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Auction Description for Swann: ALPHONSE MUCHA & MASTERS OF ART NOUVEAU
Terms and Conditions:
The property described in this catalogue, as amended by any posted notices or oral announcements during the sale, will be sold by Swann Galleries, Inc. (Swann) as agent for various owners (the Consignors). These CONDITIONS OF SALE, and the LIMITED WARRANTY and ADVICE TO PROSPECTIVE BIDDERS set forth elsewhere in the catalogue are the complete and only terms and conditions on which all property is offered for sale. By bidding at auction (whether present in person or by agent, by written or telephone bid, or by any other means) the buyer agrees to be bound by these Conditions of Sale.

1. THE AUTHENTICITY OF PROPERTY LISTED IN THIS CATALOGUE IS WARRANTED TO THE EXTENT STATED IN THE "LIMITED WARRANTY" EXCEPT AS PROVIDED THEREIN. ALL PROPERTY IS SOLD "AS IS" AND NEITHER SWANN NOR THE CONSIGNOR MAKES ANY WARRANTIES OR REPRESENTATIONS OF ANY KIND OR NATURE WITH RESPECT TO THE PROPERTY OR ITS VALUE, AND IN NO EVENT SHALL THEY BE RESPONSIBLE FOR CORRECTNESS OF DESCRIPTION, GENUINENESS, ATTRIBUTION, PROVENANCE, AUTHENTICITY, AUTHORSHIP, COMPLETENESS, CONDITION OF THE PROPERTY OR ESTIMATE OF VALUE. NO STATEMENT (ORAL OR WRITTEN) IN THE CATALOGUE, AT THE SALE, OR ELSEWHERE SHALL BE DEEMED SUCH A WARRANTY OR REPRESENTATION, OR ANY ASSUMPTION OF RESPONSIBILITY.

2. All bids are to be per lot as numbered in the catalogue.

3. NEITHER SWANN NOR THE CONSIGNOR MAKES ANY REPRESENTATION THAT THE PURCHASER OF MANUSCRIPT MATERIAL, PHOTOGRAPHS, PRINTS, OR WORKS OF ART WILL ACQUIRE ANY COPYRIGHT OR REPRODUCTION RIGHTS THERETO.

4. Swann reserves the absolute right (a) to withdraw any property at any time before its actual final sale, including during the bidding, and (b) to refuse any bid from any bidder. The auctioneer is the sole judge as to the amount to be advanced by each succeeding bid.

5. Any right of the purchaser under this agreement or under the law shall not be assignable and shall be enforceable only by the original purchaser and not by any subsequent owner or any person who shall subsequently acquire any interest. No purchaser shall be entitled to any remedy, relief or damages beyond return of the property, rescission of the sale and refund of the purchase price; and without limitation, no purchaser shall be entitled to damages of any kind.

6. The highest bidder acknowledged by the auctioneer shall be the purchaser. In the event of any dispute between bidders, the auctioneer shall have the absolute discretion either to determine the successful bidder or to re-offer and resell the lot in dispute. If any dispute arises after the sale, Swann's sales records shall be conclusive as to the purchaser, amount of highest bid, and in all other respects.

7. The purchase price paid by a purchaser shall be the sum of the final bid and a buyer's premium of 25% of the hammer price up to and including $100,000; 20% of the portion of the hammer price above $100,000 up to and including $1,000,000; and 12% of the portion of the hammer price above $1,000,000 ("the Buyer's Premium"), plus all applicable sales tax. An additional buyer's premium may be charged on any purchase made through a live online auction as posted by Swann in accordance with such live online auction.

8. On the fall of the auctioneer's hammer, title to the offered lot or article will pass to the highest acknowledged bidder, who thereupon (a) immediately assumes full risk and responsibility therefor, (b) will immediately sign a confirmation of the purchase therefor, setting forth his name and address, and (c) will immediately pay the full purchase price therefor. If the foregoing conditions or any other applicable conditions herein are not complied with, in addition to other remedies available to Swann and the Consignor by law (including without limitation the right to hold the purchaser liable for the bid price), Swann, at its option, may either (a) cancel the sale, retaining as liquidated damages all payments made by the purchaser, or (b) resell the property, either publicly or privately, for the account and risk of the purchaser, and in such event the purchaser shall be liable for the payment of all deficiencies plus all costs, including warehousing, the expenses of both sales, and Swann's commission at its regular rates and all other charges due hereunder. Swann may also impose late charges of 1.5% per month (or the highest rate allowed under applicable law, whichever is lower) on any amounts unpaid.

9. All property shall be removed from Swann by the purchaser at his expense no later than five (5) days following its sale, and if not so removed may, at Swann's option, be sent by Swann to a public warehouse at the account, risk and expense of the purchaser. Whether sent to a warehouse or stored by Swann, the purchaser shall be liable for all actual expenses incurred plus a storage charge of 5% of the purchase price.

10. Except as noted in this paragraph, all lots in this sale are offered for the account of a third party, without any interest (direct or indirect) of the auctioneer or Swann. Where Swann or an affiliate of Swann is the sole or partial owner of the property it is noted by the symbol l next to the description of that lot. Under no circumstances will the Consignor receive any rebate commission. Under no circumstances may the Consignor bid upon or buy back his property.

11. Except as may be otherwise expressly provided herein, any and all claims of a purchaser shall be deemed to be waived and without validity unless delivered in writing by registered mail return receipt requested to Swann within thirty (30) days of the date of sale.

12. The rights and obligations of the parties shall be governed by the laws of the State of New York. All bidders and the purchaser submit to the personal jurisdiction of the New York State courts and their rules and procedures in the event of any dispute.

13. No waiver or alteration of any of these Conditions of Sale, the Advice to Prospective Bidders, the Limited Warranty, the estimates, or any other matter in this catalogue or any other matter whatever (whether made by the auctioneer, or Consignor, or any representative of Swann) shall be effective unless it is in writing and signed by a representative of Swann.

14. THE "LIMITED WARRANTY" APPEARING BELOW AND THE "ADVICE TO PROSPECTIVE BIDDERS" APPEARING OVERLEAF FORM PART OF THESE CONDITIONS OF SALE.


LIMITED WARRANTY

We warrant the authenticity and condition of each lot catalogued herein on the terms and conditions set forth below.

1. Unless otherwise indicated in the respective catalogue descriptions (which are subject to amendment by oral or written notices or announcements made by Swann prior to sale), we warrant for a period of three (3) years from the date of sale the authenticity of each lot catalogued herein. (Please note Paragraphs 3 and 5 below.)

2. Except as noted above, or unless otherwise indicated in the respective catalogue description, we warrant for a period of thirty (30) days from the date of sale to the original buyer of record, that each book or manuscript is complete in text and illustration and generally is in such physical condition as may reasonably be expected considering the age and provenance. This warranty does not cover damages to binding, stains or foxing, wormholes, short leaves of text or plates or any defect not affecting the completeness of the text. Moreover, this warranty does not cover the lack of inserted advertisements, blank leaves, cancels or subsequently published volumes.

3. Serial publications, books in original parts, extra-illustrated books, made up "albums" and lots described as "sold as is," "sold not subject to return," "not collated," "collection of " or "group of," and any lot containing more than three (3) items, are sold as is and therefore not covered by these warranties.

4. The benefits of these warranties are not assignable and are applicable only to the original buyer of the lot, and are conditioned on the buyer returning the work in the same condition as at time of sale and in the time period specified.

5. (a) The buyer's sole remedy under these warranties shall be the rescission of the sale and refund of the original purchase price paid for the item, and this remedy shall be exclusive and in lieu of any other remedy which might otherwise be available to the buyer as a matter of law.

(b) In the event that a buyer claims that an item is not authentic, Swann shall have no obligation to rescind the sale unless the buyer has obtained, at the buyer's expense, the opinion of two recognized experts in the field, who are mutually agreeable to Swann and the buyer, that a lot or portion thereof is not authentic.

ADVICE TO PROSPECTIVE BIDDERS

1. ALL PROPERTY IS SOLD SUBJECT TO THIS ADVICE, THE CONDITIONS OF SALE, AND TERMS OF WARRANTY PRINTED IN THE CATALOGUE.

2. INSPECTION OF PROPERTY. Prospective bidders or their agents should inspect property prior to the auction. Swann staff are available to advise prospective bidders at all pre-sale exhibitions and by appointment.

3. BUYER'S PREMIUM. The purchase price payable on any lot purchased will be the total of the final bid plus the Buyer's Premium as defined in paragraph 7 of the Conditions of Sale, plus all applicable sales taxes.

4. SALES TAX. All items purchased are subject to payment of the New York City and State sales tax of 8.875% on the total purchase price (final bid plus the Buyer's Premium as defined in paragraph 7 of the Conditions of Sale) unless the purchaser presents proof of exemption therefrom. An exempt purchaser must provide a properly completed New York State Resale Certificate (Form ST-120) evidencing possession of a valid New York State Resale or, for non-New York State businesses, the equivalent resale authorization from another locale. Purchases will not be released unless all sales tax requirements are satisfied. Purchases shipped outside of New York State are not subject to sales tax.

5. BIDDING INCREMENTS. $10 up to $150; then $25 to $500; $50 to $1,000; $100 to $2,000; $200 to $6,000; $500 to $10,000; $1,000 to $20,000; $2,000 to $50,000; and approximately 10% of the current bid thereafter. However, the auctioneer may modify the increments at any time.

6. RESERVES. All lots are subject to a reserve, which is the confidential minimum price agreed to with the seller below which the lot will not be sold. The reserve will never be higher than the low pre-sale estimate, and will never be lower than half the low estimate. Swann may implement such reserve by opening the bidding on behalf of the seller and may bid up to the amount of the reserve by placing successive or consecutive bids for a lot in response to other bidders.

7. ESTIMATES. The estimates provided are intended as a guide to bidding. The figures are educated guesses, based on recent values. A bid between the listed figures would, in our opinion, have a chance of success (at the time the catalogue was prepared). The estimates are exclusive of the buyer's premium, and may be revised at any time prior to the auction.

8. BIDDING. All persons attending the auction must obtain a bidding number prior to bidding. If bids cannot be made in person or by an agent, they may be made by mail, fax, e-mail, or telephone and such bids will be executed without charge.

9. ABSENTEE BIDS will be executed by Swann on the bidder's behalf in competition with other absentee bids and bidding in the room. Every effort will be made to carry out the bidder's instructions, but Swann shall in no event be responsible for failing correctly to carry out instructions, and Swann reserves the right to decline to undertake such bids. Bids by mail should be made in U.S. dollars on the bid sheet found at the end of the catalogue and in accordance with the instructions on the bid sheet.

10. REMOVAL OF PROPERTY. All lots purchased shall be removed at the purchaser's risk and expense by the end of the fifth business day following the sale. Purchases not so removed will be treated as set forth in paragraph 9 of the Conditions of Sale.

11. SHIPMENT. Upon request, Swann will facilitate the shipping of purchases to out-of-town buyers at an additional charge for packing, postage and insurance, but will not be responsible for any loss, damage or delay resulting from the packing, handling and shipping thereof. Unless specific instructions are received, Swann is the sole judge of the method to be used for shipment.

12. PRICES REALIZED. A list of prices realized is published on our website www.swanngalleries.com at the conclusion of the sale. The Prices Realized is also available at Swann and will be mailed upon request.

13. CREDIT. Bidders whose credit is unknown to Swann should submit acceptable credit references or make prior arrangements for payment, failing which purchases will not be released until funds have cleared. Mail bidders should submit references or a deposit of 25% of their maximum bid. If successful, the deposit will be applied to the purchase; if unsuccessful, the deposit will be returned.

14. LOTS NOT RETURNABLE. Paragraph 3 of the Limited Warranty describes lots which are sold as is and not returnable. Books, manuscripts, prints, drawings, photographs, signatures, or any other property offered in a lot comprising more than 3 items, whether or not such items are individually named, constitute "Grouped Lots." Such "Grouped Lots" are not subject to return for any reason.

SUPPLEMENTAL ADVICE TO PROSPECTIVE BIDDERS WITH RESPECT TO SALES OF POSTERS

Posters, for the most part, were printed in large format on the cheapest possible paper, and with an expected life of two to three months on billboards. They were ephemeral by definition and not intended to withstand the test of time. Therefore, in grading a poster's condition the standards and criteria of the print collector cannot be used. The most important element in grading a poster's condition is its appearance as defined by the lines, colors and overall design.

Condition in this catalogue is noted according to a rating system which has been accepted by most poster dealers. The following ratings are used, with an appropriate + or - to indicate slightly better or worse condition:

Condition A: designates a poster much in the same state as when it was printed; the colors are fresh, there is no signifcant paper loss or tears, but there may be some slight blemish, creases or scuffng.

Condition B: designates a poster in good condition. Some restoration (including repaired tears or slight overpainting) may have been done but it is not visibly apparent, there may be discoloration and/or fading.

Condition C: designates a poster that is showing the effects of time and/or heavy restoration. Fading and discoloration may be more pronounced, restoration, folds, creases and flaking may be visible, and there may be paper loss or obvious restored losses.

Within these guidelines, we have done our best to describe any flaws, defects and restoration-whether apparent or not. However, the above condition ratings are subjective. Prospective purchasers should satisfy themselves as to condition

IF YOU HAVE ANY QUESTIONS REGARDING THESE POSTERS, PLEASE FEEL FREE TO CALL FOR ADDITIONAL INFORMATION OR FOR A CONDITION REPORT. WE ENCOURAGE YOU TO EXAMINE THE POSTERS YOURSELF OR TO HAVE THEM EXAMINED BY YOUR REPRESENTATIVE.

ALL POSTERS ARE LINEN-BACKED UNLESS OTHERWISE INDICATED.
Payment Information:
Payment must be made by cash, check, certified check or money order. Purchases paid using personal checks may be held until payment has cleared. Swann does not accept credit cards or PayPal for purchases. Non-US purchasers must pay using a US-dollar denominated check drawn on a US bank, or by international money order or bank transfer.
Shipping Information:
Upon request, Swann will facilitate the shipping of purchases to out-of-town buyers at an additional charge for packing, shipping and insurance, but will not be responsible for any loss, damage or delay resulting from the packing, handling and shipping thereof. Unless specific instructions are received, Swann is the sole judge of the method to be used for shipment. Packing and shipping costs will be noted on the invoice mailed to successful bidders after the sale, and are based on the actual costs involved. Be advised that a full commercial invoice must accompany any purchase shipped outside the US.
Buyer's Premium:
Buyer's Premium is 25% of the hammer price up to and including $100,000; 20% of the portion of the hammer price above $100,000 up to and including $1,000,000; and 12% of the portion of the hammer price above $1,000,000.
Taxes on your purchase:
SALES TAX. All items purchased are subject to payment of the New York City and State sales tax of 8.875% on the total purchase price (final bid plus the Buyer's Premium as defined in paragraph 7 of the Conditions of Sale) unless the purchaser presents proof of exemption therefrom. An exempt purchaser must provide a properly completed New York State Resale Certificate (Form ST-120) evidencing possession of a valid New York State Resale or, for non-New York State businesses, the equivalent resale authorization from another locale. Purchases will not be released unless all sales tax requirements are satisfied. Purchases shipped outside of New York State are not subject to sales tax.
Condition Statement:
Available upon request.

ALPHONSE MUCHA & MASTERS OF ART NOUVEAU (219 Lots)

by Swann Auction Galleries

January 26, 2017, 1:30 PM EST

Live Auction

New York, NY, USA

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DESIGNER UNKNOWN. THE LEADERS. 1888. 22x29 inches, 56x73 cm. Currier & Ives, New York.

Estimate: $700 - $1,000

Description: DESIGNER UNKNOWN THE LEADERS. 1888. 22 1/8x29 inches, 56 1/4x73 3/4 cm. Currier & Ives, New York. Condition A-: repaired tears at edges, one slightly into upper left image; light mat staining at edges; minor staining in upper left margin and image. Paper. Matted and framed. Horse racing, champion horses and other competitive equestrian imagery were some of the more popular themes in the Currier and Ives catalogue. Beginning in the early 1880s, they produced more than 500 distinct images in this category. Unlike many of their earlier lithographs which were hand-tinted, this is one of their images which they printed using chromolithography.

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F.R. (MONOGRAM UNKNOWN). CARRERAS DE CABALLOS. 24x36 inches, 61x93 cm. J. Weiner, Vienna.

Estimate: $700 - $1,000

Description: F.R. (MONOGRAM UNKNOWN) CARRERAS DE CABALLOS. 24 1/4x36 3/4 inches, 61 1/2x93 1/4 cm. J. Weiner, Vienna. Condition A-: minor repaired tears in margins; restored loss in upper right corner. Framed.

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DESIGNER UNKNOWN. THE BARNUM & BAILEY GREATEST SHOW ON EARTH. 1898. 29x36 inches, 74x93 cm. Strobridge Lith. Co., Cincinnati.

Estimate: $700 - $1,000

Description: DESIGNER UNKNOWN THE BARNUM & BAILEY GREATEST SHOW ON EARTH. 1898. 29 1/4x36 3/4 inches, 74 1/4x93 1/4 cm. Strobridge Lith. Co., Cincinnati. Condition A- / B+: repaired tears and creases in margins into text; tape stain through central image. Framed. Unexamined out of frame. Horse acts were incredibly popular under the American circus big tops. Acts featuring famous equestriennes (such as Polly Lee, Louise Renz, Josephine Clark and May Wirth), Roman-era chariot races, women jockeys, horse tricks, Shetland ponies, the Fire Horse Salamander, Hodgeni''s Bedouin Beauties, the Konyot Family (Hungarian riders) and many others all made their appearances on posters. For this spectacle, it was a literal horse race, rather than a show of performing horses. The lithographer captured all of the sights of a heated race, from the colorful jockey liveries to the heavily panting horses. This is the French version.

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MAURICE BIAIS (1860-1934). [CHAMPS DE COURSE.] Circa 1897. 21x42 inches, 53x106 cm. Ed. Sagot, Paris.

Estimate: $700 - $1,000

Description: MAURICE BIAIS (1860-1934) [CHAMPS DE COURSE.] Circa 1897. 21x42 inches, 53 1/4x106 3/4 cm. Ed. Sagot, Paris. Condition A: minor creases in margins. Framed. Unexamined out of frame. The son of a rich public notary, Maurice Biais was a socialite and a dandy on the Parisian scene, as well as a talented artist. In 1911, he married the performer Jane Avril, with whom he had a doomed, short-lived union. He designed numerous illustrations, graphics and posters including one for La Maison Moderne, for whom he also designed decorative objects. Here, much in the style of Sem (Georges Goursat), he captures a scene between races at a track. This was a work that was exhibited in New York City in 1901 at "the little gallery of Williams on Fifth Avenue, near Thirty-seventh street," as part of an exhibition of the artist''s work. The New York Times art critic reviewing the show on October 19, 1901, describes a "long frieze-like picture called ''Champs de Course'' . . . it is a procession of thin race horses mounted by jockeys; the faces of the latter are caricatures. Perhaps the underlying idea is a design for wall paper to be placed in the houses and fine stables of lovers of the turf" (New York Times, October 19, 1901).

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HARRY ELIOTT (1882-1959). [HORSE RACE.] 1902. 14x39 inches, 36x100 cm.

Estimate: $400 - $600

Description: HARRY ELIOTT (1882-1959) [HORSE RACE.] 1902. 14 1/8x39 1/2 inches, 36x100 1/4 cm. Condition A- / B+: replaced upper right corner. Pochoir. Matted and framed. Unexamined out of frame. Charles Edmond Hermet was a Frenchman with a fondness for all things British and so adapted a British name, Harry Eliott, for his artistic pursuits. He was a painter and illustrator, best remembered for illustrating the works of Charles Dickens, as well as for a series he did on outdoor and hunting scenes very much in the style of Cecil Alden.

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Starting bid: $300 (0 bids)

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LÉON VALENTIN GAMBEY (1883-1914). COURSES DE CHALON S/ SAÔNE. Circa 1911. 51x36 inches, 129x91 cm. J. Minot, Paris.

Estimate: $1,000 - $1,500

Description: LÉON VALENTIN GAMBEY (1883-1914) COURSES DE CHALON S/ SAÔNE. Circa 1911. 51x36 inches, 129 1/2x91 1/2 cm. J. Minot, Paris. Condition A: minor repaired tears and creases along vertical and horizontal folds. Framed. Unexamined out of frame. A native of Chalon-sur-Saône, Gambey was known for his watercolors of soldiers and horses. After studying art in his home town he moved to Paris where he continued his studies, drawing under Eugène Grasset at l''École Guerin, a private art school. He joined the French Army at the outbreak of the First World War and died in battle four months later. This well-composed image, with the hallmarks of classic French Art Deco illustrations, is his only known poster.

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DESIGNER UNKNOWN. SALEM GOLD CIGARETTE. Circa 1910. 36x47 inches, 91x125 cm

Estimate: $1,200 - $1,800

Description: DESIGNER UNKNOWN SALEM GOLD CIGARETTE. Circa 1910. 36x47 1/4 inches, 91 1/2x125 cm Condition B+: repaired tears and restoration at edges, into image; bleached spots in text and image; minor restored losses in margins.

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Starting bid: $900 (0 bids)

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MAX FELDBAUER (1869-1948). MÜNCHENER RENN - VEREIN. 1899. 28x37 inches, 72x94 cm.

Estimate: $700 - $1,000

Description: MAX FELDBAUER (1869-1948) MÜNCHENER RENN - VEREIN. 1899. 28 1/2x37 inches, 72 1/2x94 cm. Condition B+: repaired tears at edges into image; replaced loss at lower edge. Framed. Unexamined out of frame. The Munich Racing Club was founded in 1865, and in 1897 the club built its own race track in Riem, outside of Munich. One of at least two posters Feldbauer designed for this racing club, this same image also appeared on the top of a broadside announcing Spring races at the track. DFP-III 875 (var).

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LUDWIG HOHLWEIN (1874-1949). [TURF.] Group of 3 plates. 1909. Each approximately 19x19 inches, 49x50 cm. [Kunst & Verlagsanstalt Graphi

Estimate: $1,000 - $1,500

Description: LUDWIG HOHLWEIN (1874-1949) [TURF.] Group of 3 plates. 1909. Each approximately 19 3/8x19 3/4 inches, 49 1/4x50 cm. [Kunst & Verlagsanstalt Graphia, Munich.] Condition varies, generally A-: mat staining in margins; hinged to mat at top edge. Individually matted and framed. Unxamined out of frames. Turf was a portfolio of twelve images depicting all aspects of horse racing: the public, the jockeys, track-side scenes and the horses themselves. With its flat colors and absence of outlines, it is reminiscent of the work of the Beggarstaff Brothers. Specifically, it reflects the influence of William Nicholson (half of the Beggarstaff duo) whose portfolios London Types (1898) and Twelve Portraits (1899) present images rendered in exactly the same style and with the same beige, brown and black color scheme. Hohlwein''s images of horse racing are more dynamic than those of Nicholson, and the clever organization of the composition, with the dark ground and the tan sky, the silhouettes in the background, and the detail in front, is a brilliant example of how he could manipulate light and shadow. Hohlwein p. 132.

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LUDWIG HOHLWEIN (1874-1949). [TURF.] Group of 3 plates. 1909. Each approximately 19x19 inches, 49x50 cm. [Kunst & Verlagsanstalt Graphi

Estimate: $1,000 - $1,500

Description: LUDWIG HOHLWEIN (1874-1949) [TURF.] Group of 3 plates. 1909. Each approximately 19 3/8x19 3/4 inches, 49 1/4x50 cm. [Kunst & Verlagsanstalt Graphia, Munich.] Condition varies, generally A-: mat staining in margins; hinged to mat at top edge. Individually matted and framed. Roter Reiter is hand-signed by the artist in pencil. Hohlwein p. 132.

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LUDWIG HOHLWEIN (1874-1949). MÜNCHENER RENN - VEREIN. 1910. 38x26 inches, 92x67 cm. Joh. Roth, Munich.

Estimate: $4,000 - $6,000

Description: LUDWIG HOHLWEIN (1874-1949) MÜNCHENER RENN - VEREIN. 1910. 38 1/2x26 1/2 inches, 92 3/4x67 1/4 cm. Joh. Roth, Munich. Condition B: extensive overpainting, sharp creases and restoration in margins and image and along vertical and horizontal folds; restored losses in margins. Framed. Unexamined out of frame. Horseback riding was one of Hohlwein''s passions. Amongst his earliest and most successful poster commissions were images for the Hermann Scherrer store (one featuring a woman on a horse, the other a man with a saddle), and the subject of his first portfolio was horse racing (Turf, 1909): "All who know men and horses have a high regard for Hohlwein''s rendering of them. It is this peculiar combination of realism and advertising power that gives these posters their remarkable distinction" (Frenzel p. 40). It was on the basis of this equine affection that the year following Turf he was asked to advertise the Munich races. He depicts three galloping horses charging towards the viewer as brown masses against a patterned green background, with the white of the rider''s breeches bringing light into the image. The dynamic composition is augmented by the brush-stroke style technique that Hohlwein uses. DFP-III 1367, Hohlwein / Stuttgart 42, Hohlwein / Munich, p. 134.

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LUDWIG HOHLWEIN (1874-1949). DAS GOLDENE BUCH / DES SPORTS. 1910. 24x16 inches, 61x42 cm. G. Schuh & Cie, Munich.

Estimate: $2,000 - $3,000

Description: LUDWIG HOHLWEIN (1874-1949) DAS GOLDENE BUCH / DES SPORTS. 1910. 24x16 3/4 inches, 61x42 1/2 cm. G. Schuh & Cie, Munich. Condition A: creases in margins, some affecting image. Framed. Unexamined out of frame. Promoting what was basically an encyclopedia of sports that featured items on riding, biking, alpinism, winter sports, water sports, hunting, fishing, motorcycles, cycling, gymnastics, aerial sports, sports photography, and hygiene and assistance in the case of accidents, Hohlwein goes to where his heart lies, back to equine imagery, and depicts this image of polo players. DFP-III 1360, Hohlwein / Stuttgart 41.

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A. LAHMER (DATES UNKNOWN). DORTMUND. 1927. 33x22 inches, 83x57 cm. W. Cruwell, Dortmund.

Estimate: $700 - $1,000

Description: A. LAHMER (DATES UNKNOWN) DORTMUND. 1927. 33x22 3/4 inches, 83 3/4x57 3/4 cm. W. Cruwell, Dortmund. Condition A: minor creases and minor staining in margins and image. Framed. Unexamined out of frame.

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LUDWIG HOHLWEIN (1874-1949). AUSSTELLUNG: DAS PFERD IN DER KUNST. 1936. 23x16 inches, 59x41 cm. Chromolith-Kunstanstalt, Munich.

Estimate: $500 - $750

Description: LUDWIG HOHLWEIN (1874-1949) AUSSTELLUNG: DAS PFERD IN DER KUNST. 1936. 23 3/8x16 3/8 inches, 59 1/4x41 1/2 cm. Chromolith-Kunstanstalt, Munich. Condition A: minor creases in margins; minor staining in image. Framed. Unexamined out of frame.

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HUGO LAUBI (1888-1959). ST. MORITZ / XV. INTERNATIONALE PFERDERENNEN. 1924. 50x35 inches, 127x89 cm. Fretz, Zurich.

Estimate: $2,000 - $3,000

Description: HUGO LAUBI (1888-1959) ST. MORITZ / XV. INTERNATIONALE PFERDERENNEN. 1924. 50 1/4x35 inches, 127 1/2x89 cm. Fretz, Zurich. Condition A-: water stain in lower margin. Framed. Unexamined out of frame. Laubi, an illustrator and poster designer, became Art Director at the Fretz Brothers printing house in 1918, for whom he created numerous posters advertising PKZ and various Swiss travel destinations. He designed this poster in 1924 as a generic image promoting St. Moritz, with a depiction of one of the horse races on the frozen lake which took place annually in the town since the early 20th century until the outbreak of WWII. In at least two subsequent years, the image was reused with overprinting advertising that year''s horse races. In 1939, the image of the horses alone, without any background, was also used to promote the race. Laubi''s passion for horses in the rest of his life inspired his continued artistic depictions of them, and horses became a recurring motif in his career.

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VARIOUS ARTISTS. LES MAÎTRES DE L''AFFICHE. Group of 5, complete, bound volumes. 1896-1900. Each volume approximately 15x12x inches, 39

Estimate: $35,000 - $50,000

Description: VARIOUS ARTISTS LES MAÎTRES DE L''AFFICHE. Group of 5, complete, bound volumes. 1896-1900. Each volume approximately 15 1/2x12 1/4x 3/4 inches, 39 1/2x31x2 cm. Chaix, Paris. Condition varies, generally A / A-: light, scattered foxing throughout; some missing tissue guards, mostly in Volume 1. The Maîtres de l''Affiche [Masters of the Poster] were small format reproductions of what were, ostensibly, the best and most famous posters from around Europe and America as selected by the famous critic (and poster supporter) Roger Marx. They were printed by the Chaix publishing house as a concession to the growing craze of poster collecting at the end of the 19th century. Each of the plates is a full color lithograph printed on high quality paper. The series was published from 1896-1900, during which time subscribers would receive four new plates each month. In all, there are 256 plates in the series, 240 of which depict posters and the other 16 are supplements, designed specifically for subscribers. The appeal of the Maîtres was, and remains, their small, easy-to-collect format. These are bound in the special bindings designed by Paul Berthon, which were offered to subscribers. It is one of his most elegant designs and a desirable set. As these volumes are frequently broken up so the individual plates can be sold, it has become rarer and rarer to find complete sets. Art Nouveau p. 32, Arwas 79.

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FÉLIX VALLOTTON (1865-1925). ED. SAGOT / [

Estimate: $800 - $1,200

Description: FÉLIX VALLOTTON (1865-1925) ED. SAGOT / ["LES AMATEURS D''ESTAMPES."] 1892. 10x12 3/4 inches, 25 1/2x32 1/2 cm. Ed. Sagot, Paris. Condition A: ink stamp in upper image; slight mat staining in margins; hinged to mat at top edge. Paper. Matted and framed. Sagot was a pioneer figure in the world of the fin-de-siècle Parisian poster market. As early as 1886, he was offering Chéret''s posters in his catalogue. In 1891, Sagot published a catalogue offering 2233 posters for sale to eager collectors. The cover of this catalogue, as well as a large poster advertising the publication, was designed by Jules Chéret. For his next foray into advertising, Sagot turned to a new talent: Félix Vallotton, a young Swiss artist who belonged to the circle of the Nabis and La Revue Blanche. Here, in Vallotton''s inimitable black and white woodblock style, a throng of eager poster lovers is gathered in front of Sagot''s gallery, along a strong diagonal axis established by the sidewalk. The image was so popular that even when Sagot moved his gallery to a new location he continued to use the old print, merely updating it with an ink stamp as we see here. This image basically became his logo and he used it on leaflets, frame labels and other collateral material. Vallotton 107, DFP-II 858.

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SIDNEY RANSOM (SIGNED MOSNAR YENDIS, DATES UNKNOWN). THE POSTER / AN ILLUSTRATED MONTHLY CHRONICLE. 1898. 29x19 inches, 74x49 cm. David

Estimate: $700 - $1,000

Description: SIDNEY RANSOM (SIGNED MOSNAR YENDIS, DATES UNKNOWN) THE POSTER / AN ILLUSTRATED MONTHLY CHRONICLE. 1898. 29 1/4x19 1/4 inches, 74 1/4x49 cm. David Allen & Sons, Ltd., Harrow. Condition A-: minor repaired tears at edges; minor creases along horizontal folds. Framed. Unexamined out of frame. The spread of postermania around the world was helped by a proliferation of magazines and journals dedicated to the art form. These magazines sprung up in England, The United States, Germany and in other countries. This poster for the eponymously named British magazine cleverly, humorously and self referentially, evokes the appeal of posters as one character removes himself from his hoarding to gaze admiringly at another poster of a woman. The periodical itself was an informative, revealing and sometimes (unintentionally) humorous magazine offering an insight into the artists, dealers, techniques and style of the era. Mosnar Yendis is really Sidney Ransom (with his name spelled backwards), who designed a number of British theatrical posters. DFP-I 145, Affiche Anglaise np, Weill p. 55, Art Nouveau p. 186.

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GEORGES DE FEURE (1868-1943). [PROFIL DE FEMME.] 1898. 22x16 inches, 57x41 cm.

Estimate: $800 - $1,200

Description: GEORGES DE FEURE (1868-1943) [PROFIL DE FEMME.] 1898. 22 3/4x16 1/4 inches, 57 3/4x41 1/4 cm. Condition A: minor staining in margins. Hand-signed by the artist in pencil. Matted and framed. Unexamined out of frame. De Feure was one of the masters of Art Nouveau, with his own morbid and decadent interpretation of the style. In the mid-1890s, he created a singular female character that began to inhabit all of his posters. Although she was acclaimed by Maindron as "elegant, graceful, [and] slightly melancholic," she also appears solitary and vaguely sinister, as if she were scheming. Here, similar to the print he designed for L''Estampe Moderne in 1897, he leaves his pale-faced woman behind and instead shows a charming young maiden amongst flowers. The only extravagance is her jewelry, made in the style of work he created for the Maison Moderne. The series of three macabre remarques at bottom speaks to De Feure''s fertile imagination and recalls his melancholic sensibilities. A similar de Feure image is depicted in Figaro Ilustré from February, 1900. Although not numbered, this scarce print was certainly printed in a very small run. De Feure p. 146.

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EDMOND FRANÇOIS AMAN-JEAN (1858-1936). [TÊTE DE FEMME, DE PROFIL À GAUCHE.] Lithograph. Circa 1897. 22x16 inches, 56x42 cm.

Estimate: $1,000 - $1,500

Description: EDMOND FRANÇOIS AMAN-JEAN (1858-1936) [TÊTE DE FEMME, DE PROFIL À GAUCHE.] Lithograph. Circa 1897. 22 1/4x16 3/4 inches, 56 1/2x42 1/2 cm. Condition B+: foxing in margins and image; hand-signed and numbered 22 in pencil, from an edition of 100. Matted and framed. Unexamined out of frame. Aman-Jean, born just outside of Paris, studied at L''École des Beaux-Arts. A French Symbolist painter, he was part of a group of artists derisively nicknamed "Les Pompiers" ("Firefighters") by the Impressionists. Best known for his female portraits, he also created murals, lithographs and posters. The style of most of his work can be identified by image-building concentric circles, but with faces devoid of distinct outline.

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EDMOND FRANÇOIS AMAN-JEAN (1858-1936). [SOUS LES FLEURS.] Lithograph. 1897. 14x11 inches, 36x28 cm. F. Champenois, Paris.

Estimate: $300 - $400

Description: EDMOND FRANÇOIS AMAN-JEAN (1858-1936) [SOUS LES FLEURS.] Lithograph. 1897. 14 1/4x11 1/4 inches, 36 1/4x28 1/2 cm. F. Champenois, Paris. Condition A. Matted and framed. Unexamined out of frame. An expressive portrait, designed by Aman-Jean for L''Estampe Moderne, one of 100 plates in the series. As described in French in the portfolio, Aman-Jean, inspired by his dreams and visions, "expresses in allegorical, sometimes abstract formulas, an emotion of art of a very subtle and penetrating charm. He bathes his compositions and envelops them in the gentleness of the light; he models them with tones often a little sad, but always found in the melancholy of the subject which inspires him. The deep and exquisite talent of Aman-Jean is above all an expertise in evoking the mistress of the feminine soul through material beauty, and his works impress with the tuning of tones and the rhythm of the lines, as those distant, rather vague harmonies which the reverie hears in the evening in the sleepy countryside." Dry stamp from l''Estampe Moderne in lower right margin. Lugt 2790.

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JANE ATCHÉ (1872-1937). JOB / PAPIER A CIGARETTES. 1889. 56x42 inches, 143x108 cm. Cassan Fils, Toulouse.

Estimate: $2,000 - $3,000

Description: JANE ATCHÉ (1872-1937) JOB / PAPIER A CIGARETTES. 1889. 56 5/8x42 3/4 inches, 143 3/4x108 1/2 cm. Cassan Fils, Toulouse. Condition B-: partially-replaced margins; extensive staining and overpainting in margins; repaired tears, restored losses, sharp creases and overpainting in image. Framed. Unexamined out of frame. For many years, the biography of J. Atché was a mystery. Jirí Mucha, in the book he wrote about his father, refers to Atché as a male friend of the artist. In fact, Jane Atché, a woman, was born in Toulouse and moved to Paris to study art. Her biography, written by Claudine Dhotel-Velliet, picks up the story here: she studied at l''Academié Julian, the only school that accepted female students, under Jean-Paul Laurens and Benjamin Constant, both well-established academic painters born in Toulouse. As she was interested in graphic arts, Laurens introduced her to Mucha and she proceeded to work with him as a student and then as an assistant (specifically on Ilsée, his colossal book project). Jean Bardou, the owner of Job rolling papers, was an amateur d''art who consistently picked the best artists to design his posters. We''ll never know whether Atché came to his attention through Cassan, the Toulouse printer he used, or Mucha, who designed one of Bardou''s posters. The exceptional result depicts an elegant and stylistic vision of a sophisticated woman languidly enjoying a cigarette. The image, which is imbued with Atché''s own personal style, is bereft of exaggerated Art Nouveau details, with the exception of the smoke, which is in direct reference to Mucha''s iconic curves. DFP-II 24 (var), Reims 208, Abdy p. 149, Wine Spectator 101, Maitres 1900 p. 26 (var), Art Nouveau p. 122.

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JANE ATCHÉ (1872-1937). [JOB.] 1889. 30x22 inches, 76x56 cm. [Cassan Fils, Toulouse.]

Estimate: $3,000 - $4,000

Description: JANE ATCHÉ (1872-1937) [JOB.] 1889. 30x22 1/4 inches, 76 1/4x56 1/2 cm. [Cassan Fils, Toulouse.] Condition B+: minor creases in margins and image; repaired tear in left margin into image. Framed. Atché''s poster "was an immediate success and there was such a demand from collectors that they did a second print, in smaller size without the lettering" (Atché p. XXX). For this later poster Atché clearly made a new drawing based on her original, in which she improves the details of the woman''s gown and designs a charming new curve for the smoke. This is the smaller version, before text. Art Nouveau p. 122 (var), Maitres 1900 p. 26, DFP-II 24, Wine Spectator 101 (var), Abdy p. 149 (var).

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ÉDOUARD VUILLARD (1868-1940). BECANE / VIANDE. Circa 1894. 31x23 inches, 80x59 cm. Edw. Ancourt, Paris.

Estimate: $1,500 - $2,000

Description: ÉDOUARD VUILLARD (1868-1940) BECANE / VIANDE. Circa 1894. 31 1/2x23 3/8 inches, 80x59 1/2 cm. Edw. Ancourt, Paris. Condition A. Framed. Unexamined out of frame. Vuillard was a founding member of the Nabis group, renowned as a painter and printmaker. For this, the only poster he designed, he tried to invent something striking and innovative. The result is a surprising perspective of a bicycle race, with the victor sitting upright on his bicycle in the foreground and other competitors still pedaling furiously around the distant curve in background. The typography, too, is quite creative with green lettering in white boxes and white lettering in green boxes. The product (whose name Becane is a slang word for bicycle) is an alcohol-based, meat extract, reconstituting tonic. This is the only poster produced to promote this product, but the company existed at least through 1900 as newspaper ads from that era can be found touting it for sale. While comparisons have been made to Toulouse-Lautrec''s poster for La Chaine Simpson (1896), this image shares more in common with some of the graphics of Pierre Bonnard. Weill p. 34, Art Nouveau p. 85, Le Sport p. 33.

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GEORGE LEFÈVRE (1876-1953). QUINQUINA / DEMANDEZ LE MONTALIVET DANS TOUS LES CAFÉS. 1897. 33x25 inches, 83x63 cm. Affiches R. Boisselet

Estimate: $800 - $1,200

Description: GEORGE LEFÈVRE (1876-1953) QUINQUINA / DEMANDEZ LE MONTALIVET DANS TOUS LES CAFÉS. 1897. 33x25 inches, 83 1/4x63 1/2 cm. Affiches R. Boisselet, Caen. Condition B+: sharp creases in bottom corners; repaired pin holes in top corners; creases and restoration along vertical and horizontal folds. Framed. Unexamined out of frame. Little is known about George Lefèvre who, based on his five known posters, worked in Caen, in the heart of Normandy, primarily for the local printing house Boisselet. Not to be confused with Lucien Lefèvre, a fellow designer and a disciple of Chéret, Georges Lefèvre invariably represented fashionable young women in a feathered hats and stylish turn-of-the-century dresses.

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LUCIEN LEFÈVRE (1850-?). CAFÉ MALT. Gouache and charcoal maquette. 1892. 46x31 inches, 118x80 cm. Chaix, Paris.

Estimate: $800 - $1,200

Description: LUCIEN LEFÈVRE (1850-?) CAFÉ MALT. Gouache and charcoal maquette. 1892. 46 3/4x31 1/2 inches, 118 3/4x80 cm. Chaix, Paris. Condition B / B-: replaced and overpainted left corner and text; overpainting along repaired tears and restored losses in margins and image; creases through image. Framed. Unexamined out of frame. A member of Chéret''s design team at the Chaix printing plant, Lefèvre created a number of posters which, while technically and artistically proficient in their own right, clearly reflect the style of his mentor. Comparing this maquette with the printed version of the poster, we can see how the image comes alive with the strokes of gouache and the free rendering which are the privileges of original art. Gold 57 (var), Affichomanie 92 (var).

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JULES CHÉRET (1836-1932). [GIRL WITH DRUM.] Gouache and charcoal on paper. 38x30 inches, 97x77 cm.

Estimate: $4,000 - $6,000

Description: JULES CHÉRET (1836-1932) [GIRL WITH DRUM.] Gouache and charcoal on paper. 38 1/4x30 1/2 inches, 97 1/4x77 1/2 cm. Condition B+: restoration along repaired tear from upper margin through image; creases in image; minor overpainting and restoration in image. Paper. Matted and framed. Unexamined out of frame. A spirited and lively rendering of a young girl playing a large drum and cymbals. The brighter, white highlights that Chéret has added suggest that the young girl is performing beneath lights and also lend the image a feeling of movement. While several of Chéret''s posters do feature people and drums, we are not able to associate this painting with any of them. Provenance: acquired at Poster Auctions International VIII, May 1989, Lot 152.

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JULES CHÉRET (1836-1932). MUSÉE GRÉVIN / PALAIS DES MIRAGES. 1911. 47x33 inches, 121x84 cm. Chaix, Paris.

Estimate: $2,000 - $3,000

Description: JULES CHÉRET (1836-1932) MUSÉE GRÉVIN / PALAIS DES MIRAGES. 1911. 47 3/4x33 1/4 inches, 121 1/4x84 1/2 cm. Chaix, Paris. Condition A: pencil marking in lower margin. Framed. Unexamined out of frame. The Palais des Mirages [Hall of Mirrors] was an attraction at the 1900 Exposition Universelle in Paris. In 1906 it was bought by the Musée Grévin where it found a permanent home when it opened to the public in 1911. To promote the opening, the museum decided to play with nostalgia. They turned to Chéret, who had designed the first poster for the museum back in 1884. Chéret may well have taken the commission for nostalgic reasons as well as by this time he was 75 years old, living in Nice and rapidly loosing his eyesight. His design, a spritely Cherette, is reminiscent of the images he created for the dancer Loie Fuller. rare. We have found only four other copies at auction since 1986. Cheret 611, Broido 470.

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EUGÈNE GRASSET (1845-1917). JEANNE D''ARC / SARAH BERNHARDT. 1894. 45x29 inches, 115x73 cm. Draeger & Lesieur, Paris.

Estimate: $800 - $1,200

Description: EUGÈNE GRASSET (1845-1917) JEANNE D''ARC / SARAH BERNHARDT. 1894. 45 1/2x29 inches, 115 1/2x73 3/4 cm. Draeger & Lesieur, Paris. Condition B+: minor repaired tears, creases, minor restored losses and overpainting in margins and text; creases, minor losses and restoration along vertical and horizontal folds. Framed. Unexamined out of frame. Sarah Bernhardt commissioned this poster from Grasset five years before she settled on Alphonse Mucha as her premier poster designer. Grasset''s initial design features the actress looking skyward, with a head of curly hair. When "The Divine Sarah" saw this image of herself as Joan of Arc, she was dissatisfied with his portrayal, and had Grasset redo the poster so that she appeared with straight hair, staring defiantly out of the poster. Wember 372, Arwas p. 41 (var), Murray Robertson p. 111, Abdy p. 127 (var), Theaterplakate p. 29 (var), Art Nouveau p. 101, Affichomanie 129, DFP-II 399a, Schardt p. 99.

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EUGÈNE GRASSET (1845-1917). ENCRE L. MARQUET. 1892. 43x26 inches, 110x67 cm. Affiches Artistiques Malherbe, [Paris.]

Estimate: $1,200 - $1,800

Description: EUGÈNE GRASSET (1845-1917) ENCRE L. MARQUET. 1892. 43 1/2x26 1/2 inches, 110 1/2x67 1/4 cm. Affiches Artistiques Malherbe, [Paris.] Condition B / B+: replaced losses and overpainting in margins; minor restored losses, creases and restoration along vertical and horizontal folds; pencil notation and stamp in lower margin. Framed. Unexamined out of frame. This is the first poster of Grasset''s that exhibits his artistic style at its full maturity. Victor Arwas explains that to advertise this ink company, Grasset depicts a "dreamy young woman" who is preparing to use her quill, and how the "looming clouds rival the decorative flow of her long hair." Ann Murray Robertson points out "how ingenious [Grasset] was to integrate text and image, turning the advertising panel into an accessory of the décor." Arwas p. 33, Grasset p. 115, Maitres pl. 158, Weill p. 32, Gold 3, Art Nouveau p. 100, Maitres 1900 p. 23, DFP-II 404, Abdy p. 122, Schardt p. 81.

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EUGÈNE GRASSET (1845-1917). [MEDITATION.] 1897. 30x17 inches, 78x44 cm. [Malherbe, Paris.]

Estimate: $1,500 - $2,000

Description: EUGÈNE GRASSET (1845-1917) [MEDITATION.] 1897. 30 3/4x17 1/2 inches, 78x44 1/2 cm. [Malherbe, Paris.] Condition B+: repaired tear from top edge into central image; repaired tears, creases and overpainting in margins. Matted and framed. Unexamined out of frame. Capitalizing on the poster craze sweeping through France during the fin-de-siècle, publishers began to issue large-format decorative panels designed by the best poster artists. Mucha''s work was mass-marketed by his printer Champenois, and Chéret''s panels were printed by Chaix. Grasset''s panels began in small format with two plates for L''Estampe Originale. By 1896, he was working on a series of 10 full-size panels (Dix Estampes Decoratives) for his printer, Malherbe. In these panels, Grasset uses representations of women and nature to express states of mind or moods. The influence of Japanese prints is clear, including the use of flat colors and broad outlining. Unlike Mucha''s sensual approach, Grasset''s women, in their static poses, exert a fascinating, hypnotizing effect. Meditation is arguably Grasset''s best panel, as the image of a woman lost in her thoughts in the silence of nature so perfectly reflects Grasset''s style. The series was acclaimed in 1897 at the Libre Esthétique in Brussels and then at the inaugural Secession Exhibition in Vienna. Arwas p. 71, Murray Robertson p. 126, Art Nouveau p. 107.

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EUGÈNE GRASSET (1845-1917). [LA VITRIOLEUSE.] 1894. 23x16 inches, 59x41 cm. [André Marty, Paris.]

Estimate: $2,000 - $3,000

Description: EUGÈNE GRASSET (1845-1917) [LA VITRIOLEUSE.] 1894. 23 1/4x16 1/4 inches, 59x41 1/4 cm. [André Marty, Paris.] Condition B+: water staining and minor foxing in margins and image; time-staining in margins; minor abrasions at edges; tape on verso along right edge; hand-signed and numbered 76 in pencil. Paper. Matted and framed. This original lithograph is from an edition of 100 that was printed for L''Estampe Originale by André Marty. It "is an extraordinary [lithograph]. Hand-colored by the pochoir stencil process in 5 colors . . . Vitrioleuse is the most accomplished example of Japonisme in Grasset''s work. Directly inspired by the actor woodblock prints of Toyokoni and more particularly Sharaku" (Arwas p. 64-65). Thematically, it is often considered one of a pair of images, the other being La Morphinomane, though it wasn''t printed until 1897, when it was produced for the Album Vollard. Here, a woman with a cup of poison is so angry she is ready to throw it into someone''s face; her countenance - sickly and frightening - is as disturbingly colorful as the poison in her bowl. In the other poster, a drug addict is injecting herself. Both images share a morbid and bizarre theme that seems ill-suited to a fine Art Nouveau print, yet, terrifying images aside, it is a pure Art Nouveau masterpiece, composed of sophisticated flat tones and bold outlining. Arwas p. 64-65, Murray Robertson p. 127.

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HENRI J.E. EVENEPOEL (1872-1899). [AU SQUARE.] 1897. 13x9 inches, 35x25 cm. [F. Champenois, Paris.]

Estimate: $1,000 - $1,500

Description: HENRI J.E. EVENEPOEL (1872-1899) [AU SQUARE.] 1897. 13 7/8x9 7/8 inches, 35 1/4x25 cm. [F. Champenois, Paris.] Condition A. Matted and framed. Unexamined out of frame. Evenpoel was a rising star in the art world when his life was tragically cut short at the age of 27. Primarily a painter, he only designed a handful of printed images. This, his best, was a plate in L''Estampe Moderne. It is a five-color lithograph whose subject matter is close to the work of Bonnard, while the sketch and coloring is reminiscent of Lautrec; but the result is very personal with delicate and vivid lines in a masterly composed vision. It is one of the most desirable plates in the entire series. Color Revolution p. 27, no. 20, Lugt 2790, lower right.

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HENRI MEUNIER (1873-1922). [L''HEURE DU SILENCE.] 1897. 14x10 inches, 36x26 cm. [F. Champenois, Paris.]

Estimate: $400 - $600

Description: HENRI MEUNIER (1873-1922) [L''HEURE DU SILENCE.] 1897. 14 1/2x10 1/4 inches, 36 3/4x26 cm. [F. Champenois, Paris.] Condition A. Matted and framed. Unexamined out of frame. L''Estampe Moderne, pl. 7, November 1897.

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THÉOPHILE VAN RYSSELBERGHE (1862-1926). LA LIBRE ESTHÉTIQUE. 1896. 37x27 inches, 96x68 cm. Monom, Brussels.

Estimate: $3,000 - $4,000

Description: THÉOPHILE VAN RYSSELBERGHE (1862-1926) LA LIBRE ESTHÉTIQUE. 1896. 37 3/4x27 inches, 96x68 1/2 cm. Monom, Brussels. Condition B / B+: restored losses at edges; repaired tears and sharp creases in margins and image and along vertical and horizontal folds. Paper. Matted and framed. Unexamined out of frame. As a painter, van Rysselberghe was best known as a Neo-Impressionist. A founding member in 1883 of the influential art group Les XX (Les Vingt, "The Twenty"), he is considered one of the more important Belgian painters of the period. When Les XX dissolved in 1893, it transformed into another group called La Libre Esthétique, with which van Rysselberghe was also very active. "Van Rysselberghe exerted a positive force for the revitalization of the decorative arts at the turn of the century, but his posters are not numerous; those he created for La Libre Esthétique are unquestionably the finest. The elegant female figures of his posters, very knowingly placed on the page, seem to be the pretext for van Rysselberghe to balance large spots of red-orange against their greenish or bluish complementaries. The text is beautifully drawn and gracefully integrated into the design of the poster" (Belle Epoque p. 86). He designed two posters for the group. Wember 694, Belle Epoque p. 86, L''Affiche Belge p. 96, Weill 84, Maitres 1900 p. 94, DFP-II 1126.

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THÉOPHILE VAN RYSSELBERGHE (1862-1926). N. LEMBRÉE. Circa 1897. 24x17 inches, 63x44 cm. Monnom, Brussels.

Estimate: $2,000 - $3,000

Description: THÉOPHILE VAN RYSSELBERGHE (1862-1926) N. LEMBRÉE. Circa 1897. 24 3/4x17 1/2 inches, 63x44 1/2 cm. Monnom, Brussels. Condition A- / B+: repaired tear in lower image; creases and minor abrasions in margins, some into image. Matted and framed. Unexamined out of frame. In a style more graphic than painterly, van Rysselberghe advertises a local print shop. The woman, seen only from the back, is leafing through a portfolio of 18th Century engravings. Amongst the details van Rysselberghe depicts in the stark and modern interior of the shop is a telephone. While it may seem to be an unusual element to depict in an Art Nouveau poster, it very cleverly and directly conveys the phone number of the gallery to the observant viewer. L''Affiche Belgique 11, Belle Epoque p. 135, DFP-II 1128.

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PRIVAT-LIVEMONT (1861-1936). AUTOMOBILE CLUB DE FRANCE / 6EME EXPOSITION. 1903. 13x18 inches, 34x46 cm. J. Barreau, Paris.

Estimate: $700 - $1,000

Description: PRIVAT-LIVEMONT (1861-1936) AUTOMOBILE CLUB DE FRANCE / 6EME EXPOSITION. 1903. 13 1/2x18 1/4 inches, 34 1/4x46 1/2 cm. J. Barreau, Paris. Condition B+: minor abrasions and losses in margins; loss in lower left corner; hinged to mat at top edge; faded. Matted and framed. The French Automobile Club was founded in 1895 and organized their first exhibition in 1898. After the 1900 World''s Fair had ended, and the prestigious Grand Palais became available for major events, the Auto Show relocated there and gained both prominence and size. It was held in the Grand Palais for the next 50 years. In 1902, Privat-Livemont was commissioned to design the poster advertising the fifth Auto Show. The large format image he designed clearly impressed the organizers and the public, as he was commissioned to design two more posters for the organization: the generic poster for the Automobile Club de France, and then one for the sixth automobile show in 1903, this charming image featuring one of his archetypical women driving past the magnificent Grand Palais.

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Starting bid: $525 (0 bids)

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PRIVAT-LIVEMONT (1861-1936). [MICHIELS FRÈRES.] 1902. 29x16 inches, 74x41 cm.

Estimate: $2,000 - $3,000

Description: PRIVAT-LIVEMONT (1861-1936) [MICHIELS FRÈRES.] 1902. 29 1/4x16 3/8 inches, 74 1/4x41 1/2 cm. Condition A: minor creases in margins and image. Matted and framed. Unexamined out of frame. The Michiel Brothers ran a tree nursery, and as Livemont''s exquisite design suggests, they appear to have specialized in flowering shrubs and fruit trees. The mother and child he illustrated are designed according to his flawless Art Nouveau style. From the elegant, stylized formality of the flowing hair to the meticulous white outlining, it is an impeccable design. The pastoral colors are in keeping with the subject of the poster. This is the version before text. Belle Epoque II 103, Gold 38.

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Starting bid: $1,500 (0 bids)

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PRIVAT-LIVEMONT (1861-1936). [LA VAGUE.] 1897. 20x27 inches, 52x69 cm.

Estimate: $4,000 - $6,000

Description: PRIVAT-LIVEMONT (1861-1936) [LA VAGUE.] 1897. 20 1/2x27 1/4 inches, 52x69 1/4 cm. Condition A: errant pencil mark in lower margin; stain and mat staining in margins. Matted and framed. In the second half of the 19th century, Paris, the Impressionists, the young Art Nouveau poster artists and much of artistic Europe were all under the spell of Japanese Ukiyo-e (Floating World) woodblock prints. Among the most famous of these prints was Katsushika Hokusai''s The Wave. The influence of the Japanese print could be found in paintings and posters. For Livemont to actually take on making a print of a wave himself was certainly a brazen idea. The result, however, was worthy of its original namesake; it was his best decorative panel and a masterpiece of lithography. He harmoniously intertwines the tidal, windswept and frothy hair of an ethereal woman (adorned with golden seashells) with the sea itself. Livemont was no stranger to depicting the ocean; in 1896 he designed a poster for Cabourg, with a red-haired woman amidst the waves off the French coast, and he created this languid print the following year. Octavus Manus, a contemporary critic, explains that the image "printed in four shades . . . and highlighted in gold, it achieves as an art form, the highest degree of skill. The superimposing hues, thanks to the perfect registering, varies the effects harmoniously, and the skillful graduation of the tinting gives the entire work an infinite delicacy" (Belle Epoque II p. 49). Gold 199, Belle Epoque II 70.

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Starting bid: $3,000 (0 bids)

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LUDEK MAROLD (1865-1898). L''EQUITABLE DES ETATS - UNIS. Group of 4 calendar sheets. 1899. Each 8x13 inches, 20x34 cm. [Lemercier, Pari

Estimate: $1,000 - $1,500

Description: LUDEK MAROLD (1865-1898) L''EQUITABLE DES ETATS - UNIS. Group of 4 calendar sheets. 1899. Each 8x13 1/2 inches, 20 1/4x34 1/4 cm. [Lemercier, Paris.] Condition A / A-: slight fading in text. Matted and framed. Unexamined out of frame. Ludek Marold and Alphonse Mucha lived parallel lives. Both born in Czechoslovakia, they met and became friends while studying art together in Vienna. In 1889, Marold received a grant to study in Paris, and Mucha followed him one year later. From 1894-95, Marold worked for the Parisian printer Lemercier, and was likely responsible for introducing Mucha to the printer. For this French branch of an American insurance company, Marold employed an easy and accessible Art Nouveau style that was more illustrative than graphic. In an almost painterly manner, Marold presents his version of the four seasons. Marold returned to Prague shortly before his premature death in 1898.

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Starting bid: $750 (0 bids)

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PAUL BERTHON (1872-1909). LES BOULES DE NEIGE. 1900. 18x22 inches, 45x56 cm. Chaix, Paris.

Estimate: $600 - $900

Description: PAUL BERTHON (1872-1909) LES BOULES DE NEIGE. 1900. 18x22 inches, 45 3/4x56 cm. Chaix, Paris. Condition A-: minor repaired tears in margins, some affecting image. Matted and framed. Unexamined out of frame. Berthon was a disciple of Eugène Grasset as well as a friend and unabashed admirer. While he adopted all the principles that he learned from the master, he executed them with his own personal flair. Representations of pale pre-Raphaelite women in his signature palette of muted yellows, greens and browns, were characteristics of his work. Although he died very young, the relatively few lithographs he produced belong to the best of the French Art Nouveau movement. Arwas 53.

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Starting bid: $450 (0 bids)

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MANUEL ORAZI (1860-1934). L''HIPPODROME. 1905. 23x15 inches, 59x39 cm. Société d''Impressions d''Art Industriel, Paris.

Estimate: $1,500 - $2,000

Description: MANUEL ORAZI (1860-1934) L''HIPPODROME. 1905. 23 1/2x15 1/2 inches, 59 3/4x39 1/2 cm. Société d''Impressions d''Art Industriel, Paris. Condition A-: minor tears and creases in margins; loss in lower left corner; time-staining in margins and image. Matted and framed. In anticipation of the Exposition Universelle in 1900, the Hippodrome opened in 1899 on the Boulevard de Clichy. It was a beautiful, gigantic hall, with seating for up to 5,000 spectators as well as its own stables. It was the place to stage and to watch great equine spectacles in Paris. Orazi was born in Rome, received his artistic training at the famed Italian printing house of Ricordi, and then moved to Paris where he achieved instant success by participating in the second exhibition at Siegfried Bing''s gallery L''Art Nouveau. In his flamboyant style he designed some of the most remarkable Art Nouveau posters such as La Maison Moderne, Theatre de Loie Fuller and this image for a horse-mounted spectacle. As Orazi''s work always incorporated elements of Roman and Byzantine design, this commission must have felt custom-made for him, as he could let his ornamental creativity run freely. Indeed, the ornamentation on the central figure is something to behold. Curiously, though he depicts the beautiful ceiling of the Hippodrome, Orazi also depicts the entire arena empty of viewers. DFP-II 676a, Wine Spectator 92, Circus 30.

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Starting bid: $1,100 (0 bids)

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KOLOMAN MOSER (1868-1918). VER SACRUM. Magazine front and back covers. February, 1898. 11x21 inches, 29x55 cm. Gerlach & Schenk, Vienna

Estimate: $600 - $900

Description: KOLOMAN MOSER (1868-1918) VER SACRUM. Magazine front and back covers. February, 1898. 11 5/8x21 7/8 inches, 29 1/2x55 1/2 cm. Gerlach & Schenk, Vienna. Condition B+: repaired tear across front cover; minor abrasions in image. Two-sheets, unattached, tipped to mount. Paper. Matted and framed. Unexamined out of frame.

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Starting bid: $450 (0 bids)

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PETER BEHRENS (1868-1940). [DER KUSS.] 1898. 11x8 inches, 28x22 cm.

Estimate: $1,500 - $2,000

Description: PETER BEHRENS (1868-1940) [DER KUSS.] 1898. 11x8 3/4 inches, 28x22 1/4 cm. Condition A. Matted and framed. Unexamined out of frame. A member of the Munich Secession Movement and a founder of the Darmstadt Künstlerkolonie (1901), Behrens was a key figure in the birth of graphic design in Germany, and also a driving force in the founding of the Werkbund, where industry and design came together. Pan was a sophisticated, high-end magazine that became the forum for much of the important literature of the period. Founded by Julius Bierbauen and Julius Maier-Graefe, it was published for five years, between 1895 and 1900. It was the only magazine to include fine-art quality original prints by young, promising artists (see lot 71 Mademoisselle Marcelle Lender, en Buste). Volume IV, number 2, contained this six-color woodcut by Behrens. An icon of Jugendstil, this image displays Behrens'' exquisite control of curves and his exceptional harmony of colors. It was also a very daring piece in Puritanical Germany.

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Starting bid: $1,125 (0 bids)

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WALTER SCHNACKENBERG (1880-1961). [KOSTÜME / PLAKAT UND DEKORATIONEN.] Group of 5 posters. 1920. Each approximately 11x8 inches, 28x21

Estimate: $600 - $900

Description: WALTER SCHNACKENBERG (1880-1961) [KOSTÜME / PLAKAT UND DEKORATIONEN.] Group of 5 posters. 1920. Each approximately 11 1/8x8 3/8 inches, 28 1/4x21 1/4 cm. O. Consée, Munich. Condition varies, generally A / A-: light toning overall; mat staining in margins. Each matted and framed. Unexamined out of frames. An excellent compendium from the 1922, second edition of the book on Schnackenberg''s posters, costumes and stage design. The plates in this book are more in keeping with the Maîtres de l''Affiche images, in that they were pulled by Oskar Consée (Schnackenberg''s exclusive printer), and were surely done under the artist''s supervision, with rich inking on high-quality paper. Group includes: Plakate; Bonbonnière; Anne Lamans; Deutsches Theater München; and Odeon Casino.

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Current bid: $450 (1 bid)

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ERNST DEUTSCH (1883-1938). LINDEN BUFFET. 1910. 27x37 inches, 70x95 cm. Hans Lindenstaedt, Charlottenburg.

Estimate: $1,000 - $1,500

Description: ERNST DEUTSCH (1883-1938) LINDEN BUFFET. 1910. 27 3/4x37 1/2 inches, 70 1/2x95 1/4 cm. Hans Lindenstaedt, Charlottenburg. Condition B+ / B: repaired tears, replaced losses, restoration, creases and mat staining in margins; creases and light foxing in image; slightly trimmed at left edge. Mounted on paper. A woman in an extravagant hat and long gloves invites the viewer to visit this elegant restaurant. Deutsch''s most famous series for a restaurant, Richard''s Grill Room, shows tableaux from within the restaurant, all accomplished in just red and black. This full-color image focuses instead on the attractiveness and stylishness of the patrons one would expect to find at this restaurant. Maitres 1900 p. 164.

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Starting bid: $750 (0 bids)

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PAUL KAMMÜLLER (1885-1946). STADTKASINO. 1918. 41x28 inches, 105x72 cm. W. Wassermann, [Basel.]

Estimate: $1,000 - $1,500

Description: PAUL KAMMÜLLER (1885-1946) STADTKASINO. 1918. 41 1/2x28 1/2 inches, 105 1/2x72 1/2 cm. W. Wassermann, [Basel.] Condition A: minor creases and scuffing in image. Framed. Unexamined out of frame. German-born Kammüller studied art in Basel, Munich (under Franz von Stück), Paris (at the Académie Julian) and Florence. He spent much of his life teaching but was also active in many different artistic fields including painting, fresco, illustration and graphic design. Here, promoting Basel''s elegant and luxurious Stadtkasino, Kammüller literally invites us into the warm, colorful, intimate interior via the gesture of a tuxedoed young man pulling back a black curtain. The sumptuous colors and textures within the brightly-illuminated hall stand out sharply against the black of the curtain, which melds seamlessly into the young host''s jacket. Hotelplakate 54.

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Starting bid: $750 (0 bids)

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LUDWIG HOHLWEIN (1874-1949). WILM WILM. Circa 1920. 38x28 inches, 98x73 cm. Kunstanstalt Graphia, Munich.

Estimate: $1,000 - $1,500

Description: LUDWIG HOHLWEIN (1874-1949) WILM WILM. Circa 1920. 38 1/2x28 3/4 inches, 98 3/4x73 cm. Kunstanstalt Graphia, Munich. Condition B+: restored loss in left margin; repaired tears at edges; creases and minor abrasions in margins and image; repaired pin holes in corners; toned overall. Paper. Matted and framed. Unexamined out of frame. Wilhelm Wieninger (who performed under the pseudonym Wilm Wilm) was a popular cabaret composer, foxtrot enthusiast and a personal friend of Hohlwein. The artist produced several projects for the composer, including sheet music, stationary and Ex Libris. This image appears as one of three that Hohlwein incorporated into Wieninger''s letterhead (see Hohlwein / Munich p. 236). rare. We could find no other copies at auction.

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Starting bid: $750 (0 bids)

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LUDWIG HOHLWEIN (1874-1949). HERMANN SCHERRER. 1907. 49x35 inches, 125x89 cm. Vereinigte Druckereien & Kunstanstalten, Munich.

Estimate: $3,000 - $4,000

Description: LUDWIG HOHLWEIN (1874-1949) HERMANN SCHERRER. 1907. 49 1/4x35 1/4 inches, 125x89 1/2 cm. Vereinigte Druckereien & Kunstanstalten, Munich. Condition B: restored losses in margins; repaired tears, extensive creases, abrasions and restoration in margins and image; water staining in bottom margin; repaired pin holes in margins. Framed. Unexamined out of frame. Hohlwein was a member of the Bavarian bourgeoisie; he loved animals, horseback riding, hunting, sport, smoking and drinking beer. These personal pursuits helped him connect with the imagery he created for his clientele, and indeed it was the Hermann Scherrer posters, combining so many of his passions, "which heralded the triumphal course of the new star" (Frenzel p. 57). In this outdoor scene, a hunter is returning home through the snow with a brace of ducks. He is comfortable in his boots, jacket, breeches and cap all supplied by Hermann Scherrer. The intimation of a path, twilight and cold are all accomplished with the artistic handling of the striated lavender background and the icy gray border. Hohlwein has fashioned the image by placing the colors on the page without the use of any outlining. It is a bold, simple and effective image. DFP-III 1329, Hohlwein / Stuttgart 2, Frenzel 3.

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Starting bid: $2,250 (0 bids)

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F.W. LOY (DATES UNKNOWN). AKADEMIA - AUSSTELLUNG. Circa 1900. 18x18 inches, 46x47 cm.

Estimate: $400 - $600

Description: F.W. LOY (DATES UNKNOWN) AKADEMIA - AUSSTELLUNG. Circa 1900. 18 1/4x18 1/2 inches, 46 1/2x47 cm. Condition B+: restoration along repaired tears and creases in margins and image. Matted and framed.

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Starting bid: $300 (0 bids)

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