Vintage Posters
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Administrator & Client Relations
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George S. Lowry
Chairman
Nicholas D. Lowry
President, Principal Auctioneer
924899
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Vice President & Controller
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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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Client Accounting
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Operations Manager
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Kelsie Jankowski
Communications Manager
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World War I & World War II (1-139)
Richard fayerweather babcock (1887-1954)
JOIN THE NAVY / THE SERVICE FOR FIGHTING MEN. 1917.
41½x28¼ inches, 105½x71¾ 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+: tears, repaired tears and creases at margins; foxing in bottom left corner; creases in image; recruiting ink stamp in bottom margin. Paper.
Estimate
$1,000 – $1,500
Frank brangwyn (1867-1956)
SAILORS’ & SOLDIERS’ TOBACCO FUND. 1915.
59¼x38¾ inches, 150½x98½ cm. The Avenue Press, Ltd., London.
Rickards 202.
Condition B+: small losses in margins and text; repaired tears, creases, abrasions and skinning in margins and image. Mounted on thin linen. Framed.
Estimate
$500 – $750
Laura brey (1891-1980)
ENLIST / ON WHICH SIDE OF THE WINDOW ARE YOU? 1917.
38¾x26 inches, 98½x66 cm. National Printing & Eng. Co., Chicago.
A young man in a suit (perhaps a student) is watching a column of soldiers marching past his window. “The window – a poster within the poster – separates the bright male world of waving flags and marching columns from the darkened interior feminine space . . . [exploiting] men’s anxiety over their masculinity by suggesting the effeminacy of the man who does not enlist” (Paret p. 56). Paret 75, Rawls p. 82, Theofiles 10, Borkan p. 44, Picture This fig. 48.
Condition A-: minor creases in image; pin holes at corners and edges; small tear at upper margin; two ink stamps in image. Paper.
Estimate
$1,000 – $1,500
Charles chambers (1883-1941)
FOOD WILL WIN THE WAR. 1918.
29¾x19¾ inches, 75½x50 ¼ cm. Rusling Wood Litho., New York.
Published by the U.S. Food Administration, this poster reminds immigrants of the beauty, promise and joy of arriving in New York harbor (optimistically rendered here with a red, white and blue rainbow and golden buildings) in an appeal for them to help their adopted country save food to feed the Allies. “The central figure, with one hand firmly placed on a food basket, motions with his other hand toward a ship being loaded – a gesture that impresses the viewer with the urgency of providing food for Europe.” (Magnes p. 48) To reach as broad an immigrant base as possible, this poster appeared in several different languages including English, Yiddish, Italian and Hungarian. This is the English version. Magnes p. 49, Rawls p. 113, Theofiles p. 94 (var), Borkan p. 60, Gallo p. 92.
Condition B+: repaired tears at edges, some slightly into image; minor creases and restoration in margins and along vertical and horizontal folds; repaired pin holes in corners.
Estimate
$800 – $1,200
Charles chambers (1883-1941)
[FOOD WILL WIN THE WAR]. 1918.
29¾x19¾ inches, 75½x50¼ cm. Rusling Wood Litho., New York.
This is the Italian version. Magnes p. 49, Rawls p. 113, Theofiles p. 94 (var), Borkan p. 60, Gallo p. 92.
Condition B+: minor replaced losses, repaired tears and restoration in margins.
Estimate
$800 – $1,200
Designer unknown
WHENCE SHALL COME OUR AID? / CENTRAL COMMITTEE FOR THE RELIEF OF THE JEWS SUFFERING THROUGH THE WAR.
19¾x12¾ inches, 50x32¼ cm. New York.
This poster was part of a fundraising effort of Joint Distribution Committee of American Funds for the Relief of Jewish War Sufferers (JDC). Founded in 1914, the JDC raised an estimated $16.5 million by the end of World War I to support war-torn Jewish communities in Europe, funding humanitarian aid efforts such as food distribution, medical care and housing.
Condition B: extensive repaired tears, overpainting, creases and rippling in margins and image.
Estimate
$1,200 – $1,800
Howard chandler christy (1872-1952)
[WORLD WAR I]. Group of 3 posters. 1918-1919.
Sizes vary.
Group includes: Patriotic League (1918); Clear-The-Way-!! (1918); and Americans All! / Victory Liberty Loan (1919). Images available upon request.
Condition varies, generally B+. Paper.
Estimate
$500 – $750
Howard chandler christy (1872-1952)
GEE!! I WISH I WERE A MAN / I’D JOIN THE NAVY, NAVAL RESERVE OR COAST GUARD. 1918.
40x26 inches, 101½x66 cm.
A pretty sailor, the wind blowing her uniform, is staring longingly at her desired destiny. The image is a classic, sophisticated appeal for all the maritime branches of the service in which the implicit sexual innuendo is palpable and persuasive. Christy successfully used fetching women in most of his war posters, declaring “that his uniformed models represented the all-American girl a soldier dreams of coming home to, wholesome, outdoorsy, alluring” (Meehan cat. 15). He must have hit a nerve, as these images succeeded in seducing many men into the service. Two separate versions of this poster exist (see next lot). Rawls p. 80, Theofiles p. 46, Weill 216, Darracott 5 (var), Rickards 32 (var), Borkan p. 24, War Posters p. 86.
Condition B-: extensive repaired tears from edges, into central image; staining along repaired tear in upper image and along tape stains. Framed.
Estimate
$600 – $900
Howard chandler christy (1872-1952)
GEE!! I WISH I WERE A MAN / I’D JOIN THE NAVY. 1918.
40¾x26½ inches, 103½x67¼ cm.
One of two posters by Christy featuring this particular beauty (see previous lot). 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!” Rawls p. 80, Theofiles p. 46, Weill 216, Darracott 5, Rickards 32, Borkan p. 24.
Condition B: replaced losses, repaired tears, extensive creases and foxing in margins and image. Framed.
Estimate
$1,500 – $2,000
Howard chandler christy (1872-1952)
IF YOU WANT TO FIGHT! / JOIN THE MARINES. 1915.
40¼x30 inches, 102¼x76¼ cm.
An early sexy, taunting, challenging 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 B+: repaired tears and creases at edges and horizontal fold; minor creases in text and image; minor overpainting at edges.
Estimate
$1,000 – $1,500
Howard chandler christy (1872-1952)
I WANT YOU FOR THE NAVY. 1917.
40¾x26 inches, 103½x66 cm. Forbes, Boston.
Christy’s wartime beauty is a more seductive and less forceful plea than Flagg’s “I Want You” poster, appealing to baser instincts than patriotism and guilt. “Sexual provocation was the essence of the Christy girl recruiting posters.” (Paret p. 56). Borkan p. 24, Paret 74, IWM I p. 21, Rawls p. 78.
Condition B+: creases and abrasions in margins and image; small replaced losses and repaired pin holes in top margin. Framed.
Estimate
$1,200 – $1,800
Howard chandler christy (1872-1952)
POLICE FIELD DAYS. 1920.
29¾x19¾ inches, 75½x50 cm.
A rare image.
Condition B-: extensive replaced losses, overpainting and restoration in text and image.
Estimate
$800 – $1,200
Howard chandler christy (1872-1952)
AVIATION / FLY WITH THE U.S. MARINES. 1920.
38¼x28¾ inches, 97¼x73 cm.
An airborne marine is riding on the back of a giant eagle, soaring over a bi-plane emblazoned with the Marine Corps emblem. The rarest of all of Christy’s posters, this is also the only one to feature a man on his own. Rawls p. 181, Borkan p. 42.
Condition B+ / A-: small repaired tears and overpainting in margins; creases and small abrasions in margins and image.
Estimate
$7,000 – $10,000
Designer unknown
JOIN THE AIR SERVICE / LEARN - EARN. Circa 1918.
30x20 inches; 76¼x51 cm. Forbes, Boston.
The roots of America’s present day Air Force extend back to August 1, 1907, when the U. S. Army Signal Corps established a small aeronautical division. When World War I began, in 1914, the extent of the American Air Force was “12 officers, 54 enlisted men and six aircraft” (http://www.af.mil/history/overview.shtml). On May 24, 1918, President Wilson removed responsibility for American military aviation from the Signal Corps and placed it within two agencies under the supervision of the U.S. Army: the Bureau of Aircraft Production and the Division of Military Aeronautics. These two branches were officially recognized as the U.S. Army Air Service. Rawls 174, Theofiles 28.
Condition B+ / A-: creases and minor tears at edges; sharp fold at upper right, through text; creases in image. Paper.
Estimate
$1,200 – $1,800
Warren keith (dates unknown)
JOIN THE AIR SERVICE / “GIVE ‘ER THE GUN.” Circa 1918.
30x20 inches, 76¼x50¾ cm. Edwards & Deutsch Litho. Co., Chicago.
With SS-3 airships and bi-planes circling overhead, American pilots are getting ready to take off from a British airfield. The motto “give ‘er the gun” was incorporated into the official Army Air Corps song in 1938. Rawls p. 176, Theofiles 29.
Condition B+ / A-: tears and creases at edges, pin holes in upper corners, creases in image; ink stamps in image. Paper.
Estimate
$700 – $1,000
J. paul verrees (1889-1942)
JOIN THE AIR SERVICE AND SERVE IN FRANCE. 1917.
42½x24¾ inches, 108x63 cm. Ketterlinus, Philadelphia.
During World War I “The Army Air Service [the precursor to the Air Force], like the Navy, was dependent on recruiting. Only the Army itself had a selective enlistment system. Rawls p. 179, IWM p. 57, Theofiles pl. C7, Borkan p. 41.
Condition B+: tears and repaired tears at edges and in text banner; creases and rippling in image; text banner affixed at bottom. Paper.
Estimate
$1,000 – $1,500
Charles livingston bull (1874-1932)
JOIN THE ARMY AIR SERVICE / BE AN AMERICAN EAGLE! Circa 1917.
31¾x20¾ inches, 80¾x52¾ cm. Alpha Litho Co. Inc., New York.
An action-filled allegorical image in which the flying predatory icons of two major world powers, the American Eagle and a German Black Eagle, square off in the sky amidst a squadron of biplanes. Rawls p. 173, Theofiles p. 35, Borkan p. 41, War Posters 116, Pollack 12.
Condition B+: tears and repaired tears at edges, some affecting text; minor creases and printer’s creases in image and along vertical and horizontal folds; pencil notation in right image; text banner affixed at bottom. Paper.
Estimate
$1,200 – $1,800
L.n. britton (1858-1934)
WARNING! / CONSIDER THE POSSIBLE CONSEQUENCES IF YOU ARE CARELESS IN YOUR WORK. Circa 1917.
41¼x28¼ inches, 105x72 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+ / A-: tears and creases at edges; small loss in upper left corner; horizontal fold. Paper.
Estimate
$6,000 – $9,000
Designer unknown
U.S. NAVAL AVIATION. Circa 1920.
41¼x26¼ inches, 104¾x66½ cm. Schmidt Lithograph Co., San Francisco.
The United States Navy ordered its first airplanes on May 8th, 1911, a day that is considered to be the beginning of U.S. Naval Aviation. Most of their earliest planes were Curtiss Flying Boats, and the aircraft depicted here appears to be a Curtiss HS-2L, a single engine version of the larger, twin-engine H-16. This rare depiction of early U.S. military aviation is infused with the kind of glamor and romance that bespeaks a world at peace, leading us to date the poster from the years after World War I. Its scarcity can be explained by the fact that it was printed in California, and likely was not distributed nationally. Rawls p. 256.
Condition B+: repaired tears at edges, some into lower text; repaired tear in upper right image; minor abrasions at edges.
Estimate
$6,000 – $9,000
Various artists
[WORLD WAR I / AVIATION]. Group of 5 small format plates. Circa 1914-1918.
Each 12¾x9¼ inches, 32½x23½ cm.
From publication “MOTOR”. Images available upon request.
Conditions vary, generally B+ / A-. Each double-sided. Paper.
Estimate
$500 – $750
Egon tschirch (1889-1948)
WAS ENGLAND WILL! 1918.
38½x26½ inches, 98x67½ cm. Selmar Bayer, Berlin.
Condition A-: small tears, repaired tears and minor abrasions at edges; minor creases in margins and image. Paper.
Estimate
$700 – $1,000
Julius ussy engelhard (1883-1964)
BAYERISCHER LUFTFAHRERDANK. 1918.
27½x18 inches, 70x45¾ cm. Oscar Consée, Munich.
Condition B+: repaired tears at edges; restoration over tape stains in corners; minor creases and stains in image.
Estimate
$700 – $1,000
Fritz erler (1868-1940)
UND IHR? / ZEICHNET KRIEGSANLEIHE. Circa 1917.
54¾x29¼ inches, 146½x72¼ cm. Hollerbaum & Schmidt, Berlin.
A German war bond poster which presents an unmitigated hero to the public for self-comparison. A wounded air force machine gunner, his bloodied arm in a sling, is gripping the side of his cockpit as he clearly intends to take to the skies again, despite of his physical condition. This is the larger format; the small version was printed by Eckstein & Stahle in Stuttgart. Paret p. 46.
Condition B+ / A-: minor repaired tears and restoration at edges; minor restoration along seam. Two-sheets.
Estimate
$800 – $1,200
Lucian bernhard (1883-1972)
SO HILFT DEIN GELD / KRIEGSANLEIHE! 1917.
17x11½ inches, 43x29¼ cm. Hollerbaum & Schmidt, Berlin.
In a paternal gesture, a man is explaining to a soldier how money invested in the war effort helps the German cause. He is pointing to an allied ship that has just been sunk by a German U-boat.
Condition A- / B+: repaired tear at top edge, into upper image, minor creases and abrasions in margins and image; minor scuffing in image.
Estimate
$600 – $900
Karl sterrer (1844-1918)
ZEICHNET 8. / KRIEGS - ANLEIHE. 1918.
37¾x24½ inches, 96x62¼ cm. A. Berger, Vienna.
Clash of Ideologies p. 32, Eybl p.106.
Condition B+: repaired tears, creases and abrasions at edges and along vertical and horizontal folds; ink stamps on verso, showing through; small stain in top right margin.
Estimate
$500 – $750
Kurt libesny (1892-1933)
8 • KRIEGSANLEIHE. 1918.
36¾x24½ inches, 93½x62¼ cm. J. Weiner, Vienna.
The image depicts Austrian and German soldiers (recognizable by their different boots) opening the door to peace. “Peace alone was considered a state of paradise. Nobodycould really imagine what this would actually look like” (Eybl p. 186.) Eybl p. 186.
Condition A-: small creases and abrasions in margins and image; restoration along vertical and horizontal folds.
Estimate
$500 – $750
Ludwig hohlwein (1874-1949)
UND DU? 1929.
30½x23¼ inches, 77½x59 cm.
Germany’s answer to James Montgomery Flagg’s “I Want You.” The caption reads simply “And You?” and was a call to Germans to vote for the Nazi party. “Hohlwein’s stunning poster, used with different text by both the Steel Helmet and the German National People’s Party in the elections of 1932 and 1933, transforms man and helmet into an inhuman sculptural mass imposed on a schematic imperial German flag.” (Paret p. 109). This is the smaller format. Paret 156, Hohlwein / Stuttgart 282, Rhodes p, 47, MoMA 481.1987.
Condition B+: discolored overpainting at edges, in image and lower text; repaired tears at edges; repaired pin holes in corners; top edge slightly trimmed.
Estimate
$800 – $1,200
Harrison fisher (1875-1934)
“I SUMMON YOU TO COMRADESHIP IN THE RED CROSS.” 1918.
40x29½ inches, 101½x75 cm. American Lithographic Co., New York.
Rawls p. 126, Paret 82, Borkan p. 150, Theofiles 224.
Condition B+: repaired tears and small replaced losses at edges.
Estimate
$600 – $900
James montgomery flagg (1870-1960)
WAKE UP AMERICA DAY. 1917.
40½x28¼ inches, 103x71¾ cm.
On April 6, 1917, the United States Congress declared war on Germany. Over the next two weeks, the Recruiting Committee of the Mayor’s Committee on National Defense organized one of New York’s largest public recruiting campaigns in history. The day chosen to “Wake Up America” was April 19, the anniversary of the Revolutionary War battles of Lexington and Concord. The event, to be held on the 142nd anniversary of Revere’s ride, was a giant parade down 5th Avenue, which attracted over 60,000 spectators. Airplanes, “the Paul Reveres of the skies,” dropped appeals for recruits all over the city. Flagg supervised the construction of ten floats for the parade, several of which he designed himself. Given the short time between the declaration of war and the massive event, Flagg had to design this poster very quickly, which likely explains why it is composed of fewer colors than his normal lithographic work. The image, evoking a female Paul Revere emerging from the darkness, was not just a graphic flight of fancy. The “Wake Up America Day” celebrations began at midnight with a reenactment of Paul Revere’s ride made by a young woman; Jean Earle Mohle, dressed as a Continental soldier, rode south through the streets of Manhattan “summoning the men of America to respond to their country’s call” (New York Times, April 19, 1917). This is an image which Flagg, in his “only attempt at modernity” (Meehan 20), captures magnificently. Flagg p. 69, Modern American 25, Rawls 136, Borkan p. 178.
Condition B+: expertly-restored losses in margins and image; repaired tears, minor creases and restoration in margins.
Estimate
$4,000 – $6,000
Various artists
[“WAKE UP AMERICA!”] & [“SAVING DAYLIGHT!”]. Two posters. Circa 1917.
Sizes vary.
Images available upon request.
Condition varies, generally B+. Both mounted on thin linen.
Estimate
$800 – $1,200
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 A-: minor repaired tears at edges; slight creases and foxing in image.
Estimate
$700 – $1,000
James montgomery flagg (1870-1960)
FIRST IN THE FIGHT / BE A U.S. MARINE! Circa 1918.
42x28 inches, 106¾x71 cm.
One of two variations, the other simply reading “Be A U.S. Marine.” This is the larger format. Borkan p. 34, Rawls p. 251, Theofiles 52, Flagg p. 74.
Condition B+ / A-: small tears at edges, one into lower text; creases in margins, text and image; minor discoloration at bottom left and top right margins. Paper.
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 the 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
$800 – $1,200
James montgomery flagg (1870-1960)
I WANT YOU FOR U.S. ARMY. 1917.
39½x29¼ inches, 100¼x74¼ cm. Leslie-Judge Co., New York.
“The best known American poster of all time” (Darracott xviii) and clearly “a cultural icon” of 20th century imagery and propaganda (Power of the Poster p. 162). 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+: replaced losses, repaired tears and overpainting in margins; creases, abrasions and minor restoration in margins and along vertical and horizontal folds; reds slightly attenuated. Framed.
Estimate
$5,000 – $7,500
K.m. bara (dates unknown)
YOU ARE WANTED BY U.S. ARMY. Circa 1918.
41¼x26¾ inches, 104¾x68 cm. Schmidt Litho., San Francisco.
A rare World War I poster, this image was printed locally in San Francisco, so it would have had a much smaller distribution than images meant for national exposure. Using the visual psychology of James Montgomery Flagg’s I Want You (1917), this image depicts General Pershing. It was likely published following the release of the United States War Film “Pershing’s Crusaders.” Not in Rawls, not in Theofiles, not in Borkan.
Condition A-: replaced bottom corners; creases and repaired tears at edges and in image; repaired pin hole at top corners.
Estimate
$4,000 – $6,000
Designer unknown
OFFICIAL WAR REVIEW. 1918.
40¾x27¾ inches, 103½x70½ cm. The Otis Lithograph Co, Cleveland.
Condition A- / B+: creases, minor abrasions and restoration along vertical and horizontal folds; small repaired tears and creases at edges.
Estimate
$800 – $1,200
Louis fancher (1884-1944)
U•S• OFFICIAL WAR PICTURES. 1917.
41½x28 inches, 105½x71 cm. The Hegemon Print, New York.
Rawls p. 139.
Condition A-: repaired tears in margins, one slightly into upper left image; creases and small replaced losses in margins.
Estimate
$2,000 – $3,000
Horace devitt welsh (1888-1942)
PERSHING’S CRUSADERS / OFFICIAL UNITED STATES WAR FILMS. 1917.
43x28 inches, 109¼x71 cm. The Hegeman Print, New York.
Borkan p. 183.
Condition B+: creases and small tears in margins; creases in image; two-layered text insert in upper left image; partial “Shubert Theatre” text banner with extensive archival tape repairs, affixed at bottom. Paper.
Estimate
$1,000 – $1,500
Joseph c. leyendecker (1874-1951)
AMERICA CALLS / ENLIST IN THE NAVY. 1917.
40½x28 inches, 103x71 cm. U.S. Navy Publicity Bureau, New York.
Rawls p. 74, Theofiles 51.
Condition A-: small repaired tear at bottom right edge; minor restoration at edges; slight creases in image.
Estimate
$2,000 – $3,000
Joseph c. leyendecker (1874-1951)
ORDER COAL NOW / UNITED STATES FUEL ADMINISTRATION. 1918.
29½x19¾ inches, 75x50¼ cm. Edwards and Deutsch Litho Co., Chicago.
Originally painted in oils, Leyendecker produced this poster for the Division of Pictorial Publicity, which passed their designs on to government departments, in this case the U.S. Fuel Administration, free of charge. In commenting on this piece, The Poster magazine declared, “this virile poster . . . is one of the best that have had their origins in the war.” Rawls p. 8, DFP-I 285, IWM I 40, Darracott 29, Keay p. 70, Theofiles 89.
Condition A-: minor repaired tears at edges.
Estimate
$800 – $1,200
Joseph pennell (1857-1926)
THAT LIBERTY SHALL NOT PERISH FROM THE EARTH. 1918.
41x30 inches, 104x76¼ cm. Ketterlinus, Philadelphia.
“Without question one of the most powerful posters of the entire war.” (Theofiles p. 120). In dark shades of sepia a nightmare-scenario of New York City under attack by German forces, with the Statue of Liberty in ruins (think of the final scene in Planet of the Apes), the city in flames and a squadron of German bombers overhead. “The poster’s unlikely depiction of an air and submarine attack on New York was designed to bring the war home to a public whose distance from the fighting seemed to necessitate this most forceful sales effort.” (Paret p. 75). 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 in margins, some affecting image; darkening and tape stains in margins; horizontal fold.
Estimate
$700 – $1,000
Vojtech preissig (1873-1944)
IT PROTECTED YOU / WILL YOU DEFEND IT. 1917.
35x25 inches, 89x63½ cm. The Slav Press Bureau.
Wentworth Institute Poster No. 1. Preissig p. 149.
Condition B+: small replaced losses and repaired tears at edges; creases and slight toning in margins and image.
Estimate
$700 – $1,000
Vojtech preissig (1873-1944)
CZECHOSLOVAKS! JOIN OUR FREE COLORS! 1918.
35½x25 inches, 90x63½ cm. Wentworth Institute, Boston.
The most famous in a series of 16 color linoleum cuts produced by Preissig for the Wentworth Institute during World War One, calling on Czechoslovaks living abroad to join the Czech legion fighting in Russia, France and Italy. Rawls p. 65, Darracott 38, Borkan p. 46, Theofiles 19, Rickards 78, Preissig p. 155 and 159 (both var).
Condition B+ / A-: minor repaired tears, creases and restoration along vertical and horizontal folds; minor abrasions and restoration at edges; ink notation in lower right corner.
Estimate
$1,500 – $2,000
Vojtech preissig (1873-1944)
SLOVENSKO VSTÁVA / PUTÁ SI STRHÁVA. 1918.
36x25 inches, 91½x63½ cm. Wentworth Institute, Boston.
“Slovakia is Rising Now / Breaking Her Shackles.” Wentworth Poster No. 10.
Condition B+: small tears and repaired tears at edges; archival tape on verso; creases in margins and image. Paper.
Estimate
$500 – $750
Vojtech preissig (1873-1944)
HRR NA VRAHA! / ZA DEMOKRACII! 1918.
36x25 inches, 91½x63½ cm. Wentworth Institute, Boston.
“For Our Independence / Attack the Killer For Our Democracy.” “In France the Czechs who wanted to fight against [the] Austro-Hungarian Empire were allowed to join the Foreign Legion (hence originated the term Legion for units of Czechoslovak volunteers)” (Wikipedia). Wentworth Poster No. 7. Eybl p. 99, Rickards 109, Theofiles p. 30.
Condition B+: small losses, tears and repaired tears in margins; archival tape on verso; creases in margins and image. Paper.
Estimate
$500 – $750
Various artists
[BRITISH WORLD WAR I]. Two posters. 1919.
Each approximately 29¾x20 inches, 75½x50¾ cm.
Includes Join the Regular Army / Why Not Now?, by Thomas Somerfield and Join the Royal Engineers. Images available upon request.
Condition varies, generally B+ / A-. Paper.
Estimate
$500 – $750
Elizabeth morris poucher (dates unknown)
THE GIRL RESERVES OF THE Y.W.C.A. 1918.
28x21 inches, 71x53½ cm. The U.S. Printing and Litho. Company, New York.
Borkan p. 168 (var).
Condition B+: minor repaired tears, creases and abrasions at edges; small discolorations at top left edge; minor creases and abrasions in image.
Estimate
$500 – $750
John e. sheridan (1880-1948)
RIVETS ARE BAYONETS / DRIVE THEM HOME! 1917.
38x25 inches, 96½x63½ cm. Thomsen-Ellis Company, Baltimore.
Rawls p. 76, Paret 113, Borkan p. 56, Theofiles pl. C 10.
Condition B+: repaired tears at edges, some into lower image; small replaced losses in lower image and text; minor creases in image; bottom left edge unevenly trimmed.
Estimate
$700 – $1,000
William dodge stevens (1870-1942)
TEAMWORK BUILDS SHIPS. Circa 1918.
35½x49 inches, 90¼x124½ 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+: repaired tears and restoration in margins, some into image; minor abrasions and overpainting in text; creases and abrasions along vertical and horizontal folds. Framed.
Estimate
$1,500 – $2,000
August william hutaf (1879-1942)
TREAT ‘EM ROUGH! / JOIN THE TANKS. 1918.
41x28 inches, 104¼x71 cm.
“Black Tom,” the mascot of the newly formed U.S. Tank Corps, seen here living up to the Corps’ motto, the title of the poster. “In this improbable version of tank warfare, the flaming colors, the Black Tomcat mascot with its vicious claws . . . project an image of sexual energy” (Paret p. 56). This is the larger format, without printing in text box. Rawls 254 (var), Theofiles 14 (var), War Posters 98 (var), Borkan p. 45 (var), Paret 76, Pollack p. 12.
Condition A-: small loss at upper right corner; minor tears at edges; minor creases at bottom right corner and along vertical and horizontal folds. Paper.
Estimate
$1,000 – $1,500
Philip lyford (1887-1950)
“MORE TANKS” / “GIVE ‘EM HELL.”
20x27¾ inches, 50¾x70½ cm. The Stubbs Co., Detroit.
Rare
Condition A-: minor repaired tears and abrasions in margins, some into image; minor creases in image.
Estimate
$1,000 – $1,500
Luther claire phifer (1885-1972)
“KAN THE KAISER.”1918.
25x19 inches, 63½x48¼ cm. National Association of Manufacturers, New York.
This same image was also used in a black and white poster, with a variation on the typography and format.
Condition B+: loss at lower left edge; tears, repaired tears and creases in margins, some slightly into image. Paper.
Estimate
$600 – $900
Lloyd harrison (dates unknown)
SEE REAL WARFARE / “OVER THERE” CANTONMENT. 1918.
30x21 inches, 76¼x53½ cm. H. Gamse & Bro. Litho., Baltimore.
Condition B: losses, tears and creases throughout image with significant loss at center; tears in margins; pin holes at edges. Paper.
Estimate
$800 – $1,200
Various artists
[WORLD WAR I]. Group of 4 posters.
Sizes vary.
Group includes: For Defense / Buy United States Savings Bonds and Stamps; All Together! Enlist in the Navy; Lend the way they Fight; and Y.M.C.A. Images available upon request.
Condition varies, generally B+.
Estimate
$800 – $1,200
Various artists
[WORLD WAR I / U.S. NAVY AND MARINES]. Group of 5 posters. 1913-1918.
Sizes vary.
Group includes: U.S. Marines / Apply to Postmaster (1913); First to Fight in France for Freedom; U.S. Marines / “Soldiers of the Sea; He is Getting Our Country’s Signal, Are You? / Join the Navy; and America Calls / Enlist in the Navy. Images available upon request.
Condition varies. Paper.
Estimate
$1,000 – $1,500
Various artists
[WORLD WAR I - AMERICAN]. Group of 9 posters. 1914-1918.
Sizes vary.
Images available upon request.
Condition varies, generally A- / B+. One linen backed.
Estimate
$1,000 – $1,500
Various artists
[WORLD WAR I & II]. Group of 7 posters.
Sizes vary.
Group includes: The Motor Corps of America; The Salvation Army Lassie; Columbia Calls; Halt! They Go First!; The U.S. Navy / “School of the Nation” b>Emprunt Nationale</b>; and 4e Emprunt de la Defense Nationale. Images available upon request.
Condition varies, generally B+. Two paper, three linen-backed.
Estimate
$1,500 – $2,000
Various artists
[WORLD WAR I]. Group of 15 posters. Circa 1917-1919.
Sizes vary.
Images available upon request.
Condition varies, generally B+ / A-. Paper.
Estimate
$1,200 – $1,800
Various artists
[WORLD WAR I]. Group of 10 posters. Circa 1917-1919.
Sizes vary.
Images available upon request.
Condition varies, generally B+ / A-.
Estimate
$800 – $1,200
Jerry farnsworth (1895-1983)
LET’S GO! THE U.S. ARMY / THE DOUGHBOY. 1921.
24¼x18½ inches, 61½x47 cm. U.S. Army Engineer Reproduction Plant, Washington D.C.
Rare.
Condition B / B+: repaired tears and restoration in text and lower image; replaced bottom left corner; creases and minor abrasions in image.
Estimate
$700 – $1,000
Philip lyford (1887-1950)
JOIN US! / COAST ARTILLERY CORPS - U.S.A. 1923.
19x24½ inches, 48¼x62¼ cm. U.S. Army Engineer Reproduction Plant, Washington D.C.
Theofiles 13.
Condition B / B+: replaced losses in margins, some into image, minor abrasions and staining in margins.
Estimate
$800 – $1,200
Albert sebille (1874-1953)
ARMEZ - VOUS POUR LA VIE / DANS LES ECOLES DE LA MARINE.
48x32 inches, 122x81¼ cm. D’Art Pierre Lafitte, Paris.
Condition B+: repaired tears at top edge, through title; minor creases in margins. Framed.
Estimate
$700 – $1,000
Theo matejko (1893-1946)
[DEUTSCHLANDFLUG]. 1935.
46½x33¾ inches, 118x85¾ cm.
This is the version before text. The image was used on a German Luftwaffe postcard, with swastikas added to the tails, as well as on a Deutschlandflug poster with text.
Condition A-: minor restoration at edges; minor creases and abrasions in margins and image.
Estimate
$600 – $900
Marek zulawski (1908-1985)
POLAND / FIRST TO FIGHT. Two posters. Circa 1939.
29x19½ inches, 73½x49½ cm.
With - poster The New Poland. Images available upon request.
Condition B+ / B: tears, small losses and crease at edges; staining and foxing in margins and image; pin holes in corners. Paper.
Estimate
$600 – $900
Lambert guenther (dates unknown)
SAFEGUARDING OUR AMERICAN LIBERTY. 1941.
32x22 inches, 81¼x142¼ cm. C.S. Hammond & Co., New York.
Condition A.
Estimate
$1,200 – $1,800
George giusti (1908-1990)
“NO MEDIUM BOMBER HAS A FINER WAR RECORD THAN YOUR MITCHELL.” Circa 1940.
25½x38 inches, 64¾x96½ cm. U.S. Army Recruiting Publicity Bureau, New York.
Condition A / A-: minor restoration along vertical and horizontal folds.
Estimate
$800 – $1,200
Designer unknown
MARAUDERS ALWAYS ATTACK! Circa 1942.
39x29 inches, 99x73¾ cm. Recruiting Publishing Bureau, United States Army.
Condition B+: minor creases, abrasions and restoration along vertical and horizontal folds; slight darkening at lower left margin; minor creases in image.
Estimate
$700 – $1,000
Designer unknown
MUSTANGS RIDE NAZIS DOWN! 1943.
38x24 inches, 96½x61 cm. Recruiting Publicity Bureau, United States Army.
Condition B+ / A-: creases, abrasions and offsetting along vertical and horizontal folds. Paper.
Estimate
$600 – $900
Melbourne brindle (1904-1995)
WARHAWKS ARE KILLERS! 1943.
42½x27¾ inches, 108x70½ cm. Recruiting Publicity Bureau, United States Army.
Condition B / B+: creases, tears, and abrasions at edges, in image, and along vertical and horizontal folds; small losses and pin holes in top margin; skinning in corners and at top margin into image; minor staining in bottom left margin. Paper.
Estimate
$600 – $900
Designer unknown
AIRACOBRA / POISON TO THE AXIS. 1943.
42x31 inches, 106¾x78¾ cm. U.S. Army Recruiting Publicity Bureau, [New York].
Condition B+: creases, abrasions and overpainting along vertical and horizontal folds; minor creases in image.
Estimate
$600 – $900
Designer unknown
HIT ‘EM AGAIN! 1942.
40x28 inches, 101½x71 cm. U.S. Government Printing Office, [Washington D.C.]
Condition B+: replaced losses and restoration in upper margins and image; minor creases, abrasions and repaired tears in margins, some into image.
Estimate
$1,000 – $1,500
Designer unknown
[JAPANESE PLANE SPOTTING GUIDE]. Circa 1940s.
42½x30½ inches, 108x77½ cm.
An instructional poster for Japanese pilots to help identify Allied aircraft. Depicted at top is a Bell-YFM (Memphis Belle) with its recognizable propeller facing backwards) and below a Douglas A-20 with its recognizable long nose.
Condition B+: replaced losses and overpainting in image and along vertical and horizontal folds; small creases, abrasions and repaired tears at edges, some into image.
Estimate
$700 – $1,000
Designer unknown
EVER VICTORIOUS NIPPON PARATROOPS / WINGED KNIGHTS OF LIBERATION. Circa 1942.
21x14 inches, 53¼x35½ cm.
Condition B+: tear at lower right edge, into image; creases in margins and image; small pin holes in corners. Paper. Matted and framed.
Estimate
$500 – $750
Various artists
[WORLD WAR II / AVIATION]. Group of 10 posters. Circa 1941-1945.
Sizes vary.
With - small format poster, dedicated to the 61st Fighter Squadron (2002). Images available upon request.
Conditions vary.
Estimate
$700 – $1,000
Dean cornwell (1892-1960)
HANDS ACROSS THE SKY / KEEP AMERICA FREE! 1944.
40¼x30¾ inches, 102¼x78 cm. Fisher Body Division, General Motors Corporation, [Detroit, Michigan].
Condition B+: small replaced losses at corners; repaired tears at edges, some into image; creases and abrasions in image; repaired pin holes in corners.
Estimate
$800 – $1,200
Georges schreiber (1904-1977)
KEEP HIM FLYING! / BUY WAR BONDS. 1943.
40x28½ inches, 101½x72½ cm. U.S. Government Printing Office, [Washington, D.C.]
This is the larger format. Posters for Victory p. 79, Nelson p. 117.
Condition B+: small tears, repaired tears and creases at edges; abrasions in image and along vertical and horizontal folds. Paper.
Estimate
$700 – $1,000
Designer unknown
KEEP US FLYING! / BUY WAR BONDS. 1943.
28x20 inches, 71x51cm. U.S. Government Printing Office, [Washington D.C.]
One of the very few World War II posters to promote African American servicemen, and the first to promote the famous Tuskegee Airmen. War Posters 263, Design for Victory p. 36, Pollack p. 119.
Condition A-: minor restoration along horizontal fold; minor abrasions at edges.
Estimate
$3,000 – $4,000
Howard chandler christy (1872-1952)
FLY! FOR HER LIBERTY AND YOURS. 1944.
38x25 inches, 96½x63½ cm. Recruiting Publicity Bureau, United States Army.
An uncharacteristically sentimental poster by Christy, reflecting more the theme of his turn-of-the-century illustrations. Christy’s World War I images took a substantially bolder and more strident approach, focusing on individuality.
Condition B+: minor tears at edges, one slightly into left image; pin holes in corners; tape stain at bottom left; time-staining at edges and bottom right; vertical and horizontal folds. Paper.
Estimate
$1,000 – $1,500
James montgomery flagg (1870-1960)
COMING RIGHT UP! 1945.
35x24 inches, 89x61 cm. U.S. Army Recruiting Publicity Bureau, New York.
Rare. Flagg p. 86.
Condition B+ / A-: minor repaired tears and abrasions in margins and image, repaired pin holes in corners.
Estimate
$1,500 – $2,000
Clayton knight (1891-1969)
AAF / THE GREATEST TEAM IN THE WORLD! 1944.
37¾x25¼ inches, 96x64 cm.
Paret 285, Pollack p. 30.
Condition A: minor repaired tears at upper left and bottom right corners.
Estimate
$700 – $1,000
Tom b. woodburn (1893-1980)
WINGS OVER AMERICA / AIR CORPS U.S. ARMY. 1941.
37¼x25 inches, 94½x6½ cm.
Woodburn designed several posters for the United States during the Second World War, during which time he was in charge of the Recruiting Publicity Bureau. Judd C.35, Nelson p. 141 (var), Pollack p. 31.
Condition A- / B+: expertly-repaired tears at edges; small replaced loss at right edge; minor creases in text; horizontal fold; repaired pin holes in upper corners.
Estimate
$700 – $1,000
Dan v. smith (1905-?) & albro f. downe (1916-1984)
“KEEP ‘EM FLYING” / DO YOUR PART. Circa 1942.
36x24 inches, 91½x61 cm.
One of several text variations, another actively seeks to enlist “aviation cadets” and “soldiers.”
Condition B / B+: minor skinning in top corners; small losses, creases and abrasions along vertical and horizontal folds; tears at edges, one into upper right image; creases in image. Paper.
Estimate
$700 – $1,000
H.h.l. (monogram unknown)
WEAR THE “FIGHTIN’EST” WINGS IN THE SERVICE / FLY WITH THE MARINES. 1942.
40x28 inches; 101½x71 cm. Alpha Litho. Co., Camden.
Pollack pl. 55, Nelson p. 103.
Condition B+: replaced loss at upper right corner; tears and repaired tears at edges, some into image; creases, foxing and water staining in margins; minor creases in image. Paper.
Estimate
$600 – $900
Designer unknown
HIT HARD AND OFTEN WITH THE MARINES. 1942.
40¼x28 inches, 102¼x71 cm. McCandlish Litho., Philadelphia.
Pollack p. 58.
Condition A-: small losses and repaired tears at edges and corners.
Estimate
$800 – $1,200
Paul woyshner (1894-1970)
ALWAYS ON THE ALERT / U.S. MARINES. 1940.
39½x29 inches, 100 x 74 cm.
Condition A-: small repaired tear in right margins; minor creases and abrasions in margins and image; small stain in upper margin.
Estimate
$1,500 – $2,000
James montgomery flagg (1870-1960)
WANT ACTION? / JOIN U•S• MARINE CORPS! 1942.
37x24¾ inches, 94x63 cm. Alpha Lithograph Co., Camden.
A marine sargeant is extending his hand to new recruits, behind him battleships are on the sea and planes are in the sky. Besides creating another compelling enlistment poster in the same vein as his iconic “I Want You,” Flagg has once again shown himself to be the master of missing prepositions. Flagg p. 83, Judd 1.5, Pollack p. 61.
Condition A-: creases, tears and slight time-staining in margins; scuff mark in upper right image; minor creases in image. Paper.
Estimate
$700 – $1,000
Various artists
[WORLD WAR II]. Group of 14 posters. Circa 1940s.
Sizes vary.
Includes duplicates. Images available upon request.
Condition varies, generally B+ / A-. Paper.
Estimate
$1,000 – $1,500
T.w.y. (dates unknown)
LET’S GO! U.S. MARINES. 1942.
39¾x28¼ inches, 101x71¾ cm.
Nelson p. 22.
Condition B+ / A-: small losses at corners; small repaired tear in upper margin; slight darkening along edges; minor creases in image.
Estimate
$700 – $1,000
Herman giesen (dates unknown)
“WE NEED EVERY EXTRA PLANE YOU FOLKS CAN BUILD!”
34¼x25¼ inches, 87x64 cm.
Condition B+ / A-: repaired tears and restoration along vertical and horizontal folds; small repaired tear in right margin; minor abrasions in image and text.
Estimate
$700 – $1,000
Laurence brinkman (dates unknown)
LEATHERNECKS OF THE AIR / YOU CAN ENLIST NOW IN THE U. S. MARINE CORPS. 1945.
40x24½ inches, 101½x62¼ cm.
Condition B+ / A-: repaired tears, creases and slight darkening in margins; slight fold at bottom.
Estimate
$800 – $1,200
Vic guinness (dates unknown)
SMACK ‘EM DOWN! FLY WITH THE U.S. MARINES. 1942.
39½x28 inches, 100½x71 cm. Alpha Lithograph Co., Camden.
Condition B+ / A-: tears and repaired tears at edges; tape and tape stain at upper right; minor creases in margins and image; slight foxing at edges. Paper.
Estimate
$1,000 – $1,500
Vic guinness (dates unknown)
LET’S GO GET ‘EM! / U.S. MARINES. 1942.
40x27½ inches, 101½x70 cm. Polygraphic Co. of America, New York.
Pollack p. 58.
Condition A- / B+: loss at upper right corner; slight darkening at left and bottom edges; minor creases in margins and text.
Estimate
$700 – $1,000
Vic guinness (dates unknown)
LET ‘EM HAVE IT / U.S. MARINES. 1942.
39¾x28¼ inches, 101x72 cm. Alpha Lithograph Co., Camden, New Jersey.
Condition B+: losses in right corners; tear in bottom left margin; small abrasions at edges.
Estimate
$800 – $1,200
Signature illegible
BE A MARINE / SO PROUDLY WE SERVE. Circa 1940s.
27½x21½ inches, 70x54½ cm.
One in a small series of posters published on behalf of the war effort by Wamsutta Mills in Massachusetts.
Condition B+ / A-: creases in image; soft creases throughout; darkening at edges. Paper.
Estimate
$600 – $900
Various artists
[WORLD WAR II]. Group of 6 posters. Circa 1940s.
Sizes vary.
Images available upon request.
Condition varies, generally B+ / A-.
Estimate
$700 – $1,000
David stone martin (1913-1992)
“ABOVE AND BEYOND THE CALL OF DUTY.” 1943.
28x20¼ inches, 71x51½ cm. U.S. Government Printing Office, Washington D.C.
Martin studied at the Art Institute of Chicago. He is best remembered for the over 400 record jackets he designed for Folkways and other labels. His work is hung at the Museum of Modern Art, the Metropolitan Museum, and the Smithsonian. At the outbreak of World War II, the armed services continued its long-held practice of rigid discrimination against African-Americans. This practice included not only a stubborn reluctance to acknowledge the capabilities of the African-American soldier or sailor, but also a shameful denial of their courage and bravery. When Pearl Harbor was attacked on 7 December, navy mess-man Doris “Dorie” Miller was serving on the USS West Virginia when it was struck. Before abandoning ship with the rest of the crew, he braved enemy fire to carry a wounded officer to safety, and though not trained for combat, he took up one of the ship’s anti-aircraft guns, possibly downing at least one enemy plane. “It wasn’t hard. I just pulled the trigger and she worked fine. I had watched the others with these guns. I guess I fired her for about fifteen minutes. I think I got one of those Jap planes. They were diving pretty close to us.” He eventually received a Navy Cross but only after intense pressure from the black press back home. Miller was killed when his aircraft carrier was sunk in the Pacific in November of 1943. Nelson, p. 80, War Posters 262, Pollack p. 118.
Condition A: minor abrasions along horizontal and vertical folds.
Estimate
$4,000 – $6,000
Mcclelland barclay (1891-1943)
“SUB SPOTTED - LET ‘EM HAVE IT!” Circa 1942.
41¾x28½ inches, 106x72½ cm.
Judd p. 52, Zeman p. 42, Pollack p. 45.
Condition B+: repaired tears, creases and restoration in margins and along vertical and horizontal folds; creases and abrasions in image.
Estimate
$500 – $750
Various artists
[WORLD WAR II-AMERICAN]. Group of 18 posters. 1941-1945.
Sizes vary.
Includes work by McClelland Barclay, Norman Rockwell, Bernard Perlin, Jean Carlu and others. Images available upon request.
Conditions vary, generally A- / B+. One linen-backed. Paper.
Estimate
$2,000 – $3,000
C.p. benton (dates unknown)
TEAMWORK WINS. 1943.
40¼x28 inches, 102¼x71 cm. U.S. Government Printing Office, Washington D.C.
Condition B+: replaced loss at bottom right corner; abrasions and restoration in image and along vertical and horizontal folds; repaired tears at margins, some into image; repaired pin holes in corners and margins.
Estimate
$1,000 – $1,500
Matt murphey (dates unknown)
ATTENTION! / UNITED STATES NAVY. 1940.
41x27½ inches, 104x70 cm.
Nelson p. 109.
Condition A-: repaired tears in margins, creases and abrasions in image.
Estimate
$600 – $900
Designer unknown
HIT ‘EM WHERE IT HURTS! / JOIN THE SUBMARINE SERVICE. 1944.
27½x21¾ inches, 70x55 cm. U.S. Government Printing Office, [Washington, D.C.]
Condition A-: replaced loss in bottom right corner; repaired tear at bottom left edge into text; minor abrasions at edges.
Estimate
$800 – $1,200
Glenn ernest grohe (1912-1956)
OUR FIGHTING MEN CAN’T WIN / IF PRODUCTION SOLDIERS GO AWOL. 1942.
32x24½ inches, 81x62 cm. Aluminum Company of America.
Condition A-: replaced loss at upper left corner; repaired pin holes in corners and bottom edge; vertical and horizontal folds.
Estimate
$700 – $1,000
John atherton (1900-1952)
AMERICA HAS PLENTY IF IT IS USED WISELY! 1943.
36x22 inches, 92x58 cm. U.S. Government Printing Office, Washington, D.C.
Atherton was a graphic designer and a surrealist painter. He is best remembered for his poster promoting the 1939 New York World’s Fair, and his award-winning Buy a Share in America poster from 1941. He went on to design many covers for The Saturday Evening Post, Fortune and Holiday. This image, with America’s resources arrayed on a flag whose perspective leads the viewer’s eye towards the rifle and military equipment in the foreground, is a gem of American mid-century design. For a government publication, which by definition would have been produced in very large numbers, this poster is uncommon.
Condition B+: replaced losses and minor staining at edges; repaired tears and restoration at edges and along vertical and horizontal; minor abrasions in bottom right image.
Estimate
$700 – $1,000
Designer unknown
VICTORY FOR THE AMERICAN WAY. 1942.
27¼x20 inches, 69¼x50¾ cm. Kelly-Read and Co., Rochester.
One of the few photomontage images in the “Think America” series. “A group of Rochester industrialists . . . were concerned about the mental sabotage of their workers by the infiltration of subversive propaganda from outside their plants . . . Out of this problem our company developed what is known as the ‘Think American’ program. It is now in use in over 5,000 of the largest industrial, business, financial, and educational organizations in nearly every state. ‘Think American’ consists of weekly illustrated messages, each of which points up vividly and intelligently a virtue or advantage of the American way of life. Plants display these posters near time clocks, in restrooms, and at other points of heaviest employee traffic. In these days when we are doing everything in our power to speed material preparedness and to prevent material sabotage, the need for mental preparedness and the prevention of mental sabotage cannot be overlooked. ‘Think American,’ we feel, is helping to do both of these jobs. Its messages are now reaching 7 million people weekly throughout the nation” (The Rotarian, September 1941, p. 3-4).
Condition A-: repaired losses in upper left, minor repaired tears and abrasions at edges, minor creases in image.
Estimate
$800 – $1,200
Tom b. woodburn (1893-1980)
U.S. ARMY / AT HOME / ABROAD. 1940.
32¼x24¾ inches, 82x63 cm.
Pollack p. 22, West Point p. 37.
Condition B: repaired tear at top through text and central right image; replaced losses at corners; creases in image and margins.
Estimate
$700 – $1,000
Tom b. woodburn (1893-1980)
[REMAIN WITH THE COLORS] & [DEFEND YOUR COUNTRY]. Two posters. 1938 & 1940.
Sizes vary.
Images available upon request. Judd p. 46, Pollack p. 22 and 24, West Point 36.
Condition varies, generally B+. One paper, one linen-backed.
Estimate
$800 – $1,200
Tom b. woodburn (1893-1980)
THINK IT OVER / U.S. ARMY. Circa 1940.
38x25 inches, 96½x 63½ cm.
Condition B+: repaired tears, replaced losses and overpainting at corners and edges; small creases and abrasions in text and image.
Estimate
$800 – $1,200
Charles ransom chickering (1891-1970)
THINK / PRODUCTION MEANS LIFE OR DEATH. 1942.
25¾x15¾ inches, 65½x40 cm. U.S. Government Printing Office, Washington D.C.
Condition B+ / A-: abrasions and restoration along vertical and horizontal folds; small replaced loss in bottom left corner; repaired pin holes in top margin.
Estimate
$500 – $750
Herbert morton stoops (1888-1948)
YOUR JOB IS TO KEEP ‘EM SHOOTING! 1942.
40x28¼ inches, 102x72 cm. U.S. Government Printing Office, Washington D.C.
Printed for the Army Ordnance Department. Nelson p. 56.
Condition B+: small repaired tears in margins, some into lower image; small replaced loss in upper left corner; restoration along vertical and horizontal folds; small creases and abrasions in text and image.
Estimate
$600 – $900
Jean carlu (1900-1997)
GIVE ‘EM BOTH BARRELS. 1941.
30x40½ inches, 76x102¾ cm. U.S. Government Printing Office, [Washington, D.C.]
In 1939, while still in France, Carlu designed a poster promoting the “Anglo-French Day for the benefit of the combatants and their families,” featuring two soldiers in profile, a theme which he clearly replicated in this 1941 poster, but with far more effect and impact. “A visual analogy is found between a machine gun and a rivet-gun” (Word & Image p. 61), driving home the connection between homefront workers and front-line soldiers. This is the larger of two formats. Carlu 50, Design for Victory p. 29, Word & Image p. 61, Modern American 46, IWM II p. 24, Modern Poster 195, Judd 4.7, Nelson p. 65, Pollack pl. 243, Rhodes p. 151.
Condition B+: restoration along sharp crease in lower right image; unobtrusive vertical and horizontal folds; minor repaired tears and restoration in margins.
Estimate
$700 – $1,000
Norman rockwell (1894-1978)
LET’S GIVE HIM ENOUGH AND ON TIME. 1942.
28½x40 inches, 72½x101½ cm. U.S. Government Printing Office, Washington D.C.
“Designed for display in munitions factories, this striking image demonstrated the importance of their task to munitions workers far removed from the front’s deadly dangers” (Meehan Military Posters cat. 17). Done in typical Rockwell realism (he even borrowed a machine gun from the army to get the exact details), this exhausted, battle-scarred and solo machine gunner is sitting in his torn fatigues on a yellow slope, out of ammunition and palpably desperate. A far cry from Rockwell’s pleasant front porch and ice cream parlor scenes, but equally as poignant. Posters for Victory p. 72, Judd C. 10, Rhodes p. 173, Pollack p. 165.
Condition B: water stains in upper right margins; repaired tears in margins, some into image; creases and rippling in margins and image; pencil notation in bottom margin.
Estimate
$600 – $900
Designer unknown
ATLANTIK WAL. 1943.
43x32¼ inches, 109x82 cm.
A Dutch poster promoting the scope and strength of the Atlantic Wall. The text assures the public that 1943 is not like 1918, the year Germany was forced to sign an armistice following their loss in the First World War.
Condition A-: small abrasions and restoration along vertical and horizontal folds; small repaired tears and abrasions along edges.
Estimate
$800 – $1,200
Werner von axster-heudtlass (1898-1949)
BORDFÜNKER DER LÜFTWAFFE. Circa 1943.
32½x22¼ inches, 82½x56½ cm. Verlagshaus, Berlin.
[AIR FORCE RADIO OPERATOR].
Condition B+: top margin replaced; minor repaired tears and creases at edges; restoration over tape stains in left and bottom margins; minor creases in image.
Estimate
$500 – $750
Designer unknown
THE ENEMY NEVER KILLS TIME! / DON’T SLOW UP THE SHIP! Circa 1942.
40x30 inches, 101½x76¼ cm. Lutz & Sheinkman, New York.
Design for Victory p. 41.
Condition B+ / A-: repaired tears, small replaced losses and slight time-staining in margins; minor restoration along horizontal fold; minor creases and abrasions in image.
Estimate
$700 – $1,000
Karl koehler (1913-2000) & victor ancona (1912-1998)
THIS IS THE ENEMY. 1942.
34x24 inches, 86½x61 cm. Grinnell Lithographic Co., New York.
The horrifying scene of a hanging reflects in the monocle of this high-ranking member of Germany’s military. “At the start of the United States’ involvement in World War II, the Roosevelt administration felt the need to counter the powerful anti-war messages of such media figures as newspaper magnate William Randolph Hearst and radio personality Father Coughlin. [This image] echoes Roosevelt’s characterization of the Axis powers as gangsters, bandits and criminals,” (American p. 105). This chilling image was the winner of the National War Poster Competition of 1942 held under the auspices of the Museum of Modern Art. American Style 67, Modern Poster 193, Modern American 55, Avant Garde p. 177, Rhodes p. 168, Pollack p. 229, MoMA 147.1968.
Condition A-: minor tears and abrasions at edges. Paper.
Estimate
$2,000 – $3,000
E.b. greenhaw (dates unknown)
BUY MORE WAR BONDS AND STAMPS. 1942.
34¼x24 inches, 99¾x61 cm. Grinnell Lithographic Co., New York.
“American artists from 43 States have gone to war armed with paint brushes, canvas, paper and a terrific determination to arouse the nation to winning the fight. This they did through the medium of 2,224 war posters . . . Ever since war broke out, and especially since the President’s speech on the state of the Union last January [1942] which inspired slogans for these posters, American artists have been battling within themselves for a way to fight the war. . . 26 art organizations rallied together under the banner “Artist’s for Victory.” [And] combined with the Council for Democracy, they planned this poster campaign” (Life Magazine, December 21, 1942, p. 54). An exhibition of these posters was held at the Museum of Modern Art in the final months of 1942, and this poster was one of nine winning entries that was chosen for “national distribution to factories and public buildings” (ibid). Rare Paret 275, Pollack p. 228.
Condition B+ / A-: replaced loss in bottom text; restoration along vertical and horizontal folds; repaired pin holes in corners.
Estimate
$1,200 – $1,800
Simon vanderlaan
WASTE HELPS THE ENEMY / CONSERVE MATERIAL / DOUGLAS AIRCRAFT. Circa 1942.
21½x16½ inches, 54½x42 cm. Dougals Aircraft, Santa Monica, CA.
One in a series of conservation posters produced Douglas Aircraft in the early 1940s. “A material conservation program was adopted at all plants to conserve, properly segregate and salvage materials. North America effectively reduced waste and spoilage, not only of materials, but also of machinery and equipment. Rejected parts and inactive materials were directed into other manufacturing channels, while materials which could be re-used in aircraft production were segregated and salvaged for use in the plants” (The Aircraft Yearbook 1943, p. 271.) “Since its creation in July, 1940, the Material Conservation Program . . . has been able to reduce the scrap 10.6 per cent in sheet dural and aluminum. This is an approximate saving of 120,000 pounds of sheet material alone, enough to make 20 attack bombers. It is estimated that in 1941 over half a million pounds of material can be saved by continuing the practices which have been set up around the plant” (Douglas Airview, November, 1940, p. 34). These posters, printed to hang in the factories and administrative and corporate offices were not printed in large numbers which accounts for their scarcity. We have located only three other examples of this rareposter, one in the Bancroft Library, one in the archives of the Hoover Collection and the final held by the National Archives.
Condition A. Printed on thick paper Framed.
Estimate
$4,000 – $6,000
Glenn ernest grohe (1912-1956)
HE’S WATCHING YOU. 1942.
39½x28¼ inches, 100½x72 cm. U.S. Government Printing Office, Washington, D.C.
This is one of the most powerful American images produced during the Second World War. It is a terrifying, hypnotizing vision of a German soldier (seen forbiddingly submerged in shadows) with his eyes staring straight out at the viewer, rising ominously above the bold typography. This is the larger format. Word & Image p. 89, Weill 500, Design for Victory p. 29, Rhodes p. 174, Pollack p. 155.
Condition B: overpainting in upper left image and in text; repaired tears, creases and abrasions at edges and along vertical and horizontal folds; creases and abrasions in image.
Estimate
$800 – $1,200
Gordon webber (dates unknown)
SLAVE WORLD OR FREE WORLD. Gouache and photocollage maquette. 1942.
33½x25½ inches, 85x64¾ cm.
One of over 2200 submissions sent in by professional artists for The Museum Of Modern Art’s 1942 competition. The aim was to have posters created to boost morale for the war, letting artists choose between 8 themes: Production, War Bonds, The Nature Of The Enemy, Loose Talk, Slave World Or Free World, The People Are On The March, Deliver Us From Evil, and Sacrifice. Only 9 winners were chosen, and this example, not one of the winners, was never printed as a poster. They were judged anonymously, so each original work had the artist’s signature covered with tape for the assessment. These original works were deaccessioned from the MoMA in the 1980s.
Condition B+: water staining in top right margin; foxing in margins and image; unobtrusive tape removal marks around signature. Gouache, pencil and collage elements on artist board.
Estimate
$3,000 – $4,000
Jane ward (dates unknown)
VICTORY STARTS HERE. Gouache maquette. 1942.
31½x23½ inches, 80x59¾ cm.
Another entry for the MoMA’s 1942 poster competition. “An unusual number of women entered the Competition. Sixty three percent of the more than 2,000 competitors were men; thirty seven percent were women” (MoMA Press Release for the exhibition, 1942)
Condition B+: minor water stains, foxing and darkening in image. Gouache on artist board. Framed.
Estimate
$2,000 – $3,000
Designer unknown
KEEP CALM AND CARRY ON. 1939.
29½x19¾ inches, 75x50 cm.
With Britain formally declaring war on Germany on September 3, 1939, the newly re-formed British Ministry of Information immediately began working on a giant poster publicity campaign to prepare the British populace for what the ministry feared would be an “appalling series of shocks, resulting in shattered nerves, a lack of confidence in ultimate success, and therefore a lack of will to work for victory” (Three Posters). Instead of a photograph or an illustration, each poster bore a depiction of the crown of King George VI at the top as an indication that the messages came from the King himself. The third, and now most famous, of these slogans was kept back in anticipation of a truly horrific incident, such as the invasion of Britain by German forces or a severe air raid. Since the expected German attack never materialized, and because the first two posters had been met with such derision, “Keep Calm and Carry On,” was never posted and was kept in storage for years. After the war, the remainders were scrapped for their pulp. Contemporary reports cite that almost two and half million copies of the poster were printed. An HMSO (His Majesty’s Stationery Office) printing slip order form for the job breaks down that number, showing that the poster was printed in 12 different sizes, and that in this format, only 496,500 were printed (ibid.).
Condition B+: small tear at lower left edge; minor creases and abrasions at edges; creases in image and along horizontal folds. Paper.
Estimate
$12,000 – $18,000
Designer unknown
KEEP CALM AND CARRY ON. 1939.
20x15 inches, 50¾x38 cm.
This is one of the smaller formats.
Condition A-: minor creases at left corners and in image; minor abrasions along horizontal fold. Paper.
Estimate
$10,000 – $15,000
Fougasse (cyril kenneth bird, 1887-1965)
CARELESS TALK COSTS LIVES. Group of 9 small format posters. Circa 1940.
Each 12¼x8 inches, 31x20¼ cm.
With- original brown mailing envelope. Includes one duplicate. Images available upon request. IWM II p. 30, Zeman p. 59, War Posters p. 172, MoMA 218.1943, Pollack p. 266-9, Rhodes p. 125.
Condition varies, generally A. Paper.
Estimate
$1,500 – $2,000
Frank godwin (1889-1959)
LOOSE TALK CAN COST LIVES! / KEEP IT UNDER YOUR STETSON. Circa 1942.
39x29 inches, 99x73¾ cm.
Pollack pl. 360.
Condition A-: minor creases and abrasions at edges and along vertical and horizontal folds; linen trimmed to edges.
Estimate
$700 – $1,000
Various artists
[LOOSE TALK]. Group of 10 posters. 1942.
Each 20x14 inches, 50¾x35½ cm.
Group includes posters by Adolph Treidler, William Steig and others, warning against eavesdropping enemy agents. Images available upon request. Pollack p. 146.
Condition varies, generally A-. Paper.
Estimate
$700 – $1,000
Designer unknown
WHEREVER YOU GO . . . / VENEREAL DISEASE IS THERE. Circa 1942.
18½x13½ inches, 47x34½ cm.
One in a Rare series of venereal disease posters designed and issued by the First Air Force during the early 1940s. This is listed as “First Air Force V.D. Poster No. 14.”
“One of the four original Numbered Air Forces, First Air Force was activated as the Northeast Air District on Dec. 18, 1940, at Mitchel Field, Long Island, N.Y. It was redesignated First Air Force on April 9, 1941. In the first months of World War II, First Air Force was responsible for the air defense of the eastern seaboard of the United States. In January 1942, the command commenced shore-based anti-submarine operations flying Boeing B-17 “Flying Fortresses” from Langley Field, Va. Later that year, First Air Force turned to the task of training combat aircrews for immediate deployment to overseas theaters.” (https://www.tyndall.af.mil/About/Fact-Sheets/Display/Article/315004/first-air-force-air-forces-northern/)
Condition A- / A: minor creases in image and along vertical and horizontal folds. Paper.
Estimate
$1,200 – $1,800
Janine smith (dates unknown)
UNMASKED! / AVOID PICK - UPS. Circa 1942.
17¼x12¼ inches, 44x31 cm.
“First Air Force V.D. poster no. 5.” Previsouly unrecroded. Rare
Condition A- / A: minor creases at edges and bottom right corner; horizontal fold. Paper.
Estimate
$1,500 – $2,000
Jamme behling (dates unknown)
OUR CARELESSNESS / THEIR SECRET WEAPON / PROPHYLAXIS PREVENTS VENEREAL DISEASE. Circa 1942.
25x17¼ inches, 63½x44 cm.
Rare “First air force V.D. poster No. 4.”
Condition A- / B+: small tear at center right edge; minor creases along edges; vertical and horizontal folds. Paper.
Estimate
$1,500 – $2,000
Designer unknown
THEY MAY BE LOADED . . . / VD. Circa 1942.
20x14¼ inches, 51x36¼ cm.
First Air Force. “V.D. Poster No. 7.” Previously unrecorded. Rare
Condition A-: minor creases and abrasions along vertical and horizontal folds; minor foxing in right margin. Paper.
Estimate
$1,500 – $2,000
Designer unknown
IN LINE OF DUTY . . . NO! / AN INFECTED SOLDIER IS A CASUALTY / USE PROPHYLAXIS. Circa 1942.
19x14¼ inches, 48¼x36 cm.
“First Air Force V.D. Poster No. 4.” Previsouly unrecorded. Rare
Condition A-: creases along vertical and horizontal folds. Paper.
Estimate
$1,200 – $1,800
Designer unknown
UNTREATED VENEREAL DISEASE / DEADLY AS A BULLET. Circa 1940s.
19½x14 inches, 49½x35½ cm.
“First Air Force V.D. poster No. 10.” Previously unrecorded. Rare
Condition A- / A: minor creases in image; vertical and horizontal folds. Paper.
Estimate
$1,200 – $1,800
M. tsurui (dates unknown)
CRUSH ANGLO - AMERICANS! / BUILD UP THE NEW PHILIPPINES. Circa 1943.
34½x22½ inches, 87½x57¼ cm.
Japanese anti-American propaganda aimed at the recently conquered Philippines. Rhodes p. 267.
Condition B+: tears, abrasions and extensive creases in margins and along sharp vertical and horizontal folds; pin holes in corners. Paper. Matted and framed.
Estimate
$800 – $1,200
Designer unknown
WHILE THERE’S A NAZI BOMBER IN THE SKY - / AUSTRALIA NEEDS YOUR HELP. Circa 1940.
40x30½ inches, 101½x77½ cm.
Condition B+: extensive overpainting in upper right corner; staining and restoration in image; restored losses and creases in margins.
Estimate
$500 – $750
Jes schlaikjer (1897-1982)
O’ER THE RAMPARTS WE WATCH / UNITED STATES ARMY AIR FORCES. 1944.
24¼x18½ inches, 61½x47 cm. Brown & Bigelow, St. Paul.
With the kind of realistic detail most often seen in the Homefront scenes by Norman Rockwell, Schlaikjer depicts a young pilot in his leather flying jacket, rising from pastel-hued clouds above a squadron of B-29 Superfortresses, B-17 Flying Fortresses, and B-26 Marauders. More romantic than war-like, he holds a bomb while looking off towards a distant, more promising future. It is patriotic in both its use of a line from the American National Anthem and proud, powerful American imagery. Zeman frontis, Pollack p. 21.
Condition B+ / B: skinning in top left corner; vertical and horizontal folds; adhesive stains on verso; minor losses at edges; creases in corners. Paper.
Estimate
$1,000 – $1,500
Jes schlaikjer (1897-1982)
[WORLD WAR II]. Group of 5 posters. 1943-1945.
Sizes vary.
Group includes: Of the Troops and for the Troops / Military Police (1942); Courage and Gallantry in Action / Infantry (1943); The M-1 Does My Talking! / Are You Careful What You Say or Write? (1945); Bless Those Back Home / Silence Means Security (1943); and Your Metal is Their Might! (1943). Images available upon request.
Condition varies. Paper.
Estimate
$1,200 – $1,800
Various artists
[WORLD WAR II / BUY BONDS]. Group of 18 posters. 1942-1945.
Sizes vary.
Artists include N.C. Wyeth, J. Walter Wilkinson, Glen Grohe, Courtney Allen, Barbara Marks and others. Images available upon request.
Condition varies.
Estimate
$2,000 – $3,000
Various artists
[WORLD WAR II / GERMANY]. Group of 8 posters. Circa 1941-1945.
Sizes vary.
Images available upon request.
Condition varies.
Estimate
$600 – $900
Norman rockwell (1894-1978)
[THE FOUR FREEDOMS]. Group of 4 posters. 1943.
Each 28x20 inches, 71x50¾ cm. U.S. Government Printing Office, Washington, D.C.
These are the smallest of three formats. American Style p. 132, Posters for Victory p. 40ff, Design for Victory p. 37, War Posters 210, Nelson p. 48, Judd 7.1, IWM II p. 52.
Condition varies, generally B+ / A-: minor repaired tears, creases and abrasions in margins and along vertical and horizontal folds. Paper.
Estimate
$1,500 – $2,000
Norman rockwell (1894-1978)
[THE FOUR FREEDOMS]. Group of 4 posters. 1943.
40x28¼ inches, 101½x71¾ cm. U.S. Government Printing Office, Washington, D.C.
These are the medium format. American Style p. 132, Posters for Victory p. 40ff, Design for Victory p. 37, War Posters 210, Nelson p. 48, Judd 7.1, IWM II p. 52.
Condition varies, generally A-: creases and abrasions along vertical and horizontal folds; two with pencil notations; pin holes in corners. Paper.
Estimate
$1,000 – $1,500
Ben shahn (1898-1969)
FOR ALL THESE RIGHTS WE’VE JUST BEGUN TO FIGHT / REGISTER - VOTE. 1946.
29x38¾ inches, 73¾x96½ cm. L.I.P. & B.A., New York.
In 1943, the Council of Industrial Organizations created the Political Action Committee in order to “protect the political rights of the working man, the returning service man, the farmer, and the small-business man” (Prescott p. 124). In 1944, the PAC worked towards registering union voters with an eye to the national elections of that year. In his posters, Shahn primarily appealed to farmers and factory workers, playing to their fears of hunger, unemployment, inflation and war. According to Shahn’s wife Bernarda, the title of this poster was taken from a speech by Franklin D. Roosevelt, and here “this demonstration of union activity . . . is coupled with the exhortative message REGISTER - VOTE, which is repeated on all the CIO posters of this series” (Prescott p. 131). Prescott 155, Images of an Era 4, Takashimaya 235.
Condition A-: minor creases and abrasions in margins and image and along unobtrusive vertical and horizontal folds.
Estimate
$1,000 – $1,500
Designer unknown
[THE SECRET OF CHRISTIANIZING THE FAMILY LIES IN BEHAVIOR]. Circa 1920s.
30x21¼ inches, 76x54 cm.
Condition A-: minor abrasions at edges; repaired pin hole in top right corner.
Estimate
$700 – $1,000
Viktor nikolaevich (deni) denisov (1893-1946)
[TERRIBLE THINGS FOR THE GERMANS: “SACKS” AND “PINCERS!”]. 1944.
16½x22½ inches, 42x57 cm. Isskustvo, Moscow.
Condition B+: tears and small losses at edges; small stain in lower left corner; hand-written notation in top left corner; punch holes with reinforcement tape on verso, along left margin. Paper.
Estimate
$800 – $1,200
Viktor s. ivanov (1909-1968)
[FOR EVERY GERMAN - A BULLET!] 1943.
17¾x27 inches, 45x68½ cm. Iskusstvo, Moscow.
Condition B+: tears and creases at edges; minor creases in image; punch holes with reinforcement tape on verso, along left margin. Paper.
Estimate
$700 – $1,000
Viktor nikolaevich (deni) denisov (1893-1946)
[THE RED ARMY’S BROOM WILL SWEEP AWAY ALL THE FILTH]. 1943.
23½x29½ inches, 58½x73½ cm. Isskustvo, Moscow.
Paret 238.
Condition B+: tears, creases and abrasions in margins; creases in image; punch holes with reinforcement tape on verso, along left margin; small handwritten notations in bottom top corners. Paper.
Estimate
$800 – $1,200
Viktor nikolaevich (deni) denisov (1893-1946)
[DIFFERENT VIEWS: VIEW OF MOSCOW / VIEW OF BERLIN!] 1944.
34½x22¼ inches, 87½x56½ cm. Iskusstvo, Moscow.
Condition B+ / B: repaired tear at top right edge into image; staining from reinforcement paper affixed to verso; losses, tears, creases and abrasions at edges; punch holes with reinforcement tape on verso, along top margin. Paper.
Estimate
$600 – $900
Peters (dates unknown)
[LIBERATION COMMITTEE FOR THE VICTIMS OF TOTALITARIAN TYRANNY]. Circa 1950.
33¼x23½ inches, 84½x59¾ cm. Kunst-Und Werbedruck, Frankfurt.
Condition A-: small repaired tear at right edge; minor creases and abrasions in image; repaired pin holes at corners; slight darkening at top left.
Estimate
$700 – $1,000
Vadim petrovich volikov (1927-1989)
[GLORY TO THE SOVIET MAN - THE FIRST COSMONAUT]. 1961.
42x25½ inches, 106¾x64¾ cm. Izogiz, Moscow.
“In the late 1950s and early 1960s the Societ space programme achieved a remarkable set of triumphs in the Space Race . . . Volikov’s poster depicts the first Soviet cosmonaut [Yuri Garagrin] as a monumental figure flanked by the Vostok rocket inscribed with the symbolic date of 1961’ (Cold War p. 37.) Cold War p. 36.
Condition A- / A: minor creases along vertical and horizontal folds. Paper.
Estimate
$700 – $1,000
B.f. berezovsky (1910-1977)
[THE PATH TO THE PLANETS IS OPEN TO MAN!] 1961.
43x22 inches, 109¼x55¾ cm. Izogiz, Moscow.
Condition B: repaired tears at edges, some affecting text and image; replaced losses, creases, abrasions and restoration in margins; creases in image.
Estimate
$700 – $1,000
A. vinokurov (dates unknown)
[THE MOST DISTANT PLANET IS NOT SO FAR, MY FRIENDS]. 1963.
30¾x21½ inches, 78x54½ cm. Izogiz, Moscow.
Condition A: minor creases in margins and image. Paper.
Estimate
$700 – $1,000
R. sachov (dates unknown)
[LUNAR ROVER / WE WITH A WONDERFUL “HORSE” WILL GO AROUND THE WHOLE MOON!] 1970.
39¼x26¼ inches, 99½x66½ cm.
Condition B+: tears, creases and abrasions at edges and along horizontal folds. Paper.
Estimate
$700 – $1,000
John lennon (1940-1980) & yoko ono (1933- )
WAR IS OVER! / IF YOU WANT IT. 1969.
30x20 inches, 76¼x50¾ cm.
As part of their activism for peace (which included bed-ins) John Lennon and Yoko Ono launched a major media campaign in 1969, for which they purchased space on large billboards in 12 major cities around the world. The giant signs they pasted up read “War is Over / If You Want It / Happy Christmas from John and Yoko.” Flyers with the bold, simple typographic message were distributed to passersby, and smaller posters were printed to be hung in windows of private homes. A savvy and prescient move (some cynics have said it was done for profit), the campaign received a tremendous amount of media coverage. Nevertheless, John and Yoko provided a generation of war-weary youth a new slogan to embrace. In 1971, they released a song “Happy Xmas (War is Over),” which has become a staple on holiday playlists. The other text variant reads “Happy Christmas from John & Yoko” at the bottom. The Poster 664 (var), MoMA 2964.2008.
Condition A: minor creases at edges. Circular blind stamp in lower right corner reading “Lennon Ono, Certified 1970-1974, Original Gallery Ad,” with ink notation. Paper.
Estimate
$1,500 – $2,000
George maciunas (1931-1978)
U.S.A. SURPASSES ALL THE GENOCIDE RECORDS! 1966.
21½x34½ inches, 54x½87½ cm.
Lithuanian-born graphic designer George Maciunas was the founder of the Fluxus movement in 1961, a network of international inter-media artists who focused on the process of creating art, rather than the finished product. Influenced by avant-garde composer John Cage and Dada artists like Duchamp, Fluxus focused on “anti-art” and “anti-commercialism,” with a spirit of humor and wit. Fluxus hosted public performances, festivals and street events in various cities, with contributing artists like Joseph Beuys, Nam June Paik, Ray Johnson and George Brecht. This reinvented image of the American Flag is attributed to Maciunas in collaboration with John Lennon and Yoko Ono. Maciunas did not sign works during his lifetime, in line with his manifesto on the dispensability of the artist’s identity, but the poster is referenced in Fluxus publications. Another variant is printed only in red ink. Images of an Era 110, Graphic Design in America p. 58, MoMA 3001.2008.x1-x36.
Condition A: minor creases at edges. Circular blind stamp in lower right corner reading “Lennon Ono, certified 1970-1974, Original Gallery Ad,” with ink notation Paper.
Estimate
$3,000 – $4,000
Designer unknown
WOULD YOU BUY A USED CAR FROM THIS MAN? 1960.
41¾x28½ inches, 106x72¼ cm.
A Democratic campaign poster from Nixon’s first failed presidential run in 1960 against John F. Kennedy. This phrase entered the national vernacular. It was reused in 1969 prior to a large peace march on Washington, D.C. with a slight twist, “Would you buy a used war from this man?”
Condition B+: replaced losses and repaired tears at edges and in corners; restoration over extensive abrasions in lower image.
Estimate
$700 – $1,000
Art Nouveau (155-189)
Designer unknown
[THE GIANT PISJAKOFF OF MOSCOW & FRENCH FAT LADY]. Circa 1890s.
32¾x24¼ inches, 83¼x61½ cm. Adolph Friedländer, Hamburg.
Condtion B+ / B: replaced loss in lower right margin; repaired tears, creases and abrasions in margins and image; slight darkening along vertical fold. Framed.
Estimate
$1,000 – $1,500
Abel truchet (1857-1918)
“L’OPTIQUE”/ LA LUNE A UNE MÈTRE. 1900.
32¾x22¾ inches, 83x57¾ cm. G. Camproger, Paris.
One of the more popular attractions at the 1900 Exposition Universelle in Paris, La Lune a un Mètre was a large telescope through which patrons could view the moon. In 1899, a year prior to the exposition, Georges Méliès’ film of the same title helped popularize the concept of the moon with a smiling face. Rare.
Condition B: fading along left edge; overpainting, restoration and slight discoloration at edges and in broadside; errant color marks in lower right image; illustration by Truchet tipped in, as issued.
Estimate
$1,000 – $1,500
Leonardo bistolfi (1859-1933)
PREMIÈRE EXPOSITION INTERNATIONALE DES ARTS DÉCORATIFS MODERNES. 1902.
42x58¼ inches, 106½x148 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”. This is the larger format and French version. Bolaffi p. 22, Manifesto 38, Maitres 1900 p. 125, Wember 136.
Condition A-: expertly-overpainted margins; minor restoration along vertical and horizontal folds.
Estimate
$8,000 – $12,000
Adolphe crespin (1859-1944)
VILLE DE BRUXELLES / 22E FETE FEDERALE BELGE DE GYMNASTIQUE. 1895.
70x46½ inches, 177¾x118 cm. Ed. Duyck.
Rare.
Condition B+: replaced upper right corner, slightly into text; repaired tears, creases, abrasions and restoration in margins and image and along vertical and horizontal folds; slight darkening and restoration along seam; appears to be hand-signed by the artist in ink. Two-sheets. Framed.
Estimate
$1,000 – $1,500
Designer unknown
EXPOSITION DE TOULOUSE / INDUSTRIE AGRICULTURE SCIENCES - ARTS. 1908.
39¼x28½ inches, 99¾x72½ cm. B. Sirven, Toulouse.
Condition B / B+: toning in image; repaired tears, creases, abrasions and light foxing in margins and image and along vertical and horizontal folds.
Estimate
$800 – $1,200
Arnost hofbauer (1869-1944)
HANA KVAPILOVA RECITACE. 1899.
42¾x31¾ inches, 108½x80½ cm. V. Neubert, Praha-Smichov.
Hofbauer studied at the Prague School of Arts and Crafts and also at the Prague Academy where he was taught by Vojtech Hynais, one of the great Czech classical painters at the end of the 19th century. Primarily known as a painter, Hofbauer also designed several posters. Hana Kvapilova was the preeminent Czech actress of her era. Immensely popular, she was revered as both a national treasure and as a major force in the emancipation of women in Czech theatrical roles. Hofbauer’s early posters combined “symbolist effect and Japonist techniques,”(Howard p. 93). Here, no longer adhering so strongly to symbolism, Hofbauer depicts the actress dramatically staring at the viewer through the clever concept of her reflection in a mirror. Rare. We have only sold two other copies at auction in the last 20 years. Mascha 140, Prazsky Chodec p. 36, Cesky Plakat p. 43, Czech Posters p. 20, Prague 1900 126, Art Nouveau p. 272.
Condition B+: repaired tears and overpainting in side margins; repaired tears and restoration at top and bottom edges; creases and restoration along vertical and horizontal folds.
Estimate
$5,000 – $7,500
Paul berthon (1872-1909)
[REVUE D’ART DRAMATIQUE]. 1897.
25¼x19½ inches, 64x49½ cm.
Arwas p. 99 (var).
Condition A: minor expert restoration at edges; hand-signed by the artist in pencil.
Estimate
$1,500 – $2,000
Albert matignon (dates unknown)
LU / LEFÈVRE UTILE BISCUITS [FLEURS D’AUTOMNE]. Circa 1906.
25½ x18½ inches, 67¾x47 cm.
Condition A- / B+: minor paper losses and abrasions at edges; mounted on board as issued. Framed.
Estimate
$600 – $900
Édouard doigneau (1865-1954)
33EME EXPOSITION CANINE. 1904.
47x62¼ inches, 119¼x158 cm. Leon Boyer, Asnieres.
Condition B+: repaired tears, creases and abrasions in margins and image and along vertical and horizontal folds; small losses at top edge; ink tax stamp in lower text.
Estimate
$4,000 – $6,000
Leodoldo metlicovitz (1868-1944)
FLEURS DE MOUSSE. 1899.
42x30½ inches, 101½x77½ cm. Moullot Fils Aine, Marseille.
Throughout his career Metlicovitz produced over one hundred posters for commercial products, exhibitions, operas and the movie industry. His work can be separated into two distinct styles each one as superb as the other in terms of technical rendering; one is appealing and charming (this is the approach he used to advertise products), the other one, for official exhibitions is more academic and emphatic. Here, as if growing organically from the border of the image, a young beauty is entranced by the smell of the perfume she is holding. Like an allegorical blossom she is such a pure product of the natural world around her that even the butterflies believe the scent to be that of a flower, and flutter towards it. The natural color scheme, the garland of flowers in her lap and the surrounding flora and fauna all create a calm and voluptuous atmosphere. This is the second of two printings, the first, in 1898, was printed by Ricordi in Milan. Manifesti Italiani p. 61, Masters, p.120, Ricordi 154, Gold 8, Capolavori Manifesto Liberty 16, Femme 110.
Condition B+ / B: small replaced losses in margins and upper image; repaired tears, creases and abrasions in margins and image and along vertical and horizontal folds. Matted and framed.
Estimate
$4,000 – $6,000
Alphonse mucha (1860-1939)
[THE SEASONS / L’ÉTÉ]. 1896.
41x21½ inches, 104x54½ cm. [F. Champenois, Paris].
Rennert / Weill 18a, Lendl / Paris 62b, Mucha / Art Nouveau 44b.
Condition B: bleached sections in corners and side and top margins; repaired tear at top edge, slightly into image; toning and darkening overall. Matted.
Estimate
$7,000 – $10,000
Alphonse mucha (1860-1939)
JOB. 1898.
60x40 inches, 152½x101½ cm. Champenois, Paris.
Mucha’s second poster for Job, done two years after the first, is one of his best advertising pieces. Here, Mucha provides the viewer with three levels of reading that constantly reinforce the brand. The woman sitting in a circle, her dark hair contrasting with her skin and pink dress, is eye-catching in and of herself, as is the big, bold lettering across the top. As viewers look more closely at the image, they discover that Mucha has also included the company name in the wallpaper behind the figure, that she is holding a package of the product, and finally, that her brooch also bears the Job logo. The image and design create a masterpiece of commercial art. Rennert / Weill 51, DFP-II 634, Modern Poster 9, Wine Spectator 74, Wember 610, Lendl p. 121, Weill 59, Maitres 1900 p. 18, Meisterplakate 164, Schardt p. 137, Triumph des Jugendstils 24, Mucha Grand Palais 76, Darmstadt 77, Mucha / Henderson 82, Mucha / Bridges A36, Jiri Mucha p. 180, Art Nouveau p. 112.
Condition B: repaired tears, creases, abrasions, and restoration over tape stains in margins and image; pin holes and darkening in margins.; reds faded. Mounted on thin linen.
Estimate
$5,000 – $7,500
Alphonse mucha (1860-1939)
FLIRT. 1899.
25x11¾ inches, 63½x29¾ cm. F. Champenois, Paris.
Mucha reinforces this biscuit advertisement by flawlessly incorporating the brand name and logo into the image. The Lefèvre-Utile name is visible in the wrought iron gate behind the couple, and initialed in the fabric of the woman’s dress; a quarter of an actual biscuit is depicted in the lower left corner. This is the first edition of the poster. In 1900, it was reissued after the company won a grand prize at the World’s Fair in Paris, with the words Grand Prix - Paris 1900 printed to the left of Mucha’s signature. In addition to posters, Mucha also designed packaging for this famous biscuit company. Rennert / Weill 72, Lendl 29, Mucha A4, Gold 63.
Condition A: minor abrasions at edges; mounted on card, as issued, with a thin painted gold border around edges; with grommets and ribbon for hanging at top. Affixed to mat. Framed.
Estimate
$4,000 – $6,000
Alphonse mucha (1860-1939)
ZDENKA CERNY. 1913.
42½x42½inches, 108x108 cm. V. Neubert Smichov, Prague.
Zdenka Cerny was one of three daughters from the family with whom Mucha lived in Chicago in 1906. A prodigal cellist, she was slated to go on a European tour in 1914, but the tour was canceled due to the outbreak of World War I. While “the Art Nouveau ornamentation is virtually absent, other than a circle of stylized fleurs-de-lis in white behind Zdenka, and a similar white-outline garland around her cello,” Mucha’s style is present in the woman’s hair and the collar of her dress (Rennert / Weill p. 346). This is the upper portion of the poster, without the text sheet. Rennert / Weill 102, Lendl p. 280, Brno 65, 150th Mucha 263, Mucha / Japan 132, Sarah Mucha p. 92, Mucha / Henderson 108, Mucha / Bridges A63, Jiri Mucha p. 224, Spirit of Art Nouveau 39 (var).
Condition B+ / B: colors faded; slight discoloration in image; repaired tear in center image; hand-signed in pencil by Cerny in bottom right corner. Matted and framed.
Estimate
$5,000 – $7,500
Lucien métivet (1863-1932)
A L’HYGIÈNE. 1895.
51x39 inches, 129½x99 cm. Camis, Paris.
Condition B+ / B: repaired tear with abrasions at top edge, through central text; repaired tears, creases and minor restoration in margins and along vertical and horizontal folds; water staining in bottom margin. Framed.
Estimate
$800 – $1,200
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
$800 – $1,200
Pal (jean de paléologue, 1860-1942)
“THYMOL - TOILETT.” 1894.
58¾x43 inches, 149¼x109¼ cm. Paul Dupont, Paris.
Condition A-: minor repaired tears and minor creases in margins; minor abrasions and restoration along vertical and horizontal folds. Matted and framed.
Estimate
$1,500 – $2,000
Théophile-alexandre steinlen (1859-1923)
LE RÊVE. 1890.
34x25 inches, 86¼x63½ cm. Gillot, Paris.
The first act of Leon Gastinel’s ballet The Dream, based on Japanese legend, involves a giant fan behind which the heroine is led by the Goddess Isanami. Steinlen incorporates the Japanese theme into his poster thus evoking the feeling of the production and capitalizing on an art style which was very popular at that time. DFP-II 779, Opera 28, Bargiel p. 35.
Condition B+: small loss in upper right corner; minor tears and repaired tears in margins; minor creases in margins and image.
Estimate
$700 – $1,000
Stephano (dates unknown)
CIGARETTES SAPHIR. Circa 1920.
46¾x30¾ inches, 118¾x78 cm. Moullot, Marseille.
Condition A-: minor creases in image; slight darkening in margins.
Estimate
$600 – $900
Francisco tamagno (1851-1933)
CACHOU LAJAUNIE. Circa 1900.
50¼x37¾ inches, 127½x95¾ cm. B. Sirven, Toulouse.
Cachou Lajaunie is a licorice pastille that is still on the market in France, available in the same little round box as Tamagno depicted here. It was primarily marketed towards smokers, to sweeten their breath; here the text recommendeds them for chauffeurs and cyclists.
Condition B+: replaced loss in upper left corner, slightly into image border; repaired tears at edges.
Estimate
$1,000 – $1,500
Designer unknown
PALTZOW’S QUILLAYA SEIFE. Circa 1900.
39¾x28¼ inches, 101x71¾ cm. Grimme & Hempela, Leipzig.
Condition B: replaced losses at sides, affecting image; repaired tears, creases and restoration in margins and along vertical and horizontal folds.
Estimate
$700 – $1,000
Designer unknown
EVERY PROPERLY GOWNED WOMAN WEARS THE SOROSIS UNDERSKIRT.
52½x39¾ inches, 133¼x101 cm.
Condition B: losses in corners, one into lower left image; repaired tears, creases and restoration in margins and image and along horizontal fold.
Estimate
$700 – $1,000
Charles naillod (1876-1941)
AU SANS PAREIL EXPOSITION / BLANC TOILE LINGERIE. 1902.
53¾x38½ inches, 136½x97¾ cm. Affiches Nouveautés, Bououet & Barry, Paris.
Condition B: replaced losses, repaired tears, creases and abrasions in margins and image; replaced lower left margin.
Estimate
$700 – $1,000
Designer unknown
CHAPELLERIE TROIS - SIX. Circa 1908.
33½x47 inches, 85x119½ cm. Bonabuad & Bruyère, Loire.
Condition A-: minor repaired tears and slight darkening at edges.
Estimate
$700 – $1,000
Jack abeillé (1873-?)
FLANELLE REMA / TISSU HYGIÉNIQUE. 1913.
79x50½ inches, 209½x128¼ cm. Affiches Camis, Paris.
Condition B / B+: repaired tears, creases, abrasions and overpainting in margins and image and along vertical and horizontal folds.
Estimate
$800 – $1,200
Designer unknown
ALVIN JOSLIN / 180 LAUGHS IN 180 MINUTES. Circa 1880s.
19½x29 inches, 49½x73½ cm. The Strobridge Lith. Co., Cincinnati.
Condition B+: repaired tears, creases, abrasions and restoration in margins.
Estimate
$600 – $900
Designer unknown
HARRY MINER’S FRANK I. FRAYNE COMBINATION. Circa 1880s.
20½x25½ inches, 52x64¾ cm. The Graphic Co. Lith., New York.
Condition B: replaced losses, repaired tears, creases and extensive restoration in margins; minor repaired tears and creases in image; scratch in right image.
Estimate
$600 – $900
Designer unknown
THE BLACK CROOK. Circa 1900.
39x28½ inches, 99x72½ cm. The Metropolitan Printing Co., New York.
A salacious comedy with Faustian overtones, first performed in 1866, that is sometimes considered (erroneously) to be the first American musical. Rare
Condition B+: replaced losses and tape stains in margins; repaired tears and creases in margins and image.
Estimate
$700 – $1,000
Howard chandler christy (1872-1952) & h.d. (dates unknown)
SCRIBNER’S. Two posters. 1895 & 1899.
Each approximately 22x14¼ inches, 56x36 cm. A. Grignard Litho., New York.
Includes Scribner’s for October (1899), drawn by Christy from a photograph copyright 1898, by B.J. Falk; and Scribner’s For November (circa 1895).
Condition varies, generally B+ / B.
Estimate
$800 – $1,200
Blendon reed campbell (1872-1969)
SCRIBNER’S CHRISTMAS NUMBER. Circa 1905.
22x14¼ inches, 55¾x36 cm. American Lithographic Company, New York.
Campbell was an American-born artist who studied in Paris with Whistler. He settled in California where in 1902 was a co-founder of the California Society of Artists. Primarily regarded as a painter, he was also a member of New York’s Society of Illustrators and designed magazine covers, advertisements and several posters for Scribner’s.
Condition A: minor expert restoration in margins.
Estimate
$800 – $1,200
Arthur wesley dow (1857-1922)
THE LOTOS / MARCH. 1896.
26½x18 inches, 67¼x47¾ cm. Cycle Publishing Co., New York.
An influential artist and teacher, Dow’s own work was heavily influenced by the “floating world”, (ukiyo-e), of the Japanese woodblock masters and other Asian art influences, as well as the Arts and Crafts movement of William Morris in England. A teacher at many of America’s most prominent Art Institutions (Pratt Institute, the Columbia University Teachers College, the Arts Students League, and his own Ipswich Summer School of Art) Dow’s influence spread far and wide, including Georgia O’Keeffe, who was his most famous pupil. Perhaps his most lasting gift to the art world was his 1899 manual Composition: A Series of Exercises in Art Structure for the Use of Students and Teachers, which became a standard art text at schools across the nation. Dow’s most famous poster, reproduced in the Maitres de l’Affiche was for the magazine entitled Modern Art (Maitres pl 36). This scarceky seen image is for a magazine that was one of several titles that Arts and Crafts practitioners used to propagate their art (others included Keramic Studio, The Craftsman, The Hobbyhorse, Knight Errant and The Studio) and appears in at least two different colors advertising different months of the publication. Virginia p. 39 (var).
Condition A-: expert overpainting and repaired tears in margins; unobtrusive horizontal fold.
Estimate
$1,200 – $1,800
Maxfield parrish (1870-1966)
HARPER’S WEEKLY / NATIONAL AUTHORITY ON AMATEUR SPORT. 1896.
18x13¾ inches, 45¾x35 cm.
Most famous for his children’s book illustrations, Parrish was nonetheless a “remarkable draughtsman, who energetically and successfully mixed fantasy and reality to create a luminous dreamworld that, for all its strangeness, is precisely rendered” (Parrish intro). He studied art at the Pennsylvania Academy of Fine Arts, and then at the Drexel Institute under Howard Pyle. “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, Vol. 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
$3,000 – $4,000
Hibberd van buren kline (1885-1959)
CLEAR. 1910.
27½x21¾ inches, 69¾x55¼ cm.
Condition B: replaced losses and extensive overpainting in margins; repaired tear through right image from top to bottom; repaired tear from top into central image.
Estimate
$500 – $750
Designer unknown
HARVARD. 1903.
27¼x21¼ inches, 69¼x54 cm. Fred S. Tolman, Brockton.
“No. 48”
Conditon B+: extensive expert overpainting at edges and corners and along repaired tears into image.
Estimate
$700 – $1,000
Abigail kellogg hazard (1886-?)
“WHILE THE TI - GER STANDS DE - FENDER OF THE ORANGE AND THE BLACK” / [PRINCETON]. 1909.
17x11¼ inches, 43¼x28½ cm.
Condition A. Paper. Matted and framed.
Estimate
$600 – $900
Food & Beverage (190-209)
G. jeojam (dates unknown)
LES GRANDS CRUS DU BORDELAIS. 1899.
26¼x20½ inches, 66½x52 cm. Wetterwald Frères, Bordeaux.
Condition A-: minor foxing spots at edges; two punch holes at left edge; pre-trimming, with registration marks and color test printing at edges. Paper.
Estimate
$1,500 – $2,000
Otto baumberger (1889-1961)
HOTEL ST. GOTTHARD / ZURICH. 1917.
50¼x36 inches, 127½x91½ cm. J.E. Wolfensberger, Zurich.
Baumberger 53, Hotelplakate 39.
Condition A: minor creases in margins and image.
Estimate
$600 – $900
Leonetto cappiello (1875-1942)
LA CAISSE SIMON / HUÎTRES EXQUISES. 1901.
36¼x54¼ inches, 92x137¾ cm. P. Vercasson, Paris.
Oysters are shipped all over Europe in la caisse Simon, cartons which help retain freshness and “arrive in perfect condition.” Cappiello’s design captures that freshness and adds a veneer of class which can only have made the manufacturer happier with their choice of artist. Two simple bands of color, one gray and the other light blue in the background create a wide open, outdoors effect in which a brightly-clad, elegant lady is indulging in an oyster, freshly shucked. The sea air catches the dresses of the two women further evoking the fresh, outdoors feeling. Variations of this poster also exist without the text in the top margin. Cappiello / Rennert 9, Cappiello 235, DFP-II 128, Wine Spectator 193.
Condition A-: expertly-repaired tears in margins and image; small stain at top right corner.
Estimate
$8,000 – $12,000
Leonetto cappiello (1875-1942)
CHAMPAGNE DE ROCHEGRÉ. 1902.
55x39½ inches, 139¾x100¼ cm. P. Vercasson, Paris.
Cappiello / Rennert 34, Cappiello 247, Menegazzi 433, Wine Spectator 162.
Condition A-: minor creases in image; slight offsetting in bottom right margin; slight darkening in lower image. Framed.
Estimate
$7,000 – $10,000
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
$3,000 – $4,000
Leonetto cappiello (1875-1942)
MAURIN QUINA. 1906.
62¼x46¼ inches, 158x117½ cm. P. Vercasson & Cie., Paris.
Affectionately known as “The Green Devil,” Cappiello struck a chord with this poster that has reverberated down through the decades. Mischievous, arcane and naughty, this green figure highlighted in purple is popping a cork from a brown bottle, and makes for an image that flirts with something sinister in a way that manages to be charming and compelling. One of the most memorable icons in Cappiello’s visual legacy. Cappiello / Rennert 114, Encyclopedie de l’Affiche p. 61, Drink 85, Cappiello 266, Jenever p. 29.
Condition A-: minor abrasions in margin and image; slight scuffing in upper image; unobtrusive punch holes at side edges.
Estimate
$1,500 – $2,000
Leonetto cappiello (1875-1942)
BITTER CAMPARI. 1921.
39x27½ inches, 99x69¾ cm. Devambez, Paris.
To those familiar with the unique taste of Campari bitter, the sight of a pierrot wrapped in an orange peel is perfectly understandable. For newcomers to the drink, this playful advertisement leaves little doubt as to the liqueur’s flavor. “The image has become one of the classics of poster design, effortlessly combining the element of surprise with the essence of the product” (Cappiello / Rennert p. 214). This is the smallest of three formats. Cappiello / Rennert 330, Cappiello 4.47, Manifesti Italiani p. 90, Drink Posters 149.
Condition B: replaced loss in lower left corner, affecting signature; replaced losses and abrasions in margins; extensive repaired tears from bottom edge, into text and central image, minor creases in image.
Estimate
$3,000 – $4,000
Leonetto cappiello (1875-1942)
AURORE. Circa 1930.
62x46 inches, 157½x117 cm. Devambez, Paris.
Cappiello / Rennert 484.
Condition A-: minor repaired tears and small replaced losses at edges; minor creases and abrasions in margins and image; faint waterstain in lower image.
Estimate
$1,500 – $2,000
Paul colin (1892-1986)
VICHY / DEMANDEZ VOTRE QUART. 1948.
65½x49 inches, 166½x124½ cm. Bedos & Cie., Paris.
Colin 106.
Condition A: small expertly-repaired tears at edges. Framed.
Estimate
$700 – $1,000
Adolphe mouron cassandre (1901-1968)
DUBONNET. Circa 1956.
66½x48 inches, 169x122 cm. Axel Andreasen & Sonner, [Copenhagen].
The Dubo-Dubon-Dubonnet “mascot” is certainly one of Cassandre’s most memorable creations. Such was its appeal that his character has graced everything from ashtrays to menus to fans, helping to make Dubonnet one of the most popular French aperitifs. He was also used to advertise the product outside of France, as seen in this Danish printing which faithfully reuses the 1932 image. This is the larger format. Cassandre cover & pl. 37 (both var), Reina Sofia p. 184 (var).
Condition A-: small repaired tears and slight darkening at edges. Two-sheets.;
Estimate
$3,500 – $4,500
Mario gros (1888-1977)
CONTRATTO / TONIC APERITIVO DIGESTIVO. Circa 1938.
77½x55 inches, 196¾x139¾ cm. Gros. Monti & Co., Turin.
Condition A- / A: minor creases and abrasions in margins and image and along seam. Two-sheets.
Estimate
$400 – $600
Giovanni mingozzi (1891-?)
CAMPARI SODA. 1950.
38¼x26 inches, 97x66 cm. Studio Mingozzi, Bologna.
Mingozzi spent his entire life and career in Bologna, where he founded the Alta Studio in the 1920s and then opened an eponymously-named studio in the 1930s. His posters uniformly reflected his Modernist view of design. Among his largest clients were Barbisio hats, Ebano shoe polish and a variety of different brands of liquor, including Campari. This strong image from later in his career promotes the company’s soda with its stylized, signature bottle. The image manages to both represent the bottle as an inverted cocktail glass and catch the viewer’s eye with the vibrating background.
Condition A: minor creases at edges.
Estimate
$1,000 – $1,500
Louis macouillard (1913-1987)
CALIFORNIA / WINE LAND OF AMERICA. Group of 9 posters. Circa 1965.
Sizes vary, each approximately 28x20½ inches, 71x52 cm. Wine Advisory Board, San Francisco.
Group includes: Port (2 images); Sherry; Champagne (2 images); World Renowned Sherries; Pink Rosé; Sauterne Burgundy; and California / Wine Land of America, a larger-sized map poster. Images available upon request.
Condition varies, generally A / A-.
Estimate
$700 – $1,000
Alain gauthier (1939-?)
[LE VIN / POSTILLON]. Two posters. Circa 1964.
Sizes vary. De La Vasselais, Paris.
Includes Le Vin Léger / Clairet Postillon and Postillon / C’est le Vin de Paris. Images available upon request.
Condition varies, generally A-.
Estimate
$600 – $900
Andy warhol (1928-1987)
PERRIER. 1983.
17¾x23¾ inches, 45x64¼ cm. Lalande-Courbet, Wissous.
This is one of over 40 designs Warhol created around Perrier’s sparkling water, after he began collaborating with manufacturers in the 80s. Commissioned in 1982 and completed in 1983, this advertising campaign was coordinated by Langelaan & Cerf of Paris and was awarded the Grand Prix de l’Affiche Française in 1983. Warhol Posters 31, MoMA 118.1989.
Condition A: minor creases. Paper.
Estimate
$1,000 – $1,500
Andy warhol (1928-1987)
PERRIER. 1983.
17¾x23½ inches, 45x59¾ cm. Lalande-Courbet, Wissous.
Condition A-: minor creases and abrasions at edges and in image. Paper.
Estimate
$1,000 – $1,500
Designer unknown
BUY HAMMOND’S GOLD MEDAL CUSTARDS. Circa 1900.
60½x39 inches, 153½x99 cm. Petty & Sons Ltd., Leeds.
Condition A-: minor repaired tears and restoration in margins.
Estimate
$600 – $900
Davina (dates unknown)
ALOHA! FROM C AND H. Group of 7 posters. 1959.
Sizes vary.
Images available upon request.
Condition varies, generally A- / A: each sheet folded over, with images on both sides, uncut. Paper.
Estimate
$600 – $900
Francisque poulbot (1879-1946)
CHOCOLAT GUERIN - BOUTRON.
61½x45¾, 152¼x116¼ cm. Phogor, Paris.
Not in Chocolate.
Condition B+: overpainting and slight darkening at edges; minor replaced losses, creases and darkening along vertical and horizontal folds.
Estimate
$600 – $900
Designer unknown
WE WANT WASHINGTON STATE JONATHANS.
21¼x15¼ inches, 54x38¾ cm. Ridgway Litho. Co., Seattle.
Condition A-: minor repaired tears at edges; repaired pin holes in corners.
Estimate
$400 – $600
Automobile & Bicycle (210-232)
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
$2,500 – $3,500
H.a. volodimer (dates unknown)
GRAND PRIX D’ENDURANCE DE 24 HEURES / COUPE RUDGE - WHITWORTH. 1923.
23½x34½ inches, 59¾x87½ cm. Ch. Hirvyl, Angers.
Volodimer would not be remembered at all as a poster artist except for the images he designed in 1923, 1924 and 1925 for the first three 24-hour endurance car races that became known as the legendary “Le Mans.” It was originally conceived as a three-year event, in which the winner, determined by whoever amassed the most miles over the three separate races, would be awarded the Rudge-Whitworth Cup. For this first-ever running of the prestigious race, the artist provides an exciting night time scene to emphasize the 24-hour element of the race. The poster also provides information about the other activities included to ensure that this became a popular and trendy event, such as fireworks, a jazz band and food organized by a Parisian brasserie. A rare document from the history of car racing.
Condition B+ / B: restoration along repaired tear in upper image; repaired tears, creases and abrasions at edges and in image. Silkscreen. Matted and framed.
Estimate
$10,000 – $15,000
Paolo federico garretto (1903-1991)
AMILCAR / ELLE EST PASSÉE! 1929.
46¼x62 inches, 117½x157½ cm. H. Chachoin, Paris.
Garretto employs two established visual techniques to help convey his message. The advertised car has passed out of the frame, leaving only tire tracks and a plume of smoke behind. Yet, clearly it was such a car that it caught the eye and the attention of a trendy and handsomely dressed couple, who stand on the street corner looking after it. For the rest of us who were too slow to see it, there happens to be a poster within the poster depicting the car (ingeniously posted over other posters, whose corners are visible). Garretto was primarily a political cartoonist who became an international artistic star in the 1920s. He also received large commissions from American magazines like Vanity Fair, and began spending three or four months every year in the States.
Condition B+: small losses at edges; repaired tears, creases and abrasions in margins and image.
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
$1,200 – $1,800
Erich strenger (1922-1993)
PORSCHE / AINTREE 200. 1960.
31¾x23⅜ inches, 80½x59 cm.
One of Porsche’s strongest selling points was the company’s impressive results in competitions. For over thirty years starting in 1951, posters for the Porsche competitions were designed by Eric Strenger. He revolutionized the design of racing posters by introducing modern typography and photography. Early in his career, he worked with photographs by other artists, but as his career matured, so did his style, and he began to work with his own photographs, which allowed him much more freedom of expression. As Reinhard Seiffert wrote, “he wanted to inform, not illustrate. Instead of adding something, he took things away. Instead of dramatizing, he abstracted. In this way the information moved into the foreground as a specific aim of the poster” (Porsche p. 15). Porsche p. 28.
Condition A- / B+: sharp vertical and horizontal folds; minor restoration in image and at edges.
Estimate
$1,000 – $1,500
Various artists
[PORSCHE]. Group of 5 posters. 1955-1964.
Sizes vary.
Images available upon request.
Condition varies, generally A.
Estimate
$800 – $1,200
Various artists
[PORSCHE]. Group of 7 posters. 1953-1983.
Sizes vary.
Images available upon request.
Condition varies. Paper.
Estimate
$1,000 – $1,500
Various artists
[CAR RACES]. Group of 10 posters. 1958-1973.
Sizes vary.
Includes posters for the Sebring 12 Hour Grand Prix of Endurance, BOAC 1000 Brands Hatch, Targa Florio / Sicilia and more. Images available upon request.
Condition varies.
Estimate
$700 – $1,000
Various artists
[PAUL NEWMAN & STEVE MCQUEEN FILMS]. Group of 6 posters.
Sizes vary.
Includes some Japanese film posters. Images available upon request.
Condition varies. Two paper.
Estimate
$1,000 – $1,500
Designer unknown
ALFA ROMEO. Two posters. Circa 1960s.
Each approximately 19x54¼ inches, 48¼137¾ cm. Pietro-Vera, Milan.
Includes GiuliaSS and GiuliaSpider. Images available upon request.
Condition A.
Estimate
$800 – $1,200
Alfred choubrac (1853-1902)
CYCLES DECAUVILLE. Circa 1895.
38¾x29½ inches, 98½x75 cm. Lemercier, Paris.
Reims 551.
Condition B+: repaired tears and small replaced losses in margins; restoration along crease in upper left text and along vertical and horizontal folds.
Estimate
$700 – $1,000
Émile clouet (1800-1900)
HUMBER. Circa 1894.
61½x44½ inches, 152¼x113 cm. Kossuth & Cie., Paris.
Ailes p. 62.
Condition A-: minor repaired tears and restoration in margins; slight discoloration in top left corner; minor creases along vertical and horizontal folds.
Estimate
$600 – $900
Pal (jean de paléologue, 1860-1942)
CLÉMENT CYCLES. 1898.
61x43 inches, 155x109¼ cm. Caby & Chardin, Paris.
DFP-II 701, Voici p. 65, Maitres 1900 p. 212.
Condition B+: replaced losses and overpainting in top corners; minor repaired tears and restoration in margins.
Estimate
$1,000 – $1,500
Pal (jean de paléologue, 1860-1942)
LA MARQUE GEORGES RICHARD. 1898.
60½x43 inches, 153¾x109¼ cm. Caby & Chardin, Paris.
Ailes p. 108, Affiches Automobiles p. 12.
Condition B+ / A-: minor repaired tears and overpainting in margins.
Estimate
$800 – $1,200
Wilhio (dates unknown)
ZIM STROCK & CIE. Circa 1890.
62¾x47 inches, 159¼x119¼ cm. Paul Dupont, Paris.
Petite Reine 68, Ailes p. 86, Weill / Art Nouveau p. 62.
Condition B+ / B: expertly replaced and overpainting corners, some into text; restoration along vertical fold and seam. Two-sheets.
Estimate
$800 – $1,200
Designer unknown
CONSUL. Circa 1905.
37¼x27¾ inches, 94½x70½ cm. Adolph Friedlander, Hamburg.
Condition B- / B: extensive repaired tears at edges, some into central image; small losses in margins; repaired loss in right margin; creases and abrasions in margins and image. Framed.
Estimate
$800 – $1,200
H.l. roowy (stanley charles roowles, 1887-?)
PNEU VÉLO MICHELIN / GABRIEL MOTTIN. 1912.
46x29¼ inches, 116¾x74¼ cm. Chaix, Paris.
Condition B: replaced losses and overpainting in top margins, some slightly affecting text and image; repaired tears at edges, some into image; small replaced loss in bottom right corner; minor abrasions in image.
Estimate
$1,200 – $1,800
Designer unknown
CYCLES GUYOT. Circa 1920.
45¾x30½ inches, 116¼x77½ cm. Affiches Gaillard, Paris.
Condition A-: minor creases and abrasions in image; colors slightly attenuated.
Estimate
$500 – $750
Jean carlu (1900-1997)
PEUGEOT. 1922.
63½x46¾ inches, 161¼x118¾ cm. Draeger, Paris.
An early and rare image in which Carlu turns his young, yet talented abilities towards a bicycle ad. Although the concept of a woman atop the globe holding a bicycle aloft is certainly not a new idea, Carlu delivers a brightly-colored, well-executed image that perfectly serves a poster’s primary purpose, to stop a person on the street and deliver a message.
Condition B+: replaced lower right corner; repaired tears, small replaced losses, creases and restoration along vertical and horizontal folds.
Estimate
$3,500 – $4,500
Various artists
[BICYCLES]. Two posters.
Sizes vary.
Includes “Très Sport” and Achilles. Images available upon request.
Condition varies.
Estimate
$700 – $1,000
Guy lipscombe (1881-1952)
TRIUMPH CYCLES. Circa 1930s.
28¼x19 inches, 71¾x48¼ cm. J. Howitt & Son, Nottingham.
Condition A / A-: minor overpainting and restoration in margins.
Estimate
$700 – $1,000
Laverri (dates unknown)
ROLER’S.
46½x30¾ inches, 118x78 cm. M. Volataire, Angers.
Condition B+: minor repaired tears, creases, and abrasions in margins and image; minor abrasions along vertical and horizontal folds.
Estimate
$1,000 – $1,500
Various artists
[BICYCLES]. Two posters.
Sizes very, each approximately 12¼x28¼ inches, 31x71¾ cm.
Includes Sturmey-Archer Dynohub and Rudge. Images available upon request.
Condition varies, generally A-.
Estimate
$500 – $750
Various artists
[CYCLING]. Group of 6 posters.
Sizes vary.
Group includes: Velo-Stadion; Velo-Stadion; Suze / 6 Jours Vel’d’Hiv; Alycon; Palais des sports / 6 Jours; and Helyett / Champion Olympique 1956-1960. Images available upon request.
Condition varies.
Estimate
$700 – $1,000
Designer unknown
CUNARD [SLAVONIA] / NEW YORK MEDITERRANEAN. Circa 1905.
39¾x25 inches, 101x63½ cm. Wm. Strain & Sons, Belfast.
Built in 1902 for the British India Line as the Yamuna, the ship was bought by the Cunard Line and renamed RMS Slavonia in 1903. The liner was wrecked and sank off the Azores on June 10th, 1909, with no fatalities. It was the first ship to ever send an “S.O.S.” distress message by Morse code. Two German ships, North German Lloyd’s Prinzess Irene and Hamburg America’s Batavia were able to safely rescue all 410 passengers. This exceptional nocturnal image stands out not only for the painterly way in which the subject is presented but also the unusual positioning of the ship. Ocean liner posters most often portray their vessels in 3/4 profile or profile. Here, the unknown artist presents the ship slightly askew from head on.
Condition A / A-: minor creases and restoration at edges. Mounted on Japan.
Estimate
$3,000 – $4,000
A. roquin (dates unknown)
CUNARD WHITE STAR / [QUEEN MARY & QUEEN ELIZABETH]. 1939.
38¾x24¼ inches, 98½x61½ cm. Nadal, Paris.
“To announce the launch of the Cunard White Star line’s biweekly luxury liner service between New York and Cherbourg, Roquin created this handsome composition, visually equating two behemoths of the sea . . . with one of the ultimate symbols of the Art Deco era, the Chrysler Building . . . the New York City skyline in the background creates the illusion of a giant anchor” (Crouse p. 239). Weallans p. 173, Crouse p. 239.
Condition B+: expertly-repaired tears at top center edge, into text and image; minor repaired tears and restoration in margins.
Estimate
$1,500 – $2,000
Designer unknown
LE BATEAU PLAISIR DU VOYAGE / CUNARD. 1939.
39¼x24¾ inches, 100¼x62¾ cm.
Condition A-: small repaired tears, creases and restoration in margins; minor creases and abrasions in image.
Estimate
$500 – $750
Bernard r. lachèvre (1885-1950)
LE “ROUEN” / SOUTHERN RAILWAY.
38¾x23½ inches, 98½x59¾ cm. Novia, Paris.
Condition B+: repaired tears, overpainting and restoration in margins; creases in margins and image.
Estimate
$700 – $1,000
Designer unknown
WHITE EMPRESSES OF THE PACIFIC. 1930.
36x24 inches, 91½x61 cm.
A rare poster showing one out of a trio of Canadian Pacific’s three-smokestack vessels (Empress of Japan, Empress of Asia and the Empress of Russia) serving the Pacific route. A portion of this poster, with Chinese text, is depicted in Canadian Pacific (p. 42).
Condition A-: minor creases and abrasions at edges; minor creases in image. Paper.
Estimate
$1,000 – $1,500
Paul colin (1892-1986)
CIE GLE TRANSATLANTIQUE / FRENCH LINE. 1949.
38¾x23¾ inches, 98½x60¼ cm.
“Faced with competition from the airlines, Paul Colin extols the steamship voyages for the Compagnie Générale Transatlantique, the ‘French Line,’ emphasizing the well-being, luxury and sense of adventure that you can experience on a transatlantic liner” (Colin p. 132). During the golden era of travel in the 1920s and 1930s, Colin designed few, if any, travel posters. In the post-war years he designed three posters for the French shipping company (the others in 1952 and 1955). Weallans p. 179, Paul Colin 101, Colin 187, La Mer p. 248.
Condition A: minor creases and restoration at edges. Matted and framed.
Estimate
$1,200 – $1,800
Designer unknown
CUNARD / EUROPE TO ALL AMERICA. Circa 1950s.
39¼x25 inches, 99½x63½ cm.
Condition A-: repaired tears, creases and restoration in top right and upper margin; minor restoration at edges.
Estimate
$1,200 – $1,800
Various artists
[AFRICA TRAVEL]. Two posters.
Sizes vary.
Includes Fly to Africa and the Middle East / BOAC and Round Africa Voyages / Holland-Africa Line, by Willie Schermele. Images available upon request.
Condition varies, generally A- / A.
Estimate
$500 – $750
Albert brenet (1905-2005)
DÉTENTE REPOS CONFORT . . . / CIE GLE TRANSATLANTIQUE.
39x24¾ inches, 99x62¾ cm. La “Photolith,” Paris.
Condition A-: minor repaired tear at upper left edge, slightly into image; minor creases and abrasions at edges and in image.
Estimate
$700 – $1,000
Albert brenet (1905-2005)
NEW YORK PAR LA “TRANSAT.”
22¼x14½ inches, 56½x36¾ cm. “La Photolith,” Paris.
This is the smaller format.
Condition A.
Estimate
$400 – $600
Beach & Summer Resort (242-298)
Designer unknown
CABOURG CASINO. Circa 1899.
48¼x36½ inches, 122½x92¾ cm. B. Sirven, Paris.
Condition B+: minor repaired tears and small replaced losses along vertical and horizontal folds; minor staining in image; reds attenuated. Matted and framed.
Estimate
$1,000 – $1,500
Edouard elzingre (1880-1966)
CABOURG. Circa 1902.
62½x42¼ inches, 158¾x107¼ cm. P. Leménil, Seine.
Condition B / B+: creases, tears and abrasions in margins and image.
Estimate
$1,000 – $1,500
Vielle (dates unknown)
ST. NAZAIRE. Circa 1900.
41x29 inches, 104x73½ cm. Courmont Frères, Paris.
Condition B+: overpainting in margins; minor abrasions and restoration along vertical and horizontal folds.
Estimate
$700 – $1,000
Francis delamare (1895-1972)
REPOS STE. ELISABETH. 1920.
34¼x24¼ inches, 87x61½ cm. Vromant et Cie., Brussels.
Riviera 48.
Condition A.
Estimate
$800 – $1,200
Éric de coulon (1888-1956)
NEUCHATEL PLAGE. 1925.
50x35 inches, 127x89 cm. Paul Attinger, Neuchatel.
Condition B+: repaired tears, creases and abrasions in right margin, slightly into image; minor creases and abrasions in margins. Mounted on Japan.
Estimate
$1,000 – $1,500
Michel bouchaud (dates unknown)
LA PLAGE DE MONTE CARLO. 1929.
45x29¼ inches, 114¼x74¼ 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 A: minor abrasions in image. Matted and framed.
Estimate
$4,000 – $6,000
Dabo (geoffroy d’aboville, 1902-1979)
LA CIOTAT - PLAGE. Circa 1930.
38½x23¾ inches, 97¾x60¼ cm. J. Robillon, Paris.
A coastal town in south eastern France, Ciotat lies equidistant between Marseille and Toulon. Renowned as the city chosen as home by the Lumiere family, and the subject of their (and the world’s) first motion picture, L’Arrivée d’un train en gare de La Ciotat. The Lumiere estate was sold to developers in 1925 and villas, a hotel and a casino with a pool were constructed between 1926 and 1930. A single postcard remains illustrating this beautiful Art Deco edifice and its pool, but no other historical trace can be found except this stunning Art Deco poster. Affiches d’Azur, no. 208.
Condition A-: expertly-repaired tears at edges, one slightly into upper image; minor restoration along creases.
Estimate
$1,000 – $1,500
Jean-gabriel domergue (1889-1962)
DEAUVILLE. Circa 1930.
92½x70 inches, 235x128¼ cm. Lucien Serre, Paris.
This is the rare large format.
Condition B: repaired tears, restoration and overpainting in margins and image and along seam. Two-sheets.
Estimate
$2,000 – $3,000
Sem (georges goursat, 1863-1934)
CANNES. Circa 1930.
31½x47½ inches, 80x120½ cm. Draeger, [Paris].
Riviera 509.
Condition A: punch holes in top margin.
Estimate
$800 – $1,200
Pierre commarmond (1897-1983)
COMBLOUX / L’HÔTEL P.L.M. ET LE MONT • BLANC. Circa 1930.
39¼x24¼ inches, 99¾x61½ cm. Lucien Serre & Cie., Paris.
L’Affiche Tennis (112).
Condition B+: creases and minor abrasions in image; paper remnants on verso of linen.
Estimate
$700 – $1,000
Aurelio craffonara (1875-1945)
GENUA UND DIE ITALIENISCHE RIVIERA. 1931.
39x27 inches, 99x68½ cm. Barabino & Graeve, Genova.
A sweeping, colorful vista of the Italian port city, with the tranquility of the shaded, flowery terrace in the foreground offset by the activity at the docks in the background. This is the German version. Travel Italia p. 70 (var), Manifesta p. 55 (var).
Condition B+: repaired tears at edges, some into image; replaced loss and restoration in margins; creases and abrasions in margins and image; horizontal fold.
Estimate
$800 – $1,200
Signature illegible
PERFECTA / DAS SCHWEIZER BADEKLEID. 1936.
50¼x35¼ inches, 127½x89½ cm. A. Trüb & Cie., Aarau.
Condition A-: small repaired tears and abrasions in margins; small repaired pin holes in top corners.
Estimate
$700 – $1,000
Clifford ellis (1907-1985) & rosemary ellis (1910-1998)
OCEAN CABLE. 1935.
19½x24¼ inches, 49½x61½ cm.
Clifford and Rosemary Ellis married in 1931 and worked together for the rest of their careers. It is hard to describe their unique style, which has the colorful and fanciful qualities of children’s illustration, yet is also compelling, eye-catching and charmingly composed. Their aesthetic certainly appealed to a large swath of the general public, as the duo was commissioned to design posters for the London Underground, Shell, the General Post Office (GPO) and the Empire Marketing Board. This poster was commissioned by the GPO Film Unit to advertise “Cable Ship,” a 12 minute documentary on the repair of an International Telephone Exchange submarine cable that had been damaged. The 1933 film was grouped with 4 other short films, all centering on Post Office activities and repair work, and released in 1935 to considerable cinematic success. After the war, the artists primarily focused on book cover design.
Condition A / A-: minor creases at edges. Paper. Matted and framed.
Estimate
$1,000 – $1,500
Signature unknown
TENERIFE / LES ILES FORTUNÉES.
39½x25½ inches, 100¼x64¾ cm. [Voluntad, Madrid].
This is the French version.
Condition B: losses and flaking in margins; repaired tears and restoration at edges, some into text; creases and abrasions in margins and image; slightly trimmed.
Estimate
$400 – $600
Various artists
[INTERNATIONAL TRAVEL]. Group of 5 posters.
Sizes vary.
Group includes: Danemark, by Thelander; En Normandie; Espagne, by Morell; French Seaside Resorts, by Le Doux; and Air France / South America, by DuBois. Images available upon request.
Condition varies.
Estimate
$1,000 – $1,500
Various artists
HOLLAND. Two posters.
Sizes vary.
Includes Bulbtime in Holland by Emmanuel Gaillard, and Holland by Jan Lavies. Images available upon request.
Condition varies, generally B+.
Estimate
$700 – $1,000
Alexis kow (alexei kogeynikov, 1901-1978)
JUAN LES PINS / ANTIBES. 1935.
39x24¼ inches, 99x61½ cm. Havas, [Paris].
Riviera 56.
Condition A- / A: minor abrasions and restoration in margins.
Estimate
$800 – $1,200
René bleuer (1896-1978)
JUAN - LES - PINS / ANTIBES. Circa 1950.
38¾x25¼ inches, 98½x64 cm. Georges Lang, Paris.
Condition A- / A: minor abrasions and restoration in margins.
Estimate
$1,200 – $1,800
Henri matisse (1869-1954)
NICE / TRAVAIL & JOIE. 1947.
39x25¾ inches, 99x65½ cm. Mourlot, Paris.
Condition A-: minor restoration at edges; minor abrasions in image.
Estimate
$600 – $900
Pablo picasso (1881-1973)
CÔTE D’AZUR. 1962.
39¼x26 inches, 99¾x66 cm. Mourlot, Paris.
Azur 31, Czwiklitzer 177.
Condition B+: foxing and darkening in text and margins; creases in margins. Paper.
Estimate
$700 – $1,000
Pablo picasso (1881-1973)
CANNES A.M. 1962.
38¾x25½ inches, 98½x64¾ cm. Mourlot, Paris.
A text variant of Picasso’s Cote d’Azur poster.
Condition A- / A: minor creases and abrasions at edges. Paper.
Estimate
$600 – $900
Constantin terechkovitch (1902-1978)
MENTON / MER MONTS ET MERVEILLE. Circa 1960.
38½x24¼inches, 97¾x61½ cm. Mourlot, Paris.
Condition B+ / B: repaired tears at edges; tape on verso; sharp creases at edges and in image. Paper.
Estimate
$400 – $600
Raoul dufy (1877-1953)
FRANCE / NORMANDY. 1952.
38½x23¾ inches, 97¾x60¼ cm.
Condition A. Framed.
Estimate
$700 – $1,000
Daniele buzzi (1890-1974)
LUGANO. Circa 1950.
50½x36 inches, 128¼x91½ cm. A. Trüb & Cie., Aarau.
Condition A-: small repaired tear at bottom edge; minor restoration in printer’s text.
Estimate
$400 – $600
Alex gühl (dates unknown)
GENFERSEE GEBIET / SCHWEIZ. 1952.
39¼x25¾ inches, 99½x65½ cm. R. Marsens, Lausanne.
This is the German version. This image also was printed with French and English titles.
Condition A: minor creases and restoration at edges.
Estimate
$700 – $1,000
René gruau (renato de zavagli, 1910-2004)
RELAX . . . / CHARGEURS REUNIS. Circa 1950.
38¼x24½ inches, 97x62¼ cm. Editions Bonsch, [Paris.]
Gruau 6, La Mer p. 257.
Condition A.
Estimate
$1,000 – $1,500
Designer unknown
EUROPE . . . SAIL THE SUNNY SOUTHERN ROUTE! / ITALIAN LINE.
32½x19½ inches, 80x49½ cm.
Condition A: minor creases and abrasions in bottom right corner.
Estimate
$400 – $600
R. salva (dates unknown)
VINCERE! REALE FEDERAZIONE CANOTAGGIO. 1919.
38½x26½ inches, 97¾x67¼ cm. Carabellin, Venice.
Condition A-: minor abrasions at edges; minor creases in image. Framed.
Estimate
$800 – $1,200
Designer unknown
GRÈCE / ILE DE CORFOU. 1954.
31¼x23¼ inches, 79¼x59 cm. M. Pechlivanides & Cie., Athens.
This is the French version released in 1954.
Condition B+: repaired tears at edges, some into image; replaced losses in corners; slightly toned.
Estimate
$800 – $1,200
J. móglyns (dates unknown)
GREECE / ISLAND OF HYDRA. 1956.
31½x24 inches, 80x61 cm. Aspioti-Elka, Athens.
Condition A.
Estimate
$500 – $750
Various artists
[INTERNATIONAL TRAVEL]. Group of 5 posters.
Sizes vary.
Group includes: United Air Lines / Colorado; Grace Line; Grece</b>; Italia; and Frederiksberg. Images available upon request.
Condition varies.
Estimate
$1,000 – $1,500
William g. slattery (1929-?)
MIAMI / DELTA AIR LINES. Circa 1957.
27¾x21¼ inches, 70½x54 cm.
Condition B+: minor repaired tears at edges; overpainting in text and along abrasions at edges and in image. Silkscreen.
Estimate
$700 – $1,000
David klein (1918-2005)
MIAMI / FLY TWA. Circa 1960.
40x25 inches, 101½x63½ 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 the title “Florida,” and with just “Fly TWA.” Huhne p. 66.
Condition A-: skinning in corners; minor creases and abrasions at edges; partial silkscreened text. Paper.
Estimate
$1,500 – $2,000
Designer unknown
FLORIDA / SOUTHERN RAILWAY SERVES THE SCENIC SOUTH. Circa 1950s.
32x22 inches, 81¼x55¾ cm.
Condition A-: slight time-staining at edges and in lower right corner. Paper.
Estimate
$700 – $1,000
John fernie (1919-2001)
HAWAII / AMERICAN AIRLINES. Circa 1950s.
39x30 inches, 99x76¼ cm.
Condition A-: small replaced loss in upper left margin; minor repaired tears and creases at edges; repaired pin holes in corners and outer image.
Estimate
$800 – $1,200
Designer unknown
HAWAII / PAN AM. Circa 1960s.
41¾x28¼ inches, 106x71¾ cm.
Condition B+: repaired tears and restoration at edges; replaced losses and repaired pin holes in corners.
Estimate
$700 – $1,000
Designer unknown
HAWAII / NORTHWEST ORIENT AIRLINES.
39¾x25¼ inches, 101x64 cm.
Condition B+: creases, abrasions and overpainting in margins and image; minor repaired tears at edges.
Estimate
$400 – $600
Designer unknown
PALM SPRINGS / AMERICAN AIRLINES. Circa 1960s.
40x29½ inches, 101½x75 cm.
Condition B+: repaired tears, creases and overpainting at edges, some into image.
Estimate
$800 – $1,200
David klein (1918-2005)
LOS ANGELES / FLY TWA SUPERJETS. 1960s.
39¼x24¼ inches, 99½x61½ cm.
Condition B+: repaired tears, creases and abrasions in bottom corners and margin, some affecting image; archival tape on verso. Paper.
Estimate
$700 – $1,000
David klein (1918-2005)
LAS VEGAS / FLY TWA.
39½x24½ inches, 100½x62¼ cm.
Airways p. 169.
Condition B+: small repaired tears and abrasions at edges; small abrasion in bottom right image; replaced losses in corners and at right edge.
Estimate
$800 – $1,200
Carl g. evers (1907-1983)
GRACE LINE / CARIBBEAN • SOUTH AMERICA CRUISES. Circa 1960.
41¾x28¼ inches, 106x71¾ cm.
Condition B / B+: extensive repaired tear from left edge through central image; repaired tears at edges, some slightly into image; overpainting and restoration in margins.
Estimate
$700 – $1,000
Designer unknown
LA GUERRA DEI TOPLESS. 1964.
55x39½ inches, 139¾x100¼ cm. Policrom, Rome.
Condition A-: creases and minor restoration in margins and along vertical and horizontal folds.
Estimate
$700 – $1,000
Barrenechea (dates unknown)
VISIT COSTA RICA / “THE HEART OF THE AMERICAS.” 1950.
18¼x23¼ inches, 46¼x59 cm. Universal San Jose, Costa Rica.
Condition A.
Estimate
$600 – $900
Designer unknown
MEXICO . . . FOR THE WORLD’S FINEST DEEP SEA FISHING. Circa 1950s.
36x27 inches, 91½x68½ cm. S. Turanzas del Valle, Talleres.
Condition B+: repaired tears and replaced losses in margins; creases and abrasions in margins and along vertical and horizontal folds.
Estimate
$600 – $900
Initialed m.a.
GO TO BERMUDA / FURNESS BERMUDA LINE. Trolley card. 1928.
11x20 inches, 28x50¾ cm. The Tabard Press, New York.
Condition A-: small loss at upper left corner; small repaired paper loss at top margin; water staining and minor abrasions at edges; silkscreen text. Mounted on card, as issued.
Estimate
$500 – $750
Loweree (dates unknown)
BERMUDA / FLY NOW . . . PAY LATER / PAN AMERICAN. Circa 1950.
41¼x27¾ inches, 104¾x70½ cm.
Condition B+: small repaired tears at edges; minor creases in margins and image; skinning in upper text.
Estimate
$700 – $1,000
Designer unknown
BERMUDA. Circa 1950.
23¾x37¾ inches, 60¼x96 cm.
Condition A-: small repaired tears, creases and minor overpainting in margins; small replaced losses in top right and bottom left corners.
Estimate
$1,000 – $1,500
Zdinak (dates unknown)
BERMUDA / PAN AM. Circa 1960.
42x27½ inches, 106¾x69¾ cm.
Condition B+: overpainting in text and lower image; minor repaired tears and restoration at edges.
Estimate
$1,000 – $1,500
Designer unknown
HAVANA / BRANIFF INTERNATIONAL AIRWAYS. Circa 1950s.
25½x19½ inches, 64¾x49½ cm.
Condition A-: minor repaired tears and abrasions at edges; minor creases and abrasions in image; small pin holes in corners. Silkscreen. Paper.
Estimate
$800 – $1,200
Designer unknown
NASSAU IN THE BAHAMAS / PAN AMERICAN WORLD AIRWAYS. 1950.
22x17 inches, 55¾x43¼ cm.
Condition A-: minor creases and abrasions in margins and image.
Estimate
$400 – $600
Paul louch (dates unknown)
[TRANS - CANADA AIR LINES]. Group of 4 posters. 1958.
Each approximately 30x20 inches, 76¼x50¾ cm.
Group includes: Barbados; Jamaica; and Bermuda, by Paul Louch; and Nassau (design unknown). Images available upon request.
Condition varies, generally A / A-. Paper.
Estimate
$800 – $1,200
Designer unknown
CARIBBEAN / PAN AMERICAN. Circa 1960s.
41½x27¼ inches, 105½x69¼ cm.
Condition A.
Estimate
$600 – $900
Designer unknown
BEACHCOMBER CRUISES TO THE CARIBBEAN. 1960s.
41¼x27½ inches, 104¾x69¾ cm.
Condition A-: minor repaired tears, creases and restoration at edges.
Estimate
$600 – $900
Designer unknown
FRESH LONG ISLAND OYSTERS.
11x20½ inches, 28x52 cm.
Condition A-: minor creases and restoration in margins and image.
Estimate
$400 – $600
Designer unknown
NEW ENGLAND / GO GREYHOUND. Circa 1960s.
40x28¾ inches, 101½x73 cm.
Condition A-: unobtrusive expert overpainting in margins.
Estimate
$1,000 – $1,500
Ben nason (1915-?)
MARTHA’S VINEYARD / THE NEW HAVEN RAILROAD. Circa 1941.
41x27 inches, 104x68½ cm.
Here the simple images of brightly-colored, gingerbread-style houses and small waterfront fishing shacks do much to promote the island as an ideal family vacation spot. The railroad actually delivered passengers to Woods Hole, where a ferry transported the travellers to the island itself. The enormous figurehead that bisects the image is a romanticized reminder of the whaling ships that populated the island’s history. MoMA 104.1944.
Condition B: repaired tear through central image; repaired tears and small replaced losses in margins and text; creases in margins and image.
Estimate
$700 – $1,000
Designer unknown
NEW JERSEY SEASHORE / GO BY TRAIN! / PENNSYLVANIA RAILROAD. Circa 1950s.
40½x25 inches, 102¾x63½ cm.
Condition B+: foxing and minor creases in margins and image. Paper.
Estimate
$800 – $1,200
Designer unknown
PIEDMONT / THE HIGH COUNTRY.
36¼x24½ inches, 92x62¼ cm.
Condition A / A-: minor creases and restoration at edges. Silkscreen.
Estimate
$500 – $750
Travel (299-388)
Leslie ragan (1897-1972)
HIGHLANDS OF THE HUDSON / NEW YORK CENTRAL SYSTEM. 1947.
40½x26½ inches, 102¾x67¼ cm.
Riding the glorious stretch of rail along the Hudson River between West Point Military Academy and the Bear Mountain Bridge (seen here in the distance), the aerodynamic, steel cars of a New York Central System train are heading toward New York City, pulled by the “New” Empire State Express, which was launched in 1941. Zega p. 127.
Condition A: minor creases at edges. Paper.
Estimate
$3,000 – $4,000
Bern hill (1911-1977)
CAPITAL CITIES ROUTE. Circa 1952.
23½x17½ inches, 56¾x43¼ cm.
Bern Hill was a graphic designer and painter. He “worked for the Kudner Agency, a New York City advertising firm. At the end of 1949, General Motor’s Electro-Motive Division embarked on a rather radical advertising campaign which included vertical format streamline style paintings for the covers of Railway Age” (Vintage Rails, January / February 1998, p. 64). Between 1950 and 1956, Hill painted 65 paintings. “Electro-Motive also produced a series of very high-grade posters of Hill’s paintings that were overwritten by the marketing theme for that particular railroad . . . it is unknown if all 65 paintings were turned into posters . . . Hill’s assignment was to portray the ‘feel’ of each railroad in a scene that often captured the landscape of the individual road and gave the viewer the sense of that road’s missions - freight, passenger or switching” (Railroad Heritage, No. 6, 2002, p. 10).
Condition B+: repaired tears at edges, some slightly into image; small tears and creases at edges. Paper.
Estimate
$1,000 – $1,500
Bern hill (1911-1977)
ROUTE OF THE SILVER FLEET. Circa 1950s.
24x18 inches, 61x45¾ cm.
“The beauty of Hill’s locomotive paintings is found in the way he captures the essence of each railroad. The 1950s represented a period in railroad history that found America with an abundance of regional rail lines, all featuring distinctive paint schemes. Often railroads operated only in a small geographical location and were unknown in some parts of the country” (Railroad Heritage No. 6, 2002, p. 10).
Condition A: minor creases at edges. Paper.
Estimate
$800 – $1,200
Bern hill (1911-1977)
ROUTE OF THE EAGLES. Circa 1950s.
24x18 inches, 61x45¾ cm.
Condition A: minor abrasions at edges. Paper.
Estimate
$700 – $1,000
Bern hill (1911-1977)
RIDE STREAMLINERS “MAN O’WAR” AND “NANCY HANKS.” Circa 1950s.
24x18 inches, 61x45¾ cm.
Condition A. Paper.
Estimate
$700 – $1,000
Bern hill (1911-1977)
JERSEY CENTRAL - THE BIG LITTLE RAILROAD. Circa 1950s.
23¾x18 inches, 60¼x46¾ cm.
Throughout his work for General Motors Hill “single-handedly managed to represent almost every railroad of the day” (Vintage Rails, January / February, 1998, p. 75). He also graphically captured architectural, engineering and natural wonders along the various train routes. Here, an EMD F3 Locomotive, produced between 1945 and 1949 by General Motors, is shown here crossing the original Newark Bay Bridge connecting the Elizabeth port and Bayonne at the southern end of Newark Bay. The Central New Jersey Railroad bridge was superseded by the current Newark Bay Bridge which opened in 1956. The original bridge slipped into disrepair and was eventually abandoned. Demolition of the structure began in 1980.
Condition B+ / B: restoration and overpainting along horizontal fold; restored loss in top right corner; restoration at edges.
Estimate
$800 – $1,200
Bern hill (1911-1977)
SMOOTH GOING / CHICAGO AND NORTH WESTERN SYSTEM. Circa 1950s.
22x17 inches, 55¾x43¼ cm.
Condition A. Paper.
Estimate
$700 – $1,000
Bern hill (1911-1977)
SANTA FE / THE CHIEF WAY. 1951.
23½x17½ inches, 59¾x44½ cm.
“The luxurious Super Chief has been powered since its birth in 1936 with General Motors Diesel locomotives on its 39 3/4 hour run between Chicago and Los Angeles. With 769 units in freight and passenger service - and 52 more on order - the growing fleet of GM Diesels on the Santa Fe has rolled up a total of almost half a billion unit miles” (Railway Age, cover August 27, 1951). Bern Hill was a graphic designer and painter. He “worked for the Kudner Agency, a New York City advertising firm. At the end of 1949, General Motors’ Electro-Motive Division embarked on a rather radical advertising campaign which included vertical format streamline style paintings for the covers of Railway Age” (Vintage Rails, January / February 1998, p. 64). Between 1950 and 1956, Hill painted 65 paintings. “Electro-Motive also produced a series of very high-grade posters of Hill’s paintings that were overwritten by the marketing theme for that particular railroad . . . it is unknown if all 65 paintings were turned into posters . . . Hill’s assignment was to portray the ‘feel’ of each railroad in a scene that often captured the landscape of the individual road and gave the viewer the sense of that road’s missions - freight, passenger or switching” (Railroad Heritage, No. 6, 2002, p. 10).
Condition A- / A: small abrasion in upper right edge; minor creases at edges and in image. Paper.
Estimate
$2,500 – $3,500
Designer unknown
SANTA FE / GRAND CANYON NATIONAL PARK / EARTH’S SCENIC WONDER. Circa 1935.
42½x28 inches, 108x71 cm.
Condition B+ / A-: minor repaired tears and creases in margins; archival tape on verso; minor creases in image. Paper.
Estimate
$700 – $1,000
Howard koslow (1924-2016)
SAN FRANCISCO. 1964.
37½x25 inches, 95¼x63½ cm. Penn Prints, New York.
Howard Koslow was a painter and a stamp designer who painted on commission for NASA, the United States Air Force, the Coast Guard and the National Park Service. He was a member of the Society of American Historical Artists and designed travel posters in the 1960s.
Condition A-: minor unobtrusive overpainting in margins.
Estimate
$800 – $1,200
Stanley walter galli (1912-2009)
SAN FRANCISCO / UNITED AIR LINES. Circa 1960s.
39¼x24½ inches, 99½x62¼ cm.
Galli was a California painter, illustrator and printmaker. Although a member of the New York and California Society of Illustrators, and the designer of 26 stamps for the United States Postal Service, he is best remembered for the series of posters he designed for United Airlines in the 1950s and 60s.
Condition A-: minor rippling in upper left image. Paper.
Estimate
$800 – $1,200
Dong kingman (1911-2000)
SAN FRANCISCO / AMERICAN AIRLINES. Circa 1970s.
37x24¾ inches, 94x63 cm.
Condition B+: minor rippling, creases and abrasions from water damage in image; creases, tears and repaired tears at edges, some into image. Paper.
Estimate
$700 – $1,000
David klein (1918-2005)
FLY TWA / SAN FRANCISCO. Circa 1960.
40¼x25 inches, 102¼x63½ cm.
Airways p. 165, Huhne p. 57 (var).
Condition A-: small repaired tear in lower left corner; minor abrasions at edges.
Estimate
$1,000 – $1,500
David klein (1918-2005)
ARIZONA / FLY TWA. Circa 1960s.
40x25 inches, 101½x63½ cm.
Condition A-: minor repaired tears, creases and abrasions at edges; minor foxing at left edge. Paper. Framed.
Estimate
$500 – $750
Designer unknown
U.S.A. / PAN AMERICAN. 1959.
42¼x28 inches, 107½x71 cm.
A Pan Am catalog of promotional materials available in the late 1950s describes this image as part of a series of “Girls ‘Round the World.” Pan Am p. 326.
Condition A-: minor tears and creases at edges; minor creases in image. Silkscreened text overprint. Paper.
Estimate
$500 – $750
Designer unknown
WASHINGTON D.C. / GO GREYHOUND.
39¼x29¼ inches, 99½74¼ cm.
Condition B+: replaced losses, repaired tears and creases in margins; repaired tear at right edge, slightly into image.
Estimate
$600 – $900
Jean carlu (1900-1997) & edward mcknight kauffer (1890-1954)
[PAN AM / AMERICAN AIRLINES]. Two posters. 1950s.
Sizes vary.
Includes To Paris / Pan American Airlines by Jean Carlu and Washington / American Airlines by Edward McKnight Kauffer. Images available upon request.
Condition generally A / A-: minor creases and abrasions at edges. Paper.
Estimate
$800 – $1,200
William g. slattery (1929-?)
NEW YORK / DELTA AIR LINES. 1957.
27½x21½ inches, 67¾x54¾ cm.
Condition A-: minor repaired tears and restoration at edges. Silkscreen.
Estimate
$700 – $1,000
Letizia pitigliani (1935- )
HARBOR FESTIVAL ‘79 . . . JOIN THE ARMADA. 1979.
44¼x59¼ inches, 112½x150½ cm.
Condition A / A-: small tears and abrasions at edges. Paper.
Estimate
$700 – $1,000
Various artists
[NEW YORK & NEW ENGLAND / TRAIN TRAVEL]. Group of 3 posters.
Sizes vary, each approximately 40x30 inches, 101½x76¼ cm.
Group includes: New England Has Everything / Boston and Maine, by Dick Beyer; Historic New England / New York Central System, by Walter Bomar; and Niagara Falls / New York Central (1951). Images available upon request.
Condition varies.
Estimate
$1,200 – $1,800
Various artists
PENNSYLVANIA RAILROAD. Group of 3 posters. 1940s-50s.
Each approximately 40x24½ inches, 101½x62¼ cm.
Group includes: The Great All - Weather Fleet; Special Trains / Army - Navy Football Game; and The Jeffersonian De Luxe All - Coach Train, by Sascha Maurer. Images available upon request.
Condition varies, generally B+. Paper.
Estimate
$1,500 – $2,000
L. vasser elam (1890-1951)
CENTENARY PAGEANT OF THE BALTIMORE AND OHIO RAILROAD. 1927.
40x26 inches, 101½x66 cm. Acme Litho. Co., New York.
“As noted in Railway Age, Baltimore & Ohio commissioned four posters to announce its centenary pageant in 1927. The most effective designs compared the line’s first locomotive, tiny Tom Thumb, to the modern Pacific-class President Washington . . . L. Vasser Elam’s artwork offset colonial buildings with skyscrapers, and proved to be the most dramatic” (Zega p. 83). Zega p. 86.
Condition B+: small losses, tears and repaired tears at edges; tape on verso; creases and abrasions in margins and image. Paper.
Estimate
$700 – $1,000
Leslie ragan (1897-1972)
WEST POINT / NEW YORK CENTRAL SYSTEM. 1952.
41¼x27 inches, 104¾x68½ cm.
Leslie Ragan studied briefly at the Cumming School of Art in Des Moines and the Art Institute in Chicago. He designed posters for the United States during the Second World War, but his largest account was with the New York Central Lines. “His work exemplified the American taste for realistic depiction while highlighting the natural environment for dramatic effect . . . Ragan’s sense of composition and refined wash technique made his best images burst with reflected light” (Zega p. 95).
Condition A: minor creases in margins. Paper.
Estimate
$800 – $1,200
Designers unknown
[WPA PENNSYLVANIA / NATURE PRESERVATION]. Group of 3 posters. 1930s.
Each approximately 14x11 inches, 35½x28 cm.
Group includes: Help Conserve Our Forests / Be Careful with Fire; How a Tree Grows; and Free Motion Picture Show / Pennsylvania Department of Forests and Waters. Images available upon request.
Condition varies, generally B+: foxing and time-staining in margins; minor abrasions at edges. Silkscreen on card.
Estimate
$800 – $1,200
Various artists
[TRAIN TRAVEL]. Group of 3 posters.
Sizes vary.
Group includes: Erie / Great Lakes to the Sea (1951); Diamond Jubilee Service / A Pageant of Progress; and Fish or Sail on the Gulf Coast / L&N. Images available upon request.
Condition varies, generally B+ / B: each mounted on board.
Estimate
$700 – $1,000
Alberta amspoker (1926-2002)
SOUTH AMERICA / PAN AMERICAN. Circa 1954.
35x22 inches, 89x56 cm.
Pan Am p. 228.
Condition A: minor creases and abrasions at edges; minor scuffing in image. Silkscreen. Paper.
Estimate
$600 – $900
Designer unknown
FLY ROUND SOUTH AMERICA / PAN AMERICAN WORLD AIRWAYS.
41¾x28¼ inches, 106x71¾ cm.
Condition A-: minor repaired tears and replaced losses at edges; minor creases in image. Silkscreen.
Estimate
$600 – $900
Eri (dates unknown)
MEXICO / THE ENCHANTED LAND.
35x25½ inches, 89x67¾ cm.
Condition B+: repaired tears and restoration at edges, some into image; small replaced loss in bottom left corner; minor creases and abrasions in image.
Estimate
$500 – $750
Designer unknown
INDIAN DAYS AT BANFF / CANADIAN PACIFIC. Circa 1930.
35¼x23½ inches, 89½x59¾ cm.
The gathering of indigenous peoples in Banff was an annual festival from 1900-1978. The railroad had been promoting the event since at least the 1920s. Here, in a series of photographs, members of the Stoney tribe are depicted in all of their splendor. Canadian Pacific p. 181.
Condition A-: minor creases and abrasions in margins and image.
Estimate
$800 – $1,200
Leonetto cappiello (1875-1942)
EXPOSITION DE MONACO. 1920.
42½x30¼ inches, 108x76¾ cm. Devambez, Paris.
Riviera 170, Train 168, Le Train p. 16, Cappiello / Rennert 299.
Condition B / B+: replaced losses and repaired tears in margins; partially replaced lower left margin; slight speckling in background image; minor abrasions and restoration in image and along vertical and horizontal folds.
Estimate
$2,000 – $3,000
Alo (charles hallo, 1882-1969)
LA BASILIQUE ROMANE DE VÉZELAY. Circa 1923.
42x30½ inches, 106½x77½ cm. Champenois, Paris.
Alo 149.
Condition B+: repaired tear at top edge, slightly into image; replaced losses, repaired tears and restoration in margins; vertical and horizontal folds.
Estimate
$400 – $600
Alo (charles hallo, 1882-1969)
VALLÉE DE LA MEUSE - DINANT. Circa 1927.
40¾x29½ inches, 103½x75 cm. Lucien Serre & Cie, Paris.
Alo 108.
Condition B+: overpainting and restoration in margins; repaired tears, creases and restoration in margins and along vertical and horizontal folds; slight rippling in upper left corner.
Estimate
$500 – $750
Leon constant-duval (1877-1956)
AZAY - LE - RIDEAU / THE CHATEAUX OF TOURAINE / MOTOR CAR TOURS. 1925.
39¼x25 inches, 99½x63½ cm. Champenois, Paris.
This is the English version.
Condition B: repaired tear at top edge, into central image; replaced losses in margins; repaired tears, creases and restoration in margins and image.
Estimate
$600 – $900
Dabo (geoffroy d’aboville, 1902-1979)
LA SYRIE ET LE LIBAN. 1927.
40¾x29¼ inches, 103½x74½ cm. Marcel Picard, Paris.
Orientalist p. 44.
Condition A-: minor repaired tears at edges; minor creases in margins, some into image.
Estimate
$800 – $1,200
Bernard villemot (1911-1989)
PARIS / AIR FRANCE. 1967.
38¾x24¼ inches, 98½x61½ cm. S.A. Courbet, Paris.
Villemot 207.
Condition A-: repaired tears, creases, abrasions and minor restoration at edges; repaired pin holes in corners; minor creases in text and image.
Estimate
$800 – $1,200
Charles boulet-pfeiffer (1921-1970)
VISITEZ LA CREUSE FRANCE.
38¾x23¾ inches, 98¼x60¼ cm. Serre Bagnolet, Paris.
Condition B+: expertly-repaired tear from upper right image, through text and central image; repaired tears and overpainting in margins.
Estimate
$500 – $750
David klein (1918-2005)
FLY TWA. Group of 12 posters. 1960s.
Each approximately 39¼x24¼ inches, 99½x61½ cm.
Group includes: The Orient; Spain; Washington; Switzerland; Portugal; Greece; Rome; Germany; and San Francisco, by David Klein and Arizona, by Austin Briggs. Images available upon request.
Condition varies, generally A-. Paper.
Estimate
$1,000 – $1,500
Vic (dates unknown)
TAI / COMPAGNIE DE TRANSPORTS, AÉRIENS, INTERCONTINENTAUX. Circa 1950s.
31½x23½ inches, 80x59¾ cm. Vic., Paris.
Condition B+: replaced losses and restoration in corners; repaired tears at edges; minor creases and foxing in margins and image.
Estimate
$700 – $1,000
Wyndham robinson (1883-1959)
ZIMBABWE / RHODESIA’S ANCIENT PAST INTRIGUES THE WORLD. 1928.
39¾x24¾ inches, 101x63 cm. Hortors Limited, Cape Town.
In 1895, the territory of South Zambezia (currently, Zimbabwe) was renamed Rhodesia after Cecil Rhodes, the British colonial whose South Africa Company governed the area from 1889. Depicted is the conical tower within the “Great Enclosure,” a wall that runs around the ancient African ruins of “Great Zimbabwe,” a city constructed from the 11th to 15th century. The site is noted not only for being the largest ancient structure south of the Sahara Desert, but also for the skill by which all of the granite rocks were placed together without the use of mortar. Robinson was a London-born cartoonist who moved to Rhodesia to become a farmer after the First World War. This poster also exists with the text: “Rhodesia’s Climate Calls.”
Condition B / B+: replaced upper left corner, slightly into image; repaired tears, creases and restoration in margins and image and along vertical and horizontal folds; repaired pin holes in corners.
Estimate
$800 – $1,200
Designers unknown
[BANK OF AMERICA / TRAVELERS CHEQUES]. Group of 9 posters. Circa 1960s.
Each 42x27 inches, 106¾x68½ cm. Williams Lithographic Co., San Francisco.
Images available upon request.
Conditions vary, generally B+. Paper.
Estimate
$1,000 – $1,500
Crispín muñoz sola & josé manuel alonso astarloa (dates unknown)
PAMPLONA / SAN FERMIN. Two posters. 1955 & 1962.
Sizes vary.
Images available upon request.
Condition varies, generally A / A-.
Estimate
$500 – $750
Joop van heusden (dates unknown)
A MAINTAINING A FINE TRADITION / THE FLYING DUTCHMAN. 1955.
39½x23¼ inches, 100¼x59 cm. Kühn & Zn., Rotterdam.
Condition A-: small tears and repaired tears at edges; slight foxing in margins and image. Paper.
Estimate
$1,000 – $1,500
Walter till (dates unknown)
IRELAND / FOR ENTRANCING SCENERY. Circa 1925.
29½>x39¾ inches, 75x101 cm.
Condition B+: replaced loss in bottom margin; minor repaired tears and creases at edges; creases in image.
Estimate
$800 – $1,200
Terry (dates unknown)
IRELAND / FLY IRISH AIR LINES. Circa 1950s.
39¾x25 inches, 101x63½ cm. Ormond Printing Co., Ltd., [Dublin].
The Lockheed Constellation “Padraig” [St. Patrick] shown flying over Ashford Castle. Aerlínte Éireann was formed in 1947 with the purpose of beginning transatlantic service to Ireland, and they purchased five Constellations to accommodate the traffic. Financial and political concerns intervened, however, and these flights did not begin until 1958. By 1960, the company’s aircraft were bearing the name Irish Air Lines.
Condition B+: staining in upper right corner; creases and pin holes in corners and at edges; silkscreened text. Paper.
Estimate
$700 – $1,000
Aaron fine (dates unknown)
TO LONDON BY JET CLIPPER / PAN AM. Circa 1958.
41½x27¾ inches, 105½x70½ cm.
Pan Am p. 317, Hühne p. 34
Condition B+ / B: repaired tears, creases and overpainting in margins; repaired tears at edges, some into image; creases, abrasions and restoration in image.
Estimate
$800 – $1,200
Fred taylor (1875-1963)
MELROSE ABBEY. Circa 1930s.
30¾x50 inches, 78x127 cm.
This is the top portion of the poster, without the title section at the bottom.
Condition B+: repaired tears at edges, some slightly into image; small replaced losses at edges; trimmed to image.
Estimate
$400 – $600
Peter templeton (1875-1971)
HARROGATE VIA L.N.E.R / 100 YEARS AGO.
40x50 inches, 101½x127 cm. Chorley & Pickersgill, Leeds.
A historic view of the spa in which men and women in an array of colorful jackets and dresses drink water from natural hot springs, known as ‘taking the waters,’ not only for its medicinal purposes, but also for an excuse to socialize.
Condition B+: repaired tears in margins; creases, abrasions and restoration in image and along vertical and horizontal folds; offsetting in upper left and lower right image.
Estimate
$800 – $1,200
Hans (dates unknown)
CARNABY STREET / LONDON. Two posters. Circa 1970s.
Sizes vary.
Images available upon request.
Condition varies, generally B+: overpainting in corners.
Estimate
$400 – $600
Designer unknown
FIRST IN SERVICE ON BOARD / CZECHOSLOVAK AIRLINES. Circa 1958.
30½x15¾ inches, 77½x40 cm.
Condition A: minor creases at edges and in image. Paper.
Estimate
$500 – $750
Designer unknown
FLY BY CZECHOSLOVAK AIRLINES. Circa 1960s.
32¾x22¾ inches, 83¼x58 cm.
Condition B+: foxing and minor creases in image; minor tears and creases at edges. Paper.
Estimate
$500 – $750
Aage rasmussen (1913-1975)
DSB. 1937.
38½x22½ inches, 97¾x57 cm. Andreasen & Lachmann, [Copenhagen].
Rasmussen was a Danish illustrator and poster designer. This poster, considered to be his best, uses the perspective created by the tracks to draw the viewer’s eye to the horizon, from which a train approaches at full speed. The asymmetric typography is organized perpendicularly to the meter that shows the speed: 120 kmh. Usually overprinted in different languages beneath “DSB.” This is the French version. Metiers 1939 p. 94, Weill no. 469.
Condition B+ / A-: minor repaired tears at edges, some slightly into image; minor abrasions and small stain in image. Matted and Framed.
Estimate
$1,500 – $2,000
Paul kor (kornowski) (1926-2001)
EL AL ISRAEL AIRLINES / THE PROP - JET BRITANNIA. 1957.
38x24½ inches, 96½x62¼ cm. Ortsel Ltd., Ramat-Gan.
Condition B+: repaired tears at edges, some into image; replaced lower left corner; minor abrasions and restoration at edges; light bleach spots around text.
Estimate
$600 – $900
David klein (1918-2005)
ISRAEL / FLY TWA JETS.
40x25 inches, 101½x65½ cm.
Condition B+ / A-: darkening and small tear in bottom margin; minor creases at edges. Paper.
Estimate
$500 – $750
Xeria (dates unknown)
AUSTRALIA / FLY BY B.O.A.C. & QANTAS. 1952.
39¾x25 inches, 101x63½ cm.
“Xenia was a popular Punch artist of the Forties and Fifties, and she created a series of posters for BOAC in 1952 and 1953. Each was was designed like a postage stamp.” (Riding the Skies p. 110.)
Condition A / A-: minor creases and abrasions at edges.
Estimate
$600 – $900
Seguin (dates unknown)
AUSTRALIE / JET DC - 8. Circa 1960s.
39x24½ inches, 99x62¼ cm.
This is the French version.
Condition A-: minor tears and creases at edges; minor creases in image. Paper.
Estimate
$600 – $900
Designer unknown
AMERICAN AIRLINES / NEW ZEALAND. Circa 1968.
40¼x29½ inches, 102¼x75 cm.
Airline Identity p. 152.
Condition A-: minor overpainting in corners; minor abrasions and restoration at edges.
Estimate
$400 – $600
Paul lengelle (1908-1993)
1971: CONTINENTAL AIRLINES. 1964.
40x24¼ inches, 101½x61½ cm.
In the years following World War II the possibility of commercial supersonic aviation began to take hold. In the early 1960s 18 different airline companies, including Continental, placed non-binding orders to add the airship to their existing fleets. In 1963 Continental ordered three of the aircraft. This 1964 poster presents those aircraft, as the would appear 7 years in the future, bearing the Continental "Golden Jet" livery, with gold tail and thin gold pinstrips along the fuselage. Adding to this futuristic projection their envisioned fleet is presented beneath the space age, Los Angeles Airport Theme Building, equally as modernistic as the vessels themselves. Continental Airlines moved their corporate headquarters to Los Angeles in 1963. The Theme Building opened in 1961 a year prior to its east coast cousin, Eero Saarinen's TWA Flight Center, which opened at New York's JFK airport in 1962. Ultimately, all the orders for Concordes were canceled, except for Air France and British Airways, the only airlines to successfully operate the Concorde commercially. Continental's poster represented an aviation dream that never came to fruition for the company.
Condition A: minor abrasions at edges.
Estimate
$2,000 – $3,000
R.d. handy (1879-1959)
PAUL BUNYAN’S PICTORIAL MAP OF THE UNITED STATES. 1935.
19½x29½ inches, 49½x75 cm. R.D. Handy, Duluth.
Ray DeWitt Handy was a cartoonist who worked for the Duluth News Tribune, who wrote and illustrated the book Paul Bunyan and His Big Blue Ox.
Condition B+: repaired tears at edges, some into image; overpainting and repaired pin holes in margins; minor creases in image.
Estimate
$700 – $1,000
Various artists
[ILLUSTRATED MAPS]. Group of 3 posters. 1930s-1940s.
Sizes vary.
Group includes: A Map of Western Long Island (1939), by Rolf Klep; Michigan / Upper Peninsula (circa 1940); and Avalon Town / Santa Catalina Island (1948), by James Wren Lister.
Condition varies, generally A- / A.
Estimate
$800 – $1,200
Paul paige (dates unknown)
MAP OF CAPE COD. Circa 1940.
26¼x35¾ inches, 66½x90¾ cm.
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 abrasions and restoration in image.
Estimate
$800 – $1,200
Richard edes harrison (1901-1994)
PAN AMERICAN WORLD AIRWAYS / NO FANTASY HERE! 1945.
38x26 inches, 96½x66 cm.
This image also appeared on the back of a small promotional calendar issued by Pan Am.
Condition B / B+: extensive overpainting in margins; creases and restoration in margins and image.
Estimate
$600 – $900
Joseph feher (1908- 1987)
THE DOLE MAP OF THE HAWAIIAN ISLANDS. 1950.
21¼x30¾ inches, 54x78 cm. [Schwabacher-Frey, San Francisco].
Condition A-: small repaired tears, abrasions and restoration in margins; minor creases in margins and image; text portion at right side trimmed off.
Estimate
$500 – $750
Willy landelle (dates unknown) & canepa-hayon (dates unknown)
[PARIS] & [LA PROVENCE]. Two posters. 1949 & 1959.
Sizes vary.
Images available upon request.
Condition varies.
Estimate
$500 – $750
Lucien boucher (1889-1971)
AIR FRANCE. 1950.
25¼x38¼ inches, 64x97¼ cm. Perceval, Paris.
Air France began using planispheres in their posters as early as 1933. “Lucien Boucher became the ‘Mr. Planisphere’ of Air France, making a large number of them between 1934 and 1962. Until this point, posters sold either a destination (Africa, the Orient, Europe) or a product (the Air France company). Then they became works of art that, incidentally, showed that the French network covered the world” (Air France p. 91).
Condition B+: overpainting in upper right margin and border; minor restoration in bottom right corner; tear at bottom left margin; minor creases in margins.
Estimate
$600 – $900
Designer unknown
CHARMING THAILAND. Circa 1950.
30½x21 inches, 77½x53¼ cm.
Condition A-: minor repaired tears at edges; unobtrusive vertical and horizontal folds.
Estimate
$600 – $900
Albert solon (1897-1973)
LES VIGNOBLES DE FRANCE. Circa 1954.
37¾x25¼ inches, 95¾x64 cm. Les Créations Graphiques, Paris.
Condition A-: minor repaired tears and pin holes at edges; creases at edges and in image; slight time-staining in lower image.
Estimate
$500 – $750
Various artists
[ITALY FOOD MAPS]. Two posters.
Sizes vary.
Includes Sicilia Gastronomica (1977) by Aldo Cigheri, and Zona di Produzione del Parmigiano Reggiano. Images available upon request.
Condition varies, generally A-.
Estimate
$400 – $600
Various artists
[CAPE COD & NEWPORT MAPS]. Group of 4 posters. 1986-1989.
Sizes vary.
Group includes Newport Rhode Island, by Karen Rinaldo; Cape Cod / Provincetown (1989); Martha’s Vineyard (1989), by Jenni Oliver; and Martha’s Vineyard (1986), by Margot Patz. Images available upon request.
Condition varies, generally A / A-.
Estimate
$800 – $1,200
Various artists
[BOSTON]. Group of 3 posters.
Sizes vary.
Group includes: A Map of Old Boston (1929); Boston(1972); and The Boston Tea Party 1773-1973) (1973), by Stephen Charamella. Images available upon request.
Condition varies, generally A-
Estimate
$500 – $750
Herman bollmann (1911-1971)
JERUSALEM. 1969.
22¼x36¼ inches, 56½x92 cm. Wim Van Leer Publications, Haifa.
Condition A-: minor creases and abrasions in margins. Paper.
Estimate
$400 – $600
Franz krausz (1905-1998)
[WOMEN IN THE CITY AND IN THE VILLAGE]. 1948.
26½x19 inches, 67¼x48¼ cm. W.I.Z.O.
Condition A-: slight offsetting and fading in image and text; minor restoration along vertical and horizontal folds.
Estimate
$500 – $750
Eliezer weishoff (1938- )
THE IIIRD INTERNATIONAL YOUTH RALLY OF TWINNED CITIES. 1965.
38x26¾ inches, 96½x68 cm.
Condition A-: minor repaired tears, creases and restoration at edges; minor creases in image. Silkscreen.
Estimate
$500 – $750
Gerd rothschild (roli studio, 1919-1991)
[MAY 1ST / HISTADRUT OF WORKERS IN ISRAEL]. 1966.
38½x26 inches, 97¾x66 cm. Ortzel Printing Co. Ltd., Ramat-Gan.
Condition A-: minor repaired tears at edges; small replaced losses, creases and restoration along vertical and horizontal folds.
Estimate
$700 – $1,000
Yigal (dates unknown)
[THE FEMALE VOTER / YOU ARE THE DETERMINANT . . .] 1969.
26½x19 inches, 67¼x48¼ cm.
Condition A-: minor abrasions and restoration at edges.
Estimate
$500 – $750
Designer unknown
[LOTTO FOR ME, FOR HER AND FOR YOU . . . AND FOR THE WHOLE FAMILY].
18¾x13 inches, 47½x33 cm.
A family of four seen from above fill in a form from Mifal Hapayis, the Israeli lottery.
Condition B+: repaired tears at edges; creases, abrasions and restoration at edges, in image and along horizontal folds.
Estimate
$400 – $600
Luciano achille mauzan (1883-1952)
FLY - TOX / MATA LAS MOSCAS Y DEMAS INSECTOS. Circa 1927.
43x29 inches, 109¼x73¾ cm. Editorial Affiches Mauzan, [Buenos Aires.]
Mauzan A369.
Condition B+ / A-: minor creases and repaired tears at edges; minor abrasions in image; slight foxing in margins.
Estimate
$1,500 – $2,000
Luciano achille mauzan (1883-1952)
MUEBLES / HEINLEIN & CIA. 1929
62x41½ inches, 157½x105½ cm. Affiches Mauzan, [Buenos Aires].
When the Heinlein Company moved to a new location they held an auction to liquidate their furniture department. The auctioneer is looming large over astonished faces. No doubt they are shocked at the prices, which we are told will be “cheaper than on sale”. The humor and style of this poster are typical Mauzan, and the design, reminiscent of the “I Want You” image, is very effective. Mauzan A385.
Condition B+: repaired tears, creases and restoration in margins and image; small losses and flaking at edges; pin holes in corners.
Estimate
$1,000 – $1,500
Atelier neumann
MONSO VENTILATOR. Circa 1920s.
49¾x37½ inches, 126¼x95¼ cm.
Condition B+: repaired tears and abrasions in margins and along vertical and horizontal folds; minor creases and restoration in image; slight bubbling in upper left text.
Estimate
$2,000 – $3,000
Various artists
HERCULES POWDER CO. / INFALLIBLE. Two posters. Circa 1914.
Each approximately 29¾x20 inches, 75½x50¾ cm.
Images available upon request.
Condition varies, generally B: creases and overpainting in margins and image.
Estimate
$800 – $1,200
Various artists
POSTER ALBUM OF COLOR COMBINATIONS / THE AULT & WIBORG COMPANY. One volume. 1942.
12½x9½ inches, 31¾x24¼ cm. Ault & Wiborg, Toronto.
Images available upon request.
Condition A-: minor water staining; spiral bound with leather front and back covers.
Estimate
$400 – $600
Various artists
ALUMINUM. Group of 4 posters. 1948.
Each approximately 15¾x19¾ inches, 40x50¼ cm. Aluminum Company of America, [Pittsburgh.]
Group includes: Production of Aluminum, by Cal Diehl; Aluminum in the Home, by Lyman Anderson; Aluminum on the Farm; and Birthplace of a Modern History, by Tesar. Images available upon request.
Condition varies, generally B+ / A-: creases and minor scuffing in margins; pin holes in corners. Paper.
Estimate
$800 – $1,200
Designer unknown
PHILIPS / MEJORES NO HAY. Circa 1968.
31x23¼ inches, 78¾x59 cm.
Condition B+: creases, abrasions and restoration at edges; restoration along creases in image; repaired pin holes in corners.
Estimate
$400 – $600
Braum (dates unknown)
TOMATE / BOUTIQUE HOMMES FEMMES.
59x43¾ inches, 150x109 cm. Sérigraphie Carpentier, Toulouse.
Condition A: minor creases in margins.
Estimate
$400 – $600
Ida van bladel (1931-?)
LEVI’S. 1971.
32¾x21½ inches, 83x54½ cm.
The Poster no. 701.
Condition A.
Estimate
$500 – $750
Paul rand (1914-1996)
IBM. 1982.
36x24 inches, 91½x61 cm.
Rand was first employed by IBM in 1956 to redesign the company’s logo. He continued consulting for the company for more than 30 years, redesigning their logo at least twice more. In 1981, he came up with the now-famous rebus, which has become one of the most famous and recognizable corporate identity statements of the 20th century. It took a year for the company to actually use the design in promotion, at which point they printed it as a poster with small text at the bottom explaining the significance of each element of the rebus; the first printing was, as a result, a very small run, and very rare. This is the second printing. Modern Poster 211, Encyclopedie de l’Affiche p. 106, Modern American 100, Resnick 72, Rand / GGG p. 23, MoMA 520.1983.
Condition A: archivally-hinged on verso. Paper. Framed.
Estimate
$2,500 – $3,500
Theatrical & Movie (384-401)
Designer unknown
“CUSTER’S LAST FIGHT.” 1912.
40½x26½ inches, 102¾x67¼ cm. The Otis Lithograph Co., Cleveland.
By all accounts this film was quite a spectacle. The Film Encyclopedia explains that “to achieve the kind of spectacular action he found lacking in Westerns of the day, [Ince, the producer] put a whole Wild West show on the payroll, thus obtaining the services of trained horses and buffaloes, as well as authentic cowboys and Indians and real props. He also acquired nearly 20,000 acres of land on which to shoot” (p.597 ff).
Condition A-: minor restoration at edges and along vertical and horizontal folds.
Estimate
$600 – $900
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
$3,000 – $4,000
René gaillard (dates unknown)
COCAÏNE. Circa 1925.
62x45 inches, 157½114 cm.
A sallow-faced woman in a red dress sways to the music of a red-lipped jazz band, while a gleeful green monster (the spectre of cocaine) watches over the hill of Montmartre, and Moulin Rouge at his elbow. Although little is known about this play, the image does not appear to be a glorification of the drug, which was legal in Paris throughout the 1920s. The clear resemblance of the characters pictured to Edith Piaf, Harpo Marx and Al Jolson further suggest that this play, whether a morality tale or not, was celebrity-based.
Condition A-: minor repaired tears, replaced losses, and minor creases in margins; minor creases and abrasions in image.
Estimate
$4,000 – $6,000
Lode (lode seghers, 1905-1983)
COCAINE / VOLKSGEBOUW. 1924.
42½x27¾ inches, 108x70½ cm. Patria, Antwerp.
From the Hans Sachs Collection. Rare.
Condition A- / B+: expertly-replaced top left corner; repaired tear at bottom edges, slightly into text. Framed.
Estimate
$3,000 – $4,000
Various artists
[VINTAGE FRENCH]. Two posters.
Sizes vary.
Includes La Chauve - Souris, by Georges Dola (1904) and A Travers Les Siecles Vals, by André Bermond (1942). Images available upon request.
Condition varies, generally B+.
Estimate
$400 – $600
D’après georges dola (edmond vernier, 1872-1950)
LE PAYS DU SOURIRE. 1929.
46¾x31¼ inches, 118¾x79¼ cm. Editions Max Eschig, Paris.
Condition A-: minor repaired tears in margins; horizontal fold in text.
Estimate
$400 – $600
Paul colin (1892-1986)
LA NOUVELLE EVE. Circa 1949.
60½x45 inches, 153x113 cm. SIPA Publicité, Paris.
This is the larger version. ** figure out what it’s mounted on
Condition B: repaired tears at edges, into text and image; creases, abrasions and restoration at edges, in image and along folds; pin holes in corners. Mounted on thin material.
Estimate
$500 – $750
Psim (date unknown)
EDDY - JOHNNY. 1938.
47¾x31¾ inches, 121¼x 80½ cm. Harford, Paris.
Jazzy male performing duos were extremely fashionable in the thirties, following the success of the Americans Layton and Johnston. In France, the most famous were Pills and Tabet, and Charlie and Johnny (Charlie being Charles Trenet). Featured alongside him on this rare poster is Eddie Barclay (1921-2005) who at the time was working as a jazz pianist before becoming a French recording industry magnate. We will probably never know anything about PSIM, as it was certainly a pseudonym. Designed using a cut-out technique, this is a stylized, clean, elegant and simple image of the performers.
Condition B+: repaired tears in margins; creases in margins and image; repaired pin holes in corners.
Estimate
$800 – $1,200
Jo mora (1876-1947)
SWEETHEART OF THE RODEO. 1939.
31¼x24 inches, 73¼x61 cm. The Jo Mora Maps, Carmel.
This is the 2nd printing, without the map of Salinas and the Monterey Peninsula on each side of the “Sweetheart of the Rodeo” image, top center. Instead, it has black on yellow silhouettes of cowboys and a wagon. The first was printed in 1933 in just yellow, blue and black.
Condition A-: repaired pin holes and restoration in corners and at top and bottom margin; slight discoloration and repaired tears in margins.
Estimate
$800 – $1,200
Abram games (1914-1996)
ROYAL SHAKESPEARE THEATRE INTERNATIONAL / CENTENARY APPEAL. 1975.
29¾x20 inches, 75½x51 cm. Graphis Press Ltd, London.
This poster was a fundraising effort for the Royal Shakespeare Theatre, founded in 1875 in The Bard’s hometown, Stratford-upon-Avon. Here, the names of all of Shakepeare’s plays are strategically arranged to produce a portrait of him. Games fig. 187.
Condition A- / A: minor creases and abrasions at edges.
Estimate
$400 – $600
Designer unknown
“OCEAN’S 11.” 1960.
30x39¾ inches, 76¼x191 cm.
Condition B+: replaced losses, repaired tears and overpainting in margins; creases, abrasions and restoration along vertical and horizontal folds.
Estimate
$600 – $900
Various artists
[JAPANESE FILM POSTERS]. Group of 9 posters.
Sizes vary.
Includes Diamonds Are Forever, Dr. No, Help, Casablanca, Blade Runner and others. Images available upon request.
Condition varies. Some paper, some two-sheets.
Estimate
$700 – $1,000
Photo by henry wolf (1925-2005)
SEAN CONNERY IS ‘007 IN / NEVER SAY NEVER AGAIN. 1983.
40x29 inches,101½x73½ cm.
This Japanese poster for the fourteenth Bond film, produced by Taliafilm
Condition A-: small repaired tears at edges; minor creases and restoration in margins and image.
Estimate
$400 – $600
Various artists
[POLISH FILM POSTERS]. Group of 3 posters.
Sizes vary, each approximately 32½x22 inches, 82½x55¾ cm.
Group includes: Snow White; Gappa the Triphibian Monster (1973); and Ebirah, Horror of the Deep (1978). Images available upon request.
Condition varies, generally A-.
Estimate
$500 – $750
Various artists
STAR WARS. Group of 7 posters. 1978-1984.
Sizes vary.
Images available upon request.
Condition varies, generally A- / A. 1 paper and 6 linen-backed.
Estimate
$800 – $1,200
Various artists
[POLISH ARTS & FILM]. Group of 19 posters.
Sizes vary.
Group includes posters such as Giselle; My Fair Lady; Young Frankenstein; and Alfred Hitchcock. Images available upon request.
Condition varies. 16 paper and 3 linen-backed.
Estimate
$1,000 – $1,500
Stanley mouse (1940- ) & alton kelley (1940-2008)
GRATEFUL DEAD / FROM THE MARS HOTEL. 1974.
51x23 inches, 129½x58½ cm.
Promotional poster for one of the few albums the Grateful Dead recorded in a studio. The top half of this poster appeared on the album cover, and when viewed upside down and in a mirror, the psychedelic lettering reads “Ugly Rumors,” which has become the unofficial fan name for the album.
Condition A- / A: minor creases and abrasions at edges. Paper.
Estimate
$700 – $1,000
Paul davis (1938- )
THREEPENNY OPERA. 1976.
83¾x42¼ inches, 212¾x107¼ cm.
This is the larger format. Modern American 173.
Condition A-: minor creases and repaired tears at edges; minor creases in image. Two-Sheets.
Estimate
$800 – $1,200
Artist & Exhibition (402-411)
Léonard tsuguharu foujita (1886-1968)
4ME BAL DE L’AAAA / MOULIN DE LA GALETTE. 1926.
46x30 inches, 116¾x76¼ cm. Agence Parisienne de Publicite, Paris.
The Bal AAAA (Aide Amicale Aux Artistes) was a prominent aritistic feature in Parisian social life from its onset in 1923. Artists such as Orthon Friesz, Maurice Utrillo, Marie Vassilieff, Paul Emile Pissarro and others designed posters for the event in different years.
Condition A-: minor repaired tears and restoration at edges; slight scuffing in image. Framed.
Estimate
$3,000 – $4,000
Francis bernard (1900-1979)
17E SALON DES ARTS MENAGERS / GRAND PALAIS. 1948.
64x48 inches, 162½x122 cm. Bedos & Cie., Paris.
Condition B+: small repaired tears, creases and abrasions at edges and along vertical and horizontal folds; creases and abrasions throughout image. Framed.
Estimate
$500 – $750
Various artists
[OLYMPIC GAMES EPHEMERA]. Group of 18 items. 1936-1996.
Sizes vary.
Group includes small and large format posters, flyers, a dinner menu, a panoramic photo and more. Images available upon request.
Condition varies.
Estimate
$3,000 – $4,000
Pablo picasso (1881-1973)
MUSÉE D’ANTIBES. 1948.
24¾x19 inches, 62¾x48¼ cm. Devaye, Cannes.
Condition B+ / B: rippling and creases in image; slight discoloration at bottom edge. Mounted on Chartex.
Estimate
$600 – $900
Pablo picasso (1881-1973)
PAIX DÉSARMEMENT POUR LE SUCCÈS DE LA CONFÉRENCE AU SOMMET. 1960.
46x31¼ inches, 116¾x79¼ cm. Mourlot, Paris.
Condition B: repaired tears in text and image, with archival tape on verso; time-staining and water stains in margins; loss in bottom right corner; creasing throughout. Paper.
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. Circa 1950.
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
$2,000 – $3,000
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. Images available upon request.
Condition varies, generally A- / A. Paper.
Estimate
$800 – $1,200
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
$1,000 – $1,500
Roy lichtenstein (1923-1997)
A NEW GENERATION OF LEADERSHIP. 1992.
34x38 inches, 86½x96½ cm.
Lichtenstein Posters 60.
Condition A: small puncture at bottom. Paper.
Estimate
$600 – $900
Andy warhol (1928-1987)
FILM FESTIVAL - LINCOLN CENTER. 1967.
45x24¼ inches, 114¼x61½ cm. Maurel Studios, New York.
From an edition of 500. Images of an Era 72 and cover, Modern Poster 255, Modern American 132, Muller-Brockmann 121, Plakat Kunst p. 173, The Poster 633, Internationale Plakate 704, Kunstler Plakate p. 107, Warhol Posters 6, MoMA 493.1978.
Condition B+: loss in upper right corner; creases at edges; abrasions and scuffing at edges and in image. Silkscreen. Paper.