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RARE & IMPORTANT TRAVEL POSTERS

by Swann Auction Galleries

Platinum House

197 lots with images

October 18, 2013

Live Auction

104 East 25th Street

New York, NY, 10010 USA

Phone: 212.254.4710

Fax: 212 979 1017

Email: swann@swanngalleries.com

197 Lots
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GEO. HAWLEY HALLOWELL (1871-1926). MAY CENTURY / FOREIGN TRAVEL NUMBER. 1896. 19x14 inches, 49x35 cm.

Lot 1: GEO. HAWLEY HALLOWELL (1871-1926). MAY CENTURY / FOREIGN TRAVEL NUMBER. 1896. 19x14 inches, 49x35 cm.

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Description: GEO. HAWLEY HALLOWELL (1871-1926) MAY CENTURY / FOREIGN TRAVEL NUMBER. 1896. 19 1/4x14 inches, 49x35 1/2 cm. Condition B+: horizontal fold; repaired tear in image; minor restoration in lower right corner; toned. Fully outfitted tourists are admiring a pastiche of exotic European sights, including the pyramids, Sphinx, Mt. Etna, Greek ruins and more. An exceptional early American poster extolling the sights and antiquities of the Old World and helping plant the idea of tourism into the American psyche.

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THEMISTOKLES VON ECKENBRECHER (1842-1921). NORTH GERMAN LLOYD, BREMEN. Circa 1906. 37x26 inches, 95x68 cm.

Lot 2: THEMISTOKLES VON ECKENBRECHER (1842-1921). NORTH GERMAN LLOYD, BREMEN. Circa 1906. 37x26 inches, 95x68 cm.

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Description: THEMISTOKLES VON ECKENBRECHER (1842-1921) NORTH GERMAN LLOYD, BREMEN. Circa 1906. 37 1/2x26 3/4 inches, 95x68 cm. Condition B+: minor restoration and overpainting at edges and in corners; bottom margin trimmed. One of at least two similar images designed by the shipping company Norddeutscher Lloyd Bremen featuring the globe, international shipping routes and four of her vessels. This version shows the routes to Asia and Australia, while one of the others shows Transatlantic routes. Although it is impossible to say exactly which ships are depicted, the four-stacker in the upper left is most likelythe Kaiser Wilhelm der Grosse. These images were often issued in wooden frames with the shipping company's name imprinted on the wood. This is the English version.

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HENRI CASSIERS (1858-1944). RED STAR LINE / ANTWERPEN = AMERIKA. 1899. 44x61 inches, 105x155 cm. O. de Rycker & Mendel, Brussels.

Lot 3: HENRI CASSIERS (1858-1944). RED STAR LINE / ANTWERPEN = AMERIKA. 1899. 44x61 inches, 105x155 cm. O. de Rycker & Mendel, Brussels.

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Description: HENRI CASSIERS (1858-1944) RED STAR LINE / ANTWERPEN = AMERIKA. 1899. 44 1/2x61 inches, 105 1/2x155 cm. O. de Rycker & Mendel, Brussels. Condition B+: restoration and minor restored losses along vertical and horizontal folds; restoration in margins. Framed. Cassiers was a painter from Flanders who designed many posters, most notably for his main client, the Antwerp-based Red Star Line ship company. He worked for the company for 25 years, designing their posters, postcards and menus. This poster exists in several variants, including one advertising travel in the reverse direction ("New York-Antwerp") and another variant that is identical except for the ship, which is a three-funnel vessel instead of only two. With a Vienna Office overprint. Cassiers p. 70, Belgique p. 49, DFP-II 997, Weallans p. 24 (var), Passenger Ships. 19.

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HENRI CASSIERS (1858-1944). AMERICAN LINE / SOUTHAMPTON / CHERBOURG / NEW YORK. 1900. 45x61 inches, 114x155 cm. O. de Rycker & Mendel,

Lot 4: HENRI CASSIERS (1858-1944). AMERICAN LINE / SOUTHAMPTON / CHERBOURG / NEW YORK. 1900. 45x61 inches, 114x155 cm. O. de Rycker & Mendel,

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Description: HENRI CASSIERS (1858-1944) AMERICAN LINE / SOUTHAMPTON / CHERBOURG / NEW YORK. 1900. 45x61 inches, 114 1/2x155 cm. O. de Rycker & Mendel, Brussels. Condition B+ / B: restored losses in lower right and top left corners; restoration along vertical and horizontal folds; staining in margins; colors slighlty attenuated. In 1884, the parent company of Red Star Line purchased the American Line. Whether he was advertising ships, cars, elixirs or resorts, Cassier's style primarily revolved around the people of his country. His posters are populated by fishermen, farmers and peasants within the typically flat landscapes of the region, and are notable as well for his use of flat, bright colors. One of at least two variants, the other promoting the trip in the reverse direction, "New York / Southampton." Cassiers p. 79, DFP-II 999, Weallans p. 25 (var).

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HENRI CASSIERS (1858-1944). RED STAR LINE / ANTWERPEN = NEW YORK. 1901. 61x43 inches, 155x110 cm. O. de Rycker & Mendel, Brussels.

Lot 5: HENRI CASSIERS (1858-1944). RED STAR LINE / ANTWERPEN = NEW YORK. 1901. 61x43 inches, 155x110 cm. O. de Rycker & Mendel, Brussels.

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Description: HENRI CASSIERS (1858-1944) RED STAR LINE / ANTWERPEN = NEW YORK. 1901. 61 1/4x43 1/2 inches, 155 1/2x110 1/2 cm. O. de Rycker & Mendel, Brussels. Condition B+: restoration along vertical and horizontal folds; abrasions in image; restoration in margins. Framed. Cassiers p. 77, DFP-II 1003.

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DESIGNER UNKNOWN. FRENCH LINE / DIRECT ROUTE FROM THE UNITED STATES TO THE CONTINENT. 1901. 41x29 inches, 104x74 cm. American Lithograp

Lot 6: DESIGNER UNKNOWN. FRENCH LINE / DIRECT ROUTE FROM THE UNITED STATES TO THE CONTINENT. 1901. 41x29 inches, 104x74 cm. American Lithograp

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Description: DESIGNER UNKNOWN FRENCH LINE / DIRECT ROUTE FROM THE UNITED STATES TO THE CONTINENT. 1901. 41x29 1/4 inches, 104 1/2x74 cm. American Lithographic Company, New York. Condition B+: restoration and repaired tears in margins, some affecting image. A rare/span poster for the French Line advertising "Fast postal and passenger service" via the new "twin screw steamer" sister ships La Lorraine and La Savoie (launched in 1900) and also l'Aquitaine and La Touraine. Unlike most posters for the company, which were printed in France, this one was printed in New York for use in American ticket offices.

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F. HUGO D'ALÉSI (1849-1906). CIE. DE NAVIGATION MIXTE / SERVICES DIRECTS / ENTRE LA FRANCE L'ALGÉRIE & LA TUNISIE. Circa 1900. 41x29

Lot 7: F. HUGO D'ALÉSI (1849-1906). CIE. DE NAVIGATION MIXTE / SERVICES DIRECTS / ENTRE LA FRANCE L'ALGÉRIE & LA TUNISIE. Circa 1900. 41x29

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Description: F. HUGO D'ALÉSI (1849-1906) CIE. DE NAVIGATION MIXTE / SERVICES DIRECTS / ENTRE LA FRANCE L'ALGÉRIE & LA TUNISIE. Circa 1900. 41 3/4x29 inches, 106x73 3/4 cm. Condition A-: minor repaired tears and overpainting in margins.

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SAMUEL JOHN MILTON BROWN (1873-1965). CUNARD LINE / EUROPE - AMERICA [LUSITANIA / MAURETANIA.] Circa 1907. 39x25 inches, 100x63 cm. T.

Lot 8: SAMUEL JOHN MILTON BROWN (1873-1965). CUNARD LINE / EUROPE - AMERICA [LUSITANIA / MAURETANIA.] Circa 1907. 39x25 inches, 100x63 cm. T.

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Description: SAMUEL JOHN MILTON BROWN (1873-1965) CUNARD LINE / EUROPE - AMERICA [LUSITANIA / MAURETANIA.] Circa 1907. 39 1/4x25 inches, 100x63 1/2 cm. T. Forman & Sons, Nottingham, London & Liverpool. Condition B+ / A-: minor restoration along vertical and horizontal folds. The Cunard Line had three 4-funnel ships; the Lusitania and her sister Maurentania launched within 9 weeks of each other in 1907; and the Aquitania followed seven years later. On posters and postcards alike, Cunard would often advertise two sister ships by depicting only one image. Brown was primarily a maritime painter but he also designed posters for the Cunard Line as well as others for specific travel destinations. rare/span

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FRANK NEWBOULD (1887-1950). TO EUROPE VIA AMERICA / THE

Lot 9: FRANK NEWBOULD (1887-1950). TO EUROPE VIA AMERICA / THE "BIG SHIP" ROUTE. Circa 1920. 40x25 inches, 101x63 cm. The Baynard Press, Londo

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Description: FRANK NEWBOULD (1887-1950) TO EUROPE VIA AMERICA / THE "BIG SHIP" ROUTE. Circa 1920. 40x25 inches, 101 1/2x63 1/2 cm. The Baynard Press, London. Condition B+ / B: restoration, repaired tears, overpainting and creases in margins and image; horizontal folds. A monumental image of the bustle and majesty of New York Harbor teaming with tugboats beneath the massive splendor of some of the world's most famous buildings: the Woolworth Building and the Barclay-Vesey Building (now more commonly known as the New York Telephone Building). These were two of the most visible edifices in the city prior to the construction of the Chrysler and Empire State Buildings in the early 1930s. In fact, New York is such an impressive city that Newbould focuses almost entirely on her and barely illustrates one of the most famous ships in the White Star Line's fleet, the Olympic, sister ship to the ill-fated Titanic. Although virtually identical in appearance to the Titanic (minus all of the ultra-luxurious trappings), all that is visible here of the Olympic is her stern and a White Star flag flying from one of her masts. It is left to the viewer's imagination to determine the dimensions of a ship that could transport one to such a magnificent, prominent and important locale. This is the Australian version of the poster advertising travel to Europe via America. The European version reads, "White Star to New York." The Big Ship Route entailed sailing from Sydney to Vancouver, then across America by train, or alternately, via Panama Pacific Lines through the Panama Canal to New York, then by White Star to Europe.

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NORMAN WILKINSON (1882-1971). FIVE ROUTES TO IRELAND. Circa 1925. 40x25 inches, 100x63 cm. Staffords, Netherfield.

Lot 10: NORMAN WILKINSON (1882-1971). FIVE ROUTES TO IRELAND. Circa 1925. 40x25 inches, 100x63 cm. Staffords, Netherfield.

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Description: NORMAN WILKINSON (1882-1971) FIVE ROUTES TO IRELAND. Circa 1925. 40x25 inches, 100 1/2x63 1/2 cm. Staffords, Netherfield. Condition B+: tears at edges; creases in margins and image; paper banner attached in text. Paper. A tranquil, pastel-hued twilight scene on the Irish Sea. The LMS serviced five separate coastal towns with ferry crossings to Ireland in order to facilitate travelling between Ireland and the United Kingdom. Wilkinson studied at the Berkhampsted School of Art and began his artistic career contributing drawings to The Illustrated London News and The Illustrated Mail. He also studied figure painting at the Académie de la Grande Chaumière in Paris. Although he became specifically renowned for his maritime paintings, he was also a prolific poster artist for the British railway companies in the 1920s and 30s.

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N. CRAMER ROBERTS (DATES UNKNOWN). DUNGENESS / BY THE ROMNEY, HYTHE AND DYMCHURCH RAILWAY. 1928. 39x25 inches, 101x63 cm. Vincent, Broo

Lot 11: N. CRAMER ROBERTS (DATES UNKNOWN). DUNGENESS / BY THE ROMNEY, HYTHE AND DYMCHURCH RAILWAY. 1928. 39x25 inches, 101x63 cm. Vincent, Broo

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Description: N. CRAMER ROBERTS (DATES UNKNOWN) DUNGENESS / BY THE ROMNEY, HYTHE AND DYMCHURCH RAILWAY. 1928. 39 3/4x25 inches, 101x63 1/2 cm. Vincent, Brooks, Day & Son, [London.] Condition B+: vertical and horizontal folds; minor tears and losses at edges and in corners. Paper. One of two posters the artist designed for the Romney, Hythe and Dymchurch Railway (RHDR), the other featuring stylish passengers boarding a train. "The RHDR was founded in Kent in 1927 as a mainline railway in miniature and became known as 'the World's Smallest Public Railway'" (http://www.scienceandsociety.co.uk/). Furness vol. 5 p. 113.

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ODIN ROSENVINGE (1880-1957). CANADIAN PACIFIC / TO CANADA & U • S • A. Circa 1935. 40x25 inches, 101x63 cm.

Lot 12: ODIN ROSENVINGE (1880-1957). CANADIAN PACIFIC / TO CANADA & U • S • A. Circa 1935. 40x25 inches, 101x63 cm.

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Description: ODIN ROSENVINGE (1880-1957) CANADIAN PACIFIC / TO CANADA & U • S • A. Circa 1935. 40x25 inches, 101 1/2x63 1/2 cm. Condition B+: creases and abrasions in margins and image. Paper. A two-funnel liner steaming out of Liverpool harbor with the Royal Liver Building in the background. Rosenvinge was a prolific designer of posters for various shipping companies, including Royal Line, Anchor Donaldson Line, Allan Line, Elder Dempster Line and Orient Line, but his largest client was Cunard. Not in Canadian Pacific.

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HELGE REFN (1908-1985). D.F.D.S. 1938. 39x24 inches, 100x63 cm. Winther & Winther, [Copenhagen.]

Lot 13: HELGE REFN (1908-1985). D.F.D.S. 1938. 39x24 inches, 100x63 cm. Winther & Winther, [Copenhagen.]

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Description: HELGE REFN (1908-1985) D.F.D.S. 1938. 39 1/4x24 3/4 inches, 100x63 cm. Winther & Winther, [Copenhagen.] Condition B+: repaired tears and restoration along left edge, some slightly affecting image. At the beginning of the 1930s, Helge Refn studied in Paris with Fernand Léger. His time in France lent a French touch to his work uncommonly seen in Danish posters, as most Danish graphic artists of the era followed in the German style. Refn was a set designer in Stockholm, Denmark, Finland and Norway and he also designed posters for Tivoli, the Danish Railway and various other companies. Here, he cleverly reinforces the idea of sea travel by showing us a "luggage label" on the corner of a trunk.

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OTTOMAR ANTON (1895-1976). WHITE STAR LINE / AMERICAN LINE / NACH AMERIKA. Circa 1930. 38x27 inches, 97x70 cm. Langebartels & Jurgens,

Lot 14: OTTOMAR ANTON (1895-1976). WHITE STAR LINE / AMERICAN LINE / NACH AMERIKA. Circa 1930. 38x27 inches, 97x70 cm. Langebartels & Jurgens,

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Description: OTTOMAR ANTON (1895-1976) WHITE STAR LINE / AMERICAN LINE / NACH AMERIKA. Circa 1930. 38 1/4x27 1/2 inches, 97x70 cm. Langebartels & Jurgens, Altona. Condition B+: tears and creases at side edges; discoloration in margins; light foxing in image; metal strips affixed to top and bottom margins. Paper. Anton designed posters for several German shipping lines during the 1930s including the American Line, Hamburg-America Line, Norddeutscher Lloyd-Bremen, Hamburg South American Steamship Company and Cunard. Both the White Star Line and the American Line were part of J.P. Morgan's International Mercantile Marine Company. This is the larger format.

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LOIS GAIGG (1905-1944). NORTH GERMAN LLOYD BREMEN / LLOYD EXPRESS. 1929. 33x24 inches, 84x61 cm. J.F. Tapley Co., Long Island City, NY.

Lot 15: LOIS GAIGG (1905-1944). NORTH GERMAN LLOYD BREMEN / LLOYD EXPRESS. 1929. 33x24 inches, 84x61 cm. J.F. Tapley Co., Long Island City, NY.

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Description: LOIS GAIGG (1905-1944) NORTH GERMAN LLOYD BREMEN / LLOYD EXPRESS. 1929. 33 1/4x24 inches, 84 1/2x61 cm. J.F. Tapley Co., Long Island City, NY. Condition B+ / B: restored losses in upper left corner and in top margin, neither affecting image; overpainting along repaired tears in image. The sister ships Bremen and Europa were launched in 1929 and 1930 respectively. The Columbus, launched in 1924, was retrofitted in 1929 with shorter funnels, making her closer in appearance to the two other ships. Gaigg, who worked with Joseph Binder, won a poster competition with this design in 1929, the results of which were published in Gebrauchsgraphik magazine. This poster exists in a larger, German language version and with several different text variations. Note that this English language variant was printed in New York. Passenger Ships 79 (var), Schipp & Affiche 25 (var).

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HUBERT HERKOMER (1881-?). NORMANDIE / FRENCH LINE. 1939. 39x24 inches, 99x61 cm. Hill, Siffken & Co., London.

Lot 16: HUBERT HERKOMER (1881-?). NORMANDIE / FRENCH LINE. 1939. 39x24 inches, 99x61 cm. Hill, Siffken & Co., London.

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Description: HUBERT HERKOMER (1881-?) NORMANDIE / FRENCH LINE. 1939. 39x24 inches, 99x61 cm. Hill, Siffken & Co., London. Condition A. Paper. Matted and framed. Launched in 1935, the Normandie captured the Blue Ribband on her maiden voyage, making the fastest Atlantic crossing to date. Her interiors exemplified the finest French craftsmanship of the era, reflecting the prevailing Art Deco style in every aspect of her fittings. Not only was she one of the most famous ocean liners in the world, but she also benefited from the best graphic advertising, immortalized by A.M. Cassandre, Paul Colin and in this design, by Herkomer. Her career was cut short by the outbreak of World War II, at which point she was docked in New York, and was interned by the U.S. Government on September 3, 1939. In 1941, she was taken over by the U.S. Coast Guard and renamed the USS Lafayette. In 1942, during a refitting to make her suitable as a troop transport, she caught fire and eventually capsized under the weight of the water used to extinguish the blaze. This poster, arguably the last to be done before the end of her career, is also considered to be one of the rarest. The artist, whose tour-de-force lithography elegantly depicts the aerodynamic ship at night, should not be mistaken for the great British painter Sir Hubert von Herkomer, whose death in 1914 precludes him from the honor of having designed this image. La Mer p. 155.

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DESIGNER UNKNOWN. PARIS / MARSEILLE / AFRIQUE DU NORD. 39x24 inches, 99x61 cm. L'Atlantique, Paris.

Lot 17: DESIGNER UNKNOWN. PARIS / MARSEILLE / AFRIQUE DU NORD. 39x24 inches, 99x61 cm. L'Atlantique, Paris.

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Description: DESIGNER UNKNOWN PARIS / MARSEILLE / AFRIQUE DU NORD. 39 1/4x24 1/4 inches, 99 3/4x61 1/2 cm. L'Atlantique, Paris. Condition B+: loss in lower left corner; minor tears at edges; creases and abrasions in image. Paper.

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SANDY-HOOK (GEORGES TABOUREAU, 1879-1960). INDOCHINE / CHARGEURS REUNIS. 38x24 inches, 96x61 cm. Heliochromie-Sadag, Paris.

Lot 18: SANDY-HOOK (GEORGES TABOUREAU, 1879-1960). INDOCHINE / CHARGEURS REUNIS. 38x24 inches, 96x61 cm. Heliochromie-Sadag, Paris.

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Description: SANDY-HOOK (GEORGES TABOUREAU, 1879-1960) INDOCHINE / CHARGEURS REUNIS. 38x24 inches, 96 1/2x61 cm. Heliochromie-Sadag, Paris. Condition B+: repaired tears in margins; faded. Framed. Formed in 1872 to operate a service between Le Havre and Brazil, Compagnie des Chargeurs Reunis began routes to Indo-China (a federation of French colonies including modern day Vietnam, Cambodia, Thailand and Burma) in the early 1900s. Service continued until World War II when the loss of French Indo-China gradually forced the company to end passenger services. Throughout his career as a "ship portraitist," Sandy-Hook designed posters for 28 shipping and ship building companies.

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OTTOMAR ANTON (1895-1976). IN 2 DAYS ACROSS THE ATLANTIC. Circa 1936. 32x22 inches, 82x58 cm. Muhlmeister & Johler, Hamburg.

Lot 19: OTTOMAR ANTON (1895-1976). IN 2 DAYS ACROSS THE ATLANTIC. Circa 1936. 32x22 inches, 82x58 cm. Muhlmeister & Johler, Hamburg.

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Description: OTTOMAR ANTON (1895-1976) IN 2 DAYS ACROSS THE ATLANTIC. Circa 1936. 32 1/2x22 3/4 inches, 82 1/2x58 cm. Muhlmeister & Johler, Hamburg. Condition B+: horizontal fold; minor tears at edges; abrasions in image. Paper. Matted and framed. The Hindenburg, en route over the Atlantic Ocean, is cleverly juxtaposed with an old clipper ship on the sea below to emphasize the speed of the new airship. Curiously, the Zeppelin (which, by 1937, was being used as a propaganda tool as well as a means of transportation) was known to have two prominently painted swastikas on its tailfins, but here only one is depicted. English version. Airlines p. 37.

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PAUL THEODORE ETBAUER (1892-1975). ZEPPELIN - FARHTEN / HAMBURG - AMERIKA LINIE. Circa 1930. 33x24 inches, 83x61 cm. Muhlmeister & Johl

Lot 20: PAUL THEODORE ETBAUER (1892-1975). ZEPPELIN - FARHTEN / HAMBURG - AMERIKA LINIE. Circa 1930. 33x24 inches, 83x61 cm. Muhlmeister & Johl

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Description: PAUL THEODORE ETBAUER (1892-1975) ZEPPELIN - FARHTEN / HAMBURG - AMERIKA LINIE. Circa 1930. 33x24 inches, 83 3/4x61 cm. Muhlmeister & Johler, Hamburg. Condition B+ / B: restored losses, restoration and overpainting in margins; repaired tears, restoration, abrasions and minor foxing in image. In addition to her Transatlantic runs, the Graf Zeppelin also did sightseeing tours around Europe. That she was run by the Hamburg-America Line is reinforced here by the small image of the ocean liner visible on the water. Etbauer designed a number of posters for the Hamburg-America Line. German version.

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ALBERT FUSS (1889-1969). HAMBURG - AMERIKA LINIE / FERIEN - UND STUDIENREISEN NACH NORD - AMERIKA. Circa 1935. 33x23 inches, 86x59 cm.

Lot 21: ALBERT FUSS (1889-1969). HAMBURG - AMERIKA LINIE / FERIEN - UND STUDIENREISEN NACH NORD - AMERIKA. Circa 1935. 33x23 inches, 86x59 cm.

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Description: ALBERT FUSS (1889-1969) HAMBURG - AMERIKA LINIE / FERIEN - UND STUDIENREISEN NACH NORD - AMERIKA. Circa 1935. 33 3/4x23 1/2 inches, 86x59 1/2 cm. Kunst & Werbedruck, Frankfurt. Condition B+ / B: overpainting along repaired tear through image; repaired tears at edges; ink stamp in bottom margin. Fuss was a prolific designer for the Hamburg-America Line. The extensive body of work he created for the company in the 1930s and 40s takes on many different aspects of travelling by ship, from the vessels themselves to the exotic lands and seas through which the ships pass. This is the smaller format. German version. Encyclopedie de l'Affiche p. 207 (var).

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WALTER THOMAS (1894-1971). CUNARD WHITE STAR /

Lot 22: WALTER THOMAS (1894-1971). CUNARD WHITE STAR / "QUEEN MARY" "QUEEN ELIZABETH" / FASTEST OCEAN SERVICE IN THE WORLD. 1947. 29x18 inches,

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Description: WALTER THOMAS (1894-1971) CUNARD WHITE STAR / "QUEEN MARY" "QUEEN ELIZABETH" / FASTEST OCEAN SERVICE IN THE WORLD. 1947. 29 1/4x18 3/4 inches, 74 1/2x47 1/2 cm. Condition A- / B+: creases in bottom text panel; side margins trimmed off. Walter Thomas designed posters for several shipping companies including Cunard, White Star, Lamport & Holt and the British Navy. Weallans p. 172.

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ARTHUR C. MICHAEL (DATES UNKNOWN). CUNARD / BRITAIN'S FASTEST OCEAN SERVICE. Circa 1937. 32x23 inches, 82x60 cm.

Lot 23: ARTHUR C. MICHAEL (DATES UNKNOWN). CUNARD / BRITAIN'S FASTEST OCEAN SERVICE. Circa 1937. 32x23 inches, 82x60 cm.

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Description: ARTHUR C. MICHAEL (DATES UNKNOWN) CUNARD / BRITAIN'S FASTEST OCEAN SERVICE. Circa 1937. 32 1/4x23 3/4 inches, 82x60 1/4 cm. Condition A / A-: trimmed to image. Framed. A captain and his first officer are standing on the deck of their liner, clearly in command of the powerful ship, the sheer enormity of which is represented by the monumental funnels behind the seamen. This design is a rather extraordinary and dramatic rendition of control, confidence and ability. A painter, etcher and illustrator, Michael designed posters for the LNER railroad as well as the White Star Line. Whether depicting sports, beach scenes or elegant evening tableaux, his subjects are vivaciously rendered in a style which radiates England's optimism in the best tradition of pre-war travel posters. His realistic style, a contemporary Art Deco mannerism, focuses as much on fashion as on lifestyle.

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PATRICK COKAYNE KEELY (?-1970). SOUTHAMPTON DOCKS / SOUTHERN RAILWAY. 1947. 39x25 inches, 101x63 cm. McCorquodale, London.

Lot 24: PATRICK COKAYNE KEELY (?-1970). SOUTHAMPTON DOCKS / SOUTHERN RAILWAY. 1947. 39x25 inches, 101x63 cm. McCorquodale, London.

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Description: PATRICK COKAYNE KEELY (?-1970) SOUTHAMPTON DOCKS / SOUTHERN RAILWAY. 1947. 39 3/4x25 inches, 101x63 1/2 cm. McCorquodale, London. Condition B+ / B: repaired tears in margins and image; creases and abrasions in image; cursive text added via silkscreen. Pat Keely established himself as a prominent graphic designer in the years before the Second World War, known for his strong, stylized Art Deco style (which he used most notably in his posters for the Southern Railway). During World War II, he was one of the artists chosen to participate in the workplace safety series commissioned by the Royal Society for the Prevention of Accidents.

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DESIGNER UNKNOWN. CANADIAN PACIFIC / THE NEW EMPRESS OF CANADA. Circa 1961. 35x24 inches, 90x61 cm.

Lot 25: DESIGNER UNKNOWN. CANADIAN PACIFIC / THE NEW EMPRESS OF CANADA. Circa 1961. 35x24 inches, 90x61 cm.

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Description: DESIGNER UNKNOWN CANADIAN PACIFIC / THE NEW EMPRESS OF CANADA. Circa 1961. 35 3/4x24 inches, 90 3/4x61 cm. Condition B+: abrasions and restoration in margins and image. The New Empress of Canada was launched in 1961 and was the third ship in the Canadian Pacific's fleet to bear that name. In 1972 she was sold to the Carnival Line, renamed the Mardi Gras and became the first cruise ship in the company's fleet, for which she sailed until 1993. Not in Canadian Pacific.

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LESTER BEALL (1903-1969). EUROPE / UNITED STATES LINES. Circa 1952. 30x22 inches, 76x56 cm.

Lot 26: LESTER BEALL (1903-1969). EUROPE / UNITED STATES LINES. Circa 1952. 30x22 inches, 76x56 cm.

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Description: LESTER BEALL (1903-1969) EUROPE / UNITED STATES LINES. Circa 1952. 30x22 inches, 76 1/4x56 cm. Condition A- / B+: minor losses at edges; creases and abrasions in corners and image. Paper. In the 1930s, after a traditional education in Chicago, Lester Beall became interested in avant-garde typography and the design elements of the Bauhaus. He moved to New York in 1935, where he began a successful career as an Art Director. He created world-acclaimed logos and corporate identities for such companies as American International Paper, Merrill Lynch, Caterpillar, Martin Marietta and the New York Hilton. His goal was always to get his clients out of what he called "the vast anonymity." He strove to achieve this goal with graphics as simple, efficient and readable as possible, as exemplified here with the S.S. United States in the middle of a patriotically-colored arrow pointing toward the word "Europe."

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LESTER BEALL (1903-1969). S.S. AMERICA / UNITED STATES LINES. Circa 1952. 30x22 inches, 76x56 cm.

Lot 27: LESTER BEALL (1903-1969). S.S. AMERICA / UNITED STATES LINES. Circa 1952. 30x22 inches, 76x56 cm.

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Description: LESTER BEALL (1903-1969) S.S. AMERICA / UNITED STATES LINES. Circa 1952. 30x22 inches, 76 1/4x56 cm. Condition A / A-: pen mark in text at top; minor tears at edges; metal strips affixed to top and bottom margins. Paper. In 1937, Beall was the first American designer to have a one-man show at the Museum of Modern Art. He designed at least 6 posters for the United States Lines, each with a crisp, efficient, modern graphic treatment, and realized with a contemporary dynamic vision.

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R. S. PIKE (DATES UNKNOWN).

Lot 28: R. S. PIKE (DATES UNKNOWN). "THE AMERICAN WAY TO EUROPE" / UNITED STATES LINES. Circa 1923. 38x25 inches, 96x64 cm.

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Description: R. S. PIKE (DATES UNKNOWN) "THE AMERICAN WAY TO EUROPE" / UNITED STATES LINES. Circa 1923. 38x25 1/2 inches, 96 1/2x64 3/4 cm. Condition B+: repaired tears at edges, some affecting image and text; creases in image; restoration and overpainting at edges and corners. The Leviathan was originally a German ship named the Vaterland that was seized by the United States during World War I and renamed. In 1923, the United States Shipping Board transferred the ship over to the United States Lines. Though not in fact "The largest ship in the world," (she was second to White Star's Majestic), the ship was a headline-maker and considered to be one of the best-known liners in the western world. This image exists with several different text variations.

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LOUIS MACOUILLARD (1913-1987). AMERICAN PRESIDENT LINES. Circa 1950. 40x28 inches, 102x71 cm.

Lot 29: LOUIS MACOUILLARD (1913-1987). AMERICAN PRESIDENT LINES. Circa 1950. 40x28 inches, 102x71 cm.

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Description: LOUIS MACOUILLARD (1913-1987) AMERICAN PRESIDENT LINES. Circa 1950. 40 1/4x28 inches, 102 1/4x71 cm. Condition B+: repaired tear through top margin into image; discoloration around edges, minor staining in image. Silkscreen. A San Francisco native, Macouillard was an accomplished artist, having studied at the California College of Arts and Crafts and the Art Students League of New York. He became Art Director of the Velvetone Poster Company in San Francisco and designed two stamps for the United States Postal Service. Primarily a watercolorist, he also did work for the Matson Line, including posters and menu covers.

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ARMENGOL (DATES UNKNOWN). TO U.S.A. / UNITED STATES LINES. Circa 1952. 39x25 inches, 99x64 cm.

Lot 30: ARMENGOL (DATES UNKNOWN). TO U.S.A. / UNITED STATES LINES. Circa 1952. 39x25 inches, 99x64 cm.

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Description: ARMENGOL (DATES UNKNOWN) TO U.S.A. / UNITED STATES LINES. Circa 1952. 39 1/4x25 1/4 inches, 99 3/4x64 cm. Condition A- / B+: repaired tears, restored losses and restoration along left edge; creases in image.

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ZE'EV RABAN (1890-1970). TOURISM IN PALESTINE / COME AND SEE EREZISRAEL. 1929. 26x18 inches, 68x45 cm. Bezalel, Jerusalem.

Lot 31: ZE'EV RABAN (1890-1970). TOURISM IN PALESTINE / COME AND SEE EREZISRAEL. 1929. 26x18 inches, 68x45 cm. Bezalel, Jerusalem.

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Description: ZE'EV RABAN (1890-1970) TOURISM IN PALESTINE / COME AND SEE EREZISRAEL. 1929. 26x18 inches, 68x45 3/4 cm. Bezalel, Jerusalem. Condition B+: repaired tears and restoration in margins and image; overpainting in margins; colors attenuated. Framed. Ze'ev Raban joined Bezalel in 1912 when he emigrated from Poland to Palestine. He was an industrial and graphic designer, painter, sculptor, decorative artist and expert at repousée (metalwork). In addition to his ceramic tile designs (many of which can still be seen on buildings in Tel Aviv), Raban was best known for his book illustrations. He designed two posters: one in his classic, illustrative style, and this one. "In small pictures flanking a map of Palestine, a mixture of Jewish sites are shown: traditional Holy Places of the Temple Site, Rachel's Tomb, The Cave of Machpelah (in Hebron), the Tower of David, the two Zionist schools Bezalel and Herzliya, and the two Zionist colonies Rishon Le-tzyion and Metulah" (Art in Zion, p. 206). The poster proudly offers artistic goods and local services for sale. Founded in 1906, the Bezalel Movement worked toward forging a recognizable national art form, combining Jewish, Middle Eastern and European artistic traditions. Much of their graphic art portrayed biblical and Zionist subjects in a style influenced by Art Nouveau. very rare/span Raban p. 106, Not in the Israeli Museum, not in Magnes.

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AUGUSTUS OSBORNE LAMPLOUGH (1877-1930). CHEMINS DE FER DE L'ETAT EGYPTIEN /

Lot 32: AUGUSTUS OSBORNE LAMPLOUGH (1877-1930). CHEMINS DE FER DE L'ETAT EGYPTIEN / "CREPUSCULE EN EGYPTE." 1911. 38x24 inches, 97x62 cm. McCo

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Description: AUGUSTUS OSBORNE LAMPLOUGH (1877-1930) CHEMINS DE FER DE L'ETAT EGYPTIEN / "CREPUSCULE EN EGYPTE." 1911. 38 1/2x24 1/2 inches, 97 3/4x62 1/4 cm. McCorquodale & Co Limited, London. Condition B+: minor tears and creases at edges; abrasions in image; slightly darkened overall. Paper. Framed. A British-born painter and watercolorist, Lamplough turned his attention to North Africa after 1902. He wrote and illustrated several books on the region including Cairo and its Environs, Winter in Egypt, Egypt and How to See it and others. Lamplough is known to have designed at least four posters for the Egyptian Railways. Not in Orientalist. rare/span

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DESIGNER UNKNOWN. EGYPT / NEVER MISS SUNSHINE ON THE PYRAMIDS. 1957. 40x27 inches, 101x69 cm. Institut Graphique Egyptien, Egypt.

Lot 33: DESIGNER UNKNOWN. EGYPT / NEVER MISS SUNSHINE ON THE PYRAMIDS. 1957. 40x27 inches, 101x69 cm. Institut Graphique Egyptien, Egypt.

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Description: DESIGNER UNKNOWN EGYPT / NEVER MISS SUNSHINE ON THE PYRAMIDS. 1957. 40x27 1/4 inches, 101 1/2x69 1/4 cm. Institut Graphique Egyptien, Egypt. Condition A-: repaired tears and restoration at edges, some affecting image; staining and abrasions in margins.

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E. KORVER (DATES UNKNOWN). SEE BALI. 1938. 36x24 inches, 91x61 cm. Kolff, Neth. Indies.

Lot 34: E. KORVER (DATES UNKNOWN). SEE BALI. 1938. 36x24 inches, 91x61 cm. Kolff, Neth. Indies.

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Description: E. KORVER (DATES UNKNOWN) SEE BALI. 1938. 36x24 1/4 inches, 91 1/2x61 1/2 cm. Kolff, Neth. Indies. Condition B: tear in top margin; creases and abrasions in margins and image. Framed. One in a series of Indonesian travel posters produced in the 1930s by the Information Bureau of the Netherlands Indies. This ethnic, atmospheric, Art Deco-inspired image depicts Mount Batur, one of two active volcanoes on the island.

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A. BLYTH (DATES UNKNOWN). BURMA RAILWAYS. Circa 1935. 39x25 inches, 100x63 cm. G. Claridge & Co, Ltd., Bombay.

Lot 35: A. BLYTH (DATES UNKNOWN). BURMA RAILWAYS. Circa 1935. 39x25 inches, 100x63 cm. G. Claridge & Co, Ltd., Bombay.

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Description: A. BLYTH (DATES UNKNOWN) BURMA RAILWAYS. Circa 1935. 39 1/2x25 inches, 100 1/2x63 1/2 cm. G. Claridge & Co, Ltd., Bombay. Condition B+: repaired tears and creases in margins and image.

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KEITH HENDERSON (1883-1982). A TEAK FOREST OF BURMA. Circa 1938. 19x29 inches, 50x75 cm. Waterlow & Sons, Ltd., London.

Lot 36: KEITH HENDERSON (1883-1982). A TEAK FOREST OF BURMA. Circa 1938. 19x29 inches, 50x75 cm. Waterlow & Sons, Ltd., London.

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Description: KEITH HENDERSON (1883-1982) A TEAK FOREST OF BURMA. Circa 1938. 19 3/4x29 1/2 inches, 50x75 cm. Waterlow & Sons, Ltd., London. Condition B+: repaired tears and restoration in margins and corners, some affecting image; abrasions in image. One in a series of images designed by Henderson for the Empire Marketing Board celebrating the different exotic types of wood found across the British Empire. Others in the series include "West African Mahogony," "Australian Jarrah," "Timber in Canada" and "Home Re-Afforestation."

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HENRY GEORGE GAWTHORN (1879-1941). VISIT INDIA / A STREET BY MOONLIGHT. Circa 1925. 39x25 inches, 100x63 cm. Adams Bros. & Shardlow Ltd

Lot 37: HENRY GEORGE GAWTHORN (1879-1941). VISIT INDIA / A STREET BY MOONLIGHT. Circa 1925. 39x25 inches, 100x63 cm. Adams Bros. & Shardlow Ltd

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Description: HENRY GEORGE GAWTHORN (1879-1941) VISIT INDIA / A STREET BY MOONLIGHT. Circa 1925. 39 1/2x25 inches, 100x63 1/2 cm. Adams Bros. & Shardlow Ltd., London. Condition A- / B+: restored losses and minor restoration in top margin. In many of his finest posters, Gawthorn employed his signature stylized graphic ability to depict the privileged classes engaging in their exclusive and elegant pastimes. Unlike his posters promoting golfing, seaside resorts or hunting wild boar in India on elephant-back, this Art Deco-inspired image is an exotic evening street scene, executed using a cut-out style and flat colors in a manner reminiscent of Hohlwein and Fred Taylor. Voyage p. 129.

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SHEP (CHARLES SHEPHERD, 1892-?). SEE INDIA. Circa 1930. 39x24 inches, 99x62 cm. G. Claridge & Co. Ltd., Bombay.

Lot 38: SHEP (CHARLES SHEPHERD, 1892-?). SEE INDIA. Circa 1930. 39x24 inches, 99x62 cm. G. Claridge & Co. Ltd., Bombay.

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Description: SHEP (CHARLES SHEPHERD, 1892-?) SEE INDIA. Circa 1930. 39x24 1/2 inches, 99x62 cm. G. Claridge & Co. Ltd., Bombay. Condition B+: overpainting along repaired tears in margins and image; restoration at edges; scratch in image. The exceptional view of Mt. Kanchanjunga commanded from Darjeeling is well-represented here both in color and style. On a clear day, a visitor to this area in Northeast India would also be able to see Mt. Everest.

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G. TAIT (DATES UNKNOWN). SEE INDIA / BENGAL. Circa 1935. 39x25 inches, 100x64 cm. Bolton Fine Art, Bombay.

Lot 39: G. TAIT (DATES UNKNOWN). SEE INDIA / BENGAL. Circa 1935. 39x25 inches, 100x64 cm. Bolton Fine Art, Bombay.

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Description: G. TAIT (DATES UNKNOWN) SEE INDIA / BENGAL. Circa 1935. 39 1/4x25 1/4 inches, 100x64 cm. Bolton Fine Art, Bombay. Condition A. The heavily populated Bengal region of India is home to the cities of Calcutta and Dacca, the verdant Ganges Delta, one of the world's largest Mangrove forests and the eponymous Bengal Tiger.

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DOROTHY NEWSOME (DATES UNKNOWN). VISIT HOLY ISIPATANA (SARNATH) / INDIA. Circa 1935. 39x24 inches, 101x63 cm. Calcutta Chromotype Ltd.,

Lot 40: DOROTHY NEWSOME (DATES UNKNOWN). VISIT HOLY ISIPATANA (SARNATH) / INDIA. Circa 1935. 39x24 inches, 101x63 cm. Calcutta Chromotype Ltd.,

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Description: DOROTHY NEWSOME (DATES UNKNOWN) VISIT HOLY ISIPATANA (SARNATH) / INDIA. Circa 1935. 39 3/4x24 3/4 inches, 101x63 cm. Calcutta Chromotype Ltd., Calcutta. Condition B+ / A-: repaired tear through top margin; restoration in upper right corner; text banner affixed to bottom. Isipatana (also known as Sarnath) is one of four sites mentioned by the Buddha as adestination for pilgrimages. The Mulagandhakuti Vihara monastery (depicted in white) marks the place where the Buddha spent his first rainy season. The Dhamek Stupa, the circular structure in the background on the right, was constructed in the year 500 to commemorate the Buddha's activities in the area.

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GOBINDA MANDAL (DATES UNKNOWN). SREE DHAM / BRINDABAN. 1940. 39x25 inches, 99x64 cm. E.I.R. Press, Calcutta.

Lot 41: GOBINDA MANDAL (DATES UNKNOWN). SREE DHAM / BRINDABAN. 1940. 39x25 inches, 99x64 cm. E.I.R. Press, Calcutta.

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Description: GOBINDA MANDAL (DATES UNKNOWN) SREE DHAM / BRINDABAN. 1940. 39x25 1/4 inches, 99x64 cm. E.I.R. Press, Calcutta. Condition B+: restoration along printer's creases in image; minor restoration in margins and image. Situated in the Mathura District not far from Delhi, Vrindavan is the site of an ancient forest, a holy place where Krishna spent his childhood. Here, a devotee makes an offering to a deity beneath the towers of the Madan Mohan temple.

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DOROTHY NEWSOME (DATES UNKNOWN). [PARESHNATH PAHAR.] Circa 1935. 39x24 inches, 101x62 cm. The Indian Press, Ltd. Calcutta.

Lot 42: DOROTHY NEWSOME (DATES UNKNOWN). [PARESHNATH PAHAR.] Circa 1935. 39x24 inches, 101x62 cm. The Indian Press, Ltd. Calcutta.

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Description: DOROTHY NEWSOME (DATES UNKNOWN) [PARESHNATH PAHAR.] Circa 1935. 39 3/4x24 1/2 inches, 101x62 cm. The Indian Press, Ltd. Calcutta. Condition B+ / B: repaired tears through margins into image; ink smudges in image. Shikarji, also known as Pareshnath Hill, is an important Jain pilgrimage destination, with over 20 temples crowning the surrounding hills.

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ROGER BRODERS (1883-1953). VISIT INDIA / MUTTRA. 1928. 39x25 inches, 100x63 cm. Lucien Serre & Cie., Paris.

Lot 43: ROGER BRODERS (1883-1953). VISIT INDIA / MUTTRA. 1928. 39x25 inches, 100x63 cm. Lucien Serre & Cie., Paris.

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Description: ROGER BRODERS (1883-1953) VISIT INDIA / MUTTRA. 1928. 39 1/2x25 inches, 100 1/2x63 1/2 cm. Lucien Serre & Cie., Paris. Condition B+: minor restored losses and restoration at edges; abrasions in image. The ancient city of Muttra is revered by Hindus as the birthplace of Krishna and considered one of the most important centers of Indian art. This is one of three posters Broders designed for travel in India. Here, specifically, the poster is promoting travel on the Bombay, Baroda and Central India Railway and the Great Indian Peninsula Railway. Broders p. 108A, Perry / Broders p. 95.

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GOBINDA MANDAL (DATES UNKNOWN). [INDIA.] 1937. 39x24 inches, 99x62 cm. Calcutta Chromotype Ltd, Calcutta.

Lot 44: GOBINDA MANDAL (DATES UNKNOWN). [INDIA.] 1937. 39x24 inches, 99x62 cm. Calcutta Chromotype Ltd, Calcutta.

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Description: GOBINDA MANDAL (DATES UNKNOWN) [INDIA.] 1937. 39 1/4x24 3/4 inches, 99 1/2x62 1/2 cm. Calcutta Chromotype Ltd, Calcutta. Condition B+: repaired tear through top margin into image; minor restoration at edges.

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SOBHA SINGH (1901-1986). SEE INDIA / KAMAKHYA TEMPLE. 1940. 39x25 inches, 100x64 cm. Calcutta Chromotype Ltd, Calcutta.

Lot 45: SOBHA SINGH (1901-1986). SEE INDIA / KAMAKHYA TEMPLE. 1940. 39x25 inches, 100x64 cm. Calcutta Chromotype Ltd, Calcutta.

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Description: SOBHA SINGH (1901-1986) SEE INDIA / KAMAKHYA TEMPLE. 1940. 39 1/2x25 1/2 inches, 100 1/4x64 3/4 cm. Calcutta Chromotype Ltd, Calcutta. Condition B+: repaired tears and minor discoloration in margins. The Kamakhya Temple "is a Hindu temple dedicated to the mother goddess Kamakhya, one of the oldest of the 51 Shakti Pithas, situated on the Nilachal Hill in western part of Guwahati city in Assam, India. It is the main temple, dedicated to Kamakhya, in a complex of individual temples dedicated to the ten Mahavidyas… It is an important pilgrimage destination for general Hindu and especially for Tantric worshipers" (Wikipedia).

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G. M. SOLCQUANDAR (DATES UNKNOWN). SEE INDIA / AJANTA FRESCOES / CAVE TEMPLES. 1934. 39x25 inches, 100x63 cm. Bolton Fine Art, Bombay.

Lot 46: G. M. SOLCQUANDAR (DATES UNKNOWN). SEE INDIA / AJANTA FRESCOES / CAVE TEMPLES. 1934. 39x25 inches, 100x63 cm. Bolton Fine Art, Bombay.

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Description: G. M. SOLCQUANDAR (DATES UNKNOWN) SEE INDIA / AJANTA FRESCOES / CAVE TEMPLES. 1934. 39 1/2x25 inches, 100 1/2x63 1/2 cm. Bolton Fine Art, Bombay. Condition B+: restored pin holes and restoration in corners. Discovered in 1817, the frescoes of the Ajanta caves were created between the 2nd century B.C. and the 7th century A.D. Within a complex of 29 caves, the frescoes are a picture book to teach novices of the various incarnations of the Buddha. Religious in nature and artistically complex, the paintings cover the walls and ceilings of chapels, temples and monasteries which are all carved into the side of a ravine.

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SOBHA SINGH (1901-1986). SHILLONG / FOR YOUR HEALTH. Circa 1930. 40x25 inches, 102x64 cm. The Eagle Lithographing Co., Ltd., Calcutta.

Lot 47: SOBHA SINGH (1901-1986). SHILLONG / FOR YOUR HEALTH. Circa 1930. 40x25 inches, 102x64 cm. The Eagle Lithographing Co., Ltd., Calcutta.

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Description: SOBHA SINGH (1901-1986) SHILLONG / FOR YOUR HEALTH. Circa 1930. 40 1/4x25 1/4 inches, 102 1/4x64 cm. The Eagle Lithographing Co., Ltd., Calcutta. Condition A-: repaired tears at edges. Currently the capital of the small Indian state of Meghalaya and the former capital of Assam, Shillong is referred to as "The Scotland of the East" due to its geological similarity to the Scottish Highlands. Here, the Old World meets the New World as golfers and motorists mingle with traditional Indian villagers.

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DESIGNER UNKNOWN. THERE IS AN AIR ABOUT INDIA / AIR - INDIA. 1965. 40x25 inches, 101x65 cm. Prasad Process Private Ltd., Madras.

Lot 48: DESIGNER UNKNOWN. THERE IS AN AIR ABOUT INDIA / AIR - INDIA. 1965. 40x25 inches, 101x65 cm. Prasad Process Private Ltd., Madras.

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Description: DESIGNER UNKNOWN THERE IS AN AIR ABOUT INDIA / AIR - INDIA. 1965. 40x25 1/2 inches, 101 1/2x65 cm. Prasad Process Private Ltd., Madras. Condition A-: creases in corners. Paper. A world-renowned and recognized corporate icon, Air India's Maharaja was born in 1946, the creative genius of Air India's commercial director, Bobby Kooka, and Umesh Rao, an artist with the Mumbai branch of J. Walter Thompson Ltd. "The Maharaja began merely as a rich Indian potentate, symbolizing graciousness and high living. And somewhere along the line his creators gave him a distinctive personality, his outsized moustache, the striped turban and his aquiline nose . . . Air-India calls him the Maharaja for want of a better description. But his blood isn't blue. He may look like royalty, but he isn't royal . . . Today, this naughty, diminutive Maharaja of Air-India has become a world figure. He can be a lover boy in Paris, a sumo wrestler in Tokyo, a pavement artist, a Red Indian, a monk. He can effortlessly flirt with the beauties of the world. And most importantly, he can get away with it all. Simply, because he is the Maharaja" (The Chandigarh Tribune, July 17, 2005).

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DESIGNER UNKNOWN. [INDIA]. 39x24 inches, 99x63 cm.

Lot 49: DESIGNER UNKNOWN. [INDIA]. 39x24 inches, 99x63 cm. "House of Origin," Calcutta.

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Description: DESIGNER UNKNOWN [INDIA]. 39x24 3/4 inches, 99x63 cm. "House of Origin," Calcutta. Condition B+ / A-: overpainting along repaired tear through top margin; minor restoration at edges.

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DESIGNER UNKNOWN. CALCUTTA. 1941. 39x24 inches, 100x63 cm. E.I.R. Press, Calcutta.

Lot 50: DESIGNER UNKNOWN. CALCUTTA. 1941. 39x24 inches, 100x63 cm. E.I.R. Press, Calcutta.

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Description: DESIGNER UNKNOWN CALCUTTA. 1941. 39 1/2x24 3/4 inches, 100x63 cm. E.I.R. Press, Calcutta. Condition A-: discoloration and minor abrasions in image. Scenes from around Calcutta, including the Victoria Memorial, the Dakshineswar Temple, the Jain Temple, the Burmese Pagoda in the Eden Gardens and more.

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