Condition: A- / Slight tears at top and bottom edge.
René Vincent virtually invented auto advertising for the moneyed elite, with an elegant and precise line extending from the machinery to the women he drew. In this ad, as in so many since, we can see the wealthy couple leading the children to the back seats in the new family sedan. "See all Ford agents for the latest Ford creation: new line, elegance and indisputable chic, refined comfort, and mechanical improvements for all models." The bright burst of golden leaves, matching the wife's coat, supplants an exhaust plume with clever placement. Together with the Racing Green of the car, it's as a superb visual shorthand for "top-down fun from Spring to Fall." Strikingly, this French advertisement doesn't name the car: we suspect it's the 1928 Model A Convertible.
One of three designs that Loupot created for Canton Fourrures in Lausanne, this image of a fur-swaddled, ivory-skinned woman with a bee-stung pout first appeared in 1924 (see PAI-LIII). 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 overtime, the current chief of operations, Richard Canton, revealed that blue provided better visibility during the winter months.
Villon's celebrated design promotes Guinguette Fleurie—noted below as "The Flower of the Singer-Poets"—at the Manège Central, a Montmartre music hall that was formerly a riding school. Villon was an important figure in the history of Modern art and a quintessential figure in the bohemian scene of Fin-de-Siècle Paris. A Cubist painter, illustrator and filmmaker, he created only six posters—all graced by his superb drawing skills and observation of character. We fancy that the small bearded figure in the distant background of this poster is a self-caricature.
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 posturist, seeing as the elephant was a favorite Cappiello attention-getter. The Joseph Bardou company introduced Nil to the public in 1887.
“By 1893 if there were any doubts that there was a printmaking renaissance and that lithography dominated this general print revival, those doubts were quieted forever by a new publication entitled L’Estampe Originale... From March 1893 to early 1895, in collaboration with [critic] Roger Marx, [André] Marty published... a series of quarterly albums of ten prints each (except for the last which contained fourteen prints) in the media of etching, drypoint, mezzotint, woodcut, wood engraving, gypsography and lithography. In all, the publication encompassed ninety-five prints by seventy-four artists representing the young avant-garde such as Lautrec and the Nabis, as well as their established mentors including Gauguin, Puvis de Chavannes, Redon, Chéret, Whistler, Bracquemond and Lepère. L’Estampe Originale offers a remarkable cross-section of the most advanced aesthetic attitudes in fin de siècle French art” (Color Revolution, p. 22). Marty felt that Lautrec “deserved ‘a place of honour in the golden book of the modern print’... [and he] accorded Henri exactly that place, using him as the artist for the cover of the first issue” (Frey, p. 323). Lautrec shows us his favorite model, Jane Avril, at his favorite lithographic workshop, Ancourt, studying a proof pulled by Père Cotelle, the experienced printer at the Bisset press behind her.
That sneaky grin of pleasure says it all: you'll steal a little time for the delightful taste of this strawberry liqueur, whether mixed with white wine, vermouth, champagne, or seltzer—your train tickets and the conductor be damned.
Condition: Signed gouache and ink maquette. Framed.
This maquette from Colin was never used for a poster—nor did he make any similar posters that might illuminate this work. However, it's possible to deduce that it was likely meant to become a promotion for the 1931 Paris Colonial Exhibition, which attempted to display and celebrate the diversity of cultures throughout France's colonies; the three faces depicted here may illustrate France's international reach. However, it was not used—perhaps it seemed too reproachful to the exposition's organizers? In any case, it is a great example of Colin's esteemed compositional acuity, as well as his inclusive nature.
Condition: Overall excellent condition with slight stains at edges.
This 30-page complete program includes a supplement of Toulouse-Lautrec's Ambassador in color, and music sheets of Aristide Bruant's top songs. It contains 140 songs and poems in total, with illustrations by Barrère, Fau, Grandjouan, Léandre, Métivet, Morin, Steinlen, Toulouse-Lautrec, and Willette.
Cherry-flavored with a hint of quinne, Maurin's aperitif was only recently reintroduced to French and international markets-more than a century after fading into obscurity the year this poster was printed. Referencing the infamous green fairy imagery commonly associated with absinthe, this green devil is one of Cappiello's most famous characters. This is the smaller, one-sheet version of the poster.
Christened in 1925, the Maréchal Lyautey joined the fleet of ships owned by the Navigation Paquet company, who specialized in developing service from Europe to the Mediterranean and West Africa. Ponty presents a sharp and angular Deco design—the only organic shapes are the subtle whorls of the sea.
Condition: A- / Slight creases in bottom text area.
The Russian (abstract expressionist and Constructivist) influence is palpable in this outstanding Art Deco dance poster, in which the dancers' bodies seamlessly fuse into the precise ideals of Euclidean geometry: parallel lines, circles, and arcs, held within a cantilevered tension, a crescent moon, and a red isosceles triangle. The dance duo is unknown; there's a chance that Stone is Bentley Stone, the famous choreographer, dancer, and teacher who toured extensively in the 1930s and 1940s.
The classic design appeared with several variants of text at the bottom, this being the version with the ship’s name emblazoned over its ports of call, with the added reminder that these are "de luxe ships" in a class all their own—but we would have known that from Cassandre's image alone.
Lassoing time with electrical cables, this nude muse promotes Orario Cooperativo, a monthly publication of Italy’s tram and railway schedules and routes. This is the in-store advertising display version of the poster.
Paris-Almanach is one of De Feure's most collectable posters. Look carefully at the fine gradations of skin tones on our Parisian tourist's face, or "brush your hands" against the textured fox-fur fringe of her cloak. Her vibrancy, and her look of sagaciousness, is in direct contrast to the grayscale, cold, and aloof crowd behind her. One gentleman looks over, stunned by her shine. She is enlightened, because she has read "Paris-Almanach," a tourist guide to the City of Light, just as the city was being illuminated.
Along with Hohlwein and Fries, Krotowski's elegant designs dominated the early days of PKZ's advertising. Here, the clothier is represented by a dapper gentleman, perfectly dressed and accessorized for a fashionable day in the park.
This lovely silver plate from Mucha's heralded 1901 "Documents Décoratifs" is a prime example of the artist's poetic universe. Gabriel Mourey wrote that this universe is "...a garden inhabited by beautiful women of languorous grace, with unspoiled nature in their glances; a garden in which the shrubbery sparkles with stars and flowers, in which cascades of precious stones fly by, in which clouds of artificial perfumes create a deliciously enervating atmosphere and strange fairy palaces suddenly shoot up, their splendor doubled by their reflection in the lakes" (Mucha/Style Book, Foreword).
Condition: B- / Slight tears and stains at folds and seams.
A maiden of the Austrian Secession plunges through bubbles in this banner for Richardsquelle mineral water—an odd name for fizzy water from the Bohemian town of Lazne Kynzvart; the spring was named for Prince Metternich's son.
The drawing of a woman admonishing her dog appears only half-finished, with the right side remaining 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 color” and feels that although he was part of the Nabis group, “his adoption of a more relaxed and lyrically sensuous approach” set him apart from that fraternity (Ives, p. 6). This charming invitation is surely one of the finest and most sensitive lithographs of Bonnard and of the entire Salon des Cent series.
Over a ten year period, Chéret created more than a dozen different designs for this lamp oil company. Each consists of a single woman delicately turning on a lamp, making the most mundane of tasks suddenly appear terribly romantic and intimate.
The family likeness is clear in this triple portrait of the Sells Brothers, one of the first big touring circuses in the U.S. In 1862, they created a circus. It failed. Then they worked in auctions, following circuses around to take advantage of the crowds to sell their merchandise. They were the Sells Brothers, after all. After taking an interest in Cannonball George Richards, one of the first Human Cannonball acts, they grew their traveling circus from 1872 to 1895, but faced increased competition from Adam Forepaugh and Barnum & Bailey. This poster, toward the end of their reign, attests that they are "sole proprietors" in a burst of family bootstraps pride; two years later, the Sells Brothers would merge with Forepaugh.
“The Irish American Bar at 33 rue Royale was furnished in gleaming mahogany, and had a Chinese-Indian bar-keeper called Ralph, who with stoical calm served the British jockeys and trainers and local coachmen who frequented the bar. Here, too, the florid figure of Tom... the Rothschild’s coachman, a particular favorite with Lautrec for his supercilious manner... is visible among the customers being served by Ralph with a special concoction” (Adriani, p. 196). It was also a favorite haunt of Lautrec’s, as he “let people know he could be found every afternoon in a certain bar. For several years from 1894 onwards, it was the Irish and American Bar. ...There, it is said, [Lautrec] presided over the clients in the bar as he had over his house guests, insisting to Ralph... that people he didn’t like not be admitted” (Frey, p. 390). This is the finest specimen we have ever seen!
Little is known about this image outside of a brief reference in the December 1900 issue of The Poster, wherein it was shown without text, and yet identified as an advertisement for Tropon Chocolade. Described as a ‘window-bill,’ one can assume this was an in-store display and not ever a street poster, tantalizing young mothers to purchase Tropon hot chocolate for their children. From a scientific perspective, Tropon-Chocolade is actually an old way of making hot cocoa by blending it with a water-soluble protein derived from fish and animal flesh.