Vintage Posters
Officers
Nicholas D. Lowry
President, Principal Auctioneer
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Lauren Cooper
Associate Director
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(212) 254-4710 ext. 57
Jennifer De Candia
Administrator & Client Relations
jdecandia@swanngalleries.com
(212) 254-4710 ext. 53
George S. Lowry
Chairman
Nicholas D. Lowry
President, Principal Auctioneer
924899
Alexandra Mann-Nelson
Chief Marketing Officer
2030704
Todd Weyman
Vice President & Director, Prints & Drawings
1214107
Nigel Freeman
Vice President & Director, African American Art
Rick Stattler
Vice President & Director, Books & Manuscripts
Administration
Andrew M. Ansorge
Vice President & Controller
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Ariel Kim
Client Accounting
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Diana Gibaldi
Operations Manager
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Kelsie Jankowski
Communications Manager
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Shannon Licitra
Shipping Manager
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World War I
Designer unknown
UPHOLD OUR HONOR / JOIN ARMY - NAVY - MARINES. 1917.
39¼x26 inches, 99½x66 cm. The Hegeman Print, [New York.]
Theofiles 16.
Condition B: repaired tear from top to bottom, through central image; repaired tears and creases in margins and image; recruiting station ink stamp in lower image. Matted and framed.
Estimate
$600 – $900
Guenther (dates unknown)
DON’T WAIT FOR THE DRAFT / VOLUNTEER. 1917.
37¾x26 inches, 95¾x66 cm. Associated Motion Picture Advertisers Inc., [New York.]
Associated Motion Picture Advertisers Poster No. 3.
Condition B-: extensive replaced losses at edges and in text; extensive repaired tears, creases and restoration at edges and into image; slight discoloration at edges.
Estimate
$500 – $750
Frances adams halsted (1873-?) & vincent aderente (1880-1941)
COLUMBIA CALLS / ENLIST NOW. 1916.
39¼x29½ inches, 99¾x75 cm.
“Convinced that war with Germany was inevitable, Frances Adams Halsted wrote her poem, Columbia Calls, in 1916. After America entered the war on April 6, 1917, Halsted donated both her poem and accompanying image design to the U.S. War Department. Three months later, the New York Times announced plans to print 500,000 copies as a poster, intending to use the proceeds to establish a home for orphaned children of American soldiers and sailors. Painter Vincent Aderente, who executed Halsted’s design, had emigrated from Italy at age six, studied at the Art Students League in New York City, and served as an assistant to muralist Edwin Howland Blashfield” (Library of Congress, 001.01.00). Rawls p. 52, Borkan p. 19, Theofiles p. 18.
Condition A- / B+: minor replaced losses and repaired tears in margins; minor creases in image; faint ink stamp at bottom. Framed.
Estimate
$700 – $1,000
Edwin de la laing (dates unknown)
AMERICANS! / JOIN AND FIGHT. 1918.
41½x27½ inches, 105x70 cm. Louis Roesch, San Francisco.
Among the scarcest of American World War One posters are those that were printed in San Francisco, aimed at local recruiting initiatives, and which did not have national distribution. Not in Rawls, not in Theofiles, not in Borkan.
Condition B / B+: restored loss in upper right corner; repaired tear through top margin, into image; horizontal folds. Framed.
Estimate
$700 – $1,000
Charles frederick peters (1882-1948)
500 TEAMSTERS WANTED FOR THE ARMY.
33¼x22¾ inches, 84½x57¾ cm.
C.F. Peters was a cartoonist and illustrator whose fashion-focused designs appeared in periodicals such as Esquire, Life and Apparel Arts
Condition B+: repaired tears, creases and overpainting in margins; minor bleached spots in image.
Estimate
$700 – $1,000
J.l.s. (dates unknown)
TO BERLIN / AEF / SOS. Circa 1917.
46½x30 inches, 118x76¼ cm. Devambez, Paris.
What at first glance appears to be a soldier scrambling to get to Berlin, is in fact two soldiers, one white and the other black, hurrying together. The United States Army remained segregated during the First World War, but African Americans served in their own units in the American Expeditionary Force, and in some cases, fought side by side with French units. This rare image is one of the few World War I images to depict an African American soldier.
Condition B / B-: extensive repaired tears, replaced losses, creases and overpainting in margins and image and along vertical and horizontal folds.
Estimate
$3,000 – $4,000
Bartow matteson (1894-1984)
KNOW HIM BY THIS SIGN - THE MEDICAL CADUCEUS. 1919.
28½x20¼ inches, 72¼x51½ cm.
Borkan p. 45.
Condition B: replaced loss and overpainting in top and left margins and border; repaired tears at edges; creases, abrasions and restoration in image; ink stamp of recruitment station address in bottom margin.
Estimate
$400 – $600
Michael p. whelan (dates unknown)
MEN WANTED FOR THE ARMY. Circa 1910.
39¼x29 inches, 99¾x73½ cm.
Rawls p. 54, Theofiles p. 16, Borkan p. 13.
Condition B / B+: reattached bottom margin, including text; faint ink stamp in lower left corner; repaired tears and small replaced losses in margins; creases in margins and image. Framed.
Estimate
$600 – $900
Hazel roberts (1883-1966)
WAR CLOUDS GATHER! / “MANHOOD WILLING BUT UNARMED.” 1916.
25x19 inches, 63½x48¼ cm.
Standing at the edge of the calm, green ocean, a bugler calls America to arms. A sense of drama is evoked by the flag, which is blowing in the winds of the gathering clouds of war, and by the poetic claim of “Manhood Willing But Unarmed.” Borkan p. 51, Keay p. 102, Theofiles 45.
Condition B+: repaired tear in lower left text, tape on verso; minor creases in margins; ink stamp of date, “Apr. 24 1917,” in top right margin. Paper.
Estimate
$400 – $600
H.b. matthews (dates unknown)
ON GUARD! IT’S A PRETTY BIG JOB FOR ONE BIRD! / JOIN THE NAVY! 1917.
25x19 inches, 63½x48¼ cm.
Condition A-: minor creases in margins and image. Paper.
Estimate
$400 – $600
Charles stafford duncan (1892-1952)
IT TAKES A MAN TO FILL IT / JOIN THE NAVY. 1918.
40¾x26½ inches, 103½x67¼ cm. Schmidt Litho., San Francisco.
A rare World War I poster printed and distributed only on the West Coast. “This strong design continues the concentration on essentials of the best pre-war posters by combining a simple image with a brief text into the definition of military service as a proof of virility” (Paret p. 54). War Posters 97, Paret 73.
Condition A- / A: minor restoration in bottom margin. Framed.
Estimate
$1,000 – $1,500
Richard fayerweather babcock (1887-1954)
JOIN THE NAVY - THE SERVICE FOR FIGHTING MEN. 1917.
39x26¼ inches, 99x66½ cm.
Replete with masculinity and adventure, a sailor is riding bareback on a torpedo. This is an image that may have inspired the final scene of Stanley Kubrick’s Dr. Strangelove. Rawls 72, Theofiles 32, Rickards 161, Borkan p. 23, War Posters 100.
Condition B: water stain in lower left corner, into text; creases in margins, text and image. Paper. Framed.
Estimate
$700 – $1,000
Herbert andrew paus (1880-1946)
HELP DELIVER THE GOODS / DO IT NOW / U.S. NAVY. Circa 1918.
40x27 inches, 101½x68½ cm. American Lithographic Co., New York.
Borkan p. 27, Rickards 188.
Condition B+: repaired tears, creases and restoration in margins and image and along vertical and horizontal folds. Framed.
Estimate
$600 – $900
Charles edwin ruttan (1884-1939)
A WONDERFUL OPPORTUNITY FOR YOU / UNITED STATES NAVY. 1917.
28x20½ inches, 70x52 cm. [New-Art Lithographic Company Inc., New York.]
Rawls p. 71.
Condition B+: small replaced loss in upper left corner; repaired tears at edges.
Estimate
$700 – $1,000
Frank brangwyn (1867-1956)
“LOOK AFTER MY FOLKS” / NAVY RELIEF SOCIETY. Circa 1917.
41x27½ inches, 104x69¾ cm. American Lithographic Co., New York.
Condition A-: minor repaired tears and restoration at edges; restoration along unobtrusive vertical and horizontal folds; repaired in holes in corners.
Estimate
$500 – $750
Designer unknown
U.S. MARINES / SERVE WHERE YOU SEE THE RED STAR. Circa 1917.
31x41½ inches, 78¾x105½ cm.
Condition A: minor creases in image.
Estimate
$600 – $900
Bruce moore (1905-1980)
U.S. MARINES / “SOLDIERS OF THE SEA.” Circa 1917.
39¾x30¼ inches, 101x76¾ cm.
Borkan p. 32.
Condition B+ / B: repaired tears and extensive creases in margins; minor creases in image.
Estimate
$700 – $1,000
Joseph c. leyendecker (1874-1951)
U.S. MARINES / SOLDIERS OF THE SEA. Circa 1917.
40¼x30 inches, 102¼x76¼ cm.
Rawls p. 249 (var).
Condition B+ / B: extensive creases and minor abrasions in margins and image; small repaired tears at edges.
Estimate
$700 – $1,000
Clarence f. underwood (1871-1929)
U.S. MARINE / BE A SEA SOLDIER. Circa 1914.
40¼x30 inches, 102¼x76¼ cm.
Theofiles 63, Borkan p. 32, not in Rawls.
Condition A-: small tear at bottom edge; creases and staining in margins. Paper.
Estimate
$800 – $1,200
Sidney h. riesenberg (1885-1972)
U.S. MARINES / SERVICE ON LAND AND SEA. 1917.
35¾x25½ inches, 90¾x64¾ cm.
Rawls p. 252, Borkan p. 38.
Condition B: overpainting along repaired tears in image and along vertical and horizontal folds; replaced losses, repaired tears and restoration in margins; trimmed, including the large lower margin.
Estimate
$400 – $600
H. (dates unknown)
TEUFEL HUNDEN / GERMAN NICKNAME FOR U.S. MARINES. 1917.
28x19 inches, 71x48¼ cm.
Canine patriotism in the form of a “devil dog” (the German nickname for the U.S. Marines) in a marine’s helmet, chasing a dachshund in a German Pickelhaube helmet. Although this poster has been attributed to Charles Buckles Falls, the monogram “H.” suggests a different artist. Rawls p. 253, Borkan p. 40.
Condition A- / A: small tears and creases at edges. Paper.
Estimate
$1,000 – $1,500
Designer unknown
THE U.S. MARINES WANT YOU. Circa 1917.
28x21¾ inches, 71x55¼ cm.
Borkan p. 37, Rickards 171.
Condition B+: repaired tears and creases in margins; restoration along creases and horizontal folds in image.
Estimate
$400 – $600
Designer unknown
GOING - GOING - GONE! / AVIATION SECTION, SIGNAL CORPS. Circa 1917.
42¼x30½ inches, 107¼x77½ cm.
Condition B: repaired tears, creases, abrasions and restoration in margins and image and along vertical and horizontal folds.
Estimate
$500 – $750
L.n. britton (1858-1934)
WARNING! / CONSIDER THE POSSIBLE CONSEQUENCES IF YOU ARE CARELESS IN YOUR WORK. Circa 1917.
40½x28¼ inches, 102¾x71¾ cm. Latham Litho., [New York.]
One of the rarer World War I posters, designed to promote attentiveness and care in America’s factories. A clear precursor of the Mather Work Incentive posters of the next decade. Rawls 180 and back cover, Theofiles pl C4, Looping the Loop pl. 75.
Condition B+: replaced losses in bottom left corner and margin; repaired tears, creases and restoration in margins and along vertical and horizontal folds.
Estimate
$8,000 – $12,000
Ernest hamlin baker (1889-1975)
YOUR NATION’S NEEDS AND YOUR PART IN IT. Small format poster. Circa 1917.
41½x27 inches, 105½x68½ cm. Schmidt Litho., San Francisco.
In addition to the World War I and II propaganda posters he designed, Baker was best known for the 391 “journalistic portraits” he created for Time Magazine from 1939 to 1956, as well as 13 Fortune Magazine covers.
Condition B: replaced loss and repaired tears at top margin, slightly into image; repaired tears and small replaced losses at edges; minor creases and abrasions in image.
Estimate
$500 – $750
Ernest hamlin baker (1889-1975)
A SPEEDY TERMINATION OF THE WAR. Small format poster. Circa 1917.
17¾x12 inches, 45x30½ cm.
Condition A. Framed.
Estimate
$500 – $750
Designer unknown
PERSHING’S CRUSADERS. 1918.
41¼x28¼ inches, 104¾x71¾ cm. The H.C. Miner Litho. Co., New York.
Rawls p. 234.
Condition A-: expertly-repaired tear at bottom, slightly into image; minor creases in margins and image. Framed.
Estimate
$800 – $1,200
Dan smith (1865-1934)
“PUT FIGHTING BLOOD IN YOUR BUSINESS” / AMERICAN RED CROSS. Circa 1917.
25¼x38¼ inches, 64x97 cm. Thomsen-Ellis Company, Baltimore.
Borkan p. 148.
Condition B+: repaired tears, creases, abrasions and minor restoration in margins; minor creases and restoration in image.
Estimate
$600 – $900
Joseph clement coll (1881-1921)
THE TIDAL WAVE / 95 SHIPS LAUNCHED. 1918.
30x20¼ inches, 76¼51½ cm. Thomsen-Ellis Co., Baltimore.
Under the Emergency Fleet Corporation, created in 1916 to build up America’s merchant fleet to wartime levels, a goal of launching 100 new ships a day was set. This goal was practically met on July 4th, and became the subject of this “especially dramatic poster” (Rawls p. 77). Rawls p. 77 (and rear cover), Theofiles 269, Borkan p. 52.
Condition B+ / A-: minor creases and repaired tears in margins; repaired pin holes in corners.
Estimate
$700 – $1,000
William dodge stevens (1870-1942)
TEAMWORK BUILDS SHIPS. Circa 1918.
36x49½ inches, 91½x125¾ cm. Forbes, Boston.
Emphasizing “concentrated human energy” (Paret p. 80), this poster embodies American industrial power in its rawest form. Issued by the U.S. Shipping Board, the image is a precursor to the industrial photographs of the following decade, in which work by Lewis Hine and Margaret Bourke-White captured the same intensity and power within the factories of America. Rawls p. 76, Paret 114, Theofiles 256, Borkan p. 53.
Condition B / B+: extensive overpainting in top margin and upper side margins; small replaced losses in margins; repaired tears and restoration in margins and image; repaired pin holes in corners.
Estimate
$2,000 – $3,000
Howard chandler christy (1873-1952)
SCRIBNER’S / THE BOER WAR. Two posters. Circa 1900.
Each 22x14½ inches, 55¾x36¾ cm. The Grignard Litho Co., New York.
Includes For March / Highland Land Infantry and For April / A Colonial Trooper. Before his meteoric rise to fame as father of the “Christy Girls,” the artist was known as a “war illustrator.” Christy actually spent time in Cuba during the Spanish American War, where he met Theodore Roosevelt and the Rough Riders, and did a series of drawings on the American Revolution for Scribner’s. For this cover story on the Boer War, Christy most likely worked from a photograph.
Condition varies, generally B+.
Estimate
$800 – $1,200
Howard chandler christy (1873-1952)
CLEAR - THE - WAY - !! BUY BONDS. 1918.
29¼x19¼ inches, 74¼x48¾ cm.
Borkan p. 107, Rawls p. 223.
Condition B+: repaired tears at edges, some into image and upper text. Framed.
Estimate
$400 – $600
Howard chandler christy (1873-1952)
GEE!! I WISH I WERE A MAN / I’D JOIN THE NAVY. 1918.
40x25¾ inches, 101½x65½ cm.
One of two posters by Christy featuring this particular beauty. The other, in the next lot, with a tan background, pushes for service in the Naval Reserve or Coast Guard. This one has a narrower focus, seeking recruits for just the Navy, with a more blatant challenge to the public’s masculinity, “Be a Man and Do It!” This poster features the overprint for McCormick Block, Trinidad. Rawls p. 80, Theofiles p. 46, Weill 216, Darracott 5, Rickards 32, Borkan p. 24.
Condition A: minor creases in margins and image. Paper. Framed.
Estimate
$1,500 – $2,000
Howard chandler christy (1873-1952)
GEE!! I WISH I WERE A MAN / I’D JOIN THE NAVY. 1918.
41¼x26¾ inches,104¾x68 cm.
Rawls p. 80, Theofiles p. 46, Weill 216, Darracott 5 (var), Rickards 32 (var), Borkan p. 24, War Posters p. 86.
Condition B: repaired tears, creases and overpainting in margins; sharp creases and printers’ creases in image.
Estimate
$1,500 – $2,000
Howard chandler christy (1873-1952)
IF YOU WANT TO FIGHT! / JOIN THE MARINES. 1915.
40x29½ inches, 101½x75 cm.
An early taunting and daring recruitment poster done two years before the United States entered World War I. Christy played upon “the confusion of genders [that] provided posters with provocative images like this . . . whose purpose is the seduction of men into service” (Paret p. 64). Rawls p. 249, Paret 89, Theofiles 66, Borkan p. 39, American Style 64.
Condition A-: minor creases in margins and image. Framed.
Estimate
$1,000 – $1,500
Howard chandler christy (1873-1952)
I WANT YOU FOR THE NAVY. 1917.
41½x27 inches, 105½x68½ cm. Forbes, Boston.
Borkan p. 24, Paret 74, IWM I p. 21, Rawls p. 78.
Condition B / B+: repaired tears, creases and restoration in margins and image.
Estimate
$1,000 – $1,500
Charles dana gibson (1867-1944)
HELP! THE WOMAN’S LAND ARMY OF AMERICA / NEW JERSEY DIVISION. 1918.
41x26¾ inches, 104x68 cm. Greenwich Litho. Co., New York.
America’s World War I poster output was spearheaded by the Department of Pictorial Publicity. Formed in 1917, shortly after America entered the war, the group was composed of members of the Society of Illustrators and was led by Charles Dana Gibson, the man who created the eponymous, ubiquitous American sweetheart, the Gibson Girl. The division, which was composed of America’s most prominent illustrators, artists and cartoonists, donated their services to the war effort. Gibson himself designed only a handful of posters; this one was taken from an illustration he created for Life magazine. Not in Rawls.
Condition A-: minor repaired tears at edges; minor creases in margins and image.
Estimate
$800 – $1,200
Leonebel jacobs (1883-1967)
WIN THE NEXT WAR NOW. 1918.
15¼x11 inches, 38¾x28 cm. F.M. Lupton, [New York.]
Condition B: repaired tear at bottom, into image; sharp diagonal crease through upper image; minor creases at edges; faded; tipped to mount. Paper. Framed.
Estimate
$400 – $600
Hélène jones (dates unknown)
THE MOTOR CORPS OF AMERICA. Circa 1918.
40¼x30 inches, 102¼x76¼ cm.
Rawls p. 125.
Condition B / B+: repaired tear at bottom, through text; repaired tears, small replaced losses and creases in margins.
Estimate
$400 – $600
Edward penfield (1866-1925)
EVERY GIRL PULLING FOR VICTORY / VICTORY GIRLS. Circa 1918.
27¾x22¼ inches, 70½x56½ cm.
Best known for his extensive series of turn-of-the-century American literary posters, Penfield also designed four posters for the American war effort. Rawls, p. 24, Theofiles p. 144.
Condition B+: replaced loss and overpainting at center left edge; repaired tears, creases and abrasions at edges; colors attenuated.
Estimate
$600 – $900
Sketch by anna hyatt huntington (1876-1973)
BETSY ROSS CORPS / MERCY FROM THE SKIES. Circa 1931.
20x12¾ inches, 50¾x32½ cm.
Huntington was a prominent and award-winning sculptor who worked predominantly in New York City. She became most famous for her realistic bronze animals, for which she conducted preparatory sketches at zoos. Her Joan of Arc sculpture, located on Riverside Drive at 93rd Street, was the city’s first monument dedicated to a historical woman, in 1915 - also the city’s first public monument by a woman. This rare poster for the Betsy Ross Corps puts Huntington’s sculptural prowess on display in two-dimensional form, as the designer of the Corps’ trophy. The paramilitary organization of female pilots was founded in 1931 by Opal Kunz, to support the Army Air Corps, but was never formally recognized by the U.S. Military.
Condition A: minor abrasions at edges. Paper.
Estimate
$800 – $1,200
James montgomery flagg (1870-1960)
ALL FOR ONE AND ONE FOR ALL! / VIVE LA FRANCE! 1918.
39¾x28¼ inches, 101x71¾ cm. Carey Print Lith., New York.
Flagg p. 77, Rawls p. 131, Borkan p. 169, Theofiles 193.
Condition B+: replaced lower right corner; repaired tears at edges, one into upper text; creases and restoration in margins.
Estimate
$1,000 – $1,500
James montgomery flagg (1870-1960)
SIDE BY SIDE - BRITANNIA! / BRITAIN’S DAY. 1918.
30x20¼ inches, 76¼x51½ cm. American Lithographic Co., New York.
Flagg p. 76, Rawls p. 268, Borkan p. 169.
Condition B: extensive staining in image; minor repairs at edges; creases in margins and images. Framed.
Estimate
$600 – $900
James montgomery flagg (1870-1960)
THE NAVY NEEDS YOU! DON’T READ AMERICAN HISTORY - MAKE IT! 1917.
41¼x27 inches, 104¾x68½ cm. The H.C. Miner Litho. Co., New York.
Flagg p. 65, Rawls p. 75, Theofiles 30, Rickards 3, Borkan p. 22.
Condition A: repaired pin holes in corners. Framed.
Estimate
$800 – $1,200
James montgomery flagg (1870-1960)
SOME BACKING! / THE EMPIRE STATE NEEDS SOLDIERS / JOIN THE NEW YORK STATE GUARD. Circa 1917.
39½x26½ inches, 100¼x67¼ cm.
Rare. Not in Borkan, not in Rawls, not in Flagg.
Condition B-: extensive replaced losses, repaired tears, creases, abrasions and overpainting in margins and throughout image; reds faded. Framed.
Estimate
$800 – $1,200
James montgomery flagg (1870-1960)
SOW THE SEEDS OF VICTORY! 1918.
32¼x21¾ inches, 82x55¼ cm.
Asked to conserve food during the war, and to grow their own in so-called Victory Gardens, “Americans were urged to cut back on wheat, the single most vital food item, and to eat corn and barley instead, which were in good supply. Meatless and wheatless days each week were patriotically subscribed to by America’s families . . . [but] Hoover often wondered about his standing with America’s boys and girls, for he knew that his name was linked to every dreaded vegetable children were made to swallow” (Rawls p. 118). One of two text variants, the other reads “Will you have a part in victory?” Flagg p. 73 (var), Rawls p. 60 (var), Borkan p. 82, Theofiles fig. 98, p. 83 (var).
Condition B+: minor abrasions and crackling at edges; abrasions in text. Mounted on board. Framed.
Estimate
$800 – $1,200
James montgomery flagg (1870-1960)
I WANT YOU FOR U.S. ARMY. 1917.
40¼x29¾ inches, 102¼x75½ cm. Leslie-Judge Co., New York.
“The best known American poster of all time” (Darracott xviii) and clearly “a cultural icon” (Power of the Poster p. 162) of 20th century imagery and propaganda. Flagg p. 80 and cover, American Style 60, IWM I p. 27, Rawls p. 13, Theofiles 11, Darracott 13, Rickards 14, Borkan p. 13, Word & Image p. 48, Modern American 24, Power of The Poster 156, War Posters 18.
Condition B+: repaired tears and abrasions in margins; minor repaired tears in image; extensive creases in margins and image.
Estimate
$5,000 – $7,500
James montgomery flagg (1870-1960)
BE LOYAL TO AMERICA / CIVILIZATION CALLS. 1917.
41¾x28¼ inches, 106x71¾ cm.
A rare variant of Flagg’s famous Wake Up, America! poster. Not only does the text differ, changing the poster’s message to one of loyalty instead of preparedness, but the entire blue plate has been removed from the printing process. Here, Columbia does not have blue stars on her hat or a blue blouse, nor is the sky blue. The words “Wake Up, America!” are faintly visible beneath the text at top. Rawls, cover and frontispiece (var). Theofiles 7 (var), Flagg p. 68 (var).
Condition B+: replaced losses, repaired tears and overpainting in margins; repaired tears, creases and restoration in margins and image and along vertical and horizontal folds. Framed.
Estimate
$3,000 – $4,000
James montgomery flagg (1870-1960)
NAVY! UNCLE SAM IS CALLING YOU! 1917.
13½x10 inches, 34¼x25½ cm. Leslie-Judge Co., New York.
A small format variant of Flagg’s iconic I Want You poster, which was “Reprinted by request from Leslie’s Preparedness Number July 6, 1916.” Met 1972.535.579.
Condition A- / B+: minor creases and scuffing in image; erased pencil notations in bottom right corner; colors attenuated. Framed.
Estimate
$700 – $1,000
James montgomery flagg (1870-1960)
TELL THAT TO THE MARINES! 1918.
40¼x30 inches, 102¼x76¼ cm.
The expression, “Tell that to the Marines,” had originally been an insult, implying that the Marines would believe anything, but Flagg’s poster turned that around and made it into a veritable battle cry. The image of a man reading a chilling headline and instantly preparing to face off against an opponent, is a visceral allegory of an angry America springing to action to preserve what is right in the world. Flagg p. 82, Rawls p. 166, Theofiles 72, Borkan p. 35.
Condition B: repaired tears, replaced losses, creases and overpainting in margins.
Estimate
$600 – $900
James montgomery flagg (1870-1960)
BE A U.S. MARINE! Circa 1918.
40¼x27¾ inches, 102¼x70½ cm.
This is the version without the additional text below the title. Flagg p. 74, Borkan p. 34, Rawls p. 251, Theofiles 52.
Condition B+: repaired tears, creases and minor overpainting in margins.
Estimate
$800 – $1,200
James montgomery flagg (1870-1960)
FIRST IN THE FIGHT / BE A U.S. MARINE! Circa 1918.
34¾x23¼ inches, 88¼x59 cm.
This is a smaller format. Borkan p. 34, Rawls p. 251, Theofiles 52, Flagg p. 74.
Condition A- / B+: minor restoration at edges; small replaced losses and overpainting in upper right image; margins trimmed.
Estimate
$1,000 – $1,500
James montgomery flagg (1870-1960)
TOGETHER WE WIN. Circa 1918.
39x29 inches, 99x73½ cm. The W.F. Powers Co. Litho, New York.
Flagg p. 70, Rawls p. 76, Theofiles 262, War Posters p. 55, Borkan p. 55.
Condition B: repaired tears, creases, abrasions and restoration in margins and image.
Estimate
$600 – $900
James montgomery flagg (1870-1960)
HOLD ON TO UNCLE SAM’S INSURANCE. Circa 1919.
29½x19¾ inches, 75x50 cm. Forbes, Boston.
Borkan p. 189, Rawls p. 278, Flagg p. 71.
Condition B+: repaired tears, replaced losses and restoration in margins; horizontal crease in image.
Estimate
$300 – $400
Charles buckles falls (1874-1960)
BOOKS WANTED FOR OUR MEN IN CAMP AND “OVER THERE.” Circa 1918.
41¼x28 inches, 104¾x71 cm. The Gill Engraving Company, New York.
One of several effective images created during World War I, mostly published by the American Library Association, to promote the donation of books to service men. This poster “succeeded in its object, and gained a considerable reputation for Falls, who prepared the design in twenty-four hours” (Darracott p. xviii). Rawls 158, Theofiles 277, Borkan p. 182, Darracott 12, Rickards 200..
Condition B: extensive repaired tears, creases and restoration in margins and image; replaced losses in margins; colors attenuated.
Estimate
$700 – $1,000
Various artists
[WORLD WAR I.] Group of 10 posters.
Sizes vary, generally 42x28 inches, 101½x71 cm.
Includes posters by John Norton, J. Allen St. John, Charles Buckles Falls, and more. Images available upon request.
Condition varies, generally B+ / A-. Each linen-backed.
Estimate
$1,500 – $2,000
Various artists
[WORLD WAR I.] Group of 14 posters.
Sizes vary, each approximately 30x20 inches, 76¼x50¾ cm.
Includes posters by Walter Whitehead, Clarence Underwood, Sidney Riesenberg, and more. Images available upon request.
Condition varies, generally B+ / A-. Each linen-backed.
Estimate
$1,500 – $2,000
Joseph pennell (1857-1926)
THAT LIBERTY SHALL NOT PERISH FROM THE EARTH. 1918.
40¾x28¼ inches, 103½x71¾ cm. Heywood, Strasser & Voigt Litho. Co., New York.
Several variations of this poster exist, both in size and color. Rawls p. 227, Paret 103, IWM I p. 47, American Style 61, Darracott 35, Theofiles 161, Keay p. 90, Borkan p. 109, Rickards 61.
Condition B+: repaired tears and repaired pin holes in margins and corners; darkening and slight foxing in margins; printed on brown paper.
Estimate
$700 – $1,000
Charles raymond macauley (1871-1934)
YOU / BUY A LIBERTY BOND / LEST I PERISH. 1917.
39¾x29¾ inches, 101x75½ cm.
One of three posters designed to publicise the First Liberty Loan bond drive, each featuring the Statue of Liberty (Rawls, p. 198). Borkan p. 87, Rawls p. 199.
Condition B / B+: repaired tears, creases and abrasions in margins and image and along vertical and horizontal folds; scuffing in right margin; repaired pin holes in corners.
Estimate
$700 – $1,000
Leon alaric shafer (1866-1940)
INVEST IN THE VICTORY LIBERTY LOAN. 1919.
28½x39 inches, 72½x99 cm. The W.F. Powers Co. Litho., New York.
Borkan p. 118, Rawls p. 230-1.
Condition A-: small tears, creases and abrasions along vertical fold. Framed.
Estimate
$800 – $1,200
Various artists
[WORLD WAR I & II.] Group of 6 posters.
Sizes vary.
Group includes: You Can Help / American Red Cross; Clear the Way!!; Victory Bonds Will Help Stop This; Share in the Victory; Have You Answered the Christmas Roll Call?; and A Careless Word. Images available upon request.
Condition varies. Framed.
Estimate
$1,000 – $1,500
Charles livingston bull (1874-1942)
SAVE THE PRODUCTS OF THE LAND / EAT MORE FISH. Circa 1918.
29x19 inches, 73½x48¼ cm. Haywood, Strasser & Voigt, New York.
Rawls 10, Theofiles 104, American Style p. 103, Borkan p. 62, Pollack p. 12.
Condition A. Framed.
Estimate
$800 – $1,200
Steele (dates unknown)
DEFEAT THE KAISER AND HIS U - BOATS / EAT LESS WHEAT. Window card. 1917.
21x13¾ inches, 53¼x35 cm. United States Food Administration.
Condition B+: repaired tears, creases and abrasions at edges and in text and image. Printed on card, mounted to linen. Framed.
Estimate
$400 – $600
Harvey dunn (1884-1952)
THEY ARE GIVING ALL / WILL YOU SEND THEM WHEAT? 1918.
36x55¾ inches, 91½x141½ cm. The W.F. Powers Co. Litho., New York.
War Posters 138, Borkan p. 61, Theofiles 77.
Condition B+: repaired tears, creases and abrasions in margins and image and along vertical and horizontal folds.
Estimate
$600 – $900
Willy stöwer (1864-1931)
GEBT FÜR DIE U - BOOT - SPENDE. 1917.
26½x19 inches, 67¼x48¼ cm. Bak & Garleb, Berlin.
Willy Stöwer, the son of a sea captain, trained as a shipyard worker but soon became a skilled marine painter and illustrator. A favorite naval artist of Kaiser Wilhelm II (he even accompanied the Kaiser on voyages), it is not surprising that Stöwer was hired by the imperial German fleet to promote their submarine weapons and to call upon the public for donations. Otherwise-known for his prolific illustrating - “creating approximately 900 black-and-white and 335 color illustrations for 57 books, as well as posters, postcards, trading-cards, labels, brochures and calendars,” Stöwer gained fame for his depiction of the sinking Titanic in 1912. Here “he manages to convey something of the isolation and bleakness of a submarine patrol in foul weahter” (Paret p. 34.) Paret 44.
Condition A: minor creases and abrasions in margins. Framed.
Estimate
$500 – $750
Rodolfo claudus (1893-1964)
REGIA MARINA - CORPO REALE EQUIPAGGI. 1928.
40x56¾ inches, 101½x144 cm. Bertarelli, Milan.
The Regia Marina was the Royal Navy of Italy, from 1861 until 1946, when the name was changed to Marina Militaire. “Voluntary enrollments with premiums for the year 1931.”
Condition B+: minor creases, abrasions and restoration in margins and image and along vertical and horizontal folds; minor restoration in upper left image. Framed.
Estimate
$1,500 – $2,000
Albert sterner (1863-1946)
AMERICA’S GIFT TO FRANCE. 1920.
29¾x20 inches, 75½x50¾ cm. American Lithographic Co., New York.
Borkan p. 171, Rawls p. 41.
Condition B+ / A-: minor repaired tears at edges, some into image; minor creases and restoration in margins and image.
Estimate
$700 – $1,000
René lelong (1871-1993)
CREDIT NATIONAL / SOUSCRIVEZ. 1918.
44¾x30¾ inches, 113½x78 cm. Joseph-Charles, Paris.
Condition A-: slight darkening at edges and along vertical and horizontal folds.
Estimate
$800 – $1,200
W.e.j. (dates unknown)
IRISHMEN AVENGE THE LUSITANIA. Circa 1915.
29x19 inches, 73½x48¼ cm. John Shuley & Co., Dublin.
“Issued by the Central Council for Organisation of Recruiting in Ireland.” Borkan p. 203.
Condition A: unobtrusive horizontal fold. Paper. Framed.
Estimate
$2,000 – $3,000
Designer unknown
SMART MEN WANTED FOR THE IRISH GUARDS. 1919.
29x19½ inches, 73½x49½ cm. The Dangerfield Printing Company Limited, London.
Condition B+: losses and tears at right edge; tear at left edge; reinforcement stickers around pin holes, in bottom corners; minor water stains at bottom; faded. Paper. Framed.
Estimate
$600 – $900
Lloyd myers (1982-1955)
BRITISHERS YOU’RE NEEDED / COME ACROSS NOW. Circa 1916.
40¾x27½ inches, 103½x69¾ cm. Albert Frank & Co., New York.
Although America stayed out of World War I until 1917, the British attempted to recruit expatriates from the shores of their former colony. Similar British posters for their hometown market call on Brits to “come over here” and “slip across and help,” but they are often referring to the much shorter journey from England to France. Rawls p. 51, Theofiles 22, Borkan p. 44.
Condition B+: repaired tears at edges, some into image; creases and abrasions in margins and along vertical and horizontal folds.
Estimate
$600 – $900
Designer unknown
WHY STAY IN ENGLAND ALL YOUR LIFE? / SEE THE WORLD BY JOINING THE ARMY!
29¼x19½ inches, 74¼x49½ cm. Barclay & Fry Ltd. Lith., London.
An enticing recruitment poster featuring a British soldier on a horse amid Egyptian ruins, promising that by joining the army, one not only can see the world, but get paid well for doing it.
Condition B: extensive replaced and overpainted losses and repaired tears in margins and central image; creases and restoration in margins and image. Framed.
Estimate
$400 – $600
Designer unknown
MECHANICAL OPERATION OF THE BRITISH TANKS. 1917.
40¼x27½ inches, 102¼x69¾ cm. Acme Litho. Co.
An animated short originally presented as part of the Paramount Bray-Pictograph program.
Condition B: replaced losses, repaired tears, abrasions and slight staining in margins; repaired tears, creases, restoration in image and along vertical and horizontal folds.
Estimate
$700 – $1,000
Designer unknown
ARE YOU ONE OF KITCHENER’S OWN?
41x26¼ inches, 104x66½ cm. Montreal Litho. Co., Limited, Montreal.
Simple and patriotic, a Canadian version of Alfrede Leete’s Lord Kitchener Wants You poster. Most of the Canadian army recruiting during World War I was conducted at the local level, recruiting for specific regiments or battalions. Members of Montreal’s 244th were known as “Kitchener’s own.” Borkan p. 200.
Condition B+ / A-: replaced losses, repaired tears and restoration in top corners.
Estimate
$1,000 – $1,500
Designer unknown
WHO’S ABSENT? / IS IT YOU? 1915.
29x19¾ inches, 73½x50 cm. Andrew Reid & Co., Ltd., Newcastle-on-Tyne.
John Bull, in his Union Jack vest, is standing in front of a line of khaki-clad soldiers and a burning building, pointing towards the public with a reproachful question. The most famous of the “pointing” recruitment posters is James Montgomery Flagg’s I Want You (1917), which was based on Alfred Leete’s poster, Lord Kitchener (1914). This image falls chronologically between the two. If British World War I posters failed to have all of the emotive power and strength of their American and European counterparts, it is because by and large they were designed by printers, and not by artists. Paret 67, Rickards 11.
Condition A- / B+: expertly-repaired tears at top left, slightly into image; creases and restoration in margins. Framed.
Estimate
$400 – $600
Designer unknown
SOUSCRIVEZ À L’EMPRUNT DE LA “VICTOIRE.” 1917.
55¼x39½ inches, 140¼x100¼ cm.
Canada’s answer to America’s I Want You Uncle Sam poster, an image startlingly similar to an Italian bond poster designed by Luciano Achille Mauzan. This is the French version. Borkan 191 (var), Rawls p. 13 (var).
Condition A- / B+: expertly-repaired tears in margins; unobtrusive vertical and horizontal folds.
Estimate
$1,000 – $1,500
Designer unknown
THE JEWS THE WORLD OVER LOVE LIBERTY / HAVE FOUGHT FOR IT & WILL FIGHT FOR IT. Circa 1917.
40¾x26¾ inches, 103½x28 cm. Montreal Litho. Co., Limited, Montreal.
A rare Canadian World War I image imploring Jews to enlist in the army. This poster is an extraordinary call to arms, employing three separate persuasive techniques - patronizing expectation: “Britain expects every son of Israel to do his duty,” historical association: “The Jews the world over love liberty, have fought for it & will fight for it,” and following a visual example: the man pictured is saying “you have cut my bonds and set me free - now let me help you set others free!” This is the English version, it was also printed in Yiddish. Not in Magnes.
Condition A-: repaired tears at top edges. Framed.
Estimate
$5,000 – $7,500
R. lillo (dates unknown)
A CUBA DEBEN DEFENDERLA LOS CUBANOS / ALISTATE EN EL EJÉRCITO. 1915.
27½x19¾ inches, 69¾x50 cm. Compania Litograficala Havana, Havana.
Condition A. Framed.
Estimate
$1,200 – $1,800
Dan smith (1865-1934)
THE SESQUICENTENNIAL INTERNATIONAL EXPOSITION / PHILADELPHIA. Two posters. 1926.
Each approximately 26x17 inches, 66x43 cm.
Images available upon request.
Condition varies, generally B+. Matted and framed.
Estimate
$500 – $750
Carlos oswald (1882-1971)
COMMEMORAÇÃO DO CENTENARIO DA INDEPENDENCIA DO BRASIL / INTERNATIONAL EXPOSITION RIO DE JANEIRO. 1922.
42x28¼ inches, 106½x71¾ cm.
In the years after the First World War, Brazil wrestled with its national identity. Brazil had been the only Latin American country to be actively involved with the war effort on behalf of the Allies, had a seat at the Paris Peace Conference and was a founding member of the League of Nations. Back home, strikes, military unrest and ultimately a revolt, were all taking place simultaneously as the country set out to celebrate its 100th anniversary by hosting one of the first Universal Exhibitions (World’s Fairs) after the war. Oswald was an Italian-born artist who moved to Brazil in 1906. In 1910, the Brazilian government asked him to design the Music Room for Brazil’s pavilion at the Turin World’s Fair. He may be best known as the artist who helped design the mighty and monumental “Christ the Redeemer” statue standing above Rio de Janeiro, on Corcovado mountain. Although most well-known for his religious work, this rare poster of maidens parading the flags of the world in front of the buildings of the exhibition, displays Oswald’s ability as a graphic designer as well as his familiarity with the universal graphic language of patriotism. We could find no other copies at auction.
Condition B+: minor repaired tears, creases and restoration along vertical and horizontal folds; minor restoration in margins an image; colors attenuated. Framed.
Estimate
$3,000 – $4,000
Charles coiner (1898-1989)
NRA MEMBER / WE DO OUR PART. Circa 1933.
26¼x20¼ inches, 66½x51½ cm.
Coiner learned his craft during a six-year stint at an advertising agency in Chicago. In 1924, he moved to Philadelphia, where he joined the art department at N.W. Ayer. Coiner gained national recognition with the logo he designed for the NIRA, The National Industrial Recovery Act. He became a key figure in the modern approach to advertising during the late-1930s while working with the Container Corporation of America campaigns, for which he was allowed to hire all of the avant-garde talents that he wanted. Coiner’s “Blue Eagle” became a ubiquitous sight in New Deal America, as it was displayed coast-to-coast by businesses. It has since become an icon of American Modernism. Enacted in 1933, the National Industrial Recovery Act was a New Deal public works program intended to provide an economic stimulus.
Condition B: overpainting along repaired tears and creases at edges, in image and along vertical and horizontal folds; colors attenuated. Framed.
Estimate
$400 – $600
World War II
Tom b. woodburn (1893-1980)
SOLDIERS’ LIFE / MAKE THE REGULAR ARMY YOUR CAREER. 1941.
36½x24½ inches, 92¾x62¼ cm.
Pollack pl. 10.
Condition A-: sharp creases in margins and image; repaired tears and restoration in margins; minor abrasions in image and along vertical and horizontal folds.
Estimate
$400 – $600
M. privitello (dates unknown)
JOIN THE NAVY - AND FREE THE WORLD. 1942.
42x28¼ inches, 106¾x71¾ cm.
Pollack pl. 29.
Condition A-: repaired tears, creases and restoration in margins.
Estimate
$600 – $900
Vic donahue (1918-2008)
ENLIST NOW / U.S. MARINE CORPS / CAPE GLOUCESTER. 1945.
38¾x27¾ inches, 98½x70½ cm.
Condition A / A-: minor abrasions at edges; small stain in bottom left margin.
Estimate
$700 – $1,000
J.r. mcdermott (1919-1977)
ENLIST NOW / U.S. MARINE CORPS / OKINAWA. 1945.
38¾x27¾ inches, 98½x70½ cm.
Condition A: small abrasion in right margin.
Estimate
$700 – $1,000
Various artists
[WORLD WAR I & II]. Group of 8 posters.
Sizes vary.
Group includes: A Careless Word … A Needless Loss; Death on Subs; Protect Your Future / Learn a Trade; This Man May Die If You Talk Too Much; Capable Woman Wanted For the Communication Service / U.S. Navy; He Bought a Fez in Suez; Give It Your Best; and Keep ‘Em Firing. Images available upon request.
Condition varies, generally A- / B+. Framed.
Estimate
$1,500 – $2,000
Various artists
[WORLD WAR II.] Group of 10 posters. 1942-44.
Sizes vary. U.S. Government Printing Office, Washington, D.C.
Includes works by artists such as Harold von Schmidt, John Falter, and David Stone Martin. Images available upon request.
Condition varies, generally A- / B+. Folded as issued. Paper.
Estimate
$1,000 – $1,500
Various artists
[WORLD WAR II / BRITAIN & CANADA.] Group of 4 posters. Circa 1940s.
Sizes vary.
Group includes: Back them Up!; The Downfall of the Dictators is Assured; Smash Japanese Aggression; and Men of Valor / They Fight For You. Images available upon request.
Condition varies, generally B+. Paper.
Estimate
$800 – $1,200
Various artists
[WORLD WAR II.] Group of 10 posters. Circa 1940s.
Sizes vary.
Includes works by artists such as John Atherton, Ferdinand Warren and Bernard Perlin. Images available upon request.
Condition varies, generally B+. Folded as issued. Paper.
Estimate
$1,200 – $1,800
Various artists
[WORLD WAR II.] Group of 5 posters. 1940s.
Sizes vary.
Group includes: Suppose it Won’t Do its Job?, by Harry Morse Meyers; Bombs Away! Oil is Ammunition, by Ronald McLeod; Always Advance with the U.S. Marines; Vacancies Exist / U.S. Army; and United States Navy Needs Young Patriotic Americans, by Matt Murphey. Images available upon request.
Condition varies.
Estimate
$1,200 – $1,800
Designer unknown
COLE BROS. CIRCUS / VICTORY. 1945.
27¼x21 inches, 69¼x53¼ cm.
Condition B+: time-staining and tape-stains in margins; small tears and creases in marings. Paper.
Estimate
$300 – $400
Karl milroy (dates unknown)
RELEASE MEN TO FIGHT! / SERVE IN THE WAAC. Circa 1942.
41¾x32½ inches, 106x82½ cm. R&L Litho., Milwaukee.
Condition B+ / A-: repaired tears and restoration along vertical and horizontal folds.
Estimate
$400 – $600
Photograph by anton bruehl (1900-1982)
FREE LABOR WILL WIN. 1942.
40x28¼ inches, 106½x71¾ cm. U.S. Government Printing Office, Washington, D.C.
Judd p. 98.
Condition B+: repaired tears, creases, abrasions and restoration along vertical and horizontal folds; minor creases and abrasions in image.
Estimate
$600 – $900
Donald brün (1909-1999)
HELVETIA / TAKE ONE HOME FOR YOUR FOLKS! 1946.
50x30½ inches, 127x77½ cm. Wassermann, Basel.
Condition A. Paper.
Estimate
$400 – $600
Dan v. smith (1905-?) & albro f. downe (1916-1984)
“KEEP ‘EM FLYING” / DO YOUR PART. Circa 1942.
33¾x22¾ inches, 85¾x57¾ cm.
Condition B: repaired tears, creases and overpainting in margins and image and along vertical and horizontal folds; slightly faded. Matted and framed.
Estimate
$800 – $1,200
Harry morse meyers (1886-1961)
“JUST MEET THOSE SCHEDULES, WILL YOU?” 1944.
40x28¼ inches, 101½x71¾ cm. U.S. Government Printing Office, Washington, D.C.
Condition B+: minor repaired tears in margins; creases, abrasions and restoration along vertical and horizontal folds.
Estimate
$800 – $1,200
Jean carlu (1900-1997)
AMERICA’S ANSWER! / PRODUCTION. 1942.
29½x39¾ inches, 75x101 cm. U.S. Government Printing Office, Washington, D.C.
Designed and issued six months before the bombing of Pearl Harbor in 1941, the U.S. government reissued this poster on a larger scale the following year, when the war machine was heavily reliant on the mighty output from American factories. Here, power, technology and strength are combined in a modern, mechanical style. Pollack pl. 157, Carlu 49, Word & Image p. 93, Weill 505, Modern American 45, Modern Poster 197, Design for Victory p. 24, Zeman p. 69, The Poster 312, Avant Garde p. 171, Mechanical Age p. 121, Design Graphique p. 87, Resnick 36, MoMA 118.1968.
Condition B: repaired tears, creases and abrasions in image and along sharp vertical and horizontal folds; reds slightly attenuated.
Estimate
$800 – $1,200
Clive uptton (1911-2006)
SAVE FUEL FOR BATTLE! 1940s.
59½x39¼ inches, 151x99¾ cm. J. Weiner Ltd., London.
This is the larger format.
Condition B+: tears, repaired tears, creases and abrasions at edges and along vertical and horizontal folds; slight offsetting in image. Paper.
Estimate
$700 – $1,000
Albert edward cloutier (1902-1965) & eric aldwinckle (1909-1980)
CANADA’S NEW ARMY NEEDS MEN LIKE YOU. Circa 1942.
36x24 inches, 91½x61 cm. Department of National Defense, Ottawa.
Pollack pl. 430.
Condition A-: minor tears at edges; minor creases and abrasions along vertical and horizontal folds; creases and slight darkening in upper left corner. Paper.
Estimate
$800 – $1,200
Designer unknown
ON LES AURA! / [WE’LL GET THEM!] Circa 1940.
29x19½ inches, 73½x49½ cm.
Judd p. 71.
Condition B+: repaired tears, creases and abrasions along vertical and horizontal folds; minor creases and staining at edges. Paper.
Estimate
$500 – $750
Manuel rey isip (1904-1987)
THE FIGHTING FILIPINOS. 1943.
41x27 inches, 104x68½ cm. Office of Special Services, Washington D.C.
Weill 511, Zeman p. 98, Judd 11.12.
Condition B+: repaired tear at bottom edge along fold; small tears, creases and abrasions in margins and image and along sharp vertical and horizontal folds; pin holes in top corners. Paper.
Estimate
$800 – $1,200
Wladyslaw theodor benda (1873-1948)
AMERICAN RELIEF FOR POLAND / “WILL YOU LET US DIE?”
43¼x29¾ inches, 110x75½ cm.
Condition A: minor restoration at edges.
Estimate
$600 – $900
Various artists
[WORLD WAR II.] Group of 7 posters. Circa 1940s.
Sizes vary.
Includes works by artists such as Koerner, Stevan Dohanos and Robert Sloan. Images available upon request.
Condition varies, generally B+ / B. Folded as issued. Paper.
Estimate
$1,000 – $1,500
Designer unknown
CARELESS TALK DID THIS / KEEP IT UNDER YOUR STETSON. Circa 1942.
38½x28¾ inches, 97¾x73 cm. John B. Stetson Company.
Condition A-: repairs and minor abrasions at edges.
Estimate
$800 – $1,200
Designer unknown
IDLE WORDS MAKE BUSY SUBS / KEEP IT UNDER YOUR STETSON. Circa 1942.
38½x28½ inches, 97¾x72 cm. John B. Stetson Company.
Condition A-: repaired tears and minor abrasions at edges; minor creases in image.
Estimate
$800 – $1,200
Ferree & h. price (dates unknown)
[UNITED HEALTH SERVICE & VD / WORLD WAR II.] Group of 5 small format posters. Circa 1942.
Sizes vary, each approximately 12¾x9½ inches, 32½x24 cm.
Group includes: Men Who Know Say No to Prostitutes, by Ferree; and four small posters by Herbert Price: Healthy Skin Keeps Him on the Job, His Mask Keeps Him on the Job, Regular Check Ups Keep Him on the Job, and Foods That Count Keep Him on the Job. Pollack p. 72-3.
Condition varies, generally A.
Estimate
$600 – $900
Initials unknown
LOADED? DON’T TAKE CHANCES WITH PICKUPS! / VD IS NOT VICTORY. Circa 1940s.
16x11¼ inches, 40½x27½ cm.
F.S.C. Venereal Disease Poster No. 1.
Condition A-: minor creases and abrasions in margins and image; repaired pin holes in corners. Framed.
Estimate
$400 – $600
Designer unknown
DON’T SPIT! IT’S DISGUSTING AND DANGEROUS. Circa 1940s.
28¼x18¾ inches, 71¾x47½ cm.
“Authorised by Hon. C.A. Kelly, MLA, Minister for health, NSW,” this poster depicts a busy pedestrian space in front of the Customs House in Circular Quay, Sydney.
Condition B+: small replaced losses, repaired tears and restoration in margins; creases in image.
Estimate
$400 – $600
Various artists
[WORLD WAR II.] Group of 10 posters. Circa 1940s.
Sizes vary.
Includes works by artists such as Anton Otto Fischer, Broder, and Aldwinckle & Cloutier. Images available upon request.
Condition varies, generally B+. Folded as issued. Paper.
Estimate
$1,200 – $1,800
Weimer pursell (1906-1974)
WHEN YOU RIDE ALONE YOU RIDE WITH HITLER! 1943.
28x22 inches, 71x56 cm. U. S. Government Printing Office, Washington D.C.
Design For Victory p. 34, Pollack p. 188.
Condition B+: repaired tears at edges, some into image; creases and restoration along vertical and horizontal folds.
Estimate
$700 – $1,000
Designer unknown
YOU AND I / PUT THE SQUEEZE ON THE JAPANESE / BEAT THE PROMISE. Circa 1942.
14¾x29½ inches, 37½x75 cm.
Design for Victory p. 15.
Condition A-: minor repaired tears and creases at edges; creases and expert airbrushing in image.
Estimate
$600 – $900
Viktor nikolaevich (deni) denisov (1893-1946)
[THE FASCIST VULTURE KNOWS NOW THAT WE ARE NOT SHEEP.] 1944.
21¼x15½ inches, 54x39½ cm. Iskusstvo, Moscow.
Condition A: minor expertly-repaired tear at right edge; minor restoration at edges.
Estimate
$1,000 – $1,500
Boris efimov (1899-2008)
WHAT IS AN “ARYAN”? / HE IS HANDSOME AS GOEBBELS. 1941.
28x20 inches, 71x50¾ cm. Russian War Relief Inc.
Originally, these were images for the TASS Window 22, which depicted Hitler, Goering and Goebbels. They “were lampooned . . . for possessing none of the physical attributes that the Nazis assigned to the ideal Aryan. The contrast between text and image pointedly and wittily demonstrates the disjuncture between Nazi ideology and reality . . . particularly striking here is the degree to which Efimov’s caricature of Goebbels resembles Walt Disney’s Mickey Mouse” (Windows on the War p. 169). Windows on the War p. 117, 121 and 169 (all var), Rhodes p. 227.
Condition A-: minor creases and scuffing in image; slight staining in bottom left corner. Silkscreen Paper.
Estimate
$1,500 – $2,000
Boris efimov (1899-2008)
WHAT IS AN “ARYAN”? / HE IS STREAMLINED AS GOERING. 1941.
28x20 inches, 71x50¾ cm. Russian War Relief Inc.
Condition A-: small stain at bottom; minor creases and scuffing at edges and in image. Silkscreen. Paper.
Estimate
$1,500 – $2,000
D’après sergei nikolaevich kostin (1896-1968)
[CHAIN HIM!] 1941.
20x28 inches, 50¾x71 cm. Russian War Relief, Inc.
“A nephew of the painter Nikolai Sapunov, Sergei Nikolaevich Kostin began his studies in 1918 in Moscow at GSKhM. He graduated in 1919 from the Independent Studio of the State Free Art Studios (SVOMAS). From 1922 to 1924, he worked in the Artistic-Industrial Workshop for Toys in Zagorsk, and in 1924 he joined Gosizdat as a graphic designer. The following year, he collaborated with David Shterenberg to design the Department of State Trade in the Soviet pavilion at the Exposition Internationale des Arts Décoratifs et Industriels Modernes in Paris. During the 1930s, he worked as a stage designer for the Bolshoi Theater. He designed fifty-nine posters for the TASS studio between June 1941 and October 1946” (Windows on the War, https://archive.artic.edu/tass/203933). This stencil illustration was created as part of TASS Window No. 0109, August 5, 1941, with the accompanying text: “Cautionary measures have been taken. / A leashed dog is more reliable and violent. / A chained soldier will fight more courageously: / He cannot run away.” Pollack pl. 300.
Condition A-: minor offsetting in left margin; minor foxing in margins. Silkscreen. Paper.
Estimate
$400 – $600
Designer unknown
[YOUTHS, JOIN THE AIR FORCE.] Circa 1939.
22x17 inches, 55¾x43 cm.
Rhodes p. 244.
Condition A: small abrasions at edges. Printed on thin paper.
Estimate
$700 – $1,000
Xin ke (dates unknown)
[THE MORE I FIGHT, THE STRONGER I BECOME.] Circa 1939.
22x17 inches, 55¾x43 cm.
“The more the enemy fights, the weaker he becomes.” Judd p. 64.
Condition A-: tape stains at top edge, from adhesive on verso. Printed on thin paper.
Estimate
$700 – $1,000
Designer unknown
[CHIANG KAI - SHEK / ARMY FIRST VICTORY FIRST.] 1939.
22x17 inches, 55¾x43 cm.
Judd p. 59.
Condition B+: loss and small tears in bottom right corner; staining in upper text, from adhesive on verso. Printed on thin paper.
Estimate
$700 – $1,000
Designer unknown
[CHINA / WORLD WAR II.] Group of 4 vertical banners. Circa 1940.
Each approximately 30¾x10¼ inches, 78x26 cm.
Group includes: “The Spirit of the Past Will Overcome the Violence”; “The Enemy’s Invasion Continues / We Fight Forever”; “Long Live The Republic of China”; and “The Closer to Victory the Harder the Struggle”. Images available upon request.
Condition A. Printed on thin paper.
Estimate
$800 – $1,200
Post-War, Propaganda & Counterculture
M. nielsen (dates unknown)
UNITED STATES MARINES / AROUND THE WORLD. 1949.
39¼x25 inches, 99¾x63½ cm.
Rare.
Condition A.
Estimate
$700 – $1,000
Charles coiner (1898-1989)
OFFICIAL CIVILIAN DEFENSE INSIGNIA. 1942.
40x28½ inches, 101½x72¼ cm. U.S. Government Printing Office, Washington, D.C.
The Office of Civilian Defense was set up by President Franklin Roosevelt on May 20, 1941, although Coiner is credited with having designed the logo in 1939. “Coiner’s visionary system of logo-like-symbols - effective in its logic, geometric simplicity, and capacity for seemingly endless variation - anticipated universal pictogram and corporate identity programs which would flourish in the 1960s” (Resnick p. 73). Resnick 43.
Condition B+: replaced loss and overpainting in bottom right corner; repaired tears at edges; creases along vertical and horizontal folds.
Estimate
$800 – $1,200
Bates (dates unknown)
FOR SERVICE IN CIVILIAN DEFENSE. 1943.
21¾x13¾ inches, 55¼x35 cm. U.S. Government Printing Office, [Washington, D.C.]
Condition B+: expertly-repaired tears and restoration along creases at edges and along vertical and horizontal folds.
Estimate
$400 – $600
Harold stevenson (1929- )
PROTECT THEM / JOIN CIVIL DEFENSE. 1951.
26x17 inches, 66x43¼ cm.
The Federal Civil Defense Administration played to fear, elevating Cold War worst-case scenarios as a means of galvanizing the public into action. These posters were distributed across the country with the blank area at the bottom overprinted with the names of local businesses that were supporting regional civil defense initiatives.
Condition A-: replaced and overpainted upper left corner.
Estimate
$700 – $1,000
Designer unknown
JOIN CIVIL DEFENSE / IT CAN HAPPEN HERE. 1951.
21½x13½ inches, 54½x34½ cm. L.I.P. & B.A., New York.
Condition A.
Estimate
$1,000 – $1,500
Ted gotthelf (dates unknown)
THE WORLD OF TOMORROW / TODAY - WITH THE U.S. ARMY. 1946.
25x17 inches, 63½x43 cm.
Condition B+: repaired tears, creases and restoration in margins and along vertical and horizontal folds; minor creases in image.
Estimate
$700 – $1,000
Designer unknown
[CZECHOSLOVAK RED CROSS FOR HEALTH AND PEACE.] Circa 1920s.
37x24¾ inches, 94x62¾ cm. Unie, Prague.
Condition B+: creases in margins and along sharp vertical and horizontal folds; foxing in margins and image. Paper.
Estimate
$600 – $900
J. provaznik (dates unknown)
SLAVNOSTI MLADEZE / DTJ / PRAHA. 1930.
49½x37½ inches, 125¾x95¼ cm. A. Nemec, Prague.
“Youth Celebrations of DTJ (Workers Physical Education Unity).” This image also appeared on a postcard from which we got the artist’s name.
Condition A-: minor creases and abrasions at edges. Paper.
Estimate
$800 – $1,200
Various artists
[CZECH PEOPLES.] Two posters.
Sizes vary.
Group includes: Ceska Puda Ceskemu Lidu (1945) and Den Ceskoslovenske Lidove Armady, by Povondrova. Translations: “Czech Land to the Czech People,” and “The Day of the Czechoslovak People’s Army.” Images available upon request.
Condition varies, generally A-: vertical and horizontal folds. Paper.
Estimate
$700 – $1,000
Jan cumpelík (1895-1965)
[CZECH / SOCIALISM.] Group of 3 posters.
Sizes vary.
Group includes: Zavlast-za Socialism; S Presidentem Gottwaldem Vpred Vybudovani Socialismu v Nasi Vlasti; and Slava 10 Vyroc. Images available upon request.
Condition varies, generally A-: vertical and horizontal folds; one is two sheets, unattached. Paper.
Estimate
$600 – $900
Various artists
[CZECH.] Group of 4 posters. 1950s.
Sizes vary.
Group includes: Pro Stesti Svych Deti Volte Kandidaty Narodni Fronty (1954); Den Telovychovy a Sportu (1955); 1. Maj (1956), by Zabransky; and Proletari Vsech Zemi, Spojte Se! (1957). Images available upon request.
Condition varies, generally A / A-: vertical and horizontal folds. Paper.
Estimate
$800 – $1,200
Lev haas (1901-1983)
[CZECH.] Group of 5 posters. 1950s.
Sizes vary.
Group includes: Hlasovaci LIstek; Kongres Narodu Za Mir (1952); Postavime se Proti Tem (1955); U Nich / U Nas (1954); and Tak u Nas Vladlic. Images available upon request.
Condition varies, generally A-: vertical and horizontal folds. Paper.
Estimate
$1,000 – $1,500
Designer unknown
DEN CS. LETECTVA. 1953.
34¼x22¾ inches, 87x57¾ cm. Nase Vojsko, Ministry of Defense.
Condition B+: minor repaired tears at edges, one slightly into upper image; minor restoration at edges; creases and minor restoration along unobtrusive vertical and horizontal folds.
Estimate
$600 – $900
Various artists
DEN CESKOSLOVENSKEHO LETECTVA. Two posters. 1955-6.
Each approximately 34x24 inches, 86¼x61 cm.
Includes [Soldiers] 1955, by Kousal and [Woman Waving] 1956.
Condition varies, generally A- / A.
Estimate
$800 – $1,200
Various artists
[RUSSIAN PROPAGANDA.] Group of 5 posters. 1960s.
Sizes vary.
Images available upon request.
Condition varies, generally B+. Paper.
Estimate
$800 – $1,200
Various artists
[RUSSIAN PROPAGANDA.] Group of 5 posters. 1960s.
Sizes vary.
Images available upon request.
Condition varies, generally B+ / A-. Paper.
Estimate
$800 – $1,200
Viktor koretsky (1909-1998)
[THE STIGMA OF AMERICAN DEMOCRACY!] 1963.
33x23¼ inches, 83¾x59 cm. Izogiz, Moscow.
Koretsky pl. 140.
Condition B+: small tears, creases and abrasions in margins; skinning in upper image; pin holes in corners. Paper.
Estimate
$1,000 – $1,500
Various artists
[RUSSIAN PROPAGANDA.] Group of 5 posters. 1960s.
Sizes vary.
Images available upon request.
Condition varies, generally B+. Paper.
Estimate
$800 – $1,200
Danny lyon (1942- )
IS HE PROTECTING YOU? / STUDENT NONVIOLENT COORDINATING COMMITTEE. Circa 1963.
13¼x22¼ inches, 33½x56½ cm. Lincoln Lithograph Company, Atlanta.
This is one of a series of five Student Nonviolent Coordinating Committee posters featuring the work of important civil rights photographer, Danny Lyon, while he was staff photographer for the committee. The poster was likely produced before the July 1963 introduction of zip codes, as the address has only the earlier two-digit city zone number. Lyon graduated from University of Chicago that same year with a BA in history. “Personal participation in the lives of his subjects is a vital component to Danny Lyon’s photography. His subjects often deviate from societal norms, yet he is dedicated to communicating their character and sensibility honestly, sympathetically, and nonjudgmentally” (icp.org).
Condition B+: restoration along repaired tears from bottom left edge, into central image; minor repaired tears at edges; repaired pin holes and overpainting in corners.
Estimate
$3,000 – $4,000
William weege (1935-2020)
IN EVERY GOVERNMENT ON EARTH THERE IS SOME TRACE OF HUMAN WEAKNESS . . . 1967.
24½x18½ inches, 62¼x47 cm. Happening Press, San Francisco.
"A Berkeley Situationist poster by William Weege featuring a nude paired with a quote by Thomas Jefferson and an anti-Vietnam war pin. One in a series of peace and protest posters by Weege printed at Happening Press in the late 1960s." This image from the portfolio Peace is Patriotic (https://www.theideaofthebook.com).
Condition A. Paper.
Estimate
$800 – $1,200
Su, lexie & paul negrin, & posada (dates unknown)
TIMES CHANGE. Group of 6 posters. 1970.
Sizes vary. Times Change Press, New York.
Group includes: Danny (TCP-5); Family</b> (TCP-4); Guerrilla (TCP-10); Kids (TCP-11); Vote (TCP-13), and Prostitution (TCP-14). Images available upon request.
Condition varies, generally A. Paper.
Estimate
$700 – $1,000
Su negrin & marcia salo rizzi (dates unknown)
TIMES CHANGE. Group of 5 posters. 1970-1973.
Sizes vary. Times Change Press, New York.
Group includes: Womanbirth (TCP-15); Stone (TCP-2); “Ho (TCP-6); Che; and Marat (TCP-1). Images available upon request.
Condition varies, generally A. Paper.
Estimate
$1,000 – $1,500
Boris vallejo (1941- )
THE NEW ST. MARKS BATHS. Circa 1980.
41x27 inches, 104x68½ cm. Official Graphic Arts International Union, Cleveland.
Vallejo painted Mysterious Rider around 1978, and the image was co-opted to advertise the newly refurbished St. Mark’s Bathhouse, which opened in 1979. The Bathhouse was closed down due to the AIDS epidemic in 1985.
Condition B+: creases and abrasions in margins and image; small tears at edges; small pin holes in corners. Glossy paper.
Estimate
$2,000 – $3,000
Designer unknown
WM HORACE LINGARD. Circa 1880s.
38¾x29 inches, 98½x73½ cm. Strobridge Co., Lith., Cincinnati.
Condition B: replaced losses and overpainting in upper left image and corner; expertly-repaired tear from bottom edge into central image; repaired tears and restoration in margins.
Estimate
$600 – $900
Designer unknown
BYRON / ACROSS THE CONTINENT. Circa 1880s.
38x29 inches, 96½x73½ cm. The Strobridge Lith. Co., Cincinnati.
Across the Continent started touring in 1871, and played on the road for about 20 years.
Condition B / B-: entirely-replaced left margin and large replaced and overpainted loss in the ‘B’; repaired tears and restoration in margins, some slightly into image; unobtrusive vertical and horizontal folds.
Estimate
$600 – $900
Maxfield parrish (1870-1966)
HARPER’S WEEKLY / NATIONAL AUTHORITY ON AMATEUR SPORT. 1896.
18x13¾ inches, 45¾x35 cm.
“The great charm in Mr. Parrish’s work lies in its curious individuality. It may well be said that he has felt the influence of many predecessors in design, but his work is stamped with his own originality. He is adroit enough effectively to conceal his borrowings if indeed he has borrowed at all. He realises for us a fairyland, undiscovered until he became its pioneer . . . every fact in the picture in itself appears to be tangible: it is the atmosphere with which Mr. Parrish invests all his facts which produces the sense of aloofness and elusiveness which one feels as one looks at his drawings. . . . [here] the figures of the three golfers are almost photographic in their realism. The undulating landscape, with its trees and cottage in the middle distance, is quite delightful” (The Poster and Art Collector, by Charles Hiatt, volume IV). Keay p. 22, Virginia p. 32, Art of Parrish 443.
Condition B+: small losses, repaired tears and abrasions at edges; archival tape on verso; water stain in lower left corner; margins trimmed off. Paper.
Estimate
$4,000 – $6,000
EDWARD PENFIELD (1866-1925)
THE LAST OF THE KNICKERBOCKERS. Circa 1901.
20x29 inches, 50¾x73½ cm. Carqueville Litho Co., Chicago.
A rare and wonderful work by Penfield that is exceptional for both its size and its content. “Although Penfield continued at Harper’s as Art Editor until 1901, his poster series stops in 1899” (Designed to Persuade, p. 15). In all, he designed over 75 images advertising the periodical, each one small enough to hang in a store window. After his tenure with the magazine, Penfield went on to design advertisements for other publishers and manufacturers. “However, the scope of his career is not well-documented in this second phase, and the works of the first two decades of this century are more difficult to rediscover” (ibid, p. 17). This unusually-sized promotion for a novel features many of the images that Penfield used in his Harper’s posters, such as the horse-drawn sleigh and the dapper figures. “Studying coach design and history was a favorite hobby [of the artist], and he later became a collector of these vehicles, and wrote about them for Outing magazine. The unfinished manuscript of a book on coaches survives among family papers” (ibid p. 13). Bustling street scenes also figure prominently in his work, such as the crowds of passersby in People We Pass, circa 1896, (Swann sale 2016, lot 84) and his poster for Adler Suits & Overcoats (Sale 2099, lot 124), which presents a very similar scene.
Condition B / B-: tears, creases and abrasions at edges, in image and along sharp vertical and horizontal folds. Paper. Matted and framed.
Estimate
$800 – $1,200
Edward penfield (1866-1925)
COUNTRY CARTS. Two posters. 1900.
Each 15¼x21½ inches, 38¾x54½ cm. R.H. Russell, New York.
From the Country Cart Series No. 1, including Hackney Cart and Exercising Cart.
Condition varies, generally A. Framed.
Estimate
$1,500 – $2,000
Early American & Art Nouveau
Designer unknown
LA COMPAGNIE “SINGER” / MACHINES À COUDRE. Circa 1895.
48x34 inches, 122x86¼ cm. J.E. Goossens, Paris.
Condition B+: repaired tears, creases and abrasions in margins and along vertical and horizontal folds; slight staining in upper right image.
Estimate
$600 – $900
Léon belloguet (1859-?)
SOCIÉTÉ ANONYME DES TABACS D’OBOURG. Circa 1900.
60½x43¾ inches, 153½x111 cm. O. de Rycker & Mendel, Brussels.
DFP-II 979.
Condition A / A-: minor creases and restoration along vertical and horizontal folds. Framed.
Estimate
$800 – $1,200
Leonardo bistolfi (1859-1933)
PREMIÈRE EXPOSITION INTERNATIONALE DES ARTS DÉCORATIFS MODERNES. 1902.
41x57½ inches, 104x146 cm. Doyen de L. Simondetti, Turin.
Bistolfi was an important Italian sculptor who is credited with having designed only this one poster. It promotes an art show in Turin that has become historically significant. Not only was it the first international exhibition of modern decorative art, but it was the show that launched the Liberty style in Italy. It is also considered by some to signify the beginning of the end of the Art Nouveau era, as it introduced elements of contemporary design that would slowly evolve into the De Stijl, Art Deco and Bauhaus schools. Regardless of the historical interpretation, the show highlighted some of the greatest European designers. Bistolifi’s image is a captivating symbolic representation of muses dancing in a field. Clad in the flowing robes of antiquity, the bolt of fabric they carry spells out “Ars,” art. This is the larger format and French version. Bolaffi p. 22, Manifesto 38, Maitres 1900 p. 125, Wember 136.
Condition B+: expert overpainting in margins; expertly repaired tears, creases and restoration in margins and image and along vertical and horizontal folds.
Estimate
$7,000 – $10,000
Pierre bonnard (1867-1947)
LA REVUE BLANCHE. 1894.
30¼x22½ inches, 76¾x57¼ cm. Edw. Ancourt, Paris.
This intriguing image, from the “beguiling sloe-eyed Parisienne,” to the “impertinent neckerchiefed newsboy,” to the “top-hatted figure bent over the newsstand behind [them],” . . . is one of Bonnard’s “most audacious graphic designs” (Ives p. 105ff). Maitres pl. 38, DFP-II 77, Word & Image p. 26, Modern Poster p. 8, Abdy p. 93, Maindron p. 41, Meisterplakate 14, Maitres 1900 p. 47, Bouvet 30.
Condition B+: slight darkening in margins; minor creases and abrasions in margins and image. Matted and framed.
Estimate
$1,500 – $2,000
Leonetto cappiello (1875-1942)
PAQUET PERNOT / BISCUITS PERNOT. 1910.
62½x42 inches, 158¾x106½ cm. P. Vercasson, Paris.
Cappiello designed at least two other posters for Biscuits Pernot - a winter scene, Fleur des Neiges in 1905 (Swann sale 2498, Lot 399) and one of a young girl sitting on a chair, enjoying the biscuits (1939). Cappiello / Rennert 83, Publicite p. 45.
Condition B+: repaired tears, creases, abrasions and restoration in margins and image and along vertical and horizontal folds.
Estimate
$4,000 – $6,000
Jules chéret (1836-1932)
GRANDS MAGASINS DU LOUVRE / JOUETS ETRENNES. 1891.
93½x34 inches, 237½x86¼ cm. Chaix, Paris.
Among Chéret’s largest advertising accounts were Paris’s larger department stores, including Les Buttes Chaumont and La Place Clichy. Here, Chéret employs an elongated format and creates, in his style that is often compared to Tiepolo, a cascade of children and toys. Sagot referred to this poster as “one of [Chéret’s] masterpieces.” Cheret 843, Reims 378, Broido 673, DFP-II 203, Maindron 560.
Condition B: replaced losses, repaired tears, creases, abrasions and overpainting in margins and image and along vertical and horizontal folds. Two-sheets. Framed.
Estimate
$1,500 – $2,000
Jules chéret (1836-1932)
FOLIES - BERGÈRE / LE MIROIR. Circa 1892.
46¾x32¾ inches, 118¾x83¼ cm. Chaix, Paris.
Cheret 145, Broido 122, Maindron 110, Maitres 157, DFP-II 224, Meisterplakate 67.
Condition B+: repaired tears, creases and restoration at edges and along vertical and horizontal folds; unobtrusive repaired pin holes in corners. Framed.
Estimate
$1,000 – $1,500
Jules chéret (1836-1932)
MADAME SANS - GÊNE. 1894.
48¼x33¼ inches, 122½x84½ cm. Chaix, Paris.
Slightly arrogant and carefree as the title indicates, the main character of this serialized story is a laundress who works her way up through society. Seen here regally adorned with an ermine-fringed red robe and yellow gown, it is no wonder that she might be a little conceited; from her humble beginnings, she is now consorting with Napoleon himself! Broido 670, Maindron 557, DFP-II 247.
Condition B+: repaired tear at top edge, into text; repaired tears and restoration in margins and image and along vertical and horizontal folds; slight foxing in right image. Framed.
Estimate
$800 – $1,200
Jules chéret (1836-1932)
PIPPERMINT GET FRÈRES. 1900.
47¾x33¾ inches, 121¼x87¾ cm. Chaix, Paris.
Shading the woman in the same cool mint green as this liquor, Chéret uses the complementary red in the background to create contrast and drama. This is the larger format. Cheret 1150, Broido 883, Maitres 213, DFP-II 205, Wine Spectator 2, Drink 8.
Condition B: replaced upper left corner; repaired tears, creases, abrasions and restoration in margins and image and along vertical and horizontal folds; repaired pin holes in corners and at edges.
Estimate
$1,200 – $1,800
Jules chéret (1836-1932)
[MUSÉE GRÉVIN / THÉÂTRE LES FANTOCHES DE JOHN HEWELT.] 1900.
47x33¼ inches, 119½x84½ cm. Chaix, Paris.
Intended to advertise a marionette show, this poster is most often seen without text; it is one of Chéret’s best-known decorative panels. This is the version before text. Broido cover and 471, DFP-II 267 (var), Cheret 608.
Condition A: minor creases in margins and image. Framed.
Estimate
$1,500 – $2,000
Jules chéret (1836-1932)
SAXOLÉINE. 1900.
48¼x33 inches, 122½x83¾ cm. [Chaix, Paris.]
Chéret designed many works for this kerosene company, with numerous colors and female figures, however, this is the only image that does not feature a lamp and lampshade. Cheret 1254, Broido 957, Wine Spectator 20.
Condition A-: minor repaired tears and restoration in margins and along vertical and horizontal folds. Framed.
Estimate
$800 – $1,200
Georges dola (edmond vernier, 1872-1950)
CHEZ MAYOL / RÉGINA BADET. Circa 1910.
62x46 inches, 157½x116¾ cm. Publicité Wall, Paris.
Condition B: losses in corners and margins, some slightly into image; repaired tears and creases at edges and in image. Framed.
Estimate
$600 – $900
Henri-gabriel ibels (1867-1936)
MÉVISTO. 1892.
67½x47¼ inches, 171½x120 cm. Delanchy & Cie., Paris.
Ibels studied at the Academie Julian with Pierre Bonnard and Edouard Vuillard and became one of the original members of the Nabis, participating in all of their exhibitions. In 1891, his works were exhibited side-by-side with Toulouse-Lautrec’s at the Salon des Independants, and in 1893 he collaborated with Lautrec again to illustrate Le Café Concert for Marty, the French publisher. Perhaps Ibels is overlooked as an artistic equal to Lautrec and Bonnard because of his decision not to focus on painting, but rather to dedicate his artistic efforts to the printed page, working for magazines, designing sheet music covers and theatrical programs. Within the Nabis, he was known as “The Nabis Journalist,” because of his work for many of Paris’ progressive journals and the founding of the short-lived periodical L’Escarmouche. In 1894, he designed the first poster for the Salon des Cent, a year before he created this image, the largest he was to ever design. Jules Mévisto was a mime and a comedian who had a short-lived career performing fairly unpopular sketches in café concerts. Ibels had already portrayed the actor as a Pierrot in Entrée en Scene, a series of small format lithographs, before he set about creating this large poster for the actor’s appearance at the Concert de La Scala. Against the bleak, nouvelle-urban setting of a busy factory with active chimneys, Ibels depicts the images of the actor, in profile, a sitting peasant, a soldier and a farmer toiling in the field. All of these characters were to be the subject of the socially-critical act that Mévisto would deliver. Stylistically, Ibels’ layout and outlining are very similar to Lautrec’s, but his colors are less aggressive and his subdued melancholy lends his images a different feel overall. Thanks to both Ibels and Lautrec, as Charles Saunier noted in La Plume, the poster, which had only been considered as attractive wall decoration, was being elevated to the higher status of a satirical and sociological vision. DFP-II 470, Reims 753, La Plume 90, 1893, Maitres pl. 78, Belle Epoque 245.
Condition B: replaced losses, repaired tears, creases and abrasions in margins and along vertical and horizontal folds. Two-sheets. Framed.
Estimate
$800 – $1,200
Henri-gabriel ibels (1867-1936)
HORLOGE / J. MÉVISTO. 1892.
70¼x24¼ inches, 178½x61½ cm. G. Batailles, Paris.
DFP-II 469, Reims 752.
Condition B+: repaired tears, abrasions and restoration along seam. Two-sheets. Framed.
Estimate
$700 – $1,000
Henri-gabriel ibels (1867-1936)
IRÈNE HENRY / TOUS LES SOIRS. 1894.
50½x36 inches, 128¼x91½ cm. G. Bataille, Paris.
For Irène Henry, an artist who is completely forgotten today, Ibels designed his best “Nabis style” poster. He uses the blank space of the paper to delineate the stage on which the singer appears in profile. He fills the rest of the image with a pure, Nabis rendering in green, blue and violet of the public and the gardens of the Champs Elysée where the concert was held. DFP-II 473, Reims 748, Café-Concert 77.
Condition B: repaired tears, replaced losses, sharp creases and abrasions in margins and along vertical and horizontal folds; stains in margins and image; pencil notation in upper left corner; toned. Framed.
Estimate
$1,000 – $1,500
Henri-gabriel ibels (1867-1936)
TRIANON CONCERT / JANE DEBARY. 1895.
50½x36 inches, 128¼x91½ cm. Bourgerie & Cie., Paris.
DFP-II 476, Reims 750.
Condition B+: small losses and restoration along horizontal seam; creases and abrasions in image. Framed.
Estimate
$800 – $1,200
C. kointer (dates unknown)
JOURNAL LA MEUSE / 5 CENTIMES / LE NUMÉRO. 1899.
65x47 inches, 165x119½ cm. Gordinne, Liège.
Sitting on the banks of the river that lends this daily newspaper its name, an elegant woman is enthralled with the morning edition, with the afternoon edition awaiting her attention by her side. Rare.
Condition B: replaced losses, extensive repaired tears, creases and overpainting in margins and along vertical and horizontal folds; discolored overpainting in faded text. Four-sheets. Matted and framed.
Estimate
$1,500 – $2,000
Henri de toulouse-lautrec (1864-1901)
LE RIRE. Group of 13 covers & sheets. Circa 1890s.
Each 11¾x9 inches, 29¾x22¾ cm.
Images available upon request.
Condition varies, generally A- / A: some slightly toned. Each linen-backed.
Estimate
$800 – $1,200
Henri de toulouse-lautrec (1864-1901)
MOULIN ROUGE / LA GOULUE. Maitres de l’Affiche pl. 122. 1898.
15¾x11¼ inches, 40x29 cm. Chaix, Paris.
Condition A-: minor expertly-repaired tears at edges; small losses at bottom corners; slight scuffing in left margin. Paper.
Estimate
$2,000 – $3,000
Privat antoine theodore livemont (1861-1936)
BISCUITS & CHOCOLAT DELACRE. 1896.
20¾x31½ inches, 52¾x80 cm. J.L. Goffart, Brussels.
DFP-II 1063, Wallonie 106, Affiches Etrangeres 114.
Condition B+: small replaced losses in top corners; restoration along vertical fold and over abrasions in image. Matted and framed.
Estimate
$2,000 – $3,000
Alexandre lunois (1863-1916)
EXPOSITION / L’ANDALOUSIE AU TEMPS DES MAURES. 1900.
100½x37 inches, 255¼x94 cm. Lemercier, Paris.
DFP-II 555, Orientalist p. 95.
Condition B+: repaired tears, creases, minor overpainting and small replaced losses in margins and along vertical and horizontal folds. Two-sheets.
Estimate
$1,000 – $1,500
Georges meunier (1869-1942)
JOB / PAPIER À CIGARETTES. 1894.
42¾x32½ inches, 108½x82½ cm. Chaix, Paris.
“Georges Meunier was one of the painters of talent and charm . . . who are the smiling illustrators of their time. . . a pupil of Chéret . . . his philosophy of the poster was the same ‘toujours les femmes et les rires’ (Abdy p. 63). In this poster he clearly follows in Chéret’s graphic footsteps, illustrating a charming, intimate scene in which an elegant young woman is smoking, while the black cat at her feet seems extremely curious - and probably impatient to play with the many packs of Job rolling paper on the floor. This image traditionally appears in a much larger format, with one image, rather than these two images side-by-side, presented within a decorative border formed out of the Job logo. Rare. Maitres pl. 167, DFP-II 579 (both var.).
Condition B+: replaced losses, repaired tears and restoration at edges and along vertical and horizontal folds; repaired pin holes and abrasions in corners and margins.
Estimate
$2,000 – $3,000
Cover by alphonse mucha (1860-1939)
LETEM CESKYM SVETEM / [A FLIGHT OVER THE CZECH WORLD.] Book. 1898.
11x14¼ inches, 28x36¼ cm. Jos. Pfeiffer, Prague.
This is the first edition of this massive photographic project, with over 500 views from Bohemia, Moravia, Silesia, and Slovakia. The second edition, from 1998, includes the changes in the “Czech world,” and is bound in grey cloth with a printed title.
Condition A-: minor abrasions to covers; minor foxing on verso; pages clean. In original Mucha binding.
Estimate
$1,000 – $1,500
Alphonse mucha (1860-1939)
AU QUARTIER LATIN. Magazine cover. 1898.
16x12½ inches, 40½x31¾ cm. Paul Dupont, Paris.
Mucha designed four different covers for this artistic and literary magazine, which was published periodically for the Mid-Lent season Carnival. Here, he presents a parade of students at the feet of the Queen of the Carnival. She is wearing a crown and an elaborate cloak adorned with the coat of arms of Paris. Lendl p. 140, Mucha / Bridges R11b, Lendl 89, Darmstadt 101, Mucha / Henderson p. 124, Jiri Mucha p. 61 (var).
Condition A-: minor abrasions and slight foxing at edges; detached from magazine issue. Paper.
Estimate
$1,500 – $2,000
Alphonse mucha (1860-1939)
[FLOWERS / THE LILY.] 1898.
41½x17½ inches, 105½x44½ cm. [F. Champenois, Paris.]
Rennert / Weill 49, Lendl / Paris 69, Mucha / Art Nouveau 50.
Condition B: thick band of darkening across central image; staining in margins; bleached spots in margin, some in image. Mounted on thin board.
Estimate
$3,000 – $4,000
Nover (dates unknown)
PARFUMERIE IDEA. 1900.
54¼x39 inches, 137¾x99 cm. Revon & Cie., Paris.
DFP-II 659.
Condition B: large replaced loss at bottom left margin; small repaired tears, flaking and time-staining in margins; small water stains in image; discoloration in lower image; creases and abrasions in image and along vertical and horizontal folds; reds attenuated. Mounted on old linen.
Estimate
$1,000 – $1,500
Pal (jean de paléologue, 1860-1942)
OLYMPIA / “BRIGHTON.” 1893.
48¼x30½ inches, 122½x77½ cm. Paul Dupont, Paris.
“The Olympia opened in Paris in April of 1893 as the first establishment to call itself a ‘music-hall’ - a term borrowed from British vaudeville which soon made its way into French vocabulary. From the start, the Olympia exploited feminine allure for all it was worth; whatever its various revues were called, they always featured beautiful girls in revealing costumes . . . [Pal] was a perfect choice to create one of the Olympia’s first show posters. His well-proportioned, realistically-drawn beauties projected a sensuality no other posterist could match” (Gold p. 112). The ladies are shown dancing on the British shore, with the Brighton Palace Pier in the background. The children, playing in the rain with their umbrellas, are perhaps a commentary on the British weather, but they also mimic the parasols held by the dancers. Maitres 35, Reims 929, Maindron 99, Gold 162, Femme 63.
Condition B+: replaced losses, repaired tears, creases and restoration in margins; minor foxing and water staining in bottom margin; minor creases and restoration in image.
Estimate
$1,500 – $2,000
Pal (jean de paléologue, 1860-1942)
OLYMPIA / “LA FÉE DES POUPÉES.” 1894.
47¾x31¾ inches, 121¼x80½ cm. Paul Dupont, Paris.
Reims 939, Spectacle 1280.
Condition B: horizontal cut across upper image, near top margin, with repaired tears and small replaced losses. Matted and framed.
Estimate
$800 – $1,200
Francisco tamagno (1851-1933)
EXPOSITION RUSSE / HIPPIQUE ET ETHNOGRAPHIQUE. 1895.
55x38¾ inches, 139¾x98½ cm. Affiches Camis, Paris.
Condition B-: entirely-replaced left margin; repaired tears, creases and restoration in margins and image and along vertical and horizontal folds.
Estimate
$600 – $900
Eugène ogé (1861-1936)
AMIDON RÉMY / GAILLON. Circa 1900.
54x38½ inches, 137x97¾ cm.
Ogé uses the recognizable Pierrot character here to advertise this washing machine soap.
Condition B: entirely-replaced margins; partially-replaced “Y” in title; repaired tears, creases and restoration along vertical and horizontal folds and in image; tax stamp in upper text.
Estimate
$600 – $900
Drinks & Liquor
Francisco tamagno (1851-1933)
LIQUEUR COINTREAU / ANGERS. Circa 1898.
49x36¾ inches, 124½x93¼ cm. Paul Dupont, Paris.
In 1898, Cointreau started their own in-house advertising studio, and hired Tamagno to design their “Pierrot Cointreau” mascot. An affiliate of the Lumiere Brothers featured the Pierrot character in the first ever film commercial. Drink 134 (var).
Condition B-: replaced loss in central right image, including tax stamp; replaced losses, repaired tears, creases and overpainting in margins and image and along vertical and horizontal folds.
Estimate
$700 – $1,000
Leonetto cappiello (1875-1942)
MAURIN QUINA. 1906.
61¾x45½ inches, 156¾x115½ cm. P. Vercasson & Cie., Paris.
Cappiello / Rennert 114, Encyclopedie de l’Affiche p. 61, Drink 85, Cappiello 266, Jenever p. 29.
Condition A / A-: minor abrasions along horizontal crease in upper image.
Estimate
$1,500 – $2,000
Leonetto cappiello (1875-1942)
ANGELUS LIQUEUR. 1907.
26¾x21¼ inches, 68x54 cm. P. Vercasson, Paris.
This is the smaller format. Cappiello / Rennert 120b, Drink p. 52 (var).
Condition A-: minor creases in image. Mounted on board, as issued.
Estimate
$800 – $1,200
Leonetto cappiello (1875-1942)
VERMOUTH MARTINI. Circa 1905.
38x26½ inches, 96½x67¼ cm. Tipografia Teatrale Torinese, Torino.
This is the smaller format, printing for the Italian market. Cappiello / Rennert 235 (var), Drink 93.
Condition A.
Estimate
$1,500 – $2,000
Leonetto cappiello (1875-1942)
CONTRATTO. 1922.
54x37¾ inches, 137x96 cm. Les Nouvelles Affiches Cappiello, Torino.
This is the smallest of three formats. Cappiello / Rennert 366, Drink 158, Posters & Publicity 1928 p. 92, Cappiello / St. Vincent 4.45.
Condition A: minor unobtrusive creases in image. Framed.
Estimate
$2,000 – $3,000
Marcellin auzolle (1862-1942)
CHAMPAGNE MASSÉ / PÈRE & FILS. Circa 1920.
46¼x30¾ inches, 117½x78 cm. Maus, Delhalle & Urban, Paris.
Condition A-: small punch holes and losses in right margin; minor creases in margins.
Estimate
$800 – $1,200
Plinio codognato (1878-1940)
DIONIS / GRAN SPUMANTE. Window card. 1922.
18x12¾ inches, 45¾x32¼ cm. Iste. d’Arti Grafiche, Bergamo.
Condition A: minor abrasions in lower right image. Matted and framed.
Estimate
$1,000 – $1,500
L. conchon (dates unknown)
LIQUEUR DE COUVENT DE STE. BARBE. Circa 1927.
62¼x46½ inches, 158x118 cm. Louis Gallice, Paris.
Condition A-: minor repaired tears at edges; minor abrasions and restoration in image.
Estimate
$800 – $1,200
Mich (michel liebeaux, 1881-1923)
TURIN - SPORT. Circa 1921.
45¾x61½ inches, 116¼x156¼ cm. Publicite Wall, Paris.
Condition B / B-: extensive repaired tears, creases, overpainting and replaced losses in margins and image and along vertical and horizontal folds.
Estimate
$800 – $1,200
Francesco nonni (1885-1976)
FONTE MEO / ACQUA MINERALE NATURALE. 1924.
55x39 inches, 139¾x99 cm. E. Guazzoni, Rome.
Seemingly walking on water, an elegant woman with voluminous red hair and anequally dramatic robe cradles a bottle of mineral water. Although the poster was designed in the Art Deco period, the figure’s gracefully-flowing garment reflects the best Art Nouveau sensibilities. Not in Bolaffi.
Condition A.
Estimate
$4,000 – $6,000
Robys (robert wolff, 1916-1995)
TONI - KOLA. 1935.
78¾x50¾ inches, 200x129 cm. L. Marboeuf, Paris.
Condition B: water staining along bottom margin; creases, abrasion and scuffing in margins and image; sharp horizontal folds; staining at edges.
Estimate
$1,200 – $1,800
Designers unknown
[COCKTAILS / MANHATTANS.] Group of 3 window cards. Circa 1946.
Each 17½x12 inches, 44½x30½ cm. Kelly-Read & Co., Rochester.
Group includes: When in Doubt - A Manhattan; One of our Good Cocktails Will Ring the Dinner Bell for your Appetite; and The Manhattan Cocktail. Images available upon request.
Condition varies, generally B+. Printed on board. Two framed.
Estimate
$700 – $1,000
Designers unknown
[COCKTAILS / MARTINIS.] Group of 4 window cards. Circa 1946.
Each 17½x12 inches, 44½x30½ cm. Kelly-Read & Co., Rochester.
Group includes: The Martini Cocktail Adds Zest to the Meal; Tune Up Your Appetite With a Martini Cocktail; The Martini is Riding the Crest-Wave; and A Harmony - a Properly Mixed Drink.
Condition varies, generally B+. Printed on board. Two framed.
Estimate
$800 – $1,200
Designer unknown
DUBONNET / THE PERFECT CIGAR! Circa 1928.
44x40¼ inches, 111¾x102¼ cm. A.C. Schulz Litho. Co., Milwaukee.
Dubonnet Cigars were manufactured by the American Exchange Cigar Co., in New York. Though most certainly un-related to Dubonnet Liqueur, which dates back to France in the 1840s & was abundantly-advertised, the cigar company must have benefitted from the name recognition.
Condition B+: entirely-replaced bottom margin; minor creases in image. Framed.
Estimate
$500 – $750
Harry morse meyers (1886-1961) & r.c. kaufmann (dates unknown)
PIONEER / [MENSWEAR.] Two posters.
Each approximately 30x19 inches, 76¼x48¼ cm.
Includes Smart Shoulders are Wearing Suspenders by Pioneer, by Meyers, and Born to Go Together / Pioneer Braces - Belts, by Kaufmann.
Condition varies, generally B+ / B. Printed on thick card, buckling slightly. Framed.
Estimate
$700 – $1,000
Bicycles & Automobiles
Frederick winthrop ramsdell (1865-1915)
AMERICAN CRESCENT CYCLES. 1899.
62½x41 inches, 158¾x104 cm. Chaix, Paris.
Ramsdell was an American painter who studied in both New York and Paris, where he was heavily influenced by the Art Nouveau work of Eugene Grasset and Alphonse Mucha. From the fabric of the gown to the lilies caught in the wind, the poster has a stylistic similarity to that of the men who inspired him, yet, at the same time, has an eye-catching, compelling and powerful effect that is very much its own. 100 Bicycles p. 19, Prior Dodge p. 160, Maitres 1900 p. 221.
Condition B+: repaired tears, creases and restoration in margins and image and along vertical and horizontal folds. Framed.
Estimate
$3,000 – $4,000
Pal (jean de paléologue, 1860-1942)
CLÉMENT CYCLES. 1898.
61¼x43½ inches, 155½x110½. Caby & Chardin, Paris.
DFP-II 701, Voici p. 65, Maitres 1900 p. 212.
Condition B+: replaced upper left corner; repaired tears, replaced losses and airbrushing in margins; slight foxing in image. Two-sheets.
Estimate
$1,000 – $1,500
Vincent lorant-heilbronn (1874-?)
CIE DES AUTOS ET CYCLES HURTU. 1903.
42x59 inches, 106¾x150¾ cm. Firmin Didot, Paris.
Salon Auto 19.
Condition A-: minor repaired tears and restoration at edges; minor expert restoration along vertical horizontal folds. Framed.
Estimate
$1,500 – $2,000
Francisco tamagno (1851-1933)
TERROT & CO. / CYCLES MOTORETTES. 1909.
54¼x38¼ inches, 137¾x97 cm. La Lithographie Parisienne Rubin, Paris.
Condition B+ / A-: minor repaired tears at edges; foxing in margins.
Estimate
$4,000 – $6,000
Plinio codognato (1878-1940)
CICLI FIAT. Circa 1910.
77x56¾ inches, 195½x144 cm. Chappuis, Bologna.
After early training as a painter, Codognato dedicated himself to advertising illustration. In 1904, he gained recognition with his design for the Verona Horse Fair and for the next 35 years he designed 150 posters. His style ranged from humorous images, comparable to works by Cappiello and Mauzan, to near-Futurist images of speeding cars and majestic automobiles. He was also closely associated with Fiat, for whom he designed a number of impressive images. This exceptional allegory is open to interpretation, but can be understood as showing Mercury attaching his own wings to a bicycle. Aside from its meaning, it is an extremely rare image, and a magnificent example of the realistic way that Italian graphic designers could combine classical allegories into contemporary advertising. Manifesto 83.
Condition B+: overpainting in upper right corner; repaired tears, creases, abrasions and restoration in margins and image and along vertical and horizontal folds; sharp printers’ creases in lower image; minor foxing in margins. Two-sheets.
Estimate
$12,000 – $18,000
Designer unknown
TRIUMPH CYCLES / COVENTRY. Circa 1929.
60¼x40 inches, 153x101½ cm. David Allen & Sons Ltd., London.
In 1930, Triumph Cycle Co. was renamed the Triumph Motor Company to reflect their new foray into motorcar production. In 1939, the company was divided up, with the bicycle division being sold to ACM of Coventry.
Condition A-: minor expert overpainting and restoration in margins and along unobtrusive vertical and horizontal folds.
Estimate
$800 – $1,200
Georges favre (dates unknown)
PEUGEOT. 1928.
45½x30¾ inches, 115½x78 cm. Gaillard, Paris.
Condition B-: extensive overpainting, repaired tears and restoration in lower text and image; repaired tears, staining, creases and restoration in upper image.
Estimate
$800 – $1,200
Weiluc (lucien henri weil, 1873-1947)
“BAYARD” / A CLÉMENT CONSTRUCTEUR. 1908.
46½x62¼ inches, 118x158 cm. Société Nouvelle d’Art & Décoration, Paris.
2nd Salon Automobile 22.
Condition B+: darkening along left edge, into image; repaired tears at edges; restoration along creases and printers’ creases in margins and image and along vertical and horizontal folds.
Estimate
$3,000 – $4,000
Olaf gulbransson (1873-1958)
ZÜST - AUTOMOBIL AUSSTELLUNG. Circa 1910.
32½x32½ inches, 82½x82½ cm. [C. Wolf, Munich.]
Norwegian-born Gulbransson spent some time in Paris before settling in Munich where he actively worked for the magazine Simplicissimus and occasionally designed posters. Another Simplicissimus artist, Thomas Theodor Heine, had already created a poster for the Zust automobile (using Simplicissimus’ emblematic bulldog, which he, himself, had designed) and it was most likely through him that Gulbransson got this commission. Using his pure, minimalist style with flat colors, he creates a dynamic composition with the massive dark form of the car arriving at the top of a hill in a cloud of smoke and dust. The overall effect is a marvelous combination of masses of color and the interplay of light and shadow. DFP-III 1122, Munchen no. 166.
Condition B / B+: extensive expert overpainting in margins and image and around text; expertly repaired tears at edges, some into image; restoration along vertical and horizontal folds.
Estimate
$2,000 – $3,000
Georges scott (1873-1943)
CITROËN. 1922.
33x24½ inches, 83¾x62¼ cm. Max-Crennitz, Paris.
Condition B+ / B: expert extensive overpainting throughout margins and image; around text and subject; repaired tears and restoration in margins and image.
Estimate
$1,500 – $2,000
Jean des gachons (1871-1951)
GRAND PRIX D’EUROPE / REIMS. 1959.
25½x18¾ inches, 64¾x47½ cm. Debar, Reims.
Condition A-: minor repaired tears and overpainting at edges.
Estimate
$800 – $1,200
Michel beligond (1927-1973)
24 HEURES DU MANS. 1962.
22½x15½ inches, 57¼x39½ cm. Thivillier, Paris.
Condition A / A-: small repaired tear and crease at bottom left edge.
Estimate
$800 – $1,200
D’après neil boyle (1931-2006)
[DAYTONA “500” RACE.] Circa 1970.
35¼x23¾ inches, 89½x60¼ cm. Wynn Oil Company, Azusa, California.
Condition A / A-: small repaired tears and minor restoration at edges; repaired pin holes in corners.
Estimate
$400 – $600
German, Swiss, & European Art Deco
Walter schnackenberg (1880-1961)
DEUTSCHES THEATER. 1910.
47½x35 inches, 120½x89 cm. O. Consée, Munich.
Schnackenberg studied with Franz von Stuck at the academy in Munich, and through his travels was exposed to the work of Toulouse-Lautrec in Paris. The two artists shared a passion for depicting nightlife, cabarets and performers, yet Schnackenberg’s theatrical vision was more attuned to the prevailing German mood than fin-de-siècle Paris. His posters are an incarnation of the extravagance, decadence and morbidity at the center of Weimar-era indulgences. Similarly to Toulouse-Lautrec in Paris, Schnackenberg left behind a visual gallery of the demimonde of Munich’s nightlife; filled with weird performers and dancers. Schnackenberg also worked extensively on theatrical and costume design. This poster is a tribute to Toulouse-Lautrec’s work, with elements of Divan Japonais - the elegant couple looking down at a performer on stage, a nod to Jane Avril, with the high-leg kicking can-can dancer, and to Moulin Rouge, in the people seen in silhouette. Unlike Toulouse-Lautrec, here the typography flows through the image like the performer. Encyclopedie de l’Affiche p. 231.
Condition B: faded; mismatched overpainting along vertical and horizontal folds; repaired tears, creases and restoration in image and along folds; tape at bottom margin; stain in lower text. Framed.
Estimate
$800 – $1,200
Walter schnackenberg (1880-1961)
ERRY & MERRY. 1912.
47¾x36 inches, 121¼x91½ cm. Oscar Consée, Munich.
Rare. Dance Posters 49, Art Deco p. 98.
Condition B: top margin trimmed; restoration along vertical and horizontal folds; colors faded. Framed.
Estimate
$2,000 – $3,000
Kurt schwitters (1887-1948) & theo van doesburg (1883-1931)
KLEINE DADA SOIRÉE. 1922.
11¾x11¾ inches, 30x30 cm.
Late in 1922, Schwitters and van Doesburg planned a small tour around the Netherlands with a traveling Dada show in order to introduce local artists to their work. The initial evening had been scheduled for December 27, but Schwitters had problems with his passport and the first show wasn’t held until January 10. In all, there were 17 separate performances in 8 different locations. The first event was held at the Haagsche Kunstkring in the Hague. The address of the venue is included in the poster’s upper right corner (“Haagsche K.K. Binnenhof 8”). For subsequent performances in other locations, the poster was slightly changed; this address was removed and a small plug for van Doesburg’s Dada magazine, Mécano, was added that read, “Abonnement Mécano F5 per Jaar.” Otherwise, the two versions of the poster are identical. The poster has the event program and Dada slogans - presented in sophisticated disorder using different hand drawn typography and font sizes. “The poster’s discordant appearance reflects the tenor of many Dada evenings” (moma.org/learn). Modern Poster p. 102, Avant Garde p. 38, Berman p. 38.
Condition A: small abrasion at bottom edge; minor creases at corners; tipped down. Paper. Framed.
Estimate
$10,000 – $15,000
R. leidreiter (dates unknown)
DIE STADT OHNE JUDEN. Circa 1924.
27x18 inches, 68½x45¾ cm. Krüger & Co., Berlin.
Die Stadt Ohne Juden [The City Without Jews] (1924), is an expressionist Austrian film by H.K. Breslauer, based on the novel of the same name by Hugo Bettauer. Although it was originally intended as a satirical novel (written by a progressive journalist and writer), responding to the brewing anti-Semitism of the 1920s, it eventually became a unsettling foreshadowing of what was yet to come in Europe. In the film, when the anti-Semitic Chancellor of the Christian Social Party comes to power, he passes a law forcing all Jews to leave the country. Following their departure, the country begins to experience cultural deficits, a suffering economy and unemployment. Eventually the Jews are brought back to Austria, and a parallel love story throughout the novel is also resolved. The film differs from the book in its “happier ending,” with a plot twist that the whole story was actually a dream of an anti-Semite, meant to lessen the controversial impact of the movie. Also, the characters in the book could be identified as actual politicians, but this was altered in the film to avoid censorship. The film was shown in 1926 in Berlin, 1928 in NY, and in 1933, for the last time, in Amsterdam as a protest against Hitler. It then disappeared from the public eye until it was rediscovered in the early 1990s, missing the final scene. The black and white sketch in this rare poster features a giant, ghastly figure forcing throngs of Jews onto the streets and out of the city. This featureless form, though created well before his rise to power, sports side-swept bangs eerily similar to Hitler’s.
Condition B: replaced loss in central image; repaired tears, abrasions, darkening and restoration along vertical and horizontal folds.
Estimate
$4,000 – $6,000
Franziska schlopsnies (1884-1943)
FRÜHJAHRSMODEN - AUSSTELLUNG BEI TIETZ. Circa 1920s.
48½x35¼ inches, 123¼x89½ cm. KID, Munich.
Condition B+: repaired tears, creases and abrasions along vertical and horizontal folds. Framed.
Estimate
$800 – $1,200
Josef fenneker (1895-1956)
LUNA - PARK / HALENSEE. Circa 1920.
55x36 inches, 139¾x91½ cm. Dinse & Eckert, Berlin.
Fenneker’s recognizable style - most famously seen in over 300 movie poster designs - drew largely on German Expressionism combined with a flair of aesthetic decadence. Here, he presents a dramatic view of Berlin’s Luna-Park amusement park, in operation from 1909 to 1933. He designed at least four other alluring posters for the park, each with a glamorous couple against a dark background to emphasize the glow of the pink, yellow and teal details.
Condition B+: expertly-repaired tears at edges, some into image; creases in margins and along horizontal fold; colors attenuated. Framed.
Estimate
$3,000 – $4,000
Richard knab & hans heinrich koch (1896-1977)
CABARETT & TROCADERO / WEIN - MÜNCHEN. 1922.
33x47¾ inches, 83¾x121¼ cm. KID, Munich.
Condition B+: creases, abrasions and restoration in margins and image and along vertical and horizontal folds; small pin holes in right margin. Framed.
Estimate
$1,500 – $2,000
Paul colin (1892-1986)
TABARIN. 1928.
23½x15¼ inches, 57x38¾ cm.
The Bal Tabarin, a popular night club in Montmartre, was opened in 1904 by Auguste Bosc, a composer of some renown in Paris during the “gay nineties.” The club made its reputation with the Belle Époque favorite, the cancan, continuing to perform it long after the First World War, when the craze had all but died elsewhere. In the mid-20s two retired dancers infused the club with new life by introducing the Charleston. The passage of time and the changing trends are all illustrated in a spectacular manner here, with three different women dancing three separate dances all melded into one image. One element is clear among all the different characters in this poster - each is exposing enough skin to tantalize the viewer to attend an event there. This is one of the most sophisticated compositions Colin designed, infused with incredible movements of the various arms and legs, and containing different layers, combining three images into one. Using only three colors, Colin pays a flamboyant tribute to the art of dancing and has created a classic image reflecting the energy of Paris during the Jazz Age. This is the smaller format. Colin 172, Paul Colin et les Spectacles 131, Weill 365, The Poster 263, Reina Sofia p. 35.
Condition B+: small repaired tears, replaced losses and restoration at edges; faded.
Estimate
$1,200 – $1,800
Charles loupot (1892-1962)
LES CIGARETTES MEKKA. 1919.
50x34½ inches, 127x87½ cm. Säuberlin & Pfeiffer, Vevey.
A lavish and vivid scene, in which the bewitching female subject fills the frame with her extravagant fur-trimmed gown (in Loupot’s favorite orange shade). The reading and smoking woman encompasses so much of the composition, that the pillows and hint of wall behind her provides just a subtle backdrop. Even the table beside her seems to be floating over the flowing dress fabric, rather than on the floor and the poster’s text fits comfortably in this solid space. Loupot 53, La Femme 173.
Condition A-: minor creases and rippling in margins and image; small tear in lower right text. Paper. Framed.
Estimate
$15,000 – $20,000
Charles loupot (1892-1962)
CAILLER / CHOCOLAT AU LAIT. 1921.
50x34¾ inches, 127x88¼ cm. Orell Füssli, Zurich.
After studying in Lyon, Loupot fought in the First World War and was wounded. He returned from the front and settled in Lausanne, where his parents were living, and quickly began his successful career as a poster designer. Most of his work was for the fashion and luxury goods industries. His style, a combination of the high-profile Swiss School and his own light French touch, worked very well for the products he was asked to advertise. This poster epitomizes the sophistication that was his visual calling card. The elegant young woman, who has pulled a chocolate bar out of her bag, almost appears to be guiltily sneaking her indulgence. She is dressed in warm colors against a dark background, and through Loupot’s unique handling of lithography, he has made the image and the typography appear to vibrate. Loupot 44, Loupot / Musee de l’Affiche 10, Chocolate p. 60.
Condition B+: repaired tears, creases and restoration in margins and along vertical and horizontal folds; repaired tears at edges, some into image; colors slightly attenuated. Framed.
Estimate
$8,000 – $12,000
Charles loupot (1892-1962)
PKZ / BURGER - KEHL & C. 1921.
49¾x24½ inches, 126¼x62¼ cm. Wolfsberg, Zurich.
A dapper gentleman, holding his cane in the air, stands monumentally in the foreground. He is backed by a painterly, diagonal swath of what could pass for a billowing fire, but is more likely the vibrant autumn foliage – with a few leaves scattered on the ground behind him. Loupot’s use of color – especially his signature orange and complementary blue & green tones, results in an eye-catching, energetic composition. Loupot / Zagrodzki 45, Loupot 14, Loupot Peintres 45, Weill 431, Plakat Schweiz p. 136.
Condition A-: minor creases in margins and image; minor tears at edges. Paper. Framed.
Estimate
$6,000 – $9,000
Charles loupot (1892-1962)
FOURRURES CANTON. Circa 1960.
50x34¾ inches, 127x88¼ cm. R. Marsens, Lausanne.
Bundled up, warm and elegant against the elements, this woman hugs herself within the folds of her luxurious white fur coat against the chill of a blue background. This image for the Swiss furrier was so popular that it was re-used three times since its original creation in 1924. In this, the final incarnation, the woman’s cuffs are purple and magenta. Sports D’Hiver p. 63 (var).
Condition B+: foxing and creases in margins and image; purple faded. Framed.
Estimate
$700 – $1,000
Ocean Liner & Airlines
Felix schwormstädt (1870-1938)
HAMBURG - AMERIKA LINIE / PLEASURE CRUISES. Circa 1904.
41x27 inches, 104x68½ cm. O. Troitzsch, Berlin.
The concept of “Pleasure Cruising,” as opposed to using a steamship to travel from one destination to another, was originated by Albert Ballin, the director of the Hamburg America Line. The first pleasure cruise was a 57-day Mediterranean tour that left Cuxhaven in 1891. While it is impossible to identify the ship on which these elegantly-attired travelers are enjoying a leisurely afternoon, the ship in the background is the Deutschland - the Hamburg America Line’s only four-stacker, whose maiden voyage was in 1900. Schwormstädt was a painter and illustrator who worked for both the Hamburg America Line and North German Lloyd Bremen. This is the English version. Passenger Ships front end-paper (var), Monarchs p. 165, Chemnitz 449, DFP-III 3084 (var).
Condition B: replaced losses and overpainting in margins; repaired tears, creases, abrasions and restoration in margins and image.
Estimate
$2,000 – $3,000
Odin rosenvinge (1880-1957)
SOUTH & EAST AFRICA / UNION - CASTLE LINE. Circa 1930s.
40¼x25½ inches, 102¼x64¾ cm.
The Union-Castle Line, operating between Europe and Africa, was formed by the merger of the Union Line and the Castle Shipping Line. Most of their ships contained the suffix “Castle” in their names. Although the name of this ship is indistinct, it appears to be the Carnarvon Castle, which was launched in 1926.
Condition B: repaired tears from edges into text and central image; creases and restoration in margins and image; horizontal fold. Mounted on thick paper.
Estimate
$800 – $1,200
Jean bouchaud (1891-1977)
THE FAR EAST BY MESSAGERIES MARITIMES. Circa 1930.
38¾x24½ inches, 98½x62¼ cm. Réunis, Paris.
This is the English version.
Condition A: minor restoration at edges.
Estimate
$1,000 – $1,500
Various artists
[REX CONTE DI SAVOIA.] Group of 8 booklets and ephemera.
Sizes vary.
Group includes a folded map diagram of the ocean liner; booklets for “La Prima Classe,” “The First Class,” “La Terza Classe” and “La Classe Turistica;” a small booklet for “Flottes Reunies;” and two postcards from circa 1930s. Images available upon request.
Condition varies, generally A.
Estimate
$500 – $750
Roland ansieau (1901-1987)
STÉ GLE DE TRANSPORTS MARITIMES À VAPEUR.
34½x24¼ inches, 87½x61½ cm. L. Danel, Lille.
Condition B+: small repaired tears and minor restoration in margins; minor restoration along horizontal folds.
Estimate
$800 – $1,200
N. cramer roberts (dates unknown)
DUNGENESS / BY THE ROMNEY, HYTHE AND DYMCHURCH RAILWAY. 1928.
39¾x25 inches, 101x63½ cm. Vincent, Brooks, Day & Son, [London.]
One of two posters the artist designed for the Romney, Hythe and Dymchurch Railway (RHDR), the other featuring stylish passengers boarding a train. "The RHDR was founded in Kent in 1927 as a mainline railway in miniature and became known as 'the World's Smallest Public Railway'" (http://www.scienceandsociety.co.uk/). Furness vol. 5 p. 113.
Condition A: minor restoration at edges.
Estimate
$800 – $1,200
Kay stewart (dates unknown)
FRANCE AFLOAT / TO ENGLAND AND FRANCE / FRENCH LINE. Circa 1938.
39¼x24½ inches, 99¾x62¼ cm. Brown Knight & Truscott Ltd., [Tunbridge Wells.]
What may not be immediately seen in this impressive, Art Deco design featuring a head-on and three-quarters view of the Ile de France, Normandie and Paris, are the shimmering images of the Eiffel Tower and Arc de Triomphe in the waves beneath the stately vessels. The colorful striations in the sky add further unique appeal to the image. Passenger Ships 49.
Condition B: replaced loss and overpainting in upper left corner; repaired tear from top edge into central image; repaired tears and pin holes around edges.
Estimate
$1,500 – $2,000
Paul colin (1892-1986)
CIE. GLE. TRANSATLANTIQUE / FRENCH LINE. Circa 1952.
39x23½ inches, 99x59¾ cm. S.A. Courbet, Paris.
Weallans p. 164.
Condition A.
Estimate
$700 – $1,000
Terry allen (1943- )
FRENCH LINE / CIE. GLE. TRANSATLANTIQUE. 1979.
24x36 inches, 61x91½ cm.
One in a series of seven posters that were designed by contemporary artists to hang in the staterooms of the SS Norway. That ship began life as the SS France and sailed for the French Line from 1961 until 1979, when she was sold to the Norwegian Cruise Line, refitted and renamed. The new owners had these posters commissioned as a tribute to the historic vessel’s illustrious past (among other things, it was the SS France that carried the Mona Lisa in 1962 when the painting went on an American tour). The posters in this series each graphically harken back to an earlier era.
Condition A / A-: minor creases and abrasions in corners; mounted on thick paper, as issued.
Estimate
$800 – $1,200
Designer unknown
THE DUKES - HI THERE! COME DOWN, THAT’S OUR AIR! 1910.
29½x19½ inches, 75x49½ cm. David Allen & Sons Ltd., [London.]
Two Dukes, one grasping a document entitled “Land Revenues” plaintively beseech an airman in a Bleriot XI soaring overhead to vacate “their air.” This clever political poster for the Liberal Party was quite early to capitalize on the new-found technology of heavier-than-air flight. It was only in 1909 that Louis Bleriot flew one of these aircraft successfully over the English Channel for the first time. The figure flying overhead is David Lloyd George, a prominent figure in the Liberal Party and Chancellor of the Exchequer from 1908-1915. He went on to become Prime Minister in 1916. In 1909, he had proposed a “People’s Budget” - taxes on landowners and those with higher incomes (the nobility and aristocracy) in order to fund new social welfare initiatives. It was ultimately passed in 1910 and is considered to be the foundation of the modern welfare state.
Condition B+: repaired tears, tape-staining and pin holes in margins; time-staining in left and bottom margin, into image; creases in image.
Estimate
$600 – $900
Designer unknown
PANAMA AND THE CANAL FROM AN AEROPLANE. 1914.
82¼x82¼ inches, 209x209 cm. Schmidt Litho., San Francisco.
One of at least two posters made promoting this documentary about a 57-minute flight taken on April 27, 1913; the other known image is a much smaller, vertical format piece (see Swann Sale 2467 Lot 298). The text on this poster explains that, “these remarkable pictures were taken by Ray A. Durem from the hydro-aeroplane of the noted aviator Robert G. Fowler under unusual difficulties. Fowler made a daring flight across the isthmus from the Pacific to the Atlantic, so far the only aviator to make the journey. Shortly afterward, President Wilson issued an Executive Order forbidding such flights under heavy penalty. The photographs made on this flight, in themselves a notable achievement in motion photography, are probably the only pictures that will ever be taken of the canal from the air except for purposes of war.”
Condition B+ / A-: minor repaired tears in margins; expertly-repaired tears, creases and minor restoration along vertical and horizontal folds; four-sheets.
Estimate
$4,000 – $6,000
Abram games (1914-1996)
BOAC FLIES TO ALL 6 CONTINENTS. 1952.
39¾x25 inches, 101x63½ cm. The Baynard Press, London.
Born in Whitechapel, London, Abram Games became one of Britain’s foremost graphic artists. Largely self-taught, Games opened his studio in 1936 and before the war, was already designing posters for major clients such as Shell, The London Transport and The National Post-Office. In 1942, he was appointed the “Official War Poster Designer” at the War Office, in which capacity he created more than 100 posters, and became the key person for British war communication. In post-war Britain, competition between the different airlines was fierce, and so, the airline companies hired the best graphic designers in the field, such as F.K. Henrion, Ashley Havinden, and Abram Games, to help them advertise. At the time when Games was creating a series of posters for B.O.A.C., the trend among artists was not to illustrate the actual airplanes (as had been the style in the thirties) but instead to advertise the advantages of flying, such as saved travel time. In order to capture these concepts, the designers created beautiful, symbolic and surrealistically-inspired images that quite poetically captured the abstract concepts they were advertising. Here, an elaborate weathervane seems to indicate the B.O.A.C. can take you to any of the 6 continents, or anywhere the wind blows. It is unclear precisely how many designs Games made for this series, but they are all united by a Surrealist feel and a pale blue and green background with faint clouds. International Posters Annual 1948/49, 1951, 1952, British Aviation Posters p. 123.
Condition B+: minor abrasions at edges and in upper right image; unobtrusive vertical and horizontal folds.
Estimate
$700 – $1,000
Norman weaver (1913-1989)
TAKE TIME OFF TRAVEL / FLY BOAC. Circa 1950s.
30x19½ inches, 76¼x49½ cm. The Baynard Press, [London.]
Weaver was an English photographer, calligrapher and illustrator, who designed posters, as well as book jackets, magazine ads and postage stamps. During World War I, he worked as a cartographer for the Allies and was briefly employed as "General Eisenhower's personal map-maker" (https://www.normanweaver.com/).
Condition A-: small tears and abrasions at edges; crease in upper image. Paper.
Estimate
$700 – $1,000
Tor hinnerud (1920-2005)
SCANDINAVIAN AIRLINES SYSTEM / EVERYWHERE BY AIR. 1950.
38¾x27 inches, 98¾x68½ cm.
Condition B+: replaced losses and overpainting in corners; small repaired tears at edges.
Estimate
$500 – $750
Lewitt-him (jan lewitt, 1907-1991 & jerzy him, 1900-1981)
AOA MAKES TIME GO FURTHER. 1948.
37½x23¾ inches, 95¼x60¼ cm. W.R. Royle & Son., Ltd., London.
Lewitt and Him were both born in Poland and met as young graphic designers. In 1933, they founded the Lewitt-Him studio and later immigrated to England in 1937. Deeply inspired by Surrealist painting, their work often played with words and images. They had an active and successful partnership designing propaganda posters during the war, and in the post-war years working on large campaigns for American Overseas Airways, the General Post Office, the London Underground and others. The two designers parted ways in 1954.
Condition B+: repaired tears at edges, one slightly into lower image; staining, creases and abrasions in margins.
Estimate
$500 – $750
Lewitt-him (jan lewitt, 1907-1991 & jerzy him, 1900-1981)
AOA USA / AMERICAN OVERSEAS AIRLINES. Circa 1948.
37½x23¾ inches, 95¼x60¼ cm. W.R. Royle & Son., Ltd., London.
Condition B+: water stains and small repaired tears in margins; creases and foxing in image.
Estimate
$600 – $900
Lewitt-him (jan lewitt, 1907-1991 & jerzy him, 1900-1981)
AOA USA / AMERICAN OVERSEAS AIRLINES. Two duplicate posters. Circa 1948.
37½x23¾ inches, 95¼x60¼ cm. W.R. Royle & Son., Ltd., London.
Condition varies, generally B+.
Estimate
$600 – $900
Lucien boucher (1889-1971)
AIR FRANCE / [ZODIAC MAP.] 1953.
29x42¾ inches, 73½x108½ cm. Perceval, Paris.
Air France p. 92-93.
Condition A-: expertly-repaired tears and unobtrusive overpainting in margins.
Estimate
$700 – $1,000
Renluc (dates unknown)
AIR FRANCE / ISRAEL. 1951.
39¼x24¼ inches, 99¾x61½ cm. Hubert Baille, Paris.
One of two posters the artist designed promoting Israel as an Air France destination. Not in Air France.
Condition B: repaired tear at bottom edge, into central image; replaced loss in lower right corner, overpainting into image; replaced losses, repaired tears and overpainting at edges; small bleached spot at left edge.
Estimate
$800 – $1,200
Vincent guerra (dates unknown)
AIR FRANCE / PARIS IS TWO THOUSANDS YEARS OLD. 1951.
40x24 inches, 101½x61 cm. Alépée & Cie., Paris.
Not in Air France.
Condition B: replaced losses and overpainting in margins and image; repaired tears at lower left edge; slightly into image.
Estimate
$600 – $900
Georges mathieu (1921-2012)
USA / AIR FRANCE. 1968.
38¾x23¼ inches, 98½x59 cm. Draeger Frères, Paris.
Mathieu’s posters for Air France “illustrate different countries and continents, between the abstract sign that he was in the habit of using and the minimum amount of figuration needed to evoke his themes” (Air France, p. 112). Air France 59.
Condition B+: repaired tears at edges; creases and abrasions at edges and in text and image.
Estimate
$400 – $600
Roger bezombes (1913-1994)
MUR DU SON / AIR FRANCE. 1981.
38¾x23 inches, 98½x58½ cm. Mourlot, France.
From Bezombes’ series of 16 Air France collage posters printed by Mourlot and mailed out in Air Mail cardboard envelopes. This previously-abandoned project by Bezombes, “illustrating concepts and not destinations” was discovered by Jean Signoret when he took control of advertising at Air France (Air France, p. 116). The artist’s references to modern art were originally deemed too modern and unrelatable by the company’s previous management. The series was published in 1981, but having been outshone in the press by the announcement of the new high speed train, it never received much attention (ibid.).
Condition B+: creases and abrasions at edges and in image; metallic sheet attached from verso, as issued.
Estimate
$400 – $600
Designer unknown
RENO / UNITED AIR LINES. Circa 1962.
42x25 inches, 106¾x63½ cm.
Condition A / A-: minor creases and abrasions at edges. Paper.
Estimate
$500 – $750
Fred ludekens (1900-1982)
LOS ANGELES / AMERICAN AIRLINES. Circa 1950s.
40x30 inches, 101½x76¼ cm.
Condition B+: repaired tears, creases and darkening at edges; tape on verso along edges; creases in image. Paper.
Estimate
$1,000 – $1,500
David klein (1918-2005)
LOS ANGELES / FLY TWA SUPERJETS. 1960s.
40x25 inches, 102x64 cm.
Condition A: pin holes in corners. Paper.
Estimate
$800 – $1,200
David klein (1918-2005)
FLY TWA. Group of 8 posters. Circa 1960s.
Each approximately 39½x24½ inches, 100¼x62¼ cm.
Group includes: Africa; Germany; Greece; Hong Kong; Ireland; London; Rome; and Spain. Images available upon request.
Condition varies, generally A. Paper.
Estimate
$1,000 – $1,500
David klein (1918-2005)
PARIS / FLY TWA JETS. Circa 1960s.
39½x24½ inches, 100¼x62¼ cm.
With the “Up up and away” text box at bottom. Airways p. 142.
Condition A: minor abrasions at edges. Paper.
Estimate
$800 – $1,200
Designer unknown
FLY THE PRESIDENT / PAN AMERICAN WORLD AIRWAYS. 1951.
39x24¼ inches, 99x61½ cm.
A text variant of this poster advertises the trip to New York, rather than to London and Paris. Pan Am p. 196 (var).
Condition B: repaired tears and overpainting at top edge and image; repaired tears and restoration at edges and along vertical and horizontal folds.
Estimate
$600 – $900
Henri ott (1919-?)
NEW YORK SWISSAIR. 1951.
39½x24¼ inches, 100¼x61½ cm. Bollman, Zurich.
Condition A-: minor creases and darkening in margins; minor scuffing in upper image. Framed.
Estimate
$400 – $600
Joseph feher (1908-1987)
NEW YORK / UNITED AIR LINES. Circa 1950s.
42x25 inches, 106½x63½ cm.
A Douglas DC-6 flies over New York’s Central Park, showing some of the buildings along 5th Avenue and a corner of the venerable Plaza Hotel. Known as the Skymaster, the DC-6 was an updated version of the DC-4, and “became the Lockheed Constellation’s main competitor” (Fly Now! p. 145). Fly Now! p. 144.
Condition A: small tears and creases at edges. Paper.
Estimate
$1,500 – $2,000
David klein (1918-2005)
FLY TWA. Group of 6 posters. 1960s.
Each approximately 39½x24½ inches, 100¼x62¼ cm.
Group includes: New York; Philadelphia; Las Vegas; Los Angeles; San Francisco; and Washington. Images available upon request.
Condition varies, generally A. Paper.
Estimate
$800 – $1,200
Stanley walter galli (1912-2009)
UNITED AIR LINES / THE GREAT LAKES. Circa 1965.
40½x24¾ inches, 102¾x62¾ cm.
The same image is used with the text for Buffalo.
Condition B+: expert overpainting and restoration in image. Silkscreened text.
Estimate
$600 – $900
Beach & Summer Resort
Friedrich hugo d’alési (1849-1906)
MENTON. Circa 1895.
41¼x29 inches, 104¾x73½ cm. Hugo d’Alési, Paris.
Riviera 110.
Condition B+: overpainting in margins.
Estimate
$600 – $900
Candido aragonese de faria (1849-1911)
CACHAT’S - MAJESTIC / CHAMONIX - MONT - BLANC. Circa 1910.
46½x63 inches, 118x160 cm. Atelier Faria, Paris.
This majestic hotel was the subject of two posters by Faria - this summer image and a sister piece showing a nearly identical view in the winter time. In this version, the gardens are in full bloom, international flags fly from the top of the hotel and couples stroll and get ready to play tennis, surrounded by the splendor of the Alpine region. The building, which still exists, is no longer a hotel but the Chamonix Congress Hall. Alpi 24, Hillion p. 198, Voyage p. 109, Tennis p. 47, Luxusreisen p. 111, L’Affiche Tennis (28).
Condition A: minor creases in image. Framed.
Estimate
$3,000 – $4,000
Designer unknown
PALACE HOTEL POCITOS - MONTEVIDEO. Circa 1930s.
38½x43¾ inches, 97¾x111 cm. Barabino & Graeve, Genova.
The Palace Hotel in Montevideo was originally built in 1896 as a house, the Villa Sara. Tomas Clodomiro de Arteaga, owner of the newspaper La Nación, commissioned the project from Spanish architect Emilio Boix y Merino. It was purchased from the Arteaga family in 1907 by the Italian businessman Jaime Giacomo Molfino, who acquired the adjacent land in order to expand the facilities and transform it into a hotel. The Palace Hotel operated until 1944. Eventually, the property was sold to the Uruguayan State and became the location of the Sanitation Directorate of the Ministry of Public Works. For a time, the building housed units of the Armed Forces, until it was finally demolished in the 1970s.
Condition B: extensively-overpainted text and corners, including image; repaired tears at edges, some into image.
Estimate
$800 – $1,200
Charles pears (1873-1958) & septimus edwin scott (1879-1965)
[RAMSGATE] & [SUNNY RHYL.] Two posters. 1926 & 1927.
Each approximately 39½x50 inches, 100¼x127 cm.
Condition varies, generally B.
Estimate
$2,000 – $3,000
John s. smith (dates unknown)
THORNTON CLEVELEYS / BRITISH RAILWAYS.
39¾x24½ inches, 101x62¼ cm. Charles & Read Ltd., London.
Condition B: creases in margins and image; tape on verso in corners, showing through; mounted on foamcore. Matted and framed without glass.
Estimate
$800 – $1,200
Seriux (dates unknown)
VERANEE EN EL PUERTO DE SANTA MARIA.
36½x24½ inches, 92¾x62¼ cm. Pribec-Jerez.
Condition B+: repaired tears at edges, some into image; minor losses in upper right corner; minor repaired tears and creases at edges.
Estimate
$600 – $900
Achille dal lago (1910-1981)
CATTOLICA / ADRIATICO. 1937.
32¾x22¾ inches, 83x57¾ cm. [Longo & Zoppelli, Treviso.]
Dal Lago, a little-known avant-garde painter, studied at the Academy of Decorative Arts in Monza and then began to follow the teachings of the Futurists; he described in two letters to Depero (in 1937) how he felt the need to move past traditional painting. He designed a handful of travel posters in the 1930s, as well as interiors for several hotels. Adriatico 52, Bolaffi p. 69.
Condition B / B-: margins and printer info entirely trimmed off; stain in lower left text; scratches in lower right corner; reds attenuated. Mounted on thick card stock.
Estimate
$3,000 – $4,000
Mario puppo (1905-1977)
CAPRI / L’ISOLA DEL SOLE. 1952.
39¼x24¼ inches, 99½x61½ cm. A. Pizzi, Milan.
Puppo’s career began in the 1930s and continued well into the 1950s; his style is always marked by his modernist sensibility. Travel Italia p. 115, Italia 162.
Condition A-: minor repaired tears at edges; minor restoration over pin holes in corners.
Estimate
$800 – $1,200
Géo françois (1880-1968)
EVIAN LES BAINS / THE WONDERFUL SAVOY SPA. Circa 1930.
39¾x25 inches, 101x63½ cm. Lucien Serre & Cie., Paris.
Condition A: minor restoration at edges.
Estimate
$1,000 – $1,500
André galland (1886-1965)
ETRETAT. 1929.
39x24½ inches, 99x62¼ cm. Lucien Serre & Cie., Paris.
High atop the chalk cliffs of this small town in Normandy, lies a golf course that was designed in 1908, regarded as having one of the most spectacular views in the world, especially from its 10th hole. On top of the distant cliffs is the Chapelle Notre Dame de la Garde and the monument erected to Nungesser and Coli, two aviators whose airplane disappeared in 1927 as they attempted to make the first east-to-west Atlantic crossing. This motif of sporting equipment in repose in striking landscapes figures into several other well-known posters from the era, most notably in Pierre Commarmond’s 1928 poster for Combloux. Galland studied at the École des Beaux-Arts and at the École des Arts Décoratifs and went on to work as an illustrator for Hachette. He specialized in children’s publications but also designed posters as well as illustrations for other magazines. Although his poster work encompassed political propaganda and product advertising, he is best remembered for the bold colors and appealing designs of his travel posters. He received the Legion of Honor in 1933. Tennis p. 84.
Condition A / A-: minor abrasions at edges and in image.
Estimate
$800 – $1,200
Sandy hook (georges taboureau, 1879-1960)
LES ILES BALÉARES / PAR MARSEILLE. 1934.
39¼x24¼ inches, 99¾x61½ cm. Chaix, Paris.
Condition A: minor abrasions at edges.
Estimate
$800 – $1,200
Various artists
CANNES. Two posters.
Each approximately 39¾x24½ inches, 101x62¼ cm. Robaudy, Cannes.
Includes Cannes / Où le Soleil est Roi, by Guy Serre (Circa 1938), and Cannes / Rendez-Vous de L’Elite Mondiale, by M. Pecnard (1950). Air France 78.
Condition varies, generally B+.
Estimate
$700 – $1,000
Constant nortier (dates unknown)
LA PANNE / SA PLAGE. 1932.
38¼x23½ inches, 97x59¾ cm. Léon Beyaert-Sioen, Courtrai.
Cote Belge 150.
Condition B+: repaired tears, creases, abrasions and restoration along vertical and horizontal folds; minor abrasions in margins and image.
Estimate
$800 – $1,200
Michel bouchaud (dates unknown)
LA PLAGE DE MONTE CARLO. 1929.
47x31½ inches, 119½x80 cm. Publicité Vox, Paris.
A fashionable couple flirts at the confluence of the bay and a pool, beneath a decorative trellis, with the beaches and town in the distance. A highly stylized, delightful Art Deco image, from the woman’s hair to the suggestion of waves in the water. Bouchaud is known to have designed one other poster, for Val d’Esquieres, another waterside resort, but a poster that is far less Art Deco than this scene. He was also a painter and illustrator and designed many album covers. Voyage p. 50, Riviera 214, Affiche Art Deco p. 103, Azur 369, Tourism 94.
Condition B+: minor repaired tears and creases in upper left corner; light foxing in upper margins; slight speckling in bottom margin; light rippling; reds attenuated. Framed.
Estimate
$3,000 – $4,000
Designer unknown
QUESTA ESTATE . . . MONTE CARLO.
38½x24 inches, 97¾x61 cm. Draeger, Paris.
This is the Spanish version.
Condition A-: minor repaired tears at edges; minor creases in image; small bleach spots in upper image.
Estimate
$500 – $750
René gruau (renato de zavagli, 1910-2004)
RELAX . . . / CHARGEURS REUNIS. Circa 1950.
37¾x24½ inches, 96x62¼ cm. Editions Bonsch, [Paris.]
Gruau 6, La Mer p. 257.
Condition A.
Estimate
$1,000 – $1,500
Constantin terechkovitch (1902-1978)
MENTON. Circa 1960.
38½x24¼ inches, 97¾x61½ cm. Mourlot, Paris.
Condition A: minor water staining at bottom right edge. Paper. Framed.
Estimate
$600 – $900
Pablo picasso (1881-1973)
CÔTE D’AZUR. 1962.
39½x26 inches, 100¼x66 cm. Mourlot, Paris.
Azur 31, Czwiklitzer 177.
Condition A. Paper.
Estimate
$1,500 – $2,000
Mike (dates unknown)
WORLD UNDERWATER FISHING CHAMPIONSHIP / MALTA. 1959.
26¼x19½ inches, 66½x49½ cm. Giov. Muscat & Co. Ltd., Malta.
Condition A- / A: minor repaired tears and creases at edges; slight darkening at upper right edge.
Estimate
$600 – $900
Designer unknown
CUBA / TORNEO HEMINGWAY LA HABANA. 1978.
28¾x19¼ inches, 73x48¾ cm. Instituto Nacional de Turismo.
Condition B+: replaced loss and repaired tears in upper right text; minor repaired tears, creases and abrasions in margins and image. Silkscreen.
Estimate
$600 – $900
Ricardo anaya (dates unknown)
CADIZ / FIESTAS TIPICAS GADITANAS. 1963.
36½x24½ inches, 92¾x61½ cm. Pribec-Jerez.
Condition A-: minor repaired tears, creases and restoration in margins.
Estimate
$400 – $600
Howard koslow (1924-2016)
RIO DE JANEIRO. 1963.
37½x24½ inches, 95¼x62¼ cm. Penn Prints, New York.
Condition B+: small replaced losses in top corners; minor repaired tears, creases and abrasions at edges; multiple pin holes at top and bottom margin.
Estimate
$700 – $1,000
Jo kotula (1910-1998)
GENUINE BLUEPOINT OYSTERS.
21½x13¼ inches, 54½x33½ cm. O.G. Carpenter, New York.
Condition A: minor abrasions at edges. Framed.
Estimate
$400 – $600
Designer unknown
MONTAUK BEACH. Circa 1929.
25½x19¾ inches, 65x50 cm. Winchell Publicity Service, New York.
The development of Montauk in the mid-1920s was solely attributed to one rather extraordinary entrepreneur named Carl Fisher. Fisher almost single-handedly transformed Miami Beach into an international destination for America’s wealthiest. In 1925, he turned his attention to Montauk, and purchased the entire area- almost 10,000 acres. His vision was singular: he would create “A Miami of the North,” so the wealthy could live by his slogan, “Miami in the Winter, Montauk in the Summer.” His vast plan included a 200-room luxury hotel (The Manor), golf courses, a boardwalk, facilities for tennis, polo, archery, and golf, fox hunting and much more. He also created a deep harbor for large yachts by blasting an opening from the freshwater Lake Montauk to the sea. We can date this poster between 1929 and 1932 based on the following: on October 24, 1935, the East Hampton Star Newspaper reported that “The first deluxe Pullman Lounge Cars were put in service on the Long Island Railroad in 1929.” Fisher was hit by intense financial difficulties after a hurricane struck his properties in Miami and then in the crash of 1929. By 1932, he was bankrupt and his empire had collapsed. This rare poster, a “Jazz Age” array of characters seemingly straight out of The Great Gatsby, is one of only a few known examples.
Condition A-: minor restoration and minor expert overpainting in margins.
Estimate
$8,000 – $12,000
William p. welsh (1889-1984)
SPEED TO WINTER PLAYGROUNDS IN PULLMAN. 1935.
27x20¼ inches, 68½x51½ cm. Charles Daniel Frey Company, Chicago.
“Between 1935 and 1938, Pullman vice-president James Kelly, who had long been fascinated by European travel posters, commissioned nearly a dozen poster designs by Chicago artist William P. Welsh . . . Welsh had studied at the Academie Julian in Paris and had made a name for himself painting the mural decorations in the Chicago Room of that city’s famed Palmer House . . . [for this series] he bathed his subjects in brilliant color and rendered their surroundings in Art Deco-styled patterns” (Zega p. 109). Most of the images in the series depicted beautiful women engaged in leisurely activities against a geometrically-rendered, nature-inspired background. Zega p. 109, Affiche Art Deco p. 98, Art Directors Annual, January 1, 1936 p. 105.
Condition B: overpainting in left image; expert overpainting in left margin; creases, abrasions and restoration in margins and image; small abrasions at bottom edge.
Estimate
$800 – $1,200
Designer unknown
PRESQUE ISLE / ENJOY PENNSYLVANIA. Circa 1955.
29x21½ inches, 73½x54½ cm. Pennsylvania Department of Commerce, Harrisburg.
Condition A-: minor creases in margins; slight foxing and water stain at bottom right margin. Paper.
Estimate
$600 – $900
Ben nason (1915-?)
THE BERKSHIRES / THE NEW HAVEN RAILROAD. 1942.
42x28 inches, 106¾x71 cm.
Little is known about Ben Nason, a Boston-based designer, who is best remembered for a series of seven posters he designed for the New Haven Railroad, promoting travel throughout New England. MoMA 100.1944.
Condition B+: repaired tears, creases and abrasions in margins and image; minor creases, abrasions and scuffing in image.
Estimate
$600 – $900
Mendoza (dates unknown)
FLORIBBEAN VACATION / JET NATIONAL. Circa 1960s.
41½x28½ inches, 105½x72¼ cm.
Condition A- / B+: restoration and overpainting in corners; minor repaired tears at edges; scuffing in image.
Estimate
$700 – $1,000
Designers unknown
[NEW YORK CITY / SUMMER & SWIMMING.] Group of 4 subway cards.
Each approximately 11½x21 inches, 29¼x53¼ cm.
Group includes: Hotel Murray Hill; Boehm’s Baths and Casino / Staten Island; Keep Cool this Summer . . . Swim in the YMHA; and Hotel Holland / 1 Room Apartments. Images available upon request.
Condition varies, generally B+ / A-. Some paper, some printed on card.
Estimate
$1,000 – $1,500
Designer unknown
THE GIRL FROM JONES BEACH / RONALD REAGAN. 1949.
21x26½ inches, 53¼x67¼ cm.
Condition B+: creases and restoration along sharp vertical and horizontal folds; reds attenuated. Framed.
Estimate
$200 – $300
Frederic mizen (1888-1964)
SUN SPOTS IN THE SOUTHWEST / SANTA FE. Circa 1960.
22x16 inches, 55¾x40½ cm.
Condition A: minor creases. Matted and framed.
Estimate
$700 – $1,000
David klein (1918-2005)
FLORIDA / FLY TWA. Circa 1960.
40¼x24¾ inches, 104¼x62¾ cm.
“Klein’s colorful and energetic designs perfectly represented the personality of the airline and its main proprietor [Howard Hughes.] TWA’s advertising department continued to work with Klein until the late 1960s, resulting in more than fifty unique poster designs” (Huhne p. 56). This image also appears with out the “Florida” text, as well as with the title “Miami.” Huhne p. 66.
Condition A-: minor creases and restoration at edges.
Estimate
$1,000 – $1,500
Designer unknown
FLY TWA THE SUNSHINE WAY / OVER THE SUNNY SANTA FE TRAIL. Circa 1930s.
31x19¼ inches, 78¾x48¾ cm. Transcontinental & Western Air, Inc.
Condition A-: minor creases and abrasions in margins and image. Framed.
Estimate
$800 – $1,200
Miller trembath (dates unknown)
HOTEL SAHARA / LAS VEGAS NEVADA / FLY UNITED AIR LINES.
34¾x23½ inches, 88¼x59¾ cm.
Condition A. Framed.
Estimate
$1,000 – $1,500
Designer unknown
SANTA FE / SOUTHERN CALIFORNIA. Circa 1960.
22x16¼ inches, 55¾x41¾ cm.
Condition A. Matted and framed.
Estimate
$700 – $1,000
Designer unknown
HAWAII.
31¼x21 inches, 79¼x53¼ cm.
Condition A-: minor repaired tears, creases and restoration at edges; small foxing spots in top right corner.
Estimate
$400 – $600
Stanley walter galli (1912-2009)
HAWAII / UNITED AIR LINES. Circa 1955.
40½x25 inches, 102¾x63½ cm.
Airline Identity p. 82.
Condition B+: repaired tears, creases and restoration at edges.
Estimate
$700 – $1,000
Earl newman (1930- )
UNITED STATES SURFBOARD CHAMPIONSHIPS / HUNTINGTON BEACH. 1965.
34½x22½ inches, 87½x57¼ cm.
Newman is best known for designing the posters for the Monterey Jazz Festival every year since 1963, in a style reminiscent of this surfing poster.
Condition A-: replaced loss in lower right corner; minor repaired tears and restoration in margins.
Estimate
$500 – $750
Frank lemen (1902-1985)
BERMUDA / FLY UAL / BOAC. Circa 1952.
36¾x23 inches, 93¼x58½ cm.
Condition A-: slight discoloration in corners; minor creases in margins and image.
Estimate
$1,000 – $1,500
Frank lemen (1902-1985)
BERMUDA. Circa 1952.
38¼x24 inches, 97x61 cm. Mardon, Son & Hall, Ltd., Bristol.
Condition A-: expert overpainting in margins and around text; small repaired tears at edges.
Estimate
$700 – $1,000
Designer unknown
BERMUDA. Circa 1952.
36½x23 inches, 92½x58½ cm.
Condition B+ / B: restored loss in lower left corner; abrasions and restoration in margins and image; entirely-recreated margins.
Estimate
$800 – $1,200
Adolph treidler (1886-1981)
BERMUDA. Circa 1950.
37¾x24¼ inches, 95¾x59½ cm.
Condition B+: extensive expert overpainting in margins and upper background; minor bleach spots in image.
Estimate
$600 – $900
Designer unknown
BERMUDA / FLY BOAC. Circa 1960s.
34¾x16¼ inches, 88¼x41¼ cm.
Condition A.
Estimate
$700 – $1,000
Designer unknown
BERMUDA.
40x28¼ inches, 101½x71¾ cm.
Condition A: minor creases, abrasions and restoration at edges.
Estimate
$400 – $600
Maps & Travel
Designer unknown
RECREATION AND ROMANCE ON LONG ISLAND. 1933.
10¾x24¼ inches, 27¼x61½ cm. General Drafting Co., Inc.
Condition A-: restoration in margins; unobtrusive vertical fold.
Estimate
$600 – $900
Courtland smith (1907-2005)
MAP OF LONG ISLAND. 1961.
19½x26½ inches, 49½x67¼ cm. Gerson Offset Litho Co., Inc., New York.
The original edition of this map by Smith, was printed in 1933.
Condition A: small repaired tears at edges.
Estimate
$800 – $1,200
Paul paige (dates unknown)
A MAP OF CAPE COD. Circa 1940.
26¾x36 inches, 68x91½ cm. East Brewster, Mass.
A promotional map of Cape Cod, surrounded by vignettes of sporting activities, fish and ships (both historical and contemporary). The legend reads, “If you have ever been there, this map is meant for you / To help recall some happy days beside the ocean blue; / Or you can send it to a friend, that they perhaps may see, / Why people love good old Cape Cod, and go there constantly.”
Condition A-: minor expert overpainting in margins.
Estimate
$1,000 – $1,500
Various artists
[ILLUSTRATED MAPS.] Group of 4 posters.
Sizes vary.
Group includes: A Tourist Map of Louisiana (1950s), by Wendt Andry; Bermuda, by Rosemary Fernie; Cape Cod / Christmas Tree Shops (1988), by Janina Lamb; andThe West Indies / The Caribbean Sea (1971), by Oliva Robain. Images available upon request.
Condition varies, generally A / A-.
Estimate
$1,000 – $1,500
Designer unknown
MARTHA’S VINEYARD. 1977.
16¾x21½ inches, 42½x54½ cm. Fred Gardner Company, Inc.
Condition A: unobtrusive vertical and horizontal folds; printing on verso, slightly showing through.
Estimate
$400 – $600
Jo mora (1876-1947)
MAP OF LOS ANGELES / HISTORICAL AND RECREATIONAL. 1942.
31¼x24 inches, 79¼x61 cm. Jo Mora Publications, Monterey.
Mora dedicated this map to his friend Charles F. Lummis, noted Los Angeles industrialist. One variant was printed without the title, and another variant was printed on tan butcher paper. Picturing America p. 136.
Condition A: small tear at bottom edge; minor creases in image. Paper.
Estimate
$1,500 – $2,000
William howell bull (1861-1940)
MONTEREY PENINSULA. 1928.
9¼x24 inches, 23½x61 cm. [Monterey Peninsula Country Club, Del Monte.]
Condition A / A-: minor abrasions along vertical folds; small repaired tears at edges.
Estimate
$500 – $750
Ira moss (dates unknown)
SPORTSMEN’S FISHING MAP OF THE UNITED STATES AND NEIGHBORING WATERS. 1957.
22¼x29¾ inches, 56½x75½ cm. Shorewood Press, New York.
Condition A-: minor abrasions and restoration in margins and along vertical and horizontal folds; small repaired tears at edges.
Estimate
$500 – $750
Designer unknown
LUCHON / LA REINE DES PYRÉNÉES. 1899.
51x34½ inches, 129½x87½ cm. J. Navatel, Nimes.
Pyrenees p. 13.
Condition B+: overpainting in upper right margin; minor replaced losses; slight staining and overpainting in bottom margin; repaired tears, creases and restoration along vertical and horizontal folds; tax stamps in upper right corner.
Estimate
$800 – $1,200
Roger broders (1883-1953)
SAINT - ETIENNE / VILLAGE DE CORNILLON. 1929.
39¼x24¾ inches, 99¾x62¾ cm. Lucien Serre & Cie., Paris.
Rare. Broders p. 57, Perry / Broders p. 50.
Condition A.
Estimate
$1,200 – $1,800
Willy jordan (1902-1971)
FRIBOURG / SWITZERLAND. Circa 1945.
39x25¼ inches, 99x64 cm. Klausfelder S.A. Vevey.
Condition A: minor creases at edges.
Estimate
$800 – $1,200
Georges dorival (1879-1968)
ROME / PAR LA VOIE DU MONT - CENIS.
41½x30 inches, 105½x76¼ cm. Robaudy, Cannes.
The 13 km-long Alpine tunnel through Mont Cenis was completed in 1871, linking France’s department of La Savoie with Italy’s province of Turin. To encourage travelers on what was now a much shorter trip, the French Railway PLM used this evocatively colored image of Roman ruins to lure passengers to the Italian capital. Voyage p. 139, Viaggio in Italia p. 108.
Condition A-: minor creases and abrasions in margins and image.
Estimate
$1,000 – $1,500
Leopoldo metlicovitz (1868-1944)
POLA / VENEZIA GIULIA. Circa 1920.
27¼x39¾ inches, 69¼x101 cm. G. Ricordi & C., Milan.
The Italian State Railways - the Ferrovie dello Stato - was created in 1905, consolidating tracks all over the region. New access to this affordable mode of travel provided the potential for a tourism boom. Travel posters commissioned by the FS were made to “beautify railroad stations while advertising picture-perfect destinations throughout Italy” (Travel Italia p. 12). Metlicovitz’s idyllic scene illustrates the town of Pola (previously “Pula,”) which had been recently acquired by Italy after the collapse of the Austro-Hungarian Empire. Travel Italia p. 12.
Condition A-: minor repaired tears at edges.
Estimate
$1,200 – $1,800
Virgilio retrosi (1892-1975)
PAESTUM. 1950.
39¼x24 inches, 101x61 cm. Di Mauro, Cava.
A student of the Accademia di Belle Arti in Rome, Retrosi was a painter, designer and ceramicist.
Condition B+: foxing and small tears and margins; archival tape on verso. Paper.
Estimate
$500 – $750
Pierre fix-masseau (1905-1994)
VENICE SIMPLON ORIENT - EXPRESS. Group of 10 small format posters. 1985.
Each 19¼x12 inches, 49x30½ cm.
Small posters from a portfolio of 12 prints. Without portfolio case. Images available upon request.
Condition varies, generally A. Each framed.
Estimate
$400 – $600
Jean dupas (1882-1964)
“WHERE IS THIS BOWER BESIDE THE SILVER THAMES?” 1930.
39¾x49½ inches, 101x125¾ cm. Chorley & Pickersgill Ltd., Leeds.
Trained as an academic painter, Dupas’ Neoclassicist style manifested itself in his memorable Mannerist imagery. His signature aesthetic featured extraordinary women with elongated necks in pastoral settings, employing sophisticated layers of shadow and minimal use of color. Dupas’ work, quintessential of the refined and luxurious French Art Deco style, so captivated his contemporaries, that he was called upon to help decorate the interiors of many buildings, public spaces and a mural and glass work for the famed French ocean liner, Normandie. A visitor to Dupas’ studio once noted a quotation from Voltaire pinned to wall: “Decadence is produced by doing things the easy way and by being lazy about doing them well, by being sated with beauty, and by a taste for the bizarre” (French Art Deco p. 90). Plakat Kunst p. 120, Richmond p. 116.
Condition B+: repaired tears, creases and pin holes in margins, some into text; creases and minor abrasions in image. Mounted on thin linen. Framed.
Estimate
$10,000 – $15,000
Frederic henri kay henrion (1914-1990)
HAMPTON COURT / LONDON TRANSPORT. 1956.
39½x24½ inches, 100¼x62¼ cm. J. Weiner Ltd., London.
Modern British Posters p. 47.
Condition B+: repaired tears, creases and restoration at edges and along vertical and horizontal folds; repaired pin holes in corners.
Estimate
$700 – $1,000
Reginald montague lander (1913-1980)
THE ENGLISH LAKES. Circa 1950s.
39¾x49¾ inches, 101x126¼ cm. Waterlow & Sons, Limited, London.
Painter Reginald Lander worked for Government Ministries, British Transport Commission and the Post Office and produced posters for the Great Western Railway, British Railways and London North Eastern Railway. This poster for the London Midland Region is a modern, stylistic image, illustrating the beautiful scenery that awaits the riders traveling with British Railways.
Condition A-: minor repaired tears, creases and abrasions at edges.
Estimate
$400 – $600
Olle nyman (1909-1999)
SKANSEN. 1935.
37x27¼ inches, 94x69¼ cm. J. Olsens, Stockholm.
Skansen is an open-air museum and zoo in Stockholm, founded in 1891 by Artur Hazelius to celebrate everyday life in the provinces of Sweden before the age of industrialism. Fearing that the idyllic days of rural life would be forgotten, Hazelius shipped 150 traditional houses in pieces to the museum grounds to be rebuilt there. “Within the capital, Skansen was quickly established as an excursion over the day, the obvious choice for a free Sunday. In a way, the founder Artur Hazelius changed the whole idea of the attraction by marketing it to the tourist. The concept is now so established that the word Skansen means open-air museum in several languages, including Polish” (Sweden p. 115). Nyman designed a number of posters, although his largest client was Skansen. Here, he depicts the Solliden Restaurant. Sweden 116.
Condition B+: tears, repaired tears, and extensive creases at edges; archival tape on verso; pin holes in corners. Paper.
Estimate
$600 – $900
Designer unknown
AVEC LE TRAIN - VOIE LIBRE. 1968.
38¾x24¼ inches, 98½x61½ cm.
Condition A / A-: minor creases and abrasions at edges.
Estimate
$300 – $400
Fritz zbinden (1922-1983)
DIE BRÜNIGLINIE / LUZERN - INTERLAKEN SCHWEIZ. 1954.
38½x25¼ inches, 97¾x64 cm. Wolfsberg, Zurich.
Condition A: replaced and overpainted lower left corner.
Estimate
$400 – $600
Alain cornic (1920-?)
AFRIQUE EQUATORIALE FRANCAISE. Circa 1955.
46x30¼ inches, 116¾x76¾ cm.
Condition B+: repaired tears, creases and abrasions in margins and image.
Estimate
$600 – $900
Charlas (dates unknown)
AFRIQUE OCCIDENTALE FRANÇAISE. Circa 1950.
38½x22 inches, 97¾x55¾ cm. Alépée & Cie., Paris.
Condition A: minor creases in margins.
Estimate
$400 – $600
Hernando gonzallo villa (1881-1952)
OLYMPIC GAMES / LOS ANGELES, CALIFORNIA / SANTA FE. 1932.
26½x19½ inches, 67¼x49¼ cm. Rand McNally, Chicago.
Villa, who was born in Los Angeles to an artist father, became a painter and taught at the Los Angeles School of Art. He spent 44 years of his career designing advertising for the Santa Fe Railroad. Rare. Sportissimo p. 12.
Condition A / A-: minor creases and abrasions at edges. Paper.
Estimate
$4,000 – $6,000
Various artists
[CALIFORNIA TRAIN TRAVEL.] Group of 3 brochures. Circa 1930.
Each approximately 9x4½ inches, 22¾x11½ cm.
Group includes: Redwood Empire Tour / Southern Pacific and California / Panama Pacific, by Maurice Logan; and Come and Golf in California / Santa Fe, by M.N. Images available upon request.
Condition varies, generally B+ / A-. Folded brochures.
Estimate
$200 – $300
Designer unknown
SANTA FE / SAN FRANCISCO. Circa 1948.
23½x17¼ inches, 59¾x44¾ cm.
Condition B+ / A-: replaced loss in upper right corner; skinning in corners; minor repaired tears and creases in margins; minor creases in image. Framed.
Estimate
$700 – $1,000
Oscar m. bryn (1883-1967)
GRAND CANYON - SANTA FE IS THE ONLY RAILROAD ENTERTAINING THIS NATION. Circa 1949.
22x16¼ inches, 55¾x41¾ cm.
Condition A-: minor creases in margins and image; taped down at corners on recto. Paper. Matted and framed.
Estimate
$500 – $750
Various artists
[SANTA FE RAILROAD.] Group of 7 posters. Circa 1950.
Sizes vary, each approximately 22x16 inches, 55¾x40½ cm.
Group includes: Texas - Famous Brands of the Lone Star State; Red Cliffs - Continental Divide; New Mexico; Santa Fe All the Way; Ten Little Navajos; Carlsbad Caverns; Hopiland; and Land of Pueblos. With - Santa Fe / Western Pacific / Southern Pacific luggage label. Images available upon request.
Condition varies, generally A. Matted and framed.
Estimate
$1,200 – $1,800
Hernando gonzallo villa (1881-1952)
SOUTHWESTERN DUDE RANCHES / SANTA FE. 1949.
22x16 inches, 55¾x40¾ cm.
Condition A: minor creases in image. Matted and framed.
Estimate
$600 – $900
Designer unknown
THE CHIEF WAY / SANTA FE. Circa 1949.
21¼x15½ inches, 54x39¼ cm.
Condition A. Matted and framed.
Estimate
$500 – $750
Designer unknown
UNION PACIFIC RAILROAD. Group of 5 photographic posters. Circa 1940s.
Each approximately 26x36 inches, 66x91½ cm.
Group includes: Grand Canyon National Park / North Rim; Jackson Lake and The Teton Range; Bryce Canyon; Mission San Luis Rey; and Old Faithful Geyser / Yellowstone. Images available upon request.
Condition varies. Paper.
Estimate
$1,000 – $1,500
Maynard dixon (1875-1946)
APACHE TRAIL / SOUTHERN PACIFIC LINES. 1928.
22½x15¾ inches, 57x40 cm.
A Western painter, muralist and illustrator, Dixon created a lot of art and advertising materials for the Southern Pacific Railroad. “The Apache Trail” was a side trip organized by the railroad for travelers on the route to California. Passengers would leave the train and be taken by car “through Arizona’s Salt River Valley made possible by construction of the Roosevelt Dam” (Zega p. 55). Dixon originally designed this image in 1927 for the cover of a brochure advertising the trail. “The Apache Indian posed against colorful, cubist cliffs . . . [has] plastic solidity and strong color relationships [that] give it a decidedly modern flavor” (Dixon p. 153). Dixon 130 (var).
Condition B+: extensive expert overpainting in margins; restoration along creases and pin holes at edges of image.
Estimate
$1,500 – $2,000
Don perceval (1908-1979)
ARIZONA / SANTA FE.
23½x17½ inches, 59¾x44½ cm.
A British-born artist, Perceval moved to Los Angeles as a child, with his artist mother. He was an accomplished artist of Hopi and Navajo subjects, and also completed commercial work for the Santa Fe Railroad.
Condition A-: minor restoration in corners. Framed.
Estimate
$600 – $900
Designer unknown
ROY ROGERS AS / THE ARIZONA KID. 1939.
40½x26¾ inches, 102¾x68 cm. Morgan Litho., Corp., Cleveland.
Condition B+: repaired tears, creases and restoration in margins and along vertical and horizontal folds. Framed.
Estimate
$2,000 – $3,000
Victor beals (1895-1975)
SANTA FE / [TRAIN.]
17¼x23¼ inches, 43¾x59 cm.
Beals designed travel posters for clients such as the Italian Line and Cunard, as well as posters for the Santa Fe Railway.
Condition A-: minor creases in margins and image; small stain in upper right margin. Framed.
Estimate
$400 – $600
Ray bethers (1902-1973)
SOUTHERN ARIZONA / DUDE RANCHES & RESORTS. Circa 1935.
22¼x15¾ inches, 56½x40 cm.
A multi-media artist, known for his engravings and landscape paintings, Bethers was born and raised in Oregon. He later traveled to San Francisco, New York, and Paris to further his studies.
Condition A- / A: small tear at top right edge; diagonal crease in upper left corner. Matted and Framed.
Estimate
$600 – $900
Fred ludekens (1900-1982)
ARIZONA / AMERICAN AIRLINES. Circa 1950s.
39x29 inches, 99x73½ cm.
Ludekens began his artistic career as billboard painter for Foster & Kleiser. He then moved to New York City and joined the advertising firm of Lord & Thomas. In addition to his illustrations, which appeared in The Saturday Evening Post and other magazines, he also specialized in landscapes - apparent in this idyllic scene promoting travel to Arizona.
Condition A. Framed.
Estimate
$600 – $900
Designer unknown
TWA’S ARIZONA / PHOENIX / TUCSON. 1970s.
39¼x25 inches, 99½x63½ cm.
Condition A: minor creases in image.
Estimate
$500 – $750
Austin briggs (1908-1973)
ARIZONA / FLY TWA. Circa 1950.
40x25 inches, 101½x63½ cm.
Condition A-: slight darkening at top and upper right edges and lower left corner. Paper.
Estimate
$500 – $750
Designer unknown
ARIZONA / AMERICAN AIRLINES.
19¾x14½ inches, 50x36¾ cm.
Condition A. Mounted on linen to foamcore. Framed.
Estimate
$200 – $300
Michel kady (1901-1977)
SUNSET ROUTE / BY RAIL AND SEA TO NEW YORK. 1928.
21¾x15 inches, 55¼x38 cm.
Kady was a San Francisco painter who did a lot of illustration work for magazines. He was also the artist of a powerful Red Cross poster in 1949, “Everyone can afford humanity. Give Gladly.”
Condition B+: restoration along sharp diagonal fold in lower right image; repaired pin holes in corners; mounted on linen to foamcore; reds faded. Framed.
Estimate
$600 – $900
Ray bethers (1902-1973)
WEST COAST OF MEXICO / SOUTHERN PACIFIC. Circa 1935.
22¼x15¾ inches, 56½x40 cm.
Condition A. Matted and framed.
Estimate
$500 – $750
Designer unknown
SEE BOULDER DAM / NEW YORK CENTRAL SYSTEM. Circa 1937.
40x26¼ inches, 101½x66½ cm.
An exceptional and early image of North America’s most famous dam, in which the technical details of the structure stand out amidst the simple rendering of the surrounding mountains and the distant Lake Mead. Construction of the dam was completed in 1936 and it was known as Boulder Dam until 1947, when Congress passed a resolution renaming the dam after President Herbert Hoover. This exact image was shared by several companies, as versions exist for the New York Central Line and the Union Pacific Railroad; for the latter, “Union Pacific Railroad ‘The Boulder Dam Route’” is printed at the bottom.
Condition B+: repaired tear at top left edge, into text; creases, repaired pin holes and slight time-staining in margins; unobtrusive horizontal fold. Framed.
Estimate
$1,200 – $1,800
Charles w. holmes (dates unknown)
THE BOAT TRAIN / BOSTON AND MAINE. Circa 1932.
43¾x28¾ inches, 111¼x73 cm. University Press, Cambridge, Mass.
Railway Age magazine reported in June 1932, that “‘Boat Trains’ from interior New England points in New Hampshire, Massachusetts, Vermont and Maine, operating direct to the gang planks of ocean liners, which will cruise at sea for nearly eight hours, and yet make it possible for passengers to be back at their homes the same day, will be introduced by Boston and Maine Railroad commencing on Sunday, June 26 . . . a sort of summer-time reverse movement of the now famous ‘snow train’” (Railway Age, p. 46). The vessel pictured is the Eastern Steamship Lines’ Evangeline, which went into service in 1927.
Condition B: repaired tear from bottom edge into central image; minor repaired tears and restoration in margins.
Estimate
$1,000 – $1,500
Leslie ragan (1897-1972)
TWILIGHT ON THE HUDSON RIVER. Calendar back. Circa 1940.
18x15 inches, 45¾x38 cm.
Condition B+ / A-: expertly-replaced top margin; small replaced losses and repaired tears in margins. Framed.
Estimate
$800 – $1,200
Sports & Olympics
Franz würbel (1896-?)
OLYMPIC GAMES / BERLIN. 1936.
39¾x24¼ inches, 101x61½ cm. Reichsbahnzentrale fur den Deutschen Reiseverkehr, Berlin.
The official poster of the 1936 Olympic Games, Würbel’s poster “was designed to dominate and impress . . . [and] met the threefold objective of indicating the importance of the Olympiad, proclaiming Berlin as the host city and publicizing the Games in an effective and internationally understandable manner” (Olympic Posters p. 45). This is the English version. Olympics p. 45, Olympic Posters p. 46, Le Sport 92 (var), Art Deco Graphics p. 105 (var).
Condition B+: expert overpainting in lower image around text and in top corners; repaired tear at left edge, into image.
Estimate
$2,000 – $3,000
Designer unknown
HOCKEY / FEDERAZIONE ITALIANO. Circa 1960.
32¼x27¼ inches, 82x69¼ cm.
An eye-catching work in which hockey players are skillfully rendered in saturated colors. The different colored outlines and strokes of color also add to the poster’s effectiveness. The Federazione Italiana Hockey e Pattinaggio is the Italian governing body for all sports involving skating and hockey, and they likely printed this image in conjunction with the 1960 Olympic Games in Rome. This poster was originally printed with a blank panel at the bottom, intended to be filled with the time and date of an upcoming match. This poster is occasionally misattributed to Corrado Mancioli, who designed a poster for the same organization in the late-1930s.
Condition A-: minor repaired tears at edges; repaired pin holes in corners.
Estimate
$600 – $900
Various artists
[TENNIS & GOLF.] Group of 7 posters.
Sizes vary.
Group includes: Tennis Club / Bray Dunes; Tennis Ici Leçons / Ricard; [Tennis]; Phoenix / United Airlines; The Daily Telegraph / Read Michael Williams; Vichy / Mai - Octobre; and Coupe Davis. Images available upon request.
Condition varies.
Estimate
$600 – $900
Various artists
THE BRIDGE TO THE FUTURE / [SAN FRANCISCO OLYMPIC GAMES.] Group of 13 posters. 2012.
Sizes vary, each approximately 36½x24 inches, 92¾x61 cm.
An exceptional series of contemporary graphic design, aimed at bringing the Olympic Games to the Bay Area in 2012. The Bridge to the Future original poster series consists of commemorative posters by twelve nationally renowned artists in support of San Francisco Bay Area’s bid for the 2012 Olympic Games. Artists include Primo Angeli, Sharrie Brooks, David Lance Goines, Kit Hinrichs, Michael Mabry, Jennifer Morla, Jean Orlebeke, Ward Schumaker, Michael Schwab, Todd Simmons, Samuel Smidt, Michael Vanderbyl and Min Wang. Images available upon request.
Condition varies, generally A. All but one hand-signed, dated and numbered 13/112. Paper.
Estimate
$3,000 – $4,000
Mather Work Incentive
Designer unknown
“MANANA” RUINED THE SPANIARD! / TOMORROW NEVER COMES! 1924.
47x35¼ inches, 119¼x89½ cm. Mather & Company, Chicago.
Condition B+: creases and restoration in bottom left corner, into text; minor repaired tears at edges; punch holes in top and bottom, as issued. Paper. Framed.
Estimate
$1,000 – $1,500
Designer unknown
SHIRKERS PULL US ALL DOWN. 1924.
48x36 inches, 122x91½ cm. Mather & Company, Chicago.
Condition A-: creases in margins and image. Matted and framed.
Estimate
$800 – $1,200
Designer unknown
I’M GLAD TO GET TO WORK WITH THAT MAN / WE GET THINGS DONE. 1924.
48x36 inches, 122x91½ cm. Mather & Company, Chicago.
Condition B+: repaired tears at edges, some into image; replaced losses at edges of image; replaced punch holes at top. Matted and framed.
Estimate
$1,000 – $1,500
Designer unknown
I - ME - MY - MINE IS NOT HARMONY / LET’S HARMONIZE! 1925.
48x36 inches, 122x91½ cm. Mather & Company, Chicago.
Condition A. Matted and framed.
Estimate
$1,500 – $2,000
Designer unknown
BE A TIGHT WAD! OWN SOMETHING! 1925.
48x36 inches, 122x91 cm. Mather & Company, Chicago.
Condition A-: replaced punch holes at top; minor repaired tears at edges; minor creases in image. Matted and framed.
Estimate
$2,000 – $3,000
Designer unknown
FUNNY? / LET’S THINK TWICE. 1929.
43¾x35¾ inches, 111x90¾ cm. Mather & Company, Chicago.
Condition A-: minor creases in margins and image. Matted and framed.
Estimate
$1,200 – $1,800
Designer unknown
WHY BOW YOUR BACK? / LET’S AGREE TO AGREE. 1929.
43¾x36 inches, 112x92 cm. Mather & Company, Chicago.
Condition A / A-: minor creases in margins and image. Matted and framed.
Estimate
$600 – $900
Willard frederic elmes (1900-1956)
WATCH YOUR STEP! / BE TACTFUL. 1929.
43½x 36½ inches, 110½x92¾ cm. Mather & Company, Chicago.
Condition B+: replaced losses in image; repaired tears at edges; colors attenuated. Matted and framed.
Estimate
$1,000 – $1,500
Designer unknown
WHAT’S YOUR SCORE? / EVERYBODY LIKES THE SNAPPY WORKER. 1929.
44x36 inches, 111¾x91½ cm. Mather & Company, Chicago.
Tennis p. 14, L’Affiche Tennis 69.
Condition A. Matted and framed.
Estimate
$2,000 – $3,000
Designer unknown
SPIKE IT! / APPROVE OR IMPROVE. 1929.
43¾x36 inches, 111x91½ cm. Mather & Company, Chicago.
Condition A / A-: repaired tear in lower left image. Matted and framed.
Estimate
$800 – $1,200
Designer unknown
WHO SAID ‘CAN’T’? / TRY TRYING. 1929.
43¾x36 inches, 111x91½ cm. Mather & Company, Chicago.
Looping the Loop 16.
Condition B: repaired tears in margins, some into text and image; creases and overpainting in margins and image. Matted and framed.
Estimate
$3,500 – $4,500
Products & Exhibition
P. dumont (dates unknown)
GRANDIN RADIO. Circa 1950s.
31¼x47¼ inches, 79½x120 cm. Chaufour, [Paris.]
Condition B+: tears, small losses, creases and abrasions in margins; creases and vertical folds in image. Paper.
Estimate
$500 – $750
Robert falcucci (1900-1989)
DMC. Circa 1930s.
60½x44 inches, 153½x111¾ cm. Vasselais, Paris.
Falcucci’s career spanned multiple decades and several thematic milieux, some of his best works being for automobile companies. Essentially an “object poster” for the DMC thread company (still in business today), in line with his other product advertisements of the 30s, is punctuated by bright colors on black backgrounds, conveying the effect of a neon sign.
Condition B+: expertly-repaired tears at edges, some into upper image; minor creases and restoration at edges.
Estimate
$800 – $1,200
Saul steinberg (1914-1999)
[FABRIC PATTERNS / HORSES & THE WEDDING.] Group of 3 garment bags, 7 small pillow cases & bolt of silk fabric. 1950-1951.
Roll is 199½x39¼ inches, 506¾x99½ cm. Piazza Prints, New York.
Romanian-born Steinberg is best known for his nearly six-decade-long relationship with The New Yorker. Beginning in the 1940s, Steinberg also designed patterns for commercial textile companies in New York that recognized the appeal and salability of his imaginative artwork. He created textiles for Patterson Fabrics, printed wallpaper for the company’s affiliate, Piazza Prints, and produced at least one design for Greeff Fabrics. Images available upon request.
Condition varies, generally B+: slight edge-staining on fabric roll; two garment bags with zippers, one with ink bleeding into image.
Estimate
$3,000 – $4,000
Bernard villemot (1911-1989)
AÉRONAUTIQUE ESPACE / 28E SALON INTERNATIONAL. 1969.
61¾x46 inches, 158¾x116¾ cm. Publivit R.C., Seine.
Bon Salle 205, Bazin 222.
Condition A-: minor creases and scuffing in image; minor repaired tears at edges.
Estimate
$1,200 – $1,800
Marc chagall (1887-1985) & pablo picasso (1881-1973)
[ART EXHIBITIONS.] Group of 4 posters. 1966-1977.
Sizes vary, each approximately 29¾x18¾ inches, 75½x47½ cm. Mourlot, Paris.
Group includes: Hommage à Chagall / Galerie de la Marine (1967), Grand Palais (1970), and Peintures Bibliques Récentes (1977) by Chagall; and Picasso 85 Gravures / Berggruen (1966) by Picasso.
Condition varies, generally A- / A. Paper.
Estimate
$1,000 – $1,500
Various artists
INTERNATIONAL DESIGN CONFERENCE IN ASPEN. Group of 7 items. 1965-1984.
Sizes vary.
Group includes: full-size poster, booklets & intro in box by John Massey for “The New World” (1965); three programs in Paul Rand folder and list of speakers with Rand cover for “Sources and Resources of 20th Century Design” (1966); fold-out mailer by John Massey for “Environment by Design” (1970); program by Rand for “The Prepared Professional” (1982); and fold-invitation/poster by Grapus for “Neighbors: Canada, Mexico and the U.S.” (1984). Images available upon request.
Condition varies, generally A.
Estimate
$600 – $900
Signature unknown
AMERIKA BYGGER / UTSTILLING I KUNSTINDUSTRIMUSEET.
26¾x18¾ inches, 68x37½ cm.
A poster for one of Denmark’s post-World War II annual exhibitions of American design.
Condition A-: minor repaired tears at edges; repaired pin holes in corners.
Estimate
$600 – $900
Randy tuten (1946- ) & william bostedt (“daddy bread,” 1945-1998)
LED ZEPPELIN / OAKLAND STADIUM. 1977.
28x19¼ inches, 71x49 cm. Tea Lautrec Litho, San Francisco.
“This Led Zeppelin concert is famous for a behind-the-scenes scuffle that sent some of the Bill Graham staff to the hospital and further deepened the dislike that Graham had for Led Zeppelin and its personal security force” (Classicposters.com). This poster also represents the band’s last live U.S. concert before the remainder of the tour was cancelled. A futuristic and surreal feat of design, this is the rare original printing.
Condition B+ / A-: creases and abrasions at edges and in image. Paper.
Estimate
$1,200 – $1,800
Paul colin (1892-1986)
PAUL COLIN / INGLETT - WATSON. Group of 3 posters. 1979.
Each approximately 23¼x15 inches, 59x38 cm. Deprest, Paris.
Group includes the finished poster with text (signed), the image without text, and the image with templated text. Images available upon request.
Condition B+ / A-: small repaired tears at edges; archival tape on verso; one hand-signed by the artist in marker. Paper.
Estimate
$500 – $750
David hockney (1937- )
METROPOLITAN OPERA / PARADE. 1981.
80x40½ inches, 203¼x103 cm. Petersburg Press, [London.]
Hockney, who is admired and collected as a contemporary artist, made brilliant contributions to the world of opera, as a stage and costume designer. He also designed numerous posters. Beginning in 1975 with his work for Stravinksy’s The Rake’s Progress, until 1990 when he worked on Turandot, Hockney worked for the major opera houses. Among his most memorable productions were Mozart’s Magic Flute and Wagner’s Tristan and Isolde. His collaboration with the Metropolitan Opera on Eric Satie’s Parade is best-represented by this poster. The image, with Hockney’s neo-pop décor and costumes, showcases a juggler whose contortions fit eye-catchingly into the poster’s elongated format. If the opera itself is not so popular, this image has become a classic. Hockney 94.
Condition B+: small losses, creases and water stains in margins. Silkscreen. Printed on thick paper. Framed.
Estimate
$1,200 – $1,800
Various artists
ART / ARTIST RIGHTS TODAY. Group of 3 posters. 1986-1987.
Each 26x20 inches, 66x50¾ cm.
Artist Rights Today (A.R.T., Inc.) was a collaborative effort of artists to reclaim legal rights to their work, specifically poster artists who produced advertisements for organizations like the Avalon Ballroom and Family Dog in the 1960s. These are three of four posters made for A.R.T., Inc. benefit events in the late 80s. The design of each poster was in itself a collaborative effort by five of the most famous and successful artists of the psychedelic era: Wes Wilson, Stanley Mouse, Alton Kelley, Rick Griffin and Victor Moscoso. Each poster in the series was printed both as a lithograph and as a limited-edition of 350 silkscreen prints. This is an example of the latter, more rare prints, hand-signed by each of the artists.
Condition A. Each hand-signed by all five artists in pencil, and numbered 43/350. Paper.
Estimate
$2,500 – $3,500
Logo by rob janoff (1953- )
APPLE. Circa 1985.
31½x22¾ inches, 80x57¾ cm. Apple Computer Inc.
This variant was printed in France.
Condition A-: minor creases at edges; small stains at bottom. Paper.