Vintage Posters
Officers
Nicholas D. Lowry
President, Principal Auctioneer
nlowry@swanngalleries.com
Lauren Cooper
Associate Director
lgoldberg@swanngalleries.com
(212) 254-4710 ext. 57
Jennifer De Candia
Administrator & Client Relations
jdecandia@swanngalleries.com
(212) 254-4710 ext. 53
George S. Lowry
Chairman
Nicholas D. Lowry
President, Principal Auctioneer
924899
Andrew M. Ansorge
Vice President & Controller
Alexandra Mann-Nelson
Chief Marketing Officer
2030704
Todd Weyman
Vice President & Director, Prints & Drawings
1214107
Nigel Freeman
Vice President & Director, African American Art
Rick Stattler
Vice President & Director, Books & Manuscripts
Administration
Andrew M. Ansorge
Vice President & Controller
aansorge@swanngalleries.com
Ariel Kim
Client Accounting
akim@swanngalleries.com
Diana Gibaldi
Operations Manager
diana@swanngalleries.com
Kelsie Jankowski
Communications Manager
kjankowski@swanngalleries.com
Shannon Licitra
Shipping Manager
slicitra@swanngalleries.com
Art Nouveau & Bicycles
Designer unknown
LES FRÈRES LOÏE FULLER / CHÉRI! 1894.
45x30½ inches, 114¼x80 cm. Charle Verneau, Paris.
Loie Fuller 2.
Condition B+ / A-: minor repaired tears in margins; minor creases and abrasions along vertical and horizontal folds; repaired pin holes in corners.
Estimate
$1,000 – $1,500
Designer unknown
LES TROUBADOUR’S “EUREKA.” Circa 1904.
31x46 inches, 78¾x116¾ cm. Finot, Paris.
Condition A-: small repaired tears at edges; minor bleach spots and creases in margins. Framed.
Estimate
$800 – $1,200
Paul berthon (1872-1909)
[LES EGLANTINES.] 1900.
19½x25¾ inches, 49½x65½ cm. Chaix, Paris.
Throughout his career, Berthon designed more decorative panels than posters. He would draw them onto the lithographic stones himself in order to ensure the most sophisticated, pastel effects. Les Eglantines is one image in a series devoted to flowers that was printed by Chaix. As with all of Berthon’s work, it is a warm-toned pastel image, with a delicate Symbolist atmosphere. A theme of sensuousness runs through many of his works and is exhibited here in the way the woman is holding the branch. Arwas p. 106, Gold p. 136.
Condition B+: mat-staining in margins; hinges on verso at top edge. Hand-signed and numbered 69/100 by the artist in pencil. Paper.
Estimate
$1,000 – $1,500
Pierre bonnard (1867-1947)
SALON DES CENTS. 1896.
24¼x17¼ inches, 61½x43¾ cm. Chaix, Paris.
Bonnard designed only six posters. His first, France Champagne in 1891, was a revolutionary image, displaying the influence of the Ukiyo-e Japanese prints and opening up horizons for the new generation of poster artists. "The central element of this highly modern composition, in which the large area of blank paper creates a vacuum, is the woman who is depicted only in outline - with details provided only at the top of her dress and the rendering of her head . . . The monogram, in the form of a butterfly, pays tribute to Japanese art and balances the composition" (Salon des Cent p. 35). Her attention (and that of the viewer) is drawn to the charming little dog.
Wember 137, DFP-II 79, Salon des Cent 5, Bouvet 39, Art Nouveau p. 85, Abdy p. 82.
Condition B+ / A-: expert overpainting in margins; minor overpainting in right text.
Estimate
$5,000 – $7,500
Pierre bonnard (1867-1947)
LIRE DANS LE FIGARO. 1903.
22¼x15 inches, 56½x38 cm. Chaix, Paris.
In 1903, Bonnard designed two posters for Le Figaro. This, the smaller of the two, has the appearance of a stock poster. Using only two colors, Bonnard has created a frame upon which rests an exquisite drawing of a couple sitting down to read the newspaper. Since the typography does not appear to be designed by Bonnard, it would follow that the poster was meant to be reused for different issues of the newspaper, carrying different stories. However, as copies of the poster with different text have not appeared, it likely was not used in this manner. The other poster Bonnard designed in the same year was much larger and was intended to advertise the availability of the paper in general, not a specific story.
Fit to Print 19, DFP-II 81, Bouvet 70.
Condition A: minor creases in margins and image. Matted and framed.
Estimate
$1,000 – $1,500
Firmin bouisset (1859-1925)
PAPIER A CIGARETTES JOB. 1895.
56x35½ inches, 142¼x90¼ cm. Affiches Camis, Paris.
Bouisset's poster of a young girl (his daughter Yvonne) writing on a wall to advertise Chocolat Menier launched him to instant fame within the poster world. Becoming a specialist in using children in his posters, it wasn't long before he called on his son Jacques to pose for various images. Young Jacques appears in many seminal poster images, including LU (Biscuits Lefevre Utile), Poulain and this rather surprising image for rolling papers.
While child labor was certainly a part of French society at the end of the 19th century, it wasn't often paraded in front of the public. So why enlist this young chimney sweep into advertising? For a possible answer we turn to the advertising genius of the parent company, Job, and its owner Jean Bardou. They had already employed the ultimate talents in the poster world to design their advertising (Jules Chéret, Alphonse Mucha, Pal and others) and Bardou realized that Bouisset's style had become a popular trend. He was obviously correct, as this charming poster was very successful.
Condition B+: repaired tears, creases and overpainting in margins and along vertical and horizontal folds; skinning in upper left image.
Estimate
$1,000 – $1,500
Ferdinand burger (1879-1959)
II. WEIHNACHTS - DULT. 1903.
38x22½ inches, 96½x57 cm. Ferd. Berger, Augsburg.
Condition B+: repaired tears, creases, and abrasions in margins and image; slight fading in background; pin holes at edges; creases along vertical and horizontal folds; ink stamp in upper left corner. Framed.
Estimate
$700 – $1,000
Jules chéret (1836-1932)
ALCAZAR D’ÉTÉ / REVUE FIN DE SIÈCLE. 1890.
47½x33¼ inches, 120½x84½ cm. Chaix, Paris.
Broido 170, DFP-II 189, Maindron 150, Cheret 216.
Condition B+: repaired tears, creases and abrasions in margins and image and along vertical and horizontal folds; small loss at top right. Matted and framed.
Estimate
$3,000 – $4,000
Jules chéret (1836-1932)
PURGATIF GÉRAUDEL. 1891.
95x35 inches, 241¼x89 cm. Chaix, Paris.
Géraudel was an inventive chemist who made a fortune selling pastilles (cough drops) and this cure-all purgative. The key to his success was his sense of advertising. He took advantage of the new medium of posters and regularly availed himself of the medium’s earliest acclaimed master; Chéret excelled at this elongated format that allowed him to create larger-than-life “Chérettes.” Later that year, Chéret reconfigured the poster for a smaller, one-sheet version. Broido 894, DFP-II 221, Cheret 1170, Health 273, Maindron 743.
Condition B: stains in image; replaced losses in margins; repaired tears, creases, abrasions and restoration at edges, in image and along vertical and horizontal folds; slight time-staining at edges. Two-sheets.
Estimate
$1,000 – $1,500
Jules chéret (1836-1932)
THÉÂTRE DE LA TOUR EIFFEL / PARIS - CHICAGO. 1893.
47½x34½ inches, 120½x87½ cm. Chaix Paris.
The Eiffel Tower was constructed as part of the 1889 Paris World's Fair. During the fair there was a restaurant, Flamand, on the first level. The tower was supposed to be torn down once the fair ended; fortuitously that decision was never executed, and only the restaurant was closed. In its place Charles Bodinière and the writer Alphonse Frank opened up a 400-seat theater. The theater ran from May to October every year, and eventually closed in 1900. On May 16th, 1893, the Théatre de la Tour Eiffel made an attempt to bring some of Montmartre's spirit to the bourgeois Right Bank, with the opening of Paris / Chicago. The show, written by Frank and Gaston Arman de Caillavet was a tremendous success.
Using a bold diagonal to create a descending movement, Chéret depicts his main characters in detail, and other characters in the background less so. The entire image is given a joyful, weightless feeling, as all of the characters (and even some of the typography) appear to be floating through the air. When it was printed, this poster was extremely popular with collectors, and it was offered to the market in three variations: with only the black outline, before the lettering, or like this, in its final iteration.
Cheret 343, Broido 273, Maindron 239, DFP-III 2379 (var), Reims 467.
Condition A-: small repaired tears, creases and restoration along unobtrusive vertical and horizontal folds. Framed.
Estimate
$1,000 – $1,500
Jules chéret (1836-1932)
CARNAVAL / 3E BAL MASQUÉ. 1894.
47x32¾ inches, 119½x83 cm. Chaix, Paris.
Cheret 369, Broido 290, DFP-II 228, Meisterplakate 47, Schardt p. 73.
Condition B: repaired tears at edges, some into image; creases, abrasions and restoration at edges and in image; margins trimmed, including printer’s info at bottom left edge. Framed.
Estimate
$2,000 – $3,000
Jules chéret (1836-1932)
JARDIN DE PARIS / SPECTACLE VARIÉ. 1899.
48½x34½ inches, 123¼x87½ cm. Imprimerie Chaix, Paris.
The 1901 printing of the same image and text variant features the printer’s information in the lower right margin, instead of left. Cheret 320, Broido 254, Maindron 219.
Condition B: replaced losses in margins; repaired tears, creases, abrasions and restoration in margins and image; minor abrasions along vertical fold; water staining in upper text. Framed.
Estimate
$2,000 – $3,000
Marcello dudovich (1878-1962)
LIQUORE STREGA. 1906.
80x57¼ inches, 203¼x145½ cm. G. Ricordi & C., Milan.
Dudovich was one of the most prolific and important of the Italian poster artists. He designed more than six hundred posters in a career that spanned more than half a century. His formative years were spent working under Adolfo Hohenstein and Leopoldo Metlicovitz at the G. Ricordi printing company in Milan, where he worked exclusively up until the First World War (for a few years, between 1899-1906, he left to work with a different printer Chappuis, in Bologne). After the war ended, Dudovich became the art director at IGAP, another large printer in Milan. Throughout his career, he worked for all of the major Italian companies, but he is best remembered for the images he designed for the Italian department stores Mele and À La Rinascente.
This poster for a liqueur marks Dudovich's triumphant return to Ricordi after his six-year stint at Chappuis. It is not only one of his masterpieces, but a masterpiece of Italian poster art itself. Using light in a staggeringly effective manner against flat tones and half-tones, he depicts a voluptuous woman leaning over to smell the aroma emanating from a small glass of liqueur. The manner in which the light diffusing from the glass spreads all over the table and onto her body, is handled in an exceptionally sensual manner. Her generous décolletage helps turn this simplest of gestures into an unforgettable, monumental act.
Weill 146, Ricordi Cover & p. 70, Dudovich 170, Manifesto 400, Drink 164.
Condition B+: replaced top margin; repaired tears at edges, some into image; creases and restoration in margins and along folds and seam; minor bleach sports at right side. Two-sheets.
Estimate
$6,000 – $9,000
Albert engström (1869-1940)
EXPOSITION UNIVERSELLE DE 1900 / SALLE DES FÊTES TROCADÉRO. 1900.
54x42½ inches, 137x108 cm. Idun, Stockholm.
Advertising a Swedish students’ choir performance at the 1900 World’s Fair in Paris. Weill 155.
Condition B: overpainted red text; repaired tears, creases and abrasions in margins and along vertical and horizontal folds. Two-sheets.
Estimate
$700 – $1,000
Paul gervais (1859-1944)
FÊTES DE GASCOGNE. 1898.
40¾x28½ inches, 103½x72½ cm.
Gervais was a French painter best known for his depictions of sensuous nude women. He designed at least one other poster at the turn of the century.
Condition B: repaired tears and overpainting in margins; extensive repaired tears and creases in image.
Estimate
$600 – $900
Jules-alexandre grün (1868-1938)
LES CHANSONNIERS DE MONTMARTRE / TRIANON. 1897.
42¾x54¾ inches, 108½x139 cm. G. Gerin, Fils, Paris.
In the 1890s Grün was living in Montmartre and had become an integral part of the artistic scene there. In 1897, an aggressive entrepreneur “attempted an outright takeover of the highly flourishing, but limited world of small cabaret owners. At great expense, he built a spacious theatre in the garden next to the Elysée Montmartre and hired away the best cabaret singers [from the area’s other smaller venues]” (Grun p. 29). Grün was commissioned to design a poster for the Trianon’s opening that showed a gallery of all the big names and stars who would be performing there. Grün also inserted his own portrait, at the far right. The poster is a rare document, perhaps the only one on which all of the major stars of the Montmartre cabarets, at the height of their popularity, appear en masse. Grun p. 29, DFP-II 448, Meisterplakate 108, Cafe Concert 120.
Condition B+: replaced losses in margins; repaired tears, extensive creases and abrasions in margins and image and along sharp vertical and horizontal folds. Framed.
Estimate
$1,000 – $1,500
Jules-alexandre grün (1868-1938)
LA CIGALE / ALLO! ALLO! 1898.
48¼x34½ inches, 122½x87½ cm. Chaix, Paris.
La Cigale opened in the heart of Montmartre in 1887, and became even more successful after it was expanded in 1894, making it one of the largest of the Parisian music halls. It also made use of the best poster designers to promote its shows, and Grün was employed exclusively between 1898 and 1902. As the scope of this show was larger than the usual cabarets for which Grün worked, the artist had to adapt his style. Rather than focusing on one voluptuous, sexy character, Grün depicts the entire cast of this large production, prominently featuring Jeanne Bloch in the center. The poster also employs more colors than Grün’s usual combination of red and black. Grun p. 47, Spectacle 967.
Condition B / B+: replaced losses, repaired tears, creases and abrasions in margins and image and along vertical and horizontal folds; minor losses and overpainting in margins. Framed.
Estimate
$800 – $1,200
Jules-alexandre grün (1868-1938)
SCALA / REVUE À POIVRE. 1903.
47¾x33¾ inches, 121¼x85¾ cm. Charles Verneau, Paris.
This classic Grün poster presents “a cheerful and exposed young lady” (Grün p. 63) in the suggestive, softly erotic style that was the artist’s trademark. This show was led by music hall performer Suzanne Derval and opera singer Amélie Dieterle. The Scala was one of Paris’s major music halls, and Grün designed most of the posters for the establishment between 1901 and 1905. This is the larger format. Grun p. 63, DFP-II 436, Meisterplakate 107, Cafe Concert 38.
Condition A-: minor restoration at edges and along vertical and horizontal folds. Framed.
Estimate
$1,500 – $2,000
Jules-alexandre grün (1868-1938)
MOULIN ROUGE / REVUES. 1904.
47¼x33 inches, 145½x83¾ cm. J. Thil, Paris.
This poster exists with several variations of the lower text, promoting different performances. Grun p. 69 (var), Folies-Bergere 29 (var), Moulin Rouge p. 49 (var).
Condition B+: repaired tears at edges, some into image; creases and overpainting at edges and along vertical and horizontal folds. Framed.
Estimate
$3,000 – $4,000
Jules-alexandre grün (1868-1938)
COCORICO! 1913.
47x29¼ inches, 119½x74¼ cm. Atelier Grün, Paris.
Not to be confused with the turn-of-the-century magazine bearing the same name, this manifestation of Cocorico was an operetta. Grun p. 88.
Condition A- / A: minor creases in margins; linen trimmed to edges; minor offsetting in top margin.
Estimate
$800 – $1,200
Ludwig hohlwein (1874-1949)
TERRANOVA. 1909.
32½x22¼ inches, 82½x56½ cm. Freihung, Munich.
Looking at these seagulls flying over a barren landscape, one could easily think that it is a tourism poster for Terranova. However, this is not the case. Hohlwein designed another poster with this title that bears additional text identifying Terranova as a brand of industrial plaster. While this image remains somewhat of a mystery, it is presumably touting the lightweight and white color of the material. We must assume that at the time, Terranova was sufficiently known that potential clients needed only to see its name in advertising for this poster to be effective. DFP-III 1358, Frenzel 28, Hohlwein-Stuttgart 17.
Condition A-: minor creases in margins and image; small pin holes in corners. Framed.
Estimate
$2,500 – $3,500
Henri-gabriel ibels (1867-1936)
L’ESCARMOUCHE. 1893.
24¼x18½ inches, 61½x47 cm. Eugène Verneau, Paris.
Ibels was one of the most prominent young artists in Paris in the 1890s. He studied at the Academie Julian with Pierre Bonnard and Edouard Vuillard and became one of the founding members of the Nabis, participating in all of their exhibitions. In 1891, his works were exhibited side-by-side with Toulouse-Lautrec's at the Salon des Independants, and the two became close friends. Like Toulouse-Lautrec, he loved the café-concerts and designed most of his posters for, or featuring performers.
In 1893, he collaborated with Toulouse-Lautrec on an album of lithographs entitled Le Café-Concert. Rather than become a painter, Ibels dedicated his art to the printed page, working for magazines, designing sheet music covers and theatrical programs. Within the Nabis, he was known as "The Nabis Journalist," because of his work for many of Paris' progressive journals and the founding of the short-lived periodical L'Escarmouche.
DFP-II 471, Wine Spectator 56, Reims 745, Schardt p. 58, Maitres 6, Weill 44, Color Revolution 104, Meisterplakate p. 43.
Condition B: replaced losses in margins; repaired tears and creases in margins and image; creases along vertical and horizontal folds. Matted & framed.
Estimate
$1,200 – $1,800
Henri-gabriel ibels (1867-1936)
EXPOSITION H.G. IBELS / À LA BODINIÈRE. 1894.
21x14½ inches, 53¼x36¾ cm. Eugène Verneau, Paris.
Maitres pl. 138, DFP-II 475, Reims 746, Exposons p. 16, Wine Spectator 55.
Condition A-: minor restoration at top edge; unobtrusive vertical and horizontal folds; colors slightly attenuated. Matted and framed.
Estimate
$1,000 – $1,500
Henri-gabriel ibels (1867-1936)
SALON DES CENT / SALON DE LA PLUME. 1894.
23x15½ inches, 58¾x39½ cm. Eugène Verneau, Paris.
La Plume had recognized and lauded Ibels' talent in their January 15, 1893 issue. A year later they bestowed a further honor on him by commissioning him to design the poster for the first Salon des Cent. For his poster he employed a palette of five colors, softly gradated between green and brown. The image is composed of many of his favorite characters: a ballet dancer, a harlequin and a Pierrot who is actually painting a picture of the ballerina. As with all of Ibels' work, it is a high-standard drawing of intense poetical elegance. "Remarkable in more than one way, this poster presents a resolutely modern composition and a framing which reveal the position of the ballerina in a depthless, indefinite space, as well as the perfect integration of the text to the image" (Salon des Cent p. 55).
DFP-II 472, Reims 754, Salon des Cent 22.
Condition A-: margins trimmed to image; minor creases in image; small pin holes in corners and at edges. Matted and framed.
Estimate
$2,000 – $3,000
Henri-gabriel ibels (1867-1936)
[YVETTE GUILBERT.] Circa 1894.
23¾x19 inches, 60¼x48½ cm. Eugène Verneau, Paris.
With - two framed plates from Le Café Concert, 1893.
This is the version before text. Images available upon request. DFP-II 474 (var).
Condition A. Hand-signed by the artist in pencil. Framed.
Estimate
$800 – $1,200
Henri-gabriel ibels (1867-1936)
EXPOSITION A LA TOUR EIFFEL / LA BODINIÈRE. 1895.
24¼x18 inches, 61½x45¾ cm. Bourgerie & Cie., Paris.
Rare.
Condition B+: creases and rippling throughout. Matted and framed.
Estimate
$700 – $1,000
Henri-gabriel ibels (1867-1936)
LE LEVER DU CRITIQUE. Circa 1895.
21½x16¾ inches, 54½x42½ cm. Eugène Verneau, Paris.
The Critic’s Getting Up was a satirical play performed at the Theatre d’Application. The image is of a young woman whispering into the ear of a statue. For the Parisian avant-garde in Paris at the time, the statue’s face would have been immediately recognizable: it is a caricature of the critic Francisque Sarcey, whom everybody loved to tease and who was an easy target for criticism himself. With features that were prone to caricature, and as an unofficial whipping boy of the avant-garde, Sarcey was also depicted in several posters by Jules-Alexandre Grün. Most likely, Sarcey was also a target in this play. DFP-I 477 (var), Reims 751, Hillier p. 78.
Condition A-: minor creases and slight foxing in image. Matted and framed.
Estimate
$800 – $1,200
Henri-gabriel ibels (1867-1936)
L’ARLEQUIN / CABARET ARTISTIQUE. Circa 1897.
23½x17 inches, 59¾x43 cm. E. Malfeyt & Cie., Paris.
DFP-II 479.
Condition B: staining along repaired tears and paper tax stamps affecting upper text and image; creases, abrasions and minor restoration along vertical and horizontal folds. Matted and framed.
Estimate
$800 – $1,200
Henri-gabriel ibels (1867-1936)
GUILLAUME LE MAUDIT. 1918.
17¼x24½ inches, 43¾x62¼ cm.
Condition A. Framed.
Estimate
$400 – $600
Adolfo de karolis (1874-1928)
TURIN. 1911.
27½x19½ inches, 69¾x49¾ cm. L. Chappuis, Bologne.
Primarily a painter, whose work was influenced by Burke-Jones and the pre-Raphaelites, de Karolis is barely known as a poster artist. Here, in his poster promoting Turin's 1911 International Exhibition of Industry and Trade, he uses a nearly identical image to that employed by Metlicovitz for the same event (see Swann sale 2133, lot 100). The only difference between the posters is that Metlicovitz's allegory was of only two men, while de Karolis depicts three. Bolaffi p. 73.
Condition B+: small replaced losses and repaired tears at edges; minor creases and abrasions in margins and image. Framed.
Estimate
$1,000 – $1,500
Leopoldo metlicovitz (1868-1944)
SUNLIGHT SOAP. 1900.
55¼x38½ inches, 140¼x97¾ cm. G. Ricordi & C., Milan.
As a student under the inimitable Hohenstein at the Ricordi Studios, Metlicovitz quickly became a master of graphic design in his own right. He was one of the most versatile poster artists who could, and would, constantly change his style from tender Art Nouveau imagery to statuesque allegory. For this image he has adapted yet another style, illustrating a peasant woman in flat colors, hard at work cleaning her whites using Sunlight Soap. The simple image, with broad lettering, also contains a detailed view of the product packaging. Ricordi 170.
Condition B+: extensive overpainting in margins; repaired tears, small replaced losses and creases in image.
Estimate
$3,000 – $4,000
Georges meunier (1869-1942)
PAPIER A CIGARETTES JOB. 1894.
95x33 inches, 241¼x83¼ cm. Chaix, Paris.
A black cat watches his mistress, an red-headed young lady in a green dress, who is so absorbed in smoking her cigarette that she doesn’t realize she is slipping out of one of her red shoes. She’s boldly set against a complementary red, orange and blue background. “Georges Meunier was one of the painters of talent and charm . . . who are the smiling illustrators of their time. . . a pupil of Chéret . . . his philosophy of the poster was the same ‘toujours les femmes et les rires’” (Abdy p. 63). No one has ever properly explained why all copies of this poster bear the 1889 imprint. Maitres pl. 167, DFP-II 579, Abdy p. 62, Wember 581 (var).
Condition B+ / B: replaced losses in margins; repaired tears, small replaced losses; and restoration at edges and along horizontal folds. Two-sheets. Framed.
Estimate
$3,000 – $4,000
Georges meunier (1869-1942)
FROSSARD’S CAVOUR CIGARS. 1895.
96x33¾ inches, 243¾x85¾ cm. Chaix, Paris.
This poster was printed as plate 7 in the Maitres de L’Affiche. Rare.
Condition B+: repaired tears, creases and restoration in margins and image; minor restoration along printer’s creases in image. Two-sheets. Framed.
Estimate
$1,500 – $2,000
Pere montanyà (dates unknown)
REAL CLUB DE BARCELONA. 1909.
42x29¼ inches, 106¾x74¼ cm. Affiche Barral Herms, Barcelona.
Often misnamed, Pere Montanya "was associated with the Seix & Barral printing press since 1909 and created posters for automobile races, regattas, the first automobile expo in 1920 and advertisements for Freixenet champagne" (Source). He made the promotional posters for the second (1909) and third (1910) editions of the Catalonia Cup. He also designed postage stamps in Barcelona and entered several poster contests for companies such as Heno de Pravia and Klein Tires.
Condition B / B-: extensive overpainting and restoration in margins; extensive repaired tears, creases, abrasions and restoration in image.
Estimate
$1,500 – $2,000
Alfred müller (1869-1940)
[PEACOCKS.] 1901.
24¾x62¾ inches, 62¾x159¼ cm.
Art Nouveau artists loved peacocks, with their extravagant multi-colored feathers. Müller, who designed a handful of similar, horizontal format decorative panels, approaches these birds from an unusual perspective; depicted from the ground level, their beautiful plumage is seen up-close, as are the plants and vegetation that surround them as they strut.
Condition A-: small repaired tears, repaired losses and creases in margins; minor creases in image; top image trimmed off.
Estimate
$1,000 – $1,500
Alphonse mucha (1860-1939)
CASSAN FILS. 1896.
66x24¼ inches, 167½x61½ cm. Cassan Fils, Toulouse.
Cassan was once the largest and most important lithographer in Southwest France. This poster, Mucha's elaborate and exquisite self-advertisement for the printer, features a seamless blend of printing imagery with fantasy. "The muscular printer is an allegorical figure, representing the [printing] industry. An unusual border of eyes in the mosaic background probably is meant to indicate the multitude of readers whom the printing trade serves. It is also one of the mystic symbols used by Mucha in several other works" (Rennert / Weill p. 70).
The young lady is herself representative of the public that patronizes printers. In a brilliant self-referential detail, this woman, marked by her beauty, a state of semi-undress and stylized cascading hair, is pulling prints straight off the press that feature other young women with equally flowing locks - as if Mucha were indicating how his archetypical treatment of female tresses was about to take over the industry.
This is the large format. Rennert / Weill 11, Lendl p. 109, Mucha / Bridges A24, Reims 897, Brno 25, Mucha Grand Palais 25, Mucha / Henderson 74, Triumph des Jugendstils 21, DFP-II 640.
Condition B+ / B: repaired tears, creases and abrasions in margins and image; small losses and rippling along seam. Two-sheets. Matted and framed.
Estimate
$4,000 – $6,000
Alphonse mucha (1860-1939)
[INCANTATION.] Plate from L’Estampe Moderne. 1897.
16x12¼ inches, 50½x31 cm. [Champenois, Paris.]
One of two plates Mucha designed for L’Estampe Moderne, the other being Salome. Mucha R10b, Lendl p. 115 (var), Jiri Mucha p. 104.
Condition A: slight time-staining in margins; blind stamp in bottom right corner. Paper.
Estimate
$2,000 – $3,000
Alphonse mucha (1860-1939)
BISCUITS LEFÈVRE - UTILE. 1897.
23¾x17¼ inches, 60¼x48¾ cm. F. Champenois, Paris.
"All of the firm's designs featured the initials LU somewhere, and in this case they are incorporated into the golden arch that protrudes into the picture. The girl's dress has a pattern of sickles and wheat, and she even has some wheat stalks in her hair, ideal to indicate the origin of the product" (Lendl p. 70).
Rennert / Weill 22, Brno 13, Gold 59 (var), Lendl p. 71 (var), Mucha Grand Palais 22 (var), Darmstadt 43 (var), Mucha / Henderson 126, Mucha / Bridges C5, Triumph des Jugendstils 26, DFP-II 632, Weill 60.
Condition A. Matted and framed. Not examined out of frame.
Estimate
$7,000 – $10,000
Alphonse mucha (1860-1939)
LEFÈVRE - UTILE BISCUITS. Two biscuit tin labels. Circa 1900.
Each approximately 11½x8 inches, 29¼x20¼ cm.
Includes Biscuits Madère and Gaufrettes Pralinées.
Condition A. Matted and framed together.
Estimate
$800 – $1,200
Alphonse mucha (1860-1939)
MEDEE / SARAH BERNHARDT. 1898.
82¼x30½ inches, 209x77½ cm. F. Champenois, Paris.
The production of Medee advertised here was a contemporary adaptation of a play originally written by Euripides. A classic, violent Greek tragedy about the warrior Jason, the play begins when he returns home from his quest for the Golden Fleece, bringing with him Medea. When he falls in love with another woman, Medea, "driven by a pagan code of honor and her own dark passions . . . conceives a terrible vengeance of gothic cruelty: she kills Jason's father, her own two children, and his new mistress, so that he would have to go through life deprived of everything he loved" (Rennert / Weill p. 208).
The somber and tragic image depicts a glimpse of the slaughter, with Medea, a mad look in her eyes, standing with a bloody dagger over one of her victims. "Mucha's exquisite design uses Medea's arm and the dagger as a giant exclamation point, emphasized by the look of stark horror on her face as she exacts her gothic revenge. It is one of [Mucha's] most powerful posters" (Lendl p. 53). "It carries all the signs of Mucha's masterpieces in composition and color as well as the decorative certainty with which he left the bottom two-thirds of the background white" (Spirit of Art Nouveau p. 151). The composition is organized vertically with Mucha's trademark "halo" behind the actress' head, and lettering designed in the style of mosaic to evoke the story's origin in ancient Greece. Sarah Bernhardt was so enamored with the snake bracelet that Mucha depicted adorning her arm that she actually had one made by Fouquet for her to wear.
Rennert / Weill 53, DFP-II 645, Lendl p. 53, Brno 35, Mucha Grand Palais 93, Darmstadt 80, Mucha / Henderson 80, Mucha / Bridges A33, Triumph des Jugendstils 12, Art Nouveau p. 111, Spirit of Art Nouveau 13, Abdy p. 138.
Condition B+: expertly-repaired tears at edges, some into image; expertly-reattached lower right corner; small replaced losses and abrasions at edges. Two-sheets. Mounted on Japan.
Estimate
$10,000 – $15,000
Alphonse mucha (1860-1939)
[THE FLOWERS / IRIS.] 1898.
41¾x18¼ inches, 106x46¼ cm. [F. Champenois, Paris.]
Mucha's irresistible allegories of flowers are among the most delicate of the decorative panels Mucha designed. His printer, Champenois, continuously pushed him to design more panels to satisfy the public's seemingly insatiable demand. In all, Mucha designed approximately 18 different sets of decorative panels. These are in many ways his most sensual images, playing a flirtatious graphic game between the women and the flowers that surround them. Mucha's paintings of both Iris and Carnation were exhibited in his one-man show at the Salon des Cent in 1897. The aquarelles bore the notice "to be published by Champenois." Over the course of the next few months, Mucha completed the other two flowers.
The set in this format, printed in a run of 1000, sold out so quickly that Champenois printed the series again in a smaller format with all four images on a single sheet. "One of the fundamental premises of art nouveau was to look for inspiration in nature, and in The Flowers set Mucha produced one of the best arguments for it . . . it is a clear case of Beauty celebrating beauty in each instance. By using soft pastels and harmonious composition, Mucha imbued each scene with a sense of tranquility and quiet enjoyment" (Lendl p. 122).
Rennert / Weill, 49, Lendl / Paris 69, Lendl p. 202, Mucha / Art Nouveau 50.
Condition A-: minor repaired tears at edges, one slightly into lower image; slight darkening at lower right edge.
Estimate
$6,000 – $9,000
Alphonse mucha (1860-1939)
[THE FLOWERS / LILY.] 1898.
41¾x18¼ inches, 106x46¼ cm. [F. Champenois, Paris.]
Rennert / Weill 49, Lendl / Paris 69, Lendl p. 202, Mucha / Art Nouveau 50.
Condition B+: expertly-repaired tear at top center edge, into image; overpainting in margins.
Estimate
$6,000 – $9,000
Alphonse mucha (1860-1939)
[THE FLOWERS.] Circa 1901.
17x26¼ inches, 43¼x66½ cm. [F. Champenois].
Based on the full-size Flowers panels, this smaller set appears to be an uncut "stock" image that is more often seen cut into four separate pieces, and used as a calendar for Paris' "A La Violette" emporium (See Swann sale 2435 Lot 141).
Rare. This is a previously unrecorded one-sheet variant.
Rennert / Weill 49 (var), Lendl p. 202 & 203 (var), Mucha Grand Palais 84-87 (var), Darmstadt 82-85 (var), Mucha / Henderson 8 (var), Mucha / Bridges P9-12 (var), Spirit of Art Nouveau 50 (var).
Condition B+: repaired tears at edges, some slightly into borders; foxing and minor creases throughout; mat-staining at edges. Matted and framed.
Estimate
$12,000 – $18,000
Alphonse mucha (1860-1939)
[LA PLUME ET PRIMEVÉRE.] Pair of decorative panels. 1899.
Each 30¼x12¾ inches, 76¾x32¼ cm. [F. Champenois, Paris.]
“These two symbolic figures, [also known as Quill and Primrose] complete with Mucha’s customary aureoles around their heads and adorned with filigrees in their hair, comprise one of the best decorative panel sets marketed by Champenois” (Rennert / Weill p. 240). Rennert / Weill 64, Lendl / Prague 219, Mucha / Art Nouveau 51.
Condition B: each with extensive skinning with glue residue in margins; pencil notations in bottom margins; minor abrasions in upper image; each mounted on thin board.
Estimate
$12,000 – $18,000
Alphonse mucha (1860-1939)
[THE SEASONS / L’HIVER.] Decorative panel on silk. 1900.
27¾x12½ inches, 70½x31½ cm. [F. Champenois, Paris.]
For Mucha’s third and final allegorical group of The Seasons, the premise remains the same - young women as irresistible representations of the seasons. Here, Mucha’s approach is slightly different from the preceding versions; he has placed these women within decorative borders and employs a starker and more realistic color scheme than the pastels of 1896. Rennert / Weill 74 (var 1), Lendl p. 192 & 193 (var), Mucha / Bridges P38, P49-51.
Condition B+: runs along horizontal creases in silk; archival tape at lower side margins; modern silk reinforcement strips along top and bottom margin, with small pin holes; hinged archivally to mat.
Estimate
$4,000 – $6,000
D’après alphonse mucha (1860-1939)
MME SARAH - BERNHARDT / WORLD’S TOUR SEASONS 1914 - 15 - 16.
82½x40½ inches, 209½x102¾ cm. Carey Print, New York.
Sarah Bernhardt made her first American tour in 1896, by which point she was already an international star, taking with her a variation of one of the posters Mucha had designed for her in Paris. "As was the case with all these versions, it mentioned no name of the play, nor did it mention that the plays for which the design was originally used were presented on this tour" (Rennert / Weill p. 108). Among Mucha's famous posters for the actress that were reused to promote her American appearances were Gismonda, Lorenzaccio, Tosca and this, La Dame aux Camelias.
This tour, beginning in 1914, was in many ways the actress' final act; she was already in her late 60s, World War I had broken out, and in 1916 she had her leg amputated below the knee. With these factors combined with a lack of contemporary media coverage, it is uncertain how much, if any, of this tour actually took place, possibly accounting for the scarcity of the image. Note how it is referred to as a "World's Tour" and not an American Tour. Aside from the entirely different titles and text, the most obvious diversion from Mucha's original is the bright colors used here, compared with the subtle pastels from 1896. Rare. We have found no other copies at auction.
Condition B+: expertly-repaired tears, creases, minor overpainting and restoration in margins and image and along vertical and horizontal folds. Two-sheets.
Estimate
$4,000 – $6,000
D’après alphonse mucha (1860-1939)
SARAH - BERNHARDT. Circa 1914.
82x40½ inches, 208¼x102¾ cm. Carey Print, New York.
Adapted from Mucha's 1898 design for the cover of L'Estampe Moderne, Sarah Bernhardt also used a smaller and less colorful version of this image to promote her first of three American tours starting in 1905 (see Swann Sale 2421 Lot 43). The absence of Mucha's signature suggests that the image was merely inspired by Mucha, but not created by his hand. The visual link here to psychedelic posters from the 1960s is as palpable as any we have ever seen; one can even see Milton Glaser's inspiration for his Bob Dylan poster in the way this unknown artist depicts the outlined flowers behind this maiden's ear. Rare. We have found no other copies at auction.
Condition B+: expertly-repaired tears, creases and minor overpainting in margins and image. Two-sheets.
Estimate
$4,000 – $6,000
Designer unknown
MME. SARAH BERNHARDT / FAREWELL AMERICAN TOUR / SEASON OF 1915 - 1916.
82x40½ inches, 208¼x102¾ cm. Carey Print Litho, New York.
Less directly Mucha-inspired, but still Art Nouveau in style, this poster for Mme. Bernhardt's Farewell American Tour lists the impressive bill of her plays for the 1915-1916 season. This was, in fact, the final of several "Farewell American Tours." Rare. We have found no other copies at auction.
Condition B+: repaired tears and extensive overpainting in margins; expertly-repaired tears, creases and overpainting in image and along vertical and horizontal folds; paper inserts in text, as issued. Two-sheets.
Estimate
$3,000 – $4,000
Alphonse mucha (1860-1939)
RUSSIA RESTITUENDA. 1922.
31½x18 inches, 80x47 cm. Melantrich, Prague.
This, "one of Mucha's most moving posters . . . was a plea for help for starving Russian children during the war between the Bolsheviks and the White Russians. Between 1918 and 1922, the economic situation in Russia became desperate, and western countries including the United States sent shipments of food and grain. The Russian government had to allow partial restoration of previously nationalized private land so that the land could be more efficiently cultivated. The title of the poster consists of only two words in Latin ['Restore Russia'], which can be understood by the speakers of many languages. It means Russia must be restored to conditions suitable for human life.
Mucha elevated the sorrowful woman holding an exhausted child beyond the meaning of Mother Russia with her gaunt ward by placing circular forms behind their heads, invoking the halos of the Madonna with the Christ child. Two wounded doves in the upper corners signify a Slavic nation that would die without aid, and the hearts in the lower corners express hope in human compassion" (Spirit of Art Nouveau p. 181).
Lendl p. 288, Brno 69, Grand Palais A76, 150th Mucha 267 (var), Rennert / Weill 109, Mucha / Henderson 111, Mucha / Bridges A68, Triumph des Jugendstils 211, Spirit of Art Nouveau 40.
Condition A- / B+: small tape-repaired tears and creases in margins; slight darkening in bottom right margin; pin holes in top corners; unobtrusive vertical and horizontal folds. Paper.
Estimate
$3,500 – $4,500
Alphonse mucha (1860-1939)
[ART NOUVEAU / CZECH.] Group of 39 postcards.
Each approximately 5½x3½ inches, 14x9 cm.
This collection of postcards features many examples from Mucha's Czech period, including some posters, graphics and a number of his designs for the upper walls of the Municipal House of the City of Prague. Includes duplicates.
Images available upon request.
Condition varies, generally A / A-.
Estimate
$1,500 – $2,000
Alphonse mucha (1860-1939)
SVÉMU PRIZNIVCI / “CESKÉ SRDCE.” 1917.
18x11¾ inches, 45¾x29¾ cm.
This certificate was created for the Czech Heart - a charitable organization similar to the Red Cross. Lendl / Prague p. 283 (var), Lendl p. 283.
Condition B+: small tear at left edge; minor creasing and scuffing in margins; ink stamp and hand signatures of officials in ink. Paper. Matted.
Estimate
$350 – $500
Alphonse mucha (1860-1939)
[BOOK ILLUSTRATIONS, PORTFOLIO & BOOKPLATE.] Group of 5 items.
Sizes vary.
Group includes: Morave (1902); Ex Libris / Arch. Dr. Jaroslav Polivka; Padesat Let (1903); Ballady a Pisne; and Jarni Pisen (1904), (hand-signed by the author). Images available upon request.
Condition varies. Books in original bindings.
Estimate
$800 – $1,200
Cover by alphonse mucha (1860-1939)
LETEM CESKYM SVETEM / [A FLIGHT OVER THE CZECH WORLD.] Two bound volumes. 1898.
11x14¼ inches, 28x36¼ cm. Jos. Pfeiffer, Prague.
This is the two-volume first edition of this massive photographic project, with over 500 views from Bohemia, Moravia, Silesia, and Slovakia. The second edition, from 1898, includes the changes in the “Czech world,” and is bound in gray cloth with a printed title. Arco p. 353.
Condition varies, generally A-: minor wear to covers and end papers; inside pages clean. In original Mucha bindings.
Estimate
$1,200 – $1,800
Cover by alphonse mucha (1860-1939)
LETEM CESKYM SVETEM / [A FLIGHT OVER THE CZECH WORLD.] Bound volume. 1898.
11x14¼ inches, 28x36¼ cm. Jos. Pfeiffer, Prague.
Single bound volume of the 1st edition. Arco p. 353.
Condition A-: minor abrasions and wear to covers; slight separating from spine inside front cover; pages clean. In original Mucha binding.
Estimate
$700 – $1,000
Alphonse mucha (1860-1939)
DICTIONNAIRE DES ARTS DÉCORATIFS. Two small plates. 1902.
Sizes vary, each approximately 9x6 inches, 22¾x15¼ cm.
Includes the black and white cover to the comprehensive visual dictionary of Art Nouveau design, as well as the color plate no. 2. Mucha L30, Mucha / Henderson p. 132 (var), Mucha / Bridges L30, Lendl p. 151 (var).
Condition varies, generally A- / A: version with text has minor foxing and staining. Matted and framed together.
Estimate
$500 – $750
Cover by alphonse mucha (1860-1939)
PRAHA - PARIZI. Portfolio. 1900.
17x13 inches, 43¼x33 cm. Unie, Prague.
“Published on the occasion of the World’s Fair in Paris. It was also published in French under the title Prague a la Ville de Paris.”
Condition B+: staining, foxing and wear to Mucha cover and to inside folder; plates clean.
Estimate
$400 – $600
Various artists
ALBUM LEFÈVRE - UTILE / LES CONTEMPORAINS CÉLÈBRES. Volume I. 1904.
13x10¼ inches, 33x26 cm. G. de Malherbe, Paris.
Features chromolithographed and photographic portraits, illustrations, manuscript facsimiles and color plates including several by Cappiello. Floral color wood-embossed covers with inset medallion of Sarah Bernhardt in her role as “La Princesse Lointaine” after the illustration by Alphonse Mucha. Biscuits 38.
Condition A: slight wear to spine; in original wood covers.
Estimate
$400 – $600
Cover by emil causé (1867-?)
REVUE DES ARTS DÉCORATIFS. Magazine. 18e Année, Numéro 3. 1898.
12¼x9 inches, 31x22¾ cm. G. Gounouilhou, Bordeaux.
Includes a plate by Mucha.
Condition A- / B+: minor skinning at edges of cover; printer’s crease in right image; abrasions and losses to spine; foxing on loose prospectus; minor creases to inside pages.
Estimate
$800 – $1,200
Cover by alexandre charpentier (1856-1909)
L’ESTAMPE MODERNE. Complete set of 100 plates. 1897-1899.
Sizes vary, each approximately 16x12 inches, 40x30 cm. F. Champenois, Paris.
L'Estampe Moderne was published between May 1897 and April 1899. As with Les Maitres de l'Affiche, every month, four prints were issued to subscribers, delivered in a portfolio sleeve designed by Mucha. In all, there were 100 images. However, as the name implies, these were not posters but prints, designed by many of the popular artists of the day. The technical and editorial team responsible for publishing the works was among the best of its day: the printer was Champenois, and the directors were Charles Piazza (who published Mucha's Ilsée and Le Pater), and Charles Masson, the director of the Musée du Luxembourg.
The print run was limited to 2000 copies, with an additional 100 printed on Japan paper. Although all of the prints were designed especially for this portfolio, different printing techniques were used, as some are lithographs and some are collotypes. Charpentier, whose monogram appears on the cover of this portfolio, was a lesser-known but prolific Art Nouveau artist. He was a founding member of "L'Art dans Tout," and was adept at woodworking, medal-design, terracotta, and furniture design. One of his lithographic designs is featured as a plate in Les Maitres de L'Affiche, and he was the creator of the blind stamp on each plate of the 1893-5 L'Estampe Originale portfolio (Lugt 819).
Condition generally A- / B+: minor foxing and staining in some plates; pencil notations on the verso of each; in original folio, including itemized list and paste-in. With one fascicle.
Estimate
$12,000 – $18,000
Francisco de cidón navarro (1871-1943)
PERFUMERIA LADIVFER. 1903.
51x35 inches, 127x89 cm. Font, Barcelona.
Timeless Images 79, Cataluna 101, Parfum p. 71.
Condition A-: expertly-repaired tears and minor overpainting in margins; unobtrusive horizontal fold.
Estimate
$2,500 – $3,500
Pal (jean de paléologue, 1860-1942)
FOLIES - BERGÈRE / TOUS LES SOIRS. Circa 1899.
41½x54¾ inches, 105½x139 cm. Paul Dupont, Paris.
This is the black and white version. The color variant has the printer’s information along the bottom left corner, and “Tous les Soirs” filled in red, suggesting that this is a test print or separate version, rather than pre-color. Gold p. 103 (var).
Condition B+: repaired tears and restoration at edges; minor creases, slight scratching and restoration in image. Framed.
Estimate
$1,000 – $1,500
Armand rels (1874-1951)
GALERIE ARTISTIQUE D’AMEUBLEMENT. 1897.
49x35½ inches, 124½x90 cm. Ad. Mertens, Brussels.
Condition B-: entirely-replaced top margin; replaced losses, repaired tears, creases, abrasions and restoration in margins and image and along vertical and horizontal folds; ink stamp in bottom right corner. Framed.
Estimate
$600 – $900
Auguste roubille (1872-1955)
[SALON DES HUMORISTES.] Circa 1905.
45¾x30 inches, 116¼x76¼ cm. Ch. Verneau, Paris.
Roubille was an illustrator for many of Paris’ turn-of-the-century magazines and a key member of the Salon des Humoristes. His unique and instantly recognizable style is characterized by bright, flat colors, sharp outlining and a great sense of caricature. He only designed a few posters, which is unfortunate, as his style lends itself marvelously to their large format. As a prominent member of the Salon des Humoristes it is not surprising that Roubille was ultimately asked to design a poster for one of their exhibitions. In a Cappiello-like image, Roubille depicts a joyful woman, literally “grabbing the bull by the horns” (or at least the pen-holding polar bear by the teeth!). This is the version before lettering.
Condition B+: repaired tears at edges, one into upper image; creases in margins; bleach spots in image.
Estimate
$1,200 – $1,800
Hans sandreuter (1850-1901)
BOECKLIN JUBILAEUM / AUSSTELLUNG BASEL. 1897.
39x23¼ inches, 99x59 cm.
Sandreuter was a Swiss Symbolist artist who began his studies in lithography before forming a close acquaintanceship with painter Arnold Böcklin. He worked in Florence, Paris, Nuremburg, and Switzerland (where he was commissioned for several municipal murals), and later returned to Florence to coordinate this Böcklin Exhibition for the Kunsthalle Basel. This dramatic scene of the centaur wielding a large stone is a detail adapted from Bocklin’s 1873 oil painting, Battle Of The Centaurs.
Condition B: small loss, replaced losses and restoration in top margin and upper right corner; repaired tear at top edge, through upper image; repaired tears, creases and abrasions in margins and image.
Estimate
$800 – $1,200
Théophile-alexandre steinlen (1859-1923)
LAIT PUR STÉRILISÉ DE LA VINGEANNE. 1894.
54½x39 inches, 138½x99 cm. Charles Verneau, Paris.
Lait Pur Stérilisé is the first poster Charles Verneau printed for Steinlen. It was only the second poster in Steinlen's "mature style" (Arwas, p. 54). The artist and the printer formed a lasting relationship and went on to produce some of the era's most memorable posters. This poster instantly became a success and remains an iconic image of the period. It is almost deceptively simple, featuring the artist's daughter, Colette, sitting at a table sipping from a bowl of milk, with three cats at her feet hoping for a single spilled drop. It is a delicate image, beautifully drawn on stone with a "flowing curvilinearity" (Cates & Gill p. 122). Steinlen used green for the outline, as opposed to black, which adds to the soft feel of the image.
Crauzat p. 134, Reims 1030, Bargiel / Zagrodzki p. 40, Maitres 1900 p. 54, Gold 56, Maitres pl. 95, Wine Spectator pl. 112, Meisterplakate 208, Art Nouveau p. 128, DFP-I 783, Weill 43.
Condition B+: minor repaired tears at edges; repaired tears, creases and restoration along vertical and horizontal folds; colors attenuated. Framed.
Estimate
$12,000 – $18,000
Théophile-alexandre steinlen (1859-1923)
COCORICO. Circa 1899.
53¾x39 inches, 136½x99 cm. Charle Verneau, Paris.
Cocorico was a magazine published between 1898 and 1902. As a literary and artistic publication, its main role was to promote the Art Nouveau movement and its primary artists included Mucha, Steinlen, de Feure, Villon and many others. In all, there were 63 issues. The name of the periodical is the French onomatopoeia for "cock-a-doodle-doo," the crowing of a rooster. In this instance, Steinlen employs the title as an exceptional wake-up call for the world to notice this little magazine and the big ideas contained within.
This is the larger format. Bargiel & Zagrodzki 34, Crauzat 502, DFP-II 794, Wember 736.
Condition B: extensive repaired tears, creases and rippling in margins and image; small losses at edges; mounted on old linen. Framed.
Estimate
$10,000 – $15,000
Théophile-alexandre steinlen (1859-1923)
“LE LOCATAIRE.” 1913.
63x46¾ inches, 160x118¾ cm.
With this heartfelt and tender image of a family evicted onto the street to advertise the advent of a tenants’ association, “Steinlen’s posters began promoting social causes rather than commercial products” (Cate and Gill p. 51). A transition between his advertising work and later war images, we can still see several familiar themes, such as the cat and the children, which make this image “among his most appealing works . . . Steinlen at his humanistic best” (Wine Spectator). Whereas Steinlen’s images from 1917-18 are almost all black and white, here we still experience some of his vibrant colors. Bargiel 52, Wine Spectator 113.
Condition A- / B+: water stains along bottom, slightly into text; minor creases and light foxing in image.
Estimate
$2,000 – $3,000
Richard teschner (1879-1948)
WALLENSTEIN FESTSPIELE IN EGER. 1911.
47¼x32¼ inches, 120x82 cm. A. Haase, Prague.
Czech-Austrian sculptor, graphic artist and puppeteer, Teschner spent most of his career working in Vienna, and was a member of the Wiener Werkstätte. He became best known for his 140 elaborately-decorated, Viennese Art Nouveau puppets, which he staged in theatrical performances for over four decades. Teschner created a few poster designs, including one for the “Association of German visual artists in Bohemia,” another advertising his own designs, and this poster promoting the Wallenstein Festival of 1911 in Eger - also known as “Cheb.” This equine image was also issued as a postage stamp.
Condition A-: minor overpainting in margins; minor restoration along vertical and horizontal folds.
Estimate
$1,200 – $1,800
Henri de toulouse-lautrec (1864-1901)
DIVAN JAPONAIS. 1893.
31½x23¼ inches, 80x60¼ cm. Edw. Ancourt, Paris.
The Divan Japonais was a small café-concert at 75 Rue des Martyrs, where Yvette Guilbert performed after becoming popular through her act at the Moulin Rouge. This is Toulouse-Lautrec's only poster to show both Jane Avril and Yvette Guilbert, the two Montmartre demimondes who were both his friends and major inspirations. Jane Avril, the star dancer at the Moulin Rouge, is pictured here seated next to the literary critic, Édouard Dujardin. Onstage in the background, Guilbert is depicted from the neck down, recognizable by her trademark long black gloves. The composition is built along the diagonal of the stage and the orchestra in the style of Japanese woodblock prints that were so fashionable in Paris at the end of the 19th century. Lautrec impishly punctures the diagonal with the priapic scrolls of the instruments.
Delteil 341, Wittrock P2, Adriani 9, Reims 780, Weill 47, Maitres 1900 p. 49, DFP-II 824, Wine Spectator p. 49, Wember 761, Auriac p. 57, Encyclopedie de l'Affiche p. 224, Modern Poster p. 45, Art Nouveau p. 96, Abdy p. 75.
Condition B+: extensive expert overpainting and repaired tears in margins; margins slightly trimmed; expertly-repaired tears and overpainting in image.
Estimate
$15,000 – $20,000
Henri de toulouse-lautrec (1864-1901)
LE DEUXIÈME VOLUME DE BRUANT / MIRLITON. 1893.
31x23½ inches, 78¾x59¾ cm. Chaix, Paris.
In many ways, both Lautrec and Bruant owed their success in part to each other. In 1892, Lautrec designed Ambassadeurs, one of the most enduring images of the performer, which captures his famed arrogance. The cabaret star loved the image, and Bruant in turn became one of Lautrec's best clients, commissioning three additional posters from him. This poster shows the combined insolence of Bruant and Lautrec. The performer, dressed in his trademark black velvet suit, hat and boots, doesn't even deign to face the public and his viewers. Through Lautrec's genius, the performer still remains immediately recognizable. "This poster was printed with three different texts, and also used on the cover of Le Mirliton . . . [this variation advertises] Bruant's second volume of songs and monologues . . . Interestingly Bruant chose Steinlen to illustrate both books but still turned to Lautrec for the poster to advertise it, astutely sensing the difference between Steinlen's more narrative, illustrative style and Lautrec's bold graphic language" (Montmartre p. 93).
This is a variant of the Fourth State, with the addition of red tint in cuffs and collar. This state includes the olive green lettering, not designed by Lautrec. Adriani 57-IV, Wittrock P10C, Delteil 349 III, DFP-II 831 (var), Wine Spectator 47.
Condition A- / B+: repaired tears, minor restoration and creases at edges; hinged to mat on verso; mounted on Japan. Matted and framed.
Estimate
$6,000 – $9,000
Henri de toulouse-lautrec (1864-1901)
BABYLONE D’ALLEMAGNE. 1894.
47x33 inches, 120¼x83¾ cm. Chaix, Paris.
The design and printing of the poster for Babylone d'Allemagne was partly an inside joke and partly an international scandal. The poster advertises a book written by Lautrec's friend Victor Joze. The two had worked together before, in 1892, when Lautrec designed a poster for La Reine de Joie, another book by Joze that resulted in a huge scandal. Two years later Joze again approached Lautrec to help promote his latest work, The German Babylon, exposing the decadence of the Berlin aristocracy. The poster, one of Lautrec's most elaborate designs, is composed of two opposing diagonals. The first is the line formed by the ascending cavalry parade, with a handsome young officer astride his mount. The second diagonal is formed between the hirsute sentinel and a passing bourgeois couple, the woman casting her glance at the blond rider. The white haunches of the horse (the uninked paper itself) are outlined in Lautrec's favored olive green, attracting the viewer's eye. He also uses the green in crachis (splatter), in the background.
When Joze saw the finished poster, with the prominently displayed horse's rump and the unattractive German guard (allegedly a caricature of the Kaiser), he felt that it was too dangerous to post all over town, and that there might be a political backlash against it. Lautrec had obviously anticipated his friend's concern, and to thwart any plans to squelch the image, had paid for the printing and distribution of the poster himself.
Adriani p. 96, Delteil 351 II, DFP-II 832 (var), Art Nouveau p. 97 (var), Affichomanie 108 (var).
Condition B+ / B: time-staining around edges; repaired tears, abrasions and minor overpainting in margins and image; stain at bottom edge; colors attenuated. Framed.
Estimate
$12,000 – $18,000
Henri de toulouse-lautrec (1864-1901)
[MADEMOISELLE MARCELLE LENDER, EN BUSTE.] 1895.
14¼x10¾ inches, 36¼x27¼ cm.
Marcelle Lender (1862-1926) starred in many of the operettas and comic operas popular at the end of the 19th century. One of her shows, Chilperic, was justifiably unmemorable except that it inspired Lautrec to paint a magnificent painting and design six lithographs (Adriani 110-115). This is by far the best image from that series and the only one that is in color. Lautrec depicts her bowing after an extravagant Spanish dance that fascinated him. To render her wild attire and hairdo, he used eight colors with chalk, ink with brush and a spraying/splatter technique. As Adriani notes, "no other lithograph is printed with such wealth of subtle color combinations and none embodies, as this does, the opulent decoration of an age moving towards its close."
This is the fourth state of four, from the edition of 1211 impressions printed for the Berlin magazine Pan, which were inserted in volume I, no. 3 of the periodical.
Delteil 102 III, Wittrock 99 IV, Adriani 115 4B, Schardt p. 179.
Condition B+: cut-out section of lower left printing text; slight discoloration at top margin; repaired tear at right edge, slightly into image. Mounted on Japan.
Estimate
$4,000 – $6,000
Henri de toulouse-lautrec (1864-1901)
LA REVUE BLANCHE. 1895.
50¼x36¼ inches, 127½x92 cm. Edw. Ancourt, Paris.
Misia Natanson, the wife of one of the founders of the Revue Blanche, was the muse for the artists and writers within this circle. Renowned as a brilliant, charming and beautiful woman, she was a source of inspiration for Pierre Bonnard, Jacques Villon and Felix Vallotton, among others. Both Bonnard and Toulouse-Lautrec were asked to design a poster promoting the magazine and they both chose Misia, the living incarnation of the spirit of the Revue Blanche, as their subject. Lautrec's image is uncharacteristically soft and endearing, representing Misia skating. Some people have suggested that Lautrec had fallen in love with her, which would explain this rare, tender portrait. The fact that he depicts her without showing her legs lends the image a strange, unbalanced feeling, and adds to the mystery of the poster.
Adriani 130, Delteil 355, Reims 788, Maitres pl. 82, DFP-II 838, Devynck p. 67, Wine Spectator 50.
Condition A / A-: small losses and abrasions along left edge; minor creases, abrasions and slight darkening in margins. Two-sheets.
Estimate
$15,000 – $20,000
Henri de toulouse-lautrec (1864-1901)
ELLES. 1896.
23¾x18½ inches, 60¼x47 cm.
Lautrec's series Elles is one of the high-points of nineteenth-century art" (Adriani p. 222). The series depicts the prostitutes of Montmartre in a humble, intimate manner that did not flaunt their sexuality, but instead focused on the banal routines of their daily lives. 100 of these portfolios were printed. The cover and frontispiece of the folio bore this illustration, and when the 10 sheets were put on exhibition in the offices of La Plume magazine in 1896, this image, with the addition of the text (not by Lautrec's design), was re-used as a poster.
Adriani 171-IV, Delteil 179, Adhemar 200, DFP-II 842, Wember 767, Devynck p. 89, Gold 85 (var), Salon des Cent p. 83.
Condition B: losses in margins and image; repaired tears, creases and flaking at edges; creases and abrasions in image; scratch in lower left text; water stains along left side. Mounted on old linen.
Estimate
$3,500 – $4,500
Aleardo villa (1865-1906)
E & A MELE & CI. / MASSIMO BUON MERCATO. 1899.
44½x78 inches, 113x198 cm. G. Ricordi & C., Milan.
At the turn of the century, the department store E. & A. Mele & Cie commissioned numerous artists to create luxurious advertisements such as this promoting the civility, gentility and aquirability of their products to the well-to-do of Naples. Malerba, Dudovich, Cappiello, and Aleardo Villa, are among the best known designers who created advertisements for the company, often using large formats and sumptuous colors to entice the outwardly-focused upper class into their storefronts. Villa’s image differs from most of the more commonly-seen Mele posters in its horizontal format, but also in its advertising a “rich assortment” of clothes and dresses for children, rather than sophisticated adults. Ricordi p. 7.
Condition B: replaced losses, repaired tears, creases and abrasions in margins and along folds and seams; water stains in right margin. Three-sheets.
Estimate
$1,200 – $1,800
Various artists
GLI AVVISI DELLE OFFICINE G. RICORDI E C. Partial portfolio of 48 plates. Circa 1914.
Each plate 14¼x10¼ inches, 36x26 cm. G. Ricordi & C., Milan.
“The [complete] set consisted of 70 small lithographic plates of Ricordi’s greatest posters printed between 1895 and 1914. The set was sold commercially in Italy, England, Germany, France and the United States . . . Much like the famous Masters of the Poster series created by Chéret in Paris, this portfolio celebrated the rise of the poster - which in Italy was almost single handedly accomplished by Ricordi” (www.internationalposter.com). Set includes an introduction sheet.
Condition varies, generally A- / B+: minor wear and edge losses to plates; some with tissue-paper folios; separation and extensive wear to original portfolio box.
Estimate
$3,000 – $4,000
Various artists
LE RIRE. Group of 17 loose issues. 1895-7.
Each 11¾x9 inches, 29¾x22¾ cm.
Includes covers by Steinlen, Wilette, Forain, Lautrec, and more. Images available upon request.
Condition varies, generally B+: tears along stapled edge; darkening and wear to edges, some with foxing. Paper.
Estimate
$700 – $1,000
William h. bradley (1868-1962)
[BRADLEY DESIGNS.] Group of 8 covers, prospecti & ephemera. 1890s.
Sizes vary.
Group includes: Bradley His Book / Prospectus; The International Studio (1897); Books & Artistic Publications and more. Images available upon request.
Condition varies, generally B+ / A-.
Estimate
$700 – $1,000
Willliam h. bradley (1868-1962)
THE CHAP - BOOK. 1894.
19½x14 inches, 49½x35½ cm.
Bradley's first poster ever, and first of many Chap Book posters (Koch p. 36), from August 1894. Although justifiable comparisons to Beardsley have been made, Charles Hiatt (author of Picture Posters, 1895, and prominent critic and early authority on posters) stated it best: "He has seen and assimilated, in no small degree, the manner of Mr. Aubrey Beardsley. He is however, a great deal more than a mere imitator; what he has borrowed, he has borrowed with conspicuous intelligence, and nobody could for a moment accuse him of anything approaching petty larceny" (Picture Posters p. 298).
Kiehl p. 16, DFP-I 152, Koch p. 22, Reims 1139, Virginia p. 23, Margolin p. 26 and 97, Keay p. 41, Met 1984.1202.8, Bradley I.
Condition A-: minor foxing in image; faint collection ink stamp in bottom left corner. Matted and framed.
Estimate
$1,000 – $1,500
William h. bradley (1868-1962)
FIELD FLOWERS. 1896.
20½x11¾ inches, 52x29¾ cm. [The Spectrotype Co., Chicago.]
“Field Flowers was produced to promote a memorial edition of poems by Eugene Field. The girl forming the central figure in the design anticipates Bradley’s later illustrations for his children’s stories” (Koch p. 99). DFP-I 179, Bradley p. 48, Koch p. 98.
Condition B+: minor restoration in margins; colors faded. Matted and framed.
Estimate
$600 – $900
William h. bradley (1868-1962)
[INLAND PRINTER / AULT & WIBORG.] Group of 6 covers.
Sizes vary, each approximately 12x9 inches, 30½x22¾ cm.
Images available upon request.
Condition varies, generally A- / B+. Two framed, three matted, one loose.
Estimate
$700 – $1,000
William h. bradley (1868-1962)
ST. NICHOLAS / THE CENTURY. Group of 5 posters and covers. 1890s-1916.
Sizes vary.
Includes four designs by Bradley, and one unattributed work, possibly by Maud Humphrey and F. Berkeley Smith. Images available upon request.
Condition varies, generally A-. Each paper, matted.
Estimate
$600 – $900
William h. bradley (1868-1962)
[HARPER’S / COLLIER’S.] Group of 5 covers. 1890s-1907.
Sizes vary.
Group includes: Harper’s Bazar / Christmas; Harper’s Round Table / Thanksgiving Number / ‘95; Harper’s Bazar / Easter 1896; Harper’s Young People / New Year’s Number; and Collier’s / The National Weekly (1907). Images available upon request.
Condition varies, each paper. Two matted.
Estimate
$700 – $1,000
Edward penfield (1866-1925)
HARPER’S AUGUST. 1896.
18¼x13½ inches, 46¼x34½ cm.
Advertising Mark Twain’s short story, Tom Sawyer, Detective. This story was first published in book form in 1896 by Harper & Brothers, and possibly appeared here first in magazine format. Kiehl 183, DFP-I 359, Reims 1276, The American Poster p. 24.
Condition A-: minor restoration at corners and along unobtrusive horizontal fold; small abrasion at right image.
Estimate
$800 – $1,200
Edward penfield (1866-1925)
HARPER’S NOVEMBER. 1897.
14x19 inches, 35½x48¼ cm.
Kiehl 202, Margolin p. 69, DFP-I 384.
Condition A-: minor restoration at edges and along vertical fold.
Estimate
$600 – $900
Edward penfield (1866-1925)
HARPER’S MARCH. 1899.
15¼x10¾ inches, 38¾x27¼ cm.
Kiehl 219, DFP-I 399.
Condition A- / A: minor creases at edges and in text; hinged on verso to mat. Paper. Framed.
Estimate
$500 – $750
Edward penfield (1866-1925)
HARPER’S [APRIL, MAY & JUNE.] Three posters. 1896-1898.
Sizes vary.
Images available upon request.
Condition varies, generally B+ / A-: restoration in margins and along unobtrusive horizontal fold; reds faded.
Estimate
$1,000 – $1,500
Louis j. rhead (1858-1926)
[THE CENTURY & HARPER’S / CHRISTMAS.] Poster and cover. 1894.
Sizes vary.
Includes The Century / Christmas Number (poster) and Harper’s Bazar / Xmas (cover). Images available upon request.
Condition varies, generally A-. Paper. One matted.
Estimate
$600 – $900
Various artists
[LITERARY MAGAZINES.] Group of 5 posters. 1890s.
Sizes vary.
Group includes: The New York Sunday Herald / April, by Charles Wright; The Century / The July Number, by Edward Potthast; Scribner’s Fiction Number, by W.H. Low; The Century for March, by E.B. Bird; and The Century for September, by George Wharton Edwards. Images available upon request.
Condition varies, generally B+. Each linen-backed.
Estimate
$800 – $1,200
Various artists
[LITERARY MAGAZINES.] Group of 5 covers. 1890s.
Sizes vary.
Group includes: Coney - Island In July Scribner’s, by Henry McCarter; The Echo, by Will Bradley; Midwinter February Century / Africa, by H.M.L; Crowning of a Czar / May Century, by de Yongh; and The Martian / Harper & Brothers, by Edward Penfield. Images available upon request.
Condition varies, generally B+. Each linen-backed.
Estimate
$800 – $1,200
Various artists
[LITERARY MAGAZINES.] Group of 15 covers. 1890s.
Sizes vary.
Group includes covers for Scribner’s, Harper’s, The Century, The Chap Book, and more, by artists such as Penfield, Rhead, Bradley and Woodbury. Images available by request.
Condition varies, generally B: most with discoloration and toning from mounting to non-archival paper. One double-sided, with half poster on one side.
Estimate
$800 – $1,200
William h. bradley (1868-1962)
VICTOR BICYCLES. 1895.
26x38¾ inches, 66x98½ cm. Forbes Co., Boston.
Bradley's style is sometimes referred to as American Art Nouveau, a combination of Aubrey Beardsley and the work of the Arts and Crafts movement; Bradley "transformed their styles into exceptionally bold and successful designs" (Word and Image p. 20). "Because of his early training as a printer, Bradley's posters are distinguished by their good taste in typography which is an integral part of the design" (Margolin p. 27). As with so many posters in America at the height of the poster craze in the mid 1890s, this one was given an affectionate name: In Purple and White. Larger than most of Bradley's other posters, it is "his simplest, boldest, and therefore most modern creation" (Koch p. 99). And yet, despite the absence of the intricate detail that defined so much of Bradley's work, his style still carefully reflects the product advertised. "Here, spokes might have marred the composition of the poster and their absence gives a feeling of lightness and airiness to the bicycle and the entire design" (Bicycle p. 9).
Kiehl Cover & 27, DFP-I 165, Richmond 30, Reims 1148, Maitres pl. 152, Weill 120, Koch p. 55-56, Bicycle Posters 51, American Style 41.
Condition B: repaired tear at right edge, into central image; small replaced loss in central left image; repaired tears, small replaced losses, creases and restoration at edges and in image; repaired pin holes in corners. Matted and framed.
Estimate
$8,000 – $12,000
William h. bradley (1868-1962) & maxfield parrish (1870-1966)
[VICTOR BICYCLES] / [HARPER’S WEEKLY CHRISTMAS.] Double-sided poster. Circa 1895.
16x11½ inches, 40½x29¼ cm.
This rare cover shows an illustration each side, one by Bradley and the other by Parrish.
Condition A-: minor creases and abrasions at edges; small losses in corners. Paper.
Estimate
$400 – $600
William h. bradley (1868-1962)
VICTOR BICYCLES. Group of 3 items. Circa 1890s.
Sizes vary.
Group includes: The Youth’s Companion (1896), cover; They Cost More to Build Than Any Other; and You Will Make No Mistake if You Buy a Victor Bicycle. Images available upon request.
Condition varies, generally B+: one backed with Japan, one matted, one matted and framed.
Estimate
$500 – $750
Pal (jean de paléologue, 1860-1942)
CLÉMENT CYCLES. 1898.
62x44 inches, 118¾x157½ cm. Caby & Chardin, Paris.
DFP-II 701, Voici p. 65, Maitres 1900 p. 212.
Condition B: extensive staining, repaired tears and sharp creases in margins and image; sharp horizontal fold in image. Two-sheets. Framed.
Estimate
$1,000 – $1,500
Ernest vulliemin (1862-1902)
CYCLES PEUGEOT. Circa 1900.
32x22¾ inches, 81¼x57¾ cm. Lemercier, Paris.
Condition B+: repaired tears and overpainting in margins; repaired tears, creases and restoration along horizontal folds.
Estimate
$600 – $900
Edward penfield (1866-1925)
THE NORTHAMPTON CYCLE CO. Circa 1899.
41¾x28½ inches, 106x72¼ cm. J. Ottmann Litho. Co., New York.
Edward Penfield is universally considered to be the first major homegrown American poster artist. As Art Director for Harper's (from 1891-1900), it was his idea to issue monthly, small-format posters promoting the publication. The posters were so popular that many other "little magazines" followed suit. Large posters are quite rare amongst Penfield's work (and among Turn-of-the-Century American posters in general). Like his large-scale poster for Orient Cycles, this print also leaves a blank template at the bottom for additional printed information to be added.
Kiehl 225, Bicycle Posters p. 69, Weill 116, Timeless Images 96.
Condition B: extensive repaired tears in margins and through image; replaced losses, creases and restoration in margins and image and along vertical and horizontal folds; darkening at edges.
Estimate
$8,000 – $12,000
Designer unknown
PREMIER CYCLES. Circa 1890s.
39¼x29½ inches, 99½x75 cm. The Dangerfield Printing Co., London.
The Premier Cycle Co Ltd. was formed in 1891, went through a minor name change for a few years, then back to its original name again in 1902. The company later became known for producing motorcycles and automobiles, then was bought by the Singer company. With its light-colored wheels, this image resembles the 1896/1897 helical bicycle model. Rare.
Condition B: replaced losses at edges and in image; extensive repaired tears and restoration at edges and in image; minor restoration along vertical and horizontal folds; tax stamp in title Framed.
Estimate
$800 – $1,200
Maurice marodon (dates unknown)
LA FRANÇAISE DIAMANT / LES CHAMPIONS DE FRANCE. 1910.
43x59¼ inches, 109¼x150½ cm. Paul Dupont, Paris.
An early celebrity endorsement in the form of two of France’s most famous cyclists, Emile Georget and Emil Friol.
Condition B+: replaced losses in bottom corners; repaired tears, creases, and abrasions in margins and along vertical and horizontal folds; reds faded; water stains in top left margin. Framed.
Estimate
$2,000 – $3,000
O.k. gérard (dates unknown)
MONET & GOYON / MÂCON / MOTOCYCLETTES. 1926.
47¼x31 inches, 120x78¾ cm. Daynes, Paris.
Monet-Goyon was a French motorcycle manufacturer, founded in 1917 by the engineer Joseph Monet and his financial backer Adrien Goyon.
Condition A: minor expert restoration in margins.
Estimate
$800 – $1,200
Vladimir valenta (1920-1977)
[VIITH INTERNATIONAL PEACE TOUR.] 1954.
29x20½ inches, 73½x52 cm. Vydal Svtvs, Svoboda.
Condition A-: minor tears at edges; creases and abrasions in image and along vertical and horizontal folds. Paper.
Estimate
$600 – $900
K. panek (dates unknown)
[PEACE RACE 2ND - 15TH MAY.] 1956.
32½x23¼ inches, 82½x59 cm. Graficke Tiskarny, Velky Senov.
Condition A: vertical and horizontal folds. Paper.
Estimate
$700 – $1,000
Vladimir bidlo (1926-1997) & vladimir valenta (1920-1977)
[CZECH MOTORCYCLES / RACING.] Group of 3 posters. Circa 1958.
Each approximately 33¼x23¾ inches, 44½x60¼ cm.
Group includes: [Evening Flat Track, Championship of CSR II. League] and [Nationwide Grassy Flat Track in Podebrady], by Bidlo; and [Grand Prix of Town Litomysl, International Race of Motorbikes], by Valenta. Images available upon request.
Condition varies, generally B+: vertical and horizontal folds. Paper.
Estimate
$800 – $1,200
Designer unknown
ALKA - SELTZER. Group of 3 posters. 1986.
32x24¼ inches, 81¼x61½ cm. Darien House Inc., New York.
Group includes: Spain; Italy; and Germany. Images available upon request.
Condition varies, generally A.
Estimate
$400 – $600
Designers unknown
[GIN COCKTAILS.] Group of 5 window cards. Circa 1946.
Each 17¾x12 inches, 45x30½ cm. Kelly-Read & Co., Rochester.
Group includes: You’d Be Snooty Too, If You’d Just Had Sloe Gin Fizz; Sloe Gin Fizz / America’s Favorite Cooler; It’s Open Season for Gin Rickey’s; The Gin Rickey is the Champ of Summer Drinks; and Back Again! Gin Rickey. Images available upon request.
Condition varies, generally A-: minor abrasions at edges. Printed on card.
Estimate
$1,000 – $1,500
Designer unknown
HECKERS’ BUCKWHEAT BABY / USE HECKERS’ BUCKWHEAT. Circa 1880s.
41½x28½ inches, 105½x72¼ cm. The Giles Co., Lith. New York.
Condition B: creases, overpainting and paint flaking in margins; creases, abrasions and restoration in image and along vertical and horizontal folds.
Estimate
$800 – $1,200
Designer unknown
PIPER - HEIDSIECK / CHAMPAGNE. 1910.
48½x33¼ inches, 123x84½ cm. J.C. König & Ebhardt, Hannover.
Condition B+: repaired tears and creases in margins; water staining in bottom margin; creases and abrasions in image.
Estimate
$1,000 – $1,500
Marcellin auzolle (1862-1942)
BANYULS - TRILLES / QUINQUINA. Circa 1900.
53¾x38½ inches, 136½x87¾ cm.
Aperitif 35, DFP-II 316.
Condition B+: overpainting along vertical and horizontal folds; minor overpainting over abrasions in image.
Estimate
$800 – $1,200
Mihaly biro (1886-1948)
MEINL / KAFFEE - IMPORT. 1922.
73¾x49½ inches, 187¼x125¾ cm. Abadie, Vienna.
From the Julius Paul Collection. Biro Plakate p. 88, Biro / Plakat Kunstler 116, Wiener Plakat pl. 29.
Condition A-: minor repaired tears at edges and along vertical and horizontal folds and seam. Two-sheets.
Estimate
$3,000 – $4,000
Vincente bocchino (dates unknown)
LEFÈVRE - UTILE / [LES ENFANTS DEVANT LA VITRINE.] Window card. 1905.
19½x25¾ inches, 49½x65½ cm. F. Champenois, Paris.
Gold 58, LU 82.
Condition A-: minor creases and abrasions at edes; minor abrasions in image;mounted on board, as issued; grommets at top for hanging. Framed.
Estimate
$800 – $1,200
Diogo cândido de macedo (1889-1959)
CHOCOLATES E BONBONS DA”UNIÃO.” Circa 1919.
40½x28½ inches, 102¾x72½ cm. Raul de Caldevilla & Co., Porto.
Condition A. Framed.
Estimate
$800 – $1,200
Leonetto cappiello (1875-1942)
COGNAC GAUTIER FRÈRES. 1907.
62x45¼ inches, 157½x115 cm. P. Vercasson, Paris.
Cappiello / Rennert 124, Drink 90.
Condition A- / A: minor restoration along creases in margins and image. Matted and framed.
Estimate
$5,000 – $7,500
Leonetto cappiello (1875-1942)
FERNET - BRANCA. 1911.
78¼x50¾ inches, 198¾x129 cm. Vercasson, Paris.
This is the Italian version. Cappiello / Rennert 146 (var), Cappiello / St. Vincent 4.36 (var).
Condition B+ / A-: expertly-repaired tears at edges, some into text; slight scuffing in margins and image.
Estimate
$1,500 – $2,000
John gilroy (1898-1985)
GUINNESS FOR STRENGTH. 1937.
29½x19½ inches, 75x49½ cm. John Waddington, Ltd., Leeds.
Guinness p. 49.
Condition A-: expertly-replaced top margin; minor restoration at edges.
Estimate
$700 – $1,000
John gilroy (1898-1985)
MY GOODNESS - MY GUINNESS. 1956.
29½x39½ inches, 75x100¼ cm. Sanders Phillips & Co Ltd., London.
This poster also exists in vertical format. Guinness p. 55 (var).
Condition A- / A: minor restoration and abrasions at edges.
Estimate
$800 – $1,200
Various artists
GUINNESS. Group of 6 posters.
Sizes vary.
Group includes: Goodness! Guinness! (1962), by R Peppe; Guinness in Festival Land (1951), by Eric Fraser; and My Goodness - a 200th Birthday Label / Guinness (1959), by John Gilroy; A Fistful of Guinness / A Cold Guinness in August; Drink Whitbread Tankard / And Climb The Stairway to Success; and Drink Whitbread Tankard / Tankard Helps You Excel. Images available upon request.
Condition varies, generally B+. Paper.
Estimate
$1,500 – $2,000
Julius gipkens (1883-1968)
KUPFERBERG GOLD. 1913.
34¼x22½ inches, 87x57 cm. Hollerbaum & Schmidt, Berlin.
DFP-III 1041, Wember 346.
Condition B / B+: water staining, abrasions and restoration at edges and in upper left image; creases and abrasions at edges. Mounted on thick paper. Ink stamps of Kunst Bibliothek Berlin on verso.
Estimate
$600 – $900
Ludwig hohlwein (1874-1949)
SPATEN - BRÄU / MÜNCHEN. Circa 1933.
45¾x32¾ inches, 116¼x83 cm. Obpacher, Munich.
Hohlwein 340, Hohlwein / Stuttgart 358, Litfass 53.
Condition A-: small repaired tears and restoration at edges.
Estimate
$800 – $1,200
Vojtech holman (1875-?)
LAHUDKARSKY VELKOZAVOD / ANT. DREVA PRAHA.
34¾x25 inches, 82¼x63½ cm.
From the Julius Paul Collection.
Condition B+: small replaced losses in margins; creases, abrasions and restoration in margins and image and along vertical and horizontal folds.
Estimate
$700 – $1,000
G. jeojam (dates unknown)
GRANDS VINS DE BORDEAUX / DUBOS FRÈRES & CIE. 1900.
32¾x23¾ inches, 83x60¼ cm.
A superb document for wine enthusiasts, advertising a French wine merchant still in existence today. The vineyards depicted are the biggest names, including all of the most venerable winegrowers, with the exception of Chateau Lafite. It is also a very early poster to integrate photography into its design, employing an Art Nouveau-style border of grapes and vines around the images of the four vineyards.
Condition A-: minor creases and slight darkening at edges; slight staining in upper image.
Estimate
$2,500 – $3,500
Luciano achille mauzan (1883-1952)
AGUA COLONIA GRIET. 1928.
42½x28½ inches, 108x72¼ cm. Editorial Affiches Mauzan, [Buenos Aires.]
This is the smaller format. Mauzan A374, Mauzan / Paris p. 61.
Condition A-: minor repaired tears and restoration in margins; repaired pin holes in corners; minor creases and abrasions in image.
Estimate
$3,000 – $4,000
Paul nefri “phi” (dates unknown)
BRASSERIE LENGRAND / BIÈRES. 1926.
40¾x27¾ inches, 103½x70½ cm. Les Nouvelles Affiches “Phi,” Paris.
Litfass p. 176.
Condition A-: small replaced loss at upper right margin; minor abrasions along horizontal fold.
Estimate
$1,000 – $1,500
Robys (robert wolff, 1916-1995)
TONI - KOLA. 1935.
77¾x51 inches, 197½x129½ cm. L. Marboeuf, Paris.
Condition B: repaired tears, creases, abrasions, staining and bleaching in margins and image; flaking in left margin.
Estimate
$1,200 – $1,800
J. spring (joseph stall, 1874-1933)
COGNAC SORIN. 1930.
62x46½ inches, 157½x118 cm. Vercasson, Paris.
This image was so popular it was reused several times, most commonly appearing with a date of 1930.
Condition A- / B+: minor creases and abrasions in margins and image; sharp creases in central image. Framed.
Estimate
$3,000 – $4,000
Koen van os (1910-1983)
ZIJLSTRA SOEPEN / IN SMAKELIJKE VARIATIES! Circa 1950.
30¾x21½ inches, 78x54½ cm. [Holland.]
A clever and humorous advertisement, in which a chef’s head, soup tureen and necktie-shaped wafting aroma all blend together, for the tasty variaties of Zijlstra soup.
Condition A-: minor restoration along creases in image; minor abrasions at edges.
Estimate
$600 – $900
Leonhard f.w. fries (1881-1965)
BURGER - KEHL & CO / PKZ. 1916.
49x34¼ inches, 124½x87 cm. J.E. Wolfensberger, Zurich.
Condition B-: extensive overpainting and discolored restoration in margins and image and along vertical and horizontal folds. Framed.
Estimate
$800 – $1,200
Alois carigiet (1902-1985)
PKZ. 1933.
50x35½ inches, 127x90 cm. Wolfsberg, Zurich.
Condition A-: small repaired tears at edges; repaired pin holes in corners; unobtrusive vertical and horizontal folds.
Estimate
$800 – $1,200
Roland brunhoff (1897-1955)
SIE TRÄGT KOWÄ. 1934.
49¾x35 inches, 126¼x89 cm. J.C. Müller, Zurich.
Condition A / A-: slight foxing at edges. Paper.
Estimate
$800 – $1,200
Leonetto cappiello (1875-1942)
MOSSANT. 1938.
62½x47 inches, 158¾x119¼ cm. Edimo, Paris.
Cappiello / Rennert 530, Cappiello 347.
Condition A-: minor water stain and bleach spots in lower left margin; minor abrasions in margins. Framed.
Estimate
$1,000 – $1,500
Armand rapeño (1858-?)
VIEIL AMI / VÊTEMENTS DE QUALITÉ.
44¾x28½ inches, 113¾x72½ cm. Havas, Tours.
Rapeño was predominantly a book illustrator who also designed a small handful of movie and fashion posters.
Condition B+: repaired tears in margins; creases, abrasions, and restoration in margins and image; repaired pin holes in corners. Framed.
Estimate
$800 – $1,200
Ida van bladel (1931-?)
LEVI’S. 1971.
32½x21½ inches, 82½x54½ cm.
The Poster no. 701.
Condition A: small creases at top edge. Framed.
Estimate
$800 – $1,200
Designer unknown
CHUNG LING SOO / A RARE BIT OF OLD CHINA. Circa 1910.
30x20 inches, 76¼x50¾ cm. J. Weiner, London.
Condition B+/ A-: restored loss in upper left corner and along bottom left edge; minor repaired tears through left margin.
Estimate
$2,000 – $3,000
Designer unknown
CHUNG LING SOO / MARVELOUS CHINESE CONJURER. Circa 1910.
20x29¾ inches, 50¾x75½ cm. James Upton, Birmingham.
Condition A-: minor discoloration along lower left edge; with slight restoration in lower left corner.
Estimate
$3,000 – $4,000
Various artists
BALLETS RUSSES. Group of 16 programs and magazines. 1912-1929.
Sizes vary.
Includes covers by artists such as Picasso, Bakst, de Chirico, and more. Images available upon request.
Condition varies, generally B+ / A-.
Estimate
$1,200 – $1,800
Choppy (dates unknown)
LINA ROSIO. Circa 1922.
62x46¾ inches, 157½x118¾ cm. Choppy, Paris.
Condition B+: light tape-staining at edges; repaired tears, creases, abrasions and restoration in margins and along vertical and horizontal folds.
Estimate
$800 – $1,200
Georges dorival (1879-1968)
MÉNAGE POLONAIS. 1914.
31½x24½ inches, 78¾x62¼ cm. Max Eschig, Paris.
Condition A-: minor abrasions and restoration at edges; repaired tear in lower image.
Estimate
$800 – $1,200
René péan (1875-1945)
DU MOULIN ROUGE À LA PLACE PIGALLE. Circa 1920.
30x22¾ inches, 76¼x57¾ cm. Am. Beaumont, Paris.
The Foire aux Croûtes were sidewalk sales where artists sold their own works. In Paris they began in 1921. This charming Art Deco image shows a family in the shadow of the Moulin Rouge, examining a painting.
Condition A-: minor creases and abrasions in margins and image. Paper. Framed.
Estimate
$800 – $1,200
H.r. fost (1905-1970)
CONCERT MAYOL NU SONORE. Circa 1929.
18½x15¼ inches, 47x38¾ cm. Central Publicité, Paris.
A dazzling design for a music hall performance, in which a showgirl uses a record to cover her modesty. It is an unexpected change from the usual boa or fan used by burlesque performers, but it aludes to the fact that the performance includes “speaking.” One should translate the rest of the poster on one’s own. This is the smaller format.
Condition A: minor pin holes in corners. Framed.
Estimate
$800 – $1,200
Charles kiffer (1902-1992)
ORCHESTRE JAZZ - MUSETTE PIERROT. Circa 1940s.
15x23 inches, 38x58½ cm.
Condition A-: minor creases and abrasions at edges; slight darkening at bottom left edge. Framed.
Estimate
$400 – $600
Zig (louis gaudin, ?-1936)
CASINO DE PARIS / JOSEPHINE BAKER. 1930.
34x15 inches, 86¼x38 cm. Central Publicité, Paris.
With - small foldout program covers featuring the same image. Images available upon request.
Condition B+: creases and abrasions in margins and along vertical and horizontal folds; small holes at intersections of folds; small pin holes in margins; archival tape and hinges on verso. Paper.
Estimate
$4,000 – $6,000
Charles gesmar (1900-1928)
JANE MARNAC. Circa 1920.
60x46 inches, 152½x116¾ cm.
Gesmar p. 95.
Condition B: extensive replaced losses, repaired tears, creases and overpainting at edges, in image, and along vertical and horizontal folds.
Estimate
$3,000 – $4,000
Charles gesmar (1900-1928)
GILDA GRAY. 1925.
62¼x46¾ inches, 158x118¾ cm. H. Chachoin, Paris.
Condition B+ / B: small repaired tears, creases and restoration at edges and along vertical and horizontal folds; water stains in bottom margin; toning in margins; colors attenuated.
Estimate
$800 – $1,200
Atelier hans neumann
ALLAND REDOUTE / IN ALLEN KONZERTHAUS / SALEN. 1927.
65¾x20¾ inches, 167x52¾ cm. [Vienna.]
From the Julius Paul Collection.
Condition B+: repaired tears and restoration at edges and along vertical and horizontal folds; slight darkening along seams. Two-sheets.
Estimate
$1,200 – $1,800
Julius ussy engelhard (1883-1964)
HAUSER’S HOTEL “DER REICHSADLER.” 1919.
46¼x34 inches, 117½x86¼ cm. Kunst im Druck, Munich.
Condition B: repaired tears at edges; creases and abrasions in margins and image and along vertical and horizontal folds; extensive fading. Paper. Framed.
Estimate
$1,000 – $1,500
Franz griessler (1897-?)
COTTAGE - BAR / IM TÜRKENSCHANZPARK. Circa 1920s.
37¼x24¾ inches, 94½x62¾ cm. Paul Gerin, Vienna.
Franz Griessler studied painting in Vienna and designed his first poster after World War I. He opened a design studio in partnership with Gewista, a large outdoor advertising agency, for which he produced a number of successful campaigns. For unexplained reasons he left Austria in 1947 and is believed to have died in Honolulu in the 1970s. Curiously, different cities developed radically different approaches towards cabaret posters. Parisian cabarets are portrayed as being lighthearted and joyful. Nightclubs in Berlin are depicted in a rougher, and far less humorous manner. And cabaret advertising in Vienna and Munich took an intriguingly decadent slant. This poster echoes the spirit of Walter Schnackenberg, king of the decadent cabaret posters. It depicts a strange, almost clownish character, leering over the shoulder of a young lady, who, on the contrary, has a simple and charming appearance. Engulfed in a voluminous fur stole, her arm cleverly splits the image in half, and an oversized cocktail glass completes the composition.
Condition A-: minor repaired tears and restoration are vertical and horizontal folds; small replaced loss in upper right corner.
Estimate
$1,200 – $1,800
Kurt börmel (dates unknown)
SILVESTER - ARTIKEL. Circa 1925.
46x30¾ inches, 116¾x78 cm. S. Malz, Berlin.
Rare.
Condition B+ / A-: minor repaired tears and restoration in margins; minor creases and restoration along vertical and horizontal folds. Mounted on Chartex.
Estimate
$800 – $1,200
Mario (dates unknown)
LA NUIT DE MONTPARNASSE. 1949.
30¾x23¼ inches, 78x59 cm.
Condition B+: replaced losses in margins; repaired tears at edges, some into text and image; creases in image; diagonal crease across lower image; repaired pin holes in corners. Framed.
Estimate
$400 – $600
Ludwig kainer (1885-1967)
PORGY UND BESS / OPER VON GERSHWIN. 1950.
50¼x36 inches, 127½x91½ cm. Wolfsberg, Zurich.
Condition A-: repaired tears at bottom edge, one into lower text; minor restoration at edges and along horizontal fold.
Estimate
$400 – $600
Earl newman (1930- )
MONTEREY JAZZ • FESTIVAL. 1964.
34½x22 inches, 87½x55¾ cm.
Newman has been designing the posters for the Monterey Jazz Festival every year since 1963.
Condition A- / B+: small replaced losses in corners; minor repaired tears at edges, one into lower text; minor creases in image.
Estimate
$600 – $900
Earl newman (1930- )
MONTEREY JAZZ • FESTIVAL. 1965.
34½x22 inches, 87½x55¾ cm.
Condition A- / B+: small replaced loss in lower right corner; minor repaired tears at edges; minor creases in text; margins slightly trimmed.
Estimate
$600 – $900
Joe roberts, jr. (dates unknown)
“THE EXPERIENCED” / JIMI HENDRIX. 1960s.
30x20½ inches, 76¼x52 cm. R.S.C., Cocorico Graphics, Los Angeles.
Condition B+ / B: minor scratches and abrasions at edges and in image; Silkscreen. Affixed in the 70s to thin wood frame backing. Framed.
Estimate
$800 – $1,200
Herb greene (1942- ) & james h. gardner (dates unknown)
JEFFERSON AIRPLANE / GRATEFUL DEAD / TORONTO. 1967.
20½x14 inches, 52x35½ cm. Tea Lautrec, San Francisco.
This 1st printing was produced before the concert on two different kinds of paper - one, a thick poster board and the other, a thin regular stock version. In the summer of 1967, Bill Graham took two of his San Francisco favorites to Canada - The Grateful Dead and Jefferson Airplane. The series of shows took place at Toronto’s O’Keefe Centre. There are hard-to-verify stories that the original cache of posters was confiscated at the Canadian border by border patrol, but we don’t know for sure if the posters were seized or simply stowed away by Canadian fans. Perhaps because of this, BG-074 is among the rarest of concert posters.
Condition B-: extensive creases and abrasions along sharp vertical and horizontal folds; abrasions and staining in margins and image; verso made into a tape and marker sign reading “Students to I-75 Lexington KY.” Printed on thick paper.
Estimate
$8,000 – $12,000
Ski, Winter Resorts & Sports
Designer unknown
FLY TWA / SWITZERLAND / TRANS WORLD AIRLINES. Circa 1950s.
39¾x24½ inches, 101x62¼ cm.
A Lockheed Constellation flying over Lake Lucerne and the Alps, punctuated by a larger than life ski pole adorned with Alpine flowers.
Condition B+ / B: replaced losses and expert airbrushing in corners and at edges.
Estimate
$800 – $1,200
Alo (charles hallo, 1884-1969)
A CHAMONIX - MONT BLANC. 1927.
42x30¼ inches, 106½x76¾ cm. Cornille & Serre, Paris.
In 1924, the Eighth Olympic games were held in Chamonix. One year later, "these successful Games were retrospectively recognized at the [International Olympic Committee] Congress in Prague as the first Olympic Winter Games" (Olympics p. 35). The decision to hold these winter games came in 1921, and "triggered a period of frenzied construction as rail and road links and hotel development opened up the area to international tourism" (Ibid p. 33).
This is one of five official posters for these winter games, all of which were published by the PLM Railway, rather than by the Olympic Committee. They were all issued with text variants, sometimes promoting the Olympic Games and sometimes just promoting winter activities in the area itself. A variation of this image exists with the additional text "Sports D'Hiver à l'Occasion de la VIIIe Olympiade / 25 Janvier-5 Fevrier 1924."
Voyage, p. 110, Sports d'Hiver p. 102, Art of Skiing p. 55, Hillion p. 194 (var).
Condition A.
Estimate
$3,000 – $4,000
Roger broders (1883-1953)
LE MONT - BLANC / CHAMONIX. Circa 1924.
41¼x29¼ inches, 104¾x74¼ cm. Champenois, Paris.
This is Broders’ most ambitious and sophisticated landscape. It is a masterpiece of perspective and composition in which he skillfully presents four separate fields of depth: The couple and the rocks along the hiking trail, the silhouette of the trees, the village, and the distant mountains. Broders p. 70, Perry / Broders p. 59, Hillion p. 216.
Condition B: repaired tears at edges, some affecting text and image; replaced losses, creases and restoration in margins; minor creases, abrasions and fading in image.
Estimate
$3,000 – $4,000
Rolf bangerter (1922-?)
OBI / CASSIS. 1957.
49¾x35½ inches, 126¼x90¼ cm.
Born in Aarau, Switzerland, and known for his lithography and award-winning graphic design, Bangerter founded one of the first advertising agencies in Switzerland in 1966. He designed ads for companies like Philips, BP, Sharp, Persil, Shell and more.
Condition A: minor abrasions at edges.
Estimate
$400 – $600
Franco barberis (1905-1992)
ST. MORITZ. 1948.
39½x24½ inches, 100¼x62¼ cm. J.C. Müller, Zurich.
Condition A- / B+: small tears, creases and abrasions at edges; creases in lower left image; small stain at lower right edge. Paper.
Estimate
$800 – $1,200
Alois carigiet (1902-1985)
SWITZERLAND / INVITES YOU FOR WINTER SPORTS. 1948.
39½x24¾ inches, 100¼x62¾ cm. Eidenbenz-Seitz & Co., St. Gallen.
This image also appears with text promoting the 1948 Winter Olympic Games in St. Moritz. Swiss Winter Sports 69.
Condition B+: repaired tear in text; creases and abrasions at edges and in lower text. Paper.
Estimate
$1,000 – $1,500
Alex walter diggelmann (1902-1987)
INTERLAKEN SWITZERLAND. 1951.
40x25¾ inches, 101½x65½ cm. J.C. Müller, Zurich.
Diggelmann designed dozens of travel posters for Swiss destinations, the majority of them promoting winter sports. In addition, he designed advertising posters for prominent Swiss companies like PKZ, Kaffee-Hag and others. This is the English version.
Condition A.
Estimate
$500 – $750
Otto ernst (1884-1967)
FURKA - OBERALP. 1930.
40¼x25½ inches, 102¼x64¾ cm. A. Trüb & Cie., Aarau.
The Furka-Oberalp railway was founded in 1925. The Visp-Zermatt-Bahn, which opened in 1890, was extended to include the town of Brig in 1930. The name of the line was not changed to reflect this addition until 1962. Le Train p. 99.
Condition A: small unobtrusive repaired tears at edges.
Estimate
$1,200 – $1,800
Eugen henziross (1877-1961)
LOETSCHBERG RAILWAY / SWITZERLAND. 1931.
39x23¾ inches, 99x60¼ cm. Armbruster, Bern.
Le Train p. 40.
Condition B+ / A-: minor repaired tears in margins; archival tape on verso; minor creases and abrasions at edges. Paper.
Estimate
$800 – $1,200
André lecomte (dates unknown)
MÜRREN / SCHWEIZ. 1931.
39½x24¾ inches, 100¼x62¾ cm. Wolfsberg, Zurich.
Paradis 35, Art / Skiing p. 84, Swiss Winter Posters 97, Sports d’Hiver p. 83.
Condition A-: minor tears at edges; creases in margins and image; skinning in corners. Paper.
Estimate
$4,000 – $6,000
Charles loupot (1892-1962)
BONNETERIE DE SPORT / J.G. WEITH. 1918.
49¾x34½ inches, 126¼x87½ cm. Atar, Geneva.
A charming and rare ice skating image by Loupot. This is the first time this poster has come up for auction since 1994. La Femme 11.
Condition B / B-: extensive repaired tears, overpainting and creases in margins and image and along vertical and horizontal folds; replaced upper left corner. discoloration in background; colors attenuated. Framed.
Estimate
$2,000 – $3,000
Carl franz moos (1878-1959)
CHOCOLAT KLAUS. 1906.
55x39 inches, 139¾x99 cm. J.C. Muller, Zurich.
Chocolate p. 114.
Condition B+: repaired tears, sharp creases and abrasions in margins; archival tape on verso. Paper.
Estimate
$800 – $1,200
Andreas pedrett (1892-1977)
KLOSTERS / SWITZERLAND. 1943.
39x24½ inches, 99x62½ cm. Gebr. Fretz, Zurich.
Pedrett was the photographer for this poster.
Condition A-: minor skinning and erased pencil notations in bottom right corner; minor abrasions along sharp horizontal fold. Mounted on Japan.
Estimate
$800 – $1,200
Martin peikert (1901-1975)
CHAMPÉRY. 1955.
38½x24¾ inches, 97¾x62¾ cm. Klausfelder S.A., Vevey.
Peikert was best known for his tourist posters and is especially appreciated for his images promoting skiing in his native Switzerland.
Condition B+: expertly-repaired tears at edges; airbrushing in top corners; minor creases in image; minor foxing in text.
Estimate
$7,000 – $10,000
Josef ruep (1886-circa1940)
M.O.B. “THE GOLDEN PASS” (SUISSE). 1925.
38½x23½ inches, 98x59¾ cm. A. Trüb & Cie., Aarau.
Condition A-: minor restoration along unobtrusive creases in margins and image. Matted and framed.
Estimate
$800 – $1,200
Emil schulthess (1913-1996)
PONTRESINA. 1937.
40x25 inches, 101½x63½ cm.
Photography by Bartholome Schocher. Rare. Fotoplakate p. 126, Paradis p. 139, Swiss Winter Sports 62, Sports d’Hiver p. 191.
Condition A-: minor creases and abrasions at edges.
Estimate
$800 – $1,200
Various artists
[EUROPEAN SKI & TRAVEL.] Group of 6 posters.
Sizes vary.
Group includes: Lötschberg, by Colombi; Austria, by Wunscheim; Norway / The Home of Ski-ing, by Davidson; Austria, by Kirnig; Oslo; and Roumania / Country of Peasant Art, by Miracovici. Images available upon request.
Condition varies, generally B- / B: tears, repaired tears, losses, creases and staining. Paper.
Estimate
$500 – $750
Reidar jordan (1908-1992)
WINTER IN OSLO / NORWAY. Circa 1940.
38½x24 inches, 97¾x61 cm. P.M. Bye & Co., Oslo.
Condition B+: expertly-repaired tears at edges, some into image; overpainting and restoration in margins.
Estimate
$700 – $1,000
Karel perman (1912-?)
[SOKOLOV ARMED FORCES RACE.] 1953.
23¼x16½ inches, 59x42 cm. [Czechoslovakia.]
Condition A: vertical and horizontal folds. Paper.
Estimate
$700 – $1,000
Marian stachurski (1931-1980)
SCIANA CZAROWNIC / [THE WALL OF THE WITCHES.] Circa 1967.
32x21¾ inches, 81¼x55¼ cm. [Poland.]
Condition A-: small repaired tears at edges; archival tape on verso. Paper.
Estimate
$400 – $600
Witold chmielewski (1910-1985)
OGOLNOPOLSKIE ZIMOWE. 1964.
26¾x19¼ inches, 68x49¾ cm. [Poland.]
Advertising the National Polish Youth Winter Games in Krynica.
Condition A: minor restoration at edges and along unobtrusive vertical and horizontal folds.
Estimate
$300 – $400
Carl kunst (1884-1912)
BILGERI - SKI = AUSRÜSTUNG. Circa 1910.
19¾x29¾ inches, 50x75½ cm. Reichhold & Lang, Munich.
Voyage p. 193, Art of Skiing p. 28, Sports d’Hiver p. 213, Maitres 1900 p. 154.
Condition A: minor creases and abrasions at edges.
Estimate
$700 – $1,000
Initials a.k.
[BADNER LAND IM WINTER.] Circa 1910.
37½x27¼ inches, 95¼x69¼ cm. Arthur Albrecht, Karlsruhe.
An early ski poster advertising the Grand Duchy of Baden as the wintersport hub of Europe. This is the version before text. Rare.
Condition A-: minor creases and restoration at edges; minor scuffing in image.
Estimate
$1,200 – $1,800
Hermann keimel (1889-1948)
WINTER IN BAYERN. 1928.
29x19¼ inches, 73½x49 cm. H. Sonntag & Co., Munich.
Condition A / A-: minor creases in margins and image. Paper.
Estimate
$700 – $1,000
Kieselbach (dates unknown)
BESUCHT DIE DEUTSCHEN / WINTER - KAMPF - SPIELE. 1930.
31¼x23¼ inches, 79¼x59 cm.
Rare.
Condition B+: overpainting in margins and in lower text; repaired tears and replaced losses at edges; creases and abrasions in image.
Estimate
$800 – $1,200
André giroux (1895-1965)
SPORTS D’HIVER EN FRANCE. 1935.
39x23¾ inches, 99x60¼ cm. Paul Martial, Paris.
Hillion p. 262.
Condition B+: repaired tears at top edge, into text; replaced loss and restoration in upper right corner; pin holes in corners. Framed.
Estimate
$600 – $900
Designer unknown
[SNOWBALL FIGHT.] Circa 1890s.
61x38¾ inches, 155x98½ cm.
The charming tableau of well dressed children indulging in a snowball fight was most likely a poster promoting fashions available for sale at a French department store, with the top and bottom panels left blank from specific stores to fill in their relevant information.
Condition B: extensive repaired tears, replaced losses, creases and overpainting in margins and image, especially at top and bottom; pin holes in margins.
Estimate
$700 – $1,000
Dwight clark shepler (1905-1974)
SUN VALLEY / “ROUND HOUSE” ON BALDY MOUNTAIN. 1940.
40x24¾ inches, 101½x62¾ cm. Midwest Offset Co., Chicago.
Art of Skiing p. 124.
Condition B+: repaired tears, some slightly into image; sharp creases across image and in lower right margin; slight foxing at bottom.
Estimate
$2,000 – $3,000
Jacobson (dates unknown)
THRILLING SUN VALLEY IDAHO. Circa 1950s.
33½x24½ inches, 85x62¼ cm.
Sun Valley’s year-round, outdoor ice skating rink, right behind the resort’s eponymous lodge, has long been the home for celebrities, famous skaters, a skating school and the resort’s famous ice show. If the image of an ice skating polar bear seems a little incongruous, it shouldn’t. Herman Maricich, an early proponent and impresario of ice skating in Sun Valley, who ran the rink from the mid 1950s, was renowned for, among many other things, a routine for the weekly ice shows done in a polar bear costume.
Condition A-: small pin holes in corners; minor abrasions at edges. Paper.
Estimate
$600 – $900
Designer unknown
SUMMER / SUN VALLEY.
39x26 inches, 99x66 cm. Midwest Offset Co., [Chicago.]
Condition B+ / A-: small tears, creases, abrasions and water stains at edges; pin holes in corners. Paper.
Estimate
$800 – $1,200
Designer unknown
SUN VALLEY IDAHO / UNION PACIFIC RAILROAD. Two posters. Circa 1940.
26x36 inches, 66x91½ cm.
Images available upon request.
Condition varies, generally B+: darkening, time-staining and creases in margins; small tears at edges. Mounted on board.
Estimate
$700 – $1,000
Designer unknown
SONJA HENIE / “IT’S A PLEASURE!” 1945.
41½x27 inches, 105½x68½ cm.
Condition B+: slight time-staining and minor abrasions at edges; creases, abrasions and restoration along vertical and horizontal folds.
Estimate
$400 – $600
Designer unknown
SKI ALTA. Circa 1940s.
25¼x16½ inches, 64x42 cm.
This poster was printed in the early 1940s when Dick Durrance ran the Alta Ski School (1940-1942). About a decade later, his name was covered by a tip-on to indicate that the ski school had been taken over by Alf Engen, who began his 40 year tenure there in 1949.
Condition B+: minor tears and abrasions in margins; creases in margins in image; skinning in lower left corner; time-staining in upper left corner and image; paper insert affixed in lower text. Paper.
Estimate
$2,000 – $3,000
Designer unknown
SKI THE BLACK HILLS / SOUTH DAKOTA.
28x22 inches, 71x55½ cm.
Condition A-: minor creases and abrasions at edges. Paper.
Estimate
$400 – $600
Designer unknown
ASPEN.
26x17 inches, 66x43¼ cm.
Condition A: minor creases and abrasions along vertical and horizontal folds; double-sided, but linen-backed.
Estimate
$300 – $400
Jack galliano (1922-2009)
VIII OLYMPICS WINTER GAMES / SQUAW VALLEY. 1960.
35¼x23¾ inches, 89½x60¼ cm. Kaiser Graphic Arts, Oakland.
This is the second of two official posters designed for the Squaw Valley Winter Olympic Games; the first one was issued before the exact dates of the games were determined. This second poster “appeared late in 1959 with the purpose of showing the location of Squaw Valley in relation to a map of the United States and giving the date of the Games” (Olympic Posters p. 65). The poster was printed in five different languages. This is the English version. Olympic p. 77, Art of Skiing p. 129.
Condition B: repaired tear from top center edge, through title to upper right edge; repaired tears, creases, abrasions and restoration at edges; minor abrasions in image.
Estimate
$1,200 – $1,800
Designer unknown
RIDE NORTH WITH . . . NORTHLAND ALASKA AND BRITISH COLUMBIA CRUISES.
22½x34½ inches, 57x87½ cm. Agency Press Limited, [Vancouver.]
Condition A: minor creases and abrasions at edges. Paper.
Estimate
$500 – $750
Edgar hayes “ted” hunter, jr. (1914-1995)
NEW HAMPSHIRE. Circa 1935..
33¾x22 inches, 85¾x55¾ cm.
Ted Hunter was a competitive skier who participated in the 1936 Olympics in Germany. He earned both Bachelor’s and Master’s degrees from Dartmouth College, and was professor there for 20 years. In addition to this New Hampshire ski poster, Hunter created at least one other poster, for Dartmouth Winter Carnival, 1937 - the year before his graduation. Beyond his 2D graphic talents, Hunter’s primary career was in architecture (along with his architect wife), designing many Mid-Century Modern houses in New Hampshire and Vermont and several buildings at his alma mater as well as in North Carolina. They were both students at Harvard under Walter Gropius. New Hampshire frontispiece.
Condition B+: tears at edges; creases in margins and image; multiple pin holes in corners. Paper.
Estimate
$600 – $900
Sascha maurer (1897-1961)
FLEXIBLE FLYER / THE MANOR HOUSE. Circa 1935.
36¼x23 inches, 92x58½ cm.
This poster exists with several variations on the text below the title, as different hotels and resorts printed their names on them.
Condition A-: minor losses and staining in bottom right corner; minor abrasions and creases at edges.
Estimate
$2,000 – $3,000
Sascha maurer (1897-1961)
SKI STOWE VERMONT / SKI CAPITAL OF THE EAST. Circa 1950s.
39½x23 inches, 100¼x58½ cm. [C.H. Daly Co, Stowe.]
Condition A / A-: minor creases in margins and image; partial silkscreen.
Estimate
$1,500 – $2,000
H.w.b. (dates unknown)
DRIVE SAFELY AND HAVE FUN! / STOWE WOMAN’S CLUB. 1957.
22x14 inches, 56x35½ cm.
Condition A-: creases and abrasions in margins and image and across horizontal fold; pin holes in corners and bottom margin; toned. Silkscreen. Printed on board.
Estimate
$400 – $600
D. thayer (dates unknown)
SUGARLOAF. Circa 1955.
28¾x21½ inches, 73x54½ cm.
Sugarloaf Mountain opened to the skiing public in the winter of 1953. In 1966, the mountain opened a gondola that went all the way up to a newly constructed summit lodge.
Condition B+ / B: repaired tears at edges, some into image; creases, overpainting and restoration in margins and image; repaired pin holes in corners.
Estimate
$700 – $1,000
Designer unknown
GO GREYHOUND TO THE SKI AREAS.
37¾x27¼ inches, 95¾x69¼ cm.
Condition A: minor creases and abrasions at edges. Silkscreen.
Estimate
$400 – $600
Designer unknown
SKI WORLD - WIDE / PAN AM.
41¼x27¾ inches, 104¾x70½ cm.
Condition A: small repaired tear at right edge.
Estimate
$800 – $1,200
Designer unknown
THE LAST OF THE SKI BUMS. 1969.
41½x28¾ inches, 105½x73 cm. Personality Posters Inc., New York.
Condition A-: restoration along creases and abrasions at edges and in image; water stain at top right edge. Silkscreen.
Estimate
$400 – $600
Eberhardt (dates unknown)
QUEBEC REGION.
35½x23¾ inches, 90x60¼ cm.
Condition A-: minor restoration at edges.
Estimate
$800 – $1,200
John e. sheridan (1880-1948)
[HARVARD] & [YALE.] Two posters. Circa 1901.
Each 22½x14¼ inches, 57x36¾ cm. Andrew B. Graham, Photo-Litho., Washington D.C.
Sheridan was an illustrator and poster designer who designed several well-known posters during World War I to help the American war effort. He was also a prolific illustrator, and is most highly regarded for his sports images. His work graced the covers of The Saturday Evening Post, Collier’s Weekly, and The Ladies’ Home Journal.
Condition varies, generally B / B+: losses in “Harvard”; tears, creases and abrasions, pin holes in corners; tipped to mount; printed on thick paper. Framed.
Estimate
$1,500 – $2,000
Bristow adams (1875-1956)
ANNAPOLIS. 1902.
22½x14¼ inches, 57x36¾ cm. Andrew B. Graham, Photo-Litho., Washington D.C.
Condition B+: creases, abrasions and skinning in margins; small loss and minor water stains in top left corner; minor abrasions in image; pin holes in corners; tipped to mount; printed on thick paper. Framed.
Estimate
$1,500 – $2,000
Bristow adams (1875-1956)
WEST POINT. 1902.
22½x14¼ inches, 57x36¾ cm. Andrew B. Graham, Photo-Litho., Washington D.C.
Condition A-: minor creases and abrasions in margins; pin holes in corners; tipped to mount; printed on thick paper. Framed.
Estimate
$1,500 – $2,000
John e. sheridan (1880-1948)
[PRINCETON.] 1901.
22½x14¼ inches, 57x36¾ cm. Andrew B. Graham, Photo-Litho., Washington D.C.
Condition B+: small losses and pin holes in corners; creases, abrasions and small pin holes in margins; minor creases in image; tipped to mount; printed on thick paper. Framed.
Estimate
$1,500 – $2,000
Otto schneider (1875-1946)
DARMSTADT / IV. INTERNATIONAL UNIVERSITY GAMES. 1930.
34¾x23¼ inches, 88¼x59 cm. Von Heedt & Ganss, Darmstadt.
Condition B+: repaired tear at top edge into image; minor creases, abrasions and restoration at edges and along vertical and horizontal folds. Framed.
Estimate
$800 – $1,200
Franz würbel (1896-?)
OLYMPIC GAMES / GERMANY / BERLIN. 1936.
39½x24½ inches, 100¼x62¼ cm. Reichsbahnzentrale fur den Deutschen Reiseverkehr, Berlin.
The official poster of the 1936 Olympic Games, Würbel’s poster “was designed to dominate and impress . . . [and] met the threefold objective of indicating the importance of the Olympiad, proclaiming Berlin as the host city and publicizing the Games in an effective and internationally understandable manner” (Olympic Posters p. 45). This is the English version. Olympics p. 45, Olympic Posters p. 46, Le Sport 92 (var), Art Deco Graphics p. 105 (var).
Condition B / B+: tear at top edge, into image; small loss in bottom left corner; small tears and pin holes in corners; colors slightly attenuated. Paper. Framed.
Estimate
$2,000 – $3,000
Ilmari sysimetsã (1912-1955)
XV. OLYMPISCHE SPIELE / HELSINKI FINLAND. 1952.
38¾x24 inches, 98½x61 cm. Oy. Tilgmann, [Helsinki.]
This is the German version.
Condition A-: repaired tear in top left corner, into image; minor abrasions at edges.
Estimate
$500 – $750
Rodriguez (dats unknown)
NATACION Y WATER - POLO. 1959.
36¾x24¼ inches, 93¼x61½ cm.
Condition B+: repaired tears at edges; creases and minor abrasions at edges and in image.
Estimate
$400 – $600
Emil kotrba (1912-1983) & karel perman (1912-?)
[INTERNATIONAL PARDUBICE RACE MEETING] & [SOKOL RACE OF MILITARY ABILITY.] Two posters. 1956.
Sizes vary, each approximately 24x34 inches, 61x86¼ cm.
Images available upon request.
Condition varies, generally A-. Paper.
Estimate
$700 – $1,000
Munetsugu satomi (1900-1995)
GOLF. 1960.
38x26¾ inches, 96½x68 cm. I.D.L. Graphique.
Condition A.
Estimate
$700 – $1,000
International Travel
Emil cardinaux (1877-1936)
IX SCHWEIZ AUSSTELLUNG / [EXHIBITION FOR AGRICULTURE, FORESTRY AND HORTICULTURE.] 1925.
39x26½ inches, 99x67¼ cm. Kummerly & Frey, Bern.
Rare. Cardinaux 10.
Condition A-: slight darkening at upper right margin; minor abrasions and restoration along vertical and horizontal folds; minor restoration in margins.
Estimate
$800 – $1,200
Designer unknown
LUGANO / GRAND - & PALACE - HOTEL. Circa 1920s.
27¾x39 inches, 70½x99 cm. A. Trüb & Cie., Aarau.
Condition A-: small repaired tears at edges; minor scuffing in image. Framed.
Estimate
$600 – $900
Carl franz moos (1878-1959)
“SWISSAIR” / SERVICES AÉRIENS. Circa 1933.
40x25 inches, 101½x63½ cm. Orell Füssli, Zurich.
This is the first poster designed for Swissair, advertising the start of flight operations with the Fokker F-VII aircraft. There are several text variants for this image.
Condition B+: replaced losses and overpainting along top right edge; repaired tears at edges, some into image; minor creases in margins and image; foxing in right image and some at edges.
Estimate
$5,000 – $7,500
Herbert matter (1907-1984)
ALL ROADS LEAD TO SWITZERLAND. 1935.
39½x25¼ inches, 100¼x64¼ cm. Fretz, Zurich.
Herbert Matter was a pioneer and early master of photomontage. This poster is part of the extraordinary series of Swiss travel posters he made between 1934-36, all consisting of close-up images that seem to spring out at the viewer, against a background of clever montages. This is the English version. Word & Image p. 74, Voyage p. 153 (var), Modern Poster 179 (var), Fotoplakate, p. 120 (var), Muller-Brockmann 150 (var), Margadant 281, Art Deco p. 71, Encyclopedie de l’Affiche p. 214, Avant Garde p. 175 (var), Swiss Poster 281, Weill 447 (var).
Condition A- / B+: replaced upper left corner; minor creases and restoration at edges; hinge remnants on verso. Mounted on Japan.
Estimate
$1,500 – $2,000
Daniele buzzi (1890-1974)
LOCARNO. 1944.
39¼x25½ inches, 99½x64¾ cm. R. Marsens, Lausanne.
Condition A- / B+: small tears at edges; minor creases and abrasions at edges and in image. Paper.
Estimate
$800 – $1,200
Various artists
[ITALIAN AND SWISS TRAVEL.] Group of 5 posters.
Sizes vary.
Group includes: Lucerne Switzerland, by O. Landolt; Estate in Sicilia, by Badelino; Estate in Sicilia, by Raino; Monte Faito Napoli, by Puppo; and Rome / Fly TWA Jets, by David Klein. Images available upon request.
Condition varies, generally B- to B+: some with extensive repaired tears and creases through image; archival tape on verso. Paper.
Estimate
$800 – $1,200
Various artists
[ITALIAN TRAVEL.] Group of 4 posters.
Sizes vary.
Group includes: Italy Via Jet Clipper / Pan America, by Aaron Fine; Isola d’Ischia, by Puppo; Napoli, by Puppo; and Sicilia, by Francioli. Images available upon request.
Condition varies, generally B- to B+: extensive repaired tears and creases through image; archival tape on verso. Paper.
Estimate
$800 – $1,200
Vsevolod nicouline (1890-1968)
[IMAGO ITALIE.] Group of 7 map plates. 1939.
Each 23x18 inches, 58¼x45¾ cm. Prof. G. de Agostini, Milan.
From the portfolio of 19 plates, Imago Italie, these maps feature vignettes of historic, culinary, leisure, sport, industrial and natural highlights. Group includes: Puglia; Liguria; Lucania; Piemonte; Lombardia; Campania; and Venezia Tridentina. Images available upon request.
Condition varies, generally A-: some with darkening and restoration along center fold; reinforced along folds on verso. Paper.
Estimate
$1,200 – $1,800
Signature illegible
LECCE / XV CONGRESSO EUCARISTICO NAZIONALE. 1956.
39¼x27¾ inches, 99½x70½ cm. Abete, Rome.
This same image was used on programs for the event, postcards and more.
Condition B+: repaired tears in margins, some into image; minor creases and abrasions along vertical and horizontal folds; ink stamp in upper text.
Estimate
$400 – $600
Designer unknown
FIRENZE. Circa 1930.
38¾x23½ inches, 98½x59¾ cm. Tipo-Litografico del Littorio, Rome.
Florence’s cathedral, the Duomo, rises impressively over the Florentine rooftops, it’s ornate dome standing out against the surrounding silhouettes. Travel Italia p. 91, Manifesta p. 123.
Condition B+: restoration over tape stains and pin holes in corners of image; minor overpainting and repaired tears in margins; creases and darkening in image.
Estimate
$800 – $1,200
Designer unknown
VERONA. Circa 1928.
39¼x24 inches, 99½x61 cm. Pizzi & Pizio, Milan.
Travel Italia p. 61, Manifesta 88.
Condition B+: repaired tears at edges, some into image; replaced losses, creases and restoration in margins.
Estimate
$600 – $900
Edmondo bacci (1913-1989)
VENEZIA LIDO. 1948.
37½x24¼ inches, 95¼x61½ cm. Ommassini & Pascon, Venice.
Condition A-: small replaced losses at edges.
Estimate
$500 – $750
Ernesto bottaro (1892-1936)
TRIDENTINISCHES VENETIEN / (DOLOMITEN). Circa 1925.
39¼x24 inches, 99½x61 cm. I.G.A.P., Rome.
This is the German version. Bolaffi p. 32, Alpi 64 (var).
Condition B+: small replaced losses, minor repaired tears, creases and restoration in margins; faded.
Estimate
$800 – $1,200
Aaron fine (dates unknown)
ITALY / PAN AMERICAN. Circa 1959.
41¼x27¾ inches, 104¾x70½ cm.
Pan Am p. 320.
Condition B+: repaired tears at edges, some into image; overpainting and restoration in margins.
Estimate
$800 – $1,200
Carlos pontis (dates unknown)
WINTER IN MAJORCA / (SPAIN).
37¼x24¼ inches, 94½x61½ cm. Ortega, Valencia.
Condition B+: small replaced losses at top and bottom left edge; repaired tears, creases and restoration at edges; minor creases in image.
Estimate
$700 – $1,000
Jacques nathan-garamond (1910-2001)
AIR FRANCE / ROME. 1957.
39¼x24½ inches, 99½x62¼ cm. Perceval, Paris.
Condition B+: extensive overpainting in upper image, into text; minor restoration at edges.
Estimate
$800 – $1,200
Vittorio grassi (1878-1955)
ASSISI. 1926.
40½x25½ inches, 102¾x64¾ cm. Grafia, Rome.
Grassi was a “self taught painter. . . active in the field of illustration and stained glass, he also decorated a part of the National Gallery of Modern Art in Rome. In advertising posters, he distinguished himself with representations of landscapes and cars, with an unmistakable graphic cut and richness of chromatic contrast” (Bolaffi p. 106). Italia 132.
Condition A- / A: small loss in upper right margin; minor restoration at edges.
Estimate
$500 – $750
Various artists
[FRENCH COLONIAL MAPS.] Two posters.
Sizes vary.
Includes L’Union Française / Les Etats Associes d’Indochine (1948) by Lucien Logé and Afrique Equatoriale Française (1951) by J. Choain Audiberti. Images available upon request.
Condition varies, generally B+ / A-.
Estimate
$1,000 – $1,500
Pierre baudouin (1921-1971)
PARIS / AIR FRANCE. 1947.
39¼x24½ inches, 99½x62¼ cm.
Air France p. 25.
Condition A-: small repaired tears at edges; minor creases and abrasions in image.
Estimate
$700 – $1,000
Roger broders (1883-1953)
JURA - LAC DE MALBUISSON. Circa 1930.
38¾x24¼ inches, 98½x31 cm. Lucien Serre, Paris.
Broders p. 51B, Perry / Broders p. 50, Hillion p. 149.
Condition B / B+: repaired tears in left image; restoration along vertical and horizontal folds; scuffing in image.
Estimate
$800 – $1,200
Philippe foré (1927-?) & pierre fix-masseau (1905-1994)
[FRENCH TRAIN TRAVEL.] Two posters. 1969 & 1983.
Sizes vary.
Includes Un Nouveau Mistral - SNCF (1968), by Philippe Foré and Centenaire de L’Orient-Express / Venice Simplon (1983), by Pierre Fix-Masseau. Images available upon request.
Condition A. Framed.
Estimate
$500 – $750
Guy georget (1911-1992)
TRAVEL BY SLEEPING CAR. Circa 1960s.
38x23¾ inches, 96½x60¼ cm. Aljanvic, [Paris.]
This is the English version.
Condition A-: minor creases and abrasions at edges. Framed.
Estimate
$600 – $900
David klein (1918-2005)
PARIS / FLY TWA JETS. 1962.
39½x24¾ inches, 100¼x63 cm.
Airways p. 142.
Condition A: minor restoration at edges.
Estimate
$800 – $1,200
Julien lacaze (1886-1971)
PARIS. Circa 1935.
39¼x24 inches, 99¾x61 cm. Chaix, Paris.
Lacaze was a landscape painter who began designing posters for the French railway companies in 1910. His well-composed images are consistently colorful and detailed, often including local architectural or structural highlights, but rarely feature people. Working primarily for the Cornille & Serre printing house, his prodigious output includes images for the PLM, Chemins de fer de l’Etat, Chemins de fer du Midi and the Belgian Chemins de fer d’Alsace et de Lorraine, among others. Lacaze belongs to a talented group of French Art Deco travel poster designers whose works are recognized as the archetypal style of the era. Here, we see his view of the Place de la Concorde, with the Obelisk of Luxor, and the Fontaine de Mers in the foreground (the Fontaine des Fleuves being obscured) and in the background the Madeleine, visible at the end of Rue Royale. One in a series of posters published in the mid 1930s by Les Grands Réseaux de Chemins de Fer Francais, as opposed to any single railway line, promoting travel to Paris.
Condition B+ / B: replaced losses along lower right edge and corner; repaired tears at edges; creases in image; crease with abrasions in lower right text.
Estimate
$700 – $1,000
Toni j. mella (dates unknown)
PARIS - LE PONT NEUF / TAI. Circa 1950.
19½x12¾ inches, 49½35 cm.
Condition B+: repaired tears at edges, some into upper image; minor overpainting and restoration in margins; minor creases in image.
Estimate
$600 – $900
Pablo picasso (1881-1973)
CÔTE D’AZUR. 1962.
39½x26 inches, 100¼x66 cm. Mourlot, Paris.
Azur 31, Czwiklitzer 177.
Condition A. Paper.
Estimate
$1,500 – $2,000
P. seignouret (dates unknown)
BARBAZAN. Circa 1930.
38x23¾ inches, 96½x60¼ cm. Speciale du Comminges.
Condition A-: small tears and creases at edges. Paper.
Estimate
$600 – $900
Attributed to louis royon (1882-1968)
WELTAUSSTELLUNG / ANTWERPEN. 1930.
40½x28¾ inches, 102¾x73 cm. J.E. Goossens, Brussels.
Printed in different languages, most commonly French, and as a postcard for the International Colonial & Maritime Exhibition. This is the German version.
Condition B: expert overpainting throughout white background; airbrushing and restoration along vertical and horizontal folds; reds attenuated.
Estimate
$600 – $900
Agnes canta (1888-1964)
UTRECHT / JAARBEURS INTERNATIONAAL. 1932.
39x29¾ inches, 99x75½ cm.
Condition A-: small replaced loss at left margin; repaired tears at edges; minor creases and abrasions in margins and along vertical and horizontal folds. Mounted on Japan.
Estimate
$1,000 – $1,500
Designer unknown
AUTUMN IN THE WOODS / BY SOUTHERN ELECTRIC. Circa 1930s.
39x24 inches, 99x61 cm. Photochrom Co. Ltd., London.
Britain’s Southern Railway began running electric trains in the early 1930s, with over 96 miles of track electrified by 1937 when regular electric service began. This bucolic image focuses on autumnal majesty rather than the technological marvels of the electric trains themselves.
Condition B+: overpainting over tape marks in corners; repaired tears at edges; repaired pin holes in corners. Framed.
Estimate
$700 – $1,000
F. gregory brown (1887-1941)
CORNWALL / GWR. Circa 1930s.
38½x24 inches, 97¾x61 cm. Jarrold & Sons Ltd., Norwich.
Condition A-: minor restoration along printers’ creases in text and lower right image; minor restoration in margins. Framed.
Estimate
$700 – $1,000
Christopher clark (1875-1942)
BRITISH ARMY CEREMONIAL. Circa 1955.
38x48 inches, 96½x122 cm. Jordison & Co., London & Middlesbrough.
Clark was a military and historical painter and the majority of his posters feature scenes of Britain's pageantry. Originally designed in the 1930s, his popular images were often re-issued by British Railways in the 1950s. This same image was used with different text, "Trooping the Color" (see Swann sale 2524 Lot 94).
Condition B+ / A-: small repaired tears, abrasions and restoration at edges; minor creases in margins and image; minor soiling at bottom edge; colors attenuated.
Estimate
$800 – $1,200
Alasdair macfarlane (1902-1960)
LOCH LOMOND / SEE SCOTLAND BY TRAIN & STEAMER. Circa 1950.
50x39½ inches, 127x100¼ cm. Jordison & Co., Ltd., London.
Condition B: repaired tears at edges, some into central image; replaced losses, creases, abrasions and restoration in margins; abrasions at lower left text.
Estimate
$800 – $1,200
A.a. moore (dates unknown)
SEE THE NEW FOREST / WITH A SOUTHERN RAILWAY 7 DAY SEASON TICKET. 1930.
38¾x23½ inches, 98½x59¾ cm. Waterlow & Sons Ltd., London.
Rare.
Condition B+: repaired tears at edges; creases in margins and image; repaired pin holes in corners; backed on linen to foamcore. Framed.
Estimate
$800 – $1,200
Gerald spencer pryse (1881-1956)
BRITISH EMPIRE EXHIBITION / SCENES OF EMPIRE. 1924.
39½x49¾ inches, 100¼x126¼ cm. Vincent Brooks Day & Son Ltd., London.
The British Empire Exhibitions of 1924 and 1925 were put on by the government of King George V to demonstrate Britain’s breadth and prowess to the world and to recover from economic demise in the wake of the Great War. The exhibition gathered member nations of the empire and displayed accomplishments in industry, engineering, sport and commerce. From the “Scenes of Empire Series,” no. P22.
Condition B+: replaced losses, repaired tears and restoration in margins; repaired tears, creases and abrasions in margins and image. Framed.
Estimate
$1,000 – $1,500
Gordon nicoll (1888-1959)
VISIT LONDON IN CORONATION YEAR. 1953.
39½x24½ inches, 100¼x62¼ cm. Waterlow & Sons, London.
Infused with regal pomp, members of the Queen’s Life Guard (drawn from the Household Cavalry Mounted Regiment) are riding down the Mall past the Victoria Memorial and Buckingham Palace. Queen Elizabeth ascended to the throne in 1953 upon the death of her father, King George VI.
Condition B+: repaired tears, creases, abrasions and restoration in margins; repaired pin holes in corners.
Estimate
$1,200 – $1,800
Michael reilly (1898-?)
STRATFORD - UPON - AVON.
39x49¼ inches, 99x125 cm. J. Weiner Ltd., London.
Rare.
Condition B+: repaired tears at edges, some into image; small replaced losses in top margin; minor creases in margins and image. Framed.
Estimate
$3,000 – $4,000
Shep (charles shepherd, 1892-?)
CANTERBURY - ENGLAND / BY SOUTHERN RAILWAY. 1938.
39¼x24 inches, 99½x61 cm. The Baynard Press, London.
Condition A-: minor repaired tears, creases and restoration at edges; repaired pin holes in corners. Framed.
Estimate
$400 – $600
Frank sherwin (1896-1985)
WINDSOR / SEE BRITAIN BY RAIL. Circa 1940s.
39½x24½ inches, 100¼x62¼ cm. Jordison & Co., London.
Condition A-: slight darkening in margins; minor abrasions and restoration at edges.
Estimate
$700 – $1,000
Fred taylor (1875-1963)
THE COLLEGES OF CAMBRIDGE. Circa 1935.
39½x49¼ inches, 100¼x125 cm. The Baynard Press, [London.]
Condition B: repaired tears, creases, abrasions and restoration in margins and along vertical and horizontal folds; small replaced losses and repaired pin holes in corners; abrasions in image.
Estimate
$1,000 – $1,500
Fred taylor (1875-1963)
YORK. 1931.
39¼x24 inches, 99½x61 cm. Vincent Brooks Day & Sons Ltd. Lith., London.
Condition A: minor creases at edges. Framed.
Estimate
$600 – $900
Norman wilkinson (1882-1971)
SERVICE TO INDUSTRY / STEEL. 1949.
38¾x48½ inches, 98½x123¼ cm. Jordison and Co., Ltd., London.
Wilkinson studied at the Berkhamsted School of Art and began his artistic career contributing drawings to The Illustrated London News and The Illustrated Mail. Although he became famous for his maritime paintings, he is best known for his prolific poster work for the British railway companies. He also designed posters for shipping companies including White Star Line, Cunard Line, the Allan Line, the Blue Star Line and others.
Condition B / B-: repaired tear across lower image through poster; repaired tears, replaced losses and staining in margins; minor creases and abrasions in image. Framed.
Estimate
$1,000 – $1,500
Alberta amspoker (dates unknown)
ENGLAND AND ALL OF EUROPE / PAN AMERICAN. Circa 1955.
34¼x24½ inches, 87x54¼ cm.
Pan Am p. 232.
Condition A: minor abrasions at edges. Paper.
Estimate
$700 – $1,000
David klein (1918-2005)
LONDON / FLY TWA JETS. Circa 1960s.
25x15¾ inches, 63½x40 cm.
This is the smaller format.
Condition A-: repaired pin holes and minor restoration in corners; minor restoration at edges; silkscreen overprint for Southern Airways.
Estimate
$500 – $750
Alan aldridge (1943- )
LONDON / COME WEARING JUST A SMILE. 1968.
29½x19¾ inches, 75x50 cm.
Condition A-: minor creases and restoration at edges.
Estimate
$400 – $600
Sven brasch (1886-1970)
ZOOLOGISK / HAVE. 1924.
33x24 inches, 83¾x61 cm. Sylvester Hvid, Copenhagen.
Sven Brasch studied art in Munich and Paris, and lived in New York for two years before finally returning to Copenhagen. Although he is primarily known for the numerous movie posters he designed, his work also includes wonderful examples of theatrical, exhibition and product posters. He was awarded the coveted Grand Prize for graphic design at the seminal 1925 Paris Art Deco Exhibition. Here, for the Copenhagen Zoo, he depicts a hippo yawning. The image has remained so popular that reproductions are still sold in the zoo gift shop today.
Condition A-: minor foxing and abrasions in margins.
Estimate
$600 – $900
Valdemar andersen (1875-1928)
DEN INTERNATIONALE LUFTFARTSUDSTILLING. 1927.
33x24 inches, 83¾x61 cm. Chr. Cato, [Copenhagen.]
Andersen was one of the most prolific Danish poster designers between the wars. He was well known as an illustrator, both for newspapers and books. For this International Aircraft Meeting, he produced a sophisticated graphic of three planes circling a globe upon which is a Danish flag, planted at the top. The way he plays with the shadows and evokes the site of the event using only the Danish flag, on a globe that is otherwise unmarked, underscores his exquisite graphic design capabilities. This is the Danish version. Danish Posters 8.
Condition A: small loss in bottom left corner; minor abrasions at edges; minor creases in margins and image.
Estimate
$1,000 – $1,500
Aage rasmussen (1913-1975)
DIE STORSTRÖMBRÜCKE. 1937.
39½x24½ inches, 100¼x62¼ cm. Andreasen & Lachmann, Copenhagen.
This is the German version.
Condition A-: expert overpainting and minor restoration in margins.
Estimate
$800 – $1,200
Aage rasmussen (1913-1975)
DSB / CHEMINS DE FER DE L’ETAT DANOIS. 1937.
39¼x24½ inches, 99½x62½ 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. This is the French version. Metiers 1939 p. 94, Weill no. 469, Danske 80 (var).
Condition A-: small loss in lower left corner; small abrasions in upper image; minor tears and creases in margins; pin holes in corners. Paper.
Estimate
$1,200 – $1,800
Otto nielsen (1916-2000)
DANISH AIR LINES / THE MODERN WAY. 1948.
39¾x24 inches, 99¾x61 cm. IB Magnusson, Denmark.
This is the English version. SAS p. 11.
Condition A / A-: minor restoration in margins and along vertical and horizontal folds.
Estimate
$600 – $900
Otto nielsen (1916-2000)
SCANDINAVIAN AIRLINES SYSTEM / SAS. Group of 9 posters.
Sizes vary. Axel Andreasen & Sonner Copenhagen.
Group includes: Germany; London (2 copies); Colorful Middle East; Scandinavia; Paris; Spain; South America; and Near East. Images available upon request.
Condition varies, generally B- to B+. Some with extensive repaired tears throughout image, with archival tape on verso; brown tape on recto and verso of some. Paper.
Estimate
$800 – $1,200
Aage sikker-hansen (1897-1955)
FRILANDS MUSEET. 1951.
33½x23¾ inches, 85x60¼ cm. Permild & Rosengreen, Copenhagen.
Condition A-: minor creases and abrasions at edges; small repaired tear at bottom left edge; archival tape on verso. Paper.
Estimate
$800 – $1,200
Knut yran (1920-1998)
OSLO NORWAY / TWILIGHT IN A SAGA SETTING! 1965.
38¾x24¼ inches, 98½x31½ cm. Trygve B. Pedersen & Sonn, Oslo.
Condition A-: minor overpainting in corners.
Estimate
$700 – $1,000
Various artists
[SWEDEN & FINLAND.] Group of 10 posters.
Sizes vary.
Images available upon request.
Condition varies, generally B+. Each linen-backed.
Estimate
$800 – $1,200
Various artists
[TRAVEL / DENMARK.] Group of 3 posters. 1940s-1950s.
Each approximately 39½x24¼ inches, 100¼x61½ cm.
Group includes: Bornholm / Denmark’s Island of Cliffs, by Bogelund; Copenhagen / Denmark, by Nordgreen; and Fano Seaside Resort / Esbjerg - Denmark. Images available upon request.
Condition varies, generally B+ / A-. Paper.
Estimate
$800 – $1,200
Various artists
[DENMARK & NORWAY.] Group of 10 posters.
Sizes vary.
Includes duplicates. Images available upon request.
Condition varies, generally B+. Each linen-backed.
Estimate
$800 – $1,200
Percival (percy) albert trompf (1902-1964)
AUSTRALIA IN THE SUN. Circa 1935.
39¾x24½ inches, 101x62¼ cm. Troedel & Cooper Pty. Ltd., Melbourne.
Trompf, one of Australia’s most prolific and celebrated poster designers, began his artistic career designing chocolate boxes and candy wrappers for a Melbourne confectioner. He soon opened his own studio and went on to design hundreds of travel posters. Known for his “bright, colorful and optimistic images,” Trompf also utilized “natural images . . . to beguile both domestic and international tourists to various regions of Australia” (Trading Places p. 29-30). Lebovic 3.
Condition B: extensive replaced losses in margins; repaired tears, creases and restoration in margins and image and along vertical and horizontal folds.
Estimate
$800 – $1,200
Gert sellheim (1901-1970)
AUSTRALIA. 1957.
39¾x25¼ inches, 101x64 cm. McLaren & Co., Ltd., Melbourne.
Estonian-born Sellheim studied architecture in Germany and Austria before migrating to Australia in 1926. He worked as an architect for two years and then began designing posters. Along with James Northfield and Percy Trompf, Sellheim is considered to be one of the finest artists to design travel posters in Australia in the 1930s. He brings to his work an element of the European avant-garde, and his posters are “distinguished by their innovative design, in particular the use of montage” (Trading Places 29). He is most famous for designing the flying kangaroo logo for Qantas airlines. Poster Art in Australia p. 42.
Condition A- / B+: small repaired tears at edges; creases, abrasions and foxing in margins, some slightly affecting image; skinning at top edge, from tape.
Estimate
$1,200 – $1,800
Designer unknown
KASHMIR CALLING. 1949.
36¾x24¼ inches, 93¼x61½ cm. Associated Printers (Madras) Ltd., Madras.
This is the English version.
Condition A: minor abrasions at edges. Paper.
Estimate
$800 – $1,200
Designer unknown
THERE IS AN AIR ABOUT INDIA / AIR - INDIA. 1965.
39¾x24¾ inches, 101x63 cm. Prasad Process Private Ltd., Madras.
A world-renowned and recognized corporate icon, Air India’s Maharaja was born in 1946, the creative genius of Air India’s commercial director, Bobby Kooka, and Umesh Rao, an artist with the Mumbai branch of J. Walter Thompson Ltd. “The Maharaja began merely as a rich Indian potentate, symbolizing graciousness and high living. And somewhere along the line his creators gave him a distinctive personality, his outsized mustache, the striped turban and his aquiline nose . . . Air-India calls him the Maharaja for want of a better description. But his blood isn’t blue. He may look like royalty, but he isn’t royal . . . Today, this naughty, diminutive Maharaja of Air-India has become a world figure. He can be a lover boy in Paris, a sumo wrestler in Tokyo, a pavement artist, a Red Indian, a monk. He can effortlessly flirt with the beauties of the world. And most importantly, he can get away with it all. Simply, because he is the Maharaja” (The Chandigarh Tribune, July 17, 2005).
Condition B+: overpainting throughout margins; restoration along repaired tears and creases in text and image.
Estimate
$800 – $1,200
Designer unknown
THE WONDERFUL LAND / INDIA. 1957.
38½x24½ inches, 98x62¼ cm. Bombay Fine Art, Bombay.
Condition B: repaired tears at top edge and upper right edge, into central image; minor creases and abrasions at edges.
Estimate
$700 – $1,000
Various artists
[INDIA TRAVEL.] Group of 4 posters. 1958-1959.
Sizes vary.
Group includes: Festivals of India; The Wonderful Land / India; Varanasi India; and Ajanta India / Jet BOAC. Images available upon request.
Condition varies, generally B / B-: extensive repaired tears and creases through image; archival tape on verso. Paper.
Estimate
$700 – $1,000
Dorothy newsome (circa 1900-1980)
[GHUTIARI SHARIF.] Circa 1935.
39¾x24½ inches, 101x62¼ cm. The Calcutta Posters, Calcutta.
Newsome designed many posters advertising travel to India, illustrating combinations of local scenes with famous landmarks and local people. Here, for a small West Bengali town, she depicts one of the town’s major structures, the Mazar of Pir Ghazi Mubarak Ali Sahab. It is a shrine in honor of a holy man whose intense meditation brought an end to a severe drought in the 17th century. This is the Bengali version.
Condition B: side margins trimmed off; overpainted top and bottom margins; repaired tears, creases, abrasions and overpainting in margins, text and image.
Estimate
$1,000 – $1,500
Designer unknown
HONG KONG / FLY NORTHWEST ORIENT AIRLINES. Circa 1950s.
40x25 inches, 101½x63½ cm.
Condition A- / B+: small tears, creases and abrasions at edges; minor creases and abrasions in image. Paper.
Estimate
$800 – $1,200
Roger bréval (dates unknown)
EGYPT / THE LAND OF ENCHANTMENT. Circa 1930.
39¼x25½ inches, 96¾x64¾ cm. Misr-Sokkar Works, Cairo.
Bréval designed at least one other poster advertising travel to Egypt during the winter.
Condition B: losses in left corners; minor tears, creases and abrasions at edges; fading in margins and image; tipped to mount at top on verso. Paper.
Estimate
$500 – $750
Berny & peigno
ÉTOILE DU SUD / CROISIERES. 1960s.
36x25¾ inches, 91½x65½ cm. Feltin, Paris
This is the later printing.
Condition A / A-: minor restoration at edges.
Estimate
$300 – $400
Designer unknown
SABENA / BELGIUM - CONGO - SOUTH AFRICA. Circa 1952.
39¼x25½ inches, 99½x64¾ cm. C. Pub.
Condition A-: small tears, minor creases and abrasions at edges; slight foxing in margins. Paper.
Estimate
$400 – $600
D.e. bates (dates unknown)
CUNARD R.M.S. CARONIA / GREAT AFRICAN CRUISE. 1949.
22x26¾ inches, 55¾x78 cm.
The artist created at least one other pictorial map for the Cunard Caronia in 1953.
Condition B+: tears and repaired tears at edges, some into image; small losses at edges; minor creases and abrasions at edges and in image; small pin holes in corners. Paper.
Estimate
$700 – $1,000
Étienne bouchaud (1898-1989)
ALGÉRIE VIA MARSEILLES / GHARDAÏA. 1929.
39x24¼ inches, 99x62¼ cm. Lucien Serre & Cie., Paris.
This is the French version.
Condition A-: repaired tear at top edge, slightly into image; minor repaired tears at edges; minor creases in image.
Estimate
$500 – $750
Bernard r. lachèvre (1885-1950)
L’ALGÉRIE, LE MAROC / ET PORT - VENDRES. 1920.
41x28½ inches, 104x72½ cm. Devambez, Paris.
Condition B+ / A-: minor foxing in margins and text; light water stains in right margin; creases in margins and image.
Estimate
$800 – $1,200
Jean montels (dates unknown)
TOUTE L’AFRIQUE AU CAMEROUN. Circa 1950.
33¾x25 inches, 88¾x63½ cm.
Condition A: minor scuffing in image.
Estimate
$1,200 – $1,800
Designer unknown
HOLLAND - AMERICA LINE / ROTTERDAM. Circa 1913.
39x58½ inches, 99x148½ cm. O. De Rycker & Mendel, Brussels.
The Potsdam, shown leaving a busy New York harbor, crowded with ferries, tugs and sloops, and the majestic skyline of downtown Manhattan visible in the distance. This ship was launched on May 17, 1900 and sailed for the Holland-America Line until 1915, when it was sold to the Swedish American Line and renamed Stockholm.
Condition B+: repaired tears, creases and abrasions in margins and image, affecting text. Framed.
Estimate
$3,000 – $4,000
Adolphe mouron cassandre (1901-1968)
NORMANDIE. 1979.
38¾x24 inches, 98½x61 cm. Mouron, Paris.
This is the later printing released by Mouron in 1979.
Condition A. Matted and framed.
Estimate
$800 – $1,200
Renato cenni (1906-1977)
FOR YOUR VOYAGES BY SEA . . . ITALIAN LINES.
37¼x24½ inches, 94½x62¼ cm. Gaetano Schenone, Genova.
Condition B+: repaired tear at upper right edge, into text; small repaired tears at edges; repaired pin holes in corners; horizontal fold. Framed.
Estimate
$600 – $900
Enrico ciuti (1910-?)
ANDREA DORIA / ITALIAN LINE. 1954.
38x23½ inches, 96½x59¾ cm. A. Pizzi, Milan.
Launched in 1953, the Andrea Doria was one of the most elegant liners of her era. She is pictured here with her sister ship Cristoforo Colombo, against a collage of nautical flags. She was designed with an eye towards modernity and luxury rather than speed, and was filled with original artwork that added to her sophistication. Eclipsing her style and grace was the tragedy that brought her short career to an end. In 1956, off the shore of Nantucket, the Andrea Doria was hit by the Stockholm and sank soon thereafter. Ciuti was an architect and industrial designer, often cited along with Marcello Nizzoli and Bruno Munari as one of the top Italian designers of the 1930s and 40s.
Condition B+: repaired tears at edges, one through upper text; minor creases and restoration at edges.
Estimate
$1,200 – $1,800
Hugo feldtmann (dates unknown)
LLOYD OSTASIEN EXPRESS. Circa 1935.
32¼x23¼ inches, 82x59 cm. [Wilhelm Jontzen, Bremen.]
Condition B: unevenly trimmed at edges, printer’s info cut off; overpainting and replaced loss in upper right corner and text; minor repaired tears and restoration at edges; repaired pin holes in corners.
Estimate
$700 – $1,000
Ottomar anton (1895-1976)
HAMBURG - AMERIKA LINIE / NACH CUBA UND MEXICO. Circa 1932.
32½x23¼ inches, 82½x59 cm. Mühlmeister & Johler, Hamburg.
This is the German version. Crouse p. 244 (var).
Condition A-: expertly-repaired tears, some slightly into image.
Estimate
$800 – $1,200
L. neri (dates unknown)
HAMBURG - AMERIKA LINIE / HAMBURG - CUBA - MEXIKO.
39¾x27½ inches, 101x69¾ cm. Mühlmeister & Johler, Hamburg.
Condition B+: repaired tear at top edge, slightly into image; small tears at edges; creases in image. Paper.
Estimate
$800 – $1,200
Designer unknown
IMPERIAL AIRWAYS / THE GREATEST AIR SERVICE IN THE WORLD.
29½x19½ inches, 75x49½ cm.
Condition A-: minor creases and abrasions at edges and along vertical and horizontal folds. Paper.
Estimate
$800 – $1,200
Designer unknown
PAN AM / AROUND THE WORLD ROUTES.
21¼x32 inches, 54x81¼ cm.
Condition A-: minor creases, abrasions and overpainting at edges; minor creases and restoration in image.
Estimate
$400 – $600
Various artists
PAN AMERICAN / [EUROPE & ASIA.] Group of 5 posters.
Sizes vary, each approximately 42x28 inches, 106½x71 cm.
Group includes: Brussels (1951); Rome, (1951); Paris - Europe, by Prescott; Scandinavia, by Carlu (1958); and India. Images available upon request.
Condition varies, generally B+.
Estimate
$800 – $1,200
Various artists
PAN AMERICAN / [INTERNATIONAL TRAVEL.] Group of 5 posters.
Sizes vary, each approximately 42x28 inches, 106½x71 cm.
Group includes: Beirut Lebanon (1951); Brazil by Clipper, by Alajalov (1949); Pan American Panagra, by Shaw; Mexico Festivals Old & New, by Kauffer; and South Africa, by Carlu & Dubois (1952). Images available upon request.
Condition varies, generally B+.
Estimate
$800 – $1,200
Various artists
[INTERNATIONAL AIRLINE TRAVEL.] Group of 7 posters.
Sizes vary.
Group includes: three small format posters: German / Fly TWA Jets; Pan American / Hawaii; and The Routes of the Flying Clipper Ship; and four full-size posters: The Caribbean / Fly There by BOAC; Yankee Clippers Sail Again; South Africa by SAS; and Fly TWA / France. Images available upon request.
Condition varies.
Estimate
$800 – $1,200
Various artists
[INTERNATIONAL AIR TRAVEL.] Group of 5 posters.
Sizes vary.
Group includes: Japan via Pan American, by Kauffer (1954); Japan / Northwest Orient; Brazil / Pan American, by Alajalov; Air France, by Boucher; and Pan Am / Prevent Ground Damage. Images available upon request.
Condition varies, generally B+ / B. Paper.
Estimate
$1,000 – $1,500
David klein (1918-2005)
FLY TWA. Group of 6 posters. 1950s-1960s.
Each approximately 39¾x25 inches, 101x63½ cm.
Group includes: Rome; Portugal; London; Paris; India; and Egypt. Images available upon request.
Condition varies, generally A. Paper.
Estimate
$700 – $1,000
Designer unknown
TWA / STAR STREAM JET. Circa 1959.
24x15¾ inches, 61x40 cm.
This is the smaller format. The large format exists with a Boeing 707 overprint in the image, and on the side of the jet.
Condition B+: small replaced loss and overpainting at bottom edge; repaired tears at edges, some into image; creases and minor restoration in image.
Estimate
$500 – $750
R. fougere (dates unknown)
AVIATION ST. - AMAND - MONTROND. Circa 1910.
62¼x46½ inches, 158x118 cm. Pivoteau, Saint-Amand.
Condition A-: minor creases in margins; small repaired tears and creases along vertical and horizontal folds.
Estimate
$1,500 – $2,000
Ottomar anton (1895-1976)
IN 2 TAGEN UBER DEN OZEAN. Circa 1936.
32½x23 inches, 82½x58½ cm. Mühlmeister and Johler, Hamburg.
The LZ 129, the Hindenburg, recognizable by it’s small gondola, en route over the Atlantic Ocean, is cleverly juxtaposed with an old clipper ship on the sea below to emphasize the speed of the new airship. The Hindenburg made 17 transatlantic flights in 1936, its only full year of operation. The trip toward Europe could be made in as quickly as two days. The Westward journey took a bit longer, lasting up to three days. It was on her first North American crossing in 1937 that the airship tragically burst into flames while attempting to dock in Lakehurst, New Jersey. This is the German version. Airlines p. 37, Crouse p. 27.
Condition B: replaced losses in corners; repaired tears, creases, abrasions and overpainting in margins and image. Framed.
Estimate
$3,000 – $4,000
Paul colin (1892-1986)
AEROLINEAS ARGENTINAS / [DOUGLAS DC.6.] Circa 1950s.
39x24 inches, 99xx61 cm. Bedos & Cie, Paris.
L’Histoire de l’Aviation p. 168.
Condition A: minor abrasions at edges.
Estimate
$1,000 – $1,500
American Travel
Edward mcknight kauffer (1890-1954)
AMERICAN AIRLINES / TO EUROPE. Circa 1947.
40x30¼ inches, 101½x76¾ cm.
Kauffer 298.
Condition A-: unobtrusive expert overpainting at edges.
Estimate
$700 – $1,000
Designer unknown
OUR CITY / NEW YORK. Circa 1900.
48x35½ inches, 122x90 cm.
Arrayed in front of City Hall, allegorical figures representing Health, Labor, Honesty and Education are paying homage to the City of New York, personified by a woman holding a scepter adorned with a masted ship.
Condition B+: repaired tears, restoration and overpainting in text and at edges; restoration in image and along horizontal creases. Two-sheets.
Estimate
$600 – $900
A. greacen (dates unknown)
HUDSON RIVER DAY LINE. Gouache maquette. 1919.
10¾x14¾ inches, 27¼x37½ cm.
Condition A: small pin holes in corners. Gouache and pencil on paper. Framed.
Estimate
$500 – $750
Herbert morton stoops (1888-1948)
ASHTABULA HARBOR / LAKE ERIE / NEW YORK CENTRAL LINES. 1926.
40x25¾ inches, 101½x65½ cm. Latham Litho & Ptg. Co., Long Island City.
For this second and final image for the New York Central, Stoops illustrated an industrial and active scene of the busy harbor in Ashtabula, Ohio, on Lake Erie, “where trainloads of Appalachian coal are exchanged for cargoes of Northern iron ore.” Stoops was an illustrator and painter, whose works graced the insides and outsides of some of America’s most popular periodicals during the 1920s and 1930s, especially The Blue Book magazine. He also designed several posters for the American World War II war effort. Rare. We could find only one other record at auction. Zega 86.
Condition B / B-: repaired tears, creases, abrasions and overpainting in margins and image; replaced losses in margins; paint flaking in upper image. Mounted on Chartex.
Estimate
$1,000 – $1,500
Mélanie elisabeth leonard (1868-1933)
A MAP OF NEW YORK IN THE AIR. 1928.
24¾x36 inches, 62¾x91½ cm. Jersey City Printing Company, Jersey City.
Condition B+: minor repaired tears, creases and restoration in margins and along vertical and horizontal folds. Framed.
Estimate
$600 – $900
George annand (1890-1980)
THE WALDORF ASTORIA / A CHART OF MANHATTAN. 1936.
9x22½ inches, 22¾x57 cm.
Annand worked as a "freelance commercial artist for much of his long career, [he] created pictorial maps, designed dust jackets, illustrated books and magazines, and turned out advertisements. Through much of his work Annand showed a genuine interest in cartography . . . [and the maps he designed] were among the most refined and dignified examples of the genre, well designed and boldly colored" (Picturing America pp 34-38). "This pocket-sized, foldout map produced for the Waldorf-Astoria Hotel shows principle sights, shopping districts, churches, and clubs. Annand liked to use orange as the base color in his maps, an unusual though striking choice" (ibid p. 128). Picturing America pl. 53.
Condition A: unobtrusive vertical folds, as issued.
Estimate
$700 – $1,000
Sascha maurer (1897-1961)
NEW YORK WORLD’S FAIR / THRU GRAND CENTRAL GATEWAY. Circa 1939.
41½x27 inches, 105½x68½ cm. Kelly, Nason, Inc., New York.
A painter who emigrated from Germany, Maurer brought the European tradition of Modernist poster design to America. Although best known for his ski posters, Maurer also did a lot of poster work for both the New Haven Railroad and the Pennsylvania Railroad. For the latter, he designed two posters promoting travel to the New York World’s Fair, each with a similar bird’s-eye view concept of Manhattan and the famed Trylon and Perisphere. We believe this to be his only image for the New York Central Line, featuring Grand Central Terminal and the New York Central’s pride, the 20th Century Limited. Rare. This same image was used as the cover lot for Swann’s inaugural Rare and Important Travel Poster auction in 1999. It has only come up for sale once at auction since.
Condition B / B-: large stain in lower left image and text; losses, extensive flaking, repaired tears and creases at edges, into image; extensive creases and abrasions in image and along vertical and horizontal folds. Mounted on old linen.
Estimate
$2,500 – $3,500
Leslie ragan (1897-1972)
THE NEW EMPIRE STATE EXPRESS / NEW YORK CENTRAL SYSTEM. 1941.
40¾x27 inches, 103½x68½ cm. Brett Lithographing Company, [New York.]
Steaming through an autumn landscape while making the run between New York City and Buffalo, this powerful engine rounds a bend so that its rear car is also visible. In 1891, the Empire State Express made its first trip. On her 50th anniversary in 1941, the New York Central Line inaugurated the "New" Empire State Express. According to the hyperbolic commentary written in a booklet released by the railroad for the occasion, this train, "which is truly magnificent [is] as completely comfortable as modern science can make it." The railroad also used this poster image for the cover of a brochure. Zega 154.
Condition B: foxing, staining, overpainting and pin holes in margins and text; staining, glue residue and extensive restoration in image. Mounted on board.
Estimate
$1,500 – $2,000
Leslie ragan (1897-1972)
WE SHALL NOT FAIL / NEW YORK CENTRAL SYSTEM. 1943.
40x25½ inches, 101½x64¾ cm. Brett Lithographing Company, [New York.]
A patriotic crossover poster produced during World War II by the New York Central Line to indicate their commitment to the war effort. Ragan, best known for his straightforward, graphic depictions of trains and prominent destinations along the New York Central Line system, takes his art one step further here and adds a patriotic element. It is a powerful, proud and evocative image of a New York Central Line Mohawk locomotive coursing through the night beneath the eternal vigilance of the Statue of Liberty. The connection between the symbol of America’s Liberty and the commanding representation of America’s physical and technological power is enhanced by the engine’s headlamp and the Statue’s torch, each cutting through the darkness. Zega 88.
Condition B: mat-staining in margins; toning in text; creases, staining, repaired tears and pin holes in margin. Mounted on board.
Estimate
$1,500 – $2,000
Alphonse dehédin (dates unknown)
AIR FRANCE / PARIS - NEW YORK / NEW YORK - PARIS. 1950.
19¼x12 inches, 49x30½ cm. Perceval, Paris.
This is the smaller format. Air France p. 48.
Condition A-: minor creases and foxing in margins and image. Paper.
Estimate
$800 – $1,200
Albert brenet (1905-2005)
NEW YORK PAR LA “TRANSAT.”
38½x25 inches, 97¾x63½ cm. “La Photolith,” Paris.
This is the larger format.
Condition A. Framed.
Estimate
$500 – $750
Stanley walter galli (1912-2009)
NEW YORK / UNITED AIR LINES. Circa 1960.
39¾x24¼ inches, 101x61½ cm.
Condition A.
Estimate
$600 – $900
Rod ruth (1912-1987)
NEW YORK / GO GREYHOUND. Circa 1960.
38¼x27¾ inches, 97x70½ cm.
Condition B+: repaired tear at top edge, into text; small repaired tears, creases and restoration at edges.
Estimate
$700 – $1,000
Jim michaelson (1945-2019)
NEW YORK. 1970.
39¼x30¼ inches, 99½x76¾ cm. Trend Graphics, San Francisco.
Michaelson was well-known as a Disney Parks artist and Imagineer, who had a hand in creating posters for some of the park’s most iconic attractions, such as Jungle Cruise, Pirates of the Caribbean, Country Bear Jamboree, and Space Mountain. Before his 30-year career with Disney, he was a pioneer of psychedelic rock and roll design, producing album covers and posters for bands and venues, as well as detailed city maps in his signature style.
Condition A. Framed.
Estimate
$600 – $900
Designer unknown
NEW YORK / PAN AM. Circa 1975.
42x28 inches, 106½x71 cm.
Pan Am p. 401.
Condition A: minor abrasions at edges. paper.
Estimate
$800 – $1,200
Designer unknown
NEW YORK CITY. Group of 5 posters.
Sizes vary.
Group includes: New York City (1982); New York City Marathon (1986), by Michael J. Ralph; American Airlines / Endless Summer / New York (1971), by Harry Bertschmann; Sinclair Pictorial Map of New York World’s Fair (circa 1939), by George Annand; and Manhattan New York (1970), by Eli bauer. Images available upon request.
Condition varies, generally A- / A: each linen-backed.
Estimate
$800 – $1,200
Tesar (dates unknown)
RIDE THE COMET BETWEEN BOSTON AND PROVIDENCE / THE NEW HAVEN R.R. 1935.
38½x28 inches, 97¾x71 cm.
The Comet was in service for the New Haven Railroad from 1935 through 1951. Built by the Goodyear -Zeppelin Company, it was the first streamlined train to go into service in America's Northeast. The train's introduction to the New Haven fleet followed on the heels of the incredibly popular Zephyr (Chicago, Burlington & Quincy Line) and the Union Pacific's M-10000. This exceptional Modernist poster has been misattributed to Sascha Maurer, but clearly bears the signature of a different, unknown artist. Rare.
Condition B: replaced losses, repaired tears and tape stains in margins, affecting upper text; abrasions in margins and image. Mounted on thin board.
Estimate
$1,500 – $2,000
Edward mcknight kauffer (1890-1954)
AMERICAN AIRLINES / EAST COAST. 1948.
40x30 inches, 101½x68¼ cm.
Kauffer 321.
Condition B+: time-staining, small tears, creases and abrasions at edges; minor staining in upper left text. Paper.
Estimate
$600 – $900
Designer unknown
KIPLING HAD A WORD FOR IT! / PENNSYLVANIA RAILROAD.
40x25 inches, 101½x63½ cm.
Condition A- / A: minor repaired tears at abrasions at edges; slight darkening at bottom.
Estimate
$600 – $900
Designer unknown
WASHINGTON D.C. / FLY NORTHWEST ORIENT AIRLINES.
39¾x24½ inches, 101x62½ cm.
Condition B+: replaced losses and overpainting at edges and in corners; creases, abrasions and restoration at edges and in text and image. Silkscreen.
Estimate
$800 – $1,200
Designer unknown
THE KENTUCKY DERBY STORY / THIS IS AMERICA. 1949.
40½x28 inches, 102¾x71 cm.
“No. 9, 7th Series.”
Condition B+: repaired tears, creases and abrasions along vertical and horizontal folds; slight darkening and minor restoration at edges; minor creases in image.
Estimate
$700 – $1,000
Designer unknown
NORTHWEST ORIENT AIRLINES SYSTEM MAP.
19¾x37½ inches, 50¼x95¼ cm.
Condition A. Silkscreen.
Estimate
$500 – $750
W. kirtman plummer (1919-2015)
AMERICA. 1953.
25x36½ inches, 63½x92¾ cm. The Curtis Publishing Company.
Designed for Country Gentleman magazine.
Condition B+: repaired tears at edges, some into image; creases and minor overpainting in margins; minor creases and abrasions in image.
Estimate
$600 – $900
Alan aldridge (1943- )
USA / A GREAT PLACE FOR HAMBURGERS BUT WHO’D WANT TO LIVE THERE! 1971.
30½x20 inches, 77½x50¾ cm. Shevnal, England.
Condition A- / A: minor restoration at edges.
Estimate
$400 – $600
Designer unknown
MUNSON STEAMSHIP LINES / NEW ORLEANS AND HAVANA. Window card. Circa 1918.
22x14 inches, 55¾x35½ cm.
Condition A- / B+: margins expertly-overpainted; minor creases in margins; printed on card stock.
Estimate
$1,000 – $1,500
Charles turzak (1889-1985) & henry t. chapman (dates unknown)
AN ILLUSTRATED MAP OF CHICAGO. 1931.
22¾x37¾ inches, 57¾x95¾ cm. The Tudor Press, Boston.
Condition B+: minor creases and abrasions in margins and along sharp folds; slight darkening in right image; minor creases and toning. Paper.
Estimate
$1,500 – $2,000
Designer unknown
FLY TWA TO CHICAGO. 1957.
39¼x24¾ inches, 99½x62¾ cm.
A view north up South Michigan Avenue, passed Edward Kemeys’ iconic lions in front of the Art Institute of Chicago, towards the Wrigley Building and the Tribune Tower.
Condition A: minor abrasions at edges. Matted and framed.
Estimate
$800 – $1,200
Austin briggs (1908-1973)
CHICAGO / FLY TWA. Circa 1960.
39½x24¼ inches, 100¼x61½ cm.
Condition A-: minor repaired tears and restoration at edges; minor overpainting over abrasions in image.
Estimate
$800 – $1,200
Leslie ragan (1897-1972)
A CENTURY OF SERVICE / NORFOLK AND WESTERN RAILWAY. 1938.
27¼x21¾ inches, 69¼x55¼ cm.
Condition A-: small replaced loss in lower right corner; small repaired tears and abrasions at edges.
Estimate
$700 – $1,000
Bern hill (1911-1977)
ROUTE OF THE EAGLES. Circa 1950s.
24x18 inches, 61x45½ 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 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. Paper.
Estimate
$800 – $1,200
Bern hill (1911-1977)
DEPENDABLE FREIGHT AND PASSENGER SERVICE. Circa 1950s.
24x18 inches, 61x45½ cm.
Condition A. Paper.
Estimate
$700 – $1,000
Bern hill (1911-1977)
THE AROOSTOOK FLYER. Circa 1950s.
24x18 inches, 61x45½ cm.
Condition A: minor creases at left edge. Paper.
Estimate
$800 – $1,200
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- / A: minor creases and abrasions at edges. Paper.
Estimate
$800 – $1,200
Bern hill (1911-1977)
GREAT NORTHERN’S EMPIRE BUILDER IN MONTANA ROCKIES. Circa 1950s.
24x18 inches, 61x45½ cm.
Running between Chicago and Seattle, the Empire Builder began service in 1929. It ran through the Glacier National Park which was such a scenic route that in 1955 the railroad installed viewing domes in the cars of this trains to facilitate sightseeing for passengers. Here, in the days before the dome, the train curves around one of the park’s many lakes, the blade of the upper quadrant semaphore pointing up, indicating that the route is clear.
Condition A: minor creases at bottom edge. Paper.
Estimate
$800 – $1,200
Designer unknown
THIS SUMMER - VISIT / ZION NATIONAL PARK, UTAH. Circa 1930s.
41½x27¾ inches, 105½x70½ cm.
With the Union Pacific Railroad overprint.
Condition B+: extensive expert overpainting in margins and around lower text.
Estimate
$1,500 – $2,000
Designer unknown
THIS SUMMER - VISIT BRYCE CANYON NAT’L PARK, UTAH. Circa 1935.
40¾x27 inches, 103½x68½ cm.
With the Union Pacific Railroad overprint.
Condition A.
Estimate
$500 – $750
Designer unknown
UNION PACIFIC RAILROAD. Group of 7 photographic posters. Circa 1940s.
Each approximately 26x36 inches, 66x91½ cm.
Group includes: Grand Canyon National Park / North Rim; Jackson Lake and The Teton Range; Bryce Canyon; Mission San Luis Rey; Old Faithful Geyser / Yellowstone; The Columbia River Gorge; and Mt. Hood Oregon. Images available upon request.
Condition varies. Six paper, one trimmed and mounted on board.
Estimate
$800 – $1,200
Stanley walter galli (1912-2009)
UNITED AIR LINES. Circa 1950s.
39¾x24¼ inches, 101x61½ cm.
Condition A- / A: minor creases and abrasions at edges.
Estimate
$700 – $1,000
Designer unknown
OFFICIAL YOGI BEAR MAP OF JELLYSTONE PARK. 1961.
21x29 inches, 53¼x73½ cm. Hanna-Barbera Productions, Canada.
Condition A: folded as issued. Paper.
Estimate
$800 – $1,200
Ray bethers (1902-1973)
SOUTHERN ARIZONA / DUDE RANCHES & RESORTS. Circa 1935.
23x15¾ inches, 58½x40 cm.
A multimedia artist, known for his engravings and landscape paintings, Bethers was born and raised in Oregon. He later traveled to San Francisco, New York, and Paris to further his studies.
Condition A. Matted and framed.
Estimate
$500 – $750
Elms (dates unknown)
NAVAJO LAND / ARIZONA - NEW MEXICO.
22½x17 inches, 57x43 cm.
Condition A. Matted and framed.
Estimate
$800 – $1,200
Fred ludekens (1900-1982)
ARIZONA / AMERICAN AIRLINES. Circa 1950s.
39½x29½ inches, 100¼x75 cm.
Ludekens began his artistic career as a billboard painter for Foster & Kleiser. He then moved to New York City and joined the advertising firm of Lord & Thomas. In addition to his illustrations, which appeared in The Saturday Evening Post and other magazines, he also specialized in landscapes - apparent in this idyllic scene promoting travel to Arizona.
Condition B+: repaired tears and overpainting in margins, some into image; replaced losses and repaired pin holes in corners; creases and restoration in image.
Estimate
$700 – $1,000
Designer unknown
ARIZONA / GO GREYHOUND. Circa 1960.
39½x29¾ inches, 100¼x75½ cm.
Condition A- / A: minor abrasions at edges; unobtrusive water stain in upper left corner. Framed.
Estimate
$1,000 – $1,500
Designer unknown
THE CHIEF WAY / SANTA FE. Circa 1949.
22½x16¼ inches, 57x41¼ cm.
Condition A-: small stains at lower right image, near margin, and in Santa Fe logo; creases in margins and image. Matted and framed.
Estimate
$500 – $750
Designer unknown
STREAMLINERS LINK THE WEST / SANTA FE. Circa 1940s.
35½x24 inches, 90¼x61 cm.
One in a series of monochromatic, halftone posters issued by the Santa Fe Railroad depicting western scenes and trains.
Condition A-: minor creases and abrasions in image. Framed.
Estimate
$400 – $600
Designer unknown
SANTA FE FOR DUDE RANCHING. Circa 1940s.
35½x24 inches, 90¼x61 cm.
Condition A-: repaired tears at bottom edge, slightly into border; repaired pin holes in corners. Framed.
Estimate
$500 – $750
Designer unknown
YOSEMITE NATIONAL PARK / IN CALIFORNIA’S MAJESTIC SIERRAS / SANTA FE. Circa 1938.
35½x24 inches, 90¼x61 cm.
Condition A: minor creases in margins. Framed.
Estimate
$500 – $750
Stanley walter galli (1912-2009)
LAS VEGAS / UNITED AIR LINES. Circa 1960s.
39¾x25 inches, 101x63½ cm.
Condition A-: small repaired tear and minor skinning at bottom right corner; minor restoration at edges.
Estimate
$700 – $1,000
Francis defoy (dates unknown)
[BANK OF AMERICA / MAP OF CALIFORNIA.] 1938.
13¾x34¼ inches, 35x87 cm.
An interesting bird’s eye view of California, with the Pacific Ocean at the bottom of the map. This image was published by the Bank of America to promote the Golden Gate International Exposition and encourage tourism.
Condition A-: minor restoration in margins and along vertical folds; repaired pin holes in top corners.
Estimate
$700 – $1,000
Various artists
[ILLUSTRATED CALIFORNIA MAPS.] Group of 4 posters. 1970s.
Sizes vary.
Group includes: San Francisco California (1970), by Henry “Hank” Hinton; Los Angeles California (1970), by Randy Akers; KMET’s L.A. Good Earth (1971), by Howard Weinstock; and Home Federal Country / Golden State California (1973), by Darrel Millsap. Images available upon request.
Condition varies.
Estimate
$700 – $1,000
Designer unknown
NATIONAL AIR RACES / LOS ANGELES. 1936.
21¼x13¼ inches, 54x33½ cm. Majestic Poster Press, Los Angeles.
Condition B+ / A-: small replaced losses and repaired pin holes in corners; minor restoration along vertical and horizontal folds; slight offsetting in upper image.
Estimate
$700 – $1,000
Fred ludekens (1900-1982)
LOS ANGELES / AMERICAN AIRLINES. Circa 1950s.
40x30¼ inches, 101½x76¾ cm.
Condition A-: minor repaired tears, creases and restoration at edges.
Estimate
$700 – $1,000
David klein (1918-2005)
SAN FRANCISCO / FLY TWA.
40x25 inches, 101½x63½ cm.
Condition A: minor creases at edges. Paper.
Estimate
$700 – $1,000
David klein (1918-2005)
FLY TWA / SAN FRANCISCO. Circa 1960.
39¾x24½ inches, 101x62¼ cm.
Airways p. 165, Huhne p. 57 (var).
Condition B+: replaced loss and overpainting in upper right corner and edge; minor repaired tears, abrasions and restoration at edges.
Estimate
$800 – $1,200
Stanley walter galli (1912-2009)
SAN FRANCISCO / UNITED AIR LINES.
39½x24½ inches, 100¼x62¼ cm.
Condition A- / A: minor creases and abrasions at edges. Paper.
Estimate
$800 – $1,200
Signature illegible
AMERICAN AIRLINES / SAN FRANCISCO.
39¼x30 inches, 99½x76¼.
Condition A-: repaired tears and restoration in margins; repaired pin holes and minor overpainting in corners and at top and bottom margin; minor creases and abrasions in image.
Estimate
$500 – $750
Edward camy (1904-1958) & frank mccaffrey (dates unknown)
[ALASKA ILLUSTRATED MAPS.] Group of two posters. 1934 & 1936.
Sizes vary.
Includes A Good-Natured Map of Alaska / "The Alaska Line" (1934), by Camy and The All-American Route / Alaska Steamship Company (1936), by McCaffrey.
Condition varies, generally B+ / A-.
Estimate
$400 – $600
Designer unknown
GOOD NATURED MAP OF 1936 / SHRINER PLAYGROUND. 1936.
32x22¼ inches, 81¼x56½ cm. Farwest Lithograph & Printing Co., Seattle.
A poster for the “62nd Imperial Council Session” of the Ancient Arabic Order of the Nobles of the Mystic Shrine for North America in Seattle (now known as Shriners International).
Condition B+: repaired tears, abrasions and overpainting in margins and along vertical and horizontal folds; restoration over creases in printer’s text.
Estimate
$700 – $1,000
Earle duff (dates unknown)
SEATTLE WORLD’S FAIR. 1962.
41½x24¼ inches, 105½x61½ cm.
Condition A-: minor repaired tears and restoration in margins.
Estimate
$1,000 – $1,500
Clark teegarden & john “fred” herman (dates unknown)
PICTORIAL MAP OF THE REPUBLIC OF PANAMA WITH THE CANAL ZONE. 1940.
30¼x48 inches, 79¾x122 cm. Ridgway Litho. Co., Seattle.
Condition A-: expert overpainting and restoration in margins.
Estimate
$700 – $1,000
Lucien boucher (1899-1971)
AIR FRANCE / AMÉRIQUE DU SUD. 1950.
39x24½ inches, 99x62¼ cm. Perceval, Paris.
A cloud-like wing, suggestive of Air France’s emblem of the flying seahorse, lifts off to display the modern cities and verdant jungles of the continent below. In a clever graphic arrangement, the wing is in the shape of South America. This is the French version. Air France p. 43.
Condition A-: small repaired tears at edges; minor restoration along horizontal fold.
Estimate
$700 – $1,000
Designer unknown
FLY BY CLIPPER TO MEXICO / VIA PAN AMERICAN WORLD AIRWAYS.
41x28 inches, 104x71 cm.
Condition A-: repaired tears, minor creases and abrasions at edges.
Estimate
$700 – $1,000
Diederich (dieder) kortlang (1925-1974)
RIDING HOLIDAY IN MEXICO. 1964.
25¼x19¼ inches, 64x49 cm.
Condition A. Silkscreen. Paper.
Estimate
$700 – $1,000
Norman wilkinson (1882-1971)
CANADIAN PACIFIC / EMPRESS OF SCOTLAND.
39x24¼ inches, 99x61½ cm. Nissen & Arnold Ltd., London.
This is the French version.
Condition A-: margins slightly trimmed.
Estimate
$1,000 – $1,500
Designer unknown
CANADA / VACATIONS UNLIMITED. Circa 1949.
40x30 inches, 101½x76¼ cm. Canadian Government Travel Bureau.
This same image of Canadian symbols, personifications, wildlife and culture was used on the cover of travel booklets promoting Canadian tourism in 1949.
Condition B: losses, tears, repaired tears and creases at edges; tape stains at edges, showing through; faint ink stamp at bottom edge. Paper.
Estimate
$600 – $900
Thomas herbert hall (1885-1972)
VACATIONS UNLIMITED.
25¾x39½ inches, 65½x100¼ cm.
Condition B+: repaired tears and creases in margins and image.
Estimate
$800 – $1,200
Frank e. schoonover (1877-1972)
COLT’S / THE ARM OF LAW AND ORDER. 1925.
32½x19½ inches, 82½x49½ cm.
Schoonover, an accomplished member of the Brandywine School and student of Howard Pyle, was a contributing illustrator to magazines, children’s books and completed more than 5,000 paintings. This Colt poster featuring the iconic Frontier Sheriff Tex & his horse Patches epitomizes Schoonover’s passion for depicting cowboy and Western scenes. This is the English version.
Condition B+: small repaired tears, creases, abrasions and restoration at edges; restoration over abrasions in upper right; repaired pin holes in corners and at edges. Framed.
Estimate
$4,000 – $6,000
Luciano achille mauzan (1883-1952)
VERAMON / MATA EL DOLOR. 1928.
42½x28½ inches, 108x72½ cm. Editorial “Affiches Mauzan,” [Buenos Aires.]
Mauzan A454, Health 83.
Condition B+: bottom margin trimmed off; replaced losses, small repaired tear and restoration at edges; minor creases in image.
Estimate
$1,000 – $1,500
Obrad nicolitch (1898-1976)
MALLAT / TOUT S’EFFACE DEVANT LA GOMME MALLAT. 1957.
45x61½ inches, 114¼x156¼ cm. De la Vasselais, Paris.
Condition B+: sharp creases at edges and in image. Paper. Framed.
Estimate
$800 – $1,200
Milton glaser (1929-2020)
VALENTINE / OLIVETTI. 1968.
37¼x23½ inches, 94½x59¾ cm. Elli & Pagani, Milan.
"Some of my favorite posters for Olivetti were based on Italian art history. The 'mourning dog' comes from a Piero di Cosimo painting and remains one of my favorite animal images of all time. Putting the Valentine typewriter in the landscape creates a mystery that is not easily explained" (Glaser p. 100). Glaser p. 101.
Condition B+ / A-: minor repaired tears, creases and abrasions at edges; tape on verso at edges. Paper.
Estimate
$500 – $750
Politics, Automobiles & Exhibition
Designer unknown
THE FESTIVAL OF THE EXPECTED PAN - HELLENIC RISING. 1909.
22½x28¾ inches, 56½x73 cm. James P. Vafakos, Chicago.
Condition B: creases and abrasions in margins, slightly affecting image; staining, holes and tears at edges. Paper.
Estimate
$600 – $900
D’après nicolas lokhoff (1872-1948)
PYRAMID OF CAPITALIST SYSTEM. 1912.
18½x14½ inches, 47x36¾ cm. The International Pub. Co., Cleveland.
Based on a Russian flyer from 1901, this popular image seems to have first been published in America in the 1911 edition of Industrial Worker (The International Publishing Co., Cleveland, Ohio, U.S.), a newspaper of the Industrial Workers of the World. It then was issued as a poster in 1911 by the Cleveland firm of "Nedeljkovich, Brashich, & Kuharich" (See Swann sale 2284 lot 368). This 1912 printing issued by Kuharich is no less rare than the earlier 1911 printing.
Condition B / B+: margins and partial border trimmed off; minor abrasions in image; sharp creases in right image. Mounted on board.
Estimate
$2,000 – $3,000
Cavigiol (dates unknown)
CREMA DA TAVOLA ROSSA / LEGA AEREA NAZIONALE. 1927.
55¾x39 inches, 151½x99 cm. Baroni & C., Milan.
Sponsored by Italy’s National Air League, this commercial advertisement for “Red Table Cream” successfully masquerades as a travel poster, with its two depicted modes of transportation. To anyone who knows Italian, the text, “Raise the sails, youth of Italy in the wake of De Pineda” conveys the true purpose of the poster, endorsing Facism.
Condition B+: replaced losses in bottom corners; minor creases and abrasions in image; light bands of foxing in upper image; small pin holes in top corners. Framed.
Estimate
$1,500 – $2,000
Designer unknown
ANTI - SEMITISM / BELFAST ROAD SYNAGOGUE. 1931.
30x20¼ inches, 76¼x54½ cm. Joseph Coxhead.
A progressive Jewish congregation was formed in North London in 1921, and Maurice L. Perlzweig (one of the founding members of the World Jewish Congress) was Rabbi there and at the Liberal Jewish Synagogue. The congregation had a temporary synagogue on Belfast Road between 1927 and 1936.
Condition B+: loss at top right edge; minor repaired tears, creases and abrasions at edges and along folds.
Estimate
$600 – $900
Designer unknown
TRENTON INTER - STATE FAIR / “U - KNO - US.” 1916.
30x14¾ inches, 76¼x37½ cm.
Condition B+ / B: repaired tears at edges; creases and abrasions in margins and image. Framed.
Estimate
$400 – $600
Fritz kahn (1888-1968)
DER MENSCH ALS INDUSTRIEPALAST. Poster with 5 bound volumes. 1926.
37½x19 inches, 95¼x48¼ cm. Fricke & Co., Stuttgart.
Dr. Fritz Kahn was an Orthodox Jewish gynecologist in Berlin, who published popular illustrated books including The Cell and The Jews as a Race and Cultural People. In his books and articles, he "visualized the structure and function of the human body in a very unique way" (http://www.fritz-kahn.com). This poster of The Human as Industrial Palace is exemplary of one of his conceptual designs, presenting a playful but instructive comparison between industrialism and anatomy, and elevating the traditional medical diagram into 20th century graphic design. When the Nazis took power, Kahn's books were banned and publicly burned, and Kahn left Germany for Palestine and then the U.S., with the help of his friend Albert Einstein. While some of his works were translated into English, without the resources to produce new books, Kahn fell into obscurity. His innovative designs were still influential to future artists, and the first exhibition of his works, Fritz Kahn - Maschine Mensch, opened in Berlin in 2010 and featured this mechanical image. Includes the full poster, a second smaller poster, five bound volumes of Das Leben des Menschen (The Life of Man, 1922-1931), a black and white photo and additional foldouts. Images available upon request.
Condition A-: minor creases and abrasions at edges and along folds; minor tears along folds; archival tape at top corners on verso; pin hole in bottom right corner. Folded as issued. Paper.
Estimate
$2,000 – $3,000
Mathilde flögl (1893-1958)
WERKBUND AUSSTELLUNG WIEN. 1930.
35x23½ inches, 89x59¾ cm.
Czech artist Mathilde Flögl studied at the Vienna Kunstgewerbeschule, where she studied under Josef Hoffmann and Oskar Strnad. She joined the Wiener Werkstätte in 1916 and created decorative arts in numerous categories including textile, wallpaper, book design, posters, ceramic, glass and enameling. For the 25th anniversary of the Wiener Werkstätte, Flögl wrote and published The Wiener Werkstätte, 1903-1928: The Evolution of the Modern Applied Arts Exhibitions. In the 1920s, she was a member of the Wiener Frauenkunst - a group of women artists who broke away from the patriarchal art world and held many exhibitions in Vienna. She was also a member of the Austrian Werkbund, for whom she designed this exhibition poster with its strong geometric and typographic Bauhaus influences. Rare. Denscher p. 111.
From the Aminoff / Faccini Estate.
Condition A- / B+: minor repaired tears, creases and restoration at edges and along vertical and horizontal folds. Framed.
Estimate
$4,000 – $6,000
Various artists
DIE NEUE LINIE. Group of approximately 39 issues. 1939-1943.
Sizes vary, each approximately 14½x10½ inches, 36¾x26½ cm.
Group includes issues from 1939 (9 loose, 4 bound in hardcover book), 1940 (6), 1941 (5), 1942 (12), 1943 (3). Includes duplicates. Images available upon request.
Condition varies, generally B+.
Estimate
$800 – $1,200
Various artists
DIE NEUE LINIE. Group of approximately 38 issues. 1933-1938.
Sizes vary, each approximately 14½x10½ inches, 36¾x26½ cm.
Group includes issues from 1933 (3), 1934 (1), 1935 (3), 1936 (11), 1937 (6), 1938 (8 loose, 6 bound in hardcover book). Images available upon request.
Condition varies, generally B+.
Estimate
$800 – $1,200
Various artists
[FORWARD, NOT A STEP BACK!] & [AN EXHIBITION OF PRODUCTS OF NATIONALIZED (CONFISCATED) INDUSTRY.] Two posters. 1948.
Sizes vary, each approximately 36x24 inches, 91½x61 cm.
[February 1948 / Forward, not a Step Back!] is by Adolf Zabransky. Images available upon request.
Condition varies, generally B+: vertical and horizontal folds. Paper.
Estimate
$700 – $1,000
Alena cermakova (1926-2000) & bohumil nemec (1873-1966)
[FOR PEACE - FOR HOMELAND - FOR SOCIALISM] & [GRAIN IS WEALTH OF OUR HOMELAND.] Two posters. Circa 1950.
Each 33¾x24 inches, 85¾x61 cm.
Condition varies, generally A-: vertical and horizontal folds. Paper.
Estimate
$700 – $1,000
Various artists
[SOVIET PROPAGANDA.] Group of 4 posters. 1953-1954.
Sizes vary, each approximately 23x33 inches, 58½x83¾ cm.
Condition varies, generally A- / A: minor creases along vertical and horizontal folds. Paper.
Estimate
$700 – $1,000
E. soloviev (dates unknown)
[GLORY TO THE WORKERS OF SOVIET SCIENCE AND TECHNOLOGY!] 1959.
38½x26 inches, 97¾x66 cm. Izogiz, Moscow.
Condition A-: minor repaired tears and creases at edges.
Estimate
$700 – $1,000
Mitchell loeb (1889-1968)
YOUNG JUDAEA. Circa 1950.
22x17¾ inches, 55¾x45 cm. [Young Judaea National Office, New York.]
Condition B+: repaired tears, creases, abrasions and restoration in image and along folds; small replaced loss in lower right image; colors attenuated.
Estimate
$600 – $900
Rothschild & lippman (roli)
[A HAND FOR IMMIGRANTS.] Circa 1950s.
26½x18½ inches, 67¼x47 cm.
“A hand for the immigrants / Guidance for the mother / Education for the child / Occupation for the father.”
Condition B: replaced losses and overpainting at top corners and lower right edge, into corners and text; repaired tears, foxing and restoration at edges and in image; handwriting on verso, showing through.
Estimate
$700 – $1,000
Designer unknown
PLANT TREES / FOREST OF THE SIX MILLION. Circa 1950.
20½x14¾ inches, 52x37½ cm. [Jewish National Fund, New York.]
Condition B+: minor overpainting at top and bottom edges and in lower text where tape was removed; small replaced losses and repaired tears at bottom left edge.
Estimate
$350 – $500
Designer unknown
[TO THE BOY / WHO WILL TEACH HIM?] Circa 1955.
26x37½ inches, 66x95¼ cm. Levin-Epstein Ltd.
Condition B: small repaired tears and restoration in margins; repaired tears and minor overpainting along vertical and horizontal folds. Faded overall.
Estimate
$600 – $900
Designer unknown
CHANGING THE FACE OF ISRAEL. Circa 1955.
20x12¾ inches, 50¾x32¼ cm. [The Jewish National Fund, Israel.]
Condition A-: small replaced losses, minor repaired tears and repaired pin holes in corners.
Estimate
$400 – $600
Gerd rothschild (roli studio, 1919-1991)
[25TH ANNIVERSARY OF THE NATIONAL WORKERS FEDERATION.] 1959.
34x21¾ inches, 86¼x55¼ cm. Dror publishing.
Condition A-: minor repaired tears, creases and restoration at edges and along vertical and horizontal folds.
Estimate
$700 – $1,000
Abe gurvin (1937-2012)
NEW YORK CITY / THE 51ST STATE / MAILER FOR MAYOR. 1969.
36¼x23¾ inches, 92x60¼ cm. G. Ned Stone Company.
Condition A.
Estimate
$400 – $600
Albert beerts (dates unknown)
LA ROUTE LIBRE!?!?! . . .
22x34 inches, 55¾x86¼ cm. L’Atelier d’Edition d’Arts, Paris.
Condition B+: repaired tears and darkening in margins; creases in image.
Estimate
$400 – $600
Armand rapeño (1858-?)
LE SUSPENSION DES AUTOMOBILES / LÉON LAISNE. Circa 1920s.
29½x45½ inches, 75x115½ cm. Yves Bourgeois, Nantes-Paris.
Léon Laisne was a Nantes-based automobile manufacturer from 1913 to 1937. In 1926, an Englishman joined the company and his name was added to the firm’s, which became Harris Léon Laisne. Pictured here is the company’s Nouvelle 16-22 HP which was manufactured in the early 1920s.
Condition B: minor creases and abrasions in margins and image; small replaced loss at bottom left edge; overpainting in text, central image, and along central vertical fold. Matted and framed.
Estimate
$1,000 – $1,500
Pierre louys (1870-1925)
CITROËN. 1925.
61¾x44½ inches, 156¾x113 cm. Chaix, Paris.
This poster also exists in a larger, two-sheet version.
Condition B+ / A-: repaired tear at bottom right, through text; creases above lower text; minor abrasions in margins. Framed.
Estimate
$2,000 – $3,000
Designer unknown
17ÈME ANNÉE / AUTO - ÉCOLE GILBERT. Circa 1930s.
45¾x30 inches, 116¼x76¼ cm. Richier-Laughier, Paris.
Condition B+: repaired tears at edges, some into image; small losses, replaced losses, overpainting and staining in margins.
Estimate
$800 – $1,200
Jack le breton (dates unknown)
FIAT / THE CAR OF INTERNATIONAL REPUTATION. 1927.
58½x38¼ inches, 148½x97 cm. McLay, London.
Rather inexplicably, this poster for Italy’s premiere auto-maker, was printed in Great Britain and designed by a virtually unknown artist. The image was so popular however, that it was used on the cover of a 1984 publication on the company’s history. The poster combines the grace and elegance of ancient Rome with the modern splendor and power of the automobile. The image appears with several variations of overtext. Khachadourian p. 146.
Condition B+: repaired tears, small replaced losses, creases, abrasions and restoration in margins and image; repaired pin holes in corner. Framed.
Estimate
$1,500 – $2,000
Johannes handschin (1899-1948)
GROSSER PREIS MONTREUX. 1934.
50½x35½ inches, 128¼x90¼ cm. Klausfelder, Vevey.
Johannes (Hans) Handschin was a leader of the Basel graphic art movement in Switzerland. Inspired by both the object posters of Stoecklin, and the Art Deco aesthetic, he produced both airbrush-style posters - like this image for the Grand Prix in the Montreux, and hyper-realist depictions of Swiss-manufactured products. The race was held five times between 1924 and 1937. Poetics fig. 4.7.
Condition A-: expertly-repaired tears and creases at right edge; restoration in upper right corner. Mounted on Japan. Framed.
From the Aminoff / Faccini Estate.
Estimate
$10,000 – $15,000
John armstrong (1893-1973)
THESE MEN USE SHELL / YOU CAN BE SURE OF SHELL / FARMERS. 1939.
28¾x43½ inches, 73x110½ cm. [Waterlow, London.]
Condition A. Framed.
Estimate
$600 – $900
Richard guyatt (1914-2007)
THESE MEN USE SHELL / YOU CAN BE SURE OF SHELL / RACING MOTORISTS. 1939.
29½x44¼ inches, 75x112¼ cm. [Waterlow, London.]
Condition B+: replaced loss and repaired tear at left edge, into image; repaired tears and creases in margins.
Estimate
$1,000 – $1,500
John rattenbury skeaping (1901-1980)
THE WINNER . . . SHELL. 1952.
29½x39¼ inches, 75x99½ cm. Leonard Ripley & Co., London.
Skeaping, who was elected to the Royal Academy in 1960, was a sculptor and equine painter; both talents are visible here in this graceful and energetic rendering of a race horse. This is his only known poster.
Condition B+: expertly-repaired tears, replaced losses and restoration in margins.
Estimate
$700 – $1,000
R.j. “jock” kinneir (1917-1994)
THESE MEN USE SHELL / YOU CAN BE SURE OF SHELL / RIDERS TO HOUNDS.
30x45 inches, 72¼x114¼ cm. [Waterlow, London.]
Condition A-: minor repaired tears and overpainting at edges.
Estimate
$800 – $1,200
G. stanislaus brien (dates unknown)
SHELL OIL & PETROL / THE QUICK STARTING PAIR. Circa 1930s.
30x44½ inches, 76¼x113 cm.
Polish-born G. Stanislaus Brien was a linocut artist who designed posters for Shell, the London Underground and the LNER. He designed fewer than a dozen posters, and most of them depict animals. One of two variants, the other of which reads “Shell Oil & Spirit.” Rare.
Condition B+: minor water staining at bottom edge; minor repaired tears at edges; creases, abrasions and restoration along vertical and horizontal folds; some offsetting in text and image; repaired pin holes in top corners.
Estimate
$1,200 – $1,800
Jacques d’hondt (dates unknown)
14 MAI / GRAND PRIX INTERNATIONAL AUTOMOBILE. 1950.
38½x24¼ inches, 97¾x61½ cm. Beugnies et Urban, Mons.
Condition A-: minor repaired tears, creases and restoration along vertical and horizontal folds.
Estimate
$1,500 – $2,000
Various artists
MERCEDES - BENZ. Group of 8 small format posters. 1950s.
Each 11½x8¼ inches, 29¼x21 cm.
Images available upon request.
Condition varies, generally A-: some with punch holes in left margin.
Estimate
$1,000 – $1,500
Various artists
MERCEDES - BENZ. Group of 5 small format posters. 1955.
Each 11¾x8½ inches, 29¾x21 cm.
Images available upon request.
Condition varies, generally A-: some with punch holes and replaced punch holes in left margin.
Estimate
$1,000 – $1,500
Various artists
MERCEDES - BENZ. Group of 6 small format posters. 1955.
Each 11¾x8½ inches, 29¾x21 cm.
Images available upon request.
Condition varies, generally A-: some with punch holes and restored punch holes in left margin; slight darkening.
Estimate
$1,200 – $1,800
Geo ham (georges hamel, 1900-1972)
RALLYE MONTE CARLO / YACCO. 1959.
31x23 inches, 78¾x58½ cm. Bouchet Lakara, Paris.
Condition B+: minor repaired tears and creases at edges; staining and restoration at upper left edge.
Estimate
$700 – $1,000
Willy pot (1922-1991)
PHILIPS AUTORADIO / DRIVE ALONG . . . WITH A SONG . . . ! Circa 1960.
31x23¼ inches, 78¾x59 cm.
Condition A / A-: minor abrasions and slight darkening at edges. Paper.
Estimate
$500 – $750
Atelier erich strenger (1922-1993)
[PORSCHE.] Group of 5 posters. 1969-1972.
Sizes vary.
Group includes: 1000 Chilometri di Monza (1969); 1969 Rallye Monte Carlo; Les 24 Heures de Francorchamps (1969); Can-Am Road Atlanta (1972); andLaguna Seca Can-Am. Images available upon request.
Condition varies, generally A- / A.
Estimate
$800 – $1,200
Atelier erich strenger (1922-1993)
[PORSCHE.] Group of 8 posters. 1970-1977.
Sizes vary, each approximately 40x30 inches, 101½x76¼ cm.
Includes posters for racing series such as Daytona, Brands Hatch, and Can-Am. Images available upon request.
Condition varies, generally A- / A.
Estimate
$1,000 – $1,500
Atelier erich strenger (1922-1993)
[PORSCHE.] Group of 7 posters. 1970-1978.
Sizes vary, each approximately 40x30 inches, 101½x76¼ cm.
Includes posters for racing series such as Brands Hatch, 24 Heures du Mans and Hockenheimring. Images available upon request.
Condition varies, generally A- / A.
Estimate
$1,000 – $1,500
Atelier erich strenger (1922-1993)
[PORSCHE.] Group of 8 posters. 1970-1984.
Sizes vary.
Includes posters for racing series such as 24 Heures du Mans, Monterey Historic Automobile Races, and the Endurance World championship. Images available upon request.
Condition varies, generally A- / A.
Estimate
$800 – $1,200
Various artists
[ART EXHIBITIONS & CATALOGUES.] Group of 11 booklets & bound catalogues. 1920s-1940s.
Sizes vary.
Group includes: The Architect and the Industrial Arts, 1929; Municipal Art Gallery Atlantic City / Contemporary American Art (1929); Dreams that Money Can Buy (1947); Richard Ginori (Agenda Della Massaia, 1929); three catalogues of American Abstract Artists (1938, 1939, 1946); and four catalogues for the American Artists Congress (1936, 1938, 1939, 1940). Images available upon request.
Condition varies, generally B+: minor wear to covers and inside pages.
Estimate
$800 – $1,200
Various artists
[ART EXHIBITIONS / EVENTS.] Group of 6 posters. 1970s-1990s.
Sizes vary.
Group includes: L’Esprit Nouveau / Le Courbusier und die Industrie, by Max Bill; Zurcher Ballet / Balanchine, by Geissbuhler; David Hockney at André Emmerich; Will Barnet; Mondriaan / Haags Gemeentemuseum; and Folon / Galerie Librairie du Fleuve. Images available upon request.
Condition varies, generally A- / A. Paper.
Estimate
$600 – $900
Marc chagall (1887-1985)
MARC CHAGALL / GRAND PALAIS. 1969.
28x20 inches, 71x58¾ cm. Mourlot, Paris.
Condition B+ / A-: minor foxing or spotting in margins, some into image. Hand-signed by the artist. Paper. Affixed at top and sides to mat.
Estimate
$700 – $1,000
Marc chagall (1887-1985)
MARC CHAGALL / MUSEUM OF ART, KIBBUTZ EIN HAROD. 1979.
35x25 inches, 89x63½ cm. Grebel Grav Lith., Israel.
Condition A-: minor creases at edges; reds attenuated.
Estimate
$400 – $600
D’après marc chagall (1887-1985)
[THE REVOLUTION.] Artist’s Proof. 1963.
21¾x19 inches, 55¼x48¼ cm. Mourlot, Pairs.
Artist’s proof, aside from the edition of 150. Published by Painters as Witnesses of Their Time, Paris.
Condition A-: replaced lower right corner; minor abrasions and restoration at edges. Paper, hinged to mat. Matted.
Estimate
$1,500 – $2,000
D’après henri matisse (1869-1954)
[ART EXHIBITIONS.] Group of 4 posters.
Sizes vary.
Group includes: [Blue Nude II] (1952); Berggruen & Cie. (1953); Grand Palais (1970); and Dessins et Sculpture (1975). Images available upon request.
Condition varies, generally B+ / A-: time-staining at edges; foxing on some. Paper.
Estimate
$700 – $1,000
Pablo picasso (1881-1973)
AFFICHES ORIGINALES DES MAÎTRES DE L’ÉCOLE DE PARIS. 1959.
25x18¼ inches, 63½x46¼ cm. Mourlot, Paris.
From an edition of 1000. Bloch 1285, Mourlot 323, Reusse 754.
Condition A-: minor scuffing and abrasions at edges. Hand-signed by the artist in red crayon. Mourlot watermark in lower right corner. Paper, hinged to mat. Matted.
Estimate
$2,000 – $3,000
Wim crouwel (1928-2019 ) & claes oldenburg (1929- )
OLDENBURG / STÄDTISCHE KUNSTHALLE DÜSSELDORF. 1970.
37¼x25 inches, 94½x63½ cm. Stadsdrukkerij, Amsterdam.
Condition B+: time-staining and minor creases at edges; toned overall; hand-signed by Oldenburg in blue colored pencil. Paper, tipped to mount. Framed.
Estimate
$1,000 – $1,500
Gérard miedinger (1912-1995)
DAS PLAKAT / KUNSTGEWERBEMUSEUM ZÜRICH. 1953.
50x35 inches, 127x89 cm. Bollmann AG, Zurich.
For this international poster exhibition at the Zurich Kunstgewerbe museum, six artists were each assigned a letter of the word ‘PLAKAT’ to design as a poster. Miedinger joined Adolf Flückiger, Josef Müller-Brockmann, Hans Falk, Warja Honegger-Lavater and Celestino Piatti in creating this series. Each artist was given the freedom to choose their own style, Miedinger’s ‘K’ is strictly geometric, with flat planes of color. Swiss Graphic Design p. 165, MoMA 1505.2000.
Condition B: repaired tears at edges, some affecting image; creases, abrasions and staining at edges and in image; small losses at edges. Mounted on Chartex.
Estimate
$400 – $600
Saul steinberg (1914-1999)
THE NEW YORKER. 1976.
41½x29 inches, 105½x73½ cm. The New Yorker Magazine, Inc., New York.
Steinberg worked for The New Yorker for nearly 60 years, during which time he created almost 90 covers and over 1200 drawings for the magazine. The concept and rendering of this image are a perfect demonstration of Steinberg’s sense of the absurd, which was an instrumental part of his work. This image is by far his most famous. It originally appeared as a cover of the magazine on March 29, 1976, and became so popular that it was issued in this poster format.
Condition A.
Estimate
$1,200 – $1,800
Photo by michael halsband (1956- )
BASQUIAT * WARHOL / PAINTINGS. 1985.
18¾x11¾ inches, 47½x29¾ cm.
Condition A-: minor creases and abrasions along vertical and horizontal folds. Hand-signed by Warhol and Basquiat in marker. Paper.
Estimate
$2,500 – $3,500
Andy warhol (1928-1987)
ANDY WARHOL. Two posters.
Sizes vary.
Includes Andy Warhol / Louisiana (1975) and Warhol / Museum Van Hedendaagse Kunst (1964). Images available upon request.
Condition varies, generally B: creases, abrasions and foxing. Each hand-signed by the artist in pencil. Paper.