15MB PDF file - The International Poster Center

PAI-LVII: RARE POSTERS 

SUNDAY, MAY 6, 2012 AT 11AM 

VIEWING: FRIDAY, APRIL 20 to SATURDAY, MAY 5 

MON-FRI: 9-5; SAT-SUN: 11-6 

at the 

INTERNATIONAL POSTER CENTER 

601 West 26th Street, Suite 1370, NYC (between 11th & 12th Avenues) 

T: (212) 787-4000 F: (212) 604-9175 

E: info@posterauctions.com www.posterauctions.com 

This sale is organized by Mr. Jack RENNERT and Ms. Terry SHARGEL. This catalogue is edited 

by Ms. Angelina LIPPERT and designed by Mr. James MCCOBB. For more information on this 

sale, as well as to place bids if unable to attend, please contact Ms. Terry Shargel. 

POSTER AUCTIONS INTERNATIONAL, INC.


CONTENTS ACKNOWLEDGMENTS 

AUTOMOBILES 1 - 59 

AVIATION 60 - 93 

Events 60 - 68 

Airlines 69 - 93 

TENNIS IMAGES 94 - 112 

INTERNATIONAL POSTERS 113 - 570 

BOOKS & PERIODICALS 571 - 575 

Selected Index Page 212 

Bibliography Page 213 

Conditions of Sale Page 219 

CONDITIONS OF SALE 

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

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

OUR NEXT SALE 

We are pleased to announce that the PAI-LVIII sale of RARE POSTERS, devoted entirely 

to American Posters, will be held on Thursday, September 6, 2012. 

Consignments are accepted until May 15, 2012. 

BID WITH CONFIDENCE - EVEN IF YOU CANNOT ATTEND 

If you cannot attend the auction of May 6, please use the Order Bid Form provided. 

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

“The Grand Prix of Monaco is the most glamorous, prestigious and famous of the Formula One races, the highest level of 

automobile racing events in the world. Its picturesque setting in Monaco, Europe’s most elite playground, is a near-perfect place 

I am most grateful to the many individuals who have given their 

for a contest of speed and courage. From many vantage points the cars are in full view of spectators for two-thirds of the circuit. 

full support and assistance to us in the preparation of this RARE 

The course, which has remained unaltered for the most part over the years, runs through the quaint streets of Monte Carlo, 

POSTERS (PAI-LVII) sale. First and foremost, our thanks to the 

around hairpin turns and along hair-raising cliffs and spectacular coastal roads” (Monaco, p. 7). 

99 consignors in 18 states and 10 foreign countries who entrusted 

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Our staff has been materially helpful in all aspects of this 

auction, and I wish especially to single out my associate, Ms. 

Terry Shargel. Our editorial staff 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. 

The printing of this book was again in the hands of the GHP 

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shown by its staff, most notably Mr. Wayne Bruno and Ms. Linda 

Murray. 

Absentee Bid Order Form Page 224 

To all of them and to all others who offered help, suggestions, and 

encouragement, many thanks. 

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Jack Rennert 

© 2012 Poster Auctions International, Inc. All rights reserved. 

Printed in the United States of America 

ISBN 978-1-929530-42-7 Jack Rennert - License 0797440 

ROBERT FALCUCCI (1900-1989) 

1. Monaco Grand Prix 1930. 

�� 3 In bold sunset hues, this gripping design by Falcucci for the 

�� in./78.7 x 118.8 cm 

second running of the Monaco Grand Prix is arguably one of 

Imp. Monégasque, Monte-Carlo 

the best created for the event. As the poster for the inaugural 

Cond A-/Very slight tears at bottom edge. Framed. 

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for the competition. While the leading car is unnamed, the 

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�� Est: $12,000-$15,000 

1

2 

AUTOMOBILES (Continued) 

ROBERT FALCUCCI (Continued) 


�� 7 distinguished team in Grand Prix history, the Alfa Romeo group. And, while 

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poster artists of the 1920s and 30s as A. M. Cassandre, Charles Loupot, Paul 

�8 in./78.7 x 119 cm 

Colin and Jean Carlu. To accentuate the speed of the race, he set his scene at 


a spectacular road-level perspective, placing the viewer only a few yards 

Cond A-/Very slight tears at margin. Framed. 

behind a speeding ‘French Blue’ Bugatti just exiting the tunnel a few lengths 

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behind a red Alfa Romeo . . . Hamel, who signed all his works as ‘Geo Ham,’ 

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designed all six of the famous, beautiful and rare Grand Prix de Monaco 

Another of many posters Falcucci created for the Monaco Grand-Prix, this �� 

one depicts a set of drivers speeding around a precarious Riviera-side corner. 

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

First through third place that year was swept up by Italy, with Tazio Nuvolari 

in his Alfa Romeo leading the pack. 


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

GEO HAM (Georges Hamel, 1900-1972) 


31 1�8�� 7�8 in./79 x 199 cm 

Imp. Monégasque, Monte-Carlo. 

Cond A-/Slight stains at lower right margin. Framed. 

The 1933 Monaco Grand Prix introduced the new policy of determining 

one’s starting position by practice times rather than randomly by lot. This 

was also the year when Enzo Ferrari set up what is considered to be the most 

3 

�� 3�� in./78.7 x 118.7 cm 


Cond A. Framed. 

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While the race would be dominated by the successes of the Alfa Romeo 

team, with Guy Moll in the winning car, Ham’s pastel-hued design for the 

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Richard Henry Penn Curzon) pulling ahead in his Maserati. 

PAI-LV, 72 

Est: $8,000-$10,000 

4

7 

5 6 


GEO HAM (Continued) 


�� 7�8 in./78.7 x 119 cm 



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With the Nazi regime fully in control of Germany, the Mercedes-Benz team 

arrived with the most powerful cars ever used in Grand Prix history, easily 

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three Alfa Romeos and the Maserati that took the next four spots. On the poster, 

Ham puts us right in the action, against the glittering background of 

sun-drenched Monte Carlo. 

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


31 1�8�� 1�2 in./79 x 118 cm 



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“Geo Ham’s 1936 poster brilliantly depicts the battle between Germans and 

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rear-engine racecars, leads a red Alfa Romeo through an extremely tight turn. 

The masterful portrayal of the intense competition at the races is wonderfully 

contrasted to the normally serene harbor and city. Ham’s orange-tinted course 

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of the cars . . . here again are Ham’s signature palm tree and scarf blowing in 

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– with one car losing oil – cars were spinning all over the place. Chiron, Fagioli 

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managed to nurse his Mercedes through to win. 

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

MICHEL BELIGOND (1927-1973) 


8 

JACQUES GROGNET (1927- ) 


9 10 

GEO HAM (Georges Hamel, 1900- 

1972) 

16 x 23 3�� 

15 

Editions J. Ramel, Nice 

Cond A-/Slight tears at corners. 

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The 1963 Monaco Grand Prix is best known 

�� 

for British driver Graham Hill on that track, 

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

5�8�� 9. Journée Internationale Automobile 1937. 

A.I.P., Monaco 

15 

Cond A. 

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Although this colorful Modern design depicts 

Jody Scheckter in a Ferrari speeding down the 

track, it was actually Carlos Reutemann who 

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that year’s Monaco Grand Prix. 

Est: $700-$900. 

1�2 x 23 5�8�� Imp. Arts et Sports, Paris 

Cond B+/Slight tears at folds. 

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In case the Tour de France wasn’t reason enough 

to be at the Autodrome de Monthéry on May 2, 

1937, there was also a international car show on 

view at the venue. 

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

10. Loterie Nationale / Coureur Automobile. 

15 1 �� x 23 3 �8�� 

Imp. Chaix, Paris 

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An exhilarating design by Ham to promote the 

National Lottery. 

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

FROM THE POSTER ART LIBRARY 

Grand Prix Automobile de Monaco Posters: 

The Complete Collection. 

by William W. Crouse 

9 1 �4 x 11 3 �4 in./22.9 x 29.8 cm 

Hardcover; 120 pages with 88 color illustrations; text in English. 

With a subtitle like “The Complete Collection: The Art, The Artists, and 

The Competition,” what else is there to say about this book? Unmatched 

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from 1929 through 2009 for the epic Monaco Grand Prix. Each race is 

discussed, noting the major drivers, cars, and artists associated with that 

year. And, even with all that information, this book remains remarkably 

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Price: $50

11 

13 

12 


G. RASPAUT 

11. 4ème Grand Prix / Perpignan 1949. 

15 5 �8 x 23 1 �2 in./39.6 x 59.6 cm 

Moullot, Marseille 

Cond A-/Restored unobtrusive tears. 

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12. Les Grands Prix de France / Reims. 1966. 

15 3 �8 x 23 1 �� in./39 x 59 cm 

Imp. Thivillier, Paris 

Cond A-/Slight tears at top edges. 

Held on the 60th anniversary of the French Grand Prix, this was 

the last race to be held near Reims. It was won by Jack Brabham 

of Australia driving for his self-named team in a Brabham BT19. 

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

GEORGES NICOLITCH 

13. Marseille. 1950. 

�� 3 �� x 62 3 �8 in./116 x 158.3 cm 


Cond B+/Restored tears at folds. 

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Also known as the Roussillon Grand Prix, this event was held in 

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

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due to safety issues. It also marked the only year that the event 

JOSEP SEGRELLES (1885-1969) 

was won by a non-Frenchman, Juan Manuel Fangio of Argentina 

in his Maserati. 

14. Autodromo Nacional. 1923. 

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

26 

MICHEL BELIGOND (1927-1973) 

1�� x 21 1�� 

Rieusset, Barcelona 

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Located just outside of Barcelona, the Sitges-Terramar racing circuit 

was designed and built in 1922 as an outlet for the newly-formed 

Autodromo Nacional. This breathtaking poster, seemingly giving us 

a worm’s eye view beneath the speeding cars, was from the track’s 

inaugural – and only – season. With unpaid construction bills piling 

up, contractors seized the gate money, causing the owners to be unable 

to pay the winning prize money to the drivers. A few minor races were 

held by independent groups in the mid-1920s and again in the 1950s, 

but the track has remained basically in disuse since 1923. This is the 

smaller format version of the poster. 

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

14

15 

17 


A. GARCIA 

15. X Gran Premio Internacional Peña Rhin. 1950. 

18 3�� x 13 3�8�� Seix y Barral, Barcelona. 

Cond A-/Slight tears at edges. 

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One of the more sporadic Grand Prix races in Spain’s history, 

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circuit, took a ten year hiatus and started again in 1933 at the 

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to the street track in Pedralbes where it would take place four 

times before being disbanded altogether. This was the penultimate 

race, won by Alberto Ascari in his Ferrari. This is the smaller 

format version of the poster. 

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

ANONYMOUS 

16. IX Grande Prémio de Portugal. 1960. 

27 1�8 x 39 1 ANONYMOUS 

18. Panne d’Auto / Woman’s Logic. 1912. 

�� 

�8 in./68.8 x 99.5 cm 

Litho. Invicta, Porto 

Cond A-/Unobtrusive folds. 

Although founded in 1951 as a sports car race, the Portuguese 

Grand Prix did not become part of the Formula One circuit until 

1958. It would remain part of Formula One only until 1960 – the 

�� 

when the name was resurrected for a brief Formual Three event. 

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

JOHN A. GENEUX (1916-1990) 

1�2 x 77 1�8 in./138.6 x 196 cm 

Castiglione, Milano 

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Baldassarre Negroni, Panne d’Auto�� 

Alberto Collo, Francesca Bertini, and Emilio Ghione. These three teamed up 

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playing the ‘bad guy,’ Bertini the female love interest, and Collo the protagonist 

and hero. In this particular story, a young woman named Kitty is torn between 

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a handsome engineer. Attempting 

to impress her with his bravery, Pietro signs up for a daredevil automobile race 

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Alberto pretends that his car breaks 

down, allowing him to take Kitty for a picnic while Pietro competes. Here, Kitty 

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subsequent proposal. 

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

19. Compteur O.S. 

��5�8 x 61 7 18 19 

�8�� 

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17. Grand Prix de Nations / Genève.�� 

25 1 �8 x 38 7 �8 in./63.8 x 98.7 cm 

�� 

Cond A-/Slight tears in bottom text area. Framed. 

16 

A dramatic image in which possession of the advertised speedometer 

allows you to be the unquestioned master of the road. 

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

Created shortly after the end of World War II, the Circuit des 

20. Extincteur Méphisto. 

Nations was a short-lived race held on a 2.55 mile track between 

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16 

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only the second Grand Prix des Nations (the actual second event 

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

1�2 x 25 1�2�� Imp. A. Ramboz, Lyon 


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instantly put an end to any unfortunate car troubles. It is interesting that 

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normally associated with starting them. 

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

20


ANONYMOUS (Continued) 

21. Two Israeli Car Safety Posters. 1969 

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1 1 �� 8 x 27 �� 

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22. Marathon Motor Oil. ca. 1926. 

28 7�8�� 5�8�� 

mostly near edges. 

Put out by the Council for the Prevention 

Put out by the Transcontinental Oil Company, 

Marathon Motor Oil used the image of an 

of Road Accidents, these two images ask 

Olympic runner in full sprint as its mascot 

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for decades, usually pictured beside various 

in Arabic and Hebrew, reminds us to keep a 

taglines. Today, it is simply known as 

safe distance between our vehicle and the car 

Marathon Petroleum, and no longer utilizes 

in front of us, while the second tells us to slow 

this once-famous emblem for the brand. 

down to avoid fatally injuring children. 

Est: $800-$1,000. (2) 

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

22 

23. Renault / Les Moteurs 85. ca. 1931. 

30 1�2�� 1�2 in./77.6 x 115.7 cm 

Imp. Usines Renault 

Cond B-/Tears at folds. 

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A striking photomontage promoting the latest 

advancements in Renault’s six and eight 

cylinder engines. 

Est: $600-$800. 

21 

23 

ASHLEY 

24. Use BP. 1932. 

28 1 �2 x 39 in./72.5 x 99 cm 

Cond B/Slight creases. 

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

ROGER BERCKMANS (1900-?) 

25. Ideal. 1929. 

�� 3 �� x 61 3 �8 in./116 x 155.8 cm 

O. de Rycker, Bruxelles 

�� Cond A. 

Petroleum, this dynamic, rare composition by Ashley 

Anthropomorphizing the can of Ideal motor oil so that it literally 

captures the sexy allure of speeding down a dark road. 

is what keeps your car running, this bright image by Berckmans 

has the enthusiasm and whimsy of Cappiello or d’Ylen. 

24 

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

25

26 

E. CÉLOS 

28. Darracq. ca. 1905. 

53 1 �2 x 82 3 �� in./136 x 210 cm 

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HENRI BÉHEL 

26. Georges Richard / “Unic.” ca. 1908. 

�� 1 BOUDON 

27. Georges Roy. 

�2 in./160 x 118 cm 

60 

Imp. J. van Gindertaele, Paris 


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While Georges Richard had his own line of automobiles between 

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then founded Unic in 1906. Here, in serene seaside elegance, we 

see one of the brand’s earliest models, the white area in the lower 

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

3�� 7 After selling off his Gladiator bicycle factory, Alexandre 

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engine hit the market, helping him corner 10% of the 

French automotive industry. Here we see only the shadow 

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implying that his cars are faster than their own shadows. 

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for infringement and defamation. 

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

PHILIPPE CHAPELLIER 

�8�� 

29. Petit Cycles & Automobiles. ca. 1900. 

Imp. A. Lafon, Bordeaux 


Similar in theme to Steinlen’s Motocycles Comiot (see PAI-LV, 

36 

�� 

country life – as the woman kindly waves to the envious farmer, 

we know he wishes that he too had a Georges Roy automobile. 

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

5�8�� 7 27 

�8 in./93 x 126.8 cm 

Imp. Chapellier, Paris 


Using the bustling Parisian backdrop of the 

Champs-Elysées, Petit cycles and automobiles 

are shown as main players in this dynamic scene, 

allowing well-heeled drivers to breeze down 

the boulevard in style. 

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

28 

29


LEONETTO CAPPIELLO (1875-1942) 

30. Automobiles Brasier. 1906. 

��3�8 x 63 1 began to work with Georges Richard–whose trade name ‘Le 

�2 in./118 x 161.2 cm 

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Imp. P. Vercasson, Paris 

four-leaf clover is seen in the upper left–to produce cars 

Cond A-/Slight tears at folds. 

under the name of Richard-Brasier. After racing successes in 

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his own company, Unic. Brasier continued alone in the Paris 

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suburb of Ivry, making good quality, classically conceived 

cars. After World War I, production continued, but Brasier 

“There were two basic ways of selling cars in the early days 

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of motoring. One emphasized class . . . The other pushed 

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speed, as seen in the swirling cloud of rainbow-hued dust of 

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this Automobiles Brasier poster. H. Brasier was an engineer 

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

30 

31. Bellanger: Maquette. 1921. 

�� 1 �� x 59 3 �8 in./110 x 151 cm 

�� 

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the world,’ a Bellanger car is shown here as hovering effortlessly within 

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produced by the Bellanger Brothers, who began making cars in 1912 

in the Paris suburb of Neuilly. The factory would close four years after 

this poster’s conception due to technological limitations. 

Est: $30,000-$35,000. 

31


CHARLES DELAVAT 

DELPY 

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

32 33 

JEAN DON (1900-1985) 

32. Unic. ca. 1910. 

62 3�8�� 1 33. 36eme Salon de l’Automobile 

�2�� et du Cycle. �� 

B. Chapellier-Jeune, Paris 

15 


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A bright, clever design in which we see that 

even the railroad can be beaten by the latest line 

of Unic automobiles. While most other ads of 

the period show a car physically racing against 

a steam engine and winning, this poster simply 

shows that Unic vehicles are given preferential 

treatment at crossings, forcing trains to an 

absolute standstill. 

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

1�� x 22 1 34. Rallye Mondial / Cannes. 1929. 

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�2 in./38.7 x 57.2 cm 

Imp. Bedos, Paris (not shown) 

Cond B-/Restored tears. 

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In October of 1898, industry pioneer Albert de 

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grow to become one of the largest and most 

important annual exhibitions for the automobile 

industry. By 1910, it had made the Grand Palais 

its permanent home, where it would remain until 

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blueprint for a bicycle design. This is the smaller 

format version of the poster. 

5�8 x 16 7�8�� 

Cond C+/Restored losses in lower right 

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French tricolor promoting Rallye Mondial’s 

week-long ‘elegant automobile’ show 

in Cannes. 

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

34 

HARRY ELIOTT (1882-1959) 

35. Clément. 1906. 

�� 

Imp. E. Bougard, Paris 


With various models of Clément automobiles and bicycles 

peppering the countryside, this poster links the brand with 

the level of society that participates in the luxe sport of fox 

hunting. This is the larger format version of the poster. 

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

DOUGLAS ENGLAND 

36. Chrysler. 1927. 

�� 1 �8 x 19 7 �8 in./112.2 x 50.5 cm 

Cond B/Slight tears, largely at edges. 

�� 

�� four latest models. England’s background as a cartoonist 

and illustrator certainly helped him create such an eyecatching 

composition with such economy of color. 

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

35 

36


OTTO ERNST (1884-1967) 

Est: $7,000-$8,000. 

ERNST LUDWIG FRANKE (1886-1948) & HERRMANN 

37. Chrysler. 1922. 

35 1�2 x 50 3 38. Lattermann Fahrschule. ca. 1930. 

�8 in./90.3 x 128 cm 

�� 

A. Trüb, Aarau 

Cond B/Slight tears at folds. 

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After working alongside the Fauves and Cubists in Paris, Ernst returned to 

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Here, while a plainly-drawn automobile hums along an equally simple dirt 

road, dramatic blue triangle mountains burst through cloudy spheres, a 

geometric backdrop dominating this impressive design. 

7�8 x 37 1 39. 13ème Foire Automobile. 1936. 

�� 

31 

�� 

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Though he didn’t become one of the legendary names in the automotive 

industry, Vienna engineer Robert Lattermann designed six motorized vehicles 

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ease, ranging from motorcycles to sedans. But most interestingly, not only 

was Lattermann willing to sell his modes of transportation, he was willing 

to teach you to drive them as well. 

1 40. Peugeot 12. 1935. 

�2�� 

�� 

Publicité Boreau 

Cond A-/Tears in margin. 

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showcasing the best industrial and agricultural vehicles of the year. It is 

interesting to note that the type of car shown in the image would probably 

not have been highlighted in the exhibition. 

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

1�2 in./119.5 x 158.6 cm 

Création Girard, Levalloise 

Cond B/Tears at folds. 

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The six-cylinder Peugeot 12 was one of Europe’s prestige cars in 

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

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

37 

HENRY GERMAIN 

39 

ANDRE GIRARD (1901-1968) 

38 

40

41 

43 

44 


C. GIRARDOT 

41. Millot. ca. 1897. 

�� 3 �� x 62 3 �8 in./113.7 x 158.5 cm 

�� 


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

FERNAND-LOUIS GOTTLOB 

(1873-1935) 

42. Labor. ca. 1903. 

�� 3 �8 x 62 7 �8 in./117.7 x 159.7 cm 

Imp. H. Laas, E. Pécaud, Paris 

E. A. HERMANS 

43. Foire d’Automobiles / Bruxelles. ca. 1935. 

15 3 �� x 23 5 �8�� 

�� 

Cond A-/Restored horizontal fold. 

Only in operation from 1896 to 1902, the 

With a splash of Hitchcockian drama, a giant 

Millot automobile company, run by the Millot eye is shown in extreme focus staring down 

brothers, produced awkward cars which never at a sleek red car. This seemingly-incidental 

�� 

detail makes the poster all that more 

muse shows off the new motor, able to run on interesting, making us want to attend 

either gas or petrol. 

the Brussels Automobile Fair. 

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

RENE LEVERD (1872-1938) 

44. Hurtu. ca. 1900. 

38 1�� 5�8 in./97.2 x 138.6 cm 


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personal transport business, began by 

A very serious, determined image of a 

manufacturing bicycles then added automobiles 

mustachioed driver at the helm, barreling 

to their output. Here, the stylish nature of their 

his vehicle over the endless terrain. 

automobiles is placed against the reliability of 

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

their bicycles, a cycling postman handing off 

the mail like a member of the Pony Express. 

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

42 

45. Cycles & Automobiles Clément. ca. 1902. 

62 3 �� 


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in 1896, Clément was one of the bicycle makers that 

accounted for more posters than any other. In a genre full 

of fanciful imagery and exotically costumed muses, here 

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cyclists and a lady in her car wait for a train to pass a 

country crossing. Like the other image for Clément 

(see Lot 35), there is a certain air of high society that 

goes along with the brand. 

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

HANS LINDENSTAEDT (1874-1928) 

46. Protos. 1912. 

36 3 �� x 26 3 �� in./93.3 x 67.8 cm 

Reklamekunst Lindenstaedt, Berlin 

�� 

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In 1905, Alfred Sternberg began producing Protos 

automobiles, developing a new motor, known as 

�� 

smooth, fast ride. The six-cylinder vehicle quickly garnered 

many fans, including Kaiser Wilhelm II. The Protos’ greatest 

fame came from its participation in the New York to Paris 

Great Race of 1908 – the six competitor endurance test that 

covered a total distance of nearly 23,000 miles, including 

a crossing of the frozen Bering Straits. In 1913, the Protos 

�� 

in 1926, due to the severe economic crisis being suffered in 

Germany at the time, Protos ceased operations after having 

produced 25,000 vehicles. 

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

VINCENT LORANT-HEILBRONN (1874-?) 

47. Protecteur Nèron. ca. 1902. 

59 1 1 

�� 2 in./150.5 x 108 cm 

�� 

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breezing over rocks and rubble as another is left in the dust. 

In the lower right is a technical cutaway displaying the inner 

�� 

god representing, amongst other things, profound speed – 

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

45 

46 

47

48 

49 


LEOPOLDO METLICOVITZ (1868-1944) 

48. Automobile Club de Milano. 1909. 

�� 7 �8 x 56 1 �2�� 

G. Ricordi, Milano 


�� 

PAI-XIII, 29 

�� 

behind them, a duo of accomplished drivers deign 

to glimpse down at us from their car, representing 

all that the 1909 exhibition at the Automobile Club 

of Milan stands for. A wonderfully arrogant, 

pre-Mussolini design. 

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

HENRY LE MONNIER (1893-1978) 

49. Unic. 1933. 

62 3�� 7�8 in./159.3 x 119 cm 

�� 

�� 

In unexpected shades of mauve, mustard, and prune, 

we are met with the full line of Unic-brand diesel 

trucks. A powerful, highly graphic composition 

�� 

power through design. 

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

J. MONTANYA 

50. Exposición de Automóviles. 1919. 

30 7�8�� 7�8�� 


March 15, 1919, marked opening day of Barcelona’s 

�� 

Arts, the exhibition lasted through March 25, and 

showcased the various makes of car as if they 

were the latest Parisian fashions. Citroen made its 

debut that year, as did one of the earliest ‘economy’ 

vehicles. There was also a special section dedicated 

to airplanes. Here, Montanya gives us a spectacular 

design, contrasting the enthusiastic throngs headed 

into the show alongside the lush pageantry of wealth 

interested in taking part in the many glamorous 

activities associated with exhibit. A rare and 

beautiful design. 

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

50

51 52 

53 


ERNEST MONTAUT (1879-1909) 

51. Cabanne-Nirouet. ca. 1905. 

�� 5 �8 x 38 7 �8 in./138.7 x 98.7 cm 

Imp. Ch. Wall, Paris 


�� 

Better known for his racing imagery, Montaut here gives us a busy 

street scene through which both buggy and car must navigate. 

What better tool to rely on for this purpose that Cabanne-Nirouet, 

an all-purpose lubricant that keeps things running smoothly. 

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

J. PILLOD 

52. Castrol / Bugatti. 1933. 

23 1 �� x 31 3 �8 in./59 x 79.5 cm 

Imp. P. Fournie, Paris 

Cond A. 

�� 

Born out of feud between Vacuum Oil Company and Viscount 

�� 

�� 

product acted as a lubricant for a variety of vehicles, noted in 

particular here as being best for your Bugatti. 

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

GEORGES PIERRE RIOM (1877-1970) 

53. Mitchell. ca. 1906. 

62 1�� 3�� in./158 x 113.5 cm 

Imp. Pichot, Paris 

�� 

�� 

Based in Wisconsin, Mitchell automobiles was in operation from 

1903 to 1923, specializing in carriage-like cars such as the one 

seen in this poster for the French market. It was later purchased 

by Nash Motors, which is today, after a variety of buy-outs and 

mergers, part of Chrysler. 

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

PIERRE SIMMAR 

54. Automobiles Peugot. 1906. 

�� 3�8�� Alexandre Verger, Paris 

Cond B/Restored tears at folds. 

�� 

One of the most bizarre automobile ads ever to appear in 

our auctions, Peugeot has decided to appeal to the myths and legends 

�� 

�� 

a knife-wielding giant troll. Above, the text translates “Tom Thumb 

�� 

the historic French version of the fairytale in which Le Petit Poucet, 

the smallest child in a family of seven, saves the lives of his siblings 

by making off with one of the giant’s ‘seven-league boots’ while it 

is sleeping. Once inside the boot, the brothers are able to travel great 

distances in a matter of minutes. Little did we know, Charles Perrault, 

the author of the story, got it wrong – it wasn’t a magical boot, but a 

Peugeot which rescued the pint-sized family. 

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

C. THIERRY 

55. Le “Fournier.” ca. 1919. 

31 x 23 in./78.8 x 58.5 cm 

�� 

Cond B+/Unobtrusive folds. 

With a woman daringly at the helm, bounding over all manner of 

unbridled terrane, Fournier automobiles demonstrates how it is the 

�� 

�� 

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


54 

55

WALTER THOR (1870-1929) 

56. Automobiles Barré. ca. 1902. 

62 1�2�� 7�8 in./158.7 x 119 cm 

Imp. J. van Gindertaele, Paris 


�� 

56 

58 59 

TOL 

58. St. Marcellin / 10e Foire de l’Automobile. ca. 1938. 

�� 3 �8 in./117 x 156.6 cm 

Imp. Cluze, Saint Marcellin 

Cond B+/Slight creases in background. 

�� 

57 

EVENTS 

In this vibrant design d’apres �� 

�� 

of this brand of vehicle, we see the lively and unruly passengers giving the police 

�� 

�� 

barrel through the barrier. Obviously, this brand of car is just at comfortable 

off-road as it is on a paved street. 

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

57. Darracq. 1906. 

62 3�� 1 An enthusiastically campy Hermes announces the 10th annual Automobiles 

Festival in the small French town of Saint Marcellin, featuring primarily 

commercial and industrial vehicles. 

Est: $600-$800. 

VIC 

59. Shellubricate. 

�� 

�� in./159.2 x 117.5 cm 

�� 

�� 

�� 

In the early days of motoring, winning a race was virtually a prerequisite to 

�� 

�� 

�� 

�� 

�� 

�� 

�� 

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

3�� x 30 in./113.5 x 76.2 cm 

�� 

�� 

60 

ANONYMOUS 

The many posters created for Shell Oil during its Golden Age can pretty much be 

�� 

�� 

60. Saint-Omer / Fêtes d’Aviation. 1910. 

�� 

see the gears churning within the engine, rapidly dipping into a bronze pool of 

50 

Shell lubricating oil. There is a note of Cassandre’s famous LMS design in the 

�� 

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

1�� x 75 3 quietly behind a sea of Bleriots and other early planes. 

�� in./127.7 x 192.3 cm 

Although stars are just appearing in the deep-purple sky, 

�� 

the spectators are still cheering on the brave aviators. 

�� 

�� 

�� 

was witnessed by an audience of over 100,000 people. 

Four years later, this town would become famous as the 

Held on the heals of the nearby Brussels air show, the St. headquarters of the British Royal Flying Corps throughout 

Omer Fêtes d’Aviation is little-known today. This poster, the First World War. 

however, is one of the most delightful within the genre, the 

sunset-bathed ruins of the Saint-Bertin abbey looming 

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

61 

63 

AVIATION / EVENTS (Continued) 


61. Luftfahrt-Ausstellung. 1938. 

26 5 �8 x 38 7 �8 in./67.5 x 98.7 cm 


A rare and haunting night view of the First International 

Airshow in Belgrade. 

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

62. Journée Nationale de l’Air. �� 

15 7 �8 x 23 3 �� 

I.F.R., Paris 

Cond A. 

One of many variants of this simple, patriotic design meant to 

promote a charity event for wounded pilots. The image appears 

to have been used almost monthly throughout the early-tomid-1930s 

to promote the same type of event, the only graphic 

difference being a change of date. 

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

OTTO BAUMBERGER (1889-1961) 

63. Internationales Flugmeeting Zurich. 1927. 

36 x 50 3 �8 in./91.5 x 128 cm 

Gebr. Fretz, Zürich 


�� 

A dramatically simple design in which the stark white silhouette 

of an airplane cuts across a midnight blue-on-black cloudy 

sky, diving toward the mountainous terrain below. Without 

any showy frills, this rare poster promises death-defying feats 

and excitement for anyone who attends the 1927 International 

Airmeet in Zurich. 

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

62 

PLINIO CODOGNATO (1878-1940) 

64. 1er Salon International de l’Aeronautique. 1935. 

27 1 �� x 39 3 �� in./69.3 x 101 cm 


�� 

Much in keeping with the Italian political climate of the 

�� 

stately and aggressive, with a palpable weight and mass to 

the objects shown. This is the smaller, French-text format 

version of the poster. 

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

GAMY 

65. Paris-Bordeaux. 1910. 

17 1 �� x 35 1 �8�� 

Mabileau, Paris 


While one would generally assume that this depicted 

a Paris to Bordeaux air race, it was in fact a solo 

undertaking by the Peruvian aviator Juan Bielovucic 

Cavalié. His mission was to prove that the airplane 

could rival the train as a speedy and valid form of 

transport, supposedly completing the trip in six hours. 

In actuality, the 350 mile trip took seven and half hours 

over the course of three days. 

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

66. Juvisy-Paris. 1909. 

17 1 �� 

Mabileau, Paris 

Cond B/Staining in margin. Framed. 

�� 

A sunset depiction of the pivotal moment in the Juvisy to 

Paris air race with Charles de Lambert sailing his biplane 

�� 

�� 

�� 

�� 

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

65 

64 

66

AVIATION / EVENTS (Continued) 

JAN LAVIES (1902-2005) 

67. Nationaal Luchtvaart Fonds.�� 

31 3 3 �8�� in./79.8 x 108.7 cm 

Cond A. 

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

M. VOLTA 

68. De Lambert sur Paris. 1909. 

15 1 �8 x 12 in./38.5 x 30.5 cm 


�� 

�� 

pelicans representing the National Air Fund The second poster in this sale featuring 

committee. As we pour money into pelican the aviator Charles de Lambert. This 

#1, #3 spits out airplanes to help in the war. time, he is shown hovering in serene 

sunset silence over Paris. 

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

AIRLINES 

67 69 

68 

70 

71 

73 

ANONYMOUS 

69. Pan American / Calcutta. 1951. 

��3 �� 1�� in./63 x 102.2 cm 

Cond A. 

Est: $800-$1,000. 

ASIART 

70. Air India International.�� 

�� 1 �8 x 30 3 �� 

Bolton F.A.L., Bombay 

Cond A. 

An eye-catching image for Air India in which the 

end of the mascot’s turban has gotten caught in the 

plane itself, destined to unravel as the plane easily 

goes from London to Geneva to Cairo to Bombay. 

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

P. BAUDOUIN 

An iconic nighttime view of the Arc de Triomphe, 

visually emphasizing that Paris truly is the City 

of Lights. It is interesting to note that the only 

other landmark highlighted in the poster is the Air 

�� 

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

HENRY K. BENCSATH 

72. American Airlines / New York 

World’s Fair. 1961. 

30 1 �� x 39 7 �8 in./77 x 101.2 cm 

Cond A. 

Printed nearly three years before the 

actual event, this poster captures the 

thrill of Modernity surrounding the 

�� 

the Unisphere popping out against 

the Manhattan skyline, we’re presented 

with a city of glass and steel – a symbol 

of the future and the Modern era. 

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

BISHOP 

73. Fly National / Havana. ca. 1956. 

13 3 �� x 20 in./35 x 50.8 cm 


71. Air France / Paris.�� 

��1 Created during the height of American 

travel to Cuba, this poster presents all 

�2 x 39 in./62.2 x 99 cm 

the exotic romance one could ask for, 

La Générale Publicité 

set against the historic El Morro 

Cond A. 

Lighthouse along the Malecon. 

�� 

�� Est: $700-$900. 

72

75 

76 

74 

77 

77. Swiss Air / India. 1959. 

25 1 �8�� 

J. C. Muller, Zurich 

Cond A/P. 

�� 

Like the previous poster for Japan, the formula of 

landmark, man with animal, and woman is present, 

and yet the two could not be more different. The only 

true constant is the silhouette of a Swiss Air plane, 

with its iconic white cross on red, skirting 

the foreign sky. 

Est: $700-$900. 

CESAR SHLOMO COHEN 

78 79 

LUCIEN BOUCHER (1889-1971) 

distinguish an Asian route, which continued as far as 

Hong Kong, another to South America and a third 

74. Air France / La Carte Étoiles. 1951. 

in the direction of the Nordic countries. The result 

1 �� 

�� 8�� 

the signs of the Zodiac becoming a mirror in which 

Perceval, Paris 

the earth suggested by the Air France routes is 

Cond A. 

�� 

�� 

Air France/Fraile, p. 53 

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

“Sometimes these [Air France] networks were 

drawn on a celestial chart . . . with constellations ALBERT BRENET (1905-2005) 

replacing the continents. Until then master of the 

skies, the airplane (Air France’s of course) had 75. Aeromaritime. 1937. 

metaphorically become master of the world, even �� 

�� 

ellipse, the omission of the globe, just barely 

suggested by the stops written next to the air routes. 

But if we stand back and look at a distance at this 

network drawn on the celestial chart, we have the 

strange impression of seeing the world projected 

onto the sky. The density of the links and their 

obvious starting point (Paris) make it possible to 

1�8 x 38 1 heart of the West African coast. This manner of 

subject was typical for Brenet, who made his living 

�� 

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

DONALD BRUN (1909-1999) 

76. Swiss Air / Japan. 1958. 

25 

�8 in./61.2 x 97 cm 

Imp. Mon-Louis, Clermont-Ferrand 

�� 

�� 

�� 

With a heroic African tribesman in the foreground, 

�� 

plane aggressively follows the path of his readied 

arrow, implying that this airline brings you to the 

1 78. El Al / Israel’s 25th Anniversary. ca. 1973. 

27 x 38 

�8�� 

J. C. Muller, Zurich 

Cond A/P. 

�� 

Alluring and exotic, this poster for the Japanese 

route on Swiss Air presents like a scene from a 

dream. The design is expressionistic, creating 

atmosphere out of a landmark, a man with an 

animal, and a woman. 

Est: $700-$900. 

5�8 in./68.5 x 98 cm 

United Artists, Tel Aviv 

Cond A. 

A wonderfully trippy psychedelic collage 

celebrating Israel’s 25th Anniversary while 

promoting El Al airlines. 

Est: $600-$800. 

GUY GEORGET (1911-1992) 

79. Air France / Paris. 1959. 

��5 Showcasing all the wonders of France in a single 

image, this poster for TWA lets you know at a 

glance that France is the destination of choice 

for fashion, food, art, history, and culture. 

Est: $700-$900. 

HOLZ 

82. Air France / Flying Holidays. 1936. 

25 

�8 x 39 in./62.6 x 99 cm 

Imp. Courbet, Paris 

Cond A-/Restored slight tears at edges. 

�� 

From the banks of the Seine, we peer around a 

stained-glass array of foliage to see the rear of 

�� 

Est: $800-$1,000. 

1�8 x 39 3 AVIATION / AIRLINES (Continued) 

�� in./63.8 x 101 cm 

�� 

A rarely seen, detailed image promoting a travel 

�� 

one-stop shop for easy vacations, they provide 

booking for all manner of hotels, restaurants, 

�� 

need for your next holiday. 

Est: $700-$900. 

S. GRECO 

80. TWA / Ireland. ca. 1956. 

�� 3�8 in./63.5 x 102.5 cm 

Cond B+/Slight tears. 

�� 

the 10th century Monasterboice Cross acts as an 

entryway into a quaint country town, a new TWA 

plane gliding silently across a clear Irish sky. 

Est: $600-$800. 

81. TWA / France. ca. 1956. 

25 1 �� x 39 3 �� 


80 

81 

82

AVIATION / AIRLINES (Continued) 

DAVID KLEIN (1918-2005) 

While Klein has produced an array of posters throughout his lengthy 

career, his most lasting contribution to the world of design came in the 

form of the many ads he created for Trans World Airlines in the 1950s 

and 1960s. Today, they are considered the pinnacle of the Golden Age 

Est: $600-$800. 

�� 

around the world. 

88. Fly TWA / Switzerland. ca. 1966. 

83. Fly TWA / Ireland. �� 

25 1 �� x 39 5 �8�� 

Cond A. 

Est: $600-$800. 

85. Fly TWA / Rome. ca. 1961. 

25 1 �8 x 39 5 �8 in./63.8 x 100.5 cm 

Cond A. 

Est: $600-$800. 

84. Fly TWA / Italy. ca. 1962. 

��7 86. Fly TWA / Holy Land. �� 

�8�� 

25 

�� 

�� 

Est: $800-$1,000. 

1�8 x 39 5�8 in./63.8 x 100.6 cm 

Cond A. 

Est: $600-$800. 

83 84 85 89 

87. Fly TWA / Portugal. ca. 1966. 

25 1 �8 x 39 1 �2�� 

Cond A. 

25 1 �8 x 39 1 �2 in./63.8 x 100.3 cm 

Cond A. 

Est: $600-$800. 

89. TWA / Paris. ca. 1955. 

25 1 �� x 39 5 �8�� 

Cond A-/Slight tears at lower left corner. 

This exuberant celebration of the City of Lights 

makes Paris seem like the only worthwhile 

destination in the world. 

Est: $800-$1,000. 

86 87 

88

AVIATION / AIRLINES (Continued) 

GEORGES MATHIEU (1921- ) 

90. Air France / Hong Kong. 1968. 

90 91 93 

DAN REISINGER (1934- ) 

92. El Al: 5 Posters. 

1 �� 2 in./61 x 100 cm 

�� 


Cond A-/Slight wear at edges. P. 

�� 

In 1968, Air France decided that its advertising should promote graphic innovation. 

�� 

�� 

and avant-garde role in contemporary art. It should be a testing ground, and an 

�� 

�� 

painting, halfway between Gestalt theory and lyric abstraction, he negotiated to 

illustrate different countries and continents . . . between the abstract sign that he was 

�� 

�� 

�� 

Est: $600-$800. 

91. Air France / USSR. 1969. 

1 �� 2 in./61 x 100 cm 

�� 

Cond A-/Very slight wear at edges. P. 

�� 

Est: $600-$800. 

1�8 x 20 1�� in./35.8 x 51.5 cm 

Cond B/Some tape stains. 

�� 

�� 

of the most simple, yet clever, designs ever created for the air industry. For 

each destination – Asia, Israel, Europe, America, Africa – an emblem of the 

country or region is transformed into a letter in the airline’s name, be it a 

�� 

posterist, and his graphic work has been widely praised and exhibited. These 

are a smaller format versions of each image. 

Est: $1,400-$1,700. (5) 

ALBERT SOLON (1897-1973) 

93. Cidna. ca. 1929. 

12 1�8 x 17 1 ANONYMOUS 

94. Donne a Braccetto. ca. 1922. 

�� 

�8�� 

Publicité Solon, Paris 

Cond A. 

Originally known in 1920 as the French-Romanian Company for Air Transport 

�� 

Paris to Istanbul via the many cities listed in the lower left area of this poster. 

�� 

�� 

to Bucharest. It was ultimately merged with Air France in 1933. 

1�2 x 62 1 95. La Panne-Bains. 1912. 

�2 in./119.7 x 159 cm 

Imp. B. Arnaud, Paris 

3 �� in./61 x 85.8 cm 

�� 

Cond A. 

�� 


�� 

�� 

�� 

as a resort community in 1892, quickly becoming a favorite amongst 

�� 

artists as both a retreat and an opportunity to create art for the many 

enjoy a stroll away from the tennis court. Presumably, this is the 

�� 

before-letters version of a poster for a department store, showcasing 

of unoccupied Belgium as well as the seat of the royal family. Here, 

the latest in women’s summer fashion. 

�� 

�� 

and sand, atmospherically spilling out into the boarder to add depth. 

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

Like the couple in the foreground, we are stepping out onto the sand, 

enjoying a game of tennis and the low tide beyond. 

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

Est: $800-$1,000. 

92 

POSTERS FROM THE COLLECTION OF THE 

HANBURY TENNIS CLUB, ITALY 

94 95

TENNIS IMAGES (Continued) 


96. Tissu Hygiénique. ca. 1901. 

�� 3�� in./86.3 x 129 cm 

Imp. Marseillaise, Marseille 


�� 

A turn-of-the-century advertisement for hygienic 

athletic clothing, medically approved to prevent 

all manner of disease and to help cure rheumatism, 

gout, and digestive issues. All that from what is 

�� 

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

FRANCO BARBERIS (1905-1992) 

97. Lugano. ca. 1950. 

27 1 �� x 39 1 �2�� 

Velandini, Lugano 

PAUL COLIN (1892-1986) 

98. Vichy / Mai-Octobre. �� 

�� 3 �8 x 61 3 �8 in./115.2 x 156 cm 

Imp. Bedos, Paris 

Cond B/Creases. 

�� 

�� 

“Having developed a bad reputation during the 

Second World War as the seat of the collaborationist 

government, the city of Vichy, once the war was 

over, tried to regain its reputation as a pleasant, quiet 

spa, famous worldwide for its mineral water. Colin’s 

�� 

�� 

This is the larger format. 

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

REYN DIRKSEN (1924-1999) 

�� 

99. Holland-America Line / Nieuw 

�� Amsterdam.�� 

Berberis created at least two images for the 

�� 

southern Swiss town of Lugano, each presenting 

various symbols of pleasant resort life against a 

blue background. Here, we see a postcard view of 

�� 

tennis racket, golf club, and walking stick – all 

activities available along this Swiss Riviera. 

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

3�� x 37 1�2 in./63 x 95.2 cm 

Joh. Enscheden, Netherlands 

Cond A-/Slight tears at bottom edge. 

�� 

PAI-XLVI, 305 

�� 

America Line promoting the SS Maasdam and SS 

�� 

(see�� 

printed until April of the following year, is an image 

for the line’s star – the Nieuw Amsterdam, fondly 

�� 

was one of the last luxury liners on the North Atlantic, 

�� 

here. The overhead view shows off acres of deckside 

space – including a tennis court – while the slogan 

�� 

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

96 

97 

98 

99 

CANDIDO ARAGONESE DE FARIA (1849-1911) 

100. Cachat’s-Majestic / Chamonix-Mont-Blanc. ca. 1910. 

61 1�8�� 1�8�� Atelier Faria, Paris 

Cond B/Slight tears. 

�� 

A busy view of a resort hotel in Chamonix at the height of its summer season, 

with a tennis threesome in the foreground. Faria was born in Brazil and had 

his art training in Rio. He worked on numerous theatrical productions there 

and launched two magazines before moving to Paris in 1882. His many show 

business posters helped immortalize such stars as Yvette Guilbert, and in 1901 

�� 

The Victims of Alcoholism. About the same year, he formed the atelier to 

which this poster and a companion winter scene are credited. 

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

EDOUARD ELZINGRE (1880-1966) 

101. Motosacoche. ca. 1910. 

�� 3 �8 x 58 1 �8�� 

�� 

�� 

�� 

“Switzerland had some twenty motorcycle manufacturing companies, 

starting in 1899, the year in which Motosacoche was founded. Henri and 

�� 

themselves almost immediately to the production of motorcycles and engines 

�� 

�� 

proves timeless – the woman, tennis racket in hand, stands shyly in awe, 

hoping the man with the big bike will take her for a ride. 

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

ANDRE GALLAND (1886-1965) 

102. Etretat. 1929. 

�� 1 �2 x 39 1 �8 in./62.3 x 99.5 cm 

Imp. Lucien Serre, Paris 

�� 

�� 

Located in the Normandie region of Northern France, the resort town of 

Etretat is best known for its breathtaking cliffs, showcased beautifully in this 

sun-kissed poster. At its tip, you see one of three naturally-formed arches 

along its rocky coast, which have appeared in the works of Gustave Courbet, 

Claude Monet, and Eugene Boudin. In addition to inspiring the arts, it is also 

apparently the choice spot for picturesque games of golf and tennis. 

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

100 

101 

102

103 


GASTON GORDE (1908-1995) 

103. Grenoble. 1930. 

28 1�� 1�� in./71.6 x 105 cm 

Imp. Générale, Grenoble 

�� 

�� 

�� 

�� 

�� 

bottom of a hill, near a cliff, this public garden comprises six terraces 

linked by looping stairs and passageways. Here, a smartly-attired young 

man also appears to be headed to an upcoming tennis match. 

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

LUCIEN-HECTOR JONAS (1880-1947) 

104. Aix-les-Bains. 1933. 

�� 3 �8 x 39 1 �� in./62 x 99.6 cm 

Imp. H. Chachoin, Paris 

Cond A-/Very slight foxing. 

�� 

Originally a Roman bath city, Aix-Les-Bains is still peppered with various 

Ancient Roman ruins. By the 1930s, it still retained that relaxing atmosphere 

as a resort village, offering spa activities and various outdoor sports. Here, the 

focus is on linking its history with the present-day, blue-hued tourists milling 

about statues of the Emperor Gratian on their way to a game of tennis. 

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

MAURICE LAURO (1878-?) 

105. Automoto. ca. 1928. 

31 1 �2�� 

�� 


�� 

Founded in 1902, Automoto was a bit late in entering the bicycle 

business. Created right before its purchase by Peugot in 1930, this 

�� 

their pristine cycles to the tennis court. 

105 

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

104 107 

P. H. LOBEL 

106 

106. Salon des Cent / 31eme Exposition d’Ensemble. 1897. 

19 1 �8 x 25 1 �8�� 

Imp. Chaix, Paris (not shown) 

Cond A-/Slight mat stains. P. 

�� 

�� 

�� 

In a manner very similar to that of Lautrec, Lobel gives us a voluminouslydressed 

woman dashing toward an oncoming tennis ball, racket ready. Created 

to advertise the 31st annual Salon des Cent, this image is only second in Lobel’s 

�� 

This is a rare proof before letters. 

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

FERDINAND LUNEL (1857-1933) 

107. Etretat. 1896. 

31 1�� 1�2 in./79.5 x 115.6 cm 

�� 

�� 

� 

�� 

�� 

Showing off the its famous cliffs in the background once again (see Lot 102), 

this image for Etretat depicts a more blustery time of year in the scenic resort 

town. On her way to play a brisk game of tennis, this pensive woman takes a 

moment to gaze across the choppy seas toward England. 

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

J. MUNIER 

108. Saint-Raphaël. 1925. 

�� 1 �� x 39 1 �� in./61.5 x 99.8 cm 


�� 

�� 

Basking in the early morning rays, this sporty blond grabs hold of a branch on a 

nearby tree, a sweeping view of this southeastern French resort town sprawling 

out behind her. It wasn’t until the late 19th century that this area became 

popular, suddenly being populated by artists and sportsmen. 

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


108

ALFRED RUNGE & EDUARD 

SCOTLAND (1885-1945) 

109. Kaffee Hag / Erster Preis. 1915. 

23 1 �� x 35 7 �8 in./58.9 x 91.3 cm 

Kempedruck, Bremen 

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

J. STALL (1874-1933) 

111. Sauvion’s Brandy. 1925. 

15 3 �� x 23 1 �� 

Imp. Joseph-Charles, Paris 

�� Cond B/Restored tears, largely at edges. 

�� 

�� 

Strangely contorted and the color of a dark, heavy It is perhaps the exuberance of expression and 

roast, this haunting mascot for Kaffee Hag claims simple joy of this design that is to blame for it 

�� 

�� 

prize.’ It is a superior design compared to their being by Cappiello or d’Ylen. Like his two more 

other composition for the company, which takes famous counterparts, Stall’s images pop against 

on more of an ‘object poster’ presentation (see a velvet black background, implying an effortless 

�� 

sense of movement and fun. 

use a shadowy tennis player as an icon for the Est: $1,200-$1,500. 

company (see PAI-L, 281). 

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

FRANCISCO TAMAGNO (1851-1933) 

SMILEY 

110. Le Pecq / Spa Français. ca. 1898. 

53 x 76 3 112. Zeste. ca. 1898. 

39 

�� 

L’Ésquisse Moderne, Paris 

Cond B+/Slight folds. 

�� 

With breezily-dressed ladies wandering the 

shaded lawn as far as the eye can see, this twosheet 

poster for the casino at Le Pecq makes the 

destination appear quite popular and busy. On the 

brick wall in the foreground, additional posters 

promote the swimming pool, restaurant, and 

theater at the palatial manor house seen just 

over the last hill, bathed in a sunset glow. 

1�� x 55 1�� 

�� 

�� 

recreated margins. 

�� 

What better refreshment after an afternoon 

of tennis than the fresh citrus zing of Zeste, 

a lemon-extract liqueur? 

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

109 

110 

111 

112 

INTERNATIONAL POSTERS 

ANONYMOUS 

113. Tour St. Jacques. ca. 1880. 

38 1 �� x 57 3 �� 

Lith. F. Appel, Paris 

Cond B/Restored tears. 

In the wake of the Industrial Revolution, Paris 

�� 

Store, offering a tremendous variety of items 

in one highly convenient location. Named after 

the last remaining tower of the St. Jacques-la- 

Bucherie church, next to which this building 

was located, La Tour St. Jacques specialized in 

clothing for the entire family, as shown here in 

its classic presentation of winter coats. 

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

113 

114. Cirque d’Été. ca. 1886. 

�� 1�� in./89 x 125 cm 

Ch. Levy, Paris 


114 

115 

Originally used as an indoor hippodrome starting in 

�� 

into a permanent indoor circus space, changing its 

�� 

�� 

many wild tricks her cockatiels and rabbits will be 

�� 

gun, a seesaw routine to shaving its face. 

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

116 

117 

�� 

32 

the US ends with Zoe drinking a vial of poison 

when she incorrectly believes that she and the 

entire plantation has been bought by McClosky. 

At the time, the play sparked serious debate on 

the role of slavery in America, the portrayal of 

Native Americans, as well as the role of theater 

in politics. 

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

1�2�� Imp. Navatel, Nimes 

�� 

at edges. Framed. 

The more rare of two variants of this poster, we see 

two young women quietly enjoying an afternoon 

�� 

here as being easily reached by train. 

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

115. 3e Exposition de Blanc et Noir. 1888. 

23 3�8 x 33 1 ANONYMOUS (Continued) 

116. Brothers Edward. ca. 1890. 

�2 in./59.5 x 85 cm 

37 


Cond A-/Very slight tears at edges. 

�� 

While this poster was created after Chéret’s merger with the Chaix printing 

�� 

tie the image to the artist. It does, however, stand alone as a lovely historic 

�� 

�� 

however, at this time, they still focused on engraving, illustration, decorative 

design, and prints. 

Est: $800-$1,000. 

1�� x 27 1�2�� Ateliers Alex Hoening 

�� 

�� 

promoting their joint gymnastic routine ‘on the two silver chains.’ 

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

117. Edward Earle The Great Equilibrist. ca. 1890. 

22 1 119. Hurtu. 1896. 

37 x 51 

�8 x 30 in./56.2 x 76.2 cm 

Halbert Lith., Plymouth, England 

Cond A-/Restored paper loss in margin. 

For about a decade toward the end of the 19th century, Edward Earle was an 

exceptionally well-known circus performer of international acclaim. As the 

title ‘equilibrist’ would imply, he was best known for his balancing acts, some 

of which are displayed in this poster. 

Est: $800-$1,000. 

1 121. Cigarrillos Paris. 1900. 

�2�� 35 

Imp. Charles Verneau, Paris 

�� 

�� 

�� 

PAI-XL, 3 

�� 

this basic design was used by Hurtu over a 

�� 

with the brand. Each edition had minor 

changes-the color of the road or background 

for example, as well as adjustments to the 

rider’s garb as the fashions of the day dictated. 

The original version probably appeared around 

�� 

remains unknown. 

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

120. Avène les Bains. ca. 1896. 

3�� 1�� in./91 x 125 cm 

CGF, Buenos Aires 


118. The Octoroon. ca. 1890. 

�� 

18 PAI-XLVII, 83 

In 1900, Manuel Malagrida, who owned two 

tobacco factories in Argentina, organized 

�� 

America. The theme was “Cigarillos 

�� 

posters submitted, and nineteen prizes were 

awarded. The top seven award winners are 

reproduced in this poster, which solicits 

entries for the second contest in 1901, while 

simultaneously advertising the product. The 

�� 

�� 

�� 

�� 

�� 

5�8 x 28 1�2�� 

Cond A/P. 

Based on the Thomas Mayne Reid novel The Quadroon, 

Boucicault’s play from 1859 chronicles the tale of 

a Louisiana plantation in foreclosure, with all of its 

property, including its many slaves, to be offered at 

auction. While considered separate from the other slaves, 

Zoe, an octoroon (of 1 119 118 122 

�8 black heritage), is also going to 

be sold if she does not agree to become the mistress of 

�� 

sale of the plantation. She, in turn, has been romantically 

involved with the landowner’s nephew, George, who 

wishes to run away with her. In the British version of the 

play the mixed-race couple is reunited and all live happily 

120 

121

125 

123 126 

124 

the calm sea, while a seagull swoops toward the 

viewer. 

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

124. Greensmith’s Derby Dog Biscuits. ca. 

1905. 

23 5�8 x 18 1 127 

�2�� 

�� 

�� 

usual grommet holes at top. 

A absolutely charming in-store advertising display 

�� showing how Greensmith’s dog biscuits can get 

in the designs as well as in the frames and ornamental elements tying them 

any canine to jump through hoops. 

�� 

A wonderful example of turn-of-the-century 

a poster design for this company back in 1897. The depicted entries in this 

�� 

montage are of excellent quality, evidencing the high standard of South 

American poster art at the turn of 

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

the century. 

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

125. Caruso / RCA. ca. 1910. 

�� 

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

122. M. Eraso. 1900. 

�� 


127. Casablanca. 1912. 

13 1 �8 x 19 1 �8�� 

�� 

�� 

�� 

�� 

over 260 recordings with RCA. This poster 

promotes just one of them, claiming that you too 

can have the greatest tenor in the world perform 

just for you, in the comfort of your own home, 

with this latest release. 

With an obvious nod to Mucha, this anonymously created Art Nouveau 

design romantically depicts the wonder of the Eraso train guide. Updated 

monthly, this Spanish-language volume is one’s best reference for rail 

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

information, taking you all over Europe. The initials of the company are 

repeated in the hypnotic pattern on her dress, while, in the text panel on 

126. The Great Chang & Fak-Hong’s / 

�� 

The Noe Ark. ca. 1910. 

convinced of the guide’s usefulness. 

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

�� 3 �8 x 29 1 �2 in./107.6 x 75 cm 

E. Mirabet, Valencia 

Cond B+/Restored paper loss at lower left margin. 

128 129 130 

37 1 �2 x 27 3 �� in./95.3 x 70.5 cm 

Friedlander, Hamburg 


�� 

Be it the name of the leaping horse or simply a 

reference to the Moroccan city, this Friedlander 

poster delightfully captures the exotic heroism on 

display at military outposts in the Middle East. 

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

128. The Flying Arrow. �� 

27 3 �� x 36 7 �8 in./70.5 x 93.5 cm 

Friedlander, Hamburg 


�� 

and landing on the ground unscathed. 

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

129. Anis y Cognac Soley. 1915. 

12 1 �2 x 19 3 �8�� 

Ramis, Barcelona 

�� 

grommet holes on top of board. 

�� 

A provocative in-store advertising display from 

�� 

femme fatale eyes up a bottle of Soley Anis, while 

a debonair man across the room gives her the eye. 

Est: $600-$800. 

130. Ask Alexander. ca. 1915. 

“The Noah’s Ark illusion was invented by 

27 

Austrian magician Chevalier Ernest Thorn 

�� 

Originally developed in France, the act known as 

�� 

�� 

poster announces that The Great Chang and 

throughout European and American circuses 

the Fak Hong’s will be trying their hand at this 

toward the beginning of the 20th century. There 

famous trick, in which a myriad of animals appear 

�� 

in a previously-empty ark. The best part of this 

on a trapeze while others propelled themselves 

act in all instances was the humorous antics of the 

down an incline on a bicycle, all resulting in a 

untrained livestock on stage. 

performer free-falling toward a slide or bull’s eye 

1�� 1 ANONYMOUS (Continued) 

�� 

123. Turnberry. 

Ay Yaga, Bombay 

Cond A-/Slight crease near bottom. 

�� 

One of the most iconic magic posters, this simple 

design turns Alexander’s turban into a giant question 

mark. “Like most mind readers, Alexander began 

his show-business career as a magician. When he 

discovered that audiences reacted favorably to his 

ability to answer questions about their own lives, he 

3�� x 39 7�8 in./126.5 x 101.2 cm 

McCorquodale, Glasgow 


A beautiful and rare rail travel poster promoting the sun-drenched coast 

of Turnberry in Scotland. Rather than focus on the town’s historic castle, 

this poster showcases the expansive clubhouse belonging to the Turnberry 

�� 

131

132 

134 

�� 

�� 

(Magic, p. 601). 

Est: $700-$900. 

131. Soviet Jewish Theater. �� 

�� 1 �2 x 27 7 �8 in./108 x 70.8 cm 

Published by Inform Bureau, Moscow 

�� 

A broadside in newspaper format, this poster 

talks mainly about Jewish theater in Soviet 

�� 

articles by Boris Glubokovsky and the scholar Abram Markovich 

�� 

portraits of Mickoals Steyman, Alegn, and the composer Krain. 

The third column contains three articles about the theater’s 100th 

�� 

�� 

�� 

column has three more articles on the theater itself. A rare and 

important historical document! 

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

133 


132. Safety Last. 1928. 

28 x 39 3 best translated as Seventh Heaven�� 

�8 in./71.2 x 100 cm 

�� 

�� 

the famous scene in which Lloyd dangles from a clockface off of a 

skyscraper. It remains today one of the most recognizable images of the 

silent era. 

Released to American audiences in 1923, Safety Last is a silent comedic 

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

�� 

Russian release in 1928, the year of this poster, under the altered name 

133. White Star Line / Southampton / New York. ca. 1928. 

135

136 

137 

139 

140 

138 141 

�� 5 �8 x 39 1 �2�� 

James Haworth, London 

�� 

in lower right corner. 

�� 

�� 

and was promptly handed over to the Allies after World 

War II as part of war reparations agreements. Under the 

new name of the RMS Majestic, she became the White 

Star Line’s premier ship as well as the overall largest 

ship in the world until 1935 when the SS Normandie was 

launched. Here, her signature North Atlantic run is being 

featured. 

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

134. L’Union Générale du Nord. 

�� 1 �8 x 25 7 �8 in./86.7 x 65.6 cm 

�� 

Cond A. 

�� 

Founded in 1867, L’Union Générale du Nord was a 

�� 

entire region of Nord-Pas-de-Calais in Northern France, 

bordering Belgium. Shown is the charming, though 

modern, boulevard at the Place du Théatre in Lille, 

framed by a golden sunset. Below, local agents could 

add their own contact information, implying that the 

company had various branches throughout the area. 

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

135. Montauk Beach. ca. 1929. 

19 1 �2 x 25 1 �2�� 

Winchell Publicity, New York 

Cond A. 

“Toward the end of the 1920s real estate entrepreneur 

Carl Fisher attempted to repeat the huge success of his 

Miami Beach residential development, promoting what 

142 

he called the ‘Miami Beach of the North’ on New York’s 

Long Island. To promote the 10,000-acre luxury resort, 

Fisher commissioned a poster that featured star athletes 

of the time posing in the foreground of his grandiose 

200-room Montauk Manor. Unfortunately, the poster 

paper loss at left edge. 

�� 

Advertising to both a Chinese and English-speaking clientele, this poster promotes 

�� 

simple pleasure cruises aboard the Poo An, taking you to either Tsintao (present-day 

�� 

�� 

�� 

Art & Antiques, Oct. 

2009). One of three known copies of this poster. 

Est: $700-$900. 

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


136. Bayer Aspirina. ca. 1929. 

26 1 �2 x 39 1 �2 in./67.3 x 100.3 cm 


This smiling spokesmodel is now free of an afternoon of 

pain which would normally render her motionless on the 

divan, thanks to Bayer Asprin. 

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

137. Adelboden. 1930. 

�� 1 �� x 39 1 �2�� 

Laupen, Bern 

Cond A. 

A cheery image focusing on the summertime pleasures 

of this Swiss mountain village. 

Est: $800-$1,000. 

138. Poo An. ca. 1930. 

19 1 �� 

Cond B+/Slight tears at edges with minor restored 

139. Gaceta Deportiva. ca. 1930. 

27 5 �8 x 38 7 �8 in./70.2 x 98.6 cm 

Maga, Milano 

�� 

�� 

�� 

every Monday. Judging by the text below, this was created around the birth of 

the publication, explaining how each issue works, its potential content, special 

supplements, as well as what the magazine itself is all about ( ‘the summary of life 

in the world of sports’). 

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

140. Conservatoire Africain. 1933. 

17 1 �8 x 31 1 �� 

Cond A-/Very slight tears at left edge. 

Founded in 1876, the Conservatoire Africain is an odd Belgian charity. Basically, 

during the time of Carnival, various members of the group dress in blackface, 

donning white top hats and baggy pants, and go around to various restaurants 

asking for donations. Offerings are put inside black babydolls similar to the one 

shown in this poster. Supposedly, blackface was used to disguise the members 

�� 

however, it was more likely that, as all things African were popular and of great 

curiosity at the end of the 19th century, so too did the group decide to pick up on 

143 

144

�� 

143. Southern Railways / Londres-Paris. ca. 1935. 

of smiling babies on the right. 

Est: $600-$800. 

141. Stromberg-Carlson Radio. ca. 1932. 

�� 1 �� 

Cond B+/Unobtrusive slight tears. 

Likening itself to the famous violin maker, Stromberg-Carlson radios promise 

to be in the upper-echelon of sound quality. 

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

130 

145 

�� 1 �� x 39 in./61.6 x 99.3 cm 

Éditions Paul-Martial, Paris 

Cond A-/Slight stains at edges. 

Using photomontage to show the actual interior of a typical stateroom, this 

poster promises that you ‘will arrive fresh and ready’ should you partake in 

Southern Railway’s combined travel of a train from London to Southampton, 

followed 

by an overnight cruise to La Havre, and then again on to Paris via train. 

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

146 147 

142. May 1, 1930. 

27 1�8 x 37 1�8�� Cond B-/Tears at folds. 

144. Jouez au Golf / Tchécoslovaquie. ca. 1936. 

3 �� 8 in./60.8 x 95 cm 

�� 


Heavily foreshadowing Rico Blass’s 1935 design for the Eretz Israel 

Will all the glamour and potential drama of a F. Scott Fitzgerald novel, this 

�� 

poster shows a fashionable couple driving up to a sun-baked palazzo, the owner 

composition celebrates the labor holiday of May 1st in traditional communist and his caddy awaiting them on the balcony. Beyond, the endless green of a 

colors. 

Czechoslovakian golf course rolls along toward the mountains. Captivating and 

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

rare! 

148 

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

148A 

149 

150


145. El Minza Hotel Tangier. 

�� 3 �� x 36 3 �� 

�� 

Cond A. 

�� 

In sun-beaten shades of gold and orange, we gaze through an Islamic archway 

toward the sea, echoing how the El Minza Hotel is the ‘golden gateway to 

Morocco.’ 

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

146. Blaupunkt Radio. 1939. 

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

151 

152 154 

147. North German Lloyd / Cherbourg / New York. ca. 1935. 

23 1 �8 x 33 3 �8�� 

�� 

While the date of this poster is widely stated as anywhere from the 

late 1930s to the early 1960s, it is undoubtedly a heavily graphic, bold 

composition in Germany’s national colors. The North Atlantic run was the 

�� 

decline during the War. 

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

148. “Tedy.” �� 

33 5�8�� 1�2�� 

Cond A. 

Originally founded under the name Ideal in 1923, this radio manufacturer 

�� 

of the blue dot painted onto its headsets after passing quality control. Here, a 

sailor donning his blues plays the company’s name out on his squeezebox. 

1�2 x 36 5�8 in./125.6 x 93 cm 

Otto Plakate, Wien 

�� 

Used by every business man, soldier, and outdoorsman, Tedy foot powder 

literally sucks the sweat off of your feet, removing odor and wetness all day 

�� 

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

148A. Valloire / Neige Soleil. �� 

�� 1 �� x 39 in./61.7 x 99 cm 

153 

155 156 

157 

A. S. 

155. Das Blut der Messalina. 1923. 

36 1 �� x 27 5 �8 in./92 x 70.3 cm 

Eckert, Berlin 

�� 

stain at right edge. 

Based on the legend of Valeria Messalina, third wife of the 

Roman Emperor Claudius, this was one of the last books Georg 

Hirschfeld published before his work became banned by the 

�� 

Empress, Das Blut der Messalina (The Blood of Messalina) made 

�� 

newspapers, as advertised in this poster. No doubt emphasizing 

its title, the poster’s only divergence from grayscale is a dramatic 

�� 

Est: $800-$1,000. 

GEORGES AROU 

156. Les Sables d’Olonne / La Plage. 1932. 

�� 3 �8 x 38 3 �� in./65.8 x 98.5 cm 


Cond A. 

Known for its calm, idyllic beaches, France’s Les Sables d’Olonne 

couldn’t be more pleasingly portrayed than in this sun-dappled 

poster by Arou promoting easy travel to the resort town by train. 

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

JANE ATCHÉ (1880-1937) 

157. Rêverie. 

15 1 �� 


�� 

Printed on vellum, this is one-half of the decorative panel series 

�� 

Têtes Byzantines (see�� 

�� 

�� 

intricate weaving of dusty jewel-toned foliage. 

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

158 159 160 

161 

162 

163 

HERVÉ BAILLE (1896-1977) 

158. Frankreich Mit Der Bahn. �� 

�� 3 �8 x 39 1 �� in./62 x 99.6 cm 

Éditions Hubert Baille, Paris 

Cond A-/Tears at edges. P. 

One of many textual variants of Baille’s poster for 

the French Riviera, a deeply-tanned, curvaceous 

brunette silently beckons to us to join her on the 

bustling Mediterranean beach. 

Est: $800-$1,000. 

ADRIEN BARRÈRE (1877-1931) 

159. La Marmotte. �� 

OTTO BAUMBERGER (1889-1961) 

160. Hotel St. Gotthard. 1915. 

35 1�� 1�� in./89.5 x 125 cm 

Wolfensberger, Zürich 


161. Saint-Gothard / Ligne Electrique. 1935. 

moved to Europe where she became known as ‘the 

next Josephine Baker.’ 

Est: $700-$900. 

BERGBOOM 

�� 163. De Tribune. 1932. 

Located in Zurich, the St. Gotthard hotel has been an 29 

emblem of luxury and elegance since its founding. 

Here, exotic delights from champagne to lobster 

to pineapples and golden grapes are all presented 

against a delicately-embellished backdrop. 

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

5�8 x 39 1�8 in./75.2 x 99.3 cm 

�� 

�� 

De Tribune was 

the newspaper of the Communist Party of Holland. Here, 

�� 

represent the voice of the publication in its signature red 

�� 

effort by Van den Berg and Van den Boom. 

�� 1�� in./96.5 x 137.8 cm 

Imp. Ch. Wall, Paris 


�� 

25 

Taking his name from the inverted Latin word for 

�� 

He contributed frequently to Gil Blas, performed 

his own work at the Chat Noir, and penned original 

folk songs for Yvette Guilbert. La Marmotte was 

one of a dozen or so plays he helped create for 

�� 

Mr. Canibel has be married six months and can’t 

�� 

suggests that he rent a hotel room and simply 

sleep and eat there while his wife scurries around 

�� 

wife believes that he is about to cheat on her, so 

she plans on beating him to it, and goes to rent 

the same hotel room as Mr. Canibel. Affairs are 

presumed all around, but ultimately the truth 

comes out and the play ends happily. 

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

1�2�� 1�� 

Wolfsberg, Zürich 


�� 

Taking its name from the mountain range 

running through it, Saint-Gothard’s importance 

lies in its main road, which goes through the range, 

connecting Northern and Southern Switzerland. Here, 

Baumberger points to another of its advantages – one 

�� 

masterfully blends with the natural beauty of the area. 

This is the French-language version of the poster. 

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

J. R. BENOIT 

162. Bubbling Brown Sugar. 1982. 

30 1 Est: $1,700-$2,000. 

TONI BERNAT 

164. Pinder. ca. 1955. 

63 

�� 

Imp. A. Harcher, Aubervilliers 

�� 

Set in an anonymous Harlem nightclub throughout the 

�� Bubbling Brown Sugar is a musical 

revue by Loften Mitchell, utilizing the greatest hits 

of the Harlem Renaissance to tell the story of three 

middle-aged nightclub performers recounting their 

past as entertainers. Starring Vivian Reed, who won 

the Tony during its 1976 Broadway debut, the show 

3�8�� 1�8 in./161 x 119.7 cm 

Imp. Chabrillac, Toulouse 

Cond A-Unobtrusive folds. 

�� 

Pinder began as popular English circus. It was 

�� 

it into an upscale establishment with lavish sets, 

musical entertainment, and large street parade in the 

�� 

�� 

it was forced into bankruptcy, only to be purchased 

by the actor-director Jean Richard, and thus turned 

into the Cirque Pinder-Jean Richard. A zoo was then 

added to the array of previous attractions, and it 

remains active to this day. This image for Pinder’s 

Intelligent Elephants is arguably one of the most 

charming ever created for a circus act, showcasing 

the animals not only as customers gulping down 

champagne, but also as waiters, one producing a bill 

for carrots, cabbage, and very expensive bubbly. 

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

164

165 

166 

PAUL BERTHON (1872-1909) 

165. Les Eglantines. 1900. 

22 1 �2 x 16 3 �� 


�� 

�� 

�� 

way she enjoys the beauty and fragrance around her. Berthon always 

�� 

�� 

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

166. La Mandore. 1901. 

�� 3 �� x 19 1 �2�� 

Imp. Bourgerie, Paris 

Cond A-/Slight tears at margin. Framed. 

�� 

167. La Femme à la Harpe. 1899. 

22 7 �8 x 17 7 �8�� 


Cond B+/Slight stains near edges. Framed. 

�� 

An image from his series of Byzantine female musicians, a pale 

blonde harpist absorbs herself in her melodious work, creating 

a soft atmosphere of wistful romance. 

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

168. Roses de Noel. 1899. 

168 

17 3 �8 x 17 3 �� 


�� 

169. La Viole de Gambe. 1899. 

�� 1 �� x 23 1 �� in./36.2 x 59 cm 

Imp. Chaix, Paris (not shown) 

A popular theme for Berthon was women playing Medieval musical 

�� 

�� 

�� 

�� 

�� 

�� 

appeared in musical history in the late 1500s. This image is part of a 

“Gabriel Mourey, writing in The Studio�� 

series of three from 1901, which correspond to an earlier collection of 

�� 

musical prints which Berthon created in 1899. 

�� 

�� 

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

sense of line and colour, and he seems to attach more importance to expression than 

�� 

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

170. Le Sureau. ca. 1900. 

�� 7�8 x 38 1�� in./30.2 x 97.2 cm 


�� 

In dusty shades of cinnamon and olive, twin Grecian beauties idle amongst the 

brambles beneath the elder tree, after which this set of decorative panels is named. 

�� 

Est: $3,500-$4,000. (2) 

171. Salomé. 1898. 

�� 3 �� x 35 in./62.8 x 89 cm 

Imp. Bougerie, Paris 

169 170 

“The basic pattern . . . was clearly capable of being put to repeated good 

�� 

�� 

�� 

plants in the immediate foreground, a device derived from Hiroshige 

�� 

�� 

�� 

see PAI-XXXIII, 210), this image of Salomé is described by Arwas as 

�� 

�� 

�� 

Berthon certainly uses this formula time and time again, there is a 

�� 

certain extra air of tender melancholy which distinguishes “Christmas 

innocence present in her face which belies the utter carnage at her feet. This is 

�� 

the hand signed and numbered (No. 1) version of this print. 

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

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

171

172 

PAUL BERTHON (Continued) 

172. L’Année Lithographique I. 1898. 

12 1 �� 

�� 

�� 

More saturated than many of his other compositions, very little is 

known about this piece, most especially about where it got the title 

�� 

trade show to a magazine, or even simply the mythical birth of the 

lithographic press. Regardless, it handsomely displays the artist’s 

mastery of mixing intricate patterns to create space and mood. 

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

173. La Joyeuse de Flute. 1899. 

18 1 1 �2�� 8�� 


�� 

�� 

�� 

focused on women playing medieval instruments, here we’re presented 

�� 

ours as she stands amidst the foliage. Such a scene combined with the 

muted pastel tones of Berthon’s palette gives this panel an ethereal 

quality, alluding to ancient mythology or a fantastical dream. 

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

174. Sarah Bernhardt. 1901. 

13 3 �� x 19 1 �2�� 

Imp. Bougerie, Paris 

Cond B/Light stained. Framed. 

�� 

174 

173 

Berthon . . . produced about 60 [decorative panels] . . . in contrast 

to his handful of posters. . . . This is his most famous lithograph, a 

portrait of Sarah Bernhardt in the title role of ‘La Princesse Lointaine’ 

�� 

�� 

�� 

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

177 

175 

HENRI I. BIAIS 

175. Vers l’Angleterre. ca. 1929. 

22 3 �� x 39 1 �8 in./57.7 x 99.3 cm 

�� 

Cond A. 

�� 

A joint effort between Chemin de Fer du Nord 

and Southern Railway, this poster promotes 

easy travel between England and France. With 

the smokestacks from both a train and a ship 

funneling out the wavy coastlines of the two 

countries, we see that the quickest means of 

travel are between the red dots of Boulogne 

MAURICE BIAIS (ca. 1875-1926) 

176. Folies Bergère / Féerie-Revue. ca. 1907. 

31 1�8�� 3�8 in./79 x 120.2 cm 


Cond B+/Slight tears, largely at folds. 

��Est: 

$1,400-$1,700. 

�� 

Aug, and the exotic American dancer La 

MARTINEZ BIGORDÁ 

Sylphe (aka Edith Lambelle Langerfeld), 

the many theatrics of Victor de Cottens’s 

production of Féerie-Revue at the Folies- 

�� 

poster. Instead, the anticipation and drama 

behind the scenes of the girls waiting to 

perform are all we are given, much like 

�� 

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

WALTER BIEDERMANN 

(1907-1945) 

177. Heinzelmann Slip. 1937. 

�� 

33 

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

1�2 x 69 in./85 x 175.3 cm 

Eulan 

Cond A-/Slight tears in bottom text area. 

176 

Showing off the chiseled beauty of the 

German male form, this two-sheet Art 

�� 

only makes the wearer look good, but 

also manages to stay in place no matter 

how rough your watersports may be.

178. Barcelona. �� 

26 3 �� x 38 1 �2 in./67.8 x 97.8 cm 

Seix y Barral, Barcelona 


36 x 50 1 �8�� 

178 

181 

Sabina, Zürich 

Cond B+/Two scratches in red background. 

Max Bill began his career studying at the Bauhaus 

under Klee, Kandinsky, and Schlemmer. He 

179 180 

edge of style. 

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

Showing a myriad of ways to get there – from 

train to plane to ocean liner – this poster promotes 

a post-war trade show in Barcelona. 

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

MAX BILL (1908-1994) 

179. USA Baut. �� 

35 1�8�� 1 �� 

important contributor to the advancement of Swiss 

graphic design. His work stands out for its clarity 

and precision of design, often relying on primary 

colors and aimed at visually expressing the New 

Physics side of 20th century mathematics. 

Est: $600-$800. 

GINO BOCCASILE (1901-1952) 

�� in./89.2 x 125 cm 

I. Speich, Zürich 

181. Borsalino / Fu Lazzaro & Ci. 1933. 

�� 

38 

Showcasing an array of photomontage images within 

perfectly-proportioned geometric squares, this image 

advertises an exhibition of American architecture 

and industrial design at the Applied Arts Museum 

in Zurich. 

Est: $800-$1,000. 

180. Dynamische Schweiz. 1971. 

3�8�� 3 OTTO BOHM 

182. Mundlos. �� 

�� 

�� in./97.5 x 139 cm 

Coen, Milano 

�� 

�� 

Founded in 1857 by brothers Giuseppe and Lazzaro 

Borsalino, this northern Italian hat company 

gradually became one of the most famous fedora 

manufacturers in the world. Flanked by phrases 

of praise, this Futurist rendering of a faceless hat 

owner presents the brand as being on the cutting- 

7�8 x 20 1�2 in./37.6 x 52 cm 

Cond A-/Horizontal fold. 

Originally founded in 1863 under the name 

�� 

sewing machine company modeled its designs 

�� 

homemaker merrily clasps a Mundlos placard, 

implying that even the most dainty of housewives 

can master this helpful device. 

Est: $800-$1,000. 

182 

PIERRE BONNARD (1867-1947) 

183 

�� 

183. France-Champagne. 1891. 

23 1�2 x 31 1�2 in./59.6 x 80 cm 

and subtle, making the most of a few strokes of black against 

Imp. Edw. Ancourt, Paris 

a muted yellow and pink background, with ingenious composition 

�� 

�� 

�� 

�� 

�� 

�� 

note that, “He received a hundred francs for this ebullient design, 

in which the froth of the champagne foams like a bubble bath. 

�� 

�� 

Toulouse-Lautrec so admired it in the hoardings that he sought 

poster design, but his initial effort, France-Champagne, was a stunning 

an introduction to Bonnard, and the two artists were intrigued 

success. The great poster connoisseur, Maindron, immediately called it 

by each other’s talents. Bonnard took Toulouse-Lautrec to 

‘one of the most interesting works to be seen on the walls of Paris.’ It 

��

184 

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

PIERRE BONNARD (Continued) 

184. Salon des Cent. 1896. 

17 1 3 �2�� 8�� 


Cond A-/Mat stains at edges. Framed. 

�� 

�� 

�� 

�� 

with the right side remaining a blank, but all the pertinent elements are 

there–the fashionable veiled hat, the gesture of the gloved hand, and the 

attentive pose of the pooch. Colta Ives, in the catalogue of the Bonnard 

exhibition at the Metropolitan Museum, speaks of “the softly delineated 

forms [in the Salon des Cent], enhanced with touches of modeling and 

�� 

�� 

�� 

and most sensitive lithographs of Bonnard and of the entire Salon des Cent 

�� 

poster output is small, but never fails to engage the viewer’s interest. 

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

�� 

1897. 

3 �� in./61 x 83 cm 

Cond B+/Unobtrusive tears at folds. 

�� 

Although it appeared for only two brief years during the heyday of 

�� 

�� 

�� 

�� 

�� 

woman, representing the Print, look with curiosity at the brash kid with 

her portfolio, representing the up-and-coming Poster, obviously ready 

to take over as the collectible of choice. 

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

186. La Revue Blanche.�� 

�� 


�� 

�� 

�� 

Bonnard’s best-known and most enigmatic poster advertises the monthly 

La Revue Blanche, published by his close friends, the Natansons. The 

�� 

that clear when published. Maindron admitted that he could not understand 

�� 

�� 

woman, is in fact a man, seen from behind, an opera hat on his head and 

�� 

The design itself is quite ahead of its time, creating a geometric pattern out 

of other posters for the publication, while simultaneously contrasting the 

sassy pose and voluptuous costume of the female reader against the grisly 

nature of the street urchin-cum-newsie to her right. 

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

185 

186

C. BOOST 

187. Beau-Rivage / Ping Pong. 1932. 

188. Libertas. ca. 1917. 

27 x 38 5 �8 in./68.5 x 98.2 cm 


BERNARD LOUIS BORIONE (1865-?) 

189. Le Matin / Que Faire? 1900. 

27 3�� x 39 3�8 in./70.3 x 100 cm 

39 

A. Marsens, Lausanne 

Cond A-/Very slight tears at bottom edge. 

�� 

ping pong tournament at the Beau Rivage hotel 

in Switzerland. The impossible angles and dusty 

color modeling give a nod to some of Colin’s 

best work. It is also interesting to note that the 

player in this poster is a woman. 

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

MARIO BORGONI (1869-1936) 

7�8 x 52 1�� in./101.2 x 132.6 cm 

�� 

�� 

Framed. 

�� 

stories around to turn of the century, most of 

them appearing in serialized form like the one 

advertised here in the newspaper Le Matin. No 

information is readily available on this tale other 

than the implications of its title, “What Shall We 

�� 

male companion as a theater seems to go up in 

�� 

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

CAMILLE BOUCHET (1799-1890) 

An inspiring Italian poster from World War 

190. Cognac Jacquet. ca. 1887. 

�� 

through the thickets of war with the people’s �� 

perseverance (and through the purchase 

of War Bonds). 

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

1�� 

Imp. Vercasson, Paris 

�� 

upper right background. 

�� 

The peacock was a popular Art Nouveau 

advertising motif, often indicating a superior 

quality in a product. Here, it nobly props its talon 

upon a bottle of Cognac Jacquet. 

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

187 

188 

189 

190 

BOUDON 

191. Grottes de Bétharram. ca. 1898. 

27 1 �2 x 37 3 �� in./70 x 96 cm 

Imp. F. Pech, Bordeaux 

Cond B-/Restored tears, mostly at folds. Framed. 

�� 

While they were discovered in 1810, the Bétharram Grottos were not 

opened to the public until 1903 after extensive architectural renovations 

by Léon Ross, which included the addition of electric lights. Today, they 

�� 

intricate waterways and tunnels. 

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

ROGER BRODERS (1883-1953) 

192. Muttra. 1928. 

�� 7 �8 x 39 1 �� in./63.2 x 99.6 cm 

Lucien Serre, Paris 

Cond B+/9 1 �2�� 

�� 

Known today as Mathura, Muttra is located a little over 30 miles north 

of the Taj Mahal, and is historically considered the birthplace of Lord 

Krishna. As such, it is one of the earliest mentioned cities in Indian 

history, having a central place in the Ramayana, the country’s oldest 

written epic. In this rare image, we see a sun-drenched side view 

of the Krishna Temple, promoting tourism to the area via the 

Indian State Railways. 

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

FRANZ BREITSCHMID 

193. Bally. 1956. 

35 5 �8 x 50 in./90.6 x 127 cm 

Cond B+/Very slight creases at edges. 

Part of a small series he created for Bally’s Miss line, this image presents 

the classic brand as the absolute pinnacle of ladylike style and grace. 

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

191 

193 

192

194 195 

197 

F. GREGORY BROWN (1887-1941) 

�� 1916. 

20 x 29 3�� in./50.6 x 75.6 cm 

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

�� 


LOUIS BUISSERET (1888-1956) 

A pleasant pastoral depiction of the country village 

�� 

Est: $800-$1,000. 

DONALD BRUN (1909-1999) 

195. Bata. 

35 1 �� 

�� 

Cond A-/Slight tears at edges. P. 

Although owned by a Czech family, the Bata 

shoe company is based in Lausanne, Switzerland, 

and remains today one of the largest privatelyowned 

Swiss shoe manufactures. Here, in simple, 

sweet charm, we are presented with a family of 

snowmen, each offering their respectfully-sized 

Bata snowboots. 

Est: $600-$800. 

196. Bell / Nuri Vite. 1961. 

35 1 �� x 50 1 �8 in./89.7 x 127.1 cm 

Wassermann, Basel 


Better known for its varieties of sausages and other 

preserved meats, Bell also created quality pet food, 

shown here as eagerly anticipated by a colorful cat 

and dog duo. 

Est: $600-$800. 

E. BRUN 

197. Route des Alpes. 1912. 

30 3 3 �8�� in./77.2 x 106 cm 

Cornille 


�� 

One of a variety of breathtaking designs for the 

Alpine Route offered via PLM. The company 

provided bus and touring car service to places the 

rails didn’t reach. This Brun poster advertises one 

of their routes through the central French Alps–in 

�� 

narrow and hair-pinned alpine pass, populated 

here not only with tourists, but a locally-stationed 

regiment as well. 

198. Cycles Lea et Norma. ca. 1910. 

25 1 �� x 38 1 �� 

La Lithographie Artistique, Bruges 

Cond A. 

�� 

One of the founding members of the Belgian 

artistic society Groupe Nervia, Buisseret was an 

award-winning engraver and draughtsman. As 

part of the group, he strove to give Walloon artists 

�� 

community in Belgium) a voice within the 

dominating French Expressionist circles. As with 

�� 

Latin-based, realistic style complemented by a 

GASPAR CAMPS (1874-1942) 

rustic idealism. 

200. Evening Hydrangea. �� 

Est: $700-$900. 

PETER D. BUTCHKIN 

196 

199. Freedom Loan / War Until Victory. 1917. 

27 1 �8 x 39 in./68.8 x 99 cm 

�� 

Cond C+/Several restored tears. 

�� 

In 1917, a competition headed by Maxim Gorky 

was organized for the best poster in support of the 

Freedom Loan. This image by Butchkin came in 

second place. “It is generally agreed that [posters 

like this one] produced by the peasant-based 

Socialist Revolutionary Party were the most 

effective in terms of numbers, size and richness 

15 1 �2 x 30 7 �8 in./39.5 x 78.3 cm 

F. Champenois, Paris 

Cond A. Framed. On Silk. 

�� 

To show off the full range of their reproductive skills, many printers created 

fabulously detailed decorative panels as gifts for their important and potential 

clients. Many were printed just on paper, while a few, like this one, were done on 

�� 

This exquisite Art Nouveau celebration of both female and natural beauty is 

executed with meticulous workmanship and lithographic skill, showcasing the 

delicate pheasant feathers dripping off her diaphanous sleeves and giant puffball 

hydrangeas at sunset. 

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

201. Anisados Feixas. �� 

�� 

21 x 30 

of all the posters that were produced during the 

�� 

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

1�� in./53 x 77 cm 

B. Sirven, Barcelona 

�� 

With the warm glow of the orange lantern playing upon the young lady’s face, 

we are given a serene sweetness to look at all year round in this giveaway poster/ 

�� 

apparently employed Camps to create a charming design for that year’s company 

gift. The 1935 calendar is attached and complete. 

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

198 201 

199 

200

LEONETTO CAPPIELLO (1875-1942) 

202. Amandines de Provence / Biscuits Pernot. 1900. 

203. Réglisse Sanguinède. 1902. 

LEONETTO CAPPIELLO 

39 7�8�� 3�� in./101.3 x 139.2 cm 


�� 

�� 

�� 

lozenge. A charming design in wintry greys, with rich, subdued accents. The 

�� 

�� 

indigestion. Cappiello’s charming soft-sell design puts us at ease and convinces 

�� 

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

202 

204. Cachou Lajaunie: Maquette. 1900. 

38 x 53 1�8 in./96.5 x 135 cm 

�� 


�� 

�� 

�� 

opposed to an event or journal). It appeared in two forms, one with the bottom 

�� 

printing, the company’s owner wrote to Vercasson saying, “We are happy to 

�� 

poster Cappiello made for our ‘Amandines de Provinces.’ We found it at once 

�� 

as one can almost feel the crisp almond crunch of the cookie as it snaps into 

her mouth. 

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

3�� 

Signed pastel & ink maquette. Framed. 

�� 

�� 

�� 

�� 

�� 

Lajaunie breath freshening candies that are ‘indispensable to smokers’ . . . 

�� 

�� 

�� 

developing several invigorating elixirs, he turned to cachou, as an aromatic for 

�� 

�� 

�� 

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

203 

204

205 207 

206 208 

LEONETTO CAPPIELLO (Continued) 

205. Louise Balthy / Folies-Bergère. 1902. 

39 1 �8 x 55 in./99.2 x 139.5 cm 



�� 

�� 

�� 

A forceful caricature-style portrait of Louise 

Balthy, a comic singer-dancer (also called 

�� 

Folies-Bergere. Precocious, she was hired by 

the Eldorado at age 17, and quickly became 

known for her stern, stone-faced renditions of 

humorous songs. She also took great pleasure 

in doing impressions of other actresses, most 

notably Sarah Bernhardt, as well as rocking 

out on the xylophone. 

Est: $2,700-$3,000. 

206. Champagne Delbeck / Reims. 1902. 

38 3�8�� 3�� in./97.5 x 139.2 cm 


Cond A. 

�� 

�� 

PAI-LIII,123 

Still operated as a family-run business today, 

�� 

and loyalty to art in advertising since its 

founding in 1832. The likes of Klimt, Mucha, 

Gallé, Ergé, Andreis, Chalon, and Tristan 

Bernard have all contributed posters to the 

brand, and even the label itself stands out on 

the shelf as a work of art. Here, Cappiello 

harkens back to his days as a caricaturist, 

presenting us with an apple-cheeked 

redhead, exuberantly popping the cork. 

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

207. Colin / Bijou Ciselés. 1903. 

23 1 �2 x 31 1 �8 in./59.7 x 79 cm 


Cond B+/Restored tears, primarily near 

edges. 

Cond A-/Very slight tears. 

�� 

�� 

�� 

�� 

Founded by Jean Martell in 1715, this self-named �� 

�� 

brand of cognac stayed in the family until 1988 One of the main selling points of the Mele 

simplicity and command of craft. Rendered when it was bought by Seagram (now part of 

department store was that the average woman could 

primarily in black and white with sparse, Pernod Ricard). Here, Cappiello warms us up 

obtain high-fashion style for a relatively low dollar 

yet striking gold accents, Cappiello presents to the idea of a stiff drink with an impending 

�� 

a blonde woman being swept along by bacchanalia on its way care of Pan. 

two-sheet design by Cappiello showcase attainable 

the sheer purchasing satisfaction she feels 

at Colin, vendors of delicately chiseled 

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

glamour and elegance without making it seem 

pedestrian or cheap. Here in particular, Cappiello 

jewelry and modern art. Today, the address 

captures that moment of pure self-satisfaction as 

is home to �� 

�� 

Rennert, p. 62). 

out in a crowd. 

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

208. Martell Cognac. 1905. 

�� 1 �� x 63 in./117.5 x 160 cm 


209. Mele. 1902. 

59 1 �2 x 80 1 �� 


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

209


210. Grande Kermesse de Charité. 1903. 

37 3 �8�� 


�� 

�� 

�� 

“The sprightly oldster shows every sign of having been fully revitalized by 

Boulogne. For just ten francs, you could enjoy clay pigeon shooting, 

Uricure, his favorite medicine. The illustrated copy bears the Spanish text, but 

theatrical performances, rides, sporting events, and even special games 

French and Italian versions are also known. The product, which was produced 

for children, all starting at two in the afternoon on a sunny June day. 

�� 

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

Rennert, p. 117). 

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

211. Pur Champagne / Damery-Epernay. 1902. 

39 3 �8 x 55 in./100 x 139.1 cm 


�� 

210 211 

212. Uricure. ca. 1910. 

38 7 �8 x 55 1 �8�� 


�� 

�� 

213. Jabon “Olival.” ca. 1911. 

212 213 

215 

214. Je ne fume que Le Nil. 1912. 

62 7�8�� 1 215. Écrasez la Tuberculose. ca. 1922. 

�� 


19 

Cond A. 

�� 

�� 

Nil isn’t actually a cigarette, but rather a brand 

of cigarette rolling paper. Nil claimed to be as 

�� 

company’s spokes-elephant came to into being. 

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

1�� x 31 3 216. Panamose. 1920. 

�� 

�� 

9 


�� 

�� 

“An institutional effort far from Cappiello’s 

usual joyousness, but no less memorable. 

Holding an infant aloft, the spirit of France 

stamps out the menace of tuberculosis (Écrasez 

la Tuberculose), which in the 1920s was a 

serious health problem throughout most of 

Europe. With her white robes cinched with 

a giant red and blue bow, she resembles a 

triumphant patriotic angel in stark contrast 

�� 

(Cappiello/Rennert, p. 229). 

1�2 x 13 1 7 

�� 

�8 in./23.5 x 33.3 cm 

Cond A/Usual scratches, largely at edges. Framed. 

�� 

see 

�� 

Wine Spectator, 159), but that product most probably never reached the 

�� 

marketing stage. Never one to waste a good design, Vercasson then sold it 

�� 

of the promotional letters that Vercasson used in 1903, the director of the 

�� 

�� 

�� 

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

Complete with sprightly imp, Panamose laundry 

detergent will magically make any soiled garment 

appear as good as new for the low price of 1.50 

francs. This is the smaller, in-store advertising 

display version of the design. 

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

1�2 x 11 3�8 in./19 x 29 cm 

�� 

�� 

�� 

the seductive power of this Spanish brand of soap to that of Zeus. More 

interestingly, perhaps, is that Cappiello has decided to place the image 

with a cameo-style frame – a rare decorative decision for the artist. 

This is the small, enamel sign version of the design. 

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

Est: $1,300-$1,600. 

214 216

217 

218 


217. Gallus. 1919. 

�� 1�� in./78.9 x 120 cm 

�� 

�� 

�� 

Cappiello used a roster to caw out the name of a variety of beverages, the 

earliest example of which is his 1906 design for Fonseca Costa, a Lisbonbased 

wine producer (see�� 

appear in 1911 to promote J.H. Andresen port (see Cappiello/Rennert 208), 

�� 

�� 

most lifelike and proud rendering of the animal, announcing the latest 

vintage of Gallus wine. 

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

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

219 

219. Foyer de l’Opera. ca. 1920. 

31 1 �� 

�� 

Cond B+/Restored tears, primarily near bottom edge. 

�� 

8 3 �� x 12 in./22.2 x 30.5 cm 

Cond A-/Slight tears at edges. Framed. 

A rare Cappiello cover design for this French 

periodical, featuring a patriotic rooster cawing 

in the Christmas season. 

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

221. Union Française. ca. 1921. 

29 3�� 1�� 

�� 

222. Savon à Barbe et Blaireau: Maquette. 

ca. 1920. 

18 3 �8 x 26 1 �� 

218. Smoke Away! Maquette. ca. 1920. 

6 1�� x 7 3 �� 

Gouache & crayon maquette. Framed. 

�� in./16 x 19.7 cm 

�� 

A humorous creation in which a snub-nosed, 

Gouache maquette. Framed. 

Printed to promote a charitable gala dinner In a poster from the time of the French post-World pint-sized redhead in elaborate 1920s dress 

�� 

�� 

War I economic slump, the Union Française asks attempts to lather up his miniscule self in 

Throughout his career, Cappiello created numerous designs for tobacco 

organization, this red-hued design features 

�� 

one of Cappiello’s signature leaping ladies 

women, the smoke languidly sliding up around them. Here, we are confronted 

bounding toward the viewer. 

instead by a variety of male faces – some of which resemble his more famous 

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

workers to put their money into savings, which in �� 

�� 

stamp on the verso indicates that this 

– all of which is expressed by Cappiello in an design was never used. 

instantly understandable form. 

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

poster characters – grouped together like a bouquet of smoking heads. While 

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

there is no evidence that this illustration was ever used in print, it remains a 

wonderfully wicked testament to the artist’s ability to make even the most 

mundane and simple activities appear positively divine. 

220. La Revue Française / Noël. 1913. 

220 

221 222

223 


223. Risanatevi: Maquette. 1922. 

15 x 22 3 �8 in./38 x 57 cm 

Signed gouache & crayon maquette. Framed. 

�� 

�� 

spa. While Cappiello would also create a poster for Arnaldi’s 

home-care beauty line of creams and tonics (see PAI-LI, 165), 

this maquette would go on to advertise the spa itself, the tagline 

�� 

�� 

�� 

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

224. Teintures: Maquette. �� 

19 1 �� x 25 5 �8�� 


A strange and colorful design for an unnamed fabric dye, the bold 

colors of which are shown in vibrant detail amidst the folds of the 

Spanish dancer’s skirt. What cannot be explained, however, is the 

�� 

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

225. Veuve Amiot / Crémant du Roi. 1922. 

�� 1 �� x 63 in./120 x 160 cm 

�� 

�� 

�� 

�� 

�� 

became a widow with four young children. As one of the leading 

products from her area was sparkling wine, she decided to go into 

the business herself, and almost instantly became a huge success. 

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

224 

225


226. S. Bernardo: Maquette. ca. 1926. 

18 3 �8�� 


�� 

Gliding along placid waters atop a swan, a white-hair bellboy of sorts 

gingerly raises a clear bottle. Later, this bottle would morph into that used 

by S. Bernardo, a mineral water company noted for its ‘lightness.’ This is 

a wonderful example of how an inspired idea could be presented to any 

potential client with a bottled product. 

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

227. Toreo: Maquette. ca. 1931. 

6 3 �8 x 8 1 �8�� 

Gouache maquette. Framed. 

�� 

�� 

great output, it is remarkably similar in palette to his design for Bouillon 

Kub in 1931 (see�� 

against a saturated marigold background, a splash of red popping off the 

page to either advertise the product or, in this case, give us a toreador’s cape. 

�� 

�� 

posters Cappiello created for Kub at the time. 

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

226 

228. Spa Citron: Maquette. ca. 1926. 

17 3 �� x 23 3 �8�� 


Never one to let a good design idea go to waste, Cappiello 

frequently gave potential clients images of sprightly young things 

embracing oversized products. Here, a raven-haired pixie reclines 

effortlessly into a bed of leaves and lemons, promoting a lemon- 

�� 

marks this maquette as being unpublished. 

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

227 

228


229. Bitter Campari. 1921. 

27 1 �8 x 39 1 �8�� 

�� 

Cond A. 

�� 

“Cappiello, steeped in theatrical tradition from his years as a stage 

caricaturist, often chose pierrots, harlequins, or clowns to represent 

various products. Here, in one of his most inspired designs, the clown 

embodies the spirit of the orange peel, a zesty ingredient in [Bitter 

Campari]. This image has become one of the classics of poster design, 

effortlessly combining the element of surprise with the essence of the 

�� 

This is the smaller format version 

of the poster. 

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

230. Cognac Monnet. 1927. 

50 7 �8 x 78 3 �� 

�� 

Cond A-/Slight tears at top margin. 

�� 

Founded by a group of local vintners in 1838, under the name 

�� 

not obtain its current name until 1897 when Jean-Gabriel Monnet 

�� 

is interpreted quite literally by Cappiello, as a Bacchus-like nymph 

expresses adoration for the beverage. 

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

229 230 

231. Parapluie-Revel. 1929. 

78 x 123 1 �� in./198.3 x 313 cm 

�� 

Cond A-/Slight tears at seam. 

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

232. Le Bas Revel. 1929. 

77 1 �� x 121 1 �2 in./196.2 x 308.6 cm 

�� 

�� 

�� 

�� 

PAI-LV, 206 

With legs longer than the average person’s on full display, this eye- 

When M. Revel founded his Lyon-based umbrella company in 1851, one 

catching three-sheet poster for stockings may have been a bit salacious 

could purchase his wares in both silk and cotton. While the subject matter 

in the 1920s. “Cappiello had previously created a successful poster for 

may seem slightly ordinary, the poster is one of Cappiello’s most ingenious 

�� 

see previous lot) and the company’s 

and delightful designs. As effective as it is simple, one sees “the umbrellas 

founder, M. Revel, requested that the artist generate a similar interest 

�� 

�� 

�� 

�� 

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

yellow), tight yet lively composition, unusual perspective – and no more 

�� 

closed its doors in the 1950s, this poster remains a testament to its once 

233. Chaussures Bally: Maquette. 

brilliant advertising campaign. This is the three-sheet version of the poster. 

9 1�2 x 12 1�2�� Watercolor, ink & crayon maquette. Framed. 

While Cappiello created a handful of designs for Bally throughout the 

1930s, this image is noted as being d’après the artist, featuring all the 

charm of his whimsical style without necessarily his direct hand. 

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

231 

232 

233

234 

236 


234. Fissa / Teint Tous Cuirs. 1932. 

�� 5 �8 x 62 in./116 x 157.6 cm 

�� 

�� 

�� 

A bold and colorful design for the leather-dye company Fissa, 

presenting the many shades they offer striped laterally along 

a face-like heel. Rare! 

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

235. Job / Papier à Cigarettes. 1933. 

22 3 �� 


Cond B/Restored tears near edges. 

237. Biscuits Pernot. 1939. 

��3 239. Miroir du Monde Cover. 1936. 

�� x 63 in./118.8 x 160 cm 

10 

Edimo, Paris 

�� 

�� 

A raven-haired Shirley Temple look-alike nibbles 

�� 

in this rare poster by Cappiello. This is one of two 

known copies, of which this one is the more vibrant. 

Est: $5,000-$7,000. 

3�8�� 5 �� 

�� 

�8 in./26.5 x 37 cm 

Cond A. 

“Cappiello showed the pleasure of smoking by projecting an image 

of a hedonistic Middle-Eastern potentate luxuriating with a self-rolled 

Escorted by Mercury in his winged petasos and 

�� 

caduceus, a horn-haired woman on this cover of 

�� 

the French periodical The Mirror of the World 

Rennert, p. 156). A lasting design, seen here in its thirteenth printing– 

announces that “Advertising is the real goddess 

some sixteen years after Cappiello’s departure from the Vercasson 

�� 

printing house. 

Est: $400-$500. 

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

236. Mossant. 1938. 

235 

238. Book: Miroir A Deux Faces. 1933. 

8 x 10 1 �8 in./20 x 25.6 cm 


�� 

�� 

Written by Jacques Boulenger, Le Miroir a Deux 

Faces was Cappiello’s last work as an illustrator. 

Consisting of two volumes – one describing 

events from the man’s and the other from the 

�� 

designs by the artist, each broadening and 

complimenting the author’s story of a romance 

�� 

This particular 

�� 

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

1�8�� Edimo, Paris 

Cond A-/Slight tears near edges. 

�� 

“This design featuring three hand-held hats appears so deceptively 

�� 

rhythmic composition creates a pattern so upbeat that it gives the 

�� 

since the 1860s, was known for high-quality hats – especially men’s 

hats, whose expensive models were made from pile of rabbit and hare 

– and Cappiello conveys it perfectly, making it look easy in the bargain. 

�� 

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

237 238 

239

EMIL CARDINAUX (1877-1936) 

240. Palace Hotel / St. Moritz. 1920. 

35 7 �8 x 50 1 �� in./91 x 127.6 cm 

Wolfsberg, Zürich 

Cond A-/Slight creases. 

�� 

�� 

One of Cardinaux’s best and most evocative posters, viewing it is like 

recalling a hazy memory from your childhood, a minute-long moment 

of someone turning around to look at you. It is the long-lost vacation 

photograph incarnate. The main purpose of the poster – the promotion of 

St. Mortiz as a winter sports hot spot – is left to the background. Instead, 

the idling tourist, an elegantly-bundled lady, is the focus, her party deep in 

lazy chit-chat while skaters glide by their chairs. It is as if he is saying that 

while we all know the Alps are the ideal spot to enjoy all the athletic events 

�� 

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

JEAN CARLU (1900-1997) 

241. Cinzano. 1950. 

�� 

�� 

Cond B+/Tears at folds. 

�� 

One of Italy’s signature beverages, Cinzano has been in production since 

the 1700s. Its ads have always been at the forefront of innovation – in 1912, 

�� 

they’ve acquired the talents of Carlu, one of the top posterists in France at 

the time, to create a rather bizarre, but eye-catching, centaur-cum-jockey 

to promote the beverage. As the text reads, even for the most unusual of 

�� 

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

240 241 

242 

242. Désarmement. 1932. 

��1 �8 x 61 3 RAMON CASAS (1866-1932) 

�� 


245. Job. 1900. 

�� 

�� 

One of Carlu’s most famous images for the 

peace movement, this photomontage design 

boldly calls for the disarmament of all nations. 

As missiles fall from the sky, the agonized faces 

of a mother and her child are shown screaming 

below. Incidentally, the woman used in the 

243. Pépa Bonafé. 1928. 

�� 3 �� x 22 1 �2 in./37.5 x 57.2 cm 

Imp. Marcel Picard, Paris 

Cond A/Usual folds. 

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

ALOIS CARIGIET (1902-1985) 

244. Fein-Kaller. 1959. 

35 3 �� x 50 in./90.7 x 127 cm 

Buchdruck, Zurich 

Cond A. 

Obviously a preferred mascot for the brand 

(see PAI-L, 162), this Westie is performing 

slightly new tricks in honor of his dapper duds. 

Sadly, this Swiss company, which opened in 

1895, just closed in June of 2011. 

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

243 

18 x 23 3 �� 

Société Lyonnaise de Photochromogravure, Lyon 

�� 

�� 

For the brand best known through its ads by 

Mucha (see�� 

sophisticated image of a thoughtful brunette 

quietly enjoying her cigarette rolled in Job paper. 

�� 

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

Hadley Richardson. This is the rare, largeformat 


JOHANN G. VAN CASPEL (1870-1928) 

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

246. Maypole Soap. 1896. 

31 x 83 1 �2 in./78.6 x 212.3 cm 

Steendr, Amsterdam 

�� 

�� 

�� 

Around the turn of the century, it seems as if 

LI, 188 

dozens of eye-catching posters were created 

Outside of a few minor credits in small 

for Maypole Soap – which, incidentally, is not 

productions for stage and screen, little is 

truly a soap but a fabric dye that will color your 

known about the comedienne Pépa Bonafé. clothing any shade of the rainbow. This two-sheet 

How and why Carlu was chosen to create 

poster is perhaps the most charming in domestic 

a poster for her is even more of a mystery, 

simplicity, the child making eye contact with us 

especially considering that this is the only 

as she proudly holds up a handful of newly-dyed 

poster in his oeuvre for a woman. Behind her hair ribbons. 

�� 

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

tragedy, both inspired by the performer’s own 

face – a reminder that a true actor walks the 

�� 

244 

245 

246

A. M. CASSANDRE (Adolphe Mouron, 1901-1968) 

247. Grand-Sport. 1925. 

A.M. CASSANDRE 

23 1 �2 x 31 in./59.7 x 78.7 cm 

Hachard, Paris 

Cond A-/Horizontal fold. Framed. 

�� 

�� 

Cassandre’s simple abstraction of a face contrasted with the realistic rendering of the 

�� 

�� 

�� 

about the poster is the suggestion of a multiple perspective, which gives a simultaneous 

�� 

1920s advertisements emphasized that all the great sport champions wore this cap, was 

�� 

(see PAI-XLVIII, 162). This is the medium format. 

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

248. Chemin de Fer du Nord. 1929. 

3 �� 

�� 

Cond A-/Slight creases at edges. Framed. 

�� 

�� 

�� 

�� 

�� 

company’s train station in Paris up to the English Channel. Later, the lines would be extended 

to reach as far away as Aisne. Here, Cassandre very simply manages to convey that if you want 

to head North quickly, comfortably, and luxuriously, this train is the way to get there. 

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

247 

248 

249 

249. L’Oiseau Bleu. 1929. 

�� 1 �� x 39 1 �2�� 

�� 

Cond A-/Very small tear in lower left area. 

The Blue Bird was one of the most famous Trans-European Express trains of 

its time. Released in 1929, this deluxe passenger locomotive went between 

Paris and Antwerp, stopping in Brussels along the way. As can be gleaned from 

this poster, speed was of the utmost importance, the ghost of steam being the 

only indicator that the train ever passed this station. 

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

250. Triplex. 1931. 

31 3�8�� 1�� in./79.6 x 119.9 cm 

Alliance Graphique, Paris 

�� 

�� 

�� 

�� 

�� 

�� 

�� 

LIV, 263 

�� 

�� 

With automobile production on the rise, the demand for safety glass was at an 

all-time high by the 1920s. To meet this demand, Ford Motor Company teamed 

up with Pilkington, an English glass manufacturer, and formed Triplex in 1923. 

�� 

actually showing it in action via injury or destruction. Alternatively, we are met 

�� 

�� 

which, while illogically placed, instantly conveys the point. 

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

250

252 

251 

A.M. CASSANDRE (Continued) 

251. Dunkerque-Folkestone-Londres. 1932. 

�� 1 �2 x 39 5 �8 in./62.2 x 100.6 cm 

�� 


�� 

252. Marocaine. 1935. 

35 1 �� x 50 1 �8 in./89.5 x 127.5 cm 

�� 

�� 

�� 

253 

253. Normandie / Service Régulier. 1935. 

23 3 �� x 39 in./60.2 x 99 cm 

�� 

Cond A-/Slight tears at bottom edge. Framed. 

�� 

�� 

�� 

An advertisement for the Normandie and her 

�� 

touted that “The arrival in New York Harbor of the 

gigantic super-liner Normandie will inaugurate a 

new era of transatlantic travel. She will set new 

standards of luxury and speed, steadiness comfort 

�� 

(79,280 tons)...but in almost every respect a new 

�� 

Cassandre masterpiece was a new way of selling 

the glamour and excitement of ocean liner travel. 

A deceptively simple, but impressive design with 

�� 

at the bottom, giving the image as much scale and 

strength as the imposing hull itself. The classic 

design appeared with several variants of text at the 

bottom, this being the version with the ship’s name 

emblazoned over its port of call. 

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

254. Dubonnet. ca. 1956. 

�� 1 �8 x 61 1 �� in./122.5 x 168.6 cm 

�� 

Cond A. 

�� 

�� 

�� 

popularity of the poster trio was so enduring that this 

version was executed twenty-three years after the design 

�� 

�� 

version of the third sheet in the triptych was the only 

one of the three images to be printed. However, it was 

�� 

designated posting areas. 

Est: $3,600-$4,000. 

255. Italy. 1935. 

�� 1 �8 x 39 1 �8�� 

Off. Graf. Coen, Milano 

�� 

�� 

�� 

The second of two posters Cassandre created for ENIT 

while vacationing at Lake Maggiore in northern Italy. 

It showcases a variety of sporting activities one can 

�� 

enjoy in the country, including tennis, sailing, golf, 

train ferry across the English Channel. It is signed as coming from the atelier 

hiking, and skiing. While this is the English-language 

of Cassandre, yet the master’s hand is clearly evident in this striking Art 

version, this poster was also printed in French, 

�� 

German, and Italian. 

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

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

256. Foire de Paris. 1957. 

In 1935, Cassandre created four tobacco posters that were printed in 

�� 

see�� 

cigars (see PAI-XVII, 9), another for Kisroul pipe tobacco, and this one for 

Marocaine cigarettes. The most rare of the four designs, this poster is also 

the most sculptural, the light and shadow modeling the hand into a threedimensional 

mass which thrusts off the page. 

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

Est: $600-$800. 

23 1 �8 x 37 3 �� in./58.8 x 95.7 cm 

Publi-Service, Paris 

Cond B+/Slight tears, largely at edges. Framed. 

�� 

PAI-LIII, 182 

This very late Cassandre design contains elements of 

abstract art, yet retains the clarity and legibility that 

were his lifelong hallmarks. It advertises a trade fair in 

Paris, referring to the city as the “business crossroads 

�� 

This is the medium format. 

255 

254 

256

257 

HENRI CASSIERS (1858-1944) 

257. Exposition Universelle / Bruxelles. 1910. 

A languid, organic travel poster wherein the shapes of the waving sailors 

echo the lopping roll of the sea around San Sebastian. 

258 

E. PAUL CHAMPSEIX 

260. Bandol. ca. 1930. 

�� 1 �2 x 39 in./62 x 99 cm 

Imp. Art et Tourisme, Paris 


�� 

JULES CHÉRET 

��1 �2�� 1�� in./87.5 x 125 cm 

�� 

Imp. J.E. Goossens, Bruxelles 

touted as ideal for both summer and winter tourism and described as 

Cond B/Tears, largely in boarders. 

�� 

�� 

white sails are among the vivid Mediterranean colors. 

�� 

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

A breathtaking and bright bird’s eye view of Brussels’ Grand Place, adorned 

�� 

three known versions of this poster, the other two advertising various railways 

which one could take to get there. 

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

HIPOLITO HIDALGO DE CAVIEDES (1902-1996) 

258. San Sebastian. 1925. 

27 3�8 x 39 1 JULES CHÉRET (1836-1932) 

261. Valentino / Mardi-Gras. 1872. 

�� 

�� in./69.5 x 99.5 cm 

Lit. Matev, Madrid 


�� 

�� 

PAI-V, 288b 

1�� 1�8 in./87 x 119.7 cm 

Imp. J. Chéret, Paris 

�� 

�� 

�� 

A rare, very early hedonistic image by Chéret promoting the pre- 

Lenten festival of Mardi-Gras. Other versions of this poster were 

printed in which the words Mari-Gras were replaced by days of 

the week or other information on the venue. 

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

262. Les Damnées de Paris. 1882. 

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

KAREL CERNY (1892-1965) 

259. Tapbioles y Pirretas. ca. 1929. 

29 3 �� 

5 

�� 8 in./75.5 x 108.2 cm 

Rieusset, Barcelona 

Cond A-/Restored tears in margin. 

�� 

While similar in presentation to Loupot’s designs for Canton (see�� 

there is something more angular and mysterious about this Venus-in-furs 

than her Swiss equivalent. Coming from the Czech Republic, Cerny’s art 

�� 

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

1�2 in./86.5 x 123 cm 



�� 

�� 

259 

heralded writer and columnist around the turn of the century. His 

many novels generally revolved around the themes of injustice and 

�� 

suited their easy and frequent adaptation to the theater and cinema. 

Here, two scenes from his early serialized story Les Damnées de Paris 

are presented. As an added point of interest, some of the original 

illustrations from this novel were appropriated by the Surrealist 

Max Ernst in his collage-novel Une Semaine de Bonté (A Week 

�� 

Est: $800-$1,000. 

262 

260 

261

264 

263 265 

JULES CHÉRET (Continued) 

263. Eldorado.�� 

33 3�� 1�2 in./85.7 x 120.8 cm 


Cond A. 

15 1 �2 x 23 5 �8 in./39.3 x 60 cm 


Cond A. 

266. Palace Théâtre / A. Grévin. 1883. 

16 5 �8 x 22 5 �8�� 


�� 

�� 

PAI-XLIX, 202 

The Palace Theater opened at 15 rue Blanche in 1878 on the former 

sight of a skating rink and specialized in the sort of fantasy ballet 

�� 

he masses the elements here, playing the whirling soldierettes, 

disapproving male band, and irresistible dancing bears off of one 

another. The creator of this improbable theatrical piece appears to 

be none other than the same caricaturist Alfred Grévin who founded 

the Musée Grévin circa 1880. 

Est: $800-$1,000. 

267. Pastilles Géraudel. 1895. 

�� 

�� 

�� 

�� 

One of the most famous music halls in Paris, the Eldorado hosted some 

of the greatest performers of the day. Here, Chéret does not advertise a 

�� 

�� 

a wild, not-to-be-missed event at the Eldorado. This is the larger format 


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

264. Eldorado. �� 

1�2�� 5�8 in./87.7 x 123.6 cm 



�� 

�� 

It may be snowing, but this heavily-bundled Chérette is prancing 

down the street as if it were spring. Why such a sunny disposition? 

Well, while the rest of us are coughing and sneezing from November 

til March, she has wisely chosen Pastilles Géraudel to fend off the 

�� 

�� 

France to China. “This is one of the most striking examples of the work 

by Jules Chéret...The clarity of the color is astonishing and denotes the 

�� 

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

�� 

This is the smaller format version of the previous poster. 

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

265. Alcazar d’Eté / Louise Balthy. 1893. 

33 3�8�� 1 268. Vin Mariani. 1895. 

15 

�8�� 



�� 

By the age of 17, Louise Balthy was receiving rave reviews at the Eldorado 

in Paris. Although trained in ballet, her true talents came out when performing 

comic songs. These cheerful, humorous ditties would take her to the stage 

�� 

�� 

d’Eté. She has been immortalized not only by Chéret, but also by Lautrec 

and Cappiello (see Lot 205) in a variety of her vivacious public appearances. 

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

1�� x 22 1�� in./38.7 x 56.6 cm 


�� 

�� 

Created in 1863 by Angelo Mariani, Vin Mariani is simply a 

combination of Bordeaux wine and coca leaves. The restored ‘health and 

vitality’ mentioned in this poster, as well as the model’s visual exuberance, 

is the result of the small amount of cocaine laced in the beverage – an 

ingredient used by many popular drinks of that era, including Coca-Cola. 

�� 

�� 

�� 

Victoria, and two popes, as well as then-famous musicians, doctors, public 

�� 

�� 

This is the smaller, Courrier Français version of the poster. 

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

266 

268 

267

269 

270 

JULES CHERET (Continued) 

269. Palais de Glace.�� 

15 7 �8 x 22 3 �� 



�� 

The Courrier Français�� 

features the charms of an enrapturing skater, whose sunny disposition all but melts 

the ice. Charles Matlack Price notes that “the motion of the ‘Palais de Glace’ posters 

needs only the music to which the care-free skaters disport themselves, gracefully 

balanced like birds on the wing, or with tantalizing smile and beckoning arm, 

�� 

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

270. Palais de Glace. 1896. 

15 1 �� x 22 1 �2 in./38.7 x 57.1 cm 


Cond A. 

�� 

272. Pastilles Géraudel. 1890. 

�� 1 �8 x 86.7 in./96 3 �8�� 


�� 

�� 

PAI-XXIII, 208 

Between 1893 and 1900, Chéret created a multitude of captivating designs for the Palais 

de Glace, a large skating rink located on the Champs-Elysées. Here, the brightly-dressed 

Coyly playing around a chemist’s table, this smirking young lady has 

beauty, complete with fur stole, balances daintily on one foot as her partner glides her 

managed to knock over container upon container of various drugs in 

around the ice. �� 

search of her favorite cough-drops, Pastilles Géraudel. This is the 

two-sheet version of the poster. 

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

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

271. Théâtre de l’Opéra / Carnaval 1896. 

33 3�� 3�� in./85.7 x 123.8 cm 



�� 

�� 

From 1892 through at least 1899, Chéret created a dozen or so posters for 

the Théâtre de l’Opéra’s seasonal masked balls. This design, used repeatedly 

throughout the 1896 season, is shown here in its before-letters stage. 

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

271 

273. Palais de Glace. 1900. 

272 

�� 1 �8 x 96 3 �� 


Cond A-/Tears at edges. 

�� 

More merry and carefree than its romantic counterparts, this poster for the 

Palais de Glace showcases ice skating in all its welcoming, wild abandon. 

Est: $7,000-$9,000. 273

JULES CHERET (Continued) 

274. Théâtrophone. 1890. 

32 3�8�� 1�2 in./82.2 x 115.6 cm 



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

275. Lelia Montaldi. 1887. 

�� 3�� in./86.2 x 123.8 cm 

�� 


�� 

With prototypes as early as 1881, the 

edges. 

�� 

�� 

live-transmission sound. For a small fee (50 

�� 

�� 

The novel advertised is about a life in Paraguay, 

a contemporary payphone, one could essentially and what we get is a scene with a jungle 

‘dial in’ to a live music performance and listen. background, wherein a long-haired barefoot 

Special prices were given to those who subscribed peasant maiden is apparently throwing herself at a 

to the service or opted to host a machine in their handsome plantation foreman as his more civilized 

own home. Marcel Proust was incidentally a huge �� 

fan of the system, writing about it in much of doubt the wife’s mother, points sternly, apparently 

his correspondence. The company liquidated in urging her daughter to reclaim her man. 

1932, mostly due to the rising popularity of radio 

broadcasting. 

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

275 

274 276 

276. Premier Concours de Balcons Fleuris. �� 

37 1 �� x 50 3 �� 


�� 

�� 

In simple sepia tones, this poster announces a competition of balcony- 

�� 

�� 

implying that the artwork was recycled from a previous project. 

Est: $800-$1,000. 

277 

279 

278

PAUL-CHARLES CHOCARNE-MOREAU (1855-1931) 

277. Velma Suchard. ca. 1900. 

58 3 �� x 39 5 �8�� 

Imp. du Chocolat Suchard 

Cond A-/Very slight tears in margins. 

�� 

Although owned by Kraft Foods today, Chocolat Suchard began as 

�� 

order from the King of Prussia thrust the company into the global 

�� 

�� 

and ultimately making it the largest chocolate producer in the world 

by the turn of the century. While best known today for the Milka bar, 

the Velma is also still available as the company’s most intense dark 

chocolate. Here, the fondant is apparently so thick it can coat an 

entire child. 

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

FRANCISCO DE CIDÓN NAVARRO (1871-?) 

278. Perfumeria Ladivfer. 1903. 

�� 1�2 in./76.2 x 125.6 cm 

Font, Barcelona 


�� 

�� 

�� 

�� 

cosmetics company. 

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

EMILE CLOUET 

279. Cycles “Le Globe.” ca. 1895. 

��7 �8�� 3�� in./88.6 x 123.7 cm 

Imp. Jules Simon, Paris 

�� 

280 281 

282 

�� 

PAUL COLIN 

Moreso than any other invention, the bicycle greatly contributed to women’s 

emancipation. With it, the potential for unchaperoned freedom was almost endless 

– a concept that was all but incomprehensible to most contemporary women. 

�� 

�� 

her Globe cycle. 

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

JEAN COCTEAU (1889-1963) 

280. Bouffes-Parisiens / Boléro. �� 

�� 3�� 

283

284 

Imp. Watelet, Paris 

Cond B-/Restored tears, primarily at folds. Framed. 

�� 

282. Frera / Non Corre Ma Vola. ca. 1929. 

19 x 26 1 �2�� 

Cond A. 

285 

quickly evolved into the bicycle trade. In 1906, 

�� 

popular brands up through the 1950s. 

�� 

Boléro was 

�� 

�� 

on the poster for this play is both odd and interesting. The design itself is 

understated and lovely. 

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

PLINIO CODOGNATO (1878-1940) 

281. Frera. ca. 1928. 

19 x 26 1 Est: $2,500-$3,000. 

PAUL COLIN (1892-1986) 

283. Le Bal Fleuri. 1927. 

�� 

�2�� 

Cond A. 

�� 

Codognato created about 150 distinguished posters, largely for automobiles 

(Fiat, Pirelli) and commercial products (Campari, Cinzano). Here he gives us a 

�� 

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

7�8 x 61 1�� in./116.5 x 155.6 cm 


�� 

�� 

�� 

�� 

of France. Romantic, sophisticated, and sexy, Colin’s composition certainly 

makes one want to take part in the event at the Théatre des Champs-Élysées. 

Rare! 

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

PAUL COLIN (Continued) 

284. Bal Nègre. 1927. 

�� 1 �2 x 62 1 �2 in./118 x 159 cm 



�� 

�� 

While the company originated as a producer of rubber bicycle accessories, it 

�� 

�

287 

in Paris. American Negro art, music and dress, as perceived by the Parisians, Est: $65,000-$75,000. 

was tremendously popular. On Rue Blouret a Negro dance hall had opened 

its doors and the Parisian smart set gathered there each evening to dance with 

themselves and with the blacks ... And as if one night was meant to crown 

�� 

�� 

money myself for this evening of dance at the Théâtre de Champs-Elysées. 

Everyone had to come in Negro costume, even the girls. We had a full house. 

All the society people were there. There must have been at least 3,000 people’ 

... For poster collectors today, [this poster] is the most prized – and most 

�� 

286 

288 

289 

285. Le Tumulte Noir. 1929. 

13 x 19 1 �2�� 

Overall excellent condition, with slight soiling on cover. Contains an 

original ink drawing signed by Colin, dedicated to Marcel Gaveau. In 

presentation case. Complete. 

�� 

�� 

�� 

period of several years during which black dancers and jazz musicians enjoyed 

a great popularity. It all started in 1925 when the troupe then playing at the 

Plantation Club in New York City’s Harlem was brought to Paris, and lead 

�� 

�� 

Charleston. Colin, who was in on the whole thing from the beginning, collected 

the sketches he made of her and of other black �� 

forty-eight plates, published in a limited edition of 500, are the result. The 

images were drawn directly on the stone by Colin at the Chachoin plant in Paris 

and then stencil-colored (the term for this technique is pochoir). Pulsating with 

color and movement, the portfolio contains the very best of Colin’s lithographic 

work. 

�� 

�� 

�� 

�� 

�� 

�� 

imaginary opening night attended by everyone in the Paris entertainment 

Moulin de la Galette in Montmartre. 

world . . . Le Tumulte Noir captures a complex intercultural moment. Through 

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

Colin’s drawings, we sense the delight and disorientation that Paris experienced 

�� 

�� 

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

287. Bal des Arts. �� 

PAUL COLIN (Continued) 

286. Bal Renoir / Moulin de la Galette: Maquette. 1956. 

6 1 �� x 8 1 �� in./15.8 x 21 cm 

Signed gouache & ink maquette. Framed. 

The smaller of two known preliminary designs for Colin’s suave 

composition in green and black for the Bal Renoir at the famous 

15 5 �8 x 23 5 �8 in./39.7 x 60 cm 

Imp. S. A. Courbet, Paris 


�� 

Held at the Hotel Salomon de Rotschild, this poster for an annual arts ball 

shows a painting literally coming to life to dance with an alabaster female 

sculpture. 

Est: $800-$1,000. 

290 

291

293 

292 294 

PIERRE COMMARMOND (1897-1983) 

288. Les Monts Lozère. ca. 1927. 

��1 290. Moray Firth Coast. ca. 1930. 

96 

�� x 39 in./61.5 x 99 cm 

Mayeux, Paris 

Cond A. 

�� 

an ever-popular skiing destination. Here, a map of the surrounding area 

hovers stoically in the icy sky, showing the ease of which one can reach the 

adventurous destination via PLM. 

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

289. Combloux. 1928. 

7�8 x 38 3 �� 

�� 

�� 

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

�� 

�� 

ROBERT DANILO 

�� 

292. Engagez-vous. ca. 1927. 

Moray Firth coast in Northeastern Scotland. Peppered with golf courses, 

and considered the best place in the United Kingdom from which to observe 

whales and dolphins, this area is rich in outdoor activities, 

all of which can be yours via the Great North of Scotland Railway. 

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

31 

L. DAMARÉ (?-1927) 

3�8�� 1�8 in./79.6 x 120 cm 

Èdia, Paris 


�� 

�� 

this being perhaps the most visually stirring of the lot. A determined 

rooster is cawing out the call to arms for the youthful men of France, 

silhouettes of 

their brothers moving cannons and horses along the horizon behind it. 

23 1 �2 x 38 3 �� in./59.8 x 97.5 cm 


Cond A-/Very slight tears at edges. Framed. 

�� 

With the icy peaks of Mont Blanc off in the distance, the PLM-owned hotel 

stately sits on a sharp grassy incline. Rather than promote the area’s fabulous 

skiing, this poster advertises all the joys of summer sports, from golf to tennis, 

�� 

Est: $700-$900. 

D.N.A. 

291. Nouveau Cirque / Fête de Nuit des Artistes Lyriques. 1913. 

35 1�� 1�2 in./89.5 x 123.2 cm 

�� 

�� 

�� 

Until its demolition in 1926, the Nouveau Cirque was noted for its nautical 

�� 

�� 

French vaudeville circuit are gathered around and in that famous pool to help 

promote a midnight showcase of celebrities – Mayol, Jeanne Bloch, Sem, 

�� 

295 

296

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

27 1 �8 x 38 1 �2 in./68.8 x 97.8 cm 

297 

��to 

this poster advertising simple hand soap. 

ANDRÉ DAUDÉ (1897-1979) 

293. Pianos Daudé / Sonorité remarquable. 

1926. 

��1 �� x 62 3 Established in 1926, Hapoel was an Israeli sports 

association representing the country’s labor 

movement. While it was a rival of Maccabi 

during the early years of Israel’s history, by 1951 

open competition between all sports groups 

�� in./120 x 159.5 cm 

was allowed. Here, in geometric austerity, a 

Publicité PAG, Paris 

torchbearer announces that year’s games, an army 

Cond A-/Slight tears. 

�� 

�� 

behind him. 

An well-known emblem of masterful Art 

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

�� 

created by none other than the former president DAVID DELLEPIANE (1866-1932) 

of the company. Still in operation today, this 

overhead view of a balding pianist was used by 295. Sphinxia. ca. 1900. 

the store again in the 1960s with slightly altered �� 

text. 

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

R. DAYAN (Rudolf Deutsch) 

294. The Worker Games. 1952. 

1�� 5 Est: $1,700-$2,000. 

V. DENISOV & VIKTOR NIKOLAEVICH 

(1893-1946) 

296. The Last Reserves of Marshal Foch. 1920. 

18 

�8 in./87.2 x 116 cm 

Imp. Tourangelle, Tours 

Cond B-/Restored tears, largely at folds. 

�� 

The heat of the Egyptian sunset blaring down on 

the famous Sphinx while wild wisps of desert 

sand streak the sky behind her give alluring 

exoticism 

5�8�� Gosiztat 

�� 

�� 

�� 

Foch was considered one of the most creative and 

subtle thinkers within the French army. These virtues, 

however, are not celebrated in this piece of Russian 

�� 

French military advisors sent to assist Poland during 

the Russo-Polish War. 

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

298 

299 

300 

301 

DISNEY IMAGES 

297. Dingo & Donald / Champions Olympiques: 

Maquette. 1972. 

13 5 �8 x 17 3 �� 

Gouache maquette on board. 

Known in English as Superstar Goofy�� 

humorously recounts the history of the Olympic games, with 

�� 

in various events. It would go on to win the gold medal for 

�� 

�� 

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

302

304 

GEORGES DORIVAL (1879-1968) 

303. Etretat. ca. 1908. 

304. Allevard les Bains. ca. 1920. 

303 

29 1 �� 

�� 

A. DREUX 

305. Saint-Joseph. 1883. 

29 3�8�� 3�� 

Imp. Cornille, Paris 

Lith. Alfred Clarey, Asniéres 

Cond B/Slight creases. 

Cond B/Restored tears. 

�� 

Similar to many of Chéret’s early designs 

Primarily a tourist town, Etretat is perfectly displayed for other department stores in Paris, this 

�� 

detailed image showcases the latest 

to get men to come to your resort is to showcase an summer fashions available. 

expertly-manicured golf course with jaw-dropping 

views. Other versions of this poster also advertise 

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

tennis and a casino in the lower right area. 

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

A. DUTOIT 

306. Genfersee. 1957. 

26 x 39 3 �8 in./66 x 100 cm 

Lithos. R. Marsens, Lausanne 

Cond A. 

�� A colorful, Modern interpretation of Lake 

Located in South-Eastern France, Allevard les Bains Geneva, from a purple-and-white capped Mont 

�� 

Blanc in the distance to the Jet d’Eau propelling 

gives us a look at the village’s surroundings, from the 132 gallons of water per second into the clear, 

white Alps in the distance to the beautiful hills and blue sky. 

farmland spread out before us. 

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

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

305 

306 

MARCELLO DUDOVICH (1878-1962) 

307. Mele / Eleganti Novità-Mode. 1911. 

56 5 �8�� 



�� 

�� 

�� 

the Mele department store in Naples, this stylish two-sheet image 

has us doing a double-take on the handsome couple passing by. 

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

307

CLÉMENTINE-HÉLÈNE DUFAU (1869-1937) 

308. Pelote Basque. ca. 1903. 

�� 7�8 in./106.7 x 196.7 cm 

Imp. G. de Malherbe, Paris 

Cond B-/Restored tears. Framed. 

�� 

If there were few female artists during the Belle Époque, there were even fewer good 

�� 

won competitions and commissions, the end results of which have given us some of the 

best designs of the era. Coming from the Basque region of France, it seemed natural 

that an artist of such skill would be the ideal choice to represent the area’s homegrown 

sport of jai-alai. There is a deft delicacy in the way she portrays the sportsmen, a perfect 

mastery of how to replicate the moment of sheer rapture as the women inhale in surprise. 

It is a beautiful balance between glamour and excitement. 

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

310 

LEON CONSTANT DUVAL (1877-?) 

309. Beaulieu. 1936. 

23 5 �8 x 39 in./60 x 99 cm 



�� 

308 

JULIUS USSY ENGELHARD (1883-1964) 

310. Lucy Doraine. �� 

�� 

�� 

�� 

oldest building in the village, dating from 1095. It seems like the perfect place to get 

away from the world, and yet is quite easily accessible by way of rail. 

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

3�8�� Messtro 

Cond A. 

�� 

An unusual design for Engelhard, showing off the 

�� 

moodily-lit femme fatale. 

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

309 

311. Treffpunkt. 1920. 

36 1�� 7�8 in./92.1 x 119.2 cm 

Oscar Consée, München 

�� 

�� 

wherein one can enjoy an afternoon tea or stay late into the evening dancing to a live 

band. It is a picture of sophistication and German grandeur. 

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

312. Boccaccio. 1920. 

36 5�8�� 3�� in./93.2 x 123.6 cm 


Cond A-/Slight tears in margins. 

�� 

A moody hysteria pervades this design, helped in no small part by the swirling mauve 

shadow cast by a pair of high-spirited dancers, reveling with disciplined abandon in order 

to promote a revival of an operetta loosely based on the life of Italian Humanist prose and 

poetry writer Giovanni Boccaccio (1313-1375). Penned by “Franz von Suppé (1819-1895) 

. . . [who] was in many ways the father of Viennese operetta . . . One of the most popular of 

all Viennese operettas, Boccaccio . . . [was] one of those happy ones set in Italy, allowing for 

all sorts of native dances. . . . The role of Boccaccio was taken by Antonie Link (women 

would traditionally play the part until the 1920s) and Rosa Streitman was his beloved 

Fiametta in a clever libretto which placed the actual poet Boccaccio in his own Florence . . . 

Boccaccio’s name alone must have intrigued a good many theatergoers to visit the many 

�� 

This is the before-letters version of this poster. 

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

311 

313. See-Restaurant Starnberg. �� 

�� 1 �2�� 


Cond A-/Very slight tears in margins. 

�� 

A beaming fraulein stands happily under an ochre and 

tan awning, sailboats jutting into a pink sunset behind 

her, as various delights from this German restaurant 

are spread out for the evening. 

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

ERIC 

312 

313

314 

316 

315 317 

314. Philips. ca. 1960. 

62 3�� 3�� in./159.2 x 116.2 cm 

Elvinger, Paris 


A wonderfully graphic, Mad Men-era design for Philips 

television, showcasing their beauty inside and out. 

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

HANS ERNI (1909- ) 

315. Schweizerische Kunst-und Antiquitätenmesse. 

1967. 

35 1�8�� 7�8 in./89.2 x 126.7 cm 

Cond A-/Minor abrasion in lower register. 

A hypnotic and dreamy image by Erni for the annual 

�� 

grapples with an hourglass. 

Est: $800-$1,000. 

JULES ABEL FAIVRE (1867-1945) 

316. 4e Emprunt de la Défense Nationale. 1918. 

�� 1 �� x 29 7 �8�� 

�� 

�� 

�� 

�� 

�� 

down on Kaiser Wilhelm II, who would abdicate later 

that year. 

Est: $800-$1,000. 

ADOLF FLÜCKIGER (1917-1975) 

317. Chexbres. �� 

27 1 �2 x 39 1 �� in./70 x 100 cm 

�� 

Cond A/P. 

A tranquil wine-growing area in the Lavaux region of 

�� 

Lake Geneva. 

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

NOEL FONTANET (1898-1982) 

318. Kursaal de Genève. ca. 1928. 

35 1 �2 x 50 3 �� in./90 x 129 cm 

�� 

Cond C/Restored tears. 

�� 

Channeling a bit of Paul Colin, this vivacious image by 

Fontanet promotes the lively nightlife attractions at Kursaal 

�� 

�� 

promoted by the likes of Grün and Chéret, slowly evolving 

into more of a jazz-fused dancing venue as seen here. 

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

319. Émail Dermant. ca. 1930. 

35 3 �� x 50 in./90.8 x 127 cm 

Lithos. A. Marsens, Lausanne 

Cond A. 

A quaint little poster promoting the purchase of land lots in the 

��Parisian 

suburb of Ermont. 

toothpaste infused with clove and mint oils also contains 

Est: $800-$1,000. 

�� 

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

GUSTAVE FRAIPONT 

320. Ermont.�� 

�� 5 �8 x 35 in./62.5 x 88.8 cm 

�� 

Cond B+/Tears at edges. 

�� 

318 

320 321 

GEO FRANCOIS (1880-1968) 

321. Evian les Bains. ca. 1930. 

�� 1 �2 x 39 3 �� in./62.3 x 101 cm 


Cond A-/Very slight tears in margin. 

�� 

With an absolutely perfect view of Lake Geneva, the Savoy Spa is not 

only the ideal place to get away from it all, but also the best spot to 

play golf in the area. The general composition here recalls the best 

of Broders, with rich colors and a soothing treatment of line. 

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

319

322 

323 

LEONHARD F. W. FRIES (1881-?) 

322. Massary Perle. ca. 1928. 

37 1 323. Vins Camp Romain. ca. 1925. 

�� 

�� 

Anton Bertinetti, Berlin 

Cond B/Slight tears, largely near edges. 

�� 

�� 

�� 

Massary Perle brand of cigarettes. Below, the company’s name sparkles 

in silver metallic. 

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

CLAUDE GADOUD (1905-1991) 

1 324. 1ra Exposicion / Barcelona. 1927. 

29 

324 

325 

�� 

�� 

Cond A. 

�� 

Still in operation today, Camp de Romain wine is produced in Laudun, France, 

�� 

brandished by a team of similarly-colored Roman soldiers. The name of the 

wine itself references the fact that, hundreds of years ago, Laudun was home to 

a Roman settlement, which, legend has it, was headed by Caesar himself. 

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

FRANCISCO DE A. GALI (1880-1965) 

1�� 1�2�� 


�� 

Glistening against a metallic silver background, 

�� 

the hospitality industry in Barcelona. Circling her 

athletic form are a host of sea creatures and wildlife, 

presumably brought to the city via the impressive ship 

behind her. 

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

325. Exposicion Internacional / Barcelona 1929. 

��1 �8 x 21 1 CHARLES GESMAR (1900-1928) 

Byzantine Christ on the Cross hovers in the 327. Mistinguett. 1925. 

foreground, while historic architecture and 

�� 

�� 

background. This is the smaller format 

version of this poster. 

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

GASTON GÉRARD (1878-1969) 

326. Two Art Nouveau Menus. ca. 1898. 

3 3 �� x 11 �� in./22.2 x 30 cm 

Imp. J. Charles, Paris 

Cond B+/Slight background stains. Framed. 

�8 in./36 x 53.7 cm 

A French painter known for his Mucha-like 

�� 

classical muses inspired by myth and allegory, 

Cond B/Slight tears at edges. 

Gérard created a variety of menu cards, 

�� 

programs, panels, and posters throughout 

One of a host of images Gali created for this annual 

his career. 

Barcelona art exhibition, we are here met with the 

more religious aspects of Spanish design – a 

Est: $1,000-$1,200. (2) 

3�� x 62 1�2 in./118.7 x 158.7 cm 


�� 

�� 

One of Gesmar’s most luxurious images for 

Mistinguett, this poster plays on her well-known 

�� 

almost forcing her to play peek-a-boo with the 

viewer. Created in honor of her 50th birthday, 

this design was also Gesmar’s entry into a 

�� 

�� 

�� 

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

326 

327

328 

329 

330 

330. Exposition Universelle de Bruxelles. 1910. 

20 1�2 x 27 1 �� 

Complete Book 

�2 in./52 x 69.7 cm 

of Ballets�� 

�� How appropriate that Gladky’s Modernist construct 


�� 

appearances, in an undocumented piece that facilely 

From April 23 through November 1 of 1910, 

�� 

Brussels hosted a World’s Fair to better showcase the 

This version omits the theater, ballets and other 

many exotic wonders they had discovered in their 

details, including the fact that decor for Borlin’s 

colonial lands. 

ballets were provided by Paul Colin, Gladky, 

Est: $800-$1,000. 

F. Léger and Picabia. This is the smaller format 


SERGE GLADKY (1880-1930) 

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

331. Jean Borlin / Cercle Eternel. 1929. 

MILTON GLASER (1929- ) 

22 x 31 in./56 x 78.7 cm 


332. Dylan. 1966. 

�� 

22 x 32 

Jean Borlin, the Swedish dancer and choreographer, 

who would go on to found and present the instantlysuccessful 

Swedish Ballet in Paris during the 1920 

season of the Théâtre de Champs-Elysées, was 

something of a multi-disciplinarian, determined “to 

�� 

bending to its service the newest tendencies in art, 

music, and literature, yet never allowing any of these 

elements to dominate the dance . . . Experiment 

succeeded experiment, each bolder than the last. . . . 

�� 

the clamour excited by certain productions, so 

often is the sensation of to-day the commonplace 

�� 

altar of progress, and Borlin suffered from being in 

advance of his time. . . . [He] disbanded the ‘Ballets 

Suédois’ [in 1925], . . . but continued to give dance 

3 LOUIS P. GONYN 

333. PLM Railway / Glorious Riviera. ca. 1903. 

23 

�� in./56 x 83 cm 


�� 

�� 

�� 

�� 

�� 

�� 

is possibly Glaser’s most iconic design. When 

�� 

�� 

�� 

(Glaser, p. 50). 

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

1�8 x 38 1�� in./58.6 x 97.2 cm 

Ateliers F. Hugo d’Alési 

Cond A. 

�� 

In 1893, the Chemin de Fer du Nord became the 

�� 

�� 

�� 

did, this stylish poster makes it seem like the haute 

mode�� 

to the glorious Riviera via their splendid service. 

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

GONZAGUE-PRIVAT 

334. La Française / Dupré. ca. 1909. 

��1 �� x 61 1 AUGUSTO GIACOMETTI (1877-1947) 

328. Union Nationale des Etudiants de Suisse. 1928. 

25 

�2 in./110 x 156.2 cm 

�� 

Cond B+/Restored loss in lower left corner. 

�� 

A remarkably detailed portrait of the cyclist Victor 

�� 

promoting Hutchinson tires. A later version of this 

�� 

�� 

�� 

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

3�8�� Wolfsberg, Zürich 

Cond A. 

�� 

�� 

Giacometti creates a colorful promotion for the National Union of Swiss 

Students, who would like to remind the viewers of the vacation possibilities 

available at their close-to-home university enclaves. 

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

RAYMOND GID (1905-2000) 

329. Exposition Ethnographique. 1931. 

15 1�2 x 23 1 331 

�2 in./39.5 x 59.6 cm 

Cond A-/Slight tears at left edge. 

�� 

Gid, who studied architecture before turning to poster design and typography, 

was also something of an amateur anthropologist. In 1930, he joined a fourmonth 

expedition, sponsored by the Museum of Ethnography in Paris, to study 

the indigenous Indians of Northern Canada. Traveling by canoe, he smoked 

�� 

recordings of their songs, as well as etchings of their artifacts. The materials 

brought back were mounted in an exhibition for which Gid designed the poster. 

He was thus the obvious posterist for the following year’s exhibit of artifacts 

�� 

expressing Modernism’s encounter with primitivism, Gid juxtaposes African 

art with Futura lettering and Constructivist-style diagonal composition. 

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

J. GILBERT & P. VAN BREMPT 

332 

333 334

335 

AUGUSTE-FRANCOIS GORGUET (1862-1927) 

335. Esclarmonde. ca. 1890. 

31 1�� 1�� in./79.3 x 117.5 cm 

Lith. F. Appel, Paris 


Based on Gorguet’s original design for the Parisian premier in 1889, this poster 

d’apres the artist displays three pivotal moments within the opera. Written by 

Massenet, the story is based on the medieval tale Parthénopéus de Blois, in 

which the Byzantine empress and sorceress Esclarmonde is suddenly given 

control of the kingdom when her father abdicates, thus separating her from her 

lover Roland. Using her powers, she sends him to a magical island where she 

�� 

visits, she gives him a sword which guarantees his victory in any battle provided 

he remains faithful to her. Ultimately, they are torn apart repeatedly, identities 

are revealed and then hidden again, all leading toward a happy ending in which 

the knight and his empress are reunited. 

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

FERNAND-LOUIS GOTTLOB (1873-1935) 

For another by Gottlob, see Lot 42. 

336. 2e Exposition des Peintres Lithographes. 1898. 

30 1�2�� 5�8 in./77.6 x 118.5 cm 

Imp. Lemercier, Paris 

Cond A-/Slight stains, largely at edges. 

�� 

�� 

“Perhaps it is the handling of silhouettes that gives this poster of a woman print 

fancier its appeal. The scene is a gallery interior. Gottlob has placed the woman 

in front of a large window, and through dramatic backlighting has emphasized 

the dark forms. The crisp outlines of the plumed hat, the woman’s delicate 

features, and the print she examines dominate the composition, and the stylized 

lettering announcing the exhibition enliven the surface... the examples of the 

surviving originals of the poster were [very rare], which also exists in reduced 

�� 

�� 

in 1900, the year 

after it was designed. The inclusion of it in that series was a boon for Gottlob, 

�� 

�� 

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

GRANET 

337. Lancia / Veedol. ca. 1936. 

29 7 �8 x 22 1 �� in./76 x 56.3 cm 

Cond A-/Very slight creases at edges. 

Endorsed here by the luxury Italian car manufacturer Lanica, Veedol promises to 

the the best motor oil for your automobile. 

337 

336 

Est: $800-$1,000. 

EUGENE GRASSET (1841-1917) 

339 

338 

338. Librairie Romantique. 1887. 

35 5 �8 x 50 3 �� in./91 x 128.9 cm 

Imp. Bognard, Paris 

�� 

�� 

�� 

The full-text version of this poster–the example offered here appears with 

a blank bottom-left text panel–advertises the publication of “L’Age du 

�� 

�� 

�� 

but here Grasset has made it delightful, and combined all that is graceful 

with what is nostalgic . . . This gentle and delightful work is singled out by 

Maindron for special praise, as one of the four best posters of the period 

. . . In the exhibition at the Salon des Cent, it was generally considered to 

�� 

to introduce the concept and practice of Art Nouveau in France. In fact, 

�� 

a worldwide vehicle of the art of advertising. In France, Grasset was the 

pioneer of an attempt, like that of William Morris in England, to reconcile 

art and industry . . . Interested as he was in all the applied arts, he came 

�� 

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

339. Jeanne Darc / Sarah Bernhardt. �� 

29 1�2�� 1�� in./75 x 120 cm 

�� 

Cond B/Slight tears at folds. Framed. 

�� 

�� 

�� 

�� 

Commissioned for the opening of Bernhardt’s appearance as Joan of Arc, the 

actress was not happy with the original design. She request that it be printed 

again, but this time with straight hair and a more other-worldly expression to 

�� 

�� 

by God. This poster is the result of those alterations, the original being printed 

later and sold through G. de Malherbe as an art poster. 

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

340. 1895 / Ch. Lorilleux & Cie. �� 

20 1 �� x 15 7 �8�� 

Imp. Ch. Gillot, Paris 


�� 

�� 

Bulletin de l’Imprimerie, 

and features a man enthusiastically at work at a printing press. 

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

EUGENE GRASSET (Continued) 

340

341 

342 

343 

341. Suzy Deguez. 1905. 

29 3 �� x 77 in./75.6 x 195.6 cm 

G. de Malherbe, Paris 

�� 

�� 

Accused in newspapers by the dancer Mata Hari 

of copying her heavily-researched temple dances 

�� 

sensuous dancer in the early 1900s. She was one 

�� 

toned bodysuit, opting to actually go as nude as 

this poster would imply when on stage. Here we 

see elements of Mucha in the lavish two-sheet 

design – a wonderful example of French Art 

Nouveau. 

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

342. Grafton Gallery. 1893. 

21 x 29 3 �� in./53.5 x 75.7 cm 

�� 


�� 

PAI-XLVIII, 256 

This design is always credited with having 

been done in order to promote the Exhibition 

�� 

London. As no copy with text has ever been 

seen, this most likely was a decorative panel 

sold by the gallery in conjunction with their 1938) 

exhibition. 

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

344. Monaco / Concours de Canots. 1905. 

H. GRAY (Henri Boulanger, 1858- 

1924) & CHARLES BRUN (1825- 

1908) 

343. Cycles Buffalo. ca. 1902. 

38 1 �8 x 53 3 �8 in./97 x 135.6 cm 

�� 


�� 

A dramatic poster of a cowgirl outriding her 

horse-bound companions in hot pursuit of her 

bicycle company’s mascot, the tasty buffalo. 

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

JULES-ALEXANDRE GRÜN (1868- 

��3 �� 3�8�� 

�� 

�� 

“Multiple events, renewed and enhanced every year, represented one of the 

assets of the Principality and a reason to retain the rich clientele after the 

traditional Winter season and the climax of the Nice carnival. The month 

of April was therefore chosen for the motorboat competition. The fact that 

Grün produced two posters tells us that he worked for several years for the 

principality. Both posters are equally luminous . . . elegant visions retaining 

�� 

sailboat looks at the race on an ultramarine sea with grey glints . . . One 

notices that the typography, generously drawn by hand, is everything but an 

�� 

(Grün, p. 126). 

344

345 

346 347 

348 

349 

350 

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

JULES-ALEXANDRE GRÜN (Continued) 

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

H. R. 

346. Thunersee. 1927. 

23 x 38 1 �8 in./58.2 x 96.7 cm 

Gbr. Fretz A.G., Zurich 

Cond A-/Slight creases in bottom text area. 

Framed. 

RÜ HALL 

347. IX International Wintersportsweek / 

Garmisch-Partenkirchen. 1953. 

23 3 �8 x 33 1 �8�� 

�� 

Cond A. 

�� 

Situated on the Swiss border, Garmisch- 

Partenkirchen are two separate towns which 

come together annually to host the world 

bobsled championships, amongst other 

winter sporting events. 

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

JOHANNES HANDSCHIN (1899-1948) 

348. Flims.�� 

27 7 �8 x 39 1 �8�� 

�� 


�� 

Known for the Caumasee, a picturesque, clearblue 

lake surrounded by forests, Flims is an ideal 

resort town, sparsely populated and truly away 

from it all. Here, a bronze-skinned Swiss beauty 

languidly dips herself in the placid waters. 

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

349. Brämer. 1920. 

35 1 �2 x 50 3 �8 in./90 x 128 cm 

W. Wassermann, Basel 

Cond A. 

A cool, classy image in gray and alabaster 

promoting the Brämer men’s department store 

in Switzerland. One of Handschin’s earliest 

compositions, we are met with a perfectly 

�� 

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

JOHN HASSALL (1868-1948) 

350. The Shop Girl. �� 

345. La Cigale / Les Petits Croisés. 1900. 

33 1�2�� 3 20 x 29 

�� in./85.2 x 128.6 cm 


�� 

paper loss in top margin. 

�� 

“In this revue dated 1900, Grün plays cat and 

mouse with the censors. The Grünette seen from the 

�� 

panties and an almost nonexistent see through top, 

�� 

the ‘Vieux le veult’ motto. This saucy pun on the 

�� 

�� 

clad girls in the background. Combining a challenge 

to prudery and to religion on a single poster was 

�� 

7�8 in./50.8 x 75.9 cm 

�� 

�� 

�� 

�� 

The Shop Girl was one of 

the new style Irish musical comedies which burst 

to popularity at the end of the 19th century. Each 

of these types of musicals focused on a single girl 

and her misadventures toward success, society, 

and love. They were a natural progression out of 

the era of burlesque and into one of a linear story 

line and coherent plot, ultimately allowing for 

the more complex theatrical musicals of the 

20th century to be born. 

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

JAN HASSINK (1892-1967) 

351. Thomson-Gerstmans / 

C. Le Marin-Fulloando. 1922. 

30 1�2�� 1�� 

�� 

�� 

�� 

An early image promoting Belgian wrestling in 

�� 

�� 

�� 

match is for the European Championship. 

evocative image of the Alpine village of Thunersee While the outcome of these matches is not well 

shows a curious young boy pointing out the various documented, we can see from the lower right 

simple pleasure available along its shoreline. 

graphic that Gerstmans entered his match as the 

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

obvious favorite, being the established World 

Heavyweight Champion. 

Est: $800-$1,000. 

ANDREAS K. HEMBERGER 

352. Adler. ca. 1933. 

18 5 7 �8�� 8�� 

Werner U. Winter, Frankfurt 

Cond A. 

�� 

1870s, Adler is one of the earliest German bike 

manufacturers, eventually branching off into 

bicycle, motorcycle, and even car production 

up through the 1930s. Here, we see a rider 

dramatically from above, the eagle from which 

it gets its name casting a large shadow along 

the ground. 

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

WALTER HEMMING (1894-1979) 

353. Mitropa. 1929. 

�� 1 �2 x 39 3 �� in./62.2 x 101 cm 

Richard Keltz, Berlin 

Cond B+/Small restored paper loss in lower left 

margin. 

�� 

Occasionally seen with the words “The World’s 

�� 

bottom, this poster is actually advertising a 

�� 

cars rather than a particular train. Above, the 

�� 

�� 

with power and speed vibrating off the page. 

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

351 

352 

353

354 

355 

356 

SAMUEL HENCHOZ (1905-1976) 

354. Montreux Oberland Bernois / Suisse. 

ca. 1957. 

25 x 38 3 �� in./63.5 x 101 cm 

Lith. Klausfelder, Vevey 

Cond B/Tears at edges. 

�� 

One of the oldest electric railways in Switzerland, 

the Montreux-Oberland Bernois serves the southern 

part of the country. Here, the various attractions of 

the area, from chalets to sailboating, are decorating 

a charming woman’s springtime shawl. 

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

RENE HERMANN-PAUL (1864-1940) 

355. Le Theatre du Peuple. ca. 1898. 

31 3�� 3�� in./80.5 x 118.8 cm 

Cond A. 

�� 

From the 1870s to just after the turn of the 

century, the idea of the ‘people’s theater’ was 

a popular utopian concept in French artistic 

circles, meant to bring high art to the common 

man, thereby democratizing it and removing 

elements of elitism. The common man, however, 

had little interest in the lofty and exhaustive 

productions typically put on at these venues, 

often running upwards of 5 hours and featuring 

lectures, sketches, songs, and a full-length play. 

A calm and pleasant seaside town, Malo-Les- 

�� 

Sea between Calais and Ostend, near the Belgian 

�� 

�� 

would be evacuated from this very spot. 

Est: $600-$800. 

REINHARD HOFFMÜLLER (1894- 

1975) 

357. Der Moderne Typenball. 1920. 

37 1 �2 x 27 7 �8 in./95.3 x 70.8 cm 

Kunstanstalt Harry Bunzel, Berlin 

Cond A-/Unobtrusive vertical fold. 

�� 

ADOLFO HOHENSTEIN (1854-1928) 

358. Monte Carlo / Tir aux Pigeons. 1900. 

�� 1�� in./88.8 x 125 cm 

�� 

student intellectuals and revolutionaries, not 

unlike those featured in this stock poster for 

a Parisian theater. The day’s events would be 

pasted into the blank area in the lower right. 

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

A. HERPIN 

356. Malo-les-Bains. 1898. 

32 1�2�� 1 G. Ricordi, Milan 

�� 

�� 

�� 

As Monte Carlo never permitted gambling to 

be a primary feature of its tourism advertising, 

artists were forced to focus on the area’s other 

amusements. Here, in the dusty rose glow of 

sunset, a mustachioed gentleman brings dignity 

and sure masculinity to the sport of pigeon 

shooting. To the contemporary eye, the palette 

�8�� 

and pose have a Wild West tinge, bringing up 

Imp. L. Geisler, Vosges 

thoughts of adventure. 

�� Est: $3,500-$4,000. 

�� 

357 

LUDWIG HOHLWEIN (1874-1949) 

359. F. Hirschberg & Co. 1907. 

“Most of Hoffmüller’s posters ... serve as time 

35 

capsules capturing the height of the glittering, 

somewhat decadent lifestyle that became associated 

with the [Weimar period]. A local poet, K. Mergerle 

�� 

booze, kids begging, freshly-painted gigolos, Night 

clubs, lewd dancing, nude dancing. Cigarettes, 

�� 

�� 

Philharmonic expresses that sentiment perfectly 

with its leering, suggestive mascots. 

Est: $800-$1,000. 

3�8�� 1�2 in./90 x 123 cm 

�� 


�� 

�� 

While Hohlwein created a few posters for this award-winning 

outdoor clothing company in Munich, this one truly captures the 

allure of the exotic, making the clothing a necessary part of your 

�� 

white sits atop her noble camel, smiling against the sandy heat 

of the desert as she languidly saunters off the page. This is the 

largest of three formats. 

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

360. Champagner Eppan W. Burk. 1909. 

35 5�8�� 3�8 in./90.5 x 123 cm 

�� 

�� 

�� 

Putting one of his famous black bellboys front and center, Hohlwein 

�� 

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

358 359 

360

361 

362 

363 

364 365 

LUDWIG HOHLWEIN (Continued) 

361. Zoologischer Garten / Sommerfest. �� 

�� 

Consée, München 

An understated, yet elegant, bilingual poster 

�� 

promoting the Perle du Lac pearl factory near 

�� Lausanne. Over three paragraphs are dedicated 

The rarest of Hohlwein’s designs for the Munich to lauding this small workshop – seemingly only 

�� 

�� 

a golden leopard and a mauve panther. He was 

eagerly making necklaces. 

a master at giving the viewer as few details as 

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

�� 

of movement and depth. Below, a number 

LUCIEN-HECTOR JONAS (1880-1947) 

of events at the zoo are promoted. 

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

362. Persil. 1926. 

35 5 �8 x 50 in./90.5 x 127 cm 

A. Trub, Aarau 

�� 

Air cure, water cure and plenty of relaxation, not to 

�� mention a little time left over for some tennis. Jonas, 

�� 

a painter known for his historical subjects and genre 

�� 

scenes, is called into service by the PLM railway for 

�� 

its Burgundy resort destination of Pougues-les-Eaux, 

on the street sharing general pleasantries. This is the located at the foot of Mont Givre. Lush vegetation 

French language version of the poster, expressing and luxury appointments are the key elements in 

�� 

this poster, all perfectly highlighting sports fashions 

your woolens look brand new. 

of the 1930s. 

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

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

SANDY HOOK (Georges Taboureau, 

1879-1960) 

363. Messageries Maritimes / Japon-Extrême- 

Orient. 1920. 

28 1�2�� 1�� in./72.5 x 102 cm 

Imp. F. Champenois, Paris 

Cond B/Slight tears. 

�� 

Framing the French steamship of the Occident 

within the torii gateway of the Orient, Hook 

visually reinforces these cruises as an easy 

gateway into the exoticism of Japan. 

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

PAUL IGERT 

364. Philips. ca. 1952. 

�� 3�� in./160 x 116.3 cm 

Imp. Henon, Paris 

Cond A-/Folds. 

An eye-catching Modern design showcasing Philips 

brand lightbulbs as not only the most versatile, but 

�� 

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

illustrator and graphic artist, working from the 

1920s to the 1950s. He created dozens of 

�� 

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

JACOMO 

365. La Perle du Lac. �� 

23 3 �� x 39 1 �� in./60.3 x 100.3 cm 

A. Marsens, Lausanne 

Cond A. 

366. Pougues-les-Eaux. 1935. 

23 3 �� x 38 3 �8 in./60.5 x 97.5 cm 

Imp. Jules Simon, Paris 


�� 

JEAN JULIEN (1888-?) 

367. Route d’Hiver des Alpes. ca. 1927. 

1 �� 8 in./76.3 x 107 cm 


Cond A. 

In subtle shades of gray, cream, and white, this 

poster perfectly captures the serene quietness of 

the snowy Alps. Relying entirely on the treatment 

of line, we feel the weight of the ice-covered 

branches, the chill cutting through the air, as a 

lone vehicle slowly climbs up the mountainside. 

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

LOUIS-PHILIPPE KAMM 

368. Fêtes Alsaciennes.�� 

30 5�8�� 1�8 in./77.6 x 109.5 cm 

Imp. Alsacienne, Strasbourg 

�� 

A charming and sweet French poster depicting a 

romantic moment between two young folk dancers 

from the Alsatian region. 

366 

367 

368

SHMUEL KATZ (1926-2010) 

369. Hashomer Ha’tzair. 1963. 

26 1 �8 x 37 7 �8 in./66.2 x 96.2 cm 

Cond A. 

A whimsically modern image celebrating the 50th 

anniversary of Israel’s Youth Guard. Currently the oldest 

Zionist youth movement still active, Hashomer Ha’tzair 

survived the Holocaust and found new life helping create 

unity during the relocation of immigrant Jews after the War. 

Est: $800-$1,000. 

M. KATZOURAKIS 

370. Athens Festival. 1962. 

27 1 �8 x 39 1 �8�� 

B. Papachrysanthou 

Cond A/P. 

Using a portion of a classic Greek vase painting, this simple 

design clearly expresses the ancient history behind the 

annual Athens Festival. 

Est: $600-$800. 

369 

370 

371 

E. MCKNIGHT KAUFFER (1890-1954) 

371. Piccadilly: 2 Posters. 1932. 

3 �� in./63.3 x 101 cm 

�� 

1 �� x 10 1 �8 in./33.6 x 25.6 cm 

�� 

Cond B+/Slight folds. 

With bold typography and powerful graphics, these two posters advertise the new 

Piccadilly Line subway extension to Arnos Grove, opening on September 19th of 

1932. At the time, it was the northernmost destination along that line, later being 

out-distanced by the Oakwood extension in 1933. 

Est: $2,700-$3,000. (2) 

CHARLES KIFFER (1902-1992) 

372. Maurice Chevalier. �� 

�� 1 �8 x 61 in./112.2 x 155 cm 

Lith Originale, Paris 

Cond A-/Restored paper loss at edges. 

�� 

The signature image for the famous French crooner, we instantly know by the yellow 

straw hat and broad smile against blue that this is a poster for Maurice Chevalier. The 

poster was issued for his triumphant return to Paris after an extended American tour, 

and never came with text. This is the larger format version. 

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

373. Maurice Chevalier / Theatre des Champs-Elysées: Poster & 2 

Maquettes. 1963. 

3 �� in./38 x 59.8 cm 

Imp. St. Martin, Paris 

Cond A/P. 

�� 

One of many posters created by Kiffer for Maurice Chevalier, this one for his 

performance at the Theatre des Champs-Elysées. While not the height of his career, 

�� 

Can-Can with Frank 

Sinatra. He was well-known enough that only the iconic image of his yellow straw hat 

was necessary to let the average passerby know that Chevalier was performing. Here, 

two progressive maquettes showcase Kiffer’s creative process leading up to the poster. 

Est: $1,700-$2,000. (3) 

372 

373

374 

375 

376 

CHARLES KIFFER(Continued) 

374. Zappy Max. ca. 1960. 

�� 1�2 in./116.7 x 158.7 cm 


Cond A. 

375. Teresa et Luisillo. ca. 1957. 

38 1 �2 x 58 7 �8�� 

Richier-Laugier, Paris 

Cond A. 

A rare and expressive poster for the Spanish 

dancing duo Teresa and Luisillo, popular 

performers throughout the late 1950s. 

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

376. Renée S. Passeur. 1950. 

Est: $600-$800. 

E. KISS 

377. Hispano Olivetti. ca. 1935. 

27 3 �8 x 38 7 �8 in./69.5 x 98.8 cm 

Marti. Mari, Barcelona 

From the mid 1950s up through the 1970s, 

�� 

�� 

most popular radio hosts in the French-speaking A handsome Spanish poster for Hispano 

world, oftentimes co-hosting with the equally Olivetti, in which a wife is surprising her 

popular Mr. Champagne. He was so well loved husband with a new typewriter. This image is a 

that a comic book was eventually done based wonderful example of the mood of advertising 

upon his persona. 

during the middle period of the 20th century, 

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

in which the giving of pleasure was really the 

product being marketed. 

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

GUSTAV KLIMT (1862-1918) 

378. I. Kunstausstellung / Secession. 1898. 

18 1 �� x 25 1 �8�� 

Lith. Anst. A. Berger, Wien 

Cond B/Some restored tears. 

�� 

�� 

�� 

16 1�2 x 25 1�8�� Founded the previous year by a small group of 

Cinémato, Paris 

Austrian artists, the Vienna Secession would come 

Cond A. 

�� 

�� 

�� 

�� 

Klimt created this poster for the group’s inaugural 

was an extravagant French performer, usually 

exhibition at the Olbrich-designed Secession 

typecast to play the wild eccentric. Here, she 

building. This is the censored version of the poster 

is the picture of the femme fatale, bobbing her 

in which the genitals of the men wrestling in the 

shoulder across the page. 

upper register have been covered. 

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

377 

378

379 

380 

382 

HERMANN KOSEL (1896-1985) 

379. Vienne. 1935. 

3 �� 8�� 

Cond A-/Slight creases in bottom text area. 

�� 

A handsome, sun-dappled poster promoting 

tourism to Vienna, the famous monument to 

Empress Maria Theresia casting shadows across 

the country’ Natural History Museum. This is 

the French-language variant of the poster. 

Est: $800-$1,000. 

380. Autriche. ca. 1930. 

�� 3 �� x 37 1 �2 in./62.8 x 95.3 cm 

Alfred Wall, Graz 

Cond A/P. 

�� 

Created for the Austrian Tourist Board, this 

poster presents the best parts of the country’s 

381. Marseille à Menton. ca. 1929. 

�� 

Imp. Cornille, Paris 

Cond A. 

With the late afternoon sun glistening off the 

Mediterranean, this picturesque image advertises 

travel between Marseille and Menton along the 

French Riviera. 

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

382. Côte d’Azur. ca. 1922. 

29 5 3 �8�� 8 in./75.2 x 107.7 cm 

�� 

Cond A. 

�� 

PAI-LIV, 297 

A simple, scenic design juxtaposing the lush and 

�� 

cobalt sea. 

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

FRANZ LASKOFF (François Laskowski, 

1869-1921) 

383. Mele & Ci. / Abiti per Uomo. 1901. 

�� 5 �8 x 101 3 �� 

Ricordi, Milano 


�� 

Having grown from its humble origins to a 

�� 

block-wide fashion emporium by 1889, the Mele 

�� 

department store almost single-handedly made 

the delightful enthusiasm of a local oompah 

Naples a fashion-conscious city. Known for its 

band, Austria is seen here as both historic 

impeccable, eye-catching advertisements, here 

and friendly, untouched by modernity and 

Laskoff has managed to capture that moment 

yet easily accessible to today’s tourist. 

when a man notices a beautiful woman. While his 

dapper choice of clothing is certainly front and 

Est: $700-$900. 

center, because of his appreciative glance across 

the Piazza del Plebiscito, our eyes are also drawn 

JULIEN LACAZE (1886-1971) 

toward her elegant ensemble. A distinguished, 

sophisticated image. 

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

381 

HUGO LAUBI (1888-1959) 

384. St. Moritz. �� 

25 1 �2 x 39 3 �� 

Gebr. Fretz, Zürich 

Cond A-/Slight creases at bottom edge. 

One of many posters Laubi created for St. Moritz, 

this particular image harkens back to a bygone era 

of romantic sleigh rides through the snow. 

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

383 

385. St. Moritz. 1956. 

25 1 �� x 39 3 �� 

Imp. Gebr. Fretz, Zürich 

Cond A. 

�� 

Starting in the early 1910s, horse racing on snow became a 

popular sport throughout the Alpine region. This, however, 

is arguably the best poster depicting such an event in 

action, the snow whipping up off the ground as the 

horses’ hot breath puffs through the crisp air. 

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

384 

385

CHARLES LEGROS 

386. Arents. 

25 5 �8 x 39 1 �2 in./65 x 100.5 cm 

Imp. Fr. Vermaelen, Bruxelles 

Cond A. 

�� 

A clever little design promoting a French luggage 

shop, visually listing all the items on the porter’s 

trolley that are available in the store. 

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

MARCEL LENOIR (1872-1931) 

387. Le Monstre. ca. 1897. 

17 3 �� x 25 1 �2�� 

Cond A/P. 

�� 

386 

faced, bare-breasted woman shown center. While 

she clasps the necks of twin roosters held aloft by 

crazed felines, a variety of writing serpents slither 

around her feet, feeding on other fowl. Above, 

a embellished take on the German coat of arms 

crowns her head. 

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

388. “L’Epreuve.” ca. 1899. 

33 x 19 1 �2�� 

Cond A-/Slight tears in margin. 

A gorgeous Art Nouveau design by Lenoir in 

which two friends gaze at a pale line drawing of 

an archangel. Echoed by the silhouettes in the 

background, this image has a soft religious feel, 

while also maintaining an air of myth and allegory 

so prominent in the illustrations of the era. There is 

389. 3e Emprunt de la Défense Nationale. 

ca. 1917. 

�� 

Imp. Joseph Charles, Paris 

Cond B/Stains at folds. 

�� 

Leroux’s most famous image from World War I, 

this sentimental image of a father kissing his child 

goodbye as his wife quietly nurses their newborn 

in the background asks the viewer to invest in 

national defense fund. Below, it states that doing 

so helps not only the soldiers on the front, but also 

the general population of France which grows 

every day. 

Est: $400-$600. 

�� 

and blue pallor, in the green beetle crown around 

With subtle touches of metallic gold scattered 

her black hair, and in the dark brambles toward the 

�� 

right. Below, there is a remarque of a couple kissing. 

�� 

�� 

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

we see worshipping supplicants, bearing gifts of 

�� 

AUGUSTE LEROUX (1871-1954) 

the pleading and suffering stare out at the stone- 

387 

388 

389 

HERBERT LEUPIN (1916-1999) 

390. Binaca. 1953. 

390 

391 

NORMAN LINDSAY (1879-1969) 

391. The German Menace. �� 

PRIVAT LIVEMONT (1861-1936) 

392. Absinthe Robette. 1896. 

35 1�2 x 50 1�8 in./90.2 x 127.2 cm 

�� 

Wassermann, Basel 


�� 

�� 

bluntness of the Swiss object poster, Leupin holds 

a spotlight on two examples of Binaca whitening 

toothpaste like suspects in a murder mystery. 

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

3�� x 20 in./37.5 x 51 cm 

1 �� 2 in./81.2 x 110.5 cm 

�� J.L. Goffart, Bruxelles 

�� Cond A. 

background. P. 

�� 

�� 

One of Australia’s most famous World War I 

posters, this image stands out because it is entirely 

void of text unlike its other Australian and British 

counterparts. We see a beastly symbol of Germany 

holding its bloody hands over the globe, the red 

�� 

�� 

�� 

�� 

PAI-LVI, 132 

One of the most iconic posters of all time, 

trickling slowly down to Australia and the rest of Livemont’s design for Absinthe Robette perfectly 

the world. Created right at the beginning of the captures the spirit of Art Nouveau. Every element 

War, it relies on the public’s projected fear of what of the image is lavishly decorative yet delicately 

may happen rather than, as in other posters, a sense organic. Holding up her glass with the reverence 

of duty and support for troops already on the front. of a holy relic, we do not see the hand which pours 

Est: $600-$800. 

the water over the sugar, adding a mystical, otherworldly 

quality to the concoction. The background 

is made up of sensual plumes of mint on green, 

echoing the milky swirl within the cup. There is 

also an obvious nod to Mucha in the execution 

of the woman’s hair, as well as the cut-out halo 

encircling her head. 

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

392

393 

395 

PRIVAT LIVEMONT(Continued) 

393. Ville de Bruxelles. 1900. 

�� 1 �2 x 59 1 �2 in./108 x 151.2 cm 

O. de Rycker, Bruxelles 

Cond B+/Restored tears at folds. Framed. 

�� 

�� 

107 (var) 

�� 

�� 

�� 

�� 

�� 

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

394. Woman Painting. 1901. 

1 1 �� x 20 �2 in./33.8 x 52 cm 

Cond A/P. 

DANIEL DE LOSQUES (David Thoroude, 1880- 

1915) 

395. Logiz de la Lune Rousse. �� 

�� 3 �� x 33 1 �� 

Cond B/Restored tears, largely near right edge. 

Known as The Red Moon, this popular Parisian cabaret 

�� 

�� 

�� 

�� 

�� 

popular concert hall singer at the time. 

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

394 

CHARLES LOUPOT (1892-1962) 

396. Puppen. 1916. 

�� 1 �� x 61 3 �� in./107.3 x 157 cm 

�� 

�� Cond B/Restored tears at folds. 

One half of a pair of Livemont’s graphic works designed 

�� 

�� An unusual and rare image by Loupot in which a delicate young lady gazes 

examining her sculpture (see�� 

down through opera glasses at a ring of wagon-bound baby dolls, all of 

companion piece features a young lady caught for eternity 

which seem to be reaching for the rattle she aimlessly dangles in her other 

in a tender moment of artistic creation. Both have similar 

hand. The title is a tip-on placed at the top. 

ornamental backgrounds. 

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

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

396 

397. Innovation. ca. 1918. 

35 1 �8 x 50 3 �8 in./89.2 x 128 cm 

Artis, Lausanne 

Cond B/Restored tears, largely at edges. 

�� 

The series Loupot created for the Innovation store in Lausanne are 

�� 

woman’s feather skirt. This is the only known copy of this rare variant. 

Est: $8,000-$12,000. 

397

CHARLES LOUPOT(Continued) 

398. St. Raphaël. 1937. 

61 1�2�� 1�8�� Imp. Joseph-Charles, Paris 


�� 

�� 

which featured the the two waiters who would become, in a series of redesigns 

�� 

evolve in style and situation, what remained was their stark contrast of size and 

shape, and well as their signature red and white colors. “This premiere realization 

�� 

�� 

elements . . . rare to an artist with little interest (least of all in his posters) in the third 

dimension, in the end wavering between the pictorial manner and the graphic. In this 

�� 

�� 

�� 

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

399. St. Raphaël / Rouge Blanc. 1953. 

23 5 �8 x 31 5 �8 in./59.8 x 80.2 cm 

�� 

Cond A. 

�� 

�� 

More than a decade after their initial appearance (see previous lot), the two-toned 

waiters are still on duty, though have found a more rigid, geometric form. This is the 

�� 

in 1953. Loupot needed little beyond the basic trademark and the colors of the two 

available versions of the quinquina to sell the product. This is the smaller format. 

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

398 

399 

400. Fourrures Canton / 20 Rue de Bourg.�� 

35 1 �2 x 50 1 �8�� 

R. Marsens, Lausanne 

Cond A. 

�� 

�� 

One of three designs that Loupot created for Canton Furriers in Lausanne, this 

�� 

�� see PAI-LIII, 326). In the early 1930s, the background color 

changed to blue and would remain so throughout a variety of address changes 

for the company. This is the third edition in the series with the Rue de Bourg 

address, printed from the same lithographic stones as the original. Asked why 

black background was replaced by blue over time, the current chief of operations, 

Richard Canton, revealed that the change came about because blue provided better 

visibility during the winter months. 

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

JEAN-DENIS MALCLES (1912-2002) 

401. La Baule. 

29 1�2�� 1�2�� 


�� 

Boasting France’s longest beach, running no less than eight kilometers, La Baule 

is an ever-popular destination for seaside amusements. Here, its 20 health clubs, 

50 tennis courts, casino, and golf courses are promoted below while a fantasy 

world of costumed dandies, curvaceous sunbathers, equestriennes, theatrical 

performers, and the general haute monde wander the perfectly-preened paths 

along the shore. 

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

400 

CORRADO MANCIOLI (1904-1958) 

402. Hockey. ca. 1960. 

26 3 �8 x 38 in./67 x 96.5 cm 


A vibrantly-colored stock poster for the Italian Federation 

�� 

sports-related designs. 

Est: $700-$900. 

401 

402

403 

405 

BURKHARD MANGOLD (1873-1950) 

403. Rollschuhbahn. 1910. 

27 1 �� x 38 7 �8 in./69.2 x 98.7 cm 

J. Wolfensberger, Zürich 


�� 

With the earthy colors of this image applied like small 

splashes or mosaic tiles upon the page, there is a kinetic 

quality to the composition which distinguishes it from other 

works by the artist. Such frenetic energy is appropriate for 

G. MARCHAND 

404. St. Valery en Caux. 1936. 

�� 5 �8 x 39 1 �� in./62.6 x 100 cm 

Imp. A. Norgeu, Paris 

Cond A. 

�� 

While gliding one’s sailboat along the bustling waters of St. 

Valery en Caux would appear to be the highlight of a vacation 

there, this poster also promises activities such as tennis and 

gambling for those who would prefer to stay on solid ground. 

Est: $800-$1,000. 

GASTON MARÉCHAUX (ca. 1872-?) 

405. Henka. 1920. 

31 7�8�� 1�2 in./81 x 115.6 cm 

Imp. Graphiques Mod., Jaruilles-Nancy 

Cond B/Slight tears, mostly at edges. 

�� 

Showcasing fashionable designs for the entire family, this 

charming poster advertises Henka raincoats, available at all 

�� 

Est: $800-$1,000. 

404 

MARINO MARINI (1901-1980) 

406. Genève / Concours Hippique. 1957. 

25 7 �8 x 39 in./65 x 99 cm 

�� 

Cond A. 

Best known for his expressionist sculptures of 

horses, Marini was originally trained as a painter 

in Italy before taking up permanent residence in 

Switzerland. Here, a very textured equestrienne and 

�� 

Geneva Show Jumping tournament. 

Est: $700-$900. 

ANDRE EDOUARD MARTY (1882-1974) 

407. By Underground / Away to the Green, 

Green Country. 1931. 

�� 3 �8 x 39 5 �8 in./62 x 100 cm 

�� 

athletic audience up for a night of simple fun. 

�� 

�� 

Est: $4,500-$5,000. 

�� 

�� 

This tranquil image by Marty perfectly illuminates 

the 1865, twelve-part poem by James Thomson 

�� 

in the lower register. Be it Hampstead or indeed 

any location in the English countryside, one can 

apparently access such calming joy via the London 

Underground. 

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

GEORGE MASSIOT 

408. Sandeman / Porto & Sherry. 1928. 

�� 

�� 

Cond A. 

�� 

�� 

�� 

�� 

typically thought of as a Portuguese horseman, 

quietly reveling in the simple delights of a glass of 

ruby port. While there have been many reissues of 

�� 

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

GIOVANNI MATALONI (1869-1944) 

406 

407 

408

409 

411 

409. Brevetto-Auer. 1895. 

39 x 58 3 �� 

�� 

�� 

�� 

�� 

�� 

�� 

most important – and most beautiful – early Italian Art Nouveau posters. 

�� 

one hand while gesturing toward a levitating gas lamp with the other. The 

intricate details, from the geometric background to the organic elements 

of the border, to the tile-like texture of the upper register all make this a 

two-sheet masterpiece of Italian poster art. 

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

JOHN MATTOS (1953- ) 

410. France / French Line. 1979. 

23 1 �2 x 35 5 �8 in./59.7 x 90.5 cm 


�� 

�� 

is an award-winning illustrator based in San Francisco. Among his 

�� 

�� 

Fortune, just to name a few. In this particular image, we are given a peak 

at the allure ships once held, promising intrigue and shadowy rendezvous 

onboard. �� 

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

MAURICE FEUILLET (1873-1968) 

411. Plage de Malo-les-Bains. 1898. 

�� 1 �8 x 51 in./109 x 129.5 cm 

Signed gouache maquette. 

A truly lovely maquette capturing the mild trepidation a corseted woman 

must have felt when she was about to take the plunge into slightly 

choppy waters on an overcast day. As her foot barely grazes the surf, a 

strong wind billows her skirt and towel to the right, drawing our attention 

to a gathering of happy bathers in the distance. 

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

LUCIEN MÉTIVET (1863-1932) 

410 

412. Femme à la Rue. 1902. 

413. La Vie Parisienne. ca. 1912. 

412 

413 

23 5 �8�� 


Cond A-/Unobtrusive horizontal fold. 

�� 

First published in 1863, La Vie Parisienne was one of the most popular French 

periodicals around the turn of the century. While it originally acted as a serious 

guide to the arts and haute mode, it gradually found its audience as a bawdy 

gossip rag peppered with short stories, cartoons, fashion advice, and even 

�� 

of the most prominent caricaturists of the era, including Cappiello, Sem, 

Bac, Mich, Vallet, Goussé, and Jeaunniot. 

Est: $800-$1,000. 

LEOPOLDO METLICOVITZ (1868-1932) 

For another by Metlicovitz see No. 48 

414. Vittoria o Morte! 1913. 

81 1 �2 x 112 3 �� 


�� 

11 x 16 7 �� 

�8�� 

Victory or Death, directed by Caserini. An early crime thriller, the plot revolves 

Signed pencil & watercolor drawing. Framed. 

�� 

�� 

in hot pursuit of a spy who stole her father’s secret documents. Reaching the 

us by on the evening streets of Paris, a booth selling paintings emitting the soft shoreline to discover that the thief has already set sail, she commanders an 

�� 

�� 

was probably created to accompany a serialized story in a French publication. �� 

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

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

414

415 

417 

418 

GEORGES MEUNIER (1869-1942) 

415. Le Mont-Blanc / PLM. 

29 7�8�� 7�8�� Imp. Chaix, Paris 

�� 

�� 

Noticing the PLM train chugging along the hill below, a hiker waves broadly 

�� 

summertime mountain range, we only see him and his companion in silhouette, a 

small cabin also in view toward the lower left. One of the special qualities of this 

poster is that it is extremely atmospheric – you can feel the cool of the shadow on 

the hikers, the warmth of the sun just over the next hill, the crisp, thinning air as 

they ascend toward the peak. This same image was also used by a different train 

line for travel to the area, this being the rarer of the two versions. 

418. J. B. Louvet. ca. 1931. 

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

MICH (Michel Liebeaux, 1881-1923) 

416. La Dynamo Phare “Bergeronnette.” ca. 1921. 

�� 1�8�� Publicité Wall, Paris 

�� 

Having tossed aside her usual torch, Lady Liberty now holds the Bergeronnette 

bicycle light aloft to illuminate her path as she travels the world. A rare and 

clever design by Mich. 

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

417. Bec-Kina. 1910. 

�� 3 �� x 61 1 �2 in./116.2 x 156.2 cm 

Publicité Wall, Paris 

Cond A-/Slight tears at bottom edges. 

�� 

With a bottle of Bec-Kina as a makeshift ball, a strapping group of agile 

�� 

Compositionally, this is one of Mich’s most energetic designs, full of 

movement and interesting angles. 

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

416 

31 3�� 3�8 in./80.6 x 112.7 cm 

�� 


�� 

A simple, clever design d’après Mich claiming that Louvet bicycles 

can climb anything. 

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

MIR 

419. Miguel de Guzman / Malaga. 

8 7 �8 x 17 3 �� 

�� 

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

MISTI (Ferdinand Mifliez, 1865-1923) 

420. Fête de Neuilly. 1903. 

�� 1 �2 x 62 3 �� 

Imp. Carvin, Paris 

�� 

�� 

One of many designs Misti created for this annual festival in the 

Paris suburb of Neuilly, we are met with an array of busy revelers, 

their faces bathed in the glow of orange and green lanterns. Below, 

a list of the various activities throughout the weeks include garden 

parties, Venetian masked balls, torchlight processions, grand dinners, 

and carnivals. 

�� 

MOLINÉ 

sumptuous panel for Miguel de Guzman in Malaga draws from 

the world of Ancient mythology when presenting us with a pre- 

421. Canary Islands. ca. 1930. 

Raphaelite beauty bearing the fruits of the vine. 

27 

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

1�� 1�� 

�� 


419 

�� 

the Canary Islands makes the retreat appear timeless, almost mythical. 

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

420 

421

ALPHONSE MUCHA (1860-1939) 

422. The Stars / Dewez. ca. 1902. 

ALPHONSE MUCHA 

22 x 18 3�8�� 13 

�� 

�� 

A previously unrecorded variant of Mucha’s famous Stars series, featuring 

�� 

�� 

the artist dealt symbolically with heavenly concepts, resulting in some 

of his most haunting creations. 

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

3�8 x 27 1�2�� Imp. F. Champenois, Paris 

�� 

�� 

Founded by Alexandre Bisquit in 1819, Cognac Bisquit has a long history 

of excellence, having been noted as a favorite of King George IV and 

Winston Churchill. Here, Mucha offers us one of his most alluring 

designs, the curvaceous blond, nestled in the privacy of the lush vines, 

coyly glancing over her shoulder at us while she takes a sip of 

the beverage. 

423. Petróleo Gal. 

8 1 �8 x 22 in./20.6 x 55.8 cm 

Cond A-/Slight tear at left edge. Framed. 

�� 

It is a rare thing for Mucha to show the actual product in one of his advertising 

posters, and yet here, in this previously undocumented variant, we see the 

�� 

of the image, the girl is holding a book, possibly implying that the image was 

recycled more than once to promote various products or events. There is also 

usually a calendarium in the lower register which, here, has been replaced by 

the brand’s information. This is one of two known copies of this poster. 

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

424. Cognac Bisquit. 1899. 

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

422 

423 

424

425 

426 

ALPHONSE MUCHA (Continued) 

425. La Dame aux Camelias. 1896. 

29 1 �2�� 


�� 

�� 

�� 

�� 

�� 

premier in 1852. Sarah Bernhardt considered it to be the key drama in 

her repertoire. This is perhaps Mucha’s most beautiful poster. The story 

of the tragic love of the great courtesan is portrayed in the poster with 

�� 

a balustrade with a background of silver stars. Her rich swept-back hair 

�� 

repeated at the bottom of the poster, held by a mysterious hand . . . The 

tragedy is also symbolized by the hearts twined by thorny branches in 

�� 

the substance of the play for which he created this poster, as well as his 

ability to express the most beautiful features of Sarah’s personality, was 

�� 

This is the rare version of the poster with no text in the bottom panel. 

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

426. Lorenzaccio. 1896. 

29 7 �8 x 82 1 �� in./75.8 x 209 cm 


�� 

�� 

�� 

“The character of Lorenzaccio, in the play by Alfred de Musset, is 

�� 

of the Medicis, who ruled the city-state of Florence. In the play, 

Lorenzaccio struggles desperately to save Florence, which had grown 

rich during his reign, from the grip of a power-hungry conqueror. 

Mucha represents this tyranny by a dragon menacing the city’s coat of 

arms and portrays Lorenzaccio pondering the course of his action. Sarah 

�� 

�� 

�� 

1896. Never afraid to tackle a male role, Bernhardt made Lorenzaccio 

�� 

�� This 

is the larger, two-sheet format. 

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

427. Job. 1898. 

38 1 �2 x 57 1 �2�� 


�� 

�� 

�� 

�� 

�� 

�� 

�� 

�� 

�� 

echo of the pale fabric volumes of her gown. As she watches the lazy 

waft of smoke, even her toes curl deliciously in pleasure. The artist’s 

meticulous craftsmanship can be seen in such details as the gown’s 

clasp (of Mucha’s own design), and in the way he worked the product 

�� 

Est: $8,000-$9,000. 

428. Société Populaire des Beaux-Arts. 1897. 

3 �� 


�� 

�� 

“This society was founded by a Paris lawyer, Edmond Benoit-Levy, in 

�� 

shows – what we would call today a slide presentation. . . . One of 

Mucha’s traits was to personify ideas in supernatural beings who 

interacted with ordinary people. Here . . . the lovely female with the 

�� 

art instruction by means of slides, while the young man in the foreground 

�� 

This is the rare black & white 

proof of the poster. 

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


428 

427

429. The Seasons. 1896. 

1 �� 2�� 



�� 

PAI-LIII, 371 

“One of Mucha’s most endearing and enduring sets . . . Spring is a blonde 

sylph who seems to be fashioning a makeshift lyre out of a bent green branch 

and her own hair, with some birds as interested spectators. Summer, a brunette, 

sits dreamily on the bank of a pond, cooling her feet in the water and resting 

her head against a bush. Autumn is an auburn lady, making ready to partake of 

the ripe grape. Winter, her brown hair barely visible as she huddles in a long 

green cloak, snuggles by the snow-covered tree trying to warm a shivering 

�� 

�� 

publication. The editor of The Poster couldn’t help a reader locate this set back 

�� 

This is the 

variant in which the names of each season has been printed at the bottom of its 

corresponding image. 

Est: $70,000-$90,000.�� 


MUCHA COMES TO 

CEDAR RAPIDS 

As interest in the renowned master of Art Nouveau 

continues to expand, we are thrilled to announce that an 

exhibition devoted entirely to the work of Alphonse Mucha 

will be opening at the National Czech & Slovak Museum 

& Library in Cedar Rapids, Iowa on July 14, 2012. 

Alphonse Mucha: Inspirations of Art Nouveau, features 

paintings, jewelry, sculptures, and lithographs, all coming 

directly from the Mucha Foundation in Prague and London. 

Not since 1999 has an exhibit of this size and caliber 

appeared in the United States, making this a once-in-a- 

�� 

on this side of the pond. 

The exhibit is divided into six sections, exploring Mucha 

not only as the father of Art Nouveau, but also his Moravian 

roots, his family, his photography, and his devotion to the 

Slav people. 

429

430. Chocolate Amatller. 1898. 

12 1 �� x 19 5 �8 in./31 x 50 cm 

�� 

Utilizing one of Mucha’s famous Têtes Byzantines, this advertisement printed 

on board would have been used as a corporate gift of sorts for the top clients 

of Chocolate Amatller. In lower left area we see a blank space where the 1899 

tear-sheet calendar has been used. A rare varient. 

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

431. Lance Parfum “Rodo”. 1896. 

12 1�8 x 17 1 Est: $30,000-$35,000. (2) 

�8�� 



�� 

“Mucha’s beauteous maiden advertises a spray perfume-apparently something 

of a novelty at this time, as the fact that the container dispenses the fragrance 

‘automatically’ is stressed in the copy. The design is one of the earliest to 

�� 

hair, an elegant dress whose every fold is meticulously noted, a circular 

background with a mosaic pattern and decorative rosettes, well executed 

�� 

(Lendl/Paris, p. 57). 

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

430 431 

432. Plume et Primevere. 1899. 

�� 1�2 x 29 in./29.2 x 73.7 cm 

Imp. F. Champenois, Paris (not shown) 

�� Cond A. Framed. 

�� 

�� 

372 (var) 

“This series of decorative panels sold for 12 francs in the paper version, and on 

�� 

�� 

�� 

�� 

Nouveau, p. 198). 

432

433 

434 


433. La Trappistine. 1897. 

29 1 �� x 79 3 �� 


�� 

�� 

�� 

“Once again we have a slender young lady in a gracefully draped pose, her 

head encircled by a halo which in this case has circles within it to reinforce 

the circular motif. This time, the hair is entirely orderly and hangs down in a 

single thick strand, but that is because it has the function to lead our eyes to 

�� 

�� 

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

434. La Tosca. 1899. 

13 3 �8 x 39 3 �� 


�� 

�� 

“Today, ‘La Tosca’ is known to most people only from the opera which 

�� 

years prior to that, it was a romantic tragedy, written especially for Sarah 

Bernhardt by Victorien Sardou . . . Mucha’s poster. . . shows Sarah in her 

�� 

�� 

For Nadar’s 

photos of the play, see �� . 

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

435 

436

435. Dawn & Dusk. 1899. 

3 �� 


(Wine Spectator, 68), commissioning him to create a variety of 

�� 

posters for their many champagnes (see�� 

�� presented with four blank 

menu cards celebrating the brand, each with their own Art Nouveau 

“This pair of ladies represents the two transitory stages between night 

muse. 

�� 

�� 

Est: $2,000-$2,500. �� 

sinks toward a crimson horizon. Only a barely perceptible difference in 

�� 

Est: $10,000-$12,000. (2) 

436. Four Moët & Chandon Menus. 1899. 

7 5 �� 8 x 8 �8 in./15 x 22 cm 


437 438 439 

440 


�� 


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

�� 437. The Seasons / Autumn. 1900. 

�� 

12 1 �� x 27 1 �8 in./31 x 70.8 cm 



The idea of personifying the four seasons was nothing new, 

but Champenois had such success with Mucha’s 1896 suite of 

decorative panels that he asked the artist to execute the theme 

again in 1897 and 1900. This panel is from that latter set. A brief 

descriptive poem for each season is included in this particular 

version of the panels, and the text here reads, “AUTUMN, 

symbolizing the year’s coming of age and bearing the vineyard 

harvest bounty, presents fruit that the summer sun has turned to 

�� 

438. Moët & Chandon / Champagne White Star. 1899. 

8 1 �� x 23 1 �� in./21 x 59 cm 

�� 


�� 


�� 

�� 

�� 

designs which were used on menus, postcards and other publicity. 

�� 

�� 

here. Her] seductive being tempts us with choice grapes in a lovely

�� 

�� 

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

439. Times of the Day / Eveil du Matin. 1899. 

15 1�2�� 1�2�� Imp. F. Champenois, Paris (not shown) 

Cond B+/Restored slight tears, largely at edges. 

�� 

�� 

“A quartet of barefoot young ladies represents the different times of 

the day. The borders are decorated in identical patterns, but the amber 

hues of the lines are changed slightly from panel to panel, and the 

�� 

�� 

�� 

�� 

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

440. Times of the Day / Reverie du Soir. 1899. 

15 5�8�� 1�2 in./39.5 x 105.5 cm 


Cond A. 

�� 

�� 

441 

�� 

�� 

�� 

past and the divergent uncertainties of the paths which lay ahead. 

442 

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

443 


441. Ivy & Laurel. 1901. 

�� 7�8 x 21 1�2�� Imp. F. Champenois, Paris 


�� 

“Reminiscent in concept to the Byzantine Heads, this is a coupling of 

�� 

they are framed in pale green decorative oblongs of rich foliage. The 

backgrounds behind the girls in their respective cameos feature mosaic 

patterns. The decorative use of foliage of this sort was characteristic of 

many of the designs which appeared in Mucha’s Documents Décoratifs 

�� 

Est: $20,000-$25,000. (2) 

442. Figures Décoratifs Preliminary Cover. 1905. 

10 1 �� x 16 5 �8�� 

Hand-signed crayon, ink, & gouache drawing. Framed. 

�� 

Created as a follow-up to his already-successful Documents Décoratfs, 

Figures Décoratifs is primarily a teaching tool, designed to educate the 

viewer on how to render the human body. On each page, he positions 

�� 

with another body, being sure to incorporate decorative lettering or 

other ornaments. An endless variety of poses are depicted, mostly with 

female models. At the time of its publication, reviewers applauded 

the high quality of the draftsmanship, especially regarding the hands, 

�� 

ultimately be the cover of the album, Mucha presents a coy female 

artist beginning to draw another female nude as she reclines on a 

sumptuous bed. 

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

444

445 

443. Leslie Carter. 1908. 

31 1�2 x 83 1 444. Pageant on the Vlatava River (Slavnostní 

�� in./80 x 211.6 cm 

�� 

1925. 

Strobridge Litho., Cincinnati, OH 

8 

�� 

seam. 

�� 

�� 

“Among the oddest and least lucrative projects 

Mucha became involved with in the United States 

was the production of a play named Kassa by Mrs. 

Leslie Carter. He contributed stage, costume and 

scenery design, as well as the poster, to a vanity 

�� 

�� 

Kentucky who made her fortune by marrying and 

�� 

p. 109). “Kassa, a Hungarian virgin ready to enter 

a convent, was seduced by Prince Béla, who a year 

later left her with a child. Kassa became insane and 

entered a convent, thinking that only a single day 

had passed. According to Jiri Mucha, his father 

made 250 designs for the project, but since the play 

was a failure and Carter went bankrupt, neither 

�� 

�� 

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

1�� x 18 1�8�� Jan Ziegloser, Praha 

Cond B/Tears along left edge. Framed. 

�� 

In July of 1926, the Sokol Organization held a 

�� 

same time, a pageant was to be performed in 

conjunction with the sporting events in the middle 

of the Vlatava River. The performers were meant 

to gather on the small islands in the middle of 

�� 

Prague and the Czech people. This is the smaller 

format version of the poster, most likely used as a 

handbill. 

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

WILLY MUCHA (1905-1995) 

445. Ouistreham Riva Bella. �� 

��1 �� x 39 1 �� 

This is generally considered to be his best design, 

promoting the seaside town of Ouistreham near 

Normandy in crisp primary colors and clean lines. 

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

JOSEF MÜLLER-BROCKMANN (1914- 

1996) 

446. Braque Exhibition. 

27 

�� in./61.6 x 99.6 cm 



�� 

Of no relation to Alphonse, Willy Mucha was an Art 

5�8 x 39 1�2�� 

Cond A/P. 

�� 

Best known for his clean, Modern design, here 

Müller-Brockmann puts his talents toward 

promoting an exhibition of works by Braque. 

Est: $800-$1,000. 

CECILIA H. MURPHY 

447. Posters Produce Results. 1932. 

19 7�8 x 29 3�� in./50.5 x 75.5 cm 

Gouache & ink maquette. 

A bright and bold design by this little-known 

female artist for the British Advertising Association, 

446 

447 

448 

449 

451 

giving the art of the poster its own MC. 

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

PAUL NADAR (1856-1939) 

448. La Tosca: 4 Photographs. ca. 1887. 

�� 1�8 x 6 1�� in./10.5 x 16 cm 

Cond A-/Slight wear at edges on some. Framed. 

�� 

Bernhardt had “a twenty-year collaboration with Victorien Sardou . . . 

who wrote eight melodramas with her in mind, including Théodora . . . 

La Tosca . . . and Cléopâtre . . . they would be among her most famous 

roles. Much better known today than the play, Giacomo Puccini’s opera 

Tosca, which premiered in 1900, was so closely based on the work written 

for Bernhardt that the librettists . . . were sued, successfully, by Sardou 

�� 

document in dramatic black-and-white the journey Bernhardt made as 

Floria Tosca, a famous opera singer prone to jealousy who would rather 

murder Scarpia, the corrupt chief of police, than allow herself to be raped 

�� 

mock execution and her crime is uncovered (see�� 

poster). “Bernhardt . . . used photography on an unprecedented scale to 

spread her reputation around the world. The photographic studio of Nadar 

�� 

sample boards of Bernhardt pictures . . . From these inventories of the 

actress in her theatrical roles and in her daily life, the Nadars would 

�� 

Est: $1,500-$2,000. �� 

450

452 

453 

NAREDO 

449. Les Premiers Billards du Monde. ca. 1900. 

�� 1 �2 x 31 3 �� in./62.3 x 80.7 cm 

Imp. Lemercier, Paris 


Originally a carriage-making corporation founded by 

a Swiss manufacturer in Cincinnati, the Brunswick- 

Balke Collender Corporation quickly moved into the 

billiards business. Here, a buxom and sassy young 

woman is seen leaning over one of their signature 

tables, a dapper gentleman taking this opportunity 

to get a better view of her assets from behind. While 

some would call this leering, the presence of Cupid 

puts his activities entirely above board. A rare and 

beautiful image by an artist whose signature appears 

rather indecipherable (but our best guess is Naredo). 

Est: $2,000-$2,500 

NIERHAUS & ESTENFELDER 

450. Winter is ‘Wunderbar.’ 1961. 

�� 5 �8 x 38 3 �� 

Cond A-/Slight tears at top edge. 

Full of Mad Men-era charm, this dashing poster for 

the German Federal Railroad makes the country look 

like a fashionable skier’s paradise. 

Est: $700-$900. 

L. NEN 

�� 

ca. 1929. 

1 �� 8�� 

�� 456. General Dynamics / Electrodynamics. 1955. 

Cond B+/Slight tears at edges. 

35 

�� 

railroad and steamship lines, this poster combines 

charming illustrations of tourist destinations 

alongside photomontage depictions of the interiors 

of the various boats and trains. One can choose 

from three different routes between New York and 

San Francisco, after which one can continue on to 

the Far East via one of the many weekly steamer 

expeditions. 

1�2 x 50 1�8 in./90.2 x 127.3 cm 



Another image from Nitsche’s inaugural series 

�� 

�� 

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

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

JOSEPH DE LA NÉZIÈRE 

452. Genève. 1926. 

30 1 �2�� 

Imp. de Vaugirard, Paris 

�� 

�� 

A tranquil and relaxing view of Lake Geneva, in 

which everything from tugs to riverboats are seen 

bustling around the waterway. In the distance, grassy 

hills followed by the white peaks of Mont Blanc 

graze the skyline. Particularly accurate in its detail, 

even the Jet d’Eau, a geyser of a fountain propelling 

�� 

air, can be seen to the far left. Originally designed 

�� 

promotes PLM as the best means of getting to there. 

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

EMIL ALFRED NEUKOMM (1906-1948) 

453. PKZ. 1930. 

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

H. NIEZEN 

454. South Africa. 

�� 1 �� x 39 3 �8 in./61.6 x 100 cm 

Cape Times Ltd., Cape Town 


�� 3 �� x 50 1 �� in./91 x 127.7 cm 

�� 

Cond A. 

�� 

A sweet and simple design promoting travel to South 

Africa, featuring two stately yet adorable giraffes. 

Est: $600-$800. 

ERIK NITSCHE (1908-1998) 

455. General Dynamics / USS Nautilus. 1955. 

35 1 �2 x 50 1 �� in./90.2 x 127.5 cm 


Cond A. 

�� 

�� 

�� 

in Connecticut, being christened on January 21, 

�� 

traverse the North Pole under water, as well as 

breaking a host of other records. This is the most 

�� 

company, showing the Nautilus submarine being 

‘birthed’ from a nautilus shell. Such an organic 

association with the ship allowed it to be seen 

as a body of progress rather than as the world’s 

foremost powerful war machine. 

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

456 457 

454 

A simple but ingenious way of suggesting 

autumn, this poster has the letters of the famous 

Swiss department store gliding through the chilly 

fall air, turning from green to brown. Time for the 

latest fall fashions. 

460 

461 

462 

455 

458 

459

465 

463 

OLSKY 

463. Chapeaux Mossant. 1928. 

464 

�� 7 �8 x 62 1 �� in./119 x 158 cm 



�� 

Although the more famous poster for this hat company is by Cappiello 

(see�� 

466 

handsome design. Combining elements of the Object Poster with that of 

mysterious, seductive graphics, the product pops off the page while the 

�� 

466. Folies-Bergère / La Loïe Fuller. 1897. 

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

31 

L. PAGLIA 

3�8�� 1�� 

�� 

�� 

�� 

464. Confectionshaus G. Bliss. 1915. 

��7 �8�� 

Werkstätten A. Trüb, Zürich 


�� 

�� 

is handling a top hat to the dapper gent on the left. 

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

PAL (Jean de Paléologue, 1860-1942) 

465. Olympia / Brighton. 1893. 

30 5�8�� 1 �� 

Here, the billowing folds of her diaphanous dress are rendered in a virtual 

rainbow of colors, adding considerably to the light-and-motion image with 

which we are presented. “Loïe Fuller’s meteoric rise to fame is one of the oddest 

success stories of the 1890s. Coming from a small Midwestern town in the 

United States. . . she studied singing, dancing and acting . . . In one play, she 

�� 

�� 

the material of her dress. Fascinated, she experimented with the effect, eventually 

working up a specialty dance wearing diaphanous materials on which the colored 

�� 

biography of the dancer, we read that “the French had always taken Loïe more 

seriously than the Americans had, and they did so again after she reappeared 

�� 

constantly adding something new to her work . . . but with her latest creations, 

�2 in./77.7 x 123 cm 

�� 

�� 

468 

�� 

�� 

�� 

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

�� 

�� 

467. La Péoria. ca. 1898. 

to call itself a ‘music-hall’ – a term borrowed from British vaudeville 

�� 

which soon made its way into French vocabulary. From the start, the 

�� 

various revues were called, they always featured beautiful girls in 

revealing costumes . . . Pal, freshly arrived from London, was a perfect 

�� 

proportioned, realistically drawn beauties projected a sensuality 

�� 

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

7�8 x 63 1 468. Cleveland Cycles. ca. 1898. 

�� 

�� in./109 x 160.7 cm 

�� 


�� 

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, 

�� 

�� 

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

1�� x 56 1�� 

�� 


�� 

A wonderful companion piece to Gray’s design for Buffalo Cycles 

(see�� 

on his speedy Cleveland bicycle. The company appreciated this design 

so much that it appears not only in this single-sheet format, but also as 

a two-sheet poster and as a four-sheet billboard. 

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

467

469 

470 

472 

PAL (Continued) 

469. Liberator Cycles & Automobiles. 1899. 

39 1�� 1 471. Cusenier / Liqueurs Spéciales. ca. 1898. 

�� 

�2 in./99.8 x 138.5 cm 

�� 

�� 

�� 

�� 

While the company’s symbol may be a male 

warrior, Pal was not one to give up a chance to 

design a curvaceous beauty. However, with a 

name like Liberator, his usual array of showgirls 

and upper-class ladies simply would not do. And 

so, we have a Valkyrie, ready to ride out in battle 

on her newly-acquired bicycle. One of the more 

interesting aspects of this poster is that, due to 

popularity, it was redone dozens of times by 

various artists who merely added some foliage 

or altered the text slightly. This is the original 

smaller format version of the poster. 

3�� x 60 3�8 in./111.2 x 153.8 cm 

�� 

�� 

Framed. 

�� 

For an artist who created dozens of lovely ladies 

to help promote everything from beverages to 

theatrical revues, this may be Pal’s most beautiful 

salesgirl. The brand in question is Cusenier, a 

French spirits producer dating back to 1868, 

which was bought in the late 1970s by Pernod- 

Ricard. This is the larger format. 

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

472. The French Maid. 1897. 

1 �� 

�� 

Cond B/Tears, mostly at edges. 

�� 

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

470. Crême de Menthe Glaciale / 

Cusenier. ca. 1899. 

�� 1 Premiering in London in the spring of 1896, 

The French Maid was a highly successful 

vaudevillian musical comedy, ultimately 

traveling to New York for an equally-long run. 

�� in./116.8 x 158 cm 

The Times commented that “a fresher, brighter 

�� 

�� 

�� 

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

�� 

Unlike Pal’s other poster for the company, which 

focuses on the variety of spirits produced by 

Cusenier, this image showcases their Crême de 

Menthe, so minty its fresh bite is ‘glacial.’ 

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

471 

473 

474 

RENÉ PÉAN (1875-1940) 

473. Danseuse Espagnole. ca. 1919. 

19 1 �� x 28 1 �8�� 

Signed oil on canvas. Framed. 

�� 

dancing girls in ethnic dress, always full of movement and joy. 

They are erotic without being cheap or dirty – she is a carefree 

Carmen, a genteel gypsy. 

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

474. Belle Epoque Fête. ca. 1917. 

12 1 �2 x 15 3 �� 

Signed pastel drawing. Framed. 

An exuberant piece by Péan in which a host of merry revelers 

are cheering on something just beyond the frame. A couple 

comments quietly to one another in the lower left as the 

�� 

garb cups his hand to his face to cheer as he tosses some confetti. 

It is anything but static, an image with photographic naturalism 

rather uncommon for the era. 

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

CHARLES PEARS (1873-1958) 

475. Kingston. ca. 1921. 

23 3 �� x 38 3 �� in./60.5 x 98 cm 

�� 

�� 

Framed. 

A serene image for the London Underground promoting the 

simple pleasures to be found in Kingston. 

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

475

476 

477 

479 

480 

478 481 

M. PELTIER 

476. Imprimerie A. Barbière. 1900. 

�� 3 �8 x 20 3 �8 in./36.6 x 51.7 cm 

�� 


�� 

A charming promotional poster with full calendarium 

�� 

general composition gives a heavy nod to Mucha and 

other Art Nouveau masters of the period. 

Est: $800-$1,000. 

PERCIVAL PERNET (1890-1977) 

477. Championnat du Monde. �� 

25 3 �� x 39 3 �8�� 

�� 

Cond A. 

�� 

�� 

Geneva World Championships makes one almost able 

to feel the spray off the boats as they cut through the 

surf. This is the larger format version of the poster. 

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

GILBERT PHILIBERT 

478. Philips. 1923. 

29 3�� 1�2 in./75.6 x 115.6 cm 

Edia, Paris 

Cond A-/Slight creases, largely in bottom text. 

�� 

JAC PYROL (Jacques Saignier) 

481. Yvonne Blanc. ca. 1935. 

30 1�2�� 1�2 in./77.5 x 118 cm 

Atelier Girbal, Paris 

Cond A-/Slight tears at bottom edge. Framed. 

�� 

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

GEORGES REDON (1869-1943) 

As if dancing around a Maypole or participating in 

a séance, dozens of merry-makers have come from 

around the world in honor of the Philips lightbulb 

appearing from on high. In the crowd are maharajas, 

�� 

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

PABLO PICASSO (1881-1973) 

479. Ceret. 1958. 

19 7�8 x 26 1�� in./50.5 x 66.6 cm 

Imp. Arnera, Vallaris 

Cond A/P. 

�� 

Located in the south of France, Céret is famous for 

its Museum of Modern Art, which houses paintings 

by Chagall, Matisse, Herbin, and Soutine. The crux 

of its modern collection, however, centers around an 

impressive array of works by Picasso, including his 

�� 

from 1911 to 1912, and Café Pablo in the town is 

dedicated to him. Forty-plus years after he resided 

there, the Musée held an exhibition of his ceramic 

works and Picasso designed this poster to promote 

it, a sunshiny burst of creative elation executed in 

traditional red and yellow Catalan hues. 

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

LUISA POLO 

480. San Remo. ca. 1933. 

23 3�� x 38 1 In the mid-1930s, Yvonne Blanc was a wellknown 

pianist, shown here playing on her ‘dancing 

keyboard’ in a promotion for her latest album. The 

�� 

Colin emerging throughout the design. 

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

CHARLES HENRI CLÉMENT QUINTON 

(1851-1920) 

482. Lacs Anglais / Ullswater. 1906. 

5 �� 8�� 

Imp. Courmont Freres, Paris 

�� 

A sweeping Impressionist rendering of a leisurely 

afternoon picnic along Ullswater, the second largest 

�� 

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

ARMAND A. L. RASSENFOSSE 

(1862-1934) 

483. Salon des Cent / February 1896. 

18 

�8 in./60.2 x 97 cm 


Cond A. 

A smiling blond showers the viewer with rose-colored 

blossoms, inviting everyone to enjoy the many yearround 

delights San Remo has to offer. 

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

1 484. Casino de Paris / Féminissima / Liane de 

Pougy. �� 

31 

7 �8�� 8�� 

�� 

Cond A-/Two tears in margin. 

�� 

�� 

�� 

A sophisticated, straight forward design that visually 

links the Salon with its sister publication La Plume. In 

the background, a woman peruses the latest creations 

by artists represented at the Salon, while the lady 

facing us views the same images within the pages of 

the magazine. On the bottom, it notes that La Plume 

�� 

it was technically the other way around, wherein La 

Plume used the Salon as a marketing outlet for the art 

it published. The exhibitions lasted until 1900, while 

the magazine stayed in circulation until 1913. 

3�8�� Imp. Minot, Paris 


�� 

A charter member of the Salon d’Automne, Redon 

employed a lighthearted touch that showed up in his 

contributions to Parisian humor magazines as well as 

his paintings and posters. However, there’s nothing 

humorous about the sensual ultra-femininity that 

he uses to promote a musical evening of poetry and 

pulchritude at the Casino de Paris featuring Liane de 

�� 

Paris’ most beautiful and notorious courtesans. Born 

Anne Marie Chassaigne and raised in a nunnery, 

Pougy became a noted demimondaine and rival 

of La Belle Otero. Noted more for her looks than 

her talent, Sarah Bernhardt, faced with the task of 

teaching Liane to act, advised her that when she was 

on stage, it would be best to keep her “pretty mouth 

�� This is the larger format version of the poster. 

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

JOSEP RENAU-MONTORO (1907- 

1982) 

485. Gran Feria de Valencia. 1935. 

��3 �8 x 63 1�2 in./115 x 162 cm 

Imp. Ortega, Valencia 


�� 

A bold, monumental image printed in honor of 

the annual Grand Festival of Valencia in Spain. 

In place of the standard mantilla on the woman’s 

head, we see the Ratpenat – a heraldic symbol used in 

�� 

�� 

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

JUAN REUS 

483 

482 

484 

485

486 

488 

487 

489 

486. Plaza de Toros Monumental / Ordoñez. ca. 1957. 

21 1�� 3�� 

Imp. y Lit. Ortega, Valencia 


�� 

Zeroing in on the moment of impact, this poster 

�� 

1000 bulls – as he dives his sword into the noble bull. 

Est: $400-$600. 

487. Plaza de Toros Monumental / Ordoñez / 

Chamaco. ca. 1957. 

21 1�� 1�2�� Imp. y Lit. Ortega, Valencia 


�� 

�� 

�� 

known as the youngest and most promising novice 

�� 

old. In 1960, he notoriously tossed his hat to Princess 

Grace of Monaco, shouting “To the most beautiful 

�� 

Est: $400-$600. 

488. Grandiosa Corrida de Toros / Dominguin. 1957. 

21 1 �� 



�� 

�� 

�� 

�� 

�� 

Est: $400-$600. 

489. Plaza de Toros Monumental / Peralta. 1957. 

21 1�� 3�� 



�� 

Taking place in Barcelona’s Plaza de Toros Monumental, 

�� 

�� 

Est: $400-$600. 

ROBERT REY 

490. Ax Les Thermes. ca. 1956. 

�� 1 �2 x 39 1 �8�� 

Imp. B. Sirven, Paris 

�� 

With the mid-century angular elegance of Buffet and his 

circle, this jazzy image for the southwestern commune in 

the French Pyrenees is obviously meant to appeal to the 

younger, hipper traveler of the 1950s. 

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

LEONARD RICHMOND (1889-1965) 

491. Folkestone. 1936. 

�� 5 �8 x 39 5 �8 in./6.5 x 100.6 cm 

McCorquodale, London 


�� 

A tranquil, Impressionist image of the resort village of 

�� 

of the railway was what pushed the city toward being a 

tourist destination. It doesn’t really boast any amazing 

landmarks other than rocky cliffs and a placid beach – in 

essence, it is the perfect spot to get away from everything. 

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

ALEJANDRO DE RIQUER (1865-1920) 

492. The Four Seasons / Spring. 1900. 

490 

491 

21 7�8�� 3�8 in./55.5 x 115 cm 

�� 

�� 

�� 

Spain, de Riquer has executed some charming decorative panels, which are 

worthy to rank with the best efforts of Mucha. The set representing the four 

�� 

in the open air, and treat the subjects from an original and unconventional 

�� 

thought-provoking composition done with such ease that not only is the 

redhead experiencing the rebirth of the world around her, she is irrefutably 

an essential part of it. 

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

ROEDEL (1859-1900) 

493. Exposition de Chats. 1898. 

492

493 494 495 

496 

497 

30 5�8�� 3�� 

�� 

Organized by Le Journal, this poster promotes 

the four-day-long Exposition of Cats. Less 

natural and moody than Steinlen’s take on felines, 

Roedel’s design brings out all their cuteness and 

personality. 

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

ROLF ROPPAZ 

494. Switzerland - The Children’s 

Wonderland. ca. 1953. 

25 1 �� x 39 7 �8�� 


�� 

turned into a travel poster, this would be it. A 

cheery, pop design presenting Switzerland as the 

ideal vacation spot for children of all nationalities. 

Est: $600-$800. 

RICHARD ROTH (1907-2003) 

495. Glas. ca. 1958. 

�� 1�2�� Cond A-/Slight tears, largely at bottom edge. 

A simple, bold design promoting the annual glass 

exhibition in Munich. An excellent example of 

European Mid-Century design. 

Est: $700-$900. 

CHRISTOPHER RUSSELL 

496. Barbados. ca. 1956. 

1 �� 2 in./61 x 90.6 cm 

�� 

Cond A. 

A delightful and welcoming bird’s eye view of 

Barbados, the many characters on the island 

waving to potential tourists. 

Est: $600-$800. 

ROUFFÉ 

497. La Casquette Cricket. 1927. 

�� 3 �8 x 62 5 �8 in./117.2 x 159.1 cm 

Imp. Rouffé, Paris 

Cond A-/Restored tears near edges. 

50 x 80 

While one would assume that this forceful Art 

�� 

with cricket, it actually is advertising a particular 

type of cap. Below, it says ‘the sportsman’s cap,’ 

implying that while intended for cricket players, 

anyone into athletics could (and should) wear one. 

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

ENRICO SACCHETTI (1877-1969) 

498. Mele / Apertura di Stagione. ca. 1900. 

7�8�� Ricordi, Milano 

Cond B/Unobtrusive tears at folds. 

�� 

Almost as if she is begging to be kissed, this raven-haired beauty 

leans invitingly forward, deliciously showcasing a black and white 

stripped number. As part of the new spring collection, this simple but 

chic ensemble perfectly breaks from the frigid nature of winter and 

speaks of warmer days to come. 

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

C. SCHLOTTER 

498

499 

500 

499. Klepper-Mantel. 1955. 

33 1 �2 x 69 3 �� in./85.2 x 177 cm 

Cond A. 

A two-sheet poster featuring a smiling Eskimo who claims to be all snug and 

warm in his button-down, wool lined Klepper coat. 

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

AUGUST SCHMID 

500. Österreich. �� 

�� 7 �8 x 37 1 �8�� 

Christoph Reisser, Wien 

Cond A-/Slight creases. 

Aimed at increasing tourism now that the war was over, this was Austria’s 

�� 

�� 

�� 

the bottom in order to speak to a generalized foreign market. Up until 1959, 

�� 

�� 

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

WALTER SCHNACKENBERG (1880-1961) 

501. Europa & The Bull. �� 

8 1 �� x 11 1 �8 in./21 x 28.2 cm 

Watercolor & pencil drawing. Framed. 

In haunting pastel shades of sapphire and rose, Schnackenberg portrays the 

moment of consummated lust between Europa and Zeus in the form of a 

bull. According to the myth, after mounting the bull, it jumps into the sea, 

carrying Europa to the island of Crete where he reveals his true identity. 

Here, though, what is usually depicted as an innocent curiosity on the part of 

501 

35 1 �� 

Consée, München 

�� 

�� 

�� 

�� 

�� sensuality. However, there is also something distinctly Germanic about the design 

twist with the bull leaning back as if to kiss a nuzzling Europa. 

�� 

�� 

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

overly mannered, hyper-stylized social settings of the pre-Weimar period. 

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

502. Odeon Casino. 1912. 

WALTER SCHNACKENBERG (Continued) 

502

503. Ballet und Pantomime. 1920. 

15 3 �8 x 20 1 �8�� 

Published by Georg Müller Verlag, München 

�� 

The complete portfolio of twenty-two plates, loose in hardcover binding. 

Overall excellent condition. 

�� 

two costume designs. Not only are the images exquisite – the fantastical amalgamation of Eastern 

�� 

�� 

– but they are also rare and important, irreproachable artifacts from a distant performance era. 

“When we remember this [dance renaissance] movement [in Germany] we think of the Munich art 

feasts and performances in theaters and concert halls, which came out of this art-loving city thanks 

to the collaboration of creative artists. Among those who actively and knowingly took part in this 

�� 

and drawings make it clear that in dance and pantomime, we can reclaim the right to rejoice in the 

beauty of the body, the striking pose and the animated movement. Glowing colors delight the eye, 

joy of life shines in the lightness, and the bright colors convey to us that the world need not remain 

�� 

�� 

Von Gleichen-Russworm). 

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

SCHWLÄTTER 

503 

504 

505 

504. Klepper Trabant. 1955. 

33 5 �8 x 70 in./85.3 x 177.7 cm 

�� 

Cond A. 

A fun two-sheet poster merrily displaying a beaming couple in photomontage 

on their way to a early spring picnic, their Klepper brand raincoats keeping 

them dry from any sudden showers. Circling them are a variety of fruits 

rendered in loose colored pencil, matching the small bird below. 

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

SEM (Georges Goursat, 1863-1934) 

505. Cannes. 1930. 

28 1�� 1�2 in./71.6 x 102.8 cm 

�� 


�� 

As noted in �� (p. 93), the three chief themes in posters for 

�� 

�� 

are the colors–serene deep blues, rose, orange. The orange branch and the 

unusual placement of the title across the middle recur in a companion poster 

�� 

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

506. Book: Le Turf. 

13 5 �8 x 19 1 �2�� 

�� 

�� 

in hardcover. 

�� 

Regardless of his marvelous poster output, Sem is most remembered as an 

astute caricaturist, able to tweak the vanity of the privileged without creating 

�� 

�� 

and rich in personality, not employing the mere exaggerations of physical 

�� 

rely upon. Le Turf is a collection of twenty-eight plates that bring the citizenry 

of a day at the races to the page. Each image is a wonder, running the gamut 

of equine patronage from every corner of the globe, from the foppish to the 

dowdy, embracing the winners and losers with equal fervor. And note that 

�� 

the company of an escort. Obviously the track and its fashionably decadent 

trappings was no place for a single lady. 

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

SEM (Continued) 

506

FRANÇOIS SERRACCHIANI 

509. Nice Carnaval. 1935. 

1 �� 8 in./61 x 99.2 cm 


�� 

�� 

Nice’s pre-Lenten Carnaval has been celebrated since the 

thirteenth century and the festival certainly has a reputation for 

libidinous revelry. And while Serracchiani’s poster for the 1938 

event takes a step back from the goatish nature of the fete with 

a comedic mask that puts a face to the festival (see PAI-XLIX, 

�� 

for the Carnaval in 1928 (see�� 

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

E. SERRE 

510. Le Royal Hotel / Aubrac-Aveyron. 

507. Book: Célébrités Contemporaines et la Bénédictine. 

6 1�2 x 9 5�8�� 

508. Book: Le Vrai et le Faux Chic. �� 

�� 12 

�� 

Loose sheets in hardcover casing;; includes preface by Sem. 

“I would like . . . to group in a series of albums all the celebrities of the day, 

only the most illustrious and famous names. But to bring together so many 

important people, so occupied and not easily mobilized, I feared that my 

�� 

I had the idea to offer to them a glass of famous Bénédictine . . . And, indeed, 

�� 

So begins the introduction to Sem’s eight-lithograph collection of celebrities 

�� 

composer Massenet and actor Albert Brasseur. The career of caricaturist Sem 

started modestly enough in his hometown of Perigueux where he published his 

�� 

for Bordeaux in 1897 and Marseilles in 1898 did he venture to Paris where 

he charmed the city folk with his talent. Hardly anyone of note escaped being 

captured for posterity. 

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

5 61 

�� 

�� 

�� 

hardcover binding. 

�� 

�� 

fashionable ladies, entitled Real & Fake Chic. Beginning and ending the book 

are Real visions of style–surprisingly, these images are all advertisements for 

�� 

restaurants, Packard automobiles, etc. But sandwiched in-between are some 

of the most slicing, brutal, and outrageous pochoir caricatures of women 

oblivious to their less-than-chic attire. Reducing these misguided folks to 

insect form is about the kindest thing Sem does for them. His “Museum of 

�� 

to in an attempt to stay on the cutting edge of style, is something that has got to 

be seen to be believed. 

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

7�8�� 1�8�� Imp. Courbet, Paris 


�� 

�� 

perfectly cloudy sky, a couple catches their last round in a day’s 

worth of tennis matches. Further back, the solarium is buzzing 

with refreshed spa-goers and night of merriment and relaxation in 

the peaceful French town of Aubrac-Aveyron is on its way. One 

of the most beautifully designed travel posters for a hotel. 

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

FRITZ SHÖN (1871-?) 

511. Noricum-Kettenlos. ca. 1900. 

28 1�2 x 36 5 508 

�8 in./72.3 x 93.1 cm 

�� 

�� 

very slight tears at edges. 

�� 

on their chainless Noricum bicycles. In the distance, we see 

Saturn hovering in space. 

507 

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

JAN WILLEM SLUITER (1873-1949) 

509 

510 

511

512. Laren. 1918. 

21 1 �2�� 


�� 

With a style rooted in caricature, Sluiter was a master at creating 

�� 

�� 

an artistic couple (see�� 

�� 

see�� 

seething with passion and expressiveness. The violinist Zumki Joska 

�� 

designs, but in a far more Modern light. Rather than focus on his 

moody playing habits, we see a maestro proudly, daringly pulling out 

that teasingly long note. 

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

ELISABETH SONREL (1874-1953) 

513. La Harpiste. 1901. 

15 x 23 5 �8 in./38 x 60.6 cm 

Signed watercolor & pencil drawing. Framed. 

A stately and romantic glimpse into the world of early 19th century 

Europe, this beautiful illustration would not be out of place in a Jane 

Austen novel – the demure young lady at the harp, showing off her 

�� 

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

512 

513 

LAURA SMITH 

514. France / Le Havre to New York. 1979. 

23 5 �8 x 35 5 �8 in./60 x 90.5 cm 


�� 

�� 

the more appealing posters from the collection of commemorative designs 

for the SS France, nostalgically displaying those left behind as a ship sails 

off for new horizons. For another poster from this series, see�� 

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

ROGER SOUBIE (1898-1984) 

515. Vichy. 1928. 

30 7 �8�� 


Cond A-/Tears at horizontal fold. 

�� 

PAI-LIV, 321 

While the slogan touts Vichy as the queen of thermal spas, Soubie chooses 

to glorify the town’s golf scene, showcasing an array of golfers – mostly 

female – playing away the afternoon with the hills of Massif Central in 

shadow toward the horizon. 

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

516. Chamonix-Mont Blanc. 1923. 

30 1�� 7�8 in./76.7 x 106.3 cm 

�� 

Cond A. 

�� 

Elegantly capturing the cool swish of skaters as they glide along the ice, 

this poster for PLM is one of Soubie’s finest. Added warmth is given 

to the crisp climate as the sun bounces boldly off the mountains in the 

background, accented nicely by the yellow of a woman’s sweater. 

A divine winter sports poster. 

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

514 

515 

516

STEINLEN 

517 

THÉOPHILE-ALEXANDRE STEINLEN 

(1859-1923) 

517. Lait pur Stérilisé. 1896. 

38 1�2�� 3 writing a year after its publication, proclaimed 

�8 in./97.8 x 138 cm 

that this “is perhaps, the most attractive poster 


ever made. No man with half a heart could fail 

Cond A. 

�� 

�� 

�� 

�� 

year . . . it seemed to me the best and brightest 

�� 

�� 

This is 

�� 

the medium format version. 

�� 

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

�� 

distinguished by a freshness and vigour which 518. Chat Noir/Tournée. 1896. 

makes it powerful, and a simplicity and sympathy 

38 

which makes it appealing . . . The subject of his 

posters are those dearest to his heart, his pretty 

�� 

�� 

affection for which he is so loved comes through 

gloriously in this poster for the newly-marketed 

�� 

�� 

5 hair – Steinlen morphs his favorite subject into a 

new siren for the Parisian nightclub scene. This is 

the larger format of this poster. 

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

519. Chat Noir/Ce Soir. 1896. 

15 

�8�� 


Cond B-/Restored tears, largely at edges. 

�� 

�� 

�� 

Intentionally playing on some of Mucha’s 

�� 

the curl of the cat’s tail echoing his famous wild 

3 1 

�� 


Cond A. 

�� 

This is the smaller format version of the previous 

poster, and is perhaps the most rare version, with 

the “Ce Soir” heralding the engagement at the top. 

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

518 

519

520 

521 

522. Les Chats. ca. 1909. 

9 x 11 3 �� in./22.8 x 29.8 cm 

Signed pencil & crayon drawing. Framed. 

Appearing in many of his posters and prints, cats were a subject near and 

dear to Steinlen’s heart. Here, he positions himself alongside such a beloved 

�� 

sketches. 

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

523. La Veine. �� 

11 7 �8 x 15 5 �8 in./30.2 x 39.6 cm 

Signed crayon drawing. Framed. 

STEINLEN (Continued) 

520. Winter Cat. 1909. 

521. Summer Cat. 1909. 

�� 

23 

Imp. R. Engelmann, Paris (not shown) 

Cond A-/Restored losses at upper corners. Framed. 

�� 

This comfortably reclining feline was originally used to announce an 

exposition of artists who paint animals at the Cercle International des Arts 

in the spring of 1909 (see PAI-LI, 503). It was so warmly received that a 

separate lithograph without letters was published, using a different printer, 

with only minimal changes-for example, the background color, light beige in 

the poster, is here much darker. The publisher, Sagot, titled it “L’Hiver Chat 

�� 

�� 

see 

subsequent lot). Of the two, this is the far superior cat. This example is handsigned 

in pencil by the artist. 

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

5�8 x 19 3 �� 

verso. It is not clear if this was intended for a book or magazine illustration, 

�� 

rendering. 

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

�8�� 

524. Jenny Hasselquist. 1920. 

Cond A. 

�� 61 

This is the companion cat to the one in the previous lot, completing the 

�� 

leg and its tail over the edge of the railing to catch a breeze. Its yellow eyes 

�� 

This is 

the hand-signed version of this print. 

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

1 525. Yvette Guilbert. �� 

30 

�2 x 90 in./156 x 228.6 cm 


�� 

�� 

This is one of a pair of posters prepared for two stars of the Swedish 

�� 

premier dancer of the troupe). Hasselquist was a multitalented Swedish 

�� 

�� 

interpretations. She also appeared in a number of Swedish and German silent 

�� 

Sumrum (1920) is probably the best 

known. She opened her own ballet school in 1932. 

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

3�� x 72 1 522 523 

525 

�2�� 


�� 

�� 

�� 

�� 

“Les Ambassadeurs, where the greatest names of the café-concert 

�� 

period . . . Steinlen’s very classical poster shows the stage and a section 

of the house . . . as seen from the stage. Yvette Guilbert is shown with her 

customary chignon and her trademark stage attire, including her famous 

�� 

This is the version before the 

“Ambassadeurs” title at the top and the words “Tous les Soirs” at right 

were added. 

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

524

STENBERG BROTHERS (Vladimir, 1899-1982; Georgi, 1900- 

1933) 

526. Negro Operetta. ca. 1926. 

28 3 �8�� 


One of at least two posters the Stenberg brothers created for this all-Black 

operetta, this one better utilizes photomontage than its counterpart, showcasing 

the female lead in jazz age costume surrounded by two nearly identical 

minstrel-type characters. The image reminds one of Paul Colin’s design for La 

FRANCISCO TAMAGNO (1851-1933) 

For another by Tamagno, see Lot 112. 

527. Terrot / Dijon / Cycles Motocycles. ca. 1902. 

38 1 �� x 53 5 �8 in./97 x 136.2 cm 

Lithographie Parisienne, Paris 

�� 

�� 

The trademark of Tamagno’s Terrot advertising was the amount of attitude that 

�� 

�� 

in outpacing her competition – be it other riders, automobiles, or airplanes. 

of the show itself. While Russia had been introduced to jazz in 1922, it wasn’t Here, a picture in blue, she has managed to leave winded behind her a host of 

until 1926 – the year of this poster – that Black performers reached the massive fellow cyclists, one dabbing his exhausted forehead as he attempts to chase after 

country, quickly developing a hot following in the major cities. 

�� 

came into its own with motorcycles as of 1901, remaining in business until the 

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

1960s with one of the best makes in France. 

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

526 

527 

529 

528. Terrot / Dijon / Cycles-Motocyclettes. 1902. 

39 1 �2 x 55 1 �8�� 

La Lithographie Parisienne, Paris 

Cond A. 

�� 

Featuring the same blue-clad blonde as the previous image, this poster 

focuses instead on Terrot’s latest model of motorcycle, the merry rider 

smiling back at his exhausted competition. 

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

529. Cachou Lajaunie. ca. 1900. 

38 3 �� x 51 1 �� in./98.3 x 130.2 cm 

Imp. B. Sirven, Toulouse-Paris 

Cond A. 

�� 

“The pharmacist, Léon Lajaunie, set up his pharmacy in Toulouse. After 

developing several invigorating elixirs, he turned to cachou, as an aromatic for 

�� 

Tamagno shows here, as in his other posters, great technical virtuosity, and 

faultless artistic sense. A young woman, sporting a jaunty hat decorated with 

�� 

are obviously captivated by her. Each of the gentlemen represents a sample of 

the professions where the Cachous were deemed particularly indispensable, 

�� 

�� 

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

528

LOUIS TAUZIN (ca. 1845-1914) 

530. Lutetia Hotel & Restaurant. ca. 1910. 

531 

YVES THOS (1935-) 

531. La Douceur de Vivre. 1959. 

JAN TOOROP (1858-1928) 

532. L’Oeuvre / Venise sauvée. 1895. 

�� 1�8�� 


Cond B-/Restored tears at folds. 

�� 

A simply awe-inspiring nighttime view of one of Paris’s 

most famous hotels – its sheer size overwhelming 

the boulevard and its inhabitants. Built in 1910, it is 

�� 

�� 

department store which sits opposite it on the square. 

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

1�2 in./117 x 158.8 cm 

13 x 19 

�� 


Expanding on the original poster by Giorgio 

Olivetti for Fellini’s masterpiece La Dolce Vita, 

�� 

shows a parade of characters traipsing through 

the Roman night. In the lower right area it notes 

that one must be at least 18 years or older to see 

�� 

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

1�2�� Cond A. 

�� 

�� 

Toorop’s black-and-buff promotion for the Théatre 

de l’Oeuvre’s production of Venise sauvée (Venice 

Preserv’d) – which was also used as the program 

cover for the production – is an outstanding 

example of the extremes to which Toorop would 

take the sinuous forms of Symbolism, as well as an 

expressive statement of his conviction regarding 

the interaction between decorative and emotional 

elements present in the Art Nouveau style. The 

English Restoration play by Thomas Otway was 

�� 

literally places the play’s thematic inferno, involving 

political intrigue, conspiracy, the defense of honor, 

attempted rape, murder, suicide, and madness, 

directly in the public’s eye. 

530 

532 

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

HENRI DE TOULOUSE-LAUTREC 

HENRI DE TOULOUSE-LAUTREC (1864-1901) 

533. Aristide Bruant Dans Son Cabaret. 1893. 

37 1 �� 

�� 

brutal quality of the entertainer and the disdain with which he 


treated his audiences by having him show us the broad of his 

Cond B-/Slight tears at folds. Framed. 

back. The red scarf forms an exclamation point, punctuating 

�� 

the black expanse and the pose itself makes a complete, self- 

�� 

contained statement–Toulouse-Lautrec at his very best. Rare 

proof before the addition of letters. 

Bruant’s strong, forceful, and in many ways vulgar style was 

ideally suited to the intimate cabarets where fashionable 

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

533

534 

536 

535 

TOULOUSE-LAUTREC (Continued) 

534. May Milton. 1895. 

�� 1 �� x 30 7 �8 in./61.5 x 78.5 cm 

Cond A-/Slightly light stained. Framed. 

�� 

�� 

�� 

According to Adriani, “May Milton was an English 

dancer with a pale, serious face and strong chin 

�� 

Lautrec is almost brutally frank in depicting her 

face, neither pretty nor youthful, and pointing out 

the inappropriateness of the white debutante’s dress 

with puffed sleeves which she wore on stage. Yet 

the point is made with such gentle irony that it may 

have been missed, or ignored, by the performer 

herself, as she apparently used the poster for 

personal publicity. 

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

535. May Milton. 1895. 

35 5 �8 x 28 5 �8 in./91.2 x 72.8 cm 

Cond A-/Tears at edges. Framed. 

�� 

This is the rare olive green trial proof before 

lettering. 

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

536. Troupe de Mlle Églantine. 1896. 

31 1 1 �8�� 

�� 

mid-section. 

�� 

�� 

�� 

�� 

The poster, with its particularly enticing exuberance, 

was reproduced in monochrome in Le Courrier 

Français on February 16, 1896. It was used to 

�� 


�� 


Naturaliste, at the Palace Theatre in London. The 

�� 

dance had been developed from the can-can, created 

�� 

by Celeste Mogador, and was performed in the 

�� 

formation of four, mainly at the Elysee Montmartre, �� 

La Revue Blanche is considered 

the Jardin de Paris, the Frascati and the Moulin by many to be Lautrec’s strongest individual work. In 

Rouge. In a letter written on 19 January 1896 in it, using a combination of economical line and implied 

London (Musée d’Albi), Jane Avril and Églantine �� 

asked Lautrec for the poster, giving exact wording observed detail, he shows Misia Natanson [wife of 

�� 

the magazine’s editor, Thadée Natanson] ice-skating 

�� 

at the Palais de Glace, an ice rink opened at the Rond- 

�� 

�� 

in other places as well, and then we could use the The entire poster is like a little joke, as if Lautrec were 

same poster. Thanks in advance and good luck 

amusing himself by proving that he could show an iceand 

every success with the work…Please answer �� 

�� 

Est: $30,000-$35,000. 

of Monday 20th, and we want people to see our 

poster before that. So please do your best…’ And 

while posterity has certainly been impressed by the 

greatness of this design, it was not enough at the 

time to save the show, which quickly folded. 

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

537. La Revue Blanche. 1895. 

35 1�2�� 3�� in./90.2 x 126.3 cm 

537


538 

538. Confetti. �� 

17 x 21 1 �� 

�� 

�� 

1896. 

�� 

more calligraphically by virtue of the light-colored image, with its broad 

15 

�� 

sweep of billowing, off-white dress. In this poster Lautrec’s dematerialization 


of form borders on abstraction. The conception and concision of Confetti 

�� 

serve to distinguish Lautrec’s inventiveness from that of Chéret and his other 

�� 

�� 

(Wagner, pp. 25-26). The Bellas commissioned this poster “to advertise the 

“This small poster was made for the English paper manufacturers J. and E. �� 

Bella [who] organized poster exhibitions at the Royal Aquarium, London, in �� 

�� 

This version includes the Kleinmann blindstamp in the lower left corner. 

Confetti design was the cover piece of their exhibition catalogue. “Confetti 

�� 

Est: $50,000-$60,000. 

5�8 x 23 3 they reached Lisbon that his friend succeeded in getting Lautrec-who was 

�8�� 

�� 

�� 

print and poster based on a photograph he took of the woman on the ship. “It is 

Cond B+/Slight tears at edges. Framed. 

not known whether he ever actually spoke to this perhaps unwitting model ... 

�� 

His lithograph shows her from a viewpoint which suggests she may not even 

�� have realized she was being observed, leaning back in her deck chair, protected 

from the sun under the white canvas awning of the steamer deck, as she gazes 

In the summer of 1895, Lautrec embarked on a voyage from Le Havre to 

out over the rail at another boat passing ... Joyant later called Henry’s litho ‘an 

�� 

exquisite thing, in its tone, in its elegance, in its mood of indolence, in the way 

�� 

�� 

�� 

�� 

beauty that, despite protests from Guibert, he decided to stay on board once 

the ship reached Bordeaux and continue south with the vessel. It was not until Est: $50,000-$60,000. 

539

540 

541 


540. Elles. 1896. 

542 

15 7 �8 x 20 1 �� 


�� 

PAI-LI, 523 

Est: $20,000-$30,000. 

542. La Dépêche / Le Tocsin. 1895. 

16 3�� x 21 7 543. The Ault & Wiborg Co. 1896. 

13 

�8�� 

�� 

�� 

�� 

Advertising a serialized novel in the Toulousebased 

paper La Dépêche, this image shows a 

ghostly woman followed down a deserted evening 

path by a skin-and-bones dog, the outline of a 

gloomy castle in the background. The Alarm 

(also known as The Lady of the Manor) by Jules 

de Gastyne is a gothic romance. “It is evident 

from this rather historical design . . . that Lautrec 

�� 

�� 

�� 

play of lines drawn over a delicately nuanced 

�� 

1�� x 18 1 544. La Goulue. �� 

�2�� 

10 

Courier Lithographic Co., Buffalo (not shown) 

Cond A-/Faint horizontal fold. Framed. 

�� 

�� 

Lautrec’s smallest poster is also the only one 

executed by him on zinc plates and the only one 

printed in the United States. He sent the plates 

to the Cincinnati ink and printing company, Ault 

and Wiborg, who commissioned it from him. It 

represents the actress Emilienne d’Alençon and 

�� 

in a loge. Lautrec also printed a small edition 

�� 

Est: $40,000-$50,000. 

1�2 x 13 1�2�� Cond A. 

�� 

With a besotted Lautrec gazing on in the 

background, the famous duo from the Moulin Rouge 

poster, La Goulue and Valentin, slither out a waltz in 

this music cover for Bosc’s little ditty. 

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

545. Edmée Lescot. ca. 1893. 

12 3�� x 17 1 The Elles collection is Lautrec’s most famous brothel series, an edition 

of lithographs depicting prostitutes simply referred to as Elles (Them). 

�� 

�� 

ladies), and at the same time is the pronoun indicating all females. 

Although the women of the Elles series are prostitutes, they appear 

desexualized, shown in postures that emphasize the everyday and 

unglamorous nature of their occupation. In this instance, putting her hair 

�� 

�� 

even in the room is his top hat resting gingerly on her bed. “It was the 

pictorial epilogue to what the artist had experienced in the maisons closes 

of the Rue des Moulins, the Rue d’Amboise and the Rue Joubert. ‘They’ 

are ‘women to my liking,’ as he used to say cynically, and he often lived 

with them for weeks at a time during the years 1892 to 1895, a constant 

witness of their daily lives, of their suffering and intimacy. Attentively he 

noted their monotonous routine at the wash-stand, at breakfast, waiting for 

customers, or during the medical inspection. These places on the periphery 

of society seemed to him ideally suited for a social allegory, in which 

�� 

�� 

p. 222). The series was placed on exhibition at the Galeries de la Plume’s 

twentieth Salon des Cent on 22 April 1896, where the lithographs could 

be viewed by anyone who wished. Oddly enough, the series received little 

attention and proved very hard to sell. One set, however, was sold to the 

Norwegian artist Edvard Munch. This is the frontispiece to the collection, 

543 

�� 

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

541. La Femme Qui se Lave / La Toilette. 1896. 

15 

�8�� 

Cond A/P. 

�� 

From the original edition of 500 in his Le Café 

Concert series, this print shows the Spanish dancer 

�� 

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

3�� x 20 1 545 

�2�� 


�� 

From his Elles suite, this print shows the quiet moment of a voluptuous 

woman sponging herself after a wearisome day. One interpretation 

of the entire series is that, rather than simply being a collection of 

brothel motifs, it portrays the domestic life of a lesbian couple, one 

half of which was the clowness of the Moulin Rouge, Cha-U-Kao. The 

resemblance to her here, even from behind, is striking. Such a reading 

gathers likelihood in the knowledge that the publishers, Pellet, favored 

risqué themes, and that the album matches the usual size of twelve 

images in the traditional Japanese erotic woodblock collections, many 

of which focus on the ritual of the woman at her bath. �� 

with the publisher’s blindstamp in the lower right. 

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

544


546. L’Oeuvre / Raphaël / Salomé. 1896. 

19 1 �2 x 12 3 �� 

Cond A-/Very slight foxing toward center. 

�� 

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

547 547A 

547. L’Oeuvre / La Gage. 1897. 

�� 3�� in./27.8 x 37.5 cm 

Grand Imprimerie Centrale, Paris 

Cond A. 

547A. Book: Henri de Toulouse-Lautrec, 

1864-1901, by Maurice Joyant. 1926-1927. 

1 3 �� 8 x 10 �8 in./20.6 x 26.3 cm 

548. Divan Japonais. 1893. 

23 1�2 x 31 1 For a program commissioned by the Théâtre de 

Published by H. Floury, Paris 

�� 

l’Oeuvre, “Lautrec portrayed the writer Romain 

Coolus (left), whose real name was Rene Weil 

Used to promote a production of Ibsen’s 

Rosmersholm as well as Frantz Jourdain’s comedy 

�� 

his lifelong friend and manager, Maurice Joyant. 

548 

(1868-1952), and (right) the bloated form of Le Gage (The Guarantee) – both at the Théâtre 

Oscar Wilde (1856-1900), with a sketchy 

de L’Oeuvre – this print shows Count Prozor 

suggestion of the Houses of Parliament in 

(translator of the Ibsen piece) alongside Jourdain 

�� 

(a well known architect, critic, and president of 

the lithograph was used, along with a single 

the Salon d’Automne), while the operetta star 

column advertisement for Revue Encyclopédique, Jeanne Granier sits on the divan. 

as the programme for Coolus’ play Raphaël and Est: $2,000-$2,500. 

Oscar Wilde’s Salomé, which had been banned 

�� 

�� 

was published in 1926. It contains an original drynot 

the star who draws the attention here-the singer Yvette Guilbert, who had 

�� 8 in./59.7 x 79.2 cm 

�� 

�� Imp. Edw. Ancourt, Paris 

head cut off by the edge of the sheet-but two spectators in a box, typical of the 

��Cond 

A. Framed. 

�� 

�� 

also contains one original dry-point etching of 

�� 

�� 

�� 

look at Guilbert on stage, whom Lautrec has portrayed as acephalous, probably 

contain numerous color plates. No one knew 

�� 

Lautrec better than Joyant and it shows in the 

(Wagner, p. 21). 

care and detail of presentation. 

Est: $40,000-$50,000. 

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

546 

This poster was put up on 20 January 1893, as an advertisement for a small 

café concert at 75 Rue des Martyrs, started by Jehan Sarrazin and, since autumn 

1892, run by Edouard Fournier. The club was decorated in the so-called Japanese 

style, with lanterns and mock bamboo. Unlike the Moulin Rouge poster, it is

LEOCADIO MURO URRIZA (1897-1987) 

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

549 551 

A. VERCHER 

Est: $1,800-$2,000. 

550 

549. Pamplona. 1932. 

3 �� 8�� 

�� 

�� 

A colossal three-sheet poster promoting Pamplona’s epic eight-day festival 

of San Fermín, which is always highlighted by the famous running of the 

bulls. Pictured is probably an interpretation of the daily parade of Gigantes y 

�� 

created by the painter Tadeo Amorena. They are meant to represent four pairs 

of kings and queens from around the world – Europe, Asia, America, and 

�� 

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

GEORGES AUGUSTE VALLÉE 

550. Cycles “Aiglon.” ca. 1900. 

39 1�8 x 55 3 551. Sulfato de Amoniaco. 1925. 

�� 

�8�� 

Imp. H. Bouquet, Paris 


Focusing more on the company’s namesake than on the product itself, we 

�� 

hatch, the bones of less fortunate animals surrounding the nest. Below, 

people are presumably riding their Aiglon bicycles, unaware that a new 

mascot has just been brought into the world. 

1 3 �2�� in./87.7 x 63 cm 

�� 


�� 

A visually amusing design in which the use of ammonium sulfate in this 

farmer’s soil has resulted in an abundance of vastly oversized produce, 

weighing down his rickety cart and causing his poor donkey to pant in 

exhaustion. It is a Spanish poster put out by the British Sulfate of 

Ammonia Federation. 

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

CHARLES VERSCHUUREN, JR. (1899-1955) 

552. Drukkerij Kotting. ca. 1916. 

30 7 553. Ravensberg / Voor Straat Reclame. 1917. 

�� 

1 �8�� 2 in./78.5 x 108 cm 

�� 

�� 

�� 

professionally trained in Amsterdam and then Paris. Upon returning home 

�� 

a variety of ads while working there, he also produced a handful of posters 

promoting the company itself, such as this one wherein a cherub-like 

�� 

�� 

1�� x 30 3�� in./87 x 78.2 cm 

Cond A. 

Just before dawn, a new day’s worth of street 

advertising is being rolled into place by two porters. 

In the foreground, we see the hint of the name 

E.V. Ravensberg, a prominent printing house in 

the Netherlands, curl over the surface of a kiosk, 

implying its preeminence in this medium. 

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

MARCEL VERTÈS (1895-1961) 

554. Simone Frévalles. 1922. 

32 7�8�� 3 of the famous mezzo-soprano Maria Malibran. 

�� 

designs, it is no wonder that Frévalles is shown 

�� 

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

VIANO 

555. Kina-Cure. ca. 1930. 

�� 

�8 in./83.5 x 123 cm 

�� 

�� 

�� 

Usually seen with the addition of text at the bottom, 

this poster advertises Simone Frévalles’s leading role 

in La Malibran, a production focusing on the life 

7�8 x 62 3 VIGNÈRES 

556. Gladiator. 

�� 

�8�� 

Imp. Moullot, Marseille 

Cond A-/Unobtrusive slight tears. 

An enthusiastic endorsement for this brand of 

quinquina in which men of all backgrounds, from 

the most dapper gentleman to the common worker, 

enjoy a glass of Kina-Cure. 

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

5�8 x 61 1�2 in./111 x 156.2 cm 

Imp. Chardin, Paris 

�� 

�� 

While we are probably most familiar with the more 

famous poster for Gladiator Cycles of nude redhead 

�� 

see PAI-LV, 1), this image 

brings us back to earth with a triumphant jockey 

conquering the world in the name of Gladiator 

bicycles and automobiles. Interestingly enough, 

no example of the company’s product can be seen 

in the poster. 

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

552 

554 555 

556 

553

ALEARDO VILLA (1865-1906) 

557. Cigarrillos Paris. 1901. 

36 1�8�� 1�2 in./92 x 123.1 cm 

CGF 

�� 

�� 

One of the 511 artists who responded to the call for entries in the 

second international poster competition for an Argentine cigarette made 

�� 

�� 

�� 

�� 

memorable, beautifully-executed design. Villa began to work for the 

�� 

�� 

Nouveau movement, and he ranks among the best commercial artists of 

�� 

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

558 

557 559 

560 

BERNARD VILLEMOT (1911-1989) 

& TAUZIN 

558. Electricité de France / Emprunt 1968. 

22 3 �� x 30 in./57.5 x 76 cm 

Editions Sodel, Paris 

Cond B-/Tears at folds. 

A collaborative effort between Villemot and an 

artist named Tauzin yields an interesting blend of 

minimalist pizzazz and carnival attraction in this 

vibrant bond drive poster for the French electric 

company. They would go on to create a variety of 

similar ads for coming years. 

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

561 

561. Marine. �� 

30 3�8�� 3�8 in./77.2 x 118 cm 

Imp. Hubert Baille, Paris 


A rare, intense Villemot poster calling for 

enlistment in the French Marines. 

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

562. À l’Aigle: Two Posters. ca. 1950. 

�� 7�8�� Est: $400-$600. 

BERNARD VILLEMOT (1911-1989) 

559. France / Seaside Resorts. 1955. 

��3 �� x 38 3 �� 

�� 

�� 

�� 

�� 

With almost Matisse-like simplicity Villemot 

presents the French seaside as a place of enduring 

calm and warmth. 

Est: $800-$1,000. 

5�8 x 61 1�� 

Chavane, Paris 

�� 

In 1850, Hiram Hutchinson purchased the patent 

from Goodyear on vulcanized rubber so that he 

could produce rubber-soled footwear. Three years 

�� 

under the company name of ‘À l’Aigle,’ and the 

rest is history as the brand is still active today with 

a complete line of sporting and outdoor shoes. 

Here, Villemot gives us corresponding views 

of their male and female line of sneakers in the 

summer sun. 

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

RENÉ VINCENT (1879-1936) 

560. Sports d’Hiver / France. �� 

23 5�8 x 38 1 563. Faites Règler vos Freins. 

�8 in./60.7 x 97.2 cm 

30 


Cond B+/Slight tears at edges. 

�� 

�� 

A cross-hatching of skiers against a glacierblue 

wintry landscape is so inviting that all the 

promotional text in this poster almost seems 

�� 

�� 

5�8�� 1�2 in./77.5 x 118 cm 

Édit. Pub Boré de Loisy, Paris 

�� 

�� 

Vincent cannot keep a hint of his humor out of 

even a frightening image for an accident prevention 

�� 

group of insurance companies. 

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

562 

563

RENÉ VINCENT (Contined) 

564. Au Bon Marché / Les Silhouettes de la Mode d’ Hiver. 1923. 

75 1 �� x 56 5 �8�� 

Bedos, Paris 

�� 

�� 

�� 

man I ever met’ – was one of car races, fashionable watering holes, casinos 

and elegant automobile shows. He designed a great number of posters for 

the department store, Au Bon Marché, and for many other diverse products. 

To convey his message René Vincent used smiling faces, small children, 

elegant or athletic people who projected a love of life which, between the 

wars, was the hallmark of a particular segment of the French people. Color, 

form, composition–everything is imbued with with a sense of carefree 

�� 

�� 

– though it predates the publication of that novel by a minimum of three 

�� 

their blackamoor attendants. Once again it’s the romance of shopping that 

Vincent sells more strongly than any other component. 

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

565. Ram. ca. 1930. 

27 1 �� x 39 1 �8 in./69.2 x 99.5 cm 

Imp. Bénard, Liege 

Cond B+/Restored tears, largely in bottom text area. 

�� 

A perfect balance of Art Nouveau’s organic, wild lines and the stately, 

�� 

�� 

of athletic acrobatics, her shadow stands behind her, strong and steady 

in radiating shades of green, ready to attack the oncoming ball. 

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

564 

565 

566 

567 

568 

JACQUES WÉLY (ca. 1873-1910) 

566. Les Demoiselles des St. Cyriens. 1898. 

23 3 �� x 31 1 �� 

�� 


Written by composer Louis Varney, Les Demoiselles 

des St. Cyriens is a three-act operetta revolving 

around the misadventures of a host of girls whose 

boarding school is situated directly next door to an 

�� 

Wély decided not to focus on the high point of the 

show in which one particular girl is asked to enter 

a nude beauty contest to obtain her inheritance. 

Est: $800-$1,000. 

JEAN D’YLEN (1866-1938) 

567. Erasmic. �� 

11 3 �� x 15 5 �8 in./29.7 x 39.7 cm 

Atlas, Paris 

�� 

usual grommet holes at top. 

�� 

A whimsical in-store display on board in which a 

�� 

of using Erasmic soap. 

Est: $800-$1,000. 

ZIG (Louis Gaudin, 1882-1936) 

568. Roseray / Cappella / Sylvio. 1929. 

�� 1 �2 x 62 3 �� in./120.5 x 159.5 cm 


Cond B/Tears, primarily at folds. 

�� 

One of the most celebrated dance acts in France 

during the Jazz Age, Simone Roseray and Jacques 

Cappella brought not only stunning acrobatics and 

grace to a performance, but also a healthy dose of 

salacious gossip. Billed as both Russian and French, 

they appeared frequently in all the major venues, 

�� 

Riviera, gradually building up more exotic acts 

which required them to perform partially-nude. 

Rumor had it that Roseray was even Capella’s 

mother. This poster was created toward the end of 

their fame, when the addition of the third member, 

Sylvio, joined their small troupe. Within three years, 

they would vanish from the spotlight. 

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

ZIG (Contined) 

569. Jane Marnac / Paris-Béguin. 1931. 

�� 5 �8 x 62 in./118.5 x 157.5 cm 



Known in English as The Darling of Pari�� 

�� 

�� 

�� 

�� 

arrested by the police under suspicion of a murder he did not commit, and, 

although Jeanne provides him with an alibi, she is forced to say that he was the 

lover of her maid rather than herself in order to save face. His girlfriend gets 

wind of this, hiring the gang who really did commit the murder to kill him in 

an act of revenge, leaving him to die in Jeanne’s arms. Rare! 

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

VLADIMÍR ZUPANSKY 

570. Rodina. 1902. 

32 1 �2 x 63 1 �8 in./82.3 x 160.2 cm 

Unie, Praha 

Cond A-/Tears in bottom margin. 

�� 

With echoes of Hohenstein in the composition, this haunting image of a white 

�� 

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

569 570 

BOOKS AND PERIODICALS 

571. L’Estampe Moderne. 1897-1899. 

12 x 15 5 �8 in./30.5 x 39.8 cm 

�� 

�� 

�� 

�� 

condition;; twenty-four Mucha covers;; complete set. 

The publication distributed by Imprimerie Champenois, Paris, contains twentyfour 

monthly portfolios plus four bonus plates, with twenty-four original covers 

by Mucha, with four original lithographs in each. Almost all of these lithographs 

were commissioned especially for this series, featuring works by Mucha (2), 

�� 

�� 

�� 

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

BOOKS AND PERIODICALS 

NOTE: Where books or portfolios are by or about a single artist, they can be found under that artist’s name. 

See: Cappiello, Colin, Schnackenberg, Sem, Toulouse-Lautrec. 

571

BOOKS AND PERIODICALS (Continued) 

572 

573 

�� 

1886. 

9 1�8 x 12 1 �� 

1896. 

�2 in./23.2 x 31.7 cm 

9 

H. Launette, Paris 

�� 

�� 

�� 

poster reproductions, including 28 in color (of which 20 are by Cheret). 

Maindron’s text is erudite and enthusiastic. A must for the serious collector. 

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

3�8 x 12 3 �� 

�� 

La Forgue, Meier-Graefe & J. Pennel. 1897. 

�� 

�� 

8 

�� 

�� 

�� 

�� 

�� 

This is the updated version of the previous volume, containing the most complete 

listing of Chéret posters (882) prior to the Broido update. 

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

7�8 x 12 1 575. Exposition de la “Dépêche” de Toulouse. �� 

5 

�8 in./22.6 x 31 cm 

Published by G. Boudet, Paris 

�� 

�� 

This 208-page hardcover classic, complete with 212 reproductions–150 black- 

�� 

the global lithographic feats of artists outside the boundaries of France, 

including representative works from Germany, England, Austria, Belgium, 

the United States and Japan. Accompanying articles by the authors, with text 

in French and color cover design by Rassenfosse. �� 

�� 

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

3�8 x 7 1�� in./13.6 x 18.5 cm 

Edw. Encourt, Paris 

�� 

�� 

Financed by Arthur Huc, this exhibition catalogue appeared in the second half 

�� 

�� 

Huc in the entrace hall of La Depeche de Toulouse, a journal based in the city 

that commissioned posters by Lautrec. Included are lithographs by Anquetin, 

�� 

collection of which was meant to introduced the work of the Parisian avantgarde 

to the less cosmopolitan masses. Given that Lautrec was a native to the 

�� 

�� 

�� 

top-hatted gentleman beside her. 

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

574 

575

A 

SELECTED INDEX 

BIBLIOGRAPHY 

The following is a list of books used in the preparation of this catalogue. In the interest of brevity, these works have been abbreviated in the Reference 

�� 

American Posters ................................ �� 

Magic .................................................. 130 

name, city and date of publication. It should be noted that we have made no reference to the many magazines and annuals which are essential tools in this 

Asia ..................................................... 90, 92, 138, 363 

Maquettes ............................................ �� area, such as �� 

and Graphis Posters. 

Automobiles ....................................... �� 

�� 

�� 

Aviation ............................................... �� 

B 

Mele .................................................... �� 

Bernhardt, Sarah ................................. �� 

Menus ................................................. �� 

Bicycles............................................... �� 

Mistinguett .......................................... 327 

�� 

550, 556 

Monaco ............................................... �� 

Birds .................................................... �� 

Motorcycles ........................................ 101, 282, 582 

�� 

�� .......................... �� 

Biscuits ............................................... 202, 237 

�� 

�� 

..................... �� 

�� 

�� ........................... �� 

C 

Calendars ............................................ �� 

�� 

accessed free of charge. 

Abdy 

Air France/Dream 

The French poster, �� 

Air France posters : making the world dream, by Louis-Jean Calvet and 

�� 

�� 

�� 

�� 

Air France/Fraile 

de l’Absinthe, 2002. 

�� 

�� 

Adhémar 

Airline Artistry 

Toulouse-Lautrec: lithographies, pointes sèches, oeuvre complet, by Jean Airline artistry : vintage posters & publicity�� 

�� 

�� 

�� 

N. Abrams.) 

Alpes 

�� 

�� 

Adriani 

Toulouse-Lautrec : the complete graphic works, �� 

American Posters 

�� 

Posters American style�� 

collection. 

Abrams, 1998. 

Cats ..................................................... �� 

Revue Blanche, La ............................. 186, 535 

�� 

Art & Auto 

Chocolate ............................................ �� 

Russian Posters ................................... 91, 131-132, 199, 296, 300, 526 

�� 

�� L’art et automobile�� 

�� 

la Réunion des Musées Nationaux, 1991. Catalogue of 

Circus .................................................. �� 

Covers ................................................. �� 

S 

Salon des Cent .................................... �� 

the exhibition at the Musée National des Arts et Traditions Populaires, Paris. 

November 12, 199-February 3, 1992. 

Art Deco 

Art deco graphics, �� 

D 

Secession ............................................ 378 

�� 

Art Deco/Duncan 

�� 

�� 

�� 

�� 

�� .................................................. �� 

�� 

.................... �� 

�� 

�� 

568 

�� 

Art in Vienna 

Skiing .................................................. �� 

�� 

�� 

, 

�� ............................... �� 

.............. �� 

�� 

�� 

�� 

�� .................................................... �� 

520-521 

�� 

�� 

�� 

�� 

Auto Posters 

�� 

�� by Charles �� 

�� 

�� 

E 

Elephants ............................................ �� 

T 

Tennis .................................................. �� 

Auto Show I 

�� 

�� 

�� 

�� 

�� 

of France, 1978. Catalogue of the exhibition, compiled by Jacques Perier, and 

�� 

The history of aviation in posters�� sponsored by the Automobile Club de France, Paris, October 1978.leisure 

565-566 

�� 

F 

Auto Show II 

�� ................................. �� 

Film ..................................................... �� 

�� 

2eme �� 

, by Jacques Perier. �� 

�� 

�� 

�� 

Internationale de l’Automobile, 1979. Catalogue of the exhibition at the Musée 

�� 

�� 

�� 

�� 

G 

M 

Maritime ............................................. �� 

P 

Perfume ............................................... �� 

Photographs ........................................ �� 

R 

�� 

�� 

Golf ..................................................... �� 

�� 

........................... �� 

�� 

529, 557 

�� 

, by Alain �� 

�� 

H 

Trains .................................................. �� 

Automobile/Lopez 

�� 

Horses ................................................. �� 

Ailes 

�� 

�� 

�� 

�� 

. Saint- 

W 

�� 

�� Avant Garde 

I 

Musée d’Art et d’Industrie, Saint-Étienne, May 3-September 22, 2002. 

�� 

�� 

�� .................................... �� 

India .................................................... 69-70, 77, 192 

�� 

�� .................................... 111, 129, 183, 190, 201, 206, 208, 211, 217, 

Air France 

�� 

Ireland ................................................. 80, 83, 

�� 

�� 

�� 

..................... �� 

�� 

�� 

Hazan, 1988.

BIBLIOGRAPHY (Continued) 


Bargiel et Zagrodzki 

Cappiello 

Colin 

Dutch Graphic Design 

�� 

by Réjane Bargiel and Christophe �� 

, by 

�� 

�� 

Dutch graphic design : a century of innovation,�� 

�� 

�� 

Catalogue of the 

�� 

States by Posters Please, Inc., New York City). 

exhibition at the Galerie Nationale du Grand Palais, Paris, April 3-June 29, 1981. 

�� 

�� 

�� 

Elzingre 

Baumberger 

Cappiello/Rennert 

�� 

�� 

�� 

�� 

�� 

Cappiello : the posters of Leonetto Cappiello,�� 

Patrick Cramer, 1998. 

für Gestaltung, 1988. Catalogue of the exhibition at the Museum für Gestaltung, �� 

Colin/Spectacles 

Zurich, May 26-July 17,1988, and subsequently in Basel and Essen. 

Paul Colin et les spectacles�� 

Encyclopédie/Weill 

Cappiello/St. Vincent 

Arts. Catalogue of the exhibition at the Musee des Beaux-Arts, Nancy, May �� 

�� 

Belle Epoque 1970 

�� 

�� 

La Belle Epoque : Belgian posters, watercolors and drawings from the 

�� 

Catalogue of the exhibition at the Hotel Billia 

España 

collection of L. Wittamer-De Camps, by Yolanda Oostens-Wittamer. New York in Saint-Vincent, Italy, March 30-May 30, 1985. 

Color of Leisure 

�� 

�� 

�� 

�� 

�� 

Postermil, 1995. 

Camps collection. 

Carlu 

�� 

Retrospective Jean Carlu, by Alain Weill.�� 

�� 

Belle Epoque/Belgique 

�� 

�� 

Côte Belge 

�� 

, by P.A. 

�� 

�� 26-March 29, 1980. 

�� 

�� 

�� 

�� 

�� 

Van de Wiele, 1992. The collection of Roland Florizoone. 

of the Kellenberger Collection held in Montreux, June 6-July 8, 1990. 

Réunies, 1961. Catalogue of the exhibition held at Fraiture-en-Condroz, and Cassandre/BN 

�� 

A. M. Cassandre : oeuvres graphiques modernes, 1923-1939, by Anne-Marie 

Crauzat 

Ferrari 

September 9-October 31, 1961. 

�� 

�� 

L’oeuvre gravé et lithographié de Steinlen, by E. �� 

Piloti, che gente,�� 

�� 

�� 

�� 

Bernhardt/Drama 

�� 

Arts, 1983. 

Folies-Bergère 

Sarah Bernhardt : the art of high drama, by Carol Ockman and Kenneth Silver. 

�� 

by Alain 

�� 

Cassandre/Suntory 

Czwiklitzer 

�� 

�� 

Every face of the great master Cassandre�� 

�� 

Museum, 1995. Catalogue of the exhibition held at the Suntory Museum, Osaka, 

1970. 

Frey 

Berthon & Grasset 

Japan, June-August, 1995. 

Toulouse-Lautrec : a life�� 

Berthon & Grasset,�� 

Dance Posters 

Rizzoli, 1978. 

Cassandre/Tokyo 

�� 

�� 

Fuller/Goddess of Light 

A. M. Cassandre. �� Books, 1973. 

Loie Fuller : goddess of light,�� 

Bicycle Posters 

exhibition held at the Tokyo Metropolitan Teien Art Museum, Tokyo, Japan, 

�� 

�� 

by �� 

�� 

Darracott 

The First World War in posters,�� 

Furness 

Boissons 

Cassandre/Weill 

�� 

�� 

, by Richard 

Les boissons : un siècle de réclames,�� 

Cassandre,�� 

�� 

Milan, 1986. 

�� 

Cassiers 

�� 

�� Gallo 

Bolshevik Poster 

�� 

�� , by Tony Oost, Iris Kockelbergh, et al. Antwerpen 

The poster in history,�� 

The Bolshevik poster�� 

�� 

Delhaye 

�� 

�� 

Art deco posters and graphics,�� 

Bouvet 

�� 

Editions. 1977. 

Gesmar 

Bonnard : the complete graphic work, �� 

�� 

�� 

1981. 

Cataluña 

Dellepiane 

�� 

�� , by Jordi 

�� 

, by Françoise-Albane Beudon. Gid 

Broders 

�� 

�� 

�� 

�� 

�� 

�� 

�� 

�� 

�� 

Chaumont/Exposons 

Delteil 

Paris, June 17-July 11, 1992. 

�� 

�� 

Le peintre-graveur illustré, �� 

Broders Travel 

�� 

�� 

�� 

Glaser 

Roger Broders : travel posters,�� 

�� 

�� 

Milton Glaser : graphic design,�� 

Art Publishers, 2002. 

Press, 1973. 

Chéret 

DFP-I 

Broido 

�� 

, ed, by Réjane Bargiel 

Das frühe plakat in Europa und den USA. Volume I, British and American Gold 

�� 

�� 

�� 

First ladies of the poster : the Gold collection,�� 

raisonné, 2nd ed., by �� U.S.A. by Posters Please, Inc.) Catalogue of the exhibition at the Musée des 

�� 

1973. 

Poster Art Library, 1998. 

Brown & Reinhold 

DFP-II 

Golf 

The poster art of A. M. Cassandre, �� 

Chocolate Posters 

Das frühe plakat in Europa und den USA. Volume II, French and Belgian �� 

�� 

�� 

Chocolate posters,��Posters. 

Edited by Ruth Malhotra, Marjan Rinkleff and Bernd Schalicke. Berlin 

Publishers Inc., 2002. 

�� 

Graphicar 

Brussels 

Graphicar,�� 

�� 

�� Cigarillos Paris 

DFP-III 

�� 

�� 

, ed. by Antoni 

Das frühe plakat in Europa und den USA. Volume III, German Posters. Edited Grigorian 

exhibition at the Jane Voorhees Zimmerli Art Museum at Rutgers University, �� 

�� 

by Helga Hollman, Ruth Malhotra, Alexander Pilipczuk, Helga Prignitz and Soviet posters : the Sergo Grigorian collection, by Maria Lafont. Munich, 

New Brunswick, New Jersey, April 12-June 6, 1992. 

exhibition at Museu Comarcal de la Garrota, Barcelona, Spain, 1995. 

��



Grün 

Khachadourian 

Maitres 

Montagne 

�� 

�� 

Motoring : the golden years, a pictorial anthology : the Khachadourian Gallery, 

�� 

by �� 

�� 

�� 

�� 

�� 1896-1900. Reprinted as �� 

�� 

Graphiques, 1977, and The complete ‘Masters of the Poster,’ �� Motorcycles 

Health Posters 

Kossatz 

Publications, 1990. 

One hundred years of motorcycles�� 

Posters of health,�� 

Ornamental posters of the Vienna Secession, �� 

Portland House, 1988. 

Pharma, 1996. 

�� 

Mangold 

�� 

�� 

�� 

Mouron 

Herlihy 

Paul Brüwiler.�� 

A. M. Cassandre, �� 

Bicycle : the history,�� 

Lautrec/Montmartre 

at the Museum für Gestaltung Zürich, Kunstgewerbemuseum, September 

�� 

Toulouse-Lautrec and Montmartre�� 

Mucha/Art Nouveau 

�� 

Basel, January 29-March 3, 1985. 

Alphonse Mucha : the spirit of art nouveau, by Victor Arwas, Jana A. Brabcová- 

Hillier 

�� 

�� 

Posters,�� 

March 20-June 12, 3005, and the Art Institute of Chicago, July 16-October 10, 

Manifesti Italiani 

Catalogue of the traveling exhibition. 

�� 

2005. 

�� 

by Giampiero 

�� 

�� 

�� Mucha/Bridges 

Le Coultre 

�� 

Alphonse Mucha : the complete graphic works, �� 

Hoffmüller 

A century of posters,�� 

Academy Editions, 1980. 

�� 

, by Wieland Barthelmess. �� 

Margadant 

�� 

�� 

�� 

by Bruno Margadant. Basel Müller-Brockmann 

Galerie am Gendarmenmarkt, Berlin, 1992. 

Léman 

�� 

History of the poster, �� 

�� 

�� 

Edition, 1971. 

Hohlwein/Stuttgart 

�� 

Marx 

�� 

, by Christian Schneegass. 

Bonnard : lithographie, �� 

Murray-Robertson 

�� 

�� Lendl/Paris 

Livre, 1952. 

Grasset : pionnier de l’art nouveau, �� 

Staatsgalerie Stuttgart, March 2-April 21, 1985. 

Alphonse Mucha : la collection Ivan Lendl�� 

�� 

Alternatives, 1989. Catalogue of the exhibition at Musée de la Publicité, Paris, 

Masters 1900 

Hutchison 

1989. 

�� 

�� 

�� 

�� 

by Harold F. Hutchison. New York 

2001. 

�� 

�� 

Leupin 

centuries of French posters�� 

Herbert Leupin : plakate, bilder, graphiken, �� Mele 

�� 

�� , 

Image de Mer 

�� 

I manifesti Mele : immagini aristocratiche della “belle époque” per un pubblico Paris, 1978. 

L’image de la mer, by Alain Weill.�� 

�� 

�� 

�� 

�� Livemont 

�� 

Nebehay 

Privat Livemont,�� Cortes, Napoli, October 22-November 30, 1988. 

�� 

, by 

Images of an Era 

�� 

�� 

, by John Garrigan. 

�� 

Menegazzi-I 

�� 

�� 

�� 

�� 

�� 

Negripub 

�� 

�� Editrice, 1975. 

Negripub : l’image des noirs dans la publicité, by Raymond Bachollet, Jean- 

�� 

�� 

Looping the Loop 

Menegazzi-II 

�� 

Imprimerie 

�� 

�� Il manifesto Italiano,�� 

Paris. 

Les cent plus belles images de l’imprimerie�� 

�� 

1989 (revised edition). 

�� 

Olympics 

Lopez 

Menegazzi-IV 

�� 

, by Monique 

Italia che Cambia 

�� 

�� by 

Il manifesto Italiano�� 

�� 

L’Italia che cambia : attraverso i manifesti della raccolta salce, ed. by Pepa �� 

�� 

�� 

�� 

PAI – Books of the auctions organized by Poster Auctions International, Inc. 

Ives 

Loupot 

�� 

�� 

PAI-I 

Pierre Bonnard : the graphic art,�� 

Charles Loupot�� 

Modern Poster 

Premier Posters. Auction held in New York City, March 9, 1985. 

�� 

�� 

�� 

The modern poster, �� 

�� 

Catalogue of the exhibition at the Museum of Modern Art, New York, June PAI-II 

�� 

Loupot/Zagrodzki 

6-September 6, 1988. 

�� 

Auction held in Chicago, November 10, 1985. 

Museum of Fine Arts, Boston, May 25-July 29, 1990. 

�� 

�� 

�� Moderno Francés 

PAI-III 

Johnson 

El cartel moderno Francés : el espectáculo está enel calle : Colin, Carlu, Poster lmpressions. Auction held in New York City, June 1, 1986. 

The modern American poster : from the graphic collection of the Museum of Magic 

Loupot, Cassandre�� 

Modern Art,�� 

�� 

the Colin, Carlu, Loupot and Cassandre exhibition at the Museo Nacional Centro PAI-IV 

1983. Catalogue of the MoMA sponsored exhibition at the National Museum of 

�� Maindron 

�� 

Prestige Posters. Auction held in New York City, May 3, 1987. 

�� 

by ��Moeller 

PAI-V 

Karcher 

Plakate fur den blauen Dunst�� 

�� 

Auction held in Universal City, California, November 22, 1987. 

�� 

, by Alain Weill. Maindron 1886 

Harenberg Kommunikation, 1983. 

�� 

�� 

, by Ernest 

PAI-VI 

New York, with a translation of text and the addition of an index). 

�� 

Monaco 

Gand Prix Automobile de Monaco posters : the complete collection: the art, the 

Poster Splendor. Auction held in New York City, May I, 1988. 

artists and the competition�� 

PAI-VII 

Poster Potpourri. Auction held in New York, November 13, 1988.

PAI-VIII 

Poster Treasures. Auction held in New York, May 7, 1989. 

PAI-IX 

Poster Palette. Auction held in New York, November 12, 1989. 

PAI-X 

Elegant Posters. Auction held in New York, May 20, 1990. 

PAI-XI 

Poster Passion. Auction held in New York, November 11, 1990. 

PAI-XII 

Poster Panache. Auction held in New York, May 5, 1991. 


PAI-XXXI 

Poster Power. Auction held in New York City, November 12, 2000. 

PAI-XXXII 

Dream Posters. Auction held in New York City, May 6, 2001. 

PAI-XXXIII 

Swank Posters. Auction held in New York City, November 11, 2001. 

PAI-XXXIV 

Poster Pride. Auction held in New York City, May 5, 2002. 

PAI-XXXV 

Posters Perform. Auction held in New York City, November 10, 2002. 

PAI-LIII 

Rare Posters. Auction held in New York City, May 1, 2011. 

PAI-LIV 

Rare Posters. Auction held in New York City, September 8. 2011. 

PAI-LV 

Rare Posters. Auction held in New York City, November 13, 2011. 

PAI-LVI 

Food & Wine. Auction held in New York City, February 12, 2012. 

Paillard 

�� 


Reisinger/Beijing 

�� 

�� 

xue chu ban she, 2002. 

Rennert/Weill 

Alphonse Mucha : the complete posters and panels, �� 

�� 

Riccione 

�� 

�� , by Jack Rennert. Milano 

�� 

Turismo, Riccione, July 16-August 21, 1988. 

PAI XIII 

PAI-XXXVI 

Paradis 

�� 

Poster Jubilee. Auction held in New York. November 10, 1991. 

Posters Persuasion.�� 

ed. by Jean-Charles 

�� 

PAI-XIV 

PAI-XXXVII 

�� 

Auction held in New York May 3, 1992. 

�� 

�� Parfum 

November 9, 2003. 

�� 

, by Marie-Christine Grasse. 

PAI XV 

�� 

Rarest Posters. Auction held in New York, November 8, 1992. 

PAI-XXXVIII 

Poster Style. �� 

Perier 

PAI-XVI 

Ils s’envolèrent�� 

Poster Parade. Auction held in New York, May 2. 1993. 

PAI-XXXIX 

exhibition held at LeBourget from the collection of Jacques Perier on the 100 

Poster Intoxication. �� 

PAI-XVII 

Poster Classics.�� 

PAI-XL 

Posters Excel. Auction held in New York City, May 1, 2005. 

PAI-XVIII 

Winning Posters�� PAI-XLI 

Matchless Posters. Auction held in New York City, November 13, 2005. 

PAI-XIX 

Prima Posters�� 

PAI-XLII 

Posters Charm. Auction held in New York City, May 7, 2006. 

PAI-XX 

Poster Panorama. Auction held in New York, May 7, 1995. 

PAI-XLIII 

Posters Va-Va-Voom. Auction held in New York City, November 12, 2006. 

PAI-XXI 

Timeless Posters. Auction held in New York, November 12, 1995. 

PAI-XLIV 

Winning Posters. Auction held in New York City, May 6, 2007. 

PAI-XXII 

Positively Posters. Auction held in New York City, May 5, 1996. 

PAI-XLV 

Top Posters. Auction held in New York City, November 11, 2007. 

PAI-XXIII 

Poster Delights. Auction held in New York City, November 10, 1996. 

PAI-XLVI 

Picture-Perfect Posters. �� 

PAI-XXIV 

Poster Pleasures.�� PAI-XLVII 

Posh Posters. Auction held in New York City, November 9, 2008. 

PAI-XXV 

Sterling Posters. Auction held in New York City, November 9, 1997. 

PAI-XLVIII 

Poster High. Auction held in New York City, May 3, 2009. 

PAI-XXVI 

Postermania. Auction held in New York City, May 3, 1998. 

PAI-XLIX 

Soaring Posters. Auction held in New York City, November 8, 2009. 

PAI-XXVII 

Poster Ecstasy. Auction held in New York City, November 8, 1998. 

PAI-L 

Poster Celebration. Auction held in New York City, May 3, 2010. 

PAI-XXVIII 

Poster Vogue. Auction held in New York City, May 2, 1999. 

PAI-LI 

Rare Posters.�� 

PAI-XXIX 

Posters for the Millennium.�� 

PAI-LII 

The Winter Sale. Auction held in New York City, February 13, 2011. 

PAI-XXX 

Poster Allure. Auction held in New York City, May 7, 2000. 

th 

Rickards 

Posters of the First World War�� 

Company, 1968. 

Ricordi 

�� 

by 

�� 

1967. 

Roberts 

�� 

by 

�� 

Anniversary of the Fédération Aéronautique Internationale, October 2005. Rogers 

A book of the poster�� 

Petite Reine 

�� 

, by Réjane Bergiel. Paris Salon des Cent 

�� 

�� 

�� 

�� 

Paris, May 31-September 23, 1979. 

�� 

�� 

Carnavalet, Paris, 1995. 

Phillips III 

The world of posters. �� 

Salon des Cent/Neumann 

1980, in New York. Text by Jack Rennert. 

�� 

, by Helen Biri Thomson, Patricia Eckert Boyer, 

�� 

Picasso Plakate 

Catalogue of the exhibition sponsored by the Foundation Neumann at the Musée 

�� 

�� 

�� 

�� 

Bordeaux, May 17-August 19, 2001. 

Czwiklitzer. 

Santé 

Plakat Schweiz 

�� 

�� 

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�� 

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Schardt 

�� 

Plakate München 

�� 

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�� 

�� 

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des plakats in München�� 

�� 

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Stadtmuseum, October 16, 1975-January 6, 1976. 

�� 

ship posters�� 

�� 

1987. 

�� 

�� 

Alternatives, 1991. 

Schoonbroodt 

Privat Livemont : entre classicisme et art nouveau, by Benoit Schoonbroadt. 

Publicidad 

�� 

�� 

�� 

Postermil, 1998. In two volumes. 

Schweizer Hotel 

�� 

�� 

Pyrénées 

Verlag, 1982. 

�� 

�� 

�� 

Sluiter 

�� 

�� 

Reims 

�� 

�� 

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retrospectives�� 

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CONDITIONS OF SALE 

Spectacle 

�� 

The Conditions of Sale in this catalogue, as it may be amended by any posted notice during the sale, constitutes the complete terms and conditions under which the 

Les arts du spectacle �� 

by Nicole �� 

by Florence 

items listed in this catalogue will be offered for sale. Please note that the items will be offered by us as agent for the consignor. 

�� 

�� 

�� 

Train/Favre 

Every potential buyer should read these Conditions of Sale and it will be agreed, acknowledged and understood by such buyer that said buyer has consented to each 

and every term and condition as set forth herein. 

�� 

�� 

�� 1. Authenticity and Terms of Guarantee. 

3. Transfer of title and property. 

�� 

�� 

�� 

Upon the fall of the auctioneer’s hammer, title to the offered lot shall pass to the 

Tumulte Noir 

as agent, warrants the authenticity of authorship of all lots contained in this �� 

Sportissimo 

Josephine Baker and La Revue Negre : Paul Colin’s lithographs of Le Tumulte 

catalogue as described in the text accompanying each lot. 

be required to pay the full purchase price. The purchaser shall assume full risk 

Sportissimo : cent ans de grandes et petites histoires du sport, by Françoise �� 

�� 

and responsibility for the lot purchased upon the fall of the auctioneer’s hammer. 

�� 

�� 

Poster Auctions International, at its option, may withhold delivery of the lots until 

the original buyer of record who returns the purchased lot in the same condition as funds represented by check have been collected or the authenticity of bank or 

Steinlen 

Van Caspel 

�� 

cashier checks has been determined. No purchase shall be claimed or removed 

Théophile-Alexandre Steinlen, �� 

�� 

�� 

of authorship, as set forth in the description in this catalogue as may have been until the conclusion of the sale. In the event Poster Auctions International shall, 

�� 

�� .��amended 

by any posted signs or oral declarations during the sale, is not correct for any reason whatsoever, be unable to deliver the lots purchased by the buyer, 

of the exhibition at the Amsterdams Historisch Museum, Amsterdam, June 

based on a reasonable reading of the catalogue and the Conditions of Sale herein. its liability shall be solely limited to the rescission of the sale and refund of the 

Steinlen’s Cats 

12-September 30, 1990. 

Any dispute arising under the terms in this paragraph will be resolved pursuant to purchase price and purchaser’s premium. 

Steinlen’s cats, �� 

�� 

�� 

Villemot 

Poster Auctions International disclaims all liability for damages, incidental, 

�� 

consequential or otherwise, arising out of its failure to deliver any lots purchased. 

�� 

�� 

the original purchase price, including the buyers premium, will be refunded. Poster Auctions International does not charge extra or sell separately any frame 

Suez 

In such case, Poster Auctions International and the purchaser shall be deemed �� 

�� 

�� 

Villemot/A to Z 

released of any and all claims that each may otherwise have had against the other is being offered for sale. Poster Auctions International shall not be responsible 

1987. 

�� 

�� 

arising out of the sale of such item. 

for any damage to the frame or to any poster within the frame. Generally, framed 

2005. 

posters offered for sale were received framed, photographed that way, and Poster 

Swiss Skies 

�� 

Auctions 

�� 

International 

�� 

can make 

�� 

no warranty 

�� 

or 

�� 

representations regarding the 

Conquering the skies in Swiss poster art�� 

Villemot/La Femme 

not assignable or transferable to any other person, whether by operation of law 

condition of the poster in unseen areas of any such frame. All items are sold strictly 

Patrick Cramer, 2008. 

�� 

�� or otherwise. Any assignment or transfer of any such warranty shall be void and 

as is and the purchaser assumes full risk and responsibility for the purchased lot 

�� 

unenforceable. The purchaser refers only to the original buyer of the lot from 

upon the fall of the hammer, as stated aforesaid. 

Takashimaya 

�� 

Poster Auctions International and not any subsequent owner, assignee, or other 

�� 

�� 

person who may have or acquire an interest therein. 

�� 

Voyage 

Museum of Essen, Germany, at the Takashimaya Art Gallery, Nihonbashi, L’invitation au voyage�� 

It is understood, in the event of disputed authenticity of authorship of any lot 

Tokyo, April 18-May 7, 1985. 

results in a rescission of the sale and restitution of the original price and premium 

Wagner 

paid by such purchaser, stated aforesaid, such restitution is buyer’s sole remedy 

and Poster Auctions International disclaims all liability for any damages, 

Le Tennis 

Toulouse-Lautrec and his contemporaries : posters of the Belle Epoque from 

incidental, consequential or otherwise, arising out of or in connection with any 

�� 

�� the Wagner collection�� 

sale to the buyer. 

Michel, 1986. 

Angeles County Museum of Art, 1985. Catalogue of the exhibition at the Los 

All lots shall be paid for and removed at the purchaser’s risk and expense by noon 

of the second business day following the sale. Lots not so removed will, at the 

sole option of Poster Auctions International and at purchaser’s risk and expense, 

�� 

a licensed warehouse for storage. Purchaser agrees, in either event, to pay all 

shipping, handling and storage fees incurred. In the case of lots stored at Poster 

Auctions International’s own warehouse, the handling and storage fee will be an 

amount equal to 2% of the purchase price for each such lot, per month, until 

removed, with a minimum charge of 5% for any property not removed within 

Angeles County Museum of Art, April 9-June 16, 1985. 

thirty days from the date of the sale. 

Poster Auctions International has provided as much background information for 

Tennis Posters 

each item listed in this catalogue as possible and has made reasonable efforts to 

�� 

�� 

Weill 

�� 

In addition, Poster Auctions International shall impose a late charge, calculated at 

�� 

The poster : a worldwide survey and history, �� disclaims any warranty with regard to such descriptions and statements which 

the rate of 2% of the total purchase price per month, if payment has not been made 

1985. 

accompany the listings in this catalogue, including but not limited to, the year 

in accordance with these Conditions of Sale. 

Théâtre Avant-Garde 

of publication, the size, the condition, the printer, the references or any other 

Artistes et théâtres d’avant-garde : programmes de théâtre illustrées, Paris Wember 

background information or fact. Accordingly, buyer has due notice that any such 

�� 

�� 

�� information and/or descriptions cannot and will not be considered as material 

the exhibition of the Samuel Josefowitz collection at the Musée de Pont-Aven, 1961. 

facts to this transaction and will not affect any sales herein. 

June 27-September 27, 1992. 

Wine Spectator 

On the fall of the gavel, THE SALE IS FINAL. 

Theaterplakate 

Posters of the Belle Epoque : the Wine Spectator collection, by Jack Rennert. 

Theaterplakate : ein internationaler historischer uberblick, by Hellmut 

�� 

All items are sold AS IS. 

�� 

Wittrock 

The consignor warrants good title to the buyer. Poster Auctions International and 

the consignor make no representations or warranty that the buyer acquires any 

Timeless Images 

Toulouse-Lautrec : the complete prints, �� 

reproduction rights or copyright in items bought at this sale. 

Timeless images�� 

Sotheby’s, 1985. 

Poster Auctions International may, on the day following the sale, remove all 

�� 

�� 

agrees that Poster Auctions International may, at its discretion, use purchaser’s 

name as buyer of the item sold. If the purchaser fails to comply with one or 

more of these Conditions of Sale, then, in addition to any and all other remedies 

which it may have at law or in equity, Poster Auctions International may, at its 

sole option, cancel the sale without notice to the buyer. In such event, Poster 

Auctions International shall retain as liquidated damages all payments made by 

the purchaser, or sell the item and/or lots and all other property of the purchaser 

held by Poster Auctions International, without notice. Such liquidation sale shall 

Catalogue of the exhibition at the Isetan Museum of Art, Tokyo, October 10-23, 

be at standard commission rates, without any reserve. The proceeds of such sale 

Any statements made by Poster Auctions International, whether in this catalogue 

�� 

Wobmann 

�� 

�� 

�� 

by Karl Wobmann 

the purchaser’s breach, and then to the payment of any other indebtedness owing 

opinion only and not warranties or representations of material facts as to each and to Poster Auctions International, including, without limitation, commissions, 

Toujours Plus Haut 

�� 

every transaction herein. 

handling charges, the expenses of both sales, reasonable attorneys fees, collection 

�� 

�� 

agency fees, and any other costs or expenses incurred there-under. The purchaser 

�� 

�� Word & Image 

2. Auctioneer’s Discretions. 

here by waives all the requirements of notice, advertisement and disposition of 

�� 

Word and image : posters from the collection of the Museum of Modern Art, by 

Poster Auctions International has absolute discretion to divide any lot, to combine 

proceeds required by law, including those set forth in New York Lien Law, Article 

�� 

�� 

any of them, to withdraw any lot, to refuse bids and to regulate the bidding. Poster 

�� 

�� 

Auctions International reserves the right to withdraw lots at any time prior to or 

pursuant to this section. 

Tourism/Suntory 

Museum of Modern Art, New York, January 25-March 10-1968. 

during the sale. The highest bidder acknowledged by the auctioneer will be the 

Tourism in posters�� 

purchaser of the lot. Any advance made on an opening bid may be rejected if the 4. Buyer’s Premium 

Suntor Museum, 1997. Catalogue of the exhibition at the Suntory Museum, 

Osaka, September 10-October 26, 1997. 

D’Ylen 

auctioneer deems it inadequate. In the event of any dispute between bidders, or in A premium of 20% will be added to the successful bid price of all items sold 

Jean d’Ylen, by Anne-Claude Lelieur.�� 

by Poster Auctions International. This premium shall be paid by all purchasers, 

�� 

decision either to determine the successful bidder or to re-offer and re-sell the lot without exception. 

in dispute. If any dispute arises after the sale, the auctioneer’s sale record shall be 

deemed the sole and conclusive evidence as to the purchaser of any lot or item.

5. Order Bids 

9. Notices and jurisdiction. 

Poster Auctions International shall make reasonable efforts to execute bids for (a) All communications and notices hereunder shall be in writing and shall be 

�� 

�� 

to attempt to purchase the item desired at the lowest price possible, up to the limit 

indicated by purchaser in writing as if the purchaser were in attendance. Poster 

Auctions International shall not be responsible for any errors or omissions in this 

matter. Poster Auctions International reserves the right not to bid for any such 

�� 

601 WEST 26TH ST., SUITE 1370, NY, N.Y. 10001 / T: (212) 787-4000 / F: (212) 604-9175 / E: info@posterauctions.com / www.posterauctions.com 

� �� 

� �� (Seller) 

�� 

�� 

discretion. An Order Bid Form shall be provided on request. 

� �� (Seller) 

6. Sales Tax 

Unless exempt by law, prior to taking possession of the lot, the purchaser shall be 

required to pay the combined New York State and local sales tax, or any applicable 

compensating tax of another state, on the total purchase price. 

7. Packing and shipping 

Packing and/or handling of purchased lots by Posters Auctions International 

is performed solely as a courtesy for the convenience of purchasers. Unless 

otherwise directed by purchaser, packing and handling shall be undertaken at the 

sole discretion of Poster Auctions International. Poster Auctions International, at 

its sole discretion as agent of the purchaser, shall instruct an outside contractor to 

act on its behalf and arrange for or otherwise transport purchased lots. Charges 

for packing, handling, insurance and freight are payable by the purchaser. Poster 

Auctions International shall make reasonable efforts to handle purchases with 

care, but assumes no responsibility for damage of any kind. Poster Auctions 

International disclaims all liability for loss, or damages of any kind, arising out 

of or in connection with the packing, handling or transportation of any lots/items 

purchased. 

DESCRIPTION OF THE POSTERS 

All posters are lined, whether on linen or japan paper, unless otherwise indicated. But 

please note that posters received in frames are not inspected out of their frames and 

therefore no warranty can be made about them. 

All photos are of the actual poster being offered for sale. A close look at the photo and 

a reading of the text should enable the buyer who cannot personally examine the item 

to make an intelligent appraisal of it. 

� �� 

601 W. 26th Street 

New York, New York 10001 

or to such other address as either party hereto may have designated to the other 

by written notice. 

(b) These Conditions of Sale contain the entire understandings between the parties 

and may not be changed in any way except in writing duly executed by PAI and 

buyer. 

�� 

I. Artist’s name. 

Unless otherwise indicated, the artist’s name, mark or initials appear on the poster. 

�� 

ADDRESS 

may be some slight blemish or tear, but this is very marginal and not noticeable. 

�� 

CITY 

there may be some slight dirt, fold, tear or bubble or other minor restoration, but 

most unobtrusive. 

TEL: Home: ( ) 

STATE 

�� Fax: ( ) 

ZIP 

2. Year of the Poster. 

The year given is that of the publication of the poster, not necessarily the date of the 

event publicized or the year that art for it was rendered. 

�� 

�� 

loss, but not in the image or in any crucial design area. If some restoration, it is 

Email Address 

not immediately evident. The lines and colors are good, although paper may have 

yellowed (light-stained). B+ designates a poster in very good condition. B– is one 

BANK: Name 

in fairly good condition. The latter determination may be caused by heavier than 

3. Size. 

normal light-staining or one or two noticeable repairs. 

Address 

�� 

�� 

sheet, not just the image area. 

�� Account Number 

paper loss occurs. But the poster is otherwise intact, the image clear, and the colors, 

�� 

�� 

Unless otherwise indicated, the name of the printer is that which appears on the face of 

the poster. It should be kept in mind that frequently the establishment credited on the 

poster is, in fact, an agency, studio or publisher. 

though possibly faded, still faithful to the artist’s intent. 

Credit Card# Exp. V-Code 

�� 

�� 

ORDER BID 

�� 

TELEPHONE BID - Telephone number where you can be reached on Sunday, May 6, 2012: 

The above condition ratings are solely the opinion of Poster Auctions International, and are 

5. Condition of the Poster. 

�� 

Call me at: 

themselves as to the condition of the posters. Any discrepancy relating to the condition of a 

�� 

poster shall not be considered grounds for the cancellation of a sale. 

in mind that we are dealing, in many cases, with 50 to 100-year-old advertising paper. 

�� 

�� 

The standards of the print collector cannot be used. Prints were, for the most part, 

�� 

Framed Where a poster is framed, this is indicated. In many cases, we have photographed 

Lot # Artist Title BID 

(excluding premium) 

a print sleeve or cabinet. A poster, for the most part, was printed in a large format, on 

the cheapest possible paper, and was meant to last about eight weeks on the billboards. 

the poster in the frame and the dimensions given are those which are visible within 

the matting or edges of the frame. 

$ 

Most important to the condition of a poster — not eight weeks but often eighty years �� 

� 

$ 

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6. Bibliography. 

still clearly expressed? If so, it is a poster worth collecting. 

An abbreviation for each reference (Ref) is given and can be found in the complete 

While details of each poster’s condition are given as completely and accurately as Bibliography. The reference is almost always to a reproduction of that poster. If a 

possible, blemishes, tears or restorations which do not detract from the basic image �� 

and impact should not seriously impair value. 

it refers to a poster or plate number. Every effort has been made to refer to books that are 

authoritative and/or easily accessible. 

$ 

$ 

$ 

7. Pre-Sale Estimate 

These estimates are guides for prospective bidders and should not be relied upon 

as representations or predictions of actual selling prices. They are simply our best 

judgment of the fair market value of that particular poster in that condition on the date 

it was written. 


ABSENTEE BID FORM 

Please bid on my behalf on the following lots up to the price shown. I understand that all bids are subject to the Conditions of 

Sale which are printed in the Catalogue. 

Poster Auctions International will make every effort to execute bids for those not able to attend and act on the prospective 

(c) These Conditions of Sale shall be construed and enforced in accordance with 

�� 

the laws of the State of New York. 

as if the purchaser were in attendance, but Poster Auctions International cannot be responsible for any errors or omissions in 

(d) No waiver shall be deemed to be made by any party hereto of any rights 

this matter. Poster Auctions International may reserve the right not to bid for any such party if the order is not clear, does not 

hereunder, unless the same shall be in writing and each waiver, if any, shall be 

�� 

�� 

impair the rights of the waiving party or the obligations of the other party in any 

other respect at any other time. 

(e) The provisions of these Conditions of Sale shall be binding upon and inure 

�� 

applicable sales tax. Unsuccessful bidders will not be informed but may telephone for sales results. 

�� 

8. Reserves. 

successors and assigns of the parties hereto. 

�� 

which the lot will not be sold. Poster Auctions International may implement the (f) The Conditions of Sale are not assignable by either party without written 

reserve by bidding on behalf of the consignor. The consignor shall not bid on �� 

consignor’s property. 

which arise under these Conditions without such permission will be void. 

(Signed) 

Date 

NAME 

C U T A T P E R F O R A T E D E D G E POSTER AUCTIONS INTERNATIONAL, INC. 

$ 

$ 

$

YES, you CAN 

be with us on May 6. 

If you cannot attend our New York sale in person, you can nonetheless take advantage 

of these rare offerings. 

BID by MAIL, FAX, or PHONE or 

�� 

�� 

�� 

Friday, May 4. 

You may indicate an “either-or” bid if you want to purchase only a portion of the items on your 

wish list. You may also indicate a maximum total dollar amount. We execute your bid on your 

behalf at the lowest price possible. 

�� 

can reach you on Sunday, May 6�� 

To register to bid online, please visit our website: www.posterauctions.com. 

�� 

We execute your bid on your behalf at the lowest possible price. 

�� 

�� 

REMINDER: 

You can view all the posters at 

THE INTERNATIONAL POSTER CENTER 

601 W. 26th Street, Suite 1370, New York City 

from April 20 to May 5. 

Hours: 9-5 Monday to Friday; 11-6 Saturday and Sunday. 

��

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