Artist: FRANZ VON STUCK (1863-1928) Size: 15 3/4 x 28 1/2 in./50 x 72.5 cm Condition: A. Printer: Wolf u. Sohn, München Reference: Ref: DFP-III, 3212 (var); Wember, 745; PAI-LXVII, 554 Key Words: Secession
Kunstausstellung / (Secession) / Krefeld. 1905. In 1893, Franz von Stuck cofounded the Munich Secession, extensively influencing artists of the period not only through his work for the group, but also as a frequent contributor to Jugend magazine. He created several of the Secession posters, including this design of Athena – a symbol for the movement – that was used for the first Secession exhibition in 1893, and for many years thereafter.
Artist: JULES CHÉRET (1836-1932) Size: 33 x 97 1/2 in./89 x 247.5 cm Condition: A-/ Unobtrusive folds. Printer: Imp. Chaix, Paris Reference: Ref: Chéret, 491; Broido, 374; PAI-LXV, 203 Key Words: Art Nouveau; Winter Sports; Artist: Chéret
Palais de Glace. 1900. The tallest – and possibly the finest – of the five Palais de Glace versions in this auction. The lass in the striped dress is captured in multiple spirals of motion – skates pirouetting, skirts whipping round – at the moment of a candid flirtation with the gentleman behind. He has lightly grasped her hand: have they just met? Are they longtime partners mugging their affection for the artist's eye? The effervescence of this design, and its quick dashes of coloration, make it clear that Chéret wanted to create something special for the Turn of the Century. This is the large, two-sheet version of this poster.
Artist: LOUIS GALICE (1864-1935) Size: 33 3/4 x 48 7/8 in./85.6 x 124 cm Condition: A. Printer: Affiches Louis Galice, Paris Reference: Ref: PAI-LI, 326 Key Words: Circus; Horses
Cirque d’Hiver. ca. 1890. Louis Galice was a noted chronicler of the Montmartre scene, and this is one of his most famous posters: for good reason. It's a perfect balancing act between charm, amazement and downright mayhem at the Cirque d'Hiver, the oldest permanent circus in the world – a favorite of Toulouse-Lautrec's, and still operational today! The raven-haired equestrienne, impossibly balanced on the rump of her black stallion, thoroughly steals the show.
Artist: ANONYMOUS Size: 30 1/8 x 39 3/8 in./76.5 x 100 cm Condition: A-/ Unobtrusive folds. Printer: Strobridge, Cincinnati Reference: Ref: Phillips VIII, 9 Key Words: Circus; Horses
Adam Forepaugh & Sells / Enormous Shows United. 1894. A ballerina on a charging white stallion? Yes, that's a perfect metaphor for the Forepaugh & Sells United Shows. It's a frequent motif in circus promotion, but seldom done with such nonchalance: a famous poster as a result.
Artist: HENRI DE TOULOUSE-LAUTREC (1864-1901) Size: 19 1/2 x 25 3/4 in./49.5 x 65.4 cm Condition: A. Printer: Reference: Ref: Wittrock, 155-III; Adriani, 177-IV; Wagner, p. 30; DFP-II, 842; Reims, 782; Driehaus, p. 115; PAI-LXXIII, 461 Key Words: Art Nouveau; Artist: Toulouse-Lautrec
Elles. 1896. This poster announces Lautrec's Elles collection, his famous brothel series, an edition of lithographs depicting prostitutes simply referred to as Elles (Them). This ambiguous title both recalls the common phrase ces dames (these ladies), and at the same time is the pronoun indicating all females. Although the women of the Elles series are prostitutes, they appear desexualized, shown in postures that emphasize the everyday and unglamorous nature of their occupation. In this instance, putting her hair back up after finishing with a client; the only indication that a man is even in the room is his top hat resting gingerly on her bed. It was the pictorial epilogue to what the artist had experienced in the maisons closes of the rue des Moulins, the rue d’Amboise, and the rue Joubert. ‘They’ are ‘women to my liking,’ as he used to say, 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.
Artist: HENRI DE TOULOUSE-LAUTREC (1864-1901) Size: 36 3/4 x 50 1/2 in./93.3 x 128.3 cm Condition: A. Printer: Imp Edw. Ancourt, Paris Reference: Ref: Wittrock, P16B; Adriani, 130-II; Driehaus, p. 117; PAI-LXXIV, 452 Key Words: Art Nouveau; Winter Sports; Artist: Toulouse-Lautrec
La Revue Blanche. 1895. "This official poster for La Revue Blanche is considered by many to be Lautrec's strongest individual work. In it, using a combination of economical line and implied movement, large flat areas of color and carefully 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-Point des Champs Elysses by Jules Roques in 1894. The entire poster is like a little joke, as if Lautrec were amusing himself by proving that he could show an ice-skater without ever showing her skates" (Frey, p. 408).
Artist: HENRI DE TOULOUSE-LAUTREC (1864-1901) Size: 33 x 47 5/8 in./84 x 121 cm Condition: A-/ Slight tears at edges. Printer: Imp. Chaix, Paris Reference: Ref: Wittrock, P12B; Adriani, 58; DFP-II, 832; PAI-LXIX, 673 Key Words: Art Nouveau; Literary; Artist: Toulouse-Lautrec
Babylone d’Allemagne. 1894. The subject is a book exposing the decadence of Berlin society, written by Lautrec’s friend Victor Joze. His “poster focuses the spectator’s attention on the hindquarters of four horses, the largest of which [is] also being closely observed by a caricature of the Kaiser standing in a guardbox. The implications of this, along with the book’s title, provoked a protest from the German ambassador to France and nearly caused an international incident. Joze, too, wrote Lautrec asking for him to withdraw the poster, as he felt the depiction of a German officer, together with the anti-German tone of the book, would not be tolerated by the police and could get him in trouble. Lautrec, however, refused to stop distribution of the poster, and as he had paid for it [himself], the publisher was not able to stop the distribution. [Thereafter], according to art dealer Edmond Sagot, the value of [Lautrec’s] work quadrupled” (Frey, p. 398).
Artist: PAUL COLIN (1892-1986) Size: 46 x 61 3/8 in./116.6 x 55.8 cm Condition: B/ Slight tears and stains at folds. Printer: H. Chachoin, Paris Reference: Ref: Colin Affichiste, 117; Crouse/Deco, p. 156; PAI-LVII, 283 Key Words: Art Deco; Dance; Artist: Colin
Le Bal Fleuri. 1927. "Colin's use of a 'triple exposure' – three virtual snapshots of an elegant couple making their way around a packed dance floor, layered one on top of another and drawn from three different points of view – creates a wonderful, sweeping sense of stop-motion sequencing to promote a 1927 springtime 'floral ball' held to benefit French orphans" (Crouse/Deco, p. 156).
Artist: JULES CHÉRET (1836-1932) Size: 33 x 47 3/4 in./83.7 x 121.2 cm Condition: B+/ Slight tears at edges. Framed. Printer: Imp. Chaix, Paris Reference: Ref: Broido, 975; Maindron, 805; Maitres, 237; DFP-II, 243; PAI-L, 190 Key Words: Art Nouveau; Lighting; Children; Artist: Chéret
L' Aureole du Midi. 1893. Perhaps to show that this lamp can be handled even by a child, Chéret allows a little towheaded tyke to run around with it, while another one carries a canister of kerosene, making it clear that the days of helicopter parenting are far in the future.
Artist: JULES CHÉRET (1836-1932) Size: 33 1/4 x 47 3/8 in./84.5 x 120.2 cm Condition: B-/ Tears at folds. Printer: Imp. Chaix, Paris Reference: Ref: Chéret, 341; Broido, 271; Maindron, 237; DFP-II, 192; Driehaus, p. 37; PAI-LXIX, 300 Key Words: Technology; Art Nouveau; Opera; Music; Artist: Chéret
Théâtrophone. 1890. "I can be visited in bed by the brook and the birds of [Beethoven's] Pastoral Symphony," wrote Marcel Proust, because of the wonderful invention of the Théâtrophone. Clement Adler invented the prototype in 1881 (the first demonstrated use of binaural audio) to broadcast a Paris Opera performance to listeners at the Palais de l'Industrie. In 1890, however, the technology became commercially available – and Chéret's poster was the definitive advertisement for it. In lightning-quick time, home subscriptions became available, while Théâtrophones were set up in hotels, restaurants, cafés and vestibules throughout Paris. Fifty centimes bought you five minutes of live music straight from the Ópera Garnier. Today, 3D audio in headphones and VR is an innovation derived directly from the binaural audio innovation of the Théâtrophone: making this poster an important artifact in the history of the recording arts and sciences.
Artist: LEONETTO CAPPIELLO (1875-1942) Size: 9 1/8 x 13 in./23.2 x 33 cm Condition: A/ Framed. Printer: SAIGA, Genova Reference: Ref: Cappiello/Rennert, p. 11 Key Words: Art Nouveau; Music; Artist: Cappiello
Tutti al Semaforo. Adventurers leap up a hill, in the direction of a castle beyond (and its Italian flag pennant in the distance), in this adornment for a songsheet cover for a waltz by one S. Gaggini.
Artist: GASPAR CAMPS (1874-1942) Size: 13 x 26 3/4 in./33 x 88 cm Condition: A/ On silk. Printer: Champenois, Paris Reference: Ref: Weill/Art Nouveau, p. 47; PAI-LXXI, 235 Key Words: Art Nouveau
Enraptured Rose. ca. 1904. This statuesque auburn-haired woman standing lakeside clasps a garland of pink roses against her flushed gown, which is adorned with a flurry of fantastic butterflies, as flowers bloom around her. And having it printed on silk, enhances that subtle seduction.
Artist: GREIF (Maurice Greiffenhagen, 1862-1931) Size: 24 1/2 x 39 3/8 in./62.3 x 100 cm Condition: A. Printer: Editions Fortin, Paris Reference: Ref: PAI-XXXVI, 67 Key Words: Winter Sports
PLM/Les Alpes et Le Jura. A British painter and member of the Royal Academy, Greiffenhagen was honored by none other than D. H. Lawrence, who credited Greiffenhagen's 1891 painting An Idyll for inspiring his novel The White Peacock. His posters are mainly for British concerns, especially British Rail, which is why this work for PLM is unusual. The joy and laughter is palpable.
Artist: VUZTIAF Size: 27 7/8 x 39 3/4 in./70.7 x 101 cm Condition: B+/ Slight tears and stains at edges. Printer: P. Mantnieka, Riga Reference: Key Words: Winter Sports; Art Deco
Eiropas / Atrslidosana. 1939. This absolutely smashing poster for the Speed Skating European Championships in Riga, Latvia, on February 4 and 5, 1939 is possibly the best artwork for the sport that we've ever seen.
Artist: ARMSHEIMER Size: 21 5/8 x 34 1/4 in./54.8 x 87 cm Condition: A-/ Slight tears at top edge. Printer: Reference: Ref: Crouse/Deco, p. 120; PAI-XLVI, 299 Key Words: Winter Sports; Art Deco
Dartmouth Winter Carnival. 1937. National Geographic, in 1919, called it "the Mardi Gras of the North." This first-rate Armsheimer American Deco poster for the 1938 Dartmouth Winter Carnival conveys nothing but conviviality – with just a touch of romance thrown in for good measure. Rare!
Artist: WHARTON Size: 28 3/4 x 42 5/8 in./734 x 108.3 cm Condition: B+/ Slight tears at folds and edges. Printer: Kraft Reference: Key Words: Winter Sports; Art Deco
Puente del Inca. ca. 1930. Is that fear? Or excitement in her eyes? Certainly this poster is absolutely thrilling; as much as Puente del Inca, the St. Moritz of Argentina can be! "The Inca Bridge" is actually a natural arch that forms a bridge over the Vacas River in Mendoza Province, Argentina, formed by glaciers and hot springs. Charles Darwin visited here in 1835. He, however, was not a skier.
Artist: L. BESSON Size: 23 1/4 x 31 1/2 in./59.2 x 80 cm Condition: A. Printer: Création Avenir Publicité, Paris Reference: Ref: Affiches d’Aviation, p. 111; Crouse/Deco, p. 28; PAI-LXI, 117 Key Words: Avation; Art Deco
Aéropostal. 1930. "This incredible Art Deco image, which ties the tradition of high-seas couriers to the airborne new guard, is an exquisitely dramatic example of the way airmail service was being presented to the public in the 1930s. In this design, the silhouetted frigate and the seas upon which it sails are eclipsed by the streamlined fleet of Compagnie Générale-Aéropostale aircraft, in essence creating a lithographic dividing line between the antiquated and the modern. Compagnie Générale Aéropostale began operations in Toulouse in 1918 with the goal of serving the French colonies in Africa and South America" (Crouse/Deco, p. 28).
Artist: YANN Size: 30 1/2 x 45 7/8 in./77.5 x 116.5 cm Condition: B+/ Slight tears at folds, creases in background. Printer: Creation Leopold Verger, Paris Reference: Ref: Seita, 1; Tabac, 75 Key Words: Art Deco; Tobacco
Primerose. ca. 1930. Deco angularity announces the modernity of a stunning invention: a cigarette that masks its own noxious fumes with perfumes – derived, it says, from rose petals – delivering a secondhand smoking experience second-to-none. Interestingly, organic specialists tell us that primrose oil is a time-tested remedy for flushing tar deposits from the lungs and lymph system.
Artist: KEES VAN DONGEN (1877-1968) Size: 21 7/8 x 30 1/2 in./55.5 x 77.5 cm Condition: A. Printer: S.I.D.I., Levallois (Seine) Reference: Ref: Livre de l’Affiche, 157; Orientalist, p. 122; PAI-LXVIII, 641 Key Words: Modern; Literary
Livre des Mille Nuits et une Nuit. 1955. Van Dongen, one of the leading Fauves, was known for his wild nudes and radical use of color. Both stylistic tropes are clearly on display here, in this promotional poster for his limited-edition, illustrated version of the famous One Thousand and One Nights. In the foreground is a pink-bottomed Scheherazade gesticulating toward the disembodied head of Shahryar as she begins her famous series of tales.
Artist: THEODOOR VAN ERP (1874-1959) Size: 25 1/8 x 40 in./63.8 x 101.5 cm Condition: A-/ Slight scrapes at edges. Printer: OffsetDruk Flach Sneek Reference: Ref: PAI-XXVIII, 301 Key Words: Art Deco; Modern; Theater
D:16. 1928. The title refers to the 16th festival of the Delft Students Corp which staged an outdoor play every five years beginning in 1848; this turned out to be its final production. Van Erp was born in the Dutch East Indies where he had a military career until 1912; he then moved back to the Netherlands and became active as a painter and illustrator in The Hague.
Artist: THÉOPHILE-ALEXANDRE STEINLEN (1859-1923) Size: 38 1/4 x 54 in./97.2 x 137.2 cm Condition: B-/ Tears, largely at folds. Printer: Imp. Charles Verneau Reference: Ref: Bargiel et Zagrodzki, 16. A1; Crauzat, 491; Wine Spectator, 112; Maitres, 95; DFP-II, 783; Abdy, p. 97; Weill, 63; Gold, 56; Encylopédie/Weill, p. 54; Posters of Paris, 80; PAI-LXXIV, 436 Lait pur Stérilisé. 1896. All the warmth, humanity, and affection for which Steinlen is so loved comes through gloriously in this poster for the newly-marketed “lait stérilisé” that was touted over the “lait ordinaire” at that time. Charles Knowles Bolton, writing a year after its publication, proclaimed that this “is perhaps, the most attractive poster ever made. No man with half a heart could fail to fall in love with the child.” Louis Rhead himself commented: “When I saw it in Paris last year . . . it seemed to me the best and brightest form of advertising that had appeared.” This is the medium format version, and possesses strikingly fresh colors compared to other copies we have seen.
Artist: ALADAR RICHTER (1898-?) Size: 37 1/4 x 49 5/8 in./94.5 x 126 cm Condition: B+/ Slight tears and stains, largely at bottom edge. Printer: Piatnik, Budapest Reference: Ref: Crouse/Deco, p. 286 Key Words: Art Deco; Health
Szechenyi Strandfürdo. 1935. "The Szechenyi thermal baths in Budapest, supplied by two hot springs, are the largest medicinal baths in Europe. The neo-Baroque structure that houses the spa... however, is relegated to the background in this Aladar Richter poster. It lies behind the peaked Art Deco waves of one of the 'three big pools' that create the 'bathing beach' portion of the baths – which, the poster promises, provides patrons of the spa with 'secluded sunbathing' opportunities" (Crouse/Deco, p. 286).
Artist: ERIK NITSCHE (1908-1998) Size: 35 3/4 x 50 in./90.8 x 127 cm Condition: A-/ Slight tears at edges. Printer: R. Marsens, Lausanne Reference: Ref (all var): Modern American Poster, 82-84; Modern Poster, 209; Images of an Era, 22; PAI-XLIX, 416
General Dynamics / Aerodynamics. 1956. The photomontage element in the lower half of this poster pictures a derrick crane – a coded reference to the Berlin Airlift. In 1955, the Federal Republic of Germany regained its air sovereignty back from the Allies, as Mies van der Rohe took Germany's Bauhaus and created the basis of the Modern International style.