Vintage Posters

Lot: 1 - Neville Williams, W.J. Bryan / Liberty - Justice - Humanity. 1900.

Neville Williams Dates Unknown W.J. Bryan / Liberty - Justice - Humanity. 1900. Condition A- / B+: repaired tears, small replaced losses, and abrasions at edges. A striking portrait of presidential candidate William Jennings Bryan, with additional vignettes of Lady Democracy preparing to hack off the octopus tentacles of the nation's trusts, and of three freedom fighters pleading before the Statue of Liberty, "Give Us Liberty or Give Us Death." Bryan ran for the Presidency, unsuccessfully, three times, in 1896, 1900 and 1904. In 1900 he lost, for the second time, to William McKinley.

Lot: 2 - Michael P. Whelan, Men Wanted for the Army. 1908.

Michael P. Whelan Dates Unknown Men Wanted for the Army. 1908. Condition B-: replaced losses, repaired tears and overpainting in margins; repaired tears, sharp creases and abrasions in margins and image. Rawls p. 54, Theofiles p. 16, Borkan p. 13.

Lot: 3 - Joseph Christian Leyendecker, United States Navy. 1910.

Joseph Christian Leyendecker 1874-1951 United States Navy. 1910. Condition B: repaired tears, creases, abrasions and restoration in margins and image; replaced losses in margins, one into left image; foxing at edges; restoration along vertical fold. One of Leyendecker's rarest posters.

Lot: 4 - John Savile Lumley, Daddy What Did You Do in the Great War? 1915.

John Savile Lumley 1876-1960 Daddy What Did You Do in the Great War? 1915. Condition A: vertical and horizontal folds. Matted and framed. Comfortably seated in his armchair, with his daughter reading on his lap and son playing at his feet, a man contemplates the difficult question that his children might one day pose. A novel, almost insidious appeal to encourage men to enlist by playing off their fears of having to explain to their children why they didn't fight during the war. A man, after all, is expected to fight - a point poignantly made via the young boy playing with toy soldiers. Darracott frontispiece, Rawls p. 32, Rickards 46, Borkan p. 205, Weill 212, Power of The Poster 96, War Posters 101, Picture This fig. 47, The Poster 108.

Lot: 5 - David Wilson, Once a German - Always a German. 1918.

David Wilson 1873-1935 Once a German - Always a German. 1918. Condition A-: fold at bottom left corner; creases and repaired tears at edges; creases along horizontal and vertical folds. IWM p. 60 (var), Darracott 69 (var).

Lot: 6 - Designer Unknown, "Our Dumb Friends' League" / Blue Cross Fund for Wounded Horses. 1915.

Designer Unknown "Our Dumb Friends' League" / Blue Cross Fund for Wounded Horses. 1915. Condition B+: repaired tears at edges, one into upper text; overpainting in corners; minor creases and restoration in margins. Rare.

Lot: 7 - Designer Unknown, Our Dumb Friends' League / Blue Cross Fund. 1915.

Designer Unknown Our Dumb Friends' League / Blue Cross Fund. 1915. Condition A: minor creases and restoration at edges. Featuring a horse sculpture by John Gabriel Hardy. Rare

Lot: 8 - Victor Tardieu, Our American Boys in the European War. 1916.

Victor Tardieu 1870-1937 Our American Boys in the European War. 1916. Condition B: losses and replaced losses at bottom left corner; repaired tears and small replaced losses in margins; creases in margins and along horizontal fold. In 1916, the Triangle Film Corporation distributed this poster advertising its film Our American Boys in the European War (poster artwork by Victor Tardieu, a French painter, 1870-1937). Vic White, pictured in the poster, was a volunteer ambulance driver with the American Ambulance and SSU 1 Dunkirk Squad of the American Field Service and was awarded the Cross of War for bravery under fire. Borkan p. 184, Rawls p. 90.

Lot: 9 - Designer Unknown, Canadian Patriotic Fund. 1916.

Designer Unknown Canadian Patriotic Fund. 1916. Condition B+: small replaced losses, minor repaired tears and restoration in margins; overpainting over two pin holes at top margin; minor creases and abrasions in margins and image. An extraordinary World War I era Canadian poster showing a member of the Onion Lake Kree Nation making a donation to the Canadian Patriotic Fund, a private fund geared to providing money for soldier's families. It is unclear if the appeal here was to other indigenous people to contribute, or to guilt the "white" population in contributing more. An extraordinary World War I-era Canadian poster showing a member of the Onion Lake Kree Nation making a donation to the Canadian Patriotic Fund, a private fund geared to providing money for soldiers' families. It is unclear if the appeal here was to other indigenous people to contribute, or to guilt the White population into contributing more. The letter reads, "Onion Lake Indian Reserve, Saskatchewan, Dec. 4th, 1916 Sir Herbert B. Ames, Ottawa Greetings: You asked me to tell you a story about how it came into my mind to pay a little towards 'War Money.' I heard there was a big war going on over there and I feel like I want to help you some way and the best I can do is to send a little money for I can't go myself as I am nearly blind. This is to show you I like to help you. I am an Indian. I heard that other Indians were going to give 25c. each out of their treaty money. I give $1.50 out of money from the Government for beef I sell the agency. I am about 50 years old and my wife and two sons are living with me and my son's wife and her child. That is the way I make up that $1.50 - - 25c. each for six. I shake hands to you, (Sgnd) Moo-che-we-in-es."

Lot: 10 - Alfred F. Burke, Share / Jewish Relief Campaign. Circa 1915.

Alfred F. Burke 1893-1936 Share / Jewish Relief Campaign. Circa 1915. Condition B+: expert overpainting in margins; repaired tears, and restoration at edges, some into lower text. An allegorical figure of America offering her bounty, a tray laden with bread and fruits, to four desperate Jewish refugees dressed in tatters. In the background, the New York skyline, a symbol of the prosperous and secure New World, beneath an optimistic orange and yellow sky. As one of the finest, and rarest, of the World War I Judaic posters, "the relationship between the few words of strong text and the vivid, compelling imagery . . . [and] the economy of both text and image creates a succinct and lasting message" (Magnes p. 34). Magnes cover and p. 35, Borkan p. 175.

Lot: 11 - Bruce Porter, United War Work Campaign / [Yiddish]. Circa 1917.

Bruce Porter 1865-1953 United War Work Campaign / [Yiddish]. Circa 1917. Condition B+: expertly-repaired tears and replaced losses at edges and in image. "Quench their Thirst. Still their Hunger… Look at their happy faces. They just came from the trenches hungry and cold…" Porter was a California-born artist who painted landscapes, worked with stained glass and designed the Robert Louis Stevenson Memorial in San Francisco's Portsmouth Square. He was also a writer and assisted Gelett Burgess when he founded The Lark, designing an 1895 cover. The Met 1972.535.328.

Lot: 12 - Designer Unknown, [The Jews the World Over Love Liberty]. Circa 1917.

Designer Unknown [The Jews the World Over Love Liberty]. Circa 1917. Condition A- / B+: minor losses, creases and tears at edges; archival tape on verso. Paper. A rare Canadian World War I image imploring Jews to enlist in the army. This poster is an extraordinary call to arms, employing three separate persuasive techniques - patronizing expectation: "Britain expects every son of Israel to do his duty," historical association: "The Jews the world over love liberty, have fought for it & will fight for it," and following a visual example: the man pictured is saying "you have cut my bonds and set me free - now let me help you set others free!" This is the Yiddish version. Not in Magnes.

Lot: 13 - James Montgomery Flagg, 1877-1960, I Want You for U.S. Army. 1917.

James Montgomery Flagg 1877-1960 I Want You for U.S. Army. 1917. Condition B+: tears and repaired tears in margins, archival tape on verso; minor creases in margins and image. Paper. "The best known American poster of all time" (Darracott xviii) and clearly "a cultural icon" of 20th century imagery and propaganda (Power of the Poster p. 162). Flagg p. 80 and cover, American Style 60, IWM I p. 27, Rawls p. 13, Theofiles 11, Darracott 13, Rickards 14, Borkan p. 13, Word & Image p. 48, Modern American 24, Power of The Poster 156, War Posters 18.

Lot: 14 - James Montgomery Flagg, "I Want You in the Navy and I Want You Now." 1917.

James Montgomery Flagg 1877-1960 "I Want You in the Navy and I Want You Now." 1917. Condition A-: small unobtrusive repaired tears and slight staining at edges. "Printed by request from Leslie's Preparedness Number, July 6, 1916."

Lot: 15 - James Montgomery Flagg (D'Après), I Want You / Charles A. Eaton Co. Army Shoes. With hand-painted text banner. Circa 1917.

James Montgomery Flagg (D'Après) 1870-1960 I Want You / Charles A. Eaton Co. Army Shoes. With hand-painted text banner. Circa 1917. Condition B+ / B: replaced losses, repaired tears and restoration in poster and paper text sheet added at bottom; original poster trimmed off below text, where the text banner was added. The Charles A. Eaton Co., producer of Army shoes, altered the original I Want You poster by replacing the bottom with their own handwritten broadside. Eaton opened his first shoe factory in Brockton, MA in 1876. It was the largest manufacturer of boots and shoes for allied troops during World War I. Post World War II, the company shifted into production of golf shoes. Still thriving today, the C.A. Eaton Co. is now called "Etonic" and is one of the oldest and most significant companies in the athletic shoe industry.

Lot: 16 - Luciano Achille Mauzan, Prestito / Credito Italiano. 1917.

Luciano Achille Mauzan 1883-1952 Prestito / Credito Italiano. 1917. Condition A-: creases, abrasions and overpainting in image and along horizontal and vertical folds. Utilizing the same psychology and graphic conceit as James Montgomery Flagg's "I Want You", this soldier, in the heat of battle, is exhorting every Italian to "Do His Duty" and subscribe to war loans. The most popular of 6 posters which Mauzan designed for the Italian government during the First World War. Paret 54, Rickards 10, Manifesto 21, IWM p. 43.

Lot: 17 - Luciano Achille Mauzan, Sottoscrivete! Credito Italiano. 1917.

Luciano Achille Mauzan 1883-1952 Sottoscrivete! Credito Italiano. 1917. Condition B+: creases, folded edges, and tears at margins, with a minor loss at top center of poster; creases in image and along horizontal and vertical folds; tape on verso. Paper. One of at least two different printings. The other was printed by Ricordi, in Milan. Mauzan / Paris p. 37, Mauzan A073.

Lot: 18 - Mildred T. Moody, Even a Dog Enlists Why Not You? Circa 1917.

Mildred T. Moody 1887-1933 Even a Dog Enlists Why Not You? Circa 1917. Condition B+: small replaced losses at right margin; minor repaired tears at edges; scratch in central right image; minor creases.

Lot: 19 - L.N. Britton, Food Administration / Eat More / Eat Less. 1917.

L.N. Britton 1858-1934 Food Administration / Eat More / Eat Less. 1917. Condition A: minor creases at edges; minor abrasions in image. Matted and framed. Rawls p. 121, Borkan p. 71, Theofiles fig. 72, p. 88, Rickards 224.

Lot: 20 - J. Carl Mueller, Hero Land / Grand Central Palace. 1917.

J. Carl Mueller Dates Unknown Hero Land / Grand Central Palace. 1917. Condition B+: replaced losses in margins; repaired tears at edges, some into image; minor creases in image. "For 19 days in 1917, the Grand Central Palace in New York City was transformed into a military and entertainment extravaganza with the purpose of raising funds for the war effort. Titled "Hero Land," a term used to describe France, the event's goals were twofold, to raise awareness of the situation in Europe, and to raise money for over one hundred charitable societies including the Red Cross. Newspaper advertisements read "'Hero Land' is the Greatest Spectacle the World has ever seen, for the Greatest Need the World has ever seen." The steering committee boasted the most prominent names in New York Society. The patron list included judges, elected officials, and foreign dignitaries. The British, French, Italian, and Belgian governments sent exhibitions" ( Detroithistorical.org). This is the horizontal format.

Lot: 21 - Raymond Bannister, The U.S. Navy Needs Men. Circa 1917.

Raymond Bannister Dates Unknown The U.S. Navy Needs Men. Circa 1917. Condition B+: repaired tears at edges, some slightly into image; creases in margins and image.

Lot: 22 - August William Hutaf, Back up Pershing / Send Him "The Stuff." Circa 1917.

August William Hutaf 1874-1942 Back up Pershing / Send Him "The Stuff." Circa 1917. Condition B+: repaired tears, creases and restoration in margins and image; replaced loss in bottom margin and small loss in lower left corner; printers' creases in text; small stains in upper left image. Rare

Lot: 23 - William Gibbs McAdoo, Keep 'em Going! 1917.

Designer Unknown 1863-1941 Keep 'em Going! 1917. Condition B+: repaired tears at edges, one into upper text; overpainting in corners; creases and abrasions in margins and image. Rawls p. 193.

Lot: 24 - William Addison Ireland, It's Our War Chest against His. 1918.

William Addison Ireland 1880-1935 It's Our War Chest against His. 1918. Condition B-: extensive replaced losses and overpainting throughout margins, edges of image and upper text and image; extensive repaired tears and creases in image; losses in printer's text. The 3-leaf clover monogram in the bottom right corner is that of Ohioan Billy Ireland, who worked as a cartoonist for The Columbus Dispatch for his entire career. He contributed four to seven editorial cartoons each week in addition to his weekly feature, The Passing Show. The Billy Ireland Cartoon Library & Museum at Ohio State was named in his honor in 2009.

Lot: 25 - Designer Unknown, Boom the 4th Liberty Loan / New York Herald. Circa 1918.

Designer Unknown Boom the 4th Liberty Loan / New York Herald. 1918. Condition A-: fold in bottom left corner; creases in image.

Lot: 26 - George Patterson Love, Grand Military Ball / Copley - Plaza Ballroom. 1918.

George Patterson Love 1887-1979 Grand Military Ball / Copley - Plaza Ballroom. 1918. Condition B: discoloration from bleaching at edges; repaired tears, creases and restoration in margins and image; sharp horizontal creases. This military ball was staged to raise funds for Company G of the 301st Infantry Regiment, affectionately known as "Boston's Own." The next day's Boston Globe described the highlights as "the gas mask drill, the bayonet fights, the arm and whistle signals, and a gas mask dance." Love was listed as a Boston-based artist in his 1917 draft registration. He served from August to December 1918, reaching the rank of Second Lieutenant. He was a self-employed artist in West Barrington, RI at the time of his 1942 draft registration.

Lot: 27 - Designer Unknown, The Children's Year / Bring Your Children to be Weighed and Measured. 1918.

Designer Unknown The Children's Year / Bring Your Children to be Weighed and Measured. 1918. Condition B+: repaired tears, creases and abrasions in margins and image; small replaced losses with overpainting at edges; ink writing in lower text box.

Lot: 28 - Sgt. W.G. Thayer, The Final Inspector. Circa 1918.

Sgt. W.G. Thayer Dates Unknown The Final Inspector. Circa 1918. Condition B+: replaced losses and minor overpainting in margins and corners; repaired tears at top, slightly into image; with separate "Buy W.S.S." stamp on same linen. There are at least two other text variants of this poster.

Lot: 29 - Designer Unknown, America's Answer / Official War Picture. Circa 1918.

Designer Unknown America's Answer / Official War Picture. Circa 1918. Condition B+: extensive expert overpainting in margins; minor restoration in image.

Lot: 30 - Designer Unknown, "The War" / For the Benefit of War Relief Funds. Circa 1917.

Designer Unknown "The War" / For the Benefit of War Relief Funds. Circa 1917. Condition A-: creases and overpainting along horizontal and vertical folds.

Lot: 31 - Hans Rudi Erdt, Der Frieden mit der Ukraine. 1918.

Hans Rudi Erdt 1883-1918 Der Frieden mit der Ukraine. 1918. Condition A-: minor abrasions in text; overpainting along horizontal fold. Two-sheets.

Lot: 32 - James H. Daugherty, South America / Come Along Learn Something, See Something in the US Navy. 1919.

James H. Daugherty 1887-1974 South America / Come Along Learn Something, See Something in the US Navy. 1919. Condition B+: repaired tears and small replaced losses in margins; creases and abrasions in margins and image.

Lot: 33 - James H. Daugherty, Give the World the Once Over / India. 1919.

James H. Daugherty 1887-1974 Give the World the Once Over / India. 1919. Condition B: extensive repaired tear at top right through central right image; repaired tears, creases and abrasions in margins and image; minor overpainting in margins. Borkan p. 29.

Lot: 34 - Joseph De La Neziere, Engagez - Vous Dans La Marine. 1927.

Joseph De La Neziere 1873-1944 Engagez - Vous Dans La Marine. 1927. Condition A-: minor repaired tears and creases at edges, one slightly into text. "Joseph de la Nézière was a painter and a great traveler. His frequent visits to North Africa provided him with material for a number of posters and he was artistic director for the Moroccan section at the Exposition Coloniale de Marseille in 1922" (Orientalist p. 40).

Lot: 35 - Neysa Moran McMein, Y.W.C.A. 1919.

Neysa Moran McMein 1888-1949 Y.W.C.A. 1919. Condition B+: repaired tears at edges, some into image; creases, abrasions and restoration in margins; overpainting over printer's text. This is the version before text, which reads "In Service for Girls of the World". Borkan p. 166 (var).

Lot: 36 - Anita Parkhurst (Mrs. Willcox), Girl Reserves / Ever Loyal Ever Ready Everywhere. 1919.

Anita Parkhurst (Mrs. Willcox) 1892-1984 Girl Reserves / Ever Loyal Ever Ready Everywhere. 1919. Condition B+ / A-: replaced lower right corner; minor repaired tears in bottom margin; minor creases in image. "Between 1913 and 1929, [Parkhurst's] commercial graphics included covers for Saturday Evening Post, Colliers, Every Week, Fashion Art, McCalls, and Screenland, posters for the YMCA, and numerous advertising illustrations. She signed her commercial work throughout this period with her maiden name, 'Anita Parkhurst'" ( Wikipedia). Rare. We could find no other copies at auction.

Lot: 37 - Burkhard Mangold, Stimt für Liste 1 / [Bolshevism]. 1919.

Burkhard Mangold 1873-1950 Stimt für Liste 1 / [Bolshevism]. 1919. Condition A-: minor repaired tears and slight foxing at edges. "Vote for List 1 – Under Liberalism; This is where Bolshevism leads" Burkhard Mangold's artistic career covered several distinct areas, including painting, stained glass and poster design. In 1905, he began working with the inimitable Swiss printing house Wolfensberger, and soon became one of the pioneers of modern Swiss poster art.

Lot: 38 - Witold Gordon, [Help Poland / Buy Bonds!] Circa 1920.

Witold Gordon 1885-1968 [Help Poland / Buy Bonds!] Circa 1920. Condition B / B+: replaced and overpainted losses in corners, affecting text; minor repaired tears and small stains in image. Rare.

Lot: 39 - Guillaume Seignac, The Equitable Trust Company of New - York. 1920.

Guillaume Seignac 1870-1924 The Equitable Trust Company of New - York. 1920. Condition B+ / A-: water stains at top edge, affecting linen; small stains in lower margins.

Lot: 40 - Mihaly Biro, Arbeiter = Zeitung. 1920.

Mihaly Biro 1886-1948 Arbeiter = Zeitung. 1920. Condition B-: extensive repaired tears and restoration over creases and abrasions at edges and in image. Two-sheets; mounted on paper. A rich, allegorical image for the "Worker's Newspaper." Wiener Plakat 141, Biro Plakate p. 87, Biro / Plakat Kunstler 111, Biro pl. 13, Hoover Institution AU 386.2.

Lot: 41 - Paul Martin, American Junior Red Cross. 1929.

Paul Martin 1883-1932 American Junior Red Cross. 1929. Condition A-: small repaired tears, creases and abrasions at edges, one slightly into bottom text; repaired pin holes in corners. Paul Martin was a commercial artist and illustrator, famous for designing the world's largest sign in 1917; his Wrigley's Gum electric billboard towered over Times Square until 1924. Martin's artwork appeared on twenty covers of Collier's magazine between 1923 and 1927, and he created the official poster for the Girl Scouts that was displayed at their troop meetings from 1931 to 1937.

Lot: 42 - Howard Chandler Christy, Will Rogers Memorial Fund. 1935.

Howard Chandler Christy 1873-1952 Will Rogers Memorial Fund. 1935. Condition B+: repaired tears at edges, some into image; minor creases and abrasions at edges and in image.

Lot: 43 - Fougasse (Cyril Kenneth Bird), Careless Talk Costs Lives. 1940.

Fougasse (Cyril Kenneth Bird) 1887-1965 Careless Talk Costs Lives. 1940. Condition B+: creases in image and along vertical and horizontal folds; some staining in image; minor abrasions at edges. Paper. This is a larger format than the small 12x18 inch series (see next lot). NAM. 1996-10-95-20, IWM II p. 30, Pollack p. 266

Lot: 44 - Fougasse (Cyril Kenneth Bird), Careless Talk Costs Lives. Group of 6 posters. Circa 1940.

Fougasse (Cyril Kenneth Bird) 1887-1965 Careless Talk Costs Lives. Group of 6 posters. Circa 1940. Condition varies, generally A- / A: paper, some thinner paper. "Whilst studying engineering at Kings College, London, Cyril Kenneth Bird also attended evening classes in art in order to follow his preferred profession as an artist. He joined the Royal Engineers in 1914 but was badly wounded at Gallipoli in 1916. During his recuperation he started producing cartoons; these were published in Punch and other magazines and established his future career. He adopted the name 'Fougasse' from a small land mine used by the Royal Engineers which might or might not hit the mark. From 1937 to 1948, he was Art Editor for Punch. During the Second World War, Bird devoted himself to producing propaganda of all kinds for nearly all government ministries as well as many charities. All of his work was given free. The poster design demonstrates the need to attract public attention in the face of an onslaught of posters. The humor is quick and the wide margin and red border give the image space to be noticed. Bird's work, especially the 'Careless Talk' posters, was widely appreciated both during and after the war" ( Imperial War Museum). Images available upon request. IWM II p. 30, Zeman p. 59, War Posters p. 172, MoMA 218.1943, Pollack p. 266-9, Rhodes p. 125, V&A AR.1:4-2006.

Lot: 45 - Designer Unknown, "Never was So Much Owed by So Many to So Few." Circa 1940.

Designer Unknown "Never was So Much Owed by So Many to So Few." Circa 1940. Condition B+: creases, tears and minor losses at edges; creases and abrasions along horizontal fold. Paper. "The movie-like image shows undecorated sergeant-pilots, rather than commissioned officers, to suggest that the country was saved not by social elites, but by representatives of the entire population" (Paret p. 153). Paret 217, Pollack p. 248.

Lot: 46 - Designer Unknown, "Let Us Go Forward Together." 1940.

Designer Unknown "Let Us Go Forward Together." 1940. Condition B+: loss in bottom margin; creases and abrasions in margins and image and along vertical and horizontal folds; sharp pin holes in corners. Paper, hinged to mat. Matted and framed. "The caption for this poster is taken from Winston Churchill's first speech as Prime Minister to the House of Commons on 13 May 1940, which was later known as 'Blood, Toil, Tears and Sweat'" (War Posters p. 184). War Posters 233, IWM II p. 70, Judd 2.2, Gallo p. 260, Pollack p. 249.

Lot: 47 - Various Artists, [World War II / Britain]. Group of 8 posters. Circa 1940s.

Various Artists [World War II / Britain]. Group of 8 posters. Circa 1940s. Condition varies, generally A. Paper. Group includes: You Can Help to Build Me a Gun, You Can Help to Build Me a Plane; You Can Help to Build Me a Ship; Careless Talk May Cost His Life; Gas Attack; Fire Bombs! Guard the Cornfields; Britain Shall Not Burn; and Britain's Merchant Navy. Images available upon request.

Lot: 48 - Patrick Cokayne Keely, Zwarte Markt is Roof! 1944.

Patrick Cokayne Keely 1901-1970 Zwarte Markt is Roof! 1944. Condition B+: repaired losses, overpainting and repaired tears in margins and text; creases in image. This poster was issued by the Dutch military authorities in Great Britain during the early days of the Allied liberation of the Netherlands. The dramatic, dark scene illustrates the slogan, "The Black Market is Robbery / Do Not Steal from Your Country Men / Equal Distribution for All." Keely shows an enemy rat stealing grain, with the hungry eyes of other rats peering out of the darkness.

Lot: 49 - Various Artists, [World War II / Canada]. Group of 4 posters. Circa 1940s.

Various Artists [World War II / Canada]. Group of 4 posters. Circa 1940s. Condition varies, generally B+. Paper. Group includes: Labour and Management; Beware / Do Your Part in Silence; Your Health is Canada's Strength; and The New North. Images available upon request.

Lot: 50 - Abugov, Dates Unknown, If the Cap Fits / Wear It. Circa 1940.

Abugov Dates Unknown If the Cap Fits / Wear It. Circa 1940. Condition B+: tape at each corner; minor tears at margins; creases and abrasions along horizontal and vertical folds. Paper.

Lot: 51 - Albert Edward Cloutier & Eric Aldwinckle, Canada's New Army Needs Men Like You. Circa 1942.

Albert Edward Cloutier & Eric Aldwinckle (1902-1965) & (1909-1980) Canada's New Army Needs Men Like You. Circa 1942. Condition B: replaced loss with overpainting at right margin, into image; repaired tears, creases and abrasions in margins and image. Mounted on Chartex. Pollack pl. 430.

Lot: 52 - Ken Rowell, All Aboard! Buy Victory Bonds. Circa 1940s.

Ken Rowell Dates Unknown All Aboard! Buy Victory Bonds. Circa 1940s. Condition B+: minor overpainting at corners; creases, abrasions and restoration along sharp vertical and horizontal folds.

Lot: 53 - Various Artists, [World War II / Mexico]. Three posters. Circa 1940s.

Various Artists [World War II / Mexico]. Three posters. Circa 1940s. Condition varies. Paper. Group includes: Unidad; Secretaria de Educacion Publica and Trabajo Fortaleza de Nuestras Fronteras.

Lot: 54 - John Philip Falter, Pack It Right to Reach the Fight. 1940s.

John Philip Falter 1910-1982 Pack It Right to Reach the Fight. 1940s. Condition B+ / B: tear at left edge; creases and abrasions along edges and horizontal and vertical folds. Paper.

Lot: 55 - Jon Whitcomb, Don't Slow Up the Ship! 1940s.

Jon Whitcomb 1906-1988 Don't Slow Up the Ship! 1940s. Condition B+ / A-: creases and minor tears at edges; tear at top of center vertical fold into image; creases and abrasions along horizontal and vertical folds. Paper.

Lot: 56 - Designer Unknown, To the Merchant Navy / Thank You! 1940.

Designer Unknown To the Merchant Navy / Thank You! 1940. Condition A- / A: creases and abrasions in image and along horizontal and vertical folds.

Lot: 57 - Designer Unknown, [World War II / United States]. Group of 3 posters. 1940s.

Designer Unknown [World War II / United States]. Group of 3 posters. 1940s. Condition varies. Paper. Group includes: Twice a Patriot!, More Nurses are Needed and Pass the Ammunition. Images available upon request. Pollack p. 116.

Lot: 58 - Stu Graves, Dates Unknown, Right is Might / U.S. Army. 1942.

Stu Graves Dates Unknown Right is Might / U.S. Army. 1942. Condition B+: minor losses, creases, straining and repaired tears at edges, one repaired tear into image; creases and abrasions in image and along horizontal and vertical folds; pin holes in corners.

Lot: 59 - Designer Unknown, Get Your Farm in the Fight! / Use Conservation Methods. 1942.

Designer Unknown Get Your Farm in the Fight! / Use Conservation Methods. 1942. Condition B+ / B: replaced and overpainted losses in left corners, including text; tape stains in margins; abrasions and restoration along vertical and horizontal folds; pencil notations in top margin.

Lot: 60 - Designer Unknown, Don't Give the Japs a Single Break! 1942.

Designer Unknown Don't Give the Japs a Single Break! 1942. Condition B: repaired tears at edges, some into upper image and text; creases and abrasions in margins and image; small tape stains at upper left corner.

Lot: 61 - Tom B. Woodburn, Defend Your Country / Enlist Now. 1940.

Tom B. Woodburn 1893-1980 Defend Your Country / Enlist Now. 1940. Condition B: reds and blues attenuated; minor bleach spots in margins; creases and minor abrasions in margins and image; restoration around lower text; repaired pin holes in corners. Pollack p. 22.

Lot: 62 - Renée Sturbelle, Belgium fights On. Circa 1941.

Renée Sturbelle Dates Unknown Belgium Fights On. Circa 1941. Condition A-: small tear at left edge; minor creases and abrasions at edges and along vertical and horizontal folds. Paper. "After the German occupation of Belgium in May 1940, a Belgian Government in Exile was set up in London, while in 1942 the Belgian League was established to organise resistance to the Germans. The purpose of this poster was presumably to encourage support within America for the Belgian resistance cause. In the diagonal sweep of the composition, the image of the bound prisoners facing the German firing squad is counteracted by the avenging Belgian soldier and the thrust of the fighter aircraft. The name of the artist, R. Sturbelle, suggests he was himself Belgian" ( V&A Museum). With New York text at bottom. Rare. V&A E.276-2004.

Lot: 63 - Alexey Brodovitch, Libertad De Palabra. 1942.

Alexey Brodovitch 1898-1971 Libertad De Palabra. 1942. Condition A-: minor creases and abrasions at edges; linen trimmed to edges. Originally a Russian émigré to Paris, when Brodovitch moved to the United States, he became a major influence on American graphic design. From his position as Art Director of Harper's magazine and later as a teacher at his own design laboratory, he brought the European avant-garde to America. From 1936 onwards, Brodovitch's work began to show a strong Surrealistic influence, which is evident in this powerful and poignant image. In 1942, the Office of Inter-American Affairs, headed by Nelson A. Rockefeller, commissioned some of the most preeminent modern American designers of the day to create posters for distribution in Latin America. The other artists were E. McKnight Kauffer, John Atherton and Herbert Bayer. Atypically progressive artistically, these posters, which appeared early on in America's involvement in the war, were intended to sway Latin American opinion against the Axis powers and to increase the solidarity of the Western hemisphere. Each of the posters in this series highlighted one or more of Theodore Roosevelt's Four Freedoms as stated to the U.S. Congress in January, 1941: Freedom from Fear, Freedom From Want, Freedom of Speech and Freedom of Religion. This is the smaller format.

Lot: 64 - McClelland Barclay, Defend American Freedom / It's Everybody's Job. 1942.

McClelland Barclay 1891-1943 Defend American Freedom / It's Everybody's Job. 1942. Condition B+: slight discoloration in background; minor creases, abrasions and restoration at edges; repaired pin holes in corners; minor creases in image.

Lot: 65 - James Montgomery Flagg, Speed Up America. 1943.

James Montgomery Flagg 1877-1960 Speed Up America. 1943. Condition B+ / A-: creases, abrasions and overpainting in image and along horizontal and vertical folds. Combining the legend of Paul Revere and the visual horrors of World War II, Flagg has created an intense image of Uncle Sam on horseback, his jacket off, as he is urging his mount to speed up, a fiery swastika in the dark gray sky behind him. "The poster was called "Wake Up America" originally, but the title was changed later" (Flagg p. 40). Two International News Photos from the 1940s show Flagg posing with a copy of this poster, in each image he is dressed as Uncle Sam, because, just as with his I Want You poster, he used himself as the model for this image. Flagg p. 40 & 41, Pollack p. 189.

Lot: 66 - Ralph Iligan, Enemy Ears are Listening. 1942.

Ralph Iligan 1893-1960 Enemy Ears are Listening. 1942. Condition A-: creases along horizontal and vertical folds. Paper. Pollack p. 151.

Lot: 67 - Designer Unknown, Combined Operations are Winning the War. 1944.

Designer Unknown Combined Operations are Winning the War. 1944. Condition B+: repaired tears at edges, some slightly into image; minor creases in margins and text.

Lot: 68 - Newell Convers Wyeth (d'Après), The Spirit of '46. 1946.

Newell Convers Wyeth (d'Après) 1882-1945 The Spirit of '46. 1946. Condition A- / A: creases along horizontal and vertical folds. A student of Howard Pyle, Wyeth became a prolific illustrator and painter in his own right, commissioned for projects like murals, calendars, patriotic images during the world wars, and commercial paintings. By 1907, Wyeth was heralded in Outing Magazine as "one of our greatest, if not our greatest, painter of American outdoor life." His pictures had appeared in many books and some of the most popular magazines of the period, such as Century, Harper's Monthly, Ladies' Home Journal, McClure's, Outing, and Scribner's, illustrating stories such as Treasure Island , Robin Hood, and Robinson Crusoe. He had several accomplished children, the most famous of which, Andrew, followed in his footsteps as a painter.

Lot: 69 - Stanley Dersh, Americans All. 1946.

Stanley Dersh 1924-1993 Americans All. 1946. Condition B+ / B: creases, abrasions and restoration along vertical and horizontal folds; small replaced losses, tape-stains and restoration in corners.

Lot: 70 - Fred Little Packer, Got an Idea Buzzin'? It May Help Win The War! 1940s.

Fred Little Packer 1886-1956 Got an Idea Buzzin'? It May Help Win The War! 1940s. Condition B-: repaired tears, creases and abrasions in margins, text and image; losses in upper right text and margin; pin holes in corners; water staining in bottom margin. Mounted to card.

Lot: 71 - Harry Morse Meyers, Our Record is Good / Help Build Better Corsairs. 1940s.

Harry Morse Meyers 1886-1961 Our Record is Good / Help Build Better Corsairs. 1940s. Condition A-: minor repaired tears, creases and restoration in margins. Harry Morse Meyers (often referred to as Charles Morse Meyers in some archival contexts), was a prominent American illustrator from the early 20th century. Meyers was well-known for his realistic and patriotic paintings, frequently appearing as the model for the figures in his own advertisements and posters.

Lot: 72 - Jon Whitcomb, Thanks for That 100 Octane Advantage. Circa 1940s.

Jon Whitcomb 1906-1988 Thanks for That 100 Octane Advantage. Circa 1940s. Condition B+: creases at edges; tears and creases along top and bottom of center vertical fold, and creases along horizontal fold. Paper.

Lot: 73 - Designer Unknown, Rendezvous with Death / Western Electric. 1942.

Designer Unknown Rendezvous with Death / Western Electric. 1942. Condition B: repaired tears, creases, abrasions and restoration in margins and image and along vertical and horizontal folds. Silkscreen.

Lot: 74 - John Philip Falter, Make it Good for Him! Circa 1942.

John Philip Falter American, 1910-1982 Make it Good for Him! Circa 1942. Condition B: replaced losses with mismatched overpainting in margins; repaired tears, creases, abrasions and restoration in margins and image and along vertical and horizontal folds. This poster was "Reprinted through courtesy of Vultee Aircraft / by Commercial Textile Mills, Inc. / Martex Print Works, Inc., Clifton, N.J." This image of the pilot and plane was used in a 1943 ad for Vultee, entitled "The man we look up to!" and this poster is a rare variant and format. John Falter was one of the leading American illustrators of the 20th century. Born in Plattsmouth, Nebraska, he studied art in Kansas City and New York. He is best known for creating 129 cover paintings for The Saturday Evening Post over a 25-year period beginning in 1943. During World War II, Falter joined the U.S. Navy and produced more than 300 recruitment and motivational posters. His artwork also appeared in major magazines including Esquire, Good Housekeeping, Cosmopolitan, McCall's, Life, and Look. After the war, he created more than 200 Western-themed paintings, illustrated over 40 books, and was commissioned by 3M in 1974 to paint six works for the American Bicentennial. He was inducted into the Illustrators Hall of Fame in 1976 and the National Academy of Western Art in 1978. Falter died in Philadelphia in 1982, and his papers are preserved by the Nebraska State Historical Society. His original paintings remain highly sought after, often selling for tens or even hundreds of thousands of dollars at auction. While this poster is more accessible to collectors than one of his original paintings, it benefits from the strong market for his work. Created just before or around the time of his Navy enlistment, it represents an important example of his wartime commercial illustration.

Lot: 75 - Betsy Graves Reyneau, Keep Us Flying! / Buy War Bonds. 1943.

Betsy Graves Reyneau 1888-1964 Keep Us Flying! / Buy War Bonds. 1943. Condition A. Horizontal fold, as issued. Paper. One of the very few World War II posters to promote African American servicemen, and the first to promote the famous Tuskegee Airmen. The portrait was by Betsy Graves Reyneau, a white artist also famous for a portrait of George Washington Carver. War Posters 263, Design for Victory p. 36, Pollack p. 119.

Lot: 76 - Ramus-Fischer (Michael Ramus & Anton Otto Fischer), Aviation Cadet Training / U.S. Army Air Forces. 1943.

Ramus-Fischer (Michael Ramus & Anton Otto Fischer) Aviation Cadet Training / U.S. Army Air Forces. 1943. Condition B-: extensive replaced losses and overpainting throughout margins; repaired tears, creases, abrasions and restoration in margins, image and text.

Lot: 77 - Baumann, Up and At 'Em! / Build More B-24's. 1944.

Baumann Dates Unknown Up and At 'Em! / Build More B - 24's. 1944. Condition B+: repaired tears with restoration at edges, slightly into image; minor staining in left margin; minor restoration along vertical and horizontal folds. There are several text variants of this poster, calling to build more P-51's, P-38's C-54's & P-47's and more.

Lot: 78 - Cecil Calvert Beall, Bombs Away! AAF. 1944.

Cecil Calvert Beall 1892-1967 Bombs Away! AAF. 1944. Condition B+ / B: creases, staining, tears and tape along edges; creases and abrasions along horizontal and vertical folds. Paper. Pollack p. 30.

Lot: 79 - Various Artists, [Precision Bombing]. Group of 5 Posters. 1942.

Various Artists [Precision Bombing]. Group of 5 Posters. 1942. Condition varies. Paper. Group includes: Precision Training Means Precision Bombing (two copies), Precision Teamwork Means Precision Bombing (two copies); and Target Destroyed. Images available upon request. Pollack p. 138-9.

Lot: 80 - S.P.K., Confiance / Ses Amputations Se Poursuivent Méthodiquement. Circa 1940s.

S.P.K. Dates Unknown Confiance / Ses Amputations Se Poursuivent Méthodiquement. Circa 1940s. Condition B+: replaced and overpainted loss at top margin and upper left text; repaired tears at edges; minor restoration along vertical and horizontal folds; bottom margin slightly trimmed. Weill 503, Judd 9.7, Rhodes 196, Pollack p. 332.

Lot: 81 - Walt Disney Productions, "Victory Through Airpower - Peace Through Airpower." Circa 1943.

Walt Disney Productions "Victory Through Airpower - Peace Through Airpower." Circa 1943. Condition B: creases and skinning in image; repaired tears, overpainting and minor staining in margins. This illustration is from Walt Disney Productions' "Victory Through Airpower," and appeared in a magazine ad for Lockheed in 1943. Lockheed handed out this small-format poster for free. Pollack p. 223.

Lot: 82 - Patrick Cokayne Keely, Indie Moet Vrij! 1944.

Patrick Cokayne Keely ?-1970 Indie Moet Vrij! 1944. Condition A- / B+: creases, abrasions and repaired tears along horizontal and vertical folds. "Distributed in the liberated South of the Netherlands, this poster concerned the Japanese occupation of Indonesia, and was published by the Dutch government-in-exile in London" (War Posters p. 19). IWM II p. 39, Judd 11.1, War Posters 15, Rhodes p. 279.

Lot: 83 - Designer Unknown, Voici Le Paradis des Soviets. Circa 1942.

Designer Unknown Voici . . . Le Paradis des Soviets. Circa 1942. Condition B: extensive repaired tear at bottom left edge, through lower image; repaired tears and replaced losses with overpainting at edges, one affecting text; minor creases and abrasions in image.

Lot: 84 - Designer Unknown, SSSR. Tvoji "Bratri?" Circa 1944.

Designer Unknown SSSR. Tvoji "Bratri?" Circa 1944. Condition B+ / B: repaired tears and losses at edges; creases and abrasions in image and along horizontal and vertical folds; tape on verso. Paper. This is a Czech Anti-Russian Bolshevism Poster: Your "Brother?"

Lot: 85 - Designer Unknown, Is Your Washroom Breeding Bolsheviks? Circa 1931.

Designer Unknown Is Your Washroom Breeding Bolsheviks? Circa 1931. Condition A-: minor creases and scuffing in margins and image. Paper.

Lot: 86 - Santos Balmori Picazo, "El Saber Corromperia a Mis Juventudes." 1943.

Santos Balmori Picazo 1899-1992 "El Saber Corromperia a Mis Juventudes." 1943. Condition B+: expert overpainting in margins; repaired tears, creases and restoration in margins and image.

Lot: 87 - Nikolai Mikhailovich Kochergin, [To Fight For Fuel Is To Fight For Revolution!] 1920.

Nikolai Mikhailovich Kochergin 1897-1974 [To Fight For Fuel Is To Fight For Revolution!] 1920. Condition B+: overpainting at lower right and upper right margins; repaired tears at edges; minor restoration in image and along vertical and horizontal folds.

Lot: 88 - Designer Unknown, [Fast No. 2]. Russian Film Poster. 1928.

Designer Unknown [Fast No. 2]. Russian Film Poster. 1928. Condition B+ / B: small losses, replaced losses and repaired tears in margins and image; creases and overpainting in image and along horizontal and vertical folds; linen trimmed to poster. For a film directed by G.A. Makarov.

Lot: 89 - Designer Unknown, Peace Takes Practice / The United Nations. 1948.

Designer Unknown Peace Takes Practice / The United Nations. 1948. Condition B+ / B: creases and repaired tears at edges; tape on verso; pin holes in corners. Paper.

Lot: 90 - Paul Lengelle, L'Armée De L'Air. Circa 1950.

Paul Lengelle 1908-1993 L'Armée De L'Air. Circa 1950. Condition A. Matted and framed.

Lot: 91 - Designer Unknown, Danse Caucasienne / Paix et Liberté. Circa 1951.

Designer Unknown Danse Caucasienne / Paix et Liberté. Circa 1951. Condition A- / B+: fold in upper left corner; creases in margins, image and along horizontal fold. Paper.

Lot: 92 - Viktor Koretsky, [The Shameful Stigma of American Democracy]. 1963.

Viktor Koretsky 1909-1998 [The Shameful Stigma of American Democracy]. 1963. Condition B+: repaired tears at edges, some into image; creases and minor abrasions in margins and image; replaced loss in lower left margin. Koretsky pl. 140.

Lot: 93 - Roberto Figueredo, ¡Manos Yankis Fuera de America Central y del Caribe! 1983.

Roberto Figueredo Dates Unknown ¡Manos Yankis Fuera de America Central y del Caribe! 1983. Condition B+ / B: minor loss in margin; extensive creasing in image.

Lot: 94 - Designer Unknown, Royale Clairette. 1905.

Designer Unknown Royale Clairette. 1905. Condition B+: repaired tears, some through text and image; creases, abrasions and overpainting in text and image.

Lot: 95 - Adrien Barrère, Scala Viens Fou - Foule. Circa 1900.

Adrien Barrère 1877-1931 Scala Viens Fou - Foule. Circa 1900. Condition A- / B+: minor creases and slight offsetting at edges and along vertical and horizontal folds; slight foxing at top left edge; small pin hole at right edge; ink and paper stamps in lower right image; linen trimmed to edges.

Lot: 96 - Adrien Barrère, La Revue des Folies - Bergère. 1902.

Adrien Barrère 1877-1931 La Revue des Folies - Bergère. 1902. Condition B+: repaired tears, tears, staining and extensive creasing at edges; creases through text and image; creases and overpainting along horizontal and vertical folds. Two-sheets. Folies-Bergère 57, Caradec-Weill p. 179.

Lot: 97 - Lucian Bernhard, La Nouvelle Magnéto Bosch. Circa 1911.

Lucian Bernhard 1883-1972 La Nouvelle Magnéto Bosch. Circa 1911. Condition A- / A: creases in image. DFP-III 203, Looping the Loop pl. 7, Plakatkunst 7, PAI-XCIII 145.

Lot: 98 - Paul Berthon, La Viole de Gambe. 1899.

Paul Berthon 1872-1909 La Viole de Gambe. 1899. Condition A-: minor creasing and staining in margins. Hand-signed by the artist in pencil. Berthon & Grasset p. 113.

Lot: 99 - Paul Berthon, [Salon des Arts Libéraux]. 1900.

Paul Berthon 1872-1909 [Salon des Arts Libéraux]. 1900. Condition A- / A: minor creases at edges and in image. Another variant features the 1900 design, printed in 1902 with a 1903 calendarium in the side columns. Berthon & Grasset, frontispiece.

Lot: 100 - Edouard Bisson, B. Sirven [Winter & Summer]. 1907.

Edouard Bisson 1856-1939 B. Sirven [Winter & Summer.] 1907. Condition B+: creases, repaired tears, abrasions, and overpainting in margins and image. Calendarium at bottom for 1908.

Lot: 101 - Pierre Bonnard, Salon des Cent. 1896.

Pierre Bonnard 1867-1947 Salon des Cent. 1896. Condition A-: minor overpainting and restoration at side margins. Bonnard designed only six posters. His first, France Champagne in 1891, was a revolutionary image, displaying the influence of the Ukiyo-e Japanese prints and opening up horizons for the new generation of poster artists. "The central element of this highly modern composition, in which the large area of blank paper creates a vacuum, is the woman who is depicted only in outline - with details provided only at the top of her dress and the rendering of her head . . . The monogram, in the form of a butterfly, pays tribute to Japanese art and balances the composition" (Salon des Cent p. 35). Her attention (and that of the viewer) is drawn to the charming little dog. Wember 137, DFP-II 79, Salon des Cent 5, Bouvet 39, Art Nouveau p. 85, Abdy p. 82.

Lot: 102 - Louis Charbonnier, Scala / La Danse des Jambes en l'Air. Circa 1897.

Louis Charbonnier 1874-1935 Scala / La Danse des Jambes en l'Air. Circa 1897. Condition A- / B+: expertly-repaired tears in lower right text and corner; minor creases at edges and along vertical and horizontal folds; slight offsetting in upper image; linen trimmed to edges. Gallo p. 108.

Lot: 103 - Jules Chéret, Si Vous Toussez Prenez des Pastilles Géraudel. 1890.

Jules Chéret 1836-1932 Si Vous Toussez Prenez des Pastilles Géraudel. 1890. Condition B+: expert overpainting in margins; replaced losses, repaired tears and overpainting along vertical and horizontal folds. Two-sheets. This is the larger format. Cheret 1164, Broido 893, Maindron 737, DFP-II 207.

Lot: 104 - Jules Chéret, Halle Aux Chapeaux. 1892.

Jules Chéret 1836-1932 Halle Aux Chapeaux. 1892. Condition B+: overpainting in margins; overpainting and restoration along vertical and horizontal folds. Brodio 830, Maindron 704, DFP-II 231, Maîtres 1900 p. 11, Wine Spectator 17, Gold 250, Chéret 1064.

Lot: 105 - Jules Chéret, Théâtre de la Tour Eiffel / Paris - Chicago. 1893.

Jules Chéret 1836-1932 Théâtre de la Tour Eiffel / Paris - Chicago. 1893. Condition A-: creases and abrasions in image. Framed. The Eiffel Tower was constructed as part of the 1889 Paris World's Fair. During the fair there was a restaurant called Flamand on the first level. The tower was meant to be torn down once the fair ended; fortuitously, that never occurred, and only the restaurant was closed. In its place, Charles Bodinière and the writer Alphonse Frank opened up a 400-seat theater. The theater ran from May to October every year, and eventually closed in 1900. On May 16th, 1893, the Théâtre de la Tour Eiffel made an attempt to bring some of Montmartre's spirit to the bourgeois Right Bank, with the opening of Paris / Chicago. The show, written by Frank and Gaston Arman de Caillavet was a tremendous success. Using a bold diagonal to create a descending movement, Chéret depicts his main characters in detail, and other characters in the background less so. The entire image is given a joyful, weightless feeling, as all of the characters (and even some of the typography) appear to be floating through the air. When it was printed, this poster was extremely popular with collectors, and it was offered to the market in three variations: with only the black outline, before the lettering, or like this, in its final iteration. Cheret 343, Broido 273, Maindron 239, DFP-III 2379 (var), Reims 467.

Lot: 106 - Jules Chéret, Vin Mariani / Popular French Tonic Wine. 1894.

Jules Chéret 1836-1932 Vin Mariani / Popular French Tonic Wine. 1894. Condition A-: minor repaired tears at edges; minor creases and overpainting in image and text. Chéret 1116, Broido 865, Maindron 731, DFP-II 248, Maitres 77, Reims 540, Wine Spectator 3, Health Posters 111, Gold 42.

Lot: 107 - Jules Chéret, Saxoléine. 1895.

Jules Chéret 1836-1932 Saxoléine. 1895. Condition A-: restoration along vertical and horizontal folds; repaired pin holes and restoration at edges and in corners. Matted and framed. This is the full-size poster. Chéret 1246, Broido 953, Maitres 13, DFP-II 261, Reims 511, Gold 26.

Lot: 108 - Jules Chéret, Alcazar d'Été / Lidia. 1895.

Jules Chéret 1836-1932 Alcazar d'Été / Lidia. 1895. Condition B+ / B: replaced losses at lower left edge; repaired tears in margins, one into lower right image; bleach spots in blue areas. Framed. In his memoirs, Paulus, one of the first big stars of the French café-concert scene, described Lily de Lidia as "snow and roses," a poetic compliment to her pale skin and pink complexion. He adds that she was the ideal performer to be hired "sans crainte de fatiguer les lorgnettes avides" (without worrying about tiring the peeping toms). In addition to her natural beauty, Lidia was alleged to have captivated crowds with her double-jointed act. However, early photo postcards depict her in various positions on a trapeze, indicating that her act was more athletic in nature. What is certain is that she inspired Chéret, who designed one of his most ravishing images for her. Brodio 174, Chéret 221, Maindron 154, DFP-II 250, Maitres 25, Wine Spectator 13, Gold 171.

Lot: 109 - Jules Chéret, [Théâtre de l’Opéra / 1er Bal Masqué]. 1898.

Jules Chéret 1836-1932 [Théâtre de l'Opéra / 1er Bal Masqué]. 1898. Condition B+: expert overpainting in margins and background. This is the version before text. Cheret 388, Broido 302 (var), Maitres 149 (var).

Lot: 110 - Georges Coutan, Casino De Paris. Circa 1890.

Georges Coutan 1853-1890 Casino De Paris. Circa 1890. Condition B-: replaced losses with mismatched overpainting and water stains in margins; repaired tears, creases and restoration in margins and image and along vertical and horizontal folds; overpainting at edges of image; reds faded.

Lot: 111 - Julius Diez, Phöbus / Ballfest. 1909.

Julius Diez 1870-1957 Phöbus / Ballfest. 1909. Condition A-: minor creases and overpainting in margins and lower image. DFP III 589.

Lot: 112 - Édouard Doigneau, 32e Exposition Canine. 1903.

Édouard Doigneau 1865-1954 32e Exposition Canine. 1903. Condition B+ / B: replaced losses, creases and abrasions in upper left corner; repaired tears and abrasions in margins; creases, abrasions and minor restoration in image and along horizontal and vertical folds.

Lot: 113 - Georges de Feure, Paris Almanach. 1894.

Georges de Feure 1868-1943 Paris Almanach. 1894. Condition B+: overpainted and replaced margins; unobtrusive horizontal fold. The Almanach was a guide to Paris published by Ed. Sagot. Here, de Feure's impeccably-dressed young lady is using the guide to explore the city - finding herself at an art exhibition. She is alone in a crowd of men who are depicted darkly and monochromatically in the background. One of them appears to be staring at her, but she stands almost defiantly in the foreground. DFP-II 342, Wember 304, Maitres 1900 p. 27, Gold 79, Maindron 64, Art Nouveau p. 118.

Lot: 114 - Louis Galice, Fête des Fleurs. 1895.

Louis Galice 1864-1935 Fête des Fleurs. 1895. Condition B+: repaired tears and replaced losses along edges, some into image; creases and repaired tears in image and along horizontal and vertical folds.

Lot: 115 - Julius Gipkens, Kanin - Felle Abliefern! / [Supply Rabbit Furs!] Circa 1916.

Julius Gipkens 1883-1966 Kanin - Felle Abliefern! / [Supply Rabbit Furs!] Circa 1916. Condition A.

Lot: 116 - Julius Gipkens, Juwelen und Goldankaufs woche. 1918.

Julius Gipkens 1883-1966 Juwelen und Goldankaufs Woche. 1918. Condition A- / B+: minor tears, creases and abrasions in margins and image.

Lot: 117 - Designer Unknown, A La Place Clichy. 1890.

Designer Unknown A la Place Clichy. Circa 1905. Condition B-: extensive tears, repaired tears, creases and abrasions in margins and image; loss in margins and upper image; separation along vertical and horizontal folds; ink and paper stamp at bottom right. Mounted on brown paper.

Lot: 118 - Jules-Alexandre Grün, La Boite À Fursy. 1899.

Jules-Alexandre Grün 1868-1938 La Boite À Fursy. 1899. Condition B+: replaced losses, repaired tears and overpainting in margins; linen trimmed to edges. Grün p. 36, Noel & Herbaut p. 43, DFP-II 432.

Lot: 119 - Jules-Alexandre Grün, Scala / Revue à Poivre. 1903.

Jules-Alexandre Grün 1868-1938 Scala / Revue à Poivre. 1903. Condition B+: creases, abrasions and overpainting in text, image and along horizontal and vertical folds; bleach spots in image. This classic Grün poster presents "a cheerful and exposed young lady" (Grün p. 63) in the suggestive, softly erotic style that was the artist's trademark. This show was led by music hall performer Suzanne Derval and opera singer Amélie Dieterle. The Scala was one of Paris's major music halls, and Grün designed most of the posters for the establishment between 1901 and 1905. This is the larger format. Grün p. 63, DFP-II 436, Meisterplakate 107, Cafe Concert 38.

Lot: 120 - Armand Henrion, Affiches Illustrées / Liège. 1898.

Armand Henrion 1875-1958 Affiches Illustrées / Liège. 1898. Condition B+: expertly-repaired tears, minor creases and restoration at edges and along vertical and horizontal folds; linen trimmed to edges. DFP-II 1051, L'Affiche Belgique 35.

Lot: 121 - Adolfo Hohenstein, Centenaire de la Decouverte. 1899.

Adolfo Hohenstein 1854-1928 Centenaire de la Decouverte. 1899. Condition A-: creases in image; creases and overpainting along horizontal and vertical folds. Hohenstein employs his classic allegorical style within an archetypal Liberty-style decorative border to honor the 100th anniversary of Alessandro Volta's creation of the first electric cell (battery), and to promote an International Congress of Electricity held in Como, Volta's birthplace. This is the smaller format, French version. Manifesti Italiani p. 37 (var), Ricordi 157, Capolavori Manifesto Liberty 3, Wember 404 (var).

Lot: 122 - Adolfo Hohenstein, Fiammiferi Senza Fosforo. 1905.

Adolfo Hohenstein 1854-1928 Fiammiferi Senza Fosforo. 1905. Condition A-: expertly-replaced losses and overpainting in margins; minor restoration in image. Born in Russia to German parents, Hohenstein studied art in Vienna before settling in Milan. He began working with Ricordi, the great Italian publishing company in 1889, designing sheet music covers for operas. Shortly thereafter, he became art director of the firm and began to design posters. Poster artists such as Dudovich, Mauzan and Metlicovitz worked under Hohenstein, and their posters reflect his influence as one of the masters of the Golden Age of Italian posters, "from obvious stylistic floral influences of French Art Nouveau and the German Jugendstil" (Manifesti Italiano, p. 114). This image, employing vivid colors and allegorical characters, is typical of his superb handling of even the most mundane items. The poster, promoting a brand of safety matches, is a brilliant graphic treatment playing with light and shadow effects, not to mention the larger moral themes of the forces of light banishing the forces of darkness. This is the larger format. Weill p. 85 (var), Manifesto p. 144. Manifesto Italiano 139, Menegazzi 340.

Lot: 123 - Ludwig Hohlwein, Marco - Polo - Tee. 1910.

Ludwig Hohlwein 1874-1949 Marco - Polo - Tee. 1910. Condition B / B+: skinning at top and bottom edges; repaired tears, creases, abrasions and restoration in margins and image and along vertical and horizontal folds; diagonal folds in lower image; repaired pin holes in corners. Hohlwein / Stuttgart 38, Hohlwein 148, DFP-III 1382, Frenzel pl. 13, Modern Poster 60, Metzl p. 77, Rademacher / Masters p. 79, Euro Deco p. 241, MoMA 417.1985.

Lot: 124 - Will Phillip Hooper, [Sample of Window Poster Service]. Group of approx. 123 plates. 1907 & 1913.

Will Phillip Hooper 1855-1938 [Samples of Window Poster Service]. Group of approx. 123 plates. 1907 & 1913. Condition varies, generally A- / B+. Paper. Group of approximately 25 hand-colored and 10 partially-colored plates with watercolor; 88 printed only, including duplicates of each design. Images available upon request.

Lot: 125 - Henri Gabriel Ibels, Yvette Guilbert. 1894.

Henri Gabriel Ibels French, 1867-1936 Yvette Guilbert. 1894. Condition A / A-: minor losses at bottom edge. DFP-I 474, Reims 75.

Lot: 126 - Lucien Métivet, Eugénie Buffet. 1893.

Lucien Métivet 1863-1932 Eugénie Buffet. 1893. Condition B+: repaired tears, creases and overpainting in margins and along vertical and horizontal folds; replaced losses in corners; linen trimmed to edges. While he studied painting in the Montmartre studio of Fernand Cormon (along with Toulouse-Lautrec), Lucien Métivet 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. Métivet 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, Reims 844, Gold 170.

Lot: 127 - Georges Meunier, Papier à Cigarettes / Job. 1894.

Georges Meunier 1869-1942 Papier à Cigarettes / Job. 1894. Condition B+ / A-: water-staining at edges, some into lower images; repaired tears at edges; creases and abrasions at edges, in text, and along horizontal and vertical folds. Two-sheets. Linen trimmed to edges. Georges Meunier was a beaux Arts-trained painter and decorative artist, "of talent and charm" . . . and a student of Chéret. His philosophy of the poster was the same 'toujours les femmes et les rires'" (Abdy p. 63). He worked at Chéret's Chaix printers, and even succeeded him as principal artist and director. This is the larger format. Maitres pl. 167, DFP-II 579, Abdy p. 62, Wember 581 (var).

Lot: 128 - Leopoldo Metlicovitz, Exposition Internationale Turin. 1911.

Leopoldo Metlicovitz 1868-1944 Exposition Internationale Turin. 1911. Condition A-: minor repaired tears and restoration at edges and along vertical and horizontal folds. Metlicovitz was adept at portraying graceful elegance and beauty, as well as the allegorical strength of ancient Rome. Several of his posters depict statuesque men posing in bold, classical stances. His most famous allegories were for automobile exhibitions in Milan (in 1905 and 1907), the opening of the Simplon Tunnel (1906) and this dynamic poster. To promote official events and exhibitions, this style was very popular in pre-war Italy, and Metlicovitz used it in a commercial way to advertise companies like Mele and Liebig. For this International Exhibition in Turin, Metlicovitz depicts the muscular personification of Industry and Labor, with the city laid out beneath them, planting a flag to open the exhibition. This is the French version. Menegazzi 151, Ricordi 204.

Lot: 129 - Ernest Montaut, Cabanne - Nirouet. Circa 1905.

Ernest Montaut 1879-1909 Cabanne - Nirouet. Circa 1905. Condition B+ / A-: fading and creases in margins, text and image; overpainting in image; linen trimmed to poster.

Lot: 130 - Alphonse Mucha, Le Fou / [Figaro Illustré]. Title page. 1897.

Alphonse Mucha 1860-1939 Le Fou / [Figaro Illustré]. Title page. 1897. Condition A / A-: expert overpainting in margins. This image was printed in Figaro Illustré's Christmas 1897 issue, depicting Le Fou, Légende Hongroise by Désiré Malongay. Le Figaro is one of the oldest French daily newspapers, founded in 1826, and Mucha contributed many illustrations. Mucha Grand Palais L.16 p. 221, Darmstadt I16 S221.

Lot: 131 - Alphonse Mucha, L'Estampe Moderne. 1898.

Alphonse Mucha 1860-1939 L'Estampe Moderne. 1898. Condition A / A-: minor foxing. To promote sales of L'Estampe Moderne, F. Champenois wanted a quick and inexpensive solution. He turned to Alphonse Mucha and the image the master had already designed for the cover of each month's portfolio. The image was easy to reproduce, as it used only one color; Champenois enlarged it and added text about the publication. The simplicity of the printing should by no means belittle the elegance of the elongated portrait of a woman holding a pen. The image is an example of Mucha's prowess as a draughtsman. Rennert / Weill 38 (var 1), Gold 88, Mucha / Henderson p. 123 (var), Mucha / Bridges R10a (var), Reade 10 (var), Spirit of Art Nouveau p. 25 (var).

Lot: 132 - Alphonse Mucha, Job. 1898.

Alphonse Mucha 1860-1939 Job. 1898. Condition A- / A: minor creases and staining in image. Framed. Mucha's second poster for Job, completed two years after the first, is one of his best advertising pieces. Here, Mucha provides the viewer with three levels of reading that constantly reinforce the brand. The woman sitting in a circle, her dark hair contrasting with her skin and pink dress, is eye-catching in and of herself, as is the big, bold lettering across the top. As viewers look more closely at the image, they discover that Mucha has also included the company name in the wallpaper behind the figure, that she is holding a package of the product, and finally, that her brooch also bears the Job logo. The image and design create a masterpiece of commercial art. Rennert / Weill 51, DFP-II 634, Modern Poster 9, Wine Spectator 74, Wember 610, Lendl 50, Weill 59, Maitres 1900 p. 18, Meisterplakate 164, Schardt p. 137, Triumph des Jugendstils p. 59, Art Nouveau p. 112.

Lot: 133 - Alphonse Mucha, [The Times of Day]. Set of four decorative panels. 1899.

Alphonse Mucha 1860-1939 [The Times of Day]. Set of four decorative panels. 1899. Condition B: slightly darkened overall; overpainted and partially-recreated margins; overpainting in decorative borders; some small replaced losses with restoration in image. An exquisite Art Nouveau quartet representing " Morning Awakening," " Daytime Dash," " Evening Reverie" and " Nightly Rest." "The borders are worked out in such an exquisite pattern that each picture appears to be mounted in an elaborate frame of its own, or else seen through a decorated window" (Rennert / Weill p. 232). In fact, on each panel the borders are identical, providing the set with an inherent cohesiveness. Mucha brilliantly adds an additional flourish by presenting different floral patterns behind each border. This is the larger format without bottom text. Rennert / Weill 62, Wine Spectator 77, Lendl pps. 212-215, Mucha P28-31.

Lot: 134 - Alphonse Mucha, 1860-1939, Gismonda. Maîtres de l'Affiche pl. 27. 1896., 15¼x11½ inches, 38¾x29¼ cm. Chaix, Paris.

Alphonse Mucha 1860-1939 Gismonda. Maîtres de l'Affiche pl. 27. 1896. Condition A-: minor abrasions at lower right edge; slight darkening at edges; tipped to mat. Paper. Matted and framed.

Lot: 135 - Alphonse Mucha, La Samaritaine. Maitre de l'Affiche pl. 166. 1899.

Alphonse Mucha 1860-1939 La Samaritaine. Maitre de l'Affiche pl. 166. 1899. Condition B+: losses in corners; slight darkening at edges; small repaired tear at left edge, tape on verso. Paper.

Lot: 136 - Alphonse Mucha, Le Vent Qui Passe Emporte la Jeunesse. 1899.

Alphonse Mucha 1860-1939 Le Vent Qui Passe Emporte la Jeunesse. 1899. Condition A-: small losses at corners; hinged at top to mat. Paper. This is the smaller format. (All var) Rennert / Weill 68 Var. 1, Lendl / Paris 74, Mucha / Art Nouveau 75.

Lot: 137 - Adolf Münzer, Deutsches Theater / Bal Paré. 1905.

Adolf Münzer 1870-1952 Deutsches Theater / Bal Paré. 1905. Condition B+: creases, abrasions, repaired tears and overpainting at edges; creases and overpainting in text, image and along horizontal and vertical folds. Two-sheets. After studying in Europe, and taking the prerequisite trip to Paris that all artists seemed to take, Münzer settled in Münich where he worked for Jugend magazine. His artistic credentials include membership in both Die Schülle and the Deutscher Werkbund. This poster advertising a weekly Ball, by far his best, was a huge success. The masked beauty personifying a wild and wonderful party with her strategically placed rose and half exposed nipples, certainly has a lot to do with it. As did its unusual format and size. At least one other variation, with slightly different text, is known. DFP-III 2309, Reklame Kunst 101, Theater 99, Masters p. 168, Plakate München 109.

Lot: 138 - Maxfield Parrish, The Century / Midsummer Holiday Number. 1897.

Maxfield Parrish 1870-1966 The Century / Midsummer Holiday Number. 1897. Condition A / A-: small tears and minor creases at edges; hinged to mat at top. Paper. 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 dream world 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 referred 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: 139 - Pal (Jean Paléologue), Falcon / The Franco - American Bicycle Co. Circa 1894.

Pal (Jean Paléologue) 1860-1942 Falcon / The Franco - American Bicycle Co. Circa 1894. Condition A-: overpainting and restoration in margins and along vertical and horizontal folds. Bicycle Posters 25, Ailes p. 61, DFP-II 768, Reims 938, Wine Spectator 128.

Lot: 140 - Pal (Jean Paléologue), La Loïe Fuller / Folies - Bergère. Circa 1895.

Pal (Jean Paléologue) 1860-1942 La Loïe Fuller / Folies - Bergère. Circa 1895. Condition B+: expert overpainting in margins and in background; repaired tear at lower left edge, into image; restoration along vertical and horizontal folds; reds slightly attenuated; linen trimmed to edges. One of five different posters Pal designed for Loïe Fuller. Reims 944, Abdy p. 59.

Lot: 141 - René Péan, Léonine. 1904.

René Péan 1875-1945 Léonine. 1904. Condition B+: repaired tears at edges, one through lower text; creases and overpainting in text, image and along horizontal and vertical folds.

Lot: 142 - Edward Penfield, Lippincott's For March. 1897.

Edward Penfield 1866-1925 Lippincott's For March. 1897. Condition B+: overpainting over tape marks at top margin; minor repaired tears at edges; restoration along horizontal fold. Matted and framed. Lauder 90, Keay p. 60, DFP-I 259, The Met 1984.1202.49.

Lot: 143 - Edward Penfield, Ride a Stearns and Be Content. 1896.

Edward Penfield 1866-1925 Ride a Stearns and Be Content. 1896. Condition B- / C+: extensive overpainting, replaced losses, repaired tears, and creases in margins, text and image; restoration along vertical and horizontal folds. Framed. America's most prominent poster artist in the 1890s, Penfield is best known for the over 75 posters he designed for Harper's Magazine. In addition to those small posters, Penfield also designed three, larger, posters for different bicycle companies. "Mr. Penfield has always combined a certain Parisian chic with a London poise of aristocracy and refinement blended the two by some curious, psychological sleight of hand into an expression of the best that is America" (Price p. 150). Charles Hiatt captures the essence of Penfield's ladies in Picture Posters, where he explains, "his maidens are adorably conscious of their power to charm, and are fully alive to the fact that their gowns are of the smartest" (ibid., p. 288). Kiehl 190, Margolin p. 43, Goddu p. 36.

Lot: 144 - Edward Penfield, Harper's November. 1898.

Edward Penfield 1866-1925 Harper's November. 1898. Condition B+: small replaced losses and repaired tears at edges, some slightly into image. Matted and framed. The Met 1984.1202.113, Kiehl 216, DFP-I 396.

Lot: 145 - Mario Pezilla, Marseille 1908 / Exposition Internationale l'Électricité. 1908.

Mario Pezilla Dates Unknown Marseille 1908 / Exposition l'Électricité. 1908. Condition A- / B+: repaired tear at top right margin; creases and abrasions in text and image. The International Exhibition of Electrical Applications was held in Marseille from May to October 1908, celebrating the innovations and potential of electrical energy.

Lot: 146 - Jules Georges Redon, Scala / La Tournée des Grands Ducs. 1906.

Jules Georges Redon 1869-1943 Scala / La Tournée des Grands Ducs. 1906. Condition A-: creases and overpainting in margins and along horizontal and vertical folds; abrasions in image. Georges Redon began illustrating news and humor newspapers such as Le Petit Parisien Illustré, Le Rire, and Le Courrier Français in 1893, then opened his own lithography studio in 1897. In the years after the turn-of-the-century, Redon became one of the most prolific poster artists working for the Paris music halls, specializing in sexy, suggestive scenes, like this one. In 1907, he was among the 22 artists brought together by Félix Juven to form the first "Salon des Humoristes."

Lot: 147 - Louis Rhead, Prang's Easter Publications. 1895.

Louis Rhead 1857-1926 Prang's Easter Publications. 1895. Condition C: extensive replaced and overpainted losses in upper left text, upper right image and lower right corner; repaired tears, creases and overpainting in image. Matted and framed. Louis Prang, an immigrant from Germany, ran a large, prominent printing house in Boston. Despite being one of America's most influential printers of chromolithographs, he is most remembered as having invented the Christmas card. Kiehl 258, DFP I 455, Reims 1312, Margolin p. 142, Virginia p. 90, Weill 122, The Met 1984.1202.146.

Lot: 148 - Louis Rhead, L. Prang & Co's Holiday Publications. 1895.

Louis Rhead 1857-1926 L. Prang & Co's Holiday Publications. 1895. Condition B: extensive replaced losses and repaired tears at edges, some into text and image; overpainting in margins; creases and abrasions in image. Matted and framed. An angel, depicted in Rhead's classic, Pre-Raphaelite style. Louis Prang, an immigrant from Germany, ran a large and important printing house in Boston. Despite being one of America's most influential printers of chromolithographs, he is most remembered as having invented the Christmas card. Kiehl 258, DFP I 455, Reims 1312, Margolin p. 142, Virginia p. 90, Weill 122.

Lot: 149 - Theophile-Alexandre Steinlen, Chat Noir. 1896.

Theophile-Alexandre Steinlen 1859-1923 Chat Noir. 1896. Condition A. Framed The Chat Noir first opened its doors in 1881 on the Boulevard de Rochechouart, and moved to the Rue Victor Masse in 1895. In its new location, it was a focal point for much of the world for ten years. The cabaret's extravagant and media-savvy owner and manager was Rudolphe Salis, who wasn't exaggerating when he once declared, "I invented Montmartre!" He also invented the modern cabaret, which was imitated all over the world. Steinlen, who had designed the sign above the entrance to the cabaret and actively collaborated with the Chat Noir magazine also designed this iconic poster for the club in 1896. The huge black cat, eyes wide open, and situated on the page to allow for text, is a brilliant, simple yet powerful image done in only a few colors. Many different text variants exist. This is the small format. Bargiel cover (var) and 22B1, DFP-II 787 (var), Meisterplakate 202, Cate & Gill 79 (var).

Lot: 150 - Leopold Stevens, La Goualeuse / Eugénie Buffet. Circa 1898.

Leopold Stevens 1866-1935 La Goualeuse / Eugénie Buffet. Circa 1898. Condition A-: minor creases in margins and image; minor restoration along vertical and horizontal folds.

Lot: 151 - Designer Unknown, Cycles "Mentor." Circa 1896.

Charles Tichon Dates Unknown Cycles "Mentor." Circa 1896. Condition B+: minor losses, repaired tears, and discoloration in margins; creases and abrasions along horizontal and vertical folds. Mounted on Chartex.

Lot: 152 - Louis Trinquier-Trianon, Royat. Circa 1900.

Louis Trinquier-Trianon 1853-1922 Royat. Circa 1900. Condition A-: minor repaired tears at bottom edge; minor creases and abrasions in margins and image. Trinquier-Trianon is mostly remembered for his stylized Art Nouveau travel posters from the turn-of-the-century. For this spa town, located near Auvergne in the center of France, he illustrates an elegant lady being served a cup of curative water by a servant dressed in the regional attire. The landscape is depicted in a straightforward, descriptive way, and the entire image is captured within thick Art Nouveau curves and punctuated with extravagant typography. The elegance and white outlining of the drawing is reminiscent of the work of Privat-Livemont. Hillion p. 79, Train 75, Chemins de Fer 46.

Lot: 153 - Henri de Toulouse-Lautrec, Confetti. 1894.

Henri de Toulouse-Lautrec 1864-1901 Confetti. 1894. Condition A-: small tears at corners; minor crease at edges; tipped to mat at edges. Paper. Matted and framed. "One would hardly think that an artist of Toulouse-Lautrec's stature and wealth would normally apply his talents to advertise a product as routine as confetti" (Wine Spectator 53). The explanation is that the British brothers who owned this company were poster collectors themselves, and even "organized poster exhibitions at the Royal Aquarium, London, in 1894 and 1896, to which they invited Lautrec" (Adriani p. 144). Confetti, which was one of five of Lautrec's posters featured in the first exhibition, also appeared as the frontispiece in the catalogue. "The text, which is designed as part of the drawing, forms an integral element of the composition; it fits into the overall character of the design to create an effective advertisement without impinging on the drawing in any way. It is also one of Lautrec's most optimistic and joyful images, an indication of the breadth of his artistic ability" (Adriani p. 144). Delteil 352, Adhemar 9, Adriani 101, Reims 779, Wember 763, DFP-II 834, Wine Spectator 53, Abdy p. 82.

Lot: 154 - Henri de Toulouse-Lautrec, La Revue Blanche. 1895.

Henri de Toulouse-Lautrec 1864-1901 La Revue Blanche. 1895. Condition A-: expert unobtrusive overpainting in margins. Two-sheets. Misia Natanson, the wife of one of the founders of La Revue Blanche, a French art and literary magazine published between 1889 and 1903, was a muse for the artists and writers within this Belle Époque circle. Renowned as a charming and beautiful woman, she was a source of inspiration for Pierre Bonnard, Jacques Villon and Félix Vallotton, among other artists and writers. Both Bonnard and Toulouse-Lautrec (1864-1901) were commissioned to design a poster promoting the magazine and they selected Misia, who represented the spirit of La Revue Blanche, as their subject. Lautrec's image is uncharacteristically soft and endearing when compared with much of his other work. It has been suggested that he had fallen in love with Misia, which might explain this scarce, tender portrait. The somewhat photographic perspective in which Lautrec depicted her, without showing her legs and uncentered, lends the image a modern appearance. This is the third state (of 3), with letters. Delteil 355, Adhémar 115, Adriani 130.

Lot: 155 - Henri de Toulouse-Lautrec, L'Aube Revue Illustrée. 1896.

Henri de Toulouse-Lautrec 1864-1901 L'Aube Revue Illustrée. 1896. Condition A-: minor restoration at edges and along vertical and horizontal folds; repaired pin holes in corners; partially-erased pencil notation at top left. With mastery of light and tone, Lautrec illustrates this early morning scene with an atmospheric blue ink; only the beams of the streetlight and the illuminated horse are left as the paper color. Lautrec's depiction of the Parisian working class was printed for the new left-wing periodical L'Aube ( The Dawn). The publication only lasted for two years. Wittrock P23, Adriani 184, Wagner 25, DFP-II 845, MoMA 592.1940.

Lot: 156 - Henri de Toulouse-Lautrec, La Revue Blanche. Maitres de l'Affiche pl. 82. 1897.

Henri de Toulouse-Lautrec 1864-1901 La Revue Blanche. Maitres de l'Affiche pl. 82. 1897. Condition A / A-: small loss at top edge; slight darkening at top and left edges. Paper.

Lot: 157 - Henri de Toulouse-Lautrec, Divan Japonais. Maitres de l'Affiche pl. 2. 1896.

Henri de Toulouse-Lautrec 1864-1901 Divan Japonais. Maitres de l'Affiche pl. 2. 1896. Condition A-: slightly trimmed, affecting printer's text; slight darkening at edges. Paper.

Lot: 158 - Henri de Toulouse-Lautrec, Catalogue d'Affiches Artistiques [Débauché]. 1896.

Henri de Toulouse-Lautrec 1864-1901 Catalogue d'Affiches Artistiques [Débauché]. 1896. Condition A / A-: minor overpainting in margins. Lautrec's lithograph entitled Débauché was also used by the prominent Parisian print and poster dealer A. Arnaud as the cover for one of his catalogues (with text that did not appear on the first state of the lithograph). The print run was limited to only 100 copies. The ribald image was hardly what one would expect to see on the cover of catalogue, but is a classic Lautrec image, both for its subject matter and because a friend of his is depicted as the driving force of this lascivious scene. Wittrock 167 II, Adriani 187 III, Affichomanie 9.

Lot: 159 - Henri de Toulouse-Lautrec, Troupe De Mlle Églantine. 1896.

Henri de Toulouse-Lautrec 1864-1901 Troupe De Mlle Églantine. 1896. Condition A-: paper toned. Paper, hinged on verso. Matted and framed. Lautrec designed this poster in response to a request from his friend Jane Avril and her co-star 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 dark-stockinged 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: 160 - Thor Bogelund, Andreasen & Lachmann, Modern - Reklame = Tryksager. 1915.

Thor Bogelund 1890-1959 Andreasen & Lachmann / Modern - Reklame = Tryksager. 1915. Condition A- / A: small repaired tears and creases at edges. Danish Posters 21.

Lot: 161 - Anny Schroder, Ostrisk Kunst = Udstilling. 1917.

Anny Schroder 1898-1972 Ostrisk Kunst = Udstilling. 1917. Condition B+: repaired tears, overpainting, creases and abrasions in margins, text and image; repaired pin holes in corners; linen trimmed to poster.

Lot: 162 - Walter Schnackenberg, Ballet und Pantomime. Partial portfolio of 14 plates. 1920.

Walter Schnackenberg 1880-1961 Ballet und Pantomime. Partial portfolio of 14 plates. 1920. Condition varies, generally B+ / B: tears, staining and creases at edges of plates; foxing, abrasions and wear to original cover; reinforcement to corners of cover. Contains plate numbers: 4, 6, 7, 8, 9, 11, 12, 13, 14, 15, 16, 19, 20, and 21. Images available upon request. A striking portfolio of decorative, decadent and creative costume designs for performers in ballets and pantomimes. With an introduction by Alexander von Gleichen-Russwurm. From an edition of 850.

Lot: 163 - Robert Bonfils, Exposition Internationale Des Arts Décoratifs Et Industriels Modernes. 1925.

Robert Bonfils 1886-1972 Exposition Internationale Des Arts Décoratifs Et Industriels Modernes. 1925. Condition A. Robert Bonfils worked as an illustrator, bookbinder, painter and decorator and was one of the most active French artists during the Art Deco period. As such, he received the commission to design one of four official posters to advertise the 1925 Parisian exhibition, from which the term Art Deco was derived. His image, in the style of a woodcut, is a classical allegory of a young girl frolicking in the woods with a gazelle. Above them is a stylized rose that was one of the symbols of the exhibition. Each poster for the exhibition was printed in two different sizes. This is the smaller format, printed in red and black. The image was also used on the cover of the exhibition catalogue. Weill 316, Art Deco Graphics p. 2 (var), Art Deco Graphiques 61 (var).

Lot: 164 - Achille Lucien Mauzan, Servicios de Lujo Casa Iribarne. 1932.

Achille Lucien Mauzan 1883-1952 Servicios de Lujo Casa Iribarne. 1927. Condition B: repaired tears and abrasions in margins and image; small loss at top margin. Mauzan A393.

Lot: 165 - Nathan Sidney Harris, Standard Red Crown Gasoline. Gouache maquette. Circa 1920s-30s.

Nathan Sidney  Harris Dates Unknown Standard Red Crown Gasoline. Gouache maquette. Circa 1920s-30s. Condition A / A-: minor abrasions and darkening at edges; gouache and collaged logo on "Chimatco" Illustration board. Designed by Nathan Sidney Harris with the "McAleer Poster Studio."

Lot: 166 - Nathan Sidney Harris, Red Hot Rhythm! By Duke Ellington and His Band. Gouache maquette. Circa 1920s-30s.

Nathan Sidney  Harris Dates Unknown Red Hot Rhythm! By Duke Ellington and His Band. Gouache maquette. Circa 1920s-30s. Condition A-: minor abrasions and darkening at edges; minor abrasions in image; gouache on "Chimatco" Illustration board. Designed by Nathan Sidney Harris with the "McAleer Poster Studio."

Lot: 167 - Nathan Sidney Harris, Richard Barthelmess in "The Cabin in the Cotton." Gouache maquette. Circa 1932.

Nathan Sidney Harris Dates Unknown Richard Barthelmess in "The Cabin in the Cotton." Gouache maquette. Circa 1932. Condition A / A-: minor abrasions and darkening at edges; gouache on "Chimatco" Illustration board. Bette Davis stars in this 1932 film, but is unnamed in this poster, as she was still relatively unknown. The New York Herald Tribune said of the young actress, "Miss Davis shows a surprising vivacity as the seductive rich girl." Designed by Nathan Sidney Harris with the "McAleer Poster Studio."

Lot: 168 - Nathan Sidney Harris, Designer Unknown, [Chesterfield] & [Lucky Strike]. Two gouache maquettes. Circa 1920s-30s.

Nathan Sidney  Harris  Designer Unknown [Chesterfield] & [Lucky Strike]. Two gouache maquettes. Circa 1920s-30s. Condition A-: minor abrasions and darkening at edges; gouache and collage on "Chimatco" Illustration board. Includes: When Tempted / Reach for a Lucky Instead of a Sweet; and They Satisfy . . . Who could Ask for More. Designed by Nathan Sidney Harris with the "McAleer Poster Studio."

Lot: 169 - Nathan Sidney Harris, [Art Deco / Hotels]. Two gouache maquettes. Circa 1920s-30s.

Nathan Sidney  Harris Dates Unknown [Art Deco / Hotels]. Two gouache maquettes. Circa 1920s-30s. Condition A-: minor abrasions and darkening at edges; gouache on "Chimatco" Illustration board. Includes Louis XIV Room, Congress Hotel and Hotel Brevoort in the Heart of the Loop. Designed by Nathan Sidney Harris with the "McAleer Poster Studio."

Lot: 170 - Designer Unknown, La Royale / La Puissance de Son Éclat. Circa 1930.

Designer Unknown La Royale / La Puissance de Son Éclat. Circa 1930. Condition A-: minor repaired tears in margins; slight darkening at upper right corner and right edge. A poster for La Royale car polish promoting "The power of its radiance!!" "Anti-tar prevents staining and provides a lasting, brilliant shine."

Lot: 171 - Edmond Maurus, Dates Unknown, Aujourd'Hui on Soude / Progrés. Circa 1930s.

Edmond Maurus Dates Unknown Aujourd'Hui on Soude / Progrés. Circa 1930s. Condition A-: creases and abrasions in image.

Lot: 172 - Théophile Roger, Designer Unknown, Lux / Nettoyage Rapide et Parfait. Circa 1921.

Théophile Roger Designer Unknown Lux / Nettoyage Rapide et Parfait. Circa 1921. Condition A- / B+: creases, abrasions and repaired tears along horizontal and vertical folds; bleach spotting in image. This reddish-brown Electrolux vacuum was the Model V, produced from 1921-1927. The company began creating vacuums in 1910, but this was the first model produced with the Electrolux name. Contrary to the suggestion in this poster that one could ride the vacuum like a sled, this was a much lighter-weight vacuum compared to older designs, making the portable Model V perfect for everyday use around the home.

Lot: 173 - Signature Illegible, Dischi Fonotipia di Fama Mondiale. Circa 1940.

Signature Illegible Dischi Fonotipia di Fama Mondiale. Circa 1940. Condition A-: repaired tear in image; creases and abrasions along horizontal and vertical folds.

Lot: 174 - Fritz Bühler, Tek / Exigez Bien la Petite Tek Ronde. 1946.

Fritz Bühler 1909-1963 Tek / Exigez Bien la Petite Tek Ronde. 1946. Condition A-: minor tears, creases and abrasions at edges; minor creases in image. Paper. A modernist design by Bühler urging the viewer to "Demand the small round Tek" toothbrush.

Lot: 175 - Designer Unknown, Belgische Staatseisenbahn Spa. Circa 1891.

Designer Unknown Belgische Staatseisenbahn Spa. Circa 1891. Condition B+: repaired tear at bottom, into image; archival tape on verso; creases in margins and image and along horizontal fold; tape remnant at upper left corner. Paper.

Lot: 176 - Designer Unknown, Glasgow International Exhibition. 1901.

Designer Unknown Glasgow International Exhibition. 1901. Condition B-: extensive repaired tears from edges, through central image; archival tape on verso; creases and abrasions in margins; abrasions along tears. Mounted on Japan.

Lot: 177 - ALO (Charles Jean Hallo), Bretagne. 1919.

ALO (Charles Jean Hallo) 1882-1969 Bretagne. 1919. Condition B / B+: repaired tears and extensive overpainting in margins, some over printing information and into image; creases and repaired tears along vertical fold. Alo 63.

Lot: 178 - ALO (Charles Jean Hallo), Côte Sud de Bretagne. Circa 1924.

ALO (Charles Jean Hallo) 1884-1969 Côte Sud de Bretagne. 1924. Condition B+: repaired tears and overpainting in margins; creases in image. Alo 71.

Lot: 179 - Léon Cauvy, Algérie / PLM. 1929.

Léon Cauvy 1874-1933 Algérie / PLM. 1929. Condition B+: repaired tears, creases, abrasions and minor overpainting at edges and in image. Mounted on Chartex. "In 1907, Léon Cauvy . . . became the first person to receive a grant to study at the Villa Abdellatif. He was subsequently appointed head of the Ecole des Beaux Arts in Algiers and exhibited his work at the Salons for orientalist painters. His paintings combine a pleasant blend of straight and curved lines and a delicate range of colors" (Orientalist, p. 101).

Lot: 180 - Jean Closson, St. Jean d'Angely. 1928.

Jean Closson Dates Unknown St. Jean d'Angely. 1928. Condition B+ / A-: creases and abrasions at edges and in margins.

Lot: 181 - Léon Constant-Duval, La Bretagne Pittoresque. Circa 1920.

Léon Constant-Duval 1877-1956 La Bretagne Pittoresque. Circa 1920. Condition B+ / B: repaired tears and overpainting in margins and image; staining in image.

Lot: 182 - Léon Constant-Duval, La Bretagne Pittoresque / Le Chàteau de Vitré. Circa 1920.

Léon Constant-Duval 1877-1956 La Bretagne Pittoresque / Le Chàteau de Vitré. Circa 1920. Condition B+ / A-: repaired tears, creases and overpainting in margins.

Lot: 183 - Léon Constant-Duval, Albi / La Cathèdrale et le Pont - Vieux. Circa 1921.

Léon Constant-Duval 1877-1956 Albi / La Cathèdrale et le Pont - Vieux. Circa 1921. Condition B+: repaired tears, creases, abrasions and overpainting in margins.

Lot: 184 - Léon Constant-Duval, Côte Sud de Bretagne Douarnenez. 1922.

Léon Constant-Duval 1877-1956 Côte Sud de Bretagne Douarnenez. 1922. Condition B+ / B: repaired tears and overpainting in margins; creases in image.

Lot: 185 - Léon Constant-Duval, Le Chateau et le Village de Beynac. 1923.

Léon Constant-Duval 1877-1956 Le Chateau et le Village de Beynac. 1923. Condition B+: repaired tears, overpainting, creases and abrasions in margins; creases and overpainting in image.

Lot: 186 - George Dorival, Évian - Les - Bains & Le Lac Léman. 1922.

George Dorival 1879-1968 Évian - Les - Bains & Le Lac Léman. 1922. Condition B+: repaired tears, restoration and slight darkening at edges; creases, abrasions and restoration in image and along horizontal folds; colors slightly attenuated.

Lot: 187 - Julius Ussy Engelhard, Germany Wants to See You. 1927.

Julius Ussy Engelhard 1883-1964 Germany Wants to See You. 1927. Condition B+: repaired tears, creases and abrasions in margins and image. This is the English version. Train s' Affiche p. 96 (var), Voyage p. 57 (var).

Lot: 188 - Georges Favre, Chemin de Fer d’Orléans / En la Confiant. 1929.

Georges Favre Dates Unknown Chemin de Fer d'Orléans / En la Confiant. 1929. Condition A-: creases and overpainting along horizontal and vertical folds.

Lot: 189 - Charles Edward Hallé, Excursions en Vendée, en Saintonge et au Littoral de l'Océan. Circa 1920.

Charles Edward Hallé 1849-1916 Excursions en Vendée, en Saintonge et au Littoral de l'Océan. Circa 1920. Condition B: extensive overpainting, repaired tears and discoloration in margins; creases and abrasions in image.

Lot: 190 - P. Kauffmann, Dates Unknown, La Bretagne Pittoresque. Circa 1920.

P. Kauffmann Dates Unknown La Bretagne Pittoresque. Circa 1920. Condition B+ / A-: losses, repaired tears and overpainting in margins; creases in image.

Lot: 191 - André Nivault, Confort / Couchettes. 1933.

André Nivault Dates Unknown Confort / Couchettes. 1933. Condition B+ / A-: minor repaired tears, creases and abrasions in margins and along vertical and horizontal folds; slight discoloration at edges; pin holes in corners; linen trimmed to edges.

Lot: 192 - Henry "de" Renaucourt, Dates Unknown, Excursions en Bretagne / Le Château de Combourg. Circa 1923.

Henry "de" Renaucourt Dates Unknown Excursions en Bretagne / Le Château de Combourg. Circa 1923. Condition B+: repaired tears, creases and overpainting in margins; creases in image.

Lot: 193 - Charles Roussel, Meaux. Circa 1920.

Charles Roussel 1861-1936 Meaux. Circa 1920. Condition B+ / B: repaired tears and toning in margins water stain in lower right corner; creases and abrasions in margins and image and along vertical and horizontal folds; punch holes in right margin; reds slightly attenuated.

Lot: 194 - Roger Soubie, Dauphiné. Circa 1920.

Roger Soubie 1898-1984 Dauphiné. Circa 1920. Condition B+: repaired tears, creases and overpainting in margins; creases and abrasions in image; edges slightly trimmed; repaired pin holes in corners.

Lot: 195 - Vaquero, Asturias / Sus Paisajes y Sus Monumentos. Circa 1930s.

Vaquero Dates Unknown Asturias / Sus Paisajes y Sus Monumentos. Circa 1930s. Condition B: losses, creases, abrasions, tears and tape-repaired tears in margins; tear at left edge slightly into image; pin holes in corners; minor creases and abrasions in image. Paper. Along Spain's northern coast, Asturias is renowned for its rugged mountainous landscape, as well as its beaches. A Christian enclave during Spain's Islamic period, Asturias was home to two important pilgrimage routes, the Ruta de Plata and the Camino de Santiago (St. James' Way), which is why so many historical buildings and monuments can be seen along her mountainous roads. Covadonga was the site of an important battle between the Christians and the Moors. This is the Spanish version. Espana 909.

Lot: 196 - Walter Till, Ireland / Great Southern Rys, Glengariff. Circa 1925.

Walter Till 1880-1930 Ireland / Great Southern Rys, Glengariff. Circa 1925. Condition B+: repaired tears at edges; small replaced losses in upper right corner; darkening in upper text; creases and minor abrasions in margins and image; repaired pin holes in corners.

Lot: 197 - Walter Till, Ireland / Great Southern Rys, Innisfallen. Circa 1925.

Walter Till 1880-1930 Ireland / Great Southern Rys, Innisfallen. Circa 1925. Condition B+: slight darkening at edges; restoration in bottom left corner; repaired tears at edges, one into upper text; minor creases in margins.

Lot: 198 - I.B. Gray, Connemara / Great Southern Rys. Circa 1930.

I.B. Gray Date Unknown Connemara / Great Southern Rys. Circa 1930. Condition A: repaired pin holes in corners.

Lot: 199 - Guus Melai, Dublin / Fly Aer Lingus. 1952.

Guus Melai 1923-2000 Dublin / Fly Aer Lingus. 1952. Condition A: small repaired tears at upper left edge.

Lot: 200 - Frank H. Mason, East Coast Havens / British Railways. Circa 1948.

Frank H. Mason 1876-1965 East Coast Havens / British Railways. Circa 1948. Condition B / B+: sharp creases and abrasions in upper right image; creases and abrasions in margins and image and along vertical and horizontal folds; minor restoration at edges.

Lot: 201 - Frank H. Mason, East Coast Landmarks / British Railways. Circa 1948.

Frank H. Mason 1876-1965 East Coast Landmarks / British Railways. Circa 1948. Condition B+: sharp creases and abrasions in image; bleach spots in upper image and margin; small repaired tears at left edge.

Lot: 202 - Kerry Ernest Lee, Oxford & Cambridge. Two posters. 1948.

Kerry Ernest Lee 1902-1988 Oxford & Cambridge. Two posters. 1948. Condition generally A-: creases in margins and image; small tear on right side of Oxford map. Paper. Images available upon request.

Lot: 203 - Lance Cattermole, Edinburgh / See Scotland by Train. Circa 1950.

Lance Cattermole 1898-1992 Edinburgh / See Scotland by Train. Circa 1950. Condition A-: expert overpainting in margins and around text. Furness Vol. 1, p. 42.

Lot: 204 - Gordon K. Odell, 1898-1981, Train - Exposition Canadien. Circa 1920., 41½x29½ inches, 105½x75 cm.

Gordon K. Odell 1898-1981 Train - Exposition Canadien. Circa 1920. Condition B+: replaced losses and repaired tears at edges; paper lifting slightly at bottom left; minor creases and abrasions in margins and image; repaired pin holes in top corners; tax stamp in upper image. Mounted on Chartex. Odell was known for propaganda posters during World War II, including The Spirit of Canada's Women, as well as some works for the Canadian Pacific.

Lot: 205 - James Crockart, Canadian Pacific Railway / Chateau Frontenac. 1927.

James Crockart 1885-1974 Canadian Pacific Railway / Chateau Frontenac. 1927. Condition B+: replaced loss at left edge, slightly affecting image; repaired tears at edges, some into image; minor creases and abrasions. Situated on top of the Cap Diamant Cliffs in the heart of the old walled-in city, the Chateau Frontenac opened in 1892 and remains a four star hotel today. This was the first poster Crockart designed for Canadian Pacific, and he designed at least one other poster for the hotel.

Lot: 206 - Leslie Ragan, The Scenic Route To New York World's Fair. 1939.

Leslie Ragan 1897-1972 The Scenic Route To New York World's Fair. 1939. Condition B+: restoration, creases and abrasions in margins and image. Matted and framed. An assemblage of scenic, captioned snapshots that travelers might see on a trip to New York City to visit the World's Fair, with the iconic Trylon and Perisphere prominently in the foreground. Many of the little views roughly correspond with pre-existing New York Central Line posters, while the other images were actually used on brochures published by the railroad. New York p. 81.

Lot: 207 - L. Smith, Keep Streams Clean . . . To Provide Relaxation.

L. Smith Dates Unknown Keep Streams Clean . . . To Provide Relaxation. Condition B+: replaced lower right corner; repaired tears at edges; creases and minor restoration at edges and in image; repaired pin holes in corners. Silkscreen. Pennsylvania's Clean Streams Law, initiated in 1937 and strengthened in 1945, empowered the state's Sanitary Water Board to regulate sewage and industrial waste discharges to protect state waters.

Lot: 208 - Designer Unknown, Keep Streams Clean . . . To Protect Our Health.

Designer Unknown Keep Streams Clean . . . To Protect Our Health. Condition A-: small tear at bottom edge; minor abrasions at edges. Silkscreen. Paper.

Lot: 209 - Jaro Hess, Land of Make Believe. 1930.

Jaro Hess 1889-1977 Land of Make Believe. 1930. Condition B+: replaced losses, repaired tears, abrasions and creases in margins, some into lower right image; abrasions and restoration in image. This is the rare 2nd edition, printed in 1930, licensed by the Child's Wonderland Co. The scarce 1st edition of this map has the year 1930 printed in the ribbon at the lower left corner, after the artist's name. The 3rd edition, from 1958, and subsequent printings can be identified by the subtle change to the old bearded character labeled "The Wandering Jew" to "the Wanderer."

Lot: 210 - Monogram Unknown, A Good - Natured Map / The Greyhound Lines. Circa 1939.

Monogram Unknown A Good - Natured Map / The Greyhound Lines. Circa 1939. Condition A-: overpainting in margins; unobtrusive vertical and horizontal folds.

Lot: 211 - Designer Unknown, Tops In Travel Comfort / New York Central. Circa 1950s.

Designer Unknown Tops In Travel Comfort / New York Central. Circa 1950s. Condition B: replaced and overpainted section at lower left edge; repaired tears, creases, abrasions and restoration at bottom edge, into image. Matted and framed. The E7A was a locomotive manufactured by the General Motors Electro-Motive Division between 1945 and 1948. The New York Central Line operated 32 of these popular and reliable engines.

Lot: 212 - David Klein, Africa / Fly TWA. Circa 1955.

David Klein 1918-2005 Africa / Fly TWA. Circa 1955. Condition B+: replaced losses with overpainting and minor repaired tears at edges; creases with abrasions in upper text; colors attenuated. Klein was a commercial illustrator who designed a number of posters for popular Broadway shows in the 1940s and 1950s. He is best remembered for his series of posters for Trans World Airlines in the 1950s and 60s, many of which have entered the visual vernacular of American culture. Among the most sought after of his travel poster work is this geometrically inspired image of zebras grazing in tall African grass. Almost abstract in the interplay between the zebras' stripes and the stalks of grass, this image has a colorful, hypnotic quality, which is a hallmark of Klein's work. Huhne p. 72, The Poster 549, Publicité p. 195.

Lot: 213 - David Klein, Las Vegas / Fly TWA. Circa 1950s.

David Klein 1918-2005 Las Vegas / Fly TWA. Circa 1950s. Condition A-: small repaired tears at top edge, archival tape on verso; minor creases and abrasions at edges. Paper. Airways p. 169.

Lot: 214 - Maurice Logan, Old Missions / Southern Pacific. 1930.

Maurice Logan 1886-1977 Old Missions / Southern Pacific. 1930. Condition A-: creases and minor abrasions at edges and in upper right corner; small pin holes at edges; small tears at bottom left corner. Paper.

Lot: 215 - Eri, Mexico / The Enchanted Land. Circa 1950s.

Eri Dates Unknown Mexico / The Enchanted Land. Circa 1950s. Condition A-: small repaired tears and replaced losses in margins; slight skinning at top corners; repaired pin holes in corners.

Lot: 216 - Designer Unknown, India - in War and Peace. 1940s.

Designer Unknown India - in War and Peace. 1940s. Condition B+: small tears, creases and abrasions in margins; minor abrasions in image; Oakland Public Library ink stamps at edges; linen trimmed to edges.

Lot: 217 - Designer Unknown, The Wonderful Land / India. 1958.

Designer Unknown The Wonderful Land / India. 1958. Condition B+: replaced losses with overpainting in corners, including printer's text; minor repaired tears at edges; minor creases and abrasions in image.

Lot: 218 - Roger Bréval, Dates Unknown, Egypt / The Land of Enchantment. Circa 1930.

Roger Bréval Dates Unknown Egypt / The Land of Enchantment. Circa 1930. Condition B: repaired tears at bottom edge, into lower image, archival tape on verso. small tears, creases and abrasions at edges; slight time-staining in upper left and right image. Paper. Bréval designed at least one other poster advertising travel to Egypt during the winter.

Lot: 219 - René Martin, Marrakech dans Les Palmes. 1935.

René Martin 1891-1977 Marrakech dans Les Palmes. 1935. Condition B+: replaced loss in upper right corner; repaired tears at edges; minor creases, abrasions and restoration in margins and image.

Lot: 220 - Takehiko Miyanaga, Tokyo / Grand Festival of Asakusa Kannon / Japan Air Lines. 1958.

Takehiko Miyanaga 1919-1987 Tokyo Grand Festival of Asakusa Kannon / Japan Air Lines. 1958. Condition A- / B+: minor tears at edges, some into image with slight overpainting; minor creases at edges and in image. Miyanaga was a Japanese painter and illustrator who was trained at the Nagoya Art Institute and went on to a successful career as a painter and a commercial artist. He designed at least two other posters for JAL.

Lot: 221 - Designer Unknown, Red Star Line / [Westernland]. Circa 1929.

Designer Unknown Red Star Line / [Westernland]. Circa 1929. Condition A-: creases and abrasions at edges and in image. Paper.

Lot: 222 - Designer Unknown, Cunard Summer Holidays. Circa 1920s.

Designer Unknown Cunard Summer Holidays [Mauretania]. Circa 1920s. Condition B+: creases and abrasions in margins and image; slight overpainting at top margin; repaired pin holes in corners. Matted and framed.

Lot: 223 - Designer Unknown, White Star Line / Types of World Famous Liners. Circa 1927.

Designer Unknown White Star Line / Types of World Famous Liners. Circa 1927. Condition A-: repaired tears and expert overpainting in margins; trimmed. A montage of ships servicing the White Star Line, presented within and around a white star itself. On display are vessels with one, two, three and four funnels, an indication of the breadth of their fleet. As far as identifying each ship - in the center is the Majestic, the four-stacker at the bottom is the Olympic, moving clockwise from the bottom is the one-stack Megantic, then one of the Big Four ( Celtic, Cedric, Baltic, Adriatic). The Arabic III is on the top right, and finally, on the lower right, is the Albertic. There has been a lot of confusion as to the date of this poster, but as the Albertic only joined the White Star Fleet in 1927, the poster must have been produced after that year.

Lot: 224 - Designer Unknown, Munson Steamship Lines / New Orleans and Havana. Circa 1918.

Designer Unknown Munson Steamship Lines / New Orleans and Havana. Window card. Circa 1918. Condition A- / B+: margins expertly-overpainted; minor creases in margins; printed on card stock.

Lot: 225 - Designer Unknown, Follow the Sun / American President Lines. Circa 1940s.

Designer Unknown Follow the Sun / American President Lines. Circa 1940s. Condition A / A-: minor repaired tears, creases, and slight time-staining at edges.

Lot: 226 - Edmond Bille, East Asiatic Co., Ltd. / North Pacific. Circa 1950.

Edmond Bille 1878-1959 East Asiatic Co., Ltd. / North Pacific. Circa 1950. Condition B+: repaired tears, creases and restoration at edges, some into image; tape stains at repaired tears.

Lot: 227 - Sandy Hook (Georges Taboureau), Navigation Mixte / L'Afrique du Nord. 1920.

Sandy Hook (Georges Taboureau) 1879-1960 Navigation Mixte / L'Afrique du Nord. 1920. Condition B+: repaired tears, minor replaced losses, creases and overpainting in margins; minor repaired tears and creases in image. Orientalist p. 20.

Lot: 228 - Ake Rittmark, Rio / Swedish American Line. 1937.

Ake Rittmark 1910-1987 Rio / Swedish American Line. 1937. Condition A-: minor restoration along horizontal folds at top and bottom; minor abrasions at top.

Lot: 229 - Albert Sebille, Paquebot "Paris" / French Line. Circa 1925.

Albert Sebille 1874-1953 Paquebot "Paris" / French Line. Circa 1925. Condition B-: extensive repaired tears, replaced losses, creases, abrasions and overpainting in image; horizontal fold. Matted and framed. Passenger Ships 48, Weallans p. 82.

Lot: 230 - Lucien Boucher, Air France / Baleares. 1951.

Lucien Boucher 1889-1971 Air France / Baleares. 1951. Condition B+ / A-: repaired tears and replaced losses in margins; creases in margins and image; faint bleach spotting in image; pin holes in corners; linen trimmed to poster.

Lot: 231 - Pierre Baudouin, Paris / Air France. 1960.

Pierre Baudouin 1921-1971 Paris / Air France. 1960. Condition A-: creases and abrasions in margins. Paper. This is the later printing, the first being from 1947. Air France p. 25.

Lot: 232 - Jacques Nathan-Garamond, Air France. Circa 1963.

Jacques Nathan-Garamond 1910-2001 Air France. Circa 1963. Condition B+: repaired tears at edges, some slightly into image.

Lot: 233 - Designer Unknown, [Sutro Baths]. 1896.

Designer Unknown [Sutro Baths]. 1896. Condition B+: sharp creases with abrasions and some flaking in lower image and margin; creases in margins and image; backed directly to linen, with wood dowels at top and bottom for hanging. Four-sheets. The Sutro Baths were the brainchild of former San Francisco Mayor and businessman Adolph Sutro. Built near his famous Cliff House, the baths occupied a stunning location overlooking the Pacific Ocean. The scope of the complex reads like a catalogue that would have made P.T. Barnum proud. The National Parks Service, which now owns the land that used to house the baths, describes the scene as follows: "A classic Greek portal opened to a massive glass enclosure containing seven swimming pools of various temperatures. There were slides, trapezes, springboards and a high dive. Together the pools held 1.7 million gallons of water and could be filled in one hour by high tides. There were 20,000 bathing suits and 40,000 towels for rent. Balmy temperatures and abundant plants enhanced 'California's Tropical Winter Garden.' The Baths could accommodate 10,000 people at one time . . . An amphitheater, seating up to 3,700 people, provided a variety of stage shows. Three restaurants could accommodate 1,000 people at a sitting. There were natural-history exhibits, galleries of sculptures, paintings, tapestries and artifacts from Mexico, China, Asia, and the Middle East." The Bath's decline began in 1937 when part of the complex was turned into a skating rink. The building burned down in 1966 during demolition. This poster also exists with text which reads "On the Shore of the Pacific Ocean."

Lot: 234 - Elio Ximenes, Lago di Garda. Circa 1905.

Elio Ximenes 1855-1926 Lago di Garda. Circa 1905. Condition A- / B+: expert overpainting in margins and upper image, around text. Ximenes designed a number of travel posters, primarily featuring the Italian Lakes (Como, Garda and Maggiore), but also some depicting scenes from Monaco and Monte Carlo. His posters are notable for his treatment of light and colors and their overall painterly qualities. Italia 61, Bolaffi p. 231, not in Travel Italia.

Lot: 235 - Adelin Charles Morel de Tanguy, Nice P.L.M. Circa 1910.

Adelin Charles Morel de Tanguy 1857-1930 Nice P.L.M. Circa 1910. Condition B+: expertly-repaired tears, some into image; small loss in upper right corner; minor abrasions in image.

Lot: 236 - Adelin Charles Morel de Tanguy, La Côte d'Azur. Circa 1920.

Adelin Charles Morel de Tanguy 1857-1930 La Côte d'Azur. Circa 1920. Condition B: repaired tears at bottom edge through text and slightly into image; archival tape on verso; creases and abrasions in margins and image. Mounted on Japan. Another variant of this poster was printed by Adia, Nice, with a PLM overprint. Riviera 518 (var).

Lot: 237 - Designer Unknown, Western Australia / Land of Leisurely Living. Circa 1960s.

Designer Unknown Western Australia / Land of Leisurely Living. Circa 1960s. Condition A-: minor overpainting and repaired tears at edges.

Lot: 238 - Designer Unknown, Jamaica / West Indies. Circa 1950s.

Designer Unknown Jamaica / West Indies. Circa 1950s. Condition A-: replaced losses with overpainting in upper corners; minor restoration in margins; slight water staining in lower corners. Movie buffs will note that this poster appears in the first James Bond movie, "Dr. No," at the reception desk of the hotel in Jamaica.

Lot: 239 - Designer Unknown, Nassau Fly BOAC. Circa 1960s.

Designer Unknown Nassau Fly BOAC. Circa 1960s. Condition B+: minor repaired tears at edges and in text; minor creases at edges.

Lot: 240 - Designer Unknown, Pan American / Caribbean. Circa 1960s.

Designer Unknown Pan American / Caribbean. Circa 1960s. Condition A / A-: minor repaired tear at bottom edge; minor creases at edges.

Lot: 241 - Designer Unknown, Hawaii / American Airlines. Circa 1970s.

Designer Unknown Hawaii / American Airlines. Circa 1970s. Condition B+: extensive expert overpainting in margins and upper border, around text; small repaired tears and creases at edges.

Lot: 242 - Designer Unknown, Kauai Surf / Hawaii's Finest Vacation Resort.

Designer Unknown Kauai Surf / Hawaii's Finest Vacation Resort. Condition A-: creases and minor abrasions at edges and in image. Paper.

Lot: 243 - John "Jack" Atherton, Martha's Vineyard Island. 1937.

John "Jack" Atherton 1900-1952 Martha's Vineyard Island. 1937. Condition A-: minor abrasion in image. Framed. Atherton was a graphic designer and a surrealist painter. While he designed numerous covers for The Saturday Evening Post, Fortune and Holiday magazines, his output of posters was rather small. He served in the U.S. Navy during World War I, and also designed at least two World War II posters. In 1941, the Museum of Modern Art awarded him first prize in a National Defense Poster Competition sponsored by the government for his painting Buy A Share in America. Atherton is perhaps best remembered for this poster he designed for the New York World's Fair.

Lot: 244 - Daniele Buzzi, Locarno Plage / Sports Nautiques. 1928.

Daniele Buzzi 1890-1974 Locarno Plage / Sports Nautiques. 1928. Condition A. Matted and framed.

Lot: 245 - Jean Carlu, Caribbean by Clipper / Pan American. 1954.

Jean Carlu 1900-1997 Caribbean by Clipper / Pan American. 1954. Condition A- / B+: minor repaired tears at edges; small replaced loss at bottom left corner; minor creases and abrasions in margins and image; pin holes in corners. Pan Am p. 191.

Lot: 246 - Jean-Gabriel Domergue, Monte - Carlo. Circa 1950.

Jean-Gabriel Domergue French, 1889-1962 Monte - Carlo. Circa 1950. Condition A-: small replaced losses at lower left corner and upper left edge; minor creases in margins and image and along vertical and horizontal folds. Riviera 440, Azur 215.

Lot: 247 - Dick P. Falk, National / Miami.

Dick P. Falk Dates Unknown National / Miami. Condition B+: repaired tears, minor replaced losses and overpainting at edges; minor overpainting along creases and abrasions in image. From a series of summer travel posters by the Florida-based National Airlines, founded in 1934.

Lot: 248 - René Gruau, Air France / Côte d'Azur. 1962.

René Gruau 1909-2004 Air France / Côte d'Azur. 1962. Condition A-: minor repaired tears and restoration in lower left corner; minor creases in partial silkscreen; linen trimmed to edges. Gruau was the most acclaimed fashion illustrator of the post-war years, he created sparse compositions of languid, sophisticated models, delineated with bold lines and bright colors, ushering in a "new look" in the late 1940s. The world of haute couture embraced him: "with lines as lean as his elongated models, a gash of bright lips or a wash of color, René Gruau summed up an era. The elegant and aristocratic graphic artist . . . captured with his pen and brush the spirit of haute couture and the glory days of Parisian high fashion" (New York Times, April 13, 2004). He produced many works for Dior, Blizzand, and posters for the Lido and Moulin Rouge. For all of his fashion designs, he was first and foremost a poster designer. By his own words "fashion illustration has been an accident in my life, advertising and posters has been a choice." Very few of Gruau's posters feature detailed backgrounds. French version. Air France / Dream p. 163, Azur 30.

Lot: 249 - Stan Galli, Hawaii / United Air Lines. Circa 1960.

Stan Galli 1912-2009 Hawaii / United Air Lines. Circa 1960. Condition A: minor creases at edges.

Lot: 250 - Stan Galli, Las Vegas / United Air Lines. Circa 1960s.

Stan Galli 1912-2009 Las Vegas / United Air Lines. Circa 1960s. Condition A-: minor repaired tears and expert overpainting at edges and in corners. This image was also printed with the text "Sunshine Holidays" in place of "Las Vegas" .

Lot: 251 - Abram Games, Jersey. 1951.

Abram Games 1914-1996 Jersey. 1951. Condition B+: minor repaired tears at edges; small replaced loss in upper right corners; repaired pin holes in corners; small stain in upper image. Games fig. 104.

Lot: 252 - Otto Glaser, Bi - Oro. 1949.

Otto Glaser 1915-1991 Bi - Oro. 1949. Condition A: linen trimmed to edges.

Lot: 253 - P. Goblet, Belgian Watering Places / Blankenberghe. 1925.

P. Goblet Dates Unknown Belgian Watering Places / Blankenberghe. 1925. Condition B+ / A-: expert overpainting throughout margins.

Lot: 254 - Roland Hugon, Cote d'Azur / Partez PLM. 1937.

Roland Hugon 1911-1997 Cote d'Azur / Partez PLM. 1937. Condition A-: minor repaired tears with restoration at edges, some slightly into image; minor restoration in image. Riviera 465, Azur 17.

Lot: 255 - Michael Italiaander, Beautiful Cyprus. Circa 1950.

Michael Italiaander 1923-? Beautiful Cyprus. Circa 1950. Condition B+ / A-: creases in margins and image; small tear at top edge. A poster produced by Auger & Turner, Ltd., a prominent London-based advertising agency co-founded by Cecil Turner and Paul Baratte in the mid-20th century. This poster is often misattributed as "M. Staliaander," but Michael Italiaander was a known painter and illustrator of military aviation scenes, portraits and more ( YouTube).

Lot: 256 - Frank Lemen, Bermuda. Circa 1952.

Frank Lemen 1902-1985 Bermuda. Circa 1952. Condition A: minor creases at edges.

Lot: 257 - Johann Emil Mueller (J.E.M), Lausanne - Ouchy Plage. Circa 1925.

Johann Emil Mueller (J.E.M) 1885-1958 Lausanne - Ouchy Plage. Circa 1925. Condition B+: creases in margins and image; scratch in upper left margin. Situated on Lake Geneva (Europe's largest freshwater lake), Lausanne is renowned for its beautiful beaches, the nearest one of which is in a district called Ouchy. This image only suggests the myriad of watersport opportunities available within the scenic Alpine surroundings. The central figure appears to be riding some form of surfboard or pontoon, while the swimming figure is playing water polo with a paddle.

Lot: 258 - André Nivault, La Santé Par l'Air Iodé. 1934.

André Nivault Dates Unknown La Santé Par l'Air Iodé. 1934. Condition A-: small replaced losses with overpainting in upper image; minor repaired tear at right edge. The network of beaches and shoreline promoted here is extensive; covering more than 2000 kilometres and containing 600 different beaches. Le Train 277.

Lot: 259 - Percival Pernet, Championnat du Monde Genève. 1946.

Percival Pernet 1890-1977 Championnat du Monde Genève. 1946. Condition A: linen trimmed to edges. 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: 260 - Otto Plattner, Schwimmbad Liestal. 1933.

Otto Plattner 1886-1951 Schwimmbad Liestal. 1933. Condition A: minor creases in lower left corner; linen trimmed to edges. A dynamic and modern image advertising the first public swimming pool in the canton of Basel-Landschaft. Crouse p. 284.

Lot: 261 - Tom Purvis, Mablethorpe & Sutton - On - Sea / The Children's Paradise. Circa 1926.

Tom Purvis 1888-1959 Mablethorpe & Sutton - On - Sea / The Children's Paradise. Circa 1926. Condition B: partially-recreated bottom margin, including printing text; repaired tears, creases, abrasions and restoration in margins and image; colors slightly attenuated. Framed. Purvis' posters for the LNER run the gamut from traditional landscapes to people engaged in various activities. In the style of the Beggarstaff Brothers, "he formed his figures solely from masses of color, without outline" (Weill p. 228). His use of "flat primary colors and the elimination of detail" was his graphic calling-card for which he was most emulated (Railway p. 135), "indeed, no other artist in Britain was able to depict such vivid, life-like scenes with such an economy of means" (Purvis p. 66). "This poster aroused some controversy when it was first issued. The company received an angry letter from the secretary of a society for the prevention of cruelty to animals, protesting that a picture of a child hanging on to a donkey's tail was an incentive to cruelty and consequently a harmful influence on the young. His demand that the poster be withdrawn was refused" (Railway p. 134). Posters & Publicity 1926, p. 14, Railway p.134, Furness Vol. 4, p. 22.

Lot: 262 - Harry Arthur Riley, Aberystwyth / Where Holiday Fun Begins. Circa 1950s.

Harry Arthur Riley 1895-1966 Aberystwyth / Where Holiday Fun Begins. Circa 1950s. Condition A-: repaired tear at bottom right edge, with archival tape on verso; minor creases in margins. Mounted on Japan.

Lot: 263 - Alcide Robaudi, Cannes. Circa 1910.

Alcide Robaudi 1850-1928 Cannes. Circa 1910. Condition A. Matted and framed. With Chemin de Fer P.L.M. overprint. Riviera 49, Azur 112.

Lot: 264 - Odin Rosenvinge, Warrenpoint Co. Down Ireland. Circa 1924.

Odin Rosenvinge 1880-1957 Warrenpoint Co. Down Ireland. Circa 1924. Condition B+ / A-: minor repaired tears at edges; replaced loss at lower right edge; creases and abrasions in margins and image. LMS "The Best Way" Series No. 32.

Lot: 265 - Victor Rutz, Hamol Ultra / Crème Solaire. 1939.

Victor Rutz 1913-2008 Hamol Ultra / Crème Solaire. 1939. Condition A-: minor repaired tears at edges.

Lot: 266 - J.G. Shelley & Louis Koster, Maine. Circa 1950s.

J.G. Shelley & Louis Koster Maine. Circa 1950s. Condition A: minor creases at edges. Paper.

Lot: 267 - Ruth Haviland Sutton (d'Aprés), Nantucket. 1968.

Ruth Haviland Sutton (d'Aprés) 1898-1960 Nantucket. 1968. Condition B+: replaced lower right corner; repaired edges, some into border; repaired pin holes in corners; minor abrasions in image. This is the 2nd printing of this map; it was originally issued in 1946 and the 3rd printing was issued in 1980.

Lot: 268 - Constantin Andréevitch Terechkovitch, 1902-1978, [Menton]. Color lithograph. Circa 1960., 39½x25½ inches, 100¼x64¾ cm.

Constantin Andréevitch Terechkovitch 1902-1978 [Menton]. Color lithograph. Circa 1960. Condition A-: minor creases and slight water staining at edges; crease in lower left image; hand-signed and numbered 54/11 by the artist in pencil. Paper. Matted and framed. This is the original lithograph, before poster text.

Lot: 269 - Designer Unknown, Jaws 3 - D / The Third Dimension is Terror. 1983.

Designer Unknown Jaws 3 - D / The Third Dimension is Terror. 1983. Conditions B+: tape-repaired tears at right edge, along fold; creases and abrasions in image and along sharp vertical and horizontal folds. Paper. The third, weakest installment in the "Jaws" franchise was filmed in 3-D. This rare New York City subway poster is a relic of the era that saw a flurry of 3-D movie releases.

Lot: 270 - Georges Meunier, LOX / Kina - Loxa, Coca, Kola. Circa 1900.

Georges Meunier 1869-1942 LOX / Kina - Loxa, Coca, Kola. Circa 1900. Condition A-: overpainting in text, image and along horizontal and vertical folds; minor abrasions in lower image.

Lot: 271 - Georges Dola, Kina - Lillet. Circa 1904.

Georges Dola 1872-1950 Kina - Lillet. Circa 1904. Condition B+ / B: repaired tears and replaced losses in margins, some tears through text and image; staining and foxing in margins and image; creases and abrasions in text and image.

Lot: 272 - Designer Unknown, Duc de Brémont / Veuve Amiot. Circa 1910.

Designer Unknown Duc de Brémont / Veuve Amiot. Circa 1910. Condition B+: creases and repaired tears in margins, some into image; water-staining in left margin into image; fading, creases and overpainting in text, image, and along horizontal and vertical folds.

Lot: 273 - Julius Klinger, Kupferberg Gold. 1912.

Julius Klinger 1876-1942 Kupferberg Gold. 1912. Condition B+: tears at edges; foxing in text and image; creases and abrasions along horizontal and vertical folds; pin holes in corners.

Lot: 274 - Designer Unknown, Mazawattee Tea. Circa 1900s.

Designer Unknown Mazawattee Tea. Circa 1900s. Condition B+: repaired tears at edges, some into image; creases, abrasions and slight staining in margins and image. Two-sheets. The Mazawattee Tea Company, founded in 1887 by the Densham family, became one of Britain's leading tea firms in the late 19th century. Renowned for its high-quality blended teas and extensive advertising, the company helped popularize branded packaged tea and established itself as one of the most recognizable names in the Victorian tea trade. The name "Mazawattee" may be based on the Urdu "maza", which means "pleasure or fun" originally from Persian, and the Sinhalese "wattee," which means "a garden."

Lot: 275 - Karl Wilhelm Bergmüller, Riquet Tee. Circa 1913.

Karl Wilhelm Bergmüller 1864-1928 Riquet Tee. Circa 1913. Condition A-: minor repaired tears and restoration in margins and corners; small replaced loss in upper right corner.

Lot: 276 - Georges Favre, Source Parot. Circa 1930s.

Georges Favre Dates Unknown Source Parot. Circa 1930s. Condition A- / B+: repaired tears, creases and overpainting in image and along horizontal and vertical folds; linen trimmed to edges.

Lot: 277 - Charles Loupot, Cointreau. 1930.

Charles Loupot 1892-1962 Cointreau. 1930. Condition A-: minor repaired tears and abrasions in margins; minor creases and abrasions in image. The success of Cointreau as a product can as much be attributed to their advertising as to the delectable nature of the product itself. Their first foray into popular advertising was in 1898, when Francisco Tamagno designed a poster for the company featuring "a white Pierrot wearing glasses licking a big bottle of Cointreau. Why the glasses? They had been added at the time of printing the poster by the printer Camis to make a joke about Mr. Edouard Cointreau whose myopia was legendary. This detail was so successful that it was preserved" (Reclame p. 46). The Pierrot appeared in other posters, most notably those of Jean Mercier, who visually updated the character for the 1920s and 30s. Loupot also "reworked and refined [the character] . . . He uses the color of the liquor, which he cleverly works with a set of gradients . . . to obtain this range of warm shades, and a texture evoking the skin of the fruit. It should be noted the clever use of the reserve to enhance the white face of Pierrot" (ibid). The partner image to this poster features a Pierrot standing, holding a smaller bottle of the liqueur. Loupot 86B, Loupot / Forney 39, Loupot Peintres p. 72.

Lot: 278 - Charles Loupot, St. Raphaël / Quinquina. 1952.

Charles Loupot 1892-1962 St. Raphaël / Quinquina. 1952. Condition A-: minor loss in bottom left corner; skinning in upper image. As Zagrodzki notes in his book, Loupot's work for St. Raphael "can be qualified as the work of his life." From 1937-1960, Loupot worked hand-in-hand with Max Augier, the advertising director of St. Raphael, creating a series of posters that tell of a unique saga in the story of advertising. Beginning with the poster that features the stylization of red and white clad waiters, Loupot gradually moved towards creating more and more abstracted images. Starting in 1945, Loupot began experimenting with his geometric stylizations of two waiters and his continuous transformation of typography. Of historic note, between 1945 and 1952, poster publicity for aperitifs was forbidden in France, so although this poster is dated 1947 (the year it was designed), it would not have been printed before 1952. This is the smaller format. Zagrodzki p. 93, Loupot 89, Encyclopedie de l'Affiche p. 172.

Lot: 279 - Charles Loupot (D'Aprés), St. Raphaël / Quinquina. Circa 1952.

Charles Loupot (D'Aprés) St. Raphaël / Quinquina. Circa 1952. Condition A-: creases, minor foxing, and staining. An example of the type of image that Loupot and his atelier would create in order to provide the cafes all over France with fans, ashtrays, menus, or posters that would advertise local events like cards or "petanque" competitions. (Ref. Charles Loupot, Musee de L'Affichel Paris - other variants no. 91).

Lot: 280 - Gino Boccasile, "Moretto" / El Migliore Surrogato del Caffè. 1930.

Gino Boccasile 1901-1952 "Moretto" / El Migliore Surrogato del Caffè. 1930. Condition B+ / A-: fading, overpainting and creases in margins, text and image.

Lot: 281 - Jean D'Ylen, Les Cafés du Brésil. 1930.

Jean D'Ylen 1866-1938 Les Cafés du Brésil. 1930. Condition B+: minor foxing at edges, extending to linen; minor creases at edges; unobtrusive vertical and horizontal folds. This is the smaller format.

Lot: 282 - Peter Birkhäuser, Cognac Favraud. Circa 1948.

Peter Birkhäuser 1911-1976 Cognac Favraud. Circa 1948. Condition A-: water staining and restoration along top edge; small repaired tears at edges.

Lot: 283 - Designer Unknown, Pepsi - Cola . . . Si Pétillant. Circa 1962.

Designer Unknown Pepsi - Cola . . . Si Pétillant. Circa 1962. Condition A-: minor creases in margins and image; partial silkscreen.

Lot: 284 - Designer Unknown, Pepsi - Cola / Trink Buvez Bevete Drink. Circa 1962.

Designer Unknown Pepsi - Cola / Trink Buvez Bevete Drink. Circa 1962. Condition A: small repaired tears at upper right edge; small ink stamp in lower right corner.

Lot: 285 - Designers Unknown, Pepsi - Cola.

Designers Unknown Pepsi - Cola. Two small format posters. Condition varies, generally A-. Includes: . . . Nimm Pepsi and America's Biggest Nickel's Worth!.

Lot: 286 - Designer Unknown, William Grant's Finest Scotch Whisky.

Designer Unknown William Grant's Finest Scotch Whisky. Condition B+: minor repaired tears, abrasions and restoration at edges and along vertical and horizontal folds; repaired tear in upper left text. Framed without glass.

Lot: 287 - Robert Schubiger & Max Buchmann, Ballantine's Scotch Whisky.

Robert Schubiger & Max Buchmann Ballantine's Scotch Whisky. Condition A: minor abrasions at edges; unobtrusive crease in left image. Framed without glass. Photo by Max Buchmann, Graphics by Robert Schubiger.

Lot: 288 - Hans-Peter Hort, It was White Label. 1967.

Hans-Peter Hort 1924-2010 It Was White Label. 1967. Condition A: minor abrasions and restoration at edges. Framed without glass.

Lot: 289 - John Gilroy, My Goodness My Guinness. 1939.

John Gilroy 1898-1985 My Goodness My Guinness. 1937. Condition A-: minor repaired tears and creases at edges; unobtrusive vertical and horizontal folds; small pin holes in corners. Gilroy was hired as an in-house artist for the British advertising firm SH Benson in 1925. He worked on projects for Skipper Sardines, Colman's Mustard, Bovril and others, but he is best remembered for his indelible work for Guinness. "Over a period of 35 years, he created well over 100 press and poster advertisements for Guinness" (Guinness p. 68). Guiness p, 46.

Lot: 290 - John Gilroy, Guinness Time. 1958.

John Gilroy 1898-1985 Guinness Time. 1958. Condition B+: replaced losses at upper right edge; expertly-repaired tears at edges; minor creases. Silkscreen. Guinness p. 57.

Lot: 291 - John Gilroy, [Guinness / Coronation of Queen Elizabeth II]. 1953.

John Gilroy 1898-1985 [Guinness / Coronation of Queen Elizabeth II]. 1953. Condition A: minor abrasions at edges; unobtrusive vertical and horizontal fold. "To celebrate the Coronation of Queen Elizabeth II on 2 June 1953, John Gilroy and Benson's copywriter Stanley Penn devised this poster. It brought together all the favourite Guinness animals and became the first British poster to have neither copy nor any reference to the product." (Guinness p. 56)

Lot: 292 - Walt Disney Productions, Be Kind to Animals / Walt Disney. 1956.

Walt Disney Productions Be Kind to Animals / Walt Disney. 1956. Condition A- / A: minor restoration along vertical and horizontal folds. The American Society for the Prevention of Cruelty to Animals (ASPCA).

Lot: 293 - Leonetto Cappiello, 1875-1942, Maurin Quina. 1906.

Leonetto Cappiello 1875-1942 Maurin Quina. 1906. Condition A- / B+: repaired tears, creases and overpainting in image; punch hole in right margin. Linen trimmed to poster. Affectionately known as "The Green Devil," Cappiello struck a chord with this poster that has reverberated down through the decades. Mischievous, arcane and naughty, this green figure highlighted in purple is popping a cork from a brown bottle, and makes for an image that flirts with something sinister in a way that manages to be charming and compelling. One of the most memorable icons in Cappiello's visual legacy. Cappiello / Rennert 114, Encyclopedie de l'Affiche p. 61, Drink 85, Cappiello 266, Jenever p. 29.

Lot: 294 - Leonetto Cappiello, Etab.ts André Loison à Orlèans. 1911.

Leonetto Cappiello 1875-1942 Etab.ts André Loison à Orlèans. 1911. Condition B: water staining in lower text; foxing at bottom margin; repaired tears, replaced losses, creases and overpainting in image and along vertical and horizontal folds; linen trimmed to edges. Rare. Cappiello / Rennert 209.

Lot: 295 - Leonetto Cappiello, Les Délicieuses Confitures Foucault. 1919.

Leonetto Cappiello 1875-1942 Les Délicieuses Confitures Foucault. 1919. Condition A-: expert overpainting in margins; minor restoration along vertical and horizontal folds; paper text insert at bottom. "Sometimes, Cappiello made his emphatic overstatements in terms of quantity rather than size. In design after design, he piled up flowers, fruits, packages of products or individual items in bountiful profusion to create a visually exciting presentation. A woman carrying a single item from a store doesn't make any impact, but one carrying ten or twenty packages makes a startling impression; that, at least, was what the artist firmly believed, and from the evidence he left us, we must conclude that he was instinctively right. Typical of this approach is the poster for Confitures Foucault: We see three women emptying huge baskets of fruit into a vat in which, presumably, the jams and marmalades will be prepared. Excessive, maybe; eye-catching, definitely" (Cappiello / Rennert, p. 194). Cappiello / Rennert 292.

Lot: 296 - Leonetto Cappiello, Cigarettes Matossian. 1921.

Leonetto Cappiello Cigarettes Matossian. 1921. Condition B+: overpainting in margins and background; restoration along creases in image and along vertical and horizontal folds; colors slightly attenuated. Cappiello / Rennert, 279 (var).

Lot: 297 - Leonetto Cappiello, Veuve Amiot / Cremant du Roi. 1922.

Leonetto Cappiello 1875-1942 Veuve Amiot / Cremant du Roi. 1922. Condition B+: creases in margins and image; minor repaired tears at top edge; minor bleach spotting in margins and image. Cappiello / Rennert 377.

Lot: 298 - Leonetto Cappiello, Cognac Monnet. 1927.

Leonetto Cappiello 1875-1942 Cognac Monnet. 1927. Condition A: minor creases in margins. Cappiello / Rennert 443.

Lot: 299 - Leonetto Cappiello, Nitrolian. 1929.

Leonetto Cappiello 1875-1942 Nitrolian. 1929. Condition B+ / A-: creases and staining in margins, text and image; reds slightly attenuated. Cappiello / Rennert 470.

Lot: 300 - Leonetto Cappiello, Le Bas Revel. 1929.

Leonetto Cappiello 1875-1942 Le Bas Revel. 1929. Condition B-: repaired tears at edges, some into central image, with archival tape on verso; tears, creases and losses at edges; creases and abrasions in image. Three-sheets, unattached. Paper. Cappiello / Rennert 269.

Lot: 301 - Leonetto Cappiello (D'Après), Barbier Dauphin / Conserves. 1948.

Leonetto Cappiello (D'Après) 1875-1942 Barbier Dauphin / Conserves. 1948. Condition B: water staining in margins and left image; repaired tears at edges; creases and abrasions in margins and image; paper separating from linen at bottom left; linen trimmed to edges. This energetic image is Cappiello's final poster, published posthumously. Cappiello / Rennert 534.

Lot: 302 - Francisco Tamagno, Peugeot. Circa 1910.

Francisco Tamagno 1851-1933 Peugeot. Circa 1910. Condition B+: repaired tears, creases and abrasions in margins and image and along vertical and horizontal folds; staining at top right image; linen trimmed to edges. In the early 1890s, three companies were responsible for elevating bicycle manufacturing into an industry; Clement, Darracq and Peugeot. With giant factories set up and an eye on transportation technology, these businesses also eventually ventured into the automobile industry. This poster sums up Peugeot's industrial saga. Under the watchful glare of a roaring lion, Peugeot's trademark, Tamagno places the company's factories in Socheaux (they are still there today). From the factories emerge hundreds of workers all on bicycles, in a procession that is led by a car and a motorcycle. In the foreground is one of the company's beautiful automobiles and another motorcycle and bicycle. Affiches Automobiles p. 16.

Lot: 303 - A.G., IV. Circuito Motociclistico di Tortona. 1924.

A.G. Dates Unknown IV. Circuito Motociclistico di Tortona. 1924. Condition B+ / A-: creases, abrasions, staining and repaired tears at top edge, some into image.

Lot: 304 - Various Artists, Mercedes - Benz. Group of 5 small format posters. 1950s.

Various Artists Mercedes - Benz. Group of 5 small format posters. 1950s. Condition varies, generally A-: repaired pin holes in corners; repaired tears and restoration in margins. Images available upon request.

Lot: 305 - Designer Unknown, Chrysler / New Yorker Newport. 1951.

Designer Unknown Chrysler / New Yorker Newport. 1951. Condition A-: creases and abrasions at edges and along sharp vertical and horizontal folds. Paper. This appears to be the 1951 Chrysler New Yorker Newport 2-door Hardtop.

Lot: 306 - Designer Unknown, Plymouth Cranbrook. 1951.

Designer Unknown Plymouth Cranbrook. 1951. Condition A-: abrasions and creases along sharp vertical and horizontal folds. Paper. This is the 1951 Plymouth Cranbrook Four-door.

Lot: 307 - Michel Beligond, 24H du Mans / Championnat du Monde. 1961.

Michel Beligond 1927-1973 24H du Mans / Championnat du Monde. 1961. Condition A-: minor creases at edges; the "1" in "1961" painted in. Paper.

Lot: 308 - Michel Beligond, 49eme Gd Prix de L'A.C.F. 1963.

Michel Beligond 1927-1973 49eme Gd Prix de L'A.C.F. 1963. Conditions A: small pin holes in corners. The 49th French Grand Prix was also the 4th round of the Formula One World Championship, held at Reimes-Gueux.

Lot: 309 - Michael Turner, Monaco / 24e Grand Prix Automobile. 1966.

Michael Turner 1935- Monaco / 24e Grand Prix Automobile. 1966. Condition A- / A: minor abrasions at bottom edge. Monaco p. 64.

Lot: 310 - R. Maestri, Monaco. 1969.

R. Maestri Dates Unknown Monaco. 1969. Condition A-: minor creases and abrasions at edges; linen trimmed to edges.

Lot: 311 - Michael Turner, Monaco. 1970.

Michael Turner 1935- Monaco. 1970. Condition A-: minor restoration in corners.

Lot: 312 - Designer Unknown, Volkswagen / La Plus Vendue dans le Monde. Circa 1960.

Designer Unknown Volkswagen / La Plus Vendue dans le Monde. Circa 1960. Condition B+: extensive overpainting around lower text; minor repaired tears and creases at edges; minor overpainting in image.

Lot: 313 - E. Schedlbauer, Ecker Optik Photo. Circa 1925.

E. Schedlbauer Dates Unknown Ecker Optik Photo. Circa 1925. Condition B+: light speckling in background; time-staining at sides; minor creases at edges. Mounted on Japan.

Lot: 314 - Karl Bickel, Seiden - Spinner. 1913.

Karl Bickel 1886-1982 Seiden - Spinner. 1913. Condition A: minor creases and abrasions at edges and in image; Fretz Brothers paper label in bottom left corner.

Lot: 315 - Otto Baumberger, PKZ. Window card, with photos & documents. Circa 1923.

Otto Baumberger 1889-1961 PKZ. Window card, with photos & documents. Circa 1923. Condition varies, generally A / A-. Group includes: two postage stamps with Baumberger's design; two folders, each with 5 photos of past PKZ window displays (1923 & 1926), with a typed letter detailing the packages. Images available upon request.

Lot: 316 - Designer Unknown, Lebensbedürfnisverein Karlsruhe. Circa 1925.

Designer Unknown Lebensbedürfnisverein Karlsruhe. Circa 1910. Condition A-: small tears and repaired tears at edges; creases in margins and image; small pin holes in corners. Paper. The Karlsruhe Necessities Association, founded in 1865, offered its members affordable food and everyday goods, playing an important role during the tumultuous political and economic times of the Weimar Republic.

Lot: 317 - Otto Morach, Vestiti PKZ.1928.

Otto Morach 1887-1973 Vestiti PKZ. 1928. Condition B+ / B: repaired tears at edges, some into image; creases and some bubbling in image. Mounted on linen, to foamcore. Morach is best known for elongated, abstract landscapes. For this poster, he uses a totally different but equally original approach. He presents the viewer with two ordinary men, depicted in an almost cut-out, collage-like fashion. They are dressed alike (albeit in different colors) and they are reading newspapers that show a PKZ ad on the back. Adding to the unusual, hypnotic effect of the image, is the fact that the men are both placed at a slight angle, ensuring that when three or more of these posters were posted side by side, the visual effect would have been very strong. This is the rare Italian version. Weill 452, Crouse 122, Encyclopedie p. 133, Art Deco p. 84, Made in Switzerland p. 108, Swiss poster 331 (all Var.).

Lot: 318 - Burkhard Mangold, PKZ / Burger - Kehl & Co. 1913.

Burkhard Mangold 1873-1950 PKZ / Burger - Kehl & Co. 1913. Condition B+: darkening in margins; creases and abrasions at edges and along sharp vertical and horizontal folds; mounted directly to linen; small pin holes in corners. Mangold 97, Made in Switzerland p. 107.

Lot: 319 - H. Pèrillat, Toutes les Nouveautes de la Saison Chez Bonnard. Circa 1920.

H. Pèrillat Dates Unknown Toutes les Nouveautes de la Saison Chez Bonnard. Circa 1920. Condition B+ / A-: repaired tear at top, slightly into image; small unobtrusive abrasion in upper left image; minor creases and repaired tears at edges.

Lot: 320 - Louis Caillaud, Eaton's Presents the Spring Fashions. 1930.

Louis Caillaud 1894-1960 Eaton's Presents the Spring Fashions. 1930. Condition B+: minor repaired tears at edges; creases and slight staining and foxing in image and at bottom edge. Paper insert in lower left image. Femme s'Affiche 207.

Lot: 321 - Joseph Christian Leyendecker, Kuppenheimer / An Investment in Good Appearance. 1922.

Joseph Christian Leyendecker 1874-1951 Kuppenheimer / An Investment in Good Appearance. 1922. Condition B+ / A-: creases, abrasions and staining in image. The ad campaigns for Kuppenheimer clothing and Arrow Collar were Leyendecker's most famous and longest-running. Leyendecker p. 107.

Lot: 322 - Gosta Aberg, Hans Fastmo Från New York / Maurice Chevalier. 1930.

Gosta Aberg 1905-1981 Maurice Chevalier / Hans Fästmo Från New York. 1930. Condition B+: repaired tears, creases and staining at margins, some into image; creases, abrasions and overpainting along horizontal and vertical folds.

Lot: 323 - Georges Villa, Jeanne Bayle. 1930s.

Georges Villa 1883-1965 Jeanne Bayle. 1930s. Condition B+: repaired tears at edges, one into lower left image; creases and abrasions in margins and image; linen trimmed to edges.

Lot: 324 - Julius Ussy Engelhard, Odeon Casino. Circa 1938.

Julius Ussy Engelhard 1883-1964 Odeon Casino. Circa 1938. Condition A-: repaired tears and overpainting in margins.

Lot: 325 - Manuel Léon Astruc, Maria Del Villar. Circa 1925.

Manuel Léon Astruc 1889-1965 Maria Del Villar. Circa 1925. Condition A-: expert overpainting at edges.

Lot: 326 - Emilio Vila, Bal Hispano Americain / En Blanc et Noir. 1928.

Emilio Vila 1887-1967 Bal Hispano Americain / En Blanc et Noir. 1928. Condition B+ / A-: creases and abrasions in borders, text and image; reds slightly attenuated; linen trimmed to edges. Publicidad 1748.

Lot: 327 - Charles Verschuuren Jr., Landru. Circa 1920.

Charles Verschuuren Jr. 1891-1955 Landru. Circa 1920. Condition B+: fold in bottom left corner; extensive creases in margins, creases and abrasions in text and image. Vershuuren's poster was designed for a Grand-Guignol-esque stage reenactment of the crimes of Henri Désiré Landru, aka 'Bluebeard,' one of France's most notorious serial killers. Between 1914 and 1919 he killed 10 women and the teenage son of one of them; he was convicted and sentenced to the guillotine in 1922.

Lot: 328 - Designer Unknown, The Klondyke Nugget. Circa 1890s.

Designer Unknown The Klondyke Nugget. Circa 1890s. Condition A-: small replaced loss at bottom margin; minor repaired tears and creases at edges; with gold and black ink overprint over title. Samuel Franklin Cody starred in the drama "The Klondyke Nugget," a performance that was advertised to take place at the Royal Princess's Theater every weekday evening beginning August 1 -- in the same week that Buffalo Bill was appearing elsewhere on the South Side. While bearing an intentional resemblance to Buffalo Bill, S.F. Cody (born Cowdery) took on his last name and is not related to the more famous figure. He was known to try to pass himself off as Buffalo Bill, and while never achieving the same level of stardom, he did go on to become a pioneering aviator instead. In 1908, S.F. Cody became the first man to achieve powered flight in Great Britain.

Lot: 329 - Elling William "Bill" Golings, Sheridan - Wyo - Rodeo / Out Where the West Remains. 1935.

Elling William "Bill" Golings 1878-1932 Sheridan - Wyo - Rodeo / Out Where the West Remains. 1935. Condition A-: minor repaired tears at edges; minor creases in image. The very first poster for this event, featuring the same artwork, was created in 1931.

Lot: 330 - Designer Unknown. "Custer's Last Fight." Circa 1920s.

Designer Unknown "Custer's Last Fight." Circa 1920s. Condition B+: losses, creases and abrasions along vertical and horizontal folds; losses, creases and staining in margins; repaired tears at edges, some into image; staining in text. Two-sheets. An exceptional movie poster for, what was by all accounts an exceptional film. The "Film Encyclopedia" explains that "to achieve the kind of spectacular action he found lacking in Westerns of the day, [Ince, the producer] put a whole Wild West show on the payroll, thus obtaining the services of trained horses and buffaloes, as well as authentic cowboys and Indians and real props. He also acquired nearly 20,000 acres of land on which to shoot" (p. 597 ff).

Lot: 331 - August Fischinger, Der Triumph Der Dressur / Tandemfahrt. Circa 1922.

August Fischinger 1887-1958 Der Triumph Der Dressur / Tandemfahrt. Circa 1922. Condition B+: replaced top margin; repaired tears, creases, abrasions and restoration in image and along vertical and horizontal folds; printer's creases in image; three-sheets. Curiously, the bottom half of this image also appears with text "Die Sensation Berlin's" for the Apollo-Theater, on a poster signed by Paul Hass, and printed by Arthur Weylandt in Berlin. See Swann auction 2302, lot 399. From the Julius Paul Collection.

Lot: 332 - Designer Unknown, Mantell's Marionette Hippodrome. Circa 1910s.

Designer Unknown Mantell's Marionette Hippodrome. Circa 1910s. Condition B+: repaired tears, replaced losses and overpainting in text and image; minor restoration in margins and along vertical and horizontal folds.

Lot: 333 - Designer Unknown, The Jackley Rostons. Circa 1890s.

Designer Unknown The Jackley Rostons. Circa 1890s. Condition A-: minor repaired tears and small replaced loss at edges; crease and minor abrasions along vertical and horizontal folds.

Lot: 334 - Paul Colin, Tabarin. 1928.

Paul Colin 1892-1985 Tabarin. 1928. Condition A-: slight darkening and minor creases at edges. Paper. The Bal Tabarin, a popular night club in Montmartre, was opened in 1904 by Auguste Bosc, a composer of some renown in Paris during the "gay nineties." The club made its reputation with the Belle Époque favorite, the cancan, continuing to perform it long after the First World War, when the craze had all but died elsewhere. In the mid-20s two retired dancers infused the club with new life by introducing the Charleston. The passage of time and the changing trends are all illustrated in a spectacular manner here, with three different women dancing three separate dances all melded into one image. One element is clear among all the different characters in this poster - each is exposing enough skin to tantalize the viewer to attend an event there. This is one of the most sophisticated compositions Colin designed, infused with incredible movements of the various arms and legs, and containing different layers, combining three images into one. Using only three colors, Colin pays a flamboyant tribute to the art of dancing and has created a classic image reflecting the energy of Paris during the Jazz Age. This is the smaller format. Colin 172, Paul Colin et les Spectacles 131, Weill 365, The Poster 263, Reina Sofia p. 35.

Lot: 335 - Designer Unknown, Skippy LaMore's Comedians. Circa 1930.

Designer Unknown Skippy LaMore's Comedians. Circa 1930. Condition B+ / B: losses, repaired tears, overpainting, creases, abrasions and staining in margins text and image. Earl Lee "Skippy" Lamore (1893-1942) and Jean (1888-1962) performed as a vaudeville team for several years. In 1930 they opened their own show in Colon, Michigan, known as "Skippy LaMore's Comedians."

Lot: 336 - Lode Seghers, Cocaine / Volksgebouw. 1924.

Lode Seghers 1905-1983 Cocaine / Volksgebouw. 1924. Condition B+: replaced losses and overpainting in corners and at edges, including printer's text; repaired tears at edges, some into text; unobtrusive horizontal folds; linen trimmed to edges. From the Hans Sachs Collection; with partial label on verso of linen.

Lot: 337 - Designer Unknown. Buster Keaton / L'Horloger Amoureux. 1934.

Designer Unknown Buster Keaton / L'Horloger Amoureux. 1934. Condition A-: repaired tear at left edge; minor foxing and staining in image.

Lot: 338 - Filippo Romoli, Carnevale di San Remo. 1930.

Filippo Romoli 1901-1969 Carnevale di San Remo. 1930. Condition A-: minor repaired tears, creases and abrasions in margins and along vertical and horizontal folds.

Lot: 339 - Designer Unknown, Gooding Amusement Co. Poster & broadside.

Designer Unknown Gooding Amusement Co. Poster & broadside. Condition varies, generally A. Broadside is silkscreened.

Lot: 340 - Else Isenberg (Attributed), Berliner Lawn Tennis Club / I - Winterturnier. 1909.

Attributed to Else Isenberg 1877-1927 Berliner Lawn Tennis Club / I - Winterturnier. 1909. Condition B+: small losses, repaired tears, minor creases and slight staining in margins; small ink notation in bottom right corner. Mounted on Chartex. DFP-III 1517, V&A CIRC.602-1971.

Lot: 341 - Edouard Renggli, 56. Eidgenössisches Turnfest - In - Basel. 1912.

Eduard Renggli 1882-1939 56. Eidgenössisches Turnfest - In - Basel. 1912. Condition A: small repaired tears at bottom edge. Eduard Johann Renggli, the son of two artists, was a Swiss drawing teacher, painter and graphic designer. This poster was his design for the 56th Federal Gymnastics Festival in Basel - an event dating back to 1832, and one of Switzerland's oldest sporting traditions. "The early Swiss gymnastics movement was closely associated with the formation of the federal state of 1848; gymnasts publicly embodied the unity of Switzerland in a democratic-liberal sense" ( National Museum). School gymnastics lessons were made compulsory for boys, as a mode of fitness preparation for the military. As seen in Renggli's depiction of collective and synchronized exercises, the white dress code was mandatory until 1972. Artist Karl Ballmer also designed the official postcard for this event in 1912. Swiss Sport 86, Swiss Poster 497, Modern Poster p. 77, MoMA 432.1985.

Lot: 342 - Raymond Gid, Le Grimpeur. 1926.

Raymond Gid 1905-2000 Le Grimpeur. 1926. Condition A-: creases and overpainting in image and along horizontal and vertical folds. Gid 4.

Lot: 343 - Designer Unknown, Let's Learn To Listen! / Let's Listen To Learn. 1927.

Designer Unknown Let's Learn To Listen! / Let's Listen To Learn. 1927. Condition A- / A: minor creases and repaired tears at edges; punch holes in top margin, as issued.

Lot: 344 - Willard Frederick Elmes, Diving for Success / Mean It and You'll Make It. 1929.

Willard Frederick Elmes 1900-1956 Diving for Success / Mean It and You'll Make It. 1929. Condition A-: minor repaired tears and slight darkening at edges; punch holes at top margin.

Lot: 345 - Designer Unknown, What's Your Score? 1929.

Designer Unknown What's Your Score? 1929. Condition A- / A: minor restoration in margins. Tennis p. 14, Le Tennis A l'Affiche np.

Lot: 346 - H.H., Krone. Circa 1930s.

H.H Dates Unknown Krone. Circa 1930s. Condition A- / B+: tape residue in left margin; pencil notation in bottom left corner; minor creases in image and along horizontal folds.

Lot: 347 - Jack Jewell, Spalding Sets the Pace in Sports. Group of 3 posters. Circa 1950s.

Jack Jewell Dates Unknown Spalding Sets the Pace in Sports. Group of 3 posters. Circa 1950s. Condition varies, generally A-: restoration over abrasions in image; repaired pin holes at edges and corners. Includes: Baseball, Football, and Tennis. Images available upon request.

Lot: 348 - David Hockney (d'Aprés), 1937-, Los Angeles 1984 Olympic Games. 1984.

David Hockney (d'Aprés) 1937- Los Angeles 1984 Olympic Games. 1984. Condition A.

Lot: 349 - Peter Gee, An Exhibition in Honor of Dr. Martin Luther King Jr. 1968.

Peter Gee 1932-2005 An Exhibition in Honor of Dr. Martin Luther King Jr. 1968. Condition A / A-: minor creases and scuffs in image. Hand-signed by the artist in white pencil (?). Silkscreen. Paper. The 1968 exhibition In Honor of Dr. Martin Luther King, Jr. was a landmark benefit held at the Museum of Modern Art (MoMA) from October 31 to November 3, 1968, just seven months after his assassination. It featured artworks donated by nearly 60 leading American artists to be sold for the benefit of the Southern Christian Leadership Conference (SCLC). "It was the first time MoMA had held an exhibition for the benefit of another organization; the press release noted that "the Trustees felt that the Museum galleries should be made available to the American artists who wanted to honor Dr. King and the goals to which he had dedicated his life." The nearly 60 participants included many of the most renowned artists of the day, including Romare Bearden, Alexander Calder, Jacob Lawrence, Isamu Noguchi, Robert Rauschenberg, and Mark Rothko". (https://www.moma.org/calendar/exhibitions/3504). According to the October 5th press release, "Mrs. John F. Kennedy [was] Honorary Patron and Mayor John V. Lindsay, Honorary Chairman" and the Advisory Committee include curators from eight institutions including the Guggenheim, The Met, the Whitney, and Brooklyn Museum of Art.

Lot: 350 - Kiyoshi Awazu, Osai-Gonza. 1973.

Kiyoshi Awazu 1929-2009 Osai - Gonza. 1973. Condition A: minor abrasion at right edge. Paper. Poster for a theatrical production of "Osai-Gonza." MoMA 252.1980.

Lot: 351 - Kiyoshi Awazu, Group of three posters.

Kiyoshi Awazu 1929-2009 [Japanese Graphic Design]. Group of 3 posters. 1970s-80s. Condition generally A-: foxing and minor tears. Group includes: Antonio Das Mortes; [Let's put the Constitution to Work in our Daily Lives] (1980); and [Vines from the Dead of Honegami Ridge] (1970). Images available upon request.