pai lv rare posters

BICYCLES & MOTORBIKES

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ANONYMOUS

1. Cycles Gladiator. ca. 1895.53 1⁄2 x 38 5⁄8 in./135.8 x 98 cmImp. G. Massias, ParisCond A-/Slight tears at folds & edges.Ref: Bicycle Posters, 42; Petite Reine, 47; Ailes, p. 11; Musée d’Affiche, 22; Reims, 154; PAI-XLVIII, 94

Arguably the most famous of all bicycle posters, this image of a redheaded sylph being propelled through the sky by the unparalleled speed of her Gladiator cycle appears on everything in contemporary culture from wine labels to our company’s blog. And yet the design itself remains uncredited, despite the presence of faint initials in the lower right corner. A lithographic masterpiece!

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

2. Cycle “le Rochambeau.” ca. 1890.23 1⁄8 x 33 3⁄8 in./58.8 x 84.8 cmImp. Henon, ParisCond B/Slight tears.

A truly lovely image of a smartly-dressed young woman gliding along the beach at sunset on her Rochambeau bicycle.

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

BICYCLES & MOTORBIKES 1- 62

AUTOMOBILES 63 - 90

AVIATION 91 - 116

INTERNATIONAL POSTERS 117 - 539

Disney Images 274 - 281

Mistinguett 376 - 388

Russian Posters 459 - 466

BOOKS & PERIODICALS 540 - 553

CONTENTS

CONDITIONS OF SALE

We call your attention to the Conditions of Sale printed at the end of the book.

Those bidding at this sale should familiarize themselves with the terms contained therein.

OUR NEXT SALE

We are pleased to announce that the PAI-LVI sale of RARE POSTERS will be held on Sunday, February 12, 2012.

Consignments are accepted until November 8, 2011.

BID WITH CONFIDENCE - EVEN IF YOU CANNOT ATTEND

If you cannot attend the auction of November 13, please use the Order Bid Form provided. It should be mailed or faxed to arrive at our office no later than Friday, November 11.

Note that all illustrations in this book are of items being sold —we never use stock photos.

ACKNOWLEDGMENTS

© 2011 Poster Auctions International, Inc. All rights reserved. Printed in the United States of America

ISBN 978-1-929530-40-3

Jack Rennert - License 0797440

I am most grateful to the many individuals who have given their full support and assistance to us in the preparation of this RARE POSTERS (PAI-LV) sale. First and foremost, our thanks to the 124 consignors (yes, that’s a record!) in 23 states and 9 foreign countries who entrusted their finest works to us for this very special occasion.

Our staff has been materially helpful in all aspects of this auction, and I wish to especially single out my associate, Ms. Terry Shargel. Our editorial department was headed once again by Ms. Angelina Lippert, assisted by Ms. Jaime Taylor. Mr. James McCobb was in charge of production and design. Helping with many of the administrative aspects were Ms. Julie Press,

Mr. Xavier Serbones, and Mr. Angelo Carabello. And, as always, I’m most grateful for the personal support and endless patience of Barbara Rennert.

With this book, we welcome the services of a new printer, GHP, and we are grateful for the full cooperation and expertise shown by its staff, most notably Mr. Wayne Bruno, Ms. Linda Murray, and Mr. Craig Wermann.

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

-- Jack Rennert

3. The Quadrant Tricycle Co. ca. 1887.39 3⁄8 x 29 3⁄4 in./100 x 75.5 cmCond B/Restored tears, mostly at folds & edges.Ref (all var): Dodge, p. 109; PAI-XV, 9

While the Quadrant Cycle Company produced both bicycles and motorcycles during its 38 year existence, it was its tricycles which came to define the brand. Exceptionally popular in the United States, these three-wheelers were meticulously crafted and built for the open road. Other versions of this poster flip around the display of products, occasionally making a bicycle the main focus or eliminating one of the tableaux.

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

4. Vélocipédie. ca. 1890.12 1⁄4 x 18 7⁄8 in./31 x 48 cmCond B+/Slight tears at folds.

Published at least seven times, Maquaire’s treaty on practical cycling was apparently quite a success. Complete with illustrations by Bergevin, the volume provided the history of bicycles, advice for beginners, guides to various day-trips and scenic routes throughout France, recommendations on the best designs, general rules and etiquette, hygiene, and a special section dedicated to the military’s use of the bicycle.

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

5. Belsize & Irwell. ca. 1888.39 7⁄8 x 30 3⁄4 in./101.3 x 78 cmDavid Allen & Sons, Belfast & LondonCond A-/Unobtrusive vertical fold.

Originally known as the Claviger Cycle Company, the Manchester Cycle Manufacturing Co. began operation in the mid-1880s. While it produced a variety of bicycles (many of which are seen here), its two main types were the Irwell and the Belsize. The Irwell was slightly cheaper than the Belsize, and may have been designed specifically for the female rider. By 1900, however, its major competitor, Rudge-Whitworth, had driven the Manchester Cycle Manufacturing Co. out of business. Rare!

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

6. Fulwell Cycle. ca. 1894.24 3⁄8 x 36 in./61.8 x 91.5 cmW.I. Rodway & Co., BirminghamCond B+/Slight tears at folds.

In this lovely image wherein a diaphanously-clad nymph is seen using a single bicycle wheel as her chariot, we are presented with an ad for possibly two separate companies. According to various newspaper reviews from the time, Flying Wheel Cycles out of Coventry was an established brand often compared to Whitworth for its speed and excellent construction. Meanwhile, Fulwell -- which sounds more like a company than Flying Wheel -- has left us little historical documentation.

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

7. Raleigh Cycles. ca. 1896.35 7⁄8 x 50 3⁄4 in./91.2 x 129 cmImp. Cerf, ParisCond B+/Slight tears, largely at edges.Ref: Femme S’Affiche, 17; PAI-XXVI, 95

Images of Pierrot and Pierrette were used extensively around the turn of the century to sell any manner of product. Here, the daring Pierrette leaves her male companion baffled as she skids away on her Raleigh bicycle.

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

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BICYCLES (Continued)

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14. Wincycle.29 7⁄8 x 19 7⁄8 in./79.8 x 50.5 cmHill, Siffken, HallowayCond B/Slight tears & stains at folds & edges.

Emphasizing a Wincycle’s speed and agility in a rather odd way, we see a frightened young woman peddling as fast as she can to escape some very vicious looking farm animals. Below, the image is entitled “Surprising the Locals”; however, I’m not sure who exactly is surprised. To the left, we are reassured that a Wincycle is not only for business, but also for your health and convenience.

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

15. “Arab” Cycles. ca. 1922.58 7⁄8 x 39 5⁄8 in./149.5 x 100.8 cmD. F. Tayler, BirminghamCond A-/Small tear at right edge.

A rare two-sheet poster advertising Arab Cycles. Rather amusingly put, the text below reads: “The Arab bids farewell to his steed,” as we see the man calmly blowing a kiss to a horse which gallops frantically after him. The company was only operational from 1923 to 1926, specializing more in motorcycles than bicycles.

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

16. Cycles Depas. ca. 1930.39 1⁄2 x 27 3⁄4 in./100.2 x 70.5 cmImp. Bénard, LiegeCond B/Slight tears at folds.

Emphasizing the ad’s claim that the bicycle is so easy to handle that it almost rides itself, a long-haired brunette is seen flying behind the handlebars.

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

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8. Humber Cycles. ca. 1898.29 3⁄8 x 21 1⁄2 in./74.6 x 54.5 cmThe Dangerfield Printing Co., LondonCond B+/Slight tears at vertical fold & edges.

As bicycles were a relatively new mode of transportation in the 1880s & 1890s, the idea that it could take you well beyond the borders of your town was a novel & thrilling concept. Here, that freedom is beautifully envisioned, showing the vastness of untouched terrain which the two cyclists are easily navigating.

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

9. Cycles Pinède. ca. 1897.25 3⁄4 x 37 1⁄2 in./65.4 x 95 cmImp. Charles Dupont, ParisCond B-/Tears, largely at folds & edges.

While little remains known about the Pinède brand, Misti is credited as also creating a design for the company promoting its tandem bicycles. Here, the North Star hovers above a winged herald, hovering aloft on top of a Pinède tire.

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

10. Cycles “Le Globe” / George Hetley.12 5⁄8 x 18 1⁄8 in./32 x 46 cmImp. J. Kossuth, ParisCond B+/8” vertical tear at bottom.Ref: PAI-XL, 6

Comparing the record speeds of all major (and minor) forms of transport, from locomotives to ice skaters, George Hetley’s Globe bicycle is the clear winner.

Est: $600-$800.

11. Cycles Rochet. ca. 1900.8 x 23 3⁄8 in./20.5 x 59.5 cmImp. Kossuth, ParisCond A-/Very slight tears at edges.

A cleverly-conceived promotional panel in which the name of the brand is not placed on the bicycle itself nor simply painted on the air, but rather repeatedly presented on an iconic French kiosk in the background. Combined with the exceedingly demure rider, this subtle design makes the bike appear particularly Parisian.

Est: $800-$1,000.

12. Le Goff. ca. 1900.15 3⁄4 x 23 3⁄8 in./40 x 59.5 cmImp. Kossuth, ParisCond B+/Slight stains at edges.

Reminiscent of the hand of Tichon, this design for the small bicycle and automobile manufacturer Le Goff brings elegance and class to both of the company’s products.

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

13. Cycles Lorette. ca. 1930.46 x 62 1⁄2 in./116.9 x 158.8 cmPublicité Fleury, ParisCond B/Tears, largely in margins.

In an attempt to echo the textual promise of strength, elegance, and security, the artist presents us with a jovial cyclist, merrily riding over bumpy terrain with no hands. Below, the blank area would have allowed a local dealer to insert his name as a point of contact.

Est: $1,500-$2,000.

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21. Victor Bicycles / Overman Wheel Co. 1896.38 5⁄8 x 61 7⁄8 in./98 x 157 cmArti Grafiche, BergamoCond B+/Restored tears in bottom text banner.Ref: DFP-I, 165; Reims, 1148; Lauder, 35; Masters 1900, 211; Bicycle Posters, 24; Weill, 120; Margolin, p. 208 (var); Bradley, 23 (var); Bambace, p. 164; PAI-XXXV, 114

Known for his love of intricate patterns based on nature as well as the work of Art Nouveau bad boy Aubrey Beardsley, Bradley does not shy away from

giving a heavy nod to both in this painstakingly detailed design. With its rhythmic variety and organic flow of line, it is obvious why it is considered one of the greatest examples of American poster art. As for the product itself, the Victor bicycle was launched by A.H. Overman in 1887, and was amongst the first to include wheels of matching height (as opposed to the velocipede which had a higher front wheel). Here, it promotes the Torino-based Italian distributor of the brand.

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

WILLIAM H. BRADLEY (1868-1962)

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JACQUES BELLENGER (1903-1985) & PIERRE BELLENGER (1909- )

17. Favor. 1937.62 x 46 5⁄8 in./157.5 x 118.5 cmEt. de la Vasselais, ParisCond A-/Slight tears & stains at edges. Framed.Ref: PAI-XXXV, 109

A fine Art Deco design giving a strong nod to the topical theme of The Worker in public art. Like many advertisements at the time, it was now more appealing to showcase the common craftsman behind a product than an elegant and sophisticated purchaser of the item. Here, we see that both Favor’s bicycles and motorcycles are given equal attention and weight by its maker.

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

EMILE BERCHMANS (1867-1947)

18. Fabrique Nationale. ca. 1899.19 1⁄2 x 26 1⁄2 in./49.5 x 67.2 cmLith. Aug. Bénard, LiégeCond B+/Slight tears at folds. Framed.Ref: DFP-II, 48; Phillips I, 48; PAI-LI, 115

The Belgian company Fabrique Nationale made bicycle parts for a total of one year before moving on to motorcycles and, their main focus, military weapons. While not an obvious connection, at the turn of the century bicycles played a most useful part in combat, allowing soldiers to quickly bolster critical sections of the line. This type of troop transport soon proved more trouble than it was worth, though, ultimately leading to the disbandment of all cycling battalions by 1918.

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

JULES-LOUIS BERTEAULT

19. Peugeot.20 5⁄8 x 16 7⁄8 in./52.4 x 42.8 cmCie. Française des Papiers MonnaiesCond B+/Slight tears at vertical fold & edges.Ref: PAI-XL, 13

A colorful combination of painterly illustration and realistic draftsmanship, this small advertisement for Peugeot is remarkably decorative and detailed. Rather than the usual depiction of a couple’s tandem cycle, here we see the more competitive side of the design with two serious male athletes breezing by a crowded grandstand.

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

P. BILD

20. Roussel. ca. 1905.23 1⁄4 x 31 in./59 x 79 cmImp. Petit, ParisCond B+/Slight tears at folds.Ref: Pneu, 27

A rather inventive image in which Roussel rubber tires are used as a decorative roundel above the Queen of the Road’s head, as she quickly vanquishes other brands with a golden nail. At her feet, the former King of the Road begs for her mercy; however, as the text below explains, she will do him in as well.

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

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JUAN CARDONA Y TIO (1877-1958)

26. Rambler Cycles. 1901.36 1⁄2 x 50 7⁄8 in./92.6 x 129.2 cmImp. Chaix, ParisCond B+/Slight tears at folds.Ref: Bicycle Posters, 83; PAI-LII, 13

While the bicycle itself is only hinted at in the presence of handle bars -- much like Mucha’s famous Cycles Perfecta (see PAI-LI, 435) -- Cardona cleverly integrates the wheel of the machine into the goddess’s cape. Manufactured in Chicago starting in 1878, this poster was geared toward the company’s French audience.

Est: $1,400-$1,600.

EMILE CLOUET

27. Humber. ca. 1894.44 1⁄2 x 61 in./113 x 155 cmImp. Kossuth, ParisCond B-/Tears at folds & edges; restored paper loss in margins. Ref: Ailes, p. 62; PAI-XL, 23

Formed in England by Thomas Humber in 1869, Humber Cycles would eventually, like so many bicycle companies, become dominated by its automobile division. In the late 1800s, however, bicycles were still all the rage, especially amongst the newly liberated woman. Here, one such lady is basking in the heavenly glow of her Humber as a host of disembodied seraph heads hover around this deified wonder.

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

28. Swift. 1895.24 1⁄4 x 32 3⁄8 in./61.8 x 82.2 cmImp. J. Kossuth, ParisCond A-/Slight stains at edges.

Born out of the mind of sewing machine manufacturer James Starley, Swift Cycles was one of the earliest forms of bicycle to emerge from England. Here, it is presented as the epitome of style and freedom, allowing a fashionable young woman to roam throughout the countryside with ease.

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

ADOLPHE CRESPIN (1859-1944) & EDOUARD DUYCK (1856-1897)

29. Vélodrome d’Hiver / Sport-Vélocipédique. 1895.33 1⁄2 x 55 1⁄2 in./85 x 141 cmImp. Lith. Ad. Mertens, BruxellesCond B-/Tears & stains.Ref: Belle Epoque 1970, 43; Belgique Sportives, 33; Reims, 1469; DFP-II, 1026; Beaumont, p. 38; Duchesne, 37; PAI-XL, 24

Like the more famous Velodrome d’Hiver in Paris, this Belgian establishment housed wintertime cycling and other indoor rink events. In this straightforward, strong design by Crespin & Duyck, we are pointedly told by a stern-looking woman in blue to attend the International Exhibition of Bicycle Racing.

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

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FIRMIN BOUISSET (1859-1925)

22. Fernand Clément. ca. 1890.55 3⁄4 x 44 7⁄8 in./141.7 x 114 cmAffiches Camis, ParisCond B-/Tears at folds & edges; restored paper loss in blue sky.

With a lifelong love of cycling, Adolphe Clément opened his first bicycle manufacturing business in 1878, complete with a repair shop and cycling school. By 1890, his small, local business had become the most popular bicycle brand in France. Here, the entire family line is on display, including a skirt-sensitive female tricycle.

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

TOM BROWNE (1872-1910)

23. Raleigh Cycles. 1897.14 1⁄2 x 19 1⁄4 in./37 x 49.8 cmTom Browne Lithographers, NottinghamCond B/Slight tears, largely at bottom paper edge.

As can be gleaned by the sweet design of this poster, Tom Browne’s specialty was actually comic postcard art, for which he was known as the best in all of Britain. He became so successful that he began his own printing firm in 1897, the year he was commissioned with this poster for Raleigh. He would go on to create other designs for the company, none of which posseses the quaint charm of this fine image.

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

LEONETTO CAPPIELLO (1875-1942)

24. Pneu Velo Baudou. ca. 1910.46 1⁄8 x 62 3⁄8 in./117.2 x 158.4 cmVercasson, ParisCond B/Slight tears & creases, largely at top edge. Framed.Ref: Cappiello/Rennert, 166; PAI-LII, 45

As Baudou decided to name its bicycle tire “La Sirène,” it seems almost necessary that a sea siren would be used to promote it. Adorned only in demure wisps of hair and seaweed, she holds her latest treasure aloft, so as to encompass the image of the factory on the horizon. The addition of the crimson skyline is perhaps a reference to the old adage, “red sky at night, sailor’s delight” -- an appropriate comment on both the product and the muse.

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

CATAOS

25. Pneu A. Soly.29 3⁄4 x 43 3⁄4 in./75.5 x 111 cmImp. Tourangelle, ToursCond B+/Tears at folds & in margins.

A simple, yet clever way of visually emphasizing that Soly tires are both light and durable.

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

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GEORGES GAUDY (1872-1940)

33. Minerva Cycles / Antwerpen. ca. 1905.24 x 35 1⁄2 in./61 x 90 cmO. de Rycker & Mendel, BruxellesCond B+/Creases in upper green area.Ref: PAI-XVIII, 283

Only operational from 1902 to 1927, Minerva Cycles was an early motorcycle company, starting off with clip-on engines for bicycles before moving on to more integrated models. Here, a dandy of a gentleman is gesturing toward one such early design as if to say that it, like himself, is the height of refinement and fashion.

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

H. GRAY (Henri Boulanger, 1858-1924)

34. Cycles “Brillant”. ca. 1900.23 3⁄8 x 30 1⁄2 in./59.3 x 77.5 cmImp. Lemercier, ParisCond B+/Slight tears, largely at folds.Ref: PAI-XLIX, 292

Noted as receiving the highest honors for spare part replacement at the Universal Exposition of 1900, it is no wonder that one of the two winged seraphs come to greet the new bicycle swoons at the mere sight of it. This is among Gray’s finest designs, beautifully incorporating the rays shining off the diamond with the spokes of the bicycle wheel.

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

35. Continental. ca. 1900.11 3⁄4 x 24 1⁄4 in./30 x 61.6 cmImp. Courmont Frères, ParisCond B+/Slight tears & stains at edges.Ref: Pneu, 23

As rare as it is beautiful, this sweet and delicate image by Gray shows Continental tires as both the most comfortable wheel on the market as well as the gateway to a peaceful, languid world far away from the rest of humanity.

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

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JEAN-LOUIS FORAIN (1852-1931)

30. Deuxième Salon du Cycle. 1894.82 1⁄4 x 35 1⁄8 in./209 x 89.3 cmImp. H. Hérold, ParisCond B-/Restored tears at folds & edges.Ref: DFP-II, 362; Maindron, p. 64; Maitres, 51; Bicycle Posters, 20; Wagner, 55; Abdy, p. 106; PAI-XXXII, 314

In advertising the second annual Salon du Cycle, Forain created an image which would cause Maindron to later exclaim, “This poster is perfect.” Delicate in sweet pastel shades, this is the larger, two-sheet version of the image -- a favorite amongst collectors at the time in all three of its formats.

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

MAXIME FRAIKIN

31. Michelin est Indechirable. 1908.31 1⁄8 x 40 in./79 x 101.7 cmImp. M. Dumas, ParisCond B/Tears at folds.Ref: Pneu, 76 (var); Discount, p. 96; Car Graffitti, p. 12 (var); PAI-XVI, 357

Before the Michelin Man became the company’s official mascot (or political correctness became a norm in advertising), all manner of strange and unsavory characters were used to promote the product’s indestructibility.

Here, a vampire-toothed Native American is shown gnawing on a bicycle tire, thereby proving that the mere road would cause it no harm.

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

EUGENE GRASSET (1841-1917)

32. Marque Georges Richard / Cycles & Automobiles. 1899.Opening: 22 3⁄4 x 16 12 in./58 x 42 cmImp. de Vaugirard, ParisCond B-/Restored tears; slight stains in margin. Framed.Ref: DFP-II, 415; Bicycle Posters, 21; Berthon & Grasset, p. 34; Weill, 41; Timeless Images, 28; Dodge, p. 132; Ailes, p. 119; Gold, 78; PAI-L, 265 (var)

Here, in one of the most appealing of Grasset’s posters, atmosphere is paramount. “Of the product, we see barely a handlebar: it is the moody and enigmatic rider who carries the weight of the sale. The twilight effect adds warmth to the image in which type and design are beautifully integrated. Georges Richard was one of quite a number of bicycle manufacturers who were hurriedly adding automobiles as a sideline around the turn of the century; within a few years, the sideline would become the main, or as here, the only product of the company” (Gold, p. 56). This is the rare smaller format.

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

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3231BICYCLES (Continued)

MICH (Michel Liebeaux, 1881-1923)

41. Monet & Goyon. ca. 1918.19 5⁄8 x 25 1⁄2 in./49.8 x 64.7 cmPublicité Wall, ParisCond B+/Slight tears at edges. P.

Founded in 1917 by Joseph Monet and Adrien Goyon, this Macon-based manufacturing company specialized in motorcycles and velocimanes (tricycles for the physically handicapped, particularly war veterans). Here, at least six of their more popular models are on display, three of which are shown being merrily driven by the sporting set.

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

VICTOR MIGNOT (1872-1944)

42. 5e. Salon du Cycle. 1897.33 1⁄2 x 47 in./85 x 119.3 cmImp. J. E. Goossens, BruxellesCond B-/Restored tears at folds & edges.Ref: Belgique/Paris, 28; Brussels, pl. XXVI; Galerie CGER, 19; PAI-III, 134

Hosted by the Bicycle Union Club in Brussels, Mignot gives us a truly spectacular design for their 5th annual Salon du Cycle. Precariously poised on their respective two-wheelers, a colorful and angular couple holds out a banner announcing the event, making all those not participating appear drab and lifeless in the background.

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

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PETER ALFRED GROSS (1849-1914)

36. Rudge / La Déesse. ca. 1900.29 5⁄8 x 41 1⁄2 in./75.2 x 105.5 cmCond B+/Slight scrapes at vertical fold.Ref: Ailes, p. 29; PAI-XXXIII, 3

One of Rudge’s best known models was La Déesse, or ‘the Goddess,’ personified here by a golden-clad, Pre-Raphaelite damsel bidding farewell to an unseen party. Below, Gross, an American landscape artists who lived in France from 1874 to 1914, is noted as the ‘artistic painter’ of this fine poster.

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

ALBERT GUILLAUME (1873-1942)

37. Peugeot. 1892.50 x 75 in./126.7 x 190.5 cmAffiches Camis, ParisCond B/Tears at folds & edges.Ref: Petite Reine, 89; PAI-XL, 36

Attracting a crowd of local businessmen as well as a boy and his dogs, this sign in town notes that Peugeot has achieved an unprecedented success at the Paris-Nantes bicycle race, with the top five competitors all crossing the finish line on Peugeot cycles.

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

DAAN HOEKSEMA (1879-1935)

38. Simplex.20 3⁄4 x 44 7⁄8 in./52.6 x 114 cmSenefelder, AmsterdamCond B/Slight tears at folds & edges.Ref: PAI-XXXV, 121

A simple, striking, clean design which is as evocative of the city in which the poster was printed (Amsterdam) as it is of the product itself. As the tires promise to create 70% less friction than other models, we are literally left in the dust as this Modern cyclist speeds by.

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

FRANZ LASKOFF (François Laskowski, 1869-1921)

39. Cycles “Styria.” ca. 1895.31 3⁄4 x 45 1⁄4 in./80.6 x 115 cmGrimme & Hempel, LeipzigCond B+/Slight stains, largely at edges.Ref: PAI-XVIII, 330

Taking its name from the southeast Austrian city, Cycles Styria is shown here as the perfect racing bicycle. The design by Laskoff won first prize in a competition sponsored by the printer.

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

MARODON

40. La Française Diamant. 1910.60 5⁄8 x 45 1⁄4 in./154 x 115 cmImp. Paul Dupont, ParisCond B+/Slight tears at folds & edges.Ref: Petite Reine, 109; PAI-XXVII, 13

Known as “les deux Emiles,” Emile Georget and Emile Friol were the French champions in two different bicycling disciplines -- the former in road racing, and the latter in sprints. As national athletic heroes, it seems only natural that they should be chosen to endorse the French ‘Diamant’ brand of bicycle while wearing their country’s colors.

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

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PAL (Jean de Paléologue, 1860-1942)

46. Rudge. ca. 1898.42 3⁄4 x 57 3⁄4 in./108.7 x 146.7 cmImp. Paul Dupont, ParisCond B+/Slight tears & stains at folds & edges.Ref: PAI-XXVI, 476

With cyclists gathered from all corners of the globe filling the Parisian streets below, a winged seraph holds aloft the latest Rudge cycle. Clamoring in awe, it is not the bicycle itself which seems to be the focus of the crowd, but the clearly-marked Clincher tires -- the latest in pneumatic science.

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

47. Fernand Clément & Cie. 1895.42 3⁄8 x 59 in./107.8 x 150.2 cmImp. Paul Dupont, Paris Cond B/Slight tears at folds & edges.Ref: DFP-II, 685; Petite Reine, 49; Reims, 941; Gold, 68; Ailes, p. 60; Veloscopie, p. 87; PAI-XXXVII, 454

“The voluptuous beauty in ecstasy expresses the feeling of unrestrained freedom which the bicycle could bring into a 19th-century woman’s life. Now able to cover distances under their own power, women felt there was a whole new frontier opening to them, as indeed there was. Pal gives the euphoria palpable substance” (Gold, p. 48).

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

48. La Péoria. ca. 1898.42 3⁄4 x 63 1⁄8 in./108.8 x 160.2 cmImp. P. Leménil, AsnièresCond B+/Unobtrusive folds.Ref: Ailes, p. 67; PAI-LIII, 394

Most bicycle brands at the turn of the century had mythical and exotic names, the Péoria being no exception. Should you not know that a péoria is a type of moth, then the sheer wings and diaphanous garment of the flying nymph hurling herself toward the flame-like saffron trajectory of the bicycle might lend you a clue.

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

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V. MUNDORFF

43. Auto Union-DKW. ca. 1936.22 1⁄2 x 37 1⁄8 in./57.2 x 94.2 cmGustav Gerstenberger, ChemnitzCond A-/Slight creases.

Proudly displaying the company’s many record-breaking successes against a backdrop of a map of Australia, this poster promotes Auto Union’s DKW motorcycles. Born out of a merger between four German brands in 1932, Auto Union (better known today as Audi) still allowed DKW to make motorcycles under its own name until the late 1940s.

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

MISTI (Ferdinand Mifliez, 1865-1923)

44. Cycles Griffon. 1900.35 x 60 1⁄2 in./88.7 x 154.5 cmImp. du Griffon, ParisCond B/Slight tears, mostly at folds. Framed.Ref: DFP-II, 604; PAI-XXXVIII, 442

A particularly inspired work by Misti in which the bicycle company’s namesake is seen fiercely guarding over a serene tableau of a young woman riding through the countryside.

Est: $1,500-$2,000.

LOUIS OURY (1846-?)

45. American Cycles Crescent. ca. 1896.15 1⁄2 x 23 1⁄8 in./39.4 x 58.8 cmImp. Bourgerie, ParisCond A-/Slight tears at edges.

Emphasizing its roots in the United States with a tumbling banner of stars and stripes, this French poster promotes American Cycles Crescent to the European market. Already an exceptionally popular brand at home, other Crescent advertisements from the time boast sales in the tens of thousands, whereas this patriotic design uses a smartly-dressed redhead and its mascot on the crescent moon to win over a foreign clientele.

Est: $1,400-$1,700.45

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PIERRE RIBERA (1867-?)

53. Motocyclettes René Gillet.55 1⁄4 x 39 in./140.5 x 99 cmImp. G. Delattre, ParisCond A-/Slight tears at edges.

Used by both the French army and the Paris Gendarmerie, René Gillet motorcycles are considered to be a national icon boasting high efficiency & strength with few frills. Its masculinity and stamina are both emphasized in this poster which showcases a bike and its rider effortlessly waging through the harshest of the elements.

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

AUGUSTE ROUBILLE (1872-1955)

54. La Motocyclette Werner. ca. 1905.50 1⁄2 x 36 3⁄4 in./128.3 x 93.5 cmFirmin-Didot, ParisCond B/Tears at folds & edges.Ref: PAI-XLVII, 449

A frequent contributor to such humor magazines as Le Rire, Le Sourire and Cocorico, Roubille was a master caricaturist -- his skills aptly displayed here wherein a couple is shown as no longer needing Cupid’s assistance to fall in love now that they have Werner motorcycles. The company was only in operation from 1897 to 1908, at which time it was rebranded at Rudge Cycles.

Est: $1,500-$2,000.

MANUEL ROBBE (1872-1936)

55. Plasson Cycles: 2 Images. 1897.66 1⁄8 x 47 in./168.2 x 119.3 cmSte. Parisienne d’Impressions, ParisCond A.Ref (all var except PAI): Ailes, p. 121; Petite Reine, 34; Gold, 70; DFP-II, 749; Weill, 75; PAI-L, 424 & 425

While a prolific printmaker, Robbe only produced a handful of posters, two of which were for the Plasson bicycle company. Here, both are shown together, uncut as they would have been printed, making their complimentary designs all the more obvious. They both show how women were just getting into bicycling as a sport, with one still needing the guiding hand of her male counterpart to help her along, white the other is regarded as somewhat of a rebel by her long-skirt wearing audience.

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

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49. Whitworth Cycles. ca. 1894.58 5⁄8 x 84 5⁄8 in./148.8 x 215 cmImp. Paul Dupont, ParisCond B-/Restored tears.Ref: Maindron, p. 120; Reims, 958; V&A, 242; Ailes, p. 57; PAI-XXXIX, 426

Printed soon before the 1894 merger of Whitworth and Rudge Cycles, this two-sheet image is one of the most charming bicycle advertisements of the period. In essence, a Whitworth Cycle is just so beautiful and smart that you will be a hit with the ladies should you purchase one.

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

50. Cycles-Clément-Motocycles. ca. 1890.42 3⁄8 x 57 3⁄8 in./107.6 x 145.7 cmImp. Paul Dupont, ParisCond A-/Slight tears at edges.Ref: Wine Spectator, 126; PAI-XL, 50

With a noble-looking Marianne figure standing proudly in front of them, we are presented with a glimpse of both the bicycle and early motorcycle models offered by Clément. By 1890, it was the most popular cycle brand in France, allowing it to boast the ‘largest factory in the world,’ shown spreading out toward the horizon.

Est: $1,500-$2,000.

ROGER PEROT (1908-1976)

51. Cycles Peugeot. 1931.31 x 46 1⁄2 in./79 x 118.3 cmHachard, ParisCond A-/3” vertical tear at top edge. Framed.Ref: PAI-XXII, 29

Forty-eight years after being founded by Emile Peugeot, the company obtained the lion as its trademark. The animal would go on to appear in hundreds of advertisements for the company, including posters such as this where the cyclist is bringing the sprit of the beast along his path while sitting proudly atop his Peugeot bicycle.

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

MAX PONTY (1904-1972)

52. Peugeot. ca. 1929.31 7⁄8 x 47 in./81 x 119.5 cmLe Successeurs de Hachard, ParisCond A.Ref: PAI-XIX, 468

In one of two designs Ponty created for the motorcycle division of Peugeot, he gracefully captures the romance such a machine can offer a couple when combined with the freedom of the open road.

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

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BICYCLES/PAL (Continued)

ANONYMOUS & MAURICE LOUIS HENRI VALLET NEUMONT

59. Two Early Bicycle Prints. ca. 1885.Each: 15 1⁄2 x 11 3⁄4 in./40 x 30 cmImp. Chasseport, ParisCond A/Hand-colored.

Two sweet images showcasing how ladies were at the forefront of the bicycle craze, eagerly trying out the latest models.

Est: $400-$600. (2)

RAOUL VION

60. Bicyclete Rexor. ca. 1919.22 5⁄8 x 30 in./57.4 x 76.2 cmPublicité Wall, ParisCond B/Slight tears & stains at folds & edges.

A tongue-in-cheek design meant to emphasize how Rexor makes an all-terrain bicycle, a woman is shown dismissing the elevator (and the hotel staff) and brazenly ascending the staircase on her bike. Above, she exclaims “I can climb everything with my Rexor bicycle!”

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

61. La Française Diamant. ca. 1920.46 3⁄4 x 61 7⁄8 in./118.8 x 157 cmAffiches Gaillard, ParisCond B/Slight tears, largely at folds.

La Francaise Diamont was a cycling team backed primarily by Dunlop; however, as noted around various parts of the bicycle shown in this poster, other sponsors also contributed to these winning bikes, including Bowden for brakes, Brompton for the chain, and Brown for the seat. The list in the lower left remarks how it was the only brand to win every major bicycle race throughout France multiple times.

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

NARCISSE VIVIEN

62. Cycles Hirondelle-St. Etienne. ca. 1900.43 x 55 1⁄4 in./109.2 x 140.4 cmImp. Camis, ParisCond B/Tears at folds.Ref: Bicycle Posters, 59; Petite Reine, 60; Ailes, p. 75; PAI-XXX, 298

“The swallow is a bird known for its speed, grace, and dependability ... and these are qualities the bicycle manufacturer wishes to emulate and convey to the public” (Bicycle Posters, p. 10). Clearly named after the bird, Cycles Hirondelle was produced by Manufrance (short for Manufacture Française d’Armes, noted at the bottom of the poster), a company most noted for its mail order service. This particular brand of bike was the country’s first Modern cycle, used primarily by policemen in Paris and considered to be more of a ‘working’ bicycle than a leisure vehicle.

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

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For one other bicycle poster, see Steinlen’s Motocycles Comiot.

FRANCISCO TAMAGNO (1851-1933)

56. Cycles Automoto. ca. 1910.14 1⁄4 x 22 1⁄8 in./36 x 56.2 cmLa Lithographie ParisienneCond C+/Some tears & stains.Ref: Gold, 72; Ailes, p. 99; PAI-XXX, 17

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

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

HENRI THIRIET (1866-1897)

57. Omega. 1897.38 7⁄8 x 55 3⁄4 in./98.7 x 141.5 cmCond A-/Slight tears at foldsRef: Bicycle Posters, 56; Petite Reine, 41; PAI-XLII, 485

Passing away before his 32nd birthday, Thiriet’s oeuvre is small but excellent. “This is yet another example of the Art Nouveau poster at its stylized best. The composition has been meticulously–almost geometrically–arranged, and the influence of mythology, in both the Greek name for the bicycle brand of Kreutzberger and the winged goddess, plus the bold use of flat and vibrant colors emphasize this. The Omega is chainless (“Sans Chaine”) even though continuous-chain-driven bicycles were being produced at this time. It worked by means of bevel gears” (Bicycle Posters, p. 9).

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

ABEL TRUCHET (1857-1918)

58. Pneumatique Morel. ca. 1898.23 3⁄8 x 31 5⁄8 in./59.5 x 80.3 cmImp. Edw. Ancourt, ParisCond B+/Unobtrusive folds; slight tears at edges.Ref: Bicycle Posters, p. 18; Car Graffitti, p. 80; PAI-XL, 68 (var)

“Truchet was one of the organizers of ‘La Vachalcade’ spectacle, an effort by successful writers and artists of Montmartre to collect money for their more needy compatriots. The translation of the text: ‘Try Morel tires on your bikes-they go on and off instantly.’ And at the bottom is this conversation between the two youngsters: -’Listen, George, put my tire on quickly; here comes mom and dad.’ -’Don’t be afraid, my little Riri, it’s done.’” (Bicycle Posters, p. 5). The artist Leon Chouquet created a nearly identical poster for the Morel company some five years earlier (see Ailes, p. 91); however, Truchet’s design is far lighter, with a sly, humorous touch and an impressionistic sensibility.

Est: $1,700-$1,200.

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ANONYMOUS

63. Rallye automobile international / Moscou. 1914.47 3⁄8 x 34 7⁄8 in./120.3 x 88.5 cmCond A-/Slight tears at paper edges.Ref: PAI-XXXV, 63

Organized by the First Automobile Club of Moscow, this poster promotes an international car race, held in August of 1914. The map indicates that participants traveled as far as Madrid and London, as well as all the other major cities in Europe; however, it is the spectators rather than the actual drivers who are highlighted in this design.

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

64. Behind the Wheel. 1929.14 1⁄8 x 20 7⁄8 in./36 x 53 cmCond A-/Unobtrusive folds.

More promoting the idea of driving than a specific brand, this poster exclaims that ‘the Soviet country needs good roads & automobiles.’ Below, the twice-monthly magazine Behind the Wheel is advertised.

Est: $800-$1,000.

65. La Royale. ca. 1930.31 1⁄4 x 46 7⁄8 in./79.4 x 119 cmImp. Ch. Garciau, NantesCond A-/Horizontal fold.

La Royale car wax ran a series of ads in the 1930s highlighting national monuments from around the world alongside their product. Here, the Arc de Triomphe serves as the backdrop for the French brand, with the text heralding it as a stainless, unalterable, brilliant wax.

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

66. Les Frères Desprez. ca. 1945.92 3⁄8 x 61 1⁄2 in./234.6 x 156.2 cmImp. Duval et Bedos, ParisCond B-/Restored tears at folds & seam.Ref: PAI-XXI, 10

From the 1920s until just after World War II, Andre and Marcel Desprez became well-known circus performers with their ‘double summersault’ car act. Traveling throughout Europe, North Africa, and India as a stunt duo, their performance involved launching an automobile in the air, spinning it around twice, and landing perfectly upright. The film A Portrait of an Assassin starring Maria Montez and Erich von Stroheim highlighted the routine, and used the brothers at stunt men.

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

67. Michelin / Confort-Bibendum. 1926.49 x 76 1⁄2 in./124.6 x 194.3 cmL. Serre, ParisCond B/Tears at folds & edges.Ref: Discount, p. 180 (var); Michelin/LeCoadic, p. 16 (var); PAI-XXIV, 112

Leaping over the towers and smoke stacks of the Michelin factory, Bibendum -- better known today as the Michelin Man -- merrily presents the company’s latest tire, noted for its comfort.

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

LEONETTO CAPPIELLO (1875-1942) For others by Cappiello, see Nos. 183-210

68. Automobiles Charron Ltd. / Puteaux. 1906.49 1⁄4 x 77 1⁄4 in./125 x 196.2 cm Imp. P. Vercasson, Paris Cond B/Unobtrusive tears at folds & edges. Ref: Cappiello/Rennert, 99; Auto Show I, 30; PAI-LIII, 131

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

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

JULES ABEL FAIVRE (1867-1945)

69. Automobile Club de France. 1904.48 3⁄4 x 49 1⁄4 in./123.7 x 125 cmLittre, ParisCond A-/Slight tears at folds & edges.Ref: Auto Show II, 6; Auto Show III, 39; Art & Auto, p. 42; PAI-XLIII, 15

Pictured in front of the Grand Palais, an exquisite young lady in ermine goes for a wintertime drive to promote the Automobile Club de France’s 1904 exhibition. While not a terribly elaborate or thrilling composition, the rich quality of the design combined with the blissful perfection of the latest open-air automobile would have been enough to spark public interest in the event.

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

73. Montagne d’Auvergne. 1958.15 1⁄2 x 23 1⁄2 in./39.4 x 59.8 cmI.P.C., Clermont-FerrandCond B+/Slight stains at left edge.

Although the track was first proposed in 1908, the Montage d’Auvergne circuit was not completed until 1958, the year of this poster. This design d’après Ham recalls many of his other, more famous automobile images, relying on the drama of movement to create the thrill of the event for the viewer.

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

74. 24 Heures du Mans 1954.24 1⁄2 x 20 1⁄2 in./62.2 x 51.3 cmImp. et Éditions A.A.T. Thivillier, ParisCond A-/Slight tears in margins.

This image by Geo Ham thrillingly captures the danger and excitement of the 1954 Le Mans Grand Prix, with torrents of rain cutting across the track and spectators leaning over the rails to catch a glimpse of the action. Below, small portraits of the four champion drivers are shown alongside congratulatory text.

Est: $1,500-$2,000.

JEAN JACQUELIN (1905-1989)

75. 24 Heures du Mans / Automobile Club de l’Ouest. 1974.23 1⁄2 x 15 3⁄4 in./59.7 x 40 cmImp. Karcher, AubervilliersCond A.Ref: Jacquelin, 150

Unlike many of the more common designs for Le Mans which showcase the cars whipping around the track, this colorful image by Jacquelin depicts a rainbow of anonymous drivers, their high speeds blurring them into an automobile Milky Way, cutting across the face of the moon. This was the year in which France took home first place with Henri Pescarolo in his Matra-Simca -- afterward, Matra would announce its retirement from the sport, making the victory bittersweet.

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

BERNARD MINNE (1918- )

76. Monaco / 1957.31 x 47 1⁄8 in./79 x 119.7 cmImp. A.D.I.A., NiceCond A.Ref: Monaco, p. 46; PAI-LIII, 360

As the second round of the World Drivers’ Championship that year, the 1957 Monaco Grand Prix was exceptionally dramatic. Many of the favorites crashed or suffered engine failure, leading to Juan Manuel Fangio taking first place in his Maserati. This poster, so magnificently executed to truly express the speed at which these racers drive, is quite rare.

Est: $8,000-$10,000.AUTOMOBILES (Continued)

JEAN DES GACHONS

70. Grands Prix de France. 1952.15 1⁄4 x 23 5⁄8 in./38.7 x 60 cmImp. Schuster, ParisCond A/P.Ref: PAI-XXXII, 109 (var)

Part of the French Grand Prix circuit, the Saint-Gaudens race was hosted at the Circuit du Comminges in Gascony. Here, a light blue Gordini leads the way, followed closely by a red Ferrari. This would be the last race held at the Comminges track.

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

GAMY

71. The “Splitdorf” Magneto. 1911.34 1⁄4 x 17 in./87 x 43.2 cmMabileau, ParisCond A-/Slight stains at edges.

An elegant and small pochoir design by Gamy advertising the American-owned Splitdorf brand of magneto. A magneto, not to be confused with the X-Men character of the same name, is an electrical generator which relies on magnets to create alternating currents. They were used in everything from automobile engines to telephones. Here, the ad is coupled with a scene from the 1910 American Grand Prix, hosted in Savannah, Georgia.

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

GEO HAM (Georges Hamel, 1900-1972)

72. Monaco / 23 Avril 1933. 30 3⁄4 x 46 3⁄4 in./78.3 x 119 cmImp. Monégasque, Monte-Carlo.Cond A.Ref: Monaco, p. 25; Affiches Automobiles, p. 51; Deco Affiches, p.83; Affiches Azur, 333; Affiches Riviera, 259; Auto s’Affiche, p. 143; PAI-L, 34

The 1933 Monaco Grand Prix introduced the new

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

Est: $15,000-$20,000.

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LEOPOLDO METLICOVITZ (1868-1944)

77. Mostra del Ciclo e dell’Automobile / Milano. 1907.54 1⁄4 x 77 1⁄4 in./138 x 196 cmG. Ricordi, MilanoCond B+/Slight tears at folds, seams, & edges.Ref: Menegazzi I, 143 & cover; Menegazzi II, 43; PAI-LI, 414

Despite having no formal training, Metlicovitz made a good life for himself as a portraitist at a young age. After moving to Milan in 1891, he joined the Ricordi Printing house, eventually becoming its technical director. He created some of the most beautiful and important Italian posters ever made, of which this two-sheeter is arguably the best. Designed to promote the 1907 automobile show in Milan, we see a winged seraph carrying laurels alongside a pair of serious-looking drivers in an open-topped roadster. Magnificent!

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


78. Voiture Clément-Panhard. 1900.Each Approx: 30 1⁄4 x 45 in./76.7 x 114.2 cmImp. R. Carvin, ParisCond B+/Slight tears & stains at folds. Framed.Ref: Auto Show I, 9; Auto Show III, 13-15; Car Graffitti, p. 6; PAI-XLII, 384

“What are they waiting for?” asks the first poster in this lithographic triptych. “Ah!” the second teases, “It can only be . . .” “A Clement-Panhard car,” the third reveals. Whether the three posters were published and displayed together or serially, we do not know. But either way–as triptych or “teaser” campaign–it would have been marvelous. If serial, imagine the first poster alone–enigmatic, intriguing, little more than a riddle and a gallery of wonderful character studies; the second–the crowd coming to life; the third–the payoff–in which the suspense gives way to jubilation. Or, side by side, we have a medium related to comic strips but closer in scale and suspense to cinema.

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

AUTOMOBILES (Continued)

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A NEW, LARGE & LAVISHLY ILLUSTRATED BOOK ON

AUTOMOBILE POSTERSBY EMMANUEL LOPEzThe format of this hardcover book is 12 1⁄4 x 15 3⁄4 in / 31 x 40 cm.

There are 184 pages and 180 color illustrations

Contents:

– Early autos, from 1891 to 1899

– Autos of the Belle Epoque (1900-1919)

– The Golden Age of Automobiles (1920-1945)

– Automobile Exhibitions

– Automobile Accessories

– Automobile Expeditions

Just published (French text) and distributed by: Posters Please, Inc., 601 West 26th Street - Suite 1370, N.Y.C, 10001

Price: $95 (Add $15 for domestic UPS shipment)

ANDRÉ NÉVIL

79. Renault / Au delà des Pyrénées. 1912.35 1/4 x 17 3/8 in./89.5 x 45 cm Mabileau, Paris Cond A-/Slight stains at edges. Ref: PAI-XXXI, 113

A romantic sunset in the rolling countryside, wherein a young couple takes in the view as their driver waits patiently behind them in their burnt-crimson Renault. Nearby, a gypsy strums his guitar while a round of drinks is served at the local tavern for the gathered farmers. A truly evocative scene

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

H. L. ROOWY

80. Diatto. ca. 1912.17 5⁄8 x 35 1⁄4 in./44.8 x 89.5 cmMabileau, ColombsCond A-/Slight stains at paper edges. P.

Although technically founded in 1835, it wasn’t until 1905 that the Italian car maker Diatto made its first automobile. Up until then, it had specialized

in horse-drawn carriages and luxury sleeper cars on trains. By 1909, it had become an internationally-recognized brand, here being spotted by a contemporary Galileo as the newest meteor.

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

SMILEY

81. Voitures & Motors Werner. 1907.45 5⁄8 x 62 in./116 x 157.3 cmL’Esquisse Moderne, ParisCond B+/Tears at folds.Ref: PAI-LI, 492

Obviously safety is not a primary concern for those owning a Werner-made automobile, as is evident by the clueless female driver whose antics are sending man, fowl, and beast into total panic. Luckily her male counterpart is managing to maneuver his Werner motorcycle out of her way in time to avoid a serious injury. While Werner manufactured both cars and motorbikes around the turn of the century, it is the latter, sought after by collectors, which keeps the name alive today.

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

LAWRENCE STERNE STEVENS (1884-1960)

82. Chevrolet. 1931.35 1⁄4 x 50 in./89.5 x 127 cmImp. Goossens, BruxellesCond A.

Potentially the most sophisticated, elegant poster ever designed for Chevrolet, we are presented -- in true Teutonic fashion -- with figures and objects composed out of flat color panels. Such simplified spatial constructions make it all the more amazing that such detail could be achieved, from the subtle dip of a woman’s pearls to the weighty lean of one body against another. However, rather than just admiring the car in a fashionable driveway, this crowd is present because of the automobile exhibition at Bern’s National Hotel. With the encouragement of Mucha, Stevens moved from Pontiac, Michigan to Belgium in 1910, furthering his studies at the Royal Academy of Fine Arts in Antwerp. From 1925 to 1937, he worked as a designer for General Motors, only moving back to the United States at the beginning of World War II, where he continued his successful career as an illustrator.

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

83. Buick 1931. 1930.33 5⁄8 x 48 3⁄4 in./85.5 x 123.8 cmCond A-/Slight tears at horizontal fold.

An exceedingly bright poster, we see not the product advertised but the awe left in its wake. Out for a daytime stroll, a young couple are about to cross the road when the latest model of Buick flies by, its speed so great that even the trees bend toward its force.

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

MICHAEL TURNER (1934- )

84. Monaco Grand Prix 1965.15 1⁄4 x 24 in./38.7 x 61 cmEdition J. Ramel, NiceCond A. Framed.Ref: Ferrari, p. 300; Monaco, 23; PAI-XLVI, 420

One of many designs by Turner for the Monaco Grand Prix, this one saw the victory of England’s Graham Hill. It was also the Formula One race in which Japan debuted its Honda team.

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

85. Monaco Grand Prix 1966.15 1⁄4 x 24 1⁄8 in./38.7 x 61.2 cmJ. Ramel, NiceCond A. Framed.Ref: Monaco, p. 64; PAI-LIII, 493

With a stunning, sweeping view of the Monte-Carlo seaside in the background, Turner presents one of his better Grand Prix designs. This was the first year in which three-litre engines were used, as well as the debut season for the McLaren team. Adding additional excitement was that a few scenes in the movie Grand Prix were filmed during the race. In the end, Jackie Stewart came in first in his BRM.

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

86. Monaco 1967.15 3⁄8 x 23 7⁄8 in./39 x 60.6 cmEdition J. Ramel, NiceCond A. Framed.Ref: Monaco, 25; PAI-XLVI, 422

Strikingly offset against the Byzantine church and stone archways of the old city, the Formula One cars of the 25th annual Monaco Grand Prix fly around the turn. This was the first and only time Australia ever won a World Championship, with Denny Hulme taking first place.

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


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RAYMOND TOURNON (1870-1919)

87. Fabrique Nationale. 1907.40 1⁄2 x 30 in./102.2 x 76.2 cmImp. A. Millet, AsnièresCond B/Tears, largely at folds & edges.

Specializing in a variety of automobiles and weaponry, the National Factory of Weapons of War in Herstal has been around sine 1889. Here, a parade of the company’s various products, from motorcycles and bicycles to rifles and cars, is seen traversing the Belgian countryside, plumes of dust and smoke billowing behind them.

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

EMILIO VILA (1887-1967)

88. Delahaye. ca. 1935.46 1⁄2 x 62 7⁄8 in./118.2 x 159 cmImp. Riegel, NeuillyCond B+/Slight tears at folds & edges.

Started by Emile Delahaye in 1894, the company’s most successful branch was in truck manufacture until the advent of the “Coupe des Alpes” automobile in 1935 -- a sporting model delicately depicted on a platter in this woman’s hand. It would be produced until the early 1950s and was, until that time, the company’s best-selling product.

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

BERNARD VILLEMOT (1911-1989)

89. Train Auto-Couchettes / Wagons-Lits. 1964.15 1⁄2 x 23 1⁄2 in./40 x 59.6 cmImp. Courbet, ParisCond A-/Slight creases at edges. P.

Rather than drive to your far-off destination or face the hassle of renting a car once you arrive, why not entrust your automobile to the new car-service overnight trains? This handsome, though faceless, couple certainly does, and claims to get a good night’s sleep to boot.

Est: $700-$900.

90. Peugeot. 1919.47 1⁄2 x 63 1⁄4 in./120.7 x 160.6 cmImp. Draeger, ParisCond B+/Slight tears at folds.Ref: Auto Show I, 46; Auto Show III, 66; Affiches Automobiles, p. 26; Auto s’Affiche, p. 132; Car Graffitti, p. 39; PAI-XXXIX, 517

After developing the classic racing engine around 1913, Peugeot went on to win the French Grand Prix and the Indianapolis 500, as well as break the

world speed records at Brooklands in England. Therefore, while this poster certainly isn’t promoting that the average consumer purchase a Peugeot race car, it is linking the brand’s many past successes with all of its products -- Peugeot becomes synonymous with speed, power, and championship. The greatness of the design is further achieved by incorporating a white plume of smoke to create the French flag with the blue and red sunset sky.

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


RENÉ VINCENT (1879-1936)

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For two other automobile posters, see Cassandre’s RAI (No. 219) and Kow’s

Hotchkiss (No. 347).

AVIATION

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ANONYMOUS

91. Le Sans-Souci. ca. 1860.17 3⁄4 x 25 3⁄4 in./45 x 65.4 cmImp. Decan, ParisCond A.

A whimsical early woodblock image showing a group of gallant bon-vivants setting sail aboard a lavish hot air balloon. Floating up to congratulate them on their sendoff are a half-dozen bouquets attached to smaller balloons. Above, the banner spanning the girth of their vessel shouts out, “The Carefree.”

Est: $800-$1,000.

92. Schweizer Aviatiker. 1910.26 1⁄2 x 39 7⁄8 in./66.8 x 101 cmLith. Armbruster, BernCond B+/Tape stains at corners.Ref: Swiss Skies, 7; PAI-XLVIII, 18

A handsome, text-based poster promoting one of Switzerland’s first air meets. In the corners are the names of some of the famous pilots competing for top honors, including Emile Taddéoli and Ernest Failloubaz. In what newspapers panned as an aerial circus, though, this event would cost pilot Hans Schmid his life on the final day.

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

93. Paris-Madrid / Le Petit Parisien. 1910.46 3⁄8 x 63 1⁄2 in./118 x 161.4 cmImp. Pichot, ParisCond B/Restored tears at folds & in text area.Ref: Perier 94A (var); Affiches d’Aviation, p. 71; PAI-LI, 84

From 1876 to 1944, Le Petit Parisien was the most popular French newspaper, with a circulation peaking at just over two million. Amidst reporting the general news, particular attention was paid to all things sports-related, such as this air race from Paris to Madrid.

Prior to World War I, this was one of the most important cross-country air challenges. Here, snapshots of both cities are displayed, with a Blériot-style aircraft hovering between them. This is the larger format.

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

94. Champagne Edouard Besserat. ca. 1910.25 1⁄2 x 19 3⁄8 in./65 x 49 cmImp. Camis, ParisCond A.Ref: Looping the Loop, plate 6; PAI-XLVIII, 10

Capitalizing on the glamour associated with pilots and their airplanes in the early 1900s, Edouard Besserat champagne shows itself as being the aerialist’s drink of choice leading up to a flight. The brand’s name is reinforced three times within the image -- on the bottle, on the trunk near the red automobile, and on the sign near the road.

Est: $700-$900.

95

96

97

94

95. Niort Aviation. ca. 1910.31 x 39 3⁄4 in./78.5 x 101 cmCond B-/Restored tears.

A simple and fun design promoting a local, week-long air show. Yet, it is not the airplanes which grab our attention, but the weathervane, so startled by the sight of such magnificent aviators that he has fallen off his perch. Below, the text reads, “The rooster of Notre Dame has never seen anything like it. Nor have you.”

Est: $1,500-$2,000.

96. Luftfahrer-Lose. ca. 1910.37 3⁄4 x 29 in./96 x 73.5 cmA. Molling, HannoverCond B/Slight tears, largely near edges.

A very flat, German design in bold colors promoting an aviation-themed lottery. Over a two-day period, prizes ranging from 20,000 to 60,000 marks would be drawn, as cleverly noted on the wings of the various planes.

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

DESZOE BÉR

97. Repülöversenyek. 1910.24 3⁄4 x 38 1⁄4 in./63 x 97 cmLégrády Testvérek, BudapestCond B+/Unobtrusive tears at folds.

Also used in reverse for the commemorative stamp for this event, this poster promotes an aviation race hosted by the Magyar Aero-Club in Budapest, Hungary. As a prize, half a million crowns are up for grabs.

Est: $1,500-$1,700.

M. CAMPION

98. Flight over Egypt. 1914.35 1⁄3 x 17 5⁄8 in./89.5 x 45 cmMabileau, ParisCond A-/Slight stains at edges.Ref: Perier, 92

Similar in style to many of the prints by Gamy, this image romantically portrays two local pilots, complete with their Fez caps, gliding above the Sphinx and the Pyramids. In the lower right, the Saladin Citadel of Cairo is nestled amongst green foliage.

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

EMIL CARDINAUX (1877-1936)

99. Bider-Tag. 1921.35 7⁄8 x 50 3⁄8 in./91.2 x 128 cmWoflsberg, zurichCond A.Ref: Swiss Skies, 80

One of Switerland’s earliest and most famous aviators, it is no wonder that Oskar Bider was granted an entire festival day in honor of his many accomplishments. Having died just two years prior in a crash, the public was still holding on to the star quality of his memory. Therefore, this day featured not only the typical demonstrations and stunts of most air shows, but also special segments of aviation acrobatics, seaplanes, military exercises, and contests to win a free flight. Rare!

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

JEAN CARLU (1900-1997)

100. Pan American / Marseilles. 1949.28 x 41 7⁄8 in./71 x 106.5 cmCond A-/Restored 4” tear at bottom edge.Ref: Carlu, 70; PAI-XXXV, 86

Quite literally depicting the corresponding text, Carlu shows us how Marseilles is France’s ‘gateway to the Riviera.’ A simple, eye-catching design for Pan Am’s luxurious Clipper flights, named after the sailing ships to create the idea of speed and agility amongst potential consumers. These airplanes boasted large windows, dressing rooms, a convertible bridal suite, a dining salon, lounge, and overnight sleeping capacity for 40.

Est: $600-$800.

LUCIEN CAVÉ (1893-1967)

101. Un Française / Roland Garros.11 1⁄8 x 15 in./28.2 x 38 cmLa Publicité Synchronissée, LyonCond B-/Slight tears at folds & edges.Ref: PAI-XLIX, 36

Playing on the public’s continuing fascination with aviation, Cavé created a series of posters commemorating France’s many aeronautic achievements. His subjects ranged from Montgolfier’s 1783 balloon ride to the first East/West North Atlantic crossing in 1930 (see PAI-XXXI, 131), each with the headline “The World Owes its Wings to France.” Here, he celebrates Roland Garros’ first nonstop crossing of the Mediterranean in 1913, from Fréjus in the south of France to Bizerte in Tunisia.

Est: $500-$600

CARL DEIKER (1879-1958)

102. Köln 1909.13 1⁄2 x 19 5⁄8 in./34.2 x 49.8 cmDruck M. DuMont Schauberg, KölnCond B-/Slight tears & creases at folds & edges.

In contrasting hues of sunset and shadow, Blériot, dirigible, and hot air balloons hover above the city of Cologne, promoting a multi-day air meet. Among the many exciting events advertised in the text below, the most interesting is perhaps the promise of fox-hunting from the basket of a hot air balloon. Rare!

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

M. DESSOURES

103. Semaine d’Aviation / Caen. 1910.39 1⁄4 x 55 1⁄2 in./99.6 x 141 cmLith Ch. Valin, CaenCond B+/Slight tears at folds.Ref: Affiches d’Aviation, p. 57; Perier, 84; PAI-LIII, 12

“The Caen air show was a popular success, welcoming sixty thousand spectators each day, but also a sporting success–competitive events between ‘civilians’ and ‘servicemen’–as well as a society success, the coast and casinos being quite nearby” (Affiches d’Aviation, p. 33). This is a magnificent, romantic work, pulsing with the rapture of the golden days of man staking claim to a corner of the sky. The marvelous juxtaposition of Caen’s Église St-Étienne, adorned with gargoyles and thrilled female spectators, with the daredevil pilots, planes and hot-air balloons aloft in the sumptuous glow of a Norman sunset, creates a thrilling composition.

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

99 102

100

101 103

98

AVIATION (Continued)

GAMY

104. Circuit de l’Est. 1910.34 1⁄4 x 17 3⁄4 in./89.5 x 45 cmMabileau, ParisCond A-/Slight stains at edges.Ref: PAI-XXXVII, A51

A delicate pochoir panel showcasing the pilot Alfred Le Blanc, winner of the important Eastern Circuit cross-country race. Here, he is shown gliding effortlessly over the fields of Mars-La-Tour in France’s Lorraine region.

Est: $800-$1,000.

105. Paris-Rome. 1911.35 3⁄8 x 17 3⁄4 in./90 x 45.3 cmMabileau, ParisCond B-/Restored tears & losses, largely at edges.Ref: PAI-XLVIII, 246

A remarkably detailed bird’s eye view of Andre Beaumont sailing over Rome toward victory in the 1911 Paris-Rome race. Held in conjunction with the International Exhibition of Industry and Trade, this competition was part of a celebration of Italy’s 50th anniversary of independence, sponsored partially by Le Petit Journal in France. The only inaccuracy in the illustration is the number 6 appearing on the tail of Beaumont’s Blériot -- this actually belonged to Carlo Weymann, while Beaumont’s plane had the number 2 on its tail.

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

106. Les Hydroaeroplanes Farman. 1912.35 1⁄4 x 17 3⁄4 in./89.6 x 45 cmMabileau, ParisCond A.

A colorful and evocative pochoir illustration showing a Farman seaplane gliding over the clear waters of Monaco, about to land.

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

107. Les Grands Sports. ca. 1910.33 3⁄4 x 17 1⁄4 in./85.7 x 43.3 cmMabileau,ParisCond A/P.

A lively hand-colored pochoir panel showcasing all “Les Grands Sports,” from sailing to flying to riding in one’s automobile.

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

FÉLIX JOBBÉ-DUVAL (1879-1961)

108. Popoff au Meeting du Cannes. 1910.17 3⁄4 x 35 1⁄4 in./45 x 89.5 cmCond B/Slight stains in margins.Ref: PAI-XLVIII, 302

In a blaze of exhilarating color, we are shown one of the more thrilling moments during the inaugural Côte d’Azur air show, in which the Russian pilot Nicolas Popoff simultaneously beat the cross-and-return world record for flying over the bay of Cannes as well as the world record for altitude. What seemed to be the beginning of an illustrious career, however, was cut off soon after this meet, when he was maimed in a horrible crash.

Est: $1,500-$2,000.

ERNEST MONTAUT (1879-1909)

109. Grande Semaine d’Aviation. 1909.28 3⁄4 x 41 in./73 x 104.1 cmAffiches Montaut & Mabileau, ParisCond B+/Slight tears & stains at folds & edges. Ref (all var put PAI): Affiches de l’Aviation, p. 50; Looping the Loop. 25; Toujours Plus Haut, p. 89; Perier, 70A; PAI-XXIX, 116

“The true ancestor of the aviation poster genre can be traced to . . . Montaut . . . for his portrayal of the trailblazing assembly at Rheims. Soft tints in the sky indicate that sunset is near, a time of day when the wind was apt to drop and flying was considered to be safer. A svelte female spectator, back to the viewer, lifts her arm in salute to an armada of aircraft rising like a swarm of bees . . . The curving zebra stripes of her costume-fully consonant with an impression of motion and speed, which after all was the crux of the message delivered by the newfangled flying machine-resonate as effectively as the determined look on the face of the nearest pilot. The Grande Semaine brought together for the first time the world’s greatest fliers. Among them were Louis Blériot, Henry Farman, Léon Delagrange,

Hubert Latham, count Charles de Lambert, Louis Paulhan, Roger Sommer, and the American entry, Glenn Hammond Curtiss . . . Parisians streamed to the event enthusiastically, three thousand Britons came from London by special excursion, and two thousand Americans turned up to root for the single representative of their country. Rheims was a watershed in the history of flight. Aviators who had flown ‘before Rheims’ were regarded as veterans compared with those who learned to fly later. It dramatically demonstrated the progress made in aviation and provided an incalculable stimulus for the design and production of aeroplanes” (Looping the Loop, p. 42). This is the smaller format.

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

110. Dans la Rafale. ca. 1912.17 3⁄8 x 35 in./44.7 x 89 cmCond C/Tears at folds & edges.

As a small crowd cheers him on from below, this pochoir illustration shows Roland Garros on his way to winning the 1912 Grand Prix of Angers in his Blériot.

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

104

105

106

107 110

108

109


KEES VAN DER LAAN (1903-1983)

115. Leert Vliegen. 1931.43 1⁄2 x 31 1⁄2 in./110.4 x 79.9 cmKühn & zoon, RotterdamCond B/Tears & stains at edges.Ref: Affiches d’Aviation, pp. 124-125; PAI-XVI, 40

A powerful, Futurist design enticing adventurous viewers to learn to fly at the National Aviation School in the Netherlands. This is the horizontal format.

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

JUPP WIERTZ (1881-1939)

116. Deutsche Luftpost. ca. 1936.16 5⁄8 x 23 1⁄8 in./42.3 x 59 cmWezel & Naumann, LeipzigCond C+/Stains, largely at edges; on board with grommets at top.

An exceptionally nationalistic rendering of the German airmail system, claiming that it is the fastest way to get letters and packages around the world for a modest fee. This a historically important document, as it shows how even in the simplest of ads for mundane products, the same heroic angles and Teutonic allusions used to promote the Nazi government were used to promote the country’s goods and services.

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

E. MÜLLER

111. Pégoud on Blériot. 1913.22 5⁄8 x 62 1⁄8 in./57.5 x 157.7 cmPublimage Publicite, ParisCond B+/Slight tears at edges.Ref: Affiches d’Aviation, p. 82

This amusing caricature of the pilot Adolphe Pégoud aptly illustrates the poem by A. Hesse near the bottom left of the poster. In it, the author notes how birds have looked at most aviators and seen nothing but poor imitators of themselves; however, upon seeing Pégoud and his daring skills in the air, the birds now desire to be more like him and are purchasing motors to be more like his plane. Above, Pégoud glances back at the viewer, pointing wryly to the crow as he exclaims, “it drools!”

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

MUNSCH

112. Flugplatz. 1912.39 1⁄8 x 23 1⁄8 in./99.2 x 58.8 cmCond B+/Slight tears at folds.Ref: PAI-XLVIII, 386

Simple and strong, this design to promote an air meet in the northern Rhine region of Germany calls upon that which airplanes aim to imitate rather than the contraptions themselves. A lovely reminder of why we wanted to fly in the first place.

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

PARRILLA

113. II Salon de Aeronautica Exposicion Ibero-Americana. 1929.21 3⁄8 x 35 in./54.2 x 89 cmImp. Ortega, ValenciaCond B+/Slight tears at folds & edges.

A curious and handsome poster promoting the Real Aero Club of Andalusia’s show during the Second Iberian-American Exposition. Acting as a visual link between Spain and the Americas, a clipper ship much like one used by Christopher Columbus is seen skirting the waves as the most modern of airplanes swarm around it. A copy of this image is maintained by the National Air & Space Museum. Rare!

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

CHARLES RAMBERT (1867-1932)

114. Grande Semaine d’Aviation. 1910.33 7⁄8 x 49 in./86 x 124.5 cmImp. Girieud, RouenCond B-/Restored tears.Ref: Affiches d’Aviation, p. 56; Looping the Loop. 37; Toujours Plus Haut, p. 93; Perier, 97; PAI-LIII, 9

“Organized by the city of Rouen, and financed by the Ligue Nationale Aérienne, the newspaper L’Auto, and the Automobile Club de Normandie, this meet took place on the Rouvray parade ground, following the Budapest international air show and the third Port-Aviation show. Fifty thousand spectators attended the Great Aviation Week of Rouen, with its two-mile circuit, to watch a dozen monoplanes and as many biplanes compete in the now classic disciplines: speed, altitude, and flight duration. The air show’s prizes totaled 200,000 francs (150,000 francs according to the posters). The air show was dominated by a talented young man, Léon Morane, who won all of the events, while Marcel Hanriot, Europe’s youngest aviator, was making his debut” (Affiches d’Aviation, p. 33).

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

111 114

116

112

115

113


INTERNATIONAL POSTERS

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118

119

121

123

122 124

120

ANONYMOUS

117. La Créole. 1875.22 x 30 1⁄2 in./56 x 77.5 cmImp. Lemercier, ParisCond A.Ref: Spectacle, 99

Written toward the end of his life, La Créole is one of Jacques Offenbach’s many comic operas which has since slipped into obscurity. The plot and music are rather predictable, though quite pleasant, as it was written primarily as a promotional piece for the actress Anna Judic who at the time was at the height of her popularity. The operetta would resurface in the early 1930s when Josephine Baker performed the lead.

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

118. Bal de Plaisance. ca. 1884.26 1⁄2 x 21 1⁄2 in./67.2 x 54.5 cmLith. du Senat, Barousse, ParisCond A.

An interesting and meticulously-detailed poster promoting a country hall as the ideal venue for everything from weddings to banquets to balls.

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

119. The Mikado / D’Oyly Carte’s Opera. 1885.19 7⁄8 x 29 3⁄4 in./50.4 x 75.6 cmStrobridge, Cincinnati Cond A.

Active for over a century, the D’Oyly Carte Opera Company toured the globe performing various Gilbert & Sullivan light operas. This poster is for the US premiere of the company’s most successful production, The Mikado, and shows off the fine attention to detail and design Strobridge was known for at the time.

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

120. Régénérateur de Mme. S. A. Allen. ca. 1886.33 x 47 in/83.8 x 119.4 cmStrobridge, LondonCond B+/Unobtrusive folds.Ref: Reims, 1344; PAI-XLIX, 90

Started in the 1840s by Mrs. Susan A. Allen, her hair restoring tonic was sold out of her husband’s Manhattan dentistry. By the 1880s, it had international distribution, with ads running in Cuba, Canada, France, and Great Britain. According to a recipe surviving from that period, the serum involved dissolving lead acetate in perfumed water before mixing it with sulfur and glycerin.

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

121. Néva / Biscuit Russe. 1892.40 x 59 1⁄2 in./101.5 x 151.1 cmImp. F. Champenois, ParisCond B/Restored tears in top text area; recreated upper margin.Ref: Art du Biscuit, p. 67 (var); Art et Biscuits, 18

Around the turn of the century, Lefèvre-Utile came out with an array of new products as offshoots from their more classic French biscuits. Many of them were created in honor of various important events or celebrities. For example, the Néva -- a Russian-themed cookie promoted here -- was made to celebrate a visit from Tsar Alexander III to Paris in 1892.

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

122. Elysée Montmartre.ca. 1892.15 1⁄2 x 23 1⁄4 in./39.5 x 59.2 cmAffiches Camis, ParisCond B/Tears at folds & paper edges.

An obvious nod to a similar design by Chéret for the same event (see PAI-XLIV, 179), this anonymous poster invites the viewer to a masked ball at the famous Parisian music hall.

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

123. Adriance, Platt & Co. ca. 1899.22 1⁄8 x 28 1⁄8 in./56 x 72.3 cmCond A.

A quaint and delicately-detailed poster showcasing the latest in farm equipment produced by Adriance, Platt, & Co out of Poughkeepsie, New York. On the horizon, we see the town of manufacture busily working into the night, a locomotive crossing a bridge over the Hudson River toward a factory. As we travel down river, the only other illustrated area is Manhattan and its surrounding boroughs, the Statue of Liberty being the final figure seen in the lowermost left corner.

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

124. Mele / Klamor!. 1898.64 3⁄4 x 88 1⁄2 in./164.5 x 224.9 cmG. Ricordi, MilanoCond B/Slight tears & stains at folds.Ref: Mele, fig. 233; Bolaffi/Mele, M5; PAI-L, 324

Having grown from its humble origins to a block-wide fashion emporium by 1889, the Mele department store almost single-handedly made Naples a fashion-conscious city. Known for its impeccable, eye-catching advertisements, Mele was not above stealing successful designs from other institutions to help draw a crowd. Such is the case here in a four-sheet poster which looks remarkably similar to Vallotton’s ad for Pépinière (see PAI-XLII, 502), except that rather than welcoming a star-studded performance this crowd is heralding in the latest styles.

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

126

125

132 130

131

128

129

127

125. The Palace Theatre / The Ivanoff Troupe. ca. 1903.20 1⁄8 x 30 1⁄8 in./51 x 76.5 cmDavid Allen, BelfastCond A-/Slight tears at top edge.

A lovely little poster promoting a troupe of Russian performers by way of a leaping dancer, complete with metallic fanned halo. The truly interesting portion of the design, though, is that Charles Morton is credited as the manager of the Palace Theatre. After an illustrious career as a music hall manager throughout England, Morton was talked out of retirement when the Royal English Opera became available to him. He reopened it as the Palace, and managed it as one of the most profitable venues in London from 1892 until the time of his death in 1904.

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

126. Quaker Oats. ca. 1897.27 3⁄4 x 50 7⁄8 in./70.5 x 129.3 cmForbesCond B/Slight tears & creases, largely in top area.Ref: PAI-LI, 73

When it was registered on September 4, 1877, the Quaker Mills mascot became the first registered trademark for a breakfast cereal. He was chosen not because of any religious ties held by the company, but simply for the fact that Quakers were known for being honest, and Quaker Mills wanted to create a trustworthy brand. Today, he is one of America’s longest-standing commercial icons. Here, we see a very early representation of the Quaker, holding both a box of the brand’s rolled white oats as well as a missive stating the word “Pure,” one of the Quaker principles.

Est: $1,500-$1,800.

127. The Great Jester. ca. 1899.41 3⁄4 x 79 3⁄4 in./106 x 202.5 cmCond B/Slight tears & stains, largely at folds.

Shown in all manner of routines in this three-sheet poster, The Great Jester’s 2 1⁄2 hour performance covered everything from cross-dressing to mock- duels to air-banjo playing on a broom.

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

128. Miracolosa Injezione. ca. 1900.32 3⁄4 x 46 1⁄2 in./83.2 x 118 cmCond B-/Restored paper loss in margin; slight tears & stains.Ref: PAI-XXXI, 221

Holding up the universally-understood light bulb of genius, a trio of heavenly figures sing the praises of the new Miracle Injection by Professor Costanzi. The extensive text on the right promises nothing short of a definitive panacea, curing all sorts of general illnesses, including anemia and syphilis, with 20 years of experience to back up such claims. You can even send away for written testimonies and certificates vouching for the product’s authenticity, some signed by the good professor himself. This is potentially the best quack-medical poster in the auction.

Est: $600-$800.

129. Triple Sec Allary. ca. 1900.44 1⁄2 x 59 1⁄4 in./113 x 150.5 cmF. Javanaud, AngoulêmeCond B+/4” vertical tear from bottom edge into man’s jacket.Ref: PAI-XXX, 366

Located in the Dordogne region of France, the House of Allary produced not only the triple sec advertised in this poster, but also an array of other alcoholic libations, including beer (see PAI-LI, 541). Unlike their other products’ advertisements, however, which rely on allegorical figures to emphasize their importance or superiority, we are simply met with an intoxicated dandy blissfully enjoying a cigar and a drink on a sunny afternoon.

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

130. Bacchus. ca. 1900.46 1⁄4 x 62 3⁄4 in./117.5 x 159.7 cmImp. H. Laas, ParisCond A-/Unobtrusive folds.

Adrien Sarrazin-Javillier produced many fine spirits around the turn of the century, one of which was the quinquina Bacchus, a bitter aperitif. This poster visually depicts the grape-crowned Roman god straddling a barrel of the beverage, while one of his many followers, a Bacchae, toasts alongside him.

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

131. Bal à l’Opéra. ca. 1898.38 1⁄4 x 49 in./97.2 x 124.5 cmAffiches Camis, ParisCond B+/Slight creases; unobtrusive folds. Framed.Ref: PAI-LI, 76

A gorgeous stock poster for the printing company Camis in Paris. Here, a set of amused dandies reach out to touch a marble statue, unable to believe that it is not real flesh and blood. Meanwhile, a coy coquette glances over her shoulder, fluttering her feathered fan. A host of charming characters await whatever lavish night at the theater this poster would ultimately advertise. Lovely.

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

132. Majeroni. ca. 1910.39 x 80 1⁄8 in./98.7 x 203.4 cmLit. A. Palma, NapoliCond B/Tears at folds, edges, & seams.

Achille Majeroni was a popular Italian film actor, appearing in over seventy films, including Fellini’s I Vitelloni, between 1913 and the time of his death in 1964. This three-sheet poster promotes an early time in his career when he went on tour to promote his stage acting.

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

ANONYMOUS (Continued)

134. Ruth St. Denis / Ted Shawn. 1926.80 1⁄4 x 107 in./203.8 x 271.8 cmHegeman Print, New YorkCond B+/Tears at folds & edges.Ref: Dance Posters, 43; PAI-XLVI, 78

“This Balinese Fantasy is a delight to behold. It is in fact an eight-sheet billboard. Although to call attention to a single element of this huge design is much like calling attention to the hands in a Hawaiian Hula dance, it should be noted that the key graphic element, other than the vibrant colors, is in the eyes: His open and strong, staring right at hers, closed and idyllic. Although the roughness of the brush strokes, especially in the clothing and the background, was no doubt intended to gain brightness without appreciable loss of detail–this billboard would have been seen from a distance–it is interesting to note that in other parts, especially facial features, the details have been retained with almost portrait-like fidelity . . . If lyricism was the quality of some dancers . . . then mysticism was the quality of St. Denis and it was always projected on stage and captured and emphasized in the Denishawn posters . . . St. Denis always appeared goddess-like in her posters as well as her dances” (Dance Posters, p. 8).

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

135. Pielroja y Pierrot. ca. 1926.15 1⁄2 x 23 1⁄2 in./39.5 x 59.5 cmA. Trüb, AarauCond B+/Restored paper loss in lower right corner; creases. P.Ref: PAI-XXVIII, 117

Noted as being the pride of Colombia’s industry, Pielroja (Redskin) cigarettes was the country’s first mass-produced cigarette brand. Filterless even today, it is known as one of the stronger cigarettes on the market. This design is particularly charming, if completely lacking in political correctness, possessing a sort of naive racism which held a universal appeal in the early 20th century.

Est: $600-$800.

136. Fern Andra. ca. 1927.27 3⁄8 x 37 1⁄2 in./69.3 x 95.2 cmFriedlander, HamburgCond B/Slight tears at folds.

Although she was an American, Fern Andra is best-known as a popular German silent film actress. She began her career as a child circus performer, eventually meeting Max Reinhardt in Berlin while on a European tour. He funneled her into silent film acting, starring in dozens of movies including the expressionist horror film Genuine. On many of these projects, she also acted as a producer, writer, and director.

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

133. Houdini / Buried Alive. 1926.81 1⁄2 x 106 in./207 x 269.2 cmOtis Lithograph Co., ClevelandCond B-/Restored tears & losses.

Printed in preparation for his 1927 tour season, this fantastic six-sheet poster was sadly never used, as Houdini died on October 31, 1926. It would be the third variation of the stunt that the magician would attempt. He began experimenting with the idea of being ‘buried alive’ as early as 1915, when he was covered with six feet of dirt and had to claw his way to the surface. In 1926, he attempted to outdo the Egyptian-themed performer Rahman Bey,

whose trick involved being sealed without oxygen in a casket for an hour. In response, Houdini spent an hour and a half in a sealed casket underwater, staying alive through controlled breathing. The act advertised in this poster was to be the ultimate version of trick, involving the magician being bound in a strait-jacket, sealed in an air-tight casket, and then buried in a tank full of sand. The line “Egyptian Fakirs Outdone” is a direct reference to his beating Bey’s time the year prior. Legend often states that the coffin created for this stunt was ultimately used to transport the performer’s body from Detroit to New York after his death.

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

ANONYMOUS (Continued)133

134

135 136

137. Let’s Go Places. 1930.28 1⁄4 x 41 in./71.8 x 104 cmMiner Litho, New YorkCond B-/Slight tears & stains at folds.

A somewhat naughty invitation to see the new musical film Let’s Go Places, directed by Frank R. Strayer. The plot revolves around the popular theme of a behind-the-scenes drama in which a young man arrives in Hollywood with dreams of becoming an actor. Mistaken for a famous opera singer, he is treated like royalty around town, going even so far as to move into the actual celebrity’s home. Mayhem ensues when his girlfriend meets the wife of the man he is impersonating, only to be resolved when the actual opera singer returns to town, announcing that our young hero is in fact his nephew.

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

138. Albert Matzner.18 x 24 3⁄4 in./45.6 x 63 cmLith. J. Weiner, WienCond B+/Slight tears at folds & edges.

A handsome design promoting the wholesale clothing distributor Albert Matzner. Here, he promises highly-detailed winter sportswear for the whole family.

Est: $800-$1,000.

139. World’s Fair of 1940 / New York. 13 1⁄8 x 20 1⁄4 in./33.3 x 51.4 cmPolygraphic Co., NYCCond A-/Unobtrusive fold.Ref: PAI-XLIII, 139

With an audience of over 44 million visitors, the 1939-1940 New York World’s Fair had the second-highest attendance rate in the country’s history, superseded only by the 1904 St. Louis Exposition. It was also the first World’s Fair which focused entirely on the world of the future, taking up the slogan ‘for peace and freedom’ as a reason for such a vision. Standing next to the various large-scale flags in the foreground is James Earle Fraser’s statue of George Washington, which was placed in the Westinghouse Time Capsule at the end of the event, not to be released again until 5,000 years had passed, in 6939.

Est: $800-$1,000.

140. Maria Callas. 1960.23 1⁄8 x 31 3⁄8 in./58.7 x 79.8 cmB. Papachrysanthou, AthensCond B/Slight tears at folds.

Considered to be one of her finest roles, Maria Callas returned to the country of her first triumph to play the title role in Bellini’s Norma. She would play this character 89 times over her career, beginning with her 1954 American debut in Chicago.

Est: $800-$1,000.

141. Latin Combo Band.18 x 24 7⁄8 in./45.7 x 63.3 cmCond A.

A sexy and sleek design promoting a generic Latin American-themed band in Hungary. While no artist is noted, he or she was obviously influenced by the stark Modernism of the 1960s, possibly a precursor to the Deco revival of the 1980s.

Est: $800-$1,000.

142. The Model Railway Club. ca. 1910.20 3⁄8 x 30 3⁄8 in./51.7 x 77.2 cmCond B+/Slight tears, largely at edges.

Founded in 1910, The Model Railway Club in London still uses this design as its logo today. As its name would imply, it is a society of model train enthusiasts, hosting frequent events, both public and private.

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

143. Federico Fellini / Amarcord. 1973.39 7⁄8 x 30 in./101.2 x 76.2 cmW.E. Berry, BradfordCond B+/Slight tears & stains, mostly at folds.

One of Fellini’s many pseudo-autobiographical, coming-of-age films, Amarcord (”I Remember”) takes place in 1930s Fascist Italy. Partly a satire on Italian cultural decline under Mussolini, the characters are all larger-than-life and a bit ridiculous, oversexed and naïve. Like most Fellini films, Amarcord provides a visual feast for the viewer.

Est: $800-$1,000.

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ANONYMOUS (Continued)

144. Buster Keaton / L’Horloger Amoureux. 1934.23 5⁄8 x 31 1⁄4 in./60 x 79.5 cmImp. Soudant, ParisCond A-/Slight tears at upper left corner.

Forever known as “The General” after his 1926 cinematic triumph in the movie of the same name, we are here informed that Keaton will be playing in the 21-minute short film, L’Horloger Amoureux, better known as “Allez Oop” in English.

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

145. Charlie Chaplin / The Funniest Man in the World. 1967.26 7⁄8 x 41 3⁄8 in./68.3 x 105 cmCond B+/Slight tears & stains at folds.Ref: Chaplin, p. 118; PAI-LIII, 76 (var)

In 1967, a documentary film on Chaplin was released entitled The Funniest Man in the World. Narrated by Douglas Fairbanks Jr., it chronicled the acting life of the star up through his time at Mutual studios. The design for the poster would be rendered by a variety of artists as it made its international tour, though it always maintained a similar composition. This is for the American release of the film.

Est: $800-$1,000.

146. Charlie Chaplin / The Funniest Man in the World. ca. 1967.27 3⁄4 x 39 1⁄8 in./70.5 x 99.5 cmCond B+/Slight tears & stains at folds & edges.Ref: Chaplin, p. 118; PAI-LIII, 76

This poster is for the Israeli release of the previous lot.

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

147. Un Vrai Charlot. ca. 194623 5⁄8 x 31 5⁄8 in./60 x 80.4 cmImp. Affiches et Publicité, ParisCond A.Ref: Chaplin, p. 117; PAI-XXXIII, 186

Dressed up in his universally-known Little Tramp regalia, Chaplin is used here to advertise the first episode in a 2-part BBC-produced made-for-television documentary. “The Real Charlot”–as it was dubbed for the French viewing public–was part biography, part assessment of the artist, and, of course, contained countless clips from his body of work. A wondrous work for the true Chaplin fan.

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

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146ANONYMOUS (Continued)

RENE ALBERT

148. A La Sirene. 1926.47 1⁄4 x 62 in./120 x 157.5 cmEDIA, ParisCond B-/Restored tears, largely at folds.

Using a Deco version of its mascot to promote the brand, C.P. a la Sirene prided itself on provided corsetry and belts which supposedly felt more ‘natural’ and ‘freeing’ than its competitors. This is perhaps why they chose the Siren to represent the company -- not only a mythic figure of sensuality, but also a vision of a completely uninhibited woman.

Est: $1,500-$2,000.

F. HUGO D’ALESI (1849-1906)

149. Le Lac d’Annecy / Paris-Lyon-Méditerranée. 1900.29 1⁄4 x 41 1⁄4 in./74.3 x 104.6 cmCornille & Serre, ParisCond A. Framed.Ref: Alpes, 51; Voyage, p. 12; PAI-XXXVII, 120

D’Alesi was very particular & methodological artist, “notorious for having ruined several printers, not hesitating to ask for one or two extra color printings in order to obtain exactly the shading he wanted” (Livre de l’Affiche, p. 14). The results, however, are fantastically beautiful, overflowing with detail and atmosphere.

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

OTTOMAR ANTON (1895-1976)

150. Hamburg-Amerika Linie / Deutscher Schnelldienst / Cuba und Mexico.23 1⁄4 x 32 3⁄8 in./59 x 82.3 cmCond A. Framed.Ref: PAI-XLVIII, 70

While its service extended from the Arctic to the tropics, this particular poster for Hamburg-Amerika Line focuses on its Latin American destinations, specifically Cuba and Mexico. The design itself is pure Art Deco, forcefully pushing the hull of the ship into the viewer’s face, so large that it extends well beyond the confines of the poster.

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

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150

MARCELLIN AUZOLLE (1862-1942)

151. Boulettes Dentaires. 1907.38 1⁄2 x 54 3⁄4 in./98 x 139 cmImp. P. Vercasson, ParisCond A.Ref: Santé, 445

Rather than use allegorical or lyric imagery to promote this brand of toothache tablets, the company chose to show a literal depiction of how the product is actually used. Pulling back his cheek as he looks in the mirror, this pained-looking gentleman is about to plop one of the tiny Boulettes Dentaires into the side of his mouth in hope of the immediate relief promised in the upper text.

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

BAC (Ferdinand Bach, 1859-1952)

152. La Comedie Feminine. 1899.17 3⁄8 x 25 1⁄8 in./44.3 x 64 cmCond A.

An artist of many talents, Ferdinand Bach was possibly best known for his illustrations, cartoons, and essays, rising to popularity through the many introductions he made as the illegitimate nephew of Emperor Napoleon. Considered to be on par with the likes of Sem and Forain, exhibitions of his work were well in demand, resulting in volumes such as the one promoted in this poster. Published in 1899, his Comedie Feminine included 100 designs by the artist as well as an essay.

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

HENRI BAES (1859-1920)

153. Bruxelles-Exposition 1897. 1896.61 5⁄8 x 43 1⁄4 in./56.5 x 109.8 cmImp. Ad. Mertens, BruxellesCond B/Slight tears at folds.Ref: DFP-II, 976

Although it didn’t actually open until May 10, the Brussels International Exposition was a heavily-publicized World’s Fair highlighted especially by the Congo-themed pavilion. Meant to showcase the country’s colonizing efforts and discoveries in Africa, that particular exhibition was so successful that the permanent Royal Museum for Central Africa was established a year later.

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

ADRIEN BARRÈRE (1877-1931)

154. Autour de la Butte. 1899.26 x 37 in./66 x 94 cmImp. L. Guidhone, ParisCond B/Tears at folds & edges.Ref: PAI-XLIII, 147

An important collaborative work among three of Montmartre’s most cherished celebrities: Émile Bessière, Adrien Barrère, and Yvette Guilbert. Entitled “Around the Hill,” the songbook promoted by this poster was a collection of chansons which differed from typical café-concert melodies in that they presented a harsh, but tender take on social realism in verse. Overall, it is a very special collection of songs, accented beautifully by the imagery of an aged tramp following the sweet smell of death’s lily.

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

ERNÖ BARTA (Ernst Barta, 1878-1956)

155. Möbel Emsheimer. ca. 1908.18 3⁄4 x 27 3⁄4 in./47.5 x 70.5 cmCurt Behrends, WilmersdorfCond B+/Tears at edges.Ref: DFP-III, 42; Wember, 12; PAI-XLII, 119

Located in the heart of Berlin, Emsheimer was a wholesale furniture shop aimed at attracting the middle-class public with its discounted prices and sturdy quality. What makes this poster special, though, is not the product but the design. Reminiscent of Hohlwein, Barta uses flat panels of color crossed against the dusty brown background to create depth and space. It also features one of the finest bulldogs in poster history.

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

LEWIS BAUMER (1870-1963)

156. The West End Review. 1899.20 1⁄4 x 30 in./51.4 x 76 cmBemrose, DerbyCond B+/Slight creasing.Ref: Fit to Print, 115

“One of the many small literary magazines which proliferated around the turn of the century, this one started as The West End in London in April of 1897, changing its name to The West End Review with the June number of that year, and continuing publication until its September, 1899 issue” (Rennert/Weill, p. 202). This before letters version of the poster by Baumer is for the January issue of its final year in print, featuring a fabulously-dressed woman of Gibson-girl mystique. The text panel would eventually promote the “Brighton of Today,” as well as various fashion features and a section on the Prince’s latest shooting trip.

Est: $800-$1,000.

157. Cassell’s Magazine. 1895.20 x 29 7⁄8 in./50.7 x 76 cmCassell, LondonCond B/Restored tears at folds.

Very different from his design for The West End Review (see previous lot), this illustration relies on flat areas of color rather than modeled detail to create space and depth. The result is a pensive young woman wandering the English countryside, completely immersed in her Cassell’s Magazine -- a publication, at the time, in flux between being a ‘family’ magazine and a literary journal. Over the next few years, such greats as Robert Louis Stevenson, P.G. Woodhouse, Arthur Conan Doyle, and Joseph Conrad would contribute to its critical success.

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

152

157

156

154151

153

155

BEGGARSTAFF BROTHERS (James Pryde, 1869-1941 & William Nicholson, 1872-1949)

158. The Hour Illustrated. 1895.20 x 29 1⁄8 in./50.6 x 74 cm. Cond C+/Restored tears at folds & edges.Ref: Beggarstaff, 26a; DFP-I, 15; Reims, 1355; PAI-LI, 111

The Hour Illustrated was a short-lived London weekly, first appearing in the spring of 1895. A trade magazine announcing the launch of the publication called it “the newest and brightest weekly,” with free postage, savings bonds, accident insurance, scholarship opportunities, “special attractions for Ladies,” and “Novel and Valuable Prizes,” not to mention the “brilliant writing” and fabulous fashion plates heralded on this poster. What it fails to mention is that it was actually an overhaul of an older magazine of the same title that had a less-popular religious overtone. The poster itself is one of the Beggarstaff’s smallest creations, and was simultaneously issued without the text for collectors. It is interesting to note that the signature here is “J. & W. Beggarstaff” rather than the more common “Beggarstaffs.”

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

FRANCIS BERNARD (1900-1979)

159. Dietrich.60 1⁄4 x 80 1⁄2 in./153 x 224.3 cmEditions Paul-Martial, ParisCond B+/Slight tears, largely at edges. Framed.Ref: Bernard, pl. 10; PAI-XLV, 159

To advertise Dietrich’s “Diamond” radiators, Bernard creates a 2-sheet poster with a geometric business man sitting happily in a club chair. The photomontage appliance next to him emits a radiant glow along with a stream of text that circles around the figure’s head like a halo, ultimately landing in his wallet -- further emphasizing the 150-350 francs the text promises it will save us. The slogan itself is a rhyming French jingle which translates to “Buy a Diamond and save money.”

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

LUCIAN BERNHARD (1883-1972)

160. Deutscher Plakatkunst, 20 Jahre. 1908.22 x 15 3⁄4 in./56 x 40 cmDruckerei Schenkalowsky, BreslauCond B+/Slight tears at folds & edges. Framed.Ref: Bernhard, p. 29 (var); Chaumont/Exposons, p. 39; PAI-XXXI, 302

Better known for his more Modern-looking object posters, this early Bernhard appears quite wordy and plain; however, the simplicity that would come to define his career is ever-present. Utilizing the Das Plakat emblem of a woman gazing through her lorgnette, the poster promotes an evening event hosted by the Breslau Friends of the Poster which celebrated 20 years of German poster design. With a promised 240 works on view, not to mention a lecture given by the illustrious Dr. Hans Sachs alongside 150 color slides, it was meant to be a poster-enthusiast’s dream seminar.

Est: $1,200-$1,400.

PAUL BERTHON (1872-1909)

161. Le Livre de Magda. 1898.15 3⁄4 x 22 3⁄4 in./39 x 57.8 cmImp. Chaix, ParisCond A. Framed.Ref: DFP-II, 66; Berthon & Grasset, p. 97; Timeless Images, 29; PAI-LIII, 95

Part of Les Fleurs d’Hiver, the last compilation of poems he published before his death, Le Livre de Magda is a novel-in-verse, a deeply tender love story by the French poet Paul Armand Silvestre. Fully utilizing his deft Art Nouveau touch, Berthon visually summarizes the tale with an ethereal nude languidly feeding doves in a sun-dappled field.

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

162. Sarah Bernhardt. 1901.18 3⁄4 x 24 3⁄4 in./47.7 x 63 cmImp. Bougerie, ParisCond A-/Slightly faded. Framed.Ref: Berthon & Grasset, p. 90; Gold, 173; PAI-XXXIII, 218

“Berthon . . . produced about 60 [decorative panels] . . . in contrast to his handful of posters. . . . This is his most famous lithograph, a portrait of Sarah Bernhardt in the title role of ‘La Princesse Lointaine’ (‘The Faraway Princess’) which she first played in 1894. In this design Berthon transformed her costume tiara with its flowery jeweled garland into real irises framing her idealized face” (Gold, p. 120).

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

163. Salon des Arts Liberaux. 1900.16 1⁄4 x 23 1⁄4 in./41.3 x 59.2 cmCond B+/Stains at folds. Framed.Ref: Berthon & Grasset, frontispiece; Phillips III, 344 (var); PAI-XLIX, 128 (var)

“In 1900 Berthon produced a poster for the Salon des Arts Libéraux, a striking design of two women by a lithographic printing press. Like all Berthon’s posters, it was designed as a decorative lithograph in which the text played no real part, but was confined to reserves outside the subject. Each of the posters was, in addition, printed in editions without letters for collectors” (Berthon & Grasset, p. 103). This particular example remains in its original period frame, the luster of the gold metallic ink throughout the image still reflecting the light beautifully.

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

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163

GUS BOFA (Gustave Blanchot, 1883-1968)

168. Sodex. 1910.31 3⁄4 x 47 3⁄4 in./80.7 x 121.2 cmImp. A.G. LhoirCond B+/Slight tears at folds & edges.Ref: Négripub, 134; Négripub/Forney, 43

One of the more prominent (though racist) advertising gimmicks around the turn of the century was emphasizing the whitening capabilities of a soap by contrasting it against African skin. Here, a black boy has just emerged from a tub full of Sodex, a product which claims to replace the baking soda in one’s wash, whitening and cleaning better than regular detergent. Much to his female companion’s surprise, her formerly dark-skinned friend is now shockingly alabaster.

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

PIERRE BONNARD (1867-1947)

169. Petites Scenes Familieres. 1893.10 1⁄2 x 13 5⁄8 in./26.6 x 34.5 cmE. Fromont, ParisOverall excellent; slight stains at edges.Ref: Bouvet, 5-23; Ives, p. 64-66

Claude Terrasse formed a musical marriage with Bonnard’s sister Andrée in 1890, producing a few lovely music books for children with the help of his new brother-in-law. This volume is perhaps the first of those endeavors, containing a variety of light ditties for piano, accompanied by 19 humorous and sly drawings by Bonnard.

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

170. La Revue Blanche. 1894.23 3⁄8 x 30 3⁄4 in./59.4 x 78 cmImp. Edw. Ancourt, ParisCond B-/Restored tears. Ref: Marx, 32; Bouvet, 30; DFP-II, 77; Ives, 151; Maitres, 38; Word & Image, p. 26; Modern Poster, 8; Reims, 234; PAI-LIII, 108

Bonnard’s best-known and most enigmatic poster advertises the monthly La Revue Blanche, published by his close friends the Natansons. The significance of this image eludes us today and seems not to have been all that clear when published. Maindron admitted that he could not understand it, but found that “nonetheless it’s quite curious.” Bouvet attempts at analysis: “the strange form [at right] apparently following the young woman, is in fact a man, seen from behind, an opera hat on his head and coat collar turned up, reading the poster for the Revue on the wall” (p. 36). The design itself is quite ahead of its time, creating a geometric pattern out of other posters for the publication, while simultaneously contrasting the sassy pose and voluptuous costume of the female reader against the grisly nature of the street urchin-cum-newsie to her right.

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

171. La Lithographie en Couleurs. 1898.7 1⁄2 x 8 3⁄4 in./19 x 22.2 cmPublished by L’Estampe et L’Affiche, ParisOverall excellent condition, with slight stains at edges. In case.Ref: Ives, 33; Bouvet, 52-53; PAI-XX, 150

Complete with the original lithographic cover & frontispiece by Bonnard, this important volume covers many of the more prominent artists, publishers, and printers of the time, including Lautrec, Vuillard, Rivière, De Feure, Chéret, and Steinlen. It discusses where the medium of printmaking is going from the actual thick of the activity, making it, at heart, an avant-garde work itself. One of 1,000 copies.

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

164. La Viole de Gambe. 1899.15 1⁄2 x 24 1⁄4 in./39.4 x 61.5 cmImp. Chaix, Paris (not shown)Cond A. Framed.Ref: Berthon & Grasset, p. 113; PAI-XXXIII, 213

“Gabriel Mourey, writing in The Studio, illustrated La Viole and commented: ‘It may perhaps be urged against this artist that he is somewhat too much under the influence of M. Grasset, an influence from which, it must be remarked, decorative draughtsmen do not take sufficient care to escape. Nevertheless, M. Paul Berthon has an exquisite sense of line and colour, and he seems to attach more importance to expression than does his master” (Berthon & Grasset, pp. 104 & 114).

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

165. Societe des Amis des Arts de la Manche. 1899.23 1⁄2 x 33 5⁄8 in./59.7 x 85.4 cmImp. Chaix, ParisCond A-/3” tear at top edge.Ref: DFP-II, 68; Berthon & Grasset, p. 122; PAI-XIV, 122

Although originally used for an 1899 exposition of the Société des Amis des Arts de la Manche, this image was later sold without letters to collectors as a decorative panel.

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

JOSEF BICHLMEIER

166. Sommer u. Ferienhäuser. 1908.37 1⁄2 x 21 7⁄8 in./95.2 x 70.7 cmHollerbaum & Schmidt, BerlinCond A/P.Ref: DFP-III, 327

A handsome Arts & Crafts era poster promoting an exhibition of model summer and holiday homes at the Kaiser Wilhelm Museum.

Est: $1,600-$1,800.

VESPASIANO BIGNAMI (1841-1929)

167. Othello. ca. 1894.33 x 25 in./83.6 x 63.2 cmG. Ricordi, ParisCond B/Tears & stains, largely at edges.

Verdi’s second-to-last opera is promoted here in full dramatic flair, showing the titular character turning away from the bride he has just strangled. Ricordi used this image by the Italian illustrator Bignami for the Parisian debut of the opera, which was met with much stronger critical success than Verdi’s previous attempt at Shakespeare, Macbeth.

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

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BERTHON (Continued)

172. Petit Solfège Illustré. 1893.11 1⁄4 x 8 3⁄8 in./28.5 x 21.3 cmLibrairies-Imprimeries, ParisIn case.Ref: Ives, p. 52-62

Written by the artist’s brother-in-law, Claude Terrasse, this musical primer for children features illustrations by Bonnard on every page. It is one of his earliest publications, with clear influences from both illuminated Medieval manuscripts and Japanese book design. Only 2,000 copies were printed, complete with 30 illustrations by Bonnard.

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

JACINT BOFARULL (1903-?)

173. Beristain / Articulos para Viaje. 1932.27 x 39 1⁄2 in./68.5 x 100.4 cmCond A-/Slight creases.Ref: PAI-IX, 175

Located in Barcelona, Beristain was a high-end shop specializing in a variety of typically masculine products -- guns, cigarette lighters, leather goods, etc. Bofarull, a Communist artist and activist during the Spanish Civil War, created at least three posters for the company, each focusing on a specific type of item. In this case, he singles out the store’s grand selection of luggage, perfect for both sea and air travel, in a particularly Art Deco design.

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

FIRMIN BOUISSET (1859-1925)

174. Chocolat Menier. ca. 1895.39 3⁄8 x 59 in./100 x 150 cmImp. Pichot, ParisCond B+/Slight tears at folds.Ref (All var but Karcher & PAI): DFP-II, 85; Reims, 237; Maindron, p. 42; Musée d’Affiche, 49; Weill, 75; Masters 1900, 75; Chocolate Posters, Cover & p. 20; Karcher, p. 75; PAI-XL, 240

“Originally seen from the back in an 1892 design writing the words “Chocolat Menier” on a wall (see PAI-XLIX, 139), she returned many times over the years, sometimes scrawling different words in other languages, but always cutting an irresistible tomboyish figure” (Gold, p. 43). This variant shows the girl scrawling the phrase “avoid substitutes” across a yellow wall with a bit of chocolate.

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

175. Biscuits Lefèvre-Utile / Lu-Lu. 1897.46 3⁄4 x 68 3⁄8 in./118.7 x 173.6 cmDaude Frères, ParisCond A-/Slight creasing at edges. Framed.Ref: Wine Spectator, Art du Biscuit, p. 50 (var); Art et Biscuits, 11 (var); 143.; PAI-XLVI, 208

Lefèvre-Utile was a biscuit firm that worked hard on its image and always used first-class artists to create their advertising. “For them, Bouisset has a boy munching on a LU biscuit–and, since the company always tried to project an upper-class image, he put him in the uniform of a prestigious private school, with a smock and a medal for scholarship. The LU-LU boy became a trademark used on product boxes, and can be seen to this day painted on the entire gable wall of a six-story building on rue d’Auteil in Paris.” (Wine Spectator, 143).

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

WILLIAM H. BRADLEY (1868-1962)

176. The Inland Printer. 1894-1895.10 x 13 5⁄8 in./26 x 34.6 cmRef: Bambace, p. 132-135 (var); PAI-XLIX, 144Loose sheets with wear on front and back of book; all twelve covers are in excellent condition.

Bradley “brought out the art from the museums and picture galleries into the street, before the masses, trying to elevate their taste” (The Poster, Oct. 1898, p. 159). Beginning in 1894, Bradley began to design monthly covers for this Chicago-based magazine for the printing trade, thereby making it one of the earliest publications to abandon a permanent cover–the custom of the day–in favor of variety. This special series of twelve of his covers created during that first year amply demonstrates how Bradley’s mastery of graphic arts contributed to the publisher’s decision to align himself with heterogeneity. Rare!

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

SVEN BRASCH (1886-1970)

177. Dansk Kennelklubs. 1922.23 3⁄4 x 33 1⁄4 in./60.3 x 84.6 cmKruchow-WaldorffCond A. Framed.Ref: Danish Posters 1910-1940, il.13

A very German design promoting the Danish Kennel Club’s 25th Anniversary Dog Show. While the gloved Marlene Dietrich-esque blonde would normally be the focus of such an ad, it is the geometrically-formed pug who commands our attention. The red book in her hand is actually a catalog featuring all of the items available in the Tombola, a type of raffle.

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

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BONNARD (Continued)

PIERRE-LAURENT BRENOT (1913-1998)

178. Paris Paris 50. 1996.23 1⁄2 x 31 3⁄4 in./59.7 x 80.7 cmSigned oil-painting on canvas.Ref: Brenot/Weill (no page number)

The master of French pin-up art, Brenot created hundreds of fashion plates, posters, advertisements, and illustrations, almost all of them featuring his extremely charmingly, sweet-faced, lanky ladies in cutesy and seductive poses. Here, the effortless style and playful sensuality he brought to such greats as Dior and Balenciaga appears in a painting alongside the words “Paris Paris 50.” A preliminary drawing for this design indicates that it was originally intended for a springtime fashion ad; however, it ultimately was made into a poster celebrating what Paris fashion looked like in the 1950s.

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

ERNST BUSCH

179. Curaçao Senglet. 1920.35 1⁄2 x 50 1⁄4 in./90 x 127.7 cmW. Wassermann, BaselCond A.Ref: Plakate Alter zeit, p. 29 (var); PAI-XXXV, 196

Printed on buff so that the added white of the woman’s slip lifts off the page, seductively offsetting her silk-clad legs, this image for Curaçao Senglet goes against many advertising standards of the day: “The girl is not particularly attractive, rather she is arrogant, sullen and carelessly dressed; her corset and slip are a little out of place, her stole, apparently nonchalantly arranged, looks more like a curtain than an elegant accessory, and even the rose, carelessly dropped to the floor, has lost some of its petals. . . . The bartender and her admirer have both left. In 1910, no lady would have let herself be seen clothed so carelessly and sitting in a bar drinking alone. The poster recalls hangover, and it is actually anti-advertising that attracts the viewer’s attention through its lack of slick features. A blonde beauty drinking a cup of golden liqueur–that is nothing unusual, but a black, wicked night-owl is something else again. The viewer wants to drink what she is drinking!” (Plakate Alter zeit, p. 28). This is the later version of the design, the early 1910 version having the subject seated to the left with her cigarette pointed toward the product.

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

HEINRICH CAMPENDONK (1889-1957)

180. Farbe Ausstellung. 1928.40 x 30 1⁄8 in./101.7 x 76.5 cmCond A.Ref: PAI-XLVI, 218

An exceptionally rare, important poster advertising an exhibition devoted to ‘color.’ Printed in black-and-white, the rainbow and highlighted green area are all hand-tinted. The show itself featured some of the most important avant-garde artists of the era, including Kandinsky, Marc, Delaunay, Macke, Braque, Picasso, Klee, Gris, Naun, and Nolde. Interestingly, a list of the honorariums paid to the participants reveals that Campendonk received 560 marks for his contributions (which included this poster), while Kandinsky received a mere 200.

Est: $12,000-$14,000.

GASPAR CAMPS (1874-1942)

181. Tender Tempatation. ca. 1904.13 1⁄8 x 27 1⁄2 in./33.2 x 70 cmF. Champenois, Paris (not shown)Cond A/On Silk. Framed. Ref: Imprimerie, 52 (var); PAI-L, 68

To show off the full range of their reproductive skills, many printers created fabulously detailed decorative panels as gifts for their important and potential clients. Many were printed just on paper, while a few, like this one, were done on silk, making them fine collector’s items and beautiful decorations for the home. Here, a porcelain-skinned Pre-Raphaelite lady gently strokes a baby bird sitting inside its nest. The weight of her velvet green gown tumbles in heavy folds down to her feet, spilling over the border. A rich, highly textured design.

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

178 179

182. Evening Hydrangea. ca. 1904.13 3⁄4 x 26 1⁄2 in./35 x 72.5 cmF. Champenois, ParisCond B+/Slight tears, largely near edges.Ref: Imprimerie, 50; PAI-XLIII, 183 (var)

Like the previous design, this was also created for Champenois as a decorative image to promote the company, although this time on paper rather than silk. Camps, a Spaniard who spent most of his career in France, was one of a number of artists hired by the Champenois printing house to fill the void when Mucha left for America in 1904. Creating both advertising and decorative works, Camps eventually found his own style–less graphic than Mucha and more akin to oil painting, marked by soft edges and shading, as well as loads of sentiment. This exquisite Art Nouveau celebration of both female and natural beauty is executed with meticulous workmanship and lithographic skill, showcasing the delicate pheasant feathers dripping off her diaphanous sleeves and giant puffball hydrangeas at sunset.

Est: $1,500-$2,000.

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186. Absinthe Gempp Pernod. 1903.54 1⁄2 x 78 3⁄8 in./138.5 x 199 cmImp. P. Vercasson, ParisCond B+/Slight tears at foldsRef: Cappiello/Rennert, 13; Wine Spectator, 173; Menegazzi-I, 393; PAI-XX, 418

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

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

187. Menthe-Pastille. 1906.50 3⁄4 x 78 5⁄8 in./129 x 199.7 cmImp. Vercasson, ParisCond B/Tears at folds & edges.Ref: Cappiello/Rennert, 116; Cappiello, 269; Wine Spectator, 179; PAI-LI, 153

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

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

188. Maurin Quina. 1906.47 3⁄8 x 63 in./120.3 x 160 cmImp. Vercasson, ParisCond A-/Slight creases.Ref: Cappiello/Rennert, 114; Cappiello, 266; Encyclopédie/Weill, p. 61; PAI-LIII, 132

Cherry-flavored with a hint of quinine, Maurin’s aperitif only recently became reintroduced on the French market after fading into obscurity the year this poster was printed. Referencing the infamous green fairy imagery commonly associated with absinthe, this green devil is one of Cappiello’s most famous characters. This is the smaller, one-sheet version of the poster.

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

LEONETTO CAPPIELLO (1875-1942)183. La Marquisette Liqueur. 1901.39 x 81 7⁄8 in./99 x 207.8 cmImp. Vercasson, ParisCond A.Ref: Cappiello/Rennert, 19; Schindler, 147; Wine Spectator, 176; PAI-LIII, 122

A charming little slice-of-life moment in which the more daring of the two girls introduces the other to the joys of Marquisette dessert liqueur. This is the larger, two-sheet version of the poster.

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

184. Katabexine. 1903.39 1⁄4 x 54 7⁄8 in./99.7 x 139.5 cmImp. Vercasson, ParisCond A.Ref: Cappiello/Rennert, 42; Santé, 4; PAI-LI, 147

Katabexine cough medicine got its name from the combination of two Ancient Greek words: ‘kata,’ meaning ‘against,’ and ‘bex,’ meaning ‘cough.’ Not only did the product promise to aid one’s sore throat, but also help in curing whooping cough, bronchitis, asthma, and much more. The design must have been popular, for three years later Vercasson sold a slightly different version of it to El Siglo department store for their annual clothing sale. That version is slightly larger, and rather than a vial of medicine the lady now holds a lorgnette.

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

185. Polaire / Le P’tit Jeune Homme. 1903.38 3⁄8 x 55 in./97.5 x 193.8 cmImp. Vercasson, ParisCond B+/Restored top margin.Ref (All var but PAI): Cappiello/Rennert, 50; Cappiello, 220; Gold, 164; PAI-XLI, 144

“Cappiello renders Polaire’s stage presence to striking perfection; her verve is all but contagious. Born Emilie Bouchaud (1877-1939) in Algiers, she was from all accounts quite a brash character, breaking into show business as a singer at 15. At first, she relied primarily on her physical assets–which included an impossibly small waist and an improbably large bust that she refused to conceal with layers of garments as was the fashion of the day. This, of course, earned her a great deal of censure, but also enough notice to get some theatrical offers; and there, she surprised everyone by turning out to be an accomplished comedienne. One of her vehicles, ‘Le P’tit Jeune Homme,’ revolved around the adventures of two young girls from the provinces visiting Paris for the first time who decide somewhere along the line that they might be safer if they disguised themselves as men” (Cappiello/Rennert, p. 68). This particular version of the poster features a single text line at bottom to announce the show.

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

189. Cachou Lajaunie. 1920.39 1⁄4 x 59 in./99.7 x 150 cmImp. Devambez, ParisCond A.Ref: Cappiello/Rennert, 296; Cappiello, 291; Marques, p. 43; Health Posters, 222; PAI-XLII, 163

“In Cappiello’s later years, caricature, now more polished and refined, makes an appearance every now and again. This second poster for Cachou Lajaunie . . . a breath freshener to counteract the effects of her cigarette, gets our attention with a woman in a startling dress decorated with large sequins in shades reminiscent of autumn foliage” (Cappiello/Rennert, p. 196). “The pharmacist, Léon Lajaunie, set up his pharmacy in Toulouse. After developing several invigorating elixirs, he turned to cachou, as an aromatic for perfuming the breath whose strong flavor covered smoker’s breath” (Health Posters, p. 169).

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

190. Source Parot. 1908.47 x 61 in./119.4 x 155 cmImp. P. Vercasson, Paris (not shown)Cond B-/Restored tears at edges & vertical fold.Ref: Cappiello/Rennert, 136; Cappiello, 279; Cappiello/St. Vincent, 4.26; PAI-XLI, 138

“That Cappiello was fond of using animals as attraction-getting devices is clear . . . However, most have some kind of association with the product being offered. But here, there’s no apparent connection between any of the elements–the young pelican throwing back his bill in laughter at the expense of an inexperienced field mouse attempting to get to the contents of the advertised product: a tightly-sealed bottled water ... Source Parot [uses] this delightful image to sell the mineral waters of the St. Romain-le-Puy firm. The firm was founded by François Parot and began bottling mineral water in 1894. More than 100 years later, the firm is still going strong and still independently owned by the family.” (Cappiello/Rennert, p. 110).

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

191. Paris 1937.46 3⁄8 x 63 1⁄8 in./117.8 x 160.2 cmEdimo, ParisCond A-/Unobtrusive slight tears.Ref: Cappiello/Rennert 526; PAI-LI, 169

“Cappiello became deeply involved in the planning for the Paris World’s Fair of 1937. He was named vice-president of the Publicity Department for the Fair, and as such he designed the decor for the Pavilion of Advertising, as well as preparing this poster: Paris 1937. It masterfully conveys the Fair’s dual themes with allegorical figures representing Art and Technology” (Cappiello/Rennert, p. 323). This is the larger format.

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

192. Poulain-Orange. 1911.46 x 62 in./117 x 157.5 cmImp. P. Vercasson, ParisCond B+/Slight tears, largely at folds.Ref: Cappiello/Rennert, 176; Chocolate Posters, p. 31; PAI-XXXVI, 190

One of the oldest chocolate companies in France, Chocolate Poulain, as its name would imply, uses a leaping horse as its mascot. While it specialized in a large range of chocolate products, the Poulain Orange was a powdered mix blended with vanilla which could be turned into hot cocoa or chocolate milk. Today, the company has been bought out by Cadbury and is still produced.

Est: $3,000-$4,000. 193. Je ne fume que Le Nil. 1912.63 1⁄4 x 47 1⁄4 in./160.6 x 120 cmImp. Vercasson, ParisCond A.Ref: Cappiello/Rennert, 227; PAI-XLVIII, 151

Although the slogan reads “I only smoke Nil,” Nil isn’t actually a cigarette, but rather a brand of cigarette rolling paper. Nil claimed to be as “tough as an elephant’s hide,” which is how the company’s spokes-elephant came to into being.

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

194. Panamose. 1920.44 x 59 7⁄8 in./112 x 152 cmImp. Devambez, ParisCond B/Slight tears & stains. Framed.Ref: Cappiello/Rennert, 303; Cappiello, Checklist; Karcher, 193 (var); PAI-XXIX, 257

Complete with magical imp, Panamose laundry detergent will magically make any soiled garment appear as good as new for the low price of 1.50 francs. A rare and delightful design.

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

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CAPPIELLO (Continued)

195. Poudre de Perles Fines / Maquette. 1921.44 1⁄4 x 60 1⁄2 in./112.5 x 153.7 cmSigned gouache & crayon maquette. Ref (all var): Cappiello/Rennert, 320; PAI-X, 139

One of the most beautiful maquettes we’ve seen by Cappiello, so exactly like the actual poster that his mastery of the medium becomes unquestionable. With her flaming red hair contrasting wildly against the rich blue of the sea, this nymph on a half-shell has become the glistening pearl within the oyster. A perfectly clever design considering that the brand’s name is Pearl Powder.

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

196. Silk / Maquette.21 1⁄2 x 29 14 in./54.6 x 74.2 cmHand-signed gouache and crayon maquette. Framed.Ref: PAI-XLIX, 160

Slithering merrily across a bright green leaf, the cherished, plump silkworm is presented front-and-center in this unusual maquette. Presumably produced as a potential design for a silk company, we see a rainbow of reams of fabric folded to create the background. A curious and fun design.

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

197. Sardines / Maquette. 1928.6 7⁄8 x 9 1⁄4 in./17.3 x 23 cmGouache & ink maquette. Framed.

With a provenance including the Devambez printing archives as well as the Cappiello family, this is a truly remarkable item to see at auction. A maquette for an unrealized poster, it is reminiscent of many of Cappiello’s great sirens and mermaids while remaining unique as the only full fish the artist seems to have created. Had it become a poster, the freshness of the sardines in question would be without compare, as they literally jump from the sea into the can.

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

198. Brasso / Maquette.17 1⁄2 x 27 in./44.5 x 68.6 cmSigned gouache maquette. Framed.

A terrific maquette for an unrealized poster advertising brass polish. Having just rubbed some Brasso on an urn, the blonde mascot is awestruck by the many glistening stars which literally pop off the newly-buffed surface.

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

CAPPIELLO (Continued)195

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199. Kermann / Maquette.19 3⁄4 x 25 1⁄2 in./50.2 x 64.6 cmGouache maquette. Framed.

Historically considered to be the person responsible for introducing aperitifs to the Bordeaux region of France, images of Father Kermann -- an elderly, pensive-looking monk -- were used as mascots for a variety of liqueurs toward the end of the 19th century. Here, he is seen pouring over his secret formulas, a bottle of F. Cazanove brandy close at hand. While this particular Cappiello design was never realized in poster form, a handful of other advertisements for Kermann follow a similar composition.

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

200. Book: Miroir A Deux Faces. 1933.8 x 10 1⁄8 in./20 x 25.6 cmLucien Serre, Paris Overall excellent condition. In marbled slipcase. Unopened signatures.Ref: Cappiello/Rennert, p. 12; PAI-XXXIX, 202

Written by Jacques Boulenger, Le Miroir a Deux Faces was Cappiello’s last work as an illustrator. Consisting of two volumes -- one describing events from the man’s and the other from the woman’s perspective -- it contains 34 lithographic designs by the artist, each broadening and complimenting the author’s story of a romance which flourishes and then dies. This particular copy is #43 of 80 on Velin du Montval paper.

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

201. La Princesse de Babylone. 1928.6 x 8 3⁄8 in./15.2 x 21.4 cmHand-signed watercolor & pencil drawing. Framed.Ref: PAI-XLIV, 134

Created to help illustrate a new edition of Voltaire’s 1768 philosophical novel, La Princesse de Babylone, this image presents us with a rear view of Amazan, the shepherd vying for the hand of Princess Formosante, as he leans against his tiger. While the tale itself is not as well known as Voltaire’s other works, it quite nicely explores many prominent idea of the Enlightenment.

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

202. Contratto. 1922.55 x 77 1⁄2 in./139.7 x 196.8 cmLes Nouvelles Affiches Cappiello, ParisCond A.Ref: Cappiello/Rennert, 366; Cappiello/St. Vincent, 4.45; Menegazzi-I, 436; PAI-XLVI, 231

One of Cappiello’s most instantly-recognizable designs, we are presented with a whimsically-dressed lady offering up an oversized glass of Contratto champagne. This is the larger, two-sheet version of the poster.

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

203. Poëles Nanquette. 1925.51 1⁄4 x 78 7⁄8 in./130 x 200.4 cmImp. Devambez, ParisCond B/Slight tears at folds.Ref: Cappiello/Rennert, 420; PAI-XLVIII, 153

As the tagline at the top would imply, Nanquette stoves get hot fast so you can start cooking immediately. However, if those words and the handsome product model weren’t convincing enough, an anthropomorphized embodiment of the sun is shown using a Nanquette stove to warm itself.

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

204. Felsina Ramazzotti. 1926.53 1⁄4 x 77 1⁄4 in./135.5 x 196.2 cmImp. Devambez, ParisCond B/Tears, largely at folds & edges.Ref: Cappiello/Rennert, 435; Cappiello/St. Vincent, 4.65; PAI-XLVII, 159

“Felsina Ramazzotti of Milan produced a line of digestive wines and stomach bitters that were at the height of their popularity in this era. The Pierrot whose outstretched arms mimic the crossed bottles is promoting the ‘Red Label’ product, as proclaimed at top” (Cappiello/Rennert, p. 271).

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

CAPPIELLO (Continued)

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205. Cognac Monnet. 1927.51 1⁄4 x 78 5⁄8 in./130.2 x 199.7 cmImp. Devambez, ParisCond A.Ref: Cappiello/Rennert, 443; PAI-LI, 179

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

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

206. Parapluie-Revel. 1929.78 x 123 1⁄4 in./198.3 x 313 cmImp. Devambez, ParisCond A-/Slight tears at seam.Ref: Cappiello/Rennert, 373; Karcher, 245; Cappiello/St. Vincent, 4.68; PAI-XLIX, 175

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

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

207. Royal Gaillac. 1929.49 1⁄2 x 77 in./125.7 x 195.6 cmImp. Devambez, ParisCond A-/Unobtrusive folds.Ref: Cappiello/Rennert, 468; PAI-X, 142 (var)

Featuring King Henri IV on his leaping steed, this image for Royal Gaillac aperitif and dessert wines is a bon vivant’s toast to the product. Henri was a popular choice in advertisements around this time, promoting all variety of food and drink with his royal charm. This is the large format version of the poster.

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

208. Buvez du Vin. 1933.47 1⁄4 x 62 3⁄4 in./120 x 159.5 cmImp. Devambez, ParisCond B+/Slight tears & stains at edges.Ref: Cappiello/Rennert 508; PAI-LI, 174

In 1933, President Roosevelt repealed the National Prohibition Act against the sale, consumption, and transportation of alcohol in the United States. While such laws were never in effect in France, it is interesting to consider that Cappiello was commissioned to create this poster for the French wine industry that same year, promoting enjoying life by drinking wine. As most vineyards in the United States were in ruins, and those that weren’t made cheap, vile wine, imported wine, especially from France, was the only means of obtaining any grape alcohol of quality. While probably not aimed at an American audience, this poster is a reminder that wine was no longer vilified the world over. This is the larger format.

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

209. Job / Papier à Cigarettes. 1933.23 x 34 3⁄8 in./58.2 x 87.3 cmImp. Vercasson, ParisCond A.Ref (All var but PAI): Cappiello/Rennert, 228; DFP-II, 124; Wine Spectator, 205; Moeller, p. 85; PAI-XLIII, 198

“Cappiello showed the pleasure of smoking by projecting an image of a hedonistic Middle-Eastern potentate luxuriating with a self-rolled cigarette. In fact, the imperious pasha floats on his coach like a fat white cloud–an incongruous and therefore memorable image” (Cappiello/Rennert, p. 156). A lasting design, seen here in its thirteenth printing–some sixteen years after Cappiello’s departure from the Vercasson printing house.

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

210. Bitter Campari. 1921.27 1⁄8 x 39 1⁄8 in./69 x 99.4 cmImp. Devambez, ParisCond A.Ref: Cappiello/Rennert 330; PAI-LI, 160 (var)

“Cappiello, steeped in theatrical tradition from his years as a stage caricaturist, often chose pierrots, harlequins, or clowns to represent various products. Here, in one of his most inspired designs, the clown embodies the spirit of the orange peel, a zesty ingredient in [Bitter Campari]. This image has become one of the classics of poster design, effortlessly combining the element of surprise with the essence of the product” (Cappiello/Rennert, p. 214). This is the smaller format version of the poster.

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

CAPPIELLO (Continued)205 206

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EMIL CARDINAUX (1877-1936)

211. Schuster / Teppichhaus. 1916.35 1⁄2 x 49 3⁄4 in./90.2 x 126.3 cmJ. E. Wolfensberger, zürichCond A.Ref: Cardinaux, 46; PAI-XL, 276

A colorful, impressionistic design for a Swiss rug merchant. Basking languidly atop a pile of rich, Oriental carpets, the voluptuous odalisque gazes up at her parrot, lazing away the afternoon. As is typical of Cardinaux, he treats the image as a painting, strongly separating text from image.

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

G. CARENOVE

212. Marion & Miller. 1911.47 x 61 7⁄8 in./119.3 x 157.3 cmAffiches Kossuth, ParisCond A-/Unobtrusive slight tears in bottom text area.Ref: PAI-LII, 208

A fine design in which a haute-bourgeoisie couple is seen calmly examining a variety of household objects for potential purchase. As empty space was obviously at a premium in this poster, the white of the woman’s dress serves as a sandwich board, announcing that Marion & Miller is the best place for fine furniture, curtains, rugs, & bedding.

Est: $1,200-$1,400.

LEONA CARTER

213. Actors Fund Fair. 1917.12 1⁄2 x 20 1⁄2 in./31.6 x 52 cmCarey Print Lith, NYCond B-/Restored tears & creases at bottom text area & edges.

Held annually since 1882, the Actors Fund Fair raised money to help struggling actors and their families.

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

A. M. CASSANDRE (Adolphe Mouron, 1901-1968)214. Hachard Publicity. ca. 1926.24 x 6 in./61 x 15 cmCond B+/Slight stains at folds.

An interesting accordion-fold pamphlet promoting the many posters of Cassandre printed by Hachard. Several of the images shown are of his exceptionally rare works, such as Turmac, Bucheron, Le Kid, and Onoto.

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

215. Grand-Sport. 1925.23 7⁄8 x 31 5⁄8 in./60.6 x 80.2 cmHachard, ParisCond A.Ref: Cassandre/Weill, p. 11; Mouron, Pl. 3 (var); Brown & Reinhold, 7 (var); Cassandre/Suntory, 5 (var); PAI-LII, 336

Cassandre’s simple abstraction of a face contrasted with the realistic rendering of the product–a cap, “the champions’ choice”–is a textbook example of how a bold, direct statement can command our attention. Noting the influence

of Oskar Schlemmer and Picasso on this design, Brown & Reinhold find that “what is most subtle and interesting about the poster is the suggestion of a multiple perspective, which gives a simultaneous straight-on and cocked-to-the-right viewpoint of the face” (p. 13). Grand-Sport, whose 1920s advertisements emphasized that all the great sport champions wore this cap, was a brand of the Sools hat firm, for which Cassandre produced another fine poster (see PAI-XLVIII, 162). This is the medium format.

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

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216. Reglisse Florent. 1925.37 3⁄4 x 57 1⁄2 in./95.8 x 146 cmHachard, ParisCond A. Framed.Ref: Cassandre/BN, 6; Mouron, pl. 5; Brown & Reinhold, 4; Cassandre/Suntory, 10; Moderno Francés, p. 154; PAI-LI, 190

Starting in 1905, the Sachplakat, or Object Poster, became all the rage in Germany. In it, the poster zooms in on solely the product being offered, rather than cluttering up the design with happy customers, sensual ladies, or picturesque landscapes. Here, Cassandre masterfully embraces that style, simply showing off the geometric tin case in which these licorice pastilles are housed.

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

217. Savo. 1930.11 3⁄8 x 15 3⁄8 in./29 x 39 cmImp. L. Danel, LilleCond A-/Slight tear at bottom edge. Framed.Ref: Mouron, 80; Cassandre/Weill, p. 44 (var); PAI-XXI, 116

In one of his most aggressive, Cubist-inspired designs, Cassandre molds the simple blue garments of the factory worker into a rigid male form, personifying it with the addition of three circles. Mid-swing, you can almost hear the clang of metal on metal, feel the sweat, the power of the laboring man. Savo was a work clothing manufacturer located in Paris, easily identified by a giant 8 foot metal sign of this very figure on the side of its building up until the 1980s. Very few copies of this poster are known to survive. This is the smaller format.

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

218. Dunkerque-Folkestone-Londres. 1932.24 1⁄2 x 39 5⁄8 in./62.2 x 100.6 cmImp. L. Danel, LilleCond A-/Slight tears at edges.Ref: Mouron, Ill. 101; Cassandre/Tokyo, 55; PAI-LIII, 177

A startling night profile of a lighthouse advertises the Folkestone-Dunkirk train ferry across the English Channel. It is signed as coming from the atelier of Cassandre, yet the master’s hand is clearly evident in this striking Art Deco design.

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

219. RAI / Amsterdam. 1929.31 7⁄8 x 44 3⁄8 in./81 x 112.7 cmVan Ditmar, RotterdamCond B+/Slight tears at folds & edges.Ref: Cassandre/BN, p. 71; Mouron, Pl. 20; Le Coultre, p. 256; Cassandre/Suntory, 14; PAI-XLII, 191

Amsterdam’s annual auto show is sponsored by “De Rijwel & Automobile Industrie” (Bicycle and Car Industry). Typically, as is the case here, the name appears as the acronym “RAI” and dates

from the time when the two means of transport were inextricably combined. After 1906, only cars were exhibited at this large-scale and well-known event. “For Cassandre, this motor show . . . wasn’t a pretext to exalt the automotive machine. It acts as a statement, from where the importance of the theme can be seen at a glance: the stylized profile plays with an accessory and the headlight becomes a monocle” (Cassandre/BN, p. 71). One of the rarest of all Cassandre images.

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

CASSANDRE (Continued)

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220. Bonal. 1935.46 3⁄4 x 62 1⁄4 in./119 x 158 cmAlliance Graphique, ParisCond A. Framed.Ref: Cassandre/BN, 91; Cassandre/Weill, p. 72; Cassandre/Suntory, 43; Mouron, Pl. 63; Moderno Francés, p. 189; PAI-LIII, 179

Founded in 1865, Bonal is a sweet vermouth-like aperitif wine, infused with quinine, gentian, and many of the herbs featured in Chartreuse. Dedicated to its role as a pre-dinner beverage, its motto has always been “open the appetite” -- a slogan which Cassandre most literally depicts in this poster. This is the second version of the image, printed two years after the original.

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

221. Celtiques. 1936.38 7⁄8 x 58 3⁄4 in./98.7 x 149.3 cmAlliance Graphique, ParisCond B/Slight tears at folds. Framed.Ref: Cassandre/BN, 82; Cassandre/Weill, p. 80; Mouron, 48; Brown & Reinhold, 45; PAI-LI, 226 (var)

“Eight years after the poster for Golden Club cigarettes, this publicity for Celtique played around with the realistic rendering of the object and the monumental scale of the cigarette pack but, by tilting the package towards us, it’s an invitation to grab the offered cigarette that establishes the relationship between the advertisement and the passerby. The faux wood of the surface upon which the package is positioned adds to the familiar character of a cigarette that’s not associated with luxury but rather with the day-to-day” (Cassandre/BN, p. 100). This is the medium format version of the poster.

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

222. Philips Television. 1951.12 1⁄8 x 16 3⁄4 in./30.8 x 42.5 cmCond A/P.Ref: PAI-LII, 338

An unusual design by Cassandre used as a window card or point-of-purchase display by Philips, the Dutch electronics firm. It’s a very intriguing first impression of television, which Philips began producing the year prior. The only place where this poster is reproduced is in a Dutch book published to celebrate the 100th anniversary of the Philips company, and even they didn’t have recourse to a copy of the design, reproducing it instead from a promotional book of the printer, Smeets, in which it was included. It is doubtful that it was ever printed as a full size poster.

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

223. Angel Records / Maquette. 1951.15 1⁄2 x 19 in./39.3 x 48.2 cmGouache & ink maquette. Framed.

Out of his work with the theatre, Cassandre had a brief period of designing record covers. Simple, unassuming, and primarily text-based, he created LP sleeves for classical compilations by Pathé, Columbia, and His Master’s Voice -- in the United States, these brands were all grouped together by the overseeing company Pathé Marconi, and sold as Angel Records. This maquette, noted as an Angel Records cover, was therefore intended for an American release, and would have differed slightly from its corresponding French version.

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

224. Season’s Greetings / 1953. 1952.13 1⁄4 x 12 in./32.7 x 30.4 cmCalcografia & Cartevalori, MilanoCond A-/Slight stains at edges. On board; Italian text on verso.

A previously-unrecorded work of Cassandre’s showing the New Year’s Baby pushing out the old year and ushering in the new. The verso’s text does not elaborate upon the design’s meaning, but simply explains the latest seven-color intaglio printing process as the best method for avoiding counterfeits.

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

225. Dubonnet. ca. 1956.47 3⁄4 x 66 3⁄8 in./121.3 x 168.7 cmAxel Andreasen & Sønner, KøbenhavenCond A. Framed.Ref: Mouron, Cover & 37 (var); Cassandre/Suntory, 31 (var); PAI-LII, 334

The third installment in the Dubonnet triptych, normally accompanied by the word “Dubon” (“it’s good”). The popularity of the poster trio was so enduring that this version was executed twenty-three years after the design first appeared on the walls of Paris, commissioned by the aperitif company’s Danish distributor. The 2-sheet version of the third sheet in the triptych was the only one of the three images to be printed. However, it was never actually posted as it was too large to fit into the designated posting areas.

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

CASSANDRE (Continued)222

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HENRI CASSIERS (1858-1944)

226. Exposition Universelle / Bruxelles. 1910.34 1⁄2 x 49 1⁄8 in./87.5 x 124.7 cmImp. J.E. Goossens, BruxellesCond B+/Slight tears & stains at edges.Ref (All var but PAI): Cassiers, 88; DFP-II, 1004; Belle Epoque 1970, 13; Looping the Loop, 35; Belle Epoque/Belgique, 32; Belgische Affiche 1900, p. 124; PAI-LIV, 414

A breathtaking and bright bird’s eye view of Brussels’ Grand Place, adorned with flags and flowers in honor of the Universal Exposition. There are at least three known versions of this poster, the other two advertising various railways which one could take to get there.

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

JULES CHÉRET (1836-1932)227. Folies-Bergére / Les Elliott. 1880.15 3/4 x 21 3/4 in./40 x 55.3 cmLith. J. Chéret, ParisCond B+/Slight tears & stains, largely at paper edges.Ref: Chéret, 131; Broido, 115; Maindron, 65

While little information remains today on Les Elliott, it would appear that the act consisted of four adorable, cycling children. It should be noted that posters printed by Chéret in his own plant prior to the 1881 merger with Chaix (such as this and the following lot) are especially rare and highly prized by collectors.

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

228. Folies-Bergère / Léonati. 1880.15 7⁄8 x 22 in./41.5 x 56 cmImp. J. Chéret, ParisCond B-/Slight tears & stains.Ref: Chéret, 135; Broido, 114; Maindron, 62

One of the earliest daredevil cyclists, Leonati (a Frenchman, despite his Italianate name) performed in a large variety of vaudeville, cabaret, and circus venues throughout the 1880s, including the Forepaugh Shows. His best-known trick was the ‘Spiral Ascension,’ in which he road a high-wheeler up a corkscrew-like platform over 50 feet in the air without any safety wire or banister, only to descend again at high speed. Also noted in this poster is Dalvini, a now-unknown Far Eastern-inspired balancing act.

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

229. Aux Buttes Chaumont. 1888.47 1⁄8 x 67 1⁄4 in./119.6 x 170.6 cmImp. Chaix, ParisCond B/Slight tears & stains, largely at seam & edges.Ref: Chéret, 916; Broido, 736; Maindron, 616; PAI-XLI, 188

Delightfully displaying the latest summer styles available for the entire family at Aux Buttes Chaumont, this two-sheet image gives us a seaside encounter between a young family and a handsome stranger.

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

230. Bullier. 1888.33 7⁄8 x 47 in./86 x 119.2 cmImp. Chaix, ParisCond B-/Restored tears at folds & edges.Ref: Chéret, 355; Broido, 280; Maindron, 242; Reims, 279; PAI-XXXVIII, 259

One of a few designs Chéret created for the popular student venue in the Latin Quarter, this poster promotes the Thursday celebrations and Saturday & Sunday balls at Bullier. These parties would grow to their full height in the 1920s, frequented by avant-gardists like Sonia Delaunay and Lucia Joyce (mentally ill daughter of James Joyce). Robert Louis Stevenson would even feature the event in his short story collection, “The Suicide Club.”

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

231. Aux Buttes Chaumont / Exposition. 1890.33 1⁄2 x 48 in./85.1 x 122 cmImp. Chaix, ParisCond A-/Folds.Ref (all var but Chéret): Chéret, 885; Broido, 706; Maindron, 588; DFP-II, 202; PAI-XXXVIII, 278

In a merry display of child labor at its best, Chéret places a giddy blonde in a sandwich board to promote a grand exhibition of the latest winter styles for women & little girls.

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

232. Cosmydor Savon. 1891.33 3⁄4 x 48 1⁄8 in./85.6 x 122.3 cmImp. Chaix, ParisCond B+/Restored tears, largely at edges.Ref: Chéret, 1223; Broido, 938; Maindron, 777; DFP-II, 220; Reims, 314PAI-XLI, 202

A sweet and feminine design promoting Cosmydor soap, the richly-dressed model delicately shown using the product in action. This is the larger format version of the poster.

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

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233. Saxoléine. 1891.34 1⁄8 x 47 7⁄8 in./86.6 x 121.7 cmImp. Chaix, ParisCond A-/Unobtrusive folds.Ref: Chéret, 1227; Broido, 941; Maindron, 780; Reims, 505; PAI-LII, 218

Over a ten year period, Chéret created more than a dozen different designs for this lamp oil company. Each consists of a single woman delicately turning on a lamp, making the most mundane of tasks suddenly appear terribly romantic and intimate.

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

234. Yvette Guilbert / Au Concert Parisien. 1891.33 7⁄8 x 47 7⁄8 in./86 x 121.7 cmImp. Chaix, ParisCond B-/Tears at folds & edges.Ref: Chéret, 264; Broido, 215; Maindron, 188; DFP-II, 213; Reims, 543; PAI-XLIX, 211 (var)

Possibly the most unique image of Yvette Guilbert, in that it looks nothing like any other depiction of her. Normally presented as a severe, sophisticated redhead, this design by Chéret showcases her in a more lighthearted, girlish manner, complete with blonde waves. A true testament to the fact that the artist had a very particular style from which he rarely, if ever, deviated.

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

235. Pastilles Géraudel. 1891.22 7⁄8 x 31 7⁄8 in./58.2 x 81 cmImp. Chaix, ParisCond B+/Slight tears at edges.Ref: Chéret, 1166; Broido, 895; Maindron, 739; PAI-XXXVII, 244

One of many designs Chéret created to promote the benefits of Géraudel cough lozenges. As with every one of the company’s ads from France to China, the simple slogan “If you cough, take Géraudel Pastilles” are the only words to appear on the page. This is the medium format version of the poster.

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

236. Pantomimes Lumineuses. 1892.31 1⁄8 x 43 3⁄8 in./79 x 110.3Imp. Chaix, ParisCond B/Slight tears at folds; trimmed to image.Ref: Chéret, 604 (var); Broido, 468; Maindron, 381; Reims, 464; Encyclopédie/Weill, p. 36; PAI-LI, 258

Arguably one of the first motion pictures, Emile Reynaud’s Pantomimes Lumineuses premiered at the Musée Grévin on October 28, 1892. Utilizing long strips of transparent images manually pulled across a translucent screen, this primitive, 1600 frame film lasted between twelve and fifteen minutes, showcasing three cartoon stories: Pauvre Pierrot, Un bon bock, and Le Clown et ses chiens. While exceedingly popular, having been seen by more than 500,000 viewers over an eight year period, Reynaud’s technology had been outmatched by the turn of the century, forcing his work almost into obscurity. Today, only fragments of the films remain.

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

237. Halle aux Chapeaux / Depuis 3F60. 1892.34 3⁄4 x 48 3⁄4 in./88.4 x 128.7 cmImp. Chaix, ParisCond B+/Slight tears in margins; very minor tear in center background.Ref: Chéret, 1064; Broido, 830; Maindron, 704; DFP-II, 231; Maitres 1900, p. 11; Wine Spectator, 17; Gold, 250; Reims, 382; PAI-XXXVII, 254

Happily showing off the best of the shop’s wares, a mother and her two blonde children beam out at the viewer so delightfully that one barely notices the handsome mustachioed gentleman behind them, also donning a fine chapeau. It is interesting the note that the price of a hat is almost identical to that for which this poster could be bought at Sagot’s and Arnould’s print shops at the time.

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

238. Théâtre de la Tour Eiffel / Paris-Chicago. 1893.34 x 47 3⁄4 in./86.2 x 121.2 cmImp. Chaix, ParisCond B/Unobtrusive tears at folds & edges.Ref: Chéret, 343; Broido, 273; Maindron, 239; DFP-III, 2379 (var); Reims, 467; PAI-LII, 219

When plans to take down the Eiffel Tower after the end of the 1889 World’s Fair fell through, the Flamand restaurant on its first level was converted into the 400-seat Theatre de la Tour Eiffel by Charles Bodinier. In an attempt to make it a more trendy and artsy venue, the Paris/Chicago revue, written by co-owner Alphonse Frank, opened on May 16, 1893, to great success. Here, Chéret depicts the many characters of the show joyously floating through lithographic space.

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

239. Saxoléine. 1893.33 3⁄4 x 94 3⁄4 in./85.8 x 240.5 cmImp. Chaix, ParisCond B/Restored tears, largely at edges.Ref: Chéret, 1239; Broido, 950; Maindron, 789; PAI-LIII, 199

Only two years into his relationship with this kerosene maker, Chéret created this striking two-sheet design. As in the previous image for Saxoléine (see Lot 233), the woman’s actions make the simple act of lighting a lamp appear positively decadent.

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

CHÉRET (Continued)234

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240. Eldorado. 1894.33 5⁄8 x 48 1⁄8 in./85.5 x 122 cmImp. Chaix, ParisCond B/Slight tears at folds.Ref: Chéret, 270; Broido, 216; Maindron, 189; DFP-II, 244; Reims, 340; PAI-XXIII, 196

One of the most famous music halls in Paris, the Eldorado hosted shows of some of the greatest performers of the day. Here, Chéret does not advertise a specific act, but rather the venue in general, claiming that every night is a wild, not-to-be-missed event at the Eldorado. This is the larger format version of the poster.

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

241. Eldorado. 1894.31 1⁄8 x 46 3⁄4 in./79 x 119 cmImp. Chaix, Paris (not shown)Cond A. Framed.Ref (all var but Chéret): Chéret, 271; Broido, 216; Maindron, 189; DFP-II, 244; Reims, 340; PAI-XXVIII, 247

This is the rare proof before letters of the previous poster.

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

242. Palais de Glace. 1893.14 1⁄2 x 21 1⁄2 in./37 x 54.5 cmImp. Chaix, ParisCond A/P. Ref: Chéret, 477; Broido, 364; PAI-XLI, 206

The most subtle and sweet of Chéret’s many posters for the Palais de Glace, a blue-eyed blonde skates backward toward the viewer, the arch of her arms indicating that she is about to twirl. This is the Courrier Français insert version of the image.

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

243. Théâtre de l’Opéra / Carnaval 1894.35 1⁄2 x 47 1⁄2 in./89.5 x 120.5 cmImp. Chaix, ParisCond A. Framed.Ref: Chéret, 366; Broido, 288; Maindron, 246; PAI-VIII, 136

Another decadent image by Chéret for the many seasonal masked balls at the Théâtre de l’Opéra. This is the rare, before-letters version of the image.

Est: $4,000-$6,000.

244. Quinquina Dubonnet. 1896.14 5⁄8 x 21 5⁄8 in./37.2 x 55 cmImp. Chaix, ParisCond A/Usual horizontal fold. Framed.Ref: Chéret, 1143; Broido, 879; Maindron, 29; PAI-XLVII, 202

One of the many products Chéret’s merry redhead promoted was Quinquina Dubonnet, an herb-based fortified wine blended with quinine. In this insert for Le Courrier Français, she is seen toasting the skies while looking temptingly over her shoulder at the viewer. The design was originally conceived the year prior, but appeared in the weekly newspaper on February 16, 1896.

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

245. Palais de Glace. 1896.34 1⁄2 x 48 3⁄8 in./86.5 x 123 cmImp. Chaix, ParisCond B/Tears at folds & edges.Ref: Chéret 484; Broido 368; DFP-II, 256; Wine Spectator, 19; Gold, 131; Encylopédie/Weill, p. 39; PAI-LI, 267

Between 1893 and 1900, Chéret created a multitude of captivating designs for the Palais de Glace, a large skating rink located on the Champs-Elysées. Here, the brightly-dressed beauty, complete with fur stole, balances daintily on one foot as her partner glides her around the ice. This is the larger format.

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

CHÉRET (Continued)

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249. Pippermint. 1899.14 3⁄4 x 21 7⁄8 in./37.5 x 51.7 cmImp. Chaix, ParisCond B/Tears at folds. Framed.Ref: Chéret, 1152; Broido, 884; PAI-XLV, 254

Just by placing a dark area behind the figure and bathing the hem of her skirt and arm in an orange glow, Chéret is able to suggest the cozy intimacy of a fireside scene to advertise this cool-tasting mint liqueur. This is the smaller “Courrier Français” version of the poster.

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

250. L’Andalousie au Temps des Maures / Maquette. 1899.34 x 48 1⁄2 in./86.3 x 123.2 cmGouache on paper maquette. Framed.Ref: (all var but PAI): Chéret, 663: Broido, 523; DFP-II, 265; Gold, 185; PAI-L, 204

The Spanish pavilion at the 1900 World’s Fair in Paris featured an exhibit of Andalusian art from the time of the Moorish occupation of the Iberian peninsula. The “Moors were Islamic invaders from Africa who entered Spain around the year 700, remaining in power until they were decisively beaten at Granada in 1492. Chéret must have felt this winsome Spanish dancer would be more appealing than an illustrated history lesson” (Gold, p. 128). This is the original artwork upon which the completed poster was based, and save for the addition of text, Chéret’s initial artistic impulse remains intact.

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

246. Folies-Bergère / La Danse du Feu. 1897.34 x 49 in./86.5 x 124.7 cmImp. Chaix, ParisCond B/Tears at folds & top text area.Ref: Chéret, 165; Broido, 128; Spectacle, 1139; PAI-XXXVI, 263

While not outwardly noted here as being an act starring Loïe Fuller, the Fire Dance was one of her earliest routines. Originally used as the ballet portion in a production of Salome, it involved the dancer extending her skirts with bamboo rods and waving them around her body in order to capture the many colored lights in the theater. It became such a success that the number evolved outside of the production, becoming its own one-woman show.

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

247. Folies-Bergère / Loïe Fuller. 1897.34 3⁄4 x 49 1⁄4 in./88.3 x 125 cmImp. Chaix, ParisCond B+/Unobtrusive tears at folds.Ref: Chéret, 159; Gold, 166; Broido, 127; Dance Posters, 128; Spectacle, 1142; PAI-XXX, 123

One of at least two designs Chéret created for Loïe Fuller, here he idyllically captures her exceptionally Modern dance routine on paper. In her act, she would wave reams of diaphanous fabric around her body, dozens of colored lights flashing upon her as she moved. She was considered the perfect blend of man and machine, so much so that many art historians mark the beginning of the Modern period by her first performance.

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

248. Théâtre de l’Opéra/Gd Veglione de Gala / 3e Bal Masqué. 1897.33 3⁄4 x 48 in./86 x 122 cmImp. Chaix, ParisCond A-/Unobtrusive folds.Ref: Chéret, 385; Broido, 299a; PAI-XXXVI, 274

From 1892 through at least 1899, Chéret created a dozen or so posters for the Théâtre de l’Opéra’s seasonal masked balls. This design, used repeatedly throughout the 1897 & 1898 season, promotes the third masked gala, including a Carnival parade.

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

CHÉRET (Continued)

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ALFRED CHOUBRAC (1853-1902)

251. Champ de Mars / Exposition Russe. 1895.31 7⁄8 x 47 in./80.8 x 119.4 cmImp. G. Massias, ParisCond B+/Slight tears at horizontal fold & edges.Ref: Reims, 553; PAI-XLVIII, 182

In 1895, the Champ de Mars, a large public field in Paris, played host to an extravagant Russian Exhibition. Primarily focusing on the country’s equestrian and cultural prowess, it gave the French people a glimpse into some of Russia’s most cherished national treasures, from its historic Cossack riders to the infamous ballet.

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

GEORGES CLAIRIN (1843-1919)

252. Théatre Sarah-Bernhardt / Francesca da Rimini. 1902.34 x 48 in./86.4 x 121.9 cmImp. F. Champenois, ParisCond A-/Very slight creases.Ref: Spectacle, 766; PAI-XLII, 50

Made infamous in Canto V of Dante’s Inferno, Francesca da Rimini represented Lust in the first circle of hell. Seduced by her husband’s brother, Paolo, who read to her the story of Lancelot and Guinevere, the couple was eventually discovered and subsequently murdered by the cuckolded Giovanni. In Dante’s version, Francesca and Paolo were then bound to each other in an eternal embrace. This theatrical version starring Sarah Bernhardt does not venture to explore what happened to the couple in the afterlife, but grippingly portrays the blossoming love affair and eventual discovery by Giovanni, leading

toward the lovers’ death. Probably the finest, and certainly most opulent, painting of Sarah Bernhardt is Clairin’s large oil painting seen in the Petit Palais in Paris (see Bernhardt/Drama, p. 30).

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

253. Moët & Chandon.24 1⁄4 x 15 1⁄2 in./61.6 x 39.5 cmFortier & Marotte, ParisCond A. Framed.Ref: PAI-XLII, 239

A delightfully detailed promotional fan for Moët & Chandon champagne, proving that you do not need to show the actual product in order to advertise it. Alternatively, the mood of the brand is presented -- a commedia dell’arte celebration of magnificent proportions, complete with the entire troupe parading through the streets in Rococo finery.

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

254. Loïe Fuller. ca. 1925.45 x 59 1⁄4 in./114.3 x 150.5 cmHand-signed gouache maquette. Framed.Ref: PAI-XLIV, 201

Colin indicated that he had to create the poster for Loïe Fuller before actually meeting her, but that thereafter he created another poster. That poster was never printed, but was discovered in the office of his art school in Paris. And this awe-inspiring artwork served as a basis for this second poster, a remarkable modernist vision with surrealist overtones that stands on its own as an important document of Art Deco significance. It is interesting to

compare the previously seen poster (see PAI-LIII, 208) and this masterful maquette–whereas the poster still places the dancer in the eye of a prismatic hurricane, his artwork–doubtlessly enriched by having seen Fuller in person–casts the dancer as the very flame of pyrotechnic innovation, a flash-and-swirl of conflagrant colors to which no corporeal entity is attached. Colin, in a move that can be described as nothing short of genius, captures the precise spirit of the performer without requiring her presence. Simply and utterly brilliant.

Est: $35,000-$40,000.

PAUL COLIN (1892-1986)

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255. Oreum Maquette. ca. 1925.26 3⁄4 x 38 1⁄8 in./68 x 97 cmHand-signed gouache maquette. Framed.Ref: PAI-XLIV, 203

A never-realized poster design for a French boutique that may not have existed, this image is a pure Art Deco mystery. Even without the knowledge of the store or the product, however, the image itself is deftly sophisticated, perfectly combining the girlish love of baubles with the sleek severity of 1920s fashion.

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

256. Josephine & Partner at the Revue Nègre. 1925.18 x 21 3⁄4 in./45.7 x 55.2 cmSigned oil on canvas. Framed.

One of handful of larger compositions Colin created featuring Josephine Baker during her time at the Revue Nègre, this is perhaps the best of the bunch. Here, we see the star, hair cropped short, teeth flashing, as she vamps alongside her equally-animated male partner in a bowler hat. Recalling those early rehearsals, Colin remembers his first opinions of Baker: “I found a very beautiful girl, above all a very beautiful body. Her head was like that of many Negro women, very nice but then any average woman’s face can be transformed into something approaching beauty with the proper application of make-up, but you can’t change a woman’s breasts or her legs so easily. So I looked for one such perfect body, and I found her: Josephine Baker” (Colin, p. 7). This painting, with its Expressionist rendering of the performer, perfectly relates Colin’s description of her and her wildly sexual form. He remained a life-long friend and collaborator of Josephine.

Est: $20,000-$22,000.

COLIN (Continued)255

256

257. Josephine Baker & Partners at the Theatre des Champs-Elysees. 1925.6 x 9 in./15.2 x 22.8 cmSigned watercolor on paper. Framed.

While his most famous image of Josephine Baker is surely the Revue Nègre poster, Colin had ample time to create dozens of compositions featuring the infamous entertainer. Sitting in on many of the rehearsals for the show, he frequently sketched the performers in action, most especially Josephine. While many of those went on to inspire subsequent works by the artist, such as Le Tumulte Noir, some resulted in larger paintings (see lot 256) or simple renderings of the cast during dress rehearsal, such as this. Here we see a sophisticatedly dressed Baker in brown standing alongside two flamboyantly-attired black performers. This image is unique in that it does not showcase Josephine’s overtly sexualized nature, which was more often the subject of Colin’s work.

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

258. Jazz Piano. ca. 1925.4 1⁄4 x 6 in./11 x 15 cmSigned gouache & ink drawing. Framed.

Featuring Colin’s signature depiction of a piano at a highly raked angle, this drawing is reminiscent of his design for Wiener & Doucet (see Colin, p. 13) or André Renault (see Lot 262). Yet, it is more complicated than either of those compositions, with minimal but lively jazz musicians popping out from every corner, brass instruments in hand as they wail alongside an invisible pianist.

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

259. Jazz Band. ca. 1925.9 5⁄8 x 8 7⁄8 in./24.5 x 20 cmSigned ink drawing. Framed.

Similar in style to his many jazz musicians in Le Tumulte Noir and elsewhere, this smiling brass band fills the orchestra pit to the brim with punctuated energy.

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

260. Maya. 1927.30 3⁄4 x 47 1⁄4 in./78.4 x 120 cmImp. H. Chachoin, ParisCond B+/Unobtrusive tears, largely at edges.Ref: Colin, 22; Colin Affichiste, 9; PAI-LI, 281

“The play ‘Maya’ went through many revivals over a 30 year period. The production at the Studio des Champs-Elysées had only about 20 performances in 1924, but in 1926 Gaston Baty decided to give the play a second chance and for the occasion he ordered this poster. The play was a success, running for 376 consecutive performances and it was subsequently translated into 17 languages . . . The composition shown here is one of several done for ‘Maya’ by Colin and the poster was given much of the credit for the play’s success at the time. One can see why: Colin has perfectly captured the heroine, a streetwalker . . . The sharp delineation of the progressively disrobed heroine, with the night/day slash, in which Colin actually uses two reds and two blacks, one each for the ‘daytime’ and ‘nighttime’ personality. It is a very strong, effective poster, one of his best and a masterpiece by any standard” (Colin, p. 8).

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

261. Ch. Gir. 1927.15 x 22 7⁄8 in./38 x 58 cmImp. H. Chachoin, ParisCond A-/Slight stains at edges.Ref: Colin Affichiste (var), 115; Paris Temps Modernes, 59; PAI-LI, 286

Of Charles-Félix Girard’s many fashionable paintings, those of his ballet dancers are the most delicate and evocative. Therefore, it seems no wonder that Colin would choose to depict his friend in silhouette before a painting of a ballerina when advertising a show of the artist’s work. Also printed in the image are the words “To my friend Gir” in the lower left, adding a rarely-seen personal element to the poster. This is the smaller format.

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

262. André Renaud. 1929.46 1⁄5 x 62 in./117.5 x 157.5 cmImp. H. Chachoin, ParisCond A. Framed.Ref: Colin, 39; Colin Affichiste, 74; Art Deco, p. 99; PAI-LIII, 210

“The two pianos which André Renaud played simultaneously are thrown at us with seeming abandon, but, like all these geometric ‘tricks’ of Colin, they are very deliberately drawn for maximum effect. The effect Colin seeks here -- to overwhelm us with the wizardry of Renaud -- is achieved by the overwhelming size of the pianos. Renaud, who went on to become a bandleader, even played the two pianos blindfolded for a while” (Colin, p. 9).

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

COLIN (Continued)

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MAX COWPER (1893-1911)

267. The Minster. ca. 1904.20 x 30 in./50.8 x 76.2 cmArtistic Supply Company, LondonCond B-/Printer’s stains in text area; tears at edges.

Best known for his heavily detailed Art Nouveau images of turn-of-the-century society and languid Pre-Raphaelite-esque illustrations, this design by Cowper deviates from his established style. Possessing much of the charm of other literary posters of the time, we see a Geisha without her full makeup chasing an orange butterfly, both heralding in the second issue of The Minster magazine.

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

ADOLPHE CRESPIN (1859-1944)

268. Paul Hankar Architecte. 1894.15 5⁄8 x 21 3⁄8 in./39.6 x 54.2 cmAd. Mertens, BruxellesCond A-/Slight tears at edges. Ref: DFP-II, 1019; Weill, 88; Belgische Affiche, 44; Maitres, 91; Word & Image, p. 38; Reims, 1444; Affiches Etrangères, p. 90; Beaumont, p. 48; PAI-LI, 298

Considered one of the best Belgian architects specializing in Art Nouveau, Paul Hankar often collaborated with Crespin, who was a master of interior design. This poster, like their partnership, is a perfect balance of their two styles. “The poster ‘Hankar’ is in every way perfect. The principal subject, positioned just right, is interpreted in a very modern style. There are many details, but they are chosen with such pleasure and arranged with such taste, such discretion–in a single word, such tact–that far from removing importance from the principal subject he lends it more value, creating a particular atmosphere, technical if I may say so. The warm and vivid coloring further adds, if that’s possible, to the merit of this print which remains one of the best–if not the very best–of Crespin” (Beaumont, p. 48).

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

269. Stad Brussel / Nationale Feesten van 1904.47 1⁄2 x 60 in./120.6 x 152.3 cmGouweloos, BrusselCond A-/Slight tears at folds & edges.

A charming local poster announcing the many activities held in conjunction with a national holiday. Included in the list are various musical performances, awards ceremonies, a pigeon contest, military exercises, cycling & boat races, swimming, juggling & magic shows, and a host of other exciting events. The image itself in this two-sheet poster possesses a Northern painterly quality and high attention to detail rarely seen in lithography.

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

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263. Jane Marnac / Au Temps des Valses Maquette. 1930.13 1⁄2 x 20 in./36 x 50.8 cmHand-signed gouache maquette. Framed.Ref (all var but PAI): Colin, 52; Colin Affichiste, 15; PAI-XLIV, 207

“She has been called the most Parisian of all stage stars and in her 90 active years (1886-1976) Jane Marnac played hundreds of roles in the theatre and sang in numerous operettas. Colin met her at the Apollo, where he was kept busy with decors, programs, advertisements and posters. It was there she created the French version of the celebrated ‘Trial of Mary Dugan,’ and, in 1930, starred in the Noel Coward operetta, ‘Waltz Time,’ titled ‘Au Temps des Valses’ in Saint-Grenier’s adaptation for the French stage” (Colin, p. 9). Apart from a slightly smaller size and a gown that is a paler shade of green, the artwork seen here remained virtually intact upon poster completion.

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

264. Le Pétrole. ca. 1953.15 3⁄4 x 23 3⁄4 in./40 x 60.3 cmCond A.Ref: PAI-XXVII, 380

Celebrating modernity through the lens of how gasoline has changed the Western world, this exhibition focused on artists who have been inspired by petrol.

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

265. Deuxieme Salon de la Chimie. 1953.39 1⁄4 x 59 1⁄4 in./99.5 x 150.5 cmImp. Bedos, ParisCond A-/Slight tears in ‘Salon.’Ref: Colin, 108; PAI-LI, 293

One of Colin’s many designs for this biannual event. Here he shows a strain of international flags being ‘distilled’ through an anthropomorphic beaker, proving that even back then geeks loved scientific humor.

Est: $1,500-$2,000.

266. IVe Salon de la Chimie. 1956.39 1⁄4 x 59 1⁄4 in./99.8 x 150.6 cmImp. Bedos, ParisCond A.Ref: PAI-LI, 294

At this fourth installment of the Salon de la Chimie, rubber and plastic materials will be featured, as is implied by the Gumby-like fellow pointing to the name of the event.

Est: $1,500-$2,000.

COLIN (Continued)

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CHARLES DELAUNAY (1911-1988)

270. Swing. 1939.16 3⁄8 x 14 1⁄4 in./41.5 x 36.3 cmCond A.

A well-known jazz aficionado, Charles Delaunay (son of the famous avant-gardists Robert & Sonia) co-owned the Hot Club de France, the magazine Le Jazz Hot, as well as the record label advertised here. It is worth noting that the label in the center promotes Benny Carter’s 1938 release, “I’m Coming, Virginia.”

Est: $800-$1,000.

271. Jo Bouillon / Columbia. 1938.30 3⁄8 x 45 3⁄8 in./77 x 115.2 cmH. ChachoinCond B+/Slight tears at folds.Ref: PAI-XLIII, 297

Jo Bouillon is possibly best known as Josephine Baker’s fourth husband, with whom she adopted a dozen children to form her ‘Rainbow Tribe.’ Outside of his infamous marriage, however, Bouillon was also an accomplished musician, noted as “a prodigy in a family of prodigies” (Josephine, p. 265). This image by Delaunay was created nine years before his marriage to Baker, merrily promoting one of his many recordings for Columbia Records.

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

DAVID DELLEPIANE (1866-1932)

272. Exposition International d’Electricité. 1908.54 x 41 3⁄8 in./137.2 x 105 cmImp. Moullot, MarseilleCond A-/Unobtrusive folds.Ref: Dellepiane, p. 163; European Electricity, pp. 16 & 17; Masters 1900, p. 28; PAI-L, 227

“During the 19th century, the Industrial Revolution fundamentally changed the appearance of the world due to a number of major scientific breakthroughs . . . A series of revolutionary discoveries enabled electricity to be generated, harnessed and sold . . . Innovations were sold to the steadily growing crowds visiting the pavilions at world exhibitions and electricity trade fairs. Public response to the Electricity Fairy and her vision of the future was overwhelming. The dazzling allegorical figure, giving a human face to a physical phenomenon which by its very nature cannot be depicted, conveyed intimations of luxury and festive extravagance in ever greater measure . . . The advent of electric power and lighting coincided with the triumphant arrival of the art poster. It comes as no surprise, then, that progressive entrepreneurs frequently used this modern medium to win over public opinion . . . The Electrical Fairy’s theatrical pose and the hypnotic lighting effects high above the Marseilles exhibition ground give this poster by David Dellepiane . . . strong dramatic expressiveness. The effects of the light on the Fairy’s green body and the trailing clouds and plumes of smoke against the red sky are extremely subtle” (European Electricity, p. 17).

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

273. Societé des Arts Graphiques. 1899.20 1⁄4 x 28 7⁄8 in./51.4 x 73.3 xmS.A.D.A.G., GenèveCond B/Slight tears at folds & edges.Ref: Génèvoise, p. 117; Dellepiane, p. 155; PAI-LII, 228

In this stunning example of the best of Swiss Art Nouveau, we are presented with an early example of the camera amidst a wall of sunflowers. The poster is noted as being the first in Europe created via the héliochrome printing method, and, as the inquisitive artist shown alongside the camera indicates, utilizing this technology does not at all remove the artistic process from color lithography.

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

DISNEY IMAGES274. Mickey Laboureur. 1929. Artist: Roger Cartier31 3⁄8 x 47 in./79.7 x 119.5 cmAffiches Gaillard, ParisCond B/Slight tears at folds.

Known to American audiences as The Plow Boy, this early short focuses on the charming relationship between Farmer Mickey and Milkmaid Minnie. Trying to win over her affections, Mickey is faced with a host of unruly animals who make his work doubly difficult. This is generally considered to be the debut film of Horace Horsecollar, as well as the second appearance of Clarabelle Cow, although neither are made anthropomorphic in this film.

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

275. Mickey & the Seal. 1949. Artist: Anonymous27 1⁄4 x 40 7⁄8 in./69.2 x 104 cmMorgan Litho, ClevelandCond B+/Unobtrusive folds.

Nominated for an Academy Award, this animated short focuses on a baby seal which stows away in Mickey Mouse’s fish-filled picnic basket after a trip to the local zoo. After causing Pluto much grief, it takes up residence in Mickey’s bathtub, much to the owner’s surprise. In the end, the seal is returned to its habitat, only to invite a fleet of his zoo-mates back to Mickey’s home for more fun in the tub.

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

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276. Mickey Mouse Carousel Figure. ca. 1927. Artist: Henris De Vos (1888-1979)Height: 51 in./129 cmWidth: 23 in./59 cmDepth: 37 in./94 cmHand-painted cast iron mounted on wood.

Specializing in fairground sculptures such as carousel gondolas and cast-iron figures like this, De Vos is known within the medium as one of its master craftsmen. Not well-known in Europe at the time, this is one of the earliest and most rare depictions of Mickey Mouse, and the first known instance in which the character appears in public art. He stands legs-apart, as if walking, his tongue lolling playfully out of his mouth. Because children couldn’t ride him as they could a common carousel horse, this type of iron figure was quickly abandoned in favor of more interactive structures, making this not only a historic Disney-related piece but also an important remnant of carousel history.

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

277. Le Journal de Mickey. ca. 1934. Artist: Anonymous30 1⁄8 x 45 7⁄8 in./76.5 x 116.5 cmGouache & ink maquette on board.

This is the original artwork for the poster announcing the publication of a new children’s weekly magazine entitled Le Journal de Mickey (to this day the most popular children’s periodical in France). First printed in 1934, the comic was exclusive to France, yet still run by Disney. That said, its content was not limited to the Disney oeuvre, but included other popular characters in French youth culture. A priceless slice of Disney history!

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

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DISNEY (Continued)

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281. How to Play Football / Goofy. 1944. Artist: Anonymous26 7⁄8 x 40 1⁄4 in./68.2 x 102.4 cmMorgan Litho, ClevelandCond B/Slight tears & stains at folds.

Originally known as Dippy Dawg at the time of his creation in 1932, Goofy quickly distinguished himself from other Disney characters through his distinctive laugh and disruptive behavior. Two years later, he was renamed, and began being featured in his own separate shorts. Then, in 1939, Goofy began appearing in a How To series, covering everything from skiing to sleeping to, as seen here, football. This series is still very much active today, with the latest Goofy How To having been released in 2007.

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

NICOLAY DIULGHEROFF (1901-1982)

282. Watt Radio. 1933.25 7⁄8 x 35 1⁄4 in./65.7 x 89.5 cmRoggero & Tortia, TorinoCond B+/Slight tears at folds. Framed.Ref: Bolaffi, p. 81; PAI-XXIV, 135 (var)

Founded in 1924, Watt Radio is still a major player in Italian broadcasting. This bold design by Diulgheroff perfectly presents the brand as an innovator in the medium, the font melding into the open-mouthed head of the anonymous Everyman, signal lines bursting forth from his gaping face to evoke the power and distance harnessed by Watt. It is no wonder that the artist was a leader in the Italian Futurist movement despite being from Bulgaria.

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

GEORGES DOLA (Edmond Vernier, 1872-1950)

283. Frasquita. 1933.30 1⁄2 x 46 3⁄4 in./76.8 x 118.6 cmAt. Dola, ParisCond A.Ref: PAI-XLIII, 304

Based on Pierre Louy’s play La Femme et le Pantin, Frasquita focuses on the love affair between the eponymous gypsy girl and a young, wealthy Frenchman named Armand. Arriving in a Spanish port with his friend Hippolyt in order to meet up with his fiancée Dolly, Armand has a run-in with Frasquita during which time he accuses her of stealing his cigarette case. Like the more famous gypsy femme fatale, Carmen, Frasquita lures Armand in before spurning him for sport. Meanwhile, Dolly marries Hippolyt, eventually resulting in the gypsy and Armand reuniting and living happily ever after.

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

278. Blanche-Neige. 1937. Artist: Bernard Lancy (1892-1964)22 1⁄2 x 30 7⁄8 in./57 x 78.4 cmImp. Bedos, ParisCond B/Slight tears & stains at folds & edges.

The first full-length animated movie, Snow White was a landmark achievement for Walt Disney, changing the trajectory of possibilities within the medium. It has been noted by the American Film Institute as the greatest American animated film of all time. Here, in the original poster for the French release of the movie, it is interesting to note the subtle differences between the presented figures and how they appear within the film.

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

279. Pluto at the Zoo. 1942. Artist: John Lounsbery (1911-1976)25 7⁄8 x 39 1⁄2 in./65.7 x 100.5 cmMorgan Litho, ClevelandCond B/Slight tears at folds.Ref: Cartoon Movie Posters, 188

An adorable animated short in which Pluto runs into various misadventures at the local zoo. Attracted to a lion’s cage by the sight of a large bone, he soon hijacks the object of his desire, only to have it stolen by a joey in the kangaroo habitat. He then runs into a friendly gorilla who whisks him away to the crocodile pond. After a half-dozen other encounters with various zoo creatures, he winds back up in the lion’s den, grabbing his much smaller chicken bone before merrily trotting home.

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

280. Private Pluto. 1943. Artist: Anonymous27 1⁄4 x 41 in./69.2 x 104.2 cmMorgan Litho, ClevelandCond B/Slight tears at folds & edges.

A war-era short film, Pluto is now an enlisted soldier entrusted with guarding a gun emplacement against saboteurs. He soon learns that two chipmunks -- the first appearance of Chip and Dale in a cartoon -- have made the cannon into their nut storage yard.

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

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DISNEY (Continued)

JEAN-GABRIEL DOMERGUE (1889-1962)

284. Suzanne Brindejont Offenbach. 1932.19 5⁄8 x 25 7⁄8 in./50 x 65.7 cmAffiches Gaillard, ParisCond A-/Slight tears at edges.

Wife of the composer Jacques Offenbach’s grandson, Suzanne Brindejont-Offenbach was a minor player in the French cultural scene during the 1930s. Hosting a variety of salons and small concerts, she would occasionally sing a light piece of music, generally to fine reviews.

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

MAURICE DUFRÉNE (1876-1955)

285. Rayon des Soieries. 1930.30 3⁄8 x 46 1⁄4 in./77.2 x 117.5 cmImp. Chaix, ParisCond A. Framed.Ref: French Opera, 17; Timeless Images, 116; Femme s’Affiche, 196; Theaterplakate, 166; Spectacle, 665; Art Deco/Tokyo, 27; PAI-LII, 358

This spectacular yet restrained Art Deco poster was created for the 1930 opening of an operetta by Manuel Rosenthal involving intrigues in the silk department of a department store. Most of the design is black and white, but some of the lengths of fabric hanging from the figure’s arm are tinged the most exquisitely pale shades of pink and green. Dufrène also created the operetta’s sets and costumes.

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

JEAN DUPAS (1882-1964)

286. XVme Salon des Artistes Decorateurs. 1924.31 x 47 3⁄8 in./78.8 x 120.4 cmImp. H. Chachoin, ParisCond A.Ref: Timeless Images, 122; Art Deco, p. 112 (var); Lopez, 22; PAI-XLV, 295

Announcing the fifteenth annual exhibition of decorative artists at the Grand Palais in Paris, this sumptuous image perfectly demonstrates Dupas’s skill as a master of Art Deco. “Over and over he depicted the same type of elongated, statuesque woman, which to him represented the ideal beauty of the period ... [with the obvious] influence of Cubism and Léger, and partly to the popularity of the simple, elegant look made fashionable by Coco Chanel” (Art Deco, pp. 24 & 34). Possibly referencing the famous story of the Judgment of Paris, one of Dupas’s goddess is shown holding up a golden apple, an item reserved in that myth for the most beautiful of all. This is the larger format.

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

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287. XVme Salon des Artistes Decorateurs. 1924.15 1⁄2 x 23 3⁄4 in./39.4 x 60.3 cmImp. H. Chachoin, ParisCond B/Unobtrusive tears at folds & edges.Ref: Timeless Images, 122; Art Deco, p. 112 (var); Loopez, 22 (var); PAI-XXXIX, 273

This is the smaller format version of the previous poster.

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

ALBERT DUPUIS

288. Peintures Lumineuses. ca. 1900.37 5⁄8 x 53 3⁄8 in./95.5 x 135.6 cmAffiches A. Dupuis, ParisCond B/Partially recreated margin; restored tears.

A curious but handsome poster in which illuminated paintings are to be presented by Lycia Corot alongside her male singing companion.

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

HANNS DUVAL (?-1925)

289. Odeon Casino / Duval. ca. 1922.36 x 39 in./91.5 x 124.5 cmOscar Consée, MünchenCond A/Printer’s ink offsets in upper right.Ref: Plakate München, cat. no. 525

Presenting the Odeon Casino as the most fashionable of urban destinations, we are met with a stylish and elegant lady, coyly looking to the side as she sips her tea and champagne. Noted below, the Duval band will be performing modern dance music, while guests can makes reservations for either high tea or evening drinks. This distinctly Germanic Art Deco image is highly evocative of both Hohlwein and Engelhardt.

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290. Pennsylvania Railroad / Atlantic City.24 3⁄4 x 39 3⁄4 in./63 x 101 cmO. Co, Clifton, NJCond A. Framed.

The more sought-after and rarer of the two Eggleston designs created to promote travel to Atlantic City via the Pennsylvania Railroad, this image sensually presents a wind-swept blond bather removing her towel before a refreshing dip in the sea. Seen in a glorified vision of the city’s heyday, the artist enthrones the city that made “Boardwalk” a household name as the Queen of an American Riviera.

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

291. Pennsylvania Railroad / Atlantic City.25 x 40 1⁄4 in./63.5 x 102.2 cmO. Co., Clifton, NJCond B+/Slight tears at top & edges.Ref: PAI-XLVIII, 219

The more common, but equally-stunning companion piece to the other Eggleston poster for Atlantic City, here we see a bathing beauty waving to her unseen companion to come join her on the shore. The implication is that we are the person meant to meet her on the dunes, a charming and hard-to-resist invitation.

Est: $9,000-$10,000.290

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EDWARD M. EGGLESTON (1887-?)

JULIUS USSY ENGELHARD (1883-1964)

292. Cherubin. 1929.33 1⁄2 x 47 in./85.2 x 119.3 cmOscar Consée, MünchenCond A.

A vibrantly-colored Art Deco design promoting a masked ball at the Four Seasons Hotel in Munich. The verso has been marked with a stamp reading 1930.

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

293. Der Reichsadler. 1919.35 1⁄4 x 49 1⁄8 in./89.6 x 124.8 cmKunst im Druck, MünchenCond B/Slight tears at folds.Ref: PAI-XXXVII, 301

The picture of sophistication, a young woman draped in black crepe de chine glances sideways at a elaborately dancing couple. In front of her, an aperitif sits next to a table lamp, while a sumptuous beige and mauve curtain has been pulled to the side, allowing us to glimpse into this luxurious hotel bar & restaurant. The orange-blocked text in the upper left notifies us of the establishment’s afternoon tea.

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

DELPHINE ENJOLRAS (1856-1945)

294. Biscuit Olibet. ca. 1906.20 3⁄8 x 26 1⁄2 in./51.7 x 67.3 cmImp. Joseph Charles (not shown)Cond A-/Very slight tears at edges.Ref: PAI-L, 245

Borrowing Enjolras’s painting entitled “The Response,” the Olibet biscuit company lends an air of youthful grace to its product. Yet, with no box of the cookies in sight, this poster is selling the atmosphere of the brand rather than a tangible commodity.

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

CHARLES L’EPLATTENIER (1874-1946)

295. Saignelegier.25 1⁄4 x 40 1⁄4 in./64 x 102.5 cmFiedler, La Chaux de FondsCond A-/Slight tears in margins.

A teacher of Le Corbusier, L’Eplattenier is considered to be one of the foremost masters of Swiss Art Nouveau. The creator of style sapin, most of his compositions -- including this poster -- emerge from an intense study of nature through an Impressionistic eye. Here we see a sun-dappled scene promoting rail travel to the artist’s hometown.

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

HANS RUDI ERDT (1883-1918)

296. Odeon-Bar/Weinrestaurant Schleich. 1907.36 1⁄4 x 49 1⁄8 in./92 x 125 cmVereinigte Druckerein & Kunstanstalten, MünchenCond B/Slight tears & stains at folds.Ref: DFP-III, 756; PAI-XLVIII, 221

“Hans Rudi Erdt, who migrated to Berlin from Munich, was another of the great [German] masters. He brought something new to the Berlin poster, emphasizing a sporting element-the gentleman-rider, the racing-driver, the tennis champion, or globe-trotter. He depicted society, luxury restaurants and upper-class entertainment, fashionable magazines and the world of privilege, employing satire and caricature” (Rademacher, p. 21). Here, an older, well-to-do couple is used to promote the Odeon-Bar and Schleich restaurant -- ‘schleichen’ meaning ‘to creep’ or ‘sneak.’

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

297. Mazeppa / Engelhardt. 1913.37 3⁄4 x 27 1⁄2 in./96 x 69.8 cmHollerbaum & Schmidt, BerlinCond A-/Unobtrusive folds.Ref: PAI-XV, 258

Probably taking its name from the famous Ukrainian Cossack, Mazeppa cigarettes are portrayed as being the toughest and most masculine of brands. The design itself is simple but highly effective, with the harsh visage of the weathered horseman sneering out at the viewer as three concentric rings of smoke float toward us.

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

ROBERT FALCUCCI (1900-1989)

298. La Montagne.30 1⁄4 x 45 7⁄8 in./76.8 x 116.5 cmImp. de la Vasselais, ParisCond A-/Unobtrusive tears at bottom edge.Ref: Fit to Print, 187; PAI-XLVII, 243

Emphasizing the fact that the newspaper La Montagne is “written for everyone, read by everyone,” three nationalistically-colored figures from obviously different walks of life are shown perusing its pages. A perfectly direct and informative image.

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

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FAIMAN

299. Carlitos Chaplin.28 3⁄4 x 42 3⁄4 in./73 x 108.7 cmCond B/Restored tears at folds & edges.Ref: PAI-XLII, 276

Overflowing with caricatures, this poster promotes the Spanish release of a film compilation featuring Charlie Chaplin alongside a host of other comedic ‘Aces’ of the day.

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

GEORGES DE FEURE (1868-1943)

300. Fonty. ca. 1894.36 x 50 1⁄2 in./91.5 x 128.3 cmLith. G. Bataille, ParisCond B/Restored paper loss upper corners & margins; slight creases.Ref: Gold, 176; Reims, 610; PAI-XXX, 121

In a costume that defies explanation, the now-forgotten music-hall star Fonty is seen flitting about the stage as the silhouettes of the crowd cheer enthusiastically behind her.

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

301. Paris-Almanach. 1894.23 1⁄4 x 59 in./30 3⁄4 x 78 cmImp. Bourgerie, ParisCond A-/Unobtrusive folds. Framed.Ref: DFP-II, 342; Maindron, p. 64; Abdy, p. 155; Timeless Images, 40; De Feure, p. 72; Gold, 79; Reims, 618; PAI-LIII, 246

“The advertised booklet was a guide to Paris attractions published by Ed. Sagot, which de Feure shows in the hand of a woman traveling alone and wishing to sample the pulse of the city. As always, the artist manages to suggest hidden depths. Although looking at the merry throng, the figure remains a bit apart, oddly aloof, and slightly mysterious” (Gold, p. 58). De Feure, the consummate designer, created not only this poster, but the fashionable garb on the arresting young lady.

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

302. Le Journal des Ventes. 1897.18 1⁄4 x 25 3⁄4 in./46.5 x 65.6 cmImp. Lemercier, ParisCond A.Ref: De Feure, p. 74; DFP-II, 351; Affichomanie, 125; Abdy, p. 150; Maitres, 146; Affiches 1000, 0043 (var); PAI-XLVIII, 226

This poster for the Belgian Journal of the Auctions was immediately seized upon by contemporary critics and hailed as one of the finest works of its kind. Years later, Jane Abdy had the last and best word on it: “De Feure’s finest poster, and one of the most beautiful of the whole period . . . It is a triumph of color and design. He uses only brown, green and the dull pink of roses. Yet every possible shade of brown is in the poster, and the effect is a great richness and concentration of colour, like a mountain of brushed up autumn leaves . . . She is dressed in the height of imaginative fashion, and her hat is a victory of the milliner’s art” (p. 156).

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

FIRCSA

303. Theatre Pigalle / Le Reine s’Amuse. ca. 1930.47 5⁄8 x 31 3⁄4 in./121 x 80.6 cmCréation Publicitaire, ParisCond B/Slight tears & stains at folds.

Known to English-speaking audiences as The Naughty Princess, La Reine s’Amuse is the most famous operetta by French composer Charles Cuvillier. Debuting in 1912, the plot revolves around a young princess who refuses to conform to traditional ideas about marriage, court etiquette, and women’s roles, running off with an Modern artist to Paris to live the bohemian life. Unbeknownst to her, the artist is in fact a prince in disguise, and it all works out with a happy ending.

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

FRANÇOIS FLAMENG (1856-1925)

304. Paris Exposition 1900. 1899.32 7⁄8 x 52 3⁄4 in./83.4 x 133.7 cmArd Fils & Cie, ParisCond B/Slight tears at folds & edges.Ref: DFP-II, 357; Collectionneur, p. 71; Wine Spectator, 153; PAI-LII, 233

A lovely example of how an inspired artist can fashion a charming poster to sell even the most mundane of items -- here, the guidebook to the 1900 Paris World’s Fair.

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

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JEAN-CLAUDE FOREST (1930-1998)

305. Perrier. ca. 1967.108 1⁄8 x 26 5⁄8 in./274.6 x 67.6 cmImp. Courbet, ParisCond A.

Best known as the creator of Barbarella, Jean-Claude Forest illustrated many wild and outrageous comics throughout his illustrious career. In the late 1960s, he developed a relationship with Perrier, creating a series of outer-space themed ads for the brand. This is perhaps the strongest and most vibrant of the group, likening the tiny bubbles in Perrier to the wild sparkling of the stars.

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

FRÉDEN

306. Jantzen. ca. 1954.21 1⁄2 x 29 5⁄8 in./53.9 x 75.4 cmProduction O.C.P., ParisCond B+/Restored tear, top left edge.

Known for its ads featuring perfectly tanned-and-toned youths in elongated, flirtatious poses, Jantzen was the obvious choice if you wanted sporty and sultry swimwear.

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

LOIS GAIGG (1905-1944)

307. Blaupunkt. 1940.33 1⁄4 x 46 1⁄2 in./84.5 x 118.2 cmCond B/Tears, largely near edges.

Originally founded under the name Ideal in 1923, this radio manufacturer would change its name to Blaupunkt (meaning “blue point”) in 1938 in honor of the blue dot painted onto its headsets after passing quality control. Here, a Bette Davis lookalike languidly lounges against a gold metallic background, her cornflower-clad body personifying, and adding a certain sexuality, to the company’s moniker.

Est: $1,500-$2,000.

ANDRE GALLAND (1886-1965)

308. Exposition de Feu / Paris. 1929.29 x 41 3⁄8 in./73.6 x 105 cmL. S. & Cie., ParisCond B+/Slight tears at folds.Ref: PAI-L, 250

Sponsored by the Minister of the Interior and the Minister of Public Education, this poster promotes an exhibition of fire prevention, extinction, and rescue. Still occurring today, these events give firefighters a chance to show off their skills while educating the public, as well as for the latest in fire safety technology to be brought to the masses.

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

ABRAM GAMES (1914-1996)

309. Super Shell / X marks the spot. 78 x 114 3⁄4 in./98 x 291.5 cmJohn Waddington, LeedsCond B/Tears & stains at seams.Ref: PAI-L, 251

A frequent contributor to Shell’s advertising campaigns, Games was one of the most important war-era graphic designers in the UK. Here, in colorful simplicity, he gives us a map of Great Britain made up of Xs marking all the many places where Super Shell gasoline “can be got.” This is the exceptionally rare, four-sheet version of the poster.

Est: $1,200-$1,400.

CHARLES GESMAR (1900-1928) For two other Gesmar posters, see Mistinguett.

310. Spinelly. 1922.47 x 62 3⁄4 in./119.2 x 159.3 cmImp. Devambez, ParisCond A-/Unobtrusive folds.Ref: Gesmar, p. 83; PAI-XLIII, 344

While Gesmar’s career is most frequently associated with that of Mistinguett, his very first poster, at the age of 16, was for Spinelly. Born in 1890, she appeared in all the major music halls, eventually transferring over to radio and film by the 1930s. A similar portrait of the performer with a monkey was done by Irène Wells in 1925 for the publication Fantasio. While it is unclear what exactly the act entailed, some sources reference that she was accompanied by two monkeys named Augustus and Pepita.

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

311. Leslie / Casino de Paris. 1922.61 1⁄4 x 45 1⁄2 in./155.5 x 115.5 cmImp. Karcher, ParisCond B-/Restored tears at folds, partially recreated boarders.Ref: Gesmar, p. 87; PAI-LI, 336

While only known here by the name Leslie, this dapper Don Juan is most likely Earl Leslie, the younger American dancer who became Mistinguett’s partner both on and off stage after her breakup with Maurice Chevalier. At the time of this poster, their romance was on the rocks; however, his career would never grow to even comparable heights of his world-famous lover.

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

A. GILBERT

312. The Artist. ca. 1901.20 x 24 7⁄8 in./50.8 x 63.2 cmMarcus Ward, London & BelfastCond B/Slight stains, largely in margins.

Founded in December of 1879, The Artist began as a lesser arts journal; however, under the editorial direction of Wallace L. Crowdy and a slight price increase to one shilling an issue, became a respectable, though still small, periodical by the turn of the century. Here, in muted tones of lilac and tan, an enthusiastic painter sits spread-eagle, about to put Egyptian antiquities to canvas.

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

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SERGE GLADKY (1880-1930)

313. Jean Borlin / Cercle Eternel. 1929.22 x 31 in./56 x 78.7 cmCond B+/Slight tears at folds.Ref: Spectacle, 201 (var); Phillips III, 440 (var); PAI-LI, 339

Jean Borlin, the Swedish dancer and choreographer, who would go on to found and present the instantly-successful Swedish Ballet in Paris during the 1920 season of the Théâtre de Champs-Elysées, was something of a multi-disciplinarian, determined “to enlarge the field of ballet, and re-invigorate it, by bending to its service the newest tendencies in art, music, and literature, yet never allowing any of these elements to dominate the dance . . . Experiment succeeded experiment, each bolder than the last. . . . In after years, it is

sometimes difficult to understand the clamour excited by certain productions, so often is the sensation of to-day the commonplace of to-morrow. But the pioneers are sacrificed on the altar of progress, and Borlin suffered from being in advance of his time. . . . [He] disbanded the ‘Ballets Suédois’ [in 1925], . . . but continued to give dance recitals both in France and abroad” (Complete Book of Ballets, by Cyril W. Beaumont, pp. 669 & 670). How appropriate that Gladsky’s Modernist construct should immortalize one of the dancer’s final appearances, in an undocumented piece that facilely sums up Borlin’s unifying muse: “Eternal Circle.” This version omits the theater, ballets and other details, including the fact that decor for Borlin’s ballets were provided by Paul Colin, Gladky, F. Léger and Picabia. This is the smaller format version of the poster.

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

MILTON GLASER (1929- )

314. Dylan. 1966.22 1⁄8 x 32 5⁄8 in./56.2 x 83 cmCond A/Usual folds.Ref: Glaser, p. 51; Muller-Brockman, 124; Hutchinson, 206; Johnson, 148; Modern Poster, 237; American Posters, 78; Images of an Era, 39; Encyclopédie/Weill, p. 254; Affiches 1000, 0652; PAI-LIII, 435

Originally included in Bob Dylan’s “Greatest Hits-Volume 1” album on vinyl, this image of the singer is possibly Glaser’s most iconic design. When speaking of it, the artist mentions being influenced by Duchamps and Islamic paintings, resulting in “a style some now consider peculiarly American” (Glaser, p. 50).

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

315. Dick Gregory’s Frankenstein. 1970.22 5⁄8 x 34 3⁄8 in./57.5 x 87.2 cmCond B+/Slight tears at usual folds.

Like his poster for Bob Dylan, this image for Dick Gregory was issued within the sleeve of the LP of the same name. However, unlike Dylan’s album, Gregory’s is not of music but of standup comedy. Interestingly, it was released under Poppy Records, a company for which Glaser also produced a poster.

Est: $700-$900.

FRANZ PAUL GLASS (1886-1964)

316. Park Casino. ca. 1924.25 1⁄2 x 18 7⁄8 in./64.8 x 48 cmKohler, MünchenCond A-/Slight stains at edges.Ref: PAI-XLVII, 22

Elegantly displaying both the afternoon and evening joys available at the Park Casino, we see a woman gingerly sipping her afternoon tea on the right, as a sophisticated couple meander around the dance floor to the late-night tunes of a black jazz orchestra on the left.

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

MARY GOLAY (1869-1944)

317. Swan & Heron Panels. ca. 1905.Each: 15 1⁄2 x 41 3⁄8 in./39.4 x 105 cmCond B/Slight tears, largely at edges.Ref: PAI-XLVII, 265 (var)

Creator of dozens of decorative Art Nouveau panels, Mary Golay’s art celebrates the incessant beauty of her subjects, most notably birds, flowers, and the occasional winsome lady. Here, at dawn and dusk, we get to spy upon two pairs of elegant birds, lazily enjoying the quiet nearby waters.

Est: $4,000-$5,000. (2)

EUGÈNE GRASSET (1941-1917)

318. L’Odeon. 1890.32 1⁄8 x 47 3⁄8 in./81.5 x 120.5 cmG. de Malherbe & H. A. Cellot, ParisCond A-/Tears & stains, largely in margin & folds.Ref: DFP-II, 400 (var); Timeless Images, 26 (var); Wine Spectator, 33; Gold, 149 (var); PAI-XLVI, 342

“For the proper young woman of the Belle Epoque, theater-going–as well as virtually all other social and recreational activities–invariably involved a chaperone. In Grasset’s design, this is expressed most eloquently: the young woman wistfully scanning the audience, the older one sternly watching” (Gold, p. 106). The poster attracted so much favorable comment at the time that the printing firm later used it to advertise its own services, replacing the theatrical program with promotional copy. Rare proof before the addition of letters.

Est: $1,200-$1,400.

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JULES-ALEXANDRE GRÜN (1868-1938)

323. Monaco / Exposition et Concours de Canots Automobiles. 1910.35 1⁄4 x 48 1⁄2 in./89.4 x 123.2 cmImp. Ch. Verneau, ParisCond A-/Light horizontal folds. Framed.Ref: Grün, p. 126; Masters 1900, p. 35; Mer s’Affiche, p. 34

In one of Grün’s most rare and glorious designs, we see an overjoyed female spectator clad in sunshine yellow wave her lace handkerchief at the competing motor boats below. The perspective and composition of this poster outdoes almost everything else Grün produced -- it is as close to lithographic perfection as one can achieve.

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

319. Encre L. Marquet. 1892.30 3⁄8 x 45 1⁄2 in./77.2 x 115.5 cmG.D. MalherbeCond B/Tears at folds & edges.Ref: DFP-II, 404; Maitres, 158; Berthon & Grasset, p. 33; Musée d’Affiche, p. 52; Gold, 3; Encyclpédie/Weill, p. 40; PAI-LI, 343

Visually translating the inner turmoil of writer’s block, Grasset swirls inky clouds across the night sky, wildly whipping through the lady’s fiery hair. Leaning on a harp, however -- a classic symbol of thoughtfulness and contemplation -- we know that soon her pages will be filled with profound thoughts, all thanks to L. Marquet ink. This is the larger format.

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

320. Nouveau Larousse Illustré. 1896.15 x 22 1⁄4 in./38.2 x 56.5 cmCond B/Slight tears in margin; creasing in bottom tip-on; slight abrasion at left edge.Ref: DFP-II, 418

In 1890, Éditions Larousse commissioned Grasset to created its logo -- a goddess-like muse blowing the seeds of a dandelion. Here she appears in a later installment, advertising both the six and seven-volume versions of the dictionary, the latter of which will be available later in March. A version of this woman appears on the inside of most Larousse publications.

Est: $800-$1,000.

321. Exposición Internacional de Madrid. 1893.41 3⁄4 x 58 5⁄8 in./106 x 148.5 cmImp. Lemercier, ParisCond B/Tears & stains, largely at folds & edges. Framed.Ref (all var): DFP-II, 407; Berthon & Grasset, p. 32; Hiatt, p. 51; Reims, 673; Chaumont/Exposons, p. 23; PAI-XLIII, 353

In this most rare and desirable variant for the 1893 International Exposition in Madrid, we encounter a visual avalanche of patterns and textures. Just as her inky black hair bleeds into the foreboding clouds behind her, the deep folds of her goldenrod dress echo the fluted columns of the nearby building. Perhaps the most curious aspect of the poster is the odd angle Grasset chose -- we are presumably below her, and yet, as she is up on a ledge, the vast expanse of the grounds behind her appear to us at eye-level. This is the Spanish-language version.

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

GRASSET (Continued)

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324. Moulin Rouge / Pièces à Gd. Spectacle. ca. 1904.34 3⁄4 x 49 1⁄4 in./88.2 x 125 cmImp. J. Thil, ParisCond B+/Unobtrusive folds.Ref (all var except PAI): Folies-Bergère, 29; Moulin Rouge/P&C, p. 61; Moulin Rouge, p. 49; PAI-XXXV, 333

After being torn down, the Moulin Rouge reopened in 1903, changing its style of entertainment from a dance hall to that of a music hall and cabaret. This image was the first poster used to promote the venue and was so well-received that the Moulin Rouge used it time and time again. Here we see it months after its inception, still showcasing the joys of the opera box, but with alternate text announcing the matinee programming.

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

G. T.

325. Tea Offering. ca. 1925.33 3⁄8 x 30 5⁄8 in./84.7 x 77.8 cmCond B+/Slight tears at folds.

An unusual Art Deco panel happily presenting us with a steaming cup of Indian tea. Simple, understated -- a truly handsome print.

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

HANSI (1873-1951)

326. Sapeurs-Pompiers Français. 1939.24 x 31 7⁄8 in./61 x 81 cmImp. A. Jess, ColmarCond A-/Tears in margins.

Not unlike our other fire-related poster (see Lot 308), this image promotes the 54th annual congress of French firefighters in Colmar. Shown in traditional dress is a trio of toasting revelers, all happy to be out honoring the fleet.

Est: $800-$1,000.

ROBERT HARDMEYER (1876-1919)

327. Waschanstalt / Zurich. 1905.13 5⁄8 x 24 1⁄4 in./34.4 x 61.5 cmJ. E. Wolfensberger, zürich (not shown)Cond A/P.Ref (All var but PAI): Margadant, 231; Plakat Schweiz, p. 231; Affiches Suisse, 1; Weill, 121; Plakate Alter zeit, p. 19; PAI-XL, 365

This most surreal and amusing image promotes nothing other than a zurich-based laundry service. The rooster, always out to impress and strut his proverbial stuff, is donning a freshly-pressed tuxedo shirt, complete with perfectly-starched collar. Hardmeyer’s choice of unusual subject also reflects the fact that his true passion was children’s book illustration. This is the smaller format version.

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

DUDLEY HARDY (1867-1922)

328. A Gaiety Girl. 1893.15 1⁄8 x 23 1⁄8 in./38.5 x 58.7 cmWaterlow & Sons, LondonCond B-/Restored tears, largely at edges.Ref: Masters 1900, p. 102; Reims, 1377 (var); DFP-I, 51 (var)

A simple British musical comedy, A Gaiety Girl ran for over 400 London performances before landing a Broadway debut, followed immediately by a complete world tour. Such popularity resulted in over a dozen parodies and imitations to be produced in the following years. The plot is nothing remarkable, circling around a stolen comb and romantic obstacles. The actual draw came from the Gaiety Girls themselves -- a troupe of vivacious female dancers all dolled up in the latest fashions, traipsing about the stage as often as possible.

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

JOHN HEARTFIELD (1891-1968)

329. Die Mutter. 1951.24 x 34 1⁄4 in./61 x 86.8 cmVEB Deutsche Graphische Werkstätten, LeipzigCond A.

Based on Gorky’s 1906 novel of the same name, Brecht’s play The Mother tackles issues of activism against tyranny, the greater good, the necessity of struggle, the horrors of capitalism, and other frequently called-upon ideas of the famous Communist writer. While it debuted in 1932, This poster is for its 1951 revival, with Helene Weigel playing the title role she originated nearly two decades earlier.

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

RENE HERMANN-PAUL (1864-1940)

330. Salon des Cent. 1895.15 1⁄4 x 23 1⁄8 in./38.8 x 58.7 cmE. Ladam, ParisCond B-/Restored tears.Ref: Salon des Cent, p. 42; Salon des Cent/Neumann, p. 57; DFP-II, 706; Reims, 960; Schardt, 56; Color Revolution, 58; PAI-LIII, 277

In this self-portrait of the artist–pencil and portfolio in paint-stained hand, complete with blue smock and lavender bow–the red-haired Hermann-Paul appears to be kissing his own image in a mirror. Strongly colored and delineated against a pale green background, this is one of the best in the distinguished Salon des Cent series.

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

GRÜN (Continued)

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HUBERT HERKOMER (1881-?)

331. French Line / Paris to New York. 1934.24 1⁄2 x 40 in./62.2 x 101 cmHill, Siffken & Co., Grafton Works, LondonCond A. Framed.Ref: PAI-XLVIII, 271

The third line of text from the top–”When You Board Any French Line Ship You Step Right Into Paris Itself!”–explains the entire image. In dream-like haze, the sepia shadows of the Eiffel Tower, Arc de Triomphe, Notre Dame de Paris, and other famous monuments synonymous with the City of Light’s grandeur hover above the regal vessel. It seems only appropriate then that the name of the ship is nothing other than Paris.

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

LOUIS-THEOPHILE HINGRE (1832-1911)

332. Parfumerie Violet. ca. 1901.20 x 25 5⁄8 in./50.8 x 65 cmImp. Leopold Verger, ParisCond A-/Slight stains in margin; light scratch in center. On board.

A remarkably detailed, sumptuous image promoting Parfumerie Violet, known as the “Queen of the Bees” for its heavy floral scent. Also noted in the ad is the fact that it won the grand prize at the 1900 World’s Fair.

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

333. Breger & Javal. 1900.15 1⁄4 x 23 3⁄4 in./38.7 x 60.2 cmBreger & JavalCond A-/Slight tears at edges.

As Hingre also worked in metal and stone sculpture, it seems a logical connection that he would be chosen to create an advertisement for Breger & Javal, a metal stamping firm. He created a variety of promotional calendars for the company, This one in particular featuring a 1901 calendarium below the allegorical image of a woman representing the coming century.

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

LUDWIG HOHLWEIN (1874-1949)

334. Passage Schüssel. 1908.26 3⁄4 x 39 1⁄8 in./68 x 99.5 cmVereinigte Druckereien und Kunstanstalten, MünchenCond B-/Tears at bottom & at folds; scrubbed museum stamp.Ref: Hohlwein/Stuttgart, 15; Hohlwein, 177; Hohlwein/Frenzel, 7; PAI-V, 201.

Created for the Munich Arts & Crafts Exhibition, this poster specifically promotes the house of E.M. Schüssel, a luxury department store specializing in genuine and costume jewelry from all periods.

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

335. Hohlwein-Zigaretten. 1913.15 x 16 1⁄2 in./38 x 42 cmConsée, MünchenCond A/P.Ref: Hohlwein/Stuttgart, 91; Hohlwein, 112 (var); Hohlwein/Frenzel, 40

One of Hohlwein’s best subjects is the horse & rider -- he instinctively knew how to capture the grace and bond between human and animal in an Expressionistic manner. Here, he calls upon that skill to help promote a German brand of cigarettes.

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

336. Zum Guten Kleid. ca. 1927.34 1⁄4 x 50 1⁄4 in./87 x 127.7 cmH. Sonntag, MünchenCond B/Unobtrusive tears at folds & edges.Ref: Rademacher, p. 80; Hohlwein/Stuttgart, 234; Hohlwein/Frenzel, 137; Schubert, plate at pages 24 & 25

As with many Hohlwein posters, this advertisement for an umbrella company benefits from an understated sophistication of design. The woman -- intentionally faceless so that she can be any one of us -- presents the product in question in both its open and closed forms, while she sports a slouchy, masculine ensemble that would not look out of place on Katharine Hepburn. She is by no means dolled up or glamorous, but her casual style reeks of class.

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

337. Marco Polo Tee. 1926.29 7⁄8 x 43 1⁄2 in./75.8 x 110.6 cmGeraschdruck, LeipzigCond A-/Unobtrusive slight tears at folds.Ref: Hohlwein/Frenzel, no pl. number

Over the course of his career, Hohlwein would produce numerous designs for Marco Polo tea, all presenting the Orient with jewel-toned, dignified exoticism. In this particularly rare image, the product appears almost secondary. Instead, the visage of the Other stares out at the viewer, as if pondering whether or not we are good enough for the product and not the other way around. A defiant and bold artistic choice.

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

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336

338. Stakato. 1935.33 3⁄8 x 47 7⁄8 in./84.7 x 121.5 cmSonntag, MünchenCond A.Ref: PAI-XLIII, 377

Stepping outside of the usual Teutonic rigidity & perfection so typical of Hohlwein’s other posters, this vibrant, bewitching image for a musical evening at a brewery is brimming with coy charm. The title derives from the acronym for Munich’s Statlichen Akademie der Tonkunst (ST-AKA-TO), whose more artsy students are putting on this event.

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

HENRI-GABRIEL IBELS (1867-1936)

339. Jane Debary. 1895.36 1⁄8 x 51 1⁄8 in./91.5 x 129.9 cmImp. Bourgerie, ParisCond B-/Restored tears at folds & losses in margins.Ref: DFP-II, 476; Reims, 750; PAI-XLVI, 374

One of the most notable posterists of the Belle Epoque, Ibels, like Lautrec, attempted to depict his subjects directly & honestly, preferring scenes of street life, bars, and café-concerts over ‘pretty’ compositions. Here, he showcases the rather homely Jane Debary, raising her hand to address her audience while slyly glancing toward the viewer of the poster. Except for the use of bright red in her name, the colors are typically muted.

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

ROBERT KASTOR

340. Sarah Bernhardt / La Dame aux Camelias. 1912.46 1⁄2 x 62 1⁄2 in./118 x 158.7 cmAffiches Monofilm, ParisCond B-/Restored tears, mostly at folds & edges. Framed.Ref: Bernhardt/Drama, p. 17; PAI-XLII, 42

While Kastor is best known for his etchings and cartoons, it is his skills as a portraitist which make this poster for the film version of La Dame aux Camelias special. Capturing one of the less melodramatic moments in the story, Bernhardt is shown at her wistful best, daydreaming away as a sea of flowers spreads out before her. The fact that this finely detailed image is done entirely in sepia, with the exception of the azure vase at the left, further pulls this poster into the realm of fine art.

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

E. MCKNIGHT KAUFFER (1890-1954)

341. How Bravely Autumn Paints Upon the Sky. 1938.24 1⁄8 x 38 3⁄8 in./61.3 x 97.5 cmBaynard Press (not shown)Cond B-/Restored tears.Ref: Kauffer, 79; Art for All, 15; Edelstein, p. 156; Hutchison/Transport, 53

Upon leasing a small, Regency-era house in Buckinghamshire, England, Kauffer was immediately drawn to and inspired by the surrounding landscape. It “made a great impression on [him, and] despite the growing certainty of war and scarcer commissions, the next two years were among Kauffer’s happiest” (Kauffer, p. 92). This image for London Transport is one such product of his newfound relationship with nature, showcasing the world which he now called home.

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

342. Spring Woods. 1938.24 1⁄4 x 38 3⁄8 in./61.6 x 97.5 cBaynard Press (not shown)Cond B-/Restored tears.

The mate to the previous image, also depicting the local woods near Kauffer’s house. These two posters for the London Underground also mark a return to a more painterly style for Kauffer.

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

PATRICK COKAYNE KEELY (?-1970)

343. ARP / Calling You. 1938.20 x 30 in./50.8 x 76.2 cmFosh & Cross, LondonCond A.Ref: Judd, 5.12

With the threat of war looming on the horizon and the advent of bomber aircraft, the Air Raid Precautions Department was set up within the British Home Office in 1924. After the bombing of Guernica in 1937, the government of the UK understood that such attacks would be a major part of Germany’s strategy against them, and posters such as this became common warnings both to take air raid signals seriously and to be as prepared as possible for an attack.

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

CHARLES KIFFER (1902-1992)

344. Theatre Maurice Chevalier / Alhambra. 1948.15 1⁄2 x 23 5⁄8 in./39.5 x 60 cmImp. Bedos, ParisCond A.Ref: Folies-Bergère, 101 (var); PAI-XLIII, 384

From 1925 on, Kiffer designed almost all of Chevalier’s posters for a period of forty years. Here he is seen in all his cool glory, straw hat tilted jauntily over his eyes as he flashes the viewer a bright smile.

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

345. Maurice Chevalier / Theatre des Champs-Elysées. 1963.15 x 23 5⁄8 in./38.2 x 60 cmSt. Martin, ParisCond A.Ref: PAI-XII, 271

One of many posters created by Kiffer for Maurice Chevalier, and for Chevalier performing at the Theatre des Champs-Elysées. While not the height of his career, the early 1960s gave the singer eight major films, including Can-Can with Frank Sinatra. He was well-known enough that only the iconic image of his yellow straw hat was necessary to let the average passerby know that Chevalier was performing.

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

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HOHLWEIN (Continued)

JULIUS KLINGER (1876-1950)

346. Bummelstudenten. ca. 1912.36 1⁄2 x 27 1⁄2 in./93 x 70 cmHollerbaum & Schmidt, BerlinCond A-/Unobtrusive folds.Ref: Reklamekunst, 184 (var)

Written by Rudolf Bernauer, this light operetta’s title best translates as “The Permanent Student.” It was also made into a short film in 1917, reflecting its apparent popularity with audiences. Here, we see a rosy-cheeked Bohemian musically wooing a well-to-do young lady -- always a cause for conflict.

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

ALEXIS KOW (Alexei Kogeynikov, 1901-1978)

347. Hotchkiss / Puissante.19 7⁄8 x 25 1⁄2 in./50.4 x 64.8 cmEditions Step, ParisCond A-/Horizontal fold.Ref: PAI-XLVII, 308

Ruggedly expressing the sheer masculine force behind Hotchkiss, a baying bull elk stands proudly atop a rocky crag, announcing the way for the likewise powerful automobile. Operational from 1903 to 1955, the French brand Hotchkiss actually began as an arms manufacturer, as is implied by its emblem of crossed cannons. By 1954, however, the company was bought out by Delahaye, passing through the hands of a half-dozen other companies as a truck manufacturer until 1971.

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

CARL KUNST (1884-1912)

348. Dr. Dessauer’s Touring Apotheke. ca. 1911.19 7⁄8 x 29 1⁄8 in./50.4 x 74 cmKunstanstalt Hugo Bestehorn, MagdeburgCond A-/Horizontal fold.Ref: DFP-III, 1909; Reklame-Postkarten, 41 (var); PAI-VIII, 404

As exploring the mountainous landscape of Germany has always been a popular pastime, the need for travel-sized first-aid kits must have been much in demand. Here, Kunst very simply, but effectively, shows off the ease with which one can utilize one of the many medical supplies held within Dr. Dessauer’s ‘touring apotheke,’ a virtual doctor’s office in a tin.

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

PAUL LAPIERRE

349. Fête des Fleurs / Neuilly. 1895.39 1⁄8 x 59 in./99.4 x 149.7 cmImp. G. Massias, ParisCond B/Tears, largely at folds & edges.Ref: PAI-XXX, 235

In nationalist colors, we are presented with a barrage of cheerful faces, all en route to the Neuilly Festival. Promised below are an array of events, from balloon displays to shopping, concerts to flower shows -- a wonderful example of the excitement built up around local festivities.

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

LARRY

350. Cognac Otard / Les Deux Joyaux. ca. 1925.14 1⁄4 x 20 3⁄4 in./36.3 x 52.8 cmCond B/Very slight creasing near edges; restored color loss in background.

With a cinematic sense of romance, we are presented with a glamorous flapper, gazing hypnotically into the amber glow of a glass of Cognac Otard. Below, the phrase “Les Deux Joyaux” (The Two Jewels) indicates that as we cherish a young woman’s unmatched beauty, so should we cherish the precious gem that is a fine cognac.

Est: $600-$800.

CHARLES LÉANDRE (1862-1930)

351. Le Mariage. 1900.33 3⁄8 x 47 3⁄4 in./84.7 x 121.4 cmImp. Chaix & de Malherbe, ParisCond B/Unobtrusive folds; slight stains at edges.Ref: PAI-XXXII, 384

While his many paintings decorated the walls of the Salon in Paris, it is Léandre’s comic caricatures which made him famous. A frequent contributor to Le Rire, Le Figaro, and a half-dozen other journals, his illustrations have survived the test of time as insightful, witty, and deftly-executed glimpses into life during the fin de siecle. Here, a quiet moment is shown between a young couple en route to their honeymoon while a shadowed rider on horseback is seen galloping toward them in the background.

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

E. LEMIELLE

352. Souvenez-Vous!. 1919.23 3⁄4 x 32 5⁄8 in./60.2 x 83 cmImp. Chaix, ParisCond A-/Unobtrusive folds.Ref: Paillard, 304

On September 19, 1914, the Germans bombed Reims, causing significant damage to its famous cathedral. The Western rose window and much of the other stained glass was blown out, the roof partially burned, and many of the statues crumbled under the shells. Known as the cathedral’s martyrdom, the gradual attempted

destruction of it would continue through 1918, the worst parts sustained during April of 1917. Commemorating the bombing five years later, this poster has the noble figure of Marianne gesturing toward the burning monument, pleading with us to remember the devastation caused by the Germans and not to buy any products from that country.

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

GEORGES LEPAPE (1887-1971)

353. Bal de la Couture Parisienne. 1925.15 1⁄2 x 30 3⁄4 in./39.5 x 78.2 cmEdia, ParisCond A. Framed.Ref (all var): Art Deco. p. 62; Timeless Images, 127; PAI-XLIII, 396

“Created . . . for the famous fashion ball at the Théâtre des Champs-Elysées, [this poster] sums up much of the French high style. It was produced in 1925, the year of the Paris exposition. In it, the couple’s elegance, aloofness and pride at being among the fashionable set are beautifully rendered” (Art Deco, p. 620). This is the smaller format version of the poster, with extensive lower text.

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

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HERBERT LEUPIN (1916-1999)

354. Pepita. 1959.35 1⁄8 x 49 3⁄8 in./89.2 x 125.4 cmHug & Söhne, zürichCond B/Slight tears at paper edges.Ref: Leupin, p, 164

Used repeatedly by Leupin throughout his relationship with Pepita, the colorfully cartoonish parrot is synonymous with the beverage -- a tropical figure of joy and fun, as light and bubbly as the drink itself. Here, he happily sits atop a painted script of the name, about to enjoy a refreshing splash of grapefruit-flavored soda.

Est: $800-$1,000.

PRIVAT LIVEMONT (1861-1936)

355. Absinthe Robette. 1896.31 1⁄2 x 42 1⁄4 in./80.2 x 107.2 cmJ. L. Goffart, BruxellesCond B/Slight tears at folds. Framed.Ref: DFP-II, 1062; Maitres, 104; Belle Epoque 1970, 75; Timeless Images, 38; Wine Spectator, 80; Absinthe, p. 134; Masters 1900, p. 88; Absinthe Affiches, cover & 105; Livemont, p. 93; Belle Epoque/Belgique, 246; Schoonbroodt, 6; PAI-LI, 392

One of the most iconic posters of all time, Livemont’s design for Absinthe Robette perfectly captures the spirit of Art Nouveau. Every element of the image is lavishly decorative yet delicately organic. Holding up her glass with the reverence of a holy relic, we do not see the hand which pours the water over the sugar, adding a mystical, other-worldly quality to the concoction. The background is made up of sensual plumes of mint on green, echoing the milky swirl within the cup. There is also an obvious nod to Mucha in the execution of the woman’s hair, as well as the cut-out halo encircling her head.

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

356. Cabourg / à 5 heurs de Paris. 1896.41 3⁄4 x 28 7⁄8 in./106 x 73.3 cmImp. P. LeménilCond B-/Restored tears at folds & edges. FramedRef: DFP-II, 1061; Belgique/Paris, 33; Maitres, 88; Affiches Belges, 3; Timeless Images, 39; Voyage, p. 14; Pour l’Art, 20; Livemont, p. 94; zee, p. 22; Beaumont, p. 25; Schoonbroodt, 7, PAI-LIII, 315

Created to lure Parisians away from the city and travel a mere five hours by train to the seaside resort of Cabourg, this poster serves as one of Livemont’s most realistically evocative images. With the skyline of the town being kissed by sunset on the horizon, a brazen strawberry blond wades chest-deep in the ocean, a gaggle of eager male suitors hovering at close range. In the lower left, her hand is reaching beyond the boarder of the poster as if she could at any moment leap off the page toward us.

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

357. La Reforme / L’Orgueil d’une Mère. 1896.31 1⁄4 x 41 7⁄8 in./79.5 x 106.2 cmJ. L. Goffart, BruxellesCond B+/Tears, mostly at folds.Ref: Belle Epoque 1970, 77; Belgische Affiche, 86, p. 185; Brussels, pl. XX, cat. 41; Pour l’Art, 21; Belle Epoque/Belgique, 247; Schoonbroodt, 10; PAI-XLVIII, 327

This is one of the several highly melodramatic designs that Livemont prepared for novels appearing in the pages of the daily newspaper La Reforme. Weill refers to them as “grand-Guignol pictures which are really high camp” (pp. 59-60) and indeed a few of them are on the seamier side (see PAI-XLII, 350 & PAI-XI, 279). This one, however, produced to publicize a “great dramatic novel” titled “A Mother’s Pride,” seems to merge Livemont’s two styles, containing the aforementioned melodrama while also showcasing some glorious aspects of Art Nouveau design.

Est: $1,800-$2,000.

358. Tropon Chocolat-Cocoa. 1900.14 x 23 3⁄8 in./35.7 x 59.3 cmO. de Rycker & Mendel, BruxellesCond A-/Slight stains at edges. Framed.Ref: Livemont, 118 (var); Belle Epoque/Belgique, 230; Schoonbroodt, 34 (var); PAI-LIII, 317

Little is known about this image outside of a brief reference in the December 1900 issue of The Poster, wherein it is also shown without text, and yet identified as an advertisement for Tropon Chocolat. Described as a ‘window-bill,’ one can assume this was an in-store display and not ever a street poster, tantalizing young mothers to purchase Tropon hot chocolate for their children. From a scientific perspective, Tropon-Chocolate is actually an old way of making hot cocoa by blending it with a water-soluble protein derived from fish and animal flesh.

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

359. The Embroiderer & The Spinner. 1904.Each: 17 1⁄4 x 12 1⁄4 in./43.8 x 31 cmCond A-/Slight tears & stains at edges. P. Ref: Belle Epoque 1980, 84; Livemont, p. 52-53; Schoonbroodt, p. 56; PAI-XLVII, 335

A delicate and quiet homage to the domestic arts of embroidery and spinning, these two panels are some of Livemont’s most lovely, featuring elaborate detail in muted pastels.

Est: $2,500-$3,000. 359

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P. H. LOBEL

360. Salon des Cent / 31eme Exposition d’Ensemble. 1897.18 3⁄4 x 25 1⁄4 in./47.6 x 64 cmImp. Chaix, ParisCond A/P.Ref: DFP-II, 542 (var); Schardt, 982 (var); Tennis Posters, p. 10 (var); Wine Spectator, 60; Salon des Cent, p. 66 (var); Salon des Cent/Neumann, p. 37 (var); PAI-XXIX, 346

In a manner very similar to that of Lautrec, Lobel gives us a voluminously-dressed woman dashing toward an oncoming tennis ball, racket ready. Created to advertise the 31st annual Salon des Cent, this image is only second in Lobel’s oeuvre to his magnificent poster for Pierrefort. This is a rare, hand-signed proof before letters.

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

DANIEL DE LOSQUES (David Thoroude, 1880-1915)

361. Marthe Régnier. ca. 1909.15 3⁄4 x 23 3⁄4 in./40 x 60.2 cmImp. Ch. Wall, ParisCond B+/Unobtrusive folds.Ref: Gold, 174; PAI-XXX, 135

After studying at the Paris Conservatoire and receiving many accolades for her comedic skills, Marthe Régnier began performing on the cabaret and café concert circuit in both London and Paris. As her career blossomed, so did her abilities, and she soon appeared in various early films, including the notable Mayerling (1936).

Est: $800-$1,000.

CHARLES LOUPOT (1892-1962)

362. Monte Carlo. 1937.24 3⁄8 x 38 5⁄8 in./61.8 x 98 cmAgence Française de Propagande, ParisCond A-/Slight creases at right paper edge.Ref: Loupot, 55; Loupot/zagrodzki, 102; Tourism/Suntory, 93; Affiches Azur, 210; Voyage, p. 49; PAI-LIII, 329

Subtly playing on the natural association of Monte Carlo with glamorous casinos, Loupot brings us a simple, but sexy, poster. Not only does the name of the famous city stand against the bold red and black of the roulette table, but that iconic green of all poker tables the world over comprises the background, the outline of each suit of cards overlapping behind the text to create a hypnotic, decorative pattern.

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

363. PKZ / Burger-Kehl & C. 1921.35 3⁄4 x 50 3⁄8 in./91 x 128 cmWolfsberg, zurichCond B/Restored tears, largely near edges & folds.Ref: Loupot/zagrodzki, 45; Loupot, 14; Weill, 431; Plakat Schweiz, p. 136; PAI-XXXVIII, 58

There is a particular blend of oranges which appear in many of Loupot’s finest works -- this being one of them -- which instantly emotes all things autumn. You can’t look at this background without seeing changing leaves, earlier sunsets, and a pleasantly crisp breeze in the air.

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

BURKHARD MANGOLD (1873-1950)

364. Maggi’s Produkte.18 1⁄2 x 29 3⁄4 in./47 x 75.5 cmCond A/P.Ref: Maggi, p. 25

Still available today, Maggi is a German condiment and spice maker, common in most households. Here, Mangold uses the sweet innocence of a child

coming home from the local grocer laden with Maggi products as a testament to the company’s quality and wholesome values, much like Little Debbie or the Morton salt girl was used in the United States.

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

RÉGIS MANSET

365. La Nuit du Grand Prix. 1933.11 1⁄2 x 20 1⁄2 in./29.1 x 52.1 cmCond B/Tears in bottom text area.Ref: Toujours Plus Haut, p. 155; Affiches d’Aviation, p. 140

Primarily an illustrator and comic creator, Régis Manset’s career spanned at least three decades. his most famous achievements would be the many posters he created for Air France, and while this image is not for the airline, a boxy looking airplane is featured against the starry background of this merry little Art Deco theatrical poster.

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

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HENRY MAYER (1868-1953)

366. Scribner’s / April. 1896.13 1⁄4 x 17 1⁄2 in./33.6 x 44.5 cmCond B+/Slight creases.Ref: Sportissimo, p. 10; PAI-XXXIV, 149

Because there were no official posters for the modern Olympics until the 5th games in Stockholm in 1912, all related materials for the first four events have become particularly valuable to the collector. Here, the poster for the April 1896 issue of Scribner’s shows the magazine tying into the first modern Olympiad–taking place that month in Athens–with “The Olympic Games and their Revival” as its cover story. The highly decorated pedestal and elaborately curling smoke from the Olympic flame are characteristic of the children’s fantasy tales that were the main work of this New York author-illustrator.

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

JEAN A. MERCIER (1899-1995)

367. Maurice Chevalier / Avec Le Sourire. 1936.26 5⁄8 x 31 3⁄8 in./60 x 79.8 cmCiné-Studio, BruxellesCond A.Ref: PAI-XLV, 384

Similar to many Kiffer designs for Maurice Chevalier (see Lots 344 & 345), this simple combination of pouty red lips and a jauntily-tilted yellow straw hat are all one needs to identify the famous performer. With a Smile was Chevalier’s first film back in France after an eight-year run in Hollywood, this poster being for its Belgian release. The feel-good musical follows the story of an ambitious young man who rises from being a doorman to the eventual owner of a theater.

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

LEOPOLDO METLICOVITZ (1868-1944) For another Metlicovitz poster, see No. 77.

368. Flouvella.31 3⁄4 x 43 1⁄4 in./80.7 x 109.8 cmG. Ricordi, MilanCond B/Slight tears at folds & edges.Ref: Metlicovitz e Dudovich, p. 68; Manifesti Italiani, p. 47; Frivoli, p. 111; PAI-XLVIII, 355

One of several designs Metlicovitz prepared for the Sauzé Frères cosmetics firm, this one being an especially lovely Impressionistic image of an alluring woman in warm flesh tones against a blue-green background.

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

369. La Polvere di Pirlimpinpin. 1907.111 1⁄2 x 81 3⁄4 in./285 x 207.6 cmG. Ricordi, MilanoCond B+/Slight tears & stains at seams & folds. Ref: Manifesti Italiani, p. 32; Ricordi, 84; Ferrarotti, 70; PAI-IV, 59 (var)

A spectacularly colorful and elaborate 6-sheet poster promoting a three-act musical by Constantine Lombardo and Carlo Vizzotta. Premiering in Milan on February 24, 1908, the plot follows the misadventures involving a magic powder, which can be seen on the far left in a small white sack held by a magician.

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

370. Exposition Internationale / Milan 1906. 27 1⁄4 x 40 1⁄2 in./69.2 x 102.9 cmG. Ricordi, MilanoCond B/Tears, largely in bottom text area.Ref: Menegazzi-IV, 50 (var); Italia che Cambia, 23; Metlicovitz e Dudovich, 5 (var); Dudovich/Trieste, 7; Ricordi, 186; Riccione, 5 (var); Lumi, 9; Ferrarotti, 4 (var); PAI-LIII, 354 (var)

This was the winning entry in the contest to celebrate the opening of the Simplon Alpine tunnel in 1906, which first provided a direct link between Paris and Milan. It is one of Metlicovitz’s most famous and inspired designs, the red of the engine’s light emphasizing the movement of the train out of the tunnel as two allegorical figures gaze toward the city on the quickly-approaching horizon. This is the meidum format with Italian text.

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

MICH (Michel Liebeaux, 1881-1923)

371. Bec-Kina. 1910.46 3⁄4 x 63 in./119 x 160 cmWall, ParisCond A-/3” tear at upper right edge.

With a bottle of Bec-Kina as a makeshift ball, a strapping group of agile rugby players are shown vivaciously fighting over the ‘athlete’s aperitif.’ Compositionally, this is one of Mich’s most energetic designs, full of movement and interesting angles.

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

372. Caobania. ca. 1912.46 1⁄2 x 62 1⁄2 in./118 x 159 cmPublicité Wall, ParisCond B/Slight tears & stains at folds & edges.

During perhaps the most famous scene in Bizet’s Carmen, the title character sings the Habanera, in which she repeatedly warns “if you do not love me, then I love you; if I love you, you’d best beware!” This provocative turn of phrase is repeated in part in the upper corner of this poster, promoting the Spanish-name chocolate powder Caobania. As the product was meant more for children than adults, a saucy looking mini-Carmen has been made the mascot -- more of a sly trouble-maker than an alluring seductress.

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

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MIRAMAR

373. Gants Dentelles. 1930.45 7⁄8 x 61 3⁄8 in./116.5 x 155.8 cmInter-Publicité, ParisCond B+/Slight tears at folds. Framed. Ref: PAI-LI, 418

A rare Art Deco design showcasing all the wonders a department store could offer a girl -- lace gloves, flowers, feathers, and perfumes! As no specific brand or shop is noted, this is potentially a stock poster for use in any retail area selling such items.

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


374. Pensées Jolie. ca. 1900.10 1⁄4 x 15 1⁄8 in./26 x 38.5 cmSigned crayon drawing. Framed.

Misti was a master of creating delicate, soft compositions of women. He frequently captured quiet moments that, while obviously posed, were meant to seem entirely natural, as if the subject has just drifted into the perfect position, unaware of our prying eyes. This is one such image, wherein the elegant woman at home in her boudoir is absent-mindedly undoing her blouse, lost her in own thoughts.

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

375. Belle Journée. ca. 1900.9 x 15 3⁄4 in./22.8 x 40 cmHand-signed crayon & gouache drawing. Framed.

Reminiscent of the elaborate black & white horse-racing costumes from My Fair Lady, Misti has created the most impeccably-dressed woman on an afternoon stroll. His ladies are so similar to the more-famous Gibson Girls that one has trouble telling them apart -- both are confident, elegant, fashionable, and truly Modern.

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

ARÉEL

376. Mistinguett. ca. 1930.46 3⁄8 x 62 1⁄2 in./118 x 158.7 cmAffiches Bouet, ParisCond A-/Unobtrusive folds.Ref: PAI-XLVIII, 71

Perhaps the greatest and most rare poster designed for the performer, this image showcases Mistinguett at her off-stage best. No text in necessary, just abstract jewl-toned hues melting down behind the star, smoke rings effortlessly curling out of her cigarette. Currently, there are only five known copies, one of which is in the collection of Candace Bergen.

Est: $15,000-$20,000.

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MISTINGUETTFor longevity and popular appeal, few French performers can match Mistinguett (1873-1956). From the time she made her debut as a nightclub singer in 1890 at the age of seventeen until she stopped touring in 1948 at a well-preserved seventy-five, she was the French music hall incarnate – delicious and dazzling. All of this is apparent in the small, but choice, selection that follows. Our assortment shows The Miss early in her career and late, clothed and unclothed, raffish and refined.

MISTINGUETT

G. K. BENDA (Georges Kugelmann)

377. Mistinguett. 1913.44 1⁄4 x 59 3⁄4 in./112.5 x 151.6 cmPhilippe G. Dreyfus, ParisCond B/Unobtrusive tears at folds. Framed.Ref: PAI-LIII, 88

With a career spanning over 50 years, Mistinguett was one of the greatest performers of the early half of the 20th century. Here, Benda, a little-known graphic artist, depicts her in all her coquettish glory, the wind playfully sweeping both her dress and bowed puppy into the air. As humorous as it is coy.

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

LEONETTO CAPPIELLO (1875-1942)

378. Mistinguett / Casino de Paris. 1920.46 3⁄4 x 62 1⁄4 in/118.7 x 158 cmImp. Devambez, ParisCond B+/Slight tears at folds & edges.Ref: Cappiello/Rennert, 312; Cappiello, 290; Cappiello/St. Vincent, 4.44; Folies-Bergère, 61; Karcher, 271; Chanson à l’Affiche, p. 54; PAI-L, 341

“Even though Mistinguett . . . had been expertly portrayed by many artists . . . Cappiello managed to find a rather novel angle to present the legendary performer: He sets us down in a box seat, a superior vantage point from which to watch the legendary performer appearing in ‘La Revue Nouvelle’ at the Casino de Paris. It was her first public appearance in several years without her steady partner and lover, Maurice Chevalier, with whom she had just parted ways. It was in this revue that she introduced one of her signature songs, ‘La Parisienne.’ And in addition to the unusual perspective is the signature title, something we never see in a Cappiello design” (Cappiello/Rennert, p. 204).

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

ORSI (1889-1947)

379. Mistinguett.45 3⁄4 x 61 1⁄4 in./116.2 x 155.5 cmPublicité Phogor, ParisCond B/Tears at folds & edges.Ref: PAI-L, 344

While almost every other poster features Mistinguett in either lavish costumes or in some wild setting, this image by Orsi focuses on two of her most notable assets: a winning smile and large, green eyes.

Est: $1,600-$1,800.

CHARLES GESMAR (1900-1928) For two other Gesmar posters, see Nos. 310, 311.

380. Mistinguett. 1925.

46 1⁄2 x 62 1⁄2 in./118 x 159 cmImp. H. Chachoin, ParisCond A-/Slight tears & stains at vertical fold.Ref: Delhaye, p. 47; PAI-XLIII, 83

One of Gesmar’s most luxurious images for Mistinguett, this poster plays on her well-known flirtatious performance style, the ostrich feathers almost forcing her to pay peek-a-boo with the viewer.

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

381. Mistinguett / Casino de Paris. 1922.45 x 62 in./114.2 x 157.5 cmCond B/Slight tears at folds; usual offsetting ink. Framed.Ref: Deco Affiches, p. 17; PAI-XLIII, 84

Like a sort of bird herself, Mistinguett is shown perched atop a green bar stool, bird in hand. Front and center are her famous legs, insured just three years prior for 500,000 francs.

Est: $4,500-$5,000.

ZIG (Louis Gaudin, 1882-1936)

382. Mistinguett. 1928.47 1⁄4 x 63 in./120 x 160 cmImp. H. Chachoin, ParisCond A-/Horizontal folds. Framed.Ref: PAI-XLVIII, 533

Possibly referencing the fact that Mistinguett began her career as a flower seller singing ballads and folk songs in cafés and restaurants, this sweet image presents the performer as a naive darling of the stage.

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

MISTINGUETT (Continued)378379

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PAUL SELTEN (Seltenhammer, 1903-1987)

383. Folies-Bergère / Folies en Folie / Mistinguett. 1933.47 x 124 1⁄8 in./119.4 x 315.3 cmImp. Pierre Havez, ParisCond A-/Slight tears at edges.Ref: Folies-Bergère, 71; PAI-LI, 488

“It was in this revue, ‘Folies en Folie,’ that Mistinguett created her most famous song, “C’est vrai” (It’s true). Colette, writing a review of this in Le Matin, ends a laudatory article as follows: ‘She is a national property. This year she still has this gait which reminds us of Réjane’s, her pupils the color of the chicory flower, her long legs, her unimpeachable set of teeth, her cheerful smile and her sentimental expression. [Selten,] a regular collaborator of the Folies-Bergère . . . was given the honor of producing the poster for the show. He did a fine job. Two rows of boys shaded from grey to black surround the Miss. Three hands (two black and one grey,

a skillful color scheme) try to hold her. She–frail but delighted–smiles. Her arms are covered with the usual bracelets, her famous legs (at the time insured for the price of a private house on the Champs-Elysées) are barely hidden by a veil’” (Folies-Bergère, p. 12). This is the two-sheet, larger format version of the poster.

Est: $3,600-$4,000.

JEAN-DOMINIQUE VAN CAULAERT (1897-1979)

384. Mistinguett / Féerie de Paris / Casino de Paris. 1937.15 1⁄2 x 23 in./39 1⁄4 x 58.4 cmImp. Delattre, ParisCond A-/Slight stains at edges. Framed.Ref: Folies-Bergère, 79; PAI-XLI, 410

“Féerie de Paris” was such a hit that the box office of the Casino de Paris had to be enlarged. The theme of the revue was a tour of Paris monuments, led by Mistinguett wearing a six-foot

high Eiffel Tower of a costume. Van Caulaert could only fit part of it into this design, the rest tumbling outside of the frame. The poster–produced for the enduring success of the show’s run “d’après” the previous year’s original design–certainly doesn’t give away the star’s age at the time: 64. This is the smaller format.

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

ROUGEMONT

385. Mistinguett.46 3⁄8 x 63 in./117.8 x 116 cmImp. Richier-Laugier, ParisCond B/Unobtrusive tears near edges; printer’s creases in bottom text area.Ref: PAI-L, 345

One of Mistinguett’s go-to ensembles was the tramp, be it the sweet impoverished thing in her Rags-to-Riches performance or the rakish Artful Dodger-esque figure shown here.

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


386. Mistinguett. 1932.62 3⁄8 x 46 3⁄4 in./158.5 x 118.6 cmImp. H. Chachoin, ParisCond A-/Slight tears at left edge.Ref: PAI-L, 349

Despite being 59 at the time that this poster was made, Mistinguett appears as youthfully alluring as ever, glamorously clad in a rhinestone-studded, barebacked swimsuit and matching hat. Her career would continue on for over another decade, making her not only one of the best paid but the oldest women in showbiz at the time.

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

387. Casino de Paris / Mistinguett / Paris Qui Brille. 1931.15 1⁄4 x 23 3⁄8 in./38.8 x 59.4 cmCentrale Publicité, ParisCond A-/Unobtrusive folds.Ref: PAI-XLV, 568

In an image promoting her “Paris Adazzle” revue, Mistinguett is here presented perched atop a fleet of white horses, whipping around the stage with jewels and feathers tumbling behind her. This is the smallest of three formats.

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

388. Paris Qui Brille. ca. 1931.12 x 18 in./30.5 x 45.7 cmSigned costume design in silver ink. Framed. Ref: PAI-XLII, 526

When Gesmar died in 1928, Mistinguett chose zig as his successor, starting him out with costume designs before letting him tackle one of her many posters. Here is one of his better designs for her “Paris Adazzle” revue at the Casino de Paris in which she is flirtatiously draped in a Grecian-like costume, meant to allegorically represent all of nature’s fine bounty.

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

MISTINGUETT (Continued)

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PAUL GUSTAVE MOHR (1890-1959)

389. Composition des Moines. 1925.39 3⁄4 x 68 1⁄4 in./100.7 x 173.3 cmImp. Vercasson, ParisCond A.

In the early part of the 20th century, hundreds of advertisements featured the commedia dell’arte character Pierrot. He did not necessarily have to be related to a given product in order to sell it -- his image alone was enough to make something eye-catching. Here, he shares a cup of monk-made coffee with the moon -- noted as being his only friend in the famous French folk song, “Au Clair de la Lune.” A former pilot in the French Army, Mohr specialized in product advertisements from about 1920 to 1940.

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

ALFRED MOHRBUTTER (1867-1916)

390. Kunst-Ausstellung Crefeld. 1897.17 1⁄4 x 23 3⁄8 in./44 x 59.2 cmCond A/P.Ref: Wember, 588; PAI-VI, 178

A pensive, sophisticated design promoting an exhibition of ceramics and paintings at the newly-opened Kaiser Wilhelm Museum in Crefeld.

Est: $800-$1,000.

ALBERT GEORGE MORROW (1863-1927)

391. Illustrated Bits. ca. 1895.19 1⁄8 x 28 1⁄4 in./48.6 x 71.8 cmCond B+/Slight tears at folds & edges.Ref: Hiatt, p. 271, Reims, 1394; Affiches Etrangères, p. 71; PAI-XXXI, 542

Originally founded as Illustrated Tit-Bits in 1886, this periodical vanished after 1891 only to reappear four years later as Illustrated Bits. The magazine would fold again in 1899. This design, noted as Morrow’s first graphic ‘hit’ in the January 1899 issue of The Poster, is a visual symphony of color and detail, showcasing a girl with all the joy and grace of a prima ballerina traipsing down the street, wrapping the name of the periodical around her flying steps.

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

HERVE MORVAN (1917-1980)

392. Bal des Barbus. 1952.15 3⁄8 x 19 1⁄4 in./39 x 49 cmHand-signed gouache & ink maquette.Ref: Morvan, 401 (var); PAI-XL, 415

Similar to the many beard-themed festivals which recently began popping up around the USA, this maquette advertises a Bearded Ball. The completed poster announces the Moulin Rouge’s “4th Annual Ball of the Bearded-Ones,” proving that epic facial hair was just as appreciated in the 1950s as it is now. Of the many promised attractions noted in the printed poster, a competition for best beards & mustaches stands out as the most interesting, along with something entitled “Furax Unmasked . . . Revenge of the Bearded!”

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

ALPHONSE MUCHA (1860-1939)393. Biscuits Lefèvre-Utile. 1896.17 1⁄4 x 23 7⁄8 in./44 x 60.7 cmImp. F. Champenois, ParisCond A-/Very slight stains in top gold text. Framed.Ref: Rennert/Weill, 22; Lendl/Paris, 17; Weill, p. 42; Gold, 59 (var); PAI-XLVI, 443

“One of Mucha’s most personable young ladies, her hair cascading irrepressibly in fine style, is offering a dish of wafers in this exquisite design. The calendar for 1897 is imprinted on a semi-circular base. Note the initials LU in that part of the golden ornamental border that protrudes into the picture at right. The design of the girl’s dress incorporates sickle and wheat emblems . . . appropriate to the subject” (Rennert/Weill, p. 113).

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

394. La Samaritaine. 1897.22 1⁄4 x 68 in./56.5 x 172.8 cmImp. F. Champenois, ParisCond B-/Restored tears, largely at top & bottom text areas. Framed.Ref: Bernhardt/Drama, p. 3; Rennert/Weill, 24; Lendl/Paris, 6; Mucha/Art Nouveau, 10; Wine Spectator, 72; PAI-LI, 427

This “was a play with a Biblical theme [in which Bernhardt] played Photina, a girl from the Samaria district of Ancient Palestine, who becomes a supporter of Jesus and leads her whole tribe in converting to Christianity” (Rennert/Weill, p. 118). “Bernhardt’s mother was a Jew. For the actress, this was both a blessing and a curse. In Biblical roles such as Photine ... she turned her Semitic exoticism into an alluring attribute. In the poster by Alphonse Mucha for the play, the Hebrew inscription ‘JAHWEH’ appears behind Bernhardt’s head, while ‘SHADDAI,’ another Hebrew word for God, accompanies the inset picture. Playing to the public’s appetite for beautiful Jewesses redeemed by their conversion to Christianity, Bernhardt in the role of the Samaritan woman adheres to a faith resembling pre-rabbinical Judaism. Almost Jewish, but not quite, Photine is a sort of surrogate for Bernhardt and her equivocal religious identity” (Bernhardt/Drama, p. 2).

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

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395. Flower. 1897.15 1⁄4 x 24 1⁄2 in./38.8 x 62.2 cmImp. F. Champenois, Paris (not shown)Cond A.Ref: Rennert/Weill, 44; Lendl, 68; PAI-XLIII, 460

The floral half of his “Fruit & Flower” diptych, this serene goddess is “presented to us in a simple, straightforward design with a minimum of embellishments, which in this early period is a departure from Mucha’s usual style. There is, however, a great delicacy and tenderness in the way he pays tribute to nature’s bounty–the flowers at their fullest bloom . . . the [maiden] representing the finest flowering of womanhood” (Rennert/Weill, p. 179).

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

396. Times of the Day. 1899.Each: 14 3⁄9 x 36.5 in./40 3⁄8 x 102.6 cmImp. F. Champenois, ParisCond B/Restored tears in top & bottom areas of Eclat du Jour & Eveil du Matin. Framed.Ref: Rennert/Weill, 62; Lendl/Paris, 71; Wine Spectator, 77; PAI-XL, 423

In subdued pastels, this “quartet of barefoot young ladies represents the different times of the day. The borders are decorated in identical patterns. . . and the crisscross areas at the top have different floral panels. Each girl appears in an outdoor setting, with slender trees or tall flowers emphasizing her slim figure . . . The borders are worked out in such an exquisite pattern that each picture appears to be mounted in an elaborate frame of its own, or else seen through a decorated window. Quite possibly Mucha’s whole concept for the series was that of gothic stained-glass windows” (Rennert/Weill, p. 232).

Est: $30,000-$40,000. (4)

397. Job. 1898.38 3⁄8 x 58 1⁄4 in./97.5 x 148 cmImp. F. Champenois, ParisCond A-/Slight tears at edges. Framed.Ref: Rennert/Weill, 51; Lendl/Paris, 49; DFP-II, 634; Modern Poster, 9; Masters 1900, p. 18; Wine Spectator, 74; Gold, 2; Encyclopédie/Weill, p. 121; PAI-LI, 437

“In both of Mucha’s posters for Job cigarette papers–this is the second; the first was done in 1896–he gives us women sensually involved in the act of smoking. Here, the figure is full-length, her abandoned hair an echo of the pale fabric volumes of her gown. As she watches the lazy waft of smoke, even her toes curl deliciously in pleasure. The artist’s meticulous craftsmanship can be seen in such details as the gown’s clasp (of Mucha’s own design), and in the way he worked the product name into the background pattern” (Gold, p. 2).

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

398. Bières de la Meuse. 1897.41 1⁄8 x 60 5⁄8 in./104.5 x 154 cmImp. F. Champenois, ParisCond A.Ref: Rennert/Weill, 27; Lendl/Paris, 37; Mucha/Art Nouveau, 23; Timeless Images, 36; Maitres, 182; DFP-II, 633; PAI-LI, 433

“The jovial beer drinker has her long flowing tresses adorned with some appropriate beer ingredients, including barley stalks and green hops, and field poppy flowers indigenous to northeastern France. This is another one of Mucha’s characteristic designs featuring a beauty, semi-circular motifs, and artfully meandering hair” (Rennert/Weill, p. 126). The product itself being advertised is a bit vague -- while there are a handful of other posters for Bières de la Meuse, it is never clear if they are for a particular brand of beer by that name or simply for a myriad of beers produced in the Meuse region of France. The town shown in the lowermost register is that of Bar-le-Duc, capitol of the Meuse département in Lorraine, which was home to many breweries at the turn of the century.

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

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399. Le Pater. 1899.12 1⁄4 x 16 in./31 x 40.5 cmPublisher: H. PiazzaIn excellent condition with hand-made leather binding. Ref: Mucha/Art Nouveau, 72; Le Pater; PAI-XL, 442

Consisting of a series of seven drawings, Le Pater is considered to be Mucha’s printed masterpiece, an intense visual study of the Lord’s Prayer. The seven verses of the prayer are each presented with three illustrations, plus a color title page. The images themselves abound in Byzantine symbolism, executed and decorated in the very best Art Nouveau style. “In the context of Mucha’s oeuvre, this artistic and literary work combines in a fortuitously unique way his philosophy, imagination, talent and skill, reflects his past achievements in decorative design, and is also a precursor of his future artistic developments . . . The ornamental pages of Le Pater allowed Mucha to represent the symbolism of the Lord’s Prayer in the extravagantly decorative style that made him famous . . . Without exception, the French critics perceived Le Pater as a work of art in its own right, noteworthy for its imagery and vision . . . In the increasingly materialistic world, it is important for man’s spiritual growth to contemplate works that are inspired by well-known text, and have the ability to enrich and invest it with additional meaning. Le Pater is one of such works; it challenges the imagination and the mind, and, as Mucha would have it, leads man towards the Light” (Le Pater, pp. 10-20).

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

400. Cloches de Noël et de Pâques. 1900.11 5⁄8 x 8 1⁄4 in./29.5 x 21 cmImp. F. Champenois, ParisExcellent. In slip case. Ref: Mucha/Bridges, L26; Jiri Mucha, p. 139; PAI-XXXII, 579

Written by Emile Gebhardt, this volume consists of a trio of medieval tales associated with both Christmas and Easter. Mucha created eighty dreamlike illustrations in delicate pastels and metallics for the book, similar in style to illuminated manuscripts of the Medieval era. This is #75 of 215 copies on velin a la cuve from a total edition of 252.

Est: $7,000-$9,000.401. Moët & Chandon / Champagne White Star. 1899.9 7⁄8 x 25 1⁄8 in./25.2 x 63.7 cmImp. F. Champenois, ParisCond A.Ref: Rennert/Weill, 65; Lendl/Paris, 32; Mucha/Art Nouveau, 28b; Wine Spectator, 68; PAI-XLIX, 390

“For the firm of Moët & Chandon ... Mucha executed a number of designs which were used on menus, postcards and other publicity. Two of his assignments were for posters; one of them was used to advertise their White Champagne [known as White Star, personified here. Her] seductive being tempts us with choice grapes in a lovely outdoor setting, with flowers at her feet and vine tendrils and leaves all about her head” (Rennert/Weill, p. 244).

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

402. Moët & Chandon / Grand Crémant Impérial. 1899.9 1⁄2 x 24 3⁄4 in./24 x 63 cmImp. F. Champenois, ParisCond A. Framed.Ref: Rennert/Weill, 65; Lendl/Paris, 32; Wine Spectator, 68; Mucha/Art Nouveau, 28; Affiches 1000, 0032; PAI-XLIV, 392

“In their relentless pursuit of excellence, Moët and Chandon was among the first business concerns to recognize the genius of Mucha . . . The Imperial came in three grades, ‘Dry’, ‘Crémant’ and ‘Grand Crémant,’ and all of them have been advertised by the same design, with the lettering adjusted as needed. Note the Byzantine ornamentation and elaborate jewelry on the dark-haired girl: Mucha was an imaginative jewelry designer with highly original ideas” (Wine Spectator, 68).

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

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405. Pageant on the Vlatava River (Slavnostní Hra na Vltave). 1925.35 x 48 1⁄2 in./89 x 123.4 cmJan ziegloser, PrahaCond A.Ref (all var except PAI): Rennert/Weill, 109; Lendl/Paris, 93; PAI-XXV, 425

In July of 1926, the Sokol Organization held a quadrennial gymnastics & athletics meet. At the same time, a pageant was to be performed in conjunction with the sporting events in the middle of the Vlatava River. The performers were meant to gather on the small islands in the middle of the river and reenact historic scenes specific to Prague and the Czech people. This is the early olive green proof for the poster, which would ultimately include a lower text banner advertising the pageant in particular.

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

406. Postcards / The Months. 1900.Each: 5 1⁄2 x 3 1⁄2 in./14 x 9 cmImp. F. Champenois, Paris (not shown)Cond A-/Slight stains at edges on some.Ref: Mucha/Postcards, 54-65; Bowers/Martin, 461-472; PAI-XXIX, 539

Drawing partially from his many designs for the seasons series, this collection of twelve postcards beautifully and simply showcases a decorative personification of each month of the year.

Est: $3,000-$3,500. (12)

403. Ages of Man Calendar. 1899.Each: 8 7⁄8 x 12 in./22.7 x 30.5 cmImp. F. Champenois, ParisCond B+/Slight tears & stains, largely at edges.Ref: Rennert/Weill, 47, Var. 1; Lendl/Paris, 61 (var); PAI-LIII, 374

“This series of four panels depicting the Ages of Man [was] used as the basis for a calendar for 1898” (Rennert/Weill, p. 47). The images show a young boy growing into an old man, always accompanied by a doting female muse. This is the rare proof before letters.

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

404. Gellé Frères / Sylvanis Essence. 1899.9 3⁄4 x 25 1⁄4 in./24.2 x 64 cmImp. F. Champenois, ParisCond A. Framed.Ref: Rennert/Weill, 69; Phillips II, 427; PAI-XL, 420

Still in operation today, Gellé Frères was founded in 1826 by brothers Jean-Baptiste & Augustin, who had recently purchase the formulas created by the head perfumer to Louis XV. Known for its grand presentation bottles, the brand quickly became popular around the world, winning a host of international awards. This particular scent was not released until 1900, this image -- one of only two known copies -- presumably being an in-store or window display meant to drum-up interest before the product’s official launch.

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

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407. The Flowers. 1900.26 x 19 3⁄8 in./66 x 49.2 cmImp. F. Champenois, Paris (not shown)Cond A/P.Ref: Rennert/Weill, 49, Var. 2; PAI-XLVIII, 382

These panels were originally designed as four separate images in a larger format, and sold as a set. Here, these idealized, allegorical women are placed side by side on a single sheet, complete with a decorative boarder reminiscent of an Oriental folding screen. “One of the fundamental premises of art nouveau was to look for inspiration in nature, and in ‘The Flowers’ set Mucha produced one of the best arguments for it. The four ethereal sprites represent [from left to right] the Rose, the Iris, the Carnation, and the Lily, respectively, and it is a clear case of Beauty celebrating beauty in each instance. By using only soft pastels and harmonious composition, Mucha imbued each scene with a sense of tranquility and quiet enjoyment” (Lendl/Paris, pp. 86-87).

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

408. The Seasons. 1900.Each: 12 1⁄4 x 27 3⁄4 in./31 x 70.5 cmImp. F. Champenois, ParisCond Summer: A.Spring: B-/ Vertical stain along left side.Winter: A.Autumn: B+/ Slight tears & stains, largely at right paper edge. All framed.Ref: Rennert/Weill, 74

This will be the very first time we offer all four of Mucha’s Seasons from the 1900 series. This is without a doubt the more haunting and Byzantine-inspired compositional set, each including a small poem about the season somewhere on the page.

Est: $70,000-$80,000. (4)

409. The Seasons / Autumn. 1903.13 1⁄8 x 28 5⁄8 in./33.2 x 72.8 cmImp. F. Champenois, Paris (not shown)Cond A.Ref: Rennert/Weill, 74, new variant; Lendl/Paris, p. 79 (var); PAI-XLII, 407 (var)

The idea of personifying the four seasons was nothing new, but Champenois had such success with Mucha’s 1896 suite of decorative panels that he asked the artist to execute the theme again in 1897 and 1900 (see previous lot). This 1903 image is from the latter set. A brief descriptive poem for the season is included in this particular version of the panels, and the text here reads, “Autumn, symbolizing the year’s coming of age and bearing the vineyard harvest bounty, presents fruit that the summer sun has turned to gold.”

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

410. Zdenka Cerny. 1913.41 3⁄4 x 71 7⁄8 in./105.7 x 182.5 cmV. Neubert, Smichov/PragueCond A-/Slight tears in text banner. Framed.Ref: Rennert/Weill, 102; Lendl/Paris, 88; Mucha/Art Nouveau, 39; Gold, 177; PAI-XLIX, 405

This poster was prepared for Ms. Cerny’s European tour planned for the fall of 1914. When war broke out that spring, the tour was canceled, and the poster was never used. Cerny was the daughter of a Czech-American music teacher who befriended Mucha during the artist’s stay in Chicago. “Mucha worked from a photograph of zdenka with a cello, but idealized her face by investing it with a spiritual quality, her love of music. He created a unique poster-portrait by adjusting the slant of her head, softening her expression, lightening the hair, lifting the hand turning the sheet music, and elongating the body. Two circles, one with lilies symbolizing zdenka’s youthful innocence, the other with laurels of her past triumphs, complete the design suffused with warm light” (Mucha/Art Nouveau, p. 180). Hand-signed by Cerny at lower right.

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

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411. Sarah-Bernhardt / Farewell American Tour 1905-1906. 1905.13 1⁄8 x 38 3⁄4 in./33.3 x 98.3 cmMetropolitan Printing Co., New YorkCond A-/Horizontal fold.Ref: Rennert/Weill, 38, Var. 2

After a long run of European tours which began in 1880, Sarah Bernhardt turned to the United States as a new frontier for her talent. Between 1905 and 1912 she announced three separate ‘farewell’ tours, the earliest of which is advertised here. At least three other Mucha designs are known which promote this particular tour, all of which are drawn from previous images by the artist. This is the most obscure of the four, being a not-quite-identical copy of his illustration for L’Estampe Moderne (see Lot 412).

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

412. L’Estampe Moderne. 1898.22 3⁄4 x 31 1⁄4 in./57.8 x 79.4 cmImp. F. Champenois, ParisCond A-/Unobtrusive vertical fold. Ref: Rennert/Weill, 38, Var. 1; Gold, 88; PAI-XLVIII, 372

“L’Estampe Moderne was a monthly portfolio of four lithographs, most of them expressly commissioned for the series by its publisher, Champenois, which appeared from May, 1897 to April, 1899. There were also four supplements, making for a total of one-hundred prints in this 24-month series. Some of the leading artists working in the medium of color lithography contributed to it . . . Mucha’s monochrome cover design . . . was also enlarged and used as a standard poster. The only copy we have ever seen . . . announces the upcoming twelfth number . . . Whether other numbers were similarly announced is not known (Rennert/Weill, p. 158).

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

413. Casino de Monte Carlo. 1922.20 7⁄8 x 31 1⁄8 in./53 x 79.2 cmRobaudy, CannesCond A.Ref: Rennert/Weill, 33, Var. 1; PAI-L, 369

Though the original appearance of this border design dates back to 1897 (see PAI-XXVII, 518), it first shows up in La Plume, “on the title page of the special Mucha edition . . . Thereafter, it appears to have lain dormant for a few years until the printer Robaudy of Cannes printed a quantity of the borders and sold them to Imprimerie de Monaco, who in turn used them subsequently on numerous occasions to advertise various events in Monte Carlo by filling in the appropriate letterprint text. The design no longer had the artist’s signature on it, however. How the design suddenly showed up in Monaco is a bit of a mystery; however, we know that Mr. Victor Atché was at that time the director of casinos for this Mediterranean municipality, and it has been suggested that he may be a relative of Jane Atché, an artist and friend of Mucha’s, best known for her beautiful JOB Cigarettes posters [see No. 144]; she may have been instrumental in bringing the design to his attention” (Rennert/Weill, p. 141). No matter how the design arrived in Monaco, it’s important to note that it was such a recognizable and well-loved image that it was subsequently used into the 1920s for various Monte Carlo cultural events. Such as the details of this “Weekly Program” at the Casino de Monte Carlo in the winter of 1922, featuring the operas Carmen and Louise. This is the smaller format printed with red ink.

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

ALFRED MÜLLER (1869-1940)

414. Peacocks. 1901.63 x 24 7⁄8 in./160.2 x 63.1 cmCond A.Ref: PAI-LII, 266

These colorful and elegant peacocks, at once both integrated into and decorously separate from their lush surroundings, amply demonstrate Muller’s natural flair for complex yet harmonious design. Born in Livorno in 1869, the Italian native was active as a painter and watercolorist at the turn of the century in both his homeland and France, specializing graphically in the production of decorative panels. Steinlen, in his poster for the magazine Cocorico indicated that Muller was one of its contributors, but no work of his appears in any issue.

Est: $1,500-$2,000.

R. MÜLLER

415. Rolfo Tea Room / Maquette. 1928.38 1⁄2 x 50 1⁄8 in./98 x 127.5 cmGouache & ink maquette.

An unrealized design for an unknown venue. To make matters even more complex, we could not decide if it was promoting the Rolfo or the Romeo tea room. Either way, though, this is a very handsome Art Deco image, showing a Weimar-era New Woman casually enjoying an afternoon repast care of a Bauhaus-inspired tea set.

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

M. NESTEROVA (1897-1965)

416. Odessa / USSR. ca. 1936.27 3⁄8 x 39 1⁄8 in./69.5 x 99.5 cmCond B/Restored tears at left edge.

With the Potemkin Stairs drawing one’s eye toward the horizon, we are eased into a nighttime view of Odessa’s harbor. Barely visible is a black on blue

design etched into the structure on the left, while the red glow of the lighthouse is reminiscent of Cassandre’s image for Wagons-Lits (see PAI-LIV, 264). Interestingly, the nautical flags cutting through the foreground spell out ‘Intourist,’ the name of the travel company promoted in the poster.

Est: $600-$800.

EMIL ALFRED NEUKOMM (1906-1948)

417. PKZ. 1930.35 7⁄8 x 50 in./91 x 127 cmWolfsberg, zürichCond A-/Slight water stain along left edge. Ref: PAI-XLVIII, 387

Usually seen the other way around, the powerful silhouette of a golfer is seen filled with the varied terrain of the Swiss landscape, from its mountains to its green lakes region. Presumably, the man is wearing clothing by PKz, a brand so integrated into Swiss culture that it literally has become part of its topography.

Est: $800-$1,000.

MAURICE LOUIS HENRI NEUMONT (1868-1930)

418. Christophe Colomb / Moulin de la Galette. 1926.18 1⁄2 x 28 1⁄4 in./47 x 71.8 cmImp. H. Chachoin, ParisCond A-/Unobtrusive folds.

One of the rare windmills still located in Montmartre, the Moulin de la Galette was once one of the more celebrated dance and music halls of the Belle Epoque, most notably featured in a painting of the same name by Pierre-Auguste Renoir. Here, in the typical bawdy and humorous style associated with the venue, Christopher Columbus is shown being more in awe of his discovery of the Moulin than of America.

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

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ANDRÉ NÉVIL

419. Theatre Sarah-Bernhardt / Varennes. ca. 1904.34 3⁄4 x 26 3⁄4 in./88.3 x 67.9 cmHelio. Fortier & MarotteCond B+/Very slight tears at folds.Ref: PAI-XLII, 61

On June 20 & 21, 1791, at the height of the French Revolution, the royal family attempted to escape abroad via Varennes. Their efforts were unsuccessful, as we know, and they were beheaded soon thereafter. The drama surrounding this failed flight was brought to the stage by Sarah Bernhardt in the role of Marie Antoinette, in a play which received less than stellar reviews. This poster focuses on the moment when her carriage is intercepted and she is forced to emerge with her children, seconds before she is taken prisoner.

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

MARCELLO NIZZOLI (1887-1960)

420. “Campari” / l’apéritif. 1926.35 1⁄2 x 51 3⁄4 in./90 x 131.2 cmEdizioni Star, MilanoCond A.Ref (all var except PAI): Nizzoli, p. 10; Campari, vol. 3, p. 133; Menegazzi II, 182; PAI-LI, 452

While mainly focusing on industrial design, Nizzoli also dabbled in the fine arts. This is perhaps why his posters for Campari all have a sharp architectural feel about them, aggressively and monumentally standing before the viewer like an advertising monolith. Showcasing the beverage’s signature red hue, we witness an azure soda bottle magically squirt some of its contents into an apéritif glass, thereby creating the ever-famous cocktail of Campari & soda. This is the rare, smaller, one-sheet format of the French-language edition of the poster.

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

421. Bergamo. 1927.26 x 38 1⁄8 in./66 x 97 cmEdizioni Star, MilanoCond A/P.

Located in Lombardy, Bergamo is a charming ancient city, partly constructed during the middle ages and again during the 17th century. This image would have been created just when the town was on the verge of heavy industrialization, still maintaining its old world charm and tranquility.

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

422. Motosacoche. 1927.26 3⁄4 x 39 in./68 x 99 cmMaga, GenèveCond A.

As with most posters by Nizzoli, this image is pure Art Deco drama -- saturated colors, sharp interesting angles, and a un-fussy, powerful design. Motosacoche -- meaning ‘engine in a bag’ -- began in Switzerland in 1899, and would ultimately become the country’s largest motorcycle manufacturer.

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

EUGENE OGÉ (1869-1936)

423. Bowling’s Brunswick. ca. 1910.31 5⁄8 x 47 5⁄8 in./80.3 x 121 cmImp. M. Dumas, ParisCond B+/Slight tears at edges.Ref: Ogé, 212

One of only two known copies, this is considered the best and rarest bowling poster ever created. Ogé had worked previously with the company, creating an image for their Billiards Brunswick division. In both designs, members of the upper class are seen gazing in enraptured awe at the new sport. Here, we see a two-holed bowling ball careening toward the viewer, pins flying in all directions. This is not only an important poster for its fantastic compositional qualities, but also as a valuable historic document.

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

424. Quinquina Dubonnet. ca. 1899.22 3⁄4 x 30 7⁄8 in./57.7 x 78.5 cmImp. Charle Verneau, Paris (not shown)Cond B+/Slight tears at folds & edges. Framed.Ref: Ogé, 94; PAI-XLVI, 468

This “panel for Dubonnet shows the skilled hand of an expert lithographer, and wonderful dashes of irony in the expressions of the assorted imbibers. Ogé was to use . . . an assortment of characters several more times, sometimes even using a commercial client’s poster design to make a political comment” (Wine Spectator). Here, we see everyone from grandma to a newborn baby enjoying the delightful taste of the aperitif. Ogé’s principal claim to fame was his long tenure as house artist for the printer Charles Verneau around the turn of the century; he also, however, produced numerous drawings that were well-received in fine-art circles. This is the one-sheet, vertical format.

Est: $800-$1,000.

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JOSEPH MARIA OLBRICH (1867-1908)

425. Darmstadt. 1901.19 3⁄4 x 32 3⁄4 in./50.2 x 83.2 cmHofdruckerei H. Hohmann, DarmstadtCond B+/Slight tears & stains, largely in margins; horizontal fold.Ref: Wember, 630; Gagel, p. 72; Affiches 1000, 0041

When Olbrich co-founded the Vienna Secession group in 1897 with Klimt, Hoffmann, and Moser, his main contribution was to design the group’s exhibition building, known as the Secession Hall. It became such a well-known monument that two years later, he was called by the Grand Duke of Hesse to create other exhibition buildings for the newly-formed Damstadt Artists’ Colony. This poster is for their first exhibition, and features an intricate rendering of the Ernst Ludwig House, also designed by Olbrich, in the background.

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

MANUEL ORAZI (1860-1934)

426. Thaïs. 1894.15 1⁄8 x 41 1⁄2 in./38.6 x 105.5 cmImp. Lemercier, ParisCond A-/Slight tears & stains at edges. P.Ref: Maindron, p. 97; French Opera, 34; Theaterplakat, 46; Reims, 920; Affiches 1000, 0013; PAI-XLVII, 412

Noted by Broido, this unique poster promoting Massenet’s opera has been created to resemble “a papyrus, torn, eaten away by the centuries. Orazi has created a poster that is the first to have such a curious form.” Such a different design is in perfect harmony with the opera’s plot, which takes place in Ancient Egypt during Byzantine rule. Drawn to the beautiful courtesan Thaïs, a Cenobite monk attempts to convert her from worshiping Venus to worshiping the Christian God. Ultimately, it is revealed that his interest in her is entirely rooted in lust, whereas her morals and sense of honor are far superior.

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

ONTIVEROS

427. United Nations. ca. 1946.13 7⁄8 x 20 3⁄8 in./35.3 x 51.8 cmPublished by El Coordinador de Asuntos Interamericanos, WashingtonCond A-/Slight tears at edges.

Formed to replace the League of Nations in 1945, the United Nations had at that time the supreme goal of hindering a third World War. Here, the flags of many of its members form a prison around Adolf Hitler and Emperor Showa, symbolically indicating that such dictators will never be allowed to reign in the post-war world.

Est: $800-$1,000.

OLSKY

428. Chapeaux Mossant. 1928.46 7⁄8 x 62 1⁄4 in./119 x 158 cmImp. Vercasson, ParisCond A. Framed.Ref: Deco Affiches, p. 69; PAI-XLVI, 470

Although the more famous poster for this hat company is by Cappiello (see PAI-LI, 182), this vibrant Deco image by Olsky may be the more handsome design. Combining elements of the Object Poster with that of mysterious, seductive graphics, the product pops off the page while the background figure lures us in with desire. An intriguing visual tease.

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

PAL (Jean de Paléologue, 1860-1942) For other posters by Pal, see Nos. 46-50

429. Job. ca. 1895.42 1⁄2 x 58 1⁄4 in./108 x 148 cmCond A-/Slight stains at paper edges.

One of Pal’s more sensuous designs, we are met with a daringly-clad siren, coquettishly teasing us as she smokes a cigarette made with a Job rolling paper. As with most advertisements for this brand at the time, the company’s name is seen repeatedly in the poster. Here, the product is shown on the table -- logo prominently displayed outward -- and again on a folding screen behind the girl, conveniently the same color and style as the table-bound version. This is the before-letters version of the poster.

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

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RENÉ PÉAN (1875-1940)

431. Le Fiancé de Thylda. 1900.22 1⁄4 x 32 5⁄8 in./57.1 x 83 cmImp. Chaix, Paris. Cond A. Ref: French Opera, 51; Spectacle, 259; PAI-XLIV, 421

“The scene is Stockholm. Thylda’s fiancé is Otto, and her father is the same Baron von Gondremarck who appeared as a young man in Offenbach’s La Vie Parisienne . . . The baron decides that before the wedding his future son-in-law should have the same opportunity for adventures in Paris that he had. He sends him off but Thylda makes him miss his train. He goes anyway . . . in a dream. On awakening, he finds that the dream has sufficed and is content to confine his travels to a honeymoon trip” (French Opera, p. xxiv).

Est: $800-$1,000.

432. Nude Pierrette. ca. 1920.17 1⁄2 x 21 1⁄4 in./44.5 x 53.8 cmSigned oil on canvas. Framed.

There is a mirrored version of this painting by the artist in which the subject is fully clad -- the same strawberry blond curls and rosy-cheeks, the identical ruffled collar and floppy hat. The only exception between the two poses is that in the one, the subject is just smiling, almost as if she’d been sitting there far too long trying to hold a kindly expression, whereas here, her lips part and a twinkle appears in her eye, knowing that what she’s doing is a bit naughty.

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

433. La Danseuse. ca. 1919.18 1⁄4 x 21 5⁄8 in./46.2 x 55 cmSigned oil on canvas. Framed.

One of a handful of Arabian-themed dancers painted by Péan, all the woman from this series glance off to the right, their bodies arched in every direction as colorful bits of fabric billow out behind them. The artist had a way of presenting women in an openly erotic way without making them appear cheap or dirty -- she is a sweet Salomé, a dainty Delilah.

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

ALFRED HEINRICH PELLEGRINI (1881-1958)

434. Kunsthalle Basel. 1950.35 5⁄8 x 50 1⁄4 in./90.5 x 127.5 cmWassermann, BaselCond A.

Founded in 1872, the Kunsthalle in Basel, Switzerland, has always been a supportive home for the work of avant-garde artists. Here, a nude male figure gingerly dipping his toe into a pond announces the latest month-long exhibition.

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

EDWARD PENFIELD (1866-1925)

435. Harper’s / March. 1896.10 3⁄4 x 18 1⁄8 in./27.2 x 46 cmCond B+/Slight tears, largely at edges. Framed.Ref: DFP-I, 354; Reims, 1271; Lauder, 178; PAI-XLVI, 24

Serene, pensive elegance graces the poster for the March issue of Harper’s magazine, with a hint of far-Eastern exoticism in the presence of three kabuki masks hanging in the background.

Est: $800-$1,000.

ROGER PEROT (1908-1976)

436. Amours Exotiques. 1927.44 7⁄8 x 60 3⁄8 in./113.9 x 153.4 cmImp. Hachard, ParisCond B-/Restored tears, primarily at folds & edges.Ref: Posters & Publicity 1928, p. 123; PAI-XLIX, 434

Amours Exotiques was a semi-documentary silent film culled from the massive amount of footage taken by director Léon Poirier during the course of his incredibly well-received – and influential – La Croisière Noire, a film that followed a explorational journey across continental Africa. Also known as 2e Mission Haardt-Andouin Dubreuil, “The Black Cruise” embarked on October 28, 1924, with seventeen men in eight half-track vehicles heading out of the Algerian village of Colomb-Bechar into the eastern Sahara. Their mission, sponsored by automobile magnate André Citröen, was to film a nineteen-month trip that would take them over almost the entire African continent, incidentally showcasing the superiority of the French automotive industry in the face of rugged terrain as well as the expansive nature of France’s many African colonies. Along with La Croisière Noire, Amours Exotiques would be cited as one of the primary generators behind the popular passion for all things African in 1920s France, influencing major artists like Picasso, Gauguin, and Matisse.

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

MAXFIELD PARRISH (1870-1966)

430. Scribner’s / Fiction Number. August. 1897.14 x 19 3⁄8 in./35.5 x 49.2 cmCond B-/Light-stained; tears, mostly at folds & edges. Framed.Ref: DFP-I, 316; Lauder, 137 (pl. 14); Margolin, p. 55; Parrish, pl. 31; PAI-LI, 460

One of his more famous designs, Parrish’s poster for the August 1897 issue of Scribner’s magazine is now an icon of American illustration. Appearing in this particular issue were over a dozen works of short fiction and poetry, including a story by Rudyard Kipling -- all of which are apparently being enjoyed by the nubile, nude reader in this poster.

Est: $1,200-$1,400.434

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RENE H. PESLE

437. Stamboul. ca. 1923.31 1⁄2 x 47 1⁄4 in./80 x 120 cmImp. Reunies, ParisCond A.Ref: Orientalist, p. 122; Orient, p. 40

At first glance, this appears to be a travel poster, dramatically showcasing a sunset view of Istanbul’s Blue Mosque, the long shadows of cypress trees cutting across the foreground. However, upon reading the text, one learns that this image is promoting a musical evening entitled “Stamboul” by Edouard Tremisot.

Est: $800-$1,000.

JEAN M. PESKE (1870-1949)

438. L’Estampe et L’Affiche. 1893.51 x 36 1⁄4 in./129.6 x 92 cmImp. Gerin, Dijon-ParisCond A.Ref (all var but PAI): DFP-II, 710; Affichomanie, 52; Color Revolution, 70; Weill, 81; Wine Spectator, 66; PAI-XLIV, 433

L’Estampe et l’Affiche was probably the most influential publication in the field of color lithography in France at the turn of the century and, under the editorship of André Mellerio, it did much to encourage poster art in the brief period of its existence. In an article in the magazine announcing the publication of this poster, the critic Crauzat is full of praise for it, indicating that its clear tones and design show the artist to be a master of decorative effect. As far away as London, The Poster magazine also lauded the work: “On the green summit of a cliff, two women–one lying down and the other sitting–giving a back view of themselves, look far away into the dying perspective of the ocean. Their dresses, respectively red and blue, give two beautiful contrasting notes to the ambient tonalities. Mountains encircle the bay, the calmness of which is disturbed only by the modulated swing of a smack. The colours are cleverly harmonised, and the light line of water produces a very good effect” (June 1898, p. 28). This is a rare before-letters proof of the poster.

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

PABLO PICASSO (1881-1973)

439. Ceret. 1958.19 1⁄2 x 26 1⁄4 in./49.6 x 66.7 cmImp. Arnera, VallarisCond B+/Unobtrusive folds.Ref: Czwiklitzer, 32; Picasso Plakate, 84; PAI-L, 395

Located in the south of France, Céret is famous for its Museum of Modern Art, which houses paintings by Chagall, Matisse, Herbin, and Soutine. The crux of its modern collection, however, centers around an impressive array of works by Picasso, including his famous bull fighting series. The artist lived in Céret from 1911 to 1912, and Café Pablo in the town is dedicated to him. Forty-plus years after he resided there, the Musée held an exhibition of his ceramic works and Picasso designed this poster to promote it, a sunshiny burst of creative elation executed in traditional red and yellow Catalan hues.

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

PLOUËT

440. Bal de la Maroquinerie. 1926.15 1⁄2 x 23 5⁄8 in./39.3 x 60 cmMaroquinerie, ParisCond B+/Slight tears at folds.

A sly Art Deco design promoting a star-studded French ball. Noted entertainment includes the singer & screen actress Pierrette Madd, comedian Henry Laverne, chanteuse Jane Pierly, and the infamous Polin.

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

MAX PONTY (1904-1972)

441. Radiola. 1929.47 x 62 5⁄8 in./119.5 x 159 cmImp. Hachard, ParisCond A-/Unobtrusive folds.Ref: Art Deco Graphiques, 97; Art de l’Affiche, 120; PAI-XV, 473

First appearing on the market in 1921, Radiola was a product of RCA; however, the revolutionary radios would not by physically made by RCA until the purchase of the Victor company around 1930. This poster, produced a year prior, is an Art Deco masterpiece, the name of the product boldly propelling itself from a nearby radio tower through the billowing storm clouds, thus indicating how strong the signal would be on your newly-purchased Radiola.

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

ROBERT PORTEFIN (1899-1958)

442. Jonny Mene La Danse. 1928.28 x 31 1⁄2 in./58.3 x 80 cmCreation Ad. Sénéchal, ParisCond A.Ref: PAI-LII, 419

Written by Ernst Krenek, Jonny Mene La Danse (originally titled just Jonny) was billed as a modern jazz opera, and is considered one of the earliest musical pieces blatantly confronting issues of racism. Undergoing several revisions, the plot ultimately revolves around the jazz musician Jonny who steals a high-end instrument, seduces the public with his deft musical abilities, ultimately bringing black musical culture above that of all others. Openly condemned by the Nazis, performances of the show in Munich in 1927 were met with stink bombs going off in the theater. This did nothing to quell the demand for the production, which was quickly translated into at least ten different languages, appearing on over 50 stages across Europe.

Est: $800-$1,000.

POTENT OPTILETS

443. Three Posters. 1959 & 1960. Artists: first 2 by Herbert Leupin (1916-1999), and 3rd by Jean Colin (1912-1982)Each Approx: 14 1⁄4 x 22 1⁄4 in./36 x 56.4 cmCond A/P.Ref: Jean Colin, 179 (var); PAI-XLVI, 177 (var)

Abbott Laboratories is a diversified pharmaceuticals and health care company headquartered in Abbott Park, Illinois. Founded by Chicago physician Wallace Calvin Abbott in 1888, the company would go on to become one of the world’s largest pharmaceutical conglomerates, best known for its production of the sedative Nembutal, sodium pentathol–more commonly referred to as “truth serum”–and the artificial sweetener Sucaryl, which was banned in the United States in 1969 as a carcinogen. The company also developed the first HIV blood screening test in 1985. Part of a series of at least six images, these posters promote their line of “Potent Opilets,” a multivitamin meant to induce pep and vitality. Nowadays, these powerful dietary supplements are primarily available in Third Word and developing nations where multivitamin/mineral deficiency is more commonplace.

Est: $800-$1,000. (3)

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FRANCISQUE POULBOT (1879-1946)

444. Le Taudis. 1937.23 5⁄8 x 311⁄2 in./60 x 80 cmImp. Rampin, ParisCond A-/Unobtrusive folds.

By purchasing a small booklet of the artist’s illustrations, you will be helping relieve poverty in the slums of France. Although the child depicted is perfectly adorable, his living conditions breed tuberculosis and other fatal illnesses. A moving poster by Poulbot.

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

EMIL PREETORIUS (1883-1973)

445. Münchener Plakatkunst. 1911.26 7⁄8 x 37 7⁄8 in./68.3 x 96.3 cmFritz Maison, MünchenCond A/P.Ref: Plakate Munchen, 222; DFP-III, 2587 (var)

In almost psychedelic neon colors, this bright poster promotes an exhibition of posters by the artist Preetorius at a local bookstore.

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

446. Brakl’s Moderne Kunsthandlung. 1911.27 x 39 5⁄8 in./68.4 x 10 0.7 cmConsée, MünchenCond C+/Restored paper losses, largely at upper & lower left corners; slight tears at folds on right side. Ref: Deutsche Plakate, p. 132

Another brightly-colored design promoting an exhibition of the artist’s work, this time at the notable art dealer Brakl’s gallery in Munich. Part of the artistic group The Six, Preetorius contributed to such publications as Die Jugend and Simplicissimus. Also, as a personal friend of Thomas Mann, he illustrated A Man & His Dog and Confessions of Felix Krull.

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

LEO PUTZ (1869-1940)

447. Moderne Galerie. 1906.31 1⁄4 x 42 3⁄4 in./79.5 x 108.6 cmReichhold & Lang, MünchenCond B+/Slight tears & stains, largely at bottom edge.Ref: Plakate Munchen, 228; DFP-III, 2615 (var); PAI-XXXVI, 507

Created for the opening of the landmark Moderne Galerie in Munich, we are confronted with a sensuous design of a siren offering us an oyster shell full of pearls. This gallery became famous for being on the frontier of Modern art, one of the first to offer works by van Gogh, the French Impressionists, and the Blauer Reiter group.

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

A. QUENDRAY

448. Brasserie Schneider. ca. 1900.32 x 23 3⁄8 in./81.3 x 59.3 cmImp. I. Long, ParisCond A-/Slight tears at edges.Ref: PAI-XIII, 378

Cheerfully enjoying an afternoon on the bow of a ship, two well-to-do couples are shown sipping on various carbonated beverages by Brasserie Schneider, a company specializing in sodas and beer.

Est: $800-$1,000.

RAZZIA (Gerard Courbouleix, 1949- )

449. Redwood Jeans: Poster & Maquette. ca. 1980.Poster: 24 3⁄4 x 32 3⁄4 in./63 x 83 cmMaquette: 19 3⁄4 x 23 3⁄4 in./50.2 x 60.2 cmin Capetown, South AfricaPoster: Cond A/P. Maquette is gouache & ink on paper. Framed.

Created for the South African jeans and sportswear company, it is interesting to note how nearly-identical Razzia’s finished design is to the printed poster. We are confronted with a Mona-Lisa-esque face staring flatly out at us. Her hair, however, is wild with abandon, making the product image both mysterious and sensual.

Est: $7,000-$9,000. (2)

ETHEL REED (1876-?)

450. Miss Träumerei. 1895.13 x 21 1⁄2 in./33 x 54.8 cmLamson, Wolffe, BostonCond A-/Very small crease in lower black area.Ref: Lauder, 235; Affichomanie, 138; Gold, 80; DFP-I, 417; Reims, 1288; Maitres, 99; Keay, p. 18; Margolin, p. 168; PAI-LI, 471

Although set in Germany, Miss Träumerei: A Weimar Idyl was written and published only in America. While the plot is not readily known, the title itself lends much to what the story is probably about: Traumerei not only is the name of a romantic piano piece by Schumann, but when translated means ‘dreaming.’ The author is, in fact, better known as a musician than as a writer, having studied under Liszt in Weimar during the late 1850s, as well as founding the famous Bagby Musical Mornings at the Waldorf Astoria in New York. The image itself reflects on Reed’s fondness for the then-popular Japanese style of printing, with its flat areas of simple color and the diagonally-jutting chrysanthemums.

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

J. P. God. Reuil

451. Orangina. ca. 1935.31 1⁄4 x 46 1⁄2 in./79.3 x 118.2 cmPublicité Africa-AlgerCond B+/Tears at folds

A stark, eye-catching image promoting the beverage Orangina. Note how a parade of perfect oranges tumble into the outline of a glass, implying that the juice of real oranges are in every sip.

Est: $1,600-$2,000.

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E. REIDER

452. La Critique / Maquette. 1912.19 1⁄2 x 25 1⁄2 in./49.5 x 65 cmGouache & ink.

Presumably a literary or poetry periodical, little information is available on the history of La Critique or the artist behind this bold design. Despite the text being in French, there is evidence of a very Northern influence in the composition, echoing the return of interest to German woodblock prints, and an Austrian treatment of organically-inspired details in the lower register.

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

453. Exposition / Maquette. ca. 1914.29 1⁄4 x 40 7⁄8 in./74.3 x 103.8 cmGouache & ink maquette.

An unfinished, unsigned maquette by Rieder utilizing Byzantine imagery to promote an exhibition. A pencil notation in the blank area indicates that the text will read: “Arts & Metiers Bienne” (Arts & Crafts Biennial).

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

454. Hermes / Maquette. 1918.20 1⁄2 x 17 3⁄4 in./52 x 45.2 cmGouache & ink maquette.

Another Byzantine-inspired design by Rieder, this time focusing on a portrait of the Greek god Hermes.

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

GEORGES ROCHEGROSSE (1859-1938)

455. L’Opera Comique / Louise. 1900.24 1⁄8 x 32 1⁄4 in./61.3 x 81.8 cmEd. Delanchy, ParisCond A. Framed.Ref: French Opera, 22; Gold, 154; DFP-II, 751; PAI-XLVII, 446

One of the more romantic opera posters of the era, this image for Charpentier’s Louise depicts an amorous couple embracing on the outskirts of Paris under stealth of the night. “‘Louise’ . . . is the story of a working girl who falls in love with a poet and goes to live with him, to the horror of her parents. They contrive to get her back, but their rigid values and drab existence are pitted against the bohemian life of Montmartre. Montmartre wins . . . Charpentier . . . broke with operatic tradition in portraying the seamy side of contemporary life and his heroine was the symbol of a new freedom in the new century” (French Opera, p. xx).

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

ROEDEL (1859-1900)

456. La Vache Enragée. 1897.33 1⁄2 x 48 in./85 x 122.4 cmImp. Chaix, ParisCond B-/Tears at folds & edges; slight paper loss in dress area. Framed.Ref: Maîtres, 179 (var); PAI-XXXII, 489

Roedel was a caricaturist, illustrator, watercolorist, and lithographer. He aligned himself in Paris with a group of artists in Montemarte such as Willette, Leandre and Caran d’Ache, supplied drawings for Le Courrier Français, and produced posters, mostly for the local cabarets and theaters. When Willette started the magazine La Vache Enragée (The Angry Cow), Roedel contributed several designs. The name of the publication refers to the artists’ life: ‘manger de la vache enragée’ is a French idiom for ‘eking out a miserable existence.’ Clearly, this mock-serious design pokes fun at the expense of its subject.

Est: $600-$800.

RICHARD N. ROLAND-HOLST (1868-1938)

457. Wagner / Herdenking. 1932.33 1⁄8 x 47 1⁄8 in./84.2 x 119.8 cmL. van Leer, AmsterdamCond B/Slight tears at folds.Ref: PAI-XII, 386

In honor of the 60th anniversary of the death of the composer, this poster advertises a Wagnerian musical evening. The image echoes scenes from a myriad of Wagner’s operas, most notably Siegfried, in which that particular breed of Teutonic Christianity is on display.

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

JAMES ROSENQUIST (1933- )

458. 8th New York Film Festival. 1970.23 3⁄4 x 34 5⁄8 in./60.4 x 88 cmCond A/P.Ref: Lincoln Center, 26; PAI-XXIII, 454

A spectacularly colorful design for the 8th annual New York Film Festival by one of the greatest pop-art designers of the Modern era.

Est: $800-$1,000.

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RUSSIAN POSTERS

459. Celeste Cole. 1935. Artist: Anonymous27 1⁄2 x 40 3⁄4 in./69.7 x 103.6 cmCond B/Slight tears at folds & edges.

Although little is known of her today, Celeste Cole once made her living as a traveling jazz singer. She even had a short-lived career in Hollywood, appearing in the controversial 1931 film The Exile as herself. Here, we see her in flowing period gown, smiling broadly at the sight of her name in Art Deco Cyrillic.

Est: $800-$1,000.

460. Second Marriage. ca. 1922. Artist: Anatoly Belsky (1896-1970)27 3⁄4 x 41 3⁄4 in./70.5 x 106 cmCond B-/Slight tears & stains at folds & edges.

One of the most famous silent film directors during the 1920s, Jacques Feyder worked in French, English, and German, producing such enduring classics as The Kiss and Anna Christie (both starring Greta Garbo). Here, Belsky has created a simple but provocative-looking woman to help advertise the director’s latest cinematic endeavor, newly translated for Russian audiences.

Est: $900-$1,200.

461. Suspicious Baggage. Artist: Anatoly Belsky (1896-1970) 42 1⁄8 x 28 1⁄8 in./107 x 72.2 cmCond B/Slight tears at folds & edges.

One of Belsky’s lesser-known works, we are faced with two concerned, perhaps horrified, faces flanking what appears to be a fireman at work. As Arabic text crowns the top of this poster, this is most likely a little-known regional film.

Est: $1,500-$2,000.

462. Azerbaidzhan. 1926. Artist: Mikhail O. Dlugach (1893-1985)9 3⁄8 x 20 3⁄4 in./21.2 x 52.7 cmCond A-/Slight tears at folds.Ref: PAI-XXXIX, 266

Ivan Perestiani’s film Azerbaidzhan is part of an avant-garde Soviet Georgia series, one of the USSR’s many regional creations encouraged during the 1920s. Here, the protagonist -- a former countess -- is forced to embrace the seedy underworld of nighttime cabaret entertainment.

Est: $1,500-$2,000.

463. 60 Miles Per Hour. 1925. Artist: Mikhail O. Dlugach (1893-1985) & Nikolai Prusakov (1900-1952)28 1⁄4 x 38 1⁄2 in./71.8 x 97.9 cmCond B/Tears at folds & edges.

Co-designed by two of the more famous and prolific posterists of the Russian avant-garde, this image lacks a lot of the jarring angles and juxtapositions so commonly seen in the best of the genre. However, this was most likely a regionally-made film and not an international production, one of hundreds churned out to appease the mass-desire for cinema. No reference to the poster or the movie can be found.

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

464. Varieté. 1925. Artist: Emil Farmirg29 x 42 3⁄8 in./73.5 x 107.5 cmCond B/Slight tears at folds & edges.

Better known as Jealousy, the German silent film Varieté stars Emil Jannings and Lya de Putti. In it, an aging entertainment couple run a seedy side-show of ‘erotic sensations’; however, the husband’s desire to reclaim the glory of his youth as a trapeze artists overwhelms him. When he meets the charming orphan Berta-Marie, he decides to abandon his wife and son, making her his new co-star in the ring. After a brief rise in popularity, a world-famous trapeze artist notices their act, hires them for his own circus, only to seduce Berta-Marie for himself.

Est: $1,500-$2,000.

465. Tass Window #1333. 1945. Artist: A. Nalbandian33 1⁄2 x 64 1⁄4 in./85 x 163 cmTass Central Agency, MoscowCond A-/Slight stains.

A recent exhibition at the Art Institute of Chicago brought deserved attention to the historic and artistic phenomenon of the TASS Window posters. “Conceived as visual weapons to combat the invading German forces and mounted in the city streets and public spaces of the Soviet Union, these posters were also sent abroad as ambassadors to gain support for the Soviet cause. The TASS Window posters are unique in the history of poster making by virtue of their scale, chromatic brilliance, and stylistic variety, as well as the collaboration they represent between artists and writers, and their inventive use of the modest yet versatile medium of hand-stenciling” (Windows on War, p. 6). Each day’s poster was numbered, this being No. 1333.

Est: $1,700-$2,000. 464

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466. The Love Triangle. 1927. Artist: Stenberg Brothers (Vladimir, 1899-1982; Georgi, 1900-1933)27 5⁄8 x 39 1⁄2 in./70.1 x 100.4 cmCond B+/Restored tears at right edge & vertical fold.Ref: Russian Films, p. 189

One of the biggest box-office successes of its time in Russia, The Love Triangle (also known as Bed & Sofa) was an American-style comedy loved by the Soviet people but absolutely hated by the government. The plot is simple: “When a man (Fogel) comes into town to look for work and can find no room, his friend (Batalov) invites him to use the sofa in his apartment. Fogel has an affair with Batalov’s wife (Semyonova), but when Batalov finds out, he cannot leave the apartment for the same reason that Fogel began staying there: the housing shortage. Now it is Batalov who sleeps on the sofa. Batalov’s wife becomes pregnant, but neither man admits responsibility; they both encourage her to have an abortion. Ultimately, she leaves both of them to have the baby and take care of it herself” (Russian Films, p. 188).

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

RAYMOND SAVIGNAC (1907-2002)

467. Vérigoud / C’est Si Bon.... 1955.44 3⁄4 x 60 5⁄8 in./113.8 x 154 cmDe Plas, ParisCond A-/Slight tears at left edge.Ref: Savignac/Paris, 32; Savignac/Japan, 15 (var); PAI-XXXIII, 535 (var)

Savignac and Villemot are known as France’s two most important post-war posterists due to their simplicity of design and sunny sense of composition. This image is well-deserving of that reputation, advertising a line of citrus-infused sodas in shades of orange, lemon, grapefruit, and mandarin. They are so ‘verigoud’ that the young boy simply cannot choose just one.

Est: $1,700-$1,800.

468. Eutectic. 1958.20 3⁄4 x 29 1⁄4 in./52.5 x 74.4 cmCond A.

One of Savignac’s more rare creations, this design promotes American-made “Eutectic” welding sticks.

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

WALTER SCHNACKENBERG (1880-1961)

469. Anarchie ist Helfer der Reaktion und Hungersnot. 1918.37 x 48 3⁄4 in./93.8 x 124 cmOscar Consée, MünchenCond A-/Unobtrusive folds. Ref: Plakate München, 422; PAI-LII, 428

In response to the social chaos and poverty following World War I in Germany, Schnackenberg creates a standoff between national unity and destruction, claiming “Anarchy is the aide of reaction & famine.”

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

470. Verliebtes Krähwinkel. 1935.23 1⁄2 x 32 in./59.7 x 81.3 cmKunst im Druck, MünchenCond A.Ref: PAI-L, 435

One of the artist’s more feminine and tender designs, this poster advertises a staged performance of Verliebtes Krähwinkelat (loosely translated as “Love in the Boondocks”) at the Four Seasons Hotel.

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

RUSSIAN POSTERS (Continued)

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For another Russian poster, see No. 64 in the Automobile section

V. SCHUSTER

471. Lait “R. Béziers”. ca. 1920.46 1⁄2 x 62 1⁄2 in./118.2 x 158.7 cmPublicité Wall, ParisCond B/Slight tears at folds. Framed.Ref: PAI-XXIII, 474

R. Béziers concentrated milk is so delicious that even the cow can’t quite bear to part with it, inadvertently teasing a nearby infant who shares in said cow’s desire for superior dairy products.

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

HERMANN RUDOLF SEIFERT (1885-1954)

472. La Sullana. 1939.34 7⁄8 x 49 1⁄2 in./88.6 x 125.7 cmRyffel, zürich-AltstettenCond A-/Slight stains at edges. Framed.Ref: Plakat Schweiz, p. 252

Rarely-seen, this poster for La Sullana cigarettes is exceptional on many levels. The typography is simple and bold, while remaining graphically interesting, the letters overlapping in an almost Cassandre-esque manner. Meanwhile, two images of the product flank the main text like Roman columns, the smoke swirling upward like an oracle-reading at Delphi. A fabulously masculine Art Deco design.

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

SEM (Georges Goursat, 1863-1934)

473. Spinelly.30 1⁄4 x 45 3⁄4 in./76.8 x 116.4 cmJ. Minot, ParisCond B/Slight tears at folds.Ref: PAI-XXVIII, 533

Known for his delightful caricatures of celebrities and socialites, Sem’s posters always posses the simple charm of an illustration or cartoon. Here, he focuses on Spinelly -- a performer featured thrice in this auction -- giving her a vivacious and coy appeal. This is the rare orange-background version of this poster, more commonly seen in blue (see PAI-XLVIII, 448)

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

SEPO (Severo Pozzati, 1895-1983)

474. Palais de la Nouveauté. 1928.60 x 45 1⁄2 in./152.4 x 115.6 cmImp. de l’Affiche National DufayelCond B+/Slight tears at folds & edges. Framed.Ref: Sepo, 47

A glorious & rare Art Deco design announcing in bold primary colors that October is “Furniture Month” at the Palais de la Nouveauté.

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

475. L’Apértif Amer Picon. ca. 1934.33 3⁄4 x 50 5⁄8 in./90.3 x 128.6Création Publivox,GenèveCond A.Ref: Sepo, 20 (var); PAI-XXIX, 614

Invented in Algeria by the French distiller Gaétan Picon, Picon is technically a bitters, typically served with beer. With a strong orange-flavored based, the beverage also contains gentian, quinquina, and caramel. Here, a geometrically-rendered waiter rushes down the stairs, spritzing soda water into a fresh aperitif glass of Picon.

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

SEYDEL

476. Spielbank Bad Reichenhall.23 1⁄2 x 33 in./59.7 x 83.8 cmGerstung, Offenbach am MainCond A.

An appealing image showing both the daytime and evening pleasures available at German casino, from the picturesque gondola rides up the mountains to the thrill of the roulette table.

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

BEN SHAHN (1898-1969)

477. Lincoln Center / Philharmonic Hall. 1962.30 1⁄4 x 45 1⁄2 in./76.6 x 115.6 cmCond A-/Slight creasing in top text area.Ref: Shahn, p. 177; Lincoln Center, 8; PAI-XLVIII, 450

“Shahn’s love of music, musicians, and instruments, modern as well as ancient, is reflected in his many works dealing with musical themes. His image here of an angel . . . the graceful swirls of the feathery wings and the trance-like, ecstatic posture of the organist have that eye-arresting quality so important to poster art. This poster announcing the opening of Philharmonic Hall in the new Lincoln Center for the Performing Arts in New York City was the first to be commissioned by the Center, under a gift from the Albert A. List Foundation” (Shahn, p. 145).

Est: $1,400-$1,600.

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JOHN SLOAN (1871-1951)

478. Cinder-Path Tales. 1896.13 x 23 3⁄8 in./33 x 59.4 cmGeo H. Walker, BostonCond A. Framed.Ref: Lauder, 278; PAI-XXXIV, 62

Also used as the cover illustration, this poster advertises the newly-released book The Cinder-Path Tales by William Lindsey. Long since out of print, it is a collection of short stories all revolving around the life of Walter Brown, a British emigrant to the United States who has few marketable skills in his new homeland other than being an excellent sprinter. Most notably, it is an interesting read on the early history of American professional athleticism. This image, full of fine detail, perfectly showcases Sloan’s skills as an urban artist and member of the “Ash-Can School.”

Est: $800-$1,000.

BOB SMITH

479. World’s Fair 1940 / Stamp Exhibition. 1940.19 7⁄8 x 30 1⁄8 in./50.5 x 76.6 cmCond A.

A rare World’s Fair poster promoting the British Pavilion’s Postage Stamp Exhibition. Featured is an image of the “Penny Black,” the world’s first stamp.

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

G. SMITH

480. Maruin Quina. ca. 1906.45 x 60 3⁄4 in./114.4 x 154.2 cmAff. Belleville, ParisCond B+/Slight tears, largely at folds & edges.

Cherry-flavored with a hint of quinine, Maurin’s apéritif only recently became reintroduced on the French market after fading into obscurity around 1910. Here, we see that it outshines the competition, forcing older, less beautiful promoters of other liqueurs into the shadows.

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

ELISABETH SONREL (1874-1953)

481. 1904 Calendar / Oberthür. 1904.21 3⁄4 x 18 1⁄8 in./55.4 x 46 cmImp. Oberthür, RennesCond B/Slight tears & stains.Ref: PAI-LIII, 452 (var)

Two of the four beautiful Art Nouveau decorative panels from the infrequently-seen artist Sonrel, mounted on a decorative boarder alongside a 1904 calendarium. As opposed to the many other plates of similar theme, there is no real attempt to personify the flora with the women present by placing a multitude of flowers around them. Rather, they compliment one another in such a lovely fashion that any sort of additional allegory is unnecessary. Born in Tours, Sonrel was quite possibly the daughter of painter Stephane Sonrel, from whom she received her early artistic guidance. Although Sonrel’s output was known during her lifetime, it’s only in the past twenty years or so that her work has again received the attention it deserves.

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

THÉOPHILE-ALEXANDRE STEINLEN (1859-1923)482. Mothu et Doria. 1893.36 1⁄2 x 49 1⁄4 in./92.8 x 125 cmImpressions Artistiques, ParisCond A-/Slight tears at edges.Ref: Bargiel & zagrodzki, 12A.2; Crauzat, 490; DFP-II, 780; Maitres, 46; PAI-LIII, 455

A highly evocative image of a wealthy gentleman calmly offering his cigar as a light for a low-life redhead’s cigarette. We are catching the moment he inhales, cheeks sucked in, eyes wide as he looks down at the smoke. The air around them is sticky with late-night mist.

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

483. Mothu et Doria. 1893.37 1⁄8 x 51 1⁄4 in./94.5 x 130.2 cmImpressions Artistiques, ParisCond B/Slight tears at folds; recreated right margin. Framed.Ref (all var but PAI): Bargiel & zagrodzki, 12A.2; Crauzat, 490; DFP-II, 780; Maitres, 46; PAI-XLIV, 471

This is the rare black and white proof of the previous design.

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

482

480

478

483

479

481

484. Compagnie Française des Chocolats et des Thès. 1895.10 5⁄8 x 16 1⁄2 in./27 x 41.8 cmImp. Courmont Frères, Paris Cond A.Ref (all var but PAI): Bargiel & zagrodzki, 19B; Crauzat, 494; DFP-II, 784; Timeless Images, 49; Gold, 55; PAI-XX, 452

In one of Steinlen’s most tender posters, we are offered an intimate peak into his private life. Using his wife Emilie and his daughter Colette as models, we witness the artist’s family at breakfast. As Emilie quietly mediates over the day at hand, she sips on Chinese black tea. Meanwhile, young Colette stares curiously back at the signature household pet, protectively guarding her hot chocolate from a potential feline thief. As charming as it is cozy, this scene promotes the French Chocolate and Tea Company, a staple in all real, rather than overly-fancy, homes. This is the rare, smaller format.

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

485. Chat Noir / Prochainement. 1896.15 5⁄8 x 24 in./39.7 x 61 cmCharles Verneau, ParisCond A-/Slight staining in background.Ref: Bargiel et zagrodzki, 22B2; Encylopédie/Weill, p. 52; PAI-LII, 288

Intentionally playing on some of Mucha’s signature flares -- the elaborate Art Nouveau halo, the curl of the cat’s tail echoing his famous wild hair -- Steinlen morphs his favorite subject into a new siren for the Parisian nightclub scene. So popular that it was used in a variety of forms over the years, this is the smaller format of the classic design. The text here promotes the opening tour of the venue’s resident performers, boasting a “highly illustrious troupe” presenting shadow plays, poetry readings, and songs. This represents the initial printing of the “Prochainement” poster; later, after Rodolphe Salis fell ill and was unable to perform with the company, the “avec” preceding his name was replaced with “de,” both as a tip-on and in a new edition of the poster. This is the smaller format version of this famous design.

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

486. Lait pur Stérilisé. 1896.39 x 53 1⁄4 in./99 x 135.5 cmImp. Charles Verneau, ParisCond B/Restored tears at folds & edges.Ref (all var but PAI): Bargiel et zagrodzki, 16. A1; Crauzat, 491; Wine Spectator, 112; Maitres, 95; DFP-II, 783; Abdy, p. 97; Weill, 63; Gold, 56; Encylopédie/Weill, p. 54; Affiches 1000, 0012; PAI-XLII, 465

“Steinlen was one of the four or five great poster artists of his time; all his lithographic work is distinguished by a freshness and vigour which makes it powerful, and a simplicity and sympathy which makes it appealing . . . The subject of his posters are those dearest to his heart, his pretty little daughter Colette, and his beloved cats” (Abdy, p. 94). All the warmth, humanity and affection for which he is so loved comes through gloriously in this poster for the newly-marketed “lait stérilisé” that was touted over the “lait ordinaire” at that time. Charles Knowles Bolton, writing a year after its publication, proclaimed that this “is perhaps, the most attractive poster ever made. No man with half a heart could fail to fall in love with the child.” Louis Rhead himself commented: “When I saw it in Paris last year . . . it seemed to me the best and brightest form of advertising that had appeared.” That judgment remains valid today. This is the medium format before letters.

Est: $22,000-$25,000.

STEINLEN (Continued)

486

484 485

487. Affiches Charles Verneau. 1896.118 x 92 1⁄4 in./300 x 234.3 cmImp. Charles Verneau, ParisCond B/Slight tears & creases, largely at seams.Ref: Bargiel et zagrodzki, 20; Weill, 64; Crauzat, 495; Timeless Images, 50; DFP-II, 786; Wine Spectator, 110; Affiches 1000, 0026; PAI-XLVIII, 466

“One of Steinlen’s finest lithographic achievements was a huge, six-sheet poster for Affiches Charles Verneau. The bustling street scene is alive with an assortment of colorful Montmartre types, prominent among them the artist’s daughter, Colette, with a hoop, being carefully led by her mother, Emilie. Note how Steinlen shows the working class side by side with the smartly dressed bourgeois, giving them equal dignity–one of his most endearing traits” (Wine Spectator, 110). L’Estampe et l’Affiche concluded its ecstatic review of this poster by declaring “One can’t applaud it enough” (1897, p. 20). Seldom available for sale, this poster is best viewed in person to be truly appreciated.

Est: $55,000-$60,000.

488. Cocorico. ca. 1899.17 1⁄8 x 23 3⁄4 in./43.5 x 60.2 cmImp. Charles Verneau, Paris (not shown)Cond B+/Trimmed left margin. Framed.Ref: Bargiel & zagrodzki, 34B; Wagner, 64 (var); Crauzat, 502 (var); PAI-LIII, 461

It is not clear when this smaller format was printed, with the obvious authorization of Steinlen to the École Estienne. Normally, the lower half of the poster is seen filled with the names of artists featured within the magazine’s pages; however, here, all we see is the hint of the publication’s name looming behind the crowing rooster.

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


489. Motocycles Comiot. 1899.53 3⁄4 x 75 1⁄2 in./136.5 x 192 cmImp. Charle Verneau, ParisCond A-/Slight tears at folds & edges.Ref: Bargiel et zagrodzki, 36A1; Crauzat, 506; DFP-II, 792; Petit Reine, 35; Ailes, p. 23 (var); Car Graffitti, p. 11; PAI-LI, 498

Based off of models by Dion-Bouton, Comiot Cycles was a short-lived brand produced around the turn-of-the-century. Here, the product could not be more charmingly portrayed, a pensive young rider flying through a swarm of geese as she breezes through the countryside. This is the larger, 2-sheet version.

Est: $30,000-$40,000.

489

487

488

492. Portrait d’une Femme. ca. 1890.16 x 24 3⁄8 in./40.6 x 62.5 cmSigned crayon drawing with estate stamp in lower right. Framed.

A prolific draftsman, Steinlen is known for his tender, intimate renderings of the common urban man. Here, he gives us a quiet moment with an unnamed woman, her gaze ending just beyond the frame. With just a few choice lines, the artist provides us with a personality, a young woman taking a thoughtful pause before moving on. Lovely.

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

493. L’Assommoir. 1900.53 3⁄4 x 76 in./136.5 x 193 cmImp. Charle Verneau, ParisCond A-/Slight tears at edges. Ref: Bargiel et zagrodzki, 40A2; Crauzat, 508; DFP-II, 796 (var); Theaterplakate, 27; Gold, 86 (var); PAI-XXVIII, 553

“L’Assommoir (‘The Gin Mill’) was Emile zola’s first novel and one of his realistic works which pioneered a new trend in literature, discarding the flowery lyricism of the romantic age in favor of a hard look at at the common problems of regular people. Steinlen, whose empathy for the working class matches zola’s, portrays the protagonist couple whose life is eventually destroyed by alcohol without flattery but with compassion” (Gold, p. 62). Gervaise, at age 18, is already a reformed drunk with two illegitimate children to show for it. She finally finds a decent man who wants to marry her, and they open a small laundry; but he, too, falls prey to the bottle. The novel was turned into a play in 1900. This is the rare, two-sheet, before-letters version of the poster for that production.

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

494. Hellé. 1896.22 3⁄8 x 30 in./57 x 76 cmImp. Charles Verneau, ParisCond A-/Slight restored paper loss in margin. Framed.Ref: Crauzat, 497; DFP-II, 789; Maitres, 45; Steinlen, 80; Reims, 1029; PAI-XXXIII, 561

A seldom-performed four-act opera by Alphonse Duvernoy, Hellé allowed Steinlen to experiment with Classical imagery in this before-letters, hand-signed proof for the opening night poster.

Est: $600-$800.

490. Le Journal / La Traite des Blanches. 1899.48 1⁄2 x 74 3⁄8 in./123.2 x 189 cmImp. Charle Verneau, ParisCond B+/Unobtrusive folds; slight tears at seam. Framed.Ref: Bargiel & zagrodzki, 35; Crauzat, 503; Encyclopédie/Weill, p. 54 (var); PAI-LIII, 462

“Quite a few literary works of this era first saw the light of day as installments printed in daily or weekly papers . . . A major novel appearing in a trickle would hold readers for several months, with the hope that [readers] would get used to the paper’s other features and remain loyal afterwards. The lure of a new sensational novel was often used to advertise the paper itself. And sensational is the word for this poster advertising installments of ‘White Slavery.’ It depicts a heartless pimp with three of his victims. One is arguing passionately for her freedom, one seems resigned to her fate, and one in utter despair” (Gold, p. 66). This uncensored, larger format of the poster is the rarest of all versions!

Est: $9,000-$11,000.

491. Le Petit Sou. 1900.39 x 54 1⁄2 in./99 x 138.3 cmImp. Charle Verneau, ParisCond B+/Slight tears at folds.Ref: Bargiel et zagrodzki, 39; Crauzat, 507; Steinlen, 96; DFP-II, 795; Schardt, p. 148; Gold, 99 (var); PAI-XL, 502

Originally designed for a workers’ daily paper, this image shows a wild Marianne calling her fellow laborers to arms against the tyranny of the State. About to storm the new Bastille, she has ripped off her shackles in protest. This is the image-only version, without the top or bottom text panels.

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


492

493

491490

494

495. Almanach du Bibliophile. 1901.6 x 8 1⁄4 in./15.2 x 21 cmEditions d’Art/Édouard Pelletan, ParisOverall excellent; case has slight wear.

An unbound issue of The Book Collector’s Almanac in its original case, complete with unopened signatures and separately-printed plates. It consists of 294 pages with 31 designs by Steinlen. This is #7 of the collector’s edition of 50, printed on China paper.

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

496. Maxim Gorki. 1905.22 7⁄8 x 27 3⁄4 in./51.7 x 66 cmCond A-/Slight stains at paper edges. Hand-signed in pencil, lower right.Ref: Crauzat, 266

A fiercely haunting image, we are confronted with the hard stare of Maxim Gorki, the father of Socialist Realism in literature. In the lower register, a timeless landscape is preparing for a storm, while, even further down, several printed remarques of Gorki’s portrait are included alongside that of a seagull. This is #33 of 61 signed & numbered proofs.

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

497. Französische Kunstausstellung zu Krefeld. 1907.21 x 33 3⁄4 in./53.4 x 85.6 cmImp. Eugene Verneau, ParisCond A. Framed.Ref: Bargiel et zagrodzki, 49; Crauzat, 541; Livre d’Affiche, 115; DFP-II, 800; PAI-L, 462

A charcoal-style drawing of a woman holding red flower heads a poster inviting us–in German–to an exhibition of French art in Krefeld. Even with Steinlen’s artistic diversity taken into consideration, this poster remains something of a departure–reverent, enigmatic, and haunting.

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

NIKLAUS STOECKLIN (1896-1982)

498. Championnat du Monde de Gymnastique. 1950.35 x 49 3⁄8 in./88.8 x 125.4 cmProbenius, BaselCond A-/Slight creasing, mostly in text area.Ref: Swiss Sport, 117; Stoecklin, cat. 105; PAI-XLVIII, 475

Showing off strength, skill, determination, and dexterity, this inverted male athlete promotes the Twelfth World Gymnastics Championships in Basel, Switzerland. In the post-war era, international gymnastics competitions had become hugely important and popular, resulting in a highly-detailed set of rules and regulations as well as fierce judging. As such, the first “Code of Points” had been formulated the year prior by the International Gymnastics Federation, to be used for the first time during this event. This was also the first time that a full women’s program was to be held, which would be introduced to the Olympic Games in Helsinki two years later.

Est: $1,600-$1,800.

499. Quodlibet Maskenball. 1929.35 1⁄2 x 50 3⁄8 in./90 x 128 cmW. Wassermann, BaselCond B+/Slight tears at top & bottom edges.Ref: Stoecklin, p. 65; PAI-XVI, 477

A fanciful image promoting a Swiss masked ball in a local casino in Basel. It is interesting to note that the women get in for five Swiss Francs less than the gentlemen.

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

500. Gaba. 1927.36 x 50 in./91.3 x 127 cmWassermann, BaselCond A-/Slight creases. Ref: Plakat Schweiz, p. 40 (var); Margadant, 43r (var); Affiches Suisse, 51; Stoecklin, p. 25 (var); PAI-XXIX, 648

Blue and under the weather, an exceptionally stylized head is about to ingest Gaba -- a lozenge which promises to stop such feelings. Some sources claim that the medicine helped with the common cold, while others say that it was an antidepressant. In either instance, the design is simple, articulate, and effective. This is the German-language version of the poster.

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

VALDEMAR SWIERZY (1931- )

501. Zoo. 1967.25 7/8 x 38 in./65.7 x 96.4 cmPrasaCond B+/Slight stains at left edge; unobtrusive folds. P.

Swierzy, one of Poland’s finest post-War posterists, created many dynamic images for this zoo, from his wide-mouthed hippo to his ferocious tiger. These flamingos, however, are truly his best in the series, painted with almost a watercolor-like quality that makes them seem feather-soft and light.

Est: $800-$1,000.


498

495

497

496

500

501

499

502

503

HENRI THIRIET (1866-1897)

502. Exposition de Blanc a la Place Clichy. 1898.51 5⁄8 x 35 3⁄4 in./131 x 91.1 cmImp. de Vaugirard, G. de Malherbe, ParisCond A-/Slight tears at edges. Framed.Ref: DFP-II, 815; Schardt, pp. 166-67; Gold, 24; PAI-LIII, 477

“A saleswoman at the Place Clichy White Sale shows a discerning customer some fine bed linens. Thiriet makes the women’s appearances and attitudes so charming and gives the sheets themselves such sumptuous volumes that purchasing what is essentially a household requirement seems as delightful as choosing a new dress” (Gold, p. 18). Crauzat, announcing its publication in L’Estampe et l’Affiche, calls it “a beautiful design with pleasing colors. We hope that it will be followed by many more [from the artist]” (1898, p. 43). Unfortunately little is known of Thiriet, who gave his full first name only once, in his poster for “L’Affiche Francaise.”

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

503. L’Affiche Française. 1897.19 x 25 in./48.5 x 65.5 cmImp. Bourgerie, ParisCond B/Slight tears at edges; horizontal fold. Framed.Ref: DFP-II, 814; Affichomanie, 44; Phillips II, 568; PAI-XLI, 549

An allegorical figure representing “L’Affiche Française” sits on the banks of the Seine, thumbing through an album apparently containing a “Who’s Who” of French posterists, as the list on the right would seem to indicate. It is unclear, however, if this poster was for a publication or an exhibition. That said, with the silhouette of Notre Dame de Paris standing watch in the background, this is one of Thiriet’s more subtly dramatic designs.

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

504. Confetti. 1894.16 3⁄4 x 21 7⁄8 in./42.6 x 55.6 cmImp. Bella & de Malherbe, London & ParisCond A-/Unobtrusive slight tear at top edge. Framed.Ref: Wittrock Pl3; Adriani, 101; DPF-II, 834; Wagner, 14; Wine Spectator, 53; Reims, 779; PAI-XLII, 487

Provenance: Collection of Humphrey Bogart & Lauren Bacall.“This small poster was made for the English paper manufacturers J. and E. Bella [who] organized poster exhibitions at the Royal Aquarium, London, in 1894 and 1896, to which they invited Lautrec” (Adriani, p. 144). In fact, the Confetti design was the cover piece of their exhibition catalogue. “Confetti epitomizes Lautrec’s conceptual simplicity; broad masses are effectively defined with utmost economy of means. His deftly inflected lines emerge more calligraphically by virtue of the light-colored image, with its broad sweep of billowing, off-white dress. In this poster Lautrec’s dematerialization of form borders on abstraction. The conception and concision of Confetti serve to distinguish Lautrec’s inventiveness from that of Chéret and his other contemporaries, who also treated the popular motif of a pretty smiling girl” (Wagner, pp. 25-26). The Bellas commissioned this poster “to advertise the flecks of paper they sold to replace plaster confetti which, considered too dangerous, had finally been outlawed in Paris in 1892” (Frey, p. 385).

Est: $60,000-$70,000.

504

Humphry Bogart, Lauren Bacall and son Stephen. © 1978 Sid Avery / mptimages.com

HENRI DE TOULOUSE-LAUTREC (1864-1901)

TOULOUSE-LAUTREC (Continued)

505. The Chap Book. 1896.24 1⁄2 x 17 in./61.7 x 43.2 cmImp. Chaix, Paris (not shown)Cond A-/Slight tears & stains at edges. Framed.Ref: Wittrock, P18A; Adriani, 139-I; Wagner, 24 (var); DFP-II, 846 (var); Reims, 778 (var); Wine Spectator, 51 (var); PAI-LI, 520

Commissioned by Stone & Kimball (the Chicago publisher of The Chap Book) from La Plume (which provided the design by Lautrec), this poster was never used in the United States -- possibly it was intended to promote the magazine’s sales in France only. “The Irish American Bar at 33 rue Royale was furnished in gleaming mahogany, and had a Chinese-Indian bar-keeper called Ralph, who with stoical calm served the British jockeys and trainers and local coachmen who frequented the bar. Here, too, the florid figure of Tom...the Rothschild’s coachman, a particular favorite with Lautrec for his supercilious manner ... is visible among the customer’s being served by Ralph with a special concoction” (Adriani, p. 196). Julia Frey makes it clear that the subject of this poster was also a home-away-from-home for Lautrec: He “let people know he could be found every afternoon in a certain bar. For several years from 1894 onwards, it was the Irish and American Bar. ... There, it is said, [Lautrec] presided over the clients in the bar as he had over his house guests, insisting to Ralph ... that people he didn’t like not be admitted” (Frey, p. 390). This is the rare proof before the addition of letters.

Est: $60,000-$70,000.

506. Elles. 1896.19 1⁄2 x 25 1⁄2 in./49.5 x 64.8 cmCond A. Framed.Ref: Wittrock, 155-III; Adriani, 177-IV; DFP-II, 842; Reims, 782; PAI-LIII, 480

The Elles collection is Lautrec’s most famous brothel series, an edition of lithographs depicting prostitutes simply referred to as Elles (Them). This ambiguous title both recalls the common phrase ces dames (these ladies), and at the same time is the pronoun indicating all females. Although the women of the Elles series are prostitutes, they appear desexualized, shown in postures that emphasize the everyday and unglamorous nature of their occupation. In this instance, putting her hair back up after finishing with a client; the only indication that a man is even in the room is his top hat resting gingerly on her bed. It was the pictorial epilogue to what the artist had experienced in the maisons closes of the Rue des Moulins, the Rue d’Amboise, and the Rue Joubert. ‘They’ are ‘women to my liking,’ as he used to say cynically, and he often lived with them for weeks at a time during the years 1892 to 1895, a constant witness of their daily lives, of their suffering and intimacy. The series was placed on exhibition at the Galeries de la Plume’s twentieth Salon des Cent on April 22, 1896, as indicated in this poster. This is the finest specimen we’ve ever seen, complete with full margins.

Est: $15,000-$20,000. 506

505

507. Le Jockey. 1899.14 1⁄4 x 20 1⁄8 in./26 x 51.2 cmH. Stern (not shown)Cond A/P. Framed.Ref: Wittrock, 308-II; Adriani, 345-II

“In Paris from the autumn of 1899 to the summer of 1900, Henry . . . seemed to live his former existence, making paintings and prints and maintaining contact with friends . . . In some ways he seemed more willing to live conventionally than he had before. He returned to his childhood interest in horses and the race track, having driven himself regularly to Chantilly, the Bois and Longchamps to watch horses. The works he did now

maintained the fine-lined, almost drawing-like quality of his painting” (Frey, p 480). And though The Jockey and three other lithographs were created with the intention of publishing a portfolio of horse racing subjects for the print dealer Pierrefort, this was the only one of the four ever realized as a print. Although lacking the glamour of Lautrec’s circus and cabaret images, this is one of his finest prints, conveying the raw energy and speed present on the track. You can almost feel the weight of the hooves as they hit the turf, hear the harsh breath of the animal as it gallops by on this overcast, cold morning.

Est: $70,000-$90,000.

508. Caudieux. 1893.35 1⁄4 x 49 1⁄2 in./89.5 x 125.7 cmImp. Chaix, ParisCond B+/Slight tears at folds. Framed.Ref: Wittrock, P7; Adriani, 4; DFP-II, 829; Wagner, 8; Reims, 776; PAI-XLV, 540

A well-loved cabaret personality in Montmartre, Caudieux was a large, floppy ball of a man, shown here with coat-tails billowing behind him as he exits,

stage right. As the actor purses his lips in self-satisfaction after what we can imagine to be a fine performance, a hollow-cheeked audience member gawks curiously up from the orchestra pit. Feinblatt calls this “a study in dynamic motion and concentrated energy . . . and his bustling sweep across the boards is an unparalleled rendering of movement among Lautrec’s posters” (Wagner, p. 20).

Est: $55,000-$65,000.

507

508


509. Le Matin / Au Pied de l’Echafaud. 1893.23 5⁄8 x 32 5⁄8 in./60 x 82.2 cmCh. LorilleuxCond B+/Tears at folds.Ref: Wittrock, P8; Adriani, 14; DFP-II, 830; Reims, 787; PAI-XXXIX, 500

This design advertises the serialization of the 1891 book At the Foot of the Scaffold in the newspaper Le Matin. Written by a former prison chaplain, the book carried a ‘true crime’ or ‘proto-reality TV’ quality to it which would have been particularly appealing at the time. The poster perfectly echoes this feeling, the prisoner’s gritty face contorted, the giant hand of the executioner weighing down upon his shoulder. Beyond him, faceless shadows on horseback will be the last thing he sees before death. All known copies of this image are trimmed at the bottom.

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

510. La Dépêche / Le Tocsin. 1895.16 3⁄4 x 21 7⁄8 in./42.5 x 55.5 cmCond A-/Slight tears at top & left edge.Ref: Wittrock, P19B; Adriani, 147; Wagner, 19; DFP-II, 839; PAI-XLVIII, 497 (var)

Advertising yet another serialized novel in the Toulouse-based paper La Dépêche, this image shows a ghostly woman followed down a deserted evening path by a skin-and-bones dog, the outline of a gloomy castle in the background. The Alarm (also known as The Lady of the Manor) by Jules de Gastyne is a gothic romance. “It is evident from this rather historical design . . . that Lautrec certainly did not confine himself to a single style of poster work; in place of the more familiar monumental flat shapes, we find here a nervous play of lines drawn over a delicately nuanced background” (Adriani, p. 203).

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

511. L’Artisan Moderne. 1894.25 x 35 3⁄4 in./63 1⁄2 x 90.9 cmImp. Bourgerie, ParisCond A. Framed.Ref: Wittrock, P24A; Adriani, 59-II; DFP-II, 835; Wagner, 12; PAI-LI, 514

Lautrec’s friend André Marty was a publisher and dealer in graphic arts, and also the founder of a chain of interior decorating shops that he called “L’Artisan Moderne.” As a favor, the artist helped him to publicize this venture by designing this charming poster showing “a craftsman, the medalist Henri Nocq, taking instructions from his very charming lady client” (Adriani, p. 99).

Est: $50,000-$60,000.


511510

509

514. Henri de Toulouse-Lautrec, 1864-1901, by Maurice Joyant. 1926-1927.Each: 8 1⁄8 x 10 3⁄8 in./20.6 x 26.3 cmPublished by H. Floury, ParisIn overall excellent condition; slight wear at cover edges.Ref: PAI-LIII, 510

The two-volume definitive work on the artist by his lifelong friend and manager, Maurice Joyant. Volume I, with 312 pages and subtitled Peintre, was published in 1926. It contains an original dry-point etching of Charles Maurin (Wittrock, 242). Volume II, with 284 pages and subtitled Dessins-Estampes-Affiches, was published in 1927, and also contains one original dry-point etching of “Monsieur X” (Wittrock, 246). Both volumes contain numerous color plates. No one knew Lautrec better than Joyant and it shows in the care and detail of presentation.

Est: $1,500-$2,000.

515. Babylone d’Allemagne. 1894.32 5⁄8 x 48 1⁄8 in./83 x 122.3 cmImp. Chaix, ParisCond B/Slight tears at folds. Framed.Ref: Wittrock, P12B; Adriani, 58; DFP-II, 832; Reims, 774; PAI-LI, 516

The subject is a book exposing the decadence of Berlin society, written by Lautrec’s friend Victor Joze. His “poster focuses the spectator’s attention on the hindquarters of four horses, the largest of which [is] also being closely observed by a caricature of the Kaiser standing in a guardbox. The implications of this, along with the book’s title, provoked a protest from the German ambassador to France and nearly caused an international incident. Joze, too, wrote Lautrec asking for him to withdraw the poster, as he felt the depiction of a German officer, together with the anti-German tone of the book, would not be tolerated by the police and could get him in trouble. Lautrec, however, refused to stop distribution of the poster, and as he had paid for

it [himself], the publisher was not able to stop the distribution. [Thereafter], according to art dealer Edmond Sagot, the value of [Lautrec’s] work quadrupled” (Frey, p. 398).

Est: $35,000-$40,000.

516. Le Terreur de Grenelle. 1894.6 3⁄4 x 10 1⁄4 in./17.1 x 26 cmJoly-Crevel, ParisCond A. Framed.Ref: Adriani, 96-III; Wittrock 66; PAI-XLVI, 551

A first-edition song sheet cover promoting the release of Joseph Darcier’s “La Terreur de Grenelle” (The Scourge of Grenelle). Set to the tune of the “Bataillon de la Moselle,” the song delves into the seedy underbelly of Paris’s fifteenth arrondissement, the sentiment of which has been captured perfectly by Lautrec in the corresponding image.

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

512. May Milton. 1895.23 5⁄8 x 31 1⁄8 in./60 x 79 cmCond B/Slight tears at horizontal fold & in dress. Framed.Ref: Wittrock, P17B; Adriani, 134-II; DFP-II, 836; Timeless Images, 55; Reims, 786; Wagner, 18; Wine Spectator, 45; PAI-XLII, 496

According to Adriani, “May Milton was an English dancer with a pale, serious face and strong chin who appeared at the Moulin Rouge.” Toulouse-Lautrec is almost brutally frank in depicting her face, neither pretty nor youthful, and pointing out the inappropriateness of the white debutante’s dress with puffed sleeves which she wore on stage. Yet the point is made with such gentle irony that it may have been missed, or ignored, by the performer herself, as she apparently used the poster for personal publicity.

Est: $15,000-$20,000.

513. Le Pendu. 1895.23 1⁄2 x 31 in./59.8 x 78.8 cmCond A-/Faint horizontal fold.Ref: Wittrock, P15; Adriani, 2

Originally created to promote the serialized novel Les Drames de Toulouse by A. Siegel, this is the second edition of the image from a pressing of 30 copies. The story is based on the 18th century Calas affair, most notably documented by Voltaire, in which a father is falsely accused of murdering his son, who, in actuality, had committed suicide. Like he, we are just stumbling upon the gruesome image of his son dangling from a rafter, the eerie glow of a candle our only source of light. Failing to confess to the murder, the father is tortured to death. The notoriety associated with the case comes from the fact that the father was Protestant and, facing a firmly anti-Protestant judge, was told his motive in murder was to prevent his son from converting to Catholicism.

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


515 516

514

513

512

517. Eldorado / Aristide Bruant. 1894.38 1⁄4 x 54 3⁄4 in./97.2 x 139 cmImp. Bourgerie, ParisCond A-/Slight tears at edges. Framed.Ref: Wittrock, P5; Adriani, 4; Wagner, 6; Lautrec/Montmartre, 115; PAI-LI, 515

Despite the fairly discouraging reactions to his first artistic attempt at publicizing Aristide Bruant, Lautrec also designed this poster, at Bruant’s request, for his appearances at the Eldorado on the Boulevard de Strasbourg. He used new stones for the drawing, with the same dimensions and the same color arrangement as the design for his Ambssadeurs poster two years prior, but reversed. Strategically, this was a brilliant move, as the Ambassadeurs poster was already well known to the public. However, the management of the Eldorado was hardly more amenable, as we see from a letter by Lautrec

which may refer to the Eldorado poster: ‘Bruant, my good friend. Enclosed the states as requested. As far as the poster ex condition is concerned, there are no good impressions left. The Eldorado management was very mean, haggling over the price and giving me less than the printing costs at Chaix. So I have worked at cost price. I am sorry they misused our good relations to exploit me. It remains to be hoped we will be more careful next time’ (Adriani, p. 23). That said, once the poster was printed and hung it became “one of the undisputed masterpieces which adorned the billboards of Paris. Such an impressive combination of form and color, of picture and lettering, has probably never been achieved since. Just as the red scarf and the wide-brimmed hat were Bruant’s trademark, so too this poster epitomize[d] Montmartre and its cabaret in the heyday” (Schardt, p. 176).

Est: $70,000-$90,000.

518. Troupe de Mlle Églantine. 1896.31 1⁄8 x 24 1⁄4 in./79 x 61.4 cmCond B/Mat stains at edges; slight tear in midsection. Ref: Wittrock, P21C; Adriani, 162-III; Wine Spectator, 43; Reims, 791; DFP-II, 850; Wagner, 23; Masters 1900, p. 49; Encyclopédie/Weill, p. 223; PAI-LI, 519

The poster, with its particularly enticing exuberance, was reproduced in monochrome in Le Courrier Francais on February 16, 1896. It was used to advertise the appearance of Eglantine Demay, Jane Avril, Cléopatre, and Gazelle in the Quadrille Naturaliste, at the Palace Theatre in London. The dance had been developed from the can-can, created by Celeste Mogador, and was performed in the formation of four, mainly at the Elysee Montmartre, the Jardin de Paris, the Frascati and the Moulin Rouge. In a letter written on 19 January 1896 in London (Musee d’Albi), Jane Avril and Eglantine asked Lautrec for the poster, giving exact wording for the text: ‘Troupe de Mlle Eglantine./1 Eglantine, 2 Jane Avril/3 Cleopatre 4 Gazelle/“Palace Theatre,” because we shall certainly be appearing in other places as well, and then we could use the same poster. Thanks in advance and good luck and every success with the work…Please answer straight away, because the first night is the evening of Monday 20th, and we want people to see our poster before that. So please do your best…’. And while posterity has certainly been impressed by the greatness of this design, it was not enough at the time to save the show, which quickly folded.

Est: $35,000-$40,000.

519. Le Théâtre Libre. 1893.9 1⁄2 x 12 1⁄2 in./24.1 x 13.8 cmImp. Eugène Verneau, ParisCond B+/Slight tears at folds & edges. Framed.Ref: Wittrock, 15; Delteil, 14; Adriani,40-III; PAI-L, 475

Originally published as a lithograph in color, without lettering, and released with the title “La Coiffure,” the poster shows one of the women from the Rue des Moulins brothel having her hair done. In the state seen here, it’s being used as a program for the Théâtre Libre in order to promote the 1893-94 winter season. This experimental theater’s audience was necessarily limited: “The only people who could attend [Antoine’s] plays were the two-hundred patrons who bought season tickets. Naturally, they included the élite of the intellectual avant-garde” (Frey, p. 368).

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


519

518

517

520. Jane Avril. 1893.35 x 48 in./89 x 122 cmImp. Chaix, ParisCond B+/Slight tears, largely at edges. Framed.Ref: Wittrock, P6B; Adriani, 11-I; Wagner, 7; DFP-II, 828; Maitres, 110 (var); Reims, 784; Wine Spectator, 41; Lautrec/Montmartre, 175; PAI-LI, 517

Ebria Feinblatt indicates, with good reason, that this “is universally considered his most brilliant and successful design” (Wagner, p. 22). Toulouse-Lautrec shows “Jane Avril on stage doing her specialty, which, according to contemporaries, was essentially a cancan that she made exotic by making a pretense of prudery–the ‘depraved virgin’ image aimed at arousing the prurience in the predominantly male audience. The sexual innuendo was captured by the artist by contrasting

the dancer’s slender legs with the robust, phallic neck of the bass viol in the foreground–a masterly stroke that not only heightens our perception but also creates an unusual perspective: we see the performer as an orchestra member would, and this allows Toulouse-Lautrec to show, as if inadvertently, how tired and somewhat downcast she looks close-up, not at all in keeping with the gaiety of the dance that is perceived by the audience. It is clear, as Maindron has pointed out, that she is dancing entirely for the viewer’s pleasure, not hers, which makes it a highly poignant image. Seemingly without trying, Toulouse-Lautrec not only creates a great poster but makes a personal statement: Only a person who really cares about his subject as a human being would portray her with such startling candor” (Wine Spectator, 41).

Est: $60,000-$70,000.

521. Jane Avril. 1899.14 1⁄4 x 21 1⁄2 in./36.2 x 54.6 cmH. Stern, ParisCond B+/Slight tears at folds. Framed.Ref: Wittrock, P29A; Adriani, 354-II; PAI-XXVI, 559

Commissioned by the performer early in 1899, this image of Jane Avril remains one of Lautrec’s most compelling designs. Having worked with Jane for much of her career, this was the last poster of her Lautrec would ever make. Oddly, this image was never displayed promotionally, and appears to have only gone into collector’s hands. Unlike his other images of gleeful, self-satisfied cabaret stars, here Jane appears alarmed, off-kilter. There is a certain resemblance between her pose and that presented in Edvard

Munch’s The Scream, of which Lautrec would have been aware. Incidentally, Munch would design a poster later that year for Jane’s portrayal of Anitra in Ibsen’s Peer Gynt.

This is a beyond-rare version of the poster, hand-signed with a snake remarque in the lower left, #12 of only 25. Est: $60,000-$70,000.

TOULOUSE-LAUTREC (Continued)521520

522. Catalogue d’Affiches Artistiques / A. Arnould. 1896.15 1⁄4 x 11 in./38.8 x 28 cmImp. Chaix, ParisCond A. Framed.Ref: Wittrock, 167-II; Adriani, 187-III; PAI-XLVI, 552

The original lithograph was entitled Le Débauche (The Debaucher) and was subsequently used here as the cover of the Catalogues d’Affiches Artistiques, published in June 1896 by A. Arnaud. In this case, the debaucher is Lautrec’s painter-friend, Maxime Dethomas (1868-1928), shown pinching the nipple of a poorly-clad woman. Frey makes an interesting observation: “It has been said of Dethomas both that he was an eager participant in seductions and brothel visits, and that he was in fact a little straight-laced and that Henry’s use [of him in this image] was a kind of teasing. Increasingly, however, when Henry showed his friends in compromising positions, it was because he had observed them thus” (p. 411).

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

EDOUARD TOURAINE (?-1916)

523. Champs-Élysées Skating Rink. 1910.38 3⁄4 x 54 5⁄8 in./98.2 x 139 cmCond B/Tears at folds.

In the age before disco balls and spandex, roller skating was a sophisticated, romanticized activity. In fact, this poster claims that the rink on the Champs-Élysées was “where elegant people meet,” as is also evident in the accompanying image of a well-to-do couple gliding along on wheels like figures in a Chéret ice skating poster.

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

FERNAND TOUSSAINT (1873-1955)

524. Café Jacqmotte. 1896.32 1⁄2 x 43 in./88.2 x 109.2 cmO. de Rycker, BruxellesCond B/Slight tears, largely at folds.Ref: DFP-II, 1131; Belle Epoque 1970; Reims, 1504; Wagner, 100; Timeless Images, 47; Masters 1900, p. 96; PAI-LIII, 486

Decidedly the best poster by Toussaint, who specialized more in painting, this design’s rich

colors and strong contrasts do for coffee what Mucha’s ‘macaroni hair’ did for cigarette rolling papers. Barely touching her cup and saucer, the serene woman stares curiously at the steaming beverage. Her dress curls into the walls, her hair into the lettering, creating an overall sense of warmth and dreaminess.

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

AGENCE TRIO S.A.

525. Grand Chêne. ca. 1930.35 3⁄4 x 50 3⁄8 in./90.7 x 128 cmA. Marsens, LausanneCond A.

A bold Swiss Art Deco design composed out of stark colors and sharp angles, this poster promotes the Grand Chêne (Great Oak) restaurant in Lausanne. Rare!

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

TOULOUSE-LAUTREC (Continued)524

523 525

522

JEAN-DOMINIQUE VAN CAULAERT (1897-1979)

526. Spinelly. 1935.47 x 62 7⁄8 in./119.3 x 159.7 cmM. Robineau, ParisCond A.

Better known in graphic incarnations by Gesmar and Sem (see Nos. 310 & 473), Andrée Spinelly was a sharp-looking chanteuse most popular during the 1920s and 1930s. Later in life, she would be typecast in a variety of French war-era films as a femme-fatale spy.

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

WALTER VAN DER VEN (1884-1923)

527. Olympiade, VIIe / Anvers. 1920.23 1⁄4 x 33 1⁄8 in./59 x 84.2 cmImprimerie J.-E. Goossens, BruxellesCond A.Ref (all var but PAI): Olympic Posters, pl. 18; Ateny-Atlanta, 6; Olympics, p. 25; PAI-XLI, 447

With Antwerp’s Notre Dame Cathedral jutting out of the cityscape below, a Roman-style discus thrower readies himself for the 1920 Olympic Games as a curtain of the world’s flags billow around him. This is the larger of two formats, and it shows a more muscular, refined figure than the smaller version. The poster was printed in 17 different language editions, each one by a different Belgian printer. Strangely enough, the official Olympic poster book indicates that one Martha van Kuyck (b. 1881) was the “creator” of this poster while Van der Ven was the “Belgian sketcher”; however, his signature alone appears in all versions.

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

THEODORE VAN RYSSELBERGHE (1862-1926)

528. La Libre Esthétique / Le Quatrieme Salon. 1897.28 3⁄8 x 37 3⁄8 in./72 x 95.6 cmImp. Monnom, BruxellesCond A-/Unobtrusive folds.Ref: DFP-II, 1126; Reims, 1502; Belle Epoque, 1970, 132; Weill, 84; Masters 1900, p. 94; PAI-VII, 296

“Van Rysselberghe exerted a positive force for the

revitalization of the decorative arts at the turn of the century, but his posters are not numerous; those he created for La Libre Esthétique are unquestionably the finest. The elegant feminine figures of his posters, very knowingly placed on the page, seem to be the pretext for Van Rysselberghe to balance large spots of red-orange against their greenish or bluish complementaries. The text is beautifully drawn and gracefully integrated into the design of the posters” (Belle Epoque 1970, p. 86).

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

HUGO VAN DER WOUDE (?-1913)

529. Ausstellung Möbel u. Geräte. 1898.19 1⁄2 x 27 7⁄8 in./49.5 x 71.2 cmCond A-/Paper loss in top margin. P.Ref: DFP-III, 3480; PAI-VII, 353

A highly talented Jugendstil artist, Van der Woude was known for his varied abilities in the decorative arts, from textiles and stained glass to book design and illustration. Here, his graphic skills are on display in a poster advertising an artistic furniture exhibition at the Kaiser Wilhelm Museum in Krefeld.

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

EUGENE VAVASSEUR (1863-1949)

530. L’Eclair. 1897.22 x 32 in./55.7 x 81.2 cmImp. Chaix, ParisCond B-/Tears & losses at folds & edges.Ref: Fit to Print, 106; PAI-XLII, 506

“L’Eclair was an independent, politically oriented journal which devoted a lot of effort to advertising by means of posters and, in fact, held one of the the most hotly contested competitions for the best poster of the year” (Gold, p. 68). In fact, this image won second prize in one such competition. Frequently, the publication was inclined to call upon high-tech-for-the-time themes in their advertising and they do so “this time with the young lady transcribing the telegraph news directly onto the front page of the newspaper. As she stands on the globe in the heart of France, so here the circuitry under the telegraph indicates that she’s connected everywhere” (Fit to Print, p. 77).

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

A. VERCHER

531. Valencia / Fête de les “Fallas”. 1932.44 3⁄4 x 63 1⁄2 in./113.6 x 161.5 cmImp. y Lit. Ortega, ValenciaCond B-/Tears. Framed.Ref: España, 383; PAI-XXXII, 547

Every year leading up to March 19th, Valencia holds a week-long carnival. Rooted in traditions dating back to the Middle Ages, carpenters used to burn their collected wood shavings on the Feast of St. Joseph, creating bonfires known as fallas. The name of the festival derives from the word for these fires, which gradually evolved from the simple burning of leftover materials to full-on effigies of political figures. Shown here are two such figures, dolled up and ready to be engulfed in flames. This is the Castilian version of the poster.

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

BERNARD VILLEMOT (1911-1989)

532. 2 Perrier Posters. ca. 1980.Each: 23 1⁄2 x 18 in./59.8 x 45.8 cmLalande-Courbet, Paris (not shown)Cond A.Ref: Villemot/La Femme, p. 60 (var) & 62

Two smaller-format, beach-themed horizontal posters promoting the effervescent joys of Perrier. In one image, a couple is seen madly embracing along the sand, the phrase “c’est fou!” (it’s crazy!) in script beside their passionate kiss. In the other image, Perrier bottles have become the sails of a yacht catching a giant wave.

Est: $1,200-$1,500. (2)

532530529

531528

527526

533. 3 Perrier Posters. ca. 1978.Each: 17 1⁄2 x 24 1⁄2 in./44.5 x 62.4 cmLalande-Courbet, WissousCond A.Ref: Villemot/La Femme, p. 61 & 63

Three smaller format posters, each demonstrating the many ways that with Perrier, “c’est fou.” In one, a wild party is raging, Perrier bottles in everyone’s hands; in another, a woman’s spectacles have magically turned into Perrier bottles, allowing her to see ‘la vie en Perrier.’ Finally, a decked-out ebony beauty sips from a bubbly glass, Perrier bottles elaborately comprising her jewelry for the evening.

Est: $1,400-$1,700. (3)

RENÉ VINCENT (1879-1936)

534. Offrez / Cigares et Cigarettes / Régie Française. 1932.37 5⁄8 x 57 3⁄4 in./95.4 x 146.7 cmImp. Bedos, ParisCond B+/Unobtrusive tears in bottom text area.Ref: PAI-LII, 451

Part of their New Year’s campaign, this image of four little scamps on a cigarette break was terribly charming by 1930s standards. Perhaps less appropriate today, the image is still delightfully depicted, giving an individual personality to each male character in the parade of smoking children.

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

535. Mon Amour. 1925.10 x 11 7⁄8 in./25.2 x 30.2 cmGouache & crayon illustration. Framed.

A delightfully-detailed original drawing by Vincent in which we see one of his scantily-clad redheads, her underthings coyly hidden behind the arm of an upholstered chair. Unaware of us, the young flapper captivatedly peruses the pages of Mon Amour, the latest in bodice-ripper fiction. The verso includes a dedication by the artist to Jack Penoche on March 9, 1925, while in the lower right on the front is the name “Lisette.”

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

WEILUC (Lucien-Henri Weil, 1873-1947)

536. Le Frou-Frou. 1900.41 3⁄4 x 50 3⁄4 in./106 x 129 cmLa Lithographie Nouvelle, AsnièresCond C-/Restored tears & losses; missing bottom text panel.Ref (all var): Encycloipédie/Weill, p. 340; Masters 1900; Wine Spectator, 64; PAI-XV, 536

Le Frou-Frou was a satirical publication which ran from 1900 to the outbreak of World War I. It would later have a post-war revival, but was at its best during the time that this poster was created. As the name of the magazine would imply, we see a woman’s uplifted skirt, the many petticoats and underthings rustling against her stockinged legs. In her hand are both a cigarette, the smoke from which spells out the publication’s name, and a copy of the periodical. It appears that the image we see is also on the copy of her magazine, making the design an endless parade of smaller frou-frous.

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

ADOLPH L. WILLETTE (1857-1926)

537. Kleinmann. ca. 1900.9 3⁄4 x 9 3⁄4 in./25 x 25 cmCond B-/Slight tears & stains. Framed.

Kleinmann was a well-known art dealer & publisher in Paris around the turn of the century. He dealt primarily in the works of Lautrec, Ibels, Chéret, Steinlen, and, of course, Willette, amongst many others. Here, a nude muse representing the arts is holding up for display a myriad of famous works, the outlines of which actual make each poster identifiable. Interestingly, the works of his two more politically controversial artists -- Lautrec & Steinlen -- are hidden from you and only noted by name.

Est: $800-$1,000.

VILLEMOT (Continued)

535

537

536

534

533

JEAN D’YLEN (1866-1938)

538. Filver Bretelles. 1926.31 1⁄4 x 46 7⁄8 in./79.5 x 119 cmAffiches Gaillard, ParisCond B/Slight tears & creases, largely at folds.Ref: PAI-XLIII, 594

Taken from an original d’Ylen design (“d’après”) and executed by an unnamed artistic collaborator, this overly enthusiastic harlequin promotes Filver suspenders & sock garters. This is the smaller format version of the poster.

Est: $1,500-$2,000.


539. Roseray / Cappella / Sylvio. 1929.46 3⁄4 x 62 in./116.2 x 157.5 cmImp. H. Chachoin, ParisCond B/Tears at folds. FramedRef: PAI-III, 436

One of the most celebrated dance acts in France during the Jazz Age, Simone Roseray and Jacques Capella brought not only stunning acrobatics and grace to a performance, but also a healthy dose of salacious gossip. Billed as both Russian and French, they appeared frequently in all the major venues, from the Folies-Bergère to the theaters along the Riviera, gradually building up more exotic acts which required them to perform partially-nude. Rumor had it that Roseray was even Capella’s mother. This poster was created toward the end of their fame, when the addition of the third member, Sylvio, joined their small troupe. Within three years, they would vanish from the spotlight.

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

540. The Ault & Wiborg Poster Album, Inks & Cabinet. 1902.Album: 9 1⁄4 x 12 1⁄4 in./23.5 x 31 cmCabinet: 15 x 21 5⁄8 x 5 1⁄4 in./38.2 x 55 x 13.5 cmAlbum: Hardcover; in overall excellent condition; cover slightly worn.Ref: PAI-XXV, 522 (var)

The ultimate Ault & Wilborg collection! The album, which we have offered before, consists of 50 full-page, full-color reproductions of the company’s promotional materials,

including twenty works by Will Bradley, some of which are not seen in any other context. Also included is an original key-locked cabinet filled with sample sizes of the company’s printing inks. As it states on one of their ads, “At the close of the nineteenth century, Ault & Wiborg’s Inks stand pre-eminent above all competing inks.” A once-in-a-lifetime purchase.

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

BOOKS AND PERIODICALS

540

539

538

541. Combinaisons Ornementales. ca. 1900.10 x 8 5⁄8 in./25.3 x 22 cmOverall excellent condition, loose sheets all within a presentation case, in original hardcover binding.Ref: PAI-XLIV, 552

“The necessity of the decorator to vary ad infinitum the applications of the ornamentations that are asked of him have led curious spirits to seek a practical means, simple and rapid to arrive at this result.” Of course these curious spirits just happened to be members of the Libraire Centrale des Beaux-Arts. And their job became considerably less challenging once they enlisted the services of Verneuil, Auriol and Mucha to demonstrate, over the course of sixty plates, just how easy it was to create harmonious compositions once a “kaleidoscope method” was applied: essentially a “connect-the-letters” approach for those of us not as gifted at creating ornamental combinations as the masters that put this artistic guidebook together.

Est: $1,500-$2,000.

542. “French Illustrators,” by Louis Morin. 1893.13 x 17 in./33 x 43 cmCharles Scribner’s Sons, NYIn beautiful presentation case. Overall excellent condition, with slight stains on pages.Ref: PAI-XLVII, 536

Hardcover binding with sixty-six pages, fifteen color, photogravure and etching plates and five covers of that year’s issues. Delightful text–in English–that’s a personal critique, both artistic and social, of the period’s top illustrators, as well as an ambling British gentleman’s pleasurable walking tour of the bohemian Parisian artistic scene. Rare!

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

543. The Poster. 1898-1901.Vols 1-5: 7 1⁄2 x 9 3⁄4 in./19 x 24.8 cmVols 6-9: 9 x 11 3⁄8 in./22.9 x 28.9 cmE.R. Alexander & Sons, EssexOverall excellent condition; binding edges slightly worn. Hardcover.Ref: PAI-LIII, 512 (var)

A complete collection in six volumes of this important and lively journal. Poster lovers will delight not only in its profuse illustrations, but in its delightful and informative articles on posterists–Beardsley, Chéret, Beggarstaff Brothers, Mucha, Toulouse-Lautrec, Berthon, etc. There is even a folded insert of Steinlen’s Lait Sterilise. One of the liveliest of journals ever published for poster lovers! A must for the serious collector!

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

544. Gil Blas. 1893-1895.10 7⁄8 x 16 in./27.6 x 40.5 cmOverall very good condition; pages yellowed; binding slightly worn at edges.Ref: PAI-XLIX, 538 (var)

A collection of three year’s worth of Gil Blas, a Parisian weekly containing short stories, social commentary, music and poetry, as well as thousands of illustrations. Many of the best artists of the era are included within these pages, with special emphasis on the works of Steinlen.

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

544

542

541

543

545. Das Weib im Modernen Ornament. 1902.15 3⁄4 x 13 1⁄8 in./40 x 33.2 cmAlbert Brinitzer, BerlinPlates are in excellent condition with slightly worn edges on some. In original wrapper.

A deliciously graphic collection by Julius Klinger, showcasing his original designs for decorative panels, posters, illustrations, stationary, wallpaper, ceramics, metalwork, leather, wood, stained glass, textiles, and book layout. It is a veritable treasure trove of German Arts & Crafts design, containing 30 color plates.

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

546. La Plume. 1899-1900.7 1⁄8 x 9 7⁄8 in./17.8 x 25 cmTyp. Chamerot et Renouard, ParisOverall excellent condition; slight yellowing on pages & wear on covers. Hardcover.Ref: PAI-XXXVI, 582 (var)

Five numbers -- April 1, August 1, October, December 15 (all from 1899), and March 1, 1900 -- bound together in a single volume.

Est: $800-$1,000.

547. Figaro Illustré. 1893.12 3⁄4 x 16 5⁄8 in./32.4 x 42.2 cmPublished by Boussod, Valadon, ParisAll 1893 issues in one bound volume; overall excellent condition; some stains in corner.Ref: PAI-LI, 547

Partly because of its huge circulation and partly because of its sumptuous color reproductions, this was the magazine for the serious writer and accomplished artist. The monthly full-color covers are charming, but for collectors what makes the issues of 1893 special are the Toulouse-Lautrec illustrations for Geffroy’s article on “Le Plaisir à Paris.” There is also a supplement issue devoted to bicycles, Jules Chéret’s charming illustrations for the ballet “La Fée du Rocher,’ and an article on “Le Lawn-Tennis” with colored photos.

Est: $800-$1,000.

548. Les Arts et les Industries du Papier en France–1871-1894, by Marius Vachon. 1894.9 3⁄4 x 12 5⁄8 in./25 x 32 cmPublished by Librairie-Imprimeries Réunies, ParisIn overall excellent condition; hardcover. Ref: PAI-LIII, 522

The printing processes of the 19th century are explained and illustrated in the 248 pages of this hardcover publication with many historic photos of printing plant interiors, such as Imprimerie Chaix, Dupont and Camis, with an additional bonus of some impressive color proofs of their technological prowess.

Est: $700-$900.

549. The Poster. 1896.6 x 9 in./15.2 x 23 cmPublished by Will M. Clemens, NYIn overall excellent condition.

Four of the first five issues (Nos. 1, 2, 3, & 5) of this American booklet for poster collectors. With covers by Penfield, Rhead, and Bird, the text includes prices for the original posters at the time of their printing -- prices which today seems staggeringly low. A host of interesting articles are also included, covering tidbits such as Bradley’s unhappiness with the way publishers reproduce his work, forcing him to create his own publication, His Book; editorial commentary on the latest posters (”Beardsley’s posters ... are impossible things ... they have a sort of nightmare appearance, a weirdness...”); the poster market (”The French posters are selling in this country at from one dollar to ten dollars. All progressive art stores have poster displays” and “Nearly all the early Penfield posters issued by the firm Harper & Brothers, are said to be out of print!”); as well as announcements, contests, and the latest books.

Est: $800-$1,000.549

548

547

546

545

550. The Echo. 1895.8 3⁄4 x 13 1⁄2 in./22.2 x 34.2 cmFive issues in overall very good condition, with slight wear on covers, some loose, and page edges.

Each issue is 22 pages. All covers are by Will Bradley. This Chicago-based semi-monthly publication is replete with drawings and poster reproductions of works by Bradley, Steinelen, Pal, Anquetin, Hardy, Forain, Beardsley, Chéret, and others.

Est: $800-$1,000.

551. Calendrier des Sports / 1906. 1905.11 x 8 5⁄8 in./28 x 21.8 cmPublished by G. de Malherbe, ParisIn hardcover binding; overall excellent condition.

A lovely sports-themed calendar with a reproduction of a different watercolor by Georges Scott (1873-1943) for each month. This was a promotion for the Belle Jardinière department store in Paris.

Est: $700-$900.

552. Osterreichicsche Plakatkunst. ca. 1915. 11 7⁄8 x 15 3⁄8 in./30 x 39.8 cmPublished by Kunstverlag J. Löwy, WienOverall very good condition. In original hardcover clothing binding; slightly soiled & worn.Ref: PAI-XX, 523

A fabulous collection of the best of Austrian poster art, compiled by Ottokar Mascha. Included are 21 full color plates and 176 black and white illustrations by Schiele, Moser, Klimt, Olbrich, Roller, Löffler, Klinger, and many others. One of only 200 copies bound in linen from a total edition of 230.

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

553. Vendre. 1924-1963.Each Approx: 9 1⁄8 x 11 3⁄8 in./23.1 x 29 cmOverall very fine condition. Softcover.Ref: PAI-L, 504 (var)159 individual issues from February 1924 through April 1963. Not a complete run. Please inquire for a list of issues included.

This monthly, devoted to “everything which concerns advertising and marketing,” is a treasure trove of articles and reproductions for the poster collector. Dozens of articles announce and critique the new posters hitting the streets that month in Europe. The complete Table of Contents for each number makes the search for particular artists less arduous. Some favorites: a full page tribute to Chéret, on the occasion of his eighty-ninth birthday, by Cappiello (Jan. 1925, p. 18); a critique of the posters for the 1925 Art Deco show (June 1925, pp. 619-621); a fine appreciation of Swiss posters (May 1925, pp. 501-506); a 1925 article on the auspicious beginning of a promising new artist named Cassandre; an insightful critique of Jean Carlu’s early work (Jan. 1927, pp. 67-70) and a discussion of Colin’s poster method (Jan. 1929, pp. 21-26). Dozens of photos of posters on the hoardings in England, Germany and France. Covers by many posterists, such as Colin, Mercier, Carlu and Marton.

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

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AbdyThe French poster, by Jane Abdy. New York : Clarkson N. Potter, 1969.

AbsintheAbsinthe : history in a bottle, by Barnaby Conrad III. San Fransisco : Chronicle Books, 1988.

Absinthe AffichesL’absinthe : les affiches, by Marie-Claude Delahaye. Auvers-sur-Oise : Musée de l’Absinthe, 2002.

AdrianiToulouse-Lautrec : the complete graphic works, by Götz Adriani. The catalogue raisonné, featuring the Gerstenberg collection. London : Thames & Hudson, 1988.

Affiches 10001000 affiches de 1890 à nos jours, by Cees W. de Jong, Alston W. Purvis & Martijn F. Le Coultre. [Paris] : Hazan, 2010.

Affiches Automobiles100 ans d’affiches automobiles/100 years of auto posters, by Dominique Dubarry. Paris : Maeght, 1991.

Affiches AzurAffiches d’Azur : I00 ans d’affiches de la Côte d’Azur et de Monaco, by Charles Martini de Chateauneuf. Nice : Editions Gilletta, 1992.

Affiches BelgesAffiches Belges/Belgische affiches, by Ph. Minguet. Liège, Belgium : IBM, [1981].

Affiches Belle EpoqueAffiches : “Belle Epoque.” Antwerpen : Stad Antwerpen, 1979. Catalogue of the exhibition at the Museum Vleeshuis, Antwerp, Belgium, 1979.

Affiches d’AviationAffiches de l’histoire d’aviation, by Gerard Hartmann & Francoise Leloup-Perier (with English-language insert: The history of aviation in posters). Paris : Citadelles & Mazenod, 2009.

Affiches EtrangèresLes affiches etrangères illustrées, by M. Bauwens, T. Hayashi, La Forge, Meier-Graefe & J. Pennel. Paris : Boudet, 1897.

Affiches RivieraAffiches de la Riviera, by Annie de Montry, Françoise Lepeuve & Charles Martini de Chateauneuf. Nice-Matin : Editions Gilletta, 2001.

Affiches SuissesObjets-realisme, affiches Suisses: 1905-1950, by Eric Kellenberger. Paris : Bibliothèque Forney, 1982. Catalogue of the exhibition held at the Bibliothèque Forney, Paris, January 22-March 20, 1982.

AffichomanieL’affichomanie, by Alain Weill. Paris : Musée de l’Affiche, 1980. Catalogue of the exhibition on the subject of the Postermania of the period 1880-1900 held at the Musée de l’Affiche, Paris, 1980.

AilesVoici des ailes : affiches de cycles, by Nadine Besse & Paul Fournel. Saint-Etienne : Musée d’art et d’industrie, 2002. Catalogue from the exhibition at the Musée d’Art et d’Industrie, Saint-Étienne, May 3-September 22, 2002.

AlpesLes Alpes à l’affiche, by Yves Ballu. Grenoble : Editions Glenat, 1987.

American PostersPosters American style, by Therese Thau Heyman. New York : Harry N. Abrams, 1998.

Art de l’AfficheL’art de l’affiche Française, by the National Museum of Art, Tokyo. Tokyo : Kodansha, 1979.

Art DecoArt deco graphics, by Patricia Frantz Kery. New York : Harry N. Abrams, 1986.

Art Deco GraphiquesGraphiques d’Art Deco : affiches de 1920s, by Alain Weill & Hiroshi Unno. [Tokyo] : Art Life, 1983. Catalogue of the exhibition held in Tokyo, 1983.

Art Deco/TokyoArt Deco posters, by Masami Shiraishi & Kenji Kaneko. Tokyo : The National Museum of Modern Art, 1995. Catalogue of the exhibition at the National Museum of Modern Art, Tokyo, August 8-October 7, 1995.

Art du BiscuitL’art du biscuit, by Patrick Lefèvre-Utile. Verona : Éditions Hazan, 1995.

Art et BiscuitsL’art et les biscuits : la publicité de la firme Lefèvre-Utile de 1897 à 1914, ed. by Georges Herscher. Paris : Editions du Chêne, 1978.

Art For AllArt for all : London transport posters, 1908-1949. London : Art and Technics Ltd., 1949.

Ateny-AtlantaAthens-Atlanta : 100 years of modern Olympic Games. Catalogue of the exhibition held at the Poster Museum of Wilanów, Poland, under the auspices of the Polish Olympic Committee, 1996.

Auto Show I1er salon de l’affiche automobile, by Jacques Perier. Paris : Automobile Club of France, 1978. Catalogue of the exhibition, compiled by Jacques Perier, and sponsored by the Automobile Club de France, Paris, October 1978.

Auto Show II2eme salon de l’affiche automobile, by Jacques Perier. Paris : Fédération Internationale de l’Automobile, 1979. Catalogue of the exhibition at the Musée de l’Affiche, Paris, September 29-October 14, 1979.

Auto Show IIIL’automobile et la publicité. Catalogue of the exhibition at the Musée de la Publicité, Paris, 1984.

Automobile & CultureAutomobile & culture, by Gerald Silk et al. New York : Harry N. Abrams, 1984.

Auto s’AfficheL’auto s’affiche, by Thierry Favre. Paris : Massin, 2007.

BambaceWill H. Bradley : his work, a bibliographical guide, compiled by Anthony Bambace. New Castle, Del. : Oak Knoll Press, 1995.

Bargiel et ZagrodzkiSteinlen affichiste : catalogue raisonné, by Réjane Bargiel and Christophe Zagrodzki. Lausanne : Editions du Grant-Pont, 1986. (Distributed in the United States by Posters Please, Inc., New York City).

BeaumontL’affiche Belge, by A. Demeure de Beaumont. Clairac, France : Chateau de Daussinanges, 1897.

BeggarstaffThe Beggarstaff posters, by Colin Campbell. London : Barrie & Jenkins, 1990.

Belgique/ParisL’affiche en Belgique : 1880-1980. Paris : Musée de l’Affiche, 1980. Catalogue of the exhibition at the Musée de l’Affiche, Paris, 1980.

Belgique SportivesAffiches sportives en Belgique : 1890-1940. Bruxelles : Crédit Communal, 1981. Catalogue of the exhibition in Brussels, December 1, 1981-January 10, 82.

Belgische Affiche 1900De Belgische affiche : 1892-1914, by Yolande Oostens-Wittamer. Brussels : Koninklijke Bibliotheek Albert I, 1975.

Belle Epoque 1970La Belle Epoque : Belgian posters, watercolors and drawings from the collection of L. Wittamer-De Camps, by Yolanda Oostens-Wittamer. New York : Grossman, 1971. The catalogue of the touring exhibition of the Wittamer-De Camps collection.

Belle Epoque 1980La Belle Epoque : masterworks by Combaz, Léo Jo, and Livemont : a loan exhibition from the Collection of L. Wittamer-De Camps, by Yolande Oostens-Wittamer. Washington : International Exhibitions Foundation, 1980. Catalogue of the loan exhibition from the Wittamer-De Camps collection.

Belle Epoque/BelgiqueAffiches de la Belle Epoque : 329 documents de la collection L. Wittamer-De Camps à Bruxelles, by Yolande Wittamer. Liège : Imp. Bénard et Centrale Réunies, 1961. Catalogue of the exhibition held at Fraiture-en-Condroz, and organized by L’Association Royale des Demeures Historiques de Belgique, September 9-October 31, 1961.

BernardFrancis Bernard : affichiste, by Merrill C. Berman & Alain Weill. Paris : D. Ozanne; New York : N. Bailly, 1980. Catalogue of the exhibition at the Chisholm Gallery, 1980.

BernhardLucian Bernhard : plakate, gebrauchsgrafik, verpackungsdesign, buchgestaltung, schriftentwürfe, by René Grohnert & Hubert Riedel. Stuttgart : Institut für Auslandsbeziehungen, 1999. Catologue of the exhibition at the Institut für Auslandsbeziehangen, Stuttgart, 1999.

Bernhardt/DramaSarah Bernhardt : the art of high drama, by Carol Ockman and Kenneth Silver. New Haven, Conn. : Yale University Press, 2005. Catalogue of the exhibition at the Jewish Museum, New York, December 2, 2005-April 2, 2006.

Berthon & GrassetBerthon & Grasset, by Victor Arwas. London : Academy Editions; New York : Rizzoli, 1978.

Bicycle Posters100 years of bicycle posters, by Jack Rennert. New York : Harper & Row, 1973.

BolaffiCatalogo Bolaffi del manifesto Italiano : dizionario degli illustratori. Torino : Giulio Bolaffi, 1995.

Bolaffi/MeleIl tesoro dei magazzini Mele. Torino : Sala Bolaffi, 2007. Catalogue of the December 12, 2007 sale in Torino, Italy.

BouvetBonnard : the complete graphic work, by Francis Bouvet. New York : Rizzoli, 1981.

Bowers/MartinThe postcards of Alphonse Mucha, by Q. Davis Bowers and Mary L. Martin. Vestal, N.Y. : The Vestal Press, 1980.

BradleyWill Bradley : his graphic art, ed. by Clarence P. Hornung. New York : Dover , 1974.

Brenot/WeillBrenot, by Alain Weill. Paris : Editions Hoëbeke, 1986.

BroidoThe posters of Jules Chéret : 46 full color plates and an illustrated catalogue raisonné, 2nd ed., by Lucy Broido. New York : Dover, 1992.

Brown & ReinholdThe poster art of A. M. Cassandre, by Robert K. Brown and Susan Reinhold. New York : E. P. Dutton, 1979.

Brussels Homage to Brussels : the art of Belgian posters, 1895-1915, by Jane Block & T. Victoria Hansen. New Brunswick, N.J. : Rutgers, 1992. Catalogue of the exhibition at the Jane Voorhees Zimmerli Art Museum at Rutgers University, New Brunswick, New Jersey, April 12-June 6, 1992.

Campari Thirty years and a century of the Campari Company, in three volumes, by Guido Vergani. Milano : Davide Campari, 1900.

CappielloCappiello, 1875-1942 : caricatures ,affiches, peintures et projets decoratifs. Paris : Réunion, 1981. Catalogue of the exhibition at the Galerie Nationale du Grand Palais, Paris, April 3-June 29, 1981.

Cappiello/RennertCappiello : the posters of Leonetto Cappiello, by Jack Rennert. New York : Poster Art Library, Posters Please, Inc., 2004.

Cappiello/St. VincentLeonetto Cappiello : dalla pittura alla grafica, by Raffaele Monti & Elisabeth Matucci. Firenze : Artificio, 1985. Catalogue of the exhibition at the Hotel Billia in Saint-Vincent, Italy, March 30-May 30, 1985.

Car GraffittiCar graffitti/Posuta wandarando. Tokyo : Kodansha, 1996.

CardinauxEmil Cardinaux, 1877-1936, by Thomas Bolt. Zürich : Kunstgewerbemuseum, 1985. Catalogue of the exhibition at the Museum für Gestaltung, Zürich, August 21-October 20, 1985.

CarluRetrospective Jean Carlu, by Alain Weill. Paris : Musée de l’Affiche, 1980. Catalogue of the exhibition at the Musée de l’Affiche, Paris, November 26-March 29, 1980.

Cartoon Movie PostersCartoon movie posters. West Plains, MO : Bruce Hershenson, 1994.

Cassandre/BNA. M. Cassandre : oeuvres graphiques modernes, 1923-1939, by Anne-Marie Sauvage. Paris : Bibliothèque Nationale de France, 2005. Catalogue of the exhibition at Chaumont, May 21-July 23, 2005, and the Bibliothèque Nationale de France, Paris, September 20-Dcember 4, 2005.

Cassandre/SuntoryEvery face of the great master Cassandre. Catalogue of the exhibition held at the Suntory Museum, Osaka, Japan, June-August, 1995.

Cassandre/TokyoA. M. Cassandre. Paris : A.D.A.G.P; Tokyo : B.C.F., 1991. Catalogue of the exhibition held at the Tokyo Metropolitan Teien Art Museum, Tokyo, Japan, June 2-July 14, 1991.

Cassandre/WeillCassandre, by Alain Weill. Paris : Bibliothèque de l’Image, 2005.

CassiersHenri Cassiers : 1858-1944, by Tony Oost, Iris Kockelbergh, et al. ANtwerpen : Pandora, 1994. Catalogue of the exhibition at the Vleeshuis Museum in Antwerp, Belgium, April 1-June 12, 1994, and the Katwijks Museum, June 25-September 24, 1994.

The following is a list of books used in the preparation of this catalogue. In the interest of brevity, these works have been abbreviated in the Reference (“Ref:”) section of the description of each lot. The abbreviations can be found below, accompanied by the work’s full title, publisher’s name, city and date of publication. It should be noted that we have made no reference to the many magazines and annuals which are essential tools in this area, such as The Poster, Estampe et Affiche, La Plume, Arts et Metiers Graphiques, Vendre, Das Plakat, Gebrauchsgraphik, and Graphis Posters.

NOTE: References to prior PAI books are limited to the last auction in which the poster was offered. Results from all 54 prior auctions can be found on our Poster Price Guide, in which all results are searchable by artist or title, and which can be accessed free of charge at www.posterauctions.com.

BIBLIOGRAPHY

GagelStudien zur motivgeschichte des Deutschen plakats 1900-1914, by Hanna Gagel. Berlin : Omnia-Organisations, 1971. Doctoral thesis at Freien Universität Berlin.

Galerie CGER L’art de l’affiche en Belgique : 1900-1980, by Pierre Baudson. Bruxelles : Caisee d’Épargne et de Retraite, 1980. Catalogue of the exhibition at Galerie CGER, Brussels, April 4-May 4, 1980.

GenovoiseL’affiche artistique Genevoise : 1890-1950, by Jean-Charles Giroud. Genève : Bibliothèque Publique et Universitaire, 1991.

GesmarCharles Gesmar : 1900-1928, by Angelo Luerti, Milano : Luerti, 2009.

GlaserMilton Glaser : graphic design, with preface by Jean-Michel Folon. Woodstock, N.Y. : Overlook Press, 1973.

GoldFirst ladies of the poster : the Gold collection, by Laura Gold. New York : Poster Art Library, 1998.

GrünJules-Alexandre Grün : the posters/les affiches, by Alain Weill & Israel Perry. New York : Queen Art Publishers, 2005.

Health PostersPosters of health, by Marine Robert-Sterkendries. Brussels : Therabel Pharma, 1996.

Hiatt Picture posters, by Charles Hiatt. London : George Bell and Sons, 1895.

HohlweinLudwig Hohlwein, 1874-1949 : kunstgewerbe und reklamekunst, by Volker Duvigneau & Norbert Gota. Munich : Klinkhardt & Bierman, 1996.

Hohlwein/FrenzelLudwig Hohlwein, ed. by Professor H. K. Frenzel. Berlin : Phönix Illustrationsdruck und Verlag, 1926.

Hohlwein/StuttgartLudwig Hohlwein : plakate der jahre 1906-1940, by Christian Schneegass. Stuttgart : Staatsgalerie, 1985. Catalogue of the Hohlwein exhibition at the Staatsgalerie Stuttgart, March 2-April 21, 1985.

Hutchison The poster : an illustrated history from 1860, by Harold F. Hutchison. New York : Studio Book/Viking Press, 1968.

Hutchison/TransportLondon transport posters, by Harold F. Hutchison. London : London transport Board, 1963.

Images of an EraImages of an era : the American poster, 1945-1975, by John Garrigan. Washington, D.C. : National Collection of Fine Arts, 1975. Catalogue of the exhibition at the Corcoran Gallery of Art, Washington, D.C., November 21, 1975-January 4, 1976.

ImprimerieLes cent plus belles images de l’imprimerie, by Daniel Bordet. Paris : Éditions Debecom, 2004.

Italia che CambiaL’Italia che cambia : attraverso i manifesti della raccolta salce, ed. by Pepa Sparti. Firenze : Artificio, 1989.

IvesPierre Bonnard : the graphic art, by Colta Ives, Helen Giambruni & Sasha M. 1989-1990. New York : Harry N. Abrams, 1989.

JacquelinJ. Jacquelin : affichiste et dessinateur publicitaire, by Anne-Claude Lelieur & Raymond Bachollet. Paris : Agence Culturelle de Paris, 1993.

Jean ColinJean Colin : affichiste, by Anne-Claude Lelieur & Raymond Bachollet. Paris : Bibliothèque Forney, 2000.

Jiri MuchaAlphonse Maria Mucha : his life and art, by Jiri Mucha. New York : Rizzoli, 1989.

JohnsonThe modern American poster : from the graphic collection of the Museum of Modern Art, by J. Stewart Johnson. Kyoto : National Museum of Modern Art, 1983. Catalogue of the MoMA sponsored exhibition at the National Museum of Art, Kyoto, Japan, October 21-December 4, 1983.

JosephineJosephine Baker : the hungry heart, by Jean-Claude Baker and Chris Chase. New ork : Random House, 1993.

JoyantHenri de Toulouse-Lautrec, by Maurice Joyant. 2 volumes. Paris : H. Floury, 1927.

JuddPosters of World War II, by Denis Judd. New York : St. Martin’s Press, 1973.

KarcherMemoire de la rue : souvenirs d’un imprimeur et d’un afficheur. Illustrated book of the archives of the Karcher printing firm of Paris with introduction by Alain Weill. Paris : WM Editions, 1986. (Distributed in the U.S.A. by Posters Please, Inc., New York, with a translation of text and the addition of an index).

KaufferE. McKnight Kauffer : a designer and his public, by Mark Haworth-Booth. London : Gordon Fraser, 1979.

KeayAmerican posters of the turn of the century, by Carolyn Keay. London : Academy Editions, 1975.

LauderAmerican art posters of the 1890s in the Metroplitan Museum of Art : including the Leonard A. Lauder Collection, by David W. Kiehl, Phillip Dennis Cate & Nancy Finlay. New York : Metropolitan Museum of Art, 1987. Catalogue of the exhibition of the Metropolitan Museum of Art, New York, October 22, 1987–January 10, 1988.

Lautrec/MontmartreToulouse-Lautrec and Montmartre, by Richard Thomson, Phillip Dennis & Mary Weaver Chapin. Princeton, N.J. : Princeton Unversity Press, 2005. Catalogue of the exhibition at the National Gallery of Art, Washington, D.C.,, March 20-June 12, 3005, and the Art Institute of Chicago, July 16-October 10, 2005.

Le CoultreA century of posters, by Martin F. Le Coultre & Alston W. Purvis. Burlington, VT : Lund Humphries, 2002.

Lendl/ParisAlphonse Mucha : la collection Ivan Lendl, by Jack Rennert. Paris : Syros-Alternatives, 1989. Catalogue of the exhibition at Musée de la Publicité, Paris, 1989.

LeupinHerbert Leupin : plakate, bilder, graphiken, by Karl Lüönd and Charles Leupin. Basel : Friedrich Reinhardt, 1995.

Lincoln Center Lincoln Center posters, by Vera List & Herbert Kupferberg. New York : Harry N. Abrams, 1980.

LivemontPrivat Livemont, by Benoit Schoonbroodt. Bruxelles : Editions Racine, 2007.

Livre de l’AfficheLe livre de l’affiche/The book of the poster, by Réjane Bargiel-Harry and Christophe Zagrodzki. Paris : Editions Alternatives, 1985.

Looping the LoopLooping the loop : posters of flight, by Henry Serrano Villard & Willis M. Allen, Jr. San Diego, Calif. : Kales Press, 2000.

Chanson à l’AfficheLa chanson à l’affiche, Jean-Claude Klein. Paris : Du May, 1991.

ChaplinCharlie Chaplin : movie posters, by Israel Perry & Jean-Louis Capitaine. New York : Queen Arts Publishers, 2005.

Chaumont/ExposonsExposons affichons : 300 affiches d’expositions. Paris : Somogy, 1994. Catalogue for the 5th Poster Festival in Chaumont, France; includes a section on “L’Affiche pour l’Affiche” (Posters on Posters) from the Rennert collection.

ChéretLa Belle Epoque de Jules Chéret : de l’affiche au décor, ed, by Réjane Bargiel and Segolène Le Men. Paris : Les Arts Décoratifs, 2010. (Distributed in the U.S.A. by Posters Please, Inc.) Catalogue of the exhibition at the Musée des Arts Décoratifs, Paris, June 23-November 7, 2010.

Chocolate PostersChocolate posters, by Israel Perry and Alain Weill. New York : Queen Art Publishers Inc., 2002.

Colin100 posters of Paul Colin, by Jack Rennert. New York : Images Graphiques, 1977.

Colin AffichistePaul Colin : affichiste, by Alain Weill & Jack Rennert. Paris : Editions Denoel, 1989.

CollectionneurCollectionneur d’affiches, edited by Laurence Prod’homme. Paris : Editions Apogé, Musée de Bretagne, 1996.

Color RevolutionThe color revolution : color lithography in France 1890-1900, by Philip Dennis Cate & Sinclair Hamilton Hitchings. New Brunswick, N.J. : Rutgers, 1978. Catalogue of the exhibition at Rutgers University Art Gallery, September 10-October 29, 1978; the Baltimore Museum of Art, November 10-December 31, 978; and the Boston Public Library, May 2-July 1, 1979.

CrauzatL’oeuvre gravé et lithographié de Steinlen, by E. de Crauzat. Paris : Société de Propogation des Livres d’Art, 1913. Reprinted, San Fransisco : Alan Wofsy Fine Arts, 1983.

CzwiklitzerLes affiches de Pablo Picasso, by Christopher Czwiklitzer. Bâle-Paris : Art-C.C., 1970.

Dance Posters100 years of dance posters, by Walter Terry & Jack Rennert. New York : Avon Books, 1973.

Danish PostersDen Danske plakat, by Lars Dybdahl. Valby, Denmark : Borgen, 1994.

Deco AffichesAffiches art deco, by Alain Weill. Paris : Inter-Livres, 1990.

DelhayeArt deco posters and graphics, by Jean Delhaye. London : Academy Editions. 1977.

DellepaineDavid Dellepaine : peintre, affichiste, illustrateur, by Françoise-Albane Beudon. Marseilles : Editions Parentheses, 1999.

DelteilLe peintre-graveur illustré, by Loys Delteil. (Volumes X and Xl devoted to Lautrec). Paris : [Selbstverl.], 1920. Reprinted New York : Collectors Edition Ltd.-Da Capo Press, 1969.

Deutsche Plakat Das deutsche plakat : von den anfangen bis zur gegenwart, by Hellmut Rademacher. Dresden : VEB Verlag der Kunst, 1965.

DFP-IDas frühe plakat in Europa und den USA. Volume I, British and American Posters. Edited by Ruth Malhotra and Christina Thon. Berlin : Mann Verlag, 1973.

DFP-IIDas frühe plakat in Europa und den USA. Volume II, French and Belgian Posters. Edited by Ruth Malhotra, Marjan Rinkleff and Bernd Schalicke. Berlin : Mann Verlag, 1977.

DFP-IIIDas frühe plakat in Europa und den USA. Volume III, German Posters. Edited by Helga Hollman, Ruth Malhotra, Alexander Pilipczuk, Helga Prignitz and Christina Thon. Berlin : Mann Verlag, 1980.

DiscountPosters from the collection of discount tires, by Susan Driver. Scottsdale, Ariz. : Reinalt-Thomas Corp., 2007.

DodgeThe bicycle, by Pryor Dodge. Paris, New York : Flammarion, 1996.

DuchesneL’affiche en Belgique, by Jean-Patrick Duchesne. Bruxelles : Editions Labor, 1989.

Dudovich/TriesteDudovich & Ci. : I triestini nel cartellonismo Italiano, by Roberto Curci & Vanja Strukelj. Trieste : Stazione Marittima, 1977. Catalogue of the exhibition held at the Stazione Marittima, Trieste, Italy, by the Azienda Automona di Soggiorn e Turismo, August 1-September 8, 1977.

EdelsteinArt for all : British posters for transport, ed. by Teri J. Edelstein. New Haven : Yale University Press, 2010. Catalogue of the exhibition held at the Yale Center for British Art, New Haven, Connecticut, May 27-August 15, 2010; at the Musée de l’Imprimerie, Lyon, France, October 15, 2010-February 13, 2011; and at the Wolfsonian-Florida International University, Miami Beach, Florida, April 15-August 14, 2011.

Encyclopédie/WeillEncclopédie de l’affiche, by Alain Weill. Paris : Hazan, 2011.

EspañaEspaña en 1000 carteles, by Jordi Carulla and Arnau Carulla. Barcelona : Postermil, 1995.

Femme s’AfficheLa femme s’affiche : exposition d’affiches publicitaires, 1843-1990, by P.A. Luginbuuhl. Montreux : Office du Tourisme, 1990. Catalogue of the exhibition of the Kellenberger Collection held in Montreux, June 6-July 8, 1990.

FerrariPiloti, che gente, by Enzo Ferrari. Bologne : Conti Editore, 1985.

FerrarottiI cartelli murali in Italia, 1891-1930 : arte minore o semplicemente arte?, by Virgilio Ferraroti, Dino Villani, Lucilla Ferraroti & Maria Giovanna Vianson. [Italy : s.n., 1981.] Catalogue of the 1981 exhibition.

De FeureGeorges De Feure : maitre du symbolisme et de l’art nouveau, by Ian Millman. Paris : ACR Editions, 1991.

Fit to PrintFit to print : the newspaper and the poster, by Marc Davidson. Daytona Beach, Fla. : The News-Journal Corporation, 2004.

Folies-Bergère100 years of posters of the Folies Bergère and music halls of Paris, by Alain Weill. New York : Images Graphiques, 1977.

French OperaFrench opera posters : 1868-1930, by Lucy Broido. New York : Dover, 1976.

FrivoliI manifesti frivoli/Popular posters, by Nicoletta Citrini. Milano : BE-MA Editrice, 1987.

LopezLe temps des novateurs, 1920-1960 : exposition vente affiches anciennes. Catalogue of the exhibition at Gallerie A.M., November 20-December 31, 2008, organized by Emanuel Lopez. Paris : Gallerie A.M., 2008.

LoupotCharles Loupot, by Alain Weill. Paris : Musée de l’Affiche, 1978. Catalogue of the exhibition at the Musée de l’Affiche, Paris, November 1978-March 1979.

Loupot/ZagrodzkiCharles Loupot : l’art de l’affiche, by Christophe Zagrodzki. Paris : Le Cherche-Midi, 1998. (Exclusive American distributor: Posters Please Inc., New York)

LumiLumi di progresso : communicazione e persuasione alle origini della cartllonistica Italiana, by Alberto Abruzzese & Simona De Iulio. Treviso : Zoppelli Srl-Dosson, 1996. Catalogue of the exhibition at the Museo Civico “Luigi Bailo,” Treviso, Italy, October 5-December 1, 1996.

MaggiMaggi : et la magie du bouillon kub, by Monique Pivott. Paris : Hoëbeke, 2002.

MaindronLes affiches illustrées : 1886-1895, by Ernest Maindron. Paris : G. Boudet, 1896.

MaitresLes maitres de l’affiche : 1896-1900, by Roger Marx. Paris : Imprimerie Chaix, 1896-1900. Reprinted as Masters of the poster l896-1900, New York : Images Graphiques, 1977, and The Complete ‘Masters of the Poster,’ New York : Dover Publications, 1990.

Manifesti ItalianiManifesti Italiani : dall’art nouveau al futurismo, 1895-1940, by Giampiero Mughini & Maurizio Scudiero. Milano : Ricordi, 1997. Posters of the Massimo & Sonia Cirulli Collection.

MargadantDas Schweizer plakat/The Swiss poster : 1900-1983, by Bruno Margadant. Basel : Birkhaus Verlag, 1983.

MargolinAmerican poster renaissance, by Victor Margolin. New York : Watson-Guptill Publications, 1975.

MarquesImages de marques/Marques d’images : 100 marques du patrimoine Français by Daniel Cauzard, Jean Perret & Yves Ronin. Paris : Editions Ramsay, 1989.

MarxBonnard : lithographie, ed. by Claude Roger-Marx. Monte Carlo : Éditions du Livre, 1952.

Masters 1900Masters of the poster 1900, by Alan Weill. Paris : Bibliothèque de l’Image, 2001.

MeleI manifesti Mele : immagini aristocratiche della “belle époque” per un pubblico di Grandi Magazzini, by Mariantonietta Picone Petrusa. Milano : A. Mondadori, 1988. Catalogue of the exhibition at the Museo Diego Aragona Pignatelli Cortes, Napoli, October 22-November 30, 1988.

Menegazzi-IIl manifesto Italiano : 1882-1925, by Luigi Menegazzi. Milan : Electa Editrice, 1975. Menegazzi-IIIl manifesto Italiano, by Luigi Menegazzi. Milan : Arnoldo Mondadori Arte, 1989 (revised edition).

Menegazzi-IIIL’epoca d’oro del manifesti : 200 manifesti dal 1882 al 1925, by Luigi Menegazzi. Milan : Electra Editrice, 1977.

Menegazzi-IVIl manifesto Italiano, by Luigi Menegazzi. Milano : Electa, 1995.

Mer s’AfficheLa mer s’affiche, by Daniel Hillion. Rennes : Editions Ouest-France, 1990.

Metlicovitz e DudovichMetlicovitz e Dudovich : due cartellonisti del ‘900 dalla Raccolta Bertarellil di Milano, by Giovanna Ginex. Milano : Skira, 2002. Catalogue of the exhibition held at Paicenza, ex Centrale Elettrica Emilia, April 24-June 23, 2002.

Michelin/LeCodiacThe Michelin Man : an unauthorized advertising showcase, by Rudy LeCodiac. Atglen, Penn. : Schiffer, 2005.

Modern PosterThe modern poster, by Stuart Wrede. New York : Mudeum of Modern Art, 1988. Catalogue of the exhibition at the Museum of Modern Art, New York, June 6-September 6, 1988.

Moderno FrancésEl cartel moderno Francés : el espectáculo está enel calle : Colin, Carlu, Loupot, Cassandre, by Carlos Pérez. Madrid : MNCARS, 2001. Catalogue for the Colin, Carlu, Loupot and Cassandre exhibition at the Museo Nacional Centro de Arte Reina Sofia, Madrid, November 15, 2001-January 21, 2002.

MoellerPlakate fur den blauen Dunst, by Magdelena M. Moeller. Dortmund : Harenberg Kommunikation, 1983.

MonacoGand Prix Automobile de Monaco posters : the complete collection: the art, the artists and the competition, by William W. Crouse. New York : Crouse, 2009.

MorvanHervé Morvan : affichiste, by Anne-Claude Lelieuer & Raymond Bachollet. Paris : Agence Culturelle de Paris, 1997.

Moulin Rouge120 ans de Moulin Rouge, by Alain Weill. Paris : Seven Sept, 2010.

Moulin Rouge/P&CLe Moulin Rouge, by Jacques Pessis & Jacques Crépineau. Paris : Hermé, 1989.

MouronA. M. Cassandre, by Henri Mouron. New York : Rizzoli, 1985.

Mucha/Art NouveauAlphonse Mucha : the spirit of art nouveau, by Victor Arwas, Jana A. Brabcová-Orlíková & Anna Dvorák. Alexandria, Va. : Art Servicse International, 1998. Catalogue of the traveling exhibition.

Mucha/Bridges Alphonse Mucha : the complete graphic works, by Ann Bridges. London : Academy Editions, 1980.

Mucha/PostcardsAlphonse Mucha : all the postcards, by Alain Weill. Uppsala, Sweden : Hjert & Hjert, 1983.

Müller-BrockmannHistory of the poster, by Josef & Shizuko Müller-Brockmann. Zurich : ABC Edition, 1971.

Musée d’AfficheTrois siècles d’affiches francauses : 1ère exposition du Musée de l’Affiche/Three centuries of French posters, by Alain Weill & Réjane Bargiel. Paris : muséee d’Affiche, 1978. Catalogue for the inaugural exhibition at the Musée d’Affiche, Paris, 1978.

NegripubNegripub : l’image des noirs dans la publicité, by Raymond Bachollet, Jean-Barthelemi Debost, Anne-Claude Lelieur & Marie-Christine Peyrière. Paris : Somogy, 1992. The catalogue of the exhibition at the Bibliothèque Forney, Paris.

Negripub/ForneyNégripub : l’image des noirs dans la publicité depuis un siècle. Paris : Bibliothèque Forney, 1987. Catalogue of the Bibliothèque Forney exhibition held January 14-March 28, 1987.

NizzoliMarcello Nizzoli, by Germano Celant. Milano : Edizioni di Comunità, 1968.

OgéEugène Ogé, affichiste : 1861-1936, by Anne-Claude Lelieur & Raymond Bachollet. Paris : Agency Culturelle, 1998. Catalogue of the exhibition at the Bibliothèque Forney, Paris, May 26-August 1, 1998.

Olympic PostersA century of Olympic posters, by Margaret Timmers. London : V&A Publishing, 2008. Catalogue of the exhibition at the Victoria & Albert Museum, London.

OlympicsL’olympisme par l’affiche/Olympism through posters : 1896-1984, by Monique Berlioux. Lausanne : International Olympic Committee, 1983.

OrientalistUn Orient de consommation, by Edhem Eldem. [Istanbul] : Ottoman Bank Museum, 2010. Catalogue of the exhibition at the Académie des Beaux-Arts, January 28-February 26, 2010.

OrientalistThe Orientalist poster, by Abderrahman Slaoui. Casablanca : Malika Editions, 1997.

PAI – Books of the auctions organized by Poster Auctions International, Inc.

PAI-IPremier Posters. Auction held in New York City, March 9, 1985.

PAI-IIPrize Posters. Auction held in Chicago, November 10, 1985.

PAI-IIIPoster lmpressions. Auction held in New York City, June 1, 1986.

PAI-IVPrestige Posters. Auction held in New York City, May 3, 1987.

PAI-VPoster Pizzazz. Auction held in Universal City, California, November 22, 1987.

PAI-VIPoster Splendor. Auction held in New York City, May I, 1988.

PAI-VIIPoster Potpourri. Auction held in New York, November 13, 1988.

PAI-VIIIPoster Treasures. Auction held in New York, May 7, 1989.

PAI-IXPoster Palette. Auction held in New York, November 12, 1989.

PAI-XElegant Posters. Auction held in New York, May 20, 1990.

PAI-XIPoster Passion. Auction held in New York, November 11, 1990.

PAI-XIIPoster Panache. Auction held in New York, May 5, 1991.

PAI XIIIPoster Jubilee. Auction held in New York. November 10, 1991.

PAI-XIVPoster Extravaganza. Auction held in New York May 3, 1992.

PAI XVRarest Posters. Auction held in New York, November 8, 1992.

PAI-XVIPoster Parade. Auction held in New York, May 2. 1993.PAI-XVIIPoster Classics. Auction held in New York, November 14, 1993.

PAI-XVIII Winning Posters. Auction held in New York, May 1, 1994.

PAI-XIXPrima Posters. Auction held in New York, November 13, 1994.

PAI-XXPoster Panorama. Auction held in New York, May 7, 1995.

PAI-XXITimeless Posters. Auction held in New York, November 12, 1995.

PAI-XXIIPositively Posters. Auction held in New York City, May 5, 1996.

PAI-XXIIIPoster Delights. Auction held in New York City, November 10, 1996.

PAI-XXIVPoster Pleasures. Auction held in New York City, May 4, 1997.

PAI-XXVSterling Posters. Auction held in New York City, November 9, 1997.

PAI-XXVIPostermania. Auction held in New York City, May 3, 1998.

PAI-XXVIIPoster Ecstasy. Auction held in New York City, November 8, 1998.

PAI-XXVIIIPoster Vogue. Auction held in New York City, May 2, 1999.

PAI-XXIXPosters for the Millennium. Auction held in New York City, November 4, 1999.

PAI-XXXPoster Allure. Auction held in New York City, May 7, 2000.

PAI-XXXIPoster Power. Auction held in New York City, November 12, 2000.

PAI-XXXIIDream Posters. Auction held in New York City, May 6, 2001.

PAI-XXXIIISwank Posters. Auction held in New York City, November 11, 2001.

PAI-XXXIVPoster Pride. Auction held in New York City, May 5, 2002.

PAI-XXXVPosters Perform. Auction held in New York City, November 10, 2002.

PAI-XXXVIPosters Persuasion. Auction held in New York City, May 4, 2003.

PAI-XXXVIIPoster Holiday/The Wright Stuff. Dual-auction held in New York City, November 9, 2003.

PAI-XXXVIIIPoster Style. Auction held in New York City, May 2, 2004.

PAI-XXXIXPoster Intoxication. Auction held in New York City, November 14, 2004.

PAI-XLPosters Excel. Auction held in New York City, May 1, 2005.

PAI-XLIMatchless Posters. Auction held in New York City, November 13, 2005.

PAI-XLIIPosters Charm. Auction held in New York City, May 7, 2006.

PAI-XLIIIPosters Va-Va-Voom. Auction held in New York City, November 12, 2006.

PAI-XLIVWinning Posters. Auction held in New York City, May 6, 2007.

PAI-XLVTop Posters. Auction held in New York City, November 11, 2007.

PAI-XLVIPicture-Perfect Posters. Auction held in New York City, May 4, 2008.

PAI-XLVIIPosh Posters. Auction held in New York City, November 9, 2008.

PAI-XLVIIIPoster High. Auction held in New York City, May 3, 2009.

PAI-XLIXSoaring Posters. Auction held in New York City, November 8, 2009.

PAI-LPoster Celebration. Auction held in New York City, May 3, 2010.

PAI-LIRare Posters. Auction held in New York City, November 14, 2010.

PAI-LIIThe Winter Sale. Auction held in New York City, February 13, 2011.

PAI-LIIIRare Posters. Auction held in New York City, May 1, 2011.

PAI-LIVRare Posters. Auction held in New York City, September 8. 2011.

PaillardAffiches 14-18, by Rémy Paillard. Reims, France : R. Paillard, 1986.

Paris Temps ModernesLe Paris des temps modernes : les années 1910-1913, by Alain Weill & Unno Hiroshi. Tokyo : Metropolitan Teien Art Museum, 1992. Catalogue of the exhibition held at the Metropolitan Teien Art Museum, Tokyo, April 4-May 24, 1992.

ParrishMaxfield Parrish, by Coy Ludwig. New York : Watson-Guptill Publications, 1973.

Le PaterAlphonse Mucha, Paris 1900 : Le Pater/The Lord’s prayer, by Anna Dvorák, Helen Bieri Thomson & Bernadette de Boysson. Paris: Somogy, 2001. Catalogue of the touring exhibition at Fondation Neumann, Spetember 27, 2001-January 27, 2002; Obecní dum, Prague, June 19-September 29, 2002; Musée des Arts Décoratifs, Bordeaux, October 3, 2003-January 4, 2004; and Musée Royal de Mariemort, Belgium, April 2-June 27, 2004.

PerierIls s’envolèrent, by Jacques Perier & Françoise Leloup-Perier. Catalogue of the exhibition held at LeBourget from the collection of Jacques Perier on the 100th Anniversary of the Fédération Aéronautique Internationale, October 2005.

Petite Reine La petite reine : le vélo en affiches à la fin du XIXeme, by Réjane Bergiel. Paris : Musée de l’Affiche, 1979. Catalogue exhibition held at Musée de l’Affiche, Paris, May 31-September 23, 1979.

Phillips IA century of posters : 1870-1970. The catalogue of the Phillips Auction held November 10, 1979, in New York. Text by Jack Rennert.

Phillips IIPoster classics. The catalogue of the Phillips Auction held May 10, 1980, in New York. Text by Jack Rennert.

Phillips IIIThe world of posters. The catalogue of the Phillips Auction held November 14, 1980, in New York. Text by Jack Rennert.

Picasso PlakatePablo Picasso plakate/affiches/posters, by Jean Caaou & Heinz Peters. Düsseldorf : Droste Verlag, 1963. Posters from the collectio nof Christoph Czwiklitzer.

Plakat SchweizDas plakat in der Schweiz, by Willy Rotzler, Fritz Schärer & Karl Wobmann. Zurich : Edition Stemmle, 1990.

Plakate Alter ZeitPlakate aus alter zeit, by Karl Wobmann & Marianne Bernhard. Zurich : Varia Press, 1986.

Plakate MünchenPlakate in München 1840-1940 : eine documentation zu geschichte und wesen des plakats in München, by Gude Suckale-Redlefsen & Volker Duvigneau. München : Stadtmuseum, 1975. Catalogue of the exhibition at the Münchner Stadtmuseum, October 16, 1975-January 6, 1976.

PneuLes 100 plus belles images du pneu, by Daniel Bordet & Jacques Dreux. Paris : Editions Debecom, 2003.

Poselství UlicePoselství ulice, by Josef Kroutvor. Prague : Comet, 1991.

Posters & Publicity 1928Posters & publicity : fine printing & design annual, 1928. London : The Studio. 1928.

Pour l’ArtPour l’art : 41 affiches Belle Epoque sauvées de la dégradation, ed. by D. Allard. Brussels : Foundation Roi Baudouin, 1998. Catalogue of the exhibition held at the the Bibliothèque Royale de Belgique, February 20-April 4, 1998.

Rademacher Masters of German art, by Hellmut Rademacher. New York : October House, 1966 (Original German edition published in 1965 by Edition Leipzig).

Reims Exposition d’affiches artistiques Françaises et étrangères, modernes et retrospectives, by Alexandre Henriot. Reims : Impr. Coopérative de Reims, 1896. Catalogue of the exhibition at the Cirque De Reims, November 7-17, 1896. Reissued in a numbered edition of l,000 copies by the Musée de l’Affiche in 1980.

Reklame-PostkartenReklame-postkarten : 80 alte postkarten gesammelt und herausgegeben, by Robert Lebeck & Jürgen Kesting. Dortmund : Harenberg Kommunikation, 1978.

ReklamekunstReklamekunst : mit 191 teils farbigen abbildungen zweite auflage, by Walter von Zur Westen. Bielefeld & Laipzig, Velhagen & Klasing, 1914.

Rennert/Weill Alphonse Mucha : the complete posters and panels, by Jack Rennert & Alain Weill. Boston : G. K. Hall, 1984.

RiccioneCapolavori Italiani nel manifesto liberty 1880-1918, by Jack Rennert. Milano : Arti Grafiche Ricordi, 1988. Catalogue of the exhibition at the Palazzo del Turismo, Riccione, July 16-August 21, 1988.

RicordiGrafica Ricordi : dal manifesto storico all produzione d’avanguardia, by Giovanni Sangiorgi, Giorgia Mascherpa & Giulia Veronesi. Roma : Ente Premi, 1967.

Russian FilmsFilm posters of the Russian avant-garde, by Susan Pack. Koln, Germany : Benedikt Taschen Verlag,1995.

Salon des CentLe Salon des Cent, 1894-1900 : affiches d’artistes, by Jocelyne Van Deputte. Paris : Paris-Musées, 1994. Catalogue of the exhibition held at the Musée Carnavalet, Paris, 1995.

Salon des Cent/NeumannLes affiches du Salon des Cent, by Helen Biri Thomson, Patricia Eckert Boyer, Jocelyne van Deputte & Edith Carey. Gingins : Fondation Neumann, 1999. Catalogue of the exhibition sponsored by the Foundation Neumann at the Musée de Pont-Aven, Paris, Jannuary 31, 2000, and the Musée des Arts Decoratifs de Bordeaux, May 17-August 19, 2001.

SantéLa santé s’affiche, by Marine Robert-Sterkedries. Bruxelles : Thérabel, 2003.

Savignac/JapanSavignac. Catalogue of the exhibition held at the Seibu Museum, Tokyo, 1989.

Savignac/ParisSavignac au Musée de l Affiche, by Alain Weill & Christopher Zagrodzki. Paris : Musée de l’Affiche, 1982. Catalogue of the exhibition at the Musée de l’Affiche, Paris, February 10-April 30, 1982.

Schardt Paris 1900, by Hermann Schardt. New York : Putnam’s Sons, 1970; reprinted New York : Portland House, 1987. (Originally published as Paris l900: Französiche plakatkunst, Stuttgart : Belser Verlag, 1968).

Schindler Monografie des plakats, by Herbert Schindler. Munich : Süddeutscher Verlag, 1972.

SchubertDie Deutsche werbe-graphik, by Dr. Walter F. Schubert. Berlin : Verlag Francken & Lang, 1927.

SchoonbroodtPrivat Livemont : entre classicisme et art nouveau, by Benoit Schoonbroadt. Bruxelles : C.I.D.E.P., 2003.

Schweizer HotelSchweizer Hotelplakate : 1875-1982, by Karl Wobmann. Luzern : Biregg Verlag, 1982.

SepoSepo, by Vanja Strukeli. Parma, Italy : Universita di Parma, 1979.

Shahn The complete graphic works of Ben Shahn, by Kenneth W. Prescott. New York : Quadrangle/New York Times Book Co., 1973.

Spectacle Les arts du spectacle en France : affiches iIllustrées, 1850-1950, by Nicole Wild. Paris : Bibliothéque Nationale, 1976. Catalogue of the Bibliothèque de l’Opera (part of the Bibliothèque Nationale).

SportissimoSportissimo : cent ans de grandes et petites histoires du sport, by Françoise & Serge Laget. Paris : Editions du Chêne, 1996.

SteinlenThéophile-Alexandre Steinlen, by Phillip Dennis Cate & Susan Gill. Salt Lake City : Gibbs M. Smith, 1982.

Stoecklin Niklaus Stoecklin : 1896-1982, by Bruno Halder. Basel : Gewerbemuseum, 1986. Catalogue of the retrospective exhibition at the Gewerbemuseum, Museum für Gestaltung, Basel, April 15-June 1, 1986; Kunstgewerbemuseum, Museum für Gestaltung, Zürich, June 18-August 3, 1986; and the Deutsches Plakat Museum, Essen, December 12, 1986-February 1, 1987.

Swiss SkiesConquering the skies in Swiss poster art, by Jean-Charles Giroud. Geneva : Patrick Cramer, 2008.

Swiss SportSwiss sport posters, by Karl Wobmann & Max Triet. Zurich : ABC Verlag, 1983.

Tennis PostersIl tennis nel manifesto/Tennis posters, by Beppe Russotto. Torino, Italy : Giulio Bolaffi, 2006.

Theaterplakate Theaterplakate : ein internationaler historischer uberblick, by Hellmut Rademacher. Leipzig : Edition Leipzig, 1990.

Timeless Images Timeless images, by Jack Rennert. Tokyo : Isetan Museum of Art, 1984. Catalogue of the exhibition at the Isetan Museum of Art, Tokyo, October 10-23, 1984.

Toujours Plus HautToujours plus haut : affiches aviation, by François-Régis Gastou & Laurence Berasategui-Couranjou. Paris : Chorus, 2004. Catalogue of the aviation poster exhibitions at the Centre de l’Affiche, Toulouse, France, Spetember 2004-August 2005.

Tourism/SuntoryTourism in posters, by Keiko Ueki, Alain Weill & Yukie Takeuchi. Osaka : Suntor Museum, 1997. Catalogue of the exhibition at the Suntory Museum, Osaka, September 10-October 26, 1997.

Travel ItaliaTravel Italia : the golden age of Italian travel posters : posters from the Collection Alessandro Bellenda, Alassio, Italy, by Lorenzo Ottaviani. New York : Abrams, 2007.

V & AThe power of the poster, by Margaret Timmer. London : V & A, 1998. Catalogue of the exhibition at the Victoria & Albert Museum, London, April 2-July 26, 1998.

VeloscopieVeloscopie. Knotte-Heist [Belgium] : Casino Knokke, 1977. Catalogue of the exhibition help at Casino Knokke, June 26-September 4, 1977.

Villemot/La FemmeVillemot affiche la femme, by Bernard Villemot & Hélène Decaen-Le Boulanger. Cabourg : Editions du Temps, 2006. Catalogue of the exhibition at the Musée de Trouville, October 14, 2006-January 28, 2007.

VoyageL’Invitation au voyage, by Alain Weill. Paris : Somogy, 1994.

Wagner Toulouse-Lautrec and his contemporaries : posters of the Belle Epoque from the Wagner collection, Ebria Feinblatt & Bruce Davis. Los Angeles : Los Angeles County Museum of Art, 1985. Catalogue of the exhibition at the Los Angeles County Museum of Art, April 9-June 16, 1985.

Weill The poster : a worldwide survey and history, by Alain Weill. Boston : G.K. Hall, 1985.

Wember Die jugend der plakate : 1887-1917, by Paul Wember. Krefeld : Scherpe Verlag, 1961.

Windows on WarWindows on the war : Soviet TASS posters at home and abroad, 1941-1945, ed. by Peter Kort Zegers & Douglas Druick. Chicago : The Art Institute of Chicago, 2011. Catalogue of the exhibition at the Art Institute of Chicago, July 31-Oct 23, 2011.

Wine Spectator Posters of the Belle Epoque : the Wine Spectator collection, by Jack Rennert. New York : The Wine Spectator Press, 1990.

Wittrock Toulouse-Lautrec : the complete prints, by Wolfgang Wittrock. London : Sotheby’s, 1985.

WobmannTouristikplakate der Schweiz/Tourist posters of Switzerland, by Karl Wobmann, introduction by Willy Rotzler. Aarau : AT Verlag, 1980.

Word & ImageWord and image : posters from the collection of the Museum of Modern Art, by Mildred Constantine & Alan Maxwell Fern. New York : New York Graphic Society & the Museum of Modern Art, 1968. Catalogue of the exhibition at the Museum of Modern Art, New York, January 25-March 10-1968.

ZeeAffichekunst aan zee : 1887-1970, by Karl Scheerlinck. Brugge : Uitgeverij van de Wiele, 2003. Cataloge of the exhibition at the Venetiaanse Gaanderijen, Oostende, Belgium, June 1-November 8, 2003.

1. Authenticity and Terms of Guarantee.For a period of five years from the date of this sale, Poster Auctions International, as agent, warrants the authenticity of authorship of all lots contained in this cata-logue as described in the text accompanying each lot.

This warranty and guarantee is made only within the five year period and only to the original buyer of record who returns the purchased lot in the same condition as when sold to said buyer; and, it is established beyond doubt that the identifica-tion of authorship, as set forth in the description in this catalogue as may have been amended by any posted signs or oral declarations during the sale, is not correct based on a reasonable reading of the catalogue and the Conditions of Sale herein. Any dispute arising under the terms in this paragraph will be resolved pursuant to final and binding arbitration at the American Arbitration Association.

Upon a finding by an Arbitrator in favor of buyer, the sale will be rescinded and the original purchase price, including the buyers premium, will be refunded. In such case, Poster Auctions International and the purchaser shall be deemed re-leased of any and all claims that each may otherwise have had against the other arising out of the sale of such item.

The benefits of any warranty granted herein are personal to the buyer and are not assignable or transferable to any other person, whether by operation of law or otherwise. Any assignment or transfer of any such warranty shall be void and un-enforceable. The purchaser refers only to the original buyer of the lot from Poster Auctions International and not any subsequent owner, assignee, or other person who may have or acquire an interest therein.

It is understood, in the event of disputed authenticity of authorship of any lot re-sults in a rescission of the sale and restitution of the original price and premium paid by such purchaser, stated aforesaid, such restitution is buyer’s sole remedy and Poster Auctions International disclaims all liability for any damages, inciden-tal, consequential or otherwise, arising out of or in connection with any sale to the buyer.

Poster Auctions International has provided as much background information for each item listed in this catalogue as possible and has made reasonable efforts to insure the accuracy of the descriptions provided; but Poster Auctions Internation-al disclaims any warranty with regard to such descriptions and statements which accompany the listings in this catalogue, including but not limited to, the year of publication, the size, the condition, the printer, the references or any other back-ground information or fact. Accordingly, buyer has due notice that any such infor-mation and/or descriptions cannot and will not be considered as material facts to this transaction and will not affect any sales herein.

On the fall of the gavel, THE SALE IS FINAL.

All items are sold AS IS.

The consignor warrants good title to the buyer. Poster Auctions International and the consignor make no representations or warranty that the buyer acquires any reproduction rights or copyright in items bought at this sale.

Any statements made by Poster Auctions International, whether in this catalogue or by its officers, agents or employees, whether oral or written, are statements of opinion only and not warranties or representations of material facts as to each and every transaction herein.

2. Auctioneer’s Discretions.Poster Auctions International has absolute discretion to divide any lot, to com-bine any of them, to withdraw any lot, to refuse bids and to regulate the bidding. Poster Auctions International reserves the right to withdraw lots at any time prior to or during the sale. The highest bidder acknowledged by the auctioneer will be the purchaser of the lot. Any advance made on an opening bid may be rejected if the auctioneer deems it inadequate. In the event of any dispute between bidders, or in the event of doubt as to the validity of any bid, the auctioneer shall have the final decision either to determine the successful bidder or to re-offer and re-sell the lot in dispute. If any dispute arises after the sale, the auctioneer’s sale record shall be deemed the sole and conclusive evidence as to the purchaser of any lot or item.

3. Transfer of title and property.Upon the fall of the auctioneer’s hammer, title to the offered lot shall pass to the highest bidder, who may be required to sign a confirmation of purchase; and, shall be required to pay the full purchase price. The purchaser shall assume full risk and responsibility for the lot purchased upon the fall of the auctioneer’s hammer. Poster Auctions International, at its option, may withhold delivery of the lots until funds represented by check have been collected or the authenticity of bank or cashier checks has been determined. No purchase shall be claimed or re-moved until the conclusion of the sale. In the event Poster Auctions International shall, for any reason whatsoever, be unable to deliver the lots purchased by the buyer, its liability shall be solely limited to the rescission of the sale and refund of the purchase price and purchaser’s premium.

Poster Auctions International disclaims all liability for damages, incidental, consequential or otherwise, arising out of its failure to deliver any lots purchased. Poster Auctions International does not charge extra or sell separately any frame if a poster is so offered; but it is clear that it is the poster and not the frame which is being offered for sale. Poster Auctions International shall not be responsible for any damage to the frame or to any poster within the frame. Generally, framed posters offered for sale were received framed, photographed that way, and Poster Auctions International can make no warranty or representations regarding the condition of the poster in unseen areas of any such frame. All items are sold strictly as is and the purchaser assumes full risk and responsibility for the purchased lot upon the fall of the hammer, as stated aforesaid.

All lots shall be paid for and removed at the purchaser’s risk and expense by noon of the second business day following the sale. Lots not so removed will, at the sole option of Poster Auctions International and at purchaser’s risk and expense, be stored at Poster Auctions International’s office or warehouse or de-livered to a licensed warehouse for storage. Purchaser agrees, in either event, to pay all shipping, handling and storage fees incurred. In the case of lots stored at Poster Auctions International’s own warehouse, the handling and storage fee will be an amount equal to 2% of the purchase price for each such lot, per month, until removed, with a minimum charge of 5% for any property not removed within thirty days from the date of the sale.

In addition, Poster Auctions International shall impose a late charge, calculated at the rate of 2% of the total purchase price per month, if payment has not been made in accordance with these Conditions of Sale.

Poster Auctions International may, on the day following the sale, remove all unclaimed items in their offices or warehouse.

Unless purchaser notifies Poster Auctions International to the contrary, purchaseragrees that Poster Auctions International may, at its discretion, use purchaser’s name as buyer of the item sold. If the purchaser fails to comply with one or more of these Conditions of Sale, then, in addition to any and all other remedies which it may have at law or in equity, Poster Auctions International may, at its sole op-tion, cancel the sale without notice to the buyer. In such event, Poster Auctions International shall retain as liquidated damages all payments made by the pur-chaser, or sell the item and/or lots and all other property of the purchaser held by Poster Auctions International, without notice. Such liquidation sale shall be at standard commission rates, without any reserve. The proceeds of such sale or sales shall be applied first to the satisfaction of any damages occasioned by the purchaser’s breach, and then to the payment of any other indebtedness owing to Poster Auctions International, including, without limitation, commissions, han-dling charges, the expenses of both sales, reasonable attorneys fees, collection agency fees, and any other costs or expenses incurred there-under. The purchaser here by waives all the requirements of notice, advertisement and disposition of proceeds required by law, including those set forth in New York Lien Law, Article 9, Sections 200-204 inclusive, or any successor statue, with respect to any sale pursuant to this section.

4. Buyer’s PremiumA premium of 20% will be added to the successful bid price of all items sold byPoster Auctions International. This premium shall be paid by all purchasers, with-out exception.

CONDITIONS OF SALEThe Conditions of Sale in this catalogue, as it may be amended by any posted notice during the sale, constitutes the complete terms and conditions under which the items listed in this catalogue will be offered for sale. Please note that the items will be offered by us as agent for the consignor.

Every potential buyer should read these Conditions of Sale and it will be agreed, acknowledged and understood by such buyer that said buyer has consented to each and every term and condition as set forth herein.

I. Artist’s name.Unless otherwise indicated, the artist’s name, mark or initials appear on theposter.

2. Year of the Poster.The year given is that of the publication of the poster, not necessarily the date ofthe event publicized or the year that art for it was rendered.

3. Size.Size is given in inches first, then centimeters, width preceding height. Size is for entire sheet, not just the image area.

4. Printer.Unless otherwise indicated, the name of the printer is that which appears on theface of the poster. It should be kept in mind that frequently the establishment credited on the poster is, in fact, an agency, studio or publisher.

5. Condition of the Poster.We have attempted a simplified rating of all the posters in this sale. It should be kept in mind that we are dealing, in many cases, with 50 to 100-year-old advertis-ing paper. The standards of the print collector cannot be used. Prints were, for the most part, done in small format, on fine paper, and meant to be immediately framed or stored in a print sleeve or cabinet. A poster, for the most part, was print-ed in a large format, on the cheapest possible paper, and was meant to last about eight weeks on the billboards.

Most important to the condition of a poster — not eight weeks but often eighty years later—is the image of the poster: is that image (the lines, the colors, the overall design) still clearly expressed? If so, it is a poster worth collecting.

While details of each poster’s condition are given as completely and accurately as possible, blemishes, tears or restorations which do not detract from the basic image and impact should not seriously impair value.

All posters are lined, whether on linen or japan paper, unless otherwise indicat-ed. But please note that posters received in frames are not inspected out of their frames and therefore no warranty can be made about them.

All photos are of the actual poster being offered for sale. A close look at the photo and a reading of the text should enable the buyer who cannot personally examine the item to make an intelligent appraisal of it.

The following ratings have been used:

Cond A Designates a poster in very fine condition. The colors are fresh; no paper loss. There may be some slight blemish or tear, but this is very mar- ginal and not noticeable. A+ is a flawless example of a poster rarely seen in such fine condition. A– indicates there may be some slight dirt, fold, tear or bubble or other minor restoration, but most unobtrusive.

Cond B Designates a poster in good condition. There may be some slight paper loss, but not in the image or in any crucial design area. If some restoration, it is not immediately evident. The lines and colors are good, although paper may have yellowed (light-stained). B+ designates a poster in very good condition. B– is one in fairly good condition. The latter determination may be caused by heavier than normal light-staining or one or two noticeable repairs.

Cond C Designates a poster in fair condition. The light-staining may be more pronounced, restorations, folds or flaking are more readily visible, and possibly some minor paper loss occurs. But the poster is otherwise intact, the image clear, and the colors, though possibly faded, still faithful to the artist’s intent.

Cond D Designates a poster in bad condition. A good part of such poster may be missing, including some crucial image area; colors and lines so marred that a true appreciation of the artist’s intent is difficult, if not impossible. There are no D posters in this sale!

The above condition ratings are solely the opinion of Poster Auctions International,and are presented only as an aid to the public. Prospective purchasers are expect-ed to have satisfied themselves as to the condition of the posters. Any discrepancy relating to the condition of a poster shall not be considered grounds for the can-cellation of a sale.

Some other notes and designations relating to the condition of a poster:

Framed Where a poster is framed, this is indicated. In many cases, we have photographed the poster in the frame and the dimensions given are those which are visible within the matting or edges of the frame.

Paper All posters in this sale are linen- or japan-backed unless the designation “P” appears.

6. Bibliography.An abbreviation for each reference (Ref) is given and can be found in the completeBibliography. The reference is almost always to a reproduction of that poster. If a“ p .” precedes it, it means the reproduction or reference is on that page; if num-ber only, it refers to a poster or plate number. Every effort has been made to refer to books that are authoritative and/or easily accessible.

7. Pre-Sale EstimateThese estimates are guides for prospective bidders and should not be relied uponas representations or predictions of actual selling prices. They are simply our bestjudgment of the fair market value of that particular poster in that condition on thedate it was written.

5. Order BidsPoster Auctions International shall make reasonable efforts to execute bids for those not able to attend the auction; and act on the prospective purchaser’s be-half to attempt to purchase the item desired at the lowest price possible, up to the limit indicated by purchaser in writing as if the purchaser were in attendance. Poster Auctions International shall not be responsible for any errors or omissions in this matter. Poster Auctions International reserves the right not to bid for any such purchaser if the order is not clear; does not arrive in sufficient time; the credit of the purchaser is not established prior to the sale; or, for any other rea-son in its sole discretion. An Order Bid Form shall be provided on request.

6. Sales TaxUnless exempt by law, prior to taking possession of the lot, the purchaser shall berequired to pay the combined New York State and local sales tax, or any applicable compensating tax of another state, on the total purchase price.

7. Packing and shippingPacking and/or handling of purchased lots by Posters Auctions International is performed solely as a courtesy for the convenience of purchasers. Unless otherwise directed by purchaser, packing and handling shall be undertaken at the sole discretion of Poster Auctions International. Poster Auctions International, at its sole discretion as agent of the purchaser, shall instruct an outside contractor to act on its behalf and arrange for or otherwise transport purchased lots. Charges for packing, handling, insurance and freight are payable by the purchaser. Poster Auctions International shall make reasonable efforts to handle purchases with care, but assumes no responsibility for damage of any kind. Poster Auctions International disclaims all liability for loss, or damages of any kind, arising out of or in connection with the packing, handling or transportation of any lots/items purchased.

8. Reserves.All lots are subject to a reserve, which is the confidential minimum below which the lot will not be sold. Poster Auctions International may implement the reserve by bidding on behalf of the consignor. The consignor shall not bid on consignor’sproperty.

9. Notices and jurisdiction.(a) All communications and notices hereunder shall be in writing and shall bedeemed to have been duly given if delivered personally to an officer of PAI or if sent by United States registered mail or certified, postage prepaid, addressed as follows:

From: Poster Auctions International To: (Seller) From: (Seller)

To: Poster Auctions International 601 W. 26th Street New York, New York 10001

or to such other address as either party hereto may have designated to the other by written notice.

(b) These Conditions of Sale contain the entire understandings between theparties and may not be changed in any way except in writing duly executed by PAI and buyer.

(c) These Conditions of Sale shall be construed and enforced in accordancewith the laws of the State of New York.

(d) No waiver shall be deemed to be made by any party hereto of any rightshereunder, unless the same shall be in writing and each waiver, if any, shall be awaiver only with respect to the specific instance involved and shall in no way impair the rights of the waiving party or the obligations of the other party in any other respect at any other time.

(e) The provisions of these Conditions of Sale shall be binding upon and inureto the benefit of the respective heirs, legatees, personal representatives and suc-cessors and assigns of the parties hereto.

(f) The Conditions of Sale are not assignable by either party without writtenpermission of the other party; any attempt to assign any rights, duties or obliga-tions which arise under these Conditions without such permission will be void.

DESCRIPTION OF THE POSTERS

RARE POSTERS (PAI-LV)ABSENTEE BID FORM

POSTER AUCTIONS INTERNATIONAL, INC.601 WEST 26TH ST., SUITE 1370, NEW YORK, N.Y. 10001

TEL (212) 787-4000 FAX (212) 604-9175www.posterauctions.com Email: [email protected]

Please bid on my behalf on the following lots up to the price shown. I understand that all bids are subject to the Conditions of Sale which are printed in the Catalogue.

Poster Auctions International will make every effort to execute bids for those not able to attend and act on the prospective purchaser’s behalf to try to purchase the item desired at the lowest price possible up to the limit indicated by purchaser below as if the purchaser were in attendance, but Poster Auctions International cannot be responsible for any errors or omissions in this matter. Poster Auctions International may reserve the right not to bid for any such party if the order is not clear, does not arrive in sufficient time, or the credit of the purchaser is not established, or for any other reason in its sole discretion.

The purchase price will be the total of the final bid and a premium of 20% of the final bid together with any applicable sales tax. Unsuccessful bidders will not be informed but may telephone for sales results.

Date

NAME

ADDRESS

CITY STATE ZIP

TEL: Home: ( ) Office: ( ) Fax: ( )

Email Address

BANK: Name

Address

Account Number Officer

Credit Card# Exp. V-Code

ORDER BID

TELEPHONE BID - Telephone number where you can be reached on Thursday, September 8:

Lot # Artist Title BID (excluding premium)

$

$

$

$

$

$

$

$

(Signed)

C U

T A

T P

E R

F O

R A

T E

D E

D G

E

L’Encyclopédie de l’AfficheBY ALAIN WEILLWith over 600 color illustrations, this newly-published book is a gold-mine of information on individual artists as well as thematic arrangements featuring travel, theatrical, cultural, political posters, and significant corporate campaigns. Text in French.

382 pages. 8 3/4 x 10 in./22.5 x 25.5 cm.

Price: $75

Order from: Posters Please, Inc., 601 West 26th Street - Suite 1370, N.Y.C, 10001

THE POSTER ENCYCLOPEDIAThese auction books form an essential encyclopedia for the poster collector. Each illustrates over 500 posters, with full annotations, bibliography, estimates, and prices realized.

Price of individual volumes : $30 ($40 foreign).

SPECIAL OFFER: 32 prior books for only $300 ($500 foreign).

Order from: Posters Please, Inc., 601 West 26th Street - Suite 1370, N.Y.C, 10001

YES, you CAN be with us on November 13.

If you cannot attend our New York sale in person, you can nonetheless take advantage of these rare offerings.

BID by MAIL, FAX, or PHONEor LIVE ON THE INTERNET

with confidence.Simply fill out the from on the reverse side of this page,

indicating you maximum bid for each desired lot. It should be in our New York offices no later than Friday, November 11.

You may indicate an “either-or” bid if you want to purchase only a portion of the items on your wish list. You may also indicate a maximum total dollar amount.

We execute your bid on your behalf at the lowest price possible.

To bid by telephone, simply fill in the lot numbers and indicate the phone number where we can reach you

on Sunday, November 13. When your lot number comes up, we’ll call you.

To register to bid online, please visit our website: www.posterauctions.com.

Either way, bid with confidence: We execute your bid on your behalf at the lowest possible price.

DON’T MISS OUT ON THE POSTER YOU WANT just because you can’t be in New York.

REMINDER: You can view all the posters at The International Poster Center, 601 W. 26th Street, Suite 1370, New York City

from October 28 to November 12. Hours: 9-5 Monday to Friday; 11-6 Saturday and Sunday.

We are a bidder-friendly organization!

pai lv rare posters

Documents