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VINTAGE POSTERS GRAPHIC DESIGN

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  • CHARLES RUSSELL LOOMIS (1857-1936).

    CHARLES RUSSELL LOOMIS (1857-1936).

  • MAXFIELD PARRISH (1870-1966). THE

    MAXFIELD PARRISH (1870-1966). THE

  • WILLIAM H. BRADLEY (1868-1962). [TURN OF

    WILLIAM H. BRADLEY (1868-1962). [TURN OF

  • WILLIAM H. BRADLEY (1868-1962). [TURN OF

    WILLIAM H. BRADLEY (1868-1962). [TURN OF

Lot: 1 - CHARLES RUSSELL LOOMIS (1857-1936). HILLYER INSTITUTE OF INDUSTRIAL AND COMMERCIAL EDUCATION. Two posters. 1895. Each 42¼x14 inches, 10

CHARLES RUSSELL LOOMIS (1857-1936) HILLYER INSTITUTE OF INDUSTRIAL AND COMMERCIAL EDUCATION. Two posters. 1895. Each 42¼x14 inches, 107¼x35½ cm. R.S. Peck & Co., Hartford. Condition generally B / B+: losses, replaced losses and repaired tears in margins; restoration along seams; slight offsetting in image; each with a hand-written note in ink at the bottom. Each two-sheets. The Hillyer Institute grew out of the Hartford, Connecticut YMCA in 1893, dedicated to providing working men with access to evening classes in many different fields of study. One of their earlier brochures explained that their mission "shall be to promote manual, industrial, commercial, and art education - in art, more especially in useful arts - and to inculcate habits of industry and thrift." This Arts and Crafts image is signed by "C.R. Loomis," a watercolorist who was active in Hartford, although the style seems nothing like his work. The inscriptions, by William Macey Stone, who rendered Loomis' design onto the woodblock, read: "One of ten copies in red and black, on laid paper - To Ms. Dorothy Furman, with the compliments of Wilbur Macey Stone Oct. 95." The yellow and black has the same inscription, except it is one of eleven copies.

Lot: 2 - MAXFIELD PARRISH (1870-1966). THE CENTURY / MIDSUMMER HOLIDAY NUMBER. 1897. 19½x13 inches, 50x33 cm. The Thomas & Wylie Lithographic Co

MAXFIELD PARRISH (1870-1966) THE CENTURY / MIDSUMMER HOLIDAY NUMBER. 1897. 19½x13 inches, 50x33 cm. The Thomas & Wylie Lithographic Co. Condition B+ / A-: repaired tears and restored loss in left margin. Matted and framed. Most famous for his children's book illustrations, Parrish was nonetheless a "remarkable draughtsman, who energetically and successfully mixed fantasy and reality to create a luminous dreamworld that, for all its strangeness, is precisely rendered" (Parrish intro). He studied art at the Pennsylvania Academy of Fine Arts and then at the Drexel Institute under Howard Pyle. His posters were more illustrative and detailed than those of Edward Penfield and Will Bradley, and marked by what Charles Hiatt refered to as "curious individuality." Parrish won second prize in The Century's 1896 poster contest with this entry. He might very well have won first (which went to J.C. Leyendecker), but "entries had been restricted to three colors, and Parrish, an avid experimenter with the new half-tone process, employed five" (Margolin p. 20). Kiehl 134, DFP-I 317, Margolin p. 19 & 51, Maitres pl. 123, American Posters no. 55, The American Poster p. 15, Virginia p. 6, Weill 126, La Femme 67, American Style 49, Crystal Palace 701, Art of Parrish 419, Art Nouveau p. 199.

Lot: 3 - WILLIAM H. BRADLEY (1868-1962). [TURN OF THE CENTURY AMERICAN PRESS]. Group of 16 booklets. Sizes vary.

WILLIAM H. BRADLEY (1868-1962) [TURN OF THE CENTURY AMERICAN PRESS]. Group of 16 booklets. Sizes vary. Condition varies, generally B+. Group includes: Strathmore Expressive Printing Papers Are Part of the Picture; The Inland Printer Christmas (1899); 3 editions of Bradley His Book (1896); 4 editions of The American Chap Book (1904-5); and Will Bradley / His Chap Book (1955). Images available upon request.

Lot: 4 - WILLIAM H. BRADLEY (1868-1962). [TURN OF THE CENTURY AMERICAN PRESS]. Group of 10 books and booklets. Sizes vary.

WILLIAM H. BRADLEY (1868-1962) [TURN OF THE CENTURY AMERICAN PRESS]. Group of 10 books and booklets. Sizes vary. Condition varies, generally B+. Group includes: Fringilla (1895), by R.D. Blackmore; The Legend of Sleepy Hollow (1897), by Washington Irving; War Is Kind (1899), by Stephen Crane; Uncle Walt (1911), by George Matthew Adams and more. Each illustrated by and some printed by William H. Bradley. Images available upon request.

Lot: 5 - EVELYN RUMSEY CARY (1855-1924). PAN - AMERICAN EXPOSITION, BUFFALO / NIAGARA. 1901. 47¾x25½ inches, 121¼x64¾ cm. Gies & Co., Buffalo.

EVELYN RUMSEY CARY (1855-1924) PAN - AMERICAN EXPOSITION, BUFFALO / NIAGARA. 1901. 47¾x25½ inches, 121¼x64¾ cm. Gies & Co., Buffalo. Condition A-: minor repaired tears at edges; minor creases and abrasions in margins and image. This American Art Nouveau poster is based on the painting Spirit of Niagara by Cary. For this, her most famous painting, she depicts "the great waterfall of Niagara set against the skyline of Buffalo . . . Niagara is an allegorical female nude with her arms outstretched and her ethereal body delicately veiled by the blue and white foam of cascading waters. Undoubtedly, Cary intended to create an image that served to elevate the figure of Niagara from that of local legend to the level of academe" ( Illuminations - Revisiting the Buffalo Pan American Exhibition, University at Buffalo Libraries). DFP-I 545, Keay p. 112, Brandt 29.

Lot: 6 - DESIGNER UNKNOWN. AUTOMOBILE CLUB DE FRANCE. 1899. 49½x35¾ inches, 127¾x90¾ cm. J. Barreau, Paris.

DESIGNER UNKNOWN AUTOMOBILE CLUB DE FRANCE. 1899. 49½x35¾ inches, 127¾x90¾ cm. J. Barreau, Paris. Condition B+: replaced losses, repaired tears and restoration in margins; small replaced loss in right border; restoration along vertical and horizontal folds. Advertising the 2nd annual International Automobile Exposition, held at the Jardin des Tuileries. Rare.

Lot: 7 - PIERRE BONNARD (1867-1947). L'ESTAMPE ET L'AFFICHE / REVUE D'ART. 1897. 31x23¼ inches, 78¾x59 cm. Editions d'Art, Paris.

PIERRE BONNARD (1867-1947) L'ESTAMPE ET L'AFFICHE / REVUE D'ART. 1897. 31x23¼ inches, 78¾x59 cm. Editions d'Art, Paris. Condition B+: small repaired tears, creases, abrasions and minor restoration at edges and along vertical and horizontal folds; slight darkening; minor creases and abrasions in image. Matted and framed. With- La Lithographie en Couleurs book jacket, 1898. L'Estampe et l'Affiche was a magazine devoted to prints and posters; during the two years of its publishing run, it was a mainstay of the print and poster collecting community. Bonnard's image, using only three colors, is a charming allegory of the life and spirit imbued in collecting prints. It shows a young collector coming home in such a hurried and excited state that some prints are falling out of her huge portfolio. An older woman, who represents a different generation of collectors who do not understand all the rage surrounding paper, bemusedly observes her process. The freely-drawn typography literally invades the image, with prominence of placement and the bold white color of the paper given to the word "Affiche." DFP-II 80, Gold 89.

Lot: 8 - GEORGES BOTTINI (1874-1907). [ADDRESSE SAGOT OU LA VITRINE DE SAGOT]. 1898. 15x11¼ inches, 38x28½ cm.

GEORGES BOTTINI (1874-1907) [ADDRESSE SAGOT OU LA VITRINE DE SAGOT]. 1898. 15x11¼ inches, 38x28½ cm. Condition A: minor abrasions at edges; signed in pencil and in the stone. Paper. This print is from an edition of 50 copies, hand-signed by the artist, and includes the cat and woman remarque at the lower right. Iskin p. 101 (var), Color Revolution 28, Arwas p. 6 (var).

Lot: 9 - CARDAILHAC (DATES UNKNOWN). PAPIERS PHOTOGRAPHIQUES MARTIN. 1897. 51¼x39½ inches, 130¼x100¼ cm. Camis, Paris.

CARDAILHAC (DATES UNKNOWN) PAPIERS PHOTOGRAPHIQUES MARTIN. 1897. 51¼x39½ inches, 130¼x100¼ cm. Camis, Paris. Condition B+: repaired tears, creases and abrasions in margins and image and along vertical and horizontal folds; small punch holes at side margins.

Lot: 10 - JULES CHÉRET (1836-1932) & PAUL BERTHON (1872-1909). [VIVIANE] & [QUEEN WILHELMINA]. Two posters. Sizes vary.

JULES CHÉRET (1836-1932) & PAUL BERTHON (1872-1909) [VIVIANE] & [QUEEN WILHELMINA]. Two posters. Sizes vary. Condition varies, generally B+. Each matted and framed. Includes Viviane / Eden - Théâtre (1896), by Chéret and Queen Wilhelmina (1901), by Berthon.

Lot: 11 - JULES CHÉRET (1836-1932). LA FRANCE JUIVE. 1892. 46¾x34¼ inches, 118¾x87 cm. Imprimerie Chaix, Paris.

JULES CHÉRET (1836-1932) LA FRANCE JUIVE. 1892. 46¾x34¼ inches, 118¾x87 cm. Imprimerie Chaix, Paris. Condition B+: repaired tears, restored losses, overpainting and abrasions in margins; slight overpainting in image and along vertical and horizontal folds. Cheret 778, Broido 607, Maindron 496.

Lot: 12 - JULES CHÉRET (1836-1932). PALAIS DE GLACE. 1896. 48¼x33½ inches, 122½x85 cm. Chaix, Paris.

JULES CHÉRET (1836-1932) PALAIS DE GLACE. 1896. 48¼x33½ inches, 122½x85 cm. Chaix, Paris. Condition A-: creases, abrasions and minor restoration in image and along vertical and horizontal folds. Framed. Between 1895 and 1900, Chéret designed a gallery of skating girls, sometimes depicted alone and sometimes with a companion, for the Palais de Glace, an ice-skating rink located on the Champs-Élysées. Broido 368, Maitres pl. 17, DFP-II 256, Wine Spectator 19, Art Nouveau p. 77, Cheret 484.

Lot: 13 - ALBERT GUILLAUME (1873-1942). P'TITES FEMMES / ALBERT GUILLAUME. 1893. 50x38½ inches, 127x97¾ cm. Affiches-Camis, Paris.

ALBERT GUILLAUME (1873-1942) P'TITES FEMMES / ALBERT GUILLAUME. 1893. 50x38½ inches, 127x97¾ cm. Affiches-Camis, Paris. Condition B: replaced losses in margins; repaired tears at edges, some into image; creases and abrasions in margins and image and along vertical and horizontal folds; replaced loss and slight overpainting along vertical fold. Reims 728.

Lot: 14 - HENRI-GABRIEL IBELS (1867-1936). SALON DES CENT / SALON DE LA PLUME. 1894. 23¼x16 inches, 59x40½ cm. Eugène Verneau, Paris.

HENRI-GABRIEL IBELS (1867-1936) SALON DES CENT / SALON DE LA PLUME. 1894. 23¼x16 inches, 59x40½ cm. Eugène Verneau, Paris. Condition B+: losses in top corners and lower right margin; minor repaired tears at edges; minor losses along horizontal fold; unobtrusive vertical and horizontal folds. Framed. La Plume had recognized and lauded Ibels' talent in their January 15, 1893 issue. A year later they bestowed further honor on him by commissioning him to design the poster for the first Salon des Cent. For his poster he employed a palette of five colors, softly gradated between green and brown. The image is composed of some of his favorite characters: a ballet dancer, a harlequin and a Pierrot, who is painting a picture of the ballerina. As with all of Ibels' work, it is an accomplished drawing of intense poetical elegance. "Remarkable in more than one way, this poster presents a resolutely modern composition and a framing which reveal the position of the ballerina in a depthless, indefinite space, as well as the perfect integration of the text to the image" (Salon des Cent p. 55). DFP-II 472, Reims 754, Salon des Cent 22.

Lot: 15 - C. KOINTER (DATES UNKNOWN). JOURNAL LA MEUSE / 5 CENTIMES / LE NUMÉRO. 1899. 65x47 inches, 165x119½ cm. Gordinne, Liège.

C. KOINTER (DATES UNKNOWN) JOURNAL LA MEUSE / 5 CENTIMES / LE NUMÉRO. 1899. 65x47 inches, 165x119½ cm. Gordinne, Liège. Condition B: replaced losses, extensive repaired tears, creases and overpainting in margins and along vertical and horizontal folds; discolored overpainting in faded text. Four-sheets. Matted and framed. Sitting on the banks of the river that lends this daily newspaper its name, an elegant woman is enthralled by the morning edition, with the afternoon edition awaiting her attention by her side. Rare.

Lot: 16 - ERNEST MAINDRON (1838-1907). LES AFFICHES ILLUSTRÉES. Two bound volumes. 1886 & 1896. Each approximately 12½x9½ inches, 31¾x24 cm. Chai

ERNEST MAINDRON (1838-1907) LES AFFICHES ILLUSTRÉES. Two bound volumes. 1886 & 1896. Each approximately 12½x9½ inches, 31¾x24 cm. Chaix, Paris. Condition varies, generally B+: some minor separation of inside pages. Folio, contemporary 1/2 morocco, gilt spine ends, original wrappers bound into each. Bookplate in vol. I. These two volumes are the indispensable source material for anyone interested in posters and poster collecting in fin-de-siecle France. Maindron was not only the first serious collector of posters, the first to organize a poster exhibition, the first to publish a book about posters, but he also held the very prominent position of Secretary of the Academy of Science. The first volume incorporates the history of posters through 1886. The second volume, written almost ten years later, captures the intervening years and records the zenith of French poster design, including a complete catalogue of the works of Jules Cheret. They are richly illustrated in both black-and-white and color (the color lithography was printed by Chaix, under the supervision of Jules Cheret, the director of the firm) and are an unequaled, early source of information about posters. These are numbered 253 (of 525), and 838 (of 1025). The first volume includes 20 chromolithograph Chéret images reproduced by Chaix; Volume II is illustrated with 64 color lithograph plates and 102 plates in black and white and color, reproducing works by Jules Chéret, Toulouse-Lautrec, Mucha, Pal, Steinlen and others.

Lot: 17 - LUCIEN METIVET (1863-1932). EUGÉNIE BUFFET / AMBASSADEURS. 1893. 47½x30½ inches, 120½x77½ cm. Charles Verneau, Paris.

LUCIEN METIVET (1863-1932) EUGÉNIE BUFFET / AMBASSADEURS. 1893. 47½x30½ inches, 120½x77½ cm. Charles Verneau, Paris. Condition B+: replaced and overpainted losses in margins and corners, some slightly affecting text; repaired tears, creases and restoration in margins and along vertical and horizontal folds; small replaced loss along fold; repaired pin holes in margins. Although he studied painting in the Montmartre studio of Fernand Cormon (along with Toulouse-Lautrec), Lucien Metivet became a prolific illustrator, working for the best satirical magazines in Paris, like Le Rire and L'Assiette au Beurre. He was a member of the Montmartre circle of artists where he did a lot of work decorating cabarets. Here, he depicts the chanteuse Eugenie Buffet in the role she created for herself as an impoverished working-class girl. She is shown walking down a snowy Parisian street, with her hair and dress the only two dark spots in the image. Metivet cleverly puts her name on a poster on the hoarding he passes, and writes "every night" in the snow behind her steps. This is a classic, French café-concert image. Maitres 22, DFP-II 574, Gold 170.

Lot: 18 - COVER BY ALPHONSE MUCHA (1860-1939). L'ILLUSTRATION / NOËL. Magazine. 1896. 16x12 inches, 40½x30½ cm. Ducourtioux & Huillard, [Paris].

COVER BY ALPHONSE MUCHA (1860-1939) L'ILLUSTRATION / NOËL. Magazine. 1896. 16x12 inches, 40½x30½ cm. Ducourtioux & Huillard, [Paris]. Condition B+: some small tears and separation along stapled spine; minor creases and abrasions to covers; minor inside wear; reds slightly attenuated. For this Christmas edition cover of L'Illustration, Mucha presents an allegorical scene of two women, representing the old year departing and the new year arriving. Along the left side is one of Mucha's cleverest decorative borders, involving hands, stitching and pine branches. Mucha R8, Mucha Grand Palais L. 21.

Lot: 19 - ALPHONSE MUCHA (1860-1939). [BYZANTINE HEADS]. Two decorative panels. 1897. 24x17½ inches, 61x44½ cm.

ALPHONSE MUCHA (1860-1939) [BYZANTINE HEADS]. Two decorative panels. 1897. 24x17½ inches, 61x44½ cm. Condition varies, generally B+ / A-: minor creases, staining and small pinholes in margins; minor creases in image. Each matted and framed. Mucha's graphic work was often marked by Byzantine influences and styles, beginning with his very first poster for Gismonda in 1894. In visually extolling the splendors of ancient Byzantium, Mucha relied on the use of gold and bronze colors, created sumptuous and intricate designs for the jewelry depicted in his images, employed mosaic or mosaic-style decorative elements in many of his works, and elevated his subjects to iconic status by using halos. Anointing these two profiles as "Têtes Byzantines" confirms his adherence to this impressive influence. These two decorative panels were among the most successful ever published by Champenois, and the printer issued them in many variations. Intended to hang facing each other, the blonde and brunette have cascading hair that interrupt the halos behind them, tantalizingly breaking through Mucha's trademark mystical circle. The precise yet delicate outlining of their faces is a tour-de-force of design, made even stronger by placing the profiles against a background of geometric flourishes. Rennert / Weill 40 (var 1), Lendl p. 196 & 197 (var), Mucha Grand Palais 37 & 38 (var), Style Mucha 9 (var), Darmstadt 65 & 66 (var), Mucha / Henderson 35 & 36 (var), Mucha / Bridges P15a, Triumph des Jugendstils 67 & 68 (var), Spirit of Art Nouveau 48.

Lot: 20 - ALPHONSE MUCHA (1860-1939). SALON DES CENT. 1896. 24¼x16¼ inches, 61½x41¼ cm. F. Champenois, Paris.

ALPHONSE MUCHA (1860-1939) SALON DES CENT. 1896. 24¼x16¼ inches, 61½x41¼ cm. F. Champenois, Paris. Condition B+: edges slightly trimmed. Mounted on card, to mat. Matted and framed. This poster represents the start of a long collaboration between Mucha and La Plume, the influential magazine and associated exhibition hall that played a prominent role in the poster scene in fin-de-siècle Paris. One year after he designed this poster, the magazine dedicated an entire issue to Mucha and gave him a one-man show. While Mucha was designing this poster, Léon Deschamps, La Plume's publisher, went to visit the artist at his studio. Deschamps recalls that the poster design he saw at that time featured "a half-nude woman, her inclined head resting nonchalantly on one hand, her golden hair curling like a halo in rich arabesques - those famous 'macaroni' which tomorrow would be celebrated and copied by all the apes of art - a divine languor lingering over the clean outlines of her face, the whole emanating an indefinable charm." Mucha protested that the poster wasn't finished, but Deschamps self-aggrandizingly insisted, "print it as it is and you will produce a masterpiece of the illustrative decorative poster" ( La Plume, Mucha Special Issue, 1897, p. 4). Rennert / Weill 12, Lendl 13, Salon des Cent cover and 19, Meisterplakate 161, Gold 192, Wember 605, DFP-II 628, Affichomanie 121, Art Nouveau p. 112.

Lot: 21 - ALPHONSE MUCHA (1860-1939). [L'ESTAMPE MODERNE / SALOME]. 1897. 16x12 inches, 40½x30½ cm. [F. Champenois, Paris].

ALPHONSE MUCHA (1860-1939) [L'ESTAMPE MODERNE / SALOME]. 1897. 16x12 inches, 40½x30½ cm. [F. Champenois, Paris]. Condition B+ / B: small losses at corners; small tear at lower right edge; unobtrusive creases; mat-staining in margins; small stain in image; hinged to mat at top corners. Paper. Matted and framed. One of two plates Mucha designed for this distinguished series, depicting heroines of antiquity. Salome is a sensuous image, in which the dancer is shown wearing an ornate belt and diaphanous attire. She is not depicted carrying the head of John the Baptist, but rather in the throes of the dance that gave Herod such great pleasure. Mucha R10c.

Lot: 22 - COVER BY ALPHONSE MUCHA (1860-1939). AU QUARTIER LATIN. Magazine. 1898. 17x12½ inches, 43¼x31¾ cm. Paul Dupont, Paris.

COVER BY ALPHONSE MUCHA (1860-1939) AU QUARTIER LATIN. Magazine. 1898. 17x12½ inches, 43¼x31¾ cm. Paul Dupont, Paris. Condition A-: darkening at edges of cover and inside pages; bound with string. Mucha designed four different covers for this artistic and literary magazine, which was published periodically for the Mid-Lent season Carnival. Here, he presents a parade of students at the feet of the Queen of the Carnival. She is wearing a crown of thorns and an elaborate cloak adorned with the coat of arms of Paris. Lendl p. 140, Mucha / Bridges R11b, Lendl 89, Darmstadt 101, Mucha / Henderson p. 124, Jiri Mucha p. 61 (var).

Lot: 23 - ALPHONSE MUCHA (1860-1939). LE PATER. Complete unbound volume with folio covers. 1899. 16x12 inches, 40½x30½ cm. F. Champenois, Paris.

ALPHONSE MUCHA (1860-1939) LE PATER. Complete unbound volume with folio covers. 1899. 16x12 inches, 40½x30½ cm. F. Champenois, Paris. Condition A-: slight wear to edges and wrappers; some inside pages reinforced with archival tape along inner edge; staining to covers. Hand-numbered 198. Numbered 198 of 400 copies on papier à la forme du Marais (510 total). A masterpiece of Art Nouveau that Mucha regarded as one of his most successful and significant works. "It was meant to be Mucha's message to future generations about the progress of mankind. Through the archetypal Christian prayer, he wished to present the way for man to reach the Divine Ideal, the highest state in the spiritual world. Here, Mucha analyzed each of the seven verses in a set of three pages (each printed on one side of a leaf). The first of each set in colour shows an original verse in Latin and French, framed in a border sumptuously decorated with flowers and a symbolic female figure. The second, also in colour, is Mucha's own text interpreting the verse with initial letter and floral decoration. The third monochromatic page, printed in photogravure, contains a full-page allegorical drawing, which depicts his philosophical response to the verse" (Mucha Foundation). Each of the seven verses contain 3 full-page graphic plates in addition to an illustrated title page and final leaf. Without leather binding. Mucha / Art Nouveau 72.

Lot: 24 - ALPHONSE MUCHA (1860-1939). [BYZANTINE & LANGAGE DES FLEURS] / ALBUM DE LA DÉCORATION. Plates 35 & 46. 1900. Each 10½x14¼ inches, 26½x3

ALPHONSE MUCHA (1860-1939) [BYZANTINE & LANGAGE DES FLEURS] / ALBUM DE LA DÉCORATION. Plates 35 & 46. 1900. Each 10½x14¼ inches, 26½x36 cm. F. Champenois, Paris. Condition A-: minor foxing and darkening in margins; minor creases at edges. Paper. Both plates are from Volume 2 of 3 portfolios, each containing 60 plates (chromotypes by Bertin et Cie Imprimeur), presenting models for decoration and ornamentation. These images were for a wall hanging project for Atelier KG Forrer. With - Vol II folder from the Album de la Décoration, featuring ex Libris of E. Kats. Rennert / Weill A.11 (var).

Lot: 25 - ALPHONSE MUCHA (1860-1939). DOCUMENTS DÉCORATIFS. Complete portfolio with 72 plates. 1902. Each plate approximately 18x13 inches, 45¾x3

ALPHONSE MUCHA (1860-1939) DOCUMENTS DÉCORATIFS. Complete portfolio with 72 plates. 1902. Each plate approximately 18x13 inches, 45¾x33 cm. Emile Levy, Paris. Condition B+: staining, abrasions and wear to covers and spine; fabric tie removed; small tears, losses and darkening to some plates. Comprising 72 plates, this portfolio stands as an encyclopedia of Mucha's style, giving examples of his creations in the various fields of decorative arts and explaining his creative process. "It was Mucha's artistic creed. . . it was used for years by many art schools as a textbook and influenced a whole generation of artists" (Rennert/Weill p. 288). Mucha uses the portfolio to show examples of jewelry, furniture and silverware, and illustrates how to draw women and flowers (the two main motifs of Art Nouveau), in all cases brilliantly demonstrating his stylistic prowess. Each of the 72 plates is a masterpiece of Art Nouveau design. Complete copies are rare, since many have been broken up to sell plate by plate. Lendl p. 132-33 no. 105, Mucha L31, Spirit of Art Nouveau 123, Art Nouveau p. 114.

Lot: 26 - ALPHONSE MUCHA (1860-1939). ZDENKA CERNY. 1913. 42x42¾ inches, 106¾x108½ cm. V. Neubert Smichov, Prague.

ALPHONSE MUCHA (1860-1939) ZDENKA CERNY. 1913. 42x42¾ inches, 106¾x108½ cm. V. Neubert Smichov, Prague. Condition A-: minor creases and slight foxing in image; edges slightly trimmed; hand-signed by Cerny in lower right corner. Without text sheet. Zdenka Cerny was one of three daughters from the family with whom Mucha lived in Chicago in 1906. A prodigal cellist, she was slated to go on a European tour in 1914, but the tour was canceled due to the outbreak of World War I. While "the Art Nouveau ornamentation is virtually absent, other than a circle of stylized fleurs-de-lis in white behind Zdenka, and a similar white-outline garland around her cello," Mucha's style is present in the woman's hair and the collar of her dress (Rennert / Weill p. 346). Rennert / Weill 102, Lendl p. 280, Brno 65, 150th Mucha 263, Mucha / Japan 132, Sarah Mucha p. 92, Mucha / Henderson 108, Mucha / Bridges A63, Jiri Mucha p. 224, Spirit of Art Nouveau 39 (var).

Lot: 27 - VARIOUS ARTISTS. LES MAITRES DE L’AFFICHE. Bound volumes 2-5. 1897-1900. 16x12½ inches, 40½x31¾ cm. Chaix, Paris.

VARIOUS ARTISTS LES MAITRES DE L'AFFICHE. Bound volumes 2-5. 1897-1900. 16x12½ inches, 40½x31¾ cm. Chaix, Paris. Condition varies, generally B+. Wear to covers and inside; a few loose sheets. Vol 5 missing pl. 193. Re-bound. The Maîtres de l'Affiche were small format reproductions of what were, ostensibly, the best and most famous posters from around Europe and America as selected by the famous critic (and poster supporter) Roger Marx. They were printed by the Chaix publishing house as a concession to the growing craze of poster collecting at the end of the 19th century. Each of the plates is a full color lithograph printed on high quality paper. The series was published from 1896-1900, during which time subscribers would receive four new plates each month. In all, there are 256 plates in the series, 240 of which depict posters and the other 16 are supplements, designed specifically for subscribers. The appeal of the Maîtres was, and remains, their small, easy-to-collect format. This set is missing Volume I. Art Nouveau p. 32, Arwas 79.

Lot: 28 - O.S. (DATES UNKNOWN). TÊTE DE BOCHE PAR ARISTIDE BRUANT / LE PETIT PARISIEN. 1915. 24½x17¼ inches, 62¼x43¾ cm.

O.S. (DATES UNKNOWN) TÊTE DE BOCHE PAR ARISTIDE BRUANT / LE PETIT PARISIEN. 1915. 24½x17¼ inches, 62¼x43¾ cm. Condition A-: minor overpainting and restoration over creases and abrasions at edges and along vertical and horizontal folds. A poster promoting a new novel by actor Aristide Bruant, "Tête de Boche," which ran in Le Petit Parisien. Bruant was a French cabaret singer, comedian, and nightclub owner, immortalized in some of the most iconic posters and lithographs by Toulouse-Lautrec.

Lot: 29 - PAL (JEAN DE PALÉOLOGUE, 1860-1942). [EXPOSITION DU CENTENAIRE DE LA LITHOGRAPHIE]. 1895. 56x42 inches, 142¼x106¾ cm. Imp. Paul Dupont,

PAL (JEAN DE PALÉOLOGUE, 1860-1942) [EXPOSITION DU CENTENAIRE DE LA LITHOGRAPHIE]. 1895. 56x42 inches, 142¼x106¾ cm. Imp. Paul Dupont, Paris. Condition B+: repaired tears at edges, some into image; minor losses at edges, abrasions along vertical and horizontal folds. To celebrate the 100th anniversary of Alois Senefelder's art form, a big exhibition was organized at the Gallery Rapp near the Eiffel Tower. Four posters were commissioned, each representing a different aspect of lithographic art. Puvis de Chavannes, the president of the influential Societe des Beaux-Arts was one of the artists chosen, as was Maurou, a printmaker. The other two posters were designed by poster artists, thus demonstrating the importance of poster art in the history of lithography. Hugo d'Alèsi chose to represent an elegant lady at a second-hand bookseller along the Seine (she is admiring a lithograph and a poster by Chéret). Pal took an approach more in keeping with his recognized style. As usual, he depicts one of his scantily clad and fetching models. However, if in his more commercial posters his young ladies appear exceptionally provocative, this one is placed in a creative posture - seated in front of a lithographic stone on an easel with a lithographic pencil in one hand. This is the version before text. DFP-II 683 (var), L'Affichomanie no. 25 (var).

Lot: 30 - PAL (JEAN DE PALÉOLOGUE, 1860-1942). CLEVELAND CYCLES. 1898. 62x45½ inches, 157½x115½ cm. Caby & Chardin, Paris.

PAL (JEAN DE PALÉOLOGUE, 1860-1942) CLEVELAND CYCLES. 1898. 62x45½ inches, 157½x115½ cm. Caby & Chardin, Paris. Condition A-: expert overpainting and repaired tears in margins; minor restoration along unobtrusive vertical and horizontal folds. Pal designed more posters for the bicycle industry than any other artist in Paris. He worked for a dozen different manufacturers, compelling him to continuously find novel ways to promote their products.

Lot: 31 - ÉLIZABETH SONREL (1874-1953). [THE SEASONS]. Group of 4 posters. Circa 1900. Each approximately 17x12 inches, 43¼x32½ cm.

ÉLIZABETH SONREL (1874-1953) [THE SEASONS]. Group of 4 posters. Circa 1900. Each approximately 17x12 inches, 43¼x32½ cm. Condition varies, generally A- / B+: small losses, tears and time-staining in margins. Paper. Élizabeth Sonrel was a painter who exhibited regularly at the Salon des Artistes Français (winning the bronze medal in their 1900 exhibition). She was also under contract with the printer Champenois, who, together with Alphonse Mucha, invented the genre of decorative panels. In addition to Mucha, Champenois employed many artists to design these panels; Sonrel was his favorite and one of the best, as indicated by the six francs Champenois charged for her panels, which was comparable to price charged for panels by Mucha. She brought her own style to her projects, which, while more academic and less sensuous than Mucha's, are always very delicate, with careful attention to details and a good sense of color. She created many sets of panels with the same themes as Mucha, "The Seasons," and "The Flowers," and also came up with ideas of her own, like "The Birds." These four seasons are elaborate compositions with a mixture of floral elements that surround antique-inspired portraits of young ladies. A tour-de-force of French Art Nouveau.

Lot: 32 - FRANCISCO TAMAGNO (1851-1933). IMPRIMERIE CAMIS. Circa 1898. 26¼x38¼ inches, 66½x97 cm. Camis, Paris.

FRANCISCO TAMAGNO (1851-1933) IMPRIMERIE CAMIS. Circa 1898. 26¼x38¼ inches, 66½x97 cm. Camis, Paris. Condition A-: time-staining in margins; minor creases in margins and image; restoration along unobtrusive horizontal crease in lower image. A veritable "Who's Who" of Camis' poster characters (like the Lu Biscuits boy and Chocolat Menier girl), showing off the company's printing talents and boasting the impressive array of artists in their roster. One of several posters the company commissioned over the years to show off their "creations artistiques." Imprimerie pp. 66-67.

Lot: 33 - HENRI DE TOULOUSE-LAUTREC (1864-1901). [LE PENDU]. 1892. 27¼x18½ inches, 69¼x47 cm.

HENRI DE TOULOUSE-LAUTREC (1864-1901) [LE PENDU]. 1892. 27¼x18½ inches, 69¼x47 cm. Condition A-: repaired tear at bottom edge, slightly into image with minor overpainting. "Arthur Huc, art lover and editor of the magazine Le Dépêche de Toulouse, used the lithograph . . . together with the lettered poster . . . to advertise the serial novel Les Drames de Toulouse by A. Siégel. The novel is set in the eighteenth century, and to match the text, the artist has used a dramatic style of drawing, with rich contrasts, that also occurs in some of his later lithographs" (Adriani, p. 23). Le Pendu - "The Hanged Man," is one of three historical moments that Lautrec illustrates for his hometown magazine; in this 1760s scene, Jean Calas discovers the body of his son. Adriani 2, Wittrock P2B, MoMA 519.1949.

Lot: 34 - HENRI DE TOULOUSE-LAUTREC (1864-1901). L'ESTAMPE ORIGINALE. 1893. 21¾x25½ inches, 55¼x64¾ cm. Edw. Ancourt, Paris.

HENRI DE TOULOUSE-LAUTREC (1864-1901) L'ESTAMPE ORIGINALE. 1893. 21¾x25½ inches, 55¼x64¾ cm. Edw. Ancourt, Paris. Condition A-: small abrasion at top right edge; minor creases in image and along vertical fold; small unobtrusive stain in right image; slight time-staining at edges; margins trimmed; colors slightly attenuated. Hand-signed and numbered 95 in pencil. Paper, hinged at top to mat. Framed. One of 100 signed and numbered copies. For the cover of issue 1 of L'Estampe Originale, Lautrec portrays one of his muses, Jane Avril, standing in the Ancourt & Cie. printing shop, while the printer is hard at work behind her. Publisher and art dealer André Marty "intended to publish ten original graphics 'by the elite of today's young artists' every quarter with L'Estampe Originale, in an edition of 100, for an annual subscription price of 150 francs. By the beginning of 1895, he had published altogether 95 prints by [74] artists in this way" (Adriani p. 32). Marty's ambitious project aimed to elevate all of the different printing methods in the eyes of the art world, and he employed artists such as Gauguin, Renoir, Pissarro, Whistler and Bonnard in proving his point. Uniquely, this publication brought the master printers themselves to the forefront, in addition to the artists; here Lautrec spotlights Père Cotelle, with whom he fostered a close working relationship throughout his career. Delteil 17, Adhémar 10, Wittrock 3, Adriani 9, Stein and Karshan 84, The Met 22.82.1-1.

Lot: 35 - HENRI DE TOULOUSE-LAUTREC (1864-1901). DIVAN JAPONAIS. 1893. 31¼x24 inches, 79¼x61 cm. Edw. Ancourt, Paris.

HENRI DE TOULOUSE-LAUTREC (1864-1901) DIVAN JAPONAIS. 1893. 31¼x24 inches, 79¼x61 cm. Edw. Ancourt, Paris. Condition B: extensive expert overpainting in margins; replaced losses, repaired tears, creases and overpainting in margins and image; darkening in image. The Divan Japonais was a small café-concert at 75 Rue des Martyrs, where Yvette Guilbert performed after becoming popular through her act at the Moulin Rouge. This is Toulouse-Lautrec's only poster to show both Jane Avril and Yvette Guilbert, the two Montmartre demimondes who were both his friends and major inspirations. Jane Avril, the star dancer at the Moulin Rouge, is pictured here seated next to the literary critic, Édouard Dujardin. Onstage in the background, Guilbert is depicted from the neck down, recognizable by her trademark long black gloves. The composition is built along the diagonal of the stage and the orchestra in the style of Japanese woodblock prints that were so fashionable in Paris at the end of the 19th century. Lautrec impishly punctures the diagonal with the priapic scrolls of the instruments. Delteil 341, Wittrock P2, Adriani 9, Reims 780, Weill 47, Maitres 1900 p. 49, DFP-II 824, Wine Spectator p. 49, Wember 761, Auriac p. 57, Encyclopedie de l'Affiche p. 224, Modern Poster p. 45, Art Nouveau p. 96, Abdy p. 75.

Lot: 36 - HENRI DE TOULOUSE-LAUTREC (1864-1901). DIVAN JAPONAIS. Maitres de l'Affiche pl. 2. 1896. 15½x11¼ inches, 39¼x28½ cm. Chaix, Paris.

HENRI DE TOULOUSE-LAUTREC (1864-1901) DIVAN JAPONAIS. Maitres de l'Affiche pl. 2. 1896. 15½x11¼ inches, 39¼x28½ cm. Chaix, Paris. Condition B+: mat-staining in margins; restoration in corners on verso; hinged at top to mat. Paper. Matted and framed.

Lot: 37 - HENRI DE TOULOUSE-LAUTREC (1864-1901). ELLES. 1896. 28¼x21¼ inches, 71¾x54 cm.

HENRI DE TOULOUSE-LAUTREC (1864-1901) ELLES. 1896. 28¼x21¼ inches, 71¾x54 cm. Condition B-: extensive staining, creases and repairs through margins, into text and outer image; creases in image; margins have been extended. Framed. Lautrec's series Elles is one of the "high-points of nineteenth-century art" (Adriani p. 222). The series depicted the prostitutes of Montmartre in a humble, intimate manner that did not flaunt their sexuality, but instead focused on the banal routines of their daily lives. 100 of these portfolios were printed. The cover and frontispiece of the folio bore this illustration, and when the 10 sheets were put on exhibition in the offices of La Plume magazine in 1896, the image, with the addition of the text (not by Lautrec's design), was re-used for this poster. Adriani 171-IV, Delteil 179, Adhemar 200, DFP-II 842, Wember 767, Devynck p. 89, Gold 85 (var), Salon des Cent p. 83.

Lot: 38 - HENRI DE TOULOUSE-LAUTREC (1864-1901). TROUPE DE MLLE ÉGLANTINE. 1896. 24¼x31 inches, 61½x78¾ cm.

HENRI DE TOULOUSE-LAUTREC (1864-1901) TROUPE DE MLLE ÉGLANTINE. 1896. 24¼x31 inches, 61½x78¾ cm. Condition B / B+: overpainting at edges; repaired tears, replaced losses and restoration at edges and in image. Toned. Lautrec designed this poster in response to a request from his friend Jane Avril and her co-performer Églantine. Writing on January 19, 1896, they asked him to design an image for their appearance at the Palace Theatre in London, charging him to design it "as you think best," leaving the art to him, but requested that the performers appear in a certain order, and that the theater name not be printed, so they could use the poster for another appearance. Lautrec designed the image based on a photograph he had of the four dancers, who appear in the finished lithograph in the requested order: Églantine, Jane Avril, Cléopatre and Gazelle. The women are depicted performing the Quadrille Naturaliste; the dance had become world famous after it was performed at the Moulin Rouge, and in England, a British producer dubbed the dance the "French Can Can." Lautrec clearly appreciated these commissions he got from friends, and in return, infused the poster with his own personal inspiration. He bathes the dancers in the yellow glow of the stage lights, and uses the wooden planks of the stage to highlight the diagonal layout of the image. Their darkly clad legs emerging from the large white expanse of their petticoats was both alluring and risqué. Witrock P21C, Adriani 162-III, Encyclopedie de l'Affiche p. 223, DFP-II 850, Maitres 1900 p. 49, Devynck p. 83 (var), Wine Spectator 43 and cover.

Lot: 39 - HENRI DE TOULOUSE-LAUTREC (1864-1901). JANE AVRIL. Maitre de l'Affiche pl. 110. 1898. 15¼x11¼ inches, 38¾x28½ cm. Chaix, Paris.

HENRI DE TOULOUSE-LAUTREC (1864-1901) JANE AVRIL. Maitre de l'Affiche pl. 110. 1898. 15¼x11¼ inches, 38¾x28½ cm. Chaix, Paris. Condition A- / B+: mat-staining in margins; hinged at top to mat. Paper. Matted and framed.

Lot: 40 - THÉOPHILE VAN RYSSELBERGHE (1862-1926). LA LIBRE ESTHÉTIQUE. 1896. 38½x27¾ inches, 97¾x70½ cm. Monom, Brussels.

THÉOPHILE VAN RYSSELBERGHE (1862-1926) LA LIBRE ESTHÉTIQUE. 1896. 38½x27¾ inches, 97¾x70½ cm. Monom, Brussels. Condition B: replaced losses and staining at edges; repaired tears, creases and restoration in margins and image and along vertical and horizontal folds. Mounted on Japan. As a painter, van Rysselberghe was best known as a Neo-Impressionist. In 1883, he was a founding member of the influential art group Les XX (Les Vingt, "The Twenty") and he is considered one of the more important Belgian painters of the period. When Les XX dissolved in 1893, it transformed into another group called La Libre Esthétique, with which van Rysselberghe was also very active. "Van Rysselberghe exerted a positive force for the revitalization of the decorative arts at the turn of the century, but his posters are not numerous; those he created for La Libre Esthétique are unquestionably the finest. The elegant female figures of his posters, very knowingly placed on the page, seem to be the pretext for van Rysselberghe to balance large spots of red-orange against their greenish or bluish complementaries. The text is beautifully drawn and gracefully integrated into the design of the poster" (Belle Epoque p. 86). He designed two posters for the group. Wember 694, Belle Epoque p. 86, L'Affiche Belge p. 96, Weill 84, Maitres 1900 p. 94, DFP-II 1126.

Lot: 41 - FÉLIX VALLOTTON (1865-1925). ED. SAGOT / ["LES AMATEURS D'ESTAMPES"]. 1892. 10x13 inches, 25½x33 cm. Ed. Sagot, Paris.

FÉLIX VALLOTTON (1865-1925) ED. SAGOT / ["LES AMATEURS D'ESTAMPES"]. 1892. 10x13 inches, 25½x33 cm. Ed. Sagot, Paris. Condition B+ / A-: loss in upper left corner; abrasions at edges; ink stamp at top, as issued. Paper. Sagot was a pioneer figure in the world of the fin-de-siècle Parisian poster market. As early as 1886, he was offering Chéret's posters in his catalogue. In 1891, Sagot published a catalogue offering 2233 posters for sale to eager collectors. The cover of this catalogue, as well as a large poster advertising the publication, was designed by Jules Chéret. For his next foray into advertising, Sagot turned to a new talent: Félix Vallotton, a young Swiss artist who belonged to the circle of the Nabis and La Revue Blanche. Here, in Vallotton's inimitable black and white woodblock style, a throng of eager poster lovers is gathered in front of Sagot's gallery, along a strong diagonal axis established by the sidewalk. The image was so popular that even when Sagot moved his gallery to a new location he continued to use the old print, merely updating it with an ink stamp as we see here. This image essentially became his logo and he used it on leaflets, frame labels and other collateral material. Vallotton 107, DFP-II 858.

Lot: 42 - ADOLPH L. WILLETTE (1857-1926). FER BRAVAIS CONTRE L'ANÉMIE. 1898. 23½x16 inches, 59½x40½ cm. Delachy & Cie., Paris.

ADOLPH L. WILLETTE (1857-1926) FER BRAVAIS CONTRE L'ANÉMIE. 1898. 23½x16 inches, 59½x40½ cm. Delachy & Cie., Paris. Condition B+: repaired tear, restored losses and slight overpainting along horizontal fold; minor creases and abrasions in margins and image. Matted and framed. Advertising medicine to fight anemia, Willette depicts a case study of the effect the illness can have. It is "a poster with social connotations, along the lines of Zola's epic realism. Dimly lit by an oil lamp, a miserable garret room opens out onto a vista [of Paris], touches of color brighten up the darkness, with flowers, pets - symbols of life and human feeling. The pallid glow from the oil lamp distinguishes two key elements: the sewing machine, the tool of work and of alienation, and the young worker, who, exhausted by the previous night's work, has dropped her scissors" (Health p. 82). Willette rarely designed full color posters, most of his work is monochromatic. The image was also printed as a supplement for the March 6, 1898 Le Courrier Francais, which issued full color reproductions of famous posters of the era in smaller formats. This is the smaller format. DFP-II 892, Maitres 1900 p. 59, Health 105.

Lot: 43 - LEONETTO CAPPIELLO (1875-1942). NOS ACTRICES. Bound volume. 1899. 17x13½ inches, 43¼x34¼ cm. Éditions de la Revue Blanche, Paris.

LEONETTO CAPPIELLO (1875-1942) NOS ACTRICES. Bound volume. 1899. 17x13½ inches, 43¼x34¼ cm. Éditions de la Revue Blanche, Paris. Condition B+: repaired tears on one plate; slight creasing and wear to inside plates. Bound folio volume of 18 lithographs with pochoir coloring. With a preface by Marcel Prevost. This is an unnumbered example, from an edition of 40 on Japan Imperial, without the original box and cover. The actresses include Sara Bernhardt, Marthe Brandès, Mariette Sully, Lucienne Bréval, Marcelle Lender and others.

Lot: 44 - LEONETTO CAPPIELLO (1875-1942). GRANDE KERMESSE DE CHARITÉ. 1903. 53x37¼ inches, 134½x94½ cm. Vercasson, Paris.

LEONETTO CAPPIELLO (1875-1942) GRANDE KERMESSE DE CHARITÉ. 1903. 53x37¼ inches, 134½x94½ cm. Vercasson, Paris. Condition B+: repaired tears, creases, small replaced losses and minor overpainting in margins and image and along vertical and horizontal folds. A cheerful woman, in a signature yellow dress, "carries a hanging basket of flowers, beckoning us to the charity event - The Grande Kermesse de Charité - being held in the Bois de Boulogne" (Cappiello / Rennert, p. 62). Cappiello / Rennert 44.

Lot: 45 - LEONETTO CAPPIELLO (1875-1942). AUTOMOBILES BRASIER. 1906. 63½x46 inches, 161¼x116¾ cm. P. Vercasson, Paris.

LEONETTO CAPPIELLO (1875-1942) AUTOMOBILES BRASIER. 1906. 63½x46 inches, 161¼x116¾ cm. P. Vercasson, Paris. Condition A-: minor repaired tears, creases and restoration in margins and along vertical and horizontal folds; small repaired pin holes in corners. Paper. "H. Brasier was an engineer in the Paris firm owned by the Mors Brothers. In 1901, he began to work with George Richard . . . whose trademark four-leaf clover is seen in the upper left - to produce cars under the name of Richard-Brasier" (Cappiello / Rennert, p. 91). By 1905, however, the two men split and Brasier kept the four leaf clover logo. A number of posters for Brasier show the dust swirling up behind the wheels of the roadsters being advertised. Not only did this imply the speed the vehicles could attain, but also acknowledged the number of unpaved roads this early in automotive history. Cappiello takes this concept to a colorful extreme with the car emerging from a rainbow colored swirl of motion. This is the smaller, one-sheet version - the large format is a four-sheet variant. Cappiello / Rennert 100, Cappiello 272, Cappiello / St. Vincent 4.28, Auto Show I, 27, Sport a l'Affiche 26, Wine Spectator 212.

Lot: 46 - LEONETTO CAPPIELLO (1875-1942). COGNAC PELLISSON. 1907. 47x31½ inches, 119½x80 cm. Vercasson, Paris.

LEONETTO CAPPIELLO (1875-1942) COGNAC PELLISSON. 1907. 47x31½ inches, 119½x80 cm. Vercasson, Paris. Condition B+: minor repaired tears, creases, abrasions and slight bleaching in margins; small loss at lower left edge; minor creases and abrasions in image. Mounted on Chartex. "Here, Cappiello is in his element, stunning us with a visual shock: the sheer incongruity of a red-headed imp carrying a monstrous barrel is bound to catch us off-balance" (Wine Spectator 167). This is the smaller version. Wines & Spirits p. 57, Memoire de La Rue 112, Cappiello / Rennert 121, Wine Spectator 168.

Lot: 47 - LEONETTO CAPPIELLO (1875-1942). SAVON LA TOUR. 1920. 62¼x46½ inches, 158x118 cm. Devambez, Paris.

LEONETTO CAPPIELLO (1875-1942) SAVON LA TOUR. 1920. 62¼x46½ inches, 158x118 cm. Devambez, Paris. Condition B+: creases, abrasions and slight overpainting along vertical and horizontal folds; creases in margins and image, some with minor overpainting in image. Cappiello / Rennert 298.

Lot: 48 - LEONETTO CAPPIELLO (1875-1942). [CIGARETTE SMOKERS]. Gouache painting. Circa 1920. 8x6½ inches, 20¼x16½ cm.

LEONETTO CAPPIELLO (1875-1942) [CIGARETTE SMOKERS]. Gouache painting. Circa 1920. 8x6½ inches, 20¼x16½ cm. Condition A-: minor abrasions and minor cracking at edges. Painted in gouache on thick paper. Matted and framed.

Lot: 49 - LEONETTO CAPPIELLO (1875-1942). CONTRATTO. 1922. 77½x55 inches, 196¾x139¾ cm. Les Nouvelles Affiches Cappiello, Turin.

LEONETTO CAPPIELLO (1875-1942) CONTRATTO. 1922. 77½x55 inches, 196¾x139¾ cm. Les Nouvelles Affiches Cappiello, Turin. Condition B+: repaired tears in margins and along seam; foxing in margins and image. Two-sheets. Framed. This is the medium size of three formats. Cappiello / Rennert 366, Drink 158, Posters & Publicity 1928 p. 92, Cappiello / St. Vincent 4.45.

Lot: 50 - LEONETTO CAPPIELLO (1875-1942). VEUVE AMIOT / CREMANT DU ROI. 1922. 63x47 inches, 160x119½ cm. Devambez, Paris.

LEONETTO CAPPIELLO (1875-1942) VEUVE AMIOT / CREMANT DU ROI. 1922. 63x47 inches, 160x119½ cm. Devambez, Paris. Condition A-: minor creases in margins and image; minor repaired tear at left margin. Framed. Cappiello / Rennert 377.

Lot: 51 - LEONETTO CAPPIELLO (1875-1942). [UNTAMED TUMBLE]. Signed oil painting. 40½x31 inches, 102¾x78¾ cm.

LEONETTO CAPPIELLO (1875-1942) [UNTAMED TUMBLE]. Signed oil painting. 40½x31 inches, 102¾x78¾ cm. Condition A- / B+: lower left corner replaced and reinforced by board on verso, with in-painting; pin holes and chipping at edges. Oil painting on board, signed by the artist. Framed without glass. In this dynamic, twisting composition of a large feline and nude red-headed woman, Cappiello diverges from his usual style in the "fleshed-out," expressionist female figure. This painting is not identifiable as a design for a realized poster or project, but does encapsulate Cappiello's emblematic oeuvre of an animal and figure, in motion, against a swirling background. Cappiello "immediately recognize[d] the power of animals in advertising . . . cats, dragons, unicorns, lions, tigers, elephants, buffalo, rams and birds of all feathers populate his designs" (Cappiello / Rennert, p. 27). The symbolism of the image is unclear, but the effect is a bold, captivating design. Cappiello's earliest paintings, predominantly portraits and landscapes, date back to 1886, when he was only 11 years old. He then focused on political and entertainment caricatures for several years before melding his talents in portraiture and linework into his famed poster career.

Lot: 52 - LEONETTO CAPPIELLO (1875-1942). COGNAC MONNET. 1927. 78¼x51 inches, 198¾x129½ cm. Devambez, Paris.

LEONETTO CAPPIELLO (1875-1942) COGNAC MONNET. 1927. 78¼x51 inches, 198¾x129½ cm. Devambez, Paris. Condition A / A-: minor creases and restoration in margins. Framed. Cappiello / Rennert 443.

Lot: 53 - LEONETTO CAPPIELLO (1875-1942). LAIT GALLIA. 1931. 79½x53 inches, 202x134½ cm. Devambez, Paris.

LEONETTO CAPPIELLO (1875-1942) LAIT GALLIA. 1931. 79½x53 inches, 202x134½ cm. Devambez, Paris. Condition B: repaired tear at top edge, into image; repaired tears and creases in margins and image; speckling in background image. Framed. This is the large format. Cappiello / Rennert 487.

Lot: 54 - LEONETTO CAPPIELLO (1875-1942). L'ACTION COMBATTANTE. 1934. 47x32 inches, 119½x81¼ cm. Devambez, Paris.

LEONETTO CAPPIELLO (1875-1942) L'ACTION COMBATTANTE. 1934. 47x32 inches, 119½x81¼ cm. Devambez, Paris. Condition B+: small losses, replaced losses, creases, abrasions and staining along vertical and horizontal folds; slight foxing and staining in image; slight darkening at edges. "The worker stomping out corruption and other vermin on behalf of L'Action Combattante epitomizes a group of militant radical activists originally founded in 1901 by Henry Berenger, a senator from Guadeloupe. It served various causes over the years; during World War II, for example, it issued a clandestine newspaper of the French Resistance" (Cappiello / Rennert p. 316). Cappiello / Rennert 514.

Lot: 55 - FRANCO ALOY (1894-1961). BITTER CANETTA. Circa 1925. 55½x39½ inches, 141x100¼ cm. "Ala," Milan.

FRANCO ALOY (1894-1961) BITTER CANETTA. Circa 1925. 55½x39½ inches, 141x100¼ cm. "Ala," Milan. Condition B+: replaced losses in corners and margins; repaired tears, creases and minor restoration in margins and along vertical and horizontal folds. A virtually unknown artist, with an uncanny Cappiello-esque style. Other poster designs include Costume' Canetta and S.O.M. Vini Marsala Genuini. Rare.

Lot: 56 - PIERRE COLLET (DATES UNKNOWN). LE SOLEIL / VÉRITABLE ROQUEFORT. Window card. 1926. 16¾x11½ inches, 42½x29¼ cm. Imp. Joseph-Charles, Par

PIERRE COLLET (DATES UNKNOWN) LE SOLEIL / VÉRITABLE ROQUEFORT. Window card. 1926. 16¾x11½ inches, 42½x29¼ cm. Imp. Joseph-Charles, Paris. Condition A: minor abrasions at edges. Mounted on card, as issued, with grommets and string at top for hanging. The village depicted is Roquefort sur Soulzon in Aveyron, France.

Lot: 57 - GÉORGES FRANÇOIS (1880-1968). SPA - CITRON. Circa 1930. 63¼x39½ inches, 160¾x100¼ cm. Gouwelloos, Brussels.

GÉORGES FRANÇOIS (1880-1968) SPA - CITRON. Circa 1930. 63¼x39½ inches, 160¾x100¼ cm. Gouwelloos, Brussels. Condition A-: minor creases and abrasions in margins and image and along horizontal folds; small stain at top edge. Framed.

Lot: 58 - DESIGNER UNKNOWN. CYCLES AIGLON. Circa 1910. 47¼x31½ inches, 120x80 cm. Affiches Gaillard, Paris.

DESIGNER UNKNOWN CYCLES AIGLON. Circa 1910. 47¼x31½ inches, 120x80 cm. Affiches Gaillard, Paris. Condition A-: restoration in margins and around text; slight overpainting along repaired tears through text and along unobtrusive vertical and horizontal folds; minor creases in image.

Lot: 59 - CHARLES TICHON (DATES UNKNOWN). LES MYSTÈRES DE NEW - YORK / LE PETIT PROVENÇAL. 1916. 54¼x39 inches, 137¾x99 cm. Spéciale du Petit Pro

CHARLES TICHON (DATES UNKNOWN) LES MYSTÈRES DE NEW - YORK / LE PETIT PROVENÇAL. 1916. 54¼x39 inches, 137¾x99 cm. Spéciale du Petit Provencal, Marseille. Condition A-: minor expert restoration along vertical and horizontal folds and in margins; stamps in lower left text. An image best-known for adorning the walls of Joey and Chandler's apartment on Friends. The novel was serialized in 1916 in at least two French newspapers, as a version exists advertising the story's publication in Le Matin.

Lot: 60 - DESIGNER UNKNOWN. JOE HORRELLO. 1898. 37½x28 inches, 95¼x71 cm. Adolph Friedländer, Hamburg.

DESIGNER UNKNOWN JOE HORRELLO. 1898. 37½x28 inches, 95¼x71 cm. Adolph Friedländer, Hamburg. Condition B+: darkening and repaired tears at edges, some into image; overpainting and darkening along vertical and horizontal folds; minor abrasions at lower image.

Lot: 61 - DESIGNER UNKNOWN. GREEK AMERICAN TROOP. 1900. 28x18¾ inches, 71x47½ cm. Adolph Friedländer, Hamburg.

DESIGNER UNKNOWN GREEK AMERICAN TROOP. 1900. 28x18¾ inches, 71x47½ cm. Adolph Friedländer, Hamburg. Condition B+: darkening and repaired tears at edges, one slightly into lower right text; abrasions and minor overpainting along horizontal fold; unobtrusive vertical fold.

Lot: 62 - DESIGNER UNKNOWN. LA MELANITA. 1909. 37x27¾ inches, 94x70½ cm. Adolph Friedländer, Hamburg.

DESIGNER UNKNOWN LA MELANITA. 1909. 37x27¾ inches, 94x70½ cm. Adolph Friedländer, Hamburg. Condition B+: creases, abrasions and darkening in margins; slight overpainting along vertical and horizontal folds.

Lot: 63 - DESIGNER UNKNOWN. JOSEFSSON'S ORIGINAL ICELANDIC "GLIMA" CO. 1910. 28x37½ inches, 71x95½ cm. Adolph Friedländer, Hamburg.

DESIGNER UNKNOWN JOSEFSSON'S ORIGINAL ICELANDIC "GLIMA" CO. 1910. 28x37½ inches, 71x95½ cm. Adolph Friedländer, Hamburg. Condition B+: minor abrasions and darkening in margins; slight overpainting along vertical and horizontal folds. "Glima is a Nordic wrestling sport, mainly practiced in Iceland. Josefsson became a Glima champion in 1907, after which he started touring around the world giving numerous shows as an extraordinary wrestler" (zwiggelaarauctions.nl/).

Lot: 64 - DESIGNER UNKNOWN. HERAKLES / MERRY GOROUND. 1910. 37½x28 inches, 95¼x71 cm. Adolph Friedländer, Hamburg.

DESIGNER UNKNOWN HERAKLES / MERRY GOROUND. 1910. 37½x28 inches, 95¼x71 cm. Adolph Friedländer, Hamburg. Condition B+: minor losses, foxing and darkening at edges; abrasions and slight overpainting along vertical and horizontal folds.

Lot: 65 - DESIGNER UNKNOWN. MISS KU - KA - DI AND PARTNER GOLD MEPHISTO. 1913. 28x37¼ inches, 71x94½ cm. Adolph Friedländer, Hamburg.

DESIGNER UNKNOWN MISS KU - KA - DI AND PARTNER GOLD MEPHISTO. 1913. 28x37¼ inches, 71x94½ cm. Adolph Friedländer, Hamburg. Condition B+: slight overpainting and foxing along vertical and horizontal folds; restoration at top margin; repaired tears, abrasions, foxing and slight darkening in margins.

Lot: 66 - DESIGNER UNKNOWN. MARGOT ET JENNY. 1913. 37½x28 inches, 95¼x71 cm. Adolph Friedländer, Hamburg.

DESIGNER UNKNOWN MARGOT ET JENNY. 1913. 37½x28 inches, 95¼x71 cm. Adolph Friedländer, Hamburg. Condition B+: repaired tears, creases, abrasions and darkening in margins; abrasions and overpainting along vertical and horizontal folds.

Lot: 67 - DESIGNER UNKNOWN. THE MORANDINIS. 1913. 53¼x18½ inches, 134½x47 cm. Adolph Friedländer, Hamburg.

DESIGNER UNKNOWN THE MORANDINIS. 1913. 53¼x18½ inches, 134½x47 cm. Adolph Friedländer, Hamburg. Condition B+: minor repaired tears, creases, abrasions and slight foxing in margins; minor abrasions and overpainting along vertical and horizontal folds; small replaced loss at center image. Two-sheets.

Lot: 68 - DESIGNER UNKNOWN. THE URMANN'S / 2 LADIES 5 GENTLEMEN. 1926. 37x27½ inches, 94x69¾ cm. Adolph Friedländer, Hamburg.

DESIGNER UNKNOWN THE URMANN'S / 2 LADIES 5 GENTLEMEN. 1926. 37x27½ inches, 94x69¾ cm. Adolph Friedländer, Hamburg. Condition B+: repaired tears, creases, abrasions, and slight foxing in margins; abrasions, overpainting and discoloration along vertical and horizontal folds.

Lot: 69 - DESIGNER UNKNOWN. [CIRCUS BUSCH]. Group of 5 small format posters. Circa 1926. Sizes vary. Adolph Friedländer, Hamburg.

DESIGNER UNKNOWN [CIRCUS BUSCH]. Group of 5 small format posters. Circa 1926. Sizes vary. Adolph Friedländer, Hamburg. Condition varies, generally A- / A. Includes Cagliostro (3 images) and 1000 Jahre Deutscher Rhein (2 images).

Lot: 70 - CANDIDO ARAGONESE DE FARIA (1849-1911). COLIN / DANSEUR A TRANSFORMATIONS. Circa 1915. 31x23½ inches, 78¾x59½ cm. Bourgerie & Cie., Par

CANDIDO ARAGONESE DE FARIA (1849-1911) COLIN / DANSEUR A TRANSFORMATIONS. Circa 1915. 31x23½ inches, 78¾x59½ cm. Bourgerie & Cie., Paris. Condition B+: restored losses at upper left edge and lower right corner above text; small losses near upper right corner and at lower text; minor repaired tears at edges; creases at edges and in image. Matted and framed.

Lot: 71 - A.E. FORREST (DATES UNKNOWN). WHO IS THIS? / THIS IS MR. PETTRIDGE'S "MORDEMLY" HEROINE. 1897. 30x20 inches, 76¼x50¾ cm. J.S. Virtue,

A.E. FORREST (DATES UNKNOWN) WHO IS THIS? / THIS IS MR. PETTRIDGE'S "MORDEMLY" HEROINE. 1897. 30x20 inches, 76¼x50¾ cm. J.S. Virtue, & Co. Ltd., London. Condition B / B+: partially-replaced and overpainted margins; repaired tears, creases and abrasions in margins and image and along vertical and horizontal folds.

Lot: 72 - DESIGNER UNKNOWN. "FAUST." 88x40 inches, 223½x101½ cm. Stafford & Co., Nottingham.

DESIGNER UNKNOWN "FAUST." 88x40 inches, 223½x101½ cm. Stafford & Co., Nottingham. Condition B: repaired tears at edges, some into text and image; creases, abrasions, and restored losses in margins and along horizontal fold; slight overpainting in image; creases and abrasions in image and along vertical fold. Two-sheets.

Lot: 73 - DESIGNER UNKNOWN. MADEMOISELLE CHARLOT / CHARLIE CHAPLIN. 1915. 62x46 inches, 159x117 cm. Delattre, Paris.

DESIGNER UNKNOWN MADEMOISELLE CHARLOT / CHARLIE CHAPLIN. 1915. 62x46 inches, 159x117 cm. Delattre, Paris. Condition B+: creases, abrasions, restored losses and time staining in margins; slight restoration along vertical and horizontal folds. A poster for the French release of Chaplin's film A Woman, in which he dresses as a woman to fool the father of a girl he met in a park.

Lot: 74 - JEAN-DOMINIQUE VAN CAULAERT (1897-1979). AOH - SHOCKING / GRANDE REVUE. 1923. 34x22½ inches, 86½x57 cm. Jean Fuytynck, Brussels.

JEAN-DOMINIQUE VAN CAULAERT (1897-1979) AOH - SHOCKING / GRANDE REVUE. 1923. 34x22½ inches, 86½x57 cm. Jean Fuytynck, Brussels. Condition B+: replaced loss in bottom margin; repaired tears, creases and minor abrasions at edges, in image and along vertical and horizontal folds. Matted and framed.

Lot: 75 - DESIGNER UNKNOWN. DON'T LOSE YOUR HEAD / HANDLE YOUR TEMPER. 1924. 48x36 inches, 122x91½ cm. Mather & Company, Chicago.

DESIGNER UNKNOWN DON'T LOSE YOUR HEAD / HANDLE YOUR TEMPER. 1924. 48x36 inches, 122x91½ cm. Mather & Company, Chicago. Condition B+: replaced losses and minor overpainting in margins, some slightly into image; expertly repaired tears at edges; minor creases and abrasions in image; punch holes filled in.

Lot: 76 - DESIGNER UNKNOWN. MOTHER'S DAY / DESERVE HER CONFIDENCE. 1924. 47½x35½ inches, 120¾x90¼ cm. Mather & Company, Chicago.

DESIGNER UNKNOWN MOTHER'S DAY / DESERVE HER CONFIDENCE. 1924. 47½x35½ inches, 120¾x90¼ cm. Mather & Company, Chicago. Condition B+: expertly-repaired tears, creases and abrasions in margins, some into image; punch holes filled in; margins slightly trimmed.

Lot: 77 - DESIGNER UNKNOWN. WHERE AM I? / START RIGHT YOU'LL FINISH RIGHT. 1925. 48x36 inches, 122x91 cm. Mather & Company, Chicago.

DESIGNER UNKNOWN WHERE AM I? / START RIGHT YOU'LL FINISH RIGHT. 1925. 48x36 inches, 122x91 cm. Mather & Company, Chicago. Condition B: extensive restoration and overpainting in margins; repaired tears in image, one from top left through to bottom left; creases, abrasions and overpainting in image; punch holes filled in at top and bottom.

Lot: 78 - DESIGNER UNKNOWN. DAMAGED / PLEASE BE CAREFUL. 1925. 47¾x36 inches, 121¼x91½ cm. Mather & Company, Chicago.

DESIGNER UNKNOWN DAMAGED / PLEASE BE CAREFUL. 1925. 47¾x36 inches, 121¼x91½ cm. Mather & Company, Chicago. Condition A- / A: creases and tears at edges, some into image; punch holes at top and bottom edges. Paper.

Lot: 79 - DESIGNER UNKNOWN. OUT IN FRONT / TO GET AHEAD, BE AHEAD! 1929. 43¾x36 inches, 111x91½ cm. Mather & Company, Chicago.

DESIGNER UNKNOWN OUT IN FRONT / TO GET AHEAD, BE AHEAD! 1929. 43¾x36 inches, 111x91½ cm. Mather & Company, Chicago. Condition B+: repaired tears in upper left margin, into image, separating from linen; minor creases in margins and image; punch holes replaced.

Lot: 80 - DESIGNER UNKNOWN. [MAKING SURE MAKES A HIT!] / [LET'S TAKE NO CHANCES]. Two posters. 1929. Each 44x36 inches, 111¾x94½ cm. Mather & Co

DESIGNER UNKNOWN [MAKING SURE MAKES A HIT!] / [LET'S TAKE NO CHANCES]. Two posters. 1929. Each 44x36 inches, 111¾x94½ cm. Mather & Company, Chicago. Condition varies, generally B+ / A-: repaired tears, creases and restoration.

Lot: 81 - TIBOR GONCZI-GEBHARDT (1902-1993). [PROTECT YOURSELF FROM ACCIDENTS!] 1934. 24¾x18¾ inches, 62¾x47½ cm. Dr. Pfisterer, Lajos.

TIBOR GONCZI-GEBHARDT (1902-1993) [PROTECT YOURSELF FROM ACCIDENTS!] 1934. 24¾x18¾ inches, 62¾x47½ cm. Dr. Pfisterer, Lajos. Condition A: minor creases at edges. Paper. "Tibor Gonczi Gebhardt was a very productive poster artist whose style was first defined by Art Deco, then after 1945 by socialist realism. His designs are invariably realistic and easily approachable. One of his main subjects was agriculture. He usually signed his works as "Gönczi," sometimes as "Gebhardt" (Budapestpostergallery.com). His 1930s output prominently featured figures of workers.

Lot: 82 - LEONARD CUSDEN (1898-1979). OUT OF HARM'S WAY. Circa 1947. 30x20 inches, 76¼x50¾ cm. Loxley Brothers Limited, London.

LEONARD CUSDEN (1898-1979) OUT OF HARM'S WAY. Circa 1947. 30x20 inches, 76¼x50¾ cm. Loxley Brothers Limited, London. Condition A-: small repaired tears at lower left edge, with brown tape on verso; minor creases and abrasions in margins and along vertical and horizontal folds. Paper. In 1947, a large series of posters was commissioned and produced by the Royal Society for the Prevention of Accidents and printed by Loxley Brothers, in Sheffield. The artists involved in the project included Manfred Reiss, Thomas Eckersley, Abram Games, Desmond Moore, and the lesser-known Cusden.

Lot: 83 - D'APRÈS KARL FRIEDRICH "FRITZ" BOEHLE (1873-1916). IN DEO GRATIA. 1915. 28¼x22½ inches, 71¾x57 cm. J. Maubach und Co., Frankfurt.

D'APRÈS KARL FRIEDRICH "FRITZ" BOEHLE (1873-1916) IN DEO GRATIA. 1915. 28¼x22½ inches, 71¾x57 cm. J. Maubach und Co., Frankfurt. Condition A-: minor creases and abrasions at edges; minor foxing in margins. Paper. "Boehle's work was strongly influenced by the old masters, Durer, Cranach, Schongauer, Mantegna and Donatello. This particular war loan poster draws heavily on a woodcut by Durer [St. George, 1508], reinforcing its request for money with an appeal to Germany's medieval religious traditions" (IWM 1 p. 16). It reads, "Thanks be to God. Givest thou a mite, be it ne'er so small, thou shalt be blessed by God." Darracott p. 52, IMW 1 p. 16.

Lot: 84 - G. MORINET (DATES UNKNOWN). KULTUR ALLEMANDE. Portfolio of 8 pochoir plates. 1915. 15x11 inches, 38x28 cm. H. Wagram, Paris.

G. MORINET (DATES UNKNOWN) KULTUR ALLEMANDE. Portfolio of 8 pochoir plates. 1915. 15x11 inches, 38x28 cm. H. Wagram, Paris. Condition B: losses, tears and creases to covers and inside pages; some plates detached; archival tape on verso of cover; partially bound with red string. Pochoir.

Lot: 85 - BERTHOLD CLAUSS (1882-1969). [GERMAN WAR BONDS / WORLD WAR I]. Group of 4 posters. Circa 1917. Sizes vary. Mainzer Anzeiger.

BERTHOLD CLAUSS (1882-1969) [GERMAN WAR BONDS / WORLD WAR I]. Group of 4 posters. Circa 1917. Sizes vary. Mainzer Anzeiger. Condition varies, generally A- / B+. Paper. Clauss was a painter, lithographer, illustrator and sculptor. Group includes: "A German would have sunk very low . . ."; "A lot of little gives a lot, a lot of Pfennigs a Mark. That's why everyone only gives strength when they unite!"; ". . . to end the unwanted war, buy War Bonds;" and "If the plow should peacefully plow through the field, money is needed." Images available upon request.

Lot: 86 - KARL SCHMOLL VON EISENWERTH (1879-1948). [GOLDENE BRÜCKE] & [GOLDENE FRÜCHTE]. Two posters. Circa 1917. Sizes vary. Zeitung der 10. Arm

KARL SCHMOLL VON EISENWERTH (1879-1948) [GOLDENE BRÜCKE] & [GOLDENE FRÜCHTE]. Two posters. Circa 1917. Sizes vary. Zeitung der 10. Armee. Condition varies, generally B+ / A-: "Fruchte" signed by the artist in pencil. Paper. Includes: "Golden Fruits / Bring Your Seeds for you, for yours, for Your Fatherland / War Savings Cards," and "Subscribing to the War Loan Builds the Golden Bridge to Peace."

Lot: 87 - ALEXEI F. MAKSIMOV (DATES UNKNOWN). THE AMERICAN AMBULANCE IN RUSSIA / [WAR LOAN - FORWARD TO VICTORY!] 1917. 46¼x28 inches, 117½x71 cm

ALEXEI F. MAKSIMOV (DATES UNKNOWN) THE AMERICAN AMBULANCE IN RUSSIA / [WAR LOAN - FORWARD TO VICTORY!] 1917. 46¼x28 inches, 117½x71 cm. St. Petersburg. Condition B+: minor wear and creases to text banners at top and bottom; reds faded. Mounted to board. Framed. A medieval Russian knight gallops off to battle carrying a flag bearing the Romanov coat of arms. As one of the last attempts of Tsarist Russia to raise funds for their doomed involvement in World War I, Tsar Nicholas II abdicated in March 1917. As a result, the Bolsheviks took power. Whether the Russian aristocracy rose to the occasion and contributed to this loan is unclear, but what is certain is that the loan was never paid back. In March 1918, Russia signed a peace treaty with Germany, left the war and repudiated all Allied war loans. Copies of this poster were sent to America from Russia and used (with English text banners) "in conjunction with a film to benefit the work of an American medical relief group" (Theofiles p. 143). Theofiles 194 (var), Russian World War I p, 81.

Lot: 88 - JACQUES CARLU (1890-1976). CROIX - ROUGE AMÉRICAINE / LES REVENDICATIONS DES BÉBÉS. 1918. 31½x23¼ inches, 80x59 cm. G. Bataille, Paris.

JACQUES CARLU (1890-1976) CROIX - ROUGE AMÉRICAINE / LES REVENDICATIONS DES BÉBÉS. 1918. 31½x23¼ inches, 80x59 cm. G. Bataille, Paris. Condition B+: loss and tape-repaired tear in lower left margin; creases in margins and image and along vertical and horizontal folds; pencil notations in lower left corner. Paper. From the Hans Sachs Collection, with the Hans Sachs label on verso.

Lot: 89 - MARIE DANFORTH PAGE (1869-1940). BUILDING FOR HEALTH / Y.W.C.A. Circa 1917. 46x30 inches, 116¾x76¼ cm. The Strobridge Litho Co., Cincin

MARIE DANFORTH PAGE (1869-1940) BUILDING FOR HEALTH / Y.W.C.A. Circa 1917. 46x30 inches, 116¾x76¼ cm. The Strobridge Litho Co., Cincinnati. Condition B: extensive expertly-replaced losses and overpainting at edges and in background; expertly-repaired tears at top edge, into central image; minor repaired tears and creases at edges.

Lot: 90 - J.W. (DATES UNKNOWN). UNITED STATES GRADES OF SLAUGHTER HEIFERS. 37¾x25¼ inches, 95¾x64¼ cm.

J.W. (DATES UNKNOWN) UNITED STATES GRADES OF SLAUGHTER HEIFERS. 37¾x25¼ inches, 95¾x64¼ cm. Condition B / B+: large replaced loss at bottom right; repaired tears, creases and restoration at edges and in image.

Lot: 91 - TOLSON (DATES UNKNOWN). NEED YOU! / COAST ARTILLERY CORPS U.S.A. Circa 1917. 25¼x38 inches, 64x96½ cm. Rode & Brand Litho., New York.

TOLSON (DATES UNKNOWN) NEED YOU! / COAST ARTILLERY CORPS U.S.A. Circa 1917. 25¼x38 inches, 64x96½ cm. Rode & Brand Litho., New York. Condition B: faded; repaired tears, creases and restoration in margins and image; small replaced loss in upper left margin.

Lot: 92 - VARIOUS ARTISTS. [WWI & WWII / U.S. NAVY, MARINES, AIR FORCE]. Group of 8 posters. Sizes vary.

VARIOUS ARTISTS [WWI & WWII / U.S. NAVY, MARINES, AIR FORCE]. Group of 8 posters. Sizes vary. Condition varies, generally B+. Four linen-backed and four paper. Group includes posters such as Help Deliver The Goods / Do It Now / U.S. Navy (Circa 1918), by Paus; Let's Go! / U.S. Marines (1942), by T.W.Y.; and Warhawks Are Killers! (1942), by Brindle. Images available upon request.

Lot: 93 - VARIOUS ARTISTS. [WWI & WWII / U.S. ARMY]. Group of 10 posters. Sizes vary.

VARIOUS ARTISTS [WWI & WWII / U.S. ARMY]. Group of 10 posters. Sizes vary. Condition varies, generally B+. One paper, nine linen-backed. Group includes posters such as The Ships Are Coming (circa 1918), by Daughtery; U.S. Army / At Home / Abroad (1940), by Woodburn; Your Job Is To Keep 'Em Shooting! (1942), by Stoops; and America Has Plenty If It Is Used Wisely! (1943), by Atherton. Images available upon request.

Lot: 94 - CHRISTIAN (DATES UNKNOWN). SHE MAY BE . . A BAG OF TROUBLE / SYPHILIS - GONORRHEA. 1940. 20x16 inches, 50¾x40½ cm.

CHRISTIAN (DATES UNKNOWN) SHE MAY BE . . A BAG OF TROUBLE / SYPHILIS - GONORRHEA. 1940. 20x16 inches, 50¾x40½ cm. Condition B+: small tears and repaired tears at edges, some slightly into image; creases and abrasions at edges and along vertical and horizontal folds; slight darkening at edges. Paper. "VDgraphic-40."

Lot: 95 - DESIGNERS UNKNOWN. [VD / SYPHILIS AND GONORRHEA]. Two posters. Circa 1940. Each 20x14½ inches, 50¾x36¾ cm.

DESIGNERS UNKNOWN [VD / SYPHILIS AND GONORRHEA]. Two posters. Circa 1940. Each 20x14½ inches, 50¾x36¾ cm. Condition varies, generally A- / B+: minor creases and abrasions at edges and along vertical and horizontal folds. Paper. Includes She May Look Clean - But and Untreated Syphilis / Deadly as a Bullet.

Lot: 96 - FRANZ OSWALD SCHIFFERS (1902-1976). [DELAYED! / VD] & [ALMOST! / VD]. Two posters. Circa 1940s. Sizes vary.

FRANZ OSWALD SCHIFFERS (1902-1976) [DELAYED! / VD] & [ALMOST! / VD]. Two posters. Circa 1940s. Sizes vary. Condition varies, generally A- / A: minor creases in margins and image. Paper.

Lot: 97 - DESIGNER UNKNOWN. [THE NEW YORK TIMES / THE PRESS IN THE USA IS 97% IN JEWISH HANDS]. 1941. 21¼x15½ inches, 54x39½ cm. [Beranek, Belgra

DESIGNER UNKNOWN [THE NEW YORK TIMES / THE PRESS IN THE USA IS 97% IN JEWISH HANDS]. 1941. 21¼x15½ inches, 54x39½ cm. [Beranek, Belgrade]. Condition A-: minor abrasions at edges; minor restoration along unobtrusive vertical and horizontal folds. Zeman p. 103.

Lot: 98 - VARIOUS ARTISTS. THE SATURDAY EVENING POST. Group of 4 posters. 1939-1940. Each approximately 28x22 inches, 71x56 cm.

VARIOUS ARTISTS THE SATURDAY EVENING POST. Group of 4 posters. 1939-1940. Each approximately 28x22 inches, 71x56 cm. Condition varies, generally B+. Paper. Group includes: The Story of Helen Hayes (1939), by Norman Rockwell; Borders Without Bayonets (1940), by Paul Hesse; You're As Old As You Feel (1940), by Julius Moessel; and The Life of Woolworth (1940), by John Phillips. Images available upon request.

Lot: 99 - F.P. (DATES UNKNOWN). COMPAGNIE GÉNÉRALE TRANSATLANTIQUE / LE TOURAINE. Circa 1890. 27¾x37¾ inches, 70½x95¾ cm. Knapp Co., New York.

F.P. (DATES UNKNOWN) COMPAGNIE GÉNÉRALE TRANSATLANTIQUE / LE TOURAINE. Circa 1890. 27¾x37¾ inches, 70½x95¾ cm. Knapp Co., New York. Condition A-: small scratch and loss at bottom edge, below text; minor water stain at bottom left; minor creases; printed on textured paper. Framed.

Lot: 100 - DESIGNER UNKNOWN. PURITAN LINE / ANTWERP BOSTON & BALTIMORE. Circa 1898. 30x20 inches, 76¼x50¾ cm. Maclure & Co., London.

DESIGNER UNKNOWN PURITAN LINE / ANTWERP BOSTON & BALTIMORE. Circa 1898. 30x20 inches, 76¼x50¾ cm. Maclure & Co., London. Condition B: staining from adhesive on verso, showing through margins and image; water stains in bottom left margin; minor abrasions in image. Mounted on board. Framed. The ship depicted here was built in 1894, purchased from Raeburn & Verel, Glasgow in 1898 by Thomas Ronaldson & Company and renamed the English King. According to an article reprinted from "The Syren and Shipping" from 1898, Thomas Ronaldson & Co. operated the Puritan Line from Antwerp to Boston and Baltimore every 10 days. Rare.

Lot: 101 - MONTAGUE BIRRELL BLACK (1884-1964). THE BLUE FUNNEL LINE / TO SOUTH AFRICA AUSTRALIA STRAITS & CHINA. Circa 1920s. 40¼x25 inches, 102¼x

MONTAGUE BIRRELL BLACK (1884-1964) THE BLUE FUNNEL LINE / TO SOUTH AFRICA AUSTRALIA STRAITS & CHINA. Circa 1920s. 40¼x25 inches, 102¼x63½ cm. Condition A: minor repaired tears and replaced losses at edges; text banner affixed to bottom. Montague Birrell Black produced many of the paintings, postcards and posters for the White Star Line through the 1920s. He also worked for other shipping companies, like the French Line and Blue Star Line, the London Underground and the British Railway companies. In many instances, he was able to capture painting-like detail in his posters, as in this example, with the intense, luminous depiction of the sunset and the twilight shades of the ocean. For one of Britain's largest shipping companies, the Blue Funnel Line remains far less known than its contemporaries, because they had substantially fewer posters produced than other companies.

Lot: 102 - R.S. PIKE (DATES UNKNOWN). UNITED STATES LINES / [LEVIATHAN]. Circa 1925. 40x25¼ inches, 101½x64 cm. John Waddington Ltd., London.

R.S. PIKE (DATES UNKNOWN) UNITED STATES LINES / [LEVIATHAN]. Circa 1925. 40x25¼ inches, 101½x64 cm. John Waddington Ltd., London. Condition A: minor creases in margins and image; minor abrasions at edges. Paper. A dramatic, bird's-eye view of some of the myriad activities available to travelers above deck on the Leviathan and the amiable mis en scène of an ocean voyage on this popular vessel. Passenger Ships 64.

Lot: 103 - PAUL THEODORE ETBAUER (1892-1975). HAPAG WELTREISE / HAMBURG - AMERIKA LINIE. 1928. 29x21½ inches, 74x54½ cm. Muhlmeister & Johler, Ham

PAUL THEODORE ETBAUER (1892-1975) HAPAG WELTREISE / HAMBURG - AMERIKA LINIE. 1928. 29x21½ inches, 74x54½ cm. Muhlmeister & Johler, Hamburg. Condition B+: restoration and abrasions along sharp creases at top and bottom, affecting text. A combination of eye-catching, colorful patterns (in the women's dresses), luxurious metallic gold ink and shadow play create a Polynesian wonderland and a compelling Art Deco image. Etbauer is best remembered for the travel posters he designed for the Hamburg America Line in the 1930s featuring their zeppelins and ocean liners. The Resolute sailed for the company from 1926 until 1935.

Lot: 104 - MAURICE RANDALL (1865-1950). BLUE STAR LINE / MEDITERRANEAN CRUISES. Circa 1930. 40x25 inches, 101½x63½ cm. Jarrold & Sons, London.

MAURICE RANDALL (1865-1950) BLUE STAR LINE / MEDITERRANEAN CRUISES. Circa 1930. 40x25 inches, 101½x63½ cm. Jarrold & Sons, London. Condition A-: minor creases and abrasions in margins; minor creases in image. Framed.

Lot: 105 - PAUL COLIN (1892-1986). CIE. GLE. TRANSATLANTIQUE / FRENCH LINE. Circa 1952. 39x24 inches, 99x61 cm. S.A. Courbet, Paris.

PAUL COLIN (1892-1986) CIE. GLE. TRANSATLANTIQUE / FRENCH LINE. Circa 1952. 39x24 inches, 99x61 cm. S.A. Courbet, Paris. Condition B+: overpainting in lower right corner; repaired tears at edges, some into text; creases and minor abrasions at edges and in image. This is the larger format, English version. The more commonly seen version says "Atlantique - Pacifique - Mediterranée," with the text "French Line" in a different script, and no text printed below the destinations. Rare. Colin 186 (var).

Lot: 106 - REYN DIRKSEN (1924-1999). HOLLAND - AMERICA LINE / SS NIEUW AMSTERDAM. 1954. 37½x24¾ inches, 95¼x62¾ cm. Joh. Enschede en Zonen, Haarle

REYN DIRKSEN (1924-1999) HOLLAND - AMERICA LINE / SS NIEUW AMSTERDAM. 1954. 37½x24¾ inches, 95¼x62¾ cm. Joh. Enschede en Zonen, Haarlem. Condition A-: repaired tears at edges, some slightly into image; small replaced losses and repaired pin holes in corners; slight foxing and overpainting in lower image. Schip & Affiche 91, Weallans p. 188.

Lot: 107 - WILLIAM DOBELL (1899-1970). ORIENT LINE TO AUSTRALIA. Circa 1938. 40x25 inches, 101½x63½ cm.

WILLIAM DOBELL (1899-1970) ORIENT LINE TO AUSTRALIA. Circa 1938. 40x25 inches, 101½x63½ cm. Condition B+: tears, repaired tears, creases, minor losses and time-staining in margins, into text; tape on verso. Paper. Poster Art in Australia p. 40, Trading Places 33 & p. 2.

Lot: 108 - XENIA (DATES UNKNOWN). AUSTRALIA / FLY BY B.O.A.C. & QANTAS. 1952. 39¾x25 inches, 101x63½ cm.

XENIA (DATES UNKNOWN) AUSTRALIA / FLY BY B.O.A.C. & QANTAS. 1952. 39¾x25 inches, 101x63½ cm. Condition A / A-: minor creases and abrasions at edges. "Xenia was a popular Punch artist of the Forties and Fifties, and she created a series of posters for BOAC in 1952 and 1953. Each was designed like a postage stamp" (Riding the Skies p. 110).

Lot: 109 - FREDERICK C. HERRICK (1887-1970). EMPIRE MARKETING BOARD. Group of 4 posters. Circa 1930s. 30x20 inches, 76¼x50¾ cm. Thos. Forman & Son

FREDERICK C. HERRICK (1887-1970) EMPIRE MARKETING BOARD. Group of 4 posters. Circa 1930s. 30x20 inches, 76¼x50¾ cm. Thos. Forman & Sons, Nottingham. Condition varies, generally B+ / A-. Paper. Group includes: Buy Home Produced Cheese; Buy Australian Sultanas; Buy Indian Rice; and Buy Canadian Apples. Almost all of Herrick's posters are marked by an elegant Art Deco stylization, and indeed he was the only British artist to participate in the famed 1925 Parisian Exposition Internationale des Arts Décoratifs et Industriels Modernes. In addition to heading the Baynard Press in London, Herrick designed posters for a variety of clients, including the London Underground, the Empire Marketing Board, RMSP (Royal Mail Steamship Packet), the Royal Mail Line and the Anchor Line.

Lot: 110 - BRIAN COOK (1910-1991). COME TO BRITAIN FOR HIKING. Circa 1950. 29¾x20 inches, 75½x51 cm. W.S. Cowell Ltd., London.

BRIAN COOK (1910-1991) COME TO BRITAIN FOR HIKING. Circa 1950. 29¾x20 inches, 75½x51 cm. W.S. Cowell Ltd., London. Condition A: minor abrasions in corners. Framed.

Lot: 111 - ROWLAND HILDER (1905-1993). COME TO BRITAIN FOR GOLF. 1952. 30x20 inches, 76x51 cm. W.S. Cowell Ltd., London.

ROWLAND HILDER (1905-1993) COME TO BRITAIN FOR GOLF. 1952. 30x20 inches, 76x51 cm. W.S. Cowell Ltd., London. Condition A. Framed.

Lot: 112 - CLAUDE HENRY BUCKLE (1905-1973). EDINBURGH / BRITISH RAILWAYS. Circa 1950s. 40x25½ inches, 101½x64¾ cm. Stafford & Co., Nottingham.

CLAUDE HENRY BUCKLE (1905-1973) EDINBURGH / BRITISH RAILWAYS. Circa 1950s. 40x25½ inches, 101½x64¾ cm. Stafford & Co., Nottingham. Condition A: small repaired tears at edges. Framed.

Lot: 113 - VARIOUS ARTISTS. [BRITISH TRAVEL GUIDES]. Group of 6 map booklets and flyers. 1930s. Sizes vary.

VARIOUS ARTISTS [BRITISH TRAVEL GUIDES]. Group of 6 map booklets and flyers. 1930s. Sizes vary. Condition varies, generally A-: minor creases and abrasions at edges and along folds. Group includes: Imperial Airways; Blue Star Line / Mediterranean; England . . . and Why; Colorful England and Scotland / LNER; Holiday Guides to Eastern Counties; and Cannes / The Municipal Casino. Images available upon request.

Lot: 114 - JULIEN LACAZE (1886-1971). LA CÔTE BRETONNE / CHEMINS DE FER DE L'ÉTAT. 1914. 41x29 inches, 104¼x73¾ cm. Cornille & Serre, Paris.

JULIEN LACAZE (1886-1971) LA CÔTE BRETONNE / CHEMINS DE FER DE L'ÉTAT. 1914. 41x29 inches, 104¼x73¾ cm. Cornille & Serre, Paris. Condition B: repaired tears, creases and abrasions in margins and image and along horizontal fold in lower image; slight bleaching in upper text; small losses in corners.

Lot: 115 - DAVID DELLEPIANE (1866-1932). EXPOSITION NATIONALE COLONIALE / MARSEILLE. 1922. 42x30 inches, 106¾x76¼ cm. Moullot, Marseille.

DAVID DELLEPIANE (1866-1932) EXPOSITION NATIONALE COLONIALE / MARSEILLE. 1922. 42x30 inches, 106¾x76¼ cm. Moullot, Marseille. Condition B+: partially-replaced upper left margin; repaired tears, creases and repaired pin holes in margins; minor abrasions and restoration along vertical and horizontal folds.

Lot: 116 - ALFRED SELIG (1907-1974). SOCIETE ATHLETIQUE OLYMPIQUE COLMAR. Circa 1940s. 32x23 inches, 81¼x58½ cm. A. Jess, Colmar.

ALFRED SELIG (1907-1974) SOCIETE ATHLETIQUE OLYMPIQUE COLMAR. Circa 1940s. 32x23 inches, 81¼x58½ cm. A. Jess, Colmar. Condition A: minor creases at edges. The Olympic Athletic Society (SAO Colmar) was founded in 1896 and still exists today, with training in wrestling as well as boxing and bodybuilding. Selig designed at least three other posters for festivals and events in Colmar in the 1940s.

Lot: 117 - ROGER BRODERS (1883-1953). MARSEILLE / PORTE DE L'AFRIQUE DU NORD. 1929. 39½x24¾ inches, 100¼x62¾ cm. Lucien Serre & Cie., Paris.

ROGER BRODERS (1883-1953) MARSEILLE / PORTE DE L'AFRIQUE DU NORD. 1929. 39½x24¾ inches, 100¼x62¾ cm. Lucien Serre & Cie., Paris. Condition B+: extensive overpainting in blue background; repaired tears at edges, some into text; creases and restoration along vertical and horizontal folds. In 1928, Broders' talent entered its "best period, and he produces masterpieces which appear at the Pantheon of travel posters. He is able to simplify, to stylize the subject without letting it lose its charm or warmth - a feat which Cassandre, a master in this field, was never able to achieve" (Perry / Broders p. 13). "In the era of Cubism, Roger Broders underwent a graphic revolution" (La Mer p. 166). This geometrically-appealing image manages to convey the hustle and bustle of the harbor, yet it creates a stylized order out of the chaos. Broders p. 81, Perry / Broders p. 31, Hillier p. 43, Marseille p. 56, La Mer p. 189, Encyclopedie de l'Affiche p. 210, Tourism 86, Affiches Art Deco p. 101.

Lot: 118 - LASZLO (DATES UNKNOWN). CALAIS. 39½x24¼ inches, 100¼x61½ cm. R. Deligne, Paris.

LASZLO (DATES UNKNOWN) CALAIS. 39½x24¼ inches, 100¼x61½ cm. R. Deligne, Paris. Condition B+ / B: small losses in upper corners; repaired tears, abrasions and restoration in margins and along vertical and horizontal folds; repaired pin holes in corners; staining and restoration in left image.

Lot: 119 - EUGENE BEAUDOIN (1898-1983) & MARCEL LODES (1891-1978). PARIS / 1937 EXPOSITION INTERNATIONALE. 1936. 38½x24 inches, 96½x61 cm. Jules S

EUGENE BEAUDOIN (1898-1983) & MARCEL LODES (1891-1978) PARIS / 1937 EXPOSITION INTERNATIONALE. 1936. 38½x24 inches, 96½x61 cm. Jules Simon, Paris. Condition B+: small replaced losses in margins; repaired tears at edges, some slightly into image; minor creases and abrasions in image. Designed by the same architects who created the exposition fairgrounds, this poster remarkably incorporates the red, white and blue of the French tri-color, the Eiffel Tower, the curve of the Seine, klieg lights and sky-writing into a seamless, airbrushed design. Many prominent poster artists (including Carlu, Cappiello, Colin and others) designed images promoting the 1937 Paris World's Fair, but this design won a competition sponsored by the French Ministry of Commerce. This is the middle of three formats. Poster Progress p. 84.

Lot: 120 - FRANCOIS DELRY (DATES UNKNOWN). CARNAVAL DE NICE 1937. 1937. 38½x24½ inches, 97¾x62¼ cm. Moullot, Marseille.

FRANCOIS DELRY (DATES UNKNOWN) CARNAVAL DE NICE 1937. 1937. 38½x24½ inches, 97¾x62¼ cm. Moullot, Marseille. Condition A- / B+: repaired tears at edges, some slightly into image; minor foxing spots in margins.

Lot: 121 - PERCIVAL PERNET (1890-1977). CHAMPIONNAT DU MONDE 1946. 1946. 39½x25½ inches, 100x65 cm. Atar, Geneva.

PERCIVAL PERNET (1890-1977) CHAMPIONNAT DU MONDE 1946. 1946. 39½x25½ inches, 100x65 cm. Atar, Geneva. Condition A: minor creases in margins and image. In addition to his posters for the Championnat du Monde in 1946 and 1948, Swiss artist Pernet designed several other posters, as well as paintings, lithographs, furniture and decorative art. This is the smaller format.

Lot: 122 - TAL (DATES UNKNOWN). VISIT FRANCE / PARIS. 1952. 39½x25 inches, 100½x63½ cm. Paul Martial, [Paris].

TAL (DATES UNKNOWN) VISIT FRANCE / PARIS. 1952. 39½x25 inches, 100½x63½ cm. Paul Martial, [Paris]. Condition A. Framed. A view from within a French train looking out at the fountain in the Place de la Concorde.

Lot: 123 - JEAN GARCIA (DATES UNKNOWN). VISIT FRANCE / THE BASQUE COAST. 1952. 39½x25 inches, 100½x63½ cm. S.C.I.P., Paris.

JEAN GARCIA (DATES UNKNOWN) VISIT FRANCE / THE BASQUE COAST. 1952. 39½x25 inches, 100½x63½ cm. S.C.I.P., Paris. Condition A. Framed. Garcia designed at least two other images for this train-window series, including Bretagne and Chateaux de la Loire. This is the English version (also printed in French).

Lot: 124 - SAINDRE (DATES UNKNOWN). VISIT FRANCE / THE FRENCH ALPS. 1952. 39¼x24¾ inches, 99¾x63 cm. Paul Martial, [Paris].

SAINDRE (DATES UNKNOWN) VISIT FRANCE / THE FRENCH ALPS. 1952. 39¼x24¾ inches, 99¾x63 cm. Paul Martial, [Paris]. Condition A. Framed.

Lot: 125 - STARR (DATES UNKNOWN). VISIT FRANCE / THE FRENCH RIVIERA. Circa 1952. 39½x24¾ inches, 100½x63 cm.

STARR (DATES UNKNOWN) VISIT FRANCE / THE FRENCH RIVIERA. Circa 1952. 39½x24¾ inches, 100½x63 cm. Condition A- / A: minor repaired tears and creases at edges. Framed.

Lot: 126 - JEAN JACQUELIN (1905-1989). VISITEZ LA FRANCE / LACS DU MASSIF CENTRAL. 1954. 39x24½ inches, 99x62¼ cm. Hubert Baille & Co., Paris.

JEAN JACQUELIN (1905-1989) VISITEZ LA FRANCE / LACS DU MASSIF CENTRAL. 1954. 39x24½ inches, 99x62¼ cm. Hubert Baille & Co., Paris. Condition A: minor creases and abrasions at edges. Framed.

Lot: 127 - HARRY RABINGER (1895-1966). GRAND - DUCHY OF LUXEMBOURG. Circa 1920s. 38¾x24½ inches, 98½x62¼ cm. Art Luxembourgeoise.

HARRY RABINGER (1895-1966) GRAND - DUCHY OF LUXEMBOURG. Circa 1920s. 38¾x24½ inches, 98½x62¼ cm. Art Luxembourgeoise. Condition A. Framed. Built on a hill surrounded by steep cliffs, the bridges in this Capital city play an important part in everyday life, and are depicted here as a montage in a dramatic, abstract modernist style, reminiscent of the Swiss poster artist Otto Morach. "Railways and motorways often spoil the landscape with their massive earthworks, but the graceful bridges across the deep gorge of the Petrusse, which bisects Luxembourg, enhance the rugged site of the city" (Hillier 39). This is the English version.

Lot: 128 - ADOLPHE MOURON CASSANDRE (1901-1968). VENEZIA. 1951. 39½x24¼ inches, 100½x61½ cm. Calcografia & Cartevalori, Milan.

ADOLPHE MOURON CASSANDRE (1901-1968) VENEZIA. 1951. 39½x24¼ inches, 100½x61½ cm. Calcografia & Cartevalori, Milan. Condition A: minor creases at edges. Mounted on Japan. In a style consistent with the stage designs from later in his career, Cassandre depicts a tranquil vista on a Venetian canal. Considered to be "his best tourist poster . . . the profile of the gondolier whose image is reflected in the water is harmoniously poetic. The image is vertically separated in two - on the right, a palace in the shade, and on the left, a luminous twilight. It is exquisite" (Cassandre / Weill p. 220). In 1954, this image was reissued with additional text at the bottom to promote a Graphic Industries conference in Venice. Mouron pl. 68 (var), Cassandre / Weill p. 222, Suntory 65, Travel Italia p. 63.

Lot: 129 - GERT JYNGE (1904-1994). NORWAY / SUMMER NIGHT IN NORWAY. 1933. 39¼x24½ inches, 99¾x62¼ cm. Litografia Oslo.

GERT JYNGE (1904-1994) NORWAY / SUMMER NIGHT IN NORWAY. 1933. 39¼x24½ inches, 99¾x62¼ cm. Litografia Oslo. Condition A / A-: minor creases at edges and in text. Framed.

Lot: 130 - HARALD DAMSLETH (1906-1971). SEE THE BRIGHT SUMMER NIGHTS OF NORWAY. 1937. 39½x24½ inches, 100½x63¼ cm. Norsk Lithografisk Officin, Osl

HARALD DAMSLETH (1906-1971) SEE THE BRIGHT SUMMER NIGHTS OF NORWAY. 1937. 39½x24½ inches, 100½x63¼ cm. Norsk Lithografisk Officin, Oslo. Condition B+: minor repaired tears at edges; minor creases and restoration in image. Framed. Damsleth was a Norwegian cartoonist and illustrator with nearly 200 WWII propaganda posters to his name. This is the English version.

Lot: 131 - LUDWIG HOHLWEIN (1874-1949). PASSAU. Circa 1929. 25½x33½ inches, 64¾x85 cm. Sonntag & Co., Munich.

LUDWIG HOHLWEIN (1874-1949) PASSAU. Circa 1929. 25½x33½ inches, 64¾x85 cm. Sonntag & Co., Munich. Condition A-: minor repaired tears at edges, one slightly into lower right image; minor creases in image; repaired pin holes in corners. Hohlwein / Stuttgart 284.

Lot: 132 - LUDWIG HOHLWEIN (1874-1949). WHEN IN GERMANY DON'T MISS / THE LAKE OF CONSTANCE. Circa 1930. 39½x25½ inches, 100½x65 cm. Herm. Sonntag

LUDWIG HOHLWEIN (1874-1949) WHEN IN GERMANY DON'T MISS / THE LAKE OF CONSTANCE. Circa 1930. 39½x25½ inches, 100½x65 cm. Herm. Sonntag & Co., Munich. Condition A- / B+: repaired tears at edges, some slightly into image; creases in margins and image. Framed. This is an example of Hohlwein's exploration of depth through the use of color, and is one of the large number of travel posters he designed. Here, for the Bodensee (Constance Lake, which lies between Germany, Austria and Switzerland), he depicts the giant statue of a lion that guards the harbor at Lindau, and uses seagulls and the distant mountains to convey the vastness of the body of water. He also uses a string of flags to denote the different nationalities represented around the lake. Another variant says "Lake of Constance" in the upper title, with a solid black box along the bottom. This is the English version. Hohlwein / Stuttgart 292.

Lot: 133 - MARC (DATES UNKNOWN). ALGÉRIE / VIA PORT - VENDRES. 1931. 39½x24½ inches, 100½x62¼ cm. Chaix, Paris.

MARC (DATES UNKNOWN) ALGÉRIE / VIA PORT - VENDRES. 1931. 39½x24½ inches, 100½x62¼ cm. Chaix, Paris. Condition A-: small repaired pin holes in top corners. Framed. The minaret of the Great Mosque of Tlemcen depicted in searing desert oranges. In a typical style commensurate with other French posters advertising travel to North Africa, Marc's image is infused with the local architecture, people and climate of Algeria. Not in Orientalist.

Lot: 134 - DESIGNER UNKNOWN. EL MINZA HOTEL / TANGIER. Circa 1935. 36x24½ inches, 91½x62¼ cm. Morrison & Gibb, Scotland.

DESIGNER UNKNOWN EL MINZA HOTEL / TANGIER. Circa 1935. 36x24½ inches, 91½x62¼ cm. Morrison & Gibb, Scotland. Condition B+: repaired tears, creases and abrasions in margins and image and along vertical and horizontal folds. Framed. The Minza Hotel was built in 1930 under the guidance of British aristocracy, yet was designed completely in the Moorish style, reflecting traditional Moroccan architecture. The hotel is situated on the Strait of Gibraltar with great views of the Bay of Tangier and the Rif Mountains inland. For years, as the confluence of luxury and exoticism, it was an international destination.

Lot: 135 - DESIGNER UNKNOWN. SEE INDIA / KANGCHENJUNGA NEAR DARJEELING. 1958. 39½x25¼ inches, 100¼x64¼ cm. Messrs. Bom. Fa. A. Off & L. Works, Bom

DESIGNER UNKNOWN SEE INDIA / KANGCHENJUNGA NEAR DARJEELING. 1958. 39½x25¼ inches, 100¼x64¼ cm. Messrs. Bom. Fa. A. Off & L. Works, Bombay. Condition A-: foxing at top and upper right edge; repaired pin holes in corners; creases at edges. A variant of this poster, printed by a different company, just says "India" instead of "See India," in a different style (See Swann Sale 2439 Lot 16).

Lot: 136 - MOTAHAR (DATES UNKNOWN). DACCA / THE CITY OF MOSQUES & MUSLIN / SEE PAKISTAN. 1961. 35½x24 inches, 90¼x61 cm. Ferozsons, Ltd., Kara.

MOTAHAR (DATES UNKNOWN) DACCA / THE CITY OF MOSQUES & MUSLIN / SEE PAKISTAN. 1961. 35½x24 inches, 90¼x61 cm. Ferozsons, Ltd., Kara. Condition A-: minor expert overpainting in margins; minor restoration in image.

Lot: 137 - G.K. ODELL (DATES UNKNOWN). TRAIN EXPOSITION CANADIEN. Circa 1920. 41½x29½ inches, 105½x75 cm.

G.K. ODELL (DATES UNKNOWN) TRAIN EXPOSITION CANADIEN. Circa 1920. 41½x29½ inches, 105½x75 cm. Condition B+: replaced and overpainted loss in upper left margin, into image; repaired tears at edges, some into image; minor creases in margins and image.

Lot: 138 - ALFRED CROCKER LEIGHTON (1901-1965). CANADA / VACATIONS UNLIMITED. Circa 1934. 40x30¼ inches, 101½x77 cm.

ALFRED CROCKER LEIGHTON (1901-1965) CANADA / VACATIONS UNLIMITED. Circa 1934. 40x30¼ inches, 101½x77 cm. Condition B+: repaired tears at edges, some slightly into image; creases, abrasions and restoration in margins and image. Framed. Born in England, Leighton was recruited by Canadian Pacific Railway after a staff member saw a project of his in London. With his first trip to Canada in1924, he produced a large output of commercial art including posters and pamphlets for the company. He made several more trips to Canada before settling there permanently for a role as Art Director of the Provincial Institute of Technology and Art. The Calgary Arts and Crafts-style home of Leighton and his wife Barbara is now a museum at the Leighton Art Centre.

Lot: 139 - DESIGNER UNKNOWN. CANADA / VACATIONS UNLIMITED. Circa 1949. 39¾x30 inches, 101x76¼ cm. Canadian Government Travel Bureau.

DESIGNER UNKNOWN CANADA / VACATIONS UNLIMITED. Circa 1949. 39¾x30 inches, 101x76¼ cm. Canadian Government Travel Bureau. Condition B+: repaired tears at edges, some slightly into image; minor creases at edges and in image. Framed. This same image of Canadian symbols, personifications, wildlife and culture was used on the cover of travel booklets promoting Canadian tourism in 1949.

Lot: 140 - EDWIN J. SCHRUERS (1903-1994). A PROSPECT OF HARVARD UNIVERSITY AND OF RADCLIFFE COLLEGE. 1935. 32¾x24½ inches, 83¼x62¼ cm. The Merrymo

EDWIN J. SCHRUERS (1903-1994) A PROSPECT OF HARVARD UNIVERSITY AND OF RADCLIFFE COLLEGE. 1935. 32¾x24½ inches, 83¼x62¼ cm. The Merrymount Press, Boston. Condition A-: margins trimmed slightly unevenly to edges; darkened overall. Mounted on board. Framed without glass.

Lot: 141 - JOHN FLEMING GOULD (1906-1996). SOUTHERN PACIFIC RAILROAD. Gouache maquette. 11x7 inches, 30x17¾ cm.

JOHN FLEMING GOULD (1906-1996) SOUTHERN PACIFIC RAILROAD. Gouache maquette. 11x7 inches, 30x17¾ cm. Condition A-: minor abrasions and small water stains in image. Gouache on artist board. Matted. John Fleming Gould was a graduate of Pratt and later, an art instructor there for 22 years. He was a prominent illustrator for the Saturday Evening Post for more than 8 years. He made figurative and landscape oil paintings, often of New York City and the Hudson Valley, and he was an art consultant and illustrator for General Electric Company in NY and the Erie, PA Locomotive Division.

Lot: 142 - VARIOUS ARTISTS. [SOUTHERN PACIFIC] & [SANTA FE RAILROAD]. Group of 15 posters. Sizes vary.

VARIOUS ARTISTS [SOUTHERN PACIFIC] & [SANTA FE RAILROAD]. Group of 15 posters. Sizes vary. Condition varies, generally B+. Each paper. Group includes titles such as Santa Fe / The Chief Way; Santa Fe / Land of Pueblos; Palm Springs California / S.P.; The Alamo / S.P. Images available upon request.

Lot: 143 - SANDOR (ALEXANDER RAYMOND KATZ, 1895-1974). CHICAGO WORLD'S FAIR. 1934. 39½x26½ inches, 100¼x67¼ cm. Goes Litho. Co., Chicago.

SANDOR (ALEXANDER RAYMOND KATZ, 1895-1974) CHICAGO WORLD'S FAIR. 1934. 39½x26½ inches, 100¼x67¼ cm. Goes Litho. Co., Chicago. Condition B+: repaired tears at edges, some into image; replaced losses, creases, abrasions and overpainting in margins; creases in image. Born in Hungary, Katz was a prominent Jewish artist who worked extensively on WPA projects including murals, illustrations and stained glass. This is the larger format. World of Tomorrow p. 14.

Lot: 144 - DESIGNER UNKNOWN. CHICAGO / SANTA FE. Circa 1950s. 24x18 inches, 61x45¾ cm.

DESIGNER UNKNOWN CHICAGO / SANTA FE. Circa 1950s. 24x18 inches, 61x45¾ cm. Condition A-: minor creases and abrasions at edges. Paper.

Lot: 145 - AUSTIN BRIGGS (1908-1973). CHICAGO / FLY TWA. Circa 1960. 40x25 inches, 101½x63½ cm.

AUSTIN BRIGGS (1908-1973) CHICAGO / FLY TWA. Circa 1960. 40x25 inches, 101½x63½ cm. Condition A- / B+: minor tears, creases and abrasions at edges. Paper.

Lot: 146 - DESIGNER UNKNOWN. THIS SUMMER - VISIT / ZION NATIONAL PARK, UTAH. Circa 1930s. 41½x27½ inches, 105½x70 cm.

DESIGNER UNKNOWN THIS SUMMER - VISIT / ZION NATIONAL PARK, UTAH. Circa 1930s. 41½x27½ inches, 105½x70 cm. Condition B+ / A-: minor tears, repaired tears, creases and slight darkening in margins; minor creases in image. Paper. With the Union Pacific Railroad overprint.

Lot: 147 - OSCAR M. BRYN (1883-1967). GRAND CANYON / SANTA FE IS THE ONLY RAILROAD ENTERTAINING THIS NATION. Circa 1949. 24x18 inches, 61x45¾ cm.

OSCAR M. BRYN (1883-1967) GRAND CANYON / SANTA FE IS THE ONLY RAILROAD ENTERTAINING THIS NATION. Circa 1949. 24x18 inches, 61x45¾ cm. Condition A / A-: minor tear at upper left corner; minor creases in margins. Paper. Honolulu-born Bryn grew up in California and worked for the art departments of various California newspapers. He became a freelance artist and designer in 1914 and moved to Chicago. Continuing to work in art departments, as a director, he also did freelance work for the Santa Fe Railway through the 1950s.

Lot: 148 - VARIOUS ARTISTS. [SANTA FE RAILROAD]. Group of 4 posters. Circa 1950s. Each approximately 24x18 inches, 61x45¾ cm.

VARIOUS ARTISTS [SANTA FE RAILROAD]. Group of 4 posters. Circa 1950s. Each approximately 24x18 inches, 61x45¾ cm. Condition varies, generally A- / B+. Each paper. Group includes: Southern California / Santa Fe; Red Cliffs / Continental Divide, New Mexico, by Willard Elms; Southwestern Dude Ranches / Santa Fe, by Fernando Villa; and Texas / Famous Brands of the Lone Star State. Images available upon request.

Lot: 149 - VARIOUS ARTISTS. [SANTA FE RAILROAD / NATIVE AMERICANS]. Group of 5 posters. Circa 1950s. Each approximately 24x18 inches, 61x45¾ cm.

VARIOUS ARTISTS [SANTA FE RAILROAD / NATIVE AMERICANS]. Group of 5 posters. Circa 1950s. Each approximately 24x18 inches, 61x45¾ cm. Condition varies, generally A-. Each paper. Group includes: Navajo Land / Arizona - New Mexico by Willard Elms; Santa Fe All The Way; Land of Pueblos / New Mexico; Hopiland / Santa Fe by Don Perceval; and Santa Fe / The Chief Way. Images available upon request.

Lot: 150 - DESIGNER UNKNOWN. SAN FRANCISCO / SANTA FE. Circa 1948. 24x18 inches, 61x45¾ cm.

DESIGNER UNKNOWN SAN FRANCISCO / SANTA FE. Circa 1948. 24x18 inches, 61x45¾ cm. Condition B+: ink staining in upper left margin, some into image; creases, abrasions and slight darkening in margins; scratch in left image. Paper.

Lot: 151 - STANLEY WALTER GALLI (1912-2009). SAN FRANCISCO / UNITED AIR LINES. 40x25 inches, 101½x63½ cm.

STANLEY WALTER GALLI (1912-2009) SAN FRANCISCO / UNITED AIR LINES. 40x25 inches, 101½x63½ cm. Condition A-: minor creases in image; abrasions at edges. Paper. Galli was a California painter, illustrator and printmaker. Although a member of the New York and California Society of Illustrators, and the designer of 26 stamps for the United States Postal Service, he is best remembered for the series of posters he designed for United Airlines in the 1950s and 60s. This is one of two text variants.

Lot: 152 - JOSEPH BINDER (1898-1972). UNITED AIR LINES / WASHINGTON D.C. 39½x25 inches, 100½x63½ cm.

JOSEPH BINDER (1898-1972) UNITED AIR LINES / WASHINGTON D.C. 39½x25 inches, 100½x63½ cm. Condition A- / B+: small tears and abrasions at edges. Paper. Binder p. 69.

Lot: 153 - DESIGNER UNKNOWN. WASHINGTON / GO BY TRAIN / PENNSYLVANIA RAILROAD. Circa 1953. 40x25 inches, 101½x63½ cm.

DESIGNER UNKNOWN WASHINGTON / GO BY TRAIN / PENNSYLVANIA RAILROAD. Circa 1953. 40x25 inches, 101½x63½ cm. Condition B+: extensive overpainting in margins and around text; repaired tears and overpainting in margins and image.

Lot: 154 - CHARLES "CHAS" ALLEN (1922-2011). HAWAII. Circa 1960s. 37¾x25½ inches, 96x64¾ cm.

CHARLES "CHAS" ALLEN (1922-2011) HAWAII. Circa 1960s. 37¾x25½ inches, 96x64¾ cm. Condition B+: overpainting throughout margins; minor repaired tears, creases and abrasions in margins and image; overpainting along horizontal fold.

Lot: 155 - JOSEPH BINDER (1898-1972) & ANONYMOUS. [ASSOCIATION OF AMERICAN RAILROADS]. Group of 4 posters. Circa 1940s-1952. Sizes vary, each appr

JOSEPH BINDER (1898-1972) & ANONYMOUS [ASSOCIATION OF AMERICAN RAILROADS]. Group of 4 posters. Circa 1940s-1952. Sizes vary, each approximately 18x14 inches, 46x36 cm. Condition varies, generally A / A-. Paper. One with wide margins. One of Binder's images for this series has become an icon of 20th Century Graphic design. Yet, for all of the attention that particular image has received, many of the other images in the series have rarely been published. Group includes: Heavy-Duty Highway That Costs the Taxpayer Nothing; Essential to Industry. . . . Vital to Defense; and The Most Important Wheels in America, by Binder; and America's No. 1 Car (artist unknown). Images 15 (var), Modern American 42 (var), International Poster Annual 1952 p. 176 (var). Images available upon request.

Lot: 156 - DAVID KLEIN (1918-2005) & ANONYMOUS. AMTRAK. Group of 7 posters. Circa 1970s. Sizes vary.

DAVID KLEIN (1918-2005) & ANONYMOUS AMTRAK. Group of 7 posters. Circa 1970s. Sizes vary. Condition varies, generally B+. Each paper. Group includes: Amtrak Metroliner, 1973; Amtrak Northwest, 1973; and Amtrak Southwest, 1973, all by David Klein.

Lot: 157 - DESIGNER UNKNOWN. WONDERFUL MEXICO HAS EVERYTHING! 1989. 37½x27½ inches, 95¼x69¾ cm. S. Turanzas del Valle, Juarez.

DESIGNER UNKNOWN WONDERFUL MEXICO HAS EVERYTHING! 1989. 37½x27½ inches, 95¼x69¾ cm. S. Turanzas del Valle, Juarez. Condition A-: minor creases and tears in margins; creases in image. Paper.

Lot: 158 - DESIGNER UNKNOWN. OUTSTANDING! / GREGG SKIS. Circa 1950. 31x21 inches, 78¾x53¼ cm.

DESIGNER UNKNOWN OUTSTANDING! / GREGG SKIS. Circa 1950. 31x21 inches, 78¾x53¼ cm. Condition A-: expert overpainting in margins. "Gregg Manufacturing started out as a farm implement manufacturing company and began making wooden skis for the Dartmouth Cooperative Society in Hanover, NH in 1919. . . Demand grew into the 1930s and Gregg Skis was one of the three major suppliers of skis for the 10th Mtn. Div. during WW2" (woodenskis.com/classic_brands.htm). The logo featured on the skis in this poster dates from the early 1950s.

Lot: 159 - DESIGNER UNKNOWN. BERGMANN SKI BOOTS. Circa 1940s. 36x23 inches, 91½x58½ cm.

DESIGNER UNKNOWN BERGMANN SKI BOOTS. Circa 1940s. 36x23 inches, 91½x58½ cm. Condition A-: expert overpainting in margins; minor creases and abrasions in image. Silkscreen.

Lot: 160 - SASCHA MAURER (1897-1961). FLEXIBLE FLYER / SPLITKEIN. Circa 1936. 37¼x23½ inches, 94½x59¾ cm.

SASCHA MAURER (1897-1961) FLEXIBLE FLYER / SPLITKEIN. Circa 1936. 37¼x23½ inches, 94½x59¾ cm. Condition A-: expert overpainting and restoration at edges and in text. "The famous 'Flexible Flyer' wooden sleds were patented in 1889 by S.L. Allen Co. in Philadelphia (Art of Skiing, p. 111). For these skis based on Norwegian techniques, the name "Splitkein" means "split cane," referring to the laminations of the ski. S.L. Allen kept manufacturing Flexible Flyers until the late 1960s when the factory closed and the company was sold. Art of Skiing p. 111, Alpi 63.

Lot: 161 - KRÄMER (DATES UNKNOWN). NORTHLAND SKIS / INTERNATIONALLY FAMOUS. Circa 1938. 37½x25 inches, 95¼x63½ cm.

KRÄMER (DATES UNKNOWN) NORTHLAND SKIS / INTERNATIONALLY FAMOUS. Circa 1938. 37½x25 inches, 95¼x63½ cm. Condition B+: skinning in top corners, affecting artist's name; small tears and repaired tears at edges; creases in image. Paper.

Lot: 162 - GEORGE ANDREW CORLEY (DATES UNKNOWN). U.S. TEAM SKI TRYOUTS / MT. HOOD OREGON. 1939. 30x22¼ inches, 76¼x56½ cm. Bede-Hibbitt Inc., Port

GEORGE ANDREW CORLEY (DATES UNKNOWN) U.S. TEAM SKI TRYOUTS / MT. HOOD OREGON. 1939. 30x22¼ inches, 76¼x56½ cm. Bede-Hibbitt Inc., Portland. Condition A: expert unobtrusive overpainting in margins; minor abrasions in upper image. Illustrator Corley also designed a pictorial map of Crater Lake, Oregon. He contributed artwork to comic books and magazines, a style which becomes apparent in this poster (especially in the style of his signature). One of at least two different color variants. Rare.

Lot: 163 - DWIGHT CLARK SHEPLER (1905-1974). SUN VALLEY / "ROUND HOUSE" ON BALDY MOUNTAIN. 1940. 40x24¾ inches, 101½x62¾ cm. Midwest Offset Co., C

DWIGHT CLARK SHEPLER (1905-1974) SUN VALLEY / "ROUND HOUSE" ON BALDY MOUNTAIN. 1940. 40x24¾ inches, 101½x62¾ cm. Midwest Offset Co., Chicago. Condition B+: small loss at bottom left margin; minor creases and abrasions in margins; staining in lower text box; minor staining in top margin and image. Paper. Sun Valley was created as a destination resort to encourage people to ride the railroad out west. It was the brainchild of Averill Harriman, Chairman of the Board of Union Pacific Railroad, who was himself an avid skier. Born in Massachusetts, Shepler graduated from Williams College and taught painting in and around Boston. He was a Navy combat artist during World War II, from 1942 to 1946. Shepler was an avid sailor and skier; he is well-known for his watercolor ski scenes of New Hampshire. Art of Skiing p. 124.

Lot: 164 - DESIGNER UNKNOWN. WINTER FUN IN RENO. Circa 1950s. 27¼x21¼ inches, 69¼x54 cm.

DESIGNER UNKNOWN WINTER FUN IN RENO. Circa 1950s. 27¼x21¼ inches, 69¼x54 cm. Condition A-: minor repaired tears and creases at edges; repaired pin holes in corners and at edges; partial silkscreen.

Lot: 165 - HERBERT BAYER (1900-1985). SKI IN ASPEN COLORADO. 44½x34½ inches, 113x87½ cm.

HERBERT BAYER (1900-1985) SKI IN ASPEN COLORADO. 44½x34½ inches, 113x87½ cm. Condition B+: extensive stenciled overpainting of yellow and white background, including around text. After moving to the USA in 1938, Bayer settled in New York before moving to Aspen in 1946, when he was recruited by Albert Paepcke of the Container Corporation of America, to turn the sleepy town of Aspen into a cultural and educational resort, in addition to having a lure as a winter paradise. In 1939, Bayer had worked for Mont Tremblant, a ski resort in Canada, and clearly used this experience when making the Aspen ski posters and other advertising ephemera he designed for the city. Rare. Previously unrecorded at auction.

Lot: 166 - EARL NEWMAN (1930- ). ASPEN. Circa 1960s. 35x22½ inches, 89x57 cm.

EARL NEWMAN (1930- ) ASPEN. Circa 1960s. 35x22½ inches, 89x57 cm. Condition B+: creases and abrasions in image; small tears and creases at edges; small pin holes and clear tape in corners. Silkscreen. Paper. Newman is best known for designing the posters for the Monterey Jazz Festival every year since 1963, and he also designed a poster for the United States Surfboard Championships in 1965.

Lot: 167 - DESIGNER UNKNOWN. SUGARLOAF / A MOUNTAIN OF FUN. 35¼x23¾ inches, 89½x60¼ cm.

DESIGNER UNKNOWN SUGARLOAF / A MOUNTAIN OF FUN. 35¼x23¾ inches, 89½x60¼ cm. Condition A-: minor repaired tears, creases and restoration in margins and image. Silkscreen. Sugarloaf is the second largest ski resort east of the Mississippi, located on Sugarloaf Mountain in western Maine. The resort's first trail was cut in 1950 by the Sugarloaf Mountain Ski Club and a group of locals known as "The Bigelow Boys."

Lot: 168 - SASCHA MAURER (1897-1961). SKI STOWE VERMONT / SKI CAPITAL OF THE EAST. Circa 1950s. 40x23¾ inches, 101½x60½ cm. [C.H. Daly Co, Stowe].

SASCHA MAURER (1897-1961) SKI STOWE VERMONT / SKI CAPITAL OF THE EAST. Circa 1950s. 40x23¾ inches, 101½x60½ cm. [C.H. Daly Co, Stowe]. Condition B+ / A-: overpainting along repaired tears at edges, some into text and image; minor creases and abrasions in margins and image.

Lot: 169 - JAMES LEWICKI (1917-1979). STOWE / SKI CAPITAL OF THE EAST. Circa 1960s. 39½x30 inches, 100¼x76¼ cm.

JAMES LEWICKI (1917-1979) STOWE / SKI CAPITAL OF THE EAST. Circa 1960s. 39½x30 inches, 100¼x76¼ cm. Condition A / A-: minor repaired tears, creases and abrasions at top and upper right edges. Lewicki was an artist and illustrator who worked closely with Life magazine and was a member of the Society of Illustrators and the American Watercolor Society. He was also an accomplished pictorial map maker, aided by his artist wife Lillian, including The Fabulous Fifties, created for Time magazine in 1960, and resort and trail maps for the Stowe Ski Association.

Lot: 170 - HOWARD KOSLOW (1924-2016). MORE SUN MORE SNOW / STOWE. Circa 1960s. 40¾x30 inches, 103½x76¼ cm.

HOWARD KOSLOW (1924-2016) MORE SUN MORE SNOW / STOWE. Circa 1960s. 40¾x30 inches, 103½x76¼ cm. Condition A / A-: minor creases and abrasions at edges. Howard Koslow was a painter and a stamp designer who painted on commission for NASA, the United States Air Force, the Coast Guard and the National Park Service. He was a member of the Society of American Historical Artists, and also designed travel posters in the 1960s.

Lot: 171 - DESIGNER UNKNOWN. FLY THE FRIENDLY SKIES OF UNITED / TAKE A SKI - LIFT HOLIDAY. Circa 1968. 40¾x25 inches, 103½x63½ cm.

DESIGNER UNKNOWN FLY THE FRIENDLY SKIES OF UNITED / TAKE A SKI - LIFT HOLIDAY. Circa 1968. 40¾x25 inches, 103½x63½ cm. Condition A-: minor restoration and overpainting at edges.

Lot: 172 - DESIGNER UNKNOWN. THE LAST OF THE SKI BUMS. 1969. 40½x29¼ inches, 102¾x74¼ cm. Personality Posters Inc., New York.

DESIGNER UNKNOWN THE LAST OF THE SKI BUMS. 1969. 40½x29¼ inches, 102¾x74¼ cm. Personality Posters Inc., New York. Condition A-: minor repaired tears and overpainting at edges; minor abrasions in image. Silkscreen. A 1969 documentary by Dick Barrymore following three "three ski-bums" for four months of their nomadic inter-continental adventures. The film has been called the ski version of "Endless Summer" (a documentary from 1966), and the neon poster, with silhouetted figures against a glowing yellow sun, seems to be a direct nod to the earlier picture.

Lot: 173 - DESIGNER UNKNOWN. SKI CHINA / SKI THE MAO STYLE. 28½x20 inches, 72½x50¾ cm.

DESIGNER UNKNOWN SKI CHINA / SKI THE MAO STYLE. 28½x20 inches, 72½x50¾ cm. Condition A-: minor restoration in margins. Text along the left side says "If you enter the village you will definitely return to ancient times."

Lot: 174 - ANDERS BECKMAN (1907-1967). SWEDEN / FOR REAL WINTERSPORTS. 1938. 39x24 inches, 99x61 cm. Ivar Haeggstroms Litho, Stockholm.

ANDERS BECKMAN (1907-1967) SWEDEN / FOR REAL WINTERSPORTS. 1938. 39x24 inches, 99x61 cm. Ivar Haeggstroms Litho, Stockholm. Condition B+: tears, tape-repaired tears, small losses, creases and abrasions at edges; minor creases and abrasions in image. Paper. Beckman was one of Sweden's foremost graphic designers. Amongst his major clients was AB Aerotransport (ABA), Sweden's first airline company, which eventually became SAS. Beckman was renowned not only for his poster work, but also for the Pavilion he designed for the 1939 New York World's Fair and many other international exhibitions and events. In 1939, he founded the Anders Beckman School to train up-and-coming Swedish youth in fashion and advertising design. Voyage p. 157, Art of Skiing np.

Lot: 175 - BERTA CZEGKA (1880-1954). ST. ANTON / ARLBERG. 1934. 26¾x18¾ inches, 68x47¾ cm. W.U.B.-Druck, Innsbruck.

BERTA CZEGKA (1880-1954) ST. ANTON / ARLBERG. 1934. 26¾x18¾ inches, 68x47¾ cm. W.U.B.-Druck, Innsbruck. Condition B+ / B: replaced losses, repaired tears and overpainting in margins and central image; minor creases and abrasions in image. "This humorous poster by Berta Czegka shows Hannes Schneider instructing a beginner's class of colorful and mischievous rabbits, whose attempts at skiing are way off the mark (Art of Skiing, p. 32). "Capital of the Tyrol's Arlberg region, St. Anton describes itself as the cradle of modern skiing and is to skiing what St. Andrews, in Scotland, is to golf . . . St. Anton's preeminence in Austrian skiing owes much to Hannes Schneider, who, in 1922, opened the Arlberg Ski School" (Ibid., p. 27). Art of Skiing p. 32.

Lot: 176 - HANS EBNER (1870-?). AUTRICHE. Circa 1950. 37¼x24¾ inches, 94½x62¾ cm. Brüder Rosenbaum, Vienna.

HANS EBNER (1870-?) AUTRICHE. Circa 1950. 37¼x24¾ inches, 94½x62¾ cm. Brüder Rosenbaum, Vienna. Condition B+: water staining at bottom margin and at left edge; minor creases and abrasions in margins and image; ink handwriting on verso, showing through lower left corner. This is the French version. Art of Skiing p. 26 (var).

Lot: 177 - DESIGNER UNKNOWN. UNISSEZ SPORTS ET VOYAGES D'HIVER EN TCHÉCOSLOVAQUIE. 37¼x24½ inches, 94½x62¼ cm. Czechoslovakia.

DESIGNER UNKNOWN UNISSEZ SPORTS ET VOYAGES D'HIVER EN TCHÉCOSLOVAQUIE. 37¼x24½ inches, 94½x62¼ cm. Czechoslovakia. Condition A-: minor repaired tears and creases at edges; repaired pin holes in margins. This is one of two French text versions.

Lot: 178 - JERZY CZERNIAWSKI (1947- ). STUDENT WINTER IN POLAND WITH ALMATUR. 1975. 26¼x39 inches, 69¼x99 cm.

JERZY CZERNIAWSKI (1947- ) STUDENT WINTER IN POLAND WITH ALMATUR. 1975. 26¼x39 inches, 69¼x99 cm. Condition A. Czerniawski graduated from the Fine Arts School of Wroclaw and immediately embarked on a career as a stage designer and poster designer for movies and theatrical productions, exhibitions and advertising.

Lot: 179 - P. DUFOURT (DATES UNKNOWN). JEUX D'HIVER / VILLARD DE LANS. 1942. 46¼x31 inches, 117½x78¾ cm. Gènèrale, Grenoble.

P. DUFOURT (DATES UNKNOWN) JEUX D'HIVER / VILLARD DE LANS. 1942. 46¼x31 inches, 117½x78¾ cm. Gènèrale, Grenoble. Condition B+: small loss in upper right corner; small replaced loss at left edge; repaired tears, creases, abrasions and minor restoration in margins and along vertical and horizontal folds.

Lot: 180 - VARIOUS ARTISTS. [SKI / WINTER OLYMPICS]. Group of 3 posters. 1962-1968. Sizes vary.

VARIOUS ARTISTS [SKI / WINTER OLYMPICS]. Group of 3 posters. 1962-1968. Sizes vary. Condition varies, generally A-. Paper. Group includes: Championnats du monde de ski (1962), by Cromières Constantin; Xmes Jeux Olympiques D'Hiver / Grenoble (1968), by Jean Brian; and Espagne, with photograph by Francesc Català-Roca. Images available upon request.

Lot: 181 - JAHNKE (DATES UNKNOWN). DEUTSCHE NORDISCHE SKI - MEISTERSCHAFTEN. 1953. 32½x22 inches, 82½x55¾ cm. Kunstanstalt Haisch, Klosterreichenb

JAHNKE (DATES UNKNOWN) DEUTSCHE NORDISCHE SKI - MEISTERSCHAFTEN. 1953. 32½x22 inches, 82½x55¾ cm. Kunstanstalt Haisch, Klosterreichenbach. Condition A: minor abrasions at edges.

Lot: 182 - HEINZ MÜLLER-PILGRAM (1913-1984). BOB WELTMEISTERSCHAFTEN / WORLD CHAMPIONSHIPS. 1953. 33x23½ inches, 93¾x59¾ cm. Meindl-Druck, Munich.

HEINZ MÜLLER-PILGRAM (1913-1984) BOB WELTMEISTERSCHAFTEN / WORLD CHAMPIONSHIPS. 1953. 33x23½ inches, 93¾x59¾ cm. Meindl-Druck, Munich. Condition A / A-: minor creases at edges; minor rippling in image.

Lot: 183 - HUGO LAUBI (1888-1959). ST. MORITZ / JUBILAUMS RENNWOCHE. 1925. 50x35 inches, 127x63½ cm. Gebr. Fretz, Zurich.

HUGO LAUBI (1888-1959) ST. MORITZ / JUBILAUMS RENNWOCHE. 1925. 50x35 inches, 127x63½ cm. Gebr. Fretz, Zurich. Condition B+: repaired tears at edges, some into image; creases and abrasions in margins and image; small loss in upper left margin. Mounted on Japan. Laubi became Art Director at the Fretz Brothers printing house in 1918, for whom he created numerous posters advertising PKZ and various Swiss travel destinations. He designed this poster in 1924 as a generic image promoting St. Moritz, with a depiction of one of the horse races on the frozen lake which took place annually in the town from the early 20th century until the outbreak of WWII. In at least two subsequent years, the image was reused with overprinting advertising that year's horse races. In 1939, the image of the horses alone, without any background, was also used to promote the race. Laubi's passion for horses in the rest of his life inspired his continued artistic depictions of them, and horses became a recurring motif in his career. Art of Skiing p. 94, Swiss Winter Sports 51 (var).

Lot: 184 - EMIL CARDINAUX (1877-1936). JUNGFRAUBAHN / JUNGFRAUJOCH. 1928. 40x25¼ inches, 101½x64 cm. Wolfsberg, Zurich.

EMIL CARDINAUX (1877-1936) JUNGFRAUBAHN / JUNGFRAUJOCH. 1928. 40x25¼ inches, 101½x64 cm. Wolfsberg, Zurich. Condition B+: repaired tears at edges, some into image; expert overpainting in margins; small replaced losses in corners; minor restoration over abrasions in image. Construction of the Jungfrau Railway, which climbed up the Jungfraujoch in Switzerland's Bernese Alps, began in 1898 and was completed in 1912. The railway climbs 11,330 feet, making its terminus the highest spot in Europe accessible by train. This is the smaller format, German version. Cardinaux 118, Paradis p. 2 (var), Sports d'Hiver p. 106.

Lot: 185 - HERBERT MATTER (1907-1984). ENGELBERG. 1928. 50x35½ inches, 127x90¼ cm. Orell Fussli, Zurich.

HERBERT MATTER (1907-1984) ENGELBERG. 1928. 50x35½ inches, 127x90¼ cm. Orell Fussli, Zurich. Condition A: minor repaired tear at bottom edge. Although best known for his work in the field of photomontage, Matter's earlier posters show that before his foray into the avant-garde, he had a firm command of graphic design and composition. This poster was designed in the same year as his famous image for PKZ. Swiss Tourist 149.

Lot: 186 - CARL FRANZ MOOS (1878-1959). ARTH - RIGI BAHN. 1928. 39¾x27½ inches, 101x69¾ cm. Gebr. Fretz, Zurich.

CARL FRANZ MOOS (1878-1959) ARTH - RIGI BAHN. 1928. 39¾x27½ inches, 101x69¾ cm. Gebr. Fretz, Zurich. Condition B+ / B: repaired tears and restored losses in margins, some into text and image with overpainting; repaired pin holes along top edge; minor creases and abrasions in margins and image.

Lot: 187 - ALOIS CARIGIET (1902-1985). AROSA. 1931. 39¾x25 inches, 101x63½ cm. Orell-Füssli, Zurich.

ALOIS CARIGIET (1902-1985) AROSA. 1931. 39¾x25 inches, 101x63½ cm. Orell-Füssli, Zurich. Condition A- / B+: slight foxing and minor creases in image; horizontal fold in upper image. Paper. Framed. Carigiet was a graphic designer, painter, children's book illustrator and costume and set designer for the theater. This "1931 poster by Alois Carigiet shows summer skiing at Arosa - one of the three earliest Graubünden resorts" (Art of Skiing p. 87). Art of Skiing p. 87, Swiss Winter Sports 29 (var).

Lot: 188 - HUGO LAUBI (1888-1959). PARSENN / KLOSTERS. 1934. 40x25¼ inches, 101½x64 cm. Fretz Bros. Ltd., Zurich.

HUGO LAUBI (1888-1959) PARSENN / KLOSTERS. 1934. 40x25¼ inches, 101½x64 cm. Fretz Bros. Ltd., Zurich. Condition B+: expertly-recreated lower right margin, into text; repaired tears, replaced losses, creases and restoration in margins and image.

Lot: 189 - ERNST HODEL (1881-1955). STANSERHORN / LUZERN. Circa 1930. 39¼x27½ inches, 99¾x70 cm. A. Trub, Aarau.

ERNST HODEL (1881-1955) STANSERHORN / LUZERN. Circa 1930. 39¼x27½ inches, 99¾x70 cm. A. Trub, Aarau. Condition A-: tape on verso of tear through bottom margin; minor tears and creases at edges. Paper.

Lot: 190 - DESIGNER UNKNOWN. SCHYNIGE - PLATTE - BAHN / INTERLAKEN SWITZERLAND. Circa 1930s. 39¼x25¼ inches, 99¾x64¼ cm. Hubacher A.G., Bern.

DESIGNER UNKNOWN SCHYNIGE - PLATTE - BAHN / INTERLAKEN SWITZERLAND. Circa 1930s. 39¼x25¼ inches, 99¾x64¼ cm. Hubacher A.G., Bern. Condition B+: repaired tears and restored losses at edges, some slightly into image and text with overpainting; minor creases, abrasions, overpainting and scuffing in image.

Lot: 191 - OTTO BAUMBERGER (1889-1961). HÖLL - GROTTEN. 1931. 50½x36 inches, 128¼x91½ cm. Orell-Füssli, Zurich.

OTTO BAUMBERGER (1889-1961) HÖLL - GROTTEN. 1931. 50½x36 inches, 128¼x91½ cm. Orell-Füssli, Zurich. Condition B+: replaced losses in margins and corners; repaired tears, creases, abrasions and restoration in margins and image; slight foxing in margins and text; printer's ink stamp in lower right image. Two visitors admire the colorful, subterranean wonderland of this Swiss grotto. Discovered at the end of the 19th century, the "Hell Grottoes" are a series of limestone caves located near the city of Baar (approximately 10 miles from Zurich). Small lakes, stalagmites and stalactites of various colors give each cave its own unique character.

Lot: 192 - HANS LOOSER (1897-1984). TOGGENBURG. 1932. 50¼x35½ inches, 127½x90 cm. Eidenbenz-Seitz & Co., St. Gallen.

HANS LOOSER (1897-1984) TOGGENBURG. 1932. 50¼x35½ inches, 127½x90 cm. Eidenbenz-Seitz & Co., St. Gallen. Condition B+ / A-: creases and tears at edges, some into image and lower text. Paper.

Lot: 193 - W. STAUFFER (DATES UNKNOWN). SCHULS - TARASP. 1935. 39¼x28 inches, 99½x71 cm. J.C. Müller, Zurich.

W. STAUFFER (DATES UNKNOWN) SCHULS - TARASP. 1935. 39¼x28 inches, 99½x71 cm. J.C. Müller, Zurich. Condition B+: replaced losses in image and upper right corner; repaired tears, creases, slight foxing and darkening at left margin; small stain in upper text.

Lot: 194 - HANS THÖNI (1906-1980). WENGEN. 1936. 39½x27½ inches, 100¼x69¾ cm. Kunstanstalt Brugger A.G., Meiringen.

HANS THÖNI (1906-1980) WENGEN. 1936. 39½x27½ inches, 100¼x69¾ cm. Kunstanstalt Brugger A.G., Meiringen. Condition B+: expert overpainting over repaired tears, creases and abrasions in margins and image; small replaced losses at edges; repaired pin holes in corners.

Lot: 195 - DESIGNER UNKNOWN. CHURWALDEN / SCHWEIZER SKI - SCHULE. 1936. 37½x26¼ inches, 95¼x66½ cm. Kunstanstalt Brugger A.G., Meiringen.

DESIGNER UNKNOWN CHURWALDEN / SCHWEIZER SKI - SCHULE. 1936. 37½x26¼ inches, 95¼x66½ cm. Kunstanstalt Brugger A.G., Meiringen. Condition B+: replaced losses and restoration in corners; water staining in upper left margin and text; repaired tears at edges, one into upper image; creases and abrasions in margins and image.

Lot: 196 - GRAF-BIENNE (DATES UNKNOWN). MONT SOLEIL / SUR ST. IMIER. 1941. 35¾x24½ inches, 91x62¼ cm. Fiedler, La Chaux-de-Fonds.

GRAF-BIENNE (DATES UNKNOWN) MONT SOLEIL / SUR ST. IMIER. 1941. 35¾x24½ inches, 91x62¼ cm. Fiedler, La Chaux-de-Fonds. Condition B+ / A-: minor creases and repaired tears in margins, some slightly into image; minor abrasions in image.

Lot: 197 - ALOIS CARIGIET (1902-1985). INNERE KRAFT . . . DURCH WINTERFERIEN. 1941. 50¼x35½ inches, 127½x90 cm. Wolfsberg, Zurich.

ALOIS CARIGIET (1902-1985) INNERE KRAFT . . . DURCH WINTERFERIEN. 1941. 50¼x35½ inches, 127½x90 cm. Wolfsberg, Zurich. Condition A- / B+: minor creases, tears, abrasions and pin holes at edges; minor abrasions at upper image. Paper. Swiss Winter Sports 147.

Lot: 198 - HERBERT LEUPIN (1916-1999). GRINDELWALD. 1946. 40x25¼ inches, 101½x64¾ cm. Off-set Press, Basel.

HERBERT LEUPIN (1916-1999) GRINDELWALD. 1946. 40x25¼ inches, 101½x64¾ cm. Off-set Press, Basel. Condition B+ / A-: minor foxing at bottom; minor creases and abrasions in margins and image; minor restoration at edges. Leupin was one of the most prolific Swiss poster artists in the post-war years. His work, largely based around visual gags, is often compared to that of Raymond Savignac, although, in fact, he was much more versatile in his style than his French counterpart. Paradis p. 142, Swiss Winter Sports 106.

Lot: 199 - MARTIN PEIKERT (1901-1975). PONTRESINA / ENGADIN. 1946. 39½x24¾ inches, 100¼x62¾ cm.

MARTIN PEIKERT (1901-1975) PONTRESINA / ENGADIN. 1946. 39½x24¾ inches, 100¼x62¾ cm. Condition A-: expertly-repaired tears and overpainting at edges, some slightly into image; minor creases in image. A mirror image of this ornate window is illustrated in another poster by Peikert (See Swann sale 2629, Lot 271). The other, a winter scene, features a woman peering out, fluffy white snow in the flower box and on the ground, with skis sticking out of it. In an excellent symmetry with the dainty butterfly, the other poster shows glistening icicles.

Lot: 200 - MARTIN PEIKERT (1901-1975). PONTRESINA / DIAVOLEZZA. 1955. 40x25 inches, 101½x63½ cm. Eidenbenz-Seitz & Co., St. Gallen.

MARTIN PEIKERT (1901-1975) PONTRESINA / DIAVOLEZZA. 1955. 40x25 inches, 101½x63½ cm. Eidenbenz-Seitz & Co., St. Gallen. Condition A-: minor repaired tears and restoration at edges; minor creases in image.

Lot: 201 - MELCHIOR LECHTER (1865-1937). GROSSE BERLINER KUNSTAUSSTELLUNG. 1897. 28x18¾ inches, 71x46½ cm. Otto v. Holten, Berlin.

MELCHIOR LECHTER (1865-1937) GROSSE BERLINER KUNSTAUSSTELLUNG. 1897. 28x18¾ inches, 71x46½ cm. Otto v. Holten, Berlin. Condition B / B+: replaced losses in margins and corners; repaired tears at edges, some into text and upper left image; unobtrusive horizontal fold. Like most artists of his generation, Melchior Lechter worked in all the different fields of decorative arts. He specialized in painting on glass but also worked in the field of graphic arts, designing books, bookplates, calendars and posters. As one can see from this poster announcing an exhibition of Berlin artists, he was strongly influenced by the work of William Morris. The image has incredible importance as the first pure Art Nouveau image published in Germany, and it represents a turning point in German graphic design. It was designed one year before the founding of the Secession and is the only image from the era we have seen that does not reflect any Hellenistic influences, but rather strongly bears the imprint of William Morris and Eugene Grasset. DFP-III 1960, Kunst, Kommerz, Visionen p. 46.

Lot: 202 - LUDWIG VON HOFMANN (1861-1945). DEUTSCHE KUNST AUSSTELLUNG DER BERLINER SECESSION. 1899. 28x18¾ inches, 71x47½ cm. Star Printing Office

LUDWIG VON HOFMANN (1861-1945) DEUTSCHE KUNST AUSSTELLUNG DER BERLINER SECESSION. 1899. 28x18¾ inches, 71x47½ cm. Star Printing Office, Berlin. Condition A-: minor repaired tears at edges; minor creases and abrasions in margins and image. Born into an aristocratic family, Hofmann studied art in Dresden, Karlsruhe and then in Paris at the Academie Julian. By 1891, he was back in Berlin where he was part of the city's thriving avant-garde artistic community, and was a frequent contributor to Pan. In 1898, Max Lieberman and Walter Leistikow founded the Berlin Secession. This extremely rare poster might be the first ever to advertise a Secession exhibition in Berlin. It is a fine Jugendstil image (reflecting the influence of Albert Besnard) with a young woman surrounded by nature. For Hofmann, who designed another poster for an art exhibition in 1893, this image was revolutionary and reflected the great artistic strides he had taken in the last decade of the 19th century. DFP-III 1314.

Lot: 203 - JOSEPH ADOLPH LANG (1873-1936). DÜSSELDORF / INTERNATIONALE KUNST UND GARTENBAU AUSSTELLUNG. 1904. 36½x24¾ inches, 92¾x63 cm. A. Bagel,

JOSEPH ADOLPH LANG (1873-1936) DÜSSELDORF / INTERNATIONALE KUNST UND GARTENBAU AUSSTELLUNG. 1904. 36½x24¾ inches, 92¾x63 cm. A. Bagel, Dusseldorf. Condition B+: replaced upper left corner; small losses, replaced losses and minor skinning in margins; repaired tears at edges, some into image; minor creases in text and image. Vienna-born Lang worked in Düsseldorf between 1900 and 1911. For this Art and Landscape Design Show, his only recorded poster, he provides two stylish, elegant but muted allegories on either side of the empty red center of the poster. 'Art' is represented as a sensuous woman holding a flower, and 'Landscape Design', as a decorative interpretation of a tree. The Jugendstil sophistication of the image is a far cry from the exuberant vegetal exaggerations of the French Art Nouveau artists. This is the German version. DFP-III 1943 (var).

Lot: 204 - PAUL NEUENBORN (1866-1913). AUSSTELLUNG DAS TIER IN DER KUNST. 1905. 38x27½ inches, 96½x70 cm. Münchener Graph., Velisch.

PAUL NEUENBORN (1866-1913) AUSSTELLUNG DAS TIER IN DER KUNST. 1905. 38x27½ inches, 96½x70 cm. Münchener Graph., Velisch. Condition B+: small loss in upper right margin; repaired tears at edges, some slightly into image; creases and abrasions in image and along horizontal fold; small stains in image from foxing on verso; mounted on old linen. Neuenborn, a painter and illustrator who specialized in animals, was a member of the Society of Illustrators and, briefly, of the Werkbund. In this rare poster, he not only shows his talent for drawing animals (pelicans, specifically), but also his talent for composition and layout. The image is carefully framed within the border and puts two dark-colored, detailed birds in the foreground and a diagonal line of much lighter birds in the background. The large amount of text is clearly organized at the bottom, making for a well-designed and well-balanced poster. DFP-III 2352.

Lot: 205 - JOSEF SATTLER (1867-1931). DIE LANDSHUTER HOCHZEIT 1475. 1905. 34¾x25 inches, 88¼x63½ cm.

JOSEF SATTLER (1867-1931) DIE LANDSHUTER HOCHZEIT 1475. 1905. 34¾x25 inches, 88¼x63½ cm. Condition B: foxing and creases in margins and image. Paper. The "Landshuter Hochzeit" of 1475 marked the marriage and extravagant celebration of the young Duke Georg of Bavaria-Landshut and Polish princess Hedwig. Since 1902, the residents of Landshut have held a three-week festival, every four years, to commemorate the historic wedding from the Middle Ages.

Lot: 206 - LUDWIG HOHLWEIN (1874-1949). MÜNCHENER KÜNSTLER FARBEN FABRIK / DR KARL FIEDLER. 1907. 32¼x16½ inches, 82x42 cm. Schon & Maison, Munich

LUDWIG HOHLWEIN (1874-1949) MÜNCHENER KÜNSTLER FARBEN FABRIK / DR KARL FIEDLER. 1907. 32¼x16½ inches, 82x42 cm. Schon & Maison, Munich. Condition B+ / A-: expert overpainting and minor restoration in margins; repaired tears at edges; restoration in image and along horizontal fold; slight foxing in text. Rare. Hohlwein / Stuttgart 4, Wember 407, DFP-III 1326.

Lot: 207 - LUDWIG HOHLWEIN (1874-1949). HERMANN SCHERRER / BREECHESMAKER. 1907. 48½x35¾ inches, 123¼x90¾ cm. G. Schuh & Co., Munich.

LUDWIG HOHLWEIN (1874-1949) HERMANN SCHERRER / BREECHESMAKER. 1907. 48½x35¾ inches, 123¼x90¾ cm. G. Schuh & Co., Munich. Condition B: repaired tears, creases and significant water and time-staining in wide margins; creases and abrasions along vertical and horizontal folds and in image. Mounted on Chartex An absolute masterpiece of modern graphic design, Hohlwein referred to this poster as "The man with the saddle." The use of a subdued background serves to delineate the overall image from the checkered riding pants and scarlet waistcoat that Hohlwein constructed in a cut-out fashion, inventing a revolutionary style of illustration in the process. This image was so striking that it became an emblem of the company, which used it on catalogue covers and even on their clothing labels. When the German design magazine Gebrauchsgraphik dedicated an entire issue to Hohlwein, the artist drew a modernized version of the image, which shows just how important it was to Hohlwein himself. Hohlwein / Stuttgart 3, Hohlwein / Munich p. 128 no. 101, DFP-III 1328, Modern Poster 56, Wember 406, Muller-Brockmann 59, Art Nouveau p. 237, Word and Image p. 43, Encyclopedie de l'Affiche p. 71, Rademacher pl 125, Avant Garde p. 115.

Lot: 208 - LUDWIG HOHLWEIN (1874-1949). HERMANN SCHERRER / SPORTING AND LADIES - TAILOR. 1908. 49x35¾ inches, 124½x90¾ cm. Schön & Maison, Munich.

LUDWIG HOHLWEIN (1874-1949) HERMANN SCHERRER / SPORTING AND LADIES - TAILOR. 1908. 49x35¾ inches, 124½x90¾ cm. Schön & Maison, Munich. Condition B / B+: repaired tears, creases, abrasions and discoloration in margins; creases and abrasions in image and along vertical and horizontal folds; slight discoloration along horizontal fold. Mounted directly to linen. Hohlwein / Stuttgart 9, Hohlwein / Munich p. 130 no. 106, DFP-III 1338, Modern Poster 57, MoMA 559.1943.

Lot: 209 - LUDWIG HOHLWEIN (1874-1949). JOHANN LUDWIG RANNIGER & SÖHNE - HANDSCHUHE. 1908. 33¾x19½ inches, 85¾x49½ cm. G. Schuh & Cie., Munich.

LUDWIG HOHLWEIN (1874-1949) JOHANN LUDWIG RANNIGER & SÖHNE - HANDSCHUHE. 1908. 33¾x19½ inches, 85¾x49½ cm. G. Schuh & Cie., Munich. Condition B+: creases and abrasions in margins and image; horizontal crease in central image; repaired tear at lower right edge, with clear tape on verso; staple holes at top edge; small losses in top corners. Printed on thick paper. Rare. Hohlwein / Stuttgart 13, DFP-III 1337.

Lot: 210 - LUDWIG HOHLWEIN (1874-1949). WELTAUSSTELLUNG BRÜSSEL. 1910. 24½x33¼ inches, 62¼x84½ cm. Hollerbaum & Schmidt, Berlin.

LUDWIG HOHLWEIN (1874-1949) WELTAUSSTELLUNG BRÜSSEL. 1910. 24½x33¼ inches, 62¼x84½ cm. Hollerbaum & Schmidt, Berlin. Condition A-: creases in margins and image and along vertical and horizontal folds; pin holes in corners. Paper. Framed. When Hohlwein received the official commission to design the poster for Germany's participation in the 1910 Brussels World's Fair, he stuck with a very academic artistic inspiration. The straightforward image of a naked man astride a horse is executed in Hohlwein's singular style with the unexpected additional flourish of the Brussels skyline, laid out across the bottom of the poster. Hohlwein / Stuttgart 28, DFP-III 1363, Wember 416.

Lot: 211 - LIKA MAROWSKA (1889-1967). ROSEN - FEST / KÜNSTLER - MASKEN. 1913. 44¼x31¼ inches, 112½x79½ cm. Fischbach, Strassburg.

LIKA MAROWSKA (1889-1967) ROSEN - FEST / KÜNSTLER - MASKEN. 1913. 44¼x31¼ inches, 112½x79½ cm. Fischbach, Strassburg. Condition B+: unobtrusive water stains along horizontal fold; small replaced losses and pin holes in corners; small repaired tears at edges, archival tape on verso; slight darkening in margins. Paper.

Lot: 212 - ALBERT WEISGERBER (1878-1915). PRESSE FEST. 1913. 71x38¾ inches, 180¼x98½ cm. G. Schuh, [Munich].

ALBERT WEISGERBER (1878-1915) PRESSE FEST. 1913. 71x38¾ inches, 180¼x98½ cm. G. Schuh, [Munich]. Condition B: repaired tears at edges; water staining, foxing, rippling, creases and abrasions in margins and image; overpainting along vertical and horizontal folds. Two-sheets. Mounted on thick paper. Weisgerber was a founding member of the New Secession in Munich and he was a frequent contributor to Jugend. He studied art under Franz von Stuck and Gabriel von Hackl and was renowned for his paintings. His few posters stand out, as they are filled with wit and unexpectedly vivid colors. Presse Fest is definitely his wildest, and most irreverent piece. His image is a comic take-off on Richard Strauss' opera Salomé. To mock the most respected work of one of Austria's most beloved composers is in and of itself insolent; but add the bright colors and the crazy scene and you end up with what could well be the most daring German poster of the period. Its graphic approach clearly announces Art Deco, as the image is virtually interchangeable with a 1920s-era cabaret poster. Plakate in München 334, DFP-III 3377.

Lot: 213 - JOSEF FENNEKER (1895-1956). PAUL HEIDEMANN IN VATER WIDER WILLEN. 1918. 27¾x37 inches, 70¼x94 cm. Hollerbaum & Schmidt, Berlin.

JOSEF FENNEKER (1895-1956) PAUL HEIDEMANN IN VATER WIDER WILLEN. 1918. 27¾x37 inches, 70¼x94 cm. Hollerbaum & Schmidt, Berlin. Condition B+: repaired tears, restored losses, overpainting and time-staining at edges. Within a decade of settling in Berlin, in 1918, Josef Fenneker had designed over 300 movie posters. He primarily worked for two movie houses, the Marmorhaus and the Mozartsaal, but also designed images for the large German movie producer UFA. From the beginning of his career, Fenneker developed his own personal style, which drew largely on German Expressionism combined with a flair of aesthetic decadence. "The Unwilling Father" was a short film released in 1918. From the Hans Sachs Collection, with the collector's stamp on verso.

Lot: 214 - FRITZ KAHN (1888-1968). DER MENSCH ALS INDUSTRIEPALAST. 1926. 37¼x18½ inches, 94½x47 cm. Fricke & Co., Stuttgart.

FRITZ KAHN (1888-1968) DER MENSCH ALS INDUSTRIEPALAST. 1926. 37¼x18½ inches, 94½x47 cm. Fricke & Co., Stuttgart. Condition A / A-: minor creases along vertical and horizontal folds; pencil notations in top left corner. Paper. Framed. Dr. Fritz Kahn was an Orthodox Jewish gynecologist in Berlin, who published popular illustrated books including The Cell and The Jews as a Race and Cultural People. In his books and articles, he "visualized the structure and function of the human body in a very unique way." (fritz-kahn.com). This poster of The Human as Industrial Palace is exemplary of one of his conceptual designs, presenting a playful but instructive comparison between industrialism and anatomy, and elevating the traditional medical diagram into 20th century graphic design. When the Nazis took power, Kahn's books were banned and publicly burned, and Kahn left Germany for Palestine and then the U.S., with the help of his friend Albert Einstein. While some of his works were translated into English, without the resources to produce new books, Kahn fell into obscurity. His innovative designs were still influential to future artists, and the first exhibition of his works, Fritz Kahn - Maschine Mensch, opened in Berlin in 2010 and featured this mechanical image.

Lot: 215 - BERTHOLD LOFFLER (1874-1960). EMPEROR FRANCIS JOSEPH - 60 YEARS JUBILEE. 1908. 41x15½ inches, 104x39¼ cm. Christoph Reisser's Söhne, V

BERTHOLD LOFFLER (1874-1960) EMPEROR FRANCIS JOSEPH - 60 YEARS JUBILEE. 1908. 41x15½ inches, 104x39¼ cm. Christoph Reisser's Söhne, Vienna. Condition A-: minor abrasions along sharp crease in bottom text; minor creases and small tears at edges; minor abrasions in image. Matted and framed. Berthold Löffler studied at the Decorative Arts School in Vienna along with Koloman Moser. Throughout his entire life, he was very active in many fields of the arts, both creating and teaching. In 1906, he founded "Vienna Ceramics," which operated in conjunction with the Wiener Werkstatte. This is the rare smaller format, English version. This format also was printed in French. There is a large two-sheet format, printed in German, with the figure facing the other direction.

Lot: 216 - OTTOKAR MASCHA (1852-1929). ÖSTERREICHISCHE PLAKATKUNST. Bound volume. Circa 1914. 15½x12 inches, 39½x30½ cm. J. Lowy, Vienna.

OTTOKAR MASCHA (1852-1929) ÖSTERREICHISCHE PLAKATKUNST. Bound volume. Circa 1914. 15½x12 inches, 39½x30½ cm. J. Lowy, Vienna. Condition B+: wear and staining to original linen binding; separating inside along spine; some darkening and wear to inside plates. This is the only comprehensive book on the Austrian poster during its golden age. It contains works by Gustav Klimt, Egon Schiele, Koloman Moser, Julius Klinger, Ernst Deutsch and others, boasting 24 color plates and 176 black-and-white illustrations in all. Although undated, it was probably published in 1914, and certainly suffered from appearing right at the beginning of the First World War, as very few copies have survived. In many ways, it can be considered the Maitres de l'Affiche of the Austro-Hungarian Empire, with the addition of scholarly text to complement the images. This is one of the 200 copies bound in linen; 30 additional numbered copies were bound in leather and printed on Japan. Scarce.

Lot: 217 - GÉZA FARAGO (1877-1928). KINO PLASTICON. 1913. 49¼x37¼ inches, 125x94½ cm. Kunossy Muintezet, Budapest.

GÉZA FARAGO (1877-1928) KINO PLASTICON. 1913. 49¼x37¼ inches, 125x94½ cm. Kunossy Muintezet, Budapest. Condition B+: tears, repaired tears, small losses and slight darkening in margins; minor creases and abrasions in margins and along vertical and horizontal folds. Paper. Framed. Faragó had international artistic training and exposure to many different forms of Art Nouveau design. He studied art in Paris, where he was a pupil of Mucha and a student at the Académie Colarossi. Upon his return to Hungary, he studied under two important Hungarian painters, Adolf Fényes and Béla Iványi Grünwald. His style reflects elements of the finest French Art Nouveau as well as the minimal geometric ornamentation of the Secession. Magyar Plakat p. 48.

Lot: 218 - WALTER ESSENTHER (1892-1955). CABARET BONBONNIÈRE. 1919. 34¾x23½ inches, 88¼x59¾ cm. Gesellschaft fur Graphische Industrie, Vienna.

WALTER ESSENTHER (1892-1955) CABARET BONBONNIÈRE. 1919. 34¾x23½ inches, 88¼x59¾ cm. Gesellschaft fur Graphische Industrie, Vienna. Condition B+: slight fading along creases in top margin; creases and minor abrasions in margins and along vertical and horizontal folds; slight offsetting in image. Paper. Matted and framed. We have only offered this poster once in the past 20 years.

Lot: 219 - ŸGEORG MAYER-MARTON (1897-1960). DANTONS TOD. 1929. 47¾x36¼ inches, 121½x92 cm. J. Weiner, [Vienna].

ŸGEORG MAYER-MARTON (1897-1960) DANTONS TOD. 1929. 47¾x36¼ inches, 121½x92 cm. J. Weiner, [Vienna]. Condition B+: foxing at edges and in text; minor losses at bottom right corner; minor abrasions at edges; unobtrusive vertical and horizontal folds. Mounted on thick paper. Mayer-Marton was born in Hungary and studied art in Vienna and Munich. He lived in Vienna from 1919, working as a painter and an etcher, joining the Hagenbund in 1924 (see Swann Modernist Poster Auction, lot #124). He remained a member until 1938 when he emigrated to England, where he lived, taught and painted until his death in Liverpool in 1960. This poster is for a theatrical production of Georg Buchner's Danton's Death. The play was directed by Max Reinhardt, who was the most famous theatrical director of his time. He also had an exceptional sense of advertising, paying special attention to the posters he commissioned and personally overseeing all the details of his advertising. This production, which took place during Vienna's Festival Week, was held in the Arkadenhof (large central courtyard) of Vienna's town hall. Mayer-Marton provides an architectural representation of the massive arches surrounding the courtyard, theatrically playing with light, shadows and perspective in an atmospheric way that emphasizes the venue more than the production. Denscher p. 117.

Lot: 220 - JOHAN THORN PRIKKER (1868-1932). REVUE BIMESTRIELLE POUR L'ART APPLIQUÉ. 1896. 53x36¾ inches, 134½x93¼ cm. S. Lankhout en Co., The Hag

JOHAN THORN PRIKKER (1868-1932) REVUE BIMESTRIELLE POUR L'ART APPLIQUÉ. 1896. 53x36¾ inches, 134½x93¼ cm. S. Lankhout en Co., The Hague. Condition B / B+: repaired tears, minor replaced losses, creases and abrasions in margins and image and along vertical and horizontal folds; repaired tears and restoration along seam; repaired pin holes in top corners; Ed. Sagot ink stamp in bottom margin. Two-sheets. A graduate of the Academy of Fine arts in The Hague, Thorn Prikker went on to become an artist in many fields, including painting, stained glass and mosaics. In 1903 he moved to Germany where he began teaching at the art school in Krefeld. Dutch Poster 83, Modern Dutch Poster 6.

Lot: 221 - HENRY VAN DE VELDE (1863-1957). TROPON. 1898. 14¼x10½ inches, 36x26½ cm.

HENRY VAN DE VELDE (1863-1957) TROPON. 1898. 14¼x10½ inches, 36x26½ cm. Condition A / A-: time-staining in margins; archival tape on verso from binding, along left edge. Paper. Matted. What appears to be a wonderful abstract Art Nouveau design is in fact a "practical" advertisement for a very mundane product and a turning point in graphic design. In 1897, Tropon produced a meat substitute which was made of egg whites and other nutritional supplements. With this poster, Van de Velde "effectively initiated a new art: the total industrial graphic design" (Word & Image p. 17). He "created a logo in the modern sense of the term, abandoning all realism and the whole classic arsenal of advertising (the woman, the child, etc.) of the period" (Weill p. 63). The company used the image consistently in advertising and packaging to build a recognizable brand. In addition to the poster (which many have interpreted to represent the egg whites being separated), the image also appeared in Pan magazine. Published in Berlin between 1895 and 1900, the periodical printed original lithographs by prominent artists, such as Toulouse Lautrec. From Pan magazine, this is the smaller format, German version. From an edition of 1100. Wember 777b (var), Word & Image p. 39, Weill 98, Rademacher p. 68 (var), Modern Poster p. 19, DFP-II 1134, Muller-Brockmann 49 (var).

Lot: 222 - JACOB JONGERT (1883-1942). INTERNATIONALE GASTENTOONSTELLING AMSTERDAM. 1912. 59x29½ inches, 149¾x75 cm. Jac. Jongert.

JACOB JONGERT (1883-1942) INTERNATIONALE GASTENTOONSTELLING AMSTERDAM. 1912. 59x29½ inches, 149¾x75 cm. Jac. Jongert. Condition B+: small replaced losses at edges; small losses at lower right; repaired tears, creases and minor abrasions in margins and text. Framed. Jongert studied at the Amsterdam Rijksakademie, most notably under Roland-Holst, for whom he later worked. From 1923 until 1940, Jongert was the advertising manager for Van Nelle, the Dutch coffee and tea company, and he is best remembered for the work he did during this period. His early works bear all the hallmarks of traditional Dutch Art Nouveau, as practiced by his mentor, Roland-Holst. Such is the case, in this poster advertising a Gas Exhibition, in which the strict, vertical layout, the frame of decorative elements and the central allegorical image "aim for high seriousness [and] formalism" (Modern Dutch Poster p. 17). Notice the repetitive appearance of the three crosses in the border. They are from the City of Amsterdam's coat of arms and are incorporated into the image in a subtle, effective manner. Modern Dutch Poster 27.

Lot: 223 - RICHARD N. ROLAND-HOLST (1868-1938). LUCIFER / TREURSPEL VAN VONDEL. 1910. 47¼x29 inches, 120x73½ cm. Tresling & Co., Amsterdam.

RICHARD N. ROLAND-HOLST (1868-1938) LUCIFER / TREURSPEL VAN VONDEL. 1910. 47¼x29 inches, 120x73½ cm. Tresling & Co., Amsterdam. Condition B: extensive repaired tears in margins and image; replaced losses, creases and abrasions in margins, some in text and image; restoration along vertical and horizontal folds. Framed. Roland-Holst, who became the director of the Rijks Akademie, was a champion of Art Nouveau in his native Holland. Throughout his career "he executed only 16 posters, 9 of the most brilliant being for the theater, where he often designed stage sets and costumes. Lucifer is considered the artist's masterwork and was personally printed by him" (International Poster). Weill 152, Art Nouveau p. 177, Encyclopedie de l'Affiche p. 264, Dutch Poster 119.

Lot: 224 - RICHARD N. ROLAND-HOLST (1868-1938). ELECTRA. 1920. 39½x26½ inches, 100½x67½ cm. Teulings Graf. Kunstinrichting, Amsterdam.

RICHARD N. ROLAND-HOLST (1868-1938) ELECTRA. 1920. 39½x26½ inches, 100½x67½ cm. Teulings Graf. Kunstinrichting, Amsterdam. Condition A-: small replaced loss in top margin; minor creases in margins and image; unobtrusive vertical and horizontal folds. Framed. In an image suggestive of a stage set, Roland-Holst creates a classic poster advertising a production of Electra. The heroine's story of how she and her brother Orestes took revenge on their father's murderers has inspired many theatrical productions by the likes of everyone from Sophocles to Richard Strauss, who composed an opera based on the story. Here, the title character is portrayed sitting within a symmetrical temple with dark shadows of the demons of her revenge swirling above her. Encyclopedie de l'Affiche p. 264.

Lot: 225 - RICHARD N. ROLAND-HOLST (1868-1938). VOLKS - UNIVERSITEIT / HILVERSUM. 1920. 39¾x29¼ inches, 101x74¼ cm. Graf. Kunstinrichting, [Amster

RICHARD N. ROLAND-HOLST (1868-1938) VOLKS - UNIVERSITEIT / HILVERSUM. 1920. 39¾x29¼ inches, 101x74¼ cm. Graf. Kunstinrichting, [Amsterdam]. Condition A / A-: minor creases and ripping in image. Paper. Framed. Of the sixteen posters Roland-Holst designed during his career (between 1910 and 1920), nine were for the theater. This poster was one of his last, but adheres to his standard construction. The image is built on a strict vertical axis with geometrical elements and antique columns. The image depicts an allegory of education in which the crowd's thirst for knowledge is slaked by the liquid being poured by a muse. As usual with Roland-Holst, the poster is printed in black and white with small traces of color.

Lot: 226 - RICHARD N. ROLAND-HOLST (1868-1938). RADEN VAN ARBEID. 1920. 43¼x31½ inches, 109¾x80 cm.

RICHARD N. ROLAND-HOLST (1868-1938) RADEN VAN ARBEID. 1920. 43¼x31½ inches, 109¾x80 cm. Condition A-: minor repaired tears and repaired pin holes in margins and corners; minor restoration along vertical and horizontal folds. Framed. A graphic, cubist-like image of an archer taking aim. Promoting a Labor Board, the text arranged within the cross-like design reads "social security / widows' and orphans' funds / preventive measures / old age and disability pensions." Dutch Poster 159, Modern Dutch 49.

Lot: 227 - TJERK BOTTEMA (1882-1940). NATIONALE OPERA. Circa 1920. 46¾x31¾ inches, 118¾x80½ cm. Inv. Fec.

TJERK BOTTEMA (1882-1940) NATIONALE OPERA. Circa 1920. 46¾x31¾ inches, 118¾x80½ cm. Inv. Fec. Condition B+: repaired tears at edges; some slightly into text and image; minor overpainting and restoration in upper right corner; repaired pin holes in corners and at edges. Bottema was a painter, illustrator and a political cartoonist. He only designed a small handful of posters of which this is by far the most compelling and artistic, this stands as a bridge between the formulaic, strict, architecturally-inspired Dutch Art Nouveau designs of artists such as Richard Roland-Holst and the softer French Art Deco designs of Jean Dupas and Georges Barbier that had begun to permeate throughout the European consciousness in the 1920s. Rare.

Lot: 228 - WALTER KOCH (1875-1915). GRAPHISCHE WERKSTATTEN / GEBR. FRETZ. 1913. 43¾x32 inches, 111x81¼ cm. Gebr. Fretz, Zurich.

WALTER KOCH (1875-1915) GRAPHISCHE WERKSTATTEN / GEBR. FRETZ. 1913. 43¾x32 inches, 111x81¼ cm. Gebr. Fretz, Zurich. Condition A. Framed.

Lot: 229 - CARL ROESCH (1884-1979). THEATERKUNST AUSSTELLUNG / ZURICH. 1914. 33¾x24¼ inches, 83¾x61 cm.

CARL ROESCH (1884-1979) THEATERKUNST AUSSTELLUNG / ZURICH. 1914. 33¾x24¼ inches, 83¾x61 cm. Condition A-: expert overpainting and repaired tears in margins. Born in Diessenhofen, Switzerland, Roesch was a painter, graphic artist and art teacher known for his talents in landscape painting and his work in the field of art education. His drawings and paintings from his later career show clear influence of Impressionism, as well as the colorful nature of Expressionism. Roesch designed another exhibition poster for the Theaterkunst Ausstellung in 1914, that stylistically bridges the gap between his more painterly oeuvre, and the bold geometry of this early poster design.

Lot: 230 - BURKHARD MANGOLD (1873-1950). ALS FESTGESCHENK EIN GUTES BUCH FINDEN SIE BEI / LUZERN. 1917. 39x27 inches, 99x68½ cm. W. Wassermann, [B

BURKHARD MANGOLD (1873-1950) ALS FESTGESCHENK EIN GUTES BUCH FINDEN SIE BEI / LUZERN. 1917. 39x27 inches, 99x68½ cm. W. Wassermann, [Basel]. Condition A-: foxing and minor creases in margins. Mounted on Japan. Paper. Burkhard Mangold's artistic career covered several distinct areas, including painting, mural design, stained glass, printed ephemera and posters. A pioneer of modern Swiss poster art, Mangold's pre-1920s works "have an effect through sophisticated image inventions: simplification and monumentalization of the form, flatness, connection of text and image, staggering of images. Mangold's other means are the interweaving of close and distant perspectives, the involvement of the viewer (through back figures, extreme close-up or bottom view), the free use of traditional image motifs as well as humor and irony" (burkhardmangold.ch/). Mangold 30.

Lot: 231 - OTTO BAUMBERGER (1889-1961). JELMOLI / SPIELWAREN AUSSTELLUNG. 1915. 50½x35¾ inches, 128½x91 cm. J.E. Wolfensberger, Zurich.

OTTO BAUMBERGER (1889-1961) JELMOLI / SPIELWAREN AUSSTELLUNG. 1915. 50½x35¾ inches, 128½x91 cm. J.E. Wolfensberger, Zurich. Condition B+: overpainting over spots in margins and image. Framed. Baumberger 23.

Lot: 232 - OTTO BAUMBERGER (1889-1961). ORESTEIA. 1917. 50¾x35¾ inches, 129x91 cm. J.E. Wolfenberger, Zurich.

OTTO BAUMBERGER (1889-1961) ORESTEIA. 1917. 50¾x35¾ inches, 129x91 cm. J.E. Wolfenberger, Zurich. Condition B+: repaired tears and minor losses in margins; repaired pin holes in corners; stain at upper right corner. Mounted on thick paper. Throughout his prolific career it appears that Baumberger designed less than half a dozen theater posters, and these were all early on and executed in a style different from most of his other work. They prove that in addition to being a talented graphic designer, he was also an accomplished draftsman and painter. The Oresteia is the only Greek trilogy to have survived the ages. Written by Aeschylus, these Greek tragic masterpieces outline the end of the curse on the house of Atreus. It was exactly the kind of monumental work that would have appealed to Max Reinhardt, one of the giants of 20th century theater, and the director of this production, performed at the State theater in Zurich. Reinhardt directed the Deutsches Theatre in Berlin from 1905 to 1930, directed the Josefstadt Theatre in Vienna, from 1924-1933, and together with Richard Strauss and Hugo von Hofmanstahl, founded the Salzburg Festival. In this dramatic image we are shown Orestes, who has just killed his mother and her husband Aegisthus. Judging by his expression he has already begun to be tormented by the furies who haunt him because of this travesty. Baumberger's dramatic treatment of this legendary scene places Orestes against a black background, as if framing him in his guilt and solitude. Baumberger 45.

Lot: 233 - KURT SCHWITTERS (1887-1948) & THEO VAN DOESBURG (1883-1931). KLEINE DADA SOIRÉE. 1922. 11¾x11¾ inches, 30x30 cm.

KURT SCHWITTERS (1887-1948) & THEO VAN DOESBURG (1883-1931) KLEINE DADA SOIRÉE. 1922. 11¾x11¾ inches, 30x30 cm. Condition A-: minor creases and abrasions at edges; minor abrasions along vertical and horizontal folds. Paper. Late in 1922, Schwitters and van Doesburg planned a small tour around the Netherlands with a traveling Dada show in order to introduce local artists to their work. The initial evening had been scheduled for December 27, but Schwitters had problems with his passport and the first show was delayed until January 10. In all, there were 17 separate performances in 8 different locations. The first event was held at the Haagsche Kunstkring in The Hague. The address of the venue is included in the poster's upper right corner ("Haagsche K.K. Binnenhof 8"). For subsequent performances in other locations, the poster was slightly changed; this address was removed and a small plug for van Doesburg's Dada magazine, Mécano, was added that read, "Abonnement Mécano F5 per Jaar." Otherwise, the two versions of the poster are identical. The poster has the event program and Dada slogans presented in sophisticated disorder, using different hand drawn typography and varying font sizes. "The poster's discordant appearance reflects the tenor of many Dada evenings" (moma.org/learn). Modern Poster p. 102 (var), Avant Garde p. 38, Berman p. 38, MoMA 178.1945 (var).

Lot: 234 - MARCEL DUCHAMP (1887-1968. DADA 1916 - 1923 / SIDNEY JANIS. 1953. 38x25 inches, 96½x63½ cm.

MARCEL DUCHAMP (1887-1968 DADA 1916 - 1923 / SIDNEY JANIS. 1953. 38x25 inches, 96½x63½ cm. Condition A-: small holes and slight darkening along fold at bottom; vertical and horizontal folds, as issued. Printed on thin paper. "The Dada catalogue took its place among Duchamp's unique publishing events. Designed as a poster on a 25-by-38-inch sheet of thin, foldable parchment paper, it listed all 212 items and included four short essays by Arp, Tzara, Huelsenbeck and Levesque. These essays were set in blocks of contrasting type running diagonally down the sheet - a text descending a staircase. Duchamp then overprinted the whole page in a bright red-orange, announcing the exhibition with letters that recall original Dada typography. When the painstakingly-produced catalogue was finally received, Duchamp has been reported, took a sheet in his hands, crushed it into a loose ball, and suggested that a trash can full of these paper balls be offered to visitors entering the vernissage. Duchamp, characteristically, did not attend the opening" (Caroll Janis, Art in America June-July, 2006). Avant Garde p. 178, Modern American Poster 118, MoMA 257.1965.

Lot: 235 - LÁSZLÓ PÉRI (1898-1967), KAREL MAES (1900-1974), & JOZEF PEETERS (1895-1960). [COMPOSITIONS / SPACE CONSTRUCTION / DER OVERZICHT]. Grou

LÁSZLÓ PÉRI (1898-1967), KAREL MAES (1900-1974), & JOZEF PEETERS (1895-1960) [COMPOSITIONS / SPACE CONSTRUCTION / DER OVERZICHT]. Group of 7 linocuts. 1920s. Sizes vary, each approximately 12x11 inches, 30½x28 cm. Condition varies, generally A-: some with minor creases and darkening; some hand-signed, others stamped with E.M. (Emanuel Maeyens). Paper, one printed on tissue, one on orange paper. Group includes linocut proofs, some for Het Overzicht - "The Overview," a Flemish publication, characterized by its first and second series. Jozef Peeters was a Belgian artist with ties to Futurism, who designed the covers for the 2nd half of the publications run, and was the co-editor. Series II also delves into avant-garde movements such as De Stijl (by Karel Maes), Constructivism, and Bauhaus (Moholy-Nagy). Items stamped E.M. are from Emanuel Maeyens' collection, not designed by him. Emanuel Maeyens ran an art supply shop, which was often advertised in issues of Het Overzicht. Maeyens' collection included prints by international members of the avant-garde, including the three represented here. Linocuts by Hungarian Constructivist artist Péri are from his "Space Construction" series, which was exhibited at Der Sturm gallery alongside Moholy-Nagy. Images available upon request.

Lot: 236 - LÁSZLÓ MOHOLY-NAGY (1895-1946). [COMPOSITION FOR HET OVERZICHT]. Linocut. Circa 1925. 10¾x8½ inches, 27¼x21½ cm.

LÁSZLÓ MOHOLY-NAGY (1895-1946) [COMPOSITION FOR HET OVERZICHT]. Linocut. Circa 1925. 10¾x8½ inches, 27¼x21½ cm. Condition B+: small losses at lower corners and lower right edge; slight darkening at edges; minor foxing in margins and image; hand-signed by the artist in pencil; pencil notations at bottom left. Paper. The Belgian avant-garde magazine Het Overzicht (Overview) formed the Belgian counterpart to Herwarth Walden's The Tempest and published articles and images by important European Constructivists. This image was printed in issue 22-23-24, in a spread from the final "Cabaret" issue. There is also a proof printed on tissue (see Swann sale 2433, Lot 178).

Lot: 237 - LÁSZLÓ MOHOLY-NAGY (1895-1946). [COMPOSITION FOR HET OVERZICHT]. Linocut. 1922. 12¼x8¼ inches, 31x21 cm.

LÁSZLÓ MOHOLY-NAGY (1895-1946) [COMPOSITION FOR HET OVERZICHT]. Linocut. 1922. 12¼x8¼ inches, 31x21 cm. Condition A-: small abrasions and creases at edges; slight water staining on verso at bottom, slightly showing through; hand-signed by the artist in pencil. Paper. Het Overzicht, No. 17 (September 1923),

Lot: 238 - LÁSZLÓ MOHOLY-NAGY (1895-1946). [DER STURM / EXHIBITIONS]. Group of 4 postcards. 1924-1925. Each 4x6¼ inches, 10x15¾ cm.

LÁSZLÓ MOHOLY-NAGY (1895-1946) [DER STURM / EXHIBITIONS]. Group of 4 postcards. 1924-1925. Each 4x6¼ inches, 10x15¾ cm. Condition varies, generally A-: some with minor staining at edges. Printed on thick paper. Group includes: Sturm-Abende / Der Sturm (2); Erster Sturmball Zoo / Sonnabend; and Kunstausstellung Der Sturm / Peri and Nell Walden and Ludwig Hilberseimer. Includes one duplicates.

Lot: 239 - KARL STEINER (1902-1981). WEIHNACHTSGESCHENKE / DROGERIE LOIS FELLNER. Gouache maquette. Circa 1928. 23½x15¾ inches, 59¾x40 cm.

KARL STEINER (1902-1981) WEIHNACHTSGESCHENKE / DROGERIE LOIS FELLNER. Gouache maquette. Circa 1928. 23½x15¾ inches, 59¾x40 cm. Condition B / B+: repaired tear at right edge into central image; small repaired tears in margins; creases and abrasions in margins and image and along horizontal fold; hinged at top to mat. Paper. Matted. Steiner was an Austrian painter and sculptor, working in the genres of classic modernism and New Objectivity. He studied at the Vienna School of Applied Arts as well as the Académie Moderne in Paris. Steiner was arrested during the annexation of Austria in 1938, after which he almost exclusively created art with religious themes, and was banned from creating art altogether for 4 years. This maquette advertises just some of the "Christmas Gifts" that could be purchased at the Lois Fellner drugstore. A similar gouache study, without the name of the store, is in the collection of the University of Applied Arts, and was part of an exhibition of the "Oberhuber School." It is unclear if this drugstore ever existed, or if it was a design idea Steiner created for an unrealized store.

Lot: 240 - VLADIMIR VASILIEVICH LEBEDEV (1891-1967). [LONG LIVE THE VANGUARD OF THE REVOLUTION / RED FLEET]. Circa 1919. 26x19 inches, 66x48¼ cm.

VLADIMIR VASILIEVICH LEBEDEV (1891-1967) [LONG LIVE THE VANGUARD OF THE REVOLUTION / RED FLEET]. Circa 1919. 26x19 inches, 66x48¼ cm. Politotdel Revvoenbalta, Leningrad. Condition B+: small losses, pin holes and small tape stains in corners; repaired tears at edges, with tape on verso; creases in image; handwriting in top corners; reds attenuated. Printed on thin paper. Clash of Ideologies p. 53.

Lot: 241 - NIKOLAY NIKOLAEVICH KOGOUT (1891-1959). [THE FIRST OF MAY / WORKERS OF ALL COUNTRIES UNITE!] 1919. 27½x20¾ inches, 69¾x52¾ cm. Moscow.

NIKOLAY NIKOLAEVICH KOGOUT (1891-1959) [THE FIRST OF MAY / WORKERS OF ALL COUNTRIES UNITE!] 1919. 27½x20¾ inches, 69¾x52¾ cm. Moscow. Condition A-: minor creases, abrasions and slight staining in margins; reinforcement tape on verso. Printed on thin paper. Kogout designed propaganda posters for the Soviet regime from the 1920s until the 1950s.

Lot: 242 - VLADIMIR MAYAKOVSKY (1893-1930) & IVAN ANDREEVICH MALYUTIN (1891-1932). [ROSTA / IF YOU DON'T WANT TO BE AT WAR ANYMORE, GO AND FIGHT

VLADIMIR MAYAKOVSKY (1893-1930) & IVAN ANDREEVICH MALYUTIN (1891-1932) [ROSTA / IF YOU DON'T WANT TO BE AT WAR ANYMORE, GO AND FIGHT AGAINST POLAND]. 1920. 19½x24½ inches, 49½x62¼ cm. Moscow. Condition A-: minor creases and slight darkening in margins; printed on thin paper.

Lot: 243 - VLADIMIR MAYAKOVSKY (1893-1930). [UKRANIANS AND RUSSIANS HAVE A COMMON WAR CRY - LET THERE BE NO MASTER OVER THE WORKER!] 1920. 25¼x25¼

VLADIMIR MAYAKOVSKY (1893-1930) [UKRANIANS AND RUSSIANS HAVE A COMMON WAR CRY - LET THERE BE NO MASTER OVER THE WORKER!] 1920. 25¼x25¼ inches, 64x64 cm. ROSTA, Moscow. Condition B+: loss in upper left margin; repaired tears at edges, archival tape on verso; creases and slight darkening overall; vertical fold. Printed on thin paper. Mayakovsky's satire of the landowners of Poland during the Russo-Polish War. Russian Revolutionary Posters p. 28.

Lot: 244 - VLADIMIR MAYAKOVSKY (1893-1930) & IVAN ANDREEVICH MALYUTIN (1891-1932). [ROSTA / ONLY THOSE WHO PICK UP THEIR RIFLE IN DEFENSE DESERVE

VLADIMIR MAYAKOVSKY (1893-1930) & IVAN ANDREEVICH MALYUTIN (1891-1932) [ROSTA / ONLY THOSE WHO PICK UP THEIR RIFLE IN DEFENSE DESERVE FREEDOM]. 1920. 20¾x22 inches, 52¾x55¾ cm. State Publishing House, Moscow. Condition B+: small loss at bottom right edge; tape stains and water stains in margins; foxing and time-staining in margins and image. Printed on thin paper.

Lot: 245 - VLADIMIR MAYAKOVSKY (1893-1930) & IVAN ANDREEVICH MALYUTIN (1891-1932). [ROSTA / TO THE POLISH FRONT]. 1920. 25x20½ inches, 63½x52 cm.

VLADIMIR MAYAKOVSKY (1893-1930) & IVAN ANDREEVICH MALYUTIN (1891-1932) [ROSTA / TO THE POLISH FRONT]. 1920. 25x20½ inches, 63½x52 cm. State Publishing House, Moscow. Condition B+: loss in bottom right corner; darkening and staining in margins and image; tape stains in corners. Printed on thin paper.

Lot: 246 - DESIGNER UNKNOWN. [LET'S PUT SHIRKERS, WHINERS AND MEN OF LITTLE FAITH ON A "BLACKBOARD"]. Circa 1920s. 28x20½ inches, 71x52 cm. State

DESIGNER UNKNOWN [LET'S PUT SHIRKERS, WHINERS AND MEN OF LITTLE FAITH ON A "BLACKBOARD"]. Circa 1920s. 28x20½ inches, 71x52 cm. State Publishing House, Moscow. Condition A: minor abrasions at edges. Paper.

Lot: 247 - MONOGRAM UNKNOWN. [WORKERS OF TELEPHONE, TELEGRAPH, POST AND RADIO, BUILD AIRPLANES IN THE NAME OF NATIONAL COMMUNICATIONS]. 1925. 28¾x

MONOGRAM UNKNOWN [WORKERS OF TELEPHONE, TELEGRAPH, POST AND RADIO, BUILD AIRPLANES IN THE NAME OF NATIONAL COMMUNICATIONS]. 1925. 28¾x41¾ inches, 73x106 cm. "Spark of Revolution." Condition B: replaced loss with overpainting in corner and upper left text; replaced loss in right margin; repaired tears, creases, abrasions and restoration in margins and image and along vertical and horizontal folds. Mounted on Japan.

Lot: 248 - VIKTOR NIKOLAEVICH (DENI) DENISOV (1893-1946). [SOVIET PROPAGANDA]. Group of 3 posters. 1928-9. Sizes vary, each approximately 28x20 in

VIKTOR NIKOLAEVICH (DENI) DENISOV (1893-1946) [SOVIET PROPAGANDA]. Group of 3 posters. 1928-9. Sizes vary, each approximately 28x20 inches, 71x50¾ cm. Publishing House of the USSR, Moscow. Condition varies, generally A / A-. Paper. Group includes: [Help! Join the Ranks of the MOPR] (1928); [Long Live the First of May] (1929); and [The enemies of the Five Year Plan] (1929). Images available upon request.

Lot: 249 - VARVARA STEPANOVA (1894-1958). [ENEMY - INTERVENTION! ENEMY - BLOCKADE! / BUT WE ARE KEEPING A VIGILANT WATCH]. 1930. 29½x21 inches, 75

VARVARA STEPANOVA (1894-1958) [ENEMY - INTERVENTION! ENEMY - BLOCKADE! / BUT WE ARE KEEPING A VIGILANT WATCH]. 1930. 29½x21 inches, 75x53¼ cm. Izogiz, Moscow. Condition B+: small repaired tears, creases and abrasions in margins; reinforcement tape on verso; small replaced losses, minor skinning and pin holes corners; minor creases and abrasions in image. Paper. The photograph has been previously attributed to Margaret Burke-White who took similar photos in Russia during this period, but this photo of the soldier is in the collection of the MoMA, as a collaged gelatin silver print on paper with ink, on board by Stepanova. (MoMA 503.2018). Stepanova was married to Aleksandr Rodchenko, and worked closely with the circle of Constructivist artists.

Lot: 250 - GUSTAV KLUTSIS (1895-1938) & ELKIN VASILY NIKOLAEVICH (1897-1991). [THE BEST STRIKES WILL ENSURE THE HARVESTING AND AUTUMN SOWING SUCCE

GUSTAV KLUTSIS (1895-1938) & ELKIN VASILY NIKOLAEVICH (1897-1991) [THE BEST STRIKES WILL ENSURE THE HARVESTING AND AUTUMN SOWING SUCCESS]. 1931. 40¼x28½ inches, 102¼x72½ cm. Ogiz-Izogiz, Moscow. Condition B / B+: replaced losses and overpainting in corners and margins; repaired tears at edges; creases, abrasions and restoration in margins and along vertical and horizontal folds. Mounted on Japan. Power of Images p. 102.

Lot: 251 - VERA ADAMOVNA GITSEVICH (1897-1976). [KOMSOMAL MEMBERS AND PIONEERS, BREED RABBITS!] 1932. 37x26½ inches, 94x67¼ cm. Ogiz-Igoziz, Mosco

VERA ADAMOVNA GITSEVICH (1897-1976) [KOMSOMAL MEMBERS AND PIONEERS, BREED RABBITS!] 1932. 37x26½ inches, 94x67¼ cm. Ogiz-Igoziz, Moscow. Condition B+: replaced losses and overpainting in upper right and lower left corners; repaired tears ate edges, some into text and image; slight darkening in margins. Mounted on Japan. Gitsevich began designing posters for Izogiz in 1931, sometimes in collaboration with Viktor Koretsky.

Lot: 252 - SERGEI SENKIN (1894-1963). [THROUGH THE POLYTECHNIC SCHOOL WE WILL GIVE THE COUNTRY QUALIFIED PERSONNEL TO BUILD SOCIALISM]. 1932. 40x2

SERGEI SENKIN (1894-1963) [THROUGH THE POLYTECHNIC SCHOOL WE WILL GIVE THE COUNTRY QUALIFIED PERSONNEL TO BUILD SOCIALISM]. 1932. 40x27½ inches, 101½x69¾ cm. Oziz-Igoziz, Moscow. Condition B+ / B: replaced losses and repaired tears with overpainting; creases and minor abrasions at edges and in image. Mounted on Japan. Senkin studied art in Moscow before serving with Russian in World War I. He soon after met Gustav Klutsis and collaborated on photocollage projects with him, and later became a colleague of artist Dmitry Moor.

Lot: 253 - VIKTOR KORETSKY (1909-1998). [HERE LIFE WILL BLOOM! / HIGHER RATES OF RESTORATION AND CONSTRUCTION!] 1947. 33x41½ inches, 83¾x105½ cm.

VIKTOR KORETSKY (1909-1998) [HERE LIFE WILL BLOOM! / HIGHER RATES OF RESTORATION AND CONSTRUCTION!] 1947. 33x41½ inches, 83¾x105½ cm. Isskustvo, Moscow. Condition B+: repaired tears at edges, with archival tape on verso; creases and abrasions in margins and image and along horizontal folds. Paper.

Lot: 254 - VADIM PETROVICH VOLIKOV (1927-1989). [GLORY TO THE SOVIET MAN - THE FIRST COSMONAUT]. 1961. 42x25½ inches, 106¾x64¾ cm. Izogiz, Moscow.

VADIM PETROVICH VOLIKOV (1927-1989) [GLORY TO THE SOVIET MAN - THE FIRST COSMONAUT]. 1961. 42x25½ inches, 106¾x64¾ cm. Izogiz, Moscow. Condition A- / A: minor creases along vertical and horizontal folds. Paper. "In the late 1950s and early 1960s the Soviet space programme achieved a remarkable set of triumphs in the Space Race . . . Volikov's poster depicts the first Soviet cosmonaut [Yuri Gagarin] as a monumental figure flanked by the Vostok rocket inscribed with the symbolic date of 1961" (Cold War p. 37). Cold War p. 36.

Lot: 255 - AKSELI GALLEN-KALLELA (1865-1931). BIL - BOL. 1907. 34½x44½ inches, 87½x113 cm. F. Tilgmann H: Fors, Helsinki.

AKSELI GALLEN-KALLELA (1865-1931) BIL - BOL. 1907. 34½x44½ inches, 87½x113 cm. F. Tilgmann H: Fors, Helsinki. Condition A. Framed. This remarkable, emblematic image, is one of the most famous Finnish advertisements to the point where it was immortalized on one of the country's postage stamps in 2006. It is a graphic commercial masterpiece combining Art Nouveau and

Lot: 256 - ADOLPHE MOURON CASSANDRE (1901-1968). CYCLES BRILLANT. 1925. 46x30¼ inches, 116¾x76¾ cm. Hachard & Cie., Paris.

ADOLPHE MOURON CASSANDRE (1901-1968) CYCLES BRILLANT. 1925. 46x30¼ inches, 116¾x76¾ cm. Hachard & Cie., Paris. Condition B+ / A-: faint speckling throughout; minor creases and restoration along horizontal folds; slight darkening at edges. For this advertisement, Cassandre builds the entire composition around the incline of the bicycle. The diagonal motifs mirror the cyclist leaning into his turn at the velodrome, and the typography leans with him. Graphically, the image is a sophisticated construction composed of circles: the cyclist's eyes, his shoulders, his hands, the handlebars, and the curve of the track (where Cassandre has cleverly signed his name). The three colors, which simplify the scene, enhance the dynamic vision. "This is one of Cassandre's most economically realized images, with every contour, curve and shape serving a well-defined function. Its adherence to specificity and minimalism is truly brilliant" (Crouse p. 129). Although this is one of Cassandre's earlier posters, it is also one of his most daring attempts to stylize the human body. Not in Mouron, Cassandre / Weill 39, Suntory p. 37, Crouse p. 129.

Lot: 257 - MARCELLO NIZZOLI (1887-1969). MOTOSACOCHE. 1927. 50½x35½ inches, 128¼x90¼ cm. "Maga," Geneva.

MARCELLO NIZZOLI (1887-1969) MOTOSACOCHE. 1927. 50½x35½ inches, 128¼x90¼ cm. "Maga," Geneva. Condition A-: minor repaired tears and restoration at edges; small replaced loss at right edge. Nizzoli, who was an architect by training and considered one of the first Italian industrial designers (working for Olivetti), began his advertising career with the Maga agency in 1924. He was a bold artist with a strong sense of composition. In 1921, Dudovich and Nizzoli (along with Martinati) were appointed artistic directors of IGAP (Impresa Generale Affissioni Pubblicità). In this primary colored composition, "a 346cc Motosacoche 304 Tourisme motorcycle takes to the lemon-yellow sky, freed from the shackles of gravity, taking chunks of the mountain with it as it rises to new heights" (Crouse p. 60). Motosacoche grew to be the largest Swiss motorcycle manufacturer in the early 20th century, but its popularity steadily declined after the 1930s, finally ceasing motorcycle production in 1958. Crouse p. 60.

Lot: 258 - NOËL FONTANET (1898-1982). 7ME. SALON INTERNATIONAL DE L'AUTOMOBILE ET DU CYCLE. 1930. 50¼x35 inches, 127½x89 cm. "Sonor" S.A., Geneva

NOËL FONTANET (1898-1982) 7ME. SALON INTERNATIONAL DE L'AUTOMOBILE ET DU CYCLE. 1930. 50¼x35 inches, 127½x89 cm. "Sonor" S.A., Geneva. Condition B / B-: replaced and overpainted upper section of poster, including margin; small loss at bottom right edge; repaired tears at edges; creases, restoration, staining and water staining in margins and image; small pin holes in corners. Mounted on paper. Fontanet was the most prominent and successful artist of the Geneva school of graphic designers. Contrary to the Swiss artists from Basel and Zurich, the Geneva school was largely inspired by French Art Deco. Fontanet was also the director of the Societe Generale d'Affichage, a large outdoor advertising company which also provided artwork for their clients. Here, he cleverly evokes Mercury's winged helmet using the front end of a speeding car adding the essence of style and elegance via the use of metallic gold ink.

Lot: 259 - L. KEIZER (DATES UNKNOWN). SABENA / RAPIDITÉ. 1938. 39x24¼ inches, 99x61½ cm. Studio E.L.K.A.

L. KEIZER (DATES UNKNOWN) SABENA / RAPIDITÉ. 1938. 39x24¼ inches, 99x61½ cm. Studio E.L.K.A. Condition B: horizontal creases throughout; repaired tears, creases and abrasions at edges and in image. Keizer worked for Sabena in the 1930s, primarily illustrating timetables, and appears to have only designed this one rare poster. It is among the best Belgian aviation posters of the period. Three stylized eagles cut across the wake of a soaring airplane (a Savoia-Marchetta SM.83), as if they are trying to catch up with the machine. Concentric circles, which evoke a propeller, also show a speedometer; at 250 km an hour, this plane is the epitome of Rapidité. Keizer's skillful airbrush technique and the typography, reminiscent of neon lighting, also speaks to exceptional modernity. If you add to this brilliant rendering, the dynamism of the composition, you have what can easily be considered a landmark of Art Deco. Crouse p. 21.

Lot: 260 - GEORGE GIUSTI (1908-1990). CHAMPION WINS AGAIN / 22ND VICTORY AT INDIANAPOLIS "500" / CHAMPION SPARK PLUGS. Circa 1952. 31¾x17½ inches,

GEORGE GIUSTI (1908-1990) CHAMPION WINS AGAIN / 22ND VICTORY AT INDIANAPOLIS "500" / CHAMPION SPARK PLUGS. Circa 1952. 31¾x17½ inches, 80½x44½ cm. Condition B / B+: replaced and overpainted lower corners, into text; repaired tears at edges; darkening along top edge; pin holes in top corners. Italian-born Giusti worked in Milan and at his own studio in Switzerland before moving to the United States, where one of his first jobs was working with Herbert Matter on the Swiss pavilion for the New York World's Fair. A graphic designer and architect, Giusti is best remembered for his book jackets and many magazine covers (Fortune and Time, among others). He also worked for the U.S. Government and Geigy Pharmaceuticals, with whom he had a 12-year long relationship. "In all of Giusti's graphics, he has avoided the classical and sought instead a contemporary, even futuristic effect. He has succeeded to the extent that his designs are consistently ahead of their time" (Art Directors Club Hall of Fame 1979 biography). He was inducted along with Milton Glaser, Ladislav Sutnar, Jan Tschichold, Willem Sandberg and two others). Troy Ruttman won the Indianapolis 500 in 1952 and remains the youngest driver ever to win the race.

Lot: 261 - DESIGNER UNKNOWN. DODGE KINGSWAY. Circa 1953. 38¼x50 inches, 97x127 cm.

DESIGNER UNKNOWN DODGE KINGSWAY. Circa 1953. 38¼x50 inches, 97x127 cm. Condition A-: repaired pin holes in top corners; minor loss at upper right corner; creases and abrasions along vertical fold; unobtrusive horizontal fold.

Lot: 262 - ADOLFO HOHENSTEIN (1854-1928). CHIOZZA E TURCHI. 1899. 20x11 inches, 50¾x28 cm. E. Chappuis, Bologna.

ADOLFO HOHENSTEIN (1854-1928) CHIOZZA E TURCHI. 1899. 20x11 inches, 50¾x28 cm. E. Chappuis, Bologna. Condition B+ / A-: minor overpainting and restoration in margins; minor adhesive residue at bottom; mounted on Japan. Matted and framed. Menegazzi-I 504, Menegazzi-II 136.

Lot: 263 - ADOLFO HOHENSTEIN (1854-1928). GERMANIA. 1902. 102x48½ inches, 259x123¼ cm.

ADOLFO HOHENSTEIN (1854-1928) GERMANIA. 1902. 102x48½ inches, 259x123¼ cm. Condition B+: repaired tears, creases, abrasions and overpainting in margins and image and along vertical and horizontal folds and seams; slight discoloration along fold through text. Three-sheets. This is the version without text at the bottom.

Lot: 264 - ENRICO PRAMPOLINI (1894-1956). NOVISSIMA FILM = ROMA / THAÏS GALIZKY. 1916. 73x54 inches, 185½x137¼ cm. E. Guazzoni, Rome.

ENRICO PRAMPOLINI (1894-1956) NOVISSIMA FILM = ROMA / THAÏS GALIZKY. 1916. 73x54 inches, 185½x137¼ cm. E. Guazzoni, Rome. Condition B / B+: significant replaced losses and overpainting in margins and image; repaired tears, creases, abrasions and restoration in margins and image and along vertical and horizontal folds; water stains along bottom margin. Prampolini was an Italian Futurist painter, architect and sculptor who assisted in the design of the Exhibition of the Fascist Revolution. "Thaïs," staring actress Thaïs Galizky, directed by Anton Giulio Bragaglia, was a silent film for which Prampolini designed the scenery. This image, which predates the artist's foray into more abstraction and "cosmic idealism," was also printed as a postcard. Rare.

Lot: 265 - VARIOUS ARTISTS. [ITALIAN FASCISM / THEATER & MUSIC]. Group of 22 pamphlets & sheet music. 1920s-30s. Sizes vary.

VARIOUS ARTISTS [ITALIAN FASCISM / THEATER & MUSIC]. Group of 22 pamphlets & sheet music. 1920s-30s. Sizes vary. Condition varies, generally B+. Group includes titles such as La Canzone del Volo; Il Canti della Nostra Guerra; Il Trillo del Diavolo; a bound volume including several issues of Comoedia magazine; and a 1904 edition of Puccini's Madama Butterfly. Images available upon request.

Lot: 266 - VARIOUS ARTISTS. [L'ALA D'ITALIA] & [GIOVENTÙ FASCISTA]. Group of 74 books & magazines. 1931-1942. Sizes vary.

VARIOUS ARTISTS [L'ALA D'ITALIA] & [GIOVENTÙ FASCISTA]. Group of 74 books & magazines. 1931-1942. Sizes vary. Conditions vary, generally B+. Group includes 9 issues of L'Ala D'Italia magazines, 2 bound volumes and approximately 63 loose issues of Gioventu Fascista magazine. Images available upon request.

Lot: 267 - VARIOUS ARTISTS. [ITALIAN INTERIOR DESIGN & FURNITURE DESIGN]. Group of books, pamphlets and ephemera. Sizes vary.

VARIOUS ARTISTS [ITALIAN INTERIOR DESIGN & FURNITURE DESIGN]. Group of books, pamphlets and ephemera. Sizes vary. Condition varies. Group includes over 40 items such as postcards, wool and paint sample booklets, furniture catalogues, books on ceramics, lace and handicrafts, interior design periodicals and more. Images available upon request.

Lot: 268 - VARIOUS ARTISTS. OLIVETTI. Group of 41 advertisements, pamphlets & booklets. 1930s-1940s. Size vary.

VARIOUS ARTISTS OLIVETTI. Group of 41 advertisements, pamphlets & booklets. 1930s-1940s. Size vary. Condition varies, generally A-. Paper. Images available upon request.

Lot: 269 - VARIOUS ARTISTS. CASABELLA. Group of 91 magazine issues. 1920s-1980s. Sizes vary, each approximately 13½x9 inches, 34¼x22¾ cm.

VARIOUS ARTISTS CASABELLA. Group of 91 magazine issues. 1920s-1980s. Sizes vary, each approximately 13½x9 inches, 34¼x22¾ cm. Condition varies, generally B+. Casabella is a monthly architecture and design magazine founded in 1928 by Guido Marangoni in Milan. Focusing on radical contemporary architecture and design, the magazine has gone through several name changes over the years Casabella Costruzioni (1938-40), Costruzioni Casabella (1940-43), Costruzioni (1946-47), Casabella Continuità (1954-65), until finally returning to Casabella in 1965. Images available upon request.

Lot: 270 - PER KROHG (1889-1965). JEAN BÖRLIN. 1920. 63x47½ inches, 162½x120½ cm. Publicite Wall, Paris.

PER KROHG (1889-1965) JEAN BÖRLIN. 1920. 63x47½ inches, 162½x120½ cm. Publicite Wall, Paris. Condition A-: minor repaired tears, creases and overpainting in margins; minor restoration along vertical and horizontal folds. On October 25, 1920, the Ballet Suédois had their premiere performance in Paris. The Ballet Russe had been setting an Avant-garde standard for ballet in Paris since 1909, but Rolf de Mare, the impresario responsible for bringing the Swedish Ballet to Paris, and Jean Börlin, the principal dancer and choreographer, viewed the Ballet Russe as old fashioned. Under their direction, the Ballet Suédois employed composers and designers to work on their productions whose names read like a who's who of the Avant-garde art scene: Jean Cocteau, Francis Picabia, Erik Satie, Ferdinand Léger, Blaise Cendrars, Arthur Honegger, François Poulenc and others. Weill 470, Dance Posters 53 (var), Ballets Suedois p. 284, Plakat Kunst p. 94.

Lot: 271 - PAUL COLIN (1892-1985). [LE TUMULTE NOIR / JOSEPHINE BAKER]. Group of 3 double-sided plates. 1927. 18½x12½ inches, 47x31¾ cm. [H. Chach

PAUL COLIN (1892-1985) [LE TUMULTE NOIR / JOSEPHINE BAKER]. Group of 3 double-sided plates. 1927. 18½x12½ inches, 47x31¾ cm. [H. Chachoin, Paris]. Condition varies, generally B+: minor tears, creases, abrasions and time-staining at edges. Paper. Three double-sided sheets. Three plates from the Tumulte Noir portfolio of original lithographs by Colin, hand-colored in pochoir - an elaborate procedure involving stencils for each color. An advertisement in the program from the Bal Nègre makes it clear that this album was designed for and sold at this special one-night event, which was Colin's brainchild and tribute to the "Black Craze" of Paris. 500 copies were produced. The album was divided into two parts, the first of which is dedicated to Josephine Baker and black musicians and dancers. Images available upon request.

Lot: 272 - WILLY MUCHA (1905-1999). OUISTREHAM RIVA BELLA. 1934. 39¼x24¼ inches, 99½x61½ cm. H. Chachoin, Paris.

WILLY MUCHA (1905-1999) OUISTREHAM RIVA BELLA. 1934. 39¼x24¼ inches, 99½x61½ cm. H. Chachoin, Paris. Condition A-: slight mat-staining at right and bottom edges; minor abrasions at edges; mounted directly to linen. A stylized Art Deco, air-brushed rendition of a languorous day in Normandy, including beaches, boats and sites. A mileage marker turns the daydream into reality, only 220 kilometers from Paris.

Lot: 273 - LEO MARFURT (1894-1977). BRUXELLES EXPOSITION UNIVERSELLE. 1935. 39x24¼ inches, 99x61½ cm. Les Creations Publicitaires, Brussels.

LEO MARFURT (1894-1977) BRUXELLES EXPOSITION UNIVERSELLE. 1935. 39x24¼ inches, 99x61½ cm. Les Creations Publicitaires, Brussels. Condition B+: creases and abrasions in margins and along vertical and horizontal folds; minor scratches in image.

Lot: 274 - FRANCIS BERNARD (1900-1979). FERMETURE "ECLAIR."Circa 1935. 59x79 inches, 149¾x200¼ cm. Editions Paul Martial, Paris.

FRANCIS BERNARD (1900-1979) FERMETURE "ECLAIR."Circa 1935. 59x79 inches, 149¾x200¼ cm. Editions Paul Martial, Paris. Condition B+: repaired tears, creases and abrasions at edges and along horizontal folds; minor creases and abrasions in image. Linen-backed on two separate sheets. Francis Bernard was a member of the U.A.M. (Union des Artistes Modernes) along with A.M. Cassandre, Jean Carlu, Charles Loupot and Paul Colin. He was a pioneer of photomontage in France, as well as the first of the group to work as a full-time art director for the printer Paul Martial.

Lot: 275 - ROBERT FALCUCCI (1900-1989). LA MONTAGNE. 1950. 45¼x30 inches, 115x76¼ cm. Vasselais, Paris.

ROBERT FALCUCCI (1900-1989) LA MONTAGNE. 1950. 45¼x30 inches, 115x76¼ cm. Vasselais, Paris. Condition A-: minor repaired tears and abrasions at edges. Falcucci wonderfully captures the universal concept of a newspaper "Written for all and read by all." Three silhouettes, in red, white and blue, each clearly representing a different member of society (a laborer, a gentleman and a student) are reading copies of the paper. By using the colors of the French flag, Falcucci implies that to be French is to read La Montagne. Fit to Print 187.

Lot: 276 - DESIGNER UNKNOWN. VIKING REGATTAEN / BAGSVAERD SO. 33½x24½ inches, 85x62¼ cm.

DESIGNER UNKNOWN VIKING REGATTAEN / BAGSVAERD SO. 33½x24½ inches, 85x62¼ cm. Condition A-: minor creases and abrasions in margins and image; minor repaired tears at edges; small replaced loss in lower right margin. Silkscreen. A poster advertising the international Viking Regatta, with a celebration afterwards at the Aldershvile Park in Bagsværd, Denmark.

Lot: 277 - DESIGNER UNKNOWN. ODENSE SVOMMEHAL. 33x23¼ inches, 83¾x59 cm. Hagen & Sorensen, Odense.

DESIGNER UNKNOWN ODENSE SVOMMEHAL. 33x23¼ inches, 83¾x59 cm. Hagen & Sorensen, Odense. Condition A-: minor repaired tears at edges; unobtrusive vertical and horizontal folds. A modernist and fashionable advertisement for a Danish swimming hall.

Lot: 278 - VARIOUS ARTISTS. DE RECLAME. Group of approximately 62 issues. 1930s-1948. Each approximately 12x9 inches, 30½x22¾ cm.

VARIOUS ARTISTS DE RECLAME. Group of approximately 62 issues. 1930s-1948. Each approximately 12x9 inches, 30½x22¾ cm. Condition B+: some spiral-bound; with numerous tipped in plates, booklets and full-size posters; some loose. De Reclame was Holland's foremost advertising design journal, with a wealth of graphic artistry on the covers and through the interiors. Images available upon request.

Lot: 279 - VARIOUS ARTISTS. GEBRAUCHSGRAPHIK. Group of approximately 49 issues. 1920s-1930s. Each approximately 12x9¼ inches, 30½x23½ cm.

VARIOUS ARTISTS GEBRAUCHSGRAPHIK. Group of approximately 49 issues. 1920s-1930s. Each approximately 12x9¼ inches, 30½x23½ cm. Condition varies, some with loose covers and pages; tears, creases and general wear. Gebrauchsgraphik, printed in Berlin, was a monthly publication promoting advertising art, from 1924-1944. Profusely illustrated with black-and-white images, with attractive color plates scattered throughout. Images available upon request.

Lot: 280 - VARIOUS ARTISTS. [POSTERS & PUBLICITY / MODERN PUBLICITY]. Group of 18 volumes. 1925-1948. Sizes vary, each approximately 11¼x8¼ inches

VARIOUS ARTISTS [POSTERS & PUBLICITY / MODERN PUBLICITY]. Group of 18 volumes. 1925-1948. Sizes vary, each approximately 11¼x8¼ inches, 31x21 cm. Condition varies, generally B+. Some softcover, some bound in hardcover. Images available upon request.

Lot: 281 - JOHN GILROY (1898-1985). GUINNESS FOR STRENGTH. 1934. 30x39¾ inches, 76¼x101 cm. Sanders Phillips & Co Ltd., London.

JOHN GILROY (1898-1985) GUINNESS FOR STRENGTH. 1934. 30x39¾ inches, 76¼x101 cm. Sanders Phillips & Co Ltd., London. Condition A: minor abrasions in image. "Advertising of Guinness began on a national scale in 1929, through the advertising agency S.H. Benson. The collaboration between the copy-writer R.A. Bevan (son of the painter Robert Bevan), the art director Dicky Richards, and the artist John Gilroy, resulted in some of the most memorable posters ever produced. During Gilroy's long association with Arthur Guinness Son & Co. Ltd., he invented the famous Guinness menagerie of toucans, seals, ostriches, camels, giraffes, etc. – based on studies he made at the zoo. The campaigns also sought to associate Guinness with strength, so many of Gilroy's designs – like this one of a man carrying a girder single-handed – show prodigious feats of strength. Humour, too, played an important part. Slogans like ‘Guinness is Good for You' and ‘My Goodness My Guinness' became popular catchphrases" (collections.vam.ac.uk). This image (also in a vertical format) was voted first prize at a British Trade Fair in Copenhagen by 200 members of the Danish Advertising Association. V&A E.8-1973.

Lot: 282 - EDWARD MCKNIGHT KAUFFER (1890-1954). SUMMER SALE AT DERRY & TOMS. 1919. 59¾x38¼ inches, 151¾x97 cm.

EDWARD MCKNIGHT KAUFFER (1890-1954) SUMMER SALE AT DERRY & TOMS. 1919. 59¾x38¼ inches, 151¾x97 cm. Condition B: replaced losses, repaired tears, creases and abrasions in margins and image; loss in lower right margin; slight darkening in image; small paper insert in lower left corner. Rare. MoMA 373.1939, Kauffer / Cooper Hewitt p. 149.

Lot: 283 - EDWARD MCKNIGHT KAUFFER (1890-1954) & LOUIS LOZOWICK (1892-1973). [MODERNIST DUST JACKETS]. Group of 12 books. 1927-1933. Sizes vary.

EDWARD MCKNIGHT KAUFFER (1890-1954) & LOUIS LOZOWICK (1892-1973) [MODERNIST DUST JACKETS]. Group of 12 books. 1927-1933. Sizes vary. Condition varies, generally B+. Group includes: The Diary of a Communist School Boy (1928); Anybody's Pearls (1930); The World in 2030 (1930); Point Counter Point (1928); Meanwhile (1927); Murder by the Clock (1929); Dance of the Machines (1929), [dust jacket by Lozowick]; Labor & Silk (1929), [dust jacket by Lozowick]; Wandering Women (1930); The Invisible Host (1930); RvR (1930); and Death Points a Finger (1933). Images available upon request.

Lot: 284 - EDWARD MCKNIGHT KAUFFER (1890-1954). [MODERNIST DUST JACKETS]. Group of 12 books. 1928-1949. Sizes vary.

EDWARD MCKNIGHT KAUFFER (1890-1954) [MODERNIST DUST JACKETS]. Group of 12 books. 1928-1949. Sizes vary. Condition varies, generally B+. Group includes: Dracula (1940); Sanctuary (1940); A Clouded Star (1948); Intruder in the Dust (1948); The Track of the Cat (1949); Women in Love (1949); Secret Valleys (1949); The Medici (1950); Art Now (1933); Things to Come (1935); Quack Quack (1937); and The Open Conspiracy (1928). Kauffer p. 69, Euro Deco p. 442. Images available upon request.

Lot: 285 - EDWARD MCKNIGHT KAUFFER (1890-1954). GREAT WESTERN TO CORNWALL. 1933. 39¼x24¼ inches, 99½x61½ cm. William Brown and Co., Ltd., London.

EDWARD MCKNIGHT KAUFFER (1890-1954) GREAT WESTERN TO CORNWALL. 1933. 39¼x24¼ inches, 99½x61½ cm. William Brown and Co., Ltd., London. Condition B+: repaired tears at edges, some slightly into image; abrasions in margins; creases in margins and image. This poster is from "a series of six featuring Devon and Cornwall. Kauffer was one of the many artists influenced by the new European art movements of the early twentieth century . . . his designs made great use of geometrical pattern. 2000 copies of each poster in the series were printed" (Railway p. 40). Kauffer 56 (E.479-1953), MoMA 405.1939, MoMA Kauffer 41.

Lot: 286 - EDWARD MCKNIGHT KAUFFER (1890-1954). [AMERICAN AIRLINES]. Group of 4 posters. Sizes vary, each approximately 40x30 inches, 101½x76¼ cm.

EDWARD MCKNIGHT KAUFFER (1890-1954) [AMERICAN AIRLINES]. Group of 4 posters. Sizes vary, each approximately 40x30 inches, 101½x76¼ cm. Condition varies, generally B+ / A-. New York and Paris faded. Each framed. Group includes: Sweden; New York; Paris; and Boston. Images available upon request.

Lot: 287 - EDWARD MCKNIGHT KAUFFER (1890-1954). BP ETHYL / ANTI - KNOCK. 1933. 30x44¾ inches, 76¼x113½ cm.

EDWARD MCKNIGHT KAUFFER (1890-1954) BP ETHYL / ANTI - KNOCK. 1933. 30x44¾ inches, 76¼x113½ cm. Condition B: replaced left margin; repaired tear at left edge, into central image; repaired tears, small replaced losses, creases and abrasions in margins and image. In 1928 Jack Boddington was appointed Publicity Manager of Shell, becoming Director of Publicity for Shell Mex-B.P. in 1932 when the two companies decided to merge their distribution in the U.K. Like Frank Pick (the London Underground) and Stephen Tallents (The Empire Marketing Board), Boddington would elevate Shell's advertising campaigns to a superior level of quality. Kauffer, who became one of his close friends, was regularly commissioned to design posters for the oil company. For this striking, symbolic, graphic allegory Kauffer combines photography and typography, organizing the image around an inclined rectangle, delineated by the brand name and its qualities, against a black background. An electric flash of lightning cuts the poster in half, symbolizing the power the fluid has on engines, while a photo integrated on the right shows a statue of a rearing horse to literally evoke the "horse power." Rare. MoMA 374.1937, Weill, p. 236, no. 418. Kauffer pl. 42.

Lot: 288 - EDWARD MCKNIGHT KAUFFER (1890-1954). YUGOSLAV PEOPLE LED BY TITO / FIGHTING VANGUARD OF DEMOCRATIC EUROPE. 1944. 25x19¼ inches, 63½x48¾

EDWARD MCKNIGHT KAUFFER (1890-1954) YUGOSLAV PEOPLE LED BY TITO / FIGHTING VANGUARD OF DEMOCRATIC EUROPE. 1944. 25x19¼ inches, 63½x48¾ cm. Condition A / A-: small loss in bottom left corner; minor restoration along vertical and horizontal folds. Throughout the war, Kauffer aligned his talents with disparate causes, designing posters on behalf of a multitude of organizations. In 1944, for the United Committee of South-Slavic Americans, Kauffer depicts a heroic photomontage of Marshal Tito (Josip Broz) surrounded by arrows, providing a dramatic sense of movement, progress and change. A rare image from World War II. Kauffer 288, Mechanical Age pl. 103.

Lot: 289 - EDWARD MCKNIGHT KAUFFER (1890-1954). SOARING TO SUCCESS! DAILY HERALD - THE EARLY BIRD. Circa 1973. 30x15¼ inches, 76¼x38¾ cm. UDO Ltd.

EDWARD MCKNIGHT KAUFFER (1890-1954) SOARING TO SUCCESS! DAILY HERALD - THE EARLY BIRD. Circa 1973. 30x15¼ inches, 76¼x38¾ cm. UDO Ltd., London. Condition A- / B+: time-staining, minor foxing and creases in bottom image and text. Paper. Although he was born in America, McKnight Kauffer spent his most creative years in Great Britain, acting as the "Chef de file" of the new generation of poster artists. After his groundbreaking poster design for the Daily Herald was published in 1919 (based on his seminal work Flight), he received commissions from many major clients, the most important being London Transport, for which he designed 141 posters over a span of 20 years. "His 1919 poster, Flight, alluded to Vorticism, a British movement influenced by Cubism and Futurism that leaned toward machine-like forms - by Kauffer's reckoning 'the first and only Cubist poster design in England'" (Aiga.org). This version of Daily Herald is a smaller, posthumous version, likely published in 1973 to correspond with a traveling Kauffer exhibit developed by the V&A. Rare. V&A E.35-1973, Kauffer 9, Affiche Art Deco p. 150, Modern Poster 81 (var), Avant Garde p. 68 (var), Poster Purpose p. 165 (var), Weill 401 (var), Cooper Hewitt 1963-39-1229.

Lot: 290 - BEN SHAHN (1898-1969). A GOOD MAN IS HARD TO FIND. 1948. 44x29 inches, 111¾x73¾ cm. Amalgamated Lithographers of America, New York.

BEN SHAHN (1898-1969) A GOOD MAN IS HARD TO FIND. 1948. 44x29 inches, 111¾x73¾ cm. Amalgamated Lithographers of America, New York. Condition B+: repaired tears in image, some with slight overpainting; small replaced loss at top edge; repaired pin holes in corners; linen trimmed to edges. A Good Man is Hard to Find is not a traditional campaign poster; it is more of a political cartoon or caricature, touting neither of the men depicted, but rather the unseen third Progressive Party candidate. Shahn's "intent was to present the two major parties as indistinguishable, with only the Progressive Party offering the voters a bid for change" (Prescott p. 133). "The two candidates [Dewey and Truman], on whom Shahn obviously looked with equal suspicion, are ingeniously placed, Dewey atop a piano and Truman at its keyboard, before sheets of music whose titles are a vital part of the artist's satirical message . . . Details are handled with remarkable acuteness: the strained cordiality of Dewey's smile . . . the wrinkles in Truman's trousers and the amateurish flourish with which his right hand strikes a chord; the definition of both candidates' feet. Yet distortions and elisions are just as important, as in the aggrandizement of the two politicians' heads and the subtle way in which Truman's eyeglasses are left blank and the teeth of both men are frozen in bright evenness. This is an image intended to provoke laughter regardless of one's political convictions" (Soby, Graphic Arts, p. 17). Prescott p. 158, Images of an Era 8, American Style 72, MoMA 23.1951.

Lot: 291 - ERIK NITSCHE (1908-1998). GENERAL DYNAMICS / SOLAR DYNAMICS. 1955. 50x35 inches, 127x89 cm. R. Marsens, Lausanne.

ERIK NITSCHE (1908-1998) GENERAL DYNAMICS / SOLAR DYNAMICS. 1955. 50x35 inches, 127x89 cm. R. Marsens, Lausanne. Condition A-: minor repaired tears in lower image; minor creases at edges and in image. Framed. Nitsche is best remembered for his series of 29 posters for General Dynamics, where he served as Art Director between 1955 and 1960. This is the Spanish language poster from the second Atoms for Peace series.

Lot: 292 - ERIK NITSCHE (1908-1998). GENERAL DYNAMICS / RADIATION DYNAMICS. 1956. 50¼x35½ inches, 127½x89½ cm. R. Marsens, Lausanne.

ERIK NITSCHE (1908-1998) GENERAL DYNAMICS / RADIATION DYNAMICS. 1956. 50¼x35½ inches, 127½x89½ cm. R. Marsens, Lausanne. Condition A- / B+: creases, tears, losses and abrasions at edges. Paper. This is the Arabic language poster from the second Atoms For Peace series.

Lot: 293 - DANNY LYON (1942- ). NOW! / STUDENT NON - VIOLENT COORDINATING COMMITTEE. Circa 1964. 15¾x10 inches, 40x25½ cm.

DANNY LYON (1942- ) NOW! / STUDENT NON - VIOLENT COORDINATING COMMITTEE. Circa 1964. 15¾x10 inches, 40x25½ cm. Condition A: minor abrasions at edges. Printed on thick paper. This is the smaller variant, featuring a different address and text at the bottom.

Lot: 294 - THOMAS W. BENTON (1930-2007). HUNTER THOMPSON FOR SHERIFF / ASPEN, COLORADO. 1970. 25x19 inches, 63½x48¼ cm.

THOMAS W. BENTON (1930-2007) HUNTER THOMPSON FOR SHERIFF / ASPEN, COLORADO. 1970. 25x19 inches, 63½x48¼ cm. Condition A. Hand-signed by Benton in pencil at bottom right margin, & Thompson in gold ink, above text. Silkscreen. Matted and framed. There are text variants of this piece, all from 1970; one version just says "thompson" at top, and does not overlap with the badge (with a green flower emblem inside); another says "thompson" at top and does overlap, and this one that says "hunter thompson" at top. http://www.tomwbenton.com/gonzo-1). A separate variant was printed on both sides as Aspen Wallposter 5.

Lot: 295 - HOWARD ZIEFF (1927-2009). YOU DON'T HAVE TO BE JEWISH TO LOVE LEVY'S. Group of 4 posters. 1967. Each 45x29½ inches, 115x75 cm. Henry

HOWARD ZIEFF (1927-2009) YOU DON'T HAVE TO BE JEWISH TO LOVE LEVY'S. Group of 4 posters. 1967. Each 45x29½ inches, 115x75 cm. Henry S. Levy & Sons, Inc., New York. Condition varies, generally A / A-: minor creases and darkening at edges. Paper. Includes one duplicate. Images available upon request.

Lot: 296 - DESIGNER UNKNOWN. YOU DON'T HAVE TO BE HUMAN TO LOVE LEVY'S (REAL JEWISH RYE). 1973. 28½x22½ inches, 72½x57¼ cm. Yippy Inc., New York

DESIGNER UNKNOWN YOU DON'T HAVE TO BE HUMAN TO LOVE LEVY'S (REAL JEWISH RYE). 1973. 28½x22½ inches, 72½x57¼ cm. Yippy Inc., New York. Condition B+: small loss at right edge; small tears, minor creases and abrasions in margins. Paper.

Lot: 297 - ROBERT M. CUNNINGHAM (1924-2010). BIG, BOLD, BEAUTIFUL - BIG A. 1965. 45½x59½ inches, 115½x151 cm.

ROBERT M. CUNNINGHAM (1924-2010) BIG, BOLD, BEAUTIFUL - BIG A. 1965. 45½x59½ inches, 115½x151 cm. Condition A. Framed. The American Poster p. 47.

Lot: 298 - JOHN MCVICKER (DATES UNKNOWN). THE BIG A WILL HOLD ITS JULY 4TH CELEBRATION. Circa 1970. 45½x59½ inches, 115½x151 cm.

JOHN MCVICKER (DATES UNKNOWN) THE BIG A WILL HOLD ITS JULY 4TH CELEBRATION. Circa 1970. 45½x59½ inches, 115½x151 cm. Condition A- / A: minor creases at edges and in image. Framed. From a series of posters designed for the New York Racing Association to promote the horse races at Aqueduct Raceway. McVicker spent almost twenty years as a Madison Avenue-based Art Director, designing posters, making commercials, creating corporate logos and more.

Lot: 299 - DESIGNER UNKNOWN. FIORUCCI. Group of 4 posters, 2 bags & tin can. 1980s. Sizes vary.

DESIGNER UNKNOWN FIORUCCI. Group of 4 posters, 2 bags & tin can. 1980s. Sizes vary. Condition varies, generally B+. Each poster is paper. 1 bag framed, 1 plastic bag,1 tin can. Elio Fiorucci founded his Italian fashion label in 1967, becoming an iconic trend-setting brand in Milan. By the late 1970s, the New York City store became a hub for American fashionistas, like Madonna and Andy Warhol, to bring international styles to the forefront. Fiorucci's recognizable logo by Italo Lupi, incorporating Raphael's cherubs, was adopted in 1970.

Lot: 300 - DESIGNER UNKNOWN. HABITAT. Circa 1982. 27x19¼ inches, 68½x49 cm.

DESIGNER UNKNOWN HABITAT. Circa 1982. 27x19¼ inches, 68½x49 cm. Condition A- / A: minor creases and abrasions at edges, some with slight overpainting. An advertisement for British publication Habitat Magazine, which was founded in May 1982. There are few clues as to the origin of the poster, except for the matching typeface of the poster to the early issues of the magazine.

Lot: 301 - PAUL RAND (1914-1996). [GRAPHIC DESIGN]. Group of 2 posters & 4 books. Sizes vary.

PAUL RAND (1914-1996) [GRAPHIC DESIGN]. Group of 2 posters & 4 books. Sizes vary. Condition varies. Group includes: AIGA : Journal of the American Institute of Graphic Art (1968); Quality / IBM (1990); Paul Rand: His Works from 1946-1958 (1959); A Paul Rand Miscellany / DQ 123 (1984); The Trademarks of Paul Rand / A Selection (1960); and Printed Matter / The Works of Paul Rand (2002).

Lot: 302 - ROB JANOFF (1953- ). APPLE / PERSONAL COMPUTERS. 1980. 35x23 inches, 89x58½ cm.

ROB JANOFF (1953- ) APPLE / PERSONAL COMPUTERS. 1980. 35x23 inches, 89x58½ cm. Condition A-: minor creases and abrasions at edges. Paper. Apple introduced the Apple III computer in 1980, though it was not as successful as its predecessor, the Apple II. The poster features the first official Apple logo designed by Rob Janoff in 1977.

Lot: 303 - VARIOUS ARTISTS. THE 100 BEST POSTERS FROM EUROPE AND THE UNITED STATES / 1945 - 1990. Portfolio of 100 posters. 1995. Sizes vary. Topp

VARIOUS ARTISTS THE 100 BEST POSTERS FROM EUROPE AND THE UNITED STATES / 1945 - 1990. Portfolio of 100 posters. 1995. Sizes vary. Toppan Printing Co., Tokyo. Condition varies, generally A / A-. Paper. In original portfolio box and tube. In describing the rationale behind this portfolio and book, Hiromichi Fujita, the President of Toppan Printing Co., explains in the introduction that, "the decision to publish The 100 Best Posters from Europe and the United States 1945-1990 was motivated by our earlier collection of Japanese reproductions published four years ago . . . the first collection was intended as a small contribution to the field of graphic design, which has enjoyed an inseparable relationship with the printing industry for many years now." The selection of posters in this collection were chosen by a panel consisting of Steven Heller, Alain Weill, Milton Glaser and Yusaku Kamekura. All posters chosen for this book were reproduced and were then donated to art museums and related educational institutions in 200 locations around the world. In addition to being forms of expression, these posters, which were created in the diverse social conditions that have prevailed since the end of World War II, truly serve as a testament to the age in which they were produced." With- the accompanying book. From an intended edition of 200, it is uncertain how many were actually distributed.

Lot: 304 - WES WILSON (1937-2020). JEFFERSON AIRPLANE / GREAT SOCIETY. 1966. 20x14 inches, 50¾x35½ cm.

WES WILSON (1937-2020) JEFFERSON AIRPLANE / GREAT SOCIETY. 1966. 20x14 inches, 50¾x35½ cm. Condition A-: minor creases in corners; small stains at bottom edge. Paper. This is the pre-concert 1st printing, printed on vellum, with the union logo 72. BG-10. Grace Slick was still the singer for Great Society, but left the band later in 1966.

Lot: 305 - WES WILSON (1937-2020). THE WAILERS "IT'S YOU ALONE" / QUICKSILVER MESSENGER SERVICE. 1966. 20x14 inches, 50¾x35½ cm.

WES WILSON (1937-2020) THE WAILERS "IT'S YOU ALONE" / QUICKSILVER MESSENGER SERVICE. 1966. 20x14 inches, 50¾x35½ cm. Condition A-: small tear at bottom edge; minor creases in corners. Paper. This is the pre-concert 1st printing, on vellum, with the union logo 72. BG-11.

Lot: 306 - WES WILSON (1937-2020). INDEPENDENCE BALL / QUICKSILVER MESSENGER SERVICE / GRATEFUL DEAD. 1966. 20x14 inches, 50¾x35½ cm.

WES WILSON (1937-2020) INDEPENDENCE BALL / QUICKSILVER MESSENGER SERVICE / GRATEFUL DEAD. 1966. 20x14 inches, 50¾x35½ cm. Condition A-: minor creases in corners; small stain at bottom edge. Paper. This is the pre-concert 1st printing, with the union logo 72. BG-14. "The Independence Ball was three days of great music that included appearances by three of the top four San Francisco bands: The Grateful Dead, Quicksilver Messenger Service and Big Brother & the Holding Co."

Lot: 307 - WES WILSON (1937-2020). THE BEARD / BY MICHAEL MCCLURE. 1966. 20x14 inches, 50¾x35½ cm.

WES WILSON (1937-2020) THE BEARD / BY MICHAEL MCCLURE. 1966. 20x14 inches, 50¾x35½ cm. Condition A: minor creases and abrasions at corners. Paper. "'The Beard,' by Michael McClure, was a popular play that imagined a confrontation between Billy the Kid and Jean Harlow. This was the only production of the play held at The Fillmore, but it was held at many other venues in the area around the same period. The production ended with explicit oral sex between the protagonists, and often resulted in cast member arrests, until the ACLU intervened. Because it was a one-time production, this poster was produced in very limited quantity." Warhol made a film version in this same year. This is the 1st printing, printed on vellum, with a white verso; the 2nd printing has a blue verso. BG-19.

Lot: 308 - WES WILSON (1937-2020). THEM / WITH THE SONS OF CHAMPLIN. 1966. 20x14 inches, 50¾x35½ cm.

WES WILSON (1937-2020) THEM / WITH THE SONS OF CHAMPLIN. 1966. 20x14 inches, 50¾x35½ cm. Condition A-: minor creases in corners; slight wave in lower left image; pencil notations on verso. Paper. This is the pre-concert 1st printing, on vellum, with the union logo 221. BG-20. "Them, with Van Morrison, advertised one of its last 1966 U.S. tour appearances here with Marin County band, Sons of Champlin."

Lot: 309 - WES WILSON (1937-2020). LOVE / EVERPRESENT FULLNESS. 1966. 20¼x13¾ inches, 51½x35 cm.

WES WILSON (1937-2020) LOVE / EVERPRESENT FULLNESS. 1966. 20¼x13¾ inches, 51½x35 cm. Condition A-: minor creases and abrasions in corners; small stains at upper left edge. Paper. This is the 1st printing, on vellum, with the union logo. In this printing, the U and R in "Saturday" overlap and the A and U in "August" touch. There is a green dot in the B of "Bill" and a green slash in the T of "Tickets" that is not found in the reprints. BG-21.

Lot: 310 - WES WILSON (1937-2020) & HERB GREENE (1942- ). 13TH FLOOR ELEVATOR / GREAT SOCIETY. 1966. 21x13¾ inches, 53¼x35 cm.

WES WILSON (1937-2020) & HERB GREENE (1942- ) 13TH FLOOR ELEVATOR / GREAT SOCIETY. 1966. 21x13¾ inches, 53¼x35 cm. Condition A- / B+: multiple pin holes in corners, into margins; minor creases and abrasions at edges. Paper. Photograph portrait of Grace Slick, by Herb Greene, surrounded by Wilson's signature lettering. The advertised weekend marked the debut in the Bay-Area music scene for Roky Erickson's 13th Floor Elevators, from Austin, Texas. Wilson accidentally left the "S" off their name. This is the pre-concert 1st printing; the back glows under blacklight. BG-25.

Lot: 311 - WES WILSON (1937-2020). CAPTAIN BEEFHEART & HIS MAGIC BAND. 1966. 19x13½ inches, 48¼x34¼ cm. West Coast Lithograph Co., San Francisco.

WES WILSON (1937-2020) CAPTAIN BEEFHEART & HIS MAGIC BAND. 1966. 19x13½ inches, 48¼x34¼ cm. West Coast Lithograph Co., San Francisco. Condition A- / A: small tear at bottom left edge; minor abrasions at edges. Paper. Notably, the name of the band is misspelled - "Beefhart" instead of "Beefheart." This is the pre-concert, 1st printing on coarse stock. BG-34. (2nd printing is 13 11/16 x18 15/16").

Lot: 312 - WES WILSON (1937-2020). GRATEFUL DEAD / JAMES COTTON BLUES BAND. 1966. 21¼x13½ inches, 54x34¼ cm. West Coast Lithograph Co., San Franci

WES WILSON (1937-2020) GRATEFUL DEAD / JAMES COTTON BLUES BAND. 1966. 21¼x13½ inches, 54x34¼ cm. West Coast Lithograph Co., San Francisco. Condition A-: small stain at bottom; minor creases and abrasions at edges. Paper. This is the 1st printing. The subsequent printings have a faint horizontal line in the "T" in "Lothar." BG-38.

Lot: 313 - WES WILSON (1937-2020). [FILLMORE AUDITORIUM / PSYCHEDELIC]. Group of 4 posters. 1966. Sizes vary.

WES WILSON (1937-2020) [FILLMORE AUDITORIUM / PSYCHEDELIC]. Group of 4 posters. 1966. Sizes vary. Condition varies, generally B+: two mounted on board, one trimmed; two paper. Group include: Bola Sete BG-36 (trimmed, mounted on board, printing # unclear); The Byrds and The Wildflower BG-28 (2nd printing B); Quicksilver Messenger Service / Final Solution BG-7 (2nd printing); and Quicksilver Messenger Service / Lightning Hopkins BG-4 (1st printing). Images available upon request.

Lot: 314 - WES WILSON (1937-2020). [FILLMORE AUDITORIUM / PSYCHEDELIC]. Group of 4 posters. 1966. Sizes vary.

WES WILSON (1937-2020) [FILLMORE AUDITORIUM / PSYCHEDELIC]. Group of 4 posters. 1966. Sizes vary. Condition varies, generally B+: one mounted on board, three paper. Group include: Butterfield Blues Band / Jefferson Airplane / Big Mama Mae Thornton BG-31 (1st printing); Jefferson Airplane / Grateful Dead BG-17 (3rd printing); The Association / Along Comes Mary BG-18 (3rd printing); and The Sound / Jefferson Airplane BG-29 (Type 3 original?). Images available upon request.

Lot: 315 - JOHN H. MYERS (DATES UNKNOWN). ONE SUNDAY AFTERNOON / YARDBIRDS / COUNTRY JOE AND THE FISH. 1966. 20x14 inches, 50¾x35½ cm.

JOHN H. MYERS (DATES UNKNOWN) ONE SUNDAY AFTERNOON / YARDBIRDS / COUNTRY JOE AND THE FISH. 1966. 20x14 inches, 50¾x35½ cm. Condition A-: minor creases at edges and corners; small tear at left edge. Small stains at bottom edge. Paper. The poster uses Gered Mankowitz's photograph of The Yardbirds, featuring guitarists Jimmy Page and Jeff Beck performing with the band. This is the 1st printing, on vellum, with the union logo 221. BG-33.

Lot: 316 - VICTOR MOSCOSO (1936- ) & WILLIAM HENRY (DATES UNKNOWN). [PSYCHEDELIC ROCK CONCERTS]. Group of 3 posters. 1966-1968. Sizes vary, each a

VICTOR MOSCOSO (1936- ) & WILLIAM HENRY (DATES UNKNOWN) [PSYCHEDELIC ROCK CONCERTS]. Group of 3 posters. 1966-1968. Sizes vary, each approximately 20x14 inches, 50¾x35½ cm. Condition A. Each archivally tipped to mount. Paper. Framed. Group includes: Youngbloods / Mount Rushmore / Phoenix, 1968 (FD-106), by William Henry; and Junior Wells & His Chicago Blues Band, 1966 (NR-1), and Quicksilver Messenger Service, 1967 (FD053-PO), by Moscoso. Images available upon request.

Lot: 317 - DESIGNERS UNKNOWN. [SIGNS OF THE ZODIAC / PSYCHEDELIC BLACKLIGHT]. Group of 12 posters. 1969-70. 21¾x17 inches, 55¼x43 cm. Pro-Arts, Ke

DESIGNERS UNKNOWN [SIGNS OF THE ZODIAC / PSYCHEDELIC BLACKLIGHT]. Group of 12 posters. 1969-70. 21¾x17 inches, 55¼x43 cm. Pro-Arts, Kent, Ohio. Condition varies, generally B+. Silkscreen. Paper. Includes 11 smaller Zodiac posters (excludes Gemini) and one large Zodiac poster. Images available upon request.

Lot: 318 - DESIGNERS UNKNOWN. [PSYCHEDELIC BLACKLIGHT / TAROT]. Group of 5 posters. 1969. 21¾x16¾ inches, 55¼x42½ cm. Pro-Arts, Kent, Ohio.

DESIGNERS UNKNOWN [PSYCHEDELIC BLACKLIGHT / TAROT]. Group of 5 posters. 1969. 21¾x16¾ inches, 55¼x42½ cm. Pro-Arts, Kent, Ohio. Condition varies, generally A-. Silkscreen. Paper. Group includes: The Fool; The Tower; The Sun; The Moon; and Death. Images available upon request.

Lot: 319 - VARIOUS ARTISTS. [PSYCHEDELIC / BLACKLIGHT]. Group of 6 posters. 1969-70. Sizes vary. Pro-Arts, Kent, Ohio.

VARIOUS ARTISTS [PSYCHEDELIC / BLACKLIGHT]. Group of 6 posters. 1969-70. Sizes vary. Pro-Arts, Kent, Ohio. Condition varies, generally B+ / A-. Silkscreen. Paper. Group includes: Super Love by Tom Gatz; Super Peace; Happiness Runs in a Circular Motion; Tripeze ; Love The Ultimate Trip; and Kaleidoscopic Vibrations. Images available upon request.

Lot: 320 - DESIGNERS UNKNOWN. [PSYCHEDELIC BLACKLIGHT / COUNTERCULTURE]. Group of 8 posters. 1969-70. Sizes vary. Pro-Arts, Kent, Ohio.

DESIGNERS UNKNOWN [PSYCHEDELIC BLACKLIGHT / COUNTERCULTURE]. Group of 8 posters. 1969-70. Sizes vary. Pro-Arts, Kent, Ohio. Condition varies, generally A-. Silkscreen. Paper. Group includes titles such as War Is Not Healthy For Children and Other Living Things; Butterfly Ride and Apollo 11 / "In The Beginning God Created The Heavens And The Earth". Images available upon request.

Lot: 321 - ROY LICHTENSTEIN (1923-1997). ASPEN WINTER • JAZZ. 1967. 39¼x26¼ inches, 99¾x66½ cm.

ROY LICHTENSTEIN (1923-1997) ASPEN WINTER • JAZZ. 1967. 39¼x26¼ inches, 99¾x66½ cm. Condition B: repaired tear with overpainting at bottom edge, into image; flaking and extensive creases and abrasions in image and along bottom; adhesive residue at lower left image and on verso of linen. Lichtenstein Posters 18, Corlett 44, Images of an Era 59, Encyclopedie de l'Affiche p. 328, Word & Image p. 134, Muller-Brockmann 122, Internationale Plakate 701.

Lot: 322 - MARCEL DUCHAMP (1887-1968). 50TH ANNIVERSARY OF THE FAMOUS INTERNATIONAL ARMORY SHOW 1913. 1963. 44x26¾ inches, 111¾x68 cm.

MARCEL DUCHAMP (1887-1968) 50TH ANNIVERSARY OF THE FAMOUS INTERNATIONAL ARMORY SHOW 1913. 1963. 44x26¾ inches, 111¾x68 cm. Condition B: creases and staining in margins and image; water stains in image; toned overall. Mounted on board. To mark the 50th anniversary of the International Exhibition of Modern Art, the Munson-Williams-Proctor Institute in Utica, New York reunited 300 of the works that were in the original show. Duchamp, who was not only on the loans committee for the event and spoke there, but he also designed the poster, which features an image of his once infamous painting. Published to benefit the Henry Street Settlement, with two printed signatures. New York. Schwartz 361.

Lot: 323 - VARIOUS ARTISTS. [ART EXHIBITION]. Group of 9 posters. 1960s-80s. Sizes vary.

VARIOUS ARTISTS [ART EXHIBITION]. Group of 9 posters. 1960s-80s. Sizes vary. Condition varies, generally A / A-. Two hand-signed by artist Bob Zoell. Paper. Includes works by artists such as Doug Johnson, Bob Zoell, Fernand Léger, Jackson Pollock and Victor Skrebneski. Images available upon request.

Lot: 324 - PABLO PICASSO (1881-1973). [NU AU FAUBOURG ST. HONORE]. 1970. 46x61¼ inches, 116¾x155½ cm. St. Martin Imp., Paris.

PABLO PICASSO (1881-1973) [NU AU FAUBOURG ST. HONORE]. 1970. 46x61¼ inches, 116¾x155½ cm. St. Martin Imp., Paris. Condition B+: abrasions and tears at edges, some slightly into image; slight foxing on verso. Paper. Czwiklitzer 457.

Lot: 325 - JOSEF ALBERS (1888-1976). 10TH NEW YORK FILM FESTIVAL / LINCOLN CENTER. 1972. 50x26 inches, 127x66 cm. HKL Ltd., [Boston].

JOSEF ALBERS (1888-1976) 10TH NEW YORK FILM FESTIVAL / LINCOLN CENTER. 1972. 50x26 inches, 127x66 cm. HKL Ltd., [Boston]. Condition A: minor creases at edges; hand-signed, dated and numbered 62/144 by the artist in pencil in bottom margin. Silkscreen. Paper. When Lincoln Center first opened in 1962, philanthropist and art collector Vera List saw the appeal of posters created by prominent artists to promote upcoming events and went about recruiting such designers for their productions. She also established the Vera List Art Project, through which artist-designed prints could be sold on behalf of Lincoln Center. Beginning with Larry Rivers' 1963 poster design for the first Film Festival, the series has steadily maintained its connection with prominent artists including Andy Warhol, Saul Bass, Roy Lichtenstein, Helen Frankenthaler, Robert Rauschenberg and many others - each of these Contemporary artists being free to design a poster in their own style.

Lot: 326 - RICHARD AVEDON (1923-2004). [THE BEATLES / LOOK MAGAZINE]. Group of 4 posters. 1967. Sizes vary. Cowles Education Corporation, New York

RICHARD AVEDON (1923-2004) [THE BEATLES / LOOK MAGAZINE]. Group of 4 posters. 1967. Sizes vary. Cowles Education Corporation, New York. Condition varies, generally B+: two with title banner trimmed off. Paper. In the late 1940s, Richard Avedon became the chief photographer for Harper's Bazaar. Throughout his career, while remaining active in the field of fashion photography, he also became involved in Civil Rights and anti-Vietnam war photography. For the January 9, 1967 issue of Look magazine, he produced solarized portraits of the Beatles that were issued in several formats, including posters. Icons of their era, these images captured the legendary rock group at the peak of their fame. Images of an Era 48, Modern Poster 238, Encyclopedie de l'Affiche p. 329, Plakat Kunst p. 170, Design Graphique 102, MoMA 153.1988, 1441.2000, 1442.2000 & 1443.2000. Images available upon request.

Lot: 327 - MILTON GLASER (1929-2020). BOB DYLAN. 1966. 33x22 inches, 83¾x55 cm.

MILTON GLASER (1929-2020) BOB DYLAN. 1966. 33x22 inches, 83¾x55 cm. Condition B+ / A-: small loss and tear at bottom right corner; minor tears and creases at upper left edge; creases in image; slight toning in lower left quadrant; vertical and horizontal folds. Paper. This is certainly the most famous poster designed by Milton Glaser and one of the most recognized images of post-war American pop culture. Glaser cover and 39, Modern America 148, Images 39, Modern Poster 237, Muller-Brockmann 124.

Lot: 328 - MILTON GLASER (1929-2020). [GRAPHIC DESIGN]. Two posters. 1976-77. Each approximately 36x24 inches, 91½x61 cm.

MILTON GLASER (1929-2020) [GRAPHIC DESIGN]. Two posters. 1976-77. Each approximately 36x24 inches, 91½x61 cm. Condition varies, generally A-. Each paper. Includes Milton Glaser Exhibition / Musées Royaux des Beaux-Arts de Belgique Arte Moderne (1976) and The Bathers at the Brea (1977). Images available upon request.

Lot: 329 - MILTON GLASER (1929-2020). NUDE ON THE MUSIC HALL FLOOR. Two posters. 1978. Each approximately 36x24 inches, 91½x61 cm.

MILTON GLASER (1929-2020) NUDE ON THE MUSIC HALL FLOOR. Two posters. 1978. Each approximately 36x24 inches, 91½x61 cm. Condition varies, generally B+. Paper. Includes Nudes On The Music Hall Floor (Top) and Nudes On The Music Hall Floor (Bottom). Images available upon request.

Lot: 330 - VARIOUS ARTISTS. [ASIAN PERFORMING ARTS SUMMER INSTITUTE / UCLA]. Group of 9 posters. 1981. Each approximately 40½x28½ inches, 102¾x72½

VARIOUS ARTISTS [ASIAN PERFORMING ARTS SUMMER INSTITUTE / UCLA]. Group of 9 posters. 1981. Each approximately 40½x28½ inches, 102¾x72½ cm. Condition varies, generally A / A-. Each hand-signed by the artist. Paper. In 1981, the Asian Performing Arts Summer Institute (APASI) at the University of California, Los Angeles, held a five and a half week "multi-dimensional program to provide access for the American public to these enduring Japanese [performance] arts" (APASI brochure). In addition to classes, lectures and performances, (some of which were held in New York City and others in Washington D.C.) the program also produced a series of posters. "The commemorative poster suite represents the works of twelve of Japan's leading graphic artists . . . working in a wide variety of styles, they are in the forefront of the Japanese design world and have collectively won every major international graphics award" (ibid). The original set was 12 posters Group includes works by Yusaku Kamekura, Mitsuo Katsui and Shigeo Fukuda. Images available upon request.

Lot: 331 - ANDY WARHOL (1928-1987). [CELEBRITIES]. Group of 4 posters. 1960s-80s. Sizes vary.

ANDY WARHOL (1928-1987) [CELEBRITIES]. Group of 4 posters. 1960s-80s. Sizes vary. Condition varies, generally A / A-. Group includes: Athletes by Andy Warhol / Virginia Museum (1978); Aretha / Arista Records (1986); The Beatles (1980), unfolded book jacket; and Sammlung Karl Ströher / Marilyn (1968).

Lot: 332 - DAVID HOCKNEY (1937- ). METROPOLITAN OPERA / PARADE. 1981. 80x40½ inches, 203¼x103 cm. Petersburg Press, [London].

DAVID HOCKNEY (1937- ) METROPOLITAN OPERA / PARADE. 1981. 80x40½ inches, 203¼x103 cm. Petersburg Press, [London]. Condition B+: small losses, creases and water stains in margins. Silkscreen. Printed on thick paper. Framed. Hockney, who is admired and collected as a contemporary artist, made brilliant contributions to the world of opera, as a stage and costume designer. He also designed numerous posters. Beginning in 1975 with his work for Stravinksy's The Rake's Progress, until 1990 when he worked on Turandot, Hockney worked for the major opera houses. Among his most memorable productions were Mozart's Magic Flute and Wagner's Tristan and Isolde. His collaboration with the Metropolitan Opera on Eric Satie's Parade is best-represented by this poster. The image, with Hockney's neo-pop décor and costumes, showcases a juggler whose contortions fit eye-catchingly into the poster's elongated format. If the opera itself is not so popular, this image has become a classic. Hockney 94.

Lot: 333 - MARC CHAGALL (1887-1985). [ART EXHIBITIONS]. Group of 8 posters. 1961-1981. Sizes vary.

MARC CHAGALL (1887-1985) [ART EXHIBITIONS]. Group of 8 posters. 1961-1981. Sizes vary. Condition varies. Each hand-signed by the artist. Paper. Includes posters for exhibitions such as Braque - Chagall / Galerie Nierndorf (1965); Chagall at Pace / Columbus (1974); Chagall / Galerie Maeght (1981). Images available upon request.

Lot: 334 - MARC CHAGALL (1887-1985). [ART EXHIBITIONS]. Group of 8 posters. 1969-1981. Sizes vary.

MARC CHAGALL (1887-1985) [ART EXHIBITIONS]. Group of 8 posters. 1969-1981. Sizes vary. Condition varies. Each hand-signed by the artist. Paper. Includes posters for exhibitions such as Marc Chagall / Grand Palais (1970); Musee National Message Biblique Marc Chagall (1974); Marc Chagall / Ceret, Musee d'Art Moderne (1978). Images available upon request.

Lot: 335 - JOSEF FLEJŠAR (1922-2010). [EXHIBITIONS / PERFORMING ARTS]. Group of 15 posters. Sizes vary.

JOSEF FLEJŠAR (1922-2010) [EXHIBITIONS / PERFORMING ARTS]. Group of 15 posters. Sizes vary. Condition varies, generally A-. Most hand-signed by the artist in pencil. Paper. Group includes titles such as Coppelia; Plakaty Roku; Shakespearovske Balet Siluety; and Rigoletto. Images available upon request.

Lot: 336 - JOSEF FLEJŠAR (1922-2010). [EXHIBITIONS / PERFORMING ARTS]. Group of 15 posters. Sizes vary.

JOSEF FLEJŠAR (1922-2010) [EXHIBITIONS / PERFORMING ARTS]. Group of 15 posters. Sizes vary. Condition varies, generally A-. Most hand-signed by the artist in pencil. Paper. Group includes titles such as Glas Aus der Tschechoslowakei; Folklorni Festival; Theresienstadt; Faust; and United Nations for a Better World. Images available upon request.

Lot: 337 - ROY LICHTENSTEIN (1923-1997). MUSEUM LUDWIG KÖLN / ROY LICHTENSTEIN. 1989. 27½x47¼ inches, 69¾x120 cm.

ROY LICHTENSTEIN (1923-1997) MUSEUM LUDWIG KÖLN / ROY LICHTENSTEIN. 1989. 27½x47¼ inches, 69¾x120 cm. Condition A-: small tear at right edge; minor creases and abrasions in margins; minor abrasions in image. Hand-signed by the artist in pencil at lower right image. Paper.

Lot: 338 - ROY LICHTENSTEIN (1923-1997). ROY LICHTENSTEIN / SOLOMON R. GUGGENHEIM MUSEUM. 1994. 28x40 inches, 71x101½ cm.

ROY LICHTENSTEIN (1923-1997) ROY LICHTENSTEIN / SOLOMON R. GUGGENHEIM MUSEUM. 1994. 28x40 inches, 71x101½ cm. Condition A-: creases and abrasions in margins. Hand-signed by the artist in lower right margin. Paper. Poster features "Go For Baroque" (1979) by Lichtenstein.

Lot: 339 - STEPHEN TORTON (1957- ). BASQUIAT / EN LA HABANA. 2000. 36½x26¾ inches, 92¾x68 cm.

STEPHEN TORTON (1957- ) BASQUIAT / EN LA HABANA. 2000. 36½x26¾ inches, 92¾x68 cm. Condition A- / A: minor tears and abrasions at upper left edge; minor creases at edges and in image. Paper. This poster was produced for the Seventh Havana Biennial, and features a 1982 photograph by Stephen Torton.

Lot: 340 - D'APRÈS JEAN-MICHEL BASQUIAT (1960-1988). BASQUIAT / EN LA HABANA. 2000. 36½x26¾ inches, 92¾x68 cm.

D'APRÈS JEAN-MICHEL BASQUIAT (1960-1988) BASQUIAT / EN LA HABANA. 2000. 36½x26¾ inches, 92¾x68 cm. Condition A. Paper. This same image is used for the cover of the book accompanying the exhibition in Cuba of Basquiat's works.

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