Condition: B-/ Tears, primarily at edges & in text panel; slight creasing.
In operation from 1897 to 1934, Martini was a pioneer of Swiss automobile manufacturing. In this rare image by Cardinaux, the artist visually equates the brand with the sure-footedness and dexterity of a mountain goat, speeding around narrow turns and perilous cliffs.
One of Mucha's most personable young ladies, her hair cascading irrepressibly in fine style, is offering a dish of wafers ... The design of the girl's dress incorporates sickle and wheat emblems . . . appropriate to the subject (Rennert/Weill, p. 113). This is the original version with the 1897 calendarium.
“Cappiello, steeped in theatrical tradition from his years as a stage caricaturist, often chose pierrots, harlequins, or clowns to represent various products. Here, in one of his most inspired designs, the clown embodies the spirit of the orange peel, a zesty ingredient in [Bitter Campari]. This image has become one of the classics of poster design, effortlessly combining the element of surprise with the essence of the product” (Cappiello/Rennert, p. 214). This is the smaller, one-sheet format version of the poster.
Condition: B+/ Slight stains and creases near edges. Framed.
Come to the cabaret, old chum. Life is a cabaret. A doffing of the top hat and an enthusiastic hurrah from the elegant couple announces the Bonbonniere as Munich's cabaret-of-the-moment at the beginning of the Weimar period.
At first glance, it appears as if the anonymous artist commissioned to provide promotional material for the Burroughs Class 2, high-keyboard adding machine has given us a cutaway view in order to better appreciate the inner-workings of the banking and business staple. However, the construction of these machines included glass sides that allowed the mechanism to be seen and appreciated by buyers. As a bank clerk in Auburn, New York, William Seward Burroughs (1857-1898) became convinced that banks needed a machine that would add figures accurately and print entries and sums. In 1882, he moved to St. Louis, took a job in a machine shop, and began tinkering. By 1891, he had several patents and an adding machine sufficiently reliable for use in banks. It was sold by a firm called American Arithmometer Company, later renamed Burroughs. The Burroughs Corporation would remain an active manufacturer of calculating machines and then computers. In the 1980s it merged with Sperry Univac to form Unisys. And in conclusion, a final bit of trivia: the term "T Totaller," used to describe a formal, precise person who stays away from the consumption of alcohol, originates from bankers who used the Burroughs Class 2 machines, which had a key on the keyboard that was marked "T Total.
"During his Czech period, Mucha did not involve himself in any commercial projects, but produced several posters for various good causes he believed in. This is a prime example of such work, a poster for the Czechoslovak YWCA ... The main purpose of this new branch of the international YWCA was to build a home for unwed mothers and to promote the movement in the newly-founded country" (Lendl/Prague, p. 287). This is the small format version of the design.
Carlos Machado was a dancer in Parisian variety shows during the '20s and '30s, notably performing in several acts with the radiant Mistinguett. This sinuous Deco design, one of the most unique of the period, curves Machado's leg into an emblematic C shape. Madrazo created numerous entertainment posters, all of which exude a similar elegant magnetism through sparse, fluid use of line and color.
Founded by a group of local vintners in 1838, under the name "Company of the Vineyard Owners of Cognac," Cognac Monnet did not obtain its current name until 1897 when Jean-Gabriel Monnet became the owner of the society. Here, the slogan "sunshine in a glass" is interpreted quite literally by Cappiello, as a Bacchus-like nymph expresses adoration for the beverage.
A cozy still life, the bottle and glass glowing warmly against subdued tones of brown and red, makes an inviting 2-sheet advertisement for Campari. There’s something deliberately precarious about the arrangement and perspective that creates just enough tension to further hold our attention. Nizzoli was a most versatile artist, being a painter, decorator, textile designer and posterist. Many of his posters were for automobile companies. In 1938, he joined Olivetti and was responsible for some of the finest images in the 1940s and ‘50s. This is the larger format.
A powerful, Cassandre-inspired design for the Danish State Railway: out of a misty night, a red train comes toward the viewer, haloed by a red speedometer indicating its formidable speed. This is the English-language version of the poster.
Condition: Hand-signed gouache and crayon artwork on paper. Framed.
A modest, yet boldly dressed Spanish woman poses in her silk mantones de Manila-so-called because the embroidered-and-fringed shawls were shipped to Spain from China via the port of Manila. These shawls fell out of fashion as a staple of women's wardrobes during the mid-to-latter-nineteenth century, but the popularity of Carmen during the early-twentieth created a renewed interest in the accessory. Here, however, we're presented with the real deal: a confident Andalusian beauty quite simply comfortable in her native wardrobe, not to mention her own skin. An understated elegance pervades the Cappiello portrait, an unforced fondness that would seem to indicate an affinity between artist and subject. Much has been made, can be made and will continue to be made over Cappiello's significance to the world of advertising. But rarely do you ever hear anyone expound on his virtues as a fine artist working outside the medium of lithographic promotion. However, it's difficult not to notice his artistic authority in this portrait.
In this charming poster for a musical pantomime at the Folies-Bergère, Chéret shows actress René Maizeroy in Dutch costume, complete with wooden shoes, cavorting alongside the sea with a lightly-sketched Pierrot holding up the titular mirror.
One of three designs that Loupot created for Canton Furriers in Lausanne, this image of a fur-swaddled, ivory-skinned woman with a bee-stung pout first appeared in 1924 (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 20 Rue de Bourg address, printed from the same lithographic stones as the original. Asked why the black background was replaced by blue over time, the current chief of operations, Richard Canton, revealed that blue provided better visibility during the winter months.
Although the slogan reads “I only smoke Nil,” Nil isn’t actually a cigarette, but rather a brand of cigarette rolling paper. Nil claimed to be as “tough as an elephant’s hide,” which is how the company’s spokespachyderm came to be. So this was an easy marriage between product and posterist, seeing as the elephant was a favorite Cappiello attention-getter. The Joseph Bardou company introduced Nil to the public in 1887.
A centennial celebration of Lenin's birth was, as with most things of the Communist Party, ubiquitous during 1970. The prolific Soviet propaganda posterist Victor Ivanov was in his formative years when Lenin began leading the Bolshevik Revolution, and had spent his entire life in Moscow. So he created this two-sheet, life-size poster of the Communist leader with enthusiasm in 1968, a full two years before the centennial celebrations. It was one of his last creations. He died that year. The artist's signature is at lower right.
M. Stéphane's rare, brilliant, and futuristic design elevates the humble ball bearing to its rightful place: ball bearings, in fact, are the spheres upon which the entire Earth turns. Other planets look on with envy; comets blaze past; and a beautiful, nude Muse lies back in dreaming repose, confident in the knowledge that MAB-brand ball bearings spin the gears that crank the Cosmos
Condition: A-/ Very slight tears at edges. Framed.
With the trademark sophistication and refinement for which his celebrity portraits were known, Van Caulaert paints Mistinguett in her rags-to-riches street urchin personae for an appearance in ça cest Parisien at the Théatre Mogador.
“This poster is one of the artist’s first works to follow his standard archetype. It advertises the twentieth exhibition of the group of artists who exhibited at the premises of the art journal La Plume. The members were famous Parisian artists: Toulouse-Lautrec, Bonnard, Steinlen, Ensor, Grasset, Rassenfosse, and the American Louis Rhead. Mucha’s ambition was to become a member of the group, and he succeeded with this poster, which attracted the attention of the gallery owner, Léon Deschamps. [He] visited Mucha in his studio while he was designing the poster. Fascinated by what he saw, he persuaded Mucha to print it in this unfinished version, according to the artist. Mucha agreed, and the publisher’s feeling, that this lightly outlined, impressive poster would make Mucha famous, proved to be correct” (Mucha/Art Nouveau, p. 156).