PAI-LXXXIX: Rare Posters

PRESENTS

SUNDAY, MARCH 19 , 2023 AT 11 AM EDT

VIEWING: FEB 24-MARCH 18 (DAILY 11 - 6 )

TO BE HELD LIVE AND ONLINE AT

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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.

ACKNOWLEDGMENTS

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

First and foremost, our thanks to the 96 consignors in 19 states and 10 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 McCobb was in charge of production and design. Helping with many of the administrative aspects were Ms. Julie Press, Mr. Xavier Serbones, Mr. Angel Caraballo, and Mr. Oliver James L’EROE. And, as always, I benefit immensely from the support of Barbara Rennert, the director of the Poster Photo Archive.

I would also like to thank Ms. Tomoko Sato, Mr. Pierre Cappiello, and Ms. Mireille Romand for their assistance with research.

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, Mr. Rich Nesbit, Mr. Tim Matthews, Mr. Dave Small, and Mr. Carlos Luna.

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

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ISBN: 978-1-929530-74-8

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OUR NEXT SALE

We are pleased to announce that the PAI-XC sale will be held in July, 2023 Consignments are accepted until April 30, 2023

AUTOMOBILES

1. Auto Barré. ca. 1903.

Artist: Marcellin Auzolle (1862-1942)

63 1⁄ 2 x 47 1⁄4 in./161.4 x 120 cm

Imp. Th. Dupuy, Paris Cond B+/Slight tears at folds.

Ref: Auto Show III, 22; Gold, 76; PAI-XLII, 7

“The two women have just passed a string of other automobiles, and one of them can’t resist bragging about their vehicle’s superiority with a sassy, surprising thumbing of her nose. The poster not only implies that women should take up motoring, but also shows how the freedom of the road may lead them to break some of the shackles of the era’s propriety. It’s hard to tell what astounds the gathered villagers most: the women’s beauty, their nerve, or their ramshackle contraption” (Gold, p. 55). The thumbing of the nose and other gesticular insults appear to have been a trademark of the automobile company: another design by Walter Thor shows a quartet of drivers displaying identical behavior towards an exasperated road repair crew ( see PAI-LXXXVII, 8). Auzolle remains someone of whom we know little. The Bibliothèque Nationale has 34 of his posters dating from 1898 to 1927, but they’re missing his best-known work: the 1895 poster announcing the opening of the world’s first movie house, the Lumière Brothers’ cinématographe ( see PAI-V, 7).

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

4

2. Motricine. ca. 1901.

Artist: J. L. Lesourd

38 x 53 3⁄4 in./96.5 x 136.6 cm

Imp. Courmont Frères, Paris

Cond A.

Ref: Gold, 25 (var); Collectionneur, p. 235; PAI-LI, 388 (var)

“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: $3,000-$4,000.

3. Züst-Automobil Ausstellung. 1907.

Artist: Olaf Gulbransson (1873-1958)

32 1⁄4 x 32 1⁄ 2 in./82 x 82.3 cm

Cond B+/Slight tears at folds.

Ref: DFP-III, 1122; Internationale Plakate, 193; Plakate München, 166

Züst was an Italian car manufacturer launched by Robert Züst of Switzerland. They modeled their early automobiles after Mercedes; they then produced trucks and ambulances for the Italian military during World War I. But Gulbransson allows us to relish in the pure joy of an afternoon car ride—an experience as unencumbered as the rural European landscape trailing off in the distance. Gulbransson, a contemporary of Thomas Theodor Heine and contributor to Simplicissimus , understood well that emotion and information can be clearly expressed with simple graphics and a focused hand.

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

4. Safir. 1907.

Artist: Burkhard Mangold (1873-1950)

32 3 4 x 43 3⁄4 in./83.2 x 111 cm

J.E. Wolfensberger, Zürich

Cond A-/Slight tears at edges. Framed.

Ref: Mangold, cover & 90; PAI-LXXXVII, 13

Without a doubt, this is one of Mangold’s finest designs: it brilliantly exemplifies the dark fantasies of power, speed, and sexuality so often associated with the car industry. Founded in 1906, SAFIR was a shortened version of the Swiss Automobile Factory. While the poster is extraordinary, the company itself only stayed in production through 1910, with only a few dozen cars ever produced under its name. Rare!

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

5. Automobiles D.F.P. ca. 1910.

Artist: Giber

31 1⁄4 x 46 1⁄4 in./79.5 x 117.5 cm

L’Auto Catalogue, Paris

Cond B+/Restored tears at folds.

The founders of Doriot, Flandrin & Parant had previously worked for Peugeot and Clément-Bayard before launching their own company that produced a single cylinder light car. Eventually four-cylinder models were added, and they began making their own engines in 1912. Here, an example of one of their models is compared to the speed and agility of a greyhound. Rare!

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

6. Robbialac.

Artist: M. Giraldy

46 1⁄ 2 x 62 1⁄4 in./118 x 158 cm

Publicité Vox, Paris

Cond B/Restored tears at folds.

This enamel paint is so easy to use that even a child can do it. Robbialac is even powerful enough to be used on bicycles, motorcycles, and cars. Please note: the artist’s name has not been confirmed. Rare!

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

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

7. Renault.

Artist: Anonymous

45 5 8 x 61 3⁄4 in./116 x 156.7 cm

Imp. Pierre Lafitte, Paris

Cond B+/Slight tears at folds.

Ref: Automobile/Lopez, p. 46; PAI-LXXXVII, 20

If it weren’t for the French printer, this could almost be a poster by Penfield. There’s a quiet stateliness to this poster for Renault, which is conveyed by the inset frame, the two greyhounds on the lawn, the flowering groves in the background, and the lady alighting while her driver is waiting. It gracefully hints at the social stratum Renault is trying to persuade, but without overstatement. This is the larger format.

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

8. Prowodnik-Pneu Columb. 1914.

Artist: Max Schwarzer (1882-1955)

35 1⁄4 x 49 in./89.7 x 124.4 cm

Vereinigte Druckereien, München

Cond A-/Unobtrusive folds.

Ref: DFP-III, 3071; Discount, p. 131; Pneu, p. 54; PAI-LXXXVIII, 69

This effective design comes from one of the members of the Munich artists’ group “Die Sechs,” an influential graphic studio of its era. Note how the gray of the tires contrasts with the splashes of red and is punctuated by the motorist’s stark black coat.

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

9. Bignan. 1921.

Artist: Joë Bridge (Jean Barrez, 1886-1967)

47 3 4 x 62 3⁄4 in./121.5 x 159.5 cm

Publicité Joë Bridge, Paris

Cond A.

Ref: PAI-LXXVIII, 53

“Bignan has wings,” and thus the stork-borne Bignan soars over the Strasbourg Cathedral in this very rare image from Joë Bridge, who specialized in auto posters. Bignan produced “torpedo-bodied” autos from 1919 to 1931 in Courbevoie, just outside central Paris.

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

10

10. Shell / Mr. Wiseman : 14 Posters. 1925.

Artist: Henry Mayo Bateman (1887-1970)

Each approximately: 29 1⁄ 2 x 34 in./75 x 86.3 cm Cond B+/Slight tears and stains at edges on a few.

Ref: Shell, 5; Shell Art & Advertising, p. 56

Born in Australia, Bateman grew up in London, where he would become one of the most “English” of the early 20th century British illustrators. He began working for Shell in 1920; in 1925, his “Mr. Wiseman” series was the chosen winner of an advertising competition held by Shell and the Daily Express . Each image pairs a word with Bateman’s typical cheeky imagery, such as “Concentration,” in which a driver is so focused on refilling his tank that he doesn’t notice the gas thief behind him—and “Accumulation,” which shows a very pleased older gent with his gigantic stash of Shell Motor Spirit. This is the only known complete set—rare!

Est: $12,000-$15,000. (14)

11. Bugatti. 1930.

Artist: René Vincent (1879-1936)

39 1⁄ 2 x 55 1⁄4 in./100.7 x 140.3 cm

Imp. Joseph Charles, Paris Cond A.

Ref: Auto Show 1, 69; Die Bugattis, p. 408; Khachadourian, p. 71; Crouse/Deco, p. 35; Automobile/Lopez, p. 81; PAI-LXX, 75

As both Bugatti and René Vincent were known for their respective elegance and style, this poster serves as a perfect marriage between artist and subject. Set against a simple Deco backdrop, this T46 model oozes class and sophistication while it hovers above the brand’s name.

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

12. Dunlop. 1930.

Artist: Pierre-Charles Delarue-Nouvellière (1889-1973)

29 7⁄ 8 x 46 in./76 x 117 cm

Imp. J. Herbert, Paris

Cond B+/Slight tears and creases.

Ref (all var but PAI): Discount, p. 186; Pneu, 64; Karcher, 337; Graphicar, p. 153; PAI-LXXX, 189 “Delarue-Nouvellière created several advertisements for Dunlop. Here he renders a cut-away view of the Dunlop Balloon tire. The jaunty race-car driver smiles from his Bugatti, obviously pleased with his durable Dunlop tires, which have been engineered to withstand the sharp rocks strewn on the roadway” (Discount, p. 186). This printing has vivid colors!

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

13. Berliet / La 9CV. 1931.

Artist: Jean d’Ylen (1866-1938)

78 3⁄ 8 x 92 1⁄4 in./199 x 234.3 cm

Imp. P. Vercasson, Paris

Cond A.

Ref: d’Ylen, 7 (var); PAI-XXV, 60 This is the three-sheet version of the poster for one of the French prestige cars of the 1930s. D’Ylen was a posterist of the Cappiello school, and created startling, effusive designs that exaggerate dimension and movement. It’s interesting to see what he did when constrained by the dignified image of the car: he simply indulged his passion in the allegorical figure in the background. The brand had a slow start: Marius Berliet of Lyon built his first car in a small workshop in 1895, and in his fifth year of operation sold only six cars. But in 1901, he merged with another firm and started building larger cars in the Mercedes style, and the Berliet was on its way. Rare!

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

14. Monaco Grand Prix 1932.

Artist: Robert Falcucci (1900-1989)

31 3⁄ 8 x 47 1⁄ 2 in./79.7 x 120.5 cm

Imp. Monégasque, Monte-Carlo

Cond B-/Recreated text at bottom. Framed.

Ref: Automobile/Lopez, p. 117; Affiches Automobiles, p. 48; Monaco, p. 23; PAI-LXXXVI, 38

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.

15. Monaco Grand Prix 1933.

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

30 7⁄ 8 x 47 in./78.5 x 119.3 cm

Imp. Monégasque, Monte-Carlo

Cond A-/Unobtrusive folds; slight stains at edges. Framed.

Ref: Monaco, p. 25; Affiches Automobiles, p. 51; Deco Affiches, p. 83; Affiches Azur, 333; Affiches Riviera, 259; Auto s’Affiche, p. 143; PAI-LVII, 3

The 1933 Monaco Grand Prix introduced the new policy of determining one’s starting position by practice times rather than randomly by lot. This was also the year when Enzo Ferrari set up what is considered to be the most distinguished team in Grand Prix history: the Alfa Romeo group. And while Achille Varzi still took first place in a Bugatti, the next four places were won by Alfa Romeo. Design-wise, this is Ham’s first poster for the Monaco Grand Prix, and it’s “a perfect example of the Art Deco style favored by such famous poster artists of the 1920s and ’30s as A. M. Cassandre, Charles Loupot, Paul Colin and Jean Carlu. To accentuate the speed of the race, he set his scene at a spectacular road-level perspective, placing the viewer only a few yards behind a speeding ‘French Blue’ Bugatti just exiting the tunnel a few lengths behind a red Alfa Romeo... Hamel, who signed all his works as ‘Geo Ham,’ designed all six of the famous, beautiful and rare Grand Prix de Monaco posters from 1933 to 1948” (Crouse, p. 24).

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

16. Monaco / 22 Avril 1935.

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

31 x 46 1 2 in./78.6 x 118.2 cm

Imp. Monégasque, Monte-Carlo

Cond A.

Ref: Monaco, p. 29; Affiches Riviera, 260; PAI-LXVII, 84

With the Nazi regime fully in control of Germany, the Mercedes-Benz team arrived with the most powerful cars ever used in Grand Prix history and easily won first prize. With Italian driver Luigi Fazioli at the wheel, the 3.99-liter Mercedes W25 model led from start to finish, and was never seriously challenged by the three Alfa Romeos and the Maserati that took the next four spots. In the poster, Ham puts us right in the action with a glittering background of sundrenched Monte Carlo.

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

17

17. Shell. 1934.

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

23 1⁄4 x 31 1⁄4 in./59 x 79.3 cm

Imp. Max. Courteau, Paris

Cond A.

Ref: PAI-LXII, 423 (var)

Known for his automobile images, it seems only natural that Ham would also be asked to produce advertisements for gasoline and oil companies. Unlike the previously seen variant, this one indicates that Shell “won” four Grand Prixs thanks to its lubricant, which was provided to the top three winners.

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

18. Chevrolet / Master Deluxe : 3 Posters. ca. 1935.

Artist: Anonymous

Each: 37 1⁄ 8 x 25 in./94.3 x 63.5 cm

Cond B+/Slight creases.

Manufactured between 1933 and 1942, the Chevrolet Master Deluxe series provided a more luxurious option at a higher price point. Here, an anonymous designer uses proto-psychedelic swirls to highlight three of the newest models available.

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

19. Smokers Prefer Shell. 1936.

Artist: Charles Shaw (1892-1974)

44 7⁄ 8 x 30 in./114 x 76.2 cm

The Baynard Press, London

Cond B+/Slight tears and stains, largely at edges.

Ref: PAI-XLVI, 524

Smokers may in fact prefer Shell, but let’s hope that they don’t indulge in their habit of choice too close to the pump. The foreground is a classic object poster, but the treatment of the background harks back to Cubism, creating an almost surreal overall impression. Little is known of this American artist who did have a oneman show in London in 1936, the year of this poster’s publication. It’s surely one of the best of the Shell series.

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

20. Dodge Kingsway. 1953.

Artist: Anonymous

50 x 38 1⁄4 in./127 x 97.2 cm

Yonwy Litho., USA

Cond A.

The Dodge Kingsway was manufactured in both Detroit, Michigan and Ontario, Canada, but was intended purely for use in international markets. On the market from 1940 to 1960, the Kingsway was one of the more affordable options from Dodge.

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

BICYCLES

21A. Cycles Gladiator. ca. 1895.

Artist: Anonymous

54 3⁄4 x 39 in./99.3 x 139.2 cm

Imp. G. Massias, Paris

Cond A.

Ref: Bicycle Posters, 42; Petite Reine, 47; Posters of Paris, 104; Ailes, p. 11; Musée d’Affiche, 22; Reims, 154; PAI-LXXXVII, 45A

A lithographic masterpiece. Acclaimed as one of the world’s greatest posters, this image of a flame-tressed sylph, propelled among the stars by the Gladiator and its winged pedals, has been appropriated throughout culture ever since its debut in 1895. Shockingly, it remains anonymous, despite the presence of the faint initials LW in the lower right corner. Even in the famed 1896 Reims exhibition, it was attributed to “Anonyme.”

Est: $45,000-$55,000

21A

21B. The Northampton Cycle Co. ca. 1900.

Artist: Edward Penfield (1866-1925) 28 x 42 in./71.2 x 106.7 cm

J. Ottman Litho., New York

Cond A-/Unobtrusive folds.

Ref: Bicycle Posters, 69; Weill, 116; Lauder, 225, pl. 53; Timeless Images, 96; PAI-LXXXVIII, 48

“This beautiful poster for Northampton bicycles well illustrates the impact and power of this masterful artist. It is more the sure power of a revving engine than of actual movement; there is so much self-assurance in both content and style that one does not need proof of speed or even mobility. The composition, design, and color are so perfect here that it’s one of the few posters of which it may be said that to move one line or change one shade would be unimaginable” (Bicycle Posters, p. 11). This poster includes Sagot’s stamp on the verso, and is the finest specimen of this image we’ve ever seen, with vivid colors.

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

22. Dunlop.

Artist: Charles E. Turner (1883-1965)

22 x 30 in./55.8 x 76.2 cm

Hudson & Kearns, London

Cond A-/Unobtrusive folds.

To advertise Dunlop’s newest “Fort” tires, Turner reminds us of a bygone era when bicycles were without pedals and the rider’s feet propelled the machine, as demonstrated here by a rider trotting along with his Hobby Horse from 1818. Indeed, we’d prefer the bike with pedals and Dunlop tires.

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

23. Cycles Barré. ca. 1895.

Artist: Anonymous

39 3 4 x 74 5⁄ 8 in./101 x 189.5 cm

Imp. Lemercier & Alliot, Niort

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

Gaston Barré established his bicycle company in 1894 in Niort. It was the height of the bicycle craze, and business was booming. But he quickly turned his focus to manufacturing automobiles with continued success. Here, we see one of his bicycles (flaunting a Michelin tire) being driven by a savvy female cyclist in stylish trousers. This is a two-sheet poster.

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

24. Georges Richard / Automobiles & Cycles. ca. 1895.

Artist: H. Gray (Henri Boulanger, 1858-1924)

49 1⁄ 8 x 74 1⁄ 8 in./125 x 188.3 cm

Imp. Courmont Frères, Paris

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

Ref: PAI-LXIX, 24

Founded by the brothers Georges and Max Richard in 1893, Georges Richard only had three years of bicycle manufacturing before turning to automobile production. This poster is from the company’s early days, likening the swiftness and dexterity of its product to that of a classic hunting horse.

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

25. Cycles Renon. 1896.

Artist: Louis Trinquier-Trianon (1853-1922)

34 1⁄ 8 x 43 1⁄4 in./86.6 x 110 cm

Imp. Eug. Marx, Paris

Cond A-/Unobtrusive folds.

The little-known Cycles Renon is apparently celebrating 90 years of production—an impressive feat, although it’s a bit hard to believe that they were already manufacturing bicycles in 1806. Nevertheless, Trianon succinctly wraps up the company’s progress with period costumes demonstrated by the early male sophisticate and the Belle Époque female rider.

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

26. Cycles Automoto. ca. 1910.

Artist: Francisco Tamagno (1851-1933)

15 x 22 7⁄ 8 in./38 x 58 cm

La Lithographie Parisienne

Cond A.

Ref: Gold, 72; Ailes, p. 99; PAI-LXI, 20 Founded in 1902, Automoto was a bit late in entering the bicycle business. That, however, did not stop them from building an impressive and successful factory, shown aglow at twilight in the lower half of this poster. Above, a blond muse picks lucky clovers as she kneels next to the brand’s latest model. The company would branch out into motorcycle production before being bought out by Peugeot in 1930.

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

27. Opel. ca. 1928.

Artist: Max Bittrof (1890-1972)

19 x 28 in./48.2 x 71 cm

Cond A.

Ref: PAI-LXXXVI, 27

Max Bittrof created designs for Opel from 1927 to 1929. Unlike most of the German posters of the era, which relied more on traditionally elaborate forms, Bittrof took a Modernist approach, using simple geometric shapes and custom typography to suit the composition. He not only helped to define a new visual identity for Germany, but also designed the first stamps and bank notes for West Germany after World War II. Here, montaging a photograph by Dr. Paul Wolff, Bittrof underscores that Opel has the “biggest production in the world.”

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

Constructed for the French line Compagnie Générale Transatlantique in 1935, the Normandie remains the most powerful steam passenger ship in the world. She held numerous world records for the fastest transatlantic crossings from Le Havre to New York City, but her technical feats were a small part of her allure. She was lauded for her lavish Art Deco interiors and air of bourgeois sophistication. The Normandie was, and continues to be, a mythic embodiment of the best of the Art Deco era.

Artist:

24 1⁄4 x 39 1⁄4 in./61.5 x 99.7 cm

L.

Cond A.

Ref: Mouron, 56; Brown & Reinhold, 53; Cassandre/Suntory, p. 91; Cassandre/Weill, 171; Deco Affiches, p. 33; Musée d’Affiches, p. 65; Crouse/Deco, p. 224 (var); PAI-LXXXIII, 281

An advertisement for the Normandie and her “First Arrival in New York City on June 3 [1935]” touted that “The arrival in New York Harbor of the gigantic super-liner Normandie will inaugurate a new era of transatlantic travel. She will set new standards of luxury and speed, steadiness, comfort, and safety... not merely the largest liner afloat (79,280 tons)... but in almost every respect a new kind of liner!”

Cassandre’s masterpiece was a new way of selling the glamor and excitement of ocean liner travel. The ship towers above us; a flight of small birds at the bottom gives the image as much scale and strength as the imposing hull itself. The classic design appeared with several variants of text at the bottom; this one, printed in 1938, is one of the last changes, indicating that this proud ship has made 60 Atlantic crossings, covered 400,000 nautical miles, and carried 115,000 passengers by January 1, 1939.

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

29. French Line / Normandie. ca. 1938.

Artist: Montague Birrel Black (1884-1964)

25 x 40 in./63.5 x 101.5 cm

Cond A-/Slight tear at top and bottom edges.

Ref: PAI-LXXII, 146

Black offers an entirely different perspective on the SS Normandie from Cassandre’s image ( see previous lot), but one that nevertheless showcases the ship’s grandeur as she slides past a lighthouse and tug beneath a tumultuous sky. In 1938, she was beaten in the race to the fastest transatlantic crossing, so Black shifted the text’s focus to the overall service proposition: “NO better ships, better seamen, better cuisine, better service.” Rare!

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

30. French Line / Normandie / Southampton to New York. ca. 1936.

Artist: Anonymous

25 x 40 in./63.5 x 101.5 cm

Cond A.

Ref: Compagnies Maritimes, p. 150; PAI-LX, 65

In this magnificent and rare design, we see the famous SS Normandie pulling into the New York Harbor. Its sheer size is made even more imposing when surrounded by several much smaller ships, and the metropolitan skyline appears almost diminutive in comparison. The composition was drawn directly from a photograph taken of the ship on its maiden voyage in 1935.

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

24 3 8 x 39 3⁄4 in./62 x 101 cm

Hill, Siffken & Co., London

Cond B+/Slight tears, largely at edges. Framed.

Ref: Mer s’Affiche, p. 155; Fantastic Voyage, 16; PAI-LXXXV, 315

This nighttime image of the Normandie offers a very different experience from Cassandre’s poster of the same title ( see No. 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: $14,000-$17,000.

AVIATION

32. Exposition Internationale / Nancy. 1909.

Artist: Ludo

25 3 4 x 39 1⁄ 2 in./65.3 x 100.4 cm

Lith. Berger-Levrault, Nancy

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

Ref: DFP-II, 553 (var); PAI-LXXXVII, 64

An aeronautic retrospective is the overwhelming draw in this poster for the International Science, Industry, and Art Exhibition in Nancy, the capital of the industrial area of Lorraine. This six-month event obviously featured more than avionic attractions, but who could resist the thrill of a ride in the dirigible “Ville de Nancy,” with its tremendous views, floating high above its namesake city? The short passenger joy rides offered aboard are the earliest recorded use of an airship for commercial purposes. A Wright-style glider, a tethered hot-air balloon, and the aforementioned dirigible all float through an orange sky over the silhouetted Nancy, which is bathed in the deep red and delicate pink of the setting sun. Another version of this design ( see PAI-LXXXVII, 64) includes the same image and French text at top, but here the entire lower third of the design is in German and French rather than English, spelling out an assortment of details, including that the entire event is “Under the Official Patronage of the French Government.”

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

33. Grande Semaine d’Aviation. 1909.

Artist: Ernest Montaut (1879-1909) 46 1⁄4 x 63 1⁄4 in./117.6 x 160.6 cm

Affiches Montaut & Mabileau, Paris

Cond A-/Slight stains at edges.

Ref: Affiches d’Aviation, p. 50; Looping the Loop, 25; Toujours Plus Haut, p. 89; Perier, 70A; PAI-LXXXVII, 84

“The true ancestor of the aviation poster genre can be traced to Montaut... for his portrayal of the trailblazing assembly at Reims. Soft tints in the sky indicate that sunset is near, a time of day when the wind was apt to drop and flying was considered to be safer. A svelte female spectator, back to the viewer, lifts her arm in salute to an armada of aircraft rising like a swarm of bees... The curving zebra stripes of her costume—fully consonant with an impression of motion and speed, which after all was the crux of the message delivered by the newfangled flying machine—resonate as effectively as the determined look on the face of the nearest pilot. The Grande Semaine brought together for the first time the world’s greatest fliers. Among them were Louis Blériot, Henry Farman, Léon Delagrange, Hubert Latham, count Charles de Lambert, Louis Paulhan, Roger Sommer, and the American entry, Glenn Hammond Curtiss... Parisians streamed to the event; three thousand Britons came from London by special excursion, and two thousand Americans turned up to root for the single representative of their country. Reims was a watershed in the history of flight. Aviators who had flown ‘before Reims’ were regarded as veterans compared with those who learned to fly later. It dramatically demonstrated the progress made in aviation and provided an incalculable stimulus for the design and production of aeroplanes” (Looping the Loop, p. 42). This is the larger format.

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

34. Semaine d’Aviation / Caen. 1910.

Artist: M. Dessoures

39 1⁄4 x 55 1⁄ 2 in./99.7 x 141 cm

Lith. Ch. Valin, Caen

Cond A.

Ref: Affiches d’Aviation, p. 57; Perier, p. 84; PAI-LXXVII, 37

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

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

35. Aérodrome de la Crau. ca. 1910.

Artist: Anonymous

78 x 54 1⁄4 in./198 x 137.8 cm

Lith. M. Teissier, Nîmes

Cond B+/Slight tears and stains at folds.

Ref: PAI-XLIII, 45

“The popularity of various forms of entertainment—the theatre, the cinema, the circus—has waxed and waned over the years, but one form of spectacular show has continued to increase its appeal... This is the air show, display, pageant, call it what you will... By 1910 flying had become a popular sport for sightseers, and at any field where experimental flying went on large crowds would assemble whenever possible” (History of Aviation, p. 80). And though this particular two-sheet design by an unidentified artist isn’t for an air show per se, it does promote an air field near Marseilles that was open to the public and apparently had a constant influx of flying machines. The design secures the viewer’s attention with a sky filled with the most cutting-edge technology of its day: Blériot, Wright, Voisin, and Farman craft, as well as a dirigibles tossed in for good measure. Rare!

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

36. Grande Quinzaine d’Aviation. 1910.

Artist: Anonymous

28 7⁄ 8 x 41 1⁄ 8 in./73.3 x 104.5 cm

Imp. Spéciale des Grands Magasins du Printemps

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

Ref: Affiches d’Aviation, p. 63 (var); Looping the Loop, 4 (var); Trouville/Deauville, p. 61; PAI-LXXXVII, 67

“During the Le Havre air show, which took place at the same time as the meet in Deauville-Trouville, Léon Morane was not at his best, winning only the altitude event. He climbed up to 7,054 feet, as measured with a barograph aboard a balloon flying at 6,693 feet. It was the new world record. The organizers managed advertising savings by grouping the Le Havre air show with the one in Deauville-Trouville on the same poster as the Great Aviation Fortnight” (Affiches d’Aviation, p. 34).

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

37. Konstanz / Bodensee-Wasserflug. 1913.

Artist: Heinrich H. Schütz (1875-1956)

26 3⁄4 x 38 in./68 x 96.6 cm

Propaganda, Stuttgart

Cond A-/Slight tears at edges.

Ref: DFP-III, 2997; Affiches d’Aviation, 75; PAI-LXXXVII, 72

The southern German university town of Konstanz juts out into Lake Constance (or “Der Bodensee” in German), which is shared with neighboring Switzerland and Austria. Konstanz is also the birthplace of Count Ferdinand von Zeppelin, constructor of the famous Zeppelin airships. But it’s not airships being hailed in this Schütz poster—it’s a Bodensee flying boat air show. The main event of the show was a 200-kilometer flight to test the endurance of new models for the German navy. Here, the strong, allegorical figure resembling the Colossus of Rhodes holds the power of flight in his hands. Three bi-wing hydro-airplanes are depicted, and the one in flight appears to be a Curtis craft on floats. An interesting historical side note: because it practically lies within Switzerland, just one kilometer from the border, Konstanz was not bombed by the Allied Forces during World War II. The city left all their lights on at night, fooling the bombers into thinking it was actually a Swiss town.

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

38. Imperial Airways. 1934.

Artist: Anonymous

24 3⁄ 8 x 39 in./61.8 x 99 cm

Rembrandt Photogravure, London

Cond A.

Ref: PAI-LXXXVII, 86

An unknown designer calls upon photomontage and textual brevity to promote Imperial Airways’ service to key continental metropolitan enclaves. A solidly inspirational photo of the Short L.17 Scylla, destinations named, and the guarantee of “the most luxurious air travel” with “the greatest air service in the world” is all the promotional persuasion astutely deemed necessary.

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

39. Havana. ca. 1940.

Artist: Anonymous

26 1⁄ 2 x 36 3⁄4 in./67.2 x 93.2 cm

Offset SA, Cuba

Cond A.

Ref: PAI-LXVII, 23

Thanks to an affiliation with Pan Am, Mexicana de Aviación was able to take passengers from both Miami and Mexico City to Cuba. This anonymous artist offers us a colorful scene of the joys that await us upon landing.

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

40. Air France / Aéromaritime. ca. 1938.

Artist: N. Gérale (Gerard Alexandre, 1914-1974)

24 x 38 1⁄ 2 in./61 x 97.8 cm

Création Ocea, Paris

Cond B/Slight tears at folds and creases in bottom text.

Ref: Air France, p. 28; Air France/Dream, p. 16; Air France/Fraile, p. 42; PAI-LXXIII, 93

With a propulsive red line conjuring up Indiana Jones-style adventures, this late ’30s Air France poster charts a full itinerary of destinations along the entire coast of French West Africa.

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

41. Air France / Eastern Air Lines. 1950.

Artist: Plaquet

24 5⁄ 8 x 35 7⁄ 8 in./62.6 x 91.2 cm

Perceval, Paris

Cond A.

Ref: Air France/Dream, p. 45; PAI-LXXI, 148 Plaquet’s design succinctly and generously expresses a mid-century alliance between Air France and America’s Eastern Air Lines, which dominated the American southeast’s air routes between 1926 and 1991. For many years, it was the only air travel between New York and Miami, and its silver wing pins (here illustrated in gold) were ubiquitous upon the lapels of snowbirds and holidaymakers in both Gotham and in the Sunshine State. After folding in 1991, Eastern Airlines has now returned to the skies as a charter airline between select destinations in the Caribbean and in Central and South America.

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

42. TWA / Africa. ca. 1955.

Artist: David Klein (1918-2005)

25 1⁄4 x 39 7⁄ 8 in./64.2 x 101.2 cm

Cond A.

Ref: Publicité, p. 195; PAI-LXXXVII, 90 Z is for Zippy. Klein is best known for his destination advertisements on behalf of TWA in the 1950s and ’60s. His typography, coloration, and aesthetics were both defined by, and helped define, American style of the period. To express the idea that TWA knows Africa A to Z, he creates a hypnotic convocation of zebras in the tall Serengeti grass. It’s a classic example of mid-century Modern design.

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

43. Air France / Paris. 1952.

Artist: Régis Manset (1900-?)

24 3⁄ 8 x 39 5⁄ 8 in./62 x 100.7 cm

Snap, Paris

Cond A.

Ref: Air France Dream, p. 56; PAI-LII, 100

Nothing says Air France like a scenic overview of the French capital’s landmarks, from the Eiffel Tower to the Sacré-Cœur of Montmartre, all wrapped up with a soaring dove.

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

44. Pan Am / Paris. ca. 1958.

Artist: Aaron Fine

28 1⁄4 x 42 1⁄ 2 in./71.7 x 108 cm

Cond A.

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: $1,400-$1,700.

45. Air France / Amérique du Sud. 1963.

Artist: Jacques Nathan-Garamond (1910-2001)

24 1⁄ 2 x 39 in./62.2 x 99 cm

Perceval, Paris

Cond A.

Ref: Air France, p. 14

Nathan-Garamond proves that Air France has all of South America covered, from its mountainous landscapes to its coastal beaches and desert plains. It’s a vibrant and enticing overview of the destinations offered.

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

46. American Airlines / Australia. ca. 1969.

Artist: Anonymous

30 x 40 5⁄ 8 in./76.2 x 103.2 cm

Cond A.

Ref: PAI-LXXXV, 152

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

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

47. American Airlines / New York.

Artist: Webber

30 1⁄4 x 40 in./77 x 101.4 cm

Cond A.

Ref: PAI-LXXXVII, 61

New York City is resplendent in this aqua-toned Cubist-style collage. For the intrepid traveler, transportation options abound: take a car down the West Side Highway, sail in on a ferry along the Hudson River, or fly above Manhattan, where you can take in all of New York’s impressive architecture. In the midst of the hubbub stands the triumphant Statue of Liberty, beckoning visitors to the shore.

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

48. El Al / Jerusalem. ca. 1960.

Artist: Anonymous

23 1⁄4 x 35 1⁄ 2 in./59 x 90 cm

E. Lewin Epstein, Tel Aviv

Cond A.

This photomontage poster for El Al combines the modern with the biblical. With a view of the Old City of Jerusalem beneath a striking sunset, the text states, “The heavens declare the glory of God...” (Psalms 19:2).

Est: $800-$1,000.

49. El Al / Canada. ca. 1968.

Artist: Dan Reisinger (1934-2019)

19 1⁄ 2 x 27 in./49.5 x 68.7 cm

Cond A/P.

Ref: Reisinger/Afula, p. 29; Plakate aus Israel, 169.3; PAI-LXII, 528

Reisinger designed the logo for El Al, and produced numerous screenprinted posters for the Israeli national airline. Here, he transforms the letter A into a friendly mountie who welcomes us to visit Canada.

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

50. El Al / Rainboeing the Skies. 1971.

Artist: Dan Reisinger (1934-2019)

22 5⁄ 8 x 35 1⁄4 in./57.5 x 89.5 cm

Cond A-/Slight creasing at edges. P.

Ref: Reisinger/Afula, p. 27; PAI-LXXVI, 346

This simple yet catchy design by Reisinger for El Al Airlines promotes the introduction of Boeing 747s to the fleet. El Al retired the last of their 747s in 2019—an astonishing 48year term of service for the iconic jet.

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

WAR & PROPAGANDA

51. Liberty Enlightening the World. 1883.

Artist: Anonymous

24 x 34 3⁄4 in./61 x 88.2 cm

Root & Tinker, New York

Cond A.

Ref: PAI-LXXIX, 219

This is the first officially sanctioned view of the Statue of Liberty, issued three years prior to her 1886 assembly and unveiling, and it was endorsed by the Statue Committee. Though Lady Liberty had already been on display throughout Manhattan and Philadelphia, funding the installation proved difficult. James G. Batterson was one of several advocates who took fundraising into his own hands; as both the founder of the Travelers Insurance Co. and the contractor responsible for the statue’s base, he killed two birds with one stone in this promotion. This also gave him the opportunity to liken his own company to the grandeur of “Liberty Enlightening the World,” as she was originally called. The text at bottom left proudly reads: “The Travelers of Hartford is the only large accident company on this continent, and the largest in the world, and best of life companies.”

According to Jay Last, this printing firm “produced high-quality lithographed book illustrations, posters, and trade cards using sophisticated color reproduction techniques” (Color Explosion, p. 46). Upon completion of installation, Currier and Ives would produce a remarkably similar lithograph that became quite popular— but this is the first incarnation, and incredibly rare!

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

52. Pour la Liberté. 1917.

Artist: Sem (Georges Goursat, 1863-1934)

30 1⁄ 8 x 35 3⁄4 in./76.2 x 116.2 cm

Imp. Devambez, Paris

Cond A.

Ref: Rickards, 163; Paillard, 157; Rawls, p. 84; Propagande/Affiche, p. 68; PAI-LXXXVI, 61

Just 31 years after the Statue of Liberty was installed in New York’s harbor, Sem imagines our Lady sinking into the ocean of despair ignited by World War I. As a gift from France, her symbolic collapse surely helped convince the French to subscribe to the national loan to support the war effort. One publication from 1919 called this image “the most popular poster in France.”

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

53. Buy Victory Bonds / Liberty Loan. 1919.

Artist: Arnold Binger

21 1⁄4 x 27 1⁄ 2 in./54 x 69.8 cm

Cond B/Restored tears at folds and edges.

Published by the Button Merchants Association of America, this poster positions the World War I Victory Bond as “The most popular button in America.” Indeed, “the Victory Loan was a successful test of American patriotism, with nearly twelve million people subscribing $749,908,300 more than was asked for. Both Michigan and Iowa, always among the earliest, reported exceeding their quotas by the third day of the campaign” (Rawls, p. 233). Rare!

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

54. Hun Submarine. ca. 1918.

Artist: Charles Buckles Falls (1874-1960)

27 1⁄ 2 x 41 3⁄4 in./69.8 x 106 cm U.S. Navy Recruiting Bureau

Cond B+/Slight tears and stains at edges.

Ref: Theofiles, 300; Rawls, p. 266

Although it could almost be mistaken for an early iPod advertisement, this World War I design seeks men with radio experience to join the Navy and aid in monitoring enemy communication. Theofiles calls this poster “scarce.”

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

55. Don’t Wait for the Draft / Volunteer. 1917.

Artist: Guenther

26 x 37 7⁄ 8 in./66 x 96.2 cm

Cond B/Restored tears in bottom text area.

Ref: Theofiles, 15

It doesn’t get much more patriotic than Uncle Sam in front of the stars and stripes. And the extended weapon functions as an enticing invitation to fulfill one’s duty to America. This poster was sponsored by the Associated Motion Picture Advertisers. Rare!

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

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

Artist: James Montgomery Flagg (1870-1960)

29 7⁄ 8 x 40 3⁄ 8 in./76 x 102.5 cm

Leslie Judge Co., New York Cond A. Framed.

Ref: Rawls, p. 13; Theofiles, 11; Darracott, p. 13; Le Coultre, p. 208; Flagg, p. 80; Graphic Design/Taschen, p. 158; Imperial War Museum I, p. 27; PAI-LXXXVIII, 137

Although Flagg was already a successful and prolific illustrator by the time World War I started, this poster was to become “his greatest public triumph.” He used himself as a model, and the work was “originally used on a Leslie’s Magazine cover in late 1916, and was quickly adopted by the Army when the war broke out. All told nearly 5 million were printed in both world wars” (Theofiles, p. 9).

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

57. Vote for Woman Suffrage. 1917.

Artist: Anonymous

27 1⁄ 2 x 40 7⁄ 8 in./69.8 x 104 cm

Greenwich Litho., New York Cond A.

Ref: Persuasive Images, 92

“Leaders of the women’s rights movement, which, on the eve of the war, had seemed close to major success in several countries, supported the war by contributing their organizational skills to national welfare and service bureaucracies. In return, they expected to be rewarded with equal rights... The difficult transition from supporting the war to gaining equality was visually demonstrated in [posters such as this one]” (Persuasive Images, p. 66). Suffragists also understood that every male vote mattered, and therefore ensured ballot access to all soldiers and sailors. In this New York campaign, women’s great sacrifices are listed, and in exchange, they ask for a simple vote on their behalf.

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

58. United States School Garden Army. ca. 1918.

Artist: Edward Penfield (1866-1925)

20 x 30 1⁄ 8 in./50.8 x 76.5 cm

American Lithographic Co., New York

Cond A.

Ref: Rawls, p. 25; PAI-LXVII, 475

Developed in 1917, the United States School Garden Army was meant to get children more involved in gardening, and especially agriculture. The overall goal, combined with other national programs, was to avoid the impending food crisis and make America’s food supply both local and sustainably based. Funded by the War Department, these farming programs were considered an issue of national security. And while this may seem like a gross overstatement, the ability for a country to produce enough food for itself is of vital importance to its independence. By war’s end, more than two million children were involved in the School Garden Army, aptly nicknamed “Solders of the Soil.”

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

59. The Girl on the Land / Y.W.C.A. ca. 1918.

Artist: Edward Penfield (1866-1925)

29 3⁄4 x 24 3⁄4 in./75.4 x 62.8 cm

United States Printing & Litho., New York Cond B/Slight tears, largely at edges.

Ref: Theofiles, 211; Penfield, p. 32 checklist; PAI-LXXX, 109

Since “an army runs on its belly” and “food will win the war,” this was one of many appeals to work the land on behalf of the effort to win World War I. This time, however, it’s a solicitation for the Y.W.C.A., created by the great illustrator Edward Penfield, depicting four clean-faced girls in uniform heading home after a day’s harvest.

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

60. Irishmen / Avenge the Lusitania. 1915.

Artist: Anonymous

20 x 30 1⁄ 8 in./50.6 x 76.5 cm

John Shuley & Co., Dublin Cond A.

Ref: Persuasive Images, p. 26; PAI-LXXXVIII, 117

The sinking of the RMS Lusitania was one of the most shocking moments of World War I; never had an enemy ship torpedoed a passenger liner carrying civilians from neutral countries during wartime on such a large scale. Here, as the fated ship sinks rapidly into the water and bodies are strewn in the foreground, young men of Ireland are asked to join a local regiment and avenge those 1,200 lives lost. The artist’s initials appear to be W. E. T. This is the finest condition of this poster we’ve seen yet!

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

61. Your Chums Under the Flags. ca. 1918.

Artist: David Turner

19 1 4 x 30 1⁄ 8 in./49 x 76.5 cm

David Allen, Dublin Cond A.

This succinct design calls on all Irishmen to do their patriotic duty by standing alongside their European allies in the World War I effort.

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

62. An Irish Hero! 1915.

Artist: Anonymous

20 x 30 in./51 x 76.2 cm

James Walker, Dublin Cond A.

This World War I recruitment poster enlists Irish hero Michael O’Leary as a role model. O’Leary was the recipient of the prestigious Victoria Cross for single-handedly charging and destroying two German barricades in France. Having already served nine years in the British armed forces at that time, O’Leary went on to become an army lieutenant, and also served in World War II. The text here urges: “Have you no wish to emulate the splendid bravery of your fellow countryman—Join an Irish regiment today.”

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

63. More Ships / Send the Eagle’s Answer. ca. 1918.

Artist: James H. Daugherty (1889-1974)

39 3⁄ 8 x 59 1⁄ 8 in./100 x 150 cm Forbes, Boston

Cond A-/Slight tears at edges.

Ref: Rawls, p. 77; PAI-LXXXIV, 101

This stunning work blends tropes of industrial power with early Modernist color schemes and compositions for a total effect that is awe-inspiring. “By the summer of 1918, the Emergency Fleet Corporation had a great array of shipbuilding facilities under its direction, including the huge Hog Island shipyard near Philadelphia, which could launch seventy-eight ships at once. The country was fast approaching the goal of launching one-hundred ships a day, and it reached a total of ninety-five on the fourth of July” (Rawls, p. 77). This poster was published by the Emergency Fleet Corporation in Washington, D.C.

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

64. The Motor Corps of America. 1919.

Artist: Howard Chandler Christy (1873-1952)

33 1⁄4 x 41 1⁄ 2 in./84.4 x 105.5 cm

Cond B/Restored tears at right edge.

Ref: Rawls, p. 61; PAI-LXI, 501

With the full text, this scarcely seen image advertises a horse show to benefit the Motor Corps of America ( see PAI-LXI, 501). Prior to World War I, vehicles were rarely used by the military, but they soon became indispensable.

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

65. I Want You For the Navy. 1917.

Artist: Howard Chandler Christy (1873-1952)

27 x 41 1 4 in./68.6 x 104.8 cm

Forbes, Boston

Cond A-/Horizontal fold.

Ref: Rawls, p. 78; PAI-LXXXVII, 97

This sultry Christy girl was created at precisely the same time as Flagg’s Uncle Sam, and both are saying “I Want You”—but with ever-so-slightly different inflections. Not only is this an interesting comparison to Christy’s “Gee!! I Wish I Were a Man” ( see following lot), but the sheer sexiness with which she dons the sailor’s dress uniform anticipates the Van Heusen shirt campaigns of many years later.

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

66.

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

Artist: Howard Chandler Christy (1873-1952)

26 3⁄4 x 41 in./68 x 104 cm

Cond B+/Slight creases.

Ref (all var but PAI): Rawls, p. 80; Theofiles, 46; Weill, 216; Darracott, 5; Rickards, 32; PAI-LXXXVII, 94

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

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

67. Fight or Buy Bonds. 1917.

Artist: Howard Chandler Christy (1873-1952)

20 x 29 1⁄ 8 in./51 x 74 cm

Forbes, Boston

Cond B+/Slight tears at folds.

Ref: Rawls, p. 209; Theofiles, 156; PAI-LXXXVII, 96

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

Est: $800-$1,000.

68. Join the Cavalry. 1920.

Artist: Horst Schreck (1885-1967)

18 3⁄4 x 25 1⁄ 8 in./47.5 x 63.8 cm

Engineer Reproduction Plant, U.S. Army, Washington Barracks, D.C.

Cond A.

Ref: PAI-LXXXVI, 63

“As the Cavalry slowly faded away, the last cavalry poster, like a dying swan’s exquisite last song, is exceptional. Elegant cavalrymen are seen watering their horses on a placid river bank. After the introduction of cars, trucks, and planes the cavalry transitioned into a mechanized force” (Meehan, Cat. 53).

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

69. British Empire Union / Once a German - Always a German! 1918.

Artist: David Wilson (1873-1935)

19 5⁄ 8 x 30 in./49.8 x 76.2 cm Globe Printing Co., Finsbury Cond A-/Unobtrusive folds.

Ref: PAI-LXXXVI, 58

Founded in 1915 as the “Anti-German Union” before renaming itself “British Empire Union,” this group promoted patriotism, social reform, industrial peace, and anti-socialism; they also published a regular journal from 1922 to 1952. The BEU published this poster, featuring numerous atrocities committed by German soldiers, aristocracy, and even average businessmen. The text reads: “Once a German - Always a German! Remember! Every German employed means a British Worker idle. Every German article sold means a British article unsold.” There is also a vignette of Edith Cavell’s grave; the British nurse is celebrated for saving the lives of soldiers from both sides without discrimination, and for helping some 200 Allied soldiers escape from Germanoccupied Belgium, for which she was arrested.

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

70. Join the Air Service. 1917.

Artist: J. Paul Verrees (1889-1942)

24 5⁄ 8 x 36 3⁄4 in./62.5 x 93.3 cm

Ketterlinus, Philadelphia

Cond B/Slight tears, largely at edges.

Ref: Looping the Loop, 71; Rawls, p. 179; PAI-LXXV, 179

This colorful and painterly recruiting poster for pilots in World War I features a biplane dramatically swooping down toward the sea. This poster is considered both the highlight of Verrees’s career and one of the best wartime aviation images.

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

71. My Soldier. ca. 1915.

Artist: H. R. Green

28 1⁄4 x 44 1⁄ 8 in./71.6 x 112.2 cm

Matthews-Northrup Works, Buffalo

Cond A.

Ref: Theofiles, 148

Adapting the classic children’s poem “Now I Lay Me Down to Sleep,” this poster uses the child’s prayer as a wartime plea to protect her brother overseas.

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

72. Warner & Swasey / Work the Way They Fight. ca. 1940.

Artist: Anonymous

30 1⁄4 x 40 in./76.8 x 101.7 cm

Central Outdoor Advertising

Cond A.

American manufacturer Warner & Swasey specialized in astronomical telescopes, but also produced military instruments. Here, they remind Americans that “Warner & Swasey’s are weapons—make the most of them.”

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

73. Attack on All Fronts. 1943.

Artist: Hubert Rogers (1898-1982)

24 x 36 3 8 in./61 x 92.4 cm

Cond A.

Equating a woman’s agricultural work to men’s military involvement, Rogers calls on all Canadians to support the war effort.

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

74. Buy War Bonds. 1942.

Artist: Newell Convers Wyeth (1882-1945)

30 x 40 1⁄ 2 in./76.2 x 102.7 cm

U.S. Government Printing Office, Washington, D.C. Cond A-/Slight tear at horizontal fold.

Ref: PAI-LXXXVI, 109

This iconic World War II propaganda poster was one of the first advertisements printed for the first war bonds drives in early 1942. Uncle Sam, dramatically rising from the clouds, points toward the audience in demand of war bond investment, while fighter planes and soldiers dash across the sky above and field below.

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

75. Fly for Her Liberty. 1943.

Artist: Howard Chandler Christy (1873-1952)

25 x 37 7⁄ 8 in./63.6 x 96.3 cm

Cond A.

This later and especially rare design by Christy has transformed the ebullient Christy Girl into a concerned wife. The emotional tenuousness of the war is reflected not only in the couple’s faces, but also in the Impressionistic and stormy background, from which Lady Liberty emerges like an angel looking down on humanity’s ravages. Interestingly, beneath Christy’s signature, he included the word “Donated.”

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

76. The Spirit of ’46. 1946.

Artist: Newell Convers Wyeth (1882-1945)

27 1 4 x 44 in./69.2 x 111.8 cm

Cond A.

Ref: PAI-LXXXVII, 110

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

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

77. Air Power is Peace Power. ca. 1948.

Artist: Anonymous

25 1 4 x 38 in./64.2 x 96.5 cm

Cond A.

“The Air Power League in September 1946 stated that armies and navies were in many circumstances ineffective as a deterrent but that air power was ‘the best preventive of aggression that exists’... The concept of air power as nuclear deterrence was at the heart of the ‘Air Power is Peace Power’ slogan popular with air power advocates during the late forties. First introduced by Spaatz in a radio address in 1947, the theme was so common it became a virtual symbol—it even adorned the American Legion’s air power pamphlets well into the fifties” (Selling Air Power, by Steve Call, p. 52).

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

78. Schools-at-War / Jeep Campaign. 1943.

Artist: Anonymous

21 1⁄4 x 33 3⁄ 8 in./54 x 84.8 cm Cond B+/Folds. P.

The Piper Cub L-4 “Grasshopper,” manufactured by Jeep, was used by both the U.S. Air Corps and the British throughout World War II. It helped to correct the shots of the Allied Navy and helped transport authorities. Here, this anonymous artist calls on American citizens to purchase war stamps and bonds to send 20,000 Flying Jeeps overseas.

Est: $800-$1,000.

79. Knock the “Heil” Out of Hitler / GMC.

Artist: Anonymous

30 x 39 1 2 in./76.2 x 100.2 cm GMC Litho.

Cond A.

Ref: PAI-L, 119

Oh, that Hitler! What a buffoon! Even without the luxury of time, a bit of humor—mixed in equal parts with outrage and hatred, naturally—certainly can go a long way towards empowering people with regard to their fears and loathings. To that end, this unnamed artist combined a bit of clever word play with a cartoonish pratfall involving a GMC military vehicle and clumsy old Adolph to generate some humorous wartime commercialism. The poster itself was produced by GMC not only to promote victory, but also its military trucks at a point in history when being part of a war effort wasn’t viewed as a dubious distinction.

Est: $800-$1,000.

80. Tittle Tattle Lost the Battle. ca. 1940.

Artist: G. Lacoste

23 x 28 3 4 in./58 x 73 cm

Cond B+/Slight tears at folds.

Ref: PAI-LXXVII, 89

Loose lips sink ships, Mum’s the word, and Bob’s your uncle. This quippy poster is from World War II and rare!

Est: $800-$1,000.

81. Entre le Marteau... et l’Enclume! 1944.

Artist: Jean Carlu (1900-1997)

14 1⁄ 2 x 21 in./36.7 x 53.2 cm McCandish Litho., Philadelphia

Cond A/P.

Ref: Carlu, 54; PAI-XVI, 179

This poster, showing Germany being crushed by the Allies on the anvil of French resistance, was created in the spring of 1944 for the Free French government in exile in Algiers. It was intended to encourage the troops who would participate in the upcoming invasion of Normandy. It was one of several posters prepared by Carlu in the U.S. under the auspices of the Free French movement in America. Rare!

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

82. Hasten the Homecoming. 1945.

Artist: Norman Rockwell (1849-1978)

20 x 28 7⁄ 8 in./50.8 x 73.3 cm

Cond A.

Ref (all var but PAI): Manifesti/WWII, p. 71; Rockwell Illustrator, p. 189; Rockwell’s America, Poster Covers checklist; PAI-LXVII, 492

“For the Post cover of May 26, 1945, Rockwell painted a homecoming GI... This is hardly the adman’s image of the American Dream, but the welcome being accorded the returning soldier is no less exuberant for that... The GI himself hardly looks like a hardened veteran, but the enthusiasm of his reception tends to suggest that he has indeed returned from the front line. He seems a trifle stunned to find himself home. This is not exactly a heroic picture. The redheaded GI is not the representative of some abstract ideal. He may have been fighting for home and country, but we might suppose that his image of ‘country’ is virtually coexistent with his image of ‘home.’ It would seem, in fact, that for the most part Rockwell saw war as an interruption of home life—an unwanted, if necessary, disturbance of the status quo. Very few of his wartime paintings glorify the military life... [He] shows us how war affects the man in the street—the man who must contribute to the solutions without having contributed to the causes” (Rockwell’s America, p. 195-196). Originally produced as a painting, this image was also used as a Saturday Evening Post cover as well as a poster; here we see it once again, without the magazine’s logo.

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

83. United. 1944.

Artist: Frederick Henri Kay Henrion (1914-1990)

20 x 26 1⁄4 in./50.7 x 66.7 cm

U.S.P.F. II

Cond A.

Ref: Guerres, p. 34, no. 13 (var); War Posters, p. 41; PAI-LXXXVII, 113

Although no official title exists for this design, the message is clear: the Allies have destroyed Hitler. Each flagged arm— representing the United States, Britain, France, and Russia— tears apart a swastika against a stormy and otherworldly background. Born in Germany, Henrion went to Paris, where he studied poster design with Paul Colin. Being Jewish, he fled to the United Kingdom following the Nazis’ rise to power. He was interned on the Isle of Man as an alien, but gradually wooed both the Ministry of Information and the U.S. Office of War Information with his graphic capabilities. Along with his propaganda work, he created a number of corporate identities for brands like KLM, and also designed exhibitions around the world.

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

84. The Good Fence. ca. 1970.

Artist: Anonymous

18 3⁄4 x 26 1⁄ 2 in./47.8 x 67.2 cm

Walt Disney Productions, Shohar, Israel

Cond A-/Slight stains at edges. P.

From 1978 to 2000, The Good Fence referred to the 80mile northern border between Israel and Lebanon, which was opened after the 1978 South Lebanon conflict as a show of support for the Maronite militias in their battle with the Palestine Liberation Organization. This poster, printed by Walt Disney Productions in Israel, employs Donald Duck and Mickey Mouse as purveyors of peace.

Est: $800-$1,000.

85. Independence Day. 1971.

Artist: Kopel Gurwin (1923-1990)

26 7⁄ 8 x 38 1⁄4 in./68.2 x 97 cm

Cond B+/Unobtrusive folds; slight tears at edges. This ornate design was Gurwin’s fourth winning entry in the Independence Day poster competition. He told journalist Adam Baruch of the Haaretz newspaper, “The Independence Day posters are the Grand Prix of Israeli graphics. The theme of the poster is beautiful Israel, that’s why I put a boy lying down in rich greenery, cultivated and not naturalistic, smiling and holding a flag in his hand. The translation of the happiness to the graphic medium is done through the use of strong colors.”

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

86. 60th Israel Independence Day. 2008.

Artist: Haimi Kibkovits

27 1⁄ 2 x 39 3⁄ 8 in./70 x 100 cm

Cond A/P.

This winning design for the 60th Independence Day of Israel also celebrates the Israeli Children’s Year with a colorful image featuring a flock of peace doves.

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

87. 62nd Israel Independence Day. 2010.

Artist: Barbara Gur

26 3⁄4 x 38 1⁄ 8 in./68 x 96.8 cm

Cond A/P.

Since the state of Israel was established, the Israeli Ministry of Education has held a poster contest to commemorate the country’s existence. Artist Barbara Gur won the 2010 competition with this Futuristic design.

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

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

88. World Conference on Soviet Jewry. 1983.

Artist: M. Arama

19 x 26 7⁄ 8 in./48 x 68.2 cm

Cond A-/Slight creases. P.

1983 marked the Third World Conference on Soviet Jewry. While the two previous iterations were held in Brussels, this one took place in Jerusalem, and was attended by Israeli President Yitzhak Navon along with other political leaders, lawyers, and activists. The goal of these events was to support the Jewish population in the Soviet Union at a time when tensions between the East and West were high.

Est: $800-$1,000.

89. Let My People Go. 1983.

Artist: Assaf Berg (1936-?)

27 1⁄ 2 x 39 3⁄ 8 in./69.8 x 100 cm

Cond A/P.

Ref: Plakate aus Israel, 23 (var)

Based on Berg’s 1977 design, this later image adds text in French and Spanish to underscore the universal message. It was created for the Ministry of Aliyah and Immigrant Absorption to bring new immigrants to Israel from around the world, and particularly from the Soviet Union, where Jews faced severe government restrictions.

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

90. Shameful Brand of American “Democracy.” 1963.

Artist: Viktor Koretsky (1909-1998)

23 3 8 x 33 1⁄4 in./59.4 x 84.5 cm

Cond A.

“Viktor Koretsky had been active as a poster designer and graphic artist from the 1930s and was among the artists honoured with state prizes by the Soviet government in 1942 in recognition of their contribution to the war effort. This Cold War critique of American racism, illustrating the face of the Statue of Liberty disfigured by a lynching scene, evokes the documentary impact of photomontage used in his earlier compositions” (V&A website).

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

91. Freedom / For the Wilmington 10. ca. 1971.

Artist: Anonymous

18 1⁄4 x 28 3⁄4 in./46.3 x 73 cm

Cond A-/Slight tears at edges.

Sponsored by Cuba’s OSPAAAL (the Organization of Solidarity of the People of Asia, Africa & Latin America), this poster stands in unity with the Wilmington 10. The group of high-school civil rights activists were falsely convicted and incarcerated for almost a decade after a 1971 riot in Wilmington, North Carolina. This poster calls for freedom of the students in four different languages: English, French, Spanish, and Arabic.

Est: $800-$1,000.

92. Black Power / White Power. 1967.

Artist: Tomi Ungerer (1931-2019)

19 3 4 x 28 in./50.2 x 71.2 cm

Cond A-/Slight tear at top edge. P.

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-LXXXIV, 479

“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: $1,200-$1,500.

CIRCUS & WILD WEST

On September 21, 1891, the Alvin Theatre was opened in Pittsburgh. “The Alvin, ‘America’s Prettiest Theater,’ was built and managed by Charles L. Davis, star of the Alvin Joslin Comedy Company and, by most accounts, a very rich man. Davis had made his fortune during the 1880s by playing the character of Alvin Joslin, a crotchety New England farmer (a popular Yankee stage type). By the late 1880s, Davis was reportedly eager to build a home theater so that he could retire from the road and also provide other companies with the comfort he never found” (Pittsburgh in Stages: Two Hundred Years of Theater, by Lynn Conner, p. 58). Here, we see Davis transformed from a young man into his older character and promises of “180 laughs in 180 minutes.” Rare!

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

94. Jack Whitney / Best Juggler.

Artist: Anonymous

26 x 39 1⁄4 in./65.8 x 99.8 cm

G. Marci, London

Cond A-/Unobtrusive folds.

Although no information exists on Jack Whitney, this cheeky anonymous design shows “the best juggler on the wire” sneaking out from behind the curtain to scoff at the much less talented jugglers practicing behind him. Rare!

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

95. Barnum & Bailey / Unloading In Hamburg Harbor. 1900.

Artist: Anonymous

29 1⁄ 2 x 76 3⁄4 in./74.9 x 195.1 cm

Strobridge Litho., Cincinnati

Cond A-/Slight tears in margins.

Ref (both var): Circus Posters, 53; PAI-XXIX, 136 This two-sheet upright streamer gives us not one, but three “bird’s eye view” perspectives of “The Greatest Show on Earth”: at top are the pitched tents and circus train of a show flooded with spectators; at center we see them disembarking for the German leg of their European tour at the port of Hamburg, complete with a herd of pachyderms; and lastly, the Bridgeport, Connecticut winter quarters are on display at the bottom. Bright, vivid colors make the trio of scenes cheerful and airy.

This is the French text variant.

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

96. Cole Bros. Circus. ca. 1930.

Artist: Anonymous

40 5⁄ 8 x 27 3⁄4 in./103.2 x 70.5 cm

Erie Litho., Erie, Pennsylvania

Cond A. Framed.

Founded in 1884 by William Washington Cole, the Cole Bros. Circus managed to survive until 2016, when animal rights activists helped shutter their performances. But here we see a glimpse of their mammalian heyday, featuring “the most colossal trained animal display ever presented.”

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

97. Walter L. Main / Beauty and the Beast.

Artist: Anonymous

40 3 8 x 27 1⁄ 2 in./105 x 69.7 cm

Riverside Printing Co., Milwaukee Cond B-/Slight tears at fold and edges. Framed.

Founded in 1886, the Walter L. Main circus was an offshoot of a series of failed family sideshow businesses dating back to the 1870s. Its first official show debuted in Geneva, Ohio, and quickly became profitable as it traveled the country. Here, a young lion tamer with an Annie Oakley sensibility shows off her menagerie of wild cats and dogs as part of the “thrilling jungle drama” called “Beauty and the Beast—Or a Fight for Life.”

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

98. Ringling Bros / Gargantua : Maquette.

Artist: Anonymous

14 1⁄4 x 21 3⁄ 8 in./36.2 x 54.2 cm

Pencil maquette on paper on board. Framed. “Gargantua the Great (1931-1949) was the lead attraction of the Ringling Bros. and Barnum & Bailey Combined Shows menagerie from 1938 to 1949. The circus was experiencing financial hardship entering the 1938 season and [the] show managers... were eager to revitalize the circus with the next big star. When animal caretaker Mrs. Gertrude Lintz approached the Norths with the opportunity to purchase her gorilla for $10,000, the men quickly moved on the offer. The movie ‘King Kong’ had been released not long before, in 1933, and possibly circus management wanted to capitalize on the popularity of the classic tale of Man vs. Beast” (Strobridge, p. 164). This original maquette, which was likely never realized as a poster, reminds us that Gargantua was “the largest specimen of its kind in all the world.”

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

99. Ringling Bros. and Barnum & Bailey / Holidays. 1943.

Artist: E. McKnight Kauffer (1890-1954)

41 1⁄4 x 28 in./105 x 71 cm

Cond A.

Ref: Kauffer checklist, p. 133; PAI-LXXXVI, 265

This cheery wartime image for Ringling Brothers and Barnum & Bailey’s holiday show is a distinct departure from Kauffer’s typical graphic style, indicating the breadth of his talents as an artist.

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

100. Sarrazin. ca. 1920.

Artist: Anonymous

26 5 8 x 39 in./67.6 x 99 cm

Affiches Mondy

Cond A.

This anonymous artist adapts C. Allan Gilbert’s 1892 optical illusion drawing, “All is Vanity.” Here, the skull transforms into the image of French magician Sarrazin gazing at himself in the mirror. Born Marcel Vassal, he performed mind-reading tricks and wrote two books on mentalism, though little other information exists on the performer.

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

101. George / The Celebrated Hong Kong Mysteries. ca. 1929.

Artist: Anonymous

20 x 26 1⁄ 2 in./50.8 x 67.3 cm

Otis Litho., Cleveland, Ohio

Cond A-/Slight tears in margin.

Grover George (1887-1958), an Ohio native, began performing as a magician when he was only 10. He continued to perform at small theatres across the United States, then left with his company of 18 for a five-year tour of Central and South America. He returned to the States in 1929 flushed with success, and expected to storm the theatres of his own country. This spectacular poster is one of the designs created for that “triumphant American tour.” But that triumph was out of reach—the magician Howard Thurston was intent on maintaining his territory, and brought suits against George whenever he attempted to book a venue of any distinction. Although these suits were, in fact, frivolous, George did not have the necessary funds, and was relegated to playing second-rate stages. He returned to South America, making occasional minor trips back to the U.S., and died in São Paolo, Brazil, where he had retired. The uncredited artist lures us into the “The Celebrated Hong Kong Mysteries” with a cast of men and birds swirling around an eerie Buddha statue.

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

Artist: Anonymous

38 1 2 x 56 5⁄ 8 in./97/6 x 144 cm Strobridge Litho., Cincinnati Cond A-/Unobtrusive folds.

Ref: Buffalo Bill, 112

“In 1908 [Buffalo Bill] was no longer at the height of his career, but he is surely sitting tall in the saddle, firmly in control of any situation, and his steadfast gaze seems to be one which looks forward, as if to say, ‘The show must go on,’ and at the same time pensively looks back to a life full of the kind of action that no one would ever live through again. Doffing his Stetson with one hand he is both welcoming us and bidding us farewell; what matters is that the other hand is firmly holding the reins. There’s no question about it, this is ‘the classic Cody’” (Buffalo Bill, p. 16).

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

103. Buffalo Bill / Famous Generals. 1887.

Artist: Anonymous

23 x 33 in./58.5 x 83.6 cm

A. Hoen, Baltimore

Cond A. Framed.

Ref: Buffalo Bill, 48

“As they were about to embark on their first tour of Europe in 1887, Major John M. Burke, the enterprising general manager and publicist, felt that the star of his show ought to be assured of a proper reception in England. He therefore gathered testimonials and endorsements from military leaders under whom Cody had served; this would surely give him the imprimatur, stature and authenticity to impress ‘the crowned heads of Europe’ who might otherwise be skeptical about the achievements of the legendary scout... All these colonels and generals had firsthand knowledge of Cody’s scouting, and even allowing for the obvious prodding of Burke in getting them to pen these testimonials, these are impressive credentials indeed. This Hoen poster was widely reproduced in programs, couriers and heralds. The full statements of the ‘famous generals’ were reproduced in programs for many seasons” (Buffalo Bill, p. 9). Today, this poster is quite rare!

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

104. Buffalo Bill’s Wild West / Grand Congress of Aborigines of North America. 1902.

Artist: Anonymous

14 1⁄ 8 x 82 5⁄ 8 in./35.8 x 209 cm

Courier Litho., Buffalo, NY

Cond A-/Slight tears and stains at edges. Framed.

Ref: PAI-L, 81

While the term “aborigine” may seem like something of a slight coming from someone like Buffalo Bill— who respected the Native American people and their traditions to a great degree—it should be noted that the “Merriam-Webster Dictionary” defines an aborigine

as “an indigenous inhabitant of a country” or “one of the native people especially as contrasted with an invading or colonizing people,” which is undoubtedly the context that Cody intended in this exquisite poster that celebrates the Native American presence in the Wild West show. The Indians in the Wild West posters—and in the show itself—were given top billing, along with the cowboys, and their lithographic representation (apart from appearances in the recreated battle scenes) is warm and dignified. Cody insisted that only authentic tribe members participate and that the material in which they appeared be historically accurate and respectful. This design, not surprisingly, casts Cody in the finest light (as the “Arbitrator among Indians”), but otherwise focuses entirely on the Native American cast, whether it be the “Indian Squaws” up top, the “Trio of Great Chiefs” one-third of the way up, or the evocative “War Dance” at the poster’s bottom. This is a two-sheet poster.

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

105. Buffalo Bill’s Wild West / Besieged Cowboys. ca. 1885.

Artist: Anonymous

41 3 8 x 28 1⁄ 2 in./105.2 x 72.3 cm

Calhoun Print, Hartford

Cond A-/Slight tears and stains in margins. Framed.

Ref: Buffalo Bill, 18

“This scene—cowboys and settlers, behind a circle of horses, defending themselves against attacking Indians—is a frequent one in the Wild West and its posters. Later, in motion pictures, such a scene was frequently staged around a wider perimeter with wagons replacing horses. But its roots were clearly here in Buffalo Bill’s show and the posters for it. It’s a most colorful and beautifully designed woodcut by Calhoun” (Buffalo Bill, p. 6).

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

106. The Life and Adventures of Buffalo Bill. ca. 1912.

Artist: Anonymous

27 3 8 x 41 3⁄4 in./69 x 106 cm

Riverside Printing, Milwaukee

Cond A.

Ref: PAI-LXXXI, 147 (var)

Though you may not immediately recognize it, our central character here is actually a cowgirl lassoing a longhorn steer. Cowgirls gained popularity through Wild West shows and dime novels, and Buffalo Bill featured numerous rough rider ladies as early as 1887. Eventually, cowgirls would appear in films as well, though mostly as stunt doubles and never as heroines. It is an interesting choice, then, to center on our bulldogging lass while disguising her as male—perhaps openly promoting a female rider was too ahead of its own time. This poster is without the bottom text.

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

107. Tompkins’ Real Wild West. ca. 1912.

Artist: Anonymous

42 1 4 x 28 3⁄ 8 in./107.2 x 72 cm

Donaldson Litho., Newport, KY

Cond A.

“One of the early experimenters with motor transport [after World War I] was Charles H. Tompkins, a Forepaugh veteran who started Tompkins’ Wild West and Frontier Exhibitions in 1911 and combined it with Cooper & Whitby’s European Circus in 1913. It ended its run in 1914” (Russell, p. 85). Here, we can easily see the influence of both Buffalo Bill’s performances and his posters on Tompkins and the anonymous artist behind this design.

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

108. Tompkins’ Real Wild West / Frontier Sports. ca. 1912.

Artist: Anonymous

42 1⁄ 2 x 28 1⁄ 8 in./108 x 71.5 cm

Donaldson Litho., Newport, KY Cond A.

This fanciful design for Tompkins depicts a “picturesque portrayal of frontier sports and pastimes including fancy shooting, riding, roping, and broncho busting.” Typo aside, it’s an enjoyable scene.

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

109. Tompkins’ Real Wild West. ca. 1912.

Artist: Anonymous

42 1⁄ 8 x 28 1⁄4 in./107 x 71.8 cm

Donaldson Litho., Newport, KY Cond A.

“Charles H. Tompkins was a veteran showman, starting as roper in the late 1880s and arena director for the Luella Forepaugh-Fish Wild West in 1903” (Russell, p. 93). Here, Tompkins presents a group of Native Americans performing a traditional dance.

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

110. Tompkins’ Real Wild West. ca. 1912.

Artist: Anonymous

28 1⁄4 x 42 1⁄4 in./71.8 x 107.5 cm

Donaldson Litho., Newport, KY Cond A.

A young cowboy learns the ropes from what seems to be his older brother in this promotion for Tompkins’ Real Wild West.

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

111. Tompkins’ Real Wild West. ca. 1912.

Artist: Anonymous

42 3⁄ 8 x 28 1 2 in./107.5 x 72.2 cm

Donaldson Litho., Newport, KY Cond A.

Tompkins presents a somewhat gruesome scene of cowboys in the midst of herding. Est: $1,700-$2,000.

112. Tompkins’ Real Wild West. ca. 1912.

Artist: Anonymous

42 3⁄ 8 x 28 3 8 in./107.5 x 72 cm

Donaldson Litho., Newport, KY Cond A.

Here, Tompkins presents a menagerie of horses jumping, bucking, running, and creating an overall sense of havoc. Most of the riders struggle to stay in the saddle or control their animals, but the two cowgirls present appear to have everything perfectly handled. Est: $1,700-$2,000.

SATURDAY EVENING POST

Artist:

21 3 4 x 27 3⁄4 in./55.4 x 70.6 cm

Cond A/P.

Ref: Cutler, p. 168 (var); Leyendecker, p. 201 (var); PAI-LXI, 316

As her husband died five years prior, this poster announces the first time Mrs. Rogers released intimate information about her life with the famed American star.

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

Artist:

21 7⁄ 8 x 27 7⁄ 8 in./55.5 x 71 cm

Cond A.

Ref: Rockwell’s America, p. 203; Rockwell Illustrator, p. 180

“Perhaps the most representative of Rockwell’s war covers are those in the Willie Gillis series... Rockwell has said that this series grew out of his interest in ‘the plight of an inoffensive, ordinary little guy thrown into the chaos of war. He was not to be an avid, brave, blood-and-guts soldier, though a perfectly willing—if somewhat ineffective—one.’ ...[Here] we find Willie at a USO party, bearing up under the ministrations of two attractive volunteer workers. Willie Gillis may be a ‘somewhat ineffective’ soldier, but if we are to judge by the glimpses of his career that Rockwell gives us, he is remarkably effective in his dealings with the fair sex” (Rockwell’s America, p. 198-199).

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

115. The Saturday Evening Post / June 26, 1943.

Artist: Norman Rockwell (1849-1978)

22 x 28 in./55.7 x 71 cm

Cond A-/Unobtrusive horizontal fold.

Ref: Rockwell’s America, p. 203; Rockwell Illustrator, p. 184

“In June, 1943, Rockwell fitted in another Willie Gillis cover showing Willie in the mysterious East, amazing a fakir with a demonstration of Western magic—cat’s cradle, to be exact” (Rockwell’s America, p. 199-200).

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

116. The Saturday Evening Post / March 31, 1945.

Artist: Norman Rockwell (1849-1978)

22 x 28 1⁄ 8 in./55.7 x 71.4 cm

Cond A.

Ref: Rockwell’s America, p. 295; Rockwell Illustrator, p. 189 For April Fool’s Day, Rockwell depicts a man—perhaps a returned soldier—indulging in a wild menagerie of outdoor hobbies.

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

117. The Saturday Evening Post / March 6, 1948.

Artist: Norman Rockwell (1849-1978)

21 7⁄ 8 x 28 1⁄4 in./55 x 72 cm

Cond A.

Ref: Rockwell’s America, p. 30 (var) & p. 297

Subtitled “The Gossips,” this humorous image depicts older Americans returning to postwar business by passing on the latest salacious news.

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

118. The Saturday Evening Post / May 3, 1947.

Artist: Norman Rockwell (1849-1978)

22 x 28 in./55.7 x 71 cm

Cond A.

Ref: Rockwell’s America, p. 297

Rockwell is likely depicting himself in this disorienting scene where carousel horses seem to be coming to life.

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

119. The Saturday Evening Post / September 5, 1903.

Artist: Edward Penfield (1866-1925)

11 x 14 in./28 x 35.8 cm

Curtis Publishing, Philadelphia

Cond A.

To promote the Saturday Evening Post’s main story, “The Auto-Maniacs,” Penfield chooses a smart female motorist who’s doing the dirty work without a hair out of place. This is the actual cover of the September 5, 1903 issue.

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

INTERNATIONAL POSTERS

Anonymous

120. Sutro Baths. 1896.

80 3⁄ 8 x 73 5⁄ 8 in./204.8 x 187 cm

Cond A.

Ref: PAI-LXXXV, 158

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

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

121.

55 1⁄4 x 102 1⁄4 in./140.3 x 259.7 cm

Imp. Rouchon, Paris

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

Ref: Rouchon, listing, p. 122

In the 1983 exhibition catalogue of his works, Alain Weill, the curator at the Musée de l’Affiche, correctly referred to Jean-Alexis Rouchon (1794-1878) as the “Pioneer of the Illustrated Poster.” Rouchon invented the system of hand-coloring posters by modifying a system that had been used for wallpaper designs. Active as a printer in Paris from 1840 to 1865, his posters offer us a panorama of Parisian life of the Second Empire. This hand-colored pochoir poster is a veritable time capsule of lithographic advertising and fashion. The gentlemanly wares on display are likely available thanks to Barthelemy Thimmonier’s development of a reinvented sewing machine in 1829. The printer’s testimonial is handwritten at lower right, and the poster also includes the signature of Charles Perusseaux, the past director of the poster collection of the Bibliothèque Nationale. Although Rouchon became the preeminent producer of 1850s French posters, it should be kept in mind that they were not collected at that time and therefore not saved, making them extremely rare in today’s poster market.

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

8 1⁄ 2 x 40 7⁄ 8 in./21.5 x 103.7 cm

W.C. Rogers, New York Cond A.

This early map of New York City’s modern-day grid system was prepared for Joseph Shannon’s Manual of the Corporation of the City of New York , an annual publication with almanacs, historical facts, New York politics, and public works projects. The map details all of the major landholders and shows Olmstead’s plan for Central Park.

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

Anonymous (Continued)

123. John L. Sullivan / Antique Bourbon. ca. 1885.

13 3⁄4 x 23 7⁄ 8 in./35 x 60.6 cm

Cond A-/Slight stains at edges.

John Lawrence Sullivan (1858-1918) of Roxbury, Massachusetts gained a furious local reputation after he launched his professional boxing career in 1878, and came to be known as “The Boston Strong Boy.” Sullivan, successful from the get-go with his devastating right-hand punch, won the bare-knuckles heavyweight championship in 1882 by knocking out Paddy Ryan in nine rounds in Mississippi City. Sullivan’s prowess in the ring and his swashbuckling personality won him many friends and made him the idol of American sports fans. He fought and won the last bareknuckles championship bout in 1889 by subduing Jake Kilrain in 75 rounds at Richburg, Mississippi. Here, a dual promotion for Sullivan’s grit and Antique Bourbon is a surefire one-two punch to the system.

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

124. Champagne Louis Royer. ca. 1898.

11 1⁄4 x 24 5⁄ 8 in./28.6 x 62.6 cm

Lith. E. Plantet, Ay Cond A. Framed.

Ref: Wine Spectator, 90; PAI-LXXXIII,190

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

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

125. Champagne Léon Chandon. ca. 1900.

14 1⁄4 x 24 in./36 x 61 cm

L. Stelmans, Paris

Cond B+/Slight tears and stains, largely in margins.

Ref: PAI-LXII, 246

Founded in 1892, Léon Chandon was created primarily as a scamming operation. The founder printed the name of his product in a way that imitated the font used by the famous Moët & Chandon brand, right down to the signature star on the cork. Clearly, their posters relied on unattainable decadence as well.

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

126. United Kingdom Teas. ca. 1900.

59 x 77 5⁄ 8 in./158 x 197.2 cm

Cond A-/Unobtrusive vertical fold.

Ref: PAI-LXXXV, 163

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

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

127. Khédive Cigarettes.

21 3⁄4 x 12 3⁄4 in./55.3 x 32.4 cm

Cond A-/Slight tears, largely at top edge.

Named for the viceroy of Egypt from 1867 to 1914, this brand of Egyptian cigarettes goes all in with the allure of the exotic, as exemplified by the sensuously luxuriating lady who’s doing her best to entrance us. Rare!

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

128. Louisiana Amazon Guard. 1904.

37 7⁄ 8 x 53 1⁄4 in./96.2 x 135.3 cm

Adolph Friedländer, Hamburg

Cond A-/Slight tears at vertical fold.

The Louisiana Amazon Guard was the brainchild of Paula Kohn-Wollner, a German wife of a theatre owner. Inspired by the black performers she’d seen in Europe since 1890, she decided to create her own all-female black troupe to perform in Germany. In 1901, she visited Brooklyn and found six women to travel overseas with her. Most of them had no experience on the stage, so Kohn-Wollner gave them training. They were soon on stage with a four-act revue that included song and dance—including the very popular Cake Walk—and a “Rough Riders” act with the girls performing in military uniform with rifles. The troupe was a smashing success, and went on to travel throughout Europe and ultimately Russia through 1904. This is a two-sheet poster.

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

129. Mareine. ca. 1910.

28 1⁄ 8 x 37 3⁄4 in./71.4 x 96 cm

Adolph Friedländer, Hamburg (#5396)

Cond A-/Slight tear at horizontal fold.

Here we have a poster mystery indeed! We do not know who Mareine was, where she performed, or why she presented a sacrifice in the temple of Buddha. And to add to the confusion, this French language poster was printed in Germany. It is a fascinating image regardless.

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

130. Samuel Goldenburg / Old Age. ca. 1925. 28 1 4 x 42 1⁄4 in./71.8 x 107.2 cm

Cond B+/Slight tears at folds.

Chicago’s Lawndale Theatre announces the performance of Samuel Goldenburg (more often spelled Goldenberg) in “his greatest success,” a Yiddish theatre performance titled “Old Age.” Ironically, no information on this premier performance exists. Goldenberg had several title roles in both Yiddish and English-language plays.

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

Anonymous (Continued)

131. Société Moncrabeau.

33 1⁄4 x 48 1⁄ 2 in./84.6 x 123 cm

Éthiou-Pérou et A. Klein, Paris

Cond B/Slight stains at folds.

Ref: PAI-LXXXVII, 144

Founded in 1843, the Moncrabeau company combines Namur folklore, philanthropy, and the oratorical art of lying. One of the oldest folk societies of Wallonia, the company continues to perform in the brightly colored costumes seen here while they sing folk songs, partake in a contest of lies, and organize collections for the poor and needy. This is a woodblock engraving with a lithographic tip-on printed by Carbote in Brussels.

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

132. Philips.

45 1⁄4 x 61 3⁄ 8 in./115 x 155.8 cm

Elvinger, Paris

Cond A-/Unobtrusive folds.

Ref: Cat Cabinet, p. 83 (var); Le Coultre, p. 32 (var); PAI-LXXXVII, 177

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: $1,700-$2,000.

133. S.S. Theodor Herzl. ca. 1957.

24 3⁄ 8 x 19 1⁄ 2 in./62 x 49.4 cm

Cond A.

Ref: PAI-LXXX, 128

Named for the father of modern political Zionism, the S.S. Theodor Herzl was launched by ZIM in 1957. Designed for Mediterranean service, she featured a cinema, art gallery, and synagogue. This poster includes detailed designs for each of her decks and cabins which served 323 passengers.

Est: $800-$1,000.

137

135. Apollo 14. 1971.

22 3 4 x 33 3⁄4 in./57.8 x 86 cm

Cond A. Framed.

This artist’s proof (numbered 17⁄25) commemorates the Apollo 14 moon landing and is hand-signed by each of its crew members: Alan B. Shepard, Jr., Stuart A. Roosa, and Edgar D. Mitchell. This expedition marked the third American moon landing and the first to land in the lunar highlands. The three astronauts explored the Fra Mauro formation, named for the 15th-century Italian monk and mapmaker. And while the crew made notable scientific contributions, they also had a bit of fun: Shepard famously hit two golf balls off of the moon’s surface.

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

Robert Abbadie (1906-1961)

136. 4Z’Arts / Les Bambaras. 1937.

7 5⁄ 8 x 16 in./19.4 x 40.6 cm

Cond A-/Slight tear at bottom.

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

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

Cuno Amiet (1868-1961)

137. Bahnhof Büffet Basel. 1921.

35 1 2 x 49 7⁄ 8 in./90.2 x 126.6 cm Wolfsberg, Zürich

Cond A. Framed.

Ref: Plakat Schweiz, p. 177; PAI-L, 121

By showing a connoisseur testing the bouquet of the wine, the restaurant at the Basel railroad station lets the viewer know that we can expect first-class fare to be served there. Amiet puts forward this notion in a terse but effective manner. Amiet was a very successful painter who designed few posters, but those that he created were of high quality.

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

Louis Anquetin (1861-1932)

138. Marguerite Dufay. 1894.

49 3 4 x 36 1⁄4 in./126.5 x 92 cm

Imp. Edw. Ancourt, Paris

Cond B/Slight tears at folds and edges.

Ref: Maindron 1896, p. 33; Reims, 205; Maitres, 150; Hiatt, p. 113; Kauffer/Poster Purpose, p. 111; Weill, 76; PAI-LXXXVII, 178

Among the highly specialized terms used to distinguish Paris music-hall entertainers, Dufay fell into the category of “comique excentrique.” To some, she was “merely a woman of impossible fatness who performs at various Paris music-halls on the trombone.” The poster itself, however, drew wide contemporary praise: “It is safe to say that, once seen, it will never be forgotten... The mirth of the thing is victorious and infectious; one seems almost to hear the coarse laugh; the ample body in the green dress seems to move as one stares at it. In line, in movement, this poster is... a veritable masterpiece” (Hiatt, p. 113). This is a two-sheet poster.

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

Katsumi Asaba (1940- )

139. 41st World Table Tennis Championships. 1991.

Each: 28 5⁄ 8 x 40 1⁄ 2 in./72.7 x 103 cm

Cond A-/Crease in Japanese poster.

Asaba was the perfect choice to design the announcement for the 41st World Table Tennis Championships in Japan: he is not only one of the country’s most awarded designers, but is a table tennis fanatic himself. Here, he merges Edo period print traditions with minimalist contemporary typography. The female tennis players, dressed in luxurious kimonos, command the viewer’s attention with their elegance and grace. These posters are hand-signed by the artist.

Est: $3,000-$4,000. (2)

Jane Atché (1872-1937)

140. Rêverie / Méditation. 1897.

Each: 14 3⁄4 in./37.3 cm

Cond A. Framed.

Ref: Atché, p. 48 & 49; PAI-LXXXIV, 196

Created the same year as Mucha’s more famous Têtes Byzantines, Atché’s similar diptych Rêverie & Méditation may actually be superior to the Czech master’s work. These two feminine profiles appear to be designed with the Pre-Raphaelite aesthetic in mind, rather than the Byzantine; Atché employs a greater sense of the English medieval, and a greater concentration on foliage as organic form rather than aesthetic embellishment. Their presence is absolutely radiant.

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

Franco Barberis (1905-1992)

141. Bally. 1938.

36 1⁄ 8 x 50 in./91.7 x 127 cm

Cond B+/Slight tears at folds and edges.

For the Swiss shoe manufacturer Bally, Barberis conjures not only a stylish advertising poster, but a smart shoe box as well.

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

Adrien Barrère (1877-1931)

142. Cinéma Pathé. 1909.

59 3⁄4 x 45 1⁄ 2 in./151.6 x 115.5 cm

Affiches Robert, Paris

Cond A-/Slight tears at folds. Framed.

Ref: Célébrités, 151; PAI-LXXXVII, 182

Barrère, with his jaundiced eye and deft hand, seldom seemed to illustrate anything without an ironic edge to it, and this poster for Cinéma Pathé does not appear to be an exception. “Everyone brings their children there!” says the legend above, as wealthy industrialists and military officers and their children (all in exceptionally vibrant colors) watch a parade of wealthy industrialists and military officers on the silver screen, in what might be a promotion for Cinéma Pathé’s new home motion-picture-camera technology. Founder Charles Pathé was the first international cinema mogul, and from the company’s inception through World War I, he helped produce more film footage than all other European and American producers combined.

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

143. Max Linder / Pathé. 1917. 44 1⁄4 x 60 in./112.4 x 152.5 cm

Pathé Frères Editeurs

Cond B/Slight tears at folds and edges.

While little information exists on the silent film “Max Should Wear Suspenders,” Barrère’s design gives us a sense of quirky comedy led by French star Max Linder. Considered to be the first international movie star, Linder became synonymous with French comedy of the early 1900s. It’s a natural match, then, for the lithographic humorist Barrère to take on the actor in this design for Cinéma Pathé.

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

Aubrey Beardsley (1872-1898)

144. 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-XIV, 116

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. Rare!

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

Eugène Beaudoin (1898-1983) & Marcel Lods (1891-1978)

145. Paris 1937 / Exposition Internationale. 1936.

23 7⁄ 8 x 39 in./60.6 x 99 cm

Imp. Jules Simon, Paris Cond B+/Horizontal fold at top; 1-inch tear at bottom.

Ref: Purvis, p. 84; PAI-LXX, 222

Winning first prize in a competition held by the French Ministry of Commerce for the Paris 1937 World’s Fair, this poster magically combines romance and Futurism in a haunting and dreamy design. Its co-creators were architects who, in addition to working together on various projects in Paris, were also in charge of the overall design for the upcoming World’s Fair. As poster design was not their passion, this is the only lithographic result of their combined artistic talents. This is the medium format.

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

Ray Ber

146. Dover Ostend. ca. 1950.

24 1⁄ 2 x 39 7⁄ 8 in./62 x 101.2 cm

Cocu & Mairesse, Quaregnon Cond A.

An adorable cherub invites us to hop on the ferry from Dover to holiday in Belgium. At just three hours of travel time, it’s a quick and easy way to cross the English Channel.

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

Francis Bernard (1900-1979)

147. Dietrich.

61 x 89 3⁄ 8 in./154.8 x 227 cm Editions Paul-Martial, Paris Cond A-/Slight tears at edges.

Ref: Bernard, 10; PAI-LV, 159

To advertise Dietrich’s “Diamond” radiators, Bernard creates a two-sheet poster with a geometric business man sitting happily in a club chair. The photomontage appliance next to him emits a radiant glow along with a stream of text that circles around the figure’s head like a halo, and ultimately lands in his wallet—which further emphasizes the 150-350 francs that we’ll ultimately save. The slogan itself is a rhyming French jingle which translates to “Buy a Diamond and save money.”

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

Lucian Bernhard (1883-1972)

148. Plakate Heraus! 1915.

36 7⁄ 8 x 46 1⁄4 in./93.7 x 117.5 cm Hollerbaum & Schmidt, Berlin Cond B+/Slight tears at folds.

Ref: Wember, 116; PAI-LXXXVII, 188

A many-sided artist, Bernhard was born in Stuttgart, studied in Munich, and in 1901 became active in Berlin, where he eventually rose to foreman and part owner of the printing firm Hollerbaum & Schmidt. By 1920, he was teaching graphic arts at the Berlin Academy, but three years later moved to New York where he remained for the rest of his life. He continued teaching at the Art Students’ League of New York. This is a World War I appeal exhorting all good businessmen to resume using posters again—evidently a ploy to shore up the sagging fortunes of the firm. The little stamper guy is “Stehauf” (roughly “Get-up-and-go”), representing the text: “Bring out posters—the banners of revived business.”

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

Elisha Brown Bird (1867-1943)

149. The Poster. 1896.

11 1⁄4 x 16 3⁄4 in./28.6 x 42.7 cm

Cond B+/Slight tears and stains at edges.

Ref: Lauder, 9

“‘The Poster,’ commissioned by William Clemens as the first poster for his magazine of the same name, was also called ‘Miss Art and Miss Litho.’ Collectors could order a copy for fifty cents post-free... The same design was printed in different colors for the covers of the March, April, and May issues” (Lauder, p. 103). Bird studied architecture at the Massachusetts Institute of Technology, but opted to draft illustrations and posters instead of buildings.

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

Pierre Bonnard (1867-1947)

150. Salon des Cent. 1896.

17 1⁄ 2 x 25 in./44.4 x 63.5 cm

Imp. Chaix, Paris

Cond A.

Ref: DFP-II, 79; Salon des Cent, p. 53; Salon des Cent/Neumann, p. 35; Marx, 45; Bouvet, 39; Ives, illus. 19; Posters of Paris, 11; Word & Image, p. 27; PAI-LXXXVI, 138

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

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

151. L’Estampe et l’Affiche. 1897.

24 1⁄ 8 x 32 7⁄ 8 in./61.3 x 83.5 cm

Cond A.

Ref: Marx, 38; Bouvet, 44; DFP-II, 80; Gold, 89; Iskin, 24; PAI-LXXXVIII, 212

Although it appeared for only two years during the heyday of postermania (March 1897 to December 1899), this magazine exercised a major influence on poster designers and collectors alike. Bonnard’s poster was featured on the first page of the first issue, and it was seen as a declaration of intentions on the part of the posterists: we see the older woman—representing the Print—look with curiosity at the brash kid with her portfolio—representing the up-and-coming Poster—obviously ready to take over as the collectible of choice.

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

George Bottini (1874-1907)

152. Ed. Sagot. 1898.

10 7⁄ 8 x 15 in./27.6 x 38 cm

Cond A/P. Framed.

Ref: Iskin, p. 101 (var); Color Revolution, 28; Arwas, p. 6 (var)

“Bottini depicted an elegantly attired fashionable woman on the street observing prints in the window of the leading Parisian print and poster gallery. The small scale of the lithograph and its minimal lettering— consisting only of the name of the Sagot gallery on the storefront, with none of its customary additional information about the gallery—suggest that the print was commissioned for posting in the interior of the gallery and intended to appeal to collectors of original color prints... Bottini’s representation of the female collector emphasizes her fashionability; and in contrast to the sense of relative privacy that typically characterizes the representation of print collector inspecting prints in interiors, here prints are observed in the public domain of the street... The work depicts print collecting at the end of the century as a mixed-gender urban activity that is not confined to the interior. It also depicts fashionable urban women as among the most prominent clientele of the Sagot gallery, followed by bohemian men” (Iskin, p. 101-102). This print is from an edition of 50 copies, hand-signed by the artist, and includes a remarque.

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

Firmin Bouisset (1859-1925)

153. Chocolat Menier. ca. 1895.

39 x 55 1⁄ 2 in./99 x 141 cm

Imp. Charles Verneau, Paris

Cond B+/Slight stains in lower margin.

Ref (all var but Karcher & PAI): DFP-II, 85; Reims, 237; Maindron 1896, p. 42; Musée d’Affiche, 49; Weill, 75; Masters 1900, 75; Chocolate Posters, cover & p. 20; Karcher, p. 75; PAI-LXXXII, 174

Most frequently, Bouisset’s design of this young female graffiti artist shows her scribbling “Chocolat Menier” on the blank slate of a wall she has happened upon. In this lesser-seen, later version, the young girl is writing “Eviter les Contrefaçons” (Avoid Substitutes). Regardless of the version, the seductive charm of the composition remains, making it one of the most appealing posters by this artist who frequently used children as his theme.

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

William H. Bradley (1868-1962)

154. The Chap-Book. 1894. 14 x 20 in./35.5 x 51 cm

Cond A.

Ref: DFP-I, 152; Bradley/Koch, p. 22; Reims, 1139; Margolin, p. 97; Hiatt, p. 305; Lauder, 13; PAI-XIV, 136

“Bradley’s first poster design was probably ‘The Twins,’ which he created for Stone & Kimball’s literary magazine The Chap Book in the summer or fall of 1894. It was considered the first Art Nouveau poster in America and added to the wave of interest in poster collecting started by Edward Penfield’s Harper’s placards. But Bradley’s decorative style was not as easy to accept as Penfield’s more straightforward portrayals of the haute bourgeoisie. A critic writing in The American Printer said of ‘The Twins’ that ‘the funniest thing out is the Chap-Book poster. No mortal man can possibly tell without deliberately investigating what it means or what it represents. Ten feet away one would be willing to make an oath that it was a very, very red turkey gobbler very poorly represented. On closer inspection it seems to have been intended for two human beings, one at least being in a red gown very short at both ends’” (Margolin, p. 26).

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

155. The Chap Book / Thanksgiving No. 1895.

13 3⁄4 x 20 7⁄ 8 in./35 x 53.2 cm

Cond A.

Ref: Bradley, VIII; Lauder, 23; Margolin, cover & p. 98; PAI-LII, 68

What’s better than one swirling Art Nouveau beauty carrying a hefty tray of Thanksgiving delights? Two swirling Art Nouveau beauties! It’s another mesmerizing design by the American Art Nouveau master.

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

156. The Echo. ca. 1895.

15 x 21 3⁄4 in./38 x 55.2 cm

Cond A.

Ref (all var): Bradley/Koch, p. 101; Bradley, 15; DFP-I, 161; Lauder, 19; Takashimaya, 40; PAI-LXXIV, 207

Will Bradley, named “The Dean of American Designers” by the Saturday Evening Post , was the highest-paid American artist of the early 20th century. Known, occasionally, as “the American Aubrey Beardsley” (though he was an established artist before Beardsley became popular), he pioneered the American two-dimensional style of posters, drawing on Japanese block printing and the Arts and Crafts Movement. This gorgeous poster, advertising a biweekly magazine in Chicago, is in the collections of MoMA. This variant includes additional text that reads: “Chicago’s new paper in which will appear a series of colored frontispieces by Will H. Bradley.”

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

157. Bradley / His Book : Seven Issues. 1896-1897.

Prospectus and first 4 issues: 5 1⁄4 x 10 1 2 in./13.3 x 26.7 cm

Last 3 issues: 8 x 11 in./20.3 x 27.9 cm

All books in excellent condition; some wear to covers. This lot includes Bradley’s prospectus for His Book and the following seven complete issues; a February 1897 issue was never completed, and therefore it was not printed separately. In 1895, Bradley moved from Chicago to Springfield, Massachusetts where he established The Wayside Press, a publishing and graphic arts venture whose main product was Bradley: His Book , an art magazine appearing monthly. The artist designed, wrote, and printed each issue and also released a poster for every publication. He even illustrated the advertisements, and they are some of the loveliest commercial advertising images to exist. The magazine’s first issue—printed in 10,000 copies—was entirely sold out before the day of publication, and subsequent issues were highly sought and critically lauded. In 1896, the Syracuse Herald wrote, “ Bradley, His Book is a new aspirant to magazine honors, and it puts forth strong claims to recognition. It is a model of neatness, and its literary quality is in keeping with its external appearance.” The Manchester Cricket noted, “It is a unique affair, and one of the most artistic works extant.”

Est: $3,000-$4,000. (8)

Roger Broders (1883-1953)

158. Dunkerque. 1929.

24 x 39 1⁄ 8 in./61 x 99.3 cm

Imp. Lucien Serre, Paris

Cond A.

Ref: Broders, cover & p. 37; Broders/Travel, p. 30; PAI-LXXXIV, 217

The rarest of all Broders posters, it’s also the only image Broders created for the Chemin de Fer du Nord—though the railroad is nowhere to be seen. Instead, he gives us the view from an elegant couple’s yacht pulling out of the harbor. The contrast between the modern (both people and ships) and the medieval (the spire of the Old Town Hall and the little skiff at right) makes Dunkirk all the more interesting and mysterious.

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

159. Charbonnières-les-Bains. ca. 1927.

30 3 4 x 42 1⁄4 in./78 x 107.3 cm

Imp. Lucien Serre, Paris

Cond A.

Ref: Broders, p. 58; Broders/Travel, p. 54; PAI-LXII, 116

Not far from Lyon, Charbonnières-les-Bains is a small spa resort area, perfectly pictured here as the height of sophistication, luxury, and relaxation.

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

160. Le Hohwald. ca. 1930.

24 3 8 x 39 1⁄4 in./62 x 99.7 cm

Imp. Lucien Serre, Paris

Cond B/Slight tears at folds.

Ref: Broders, p. 45; Montagne, p. 275; Broders Travel, p. 77; PAI-LXIX, 238 Broders’ model for this ecstatic skier in Alsace was his wife, Marguerite. It was through her, in fact, that Roger came to design for PLM, his single most important client. The couple was introduced to PLM’s director by one of Marguerite’s students at the École du Louvre.

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

Pieter Irwin Brown (1903-1988)

161. Clyde Coast for Holidays. 1931. 25 x 39 7⁄ 8 in./63.3 x 101.3 cm

McCorquodale, Glasgow

Cond A-/Slight tears in bottom text area.

Brown expertly captures the dramatic landscape of Scotland’s Firth of Clyde on its west coast. Near the Atlantic Ocean, the mouth of the River Clyde holds the deepest coastal waters in the British Isles. It became a popular tourist destination during the Victorian era. The region was also home to numerous shipyards that produced a large portion of the world’s ships through the mid-20th century. Here, Brown combines each of these notable aspects in one succinct image.

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

162

Boris Bu´can (1947- )

162. Milton Glaser. 1979.

27 1⁄4 x 38 in./69 x 96.5 cm

Bu´can Sitotisak Studio

Cond A/P.

Ref: Bu´can, p. 93

For an exhibition of Milton Glaser’s work in Zagreb, Bu´can turns the artist’s iconic Dylan poster on its head—quite literally. It’s a little bit salacious and very much humorous. This is a silkscreen poster.

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

163. Nikola Šubi´c Zrinjski. 1983.

77 1⁄4 x 80 in./196.2 x 203.4 cm

Cond A.

Ref: Bu´can, p. 138

The opera Nikola Šubi´c Zrinjski was written and composed by Ivan Zajc in 1876; it recounts the Battle of Szigetvár in 1566, when Croatian nobleman Nikola IV Zrinski heroically stood up to the powerful Ottoman forces. Although the effort ultimately failed, the story remains a patriotic symbol for Croatia, and the opera continues to enjoy performances globally. Here, for its performance at the Croatian National Theatre in Split, Bu´can creates en elaborate announcement that centers on Nikola’s heroism. This is a six-sheet silkscreen print.

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

164. Blue Beard / Hollybush Opera Theatre. 1988.

76 7⁄ 8 x 80 1⁄ 8 in./195.2 x 203.5 cm

Cond A.

Bu´can rarely produced posters for American companies, but for the Hollybush Opera Festival in Glassboro, New Jersey, he contributed this wonderful, autumnal design plus three more images for the event. The Glassboro State College also hosted an exhibition of Bu´can’s posters. This is a six-sheet poster.

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

165. Zagreb Symphony Orchestra. 1985.

76 5⁄ 8 x 79 1⁄ 2 in./194.6 x 202 cm

Cond A.

Ref: Bu´can, p. 148

For a performance by the Zagreb Symphony Orchestra and RTV Zagreb Choir, Bu´can conjures a phantasmagoric scene of monstera plants, birds, toys, and vinyl records floating through space. Bu´can created posters for the Zagreb Symphony from 1983 to 1991, always exploring the visual representation of music with a sense of play and exploration. This is a six-sheet silkscreen poster.

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

Gaspar Camps (1874-1942)

166. Evening Hydrangea.

9 1⁄ 8 x 19 in./23.3 x 48.2 cm

Imp. F. Champenois, Paris (not shown)

Cond A/Mounted on board. Framed.

Ref: Imprimerie, 50 (var); PAI-LXXI, 234

Hydrangeas were first identified in Japan, and the flower’s name means “water vessel.” Camps’ maiden, in Japanese adornment, clasps the flowers across her shoulders while smiling with an enigmatic directness. She appears as the embodiment of the hydrangea’s symbolism: a touch of vanity, perhaps, but also sincere and heartfelt. That’s why the hydrangea is the traditional fourth wedding anniversary flower, symbolizing the softening of vanity and boastfulness into an enduring grace and beauty.

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

LEONETTO CAPPIELLO

Leonetto Cappiello (1875-1942)

167. Folies-Bergère / Spectacle Varié. 1900.

35 7⁄ 8 x 49 1⁄ 2 in./91.2 x 126 cm

Imp. Chaix, Paris

Cond A.

Ref: Cappiello/Rennert, 2A; Cappiello, 208; Cappiello/St. Vincent, 4.4; Menegazzi-I, 75; PAI-LXXXV, 209

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

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

168. Pur Champagne / Damery-Epernay. 1902.

39 1⁄4 x 54 3⁄ 8 in./99.7 x 138.2 cm

Imp. P. Vercasson, Paris

Cond A.

Ref: Cappiello/Rennert, 32; Cappiello, 246; Wine Spectator, 160; PAI-LXXVIII, 209 “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 DameryEpernay 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). This printing has vivid colors!

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

169. Absinthe Gempp Pernod. 1903.

54 1⁄ 2 x 77 3⁄4 in./138.5 x 197.3 cm Imp. P. Vercasson, Paris

Cond A-/Slight creases.

Ref: Cappiello/Rennert, 13; Wine Spectator, 173; Menegazzi-I, 393; PAI-LXXXVI, 151

The leader in the absinthe business, Pernod dominated the market from the late 18th century until the beverage was banned. This two-sheet poster, still calling upon Cappiello’s early work as a caricaturist, advertises the branch of the company owned by Pernod’s son-in-law, Charles Gempp.

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

Cappiello (Continued)

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

50 1⁄ 2 x 78 3⁄ 8 in./128.3 x 199 cm

Imp. P. Vercasson, Paris

Cond B/Slight tears at edges.

Ref: Cappiello/Rennert, 99; Auto Show I, 30; PAI-LXXXVII, 206

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

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

171. Cognac Albert Robin. 1906.

46 3⁄4 x 63 in./118.7 x 159.8 cm

Imp. P. Vercasson, Paris

Cond A.

Ref: Cappiello/Rennert, 97; Cappiello, 267; Wine Spectator, 169; Gourmand, p. 55; PAI-LXXIX, 269

Founded by Albert Robin in 1860, the cognac company bearing his name remains in business today. Perhaps in an attempt to show that the product is more than its simple name implies, Cappiello chose to crown the barrel with a far more exotic bird than a mere robin—an image that prevails as the company’s logo to this day.

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

172. Menthe-Pastille. 1906.

50 1⁄4 x 78 in./127.7 x 198 cm

Imp. P. Vercasson, Paris

Cond B+/Slight tears in folds and bottom text area.

Ref: Cappiello/Rennert, 116; Cappiello, 269; Wine Spectator, 179; PAI-LXXIV, 224

Invented by the Angers-based pharmacist Emile Giffard in 1885, La Menthe Pastille was an accidental discovery. Thinking that the taste reminded him of English cough lozenges, Giffard named his newfound drink after them, marketing it as a most-refreshing digestif. It turned out to be so popular that he was able to transform his pharmacy into a distillery, which continues to operate today, still 100% run by the Giffard family. The poster certainly emphasizes the beverage’s appeal: it’s so intoxicating that even garden statuary will come to life to indulge in it.

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

173. Unic / Chaussures de Luxe pour Hommes. 1913.

76 1⁄ 2 x 120 1⁄ 8 in./194.3 x 305 cm

Imp. P. Vercasson, Paris

Cond A-/Slight tears at folds.

Ref (both var): Cappiello/Rennert, 262; PAI-LXXI, 253

Cappiello was never one to shy away from utilizing the absurd to draw attention to a product, as can be seen here in his six-legged buyer of Unic, deluxe shoes for men. A very different design would be created by Cassandre for the company 19 years later, in which we are presented with just a pair of shiny brown lace-ups ( see PAI-LXXXIV, 258). This is the larger, three-sheet format.

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

174. Longines. 1922.

76 1⁄4 x 118 5 8 in./194 x 301.6 cm

Imp. P. Vercasson, Paris

Cond B+/Slight tears at seams.

Ref: Cappiello/Rennert, 195; PAI-LXIX, 267

“An appreciation for the Longines poster, showing Father Time himself endorsing it as ‘the best of precision watches,’ appeared in an essay by F. Bouvet de Monvel in the December 13, 1913 issue of Le Monde Illustré : ‘Enthroned on clouds like those blissful saints in church windows who are as majestic as God, and blasé in the face of the world’s old age. At his feet, the homely hourglass that kept time for our ancestors is casually tossed in a golden ray of sunlight. Farewell, old relic!... You’re obsolete and Father Time no longer has any use for you. Just like everyone else, he uses a watch. But his can’t be like everyone else’s. It’s a ‘Longines’ that he has chosen. In a triumphant gesture, as if he’s relieved of a great sadness, he raises it above his head. His watch shows ten-thirty—and you better set yours’” (Cappiello/Rennert, p. 139). This is the larger 3-sheet format.

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

Cappiello (Continued)

175. Nos Actrices. 1899.

13 3⁄4 x 17 3⁄4 in./31 x 45.1 cm

Cond A.

Ref: Cappiello/Rennert, p. 6; PAI-LXXXVII, 227

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

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

176. “Noel” : Drawing. 1900.

11 x 13 3 8 in./28 x 34 cm

Signed crayon and ink drawing. Framed.

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: $5,000-$6,000.

177. Mistinguett / Casino de Paris. 1920.

46 1⁄4 x 62 3⁄4 in./117.3 x 159.4 cm

Imp. Devambez, Paris

Cond A.

Ref: Cappiello/Rennert, 312; Cappiello, 290; Cappiello/St. Vincent, 4.44; Folies-Bergère, 61; Karcher, 271; Gesmar, p. 77; Chanson à l’Affiche, p. 54; PAI-LXXIII, 229

This is an absolutely smashing lithograph of Mistinguett by Cappiello, who has an unusual sensitivity to the actual contours of her face, making it a more realistic portrait than most. The electricity in her toothy grin and the signature headline extending out of the white ribbons is unlike anything else in either the Mistinguett oeuvre, or in the entirety of Cappiello’s work. Cappiello catches her in 1920 for “La Revue Nouvelle” at the Casino de Paris. “Cappiello managed to find a rather novel angle to present the legendary performer: He sets us down in a box seat, a superior vantage point from which to watch her. It was Mistinguett’s first public appearance in several years without her steady partner and lover, Maurice Chevalier, with whom she had just parted ways. It was in this revue that she introduced one of her signature songs, ‘La Parisienne’” (Cappiello/Rennert, p. 204).

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

Cappiello (Continued)

178. Royat. 1923.

100 3⁄ 8 x 155 1⁄4 in./255 x 394.2 cm

Imp. Devambez, Paris

Cond A-/Slight tears at folds.

Ref: Cappiello/Rennert, 394; Cappiello/St. Vincent, 4.55; Menegazzi-I, 386; PAI-IX, 60 (var)

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 an impressive six-sheet poster.

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

178

179. Alcool de Menthe Ricqlès. 1924.

99 1⁄ 2 x 155 3⁄4 in./253 x 395.8 cm

Imp. Devambez, Paris

Cond A-/Slight tears at folds.

Ref: Cappiello/Rennert, 400; PAI-LXXX, 281

“Ricqlès, a silk merchant from Lyon, is credited with the invention of ‘alcool de menthe’ in 1838, originally claiming for it the usual all-healing properties associated with most of the stomach bitters of that period, except that Mr. Ricqlès took it a step further by saying that he was inspired by divine guidance” (Cappiello/Rennert, p. 252). This is perhaps why we see a pair of angels proudly brandishing a bottle on the product’s label. This is the six-sheet version.

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

180

Cappiello (Continued)

180. “Délices” / Ferrand & Renaud. 1923.

101 5⁄ 8 x 156 3⁄4 in./258.2 x 398.2 cm

Imp. Devambez, Paris

Cond A-/Slight tears at folds.

Ref (both var): Cappiello/Rennert, 389; PAI-LXIV, 170

An enthusiastic, lithe lady with wheat-colored hair and a grain-adorned skirt points out just how delicious Ferrand & Renaud pasta is. Years before, when it was simply the Ferrand pasta company, it won high honors at the Paris Exposition. This is the six-sheet, largest format.

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

181. Parapluie-Revel. 1929.

78 1⁄ 2 x 124 3⁄4 in./199.4 x 315.8 cm

Imp. Devambez, Paris

Cond A.

Ref: Cappiello/Rennert, 373; Karcher, 245; Cappiello/St. Vincent, 4.68; Publicité, p. 86; PAI-LXXXVIII, 241

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

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

182. Cognac Monnet. 1927.

50 3 4 x 78 3⁄4 in./129 x 200 cm

Imp. Devambez, Paris

Cond A.

Ref: Cappiello/Rennert, 443; Publicité, p. 92; PAI-LXXXVI, 167

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

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

183. Contratto. 1922.

39 3 8 x 55 1⁄4 in./100 x 140.3 cm

Les Nouvelles Affiches Cappiello, Paris

Cond A.

Ref: Cappiello/Rennert, 366; Cappiello/St. Vincent, 4.45; Menegazzi-I, 436; PAI-LXXXI, 232

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

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

Cappiello (Continued)

184. Florio et Cinzano. 1930.

10 1⁄4 x 14 in./26 x 35.6 cm

Imp. Devambez, Paris

Cond A. Framed.

Ref (all var but PAI): Cappiello/Rennert, 480; Cappiello/St. Vincent, 3.11; Boissons, 434; Art Deco, p. 87; PAI-LXXV, 264

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

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

185. 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-LXXXVII, 228

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.

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

Jean Carlu (1900-1997)

186. Grandes Fêtes de Paris. 1934.

63 1⁄ 2 x 47 1⁄ 2 in./161.4 x 120.9 cm Alliance Graphique, Paris Cond A.

Ref: Carlu, 39; Art Deco, p. 112; Art Deco en France, 75 (var); Deco Affiches, p. 43; Art Deco Graphiques, p. 43 (var); PAI-LXIII, 173

Four of France’s leading posterists—Cassandre, Colin, Domergue, and Carlu—were asked to design posters for the 1934 summer season in Paris. Carlu’s design is particularly effective, with a fashionable couple coming together to watch a turf event outdoors.

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

187

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

187. Nord Express. 1927.

29 1⁄ 2 x 41 3⁄4 in./75 x 106 cm

Imp. 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-LXXXVI, 171

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: $17,000-$20,000.

188. Dubonnet / ...à l’eau. 1935.

14 x 10 3 8 in./35.5 x 26.5 cm

Alliance Graphique, Paris

Cond A.

Ref: Art Deco/Duncan, p. 150; Art Deco, p. 179; Cassandre/Suntory, 178; PAI-LXXI, 284 Cassandre’s immortal 1932 Dubonnet figure was repeatedly used for the company’s marketing; this small placard recommends Dubonnet with water and a touch of either cassis or lemon zest. À votre santé!

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

189. Italia. 1936.

24 1⁄4 x 39 3⁄ 8 in./61.8 x 100 cm

Off. Graf. Coen, Milano

Cond A-/Slight tears in margins.

Ref (all var but PAI): Mouron, 192; Cassandre/BN, 103; Brown & Reinhold, 58; Alpes, 10; Cassandre/Suntory, 63A; PAI-LXXXVIII, 252

Cassandre designed this and two other Italian tourism posters during a working summer holiday on the shores of Lake Maggiore in northern Italy. The Mussolini regime had passed a law banning Italian companies from commissioning French artists; to get around it, Cassandre’s future publisher in Italy, Augusto Coen, invited him to work in Italy. Savignac, then Cassandre’s assistant, loyally accompanied him and collaborated on the three posters. Though the style was a dead giveaway, Cassandre had to play along with the charade and use the monogram “A.M.C.” to conceal his French name. This particular creation centers on a montage of sports and recreational objects against a panorama of Italian topography. From the cobalt-blue Adriatic to the azure of the sky over the Alps, the entire scene is expressed with

extreme graphic economy. This particular version of the poster excludes the bottom two text lines that mention that Italy has the field for every sport in their beautiful country, allowing Cassandre’s masterful graphics to convey that message all by themselves.

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

Hipolito Hidalgo de Caviedes

(1902-1996)

190. San Sebastian. 1925.

26 1⁄ 2 x 39 in./67.4 x 99 cm

Lit. Matev, Madrid

Cond A-/Slight tears at edges.

Ref: Color of Leisure, p. 73 (var); España, 903; Publicidad, 1328 (var); PAI-LVII, 258

In this languid, organic travel poster, the shapes of the waving sailors echo the lopping roll of the sea around San Sebastian.

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

Marc Chagall (1887-1985)

191. Nice / Soleil, Fleurs. 1962.

24 1 2 x 39 in./62.3 x 99 cm

Imp. Mourlot, Paris

Cond A.

Ref: Affiches Azur, 56; Sorlier, p. 38; PAI-LXXXVI, 181

Far above the Corniche, in the midst of a midnight blue, a mermaid hovers, clasping and smelling a bouquet of flowers: this is Marc Chagall’s dream of Nice, the city of flowers on the Côte d’Azur. Chagall arrived in Paris from Vitebsk, Russia in 1910 and soon made a name for himself with his art of surreal and poetic dream-visions. This design was appropriated from a print entitled “The Bay of Angels.”

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

JULES CHÉRET

Jules Chéret (1836-1932)

192. Valentino. 1872.

16 1⁄ 2 x 22 3⁄ 8 in./42 x 57 cm

Imp. J. Chéret, Paris

Cond A-/Unobtrusive folds.

Ref: Chéret, 418; Brodio, 325; Maindron 1896, 263; PAI-LIX, 248

This early design by Chéret promotes Valentino’s general nighttime entertainment. This, and the following 4 lots, were all printed at Chéret’s own plant before merging with Imp. Chaix, and are extremely rare.

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

193. Brillant Florentin. 1874.

23 x 32 in./58.6 x 81.2 cm

Imp. J. Chéret, Paris

Cond B+/Unobtrusive folds.

Ref: Chéret, 1329; Broido, 1015; Maindron, 838

This early Chéret design promotes a wood polish that promises “no more rubbing with wax” and “coloring and maintenance without odor or fatigue.”

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

194. Folies-Bergère / Charmeuse de Serpents. 1875.

23 3⁄4 x 30 1⁄ 8 in./60.5 x 76.5 cm

Imp. J. Chéret, Paris

Cond A-/Slight tears at edges.

Ref: Chéret, 96; Broido, 82; Maindron, 79; Spectacle, 1053; PAI-XLVI, 261

Although exotic animal acts seem to belong more properly in the circus than in the music hall, records show that these popular stages hosted menageries to rival Noah’s. Along with the expected lions and tigers, audiences could see trained elephants, bears, monkeys, cats, dogs, rats, seals, and pigeons. Here, Chéret surrounds a hefty snake charmer with her serpentine charges and letters that wriggle as well.

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

195. Fantaisies / Music-Hall. 1876.

16 x 24 3⁄4 in./40.8 x 62.7 cm

Imp. J. Chéret, Paris

Cond A.

Ref: Chéret, 256; Broido, 263; Maindron, 178

The Fantaisies Music-Hall, also known as the Fantaisies-Oller, opened at 28 Blvd. des Italiens in 1876, only to be torn down a few months later to make way for a replacement—the Théâtre des Nouveautés. Given the venue’s brief existence, the fact that it came to Chéret twice suggests his importance as a theatrical posterist of the time. Here, Chéret offers up a veritable bevy of characters: a female jester, Cupid, gymnasts, cabaret dancers, minstrels, and clowns —evidence of the variety of performances held at this venue. Rare!

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

196. Vogue Universelle / Dr. Nicolay. 1877.

24 1 4 x 30 1⁄4 in./61.5 x 76.7 cm

Imp. J. Chéret, Paris

Cond A.

Ref: Chéret, 643; Broido, 514; Maindron, 415

This unknown magician received the star treatment from Chéret. Surrounding his cameo are various goddesses, assistants, skeletons, rabbits, and doves that represent his oeuvre of illusions and magic tricks.

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

Chéret (Continued)

197. Exposition des Maîtres Japonais. 1890. 48 1⁄ 2 x 34 3⁄4 in./123.2 x 88 cm

Imp. Chaix, Paris

Cond B+/Slight tears in bottom text area.

Ref: Broido, 441; Maindron, 359; DFP-II, 912; PAI-VIII, 122

The Japanese lady in her kimono is faithfully rendered in the style of popular Japanese prints of the Edo Period. She is burdened with samples of material and an unfolding scroll, apparently to indicate the multiple subjects of the exhibition. Important art critics and dealers are listed as sponsors of the benefit show, starting with the foremost Art Nouveau dealer of the period, Siegfried Bing, who did much to introduce Japanese art to Europe. Rare!

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

198. Saxoléine. 1891.

22 3⁄4 x 32 1⁄4 in./57.8 x 81.8 cm

Imp. Chaix, Paris

Cond A-/Slight tears at folds.

Ref: Broido, 942; PAI-XLIX, 218

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. This is the smaller format.

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

199. Saxoléine. 1891.

34 1⁄ 8 x 48 3⁄4 in./86.6 x 124 cm

Imp. Chaix, Paris

Cond A-/Slight folds.

Ref: Chéret, 1227; Broido, 941; Maindron, 780; Reims, 505; PAI-LV, 233

In this design for the lamp oil company Saxoléine, Chéret portrays one of his favorite redhead ladies in a bright yellow dress. This is the larger format.

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

200. Saxoléine. 1892.

33 x 48 1⁄ 2 in./83.8 x 123.2 cm

Imp. Chaix, Paris

Cond A.

Ref: Chéret, 1236; Broido, 946; Maindron, 785; Maîtres, 145; Reims, 507; DFP-II, 232; PAI-LXVI, 198

In his designs for this humble product, Chéret achieved great success by creating a homey atmosphere with the use of warm, soft colors. He never strayed from his “woman plus lamp” formula, yet achieved a wide range of pleasing effects by simply arranging his two subjects in various positions so that each year’s poster appeared astonishingly “new.”

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

201. L’Auréole du Midi. 1893.

34 1⁄4 x 49 in./87 x 124.5 cm

Imp. Chaix, Paris

Cond A.

Ref: Chéret, 1277; Broido, 975; Maindron, 805; Maitres, p. 237; DFP-II, 243; PAI-LXXVII, 187

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

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

202. Camille Stéfani. 1896.

33 5⁄ 8 x 48 1⁄ 2 in./85.5 x 123.2 cm

Imp. Chaix, Paris

Cond A-/Unobtrusive folds.

Ref: Chéret, 277; Broido, 219; PAI-LXVI, 211

More delicate and painterly than his previous design for the performer, this poster shows Stéfani graciously thanking an unseen audience.

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

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

34 1⁄4 x 49 1⁄ 8 in./87 x 124.8 cm

Imp. Chaix, Paris

Cond B+/Slight tears at folds.

Ref: Chéret, 385; Broido, 299A; PAI-LXXXVIII, 270

This image was used during the 1897-1898 season at the Théâtre de l’Opéra. This particular variant announces the third masked gala, including a “cortège du bœuf gras”—an annual procession, usually during Carnival, organized by the guilds of butchers to award a top ox or bull.

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

Chéret (Continued)

204. Parfumerie-Distillerie Monaco / Iris Villa. 1897.

34 3⁄ 8 x 48 5⁄ 8 in./87.2 x 123.5 cm

Imp. Chaix, Paris

Cond B+/Slight stains at edges.

Ref: Chéret, 1225; Broido, 940; PAI-LXXIX, 299

The message in Chéret’s delicately handled design is clear: if you use Iris Villa fragrances, you will feel as if you are carrying an armful of flowers.

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

205. Grands Magasins du Louvre / Étrennes. 1897.

34 3⁄4 x 49 1⁄ 8 in./88 x 125 cm

Imp. Chaix, Paris

Cond A-/Unobtrusive folds.

Ref: Chéret, 844; Broido, 674; DFP-II, 257; PAI-LXIV, 212

Founded in 1855, the Grands Magasins du Louvre was one of the largest department stores in Paris, competing directly with Le Bon Marché. It was home to fifty two individual departments, covering everything from household items to toys to watercolors.

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

206. Saxoléine. 1900.

35 1⁄ 8 x 48 5⁄ 8 in./89.3 x 123.5 cm

Imp. Chaix, Paris

Cond A-/Unobtrusive fold.

Ref: Chéret, 1255; Broido, 958; DFP-II, 208; Gold, 28; PAI-LXXIX, 297

Admire the play of primary colors in Chéret’s ode to oil lamps and domestic goddesses. The red bodice and sun-yellow bonnet have a whip-like motion similar to a flame. Meanwhile, the lampshade shines sky-blue amid a background wash of midnight azure. Here we see Chéret making strides to imbue color with both emotion and meaning at the very beginning of the color lithography era. Chéret created more than a dozen different designs for Saxoléine; this one is particularly enlightening—literally.

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

208

207. Fêtes de Nice. 1906.

29 5 8 x 41 3⁄4 in./75.2 x 106 cm

Imp. Chaix, Paris (not shown)

Cond A.

Ref (all var): Chéret, 628; Broido, 491; PAI-XLVII, 208

This very tender design in softer tones comes from Chéret’s semiretirement. A pretty young lady strewing flowers creates a positive image for the city of Nice where the artist lived in the twilight of his life. This is the rare version before letters.

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

208. Turin / Exposition Internationale. 1911.

30 1⁄ 8 x 42 3⁄ 8 in./76.5 x 107.6 cm

Imp. Chaix, Paris

Cond A.

Ref: Chéret, 1394; Broido, 1043; PAI-XLII, 236

After 1900, with his eyesight failing, Chéret stopped producing posters on a regular basis, and we know of only some fifteen designs he created between then and 1921. This is one of the very last of them, in which the seventy four year-old artist, by then already Commander of the Legion of Honor, depicts a dark-haired Italian beauty symbolizing an industrial exposition at Turin beside a bugler heralding the event.

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

209. Chérette avec Tambourin : Drawing.

9 1⁄ 8 x 15 in./23.2 x 38.2 cm

Signed pastel drawing. Framed.

Chéret evokes another dreamlike scene in soft pastel hues. Against the somber dark background, a typical Chérette bursts forth in her bright yellow dress, marching to the beat of her own joyous tambourine.

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

Chéret (Continued)

210. Jeune Femme au Bonnet : Painting.

8 1⁄4 x 10 1⁄ 2 in./21 x 26.7 cm

Signed oil painting on canvas. Framed.

Chéret returns to one of his favorite subjects: a lovely young redhead, dressed in perfectly contrasting yellow and topped off with a bonnet. Amidst the blur of Impressionist brush strokes, her smile radiates.

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

211. Femme Lisant sur un Pliant : Painting.

7 5⁄ 8 x 10 3⁄4 in./19.4 x 27.3 cm

Oil painting on board. Framed.

This intimate study shows Chéret’s aptitude for shade, color, and light—notice the delicate folds of the woman’s jacket which are gently lit by the sun. This painting has been authenticated by Maitre Blanchet and will appear in a forthcoming catalogue raisonné.

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

Chéret (Continued)

212. Woman in Repose : Painting.

6 x 9 in./15.3 x 23 cm

Signed oil painting. Framed.

Ref: PAI-LXXXIV, 289

Chéret was a masterful lithographer, but here he proves his mastery of painting as well. This intimate portrait of a young seated woman is carefully composed with daubs of oil which accumulate to form a lifelike and lovely personality. The woman smiles tenderly as she gazes off into the distance; her Victorian garments are represented in detail, down to the lacy frills and floral details on her sleeves.

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

213. Élégante à sa lecture : Painting.

8 3⁄ 8 x 12 3⁄4 in./21.2 x 32.3 cm

Signed oil painting. Framed.

This tender portrait proves that Chéret can depict a moment of quiet solitude just as superbly as his more ebullient imagery.

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

Georges Clairin (1843-1919)

214. Moët & Chandon.

22 3⁄4 x 11 1⁄ 2 in./57.8 x 29.2 cm

Cond A. Framed.

Ref: PAI-LXXV, 289

It is but a promotional fan—yet it contains the drama of a Renaissance Old Master, with the festivity of the Commedia dell’arte clowns, a sense of occasion like the Venice Carnival, and the detail of a French 19th century Realist painting. All this together, in this scene of theatrical masquerade, epitomizes the Moët & Chandon brand.

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

Paul Colin (1892-1986)

215. Le Tumulte Noir. 1929.

13 3⁄ 8 x 20 1⁄ 8 in./34 x 51 cm

H. Chachoin, Paris

Complete; plates in excellent condition with some wear on cover; in portfolio case.

Ref: Colin Affichiste, p. 40-53; PAI-LXXXVIII, 289

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

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

Colin (Continued)

216. Tabarin : Menu Design. ca. 1970. 19 1⁄4 x 25 1⁄4 in./49 x 64 cm

Imp. Lafayette, Paris

Cond A. Framed.

Ref (all var): Colin, 25; Colin Affichiste, 172; Timeless Images, 91; Weill, 365; Art Deco, p. 101; PAI-LXXXVI, 204

Originally created in 1928 to advertise the home to the cancan, the Bal Tabarin, Colin decided to revisit his design some 40 years later. Here, his trio of dancing ladies likely served the purpose of a menu cover or other marketing material for a Parisian restaurant. Colin has hand-signed and dedicated the image to restauranteuse Madame Simone Klotz.

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

Edouard Collin (1906-1983)

217. Transatlantique / To the West Indies. 25 1⁄ 8 x 39 1⁄4 in./64 x 99.7 cm

Editions Transatlantique

Cond A.

Ref: PAI-XL, 174

Compagnie Générale Transatlantique (French Line) was founded in 1861. The company began sailing in 1862 from Le Havre to Mexico and in 1864 they added services from Le Havre to New York. They also sailed to Canada via Plymouth, served the Mediterranean, and had routes to the West Indies. And it’s an arrival in one of their West Indian ports that Collin lays out for us here with a jubilant throng of indigenous citizenry more than ready to ply their various trades on the passengers about to disembark from the Colombie . Launched in 1931, the Colombie was seized in 1942 by the United States and converted into a troop transport ship. In 1946, she was renamed the Aleda E. Lutz and served as a hospital ship. That same year, she was reverted to the CGT and reclaimed her original name. In 1964, Colombie was sold to Typados of Greece and once again renamed, this time as Atlantica

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

Gio Colucci (1892-1974)

218. Messageries Maritimes / Grèce.

28 1⁄ 2 x 40 5⁄ 8 in./72.3 x 103 cm

Imp. Rèunies, Paris Cond A.

Ref: PAI-XLII, 254

The enigmatic Middle East retains its vivid foreign appeal in this Colucci design for the Messageries Maritimes and its services to Greece, Turkey, Syria, and Egypt. A pair of sinuous water bearers contrast beautifully with the golden cliffs and the placid, reflective Mediterranean.

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

Jean David (1908-1993)

219. Visitez Israel / Pays de la Bible. ca. 1953. 24 1⁄4 x 38 3⁄4 in./61.7 x 98.5 cm

E. Lewin-Epstein, Tel-Aviv Cond A-/Slight tears at edges.

Ref: Made in Israel 60, 162; PAI-LXIV, 231 (var)

After studying art in Romania, particularly the work of the Dadaists, Jean David left his homeland by boat in 1932, only to be detained by the British and deported to an illegal immigrant camp in Cyprus. He managed to reach what would soon become Israel in 1944, enlisted in its army, and began creating promotional posters like this to encourage tourism to his newfound home. His work is notably filled with zest and humor, featuring odd combinations with a touch of Surrealism.

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

Henri Delval

220. Morocco. 1952.

23 1⁄4 x 39 1⁄ 2 in./59 x 100.4 cm

Gaillard, Maroc

Cond A-/Slight tears at edges. P.

Ref: Orientalist, p. 81 (var)

Under a starry night sky, a lone traveler has let his mule drink from the shores of the Atlantic Ocean. The water shimmers; the mountains are aglow. It’s a captivating travel image for Morocco.

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

Fortunato Depero (1892-1960)

221. Pali SCAC. ca. 1940.

19 1⁄ 2 x 28 in./49.6 x 71.2 cm

Cond A.

While the company itself is not that intriguing—SCAC was a reinforced concrete factory in Trentino—the advertisement for it is certainly compelling. And who better to communicate the industrial strides of mankind than Depero? The leading Futurist artist uses his Constructivist, geometric style to conjure a vision of advanced building techniques and technology with conviction. Rare!

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

Henri-Patrice Dillon (1850-1909)

222. Forges les Eaux. ca. 1890.

28 3⁄4 x 40 5⁄ 8 in./73 x 103.2 cm

Imp. Martinez, Paris

Cond B/Slight tears at folds and edges.

It’s the mineral waters—that hydrogen-and-oxygen panacea primed to combat anemia and arthritis, not to mention stomach and kidney problems—that are being touted in this design for Forges-Les-Eaux. But Dillon is sure to include some of the bourgeois accommodations that we’ll enjoy during our stay. The lively Normandy spa town is situated in the heart of the Pays de Bray countryside, surrounded by woods and parkland.

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

Jean-Gabriel Domergue (1889-1962)

223. Monte-Carlo. 1937.

24 5⁄ 8 x 39 in./62.6 x 99 cm

Imprimerie Nationale, Monaco

Cond A.

Ref: Affiches Riviera, 440; Affiches Azur, 215; PAI-LXXXVIII, 301

Known for his lithe, elongated women in comely poses, Domergue was the designer of choice when one wanted coy elegance to exude from an advertisement. Here, a sunkissed nymphette is perched on a diving board, charming us into taking a swim with her.

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

Jean Dupas (1882-1964)

224. Bordeaux. 1937.

23 7⁄ 8 x 38 3 4 in./60.7 x 98.4 cm

Imp. Rousseau Frères, Bordeaux

Cond B/Restored tears, largely in bottom text area.

Ref: Weill, 317; Affiche Réclame, 98; PAI-LXXXVI, 215

In this poster created for the 1937 World’s Fair, Dupas gives us an allegorical composition in which the nude representing the city presents examples of its greatest achievements: fine architecture, shipping and, of course, the famous Bordeaux wine.

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

Edward M. Eggleston (1887-1941)

225. Billy Rose’s Aquacade. 1937.

27 1⁄4 x 41 1 2 in./69.2 x 105.5 cm

Cond B+/Slight tears at top and bottom edges.

Ref: PAI-LXXXV, 282

If anything could top Eggleston’s Atlantic City triumphs ( see PAI-LX, 259, PAI-LXVII, 294, and PAILXXXII, 262), this would be it: a Deco swimming spectacular, with a ’30s Hollywood starlet fronting the extravaganza! Billy Rose’s Aquacade debuted here at the Great Lakes Exposition in Cleveland in 1937. What is an Aquacade, you ask? Nothing less than an all-singing, all-dancing, all-swimming, and diving dream spectacle—the type of performance you’d see in Hollywood spectaculars, but live. Flush with success in Cleveland, Billy Rose took his Aquacade to the 1939 New York World’s Fair where it instantly became the most popular attraction—thanks in part to the starring roles of Johnny Weissmuller (Tarzan) and the Olympian Eleanor Holm, who was also Billy Rose’s lover. Rare!

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

K. Eichin

226. Gewerbe-Ausstellung / Loerrach. 1900. 36 1⁄ 8 x 28 1⁄4 in./91.7 x 71.7 cm

J.A. Pecht, Konstanz

Cond A.

A trade exhibition in the southwest German town of Lörrach gets a beautifully detailed promotion from the mysterious artist K. Eichin. Combining mechanical efficiency with ornate Art Nouveau typography, it’s an absolutely compelling design.

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

G. Elisabeth

227. Poupée de Paris. 1925. 47 3 4 x 62 7⁄ 8 in./121.2 x 159.8 cm

Imp. Bauduin, Paris

Cond B+/Unobtrusive folds.

Ref: PAI-LXXXVII, 120

Whereas another image for this film ( see PAI-LXXXVII, 119) shows the film’s star, Damita, in full-on showgirl glory, this design poses her as a sensuous object, dripping in Jazz Age rhinestones and pearls. This is surely the scene where her agent and a rich patron transform her from an ordinary stripper to a glamorous performer, and by the looks on their faces, the evolution was a smash hit.

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

228. No Lot.

229

Georges de Feure (1868-1943)

229. La Loïe Fuller / Salomé. 1895. 36 3 4 x 50 3⁄4 in./93.2 x 129 cm

Imp. P. Lemenil, Asnières

Cond B-/Restored tears at folds. Framed.

Ref: DFP-II, 347; Maindron 1896, p. 64; Reims, 614; Abdy, p. 56; Wagner, 92; Loie Fuller, 35; Gold, 169; PAI-LXXX, 338

Resurrected in 2016 in the biopic “La Danseuse,” Loïe Fuller continues to captivate us as much in the 21st century as she did in the 19th. After the success of her “Serpentine Dance,” Fuller took her kaleidoscopic light-and-movement show to new heights with “The New Salomé.” De Feure’s brilliant poster appears to show Loïe’s head and body facing in different directions, implying a sense of the rapid movement and dizzying optical illusions so essential to her routine.

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

de Feure (Continued)

230. A Jeanne d’Arc. 1896. 37 1⁄ 8 x 101 1⁄4 in./94.2 x 257.2 cm

Imp. Bourgerie, Paris

Cond A.

Ref: de Feure, p. 78; DFP-II, 350 (var); Maitres, 130 (var); Wember, 305 (var); Abdy, p. 157 (var); Schindler, 56; PAI-LXXXVIII, 309

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

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

Pierre Fix-Masseau (1905-1994)

231. Côte d’Azur / Pullman-Express. 1929.

24 1⁄4 x 39 1⁄4 in./61.6 x 99.8 cm

Imp. L. Danel, Lille

Cond A-/Slight tears at edges.

Ref: Fix-Masseau, p. 5; Chemins de Fer, 113; Railway Posters, 132; Train à l’Affiche, 268; Affiches Azur, 14; Affiches Riviera, 8; PAI-LXVII, 411

“Fix-Masseau seemed particularly adept at putting the speed and power of locomotives to good effect in his graphic designs. This 1929 poster for the luxury Côte d’Azur Pullman trains of the PLM adopts a track-level viewpoint to emphasize the streamlined ‘windcutter’ profile of the train engine” (Railway Posters, p. 112). This poster is hand-signed by the artist.

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

232. Naranjal Salteño. 1930.

30 3⁄4 x 47 1⁄4 in./78 x 120 cm

Volt Publicité, Paris Cond A.

This never-before-seen design by Fix-Masseau advertises an orange grove in Salto, Argentina. It’s a luscious view of the seaside farm, heralded by a commanding young fruit farmer.

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

233. Philips. 1951.

63 1⁄4 x 45 5⁄ 8 in./160.5 x 116 cm

Imp. Courbet, Paris

Cond A.

Ref: Fix-Masseau BN, p. 29; PAI-LXXXVII, 296A

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.

Henri Florit

234. Sté. Nationale d’Horticulture.

30 x 45 3⁄ 8 in./76.2 x 115.4 cm

Imp. Bedos, Paris

Cond B+/Slight tears at folds.

For a horticultural exposition in Paris, Florit showcases a lovely farmer trotting out her bounteous crops and flowers.

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

Leonhard F. W. Fries (1881-1965)

235. Burger-Kehl & Co. / PKZ. 1916.

36 x 50 1⁄ 2 in./91.4 x 128.2 cm

J. E. Wolfensberger, Zürich

Cond A.

Ref: PAI-LXXXVIII, 317

A dapper pair of airplane-spotting hobbyists (an especially popular pastime in the early years of flight) are unaware that we’ve spotted the fine craft of their PKZ clothing.

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

236. Burger-Kehl & Co. / PKZ. 1917.

35 1⁄ 2 x 49 5⁄ 8 in./90 x 126 cm

J. E. Wolfensberger, Zürich

Cond B/Slight tears at folds.

Ref: PAI-LXXXVIII, 315

One of the more effective designs for the PKZ men’s store, this handsome image sits on the same level as those by Engelhard and Hohlwein. This printing boasts especially vivid colors.

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

G. Gandner

237. Maggi. ca. 1900.

26 1⁄ 2 x 38 5⁄ 8 in./67.4 x 98.2 cm

“Astra,” Paris

Cond A.

Ref: PAI-LXXX, 344

The Swiss-born Julius Maggi found success in manufacturing ready-made soup based legume meals and bouillon concentrates before launching his company in Singen, Germany in 1897. Ever since, Maggi cubes have been a staple in households the world over. Here, Gandner promotes another aspect of the company’s business: eggs. The carton bears details on their offerings: “One of the 400 meters long chicken coops containing 10,000 controlled layers and giving 6,000 eggs per day.”

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

Georges Gaudy (1872-1940)

238. Exposition de Chiens. 1910.

17 1⁄ 2 x 35 3⁄ 8 in./44.3 x 90 cm

La Lithographie Artistiques, Bruges Cond A.

As part of the 1910 World’s Fair in Brussels, a dog exhibition was held, surely to the great delight of canine lovers around the world. Toys, shepherds, and hounds are all represented in this lovely image by Gaudy. The text at bottom also informs us that all participating breeds will be fed by Spratt’s. Rare!

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

Alain Gauthier (1939-1971)

239. Teppaz. ca. 1955.

45 3⁄4 x 62 1⁄ 8 in./116.4 x 157.8 cm

La Vasselais, Paris

Cond A-/Unobtrusive folds.

Of all the possible locations for a portable record player, Gauthier opts to have a nude bather bring her music along to the pool. And while it might be a bit cumbersome in practice, the image makes for a great advertisement. Founded in 1931, Teppaz 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.

Charles Gesmar (1900-1928)

240. Mistinguett. ca. 1924.

45 1⁄4 x 61 1⁄ 2 in./115 x 156.2 cm

Cond B/Slight tears at folds.

Ref: Gesmar, p. 105; PAI-LXXXVIII, 322

Ooh, what is that you’re smoking, Mistinguett? One of the rarest of Gesmar’s designs for the cabaret star, this image shows her flirtatiously smoking a pearl-encrusted pipe, glancing coyly—or is that wearily?—over her shoulder. She’s shown in the “Bonjour Paris” revue of 1924-25. Gesmar also designed her costumes, beginning at the age of 16.

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

Milton Glaser (1929-2020)

241. Aretha. 1968.

19 x 25 1⁄4 in./48.2 x 64.2 cm

Cond B+/Unobtrusive folds.

Ref: Glaser, 9; Glaser Posters, 96

Glaser wrote of this work, “This poster was conceived as a fold-out bonus for Eye , a magazine that sought to combine youth, hipness, and establishment advertising. The forms make reference to both Art Deco and Matisse. I am fond of the relationship between the large and

small forms and of the way the lettering echoes the portrait’s decorative sense. I was concerned with expressing power and energy. Working from photographs as source material for portraiture is an ongoing problem for designers and illustrators. The insistence of the original photographic source often makes itself detrimentally felt in the final work. Another problem is capturing likeness. I’m not highly skilled at it and try to compensate with other kinds of graphic input” (Glaser, p. 26). Rare!

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

Mary Golay (1869-1944)

242. Reveil du Jour. ca. 1899.

15 1⁄ 2 x 38 1 2 in./39.5 x 97.8 cm Cond B/Slight stains; matted to image. Framed. Ref: PAI-LXXV, 324

A sunny sunflower girl has a notion: a particularly buoyant one, it seems, as she’s surrounded by a halo of songbirds. Mary Golay created dozens of decorative art panels, often with Eastern or Indian motifs. This one, however, celebrates the joys of springtime in a Mucha-esque way, but she adds a bit of whimsy and mischievousness to his iconographic religiosity.

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

Joseph J. Gould, Jr. (1880-1935)

243. Lippincott’s / February. 1896.

12 1⁄ 2 x 17 in./31.8 x 43.2 cm

Cond A/P.

Ref: DFP-I, 245; Lauder, 85; PAI-XXXIV, 67

She may be surrounded by the dispatches of potential paramours, but this young woman stays true to her love of Lippincott’s

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

Eugène Grasset (1841-1917)

244. L’Odéon. 1890.

32 x 46 5⁄ 8 in./81.3 x 118.3 cm

G. de Malherbe & H. A. Cellot, Paris

Cond B+/Slight tears at folds. Framed.

Ref: DFP-II, 400; Timeless Images, 26; Wine Spectator, 33 (var); Gold, 149; PAI-LXVII, 322

“For the proper young woman of the Belle Époque, theatergoing—as well as virtually all other social and recreational activities—invariably involved a chaperone. In Grasset’s design, this is expressed most eloquently: the young woman wistfully scanning the audience, the older one sternly watching” (Gold, p. 106).

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

245. L’Odéon. 1890.

32 1⁄4 x 45 3⁄4 in./82 x 116.2 cm

Malherbe & Cellot, Paris

Cond B+/Slight tears at folds.

Ref (all var but Grasset and PAI): Grasset, p. 39; DFP-II, 400; Timeless Images, 26; Wine Spectator, 33; Gold, 149; PAI-LXXXVII, 309 Whereas we usually see this image promoting the Odéon theatre, this text variant calls out the chromo-typographic posters provided by the printers Malherbe and Cellot.

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

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H. Gray (Henri Boulanger, 1858-1924)

246. Train-Scotte. ca. 1897.

37 x 51 1⁄ 2 in./94 x 131 cm

Imp. Courmont Frères, Paris

Cond A.

Ref: Gold, 136; PAI-LXIX, 403

The “Train-Scotte” was the first non-rail train—a service somewhere in between today’s trolley and bus systems. Here, Gray shows a curious crowd gazing toward one of the vehicles; its various routes and uses are noted in the lower register.

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

Jules-Alexandre Grün (1868-1938)

247. La Cigale / Les Petits Croisés. 1900.

15 1⁄4 x 22 1⁄ 2 in./38.7 x 57.3 cm

Imp. Chaix, Paris

Cond B/Slight tears and stains at edges. Framed. Ref: Grün, p. 51; DFP-II, 435; PAI-LXXXVIII, 333 “In this revue dated 1900, Grün plays cat and mouse with the censors. The Grünette seen from the back, dressed in a pair of generously filled, striped panties and an almost nonexistent see through top, is about to grasp a fleur-de-lis patterned flag bearing the ‘Vieux le veult’ motto. This saucy pun on the words ‘Dieu le veut’ tells a lot about the review, a sensual-medieval crusade, confirmed by the armor-clad girls in the background” (Grün, p. 51). This is the smaller format.

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

Adrià Gual (1872-1943)

248. Llibre d’Horas. 1899.

16 5⁄ 8 x 21 5⁄ 8 in./42.2 x 55 cm

Cond A.

Ref: Cartellisme Catalunya, p. 44; Artes Gráficas, p. 154 “The Books of Hours” was a creative project of Gual’s, and here he announces its release with a lovely Art Nouveau image that seems to be inspired by Japanese prints.

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

Albert Guillaume (1873-1942)

249. Folies Bergère / Lona Barrison. 1896.

39 x 51 3⁄4 in./99 x 131.4 cm

Affiches Camis, Paris

Cond B+/Slight tears at folds.

Ref: Folies-Bergère, 81; PAI-LXXXII, 289

The flamboyant Lona Barrison, in an audacious pose, makes for one of the best Fin de Siècle posters. There were originally five Barrison sisters, Danish by birth. Their parents took them to the U.S. at an early age and developed a vaudeville act in which the five danced and acted with an air of kittenish innocence augmented with a boatload of suggestive flirting and naughty songs. The act went over well and was booked in Europe as an American troupe; in 1894, they appeared at the Berlin Wintergarten and created an unprecedented (and to this day still unsurpassed) sensation, so much so that soon self-appointed moralists rose to condemn their frivolity. Seeing that a scandal was in the offing, Abelone (nicknamed Lona), the eldest—allegedly born in 1871— broke off and developed a solo act with which she toured in the best music halls and circuses for several years. This is the larger format.

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

250. Couzan Vichy. ca. 1894.

49 3 4 x 39 1⁄ 8 in./126.2 x 99.3 cm

Affiches Camis, Paris

Cond A.

Ref: PAI-LXIX, 423

Occasionally seen as two separate panels, this large, uncut poster shows competing brands of water toast each other across the page. On the left, Couzan notes that it is “the best French table water, approved by the Academy of Medicine,” while Vichy St. Yorre is “the coldest, the most carbonated, [and] full of minerals.”

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

Keith Haring (1958-1990)

251. Keith Haring Drawings. 1982.

18 x 23 3 4 in./45.5 x 60.3 cm

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

Ref: Haring Posters, 3

Referencing his own playful chalk drawings in New York’s subway stations, Haring announces his first exhibition at the Tony Shafrazi Gallery in Soho. This exhibition marked the beginning of their ongoing relationship, with Shafrazi becoming Haring’s gallerist thereafter.

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

23 1⁄ 2 x 34 3⁄4 in./59.6 x 88.2 cm

Cond A.

Ref: Kunstlerplakat, p. 199; Haring Posters, 12; PAI-LXXXV, 308

To promote his exhibition “Into 84” at New York’s Tony Shafrazi Gallery, Haring depicts a wild, almost tribal looking man, who is in fact the famous choreographer, Bill T. Jones. Haring and Jones met at a graffiti exhibition in London, and quickly became both friends and creative collaborators—naturally, the artist and dancer turned to body art. Haring used Jones’ body as a canvas, painting him from head to toe in his graphically stylistic manner, and Tseng Kwong Chi photographed Jones as he danced and performed spontaneously. The photographs were printed in black and white, and Haring reiterated the expressive forms by applying bold pops of color, resulting in this powerful and explosive design.

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

35 7⁄ 8 x 23 7⁄ 8 in./91 x 60.8 cm

Cond A.

Ref: Haring Posters, 67; PAI-LXXXV, 311

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: $1,200-$1,500.

254. City Kids Speak on Liberty. 1986.

19 x 24 in./48.2 x 60.8 cm

Cond A.

Ref: Haring Posters, 48; Haring, p. 63 (var); PAI-LXXX, 367

“On the occasion of the 100th anniversary of the Statue of Liberty, the organization City Kids asked Haring for a contribution. He created a 30-meter-tall banner that featured the Statue of Liberty. About one thousand children wrote on and colored in the outlines he drew. On July 2, in time for Independence Day, the banner was displayed on a high-rise that was under construction” (Haring Posters, p. 115).

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

Léon Hingre (1860-Ca. 1929)

255. Paris-Périgueux Nouveautés. 1901.

12 x 18 1⁄ 8 in./30.4 x 46 cm

Imp. Leopold Verger, Paris

Cond A-/Slight tears at edges. Framed.

Ref: PAI-LXIV, 315 (var)

Rivaling the ornate Art Nouveau flourishes of Alphonse Mucha, this impeccably detailed design advertises a Paris store and includes a 1902 calendarium. This poster also has excellent colors!

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

Ludwig Hohlwein (1874-1949)

256. Marco-Polo-Tee. 1910.

30 x 43 3⁄ 8 in./76.2 x 110 cm

Vereinigte Druckereien und Kunstanstalten, München

Cond B+/Restored tears at folds.

Ref: DFP-III, 1382; Hohlwein/Stuttgart, 38; Hohlwein, 148; Plakatkunst, p. 62; Modern Poster, 60; Takashimaya, 75; Sachs, 209; V&A, 191; PAI-XXXII, 359

Hohlwein executed a number of designs for Marco Polo Tea, typically utilizing a singular server of some stripe delivering a tray of the name-brand product to an unseen customer. And though they all stand as classics, none quite compare to the exotic allure and lush, swirling colors of this piece, which features a Mongolian waiter porting the trayed tea. The richness of texture and tint is magnificent, but the subliminal detail of the blanched cups—flat-white and unadorned against the deep black background—makes this a masterpiece not only of graphic expertise, but of advertising know-how, as Hohlwein draws the eye directly to the vessels of the advertised tea.

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

Hohlwein (Continued)

257. Besuchet den Tiergarten. 1912.

29 1 4 x 41 in./74.2 x 104 cm

Wolfrum & Hauptmann, Nürnberg

Cond A-/Unobtrusive folds.

Ref: Hohlwein/Stuttgart, 70; DFP-III, 1409 (var); Le Coultre, 187

Hohlwein, Germany’s premier posterist and lover of animals, was the natural choice to announce the opening of the Nuremberg Zoo in 1912. His creatures are rendered with biological accuracy, but they are often imbued with a special sense of emotional character. Such is the case with his charming zebra and parrot duo, who manage to appear striking and welcoming at the same time. Hohlwein makes another brilliant decision in his choice of background color, which forms the zebra’s black stripes and hooves. A variant of this poster has text that reads “Tiergarten Nürnberg”—both iterations are exceptionally rare!

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

Roland Hugon (1911-?)

258. PLM / Cote d’Azur. 1937.

24 1⁄4 x 39 1⁄4 in./61.7 x 99.5 cm

Paul-Martial, Paris

Cond A.

Ref: Train à l’Affiche, 288; Affiches Azur, 17; PAI-LXI, 297

With the picturesque seaside villas of the Côte d’Azur hovering in a mirage-like cloud above, a sleek, geometric train of the PLM line barrels toward the viewer. Below, the tag line cleverly states that “the country of your dreams is at the end of your night,” thereby promoting the train’s overnight travel options.

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

Henri-Gabriel Ibels (1867-1936)

259. Yvette Guilbert. 1894. 17 3⁄ 8 x 24 1⁄4 in./44 x 61.3 cm

Imp. Eugène Verneau, Paris Cond A.

Ref: DFP-I, 474; Reims, 755; PAI-LXXXVIII, 348

The portrait of Yvette Guilbert in profile, with her characteristic black gloves prominently displayed, announces a special performance organized by herself and other theatrical celebrities to bring people to the Bodinière, where an exhibition of murals was held.

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

Ali Khodja (1923-2010)

260. Algeria. ca. 1960.

24 1⁄ 2 x 37 7⁄ 8 in./62.2 x 96.2 cm

Imprimerie du Tourisme Cond A/P.

Using vibrant colors in a watercolor-like technique, Khodja creates a warm and enticing invitation to visit Algeria. A miniaturist painter by training, Khodja was born into the Algerian family that led the Regency of Algiers. His paintings earned him notable exhibitions and awards both at home and abroad.

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

Günther Kieser (1930- )

261. Ella. 1968.

33 3⁄ 8 x 46 3⁄4 in./84.7 x 118.7 cm Cond A-/Unobtrusive folds.

Kieser, Germany’s preeminent posterist of the second half of the 20th century, created this the same year as Milton Glaser’s design for Aretha Franklin—and used a strikingly similar composition ( see No. 241). Apparently the two artists were on the same wavelength, and psychedelic plumes of rainbow hair were all the rage. But, unlike Glaser’s portrait, Kieser omits the face entirely, instead allowing the shapes to swell and vibrate.

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

Gustav Klimt (1862-1918)

262. I. Kunstausstellung / Secession. 1898.

27 x 37 in./68.5 x 94 cm

A. Berger, Wien

Cond B+/Slight tears at folds. Framed.

Ref: Nebehay, p. 1 (var); Kossatz, 12; Art in Vienna, 19; Encyclopédie/Weill, p. 322; Modern Poster, 41; Denscher, p. 23; Weill, 188; Timeless Images, 71 (var); Takashimaya, 57 (var); PAI-XX, 480

The painter, designer, and decorator Gustav Klimt was also the founder of the Secessionist movement. He fired the artist group’s opening salvo with this poster for the first Secessionist art exhibition in 1898. “This poster is unprecedented in its composition. It caused a sensation, and not only on account of the empty space which fills the centre of the picture... It also demonstrated to the public the awakening of the ‘Sacred Spring’ (ver sacrum) of Viennese art. In the upper part of the picture is depicted the battle between Theseus and the Minotaur, watched by Athena, the faithful helper of brave warriors, goddesses of wisdom, and patroness of the arts. Of course the picture— Theseus is just drawing back to deliver the death blow—was intended to symbolize the battle between the Künstlerhaus and the Secession” (Kossatz, p. 29). This is the censored version of the poster; to soothe the moral outrage of the Vienna police, trees were added at the top of the image as camouflage for Theseus’ naked body. Rare!

Est: $60,000-$80,000.

Julius Klinger (1876-1942)

263. Karikaturisten-Ball. 1912.

40 1⁄4 x 30 1⁄ 2 in./102.2 x 77.6 cm

Hollerbaum & Schmidt, Berlin

Cond B+/Staining in background; slight tears at edges.

Ref: DFP-III, 1749; Klinger, p. 55; Schindler, p. 122; PAI-LXXXVII, 342

The notion that caricatures can sting is made delightfully graphic in this superior design by Klinger for a caricaturists’ ball in pre-World War I Berlin. The poster also “incorporate[s] one of Klinger’s favorite visual tricks, in that [it forces] the viewer to focus on the poster more concretely because the focal point is slightly off-center... The bald, red-nosed subject of the ball at the Admirals Palace seems unaware of the caterpillar crawling up the side of his head. Against the backdrop of a city literally vibrating with energy and plastered with posters, [Klinger’s] works couldn’t fail to stand out” (Klinger, p. 55).

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

Guillermo Laborde (1886-1940)

264. 1er Campeonato Mundial Football / Uruguay. 1930.

17 1⁄ 2 x 35 1⁄ 2 in./45 x 90.2 cm

Olivera Fernandez, Montevideo

Cond A.

Ref: Crouse/Deco, p. 114; Sportissimo, p. 94; Graphic Design/Taschen, p. 256; PAI-LXXXVII, 343

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.

Hugo Laubi (1888-1959)

265. Cornetto. 1932. 36 x 50 1 2 in./91.5 x 128.4 cm

Cond A.

Laubi offers the puff-loving Swiss public an exemplar of persuasive brevity. Cornetto is a fine-cut, blended tobacco that provides a unique smoking experience thanks to the variety of rare leaves used, such as Java and Swiss Burley.

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

Sydney Laurence (1865-1940)

266. Rainier National Park / Northern Pacific. 1932.

30 1⁄ 8 x 29 3⁄ 8 in./97 x 74.5 cm

Cond A-/Slight tears and stains at edges.

Ref: PAI-XXXVI, 369

This gorgeous poster for the Northern Pacific Railroad essentially reproduces a Laurence oil painting of Mount Rainier with decidedly violet-blue overtones. Also used in their magazine promotions, the text that accompanied that particular version of the artwork spelled out exactly what awaited the potential traveler: “A new entrance to Rainier National Park, opens this summer—The Yakima Gateway. From Yakima, Wash., on the main line of the Northern Pacific to the Pacific Coast, guests are motored along a majestic avenue of orchards, rivers, canyons and forests to Sunrise Lodge—the most thrilling mountain trip imaginable.” We’re sold!

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

Henry

le Monnier (1893-1978)

267. Cap d’Or. 1926.

50 1⁄4 x 77 5⁄ 8 in./127.5 x 197.2 cm

Affiches Lutetia, Paris

Cond B/Slight tears at folds.

Clearly inspired by Cappiello and d’Ylen, le Monnier makes great use of a flat black background to showcase a vibrantly dressed gypsy type floating in midair with a bottle of Cap d’Or apéritif held firmly in her hands. This poster has especially fresh colors!

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

Joseph C. Leyendecker (1874-1951)

268. The August Century / Midsummer Holiday Number. 1896.

15 1⁄ 2 x 20 3⁄4 in./39.5 x 53 cm

W. B. Orcutt Co., New York

Cond A.

Ref: Margolin, p. 50; DFP-I, 282; Reims, 1239; Modern Poster, 112; Leyendecker, p. 66; Lauder, 112; PAI-LXXVIII, 337

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

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

PRIVAT LIVEMONT

Privat Livemont (1861-1936)

269. Biscuits & Chocolat Delacre. 1896. 28 3⁄4 x 20 in./73 x 50.8 cm Goffart, Bruxelles

Cond A-/Slight tears in margins. Framed.

Ref: DFP-II, 1063; Wallonie, 106; Affiches Etrangères, 114; PAI-LXXIX, 365

This is one of Livemont’s most expressive works. In 1901, W. S. Rogers called this poster of a girl painting on porcelain, “his most beautiful work, by reason of the excellence of its composition, its comparative simplicity, and the refined loveliness of the girl’s face.” The Delacre company, more than 120 years later, still uses this design on its biscuit containers. Livemont was the foremost Belgian practitioner of the Art Nouveau style. His posters invite comparison to Mucha, but it should be remembered that he had already produced several posters by the time Mucha created his first. Above all, Livemont was a skilled lithographer, a quality evident in the subtle color gradations and detail of this sensual poster.

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

270. Absinthe Robette. 1896.

31 3 8 x 42 1⁄4 in./79.7 x 107.3 cm

Goffert, Bruxelles

Cond A. Framed.

Ref: DFP-II, 1062; Maitres, 104; Belle Epoque 1970, 75; Timeless Images, 38; Wine Spectator, 80; Absinthe, p. 134; Masters 1900, p. 88; Weill/Art Nouveau, p. 164; Absinthe Affiches, cover & 105; Livemont, p. 93; Belle Époque/Belgique, 246; Schoonbroodt, 6; PAI-LXXXVIII, 358

One of the most iconic posters of all time, Livemont’s design for Absinthe Robette perfectly captures the spirit of Art Nouveau. Every element of the image is lavishly decorative yet delicately organic. Holding up her glass with the reverence of a holy relic, we do not see the hand that pours the water over the sugar, adding a mystical, otherworldly quality to the concoction. The background is made up of sensual plumes of mint on green that echo the milky swirl within the cup.

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

271. Cacao Van Houten. 1897.

22 3⁄4 x 59 3⁄4 in./57.8 x 151.7 cm

L. Van Leer, Bruxelles

Cond B+/Restored tears, largely at edges.

Ref: Gold, 54; DFP-II, 1065; Belle Epoque 1970, 97; Belle Epoque 1980, 93; Takashimaya, 46; PAI-LXXXVII, 351

In one of Livemont’s most gorgeous designs, the Art Nouveau goddess-next-door is about to indulge in her first sip of Van Houten hot chocolate. Perhaps the most evocative element in this image is not the beautiful woman dripping with flowers, but the sinuous wafts of steam gliding toward the sky. This is the larger format version of the poster.

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

272

Livemont (Continued)

272. J. C. Boldoot. 1899. 15 x 29 in./38.2 x 73.7 cm Van Leer, Amsterdam

Cond A. Framed.

Ref: DFP-II, 1067; Belle Epoque 1970, 86; Le Coultre, p. 119; Belle Epoque 1980, 95; Belgische Affiche, 95; PAI-LXXIV, 343 (var)

A more romantic design could hardly be imagined than Livemont’s design for the Amsterdam perfumery of J.C. Boldoot. And this version, with full text, is much more rare than the before-letters image!

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

273

273. Rajah. 1899. 16 x 29 in./40.6 x 73.7 cm

Cond A. Framed.

Ref: Belle Epoque 1970, 87; DFP-II, 1071; Wine Spectator, 82; Schoonbroodt, 28; Müller-Brockmann, 31; Hillier, 175; PAI-LXXXVI, 277

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

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

274

274. Michièls Frères. 1902.

17 x 30 1⁄4 in./43.2 x 76.8 cm

Cond A. Framed.

Ref: Belle Epoque 1980, 103 (var); Gold, 38; PAI-LXXVI, 326

“The woman and her child admire the beauty of a garden, shown behind them in subtle earthy colors, landscaped by the nursery company named on the completed version of this poster with letters... [The poster is] a prime example of one of [Art Nouveau’s] precepts: a reverence for women, always shown in the best possible light” (Gold, p. 26). Note the thin, halo-like white outline around the ladies’ profiles: one of Livemont’s special touches. This is the proof before letters.

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

275. Victoria. 1897.

14 1⁄ 2 x 20 3 8 in./37 x 51.8 cm

Goffert, Bruxelles

Cond A. Framed.

Ref: Belle Epoque 1980, 89; PAI-XX, 301

This design shows a strong Japanese influence with its paneled composition and cherry blossom branches. Livemont shows a Belle Époque maman bribing her misbehaving brood with a tin of sweet biscuits. She stands a good chance of succeeding with them all, save for the far left grouch in the midst of a temper tantrum. Rare!

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

276. Manufacture Royale de Corsets. 1897.

20 x 29 1⁄4 in./50.8 x 74.2 cm

L. Van Leer, Amsterdam (not shown)

Cond A.

Ref: Belle Epoque 1970, 83; DFP-II, 1066; Graphic Design/Taschen, p. 80; PAI-LXXXV, 330

In a graphic and lithographic tour de force, Livemont creates a lush riot of ornamentation, from the marquee archway to the floral wallpaper and lilies at lower left, to the fabulous adornment of the model’s flame-haired tresses—all contrasting with the rigidity of control in the corset and in the vertical spine of crowns to the left. As a visual metaphor for the fine intricacy involved in corset construction, it’s never been surpassed.

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

Livemont (Continued)

277. Bitter Oriental. 1897.

32 x 43 1⁄ 8 in./81.2 x 109.5 cm

J. L. Goffart, Bruxelles Cond A. Framed.

Ref: Belle Epoque 1970, 82; Belle Epoque 1980, 90; Belgische Affiche, p. 197; Weill, 92; Wine Spectator, 81; PAI-LXXXVIII, 360

“Bitter Oriental has a girl with hair meandering about in luxuriant abundance, almost in Mucha’s style. Another similarity is the circular motif in the ornamentation—and then again, there is Livemont’s characteristic white outline and distinctive lettering. The Oriental bitter was basically gin with a flavoring of various herbs” (Wine Spectator, 81).

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

Charles Loupot (1892-1962)

278. St. Raphaël. 1937.

61 1⁄ 2 x 45 3⁄ 8 in./156.2 x 115.3 cm

Imp. Joseph-Charles, Paris Cond A-/Slight tears in text. Framed.

Ref: Loupot/Zagrodzki, 103; Loupot, 84; Loupot/Forney, p. 141; Publicité, p. 70; PAI-LXXXVI, 285

This is the very first poster that Loupot created for the St. Raphaël brand of bitters that featured the two waiters who would become, in a series of redesigns and refinements, the company’s trademark. While future advertisements would evolve in style and situation, what remained was their stark contrast of size and shape, and well as their signature red and white colors. “This premiere realization for St. Raphaël only represents the beginning of a long road to conceptual purity attained somewhere around 1950. One finds in this poster several incongruous elements... rare to an artist with little interest (least of all in his posters) in the third dimension, in the end wavering between the pictorial manner and the graphic. In this composition overflowing with charm, Loupot not only fits his personages to suit the taste of the time, but widens, if only temporarily, the range of the St. Raphaël colors, until then restricted to black, white, and red” (Loupot/Zagrodzki, p. 90).

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

Loupot (Continued)

279. Sérodent. 1925.

35 1⁄4 x 50 1⁄4 in./89.5 x 127.6 cm

Sauberlin & Pfeiffer, Vevey

Cond A.

Ref: Loupot/Lyon, 76; Loupot/Zagrodzki, 94C; Affiche Réclame, 34; PAI-LXXXII, 331

In this simple and effective design, a double stripe of toothpaste spells the product’s initial in pink and white. The dark background is characteristic of the stylistic change displayed by Loupot’s work of this period, immediately following his four-year collaboration with Cassandre in the Alliance Graphique. Possibly because this was a Swiss product, Loupot succumbed to the “object poster” style which was so popular there and in Germany at the time.

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

280. Valentine : Maquette. ca. 1929.

19 1⁄ 2 x 12 3⁄ 8 in./49.5 x 31.5 cm

Pencil and crayon maquette. Framed.

Loupot created a number of posters for the paint company Valentine; this preparatory work most closely resembles his 1929 poster ( see PAI-XLIII, 408). In the final image, he flipped the position of his iconic painter and changed the typography of “la belle peinture,” but the main gist of the image remains in tact.

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

281. Parfums L. T. Piver : Maquette. 1925.

45 1⁄ 2 x 61 in./115.5 x 154.8 cm

Signed gouache and ink maquette.

Provenance: The estate of Charles Loupot

This is one of two preparatory works for Parfums L.T. Piver in this sale (for the other, see No. 284). Piver was founded in 1774 and is considered to be one of the first French perfumeries.

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

282. Café Precia : Maquette. 1929.

44 1⁄4 x 60 3⁄4 in./112.5 x 154.2 cm

Signed gouache and ink maquette.

Provenance: The estate of Charles Loupot

While Loupot did create a finalized poster for Café Precia ( see PAI-LXXXII, 335), this iteration was never printed. It’s interesting that his local male purveyor of coffee beans wound up being a woman with a very different posture.

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

Heinrich Mahler (1909-1982)

283. PKZ. 1938.

35 3⁄4 x 50 3⁄ 8 in./90.8 x 128 cm

Wolfsberg, Zürich

Cond A.

Ref: Affiches Suisses, 33; PAI-XLVII, 352

A smartly cut green tweed topcoat, a measuring tape, and a few blossoms— et voilà , you have a chic announcement for PKZ’s spring sale!

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

Charles Martin (1848-1934)

284. Parfums L. T. Piver : Maquette. ca. 1925.

18 x 23 3 4 in./45.5 x 60.4 cm

Signed gouache and ink maquette. Framed. The final poster for L. T. Piver perfumes stays strikingly true to this preparatory design. The coquettish girl in her nightgown is putting on the final touches before her rendezvous, which naturally includes a lovely fragrance. Est: $2,500-$3,000.

Luigi Martinati (1893-1983)

285. Campionati d’Europa Dilettanti. 1937.

39 1⁄ 2 x 54 3⁄4 in./100.4 x 139 cm

I.G.A.P., Roma

Cond B/Slight tears at folds.

Launched in 1925, the European Amateur Boxing Championships are the highest competition for amateur boxers on the continent. In 1937, Milan had the honor of hosting the event. Martinati represents his country with a brawny boxer whose shorts bear the world’s current political climate. Rare!

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

Luciano Achille Mauzan (1883-1952)

286. El Perfume de Nasiba. 1930.

28 1⁄4 x 43 1⁄4 in./74.2 x 110 cm

Affiches Mauzan / Cosmos

Cond A.

Ref: Mauzan, 56; PAI-LXXXVIII, 372 (var)

This haughty lady in fancy headgear, elaborate jewelry, and very little else on her body represents “the girl of your dreams” for a brand of perfume. This is the smaller format—with fresh colors!

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

287. Bertozzi. 1930.

38 3⁄ 8 x 54 3⁄ 8 in./97.5 x 138.2 cm

Mauzan Morzenti, Cernusco-Lombardone

Cond A. Framed.

Ref: Mauzan/Treviso, p. 76; Mauzan, A033 (var); Mauzan Affiches, p. 99; PAI-LXXXV, 341

In this fourth incarnation of his ever-popular design, Mauzan gives us three discerning judges deliberating over the quality of Bertozzi cheese, a mere whiff of which has brought them like bloodhounds to the freshly cut wheel.

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

Hervé Morvan (1917-1980)

288. Réfrigérateur Brandt.

11 3⁄4 x 23 7⁄ 8 in./29.8 x 60.6 cm

La Vasselais, Paris

Cond A-/Slight scratches at lower right.

“Summer or winter... the Brandt refrigerator transforms your life.” Morvan takes this motto to heart with an arctic penguin handing an umbrella up to his safari giraffe friend. It’s adorable and succinct.

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

289

Carl Moos (1878-1959)

289. Paul Rückmar. ca. 1917. 35 x 49 5⁄ 8 in./88.8 x 126 cm

Gebr. Fretz, Zürich

Cond A.

Ref: Animals in Posters, p. 9; Affiche Miroir, 58; PAI-LIX, 465

After the turn of the century, one of the most salacious bits of society gossip was that the Marchesa Casati would wander the streets in her long black gowns and coats, accompanied solely by her pet leopard. The idea was so remarkable that in the 1940s, Joseph Paget-Fredericks rendered the Marchesa on canvas with her cat—a painting which became quite well known. While we’ll never know if the Italian socialite was Moos’ inspiration for this design for a Swiss furrier, it is certainly as fabulous and attention-grabbing as the Marchesa herself.

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

ALPHONSE MUCHA

Alphonse Mucha (1860-1939)

290. Amants. 1895.

52 3⁄ 8 x 39 1⁄4 in./133 x 99.7 cm Affiches Camis, Paris Cond B/Restored tears, largely at horizontal fold. Framed. Ref: Rennert/Weill, 72; Lendl/Prague, p. 44; DFP-II, 625; PAI-LXXXV, 364 This “comedy by Maurice Donnay starred Maurice Granier and Lucien Guitry, and premiered on November 5, 1895. There is very rich ornamentation... which adroitly divides it into three scenes and thereby harmonizes elements which might otherwise appear quite busy: there is a Punch-and-Judy show in the upper left, a tragic commentary in the upper right, and the entire bottom section is given to the play’s party scene, replete with fashionable guests, strolling violinists, dancers, flowers, champagne, and other indications of a good time had by all” (Rennert/Weill. p. 62).

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

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Mucha (Continued)

291. Bières de la Meuse. 1897.

15 3⁄ 8 x 23 1⁄ 8 in./39 x 58.7 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-LXXX, 430

“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, semicircular motifs, and artfully meandering hair” (Rennert/Weill, p. 126). This is the rare, smaller format version.

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

292. Job. 1896.

17 1⁄ 8 x 22 1⁄ 8 in./43.5 x 56.2 cm

Imp. F. Champenois, Paris

Cond A. Framed.

Ref: Rennert/Weill, 15; Lendl/Prague, p. 118; Mucha/Art Nouveau, 20; DFP-II, 635; Maitres, 202; Weill, p. 41; Timeless Images, 33; PAI-LXXXVIII, 389

This is Mucha’s single most famous work, though it seems impossible that such flamboyant effort would be devoted to selling cigarette papers. But the exotic tendrils of her hair conjure up the fractal whorls of smoke from an idle cigarette. The image is breathtaking; the beauty intoxicating. Photographs are seldom able to capture the metallic gold paint used for the hair, which gleams and radiates in the light, delivering an experience not unlike a religious icon. This printing boasts excellent colors and full margins.

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

293. Zodiac. 1896.

20 3⁄4 x 27 3⁄4 in./52.7 x 70 cm

Imp. F. Champenois, Paris

Cond A. Framed.

Ref: Rennert/Weill, 19, Var. 4; Lendl/Prague, p. 165 (var); Mucha/Art Nouveau, 46; DFP-II, 629 (var); Wagner, 72 (var); Gold, 97 (var); PAI-LXXII, 305

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

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

Mucha (Continued)

294. Salon des Cent / A. Mucha. 1897.

17 5⁄ 8 x 25 1⁄ 2 in./45 x 64.8 cm

Imp. F. Champenois, Paris

Cond A. Framed.

Ref: Rennert/Weill, 36; Lendl/Prague, 101; Driehaus, p. 83; Mucha/Art Nouveau, 25; DFP-II, 638; Maitres, 114; Salon des Cent, p. 65; Salon des Cent/Neumann, p. 49; PAI-LXXIII, 384

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

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

295. 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-LXXVI, 382

“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: $1,200-$1,500. (4)

296. Au Quartier Latin / Numéro Exceptionnel. 1897.

11 3⁄4 x 16 1⁄4 in./30 x 41.3 cm

Cond A-/Slight tears at top edge. Framed.

Ref: Mucha/Bridges, p. 118; PAI-LXXIX, 396A

Mucha designed three covers for the periodical Au Quartier Latin . Here, the reclined beauty with the flowing locks is the Queen of Queens, holding in her arms a procession of heckling townspeople. The poem, below, incites gluttons to be charitable: “Think of the hungry, sybarite! For the poor and suffering that the Latin Quarter houses, buy this album.” This is the complete issue.

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

297. En l’Honneur de Sarah Bernhardt. 1896.

19 7⁄ 8 x 27 3 4 in./50.5 x 70.3 cm

Imp. F. Champenois, Paris

Cond A. Framed.

Ref: Rennert/Weill, 21, Var. 1; Bernhardt/Drama, p. 60; PAI-XXVIII, 423

Exhibited: Sarah Bernhardt: The Art of High Drama, The Jewish Museum, New York, 2005

In addition to announcing the publication of an article on Sarah Bernhardt in La Plume , the same image was also used with this text to honor her on the occasion of a special celebration arranged by her admirers on November 9, 1896, at the Grand Hotel in Paris, with dinner, music, presentations, and tributes. Mucha contributed several illustrations for a gold-stamped souvenir booklet given to the theatre’s living legend on that occasion. Est: $8,000-$10,000.

Mucha (Continued)

298. La Trappistine. 1897.

29 5⁄ 8 x 80 3⁄4 in./75.3 x 205.2 cm

Imp. F. Champenois, Paris Cond A. Framed.

Ref: Rennert/Weill, 30; Lendl/Prague, p. 97; DFP-II, 631; PAI-LXXXVIII, 377

A liqueur made by Parisian Trappist monks requires a bit of reverence: an ideal commission for Mucha, whose first artistic epiphany arrived while he was a young chorister at a Czech cathedral, and had a revelation while gazing at the baroque embellishments. This time, our maiden’s divine halo is a labyrinth of concentric circles enclosing Celticstyle crosses. Rather than the wild, sensuous tangles of Job’s leading lady, “the hair is entirely orderly and hangs down in a single thick strand, but that is because it has the function to lead our eyes to the tabouret in the foreground which holds the bottle” (Rennert/Weill, p. 134). This is a two-sheet poster.

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

299. Lorenzaccio. 1896.

30 x 82 1⁄4 in./76.2 x 208.8 cm

Imp. F. Champenois, Paris Cond A-/Slight tears at folds.

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-LXXXVIII, 380 Sarah Bernhardt adopts the pose of a pensive Lorenzo the Magnificent (1449-1492), the most powerful of the Medicis, in this play by Alfred de Musset. In the drama, Lorenzaccio struggles to save Florence, which had grown rich during his reign, from the grip of a power-hungry conqueror. Mucha represents this tyranny with a dragon menacing the city coat of arms (top left); Lorenzo has closed the book he was reading to ponder his course of action. Bernhardt adapted this 1863 play for herself, and the new version, represented by this poster, opened December 3, 1896. “Never afraid to tackle a male role, Bernhardt made Lorenzaccio one of the regular parts of her repertoire” (Lendl/Prague, p. 47). Anatole France’s review says it all: “In her latest transformation she is astonishing... She has created a living masterpiece by her sureness of gesture, the tragic beauty of her pose and glance, the increased power in the timbre of her voice, and the suppleness and breadth of her diction—through her gifts, in the end, for mystery and terror” (Bernhardt/Gottlieb, p. 140). This is the two-sheet larger format.

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

300. Calendar. ca. 1898.

12 x 19 3⁄4 in./30.5 x 50 cm

Imp. F. Champenois, Paris Cond A. Framed.

Ref: Rennert/Weill, 60

This image has previously only been seen as a postcard ( see Weill/Mucha Postcards, 78). “A recent discovery, this appealing Mucha maiden was obviously intended to lend her beauty to an advertised product or calendar, with text in the blank band at top as well as in the two panels at right. The hint that it was probably a calendar comes from the fact that there are six segments in the decorative element underneath the double panel, so that each of them could be easily divided into six vertical segments to receive a calendarium” (Rennert/Weill, p. 228). Rare!

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

Mucha (Continued)

301. Plume et Primevère. 1899.

Each: 11 3⁄4 x 29 1⁄4 in./30 x 74.3 cm

Imp. F. Champenois, Paris (not shown)

Cond A. Framed.

Ref: Rennert/Weill, 64; Lendl/Prague, 219; Mucha/Art Nouveau, 51; PAI-LXXXV, 390 “Plume et Primevère”—or, Quill and Primrose. “This series of decorative panels originally sold for 12 francs on paper, or 40 francs on satin. It depicts two rather pensive maidens, one blonde and one brunette, one holding a primrose, the other a goose quill and a leafy branch. Typical Art Nouveau ornamentation prevails in the background patterns and in the jewelry worn by the girls” (Lendl/Prague, p. 218). A recent exhibition catalogue rightly calls this a “masterful” work: “The beauty of this pair of panels lies in the contrast between the geometric mosaic behind the head of Quill and the floral ornamental circle inspired by nature behind the head of Primrose” (Mucha/Art Nouveau, p. 198).

Est: $20,000-$25,000. (2)

302. The Flowers. 1900.

24 1⁄ 2 x 17 7⁄ 8 in./62.2 x 45.5 cm

Imp. F. Champenois, Paris (not shown)

Cond A. Framed.

Ref: Rennert/Weill, 49, Var. 2; Lendl/Prague, p. 202-203 (var); PAI-LXXXII, 385

These panels were originally designed as four separate images in a larger format and sold as

a set. Here, these idealized, allegorical women are placed side by side on a single sheet, complete with a decorative border reminiscent of an Oriental folding screen. “One of the fundamental premises of Art Nouveau was to look for inspiration in nature, and in ‘The Flowers’ set Mucha produced one of the best arguments for it. The four ethereal sprites represent [from left to right] the Rose, the Iris, the Carnation, and the Lily, respectively, and it is a clear case of Beauty celebrating beauty in each instance. By using only soft pastels and harmonious composition, Mucha imbued each scene with a sense of tranquility and quiet enjoyment” (Lendl/Paris, p. 86-87).

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

303. Houbigant. 1900.

2 1⁄ 2 x 4 3⁄ 8 in./6.6 x 11 cm

Imp. F. Champenois, Paris

Cond A. Framed.

Ref: PAI-LXVII, 440

Created to commemorate the 125th anniversary of famed Parisian perfumer Houbigant, this rare advertising card highlights timeless feminine beauty alongside delicate flora.

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

Mucha (Continued)

304. Monaco-Monte-Carlo. 1897.

29 3⁄4 x 43 1⁄ 2 in./75.5 x 110.5 cm

Imp. F. Champenois, Paris

Cond B+/Slight tears at edges. 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-LXXXVII, 387

“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 MonteCarlo. The maiden is probably Spring herself, enraptured with the beauty of the seascape” (Rennert/Weill, p. 136).

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

305. Biscuits Lefèvre-Utile. 1896.

17 1⁄ 2 x 24 in./44.3 x 61 cm

Imp. F. Champenois, Paris

Cond A-/Slight stains at edges. Framed.

Ref: Rennert/Weill, 22; Lendl/Prague, p. 71; Weill, p. 42; Gold, 59 (var); Champenois, 90 (var); PAI-LXXXVI, 307

“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: $10,000-$12,000.

306. La Dame aux Camelias. 1896.

29 3⁄ 8 x 81 7⁄ 8 in./75.6 x 208 cm

Imp. F. Champenois, Paris

Cond A.

Ref: Rennert/Weill, 13, Var. 1; Lendl/Prague, p. 45; Mucha/Art Nouveau, 8; DFP-II, 267; Maitres, 144; Weill, p. 40; Reims, 898; PAI-LXXXVII, 379

“Alexander Dumas Jr.’s drama... had been very popular since its premier in 1852. Sarah Bernhardt considered it to be the key drama in her repertoire. This is perhaps Mucha’s most beautiful poster. The story of the tragic love of the great courtesan is portrayed in the poster with shocking impact. The figure of the heroine in a white robe leans against a balustrade with a background of silver stars. Her rich swept-back hair is adorned with her favorite flower, the camellia. This heraldic flower is repeated at the bottom of the poster, held by a mysterious hand... The tragedy is also symbolized by the hearts twined by thorny branches in the corners above the figure’s head... Mucha’s ability to characterize the substance of the play for which he created this poster, as well as his ability to express the most beautiful features of Sarah’s personality, was brought to perfection in this poster”

(Mucha/Art Nouveau, p. 146). This is a two-sheet poster.

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

307. La Dame aux Camelias. 1896.

30 1⁄4 x 82 1⁄4 in./77 x 209 cm

Imp. F. Champenois, Paris Cond A.

Ref (all var): Rennert/Weill, 13, Var. 1; Lendl/Prague, p. 45; Mucha/Art Nouveau, 8; DFP-II, 267; Maitres, 144; Weill, p. 40; Reims, 898; PAI-LXXXVII, 379

This is the only known variant of the previous poster with text at bottom for her performance at the Villa des Fleurs in Aix-Les-Bains.

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

Mucha (Continued)

308. Le Pater. 1899.

12 x 16 in./30.5 x 40.5 cm

Some wear on cover edges. Plates are complete and excellent.

Ref: Mucha/Art Nouveau, 72; Le Pater; PAI-LXXXVII, 389

Consisting of a series of seven drawings, “Le Pater” is considered to be Mucha’s printed masterpiece, an intense visual study of the Lord’s Prayer. The seven verses of the prayer are represented here through Byzantine symbolism, and are executed and decorated in the very best Art Nouveau style. “In the context of Mucha’s oeuvre, this artistic and literary work combines in a fortuitously unique way his philosophy, imagination, talent, and skill; reflects his past achievements in decorative design, and is also a precursor of his future artistic developments...

The ornamental pages of ‘Le Pater’ allowed Mucha to represent the symbolism of the Lord’s Prayer in the extravagantly decorative style that made him famous... Without exception, the French critics perceived ‘Le Pater’ as a work of art in its own right, noteworthy for its imagery and vision... In the increasingly materialistic world, it is important for man’s spiritual growth to contemplate works that are inspired by well-known text, and have the ability to enrich and invest it with additional meaning. ‘Le Pater’ is one of such works; it challenges the imagination and the mind, and, as Mucha would have it, leads man towards the Light” (Le Pater, p. 10-20). This complete collection consists of the seven illuminated verses, the text and illustration pages, as well as the title and Amen page. This is edition No. 461 of 510 copies.

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

309. Atelier Mucha : Program. 1897.

7 1⁄ 8 x 9 5⁄ 8 in./18.2 x 24.5 cm

Cond A.

Ref: Jiri Mucha, p. 61; Mucha/Art Nouveau, p. 29

This program was published by the literary magazine La Plume to announce Mucha’s art classes in Paris. “Applying his gifts as a pedagogue offered Mucha an escape. Helping the younger generation search for an artistic expression fully conformed to his conviction about the mission of the artist. He never lacked for students, so, after starting his own school at the studio on rue du Val de Grâce, he rented space in the Académie Colarossi, later moving his school into the newly opened Académie Carmen” (Mucha/Art Nouveau, p. 29). Male students were charged 100 francs to attend—but women only had to pay 50 francs.

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

310. Gauguin : Drawing.

6 1⁄ 2 x 9 1⁄ 8 in./15.2 x 23.2 cm

Signed pencil drawing. Framed.

Mucha and Paul Gauguin were close friends and artistic colleagues. “In matters of technique they agreed—they both believed in composition, the symbolic importance of colours, and a firm line... Whether [Mucha] was directly influenced by Gaguin’s cloisonisme is difficult to assess. It may well have provided the unconscious impulse which helped him to clarify his own thoughts. Mucha probably valued Gauguin far more as a thinker than as a painter... he was aware of his genius and was distressed by the lack of understanding shown by the public” (Jiri Mucha, p. 52). In this intimate drawing, Mucha captures Gauguin with a quizzical look on his face. On the verso is a signed dedication from Mucha to Louis Aragon with a stamp from the Mucha estate.

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

Mucha (Continued)

311. Times of the Day. 1899.

Each: 14 5⁄ 8 x 40 5⁄ 8 in./37 x 103.2 cm

Imp. F. Champenois, Paris (not shown)

Cond A-/Slight stains at edges. Framed.

Ref: Rennert/Weill, 62; Lendl/Prague, p. 214-215; Wine Spectator, 77; PAI-LXXXV, 377

In subdued pastels, this “quartet of barefoot young ladies represents the different times of the day. The borders are decorated in identical patterns... and the crisscross areas at the top have different floral panels. Each girl appears in an outdoor setting, with slender trees or tall flowers emphasizing her slim figure... The borders are worked out in such an exquisite pattern that each picture appears to be mounted in an elaborate frame of its own, or else seen through a decorated window. Quite possibly Mucha’s whole concept for the series was that of gothic stained-glass windows” (Rennert/Weill, p. 232). This is the larger format.

Est: $25,000-$30,000. (4)

312. 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 (both var): Rennert/Weill, 62; PAI-LXX, 476

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. Rare!

Est: $8,000-$10,000. (4)

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

313

Mucha (Continued)

313. Printemps : Pocket Watch. 1900.

Diameter: 2 in./5.1 cm

Excellent condition.

Although we don’t often see jewelry at our poster auctions, this piece is a wonderful exception. Mucha himself was a fan of designing wearable accessories. So when Georges Favre-Jacot, the founder of Zenith watches, asked Mucha to contribute a design, the answer was a resounding yes. Mucha adapted his 1896 Seasons imagery for the four designs; this one presents his Spring panel, which was engraved in niello silver by Huguenin Frères. The details of the watch are as follows: round silver case, oval bail, fluted crown, officer back, white enamel dial, Arabic and Roman numerals painted black, “English Pear” hands in blued steel, and signed dial and movement; the watch comes with a silver and bronze presentation holder. The watches were so distinguished that they were awarded the Grand Prix (or Grand Prize) at the 1900 Paris World’s Fair. There are six known sets of watches, four of which are in the Zenith Foundation Museum, one given to the city of Paris, and the single image offered here. Rare! Est: $30,000-$40,000.

16 3 4 x 40 1⁄4 in./42.6 x 102.4 cm

Imp. F. Champenois, Paris (not shown)

Cond B+/Slight stains at edges.

Ref: Rennert/Weill, 49; Lendl/Paris, 69; Mucha/Art Nouveau, 50b; PAI-LXXXVIII, 385

One flower rises above the rest when the air is filled with romance: the Rose. And Mucha’s personification of that fleshy blossom stands on its own, “proud and closed in her strictly formal pose” (Mucha/Art Nouveau, p. 196). But lest we judge this constrained beauty too harshly, let’s not forget that the rose, of all the avidly sought blooms, is the only one equipped with thorns to protect her from the uninvited. Mucha’s alluring yet restrained vision calls to the fore artistically what is often overlooked in casual observations of nature.

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

7 x 9 1⁄ 2 in./17.8 x 24 cm

Cond A.

Initially created as part of his portfolio, Documents Décoratifs ( see PAI-LXXXVI, 337), this lovely lady has been repurposed to suit the cover of a theatre program. This booklet contains a synopsis in English and French relating to the tragic life of Pierrot, who was portrayed on stage by the great mime Séverin. Rare!

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

4 5⁄ 8 x 8 1⁄4 in./11.8 x 21 cm

Cond A-/Slight wear on cover.

This complete 256-page book was published by Champagne Mercier with a cover designed by Mucha. The lovely maiden bears a scroll which details all of the subjects covered by this art and literary journal.

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

Mucha (Continued)

317. Three Moët & Chandon Menus. ca. 1899.

Each: 5 5 8 x 8 1⁄ 2 in./14.2 x 21.6 cm

Imp. F. Champenois, Paris

Cond A. Framed.

Ref: Mucha/Bridges, p. 124; PAI-LXXXVII, 390 (var)

“In their relentless pursuit of excellence, Moët and Chandon was among the first business concerns to recognize the genius of Mucha” (Wine Spectator, 68), commissioning him to create a variety of posters for their many champagnes. Here, we are presented with three blank menu cards celebrating the brand, each with their own Art Nouveau muse and bright metallic gold ink.

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

318. Biscuits Lefèvre-Utile / Label.

8 5⁄ 8 x 11 1 8 in./22 x 28.5 cm

Cond A. Framed.

Ref: PAI-LXXX, 441

Mucha designed several box tops for Lefèvre-Utile biscuits, each consisting of a central design and two back-to-back trademarks, all printed on one sheet. In the individual distinguishing pictures, Mucha depicted fashionable social occasions at which biscuits are being consumed, mostly with wine—otherwise, lush nymphs enjoying the outdoors also suit the purpose. All of the background patterns, ornamental borders, and decorative elements are executed with Mucha’s typical attention to detail. And each of the designs is assigned a specific background color; in the case of this label, he’s chosen a jewel-tone azure to complement the various views of Venice, Rome, and Naples.

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

12 3⁄4 x 18 in./32.5 x 45.8 cm

Cond A. Framed.

Ref: Mucha/Bridges, R15, p. 173; PAI-LXXXVII, 398

This is the cover of the April, 1900 issue of the monthly magazine L’Art Photographique . The journal claimed to be the first French publication of its type “exclusively devoted to the image itself.” For a full year beginning with the inaugural July, 1899 issue, the journal was issued with a lithographic wrapper featuring this design by Mucha.

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

320 320. Cycles Perfecta. 1902.

41 x 58 3⁄ 8 in./103.8 x 148.2 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-LXXXV, 368

“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.

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

321. The Stars. 1902.

Each: 11 3⁄4 x 30 3⁄4 in./30 x 78.6 cm Imp. F. Champenois, Paris (not shown)

Cond A. Framed.

Ref: Rennert/Weill, 82; Lendl/Prague, p. 236-237; Mucha/Art Nouveau, 55a-d (var); PAI-LXXXVII, 392

“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). “Mucha’s last and perhaps most unusual series of panels achieves an eerie effect of moonlight and starry wonder in four scenes with nocturnal nymphs... A few swirls of cloth and several hues of colour suggest a windswept eve; a modest hand gesture hints at the silent serenity of a lunar nightscape; a luminous band creates the impression of the Northern Lights; and the act of shedding the night wrap symbolises the advent of dawn. But although these are celestial allegories, the sturdy frames with a floral pattern anchor them firmly on Earth” (Lendl/Prague, p. 234). Seen left to right in the illustration are the moon, the Evening Star, the North Star, and the Morning Star. This is the larger format.

Est: $70,000-$90,000. (4)

322

Mucha (Continued)

322. Flirt. 1900.

11 1⁄ 8 x 24 5⁄ 8 in./28.2 x 62.5 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-LXXXVIII, 401

“Flirt” was a brand of biscuit sold by Lefèvre-Utile, but that becomes almost irrelevant to admirers of this classic depiction of love blossoming. Indeed, it’s almost impossible to avoid falling in love with the Victorian elegance on display, with romantic effusiveness held at bay—with difficulty!—for the moment. You can just barely see the baker’s L-U logo patterned on the damsel’s dress, and doesn’t that just take the biscuit? This is the variant reprinted after the 1900 World’s Fair, announcing their Grand Prix win.

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

323. Leslie Carter. 1908.

29 1⁄ 2 x 81 in./75 x 205.7 cm

Strobridge Litho., Cincinnati

Cond B+/Mat stains; slight tears at edges. Framed.

Ref: Rennert/Weill, 94; Lendl/Prague, p. 266; Mucha/Art Nouveau, 33; PAI-LXXXVII, 383

The great, ghostly Leslie Carter is here adorned with some of the most exquisitely detailed jewelry ever designed by Mucha for lithographic immortality. But who was this otherwise unknown goddess? Mrs. Leslie Carter was a “captivating woman who desired to become a great actress... She gained a fortune after a marriage to—and later divorce from—a billionaire, Leslie Carter, whose name she retained” (Lendl/Prague, p. 266). She conceived a vanity project, a play named Kassa , about “a Hungarian virgin ready to enter a convent, [but then] was seduced by Prince Béla, who a year later left her with a child. Kassa became insane and entered a convent, thinking that only a single day had passed” (Mucha/Art Nouveau, p. 174). Mucha contributed over 250 designs for the project, including stage, costume, and scenery design, but the play was a failure and Carter went bankrupt. Neither Mucha nor Long, the author, received an honorarium.

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

324. Documents Décoratifs : Cover. 1902.

13 x 17 7⁄ 8 in./33 x 45.4 cm

Cond A. Framed.

Ref: Lendl/Prague, p. 246-250

This is the cover of Mucha’s famous “Documents Décoratifs” portfolio, and was likely created as a test print before binding. “‘Documents Décoratifs,’ published in 1902 by the Librairie Centrale des Beaux-Arts, was Mucha’s artistic creed, and a book that authoritatively set down the precepts of Art Nouveau and its decorative elements. It was used for years by many art schools as a textbook and influenced a whole generation of artists” (Rennert/Weill, p. 288). In it, Mucha exemplifies the highest Art Nouveau standards for the most ordinary objects in life, from tableware to wallpaper to menus and jewelry, to floral applications of all kinds and, yes, even giving us two lessons on poster design, one for a liqueur and another to promote the book itself. The red text is a tip-on. Rare!

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

325. Princezna Hyacinta. 1911.

8 3⁄4 x 12 1⁄ 8 in./22.2 x 30.8 cm

Mojmir Urbanek

Cond A/P. Framed.

Ref (all var): Rennert/Weill, 97; Lendl/Prague, 273; Mucha/Art Nouveau, 34; PAI-LXXXVIII, 404

“One of Mucha’s best Czech posters... was for Princezna Hyacinta , a fairy-tale ballet and pantomime with music by Oskar Nedbal and libretto by Ladislav Novák. The portrait of the popular actress Andula Sedlácková as the princess dominates the poster. The plot develops as a dream of a village blacksmith who falls asleep after digging for a buried treasure. In his dreams he becomes lord of a castle, and his daughter Hanicka becomes the Princess Hyacinth. Of her three suitors, one is a sorcerer who abducts her to his underground palace, but she is rescued by a poor knight who looks like her real-life lover. Mucha used the motif of the hyacinth throughout the entire design, from embroideries to silver jewelry, and for an elaborate circle sparkling against the mossy green background. The portrait of the actress is seen against a sky full of stars and encircled with images from the dream: the blacksmith’s tools, a gold crown, hearts speared by arrows of love, the sorcerer’s alchemical vessels, and his strange monsters” (Mucha/Art Nouveau, p. 175). This is the smaller format.

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

326. Komensky : Lottery Ticket. 1925.

5 5⁄ 8 x 3 1⁄ 2 in./14.2 x 9 cm

Cond A. Framed.

Ref: Rennert/Weill, 106 (var)

“The Komensky Society was an organization which promoted the establishment of schools for Czech children living in major Czech communities abroad, where they would be taught about their ethnic heritage in their own language. For its banner, the society chose the name of Jan Amos Komensky (1592-1670), more frequently known under his Latin name Comenius, a Czech bishop who was something of a pioneer in the field of education. His concept of ‘Schola Ludus’— school as play—was fully understood and applied only in our time” (Rennert/Weill, p. 354). Here, the image Mucha created for the society is used for a Czech lottery ticket. Rare!

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

Mucha (Continued)

327. Sixth Sokol Festival. 1912.

32 1⁄ 8 x 64 3⁄4 in./81.6 x 164.2 cm

V. Neubert & Sons, Smichov

Cond A-/Restored tears, largely in top and bottom text areas. Ref (all var): Rennert/Weill, 99; Lendl/Prague, p. 275; Mucha/Art Nouveau, cover & 36; PAI-LXXXIII, 403 “The falcon (in Czech, ‘Sokol’) is the largest bird of prey to be found in the Czech woods... Its name was used by a seemingly innocuous athletic organization that was founded during the dark era when the Slav nations of Central Europe were the unwilling subjects of Austrian rule. The purpose of Sokol was to train young people in athletics and organize, every four years, a countrywide gymnastics competition along the lines of the Olympic games. But the real purpose was much deeper: the Sokol was a fervently patriotic political society which worked tirelessly to arouse the nationalistic spirit and throw off the Austrian yoke... The quadrennial Sokol Festival held in 1912, the sixth since the practice was put into effect in 1892, was the last one in which the patriotic message still had to be concealed from authorities; two years later, World War I broke out, and the older order was on its way to perdition. Mucha’s poster for the event is a happy combination of the realistic with the symbolic: the girl with the garlands and the staff with Prague’s emblem on it is real, while the dimly adumbrated young woman in the background holding a spiked ring and a falcon is a symbolic figure” (Rennert/Weill, p. 338). This is the only known version of the poster with the bottom text panel in English. Est: $25,000-$30,000.

328. Brotherly Vow. 1926.

17 1⁄4 x 20 3⁄ 8 in./44 x 51.7 cm Cond A. Framed.

This exceptionally rare work by Mucha celebrates the 10th anniversary of Czechoslovakia’s independence. The central figure is the female embodiment of the Czech Republic; she is blessing the vow of two brothers, one Slovak and one Czech, to live harmoniously together in the new state. The image is hand-signed by Mucha and includes a dedication to his friend, Frank Sprague, who Mucha often visited in New York.

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

329. Slavia Starostlivym Matkám. 1934.

6 3⁄ 8 x 9 1⁄ 2 in./16 x 24 cm

Cond A.

Ref: PAI-LXIII, 437

With text by Dr. Frantisek Luska, this is a 32-page 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: $1,700-$2,000.

Mucha (Continued)

330. Slavia. 1935.

10 3 4 x 16 in./27.3 x 40.6 cm

Cond B+/Horizontal folds. Framed. Ref (all var but PAI): Rennert/Weill, 93; Lendl/Prague, p. 265; PAI-LXX, 511

Reissuing Mucha’s 1907 design in cool sepia tones, this is an official life insurance document. The woman in the image is Slavia, the personification of the Slavic people of Eastern Europe, much in the way Uncle Sam is to the United States. She “holds a ring in her hand which symbolizes unity... and there are two stylized peace doves on the arm rests of the hidden throne she is sitting on; but just in case, she also has a sword in her lap, the message being that the Slav is peaceful by nature but will fight when attacked” (Rennert/Weill, p. 322). This includes the insurance policy attached on the verso.

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

9 1⁄4 x 12 1⁄ 8 in./23 1⁄ 2 x 30.8 cm Cond A-/Slight wear on cover edges. This unconventional design by Mucha graces the cover of a 32-page magazine about young scouts published on November 10, 1931.

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

332. Brooklyn Museum : Catalogue. 1921. 6 1⁄ 2 x 9 1⁄ 2 in./16.5 x 24 cm Cond A.

This is the complete 20-page booklet created for Mucha’s exhibition of The Slav Epic at the Brooklyn Museum in 1921. On the title page is a hand-signed dedication to Count Khuen-Belasi dated January 19, 1921. Mucha met the Count around 1882 in southern Moravia; he was a struggling artist and drew portraits as a source of income. After seeing his work, the Count commissioned him to decorate his castle in Tyrol, and soon became Mucha’s first and most important patron. Of the exhibition itself, “The reaction of the public and art critics was as enthusiastic as it was in Chicago where the exhibition opened, and approximately 600,000 visitors came to see Mucha’s work” (Mucha/Art Nouveau, p. 324).

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

Kazumasa Nagai (1929- )

Nagai is one of the top Japanese posterists—he has won every award in the poster field in over 20 competitions in as many countries. All major museums hold several of his posters in their permanent collection. One of the hallmarks of his oeuvre is the inclusion of animals, both real and imagined. In 2020, USA Art News wrote, “Through traditional graphic techniques and the symbolic meaning of the animals he depicted, the artist created timeless images that refer not only to traditional Japanese art, but also to the origins of art in principle.”

333. Yokogawa Philosophy. 1989.

28 1⁄4 x 40 1⁄ 2 in./73 x 103 cm

NDC Graphics Cond A/P.

Ref: Nagai, 33

To celebrate the 75th anniversary of the Yokogawa Electric Corporation, Nagai created a series of sublime posters featuring an abstracted avian figure against a deep black background. Here, one such bird plunges downward in a flurry of geometric movement. This silkscreen poster is hand-signed by the artist.

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

334. Yokogawa Philosophy. 1990.

28 1⁄4 x 40 1⁄ 2 in./73 x 103 cm

NDC Graphics Cond A/P.

In this iteration promoting Yokogawa’s 75th anniversary, Nagai depicts a forceful bird heading skyward with the globe grasped in his talons. The wings are composed

of the finest lines that create a sense of dynamic movement. This silkscreen poster is hand-signed by the artist.

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

335. Yokogawa Philosophy. 1991.

28 1⁄4 x 40 1⁄ 2 in./73 x 103 cm

NDC Graphics Cond A/P.

In this third promotion for Yokogawa’s 75th anniversary, one of Nagai’s lively birds is feeding the world as the sun beams on her in the distance. This silkscreen poster is hand-signed by the artist.

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

Francesco Nonni (1885-1976)

336. Fonte Meo. 1934.

39 1⁄4 x 55 in./99.7 x 139.7 cm

E. Guazzoni, Roma

Cond A.

Ref: Manifesti Posters/Eat & Drink, p. 121; PAI-LXXXVII, 416

The rapturous imperial red cloak, billowing about the noble face of this pre-Raphaelite redhead, is just the beginning of this masterpiece of artistic messaging by Francesco Nonni. Mineral water out of Rome ought to be regal, but Nonni pulls out all the stops: from the lettering to the antique streaks upon the stone and the medieval embroidery of the dress. Born in Faenza, Nonni trained in the Arts & Crafts school and later became part of Faenza’s famous ceramics industry, and was a master of woodcut, fine art painting, and of course, commercial posters.

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

337

Olare

337. Skansen. 1952.

27 1⁄ 2 x 39 3⁄ 8 in./70 x 100 cm

Hæggströms, Stockholm

Cond A.

Opened in Stockholm in 1891, Skansen is the world’s oldest open-air museum and zoo. The venue focuses on Swedish life, culture, and traditions in the 19th century; the annual 1.3 million visitors can experience a full replica of a traditional town, replete with craftsmen, farmsteads, and even a tobacco farm. But Olare opts to focus on the zoological aspect of Skansen with an adorable polar bear and a bathing swan.

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

Manuel Orazi (1860-1934)

338. Théâtre de Loïe Fuller. 1900.

25 1⁄ 8 x 79 3⁄ 8 in./63.9 x 201.6 cm

Affiches Artistiques Orazi, Paris

Cond A.

Ref (all var but PAI): Posters of Paris, 75; Affiches 1000, 0051; Encyclopédie/Weill, p. 49; Le Coultre p. 222; Weill/Art Nouveau, p. 120; PAI-LXXX, 448 Orazi created this Art Nouveau masterpiece to coincide with the 1900 Exposition Universelle. His vision of Loïe Fuller is as original as the performer herself: emerging from a hazy color field anticipating Rothko, upward into erotic form, then bubbling with Japanese family crests, with hair floating as if a Mucha goddess underwater, and breathing a bouquet of white roses into being. It’s one of at least three color variants. Orazi’s posters are as seldom-seen as they are magnificent: famous for his exquisite La Maison Moderne poster ( see PAI-LXXXV, 400), Orazi also created the Calendrier Magique, an occult themed calendar limited to an auspicious 777 copies. Rare!

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

Pal (Jean de Paléologue, 1860-1942)

339. Visitez le Palais Royal. ca. 1898.

43 x 54 3⁄4 in./109.3 x 139 cm

Imp. Chardin, Paris

Cond A.

Ref: PAI-XXIX, 567

The shops in the arcade of the Palais Royal cooperatively list their locations in this poster. Included are some of the leading jewelers, opticians, medal-makers, and restaurants of the period. Pal beckons our attention with the lure of an exotic beauty dressed with true royal splendor with an ornamental tiara that bears a matching ruby gem in the sash of her dress.

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

340. Bock-Orbec. ca. 1899.

45 1⁄4 x 63 3⁄ 8 in./115 x 161 cm

Caby & Chardin, Paris

Cond B+/Slight tears at folds.

Ref: DFP-II, 699 (var); PAI-XXI, 359

To capture the bubbly enjoyment of this drink à la mode , Pal has one of his alluring sylphs burst out of the bottle with her blonde hair flying as she blows the top off in a burst of effervescence. The champagne company warns us to “beware of imitators.” This design also appeared as a two-sheet poster ( see DFP-II, 699). Rare!

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

René Péan (1875-1940)

341. Chamonix. 1905.

34 1⁄ 2 x 48 1⁄ 2 in./87.5 x 123.3 cm

Imp. Chaix, Paris

Cond A.

Ref: Montagne, p. 197; PAI-LXXXII, 407

We’ve seen many grand solicitations for Chamonix in the wintertime; here, this lovely lady with her hiking cane would like to introduce you to summer in the Alps at the Grand Casino.

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

A. Pellon

342. Metz. ca. 1919.

34 1⁄ 2 x 36 in./87.7 x 91.3 cm

Els. Druck, Strasbourg

Cond A.

Ref: PAI-LXX, 538

Located where the Seille and Moselle rivers meet, Metz is a charming city in the northeast region of France on the German border. Here, a traditionally dressed young woman quietly gazes out her window at the Saint-Stephen Cathedral and its surrounding architecture.

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

EDWARD PENFIELD

Edward Penfield (1866-1925)

343. Harper’s / November. 1896.

13 1⁄ 2 x 18 in./34.3 x 45.8 cm

Cond A-/Slight tear at lower left corner. Framed.

Ref: DFP-I, 362; Lauder, 186; PAI-LXXXIV, 414

Always eager to imply that Harper’s readers are of a certain social class and educational background, Penfield gives us a smartly dressed gentleman traveling in his hansom cab.

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

344. Collier’s / Sporting Number. 1901.

10 5⁄ 8 x 15 3⁄4 in./27 x 40 cm

Cond A.

Ref: PAI-LXX, 575

This October 12th cover for Collier’s featuring a Harvard football player shows off Penfield’s all-American skill at its peak. All of his Collier’s designs are the actual covers of the publication.

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

345. Collier’s / June 7, 1902.

10 5⁄ 8 x 15 3 8 in./27 x 39 cm

Cond A.

All aboard! Penfield kicks off summer travel with a seafaring cover scene for Collier’s Est: $1,000-$1,200.

346. Collier’s / January 23, 1904.

10 7⁄ 8 x 15 1 4 in./27.5 x 38.6 cm

Cond A.

A lovely young lady driving her own early automobile serves as a major symbol of female independence in 1904.

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

348

347. Collier’s / November 10, 1906.

10 1⁄ 2 x 14 3 4 in./26.5 x 37.5 cm

Cond A-/Slight stains at edges.

Imagine: it’s New York City in November of 1906. Dusk falls early. The stylish Manhattanite is late to her soirée, but her Borzoi must first be walked. The leash is unnecessary; they strut down 6th Avenue, turning heads as they hustle onward with sophisticated determination.

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

348. Collier’s / September 14, 1912.

10 1⁄ 2 x 15 in./26.7 x 38.2 cm

Cond A.

Ref: PAI-LVIII, 500

The end of summer marks that time when young lovers must bid adieu before returning to their prospective colleges. Penfield indulges in sentimentality for this mid-September cover for Collier’s Est: $1,000-$1,200.

349. Collier’s / July 18, 1914.

10 1⁄ 2 x 14 3 4 in./26.5 x 37.3 cm

Cond B+/Slight tears in top text.

A young tennis player suffices to communicate that carefree summer feeling for a July cover of Collier’s Est: $1,000-$1,200.

350. Ladies Home Journal / August. 1908.

10 7⁄ 8 x 16 in./27.5 x 40.6 cm

Cond A-/Slight stains.

Ref: PAI-XLIV, 430

This may be the “Summer-Porch Number” of the Ladies’ Home Journal , but Penfield’s cover art doesn’t exactly encourage lemonade-androcking-chair afternoons. Instead, it appears to be encouraging the magazine’s readership to stop watching the world go by and hit the open road to find out what lies beyond their verandas. Ladies’ Home Journal first appeared on February 16, 1883, as a women’s supplement to the Tribune and Farmer , published by Cyrus H. Curtis. Arising from a popular “women’s column” written by his wife, Louisa Knapp, it became an independent publication the following year. Its original name was Ladies’ Home Journal and Practical Housekeeper , but the last three words of the title were dropped in short order. It rapidly became the leading magazine of its type, reaching a circulation of more than one million copies in ten years. This is the cover of the August, 1908 issue. Est: $1,200-$1,500.

Penfield (Continued)

351. A Calendar for 1924.

11 x 13 1⁄4 in./28 x 33.6 cm

Cond A.

Created just before Penfield’s death, this calendar commemorates American travel in the “early days.”

The images show an 1830 Concord coach in winter, an 1820 inn on the Boston Post Road, an 1810 light traveling coach, and a 1780 post-rider. This includes four calendar sheets with calendaria and a cover.

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

Pablo Picasso (1881-1973)

352. Côte d’Azur. 1962. 26 x 38 3 4 in./66 x 98.5 cm

Imp. Mourlot, Paris

Cond A.

Ref: Czwiklitzer, 177; Affiches Azur, 31; PAI-LXXXII, 416 Picasso opens a window on to the Riviera, permitting the viewer, at least graphically, to while away in the balmy breezes and lucid colors of the sun-sated paradise. One of the aspects of Picasso’s genius—whether in posters or paintings—that is altogether awesome is his ability to create permanence and vitality from a few, relatively harried series of brushstrokes, evoking whatever he chooses with the facility of doodling. Two versions of this design exist, the other being a Cannes variant.

Est: $1,500-$1,800.

Francisque Poulbot (1879-1946)

353. Au Bon Marché. 1918.

24 3⁄4 x 38 1⁄ 8 in./63 x 96.8 cm

Imp. Chaix, Paris

Cond B+/Slight tears at folds and edges.

Ref: Poulbot, 70

“Poulbot illustrated three catalog covers for Le Bon Marché. As in his war posters, Poulbot asserts here his bellicose moods. In 1919, it was now a matter of defeating the German toy, a huge doll in a spiked helmet, pierced by the wooden sword of the boy dressed all in white, his foot resting on the body of the vanquished enemy... Already, in 1907, Poulbot had presented at the Salon of the Society of Cartoonists eighteen dolls of his manufacture, dressed by his wife, under the title ‘La Classe.’ He wanted ‘to replace, in the department stores, the German puppets with the tow wig and the idiotic air, the horrors Made in Germany’ (Encore des gosses et des bonshommes, 1918). In December 1914, we thus see appearing, in the catalog of New Year’s gifts in the Louvre stores, the couple Nénette, the boy, and Rintintin, the girl (this is how Poulbot and his wife were called in their intimacy). Transformed into little woolen puppets, they will become civilians’ lucky charms until the end of the conflict, and even beyond” (Poulbot, p. 95).

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

Weimer Pursell (1906-1974)

354. Chicago World’s Fair. 1933.

26 1⁄ 2 x 39 7⁄ 8 in./67.3 x 101.2 cm

Neely Printing Co.

Cond B+/Slight tears, largely in bottom text.

Ref: Art for All, p. 94; PAI-LXXVIII, 425

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

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

355. Chicago World’s Fair. 1933.

27 1⁄4 x 39 7⁄ 8 in./69 x 101.2 cm

Neely Printing Co.

Cond B/Slight tears at top and bottom edges.

Ref: Weill/Art Deco, p. 112; PAI-LXXXIII, 438

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

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

Tom Purvis (1888-1959)

356. Dine Well by LNER. ca. 1935.

48 3 4 x 39 in./124 x 99 cm

John Waddington, London

Cond A.

Travel by train shouldn’t be just about getting to your destination—it should be a fulfilling experience in its own right. To that end, Purvis helps advertise the LNER’s dining facilities, which look quite sophisticated indeed. A stylish flapper, smoking her cigarette beside the warm light of a table lamp, adds to the glamour. “To a contemporary eye, arguably the greatest talent who executed posters for the railways was Purvis... Working in different styles for different clients, he completed his most radical abstract works for the LNER. Not surprisingly, he was consistently praised in the press” (Art for All, p. 35).

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

Leslie Ragan (1897-1972)

357. New York Central System / For the Public Service. 1946.

15 7⁄ 8 x 33 1⁄4 in./40.5 x 84.5 cm

Cond A.

Ref: Favre/Chemins de Fer, p. 108 (var); PAI-LXXXVIII, 432

In 1867, the American railroad magnate Cornelius Vanderbilt became president of the New York Central Railroad, and through a series of mergers he formed the New York Central and Hudson River Railroad. By 1930, having absorbed other large rail companies and reverted back to its original name, the New York Central was one of the leading lines connecting the Eastern seaboard with Midwestern cities. This rare full poster with map in the lower register—set at Chicago’s La Salle Street Station with the Ceres-topped Board of Trade Building towering in the background—proudly displays each engine model of the Central fleet, from the old-fashioned steam engine to the postwar marvel of the Diesel, and the Streamlined Steam model—The Twentieth Century Limited—designed by Henry Dreyfuss.

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

358. New York Central / West Point. 1934.

16 x 33 3 8 in./40.5 x 85 cm

Cond A.

Ref: PAI-XXXIX, 448 (var)

Perched high on the west bank of the Hudson River north of New York City, West Point served as the site of forts guarding the Hudson during the Revolutionary War. It has also served as the seat of the United States military academy since 1802. For the New York Central System’s Empire State Express, Ragan depicts one of New York Central’s trains zooming past a dramatically lit background. This variant includes the “Scenic Water Level Route” map at bottom.

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

361

Paul Rand (1914-1996)

359. El Producto / For Dad. ca. 1956. 20 x 23 7⁄ 8 in./50.7 x 60.8 cm Cond A.

In the mid-1950s Rand created a lighthearted series of posters for El Producto cigars. Designed primarily for use on buses and trains, they urged the public to consider cigars—ordinarily a personal purchase—as an ideal gift. The sprightly visuals often feature a cigar in the role of a debonair smoker with a wardrobe of hats; here he’s in a straw boater for summer. Bright, solid colors add to the fun, and you can’t miss the product name, which is always in stencil-type capital letters and prominently placed. There were about 20 designs in the series; this one is aimed at daughters looking for the perfect fatherly present.

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

360. IBM / Golden Circle. 1981. 23 1⁄ 2 x 35 in./59.5 x 88.8 cm Cond A/P.

Widely known for his IBM logo design ( see following lot), Rand also created a number of other visuals for the company. Here, he announces the Golden Circle IBM conference at the Kauai Surf Hotel in Hawaii. The playful OPD letters stand for Office Products Division, which was the conference’s topic. The central O also represents the title of the meeting. It’s both incredibly simple and delightfully playful, which are quintessential hallmarks of Rand’s oeuvre.

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

361. IBM. 1981.

24 x 35 7⁄ 8 in./61 x 91.2 cm

Cond A/P.

Ref: Encyclopédie/Weill, p. 106; Modern Poster, 211; PAI-LXXXVII, 438

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.

362. UCLA Summer Sessions. 1993.

24 x 36 in./61 x 91.3 cm

Cond A/P.

When the University of California launched its Los Angeles Extension Program, Paul Rand was asked to design the inaugural catalog 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: $1,000-$1,200.

Armand Rapeño (1858-?)

363. Colette, Petite Danseuse. ca. 1924.

47 3 4 x 63 1⁄ 2 in./121.5 x 161.5 cm

Imp. Bauduin, Paris

Cond B+/Slight tears and stains at folds.

Famed actress Lily Damita dons a sexy showgirl costume for “Colette, Petite Danseuse,” a film for which little information exists—but it was surely sultry.

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

Aage Rasmussen (1913-1975)

364. DSB. 1937.

24 1 2 x 39 3⁄ 8 in./62.2 x 100 cm

Andreasen & Lachmann, København

Cond A.

Ref: Weill, 469; Danish Posters, p. 228; PAI-LXXXII, 421 Rasmussen took over the graphics of the Danish State Railway in 1937 with two breakthrough works: “the classic light rail poster and the picture of the Storstrømsbroen bridge [ see PAI-LXIV, 454], shown in modern monumentality and flattering moonlight. With technical bravado and high quality requirements in the work process, Rasmussen evoked the fine-tuned nuances that enrich the mood values in the light rail poster. The metaphorical and suggestive power of the image has its energy in particular in the strong effects of chiaroscuro in deep space and in the linear perspective play on the time factor in the typhoon’s propulsion. Like a glowing mirage in the blue night sky, the arrow of speed stands at top speed, but the fascination with speed and the glorification of technology is full of excitement with an undercurrent of the demonic” (Danish Posters, p. 227).

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

Georges Redon (1869-1943)

365. Boulogne S. Mer. 1905.

29 1 8 x 42 1⁄ 8 in./74 x 107 cm

E. Marx, Paris

Cond A-/Slight tears at edges.

Ref: Gold, 138; PAI-XLIV, 440

Unless you choose to bury your head in the sand and naively believe that the posters of the Belle Époque were created for purely artistic reasons, this design revels in an advertising axiom that has firmly been in place from Day One: Sex Sells. It hardly matters that the only thing exposed on this fulsome bathing beauty is her arms—her blissful expression as she luxuriates in the lapping waves pounds the message home. And even if you weren’t a woman praying that a trip to this seaside resort would have the same orgasmic effect on you, Redon’s design doubtlessly caught the eye of many pedestrians, who, once caught, could move on to the text and the familial cameo of non-carnal recreational activities. It’s as effective a design as it is blatant.

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

Ethel Reed (1876-1912)

366. Miss Träumerei. 1895.

13 5⁄ 8 x 21 3⁄4 in./34.8 x 55.2 cm

Lamson, Wolffe, & Co., Boston

Cond A. Framed.

Ref: Lauder, 235; Affichomanie, 138; Gold, 80; DFP-I, 417; Reims, 1288; Maitres, 99; Keay, p. 18; Margolin, p. 168; PAI-LXXV, 433 “Träumerei,” or “dreaming,” is one of Schumann’s beautiful, romantic piano pieces comprising “Scenes from Childhood.”

Albert Morris Bagby’s novel “Miss Träumerei: A Weimar Idyl” might have been set in Germany, but it was written and published exclusively in America. The author is, in fact, better known as a musician than as a writer, having studied under Liszt during the late 1850s. The image itself reflects Reed’s fondness for Japonisme, with its flat areas of simple color and the diagonally jutting chrysanthemums.

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

Louis J. Rhead (1858-1926)

367. Read The Sun. 1895.

25 1⁄ 2 x 45 1⁄ 2 in./64.7 x 115.6 cm

Cond B/Slight tears, largely at folds. Framed.

Ref: DFP-I, 439; American/Virginia Museum, cover & p. 9; Margolin, p. 178; Lauder, 255; Reims, 1314

The New York Sun —one of the earliest dailies in America, started in 1853—was a highly successful paper, relying on human interest stories. During the 1890s, it employed such journalist luminaries as Joseph Pulitzer, Arthur Brisbane, Julian Ralph, and Richard Harding Davis. This is one of several fine posters Rhead created for it, a forceful image that simply exhorts the potential reader to pick up The Sun , having secured their attention with a lovely Art Nouveau woman who bears the solar orb in her arms.

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

Ribes

368. Pau.

24 x 39 1⁄4 in./61 x 99.7 cm

Imp. R. Condom, Paris

Cond A-/Slight folds. P.

Ref: PAI-XLVII, 444

Ribes gives us a Central Railway poster for Pau, situated in the Pyrénées region of southwest France, and apparently a resort for all seasons—at least according to the text. The design evokes the warmth of summer with palms, parasols, and tennis racquets, but the snowy peaks rest unobtrusively in the background: a subtle reminder of winter pleasures just around the corner.

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

Georges Rochegrosse (1859-1938)

369. L’Opéra Comique / Louise. 1900.

23 5⁄ 8 x 32 in./60 x 81.2 cm

Ed. Delanchy, Paris

Cond A. Framed.

Ref: French Opera, 22; Gold, 154; DFP-II, 751; PAI-LXVI, 451

One of the more romantic opera posters of the era, this image for Charpentier’s Louise depicts an amorous couple embracing on the outskirts of Paris under the cover of night.

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

Darland Roth

370. Perlach. ca. 1952.

23 3 4 x 33 1⁄4 in./60 x 84.4 cm

Obpacher, München

Cond A.

Ref: PAI-LVI, 296

Perlach pasta is apparently so delicious that this spaghettiman is willing to take a bite of his own starchy belly.

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

Alda Sassi (1929-?)

371. Italia. 1951.

24 1⁄4 x 38 5⁄ 8 in./61.6 x 98 cm

Mondadori, Verona

Cond A-/Slight tears at edges.

The Italian Line offers up trips to South America with an abundance of sun, fun, and tropical fruits. Sassi created the bulk of her designs for navigational firms, executing eye-snagging works marked by an effective use of extreme Modernism.

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

Lipot Satori (1899-1943)

372. A Halal Utja. 1917.

37 3⁄ 8 x 49 3⁄4 in./95 x 126.3 cm

Seiduere, Budapest

Cond A-/Unobtrusive folds.

This harrowing image promotes the Hungarian release of “Der Weg des Todes” (The Path of Death), a German silent drama film which is now lost. The story revolves around a Count and Countess who move into a castle with an old prison, a dungeon, and a mysterious person haunting the Count. Rare!

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

Raymond Savignac

373. Monsavon au lait. 1949.

(1907-2002)

39 1⁄ 8 x 58 3⁄4 in./99.2 x 149.2 cm

Imp. Bedos, Paris

Cond B+/Slight tears at folds.

Ref: Savignac, 314; Savignac A-Z, p. 21; Savignac/Forney, 314a; Weill, 515; Musée d’Affiche, 103; Publicité, p. 167; PAI-LXXXII, 428

As his most celebrated poster, the importance of this image to Savignac’s career cannot be overstated. It is emblematic of his iconic style: disarmingly simple, almost childlike in its brushwork, relying on basic colors and uncluttered compositional space to impart a cheerful, amusing message to the viewer. The design lets us know in no uncertain terms that this soap is made with milk.

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

374. Affiches / Villemot Savignac. 1949.

15 x 23 in./38.2 x 58.3 cm

Cond A.

Ref: Savignac/Suntory, 7; Savignac/Forney, 589; Chaumont/Exposons, p. 78; PAI-LXXXVII, 441

Two of France’s greatest modern poster artists teamed up for this exhibition at the Maison des Beaux-Arts. At the same time, the two mounted an exhibition of maquettes on rue Danièle Casanova, in the studio where Villemot worked until the end of his life.

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

Linda Segul

375. Folk Rock Festival. 1968.

14 x 20 1⁄ 2 in./35.5 x 52.2 cm

Cond A.

Using Mucha-esque maidens as a focal point, Segul announces a massive lineup of 1960s rock icons: Jimi Hendrix, Jefferson Airplane, Led Zeppelin, Muddy Waters, Santana, Chuck Berry, and many more.

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

Sepo (Severo Pozzati, 1895-1983)

376. Week-End Cigarettes. 1936.

38 3⁄ 8 x 58 1⁄4 in./97.5 x 148 cm

Créations Idéa, St. Ouen Cond A.

Ref: Affiche Réclame, 29; Sepo, 214; PAI-XX, 430

“Until the last war, the light tobacco found in Europe was usually a blend referred to as ‘English.’ Mainly Virginia tobacco, it had a pure, slightly sophisticated taste—not overly aromatic, not strong, with a very pronounced bright yellow color. The leading brands—Craven and Players—came from Great Britain. In 1932, Seita (the French Government’s tobacco monopoly) took the same tack with a brand they called Week-End, which was sold until 1971. After a period when Sepo’s work reflected the influence of Cappiello, he was developing a graphic approach closer to Cassandre’s. In this poster, he literally illustrates the product’s name. The road symbolizes freedom and relaxation” (Affiche Réclame, p. 56). Cassandre’s 1929 Route Bleue, which also played on the same tree-lined road perspective, no doubt had an influence on Sepo’s image.

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

Sobha Singh (1901-1986)

377. See India. ca. 1940.

25 3⁄4 x 39 1⁄ 8 in./65.5 x 99.2 cm Bolton Fine Art, Bombay Cond A.

The North-West Frontier only existed as an Indian region from 1901 to 1947, when the province was acceded to neighboring Pakistan. Given its location between Pakistan and Afghanistan, it was an important trade route and home to 2 million locals. The rugged landscape with mountain ranges and picturesque passages has attracted explorers and travelers for ages. Here, Singh gives us a breathtaking view of the landscape and the locals who inhabit it.

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

Johan S. Sjollema (1900-1990)

378. Boris Godounov / Chaliapine. 1931.

47 7⁄ 8 x 36 1⁄ 2 in./121.5 x 92.7 cm

L. van Leer, Amsterdam Cond A-/Unobtrusive folds.

Ref: Modern Dutch Poster, 97; Timeless Images, 148; PAI-LXXXVII, 451

Acclaimed as the greatest natural basso of all time, Feodor Chaliapin (1873-1938) was discovered as a teenager traveling with an operetta company based in the Russian provincial city of Ufa. Encouraged to try grand opera, he had his debut in 1893 in Tiflis in the Georgian province of the Soviet Union, singing the role of Mefisto in “Faust.” He first appeared on the Moscow stage in 1896, and at La Scala in 1901. It was the opera

“Boris Godounov” which gained him true worldwide fame: it opened in Paris in 1908, was produced at La Scala in 1909, in London in 1913, and, as shown in this poster, in Amsterdam in January 1932. Chaliapin was a regular member of the Metropolitan Opera in New York from 1921 to 1928. Ironically, the great singer did not approve of Sjollema’s depiction of him as the tragic Boris here, because it showed him with his face covered by his hands, but it’s also a source of the design’s power. This poster was lithographed by hand by the artist himself. Sjollema, who died at the age of 90, had a long and fruitful career as a painter and graphic artist, and his output includes fine portraits and murals as well as stained glass windows.

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

Jan Willem Sluiter (1873-1949)

379. Oostersche Tapyten. 1916.

39 1⁄ 2 x 72 5⁄ 8 in./100.3 x 184 cm

Senefelder, Amsterdam

Cond A-/Unobtrusive folds.

Ref (all var): Modern Dutch Poster, 42; Sluiter, p. 112; PAI-LXXI, 490

Sluiter stands out amongst poster artists for his unusual style, which tends towards caricature and outsized personality. He brings that spirit to this poster for an Amsterdam dealer in Oriental rugs. It’s a gleeful standoff that perfectly captures the tactical combat of haggling for the best deal. This poster has an added text tip-on at the bottom.

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

380

Roger Soubie (1898-1984)

380. Chamonix-Mont Blanc. 1923.

30 3⁄4 x 42 in./78 x 106.6 cm

Imp. Cornille & Serre, Paris Cond A-/Unobtrusive folds.

Ref: Olympics, p. 33; Montagne, p. 195; Alpes, 110; PAI-LXII, 543 Elegantly capturing the cool swish of skaters as they glide along the ice, this poster for PLM is one of Soubie’s finest. Added warmth is given to the crisp climate as the sun bounces boldly off the mountains in the background, accented nicely by the yellow of a woman’s sweater. It’s a divine winter sports poster.

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

J. Spring (Joseph Stall, 1874-1933)

381. Cognac Sorin. 1930.

45 3⁄ 8 x 60 7⁄ 8 in./115.3 x 154.6 cm

Imp. P. Vercasson, Paris Cond A. Framed.

Ref: PAI-LXXXVI, 363

In a design obviously influenced by Cappiello, an enamored Pierrot toasts the night sky with a glass of Cognac Sorin. The odd perspective adds interest and gives the image a capricious, mysterious quality. A printed notation next to Vercasson’s name in the margin indicates “4e Édition Décembre 1930.”

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

J. Stall (1874-1933)

382. Champagne Joseph Perrier. ca. 1929.

47 1⁄4 x 62 3⁄4 in./120 x 159.5 cm

B. Sirven, Paris Cond A.

Ref: Publicité, p. 82; PAI-LXXXVIII, 454

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.

Théophile-Alexandre Steinlen (1859-1923)

383. Lait pur Stérilisé. 1894.

58 x 72 1⁄ 2 in./147.5 x 184 cm

Cond B/Slight tears at folds and edges.

Ref: Bargiel et Zagrodzki, 16B2; PAI-XLVI, 529

Steinlen arrived in Paris from his native Switzerland in 1882; his first poster dates from 1885. He had a long and extremely prolific career that saw him illustrate about 100 books and over 1,000 issues of periodicals, as well as create paintings, lithographs and bronzes, and about fifty posters. Abdy makes this point: “Steinlen was one of the four or five great poster artists of his time; all his lithographic work is distinguished by a freshness and vigour which makes it powerful, and a simplicity and sympathy which makes it appealing... The subject of his posters are those dearest to his heart, his pretty little daughter Colette, and his beloved cats” (p. 94). All the warmth, humanity and affection for which he 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.” That judgment remains valid today. This is the extremely rare two-sheet version of the poster classic that he redrew two years after the appearance of the initial design ( see PAI-LXXXVIII, 456). There are some slight changes to the design—the bowl is tilted forward, and the cats’ tails are more fully shown. The overpowering charm of the design remains—all the more so because of its large six-foot high format. This is the version before letters with vivid colors. Est: $12,000-$15,000.

384. Chocolats / Thés Cie Française. 1895.

31 3 4 x 47 in./80.8 x 119.4 cm

Imp. H. Laas, Paris

Cond A.

Ref: Bargiel et Zagrodzki, 19C; Crauzat, 494 (var); DFP-II, 784 (var); Wagner, 62 (var); Timeless Images, 49 (var); Maîtres, 170 (var); Chocolate Posters, p. 42; PAI-LXXXII, 434

In one of Steinlen’s most tender posters, we are offered an intimate peek into his private life. Using his wife Emilie and his daughter Colette as models, we witness the artist’s family at breakfast. As Emilie quietly meditates over the day at hand, she sips on Chinese black tea. Meanwhile, young Colette stares curiously back at the signature household pet, protectively guarding her hot chocolate from a potential feline thief. As charming as it is cozy, this scene promotes the French Chocolate and Tea Company, a staple in all real—rather than overly fancy—homes. In fact, this design was so irresistible that the client used it with several text variations; this is one of the least known versions. This is the finest specimen ever seen of this famed image.

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

Steinlen (Continued)

385. Cigarette la Bohême. ca. 1894.

20 3⁄4 x 27 1⁄ 2 in./52.8 x 70 cm

Cond A-/Stains at bottom edge.

Ref (all var but PAI): Bargiel & Zagrodzki, 12A.2; Crauzat, 490; DFP-II, 780; Maitres, 46; PAI-LXIII, 564

An exceedingly rare variant of Steinlen’s Mothu et Doria poster ( see PAI-LXXXI, 453) is used here to promote a Dresden-based cigarette company rather than a cabaret duo. According to the scholar Alain Weill, the work itself bears Steinlen’s signature, not a “d’après Steinlen” assignation, which is important seeing as the artist was very serious about the use of his name. This means that Steinlen either redrew the lithographic stones himself or supervised the process. It seems most likely that Steinlen would have agreed to the project sometime during his Munich visit of 1894, when he was invited there by Albert Laugen who was commencing publication of Simplicissimus magazine.

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

386. Le Journal / La Traîte des Blanches. 1899.

23 1⁄ 2 x 31 1⁄ 2 in./59.5 x 80 cm

Imp. Charle Verneau, Paris

Cond A.

Ref: Bargiel et Zagrodzki, 35D; Crauzat, 503; PAI-LXIII, 561

“Quite a few literary works of this era first saw the light of day as installments printed in daily or weekly papers... A major novel appearing in a trickle would hold readers for several months, with the hope that [readers] would get used to the paper’s other features and remain loyal afterwards. The lure of a new sensational novel was often used to advertise the paper itself. And sensational is the word for this poster advertising installments of ‘White Slavery.’ It depicts a heartless pimp with three of his victims. One is arguing passionately for her freedom, one seems resigned to her fate, and one in utter despair” (Gold, p. 66). This is the censored, smaller format of the poster.

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

387. 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-XLIX, 473

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: $3,000-$4,000.

Thomas François Cartier (1879-1936)

388. À Steinlen : Sculpture. 1924.

14 x 16 1⁄ 2 in./35.5 x 42 cm

Signed and dedicated plaster sculpture.

Cartier was primarily known for his animal sculptures, so it’s fitting that he would be an admirer of Steinlen, who famously depicted his beloved cats in many scenes. Here, Cartier shows Steinlen with one of his felines with a quote from Anatole France and signed “To Steinlen, from his admirer.”

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

Stenberg Brothers

(Vladimir, 1899-1982; Georgi, 1900-1933)

389. Kamerny Theatre / Kukerol. 1925.

28 1⁄4 x 42 3⁄ 8 in./71.7 x 107.6 cm

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

Ref: PAI-LXXXVII, 461

The Stenberg Brothers created this piece for the 1925 season opener at Moscow’s Kamerny Theatre, a famous “chamber theatre” founded in 1914. The premiere, on November 26, was for the play Kukerol , about which little is known.

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

Franz Von Stuck (1863-1928)

390. Munich 1905 / Exposition Internationale. 1905.

34 1⁄4 x 39 in./87 x 99 cm

Meisenbach Riffarth, München

Cond B+/Slight tears in text area.

Ref (both var): DFP-III, 3218; PAI-LXXVII, 404

Franz von Stuck was not only a posterist—he also cofounded the Munich Secession in 1893, and was an exceptionally influential artist of the period, both as a member of this group, and also as a teacher at the Munich Academy. He was also a frequent contributor to the magazine Jugend . He created several of the Secession posters, including this famous design which was used for the group’s 1905 exhibition, as well as later exhibitions in the following years. This is the French language variant.

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

391. Kunstausstellung / Secession. 1907.

14 1⁄ 8 x 27 3⁄ 8 in./36 x 69.5 cm

Wolf u. Sohn, München

Cond B+/Slight tears at folds and edges.

Ref (all var): DFP-III, 3212; Wember, 745; PAI-LXXV, 488 Von Stuck created several of the Secession posters, including this design of Athena—a symbol for the movement—that was used for the first Secession exhibition in 1893, and for many years thereafter.

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

Ilmari Sysimetsä (1912-1955)

392. XVes Jeux Olympiques / Helsinki Finlande. 1952. 24 1⁄4 x 39 1⁄ 2 in./61.6 x 100.2 cm Oy. Tilgmann, Finland

Cond B/Slight tears at folds.

Ref (all var): Olympics, p. 59; Sportissimo, p. 14 & 59; PAI-XXXVIII, 74

By the time World War II broke out in Europe in 1939, preparations had been completed for the scheduled 1940 Olympiad in Helsinki—including the official poster chosen in competition from among 72 Finnish artists. When the war forced the event to be canceled, Helsinki had to wait until 1952 to host the Games, and it was decided to use the old poster, substituting only the new dates. The design depicts a bronze statue (by Waimo Aaltonen) of the most famous Finnish athlete—Olympic runner Paavo Nurmi— together with a globe on which the location of Finland is highlighted. This is the larger format, which was printed in nine languages; the version here is in French.

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

Henri Thiriet (1866-1897)

393. Exposition de Blanc / Place Clichy. 1898. 51 1 4 x 36 in./130.2 x 91.5 cm

Imp. de Vaugirard, Paris

Cond B+/Slight tears at folds.

Ref: DFP-II, 815; Schardt, p. 166-67; Gold, 24; PAI-LXXXIII, 460

“A saleswoman at the Place Clichy White Sale shows a discerning customer some fine bed linens. Thiriet makes the women’s appearances and attitudes so charming and gives the sheets themselves such sumptuous volumes that purchasing what is essentially a household requirement seems as delightful as choosing a new dress” (Gold, p. 18). Crauzat, announcing its publication in L’Estampe et l’Affiche , calls it “a beautiful design with pleasing colors. We hope that it will be followed by many more [from the artist]” (1898, p. 43). Pleasing colors might be an understatement in this case—this poster boasts incredibly vivid colors: tangerine lettering and accents, burgundy and turquoise apparel, and the strangest—but most delightful—scarlet hair.

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

HENRI DE TOULOUSE-LAUTREC

Henri de Toulouse-Lautrec (1864-1901)

394. P. Sescau / Photographe. 1894.

31 x 24 in./79 x 61 cm

Cond A-/Slight tears at edges. Framed.

Ref: Wittrock, P22; Adriani, 60-I; Wagner, 15; PAI-LXXVIII, 462

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

Est: $60,000-$70,000.

395. Jane Avril. 1893.

35 3⁄ 8 x 50 in./89.8 x 127 cm Imp. Chaix, Paris Cond A. Framed.

Ref: Wittrock, P6B; Adriani, 11-I; Wagner, 7; DFP-II, 828; Maitres, 110 (var); Driehaus, p. 109; Wine Spectator, 41; Reims, 784; PAI-LXXXVIII, 469 “Universally considered his most brilliant and successful design” (Wagner, p. 22). “The Wine Spectator” introduces Toulouse-Lautrec’s world-famous lithograph this way: “Jane Avril on stage doing her specialty, which, according to contemporaries, was essentially a cancan that she made exotic by making a pretense of prudery—the ‘depraved virgin’ image aimed at arousing the prurience in the predominantly male audience. The sexual innuendo was captured by the artist by contrasting the dancer’s slender legs with the robust, phallic neck of the bass viol in the foreground—a masterly stroke that not only heightens our perception but also creates an unusual perspective: we see the performer as an orchestra member would, and this allows Toulouse-Lautrec to show, as if inadvertently, how tired and somewhat downcast she looks close-up, not at all in keeping with the gaiety of the dance that is perceived by the audience. It is clear, as Maindron has pointed out, that she is dancing entirely for the viewer’s pleasure, not hers, which makes it a highly poignant image. Seemingly without trying, ToulouseLautrec not only creates a great poster but makes a personal statement: Only a person who really cares about his subject as a human being would portray her with such startling candor” (Wine Spectator, 41).

Est: $45,000-$55,000.

Toulouse-Lautrec (Continued)

396. May Belfort / Petit Casino. 1895.

24 1⁄ 2 x 31 3⁄4 in./62 x 80.6 cm

Cond A. Framed.

Ref: Wittrock, P14C; Adriani, 126, 2nd State; Delteil, 354; HTL/MoMA, 269; PAI-XX, 464

This is most probably the rarest of all Lautrec posters: Adriani cites only one other known impression of this second state (exhibited at the Museum of Modern Art’s Lautrec show, 1985, cat. #269). In this poster made for her appearance at the Petit Casino, the singer is “framed by long black curls under an enormous cap, her hands hiding most of a yellow-eyed kitten. Lautrec presents her on a diagonal plane, her brilliant orange-red dress slanting to the left, her shoulder brought forward in the picture plane to place her in a frontal position. The flat sweep of her gown below the frilled, green-splattered sleeves is, taken by itself, merely a red sail or banner” (Wagner, p. 27). In this version, the most obvious difference other than the addition of the “Petit Casino” type is the substitution of red streaks for the usually seen solid dress.

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

397. May Belfort. 1895.

23 1⁄4 x 31 1⁄ 8 in./59 x 79 cm

Kleinmann, Paris

Cond B+/Slight tears at edges. Framed.

Ref: Wittrock, p. 14B; Adriani, 126; PAI-LXXXIII, 465

“May Belfort, whom [Lautrec] represented in at least ten works, had gained a reputation for corrupt innocence by appearing onstage dressed as a baby holding a black kitten in her arms, and ‘miaowing or bleating’ her popular song, ‘Daddy

Wouldn’t Buy Me a Bow-Wow,’ whose lines had a double meaning which was not lost on the French-speaking audience: ‘I’ve got a pussycat, I’m very fond of that’” (Frey, p. 382). This would have been particularly amusing for the audience, as Belfort was in an openly lesbian affair with the English dancer May Milton.

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

398. Divan Japonais. 1893.

23 7⁄ 8 x 31 3⁄ 8 in./60.6 x 79.6 cm

Imp. Edw. Ancourt, Paris

Cond A-/Slight tears at edges. Framed. Ref: Wittrock, P11; Adriani, 8; DFP-II, 824; Maitres, 2; Wagner, 3; Modern Poster, 5; Wine Spectator, 42; Posters of Paris, 92; Lautrec/Montmartre, 164; Reims, 780; PAI-LXXXVII, 474

Pictured at the Divan Japonais café concert, Jane Avril “appears to be almost smiling, as if the whole thing were an inside joke. Jane is accompanied—or, more likely, being accosted—by noted critic Edouard Dujardin, no doubt with amorous intentions, but Avril’s faintly bemused expression indicates that she is used to this, and will be able to handle him without any trouble. Note that the performer—although it is a great celebrity, the famous Yvette Guilbert—is not the focus of the poster, and Toulouse-Lautrec makes sure of it not only by placing her somewhat indistinctly in the poorly lit background, but even by going to the length of deliberately cutting her head off... Toulouse-Lautrec has made good use of spatter, a technique which adds another dimension to poster art: here, for example, it effectively separates the solid black of Jane’s dress from the less important dark mass of the bar and the orchestra” (Wine Spectator, 42).

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

Toulouse-Lautrec (Continued)

399. Le Jockey. 1899.

14 1⁄ 8 x 20 1⁄ 8 in./35.8 x 51.2 cm

Cond A-/Slight crease at lower right edge. P. Framed.

Ref: Wittrock, 308-II; Adriani, 345-II; PAI-LXXXVIII, 485

“In Paris from the autumn of 1899 to the summer of 1900, [Lautrec] seemed to live his former existence, making paintings and prints and maintaining contact with friends... In some ways he seemed more willing to live conventionally than he had before. He returned to his childhood interest in horses and the race track, having driven himself regularly to Chantilly, the Bois and Longchamps to watch horses. The works he did now maintained the fine-lined, almost drawing-like quality of his painting” (Frey, p. 480). Though “The Jockey” and three other lithographs were created with the intention of publishing a portfolio of horse racing subjects for the print dealer Pierrefort, this was the only one of the four ever realized as a print. But it’s one of his finest, conveying the raw energy and speed present on the track. You can almost feel the weight of the hooves as they hit the turf and hear the breath of the animal as it gallops by on this overcast, cold morning. This is one of 112 impressions.

Est: $60,000-$70,000.

400. Salon des Cent. 1896.

16 1⁄ 8 x 24 1⁄ 8 in./41 x 61.2 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-LXXXVIII, 487 Summer, 1895. Lautrec and fellow artist Maurice Guibert are on board the steamer Le Chili , en route along the Atlantic coast from Le Havre to Bordeaux. Lautrec cannot keep his eyes off the young woman berthed in cabin No. 54. She’s meeting her husband in Senegal. Lautrec, suddenly obsessed, ignoring pleas from Guibert, refuses to get off the boat at Bordeaux. Finally, he is persuaded off the boat at Lisbon. But not before he’s captured a photograph of the unknown woman, which he turned into a lithograph of the exact same pose, “exquisite both in its execution and in the remoteness of the subject’s personality” (Wagner, p. 31): ideal for the Salon des Cent, with its running themes of meditation, admiration, and preoccupation.

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

401. Babylone d’Allemagne. 1894. 34 x 47 7⁄ 8 in./86.3 x 121.5 cm

Imp. Chaix, Paris

Cond A-/Slight tears, largely at edges. Framed.

Ref (all var but PAI): Wittrock, P12B; Adriani, 58; DFP-II, 832; PAI-LXXXVII, 493

The subject is a book exposing the decadence of Berlin society, written by Lautrec’s friend Victor Joze. His poster “focuses the spectator’s attention on the hindquarters of four horses, the largest of which [is] also being closely observed by a caricature of the Kaiser standing in a guardbox. The implications of this, along with the book’s title, provoked a protest from the German ambassador to France and nearly caused an international incident. Joze, too, wrote Lautrec asking for him to withdraw the poster, as he felt the depiction of a German officer, together with the anti-German tone of the book, would not be tolerated by the police and could get him in trouble. Lautrec, however, refused to stop distribution of the poster, and as he had paid for it [himself], the publisher was not able to stop the distribution. [Thereafter], according to art dealer Edmond Sagot, the value of [Lautrec’s] work quadrupled” (Frey, p. 398). This is the rare proof before letters.

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

403

Toulouse-Lautrec (Continued)

402. Aristide Bruant / Les Chansonniers de Montmartre. 1893.

37 3 4 x 53 3⁄ 8 in./96 x 135.5 cm

Imp. Charles Verneau, Paris

Cond B+/Slight tears and stains at edges. Framed.

Ref: Wittrock, p. 9 (var); Adriani, 12 (var); PAI-LXXXVII, 483

This is the rarest image of all the Aristide Bruant lithographs created by Toulouse-Lautrec. According to Adhemar, this is the “third state” of use of Lautrec’s iconic portrait of Bruant, first created in 1893. Bruant used the image, in all its brutal and disdainful beauty, to advertise a bimonthly songbook called “Les Chansonniers de Montmartre,” a veritable encyclopedia of Montmartre’s performers, led by Bruant himself. As with the first state, it is also printed by Verneau (other states having been the work of Ancourt). “Unlike most members of bohemian Montmartre,” writes Michael L. Wilson in the Journal of Western Society for French History , Vol. 36, 2008, “Bruant had a limited education and direct experience of downward mobility, manual labor, and poverty... Bruant recounted that, as his family moved from one working-class neighborhood to another, he learned the strengths and poetry of working-class speech: ‘colorful, animated, brutal, cynical, but rich in picturesque metaphors, in bold neologisms, and in imitative harmonies.’ Bruant recalls being so seduced by this slang that he would wander the streets of working-class neighborhoods, speaking with and learning from everyone he met.”

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

403. Elles. 1896.

19 1⁄ 2 x 25 1⁄ 2 in./49.4 x 65 cm

Cond A/P. Framed.

Ref: Wittrock, 155-III; Adriani, 171, 3rd State

This is the full-sheet cover of Lautrec’s famed “Elles” series, before the edges were folded. Both Adriani and Wittrock indicate that there are only four known impressions. It is not only rare, but also in pristine condition.

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

405

Toulouse-Lautrec (Continued)

404. Elles. 1896.

18 1⁄4 x 23 3⁄4 in./46.4 x 60.3 cm

Cond A. Framed.

Ref: Wittrock, 155-III; Adriani, 177-IV; DFP-II, 842; Reims, 782; PAI-LXXXVIII, 467

This poster announces Lautrec’s famous brothel series “Elles,” an edition of lithographs depicting prostitutes simply referred to as “Elles” (Them). This ambiguous title both recalls the common phrase ces dames (these ladies), and at the same time is the pronoun indicating all females. Although the women of the “Elles” series are prostitutes, they appear desexualized, shown in postures that emphasize the everyday and unglamorous nature of their occupation. In this instance, putting her hair back up after finishing with a client; the only indication that a man is even in the room is his top hat resting gingerly on her bed. It was the pictorial epilogue to what the artist had experienced in the maisons closes of the rue des Moulins, the rue d’Amboise, and the rue Joubert. “They” are “women to my liking,” as he used to say, and he often lived with them for weeks at a time during the years 1892 to 1895, a constant witness of their daily lives, of their suffering and intimacy.

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

405. Elles. 1896.

18 x 22 7⁄ 8 in./45.8 x 58 cm

Cond A. Framed.

Ref: Wittrock, 155-III; Adriani, 171-III; DFP-II, 842; Reims, 782; PAI-LXXXVI, 385

This is the rare before-letters version of the poster.

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

406. Femme en Corset. 1896.

15 7⁄ 8 x 20 3⁄4 in./40.3 x 52.7 cm

Cond A. Framed.

Ref: Wittrock, 164; Adriani, 180; PAI-LX, 509

This is one of 100 numbered impressions from the “Elles” suite, with Pellet’s stamp. Another scholarly interpretation of the “Elles” suite is that, rather than simply a collection of brothel motifs, it portrays the domestic life of a lesbian couple, one half of which was the clowness of the Moulin Rouge, Cha-U-Kao. Such a reading gathers likelihood in the knowledge that the publisher, Pellet, favored risqué themes. Here, a voluptuous woman, possibly the aging clowness, undoes her corset while a prospective client looks on—some historians speculate that this is her lover in drag.

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

407. 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-LXXXVI, 386

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: $14,000-$17,000.

409

Toulouse-Lautrec (Continued)

408. Yvette Guilbert. 1898.

Each approximately: 13 1⁄4 x 16 3⁄4 in./33.6 x 42.5 cm

Cond B-/Stains, largely in margins. Framed.

Ref: Wittrock, 271-279; Adriani, 250-258; PAI-LXVII, 529

This is the complete first edition of 1898, consisting of nine drawings (stones he sent from Paris to the London publisher), plus the cover. Adriani notes that unlike the 1894 Album of Yvette, “what distinguishes this series... is the close-up view adopted by Lautrec, which concentrates on the face, taking far less notice of the general scene; indeed, the singer is hardly ever shown full-length. Unlike his earlier use of the graphic medium, with its bravura delight in delicately sprayed detail, here the artists relies on the interplay of the sweeping chalk strokes and broad shading to convey deep psychological penetration” (p. 306).

Est: $17,000-$20,000. (10)

409. La Goulue. 1894.

10 1⁄ 8 x 12 3⁄4 in./25.7 x 32.3 cm

Cond A. Framed.

Ref: Adriani, 95-II; Wittrock, 65; PAI-LVII, 544

With a besotted Lautrec gazing on in the background, the famous duo from the Moulin Rouge poster, La Goulue and Valentin, slither out a waltz in this music cover for Bosc’s little ditty.

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

410. La Valse des Lapins. 1895.

10 7⁄ 8 x 15 1⁄4 in./27.7 x 38.8 cm

Cond A. Framed.

Ref: Wittrock, 138; Adriani, 159

This lithograph for a song title (“The Rabbit’s Waltz”) is a rare proof—one of 20 impressions—and the only known signed copy with the red monogram stamp. Wittrock states the obvious: “Very rare.”

Est: $5,000-$7,000.

411. La Coiffure. 1893.

12 3⁄ 8 x 19 5⁄ 8 in./31.5 x 50 cm

Imp. Eugène Verneau, Paris (not shown)

Cond A. Framed.

Ref: Wittrock, 15, 1st Ed.; Adriani, 40-II; PAI-XXXIV, 578

Lautrec’s interest in theatre began in 1893 and he was especially fond of the Théâtre Libre directed by his friend André Antoine. The image is somewhat related to an earlier painting by Lautrec, which showed a scene in the Rue de Moulin brothel. This experimental theatre’s audience was necessarily limited: “The only people who could attend [Antoine’s] plays were the two-hundred patrons who bought season tickets. Naturally, they included the elite of the intellectual avantgarde” (Frey, p. 368). This is the rare proof before letters, numbered 86 of 100 numbered editions.

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

Toulouse-Lautrec (Continued)

412. Débauche. 1896.

13 1⁄ 2 x 10 in./34.2 x 25.5 cm

Cond A. Framed.

Ref: Wittrock, 167, 2nd State, 1st ed.; Adriani, 187, 2nd State “This colour lithograph was used in its third state as cover for the Catalogue d’Affiches Artistiques , published in June 1896 by A. Arnould. The model for the debaucher was Lautrec’s painter-friend Maxime Dethomas (1868-1928)” (Adriani, p. 249). Wittrock says this is one of only four known proofs.

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

413. En Quarante. 1893.

11 x 15 in./28 x 38.2 cm

Cond A-/Slight stains at edges. Framed.

Ref: Wittrock, 32; Adriani, 47; PAI-XXXVIII, 554

This is one of the one-hundred numbered impressions (#30) with Lautrec’s red monogram stamp. Lautrec provided twelve lithographs, printed by Ancourt, which were also reproduced in ten issues of the weekly, L’Escarmouche , from 1893 to 1894, this one appearing in the November 26, 1893 number. And judging by appearances, the situation he portrays here looks to be headed from bad to worse with every ensuing sip. It’s a rather spectacularly terse blend of disapproval, inebriation, boredom, and lechery, reinforced with a bristling hint of barely concealed malice. It’s a wonderfully droll and decadent slice of life.

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

François Vernier (1927-?)

414. Pathé Marconi / La Voix de son Maître.

45 x 63 in./114.4 x 150 cm

Girbal, Paris

Cond A.

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: $1,700-$2,000.

Bernard Villemot (1911-1989)

415. Orangina. 1956.

45 x 61 1⁄4 in./114.2 x 155.6 cm

Hubert Baille, Paris

Cond A-/Slight creases in bottom text area.

Ref: Villemot/A to Z, p. 119; Bon Salle, 349

Villemot’s iconic Orangina orange peel is wittily readapted once again; this time, the central character dons a straw hat reminiscent of Maurice Chevalier’s.

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

Andy Warhol (1928-1987)

416. Perrier. 1983.

23 1⁄ 2 x 17 5⁄ 8 in./59.8 x 44.8 cm

Lalande-Courbet

Cond A/P.

Ref: Warhol Posters, 31; PAI-LXXXII, 474

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: $1,000-$1,200.

417. Perrier. 1983.

23 3⁄4 x 17 1 2 in./60.5 x 44.5 cm

Lalande-Courbet

Cond A.

Ref: Warhol Posters, 30; PAI-LXXXII, 475

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: $1,000-$1,200.

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

418

Jupp Wiertz (1881-1939)

418. Kunst und Leben. 1920.

37 1⁄ 2 x 55 3⁄4 in./95.3 x 141.7 cm

Dinse & Eckert, Berlin

Cond B+/Slight tears at folds.

A Berlin magazine gets an effortlessly chic advertisement from Wiertz. He focuses our attention on a stylish fräulein , accessorized with a parasol, a hat to match, and an adorable little dog. This poster also appeared in the April 4, 1920 issue of Das Plakat

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

Charles Hubbard Wright (1870-1939)

419. The May Century. 1897. 12 x 20 3⁄4 in./30.5 x 52.7 cm

Cond A-/Tears and creases in top text area.

Ref: DFP-I, 502; American/Virginia Museum, 111; PAI-LXXXVII, 63

Exhibited: Ils s’envolérent...! Air and Space Museum, Le Bourget-Paris, 2005. Seven years before the Wright Brothers would achieve powered flight, the May Century turned a fascinated eye toward the possibilities of kite aerodynamics. This was the first American poster depicting “heavier-thanair” flight, illustrated by yet another Wright, Charles Hubbard Wright. It shows Lieutenant Hugh Wise at Governor’s Island in New York City, lifted skyward by a kite designed by Laurence Hargrave (1850-1915) in May 1897. Englandborn Hargrave invented his first “flying machine” box kite in 1893; his work inspired Alexander Graham Bell to begin his own experiments with a series of tetrahedral kites from 1903 to 1907.

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

419

TADANORI YOKOO

The 10 posters offered are among his earliest and rarest screenprints and are seldom seen, especially as a collection.

420. Having Reached a Climax at the Age of 29. 1965. 28 1⁄ 2 x 39 5⁄ 8 in./72.3 x 100.7 cm

Cond A/P. Framed.

Ref: Yokoo, p. 17; Yokoo/Graphic Works, p. 65; Yokoo’s Posters, 1; Yokoo/Paris, p. 1; Encyclopédie/Weill, p. 273; Avant Garde, p. 184; Modern Poster, 275; PAI-XXV, 544

“A great deal of public interest was aroused by the ‘Persona Exhibition,’ a group exhibition by 16 designers, which opened at the Matsuya Department Store in the Ginza section of Tokyo in November of 1965. Yokoo, who had held his first one-man exhibition at the Yoshida

Gallery in Nihonbashi that February, had excited the interest of both his fellow designers and art critics... It was Yokoo’s collection of posters which became the major talking point of the ‘Persona Exhibition.’ This poster was created especially for the [exhibition]. The caption to the poster is of a derisive nature and aimed at the artist himself: it is in English, perhaps because the message was meant to reach a world audience. It might be that the corpse hanging by its neck, centered against a background of the bright rays of a rising sun gleaming in a blue sky, a single full-blown rose clasped tightly in one hand, represents the artist’s departure

420

from his previous style... The photograph of the baby in the bottom corner is the artist himself at the age of one and a half... What creates the powerful impression made by this poster is the strong contrast of red and blue in the pattern of the rising sun. We often come across this pattern in Oriental references by Western artists; one reason why it may be considered inherently Japanese may possibly be its association in the mind with the flag used by the former Japanese Empire” (Yokoo, p. 6). Est: $17,000-$20,000.

Yokoo (Continued)

421. Marie in Furs. 1968.

29 1⁄ 2 x 41 1⁄ 8 in./75 x 104.5 cm

Cond A/P. Framed.

Ref: Yokoo, p. 21; Yokoo/Graphic Works, p. 132; Yokoo’s Posters, 16; Yokoo/Paris, 14

“This poster was designed for the ‘Tenjo Sajiki’ theatre production Marie in Furs , which was described as ‘The beautiful, tragic story of a homosexual prostitute, performed in female clothing.’ For the poster Yokoo used a lithograph in the Japanese style by Pierre Bonnard, completely in its original form without any adaptation whatsoever, and although he includes a written apology to Bonnard for this act of plagiarism in the very center of the poster, the idea behind the design was to show his utter contempt for himself as a top-grade artist. Note, for example, the mock signature ‘Pierre Yokoo.’ The performances of the ‘Tenjo Sajiki’ troupe could best be classified as ‘happenings’ in which the audience often became part of the show” (Yokoo, p. 6). This is a silkscreen print.

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

422. The Wonders of Life on Earth. 1966.

29 x 40 7⁄ 8 in./73.6 x 103.7 cm

Cond A/P. Framed.

Ref: Yokoo/Graphic Works, 291; Yokoo/Paris, p. 3; Yokoo, p. 18; Yokoo’s Posters, 7; Avant Garde, p. 184; Word & Image, p. 127; Modern Poster, 276; Plakatkunst, p. 169; PAI-LXXXIII, 489

This is one of Yokoo’s earliest posters, but already his distinct style is fully apparent: he’s combined Japanese Manga and American Pop Art styles with a modern superhero aesthetic. This design was created to promote a book by Isamu Kurita, for which Yokoo also made illustrations. In the book, Kurita wrote, “‘In considering illustration now in its newer, broader sense, we can think of it as having the position within the sphere of design which adds flesh to words, sounds and forms... Illustrations are likely to continue to search out new principles of distribution within society.’ Certainly it can be said that... illustrations, graphic design and posters are art forms which, as Kurita states, are opening up the possibility of acquiring a new form of community spirit... Yokoo’s poster for ‘The City and Design’ was reduced in size and used as an illustration at the beginning of the book... The globe at left suggests that the world is still ‘under construction’ and therefore it is up to us to complete it” (Yokoo, p. 6). This is a silkscreen print.

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

423. The Ballad to a Severed Little Finger. 1966.

28 1⁄ 8 x 40 1⁄4 in./71.5 x 102.2 cm

Cond A/P. Framed.

Ref: Yokoo, p. 22; Yokoo/Graphic Works, p. 95; Yokoo’s Posters, 17; Yokoo/Paris, 7; Modern Poster, 277

“Someone Yokoo greatly admired was Ken Takakura, the superstar of yakuza (gangster) movies, who took the world by storm during the socalled Showa Genroku—The Golden Period of Showa—a flourishing cultural style of the mid-1960s... This poster was completed before Yokoo became acquainted with Takakura, and it is a sort of fan letter. In the Japanese underworld, it was a custom to show loyalty to the gangster boss by cutting off a portion of one’s little finger; here, Yokoo symbolically severs his little digit to prove his admiration for Takakura. The poster advertises a book; the name of the author, Kenji Kanezaka, and his picture are in the coin at right; Yokoo’s name, picture and credit as illustrator appear in the coin at left. Going down the sides of the poster are phrases then in vogue in movies in which Takakura acted, such as ‘Tokyo’s Where It’s At’ (right) and ‘Not All Men Are Fit For Crime’ (left)” (Yokoo, p. 7). This is a silkscreen print.

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

Yokoo (Continued)

424. Koshimaki-Osen. 1966.

28 1⁄4 x 39 7⁄ 8 in./71.8 x 101.4 cm

Cond A/P. Framed.

Ref: Yokoo, p. 26; Yokoo/Graphic Works, p. 88; Yokoo’s Posters, 12; Yokoo/Paris, 8; Word & Image, p. 127; PAI-LXII, 600

An early, award-winning work by the artist, this poster’s English title is “Osen in Petticoats,” and references the inaugural performance of the 1960s troupe Jokyo Gekijo. Part of the counterculture movement, this troupe challenged traditional Japanese theatre while also acting as a mouthpiece of protest toward larger issues. “It followed that any poster for a performance by the ‘Jokyo Gekijo’ also had to take the form of visual agitation, [and] the posters Yokoo created... [reflect these] intentions exactly” (Yokoo p. 8). This is a silkscreen print.

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

425. The Aesthetics of End. 1966.

29 x 40 1⁄4 in./73.5 x 102.2 cm

Cond A/P. Framed.

Ref: Yokoo/Graphic Works, p. 91; Yokoo’s Posters, 11; Yokoo/Paris, 6 “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: $7,000-$9,000.

426. Bunraku Play “Chinzei, Hachiro Tametomo.” 1970.

28 1⁄ 2 x 40 in./72.4 x 101.6 cm

Cond A/P. Framed.

Ref: Yokoo, p. 46; Yokoo/Graphic Works, p. 210; Yokoo’s Posters, 49; Yokoo/Paris, 24 (var); Modern Poster, 278

“In his introduction to ‘The Collected Works of Yokoo,’ poet Mutsuro Takahashi remarks: ‘The best medium for Kabuki posters is nishiki-e , or color woodblock prints. Since Yokoo had no skill in this technique, the only course open to him was to produce a thoroughgoing Hokusai fake... Yukio Mishima [was] both producing and handling the art direction for the Kabuki performance at the Kokuritsu Gekijo—The National Theatre—of Chinzei Hachiro Tametomo , his own adaptation of the story by Edo writer Kyokutei Bakin. In 1970, the year after the Kabuki performance, Yukio Mishima took his own life in a ritualistic Japanese suicide. Following his death, the play was once again presented at the Kokuritsu Gekijo, this time as a Bunraku puppet play. For the poster for this performance, Yokoo added fresh colors to the original monochrome plate for [ the 1969 poster; see Yokoo, 47], and his gloomy design of a gray curtain obscuring its upper half symbolizes his mourning for the dead Mishima. The poster for the Bunraku production received the Silver Award at the International Graphic Art Biennale held in Brno, Czechoslovakia” (Yokoo, p. 10). This is a silkscreen print.

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

427. Hibari Misora. 1966.

28 3 4 x 40 3⁄ 8 in./73 x 102.5 cm

Cond A/P. Framed.

Ref: Yokoo/Graphic Works, p. 90; Yokoo’s Posters, 19; PAI-XXXVI, 574

“Enka” music can best be described as Japanese blues, melancholy strains overflowing with yearning for loves lost and one’s home town. And Hibari Misora is probably the most famous Enka performer to have ever lived. She began singing as a Kyoto teenager in the 1950s and continued right up to her sudden death in 1989. She was only 52 years old. She is often thought of as having comforted Japan through the difficult recovery from the devastation of the war years, and her name, which one has to assume is a stage name, roughly translates to “Skylark (in the) Beautiful Sky.” She made more than 300 records and recorded over 1,400 songs in her life. Yokoo concocts a multicultural graphic stew to set the legendary entertainer in the public’s eye, complete with a cameo of Lyndon Johnson and a rather derisive appearance by The Beatles, here transformed into “The Beates,” a quartet of heart-nabbing vampires.

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

Yokoo (Continued)

428. John Silver. 1967.

29 1⁄ 8 x 40 3⁄ 8 in./74 x 102.6 cm

Cond A/P. Framed.

Ref: Yokoo, p. 19; Yokoo/Graphic Works, p. 128; Yokoo’s Posters, 26; Yokoo/Paris, 10

“Enclosed in a frame of hanafuda , the poster for John Silver , with its Japanese coiffured silhouette, is made to resemble closely one for a strip show done in a rather lewd ukiyo-e style, but it also accurately represents the feeling of rejection of, and superiority over, the already obsolescent Shinpa (The New Theatre), which affected a rather cultured air, and those ideas that supported it, which permeated the ‘Jokyo Gekijo’ theatre itself, are hard-hitting, but at the same time have overtones of pathos... John Silver is the title of a play presented by the ‘Jokyo Gekijo’ group. Note the four advertisements in the corners, placed there by cosponsors of the event” (Yokoo, p. 6). This is a silkscreen print.

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

429. A Noh Play. 1969.

28 1⁄ 2 x 40 1⁄ 2 in./72.5 x 103 cm

Cond A-/Slight stains at edges. P. Framed.

Ref: Yokoo, p. 32; Yokoo/Graphic Works, p. 162; Yokoo’s Posters, 29; Yokoo/Paris, 21

“The psychedelic-style Noh mask, with its eyes, eyebrows, nostrils, and lips edged in primary colors, endows the original, subtle, and profound nature inherent in Noh with modern overtones. This poster took the UNESCO Awards at the 5th International Poster Biennale in Warsaw. It announces a series of four Noh performances, to be given a month apart by the ‘Mayu no Kai’ troupe” (Yokoo, p. 8). This is a silkscreen print.

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

BOOKS AND PERIODICALS

430. L’Estampe Moderne: 1897-1899. 1897.

Each: 13 x 16 in./30.7 x 41 cm

Imp. F. Champenois, Paris

All 100 plates; includes tissue overlays with commentaries. In overall excellent condition.

Ref: PAI-LXXXII, 485

This set of 2 volumes contains 24 monthly portfolios plus four bonus plates with 24 original covers by Mucha, featuring four original lithographs in each. L’Estampe Moderne is the premier ode to the art of lithography. When it was in publication, subscribers received four prints each month from designers who we now consider to be legends. This publication, in part, helped to draw attention to these designers, and the prints became highly desired. Over the years, these issues have become harder to find, especially as complete sets—collectors often took out their favorite prints to admire as works of art. 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.

Est: $20,000-$25,000. (2)

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 88 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 Miroir

L’affiche : miroir du temps , by Eric Kellenberger Gegins : Foundation Neumann; Blonay : E. Kellenberger, 1995. Catalogue of the exhibition of the collection of Eric Kellenberger.

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 d’Aviation

Affiches de l’histoire d’aviation , by Gerard Hartmann & Francoise Leloup-Perier (with Englishlanguage insert: The history of aviation in posters ). Paris : Citadelles & Mazenod, 2009.

Affiches Etrangères

Les affiches etrangères illustrées, by M. Bauwens, T. Hayashi, La Forge, Meier-Graefe & J. Pennel. Paris : Boudet, 1897.

Affiches Riviera

Affiches de la Riviera, by Annie de Montry, Françoise Lepeuve & Charles Martini de Chateauneuf. Nice-Matin : Editions Gilletta, 2001.

Affiches Suisses

Objets-realisme, affiches Suisses: 1905-1950 , by Eric Kellenberger. Paris : Bibliothèque Forney, 1982. Catalogue of the exhibition held at the Bibliothèque Forney, Paris, January 22-March 20, 1982.

Affichomanie

L’affichomanie : collectionneurs d’affiches, affiches de collection, 1880-1900 , by Alain Weill Paris : Musée de l’Affiche, 1980. Catalogue of the exhibition on the subject of the Postermania of the 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.

Air France/Fraile

Air France : objets du ciel , by Michel Fraile. Rennes : Ouest-France, 2003.

American/Virginia Museum

Designed to sell : turn-of-the-century American posters in the Virginia Museum of Fine Arts , by Frederick R. Brandt. Richmond, V.A. : Virginia Museum of Fine Arts, 1994. Catalogue of the exhibition at the Virginia Museum of Fine Arts, November 9, 1994-January 8, 1995.

Animals in Posters

Animals in Posters, ed. by Yukie Takeuchi and Miki Imai. Osaka : Suntory Museum, 1996. Catalogue of the exhibition at the Suntory Museum, February 24-May 12, 1996.

Art Deco

Art deco graphics, by Patricia Frantz Kery. New York : Harry N. Abrams, 1986.

Art Deco en France

L’affiche Art Deco en France , by Réjane Bargiel, Jocelyne Van Deputte & Yvonne Brunhammer. [S.l.] : TG Concepts, 1991.

Art Deco Graphiques

Graphiques d’Art Deco : affiches de 1920s , by Alain Weill & Hiroshi Unno. [Tokyo] : Art Life, 1983. Catalogue of the exhibition held in Tokyo, 1983.

Art du Biscuit

L’art du biscuit, by Patrick Lefèvre-Utile. Verona : Éditions Hazan, 1995.

Art For All

Art for all : London transport posters, 1908- 1949, by James Laver, Harold F. Hutchison & Thomas E. Griffits. London : Art and Technics Ltd., 1949. Catalogue of the exhibition at the Victoria and Albert Museum, London, April-June 1949.

Art in Vienna

Art in Vienna, 1898-1918 : Klimt, Kokoschka, Schiele and their contemporaries , by Peter Vergo. London : Phaidon, 1975.

Artes Gráficas

Las artes graficas de la epoca Modernista en Barcelona, by Eliseo Trenc Ballester. Barcelona : Gremio de Industrias Gráficas, 1977.

Arwas

Belle Epoque : Posters & Graphics, by Victor Arwas. London : Academy Editions, 1978.

Atché

Jane Atché , by Claudine Dhotel-Velliet Le Pont du Nord, 2009.

Auto Show I

1er salon de l’affiche automobile , by Jacques Perier. Paris : Automobile Club of France, 1978. Catalogue of the exhibition, compiled by Jacques Perier, and sponsored by the Automobile Club de France, Paris, October 1978.

Auto Show II

2eme salon de l’affiche automobile , by Jacques Perier Paris : Fédération Internationale de l’Automobile, 1979. Catalogue of the exhibition at the Musée de l’Affiche, Paris, September 29-October 14, 1979.

Automobile/Lopez

Affiches de l’automobile , by Emmanuel Lopez. Paris : Citadelles & Mazenod, 2011.

Avant Garde

The 20th century poster-design of the avant garde, by Dawn Ades. New York : Abbeville Press, 1984. The catalogue of the exhibition of the Walker Art Center, Minneapolis, 1984.

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).

Belgische Affiche

De Belgische affiche : 1892-1914, by Yolande Oostens-Wittamer. Brussels : Koninklijke Bibliotheek Albert I, 1975.

Belle Epoque 1970

La Belle Epoque : Belgian posters, watercolors and drawings from the collection of L. WittamerDe Camps , by Yolanda Oostens-Wittamer. New York : Grossman, 1971. The catalogue of the touring exhibition of the Wittamer-De Camps collection.

Belle Epoque 1980

La Belle Epoque : masterworks by Combaz, Léo Jo, and Livemont : a loan exhibition from the Collection of L. Wittamer-De Camps , by Yolande Oostens-Wittamer. Washington : International Exhibitions Foundation, 1980. Catalogue of the loan exhibition from the Wittamer-De Camps collection.

Bernard

Francis Bernard : affichiste , by Merrill C. Berman & Alain Weill. Paris : D. Ozanne; New York : N. Bailly, 1980. Catalogue of the exhibition at the Chisholm Gallery, 1980.

Bernhardt/Drama

Sarah Bernhardt : the art of high drama, by Carol Ockman and Kenneth Silver. New Haven, Conn. : Yale University Press, 2005. Catalogue of the exhibition at the Jewish Museum, New York, December 2, 2005-April 2, 2006.

Bernhardt/Gottlieb

Sarah: The Life of Sarah Bernhardt by Robert Gottlieb. New Haven, Conn. : Yale University Press, 2010.

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.

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.

Bu´can

Boris Bu´can : Breakfast at the Printer’s, ed. by Kristina Bonjekovi´c Stojkovi´c. Zagreb : Museum of Contemporary Art, 2016. Catalogue of the exhibition at the Museum of Contemporary Art, Zagreb, Croatia, April 14–May 29, 2016.

Buffalo Bill

100 posters of Buffalo Bill’s Wild West, by Jack Rennert. New York : Darien House, 1976.

Die Bugattis

Die Bugattis : automobile, möbel, bronzen, plakate, by Conway, Fersen, Jedding, Malhotra, Saldern and Spielmann. Hamburg : Christians Verlag, 1983.

Cappiello

Cappiello, 1875-1942 : caricatures, affiches, peintures et projets decoratifs , by Claire FrèchesThory & Réjane Bargiel. Paris : Réunion, 1981.

Catalogue of the exhibition at the Galerie Nationale du Grand Palais, Paris, April 3-June 29, 1981.

Cappiello/Rennert

Cappiello : the posters of Leonetto Cappiello, by Jack Rennert. New York : Poster Art Library, Posters Please, Inc., 2004.

Cappiello/St. Vincent

Leonetto Cappiello : dalla pittura alla grafica , by Raffaele Monti & Elisabeth Matucci. Firenze : Artificio, 1985. Catalogue of the exhibition at the Hotel Billia in Saint-Vincent, Italy, March 30-May 30, 1985.

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.

Cartellisme Catalunya

El cartellisme a catalunya , by Enric Jardi & Ramon Manent. Barcelona : Edicions Destino, 1983.

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.

Célébrités

Célébrités à l’affiche, by A. C. Lelieur & R. Bachollet. Lausanne : Edita, 1989.

Champenois

Champenois Imprimeur : publicité et vie bourgeoise 1875-1915, by Daniel Bordet. Paris : Editions Dabecom, 2004.

Chanson à l’Affiche

La chanson à l’affiche , by Jean-Claude Klein. Paris : Du May, 1991.

Chaumont/Exposons

Exposons affichons : 300 affiches d’expositions

Paris : Somogy, 1994. Catalogue for the 5th Poster Festival in Chaumont, France; includes a section on “L’Affiche pour l’Affiche” (Posters on Posters) from the Rennert collection.

Chemins de Fer

100 ans d’affiches des chemins de fer, by Pierre Belves. Paris : Edition NM–La Vie du Rail, 1980.

Chéret

La Belle Epoque de Jules Chéret : de l’affiche au décor , ed, by Réjane Bargiel and Segolène Le Men. Paris : Les Arts Décoratifs, 2010. (Distributed in the U.S.A. by Posters Please, Inc.)

Catalogue of the exhibition at the Musée des Arts Décoratifs, Paris, June 23-November 7, 2010.

Chocolate Posters

Chocolate posters, by Israel Perry & Alain Weill. New York : Queen Art Publishers Inc., 2002.

Circus Posters

100 years of circus posters , by Jack Rennert. New York : Avon Books, 1974.

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 Explosion

The Color Explosion / 19th Century American Lithography, by Jay T. Last. Santa Ana, CA : Hillcrest Press, 2005.

Color of Leisure

El color del ocio/The color of leisure , by Jordi & Arnau Carulla. Barcelona, Spain : Postermil, 2000.

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.

Compagnies Maritimes

Affiches des companies maritimes , by Gabriele Cadringher & Anne Weallans. Paris : Citadelles & Mazenod, 2008.

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.

Danish Posters

Den Danske plakat , by Lars Dybdahl. Valby, Denmark : Borgen, 1994.

Darracott

The First World War in posters, by Joseph Darracott. New York : Dover Publications, 1974.

Deco Affiches

Affiches art deco, by Alain Weill. Paris : InterLivres, 1990.

Denscher

Österreichische plakat kunst : 1898-1938, by Bernhard Denscher. Wien : Verlag Brandstätter, 1992.

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.

Driehaus

L’Affichomania : Catalogue of the exhibition at the Driehaus Museum, Chicago, by Jeannine Falino. Chicago: University of Chicago Press, 2017.

Encyclopédie/Weill

Encyclopédie de l’affiche , by Alain Weill. Paris : Hazan, 2011.

España

España en 1000 carteles, by Jordi Carulla & Arnau Carulla. Barcelona : Postermil, 1995.

Fantastic Voyage

Fantastic voyage : luxury and sophistication on the ocean liners , by Yoko Masutani. Tokyo : Suntory Museum, 1996. Catalogue of the 1996 exhibition at the Suntory Museum, Osaka.

Favre/Chemin de Fer

Affiches du chemin de fer , by Thierry Favre. Paris : Citadelles & Mazenod, 2010.

de Feure

Georges de Feure : maitre du symbolisme et de l’art nouveau , by Ian Millman. Paris : ACR Editions, 1991.

Fix - Masseau

Pierre Fix - Masseau : affiches 1928 - 1983 , by Paulette Perec Paris : Bibliothèque Nationale, 1983. Catalogue of the exhbition at the Bibliothèque Nationale, Paris, Noveember 23, 1983-January 15, 1984.

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.

Folies-Bergère

100 years of posters of the Folies Bergère and music halls of Paris, by Alain Weill. New York : Images Graphiques, 1977.

French Opera

French opera posters : 1868-1930, by Lucy Broido. New York : Dover, 1976.

Frey

Toulouse-Lautrec : a life , by Julia Frey. New York : Viking Penguin, 1994.

Gesmar

Charles Gesmar : 1900-1928 , by Angelo Luerti, Milano : Luerti, 2009.

Glaser

Milton Glaser : graphic design, by Jean-Michel Folon. New York : Overlook Press, 1973.

Glaser Posters

Milton Glaser Posters / 427 Examples from 19652017. New York : Abrams, 2017.

Gold

First ladies of the poster : the Gold collection, by Laura Gold. New York : Poster Art Library, 1998.

Gourmand

Un voyage gourmand : 60 affiches de gastronomie, by Alain Weill. Paris : Musée-galerie de la SEITA, 1992. Catalogue of the exhibition at the Musée-Galerie de la Seita, Paris, June 11-September 22, 1984.

Graphic Design/Taschen

The History of Graphic Design , by Jens Müller and Julius Weidermann. Koln : Taschen, 2017.

Graphicar

Graphicar, by Claudio Bertieri. Milano : Fratelli Fabbri, 1976.

Grün

Jules-Alexandre Grün : the posters/les affiches, by Alain Weill & Israel Perry. New York : Queen Art Publishers, 2005.

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.

Hiatt

Picture posters , by Charles Hiatt. London : George Bell and Sons, 1895.

Hillier

Posters, by Bevis Hillier. London : Weidenfeld and Nicholson, 1969; New York : Stein & Day, 1969; New York : Spring Books, The Hamlyn Publishing Group, 1974.

Hohlwein

Ludwig Hohlwein, 1874-1949 : kunstgewerbe und reklamekunst, by Volker Duvigneau & Norbert Gota. Munich : Klinkhardt & Bierman, 1996.

Hohlwein/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.

HTL/MOMA

Henri de Toulouse-Lautrec : images of the 1890s, ed. by Riva Castleman & Wolfgang Wittrock. Boston : Little Brown, 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.

Imperial War Museum I

First World War Posters: The Imperial War Museum, by Joseph Darrecott and Belinda Loftus. London: The Corwin Press, 1972.

Imprimerie

Les cent plus belles images de l’imprimerie , by Daniel Bordet. Paris : Éditions Debecom, 2004.

Internationale Plakate

Internationale Plakate 1871-1971 , by Heinz Spielmann, et al München : Ausstellungsleitung Haus der Kunst, 1972. Catalogue of the exhibition at the Haus der Kunst, Munich, October 9, 1971-January 2, 1972.

Iskin

The Poster , by Ruth E. Iskin. Hannover, New Hampshire: Dartmouth College Press, 2014.

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).

Kauffer

E. McKnight Kauffer : a designer and his public, by Mark Haworth-Booth. London : Gordon Fraser, 1979.

Kauffer/Poster

Purpose

The art of the poster : its origin, evolution & purpose, ed. by E. McKnight Kauffer. London : Cecil Palmer, 1924.

Keay

American posters of the turn of the century, by Carolyn Keay. London : Academy Editions, 1975.

Khachadourian

Motoring : the golden years, a pictorial anthology : the Khachadourian Gallery, by Rupert Prior. London : Morgan Samuel Editions, 1991.

Klinger

Klinger / Beyond Poster Art in Vienna, by Karen Etingen. L’Affichiste, 2016.

Kossatz

Ornamental posters of the Vienna Secession, by Walter Koschatzky & Horst-Herbert Kossatz. London : Academy Editions; New York : St. Martin’s Press, 1974.

Kunstlerplakat

Kunsterplakat, by Jurgen Doring. Hamburg : Museum fur Kunst und Gewerbe, Edition Braus, 1998.

Lauder

American art posters of the 1890s in the Metropolitan Museum of Art : including the Leonard A. Lauder Collection , by David W. Kiehl, Phillip Dennis Cate & Nancy Finlay. New York : Metropolitan Museum of Art, 1987. Catalogue of the exhibition of the Metropolitan Museum of Art, New York, October 22, 1987–January 10, 1988.

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.

Leyendecker

J. C. Leyendecker, by Michael Schau. New York : Watson-Guptill Publications, 1974.

Loïe Fuller

Loïe Fuller : magician of light, by Margaret Haile Harris Richmond, Va. : TheVirginia Museum, 1979. Catalogue of the exhibition at the Virginia Museum, Richmond, March 12-April 22, 1979.

Looping the Loop

Looping the loop : posters of flight, by Henry Serrano Villard & Willis M. Allen, Jr. San Diego, Calif. : Kales Press, 2000.

Loupot/Forney

Loupot: Peintre en Affiche. Catalogue of the 2018 exhibition at Bibliothèque Forney, Paris. Edited by Thierry Devynck.

Loupot/Lyon

Loupot: Peintre d’Affiches. Catalogue of the exhibition at the Musée de l’Imprimerie, Lyon, France, 2016. Text by Thierry De Vynck.

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 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 Posters/Eat & Drink

Manifesti Posters/Eat & Drink in Italian Advertising 1890-1970 by Mario Piazza & Alessandro Bellenda. Milano : Silvana Editoriale, 2014.

Manifesti/WWII

Manifesti della Second Guerra Mondiale , by Mario de Micheli. Milano : Fratelli Fabbri, 1972.

Margolin

American poster renaissance, by Victor Margolin. New York : Watson-Guptill Publications, 1975.

Marx

Bonnard : lithographie, ed. by Claude Roger-Marx. Monte Carlo : Éditions du Livre, 1952.

Masters 1900

Masters of the poster 1900, by Alan Weill. Paris : Bibliothèque de l’Image, 2001.

BIBLIOGRAPHY (CONTINUED)

Mauzan

The posters of Mauzan : a catalogue raisonné, by Mirande Carnévalé-Mauzan. Gières : Mirande Carnévalé-Mauzan, 2001.

Mauzan Affiches

Mauzan : affiches. oeuvres diverses , by A. Lancellotti. Milan : Editrice d’Arte Bestettie Tumminelli, ca. 1928.

Mauzan/Treviso

Manifesti di A. L. Mauzan, by Antonio Mazzaroli. Treviso : Editrice Canova, 1983.

Meehan

Meehan Military Posters. Catalogues regularly published since 1981.

Menegazzi-I

Il manifesto Italiano : 1882-1925, by Luigi Menegazzi. Milan : Electa Editrice, 1975.

Mer s’Affiche

La mer s’affiche, by Daniel Hillion. Rennes : Editions Ouest-France, 1990.

Modern Dutch Poster

The modern Dutch poster : the first fifty years, 1890-1940, by Marcel Franciscono. Cambridge, Mass. : MlT Press, 1987.

Modern Poster

The modern poster, by Stuart Wrede. New York : Museum of Modern Art, 1988. Catalogue of the exhibition at the Museum of Modern Art, New York, June 6-September 6, 1988.

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/Postcards

Alphonse Mucha : all the postcards, by Alain Weill. Uppsala, Sweden : Hjert & Hjert, 1983.

Müller-Brockmann

History of the poster, by Josef & Shizuko MüllerBrockmann. Zurich : ABC Edition, 1971.

Musée d’Affiche

Trois siècles d’affiches francauses : 1ère exposition du Musée de l’Affiche/Three centuries of French posters , by Alain Weill & Réjane Bargiel. Paris : Muséee d’Affiche, 1978. Catalogue for the inaugural exhibition at the Musée d’Affiche , Paris, 1978.

Nagai

Kazumasa Nagai. Ginza Graphic Gallery, 1993.

Nebehay

Seccession : katalogue und plakate der Wiener Seccession, 1898-1905 , by Christian M. Nebehay. Wien, Austria : Tusch, 1986.

Oriental

Un orient de consommation , by Edhem Eldem. [Istanbul] : Ottoman Bank Museum, 2010. Catalogue of the exhibition at the Académie des Beaux-Arts, January 28-February 26, 2010.

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.

Paillard

Affiches 14-18 , by Rémy Paillard. Reims : R. Paillard, 1986.

Penfield

Designed to persuade : the graphic art of Edward Penfield, by David Gibson. Yonkers, N.Y. : Hudson River Museum, 1984. Catalogue of the exhibltion at The Hudson River Museum, Yonkers, New York, May 20-July 15, 1984.

Perier

Ils s’envolèrent , by Jacques Perier & Françoise Leloup-Perier. Catalogue of the exhibition held at LeBourget from the collection of Jacques Perier on the 100th Anniversary of the Fédération Aéronautique Internationale, October 2005.

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 aus Israel

Plakate aus Israel , by Klaus Popitz & Margret Schütte. Berlin : Reimer, 1985. Catalogue of the Kunstbibliothek Berlin exhibition held in Bonn, Mainz, Aachen, Selm, and Berlin, 1985.

Plakate München

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.

Propagande/Affiche

La prapogande par l’affiche, by Laurent Gervereau. Paris : Editions Syros-Alternatives, 1991.

Publicidad

La publicidad en 2000 carteles, by Jordi Carulla & Arnau Carulla. Barcelona : Postermil, 1998. In two volumes.

Publicité

Affiches de la Publicité, by Emmanuel Lopez. Paris : Citadelles & Mazenod, 2013.

Purvis

Poster progress, by Tom Purvis, F.A. Mercer & W. Gaunt. London & New York : The Studio, 1939.

Railway Posters

Railway posters : 1923 - 1947, by Beverly Cole & Richard Durack. New York : Rizzoli, 1992.

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.

Reisinger/Afula

Dan Reisinger poster : 1958-2010 , ed. by Inbal Gil & Karin Heska. Catalogue of the exhibition at the Municipal Art Gallery, Afula, Israel, May-July, 2010.

Rennert/Weill

Alphonse Mucha : the complete posters and panels, by Jack Rennert & Alain Weill. Boston : G. K. Hall, 1984.

Rickards

Posters of the First World War , by Maurice Rickards. New York : Walker & Company, 1968.

Rockwell Illustrator

Norman Rockwell : illustrator , by Arthur L. Guptill. New York : Watson-Guptill, 1946.

Rockwell’s America

Norman Rockwell’s America , by Christopher Finch. New York : Harry N. Abrams, 1976.

Rouchon

Rouchon : Un Pionnier de l’Affiche Illustrée, ed. by Alain Weill. Paris : S.P.M., 1983. Catalogue of the exhibition at the Musée de l’Affiche, Paris.

Russell

The wild west: a history of the wild west shows , by Don Russell. Fort Worth : Amon Carter Museum, 1970.

Sachs

Kunst! Kommerz! Visionen! : Deutsche plakate, 1888-1933 , by Hellmut Rademacher & René Grohnert. Heidelberg : Braus, 1992. Catalogue of the exhibition of the Hans Sachs collection at the Deutsches Historisches Museum in Berlin, May 16-August 18, 1992.

Salon des Cent

Le Salon des Cent, 1894-1900 : affiches d’artistes , by Jocelyne Van Deputte. Paris : ParisMusées, 1994. Catalogue of the exhibition held at the Musée Carnavalet, Paris, 1995.

Salon des Cent/Neumann

Les affiches du Salon des Cent , by Helen Biri Thomson, Patricia Eckert Boyer, Jocelyne van Deputte & Edith Carey. Gingins : Fondation Neumann, 1999. Catalogue of the exhibition sponsored by the Foundation Neumann at the Musée de Pont-Aven, Paris, Jannuary 31, 2000, and the Musée des Arts Decoratifs de Bordeaux, May 17-August 19, 2001.

Savignac

Savignac, by Alain Weill Paris : Hoëbeke, 2001. The catalogue raisonné published to coincide with the retrospective at the Bibliothèque Forney, Paris, September 11, 2001-January 12, 2002.

Savignac A-Z

Savignac de A à Z, by Alain Weill. Paris : Editions Hoëbeke, 1987.

Savignac/Forney

Savignac Affichiste, by Anne-Claude Lelieur and Raymond Bachollet: Hoëbeke, 2011. Catalogue raisonné published to coinbcide with the retrospective at the Bibliothéque Forney, Paris, Sept 11, 2001 – Jan. 12, 2002

Savignac/Suntory

Raymond Savignac . Osaka, Japan : Suntory Museum, 2005. Catalogue of the exhibition at the Suntory Museum, Osaka, April 29-July 3, 2005.

Schindler

Monografie des plakats, by Herbert Schindler. Munich : Süddeutscher Verlag, 1972.

Schoonbroodt

Privat Livemont : entre classicisme et art nouveau, by Benoit Schoonbroadt. Bruxelles : C.I.D.E.P., 2003.

Sepo

Sepo , by Vanja Strukeli. Parma, Italy : Universita di Parma, 1979.

Shell

The Shell poster book, by David Bernstein. London : Hamish Hamilton, 1992.

Shell Advertising

Shell Art & Advertising, by Scott Anthony, Oliver Green, and Margaret Timmers. London : Lund Humphries, 2021.

Sorlier

Chagall’s posters : a catalogue raissonné, ed. by Charles Sorlier. New York : Crown Publishers, Inc., 1975.

Sport à l’Affiche

Sport à l’affche, by Jean Durry. Paris : Editions Hoebeke, 1988.

Sportissimo

Sportissimo : cent ans de grandes et petites histoires du sport, by Françoise Laget & Serge Laget. Paris : Editions du Chêne, 1996.

Takashimaya

The poster : 1865-1969. Tokyo : Nihon Terebi Hosomo Kabushiki Kaisha, 1985. Catalogue of the exhibition largely of posters from the Deutsches Plakat Museum of Essen, Germany, at the Takashimaya Art Gallery, Nihonbashi, Tokyo, April 18-May 7, 1985.

Theofiles

American posters of World War I, by George Theofiles. Dafran House, New York.

Timeless Images

Timeless images , by Jack Rennert. Tokyo : Isetan Museum of Art, 1984. Catalogue of the exhibition at the Isetan Museum of Art, Tokyo, October 10-23, 1984.

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.

Train à l’Affiche

Le train à l’affiche : les plus belles affiches ferroviaires française, by Florence Camard & Christophe Zagrodzki. Paris : La Vie du Rail, 1989.

Travel Posters

Travel Posters, by Bevis Hillier. New York : Phaidon and Dutton, 1976.

Trouville/Deauville

Trouville Deauville a l’affiche, by Frederique Citera-Bullot. Cabourg : Editions Cahiers du Temps, 2000.

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/A to Z

Villemot : l’affiches de A à Z, by Guillaume Villemot. Paris : Éditions Hoëbeke, 2005.

Wagner

Toulouse-Lautrec and his contemporaries : posters of the Belle Epoque from the Wagner collection , by Ebria Feinblatt & Bruce Davis. Los Angeles : Los Angeles County Museum of Art, 1985. Catalogue of the exhibition at the Los Angeles County Museum of Art, April 9-June 16, 1985.

Wallonie

L’affiche en Wallonie : a travers les collections de la Vie Wallonne, ed. by the students of the Seminaire d’Esthetique de l’Université de Liège, Liege : The University, 1980.

Warhol Posters

Andy Warhol: The Complete Commissioned Posters, 1964-1987 , by Paul Maréchal. Munich: Presetel Verlag, 2014.

War Posters

War Posters : Weapons of Mass Communication, by James Aulich. New York : Thames & Hudson, 2007.

Weill

The poster : a worldwide survey and history, by Alain Weill. Boston : G.K. Hall, 1985.

Weill/Art Nouveau

The Art Nouveau Poster , by Alain Weill. Francis Lincoln Limited, 2015.

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.

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.

Yokoo

100 posters of Tadanori Yokoo, by Koichi Tanikaw. New York : Images Graphiques, 1978.

Yokoo/Graphic Works

Tadanori Yokoo : all about Tadanori Yokoo and his graphic work. Tokyo : Kodansha, 1989.

Yokoo/Paris

Tadanori Yokoo. Paris : UCAD, 1983. Catalogue of the exhibition at the Musée de la Publicité, Paris, October 26, 1983-January 16, 1984.

Yokoo’s Posters

Tadanori Yokoo’s posters : IDEA special issue. September 1994 special issue of IDEA Magazine, Tokyo.

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 20% (23% for online bidding; 25% for online bidding through Invaluable/Auction Zip) will be added to the successful bid price of all items sold by Poster Auctions International. This premium shall be paid by all purchasers, without exception.

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-LXXXIX: 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 20% (23% for online bidding; 25% for online bidding thro ugh Invaluable/ Auction Zip) of the final bid together with any applicable sales tax. Unsuccessful bidders will not be informed but may telephone for sales results.

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 20%.

ONLINE BIDDING

Bid now and on auction day through our site: visit posterauctions.com and click Register to Bid. Or download our app—Poster Auctions International is available for Apple iOS and Android. To bid on either platform, you must register a credit card; please be sure to do this before the live auction.

On auction day, follow the Live Auction link on our website to begin bidding—and remember to confirm your bid.

We recommend using our platforms for a lower buyer’s premium (23%), but you may also bid through Invaluable and AuctionZip (25%).

ABSENTEE & TELEPHONE BIDDING

Complete the form on page 207 or download at posterauctions.com.

For absentee bidding, indicate your maximum bid for each desired lot. You may indicate an “either-or” bid if you want to purchase only a portion of the items on your wish list. You can also indicate an overall maximum dollar amount. We’ll execute your bid on your behalf at the lowest price possible.

For telephone bidding, complete the absentee bidding form with the best phone number to reach you on March 19. When your lot comes up, one of our staff members will call you and execute your bids on your behalf.

The buyer's premium for both is 20%.

SEND US THE COMPLETED FORM

Email: info@posterauctions.com

Fax: 212-604-9175

Mail: 26 W. 17th St. NY, NY 10011. It should arrive by Friday, March 17. Or call Terry Shargel to register at 212-787-4000.

BID WITH CONFIDENCE — EVEN IF YOU CANNOT ATTEND

We recommend all participants familiarize themselves with the Conditions of Sale before auction day: see page 205

Beginning at 11am EDT on auction day, you’ll be able to access a live video feed at posterauctions.com