3⁄4 in./118 x 156.7 cm

Imp. Marcel Picard, Paris Cond A.

Ref: PAI-LXII, 464

Debuting at the same time as the C4 ( see PAI-LXII, 583), the Citroën C6 was simply a more powerful version of the same car, featuring six instead of four cylinders in the engine. The poster is a fantastic example of aggressive Art Deco design.

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

60. Peugeot. 1930.

Artist: André Girard (1901-1968)

47 1⁄4 x 62 5⁄ 8 in./120 x 159 cm

Création An. Girard, Neuilly Cond A.

Ref: PAI-LXXXI, 124

These Art Deco speedsters are likely to zoom right off the page, it seems. Girard presents three racing Peugeot models, which were tested at Monthéry, the famous autodrome just outside of Paris. The facility was opened in 1924 for car races and to test newer models before releasing them to the public.

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

61. Amilcar. 1933.

Artist: A. Chazelle

46 x 61 5⁄ 8 in./116.8 x 156.5 cm

H. Chachoin, Paris Cond A.

Ref: PAI-XCII, 32A

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

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

62. Monaco Grand Prix 1932.

Artist: Robert Falcucci (1900-1989)

30 3⁄4 x 47 in./78 x 119.3 cm

Imp. Monégasque, Monte-Carlo

Cond B+/Restorations in bottom text.

Ref: Automobile/Lopez, p. 117; Affiches Automobiles, p. 48; Monaco, p. 23; PAI-LXXXIX, 14

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: $17,000-$20,000.

63. No lot.

64. Coupes de Paris / 1939.

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

29 3⁄ 8 x 46 1⁄4 in./74.6 x 117.3 cm Courbet, Paris

Cond A-/Slight stains at edges. Framed. Ref: Khachadourian, p. 112; PAI-XXVII, 47

This spectacularly vivid Ham poster features a singularly intense—not to mention fashion-conscious—speed demon for the 1939 French Auto Racers Association’s Paris Cup at the Monthéry Autodrome. Interestingly, this road race doesn’t take place on a road at all, at least not in the traditional sense, but on a specially constructed course built along the ridge on which the track is set. Shortly after the race, the track was sold to the Ministry of War and underwent grave deterioration during World War II. It was reopened after the conflict and celebrates its 100th anniversary this year.

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

65. Monaco 1962 / XXe Grand Prix.

Artist: Michel Trublin (1939- )

45 7⁄ 8 x 58 3 8 in./116.5 x 148.4 cm

J. Ramel, Nice

Cond B+/Slight tears in top and bottom text. Ref: Monaco, p. 59; PAI-L, 41

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

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

WAR & PROPAGANDA

66. True Blue. 1919.

Artist: Anonymous

15 7⁄ 8 x 20 in./40.4 x 50.6 cm

E. G. Renesch, Chicago Cond A.

Ref: PAI-LXXXVIII, 127

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

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

67. Soldier’s Return. ca. 1918.

Artist: Anonymous

15 7⁄ 8 x 20 in./40.2 x 51 cm

E. G. Renesch, Chicago Cond A.

This anonymous artist shows no signs of war’s ravages, but instead focuses entirely on the soldier’s return to family and home. It’s a wholly patriotic scene, with George Washington’s portrait and a Blue Star flag prominently hung.

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

68. 2 Inspiring Cablegrams. 1918.

Artist: William George Krieghoff (1875-1930)

32 1⁄4 x 43 1 2 in./82 x 110.4 cm

Thomsen-Ellis Co., Baltimore and New York Cond A-/Slight creases at edges. P.

Composed in the form of cablegrams between Shipping Board Chairman Edward N. Hurley and General Pershing, this poster celebrates the record-breaking pace of ships constructed in America which were sent to the army in France on July 4th, 1918. This poster was published by the U.S. Shipping Board Emergency Fleet Corporation. Est: $800-$1,000.

69. Cadillac / Liberty Motor. ca. 1917.

Artist: Anonymous

25 1⁄ 8 x 38 1⁄ 8 in./63.8 x 96.8 cm

Evans-Winter-Hebb Printing, Detroit

Cond A.

Ref: PAI-XXXII, 61

Patriotically raining down fresh death from on high, this fearsome pilot at the controls of his Liberty aircraft dishes out his Hun-smiting terror, sending the Kaiser’s minion into a frenzied, scurrying retreat. The Cadillac Motor Company exhorts its line workers to push themselves to the identical steely limits of our boys overseas. The Liberty 12-A engines were produced by a number of automotive companies. But the bravado of this poster belies the reality of war: “American flying ace Captain Eddie Rickenbacker described their performance in combat: ‘From every side Fokkers were diving into the clumsy Liberty machines which, with their criminally constructed fuel systems, offered so easy a target to the incendiary bullets of the enemy that their unfortunate pilots called this boasted achievement of our Aviation Department ‘Flaming Coffins’... [After] World War I, it found its rightful place in government service as a U.S. Mail plane” (Rawls, p. 182).

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

70. Remember the Flag of Liberty. 1918. Artist: Anonymous

20 x 29 7⁄ 8 in./50.8 x 75.7 cm

Heywood Strasser & Voigt Litho., New York

Cond A-/Slight tears at edges. P.

Ref: Rawls, p. 210

This anonymous artist appeals to those who have recently arrived in America and implores them to do their part by participating in the third Liberty Loan. This initiative was quite successful, with many stars of the time promoting the loan at rallies throughout the country. Cities competed to win the new honor flag that was bestowed upon them for reaching their quotas. “In all, more than eighteen million citizens invested in this campaign” (Rawls, p. 208).

Est: $800-$1,000.

71. Britishers Enlist To-Day. 1917. Artist: Guy Lipscombe (ca. 1881- ?)

26 3⁄4 x 38 1⁄4 in./67.8 x 97 cm

Cond B+/Slight tears at horizontal fold. Ref: Rawls, p. 59; Takashimaya, 104 (var); PAI-LXXIV, 342

A marvelously tactile Union Jack twangs the expat’s heartstrings for Old Blighty in this rousing World War I poster inspiring Britons in New York City to enlist for King and Country. Guy Lipscombe was a war artist who later headed the art department for the British weekly auto magazine, The Motor Est: $1,000-$1,200.

72. Army Air Service. 1917.

Artist: Charles Livingston Bull (1874-1932)

20 1⁄ 2 x 27 1⁄ 8 in./52 x 69 cm

Alpha Litho., New York

Cond B/Slight tears at folds.

Ref: Theofiles, 26; Rawls, p. 173; Looping the Loop, p. 116; PAI-LXXXVIII, 130

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

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

73. Official United States War Films. 1917.

Artist: Harry Stoner (1880-?)

27 3⁄4 x 40 1 2 in./70.5 x 103 cm

Alpha Litho., New York

Cond A-/Unobtrusive folds.

Ref: Rawls, p. 142; PAI-LXXXIV, 103

During World War I, film footage of war was a novel development; the technology was not primed for shooting action from the air, and the footage that was available from France was censored of “hardship,

mutilation, and atrocity” (Rawls, p. 141). Stoner’s poster accomplishes two goals: it announces the endeavors of the American War Films Division while offering a sense of the true devastation of war. Rare!

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

74. Before Sunset / 2nd Liberty Loan. 1917. Artist: Eugenie DeLand (1872-1961)

20 1⁄4 x 30 in./51.3 x 76.2 cm

Sackette & Wilhelms, New York

Cond A.

Ref: Theofiles, 132; PAI-LXXXVIII, 134

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

Est: $800-$1,000.

75. Women of Britain. 1915.

Artist: E. V. Kealey

19 7⁄ 8 x 29 7⁄ 8 in./50.4 x 75.7 cm

Hill, Siffken & Co., London

Cond A.

Ref: Rawls, p. 32; Rickards, 40; Graphic Design/New History, 3.10; PAI-LXXXII, 28

Published by the Parliamentary Recruiting Committee, this tender design proves the importance of women in the war effort. Whether staying at home to care for the children or working in manufacturing facilities, women were tasked with patriotism and sacrifice: namely, the sacrifice of sending their beloved male family members off to war. Kealey depicts both the struggle and the overarching goal by showing us the pained faces of the family and the troops dutifully marching off.

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

76. Your Work Means Victory / Build Another One. ca. 1918.

Artist: Fred J. Hoertz (1889-1978)

28 x 37 7⁄ 8 in./71 x 96 cm

Ketterlinus, Philadelphia

Cond B+/Horizontal crease at top and bottom. P.

Ref: Theofiles, 265; PAI-LXXXIV, 94

Straightforward and colorfully industrial, this poster directly appeals to the workers arduously striving to achieve the United States Shipping Board’s goal of launching one hundred ships a day. The equation was simple: production equals supremacy. The text in the lower left mentions that this Hoertz design received an Honorable Mention (Citizen’s Class) in a poster contest sponsored by the New York Sun.

Est: $800-$1,000.

77. Die Gefahr des Bolschewismus. 1919.

Artist: Rudi Feld (1896-1994)

26 7⁄ 8 x 37 in./68.3 x 94 cm

Cond B+/Slight tears at folds.

Ref: Persuasive Images, p. 123

“Political life in the republic was haunted by the fear of communism that posters of the anti-bolshevik leagues and volunteer corps had helped propagate. European caricatures had depicted socialism as a skeleton since the nineteenth century, but Feld’s image was adopted from a horror novel. The most influential source for these bolshevik monsters was, ironically, Allied images of the bestial German Hun” (Persuasive Images, p. 122).

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

78. Spartakus. 1919.

Artist: Anonymous

26 1⁄4 x 38 in./66.6 x 96.4 cm

Cond A-/Slight tears at edges.

This horrifying scene shows the dangers of Bolshevism as embodied by “Spartakus at work,” who is unabashedly slaying a family of three.

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

79. Criminals! ca. 1937.

Artist: André Ras

27 3⁄4 x 38 7⁄ 8 in./70.5 x 98.7 cm

Atlantida-Roger de Flor, Barcelona

Cond A.

Ref: Carteles Republica, 379; PAI-XI, 471

This is one of several posters created by Socorro Rojo (Red Aid), a Communist-organized movement to help refugees, orphaned children, and those affected by the Spanish Civil War.

Est: $800-$1,000.

80. Europa is Aangetreden! ca. 1940.

Artist: Claudius

34 1⁄4 x 47 in./87 x 119.4 cm

Cond B/Slight tears at folds.

This anti-bolshevik poster illustrates various European forces (note the Nazi flag) working together to strike out their Russian enemy. Of course, the tides were soon to turn, but Claudius captured a quite interesting political moment in time.

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

81. We French Workers Warn You... 1942. Artist: Ben Shahn (1898-1969)

40 x 28 1⁄ 2 in./101.7 x 72.2 cm

U.S. Government Printing Office, Washington, D.C. Cond B+/Unobtrusive folds.

Ref: Shahn, 143; Takashimaya, 234; Affiches/WWII, vol. VI, p. 19; Shahn/Prescott, VI; Guerres, No. 13, p. 18; PAI-LXV, 478

The cautionary tone directed here at American citizens couldn’t be clearer, with incarcerated French workers warning that “defeat means slavery, starvation, death,” as an “Official Vichy Decree” glows menacingly in the background. This was Shahn’s first war poster; he worked in the Office of War Information under William Golden.

Est: $800-$1,000.

82. This is Nazi Brutality. 1942. Artist: Ben Shahn (1898-1969)

28 1⁄4 x 37 7 8 in./71.7 x 96.3 cm

U.S. Government Printing Office, Washington, D.C. Cond B/Slight tears at folds.

Ref: Affiches/WWII, vol. VI, cover; Shahn/Morse, 16; Shahn/Hiroshima, 29; Shahn/Prescott, VII; Shahn, 144; Takashimaya,127; PAI-LXXXVI, 69

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 ten-hour 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: $1,000-$1,200.

83. Buy Extra Bonds / Jap... You’re Next! 1945.

Artist: James Montgomery Flagg (1870-1960)

13 7⁄ 8 x 19 7⁄ 8 in./35.3 x 50.5 cm Cond A.

Ref: Flagg, p. 85 (var); PAI-XCI, 95

Uncle Sam rolls up his sleeves for round two of WWII on the occasion of V-E Day and the 7th War Loan. James Montgomery Flagg introduced the character of Uncle Sam in his 1917 I Want You poster ( see PAI-XCI, 76). The same image first appeared in 1942, with this bottom text: “We’ll Finish the Job!”

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

84. Production. 1942.

Artist: Jean Carlu (1900-1997)

40 1⁄ 2 x 29 7⁄ 8 in./102.8 x 76 cm

U.S. Government Printing Office, Washington, D.C. Cond A.

Ref: Carlu, 49; Modern Poster, 197; Affiches 1000, 0312; Takashimaya, 232; PAI-LXXXIV, 114

Arguably America’s most substantive role in World War II was supplying the sheer material preponderance that eventually overwhelmed the much more aggressive

and better trained German and Japanese forces. This is one of the first posters that mobilized Americans and made them aware of the way they could help to end the bloodshed. Carlu worked in the United States from 1939 to 1952. When he first submitted this design, in the pre-Pearl Harbor summer of 1941, it was a mobilization poster; it became a war poster when it was reissued in 1942.

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

85. America Open Your Eyes! 1941.

Artist: Jean Carlu (1900-1997)

10 x 13 1⁄4 in./25.3 x 33.7 cm

Cond A.

Ref: Carlu, 52

“ Fortune magazine had asked four or five artists to create compositions on current topics, more or less related to the war. We should not do things too fanciful for Fortune Magazine which was aimed at all the country’s industrialists and business men” (Carlu, 52). Indeed, Carlu gets straight to the point that Americans should not overlook current events in Europe.

Est: $800-$1,000.

86. Keep Us Flying! / Buy War Bonds. 1943. Artist: Reynaud

20 x 27 3⁄4 in./51 x 70.5 cm

U.S. Government Printing Office, Washington, D.C. Cond A-/Unobtrusive folds.

Ref: PAI-LXI, 527

The first African American pilots began flying combat missions out of Morocco in 1943—a task just as difficult and grueling as the fight they went through at home to become airmen. This poster features one of the famous Tuskegee aviators, Major R. Diez, encouraging people to buy war bonds. Diez flew 93 successful missions with the 99th Pursuit Squadron over North Africa and Italy, including several missions in which he took down German Luftwaffe in his P-40 Tomahawk.

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

87. Belgian Congo / For Victory. ca. 1940.

Artist: Anonymous

21 1⁄4 x 29 in./51.4 x 73.7 cm

Cond A.

The Belgian government would like to inform New Yorkers that the colonized Belgian Congo is contributing to the war effort abroad. The African country provided vital raw materials to the United Kingdom and United States and also fought alongside British soldiers abroad. Sadly, the Congolese were put under much pressure by the Belgians, and protest activity was violently repressed. The artist’s name, at lower right, is unclear.

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

88. New Zealand / Down Under. 1943.

Artist: Duco

23 7⁄ 8 x 31 5⁄ 8 in./60.6 x 80.3 cm

Cond A.

Issued by the New Zealand Legation in Washington, D.C., this poster reminds Americans that the country down under may be tiny, but it’s still mighty. New Zealand helped the Allied Forces in the Pacific during World War II.

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

89. Black Power / White Power. 1967. Artist: Tomi Ungerer (1931-2019)

21 3⁄4 x 27 3⁄4 in./55.3 x 70.6 cm

Cond A. Framed.

Ref: Ungerer Posters, 39; Images of an Era, 69; Ungerer/Willer, cover & 160; Ungerer Exhibitions, 189; Ungerer Musée, p. 199; Ungerer/All in One, 46; PAI-LXXXIX, 92

Exhibited: The Drawing Center, New York City, 2015 “Black Power/White Power” is an intentionally uncomfortable design that zeroes in on American racial conflicts of the 1960s—but, as we’ve all realized in recent years, those issues are far from resolved. This poster is perhaps more relevant than ever, but Ungerer never could have imagined that when he designed this in 1967. The image is “Ungerer’s graphic response to racial injustice. Now an icon of political posters, this inflammatory image targets not simply racism against African Americans, but extremism on both sides. Of [his political posters] Ungerer observes, ‘I create political drawing because I feel the need for it. Because I am angry’” (Ungerer/ All in One, p. 99).

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

90. Choice Not Chance. 1967.

Artist: Tomi Ungerer (1931-2019)

21 1⁄ 2 x 27 1⁄ 8 in./54.5 x 69 cm

Cond A. Framed.

Ref: Ungerer Exhibitions, 188; Ungerer Posters, 26; Ungerer/All in One, 42; PAI-LXXXIV, 485

Exhibited: The Drawing Center, New York City, 2015

In this eerie design, a U.S. pilot is painting the images of howling Vietnamese babies on the nose of his plane, indicating the number that he has proudly killed.

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

91. Give. 1967.

Artist: Tomi Ungerer (1931-2019)

21 x 27 in./53.4 x 68.5 cm

Cond A. Framed.

Ref: Ungerer Exhibitions, 187; Ungerer Musée, p. 200; Ungerer Posters, 24; Ungerer/All in One, 45; PAI-LXXXIV, 483

Exhibited: The Drawing Center, New York City, 2015

In this dark-humored protest poster against the Vietnam War, Ungerer shows a U.S. plane sending “gifts” of bombs and destruction down to an anonymous village.

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

92. Eat. 1967.

Artist: Tomi Ungerer (1931-2019)

20 1⁄ 8 x 26 1⁄4 in./51.3 x 66.5 cm

Cond A. Framed.

Ref: Ungerer/Willer, 190; Ungerer Exhibition, 186; Ungerer Musée, p. 201; Ungerer Posters, 23; PAI-LVIII, 588

Exhibited: The Drawing Center, New York City, 2015

In one of Ungerer’s most powerful visual protestations of the Vietnam War, he shows the Statue of Liberty being shoved down the mouth of a Vietnamese boy, perfectly expressing how we were attempting to force-feed our culture upon a sovereign country.

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

93. In Memory of the Holocaust : Two Posters. 1947. Artists: Shouldenreid & Schwartz

Each: 16 1⁄ 2 x 23 in./42 x 58.7 cm

Cond B/Tears at folds.

These two harrowing images were published by the Central Historical Commission at the Central Committee of Liberated Jews in the American zone of occupation in Munich, Germany. The first image shows the oppression of Jews in Egypt and Spain and the destruction of the Temple. The second writes a history of the latest destruction of the Jewish people.

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

94. Day of the Jewish Soldier. 1942.

Artist: N. Notman

18 3⁄4 x 25 in./47.7 x 63.5 cm

Haaretz, Tel Aviv

Cond B/Slight tears at folds.

This World War II image calls for volunteers to fight with the British. Rare!

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

96

95. Urgent Times. 1946.

Artist: Otte Wallish (1903-1977)

12 7 8 x 19 1⁄ 2 in./32.6 x 49.6 cm

Cond B/Slight tears at edges.

This somewhat disturbing image announces a meeting for recently emigrated European Jews to discuss rebuilding the land for their own use.

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

96. Holocaust Remembrance Day. 1957.

Artist: Anonymous

25 x 37 1⁄4 in./63.6 x 94.7 cm

Achva, Jerusalem

Cond A.

This poster announces events organized by the Jewish National Fund to commemorate Holocaust Remembrance Day. A tree planting ceremony was held at the Forest of the Martyrs followed by a main memorial ceremony at Mount Herzl in the presence of the President, ministers, and public officials.

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

97. 19th Independence Day. 1968.

Artist: Kopel Gurwin (1923-1990)

26 3⁄4 x 38 1⁄4 in./68 x 97 cm

Associated Artists

Cond B+/Tears at edges.

Ref: Made in Israel 60, 102; PAI-XCII, 102

To commemorate Israel’s 19th anniversary, Gurwin depicts mythical beasts surrounding a botanical menorah.

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

98. Apollo Soyuz Mission. 1975.

Artist: A. Sokolov

31 1⁄4 x 40 3⁄ 8 in./79.4 x 102.6 cm

Cond A.

The Apollo-Soyuz mission was the first international space mission, enacted by the Soviet Union and the United States in July, 1975. It provided a symbol of unity in the face of the Cold War and allowed scientists to conduct research on the sun and its corona. Sokolov provided this intergalactic image featuring the American Apollo spacecraft docked with a Soviet Soyuz capsule.

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

JAMES M c MULLAN

Following a very international childhood, McMullan moved to New York City in 1955 where he studied at Pratt Institute. He designed book jackets and illustrated for magazines before joining Push Pin Studios alongside iconic designers like Milton Glaser and Seymour Chwast. In 1976, he created his first theatrical poster for the production of Comedians at the Music Box Theatre. This led to a fruitful career in the theatre world, and most notably at Lincoln Center, for which most of the following posters were created. Each of the works are handsigned; the two-sheet posters are separate sheets.

James M c Mullan (1934- )

99. Comedians. 1976.

41 7⁄ 8 x 62 1⁄ 2 in./106.3 x 158.8 cm

Artcraft Litho., New York

Cond A/P.

Ref: Broadway Posters, p. 91; McMullan 1, p. 3; PAI-LXX, 455

“ Comedians was my first theatrical poster. Alexander Cohen produced the play, a dark comedy written by Trevor Griffiths about English class politics. It was directed by Mike Nichols... As I think about my own changing attitudes and try to decipher those of other artists, it seems that as we get older, we become more impatient to get to the nub of the matter. We seem willing to exchange complexity of technique for a simpler evocation of our subject” (McMullan 1, p. 1-2).

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

M c Mullan (Continued)

100. Two Shakespearean Actors : Poster & Maquette. 1991.

Poster: 41 7⁄ 8 x 84 in./106.5 x 213.5 cm

Maquette: 5 1⁄4 x 10 in./13.4 x 25.6 cm

Cond A/P. Framed maquette.

Ref: McMullan 1, p. 49; McMullan 3, Appendix

“This is a curious poster because it illustrates a real scene more than almost any other poster I have done, and in that sense it moves my work even father than usual from the reductive modern poster aesthetic” (McMullan 1, p. 48).

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

JAMES

Poster: 21 1⁄ 2 x 36 in./54.5 x 91.5 cm

Maquette: 4 1⁄ 8 x 6 3⁄4 in./10.5 x 17.2 cm

Cond A/P. Framed maquette.

McMullan was invited to create this image to announce a group exhibition organized by the painter Eric Fischl. The traveling exhibit showcased artists’ concerns about contemporary American culture; McMullan chose to depict Superman landing in an American town with a horrified expression of the scene around him.

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

101. America Now and Here : Poster & Maquette. 2011.

M c Mullan (Continued)

102. Ode to Toulouse-Lautrec : Poster & Maquette. 2001.

Poster: 19 7⁄ 8 x 28 1⁄ 8 in./50.5 x 71.5 cm

Maquette: 7 x 9 5⁄ 8 in./17.7 x 24.5 cm Cond A/P. Framed maquette.

For a portfolio of posters celebrating Toulouse-Lautrec, McMullan plays on the depravity of the artist’s Montmartre images with a sassy scene on stage.

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

103. Road. 1988.

41 3⁄ 8 x 83 1⁄4 in./105 x 211.4 cm Cond A/P.

Ref: McMullan 1, p. 25; McMullan 3, Appendix

“Kevin Bacon was the star of this production, and as I painted the face on the figure, I was probably thinking a little of this well-known actor. But basically I just tried to make the harsh underlighting of the match convincing in the face so that it had the effect of a grinning mask” (McMullan 1, p. 26). This is a two-sheet poster.

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

JAMES M c MULLAN

104. Anything Goes. 1987.

42 x 85 in./106.5 x 217.8 cm

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

Ref: McMullan 1, p. 21; McMullan 3, Appendix

“I usually have a feeling about the texture for a particular poster, and in the case of Anything Goes , the texture that came to mind was of looping lines, demarcating relatively flat areas of color. Something about the 1930s and about Cole Porter in particular evoked in me this vision of elegant patterning” (McMullan, p. 20). This is a two-sheet poster.

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

105. The Front Page. 1987.

41 3⁄ 8 x 82 3⁄4 in./105 x 210.2 cm

Cond A/P.

Ref: McMullan 1, p. 13; McMullan 3, Appendix; PAI-LXX, 456

First produced in 1928, The Front Page is a comedic play written by two former Chicago news reporters. This compelling two-sheet design promotes the revival at Lincoln Center starring John Lithgow.

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

107

M c Mullan (Continued)

106. Carousel. 1994.

41 7⁄ 8 x 84 1⁄ 8 in./106.3 x 214 cm

Cond A/P.

Ref: McMullan 1, p. 75; McMullan 3, Appendix

“ Carousel was a great success on Broadway, and the poster basked in some reflected glory” (McMullan 1, p. 76). This is a two-sheet poster. Est: $1,000-$1,200.

107. Anna Christie. 1977.

42 x 84 in./106.5 x 213.4 cm

Cond A-/Slight tear at edge. P. Ref: McMullan 1, p. 5

“A paint-stroke background separates the two worlds of the play: the interior of the bar Anna sits in, and the foggy harbor outside. I saw the possibilities in this idea when I impatiently scribbled with a pencil over a sketch to ‘cancel’ a previous notion of having Anna literally sit in front of the sea. The paint-stroke background has become my favorite aspect of this poster” (McMullan 1, p. 4). This is a two-sheet poster. Est: $1,200-$1,500.

108. Six Degrees of Separation : Two Posters. 1990.

Each: 41 7⁄ 8 x 83 5⁄ 8 in./106.5 x 212.3 cm

Cond A/P.

Ref: McMullan 1, p. 37 & 41; McMullan 3, Appendix

“The [first] poster was printed and went up around New York City. The play opened to critical raves. About two months later, a story made its way to me, secondhand. John Guare went to his masseur and asked the man if he had seen his latest play, Six Degrees of Separation . The masseur said, ‘Oh, the one about the blacks? No, I haven’t.’ John and the producers at Lincoln Center felt that this meant that at least some New Yorkers did not understand that the play was about one black character as well as several white characters. It was decided that a new poster should be done, and this one was to include a portrait of the character Ouisa, played by Stockard Channing” (McMullan 1, p. 40).

These are both two-sheet posters

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

JAMES

109. The Glorious Ones : Poster & Maquette. 2007.

Poster: 24 x 45 3⁄4 in./61 x 116.3 cm

Maquette: 5 x 12.7 in./9 1⁄ 8 x 23.2 cm

Cond A/P. Framed maquette.

Ref: McMullan 3, p. 51

“This bawdy musical celebration of Commedia dell’Arte in particular, and the delights of performance in general, tells a loose play-withina-play story of the amorous adventures of an itinerant theater troop and the inevitable replacement of older stars by younger ones... In the poster, I wanted to capture the ‘welcome-to-the-fun-house’ exuberance of the musical and its pungent kind of theater—all primary colors and silver moons rising in burgundy skies”

(McMullan 3, p. 50).

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

M c Mullan (Continued)

110. Pipeline. 2017.

39 7⁄ 8 x 80 in./101.2 x 203.2 cm

Cond A/P.

Pipeline premiered off-Broadway in 2017 to mediocre reviews; Marilyn Stasio of Variety commented that the play was an “emotionally harrowing, ethically ambiguous drama that raises barbed questions about class, race, parental duty, and the state of American education.”

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

111. Dinner at Eight. 2002.

42 x 83 1⁄ 2 in./106.4 x 212 cm

Cond A/P.

Ref: McMullan 3, p. 19

“When I had my initial conversation with Gerald Gutierrez, the director, he described the play as ‘like Enron’... It was much on all of our minds at that particular moment... I decided to do a background watercolor in a detailed, refined watercolor style showing a svelte woman leaning back on her elaborate entry-hall chiffonnier. This delicately rendered interior I then ‘violated’ with a crude black-andwhite drawing of the ‘new money’ couple advancing on the elegant and horrified hostess” (McMullan 3, p. 18).

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

112. The Rolling Stone. 2019.

40 1⁄ 2 x 79 1⁄4 in./103 x 201.4 cm

Cond A/P.

The Rolling Stone follows two brothers in Uganda at opposing ends: one is a gay man and the other a church pastor. Ben Brantley of The New York Times called it “A heartfelt portrait of gay love under siege. This latter-day variation on Arthur Miller’s ‘The Crucible’ is beautifully and persuasively acted.”

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

WILD WEST & CIRCUS

113. Buffalo Bill / The Last of the Great Scouts. 1905. Artist: Rosa Bonheur (1822-1899)

39 1⁄4 x 66 in./99.5 x 167.8 cm

Courier Litho., Buffalo, New York

Cond A-/Slight tears at horizontal fold.

Ref (all var): Buffalo Bill, 63; Buffalo Bill/Legend, p. 90; PAI-LXXXVIII, 172

This was an 1889 painting that was reproduced as a poster to promote Buffalo Bill’s Wild West European tour in 1905. Bonheur, a much-lauded French artist, painted this portrait when Colonel Cody visited her at her chateau. This is the larger, two-sheet format with tip-ons at top and bottom—printed by Weiners in Paris—announcing two performances on June 21 and 22, 1905. And while Weiners printed the other variants of this poster, this is the rare, original Courier lithograph.

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

114. General Nelson A. Miles and Buffalo Bill. ca. 1891. Artist: Anonymous

18 1⁄ 2 x 28 5⁄ 8 in./47 x 72.6 cm

A. Hoen, Baltimore

Cond A. Framed.

Ref: PAI-XC, 103

Based on a photograph taken on January 16, 1891 by Grabill in Deadwood, this image depicts General Nelson A. Miles and Buffalo Bill surveying a hostile Indian camp near Pine Ridge, South Dakota about a year after the massacre at nearby Wounded Knee.

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

115. Barnum & Bailey / Great Double Menagerie. 1901. Artist: Anonymous

28 1⁄ 2 x 74 1⁄ 2 in./72.3 x 189.2 cm

Strobridge Litho., Cincinnati

Cond A-/Slight tears at horizontal fold.

Ref: PAI-XC, 98

At the turn of the century, it was the circus and not the large city zoos which provided the best opportunities to see exotic animals up close. Here, dozens of wild creatures from all over the world are highlighted in this two-sheet design.

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

INTERNATIONAL POSTERS A-Z

Anonymous

116. Les Petites Barnett. ca. 1898. 32 x 24 1⁄4 in./81 x 61.5 cm Affiches Ch. Levy, Paris Cond A.

“Les Petites Barnett” was an operetta in three acts written by Louis Varney; it was first performed at the Théâtre des Variétés in 1898. Aside from that, we have no further information on this quintet of repeating dancers. Est: $1,400-$1,700.

Anonymous (Continued)

117. Chemin de Fer d’Orléans. ca. 1900.

29 x 40 1⁄ 2 in./73.7 x 102.8 cm

Lith. Max Cremnitz, Paris

Cond A-/Unobtrusive horizontal fold.

The bathing beauty at center extols the benefits of France’s thermal spas in Alvignac and Miers, both of which are accessible by railway. Some of the listed benefits of these waters include diuretic, laxative, and detoxifying effects for the body as well as cures for obesity and constipation.

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

118. Chateau Cognac. ca. 1890.

38 3⁄4 x 54 3⁄ 8 in./98.3 x 138.2 cm

Imp. Charles Verneau, Paris

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

Even the most extreme oppositional personalities can become friends over a strong drink—at least, that’s what this cognac brand claims. We see the Chief Rabbi gleefully linking arms with French Anti-Semitic politician Edouard Drumont (who, ironically, waves an olive branch and a sign reading “peace”); Marianne is canoodling with the journalist and advocate of the French Empire, Adolphe Granier de Cassagnac; behind them, former President of the Council of Ministers of France, Georges Clemenceau, watches alongside French author Paul Déroulède, a cofounder of the nationalist League of Patriots. Rare!

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

119. Bière Arlen. 1900.

35 1⁄ 8 x 51 1⁄ 8 in./89.2 x 130 cm

Courbe-Rouzet

Cond A-/Unobtrusive folds.

The Arlen brewery was founded in 1833 by Louis Arlen and his brothers and received many notable awards until its collapse in 1929. Here, the company mascot is receiving a warm welcome by his new female admirer—or perhaps she just wants some beer?

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

120. Spratt’s.

40 3⁄ 8 x 56 1⁄ 2 in./102.8 x 143.7 cm

Cond A-/Slight tears at edges.

Although unsigned, this could very well be the work of Edward Penfield; he designed at least two other works for Spratt’s, and the style is very similar to his own. Spratt’s was a major British animal food producer with branches in several countries (their U.S. factory was located in Newark, NJ). Here, the brand touts its success with chicken feed. This is a two-sheet poster.

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

121. Live Don’t Exist / Southern Pacific Country. 1910.

24 1⁄ 8 x 34 3⁄4 in./61 x 88.3 cm

William A. Minners, Chicago

Cond A-/Unobtrusive folds.

This whimsical poster beckons freezing Chicagoans to leave the Windy City for the lush and verdant hills of the Sacramento Valley, where new homes have been built for a million people. The text tells us that “J.S. & W.S. Kuhn are irrigating 250,000 acres in the Sacramento Valley, repeating here their great success in the famous Twin Falls Country, Idaho. They are doing this for you.” So what are you waiting for? You, too, could live out an idyllic Californian lifestyle among the vineyards and the sun. One question remains: how much is the rent?

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

122. Woolworth Building / New York. ca. 1913. 15 x 35 3⁄ 8 in./38 x 89.8 cm

Cond A.

Ref: PAI-LXXXVIII, 184

If something’s simply impressive, why not present it simply? That’s the approach taken by an unnamed artist in this architectural portrait of New York’s Woolworth Building. At fifty-seven stories, the structure is one of the oldest—and one of the most famous—skyscrapers in NYC. Constructed in a neo-Gothic style by architect Cass Gilbert, the Woolworth building overtook the Metropolitan Life Insurance Company Tower as the world’s tallest building—at a height of 792 feet—and was labeled the “Cathedral of Commerce” by the Reverend S. Parkes Cadman during the opening ceremony on April 24, 1913. Ninety-six years after its construction on Broadway, the Woolworth is still one of the fifty tallest buildings in New York City. And it’s a pop culture touchstone as well, most especially in film, serving as the climactic setting in Disney’s “Enchanted” and demolished by a monster in “Cloverfield.” And on the small screen, the Woolworth Building is featured as the headquarters of Mode Magazine on ABC’s “Ugly Betty.”

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

This lovely and evocative image promotes a performance of the Léonidoff Ballet, named for its founder, Ileana Leonidoff. Born in Russia, she made her career in Italy. From 1920 to 1924, her troupe toured around Europe to great acclaim. She then became the official dancer of the Mussolini regime, a position that directly conflated with the fascist regime’s ideals of womanhood—rather than cooking and tending to the home, she performed bravely on stage. In this colorful rendering by an unknown artist, doves swoop down over the ornate costumes, which are delectably reflected in the ground below. Rare!

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

123. Ballets Léonidoff. ca. 1920. 46 1⁄4 x 62 1⁄4 in./117.4 x 158 cm H. Chachoin, Paris Cond B/Slight tears at folds. Framed.

Anonymous (Continued)

124. Licor Sant Jordi. ca. 1920.

29 5⁄ 8 x 42 1⁄4 in./75.2 x 107.4 cm

Lit. Horta, Barcelona

Cond B+/Slight tears and stains at edges.

Ref: PAI-XCI, 111

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

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

125. Celebrate Days of ’49. 1922.

20 x 29 7⁄ 8 in./51 x 75.8 cm

Schmidt, San Francisco

Cond A.

Harkening back to the California gold rush, this exhibition paid tribute to James Marshall’s first gold discovery in 1848. The city of Sacramento constructed a life-sized mining town and held a parade and costume contests. This anonymous artist portrays a 19th century miner overlooking the contemporary landscape of the city below.

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

126. Lawn Tennis in Switzerland / Les Avants. 1925.

26 1⁄ 8 x 39 5⁄ 8 in./66.3 x 100.7 cm

Muller & Trub, Lausanne

Cond A.

Ref: PAI-XXIX, 179

The rarified air of Les Avants, a small resort situated just to the east of Montreux at a towering altitude of 3,300 feet, would seem to be an unlikely competitive tennis staging arena. And yet this stock poster, printed in English with the blank panel awaiting the listing of grass courts, provides documentation quite to the contrary. And though this natty gent appears ready to take on any and all competition, you’ve got to wonder how easy it would be to concentrate on your ground strokes with the splendor of Lake Geneva and the Alps serving as awe-inspiring distractions.

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

127. Zermatt.

25 x 40 in./63.5 x 101.6 cm

J. E. Wolfensberger, Zürich Cond A/P.

Now that’s some air! This minimalist photomontage—photographed by Perren-Barberini —creates the optical illusion that the intimidating Matterhorn might be a tiny obstacle to conquer. But it is, in fact, one of the highest summits in Europe, clocking in at 4,478 meters (or 14,691 feet) above sea level.

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

Southern

14 7⁄ 8 x 19 7⁄ 8 in./38 x 50.5 cm

Arizona.

Cond B/Mounted on display board; missing bottom text. Named for the Apache Indians who traversed the land through the Superstition Mountains, the Apache Trail was a stagecoach trail before being modernized to suit today’s automotive travel. Crossing through mountains and lakes from the outer edge of Phoenix to Mesa and Tempe, the route offers picturesque views of Arizona’s natural environment. This poster does not include the bottom text promoting travel here via the Southern Pacific railway.

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

26 3⁄4 x 41 1⁄ 8 in./68 x 104.5 cm

Newman-Monroe, Chicago

Cond B/Restored tears, largely in top and bottom text areas.

Ref: PAI-XCII, 119

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

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

128.

Pacific / Apache Trail of

129. California / Travel by Train. ca. 1930.

Various Artists

130. Four Antwerp Zoo Posters. 1935.

Each approx.: 24 1⁄4 x 39 1⁄4 in./61.5 x 99.7 cm

Cond A-/Slight tears at edges. P.

Four bold and becoming images invite us to visit the Antwerp Zoo in Dutch, French, and German. The artists include Darimont, Hilde, and René van Poppel. They make for a lovely set for the animal lover.

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

Anonymous (Continued)

131. Font-Romeu. 1937.

24 1⁄4 x 39 1 8 in./61.6 x 99.4 cm

Technique Publicitaire, Paris

Cond A-/Unobtrusive folds.

Ref: Pyrénées, p. 98

Located near the Spanish border in the Pyrénées, Font-Romeu is one of the oldest ski resorts in France. Here, both the winter and summer seasons are being promoted, highlighting the sunny golf courses and the mountainous ski areas.

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

132. “Devil’s Harvest” / Marijuana. ca. 1942.

27 1⁄4 x 42 in./69.3 x 106.6 cm

Cond A. Framed.

With a similar plot and goal as the 1936 film “Reefer Madness,” this exploitation movie attempts to reveal the “true” dangers of marijuana, especially among American youth. But in today’s world—where the benefits of cannabis are well researched, legalization is expanding across states, and reputable products are easily accessible—we can appreciate this promotion as a hilarious image, rooted in the style of American comic books, and drenched in irony. It’s the perfect addition to a weed-lover’s home.

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

133. Taiwan. ca. 1952.

23 1⁄ 2 x 36 3⁄ 8 in./59.5 x 92.5 cm

Ming Ho Art Press, Taiwan

Cond A.

This anonymous designer offers us an enticing invitation to visit Taiwan. The Republic of China took control of the country in 1945 and Japan renounced its sovereignty in 1952, which provides some context to the date of this poster’s creation.

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

134. Visit Cuba / Land of Fiesta and Siesta! ca. 1958.

22 1⁄ 2 x 35 1⁄ 8 in./57.2 x 89.3 cm

Artes Graficas, Cuba

Cond B+/Slight tear at horizontal fold.

Ref: PAI-XL, 93 (var)

The Cuban Tourist Institute invites us to a tropical delight with this festive design; the proposition to visit the “Land of Fiesta and Siesta” is made all the more provocative with this conga-quivering twosome. However, it’s hard to say how much downtime anyone could fit in between rumbas.

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

135. Philips.

45 x 61 1⁄4 in./114.5 x 155.5 cm

Elvinger, Paris

Cond A.

Ref: Cat Cabinet, p. 83 (var); Le Coultre, p. 32 (var); PAI-LXXXIX, 132

The cat made several appearances in mid-20th century Philips advertisements, always as a whimsical and endearing creature. In this French poster for the Dutch electronics company, our friendly feline is enchanted by a large fish, whose details are so clearly rendered on this television screen that the cat believes it to be real. As Philips kindly reminds us in the text below, their images are indeed “more real.”

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

136. Levy’s Rye / Native American. 1967.

28 7⁄ 8 x 44 3⁄ 8 in./73.4 x 112.7 cm

Cond A. Framed.

Ref: American Posters, 54; Images of an Era, 71; Saunders and Timmers, p. 167; PAI-LXXXI, 175

One of the most celebrated series of posters from the 1960s was a creation of the Doyle Dane Bernbach agency. Under its art director Howard Zieff, a dozen images of decidedly non-Jewish characters delighted in the “real Jewish rye” baked by Levy’s. These posters appeared on their delivery trucks and in the New York subways. This is the first and possibly best-known image from this series.

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

Anonymous (Continued)

137. Levy’s Rye / Black Boy. 1967.

29 x 44 1⁄ 2 in./73.6 x 113 cm

Cond A. Framed.

Ref: PAI-LXXI, 176

In this image for Levy’s rye bread, an adorable little boy shows his approval.

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

138. Levy’s Rye / Buster Keaton. 1966.

28 3⁄ 8 x 41 in./72 x 104 cm

Cond A. Framed. Ref: PAI-XXV, 152

This was the silent screen star’s very last photo op, and he appears perhaps even craggier than usual. Upon receiving the news of Keaton’s passing on February 1, 1966, Doyle Dane Bernbach—the advertising agency of this bakery—called the printers and said, “Stop the presses; Buster Keaton just died.” The poster was, sadly, never distributed, making this one of few known copies.

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

Ib Antoni (1929-1973)

139. The Gay Season / Copenhagen. 1962.

24 1 2 x 39 1⁄4 in./62.2 x 99.7 cm

Vang Rasmussen, København Cond A.

Autumn is indeed a wonderful season to visit Copenhagen: the sunsets remain later in the evening, the summer heat has dissipated into a distilled warmth, and the cafés and bars are still bustling with patrons. Antoni’s designs helped to define the mid-century aesthetic, and at the agencies Young & Rubicam, J. Walter Thompson, and at Time Magazine , he produced over 300 posters for more than 150 companies including Carlsberg, Volvo, Phillips, and Nieman-Marcus. This friend and talented artist graced the cover of Jack Rennert’s first book, “100 Circus Posters.”

Est: $800-$1,000.

Marcellin Auzolle (1862-1942)

140. Champagne Massé. ca. 1920.

31 1 2 x 47 1⁄4 in./80 x 120 cm

Imp. Maus, Delahalle & Urban, Paris Cond A.

Ref: Boissons, 57; PAI-LVI, 34

Champagne Massé was founded in 1853 in Rilly-laMontagne in northeastern France; the area is renowned for its champagne houses and vineyards. Auzolle depicts a server happily running down to the cellar to fetch another round of “the right bottle.”

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

Maurice Barraud (1889-1954)

141. Genève / Concours Hippique. 1943.

26 1⁄ 2 x 39 1⁄4 in./67.4 x 99.7 cm

Atar, Genève Cond A/P.

Ref: Margadant, 522; Swiss Sport, 48 Launched in 1926, the Geneva International Horse Show continues to be one of the most prestigious events of its kind in the world. Using washes of warm pink and cool blue, Barraud creates a dynamic scene of elegant energy.

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

Aubrey Beardsley (1872-1898)

142. The Savoy. 1896.

6 7⁄ 8 x 9 1⁄4 in./17.5 x 23.5 cm

Leonard Smithers, London Cond A/P. Framed.

Ref: Beardsley, 453; PAI-LXXXIX, 144

The Savoy was a literary magazine venture of Leonard Smithers, a publisher of erotica who used Beardsley’s service as illustrator several times. This publication was short-lived, lasting only one year, and Beardsley did the lion’s share of the graphics for it. All eight numbers were later offered in three bound volumes, and this is the “posterette” (Beardsley’s word) for it, prepared from the black and white cover design for the last issue.

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

Cecil Beaton (1904-1980)

143. Centenaire de Monte-Carlo. 1966.

32 1⁄ 2 x 48 3⁄4 in./82.5 x 123.7 cm

Imp. Monégasque, Monte Carlo Cond A.

Ref: PAI-XCII, 133

Known for his elaborate and awardwinning costume and stage designs, Beaton also was an accomplished illustrator, as can be seen in this exuberant image for Monte Carlo’s centenary celebrations.

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

Jacques Bellenger (19031985) & Pierre Bellenger (1909-?)

144. Sayet. 1936.

46 3⁄4 x 63 1⁄4 in./118.7 x 160.5 cm

La Vasselais, Paris Cond A-/Unobtrusive fold.

This man is so content because his Sayet shoe polish has turned his worn shoes into a shiny new pair of kicks.

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

Lucian Bernhard (1883-1972)

145. Magnéto Bosch. ca. 1911.

22 x 31 1⁄4 in./55.8 x 79.5 cm

Cond B+/Slight stains in bottom text.

Ref (all var but PAI): DFP-III, 203; Looping the Loop, pl. 7; Plakatkunst, 7; PAI-XXX, 303

In this variant of the well-known Bosch ignition systems poster featuring a Mephistian caricature of Belgian race car driver Camille Jenatzy, the ignition is switched for an airplane magneto engine, while the devilish image remains the same with no regard being paid to the slight difference between cars and airplanes. The technology represented is from the World War I era; interestingly, most of the piston engine aircraft operating today still use dual magnetos, even though a single one will operate the engine at approximately 85% efficiency. This is the French language version.

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

Paul Berthon (1872-1909)

146. P. Friant Fils. 1902.

17 1⁄4 x 24 in./44 x 61 cm

Cond A.

Ref: PAI-XIX, 178

For a manufacturer of printing inks, Berthon created a lovely printing shop scene saturated with the medievalist spirit that pervaded the art and design of the late 19th century. Paisley and brocade cover nearly every inch; a 1903 calendarium, in the form of two columns with animal-shaped capitals, borders on the left and right. It’s among the finest and rarest by Berthon.

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

147. Phryné. 1898.

15 5⁄ 8 x 33 7⁄ 8 in./39.8 x 99.5 cm

Imp. Chaix, Paris (not shown)

Cond A.

Ref (both var): Berthon & Grasset, p. 121; PAI-XCI, 125

The second in his “Courtisanes” series, “Phryné stands naked, her cloak held high, framing her. Her soft pink skin is cut at the legs by sandal straps, at waist by a snake belt, at upper arm by a snake bracelet and at both wrists by tight bangles. The bearded faces of the three judges surround her. She, however, ignores them; eyes closed she appears to be lost in a reverie, ready at any moment for transfiguration, should it come” (Berthon & Grasset, p. 118).

Although it was clearly Berthon’s intent to create other images in this series, only two were published. The artist himself laid out his plans in a May, 1899 interview in

The Poster: “After Salomé personifying the Jewish beauty, and Phryné showing her triumphant charms before Greece, I want to study a medieval type of beauty, and it will be for me, an opportunity to revive some old pieces of jewelry or some fantastical landscape” (p. 204). This printing boasts a textual variant at the bottom.

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

Maurice

Biais (ca. 1875-1926)

148. Palais de Glace.

30 x 43 5⁄ 8 in./76.2 x 110.8 cm

J. Minot, Paris

Cond A-/Slight tears at edges.

Biais offers us a glimpse of the extravagant fashions of the turn of the century, when elaborate hats were all the rage and the Palais de Glace was the place to skate and be seen.

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

R.O. Blechman (1930- )

149. The New York Times : Two Posters.

Each: 30 x 45 7⁄ 8 in./76.2 x 116.6 cm

Cond A-/Slight tears and stains at edges.

Ref: PAI-LXXXII, 168 (var)

Blechman’s illustrations for The New York Times are prolific; here, he employs his typical charm and pairedback aesthetic to promote the newspaper with their slogan “These times demand the Times.” Whether using a more straightforward approach or imbuing his wry sense of humor, they’re classic examples of his unique eye for design.

Est: $800-$1,000. (2)

Chesley Bonestell (1888-1986)

150. New York Central Building. 1930. 27 x 40 3 4 in./68.3 x 103.6 cm Lathem Litho., Long Island City, New York Cond A.

Ref: Travel by Train, fig. 92; New York, p. 67; PAI-LXVII, 182

This romanticized nighttime view of the New York Central Building—a major element in the Grand Central Station complex on 46th Street in Manhattan—looks south on Park Avenue. Almost fifty years after the 1929 edifice was designed by the noted architectural firm of Warren & Wetmore, it was renamed the Helmsley Building to honor its owner, New York real-estate mogul Harry Helmsley. With the emphasis here on glamour and prestige, we get only a hint of the ambitious design at the base of the 34-story building: two arched portals which allow automobiles to bypass street traffic below, flanked, in turn, by smaller rectangular portals opening onto pedestrian shopping arcades. Surprisingly, the building today looks better than it did at the time of the poster, thanks to the efforts of Helmsley, who revised the roof and facade in 1978 with gilding. Sadly, it’s difficult not to mention the marring of this spectacular urban vista by the inclusion of the 58-story high Pan Am building, whose Met Life renaming did nothing to change its invasive shortcomings.

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

150

Pierre Bonnard (1867-1947)

151. Salon des Cent : Proof. 1896. 19 3⁄4 x 25 3⁄ 8 in./50.2 x 64.8 cm Cond A. Framed.

Ref (all var but PAI): 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. 271; PAI-LXXIV, 201

This is the rare, hand-signed proof before letters. 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: $12,000-$15,000.

Fernando Botero (1932-2023)

152. Mostly Mozart. 1984.

33 1⁄ 2 x 57 1⁄ 8 in./85 x 145 cm

Cond A/P.

Ref: PAI-XC, 162

For 57 years, the world-famous Mostly Mozart Festival has been a New York summertime favorite, and is beloved for its informal, friendly atmosphere. And this puffed-up violinist—the expansive style is a signature aspect of the artist’s work—provides, shall we say, ample reason to take notice of the 1984 event. It also represents one of the best in the List Art Posters series. Born in Medellín, Colombia, Botero became interested in art at an early age, contributing to El Colombiano newspaper when he was seventeen years old. He moved to Bogotá in 1951 and held his first one-man exhibition there. The following year, at the age of twenty, he was awarded a Second Prize at the National Salon in Bogotá. After traveling and studying throughout Europe, Botero moved to New York in 1960, where he remained until 1973, at which point he departed for Paris and pursued sculpture without abandoning painting. His paintings, sculptures, and drawings are exhibited and represented in museum collections throughout the world.

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

William H. Bradley (1868-1962)

For Bradley’s fabulous Victor Cycles, see No. 35.

153. Bradley / His Book / June. 1896.

8 3⁄ 8 x 19 1⁄ 2 in./21.3 x 49.5 cm

Cond A/P. Matted to image.

Ref: Gold, 106; DFP-I, 171; Margolin, p. 116; Reims, 1132; Lauder I, 31; PAI-XXX, 185

Bradley was an innovative and influential typographer, designer, and publisher who “brought out the art from the museums and picture galleries into the street, before the masses, trying to elevate their taste” (The Poster, Oct. 1898, p. 159). The international Art Nouveau movement found its American expression in the delicate and ornate work of his genius. Here, he uses what has been dubbed his “Queen of Hearts” design to announce the upcoming June, 1896 issue of his own small magazine. He started publishing in late 1895 when he opened his own printing establishment, the Wayside Press, in Springfield, Massachusetts.

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

ROGER BRODERS

Roger Broders (1883-1953)

154. Lac d’Annecy. 1930.

22 3⁄4 x 39 1 2 in./62.8 x 100.1 cm

Imp. Lucien Serre, Paris

Cond A-/Slight tear in bottom text area.

Ref: Broders/Travel, p. 68; Broders, p. 65B; Montagne, p. 182; PAI-LXXXVIII, 226

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

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

155. Grasse. 1927.

30 1 4 x 41 3⁄4 in./76.9 x 106 cm

Imp. Lucien Serre, Paris Cond A. Framed.

Ref: Broders, p. 89; Broders/Travel, p. 25; Affiches Riviera, 63; PAI-XC, 165

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: $4,000-$5,000.

156. Mont-Revard / Grand Hotel. ca. 1927.

30 1⁄4 x 42 in./76.7 x 106.7 cm

Imp. Maurice Dupuy, Paris

Cond B+/Restored tears at edges.

Ref: Broders/Travel, p. 80; Broders, p. 77b; PAI-XLVIII, 129

Broders designed a pair of posters for the French Alps resort of Mont-Revard, one presenting a winter-paradise panorama to the public at large ( see PAI-LXII, 112) and this one, a summery companion featuring the Grand Hotel. In the period between the wars, Roger Broders was the finest designer of French travel posters. Many, including many of his best, were for the French railways—in fact, the majority of them were for a single company: the Paris-Lyon-Méditerranée. “Roger Broders was the creator of a very graphic style, whose simplified lines mark a new period in the tourism poster and usher in the style of the 1930s. His large flat areas of color recall the Cubists, Kandinsky, Severini, La Fresnaye and Delaunay. His color harmonies are very strong, even audacious, but always evocative of and close to the spirit of the subject” (Broders, p. 11).

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

157. La Route des Alpes. ca. 1920.

30 3⁄4 x 42 1⁄4 in./78.2 x 107.3 cm

Cornille & Serre, Paris

Cond A.

Ref: Broders, p. 66; Broders/Travel, p. 57; Montagne, p. 251; PAI-LXII, 92

The PLM had a bus service to places that the railway didn’t reach. This poster advertises the bus routes through the French Alps—from Nice on the sea to the high mountains—in a single and wonderful aerial view-cum-map. Broders, as always, takes liberties with colors, and they again prove most effective, with the brightly colored bus and flowers at bottom, the yellow sky, and the mauve mountains between making it all very inviting.

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

158. Marseille / Exposition Nationale Coloniale. 1922.

30 7⁄ 8 x 43 in./78.5 x 109.3 cm

Cornille & Serre, Paris

Cond A-/Slight tears at edges.

Ref: Broders, p. 80; Broders/Travel, p. 18; PAI-LXII, 101

One of a variety of posters Broders created for Marseille, this particular image contrasts the grayscale image of dock workers unloading cargo with the modern, bustling harbor dominated by a shiny new ocean liner. While this specific design promotes the National Colonial Exposition, later versions exist where the bottom text touts the city as “The Great Industrial and Commercial Metropolis” ( see PAI-LXXXIII, 68).

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

Broders (Continued)

159. Chamonix Mt. Blanc / Sports d’Hiver. 1930.

24 7⁄ 8 x 39 1⁄4 in./63.2 x 99.7 cm

Imp. Lucien Serre, Paris

Cond A.

Ref: Broders, p. 71; Montagne, p. 206 (var); PAI-LXVIII, 266

In 1930, the Men’s Ice Hockey World Championships were held in three cities, starting with Chamonix, then moving on to Vienna and Berlin. Promoting the nine matches held in France, Broders created one of his most action-packed posters. This is the subsequent version of the design used to promote general tourism to the area.

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

Boris Bućan (1947-2023)

160. Glassboro New Jersey. 1988.

77 1⁄ 8 x 81 in./196 x 205.6 cm

Cond A.

Ref: PAI-XC, 169

The sound of autumnal rustling leaves is music for some, and Bućan uses this aural sensation as a visual enticement to attend the Hollybush Festival’s performances of Mozart, Vivaldi, and Stravinsky. This is a six-sheet silkscreen print

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

161. Zagrebački Simfoničari. 1989.

76 1⁄4 x 79 in./193.6 x 200.7 cm

Cond A.

Ref: Bućan, p. 179; PAI-XC, 170

To promote the Zagreb Symphony Orchestra’s “Musical Experiences” series, Bućan created this Surrealist image of a girl languidly taking in her natural surroundings—or are those squashed bugs on the window pane? This is a six-sheet silkscreen print.

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

Gaspar Camps (1874-1942)

162. Tender Temptation. ca. 1904.

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-LXXXVI, 150

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: $1,700-$2,000.

163. Alegoria del Mes. 1901.

Each: 9 x 13 1⁄4 in./23 x 34 cm Cond A.

Created for one of the many Spanish periodicals that flourished at the turn of the century, Camps’ personifications of the months are lovely images of the passing of time. They recall Mucha’s Seasons, but are rendered in a style that is completely Camps’, with strong outlines, minute decorative details, and faces that are not quite normal. From the dusky chill of January to the bounty of summer and the Christmas holidays, Camps wraps up the year in these twelve images from an art magazine.

Est: $2,000-$2,500. (12)

LEONETTO CAPPIELLO

Now on view: Leonetto Cappiello, Always Something Quirky

Some of the finest works of this artist are on view now at the Dutch Museum of Lithography (Nederlands Steendrukmuseum) in Valkenswaard, The Netherlands, until November 10, 2024.

Leonetto Cappiello (1875-1942)

164. Hélène Chauvin. 1900.

36 1⁄4 x 50 1⁄4 in./92 x 127.7 cm

Imp. Chaix, Paris

Cond A-/Slight tears at folds.

Ref: Cappiello/Rennert, 3; PAI-LXXV, 251

This is one of the very early Cappiello posters for an entertainer, advertising Hélène Chauvin’s appearance in the Jean Lorrain play La Belle aux Cheveux d’Or (The Beauty with the Golden Hair), which opened at the Olympia in 1900. It’s likely Cappiello’s first design for a stage personality rather than for a specific play or theatre; it’s also the second poster printed by Cappiello at Chaix.

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

165. “Noel” : Drawing. 1900.

11 x 13 3⁄ 8 in./28 x 34 cm

Signed crayon and ink drawing. Framed.

Ref: PAI-LXXXIX, 176

This is a preparatory drawing for the cover of issue #204 of the magazine Cri de Paris dated December 23, 1900 and titled “Noel.” Cappiello embraces the holiday spirit with a young child overjoyed by Christmas gifts.

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

Cappiello (Continued)

166. Grands Chais du Médoc / L. Segol Fils. 1901.

38 1⁄4 x 52 1⁄4 in./97.2 x 132.7 cm

Imp. P. Vercasson, Paris

Cond A-/Unobtrusive folds.

Ref: Cappiello/Rennert, 18; DFP-II, 129; PAI-LXXIV, 215

In order to sell the fine wines of the Médoc region for L. Segol Fils, Cappiello enlists the assistance, via caricatures, of two well-known stage personalities: Jeanne Granier and Albert Brasseur.

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

167. Pur Champagne / Damery-Epernay. 1902.

39 3⁄ 8 x 54 1⁄4 in./100 x 137.8 cm

Imp. P. Vercasson, Paris

Cond A.

Ref: Cappiello/Rennert, 32; Cappiello, 246; Wine Spectator, 160; PAI-XC, 174

“Cappiello’s first design for this drink was titled ‘Elixir Peruvien’ ( see Wine Spectator, 159), but that product most probably never reached the marketing stage. Never one to waste a good design, Vercasson then sold it to the champagne producers of the Damery-Epernay region. In yet another of the promotional letters that Vercasson used in 1903, the director of the champagne association indicated that this poster is ‘perfect’ in that it ‘clearly conveys the joyful spirit’ of someone drinking champagne from the Champenois region” (Cappiello/Rennert, p. 58).

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

168A. La Décoration de Monsieur Le Bargy. 1903.

8 3⁄4 x 9 5⁄ 8 in./22.2 x 24.5 cm

Signed ink drawing. Framed.

Ref: PAI-LXXV, 253

This signed original ink drawing was created for an illustration in Le Rire on January 31, 1903 (No. 430). Cappiello’s scene depicts the actress Simone affixing a boutonniere to her husband’s lapel—the actor Le Bargy.

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

168B. La Caisse Simon / Huîtres Exquises. 1901.

54 x 37 5⁄ 8 in./137.2 x 95.6 cm

Imp. P. Vercasson, Paris

Cond B/Tear at horizontal fold; slight stains at edges. Framed.

Ref: Cappiello/Rennert, 9; Cappiello, 235; DFP-II, 128; Wine Spectator, 193; Gourmand, p. 62; PAI-LXXXVII, 202

A brisk day by the seashore—and the delirious, aphrodisiacal taste of fresh-shucked oysters right on the pier—that’s the promise of La Caisse Simon, serving up exquisite oysters that arrive in a perfect state, anywhere in Europe. Cappiello adds the eyewinking touch of the ladies’ skirts blown by the breeze, while the gentleman waits in anticipation as his companion slurps a shell.

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

168B

Cappiello (Continued)

169. Fleur des Neiges / Biscuits Pernot. 1905.

77 3⁄4 x 146 7⁄ 8 in./197.5 x 373 cm

Imp. P. Vercasson, Paris

Cond A-/Slight stains at seams.

Ref: Cappiello/Rennert, 82; Wine Spectator, 196; PAI-XXIII, 179

“Fleur des Neiges is one of the products of Biscuits Pernot; since it means ‘snow flowers,’ Cappiello creates a verbal association by giving us two lovely ladies worthy of the name, their scarlet coats like blossoms in the vast whiteness. Their placement at the bottom of the vertical design with a snowy landscape allows the artist to create a brilliant impression reminiscent of classical Japanese prints of similar configuration”

(Cappiello/Rennert, p. 83). This three-sheet billboard is rare!

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

170. Automobiles Brasier. 1906.

45 1⁄ 2 x 62 1⁄ 2 in./115.5 x 159 cm

Imp. P. Vercasson, Paris

Cond A.

Ref: Cappiello/Rennert, 100; Cappiello, 272; Cappiello/St. Vincent, 4.28; Auto Show I, 27; Sport a l’Affiche, 26; Wine Spectator, 121; PAI-LVII, 30

“There were two basic ways of selling cars in the early days of motoring. One emphasized class... The other pushed speed, as seen in the swirling cloud of rainbowhued dust of this Automobiles Brasier poster. H. Brasier was an engineer in the Paris firm owned by the Mors Brothers. In 1901, he began to work with Georges Richard—whose trade name ‘Le Trefle à Quartre Feuilles’ is written at top and whose trademark four-leaf clover is seen in the upper left—to produce cars under the name of Richard-Brasier. After racing successes in 1904 and the following year, Richard left the firm to found his own company, Unic. Brasier continued alone in the Paris suburb of Ivry, making good quality, classically conceived cars. After World War I, production continued, but Brasier had fallen behind the times. The firm was reorganized in 1926 as Chaigneau-Brasier and ultimately bought by Delahaye in 1931” (Cappiello/Rennert, p. 90).

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

Cappiello (Continued)

171. Maurin Quina. 1906.

46 1⁄4 x 62 3 4 in./117.6 x 150.4 cm

Imp. P. Vercasson, Paris

Cond A-/Slight tear in background. Framed.

Ref: Cappiello/Rennert, 114; Cappiello, 266; Encyclopédie/Weill, p. 61; Posters of Paris, 18; Affiches 1000, 0097; PAI-XCI, 154

Cherry-flavored with a hint of quinine, Maurin’s apéritif was only fairly recently reintroduced to French and international markets—more than a century after it faded into obscurity the same year this poster was printed. Referencing the infamous green fairy imagery commonly associated with absinthe, this green devil is one of Cappiello’s most famous characters. This is the one-sheet version of the poster

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

172. Docteur Rasurel / “Sous Vêtements Hygiéniques.” 1906.

45 3⁄ 8 x 61 1⁄ 2 in./115.3 x 156.3 cm

Imp. P. Vercasson, Paris

Cond B+/Unobtrusive folds; slight tears in top text area. Framed.

Ref: Cappiello/Rennert, 107; Health Posters, 26; Gold, 123; PAI-XLIX, 153

“Docteur Rasurel was a trademark for a line of thermal underwear, union suits and other warming textile products for the home. ‘The dynamic of the design is based, on the one hand in the contrasted colors, the plain black background freeing the text and the figures from any superfluous detail, and, on the other, on the unity of movement and posture displayed by the three figures, which forms a perfectly harmonious ensemble. The whole poster evokes an impression of vitality and energy... The comfortable benefits of wearing Rasurel underwear seems to be confirmed by the contented expressions of the three figures shown’ (Health Posters, p. 29)” (Cappiello/ Rennert, p. 94).

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

173. Docteur Rasurel / Sous-Vêtements. ca. 1921.

46 x 61 1⁄ 2 in./116.8 x 156.3 cm

Imp. Devambez, Paris

Cond B+/Slight tears at folds and top text area. Framed. Ref: Cappiello/Rennert, 353; PAI-LXI, 160

Over a decade after his other creations for the brand ( see the previous and following lots), Cappiello came up with this intriguing design for Docteur Rasurel’s hygienic undergarments in which a mannequin is brought to near-life by the mere presence of one of his impressive shirts.

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

174. Docteur Rasurel / Pantoufles Hygiéniques. 1906.

44 3⁄ 8 x 60 in./112.7 x 152.5 cm

Imp. P. Vercasson, Paris

Cond B/Slight tears at folds and top text area. Framed. Ref: Cappiello/Rennert, 109; PAI-LXXXIII, 247

“Pantoufles” are house slippers, and the thing most associated with them is, of course, comfort. It’s doubtful that anyone could portray a more comfortable looking gentleman than Cappiello when he puts his mind to it. The company was a steady client and he executed several other posters for them, but this is one of his most endearing and, strangely, most elusive designs.

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

Cappiello (Continued)

175. Relskys Vodka. 1910.

30 3⁄4 x 46 3⁄ 8 in./78.2 x 117.8 cm

Imp. P. Vercasson, Paris

Cond A.

Ref: Cappiello/Rennert, 164; PAI-LXXVI, 182

“Cappiello was inclined to use a touch of the exotic or the grotesque to rouse the casual viewer from their urban apathy. Here, he gives us a perfectly apportioned dose of both with this good-time Russian for Relsky vodka. Although he’s not imbibing anything at the moment, his gregarious nature clearly shows that he’s no stranger to the product he’s promoting” (Cappiello/ Rennert, p. 123). This is the smaller format.

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

176. Bougies à Pied Cannelé. 1912.

46 5⁄ 8 x 62 1⁄4 in./118.6 x 158.2 cm

Imp. P. Vercasson, Paris

Cond B+/Unobtrusive tears at folds and top text. Framed. Ref: Cappiello/Rennert, 178; PAI-LXXXVI, 160

“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: $2,500-$3,000.

177. Marie Brizard & Roger. 1912.

45 3⁄4 x 61 3⁄4 in./116.2 x 156.8 cm

Imp. P. Vercasson, Paris

Cond B+/Slight tears at folds.

Ref: Cappiello/Rennert, 245; PAI-LXXX, 266

Founded in 1755, Marie Brizard & Roger specializes in a variety of alcoholic beverages and still exists today. Here, a trio of merry revelers have gathered their curaçao, cherry brandy, and anisette for a drunken lawn party.

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

178. Vermouth Martini. ca. 1912.

27 3⁄4 x 38 3⁄4 in./70.3 x 98.5 cm

Tipografia Teatrale Torinese, Torino Cond A.

Ref: Cappiello/Rennert, 235 (var); PAI-XC, 182

“For Vermouth Martini, Cappiello’s creative mind conceived a sun-like light source, complete with stylized corona, directly behind the exuberant product porters. This was one of the many brands distilled by the Martini & Rossi firm, established in 1863 in Torino. This is the smaller format image produced for the Italian market. It has an additional line of text at bottom, ‘Martini & Rossi – Torino,’ and was printed by Tipografia Teatrale Torinese” (Rennert/Cappiello, p. 161).

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

179. Femme Espagnole : Painting. 1917.

28 1⁄4 x 32 in./53.3 x 81.2 cm

Signed gouache and crayon painting. Framed.

Ref: PAI-LXXXVI, 165

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: $10,000-$12,000.

Cappiello (Continued)

180. Panamose. 1920.

46 3⁄4 x 62 3⁄ 8 in./118.7 x 158.4 cm

Imp. Devambez, Paris

Cond A-/Slight tears in bottom text.

Ref: Cappiello/Rennert, 303; Cappiello, checklist; Karcher, 193 (var); PAI-LV, 194

Complete with a magical imp, Panamose laundry detergent will magically make any soiled garment appear as good as new for the low price of 1.50 francs. It’s a rare and delightful design.

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

181. La Croix-Soleil. 1919.

30 1⁄4 x 47 1 4 in./76.8 x 120 cm

Imp. Devambez, Paris

Cond A/P.

Ref: Cappiello/Rennert, 294; Santé, 358; PAI-XC, 184

“This nurse and the line of La Croix-Soleil bandages that she is using are rendered in pure white to emphasize the antiseptic qualities of the product; to offset the white dominance, Cappiello resorts to a checkered background, a highly unusual tactic for him” (Cappiello/Rennert, p. 195).

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

182. Royat. 1923.

11 x 15 3⁄4 in./28 x 39.8 cm

Cond A. Framed. Ref (all var): Cappiello/Rennert, 394; Cappiello/St. Vincent, 4.55; Menegazzi-I, 386; PAI-LXXXIX, 178

In an earlier poster from 1909, Cappiello personified the royal mineral water in the form of a mermaid; here, he gives us an all-white spirit (no doubt meant to signify purity) on an aquatic background. This is the in-store display format.

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

183. Crème de Luzy. 1919.

39 1⁄4 x 58 1⁄ 2 in./99.6 x 148.6 cm

Imp. Devambez, Paris

Cond A-/Slight tears at folds.

Ref: Cappiello/Rennert, 288; PAI-LXXIV, 227

The age-defying properties of Crème de Luzy are emphasized by displaying our model before she has finished dressing, the better to appreciate her flawless skin, courtesy of Luzy.

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

184. Pour le Pays / Social-National.

47 1⁄4 x 63 3⁄ 8 in./120 x 161 cm

Imp. Devambez, Paris Cond A.

This is the only known copy of Cappiello’s political plea to the French people to join the Social-National party. The Gallic rooster bears the tricolor of the French flag to emphasize the importance of nationhood. Rare!

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

185. Contratto. 1922.

39 1⁄ 8 x 55 1⁄4 in./99.4 x 140.2 cm

Les Nouvelles Affiches Cappiello, Paris

Cond A-/Slight tear in lower left.

Ref: Cappiello/Rennert, 366; Cappiello/St. Vincent, 4.45; Menegazzi-I, 436; PAI-XCI, 166

In one of Cappiello’s most instantly recognizable designs, we are presented with a whimsically dressed lady offering up an oversized glass of Contratto champagne that overflows with effervescent foam. This is the medium format.

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

Cappiello (Continued)

186. Dancer : Drawing. 1928.

11 1 2 x 14 1⁄ 2 in./29.2 x 36.8 cm

Signed watercolor and pencil drawing. Framed.

Cappiello renders a dancer in motion wearing a futuristic headpiece and billowing wide pants.

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

187. Turbaned Dancer : Drawing. 1928.

11 1 2 x 14 1⁄ 2 in./29.2 x 36.8 cm

Signed watercolor and charcoal drawing. Framed.

In another fanciful image of a dancer in midair, Cappiello dons the character in a bright yellow outfit.

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

188. Veuve Amiot / Crémant du Roi. 1922.

46 1 2 x 62 1⁄4 in./118 x 158 cm

Imp. Devambez, Paris Cond A.

Ref: Cappiello/Rennert, 377; PAI-LXXXIV, 239

“It appears as if we’ve come across this rouged monarch draped in his royal robes during a transcendent moment, carried away on the exquisite proboscis-tickling bubbles of Veuve Amiot sparkling wine. A convincing design of infinite charm that effortlessly persuades without sacrificing one jot of intimate amusement. In 1884, Elisa Amiot suddenly found herself a widow (veuve) with four children to raise. As she lived in the Saumur region, an area whose sparkling wines had become all the rage, she went into the distilling business. She proved to have a flair for so effectively promoting both herself and her bubbly that her firm prospered right from the start” (Cappiello/Rennert, p. 240).

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

189. Buvez du Vin. 1933.

46 5⁄ 8 x 62 1⁄4 in./118.6 x 158 cm

Imp. Devambez, Paris

Cond A. Framed.

Ref: Cappiello/Rennert, 508; PAI-LXXXVIII, 242

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

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

190. Paris 1937.

31 x 46 1⁄4 in./78.8 x 117.3 cm

Edimo, Paris

Cond A-/Unobtrusive folds.

Ref: Cappiello/Rennert, 526; PAI-XCI, 174

“Cappiello became deeply involved in the planning for the Paris World’s Fair of 1937. He was named vicepresident of the Publicity Department for the Fair, and as such he designed the decor for the Pavilion of Advertising, as well as preparing this poster: Paris 1937. It masterfully conveys the Fair’s dual themes with allegorical figures representing Art and Technology” (Cappiello/Rennert, p. 323). This is the smaller format.

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

191. Mossant. 1938.

45 1⁄4 x 61 5⁄ 8 in./115 x 156.7 cm

Les Editions Nouvelles Cappiello, Paris

Cond A. Framed.

Ref: Cappiello/Rennert, 530; PAI-LXXXVIII, 243

“This design featuring three hand-held hats appears so deceptively simple one is tempted to feel that there’s nothing to it; yet, the careful, rhythmic composition creates a pattern so upbeat that it gives the product an unmistakable aura of class. The Mossant firm, in existence since the 1860s, was known for high-quality hats—especially men’s hats, whose expensive models were made from pile of rabbit and hare—and Cappiello conveys it perfectly, making it look easy in the bargain” (Cappiello/Rennert, p. 324).

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

Cappiello (Continued)

192. La Princesse de Babylone, by Voltaire. 1928.

10 x 12 7⁄ 8 in./25.5 x 32.6 cm

Excellent condition; 14 colored etched plates plus a separate suite of the 14 plates in three further states, and one marked gouache drawing in the original box.

Ref: Cappiello/Rennert, p. 13 (var); PAI-LXXXIX, 185

This is one of a deluxe limited edition of forty copies (No. 35), printed on Japon Impérial vellum, hand-signed, and with two additional suites in blue and black. This also includes the publisher’s file with trial impressions of Cappiello’s illustrations engraved by René Lorain. Voltaire’s philosophical tale—originally published in 1752—gets a facelift in this 1928 special edition, thanks to Cappiello’s fifteen color engravings. The results are first-rate, free of commercial constraints, and celebrate Cappiello’s artistic freedom with an even broader palette clearly brought about by a narrative utterly devoid of product placement.

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

Emil Cardinaux (1877-1936)

193. Schuster / Teppichhaus. 1916.

35 3⁄4 x 49 3⁄4 in./90.8 x 126.4 cm

Wolfensberger, Zürich

Cond A.

Ref: Cardinaux, 46; PAI-LXXXII, 224

In Cardinaux’s colorful, impressionistic design for a Swiss rug merchant, a woman demonstrates the pleasure of lounging atop rich Oriental carpets. The repeating notes of red, green, and yellow form a lovely and lively composition with a parrot as the vibrant apex. As is typical of Cardinaux, he treats the image as a painting, strongly separating text from image.

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

194. Palace Hotel / St. Moritz. 1920. 35 3 4 x 50 3⁄ 8 in./90.8 x 128 cm Wolfsberg, Zürich Cond A.

Ref: Cardinaux, 68; Schweizer Hotel, 57; Wobmann, 43; Margadant, 250; Plakat Schweiz, p. 34; Timeless Images, 149; Voyage, p. 58; PAI-XCII, 168

This is one of Cardinaux’s best and most evocative posters. It recalls childhood memories of snowy escapes and family photographs from vacations past. The main purpose of the poster— the promotion of St. Moritz as a winter sports hot spot—is left to the background. Instead, an elegantly bundled lady is the focus, her party deep in lazy chitchat while skaters glide by their chairs. Cardinaux doesn’t need to overstate the Alps’ ideal climate for wintry sports—instead, he allows us to luxuriate in a relaxing getaway.

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

Jean Carlu (1900-1997)

195. Aquarium de Monaco. 1926. 31 1⁄ 8 x 42 1⁄ 2 in./79 x 108 cm

Éditions d’Art Robert Lang, Paris

Cond B+/Slight tears at folds.

Ref: Carlu, 12; Le Coultre, p. 260; Timeless Images, 108; Weill, 353; PAI-LXV, 191

Considered to be Carlu’s finest work, this aquatic collage perfectly encapsulates an underwater environment at the Monaco Aquarium, rather than depicting a specific species. In an interview the following year, the artist stated that he sought to simplify and impress, regardless of whether or not he maintained scientific accuracy.

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

A. M. CASSANDRE

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

196. Nord Express. 1927.

29 3⁄ 8 x 41 3⁄4 in./74.6 x 106 cm

Hachard, Paris

Cond A.

Ref: Cassandre/BN, p. 12; Cassandre/Weill, p. 53; Mouron, 10; Brown & Reinhold, p. 9; Cassandre/Suntory, p. 49; Deco Affiches, p. 27; Avant Garde, p. 162; Word & Image, p. 80; Art Deco, p. 77; Weill, 310; Affiche Réclame, p. 80; Modern Poster, p. 155; Crouse/Deco, p. 254; PAI-XCI, 177

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: $12,000-$15,000.

197. Chemin de Fer du Nord. 1929.

24 3⁄4 x 39 1⁄ 8 in./62.7 x 99.5 cm

Imp. L. Danel, Lille Cond A.

Ref: Mouron, pl. 16; Brown & Reinhold, 44, pl. 18; Cassandre/Weill, p. 54; Cassandre/Suntory, 52; Moderno Francés, p. 167; Crouse/Deco, p. 256; PAI-XCI, 178

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

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

Cassandre (Continued)

198. Statendam. 1928.

25 3⁄4 x 35 1⁄ 2 in./65.5 x 90.2 cm

Cond A.

Ref: Cassandre/Weill, p. 76; Crouse/Deco, p. 227; Cassandre/BN, 18 (var); Mouron, 104, pl. 13; Brown & Reinhold, 12; Cassandre/Suntory, 20; PAI-LXXXVI, 173

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: $7,000-$9,000.

199. Simca / La Cinq Ne Coûte Que 9.900 frs. 1936.

22 3⁄4 x 15 1⁄ 8 in./57.8 x 38.4 cm

Imp. Draeger, Paris

Cond A. Framed.

Ref (all var but PAI): Cassandre/BN, 104; Mouron, 193; Auto Show III, 100; Cassandre/Suntory, p. 109; PAI-LXXXIII, 279A

“Is it possible that by this time the glorification of the machine wasn’t worth the gamble? Because, indeed, it’s the cost, and not the machine that’s pointed up here. It’s true that the crucial message is, in fact, the price of the vehicle” (Cassandre/BN, p. 116). However, even if the monetary bottom line has become the motivating factor in the mind of the consumer, it’s Cassandre’s Simca blue streak that provides the true visual impact. This is the rare smaller format—and one of his rarest designs overall.

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

Marcel Juseret dit Cello (1895-1965)

200. Linguaphone : Maquette. 1935.

15 1⁄ 2 x 23 1⁄ 2 in./39.5 x 59.7 cm

Pastel and ink maquette.

Linguaphone was a language learning method invented by Jacques Roston which used listening to soundtracks in addition to more traditional means. Cello visualizes the exercise astutely in this preparatory work.

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

Marc Chagall (1887-1985)

201. Nice / Soleil, Fleurs. 1962.

24 1⁄4 x 39 1⁄4 in./61.6 x 99.7 cm

Imp. Mourlot, Paris

Cond A/P.

Ref: Affiches Azur, 56; Sorlier, p. 38; PAI-XCII, 174

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: $1,400-$1,700.

202. Die Zauberflöte / Metropolitan Opera. 1966.

25 1⁄4 x 39 3⁄ 8 in./64.2 x 100 cm

Imp. Mourlot, Paris

Cond A. Framed.

Ref: Sorlier, p. 107; PAI-XCII, 175

Marc Chagall’s rapturous poster for the Met’s 1967 production of Mozart’s “The Magic Flute” is the final note on Chagall’s top-to-tail visual rendering, having created the sets and the costumes as well. The poster borrows a detail from “The Triumph of Music,” one of two large murals that flank the entrance to the Metropolitan Opera at Lincoln Center. The “welter of color” Chagall splashed onto the Met’s stages received mixed reviews, but his visual interpretation of Mozart’s final joyous opera influenced the Met’s stagings through the 1981-82 season.

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

203. Metropolitan Opera / Opening September 1966.

25 3⁄4 x 39 1⁄4 in./65.4 x 99.6 cm

Mourlot, Paris

Cond A.

Ref: Sorlier, p. 109; Lincoln Center, 14; Theaterplakat, 223; PAI-LXXXVIII, 255

This is the second poster Chagall created for the inaugural season of the Metropolitan Opera’s move to Lincoln Center in New York. According to Sorlier, the subject is the opera “Carmen”; but the central figure is Rudolf Bing, the Met’s director and the man who commissioned Chagall to create the large paintings framing the entrance to the Opera.

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

204. Paris / l’Opéra. 1965.

38 1⁄4 x 24 1⁄4 in./97.2 x 61.6 cm

Imp. Mourlot, Paris

Cond A. Framed.

Ref: Sorlier, p. 97; Weill, p. 358; PAI-LXXXIV, 270 Romeo and Juliet fly above the Arc du Triomphe, the Place de la Concorde, and the rooftops of a dreamy Paris. It’s a detail from Chagall’s wondrous ceiling for the Opéra Garnier, which was unveiled the same year as this poster’s creation. Almost all of Chagall’s posters are taken from paintings and prints that were not originally created as posters, but many of them, because of their bold images and bright colors, turn out to make fine posters nonetheless.

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

JULES CHÉRET

Jules Chéret (1836-1932)

205. L’Oncle Sam. 1873.

17 5⁄ 8 x 14 in./45 x 35.8 cm

Imp. J. Chéret, Paris

Cond A.

Ref: Chéret, 289; Broido, 228; Maindron 1896, 197; PAI-XLI, 181

There’s nothing that invites either American patriotism or derision in this teeming Chéret etching-style design for a “Quadrille Americain” being performed at the Théâtre de Vaudeville. Regardless of its musical content, this early “Uncle Sam” design is a rare Chéret discovery, and was possibly used as a program or song sheet cover.

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

206. Folies-Bergère / O. Métra. 1876.

20 3⁄ 8 x 32 1⁄ 8 in./51.8 x 81.7 cm

Imp. J. Chéret, Paris

Cond A-/Horizontal fold.

Ref: Chéret, 102; Broido, 86; Maindron 1896, 81; PAI-LXXXV, 247

For many years, Olivier Métra conducted the band at the Folies-Bergère, often incorporating his original compositions into the evening’s performance. He must have been a popular figure of the day, for Chéret gives him notable billing in this design from the venue’s first decade. This is a very early lithograph from Chéret’s eponymous printing firm.

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

Chéret (Continued)

207. Saint Jacut-de-la-Mer : Painting. 1887. 8.2 x 11.2 in./21 x 28.5 cm

Signed oil painting on wood. Framed. Ref: PAI-XCI, 188

Exhibited: “La Normandie du Preromantique au Postimpressionnisme,” Ville de Deauville Exposition, 1973 (catalogue No. 61)

This early painting by Chéret shows a young contemplative lady on the beach of the Brittany Coast. The painting is dedicated “a mon ami Maindron”—that is, Ernest Maindron—who a year earlier published the first of his important works, “Les Affiches Illustrées,” which included 20 color plates of early Chéret posters and in which Maindron urged his readers to start collecting them.

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

208. Saxoléine. 1894.

32 7⁄ 8 x 47 7⁄ 8 in./83.5 x 121.6 cm

Imp. Chaix, Paris

Cond A-/Slight tears in bottom text.

Ref: Chéret, 1242; Broido, 948; Maindron 1896, 787; DFP-II, 249 (var); PAI-LXI, 232

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: $1,700-$2,000.

209. Saxoléine. 1900.

32 7⁄ 8 x 47 5⁄ 8 in./83.5 x 121 cm

Imp. Chaix, Paris (not shown)

Cond A-/Unobtrusive folds.

Ref: Chéret, 1253; Broido, 957; DFP-II, 209; Wine Spectator, 20; PAI-LXXXVIII, 277

This poster is the only one in the series in which a heater, rather than a lamp, is shown, basking the surroundings in a comfy snug red. Note that this poster is without the Chaix imprint at lower left.

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

210. La Diaphane. 1890.

34 x 15 5⁄ 8 in./86.5 x 39.6 cm

Imp. Chaix, Paris

Cond A.

Ref: Chéret, 1221; Broido, 935; Maindron 1896, 776; PAI-LXXXVIII, 271

Sarah Bernhardt was not only a consummate artist, but also a very good business person. She initiated what is now a common practice: the celebrity endorsement. She first did this for La Diaphane face powder and later for Lefèvre-Utile biscuits.

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

211. Une famille musicale : Drawing.

10 x 13 1⁄ 2 in./25.5 x 34.4 cm

Signed charcoal and ink drawing. Framed.

Chéret renders an expressionistic vision of a family outing replete with a fruit basket and live music.

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

212. La Comédie : Drawing. ca. 1891.

8 1⁄4 x 16 1⁄ 8 in./21 x 41 cm

Signed pastel drawing on canvas. Framed.

Ref: PAI-XCI, 199

Chéret’s series of four decorative panels known as The Arts are veritable “triumphs of color and printing” (Abdy, p. 31). They are “neither prints nor posters, but which contain a bit of both... There is nothing to say about these designs other than that they are perfect” (Maindron, p. 178-79). Being freed from having to sell a product, Chéret lets his imagination soar—and these light-footed nymphs are the first clear examples of what was to adorn the walls of Paris for the next decade: the unabashedly hedonistic, carefree spirits that became known as “Chérettes.” This is the original pastel design for the Comédie panel, in which we see a gamboling lass who sees no reason to include tragic theatricality in her environment.

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

Chéret (Continued)

213. Musée Grévin / Les Coulisses de l’Opéra. 1891. 34 x 96 in./86.4 x 244 cm

Imp. Chaix, Paris

Cond B+/Slight tears at folds and bottom edge. Ref: Chéret, 601; Broido, 467; Maindron 1896, 380; Maîtres, 37; DFP-II, 210; Reims, 315; Wine Spectator, 10; PAI-XCI, 201

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

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

214. Palais de Glace. 1893.

33 1⁄ 8 x 47 1⁄4 in./84.2 x 120 cm

Imp. Chaix, Paris

Cond A-/Unobtrusive horizontal fold. Framed. Ref: Chéret, 471; Broido, 362; Maindron 1896, p. 292; DFP-II, 240; Reims, p. 455; PAI-XCI, 192

More merry and carefree than its romantic counterparts, this poster for the Palais de Glace showcases ice skating in all its welcoming, wild abandon.

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

215

215. Palais de Glace. 1893.

33 x 93 3⁄4 in./84 x 238.2 cm

Imp. Chaix, Paris

Cond B+/Slight tears at seam and edges. Framed. Ref: Chéret, 473; Broido, 363; Maindron, 292; DFP-II, 240; PAI-LXXVI, 231

Dashing red on a water-washed blue background, this skater beckons us to join her at the popular ice-skating rink on the Champs-Élysées. One of the very best in the series, it’s also one of the most unusual: no gentlemanskater silhouette lurks behind her. This is the ladies’ skate. This is a two-sheet poster.

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

216. Palais de Glace. 1894.

32 1⁄4 x 94 3⁄4 in./82 x 240.7 cm

Imp. Chaix, Paris

Cond B+/Slight tears at seam and edges. Framed. Ref: Chéret, 478; Broido, 366; Maindron 1896, 295; DFP-II, 246; PAI-XCI, 195

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

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

1900.

33 1⁄ 2 x 95 1⁄4 in./85 x 242 cm

Imp. Chaix, Paris

Cond A-/Slight tears in bottom text. Framed. Ref: Chéret, 491; Broido, 374; PAI-XCI, 194

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

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

217. Palais de Glace.

Chéret (Continued)

218. La Dentellière / La Fileuse. 1900.

Each: 34 1⁄ 2 x 50 5⁄ 8 in./87.5 x 128.6 cm

Imp. Chaix & de Malherbe, Paris

Cond A.

Ref: Broido, 64 & 65; PAI-XLVII, 206

For the 1900 World’s Fair in Paris, Chéret created two decorative panels for the publisher Malherbe. La Fileuse (The Spinner) has hair as soft, fluffy, and fine as the wool she is turning into yarn for the weaver at the loom seated in the shadows behind her. La Dentellière (The Lace-Maker) wears a ruffle of the frothy stuff that she seems to produce without the slightest bit of effort. And, as is always the case for Chéret, neither of these ladies are precisely dressed for the tasks with which they are involved. What good is artistic license if it’s never used?

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

219. Pastilles Géraudel. 1895.

33 x 47 in./83.8 x 119.5 cm

Imp. Chaix, Paris

Cond B/Slight tears at folds and left edge. Framed.

Ref: Chéret, 1181; Broido, 910; DFP-II, 259; Health Posters, 6; Gold, 32; PAI-XCII, 179

It may be snowing, but this heavily bundled Chérette is prancing down the street as if it were spring. She has wisely chosen Pastilles Géraudel to fend off the first signs of a winter cold. As the slogan says, “If you cough, take Géraudel Pastilles”—a tag line which appeared on all of the company’s ads from France to China. “This is one of the most striking examples of the work by Jules Chéret... The clarity of the color is astonishing and denotes the influence of Impressionist painting” (Health Posters, p. 14).

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

220. Benzo-Moteur. 1900.

33 3⁄4 x 49 1⁄ 8 in./85.7 x 125 cm

Imp. Chaix, Paris Cond A.

Ref: Chéret, 1369; Broido, 1031; DFP-II, 201; Affiches Automobiles, p. 14; Abdy, p. 52; Gold, 22; PAI-LXXXVII, 3

“In 1900 cars were still pretty much a hobby for the venturesome. That meant mostly men, but Chéret shows one daring young woman at the wheel in the foreground and another in the smaller background image. The poster is for one of the first European brands of gasoline, sold at the time in canisters at general and hardware stores” (Gold, 17).

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

221. L’Eventail : Painting. 1902.

8 3⁄4 x 16 5⁄ 8 in./22.2 x 42.2 cm

Signed pastel painting. Framed.

Exhibited:

Exposition de la Société des Amis des Arts de Dieppe, 1902

A lady in a shimmering green gown beckons us with her fan in this charming and intimate portrait by Chéret.

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

222

Paul Colin (1892-1986)

222. Bal Nègre Lithograph. 1927.

18 3⁄4 x 25 3⁄4 in./47.8 x 65.4 cm

Cond A. Framed.

Ref (all var but PAI): Colin, 19; Colin Affichiste, 113; PAI-XCII, 193

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

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

223. Vichy. 1948.

46 1⁄ 2 x 62 5⁄ 8 in./118.2 x 159.2 cm

Imp. Bedos, Paris Cond A.

Ref: Colin, 106; PAI-LXXXVIII, 291

Colin brings us the “water cycle,” Vichy-style: during lunch at work, at the café, or simply relaxing at home. It’s a fascinating visual style, as well, for Colin: a slow metamorphosis from Modernism into mid-century aesthetics following the war.

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

224. Loterie Nationale / Grand Prix de Paris. 1966.

45 x 61 in./114.5 x 155 cm

Jean Laurance, Paris Cond A.

Ref: PAI-LXXVI, 251

This is one of three designs by Colin for the French national lottery, which was connected with horse racing in a similar manner to that of the Irish Sweepstakes (i.e. the winner was determined based on the outcome of various horse races). Here, we embrace the true power of the track, as the horse and jockey fly past us in an earth-toned blur.

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

225. Blaise / La Voyante.

15 7⁄ 8 x 24 in./40.2 x 61 cm

Cond A-/Slight tears at edges.

This very rare Colin design for a magic act looks strikingly contemporary. He’s used bold colors, energetic lines, and minimal text to draw us into the mysterious eyes.

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

A. Cometti

226. Jacquesson Champagne. ca. 1910.

46 1⁄ 2 x 62 in./118 x 157.4 cm

Affiches Camis, Paris

Cond A.

A large vulture fights against the forceful storm on his quest for Jacquesson champagne, the oldest independent Champagne house, founded in 1798. The company continues production to this day with several Grand Cru and Premier Cru vineyards.

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

Dore

Corty-Mönckemeyer (1890-1973)

227. Adler Turf. 1921.

36 x 47 1⁄ 8 in./91.3 x 119.7 cm

Kunstanstalt Jris, Dresden

Cond B/Slight stains in background.

Ref: Moeller, p. 89; PAI-LXI, 250

With a horse for each of its two varieties, this rare poster promoting Adler Turf cigarettes is Art Deco in its most pure, pared down form.

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

Adolphe Cossard (1870-1952)

228A. Musique Profane & Musique Sacrée. ca. 1900.

Each: 24 3⁄4 x 11 1⁄4 in./62.7 x 28.7 cm

Cond A-/Slight tear in Musique Profane. Ref: PAI-LXI, 251; PAI-LIII, 217

These two lovely images in soft pastel tones are companion pieces. One decorative panel shows a young woman playing the pipes, while the other features a Mucha-inspired maiden playing the violin. Est: $3,000-$4,000. (2)

228A

Joaquin & Rafael Diaz-Jara Romero

228B. Sevilla. 1927.

41 7⁄ 8 x 61 1⁄ 2 in./106.4 x 156.2 cm

Lit. S. Dura, Valencia

Cond B+/Slight tears at folds.

A striking flamenco duo usher in the spring festivities in Sevilla. Occurring about two weeks after Easter, the festival includes bullfighting, a horse parade, traditional dress, carnival rides, and, of course, partying.

Est: $2,400-$2,700.

Walt Disney (1901-1966)

229. Saludos Amigos. ca. 1942.

46 1⁄ 8 x 61 7⁄ 8 in./117 x 157.3 cm

Cinemato, Paris

Cond B+/Slight tears at folds.

“Saludos Amigos” was a Walt Disney film commissioned by the U.S. Department of State in an effort to promote friendly ties with Latin America under the Good Neighbor Policy. Nelson Rockefeller organized a tour of South America with Disney and several composers and artists. The film proved to be a huge success, and not only showed a truer (and exciting) glimpse of Latin countries to Americans, but it also led to the overwhelming popularity of Donald Duck. This poster is “d’après Walt Disney” with credit given to P. Delange.

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

Jean-Gabriel Domergue (1889-1962)

230. Alice Soulié. 1926.

47 1⁄ 8 x 63 1⁄4 in./120 x 161 cm

H. Chachoin, Paris

Cond A-/Slight tear at bottom edge.

Ref: PAI-XC, 243

Domergue made his reputation on showcasing fashionable women in provocative yet chic poses. This poster for the alluring cabaret performer (and rumored transvestite) Alice Soulié is no exception: Domergue employs a spare background to highlight the angular shapes of Alice’s lithe figure and the coquettish buoyancy of her large feather fan.

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

231 Domergue (Continued)

231. Monte-Carlo. ca. 1937.

24 7⁄ 8 x 38 1⁄ 2 in./63 x 98 cm

Imp. Nationale, Monaco

Cond A-/Horizontal fold in bottom text.

Ref: Affiches Riviera, 441; Affiches Azur, 216; PAI-XCII, 203

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

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

Jean Droit (1884-1961)

232. Martini. 1948.

31 1⁄ 2 x 46 7⁄ 8 in./80 x 119 cm

Vox Publicité, Paris

Cond A.

Ref: Martini & Rossi, p. 20; PAI-LXVIII, 365

In a whimsical composition filled with movement and arching lines, Droit emphasizes that the winner in every race is Martini & Rossi. When the distillery opened in 1863, owners Alessandro Martini, Luigi Rossi, and Sola made the wise business decision of exporting their product almost immediately, making it more popular abroad than it was at home. Within 30 years, it was the unquestioned leader in the vermouth industry.

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

H. Dry

233. Bal des Etudiants. 1908.

31 1⁄ 2 x 46 1⁄ 8 in./80 x 117.2 cm

Lith. J. Coubé, Nancy Cond B/Restored tears.

This artist created at least one other image for this students’ ball ( see PAI-XLIV, 237), which was much sultrier than this fairly quaint image of an older gent picking up ladies on the dance floor.

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

Edward

M. Eggleston (1887-1941)

234. Pennsylvania Railroad / Atlantic City. ca. 1935.

25 x 40 1⁄4 in./63.5 x 102.4 cm

O. Co., Clifton, New Jersey

Cond A.

Ref: PAI-LXVII, 294

In this more common, but equally stunning companion piece to the other Eggleston posters for Atlantic City ( see PAI-LX, 259 and PAI-LXXXII, 262), here we see a bathing beauty waving to her unseen companion to come join her on the shore. The implication is that we are the person meant to meet her on the dunes, which is a charming and hard-to-resist invitation.

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

Otto

Ernst (1884-1967)

235. Furka-Oberalp. ca. 1925.

25 1⁄4 x 39 1⁄ 2 in./64.2 x 100.4 cm

A. Trüb, Aarau

Cond A-/Slight tears at edges. P.

Ref: Train/Favre, p. 99

Ernst presents us with a picturesque view of the snow melting on the Swiss Alps. The image advertises the narrow Furka Oberalp railway that opened in 1914. The many avalanches in this region have occasionally forced the trains to stop running in the winter, which may have influenced Ernst’s decision to show us a more summery image.

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

Jean

Even (1910-1986)

236. Teintnet : Maquette. ca. 1955.

47 x 63 in./119.3 x 160 cm

Signed gouache and ink maquette with slight tears at edges.

Ref: PAI-LXXXVIII, 306

For a Nancy laundry service that cares for clothing of all colors, Even imagines a Pierette swapping out her white dress for a more vibrant jumpsuit.

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

Georges Favre

237. Chemin de Fer d’Orléans. 1929.

24 5⁄ 8 x 39 3⁄ 8 in./62.6 x 100 cm

Affiches Gaillard, Paris

Cond A-/Slight tear at horizontal fold.

“Who wants to travel far takes care of his car, entrusting it to the Orleans railway.” Favre takes on this tag-line with great joy and imagines a passenger slumbering beneath the stars with his toy car wrapped firmly in his arm. It’s a most delightful Deco image for the railway company that was launched in 1869.

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

Georges de Feure (1868-1943)

238. Paris-Almanach. 1894.

23 1⁄ 2 x 31 in./59.6 x 78.7 cm

Imp. Bourgerie, Paris

Cond A. Framed.

Ref: DFP-II, 342; Maindron 1896, p. 64; Abdy, p. 155; Timeless Images, p. 40; de Feure, p. 72; Gold, p. 79; Reims, 618; Posters of Paris, p. 50; Weill/Art Nouveau, p. 118; PAI-XCI, 253

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 “ParisAlmanach,” a tourist guide to the City of Light, just as the city was being illuminated.

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

239. A Jeanne d’Arc. 1896. 37 x 101 in./94 x 256.5 cm

Imp. Bourgerie, Paris Cond A.

Ref: de Feure, p. 78 (var); DFP-II, 350; Maitres, 130; Wember, 305; Abdy, p. 157 ; Schindler, 56 (var); PAI-LXXXIX, 230 (var)

This unusual frontal view of the Maid of Orleans against an umber background was created to advertise a fabric store owned by Astre et Soux in Carcassone. Although some details of her armor are not fully rendered, this in no way detracts from the design’s enticing impact. “De Feure transforms the saint into a femme fatale: instead of a pure young girl whose armor annihilates all carnal thoughts, we are given a Joan of Arc that emphasizes all her feminine curves” (de Feure, p. 78) This is the first time we have offered this image with the full text at bottom.

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

Pierre Fix-Masseau (1905-1994)

240. Philips. 1951.

63 x 45 3⁄4 in./160 x 116.4 cm

Imp. Courbet, Paris Cond A.

Ref: Fix-Masseau BN, p. 29; PAI-XCI, 256

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

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

Louis Galice (1864-1935)

241. Les Misérables.

39 1⁄ 2 x 55 in./100.5 x 140 cm

Affiches Louis Galice, Paris Cond A.

Ref: PAI-XCII, 216

Galice created this very dramatic rendering of a performance of Les Mis for an unnamed theatre.

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

J. J. Gaudinot

242. Le Carnaval de Nice / Messageries Maritimes. ca. 1922.

17 x 26 3⁄ 8 in./43.2 x 67.5 cm

Imp. Reunies, Paris Cond A.

Ref: Affiches Azur, 93; Mer s’Affiche, p. 143; PAI-XCI, 259

This intriguing Deco design eschews outlines for a formal feeling of a black-and-white masquerade. It’s time for Nice’s carnival, and the best way to experience it is with this four-day package on the Côte d’Azur courtesy of Messageries Maritimes. Est: $1,000-$1,200.

Alain Gauthier (1939-1971)

243. Teppaz. 1956.

61 1⁄ 8 x 45 1⁄ 8 in./155.4 x 114.7 cm

La Vasselais, Paris Cond A.

Ref: PAI-LXXXVII, 300

Teppaz record players bring joy, as evidenced by this lavender daydream swelling with music. Founded in 1931, the company specializes in hi-fi equipment including amplifiers, record players, turntables, and pick-ups. It gained a cult following thanks to teenagers in the 1960s.

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

Fritz Genkinger (1934-2017)

244. World Cup ’74.

26 3⁄ 8 x 37 1 4 in./67 x 94.6 cm Cond A.

As with many European graphic artists of the ’60s and ’70s, Genkinger’s style shows the Pop influence of America’s Herb Lubalin. For the 1974 World Cup, played in various German cities, the artist shows a glowing soccer ball cradled by competing feet.

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

Bruno Gimpel (1886-1943)

245. Werbeschau / Reklame. 1921.

22 1⁄ 2 x 32 5⁄ 8 in./57 x 83 cm

Leutert & Schneidewind, Dresden Cond A.

Ref: Kunst Kommerz Visionen, p. 153

The organizers of this advertising exhibition held a competition to determine whose image would promote the event; Gimpel’s sharp and eye-catching design was clearly the winner. The exhibition included a variety of works by Dresden artists and was highly lauded: the periodical Dekorative Kunst wrote, “the Dresden local groups of the Association of Poster Friends and the Association of German Commercial Graphic Artists are giving a comprehensive overview of the area of artistically sophisticated advertising in Germany for the first time... one becomes aware of the truly brilliant upswing in images and writing in the service of the advertising industry... The clever division of the exhibition into artists and company groups enables a precise study of the personal and material values that take part in this development in Dresden today. Among the older posters from the last quarter of a century you can find the most respected artist names” (Volume 30, 1921).

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

Milton Glaser (1929-2020)

246. Superman : An Archival History. ca. 1987.

Poster: 24 x 36 in./61 x 91.4 cm

Maquette: 15 x 20 in./38 x 50.8 cm

Mechanicals, each approx.: 18 3⁄4 x 22 3⁄ 8 in./47.6 x 56.8 cm

Cond Poster: A/P.

Maquette: Black and white ink drawing.

Ref: Glaser, p. 685; PAI-XCII, 220 (var)

This is a graphic designer’s dream collection! Included in this lot are several works from Glaser’s creative process and resulting Superman poster and letterheads, which were created for an exhibition at the National Museum of American History in Washington, D.C. At the time, Glaser worked for DC Comics designing letterheads, brochures, logos, and the like. This lot includes the signed final poster; a black and white ink maquette with a color transparency that captures a human hand bursting through a backdrop, which provided the photomontage aspect of this image; the printer’s mechanicals, showing three progressive color drawings; two double-sided letterheads designed for the 50th anniversary of Superman; and one handwritten letter on Glaser’s DC notepad acknowledging the return of these materials from the Smithsonian exhibition. This is a wonderful archive that provides a deep look at the creative and technical process behind the artist’s work.

Est: $12,000-$15,000. (6)

Mary Golay (1869-1944)

247. “Blancheurs” No. 4.

15 5⁄ 8 x 39 in./39.7 x 99 cm

Cond B/Slight tears at edges. Framed. Ref: PAI-XCII, 224

According to the Merriam-Webster Dictionary , one possible meaning of “whiteness” is “freedom from stain.” And according to the title of this series, of which this example is Number Four, Golay has set her sights on an artistic manifestation of “Blancheurs,” or “Whitenesses,” if you will. Her graphic purity is, as always, beyond reproach, and her skill unassailable. In fact, she doesn’t even need to reveal the face of her virtuous maiden—her graceful port de bras , decorous accessorizing, and the avian trust that she inspires reveals all that we need to know.

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

Eugène Grasset

(1841-1917)

248. Belle Jardinière / 1896 Calendar. 1895. Each: 7 1 4 x 9 1⁄4 in./18.5 x 23.5 cm

Cond A. With usual grommets. Ref: Berthon & Grasset, 54, p. 26-28; PAI-XCII, 228

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

Est: $1,700-$2,000. (12)

249. L’Estampe et L’Affiche. 1895.

18 1⁄ 2 x 25 3⁄ 8 in./47 x 64.5 cm

Cond A. Framed.

Ref: PAI-LXX, 380

In this marvelously rare, tongue-in-cheek design, Grasset demonstrates how the poster is literally shooing aside the print as the preferred artistic medium: the triumph of the poster! It’s a must for the poster collector.

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

250. L’Eventail. 1900.

31 5⁄ 8 x 49 in./80.3 x 124.5 cm

Imp. Chaix, Paris Cond A-/Slight creasing at bottom. Framed. Ref: Murray-Robertson, p. 118; Grasset, fig. 175; Gold, 205; Berthon & Grasset, p. 86; PAI-LIX, 364

Simply titled “The Fan,” the seductive raven-haired muse beguiles the viewer in this large decorative panel.

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

Walter L. Greene (1870-1956)

251. New York Central Lines / Adirondack Mountains. ca. 1928.

26 7⁄ 8 x 41 in./68.3 x 104.2 cm

Lantham Litho., Long Island City

Cond A.

Ref: PAI-LXIV, 292

New York’s Adirondack Park was established in 1892, the same year that train service began on what would soon become the New York Central’s Adirondack Division. Here, a majestic view of Whiteface Mountain looms over the eponymous lake, while an eight-point buck stares out toward the viewer.

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

Jules-Alexandre

Grün (1868-1938)

252. Soirée des Affiches Réclames. 1909.

23 1⁄ 8 x 30 3⁄4 in./58.8 x 78.3 cm

Imp. Ch. Verneau, Paris

Cond A.

Ref: PAI-LXXXVI, 247

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: $1,700-$2,000.

Giovanni Guerrini (1887-1972)

253. Cesenatico. 1927.

27 1⁄ 2 x 39 1⁄ 2 in./69.8 x 100.2 cm Novissima, Roma

Cond A.

Ref: Manifesti Posters/Travel, p. 175

The sails in the harbor form a fiery sea of graphic shapes at the port of Cesenatico on the Adriatic coast of Italy. Founded in 1302, its port and canal were constructed in 1314, and Leonardo da Vinci was later asked to survey and draw the site. The port, once crucial to the city’s maritime trade and fishing, continues to attract tourists.

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

Keith Haring (1958-1990) & Andy Warhol (1928-1987)

254. Montreux Jazz Festival 1986.

27 5⁄ 8 x 39 1⁄4 in./70 x 99.7 cm Albin Uldry, Berne Cond A.

Ref: PAI-LXXVI, 297

Haring’s silkscreened poster for the 20th Montreux Jazz Festival in ’86 was actually a collaboration with Andy Warhol, and bears the total signature of the aesthetic of that moment: formal appropriations, cartoon forms, neon colors, and a deep African-American pop vibe. It clearly worked—the festival was sold out before the stage lights turned on. The poster clearly transmutes the musical moment: Anita Baker, Simply Red, Sade, and Wayne Shorter were on hand that year.

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

Keith Haring (1958-1990)

255. Free South Africa. 1985.

47 7⁄ 8 x 48 in./121.6 x 122 cm Cond A/P.

Ref: Dörning, p. 93; Haring Posters, 26; PAI-LXXXV, 310

Distributed at an anti-apartheid demonstration, this iconic Haring design shows a native African figure crushing his oppressor. Initially created as a painting, Haring felt the image was strong enough to work well as a poster too. “20,000 of the posters were given away for free; the print was later sold in the Pop Shop for the symbolic price of one dollar” (Haring Posters, 26).

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

256. Italia 83. 1983.

18 5⁄ 8 x 27 1⁄4 in./47.3 x 69.2 cm

Cond A/P.

Ref: Haring Posters, 7; PAI-XCI, 273

“The Galleria Lucio Amelio in Naples was one of Italy’s most well-known galleries and presented exhibitions by Andy Warhol, Joseph Beuys, and many others. For Haring, this was his only exhibition with Amelio. He spent three weeks in Milan and produced all of the works in the exhibition there, in part in collaboration with his friend Angel Ortiz, also known as LA II” (Haring Posters, p. 107).

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

257. Break Weapons Not Spirits. 1988. 11 x 16 3⁄4 in./28.2 x 42.7 cm

Cond A.

Ref: Haring Posters, 69

This poster was created “for a peace march to support the UN’s special session on disarmament. Haring supplied the image, but not the text” (Haring Posters, p. 118). The sentiment could also be applied to today’s current issues.

Est: $1,00-$1,200.

258. American Music Festival / NYC Ballet. 1988. 36 x 24 in./91.4 x 61 cm

Cond A/P.

Ref: Haring Posters, 67; PAI-XCI, 276

Haring created this charmingly patriotic design for the 40th Anniversary of the New York City Ballet; it was one of a series of 11 artists’ posters commemorating the event. The poster was published by Philip Morris Companies.

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

Hubert Herkomer (1881-?)

259. Normandie. 1935.

24 7⁄ 8 x 40 1⁄ 8 in./63.2 x 101.8 cm

Hill, Sifken & Co., London

Cond A.

Ref: Mer s’Affiche, p. 155; Fantastic Voyage, 16; PAI-XCII, 245

This nighttime image of the Normandie offers a very different experience from Cassandre’s poster of the same title ( see PAI-LXXXIX, 28). Here, she quietly glides away from the glimmer of New York City. With six decks of cabin lights reflecting in the water, there is an element of romance combined with the usual magnificence of the ship. After the Cunard Line’s Queen Mary beat the Normandie’s speed records in August of 1938, French Line began promoting her as “the world’s most perfect ship” rather than the fastest. Such a description could not be better expressed than in this image.

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

Léon

Hingre (1860-ca. 1929)

260. La Flèche Bréham. ca. 1900. 21 1⁄ 2 x 36 7⁄ 8 in./54.7 x 93.6 cm

Cond A.

Ref: PAI-LXXXVII, 325

Though the product may be mundane, the advertisement for this printing ink is anything but banal: Hingre turns the chemical formulation into an alchemical wonder being overseen by a long-haired goddess in the most ornate gown. The plumes of smoke that surround her lend a dramatic and sumptuous quality to the scene.

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

David Hockney (1937- )

261. Los Angeles 1984 Olympics. 1982. 24 1⁄ 8 x 36 in./61.2 x 91.4 cm

Cond A/P.

Ref: Hockney, 131; Successive Olympic, unnumbered; Olympic Posters, p. 103

Hockney’s poster for the 1984 Olympic Games seamlessly merges his passions: painting, photography, portraiture, and pools. The influential British artist fell in love with the color, movement, and architecture of pools when he settled in southern California; his many paintings and photographs of the subject have become iconic representations of the cool California lifestyle. Here, he has assembled multiple Polaroid images together to create the painterly result.

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

Adolfo Hohenstein (1854-1928)

262. Onoranze a Volta. 1898.

39 1⁄ 8 x 87 1⁄ 8 in./99.2 x 221.3 cm

Ricordi, Milano

Cond B/Slight tears at seams and edges.

Ref: Ricordi, 157; Riccione, 3; PAI-LIX, 392

Two young women with symbols of manual labor (a shuttle and a washboard) place a wreath around the cameo of Alessandro Volta to indicate their gratefulness for the electricity that liberated them from menial tasks. The poster is for an exhibition of electrical products being held in honor of the 100th anniversary of the birth of Volta, the inventor of an instrument for measuring electricity (voltmeter), and the man who defined a single unit of it, a volt, as “the electron drive force which, when applied to the conductor with the resistance of one ohm, produces a current of one ampere.” That so impressed Napoleon that he made him a count as well as a senator of Lombardy. This is the larger, three-sheet format.

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

Ludwig Hohlwein (1874-1949)

263. Herrsching / Keramische Werkstätten. 1910. 31 1⁄ 2 x 44 3⁄4 in./80 x 113.7 cm

Vereinigte Druckereien und Kunstanstalten, München Cond A/P.

Ref: DFP-III, 1364; Hohlwein/Stuttgart, 32; Hohlwein, 142; PAI-XLIX, 313

A ceramic artists’ cooperative advertises its retail outlet in Munich in this rarely seen design by Hohlwein, a beautifully executed object poster with a slight industrial twist. Hohlwein’s “special way of applying colors, letting them dry at different times, and printing one on top of the other, producing modulations of shading, has often been copied, but never equaled. He belonged to no school or group, his art and personality are an unprecedented phenomenon in the history of German poster art” (Rademacher, p. 22).

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

Sandy Hook (Georges Taboureau, 1879-1960)

264. Messageries Maritimes / Méditerranée. 1922. 23 x 30 3⁄4 in./58.4 x 78.2 cm

Imp. Max Cremnitz, Paris

Cond B+/Slight tears and stains at edges.

Ref: PAI-II, 294

Hook shows a busy crew loading up the Yang-Tse cargo ship on one of its routes from the Mediterranean to India, Indochina, and the Far East.

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

Henri-Gabriel Ibels (1867-1936)

265. Pierrefort / Affiches Artistiques. 1897. 31 3⁄4 x 24 1⁄ 8 in./80.6 x 61.6 cm

Imp. Eugène Verneau, Paris

Cond A. Framed.

Ref: DFP-II, 478; Maitres, 102; Affichomanie, 10; Timeless Images, 61; Wine Spectator, 54; PAI-XCI, 294

Exhibited:

Milwaukee Art Museum, 2012-2013

Metropolitan Museum of Art, New York City, 2019

One of the best and most important posters having to do with the art of the poster, this design by Ibels is always a highlight in any sale. Pierrefort was one of the many dealers involved in the sale of printed multiples of the 1890s, along with Sagot, Arnould, and Kleinmann. He commissioned a variety of posters to promote his shop, calling upon the talents of Lobel, de Feure, and Thiriet. None are quite so charming, however, as this one by Ibels, which showcases the delights of a pantomime complete with a harlequin, a singer, and Pierrot.

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

268

Jean

Jacquelin (1905-1989)

266. Quinzaine du Cinéma. ca. 1935.

30 1⁄4 x 45 5⁄ 8 in./76.9 x 116 cm

Imp. C.F., Paris

Cond A-/Horizontal fold.

Ref: PAI-XC, 123

A film festival in Paris gets a playfully Modern advertisement from Jacquelin, who uses film strips to create a pointing hand.

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

J. P. Junot

267. Paris-Liège. 1930.

24 5 8 x 39 1⁄4 in./62.4 x 99.8 cm

Imp. Danel, Lille

Cond A.

Ref: Modern Poster, 170; PAI-LXXXV, 325

This excellent Modernist design combines hints of Cassandre’s famous LMS ( see PAI-LXI, 184) with photomontage to announce the nonstop four-hour trip one can take from Paris to Liège aboard the French National Railway.

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

Charles Kiffer (1902-1992)

268. Maurice Chevalier. 1936.

46 3⁄ 8 x 62 1⁄ 2 in./117.8 x 158.8 cm

Imp. Bedos, Paris

Cond A.

Ref: Musée d’Affiche, 82; Weill, 320; Kiffer (unnumbered); PAI-LXXIII, 330

This is one of the all-time great images of its famous music-hall subject. The lettering, then as now, is wholly redundant: a straw hat at a rakish tilt plus a prominent lower lip, et voila, c’est Chevalier!

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

Richard Klein (1890-1967)

269. Festball des Deutschen Jagdmuseums. 1939.

47 3.8 x 67 1⁄ 8 in./120.3 x 170.5 cm

Sonntag, München

Cond A-/Slight tears at seam.

Ref: PAI-LXXXVII, 341

For a ball at the German Hunting Museum, Klein calls on Artemis, the goddess of the hunt and wilderness. Her perfectly idealized form is contrasted with the silhouette of a stag behind her in this two-sheet design.

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

Hermann Kosel (1896-1985)

270. Autriche. ca. 1930.

24 3⁄4 x 37 1⁄ 2 in./62.8 x 95.3 cm

Alfred Wall, Graz Cond A/P.

Ref: PAI-LVII, 380

Created for the Austrian Tourist Board, this poster presents the best parts of the country’s ethnic charm in flat color blocks and crisp lines. From the magnificence of the Alps to the delightful enthusiasm of a local oompah band, Austria is seen here as both historic and friendly, untouched by modernity and yet easily accessible to today’s tourist.

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

Guillermo Laborde (1886-1940)

271. 1er Campeonato Mundial Football / Uruguay. 1930.

17 1⁄ 2 x 35 1⁄ 2 in./44.4 x 90 cm

Olivera Fernandez, Montevideo Cond A.

Ref: Crouse/Deco, p. 114; Sportissimo, p. 94; Graphic Design/Taschen, p. 256; PAI-XCII, 255

This is the official poster for the first ever FIFA World Cup, held in Montevideo, Uruguay in 1930. FIFA selected the location in celebration of Uruguay’s centenary of its first constitution and their national football team’s continued winning streak at the 1928 Summer Olympics. Clearly, it was a spectacular year for the country—they went on to defeat Argentina 4-2 in the finals, making

Uruguay both the first ever host and first ever winner of the World Cup. And Laborde created a fantastic Art Deco design for the event: using simple and elegant lines, he depicts a goalkeeper making a save above his playful and experimental text. This poster also features a stamp from the executive committee of the first World Cup.

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

Laufer

272. USA Hockey / Weltmeisterschafts-Team. 1959.

23 1 4 x 33 5⁄ 8 in./59 x 85.5 cm

AZ Druck, München Cond A.

Germany welcomes the American World Champion hockey team to play against their Merc-Flyers at the Mannheim ice rink. We are unsure of which team became the champion, but Laufer’s image is a winner.

Est: $800-$1,000.

H. Lehni

273. Jungfrau Region.

25 x 40 in./63.5 x 101.6 cm

E. Suter AG, Liebefeld Cond A/P.

With a sunny photograph by H. Meier Thun, this poster perfectly encapsulates this Alpine region in the Bernese Oberland, which is accessible by train.

Est: $800-$1,000.

Lem

274. A la Place Clichy. 1901.

41 3⁄ 8 x 61 5⁄ 8 in./105 x 156 cm

Imp. Chaix, Paris

Cond A.

Ref: PAI-LXXXII, 326

Grinningly wearing her newest winter fashions, this beaming lady promotes the new seasonal wares at La Place Clichy—and the text lets us know that all buyers will receive a bonus item.

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

Franz Lenhart (1898-1992)

275. Modiano. 1933.

38 1⁄ 8 x 53 5⁄ 8 in./97 x 136.4 cm

Grafiche Modiano, Trieste

Cond A. Framed.

Ref: Italia che Cambia, 216; Crouse/Deco, p. 218; Manifesti Italiani, 124; PAI-XCI, 301

For the Modiano brand of prefabricated rolling paper tubes, Lenhart plays us an engaging optical game of silhouettes: the black outfit of the Garbo-like femme fatale appears like a cutout against the green background; the blouse and the hand seem cut out in turn from the black; standing out from both is the warmly glowing face and the white cigarette. Most elegant! Born in Bavaria, Lenhart studied in Italy and settled there permanently in 1922 to work and teach.

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

Georges Lepape (1887-1971)

276. Desert Song. 1913.

26 5⁄ 8 x 38 3⁄4 in./67.5 x 98.3 cm

Gallery Five, United Kingdom

Cond B+/Folds.

Ref: PAI-LXIII, 355

Originally created as a menu cover for London’s Savoy Hotel, this image was so popular that it was reprinted in a larger format and sold as a decorative panel.

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

Allen Lewis (1873-1957)

277. Art Students’ League. 1925.

11 3⁄4 x 15 3⁄4 in./29.8 x 40 cm

Cond A. Framed.

To commemorate the 50th anniversary of the Art Students’ League of New York, Lewis created this classical design. The artist taught at the school from 1924 to 1932. Born in Mobile, Alabama, Lewis settled down in Brooklyn and worked as a painter, etcher, illustrator, and teacher.

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

Privat Livemont (1861-1936)

278. Absinthe Robette. 1896. 31 x 43 in./78.8 x 109.2 cm Goffert, Bruxelles Cond A.

Ref: DFP-II, 1062; Maitres, 104; Belle Epoque 1970, 75; Timeless Images, 38; Wine Spectator, 80; Absinthe, p. 134; Masters 1900, p. 88; Weill/Art Nouveau, p. 164; Absinthe Affiches, cover & 105; Livemont, p. 93; Belle Époque/Belgique, 246; Schoonbroodt, 6; PAI-XCII, 261

One of the most iconic posters of all time, Livemont’s design for Absinthe Robette perfectly captures the spirit of Art Nouveau. Every element of the image is lavishly decorative yet delicately organic. Holding up her glass with the reverence of a holy relic, we do not see the hand that pours the water over the sugar, adding a mystical, otherworldly quality to the concoction. The background is made up of sensual plumes of mint on green that echo the milky swirl within the cup. Est: $17,000-$20,000.

Charles Loupot (1892-1962)

279. O Cap / Pour les Cheveux. 1928.

46 5⁄ 8 x 62 3⁄4 in./118.4 x 159.5 cm

Les Belles Affiches, Paris

Cond B+/Restored tears at folds.

Ref: Loupot, 43; Affiche Réclame, 15; Femme s’Affiche, 117; PAI-XIX, 405

O Cap shampoo is not only “for the hair,” as the slogan says; in Loupot’s image, it is the hair—a soft white head full of it, foaming straight up out of the bottle. Completing the design is a triangle of type like the lower half of an hourglass through which our eye is funneled from product to brand name. It’s one of Loupot’s very finest works.

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

280

280. Valentine. 1928.

46 3⁄4 x 62 5⁄ 8 in./119 x 159 cm

Imp. Henri Burg, Paris Cond A.

Ref: Loupot, 29; Loupot/Zagrodzki, 77; PAI-LXIV, 351

In this rare and inspired design by Loupot, a stylized Deco figure spray paints a circular rainbow on a white wall. Unlike many of his other posters from the period, Loupot chose to stray from his typical primary color palette in order to better showcase the fine gradations available when using Valentine paints.

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

281. Valentine. 1929.

46 3⁄4 x 62 in./118.7 x 157.5 cm

Édition Belles Affiches, Paris

Cond B+/Slight tears at folds and edges.

Ref: Loupot, 42; PAI-LXVII, 403

It is interesting to compare this fanciful Deco image with Cappiello’s poster for Nitrolian ( see PAI-XC, 192). Both advertise quick-drying paint; however, where one uses visual hyperbole, the other presents stylish elegance. This is one of a few designs Loupot created for Valentine paint.

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

282. Valentine. 1932.

9 1⁄ 2 x 12 1⁄4 in./24 x 31 cm

Cond A/P.

Ref: Loupot/Zagrodzki, p. 107; PAI-XC, 311

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

Loupot (Continued)

283. St. Raphaël / Quinquina. 1948.

46 1⁄4 x 61 1⁄ 2 in./117.7 x 156 cm

Affiches Gaillard, Paris

Cond B+/Slight tears at folds and edges.

Ref: Loupot/Zagrodzki, 109; Loupot/Forney, 55; PAI-XCII, 263

Loupot created a number of posters for this brand of bitters; here we see the streamlined incarnation of the two waiters who would become the company trademark. Throughout their evolution, two elements of their first rendering remained constant: their comic contrast in physique and their red and white colors. This also cements St. Raphaël’s cursive logo; Loupot dismantled the old all-capital letter format and introduced this personalized product signature in 1938—which the company continues to use to this day. This is the head-on version of the waiters that the company settled on in 1945. This poster was used by St. Raphaël largely in Paris metro stations. This is the smaller format.

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

Giovanni Mataloni (1869-1944)

284. Brevetto-Auer. 1895.

38 5⁄ 8 x 58 1⁄ 8 in./98 x 147.7 cm

Instituto Cartografico Italiano, Roma

Cond A-/Slight tears at edges. Framed.

Ref: Menegazzi-I, p. 330; Menegazzi-II, p. 129; Hillier, p. 213; Timeless Images, p. 65; Weill, p. 135; Livre d’Affiche, p. 21; Reims, p. 1579; Italia Che Cambia, p. 28; Masters 1900, p. 126; PAI-XCII, 266

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

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

285. Il Mattino.1896.

46 x 64 5⁄ 8 in./116.8 x 164.2 cm

Eseguito Cartografi, Roma

Cond B+/Slight tears at folds.

Ref: Manifesti Posters/Advertising, p. 103; Menegazzi-IV, p. 67; PAI-LXXX, 402

This sensuous, unencumbered two-sheet design is perhaps one of the most provocative newspaper promotions ever created. A larger-than-life nude basks by the seaside, her head reclining into the trees, her pose orgiastic, the earth beneath her fertile. The sun, anthropomorphized, gazes upon her either with longing or wonder. Is she Eve, relishing in sin? Or is she Gaea, giving birth to all the landscapes and creatures of Earth? We may never know, but Mataloni’s design for the daily newspaper Il Mattino is a remarkable example of Italian Art Nouveau tinged with Jugendstil—and an artist’s vision of unbridled dynamism. Rare!

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

285

Albert Matignon (1869-1937)

286. Engrais Gaulois. 1904. 14 x 21 1⁄4 in./35.8 x 54 cm

Imp. Oberthür, Rennes

Cond A.

In this highly romanticized image, Matignon shows a smart-looking lady reading about the new Gallic fertilizer she’s purchased. It just goes to show that turn-of-the-century advertising could elevate the most basic products into beautiful imagery.

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

Leopoldo Metlicovitz (1868-1944)

287. Ettore Moretti. ca. 1933. 54 5⁄ 8 x 77 1⁄ 8 in./138.6 x 196 cm

Ricordi, Milano

Cond B+/Slight tears at folds.

Ref: PAI-LXXXI, 370

Metlicovitz gets straight to the point in this design for the Italian company that specialized in waterproof gear: here, the horse-drawn cart is protected by a massive rain-resistant tarpaulin. The solid black background gives no indication of a place or the motive of the journey, indicating that Ettore Moretti will protect you wherever you are. The horses, however, are out of luck for coverage. This is a two-sheet poster.

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

Georges Meunier (1869-1942)

288. A la Place Clichy / Étrennes. 1897.

34 x 48 1⁄ 2 in./86.3 x 123 cm

Imp. Chaix, Paris

Cond A-/Slight tears at edges.

Ref: Meunier, 33; PAI-XLI, 390

Meunier used the theme of a girl and a harlequin on a hobby horse for this store the previous year ( see PAI-VI, 176). The concept was so successful that he trotted them out again, keeping the main idea intact while adding greater detail to the woman’s dress according to the newest dictates of fashion, and included a couple of exotic toys and dolls at bottom. It remains one of the happiest posters for a store sale, shouting its message in bright, joyful colors.

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

Misti (Ferdinand Mifliez, 1865-1923)

289. Fête de Neuilly. 1902.

44 1⁄ 8 x 63 5⁄ 8 in./112 x 162 cm

Imp. Duchateau, Neuilly

Cond A.

Ref: PAI-XXII, 421

Charmingly hatted and dressed, a lovely young woman delights in a sidesaddle carousel ride at the annual fair in the Paris suburb of Neuilly. Misti was a busy poster artist who, between 1894 and 1914, designed more than 100 images—many for bicycles as well as department stores, railroads, and publishing clients. Eventually, he opened his own printing plant.

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

290. Fête de Neuilly. 1903.

43 x 60 3⁄ 8 in./109 x 153.3 cm

Imp. Carvin, Paris

Cond A.

Ref: Affiches/Weill, p. 50; PAI-LXI, 345

In one of many designs Misti created for this annual festival in the Paris suburb of Neuilly, we are met with an array of busy revelers, their faces bathed in the glow of orange and green lanterns. Below, a list of the various activities throughout the weeks include garden parties, Venetian masked balls, torch light processions, grand dinners, and carnivals.

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

Henry le Monnier (1893-1978)

291. Peureux. 1925.

61 7 8 x 91 1⁄4 in./157 x 231.7 cm

Affiches Lutetia

Cond A.

Founded in 1864 and continuing production today, Peureux specialized in absinthe (before it was outlawed in Paris) and fruit brandies. For their 150th anniversary, the company relaunched their famous absinthe drink. Here, a man busts out from behind the wall to offer us a bottle of the famous French elixir. This is a two-sheet poster.

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

ALPHONSE MUCHA

From Prague to Sydney and Back

The continuing worldwide interest in the works of this Art Nouveau master is evidenced by the opening this past month of a major exhibition of his art from Prague’s Mucha Foundation Museum at the Sydney, Australia Art Gallery of New South Wales—on view through September 22, 2024.

This will be the final international touring exhibition of this unique collection before settling down as part of the new Mucha Museum (which includes his famed Slav Epic) in the center of Prague, designed by Thomas Heatherwick.

Alphonse Mucha (1860-1939)

292. F. Champenois / Reverie. 1897. 22 x 28 in./56 x 71 cm

Imp. F. Champenois, Paris

Cond A. Framed.

Ref: Rennert/Weill, 47, Var. 1; Lendl/Prague, p. 174-175 (var); PAI-XC, 327

Here is the first incarnation of the Reverie design, used by F. Champenois to usher in the New Year of 1898. This printing boasts full margins.

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

293. Reverie. ca. 1897. 14 x 18 7 8 in./35.6 x 48 cm

Cond A. Framed.

Ref (all var): Rennert/Weill, 39; Lendl/Prague, p. 166; Gold, 36; PAI-LXXX, 427

For many years, this design was simply known as “Reverie,” the name under which the decorative panel version of the design was widely sold by La Plume without lettering. However, further research appears to establish that its original use was as an in-house poster for a variety of establishments, from printing firms to chocolate manufacturers. Here, in this rare and smaller variant, the image is used to promote the Marchand-Nivoche printing firm.

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

Mucha (Continued)

294. Plume et Primevère. 1899.

Each: 11 3⁄ 8 x 29 in./29 x 73.7 cm

Imp. F. Champenois, Paris (not shown)

Cond A.

Ref: Rennert/Weill, 64; Lendl/Prague, 219; Mucha/Art Nouveau, 51; PAI-XCII, 280 “Plume et Primevère”—or, Quill and Primrose. “This series of decorative panels originally sold for 12 francs on paper, or 40 francs on satin. It depicts two rather pensive maidens, one blonde and one brunette, one holding a primrose, the other a goose quill and a leafy branch. Typical Art Nouveau ornamentation prevails in the background patterns and in the jewelry worn by the girls” (Lendl/Prague, p. 218). A recent exhibition catalogue rightly calls this a “masterful” work: “The beauty of this pair of panels lies in the contrast between the geometric mosaic behind the head of Quill and the floral ornamental circle inspired by nature behind the head of Primrose” (Mucha/Art Nouveau, p. 198).

Est: $17,000-$20,000. (2)

294

295. Cycles Perfecta. 1902.

41 7⁄ 8 x 59 in./106.4 x 150 cm

Imp. F. Champenois, Paris

Cond A.

Ref: Rennert/Weill, 81; Lendl/Prague, p. 125; Weill, 57; Mucha/Art Nouveau, 29; Petite Reine, 44; Encyclopédie/Weill, p. 44; Posters of Paris, 72; PAI-LXXXIX, 320

“It is clear that Mucha understood well the principles of selling not the object itself, but the feeling that is associated with it. Here, he is barely showing a piece of the bicycle... but as to the pleasure of riding, this sylph has it all over any dreary mechanical details. Airily she caresses the machine, her windblown hair embodying motion and a restless spirit, a vision of idle loveliness and a perfect Mucha maiden. Her gaze at us is straight and direct, not flirtatious but inviting and challenging, daring us to take her on in a race... Mucha finally had a perfect subject that justified hair in motion, and he took full advantage of it, giving her the most dizzying configurations of his famous ‘macaroni’ [hair]. The Perfecta was an English brand bicycle, which makes this one of the very few Mucha posters for an English client. It was also sold in France” (Rennert/Weill, p. 294).

This is the larger format—and the finest specimen we’ve seen!

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

Mucha (Continued)

296. Times of the Day. 1899.

Each: 14 3⁄ 8 x 40 5⁄ 8 in./36.5 x 103.3 cm

Imp. F. Champenois, Paris (not shown)

Cond A.

Ref: Rennert/Weill, 62; Lendl/Prague, p. 214-215; Wine Spectator, 77; PAI-LXXXIX, 311

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 stainedglass windows” (Rennert/Weill, p. 232). This is the larger format.

Est: $25,000-$30,000. (4)

297. Times of the Day. 1899.

Each: 6 1⁄ 2 x 16 1⁄ 8 in./16.6 x 41 cm

Imp. F. Champenois, Paris (not shown)

Cond A-/Slight tears at edges. Framed. Ref: Rennert/Weill, 62 (var); PAI-XCI, 335

This is an unrecorded set of Mucha’s Times of the Day decorative panels, in the smaller format, without the names or ornamental boxes below, and each with a December calendar. These are included in a single frame.

Est: $7,000-$9,000. (4)

298. Times of the Day. 1899.

Each: 6 3⁄4 x 16 5⁄ 8 in./17.2 x 42.2 cm

Imp. F. Champenois, Paris (not shown)

Cond A. Framed.

Ref: Rennert/Weill, 62 (var); PAI-LXXXIX, 312

This is an unrecorded set of Mucha’s Times of the Day decorative panels, in the smaller format, and without the names or ornamental boxes below.

Est: $7,000-$9,000. (4)

Mucha (Continued)

299. Job. 1896.

16 1⁄ 2 x 21 1 2 in./42 x 54.5 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; Masters 1900, p. 18; Weill, p. 41; Timeless Images, 33; PAI-XCII, 282

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: $17,000-$20,000.

300. Job. 1898.

39 1⁄ 2 x 60 3 8 in./100.6 x 153.6 cm

Imp. F. Champenois, Paris

Cond A. Framed.

Ref: Rennert/Weill, 51; Lendl/Prague, p. 121; DFP-II, 634; Modern Poster, 9; Wine Spectator, 74; Gold, 2; Posters of Paris, 71; Encyclopédie/Weill, p. 121; PAI-XCII, 283

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

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

301. The Stars / Étoile Polaire. 1902.

9 x 23 1⁄ 2 in./23 x 59 cm

Cond A/Matted to image. Framed.

Ref: Rennert/Weill, 82; PAI-XL, 432

“In this series, Mucha began to see the decorative panel as painting with a meaning deeper than mere ornament. He connected his attraction to higher ideals, expressed through the stars, with his recurring theme of beautiful women personifying the stars as floating female figures... The dramatic quality of the movement of the individual figures is also remarkable, resembling the great baroque artistic heritage of Mucha’s country” (Mucha/Art Nouveau, p. 206). This is a single panel from the famous series, representing the North Star.

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

302. The Stars / Clair de Lune. 1902.

9 x 23 1⁄4 in./23 x 59 cm

Cond B+/Restored tears in lower left corner; matted to image. Framed.

Ref: Rennert/Weill, 82; PAI-XIV, 377

This panel from The Stars set is the “Pole Star,” which features another beauteous maiden enwrapped in the night’s tenebrous arms, observing heavenly phenomena in a pensive mood.

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

Mucha (Continued)

303. The Seasons. 1897.

Each: 5 3 4 x 17 in./14.5 x 43.2 cm

Imp. F. Champenois, Paris (not shown)

Cond B-/Slight stains at top and bottom; matted to image. Framed. Ref (all var but PAI): Rennert/Weill, 37; Lendl/Prague, p. 188-189; PAI-LXXXVIII, 393

This is the smaller format version of Mucha’s second Seasons set, promoting Chocolat Mexicain and Chocolat Masson. Rare!

Est: $5,000-$7,000. (4)

304. The Seasons / Winter. 1900.

12 x 27 5⁄ 8 in./30.5 x 70 cm

Cond A. Framed.

Ref (both var): Rennert/Weill, 74, Var. 5; PAI-LX, 394

This is the only known variant with the Cadenat Frères imprint at the bottom. This haunting embodiment of winter stares out at the viewer from behind snow-laden branches, surrounded by a border of metallic silver stars.

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

305. Ages of Man Calendar for 1900. ca. 1899.

Each: 4 1⁄ 8 x 5 1⁄ 2 in./10.5 x 14 cm

Imp. F. Champenois, Paris

Cond A-/Slightly light-stained; with grommets. Framed.

Ref: PAI-LXXXIX, 295

“This is a series of four panels depicting the Ages of Man used as the basis for a calendar” (Rennert/ Weill, p. 187). The images show a young boy growing into an old man, always accompanied by a doting female muse. This is the smaller format, printed with a calendarium for 1900.

Est: $1,400-$1,700. (4)

306. Flirt. 1900.

12 x 25 1 2 in./30.2 x 64.6 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-LXXXIX, 322

“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. This poster is mounted on the original display board with grommets.

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

Mucha (Continued)

307. Lorenzaccio. 1896.

29 3⁄4 x 81 in./75.6 x 205.7 cm

Imp. F. Champenois, Paris

Cond B/Restored margins and text areas.

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-XC, 333

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 powerhungry 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 twosheet larger format.

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

308. Lorenzaccio. 1896.

14 3⁄ 8 x 38 1⁄ 2 in./36.2 x 97.8 cm

Imp. F. Champenois, Paris

Cond A. Framed.

Ref: Rennert/Weill, 20, Var. 2; Lendl/Prague, p. 47 (var); DFP-II, 626; Maitres, 144; Mucha/Art Nouveau, 7 (var); PAI-XCII, 292

This is the smaller format version of the previous image.

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

309. Moët & Chandon / Crémant Imperial. 1899.

10 1⁄4 x 25 3⁄ 8 in./26 x 64.5 cm

Cond A. Framed.

Ref: Rennert/Weill, 65, Var. 2; Mucha/Paris, A.40; PAI-III, 354

Mucha and Moët were always meant to be together—he created menus, postcards, and other publicity for the Champagne house founded in 1743—but this is a pure transubstantiation of Moët & Chandon Champagne into artistic form. The Crémant Impérial becomes a Byzantine empress, with a seriousness matched only by her sumptuousness. It’s a masterpiece by any measure. This image is hand-signed by Jiri Mucha, the artist’s son.

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

Mucha (Continued)

310. Three Möet & Chandon Menu Cards.

Each: 6 x 8 3⁄ 8 in./15.3 x 21.3 cm

Imp. F. Champenois, Paris

Cond A. Framed.

Ref: Mucha/Postcards, 10-11 & 13; PAI-XC, 307 (var)

Similar in appearance to Mucha’s Menu Cards, these three postcards with Möet & Chandon logos also possess metallic gold ink backgrounds, creating a dazzling Fin-de-Siècle effect when turned in the light. These images are presented in three frames.

Est: $1,400-$1,700. (3)

311. Bières de la Meuse. 1897.

40 x 59 1⁄ 8 in./101.6 x 150.2 cm

Imp. F. Champenois, Paris

Cond A. Framed.

Ref (all var but PAI): Rennert/Weill, 27; Lendl/Prague, p. 93; Mucha/Art Nouveau, 23; Timeless Images, 36; Maitres, 182; DFP-II, 633; PAI-XCI, 347

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

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

312. Cloches de Noël et de Pâques. 1900.

8 3⁄4 x 12 in./22.3 x 30.3 cm

Imp. F. Champenois, Paris

Overall excellent condition; in original wrapping.

Ref: Mucha/Bridges, L26; Jiri Mucha, p. 139; PAI-XCII, 311

Written by Emile Gebhardt, this volume consists of a trio of medieval tales associated with both Christmas and Easter. Mucha created eighty dreamlike illustrations in delicate pastels and metallics for the book, similar in style to illuminated manuscripts of the Medieval era. This deluxe edition (#9 of 35 copies) is printed on Japon and includes the complete portfolio of single color proofs.

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

313. Dawn. 1899.

40 x 24 3⁄ 8 in./101.7 x 62 cm

Imp. F. Champenois, Paris

Cond A.

Ref (all var but PAI): Rennert/Weill, 70; Lendl/Prague, p. 217; PAI-XC, 341

From his Dawn and Dusk duet, this decorative panel in delicate pastels shows the personification of morning “[throwing] off her cover as the morning sun chases away the night’s shadows” (Lendl/Prague, p. 216).

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

314. Dawn : On Silk. 1899.

38 x 23 1⁄4 in./96.5 x 59 cm

Imp. F. Champenois, Paris (not shown)

Cond A. Framed.

Ref (all var but PAI): Rennert/Weill, 70; Lendl/Prague, p. 217; PAI-XCI, 339

This is the rare variant of Mucha’s Dawn printed on silk.

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

Mucha (Continued)

315. Monaco-Monte-Carlo. 1897.

28 5⁄ 8 x 41 3⁄4 in./72.8 x 106 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-XCI, 331

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

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

316. Biscuits Lefèvre-Utile. 1896.

17 1⁄ 2 x 24 1⁄ 8 in./44.6 x 61.7 cm

Imp. F. Champenois, Paris

Cond A. Framed.

Ref: Rennert/Weill, 22; Lendl/Prague, p. 71; Weill, p. 42; Gold, 59 (var); Champenois, 90 (var); PAI-XCI, 346

“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: $7,000-$9,000.

317. Ivy. 1901.

15 1⁄4 x 15 1⁄4 in./39 x 39 cm

Cond A. Framed.

Ref (all var but PAI): Rennert/Weill, 76; Lendl/Prague, p. 226; Mucha/Art Nouveau, 53A; PAI-XC, 352

Part of a decorative panel set, Ivy was created to correspond with Laurel ( see PAI-XLIII, 453). “Reminiscent in concept to the Byzantine Heads, this is a coupling of two girls’ profiles in cameos. Since they both represent leafy garden plants they are framed in pale green... 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” (Rennert/Weill, p. 280). “It is possible that Mucha was inspired by the dancer Lygie for the panel Ivy. This is indicated in the similarity... with the poster, also produced in 1901, advertising her performance in Tableaux Vivants (Living Pictures), which was based on the themes of Mucha’s decorative works” (Mucha/Art Nouveau, p. 203).

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

318. Precious Stones / La Topaze. 1902.

20 3⁄ 8 x 42 3⁄ 8 in./52 x 107.6 cm

Cond A-/Slight tears and stains in right margin. Ref: Rennert/Weill, 73; Lendl/Prague, p. 225; Wine Spectator, 75; PAI-LXXXV, 389

This is the Topaz panel from Mucha’s revered Precious Stones. “One of Mucha’s best sets, and one of the rarest... Each gem is represented by a lovely lady, and its characteristic color, in all its hues, is worked into the entire pattern, including the girl’s dress and the flowers at her feet” (Rennert/Weill, p. 264). The color of topaz—milkywhite to reddish-orange, pale green, or the rare pink—is reflected in the maiden’s skin and in the circular background. This is the larger format.

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

Mucha (Continued)

319. C. van Cortenbergh fils / Chromolithographie / Bruxelles. 1901.

8 x 22 3⁄ 8 in./20.3 x 56.8 cm

Cond A. Framed.

Ref: Rennert/Weill, 42 (var); Lendl/Prague, p. 168-169 (var); PAI-XCII, 276

Previously believed to have been an inexplicably abandoned calendar project created somewhat earlier than 1901, this is a recently discovered version of the design promoting a Brussels chromolithographic firm. At the bottom is a complete 1902 calendarium.

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

320. La Journée Sarah Bernhardt / Menu. 1896.

7 1⁄ 2 x 10 7⁄ 8 in./19 x 27.6 cm

Cond A. Framed.

Ref (all var): Mucha/Bridges G1c, p. 177; Bernhardt/Drama, p. 95; PAI-LXXVIII, 396

On December 9, 1896, a feast was prepared at the Grand Hotel in Paris in honor of Sarah Bernhardt. This image, before the addition of text, was used for the event’s menu, which included a cake named after the actress. This design is hand-signed by Mucha.

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

321. Byzantine Heads / Blonde. ca. 1899.

15 5⁄ 8 x 21 3⁄4 in./39.7 x 55.2 cm

Cond A. Framed.

Ref (all var): Rennert/Weill, 40, Var. 1; Lendl/Paris, 67; Mucha/Paris, 38; PAI-XXXII, 444

“The mastery evident in creating two archetypes of the female form against a decorative background confirms Mucha’s artistic maturity. Both women, portrayed in profile, have their heads decorated with beautiful jewelry, the richness and oriental nature of which suggested the name Byzantine Heads for the series. The subtle differences in details between the paintings are worth noticing. For the first time appears the perfect form of Mucha’s often-used motif, circle framing each head interrupted by a strand of hair. With this device, it is as if Mucha’s unreachable beauties have broken the magic border between themselves and their admirers and suggest the possibility that they might, perhaps, meet.”

(Mucha/Art Nouveau, p. 192). This is the blonde half of the Byzantine duo with floral details reminiscent of Japanese calligraphy and a 1900 calendarium. Rare!

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

322. Sarah Bernhardt / La Plume. 1896.

19 3⁄4 x 27 7⁄ 8 in./50 x 71 cm

Imp. F. Champenois, Paris

Cond A.

Ref: Rennert/Weill, 21, Var. 2; Lendl/Paris, 5; DFP-II, 636; Mucha/Art Nouveau, 9; PAI-LIX, 480 “Sarah Bernhardt is portrayed as Mélissande in Edmond Rostand’s drama La Princesse Lointaine ... The main character decorates her tiara (designed by Mucha) with lilies in the third act. Sarah often wore this costume in photographs and paintings. With its decorative quality and symbolism of white decorative flowers, it was suitable for the evocation of a mysterious princess and, moreover, made Sarah’s face more delicate. The poster was originally produced for the banquet organized for Sarah by her friends and admirers in the Grand Hotel in Paris on December 9, 1896... Its success can be gauged by the fact that it was published without text for collectors in Edition d’Art and as a postcard for the department store La Belle Jardinière” (Mucha/Art Nouveau, p. 147).

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

323. Bohemian Heart Society. 1917.

13 1⁄ 8 x 26 5⁄ 8 in./33.3 x 67.8 cm

Cond B+/Slight tears and stains at edges. Framed.

Ref: Lendl/Prague, p. 283; Mucha/Bridges, CP12h; PAI-LXXXVIII, 405

“The text under the reproduction of Mucha’s 1917 painting makes it clear that this was used as a certificate issued to donors contributing to this charity: ‘The Bohemian Heart National Aid Association designates... as a founding member.’ ‘The Bohemian Heart’ was something like the Red Cross, an organisation dedicated to helping the poor and needy” (Lendl/Prague, p. 282).

In this case, the certificate is hand-signed by officers of the organization.

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

324. Slavia Starostlivym Matkám. 1934.

6 3⁄ 8 x 9 1⁄ 2 in./16 x 24 cm

Cond A.

Ref: PAI-LXXXIX, 329

With text by Dr. Frantisek Luska, this is a 32page pamphlet with eight color illustrations by Mucha, and published by the Mutual Insurance Bank. It advised new mothers on how to best care for their children.

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

Mucha (Continued)

325. Coeur de Jeanette / Houbigant Perfume. 1899.

2 1⁄ 2 x 5 1⁄ 2 in./6.4 x 14 cm

Perfume bottle and case.

Launched in 1775, Houbigant is the oldest perfumer in France. In 1899, Mucha was asked to decorate the company’s exhibition at the 1900 World’s Fair in Paris, leading to a creative partnership for many years. This perfume bottle for Coeur de Jeannette is one such example of Mucha’s involvement: a lovely Art Nouveau design flanks the glass bottle with a faceted heart cap and a custom case. As the World’s Fair exhibitions were dismantled and emptied after the event, few pieces of Mucha’s installation remain. Mucha’s son Jiri wrote that Mucha “believed a picture had to make its effect on the spectator through beauty... The canon of beauty was his highest law” (Jiri Mucha, p. 149). Rare!

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

326. Ceramic Plate. 1897.

Diameter: 12 1 8 in./30.8 cm

Overall excellent condition.

Mucha had his hand in all sorts of creative media; here, he sets one of his lovely maidens in a decorative ceramic plate, replete with intricate borders. A stamp on the verso reads “Au Grand Depot, Paris.”

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

Nino Nanni (1888-?)

327. Fernet Branca. ca. 1930.

13 1⁄ 2 x 18 3⁄4 in./34.3 x 47.7 cm

Calendari ECO, Milano

Cond B/Grommets at top; wear at edges.

Nanni does his best to seduce us into a having sip of Fernet Branca with a beautiful Jazz Age lady dressed like a regal swan. This in-store display was possibly meant to have a calendar at the bottom.

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

Jean-Raoul Naurac (1878-1932)

328. Nord-Wagons Lits-P.L.M. 1927.

30 1⁄4 x 42 in./76.8 x 106.7 cm

Imp. Lucien Serre, Paris

Cond A.

Ref: Train à l’Affiche, 243; Shackleton, p. 143; PAI-LXXXVIII, 412

The Paris-Lyon-Mediterranée railway advertises the plush Pullman accommodations on its north-south route with an elegant couple and furnishings in matching rich blue. Although the rural countryside speeds by the window, inside the cabin is nothing short of cosmopolitan luxury.

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

Marcello Nizzoli (1887-1960)

329. “Campari” / l’aperitivo. 1926.

74 3⁄4 x 105 3⁄4 in./190 x 268.6 cm Davide Campari & C., Milano Cond B+/Slight tears and stains at seams and edges.

Ref: Crouse/Deco, p 190; Nizzoli, p. 10 (var); Campari, Vol. 3, p. 133 (var); Menegazzi-II, 182 (var); PAI-LXXXVIII, 415

If Nizzoli’s design for Cordial Campari ( see PAI-LXXVIII, 400) references elements of Expressionism, this composition for Bitter Campari calls to mind Cubism. As the table is raked forward and down, the bottles and glass manage to stay upright, lunging toward the viewer in gravity-defying space. While the product stands sturdily off to the left, an apéritif glass gets a magically handsfree splash of soda water, creating the brand’s signature cocktail. It is one of the rarest and most brilliant Art Deco designs ever created. This is the largest, four-sheet format.

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

Erik Nordgreen (1921-1986)

330. Tivoli. 1945.

24 1⁄4 x 33 1 2 in./61.5 x 85 cm

Andreasen & Lachmann, København

Cond A/P.

Ref: Danish Posters, 107; PAI-LIII, 384

The second oldest amusement park in the world, Tivoli Gardens is one of Denmark’s most famous landmarks. More than simply rides and tree-lined walkways, the park boasts a concert hall and theatre among its exotic architectural structures. Here, Nordgreen depicts one of the more frequent characters seen at the Pantomime—Harlequin—next to the shining lights and arched bow of the orchestra.

Est: $800-$1,000.

Pal (Jean de Paléologue, 1860-1942)

331. La Jolie Théro. 1898.

36 x 50 1 2 in./91.4 x 128.3 cm

R. Chardin, Paris

Cond A-/Unobtrusive folds; slight creases.

Ref: DFP-II, 692; PAI-LXXXVII, 423

Rising like untamed spin art from a carnival color wheel, La Jolie Théro launches her way into an unbridled flamenco, castanets at the ready and arched in sultry abandon. It’s a superb tonal whirlwind from Pal, and one more than equal to the designs he created for another Spanish dancer who must have been influenced by this particular choice of stage name: La Belle Otero ( see PAI-LI, 455 and PAI-LXVI, 422). Rare!

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

Charles Pears (1873-1958)

332. Morecambe.

47 1⁄ 8 x 38 3⁄4 in./119.8 x 98.6 cm

McCorquodale & Co., London

Cond B-/Tears and stains at folds. Framed.

Ref: PAI-I, 121

This is one of a series of British railway posters by the wellknown English landscape painter. The woman is surrounded by a flock of birds, convincing us that this is indeed “Britain’s Bonniest Bay.”

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

This exercise in elegance is one of the rarest of Penfield’s posters. An impeccably dressed woman observes a lawn tennis match played on a real grass surface. How much more high-class can you get?

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

Edward Penfield (1866-1925)

333. Western Lawn Tennis Tournament. 1896.

19 x 27 3⁄4 in./48.2 x 70.5 cm

Cond B+/Slight stains. Framed.

Ref: Livre d’Affiche, 121; Le Tennis; PAI-XLV, 100

334

Penfield (Continued)

334. Harper’s / September. 1897. 18 3⁄ 8 x 13 in./46.7 x 33 cm

Cond A-/Slight creases at edges.

Ref: Lauder I, 200; PAI-XCI, 21

This determined young lady has taken the reigns, and the groom pouts; if this design had a title, it would no doubt be “Sulking in a Sulky.” It’s another poignant and amusing slice-oflife moment from Penfield.

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

René

Péron (1904-1972)

335. Princesse Tam-Tam / Joséphine Baker. 1935.

29 1⁄ 2 x 45 1⁄ 2 in./75 x 115.5 cm

Imp. St. Martin, Paris

Cond A-/Slight stains at edges.

Ref: PAI-LXXIX, 189

Josephine Baker’s infectious spirit is immortalized in this 1935 French film in the style of Pygmalion —and Baker is the beggar-turned-socialite starlet. She plays Alwina, a young Tunisian woman who catches the attention of Max, a novelist visiting her homeland for creative inspiration. She becomes both the subject of his newest novel and the object of his tutelage, as Max transforms her into a proper socialite lady to accompany him to Paris. He introduces her as Princesse Tam-Tam, and naturally, she’s a hit—especially when she disrupts a Paris ball with a quintessential Josephine Baker cabaret dance. Péron’s promotion is vibrant but refined, allowing Baker to be the rhythmic highlight. Est: $2,000-$2,500.

Philippe Petit (1900-1945)

336. Clotilde et Alexandre Sakharoff. 1927. 16 3⁄4 x 25 5⁄ 8 in./42.7 x 65 cm

Imp. Crété, Paris

Cond A-/Unobtrusive folds.

Ref: Karcher, 309 (var); PAI-LXXVIII, 418

The dancers are deliberately kept faceless in this delicately conceived poster—rather, we see graceful bodies and swirls of color, as they might well appear in their audience’s imagination. This is the later of two very different posters by Petit (for the earlier, see PAI-XCII, 326) for the famous husband-and-wife dance team of Alexandre and Clotilde Sakharoff. “For almost forty years until retirement in 1953 [they] toured Europe continuously and South America frequently in what Sakharoff called ‘abstract mime.’ Despite the description, the two selected intensely dramatic, emotional themes for their often exotic, richly costumed dances” (Dance Posters, p. 9). This is the smaller format. Est: $2,500-$3,000.

Pablo Picasso (1881-1973)

337. Côte d’Azur. 1962.

26 1⁄ 8 x 39 1⁄4 in./66.3 x 99.7 cm

Imp. Mourlot, Paris

Cond A.

Ref: Czwiklitzer, 177; Affiches Azur, 31; PAI-XCII, 329

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

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

Enrico Prampolini (1894-1955)

338. Novissima Film Roma / Thais Galizky. ca. 1916.

55 x 76 1⁄ 8 in./139.6 x 193.4 cm

Lit. E. Guazzoni, Roma

Cond B+/Unobtrusive folds.

Ref: PAI-XVI, 431

This modernist design is for one of the small production companies which proliferated in Italian cinema around World War I. Prampolini joined the futuristic trend in Italian graphic arts, and his interest in theatre and film later led him to become a set designer and art director. He founded the Case d’Arte Italiana in 1917 and the Teatro della Pantomima Futurista in 1927. The actress shown in this design probably adopted the first name Thaïs because she played the title role in the film of that classic Anatole France novel produced by Novissima in 1916.

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

Weimer Pursell (1906-1974)

339. Posters Are to the Point : Maquette. 31 x 13 3⁄4 in./78.8 x 35 cm

Signed watercolor and ink maquette. Framed. Pursell designed a poster to broadcast the efficiency of posters. The solution is a sharp design that indeed gets right to the point. This maquette was created for a billboard.

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

Jac Pyrol (Jacques

Saignier)

340. Cafés Gilbert. 1923.

37 1⁄4 x 56 7⁄ 8 in./94.5 x 144.7 cm

Cond B+/Restoration in bottom text area.

Ref: Karcher, 73; PAI-XCI, 405

A darling barefoot young lady is offering us a cup of Cafés Gilbert, which was “sold everywhere.”

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

Benjamin Rabier (1869-1939)

341. La Vache Qui Rit. ca. 1953.

47 1⁄ 2 x 62 1⁄ 2 in./120.5 x 159 cm

Damour, Paris

Cond A-/Unobtrusive folds.

Ref: Alimentaires, 144 (var); PAI-LXXXII, 418 Rabier created the famous laughing cow in 1924 to advertise the Bel fromagerie. Here, she grins over her Alpine Gruyère, and we can’t help but want to join her. “Behind the hilarious and sympathetic face of the cow of Monsieur Benjamin Rabier, an empire of the French cheese industry” (Alimentaires, p. 144).

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

Leslie Ragan (1897-1972)

342. The New 20th Century Limited. 1938.

27 x 40 1⁄ 2 in./68.6 x 102.8 cm

Cond B-/Recreated borders; tear at horizontal fold.

Ref: Travel By Train, 152; Encyclopédie/Weill, p, 209; Crouse/Deco, p. 263; Affiche Art Deco, p. 87; PAI-LXXXIII, 441

This is one of the greatest, most iconic images in the history of American art. “In June 1938, the New 20th Century Limited... made its debut. To mark the occasion, Ragan created a poster that became the archetype of American streamliner designs. His rendering left locomotive driving wheels and gadgetry in shadow, instead focusing on the Century’s distinctive satin-finished crescent-shaped prow as it caught the morning sunlight while streaming alongside the Hudson River, New York City-bound” (Travel By Train, p. 124).

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

343. New York Central System / Twilight on the Hudson River.

16 x 21 3⁄4 in./40.5 x 55.3 cm

Cond A.

Ref: PAI-XLVIII 417

The New York Central’s Empire State Express achieved world renown early in its long career with locomotive 999’s record-setting run of 112.5 miles per hour in 1891. Decades later, the train was one of the first equipped with streamlined cars by the Central, although its inaugural run was overshadowed by world events on December 7, 1941. In this early evening view of the Empire State Express cruising along the Central’s well-manicured four-track mainline, Ragan effectively uses single-point perspective to draw the eye down the polished rails toward New York City, just beyond the welcoming horizon.

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

Rageot

344. Au Bon Marché / Campagne.

54 1⁄4 x 44 1⁄ 2 in./138 x 113 cm

Imp. Bedos, Paris

Cond A-/Unobtrusive folds.

Ref: PAI-XCI, 396

Paris’ Bon Marché department store advertises country and beach resort wear with some very soigné customers watching a horse race. If the style recalls René Vincent—who was for years Bon Marché’s favorite poster artist—it’s because when Vincent was no longer available, the store sought, and found, an artist who could keep that same special feeling alive. As we see here, Rageot succeeded delightfully.

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

Paul Rand (1914-1996)

345. Interfaith Day. 1944.

29 5 8 x 45 1⁄4 in./75.2 x 114.8 cm

Cond A.

A cherub toots its horn to announce the Interfaith Day at the Central Park Mall. According to the Interfaith Center’s website, the group “works to overcome prejudice, violence, and misunderstanding by activating the power of the city’s grassroots religious and civic leaders and their communities.”

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

346. IBM. 1981.

24 x 36 in./61 x 91.2 cm

Cond A/P.

Ref: Encyclopédie/Weill, p. 106; Modern Poster, 211; PAI-LXXXIX, 361

The design legend Paul Rand created his first logo for IBM in 1956, but this poster for the tech company’s 1981 international design conference remains his most iconic work—and one of the most treasured graphic designs in the corporate world. The rebus “Eye-Bee-M” was meant to support IBM’s motto of “THINK”: “An Eye for perception, insight, vision; a Bee for industriousness, dedication, perseverance; an ‘M’ for motivation, merit, moral strength.” It received such an enthusiastic reception that the company reprinted the image as an advertisement for national distribution. This, however, is the version first presented at IBM’s 1981 design conference.

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

347. Paul Rand / Ginza Graphic Gallery. 1992.

28 5⁄ 8 x 40 3⁄ 8 in./72.8 x 102.6 cm

Dai Nippon Printing Co.

Cond A/P.

To promote his own exhibition of posters at the Ginza Graphic Gallery in Tokyo, Rand created this cheeky little image of a chicken arising out of simple shapes. This image was also used as the cover of the exhibition catalogue.

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

348. UCLA Summer Sessions. 1993.

24 x 36 in./60.8 x 91.5 cm

Cond A/P.

Ref: PAI-LXXXIX, 362

When the University of California launched its Los Angeles Extension Program, Paul Rand was asked to design the inaugural catalogue cover. Rand, then 75 years old, was one of America’s most esteemed designers, but he rarely took pro bono work, and the university had hardly any budget to pay him. It took some urging from UCLA’s creative director, Inju Sturgeon, to convince Rand to take on the project—and he succeeded wonderfully with his simple typographic design, which is seen here in lithographic form.

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

Reindl

349. Eckbauerbahn.

23 3⁄ 8 x 33 in./59.4 x 84 cm

Dr. Kohler & Co., München

Cond A-/Slight tears at edges; unobtrusive folds. P. Guten tag! Whether you’re on a casual sightseeing tour or looking to hit the slopes, this cable car will transport you around the mountains of Garmisch-Partenkirchen.

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

Louis J. Rhead (1858-1926)

350. Prang & Co.’s Holiday Publications. 1896. 16 1⁄4 x 22 in./41.2 x 56 cm

Cond A/Matted.

Ref: Lauder I, 251; DFP-I, 460; PAI-LXXXII, 109

L. Prang & Company was arguably the most influential and prolific publisher of American chromolithographs in the 19th century. What began as a firm specializing in album prints for collectors soon turned into one which produced not only full-color copies of famous paintings and popular war maps, but also an in-house magazine, Prang’s Chromo: A Journal of Popular Art For the holidays, the company always issued greeting cards, which were certainly among the offerings promoted in this poster. This is possibly the last advertisement made for L. Prang & Co., as it was bought out the following year.

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

Walter Riemer

351. Palais der Friedrichstadt. ca. 1926.

35 5⁄ 8 x 26 1⁄4 in./90.5 x 66.6 cm

Dinse & Eckert, Berlin

Cond A-/Unobtrusive folds. Framed.

Ref: PAI-VII, 286

The handsome young couple executing a dance step are depicted against a warm red background to suggest the convivial atmosphere of a Berlin nightclub in the carefree twenties. The man’s monocle is a throwback to the classic Prussian style, but the girl’s low-cut dress and bobbed hair are updated American fashions. It’s an impressive design.

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

Norman Rockwell (1849-1978)

352. The Saturday Evening Post / 100th Year of Baseball. 1939.

22 1⁄ 8 x 28 in./56.2 x 71.3 cm

Cond A.

Ref: Rockwell’s America, 295 (var); PAI-XC, 408

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

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

Maurice Romberg (1862-1943)

353. Chemins de Fer Marocains.

31 x 42 1⁄ 2 in./78.7 x 108 cm

Imp. Buttner Thierry, Paris

Cond A-/Slight tears at edges.

Ref: PAI-XLVIII, 438

Rather than placing technological advancement front and center in this promotion for Moroccan Railways (a joint venture between that country’s rail line and a French/ Spanish interest), the viewer is offered rich non-industrialized tradition, both cultural and architectural. Most markedly, it’s interesting how Romberg’s painterly advertisement presents his subject with as much darkness as light: an intriguing approach, seeing as Islamic culture remains an alien—and to many an unjustly feared—landscape. Romberg was a Belgian illustrator and engraver whose work appeared in many French and English publications including Illustration, Petit Bleu, and Illustrated London News

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

Odin Rosenvinge (1880-1957)

354. Cunard Line / Aquitania. 1914.

25 x 40 in./63.8 x 101.6 cm

Turner & Dunnett, London

Cond A-/Unobtrusive folds.

Ref (both var): Compagnies Maritimes, p. 60; PAI-LXI, 253

Christened in May of 1914, the RMS Aquitania was Cunard’s response to the White Star Line’s Titanic and Olympic ships, both of which outsized the Aquatania’s older sister ships, the Mauretania and the Lusitania . Together, they formed Cunard’s express trio.

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

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Ch. Roux

355. L’Alsacienne. ca. 1930. 61 7⁄ 8 x 91 in./157.2 x 231 cm

Imp. J. E. Goossens, Bruxelles

Cond B+/Slight tears, largely at edges. Ref: PAI-LXXVI, 408

While many posters exist for this Belgian fabric dye company, this is by far the most charming: Roux shows off their vibrant color selection by way of a Kewpie doll-like young girl. This is a two-sheet poster. Est: $1,700-$2,000.

Samivel (1907-1992)

356. Club Alpin Français. 1920. 21 x 31 3⁄4 in./53.4 x 80.4 cm

Imp. L. Serre, Paris Cond A.

This simple but striking design promotes the French Alpine Club, which is noted here as having been decreed a public utility in 1882 and approved by the Minister of War in 1920. Rare! Est: $2,500-$3,000.

Raymond Savignac (1907-2002)

357. Bidermann. 45 1⁄ 8 x 60 5⁄ 8 in./114.7 x 154 cm La Vasselais, Paris

Cond B+/Slight tears at folds.

This simple design uses mostly black to allow the lining of the man’s cape to capture our attention. The Bidermann clothier’s trademark here is “dress men like men.” Rare!

Est: $800-$1,000.

WALTER SCHNACKENBERG

Walter Schnackenberg (1880-1961)

358. Odeon Casino. 1912.

35 3⁄4 x 46 3⁄ 8 in./90.6 x 117.8 cm

Consée, München

Cond B+/Slight tears at edges.

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-XC, 414

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.

359. Deutsches Theater.

36 1⁄4 x 48 in./92 x 122 cm

O. Consée, München

Cond B-/Restored losses; recreated borders. Framed. Ref: Schnackenberg, unnumbered; PAI-XC, 413

There is a delicacy of expression on the faces of both the viewer and the dancer that elevates this extraordinary design far beyond the standard theatrical poster. This gifted German artist could be one of the poster collector’s favorites, if only there were some more posters of his to collect. He did only a few, and all of those, printed in very small quantities, are so rare that most poster enthusiasts never come across them. A cultured, sophisticated painter, Schnackenberg did most of his poster work for acquaintances in Munich theatrical circles. His designs are a quaint amalgam of caricature and fantasy which he himself called “suggestive dreams.” With an unerring instinct for color, and an exquisitely refined taste for subtle irony, he created a body of work that is uniquely individualistic—small, but choice.

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

Schnackenberg (Continued)

360. Schnackenberg: Kostume / Plakate und Dekorationen, by Oskar Bie. 1920.

10 3⁄ 8 x 13 1⁄4 in./26.3 x 34 cm

Overall excellent condition.

Ref: PAI-XLIX, 451

Provenance: The artist’s collection

This is the only known book to date that focuses exclusively on the works of the great German artist, displaying the spectacular sweep of his lithographic and decorative mastery, as well as his costume designs, in forty-three full-page illustrations.

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

361. Bayernspende.

26 1⁄ 2 x 39 5⁄ 8 in./67.4 x 100.6 cm Münchener Buchgewerbehaus M. Müller, München Cond A-/Horizontal fold.

Ref: Weill, 228 (var); PAI-XIII, 407

This heart-rending appeal asks for contributions to a Bavarian fund to help relieve the poverty of Germans living abroad. Although generally associated with posters for the elegant life style, Schnackenberg could obviously create a most empathetic image when required. Rare!

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

Sefrellej

362. F.C. Barcelona.

19 x 26 3⁄4 in./48.2 x 68 cm

R. Oliver, Barcelona Cond A.

Founded in 1899, F.C. Barcelona is Spain’s top soccer team, and has been beloved around the world for over a century. Here, we see a player on his way to making a goal.

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

A. Selig

363. Exposition d’Art. 1934.

23 5 8 x 32 in./60 x 81.3 cm

Lith. A. Jess, Colmar Cond B/Slight tears at folds.

This rare Art Deco design combines images of fine arts and architecture to promote an exhibition in Colmar.

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

Kenneth Denton Shoesmith (1890-1939)

364. Cunard Line / Europe-America. ca. 1925.

24 3⁄ 8 x 39 1⁄ 8 in./62 x 99.3 cm

Thos. Forman & Sons, Nottingham

Cond A-/Unobtrusive folds.

Ref (both var): Compagnies Maritimes, p. 96; PAI-LXXIII, 443

This image is incredible precisely because it’s credible: the Aquitania appears at first to be floating in midair between the two buildings. The effect of unreality is further heightened by the coloring, but such surprising juxtapositions of ship and skyscraper do of course occur in New York, and are indeed among its visual glories. It’s one of the most remarkable of the many fine shipping and travel posters by Britain’s Shoesmith.

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

J. Stall (1874-1933)

365. Champagne Joseph Perrier. ca. 1929.

47 1⁄4 x 62 7⁄ 8 in./120 x 159.7 cm

Imp. B. Sirven, Paris

Cond A-/Slight tears in background.

Ref: Publicité, p. 82; PAI-LXXXIX, 382

Established in 1825, the champagne house of Joseph Perrier is still in production today. Here, in one of their more famous champagne posters, a bunch of grapes has come to life, holding a bottle of her destiny aloft.

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

T. A. STEINLEN

Théophile-Alexandre Steinlen (1859-1923)

366. Chat Noir / Prochainement. 1896.

39 1⁄4 x 55 1⁄ 2 in./99.6 x 141 cm

Imp. Charles Verneau, Paris Cond A.

Ref: Bargiel & Zagrodzki, 22; Crauzat, 496; DFP-II, 787; Wagner, 63; Timeless Images, 51; Lautrec/Montmartre, 104; Posters of Paris, 82; Affiches 1000, 0027; PAI-XCII, 355

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

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

Steinlen (Continued)

367. Chat Noir / Ce Soir. 1896.

15 1⁄ 8 x 24 1⁄4 in./38.4 x 61.5 cm

Imp. Charles Verneau, Paris

Cond A. Framed.

Ref: Bargiel et Zagrodzki, 22B2; PAI-LVII, 519

This is one of the rarest versions of Steinlen’s iconic Chat Noir design, with the “Ce Soir” text heralding the engagement at the top. This is the smaller format.

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

368. Lait pur Stérilisé. 1894.

37 7⁄ 8 x 55 in./96.3 x 139.7 cm

Imp. Charles Verneau, Paris

Cond A.

Ref: Bargiel et Zagrodzki, 16. A1; Crauzat, 491; Wine Spectator, 112; Maitres, 95; DFP-II, 783; Abdy, p. 97; Weill, 63; Gold, 56; Encyclopédie/Weill, p. 54; Posters of Paris, 80; PAI-XCII, 353

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

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

369. Motocycles Comiot. 1899.

52 1⁄ 2 x 76 5⁄ 8 in./133.4 x 195 cm

Imp. Charle Verneau, Paris

Cond B+/Slight tears and stains at edges and seam. Framed.

Ref: Bargiel et Zagrodzki, 36A1; Crauzat, 506; DFP-II, 792; Petite Reine, 35; Ailes, p. 23 (var); Posters of Paris, 86; PAI-XCII, 354

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 with excellent colors.

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

Steinlen (Continued)

370. Motocycles Comiot : Drawing. ca. 1899. 11 1⁄4 x 18 1⁄ 8 in./29.2 x 46 cm

Signed charcoal drawing on paper. Framed. This is the preparatory drawing for Steinlen’s impressive Motocycles Comiot poster ( see previous lot). Although the frenzied geese are not pictured here, we still see the female cyclist’s bewildered expression of the animals to come.

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

371. Chats et Autres Bêtes. 1933.

10 x 13 in./25.5 x 33 cm

Published by Eugène Rey, Paris Soft cover book; 208 pages; overall excellent condition with slight wear in binding.

Ref: PAI-LXXXIX, 387

With text by Georges Lecomte, this book contains previously unpublished Steinlen designs, many of them being tip-ons that could pass for originals of cats and other animals. It’s chock full of the charm and whimsy we have come to expect from the artist. And the drawings are exquisite, so finely printed and detailed that they appear to be original drawings. This is No. 458 of 500 copies on velin d’arches paper.

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

Louis Tauzin (Ca. 1845-1914)

372. Vichy. 1911.

23 3⁄4 x 38 1⁄ 2 in./60.4 x 97.8 cm

Imp. F. Champenois, Paris

Cond A-/Slight tears at edges.

Ref: Train à l’Affiche, 78: Masters 1900, p. 78; Gold, 140; PAI-LXXVIII, 457

“An evocative view of this famous spa at the height of the season, with the fashionable set promenading full force outside a well-illuminated casino. There are certainly men here, but in the light of dusk welldressed women are seen strolling alone or with their young daughters and gathering in groups of two or three” (Gold, p. 98).

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

Henri Thiriet (1873-1946)

373. Pierrefort.

19 3⁄4 x 30 3⁄4 in./50 x 78 cm

Imp. Bourgerie, Paris

Cond B/Slight tears in top text area. Framed.

Ref: PAI-LXXXVII, 465

Pierrefort, along with Sagot and Arnould, was one of the most important poster and print dealers of Paris in the 1890s; he often befriended promising graphic artists whose work he savored. Four of these protégés created posters for his gallery: Henry-Gabriel Ibels ( see No. 265), P. H. Lobel ( see PAI-IX, 336), Georges de Feure ( see PAI-LXXXIV, 314), and Thiriet. While the de Feure work is no doubt the most spectacular, this image by Thiriet is one of the rarest. Pierrefort was especially close to Toulouse-Lautrec, whose work he published and exhibited toward the end of the artist’s short career.

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

Moy Thomas

374. Great Western Railway / New York to London. ca. 1930.

25 x 39 1⁄ 2 in./63.4 x 100.3 cm

Cond B+/Slight tears at edges.

Ref: PAI-LXIV, 510

Founded in 1833, the Great Western Railway connected the southern and western portions of the United Kingdom. In the early 1930s, it was devised that the railroad would connect to a ship which would take passengers all the way to New York. This poster promotes one such vessel, the SS King George V , out of Plymouth.

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

HENRI DE TOULOUSE-LAUTREC

Henri de Toulouse-Lautrec (1864-1901)

375. L’Estampe Originale. 1895.

32 1⁄4 x 22 3 4 in./82 x 57.8 cm

Imp. Edw. Ancourt, Paris

Cond A. Framed.

Ref: Wittrock, 3; Adriani, 129-III; Color Revolution, 32; PAI-LXXII, 373

This is one of 100 signed and numbered copies (#40). “By 1893 if there were any doubts that there was a printmaking renaissance and that lithography dominated this general print revival, those doubts were quieted forever by a new publication entitled L’Estampe Originale ... From March 1893 to early 1895, in collaboration with [critic] Roger Marx, [André] Marty published a series of quarterly albums of ten prints each (except for the last which contained fourteen prints) in the media of etching, drypoint, mezzotint, woodcut, wood engraving, gypsography and lithography. In all, the publication encompassed ninety-five prints by seventy-four artists representing the young avant-garde such as Lautrec and the Nabis, as well as their established mentors including Gauguin, Puvis de Chavannes, Redon, Chéret, Whistler, Bracquemond and Lepère. L’Estampe Originale offers a remarkable cross-section of the most advanced aesthetic attitudes in fin de siècle French art” (Color Revolution, p. 22). Marty felt that Lautrec “deserved ‘a place of honour in the golden book of the modern print’... [and he] accorded Henri exactly that place, using him as the artist for the cover of the first issue” (Frey, p. 323). Lautrec shows us his favorite model, Jane Avril, at his favorite lithographic workshop, Ancourt, studying a proof pulled by Père Cotelle, the experienced printer at the Bisset press behind her. This is the finest specimen we’ve ever seen—with full margins.

Est: $70,000-$90,000.

376. Le Pendu. 1892.

18 5⁄ 8 x 27 1⁄4 in./47.3 x 69.2 cm

Cond B+/Unobtrusive folds.

Ref: Wittrock, P2; Adriani, 2; PAI-XLII, 490 (var)

“Arthur Huc, art lover and editor of the magazine Le Dépêche de Toulouse, used the lithograph... together with the lettered poster... to advertise the serial novel ‘Les Drames de Toulouse’ by A. Siégel... The novel is set in the eighteenth century, and to match the text, the artist has used a dramatic style of drawing, with rich contrasts, that also occurs in some of his later lithographs” (Adriani, p. 23). This is the lithographic version which was placed in the upper right area of the large letterpress poster for Le Dépêche ( see PAI-LXXX, 492). To fit into that space, “it had to be cut down somewhat on all four sides for the purpose” (Adriani, p. 23).

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

376

377. May Milton. 1895.

23 5⁄ 8 x 31 1⁄4 in./60 x 79.4 cm

Cond B/Tack hole in left border; slightly trimmed right edge.

Ref: Wittrock, P17B; Adriani, 134-II; PAI-XC, 436

An English dancer at the Moulin Rouge, May Milton was in an affair with May Belfort. Toulouse-Lautrec’s portrait of her is so subtly bizarre that Picasso included it in the background of his early painting, “The Bath” (1901). “Milton is shown in a seemingly impossible position,” Ebria Feinblatt writes. “Lautrec so twists the position of Milton’s right leg that, instead of a back kick, the foot emerges from the side. At the same time, this pose answers the artist’s need to continue the unbroken, undulating pattern that starts with the wavy hair hanging down to her puffed shoulder sleeve... the undeniable presence of the figure [is] arresting” (Wagner, p. 27).

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

378. Marcelle Lender, en Buste. 1895.

10 1⁄ 2 x 13 3⁄4 in./26.8 x 35 cm

Cond A. Framed.

Ref: Wittrock, 99-IV; Adriani, 115-IVa; PAI-LXXXIV, 458

Parisian actress Marcelle Lender had been appearing in a series of comic operas, principally at the Théâtre des Variétés, since 1889. Utterly enamored with the performer, Lautrec did many drawings of her in a variety of her roles. Here, she is depicted in Chilpéric, an operettarevue that was revived in 1895. “The main attraction in Chilpéric was the bolero, danced by Marcelle Lender as the Galaswintha at the court of King Chilpéric. It was not so much the flimsy plot of this medieval farce as the actress... who led Lautrec to sit through the operetta nearly twenty times. Always watching from the same angle, from one of the first tiers on the left, he would lie in wait with his sketch pad” (Adriani, p. 157). Lautrec’s attentions were well repaid. His half-length portrait of Lender in her fantastic Spanish costume, bowing to the audience applause, is considered a lithographic masterpiece. “No other lithograph is printed with such a wealth of subtle color combinations, and none embodies, as this does, the opulent decoration of an age moving towards its close” (Adriani, p. 161). This is the Pan edition, whose mark at bottom is not shown.

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

377

Toulouse-Lautrec (Continued)

379. 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; PAI-LXXXIX, 407

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: $12,000-$15,000.

380. Le Théâtre Libre. 1893.

9 1⁄ 2 x 12 5⁄ 8 in./24 x 32 cm

Imp. Eugène Verneau, Paris Cond A.

Ref: Wittrock, 15; Adriani, 40-III; PAI-LXXXVIII, 474

The Théâtre Libre, founded by André Antoine in 1887, was exempt from the censorship of the day—possibly due to its unique financing structure. Its 200 season-ticket holders were treated to some of the most avant-garde theatre of the era, witnessing productions such as Ibsen’s Ghosts, which had been banned elsewhere. By 1893, its financial situation was perilous, perhaps reflected in the two plays listed for the 1893-’94 winter season: A Bankruptcy and The Poet and The Financier . Toulouse-Lautrec’s print was originally published without lettering as “La Coiffure,” showing one of the women from the rue des Moulins brothel having her hair done.

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

381. Partie de Campagne. 1897. 20 3⁄ 8 x 15 3⁄4 in./51.8 x 40.1 cm

Auguste Clot, Paris Cond A. Framed.

Ref: Wittrock, 228; Adriani, 228; PAI-XCI, 427

“Lautrec’s memories of a journey to Holland with Maxime Dethomas or his relaxing summer stay with the Natanson family in Villeneuve-sur-Yonne may have inspired this print of a drive in the country, with its intense evocation of movement within a horizontal format. The lithograph was included in the second Album d’Estampes Originales de la Galerie Vollard in December, 1897. Abroise Vollard says in his memoirs: ‘I can still see the small limping man with his strange child-like gaze, saying to me: ‘I’ll do you a ‘housewife.’ But he then produced this well-known sheet, still regarded as one of his masterpieces” (Adriani, p. 290). This is number 14 from an edition of 100 numbered copies with a red monogram stamp.

Est: $70,000-$90,000.

Toulouse-Lautrec (Continued)

382. Salon des Cent. 1896.

15 5⁄ 8 x 23 7⁄ 8 in./39.7 x 60.6 cm

Imp. Bourgerie, Paris

Cond A. Framed.

Ref: Wittrock, P20; Adriani, 137-III; Salon des Cent, p. 37; Wagner, p. 31; Gold, 195; Reims, 790; PAI-XCI, 430

Summer, 1895. Lautrec and fellow artist Maurice Guibert are on board the steamer Le Chili, en route along the Atlantic coast from Le Havre to Bordeaux. Lautrec cannot keep his eyes off the young woman berthed in cabin No. 54. She’s meeting her husband in Senegal. Lautrec, suddenly obsessed, ignoring pleas from Guibert, refuses to get off the boat at Bordeaux. Finally, he is persuaded off the boat at Lisbon. But not before he’s captured a photograph of the unknown woman, which he turned into a lithograph of the exact same pose, “exquisite both in its execution and in the remoteness of the subject’s personality” (Wagner, p. 31): ideal for the Salon des Cent, with its running themes of meditation, admiration, and preoccupation.

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

383. Salon des Cent / Exposition Internationale d’Affiches. 1895.

19 3⁄4 x 25 1⁄ 8 in./50 x 64 cm

Cond A/P. Framed.

Ref: Wittrock, P20/First Ed; Adriani, 137-II; PAI-XCI, 431

This is the rare single color proof of the previous poster, before letters, and signed by the artist

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

384. Chocolat Dansant. 1896.

8 1⁄4 x 8 3⁄ 8 in./21 x 21.3 cm

Cond A-/Slight stains in margins. Framed.

Ref: PAI-LXXXII, 464 (var)

This is a hand-signed artist’s proof of the image that appeared in issue 73 of Le Rire, released on March 23, 1896. The only other known signed copy is in the collection of the Brooklyn Museum. The print features Rafael—otherwise known as Chocolat—who escaped a life of enslavement and found a career as a clown; for ten years, he performed alongside Footit. Lautrec, always drawn to eccentric characters, befriended the two clowns. Here, Lautrec has found Chocolat at the Irish and American Bar, where he decompresses from work by dancing to live music; as always, Ralph the bartender observes the scene with composure. As if frozen by a camera lens, Lautrec has captured Chocolat in a snippet of time: one arm extended, one leg pointing, demonstrating grace and agility.

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

385. La Loge au Mascaron Doré / Le Missionnaire. 1894.

9 1⁄ 2 x 12 1⁄ 8 in./24.2 x 30.7 cm

Cond A. Framed.

Ref: Wittrock, 16/program edition; Adriani, 69-II; PAI-XC, 439B

“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 variant of the image is the program cover for the play Le Missionnaire.

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

Toulouse-Lautrec (Continued)

386. The Chap Book. 1896. 23 3⁄4 x 16 1 8 in./60.2 x 41 cm Imp. Chaix, Paris Cond A. Framed.

Ref: Wittrock, P18B; Adriani, 139; Wagner, 24; DFP-II, 846; Wine Spectator, 51; PAI-LXXXVII, 489

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 Toulouse-Lautrec, 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).

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

387. La Revue Blanche. 1895.

35 5⁄ 8 x 50 in./90.5 x 127 cm

Cond A. Framed.

Ref: Wittrock, P16B; Adriani, 130-II; PAI-XCI, 435

“This official poster for La Revue Blanche is considered by many to be Lautrec’s strongest individual work. In it, using a combination of economical line and implied movement, large flat areas of color and carefully observed detail, he shows Misia Natanson, wife of the magazine’s editor, Thadée Natanson, ice-skating at the Palais de Glace, an ice rink opened at the Rond-Point des Champs-Élysées by Jules Roques in 1894. The entire poster is like a little joke, as if Lautrec were amusing himself by proving that he could show an ice-skater without ever showing her skates” (Frey, p. 408).

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

388. Elles. 1896.

18 1⁄ 2 x 23 in./46.8 x 58.3 cm

Cond A-/Slight stains at edges.

Ref: Wittrock, 155-III; Adriani, 171-III; DFP-II, 842; Reims, 782; PAI-XCII, 376

This poster announces Lautrec’s “Elles” collection, his famous brothel series, an edition of lithographs depicting prostitutes simply referred to as “Elles” (Them). This ambiguous title both recalls the common phrase ces dames (these ladies), and at the same time is the pronoun indicating all females. Although the women of the “Elles” series are prostitutes, they appear desexualized, shown in postures that emphasize the everyday and unglamorous nature of their occupation. In this instance, putting her hair back up after finishing with a client; the only indication that a man is even in the room is his top hat resting gingerly on her bed. It was the pictorial epilogue to what the artist had experienced in the maisons closes of the rue des Moulins, the rue d’Amboise, and the rue Joubert. “They” are “women to my liking,” as he used to say, and he often lived with them for weeks at a time during the years 1892 to 1895, a constant witness of their daily lives, of their suffering and intimacy. This is the rare before-letters version of the poster.

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

389 Toulouse-Lautrec (Continued)

389. Caudieux. 1893.

35 3⁄4 x 49 3⁄ 8 in./90.8 x 125.2 cm

Cond A-/Slight tears at folds. Framed.

Ref: Wittrock, P7; Adriani, 15; Wagner, 8; Reims, 776; PAI-LXXXV, 456

A well-loved cabaret personality in Montmartre, Caudieux was a large, floppy ball of a man, shown here with coattails billowing behind him as he exits, stage right. As the actor purses his lips in self-satisfaction after what we can imagine to be a fine performance, a hollow-cheeked audience member gawks curiously up from the orchestra pit. Feinblatt calls this “a study in dynamic motion and concentrated energy ... and his bustling sweep across the boards is an unparalleled rendering of movement among Lautrec’s posters” (Wagner, p. 20).

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

Jane Avril. 1899.

14 1⁄ 8 x 21 7 8 in./36 x 55.6 cm

H. Stern, Paris

Cond A. Framed.

Ref: Wittrock, P29B; Adriani, 354-II; Abdy, p. 80; DFP-II, 851; Driehaus, p. 111; Wagner, 30; PAI-LXXXVI, 411

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: $50,000-$60,000.

390.

Toulouse-Lautrec (Continued)

391. Le Matin / Au Pied de l’Echafaud. 1893. 23 1⁄ 8 x 32 3⁄ 8 in./58.8 x 82.3 cm

Imp. Chaix, Paris

Cond B+/Slight tears at folds.

Ref: Wittrock, P8; Adriani, 14; DFP-II, 830; Reims, 787; PAI-LXXXVI, 410

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: $4,000-$5,000.

392. Les Chansonniers de Montmartre. 1906. 11 x 14 3⁄4 in./27.8 x 37.3 cm

Overall excellent condition with slight stains at edges.

Ref: PAI-LXXXVIII, 469A

This 30-page complete program includes a supplement of Toulouse-Lautrec’s Ambassador in color and music sheets of Aristide Bruant’s top songs. It contains 140 songs and poems in total, with illustrations by Barrère, Fau, Grandjouan, Léandre, Métivet, Morin, Steinlen, Toulouse-Lautrec, and Willette.

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

393. “Henri de Toulouse-Lautrec, 1864-1901” by Maurice Joyant. 1926-1927.

Each: 8 1 2 x 10 5⁄ 8 in./21.5 x 27 cm

Deluxe edition: one of 175 copies on Japon paper in excellent condition, with fine hardcover bindings —the finest specimens ever seen. 2 volumes with 12 original drypoint etchings and 8 original lithographs. In overall excellent condition.

Ref: PAI-LXXXVII, 495

This is the two-volume definitive work on the artist by his lifelong friend and manager, Maurice Joyant. Volume I, with 312 pages and subtitled “Peintre,” was published in 1926. Volume II, with 284 pages and subtitled “Dessins-Estampes-Affiches,” was published in 1927. Both volumes contain numerous color plates. No one knew Lautrec better than Joyant and it shows in the care and detail of presentation. These two volumes are hand-signed by “Monsieur Thiriaux.”

Est: $4,000-$5,000 (2)

V. Tschetschets

394. Russian Olympics in Kiev. 1913. 26 x 39 in./66 x 99 cm

Cond A-/Slight tears at folds.

This especially rare image announces the first—and only—All-Russian Olympics, which was somewhat ironically held in Kiev. Given the current war in Ukraine as well as the upcoming Olympics in Paris, this image packs a lot of contemporary punch. The event included track and field, soccer, wrestling, weightlifting, fencing, swimming, gymnastics, and even motorcycle racing. The Kiev Sports Ground was opened in August, 1912 and soon destroyed during World War I. This lot includes a book on the history of this Olympics by Oleg Vorontsov, which was published in 2006.

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

Johann G. van Caspel (1870-1928)

395. De Hollandsche Revue. 1899.

42 1⁄ 2 x 31 in./108 x 78.7 cm

Senefelder, Amsterdam

Cond A-/Unobtrusive folds. Framed.

Ref: van Caspel, 17; Dutch Poster, 88; Livre d’Affiche, 100; PAI-XLIV, 500

A line of readers are engrossed in their copies of the Hollandsche Revue, a literary journal published by DeErven Loosjes in Haarlem. It’s a masterful drawing, fascinating for its authentic historical feel, detail, and characters. Although van Caspel designed show cards, book covers, calendars, and book plates in addition to several posters of note, “one of his most interesting posters was executed for the ‘Dutch Review,’ representing a well-known Amsterdam rendezvous, the reading room at Krasnapolsky’s. It is treated in the style of some American artists, reminding one of J. J. Gould’s manner, with more elaborate details... To conclude, J. G. van Caspel is an affichiste with a great future... His name, although not yet famous beyond Holland, must be remembered by lovers of art, and the Senefelder Printing Co. must be congratulated to have retained such a brilliant artist” (The Poster, May 1899. p. 213-214). It’s one of the most magnificent posters ever created in Holland, and a true international masterpiece.

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

Adriaan van’t Hoff (1893-1939)

396. Holland America Line / Statendam. 1928.

30 3⁄4 x 41 5⁄ 8 in./78.2 x 105.2 cm Lankhout, Den Haag

Cond A.

Ref: Schip & Affiche, 47; PAI-XCI, 446

This poster was used to advertise the first transatlantic crossing of the latest Statendam (there were two previous liners of that name), which became the flagship of the Holland America Line in April, 1929. The design uses chains, derricks, and a linear perspective to create an image of power and stateliness. This is the English-language version.

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

François Vernier (1927-?)

397. Pathé Marconi / La Voix de son Maître.

45 x 62 1⁄ 2 in./114.4 x 159 cm Girbal, Paris

Cond B+/Slight tears at edges.

Ref: PAI-LXXXIX, 414

The Jack Russell Terrier mascot of His Master’s Voice gets a Technicolor upgrade thanks to Vernier. The scene of two dogs falling in love through the television screen is simply adorable.

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

Emilio Vilá (1887-1967)

398. La Nuit de l’Élégance. 1928. 15 1⁄4 x 23 3⁄ 8 in./38.8 x 59.4 cm

J. Robillon, Paris

Cond A.

Ref: PAI-XXX, 679

The most exquisite people in Paris held a ball to help the wounded of World War I. The lady glitters in a golden gown while the background sets the appropriately luxuriant shade of midnight blue. It’s another in a line of effortlessly elegant posters from the prolific Moroccan-born Spanish artist who produced several posters for the nascent film industry during his time in Paris.

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

Bernard Villemot (1911-1989)

399. France by Train / Basque Coast. 1954. 24 1⁄ 8 x 39 1⁄4 in./61.3 x 99.6 cm

Hubert Baille, Paris

Cond A.

Ref (all var but PAI): Bon Salle, 262; Train à l’Affiche, 324; Villemot, checklist, 89; PAI-LXXX, 510

A relaxed, painterly composition seamlessly showcases the various delights that await us on the Basque Coast. This is the rare English language edition of the poster. Est: $1,700-$2,000.

Andy Warhol (1928-1987)

400. Perrier. 1983.

23 1⁄4 x 17 3 8 in./59 x 44.2 cm

Lalande-Courbet Cond A.

Ref: Warhol Posters, 30; PAI-XCI, 453

In 1983, Warhol created a variety of images for Perrier, each taking the product and elevating it through his signature use of silkscreen color-washing. “These posters were intended for publicity in bistros and cafés in France. They won the French poster Grand Prix in 1983, the only award Warhol ever received for his work as a poster artist” (Warhol Posters, p. 85). This is the fuchsia image in the smaller format.

Est: $800-$1,000.

401. Perrier. 1983.

23 5⁄ 8 x 17 3⁄4 in./60 x 45 cm

Source Perrier, Vergeze Cond A.

Ref: Warhol Posters, 31; PAI-XCI, 452

Warhol created two posters for Perrier; “Each show three Perrier bottles in oblique positions, conveying the illusion of floating, and weightlessness—as if they

were buoyed by the bubbles within or were themselves lighter than air. The bottle, as Warhol represents it, is as effervescent as the product and stands for its very quality. He managed this advertising tour de force showing only the bottles without accessory or graphic pyrotechnics, his purity of design reflecting the simplicity of the product itself: water” (Warhol Posters, p. 89). This is the smaller format.

Est: $800-$1,000.

Olive Whitmore

402. Dublin Horse Show. 1961.

24 5⁄ 8 x 35 5 8 in./62.5 x 100.6 cm

Dollard Printing House, Dublin

Cond A.

Ref: PAI-LX, 544 (var)

While little information is available on the artist, it appears that she provided simple equestrian designs for the Dublin Horse Show as early as 1928 up through at least 1956, oftentimes just altering the color scheme of a previously created image. This image was in fact also used to promote the 1949 show. The show itself was one of the first jumping competitions ever held.

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

Jean d’Ylen (1866-1938)

403. Cusenier. ca. 1900.

13 1⁄ 2 x 21 1⁄ 2 in./34.4 x 54.6 cm

Imp. P. Vercasson, Paris

Cond B+/Restoration in bottom text.

Ref: d’Ylen, catalogue; Boissons, 515; PAI-LXXXV, 483 Cappiello’s vivacity—as well as his fondness for twinned figures and oversized props—is visible here in d’Ylen’s poster for Cusenier liqueurs, but it boasts d’Ylen’s own undeniable charm. Sparrow describes this image, one in a series, with high praise: “girls in white flowing draperies... are carried up in the air by their thoughts of liqueurs and wines. There are two of them in each of several posters, and they carry laughingly gay bottles and ripe fruit as an explanation of their exalted airiness.” His advice: “Every one of [England’s] distillers and brewers should study what [d’Ylen] has done for the Vercasson management” (Sparrow, p. 151152). This is the smaller format.

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

404. Pour étre fort.

15 1⁄4 x 22 1⁄ 2 in./38.7 x 57.3 cm

Imp. P. Vercasson, Paris Cond A.

Predating the “Got Milk?” campaigns that swept America in the ’90s, d’Ylen’s lactose-tolerant design is equally reverential of the powers of a simple glass of milk.

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

Tadanori Yokoo (1936- )

405. Stedelijk Museum Amsterdam. 1974. 25 x 37 1⁄4 in./63.5 x 94 cm

Cond A/P.

Ref: Yokoo/Graphic Works, p. 248; PAI-LXXXVII, 521 One of Japan’s most famous graphic designers, Tadanori Yokoo was influenced by Milton Glaser’s pop sensibilities, Akira Kurosawa’s sense of drama, and Indian mysticism as he ventured forth through the 1960s. Here he is, pictured on the poster he designed for his 1974 solo show at Amsterdam’s Museum of Contemporary Art, signifying all of these influences.

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

406. The Aesthetics of End. 1966.

30 1⁄ 8 x 42 1⁄ 8 in./76.4 x 107.5 cm

Cond A-/Slight tears at edges.

Ref: Yokoo/Graphic Works, p. 91; Yokoo’s Posters, 11; Yokoo/Paris, 6; PAI-LXXXIX, 425

“In April 1966, the Japanese author [Yukio Mishima] published a series of essays for young women in the women’s magazine, Josei Jishin . (A series for young men was published in Pocket Panchi Oh! ) Paralleling the portrait of the virile Mishima in the upper left, Yokoo has placed the figure of a half-naked woman expressing breast milk at the upper right, perhaps alluding to a scene in a 1956 novel by Mishima, ‘The Temple of the Golden Pavilion,’ in which a woman offers breast milk to a man in a tea bowl. To this gender dynamic, the poster adds references to nation, with the rays of the rising sun, the locomotive’s steam in a shape reminiscent of the Japanese archipelago, lotus flowers, and the woodblock-inspired waves” (Elegance & Extravaganza : Japanese Posters from the Merrill C. Berman Collection, p. 75). This is a silkscreen print.

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

Zulla

407. Queso Pinxter.

47 x 63 in./119.5 x 160 cm

Imp. P. Vercasson, Paris

Cond B+/Slight tears at folds.

In a style remarkably similar to Cappiello’s and d’Ylen’s, this artist advertises a cheese so delicious that it’s eaten by the entire world—literally.

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

BOOKS AND PERIODICALS

408. L’Estampe Moderne. 1897-1899.

16 x 22 in./40.7 x 56 cm

100 prints plus four bonus plates, in excellent condition, except for wear on the cover for Mai 1897. Ref: PAI-XCII, 405

This is No. 114 of the deluxe edition of 150 copies on Japon with wider margins and an additional black and white plate. The publication distributed by Imprimerie Champenois, Paris, contains twentyfour monthly portfolios plus four bonus plates, with twenty-four original covers by Mucha, with four original lithographs in each. Almost all of these lithographs were commissioned especially for this series, featuring works by Mucha (2), Donnay, Evenepoele, Rassenfosse, Louis Rhead, H. Meunier, Léandre, Lepère, Grasset, Berchmans, Ibels, de Feure, Robbe, Helleu, Roedel, Steinlen, Bouisset, Gottlob, Détouche, Boutet, Bellery-Desfontaines, Lenoir, and Willette. Please note: the Louis Rhead print for Femme au Paon is missing.

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

409. Gli Avvisi Delle Officine G. Ricordi. ca. 1914. 10 3⁄4 x 14 1⁄ 2 in./27.3 x 37 cm Ricordi, Milano

In original slipcase; slight wear on cover; prints are in excellent condition. Ref: PAI-XCI, 462

Executed much in the manner of Les Maîtres de l’Affiche, this rare and complete portfolio of 70 beautifully lithographed Ricordi posters reproduces the work of Italian master posterists in a more manageable size. Published with the same meticulous care and quality as the Maîtres series—which in some respects makes it even more rare and impressive seeing as it exhibits the work of a single publishing firm—the artists and works presented in the portfolio are astounding: Cappiello (4 posters—a pair for Mele, Livorno, and the tremendous Musica e Musicisti), Hohenstein (10 posters, including Monaco, Germania, Monte Carlo, and Tosca), Metlicovitz (15, including Fleurs de Mousse, Exposition Milan, and several Mele designs), Dudovich (7, with Mele being the primary representative), Franz Laskoff (10, including S. Petrus and Mele), and Mauzan (a pair of film posters). Other artists present in this prodigious assemblage include Achille Beltrame, Caldanzano, Cavaleri, Gallo, Adolfo de Karolis, Gian Malerba, Giovanni Mataloni, Aldo Mazza, Plinio Nomellini, Palanti, Enrico Sacchetti, Aleardo Terzi, and Aleardo Villa. It’s an absolute must-have for the Italian poster aficionado!

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

410. Les Maîtres de l’Affiche. 1896-1900..

Each: 12 x 15 3⁄4 in./30.5 x 40 cm

Librairie Chaix, Paris

Excellent condition.

Ref: Maitres; PAI-LXXV, 505

The complete set of 240 numbered plates, plus sixteen supplements in five bound volumes in the original Berthon-designed covers and bindings. This series of original lithographic reproductions of posters crowned the affichomanie at the end of the 19th century. Subscribers to the series received four plates each month for five years, plus 16 supplements. “At the time posters posed a problem which, moreover, has still not been solved: how to keep and enjoy a collection consisting of very large prints which one has to preserve rolled or flat in some cabinet... [This book] provided a reduction of the most valued and consequently the most widely known posters, thus enabling collectors and other interested people to examine quickly and easily the main works of the current advertising production,” wrote Allan Weill. Weill notes that under this subscription plan, one month’s offering (4 prints) could be had at the same price as an original poster by Lautrec, Mucha, or the other greats of the poster pantheon: “This is not at all surprising since the posters were printed in great quantities on ordinary paper and, to boot, the one-time art and plate costs were assumed by the company whose product it advertised; the dealers paid printers only for the overrun they wished to acquire. Hence, we must consider it normal that Les Maitres de l’Affiche, specially produced by means of lithography on quality paper, was offered for sale at the price of an original poster. The people did not perceive these two types of products as being in competition. They were infatuated with small prints and with this kind of compilation” (Maitres/Images Graphique edition, p. 4 & 5).

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

SELECTED INDEX

ALCOHOL

Absinthe 278, 291

Apéritifs / Digestifs 124, 171, 329

Beer 119, 311

Champagne / Wine 140, 166, 167, 185, 188, 189, 226, 309, 310, 365

Liqueurs / Spirits 118, 175, 177, 178, 232, 283, 327, 403

ANIMALS

Birds 17, 32, 72, 120, 130, 184, 226, 247, 332

Cats 21, 135, 366-369, 371

Dogs 46, 52, 67, 151, 381, 397

Horses 49, 113, 114, 124, 125, 128, 141, 224, 227, 287, 334, 353, 381, 402

Other 30, 115, 119, 130, 195, 269, 341

ART EXHIBITIONS

102, 151, 245, 246, 256, 263, 277, 347, 363, 382, 383, 405

BEAUTY / HEALTH / PERFUME

181, 183, 210, 219, 279, 325

FASHION

1-13, 144, 172-174, 180, 191, 236, 274, 288, 344, 355, 357

FILM

73, 132, 229, 266, 335, 338

FOOD / DRINK

27, 136-138, 168B, 169, 182, 223, 306, 316, 320, 340, 341, 368, 400, 401, 404, 407

JEWISH INTEREST

23, 93-97, 136-138

LITERARY

142, 149, 153, 165, 192, 238, 285, 334, 350, 352, 375, 376, 386, 387, 391, 395, 406

MUSIC

/

DANCE

Balls 233, 269, 398

Cabarets / Music Halls 206, 222, 268, 230, 351, 358, 359, 366, 367, 377, 389

Classical 152, 160, 161

Dance 116, 123, 186, 187, 206, 213, 222, 230, 258, 331, 335, 336, 351, 358, 360, 377, 390

Folies-Bergère 206

Opera 202, 204

Other 200, 228A, 240, 243, 254

POSTERS ON POSTERS

42, 249, 252, 260, 265, 339, 347, 373, 405

SCIENCE

& TECHNOLOGY

98, 135, 145, 208, 209, 240, 243, 262, 284, 346, 397

SPORTS

Olympics 261, 394

Soccer 244, 271, 362

Tennis 126, 333

Winter Sports 127, 131, 148, 159, 194, 214-217, 272, 273, 356, 387

Other 41, 141, 224, 352

THEATRE

99, 100, 103-112, 147, 164, 205, 241, 307, 308, 359, 360, 380, 385, 389

TOBACCO

227, 275, 299, 300

TRAVEL

By rail

By ship

New York

117, 128, 129, 131, 154-159, 196, 197, 234, 235, 237, 251, 267, 273, 315, 328, 342, 343, 353, 374, 399

198, 242, 259, 264, 354, 364, 396

23, 34, 74, 92, 122, 136-138, 149, 150, 152, 202, 203, 251, 258, 259, 277, 342, 343, 345

World’s Fairs / Expos 16, 190

Other 19-34, 121, 125, 127, 133, 134, 139, 143, 194, 201, 228B, 231, 238, 270, 330, 332, 337, 349, 372

BIBLIOGRAPHY

The following is a list of books used in the preparation of this catalogue. In the interest of brevity, these works have been abbreviated in the Reference (“Ref:”) section of the description of each lot. The abbreviations can be found below, accompanied by the work’s full title, author or editor, publisher’s name, city, and date of publication. It should be noted that we have made no reference to the many magazines and annuals which are essential tools in this area, such as The Poster, L'Estampe et l'Affiche, La Plume, Arts et Métiers Graphiques, Vendre, Das Plakat, Gebrauchsgraphik, and Graphis Posters

NOTE: References to prior PAI books are limited to the last auction in which the poster was offered. Results from all 92 prior auctions can be found on our website, www.posterauctions.com, by clicking on “Poster Price Guide.” All results are searchable by artist or title for a nominal subscription fee.

Abdy

The French poster, by Jane Abdy. New York : Clarkson N. Potter, 1969.

Absinthe

Absinthe : history in a bottle, by Barnaby Conrad, III. San Fransisco : Chronicle Books, 1988.

Adriani

Toulouse-Lautrec : the complete graphic works, by Götz Adriani. London : Thames & Hudson, 1988. The catalogue raisonné, featuring the Gerstenberg collection.

Affiche Art Deco

L’affiche Art Deco, by Alain Weill. Paris : Editions Hazan, 2013.

Affiche Réclame

Quand l’affiche faisait de la réclame! : l’affiche Francaise de 1920 à 1940. Paris : Editions de la Réunion des Musées Nationaux, 1991. Catalogue of the exhibition at the Musée National des Arts et Traditions Populaires, Paris. November 12, 1991-February 3, 1992.

Affiches 1000

1000 affiches de 1890 à nos jours, by Cees W. de Jong, Alston W. Purvis & Martijn F. Le Coultre. [Paris] : Hazan, 2010.

Affiches Automobiles

100 ans d’affiches automobiles/100 years of auto posters, by Dominique Dubarry. Paris : Maeght, 1991.

Affiches Azur

Affiches d’Azur : 100 ans d’affiches de la Côte d’Azur et de Monaco, by Charles Martini de Chateauneuf. Nice : Editions Gilletta, 1992.

Affiches Belges

Affiches Belges/Belgische affiches, by Ph. Minguet. Liège, Belgium : IBM, 1981.

Affiches d’Aviation

Affiches de l’histoire d’aviation, by Gerard Hartmann & Francoise Leloup-Perier (with Englishlanguage insert: The history of aviation in posters). Paris : Citadelles & Mazenod, 2009.

Affiches Riviera

Affiches de la Riviera, by Annie de Montry, Françoise Lepeuve & Charles Martini de Chateauneuf. Nice-Matin : Editions Gilletta, 2001.

Affiches/WWII

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 1880-1900, held at the Musée de l’Affiche, Paris, January 30-April 30, 1980.

Ailes

Voici des ailes : affiches de cycles, by Nadine Besse & Paul Fournel. Saint-Etienne : Musée d’art et d’industrie, 2002. Catalogue of the exhibition at the Musée d’Art et d’Industrie, Saint-Étienne, May 3-September 22, 2002.

Air France

Air France : affiches/posters, 1933-1983, by Jérôme Peignot. Paris : Fernand Hazan, 1988.

Air France/Dream

Air France posters : making the world dream, by Louis-Jean Calvet and Philippe-Michel Thibault. Paris : Le Cherche-Midi, 2006.

Alimentaires

Un siecle de reclames alimentaires, by F. Ghozland. Toulouse : Editions Milan, 1984.

American Posters

Posters American style, by Therese Thau Heyman. New York : Harry N. Abrams, 1998.

Art Deco

Art deco graphics, by Patricia Frantz Kery. New York : Harry N. Abrams, 1986.

Art du Biscuit

L’art du biscuit, by Patrick Lefèvre-Utile. Verona : Éditions Hazan, 1995.

Avant Garde

The 20th century poster-design of the avant garde, by Dawn Ades. New York : Abbeville Press, 1984. The catalogue of the exhibition of the Walker Art Center, Minneapolis, 1984.

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).

Beardsley

Aubrey Beardsley, by Brian Reade. New York : The Viking Press, 1967.

Belgique/Paris

L’affiche en Belgique : 1880-1980, by Raymond Morini, et al. Paris : Musée de l’Affiche, 1980.

Catalogue of the exhibition at the Musée de l’Affiche, Paris, 1980.

Belle Epoque 1970

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.

Bernhardt/Drama

Sarah Bernhardt : the art of high drama, by Carol Ockman and Kenneth Silver. New Haven, Conn. : Yale University Press, 2005. Catalogue of the exhibition at the Jewish Museum, New York, December 2, 2005-April 2, 2006.

Berthon & Grasset

Berthon & Grasset, by Victor Arwas. London : Academy Editions; New York : Rizzoli, 1978.

Bicycle Posters

100 years of bicycle posters, by Jack Rennert. New York : Harper & Row, 1973.

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.

Bradley

Will Bradley : his graphic art, ed. by Clarence P. Hornung. New York : Dover , 1974.

Bradley/Koch

Will H. Bradley – American Artist in Print, by Robert Koch. New York : Hudson Hills Press, 2002.

Broadway Posters

The Art of the Broadway Poster, by Michael Patrick Hearn. Oregon City: Ballyntine Books, 1986.

Broders

Voyages : les affiches de Roger Broders, by Annie de Montry & Françoise Lepeuve. Paris : SyrosAlternatives, 1991.

Broders/Travel

Roger Broders : travel posters, by Alain Weill & Israel Perry. New York : Queen Art Publishers, 2002.

Broido

The posters of Jules Chéret : 46 full color plates and an illustrated catalogue raisonné, 2nd ed., by Lucy Broido. New York : Dover, 1992.

Brown & Reinhold

The poster art of A. M. Cassandre, by Robert K. Brown & Susan Reinhold. New York : E. P. Dutton, 1979.

Bućan

Boris Bućan : Breakfast at the Printer’s, ed. by Kristina Bonjeković Stojković. Zagreb : Museum of Contemporary Art, 2016. Catalogue of the exhibition at the Museum of Contemporary Art, Zagreb, Croatia, April 14–May 29, 2016.

Campari

Thirty years and a century of the Campari Company, in three volumes, by Guido Vergani. Milano : Davide Campari, 1900.

Cappiello

Cappiello, 1875-1942 : caricatures, affiches, peintures et projets decoratifs, by Claire Frèches-Thory & Réjane Bargiel. Paris : Réunion, 1981. Catalogue of the exhibition at the Galerie Nationale du Grand Palais, Paris, April 3-June 29, 1981.

Cappiello/Rennert

Cappiello : the posters of Leonetto Cappiello, by Jack Rennert. New York : Poster Art Library, Posters Please, Inc., 2004.

Cappiello/St. Vincent

Leonetto Cappiello : dalla pittura alla grafica, by Raffaele Monti & Elisabeth Matucci. Firenze : Artificio, 1985. Catalogue of the exhibition at the Hotel Billia in Saint-Vincent, Italy, March 30-May 30, 1985.

Cardinaux

Emil Cardinaux : 1877-1936, by Thomas Bolt. Zürich : Kunstgewerbemuseum, 1985. Catalogue of the exhibition at the Museum für Gestaltung, Zürich, August 21-October 20, 1985.

Carlu

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.

Carteles Republica

Carteles de la Republica y de la Guerra Civil, by Jaume Miravitlles, Josep Termes & Carlos Fontsere. Barcelona : Centre d’Estudis d’Historia Contemporania; La Gaya Ciencia, 1978.

Cassandre/BN

A. M. Cassandre : oeuvres graphiques modernes, 1923-1939, by Anne-Marie Sauvage. Paris : Bibliothèque Nationale de France, 2005. Catalogue of the exhibition at Chaumont, May 21-July 23, 2005, and the Bibliothèque Nationale de France, Paris, September 20-Dcember 4, 2005.

Cassandre/Suntory

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.

Cat Cabinet

A Supreme Being: 25 Years of the Cat Cabinet Amsterdam. Amsterdam: Uitgever, 2015.

Champenois

Champenois Imprimeur : publicité et vie bourgeoise 1875-1915, by Daniel Bordet. Paris : Editions Dabecom, 2004.

Chéret

La Belle Epoque de Jules Chéret : de l’affiche au décor, ed, by Réjane Bargiel and Segolène Le Men. Paris : Les Arts Décoratifs, 2010. (Distributed in the U.S.A. by Posters Please, Inc.) Catalogue of the exhibition at the Musée des Arts Décoratifs, Paris, June 23-November 7, 2010.

Colin

100 posters of Paul Colin, by Jack Rennert. New York : Images Graphiques, 1977.

Colin Affichiste

Paul Colin : affichiste, by Alain Weill & Jack Rennert. Paris : Editions Denoel, 1989.

Collectionneur

Collectionneur d’affiches, edited by Laurence Prod’homme. Paris : Editions Apogé, Musée de Bretagne, 1996.

Color Revolution

The color revolution : color lithography in France 1890-1900, by Philip Dennis Cate & Sinclair Hamilton Hitchings. New Brunswick, N.J. : Rutgers, 1978. Catalogue of the exhibition at Rutgers University Art Gallery, September 10-October 29, 1978; the Baltimore Museum of Art, November 10-December 31, 1978; and the Boston Public Library, May 2-July 1, 1979.

Continental

Pneu Continental : les temps des pionniers, 1890 - 1920, by Daniel Bordet, Frédérique Decoudun, Jacques Dreux & Christophe Zagrodzki. Paris : Somogy, 1996.

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.

Czwiklitzer

Les affiches de Pablo Picasso, by Christopher Czwiklitzer. Bâle-Paris : Art-C.C., 1970.

Dance Posters

100 years of dance posters, by Walter Terry & Jack Rennert. New York : Avon Books, 1973.

Danish Posters

Den Danske plakat, by Lars Dybdahl. Valby, Denmark : Borgen, 1994.

Deco Affiches

Affiches art deco, by Alain Weill. Paris : Inter-Livres, 1990.

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.

DFP-II

Das frühe plakat in Europa und den USA. Volume II, French and Belgian Posters. Edited by Ruth Malhotra, Marjan Rinkleff and Bernd Schalicke. Berlin : Mann Verlag, 1977.

DFP-III

Das frühe plakat in Europa und den USA. Volume III, German Posters. Edited by Helga Hollman, Ruth Malhotra, Alexander Pilipczuk, Helga Prignitz and Christina Thon. Berlin : Mann Verlag, 1980.

Discount

Posters from the collection of Discount Tires, by Susan Driver. Scottsdale, Ariz. : Reinalt-Thomas Corp., 2007.

Dodge

The bicycle, by Pryor Dodge. Paris, New York : Flammarion, 1996.

Dorning

Power to the Imagination, by Jurgen Dorning. Hirmer Verlag, 2011.

Encyclopédie/Weill

Encyclopédie de l’affiche, by Alain Weill. Paris : Hazan, 2011.

Femme s’Affiche

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.

Fix-Masseau BN

Fix-Masseau Affiches 1928-1983. Paris: Bibliotheque Nationale, 1983.

Flagg

James Montgomery Flagg, by Susan E. Meyer. New York : Watson-Guptill Publications, 1974.

Frey

Toulouse-Lautrec : a life, by Julia Frey. New York : Viking Penguin, 1994.

Gallo

The poster in history, by Max Gallo. New York : American Heritage Publishing, 1974.

Glaser

Milton Glaser : graphic design, by Jean-Michel Folon. New York : Overlook Press, 1973.

Gold

First ladies of the poster : the Gold collection, by Laura Gold. New York : Poster Art Library, 1998.

Graphic Design/New History

Graphic Design : A New History, by Stephen J. Eskilson. New Haven : Yale University Press, 2019.

Graphic Design/Taschen

The History of Graphic Design, by Jens Müller and Julius Weidermann. Koln : Taschen, 2017.

Grasset

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.

Guerres

Guerres et batailles : la Deuxième Guerre Mondiale racontée par les affiches. Narbonne : Transworld Publications, 1974.

Haring Posters

Keith Haring – Posters, by Jürgen Döring and Claus von der Osten. Munich/New York: Prestel, 2019.

Health Posters

Posters of health, by Marine Robert-Sterkendries. Brussels : Therabel Pharma, 1996.

Hillier

Posters, by Bevis Hillier. London : Weidenfeld and Nicholson, 1969; New York : Stein & Day, 1969; New York : Spring Books, The Hamlyn Publishing Group, 1974.

Hockney

David Hockney : poster art, by Brian Baggot. San Francisco : Chronicle Books, 1994.

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.

Images of an Era

Images of an era : the American poster, 19451975, by John Garrigan. Washington, D.C. : National Collection of Fine Arts, 1975. Catalogue of the exhibition at the Corcoran Gallery of Art, Washington, D.C., November 21, 1975-January 4, 1976.

Italia che Cambia

L’Italia che cambia : attraverso i manifesti della raccolta salce, ed. by Pepa Sparti. Firenze : Artificio, 1989.

Ives

Pierre Bonnard : the graphic art, by Colta Ives, Helen Giambruni & Sasha M. Newman. New York : Harry N. Abrams, 1989. Catalogue of the exhibition at the Metropolitan Museum of Art, New York, December 2, 1989-February 4, 1990; The Museum of Fine Arts, Houston, February 25-April 29, 1990; and the Museum of Fine Arts, Boston, May 25-July 29, 1990.

Jiri Mucha

Alphonse Maria Mucha : his life and art, by Jiri Mucha. New York : Rizzoli, 1989.

Karcher

Memoire de la rue : souvenirs d’un imprimeur et d’un afficheur, by Alain Weill. Paris : WM Editions, 1986. (Distributed in the U.S.A. by Posters Please, Inc., New York, with a translation of text and the addition of an index).

Khachadourian

Motoring : the golden years, a pictorial anthology : the Khachadourian Gallery, by Rupert Prior. London : Morgan Samuel Editions, 1991.

Kiffer

Ch. Kiffer : Charles Kiffer et le spectacle. Toulouse : Centre de l’Affiche, 1990. Catalogue of the exhibition at the Centre de l’Affiche, Toulouse, 1990.

Kunst Kommerz Visionen

Kunst! Kommerz! Visionen! Deutsche Plakate 1888-1933, ed. by Hellmut Rademacher and René Grohnert. Heidelberg : Edition Braus, 1992. Catalogue of the exhibition at Deutsches Historisches Museum, Berlin, May 16-August 18, 1992.

Lauder I

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.

Lauder II

The Art of the Literary Poster, ed. by Allison Rudnick. New York : Metropolitan Museum of Art, 2024. Catalogue of the exhibition “The Art of the Literary Poster: Works from the Leonard A. Lauder Collection” at the Metropolitan Museum of Art, 2024. Lautrec/Montmartre

Toulouse-Lautrec and Montmartre, by Richard Thomson, Phillip Dennis & Mary Weaver Chapin. Princeton, N.J. : Princeton Unversity Press, 2005. Catalogue of the exhibition at the National Gallery of Art, Washington, D.C., March 20-June 12, 3005, and the Art Institute of Chicago, July 16-October 10, 2005.

Le Coultre

A century of posters, by Martin F. Le Coultre & Alston W. Purvis. Burlington, VT : Lund Humphries, 2002.

Lendl/Prague

Ivan Lendl : Alfons Mucha, by Jack Rennert & Karel Srp. Bratislava : Nakladatelství, 2013.

Lincoln Center

Lincoln Center Posters, by Vera List & Herbert Kupferberg. New York : Harry N. Abrams, 1980.

Livre de l’Affiche

Le livre de l’affiche/The book of the poster, by Réjane Bargiel-Harry & Christophe Zagrodzki. Paris : Editions Alternatives, 1985.

Looping the Loop

Looping the loop : posters of flight, by Henry Serrano Villard & Willis M. Allen, Jr. San Diego, Calif. : Kales Press, 2000.

Loupot

Charles Loupot, by Alain Weill. Paris : Musée de l’Affiche, 1978. Catalogue of the exhibition at the Musée de l’Affiche, Paris, November 1978-March 1979.

Loupot/Forney

Loupot: Peintre en Affiche. Catalogue of the 2018 exhibition at Bibliothèque Forney, Paris. Edited by Thierry Devynck.

Loupot/Zagrodzki

Charles Loupot : l’art de l’affiche, by Christophe Zagrodzki. Paris : Le Cherche-Midi, 1998. (American distributor: Posters Please Inc., New York)

Made in Israel

Made in Israel 2005 : an exhibition of rare, historical Israeli posters. New York : JCC in Manhattan, 2007. Catalogue of the exhibition sponsored by the Farkash Gallery at the JCC in Manhattan, 2007.

Made in Israel 60

Made in Israel 60 : 60th anniversary of Israel : an exhibition of rare, historical Israeli posters & photographs. New York : JCC in Manhattan, 2008. Catalogue of the exhibition to celebrate 60th anniversary of Israel, co-sponsored by the Farkash Gallery and the JCC in Manhattan, 2008.

Maindron 1886

Les affiches illustrées: ouvrage orné de 20 chromolithographies, by Ernest Maindron. Paris, France : H. Launette, 1886.

Maindron, 1896

Les Affiches Illustrees (1886-1895), by Ernest Maindron. Paris : G. Boutdet, 1896.

Maitres

Les maitres de l’affiche : 1896-1900, by Roger Marx. Paris : Imprimerie Chaix, 1896-1900. Reprinted as Masters of the poster l896-1900, New York : Images Graphiques, 1977, and The complete ‘Masters of the poster,’ New York : Dover Publications, 1990.

Manifesti Italiani

Manifesti Italiani : dall’art nouveau al futurismo, 1895-1940, by Giampiero Mughini & Maurizio Scudiero. Milano : Ricordi, 1997. Posters of the Massimo & Sonia Cirulli Collection.

Manifesti Posters/Advertising

Manifesti Posters: Irony, Imagination and Eroticism in Advertising, 1895-1960, by Dario Cimorelli. Spa: Silvana Editoriale, 2010.

Manifesti Posters/Travel

Manifesti Posters: Traveling Around Italy, 18951960, by Anna Villari & Dario Cimorelli. Milano: Silvana Editoriale, 2010.

Margadant

Das Schweizer plakat/The Swiss poster : 19001983, by Bruno Margadant. Basel : Birkhaus Verlag, 1983.

Margolin

American poster renaissance, by Victor Margolin. New York : Watson-Guptill Publications, 1975.

Martini & Rossi

Da Dudovich a Testa: L’Illustratione Pubblicitaria della Martini & Rossi. Lucca: Titania Edritice, 1996.

Marx Bonnard : lithographie, ed. by Claude Roger-Marx. Monte Carlo : Éditions du Livre, 1952.

Masters 1900

Masters of the poster 1900, by Alan Weill. Paris : Bibliothèque de l’Image, 2001.

Mauzan

The posters of Mauzan : a catalogue raisonné, by Mirande Carnévalé-Mauzan. Gières : Mirande Carnévalé-Mauzan, 2001.

McMullan 1

The Theater Posters of James McMullan. New York: Penguin Studio, 1998.

McMullan 2

James McMullan : Revealing Illustrations. New York : Watson-Guptill Publications, 1981.

McMullan 3

More McMullans : The Lincoln Center Theater Posters, by James McMullan. New York : Lincoln Center Theater, 2012.

Menegazzi-I

Il manifesto Italiano : 1882-1925, by Luigi Menegazzi. Milan : Electa Editrice, 1975.

Menegazzi-II

Il manifesto Italiano, by Luigi Menegazzi. Milan : Arnoldo Mondadori Arte, 1989 (revised edition).

Menegazzi-III

L’epoca d’oro del manifesti : 200 manifesti dal 1882 al 1925, by Luigi Menegazzi. Milan : Electa Editrice, 1977.

Menegazzi-IV

Il manifesto Italiano, by Luigi Menegazzi. Milano : Electa, 1995.

Mer s’Affiche

La mer s’affiche, by Daniel Hillion. Rennes : Editions Ouest-France, 1990.

Meunier

Georges Meunier : affichiste, 1869-1942. Paris : Société des Amis de la Bibliothèque Forney, 1978. Catalogue of the exhibition at Bibliothèque Fourney, Paris, May 25-July 1, 1978.

Michelin/LeCodiac

The Michelin Man : an unauthorized advertising showcase, by Rudy LeCodiac. Atglen, Penn. : Schiffer, 2005.

Modern Poster

The modern poster, by Stuart Wrede. New York : Museum of Modern Art, 1988. Catalogue of the exhibition at the Museum of Modern Art, New York, June 6-September 6, 1988.

Moderno Francés

El cartel moderno Francés : el espectáculo está enel calle : Colin, Carlu, Loupot, Cassandre, by Carlos Pérez. Madrid : MNCARS, 2001. Catalogue for the Colin, Carlu, Loupot and Cassandre exhibition at the Museo Nacional Centro de Arte Reina Sofia, Madrid, November 15, 2001-January 21, 2002.

Moeller

Plakate fur den blauen Dunst, by Magdelena M. Moeller. Dortmund : Harenberg Kommunikation, 1983.

Monaco

Gand Prix Automobile de Monaco posters : the complete collection: the art, the artists and the competition, by William W. Crouse. New York : Crouse, 2009.

Montagne

La montagne s’affiche, by Daniel Hillion. Rennes : Editions Ouest-France, 1991.

Mouron

A. M. Cassandre, by Henri Mouron. New York : Rizzoli, 1985.

Mucha/Art Nouveau

Alphonse Mucha : the spirit of art nouveau, by Victor Arwas, Jana A. Brabcová-Orlíková & Anna Dvorák. Alexandria, Va. : Art Servicse International, 1998. Catalogue of the traveling exhibition.

Mucha/Bridges

Alphonse Mucha : the complete graphic works, by Ann Bridges. London : Academy Editions, 1980.

Mucha/Paris

Mucha, 1860-1939 : peintures, illustrations, affiches, arts décoratifs. Paris : Editions des Musées Nationaux, 1980. Catalogue of the exhibition at the Grand Palais, Paris, held February 5-April 28, 1980.

Mucha/Postcards

Alphonse Mucha : all the postcards, by Alain Weill. Uppsala, Sweden : Hjert & Hjert, 1983.

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.

New York Wonder City of the World : New York City Travel Posters, by Nicholas D. Lowry. New York : Abrams Books, 2024.

Nizzoli

Marcello Nizzoli, by Germano Celant. Milano : Edizioni di Comunità, 1968.

Olympic Posters

A century of Olympic posters, by Margaret Timmers. London : V&A Publishing, 2008. Catalogue of the exhibition at the Victoria & Albert Museum, London.

PAI – Books of the auctions organized by Poster Auctions International, Inc.

PAI-I

Premier Posters. Auction held in New York City, March 9, 1985.

PAI-II

Prize Posters. Auction held in Chicago, November 10, 1985.

PAI-III

Poster lmpressions. Auction held in New York City, June 1, 1986.

PAI-IV

Prestige Posters. Auction held in New York City, May 3, 1987.

PAI-V

Poster Pizzazz. Auction held in Universal City, California, November 22, 1987.

PAI-VI

Poster Splendor. Auction held in New York City, May 1, 1988.

PAI-VII

Poster Potpourri. Auction held in New York City, November 13, 1988.

PAI-VIII

Poster Treasures. Auction held in New York City, May 7, 1989.

PAI-IX

Poster Palette. Auction held in New York City, November 12, 1989.

PAI-X

Elegant Posters. Auction held in New York City, May 20, 1990.

PAI-XI

Poster Passion. Auction held in New York City, November 11, 1990.

PAI-XII

Poster Panache. Auction held in New York City, May 5, 1991.

PAI XIII

Poster Jubilee. Auction held in New York City, November 10, 1991.

PAI-XIV

Poster Extravaganza. Auction held in New York City, May 3, 1992.

PAI XV

Rarest Posters. Auction held in New York City, November 8, 1992.

PAI-XVI

Poster Parade. Auction held in New York City, May 2. 1993.

PAI-XVII

Poster Classics. Auction held in New York City, November 14, 1993.

PAI-XVIII

Winning Posters. Auction held in New York City, May 1, 1994.

PAI-XIX

Prima Posters. Auction held in New York City, November 13, 1994.

PAI-XX

Poster Panorama. Auction held in New York City, May 7, 1995.

PAI-XXI

Timeless Posters. Auction held in New York City, November 12, 1995.

PAI - XXII

Positively Posters. Auction held in New York City, May 5, 1996.

PAI - XXIII

Poster Delights. Auction held in New York City, November 10, 1996.

PAI-XXIV

Poster Pleasures. Auction held in New York City, May 4, 1997.

PAI-XXV

Sterling Posters. Auction held in New York City, November 9, 1997.

PAI-XXVI

Postermania. Auction held in New York City, May 3, 1998.

PAI-XXVII

Poster Ecstasy. Auction held in New York City, November 8, 1998.

PAI-XXVIII

Poster Vogue. Auction held in New York City, May 2, 1999.

PAI-XXIX

Posters for the Millennium. Auction held in New York City, November 4, 1999.

PAI-XXX

Poster Allure. Auction held in New York City, May 7, 2000.

PAI-XXXI

Poster Power. Auction held in New York City, November 12, 2000.

PAI-XXXII

Dream Posters. Auction held in New York City, May 6, 2001.

PAI-XXXIII

Swank Posters. Auction held in New York City, November 11, 2001.

PAI-XXXIV

Poster Pride. Auction held in New York City, May 5, 2002.

PAI-XXXV

Posters Perform. Auction held in New York City, November 10, 2002.

PAI-XXXVI

Posters Persuasion. Auction held in New York City, May 4, 2003.

PAI-XXXVII

Poster Holiday/The Wright Stuff. Dual auction held in New York City, November 9, 2003.

PAI-XXXVIII

Poster Style. Auction held in New York City, May 2, 2004.

PAI-XXXIX

Poster Intoxication. Auction held in New York City, November 14, 2004.

PAI-XL

Posters Excel. Auction held in New York City, May 1, 2005.

PAI-XLI

Matchless Posters. Auction held in New York City, November 13, 2005.

PAI-XLII

Posters Charm. Auction held in New York City, May 7, 2006.

PAI-XLIII

Posters Va-Va-Voom. Auction held in New York City, November 12, 2006.

PAI-XLIV

Winning Posters. Auction held in New York City, May 6, 2007.

PAI-XLV

Top Posters. Auction held in New York City, November 11, 2007.

PAI-XLVI

Picture-Perfect Posters. Auction held in New York City, May 4, 2008.

PAI-XLVII

Posh Posters. Auction held in New York City, November 9, 2008.

PAI-XLVIII

Poster High. Auction held in New York City, May 3, 2009.

PAI-XLIX

Soaring Posters. Auction held in New York City, November 8, 2009.

PAI-L

Poster Celebration. Auction held in New York City, May 3, 2010.

PAI-LI

Rare Posters. Auction held in New York City, November 14, 2010.

PAI-LII

The Winter Sale. Auction held in New York City, February 13, 2011.

PAI-LIII

Rare Posters. Auction held in New York City, May 1, 2011.

PAI-LIV

Rare Posters. Auction held in New York City, September 8. 2011.

PAI-LV

Rare Posters. Auction held in New York City, November 13, 2011.

PAI-LVI

Food & Wine. Auction held in New York City, February 12, 2012.

PAI-LVII

Rare Posters. Auction held in New York City, May 6, 2012.

PAI-LVIII

American Posters. Auction held in New York City, September 6, 2012.

PAI-LIX

Rare Posters. Auction held in New York City, November 18, 2012.

PAI-LX

Rare Posters. Auction held in New York City, March 10, 2013.

PAI-LXI

Rare Posters. Auction held in New York City, September 12, 2013.

PAI-LXII

Rare Posters. Auction held in New York City, January 12, 2014.

PAI-LXIII

Rare Posters. Auction held in New York City, May 4, 2014.

PAI-LXIV

Rare Posters. Auction held in New York City, September 21, 2014.

PAI-LXV

Rare Posters. Auction held in New York City, January 25, 2015.

PAI-LXVI

Rare Posters. Auction held in New York City, May 3, 2015.

PAI-LXVII

Rare Posters. Auction held in New York City, October 11, 2015.

PAI-LXVIII

Rare Posters. Auction held in New York City, January 31, 2016.

PAI-LXIX

Rare Posters. Auction held in New York City, May 15, 2016.

PAI-LXX

Rare Posters. Auction held in New York City, October 30, 2016.

PAI-LXXI

Rare Posters. Auction held in New York City, March 12, 2017.

PAI-LXXII

Rare Posters. Auction held in New York City, June 22, 2017.

PAI-LXXIII

Rare Posters. Auction held in New York City, October 22, 2017.

PAI-LXXIV

Rare Posters. Auction held in New York City, February 25, 2018.

PAI-LXXV

Rare Posters. Auction held in New York City, June 26, 2018.

PAI-LXXVI

Rare Posters. Auction held in New York City, October 28, 2018.

PAI-LXXVII

Rare Posters. Auction held in New York City, February 24, 2019.

PAI-LXXVIII

Rare Posters. Auction held in New York City, June 23, 2019.

PAI-LXXIX

Rare Posters. Auction held in New York City, October 27, 2019.

PAI-LXXX

Rare Posters. Auction held in New York City, February 23, 2020.

PAI-LXXXI

Rare Posters. Auction held in New York City, July 21, 2020.

PAI-LXXXII

Rare Posters. Auction held in New York City, November 15, 2020.

PAI-LXXXIII

Rare Posters. Auction held in New York City, March 14, 2021.

PAI-LXXXIV

Rare Posters. Auction held in New York City, July 20, 2021.

PAI-LXXXV

Rare Posters. Auction held in New York City, November 14, 2021.

PAI-LXXXVI

Rare Posters. Auction held in New York City, March 20, 2022.

PAI-LXXXVII

Rare Posters. Auction held in New York City, July 12, 2022.

PAI-LXXXVIII

Rare Posters. Auction held in New York City, November 13, 2022.

PAI-LXXXIX

Rare Posters. Auction held in New York City, March 19, 2023.

PAI-XC

Rare Posters. Auction held in New York City, July 18, 2023.

PAI-XCI

Rare Posters. Auction held in New York City, November 12, 2023.

PAI-XCII

Rare Posters. Auction held in New York City, March 3, 2024.

Persuasive Images

Persuasive Images: Posters of War & Revolution, by Peter Paret, Beth Irwin Lewis, and Paul Poret. Princeton University Press, 2010.

Petite Reine

La petite reine : le vélo en affiches à la fin du XIXeme, by Réjane Bergiel. Paris : Musée de l’Affiche, 1979. Catalogue exhibition held at Musée de l’Affiche, Paris, May 31-September 23, 1979.

Plakat 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.

Pneu

Les 100 plus belles images du pneu, by Daniel Bordet & Jacques Dreux. Paris : Editions Debecom, 2003.

Posters of Paris

Posters of Paris : Toulouse-Lautrec & his contemporaries, by Mary Weaver Chapin. New York : Delmonico, 2012. Catalogue of the exhibition at the Milwaukee Art Museum, June 1-September 9, 2012.

Publicité

Affiches de la Publicité, by Emmanuel Lopez. Paris : Citadelles & Mazenod, 2013.

Pyrénées

Les Pyrénées s’affichent, by Jean-Loup Fricker & Philippe Tevranche. Toulouse : Edition Milan, 2004.

Rademacher

Masters of German art, by Hellmut Rademacher. New York : October House, 1966 (Original German edition published in 1965 by Edition Leipzig).

Rawls

Wake up, America : World War I and the American poster, by Walton Rawls. New York : Abbeville Press, 1988.

Reims

Exposition d’affiches artistiques Françaises et étrangères, modernes et retrospectives, by Alexandre Henriot. Reims : Impr. Coopérative de Reims, 1896. Catalogue of the exhibition at the Cirque De Reims, November 7-17, 1896. Reissued in a numbered edition of l,000 copies by the Musée de l’Affiche in 1980.

Rennert/Weill

Alphonse Mucha : the complete posters and panels, by Jack Rennert & Alain Weill. Boston : G. K. Hall, 1984.

Riccione

Capolavori Italiani nel manifesto liberty 1880 - 1918, by Jack Rennert. Milano : Arti Grafiche Ricordi, 1988. Catalogue of the exhibition at the Palazzo del Turismo, Riccione, July 16-August 21, 1988.

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.

Rockwell’s America

Norman Rockwell’s America, by Christopher Finch. New York : Harry N. Abrams, 1976.

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.

Saunders & Timmers

The Poster: A Visual History, by Gill Saunders and Margaret Timmers. New York : Thames & Hudson, 2020.

Schardt

Paris 1900, by Hermann Schardt. New York : Putnam’s Sons, 1970; reprinted New York : Portland House, 1987. (Originally published as Paris l900: Französiche plakatkunst, Stuttgart : Belser Verlag, 1968).

Schindler

Monografie des plakats, by Herbert Schindler. Munich : Süddeutscher Verlag, 1972.

Schip & Affiche

Schip & affiche : honderd jaar rederijreclame in Nederland/100 years of Dutch ship posters, by Tanja de Boer. Rotterdam : Maritime Museum Prins Hendrick, 1987.

Schnackenberg

Schnackenberg : kostüme, plakate und dekorationen, by Oskar Bie. Munich : Musarion Verlag, 1920.

Schweizer Hotel

Schweizer Hotelplakate : 1875-1982, by Karl Wobmann. Luzern : Biregg Verlag, 1982.

Shackleton

The golden age of the railway poster, by J. T. Shackleton. Secaucus, N.J. : Chartwell, 1976.

Shahn

The complete graphic works of Ben Shahn, by Kenneth W. Prescott. New York : Quadrangle/New York Times Book Co., 1973.

Shahn/Hiroshima

Ben Shahn. Hiroshima : Hiroshima Prefectural Museum of Art, 1970. Catalogue of the exhibition at the Hiroshima Prefectural Museum of Art, September 19-October 4, 1970.

Shahn/Morse

Ben Shahn, ed. By John D. Morse. New York : Praeger, 1972.

Shahn/Pohl

Ben Shahn, by Frances Kathryn Pohl. New York : Chameleon Books, 1993.

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.

Sparrow

Advertising and British art, by Walter Shaw Sparrow. London : John Land/The Bodley Head, 1924.

Sportissimo

Sportissimo : cent ans de grandes et petites histoires du sport, by Françoise Laget & Serge Laget. Paris : Editions du Chêne, 1996.

Successive Olympic

Successive Olympic Posters Collection, Miche Couason (collector). Quigdao Publishing House, 2008.

Swiss Sport

Swiss sport posters : historical view of the best Swiss competition posters, by Karl Wobmann & Max Triet. Zurich : ABC Verlag, 1983.

Takashimaya

The poster : 1865-1969. Tokyo : Nihon Terebi Hosomo Kabushiki Kaisha, 1985. Catalogue of the exhibition largely of posters from the Deutsches Plakat Museum of Essen, Germany, at the Takashimaya Art Gallery, Nihonbashi, Tokyo, April 18-May 7, 1985.

Theaterplakate

Theaterplakate : ein internationaler historischer uberblick, by Hellmut Rademacher. Leipzig : Edition Leipzig, 1990.

Theofiles

American posters of World War I, by George Theofiles. Dafran House, New York.

Timeless Images

Timeless images, by Jack Rennert. Tokyo : Isetan Museum of Art, 1984. Catalogue of the exhibition at the Isetan Museum of Art, Tokyo, October 1023, 1984.

Toujours Plus Haut

Toujours plus haut : affiches aviation, by FrançoisRégis Gastou & Laurence Berasategui-Couranjou. Paris : Chorus, 2004. Catalogue of the aviation poster exhibitions at the Centre de l’Affiche, Toulouse, France, Spetember 2004-August 2005.

Tourism/Suntory

Tourism in posters, by Keiko Ueki, Alain Weill & Yukie Takeuchi. Osaka : Suntor Museum, 1997. Catalogue of the exhibition at the Suntory Museum, Osaka, September 10-October 26, 1997.

Train/Favre

Le train s’affiche, by Thierry Favre. Paris : La Vie du Rail, 2005.

Travel by Train

Travel by train : the American railroad poster, 1870-1950, by Michael E. Zega & John E. Gruber. Bloomington : Indiana University Press, 2002.

Ungerer/All in One

Tomi Ungerer : All in One, ed. by Margaret Sundell. Minneapolis : BookMobile, 2015. Catalogue of the exhibition at The Drawing Center, New York, January 16-March 22, 2015.

Ungerer Exhibitions

Tomi Ungerer : ausstellung/exposition/exhibition, by Jean Favière, Christine Hamm & Sylvie Erb. Köln, Germany : Argo Press, 1981.

Ungerer Musée

Musée Tomi Ungerer : la collection, by Thérèse Willer & Claire Hirner. Strasbourg : Musées de Strasbourg, 2007.

Ungerer Posters

The poster art of Tomi Ungerer, by Jack Rennert. Greenwich, Conn. : Darien House/New York Graphic Society, 1971.

Ungerer/Willer

Tomi Ungerer : graphic art, by Thérèse Willer. Strasbourg, Éditions du Rocher, 2011.

V & A

The power of the poster, by Margaret Timmer. London : V & A, 1998. Catalogue of the exhibition at the Victoria & Albert Museum, London, April 2-July 26, 1998.

Villemot

Les affiches de Villemot, by Jean François Bazin. Paris : Denoël, 1985.

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.

Warhol Posters

Andy Warhol: The Complete Commissioned Posters, 1964-1987, by Paul Maréchal. Munich: Presetel Verlag, 2014.

Weill

The poster : a worldwide survey and history, by Alain Weill. Boston : G.K. Hall, 1985.

Weill/Art Nouveau

The Art Nouveau Poster, by Alain Weill. Francis Lincoln Limited, 2015.

Weill/Art Deco

L’Affiche Art Deco, by Alain Weill. Paris: Editions Hogan, 2013.

Wember

Die jugend der plakate : 1887-1917, by Paul Wember. Krefeld : Scherpe Verlag, 1961.

Wine Spectator

Posters of the Belle Epoque : the Wine Spectator collection, by Jack Rennert. New York : The Wine Spectator Press, 1990.

Wittrock

Toulouse-Lautrec : the complete prints, by Wolfgang Wittrock. London : Sotheby’s, 1985.

Wobmann

Touristikplakate der Schweiz/Tourist posters of Switzerland, by Karl Wobmann & Willy Rotzler. Aarau : AT Verlag, 1980.

Word & Image

Word and image : posters from the collection of the Museum of Modern Art, by Mildred Constantine & Alan Maxwell Fern. New York : New York Graphic Society & the Museum of Modern Art, 1968. Catalogue of the exhibition at the Museum of Modern Art, New York, January 25-March 10-1968.

d’Ylen

Jean d’Ylen, by Anne-Claude Lelieur. Paris : Bibliothèque Forney, 1980. Catalogue of the exhibition at the Bibliothèque Forney, Paris, April 18-June 28, 1980.

Yokoo/Graphic Works

Tadanori Yokoo : all about Tadanori Yokoo and his graphic work. Tokyo : Kodansha, 1989.

Yokoo/Paris

Tadanori Yokoo. Paris : UCAD, 1983. Catalogue of the exhibition at the Musée de la Publicité, Paris, October 26, 1983-January 16, 1984.

Yokoo’s Posters

Tadanori Yokoo’s posters : IDEA special issue. September 1994 special issue of IDEA Magazine, Tokyo.

CONDITIONS OF SALE

The Conditions of Sale in this catalogue, as it may be amended by any posted notice during the sale, constitutes the complete terms and conditions under which the items listed in this catalogue will be offered for sale. Please note that the items will be offered by us as agent for the consignor.

Every potential buyer should read these Conditions of Sale and it will be agreed, acknowledged and understood by such buyer that said buyer has consented to each and every term and condition as set forth herein.

1. Authenticity and Terms of Guarantee.

For a period of five years from the date of this sale, Poster Auctions International, as agent, warrants the authenticity of authorship of all lots contained in this catalogue as described in the text accompanying each lot.

This warranty and guarantee is made only within the five year period and only to the original buyer of record who returns the purchased lot in the same condition as when sold to said buyer; and, it is established beyond doubt that the identification of authorship, as set forth in the description in this catalogue as may have been amended by any posted signs or oral declarations during the sale, is not correct based on a reasonable reading of the catalogue and the Conditions of Sale herein. Any dispute arising under the terms in this paragraph will be resolved pursuant to final and binding arbitration at the American Arbitration Association.

Upon a finding by an Arbitrator in favor of buyer, the sale will be rescinded and the original purchase price, including the buyers premium, will be refunded. In such case, Poster Auctions International and the purchaser shall be deemed released of any and all claims that each may otherwise have had against the other arising out of the sale of such item.

The benefits of any warranty granted herein are personal to the buyer and are not assignable or transferable to any other person, whether by operation of law or otherwise. Any assignment or transfer of any such warranty shall be void and unenforceable. The purchaser refers only to the original buyer of the lot from Poster Auctions International and not any subsequent owner, assignee, or other person who may have or acquire an interest therein.

It is understood, in the event of disputed authenticity of authorship of any lot results in a rescission of the sale and restitution of the original price and premium paid by such purchaser, stated aforesaid, such restitution is buyer’s sole remedy and Poster Auctions International disclaims all liability for any damages, incidental, consequential or otherwise, arising out of or in connection with any sale to the buyer.

Poster Auctions International has provided as much background information for each item listed in this catalogue as possible and has made reasonable efforts to insure the accuracy of the descriptions provided; but Poster Auctions International disclaims any warranty with regard to such descriptions and statements which accompany the listings in this catalogue, including but not limited to, the year of publication, the size, the condition, the printer, the references or any other background information or fact. Accordingly, buyer has due notice that any such information and/or descriptions cannot and will not be considered as material facts to this transaction and will not affect any sales herein.

On the fall of the gavel, THE

SALE IS FINAL.

All items are sold AS IS.

The consignor warrants good title to the buyer. Poster Auctions International and the consignor make no representations or warranty that the buyer acquires any reproduction rights or copyright in items bought at this sale.

Any statements made by Poster Auctions International, whether in this catalogue or by its officers, agents or employees, whether oral or written, are statements of opinion only and not warranties or representations of material facts as to each and every transaction herein.

2. Auctioneer’s Discretions.

Poster Auctions International has absolute discretion to divide any lot, to combine any of them, to withdraw any lot, to refuse bids and to regulate the bidding. Poster Auctions International reserves the right to withdraw lots at any time prior to or during the sale. The highest bidder acknowledged by the auctioneer will be the purchaser of the lot. Any advance made on an opening bid may be rejected if the auctioneer deems it inadequate. In the event of any dispute between bidders, or in the event of doubt as to the validity of any bid, the auctioneer shall have the final decision either to determine the successful bidder or to re-offer and re-sell the lot in dispute. If any dispute arises after the sale, the auctioneer’s sale record shall be deemed the sole and conclusive evidence as to the purchaser of any lot or item.

3. Transfer of title and property.

Upon the fall of the auctioneer’s hammer, title to the offered lot shall pass to the highest bidder, who may be required to sign a confirmation of purchase; and, shall be required to pay the full purchase price. The purchaser shall assume full risk and responsibility for the lot purchased upon the fall of the auctioneer’s hammer. Poster Auctions International, at its option, may withhold delivery of the lots until funds represented by check have been collected or the authenticity of bank or cashier checks has been determined. No purchase shall be claimed or removed until the conclusion of the sale. In the event Poster Auctions International shall, for any reason whatsoever, be unable to deliver the lots purchased by the buyer, its liability shall be solely limited to the rescission of the sale and refund of the purchase price and purchaser’s premium.

Poster Auctions International disclaims all liability for damages, incidental, consequential or otherwise, arising out of its failure to deliver any lots purchased. Poster Auctions International does not charge extra or sell separately any frame if a poster is so offered; but it is clear that it is the poster and not the frame which is being offered for sale. Poster Auctions International shall not be responsible for any damage to the frame or to any poster within the frame. Generally, framed posters offered for sale were received framed, photographed that way, and Poster Auctions International can make no warranty or representations regarding the condition of the poster in unseen areas of any such frame. All items are sold strictly as is and the purchaser assumes full risk and responsibility for the purchased lot upon the fall of the hammer, as stated aforesaid.

All lots shall be paid for and removed at the purchaser’s risk and expense by noon of the second business day following the sale. Lots not so removed will, at the sole option of Poster Auctions International and at purchaser’s risk and expense, be stored at Poster Auctions International’s office or warehouse or delivered to a licensed warehouse for storage. Purchaser agrees, in either event, to pay all shipping, handling and storage fees incurred. In the case of lots stored at Poster Auctions International’s own warehouse, the handling and storage fee will be an amount equal to 2% of the purchase price for each such lot, per month, until removed, with a minimum charge of 5% for any property not removed within thirty days from the date of the sale.

In addition, Poster Auctions International shall impose a late charge, calculated at the rate of 2% of the total purchase price per month, if payment has not been made in accordance with these Conditions of Sale.

Poster Auctions International may, on the day following the sale, remove all unclaimed items in their offices or warehouse.

Unless purchaser notifies Poster Auctions International to the contrary, purchaser agrees that Poster Auctions International may, at its discretion, use purchaser’s name as buyer of the item sold. If the purchaser fails to comply with one or more of these Conditions of Sale, then, in addition to any and all other remedies which it may have at law or in equity, Poster Auctions International may, at its sole option, cancel the sale without notice to the buyer. In such event, Poster Auctions International shall retain as liquidated damages all payments made by the purchaser, or sell the item and/or lots and all other property of the purchaser held by Poster Auctions International, without notice. Such liquidation sale shall be at standard commission rates, without any reserve. The proceeds of such sale or sales shall be applied first to the satisfaction of any damages occasioned by the purchaser’s breach, and then to the payment of any other indebtedness owing to Poster Auctions International, including, without limitation, commissions, handling charges, the expenses of both sales, reasonable attorneys fees, collection agency fees, and any other costs or expenses incurred thereunder. The purchaser here by waives all the requirements of notice, advertisement and disposition of proceeds required by law, including those set forth in New York Lien Law, Article 9, Sections 200-204 inclusive, or any successor statue, with respect to any sale pursuant to this section.

4. Buyer’s Premium.

A premium of 25% (28% for online bidding through Invaluable / Auction Zip; 29% for Live Auctioneers) will be added to the successful bid price of all items sold by Poster Auctions International. This premium shall be paid by all purchasers, without exception.

5. Order Bids.

Poster Auctions International shall make reasonable efforts to execute bids for those not able to attend the auction; and act on the prospective purchaser’s behalf to attempt to purchase the item desired at the lowest price possible, up to the limit indicated by purchaser in writing as if the purchaser were in attendance. Poster Auctions International shall not be responsible for any errors or omissions in this matter. Poster Auctions International reserves the right not to bid for any such purchaser if the order is not clear; does not arrive in sufficient time; the credit of the purchaser is not established prior to the sale; or, for any other reason in its sole discretion. An Order Bid Form shall be provided on request.

6. Sales Tax.

Unless exempt by law, prior to taking possession of the lot, the purchaser shall be required to pay the combined New York State and local sales tax, or any applicable compensating tax of another state, on the total purchase price.

7. Packing and shipping.

Packing and/or handling of purchased lots by Posters Auctions International is performed solely as a courtesy for the convenience of purchasers. Unless otherwise directed by purchaser, packing and handling shall be undertaken at the sole discretion of Poster Auctions International. Poster Auctions International, at its sole discretion as agent of the purchaser, shall instruct an outside contractor to act on its behalf and arrange for or otherwise transport purchased lots. Charges for packing, handling, insurance and freight are payable by the purchaser. Poster Auctions International shall make reasonable efforts to handle purchases with care, but assumes no responsibility for damage of any kind. Poster Auctions International disclaims all liability for loss, or damages of any kind, arising out of or in connection with the packing, handling or transportation of any lots/ items purchased.

8. Reserves.

All lots are subject to a reserve, which is the confidential minimum below which the lot will not be sold. Poster Auctions International may implement the reserve by bidding on behalf of the consignor. The consignor shall not bid on consignor’s property.

Description of the Posters

I. Artist’s name.

Unless otherwise indicated, the artist’s name, mark or initials that appear on the poster.

2. Year of the Poster.

The year given is that of the publication of the poster, not necessarily the date of the event publicized or the year that art for it was rendered.

3. Size.

Size is given in inches first, then centimeters, width preceding height. Size is for entire sheet, not just the image area.

4. Printer.

Unless otherwise indicated, the name of the printer is that which appears on the face of the poster. It should be kept in mind that frequently the establishment credited on the poster is, in fact, an agency, studio or publisher.

5. Condition of the Poster.

We have attempted a simplified rating of all the posters in this sale. It should be kept in mind that we are dealing, in many cases, with 50 to 100-year-old advertising paper. The standards of the print collector cannot be used. Prints were, for the most part, done in small format, on fine paper, and meant to be immediately framed or stored in a print sleeve or cabinet. A poster, for the most part, was printed in a large format, on the cheapest possible paper, and was meant to last about eight weeks on the billboards.

Most important to the condition of a poster — not eight weeks but often eighty years later—is the image of the poster: is that image (the lines, the colors, the overall design) still clearly expressed? If so, it is a poster worth collecting.

While details of each poster’s condition are given as completely and accurately as possible, blemishes, tears or restorations which do not detract from the basic image and impact should not seriously impair value.

All posters are lined, whether on linen or japan paper, unless otherwise indicated. But please note that posters received in frames are not inspected out of their frames and therefore no warranty can be made about them.

All photos are of the actual poster being offered for sale. A close look at the photo and a reading of the text should enable the buyer who cannot personally examine the item to make an intelligent appraisal of it.

9. Notices and jurisdiction.

(a) All communications and notices hereunder shall be in writing and shall be deemed to have been duly given if delivered personally to an officer of PAI or if sent by United States registered mail or certified, postage prepaid, addressed as follows:

From: Poster Auctions International To: (Seller)

From: (Seller) To: Poster Auctions International 26 W. 17th Street New York, New York 10011

or to such other address as either party hereto may have designated to the other by written notice.

(b) These Conditions of Sale contain the entire understandings between the parties and may not be changed in any way except in writing duly executed by PAI and buyer.

(c) These Conditions of Sale shall be construed and enforced in accordance with the laws of the State of New York.

(d) No waiver shall be deemed to be made by any party hereto of any rights hereunder, unless the same shall be in writing and each waiver, if any, shall be a waiver only with respect to the specific instance involved and shall in no way impair the rights of the waiving party or the obligations of the other party in any other respect at any other time.

(e) The provisions of these Conditions of Sale shall be binding upon and inure to the benefit of the respective heirs, legatees, personal representatives and successors and assigns of the parties hereto.

(f) The Conditions of Sale are not assignable by either party without written permission of the other party; any attempt to assign any rights, duties or obligations which arise under these Conditions without such permission will be void.

The following ratings have been used:

Cond A Designates a poster in very fine condition. The colors are fresh; no paper loss. There may be some slight blemish or tear, but this is very marginal and not noticeable. A+ is a flawless example of a poster rarely seen in such fine condition. A– indicates there may be some slight dirt, fold, tear or bubble or other minor restoration, but most unobtrusive.

Cond B Designates a poster in good condition. There may be some slight paper loss, but not in the image or in any crucial design area. If some restoration, it is not immediately evident. The lines and colors are good, although paper may have yellowed (light-stained). B+ designates a poster in very good condition. B– is one in fairly good condition. The latter determination may be caused by heavier than normal light-staining or one or two noticeable repairs.

Cond C Designates a poster in fair condition. The light-staining may be more pronounced, restorations, folds or flaking are more readily visible, and possibly some minor paper loss occurs. But the poster is otherwise intact, the image clear, and the colors, though possibly faded, still faithful to the artist’s intent.

Cond D Designates a poster in bad condition. A good part of such poster may be missing, including some crucial image area; colors and lines so marred that a true appreciation of the artist’s intent is difficult, if not impossible. There are no D posters in this sale!

The above condition ratings are solely the opinion of Poster Auctions International, and are presented only as an aid to the public. Prospective purchasers are expected to have satisfied themselves as to the condition of the posters. Any discrepancy relating to the condition of a poster shall not be considered grounds for the cancellation of a sale.

Some other notes and designations relating to the condition of a poster:

Framed Where a poster is framed, this is indicated. In many cases, we have photographed the poster in the frame and the dimensions given are those which are visible within the matting or edges of the frame.

Paper All posters in this sale are linen- or japan-backed unless the designation “P” appears.

6. Bibliography.

An abbreviation for each reference (Ref) is given and can be found in the complete Bibliography. The reference is almost always to a reproduction of that poster. If a “p.” precedes it, it means the reproduction or reference is on that page; if number only, it refers to a poster or plate number. Every effort has been made to refer to books that are authoritative and/or easily accessible.

7. Pre-Sale Estimate.

These estimates are guides for prospective bidders and should not be relied upon as representations or predictions of actual selling prices. They are simply our best judgment of the fair market value of that particular poster in that condition on the date it was written.

Poster Auctions International, Inc.

Absentee Bid Form

PAI-XCIII: 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.

The purchase price will be the total of the final bid and a premium of 25% of the final bid together with any applicable sales tax. Unsuccessful bidders will not be informed but may telephone for sales results.

START BIDDING NOW

JOIN OUR AUCTION FROM ANYWHERE IN THE WORLD THROUGH THESE OPTIONS:

LIVE BIDDING

Join us in person on auction day. You may register for a paddle with our staff at any point during the sale. The buyer's premium is 25%.

ONLINE BIDDING

Bid now and on auction day through our site: visit posterauctions.com and click Register to Bid. Or download our app—Poster Auctions International is available for Apple iOS and Android. To bid on either platform, you must register a credit card; please be sure to do this before the live auction.

On auction day, follow the Live Auction link on our website to begin bidding—and remember to confirm your bid.

We recommend using our platforms for a lower buyer’s premium (25%), but you may also bid through Invaluable and AuctionZip (28%).

ABSENTEE & TELEPHONE BIDDING

Complete the form on page 187 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 July 11. When your lot comes up, one of our staff members will call you and execute your bids on your behalf.

The buyer's premium for both is 25%.

SEND US THE COMPLETED FORM

Email: info@posterauctions.com

Fax: 212-604-9175

Mail: 26 W. 17th St. NY, NY 10011. It should arrive by Wednesday, July 10.

Or call Terry Shargel to register at 212-787-4000.

BID WITH CONFIDENCE — EVEN IF YOU CANNOT ATTEND

We recommend all participants familiarize themselves with the Conditions of Sale before auction day: see page 185

Beginning at 11am EDT on auction day, you’ll be able to access a live video feed at posterauctions.com