Graphic Design
Officers
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Chairman
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Administrator & Client Relations
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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
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Client Accounting
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European Secession & Art Nouveau
201
Lucian bernhard (1883-1972)
THUSNELDA MARGARINE. Circa 1910.
27½x18½ inches, 69¾x47 cm. Hollerbaum & Schmidt, Berlin.
Thusnelda Margarine "replaces the finest butter."
Condition B+ / A-: small tears and unobtrusive tape-repaired tears at edges; creases at edges and in image. Paper.
Estimate
$1,000 – $1,500
Ludwig hohlwein (1874-1949)
HERMANN SCHERRER. 1907.
38¼x26¼ inches, 97¾x67¼ cm. [Schön & Maison, Munich.]
An absolute masterpiece of modern graphic design, Hohlwein referred to this poster as “The man with the saddle.” The use of a subdued background serves to delineate the overall image from the checkered riding pants and scarlet waistcoat that Hohlwein constructed in a cut-out fashion, inventing a revolutionary style of illustration in the process. This image was so striking that it became an emblem of the company, which used it on catalogue covers and even on their clothing labels. When the German design magazine Gebrauchsgraphik dedicated an entire issue to Hohlwein, the artist drew a modernized version of the image, which shows just how important it was to Hohlwein himself. Hohlwein / Stuttgart 3 (var), Hohlwein / Munich p. 128 no. 101, DFP-III 1328, Modern Poster 56, Wember 406, Muller-Brockmann 59, Art Nouveau p. 237, Word and Image p. 43, Encyclopedie de l’Affiche p. 71, Rademacher pl 125.
Condition C: extensive repaired tears, creases and abrasions along vertical and horizontal folds; repaired tears at edges, one in upper image; losses, replaced losses, creases and abrasions in image; repaired pin holes in corners; margins removed. Mounted on Japan.
Estimate
$4,000 – $6,000
Ludwig hohlwein (1874-1949)
WELTAUSSTELLUNG BRÜSSEL. 1910.
24x32½ inches, 61x82½ cm. Hollerbaum & Schmidt, Berlin.
When Hohlwein received the official commission to design the poster for Germany’s participation in the 1910 Brussels World’s Fair, he stuck with a very academic artistic inspiration. The straightforward image of a naked man astride a horse is executed in Hohlwein’s singular style with the unexpected additional flourish of the Brussels skyline, laid out across the bottom of the poster. Hohlwein 120, DFP-III 1363, Wember 416.
Condition B: repaired tears, creases and abrasions in margins and along vertical and horizontal folds; rippling in unevenly-trimmed margins. Mounted on Chartex.
Estimate
$2,000 – $3,000
Ludwig hohlwein (1874-1949)
MITTELMEER - FAHRTEN / NORDDEUTSCHER LLOYD BREMEN. 1913.
27x37¼ inches, 68½x94¼ cm. Ver Druck u. Kunstanstaleten, Munich.
DFP-III 1463, Hohlwein 122, Hohlwein / Stuttgart 108, Hohlwein / Frenzel 39.
Condition B: creases, rippling and scuffing in margins and image; darkening in right image; trimmed unevenly at edges. Mounted on Chartex.
Estimate
$2,500 – $3,500
Ludwig hohlwein (1874-1949)
HERRSCHING / KERAMISCHE WERKSTÄTTEN. 1910.
44x30¾ inches, 111¾x78 cm. G. Schuh, Munich.
From 1908 to 1914, the Munich-Herrsching Ceramic Works was a prominent producer of Jugendstil pottery. Hohlwein’s graphic still life with three vases is an exceptional design, in which the window is reflected in the vessels, an effect that Hohlwein achieves using the white of the paper. The bold image is further strengthened by the organization of the typography which is firmly aligned with the width of the image. Hohlwein / Stuttgart 32, Hohlwein / Munich p. 156, DFP-III 1364, MoMA 82.1990.
Condition B: repaired tears, sharp creases, flaking and rippling in margins; crease and abrasions in image. Mounted in Chartex.
Estimate
$2,000 – $3,000
Julius gipkens (1883-1969)
AUSSTELLUNG ALT - CHINA. 1911.
26x36 inches, 66x91¾ cm. Hollerbaum & Schmidt, Berlin.
A self-taught poster artist, Gipkens was extremely active both before and after World War I. This poster, architecturally composed and with impeccable typography, is one of the finest examples of what the pre-First World War German poster school could produce. DFP-III 1016.
Condition C: repaired tears, abrasions and extensive creases and rippling throughout; small losses at edges. Mounted on Chartex.
Estimate
$1,500 – $2,000
Julius klinger (1876-1942)
BÜROMÖBEL / EDMUND BOEHM & CO. 1910.
28¼x35 inches, 71¾x89 cm. Hollerbaum & Schmidt, Berlin.
Klinger studied art in Vienna, and worked in Berlin for the printer and publisher Hollerbaum & Schmidt, as well as for the satiric magazine Lustige Blätter. He was a prolific, versatile and inventive graphic artist, recognized as one of the best German poster artists and illustrators working in pre-War Berlin. He was also an accomplished typographer, whose style ranged from the flat tones and strong outlining (popular in Germany at the time), to bold and daring graphic constructions and humorous caricatures, to strictly typographic pieces like this one. He was also an accomplished typographer, whose style ranged from the flat tones and strong outlining (popular in Germany at the time), to bold and daring graphic constructions and humorous caricatures, to strictly typographic pieces like this one. DFP-III 1717, Klinger p. 138.
Condition B+: minor repaired tears, abrasions and slight staining at edges; creases in margins and image. Mounted on Chartex.
Estimate
$2,000 – $3,000
Louis oppenheim (1879-1936)
DIE KORNFRANCK - TANTE. Circa 1908.
26¼x17¼ inches, 66¾x43¾ cm. [“Kornfranck” Gesellschaft mit beschränkter Haftung, Berlin].
This image is so similar in style to the early work of Ludwig Hohlwein, involving solid planes of color, no outlining and a geometric pattern on the shawl, that it has frequently been misattributed to him. The product is corn coffee, produced by Heinrich Franck Sohne GmbH; the image of “the Kornfranck Aunt” is one of wholesome maternal comfort, suggesting that this ersatz coffee has connections to the traditions of the past. DFP-III 1431, Hohwlein / Stuttgart 433, Hohlwein / Munich 178-16, German Expressionist Art 33.
Condition B: repaired tears at edges; creases and abrasions at edges and in image; margins and printer’s information trimmed off. Mounted on Japan.
Estimate
$600 – $900
Karl schulpig (1884-1948)
W. HOFFMANN PIANOS. 1912.
27x18¼ inches, 68½x46¼ cm. Adolf Simmel, Berlin.
A painter and a poster designer, Schulpig was very active in Berlin. In 1905, when Lucian Bernhard invented the Object Poster, with his seminal image for Priester matches, he could not have foreseen how much his new style would influence an entire generation of poster artists. Bernhard’s poster for Steinway & Sons, in 1910 (see Swann Sale 2099, Lot 103), was a pure manifestation of this new style; a flat representation of the object, huge lettering and a monochromatic background. Schulpig’s cleanly-executed image can certainly be considered a “tribute” to Bernhard, neatly recreating the feeling of the poster, albeit with slightly more detail to the piano and more text. Schulpig was not the only artist to find “inspiration” in Bernhard’s piano imagery, as Julius Gipkens borrowed liberally from the style for his poster for Pianos Steck (see DFP-III 1044). Not in DFP, Muller-Brockman 131.
Condition B+: creases in image; margins slightly trimmed. Mounted on Chartex.
Estimate
$800 – $1,200
Walter schnackenberg (1880-1961)
KOSTÜME / PLAKATE UND DEKORATIONEN. Complete book. 1922.
13¼x10½ inches, 33½x26¾ cm. Musarion, Munich.
Introductory text by Oskar Bie, comprising 43 plates, beautifully colored in pochoir, some heightened in gold. This is the 2nd edition; the 1st was printed in 1920.
Condition B+: abrasions and scuffing to covers, foxing on back cover; spine reinforced inside, but separating in some places; slight scuffing on some plates.
Estimate
$2,000 – $3,000
Designer unknown
LEIPZIGER REKLAMEMESSE. 1920.
29¾x20½ inches, 75½x52 cm. Niedersedlitz, Dresden.
Condition A-: minor creases and abrasions at edges; hinged to mount. Paper. Framed.
Estimate
$500 – $750
Artúr lakatos (1880-1968)
PENSION GERÖ BUDAPEST LIPOTKORUT.
23¾x18½ inches, 60¼x47 cm. Lengyel Lipot, Budapest.
Condition B+ / A-: repaired tears in upper right corner, into image; minor creases and restoration at edges. Framed.
Estimate
$1,500 – $2,000
Erwin puchinger (1875-1944)
WIENER KUNSTGEWERBE - VEREIN. 1912.
47½x34¾ inches, 120½x88¼ cm. Jacob Weiner, Vienna.
Erwin Puchinger was a Viennese artist, who was an influential participant in the Austrian Jugendstil and Gesamtkunstwerk circles. Both of these movements worked to meld fine art traditions with applied art and to standardize their tenets of design. Puchinger worked in London, Prague and Paris as well as Vienna. Classical Greek & Roman art and architecture, which were studied by his peers, also impacted Puchinger's aesthetic and is very much apparent in this poster for the Vienna Arts and Crafts Association.
Condition B: water staining in bottom left corner; repaired tears, creases and abrasions at edges, in image and along vertical and horizontal folds; small losses at edges. Mounted on Chartex.
Estimate
$2,500 – $3,500
Fritz zerritsch (1888-1985)
3HD INTERNATIONAL CONGRESS OF WOMEN / FOR PEACE AND FREEDOM. 1921.
37½x24¾ inches, 95¼x62¾ cm. J. Weiner, Vienna.
Condition B+: repaired tears, small replaced losses, creases and restoration in margins and along vertical and horizontal folds.
Estimate
$1,000 – $1,500
Hans neumann (1888-1960)
IBUS / BRIEF PAPIERE KUVERTS. Circa 1922.
49x36¾ inches, 124½x93¼ cm.
Condition B+: repaired tears at edges; restoration along vertical and horizontal folds and in image.
Provenance: From the Hans Sachs Collection, with collector's label on verso of linen.
Estimate
$1,500 – $2,000
Lupus (hans wolff, 1892-?)
RIKOLA BÜCHER. 1924.
18½x23½ inches, 47x59½ cm.
Condition A: minor restoration at edges.
Estimate
$1,500 – $2,000
Jan sluijters (1881-1957)
GEMÄLDE AUSSTELLUNG HOLLÄNDISCHER MEISTER. 1913.
41¼x27¼ inches, 104¾x69¼ cm. J.E. Wolfensberger, Zurich.
Dutch Poster 43.
Condition B+: reattached loss at upper right margin; small tears, repaired tears and creases at edges; archival tape on verso. Paper.
Estimate
$1,500 – $2,000
Jan sluijters (1881-1957)
AVOND - FEEST CONCERTGEBOUW AMSTERDAM. 1915.
44¾x28 inches, 113½x71 cm. Senefelder, Amsterdam.
Condition B-: repaired tears, creases and flaking in margins; creases, abrasions and restoration in image and along vertical and horizontal folds; pin holes in corners; toned overall. Mounted on Chartex.
Estimate
$2,000 – $3,000
Swiss Designers
Emil cardinaux (1877-1936)
SCHWEIZERISCHE LANDESAUSSTELLUNG BERN. 1914.
33x24½ inches, 83¾x62¼ cm. [J.E. Wolfensberger, Zurich.]
Cardinaux studied painting with Franz von Stuck in Germany, and also worked in Paris before returning to Switzerland where he became one of the founding fathers of Swiss poster art. In 1908, his poster for Zermatt with its flat colors and broad outlining was a revolution in the Swiss graphic art world. This fauvist image of a yellow horseman astride a green horse, promoting a Swiss Exhibition, proved to be scandalous; it took a patriotic subject and treated it with such unrealistic color that the normally passive Swiss surprised everyone by rallying against it. Cardinaux 37, Plakat Kunst p. 70, Muller-Brockmann 66, Schweiz / Kulturelle 16, Schweiz / Plakat p. 32, Weill 203.
Condition B: tears and repaired tears at edges; creases, abrasions and restoration along vertical and horizontal folds; margins trimmed. Paper.
Estimate
$1,200 – $1,800
Charles hindenlang (1894-1960)
GEWERBE MUSEUM WEIHNACHTSVERKAUF. 1923.
50x35½ inches, 127x90¼ cm. W. Wassermann, Basel.
Condition A-: small tears and minor creases at edges. Paper.
Estimate
$500 – $750
Niklaus stoecklin (1896-1982)
DER BUCHDRUCK. 1922.
50x35¼ inches, 127x89½ cm. W. Wassermann, Basel.
Stoecklin p. 53, Modern Poster 115, Realisme 36, Avant Garde p. 132, Schweiz / Plakat p. 41, MoMA 455.1985.
Condition A: tears at edges; creases in margins and image; hinged to mount. Paper. Framed.
Estimate
$7,000 – $10,000
Niklaus stoecklin (1896-1982)
QUODLIBET MASKEN BALL / CASINO BASEL. 1929.
50x35¼ inches, 127x89½ cm. W. Wassermann, Basel.
Stoecklin p. 65.
Condition A-: creases in margins and image; hinged to mount. Paper. Framed.
Estimate
$1,500 – $2,000
Otto baumberger (1889-1961)
KUNSTHAUS MASKENFEST / BAUR AU LAC. 1929.
50x35¼ inches, 127x89½ cm. Orell Füssli, Zurich.
Baumberger was one the most prolific Swiss graphic designers, and also one of the most versatile. His posters switched nimbly between minimal typographic creations, abstract and realistic landscapes, the near photographic representation of objects via the Neue Sachlichkeit and concise Art Deco designs. Baumberger 146.
Condition A-: creases in margins and along vertical and horizontal folds; hinged to mount. Paper. Framed.
Estimate
$2,500 – $3,500
Otto baumberger (1889-1961)
KUNSTHAUS - MASKENBALL / BAUR AU LAC. 1932.
50x35½ inches, 127x90¼ cm. Gebr. Fretz, Zurich.
Baumberger 170.
Condition A-: small tears at edges; creases at edges and in image; hinged to mount. Paper. Framed.
Estimate
$1,000 – $1,500
Otto baumberger (1889-1961)
ART. INSTITUT / ORELL FÜSSLI. 1928.
50x35½ inches, 127x90¼ cm. Orell Füssli, Zurich.
This typographic poster promotes the different services available from one of Zurich’s top printing houses. Baumberger 145, Realisme 37.
Condition A-: creases at edges and in image; hinged to mount. Paper. Framed.
Estimate
$800 – $1,200
Otto baumberger (1889-1961)
FORSTER TEIL AUSVERKAUF. 1928.
50¼x35½ inches, 127½x90¼ cm. J.C. Müller, Zurich.
In this poster for the Forster carpet firm, Baumberger uses geometric forms to represent "the end view of a roll of floor covering and the rectangle of a rug" (Swiss Graphic Design p. 58). MoMA 326.1984, Modern Poster 124, Swiss Graphic Design p. 58, Baumberger 136, Realisme 48, Made in Switzerland p. 54.
Condition B+: sharp creases at edges and in image; small tears and abrasions at edges; hinged to mount. Paper. Framed.
Estimate
$3,000 – $4,000
Otto baumberger (1889-1961)
FORSTER / TEIL - AUSVERKAUF. 1930.
50¼x35½ inches, 127½x90¼ cm. J.C. Müller, Zurich.
In this advertisement for Forster, for a sale of carpet remnants, Baumberger “adopted the cleanist Modernism. The rectangle defined by a heavy line, placed obliquely and cropped, is both an echo of Van Doesburg’s paintings of the same time and a precursor of the most minimal ‘Swiss’ Style of 30 years later” (Swiss Graphic Design, p. 35). Swiss Graphic Design p. 35, Baumberger 158, Realisme 46.
Condition A-: small tears and creases at edges; minor creases in image; hinged to mount. Paper. Framed.
Estimate
$3,000 – $4,000
Burkhard (dates unknown)
GRAFA / I. GRAPHISCHE FACHAUSSTELLUNG. 1933.
50¼x35¼ inches, 127x90¼ cm. J.C. Müller, Zurich.
MoMA 491.1983, Modern Poster 116.
Condition A-: small tears at edges; minor creases in image; hinged to mount. Paper. Framed.
Estimate
$800 – $1,200
Walter käch (1901-1970)
PLAKAT AUSSTELLUNG / KUNSTGEWERBEMUSEUM ZÜRICH. 1933.
50½x35¼ inches, 128¼x89½ cm. J.C. Müller, Zurich.
Swiss Graphic Design p. 63.
Condition B+: sharp creases at edges and in image; small tears at edges; slight foxing at right edge; hinged to mount. Paper. Framed.
Estimate
$1,000 – $1,500
Ernst keller (1891-1968)
DAS NEUE HEIM. 1928.
50¼x35¼ inches, 128¼x89½ cm. J.C. Müller, Zurich.
A key figure in Swiss graphic design and international typography, Ernst Keller taught at the Kunstgewerbe Schule in Zurich from 1918 until he retired in 1956, imparting his key tenets of simplicity and legibility to two generations of Swiss designers. Keller designed a version of this poster in 1926 (for an earlier exhibition), with the two primary colors inverted. Two years later, with the exhibition held in a different venue, he revamped the earlier design. Using bold, sans-serif typography, he organized the space to provide impeccable legibility. This poster served as a model for many designers who continued to use the same system for decades. Muller-Brockmann no. 139 (var), MoMA 877.1979.
Condition B+: repaired tears, creases and restoration at edges and along vertical and horizontal folds; replaced losses in margins, some slightly into image. Framed.
Provenance: From the collection of Albert Albano.
Estimate
$2,000 – $3,000
Ib andersen (1907-1969)
BYGGE OG BOLIG. 1929.
33x24½ inches, 83¾x62¼ cm. Chr. Cato, [Copenhagen.]
For an exhibition of “Construction and Housing,” Andersen shows us just that - a superb, architectural rendition of a room seen via a cut-away view. The artist’s familiarity with the Avant-Garde movements of Europe is clearly on display, both in the near-Bauhausian backdrop of a black and white cityscape and in the tribute to De Stijl in the primary colors of the buildings and sky. Danish 72.
Condition A-: minor repaired tears and creases at edges and in lower text. Framed.
Estimate
$3,500 – $5,000
Jerk werkmäster (1896-1978)
TEKNISKA MUSEET / MUSEIVAGEN. 1938.
32½x23½ inches, 82½x59¾ cm.
This poster for the The Swedish National Museum of Science and Technology (founded in 1923), was designed by Swedish artist, graphic artist and craftsman Jerk Werkmäster.
Condition B+: repaired tears and restoration at edges; creases in margins and image; time-staining in upper right corner; repaired pin holes in corners.
Estimate
$700 – $1,000
Geneviève lecornu (dates unknown)
GRAND PALAIS PARIS /5EME EXPOSITION DE L’HABITATION. 1938.
46½x30¼ inches, 118x76¾ cm. L’Architecture d’Aujourd’ Hui, Boulogne.
For the 15th exhibition of Household Arts and Modern Architecture, Lecornu presents the sleek white outline of a modern Bauhaus building against the orange outline of a traditional house.
Condition A-: minor repaired tears and slight foxing in margins.
Estimate
$1,000 – $1,500
Wim crouwel (1928-2019)
[ARCHITECTURE EXHIBITIONS]. Group of three posters.
Sizes vary, each approximately 31x22 inches, 78¾x55¾ cm.
Group includes: De Stijl / Van Doesburg (1983); Voorgeschiedenis (1983); and Architectuur Stedelijk (1959). Images available upon request.
Condition varies, generally A.
Estimate
$800 – $1,200
Dada & Bauhaus
Designer unknown
TANZSTUDIO WULFF / NEUE BALLETTE. Circa 1932.
31¼x19½ inches, 79¼x49½ cm. Buchdruckerei Haupt, Basel.
Condition B+: small losses and darkening at edges; printed on thin paper.
Estimate
$700 – $1,000
Kurt schwitters (1887-1948) & theo van doesburg (1883-1931)
KLEINE DADA SOIRÉE. 1922.
11¾x11¾ inches, 30x30 cm.
Late in 1922, Schwitters and van Doesburg planned a small tour around the Netherlands with a traveling Dada show in order to introduce local artists to their work. The initial evening had been scheduled for December 27, but Schwitters had problems with his passport and the first show was delayed until January 10. In all, there were 17 separate performances in 8 different locations. The first event was held at the Haagsche Kunstkring in The Hague. The address of the venue is included in the poster’s upper right corner (“Haagsche K.K. Binnenhof 8”). For subsequent performances in other locations, the poster was slightly changed; this address was removed and a small plug for van Doesburg’s Dada magazine, Mécano, was added that read, “Abonnement Mécano F5 per Jaar.” Otherwise, the two versions of the poster are identical. The poster has the event program and Dada slogans presented in sophisticated disorder, using different hand drawn typography and varying font sizes. “The poster’s discordant appearance reflects the tenor of many Dada evenings” (moma.org/learn). Modern Poster p. 102 (var), Avant Garde p. 38, Berman p. 38, MoMA 178.1945 (var).
Condition A-: minor creasing in corners; small tear at left edge; errant pencil notation in lower left; horizontal fold. Paper.
Estimate
$8,000 – $12,000
Kurt schwitters (1887-1948) & theo van doesburg (1883-1931)
KLEINE DADA SOIRÉE. Proof. 1922.
11¾x11¾ inches, 30x30 cm.
This is the scarce version before the red plate.
Condition A- / B+: repaired tear in lower left image; small tears and creases at edges; pencil markings at left edge. Paper.
Estimate
$6,000 – $9,000
Walter dexel (1890-1973)
VERWENDE STETS NUR GAS. 1924.
20x26¼ inches, 50¾x66½ cm.
A painter, typographer, graphic designer and teacher, Dexel was appointed as the director of the Art Union in Jena, a central German university town. Closely associated with the Bauhaus, he became one of the most prominent practitioners of Constructivism. Here, promoting the use of gas [“Always use gas for cooking, baking, heating, lighting / because it is practical, clean, inexpensive / Saves work, time, money,”] one sees the confluence of art and commerce, wherein the most mundane of advertisements can be presented in an elevated manner. Dexel’s strict Constructivist style “used exclusively typography and abstract geometrical markers” (Avant Garde p. 64). He eschewed pictorial imagery for the “the use of ornament based entirely on the precise geometric forms of the rectangle and the circle, and the almost exclusive use of a geometrically based sans-serif type” (Word & Image p. 56). Dexel p. 56, Word & Image p. 64, Modern Poster p. 108, Avant Garde p. 152, Weill 250, Euro Deco p. 208, Berman / Juan March p. 193, MoMA 303.1937.
Condition A: mounted on artist board, tipped to mount. Framed.
Estimate
$20,000 – $30,000
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), additional foldouts & two pairs of 3D glasses. Images available upon request.
Condition A. Folded as issued. Paper.
Estimate
$2,000 – $3,000
Johannes molzahn (1892-1965)
WOHNUNG UND WERKRAUM. 1929.
23½x33 inches, 59¾x83¾ cm. Friedrichdruck, Breslau.
Molzahn was a painter, printmaker, graphic designer, theorist and teacher. Although he was never officially a member of the Bauhaus, his work did appear in the group’s third portfolio. In 1928, his seminal essay, “Stop Reading, Look!” hailed photography as the powerful new universal medium that would become a liberating means of communication. In 1929, he designed this and one other poster for an architectural and design exhibition in Breslau, Dwelling and Workplace. It is a tour-de-force of photomontage, typography and composition, in which all the elements of design and construction are represented. In 1938, Molzahn left Germany for America (seven of his artworks had been put on display in 1937 at the German Degenerate Art Exhibition). He taught at Moholy-Nagy’s School of Design in Chicago from 1943-1947 and returned to live in Germany in 1959. Rademacher p. 240, Modern Poster 106, Modernism 127, Kunst 320, Berman / Juan March p. 130, MoMA 346.1937.
Condition B+: repaired tears, creases and abrasions at edges and along vertical and horizontal folds; minor loss at top edge; pin holes in corners; colors attenuated. Mounted on Japan, tipped to mount. Framed.
Estimate
$15,000 – $20,000
Erwin hahs (1887-1970)
DEUTSCHE WOCHE DEUTSCHE ARBEIT DEUTSCHE WARE. Circa 1930s.
32¾x23¾ inches, 83x60¼ cm. Carl Warnecke, Halle.
A typographic image influenced by Herbert Bayer’s Bauhaus typeface, Bayer Universal (1925).
Condition B+ / A-: small repaired tears at edges; creases and abrasions at edges and along horizontal fold.
Estimate
$800 – $1,200
Alexander rodchenko (1891-1956)
[DOBROLET.] 1923.
13¾x17¾ inches, 35x45 cm.
Dobrolet, the Russian Society of Volunteer Air Fleet, was founded in 1923 as part of Lenin’s New Economic Policy, which allowed for a form of limited capitalism in certain large businesses. As a partially public company, it originally sold shares to Russian citizens. Rodchenko was employed to help market the company and went on to design posters and other advertising material for them. The text on this poster reads, “To All . . . If one is not a shareholder of Dobrolet, one is not a citizen of the USSR / One golden ruble makes everyone a shareholder of Dobrolet.” During the mid to late-1920s Rodchenko worked with Vladimir Mayakovsky on advertising campaigns for Mosselprom and GUM as well as Dobrolet. In the 1930s, the company lost its shareholder status and became part of the Soviet collective economy - as “Aeroflot.” Rodchenko, who was young and virtually unknown when he began his association with Dobrolet, used “simple geometric forms as the material for visual inventions and combinations . . . by means of pure geometric forms, all the shapes were transformed into symbolic patterns (signs), that could be visually simple and as clearly understandable as letters of the alphabet” (Rodchenko / Lufthansa p. 31). This poster was printed in four different color schemes, including red and black, red and green, green and black, and red and blue. Rodchenko 82, Modern Poster 133, Avant Garde p. 120 (var), Rodchenko / Lufthansa p. 68 (var), Aeroflot p. 17, Art and Power p. 161, MoMA 497.1987.
Condition A-: minor creases in margins; small tears at edges; color attenuated; tipped to mount. Paper. Framed.
Estimate
$20,000 – $30,000
El lissitzky (1890-1941)
WENDINGEN. Deluxe hardcover edition. Volume IV, Number 11. 1921.
13x12½ inches, 33x31¾ cm. De Hooge Brug, Amsterdam.
<QL Edited and with interior typography by H. Theodorus Wijdeveld. 16 photographic plates and 4 illustrations of Wright designs. This is from the Deluxe edition of 75 hardover issues in English (200 standard edition soft cover copies were published). This issue of the Dutch architectural journal Wendingen was dedicated entirely to the work of Frank Lloyd Wright. The text by H.P. Berlage is accompanied by numerous illustrations of the celebrated architect’s work and features one of El Lissitzky’s most famous Suprematist designs. MoMA 979.1983, The Russian Avant-Garde Book 146, Sweeney 143, Wendingen p. 122.
Condition B+: darkening, deep scratch and minor abrasions to front cover; boards unevenly toned; spine worn, with losses at ends, remaining paper partially re-glued; slight foxing on inside covers; bearing Lissitzky’s stamp in the lower right corner of front cover; original covers, re-strung with black thread. Prospectus in Dutch included inside.
Estimate
$2,000 – $3,000
Hand-Inscribed by Jan Tschichold to Czech architect Zdenek Rossmann in 1937.
244
El lissitzky (1890-1941)
PRO DVA KVADRATA. Book, inscribed by Tschichold. 1922.
11x8¾ inches, 28x22¼ cm. “Skythen,” Berlin.
A key figure of the Russian Avant Garde, Lithuanian Jewish artist Lissitzky was known for his typography, photography, architecture, and propaganda design, as well as his belief that artists could use their work to bring about change. He began his career as an illustrator of Yiddish children’s books. About Two Squares is Lissitzky’s children’s fable about a black square and a red square that fly to earth. Signifying the supremacy of the modern Soviet order (the red square) over the old and conventional (the black square), Lissitzky uses his signature abstract style, combining ideals of the Suprematists, like Malevich, with elements of the Constructivist movement that he favored. Book with seven letterpress illustrations (including cover). Page Design p. 160-1, Witkovsky pl. 12, MoMA 89.2001.
Condition B+: reinforced spine; color on cover attenuated. Pencil inscription on inside cover from Jan Tschichold to Czech architect Zdenek Rossmann, 1937.
Estimate
$8,000 – $12,000
El lissitzky (1890-1941)
[FOR THE VOICE]. Book. 1923.
7½x5¼ inches, 19x13¼ cm. Lutze & Vogt for the State Publishing House, Berlin.
A landmark work for the Russian avant-garde movement, “For the Voice” represents an important period in the development of Constructivist design by Lissitzky. The title, “Dlia Golosa” derives from Russian Futurist Mayakovsky’s 13 poems, which were meant to be read aloud. His innovative graphic design and typography are displayed in full force in this small book of 25 letterpress illustrations. “Lissitzky’s invention of a thumb-tab index for ease in finding each poem epitomizes the notion of the book as functional object.” Witovsky 37, MoMA 280.2001.1-25.
Condition B+: water staining and fading to covers; ink stamp on back cover; inside pages clean.
Estimate
$6,000 – $9,000
Herbert bayer (1900-1985) & laszlo moholy-nagy (1895-1946)
STAATLICHES BAUHAUS IN WEIMAR 1915-1923. Bound volume. 1923.
9¾x10 inches, 24¾x25½ cm. Bauhausverlag, Munich.
This is one of 2000 German-language versions, from a total edition of 2600. The last page reads: “This book was produced in an edition of 2600 copies, 2000 in German, 300 in English and 300 in Russian.” This first book published by the Bauhaus came out in conjunction with the 1923 Bauhaus exhibition and highlighted the accomplishments of the school to date. Numerous plates (several lithographed) and text illustrations by M. Breuer, K. Schwerdtfeger, W. Kandinsky, H. Bayer, P. Klee, L. Moholy-Nagy (who designed the book), and many others. A & O p. 67, Modernity p. 153, Aynsley p. 87, Page Design 244, Met 2001.392, Stedelijk KNA 11672, Central European p. 212.
Condition A-: minor wear along spine; slight toning inside.
Estimate
$5,000 – $7,500
"We do not speak a capital ‘A’ and a small ‘a.’ We need only a single alphabet." - Herbert Bayer
247
Herbert bayer (1900-1985)
UNIVERSAL TYPE / BREIT HALBFETT. Ink and gouache maquette. Circa 1925.
9¼x12½ inches, 23½x31¾ cm.
“In 1925, [Walter] Gropius commissioned Bayer to design a typeface for all Bauhaus communications . . . He used his approach to modern typography to create an ‘idealist typeface” (Designhistory.org). This hand-drawn and notated maquette appears to be the exact template used for the Universal Type image published in MoMA’s 1938 exhibition catalogue Bauhaus 1919-1928. The typeface displayed is captioned as “Universal type, characters at base show bold, medium and light weights, 1925. Improved 1928.”The rendering of this typeface (with the same spacing and formatting as this maquette) was also reprinted in PM Magazine, Vol. 6, No. 2, December 1939, an issue that was designed by and featuring Bayer. In the article about Universal Type, Bayer details his requirements for a new alphabet, including the “geometric foundation of each letter,” avoidance of hand-written elements, like up and down strokes, and varying thickness, and simplification of forms to the most basic. “Banishing diagonals wherever possible, he constructed characters such as “k” and “x” with circular segments in place of the expected angles” (Modernity p. 200). Perhaps most noticeable in this new alphabet, is the absence of capitalized letters. Two other ink and guache maquettes for Univeral lettering are in the collections of the Harvard Art Museum (Modernity p. 201).
Condition A-: ink, pencil and correction fluid on paper, affixed to artist board, with cracking and repairs on verso; Bayer’s handwritten notes in pencil as well as typewriter text insert at bottom; small holes in corners of board for hanging; dated 1925 on verso; hinged to mat. Matted and framed.
Estimate
$10,000 – $15,000
Herbert bayer (1900-1985)
DAS WEISSE FEST. Invitation. 1926.
8x11 inches, 20¼x28 cm. Bauhausdruck.
An invitation to “The White Party, the spring festival of the Bauhaus people on March 20, 1926, topping-out ceremony for the new Bauhaus building on March 21, 1926.” MoMA 541.1977.
Condition A. Paper. Matted and framed.
Estimate
$700 – $1,000
Herbert bayer (1900-1985)
EINLADUNG ZUM BART NASEN HERZENS FEST, DER BAUHAUSKAPELLE. Invitation. 1928.
6x16¼ inches, 15¼x41¼ cm, unfolded. Bauhausdruck.
An “invitation to the Bart Nasen Herzens Fest, the Bauhaus band.” MoMA 570.1977.
Condition A: vertical folds, as issued. Paper. Matted and framed.
Estimate
$800 – $1,200
Herbert bayer (1900-1985)
DIE NEUE LINIE / [BAYER COVERS.] Group of 5 issues. 1930s.
Each 14½x10½ inches, 36¾x26½ cm.
Group includes full issues for March 1933, September 1933, December 1934, February 1936 and May 1936. With- one detached Bayer cover, March 1937, and a two-page spread by the artist. Images available upon request.
Condition varies, generally A-.
Provenance: From the collection of Albert Albano.
Estimate
$400 – $600
Herbert bayer (1900-1985)
DIE NEUE LINIE / [BAYER COVERS.] Group of 5 issues. 1930s.
Each 14½x10½ inches, 36¾x26½ cm.
Group includes full issues for July 1936, March 1937, September 1937, January 1938 and August 1938. With- two detached Bayer covers, June 1934 and July 1935. Images available upon request.
Condition varies, generally A-.
Provenance: From the collection of Albert Albano.
Estimate
$400 – $600
Various artists
DIE NEUE LINIE. Group of 17 issues. 1933-1937.
Each 14½x10½ inches, 36¾x26½ cm.
Images available upon request.
Condition varies.
Provenance: From the collection of Albert Albano.
Estimate
$400 – $600
Various artists
DIE NEUE LINIE. Group of 14 issues. 1938-1943.
Each 14½x10½ inches, 36¾x26½ cm.
Images available upon request.
Condition varies.
Provenance: From the collection of Albert Albano.
Estimate
$400 – $600
Herbert bayer (1900-1985)
[GERMAN TRAVEL GUIDES.] Group of 7 books & pamphlets. 1930s.
Sizes vary.
Group includes: Deutsches Volk Deutsche Arbeit (1934); Das Schöne Begatal; Dörenschlucht-Lippe; Nordlippisches Bergland; Deutschland Ausstellung (1936); Tempo-Parallelschwung (1936); and Spuren Zum Kampf (1936). Images available upon request.
Condition varies, generally A- / B+.
Provenance: From the collection of Albert Albano.
Estimate
$400 – $600
Herbert bayer (1900-1985)
DIE KAMERA / AUSSTELLUNG FÜR FOTOGRAFIE. Catalogue. 1933.
8¼x5¾ inches, 21x14½ cm.
Condition B+ / A-: abrasions, minor foxing and wear to covers.
Provenance: From the collection of Albert Albano.
Estimate
$300 – $400
Herbert bayer (1900-1985)
G.E. / ELECTRONICS - A NEW SCIENCE FOR A NEW WORLD. Booklet. 1942.
8¼x11 inches, 21x28 cm. General Electric Company, New York.
A fabulous and startling piece of Modernist design, this booklet was commissioned from Herbert Bayer by Leo Lionni, the art director of N.W. Ayers at the time. Filled with powerful photomontages, color illustrations, dynamic layout and diagrams, the imagery here combines with the text to form a sort of science fiction narrative applied to the real world. Within its pages, the electron is explained and FM radio is promoted, as well as the nascent technology for television. The use of electricity to aid in public safety, agriculture and medicine is also illustrated. MoMA 561.1999.
Condition A-: minor abrasions and creasing to covers; original stapled illustrated wrappers designed by Bayer.
Provenance: From the collection of Albert Albano.
Estimate
$500 – $750
Herbert matter (1907-1984)
[KNOLL] & [GEBRAUCHSGRAPHIK.] Group of 3 publications.
Sizes vary.
Group includes: Knoll Office Planned Furniture and Knoll [Interior Design] publications, & Gebrauchsgraphik magazine, July 1930. Images available upon request.
Condition varies, generally A-.
Provenance: From the collection of Albert Albano.
Estimate
$400 – $600
Herbert matter (1907-1984)
[DIE SCHWEIZ.] Bound volume & 2 brochures. 1930s.
Volume is 13½x10 inches, 34¼x25½ cm. Brochures are 7x4¾ inches, 17¾x12 cm.
Includes bound volume of Die Schweiz (1935), with nine Matter covers and full-page ads; and two travel brochures: Zwitzerland in Winter and Im Auto Durch Die Schweiz. Images available upon request.
Condition varies.
Provenance: From the collection of Albert Albano.
Estimate
$400 – $600
Herbert matter (1907-1984)
ARTS & ARCHITECTURE. Group of 12 magazine issues. 1940-1946.
Each 13x10 inches, 33x25½ cm.
Group includes: May 1940, November & December 1945, January and May through December 1946. Images available upon request.
Condition varies, generally A-: some with ink stamps on front or back covers.
Provenance: From the collection of Albert Albano.
Estimate
$400 – $600
Herbert matter (1907-1984)
ARTS & ARCHITECTURE. Group of 9 magazine issues. 1947-1948.
Each 13x10 inches, 33x25½ cm.
Group includes: January through April, and October through December 1947, and March through May 1948. Images available upon request.
Condition varies, generally A-: some with ink stamps on front or back covers.
Provenance: From the collection of Albert Albano.
Estimate
$350 – $500
Ladislav sutnar (1897-1976)
[COVER DESIGNS / GEORGE BERNARD SHAW.] Two softcover books.
Each 7½x5½ inches, 19x14 cm.
Group includes: Druhy Ostrov Johna / Bulla (1930) and Drobnosti (1933). Sutnar p. 76. Images available upon request.
Condition varies.
Provenance: From the collection of Albert Albano.
Estimate
$400 – $600
Ladislav sutnar (1897-1976)
[COVER DESIGNS.] Two softcover books. 1932 & 1935.
Sizes vary.
Includes Beethoven DP (1932), by Romain Rolland, and Ahmed Ma Hlad (1935), by J.R. Vavry.
Condition varies.
Provenance: From the collection of Albert Albano.
Estimate
$400 – $600
Ladislav sutnar (1897-1976)
[COVER DESIGNS / GEORGE BERNARD SHAW.] Group of 3 softcover books. 1932-1933.
Each 7½x5½ inches, 19x14 cm.
Group includes: Obraceni Kapitana Brassbounda (1932); Trakar Jablek / Americky Cisar (1932); andDrobnosti (1933). Sutnar p. 76. Images available upon request.
Condition varies.
Provenance: From the collection of Albert Albano.
Estimate
$600 – $900
Ladislav sutnar (1897-1976)
ZIJEME / [WE LIVE.] Group of 20 issues. 1931-1932.
Each approximately 10x7 inches, 25½x17¾ cm. Druzstevni Prace, Prague.
A complete two-year run of this lifestyle magazine. Among the artists whose work is featured, both written and visual, are Josef Sudek, Jaromir Funke, Alexander Hackenschmied, Karel Teige, Vladimir Krejcar, Le Corbusier, Man Ray, Max Ernst and Laszlo Moholy-Nagy. Sutnar, as Artistic Director of Druzstevni Prace, was responsible for the artistic design of this magazine, the covers of which are all like mini posters. Following Karel Teige’s belief that “the cover was an advertisement for the book . . . and to make this desirable poster-like balance as strong an impact as possible [the artist must choose] primary colors and geometric shapes,” Sutnar added his own elements of photomontage and typography to Teige’s concept of cover design (Oxford, p. 59). His aesthetic helped to further promote Functionalist design into mainstream society. These issues frequently appear bound together; it is rare to find them loose, as issued. Berman / Juan March p. 144, Page Design p. 189, Modernism p. 274, Witkovsky pl. 42, Sutnar p. 64. Images available upon request.
Condition varies, generally A- / B+.
Estimate
$5,000 – $7,500
Ladislav sutnar (1897-1976)
DESIGN & PAPER. Group of 3 brochures. 1940s.
Each 8x5 inches, 20¼x12¾ cm.
Group includes: Design & Paper numbers 13 (1943) & 19 (1945), and The Corporation Trust System of Protection of Corporate Sales. Images available upon request.
Condition A / A-: minor abrasions at edges.
Estimate
$800 – $1,200
Ladislav sutnar (1897-1976)
CATALOGUE DESIGN PROCESS. Book and ephemera. 1950.
Book is 9½x12½ inches, 24¼x31¾ cm.
Group includes: Catalogue Design Progress (book) & Catalogue Design Progress / Book on Design (pamphlet), along with 4 related brochures. Images available upon request.
Condition A.
Estimate
$800 – $1,200
Ladislav sutnar (1897-1976)
TRANSPORT NEXT HALF CENTURY. Book. 1950.
8¾x11 inches, 22¼x28 cm. Canterbury Printing Company, New York.
Red, blue and black designs of Sutnar’s visionary projections on the transportation of the future: cars, helicopters, airplanes and even airports. Printed and designed to impress upon the consumer that “striking design and good illustration will assure attention for your message . . . fine printing makes good design sing on paper . . . together they reflect the high standards of your company” (from the rear end-paper). The book also contains a foreword, “Man on Earth,” by Buckminster Fuller, written especially for this publication. Sutnar b/12.
Condition B+: discoloration on cover.
Estimate
$500 – $750
268
Ladislav sutnar (1897-1976)
ADDO - X / SWEDISH ADDING MACHINE. 1958.
21x13¾ inches, 53¼x35 cm.
The most important corporate identity project that Sutnar created was the one designed for Addo-X . . . the new logo was to be 'attention-getting, have strong memory-value and reflect the fine craftsmanship and custom engineering of the products'" (Sutnar p. 230). Sutnar recalled saying "For me Addo-X means four circles sitting on the horizontal line culminating in an X" (ibid.). MoMA 392.2009, Remington p. 153.
Condition A-: minor abrasions at edges; holes in corners for hanging, as issued. Printed on thick display board.
Estimate
$800 – $1,200
Bohumil stepan (1913-1985)
POZOR NA SAMOZVANE PRATELE LIDU! 1946.
37½x24¾ inches, 95¼x62¾ cm. A. Haase, Prague.
“Watch out for the self-proclaimed friends of the people.”
Condition A- / B+: small tears and abrasions at edges; creases along vertical and horizontal folds. Paper.
Estimate
$700 – $1,000
Various artists
[CZECH GRAPHICS.] Group of 4 posters.
Sizes vary.
Group includes: Tyden Dopravni Bezpecnosti / [Traffic Safety Week]; Mezinarodni Vystava Holubu [International Pigeon Show]; Vystava Televise / [Television Exhibition]; and Až pojedeš / [When You Go.] Images available upon request.
Condition varies, generally A-: vertical and horizontal folds. Paper.
Estimate
$700 – $1,000
Hand-signed and inscribed by Marinetti Rolf Italiaander, German writer and director.
271
Filippo tommaso marinetti (1876-1944)
LES MOTS EN LIBERTÉ FUTURISTES. Book with 4 foldout, typographic plates. 1919.
7½x5 inches, 19x12¾ cm. A. Taveggia, Milan.
The tenets of Marinetti's Typographic Revolution (1913) are visually set forth in his typographic masterpiece, Les Mots en Liberté Futuristes (The Futurist Words in Freedom). The book contains a creative variety of hand-designed typefaces, calligraphy and dynamic layouts. "This book is considered the peak of Marinetti's typographic experimentation, reflecting both his gift as a designer, his talent as a visual poet and expositor and his ingenuity as a publicist . . . it is the single work which expresses the doctrine and visual praxis of literary Futurism" (Ex Libris 9, #93 and #94). MoMA 731.2006.
Original edition, including the four letterpress foldouts by Marinetti:
Bataille à 9 Étages
Après la Marne Joffre Visita le Front en Auto
Le Soir, Couchée dans son Lit
Une Assemblée Tumultueuse.
Condition B+: toning, staining, abrasions and minor wear to covers and spine. Hand-signed and inscribed by Marinetti on first page to Rolf Italiaander, German writer and director.
Provenance: From the collection of Albert Albano.
Estimate
$1,000 – $1,500
Enrico prampolini (1894-1956) & filippo tommaso marinetti (1876-1944)
INFINITO / BRUNO GIORDANO SANZIN. Paperback. 1933.
7½x5½ inches, 19x14 cm. Edizioni Futuriste di Poesia, Rome.
Cover by Prampolini, preface by Marinettti.
Condition A-: minor abrasions to covers; some hand-writing inside.
Provenance: From the collection of Albert Albano.
Estimate
$500 – $750
Mario sironi (1885-1961)
EXPOSICION DE LA REVOLUCION FASCISTA. 1932.
77x53¾ inches, 195½x136½ cm. Pizzi & Pizio, Milan.
Sironi was a painter and an early member of the Futurist movement in the years before World War I. After the war, he was one of the founders of the Novecento Italiano movement and began supporting Mussolini. He contributed hundreds of illustrations to and designed covers for the Fascist newspapers Il Popolo d’Italia and La Rivista Illustrata del Popola d’Italia. He also designed pavilions for exhibitions and numerous posters, both political and commercial (including Fiat). He eventually abandoned easel painting in favor of communicating via “a fusion of decoration and architecture exemplified by Gothic cathedrals. He felt that the mural was the proper basis of a popular national art” (Il Castello). Manifesti Italiani p. 131.
Condition B: extensive repaired tears, creases, abrasions and restoration in margins and image and along vertical and horizontal folds; replaced losses in margins. Two-sheets.
Provenance: From the collection of Albert Albano.
Estimate
$3,000 – $4,000
Fortunato depero (1892-1960)
VANITY FAIR. Magazine. March, 1931.
12¾x10 inches, 32¼x25½ cm.
Condition B+: slight foxing, creases, abrasions and small tears around edges of covers.
Provenance: From the collection of Albert Albano.
Estimate
$100 – $150
Fortunato depero (1892-1960)
LA RIVISTA. Group of 5 magazines. 1926-1932.
Each 12¾x10 inches, 32¼x25½ cm.
Group includes September 1926 (2 copies), January 1927, October 1928, and February 1932. Images available upon request.
Condition varies, generally B+.
Provenance: From the collection of Albert Albano.
Estimate
$500 – $750
Xanti schawinsky (1904-1979)
1934 • XII / SI. Poster insert. 1934.
37½x25½ inches, 95¼x64¾ cm. Alfieri E Lacroix, Milan.
Schawinsky studied in Zürich, Cologne, Berlin and with the Bauhaus in Weimar, and worked in the Boggieri Studio in Milan for some of Italy’s most prestigious advertising clients. In 1936, he immigrated to America at the behest of Josef Albers, who invited him to teach at Black Mountain College, where Schawinsky remained for the duration of the war working with such luminaries as Breuer and Walter Gropius. This image was included in the April 1934 issue of the Italian magazine La Rivista Illustrata del Popolo d’Italia . Encyclopedie de l’Affiche p. 356, Mechanical Age p. 57, Le Coultre p. 50, Consenso p. 22, Design Graphique p. 76, Modernism 10.1, Berman p. 138, The Poster 266, Metiers No. 50 n.p., Manifesti Italiani p. 130.
Condition B+: repaired tear at left edge, into image; creases and abrasions along vertical and horizontal folds; paper remnants from magazine at left edge; tipped to mount. Paper. Framed.
Provenance: From the collection of Albert Albano.
Estimate
$1,500 – $2,000
Leo lionni (1910-1999)
FUORI I TEDESCHI / [OUT WITH THE GERMANS]. Circa 1944.
14½x19½ inches, 36¾x49½ cm.
An excellent piece of American anti-Nazi propaganda intended for use in Italy. Most likely, this image was released late in 1943, a time when the Italian Government was in convulsions. Late that July, Mussolini was ousted and Pietro Badoglio elevated to Prime Minister; on September 3rd a secret armistice between Italy and the Allied forces was signed and publicly announced on September 8th. Then, on October 13th, Italy declared war on Germany. Two months after he was arrested, German forces were able to free Mussolini and install him as head of a new Fascist state in Northern Italy. Italy was embroiled in a civil war. This poster, “Out with the Germans,” one of at least two American propaganda images with the same title, was likely released as the Allied forces moved north towards Rome, and the Germans tried to solidify their positions in the north of the country. IWM PST 0035.
Condition B: water staining and small tears at edges; creases in margins and image; tipped to mount. Paper. Framed.
Provenance: From the collection of Albert Albano.
Estimate
$400 – $600
Max huber (1919-1992)
CONVEGNO SU GLI SVILUPPI DI MILANO. 1959.
26¾x39¼ inches, 68x99½ cm. N. Moneta, Milano.
Born in Zürich, Huber moved to Milan in the 1930s where he worked for Studio Boggeri. He returned to Switzerland briefly before settling again in Italy in 1946. He had a strong influence on Italian graphic design, mixing Constructivist principles with bold colors. His posters for La Rinascente, as well as those done for the Italian Automobile Club and Olivetti, can be considered masterpieces of a well-balanced, wild imagination.
Condition B+: replaced losses in corners, minor tears and tape-staining at edges. Paper.
Estimate
$1,000 – $1,500
Bruno munari (1907-1988)
DEPERO. 1959.
14¼x21 inches, 36x53¼ cm. Lucini, [Milan].
Italian designer Munari was a true modern Renaissance Man - known as a visual artist, inventor, industrial and graphic designer, who also contributed to literature, poetry and theories of learning. His artwork was displayed in many Futurist exhibitions, and he associated with the Futurist movements until distancing himself after World War II. Munari also found himself working on children’s books, and like Depero, toy design. Later, in 1959, he designed the layout of this folded invitation (printed in Italian and French) from the International Committee of Honor on the occasion of the founding of the Depero Museum in Rovereto; it displays text of concrete Poet & Futurist Carl Bellioli. It is the only Futurist museum in Italy and was founded by the artist himself.
Condition A. Folded as issued; tipped to mount. Printed on thin paper. Framed.
Estimate
$800 – $1,200
Bruno monguzzi (1941- )
OSKAR SCHLEMMER / LES NOCES / IGOR STRAVINSKY. 1988.
50¼x35½ inches, 127½x90¼ cm. Fratelli Roda, Taverne.
Swiss Graphic Designer Monguzzi studied in Geneva and London before launching his career with Studio Boggeri in Milan in 1961. He later moved to Montreal to design nine pavilions for the 1967 International and Universal Exposition, then settled back in Switzerland to continue designing and curating. The Museo Cantonale d’Arte, founded in 1987, commissioned Monguzzi to devise the institution’s logo as well as posters for each exhibition and program. This poster for an exhibition on Oskar Schlemmer’s stage sets and costumes for Stravinsky’s Les Noces, highlights his aptitude in creating dynamic typographic compositions. It also bears an uncanny resemblance to the famous letterform work by Strzeminski, Z Ponad.
Condition B+: foxing and minor creases around edges; minor creases in image; hinged to mount. Paper. Framed.
Estimate
$800 – $1,200
Art Deco
These posters were printed in black and white and hand-painted, making each one unique.
281
Alexey brodovitch (1898-1971)
BAL BANAL. 1924.
17x24¼ inches, 43x61½ cm.
Brodovitch was a key figure in the development of 20th century graphic design. Born in Russia, he immigrated to Paris where he first distinguished himself as a graphic designer, working for a host of prestigious clients such as Aux Trois Quartiers, Arts et Métiers Graphiques, Cahiers d’Art and the restaurant Prunier. His designs won him five awards at the 1925 Art Deco exhibition. In the early 1930s, he moved to New York, where he eventually became the art director for Harper’s Bazaar, during which time he hired A.M. Cassandre, as well as other top European designers like Man Ray and Herbert Bayer, to design covers for the magazine. He was also responsible for nurturing and developing young American talents such as Richard Avedon. This rare poster is Brodovitch’s first published work, the result of winning a poster design competition to advertise a ball for Russian émigrés in Paris. The image is reflective of the Parisian art movements of the period, swinging between Cubism and the newborn Surrealism. Andy Grundberg cleverly analyzes it as “suggestive of both the influences on him and of his own future directions. The graphics, light to dark inversion of its mask shape, type and background not only suggest the positive negative process of photography but also symbolically represents the process of masking; one trades one’s identity for another, contrary one” (Brodovitch p. 24). These posters were printed in black and white and hand-painted, making each one slightly different from the others.
Condition B+: rippling and minor creases in margins and image; small water stains in upper margin and text; faded; hand-colored with watercolor. Paper. Matted and framed.
Estimate
$8,000 – $12,000
Alexey brodovitch (1898-1971)
PORTFOLIO / THE ANNUAL OF THE GRAPHIC ARTS. Group of 3 issues and ephemera. 1950-1951.
Each 13x10 inches, 33x25½ cm.
Includes issues 1 & 2 (1950) and 1951. With - Covers by Brodovitch: 3 Poems and Saloon Society by Bill Manville, hand-signed and inscribed by the author. Images available upon request.
Condition varies.
Provenance: From the collection of Albert Albano.
Estimate
$700 – $1,000
Various artists
L’IMPRIMERIE ET LA PENSÉE MODERNE / BULLETIN OFFICIEL. Book. 1928.
12½x9¾ inches, 31¾x24¾ cm. Union Syndicale des Maitres Imprimeurs, Paris.
Condition A / A-: minor foxing at edges of covers; slight separating of front cover from the inside front page.
Estimate
$600 – $900
Adolphe mouron cassandre (1901-1968)
[HERMÈS SILK SCARF.] 1951.
34x34 inches, 86x86 cm.
In 1951, Hermès commissioned Cassandre to create a design for their world-famous silk scarves. Produced using at least five different colors, the design of a structure amidst clouds, is an elaborate, Escher-esque architectural construction with a sophisticated play on perspective. Cassandre / Suntory p. 107.
Condition A-: small unobtrusive stains and minor wrinkling. Not including original box.
Estimate
$800 – $1,200
Adolphe mouron cassandre (1901-1968)
LMS BEST WAY / GRANDE BRETAGNE. Small plate. 1928.
10¾x6¾ inches, 27¼x17¼ cm. L. Danel, Lille.
Plate from Arts et Métiers Graphique, Issue 6, July, 1928.
Condition A. Paper. Matted and framed.
Estimate
$300 – $400
Toyonosuke kurozumi (1908-1955)
[OSAKA RAILWAYS / KANSAI LINES.] Circa 1935.
42x30 inches, 106½x76¼ cm.
Kurozumi worked for the Osaka National Railways in the 1930s. The small number of his posters that have surfaced are classic Art Deco images. The simple, bold, stylized images reflect his ability to give the “illusion of modernization” through the use of ideographic forms (Fraser p. 63). Advertising new schedules with more trains travelling to Sakurai and Wakayama, the artist here presents information in a minimal way; employing a station clock, crossing gates, and a plume of smoke from an engine.
Condition B+: repaired tear at bottom, through text, into image; expertly repaired tears at edges; minor creases in image; repaired pin holes in corners.
Estimate
$1,500 – $2,000
Roger de valério (1896-1951)
LONDRES / PARIS / SOUTHERN RY CHEMIN DE FER DE L’ETAT.
41x26 inches, 104¼x66 cm. Devambez, Paris.
This striking design is a prime example of the impressive creativity and Modernism at De Valerio’s fingertips. The image is constructed along a diagonal and the sophisticated and stylized typography is compellingly arranged to run parallel and perpendicular to the main image. At the center is the ingenious usage of train carriages and boats to help visualize the six services per day that ran between London and Paris. With its near geometric symmetry, pictographic elements and sublime use of typography and imagery, it is a brilliantly executed and rare poster. MoMA 868.1979.
Condition A-: minor restoration along vertical and horizontal folds; colors slightly attenuated. Framed.
Estimate
$1,500 – $2,000
Charles loupot (1892-1962)
DAUPHINET CHOCOLAT / CÉMOI. 1926.
63x47 inches, 160x119¼ cm. Les Belles Affiches, Paris.
Loupot / Zagrodzki 65, Affiche Reclame 44, Loupot / Lyon 54, Loupot 39.
Condition A-: reattached lower left corner; small repaired tears and restoration at edges.
Estimate
$2,500 – $3,500
Fritz bühler (1909-1963)
ROGER & GALLET PARIS. 1947.
50¼x35½ inches, 127½x90 cm. Kümmerly & Frey, Berlin.
A prolific poster designer based in Basel, Bühler worked for many of the most recognizable firms, such as P.K.Z., Union, Nivea and Roger & Gallet, a French perfume company, founded in 1862. They became famous for their luxurious bath soaps and their innovative recipe for violet-scented perfume, Vera Violetta. As seen in this poster, as well as in a design by Brun, Roger & Gallet also produced lipstick in gold metallic cases during the 1940s. A smaller version of this Bühler image exists, with a fuschia glove, printed by Atar in Geneva. Bühler’s experiences designing in Paris and Berlin, in addition to Basel, explain his melding of sophisticated and focused advertising and the Object Poster. Swiss Poster Art 47.12, Margadant 343.
Condition A-: creases at edges and in image; ink stamp on verson in bottom corner. Paper.
Estimate
$800 – $1,200
Designer unknown
CAFE NOIR / AGATHA CHRISTIE. 1938.
33½x24¼ inches, 85x61½ cm. J. Fuytynck, Brussels.
Condition B+: water staining along bottom edge; minor creases in margins and image; small pin holes in upper right corner. Paper.
Estimate
$2,000 – $3,000
Psim (date unknown)
EDDY - JOHNNY. 1938.
46¾x31¾ inches, 118¾x 80½ cm. Harford, Paris.
Jazzy male performing duos were extremely fashionable in the thirties, following the success of the Americans Layton and Johnston. In France, the most famous were Pills and Tabet, and Charlie and Johnny (Charlie being Charles Trenet). Featured alongside him on this rare poster is Eddie Barclay (1921-2005) who at the time was working as a jazz pianist before becoming a French recording industry magnate. We will probably never know anything about PSIM, as it was certainly a pseudonym. Designed using a cut-out technique, this is a stylized, clean, elegant and simple image of the performers.
Condition B+: minor restored losses, repaired tears and creases in margins and image; time-staining in margins; vertical and horizontal folds. Framed.
Estimate
$1,000 – $1,500
Designer unknown
MEIN NEUER ANZUG . . . SELBSTVERSTÄNDLICH MIT REISSVERSCHLUSS.
23½x16¼ inches, 59¾x41¼ cm. Dorland.
“My new suit, with a zipper of course.”
Condition B+: repaired tears at edges; creases and abrasions at edges and along vertical and horizontal folds.
Estimate
$600 – $900
Designer unknown
AUSSTELLUNG: GUT WOHNEN. Circa 1955.
32½x23 inches, 82½x38½ cm. Linoldruck Plakat-Wurm, Munich.
Featuring the iconic Barcelona Chair, designed by Ludwig Mies Van der Rohe in 1929.
Condition A-: small tear at top left edge; minor creases at edges and in image. Paper.
Estimate
$600 – $900
Designer unknown
“JOCKEY CLUB.” 1930s.
41¼x30 inches, 105x76¼ cm. N. Freidovics, Riga.
Condition B+: repaired tear through top margin into image; unobtrusive vertical and horizontal folds; creases and wrinkles at edges, some affecting image. Mounted on Japan.
Estimate
$800 – $1,200
Nembhard n. culin (1908-1990)
IN 1939 / THE NEW YORK WORLD’S FAIR. 1937.
30x20 inches, 76x50¾ cm.
“A colorful bird’s-eye view of the Theme Center [showing] fairgoers entering the Perisphere from the Trylon and leaving by the Helicline” (World of Tomorrow p. 195). This poster was published two years prior to the fair, when the plans for the Trylon and Perisphere were first released to the press. It was not part of the later poster design competition to promote the fair, won by Joseph Binder. Nembhard N. Culin was an architect who worked with Frost, Frost & Fenner, a firm that designed several pavilions for the fair. This is the rare larger format. World of Tomorrow p. 194 (var), Resnick 26 (var).
Condition B+: minor creases, abrasions and darkening in margins; minor abrasions in image; pin holes in corners. Mounted on board.
Estimate
$1,500 – $2,000
Designer unknown
MUSEUM OF MODERN ART. Gouache maquette.
29½x19¾ inches, 75½x50 cm.
Condition B+: losses in corners; flaking, creases and abrasions in margins and image. Gouache on board.
Estimate
$700 – $1,000
Designer unknown
JOIN THE HUASOS / CHILE. Gouache maquette.
29½x19¾ inches, 75x50 cm.
Huasos are Chilean countrymen figures, comparable to cowboys in the U.S. The smiling character depicted here is donning the traditional poncho - the colors of which distinguish him from other Huasos.
Condition B+: skinning, creases and abrasions in margins; water staining along bottom margin; scuffing in image. Gouache and airbrush on board.
Estimate
$700 – $1,000
Designer unknown
DAVIS TOYS / OSWEGO. Gouache maquette.
29¾x19¾ inches, 75½x50 cm.
Condition B+ / A-: creases, abrasions and scuffing at edges. Gouache on board.
Estimate
$700 – $1,000
Designer unknown
COME TO THE CINEMA BY TRAIN. Circa 1930s.
40x25 inches, 101½x63½ cm. P.C. Grosser Litho., Melbourne.
VR [Victorian Railways] Poster No. 239.
Condition A-: creases and abrasions in margins and image; slight staining in margins.
Estimate
$600 – $900
Andrew power (sybil andrews, 1898-1992 & cyril power, 1872-1951)
LORD’S / OVAL / LONDON UNDERGROUND. 1934.
39¾x24¾ inches, 101x62¾ cm. Waterlow & Sons, London.
Sybil Andrews is best known for her printmaking. Her Modernist linocuts, which are exceptionally dynamic and geometric representations of speed and movement, reflect the influence of Futurism, Cubism and Vorticism. From 1925 to 1935, Andrews designed eight posters for the London Underground. Of these, six were sports-themed. She worked under the pseudonym Andrew Power as “a tribute to Cyril Power, with whom she shared a studio and collaborated at the time” (ltmcollection.org).
Condition B+/ B: restoration and restored losses in corners; repaired tears and restoration in image and at edges; discoloration and smudging in image.
Estimate
$4,000 – $6,000
Clifford ellis (1907-1985) & rosemary ellis (1910-1998)
OCEAN CABLE. 1935.
19½x24¼ inches, 49½x61½ cm.
Clifford and Rosemary Ellis married in 1931 and worked together for the rest of their careers. It is hard to describe their unique style, which has the colorful and fanciful qualities of children’s illustration, yet is also compelling, eye-catching and charmingly composed. Their aesthetic certainly appealed to a large swath of the general public, as the duo was commissioned to design posters for the London Underground, Shell, the General Post Office (GPO) and the Empire Marketing Board. This poster was commissioned by the GPO Film Unit to advertise “Cable Ship,” a 12 minute documentary on the repair of an International Telephone Exchange submarine cable that had been damaged. The 1933 film was grouped with 4 other short films, all centering on Post Office activities and repair work, and released in 1935 to considerable cinematic success. After the war, the artists primarily focused on book cover design.
Condition A / A-: minor creases at edges. Paper. Matted and framed.
Estimate
$1,000 – $1,500
Edward mcknight kauffer (1890-1954)
[ART DECO GRAPHICS.] Group of 3 books, 2 pamphlets. 1920s-30s.
Sizes vary.
Group includes: books - The Week-End Book (1924); B.B.C. Handbook (1928); and B.B.C. Handbook (1929). Pamphlets - RKO News Program (1931); and B.B.C. Talks (1935). Images available upon request.
Condition varies, generally B+ / A-.
Provenance: From the collection of Albert Albano.
Estimate
$400 – $600
Edward mcknight kauffer (1890-1954)
[ART DECO DUST JACKETS.] Group of 6 books. 1925-1936.
Sizes vary.
Group includes: The Open Conspiracy, Man Who Could Work Miracles and Things to Come, by H.G. Wells; The Clio and Strange Glory, by L.H. Myers; and The Diary of a Communist Schoolboy, by N. Ognyov. Images available upon request.
Condition varies, generally B+.
Provenance: From the collection of Albert Albano.
Estimate
$300 – $400
Edward mcknight kauffer (1890-1954)
[ART DECO DUST JACKETS / MURDER MYSTERY.] Group of 5 books. 1929-1932.
Sizes vary.
Group includes: Anybody’s Pearls, by Hulbert Footner; and Somewhere in the House, Murder on the Yacht, Murder by the Clock, and Murder in the Willett Family, by Rufus King. Images available upon request.
Condition varies, generally B+.
Provenance: From the collection of Albert Albano.
Estimate
$400 – $600
Edward mcknight kauffer (1890-1954)
[ART MAGAZINES & PIANO SCORES.] Group of 9 items. 1920s-30s.
Sizes vary.
Group includes: three issues of Commercial Art July 1927 (2) & December 1923; The Studio January 1929; Suite Fantastique for Piano (1924); Checkmate / Ballet by Arthur Bliss (1937); and Gebrauchsgraphik October 1933 and March 1937 (issue & additional cover). Images available upon request.
Condition varies, generally B+.
Provenance: From the collection of Albert Albano.
Estimate
$500 – $750
Edward mcknight kauffer (1890-1954)
[POETRY / T.S. ELIOT / THE CHAPBOOK.] Group of 4 booklets.
Sizes vary.
Group includes: The Chap Book / New American Poems No. 36 (1923); and A Song for Simeon; Marina; and Journey of the Magi, by T.S. Eliot. Images available upon request.
Condition varies, generally A-.
Provenance: From the collection of Albert Albano.
Estimate
$700 – $1,000
Edward mcknight kauffer (1890-1954)
QUACK QUACK BY LEONARD WOOLF. Hardcover book. 1937.
7½x5¼ inches, 19x13¼ cm. The Hogarth Press, London.
This is the “Cheap edition 2/6 Net,” printed in 1937, with the pictorial dustwrapper by McKnight Kauffer. A cheap edition of the book was published in 1936, priced at 2s.6d; it was reprinted again in 1937. Leonard Woolf, political theorist, author & publisher, was the husband of Virginia Woolf and a close friend of Kauffer. The artist often collaborated with Woolf’s publishing company, the Hogarth Press. “Woolf’s two-hundred page attack on fascism concentrated on the savage quackery of modern totalitarianism but also discussed the intellectual sources he found in Carlyle, Nietzsche, and Spengler” (J.H. Willis Jr, Leonard & Virginia Woolf as Publishers: The Hogarth Press 1917-1941). Kauffer 55, Kauffer / Cooper Hewitt 107.
Condition A-: minor foxing, abrasions and creases to wrapper; minor foxing and restoration inside.
Provenance: From the collection of Albert Albano.
Estimate
$300 – $400
Edward mcknight kauffer (1890-1954)
KEEP IT UNDER YOUR STETSON. 1942.
39x29¼ inches, 99x71¾ cm. John B. Stetson & Co., Philadelphia.
American-born Kauffer rose to prominence as a graphic designer in Great Britain where his work for Shell and the London Transport System, among others, assured him a place on the list of great 20th century graphic artists. In 1940, Kauffer returned to America where he worked on accounts for Pan American, American Airlines and other advertisers. Thanks to a proliferation of posters, “Keep it Under Your Stetson” became as common a catchphrase during World War II as “loose lips sink ships,” the only difference being the former was not only a patriotic command, but also a marketing ploy. Using a photograph of a hat (it is, after all, a hat poster first and foremost), Kauffer depicts a man in profile staring at a distant factory, the inner workings of his brain are displayed like blueprints. The dark shadows around the edge of the frame add intensity and drama to the image. Kauffer 278, Design and Paper no. 29.
Condition B+ / A-: repaired tears at top edges; minor abrasions at edges; minor creases at edges and in image.
Estimate
$2,000 – $3,000
Edward mcknight kauffer (1890-1954)
CIVIL AERONAUTICS ADMINISTRATION / SPEED THE WAR. 1943.
40x28½ inches, 101½x71¼ cm. U.S. Government Printing Office, [Washington, D.C.]
MoMA 94.1944.
Condition B: repaired tears and abrasions at edges, some into image; tape on verso; small losses at edges; sharp creases in image. Paper.
Estimate
$700 – $1,000
Edward mcknight kauffer (1890-1954)
[GRAPHIC DESIGN / WORLD WAR II.] Group of 6 items. 1930s-40s.
Sizes vary.
Group includes: book - Britain at War / MoMA 1941); pamphlets - Patriotism Ltd (1933), Cambridge Exhibition / Fascism and War, Poison Gas, and B.B.C. Talks (1933); and countercard - Give / [Red Cross]. Images available upon request.
Condition varies, generally B+/ A-.
Provenance: From the collection of Albert Albano.
Estimate
$400 – $600
Edward mcknight kauffer (1890-1954)
IMPERIAL AIRWAYS. Group of 7 folded timetables. 1930s.
Sizes vary.
Includes duplicates. Images available upon request.
Condition varies, generally A-. Folded, as issued. Paper.
Provenance: From the collection of Albert Albano.
Estimate
$300 – $400
Kauffer "aimed at expressiveness through simplification, distortion, and transposition.” - Aldous Huxley
312
Edward mcknight kauffer (1890-1954)
SOARING TO SUCCESS! DAILY HERALD - THE EARLY BIRD. Circa 1963.
30x15½ inches, 76¼x39¼ cm. UDO Ltd., London.
Although he was born in America, McKnight Kauffer spent his most creative years in Great Britain, acting as the "Chef de file" of the new generation of poster artists. After his groundbreaking poster design for the Daily Herald was published in 1919 (based on his seminal work Flight), he received commissions from many major clients, the most important being London Transport, for which he designed 141 posters over a span of 20 years. "His 1919 poster, <i>Flight</i>, alluded to Vorticism, a British movement influenced by Cubism and Futurism that leaned toward machine-like forms -- by Kauffer’s reckoning 'the first and only Cubist poster design in England'" (Aiga.org). This version of Daily Herald is a smaller, posthumous version. Rare. V&A E.35-1973, Kauffer 9, Affiche Art Deco p. 150, Modern Poster 81 (var), Avant Garde p. 68 (var), Poster Purpose p. 165 (var), Weill 401 (var), Cooper Hewitt 1963-39-1229.
Condition A-: minor creases in margins and image; small foxing spot in lower image. Paper.
Estimate
$700 – $1,000
Edward mcknight kauffer (1890-1954)
[ART EXHIBITIONS.] Group of 8 pamphlets and booklets. 1930s-50s.
Sizes vary.
Group includes: E McK K / Memorial Exhibition (1955); Museum of Modern Art / Posters by E. McKnight Kauffer (1937); Museum of Modern Art / Organic Design (1941); Exhibition of English Pottery Old and New (1935); Ad Magazine and E McK K / Lund Humphries (2), and Design and Paper No. 29. Images available upon request.
Condition varies, generally A-.
Provenance: From the collection of Albert Albano.
Estimate
$400 – $600
Edward mcknight kauffer (1890-1954)
[TRAVEL GUIDES.] Group of 8 booklets.
Sizes vary.
Group includes: London travel guides from 1937 (2) & 1938 (2), Botsford Pictorial Guides / No. 4 Hamburg; and RMS Orient Line Guides for the Orford, Orama, and Otranto. Images available upon request.
Condition varies, generally B+ / A-.
Provenance: From the collection of Albert Albano.
Estimate
$300 – $400
Edward mcknight kauffer (1890-1954)
AMERICAN AIRLINES / PARIS. Circa 1948.
40x30 inches, 101½x76¼ cm.
Kauffer p. 256.
Condition A-: expert overpainting at edges.
Estimate
$1,000 – $1,500
Edward mcknight kauffer (1890-1954)
[ART DECO DUST JACKETS & DESIGN]. Group of 7 books. 1920s-30s.
Sizes vary.
Group includes: The English Galaxy (Kauffer bookplate); Glorious Devon; The Cornish Riviera; The Modern Movement in Art; Art Now; The World in 2030; Benito Cereno / Melville. Images available upon request.
Condition varies.
Provenance: From the collection of Albert Albano.
Estimate
$500 – $750
Edward mcknight kauffer (1890-1954)
[ART DECO GRAPHICS.] Group of 7 pamphlets. 1930s.
Sizes vary.
Group includes: London Music Festival; Poison Gas; 5 On Revolutionary Art; Patriotism Ltd. / An Exposure of the War Machine; Xmas Gifts from the Sports Department; Famous Aviators / Shell; The New Orient Liner Orcades. Images available upon request.
Condition varies, generally A-.
Provenance: From the collection of Albert Albano.
Estimate
$350 – $500
Edward mcknight kauffer (1890-1954)
[TRAVEL & GRAPHIC EPHEMERA.] Group of 17 items.
Sizes vary.
Group includes: four duplicate Orient Line luggage labels, a baggage label for Passenger Orient Line Orion, Toucan cotton label, two New Year’s cards (1936 & 1940), two bookmarks, one unopened Kauffer envelope; five duplicate bookplates and one Whitsuntide timetable. Images available upon request.
Condition varies.
Provenance: From the collection of Albert Albano.
Estimate
$800 – $1,200
Mid-Century Design
Abram games (1914-1996)
THE EMERGENCY BLOOD TRANSFUSION SERVICE NEEDS BLOOD DONORS. 1943.
29¼x19¼ inches, 74¼x49¾ cm. Field Sons & Co. Ltd., Bradford.
Games fig. 65.
Condition A-: sharp fold and slight time-staining in bottom margin; slight foxing in image. Paper.
Provenance: From the collection of Albert Albano.
Estimate
$700 – $1,000
Abram games (1914-1996)
ARMY EDUCATION SCHEME / WHAT CAN YOU DO IN CIVVY ST.? 1944.
29x19 inches, 23½x48¼ cm. Field Sons & Co., Ltd., Bradford.
Games fig 162.
Condition A: minor creases at edges. Paper.
Provenance: From the collection of Albert Albano.
Estimate
$700 – $1,000
Abram games (1914-1996)
RIDE AHEAD WITH THE HOUSEHOLD CAVALRY. 1949.
29¾x19½ inches, 75½x49½ cm.
Games fig 173.
Condition B+ / A-: minor tape stains along small repaired tears in margins. Hand-signed and dated by the artist in pen. Mounted on Japan.
Estimate
$1,500 – $2,000
Patrick cokayne keely (1901-1970)
BEWARE / MUSHROOM TOOLS. 1941.
30x20 inches, 76¼x50¾ cm. Loxley Bros Ltd., London.
Produced by the Royal Society for the Prevention of Accidents. MoMA 203.1943.
Condition B+: loss in upper left corner; small tears, creases and abrasions at edges. Paper.
Estimate
$600 – $900
Rapier (dates unknown)
THESE BITE / KEEP THEM CAGED. Circa 1940.
30x20 inches, 76¼x50¾ cm. Loxley Bros Ltd., London.
MoMA 198.1943.
Condition A-: small tears and creases at edges. Paper.
Estimate
$600 – $900
Lewitt-him (jan lewitt, 1907-1991 & jerzy him, 1900-1981)
AOA TO USA / AMERICAN OVERSEAS AIRLINES. 1948.
38x24 inches, 96½x63½ cm. W.R. Royle & Son, Ltd., London.
Lewitt and Him were both born in Poland and met as young graphic designers. In 1933, they founded the Lewitt-Him studio and later immigrated to England in 1937. Deeply inspired by Surrealist painting, their work often played with words and images. They had an active and successful partnership designing propaganda posters during the war, and in the post-war years working on large campaigns for American Overseas Airways, the General Post Office, the London Underground and others. The two designers parted ways in 1954.
Condition A-: expert unobtrusive overpainting in top margin.
Estimate
$2,000 – $3,000
Lewitt-him (jan lewitt, 1907-1991 & jerzy him, 1900-1981)
DAGENS NYHETER / OVERALLT. 1952.
38½x54 inches, 97¾x137 cm. Esselte, Stockholm.
Condition B+: expertly-repaired tears at left edge, into central image; small repaired tears and restoration at edges.
Estimate
$2,000 – $3,000
Paul herzel (hartzell, 1876-1956)
[SOCIALIST LABOR PARTY.] Complete series of 31 plates. Circa 1936.
Each 22¾x14½ inches, 57¾x46¾ cm.
An exceptional, and virtually unexplainable series of linoleum-cut prints with a decidedly comic, yet at times virulent, anti-capitalist theme. Amongst the recognizable motifs are pro-labor, anti-capitalist, pro-worker and overall socialist imagery. However the irony, sarcasm and in some cases, the patently absurd messages, become confusing. Paul Herzel was a German sculptor, about whom little is known. Images available upon request.
Condition varies, generally A. Printed on card stock.
Estimate
$2,000 – $3,000
Various artists
[WPA ARTISTS & EXHIBITIONS.] Group of 12 booklets and catalogues. 1930s.
Each approximately 9x5¾ inches, 22¾x14½ cm. Federal Art Project, New York.
Includes booklets for exhibitions of prints, American design and paintings, art technique manuals, and a summary of WPA activities and accomplishments. Images available upon request.
Condition varies, generally A-.
Provenance: From the collection of Albert Albano.
Estimate
$700 – $1,000
Lester beall (1903-1969)
NOW I’M SATISFIED / RURAL ELECTRIFICATION ADMINISTRATION. Circa 1939.
40x30 inches, 101½x76¼ cm. U.S. Department of Agriculture.
“Beall’s first REA poster series emphasized electricity’s role in meeting basic human needs . . . [but] showed no people. The second poster series, however, showed technology’s impact on actual users, a tendency towards realism that Beall reinforced by incorporating photography” (Resnick p. 58). This impressive photomontage depicts an elderly woman, sitting comfortably in her rocking chair, sewing by the electric light cast from her table lamp. This is from the 2nd series. Beall 110.
Condition B / B+: small replaced losses, repaired tears and creases at edges; creases and scuffing in margins and image. Partial silkscreen. Mounted on Japan.
Estimate
$8,000 – $12,000
Lester beall (1903-1969)
POWER FOR DEFENSE / RURAL ELECTRIFICATION ADMINISTRATION. 1941.
40x30 inches, 101½x76¼ cm. U.S. Department of Agriculture.
“The third set, designed in 1941, the year the US entered World War II, makes references to national defence, with titles such as ‘A Better Home,’ ‘A Turn of the Hand,’ ‘Power on the Farm’ and ‘Rural Industries.’ This group is the most visually intricate, with angled typography, patterns of colour bars and dots, and silhouetted photographs” (Eyemagazine.com). This is from the 3rd series. Beall 120, Remington p. 64.
Condition B+: small losses, replaced losses, sharp creases and abrasions along bottom edge; minor creases and abrasions at edges; staining at left edge. Partial silkscreen. Mounted on paper.
Estimate
$8,000 – $12,000
Designer unknown
GIVE / UNITED JEWISH APPEAL. Circa 1940s.
45x29¼ inches, 114½x74½ cm. Amalgamated Lithographers of America, New York.
Condition A-: unobtrusive horizontal folds.
Estimate
$1,200 – $1,800
Erik nitsche (1908-1998)
USS NAUTILUS / GENERAL DYNAMICS. 1955.
50x35¼ inches, 127x89½ cm. R. Marsens, Lausanne.
Perhaps the most famous image in Nitsche's General Dynamics series, this depicts the USS Nautilus, one of the country's first nuclear powered submarines. "It was an indelible logo in its day. Set against a gradated gray background, the shell was a virtual cornucopia of progress. The submarine was not seen as a killing machine, but rather the offspring of progress poised to help the world" (https://www.typotheque.com/articles/erik_nitsche_the_reluctant_modernist). It should be noted that the ongoing project to construct the Nautilus was so top secret that Nitsche was only provided a basic idea of what the submarine would ultimately look like. This is the rare English version from the initial Atoms for Peace series. Dynamic America p. 349, Encyclopedie de l'Affiche p. 104, Modern American 83, Margadant 228, MoMA 221.1956 (var).
Condition A-: minor repaired tears and creases at edges; minor restoration along creases in image.
Estimate
$4,000 – $6,000
Erik nitsche (1908-1998)
GENERAL DYNAMICS / ASTRODYNAMICS. 1955.
50¼x35¼ inches, 127½x89½ cm. R. Marsens, Lausanne.
"The first series of six posters established a tone for all future General Dynamics graphics, as well as a paradigm, of sorts, for how the marriage of science and engineering would be visualized by kindred companies. Indeed Nitsche's brand of artful futurism was copied by many others at the time and might be seen today as representative of the so-called 'Atomic Style' that emerged in the mid- to late-1950s" (https://www.typotheque.com/articles/erik_nitsche_the_reluctant_modernist). This is the Russian language poster from the Atoms for Peace series. Dynamic America p. 393, MoMA 220.1956.
Condition A: minor creases and abrasions at edges. Paper.
Estimate
$1,500 – $2,000
Erik nitsche (1908-1998)
GENERAL DYNAMICS / ELECTRODYNAMICS. 1955.
50¼x35¼ inches, 127½x89½ cm. R. Marsens, Lausanne.
Of the six different posters in this initial series each image was printed in a distinct language. This is the Sanskrit language poster from the Atoms for Peace series.
Condition A- / B+: creases and minor tears at edges; minor creases in image; tape on verso in corners; pin holes in top of corners. Paper.
Estimate
$800 – $1,200
Erik nitsche (1908-1998)
GENERAL DYNAMICS / AERODYNAMICS. 1955.
50¼x35¼ inches, 127½x89½ cm. R. Marsens, Lausanne.
This is the German language poster from the Atoms for Peace series. MoMA 219.1956.
Condition A: minor creases and abrasions at edges. Paper.
Estimate
$700 – $1,000
Erik nitsche (1908-1998)
GENERAL DYNAMICS / NUCLEODYNAMICS. 1955.
50¼x35¼ inches, 127½x89½ cm. R. Marsens, Lausanne.
“In addition to his artistic inspirations, Nitsche derived much of his imagery from science itself, such as the abstracted symbols for isotopes used in his poster for ‘nucleodynamics’” (https://www.typotheque.com/articles/erik_nitsche_the_reluctant_modernist). This is the Japanese language poster from the Atoms for Peace series.
Condition B+: small loss at upper left edge; creases and minor tears at edges; minor creases in image; tape on verso in corners; pin holes in top of corners. Paper.
Estimate
$800 – $1,200
Erik nitsche (1908-1998)
GENERAL ATOMIC / TRIGA. 1958.
50¼x35¼ inches, 127½x89½ cm. R. Marsens, Lausanne.
Nitsche followed the success of his first series with Exploring the Universe in 1958, which, like its predecessor, offers a modern, poetic and friendly approach to progress, but in more earthy and calm colors. This poster, however, seems to stand alone as the one image Nitsche designed for General Atomic, which was founded as a subsidiary of General Dynamics in 1955. “Triga [is] a nuclear reactor whose unique uranium zirconium hydride fuel elements provide a self-regulating power level and, as a result, a guarantee that the reactor will not run wild as the consequence of some operating mishap” (Dynamic America p. 374). In layman’s terms, it was a meltdown-free reactor. It went into operation on May 3, 1958. Modern American 85, MoMA 515.1983.
Condition A- / A: minor creases and abrasions at edges; tape on verso at edges. Paper.
Estimate
$1,200 – $1,800
Modern Swiss Graphics
Helmut kurtz (1903-1959)
PARSENN BAHN DAVOS. Circa 1930.
50¼x35½ inches, 127½x90¼ cm. Wolfsberg, Zurich.
This is the larger, German version. Paradis p. 138.
Condition A / A-: minor creases and abrasions at edges. Paper.
Estimate
$1,500 – $2,000
Jan tschichold (1903-1974)
DER BERUFSPHOTOGRAPH. 1938.
25¼x35½ inches, 64x90 cm. Benno Schwabe & Co., Basel.
A prolific practitioner, teacher and writer, Tschichold was one of the fathers of “New Typography,” the title of his highly influential 1928 book. Son of a calligrapher, and a student at the Academy for Graphic Arts in Leipzig, Tschichold was influenced by both the Bauhaus and Russian Constructivists like El Lissitzky. He moved to Munich in 1926 and continued teaching and designing until intense pressure from the Nazi party forced him to flee to Switzerland. He eventually moved to England, where he was responsible for a complete redesign of Penguin Books. This poster for The Professional Photographer exhibition in Basel uses an underlying geometric structure based on a neat grid of vertical and horizontal lines to convey information in a clean and organized manner. The use of a photographic negative arouses curiosity and creates an eye-catching image, while also alluding to the technical aspects of photography. “Many graphic designers mastered the camera alongside the tools of illustration, layout and lettering . . . Tschichold’s letterpress poster features precisely articulated elements that punctuate the page: the mechanical bite of the press is felt in the design. Tiny letters pierce the surface like tight black stitches while the larger headline contains a rainbow of colors printed with a single pass of the press” (Mechanical Age p. 76). Modern Poster 128, Mechanical Age p. 74, Berman / Juan March p. 146, Word & Image p. 76, Swiss Graphic Design p. 77, The Poster 295, Century p. 297, MoMA 290.1938.
Condition A- / A: minor creases at edges and in image; small unobtrusive tears at edges; hinged to mount. Paper. Framed.
Estimate
$10,000 – $15,000
Peter birkhäuser (1911-1976)
WER RECHNET, KAUFT IM GLOBUS. 1942.
50x35¼ inches, 127x89½ cm. Wassermann, Basel.
Peter Birkhäuser studied at the Decorative Arts School in Basel and apprenticed in Stoecklin's studio before setting out on his own as a poster designer. He became one of Switzerland's most accomplished "New Objectivity" artists. His best designs are realistically detailed and meticulously rendered, such as this image showing the price calculations done by a price conscious customer, who has done the math and is determined to shop at Globus. MoMA 408.1994, Margadant 232, Realisme 82, Made in Switzerland p. 96.
Condition A-: minor abrasions at edges; minor creases at edges and in image; hinged to mount. Paper. Framed.
Estimate
$400 – $600
Armin hofmann (1920-2020)
THEATRE BAU VON DER ANTIKE. Two posters. 1955.
50x35½ inches, 127x90¼ cm. VSK, Basel.
With - Armin Hofmann / Poster from MoMA exhibition in 1981. Margadant 48.
Condition B+: small tears, creases and abrasions at edges; minor creases in image. Paper.
Estimate
$800 – $1,200
"One of the defining images of Swiss graphic design."
341
Armin hofmann (1920-2020)
GISELLE. 1959.
50¼x35½ inches, 127½x90¼ cm. Wassermann, Basel.
Hofmann’s design for an open-air ballet performance was “one of the defining images of Swiss graphic design. . . The brilliant white of the lettering is a foil to the half-tone greys of the photograph; the dance, cut off at head and foot, is transformed into a graphic sign of movement rather than a three-dimensional pictorial image (Swiss Graphic Design, p. 216). MoMA 380.1963, Avant Garde p. 91, Swiss Graphic Design p. 216, Swiss Poster Art 59.13, Margadant 117.
Condition A / A-: minor abrasions and small tears at edges; small abrasion in lower left image. Paper.
Estimate
$1,000 – $1,500
Hans neuburg (1904-1983)
KONSTRUKTIVE GRAFIK. 1958.
27x39 inches, 68½x99 cm. Jacques Bollmann, Zurich.
Swiss Graphic Design p. 204, Swiss Poster Art 58.24.
Condition A-: minor creases in image; ink stamp on verso, slightly showing through bottom right corner. Paper.
Estimate
$1,200 – $1,800
Josef müller-brockmann (1914-1996)
MUSICA VIVA. 1958.
50x35¼ inches, 127x89½ cm. City-druck AG, Zurich.
Condition A-: small tears at edges; creases at edges and in image; hinged to mount. Paper. Framed.
Estimate
$600 – $900
Josef müller-brockmann (1914-1996)
DER FILM / KUNSTGEWERBEMUSEUM ZÜRICH. 1960.
50½x35½ inches, 128¼x90¼ cm. Wolfsberg, Zurich.
MoMA 57.1960, Swiss Graphic Design 230, Swiss Poster Art 60.13.
Condition A: hinged to mount. Paper. Framed.
Estimate
$1,000 – $1,500
Fridolin müller (1926- )
EIDG. SCHÜTZENFEST. 1963.
50½x35½ inches, 128¼x90¼ cm. Wolfensburger, Zurich.
The Eidgenössisches Schützenfest is the Swiss Federal Shooting Festival, the first of which was held in 1824. Starting in1985, the festival has been held every five years (with the exception of 2020). One would be hard-pressed to find a more graphic and minimalist image to represent this event than this poster by Müller. "Although the circle could derive from a target or the bore of a rifle, it is a geometrical abstraction” (Swiss Graphic Design, p. 13). Swiss Graphic Design p. 13, Margadant 520.
Condition A-: tape-staining along top edge, from adhesive on verso; minor creases at edges and in image. Paper.
Estimate
$800 – $1,200
Robert büchler (1914-2005)
TYPOGRAPHIE / GEWERBEMUSEUM, BASEL. 1960.
50¼x35½ inches, 127½x90 cm. VSK, Basel.
This poster was also adapted into the cover for the catalogue of the Typographie exhibition at the Basel Gewerbemuseum. “The design derives its structure from the position of the vowels in the alphabet” (Swiss Graphic Design, p. 218). Swiss Graphic Design p. 218, Swiss Poster Art 60.10.
Condition A: minor creases at edges. Paper.
Estimate
$1,500 – $2,000
Peter megert (1937- )
LICHT UND BEWEGUNG / LIGHT AND MOVEMENT. 1965.
50x35¼ inches, 127x89½ cm. Seriprint, Bern.
“The effect of movement is made by shifting a typeset image on film horizontally and adjusting its focus. As lithography (offset) began to replace letterpress printing in the 1960s, phototypesetting - which by its nature suited the preparation of film for platemaking - began to compete with metal compositon” (Swiss Graphic Design, p. 227). Swiss Graphic Design p. 227.
Condition A: minor creases at edges and in image; hinged to mount. Silkscreen. Paper. Framed.
Estimate
$500 – $750
Rosmarie tissi (1937- )
INTERNATIONALE MUSIKFESTWOCHEN / LUZERN. 1994.
40x25¼ inches, 101½x64 cm. Bea Spillmann, Zurich.
Condition A: hinged to mount. Paper. Framed.
Estimate
$400 – $600
Gerold hunziker (1894-1980)
BUGATTI. 1932.
51x35½ inches, 129½x89 cm. A. Trüb & Cie., Aarau.
Hunziker studied art in his native Switzerland and was best known as a painter, muralist, illustrator and stage designer. In addition to the posters he designed (he created a large number for Bally), he ultimately made his name as a painter of horses and equestrian scenes. This, his most famous poster design, takes a dramatic angle and unexpected colors to depict the front of a Bugatti type 55 Roadster (which itself was based on the company’s type 51 Grand Prix car). Affiches Automobiles p. 58, 2nd Salon Automobile 78.
Condition B+: restoration along repaired tears and creases at edges and in image; small replaced losses and restoration at edges; time-staining and slight speckling at bottom.
Estimate
$4,000 – $6,000
Erich strenger (1922-1993)
PORSCHE / WORLD CHAMPIONSHIP. 1962.
46½x32½ inches, 117½x82½ cm. F. Porsche, [Stuttgart.]
This is the English version. Porsche p. 31 (var).
Condition B+: repaired tears, creases and overpainting in margins and image; repaired tear at bottom left edge through central left image.
Estimate
$1,500 – $2,000
American Design
Designer unknown
VOLKSWAGEN / IT’S UGLY, BUT IT GETS YOU THERE. 1969.
37x23¾ inches, 94x60¼ cm. Volkswagen of America, Inc.
Condition A.
Estimate
$500 – $750
Paul rand (1914-1996)
[COVER DESIGN.] Group of 5 items. 1939 & 1946.
Sizes vary.
Group includes: Jazzways “yearbook” (1946); Modern Art in Advertising / A Catalogue (1946); and three hardcovers (empty inside) of Apparel Arts, Vol. IX No. IVA, Vol. X No. II, and Vol. X, No. II-A (1939). Images available upon request.
Condition varies.
Provenance: From the collection of Albert Albano.
Estimate
$300 – $400
Paul rand (1914-1996)
[H.L. MENCKEN] & [GINZA GRAPHIC GALLERY]. 1958 & 1992.
Sizes vary.
Includes H.L. Mencken (circa 1958) poster, after the book cover for Prejudices: A Selection by H.L. Mencken and The 79th Ginza Graphic Gallery Exhibition (1992).
Condition A. Paper.
Estimate
$1,000 – $1,500
Paul rand (1914-1996)
FORD / SIGNS THAT SAY SAFE DRIVING. Circa 1966.
35½x25 inches, 90x63½ cm.
Condition A / A-: minor creases and abrasions at edges.
Estimate
$700 – $1,000
"Good design adds value of some kind, gives meaning, and, not incidentally, can be sheer pleasure to behold." - Paul Rand
355
Paul rand (1914-1996)
IBM. 1982.
36x24 inches, 91½x61 cm.
Rand was first employed by IBM in 1956 to redesign the company’s logo. He continued consulting for the company for more than 30 years, redesigning their logo at least twice more. In 1981, he came up with the now-famous rebus, which has become one of the most famous and recognizable corporate identity statements of the 20th century. It took a year for the company to actually use the design in promotion, at which point they printed it as a poster with small text at the bottom explaining the significance of each element of the rebus. This is the first printing. Modern Poster 211, Encyclopedie de l’Affiche p. 106, Modern American 100, Resnick 72, Rand / GGG p. 23, MoMA 520.1983.
Condition A: slight crease in lower right corner. Paper.
Estimate
$2,500 – $3,500
Paul rand (1914-1996)
IBM 75. 1989.
21x15 inches, 53¼x38 cm.
Condition A: hinged to mount. Paper. Framed.
Estimate
$500 – $750
Paul rand (1914-1996)
TOKYO COMMUNICATION ARTS. 1991.
35½x25¼ inches, 90¼x64 cm.
Condition A- / A: minor creases at edges; hinged to mount. Paper. Framed.
Estimate
$1,000 – $1,500
Paul rand (1914-1996)
UCLA SUMMER SESSIONS. 1993.
36x24 inches, 91½x61 cm.
Condition A: hinged to mount. Paper. Framed.
Estimate
$700 – $1,000
Paul rand (1914-1996)
UCLA EXTENSION / WINTER QUARTER. 1990.
34x24 inches, 86½x61 cm.
The University of California, Los Angeles was one of Rand’s favorite clients. As he put it, “I do the job and they accept it.” This gave him freedom to play with minimal, visual puns, as seen here, in which the Winter term at the school’s Higher Education annex is announced with snow on fruit and a leaf. Paul Rand p. 211.
Condition A: hinged to mount. Paper. Framed.
Estimate
$800 – $1,200
Paul rand (1914-1996)
UCLA 75. 1994.
35¾x24 inches, 90¾x61 cm.
Condition A: hinged to mount. Paper. Framed.
Estimate
$300 – $400
Massimo vignelli (1931-2014)
BERTOIA / KNOLL. Circa 1968.
36x24 inches, 91½x61 cm. Unimark International, [Chicago].
Condition A- / A: minor creases at edges and along vertical and horizontal folds; small unobtrusive pin holes in corners. Paper.
Estimate
$1,200 – $1,800
Massimo vignelli (1931-2014)
KNOLL AU LOUVRE. Four-part poster. 1972.
Each sheet 25½x19½ inches, 64¾x49½ cm. Arti Grafiche Amilcare Pizzi, [Milan].
The retrospective exhibition Knoll au Louvre "was a collaborative effort across continents, organized on-the-ground by Yves Vidal, President of Knoll Europe, in Paris, but conceived by Massimo and Lella Vignelli and Knoll associates in New York" (Knoll.com). The need for an innovative approach to exhibition layout in a challenging architectural space (the Pavilion de Marsan) resulted in the "Plexicube," their main mode of display for the show. All of the Knoll designs were enclosed in these 8-foot hight glass boxes. This is the smaller version.
Condition A. Printed on four separate sheets. Paper.
Estimate
$2,500 – $3,500
Massimo vignelli (1931-2014)
THE FORT WORTH ART MUSEUM / THAT’S ENTERTAINMENT: THE AMERICAN MUSICAL FILM. 1976.
24x36 inches, 70x91½ cm.
Vignelli designed all the graphics, including calendars, brochures, publications, and announcement posters for the 1976 season at the Fort Worth Art Museum.
Condition A- / A: minor creases and abrasions at edges. Paper.
Estimate
$800 – $1,200
Massimo vignelli (1931-2014)
NEW YORK CITY SUBWAY DIAGRAM. 2008.
45x36 inches, 114x91½ cm Vignelli Designs Inc.
Vignelli studied architecture in his native Italy before moving to New York City in the 1960s. Having first worked for a larger design company, Unimark, he and his wife started their own firm, Vignelli Associates, in the early 1970s. His clients included some of the largest and most recognized brands including Bloomingdales, IBM, Knoll and American Airlines. Vignelli updated his iconic 1972 New York City Subway Map for the May 2008 issue of Men’s Vogue. An edition of 500 signed prints were made available through the magazine’s website, with all proceeds going to the NY based charity “Greenworker Cooperatives.” This is the smaller, later printing. The revised edition of the 1972 map was printed in February 1978.
Condition A: hand-signed by the artist in pen in the upper right corner. Paper.
Estimate
$1,000 – $1,500
Gunther tetz (dates unknown)
DENVER 76 / UNITED STATES CANDIDATE FOR THE XII WINTER OLYMPIC GAMES. Circa 1968.
40x27¼ inches, 101½x69¼ cm. Unimark, International.
Unimark is Vignelli’s company, hence the artist’s influence in this design by Tetz. The logo was created in 1968 - the olympic host city was chosen in 1970.
Condition A / A-: minor creases at edges. Partial silkscreen. Paper.
Estimate
$800 – $1,200
Dietmar winkler & jacqueline s. casey (1927-1992)
THE MIT BLACK STUDENT UNION. Circa1968.
27x19½ inches, 68½x49½ cm.
Jacqueline Casey trained at Massachusetts College of Art before working as a fashion illustrator and advertising, editorial, and interior designer. In 1955, she joined the Office of Publications (Design Services Office) at Massachusetts Institute of Technology (MIT). “Casey’s work acknowledges the influence of the Grid established by the post-war graphic design masters in Switzerland . . . [and] often uses strong elemental imagery, maniupulated by letterforms” (RIT.edu). The MIT Black Students Union was formed in 1968, and celebrated their 50th year of advocacy and community outreach in 2018.
Condition A. Paper.
Estimate
$800 – $1,200
Kenneth d. haak (1923-?)
GET ALL THE NEWS AND GET IT RIGHT / THE NEW YORK TIMES. 1951.
45x59 inches, 114¼x148¾ cm.
From a series of 23 posters designed for subway and rail stations for the prestigious newspaper. In 1952, the Museum of Modern Art in New York put the posters on exhibition and described them thusly in its press release: “the message [‘get all the news and get it right’] is presented . . . without the use of any visual images. Variety is achieved by the use of color, placement of the copy, and painted, drawn or ruled visual accents.” Mildred Constantine, the Doyenne of Design from the museum’s department of architecture and design, refers to this series as “the most artistically significant institutional advertising design being done in America today.”Rare. IPA 51 p. 340, MoMA 611.1951.
Condition A-: minor darkening at some edges; small losses at top left edge.
Estimate
$1,000 – $1,500
Robert m. cunningham (1924-2010)
BIG, BOLD, BEAUTIFUL - BIG A. 1965.
44½x59¼ inches, 113x150½ cm.
The American Poster p. 47.
Condition A-: repaired tears at edges, some slightly into left image; minor abrasions at edges.
Estimate
$800 – $1,200
Edward gorey (1925-2000)
MIKADO / GILBERT & SULLIVAN. 1983.
22x15½ inches, 55¾x39¾ cm.
Gorey’s poster for a production of the Gilbert & Sullivan musical at Carnegie-Mellon University’s Kresge Theatre.
Condition A: minor expert restoration. Paper. Hand-signed and numbered 77/100 by the artist in ink. Paper.
Estimate
$1,500 – $2,000
Various artists
NEST: A QUARTERLY OF INTERIORS. Complete run of of 26 issues. 1997-2004.
Sizes vary. New York.
Nest was an eccentric and wildly non-traditional "interior design" magazine, with covers quirky enough to match the interiors featured inside, founded by Joseph Holtzman and published on the Upper East Side, in New York City. Steven Heller, in 2004 called the quarterly "the first magazine in a long time that did not slavishly conform to common publishing wisdom of any kind. . . It was also the most unusual, remarkable, uncompromised consumer magazine I had seen ever" (Aiga.org). Includes Issues 1-26. Images available upon request.
Condition A.
Estimate
$1,000 – $1,500
Film, Art Exhibition & Rock 'n Roll
René gruau (count renato de zavagli, 1910-2004)
LA DOLCE VITA. Circa 1980.
61¾x46 inches, 156¾x116¾ cm. Lalande-Courbet, Wissous.
This is a poster for the re-release of the 1960 film by Federico Fellini.
Condition A-: minor creases and restoration along vertical and horizontal folds; minor creases in image.
Estimate
$400 – $600
Various artists
[CUBAN FILM & POLITICS.] Group of 10 posters. 1960s-80s.
Each 30x20 inches, 76¼x50¾ cm.
Group includes titles such as Mariano, Mi Hermano Fidel and Cria Cuervos, by artists such as Niko, Reboiro and Bachs. Images available upon request.
Condition varies, generally A / A-: Silkscreen. Paper.
Estimate
$1,000 – $1,500
Various artists
[CUBAN FILM & POLITICS.] Group of 10 posters. 1970s-80s.
Each 30x20 inches, 76¼x50¾ cm.
Group includes titles such as La Guerra Necesaria, Los Tres Mosqueteros and Mariposas, by artists such as Niko, Azcuy and Bachs. Images available upon request.
Condition varies, generally A / A-. Silkscreen. Paper.
Estimate
$1,000 – $1,500
René ferracci (1927-1982)
GETAWAY / STEVE MCQUEEN. 1972.
63x47¼ inches, 160x120 cm. GLF Imprimeurs.
This is the French version.
Condition A: unobtrusive vertical and horizontal folds.
Estimate
$400 – $600
"What I love most is the absurd image which defies all explanations.” - Tadanori Yokoo
375
Tadanori yokoo (1936- )
HAVING REACHED A CLIMAX AT THE AGE OF 29, I WAS DEAD. 1965.
39x27¾ inches, 99x70½ cm.
Yokoo, who can be credited as the artist who introduced Pop Art to Japan, did much of his earliest work in silkscreen, resulting in brighter colors. He designed this poster for the Persona Exhibition at Tokyo’s Matsuya department store in November 1965. The image, commenting as it was on the stifling nature of Japanese society on artists, was shocking, sensational and became an instant classic. Yokoo 280, Modern Poster 275, Word and Image p. 126, Avant Garde p. 184, Plakat Kunst p. 168, Enyclopedie de l’Affiche p. 273, Yokoo / Veyrier p. 1, Yokoo / 100 Posters p. 17, MoMA 696.1966.
Condition B: tear at bottom, affecting title; sharp horizontal creases and abrasions in image; white margins trimmed off; silkscreen; hinged to mount. Paper. Framed.
Estimate
$20,000 – $30,000
Tadanori yokoo (1936- )
YUKIO MISHIMA / [THE AESTHETICS OF END]. 1966.
40x28¾ inches, 101½x73 cm.
The attitude of the Japanese toward marketing ingeniousness allowed Yokoo a kind of artistic freedom he would have been hard pressed to find in Western economies, where marketing often acts to censor creativity. Here, Yokoo announces the publication of a serialized essay by Yukio Mishima (the pen name of Kimitake Hiraoka, one of the major Japanese avant-garde authors of the 20th century). The image combines such classical Japanese graphic elements as the rising sun and a great wave, with a Western-style locomotive and pin-up girl. Yokoo additionally designed book covers and other posters for the author as well. Aside from his literary legacy, Mishima is also known for having committed traditional suicide after a failed military coup. Yokoo 356, Yokoo / Veyrier p. 6, MoMA 697.1966.
Condition A- / A: water stains and minor rippling in bottom margin; minor creases in image; hand-signed by the artist in pen. Silkscreen. Paper. Framed.
Estimate
$8,000 – $12,000
Tadanori yokoo (1936- )
[THE CITY AND DESIGN / THE WONDERS OF LIFE ON EARTH]. 1966.
43x31 inches, 109¼x78¾ cm.
One of Yokoo’s earliest posters, this promotes a book by Isamu Kurita, for which Yokoo also did the illustrations. Kurita wrote, “in considering illustration now, in its newer broader sense we can think of it as having the position within the sphere of design which adds flesh to words, sounds and forms.” This “sensitive” design approach was perfectly suited to Yokoo’s style. Rare. Musee de l’Affiche / Yokoo p. 3, All About Yokoo p. 72, Yokoo’s Posters p. 7, Avant Garde p. 184, Word & Image p. 127, Modern Poster 276, Plakat-Kunst p. 169, MoMA 699.1966.
Condition B+: repaired tears at edges, some into image; replaced losses and creases in margins; hand-signed by the artist in blue pen. Silkscreen.
Estimate
$12,000 – $18,000
Tadanori yokoo (1936- )
[PATRIOTISM, A RECITAL BY KINSHIRO OZAWA]. 1966.
32½x23 inches, 82½x58½ cm.
Condition B+: tear at top left edge; minor creases and abrasions at edges; tape-stains in corners from mounting on verso. Silkscreen. Paper. Framed.
Estimate
$2,000 – $3,000
Tadanori yokoo (1936- )
YUHI SHOSETSU. 1968.
42¾x30¼ inches, 108½x77½ cm.
Condition B+: creases, small tears and slight staining in margins; multiple pin holes in corners. Silkscreen. Paper.
Estimate
$3,000 – $4,000
Tadanori yokoo (1936- )
[JOHN SILVER CONTINUED]. 1968.
38x27¼ inches, 96½x69¼ cm.
MoMA 370.1969.
Condition B / B+: sharp creases and abrasions at edges and in image; white margins trimmed off; silkscreen; hinged to mount. Paper. Framed.
Estimate
$5,000 – $7,500
Tadanori yokoo (1936- )
[ONE MAN SHOW]. 1970.
39¾x28 inches, 101x71 cm.
In 1969 Yokoo did a series of illustrations for the brazenly erotic and lustful magazine Demented. The following year, to advertise a one-man show of his work he chose three of his favorite images from the magazine, including this one. The images are all erotic by nature and reflect the “pornographic fever” that was beginning to spread around Japan at the time. Yokoo p. 95 no. 806.
Condition B+: small tears at edges; creases in margins and image; tipped to mount on verso in corners. Paper. Framed.
Estimate
$1,000 – $1,500
Tadanori yokoo (1936- )
EXPO 70 / TEXTILES. 1970.
40½x30 inches, 102¾x30 cm.
Condition B+: tears, creases and slight foxing in margins. Paper.
Estimate
$700 – $1,000
Tadanori yokoo (1936- )
STEDELIJK MUSEUM / AMSTERDAM. Group of 5 duplicate posters. 1974.
Each approximately 37x24 inches, 94x61 cm.
Images available upon request.
Condition varies, generally A. Paper.
Estimate
$1,000 – $1,500
Hans fabigan (1901-1975)
PLAKATE FABIGAN. Circa 1955.
33x23¼ inches, 83¾x59 cm. Piller Druck, Vienna.
Condition A / A-: minor creases in margins; hinged to mount. Paper. Framed.
Estimate
$400 – $600
Various artists
[PHILIP GLASS / PERFORMANCES.] Group of 3 posters.
Sizes vary.
Group includes: La Belle et La Bete / An Opera (1994); The Photographer / Eadweard Muybridge; and 1000 Airplanes on the Roof. Images available upon request.
Condition varies, generally A / A-. Two hand-signed by Philip Glass. Paper.
Provenance: From the collection of Albert Albano.
Estimate
$800 – $1,200
Roy lichtenstein (1923-1997)
AMERIKANSK POP - KONST / MODERNA MUSEET. 1964.
39x27½ inches, 99x69¾ cm. Reklamteknik A-B, Malmo.
Condition B+: repaired tears, creases, abrasions and minor overpainting at edges and in image. Silkscreen.
Estimate
$700 – $1,000
Andy warhol (1928-1987)
FILM FESTIVAL - LINCOLN CENTER. 1967.
45x24 inches, 114¼x61 cm. List Art Foundation, Inc., [New York.]
From an edition of 500. Images of an Era 72 and cover, Modern Poster 255, Modern American 132, Muller-Brockmann 121, Plakat Kunst p. 173, The Poster 633, Internationale Plakate 704, Kunstler Plakate p. 107, Warhol Posters 6, MoMA 493.1978.
Condition B+: minor repaired tear in lower right image; minor creases and abrasions at edges; slight time-staining at edges on verso; slight staining in lower text. Silkscreen. Paper.
Estimate
$1,200 – $1,800
Andy warhol (1928-1987)
WILLIAMS COLLEGE MUSEUM OF ART. 1986.
33¼x33½ inches, 84½x85 cm.
Condition B+: repaired tears at edges; creases and abrasions at edges and in image.
Estimate
$400 – $600
Photo by michael halsband (1956- )
BASQUIAT * WARHOL / PAINTINGS. 1985.
18¾x11½ inches, 47½x29¼ cm.
Condition A. Framed.
Estimate
$1,500 – $2,000
Various artists
[ART EXHIBITIONS.] Group of 4 posters.
Sizes vary.
Group includes: Mondrian / Haags Gementemuseum (1972), by Schuitema; Galleria Milch / Luigi “Gigi” Bosa; Yugo Next / New York (circa 1997); and Robert Mapplethrope 1983. Images available upon request.
Condition varies, generally A- / A. Paper.
Provenance: From the collection of Albert Albano.
Estimate
$800 – $1,200
Vic d. (dates unknown)
THE FASCIST GUN IN THE WEST / RECALL REAGAN. 1968.
28¼x22½ inches, 72¼x57 cm. Recall Reagan inc.
Vic D. Production, photo by W. “Buzz” Smith.
Condition A. Paper.
Provenance: From the collection of Albert Albano.
Estimate
$400 – $600
George maciunas (1931-1978)
U.S.A. SURPASSES ALL THE GENOCIDE RECORDS! 1966.
21¼x34½ inches, 54x87½ cm.
Lithuanian-born graphic designer George Maciunas was the founder of the Fluxus movement in 1961, a network of international inter-media artists who focused on the process of creating art, rather than the finished product. Influenced by avant-garde composer John Cage and Dada artists like Duchamp, Fluxus focused on “anti-art” and “anti-commercialism,” with a spirit of humor and wit. Fluxus hosted public performances, festivals and street events in various cities, with contributing artists like Joseph Beuys, Nam June Paik, Ray Johnson and George Brecht. This reinvented image of the American Flag is attributed to Maciunas in collaboration with John Lennon and Yoko Ono. Maciunas did not sign works during his lifetime, in line with his manifesto on the dispensability of the artist’s identity, but the poster is referenced in Fluxus publications. Another variant is printed only in red ink. Images of an Era 110, Graphic Design in America p. 58, MoMA 3001.2008.x1-x36.
Condition A: minor abrasions at edges. Circular blind stamp in lower right corner reading “Lennon Ono, certified 1970-1974, Original Gallery Ad,” with ink notation Paper.
Estimate
$3,000 – $4,000
Guerrilla girls
[ART & POLITICAL GRAPHICS.] Group of 7 posters. 1980s-90s.
Each approximately 17x22 inches, 43x55¾ cm.
Group includes: “Pop’s Quiz”; “I’ve Begged”; “What I Want for Mother’s Day”; Andy Warhol and Tremaine Auctions at Sotheby’s; We Sell White Bread; Relax Senator Helms, the Art World is Your Kind of Place! and How Long Did It Take to Loot South Central L.A. Images available upon request.
Condition varies, generally A. Paper.
Provenance: From the collection of Albert Albano.
Estimate
$800 – $1,200
Guerrilla girls
[ART & POLITICAL GRAPHICS.] Group of 6 posters. 1980s-90s.
Sizes vary.
Group includes: Do Women Have to Be Naked to Get Into the Met. Museum (variant without purple ink); It’s Even Worse in Europe; Missing in Action; Bus Companies are More Enlightened Than NYC Art Galleries; Q. What’s the Difference Between a Prisoner of War and a Homeless Person?; and Supreme Court Justice Supports Right to Privacy for Gays and Lesbians. Images available upon request.
Condition varies, generally A. Paper.
Provenance: From the collection of Albert Albano.
Estimate
$800 – $1,200
Claude kuhn-klein (1948- )
[ANIMALS / NATURAL HISTORY] Group of 3 posters. 1980s-90s.
Sizes vary.
Group includes: Die Hauskatze (1994); Artenschutz / Conservation des Espèces; (1980) and Naturhistorisches Museum Bern (1985).
Condition varies, generally A / A-. Paper.
Estimate
$800 – $1,200
Günther kieser (1930- )
THE DOORS AND THE CANNED HEAT. 1968.
32¾x23½ inches, 83¼x59¾ cm.
Kieser spent his whole career designing posters for jazz festivals and rock concerts. His technique of choice was primarily photographs and photomontage, making this graphic image reminiscent of turn-of-the-century children’s book illustrations, an exception. Germany was the second stop The Doors made on their 17-day European tour in the fall of 1968. This poster was made specifically for this one night only concert.
Condition A-: minor creases and abrasions at edges and along vertical and horizontal folds. Paper.
Estimate
$3,000 – $4,000
Richard avedon (1923-2004)
[THE BEATLES / LOOK MAGAZINE.] Group of 4 posters, banner & magazine. 1967.
Set of four is 31x22½ inches, 78¾x57 cm. Cowles Education Corporation, New York.
In the late 1940s, Richard Avedon became the chief photographer for Harper’s Bazaar. Throughout his career, while remaining active in the field of fashion photography, he also became involved in Civil Rights and anti-Vietnam war photography. For the January 9, 1967 issue of Look magazine, he produced solarized portraits of the Beatles that were issued in several formats, including posters. Icons of their era, these images captured the legendary rock group at the peak of their fame. With- black and white photographic banner and Look magazine issue. Images available upon request. Images of an Era 48, Modern Poster 238, Encyclopedie de l’Affiche p. 329, Plakat Kunst p. 170, Design Graphique 102, MoMA 153.1988, 1441.2000, 1442.2000 & 1443.2000.
Condition varies, generally A-: slight foxing. Paper.
Estimate
$1,500 – $2,000
Victor moscoso (1936- )
[PSYCHEDELIC ROCK CONCERTS.] Group of 7 posters. 1966-1967.
Each approximately 19¾x14 inches, 50x35½ cm.
Group includes: The Miller Blues Band; Lee Michaels / Blue Cheer; Big Brother & The Holding Company; Quicksilver Messenger Service; Rites of Spring / The Cloud; The Chambers Bros; and Sphinx Dance. Images available upon request.
Condition varies, generally A. Paper.
Provenance: From the collection of Albert Albano.
Estimate
$1,500 – $2,000
Various artists
[PSYCHEDELIC ROCK CONCERTS.] Group of 6 posters. 1967-1968.
Sizes vary.
Group includes: Quicksilver Messenger Service; Jimi Hendrix Experience / Country Joe And The Fish; Blues Project / Genesis; It’s a Gas! / Quicksilver; Vanilla Fudge / Stone Poneys; and The Seeds. Images available upon request.
Condition varies, generally A-. Paper.
Provenance: From the collection of Albert Albano.
Estimate
$800 – $1,200
Various artists
[PSYCHEDELIC ROCK CONCERTS.] Group of 4 posters. 1967-1968.
Each approximately 20x13½ inches, 50¾x34¼ cm.
Group includes: The Chambers Brothers / Steve Miller Blues Band; Taj Mahal; Charles Lloyd Quartet; and Blood Sweat and Tears. Images available upon request.
Condition varies, generally A- / A. Paper.
Provenance: From the collection of Albert Albano.