BICYCLES & MOTORBIKES AUTOMOBILES AVIATION INTERNATIONAL POSTERS Disney Images Mistinguett Russian Posters BOOKS & PERIODICALS 1- 62 63 - 90 91 - 116 117 - 539 274 - 281 376 - 388 459 - 466 540 - 553


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 1

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.

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. ANONYMOUS
1. Cycles Gladiator. ca. 1895. 53 1⁄2 x 38 5⁄8 in./135.8 x 98 cm Imp. G. Massias, Paris Cond 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 cm Imp. Henon, Paris Cond 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.

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.
© 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


hygiene. Fulwell -. the volume provided the history of bicycles.000-$4. Est: $3. out of business. 6.5 cm W. ca.000. According to various newspaper reviews from the time. occasionally making a bicycle the main focus or eliminating one of the tableaux. PAI-XV. Est: $1. 109. Paris Cond B+/Slight tears. largely at edges.000-$6. The Irwell was slightly cheaper than the Belsize. however. Maquaire’s treaty on practical cycling was apparently quite a success. 4.3 6 7 BICYCLES (Continued) 3. PAI-XXVI. The Quadrant Tricycle Co.000. Exceptionally popular in the United States./91. Rare! Est: $5. 4 5 . advice for beginners. In this lovely image wherein a diaphanously-clad nymph is seen using a single bicycle wheel as her chariot. 1894.3 x 78 cm David Allen & Sons. Rudge-Whitworth.700-$2.. 1888. Published at least seven times. guides to various day-trips and scenic routes throughout France. ca.which sounds more like a company than Flying Wheel -has left us little historical documentation.8 x 91. p. 1887. the Manchester Cycle Manufacturing Co. Flying Wheel Cycles out of Coventry was an established brand often compared to Whitworth for its speed and excellent construction. its major competitor. Est: $1. general rules and etiquette. 17. and a special section dedicated to the military’s use of the bicycle. these three-wheelers were meticulously crafted and built for the open road./101. 35 7⁄8 x 50 3⁄4 in. Complete with illustrations by Bergevin.2 x 129 cm Imp. Cerf./100 x 75. Fulwell Cycle.200.700-$2. Ref: Femme S’Affiche. it was its tricycles which came to define the brand. 1896.I. Vélocipédie. had driven the Manchester Cycle Manufacturing Co. Est: $1. Other versions of this poster flip around the display of products. While it produced a variety of bicycles (many of which are seen here). 7. its two main types were the Irwell and the Belsize. Belsize & Irwell.000. Meanwhile. recommendations on the best designs.000. Raleigh Cycles. Here. the daring Pierrette leaves her male companion baffled as she skids away on her Raleigh bicycle. we are presented with an ad for possibly two separate companies. Originally known as the Claviger Cycle Company. 1890. Birmingham Cond B+/Slight tears at folds. 95 Images of Pierrot and Pierrette were used extensively around the turn of the century to sell any manner of product. Belfast & London Cond A-/Unobtrusive vertical fold. Rodway & Co. began operation in the mid-1880s. ca. mostly at folds & edges. 9 While the Quadrant Cycle Company produced both bicycles and motorcycles during its 38 year existence. and may have been designed specifically for the female rider. 24 3⁄8 x 36 in.000-$1. 39 3⁄8 x 29 3⁄4 in. 5. 39 7⁄8 x 30 3⁄4 in./61. ca. Ref (all var): Dodge. ca.5 cm Cond B/Restored tears./31 x 48 cm Cond B+/Slight tears at folds. By 1900. 12 1⁄4 x 18 7⁄8 in.

the idea that it could take you well beyond the borders of your town was a novel & thrilling concept. Tayler. 39 1⁄2 x 27 3⁄4 in. showing the vastness of untouched terrain which the two cyclists are easily navigating.5 cm The Dangerfield Printing Co. Below. Wincycle.500. ca. Birmingham Cond A-/Small tear at right edge. Kossuth.” as we see the man calmly blowing a kiss to a horse which gallops frantically after him. Humber Cycles. 12.000.6 x 54.000./32 x 46 cm Imp. a long-haired brunette is seen flying behind the handlebars. ca. Est: $2.8 14 9 10 15 16 11.8 cm Publicité Fleury. 1897. Paris Cond A-/Very slight tears at edges. ca. Est: $2. Charles Dupont. but also for your health and convenience.700. Below. 16. Siffken. I’m not sure who exactly is surprised./116. 1900.400-$1. Liege Cond B/Slight tears at folds.500-$3. 46 x 62 1⁄2 in. 13. the North Star hovers above a winged herald. Est: $600-$800. Emphasizing the ad’s claim that the bicycle is so easy to handle that it almost rides itself.9 x 158. the image is entitled “Surprising the Locals”. ca.4 x 95 cm Imp./40 x 59. Ref: PAI-XL. 12 5⁄8 x 18 1⁄8 in. Bénard. specializing more in motorcycles than bicycles. Kossuth.200-$1. The company was only operational from 1923 to 1926. 10. largely at folds & edges.500. Est: $1. 11 12 13 14. Est: $1. Here. elegance. 1922. BICYCLES (Continued) 8. from locomotives to ice skaters. Est: $1. Kossuth. that freedom is beautifully envisioned.8 cm D. Cycles “Le Globe” / George Hetley. Cycles Depas./100. J.000. Misti is credited as also creating a design for the company promoting its tandem bicycles. Reminiscent of the hand of Tichon. Paris Cond B-/Tears. the artist presents us with a jovial cyclist. this design for the small bicycle and automobile manufacturer Le Goff brings elegance and class to both of the company’s products. 8 x 23 3⁄8 in. 1900. however. and security. Est: $800-$1.5 x 59.5 cm Imp./65. 9. Combined with the exceedingly demure rider. 6 Comparing the record speeds of all major (and minor) forms of transport. ca. the blank area would have allowed a local dealer to insert his name as a point of contact. To the left.500-$3. Paris Cond B/Tears. F. we see a frightened young woman peddling as fast as she can to escape some very vicious looking farm animals. 29 3⁄8 x 21 1⁄2 in. ca. Cycles Rochet.5 cm Imp. Paris Cond B+/Slight stains at edges.400-$1. 1930. . 15. 1930.2 x 70.. Rather amusingly put. “Arab” Cycles. ca. As bicycles were a relatively new mode of transportation in the 1880s & 1890s. While little remains known about the Pinède brand.200-$1.500-$2. 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. Le Goff./79./74. hovering aloft on top of a Pinède tire.5 x 100. In an attempt to echo the textual promise of strength. 25 3⁄4 x 37 1⁄2 in. but rather repeatedly presented on an iconic French kiosk in the background./20. Cycles Pinède. largely in margins. Emphasizing a Wincycle’s speed and agility in a rather odd way. George Hetley’s Globe bicycle is the clear winner. Est: $1. 1898. merrily riding over bumpy terrain with no hands.5 cm Imp. 58 7⁄8 x 39 5⁄8 in. Halloway Cond B/Slight tears & stains at folds & edges. A rare two-sheet poster advertising Arab Cycles. the text below reads: “The Arab bids farewell to his steed.8 x 50. we are reassured that a Wincycle is not only for business./149. this subtle design makes the bike appear particularly Parisian. Paris Cond B+/8” vertical tear at bottom. Cycles Lorette. Here.000. 15 3⁄4 x 23 3⁄8 in. 29 7⁄8 x 19 7⁄8 in. London Cond B+/Slight tears at vertical fold & edges.700. Est: $1.5 cm Hill.

ca. Rather than the usual depiction of a couple’s tandem cycle. Est: $1. Victor Bicycles / Overman Wheel Co. BRADLEY (1868-1962) 21. at the turn of the century bicycles played a most useful part in combat. Française des Papiers Monnaies Cond B+/Slight tears at vertical fold & edges. 114 Known for his love of intricate patterns based on nature as well as the work of Art Nouveau bad boy Aubrey Beardsley. 21 WILLIAM H. Liége Cond B+/Slight tears at folds. 13 A colorful combination of painterly illustration and realistic draftsmanship. Est: $1. Like many advertisements at the time. however./49. 109 A fine Art Deco design giving a strong nod to the topical theme of The Worker in public art. PAI-LI. p.) 20 19 JULES-LOUIS BERTEAULT 19.500. 27 A rather inventive image in which Roussel rubber tires are used as a decorative roundel above the Queen of the Road’s head.5 x 118. Ref: Pneu. Here. Ref: DFP-I. Roussel. 17. the Victor bicycle was launched by A. 62 x 46 5⁄8 in. Framed.H. 20 5⁄8 x 16 7⁄8 in. it is obvious why it is considered one of the greatest examples of American poster art. p.200-$1. PAI-XXXV. Favor. ultimately leading to the disbandment of all cycling battalions by 1918. here we see the more competitive side of the design with two serious male athletes breezing by a crowded grandstand. as the text below explains.200-$1. though. 38 5⁄8 x 61 7⁄8 in.200.000. Fabrique Nationale. At her feet. Here. With its rhythmic variety and organic flow of line. allowing soldiers to quickly bolster critical sections of the line. 165. Est: $25. 1937. Phillips I. Framed. Aug. Ref: DFP-II. it promotes the Torinobased Italian distributor of the brand. Est: $1. 48. Margolin. Lauder. As for the product itself. and was amongst the first to include wheels of matching height (as opposed to the velocipede which had a higher front wheel). it was now more appealing to showcase the common craftsman behind a product than an elegant and sophisticated purchaser of the item. Paris Cond A-/Slight tears & stains at edges. she will do him in as well. EMILE BERCHMANS (1867-1947) 18.500.000-$30. This type of troop transport soon proved more trouble than it was worth. ca.17 18 BICYCLES (Continued) JACQUES BELLENGER (1903-1985) & PIERRE BELLENGER (1909.000.5 cm Et. Bergamo Cond B+/Restored tears in bottom text banner. 1899. their main focus. P. Ref: PAI-XXXV. we see that both Favor’s bicycles and motorcycles are given equal attention and weight by its maker. 35. 1905. 211./59 x 79 cm Imp. 24. While not an obvious connection./52. Est: $1. 1896. as she quickly vanquishes other brands with a golden nail. Petit. 23 1⁄4 x 31 in. Overman in 1887. Bambace. .8 cm Cie. military weapons./157.5 x 67. Weill.4 x 42.2 cm Lith.000-$1. Peugeot. de la Vasselais. 19 1⁄2 x 26 1⁄2 in. 115 The Belgian company Fabrique Nationale made bicycle parts for a total of one year before moving on to motorcycles and./98 x 157 cm Arti Grafiche. this small advertisement for Peugeot is remarkably decorative and detailed. Bradley. 1148. BILD 20. 48. Reims. 164. Paris Cond B+/Slight tears at folds. Ref: PAI-XL. 208 (var). Masters 1900. Bicycle Posters.700-$2. 23 (var). Bénard. the former King of the Road begs for her mercy. 120. Bradley does not shy away from giving a heavy nod to both in this painstakingly detailed design.

2 cm Imp.” it seems almost necessary that a sea siren would be used to promote it. ca./75. Mertens. PAI-LII.600. the entire family line is on display. like so many bicycle companies. 1910. for which he was known as the best in all of Britain. Lith. his small. 23 26 . 1469. 1890. In this straightforward. Soly. Here. Est: $1. Manufactured in Chicago starting in 1878. Ref: Belle Epoque 1970. allowing a fashionable young woman to roam throughout the countryside with ease. Pneu A. Kossuth. this poster was geared toward the company’s French audience. yet clever way of visually emphasizing that Soly tires are both light and durable. Rambler Cycles.000-$1. DFP-II. Paris Cond A-/Slight stains at edges. restored paper loss in blue sky. Humber Cycles would eventually. 14 1⁄2 x 19 1⁄4 in. strong design by Crespin & Duyck. Paris Cond B-/Tears at folds & edges. PAI-XL. Bruxelles Cond B-/Tears & stains.8 x 82. In the late 1800s. Ref: Bicycle Posters. Swift. 29 3⁄4 x 43 3⁄4 in. 166. 435) -Cardona cleverly integrates the wheel of the machine into the goddess’s cape.200. Est: $1.5 x 111 cm Imp.2 cm Imp.500.6 x 129. Swift Cycles was one of the earliest forms of bicycle to emerge from England. one such lady is basking in the heavenly glow of her Humber as a host of disembodied seraph heads hover around this deified wonder. 46 1⁄8 x 62 3⁄8 in. 24 1⁄4 x 32 3⁄8 in. especially amongst the newly liberated woman. local business had become the most popular bicycle brand in France. Humber. p. however. 55 3⁄4 x 44 7⁄8 in. 1895.4 cm Vercasson.22 BICYCLES (Continued) FIRMIN BOUISSET (1859-1925) 22. Tours Cond B+/Tears at folds & in margins. The addition of the crimson skyline is perhaps a reference to the old adage. EMILE CLOUET 27.500.200-$1.500. Nottingham Cond B/Slight tears./113 x 155 cm Imp. Ref: Ailes. 1895. Here. 24 Like the more famous Velodrome d’Hiver in Paris. this Belgian establishment housed wintertime cycling and other indoor rink events. Chaix. appropriate comment on both the product and the muse. 38. By 1890. including a skirt-sensitive female tricycle. so as to encompass the image of the factory on the horizon.2 x 158. He became so successful that he began his own printing firm in 1897./85 x 141 cm Imp. 44 1⁄2 x 61 in. JUAN CARDONA Y TIO (1877-1958) 26. As can be gleaned by the sweet design of this poster. 62. Beaumont. 36 1⁄2 x 50 7⁄8 in. it is presented as the epitome of style and freedom. Fernand Clément. ca. Est: $1. sailor’s delight” -. Tourangelle. Est: $1. Paris Cond B/Slight tears & creases.400-$1. CATAOS 25. 43. 33 1⁄2 x 55 1⁄2 in. 83. Raleigh Cycles. 1897. 13 While the bicycle itself is only hinted at in the presence of handle bars -. 45 As Baudou decided to name its bicycle tire “La Sirène.000-$2. Est: $1. Est: $2. ADOLPHE CRESPIN (1859-1944) & EDOUARD DUYCK (1856-1897) 29.500. become dominated by its automobile division. the year he was commissioned with this poster for Raleigh. Vélodrome d’Hiver / Sport-Vélocipédique. complete with a repair shop and cycling school. restored paper loss in margins. largely at top edge. 28./61. ca. Paris Cond B+/Slight tears at folds. Born out of the mind of sewing machine manufacturer James Starley. J. bicycles were still all the rage. Ad. 33.500./117.8 cm Tom Browne Lithographers. she holds her latest treasure aloft. Paris Cond B-/Tears at folds & edges. 1894. Framed. Tom Browne’s specialty was actually comic postcard art./37 x 49. Reims. “red sky at night. PAI-LII. He would go on to create other designs for the company. A simple.much like Mucha’s famous Cycles Perfecta (see PAI-LI. we are pointedly told by a stern-looking woman in blue to attend the International Exhibition of Bicycle Racing./92.7 x 114 cm Affiches Camis.200-$1. Kossuth. 37. With a lifelong love of cycling.000-$2. largely at bottom paper edge. 25 28 Formed in England by Thomas Humber in 1869. Pneu Velo Baudou. Est: $1. Belgique Sportives.000-$1.200. PAI-XL./141. none of which posseses the quaint charm of this fine image. 23 27 24 TOM BROWNE (1872-1910) 23. Here. p. Ref: Cappiello/Rennert. Est: $2. Adorned only in demure wisps of hair and seaweed. Adolphe Clément opened his first bicycle manufacturing business in 1878. 29 LEONETTO CAPPIELLO (1875-1942) 24. Duchesne. 1901.200-$1.

Ailes. Wagner. Ref: Pneu. Est: $2. 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. Maindron./59.500-$3.500. 1908. ca./79 x 101.000-$2. 76 (var). EUGENE GRASSET (1841-1917) 32. within a few years. Paris Cond B/Tears at folds. 292 Noted as receiving the highest honors for spare part replacement at the Universal Exposition of 1900.6 cm Imp. a vampire-toothed Native American is shown gnawing on a bicycle tire. p. 362. “Of the product.3 x 77. Paris Cond B-/Restored tears at folds & edges. p. the sideline would become the main. 265 (var) Here. 119. we see barely a handlebar: it is the moody and enigmatic rider who carries the weight of the sale. Berthon & Grasset. Discount./30 x 61. this is the larger.000-$2. all manner of strange and unsavory characters were used to promote the product’s indestructibility. Hérold. Paris Cond B+/Slight tears & stains at edges. atmosphere is paramount. M. Cycles “Brillant”.000.200-$1. 51.30 35 GEORGES GAUDY (1872-1940) 33. or as here. 20. Paris Cond B-/Restored tears. Courmont Frères. ca. Here. is the height of refinement and fashion. 106. PAI-XXXII. Ref: DFP-II. 28. 1900. 415. Bicycle Posters. 96. Ref: PAI-XLIX. 23 As rare as it is beautiful. Minerva Cycles / Antwerpen. Lemercier. Michelin est Indechirable.3 cm Imp. Dumas.000. 314 In advertising the second annual Salon du Cycle. Forain created an image which would cause Maindron to later exclaim. the only product of the company” (Gold.000.7 cm Imp. 31 1⁄8 x 40 in. ca. Opening: 22 3⁄4 x 16 12 in. 56). GRAY (Henri Boulanger. a dandy of a gentleman is gesturing toward one such early design as if to say that it.a favorite amongst collectors at the time in all three of its formats. 55. 78. PAI-XVI. p. Est: $3. 41. Gold. The twilight effect adds warmth to the image in which type and design are beautifully integrated. 33 31 32 Here. 35. Ref: PAI-XVIII. Est: $2. 21. 24 x 35 1⁄2 in. Paris Cond B+/Slight tears. Deuxième Salon du Cycle. Framed.5 cm Imp. Est: $2. Ref: DFP-II. 357 Before the Michelin Man became the company’s official mascot (or political correctness became a norm in advertising). 132. MAXIME FRAIKIN 31. de Vaugirard. Minerva Cycles was an early motorcycle company.500.700-$2. 1900. p. Timeless Images. 11 3⁄4 x 24 1⁄4 in.000-$4. BICYCLES (Continued) JEAN-LOUIS FORAIN (1852-1931) 30./209 x 89. languid world far away from the rest of humanity. 1858-1924) 34.” Delicate in sweet pastel shades. Bruxelles Cond B+/Creases in upper green area. starting off with clip-on engines for bicycles before moving on to more integrated models.500. Dodge. 34 . p. “This poster is perfect. Est: $1. two-sheet version of the image -. p. 1899. Est: $1. de Rycker & Mendel. largely at folds. H. Marque Georges Richard / Cycles & Automobiles. This is among Gray’s finest designs. slight stains in margin. 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. 34. 23 3⁄8 x 30 1⁄2 in. Weill. H. 82 1⁄4 x 35 1⁄8 in./61 x 90 cm O. beautifully incorporating the rays shining off the diamond with the spokes of the bicycle wheel. Car Graffitti. 64. it is no wonder that one of the two winged seraphs come to greet the new bicycle swoons at the mere sight of it. PAI-L. thereby proving that the mere road would cause it no harm. Abdy. This is the rare smaller format. p. Maitres. in one of the most appealing of Grasset’s posters. 1905. 1894./58 x 42 cm Imp. Ref: Pneu. p. 12 (var). 283 Only operational from 1902 to 1927. like himself. Continental. Bicycle Posters.

41 42 MICH (Michel Liebeaux. largely at edges. we are literally left in the dust as this Modern cyclist speeds by.7 x 190./80. PAI-III. at least six of their more popular models are on display. Est: $2. 330 Taking its name from the southeast Austrian city. 33 1⁄2 x 47 in.the former in road racing. 134 Hosted by the Bicycle Union Club in Brussels. 13 Known as “les deux Emiles. striking.5 cm Cond B+/Slight scrapes at vertical fold. PAI-XXVII. Est: $1. J. ca.200-$1. La Française Diamant./49. VICTOR MIGNOT (1872-1944) 42.000-$2.000./154 x 115 cm Imp. Brussels.700-$2. Cycles “Styria. Goossens. As the tires promise to create 70% less friction than other models.” ca. 20 3⁄4 x 44 7⁄8 in.’ personified here by a golden-clad.40 37 36 39 A simple. ca. The design by Laskoff won first prize in a competition sponsored by the printer. MARODON 40.700-$2. 5e. this Macon-based manufacturing company specialized in motorcycles and velocimanes (tricycles for the physically handicapped. FRANZ LASKOFF (François Laskowski. ALBERT GUILLAUME (1873-1942) 37. Mignot gives us a truly spectacular design for their 5th annual Salon du Cycle. an American landscape artists who lived in France from 1874 to 1914.3 cm Imp.200-$1. Ref: Petite Reine. Below.” Emile Georget and Emile Friol were the French champions in two different bicycling disciplines -.500. Paris Cond B/Tears at folds & edges. three of which are shown being merrily driven by the sporting set. Founded in 1917 by Joseph Monet and Adrien Goyon. 28. 60 5⁄8 x 45 1⁄4 in.500. 1881-1923) 41. Pre-Raphaelite damsel bidding farewell to an unseen party. 1895. BICYCLES (Continued) PETER ALFRED GROSS (1849-1914) 36. particularly war veterans). Paris Cond B+/Slight tears at edges. p. Ref: Ailes. and the latter in sprints. 1892.5 cm Affiches Camis. Paul Dupont. 36 Attracting a crowd of local businessmen as well as a boy and his dogs. 1910. a colorful and angular couple holds out a banner announcing the event. Ref: Belgique/Paris. it seems only natural that they should be chosen to endorse the French ‘Diamant’ brand of bicycle while wearing their country’s colors. Paris Cond B+/Slight tears at folds & edges. Cycles Styria is shown here as the perfect racing bicycle. pl.7 cm Publicité Wall. Galerie CGER. Peugeot. PAI-XXXIII.2 x 105. 1869-1921) 39./85 x 119. Ref: PAI-XXXV. this sign in town notes that Peugeot has achieved an unprecedented success at the Paris-Nantes bicycle race. Here. 19. Simplex.500.200-$1. P. Precariously poised on their respective two-wheelers. 1918.500. Est: $1. Salon du Cycle. XXVI./75. Leipzig Cond B+/Slight stains. making all those not participating appear drab and lifeless in the background.500. 121 38 . Bruxelles Cond B-/Restored tears at folds & edges. 1897. Monet & Goyon. Est: $1.000. 3 One of Rudge’s best known models was La Déesse.6 x 114 cm Senefelder./52. DAAN HOEKSEMA (1879-1935) 38. with the top five competitors all crossing the finish line on Peugeot cycles./126.000-$2. 89. Est: $2. Amsterdam Cond B/Slight tears at folds & edges. 109. clean design which is as evocative of the city in which the poster was printed (Amsterdam) as it is of the product itself.8 x 64. Est: $1. 29 5⁄8 x 41 1⁄2 in. PAI-XL. Rudge / La Déesse. 1900. Ref: Petite Reine. Ref: PAI-XVIII. is noted as the ‘artistic painter’ of this fine poster. 19 5⁄8 x 25 1⁄2 in.6 x 115 cm Grimme & Hempel. E. or ‘the Goddess. As national athletic heroes. 31 3⁄4 x 45 1⁄4 in. Est: $1. 50 x 75 in. 29. Gross.

44 46 47

43. Auto Union-DKW. ca. 1936. 22 1⁄2 x 37 1⁄8 in./57.2 x 94.2 cm Gustav Gerstenberger, Chemnitz Cond 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.

PAL (Jean de Paléologue, 1860-1942)
46. Rudge. ca. 1898. 42 3⁄4 x 57 3⁄4 in./108.7 x 146.7 cm Imp. Paul Dupont, Paris Cond 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 cm Imp. 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 cm Imp. P. Leménil, Asnières Cond 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.


MISTI (Ferdinand Mifliez, 1865-1923)
44. Cycles Griffon. 1900. 35 x 60 1⁄2 in./88.7 x 154.5 cm Imp. du Griffon, Paris Cond 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 cm Imp. Bourgerie, Paris Cond 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.






BICYCLES/PAL (Continued)
49. Whitworth Cycles. ca. 1894. 58 5⁄8 x 84 5⁄8 in./148.8 x 215 cm Imp. Paul Dupont, Paris Cond 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 cm Imp. Paul Dupont, Paris Cond 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.




53. Motocyclettes René Gillet. 55 1⁄4 x 39 in./140.5 x 99 cm Imp. G. Delattre, Paris Cond 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.

MANUEL ROBBE (1872-1936)
55. Plasson Cycles: 2 Images. 1897. 66 1⁄8 x 47 in./168.2 x 119.3 cm Ste. Parisienne d’Impressions, Paris Cond 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.

ROGER PEROT (1908-1976)
51. Cycles Peugeot. 1931. 31 x 46 1⁄2 in./79 x 118.3 cm Hachard, Paris Cond 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.

54. La Motocyclette Werner. ca. 1905. 50 1⁄2 x 36 3⁄4 in./128.3 x 93.5 cm Firmin-Didot, Paris Cond 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.

MAX PONTY (1904-1972)
52. Peugeot. ca. 1929. 31 7⁄8 x 47 in./81 x 119.5 cm Le Successeurs de Hachard, Paris Cond 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.


60 56

BICYCLES (Continued) FRANCISCO TAMAGNO (1851-1933)
56. Cycles Automoto. ca. 1910. 14 1⁄4 x 22 1⁄8 in./36 x 56.2 cm La Lithographie Parisienne Cond 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 cm Cond A-/Slight tears at folds Ref: 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.


61. La Française Diamant. ca. 1920. 46 3⁄4 x 61 7⁄8 in./118.8 x 157 cm Affiches Gaillard, Paris Cond 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.

59. Two Early Bicycle Prints. ca. 1885. Each: 15 1⁄2 x 11 3⁄4 in./40 x 30 cm Imp. Chasseport, Paris Cond 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)

62. Cycles Hirondelle-St. Etienne. ca. 1900. 43 x 55 1⁄4 in./109.2 x 140.4 cm Imp. Camis, Paris Cond 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.

ABEL TRUCHET (1857-1918)
58. Pneumatique Morel. ca. 1898. 23 3⁄8 x 31 5⁄8 in./59.5 x 80.3 cm Imp. Edw. Ancourt, Paris Cond 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 bikesthey 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.

60. Bicyclete Rexor. ca. 1919. 22 5⁄8 x 30 in./57.4 x 76.2 cm Publicité Wall, Paris Cond 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.


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

Est: $10.000. p. Garciau. p. the twice-monthly magazine Behind the Wheel is advertised.000.’ Below./120. Est: $4. PAI-XXIV. and India as a stunt duo. with the text heralding it as a stainless. While not a terribly elaborate or thrilling composition. Andre and Marcel Desprez became well-known circus performers with their ‘double summersault’ car act.000-$12. 30. Paris Cond B/Tears at folds & edges. La Royale. 68 LEONETTO CAPPIELLO (1875-1942) For others by Cappiello. the rich quality of the design combined with the blissful perfection of the latest openair automobile would have been enough to spark public interest in the event. Ch. showing an elegant lady giving directions to her driver before entering the cab.AUTOMOBILES 63 64 69 67.000.200. Michelin / Confort-Bibendum. p. 14 1⁄8 x 20 7⁄8 in. brilliant wax. 31 1⁄4 x 46 7⁄8 in.7 x 125 cm Littre. 65 ANONYMOUS 63.3 x 88. La Royale car wax ran a series of ads in the 1930s highlighting national monuments from around the world alongside their product. 112 Leaping over the towers and smoke stacks of the Michelin factory. Auto Show III. including the title plate.000-$1. Behind the Wheel. Est: $1. PAI-LIII. 47 3⁄8 x 34 7⁄8 in. suggests that the Charron automobile is a masterpiece” (Cappiello/Rennert.6 x 194. ca./123. 180 (var). Rallye automobile international / Moscou. however. 42. Ref: Discount. Auto Show I. Here. and used the brothers at stunt men. 1906. Nantes Cond A-/Horizontal fold. 1930./124. 48 3⁄4 x 49 1⁄4 in. 92 3⁄8 x 61 1⁄2 in. Serre. Art & Auto. Paris Cond B/Unobtrusive tears at folds & edges. 16 (var). 6.better known today as the Michelin Man -. held in August of 1914. 64. 65. All of this is reinforced in Cappiello’s design. 90). Est: $3. Ref: Cappiello/Rennert. Michelin/LeCoadic. it is the spectators rather than the actual drivers who are highlighted in this design. see Nos. 63 Organized by the First Automobile Club of Moscow. Automobile Club de France. Est: $6.2 cm Imp. their performance involved launching an automobile in the air. and landing perfectly upright./36 x 53 cm Cond A-/Unobtrusive folds. an exquisite young lady in ermine goes for a wintertime drive to promote the Automobile Club de France’s 1904 exhibition. this poster promotes an international car race. Paris Cond B-/Restored tears at folds & seam. 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. 67 . Ref: PAI-XXI. 99. 1929.500-$3. PAI-XLIII./125 x 196.5 cm Cond A-/Slight tears at paper edges. More promoting the idea of driving than a specific brand.000-$5. Paris Cond A-/Slight tears at folds & edges. Vercasson./234. 1926. eventually took over the Automobiles Charron firm and manufactured large. 131 “Fernand Charron.3 cm L.2 cm Imp. who won the first Gordon Bennett cup in a car of his own design in 1900. Automobiles Charron Ltd. 183-210 68.000. Est: $800-$1.000. 10 From the 1920s until just after World War II. Ref: Auto Show II.6 x 156. The map indicates that participants traveled as far as Madrid and London. 15 Pictured in front of the Grand Palais.000-$7. spinning it around twice. 1904. 66 JULES ABEL FAIVRE (1867-1945) 69. this poster exclaims that ‘the Soviet country needs good roads & automobiles. Ref: PAI-XXXV./79. p. Duval et Bedos. Traveling throughout Europe. comfortable–and expensive–sedans. unalterable. 49 1⁄4 x 77 1⁄4 in. ca. Est: $2. 49 x 76 1⁄2 in. North Africa. / Puteaux. 39. Les Frères Desprez. the Arc de Triomphe serves as the backdrop for the French brand.4 x 119 cm Imp.000. noted for its comfort. The frame around the image.merrily presents the company’s latest tire.500-$4. as well as all the other major cities in Europe. The film A Portrait of an Assassin starring Maria Montez and Erich von Stroheim highlighted the routine. P. 1914. Bibendum -. 1945. 66.

Auto s’Affiche. 15 1⁄4 x 23 5⁄8 in.) 76. 24 Heures du Mans / Automobile Club de l’Ouest. A magneto. Affiches Automobiles. 34 1⁄4 x 17 in. 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 . who signed all his works as ‘Geo Ham. 109 (var) Part of the French Grand Prix circuit. p. 30 3⁄4 x 46 3⁄4 in. the Montage d’Auvergne circuit was not completed until 1958. Below.000-$10.400-$1. cutting across the face of the moon. 72 An elegant and small pochoir design by Gamy advertising the American-owned Splitdorf brand of magneto. while Achille Varzi still took first place in a Bugatti. small portraits of the four champion drivers are shown alongside congratulatory text. Georgia.P. a light blue Gordini leads the way. Paris Cond A-/Slight stains at edges. This was the year in which France took home first place with Henri Pescarolo in his Matra-Simca -. This design d’après Ham recalls many of his other. They were used in everything from automobile engines to telephones.000.3 x 119 cm Imp. p. Montagne d’Auvergne.’ designed all six of the famous. 259. 1974. .71 70 74 73. Deco Affiches. Nice Cond A.2 cm Mabileau. the Alfa Romeo group. leading to Juan Manuel Fangio taking first place in his Maserati. this colorful image by Jacquelin depicts a rainbow of anonymous drivers. This poster. 51. p.. . Est: $1. it being “a perfect example of the Art Deco style favored by such famous poster artists of the 1920s and 30s as A. Here. this is Ham’s first poster for the Monaco Grand Prix.2 x 51. Design-wise./79 x 119. 75 . is an electrical generator which relies on magnets to create alternating currents. Ref: Monaco. 23 1⁄2 x 15 3⁄4 in. This would be the last race held at the Comminges track. p. Paris Cond A-/Slight tears in margins.8 cm I.A.I. Est: $8. Karcher. relying on the drama of movement to create the thrill of the event for the viewer. he set his scene at a spectacular road-level perspective. Paul Colin and Jean Carlu. 360 As the second round of the World Drivers’ Championship that year. 24 1⁄2 x 20 1⁄2 in.500-$2. Here. Charles Loupot. Ref: Jacquelin. the ad is coupled with a scene from the 1910 American Grand Prix.000.A. Affiches Riviera. Cassandre.200. 34 The 1933 Monaco Grand Prix introduced the new GAMY 71. M./87 x 43. the 1957 Monaco Grand Prix was exceptionally dramatic. so magnificently executed to truly express the speed at which these racers drive. 1900-1972) 72. AUTOMOBILES (Continued) JEAN DES GACHONS 70. Est: $1.T.200-$1.7 x 60 cm Imp. p. 46./62. Est: $1. Although the track was first proposed in 1908.D. Monaco / 1957. This image by Geo Ham thrillingly captures the danger and excitement of the 1954 Le Mans Grand Prix. 76 BERNARD MINNE (1918. making the victory bittersweet. To accentuate the speed of the race. GEO HAM (Georges Hamel. PAI-L. the next four places were won by Alfa Romeo. 24 Heures du Mans 1954. p. et Éditions A. Est: $1. Thivillier. Aubervilliers Cond A. followed closely by a red Ferrari. 25. 1952. 143. Grands Prix de France. more famous automobile images.000.700. A.3 cm Imp.7 cm Imp. Clermont-Ferrand Cond B+/Slight stains at left edge. Hamel. JEAN JACQUELIN (1905-1989) 75. This was also the year when Enzo Ferrari set up what is considered to be the most distinguished team in Grand Prix history. Monaco / 23 Avril 1933. hosted in Savannah.83./78.200. is quite rare. Paris Cond A/P. 150 Unlike many of the more common designs for Le Mans which showcase the cars whipping around the track. Affiches Azur. 74.000-$20. 24).7 x 40 cm Imp. 1911. PAI-LIII. Matra would announce its retirement from the sport.500./39.afterward. The “Splitdorf” Magneto. Monégasque. 1958. Est: $1.000-$1. the year of this poster. Schuster.000-$1. Est: $15. Ref: PAI-XXXII. 31 x 47 1⁄8 in. Many of the favorites crashed or suffered engine failure. 15 1⁄2 x 23 1⁄2 in. 333. with torrents of rain cutting across the track and spectators leaning over the rails to catch a glimpse of the action. their high speeds blurring them into an automobile Milky Way.C./59. Ref: Monaco. the SaintGaudens race was hosted at the Circuit du Comminges in Gascony. Cond A. not to be confused with the X-Men character of the same name./38.. 73 policy of determining one’s starting position by practice times rather than randomly by lot. Monte-Carlo.4 x 59. beautiful and rare Grand Prix de Monaco posters from 1933 to 1948” (Crouse. And.

There are 184 pages and 180 color illustrations Contents: – Early autos. Metlicovitz made a good life for himself as a portraitist at a young age. Ref: Menegazzi I.500. Ricordi. 1900. R. we have a medium related to comic strips but closer in scale and suspense to cinema. 601 West 26th Street . PAI-XLII. But either way–as triptych or “teaser” campaign–it would have been marvelous. 78 MISTI (Ferdinand Mifliez. Framed.C. eventually becoming its technical director. LARGE & LAVISHLY ILLUSTRATED BOOK ON AUTOMOBILE POSTERS BY EMMANUEL LOPEz The format of this hardcover book is 12 1⁄4 x 15 3⁄4 in / 31 x 40 cm. Milano Cond B+/Slight tears at folds. 10001 Price: $95 (Add $15 for domestic UPS shipment) AUTOMOBILES (Continued) LEOPOLDO METLICOVITZ (1868-1944) 77. 13-15. 9.000-$25. p. side by side.7 x 114. Car Graffitti. After moving to Milan in 1891.Y.. Mostra del Ciclo e dell’Automobile / Milano.000.A NEW.2 cm Imp. the third–the payoff–in which the suspense gives way to jubilation. 54 1⁄4 x 77 1⁄4 in. Voiture Clément-Panhard. 1907. & edges. 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. PAI-LI. . the second–the crowd coming to life. he joined the Ricordi Printing house.” “A Clement-Panhard car. Carvin. Whether the three posters were published and displayed together or serially. Ref: Auto Show I. Menegazzi II. 1865-1923) 78. He created some of the most beautiful and important Italian posters ever made. we see a winged seraph carrying laurels alongside a pair of serious-looking drivers in an open-topped roadster.” the third reveals./138 x 196 cm G. “Ah!” the second teases. seams. Est: $2. Designed to promote the 1907 automobile show in Milan. “It can only be . Magnificent! Est: $20. Or. N.000-$2./76. (3) 77 . Auto Show III. intriguing. we do not know.Suite 1370. of which this two-sheeter is arguably the best. 143 & cover. If serial. Paris Cond B+/Slight tears & stains at folds. imagine the first poster alone–enigmatic. 414 Despite having no formal training. 6. 43. 384 “What are they waiting for?” asks the first poster in this lithographic triptych. Each Approx: 30 1⁄4 x 45 in. . little more than a riddle and a gallery of wonderful character studies.

/38. Est: $1.79 84 83 LAWRENCE STERNE STEVENS (1884-1960) 82 82. Ref: Ferrari./116 x 157. with Denny Hulme taking first place. Nice Cond A.000. he worked as a designer for General Motors./89. p. Monaco 1967. PAI-XLVI. 25. 85 SMILEY 81. 45 5⁄8 x 62 in.700. Nice Cond A. which keeps the name alive today.500-$4.700-$2. Out for a daytime stroll. as well as the debut season for the McLaren team. L. Framed. This was the first and only time Australia ever won a World Championship. Adding additional excitement was that a few scenes in the movie Grand Prix were filmed during the race. Luckily her male counterpart is managing to maneuver his Werner motorcycle out of her way in time to avoid a serious injury. 1912. 33 5⁄8 x 48 3⁄4 in. A truly evocative scene Est: $1. PAI-LIII. we see not the product advertised but the awe left in its wake. Potentially the most sophisticated.) 84. it had specialized 80 86 . Est: $4./89.000-$4. 493 With a stunning. Ref: Monaco. from the subtle dip of a woman’s pearls to the weighty lean of one body against another. Although technically founded in 1835. it had become an internationallyrecognized brand. PAI-XLVI. ca. It was also the Formula One race in which Japan debuted its Honda team.400-$1. Framed.6 cm Edition J. 35 1/4 x 17 3/8 in. 1907. While Werner manufactured both cars and motorbikes around the turn of the century. its speed so great that even the trees bend toward its true Teutonic fashion -. we are presented -. only moving back to the United States at the beginning of World War II. Renault / Au delà des Pyrénées. Monaco Grand Prix 1966. Nearby. Ramel. Est: $3. Voitures & Motors Werner. fowl. Paris Cond B+/Tears at folds. Est: $1. Jackie Stewart came in first in his BRM. Turner presents one of his better Grand Prix designs.5 x 123. By 1909. From 1925 to 1937. Paris Cond A-/Slight stains at edges. here being spotted by a contemporary Galileo as the newest meteor.5 x 127 cm Imp.000-$5.3 cm L’Esquisse Moderne. Goossens.7 x 61.7 x 61 cm Edition J. and beast into total panic. H. rather than just admiring the car in a fashionable driveway. 1930.000. this one saw the victory of England’s Graham Hill. Ref: PAI-LI. a young couple are about to cross the road when the latest model of Buick flies by. 85. Ramel.8 x 89. the Formula One cars of the 25th annual Monaco Grand Prix fly around the turn. Monaco. However.200-$1. this crowd is present because of the automobile exhibition at Bern’s National Hotel.000.500. This was the first year in which three-litre engines were used. 113 A romantic sunset in the rolling countryside. it wasn’t until 1905 that the Italian car maker Diatto made its first automobile. 422 Strikingly offset against the Byzantine church and stone archways of the old city. 300. 23.5 x 45 cm Mabileau.500. Up until then. 81 in horse-drawn carriages and luxury sleeper cars on trains./38. Est: $3. 420 One of many designs by Turner for the Monaco Grand Prix. Est: $1. An exceedingly bright poster.8 cm Cond A-/Slight tears at horizontal fold. With the encouragement of Mucha. 17 5⁄8 x 35 1⁄4 in.000. wherein a young couple takes in the view as their driver waits patiently behind them in their burntcrimson Renault.200-$1. AUTOMOBILES (Continued) ANDRÉ NÉVIL 79. Buick 1931. Chevrolet. Nice Cond A. P./39 x 60. MICHAEL TURNER (1934./85. a gypsy strums his guitar while a round of drinks is served at the local tavern for the gathered farmers. 15 3⁄8 x 23 7⁄8 in. Stevens moved from Pontiac. Michigan to Belgium in 1910. sweeping view of the Monte-Carlo seaside in the background./44. sought after by collectors. Ramel. furthering his studies at the Royal Academy of Fine Arts in Antwerp. Diatto. Bruxelles Cond A. Monaco Grand Prix 1965.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. Ref: Monaco.5 cm Mabileau. elegant poster ever designed for Chevrolet.700-$2. ROOWY 80. Framed. In the end. 15 1⁄4 x 24 1⁄8 in. 1931. as is evident by the clueless female driver whose antics are sending man. 86. p. 83.2 cm J. where he continued his successful career as an illustrator. 492 Obviously safety is not a primary concern for those owning a Werner-made automobile. it is the latter. Est: $1. Colombs Cond A-/Slight stains at paper edges. 64. 15 1⁄4 x 24 in.000. Ref: PAI-XXXI. 1912. 35 1⁄4 x 50 in.



87. Fabrique Nationale. 1907. 40 1⁄2 x 30 in./102.2 x 76.2 cm Imp. A. Millet, Asnières Cond 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 cm Imp. Riegel, Neuilly Cond 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.


89. Train Auto-Couchettes / Wagons-Lits. 1964. 15 1⁄2 x 23 1⁄2 in./40 x 59.6 cm Imp. Courbet, Paris Cond 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.


RENÉ VINCENT (1879-1936)
90. Peugeot. 1919. 47 1⁄2 x 63 1⁄4 in./120.7 x 160.6 cm Imp. Draeger, Paris Cond 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.

For two other automobile posters, see Cassandre’s RAI (No. 219) and Kow’s Hotchkiss (No. 347).







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 cm Imp. Pichot, Paris Cond 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 cm Imp. Camis, Paris Cond 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.

91. Le Sans-Souci. ca. 1860. 17 3⁄4 x 25 3⁄4 in./45 x 65.4 cm Imp. Decan, Paris Cond 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 cm Lith. Armbruster, Bern Cond B+/Tape stains at corners. Ref: Swiss Skies, 7; PAI-XLVIII, 18

95. Niort Aviation. ca. 1910. 31 x 39 3⁄4 in./78.5 x 101 cm Cond 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 cm A. Molling, Hannover Cond 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.

97. Repülöversenyek. 1910. 24 3⁄4 x 38 1⁄4 in./63 x 97 cm Légrády Testvérek, Budapest Cond 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.





98. Flight over Egypt. 1914. 35 1⁄3 x 17 5⁄8 in./89.5 x 45 cm Mabileau, Paris Cond 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.

JEAN CARLU (1900-1997)
100. Pan American / Marseilles. 1949. 28 x 41 7⁄8 in./71 x 106.5 cm Cond 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 cm La Publicité Synchronissée, Lyon Cond 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 PAIXXXI, 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 cm Druck M. DuMont Schauberg, Köln Cond 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.

103. Semaine d’Aviation / Caen. 1910. 39 1⁄4 x 55 1⁄2 in./99.6 x 141 cm Lith Ch. Valin, Caen Cond 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.

EMIL CARDINAUX (1877-1936)
99. Bider-Tag. 1921. 35 7⁄8 x 50 3⁄8 in./91.2 x 128 cm Woflsberg, zurich Cond 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.


3 cm Mabileau. Roger Sommer. Est: $1. This is the smaller format. when he was maimed in a horrible crash. 1909. 70A. 1910. Louis Paulhan. Toujours Plus Haut.this actually belonged to Carlo Weymann.7 x 43. 246 A remarkably detailed bird’s eye view of Andre Beaumont sailing over Rome toward victory in the 1911 Paris-Rome race. Ref: PAI-XXXVII. A svelte female spectator. 35 3⁄8 x 17 3⁄4 in. 116 “The true ancestor of the aviation poster genre can be traced to . Dans la Rafale./45 x 89. Paris Cond A. 1910. ca. 107. for his portrayal of the trailblazing assembly at Rheims.400-$1. this pochoir illustration shows Roland Garros on his way to winning the 1912 Grand Prix of Angers in his Blériot. Est: $1. 1911. 28 3⁄4 x 41 in. Est: $1.6 x 45 cm Mabileau.000-$1. ca. 33 3⁄4 x 17 1⁄4 in.200-$1.7 x 89 cm Cond C/Tears at folds & edges./90 x 45. .3 cm Mabileau.1 cm Affiches Montaut & Mabileau. Ref: PAI-XLVIII. As a small crowd cheers him on from below. 35 1⁄4 x 17 3⁄4 in./89. Montaut . Hubert Latham. 17 3⁄4 x 35 1⁄4 in.000. .000. this competition was part of a celebration of Italy’s 50th anniversary of independence. The only inaccuracy in the illustration is the number 6 appearing on the tail of Beaumont’s Blériot -.” from sailing to flying to riding in one’s automobile. 34 1⁄4 x 17 3⁄4 in.000-$12./73 x 104. . Léon Delagrange. 107 110 . p. 106 FÉLIX JOBBÉ-DUVAL (1879-1961) 108. Paris-Rome. Grande Semaine d’Aviation. 50. . Les Hydroaeroplanes Farman. The Grande Semaine brought together for the first time the world’s greatest fliers. Soft tints in the sky indicate that sunset is near. . 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. we are shown one of the more thrilling moments during the inaugural Côte d’Azur air show. p.Paris Cond A/P. A lively hand-colored pochoir panel showcasing all “Les Grands Sports. It dramatically demonstrated the progress made in aviation and provided an incalculable stimulus for the design and production of aeroplanes” (Looping the Loop. A51 A delicate pochoir panel showcasing the pilot Alfred Le Blanc. Aviators who had flown ‘before Rheims’ were regarded as veterans compared with those who learned to fly later. 25. 105. winner of the important Eastern Circuit cross-country race./85. Circuit de l’Est. . 1910./44. Les Grands Sports. however. Looping the Loop. Glenn Hammond Curtiss .200./89. 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. largely at edges. Perier. 1912. 1912. Est: $800-$1. Ref: PAI-XLVIII. back to the viewer.5 x 45 cm Mabileau. Popoff au Meeting du Cannes. and the American entry. Est: $10.500-$2. Henry Farman. . .AVIATION (Continued) GAMY 104. PAI-XXIX. while Beaumont’s plane had the number 2 on its tail. Est: $1. 110. Ref (all var put PAI): Affiches de l’Aviation. a time of day when the wind was apt to drop and flying was considered to be safer.500. What seemed to be the beginning of an illustrious career. Paris Cond A-/Slight stains at edges. 89.700. Paris Cond B-/Restored tears & losses. 42). 104 108 105 109 ERNEST MONTAUT (1879-1909) 109. 302 In a blaze of exhilarating color.200. Parisians streamed to the event enthusiastically. Est: $1. A colorful and evocative pochoir illustration showing a Farman seaplane gliding over the clear waters of Monaco. Among them were Louis Blériot. count Charles de Lambert. three thousand Britons came from London by special excursion. lifts her arm in salute to an armada of aircraft rising like a swarm of bees . Paris Cond B+/Slight tears & stains at folds & edges. he is shown gliding effortlessly over the fields of Mars-La-Tour in France’s Lorraine region. Held in conjunction with the International Exhibition of Industry and Trade. 17 3⁄8 x 35 in. was cut off soon after this meet. The curving zebra stripes of her costume-fully consonant with an impression of motion and speed. 106.5 cm Cond B/Slight stains in margins. about to land. p. sponsored partially by Le Petit Journal in France.000. Rheims was a watershed in the history of flight.000-$1. Here. and two thousand Americans turned up to root for the single representative of their country.

and financed by the Ligue Nationale Aérienne.2 x 58. The air show’s prizes totaled 200. as it shows how even in the simplest of ads for mundane products. 21 3⁄8 x 35 in. Paris Cond B+/Slight tears at edges. 1913. An exceptionally nationalistic rendering of the German airmail system. Leipzig Cond C+/Stains. with its two-mile circuit. PAI-XVI. 1910.000. 56. Est: $1. however./42. 124-125. the newspaper L’Auto.000-$8. A lovely reminder of why we wanted to fly in the first place. PAI-LIII.5 x 157. a clipper ship much like one used by Christopher Columbus is seen skirting the waves as the most modern of airplanes swarm around it.4 x 79. Est: $6.5 cm Imp. Acting as a visual link between Spain and the Americas.7 cm Publimage Publicite. Girieud. the same heroic angles and Teutonic allusions used to promote the Nazi government were used to promote the country’s goods and services. Looping the Loop. Léon Morane.000-$8. 39 1⁄8 x 23 1⁄8 in. 33 7⁄8 x 49 in. pointing wryly to the crow as he exclaims./86 x 124. Pégoud glances back at the viewer. the birds now desire to be more like him and are purchasing motors to be more like his plane. 111. 1931.000-$2. Toujours Plus Haut. pp.9 cm Kühn & zoon. 33). PARRILLA 113. while Marcel Hanriot. 37. Ortega. Pégoud on Blériot. to watch a dozen monoplanes and as many biplanes compete in the now classic disciplines: speed. Ref: Affiches d’Aviation. p. MUNSCH 112.000. Rouen Cond B-/Restored tears. p. MÜLLER 111 Simple and strong.3 x 59 cm Wezel & Naumann. Deutsche Luftpost.2 x 89 cm Imp. Leert Vliegen./110. Ref: Affiches d’Aviation. the author notes how birds have looked at most aviators and seen nothing but poor imitators of themselves. Grande Semaine d’Aviation. This is the horizontal format. Valencia Cond B+/Slight tears at folds & edges. Perier. following the Budapest international air show and the third Port-Aviation show. Ref: PAI-XLVIII. 82 This amusing caricature of the pilot Adolphe Pégoud aptly illustrates the poem by A. Above. and the Automobile Club de Normandie. who won all of the events. upon seeing Pégoud and his daring skills in the air. II Salon de Aeronautica Exposicion Ibero-Americana. Rare! Est: $2.400-$1. ca. Europe’s youngest aviator. on board with grommets at top. This a historically important document.500. p. In it. 1936. 43 1⁄2 x 31 1⁄2 in. claiming that it is the fastest way to get letters and packages around the world for a modest fee.8 cm Cond B+/Slight tears at folds. 9 “Organized by the city of Rouen. The air show was dominated by a talented young man. 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./54. Est: $1.000 francs (150. 114 CHARLES RAMBERT (1867-1932) 114.500. 1912. 386 . A curious and handsome poster promoting the Real Aero Club of Andalusia’s show during the Second Iberian-American Exposition. was making his debut” (Affiches d’Aviation. p. Fifty thousand spectators attended the Great Aviation Week of Rouen. Ref: Affiches d’Aviation. 1929.200-$1./99. Rotterdam Cond B/Tears & stains at edges.700. A copy of this image is maintained by the National Air & Space Museum. Hesse near the bottom left of the poster. Est: $6. 40 A powerful.200-$1.000 francs according to the posters).112 113 AVIATION (Continued) E./57. Flugplatz. 115 116 KEES VAN DER LAAN (1903-1983) 115. and flight duration. largely at edges. 93.500. 97. altitude. Futurist design enticing adventurous viewers to learn to fly at the National Aviation School in the Netherlands. this meet took place on the Rouvray parade ground. JUPP WIERTZ (1881-1939) 116. 16 5⁄8 x 23 1⁄8 in. 22 5⁄8 x 62 1⁄8 in. “it drools!” Est: $1.

Allen.200-$1. 22 1⁄8 x 28 1⁄8 in.000-$1.was made to celebrate a visit from Tsar Alexander III to Paris in 1892. Such is the case here in a four-sheet poster which looks remarkably similar to Vallotton’s ad for Pépinière (see PAI-XLII. London Cond B+/Unobtrusive folds. Platt & Co. ANONYMOUS 117. p. The Mikado. Milano Cond B/Slight tears & stains at folds.200. 233. La Créole is one of Jacques Offenbach’s many comic operas which has since slipped into obscurity. 90 Started in the 1840s by Mrs. 1886. ca. By the 1880s. S. Known for its impeccable. New York. 123. the serum involved dissolving lead acetate in perfumed water before mixing it with sulfur and glycerin.500. 1898.2 x 54.5 x 59. the Néva -. 324 Having grown from its humble origins to a block-wide fashion emporium by 1889. PAI-XLIX./50. A quaint and delicately-detailed poster showcasing the latest in farm equipment produced by Adriance. and Great Britain. recreated upper margin.4 cm Strobridge./56 x 72./101. 502). du Senat. Ricordi. Adriance. 22 x 30 1⁄2 in.200-$1. France. This poster is for the US premiere of the company’s most successful production. 64 3⁄4 x 88 1⁄2 in. Many of them were created in honor of various important events or celebrities.5 x 151./67. 40 x 59 1⁄2 in. 122. Est: $1. and shows off the fine attention to detail and design Strobridge was known for at the time. F.200-$1. Néva / Biscuit Russe. this anonymous poster invites the viewer to a masked ball at the famous Parisian music hall. 1344.1 cm Imp.200-$1. Active for over a century. Est: $1. her hair restoring tonic was sold out of her husband’s Manhattan dentistry.200. Ref: Art du Biscuit. Platt.500-$3.500.9 cm G. Régénérateur de Mme. 33 x 47 in/83.500. Est: $1. The plot and music are rather predictable. 99 Written toward the end of his life. Cincinnati Cond A.3 cm Cond A. Ref: Spectacle. with ads running in Cuba.500. 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. ca. the Statue of Liberty being the final figure seen in the lowermost left corner. & Co out of Poughkeepsie.5 x 224. Mele was not above stealing successful designs from other institutions to help draw a crowd. Paris Cond A. Susan A. The operetta would resurface in the early 1930s when Josephine Baker performed the lead. Ref: Reims. 26 1⁄2 x 21 1⁄2 in. a locomotive crossing a bridge over the Hudson River toward a factory. Bal de Plaisance./39. The Mikado / D’Oyly Carte’s Opera. the D’Oyly Carte Opera Company toured the globe performing various Gilbert & Sullivan light operas. Paris Cond B/Restored tears in top text area. Est: $1. Bolaffi/Mele. Champenois. La Créole. 119. 124 124. Mele / Klamor!. fig.000. As we travel down river. On the horizon. Elysée Montmartre. the only other illustrated area is Manhattan and its surrounding boroughs. 19 7⁄8 x 29 3⁄4 in. Lemercier.2 cm Affiches Camis.000-$1. Barousse. we see the town of manufacture busily working into the night. 1875. Est: $2. . Est: $ x 75. 118. Paris Cond A. PAI-L. 67 (var). According to a recipe surviving from that period.700-$2. M5. 1899. An obvious nod to a similar design by Chéret for the same event (see PAI-XLIV./164. Canada. Est: $1.000. 15 1⁄2 x 23 1⁄4 in.5 cm Imp. Allen.a Russian-themed cookie promoted here -. 179).5 cm Lith. For example. 118 121 120. 1885. An interesting and meticulously-detailed poster promoting a country hall as the ideal venue for everything from weddings to banquets to balls.6 cm Strobridge. Ref: Mele. except that rather than welcoming a star-studded performance this crowd is heralding in the latest styles. though quite pleasant. ca. Est: $1. 1892. Art et Biscuits./56 x 77.INTERNATIONAL POSTERS 123 117 119 120 122 121. 1892. 1884. it had international distribution. Paris Cond B/Tears at folds & paper edges. Lefèvre-Utile came out with an array of new products as offshoots from their more classic French biscuits. eye-catching advertisements. 18 Around the turn of the century.8 x 119. the Mele department store almost single-handedly made Naples a fashion-conscious city. A.

Shown in all manner of routines in this three-sheet poster.5 x 129.7 x 203. 132. A host of charming characters await whatever lavish night at the theater this poster would ultimately advertise. unobtrusive folds. 1899. Ref: PAI-LI. Morton was talked out of retirement when the Royal English Opera became available to him. Miracolosa Injezione. 129. ca. 128. Est: $1. ca. Here. Triple Sec Allary. ca. Quaker Oats. appearing in over seventy films./51 x 76. we see a very early representation of the Quaker. This three-sheet poster promotes an early time in his career when he went on tour to promote his stage acting. ca. we are simply met with an intoxicated dandy blissfully enjoying a cigar and a drink on a sunny afternoon. 1900. and Quaker Mills wanted to create a trustworthy brand. he is one of America’s longest-standing commercial icons. He was chosen not because of any religious ties held by the company. Bal à l’Opéra. complete with metallic fanned halo. Est: $2. fluttering her feathered fan. Angoulême Cond B+/4” vertical tear from bottom edge into man’s jacket. holding both a box of the brand’s rolled white oats as well as a missive stating the word “Pure.500. 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. Est: $1. 541). The Palace Theatre / The Ivanoff Troupe.2 x 118 cm Cond B-/Restored paper loss in margin. curing all sorts of general illnesses.500-$1./83. Belfast Cond A-/Slight tears at top edge. Napoli Cond B/Tears at folds.800./97. slight tears & stains. After an illustrious career as a music hall manager throughout England. Laas. Est: $1. between 1913 and the time of his death in 1964. The Great Jester’s 2 1⁄2 hour performance covered everything from cross-dressing to mockduels to air-banjo playing on a broom. Today. including Fellini’s I Vitelloni. 1898. The truly interesting portion of the design. Achille Majeroni was a popular Italian film actor.7 cm Imp. 27 3⁄4 x 50 7⁄8 in. Est: $2. 20 1⁄8 x 30 1⁄8 in.2 x 124. 1900. This is potentially the best quack-medical poster in the auction. which rely on allegorical figures to emphasize their importance or superiority.200-$1. largely in top area. largely at folds.3 cm Forbes Cond B/Slight tears & creases. 41 3⁄4 x 79 3⁄4 in. Est: $600-$800. 76 A gorgeous stock poster for the printing company Camis in Paris.125. 1900. 73 When it was registered on September 4. 126. 125 126 132 130 ANONYMOUS (Continued) 130./106 x 202. Lovely. 38 1⁄4 x 49 in. 127./98. Javanaud.500-$3.400-$1. with 20 years of experience to back up such claims. a bitter aperitif. He reopened it as the Palace. Palma. Est: $1.5 cm David Allen. Unlike their other products’ advertisements. Framed.500. Meanwhile. 128 127 129 131 . edges. Here./113 x 150. Adrien Sarrazin-Javillier produced many fine spirits around the turn of the century. Bacchus. 221 Holding up the universally-understood light bulb of genius. Paris Cond B+/Slight creases. but simply for the fact that Quakers were known for being honest. Est: $1. Majeroni. however. 44 1⁄2 x 59 1⁄4 in.500.4 cm Lit. Ref: PAI-XXX. 366 Located in the Dordogne region of France. Ref: PAI-LI.000-$2.5 cm F. ca. one of which was the quinquina Bacchus. unable to believe that it is not real flesh and blood. Paris Cond A-/Unobtrusive folds. 1910.” one of the Quaker principles. the House of Allary produced not only the triple sec advertised in this poster. ca. The Great Jester.700. 1877./70. A. H.5 cm Affiches Camis. ca. toasts alongside him.400-$1. 131. but also an array of other alcoholic libations. some signed by the good professor himself. Ref: PAI-XXXI. and managed it as one of the most profitable venues in London from 1892 until the time of his death in 1904. & seams. including beer (see PAI-LI. 39 x 80 1⁄8 in.5 cm Cond B/Slight tears & stains. 32 3⁄4 x 46 1⁄2 in. including anemia and syphilis. This poster visually depicts the grape-crowned Roman god straddling a barrel of the beverage. a Bacchae. a set of amused dandies reach out to touch a marble statue. while one of his many followers. 46 1⁄4 x 62 3⁄4 in. You can even send away for written testimonies and certificates vouching for the product’s authenticity. is that Charles Morton is credited as the manager of the Palace Theatre. ca.5 x 159. though.700. the Quaker Mills mascot became the first registered trademark for a breakfast cereal. A lovely little poster promoting a troupe of Russian performers by way of a leaping dancer. 1903. a coy coquette glances over her shoulder. 1897./117.000.200-$1.

The line “Egyptian Fakirs Outdone” is a direct reference to his beating Bey’s time the year prior. it should be noted that the key graphic element. 8). Denis / Ted Shawn. and then buried in a tank full of sand. On many of these projects. It would be the third variation of the stunt that the magician would attempt. 135 136 . Est: $7. 43. If lyricism was the quality of some dancers .8 cm Hegeman Print. In 1926. is in the eyes: His open and strong. starring in dozens of movies including the expressionist horror film Genuine. ./207 x 269. she also acted as a producer. In response. eventually meeting Max Reinhardt in Berlin while on a European tour. sealed in an airtight casket. especially facial features. 1926. Cleveland Cond B-/Restored tears & losses. Houdini spent an hour and a half in a sealed casket underwater. involving the magician being bound in a strait-jacket. 80 1⁄4 x 107 in. He funneled her into silent film acting.500. he attempted to outdo the Egyptian-themed performer Rahman Bey. Aarau Cond B+/Restored paper loss in lower right corner. 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.5 x 59. Trüb. as Houdini died on October 31. staring right at hers. ca.000-$17. it is known as one of the stronger cigarettes on the market.2 cm Otis Lithograph Co. Est: $600-$800. . 1927. Ref: PAI-XXVIII. Fern Andra is best-known as a popular German silent film actress. Although the roughness of the brush strokes. Denis and it was always projected on stage and captured and emphasized in the Denishawn posters ./69. St. Pielroja (Redskin) cigarettes was the country’s first mass-produced cigarette brand. Ruth St. The act advertised in this poster was to be the ultimate version of trick. then mysticism was the quality of St. Although she was an American. staying alive through controlled breathing.8 x 271. Est: $14. p. 1926. if completely lacking in political correctness. Denis always appeared goddesslike in her posters as well as her dances” (Dance Posters. Printed in preparation for his 1927 tour season. 117 Noted as being the pride of Colombia’s industry. . 81 1⁄2 x 106 in. He began experimenting with the idea of being ‘buried alive’ as early as 1915. New York Cond B+/Tears at folds & edges. 78 “This Balinese Fantasy is a delight to behold. the details have been retained with almost portraitlike fidelity . closed and idyllic. P.000. when he was covered with six feet of dirt and had to claw his way to the surface. Hamburg Cond B/Slight tears at folds. other than the vibrant colors.2 cm Friedlander.200-$1.134.3 x 95. 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. PAI-XLVI. 136./39. 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. this fantastic sixsheet poster was sadly never used. Est: $1. She began her career as a child circus performer. . 1926. writer. whose trick involved being sealed without oxygen in a casket for an hour.. especially in the clothing and the background. Filterless even today.5 cm A. . Houdini / Buried Alive. creases. It is in fact an eight-sheet billboard. This design is particularly charming. possessing a sort of naive racism which held a universal appeal in the early 20th century.000. Pielroja y Pierrot. 15 1⁄2 x 23 1⁄2 in. Fern Andra.000-$9. ca. and director. Ref: Dance Posters. 135./203. 134 133 ANONYMOUS (Continued) 133. . 27 3⁄8 x 37 1⁄2 in. 1926.

he promises highly-detailed winter sportswear for the whole family. 1930. Amarcord provides a visual feast for the viewer. Bradford Cond B+/Slight tears & stains. Papachrysanthou.E.7 x 63. 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. superseded only by the 1904 St. in 6939. possibly a precursor to the Deco revival of the 1980s. Wien Cond B+/Slight tears at folds & edges. Maria Callas returned to the country of her first triumph to play the title role in Bellini’s Norma. Louis Exposition. largely at edges.3 cm Cond A. 1910. 143 140.000. not to be released again until 5. The Model Railway Club. 143. 28 1⁄4 x 41 in. New York Cond B-/Slight tears & stains at folds. Albert Matzner. the characters are all larger-than-life and a bit ridiculous. Federico Fellini / Amarcord./51.140 141 142 138 137 ANONYMOUS (Continued) 137. 39 7⁄8 x 30 in.2 x 76. One of Fellini’s many pseudo-autobiographical.400-$1. NYC Cond A-/Unobtrusive fold. oversexed and naïve. which was placed in the Westinghouse Time Capsule at the end of the event.000.6 x 63 cm Lith. he is treated like royalty around town. Ref: PAI-XLIII./58. hosting frequent events. ca.. Considered to be one of her finest roles. 139 . It was also the first World’s Fair which focused entirely on the world of the future. Est: $800-$1. A somewhat naughty invitation to see the new musical film Let’s Go Places. World’s Fair of 1940 / New York. 138.3 x 51. Latin Combo Band. 18 x 24 7⁄8 in. Est: $800-$1. taking up the slogan ‘for peace and freedom’ as a reason for such a vision.8 x 104 cm Miner Litho. She would play this character 89 times over her career. The Model Railway Club in London still uses this design as its logo today. Est: $800-$1.8 cm B. 142. Mayhem ensues when his girlfriend meets the wife of the man he is impersonating. Est: $800-$1. 20 3⁄8 x 30 3⁄8 in. Strayer. 139. announcing that our young hero is in fact his nephew. going even so far as to move into the actual celebrity’s home. 141.7 x 79.000./45./33.2 cm Cond B+/Slight tears. A sexy and sleek design promoting a generic Latin American-themed band in Hungary. 139 With an audience of over 44 million visitors.000. Amarcord (”I Remember”) takes place in 1930s Fascist Italy. Athens Cond B/Slight tears at folds.700.000-$1. Partly a satire on Italian cultural decline under Mussolini. Mistaken for a famous opera singer. Founded in 1910.000. the 1939-1940 New York World’s Fair had the second-highest attendance rate in the country’s history.7 x 77. Let’s Go Places. Weiner. 18 x 24 3⁄4 in. it is a society of model train enthusiasts. J. both public and private.200. Standing next to the various large-scale flags in the foreground is James Earle Fraser’s statue of George Washington. Est: $1.000 years had passed. Like most Fellini films. A handsome design promoting the wholesale clothing distributor Albert Matzner. he or she was obviously influenced by the stark Modernism of the 1960s. Here. 23 1⁄8 x 31 3⁄8 in.2 cm W. As its name would imply. 1960. directed by Frank R. Berry./71. Est: $800-$1. 13 1⁄8 x 20 1⁄4 in. Est: $1. 1973. mostly at folds./45. While no artist is noted. only to be resolved when the actual opera singer returns to town./101. coming-of-age films.4 cm Polygraphic Co. beginning with her 1954 American debut in Chicago. Maria Callas.

Le Lac d’Annecy / Paris-Lyon-Méditerranée. 27 3⁄4 x 39 1⁄8 in. Paris Cond B-/Restored tears. Hamburg-Amerika Linie / Deutscher Schnelldienst / Cuba und Mexico. Charlie Chaplin / The Funniest Man in the World. Affiches et Publicité. This is for the American release of the film. Chaplin is used here to advertise the first episode in a 2-part BBC-produced made-fortelevision documentary. p.500-$3. ca. PAI-LIII. 186 Dressed up in his universally-known Little Tramp regalia. largely at folds. Un Vrai Charlot. PAI-LIII.500. 23 5⁄8 x 31 1⁄4 in.000.500-$2./60 x 80. The design itself is pure Art Deco..4 cm Imp. 120 D’Alesi was very particular & methodological artist./120 x 157. 118. Ref: PAI-XLVIII. Est: $1. specifically Cuba and Mexico. Framed. a documentary film on Chaplin was released entitled The Funniest Man in the World. Est: $2.200-$1. C. Using a Deco version of its mascot to promote the brand. 23 1⁄4 x 32 3⁄8 in. overflowing with detail and atmosphere.5 cm Imp. Soudant. Paris Cond A.500-$3. though it always maintained a similar composition. PAI-XXXVII.6 cm Cornille & Serre. PAI-XXXIII. Est: $800-$1. 29 1⁄4 x 41 1⁄4 in. are fantastically beautiful. not hesitating to ask for one or two extra color printings in order to obtain exactly the shading he wanted” (Livre de l’Affiche. ANONYMOUS (Continued) 144.5 cm EDIA. and. 76 (var) In 1967.3 x 105 cm Cond B+/Slight tears & stains at folds. contained countless clips from his body of work. The results. of course. “notorious for having ruined several printers. better known as “Allez Oop” in English. 118. forcefully pushing the hull of the ship into the viewer’s face. so large that it extends well beyond the confines of the poster. 26 7⁄8 x 41 3⁄8 in. Est: $1. Narrated by Douglas Fairbanks Jr. “The Real Charlot”–as it was dubbed for the French viewing public–was part biography. Forever known as “The General” after his 1926 cinematic triumph in the movie of the same name. p. 47 1⁄4 x 62 in. 1926. Charlie Chaplin / The Funniest Man in the World./74. p.000. F. 1967.000. we are here informed that Keaton will be playing in the 21-minute short film. The design for the poster would be rendered by a variety of artists as it made its international tour. part assessment of the artist.5 x 99.000-$1./60 x 79. HUGO D’ALESI (1849-1906) 145 146 146. Paris Cond A. 51. 1967. L’Horloger Amoureux. This is perhaps why they chose the Siren to represent the company -. 150 .not only a mythic figure of sensuality. Est: $1. Ref: Chaplin. 149. 145. ca.P. Paris Cond A-/Slight tears at upper left corner. 70 While its service extended from the Arctic to the tropics.3 cm Cond A.5 cm Cond B+/Slight tears & stains at folds & edges. Est: $2. p./70.3 x 104. Framed. p.500. Buster Keaton / L’Horloger Amoureux. 1900./59 x 82. OTTOMAR ANTON (1895-1976) 150. but also a vision of a completely uninhibited woman.200-$1. 117. this particular poster for Hamburg-Amerika Line focuses on its Latin American destinations. Voyage. 147./68.000. a la Sirene prided itself on provided corsetry and belts which supposedly felt more ‘natural’ and ‘freeing’ than its competitors. 76 This poster is for the Israeli release of the previous lot. 1934. Ref: Alpes. 12. however. 1946 23 5⁄8 x 31 5⁄8 in. it chronicled the acting life of the star up through his time at Mutual studios. A wondrous work for the true Chaplin fan. Ref: Chaplin. Est: $1. Ref: Chaplin. A La Sirene.200. 14).144 147 148 149 RENE ALBERT 148.

700. Ref: DFP-III. Bruxelles-Exposition 1897. is not the product but the design. This before letters version of the poster by Baumer is for the January issue of its final year in print. 1908./51.000-$2. 1907.G.000-$1. Möbel Emsheimer. 445 Rather than use allegorical or lyric imagery to promote this brand of toothache tablets. Wember. exhibitions of his work were well in demand. 61 5⁄8 x 43 1⁄4 in. 157 .200. 20 1⁄4 x 30 in. Ref: Santé. changing its name to The West End Review with the June number of that year. The result is a pensive young woman wandering the English countryside.7 x 76 cm Cassell. 1895./56. Est: $800-$1. 26 x 37 in. Est: $1. Est: $1. Overall. in flux between being a ‘family’ magazine and a literary journal. 1896. 1899./98 x 139 cm Imp./44. and Yvette Guilbert.” as well as various fashion features and a section on the Prince’s latest shooting trip. the Brussels International Exposition was a heavilypublicized World’s Fair highlighted especially by the Congo-themed pavilion./47. this one started as The West End in London in April of 1897. resulting in volumes such as the one promoted in this poster. BAC (Ferdinand Bach. Meant to showcase the country’s colonizing efforts and discoveries in Africa. Est: $1. Wilmersdorf Cond B+/Tears at edges.500. 12. The West End Review.3 x 64 cm Cond A. Barta uses flat panels of color crossed against the dusty brown background to create depth and space. Considered to be on par with the likes of Sem and Forain. Autour de la Butte. 119 Located in the heart of Berlin. 147 An important collaborative work among three of Montmartre’s most cherished celebrities: Émile Bessière. and Joseph Conrad would contribute to its critical success. that particular exhibition was so successful that the permanent Royal Museum for Central Africa was established a year later. PAI-XLII. 1859-1952) 152. 976 Although it didn’t actually open until May 10. 115 “One of the many small literary magazines which proliferated around the turn of the century. La Comedie Feminine. 152 156 HENRI BAES (1859-1920) 153.8 cm Imp. at the time.5 cm Curt Behrends. this painedlooking 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. this illustration relies on flat areas of color rather than modeled detail to create space and depth. L. Very different from his design for The West End Review (see previous lot)./50. Guidhone. Est: $1. Over the next few years. It also features one of the finest bulldogs in poster history. 1899 issue” (Rennert/Weill. 1899. Arthur Conan Doyle.5 x 70. Pulling back his cheek as he looks in the mirror.” the songbook promoted by this poster was a collection of chansons which differed from typical café-concert melodies in that they presented a harsh.5 x 109. 157.400-$1. the company chose to show a literal depiction of how the product is actually used. but tender take on social realism in verse. Paris Cond A. 153 MARCELLIN AUZOLLE (1862-1942) 151. An artist of many talents. Mertens.700. 20 x 29 7⁄8 in. and continuing publication until its September. completely immersed in her Cassell’s Magazine -. and essays. Woodhouse. Ref: DFP-II. The text panel would eventually promote the “Brighton of Today.700. it is a very special collection of songs. 1878-1956) 155.4 x 76 cm Bemrose. 1899. Ref: PAI-XLIII. ca./66 x 94 cm Imp. LEWIS BAUMER (1870-1963) 156. Est: $2.400-$1. Published in 1899. Ad. Vercasson. P.000.400-$1. London Cond B/Restored tears at folds. 18 3⁄4 x 27 3⁄4 in. Emsheimer was a wholesale furniture shop aimed at attracting the middle-class public with its discounted prices and sturdy quality. such greats as Robert Louis Stevenson.400-$1. What makes this poster special. 202). Bruxelles Cond B/Slight tears at folds. Adrien Barrère.151 154 155 ERNÖ BARTA (Ernst Barta. 38 1⁄2 x 54 3⁄4 in. rising to popularity through the many introductions he made as the illegitimate nephew of Emperor Napoleon. Derby Cond B+/Slight creasing. Cassell’s Magazine. featuring a fabulously-dressed woman of Gibson-girl mystique.700. ADRIEN BARRÈRE (1877-1931) 154. 42. accented beautifully by the imagery of an aged tramp following the sweet smell of death’s lily.a publication. Ref: Fit to Print. Entitled “Around the Hill. Est: $1. p. his Comedie Feminine included 100 designs by the artist as well as an essay. Boulettes Dentaires. P. though. cartoons. Reminiscent of Hohlwein. Ferdinand Bach was possibly best known for his illustrations. 17 3⁄8 x 25 1⁄8 in. Paris Cond B/Tears at folds & edges.

163. 1898. Est: $3. Paris Cond A. frontispiece.700-$2. Sarah Bernhardt. PAI-XXXI. it was meant to be a poster-enthusiast’s dream seminar. but was confined to reserves outside the subject. 120). 97. p.161 158 159 162 PAUL BERTHON (1872-1909) 161. 111 The Hour Illustrated was a short-lived London weekly. The poster itself is one of the Beggarstaff’s smallest creations. In this design Berthon transformed her costume tiara with its flowery jeweled garland into real irises framing her idealized face” (Gold. Timeless Images. Each of the posters was. Paris Cond B+/Slight tears. Ref: Bernhard.3 x 59./50.000-$2. 103). p. It is interesting to note that the signature here is “J.6 x 74 cm. 173. 26a.” Est: $2. This is his most famous lithograph. PAI-XLIX. With a promised 240 works on view. 22 x 15 3⁄4 in. 29 (var). Chaumont/Exposons. Ref: Berthon & Grasset.3 cm Editions Paul-Martial. Framed. p. Est: $1. Beggarstaff” rather than the more common “Beggarstaffs. Deutscher Plakatkunst.further emphasizing the 150-350 francs the text promises it will save us. the simplicity that would come to define his career is ever-present. in contrast to his handful of posters. 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. largely at edges./153 x 224. 1895.” Est: $2. Ref: DFP-II. . DFP-I. 128 (var) “In 1900 Berthon produced a poster for the Salon des Arts Libéraux. 1872-1949) 158. p. and was simultaneously issued without the text for collectors. Berthon & Grasset. accident insurance. Bernard creates a 2-sheet poster with a geometric business man sitting happily in a club chair. p. Chaix. 15 3⁄4 x 22 3⁄4 in. 1908. 15. 29. The slogan itself is a rhyming French jingle which translates to “Buy a Diamond and save money. .000.200-$1. Reims. Le Livre de Magda is a novel-in-verse. Framed. scholarship opportunities. Salon des Arts Liberaux. Paris Cond A-/Slightly faded.500-$3. printed in editions without letters for collectors” (Berthon & Grasset.500. & W. PAI-LI. Like all Berthon’s posters. a deeply tender love story by the French poet Paul Armand Silvestre. This particular example remains in its original period frame.” not to mention the “brilliant writing” and fabulous fashion plates heralded on this poster. 1869-1941 & William Nicholson. . not to mention a lecture given by the illustrious Dr. Est: $1. however. the poster promotes an evening event hosted by the Breslau Friends of the Poster which celebrated 20 years of German poster design.7 x 63 cm Imp. 39. PAI-XXXIII./39 x 57. Hans Sachs alongside 150 color slides. 1355.” and “Novel and Valuable Prizes. Dietrich. it was designed as a decorative lithograph in which the text played no real part. 1900. savings bonds. Cond C+/Restored tears at folds & edges. the last compilation of poems he published before his death. Bougerie./41. 60 1⁄4 x 80 1⁄2 in. . Est: $2. 66.000. PAI-LIII./47. . Breslau Cond B+/Slight tears at folds & edges.000. 302 Better known for his more Modern-looking object posters. 10. Le Livre de Magda. 159 To advertise Dietrich’s “Diamond” radiators. 18 3⁄4 x 24 3⁄4 in. a portrait of Sarah Bernhardt in the title role of ‘La Princesse Lointaine’ (‘The Faraway Princess’) which she first played in 1894. 163 160 . Ref: Beggarstaff. Framed./56 x 40 cm Druckerei Schenkalowsky. “special attractions for Ladies. Utilizing the Das Plakat emblem of a woman gazing through her lorgnette. Berthon visually summarizes the tale with an ethereal nude languidly feeding doves in a sun-dappled field. LUCIAN BERNHARD (1883-1972) 160. Ref: Berthon & Grasset. produced about 60 [decorative panels] . 218 “Berthon . in addition. the luster of the gold metallic ink throughout the image still reflecting the light beautifully. Ref: Bernard. . 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. 162. 90. 20 Jahre. The Hour Illustrated.” with free postage. A trade magazine announcing the launch of the publication called it “the newest and brightest weekly.000. PAI-XLV.2 cm Cond B+/Stains at folds.400. 16 1⁄4 x 23 1⁄4 in. Framed. 20 x 29 1⁄8 in. first appearing in the spring of 1895. pl. BEGGARSTAFF BROTHERS (James Pryde. this early Bernhard appears quite wordy and plain.000-$4.8 cm Imp. 1901. . 344 (var). ultimately landing in his wallet -. Phillips III. FRANCIS BERNARD (1900-1979) 159. Gold. p. Fully utilizing his deft Art Nouveau touch.500-$3. a striking design of two women by a lithographic printing press. 95 Part of Les Fleurs d’Hiver. Framed.

but found that “nonetheless it’s quite curious. Ricordi used this image by the Italian illustrator Bignami for the Parisian debut of the opera.2 cm G. Berthon & Grasset. it must be remarked. 169 . 134. Ref: Berthon & Grasset. accompanied by 19 humorous and sly drawings by Bonnard. an avant-garde work itself. at heart. Societe des Amis des Arts de la Manche. This volume is perhaps the first of those endeavors. Petites Scenes Familieres. 23 1⁄2 x 33 5⁄8 in. a product which claims to replace the baking soda in one’s wash. 37 1⁄2 x 21 7⁄8 in. 171. 64-66 Claude Terrasse formed a musical marriage with Bonnard’s sister Andrée in 1890. Chaix. an influence from which. and he seems to attach more importance to expression than does his master” (Berthon & Grasset.5 cm E. Reims. with slight stains at edges.000-$5. Rivière.4 cm Imp.600-$1. La Viole de Gambe. Sodex. Paris Cond A-/3” tear at top edge. including Lautrec. writing in The Studio. Berlin Cond A/P.800. Paris Cond B-/Restored tears.000. Est: $1. 31 3⁄4 x 47 3⁄4 in. Nevertheless. 5-23. Paris Overall excellent. 213 “Gabriel Mourey. Paris (not shown) Cond A. this important volume covers many of the more prominent artists.000. Négripub/Forney.4 x 78 cm Imp.500. Maitres./19 x 22. 36). 1908. pp. DFP-II. decorative draughtsmen do not take sufficient care to escape. Est: $1. 1898. 7 1⁄2 x 8 3⁄4 in. ca. making it.7 x 121. PAI-LIII./59. Est: $1. A. Ref: Marx. De Feure. a black boy has just emerged from a tub full of Sodex. It discusses where the medium of printmaking is going from the actual thick of the activity. Lhoir Cond B+/Slight tears at folds & edges. 1883-1968) 168. La Lithographie en Couleurs. Ref: Ives. 30. Bouvet. 1899./26. 104 & 114). In case.G. 1893./83. Est: $4.000-$4. PAI-XXXIII. this image was later sold without letters to collectors as a decorative panel. VESPASIANO BIGNAMI (1841-1929) 167. Word & Image. seen from behind.164 165 168 170 171 GUS BOFA (Gustave Blanchot. Modern Poster.” Bouvet attempts at analysis: “the strange form [at right] apparently following the young woman./59. Vuillard. 234. 166 167 BERTHON (Continued) 164. Ref: Négripub.700-$2. Est: $1. 113. creating a geometric pattern out of other posters for the publication. 33 x 25 in. largely at edges. producing a few lovely music books for children with the help of his new brother-in-law.200-$1./95.000-$5. 15 1⁄2 x 24 1⁄4 in. reading the poster for the Revue on the wall” (p. Ref: DFP-II. Paris Cond B/Tears & stains. JOSEF BICHLMEIER 166. published by his close friends the Natansons. Ricordi. and Steinlen. The significance of this image eludes us today and seems not to have been all that clear when published. Othello. p. Paris Overall excellent condition. 52-53. 8. 1899. 1910. Ref: DFP-III./39. The design itself is quite ahead of its time. 23 3⁄8 x 30 3⁄4 in. 68. 150 Complete with the original lithographic cover & frontispiece by Bonnard. Ives.000.000. Paul Berthon has an exquisite sense of line and colour. Maindron admitted that he could not understand it.2 x 70. whitening and cleaning better than regular detergent. showing the titular character turning away from the bride he has just strangled. 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. Est: $4. p. 165.6 x 63.2 cm Published by L’Estampe et L’Affiche. her formerly dark-skinned friend is now shockingly alabaster. Ives. 122 Although originally used for an 1899 exposition of the Société des Amis des Arts de la Manche. 10 1⁄2 x 13 5⁄8 in. 77. 108 Bonnard’s best-known and most enigmatic poster advertises the monthly La Revue Blanche. One of 1.6 x 34. 151. 38. 327 A handsome Arts & Crafts era poster promoting an exhibition of model summer and holiday homes at the Kaiser Wilhelm Museum. which was met with much stronger critical success than Verdi’s previous attempt at Shakespeare.500. Sommer u. M. Ancourt. is in fact a man. Much to his female companion’s surprise.7 x 85. La Revue Blanche. Fromont.200-$1. Grasset. 33. Macbeth. 1894. Chaix. 32. Ferienhäuser. Ref: Bouvet. 122. Framed. Verdi’s second-to-last opera is promoted here in full dramatic flair. containing a variety of light ditties for piano. p.7 cm Hollerbaum & Schmidt. Chéret.4 x 61. Bouvet. Edw./80. 1894. 170.2 cm Imp. PAI-XIV. Est: $3. 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: $1.5 cm Imp.000 copies. PIERRE BONNARD (1867-1947) 169. slight stains at edges. 26. illustrated La Viole and commented: ‘It may perhaps be urged against this artist that he is somewhat too much under the influence of M.700-$2.000. p. PAI-XX. publishers. an opera hat on his head and coat collar turned up. and printers of the time.

23 3⁄4 x 33 1⁄4 in. SVEN BRASCH (1886-1970) 177. Bofarull. this musical primer for children features illustrations by Bonnard on every page. 75. BRADLEY (1868-1962) 176. PAI-XL. Petit Solfège Illustré. 50 (var). all twelve covers are in excellent condition. 139). p. Art du Biscuit. Claude Terrasse. Est: $3. This variant shows the girl scrawling the phrase “avoid substitutes” across a yellow wall with a bit of chocolate. Framed. Ref: Ives. 143).000-$2. each focusing on a specific type of item. he put him in the uniform of a prestigious private school. 11 (var). perfect for both sea and air travel./100 x 150 cm Imp. he singles out the store’s grand selection of luggage. 208 Lefèvre-Utile was a biscuit firm that worked hard on its image and always used first-class artists to create their advertising. Reims. 75. Chocolat Menier. with a smock and a medal for scholarship. 237. but always cutting an irresistible tomboyish figure” (Gold. 175 Located in Barcelona. 43).5 x 100. Ref: Danish Posters 1910-1940. 159). 1898. “For them. FIRMIN BOUISSET (1859-1925) 174./118. Dansk Kennelklubs. in a particularly Art Deco design. Weill.000-$9. etc. Beristain was a high-end shop specializing in a variety of typically masculine products -. In this case.” (Wine Spectator. 1894-1895. 1932.700. p. 11 1⁄4 x 8 3⁄8 in. Est: $7. p. a Communist artist and activist during the Spanish Civil War.4 cm Cond A-/Slight creases. il. 173 175. 42. a type of raffle.700-$2.13 A very German design promoting the Danish Kennel Club’s 25th Anniversary Dog Show./28.6 cm Ref: Bambace. Bradley “brought out the art from the museums and picture galleries into the street. Beginning in 1894. It is one of his earliest publications. 1893. p. 49./26 x 34.175 176 172 BONNARD (Continued) 172. Est: $2.7 x 173.000. 240 “Originally seen from the back in an 1892 design writing the words “Chocolat Menier” on a wall (see PAI-XLIX. Ref: PAI-IX. Cover & p. Paris Cond A-/Slight creasing at edges. ca. Bradley began to design monthly covers for this Chicago-based magazine for the printing trade. and can be seen to this day painted on the entire gable wall of a six-story building on rue d’Auteil in Paris. created at least three posters for the company. 1922. leather goods. 143. Musée d’Affiche. since the company always tried to project an upper-class image. Pichot. before the masses. Paris Cond B+/Slight tears at folds. trying to elevate their taste” (The Poster./60.3 x 84. sometimes scrawling different words in other languages.500. Framed.6 cm Daude Frères. she returned many times over the years. Art et Biscuits. it is the geometricallyformed pug who commands our attention. The LU-LU boy became a trademark used on product boxes. The red book in her hand is actually a catalog featuring all of the items available in the Tombola..000. 1897. PAI-XLIX. 85. 20. 177 174 . JACINT BOFARULL (1903-?) 173.6 cm Kruchow-Waldorff Cond A. Paris In case. Beristain / Articulos para Viaje./68. Bouisset has a boy munching on a LU biscuit–and. Ref: Wine Spectator. 144 Loose sheets with wear on front and back of book. 75.400-$1. While the gloved Marlene Dietrich-esque blonde would normally be the focus of such an ad.000 copies were printed.000-$2.guns. Est: $2. 132-135 (var).3 cm Librairies-Imprimeries. WILLIAM H.500. Oct. p. 46 3⁄4 x 68 3⁄8 in. Only 2. 27 x 39 1⁄2 in. p. Maindron. Rare! Est: $1. with clear influences from both illuminated Medieval manuscripts and Japanese book design. thereby making it one of the earliest publications to abandon a permanent cover–the custom of the day–in favor of variety.000. Biscuits Lefèvre-Utile / Lu-Lu. Est: $1. 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. complete with 30 illustrations by Bonnard. Ref (All var but Karcher & PAI): DFP-II.000-$4. PAI-XLVI. The Inland Printer. cigarette lighters.5 x 21. Masters 1900. p. 1895. 52-62 Written by the artist’s brother-in-law. Chocolate Posters. 39 3⁄8 x 59 in. Karcher. 10 x 13 5⁄8 in.

000-$14. showcasing the delicate pheasant feathers dripping off her diaphanous sleeves and giant puffball hydrangeas at sunset. no lady would have let herself be seen clothed so carelessly and sitting in a bar drinking alone. a list of the honorariums paid to the participants reveals that Campendonk received 560 marks for his contributions (which included this poster). her corset and slip are a little out of place.700-$2. The viewer wants to drink what she is drinking!” (Plakate Alter zeit. Est: $1.178 179 180 182. although this time on paper rather than silk. Ref: Plakate Alter zeit. while Kandinsky received a mere 200. has lost some of its petals. p. PAI-L. 218 An exceptionally rare. Champenois. largely near edges. looks more like a curtain than an elegant accessory. 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. Est: $1. Wassermann. A rich. was one of a number of artists hired by the Champenois printing house to fill the void when Mucha left for America in 1904. important poster advertising an exhibition devoted to ‘color. 1920. as well as loads of sentiment. PAI-XXXV. The poster recalls hangover. Est: $12. 1904. Ref: Brenot/Weill (no page number) The master of French pin-up art. Ref: PAI-XLVI. marked by soft edges and shading. HEINRICH CAMPENDONK (1889-1957) 180. . were done on silk. like this one. sweet-faced.700-$2.500-$2. while a few. Paris (not shown) Cond A/On Silk. Camps eventually found his own style–less graphic than Mucha and more akin to oil painting. but a black. Marc. PIERRE-LAURENT BRENOT (1913-1998) 178. This is the later version of the design. Here. GASPAR CAMPS (1874-1942) 181. Naun.” A preliminary drawing for this design indicates that it was originally intended for a springtime fashion ad.200-$1. it ultimately was made into a poster celebrating what Paris fashion looked like in the 1950s. wicked night-owl is something else again. Farbe Ausstellung. 13 3⁄4 x 26 1⁄2 in. making them fine collector’s items and beautiful decorations for the home. apparently nonchalantly arranged. Braque. Many were printed just on paper./33. 1904. 13 1⁄8 x 27 1⁄2 in. sullen and carelessly dressed. a Spaniard who spent most of his career in France. almost all of them featuring his extremely charmingly.5 cm F. 181 182 ./101. The bartender and her admirer have both left. .’ Printed in black-and-white. Delaunay. Camps. Brenot created hundreds of fashion plates. 23 1⁄2 x 31 3⁄4 in. ca. seductively offsetting her silk-clad legs. Framed.000. 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. her stole. Paris Cond B+/Slight tears. ERNST BUSCH 179. 68 To show off the full range of their reproductive skills. a porcelain-skinned Pre-Raphaelite lady gently strokes a baby bird sitting inside its nest. lanky ladies in cutesy and seductive poses.000. highly textured design.500. the rainbow and highlighted green area are all hand-tinted.7 cm W. posters. Picasso. many printers created fabulously detailed decorative panels as gifts for their important and potential clients. Interestingly. p. The weight of her velvet green gown tumbles in heavy folds down to her feet. 29 (var). The show itself featured some of the most important avant-garde artists of the era. 196 Printed on buff so that the added white of the woman’s slip lifts off the page. the early 1910 version having the subject seated to the left with her cigarette pointed toward the product.5 cm Cond A. Macke.2 x 70 cm F. 1996. PAI-XLIII.7 x 76. and Nolde. In 1910. Ref: Imprimerie. Basel Cond A. Ref: Imprimerie. 28). this was also created for Champenois as a decorative image to promote the company. Here. Est: $1. . advertisements./35 x 72.000. Evening Hydrangea. Tender Tempatation. and even the rose. 1928. Creating both advertising and decorative works. Champenois. ca./90 x 127. rather she is arrogant. This exquisite Art Nouveau celebration of both female and natural beauty is executed with meticulous workmanship and lithographic skill. this image for Curaçao Senglet goes against many advertising standards of the day: “The girl is not particularly attractive. 35 1⁄2 x 50 1⁄4 in. including Kandinsky. Est: $1. Curaçao Senglet. Gris. 40 x 30 1⁄8 in. Paris Paris 50. Klee. 50.000. spilling over the border. however.7 cm Signed oil-painting on canvas. carelessly dropped to the floor.7 x 80. 52 (var)./59. and illustrations. 183 (var) Like the previous design.

This is the smaller. Referencing the infamous green fairy imagery commonly associated with absinthe. 1903. 38 3⁄8 x 55 in. 13. ‘Le P’tit Jeune Homme. Paris Cond A. but also enough notice to get some theatrical offers. Wine Spectator.’ meaning ‘cough. Wine Spectator. Pernod dominated the market from the late 18th century until the beverage was banned. 144 “Cappiello renders Polaire’s stage presence to striking perfection. p./120. this green devil is one of Cappiello’s most famous characters. It turned out to be so popular that he was able to transform his pharmacy into a distillery.’ and ‘bex. which continues to be operational today. 19. 50 3⁄4 x 78 5⁄8 in. earned her a great deal of censure. This particular version of the poster features a single text line at bottom to announce the show. Ref (All var but PAI): Cappiello/Rennert./138.000. Born Emilie Bouchaud (1877-1939) in Algiers. Vercasson. 47 3⁄8 x 63 in. 42. 1903. Est: $3. 61. 114. Maurin Quina. PAI-LIII. Maurin’s aperitif only recently became reintroduced on the French market after fading into obscurity the year this poster was printed. Ref: Cappiello/Rennert. Giffard named his newfound drink after them. she was from all accounts quite a brash character. The design must have been popular./99 x 207.000. 164.000-$5. so intoxicating that even garden statuary will come to life to indulge in it.000-$5. 184. That version is slightly larger.’ 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. Santé.5 x 199 cm Imp. 393. 147 Katabexine cough medicine got its name from the combination of two Ancient Greek words: ‘kata. La Marquisette Liqueur. her verve is all but contagious. Paris Cond B+/Slight tears at folds Ref: Cappiello/Rennert./97. 1906. Vercasson. Vercasson. but also help in curing whooping cough. 116. 132 Cherry-flavored with a hint of quinine. 4. This two-sheet poster. Cappiello. 185. Absinthe Gempp Pernod. Est: $5. Menegazzi-I.’ meaning ‘against. Encyclopédie/Weill. Paris Cond B/Tears at folds & edges. Cappiello.’ Not only did the product promise to aid one’s sore throat.8 cm Imp. still 100% run by the Giffard family. 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. breaking into show business as a singer at 15. 153 Invented by the Angers-based pharmacist Emile Giffard in 1885. 187. two-sheet version of the poster.5 x 193. 184 186 186. 147. Katabexine. 187 188 183 . Menthe-Pastille. Ref: Cappiello/Rennert. At first./129 x 199. 418 The leader in the absinthe business. Vercasson.000-$3. Est: $1. 266. 68). 54 1⁄2 x 78 3⁄8 in. Vercasson. Est: $4. La Menthe Pastille was an accidental discovery. Thinking that the taste reminded him of English cough lozenges. The poster certainly emphasizes the beverage’s appeal. 50. Gold.500. Schindler. 39 1⁄4 x 54 7⁄8 in. Cappiello. 188. advertises the branch of the company owned by Pernod’s son-in-law.3 x 160 cm Imp. one-sheet version of the poster.700-$2. Charles Gempp. 179. PAI-XLI. and there. Wine Spectator. p. 173. 1903.8 cm Imp./99. Paris Cond A.000. Ref: Cappiello/Rennert. This is the larger. Est: $4. 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. still calling upon Cappiello’s early work as a caricaturist. P.000. Est: $1. 39 x 81 7⁄8 in. This.185 LEONETTO CAPPIELLO (1875-1942) 183. Polaire / Le P’tit Jeune Homme. she surprised everyone by turning out to be an accomplished comedienne.7 x 139. and rather than a vial of medicine the lady now holds a lorgnette. One of her vehicles. PAI-LI. Paris Cond B+/Restored top margin. of course. PAI-LIII.000.5 cm Imp. asthma. 220. 1901. bronchitis. 1906.700-$2. and much more. PAI-XX. Paris Cond A-/Slight creases. marketing it as a most-refreshing digestive. 176. Ref: Cappiello/Rennert. PAI-LI. Vercasson. 269. for three years later Vercasson sold a slightly different version of it to El Siglo department store for their annual clothing sale.000-$6.7 cm Imp.

“The pharmacist. 63 1⁄4 x 47 1⁄4 in.000. 192 193.26. Cappiello.2 cm Edimo. Health Posters. as its name would imply. Paris Cond A-/Unobtrusive slight tears. 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 .7 x 150 cm Imp. 110)./160. 1920. 190. 279. and as such he designed the decor for the Pavilion of Advertising. 43. P. 257 Complete with magical imp. 1908. The firm was founded by François Parot and began bottling mineral water in 1894. Vercasson. Est: $3. Panamose laundry detergent will magically make any soiled garment appear as good as new for the low price of 1. He was named vice-president of the Publicity Department for the Fair. uses a leaping horse as its mascot. 138 “That Cappiello was fond of using animals as attraction-getting devices is clear . 47 x 61 in. . 192. makes an appearance every now and again. Ref: Cappiello/Rennert. caricature.000. 169).000. Vercasson. 291. the Poulain Orange was a powdered mix blended with vanilla which could be turned into hot cocoa or chocolate milk. Panamose. 1912. Paris 1937. Paris Cond A.000-$4. 163 “In Cappiello’s later years. 222. 46 x 62 in. . 39 1⁄4 x 59 in. Karcher. Je ne fume que Le Nil. 193 (var). 4. Devambez. p.700-$2. PAIXLI. Cachou Lajaunie. Paris (not shown) Cond B-/Restored tears at edges & vertical fold. Est: $14. Paris Cond B+/Slight tears. as well as preparing this poster: Paris 1937. Paris Cond B/Slight tears & stains. Source Parot [uses] this delightful image to sell the mineral waters of the St. Devambez. p. he turned to cachou./117 x 157. It masterfully conveys the Fair’s dual themes with allegorical figures representing Art and Technology” (Cappiello/Rennert. p. Est: $2. Paris Cond A. 196). Romain-le-Puy firm. p. a breath freshener to counteract the effects of her cigarette. 151 Although the slogan reads “I only smoke Nil.500. After developing several invigorating elixirs./119.000-$2. Poulain-Orange.50 francs. But here. . PAI-XLVIII./117.” which is how the company’s spokes-elephant came to into being.500-$3. most have some kind of association with the product being offered. Marques. but rather a brand of cigarette rolling paper.4 x 155 cm Imp. the company has been bought out by Cadbury and is still produced. 191. 303.” (Cappiello/Rennert.000-$5. PAI-XLII. 227.000.. the firm is still going strong and still independently owned by the family. PAI-XXIX. 44 x 59 7⁄8 in. 323). 176. p.” Nil isn’t actually a cigarette. 190 One of the oldest chocolate companies in France. now more polished and refined. Nil claimed to be as “tough as an elephant’s hide.8 x 160. This is the larger format. Cappiello/St. While it specialized in a large range of chocolate products. 194 194. Today. largely at folds. Checklist. Vincent. Framed. P. gets our attention with a woman in a startling dress decorated with large sequins in shades reminiscent of autumn foliage” (Cappiello/Rennert. Ref: Cappiello/Rennert. set up his pharmacy in Toulouse. p. Ref: Cappiello/Rennert. 1911. 136. Vercasson. Ref: Cappiello/Rennert 526. However.5 cm Imp. Est: $4. 31.6 x 120 cm Imp. Cappiello. Chocolate Poulain./99. 1920.191 193 189 190 CAPPIELLO (Continued) 189.000-$17.. More than 100 years later. 169 “Cappiello became deeply involved in the planning for the Paris World’s Fair of 1937. Ref: Cappiello/Rennert. PAI-LI. Est: $1. 296. Est: $2. Ref: Cappiello/Rennert. This second poster for Cachou Lajaunie . Cappiello. Chocolate Posters. PAI-XXXVI. . Source Parot./112 x 152 cm Imp. . A rare and delightful design.000. as an aromatic for perfuming the breath whose strong flavor covered smoker’s breath” (Health Posters. 46 3⁄8 x 63 1⁄8 in. Léon Lajaunie.

Poudre de Perles Fines / Maquette. 1921.7 cm Signed gouache & crayon maquette.6 cm Signed gouache maquette. PAI-X. 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. . With a provenance including the Devambez printing archives as well as the Cappiello family. Brasso / Maquette. Silk / Maquette./54. Est: $17. A terrific maquette for an unrealized poster advertising brass polish.000. 17 1⁄2 x 27 in. 197.200-$1.500. Had it become a poster. this is a truly remarkable item to see at auction. the freshness of the sardines in question would be without compare. 21 1⁄2 x 29 14 in. we see a rainbow of reams of fabric folded to create the background. 44 1⁄4 x 60 1⁄2 in. Est: $12. as they literally jump from the sea into the can. 1928. plump silkworm is presented frontand-center in this unusual maquette. Presumably produced as a potential design for a silk company.196 197 198 CAPPIELLO (Continued) 195. 160 Slithering merrily across a bright green leaf. 139 One of the most beautiful maquettes we’ve seen by Cappiello. Sardines / Maquette. A perfectly clever design considering that the brand’s name is Pearl Powder.000.6 x 74. Est: $2. 6 7⁄8 x 9 1⁄4 in.2 cm Hand-signed gouache and crayon maquette.500. this nymph on a half-shell has become the glistening pearl within the oyster. Ref (all var): Cappiello/Rennert./112. the blonde mascot is awestruck by the many glistening stars which literally pop off the newly-buffed surface. A maquette for an unrealized poster. the cherished. Framed. Est: $1.000-$15.5 x 153./17. A curious and fun design. 320. Ref: PAI-XLIX. Framed.000-$2. Having just rubbed some Brasso on an urn.5 x 68.000-$20./44. 198. Framed. With her flaming red hair contrasting wildly against the rich blue of the sea. so exactly like the actual poster that his mastery of the medium becomes unquestionable. 195 196.3 x 23 cm Gouache & ink maquette.

4 cm Hand-signed watercolor & pencil drawing. Vincent. pensive-looking monk -. Est: $2.2 x 64.500. 1925. Paris Overall excellent condition. Historically considered to be the person responsible for introducing aperitifs to the Bordeaux region of France. 202 Written by Jacques Boulenger. 6 x 8 3⁄8 in. While the tale itself is not as well known as Voltaire’s other works. 8 x 10 1⁄8 in. Le Miroir a Deux Faces was Cappiello’s last work as an contains 34 lithographic designs by the artist. if those words and the handsome product model weren’t convincing enough. Contratto. PAI-XLVI. La Princesse de elderly.6 cm Lucien Serre. However. 1922. This particular copy is #43 of 80 on Velin du Montval paper. Est: $2.000. 204. PAI-XLVII.000. 202. Consisting of two volumes -./50. Est: $5. PAI-XXXIX. 153 As the tagline at the top would imply. This is the larger. Ref: Cappiello/Rennert.000. Felsina Ramazzotti. 4. 1933./130 x 200. 231 One of Cappiello’s most instantly-recognizable designs.000. 134 Created to help illustrate a new edition of Voltaire’s 1768 philosophical novel. 435. Ref: Cappiello/Rennert.000-$2. Paris Cond A.6 cm Gouache maquette. Poëles Nanquette.were used as mascots for a variety of liqueurs toward the end of the 19th century. While this particular Cappiello design was never realized in poster form. 19 3⁄4 x 25 1⁄2 in.5 x 196.4 cm describing events from the man’s and the other from the woman’s perspective -.45. In marbled slipcase.2 x 21. Est: $7. he is seen pouring over his secret formulas./135. an anthropomorphized embodiment of the sun is shown using a Nanquette stove to warm itself. a handful of other advertisements for Kermann follow a similar composition. Unopened signatures.8 cm Les Nouvelles Affiches Cappiello. this image presents us with a rear view of Amazan. Cappiello/St. Paris Cond B/Slight tears at folds. images of Father Kermann -. Est: $3. Cazanove brandy close at hand. Book: Miroir A Deux Faces. Ref: PAI-XLIV.500-$4. 1926. 55 x 77 1⁄2 in.000-$6. Est: $3.7 x 196. Vincent. Menegazzi-I. 4. the shepherd vying for the hand of Princess Formosante.202 203 199 CAPPIELLO (Continued) 200 199. 201 204 .65. largely at folds & edges. Kermann / Maquette. 436. 420. we are presented with a whimsically-dressed lady offering up an oversized glass of Contratto champagne. Paris Cond B/Tears. 203. a bottle of F. 200. 12. 53 1⁄4 x 77 1⁄4 in.000-$2. it quite nicely explores many prominent idea of the Enlightenment. 1928. 366. PAI-XLVIII. 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.000-$9. Framed. as he leans against his tiger. p. 271). Devambez./139. The Pierrot whose outstretched arms mimic the crossed bottles is promoting the ‘Red Label’ product./20 x 25. Ref: Cappiello/Rennert. 51 1⁄4 x 78 7⁄8 in. Nanquette stoves get hot fast so you can start cooking immediately. as proclaimed at top” (Cappiello/ Rennert./15. Ref: Cappiello/Rennert.2 cm Imp. p.000-$4. Framed.500. 201. each broadening and complimenting the author’s story of a romance which flourishes and then dies. Here. two-sheet version of the poster. La Princesse de Babylone. Cappiello/St. Devambez.

Vercasson. and transportation of alcohol in the United States. was the only means of obtaining any grape alcohol of quality. Devambez. this poster remains a testament to its once brilliant advertising campaign. Ref: Cappiello/Rennert 330.7 cm Imp. 49 1⁄2 x 77 in. While probably not aimed at an American audience. Royal Gaillac. 23 x 34 3⁄8 in./58. 236). This image has become one of the classics of poster design.000. this poster is a reminder that wine was no longer vilified the world over. strong contrasts (the background is a surprising sunny yellow).2 x 199. 209. 160 (var) “Cappiello. consumption. Paris Cond A.4 cm Imp./69 x 99. Ref: Cappiello/Rennert. under the name “Company of the Vineyard Owners of Cognac. seen here in its thirteenth printing– some sixteen years after Cappiello’s departure from the Vercasson printing house. in one of his most inspired designs. As most vineyards in the United States were in ruins. the poster is one of Cappiello’s most ingenious and delightful designs. 1933. Moeller. DFPII. Henri was a popular choice in advertisements around this time. Est: $4. Est: $4. Cognac Monnet. PAI-X. effortlessly combining the element of surprise with the essence of the product” (Cappiello/Rennert. All the elements of fine poster design are here: bold shapes. promoting all variety of food and drink with his royal charm. 209 208.6 cm Imp. Ref: Cappiello/Rennert. Wine Spectator.68. 27 1⁄8 x 39 1⁄8 in.3 x 313 cm Imp. harlequins. steeped in theatrical tradition from his years as a stage caricaturist. 245. often chose pierrots./125. 210 210. the clown embodies the spirit of the orange peel.3 cm Imp. it is interesting to consider that Cappiello was commissioned to create this poster for the French wine industry that same year. 443. Bitter Campari. Paris Cond B+/Slight tears & stains at edges. 198 “Cappiello showed the pleasure of smoking by projecting an image of a hedonistic Middle-Eastern potentate luxuriating with a self-rolled cigarette. Paris Cond A-/Unobtrusive folds. 4. Devambez.000-$5. 175 When M. 47 1⁄4 x 62 3⁄4 in. 142 (var) Featuring King Henri IV on his leaping steed. the slogan “sunshine in a glass” is interpreted quite literally by Cappiello. PAI-LI./130. 468. or clowns to represent various products. PAI-XLIX. 51 1⁄4 x 78 5⁄8 in.500-$3. 1927. Revel founded his Lyon-based umbrella company in 1851. p. p. 85.000-$6.000-$2. As effective as it is simple. Est: $2.000. This is the smaller format version of the poster.000-$12.and no more detail than necessary” (Cappiello/Rennert.000. Est: $10. 124./198. Devambez. Est: $5. This is the larger format. Paris Cond A-/Slight tears at seam. 1929. this image for Royal Gaillac aperitif and dessert wines is a bon vivant’s toast to the product. Here. President Roosevelt repealed the National Prohibition Act against the sale.000.2 x 87. 156). In fact.500. unusual perspective -. especially from France. 1933. one sees “the umbrellas braving the storm like black ships’ sails. 207. 78 x 123 1⁄4 in. Ref: Cappiello/Rennert. Ref (All var but PAI): Cappiello/Rennert.7 x 195.000.000-$5. Paris Cond A. one could purchase his wares in both silk and cotton. 1929. Ref: Cappiello/Rennert 508. Paris Cond A. PAIXLIII. the imperious pasha floats on his coach like a fat white cloud–an incongruous and therefore memorable image” (Cappiello/Rennert. 207 . 179 Founded by a group of local vintners in 1838. PAI-LI. Cappiello/St.5 cm Imp. promoting enjoying life by drinking wine. PAI-LI. as a Bacchus-like nymph expresses adoration for the beverage. While such laws were never in effect in France. Job / Papier à Cigarettes. Buvez du Vin. Devambez. 174 In 1933. A lasting design.208 205 CAPPIELLO (Continued) 206 205. 206. Vincent. a zesty ingredient in [Bitter Campari]. 1921. Devambez. p. This is the three-sheet version of the poster. p. This is the large format version of the poster. 373. Here. 228. Although the company closed its doors in the 1950s. and those that weren’t made cheap. While the subject matter may seem slightly ordinary. Karcher. Est: $2. imported wine. 214). vile wine. tight yet lively composition./120 x 159. Parapluie-Revel. 205.” Cognac Monnet did not obtain its current name until 1897 when Jean-Gabriel Monnet became the owner of the society.

3 (var). 7 (var).200-$1. Grand-Sport. direct statement can command our attention.700-$2.200-$1. Est: $1. NY Cond B-/Restored tears & creases at bottom text area & edges.213 215 211 212 EMIL CARDINAUX (1877-1936) 211. 1925. the Actors Fund Fair raised money to help struggling actors and their families. CASSANDRE (Adolphe Mouron. strongly separating text from image. Oriental carpets.000. Brown & Reinhold. p. the white of the woman’s dress serves as a sandwich board.6 x 80. 23 7⁄8 x 31 5⁄8 in. Ref: Cassandre/Weill. An interesting accordion-fold pamphlet promoting the many posters of Cassandre printed by Hachard. Ref: PAI-LII. Grand-Sport.6 x 52 cm Carey Print Lith. Cassandre/Suntory. E. G. was a brand of the Sools hat firm. As empty space was obviously at a premium in this poster. Est: $1. 24 x 6 in. Paris Cond A-/Unobtrusive slight tears in bottom text area.000. Est: $1. 276 A colorful./31. Le Kid. which gives a simultaneous straight-on and cocked-to-theright viewpoint of the face” (p. ca. 215. Est: $2. 35 1⁄2 x 49 3⁄4 in. curtains. Pl. 47 x 61 7⁄8 in. Held annually since 1882. 1926.000. 1916. This is the medium format. Est: $20. and Onoto. lazing away the afternoon. 5 (var). such as Turmac. Several of the images shown are of his exceptionally rare works. Hachard Publicity. PAI-XL./60. rugs.3 cm J. “the champions’ choice”–is a textbook example of how a bold. LEONA CARTER 213.400.3 cm Affiches Kossuth. 13).500. for which Cassandre produced another fine poster (see PAI-XLVIII./61 x 15 cm Cond B+/Slight stains at folds. PAI-LII. 208 A fine design in which a haute-bourgeoisie couple is seen calmly examining a variety of household objects for potential purchase. 214 A. 1901-1968) 214. 11. Actors Fund Fair. 12 1⁄2 x 20 1⁄2 in. 162). Basking languidly atop a pile of rich.000-$25. . Bucheron. Marion & Miller. zürich Cond A. 1917.2 x 126. Mouron. Wolfensberger. Paris Cond A. CARENOVE 212. 46. & bedding.3 x 157.2 cm Hachard. impressionistic design for a Swiss rug merchant. Ref: Cardinaux./90. whose 1920s advertisements emphasized that all the great sport champions wore this cap. 336 Cassandre’s simple abstraction of a face contrasted with the realistic rendering of the product–a cap. the voluptuous odalisque gazes up at her parrot./119.500-$3. Schuster / Teppichhaus. As is typical of Cardinaux. Noting the influence of Oskar Schlemmer and Picasso on this design. M. Brown & Reinhold find that “what is most subtle and interesting about the poster is the suggestion of a multiple perspective. 1911. announcing that Marion & Miller is the best place for fine furniture. he treats the image as a painting.

wasn’t a pretext to exalt the automotive machine.000. Lille Cond A-/Slight tears at edges. 218 . 10. PAI-LI. this motor show . PAI-LIII. only cars were exhibited at this large-scale and well-known event. rather than cluttering up the design with happy customers. you can almost hear the clang of metal on metal. 217. Danel. Savo. Cassandre/Suntory. p. sensual ladies. After 1906. 101. Cassandre/Tokyo. 71). 14. 37 3⁄4 x 57 1⁄2 in. Cassandre/Weill. This is the smaller format. the power of the laboring man. 219. 44 (var). Mouron. 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. feel the sweat. personifying it with the addition of three circles. Cassandre masterfully embraces that style. Ref: Mouron. Pl. easily identified by a giant 8 foot metal sign of this very figure on the side of its building up until the 1980s./81 x 112./29 x 39 cm Imp. PAI-XLII. as is the case here.000-$5. 256. . Est: $3. L./62. the name appears as the acronym “RAI” and dates 219 from the time when the two means of transport were inextricably combined. 4. 5. p. It acts as a statement. Danel.8 x 146 cm Hachard. Rotterdam Cond B+/Slight tears at folds & edges. 20. RAI / Amsterdam. L.000. p. or Object Poster. Le Coultre. 80. Est: $14. the poster zooms in on solely the product being offered. 116 In one of his most aggressive. Framed. 55.7 cm Van Ditmar. 1930. the Sachplakat. . Very few copies of this poster are known to survive./95. 1925. 71. 1929. Paris Cond A. In it. Cassandre/Suntory. Mid-swing. Ref: Cassandre/BN. 177 A startling night profile of a lighthouse advertises the Folkestone-Dunkirk train ferry across the English Channel. pl. Moderno Francés.000-$17. Dunkerque-Folkestone-Londres. 154. 11 3⁄8 x 15 3⁄8 in. “For Cassandre. Lille Cond A-/Slight tear at bottom edge. 190 Starting in 1905. Framed.216 217 CASSANDRE (Continued) 216. Est: $4. Ref: Cassandre/BN. Here. One of the rarest of all Cassandre images.500-$4. Ref: Mouron.000. simply showing off the geometric tin case in which these licorice pastilles are housed. It is signed as coming from the atelier of Cassandre.6 cm Imp. Cassandre molds the simple blue garments of the factory worker into a rigid male form. 1932. PAI-XXI.2 x 100. 191 Amsterdam’s annual auto show is sponsored by “De Rijwel & Automobile Industrie” (Bicycle and Car Industry). Ill.000-$30. Savo was a work clothing manufacturer located in Paris. yet the master’s hand is clearly evident in this striking Art Deco design. became all the rage in Germany. Brown & Reinhold. Est: $25. 24 1⁄2 x 39 5⁄8 in. p.000. 6. or picturesque landscapes. 218. Mouron. p. Cubist-inspired designs. Reglisse Florent. Typically. 31 7⁄8 x 44 3⁄8 in.

Cassandre/Weill. Ref: Mouron. Simple. Cassandre/Weill. 225. 222. This is the medium format version of the poster. It’s a very intriguing first impression of television. reproducing it instead from a promotional book of the printer.7 cm Axel Andreasen & Sønner. which Philips began producing the year prior.a slogan which Cassandre most literally depicts in this poster. 82. Paris Cond B/Slight tears at folds. The verso’s text does not elaborate upon the design’s meaning. Cover & 37 (var). The 2-sheet version of the third sheet in the triptych was the only one of the three images to be printed. Cassandre had a brief period of designing record covers.4 cm Calcografia & Cartevalori. 221 223. p. its motto has always been “open the appetite” -. this publicity for Celtique played around with the realistic rendering of the object and the monumental scale of the cigarette pack but. Est: $3./39. 1956. Est: $4. 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 the United States. was therefore intended for an American release. 38 7⁄8 x 58 3⁄4 in.500. Pl. infused with quinine. and His Master’s Voice -. 1951. On board.7 x 30. Mouron. normally accompanied by the word “Dubon” (“it’s good”). noted as an Angel Records cover. Out of his work with the theatre. he created LP sleeves for classical compilations by Pathé. Ref: PAI-LII. 338 An unusual design by Cassandre used as a window card or point-of-purchase display by Philips. Philips Television.2 cm Gouache & ink maquette. 47 3⁄4 x 66 3⁄8 in./121. commissioned by the aperitif company’s Danish distributor.000. unassuming.000-$9. Est: $2.5 cm Cond A/P. 189. Celtiques. these brands were all grouped together by the overseeing company Pathé Marconi.000. Paris Cond A. and even they didn’t have recourse to a copy of the design. Mouron. Italian text on verso. Columbia. 12 1⁄8 x 16 3⁄4 in. . This maquette.500-$3. Est: $2.200-$1. The only place where this poster is reproduced is in a Dutch book published to celebrate the 100th anniversary of the Philips company. Est: $7. 48. Milano Cond A-/Slight stains at edges.223 222 220 CASSANDRE (Continued) 220. but simply explains the latest sevencolor intaglio printing process as the best method for avoiding counterfeits. Framed. the Dutch electronics firm. 63. and would have differed slightly from its corresponding French version./32. 13 1⁄4 x 12 in./119 x 158 cm Alliance Graphique. Bonal. Bonal is a sweet vermouth-like aperitif wine. 80. 334 The third installment in the Dubonnet triptych. and sold as Angel Records.7 x 149. Dubonnet. 1952. p. and many of the herbs featured in Chartreuse. 45.3 cm Alliance Graphique.500. 46 3⁄4 x 62 1⁄4 in. Dedicated to its role as a pre-dinner beverage. Ref: Cassandre/BN. Est: $1. A previously-unrecorded work of Cassandre’s showing the New Year’s Baby pushing out the old year and ushering in the new. 31 (var). p. 179 Founded in 1865. 225 224 224. gentian. 1936. PAI-LIII.000-$3. 91.8 x 42. 15 1⁄2 x 19 in. 43. 1951.000-$5.000.3 x 48. it’s an invitation to grab the offered cigarette that establishes the relationship between the advertisement and the passerby. Framed. However. Angel Records / Maquette. Cassandre/Suntory. PAI-LI. Smeets. 1935. in which it was included. 221. Season’s Greetings / 1953. PAI-LII.500. and primarily text-based. it was never actually posted as it was too large to fit into the designated posting areas. Ref: Cassandre/BN. 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.3 x 168.000-$2. printed two years after the original. 226 (var) “Eight years after the poster for Golden Club cigarettes. ca. Framed. 72. Brown & Reinhold. Moderno Francés. p. It is doubtful that it was ever printed as a full size poster./30. This is the second version of the image. Cassandre/Suntory. Framed./98. Københaven Cond A. by tilting the package towards us. 100).

Chaix. 706. Est: $2. Est: $2.5 x 56 cm Imp. HENRI CASSIERS (1858-1944) 228 226. Chaix. PAI-XLI. Ref: Chéret. 231 228. 414 A breathtaking and bright bird’s eye view of Brussels’ Grand Place./87. 1890. 15 7⁄8 x 22 in. Ref (all var but Chéret): Chéret. 938. 777. PAI-LIV. 13. Est: $2. Chéret. 229 . this two-sheet image gives us a seaside encounter between a young family and a handsome stranger.500-$3. Belle Epoque/Belgique. Maindron. Bullier. 33 1⁄2 x 48 in.000. 355. it would appear that the act consisted of four adorable. 916. This is the larger format version of the poster. Broido. 1880.” Est: $1./41. cabaret. adorned with flags and flowers in honor of the Universal Exposition. largely at paper edges. 124./119. 220. cycling children. 88. PAI-XXXVIII. Maindron. 1223.700. Chéret places a giddy blonde in a sandwich board to promote a grand exhibition of the latest winter styles for women & little girls. 131. 231. 885.3 cm Lith. 114. Ref (All var but PAI): Cassiers. Maindron.E. 280. Broido. 202. 33 7⁄8 x 47 in. 314PAI-XLI. Broido. Paris Cond A-/Folds. Robert Louis Stevenson would even feature the event in his short story collection. Belgische Affiche 1900. There are at least three known versions of this poster. Paris Cond B+/Slight tears & stains. Also noted in this poster is Dalvini. Ref: Chéret.000-$2.3 cm Imp. largely at edges. 588. 1888. J. 202 A sweet and feminine design promoting Cosmydor soap.6 x 170.227 230 226 232 229. Paris Cond B-/Slight tears & stains. Reims. 135. PAI-XXXVIII.000. “The Suicide Club.400-$1. DFP-II. Maindron. Bruxelles Cond B+/Slight tears & stains at edges. Folies-Bergère / Léonati. Est: $1. Maindron. 242. and circus venues throughout the 1880s. JULES CHÉRET (1836-1932) 227. 259 One of a few designs Chéret created for the popular student venue in the Latin Quarter. 15 3/4 x 21 3/4 in.700-$2.7 cm Imp. Aux Buttes Chaumont. only to descend again at high speed. Belle Epoque 1970. Paris Cond B+/Restored tears. 32. His best-known trick was the ‘Spiral Ascension.2 cm Imp. Est: $1. 47 1⁄8 x 67 1⁄4 in. Chaix. Ref: Chéret. 1910. Broido./40 x 55.000-$2. frequented by avant-gardists like Sonia Delaunay and Lucia Joyce (mentally ill daughter of James Joyce). Broido.500.6 x 122. the richly-dressed model delicately shown using the product in action. 33 3⁄4 x 48 1⁄8 in. 279. 1888. 62 One of the earliest daredevil cyclists. Chaix. including the Forepaugh Shows. 616. Aux Buttes Chaumont / Exposition. Goossens. 230. J. 1004. 65 While little information remains today on Les Elliott. J. 736.’ in which he road a high-wheeler up a corkscrew-like platform over 50 feet in the air without any safety wire or banister. Chéret. Ref: Chéret. 35.700-$2. Paris Cond B/Slight tears & stains. Looping the Loop. Maindron. Est: $1. 232.500. Ref: Chéret. Folies-Bergére / Les Elliott. despite his Italianate name) performed in a large variety of vaudeville. Reims.700. Exposition Universelle / Bruxelles. Cosmydor Savon. DFP-II. 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. this poster promotes the Thursday celebrations and Saturday & Sunday balls at Bullier./86 x 119. 115. 188 Delightfully displaying the latest summer styles available for the entire family at Aux Buttes Chaumont.400-$1.6 cm Imp. These parties would grow to their full height in the 1920s. Leonati (a Frenchman. p. Broido. largely at seam & edges. the other two advertising various railways which one could take to get there. a nowunknown Far Eastern-inspired balancing act./85. 34 1⁄2 x 49 1⁄8 in./85. 1880. Paris Cond B-/Restored tears at folds & edges.000. DFP-II.5 x 124. 1891.1 x 122 cm Imp. 278 In a merry display of child labor at its best.

While exceedingly popular. forcing his work almost into obscurity. 244 One of many designs Chéret created to promote the benefits of Géraudel cough lozenges. Normally presented as a severe. written by co-owner Alphonse Frank. Ref: Chéret. this design by Chéret showcases her in a more lighthearted. Broido. Maindron. p.3 Imp. Reynaud’s technology had been outmatched by the turn of the century. Maindron. PAI-LII. take Géraudel Pastilles” are the only words to appear on the page. Paris Cond B/Restored tears. Today. the woman’s actions make the simple act of lighting a lamp appear positively decadent. the Flamand restaurant on its first level was converted into the 400-seat Theatre de la Tour Eiffel by Charles Bodinier. Paris Cond B+/Slight tears in margins. 1600 frame film lasted between twelve and fifteen minutes. very minor tear in center background. 468. 239. in that it looks nothing like any other depiction of her. Broido.000-$3. 236 238 . Here. Ref: Chéret. Ref: Chéret. Paris Cond B/Slight tears at folds. PAI-XXXVII./86 x 121. 17./79 x 110. Utilizing long strips of transparent images manually pulled across a translucent screen. 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. 1893. Broido. 235. 34 x 47 3⁄4 in.2 x 81 cm Imp. 254 Happily showing off the best of the shop’s wares. Ref: Chéret. the simple slogan “If you cough. PAI-LII. Est: $2. and Le Clown et ses chiens. 604 (var). Broido. Est: $1. Saxoléine. Each consists of a single woman delicately turning on a lamp. 780. Est: $2. As in the previous image for Saxoléine (see Lot 233). Emile Reynaud’s Pantomimes Lumineuses premiered at the Musée Grévin on October 28. Maindron. Maindron. 211 (var) Possibly the most unique image of Yvette Guilbert. 1892. 789.700.000. Est: $2. Reims. 1893.5 cm Imp. 543. this primitive. 2379 (var). largely at edges. 31 1⁄8 x 43 3⁄8 in. Halle aux Chapeaux / Depuis 3F60.7 cm Imp. p. 239. 231./85.500-$3.500. a mother and her two blonde children beam out at the viewer so delightfully that one barely notices the handsome mustachioed gentleman behind them. Broido. Ref: Chéret. 1166. Paris Cond A-/Unobtrusive folds.000-$2.8 x 240. 215. Yvette Guilbert / Au Concert Parisien. Maindron. Chaix. 467. Chaix. Reims. As with every one of the company’s ads from France to China. Reims. 188. Chéret created this striking two-sheet design.400-$1. making the most mundane of tasks suddenly appear terribly romantic and intimate. Pastilles Géraudel. having been seen by more than 500.000. Est: $3. Wine Spectator.500-$3. girlish manner./88. 950. only fragments of the films remain.000 viewers over an eight year period. Encyclopédie/Weill. showcasing three cartoon stories: Pauvre Pierrot. if ever. 36.6 x 121. Paris Cond B+/Slight tears at edges. 1239. 1227.700. 830. complete with blonde waves. 22 7⁄8 x 31 7⁄8 in. Chéret depicts the many characters of the show joyously floating through lithographic space. Ref: Chéret. Chaix. Pantomimes Lumineuses. DFP-III. DFPII. Broido. deviated. 213. 382. 343. to great success. 704. 219 When plans to take down the Eiffel Tower after the end of the 1889 World’s Fair fell through.7 cm Imp.7 cm Imp. PAILI. 381. 1891. Un bon bock. Broido. Chéret created more than a dozen different designs for this lamp oil company.2 x 121.400-$1. Reims. Théâtre de la Tour Eiffel / Paris-Chicago. Gold. 895. 1892. 1891. the Paris/Chicago revue. Ref: Chéret. 234 236. 33 3⁄4 x 94 3⁄4 in. 1891. 237. 250.500.500. 739. In an attempt to make it a more trendy and artsy venue. DFP-II. Saxoléine. 464. 33 7⁄8 x 47 7⁄8 in. Est: $1. 273. PAI-LIII. sophisticated redhead. 34 3⁄4 x 48 3⁄4 in.2 cm Imp./86. A true testament to the fact that the artist had a very particular style from which he rarely.233 CHÉRET (Continued) 233. 234. opened on May 16. PAI-XXXVII. Paris Cond B/Unobtrusive tears at folds & edges. 11. Chaix. Maitres 1900. Chaix. 258 Arguably one of the first motion pictures. Maindron. Maindron.4 x 128. 237 235 239 238. 1893./86. 505.000-$2./58. Est: $2. trimmed to image. 199 Only two years into his relationship with this kerosene maker. 34 1⁄8 x 47 7⁄8 in. 941. Chaix. Chaix. 218 Over a ten year period. Reims. 1064. This is the medium format version of the poster. 1892. also donning a fine chapeau. 264. PAI-XLIX. Paris Cond B-/Tears at folds & edges.

Chaix. 288. 242. Reims.5 cm Imp. claiming that every night is a wild./89. Quinquina Dubonnet. 270. Paris Cond A/P.000-$2./37. Maindron. PAI-XLI. Framed. 271. Paris Cond B/Tears at folds & edges. 14 5⁄8 x 21 5⁄8 in. Ref: Chéret. p.200-$1. Chaix. Broido 368. 1893. Reims. Ref (all var but Chéret): Chéret. Ref: Chéret. In this insert for Le Courrier Français. Paris Cond B/Slight tears at folds. 1896. Broido. Palais de Glace. 35 1⁄2 x 47 1⁄2 in. complete with fur stole. but appeared in the weekly newspaper on February 16. Framed. This is the larger format. 243.500-$3. 244. 29. Chaix. Broido. 216. the Eldorado hosted shows of some of the greatest performers of the day. This is the Courrier Français insert version of the image. 39. Palais de Glace. 19. 1143. Ref: Chéret 484. Chaix. 196 One of the most famous music halls in Paris. 34 1⁄2 x 48 3⁄8 in. 241. 267 Between 1893 and 1900./37 x 54. 1894. 31 1⁄8 x 46 3⁄4 in. DFP-II.000-$10. but rather the venue in general. Chéret created a multitude of captivating designs for the Palais de Glace.5 x 122 cm Imp. 256. PAIXXVIII. Gold. 1894. Here. 33 5⁄8 x 48 1⁄8 in. 364. Here.2 x 55 cm Imp.5 x 123 cm Imp. she is seen toasting the skies while looking temptingly over her shoulder at the viewer. Est: $4. a blue-eyed blonde skates backward toward the viewer. notto-be-missed event at the Eldorado. Ref: Chéret. Wine Spectator. Framed. 244. Maindron. Ref: Chéret. DFP-II. 189. 246. 245 242 243 . Est: $2. balances daintily on one foot as her partner glides her around the ice. Théâtre de l’Opéra / Carnaval 1894. 131. Est: $2. 477. Maindron. Paris Cond A. Broido. 136 Another decadent image by Chéret for the many seasonal masked balls at the Théâtre de l’Opéra.244 CHÉRET (Continued) 240 241 240. the arch of her arms indicating that she is about to twirl. Maindron.000-$6.000-$1. Est: $1. PAI-VIII. 340.5 cm Imp. Eldorado. Chaix. Paris (not shown) Cond A. 1896. PAI-XXIII.000./85. PAI-LI.000. 247 This is the rare proof before letters of the previous poster. Est: $1. 245./79 x 119 cm Imp. This is the rare. Broido. Chéret does not advertise a specific act. the brightly-dressed beauty. Chaix.500.000./86. a large skating rink located on the Champs-Elysées. PAI-XLVII. DFP-II.5 x 120.500. Paris Cond A/Usual horizontal fold. an herb-based fortified wine blended with quinine. 206 The most subtle and sweet of Chéret’s many posters for the Palais de Glace. Encylopédie/Weill. Broido. 244. 216.200. 189. The design was originally conceived the year prior. Eldorado. 879. before-letters version of the image. 14 1⁄2 x 21 1⁄2 in. 202 One of the many products Chéret’s merry redhead promoted was Quinquina Dubonnet. 1896. This is the larger format version of the poster. Est: $8. 366. 340.

here he idyllically captures her exceptionally Modern dance routine on paper. becoming its own one-woman show.000. 1152. 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. 128. She was considered the perfect blend of man and machine. 123 One of at least two designs Chéret created for Loïe Fuller. 250.2 cm Gouache on paper maquette. the Fire Dance was one of her earliest routines.000. 128)./86.500. Paris Cond B+/Unobtrusive tears at folds. 884. 1899. 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. 249 250 249. PAI-L. remaining in power until they were decisively beaten at Granada in 1492. PAI-XXXVI. and save for the addition of text. 248. Paris Cond B/Tears at folds & top text area./88. Paris Cond A-/Unobtrusive folds. 185. Framed. 127.200-$1. Ref: Chéret. 1139. Théâtre de l’Opéra/Gd Veglione de Gala / 3e Bal Masqué. 165. 1142. Broido. Folies-Bergère / La Danse du Feu. 1899. Folies-Bergère / Loïe Fuller./86 x 122 cm Imp./37. 34 x 49 in. Dance Posters. Est: $6. 34 3⁄4 x 49 1⁄4 in. Est: $8. 1897.246 247 CHÉRET (Continued) 246. Chéret created a dozen or so posters for the Théâtre de l’Opéra’s seasonal masked balls. 254 Just by placing a dark area behind the figure and bathing the hem of her skirt and arm in an orange glow. Pippermint. Est: $10. Ref: Chéret. Chaix. 14 3⁄4 x 21 7⁄8 in. L’Andalousie au Temps des Maures / Maquette.7 cm Imp. The “Moors were Islamic invaders from Africa who entered Spain around the year 700. In her act. Est: $1. Broido. Framed./86. 265. so much so that many art historians mark the beginning of the Modern period by her first performance. 247.000-$8.000. 128. It became such a success that the number evolved outside of the production. Spectacle. 159. dozens of colored lights flashing upon her as she moved.000-$10. This design. PAI-XXXVI.7 cm Imp. 34 x 48 1⁄2 in.5 x 124. Originally used as the ballet portion in a production of Salome. Spectacle. PAI-XLV. 523.3 x 125 cm Imp.000-$12. 248 . Chéret is able to suggest the cozy intimacy of a fireside scene to advertise this cool-tasting mint liqueur. Broido.5 x 51. including a Carnival parade. 299a.3 x 123.000. Ref: (all var but PAI): Chéret. Chéret’s initial artistic impulse remains intact. 1897. This is the original artwork upon which the completed poster was based. Gold. used repeatedly throughout the 1897 & 1898 season. 263 While not outwardly noted here as being an act starring Loïe Fuller. PAI-XXX. DFP-II. she would wave reams of diaphanous fabric around her body. Broido. 33 3⁄4 x 48 in. Ref: Chéret. 385. This is the smaller “Courrier Français” version of the poster. 274 From 1892 through at least 1899. Chaix. p. 663: Broido. 1897. Paris Cond B/Tears at folds. Chaix. Chaix. Est: $4. promotes the third masked gala. Gold. 166. Chéret must have felt this winsome Spanish dancer would be more appealing than an illustrated history lesson” (Gold.000-$5. Ref: Chéret.

24 1⁄4 x 15 1⁄2 in. PAI-XLII. That poster was never printed. p.a commedia dell’arte celebration of magnificent proportions. his artwork–doubtlessly enriched by having seen Fuller in person–casts the dancer as the very flame of pyrotechnic innovation. but was discovered in the office of his art school in Paris. a remarkable modernist vision with surrealist overtones that stands on its own as an important document of Art Deco significance. the mood of the brand is presented -. . 254 PAUL COLIN (1892-1986) 254. Probably the finest. 30). It is interesting to compare the previously seen poster (see PAI-LIII./114. a flash-and-swirl of conflagrant colors to which no corporeal entity is attached. painting of Sarah Bernhardt is Clairin’s large oil painting seen in the Petit Palais in Paris (see Bernhardt/Drama. Paolo. Paris Cond A. complete with the entire troupe parading through the streets in Rococo finery. Moët & Chandon. Est: $1./86. Framed. 201 Colin indicated that he had to create the poster for Loïe Fuller before actually meeting her. F.251 252 253 ALFRED CHOUBRAC (1853-1902) 251. but grippingly portrays the blossoming love affair and eventual discovery by Giovanni. 50 Made infamous in Canto V of Dante’s Inferno. 239 A delightfully detailed promotional fan for Moët & Chandon champagne. Paris Cond A-/Very slight creases. 1925.5 cm Fortier & Marotte. in a move that can be described as nothing short of genius. Théatre Sarah-Bernhardt / Francesca da Rimini. 766. Seduced by her husband’s brother.9 cm Imp./80. 208) and this masterful maquette–whereas the poster still places the dancer in the eye of a prismatic hurricane. 182 In 1895.8 x 119. captures the precise spirit of the performer without requiring her presence. Framed. PAI-XLVIII. played host to an extravagant Russian Exhibition. Primarily focusing on the country’s equestrian and cultural prowess. Paris Cond B+/Slight tears at horizontal fold & edges. proving that you do not need to show the actual product in order to advertise it./61. Est: $1. Francesca da Rimini represented Lust in the first circle of hell. 253.4 x 121. ca. 45 x 59 1⁄4 in. Est: $35.200-$1. leading toward the lovers’ death.000-$2. Ref: Spectacle.6 x 39.200-$1. 34 x 48 in.000. And this awe-inspiring artwork served as a basis for this second poster. Francesca and Paolo were then bound to each other in an eternal embrace. Est: $2. 1895.500. This theatrical version starring Sarah Bernhardt does not venture to explore what happened to the couple in the afterlife.3 x 150.500. the Champ de Mars. it gave the French people a glimpse into some of Russia’s most cherished national treasures. 1902. Ref: PAI-XLIV. In Dante’s version. but that thereafter he created another poster. Champenois. Simply and utterly brilliant. 31 7⁄8 x 47 in. Loïe Fuller.4 cm Imp. who read to her the story of Lancelot and Guinevere. G.5 cm Hand-signed gouache maquette. Ref: Reims. GEORGES CLAIRIN (1843-1919) 252. a large public field in Paris. Alternatively. 553.500. Massias.000-$40. the couple was eventually discovered and subsequently murdered by the cuckolded Giovanni. Ref: PAI-XLII. and certainly most opulent. Champ de Mars / Exposition Russe. Colin. from its historic Cossack riders to the infamous ballet.

Colin remembers his first opinions of Baker: “I found a very beautiful girl.2 cm Signed oil on canvas. Est: $10./68 x 97 cm Hand-signed gouache maquette. Josephine & Partner at the Revue Nègre. 7). this image is a pure Art Deco mystery. So I looked for one such perfect body. and I found her: Josephine Baker” (Colin. hair cropped short. One of handful of larger compositions Colin created featuring Josephine Baker during her time at the Revue Nègre.000-$12. 203 A never-realized poster design for a French boutique that may not have existed. perfectly relates Colin’s description of her and her wildly sexual form. 26 3⁄4 x 38 1⁄8 in.7 x 55. 18 x 21 3⁄4 in. ca. the image itself is deftly sophisticated. Oreum Maquette. p. as she vamps alongside her equally-animated male partner in a bowler hat. This painting. however. 256 . very nice but then any average woman’s face can be transformed into something approaching beauty with the proper application of make-up. perfectly combining the girlish love of baubles with the sleek severity of 1920s fashion. Ref: PAI-XLIV. Est: $20. teeth flashing. above all a very beautiful body. Her head was like that of many Negro women.000-$22. 1925./45. but you can’t change a woman’s breasts or her legs so easily.000. we see the star. He remained a life-long friend and collaborator of Josephine. Framed. Even without the knowledge of the store or the product.COLIN (Continued) 255. Recalling those early rehearsals. 1925. this is perhaps the best of the bunch.000. Here. 255 256. Framed. with its Expressionist rendering of the performer.

. like all these geometric ‘tricks’ of Colin. 281 “The play ‘Maya’ went through many revivals over a 30 year period. Est: $2. Framed. 286 Of Charles-Félix Girard’s many fashionable paintings. Yet. The effect Colin seeks here -. The production at the Studio des Champs-Elysées had only about 20 performances in 1924. 210 “The two pianos which André Renaud played simultaneously are thrown at us with seeming abandon.500-$3. they are very deliberately drawn for maximum effect. 30 3⁄4 x 47 1⁄4 in. Featuring Colin’s signature depiction of a piano at a highly raked angle. PAI-LI. Paris Cond A-/Slight stains at edges. 1927. Ref: Colin. p. 15 x 22 7⁄8 in. 262. 9 5⁄8 x 8 7⁄8 in. . Est: $6. It is a very strong. who went on to become a bandleader. Ref: Colin Affichiste (var). 1927. Ch. Gir. Sitting in on many of the rehearsals for the show. this drawing is reminiscent of his design for Wiener & Doucet (see Colin. Framed. Colin Affichiste. p. brass instruments in hand as they wail alongside an invisible pianist. Similar in style to his many jazz musicians in Le Tumulte Noir and elsewhere.5 x 157.500-$3. 59. Est: $17. one each for the ‘daytime’ and ‘nighttime’ personality. which was more often the subject of Colin’s work. The sharp delineation of the progressively disrobed heroine. . effective poster. Ref: Colin. 261. such as Le Tumulte Noir. PAI-LI. 257 262 260./117. largely at edges. Colin Affichiste. This is the smaller format. this smiling brass band fills the orchestra pit to the brim with punctuated energy. a streetwalker . one of his best and a masterpiece by any standard” (Colin. ca. 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.000-$7./38 x 58 cm Imp. 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. 46 1⁄5 x 62 in. 258./24. Framed.261 COLIN (Continued) 258 257. 9). 259 260 259. such as this. p. 8). Also printed in the image are the words “To my friend Gir” in the lower left. H. with the night/ day slash.4 x 120 cm Imp.5 cm Imp. in which Colin actually uses two reds and two blacks. 22. he frequently sketched the performers in action. adding a rarely-seen personal element to the poster./78. While many of those went on to inspire subsequent works by the artist. 9. Est: $2.000. 1929. 6 x 9 in.2 x 22. Jazz Piano. H.000. 4 1⁄4 x 6 in. 74. PAI-LIII. 13) or André Renault (see Lot 262)./15. Est: $2.500.000. The play was a success. Art Deco. H.000. .000-$20. even played the two pianos blindfolded for a while” (Colin. it is more complicated than either of those compositions. most especially Josephine.8 cm Signed watercolor on paper. 39. Est: $1. Chachoin. Josephine Baker & Partners at the Theatre des Champs-Elysees.000. Chachoin. Paris Cond B+/Unobtrusive tears. Paris Cond A. 1925. with minimal but lively jazz musicians popping out from every corner. While his most famous image of Josephine Baker is surely the Revue Nègre poster. Jazz Band. running for 376 consecutive performances and it was subsequently translated into 17 languages . 99. Therefore. Colin had ample time to create dozens of compositions featuring the infamous entertainer. André Renaud. 115. Maya. 1925.500-$3. but in 1926 Gaston Baty decided to give the play a second chance and for the occasion he ordered this poster. Renaud. This image is unique in that it does not showcase Josephine’s overtly sexualized nature. .is achieved by the overwhelming size of the pianos. One can see why: Colin has perfectly captured the heroine. those of his ballet dancers are the most delicate and evocative. Framed. 1925. Chachoin./11 x 15 cm Signed gouache & ink drawing. Here we see a sophisticatedly dressed Baker in brown standing alongside two flamboyantly-attired black overwhelm us with the wizardry of Renaud -. some resulted in larger paintings (see lot 256) or simple renderings of the cast during dress rehearsal. p. ca.5 x 20 cm Signed ink drawing. but.200-$1. Paris Temps Modernes.

265. Ref: PAI-XXVII. 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. p. as is implied by the Gumby-like fellow pointing to the name of the event. 47 1⁄2 x 60 in. Belgische Affiche./50.8 x 76.000. where he was kept busy with decors. Paul Hankar often collaborated with Crespin.2 cm Artistic Supply Company.400-$1. Word & Image./40 x 60.5 cm Imp. if that’s possible. 264. The principal subject. 293 One of Colin’s many designs for this biannual event.500-$2. like their partnership. to the merit of this print which remains one of the best–if not the very best–of Crespin” (Beaumont. 88. 1894. this design by Cowper deviates from his established style. Colin Affichiste. positioned just right. this exhibition focused on artists who have been inspired by petrol. and a host of other exciting events. Deuxieme Salon de la Chimie.000.500.200-$1. Included in the list are various musical performances.000.500-$2. 15 3⁄4 x 23 3⁄4 in. “The poster ‘Hankar’ is in every way perfect. 48.2 cm Ad. Est: $1. advertisements and posters. 52. Mertens.000-$7. Paul Hankar Architecte. Affiches Etrangères.200-$1. The image itself in this two-sheet poster possesses a Northern painterly quality and high attention to detail rarely seen in lithography. Apart from a slightly smaller size and a gown that is a paler shade of green. MAX COWPER (1893-1911) 267. 91. PAI-XLIV. 13 1⁄2 x 20 in./99. Stad Brussel / Nationale Feesten van 1904. Maitres. Est: $1. Colin met her at the Apollo.6 x 152. Brussel Cond A-/Slight tears at folds & edges. Here he shows a strain of international flags being ‘distilled’ through an anthropomorphic beaker. ‘Waltz Time. Best known for his heavily detailed Art Nouveau images of turn-of-thecentury society and languid Pre-Raphaelite-esque illustrations./39. PAI-LI. 20 x 30 in. programs. Est: $1. 108. awards ceremonies. 294 At this fourth installment of the Salon de la Chimie./36 x 50. Bedos. IVe Salon de la Chimie. p. 1930.000./120. the artwork seen here remained virtually intact upon poster completion. 44. 15. Ref (all var but PAI): Colin. Bedos. 1019./99. It was there she created the French version of the celebrated ‘Trial of Mary Dugan. ca. who was a master of interior design. Le Pétrole. 90. 39 1⁄4 x 59 1⁄4 in.’ Ref: Colin. ca. Est: $6.6 cm Imp. Ref: PAI-LI. 9). Jane Marnac / Au Temps des Valses Maquette. 39 1⁄4 x 59 1⁄4 in.3 cm Gouweloos.6 x 54. creating a particular atmosphere.264 265 266 267 COLIN (Continued) 263.700. 1444. 1956. Est: $1. Paris Cond A-/Slight tears in ‘Salon. 269. but they are chosen with such pleasure and arranged with such taste.8 x 150. 15 5⁄8 x 21 3⁄8 in. Est: $1. p.’ and.000-$9. tears at edges.3 cm Cond A. Beaumont. 263 269 . such discretion–in a single word. p. 380 Celebrating modernity through the lens of how gasoline has changed the Western world.8 cm Hand-signed gouache maquette. is a perfect balance of their two styles. 1953. Framed. both heralding in the second issue of The Minster magazine. Paris Cond A. Est: $7. proving that even back then geeks loved scientific humor. such tact–that far from removing importance from the principal subject he lends it more value. in 1930. Bruxelles Cond A-/Slight tears at edges. 266. Possessing much of the charm of other literary posters of the time. swimming. 48). 298 Considered one of the best Belgian architects specializing in Art Nouveau. There are many details. PAI-LI. 1904. a pigeon contest. starred in the Noel Coward operetta. juggling & magic shows. Weill. The warm and vivid coloring further adds. military exercises.’ titled ‘Au Temps des Valses’ in Saint-Grenier’s adaptation for the French stage” (Colin. technical if I may say so. The Minster. 38. 1953. Reims. rubber and plastic materials will be featured.500. This poster. p. London Cond B-/Printer’s stains in text area.5 x 150. Ref: DFP-II. we see a Geisha without her full makeup chasing an orange butterfly. 268 ADOLPHE CRESPIN (1859-1944) 268. A charming local poster announcing the many activities held in conjunction with a national holiday. is interpreted in a very modern style. cycling & boat races.

155.000. 275 . 1949.500./69. This is generally considered to be the debut film of Horace Horsecollar. 28. the seal is returned to its habitat.200. pp. . DAVID DELLEPIANE (1866-1932) 272.000-$2. Virginia. PAI-LII. This image by Delaunay was created nine years before his marriage to Baker. Ref: Génèvoise.G. 271. harnessed and sold . Est: $1. then. 1929. The advent of electric power and lighting coincided with the triumphant arrival of the art poster. 1908. A well-known jazz aficionado. Cleveland Cond B+/Unobtrusive folds. European Electricity. p./79./137. giving a human face to a physical phenomenon which by its very nature cannot be depicted. Genève Cond B/Slight tears at folds & edges. After causing Pluto much grief. Marseille Cond A-/Unobtrusive folds. The Electrical Fairy’s theatrical pose and the hypnotic lighting effects high above the Marseilles exhibition ground give this poster by David Dellepiane . Est: $12. 16 & 17. Ref: PAI-XLIII. as well as the second appearance of Clarabelle Cow. conveyed intimations of luxury and festive extravagance in ever greater measure . Est: $2.2 cm H.3 cm Cond A. 117. it takes up residence in Mickey’s bathtub. . 297 Jo Bouillon is possibly best known as Josephine Baker’s fourth husband. although neither are made anthropomorphic in this film. . Dellepiane. Moullot. 16 3⁄8 x 14 1⁄4 in. 1938. Est: $2..000-$15.3 xm S.4 x 73. .’ Outside of his infamous marriage. 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. The poster is noted as being the first in Europe created via the héliochrome printing method. Swing. that progressive entrepreneurs frequently used this modern medium to win over public opinion .000. It is worth noting that the label in the center promotes Benny Carter’s 1938 release. Exposition International d’Electricité. “I’m Coming. we are presented with an early example of the camera amidst a wall of sunflowers.A. Charles Delaunay (son of the famous avantgardists Robert & Sonia) co-owned the Hot Club de France.A. Ref: Dellepiane. Nominated for an Academy Award. . 1899. with whom she adopted a dozen children to form her ‘Rainbow Tribe. 265). In the end.000-$2. Innovations were sold to the steadily growing crowds visiting the pavilions at world exhibitions and electricity trade fairs. as the inquisitive artist shown alongside the camera indicates. Artist: Roger Cartier 31 3⁄8 x 47 in. Mickey & the Seal. PAI-L. this early short focuses on the charming relationship between Farmer Mickey and Milkmaid Minnie. as well as the record label advertised here. the magazine Le Jazz Hot.270 271 273 273. 275. 227 “During the 19th century. 30 3⁄8 x 45 3⁄8 in./77 x 115. 1939.000-$1. . Known to American audiences as The Plow Boy./41. Artist: Anonymous 27 1⁄4 x 40 7⁄8 in. p. .000. 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. 228 In this stunning example of the best of Swiss Art Nouveau. 54 x 41 3⁄8 in. 20 1⁄4 x 28 7⁄8 in./51. strong dramatic expressiveness. much to the owner’s surprise.2 x 104 cm Morgan Litho. Mickey Laboureur.D. Est: $5. . CHARLES DELAUNAY (1911-1988) 270. 274 272 DISNEY IMAGES 274. utilizing this technology does not at all remove the artistic process from color lithography.5 x 36. .7 x 119. only to invite a fleet of his zoo-mates back to Mickey’s home for more fun in the tub. . A series of revolutionary discoveries enabled electricity to be generated. noted as “a prodigy in a family of prodigies” (Josephine. Public response to the Electricity Fairy and her vision of the future was overwhelming. Chachoin Cond B+/Slight tears at folds. Trying to win over her affections. p. the Industrial Revolution fundamentally changed the appearance of the world due to a number of major scientific breakthroughs . Societé des Arts Graphiques. p. Mickey is faced with a host of unruly animals who make his work doubly difficult. Paris Cond B/Slight tears at folds.2 x 105 cm Imp. Masters 1900. 17). The dazzling allegorical figure.500. Bouillon was also an accomplished musician. It comes as no surprise.000-$6. 163.5 cm Affiches Gaillard.” Est: $800-$1. merrily promoting one of his many recordings for Columbia Records. p. and. Jo Bouillon / Columbia. however.

Le Journal de Mickey. Because children couldn’t ride him as they could a common carousel horse. ca. 1934./94 cm Hand-painted cast iron mounted on wood./59 cm Depth: 37 in. De Vos is known within the medium as one of its master craftsmen. A priceless slice of Disney history! Est: $14. Not well-known in Europe at the time. but included other popular characters in French youth culture. this is one of the earliest and most rare depictions of Mickey Mouse.5 cm Gouache & ink maquette on board. its content was not limited to the Disney oeuvre. Artist: Henris De Vos (1888-1979) Height: 51 in.000-$30. 276 . the comic was exclusive to France. as if walking. yet still run by Disney. making this not only a historic Disneyrelated piece but also an important remnant of carousel history. ca. and the first known instance in which the character appears in public art.DISNEY (Continued) 276.000.000-$17.000. this type of iron figure was quickly abandoned in favor of more interactive structures. Mickey Mouse Carousel Figure. 277 277./129 cm Width: 23 in. his tongue lolling playfully out of his mouth. That said./76. 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). Artist: Anonymous 30 1⁄8 x 45 7⁄8 in. 1927.5 x 116. Specializing in fairground sculptures such as carousel gondolas and cast-iron figures like this. Est: $25. First printed in 1934. He stands legs-apart.

Goofy began appearing in a How To series. Blanche-Neige.have made the cannon into their nut storage yard. 280. it is interesting to note the subtle differences between the presented figures and how they appear within the film./57 x 78. 304 Based on Pierre Louy’s play La Femme et le Pantin. Ref: PAI-XLIII. Est: $2. signal lines bursting forth from his gaping face to evoke the power and distance harnessed by Watt. Torino Cond B+/Slight tears at folds. covering everything from skiing to sleeping to.2 cm Morgan Litho. After a half-dozen other encounters with various zoo creatures.000. He soon learns that two chipmunks -. Dolly marries Hippolyt. Here. Est: $3./76. 1942. Originally known as Dippy Dawg at the time of his creation in 1932. 188 An adorable animated short in which Pluto runs into various misadventures at the local zoo./69. football. This bold design by Diulgheroff perfectly presents the brand as an innovator in the medium. Est: $2. GEORGES DOLA (Edmond Vernier. The first full-length animated movie. Ref: Bolaffi. 278 279 282 DISNEY (Continued) 278. he soon hijacks the object of his desire. Carmen. grabbing his much smaller chicken bone before merrily trotting home. changing the trajectory of possibilities within the medium. Frasquita lures Armand in before spurning him for sport.5 cm Roggero & Tortia. He then runs into a friendly gorilla who whisks him away to the crocodile pond.283 281. eventually resulting in the gypsy and Armand reuniting and living happily ever after.000-$1. only to have it stolen by a joey in the kangaroo habitat. Pluto is now an enlisted soldier entrusted with guarding a gun emplacement against saboteurs. 1933.the first appearance of Chip and Dale in a cartoon -.2 x 102.000. Two years later. Watt Radio is still a major player in Italian broadcasting. 1872-1950) 283.4 cm Imp. Pluto at the Zoo. 135 (var) Founded in 1924./68./65. and began being featured in his own separate shorts. 280 281 . 1943. Snow White was a landmark achievement for Walt Disney. Paris Cond A.4 cm Morgan Litho.500.7 x 89.000-$5.2 x 104. Framed. 279. Then. This series is still very much active today. It is no wonder that the artist was a leader in the Italian Futurist movement despite being from Bulgaria. the font melding into the open-mouthed head of the anonymous Everyman.500-$3./65. How to Play Football / Goofy.000-$2. Cleveland Cond B/Slight tears at folds & edges. Frasquita focuses on the love affair between the eponymous gypsy girl and a young. 1933. Est: $4.8 x 118. in the original poster for the French release of the movie. 1944. he was renamed. NICOLAY DIULGHEROFF (1901-1982) 282.5 cm Morgan Litho. PAI-XXIV.200. p. Like the more famous gypsy femme fatale. Armand has a run-in with Frasquita during which time he accuses her of stealing his cigarette case. Attracted to a lion’s cage by the sight of a large bone. 81.6 cm At. Arriving in a Spanish port with his friend Hippolyt in order to meet up with his fiancée Dolly. Meanwhile. Bedos. A war-era short film.500. Private Pluto. It has been noted by the American Film Institute as the greatest American animated film of all time. Ref: Cartoon Movie Posters. Artist: Anonymous 27 1⁄4 x 41 in.000-$2.7 x 100. in 1939. wealthy Frenchman named Armand. Frasquita. Artist: John Lounsbery (1911-1976) 25 7⁄8 x 39 1⁄2 in. with the latest Goofy How To having been released in 2007. 1937.000-$4. Watt Radio. Est: $2. 30 1⁄2 x 46 3⁄4 in. Artist: Bernard Lancy (1892-1964) 22 1⁄2 x 30 7⁄8 in. Goofy quickly distinguished himself from other Disney characters through his distinctive laugh and disruptive behavior. Cleveland Cond B/Slight tears at folds. Dola. Paris Cond B/Slight tears & stains at folds & edges. Artist: Anonymous 26 7⁄8 x 40 1⁄4 in. he winds back up in the lion’s den. 25 7⁄8 x 35 1⁄4 in. Est: $1. as seen here.000. Cleveland Cond B/Slight tears & stains at folds.

1932. we are met with a stylish and elegant lady. JEAN DUPAS (1882-1964) 286. 112 (var).000-$9. 287 288 286 287.5 cm Imp. PAI-LII. Noted below. Dupuis. 122. 273 This is the smaller format version of the previous poster. Est: $1. Chachoin. but some of the lengths of fabric hanging from the figure’s arm are tinged the most exquisitely pale shades of pink and green.200-$1. Est: $7.5 x 135. Ref: French Opera. 112 (var). Paris Cond A. Ref: Timeless Images. 36 x 39 in. 1900. 27.000-$12. Art Deco/Tokyo. 1924. Paris Cond B/Unobtrusive tears at folds & edges. and partly to the popularity of the simple.7 cm Affiches Gaillard. XVme Salon des Artistes Decorateurs. H. 22 (var). 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. “Over and over he depicted the same type of elongated. MAURICE DUFRÉNE (1876-1955) 285./77. 37 5⁄8 x 53 3⁄8 in. Peintures Lumineuses. 665.700-$2. This distinctly Germanic Art Deco image is highly evocative of both Hohlwein and Engelhardt. 116.2 x 117. PAI-XXXIX.5 cm Oscar Consée.5 x 124. 196. 24 & 34). restored tears. Hosting a variety of salons and small concerts. Femme s’Affiche. 166. p.. Most of the design is black and white. 17.000-$4./95. pp. Wife of the composer Jacques Offenbach’s grandson. 284 285 289 . 22. Est: $3. H. Possibly referencing the famous story of the Judgment of Paris. Dufrène also created the operetta’s sets and costumes. cat. Art Deco.4 x 60. which to him represented the ideal beauty of the period . 1924. an item reserved in that myth for the most beautiful of all. ca. 1930./39. 1922. coyly looking to the side as she sips her tea and champagne. 30 3⁄8 x 46 1⁄4 in. Lopez./91.JEAN-GABRIEL DOMERGUE (1889-1962) 284. 19 5⁄8 x 25 7⁄8 in. Paris Cond A-/Slight tears at edges.000. Timeless Images. 295 Announcing the fifteenth annual exhibition of decorative artists at the Grand Palais in Paris. 525 Presenting the Odeon Casino as the most fashionable of urban destinations. Chachoin.000.500.6 cm Affiches A.000./78. ca. this sumptuous image perfectly demonstrates Dupas’s skill as a master of Art Deco. Chaix. Est: $1./50 x 65.3 cm Imp. ALBERT DUPUIS 288. A curious but handsome poster in which illuminated paintings are to be presented by Lycia Corot alongside her male singing companion. [with the obvious] influence of Cubism and Léger. PAI-XLV. Suzanne Brindejont-Offenbach was a minor player in the French cultural scene during the 1930s. she would occasionally sing a light piece of music. Art Deco. while guests can makes reservations for either high tea or evening drinks. Odeon Casino / Duval. Loopez. 31 x 47 3⁄8 in. 122. statuesque woman. no. Rayon des Soieries. Est: $10. the Duval band will be performing modern dance music. Paris Cond A. generally to fine reviews. XVme Salon des Artistes Decorateurs. one of Dupas’s goddess is shown holding up a golden apple. Ref: Plakate München. Spectacle.700-$2. Framed. Est: $1. elegant look made fashionable by Coco Chanel” (Art Deco. Suzanne Brindejont Offenbach. Theaterplakate.4 cm Imp. p.. Paris Cond B/Partially recreated margin. This is the larger format.000. Ref: Timeless Images. 15 1⁄2 x 23 3⁄4 in. HANNS DUVAL (?-1925) 289.000.8 x 120. München Cond A/Printer’s ink offsets in upper right.

Est: $9. The more sought-after and rarer of the two Eggleston designs created to promote travel to Atlantic City via the Pennsylvania Railroad. Clifton.5 x 102. but equally-stunning companion piece to the other Eggleston poster for Atlantic City. Clifton. Co. Seen in a glorified vision of the city’s heyday. Est: $12. NJ Cond B+/Slight tears at top & edges. the artist enthrones the city that made “Boardwalk” a household name as the Queen of an American Riviera. Ref: PAI-XLVIII./63.000-$10. The implication is that we are the person meant to meet her on the dunes. Framed.291 EDWARD M. Pennsylvania Railroad / Atlantic City. NJ Cond A. Pennsylvania Railroad / Atlantic City./63 x 101 cm O. Co. this image sensually presents a wind-swept blond bather removing her towel before a refreshing dip in the sea. here we see a bathing beauty waving to her unseen companion to come join her on the shore. 219 The more common.000. 24 3⁄4 x 39 3⁄4 in.000. EGGLESTON (1887-?) 290. a charming and hard-to-resist invitation.2 cm O.. 25 x 40 1⁄4 in. 290 .000-$15. 291.

was another of the great [German] masters. fashionable magazines and the world of privilege. L’Eplattenier is considered to be one of the foremost masters of Swiss Art Nouveau. de la Vasselais. most of his compositions -.” the Olibet biscuit company lends an air of youthful grace to its product. 187. La Montagne.200. Here we see a sun-dappled scene promoting rail travel to the artist’s hometown. The design itself is simple but highly effective. wellto-do couple is used to promote the Odeon-Bar and Schleich restaurant -‘schleichen’ meaning ‘to creep’ or ‘sneak./92 x 125 cm Vereinigte Druckerein & Kunstanstalten. Est: $3.2 x 119. Ref: PAI-XV. Yet. Berlin Cond A-/Unobtrusive folds. The creator of style sapin.6 x 124.” three nationalistically-colored figures from obviously different walks of life are shown perusing its pages. emphasizing a sporting element-the gentleman-rider. Ref: DFP-III. ROBERT FALCUCCI (1900-1989) 298.000-$2. an older. In front of her. A teacher of Le Corbusier. 221 “Hans Rudi Erdt. Est: $1./51. 296 292 HANS RUDI ERDT (1883-1918) 296./89. or globe-trotter.including this poster -. München Cond A. this poster is selling the atmosphere of the brand rather than a tangible commodity. Est: $2. 1906. A vibrantly-colored Art Deco design promoting a masked ball at the Four Seasons Hotel in Munich. a young woman draped in black crepe de chine glances sideways at a elaborately dancing couple. Der Reichsadler. He brought something new to the Berlin poster.200-$1. who migrated to Berlin from Munich. 1929.3 cm Oscar Consée. Joseph Charles (not shown) Cond A-/Very slight tears at edges. 301 The picture of sophistication. Ref: Fit to Print. 20 3⁄8 x 26 1⁄2 in. PAI-XLVII. p. La Chaux de Fonds Cond A-/Slight tears in margins. Est: $1. 245 Borrowing Enjolras’s painting entitled “The Response. 1913. 30 1⁄4 x 45 7⁄8 in. luxury restaurants and upper-class entertainment. allowing us to glimpse into this luxurious hotel bar & restaurant. Cherubin. 258 Probably taking its name from the famous Ukrainian Cossack. Biscuit Olibet. with the harsh visage of the weathered horseman sneering out at the viewer as three concentric rings of smoke float toward us.3 cm Imp. 243 Emphasizing the fact that the newspaper La Montagne is “written for everyone. A perfectly direct and informative image. Odeon-Bar/Weinrestaurant Schleich. He depicted society. Here. Est: $1.500-$3. Ref: PAI-L.5 cm Imp.000.500-$4. The orange-blocked text in the upper left notifies us of the establishment’s afternoon tea. Ref: PAI-XXXVII. while a sumptuous beige and mauve curtain has been pulled to the side.400-$1. 293. 293 298 . ca.7 x 67.500. The verso has been marked with a stamp reading 1930.000.000-$1./96 x 69./64 x 102./76.emerge from an intense study of nature through an Impressionistic eye. 35 1⁄4 x 49 1⁄8 in. 33 1⁄2 x 47 in.5 cm Fiedler.8 cm Kunst im Druck.500. read by everyone. 21).8 x 116. München Cond B/Slight tears at folds. with no box of the cookies in sight./85.294 295 JULIUS USSY ENGELHARD (1883-1964) 292. Est: $2. 1907. Mazeppa cigarettes are portrayed as being the toughest and most masculine of brands. 36 1⁄4 x 49 1⁄8 in. Mazeppa / Engelhardt.’ Est: $2. an aperitif sits next to a table lamp. Saignelegier.500. employing satire and caricature” (Rademacher.8 cm Hollerbaum & Schmidt. the tennis champion.000-$2. PAI-XLVIII. Paris Cond A-/Unobtrusive tears at bottom edge. 297. 297 DELPHINE ENJOLRAS (1856-1945) 294. the racing-driver.700. 37 3⁄4 x 27 1⁄2 in. CHARLES L’EPLATTENIER (1874-1946) 295. 1919. München Cond B/Slight tears & stains at folds. 756. 25 1⁄4 x 40 1⁄4 in.

and it all works out with a happy ending. Maitres. DFP-II. He uses only brown. running off with an Modern artist to Paris to live the bohemian life. Ref: De Feure. It is a triumph of color and design. Sagot. the figure remains a bit apart. Est: $1. and slightly mysterious” (Gold. the artist manages to suggest hidden depths. Abdy.500-$3.000. Paris Cond B/Restored paper loss upper corners & margins. 233 A lovely example of how an inspired artist can fashion a charming poster to sell even the most mundane of items -. PAI-LII. and one of the most beautiful of the whole period . Paris Cond B/Slight tears at folds & edges. 72. ca. Ref: PAI-XLII. Lemercier. and her hat is a victory of the milliner’s art” (p. p./46. the plot revolves around a young princess who refuses to conform to traditional ideas about marriage. De Feure. Fonty. the guidebook to the 1900 Paris World’s Fair.500. Unbeknownst to her. 32 7⁄8 x 52 3⁄4 in./83. Although looking at the merry throng. 125. the now-forgotten music-hall star Fonty is seen flitting about the stage as the silhouettes of the crowd cheer enthusiastically behind her. PAI-LIII./121 x 80. Est: $1. 74. Theatre Pigalle / Le Reine s’Amuse. Affichomanie. 1899. Abdy. the artist is in fact a prince in disguise. 304 299 FIRCSA 303.5 x 65.6 cm Création Publicitaire. G. 64.200-$1. De Feure. 301 303 . p. PAI-XLVIII. Paris Cond A-/Unobtrusive folds. 0043 (var). 302 FRANÇOIS FLAMENG (1856-1925) 304.6 cm Imp. created not only this poster. Paris Cond A. green and the dull pink of Carlitos Chaplin. which de Feure shows in the hand of a woman traveling alone and wishing to sample the pulse of the city. Ref: DFP-II. Est: $1. Collectionneur./73 x 108. Est: $2. GEORGES DE FEURE (1868-1943) 300./30 3⁄4 x 78 cm Imp.FAIMAN 300 299. 150. 276 Overflowing with caricatures. 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. 357.5 x 128. 1894. and the effect is a great richness and concentration of colour. PAI-XXX. Bataille. . Est: $12. p.200. ca. 351. Maindron. Le Journal des Ventes. Affiches 1000.7 cm Ard Fils & Cie.200-$1. p. 121 In a costume that defies explanation. Paris-Almanach. Gold. this poster promotes the Spanish release of a film compilation featuring Charlie Chaplin alongside a host of other comedic ‘Aces’ of the day. 36 x 50 1⁄2 in. p. 342. Known to English-speaking audiences as The Naughty Princess. Paris Exposition 1900. Reims. La Reine s’Amuse is the most famous operetta by French composer Charles Cuvillier. like a mountain of brushed up autumn leaves . p. Paris Cond B/Slight tears & stains at folds.4 x 133. Jane Abdy had the last and best word on it: “De Feure’s finest poster. 1930. Bourgerie. Ref: Gold. Wine Spectator. 58). 40.000-$1. and women’s roles. court etiquette. 155. 1897.000-$1. 23 1⁄4 x 59 in.500. slight creases. 246 “The advertised booklet was a guide to Paris attractions published by Ed. 618. Debuting in 1912. Yet every possible shade of brown is in the poster. Years later. . oddly aloof. 79.200. 71./91. As always. 47 5⁄8 x 31 3⁄4 in. 18 1⁄4 x 25 3⁄4 in. p. .000-$15. but the fashionable garb on the arresting young lady. . She is dressed in the height of imaginative fashion.7 cm Cond B/Restored tears at folds & edges. 28 3⁄4 x 42 3⁄4 in. 302. Ref: DFP-II. 153. 610. 156). Framed. Est: $1. Reims. Timeless Images.000. 301. 1894. 146.3 cm Lith. the consummate designer. 176.

47 x 62 3⁄4 in. & Cie. PAI-LI. Devambez.000. about to put Egyptian antiquities to canvas. Spinelly. likening the tiny bubbles in Perrier to the wild sparkling of the stars. A similar portrait of the performer with a monkey was done by Irène Wells in 1925 for the publication Fantasio. PAI-XLIII.500. a Bette Davis lookalike languidly lounges against a gold metallic background. Paris Cond B+/Slight tears at folds. FRÉDEN 306.200.. Paris Cond A. ca. Courbet. Est: $1.000-$3.P. at the age of 16. The Artist. 1940. see Mistinguett.400.305 JEAN-CLAUDE FOREST (1930-1998) 305. CHARLES GESMAR (1900-1928) For two other Gesmar posters. Est: $1. the younger American dancer who became Mistinguett’s partner both on and off stage after her breakup with Maurice Chevalier. Ref: PAI-L. Est: $1. Crowdy and a slight price increase to one shilling an issue. his career would never grow to even comparable heights of his world-famous lover. Here. Paris Cond A-/Unobtrusive folds.500. At the time of this poster. Games was one of the most important war-era graphic designers in the UK. these events give firefighters a chance to show off their skills while educating the public. flirtatious poses. ca. Est: $1. S. Karcher. largely near edges.200-$1. this dapper Don Juan is most likely Earl Leslie. Super Shell / X marks the spot.5 cm John Waddington. Est: $1. as well as for the latest in fire safety technology to be brought to the masses. their romance was on the rocks. and rescue. largely in margins. 83. 87. top left edge. however. 344 While Gesmar’s career is most frequently associated with that of Mistinguett. Jantzen.5 x 115.200-$1. periodical by the turn of the century.500-$2.” This is the exceptionally rare. 108 1⁄8 x 26 5⁄8 in. Perrier. 308 309 . 1901. Best known as the creator of Barbarella. foursheet version of the poster. extinction. While it is unclear what exactly the act entailed. Est: $2. GILBERT 312. Here. she appeared in all the major music halls.. In the late 1960s./98 x 291. 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. under the editorial direction of Wallace L. Here. 29 x 41 3⁄8 in. in muted tones of lilac and tan. ABRAM GAMES (1914-1996) 310 311 306 307 LOIS GAIGG (1905-1944) 307. an enthusiastic painter sits spread-eagle. Founded in December of 1879. Known for its ads featuring perfectly tanned-andtoned youths in elongated. creating a series of outer-space themed ads for the brand. was for Spinelly. in colorful simplicity. London & Belfast Cond B/Slight stains. Born in 1890. 336 While only known here by the name Leslie. Est: $3. Ref: PAI-L./274. Leeds Cond B/Tears & stains at seams. 21 1⁄2 x 29 5⁄8 in. he developed a relationship with Perrier.2 cm Marcus Ward. eventually transferring over to radio and film by the 1930s. Still occurring today. ANDRE GALLAND (1886-1965) 308.500. Paris Cond B+/Restored tear. The Artist began as a lesser arts journal. ca. p. to the company’s moniker. 1922. 311. his very first poster. 309. though still small. 312 A. 250 Sponsored by the Minister of the Interior and the Minister of Public Education. Jantzen was the obvious choice if you wanted sporty and sultry swimwear. 78 x 114 3⁄4 in.000-$2.6 x 67.000-$1. and adding a certain sexuality.5 x 118. Blaupunkt.200.3 cm Imp.500. Ref: Gesmar. 1967. partially recreated boarders.9 x 75.6 x 105 cm L./53. JeanClaude Forest illustrated many wild and outrageous comics throughout his illustrious career. became a respectable. Originally founded under the name Ideal in 1923.8 x 63. 20 x 24 7⁄8 in. he gives us a map of Great Britain made up of Xs marking all the many places where Super Shell gasoline “can be got. 61 1⁄4 x 45 1⁄2 in. p. Exposition de Feu / Paris.C. Ref: Gesmar. however. Paris Cond B-/Restored tears at folds.2 cm Cond B/Tears. 1954. this poster promotes an exhibition of fire prevention./73./84.6 cm Imp.4 cm Production O. her cornflower-clad body personifying. 1922.2 x 159. Est: $1./155. 33 1⁄4 x 46 1⁄2 in./119. some sources reference that she was accompanied by two monkeys named Augustus and Pepita./50. 1929.5 cm Imp.200-$1. 310. This is perhaps the strongest and most vibrant of the group. Leslie / Casino de Paris. 251 A frequent contributor to Shell’s advertising campaigns.000-$1.

so often is the sensation of to-day the commonplace of to-morrow. American Posters. Muller-Brockman. 435 Originally included in Bob Dylan’s “Greatest HitsVolume 1” album on vinyl./56. yet never allowing any of these elements to dominate the dance . Images of an Era. 440 (var). was something of a multidisciplinarian. the older one sternly watching” (Gold. L’Odeon. Est: $4. resulting in “a style some now consider peculiarly American” (Glaser.700. 39./81. this image for Dick Gregory was issued within the sleeve of the LP of the same name.8 x 48 cm Kohler. 1970. flowers. this is expressed most eloquently: the young woman wistfully scanning the audience. Gold. most notably birds.200-$1./64. by bending to its service the newest tendencies in art. Interestingly. ca. 22 Elegantly displaying both the afternoon and evening joys available at the Park Casino. in an undocumented piece that facilely sums up Borlin’s unifying muse: “Eternal Circle.” This version omits the theater. we see a woman gingerly sipping her afternoon tea on the right. 1966. MARY GOLAY (1869-1944) 317. a company for which Glaser also produced a poster. largely in margin & folds. PAI-XLVI. determined “to enlarge the field of ballet. Dylan. the Swedish dancer and choreographer.7 cm Cond B+/Slight tears at folds. Ref: Glaser. Est: $700-$900./56 x 78. Timeless Images. de Malherbe & H. 1905. 265 (var) Creator of dozens of decorative Art Nouveau panels.) 314.400-$1. including the fact that decor for Borlin’s ballets were provided by Paul Colin. and the occasional winsome lady. . But the pioneers are sacrificed on the altar of progress. PAI-LIII. it was released under Poppy Records. Affiches 1000. Like his poster for Bob Dylan. Gladky. ballets and other details. Dick Gregory’s Frankenstein. This is the smaller format version of the poster. . and literature./57. pp. A. Est: $1. [He] disbanded the ‘Ballets Suédois’ [in 1925].200-$1. p.500-$3. Park Casino. Modern Poster. Gregory’s is not of music but of standup comedy. 50). 254. 22 5⁄8 x 34 3⁄8 in. 237. 32 1⁄8 x 47 3⁄8 in.2 cm Cond B+/Slight tears at usual folds. 33. 22 x 31 in. . Johnson. Ref: Spectacle. we get to spy upon two pairs of elegant birds.000. Phillips III. 1929. 339 Jean Borlin. . Ref: DFP-II. 1890. at dawn and dusk. München Cond A-/Slight stains at edges.5 x 87. 342 “For the proper young woman of the Belle Epoque. Est: $2. and Borlin suffered from being in advance of his time. by Cyril W. 206. each bolder than the last. 0652. but continued to give dance recitals both in France and abroad” (Complete Book of Ballets. p. However. . How appropriate that Gladsky’s Modernist construct should immortalize one of the dancer’s final appearances. 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. Wine Spectator. p. 25 1⁄2 x 18 7⁄8 in. .4 x 105 cm Cond B/Slight tears. EUGÈNE GRASSET (1941-1917) 318. 148. . Experiment succeeded experiment. Est: $1. Encyclopédie/Weill. Hutchinson.5 cm G. . (2) SERGE GLADKY (1880-1930) 313.314 318 313 317 MILTON GLASER (1929. 26 (var). it is . Cellot. 124. 51. Mary Golay’s art celebrates the incessant beauty of her subjects. Rare proof before the addition of letters. In after years. theater-going–as well as virtually all other social and recreational activities–invariably involved a chaperone. this image of the singer is possibly Glaser’s most iconic design. 22 1⁄8 x 32 5⁄8 in. PAI-LI. replacing the theatrical program with promotional copy. Swan & Heron Panels. Ref: PAI-XLVII. 400 (var).2 x 83 cm Cond A/Usual folds. p.400. lazily enjoying the quiet nearby waters. Here. 106). and re-invigorate it. . The poster attracted so much favorable comment at the time that the printing firm later used it to advertise its own services. Léger and Picabia. In Grasset’s design. ca. 316 315 sometimes difficult to understand the clamour excited by certain productions. largely at edges. Each: 15 1⁄2 x 41 3⁄8 in. the artist mentions being influenced by Duchamps and Islamic paintings.000-$5. F.5 x 120. 78. Beaumont. FRANZ PAUL GLASS (1886-1964) 316.500. as a sophisticated couple meander around the dance floor to the late-night tunes of a black jazz orchestra on the left. music. Paris Cond A-/Tears & stains. 149 (var)./39. 669 & 670). When speaking of it. Jean Borlin / Cercle Eternel. . Est: $1. 315. unlike Dylan’s album. 201 (var). 1924. Ref: PAI-XLVII.000. .

3. Maitres. Framed. Berthon & Grasset. 673.000. as she is up on a ledge./106 x 148. 126. This is the Spanish-language version. 404. 41 3⁄4 x 58 5⁄8 in. 34 In one of Grün’s most rare and glorious designs. Ref: DFP-II.a goddess-like muse blowing the seeds of a dandelion.700-$2.2 cm Imp. 158. 40. The perspective and composition of this poster outdoes almost everything else Grün produced -. 343 Visually translating the inner turmoil of writer’s block. p. Chaumont/ Exposons.we are presumably below her. Reims. all thanks to L. p. 32. Grasset swirls inky clouds across the night sky. Paris Cond B/Tears & stains. 30 3⁄8 x 45 1⁄2 is as close to lithographic perfection as one can achieve. wildly whipping through the lady’s fiery hair. Encre L. creasing in bottom tip-on. Mer s’Affiche. 1893. 52. Ref (all var): DFP-II./38.5 cm G.000-$15. Est: $1. Paris Cond A-/Light horizontal folds. Ref: Grün. p. Éditions Larousse commissioned Grasset to created its logo -. Marquet ink. Here she appears in a later installment. Encyclpédie/Weill./77. Perhaps the most curious aspect of the poster is the odd angle Grasset chose -.2 x 115. 323 320 . 1892.5 cm Imp. Exposición Internacional de Madrid.000. Est: $1. JULES-ALEXANDRE GRÜN (1868-1938) 323. Est: $12. 33.D.000. 23. largely at folds & edges. Malherbe Cond B/Tears at folds & edges. Lemercier. 51. Berthon & Grasset.2 x 56. 35 1⁄4 x 48 1⁄2 in. slight abrasion at left edge.700-$2. 15 x 22 1⁄4 in.4 x 123. Ref: DFP-II. This is the larger format. Masters 1900.we know that soon her pages will be filled with profound thoughts.000. Hiatt.319 321 GRASSET (Continued) 319. the deep folds of her goldenrod dress echo the fluted columns of the nearby building. the vast expanse of the grounds behind her appear to us at eye-level. 407. advertising both the six and seven-volume versions of the dictionary. 321. 1896. 353 In this most rare and desirable variant for the 1893 International Exposition in Madrid. PAI-XLIII. Monaco / Exposition et Concours de Canots Automobiles. PAI-LI. Est: $800-$1. 320. and yet. we encounter a visual avalanche of patterns and textures.a classic symbol of thoughtfulness and contemplation -. p. however -. Verneau. Just as her inky black hair bleeds into the foreboding clouds behind her. Nouveau Larousse Illustré. the latter of which will be available later in March. Framed. Musée d’Affiche. p./89. Leaning on a harp. Marquet. A version of this woman appears on the inside of most Larousse publications. 35. p. 1910. p.5 cm Cond B/Slight tears in margin. we see an overjoyed female spectator clad in sunshine yellow wave her lace handkerchief at the competing motor boats below. 418 In 1890. p. Ch. p. Gold.

zürich (not shown) Cond A/P. 1895. the necessity of struggle. 15 1⁄4 x 23 1⁄8 in. PAI-LIII./61 x 86. Shown in traditional dress is a trio of toasting revelers./34. 1925. Affiches Suisse. Plakate Alter zeit. 15 1⁄8 x 23 1⁄8 in. the Moulin Rouge reopened in 1903.500. A. this image promotes the 54th annual congress of French firefighters in Colmar. While it debuted in 1932. J.000. Brecht’s play The Mother tackles issues of activism against tyranny. 34 3⁄4 x 49 1⁄4 in. p. Reims. 49. this is one of the best in the distinguished Salon des Cent series. Est: $2. ca. Reims. Here we see it months after its inception.5 x 58. Hardmeyer’s choice of unusual subject also reflects the fact that his true passion was children’s book illustration. Moulin Rouge/P&C. This poster is for its 1951 revival. Est: $1. 325 DUDLEY HARDY (1867-1922) 328. 277 In this self-portrait of the artist–pencil and portfolio in paint-stained hand. Simple. DFP-I.7 cm Waterlow & Sons.ROBERT HARDMEYER (1876-1919) 327. the greater good. Weill. 19.a truly handsome print. Est: $800-$1. Ref (all var except PAI): Folies-Bergère. Color Revolution. A Gaiety Girl. followed immediately by a complete world tour.8 cm VEB Deutsche Graphische Werkstätten. 960. T. 102. RENE HERMANN-PAUL (1864-1940) 330. Spectacle. Est: $1. 51 (var) A simple British musical comedy. Thil. p. HANSI (1873-1951) 326. PAI-XL. understated -. 29. Moulin Rouge.7 x 77. An unusual Art Deco panel happily presenting us with a steaming cup of Indian tea. Salon des Cent/ Neumann. This is the smaller format version. The rooster. ca. 1939.000-$3. the horrors of capitalism. p. Such popularity resulted in over a dozen parodies and imitations to be produced in the following years. circling around a stolen comb and romantic obstacles. 33 3⁄8 x 30 5⁄8 in. Paris Cond B-/Restored tears.500. 1893. p. traipsing about the stage as often as possible. 13 5⁄8 x 24 1⁄4 in. and other frequently called-upon ideas of the famous Communist writer. 61.4 x 61. Ref: Salon des Cent. changing its style of entertainment from a dance hall to that of a music hall and cabaret. The plot is nothing remarkable. 1904.8 x 58. with Helene Weigel playing the title role she originated nearly two decades earlier. 1. Est: $1. 1377 (var).500. 57. Salon des Cent. 706. 42.500-$4. 231. Sapeurs-Pompiers Français. DFP-II. 24 x 34 1⁄4 in. 24 x 31 7⁄8 in. is donning a freshly-pressed tuxedo shirt.200-$1.7 cm E. 231.8 cm Cond B+/Slight tears at folds.200-$1. Leipzig Cond A. G. Est: $3. JOHN HEARTFIELD (1891-1968) 329. 365 This most surreal and amusing image promotes nothing other than a zurich-based laundry service. PAI-XXXV. E. always out to impress and strut his proverbial stuff. Jess. p. 327 330 . Ref (All var but PAI): Margadant.200-$1. The actual draw came from the Gaiety Girls themselves -. Waschanstalt / Zurich. 121. Ref: Masters 1900. all happy to be out honoring the fleet. 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. Not unlike our other fire-related poster (see Lot 308). 56. 328 329 324 GRÜN (Continued) 326 324. complete with blue smock and lavender bow–the red-haired Hermann-Paul appears to be kissing his own image in a mirror./38.500. Paris Cond B+/Unobtrusive folds.2 x 125 cm Imp. Ladam. Schardt. Moulin Rouge / Pièces à Gd. London Cond B-/Restored tears. p. 325. Wolfensberger. Tea Offering.a troupe of vivacious female dancers all dolled up in the latest fashions.000. Strongly colored and delineated against a pale green background./88. Based on Gorky’s 1906 novel of the same name.5 cm J. 58. still showcasing the joys of the opera box./61 x 81 cm Imp.500. Colmar Cond A-/Tears in margins. 333 After being torn down. Die Mutter. largely at edges. p. Plakat Schweiz. Est: $3./84. but with alternate text announcing the matinee programming. 1951. complete with perfectly-starched collar. A Gaiety Girl ran for over 400 London performances before landing a Broadway debut. 1905.000-$2./38.

332 337 . Created for the Munich Arts & Crafts Exhibition. Grafton Works. all presenting the Orient with jewel-toned. the product appears almost secondary. 337.000-$6.6 cm Geraschdruck. He created a variety of promotional calendars for the company. Ref: PAI-XLVIII. Notre Dame de Paris. Ref: Rademacher. LOUIS-THEOPHILE HINGRE (1832-1911) 332.8 x 110.000-$2. Framed. Hohlwein/Frenzel. London Cond A. München Cond B-/Tears at bottom & at folds. 201. 137. 1901./75. A remarkably detailed.M. Leopold Verger. Hohlwein/Frenzel. this poster specifically promotes the house of E. 1913.7 cm H. Here.000. p. ca. Also noted in the ad is the fact that it won the grand prize at the 1900 World’s Fair./50. number Over the course of his career. 40 One of Hohlwein’s best subjects is the horse & rider -.2 x 101 cm Hill. Est: $4. French Line / Paris to New York. In dream-like haze.intentionally faceless so that she can be any one of us -. Paris Cond A-/Slight stains in margin.000. he calls upon that skill to help promote a German brand of cigarettes. 15 1⁄4 x 23 3⁄4 in. 1934. known as the “Queen of the Bees” for its heavy floral scent. but her casual style reeks of class.000-$9. She is by no means dolled up or glamorous. Sonntag. Est: $1. 177./38.700-$2. Schüssel. 20 x 25 5⁄8 in.presents the product in question in both its open and closed forms. Hohlwein would produce numerous designs for Marco Polo tea. 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. this advertisement for an umbrella company benefits from an understated sophistication of design. no pl. Est: $2. light scratch in center. Hohlwein/Stuttgart. a luxury department store specializing in genuine and costume jewelry from all periods./68 x 99. 34 1⁄4 x 50 1⁄4 in. Hohlwein. scrubbed museum stamp. Zum Guten Kleid. On board. Schubert. 1908. and other famous monuments synonymous with the City of Light’s grandeur hover above the regal vessel. it seems a logical connection that he would be chosen to create an advertisement for Breger & Javal. Est: $5. the sepia shadows of the Eiffel Tower. Siffken & Co./38 x 42 cm Consée. It seems only appropriate then that the name of the ship is nothing other than Paris. The woman -. plate at pages 24 & 25 As with many Hohlwein posters. the visage of the Other stares out at the viewer. ca. PAI-V.000-$2. Leipzig Cond A-/Unobtrusive slight tears at folds. Ref: Hohlwein/Stuttgart. 80.700-$2. Parfumerie Violet. Passage Schüssel.8 x 65 cm Imp. 24 1⁄2 x 40 in. München Cond A/P.000.000. 234. 15. In this particularly rare image. Hohlwein-Zigaretten.he instinctively knew how to capture the grace and bond between human and animal in an Expressionistic manner. Est: $7./62. 91. Ref: Hohlwein/Frenzel. 1927. as if pondering whether or not we are good enough for the product and not the other way around.2 cm Breger & Javal Cond A-/Slight tears at edges. 335. Hohlwein/Frenzel.5 cm Vereinigte Druckereien und Kunstanstalten. This one in particular featuring a 1901 calendarium below the allegorical image of a woman representing the coming century.. Est: $2. As Hingre also worked in metal and stone sculpture. 112 (var)./87 x 127.000-$5.7 x 60. Breger & Javal. 336. 29 7⁄8 x 43 1⁄2 in. masculine ensemble that would not look out of place on Katharine Hepburn. a metal stamping firm. 7. 1900.000.500. München Cond B/Unobtrusive tears at folds & edges. Instead. while she sports a slouchy. 15 x 16 1⁄2 in. Marco Polo Tee. 336 331 334 HUBERT HERKOMER (1881-?) 331.333 333. 335 LUDWIG HOHLWEIN (1874-1949) 334. sumptuous image promoting Parfumerie Violet. Est: $1. Hohlwein. A defiant and bold artistic choice. 1926. Ref: Hohlwein/Stuttgart. 26 3⁄4 x 39 1⁄8 in.500. dignified exoticism. Arc de Triomphe.

The title derives from the acronym for Munich’s Statlichen Akademie der Tonkunst (ST-AKA-TO). straw hat tilted jauntily over his eyes as he flashes the viewer a bright smile.500. Ref: Judd. . p. 92).343 344 345 PATRICK COKAYNE KEELY (?-1970) 343. Est: $4. Except for the use of bright red in her name. this vibrant. 15 1⁄2 x 23 5⁄8 in. Bourgerie. bewitching image for a musical evening at a brewery is brimming with coy charm./50. Est: $1. the early 1960s gave the singer eight major films. Stakato. 36 1⁄8 x 51 1⁄8 in. Sarah Bernhardt / La Dame aux Camelias.000. Ref: PAI-XII. This image for London Transport is one such product of his newfound relationship with nature. Paris Cond A. 1895. 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.000-$5. and café-concerts over ‘pretty’ compositions. 1938. HENRI-GABRIEL IBELS (1867-1936) 339. 156.000-$1. Paris Cond B-/Restored tears. 15 x 23 5⁄8 in. Bedos.7 cm Affiches Monofilm.200. While not the height of his career. Maurice Chevalier / Theatre des Champs-Elysées.2 x 60 cm St. Ibels. Est: $1. CHARLES KIFFER (1902-1992) 344. Est: $1. 46 1⁄2 x 62 1⁄2 in. These two posters for the London Underground also mark a return to a more painterly style for Kauffer. including Can-Can with Frank Sinatra. Martin. 33 3⁄8 x 47 7⁄8 in. daydreaming away as a sea of flowers spreads out before her.000. Ref: Kauffer. ARP / Calling You.000-$1.200. p.200./118 x 158. 1912.5 x 60 cm Imp.5 x 129. Ref: Folies-Bergère./61. Ref: PAI-XLIII. Paris Cond B-/Restored tears at folds & losses in margins. showcasing the world which he now called home. 1938. HOHLWEIN (Continued) 339 338 338. 20 x 30 in.000-$3.5 c Baynard Press (not shown) Cond B-/Restored tears. 345.000. 377 Stepping outside of the usual Teutonic rigidity & perfection so typical of Hohlwein’s other posters. it is his skills as a portraitist which make this poster for the film version of La Dame aux Camelias special. Here. MCKNIGHT KAUFFER (1890-1954) 341 342 342. and] despite the growing certainty of war and scarcer commissions. 476.200-$1.2 cm Fosh & Cross. 15. 24 1⁄4 x 38 3⁄8 in. he showcases the rather homely Jane Debary. Paris Cond A. also depicting the local woods near Kauffer’s house.500.5 cm Sonntag.3 x 97. 24 1⁄8 x 38 3⁄8 in.200-$1. München Cond A.5 cm Baynard Press (not shown) Cond B-/Restored tears. Hutchison/Transport. 384 From 1925 on. Framed./38. 374 One of the most notable posterists of the Belle Epoque./39. Ref: DFP-II. attempted to depict his subjects directly & honestly./91.000-$1. 1938. Edelstein. Jane Debary. the colors are typically muted. E. It “made a great impression on [him. preferring scenes of street life. p. The mate to the previous image. 53 Upon leasing a small. 17. Kauffer was immediately drawn to and inspired by the surrounding landscape./84. Est: $2. Est: $1. the next two years were among Kauffer’s happiest” (Kauffer. bars. like Lautrec.6 x 97.8 x 76. Est: $3. 1948. Bernhardt is shown at her wistful best. 79. 271 One of many posters created by Kiffer for Maurice Chevalier. Theatre Maurice Chevalier / Alhambra. PAI-XLVI. 750. Ref: Bernhardt/Drama. 340 341. Regency-era house in Buckinghamshire. with the exception of the azure vase at the left. mostly at folds & edges. whose more artsy students are putting on this event. and for Chevalier performing at the Theatre des Champs-Elysées. 1935. After the bombing of Guernica in 1937. PAI-XLII.7 x 121. the government of the UK understood that such attacks would be a major part of Germany’s strategy against them. England. Est: $1.9 cm Imp. How Bravely Autumn Paints Upon the Sky. London Cond A.000-$4. Art for All. 42 While Kastor is best known for his etchings and cartoons. Here he is seen in all his cool glory. 101 (var). the Air Raid Precautions Department was set up within the British Home Office in 1924. 5. raising her hand to address her audience while slyly glancing toward the viewer of the poster. ROBERT KASTOR 340. further pulls this poster into the realm of fine art. PAI-XLIII.12 With the threat of war looming on the horizon and the advent of bomber aircraft. Spring Woods. 1963. The fact that this finely detailed image is done entirely in sepia./61. 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. Kiffer designed almost all of Chevalier’s posters for a period of forty years. Reims. Capturing one of the less melodramatic moments in the story.

000-$2. 354 destruction of it would continue through 1918. shows off the ease with which one can utilize one of the many medical supplies held within Dr. from balloon displays to shopping. with extensive lower text. Est: $2. p. largely at folds & edges.500.346 347 350 351 352 PAUL LAPIERRE 349. Commemorating the bombing five years later. The Western rose window and much of the other stained glass was blown out. 1919. Promised below are an array of events. gazing hypnotically into the amber glow of a glass of Cognac Otard. 396 “Created . Le Mariage. however. E. 127.’ a virtual doctor’s office in a tin. . Dr. 36 1⁄2 x 27 1⁄2 in. Dessauer’s ‘touring apotheke. for the famous fashion ball at the Théâtre des Champs-Elysées. reflecting its apparent popularity with audiences. Bal de la Couture Parisienne. 1895.000-$1. Est: $600-$800.7 cm Imp.700-$2.8 cm Cond B/Very slight creasing near edges. Est: $1.5 x 78.2 cm Edia. This is the smaller format version of the poster. Ref: PAI-XLVII.200. aloofness and pride at being among the fashionable set are beautifully rendered” (Art Deco. the phrase “Les Deux Joyaux” (The Two Jewels) indicates that as we cherish a young woman’s unmatched beauty. Est: $1. pleading with us to remember the devastation caused by the Germans and not to buy any products from that country. 19 7⁄8 x 29 1⁄8 in. the company was bought out by Delahaye. Dessauer’s Touring Apotheke. we are presented with a glamorous flapper. 1914./93 x 70 cm Hollerbaum & Schmidt. 1925. A frequent contributor to Le Rire. and deftly-executed glimpses into life during the fin de siecle. Hotchkiss / Puissante. 1909. Fête des Fleurs / Neuilly.4 cm Imp. Here. GEORGES LEPAPE (1887-1971) 353 348 CARL KUNST (1884-1912) JULIUS KLINGER (1876-1950) 346. the need for travel-sized first-aid kits must have been much in demand. Ref: PAI-XXXII. 33 3⁄8 x 47 3⁄4 in. the year of the Paris exposition. witty. Cognac Otard / Les Deux Joyaux.700-$2. Est: $1.7 x 121. 620).400-$1.4 x 74 cm Kunstanstalt Hugo Bestehorn. 1925. as is implied by its emblem of crossed cannons. Here. it is Léandre’s comic caricatures which made him famous. Kunst very simply. Below.2 x 83 cm Imp.000./84. restored color loss in background./60. the gradual attempted 353. 41 (var). 23 3⁄4 x 32 5⁄8 in.4 x 64. concerts to flower shows -. 14 1⁄4 x 20 3⁄4 in. 308 Ruggedly expressing the sheer masculine force behind Hotchkiss.4 x 149. 349 ALEXIS KOW (Alexei Kogeynikov. PAI-VIII. 1911.000. 19 7⁄8 x 25 1⁄2 in. 348. Framed.200-$1. ca. slight stains at edges. Ref: DFP-III.8 cm Editions Step. Bummelstudenten. Berlin Cond A-/Unobtrusive folds. 39 1⁄8 x 59 in. causing significant damage to its famous cathedral. In it. 1912. Known as the cathedral’s martyrdom./36. we are presented with a barrage of cheerful faces. Here. Paris Cond B/Tears. and a halfdozen other journals. announcing the way for the likewise powerful automobile. By 1954. Massias. this light operetta’s title best translates as “The Permanent Student. Est: $1./99./50./50. the couple’s elegance. 404 As exploring the mountainous landscape of Germany has always been a popular pastime. the French brand Hotchkiss actually began as an arms manufacturer. 15 1⁄2 x 30 3⁄4 in./39. PAI-XLIII. a baying bull elk stands proudly atop a rocky crag. his illustrations have survived the test of time as insightful. passing through the hands of a half-dozen other companies as a truck manufacturer until 1971.always a cause for conflict. CHARLES LÉANDRE (1862-1930) 351.500. Est: $1. 235 In nationalist colors. It was produced in 1925. [this poster] sums up much of the French high style. we see a rosy-cheeked Bohemian musically wooing a well-to-do young lady -. Est: $1. ca. p. Paris Cond A-/Unobtrusive folds. the roof partially burned. Ref: Reklamekunst. Ref: Paillard. With a cinematic sense of romance.” It was also made into a short film in 1917. 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. Reklame-Postkarten. Chaix & de Malherbe. Paris Cond B/Unobtrusive folds. Magdeburg Cond A-/Horizontal fold. LARRY 350. and many of the statues crumbled under the shells. Souvenez-Vous!. but effectively. the Germans bombed Reims. Ref: PAI-XXX.500.200-$1. all en route to the Neuilly Festival. so should we cherish the precious gem that is a fine cognac. G. ca. 1901-1978) 347.700. the worst parts sustained during April of 1917. 184 (var) Written by Rudolf Bernauer. this poster has the noble figure of Marianne gesturing toward the burning monument. Chaix. 384 While his many paintings decorated the walls of the Salon in Paris.3 x 52. LEMIELLE 352. Operational from 1903 to 1955. Le Figaro. Ref (all var): Art Deco. 1900. 304 On September 19. Timeless Images. Paris Cond A-/Horizontal fold.a wonderful example of the excitement built up around local festivities. Paris Cond A. 62. . .

8 x 31 cm Cond A-/Slight tears & stains at edges. 134. Schoonbroodt. adding a mystical.000.500-$3.2 x 125. Masters 1900. Est: $800-$1. Maitres. 6. 335 A delicate and quiet homage to the domestic arts of embroidery and spinning. however. Ref: Leupin. Every element of the image is lavishly decorative yet delicately organic.a tropical figure of joy and fun. mostly at folds.5 x 106. Est: $12. 93. 1896. Est: $2. 75. 185. zürich Cond B/Slight tears at paper edges. 1900. 86. 247. The background is made up of sensual plumes of mint on green. her hand is reaching beyond the boarder of the poster as if she could at any moment leap off the page toward us. Described as a ‘window-bill.000. 356. 315 Created to lure Parisians away from the city and travel a mere five hours by train to the seaside resort of Cabourg. p. Belgique/Paris. PAI-LIII. PAI-XLVII. p. P. 1959. Affiches Belges. 33. 84. 10. the colorfully cartoonish parrot is synonymous with the beverage -. PAI-LI. This one. La Reforme / L’Orgueil d’une Mère. Framed.2 cm J.800-$2. PRIVAT LIVEMONT (1861-1936) 355. 1904. p. Belgische Affiche. 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. Livemont’s design for Absinthe Robette perfectly captures the spirit of Art Nouveau. Belle Epoque/Belgique. 350 & PAI-XI. this poster serves as one of Livemont’s most realistically evocative images. 358. featuring elaborate detail in muted pastels. p. containing the aforementioned melodrama while also showcasing some glorious aspects of Art Nouveau design. produced to publicize a “great dramatic novel” titled “A Mother’s Pride. 317 Little is known about this image outside of a brief reference in the December 1900 issue of The Poster. de Rycker & Mendel. Belle Epoque/Belgique. 7. 80.HERBERT LEUPIN (1916-1999) 354. 34 (var). Timeless Images.500-$3. Absinthe. 1896. 279)./80. 35 1⁄8 x 49 3⁄8 in.2 x 107. p. Tropon Chocolat-Cocoa. Framed. Pour l’Art. 21. 1896. wherein it is also shown without text. 3. Est: $1. Timeless Images. Pour l’Art. Cabourg / à 5 heurs de Paris. Voyage. 359. 1061. 246. cover & 105.2 cm J.7 x 59. Livemont. Belle Epoque/Belgique. 22. 14. PAI-XLVIII. 392 One of the most iconic posters of all time. Leménil Cond B-/Restored tears at folds & edges. With the skyline of the town being kissed by sunset on the horizon. Livemont. 357 357. 59-60) and indeed a few of them are on the seamier side (see PAI-XLII. 88. a gaggle of eager male suitors hovering at close range. Ref: Belle Epoque 1970. 358 355 356 359 .000. Bruxelles Cond B+/Tears. 31 1⁄4 x 41 7⁄8 in. these two panels are some of Livemont’s most lovely. P. 14 x 23 3⁄8 in. 38. There is also an obvious nod to Mucha in the execution of the woman’s hair. p.000. The Embroiderer & The Spinner. p. PAI-LIII. we do not see the hand which pours the water over the sugar./79. Each: 17 1⁄4 x 12 1⁄4 in.000. Bruxelles Cond B/Slight tears at folds. 25. Est: $2. 39. 104. Goffart. p.000-$15. Est: $2. Ref: DFP-II. 56. 1062.’ one can assume this was an in-store display and not ever a street poster. as well as the cutout halo encircling her head. 20.500-$3. Brussels./89. 52-53. Goffart. Absinthe Robette. Framed Ref: DFP-II. Belle Epoque 1970. other-worldly quality to the concoction./35. 94.4 cm Hug & Söhne. Bruxelles Cond A-/Slight stains at edges. Absinthe Affiches./106 x 73. 230. Holding up her glass with the reverence of a holy relic. L. Wine Spectator. L.3 cm O. echoing the milky swirl within the cup. p. 118 (var). pl. In the lower left. 77. about to enjoy a refreshing splash of grapefruit-flavored soda. and yet identified as an advertisement for Tropon Chocolat. a brazen strawberry blond wades chest-deep in the ocean. Weill refers to them as “grand-Guignol pictures which are really high camp” (pp. 41. p. 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. 41 3⁄4 x 28 7⁄8 in.” seems to merge Livemont’s two styles. Ref: Belle Epoque 1980. Maitres. Pepita. Livemont.3 cm Imp. tantalizing young mothers to purchase Tropon hot chocolate for their children. Schoonbroodt. p. 88. 31 1⁄2 x 42 1⁄4 in. 164 Used repeatedly by Leupin throughout his relationship with Pepita. Schoonbroodt. Beaumont. Ref: Livemont.000. Schoonbroodt. Schoonbroodt. Here. he happily sits atop a painted script of the name. From a scientific perspective. cat./43. as light and bubbly as the drink itself. XX. zee.

Paris Cond B+/Unobtrusive folds. Maggi’s Produkte. p. 24 3⁄8 x 38 5⁄8 in. p. Est: $12.this being one of them -. 140 Primarily an illustrator and comic creator. including the notable Mayerling (1936). Ref: Maggi. the outline of each suit of cards overlapping behind the text to create a hypnotic. 1909. Affiches d’Aviation./40 x 60. 14. PAI-XXX./61. zurich Cond B/Restored tears.700.500. p. Est: $1. As her career blossomed./91 x 128 cm Wolfsberg. racket ready. Lobel gives us a voluminously-dressed woman dashing toward an oncoming tennis ball. Voyage. Mangold uses the sweet innocence of a child 365 361 . 982 (var). 58 There is a particular blend of oranges which appear in many of Loupot’s finest works -. so did her abilities. Salon des Cent/Neumann. Paris Cond A-/Slight creases at right paper edge. PAI-LIII. 363. Monte Carlo. and a pleasantly crisp breeze in the air./29. Here. poster. 360 DANIEL DE LOSQUES (David Thoroude. coming home from the local grocer laden with Maggi products as a testament to the company’s quality and wholesome values./47. You can’t look at this background without seeing changing leaves. Loupot/zagrodzki. Ch. PKZ / Burger-Kehl & C. BURKHARD MANGOLD (1873-1950) 364. 60.200-$1. Maggi is a German condiment and spice maker. his most famous achievements would be the many posters he created for Air France. but sexy.364 362 P. LOBEL 360. This is a rare. p. 135 After studying at the Paris Conservatoire and receiving many accolades for her comedic skills. 1937. earlier sunsets. Est: $800-$1./47 x 75. but that iconic green of all poker tables the world over comprises the background. 45.000-$6. 346 In a manner very similar to that of Lautrec. p. 155. Not only does the name of the famous city stand against the bold red and black of the roulette table. Salon des Cent.8 x 98 cm Agence Française de Propagande. 174. largely near edges & folds. 37 (var).1 cm Cond B/Tears in bottom text area.2 cm Imp. Paris Cond A/P. 431. 1880-1915) 361. p. PAI-XXXVIII. Ref: DFP-II. PAI-XXIX. Marthe Régnier. 18 1⁄2 x 29 3⁄4 in.000. Created to advertise the 31st annual Salon des Cent. 1921.000-$2. p. Est: $5. 35 3⁄4 x 50 3⁄8 in. Salon des Cent / 31eme Exposition d’Ensemble. H. 25 Still available today. Ref: Gold. Affiches Azur. common in most households. Loupot brings us a simple. Régis Manset’s career spanned at least three decades. Est: $1. much like Little Debbie or the Morton salt girl was used in the United States. Ref: Toujours Plus Haut.1 x 52. hand-signed proof before letters. Tennis Posters. 10 (var). a boxy looking airplane is featured against the starry background of this merry little Art Deco theatrical poster. Plakat Schweiz. Wall.000-$15. 329 Subtly playing on the natural association of Monte Carlo with glamorous casinos. 66 (var). 55. p.which instantly emotes all things autumn. 15 3⁄4 x 23 3⁄4 in. Ref: Loupot/zagrodzki. Tourism/Suntory. Est: $2. 542 (var). this image is only second in Lobel’s oeuvre to his magnificent poster for Pierrefort. Marthe Régnier began performing on the cabaret and café concert circuit in both London and Paris. Ref: Loupot. ca. and while this image is not for the airline. Schardt.6 x 64 cm Imp. La Nuit du Grand Prix. 1897.500. decorative pattern. Loupot. 102. 210.000. 363 CHARLES LOUPOT (1892-1962) 362. 18 3⁄4 x 25 1⁄4 in.5 cm Cond A/P. 1933. Weill. 136. 93. 11 1⁄2 x 20 1⁄2 in. 49. Chaix.000. RÉGIS MANSET 365.400-$1. and she soon appeared in various early films. Wine Spectator.

Frivoli. Milano Cond B+/Slight tears & stains at seams & folds. which can be seen on the far left in a small white sack held by a magician. 1896.000-$10. Metlicovitz e Dudovich. Scribner’s / April. 31 3⁄4 x 43 1⁄4 in. Flouvella. PAI-IV. MERCIER (1899-1995) 367. p./285 x 207. the title character sings the Habanera. Milano Cond B/Tears. PAI-XXXIV. 5 (var). Riccione. 7. 46 1⁄2 x 62 1⁄2 in. ca. this one being an especially lovely Impressionistic image of an alluring woman in warm flesh tones against a blue-green background. 372 . see No. promoting the Spanish-name chocolate powder Caobania. Premiering in Milan on February 24. p.’ Compositionally. Est: $1. Here.000. Bruxelles Cond A. Ref: Sportissimo. 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.700. Ref: Metlicovitz e Dudovich. 1910. As the product was meant more for children than adults. in which she repeatedly warns “if you do not love me./60 x 79.8 cm Ciné-Studio. Bec-Kina. which first provided a direct link between Paris and Milan. this simple combination of pouty red lips and a jauntily-tilted yellow straw hat are all one needs to identify the famous performer./33. 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. With a bottle of Bec-Kina as a makeshift ball. 26 5⁄8 x 31 3⁄8 in.500. Milan Cond B/Slight tears at folds & edges. Ferrarotti. 50 (var). Manifesti Italiani. 1912. 46 3⁄4 x 63 in. 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.more of a sly trouble-maker than an alluring seductress.000.700-$2.9 cm G. This is the meidum format with Italian text. full of movement and interesting angles. 1907. Ref: Menegazzi-IV.6 x 44. Est: $8. Ricordi. 384 Similar to many Kiffer designs for Maurice Chevalier (see Lots 344 & 345). JEAN A. Exposition Internationale / Milan 1906. 111. 1908. Italia che Cambia. Ref: PAI-XLV. a saucy looking mini-Carmen has been made the mascot -.000. Lumi. Ricordi.2 x 102. this is one of Mich’s most energetic designs.370 366 369 367 368 369./69. With a Smile was Chevalier’s first film back in France after an eight-year run in Hollywood. 371 HENRY MAYER (1868-1953) 366. Paris Cond A-/3” tear at upper right edge. Ricordi. 59 (var) A spectacularly colorful and elaborate 6-sheet poster promoting a three-act musical by Constantine Lombardo and Carlo Vizzotta./80. PAI-XLVIII. PAI-LIII. La Polvere di Pirlimpinpin. 354 (var) This was the winning entry in the contest to celebrate the opening of the Simplon Alpine tunnel in 1906.400-$1. Est: $1. if I love you. 370. 27 1⁄4 x 40 1⁄2 in. you’d best beware!” This provocative turn of phrase is repeated in part in the upper corner of this poster. Ref: Manifesti Italiani.700-$2. Ferrarotti. 13 1⁄4 x 17 1⁄2 in.200-$1. 68. 372. 23.000. Dudovich/ Trieste.000-$12. p. 1881-1923) 371. 47. MICH (Michel Liebeaux.5 cm Cond B+/Slight creases. 355 One of several designs Metlicovitz prepared for the Sauzé Frères cosmetics firm.8 cm G.400-$1. 9. It is one of Metlicovitz’s most famous and inspired designs. LEOPOLDO METLICOVITZ (1868-1944) For another Metlicovitz poster. 111 1⁄2 x 81 3⁄4 in. p. 186. Est: $1. p. 10.6 cm G. Ricordi. a strapping group of agile rugby players are shown vivaciously fighting over the ‘athlete’s aperitif. 4 (var). largely in bottom text area.7 x 109. Caobania. then I love you.700. 77. 149 Because there were no official posters for the modern Olympics until the 5th games in Stockholm in 1912. 70. 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. this poster being for its Belgian release. 5 (var). Est: $1. Ricordi. 368. all related materials for the first four events have become particularly valuable to the collector./119 x 160 cm Wall. 1936. Est: $10. During perhaps the most famous scene in Bizet’s Carmen. 84. the plot follows the misadventures involving a magic powder. 32. Maurice Chevalier / Avec Le Sourire. Est: $1. Paris Cond B/Slight tears & stains at folds & edges./118 x 159 cm Publicité Wall.

lost her in own thoughts.5 x 155. No text in necessary. few French performers can match Mistinguett (1873-1956). 10 1⁄4 x 15 1⁄8 in. All of this is apparent in the small. Pensées Jolie. 375./22. 1900. ca. but choice. feathers. 71 Perhaps the greatest and most rare poster designed for the performer. This is one such image. He frequently captured quiet moments that. and perfumes! As no specific brand or shop is noted. she was the French music hall incarnate – delicious and dazzling. Ref: PAI-XLVIII. 1930./118 x 158. Misti was a master of creating delicate. Reminiscent of the elaborate black & white horse-racing costumes from My Fair Lady. Est: $1. 418 A rare Art Deco design showcasing all the wonders a department store could offer a girl -. 1900. clothed and unclothed. were meant to seem entirely natural.200. as if the subject has just drifted into the perfect position. 1930./116.7 cm Affiches Bouet. Framed. while obviously posed. smoke rings effortlessly curling out of her cigarette. Belle Journée. MISTI (Ferdinand Mifliez. and truly Modern. there are only five known copies. Est: $1.lace gloves. Paris Cond A-/Unobtrusive folds. 45 7⁄8 x 61 3⁄8 in.both are confident. selection that follows.000-$1. 376 .200.000. soft compositions of women. just abstract jewl-toned hues melting down behind the star.500-$3. ca. 9 x 15 3⁄4 in. Ref: PAI-LI. Est: $15./26 x 38. flowers. elegant. this image showcases Mistinguett at her off-stage best. 46 3⁄8 x 62 1⁄2 in. Framed. fashionable. Misti has created the most impeccably-dressed woman on an afternoon stroll. this is potentially a stock poster for use in any retail area selling such items. Our assortment shows The Miss early in her career and late. Mistinguett. one of which is in the collection of Candace Bergen.8 x 40 cm Hand-signed crayon & gouache drawing. Est: $2.000-$20. His ladies are so similar to the more-famous Gibson Girls that one has trouble telling them apart -. ca. Framed. Gants Dentelles. raffish and refined.000. Paris Cond B+/Slight tears at folds.MISTINGUETT For longevity and popular appeal. 1865-1923) 374.8 cm Inter-Publicité. 375 MISTINGUETT ARÉEL 376. 374 373 MIRAMAR 373.000-$1. unaware of our prying eyes. Currently. wherein the elegant woman at home in her boudoir is absent-mindedly undoing her blouse. 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.5 cm Signed crayon drawing.

It was in this revue that she introduced one of her signature songs. green eyes. Devambez. 377. 312. PAI-L.800. usual offsetting ink. Chachoin. Paris Cond B+/Slight tears at folds & edges. Benda. 1928. the wind playfully sweeping both her dress and bowed puppy into the air. Chachoin. 344 While almost every other poster features Mistinguett in either lavish costumes or in some wild setting. p. 204).5 cm Cond B/Slight tears at folds. Framed./112.377 380 381 CHARLES GESMAR (1900-1928) For two other Gesmar posters. Mistinguett / Casino de Paris. PAI-XLIII. the ostrich feathers almost forcing her to pay peek-a-boo with the viewer.000. . Mistinguett was one of the greatest performers of the early half of the 20th century.2 x 155.7 x 158 cm Imp. Framed. . 1922. Est: $3. Est: $8. ‘La Parisienne. Est: $1. MISTINGUETT (Continued) G. Ref: Deco Affiches. Paris Cond B/Tears at folds & edges. 45 3⁄4 x 61 1⁄4 in. depicts her in all her coquettish glory. 1920. Paris Cond A-/Horizontal folds. p. Est: $4. something we never see in a Cappiello design” (Cappiello/Rennert. H. 54.000 francs. 4. It was her first public appearance in several years without her steady partner and lover.5 x 151. 46 3⁄4 x 62 1⁄4 in/118. 61./118 x 159 cm Imp. Mistinguett / Casino de Paris.’ And in addition to the unusual perspective is the signature title. 1913. Maurice Chevalier. this sweet image presents the performer as a naive darling of the stage. see Nos. 311. 290. Karcher. Chanson à l’Affiche. Vincent. Cappiello managed to find a rather novel angle to present the legendary performer: He sets us down in a box seat.500-$5. 44 1⁄4 x 59 3⁄4 in. 381. Front and center are her famous legs. Here. 47./120 x 160 cm Imp.000.2 x 157. Mistinguett. 271. Mistinguett is shown perched atop a green bar stool. Cappiello/St. Framed. 341 “Even though Mistinguett . Ref: Delhaye. 47 1⁄4 x 63 in.6 cm Philippe G. Paris Cond B/Unobtrusive tears at folds. . Dreyfus. 83 One of Gesmar’s most luxurious images for Mistinguett. p. K. As humorous as it is coy. this image by Orsi focuses on two of her most notable assets: a winning smile and large. Ref: Cappiello/Rennert. 382 . PAI-XLIII.000-$3./114. 1882-1936) 382.000. Mistinguett. a superior vantage point from which to watch the legendary performer appearing in ‘La Revue Nouvelle’ at the Casino de Paris. insured just three years prior for 500.500. Ref: PAI-XLVIII. 17./116.000-$10.44. 380.000-$5. 1925. 310. . Paris Cond A-/Slight tears & stains at vertical fold. p. 46 1⁄2 x 62 1⁄2 in. bird in hand. H. 88 With a career spanning over 50 years. 533 Possibly referencing the fact that Mistinguett began her career as a flower seller singing ballads and folk songs in cafés and restaurants. this poster plays on her well-known flirtatious performance style. 45 x 62 in. 84 Like a sort of bird herself. Ref: PAI-LIII. ZIG (Louis Gaudin.500-$3. Est: $2.5 cm Publicité Phogor. Est: $4. a littleknown graphic artist. Ref: PAI-L. with whom she had just parted ways. had been expertly portrayed by many artists .000.600-$1. ORSI (1889-1947) 379. Cappiello. BENDA (Georges Kugelmann) 379 378 LEONETTO CAPPIELLO (1875-1942) 378. Folies-Bergère. Mistinguett. Mistinguett.

Est: $5. . her unimpeachable set of teeth. H. a skillful color scheme) try to hold her.600-$4. 410 “Féerie de Paris” was such a hit that the box office of the Casino de Paris had to be enlarged. led by Mistinguett wearing a six-foot ROUGEMONT 385. Paris Qui Brille.7 cm Signed costume design in silver ink. 1932. ZIG (Louis Gaudin. Framed. This is the smaller format.386 383 385 MISTINGUETT (Continued) PAUL SELTEN (Seltenhammer. Chachoin. She–frail but delighted–smiles. 568 In an image promoting her “Paris Adazzle” revue.200-$1. 12). PAI-LI.000-$6. whipping around the stage with jewels and feathers tumbling behind her. Paris Cond A-/Slight tears at left edge.000. “C’est vrai” (It’s true). 79. 345 One of Mistinguett’s go-to ensembles was the tramp. Two rows of boys shaded from grey to black surround the Miss.8 x 59. be it the sweet impoverished thing in her Rags-to-Riches performance or the rakish Artful Dodger-esque figure shown here. Est: $3. Three hands (two black and one grey. Est: $7.000-$9. Mistinguett. the rest tumbling outside of the frame./30. 1937. The theme of the revue was a tour of Paris monuments. Paris Cond A-/Unobtrusive folds.500.6 cm Imp. 1931. 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. larger format version of the poster./117.000. was given the honor of producing the poster for the show. 71. Paris Cond B/Unobtrusive tears near edges. Mistinguett appears as youthfully alluring as ever. 12 x 18 in./119. Folies-Bergère / Folies en Folie / Mistinguett. 15 1⁄4 x 23 3⁄8 in. Est: $1.400-$1. 62 3⁄8 x 46 3⁄4 in. her long legs. Ref: PAI-L. 349 Despite being 59 at the time that this poster was made.200-$1. Mistinguett is here presented perched atop a fleet of white horses.8 x 116 cm Imp. Ref: Folies-Bergère. Est: $1. 47 x 124 1⁄8 in. Ref: Folies-Bergère. Richier-Laugier. 1882-1936) 386. ends a laudatory article as follows: ‘She is a national property. 1933. [Selten. 1903-1987) 383. p. Casino de Paris / Mistinguett / Paris Qui Brille. her cheerful smile and her sentimental expression. Her career would continue on for over another decade. Delattre. Colette. 388 388. He did a fine job. . This is the two-sheet. This year she still has this gait which reminds us of Réjane’s.4 cm Centrale Publicité. printer’s creases in bottom text area. 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. writing a review of this in Le Matin. Van Caulaert could only fit part of it into this design. Framed. ‘Folies en Folie.’ that Mistinguett created her most famous song. meant to allegorically represent all of nature’s fine bounty. This is the smallest of three formats. her pupils the color of the chicory flower.700. Ref: PAI-XLV./39 1⁄4 x 58.000./38. 526 When Gesmar died in 1928.5 x 118. barebacked swimsuit and matching hat. Paris Cond A-/Slight stains at edges. 488 “It was in this revue. Ref: PAI-XLII. ca. Paris Cond A-/Slight tears at edges.5 x 45. Mistinguett.4 cm Imp. 384 387 387. Mistinguett / Féerie de Paris / Casino de Paris. Her arms are covered with the usual bracelets. Est: $1. JEAN-DOMINIQUE VAN CAULAERT (1897-1979) 384. ./158. high Eiffel Tower of a costume. 46 3⁄8 x 63 in. 15 1⁄2 x 23 in. PAI-XLI. Mistinguett chose zig as his successor.3 cm Imp.500. glamorously clad in a rhinestonestudded. 1931.] a regular collaborator of the FoliesBergère . making her not only one of the best paid but the oldest women in showbiz at the time. 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. Pierre Havez. starting him out with costume designs before letting him tackle one of her many posters.4 x 315. Ref: PAI-L.

noted as Morrow’s first graphic ‘hit’ in the January 1899 issue of The Poster. 1897. 17 1⁄4 x 23 3⁄8 in./44 x 60. Kunst-Ausstellung Crefeld. The magazine would fold again in 1899. This design. PAI-VI. Weill. Champenois. 394. 72. PAI-XL. largely at top & bottom text areas.7 x 173. a competition for best beards & mustaches stands out as the most interesting..” proving that epic facial hair was just as appreciated in the 1950s as it is now.. 393 ALPHONSE MUCHA (1860-1939) 393. 15 3⁄8 x 19 1⁄4 in. Photine is a sort of surrogate for Bernhardt and her equivocal religious identity” (Bernhardt/Drama. F.390 389 PAUL GUSTAVE MOHR (1890-1959) 389. p. is offering a dish of wafers in this exquisite design. 24. Paris Cond B-/Restored tears. the Hebrew inscription ‘JAHWEH’ appears behind Bernhardt’s head. Est: $2. 1895. Affiches Etrangères. 113). 71. hundreds of advertisements featured the commedia dell’arte character Pierrot. Paris Cond A-/Very slight stains in top gold text.000. 19 1⁄8 x 28 1⁄4 in.3 cm Imp. “Bernhardt’s mother was a Jew. Ref: Hiatt. 17 1⁄4 x 23 7⁄8 in.000-$15. 42. Est: $1. . The design of the girl’s dress incorporates sickle and wheat emblems .his image alone was enough to make something eye-catching. Composition des Moines. Reims. Ref: Wember. 17. 3. Lendl/Paris. 427 This “was a play with a Biblical theme [in which Bernhardt] played Photina. 401 (var).000-$1. Est: $12. . this periodical vanished after 1891 only to reappear four years later as Illustrated Bits. Champenois. ALBERT GEORGE MORROW (1863-1927) 391. 59 (var). Biscuits Lefèvre-Utile. For the actress.500-$3. 588. wrapping the name of the periodical around her flying steps. a girl from the Samaria district of Ancient Palestine. Bernhardt in the role of the Samaritan woman adheres to a faith resembling pre-rabbinical Judaism./48. Mucha/Art Nouveau. p. Vercasson.8 cm Cond B+/Slight tears at folds & edges. he shares a cup of monkmade coffee with the moon -. 1925. Est: $10. 22. 1897. 39 3⁄4 x 68 1⁄4 in. Framed. 542 Originally founded as Illustrated Tit-Bits in 1886. Lendl/Paris. 22 1⁄4 x 68 in. Illustrated Bits.6 x 71. 6. F. this maquette advertises a Bearded Ball. In the poster by Alphonse Mucha for the play. accompanies the inset picture. 1952. 1394. p. p.’ another Hebrew word for God. p. In Biblical roles such as Photine . Ref: Morvan.2 cm Cond A/P. this was both a blessing and a curse. 392 394 . Wine Spectator. Revenge of the Bearded!” Est: $1./56.000.000. Almost Jewish. her hair cascading irrepressibly in fine style. 1896. but not quite. 2).000-$12. The completed poster announces the Moulin Rouge’s “4th Annual Ball of the Bearded-Ones. 271. . Mohr specialized in product advertisements from about 1920 to 1940. p. In the early part of the 20th century. Bal des Barbus. while ‘SHADDAI.000-$1. HERVE MORVAN (1917-1980) 392. Of the many promised attractions noted in the printed poster. she turned her Semitic exoticism into an alluring attribute. Gold.8 cm Imp. appropriate to the subject” (Rennert/Weill. 391 ALFRED MOHRBUTTER (1867-1916) 390. Ref: Bernhardt/Drama. Est: $800-$1. sophisticated design promoting an exhibition of ceramics and paintings at the newlyopened Kaiser Wilhelm Museum in Crefeld. PAI-XXXI.7 cm Imp. Rennert/Weill. showcasing a girl with all the joy and grace of a prima ballerina traipsing down the street./39 x 49 cm Hand-signed gouache & ink maquette./44 x 59. Paris Cond A. p. La Samaritaine. “Au Clair de la Lune. 10. PAI-LI. Ref: Rennert/Weill.000.” A former pilot in the French Army. is a visual symphony of color and detail. Playing to the public’s appetite for beautiful Jewesses redeemed by their conversion to Christianity.noted as being his only friend in the famous French folk song. ca.200. along with something entitled “Furax Unmasked . . Here.5 x 172. 443 “One of Mucha’s most personable young ladies./100. Note the initials LU in that part of the golden ornamental border that protrudes into the picture at right. 415 Similar to the many beard-themed festivals which recently began popping up around the USA. Framed. 178 A pensive. PAI-XLVI. who becomes a supporter of Jesus and leads her whole tribe in converting to Christianity” (Rennert/ Weill. He did not necessarily have to be related to a given product in order to sell it -.200. 118). The calendar for 1897 is imprinted on a semi-circular base.

PAI-LI. Champenois. her abandoned hair an echo of the pale fabric volumes of her gown. 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. 2). . Ref: Rennert/Weill. Est: $8. 44. Bières de la Meuse. 51. straightforward design with a minimum of embellishments. Framed.000-$30. 49. The artist’s meticulous craftsmanship can be seen in such details as the gown’s clasp (of Mucha’s own design). 36./97.6 cm Imp. 1897. 71.000-$10. Paris Cond A. and in the way he worked the product name into the background pattern” (Gold. 398. Quite possibly Mucha’s whole concept for the series was that of gothic stained-glass windows” (Rennert/Weill. Champenois. Maitres. Encyclopédie/Weill. Paris Cond B/Restored tears in top & bottom areas of Eclat du Jour & Eveil du Matin. Here. 433 “The jovial beer drinker has her long flowing tresses adorned with some appropriate beer ingredients.MUCHA (Continued) 395. p.000-$40. 1898. Champenois. Lendl/Paris. PAI-XLIII. with slender trees or tall flowers emphasizing her slim figure . Modern Poster. 121. . a great delicacy and tenderness in the way he pays tribute to nature’s bounty–the flowers at their fullest bloom . . 1897. PAI-LI. 423 In subdued pastels. This is another one of Mucha’s characteristic designs featuring a beauty. including barley stalks and green hops. 395 397 398 396 ./38. Est: $25. p.5 x 154 cm Imp. Masters 1900. Wine Spectator. .8 x 62. semi-circular motifs. 179). Ref: Rennert/Weill. 460 The floral half of his “Fruit & Flower” diptych. The town shown in the lowermost register is that of Bar-leDuc. however. even her toes curl deliciously in pleasure.while there are a handful of other posters for Bières de la Meuse.5 x 148 cm Imp. 62. which was home to many breweries at the turn of the century. p. 9. . 18. The borders are worked out in such an exquisite pattern that each picture appears to be mounted in an elaborate frame of its own. 77. 1899. Times of the Day. 396. Timeless Images. There is./40 3⁄8 x 102. 437 “In both of Mucha’s posters for Job cigarette papers–this is the second. The borders are decorated in identical patterns. The product itself being advertised is a bit vague -. Ref: Rennert/Weill. 126). 41 1⁄8 x 60 5⁄8 in.000. 27. 37. 633. Champenois. the first was done in 1896–he gives us women sensually involved in the act of smoking. F. 74. Lendl. this “quartet of barefoot young ladies represents the different times of the day. this serene goddess is “presented to us in a simple. Each: 14 3⁄9 x 36. and field poppy flowers indigenous to northeastern France. Job. . DFP-II./104. 182. the [maiden] representing the finest flowering of womanhood” (Rennert/Weill.5 in. DFP-II. Est: $30. Framed. (4) 397. 23.000-$10. p. p. Lendl/Paris. F. Lendl/Paris. Paris Cond A-/Slight tears at edges. p. capitol of the Meuse département in Lorraine. Ref: Rennert/Weill. the figure is full-length.000. and artfully meandering hair” (Rennert/Weill. Mucha/Art Nouveau. Est: $8. 68. F. 2. 15 1⁄4 x 24 1⁄2 in. 38 3⁄8 x 58 1⁄4 in. 232). Flower. As she watches the lazy waft of smoke. F. Paris (not shown) Cond A. PAI-XL. which in this early period is a departure from Mucha’s usual style.000. 634. Each girl appears in an outdoor setting.000.2 cm Imp. Wine Spectator. Gold. and the crisscross areas at the top have different floral panels. or else seen through a decorated window.

. Moët & Chandon / Grand Crémant Impérial. it challenges the imagination and the mind. 32. 9 7⁄8 x 25 1⁄8 in. 402 402. . pp. reflects his past achievements in decorative design. executed and decorated in the very best Art Nouveau style. as Mucha would have it. with the lettering adjusted as needed. Note the Byzantine ornamentation and elaborate jewelry on the darkhaired girl: Mucha was an imaginative jewelry designer with highly original ideas” (Wine Spectator. talent and skill. and is also a precursor of his future artistic developments . Affiches 1000. similar in style to illuminated manuscripts of the Medieval era. 9 1⁄2 x 24 3⁄4 in. 32. Piazza In excellent condition with hand-made leather binding. Moët & Chandon / Champagne White Star.000. Le Pater is one of such works. In slip case. Mucha created eighty dreamlike illustrations in delicate pastels and metallics for the book. 65. 68. 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 .2 x 63. 392 “In their relentless pursuit of excellence. 68). and. Est: $8. p. .399 400 MUCHA (Continued) 399. Wine Spectator. with flowers at her feet and vine tendrils and leaves all about her head” (Rennert/Weill. ‘Crémant’ and ‘Grand Crémant. plus a color title page.000. PAI-XXXII. noteworthy for its imagery and vision .000-$10. Cloches de Noël et de Pâques. This is #75 of 215 copies on velin a la cuve from a total edition of 252. . Without exception. 28b. Lendl/Paris. F. ‘Dry’. 1900. the French critics perceived Le Pater as a work of art in its own right. 65. 390 “For the firm of Moët & Chandon . . 11 5⁄8 x 8 1⁄4 in. 28. Ref: Mucha/Art Nouveau. Est: $7. 10-20). Moët and Chandon was among the first business concerns to recognize the genius of Mucha . The images themselves abound in Byzantine symbolism. “In the context of Mucha’s oeuvre. leads man towards the Light” (Le Pater. personified here. Mucha/Art Nouveau. Champenois. Mucha executed a number of designs which were used on menus. Framed. F. Wine Spectator. The seven verses of the prayer are each presented with three illustrations. 1899. Est: $7. 400. 139. . imagination. Est: $8. F. this volume consists of a trio of medieval tales associated with both Christmas and Easter. . Ref: Rennert/Weill. The Imperial came in three grades. PAI-XL. Jiri Mucha. Two of his assignments were for posters. it is important for man’s spiritual growth to contemplate works that are inspired by wellknown text..000-$10. Her] seductive being tempts us with choice grapes in a lovely outdoor setting. Champenois./29./24 x 63 cm Imp. Le Pater. postcards and other publicity. Mucha/Art Nouveau. . 12 1⁄4 x 16 in.’ and all of them have been advertised by the same design. Lendl/Paris. Le Pater. Le Pater is considered to be Mucha’s printed masterpiece. 401 401. . Champenois. this artistic and literary work combines in a fortuitously unique way his philosophy. 68.000. 442 Consisting of a series of seven drawings. 579 Written by Emile Gebhardt. 72. an intense visual study of the Lord’s Prayer. . p.000. In the increasingly materialistic world.7 cm Imp.5 x 21 cm Imp.000-$9. Ref: Mucha/Bridges.5 cm Publisher: H. 0032. Paris Cond A. Paris Excellent./25. 1899. 244). and have the ability to enrich and invest it with additional meaning. PAI-XLIV. PAI-XLIX. 1899. Ref: Rennert/Weill./31 x 40.000-$9. L26. one of them was used to advertise their White Champagne [known as White Star. Paris Cond A.

Phillips II. 405. Pageant on the Vlatava River (Slavnostní Hra na Vltave). 406. winning a host of international awards.presumably being an in-store or window display meant to drum-up interest before the product’s official launch. Known for its grand presentation of only two known copies -. the Sokol Organization held a quadrennial gymnastics & athletics meet. which would ultimately include a lower text banner advertising the pageant in particular. This is the rare proof before letters.000.000-$8. Bowers/Martin. Var. Champenois. 109. 69. This particular scent was not released until 1900. 1899./22.500. At the same time. 427. Postcards / The Months. 340 Ref: Rennert/Weill. 539 Drawing partially from his many designs for the seasons series. Paris Cond B+/Slight tears & stains. 47). p. this collection of twelve postcards beautifully and simply showcases a decorative personification of each month of the year. Ref: Rennert/Weill. 35 x 48 1⁄2 in. 93. 1900. Lendl/Paris. Est: $2.4 cm Jan ziegloser./14 x 9 cm Imp.000-$3. PAI-LIII./89 x 123.000. 1. This is the early olive green proof for the poster. Ref: Mucha/Postcards. The images show a young boy growing into an old man. this image -. 425 In July of 1926.5 cm Imp. Champenois. 1925. Lendl/Paris.2 x 64 cm Imp. PAI-XL. 1899. 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. 47. Est: $6.000-$2. Gellé Frères was founded in 1826 by brothers JeanBaptiste & Augustin. who had recently purchase the formulas created by the head perfumer to Louis XV. F. PAI-XXIX. Est: $20. the brand quickly became popular around the world. 374 “This series of four panels depicting the Ages of Man [was] used as the basis for a calendar for 1898” (Rennert/Weill. 61 (var). PAI-XXV. Ages of Man Calendar. Paris Cond A. Ref (all var except PAI): Rennert/Weill. 9 3⁄4 x 25 1⁄4 in. Gellé Frères / Sylvanis Essence. 461-472.500. Each: 8 7⁄8 x 12 in./24. (12) 406 404 . F. Praha Cond A. Framed.000-$25. 420 Still in operation today. 404. always accompanied by a doting female muse. largely at edges. Est: $3. a pageant was to be performed in conjunction with the sporting events in the middle of the Vlatava River. Each: 5 1⁄2 x 3 1⁄2 in.403 405 MUCHA (Continued) 403.7 x 30. Paris (not shown) Cond A-/Slight stains at edges on some. F. 54-65. Champenois.

PAI-XLVIII. Est: $70. Hand-signed by Cerny at lower right. allegorical women are placed side by side on a single sheet. 407 (var) The idea of personifying the four seasons was nothing new. 408.5 cm V. and sold as a set./66 x 49. Champenois. Framed. 408 . Zdenka Cerny. 39.2 x 72. 41 3⁄4 x 71 7⁄8 in.500-$4. 177. the Carnation. symbolizing the year’s coming of age and bearing the vineyard harvest bounty. “Autumn.000. This 1903 image is from the latter set. 1900. The Seasons. 1913. 102.000-$80. Ref: Rennert/Weill. and the Lily. 382 These panels were originally designed as four separate images in a larger format. p. one with lilies symbolizing zdenka’s youthful innocence. each including a small poem about the season somewhere on the page. Cerny was the daughter of a Czech-American music teacher who befriended Mucha during the artist’s stay in Chicago. but idealized her face by investing it with a spiritual quality.” Est: $7. 74 This will be the very first time we offer all four of Mucha’s Seasons from the 1900 series. The four ethereal sprites represent [from left to right] the Rose. complete the design suffused with warm light” (Mucha/ Art Nouveau. Est: $12. lightening the hair. F. When war broke out that spring. Cerny’s European tour planned for the fall of 1914. This is without a doubt the more haunting and Byzantineinspired compositional set. 180). “One of the fundamental premises of art nouveau was to look for inspiration in nature.000-$15. 405 This poster was prepared for Ms. He created a unique poster-portrait by adjusting the slant of her head. 26 x 19 3⁄8 in.000./105. F. Spring: B-/ Vertical stain along left side. Est: $3. the Iris. and the text here reads. the tour was canceled. PAI-XLIX. The Flowers. softening her expression. Var. By using only soft pastels and harmonious composition. Ref: Rennert/Weill. p. Each: 12 1⁄4 x 27 3⁄4 in. Two circles. and the poster was never used.5 cm Imp.2 cm Imp. the other with laurels of her past triumphs. Smichov/Prague Cond A-/Slight tears in text banner. A brief descriptive poem for the season is included in this particular version of the panels. respectively. these idealized. Paris Cond Summer: A. her love of music. F. Neubert. 410. Lendl/Paris. new variant. Autumn: B+/ Slight tears & stains. complete with a decorative boarder reminiscent of an Oriental folding screen. largely at right paper edge.407 409 410 MUCHA (Continued) 407. 1903. “Mucha worked from a photograph of zdenka with a cello.000-$9. Winter: A. pp.8 cm Imp. presents fruit that the summer sun has turned to gold. Ref: Rennert/Weill. 49. 88. and it is a clear case of Beauty celebrating beauty in each instance. 13 1⁄8 x 28 5⁄8 in. Paris (not shown) Cond A. 74. The Seasons / Autumn. 2. and elongating the body. Ref: Rennert/Weill. Here./31 x 70. 79 (var). 86-87).7 x 182. lifting the hand turning the sheet music.000. Lendl/Paris. Champenois. Mucha/Art Nouveau./33. (4) 409. 1900. All framed. and in ‘The Flowers’ set Mucha produced one of the best arguments for it. 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). Paris (not shown) Cond A/P. Gold. Mucha imbued each scene with a sense of tranquility and quiet enjoyment” (Lendl/Paris. PAI-XLII.000. Champenois.

1899. Cannes Cond A. the Italian native was active as a painter and watercolorist at the turn of the century in both his homeland and France.3 cm Metropolitan Printing Co./91 x 127 cm Wolfsberg. Thereafter.000. featuring the operas Carmen and Louise. Paris Cond A-/Unobtrusive vertical fold. specializing graphically in the production of decorative panels. it first shows up in La Plume. announces the upcoming twelfth number . Some of the leading artists working in the medium of color lithography contributed to it . Est: $1. . 1. at once both integrated into and decorously separate from their lush surroundings.000-$5. 63 x 24 7⁄8 in. An unrealized design for an unknown venue. making for a total of one-hundred prints in this 24-month series. 27 3⁄8 x 39 1⁄8 in. PAI-L. Presumably. 518). MÜLLER 415. 264). Est: $1. Ref: Rennert/Weill. 35 7⁄8 x 50 in./53 x 79. 13 1⁄8 x 38 3⁄4 in. however. 1930. the earliest of which is advertised here. 1901. Champenois. Christopher Columbus is shown being more in awe of his discovery of the Moulin than of America. p.4 cm Imp.2 x 63. Such as the details of this “Weekly Program” at the Casino de Monte Carlo in the winter of 1922. she may have been instrumental in bringing the design to his attention” (Rennert/Weill. the nautical flags cutting through the foreground spell out ‘Intourist. . 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. .000-$1. 372 “L’Estampe Moderne was a monthly portfolio of four lithographs. Ref: PAI-XLVIII. One of the rare windmills still located in Montmartre./47 x 71. Est: $1. M. 18 1⁄2 x 28 1⁄4 in. 369 Though the original appearance of this border design dates back to 1897 (see PAI-XXVII. 412. while the red glow of the lighthouse is reminiscent of Cassandre’s image for Wagons-Lits (see PAI-LIV. There were also four supplements. ca. 1905.200.200. in the typical bawdy and humorous style associated with the venue. .400-$1. Mucha’s monochrome cover design . The design no longer had the artist’s signature on it.1 cm Cond A. in his poster for the magazine Cocorico indicated that Muller was one of its contributors.2 cm Robaudy. At least three other Mucha designs are known which promote this particular tour. 38 1⁄2 x 50 1⁄8 in. 38. Victor Atché was at that time the director of casinos for this Mediterranean municipality./98 x 127. 266 These colorful and elegant peacocks. Casino de Monte Carlo.8 x 79.’ the name of the travel company promoted in the poster. This is the most obscure of the four. Sarah Bernhardt turned to the United States as a new frontier for her talent. this is a very handsome Art Deco image. 38. L’Estampe Moderne.5 cm Cond B/Restored tears at left edge. 22 3⁄4 x 31 1⁄4 in. though. 413. Odessa / USSR. With the Potemkin Stairs drawing one’s eye toward the horizon. 412 416 415 ALFRED MÜLLER (1869-1940) 414./160.000. we could not decide if it was promoting the Rolfo or the Romeo tea room. 33. “on the title page of the special Mucha edition . 1922.5 x 99. PAI-XLVIII. most of them expressly commissioned for the series by its publisher. the powerful silhouette of a golfer is seen filled with the varied terrain of the Swiss landscape. design etched into the structure on the left.700. 20 7⁄8 x 31 1⁄8 in. Steinlen. . was also enlarged and used as a standard poster. .000-$4. Here.3 x 98. New York Cond A-/Horizontal fold. . Barely visible is a black on blue 414 418 . 141).000. the Moulin de la Galette was once one of the more celebrated dance and music halls of the Belle Epoque. amply demonstrate Muller’s natural flair for complex yet harmonious design. Est: $800-$1. 1936. H. p. who in turn used them subsequently on numerous occasions to advertise various events in Monte Carlo by filling in the appropriate letterprint text. How the design suddenly showed up in Monaco is a bit of a mystery. 88. Est: $4. Est: $600-$800. This is the smaller format printed with red ink. PKZ. and it has been suggested that he may be a relative of Jane Atché. most notably featured in a painting of the same name by Pierre-Auguste Renoir. 1926. F.MUCHA (Continued) 411. showing a Weimar-era New Woman casually enjoying an afternoon repast care of a Bauhaus-inspired tea set. Interestingly.8 cm Imp. Gold./57. Christophe Colomb / Moulin de la Galette. which appeared from May. To make matters even more complex. all of which are drawn from previous images by the artist.500-$2. 158). we are eased into a nighttime view of Odessa’s harbor. from its mountains to its green lakes region. Champenois. we know that Mr. Var. zürich Cond A-/Slight water stain along left edge. The only copy we have ever seen ./33. however.000. Born in Livorno in 1869. NESTEROVA (1897-1965) 416. 1898. 417 411 413 R. Between 1905 and 1912 she announced three separate ‘farewell’ tours. No matter how the design arrived in Monaco. .. best known for her beautiful JOB Cigarettes posters [see No. being a not-quiteidentical copy of his illustration for L’Estampe Moderne (see Lot 412). but no work of his appears in any issue. Est: $1. Peacocks.000-$1. the man is wearing clothing by PKz. a brand so integrated into Swiss culture that it literally has become part of its topography. 144]. 1. Var. . 387 Usually seen the other way around. Est: $3. . Ref: Rennert/Weill. Whether other numbers were similarly announced is not known (Rennert/Weill. Sarah-Bernhardt / Farewell American Tour 1905-1906.5 cm Gouache & ink maquette. Var./69. it’s important to note that it was such a recognizable and wellloved image that it was subsequently used into the 1920s for various Monte Carlo cultural events. 1897 to April. Ref: PAI-LII. EMIL ALFRED NEUKOMM (1906-1948) 417. 2 After a long run of European tours which began in 1880. Rolfo Tea Room / Maquette. Chachoin. Ref: Rennert/Weill. an artist and friend of Mucha’s. MAURICE LOUIS HENRI NEUMONT (1868-1930) 418. Paris Cond A-/Unobtrusive folds. 1928. Either way.

we see everyone from grandma to a newborn baby enjoying the delightful taste of the aperitif. aggressively and monumentally standing before the viewer like an advertising monolith. creating an image for their Billiards Brunswick division. Ref: PAI-XLII. Framed. 94. Nizzoli also dabbled in the fine arts. Menegazzi II.000-$10. Fortier & Marotte Cond B+/Very slight tears at folds. partly constructed during the middle ages and again during the 17th century. ca. The drama surrounding this failed flight was brought to the stage by Sarah Bernhardt in the role of Marie Antoinette. 10. 1899. Here. this is considered the best and rarest bowling poster ever created. in a play which received less than stellar reviews.9 cm Helio. PAI-LI. and a un-fussy. Paris (not shown) Cond B+/Slight tears at folds & edges. he also.began in Switzerland in 1899. Est: $8. 31 5⁄8 x 47 5⁄8 in. Ref (all var except PAI): Nizzoli. we see a two-holed bowling ball careening toward the viewer. Est: $1. vertical format. Showcasing the beverage’s signature red hue. 420 422 ANDRÉ NÉVIL 419. smaller. Dumas. Bergamo. “Campari” / l’apéritif. 26 3⁄4 x 39 in. 22 3⁄4 x 30 7⁄8 in. Ogé was to use . produced numerous drawings that were wellreceived in fine-art circles. This image would have been created just when the town was on the verge of heavy industrialization. and would ultimately become the country’s largest motorcycle manufacturer. thereby creating the ever-famous cocktail of Campari & soda. Est: $800-$1. 1791. the royal family attempted to escape abroad via Varennes. In both designs. but also as a valuable historic document. Quinquina Dubonnet. ca.419 421 424 EUGENE OGÉ (1869-1936) 423. Est: $1. we witness an azure soda bottle magically squirt some of its contents into an apéritif glass.5 cm Imp./90 x 131. at the height of the French Revolution. 1927. powerful design. Ogé had worked previously with the company. . as we know.meaning ‘engine in a bag’ -. Genève Cond A. 1926./80. members of the upper class are seen gazing in enraptured awe at the new sport. This is not only an important poster for its fantastic compositional qualities. p. Est: $3. 182.7 x 78. p. sharp interesting angles.2 cm Edizioni Star. Bowling’s Brunswick. Ref: Ogé. 61 On June 20 & 21. 1927. Campari. Here.000.000-$1. MARCELLO NIZZOLI (1887-1960) 420. PAI-XLVI. This is the rare. ca. 422. 35 1⁄2 x 51 3⁄4 in. 212 One of only two known copies. Paris Cond B+/Slight tears at edges./88. 423 421. Their efforts were unsuccessful.500-$4. vol. 1904.3 x 121 cm Imp.saturated colors. Ogé’s principal claim to fame was his long tenure as house artist for the printer Charles Verneau around the turn of the century. Est: $1. seconds before she is taken prisoner. This is the one-sheet. sometimes even using a commercial client’s poster design to make a political comment” (Wine Spectator). As with most posters by Nizzoli. This poster focuses on the moment when her carriage is intercepted and she is forced to emerge with her children./68 x 99 cm Maga.200-$1. 3. This is perhaps why his posters for Campari all have a sharp architectural feel about them. M. . Bergamo is a charming ancient city. .000. Motosacoche -. still maintaining its old world charm and tranquility. 34 3⁄4 x 26 3⁄4 in. Theatre Sarah-Bernhardt / Varennes. Milano Cond A. 133. Charle Verneau. 424.200.000.700. one-sheet format of the French-language edition of the poster. 1910. Located in Lombardy. an assortment of characters several more times. and wonderful dashes of irony in the expressions of the assorted imbibers. however. Ref: Ogé. 452 While mainly focusing on industrial design./66 x 97 cm Edizioni Star. 468 This “panel for Dubonnet shows the skilled hand of an expert lithographer. 26 x 38 1⁄8 in.3 x 67.400-$1. this image is pure Art Deco drama -./57. Motosacoche. and they were beheaded soon thereafter.500. pins flying in all directions. Milano Cond A/P.

1928. p. Paris Cond A. the flags of many of its members form a prison around Adolf Hitler and Emperor Showa. he was called by the Grand Duke of Hesse to create other exhibition buildings for the newly-formed Damstadt Artists’ Colony. horizontal fold. 46 7⁄8 x 62 1⁄4 in. 1895. the company’s name is seen repeatedly in the poster.5 cm Imp. known as the Secession Hall.and again on a folding screen behind the girl. also designed by Olbrich. PAI-XLVI. Chapeaux Mossant. Gagel. coquettishly teasing us as she smokes a cigarette made with a Job rolling paper. Ref: Maindron. French Opera. Darmstadt. 46. United Nations. 46-50 429. Thaïs. Theaterplakat. 72. largely in margins. 1860-1942) For other posters by Pal./108 x 148 cm Cond A-/Slight stains at paper edges. and Moser.6 x 105. eaten away by the centuries. see Nos. Combining elements of the Object Poster with that of mysterious.700. the United Nations had at that time the supreme goal of hindering a third World War.427 ONTIVEROS 427. 42 1⁄2 x 58 1⁄4 in./50. It became such a wellknown monument that two years later. Hohmann. As with most advertisements for this brand at the time. 69. PAI-XLVII. ca.000-$4. the product is shown on the table -. P.400-$1.000.000. 13 7⁄8 x 20 3⁄8 in. Ultimately. p. Est: $1./119 x 158 cm Imp. it is revealed that his interest in her is entirely rooted in lust. 97. in the background. 0013. Washington Cond A-/Slight tears at edges. Lemercier. An intriguing visual tease./35. whereas her morals and sense of honor are far superior. 1894. Est: $5. One of Pal’s more sensuous designs. 425 JOSEPH MARIA OLBRICH (1867-1908) 425. Affiches 1000.3 x 51. Ref: Wember. 630. Formed to replace the League of Nations in 1945. This is the before-letters version of the poster.2 x 83. Framed. 429 . Here. Est: $17. 412 Noted by Broido. seductive graphics. Paris Cond A-/Slight tears & stains at edges. Job. Ref: Deco Affiches. Est: $800-$1. 920. a Cenobite monk attempts to convert her from worshiping Venus to worshiping the Christian God. Drawn to the beautiful courtesan Thaïs. Hoffmann. Vercasson. which takes place in Ancient Egypt during Byzantine rule. 0041 When Olbrich co-founded the Vienna Secession group in 1897 with Klimt. symbolically indicating that such dictators will never be allowed to reign in the post-war world./38. This poster is for their first exhibition.000. 19 3⁄4 x 32 3⁄4 in. 15 1⁄8 x 41 1⁄2 in. conveniently the same color and style as the table-bound version. and features an intricate rendering of the Ernst Ludwig House. 470 Although the more famous poster for this hat company is by Cappiello (see PAI-LI. 182). torn. 34. MANUEL ORAZI (1860-1934) 426. this vibrant Deco image by Olsky may be the more handsome design. this unique poster promoting Massenet’s opera has been created to resemble “a papyrus. 428 OLSKY 426 428. Reims. 1946. PAL (Jean de Paléologue. Here. the product pops off the page while the background figure lures us in with desire.000. Orazi has created a poster that is the first to have such a curious form.8 cm Published by El Coordinador de Asuntos Interamericanos. Est: $3. we are met with a daringly-clad siren.logo prominently displayed outward -. his main contribution was to design the group’s exhibition building.2 cm Hofdruckerei H. 1901.” Such a different design is in perfect harmony with the opera’s plot. ca. p. Darmstadt Cond B+/Slight tears & stains.000-$20.000-$6. Affiches 1000.

000. 31.2 cm Cond B-/Light-stained. Harper’s / March. pensive elegance graces the poster for the March issue of Harper’s magazine. 354. 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. 1920. Here. influencing major artists like Picasso. all the woman from this series glance off to the right. There is a mirrored version of this painting by the artist in which the subject is fully clad -. 35 5⁄8 x 50 1⁄4 in.all of which are apparently being enjoyed by the nubile. nude reader in this poster. the subject is just smiling. . Margolin.2 x 46 cm Cond B+/Slight tears./57. Le Fiancé de Thylda. her lips part and a twinkle appears in her eye. almost as if she’d been sitting there far too long trying to hold a kindly expression.000. Also known as 2e Mission Haardt-Andouin Dubreuil. Gauguin. Chaix./46. including a story by Rudyard Kipling -. 434 . 51. the Kunsthalle in Basel. Est: $800-$1. 137 (pl. p. The artist had a way of presenting women in an openly erotic way without making them appear cheap or dirty -. ca. 316. PAI-LI.2 x 55 cm Signed oil on canvas. Ref: Posters & Publicity 1928. One of a handful of Arabian-themed dancers painted by Péan. 14)./113. Parrish’s poster for the August 1897 issue of Scribner’s magazine is now an icon of American illustration. Founded in 1872. 433 MAXFIELD PARRISH (1870-1966) 430.9 x 153.5 x 53.200-$1. Switzerland. 10 3⁄4 x 18 1⁄8 in.8 cm Signed oil on canvas.1 x 83 cm Imp. 44 7⁄8 x 60 3⁄8 in. 1896. 1897. Paris. Est: $800-$1. Ref: DFP-I. Reims. 1271. He goes anyway . Amours Exotiques would be cited as one of the primary generators behind the popular passion for all things African in 1920s France. and Matisse. 123. Lauder. Lauder. with seventeen men in eight half-track vehicles heading out of the Algerian village of Colomb-Bechar into the eastern Sahara.5 x 49. largely at edges. mostly at folds & edges. pl.200-$1. 22 1⁄4 x 32 5⁄8 in. 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. Kunsthalle Basel. Est: $4.the same strawberry blond curls and rosy-cheeks./35.000. primarily at folds & edges. “The Black Cruise” embarked on October 28. Est: $2. with a hint of far-Eastern exoticism in the presence of three kabuki masks hanging in the background. Est: $6. 421 “The scene is Stockholm. Ref: French Opera. PAI-XLIX. The baron decides that before the wedding his future son-inlaw should have the same opportunity for adventures in Paris that he had. Nude Pierrette. August./27. Thylda’s fiancé is Otto. 1950. 14 x 19 3⁄8 in. 460 One of his more famous designs. Scribner’s / Fiction Number. Their mission. PAI-XLIV. a film that followed a explorational journey across continental Africa.000. Framed. The only exception between the two poses is that in the one.400. 259. . Ref: DFP-I. 431 ROGER PEROT (1908-1976) 436. 17 1⁄2 x 21 1⁄4 in. He sends him off but Thylda makes him miss his train. a dainty Delilah. On awakening. Parrish. sponsored by automobile magnate André Citröen.500. Hachard.she is a sweet Salomé. he finds that the dream has sufficed and is content to confine his travels to a honeymoon trip” (French Opera. Basel Cond A. 1927.5 x 127. Amours Exotiques. p. Along with La Croisière Noire. Framed. ALFRED HEINRICH PELLEGRINI (1881-1958) 434.5 cm Wassermann. . ca.000-$5. . 436 EDWARD PENFIELD (1866-1925) 435. 432. a nude male figure gingerly dipping his toe into a pond announces the latest month-long exhibition. 24 Serene. La Danseuse. PAI-XLVI. Cond A. Spectacle. 1919. in a dream. 55. their bodies arched in every direction as colorful bits of fabric billow out behind them. knowing that what she’s doing is a bit naughty. and her father is the same Baron von Gondremarck who appeared as a young man in Offenbach’s La Vie Parisienne . 18 1⁄4 x 21 5⁄8 in. 433.000-$8. Appearing in this particular issue were over a dozen works of short fiction and poetry. Paris Cond B-/Restored tears./90.000. whereas here. was to film a nineteen-month trip that would take them over almost the entire African continent./44. tears. p. Est: $1. 178. 1924. Framed. the identical ruffled collar and floppy hat. 1900. Framed.500-$3. has always been a supportive home for the work of avant-garde artists.430 RENÉ PÉAN (1875-1940) 432 435 431. xxiv).4 cm Imp. Est: $1.

40 At first glance. these posters promote their line of “Potent Opilets. centers around an impressive array of works by Picasso. Bal de la Maroquinerie. 70.000-$25. a sunshiny burst of creative elation executed in traditional red and yellow Catalan hues. Jonny Mene La Danse. 439 441 POTENT OPTILETS 443. however. under the editorship of André Mellerio. respectively red and blue. produced a year prior. 1923. Ref: Art Deco Graphiques. the revolutionary radios would not by physically made by RCA until the purchase of the Victor company around 1930. the long shadows of cypress trees cutting across the foreground. JEAN M. Jonny Mene La Danse (originally titled just Jonny) was billed as a modern jazz opera. 51 x 36 1⁄4 in. 179 (var). 1959 & 1960.7 cm Imp. Est: $1. 395 Located in the south of France. Est: $2. 28). Sénéchal. 443 440 . Paris Cond A. However. Céret is famous for its Museum of Modern Art. 28 x 31 1⁄2 in. Founded by Chicago physician Wallace Calvin Abbott in 1888. In an article in the magazine announcing the publication of this poster. Art de l’Affiche. the Musée held an exhibition of his ceramic works and Picasso designed this poster to promote it. PESKE (1870-1949) 438. give two beautiful contrasting notes to the ambient tonalities. L’Estampe et L’Affiche. 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. 31 1⁄2 x 47 1⁄4 in. the name of the product boldly propelling itself from a nearby radio tower through the billowing storm clouds. the plot ultimately revolves around the jazz musician Jonny who steals a high-end instrument. PLOUËT 440. these powerful dietary supplements are primarily available in Third Word and developing nations where multivitamin/ mineral deficiency is more commonplace. Illinois.4 cm Cond A/P. Forty-plus years after he resided there.6 x 92 cm Imp. PAI-L. A sly Art Deco design promoting a star-studded French ball. appearing on over 50 stages across Europe. including his famous bull fighting series. it did much to encourage poster art in the brief period of its existence.5 x 159 cm Imp. The company also developed the first HIV blood screening test in 1985.000. and the light line of water produces a very good effect” (June 1898. Arnera.000. Paris Cond A-/Unobtrusive folds. 1926. Ceret. 1929. 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. Affichomanie. one learns that this image is promoting a musical evening entitled “Stamboul” by Edouard Tremisot. chanteuse Jane Pierly. This did nothing to quell the demand for the production. is an Art Deco masterpiece. 84. two women–one lying down and the other sitting–giving a back view of themselves. dramatically showcasing a sunset view of Istanbul’s Blue Mosque. Orient./39. PESLE 437. this appears to be a travel poster. Color Revolution. Gerin. best known for its production of the sedative Nembutal.6 x 66. The colours are cleverly harmonised. The artist lived in Céret from 1911 to 1912. 15 1⁄2 x 23 5⁄8 in. 1928. The crux of its modern collection. 473 First appearing on the market in 1921. ca.000-$2. (3) MAX PONTY (1904-1972) 441. Ref: Orientalist. the calmness of which is disturbed only by the modulated swing of a smack. which was quickly translated into at least ten different languages.000. 81. Wine Spectator. ROBERT PORTEFIN (1899-1958) 442. As far away as London. upon reading the text. Mountains encircle the bay. 710. Est: $800-$1. Three Posters. Picasso Plakate. Part of a series of at least six images.” a multivitamin meant to induce pep and vitality. and the infamous Polin. p.500. comedian Henry Laverne. PAI-XV./80 x 120 cm Imp. thus indicating how strong the signal would be on your newly-purchased Radiola. sodium pentathol–more commonly referred to as “truth serum”–and the artificial sweetener Sucaryl. 1893. the critic Crauzat is full of praise for it. Noted entertainment includes the singer & screen actress Pierrette Madd. Ref: Czwiklitzer. seduces the public with his deft musical abilities. the company would go on to become one of the world’s largest pharmaceutical conglomerates. Radiola was a product of RCA. PABLO PICASSO (1881-1973) 439. Nowadays. Their dresses. Est: $800-$1. which houses paintings by Chagall. 1958.3 x 60 cm Maroquinerie. Dijon-Paris Cond A. 52.200-$1. Ref (all var but PAI): DFP-II. p.000.500. 47 x 62 5⁄8 in. Est: $800-$1. Paris Cond B+/Slight tears at folds. Radiola. This poster./58. Paris Cond A. Ref: PAI-LII. 177 (var) Abbott Laboratories is a diversified pharmaceuticals and health care company headquartered in Abbott Park. 19 1⁄2 x 26 1⁄4 in. Weill. Herbin./129. Hachard. Undergoing several revisions. 66. Openly condemned by the Nazis. PAI-XLIV. Matisse. indicating that its clear tones and design show the artist to be a master of decorative effect. Ref: Jean Colin. The Poster magazine also lauded the work: “On the green summit of a cliff. Vallaris Cond B+/Unobtrusive folds. however. ultimately bringing black musical culture above that of all others. Est: $7. and is considered one of the earliest musical pieces blatantly confronting issues of racism. which was banned in the United States in 1969 as a carcinogen.3 x 80 cm Creation Ad. 120.000./119. 32. and Café Pablo in the town is dedicated to him.000-$9.437 438 442 RENE H. look far away into the dying perspective of the ocean. and Soutine./49. p. This is a rare before-letters proof of the poster. Stamboul./36 x 56. Est: $20. 97. 419 Written by Ernst Krenek. PAI-XLVI. 122. performances of the show in Munich in 1927 were met with stink bombs going off in the theater. Reunies.

138. Ref: PAI-XIII./68. 1895./79. Gold. Est: $1. but when translated means ‘dreaming.000-$1. 449 ETHEL REED (1876-?) 450.$1. in fact. 80. Miss Träumerei: A Weimar Idyl was written and published only in America. Paris Cond A-/Slight tears at edges. PAI-LI.000-$1. two well-to-do couples are shown sipping on various carbonated beverages by Brasserie Schneider./79.3 x 59. A moving poster by Poulbot.500 J. 31 1⁄4 x 42 3⁄4 in. Her hair.) 449. 1980. one of the first to offer works by van Gogh. Affichomanie./68. 18. Although the child depicted is perfectly adorable.700-$2. ca. Boston Cond A-/Very small crease in lower black area.700-$2. Est: $1.600-$2. 1949.2 cm Publicité Africa-Alger Cond B+/Tears at folds A stark. Miss Träumerei. München Cond A/P. LEO PUTZ (1869-1940) 447. München Cond B+/Slight tears & stains. 2615 (var).200./63 x 83 cm Maquette: 19 3⁄4 x 23 3⁄4 in. ca. 99. Brakl’s Moderne Kunsthandlung. as well as founding the famous Bagby Musical Mornings at the Waldorf Astoria in New York. p. DFP-I. Redwood Jeans: Poster & Maquette. Münchener Plakatkunst. 1288. Reuil 451. better known as a musician than as a writer. 23 5⁄8 x 311⁄2 in. 1911. Paris Cond A-/Unobtrusive folds. is wild with abandon. 1900. Est: $7. Ref: Plakate Munchen. 507 Created for the opening of the landmark Moderne Galerie in Munich./81.200-.000. 378 Cheerfully enjoying an afternoon on the bow of a ship. 168.200. God.000. this bright poster promotes an exhibition of posters by the artist Preetorius at a local bookstore. (2) 451 446 .4 x 10 0./50. largely at bottom edge./33 x 54.000. Ref: Lauder. South Africa Poster: Cond A/P. 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./60 x 80 cm Imp.000. 132 Another brightly-colored design promoting an exhibition of the artist’s work. Created for the South African jeans and sportswear company. Maquette is gouache & ink on paper. eye-catching image promoting the beverage Orangina. Wolffe. Le Taudis. Note how a parade of perfect oranges tumble into the outline of a glass. Keay. 1906. DFP-III.3 x 96. Also. 471 Although set in Germany. DFP-III. however.444 448 450 447 FRANCISQUE POULBOT (1879-1946) 444.2 x 60. QUENDRAY 448. 1911. 445 A. Part of the artistic group The Six. Est: $1. Poster: 24 3⁄4 x 32 3⁄4 in. he illustrated A Man & His Dog and Confessions of Felix Krull. Long. Preetorius contributed to such publications as Die Jugend and Simplicissimus. slight tears at folds on right side. this time at the notable art dealer Brakl’s gallery in Munich. Est: $1. This gallery became famous for being on the frontier of Modern art. 31 1⁄4 x 46 1⁄2 in.5 x 108.’ The author is. the French Impressionists. 13 x 21 1⁄2 in. Reims. 222. Margolin. I. and the Blauer Reiter group. 26 7⁄8 x 37 7⁄8 in. 228. p. with its flat areas of simple color and the diagonally-jutting chrysanthemums. ca. 446. Moderne Galerie. Maitres. 1937. you will be helping relieve poverty in the slums of France.2 cm in Capetown. having studied under Liszt in Weimar during the late 1850s. We are confronted with a Mona-Lisa-esque face staring flatly out at us. his living conditions breed tuberculosis and other fatal illnesses. 2587 (var) In almost psychedelic neon colors. RAZZIA (Gerard Courbouleix. By purchasing a small booklet of the artist’s illustrations.000-$9. implying that the juice of real oranges are in every sip.8 cm Lamson. it is interesting to note how nearlyidentical Razzia’s finished design is to the printed poster. Brasserie Schneider. 27 x 39 5⁄8 in. we are confronted with a sensuous design of a siren offering us an oyster shell full of pearls. Framed. EMIL PREETORIUS (1883-1973) 445. Rampin. a company specializing in sodas and beer. 32 x 23 3⁄8 in. making the product image both mysterious and sensual. 417. Est: $1. Est: $800-$1. The image itself reflects on Reed’s fondness for the then-popular Japanese style of printing. Orangina. PAIXXXVI.000. Ref: Deutsche Plakate. p.3 cm Imp. 235.3 cm Fritz Maison. largely at upper & lower left corners. München Cond C+/Restored paper losses. P. Ref: Plakate Munchen.7 cm Consée. 1935. Est: $1.6 cm Reichhold & Lang. as a personal friend of Thomas Mann. While the plot is not readily known.3 x 118.

Leandre and Caran d’Ache. this mock-serious design pokes fun at the expense of its subject. Est: $1.500-$3. ca. Est: $600-$800. ROLAND-HOLST (1868-1938) 457. Roedel contributed several designs.500. Paris Cond A. illustrator./52 x 45. this image for Charpentier’s Louise depicts an amorous couple embracing on the outskirts of Paris under stealth of the night.000. A pencil notation in the blank area indicates that the text will read: “Arts & Metiers Bienne” (Arts & Crafts Biennial).2 cm Gouache & ink maquette.3 x 103.4 x 88 cm Cond A/P. 1970. 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. Hermes / Maquette. Montmartre wins . 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. 154. in which that particular breed of Teutonic Christianity is on display. Framed.’ Clearly. unsigned maquette by Rieder utilizing Byzantine imagery to promote an exhibition. Charpentier . 1932. RICHARD N. Est: $1.8 cm L. PAI-XXXII. PAI-XLVII. mostly for the local cabarets and theaters. 457 458 GEORGES ROCHEGROSSE (1859-1938) 455. 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: $2. DFP-II. When Willette started the magazine La Vache Enragée (The Angry Cow). slight paper loss in dress area.455 456 452 454 E. this time focusing on a portrait of the Greek god Hermes.000-$1.000.3 x 81. The image echoes scenes from a myriad of Wagner’s operas. 24 1⁄8 x 32 1⁄4 in. most notably Siegfried. Despite the text being in French. and lithographer. but their rigid values and drab existence are pitted against the bohemian life of Montmartre. La Vache Enragée./49. An unfinished.500. xx). and an Austrian treatment of organically-inspired details in the lower register. little information is available on the history of La Critique or the artist behind this bold design. ROEDEL (1859-1900) 456. He aligned himself in Paris with a group of artists in Montemarte such as Willette. Amsterdam Cond B/Slight tears at folds. is the story of a working girl who falls in love with a poet and goes to live with him. p.200. and produced posters. 8th New York Film Festival. Gold. 23 3⁄4 x 34 5⁄8 in.8 cm Ed./85 x 122. . Ref: French Opera. 33 1⁄8 x 47 1⁄8 in. 1914. 20 1⁄2 x 17 3⁄4 in. echoing the return of interest to German woodblock prints. 1900.5 x 65 cm Gouache & ink. JAMES ROSENQUIST (1933./74. 453 . . 1897. Est: $2. 454. Ref: Maîtres. 179 (var). this poster advertises a Wagnerian musical evening.200-$1. .000-$2./61. van Leer. La Critique / Maquette. 1912.400-$1. 453. 1918. Delanchy.4 cm Imp. Ref: PAI-XII. Ref: Lincoln Center. They contrive to get her back. PAI-XXIII. Wagner / Herdenking./60. 446 One of the more romantic opera posters of the era. Framed. Chaix./84. 386 In honor of the 60th anniversary of the death of the composer. watercolorist.) 458. Est: $1. . Another Byzantine-inspired design by Rieder.2 x 119. L’Opera Comique / Louise. to the horror of her parents. . there is evidence of a very Northern influence in the composition. .8 cm Gouache & ink maquette. Paris Cond B-/Tears at folds & edges. 489 Roedel was a caricaturist. Exposition / Maquette. 26. REIDER 452.700. supplied drawings for Le Courrier Français. 19 1⁄2 x 25 1⁄2 in. Presumably a literary or poetry periodical. 29 1⁄4 x 40 7⁄8 in. 22. “‘Louise’ . 33 1⁄2 x 48 in. Est: $800-$1. 751.

Ref: PAI-XXXIX.RUSSIAN POSTERS 459 460 463 461 459. After a brief rise in popularity. chromatic brilliance. “Conceived as visual weapons to combat the invading German forces and mounted in the city streets and public spaces of the Soviet Union. Artist: Anonymous 27 1⁄2 x 40 3⁄4 in. Est: $800-$1. making her his new co-star in the ring. Better known as Jealousy.8 x 97.2 x 52. Here. 465.500-$2.7 cm Cond A-/Slight tears at folds. only to seduce Berta-Marie for himself. Varieté./71. Artist: Anatoly Belsky (1896-1970) 42 1⁄8 x 28 1⁄8 in. he decides to abandon his wife and son. One of Belsky’s lesser-known works. A recent exhibition at the Art Institute of Chicago brought deserved attention to the historic and artistic phenomenon of the TASS Window posters.000. Although little is known of her today.000. Est: $2. newly translated for Russian audiences. and stylistic variety. Est: $1.000. Azerbaidzhan. 1926. 266 Ivan Perestiani’s film Azerbaidzhan is part of an avant-garde Soviet Georgia series. 462. however. In it. 1922. the husband’s desire to reclaim the glory of his youth as a trapeze artists overwhelms him. one of hundreds churned out to appease the mass-desire for cinema. Est: $1. perhaps horrified. Est: $1.200. Jacques Feyder worked in French. However. No reference to the poster or the movie can be found. Artist: Emil Farmirg 29 x 42 3⁄8 in. Nalbandian 33 1⁄2 x 64 1⁄4 in./107 x 72. 60 Miles Per Hour. one of the USSR’s many regional creations encouraged during the 1920s.000.6 cm Cond B/Slight tears at folds & edges. Second Marriage.7 x 103./21. smiling broadly at the sight of her name in Art Deco Cyrillic. Here. 460. Est: $900-$1. Co-designed by two of the more famous and prolific posterists of the Russian avant-garde. Moscow Cond A-/Slight stains. and their inventive use of the modest yet versatile medium of hand-stenciling” (Windows on War. the German silent film Varieté stars Emil Jannings and Lya de Putti. 464. 1945./85 x 163 cm Tass Central Agency. Belsky has created a simple but provocative-looking woman to help advertise the director’s latest cinematic endeavor. an aging entertainment couple run a seedy side-show of ‘erotic sensations’. Suspicious Baggage. ca. Artist: Anatoly Belsky (1896-1970) 27 3⁄4 x 41 3⁄4 in.5 cm Cond B/Slight tears at folds & edges. Dlugach (1893-1985) & Nikolai Prusakov (1900-1952) 28 1⁄4 x 38 1⁄2 in. the protagonist -. The TASS Window posters are unique in the history of poster making by virtue of their scale./73. 6). One of the most famous silent film directors during the 1920s. a world-famous trapeze artist notices their act.a former countess -. Artist: Mikhail O. producing such enduring classics as The Kiss and Anna Christie (both starring Greta Garbo).2 cm Cond B/Slight tears at folds & edges.000. appearing in the controversial 1931 film The Exile as herself. 1925. faces flanking what appears to be a fireman at work. as well as the collaboration they represent between artists and writers. Here. hires them for his own circus.5 x 107./70.5 x 106 cm Cond B-/Slight tears & stains at folds & edges. 1925./69. Artist: Mikhail O. this was most likely a regionally-made film and not an international production. p. we are faced with two concerned.500-$2. 461.000. Celeste Cole once made her living as a traveling jazz singer. Dlugach (1893-1985) 9 3⁄8 x 20 3⁄4 in. Artist: A.500-$2.700-$2. Tass Window #1333. Est: $ forced to embrace the seedy underworld of nighttime cabaret entertainment. and German. this being No. English. these posters were also sent abroad as ambassadors to gain support for the Soviet cause. this is most likely a little-known regional film. 1935. 1333. this image lacks a lot of the jarring angles and juxtapositions so commonly seen in the best of the genre. Each day’s poster was numbered. 462 463. we see her in flowing period gown. She even had a short-lived career in Hollywood. Celeste Cole. As Arabic text crowns the top of this poster.000-$3. When he meets the charming orphan Berta-Marie.9 cm Cond B/Tears at folds & edges. 465 464 .

000-$1. Now it is Batalov who sleeps on the sofa. München Cond A. For another Russian poster. his friend (Batalov) invites him to use the sofa in his apartment. This image is well-deserving of that reputation.500-$3. 1927. 468 467 RUSSIAN POSTERS (Continued) 466. Est: $1. 37 x 48 3⁄4 in. Batalov’s wife becomes pregnant. Eutectic. 422. The Love Triangle. 468. Est: $1./93. 466 WALTER SCHNACKENBERG (1880-1961) 469. 20 3⁄4 x 29 1⁄4 in. The plot is simple: “When a man (Fogel) comes into town to look for work and can find no room. 435 One of the artist’s more feminine and tender designs. this design promotes American-made “Eutectic” welding sticks.. 1900-1933) 27 5⁄8 x 39 1⁄2 in./52. p. Vérigoud / C’est Si Bon. but when Batalov finds out. but neither man admits responsibility.” Est: $2. she leaves both of them to have the baby and take care of it herself” (Russian Films.3 cm Kunst im Druck. see No.800. Artist: Stenberg Brothers (Vladimir.000.4 cm Cond B+/Restored tears at right edge & vertical fold.500. Paris Cond A-/Slight tears at left edge. Savignac/Japan. 470. PAI-XXXIII. 64 in the Automobile section 469 470 . 44 3⁄4 x 60 5⁄8 in.5 x 74.7 x 81. 15 (var). PAI-LII. 1955.RAYMOND SAVIGNAC (1907-2002) 467. 1918.000-$10. they both encourage her to have an abortion.000. 188). 32. p. claiming “Anarchy is the aide of reaction & famine.8 x 154 cm De Plas. 1899-1982.. this poster advertises a staged performance of Verliebtes Krähwinkelat (loosely translated as “Love in the Boondocks”) at the Four Seasons Hotel.8 x 124 cm Oscar Consée. Ref: Russian Films.700-$1. Anarchie ist Helfer der Reaktion und Hungersnot. 428 In response to the social chaos and poverty following World War I in Germany. Ultimately./59./113. Est: $8. lemon. Schnackenberg creates a standoff between national unity and destruction. Ref: Plakate München. They are so ‘verigoud’ that the young boy simply cannot choose just one. and mandarin.000-$2. Est: $2.. Ref: Savignac/Paris. 1935. 1958. The Love Triangle (also known as Bed & Sofa) was an American-style comedy loved by the Soviet people but absolutely hated by the government. München Cond A-/Unobtrusive folds./70. Georgi. advertising a line of citrus-infused sodas in shades of orange.1 x 100. 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. Fogel has an affair with Batalov’s wife (Semyonova). grapefruit. One of Savignac’s more rare creations. 23 1⁄2 x 32 in. Ref: PAI-L. he cannot leave the apartment for the same reason that Fogel began staying there: the housing shortage.4 cm Cond A. 189 One of the biggest box-office successes of its time in Russia. Verliebtes Krähwinkel.200.

Est: $2.600. L’Apértif Amer Picon. ca. 46 1⁄2 x 62 1⁄2 in. Est: $4. Ref: Sepo.6 cm Cond A-/Slight creasing in top text area. BEN SHAHN (1898-1969) 477. de l’Affiche National Dufayel Cond B+/Slight tears at folds & edges./76. 60 x 45 1⁄2 in. 33 3⁄4 x 50 5⁄8 in.400-$1. SCHUSTER 471. the beverage also contains gentian.6 x 125.000-$5. Béziers concentrated milk is so delicious that even the cow can’t quite bear to part with it. Paris Cond B/Slight tears at folds. zürich-Altstetten Cond A-/Slight stains at edges. Lincoln Center / Philharmonic Hall.500-$3. Sem’s posters always posses the simple charm of an illustration or cartoon.6 Création Publivox./118.8 cm Gerstung. Picon is technically a bitters. La Sullana. two images of the product flank the main text like Roman columns. PAI-XLVIII./152.400-$1. the graceful swirls of the feathery wings and the trance-like.3 x 128. this poster for La Sullana cigarettes is exceptional on many levels. 1920. while remaining graphically interesting.6 cm Imp. 475 475. A fabulously masculine Art Deco design. ca. Lincoln Center./88. p. the letters overlapping in an almost Cassandre-esque manner.700. This is the rare orange-background version of this poster. The typography is simple and bold. Minot. 614 Invented in Algeria by the French distiller Gaétan Picon. SEPO (Severo Pozzati./76.2 x 158. 1928.Genève Cond A.500. and caramel.7 x 83.8 x her a vivacious and coy appeal. Here. 177. SEM (Georges Goursat. 476 477 SEYDEL 476./90. 474 R. Ref: Sepo. Meanwhile. Framed. inadvertently teasing a nearby infant who shares in said cow’s desire for superior dairy products. is reflected in his many works dealing with musical themes.6 x 115. Spinelly.4 cm J. 1962. the smoke swirling upward like an oracle-reading at Delphi. quinquina.000-$2. 20 (var). HERMANN RUDOLF SEIFERT (1885-1954) 472. modern as well as ancient. and instruments. typically served with beer.200-$1. 533 Known for his delightful caricatures of celebrities and socialites. 1895-1983) 474. Est: $1. ecstatic posture of the organist have that eye-arresting quality so important to poster art. 1939. Here. Framed. Framed. An appealing image showing both the daytime and evening pleasures available at German casino. p./59. Béziers”. His image here of an angel . 30 1⁄4 x 45 3⁄4 in. Ref: Plakat Schweiz. Offenbach am Main Cond A.7 cm Ryffel.000.500. PAI-XXIX. Ref: Shahn.7 cm Publicité Wall. Spielbank Bad Reichenhall. 8. Est: $1. Est: $2.471 474 472 473 V. a geometricallyrendered waiter rushes down the stairs. 450 “Shahn’s love of music. Lait “R. 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. 34 7⁄8 x 49 1⁄2 in. . 448) Est: $1. .a performer featured thrice in this auction -.000.000. 30 1⁄4 x 45 1⁄2 in. more commonly seen in blue (see PAI-XLVIII. from the picturesque gondola rides up the mountains to the thrill of the roulette table. 1934. 47 A glorious & rare Art Deco design announcing in bold primary colors that October is “Furniture Month” at the Palais de la Nouveauté. . spritzing soda water into a fresh aperitif glass of Picon. With a strong orange-flavored based. musicians. 1863-1934) 473. Paris Cond B/Slight tears at folds. 23 1⁄2 x 33 in. he focuses on Spinelly -. p. Ref: PAI-XXIII. Ref: PAI-XXVIII. Est: $1. List Foundation” (Shahn.4 x 115. Palais de la Nouveauté. 145). under a gift from the Albert A. 252 Rarely-seen.700-$2.

Est: $10. DFP-II./55. THÉOPHILE-ALEXANDRE STEINLEN (1859-1923) 482. 21 3⁄4 x 18 1⁄8 in. Crauzat. The air around them is sticky with late-night mist. BOB SMITH 479. PAI-XXXIV. Framed. 1906. Framed. they compliment one another in such a lovely fashion that any sort of additional allegory is unnecessary. 62 Also used as the cover illustration. Paris Cond B/Slight tears at folds. cheeks sucked in. 278.400-$1. a British emigrant to the United States who has few marketable skills in his new homeland other than being an excellent sprinter. mounted on a decorative boarder alongside a 1904 calendarium. forcing older.4 x 154.000-$12. Sonrel was quite possibly the daughter of painter Stephane Sonrel. full of fine detail.700. ca. Boston Cond A. 46. Maurin’s apéritif only recently became reintroduced on the French market after fading into obscurity around 1910. 490. 12A./114./92. 37 1⁄8 x 51 1⁄4 in. 12A. 1904. Walker. 1940.000. 1904 Calendar / Oberthür. SMITH 480. Belleville.500-$3. PAI-XLIV. 490. ELISABETH SONREL (1874-1953) 481. DFP-II. 483. 452 (var) Two of the four beautiful Art Nouveau decorative panels from the infrequently-seen artist Sonrel. eyes wide as he looks down at the smoke.500. Cherry-flavored with a hint of quinine. Maitres.8 x 125 cm Impressions Artistiques.000. As opposed to the many other plates of similar theme.2 cm Impressions Artistiques. A rare World’s Fair poster promoting the British Pavilion’s Postage Stamp Exhibition. Rennes Cond B/Slight tears & stains. Crauzat. recreated right margin.2. 45 x 60 3⁄4 in. Most notably. Ref: Lauder. less beautiful promoters of other liqueurs into the shadows. 1893. Maruin Quina. Born in Tours.500-$4. it’s only in the past twenty years or so that her work has again received the attention it deserves. Est: $1. 1893. 36 1⁄2 x 49 1⁄4 in.200-$1. there is no real attempt to personify the flora with the women present by placing a multitude of flowers around them. it is an interesting read on the early history of American professional athleticism.000.6 cm Cond A. Est: $3. Mothu et Doria. 483 . from whom she received her early artistic guidance. G.5 x 130. This image. 780.” the world’s first stamp. Ref (all var but PAI): Bargiel & zagrodzki. 455 A highly evocative image of a wealthy gentleman calmly offering his cigar as a light for a low-life redhead’s cigarette.5 x 76. 471 This is the rare black and white proof of the previous design. Est: $2. Cinder-Path Tales. we see that it outshines the competition. Mothu et Doria./33 x 59. Est: $1. World’s Fair 1940 / Stamp Exhibition. Rather.” Est: $800-$1. 1896. We are catching the moment he inhales./50. Paris Cond B+/Slight tears.000. PAI-LIII. Ref: Bargiel & zagrodzki.2. Although Sonrel’s output was known during her lifetime.4 cm Geo H. 46. Long since out of print./94. 19 7⁄8 x 30 1⁄8 in. 13 x 23 3⁄8 in. Oberthür. Featured is an image of the “Penny Black. 780. perfectly showcases Sloan’s skills as an urban artist and member of the “Ash-Can School.479 480 478 482 481 JOHN SLOAN (1871-1951) 478. this poster advertises the newly-released book The CinderPath Tales by William Lindsey. Paris Cond A-/Slight tears at edges. largely at folds & edges. Ref: PAI-LIII.4 x 46 cm Imp. it is a collection of short stories all revolving around the life of Walter Brown. Here. Maitres.2 cm Aff.

she sips on Chinese black tea. smaller format. Ref (all var but PAI): Bargiel & zagrodzki. A1. protectively guarding her hot chocolate from a potential feline thief.” That judgment remains valid today. 1896.7 x 61 cm Charles Verneau. 10 5⁄8 x 16 1⁄2 in. all his lithographic work is distinguished by a freshness and vigour which makes it powerful.8 cm Imp. 486 . Charles Knowles Bolton. 784./27 x 41. This is the rare. young Colette stares curiously back at the signature household pet. 491. a staple in all real. 485.STEINLEN (Continued) 484 485 486. 52.000-$6. 783. 494. Meanwhile. 1896. Ref: Bargiel et zagrodzki. Timeless Images. boasting a “highly illustrious troupe” presenting shadow plays. Ref (all var but PAI): Bargiel et zagrodzki. This is the medium format before letters. p. PAI-XLII. Paris Cond B/Restored tears at folds & edges. 54. the “avec” preceding his name was replaced with “de. So popular that it was used in a variety of forms over the years. Gold. DFP-II. this scene promotes the French Chocolate and Tea Company. Paris Cond A. Est: $5. 55. 95. p. Chat Noir / Prochainement. 63. As Emilie quietly mediates over the day at hand. Compagnie Française des Chocolats et des Thès. and a simplicity and sympathy which makes it appealing . poetry readings. 484.5 cm Imp. . DFP-II.000. p. Est: $7. 452 In one of Steinlen’s most tender posters.000. the most attractive poster ever made.000-$9. 16. This is the smaller format version of this famous design. 15 5⁄8 x 24 in.000. 56. 1895.” Louis Rhead himself commented: “When I saw it in Paris last year . Crauzat. Crauzat. Abdy. 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. 49. and songs. writing a year after its publication. 97. 39 x 53 1⁄4 in. Paris Cond A-/Slight staining in background. 288 Intentionally playing on some of Mucha’s signature flares -. and his beloved cats” (Abdy. it seemed to me the best and brightest form of advertising that had appeared. 19B. after Rodolphe Salis fell ill and was unable to perform with the company. The subject of his posters are those dearest to his heart. proclaimed that this “is perhaps. Gold. Encylopédie/Weill. . rather than overly-fancy. Affiches 1000. 112. PAI-LII. we witness the artist’s family at breakfast. This represents the initial printing of the “Prochainement” poster./99 x 135. As charming as it is cozy. this is the smaller format of the classic design./39. 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. The text here promotes the opening tour of the venue’s resident performers. his pretty little daughter Colette. Weill. . . Lait pur Stérilisé. p.000-$25. Encylopédie/Weill.” both as a tip-on and in a new edition of the poster. Courmont Frères. 465 “Steinlen was one of the four or five great poster artists of his time. All the warmth. 0012. Maitres. later. homes. 94). Using his wife Emilie and his daughter Colette as models. PAI-XX. Est: $22. we are offered an intimate peak into his private life.the elaborate Art Nouveau halo. Wine Spectator. 22B2. No man with half a heart could fail to fall in love with the child. Charles Verneau.

498 Based off of models by Dion-Bouton.487 STEINLEN (Continued) 487. 36A1. p. 64 (var). the lower half of the poster is seen filled with the names of artists featured within the magazine’s pages. This is the larger. Paris Cond A-/Slight tears at folds & edges. Affiches 1000. this poster is best viewed in person to be truly appreciated. Ref: Bargiel et zagrodzki. ca. being carefully led by her mother.000-$6. 53 3⁄4 x 75 1⁄2 in. Emilie.000-$40. DFP-II. a pensive young rider flying through a swarm of geese as she breezes through the countryside. 17 1⁄8 x 23 3⁄4 in. 23 (var). Est: $30. Seldom available for sale. 20. Comiot Cycles was a short-lived brand produced around the turn-of-the-century. 118 x 92 1⁄4 in./136. 506./300 x 234. 792. Paris Cond B/Slight tears & creases. Affiches Charles Verneau. Crauzat. 1896. DFP-II. The bustling street scene is alive with an assortment of colorful Montmartre types. Charles Verneau. here. the product could not be more charmingly portrayed.2 cm Imp. 34B.000. 0026.000-$60. 20). Car Graffitti. Wine Spectator. 110). Ref: Bargiel & zagrodzki. Charles Verneau. 50. 495. Motocycles Comiot. L’Estampe et l’Affiche concluded its ecstatic review of this poster by declaring “One can’t applaud it enough” (1897. giving them equal dignity–one of his most endearing traits” (Wine Spectator. however. Colette. Timeless Images. with the obvious authorization of Steinlen to the École Estienne. 1899. Here.3 cm Imp.000.5 x 192 cm Imp. Note how Steinlen shows the working class side by side with the smartly dressed bourgeois.5 x 60. Ailes. 466 “One of Steinlen’s finest lithographic achievements was a huge. p. PAI-LI.000. Weill. PAI-LIII. 786. 35. 1899. Ref: Bargiel et zagrodzki. 461 It is not clear when this smaller format was printed. Crauzat. Charle Verneau. prominent among them the artist’s daughter. Crauzat. 2-sheet version. 488 . Cocorico. 110. PAI-XLVIII. largely at seams. all we see is the hint of the publication’s name looming behind the crowing rooster./43. Paris (not shown) Cond B+/Trimmed left margin. 502 (var). 488. 489 489. with a hoop. Framed. Est: $5. six-sheet poster for Affiches Charles Verneau. Est: $55. Petit Reine. Normally. 11. Wagner. p. 64.

/99 x 138. PAI-XL.2 x 189 cm Imp./123. 1899. 1900. too. About to storm the new Bastille. Hellé. Paris Cond B+/Unobtrusive folds.6 x 62./57 x 76 cm Imp. a young woman taking a thoughtful pause before moving on. Schardt. Ref: Crauzat. without the top or bottom text panels. This is the rare. This is the image-only version. 80. . Charle Verneau. Charle Verneau.490 491 STEINLEN (Continued) 490. 561 A seldom-performed four-act opera by Alphonse Duvernoy. 502 Originally designed for a workers’ daily paper.5 cm Signed crayon drawing with estate stamp in lower right. he gives us a quiet moment with an unnamed woman. p. Crauzat. Theaterplakate. 22 3⁄8 x 30 in. 1890. 491.3 cm Imp. Framed. Reims. The novel was turned into a play in 1900. Framed. this image shows a wild Marianne calling her fellow laborers to arms against the tyranny of the State. before-letters version of the poster for that production. 45. The lure of a new sensational novel was often used to advertise the paper itself. 48 1⁄2 x 74 3⁄8 in. p. 86 (var). the artist provides us with a personality.500-$3. Paris Cond A-/Slight tears at edges. her gaze ending just beyond the frame. One is arguing passionately for her freedom. falls prey to the bottle. 493. Steinlen. and they open a small laundry. PAI-XXXIII. 789. 96. DFP-II. one seems resigned to her fate. and one in utter despair” (Gold. 53 3⁄4 x 76 in. Gervaise. Est: $8. Est: $2. Steinlen. Ref: Bargiel & zagrodzki. two-sheet. 503./136. A prolific draftsman. With just a few choice lines. She finally finds a decent man who wants to marry her.000. Le Journal / La Traite des Blanches. Steinlen. Est: $600-$800. discarding the flowery lyricism of the romantic age in favor of a hard look at at the common problems of regular people. DFP-II.000. p. 62). 462 “Quite a few literary works of this era first saw the light of day as installments printed in daily or weekly papers . PAILIII. Charle Verneau.000. Le Petit Sou. Charles Verneau. Maitres./40. intimate renderings of the common urban man. And sensational is the word for this poster advertising installments of ‘White Slavery. Lovely. Portrait d’une Femme. 148. 16 x 24 3⁄8 in.000. . 507. Crauzat. Steinlen is known for his tender. Ref: Bargiel et zagrodzki. 1896. p. Gold.000-$10. Encyclopédie/Weill. 27.000-$9. 40A2. 39.5 x 193 cm Imp. 508. larger format of the poster is the rarest of all versions! Est: $9. at age 18. 1900. Hellé allowed Steinlen to experiment with Classical imagery in this before-letters. 99 (var). ca. 795. slight tears at seam. Paris Cond A-/Slight restored paper loss in margin. Crauzat. portrays the protagonist couple whose life is eventually destroyed by alcohol without flattery but with compassion” (Gold. handsigned proof for the opening night poster. Gold. Paris Cond B+/Slight tears at folds. 39 x 54 1⁄2 in. This uncensored. 492 . 493 492. Est: $7. Framed. A major novel appearing in a trickle would hold readers for several months. 796 (var). Here. 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. 1029. is already a reformed drunk with two illegitimate children to show for it.000-$11. 35. 494 494. L’Assommoir. with the hope that [readers] would get used to the paper’s other features and remain loyal afterwards. 54 (var). 66).’ It depicts a heartless pimp with three of his victims. whose empathy for the working class matches zola’s. PAI-XXVIII. 497. Ref: Bargiel et zagrodzki. DFP-II. but he. she has ripped off her shackles in protest.

This is #7 of the collector’s edition of 50. which would be introduced to the Olympic Games in Helsinki two years later. the father of Socialist Realism in literature. p. 1901. 1907. Est: $1. 1967. Almanach du Bibliophile. 25 (var). Est: $2. a timeless landscape is preparing for a storm. 475 Showing off strength. 648 Blue and under the weather. Paris Overall excellent. painted with almost a watercolor-like quality that makes them seem feather-soft and light./15.000-$5. 22 7⁄8 x 27 3⁄4 in. PAI-XXIX. printed on China paper. complete with unopened signatures and separately-printed plates. Championnat du Monde de Gymnastique. Basel Cond A-/Slight creases. 35 x 49 3⁄8 in. PAI-L. one of Poland’s finest post-War posterists. are truly his best in the series. resulting in a highlydetailed set of rules and regulations as well as fierce judging.600-$1. 6 x 8 1⁄4 in. Est: $800-$1. Some sources claim that the medicine helped with the common cold. Switzerland. 117. 65. 35 1⁄2 x 50 3⁄8 in. case has slight wear./88. 497.500. Wassermann. P. In the lower register. the design is simple. 1927. and dexterity. 21 x 33 3⁄4 in. 500 VALDEMAR SWIERZY (1931. cat. 1905. 36 x 50 in. It consists of 294 pages with 31 designs by Steinlen. and effective. 1929. however. These flamingos. This is #33 of 61 signed & numbered proofs. articulate. 477 A fanciful image promoting a Swiss masked ball in a local casino in Basel. Est: $1. Margadant.500-$3. Stoecklin.500. This is the German-language version of the poster. we are confronted with the hard stare of Maxim Gorki. Framed./90 x 128 cm W. Basel Cond A-/Slight creasing. Even with Steinlen’s artistic diversity taken into consideration.800.7 x 66 cm Cond A-/Slight stains at paper edges.) 501. lower right. while. 105. DFP-II. 500. Est: $4. p.4 cm Prasa Cond B+/Slight stains at left edge. 266 A fiercely haunting image. Swierzy. Affiches Suisse. 25 7/8 x 38 in. created many dynamic images for this zoo. In the post-war era. an exceptionally stylized head is about to ingest Gaba -. 1950.7 x 96. Ref: Swiss Sport. Zoo. Französische Kunstausstellung zu Krefeld.a lozenge which promises to stop such feelings. 115. to be used for the first time during this event. Paris Cond A.000. 43r (var). determination. even further down. and haunting.3 x 127 cm Wassermann. Basel Cond B+/Slight tears at top & bottom edges. PAIXLVIII. This was also the first time that a full women’s program was to be held. 496. Maxim Gorki. this poster remains something of a departure–reverent. 495 501 . 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. 49. Ref: Stoecklin. It is interesting to note that the women get in for five Swiss Francs less than the gentlemen. Eugene Verneau.6 cm Imp. PAI-XVI. In either instance. this inverted male athlete promotes the Twelfth World Gymnastics Championships in Basel. An unbound issue of The Book Collector’s Almanac in its original case. while others say that it was an antidepressant./91. several printed remarques of Gorki’s portrait are included alongside that of a seagull. Est: $2.498 496 499 STEINLEN (Continued) 495. p. the first “Code of Points” had been formulated the year prior by the International Gymnastics Federation. Quodlibet Maskenball. Gaba./65.200-$1.2 x 21 cm Editions d’Art/Édouard Pelletan. Hand-signed in pencil.000. from his wide-mouthed hippo to his ferocious tiger. enigmatic.8 x 125. 800.000. 541. 497 NIKLAUS STOECKLIN (1896-1982) 498. Ref: Bargiel et zagrodzki. Crauzat. Stoecklin. mostly in text area. 51. Est: $1.4 cm Probenius. skill. international gymnastics competitions had become hugely important and popular. 40 (var).200-$1.000. Ref: Crauzat. Livre d’Affiche./51.4 x 85.500-$3. unobtrusive folds. 499./53. Ref: Plakat Schweiz. As such.

p./48. 14. however. 144). Affichomanie. 24. with its broad sweep of billowing. with the silhouette of Notre Dame de Paris standing watch in the background. who gave his full first name only once. Exposition de Blanc a la Place Clichy. Est: $60. Bella & de Malherbe. The Bellas commissioned this poster “to advertise the flecks of paper they sold to replace plaster confetti which. 16 3⁄4 x 21 7⁄8 504. 504 . 385). Schardt. 834. Framed.6 x 55. In fact. to which they invited Lautrec” (Adriani. pp. Humphry Bogart. Bella [who] organized poster exhibitions at the Royal Aquarium. Est: $1. In this poster Lautrec’s dematerialization of form borders on abstraction. p.000-$2. 1894. PAI-LIII. 815. Unfortunately little is known of Thiriet. in his poster for “L’Affiche Francaise. broad masses are effectively defined with utmost economy of means. It is unclear. 1898. 166-67. 779. calls it “a beautiful design with pleasing colors. in 1894 and 1896. 487 Provenance: Collection of Humphrey Bogart & Lauren Bacall. L’Affiche Française. G.000. Paris Cond B/Slight tears at edges. Ref: DFP-II. PAI-XLII.5 cm Imp.500.000-$70.” Est: $2. “This small poster was made for the English paper manufacturers J. 814. Wine Spectator. 549 An allegorical figure representing “L’Affiche Française” sits on the banks of the Seine. 568. and E. had finally been outlawed in Paris in 1892” (Frey. © 1978 Sid Avery / mptimages. Crauzat. Adriani. considered too dangerous./42. “Confetti epitomizes Lautrec’s conceptual simplicity.6 cm Imp.000. 53. 477 “A saleswoman at the Place Clichy White Sale shows a discerning customer some fine bed linens. as the list on the right would seem to indicate. if this poster was for a publication or an exhibition. The conception and concision of Confetti serve to distinguish Lautrec’s inventiveness from that of Chéret and his other contemporaries. His deftly inflected lines emerge more calligraphically by virtue of the light-colored image. That said. 51 5⁄8 x 35 3⁄4 in. p.1 cm Imp. 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./131 x 91. Framed. DPF-II. We hope that it will be followed by many more [from the artist]” (1898. 101. 44. the Confetti design was the cover piece of their exhibition catalogue. de Malherbe. Lauren Bacall and son Stephen.700-$2. horizontal fold. Confetti. PAI-XLI. de Vaugirard. thumbing through an album apparently containing a “Who’s Who” of French posterists. Ref: Wittrock Pl3. 43). London. announcing its publication in L’Estampe et l’Affiche. 19 x 25 in. who also treated the popular motif of a pretty smiling girl” (Wagner. pp.HENRI DE TOULOUSE-LAUTREC (1864-1901) 502 503 HENRI THIRIET (1866-1897) 502. this is one of Thiriet’s more subtly dramatic designs. 25-26). 18). Gold. Paris Cond A-/Slight tears at edges.5 x 65. Framed. Reims. 1897. Bourgerie. p. Wagner. London & Paris Cond A-/Unobtrusive slight tear at top edge. Ref: DFP-II. Phillips II. off-white dress. 503.

DFP-II. it was the Irish and American Bar. complete with full margins. an edition of lithographs depicting prostitutes simply referred to as Elles (Them).000-$20.7 x 43. Framed. Paris (not shown) Cond A-/Slight tears & stains at edges. 51 (var).2 cm Imp. 1896. 778 (var). In this instance. Ref: Wittrock. 177-IV. that people he didn’t like not be admitted” (Frey. 846 (var).. Wagner. and at the same time is the pronoun indicating all females. who with stoical calm served the British jockeys and trainers and local coachmen who frequented the bar. 782. they appear desexualized. 24 1⁄2 x 17 in. 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.the Rothschild’s coachman. PAI-LIII. 480 The Elles collection is Lautrec’s most famous brothel series. the only indication that a man is even in the room is his top hat resting gingerly on her bed.000-$70. 506 .. ‘They’ are ‘women to my liking. 196). P18A. it is said. and the Rue Joubert. and had a Chinese-Indian bar-keeper called Ralph. 1896.5 x 64. a constant witness of their daily lives. too. 155-III. PAI-LI. The series was placed on exhibition at the Galeries de la Plume’s twentieth Salon des Cent on April 22. For several years from 1894 onwards.. Adriani. Elles. is visible among the customer’s being served by Ralph with a special concoction” (Adriani. 139-I. It was the pictorial epilogue to what the artist had experienced in the maisons closes of the Rue des Moulins. This is the rare proof before the addition of letters. Wine Spectator.possibly it was intended to promote the magazine’s sales in France only. and he often lived with them for weeks at a time during the years 1892 to 1895. . putting her hair back up after finishing with a client. shown in postures that emphasize the everyday and unglamorous nature of their occupation. 390). The Chap Book. 1896.. Ref: Wittrock. 506./49. Here. this poster was never used in the United States -. insisting to Ralph . DFP-II. Est: $60.000. Although the women of the Elles series are prostitutes.. 19 1⁄2 x 25 1⁄2 in. as indicated in this poster. 842. p.’ as he used to say cynically. Framed. the florid figure of Tom. Reims.000. Est: $15. This is the finest specimen we’ve ever seen.505 TOULOUSE-LAUTREC (Continued) 505. a particular favorite with Lautrec for his supercilious manner . Reims. p. “The Irish American Bar at 33 rue Royale was furnished in gleaming mahogany.. Adriani.8 cm Cond A.. of their suffering and intimacy. 520 Commissioned by Stone & Kimball (the Chicago publisher of The Chap Book) from La Plume (which provided the design by Lautrec). This ambiguous title both recalls the common phrase ces dames (these ladies).. the Rue d’Amboise. There./61. 24 (var). Chaix. [Lautrec] presided over the clients in the bar as he had over his house guests.

DFP-II. stage right. p 480). Framed.507 TOULOUSE-LAUTREC (Continued) 507. having driven himself regularly to Chantilly. . 20). p. this was the only one of the four ever realized as a print. Le Jockey. Henry . . Est: $70. 829. floppy ball of a man. 540 A well-loved cabaret personality in Montmartre. 308-II. 35 1⁄4 x 49 1⁄2 in.2 cm H. Est: $55./26 x 51. hear the harsh breath of the animal as it gallops by on this overcast. Ref: Wittrock. Reims. . . 8.000. Chaix. 1899. 1893.000-$90. Adriani. a hollow-cheeked audience member gawks curiously up from the orchestra pit. Caudieux. Feinblatt calls this “a study in dynamic motion and concentrated energy . 776. Caudieux was a large. As the actor purses his lips in self-satisfaction after what we can imagine to be a fine performance.000-$65. . 508 508. . The works he did now maintained the fine-lined. He returned to his childhood interest in horses and the race track. P7. seemed to live his former existence. . 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.000. and his bustling sweep across the boards is an unparalleled rendering of movement among Lautrec’s posters” (Wagner. this is one of his finest prints. conveying the raw energy and speed present on the track.5 x 125.7 cm Imp. 4. Stern (not shown) Cond A/P. almost drawing-like quality of his painting” (Frey. Paris Cond B+/Slight tears at folds. making paintings and prints and maintaining contact with friends . Framed. You can almost feel the weight of the hooves as they hit the turf. the Bois and Longchamps to watch horses. In some ways he seemed more willing to live conventionally than he had before. PAI-XLV./89. Adriani. shown here with coat-tails billowing behind him as he exits. cold morning. 345-II “In Paris from the autumn of 1899 to the summer of 1900. Wagner. 14 1⁄4 x 20 1⁄8 in. Although lacking the glamour of Lautrec’s circus and cabaret images. Ref: Wittrock.

Framed. Reims. Beyond him. 1895. 12. Written by a former prison chaplain. 99). 25 x 35 3⁄4 in. L’Artisan Moderne.000.000. La Dépêche / Le Tocsin.” As a favor./63 1⁄2 x 90.TOULOUSE-LAUTREC (Continued) 509. 59-II. the prisoner’s gritty face contorted. p. Wagner. 830. The Alarm (also known as The Lady of the Manor) by Jules de Gastyne is a gothic romance.5 x 55. Est: $3. in place of the more familiar monumental flat shapes. 514 Lautrec’s friend André Marty was a publisher and dealer in graphic arts. 835. the medalist Henri Nocq. 203).5 cm Cond A-/Slight tears at top & left edge.2 cm Ch. Adriani.9 cm Imp./42. 147. 16 3⁄4 x 21 7⁄8 in. PAI-XLVIII. this image shows a ghostly woman followed down a deserted evening path by a skin-and-bones dog.000-$4. taking instructions from his very charming lady client” (Adriani. P8. 23 5⁄8 x 32 5⁄8 in. P24A. the giant hand of the executioner weighing down upon his shoulder. we find here a nervous play of lines drawn over a delicately nuanced background” (Adriani. the book carried a ‘true crime’ or ‘proto-reality TV’ quality to it which would have been particularly appealing at the time. P19B. the outline of a gloomy castle in the background. and also the founder of a chain of interior decorating shops that he called “L’Artisan Moderne. 511. the artist helped him to publicize this venture by designing this charming poster showing “a craftsman. 509 510 511 . Adriani. The poster perfectly echoes this feeling.000. that Lautrec certainly did not confine himself to a single style of poster work.000-$60. Adriani. . 510. 1893./60 x 82. Est: $5. 787. 839. . Bourgerie. DFP-II. Ref: Wittrock. faceless shadows on horseback will be the last thing he sees before death. Le Matin / Au Pied de l’Echafaud. 19. Paris Cond A. Lorilleux Cond B+/Tears at folds. 500 This design advertises the serialization of the 1891 book At the Foot of the Scaffold in the newspaper Le Matin. DFP-II. DFP-II. All known copies of this image are trimmed at the bottom. Ref: Wittrock. PAI-LI. 497 (var) Advertising yet another serialized novel in the Toulouse-based paper La Dépêche. “It is evident from this rather historical design . Wagner. 1894. PAI-XXXIX. Ref: Wittrock. Est: $50. 14.000-$6. p.

23 1⁄2 x 31 in.000-$40.000. Est: $15. Est: $1. the largest of which [is] also being closely observed by a caricature of the Kaiser standing in a guardbox. according to art dealer Edmond Sagot.500. Timeless Images. had committed suicide. His “poster focuses the spectator’s attention on the hindquarters of four horses. Est: $8. was published in 1926. this is the second edition of the image from a pressing of 30 copies. Est: $35. Chaix. Framed.6 x 26./59. 2 Originally created to promote the serialized novel Les Drames de Toulouse by A. in which a father is falsely accused of murdering his son. 774. DFP-II. Reims. No one knew Lautrec better than Joyant and it shows in the care and detail of presentation. Ref: PAI-LIII. P12B. Volume I./20. 786. slight wear at cover edges. Reims. Est: $2. facing a firmly anti-Protestant judge.8 x 78. 1895. 1894. Wittrock 66. 510 The two-volume definitive work on the artist by his lifelong friend and manager. with 284 pages and subtitled DessinsEstampes-Affiches.000. DFP-II. The notoriety associated with the case comes from the fact that the father was Protestant and. 55. provoked a protest from the German ambassador to France and nearly caused an international incident. the eerie glow of a candle our only source of light. Ref: Wittrock. wrote Lautrec asking for him to withdraw the poster. with 312 pages and subtitled Peintre. we are just stumbling upon the gruesome image of his son dangling from a rafter. 516 The subject is a book exposing the decadence of Berlin society. 96-III. Adriani. Maurice Joyant. 1926-1927. 32 5⁄8 x 48 1⁄8 in. PAI-LI. as she apparently used the poster for personal publicity. 18. as he felt the depiction of a German officer. was told his motive in murder was to prevent his son from converting to Catholicism. Le Pendu. Paris In overall excellent condition. Lautrec. in actuality. serious face and strong chin who appeared at the Moulin Rouge. however. 134-II. P17B. PAI-XLII. Babylone d’Allemagne. Ref: Wittrock. the publisher was not able to stop the distribution. most notably documented by Voltaire. P15. Set to the tune of the “Bataillon de la Moselle./17. the father is tortured to death. 1895. 242). PAI-XLVI. 496 According to Adriani. 246). Like he.8 cm Cond A-/Faint horizontal fold. Adriani. Adriani. 513 . 832. 516.3 cm Published by H. Paris Cond A. Ref: Wittrock. Both volumes contain numerous color plates.000-$2.512 TOULOUSE-LAUTREC (Continued) 514 512. Ref: Adriani. It contains an original drypoint etching of Charles Maurin (Wittrock. Yet the point is made with such gentle irony that it may have been missed. 58. 515 514.” the song delves into the seedy underbelly of Paris’s fifteenth arrondissement. by the performer herself. the sentiment of which has been captured perfectly by Lautrec in the corresponding image. “May Milton was an English dancer with a pale. Henri de Toulouse-Lautrec. would not be tolerated by the police and could get him in trouble. 45.500-$2. and as he had paid for 516 it [himself]. Joze. and pointing out the inappropriateness of the white debutante’s dress with puffed sleeves which she wore on stage. Siegel. refused to stop distribution of the poster. p. Le Terreur de Grenelle. who. along with the book’s title.000-$20. by Maurice Joyant. written by Lautrec’s friend Victor Joze. [Thereafter]. together with the anti-German tone of the book. The implications of this.3 cm Imp. was published in 1927. The story is based on the 18th century Calas affair. 1864-1901. 836./83 x 122. Each: 8 1⁄8 x 10 3⁄8 in. Failing to confess to the murder. Floury. Framed. or ignored. Volume II.1 x 26 cm Joly-Crevel. and also contains one original dry-point etching of “Monsieur X” (Wittrock. Wine Spectator. 513. 1894./60 x 79 cm Cond B/Slight tears at horizontal fold & in dress. 6 3⁄4 x 10 1⁄4 in. 398).000-$10. neither pretty nor youthful. May Milton.000. too. 515. 551 A first-edition song sheet cover promoting the release of Joseph Darcier’s “La Terreur de Grenelle” (The Scourge of Grenelle). Paris Cond B/Slight tears at folds. 23 5⁄8 x 31 1⁄8 in. the value of [Lautrec’s] work quadrupled” (Frey.000. Framed. Wagner.” Toulouse-Lautrec is almost brutally frank in depicting her face.

so too this poster epitomize[d] Montmartre and its cabaret in the heyday” (Schardt. Lautrec/Montmartre. 38 1⁄4 x 54 3⁄4 in. Est: $70. the Jardin de Paris.000. 1896. because the first night is the evening of Monday 20th. It remains to be hoped we will be more careful next time’ (Adriani. 1893. it’s being used as a program for the Théâtre Libre in order to promote the 1893-94 winter season. Est: $35. Framed. Encyclopédie/Weill. and then we could use the same poster. 515 Despite the fairly discouraging reactions to his first artistic attempt at publicizing Aristide Bruant. Masters 1900. Cléopatre. without lettering. Troupe de Mlle Églantine. 1894. Reims. The Eldorado management was very mean. The dance had been developed from the can-can. Strategically. the management of the Eldorado was hardly more amenable. Lautrec also designed this poster. P21C. as we see from a letter by Lautrec 517 which may refer to the Eldorado poster: ‘Bruant.000-$6. Such an impressive combination of form and color. Naturally.000. my good friend. and was performed in the formation of four./1 Eglantine. 368). 176). 1896. has probably never been achieved since. Adriani.” the poster shows one of the women from the Rue des Moulins brothel having her hair done. 223. Le Théâtre Libre. Enclosed the states as requested. 43./79 x 61. the Frascati and the Moulin Rouge.” because we shall certainly be appearing in other places as well. 115. Bourgerie. p. giving exact wording for the text: ‘Troupe de Mlle Eglantine. at Bruant’s request. Framed.518 518. DFP-II. That said. Ref: Wittrock. P5. In the state seen here. was reproduced in monochrome in Le Courrier Francais on February 16. So please do your best…’. PAI-LI. with its particularly enticing exuberance. which quickly folded. and Gazelle in the Quadrille Naturaliste. PAI-L. but reversed. 2 Jane Avril/3 Cleopatre 4 Gazelle/“Palace Theatre. created by Celeste Mogador. 162-III. 31 1⁄8 x 24 1⁄4 in. PAI-LI. this was a brilliant move. TOULOUSE-LAUTREC (Continued) 517. Jane Avril. Ref: Wittrock. Adriani. slight tear in midsection. He used new stones for the drawing. 49. However. there are no good impressions left. It was used to advertise the appearance of Eglantine Demay. Eldorado / Aristide Bruant. p./97. Paris Cond B+/Slight tears at folds & edges. In a letter written on 19 January 1896 in London (Musee d’Albi). haggling over the price and giving me less than the printing costs at Chaix. at the Palace Theatre in London. 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. it was not enough at the time to save the show. Delteil./24.2 x 139 cm Imp. Wagner. Thanks in advance and good luck and every success with the work…Please answer straight away. as the Ambassadeurs poster was already well known to the public. for his appearances at the Eldorado on the Boulevard de Strasbourg.000-$40. And while posterity has certainly been impressed by the greatness of this design. and we want people to see our poster before that. 9 1⁄2 x 12 1⁄2 in. 4. and released with the title “La Coiffure. of picture and lettering. 519 The poster. Just as the red scarf and the wide-brimmed hat were Bruant’s trademark. 23. Wagner. Adriani. mainly at the Elysee Montmartre. Wine Spectator. p. Ref: Wittrock. I am sorry they misused our good relations to exploit me. 791. Eugène Verneau. 850. 14.000-$90. As far as the poster ex condition is concerned.000. So I have worked at cost price.8 cm Imp.4 cm Cond B/Mat stains at edges. Jane Avril and Eglantine asked Lautrec for the poster. 6. with the same dimensions and the same color arrangement as the design for his Ambssadeurs poster two years prior. 475 Originally published as a lithograph in color. Paris Cond A-/Slight tears at edges. they included the élite of the intellectual avant-garde” (Frey. 519.40-III. Est: $5.1 x 13. once the poster was printed and hung it became “one of the undisputed masterpieces which adorned the billboards of Paris. p. 23). 15. p. 519 .

this was the last poster of her Lautrec would ever make. 1899. Framed. which makes it a highly poignant image. this image was never displayed promotionally. Est: $60.000. Maitres. There is a certain resemblance between her pose and that presented in Edvard 521 Munch’s The Scream. Unlike his other images of gleeful.000-$70. hand-signed with a snake remarque in the lower left. how tired and somewhat downcast she looks close-up.000. 22). Adriani. Jane Avril.2 x 54. 1893. this image of Jane Avril remains one of Lautrec’s most compelling designs. Incidentally. 35 x 48 in. Munch would design a poster later that year for Jane’s portrayal of Anitra in Ibsen’s Peer Gynt. Wagner. self-satisfied cabaret stars. of which Lautrec would have been aware. PAI-XXVI. 41). according to contemporaries. Framed. Ref: Wittrock. and appears to have only gone into collector’s hands. #12 of only 25. 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. 828. 517 Ebria Feinblatt indicates. Stern. Jane Avril. as Maindron has pointed out. Ref: Wittrock. 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. that she is dancing entirely for the viewer’s pleasure. P6B. Chaix. 354-II. 559 Commissioned by the performer early in 1899. 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. Oddly. 11-I. Seemingly without trying.6 cm H. Paris Cond B+/Slight tears. off-kilter. that this “is universally considered his most brilliant and successful design” (Wagner. which. P29A. Lautrec/Montmartre. largely at edges. Adriani. 521. as if inadvertently. Wine Spectator.000-$70. here Jane appears alarmed. PAI-LI./89 x 122 cm Imp./36. DFP-II. 14 1⁄4 x 21 1⁄2 in. and this allows Toulouse-Lautrec to show. with good reason. 175. Toulouse-Lautrec shows “Jane Avril on stage doing her specialty. p. 784.TOULOUSE-LAUTREC (Continued) 520. Having worked with Jane for much of her career. Paris Cond B+/Slight tears at folds. not at all in keeping with the gaiety of the dance that is perceived by the audience. Reims. It is clear. 7. 110 (var). not hers. . This is a beyond-rare version of the poster. 41. The sexual innuendo was captured by the artist by contrasting 520 the dancer’s slender legs with the robust. Est: $60.

Reims. Rare! Est: $4. 32 1⁄2 x 43 in./38. In this case.000. Grand Chêne. 486 Decidedly the best poster by Toussaint.000. 47.000-$30. colors and strong contrasts do for coffee what Mucha’s ‘macaroni hair’ did for cigarette rolling papers. PAI-XLVI. roller skating was a sophisticated. Champs-Élysées Skating Rink. 1131. In fact. Marsens./88. PAI-LIII. EDOUARD TOURAINE (?-1916) 523. 100. Est: $20.2 cm O. 1930. Ref: DFP-II. Maxime Dethomas (1868-1928). Belle Epoque 1970. p. In the age before disco balls and spandex. 38 3⁄4 x 54 5⁄8 in. Café Jacqmotte.8 x 28 cm Imp. Paris Cond A.000. FERNAND TOUSSAINT (1873-1955) 524. romanticized activity.000. 1896. Timeless Images./90. 187-III. Barely touching her cup and saucer.500-$3.000-$25. Lausanne Cond A. 15 1⁄4 x 11 in. Bruxelles Cond B/Slight tears. published in June 1896 by A. 1896. 96. it was because he had observed them thus” (p.2 x 109.2 x 139 cm Cond B/Tears at folds. Wagner. Frey makes an interesting observation: “It has been said of Dethomas both that he was an eager participant in seductions and brothel visits. this poster claims that the rink on the Champs-Élysées was “where elegant people meet. Catalogue d’Affiches Artistiques / A. Arnaud. de Rycker. when Henry showed his friends in compromising positions. 525. Chaix. 552 The original lithograph was entitled Le Débauche (The Debaucher) and was subsequently used here as the cover of the Catalogues d’Affiches Artistiques. the debaucher is Lautrec’s painterfriend. Est: $25. Increasingly. Adriani. Her dress curls into the walls. 167-II. the serene woman stares curiously at the steaming beverage. ca./98. 1504. 35 3⁄4 x 50 3⁄8 in. AGENCE TRIO S. shown pinching the nipple of a poorly-clad woman. 411). creating an overall sense of warmth and dreaminess. Ref: Wittrock. largely at folds. this design’s rich 523 525 . A bold Swiss Art Deco design composed out of stark colors and sharp angles. 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.522 524 TOULOUSE-LAUTREC (Continued) 522. Masters 1900. 1910. however. her hair into the lettering. Arnould. this poster promotes the Grand Chêne (Great Oak) restaurant in Lausanne. Framed.000-$5.A.” 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. who specialized more in painting.7 x 128 cm A.

200-$1. 547 Every year leading up to March 19th. Est: $4. 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. so here the circuitry under the telegraph indicates that she’s connected everywhere” (Fit to Print. but his posters are not numerous./119.000. 6. The name of the festival derives from the word for these fires. In the other image. Robineau. Olympics. 44 3⁄4 x 63 1⁄2 in. Est: $10./59. Andrée Spinelly was a sharp-looking chanteuse most popular during the 1920s and 1930s. in fact. 94. Here. p. p. 1898. Bruxelles Cond A. creating bonfires known as fallas. 22 x 32 in. P. The text is beautifully drawn and gracefully integrated into the design of the posters” (Belle Epoque 1970.8 cm Lalande-Courbet. Est: $1. 1935. 60 (var) & 62 Two smaller-format. A. Ref: Villemot/La Femme. WALTER VAN DER VEN (1884-1923) 527. Bruxelles Cond A-/Unobtrusive folds.8 x 45.500. very knowingly placed on the page. and it shows a more muscular.7 x 81.000-$1. PAI-VII./72 x 95./113.2 cm Imprimerie J. a Roman-style discus thrower readies himself for the 1920 Olympic Games as a curtain of the world’s flags billow around him.6 cm Imp. Ref: España. 77). (2) EUGENE VAVASSEUR (1863-1949) 530. Ref: Fit to Print. Ref: DFP-III.2 cm Cond A-/Paper loss in top margin. Ortega. however. carpenters used to burn their collected wood shavings on the Feast of St. Framed. 47 x 62 7⁄8 in. a couple is seen madly embracing along the sand. Est: $2. held one of the the most hotly contested competitions for the best poster of the year” (Gold. each one by a different Belgian printer. 3480. 310 & 473). 506 “L’Eclair was an independent. As she stands on the globe in the heart of France. 84. Strangely enough. 1897. 353 A highly talented Jugendstil artist. Valencia / Fête de les “Fallas”.200-$1. this image won second prize in one such competition. she would be typecast in a variety of French war-era films as a femme-fatale spy. 19 1⁄2 x 27 7⁄8 in. Goossens. from textiles and stained glass to book design and illustration.500.500. Later in life. L’Eclair. 1980. Ausstellung Möbel u. Paris Cond B-/Tears & losses at folds & edges. VERCHER 531. 296 “Van Rysselberghe exerted a positive force for the 528 531 . The poster was printed in 17 different language editions. This is the Castilian version of the poster. Valencia Cond B-/Tears. Ref: DFP-II.3 x 159. 28 3⁄8 x 37 3⁄8 in. In fact.-E. 1126. which gradually evolved from the simple burning of leftover materials to full-on effigies of political figures. 1881) was the “creator” of this poster while Van der Ven was the “Belgian sketcher”. 2 Perrier Posters. 23 1⁄4 x 33 1⁄8 in. Reims. THEODORE VAN RYSSELBERGHE (1862-1926) 528. Masters 1900.6 x 161. Paris Cond A. y Lit.000.2 cm Imp. Van der Woude was known for his varied abilities in the decorative arts.500. 25. Joseph. his graphic skills are on display in a poster advertising an artistic furniture exhibition at the Kaiser Wilhelm Museum in Krefeld. Est: $1. Better known in graphic incarnations by Gesmar and Sem (see Nos. ca. 526 527 HUGO VAN DER WOUDE (?-1913) 529. dolled up and ready to be engulfed in flames./49. 447 With Antwerp’s Notre Dame Cathedral jutting out of the cityscape below.000-$12.000-$2. Belle Epoque. Rooted in traditions dating back to the Middle Ages. the phrase “c’est fou!” (it’s crazy!) in script beside their passionate kiss. refined figure than the smaller version. 86). Ateny-Atlanta. Est: $1. 1502. Spinelly. Paris (not shown) Cond A. politically oriented journal which devoted a lot of effort to advertising by means of posters and. 1970. Each: 23 1⁄2 x 18 in. 68).5 x 71.529 530 revitalization of the decorative arts at the turn of the century. 1932. his signature alone appears in all versions. those he created for La Libre Esthétique are unquestionably the finest. 1920./59 x 84. This is the larger of two formats. pl. In one image. 18. p. Est: $1. p.5 cm Imp. Geräte. PAI-XLI. PAI-XLII. Olympiade. Chaix. 1897. VIIe / Anvers./55. Monnom. Shown here are two such figures.000-$5. the official Olympic poster book indicates that one Martha van Kuyck (b. beach-themed horizontal posters promoting the effervescent joys of Perrier. Perrier bottles have become the sails of a yacht catching a giant wave. 132. Frequently. 383.200. BERNARD VILLEMOT (1911-1989) 532. seem to be the pretext for Van Rysselberghe to balance large spots of red-orange against their greenish or bluish complementaries. 106. Valencia holds a week-long carnival. PAI-XXXII. The elegant feminine figures of his posters. La Libre Esthétique / Le Quatrieme Salon. p. 532 JEAN-DOMINIQUE VAN CAULAERT (1897-1979) 526. PAI-VII. Ref (all var but PAI): Olympic Posters.200-$1. Weill.7 cm M. p.

/106 x 129 cm La Lithographie Nouvelle. the young flapper captivatedly peruses the pages of Mon Amour.500-$3. Masters 1900. the works of his two more politically controversial artists -. Le Frou-Frou./25.000. Interestingly.000-$2. 536 Le Frou-Frou was a satirical publication which ran from 1900 to the outbreak of World War I. Bedos. In her hand are both a cigarette. 534 VILLEMOT (Continued) 533. Wissous Cond A. 340. 533 536 . It would later have a post-war revival. The verso includes a dedication by the artist to Jack Penoche on March 9. Chéret. Perrier bottles in everyone’s hands.000-$8. Framed. a wild party is raging. Ref: PAI-LII. the outlines of which actual make each poster identifiable. 1900. 1932. Here. 61 & 63 Three smaller format posters. Unaware of us.400-$1. ca.are hidden from you and only noted by name. 1925.’ Finally. 1873-1947) 536. Kleinmann.” Est: $2.000. WEILUC (Lucien-Henri Weil. p. p. missing bottom text panel.537 535 535. of course. Est: $800-$1. Each: 17 1⁄2 x 24 1⁄2 in.2 cm Gouache & crayon illustration.7 cm Imp. Kleinmann was a well-known art dealer & publisher in Paris around the turn of the century.500./44. Est: $6.” In one. “c’est fou. Wine Spectator.4 cm Lalande-Courbet. a woman’s spectacles have magically turned into Perrier bottles. the latest in bodice-ripper fiction. the smoke from which spells out the publication’s name. ca. It appears that the image we see is also on the copy of her magazine. Willette. Ibels. the image is still delightfully depicted. Est: $2. PAI-XV. amongst many others. Est: $1. while in the lower right on the front is the name “Lisette. and. 9 3⁄4 x 9 3⁄4 in. 41 3⁄4 x 50 3⁄4 in. Framed. 10 x 11 7⁄8 in. and a copy of the periodical. making the design an endless parade of smaller frou-frous. giving an individual personality to each male character in the parade of smoking children. A delightfully-detailed original drawing by Vincent in which we see one of his scantily-clad redheads.700. the many petticoats and underthings rustling against her stockinged legs. in another. allowing her to see ‘la vie en Perrier.Lautrec & Steinlen -. (3) ADOLPH L. 1978. WILLETTE (1857-1926) 537.4 x 146.5 x 62. 1900. As the name of the magazine would imply. Asnières Cond C-/Restored tears & losses. her underthings coyly hidden behind the arm of an upholstered chair. this image of four little scamps on a cigarette break was terribly charming by 1930s standards. Paris Cond B+/Unobtrusive tears in bottom text area. a decked-out ebony beauty sips from a bubbly glass./25 x 25 cm Cond B-/Slight tears & stains. 64. we see a woman’s uplifted skirt. Mon Amour.000. a nude muse representing the arts is holding up for display a myriad of famous works. each demonstrating the many ways that with Perrier. Ref: Villemot/La Femme. but was at its best during the time that this poster was created. He dealt primarily in the works of Lautrec. Offrez / Cigares et Cigarettes / Régie Française. 3 Perrier Posters. RENÉ VINCENT (1879-1936) 534. 451 Part of their New Year’s campaign.2 x 30. Perhaps less appropriate today. Perrier bottles elaborately comprising her jewelry for the evening. 1925. 37 5⁄8 x 57 3⁄4 in./95. Ref (all var): Encycloipédie/Weill. Steinlen.

largely at folds. they appeared frequently in all the major venues. consists of 50 full-page. 1929. this overly enthusiastic harlequin promotes Filver suspenders & sock garters. ./79.000-$5. Billed as both Russian and French./23. including twenty works by Will Bradley. Ref: PAI-XXV. This poster was created toward the end of their fame. Framed Ref: PAI-III.000. from the Folies-Bergère to the theaters along the Riviera. 31 1⁄4 x 46 7⁄8 in./38. Paris Cond B/Slight tears & creases. The Ault & Wiborg Poster Album. 436 One of the most celebrated dance acts in France during the Jazz Age. 594 Taken from an original d’Ylen design (“d’après”) and executed by an unnamed artistic collaborator. they would vanish from the spotlight.000. As it states on one of their ads. when the addition of the third member. 1902. 540 540. full-color reproductions of the company’s promotional materials. Ref: PAI-XLIII.5 x 119 cm Affiches Gaillard. Sylvio.5 x 31 cm Cabinet: 15 x 21 5⁄8 x 5 1⁄4 in. Album: 9 1⁄4 x 12 1⁄4 in. joined their small troupe. 46 3⁄4 x 62 in. some of which are not seen in any other context.2 x 55 x 13. Inks & Cabinet. but also a healthy dose of salacious gossip. Chachoin. gradually building up more exotic acts which required them to perform partiallynude.5 cm Imp. which we have offered before. Est: $4. Rumor had it that Roseray was even Capella’s mother. 522 (var) The ultimate Ault & Wilborg collection! The album.000-$4.500-$2. Est: $1. “At the close of the nineteenth century.5 cm Album: Hardcover. Ault & Wiborg’s Inks stand preeminent above all competing inks.BOOKS AND PERIODICALS 538 539 JEAN D’YLEN (1866-1938) 538. Est: $3. cover slightly worn. Within three years. H. Simone Roseray and Jacques Capella brought not only stunning acrobatics and grace to a performance.000. in overall excellent condition.” A once-in-a-lifetime purchase. Roseray / Cappella / Sylvio. 1926. 1882-1936) 539.2 x 157. Paris Cond B/Tears at folds. Also included is an original key-locked cabinet filled with sample sizes of the company’s printing inks. Filver Bretelles. ZIG (Louis Gaudin. This is the smaller format version of the poster./116.

000. Poster lovers will delight not only in its profuse illustrations. One of the liveliest of journals ever published for poster lovers! A must for the serious collector! Est: $5. 10 7⁄8 x 16 in.” by Louis Morin. The Poster. as well as an ambling British gentleman’s pleasurable walking tour of the bohemian Parisian artistic scene. of the period’s top illustrators.000-$6.R. 1900. a Parisian weekly containing short stories. ca. And their job became considerably less challenging once they enlisted the services of Verneuil. social commentary.9 x 28. Ref: PAI-XLIX. 1893-1895. Beggarstaff Brothers. loose sheets all within a presentation case. in original hardcover binding.000.3 x 22 cm Overall excellent condition. photogravure and etching plates and five covers of that year’s issues.500-$3. etc. 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. Ref: PAI-XLVII. Auriol and Mucha to demonstrate. . over the course of sixty plates. Ref: PAI-XLIV. Many of the best artists of the era are included within these pages.500-$2. Rare! Est: $4. but in its delightful and informative articles on posterists–Beardsley. simple and rapid to arrive at this result. Essex Overall excellent condition.000. NY In beautiful presentation case. Chéret.000. Berthon./33 x 43 cm Charles Scribner’s Sons. both artistic and social. Toulouse-Lautrec.8 cm Vols 6-9: 9 x 11 3⁄8 in. Mucha./27./19 x 24. Vols 1-5: 7 1⁄2 x 9 3⁄4 in. 10 x 8 5⁄8 in. fifteen color. There is even a folded insert of Steinlen’s Lait Sterilise. 1893. Alexander & Sons. 544. pages yellowed.5 cm Overall very good condition. Hardcover. Est: $2. 536 Hardcover binding with sixty-six pages. 13 x 17 in. with special emphasis on the works of Steinlen. “French Illustrators. 1898-1901. Delightful text–in English–that’s a personal critique. binding edges slightly worn./25. Est: $1. music and poetry. 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.” Of course these curious spirits just happened to be members of the Libraire Centrale des Beaux-Arts.541 543 542 544 541. Overall excellent condition. with slight stains on pages. Gil Blas. 512 (var) A complete collection in six volumes of this important and lively journal. 542.6 x 40. Combinaisons Ornementales. 543. binding slightly worn at edges. as well as thousands of illustrations. 538 (var) A collection of three year’s worth of Gil Blas.9 cm E.000-$5. Ref: PAI-LIII./22.

1893. A deliciously graphic collection by Julius Klinger. NY In overall excellent condition. illustrations.April 1. 12 3⁄4 x 16 5⁄8 in. 1. Ref: PAI-LIII. Paris Overall excellent condition. textiles./25 x 32 cm Published by Librairie-Imprimeries Réunies. 1894.’ and an article on “Le Lawn-Tennis” with colored photos.bound together in a single volume. 582 (var) Five numbers -. Berlin Plates are in excellent condition with slightly worn edges on some. 1902. wood. posters.2 cm Published by Boussod. Das Weib im Modernen Ornament. Est: $700-$900. metalwork. slight yellowing on pages & wear on covers./17. covering tidbits such as Bradley’s unhappiness with the way publishers reproduce his work. A host of interesting articles are also included. December 15 (all from 1899).2 cm Albert Brinitzer. It is a veritable treasure trove of German Arts & Crafts design. & 5) of this American booklet for poster collectors.”)./40 x 33. Est: $800-$1.000. Les Arts et les Industries du Papier en France–1871-1894. Est: $800-$1. overall excellent condition. Paris All 1893 issues in one bound volume.. Paris In overall excellent condition.2 x 23 cm Published by Will M. 1899-1900. His Book. The monthly full-color covers are charming. 3. the poster market (”The French posters are selling in this country at from one dollar to ten dollars. stationary. the text includes prices for the original posters at the time of their printing -. ceramics.8 x 25 cm Typ. and the latest books. wallpaper. Rhead. La Plume. Valadon.. 7 1⁄8 x 9 7⁄8 in. Clemens. leather. forcing him to create his own publication.700. 549. 548. showcasing his original designs for decorative panels. but for collectors what makes the issues of 1893 special are the Toulouse-Lautrec illustrations for Geffroy’s article on “Le Plaisir à Paris. 546..” There is also a supplement issue devoted to bicycles. some stains in corner./32. containing 30 color plates. such as Imprimerie Chaix. The Poster. Ref: PAI-LI. are said to be out of print!”).. and March 1. editorial commentary on the latest posters (”Beardsley’s posters . and book layout. Four of the first five issues (Nos.545 548 546 545. 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.400-$1. 1896. they have a sort of nightmare appearance.000. All progressive art stores have poster displays” and “Nearly all the early Penfield posters issued by the firm Harper & Brothers. a weirdness. 1900 -. Chamerot et Renouard. with an additional bonus of some impressive color proofs of their technological prowess. this was the magazine for the serious writer and accomplished artist. 547. Est: $800-$1. contests. 547 Partly because of its huge circulation and partly because of its sumptuous color reproductions. 15 3⁄4 x 13 1⁄8 in. In original wrapper.prices which today seems staggeringly low. August 1. are impossible things . hardcover.000. as well as announcements. 9 3⁄4 x 12 5⁄8 in.. Jules Chéret’s charming illustrations for the ballet “La Fée du Rocher. Hardcover. by Marius Vachon. 2. 547 549 .4 x 42. Ref: PAI-XXXVI. Figaro Illustré. 6 x 9 in. stained glass. Est: $1./15. With covers by Penfield. October. and Bird. Dupont and Camis..

Dozens of photos of posters on the hoardings in England. The complete Table of Contents for each number makes the search for particular artists less arduous. such as Colin.700-$2. de Malherbe.” is a treasure trove of articles and reproductions for the poster collector. Est: $700-$900. 619-621). Chéret. Anquetin. A lovely sports-themed calendar with a reproduction of a different watercolor by Georges Scott (1873-1943) for each month. Ref: PAI-XX. Klinger. Olbrich. Softcover./23. on the occasion of his eighty-ninth birthday. Ref: PAI-L. 18)./28 x 21. Vendre. 1927. 501-506). 1929. . Klimt. Covers by many posterists. Wien Overall very good condition. 1925.000.2 cm Five issues in overall very good condition. The Echo. 1895.500-$3. 1905. 553.552 550 551 553 550. and others./22. 11 x 8 5⁄8 in. with slight wear on covers. 8 3⁄4 x 13 1⁄2 in.000. Osterreichicsche Plakatkunst. One of only 200 copies bound in linen from a total edition of 230.8 cm Published by Kunstverlag J. Beardsley. slightly soiled & worn. pp. pp. Mercier. Carlu and Marton. Calendrier des Sports / 1906. Hardy. 11 7⁄8 x 15 3⁄8 in. This was a promotion for the Belle Jardinière department store in Paris. p. Est: $2. a 1925 article on the auspicious beginning of a promising new artist named Cassandre. a fine appreciation of Swiss posters (May 1925. overall excellent condition. Paris In hardcover binding. Pal. devoted to “everything which concerns advertising and marketing. pp. 1924-1963. Not a complete run. 523 A fabulous collection of the best of Austrian poster art. Löffler.2 x 34. Included are 21 full color plates and 176 black and white illustrations by Schiele. ca. Est: $800-$1. Löwy. Some favorites: a full page tribute to Chéret. 21-26). Germany and France. Forain. pp. 1915./30 x 39. Roller.000. Each issue is 22 pages. Est: $1.1 x 29 cm Overall very fine condition. This monthly. a critique of the posters for the 1925 Art Deco show (June 1925. Moser. an insightful critique of Jean Carlu’s early work (Jan. This Chicago-based semi-monthly publication is replete with drawings and poster reproductions of works by Bradley. 551. 504 (var) 159 individual issues from February 1924 through April 1963. Steinelen. Dozens of articles announce and critique the new posters hitting the streets that month in Europe. Please inquire for a list of issues included. 552. 67-70) and a discussion of Colin’s poster method (Jan. some loose.8 cm Published by G. and many others. by Cappiello (Jan. All covers are by Will Bradley. and page edges. In original hardcover clothing binding. Each Approx: 9 1⁄8 x 11 3⁄8 in. compiled by Ottokar Mascha.

1971. Ailes Voici des ailes : affiches de cycles. Belgische Affiche 1900 De Belgische affiche : 1892-1914. by Dominique Dubarry. New York : Harper & Row. and sponsored by the Automobile Club de France. 1991. Catalogue of the exhibition at the Musée de l’Affiche. 1982. 1983. Wittamer-De Camps à Bruxelles. Inc. MeierGraefe & J. Torino : Giulio Bolaffi.P. Italy. 1979. Estampe et Affiche. Conn. T. buchgestaltung. 1995. 1981. N. Catalogue of the exhibition at the Jewish Museum. September 29-October 14. Catalogue of the exhibition at the Musée de l’Affiche. Carlu Retrospective Jean Carlu. 1992. Cassiers Henri Cassiers : 1858-1944. Affiches Azur Affiches d’Azur : I00 ans d’affiches de la Côte d’Azur et de Monaco. MO : Bruce Hershenson. Catalogue of the exhibition held at the Tokyo Metropolitan Teien Art Museum. Beaumont L’affiche Belge. Paris : Musée de l’Affiche. by Götz Adriani. by Eric Kellenberger. New York : Harry N. by Robert K.” Antwerpen : Stad Antwerpen. Iris Kockelbergh. 1980. 1994. 1978. 2001. Abrams. by Thomas Bolt. Zürich : Kunstgewerbemuseum. Auto Show I 1er salon de l’affiche automobile. Art For All Art for all : London transport posters. 1897. and Livemont : a loan exhibition from the Collection of L.C. Results from all 54 prior auctions can be found on our Poster Price Guide. Affiches d’Aviation Affiches de l’histoire d’aviation. Belle Epoque/Belgique Affiches de la Belle Epoque : 329 documents de la collection L. 1995. ed. Lausanne : Editions du Grant-Pont. by Ph. Wittamer-De Camps. Vendre. The catalogue raisonné. 1979. Dutton. Abrams. Catalogue of the exhibition at the Museum für Gestaltung.affiches. by Gerald Silk et al. et al. New York : Poster Art Library. compiled by Anthony Bambace. 1990. Victoria Hansen. 2007. by Patricia Frantz Kery. 1987. Catalogue of the exhibition at the National Museum of Modern Art. Brown & Reinhold The poster art of A. by Guido Vergani. M. The catalogue of the touring exhibition of the Wittamer-De Camps collection. and the Bibliothèque Nationale de France. 1994. by Clarence P. Affiches Suisses Objets-realisme. and organized by L’Association Royale des Demeures Historiques de Belgique. Bailly. by Raffaele Monti & Elisabeth Matucci. Poland. 2005-April 2. Art et Biscuits L’art et les biscuits : la publicité de la firme Lefèvre-Utile de 1897 à 1914. Cassandre/Suntory Every face of the great master Cassandre. Paris. : The Vestal Press. Cartoon Movie Posters Cartoon movie posters. The abbreviations can be found below. 1978. Paris : Automobile Club of France. November 26-March 29. 1973. Japan. Bouvet Bonnard : the complete graphic work. Belgium. Hayashi. de Jong. New York : Grossman. September 9-October 31. 2007 sale in Torino. 1980. 1875-1942 : caricatures . New York City). Das Plakat.BIBLIOGRAPHY The following is a list of books used in the preparation of this catalogue. 2005. Bauwens. Del. by Yolande Oostens-Wittamer. by the National Museum of Art. Catalogue of the exhibition in Brussels. by Yolande Wittamer. 1979. M. 2005. ANtwerpen : Pandora. Catalogue of the exhibition at the Museum Vleeshuis. Catalogue of the loan exhibition from the Wittamer-De Camps collection. by Jacques Perier. Paris : Citadelles & Mazenod. Paris. [1981]. Paris. New Haven. Catalogue of the exhibition held at Fraiture-en-Condroz. 1961. Tokyo : B. 2006. Tokyo. New Castle. by Masami Shiraishi & Kenji Kaneko. Washington : International Exhibitions Foundation. Art Deco Graphiques Graphiques d’Art Deco : affiches de 1920s.G. Bradley : his work. 1994. Catalogue of the December 12. May 21-July 23. Art de l’Affiche L’art de l’affiche Française. 1979. Stuttgart : Institut für Auslandsbeziehungen. Saint-Étienne. 1995. 1996. SaintEtienne : Musée d’art et d’industrie. Berman & Alain Weill. these works have been abbreviated in the Reference (“Ref:”) section of the description of each lot.D. 1999. August 21-October 20. Paris : Réunion. Catalogue of the exhibition on the subject of the Postermania of the period 1880-1900 held at the Musée de l’Affiche. New York : Harry N. New York : E. Ozanne. Tokyo : Kodansha. : Yale University Press. June 25-September 24. Catalogue of the exhibition held at the Poster Museum of Wilanów. Brenot/Weill Brenot. Milano : Davide Campari. Bolaffi Catalogo Bolaffi del manifesto Italiano : dizionario degli illustratori. 1984. Le Coultre. Paris. [Tokyo] : Art Life. 1999. Campari Thirty years and a century of the Campari Company. ed. Clairac. by Jane Abdy. Liège. 1986. New Brunswick. Bernhard Lucian Bernhard : plakate. Nice : Editions Gilletta. Torino : Sala Bolaffi. watercolors and drawings from the collection of L. 1981-January 10. Paris. verpackungsdesign. Martin. by M. June-August. Affiches 1000 1000 affiches de 1890 à nos jours. France : Chateau de Daussinanges. schriftentwürfe. by Alain Weill. by Jack Rennert. Verona : Éditions Hazan. Catalogue from the exhibition at the Musée d’Art et d’Industrie. Vestal. 2nd ed. 1985. Belgium. 1978. 82. by Charles Martini de Chateauneuf. by Thierry Favre. Catalogue of the exhibition at Chaumont. Cardinaux Emil Cardinaux. September 20-Dcember 4. Italy. Cappiello Cappiello. December 1. by Alain Weill & Hiroshi Unno. Art Deco/Tokyo Art Deco posters. Brussels Homage to Brussels : the art of Belgian posters. New York : Harry N. by Yolanda Oostens-Wittamer. by Marie-Claude Delahaye. Arts et Metiers Graphiques. : Rutgers. Inc. London : Art and Technics Ltd. New York : Rizzoli. Affiches Riviera Affiches de la Riviera. by Jacques Perier. 1895-1915. by Alain Weill. 1995. Abrams. Art du Biscuit L’art du biscuit. [Paris] : Hazan. Zürich. Bowers/Martin The postcards of Alphonse Mucha. by Q. by Lucy Broido.. 2010. in which all results are searchable by artist or title. 1980.J. Auto Show III L’automobile et la publicité. Catalogue of the exhibition at the Jane Voorhees Zimmerli Art Museum at Rutgers University. Potter. by Tony Oost. Vincent Leonetto Cappiello : dalla pittura alla grafica. 1877-1936. 1961. New York : Dover. 1981.A. by Jane Block & T. Grenoble : Editions Glenat. New York : Clarkson N. Purvis & Martijn F. 2004. 1979. Affiches Etrangères Les affiches etrangères illustrées. New Jersey. Auto Show II 2eme salon de l’affiche automobile. Paris : Editions du Chêne. : Oak Knoll Press. Paris : A. 1980. Catalogue of the exhibition held in Tokyo. San Fransisco : Chronicle Books. (Distributed in the United States by Posters Please. Beggarstaff The Beggarstaff posters. Paris : Musée de l’Affiche. by Therese Thau Heyman. Belgium : IBM. West Plains. 1985. Bénard et Centrale Réunies. New York : Dover . London : Barrie & Jenkins. NOTE: References to prior PAI books are limited to the last auction in which the poster was offered.. Bargiel et Zagrodzki Steinlen affichiste : catalogue raisonné. 1992. 2005. Catalogue of the exhibition at the Chisholm Gallery. January 22-March 20. London : Thames & Hudson. Catalogue of the exhibition. New York. M. Berthon & Grasset Berthon & Grasset. Hornung. in three volumes. Paris : Musée de l’Affiche. 1980. Affiches Automobiles 100 ans d’affiches automobiles/100 years of auto posters. Paris : Bibliothèque de l’Image. 1995. Davis Bowers and Mary L. 1974. Bradley Will Bradley : his graphic art. and which can be accessed free of charge at www. 1991. 1981. Auto s’Affiche L’auto s’affiche. 1975. Tokyo. Car Graffitti Car graffitti/Posuta wandarando. 1984. Cassandre. publisher’s name. December 1980. Firenze : Artificio. accompanied by the work’s full title. by Annie de Montry. compiled by Jacques Perier.F. 1969. Affichomanie L’affichomanie. Catalogue of the exhibition at the Hotel Billia in Saint-Vincent. 1979. Bambace Will H. Cassandre/Tokyo A. by René Grohnert & Hubert Riedel. April 1-June 12. 1992. . 1982. 1985. by Colin Campbell. 1980. April 12-June 6. 1980. March 30-May 30. Paris : D. Brussels : Koninklijke Bibliotheek Albert I. Françoise Lepeuve & Charles Martini de Chateauneuf. by Alain Weill. Cappiello/Rennert Cappiello : the posters of Leonetto Cappiello. 2002. May 3-September 22. Belle Epoque 1980 La Belle Epoque : masterworks by Combaz. American Posters Posters American style. New York : N. Bernhardt/Drama Sarah Bernhardt : the art of high drama. Absinthe Absinthe : history in a bottle. Cassandre/Weill Cassandre. by Georges Herscher. affiches Suisses: 1905-1950. under the auspices of the Polish Olympic Committee. Bruxelles : Crédit Communal. by Patrick Lefèvre-Utile. P. by Jack Rennert. by Alain Weill.. Paris : Fédération Internationale de l’Automobile. Antwerp.Y. 1923-1939. featuring the Gerstenberg collection. Tokyo : Kodansha. Adriani Toulouse-Lautrec : the complete graphic works. Belle Epoque 1970 La Belle Epoque : Belgian posters. Léo Jo. 1995. 1980. by Victor Arwas. 1998. 1996. Catalogue of the exhibition at the Musée de l’Affiche. Cassandre : oeuvres graphiques modernes. Catologue of the exhibition at the Institut für Auslandsbeziehangen. In the interest of brevity. Tokyo : The National Museum of Modern Art. 2005. gebrauchsgrafik. Paris. Stuttgart. Demeure de Beaumont. Paris. Brown and Susan Reinhold. Paris. N. Catalogue of the exhibition held at the Suntory Museum. Belgique Sportives Affiches sportives en Belgique : 1890-1940. Affiches Belle Epoque Affiches : “Belle Epoque. Paris : Bibliothèque Forney.posterauctions. Bernard Francis Bernard : affichiste. 1980. Minguet. Broido The posters of Jules Chéret : 46 full color plates and an illustrated catalogue raisonné. Tokyo. 2005. Catalogue of the exhibition at the Galerie Nationale du Grand Palais. a bibliographical guide. by Carol Ockman and Kenneth Silver. by Yves Ballu. Catalogue of the exhibition held at the Bibliothèque Forney. Paris : Boudet. by Réjane Bargiel and Christophe Zagrodzki. Paris : Maeght. 1986. Cassandre/BN A. Abdy The French poster. Japan. Cassandre. 1949. 2009. Automobile & Culture Automobile & culture. city and date of publication. April 3-June 29. June 2-July 14. 1986. Belgique/Paris L’affiche en Belgique : 1880-1980. October 1978. Bicycle Posters 100 years of bicycle posters. by Barnaby Conrad III. 2002.. 2002. by Nadine Besse & Paul Fournel. 1988. 1897. Paris. Catalogue of the exhibition at the Vleeshuis Museum in Antwerp. Paris : Bibliothèque Nationale de France. New Brunswick. such as The Poster. by Yolande OostensWittamer. Paris : Editions Hoëbeke. Auvers-sur-Oise : Musée de l’Absinthe. New York : Rizzoli. Bolaffi/Mele Il tesoro dei magazzini Mele. Wittamer-De Camps. 1908-1949. by Gerard Hartmann & Francoise LeloupPerier (with English-language insert: The history of aviation in posters). La Forge. 1988. 1992. Ateny-Atlanta Athens-Atlanta : 100 years of modern Olympic Games. by Francis Bouvet. peintures et projets decoratifs.. Art Deco Art deco graphics. Absinthe Affiches L’absinthe : les affiches. Pennel. and the Katwijks Museum. 2007. 1991. by Cees W. La Plume. 1994. Posters Please. Gebrauchsgraphik. by Anne-Marie Sauvage. Cappiello/St. 1983. Alpes Les Alpes à l’affiche. 1981. by Merrill C. Osaka. Catalogue of the exhibition at the Musée de la Publicité. by A. August 8-October 7. Liège : Imp. 1985. It should be noted that we have made no reference to the many magazines and annuals which are essential tools in this area. and Graphis Posters. 1900. London : Academy Editions. Affiches Belges Affiches Belges/Belgische affiches. Nice-Matin : Editions Gilletta. Paris : Massin. Alston W.

Paris : Du May. (Volumes X and Xl devoted to Lautrec). Catalogue of the exhibition at the National Gallery of Art. Imprimerie Les cent plus belles images de l’imprimerie. by Lars Dybdahl. by Angelo Luerti. : Rutgers. 1976. 1995. : Kales Press. by E. Paris : SyrosAlternatives. Le Coultre A century of posters. Berlin : Mann Verlag. 2009. Health Posters Posters of health. June 6-July 8. Paris : Hazan. by Jack Rennert. N. Paris : Somogy. 1989.S. 1975-January 4. by Susan Driver. by Maurice Joyant. Dudovich/Trieste Dudovich & Ci. New York : Harry N. 2005. by Posters Please. Catalogue of the exhibition at the Corcoran Gallery of Art. Paris : Editions Alternatives. Hiatt Picture posters. Lucilla Ferraroti & Maria Giovanna Vianson. 1973. Chaplin Charlie Chaplin : movie posters. Reprinted New York : Collectors Edition Ltd. Ruth Malhotra. 1973. 1996. Lincoln Center Lincoln Center posters. Kauffer E. 1996. Paris : Inter-Livres. New York : Images Graphiques. Purvis. with a translation of text and the addition of an index). 1975. Abrams. by Roberto Curci & Vanja Strukelj. by Jack Rennert. 1969. New York : Avon Books. by Alain Weill. London : Academy Editions. Colin 100 posters of Paul Colin. Inc. Stuttgart : Staatsgalerie. Gold First ladies of the poster : the Gold collection. Czwiklitzer Les affiches de Pablo Picasso.. 1963. Illustrated book of the archives of the Karcher printing firm of Paris with introduction by Alain Weill. 1977.. New York : Harry N. 1843-1990. British and American Posters. 1970. Collectionneur Collectionneur d’affiches. Hutchison/Transport London transport posters. Miami Beach. July 16-October 10. 1985. edited by Laurence Prod’homme. 1891-1930 : arte minore o semplicemente arte?. New Haven : Yale University Press. 1920. Firenze : Artificio. : National Collection of Fine Arts. by Jiri Mucha. San Diego. at the Musée de l’Imprimerie. 1983. by Israel Perry & Jean-Louis Capitaine. Livre de l’Affiche Le livre de l’affiche/The book of the poster. Catalogue of the exhibition of the Kellenberger Collection held in Montreux. by Lucy Broido. by Posters Please. Barcelona : Postermil.A. DFP-I Das frühe plakat in Europa und den USA. Stewart Johnson. 1990. Ferrarotti I cartelli murali in Italia. 1981. Catalogue of the MoMA sponsored exhibition at the National Museum of Art. with preface by Jean-Michel Folon. Jean Colin Jean Colin : affichiste. New York : Poster Art Library. 2005. by Pierre Baudson. Catalogue of the exhibition held at the Yale Center for British Art. Lauder Collection. by Loys Delteil.n. by Françoise-Albane Beudon. Lyon. Catalogue of the exhibition held at the Stazione Marittima. Chéret La Belle Epoque de Jules Chéret : de l’affiche au décor. Luginbuuhl. 1927. Hutchison. 2000. 1988. : I triestini nel cartellonismo Italiano. Paris. Encyclopédie/Weill Encclopédie de l’affiche. by Alain Weill & Israel Perry. August 1-September 8. 1971. Ferrari Piloti. by Harold F. Glaser Milton Glaser : graphic design. Jr. Josephine Josephine Baker : the hungry heart. by Walter Terry & Jack Rennert. 1989. 1987. Musée de Bretagne. by Jean-Charles Giroud. K. . 1978. D. 1979. ed. Kyoto. Paris : Société de Propogation des Livres d’Art. Gesmar Charles Gesmar : 1900-1928. by Virgilio Ferraroti. Deco Affiches Affiches art deco. by Mark Haworth-Booth. 1998. Washington. by Pryor Dodge. Scottsdale. October 22. New York : Rizzoli. (Distributed in the U. German Posters. 1977. Keay American posters of the turn of the century. Calif. Jacquelin J. Edelstein Art for all : British posters for transport. 2007. Berlin : Mann Verlag. [Italy : s. Dino Villani.S. Munich : Klinkhardt & Bierman. 1991.-Da Capo Press.J. by Richard Thomson. France. 1913. by the Azienda Automona di Soggiorn e Turismo. : Overlook Press. 1926.C. Livemont Privat Livemont. DFP-III Das frühe plakat in Europa und den USA. 1983. 1991. 1980. bilder. Japan. French and Belgian Posters. and the Boston Public Library. Montreux : Office du Tourisme. Lauder American art posters of the 1890s in the Metroplitan Museum of Art : including the Leonard A. by Christian Schneegass. 1983. Frivoli I manifesti frivoli/Popular posters. 1989. Kiehl. 1975. Paris : Les Arts Décoratifs. by John Garrigan. Leupin Herbert Leupin : plakate. 1980. Hohlwein/Stuttgart Ludwig Hohlwein : plakate der jahre 1906-1940. Jean-Claude Klein. Hohlwein/Frenzel Ludwig Hohlwein. New Haven. 1993. by Carolyn Keay. Abrams. by Jordi Carulla and Arnau Carulla. 1945-1975. Paris : ACR Editions.Y. May 2-July 1. 1994.A.C.. Phillip Dennis & Mary Weaver Chapin. 1968. 2011. Washington. Berlin : Phönix Illustrationsdruck und Verlag. N. Connecticut. ed. New York : Metropolitan Museum of Art. 2 volumes. by Réjane Bargiel and Segolène Le Men. by Vera List & Herbert Kupferberg. and at the Wolfsonian-Florida International University. Berlin : Omnia-Organisations. 2005. Dresden : VEB Verlag der Kunst. 1987. Catalogue of the exhibition at Galerie CGER. Volume II. by Jean-Patrick Duchesne. Edited by Ruth Malhotra and Christina Thon. Delhaye Art deco posters and graphics. April 15-August 14. New York : Studio Book/Viking Press. Joyant Henri de Toulouse-Lautrec. 3005. Denmark : Borgen. 2011. London : George Bell and Sons. 2004.C. Edited by Helga Hollman. San Fransisco : Alan Wofsy Fine Arts. by Jean-Claude Baker and Chris Chase. Edited by Ruth Malhotra. London : Gordon Fraser. by Martin F. by Alain Weill. Edelstein. 1977. affichiste. : Princeton Unversity Press. Galerie CGER L’art de l’affiche en Belgique : 1900-1980. Hohlwein Ludwig Hohlwein. Jacquelin : affichiste et dessinateur publicitaire. by Réjane Bargiel-Harry and Christophe Zagrodzki. French Opera French opera posters : 1868-1930. Duchesne L’affiche en Belgique. Basel : Friedrich Reinhardt. Paris : [Selbstverl. D. : Reinalt-Thomas Corp. Femme s’Affiche La femme s’affiche : exposition d’affiches publicitaires. 2010. Alexander Pilipczuk. New Brunswick. Bruxelles : Editions Racine. Hutchison The poster : an illustrated history from 1860. 1976. 1989.] Catalogue of the 1981 exhibition. Genovoise L’affiche artistique Genevoise : 1890-1950. 1965. 2007. Bâle-Paris : Art-C. 2011. (Distributed in the U. 1989-1990. Milano : BE-MA Editrice. Paris. 1977. New York : Flammarion. illustrateur. Color Revolution The color revolution : color lithography in France 1890-1900. by Philip Dennis Cate & Sinclair Hamilton Hitchings. 1996. 1989. Judd Posters of World War II. Allen. Marseilles : Editions Parentheses. España España en 1000 carteles. Catalogue of the exhibition at Rutgers University Art Gallery. graphiken. ed. September 10-October 29. Grün Jules-Alexandre Grün : the posters/les affiches. by P. Lautrec/Montmartre Toulouse-Lautrec and Montmartre. the Baltimore Museum of Art. October 15. Colin Affichiste Paul Colin : affichiste. by Anne-Claude Lelieur & Raymond Bachollet. May 27-August 15. Inc. D. by Hellmut Rademacher. Paris. by Professor H. New York.. Fit to Print Fit to print : the newspaper and the poster. by Volker Duvigneau & Norbert Gota. Brussels : Therabel Pharma. by Alain Weill & Jack Rennert. October 21-December 4. by Henry Serrano Villard & Willis M. by Daniel Bordet. Johnson The modern American poster : from the graphic collection of the Museum of Modern Art. 1989.J. 2010-February 13. Berlin : Mann Verlag. Catalogue of the exhibition of the Metropolitan Museum of Art. by Alain Weill. Catalogue of the exhibition at Musée de la Publicité. by Anne-Claude Lelieur & Raymond Bachollet. 2000. Paris : Agence Culturelle de Paris. New York : St. Looping the Loop Looping the loop : posters of flight. London : London transport Board. by Harold F. 1991. Genève : Bibliothèque Publique et Universitaire. by Benoit Schoonbroodt. 2010. Paris : Editions Denoel. 2005. Washington. 2002. and the Art Institute of Chicago. 1977. Trieste. Lendl/Paris Alphonse Mucha : la collection Ivan Lendl. by Pepa Sparti. 2004. 1985. by Christopher Czwiklitzer. Doctoral thesis at Freien Universität Berlin. Paris : Bibliothèque Forney. by Laura Gold. Italy. Catalogue for the 5th Poster Festival in Chaumont. by Nicoletta Citrini. Martin’s Press. March 20-June 12. Frenzel. 1895. April 4-May 4. by Charles Hiatt. by Karl Lüönd and Charles Leupin. che gente. June 23-November 7. 1990. 1979. Daytona Beach. New York : Queen Art Publishers. Phillip Dennis Cate & Nancy Finlay. includes a section on “L’Affiche pour l’Affiche” (Posters on Posters) from the Rennert collection. November 10-December 31. Karcher Memoire de la rue : souvenirs d’un imprimeur et d’un afficheur. Dellepaine David Dellepaine : peintre. 1973. 1977. Fla. Ariz. Images of an Era Images of an era : the American poster. 1996. Delteil Le peintre-graveur illustré. Woodstock. by David W.) Catalogue of the exhibition at the Musée des Arts Décoratifs. N. Marjan Rinkleff and Bernd Schalicke. Paris : Editions Apogé. Hutchison. New York : Dover. 1993. by Jean Delhaye. Ives Pierre Bonnard : the graphic art. Paris : WM Editions. de Crauzat.. Le Coultre & Alston W. Kyoto : National Museum of Modern Art. 1973. New York : Images Graphiques. Burlington. DFP-II Das frühe plakat in Europa und den USA. Dance Posters 100 years of dance posters. Helga Prignitz and Christina Thon. New ork : Random House. London : Academy Editions. 1980. by Enzo Ferrari. Florida. Jiri Mucha Alphonse Maria Mucha : his life and art. by Marc Davidson. Reprinted. Bologne : Conti Editore. Chaumont/Exposons Exposons affichons : 300 affiches d’expositions. by Marine Robert-Sterkendries. by Denis Judd.C. Deutsche Plakat Das deutsche plakat : von den anfangen bis zur gegenwart. March 2-April 21. 2010. Crauzat L’oeuvre gravé et lithographié de Steinlen. New York : Queen Arts Publishers. by Hanna Gagel.. Bruxelles : Editions Labor. 1989.Chanson à l’Affiche La chanson à l’affiche. 2010. Valby. 978. 1985. Trieste : Stazione Marittima. 1874-1949 : kunstgewerbe und reklamekunst. Discount Posters from the collection of discount tires. Brussels. by Teri J. Floury. by J. France. Bruxelles : Caisee d’Épargne et de Retraite. by Ian Millman. 1978. 1995. Helen Giambruni & Sasha M. Volume I. Italia che Cambia L’Italia che cambia : attraverso i manifesti della raccolta salce. by Colta Ives. 1986. Milano : Luerti. Catalogue of the Hohlwein exhibition at the Staatsgalerie Stuttgart.. New York. Paris : H. De Feure Georges De Feure : maitre du symbolisme et de l’art nouveau. ed. Paris : Éditions Debecom. New York : Queen Art Publishers Inc. 1980. 1990. by Israel Perry and Alain Weill. VT : Lund Humphries.A. 1999. Danish Posters Den Danske plakat. Volume III.]. 1987– January 10. Princeton. Chocolate Posters Chocolate posters. Gagel Studien zur motivgeschichte des Deutschen plakats 1900-1914. 2002. : The News-Journal Corporation.. McKnight Kauffer : a designer and his public. 1994. 1985. Folies-Bergère 100 years of posters of the Folies Bergère and music halls of Paris. Dodge The bicycle. November 21.

Paris : Bibliothèque Forney. PAI-X Elegant Posters. Auction held in New York. October 22-November 30. Auction held in New York City. Auction held in New York. 1997. Auction held in New York City. 1998. 1985. 1985. by Anne-Claude Lelieuer & Raymond Bachollet. November 11. 1998. 2002. 1995. November 12. by Raymond Bachollet. [Istanbul] : Ottoman Bank Museum. Catalogue of the exhibition at Gallerie A. 2002. Catalogue of the exhibition at the Museo Civico “Luigi Bailo. Crouse. Auction held in Chicago. Olympic Posters A century of Olympic posters. 1978. Moulin Rouge 120 ans de Moulin Rouge. Paris : Bibliothèque de l’Image. May 2.Lopez Le temps des novateurs. May 7. PAI-XL Posters Excel. Maindron Les affiches illustrées : 1886-1895. 1983. Paris : Musée de l’Affiche. 1896-1900. 1992. PAI-XXXIV Poster Pride. Auction held in New York. Loupot. May 2. by Germano Celant.’ New York : Dover Publications. Modern Poster The modern poster. PAI-XLV Top Posters. 1988. 1998. Milano : Edizioni di Comunità. by Jacques Pessis & Jacques Crépineau. 1997. 2005. 1989 (revised edition). PAI-XIX Prima Posters. Catalogue of the Bibliothèque Forney exhibition held January 14-March 28. Mucha/Bridges Alphonse Mucha : the complete graphic works. 2003. Catalogue of the exhibition at the Museum of Modern Art. May 7. Jean Perret & Yves Ronin. Auction held in New York. 2010. by Alberto Abruzzese & Simona De Iulio. Metlicovitz e Dudovich Metlicovitz e Dudovich : due cartellonisti del ‘900 dalla Raccolta Bertarellil di Milano. 1983. Auction held in New York. 1987. Catalogue for the inaugural exhibition at the Musée d’Affiche. Auction held in New York City. Rennes : Editions Ouest-France. by Margaret Timmers. organized by Emanuel Lopez. Milano : Skira. PAI-XXXVII Poster Holiday/The Wright Stuff. by Christophe Zagrodzki. Paris. PAI-XVI Poster Parade. Catalogue of the exhibition at the Musée de l’Affiche. 1952. Milano : Ricordi. Auction held in New York City. June 1. by Luigi Menegazzi. 2005. Va. Paris : Le ChercheMidi. 2001-January 21. November 20-December 31. 1988. June 6-September 6. November 8. The catalogue of the exhibition at the Bibliothèque Forney. Milano : Electa. 1991. PAI-XX Poster Panorama. 1996. Auction held in New York City. Auction held in New York City. Anne-Claude Lelieur & Marie-Christine Peyrière. 1989. Menegazzi-IV Il manifesto Italiano. PAI-XI Poster Passion. Maitres Les maitres de l’affiche : 1896-1900. Auction held in New York. Napoli. PAI-V Poster Pizzazz. PAI-VIII Poster Treasures. Loupot/Zagrodzki Charles Loupot : l’art de l’affiche. Sweden : Hjert & Hjert. Orientalist The Orientalist poster. New York : Images Graphiques. November 1978-March 1979. New York. Auction held in New York City. Mer s’Affiche La mer s’affiche. 1997. (Exclusive American distributor: Posters Please Inc. November 10. 2009.. November 8. Auction held in New York City. by Bruno Margadant. 1983. Paris : Hoëbeke. PAI-XXX Poster Allure. PAI-XXIX Posters for the Millennium. 1988. Auction held in New York City. Auction held in New York. Cassandre. Morvan Hervé Morvan : affichiste. Catalogue of the exhibition at the Museo Diego Aragona Pignatelli Cortes. Auction held in New York. 1988. by Luigi Menegazzi. Madrid. Musée d’Affiche Trois siècles d’affiches francauses : 1ère exposition du Musée de l’Affiche/Three centuries of French posters. by William W. 1978. Moderno Francés El cartel moderno Francés : el espectáculo está enel calle : Colin. Treviso : Zoppelli Srl-Dosson. PAI-XXVI Postermania. 1997. Loupot Charles Loupot. 1993. PAI-XLIV Winning Posters. 1988. 2008. New York : Mudeum of Modern Art. JeanBarthelemi Debost. 1977. Paris : Agence Culturelle de Paris. Auction held in New York. PAI-XXXI Poster Power. by Magdelena M. Milano : A. Dual-auction held in New York City. New York : Watson-Guptill Publications. PAI-XXI Timeless Posters. 1998. 1895-1940. PAI-XXV Sterling Posters. Menegazzi-I Il manifesto Italiano : 1882-1925. Michelin/LeCodiac The Michelin Man : an unauthorized advertising showcase. Paris : Imprimerie Chaix. . Milan : Arnoldo Mondadori Arte. Madrid : MNCARS. 2000. 2006. Milan : Electra Editrice. New York : Crouse. 1994. 1971. by Alain Weill. 1996. Catalogue for the Colin. 2008. M. PAI-XXVIII Poster Vogue. Auction held in New York City. PAI-XII Poster Panache. Menegazzi-III L’epoca d’oro del manifesti : 200 manifesti dal 1882 al 1925. 1997. May 2. 1993. by Ernest Maindron.. 1991. Casablanca : Malika Editions. Paris : G. by Mariantonietta Picone Petrusa. November 10. Paris : Editions Ramsay. Auction held in New York City. PAI XV Rarest Posters. 2002. Auction held in New York City. PAI-XLI Matchless Posters. Monaco Gand Prix Automobile de Monaco posters : the complete collection: the art. London : V&A Publishing. Marques Images de marques/Marques d’images : 100 marques du patrimoine Français by Daniel Cauzard. 1989. ex Centrale Elettrica Emilia. November 9. Auction held in Universal City. Uppsala. by Alain Weill & Réjane Bargiel. May 3. Nizzoli Marcello Nizzoli. November 13. PAI-XXXVI Posters Persuasion. 1990. May 1. 1987. May I. 1988. by Monique Pivott. 1999. 1977. by Henri Mouron. Penn. PAI-XIV Poster Extravaganza. 1975. PAI-XXXII Dream Posters. 2001. 1992. 2002. PAI-XXXVIII Poster Style. PAI-IX Poster Palette. 2006. Margolin American poster renaissance. Auction held in New York May 3. May 5. PAI-XVII Poster Classics. Auction held in New York City. March 9. Paris. 1990. Olympics L’olympisme par l’affiche/Olympism through posters : 1896-1984.M. 2007. 1987. Auction held in New York. by Roger Marx. by Abderrahman Slaoui. Dortmund : Harenberg Kommunikation. Auction held in New York City. Jana A. 1980. May 20. Catalogue of the exhibition at the Victoria & Albert Museum. PAI-III Poster lmpressions. 1998. Paris : Gallerie A. by Rudy LeCodiac. Paris : Somogy. Zurich : ABC Edition. Paris. by Edhem Eldem. 2002. by Carlos Pérez. 1990. Manifesti Italiani Manifesti Italiani : dall’art nouveau al futurismo. New York) Lumi Lumi di progresso : communicazione e persuasione alle origini della cartllonistica Italiana. by Luigi Menegazzi. by Daniel Hillion. by Stuart Wrede. November 14. by Monique Berlioux. 2001. London : Academy Editions. April 24-June 23. 1989. Catalogue of the traveling exhibition. Negripub/Forney Négripub : l’image des noirs dans la publicité depuis un siècle. November 14. Auction held in New York City. Reprinted as Masters of the poster l896-1900. by Victor Margolin. May 7. PAI-XXIII Poster Delights. Posters of the Massimo & Sonia Cirulli Collection. 2007. by Luigi Menegazzi. Auction held in New York City. Atglen. Carlu. November 11. 2008. by Claude Roger-Marx. Auction held in New York City. Catalogue of the exhibition at the Bibliothèque Forney. 2010. Negripub Negripub : l’image des noirs dans la publicité. London. Lausanne : International Olympic Committee. January 28-February 26. November 15. Müller-Brockmann History of the poster. 1978. Monte Carlo : Éditions du Livre. by Alan Weill. PAI – Books of the auctions organized by Poster Auctions International. May 26-August 1. Catalogue of the exhibition at the Académie des Beaux-Arts. Auction held in New York City. Paris. November 10. Moulin Rouge/P&C Le Moulin Rouge. 2005. Mucha/Art Nouveau Alphonse Mucha : the spirit of art nouveau. 1998. November 22. Marx Bonnard : lithographie. BrabcováOrlíková & Anna Dvorák. Loupot and Cassandre exhibition at the Museo Nacional Centro de Arte Reina Sofia. New York : Rizzoli. May 6. by Anne-Claude Lelieur & Raymond Bachollet. Masters 1900 Masters of the poster 1900. 1996. Carlu. 1987. Ogé Eugène Ogé. by Alain Weill. Catalogue of the exhibition held at Paicenza. Auction held in New York City.” Treviso. Maggi Maggi : et la magie du bouillon kub. November 13. Mucha/Postcards Alphonse Mucha : all the postcards. November 4. 1990. Basel : Birkhaus Verlag. November 12. by Victor Arwas. November 12. 1920-1960 : exposition vente affiches anciennes. Milan : Electa Editrice. Paris : Agency Culturelle.. by Giampiero Mughini & Maurizio Scudiero. 2002. May 6. May 5. 1986. : Schiffer. Boudet. 1983. Orientalist Un Orient de consommation. 2000. Auction held in New York City. May 3. Auction held in New York. California. PAI-XXXIX Poster Intoxication. PAI-II Prize Posters. 1999. the artists and the competition. PAI-XVIII Winning Posters. PAI-VI Poster Splendor. Auction held in New York City. Auction held in New York. affichiste : 1861-1936. November 13. PAI-XLII Posters Charm. PAI-VII Poster Potpourri. Italy. Inc. Auction held in New York City. 1989. 1994. 1995. PAI-XXXV Posters Perform. October 5-December 1. Paris : Seven Sept. 2004. Auction held in New York City. PAI-I Premier Posters. Mouron A. ed. Paris : Hermé. May 4. Paris : muséee d’Affiche. Margadant Das Schweizer plakat/The Swiss poster : 1900-1983. 1996. 1896. PAI-IV Prestige Posters. May 1. by Josef & Shizuko Müller-Brockmann. 2003. PAI-XXXIII Swank Posters. 2010. Mondadori. 2001. Auction held in New York City. May 7. Cassandre. Auction held in New York City. Alexandria. PAI-XXII Positively Posters. : Art Servicse International. Auction held in New York. 1968. Mele I manifesti Mele : immagini aristocratiche della “belle époque” per un pubblico di Grandi Magazzini.M. Moeller Plakate fur den blauen Dunst. by Ann Bridges. Auction held in New York City. May 4. 2001. 1985. PAI-XXIV Poster Pleasures. PAI-XLIII Posters Va-Va-Voom. Auction held in New York City. November 11. PAI-XXVII Poster Ecstasy. 1992. Auction held in New York. May 5. November 9. and The Complete ‘Masters of the Poster. November 10. November 12. by Alain Weill. 1975. Moeller. Menegazzi-II Il manifesto Italiano. by Giovanna Ginex. 1995. 2004. PAI XIII Poster Jubilee.

in New York. by Wolfgang Wittrock. November 7-17. 1968. Shahn The complete graphic works of Ben Shahn. Zurich : ABC Verlag. Travel Italia Travel Italia : the golden age of Italian travel posters : posters from the Collection Alessandro Bellenda. May 3. 1973. October 3. Spectacle Les arts du spectacle en France : affiches iIllustrées. 1986. 1984. Auction held in New York City. 2010. Oostende. by Jean-Charles Giroud. Auction held in New York City. 1997. by Jocelyne Van Deputte. Stoecklin Niklaus Stoecklin : 1896-1982. Santé La santé s’affiche. Steinlen Théophile-Alexandre Steinlen. Walter F. Savignac/Paris Savignac au Musée de l Affiche. Belgium.D. K. by Walter von Zur Westen. by Réjane Bergiel. 2000. by Jack Rennert. by Daniel Bordet & Jacques Dreux. 2003. Schubert Die Deutsche werbe-graphik. 1928. 2003. Catalogue of the exhibition held at LeBourget from the collection of Jacques Perier on the 100th Anniversary of the Fédération Aéronautique Internationale. 1975-January 6. May 3. Reims : Impr. Voyage L’Invitation au voyage. October 16. Boston : G. Museum für Gestaltung. by Mildred Constantine & Alan Maxwell Fern. Roma : Ente Premi. ed. by Hermann Schardt. Tennis Posters Il tennis nel manifesto/Tennis posters. Text by Jack Rennert. Riccione. Jocelyne van Deputte & Edith Carey. Toulouse. 2004. Auction held in New York City. 1999. London : V & A. Russian Films Film posters of the Russian avant-garde. April 2-July 26. by Nicole Wild. by Helen Biri Thomson. 2006. 1994. Posters & Publicity 1928 Posters & publicity : fine printing & design annual. France : R. April 4-May 24. 1988. Catalogue of the exhibition held at the Seibu Museum. 1982. introduction by Willy Rotzler. 1986. 1980. 1986-February 1. Auction held in New York City.. Wember Die jugend der plakate : 1887-1917. Jannuary 31. 1979. 1983. November 14. 1988. April 9-June 16. by Dr. Sportissimo Sportissimo : cent ans de grandes et petites histoires du sport. Catalogue of the exhibition at the Art Institute of Chicago. Catalogue of the exhibition held at the the Bibliothèque Royale de Belgique. Paris : Chorus. 2008. Parrish Maxfield Parrish. 1976. Catalogue of the exhibition at the Museum of Modern Art. Bruxelles : C. Brugge : Uitgeverij van de Wiele. Phillips III The world of posters. 1982. 2004. Bielefeld & Laipzig. 2011. New York : New York Graphic Society & the Museum of Modern Art. Museum für Gestaltung. Berlin : Verlag Francken & Lang. Essen. by Margaret Timmer. . Phillips I A century of posters : 1870-1970. 1995. January 25-March 10-1968. Catalogue of the exhibition at the Los Angeles County Museum of Art. Swiss Skies Conquering the skies in Swiss poster art. 1894-1900 : affiches d’artistes.000 copies by the Musée de l’Affiche in 1980. 1982. 2008. Prescott. 1997. 2009. Rennert/Weill Alphonse Mucha : the complete posters and panels. 1986. Auction held in New York City. PAI-XLVII Posh Posters.PAI-XLVI Picture-Perfect Posters. 1980. Catalogue of the exhibition at the Musée de l’Affiche. Sepo Sepo. by Alexandre Henriot. Schindler Monografie des plakats. France. June 18-August 3. München : Stadtmuseum. by Bruno Halder. 2001-January 27. July 16-August 21. Zürich. 1985. Schoonbroodt Privat Livemont : entre classicisme et art nouveau. Auction held in New York City. 2003-January 4. reprinted New York : Portland House. 1990. Catalogue of the exhibition held at the Metropolitan Teien Art Museum. Reklame-Postkarten Reklame-postkarten : 80 alte postkarten gesammelt und herausgegeben. Kunstgewerbemuseum. May 4. Windows on War Windows on the war : Soviet TASS posters at home and abroad. London : Sotheby’s. Milano : Arti Grafiche Ricordi. Schardt Paris 1900. 2003. (Originally published as Paris l900: Französiche plakatkunst. May 1. 1986. by Robert Lebeck & Jürgen Kesting. by Alain Weill. Koln. by Alain Weill & Unno Hiroshi. Tourism/Suntory Tourism in posters. May 17-August 19. Savignac/Japan Savignac. Fritz Schärer & Karl Wobmann. April 15-June 1. Perier Ils s’envolèrent. Paris. April 2-June 27. Plakate München Plakate in München 1840-1940 : eine documentation zu geschichte und wesen des plakats in München. Dortmund : Harenberg Kommunikation. Zurich : Varia Press. 1987. Basel. Le Pater Alphonse Mucha. by Jack Rennert & Alain Weill. Tokyo. 1963. May 31-September 23. Reissued in a numbered edition of l. Ricordi Grafica Ricordi : dal manifesto storico all produzione d’avanguardia. Catalogue of the exhibition at the Suntory Museum. 2004. 1984. Paris : Musée de l’Affiche. Wine Spectator Posters of the Belle Epoque : the Wine Spectator collection. Catalogue of the exhibition at the Münchner Stadtmuseum. December 12. 1987. Theaterplakate Theaterplakate : ein internationaler historischer uberblick. 1975. 2008. Plakate Alter Zeit Plakate aus alter zeit. Hall. Pneu Les 100 plus belles images du pneu. February 10-April 30. 1985. PAI-LIII Rare Posters. Wobmann Touristikplakate der Schweiz/Tourist posters of Switzerland. by Alain Weill. by Alain Weill & Christopher Zagrodzki. Paris : Paris-Musées. Auction held in New York City. New York. Poselství Ulice Poselství ulice. Salt Lake City : Gibbs M. Salon des Cent/Neumann Les affiches du Salon des Cent. Picasso Plakate Pablo Picasso plakate/affiches/posters. Aarau : AT Verlag. October 2005. by Karl Wobmann. Bruxelles : Thérabel. Catalogue of the exhibition held at the Musée Carnavalet. Cataloge of the exhibition at the Venetiaanse Gaanderijen. Tokyo : Metropolitan Teien Art Museum. Posters from the collectio nof Christoph Czwiklitzer. Reims. 1985. by Anna Dvorák. Paris : Musée de l’Affiche. Krefeld : Scherpe Verlag. 1896. 2007. Stuttgart : Belser Verlag. 2011. Catalogue of the exhibition sponsored by the Foundation Neumann at the Musée de Pont-Aven. 2006-January 28. Cabourg : Editions du Temps. Paillard Affiches 14-18. 1941-1945. Giorgia Mascherpa & Giulia Veronesi. by Coy Ludwig. by Beppe Russotto. June 1-November 8. Osaka. and the Deutsches Plakat Museum. by Willy Rotzler. Boston : G. PAI-LIV Rare Posters. 2003. Wittrock Toulouse-Lautrec : the complete prints. Parma. Schubert.P. Alain Weill & Yukie Takeuchi. 1976. New York : Quadrangle/New York Times Book Co. The catalogue of the Phillips Auction held November 14. by Herbert Schindler. London. Velhagen & Klasing. PAI-LI Rare Posters. 1998. 1979. by Benoit Schoonbroadt.. Auction held in New York City. Paris. 1977. Torino. 2002. Petite Reine La petite reine : le vélo en affiches à la fin du XIXeme. 1982. PAI-L Poster Celebration. November 8. and the Musée des Arts Decoratifs de Bordeaux. Chicago : The Art Institute of Chicago. Word & Image Word and image : posters from the collection of the Museum of Modern Art. by Lorenzo Ottaviani. and Musée Royal de Mariemort. Timeless Images Timeless images. 2009. Tokyo. by Karl Scheerlinck. New York : Watson-Guptill Publications. Paillard. Prague. Osaka : Suntor Museum. Wagner Toulouse-Lautrec and his contemporaries : posters of the Belle Epoque from the Wagner collection. Paris : Editions Debecom. Helen Bieri Thomson & Bernadette de Boysson. Hall. 1998. Paris : Editions du Chêne. Smith. modernes et retrospectives. 1970. 1989. Ebria Feinblatt & Bruce Davis. Catalogue of the exhibition at the Isetan Museum of Art. 1992. Belgium. by Kenneth W. New York : The Wine Spectator Press. Prague : Comet. Catalogue of the exhibition at the Palazzo del Turismo. by Françoise & Serge Laget. by Gude Suckale-Redlefsen & Volker Duvigneau. Reklamekunst Reklamekunst : mit 191 teils farbigen abbildungen zweite auflage. 1973. October 14. 1998. Obecní dum. September 8. 1998. PAI-XLVIII Poster High. by Bernard Villemot & Hélène Decaen-Le Boulanger. 1928. 1966 (Original German edition published in 1965 by Edition Leipzig). June 26-September 4. by Jack Rennert. Rademacher Masters of German art. Catalogue of the retrospective exhibition at the Gewerbemuseum. Italy : Universita di Parma. Coopérative de Reims. by Jacques Perier & Françoise Leloup-Perier. Paris. November 9. Gingins : Fondation Neumann. Geneva : Patrick Cramer. Catalogue of the exhibition at the Musée de Trouville. 1985. 2011. Text by Jack Rennert. Paris: Somogy. in New York. by D. Catalogue of the aviation poster exhibitions at the Centre de l’Affiche. by Karl Wobmann & Max Triet. 1914. 2006. Phillips II Poster classics. Pour l’Art Pour l’art : 41 affiches Belle Epoque sauvées de la dégradation. 1984. Bordeaux. 2001. Text by Jack Rennert. by Giovanni Sangiorgi. London : The Studio. July 31-Oct 23. 1980. Zee Affichekunst aan zee : 1887-1970. Catalogue of the exhibition help at Casino Knokke. New York : Abrams. 1979. by Vanja Strukeli. by Karl Wobmann & Marianne Bernhard. The catalogue of the Phillips Auction held May 10. Weill The poster : a worldwide survey and history. in New York. Swiss Sport Swiss sport posters. Auction held in New York City. 2011. Salon des Cent Le Salon des Cent. by Susan Pack. New York : Putnam’s Sons.I. Catalogue of the touring exhibition at Fondation Neumann. Toujours Plus Haut Toujours plus haut : affiches aviation. 1979. by Paul Wember. by Rémy Paillard. Reims Exposition d’affiches artistiques Françaises et étrangères. Villemot/La Femme Villemot affiche la femme. 2002. 1972. June 19-September 29. 2010. 1986. Brussels : Foundation Roi Baudouin. 1994. Basel : Gewerbemuseum. Tokyo : Isetan Museum of Art. 1992. Catalogue of the exhibition at the Victoria & Albert Museum. by Josef Kroutvor. Schweizer Hotel Schweizer Hotelplakate : 1875-1982. February 20-April 4. Zurich : Edition Stemmle. Spetember 2004-August 2005. 1990. Knotte-Heist [Belgium] : Casino Knokke. V&A The power of the poster. by Keiko Ueki. 1991. 1990. PAI-XLIX Soaring Posters. 1927. New York : October House. 1961. 2007. Los Angeles : Los Angeles County Museum of Art. Musée des Arts Décoratifs. 2011. Veloscopie Veloscopie. by Phillip Dennis Cate & Susan Gill. 1896. by Peter Kort Zegers & Douglas Druick. by Jean Caaou & Heinz Peters. 1968). The catalogue of the Phillips Auction held November 10. Allard. Catalogue exhibition held at Musée de l’Affiche. Paris.E. Düsseldorf : Droste Verlag. 1967. Luzern : Biregg Verlag. Paris : Somogy. by Jack Rennert. Germany : Benedikt Taschen Verlag. by Hellmut Rademacher. Paris 1900 : Le Pater/The Lord’s prayer. Catalogue of the Bibliothèque de l’Opera (part of the Bibliothèque Nationale). Spetember 27. Tokyo. 2003. Plakat Schweiz Das plakat in der Schweiz.1995. September 10-October 26. Italy. 2001. Leipzig : Edition Leipzig. Catalogue of the exhibition at the Cirque De Reims. October 10-23. by Karl Wobmann.K. by Hellmut Rademacher. 1996. 1977. Italy : Giulio Bolaffi. ed. by Marine Robert-Sterkedries. by François-Régis Gastou & Laurence Berasategui-Couranjou. Riccione Capolavori Italiani nel manifesto liberty 1880-1918. 1978. February 13. Alassio. Paris Temps Modernes Le Paris des temps modernes : les années 1910-1913. Paris : Bibliothéque Nationale. 1850-1950. Munich : Süddeutscher Verlag. PAI-LII The Winter Sale. Patricia Eckert Boyer.

at its sole discretion as agent of the purchaser. 4. though possibly faded. Generally. and Poster Auctions International can make no warranty or representations regarding the condition of the poster in unseen areas of any such frame. personal representatives and successors and assigns of the parties hereto. for any other reason in its sole discretion. But please note that posters received in frames are not inspected out of their frames and therefore no warranty can be made about them. incidental. its liability shall be solely limited to the rescission of the sale and refund of the purchase price and purchaser’s premium. The above condition ratings are solely the opinion of Poster Auctions International. Any assignment or transfer of any such warranty shall be void and unenforceable. addressed as follows: From: To: From: To: Poster Auctions International (Seller) (Seller) Poster Auctions International 601 W. was printed in a large format. including the buyers premium. mark or initials appear on the poster. on the total purchase price. consequential or otherwise. but assumes no responsibility for damage of any kind. in fact. an agency. to pay all shipping. the references or any other background information or fact. The standards of the print collector cannot be used. and possibly some minor paper loss occurs. (f) The Conditions of Sale are not assignable by either party without written permission of the other party. done in small format. unless the same shall be in writing and each waiver. no paper loss. calculated at the rate of 2% of the total purchase price per month. No purchase shall be claimed or removed until the conclusion of the sale. 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. at its sole option. An Order Bid Form shall be provided on request. Packing and shipping Packing and/or handling of purchased lots by Posters Auctions International is performed solely as a courtesy for the convenience of purchasers. All items are sold AS IS. shall be a waiver 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. THE SALE IS FINAL. the size. and then to the payment of any other indebtedness owing to Poster Auctions International. In the event Poster Auctions International shall. 7. Artist’s name. in either event. Poster Auctions International may. Any statements made by Poster Auctions International. 4. for the most part. If any dispute arises after the sale. The year given is that of the publication of the poster. Please note that the items will be offered by us as agent for the consignor. In addition. Size. legatees. restorations. to refuse bids and to regulate the bidding. 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. and meant to be immediately framed or stored in a print sleeve or cabinet. Poster Auctions International shall make reasonable efforts to handle purchases with care. in the event of disputed authenticity of authorship of any lot results in a rescission of the sale and restitution of the original price and premium paid by such purchaser. There may be some slight paper loss. Unless otherwise indicated. framed posters offered for sale were received framed. in addition to any and all other remedies which it may have at law or in equity. Order Bids Poster Auctions International shall make reasonable efforts to execute bids for those not able to attend the auction. 9. not necessarily the date of the event publicized or the year that art for it was rendered. The lines and colors are good. on the day following the sale. it refers to a poster or plate number. at its option. per month. and. . Sales Tax Unless exempt by law. including those set forth in New York Lien Law. the name of the printer is that which appears on the face of the poster. 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. Every potential buyer should read these Conditions of Sale and it will be agreed. the sale will be rescinded and the original purchase price. Poster Auctions International reserves the right to withdraw lots at any time prior to or during the sale. reasonable attorneys fees. The purchaser shall assume full risk and responsibility for the lot purchased upon the fall of the auctioneer’s hammer. colors and lines so marred that a true appreciation of the artist’s intent is difficult. Buyer’s Premium A premium of 20% will be added to the successful bid price of all items sold by Poster Auctions International. Poster Auctions International shall retain as liquidated damages all payments made by the purchaser. for any reason whatsoever. All posters in this sale are linen. 6. handling or transportation of any lots/items purchased. such restitution is buyer’s sole remedy and Poster Auctions International disclaims all liability for any damages. 3. or sell the item and/or lots and all other property of the purchaser held by Poster Auctions International. blemishes. or any successor statue. We have attempted a simplified rating of all the posters in this sale. Unless otherwise indicated. 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. A poster. handling charges. B+ designates a poster in very good condition. Poster Auctions International shall not be responsible for any errors or omissions in this matter. Bibliography. not just the image area. incidental. it is not immediately evident. it is established beyond doubt that the identification of authorship. Printer. (b) These Conditions of Sale contain the entire understandings between the parties and may not be changed in any way except in writing duly executed by PAI and buyer. If the purchaser fails to comply with one or more of these Conditions of Sale. Designates a poster in fair condition. The highest bidder acknowledged by the auctioneer will be the purchaser of the lot. it means the reproduction or reference is on that page. All lots are subject to a reserve. purchaser agrees that Poster Auctions International may. does not arrive in sufficient time. and. duties or obligations which arise under these Conditions without such permission will be void. A+ is a flawless example of a poster rarely seen in such fine condition. constitutes the complete terms and conditions under which the items listed in this catalogue will be offered for sale. in many cases. it is a poster worth collecting. It should be kept in mind that frequently the establishment credited on the poster is. B– is one in fairly good condition. Poster Auctions International. with respect to any sale pursuant to this section. to combine any of them. or other person who may have or acquire an interest therein. the handling and storage fee will be an amount equal to 2% of the purchase price for each such lot. In many cases. whether on linen or japan paper. folds or flaking are more readily visible. Condition of the Poster. stated aforesaid. collection agency fees. acknowledged and understood by such buyer that said buyer has consented to each and every term and condition as set forth herein. In such case. Any advance made on an opening bid may be rejected if the auctioneer deems it inadequate. if not impossible. or damages of any kind. (e) The provisions of these Conditions of Sale shall be binding upon and inure to the benefit of the respective heirs. Notices and jurisdiction. Upon the fall of the auctioneer’s hammer. as agent. or any applicable compensating tax of another state. is not correct based on a reasonable reading of the catalogue and the Conditions of Sale herein. All photos are of the actual poster being offered for sale. be unable to deliver the lots purchased by the buyer. the expenses of both sales. consequential or otherwise. Year of the Poster. In the event of any dispute between bidders. prior to taking possession of the lot. the colors. 5. The proceeds of such sale or sales shall be applied first to the satisfaction of any damages occasioned by the purchaser’s breach. Unless purchaser notifies Poster Auctions International to the contrary. In such event. 8. The benefits of any warranty granted herein are personal to the buyer and are not assignable or transferable to any other person. the printer. still faithful to the artist’s intent. use purchaser’s name as buyer of the item sold. It is understood. (c) These Conditions of Sale shall be construed and enforced in accordance with the laws of the State of New York. 3. on the cheapest possible paper. including but not limited to. 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. are statements of opinion only and not warranties or representations of material facts as to each and every transaction herein. Paper 6. Designates a poster in bad condition. 7. Pre-Sale Estimate These estimates are guides for prospective bidders and should not be relied upon as representations or predictions of actual selling prices. until removed. tears or restorations which do not detract from the basic image and impact should not seriously impair value. who may be required to sign a confirmation of purchase. Auctioneer’s Discretions. with a minimum charge of 5% for any property not removed within thirty days from the date of the sale. Cond A Designates a poster in very fine condition. 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. New York 10001 1. remove all unclaimed items in their offices or warehouse. The purchaser refers only to the original buyer of the lot from Poster Auctions International and not any subsequent owner. Poster Auctions International disclaims all liability for damages.CONDITIONS OF SALE The Conditions of Sale in this catalogue. or in the event of doubt as to the validity of any bid. 26th Street New York. Sections 200-204 inclusive. Article 9. the image clear. Prospective purchasers are expected to have satisfied themselves as to the condition of the posters. A good part of such poster may be missing. as set forth in the description in this catalogue as may have been amended by any posted signs or oral declarations during the sale. While details of each poster’s condition are given as completely and accurately as possible. buyer has due notice that any such information and/or descriptions cannot and will not be considered as material facts to this transaction and will not affect any sales herein. and was meant to last about eight weeks on the billboards. be stored at Poster Auctions International’s office or warehouse or delivered to a licensed warehouse for storage. advertisement and disposition of proceeds required by law. or to such other address as either party hereto may have designated to the other by written notice. arising out of or in connection with any sale to the buyer. at the sole option of Poster Auctions International and at purchaser’s risk and expense. Every effort has been made to refer to books that are authoritative and/or easily accessible. Upon a finding by an Arbitrator in favor of buyer. if number only. tear or bubble or other minor restoration. arising out of or in connection with the packing. the auctioneer’s sale record shall be deemed the sole and conclusive evidence as to the purchaser of any lot or item. shall be required to pay the full purchase price. arising out of its failure to deliver any lots purchased. Prints were. 2. They are simply our best judgment of the fair market value of that particular poster in that condition on the date it was written. Poster Auctions International and the purchaser shall be deemed released of any and all claims that each may otherwise have had against the other arising out of the sale of such item. the condition. Poster Auctions International disclaims all liability for loss. The consignor warrants good title to the buyer. commissions. and act on the prospective purchaser’s behalf to attempt to purchase the item desired at the lowest price possible. without exception. Charges for packing. photographed that way. Lots not so removed will. This premium shall be paid by all purchasers. but Poster Auctions International disclaims any warranty with regard to such descriptions and statements which accompany the listings in this catalogue. and any other costs or expenses incurred there-under. The colors are fresh. including. 2. (d) No waiver shall be deemed to be made by any party hereto of any rights hereunder. Poster Auctions International has absolute discretion to divide any lot. DESCRIPTION OF THE POSTERS I. Poster Auctions International reserves the right not to bid for any such purchaser if the order is not clear. title to the offered lot shall pass to the highest bidder. handling and storage fees incurred. width preceding height. postage prepaid. The light-staining may be more pronounced. packing and handling shall be undertaken at the sole discretion of Poster Auctions International. The reference is almost always to a reproduction of that poster. Accordingly. Authenticity and Terms of Guarantee. if any. up to the limit indicated by purchaser in writing as if the purchaser were in attendance. Transfer of title and property. and the colors. Reserves. at its discretion. It should be kept in mind that we are dealing. 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. on fine paper. then. Poster Auctions International. will be refunded. Unless otherwise directed by purchaser. Poster Auctions International shall not be responsible for any damage to the frame or to any poster within the frame. as it may be amended by any posted notice during the sale. If a “ p . studio or publisher. The following ratings have been used: Cond C Cond B Designates a poster in good condition. insurance and freight are payable by the purchaser. without notice. The consignor shall not bid on consignor’s property. the year of publication. handling. whether oral or written. If some restoration. Any discrepancy relating to the condition of a poster shall not be considered grounds for the cancellation of a sale. the credit of the purchaser is not established prior to the sale. cancel the sale without notice to the buyer. The purchaser here by waives all the requirements of notice. Such liquidation sale shall be at standard commission rates. Poster Auctions International does not charge extra or sell separately any frame if a poster is so offered. which is the confidential minimum below which the lot will not be sold. fold. unless otherwise indicated. but this is very marginal and not noticeable. the purchaser shall be required to pay the combined New York State and local sales tax. but it is clear that it is the poster and not the frame which is being offered for sale. to withdraw any lot. then centimeters. for the most part.or japan-backed unless the designation “P” appears. whether by operation of law or otherwise. the artist’s name. There may be some slight blemish or tear. this is indicated. although paper may have yellowed (light-stained). with 50 to 100-year-old advertising paper. Poster Auctions International. any attempt to assign any rights. There are no D posters in this sale! Cond D On the fall of the gavel. Poster Auctions International shall impose a late charge. But the poster is otherwise intact. Size is given in inches first. whether in this catalogue or by its officers. 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. but not in the image or in any crucial design area. (a) All communications and notices hereunder shall be in writing and shall be deemed to have been duly given if delivered personally to an officer of PAI or if sent by United States registered mail or certified. All posters are lined. without limitation. In the case of lots stored at Poster Auctions International’s own warehouse. agents or employees. Any dispute arising under the terms in this paragraph will be resolved pursuant to final and binding arbitration at the American Arbitration Association. Some other notes and designations relating to the condition of a poster: Framed Where a poster is framed.” precedes it. An abbreviation for each reference (Ref) is given and can be found in the complete Bibliography. warrants the authenticity of authorship of all lots contained in this catalogue as described in the text accompanying each lot. A– indicates there may be some slight dirt. The latter determination may be caused by heavier than normal light-staining or one or two noticeable repairs. the overall design) still clearly expressed? If so. Poster Auctions International may implement the reserve by bidding on behalf of the consignor. 5. as stated aforesaid. or. if payment has not been made in accordance with these Conditions of Sale. and are presented only as an aid to the public. including some crucial image area. Size is for entire sheet. Purchaser agrees. 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. shall instruct an outside contractor to act on its behalf and arrange for or otherwise transport purchased lots. assignee. the auctioneer shall have the final decision either to determine the successful bidder or to re-offer and re-sell the lot in dispute. without any reserve. For a period of five years from the date of this sale. Poster Auctions International may. but most unobtrusive.

SPECIAL OFFER: 32 prior books for only $300 ($500 foreign). EDGE L’Encyclopédie de l’Affiche BY ALAIN WEILL With over 600 color illustrations. political posters. and prices realized.. 601 West 26th Street . V-Code TELEPHONE BID . 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. I understand that all bids are subject to the Conditions of Sale which are printed in the Catalogue. 10001 PERFORATED STATE Office: ( ) Fax: ( ) ZIP THE POSTER ENCYCLOPEDIA These auction books form an essential encyclopedia for the poster collector. or the credit of the purchaser is not established.Y.POSTER AUCTIONS INTERNATIONAL. Unsuccessful bidders will not be informed but may telephone for sales results. bibliography. with full annotations. 8 3/4 x 10 in. Order from: Posters RARE POSTERS (PAI-LV) A B S E N T E E B ID F ORM Please bid on my behalf on the following lots up to the price shown. Each illustrates over 500 Email: info@posterauctions.Telephone number where you can be reached on Thursday. N.Suite 1370.Y. but Poster Auctions International cannot be responsible for any errors or omissions in this matter..5 x 25. 10001 CUT AT Officer Exp. NEW YORK. 382 pages. Inc. N. does not arrive in sufficient time. INC. Text in French. SUITE 1370.Suite 1370. Inc.Y.5 cm.C. Price of individual volumes : $30 ($40 foreign). estimates. this newly-published book is a gold-mine of information on individual artists as well as thematic arrangements featuring travel.  (Signed) NAME ADDRESS CITY TEL: Home: ( Email Address BANK: Name Address Account Number Credit Card# ORDER BID ) Date Price: $75 Order from: Posters Please. September 8: Lot # Artist Title BID $ $ $ $ $ $ $ $ (excluding premium) . theatrical. Poster Auctions International may reserve the right not to bid for any such party if the order is not clear. or for any other reason in its sole discretion. 601 WEST 26TH ST. 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.. and significant corporate campaigns. cultural.posterauctions. N. 601 West 26th Street .C./22. 10001 TEL (212) 787-4000 FAX (212) 604-9175 www.

com.posterauctions. It should be in our New York offices no later than Friday. Either way. You may indicate an “either-or” bid if you want to purchase only a portion of the items on your wish list. When your lot number comes up.YES. we’ll call you. 11-6 Saturday and Sunday. please visit our website: www. November 11. FAX. you can nonetheless take advantage of these rare offerings. BID by MAIL. The International Poster Center. DON’T MISS OUT ON THE POSTER YOU WANT just because you can’t be in New York. To bid by telephone. bid with confidence: We execute your bid on your behalf at the lowest possible price. We execute your bid on your behalf at the lowest price possible. 601 W. you CAN be with us on November 13. 26th Street. New York City from October 28 to November 12. You may also indicate a maximum total dollar amount. indicating you maximum bid for each desired lot. To register to bid online. If you cannot attend our New York sale in person. Hours: 9-5 Monday to Friday. November 13. REMINDER: You can view all the posters at We are a bidder-friendly organization! . simply fill in the lot numbers and indicate the phone number where we can reach you on Sunday. Simply fill out the from on the reverse side of this page. Suite 1370. or PHONE or LIVE ON THE INTERNET with confidence.

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