The world’s premier auctions
 
 
WELCOME TO INVALUABLE
Be the first to know about
the latest online auctions.
Please enter a valid email address (name@host.com)
Sign Up »
PS: We value your privacy
Thank you!
 
 
Want to learn more
about online auctions?
Take a Quick Tour »
WE'VE CHANGED OUR NAME
is now
 
To celebrate, we’ve enhanced our site with
larger images and browsing by category to help
you easily find what you’re passionate about.
Remember to update your bookmarks.
Get Started »
 
Invaluable cannot guarantee the accuracy of translations through Google Translate and disclaims any responsibility for inaccurate translations.
Show translation options

MODERNIST POSTERS

by Swann Auction Galleries

Platinum House

253 lots with images

May 13, 2013

Live Auction

104 East 25th Street

New York, NY, 10010 USA

Phone: 212.254.4710

Fax: 212 979 1017

Email: swann@swanngalleries.com

253 Lots
Next »
JAN TOOROP (1858-1928). DELFTSCHE SLAOLIE. 1895. 35x23 inches, 89x58 cm. S. Lankhout & Co., [The Hague.]

Lot 1: JAN TOOROP (1858-1928). DELFTSCHE SLAOLIE. 1895. 35x23 inches, 89x58 cm. S. Lankhout & Co., [The Hague.]

Estimated Price: Log in or create account to view price data

Description: JAN TOOROP (1858-1928) DELFTSCHE SLAOLIE. 1895. 35x23 inches, 89x58 1/2 cm. S. Lankhout & Co., [The Hague.] Condition A-: creases and abrasions in margins and image. Matted and framed. Toorop was born in Java, studied in Holland and then spent three key years in Brussels, where he was a member of the circle of artists, Les XX, during which he befriended James Ensor. His unique style is a symbolic and mystic mixture of the Javanese shadow puppet influence and frenzied Art Nouveau arabesques. This advertisement for salad oil is the first important Dutch Art Nouveau poster and the most famous example of Toorop's original graphic style. The image made such an impression on the Dutch, that for years, when describing Art Nouveau, they would refer to it as the "salad oil style." Le Coultre p. 34, Word & Image p. 39, Modern Dutch 5, Modern Poster 25, Reims 1551, Weill 149, Hillier p. 190, Schipp & Affiche 41, Dutch Posters frontispiece, 1000 Posters 15.

View additional info »
Realized: Log in or create account to view price data
RICHARD MÜLLER (1874-1954). KUNSTANSTALT / WILHELM HOFFMANN. 1896. 57x41 inches, 146x104 cm. Wilhelm Hoffmann, Dresden.

Lot 2: RICHARD MÜLLER (1874-1954). KUNSTANSTALT / WILHELM HOFFMANN. 1896. 57x41 inches, 146x104 cm. Wilhelm Hoffmann, Dresden.

Estimated Price: Log in or create account to view price data

Description: RICHARD MÜLLER (1874-1954) KUNSTANSTALT / WILHELM HOFFMANN. 1896. 57 3/4x41 inches, 146 3/4x104 cm. Wilhelm Hoffmann, Dresden. Condition B: repaired tears, restored losses and abrasions in margins and image; restoration along vertical and horizontal folds; creases in image. Two-sheets. Wilhelm Hoffmann was among the first printers to advertise the business of printing posters. Most well-known is the poster designed in 1896 by Otto Fischer, promoting Hoffmann's Studio of Modern Posters in Dresden, which appeared in the Maîtres de l'Affiche, garnering recognition from poster aficionados around the world. That same year, Hoffman issued this other rare/span poster, which is a masterful typographic flight of fancy, combining Jugendstil decorative elements with intricate lettering in different sizes and colors. DFP-III 2291, Reims 1103, Sponsel p. 265.

View additional info »
Realized: Log in or create account to view price data
HEINRICH LEFLER (1863-1919). JUBILÄUMS KUNSTAUSSTELLUNG. 1898. 24x17 inches, 61x45 cm. S. Czeiger, Vienna.

Lot 3: HEINRICH LEFLER (1863-1919). JUBILÄUMS KUNSTAUSSTELLUNG. 1898. 24x17 inches, 61x45 cm. S. Czeiger, Vienna.

Estimated Price: Log in or create account to view price data

Description: HEINRICH LEFLER (1863-1919) JUBILÄUMS KUNSTAUSSTELLUNG. 1898. 24 1/4x17 3/4 inches, 61 1/2x45 cm. S. Czeiger, Vienna. Condition B-: repaired tears, losses and staining at edges; creases, abrasions and restoration in margins and image. Lefler was a painter, commercial graphic designer and book illustrator. He was a member of Vienna's Kunstlerhaus, joined the Secession and became a founding member of the Hagenbund in 1900. He often worked with his brother-in-law and fellow Secession member Josef Urban, and was in charge of set design at the Vienna Opera under Gustav Mahler from 1900-1903. On the occasion of the 50th anniversary of Kaiser Franz Josef's assumption of the throne, Vienna spent most of 1898 celebrating the Jubilee in various ways. This poster, for an exhibition by the members of the Kunstlerhaus, was held one year after the founding of the more famous Secession movement. Here, Lefler employs imagery which clearly indicates his awareness of the Secession movement.

View additional info »
Realized: Log in or create account to view price data
RAIMUND JAHN (DATES UNKNOWN). WOHLTÄTIGKEITS - FEST / STADTHALLE CREFELD. 1908. 54x23 inches, 138x58 cm. Kleinsche Druckerei, Crefeld.

Lot 4: RAIMUND JAHN (DATES UNKNOWN). WOHLTÄTIGKEITS - FEST / STADTHALLE CREFELD. 1908. 54x23 inches, 138x58 cm. Kleinsche Druckerei, Crefeld.

Estimated Price: Log in or create account to view price data

Description: RAIMUND JAHN (DATES UNKNOWN) WOHLTÄTIGKEITS - FEST / STADTHALLE CREFELD. 1908. 54 1/2x23 inches, 138 1/2x58 1/2 cm. Kleinsche Druckerei, Crefeld. Condition B: repaired tears at edges, some affecting text and image; restored losses, creases, abrasions, restoration and overpainting in margins and image; horizontal fold. Two-sheets. Although very little information exists about Raimund Jahn, contemporary German magazines and books cite him as a Vienna-born professor of painting and bookbinding in Krefeld, Germany. For this festival exhibition, Jahn creates an image which echoes many stylistic and visual tenets of the Secession. The same image was also used on a postcard for the event.

View additional info »
Realized: Log in or create account to view price data
JULIUS DIEZ (1870-1957). VIII INTERNATIONALE KUNSTAUSSTELLUNG. 1901. 31x33 inches, 80x84 cm. Meisenbach Riffarth & Co., Munich.

Lot 5: JULIUS DIEZ (1870-1957). VIII INTERNATIONALE KUNSTAUSSTELLUNG. 1901. 31x33 inches, 80x84 cm. Meisenbach Riffarth & Co., Munich.

Estimated Price: Log in or create account to view price data

Description: JULIUS DIEZ (1870-1957) VIII INTERNATIONALE KUNSTAUSSTELLUNG. 1901. 31 1/2x33 1/4 inches, 80x84 1/2 cm. Meisenbach Riffarth & Co., Munich. Condition B+: repaired tears in margins; creases in margins and image; vertical and horizontal folds. Framed. Diez was a classically trained painter who studied in Munich. He was also involved in advertising art, furniture design, mosaics, frescos, ceramics and engraved glass. In addition to his creative side, he taught at Munich's Kunstgewerbeschule and became president of the Munich Secession. Inspired by Franz von Stuck, many of his early images were contemporary visions of classical Greek motifs. In this very early poster announcing the opening of an International Art Exhibition, including work by the Munich Secessionists, he combines curves and columns to herald the show. DFP-III 583, München 78.

View additional info »
Realized: Log in or create account to view price data
ARTUR BERGER (1892-1981). MARX EMAIL / STREICHFERTIGE LACKE. 1912. 37x25 inches, 94x63 cm. A. Berger, Vienna.

Lot 6: ARTUR BERGER (1892-1981). MARX EMAIL / STREICHFERTIGE LACKE. 1912. 37x25 inches, 94x63 cm. A. Berger, Vienna.

Estimated Price: Log in or create account to view price data

Description: ARTUR BERGER (1892-1981) MARX EMAIL / STREICHFERTIGE LACKE. 1912. 37x25 inches, 94x63 1/2 cm. A. Berger, Vienna. Condition B+: minor restoration along sharp vertical and horizontal folds; creases in corners; minor restoration at edges. Arthur Berger was known for his glass and textile works for the Wienner Werkstatte. This, his only poster, advertising an enamel paint company, is an extraordinary and rare/span image. Printed in 1912 it is such a progressive design that it transcends being simply avant-garde and assumes a premonitory status -- it is a Pop Art image fifty years before Pop Art. In its time this poster created a scandal among lovers of the Jugendstil. Ottokar Mascha, author of the influential 1915 book Oesterreichische Plakatkunst, who already held disdain for artists like Kokoschka, stated that, "this poster is certainly very striking - because of its ugliness. (Denscher p. 144). Denscher p. 144.

View additional info »
Realized: Log in or create account to view price data
HEINZ FUCHS (1886-1961). ARBEITER, WOLLT IHR SATT WERDEN? 1919. 28x36 inches, 73x93 cm. A. Wohlfeld, Magdeburg.

Lot 7: HEINZ FUCHS (1886-1961). ARBEITER, WOLLT IHR SATT WERDEN? 1919. 28x36 inches, 73x93 cm. A. Wohlfeld, Magdeburg.

Estimated Price: Log in or create account to view price data

Description: HEINZ FUCHS (1886-1961) ARBEITER, WOLLT IHR SATT WERDEN? 1919. 28 3/4x36 3/4 inches, 73x93 1/2 cm. A. Wohlfeld, Magdeburg. Condition B+: repaired tears and restoration along vertical and horizontal folds and in margins; restored losses at edges and in top right corner. Fuchs worked for most of his life in his native Berlin. In addition to studies at the Berlin Akademie under Lovis Corinth, he also studied at the Wiemar Art School. After World War I, he joined the November Group, whose artistic members advocated for a social revolution, a greater role for artists in the new German Republic and a unification between art and the populace. Between 1918 and 1919, the November Group also worked with the "Publicity Office of the German Republic" (Werbedienst der Deutschen Republik), a governmental branch aimed at restoring civility and order to society in the trauma following the end of the War. Fuchs designed two posters for the cause in his "distinctive graphic style in which expressionist vocabularies of violent color and distorted form united with dynamic yet legible text exhorting workers to support the new Republic" (www.moma.org). Here the message reads, "Do you want to satisfy your hunger? Without coal there will be no food - agriculture and mining are calling you," and "work brings bread." Politische Plakat p. 48, LACMA M.2003.114.121. rare/span

View additional info »
Realized: Log in or create account to view price data
MAX PECHSTEIN (1881-1955). HM PECHSTEIN UND RUDOLF BELLING BUCH III DER GALERIE GOYERT, KÖLN. 1921. 13x8 inches, 33x20 cm.

Lot 8: MAX PECHSTEIN (1881-1955). HM PECHSTEIN UND RUDOLF BELLING BUCH III DER GALERIE GOYERT, KÖLN. 1921. 13x8 inches, 33x20 cm.

Estimated Price: Log in or create account to view price data

Description: MAX PECHSTEIN (1881-1955) HM PECHSTEIN UND RUDOLF BELLING BUCH III DER GALERIE GOYERT, KÖLN. 1921. 13 1/4x8 inches, 33 3/4x20 1/4 cm. Condition B+ / B: sharp horizontal fold in bottom margin; light vertical and horizontal folds; abrasions and staining at edges. Paper. An expressionist painter and prodigious printmaker, Pechstein studied in Dresden and joined the newly-formed Die Brucke in 1906 at the invitation of Erich Heckel. He also did some interior design and stained glass work. In February, 1921, Pechstein exhibited over 40 of his paintings at Galerie Goyert in Cologne. Although sometimes referred to as a poster, this woodblock was likely printed as the cover of the catalogue for the exhibition, which would have been in conjunction with sculptures by Rudolph Belling. One of two variants, the second with all of the text at the bottom fully below the image. Pechstein H 234.

View additional info »
Realized: Log in or create account to view price data
BERNHARD KRETZSCHMAR (1889-1972). AUSSTELLUNG ILLUSTRIERTER ZEIT SCHRIFTEN. 1919. 26x20 inches, 67x52 cm.

Lot 9: BERNHARD KRETZSCHMAR (1889-1972). AUSSTELLUNG ILLUSTRIERTER ZEIT SCHRIFTEN. 1919. 26x20 inches, 67x52 cm.

Estimated Price: Log in or create account to view price data

Description: BERNHARD KRETZSCHMAR (1889-1972) AUSSTELLUNG ILLUSTRIERTER ZEIT SCHRIFTEN. 1919. 26 1/2x20 1/2 inches, 67 1/4x52 cm. Condition B+: creases and abrasions in margins and image. Hand-signed by the artist in pencil. Kretschmar was a painter who went through several prominent artistic phases. He began as an Expressionist, but in 1920, he destroyed all of his work and moved on to New Objectivity. In the 1930s, he was listed as an "entartete" artist by the Nazi regime, and as a result, most of his paintings were destroyed during the bombing of Dresden. After the war he became a professor at the Dresden Academy of Arts, during which time he continued to paint. This is one of two posters produced by the artist for this exhibition on illustrated magazines of the day, each accomplished in a light expressionist manner. LACMA M.2003.115.2.

View additional info »
Realized: Log in or create account to view price data
MAX PECHSTEIN (1881-1955). PECHSTEIN - AUSSTELLUNG. 1946. 23x16 inches, 58x40 cm. Maximilian-Druck, Berlin.

Lot 10: MAX PECHSTEIN (1881-1955). PECHSTEIN - AUSSTELLUNG. 1946. 23x16 inches, 58x40 cm. Maximilian-Druck, Berlin.

Estimated Price: Log in or create account to view price data

Description: MAX PECHSTEIN (1881-1955) PECHSTEIN - AUSSTELLUNG. 1946. 23x16 inches, 58 1/4x40 1/2 cm. Maximilian-Druck, Berlin. Condition A. Tipped to paper mount. Hand-signed and dated by the artist in pen. Framed. This is a poster for Pechstein's first exhibition after the war. Pechstein L 414.

View additional info »
Realized: Log in or create account to view price data
OSKAR KOKOSCHKA (1886-1980). O. KOKOSCHKA / KUNSTSALON WOLFSBERG ZÜRICH. 1923. 50x35 inches, 127x90 cm. Zurich.

Lot 11: OSKAR KOKOSCHKA (1886-1980). O. KOKOSCHKA / KUNSTSALON WOLFSBERG ZÜRICH. 1923. 50x35 inches, 127x90 cm. Zurich.

Estimated Price: Log in or create account to view price data

Description: OSKAR KOKOSCHKA (1886-1980) O. KOKOSCHKA / KUNSTSALON WOLFSBERG ZÜRICH. 1923. 50x35 1/2 inches, 127x90 1/4 cm. Zurich. Condition B-: repaired tears, restored losses, creases, abrasions, restoration and overpainting in margins and image. Mounted on Japan. A student of the Art Nouveau era who exhibited alongside Gustav Klimt as a fellow member of the Vienna Secession, Kokoschka was a painter, printmaker and writer who became one of the great expressionist artists of the 20th century. Kokoschka traveled to Switzerland to help set up this exhibition held at the gallery of the famed lithographer and stayed for some time in the country painting. The image on the poster is a more complete version of a lithograph he did that year entitled "Self-Portrait from two sides as a painter." "Most of Kokoschka's self-portraits are melancholy . . . the years of 1922-1923 were times of great progress in the watercolor medium . . . an end of the Dresden Expressionism" (German Expressionist Art p. 144). German Expressionist Art 194.

View additional info »
Realized: Log in or create account to view price data
WALTER SCHNACKENBERG (1880-1961). DEUTSCHES THEATER. 1910. 47x35 inches, 121x89 cm. O. Consée, Munich.

Lot 12: WALTER SCHNACKENBERG (1880-1961). DEUTSCHES THEATER. 1910. 47x35 inches, 121x89 cm. O. Consée, Munich.

Estimated Price: Log in or create account to view price data

Description: WALTER SCHNACKENBERG (1880-1961) DEUTSCHES THEATER. 1910. 47 3/4x35 inches, 121 1/4x89 cm. O. Consée, Munich. Condition B: restoration and overpainting along vertical and horizontal folds; restoration and creases in image; repaired tears in margins and image. Schnackenberg studied with Franz von Stuck at the academy in Munich, and through his travels was exposed to the work of Toulouse-Lautrec in Paris. The two artists shared a passion for depicting nightlife, cabarets and performers, yet Schnackenberg's theatrical vision was more attuned to the prevailing German mood than fin-de-siècle Paris. His posters are an incarnation of the extravagance, decadence and morbidity at the center of Weimar-era indulgences. Similarly to Toulouse-Lautrec in Paris, Schnackenberg left behind a visual gallery of the demimonde of Munich's night life; filled with weird performers and dancers. Schnackenberg also worked extensively on theatrical and costume design. This poster is a tribute to Toulouse-Lautrec's work, with elements of Divan Japonais, the elegant couple looking down at a performer on stage, Jane Avril, a high-leg kicking can-can dancer and Moulin Rouge, of people seen in silhouette. Unlike Toulose-Lautrec, here the typography flows through the image like the performer. Encyclopedie de l'Affiche p. 231.

View additional info »
Realized: Log in or create account to view price data
TOMMI PARZINGER (1903-1981). HOCHBURG DES PRINZEN / KARNEVAL. 1928. 70x32 inches, 178x83 cm. Kunst im Druck, Munich.

Lot 13: TOMMI PARZINGER (1903-1981). HOCHBURG DES PRINZEN / KARNEVAL. 1928. 70x32 inches, 178x83 cm. Kunst im Druck, Munich.

Estimated Price: Log in or create account to view price data

Description: TOMMI PARZINGER (1903-1981) HOCHBURG DES PRINZEN / KARNEVAL. Circa 1925. 70 1/4x32 3/4 inches, 178 1/2x83 1/4 cm. Kunst im Druck, Munich. Condition B: losses, restored losses and restoration along vertical and horizontal folds; repaired tears, creases and abrasions in margins and image. Two-sheets. Framed. A lithe, androgynous harlequin with a narcotically-calm, trance-like smile, is in the throes of a performance, guiding puppets of dancing girls and tuxedoed gentlemen. A decadent image, accomplished in a 1920s mannerist style, which fits in well with other visions of Munich nightlife, such as those depicted by Schnackenberg (see previous lot).

View additional info »
Realized: Log in or create account to view price data
LUDWIG HOHLWEIN (1874-1949). ZEISS FELDSTECHER. 1912. 19x16 inches, 49 x42 cm. Vereinigte Druckereien & Kunstanstalten, Munich.

Lot 14: LUDWIG HOHLWEIN (1874-1949). ZEISS FELDSTECHER. 1912. 19x16 inches, 49 x42 cm. Vereinigte Druckereien & Kunstanstalten, Munich.

Estimated Price: Log in or create account to view price data

Description: LUDWIG HOHLWEIN (1874-1949) ZEISS FELDSTECHER. 1912. 19 1/2x16 1/2 inches, 49 1/2 x42 cm. Vereinigte Druckereien & Kunstanstalten, Munich. Condition B: repaired tear in right image and in left edge; recreated losses, creases, abrasions and restoration in margins and image; bubbling in upper image; overpainting in margins. Trimmed. A masterpiece by Hohlwein in the full maturity of his style. It is a subtle play between shadow and light with no outlining and masterful handling of filling in areas with patterns, specifically in his depiction of the man's jacket. Hohlwein had very successfully used the pattern of clothing (specifically plaid) as a prominent design element in about half a dozen posters between 1908 and 1912 (most notably in Hermann Scherrer, 1907, Café Odeon, 1908, PKZ, 1908 and Audi, 1912) and it makes a command appearance here. A rare icon from a genius graphic designer. DFP-III 1420, Hohlwein / Munich 175.

View additional info »
Realized: Log in or create account to view price data
LUDWIG HOHLWEIN (1874-1949). NACHTIGALLSCHLAG. 1910. 27x36 inches, 70x92 cm. G. Schuh & Cie., Munich.

Lot 15: LUDWIG HOHLWEIN (1874-1949). NACHTIGALLSCHLAG. 1910. 27x36 inches, 70x92 cm. G. Schuh & Cie., Munich.

Estimated Price: Log in or create account to view price data

Description: LUDWIG HOHLWEIN (1874-1949) NACHTIGALLSCHLAG. 1910. 27 1/2x36 1/2 inches, 70x92 3/4 cm. G. Schuh & Cie., Munich. Condition B+: creases, foxing and discoloration in margins and image. Paper. Nachtigallschlag (The Song of the Nightingale) was a record label launched by the German Gramophone Company. Employing a sophisticated technique of silhoutte and shadow, Hohlwein represents a nightingale perched on a rose bush against a full moon, beneath a starry sky. As with many of his product advertisements from this period (1908-1911), Hohlwein made minimal use of colors and used thick, sans-serif typography organized as a block at the bottom of the poster. A strikingly efficient image. This copy has very wide margins. DFP-III 1375, Hohlwein / Munich 144.

View additional info »
Realized: Log in or create account to view price data
LUDWIG HOHLWEIN (1874-1949) / H. K. FRENZEL (DATES UNKNOWN). LUDWIG HOHLWEIN. 1926. 12x9 inches, 30x23 cm. Phonix Illustrationsdruck un

Lot 16: LUDWIG HOHLWEIN (1874-1949) / H. K. FRENZEL (DATES UNKNOWN). LUDWIG HOHLWEIN. 1926. 12x9 inches, 30x23 cm. Phonix Illustrationsdruck un

Estimated Price: Log in or create account to view price data

Description: LUDWIG HOHLWEIN (1874-1949) / H. K. FRENZEL (DATES UNKNOWN) LUDWIG HOHLWEIN. 1926. 12x9 inches, 30 1/2x23 cm. Phonix Illustrationsdruck und Verlag, Berlin. Condition A. Cover and spine scuffed; contents fine. A monograph of the prodigious output of work of one of Germany's greatest poster designers, containing his posters, magazine covers, sheet music covers, book covers, calendars, cigar packaging and more. 288 illustrations, 65 plates in color and 223 in black-and-white. Text in both German and English, edited by Professor H. K. Frenzel.

View additional info »
Realized: Log in or create account to view price data
DESIGNER UNKNOWN. M. Circa 1931. 37x24 inches, 95x63 cm.

Lot 17: DESIGNER UNKNOWN. M. Circa 1931. 37x24 inches, 95x63 cm.

Estimated Price: Log in or create account to view price data

Description: DESIGNER UNKNOWN M. Circa 1931. 37 1/2x24 3/4 inches, 95 1/4x63 cm. Condition B / B+: repaired tears at edges; overpainting along upper edge; creases and abrasions and restoration in margins and image. Fritz Lang's first movie with sound starred Peter Lorre as a disturbed child murderer. It is considered to be Lang's best film. Lang, who had traditionally worked with the UFA (Universum Film AG), worked with Nero Films to produce this movie due to political pressure involving the film's subject matter. This same, stark image of a hand, emblazoned with a red "M," appeared on the original German poster but did not have the repeating motif of the letter in the background. This linocut poster is for the original release at the Moghrabi Theatre (built in 1930) in Tel Aviv.

View additional info »
Realized: Log in or create account to view price data
JULIUS KLINGER (1876–1942). WIPAG KLINGER. 1923. 36x48 inches, 92x123 cm.

Lot 18: JULIUS KLINGER (1876–1942). WIPAG KLINGER. 1923. 36x48 inches, 92x123 cm.

Estimated Price: Log in or create account to view price data

Description: JULIUS KLINGER (1876–1942) WIPAG KLINGER. 1923. 36 1/4x48 1/2 inches, 92x123 1/4 cm. Condition B+: restoration along vertical and horizontal folds; repaired tears and restoration at edges and in image. Klinger loved using animals in his posters, so much so that a good part of his work seems like a zoo; ducks he held in special regard. Klinger used them, along with their eggs, as an allegory for poster creation. They appear three times in his posters, each time representing an important poster publisher or printer; in 1910 for Hollerbaum & Schmidt, Klinger's publisher in Berlin; for Wolfsberg, the Swiss poster printer in the 1920s; and finally, this image for WIPAG (Wiener Plakatierungs - und Anzeigen Gesellschaft), a large poster billing company in Vienna. Denscher p. 156, Müller-Brockman p. 74.

View additional info »
Realized: Log in or create account to view price data
DESIGNER UNKNOWN. KRIEGSAUSSTELLUNG / WIEN 1916. 37x25 inches, 94x63 cm. Gesellschaft fur Graphiche Industrie, Vienna.

Lot 19: DESIGNER UNKNOWN. KRIEGSAUSSTELLUNG / WIEN 1916. 37x25 inches, 94x63 cm. Gesellschaft fur Graphiche Industrie, Vienna.

Estimated Price: Log in or create account to view price data

Description: DESIGNER UNKNOWN KRIEGSAUSSTELLUNG / WIEN 1916. 37 1/4x25 inches, 94 1/2x63 1/2 cm. Gesellschaft fur Graphiche Industrie, Vienna. Condition B+ / B: restoration along vertical and horizontal folds; repaired tears and restoration in margins and image. An image of one of the buildings designed by architect Karl Witzmann for the Austrian Monarchy's 1916 War Exhibition held in newly constructed buildings within Vienna's revered Prater park. IWM PST 5940.

View additional info »
Realized: Log in or create account to view price data
WERNER (DATES UNKNOWN). SPANDAUER ZEITUNG. Circa 1935. 27x37 inches, 70x94 cm. Stuckrath & Co., Spandau.

Lot 20: WERNER (DATES UNKNOWN). SPANDAUER ZEITUNG. Circa 1935. 27x37 inches, 70x94 cm. Stuckrath & Co., Spandau.

Estimated Price: Log in or create account to view price data

Description: WERNER (DATES UNKNOWN) SPANDAUER ZEITUNG. Circa 1935. 27 1/2x37 inches, 70x94 cm. Stuckrath & Co., Spandau. Condition B: repaired tears at edges and in image; creases, abrasions and restoration along vertical and horizontal folds and in margins and image. Framed. A progressive, allegorical design for an ambitious newspaper from a town located on the outskirts of Berlin. Situated at the confluence of two rivers (the Havel and the Spree), bridges were perhaps an appropriate image for the newspaper to employ. Their slogan, "The bridge from party to party -- from the people to the state."

View additional info »
Realized: Log in or create account to view price data
TONY GARNIER (1869-1948). VILLE DE LYON / EXPOSITION INTERNATIONALE / LA CITÉ MODERNE. 1914. 63x46 inches, 160x116 cm. J.E. Goossens, P

Lot 21: TONY GARNIER (1869-1948). VILLE DE LYON / EXPOSITION INTERNATIONALE / LA CITÉ MODERNE. 1914. 63x46 inches, 160x116 cm. J.E. Goossens, P

Estimated Price: Log in or create account to view price data

Description: TONY GARNIER (1869-1948) VILLE DE LYON / EXPOSITION INTERNATIONALE / LA CITÉ MODERNE. 1914. 63x46 inches, 160x116 3/4 cm. J.E. Goossens, Paris. Condition B+: repaired tears, abrasions and staining along vertical and horizontal folds. Unfairly forgotten by history, Tony Garnier was one of the great architects of the 20th century. Inspired by the Utopists movements of the 19th century, he took on the task of materializing their ideas using concrete and iron. Between 1911 and 1913 Garnier designed a huge architectural complex, including a gigantic hall intended to become a cattle market, in which he and Edouard Herriot, the socialist mayor of Lyon, planned to organize the first ever exhibition on Urbanism called La Cité Moderne (The Modern City), an exhibition dedicated to the rational development of modern cities. The exhibition was ultimately cancelled due to the outbreak of World War I, but not before the poster (Garnier's first and only attempt at graphic design) was printed. Its overall style is clearly in rupture with the predominant Art Nouveau style of the period. The lettering, the blue frame inside the poster and the geometric way the image is cut inside the poster evoke an Art Deco style. The most interesting part is obviously the central image which shows the hall itself -- a gigantic metal structure built without any pillars. The Grand Hall still exists in Lyon, where it houses a contemporary art exhibition and enjoys status as a national landmark. La Contstruction Lyonnaise p. 254, La Cahiers d'Art No. 8, 1928, p. 343-351.

View additional info »
Realized: Log in or create account to view price data
TH. H. MOLKENBOER (1871-1920). ELIAS P VAN BOMMEL / BOEKBINDER. 1897. 33x24 inches, 85x61 cm.

Lot 22: TH. H. MOLKENBOER (1871-1920). ELIAS P VAN BOMMEL / BOEKBINDER. 1897. 33x24 inches, 85x61 cm.

Estimated Price: Log in or create account to view price data

Description: TH. H. MOLKENBOER (1871-1920) ELIAS P VAN BOMMEL / BOEKBINDER. 1897. 33 1/2x24 inches, 85x61 cm. Condition A-: minor restoration in text at top and at edges. After completing his studies in Amsterdam, Molkenboer worked in various fields of the Applied Arts including pottery and book ornamentation. This strict black-and-white poster, portraying a bookbinder in profile absorbed in his work, is a very rare example of the woodblock technique applied to poster art. Dutch Posters 83, Modern Dutch 16.

View additional info »
Realized: Log in or create account to view price data
RICHARD N. ROLAND-HOLST (1868-1938). VOLKS - UNIVERSITEIT / HILVERSUM. 1920. 41x28 inches, 104x71 cm. Graf. Kunstinrichting, [Amsterdam

Lot 23: RICHARD N. ROLAND-HOLST (1868-1938). VOLKS - UNIVERSITEIT / HILVERSUM. 1920. 41x28 inches, 104x71 cm. Graf. Kunstinrichting, [Amsterdam

Estimated Price: Log in or create account to view price data

Description: RICHARD N. ROLAND-HOLST (1868-1938) VOLKS - UNIVERSITEIT / HILVERSUM. 1920. 41x28 inches, 104x71 cm. Graf. Kunstinrichting, [Amsterdam.] Condition B+: vertical and horizontal folds; minor restoration at edges. Roland-Holst was a multi-talented artist who worked in many different mediums. He was the Dutch champion of Art Nouveau and went on to become the director of the Rijks Akademie in Amsterdam. Of the sixteen posters he designed during his career (between 1910 and 1920), nine were for the theatre. This poster was one of his last, but adheres to his standard construction. The image is built on a strict vertical axis with geometrical elements and antique columns. The image depicts an allegory of education in which the crowd's thirst for knowledge is slaked by the liquid being poured by a muse. As usual with Roland-Holst, the poster is printed in black-and-white with small traces of orange.

View additional info »
Realized: Log in or create account to view price data
CHARLES VERSCHUUREN, JR. (1899-1955). DRUKKERIJ KOTTING. Circa 1917. 42x31 inches, 108x78 cm. [Drukkerij Kotting, Amsterdam.]

Lot 24: CHARLES VERSCHUUREN, JR. (1899-1955). DRUKKERIJ KOTTING. Circa 1917. 42x31 inches, 108x78 cm. [Drukkerij Kotting, Amsterdam.]

Estimated Price: Log in or create account to view price data

Description: CHARLES VERSCHUUREN, JR. (1899-1955) DRUKKERIJ KOTTING. Circa 1917. 42 1/2x31 inches, 108x78 3/4 cm. [Drukkerij Kotting, Amsterdam.] Condition B+: skinning and losses at edges; creases, abrasions and restoration in margins and image. Framed. Born in the Netherlands, Verschuuren was an illustrator, cartoonist and part-time painter. He is credited with having designed over 100 posters before he moved his family to the United States in 1922. In New York City, he contributed many illustrations to the Brooklyn Eagle's Sunday Magazine through 1933. He also designed posters for the WPA and briefly worked for the Walt Disney Company. By the time he arrived in America, his Art Deco style was well-formed, but even in his earlier posters, one gets an excellent sense of design, composition and flair. This poster is for the printer for whom Verschuuren did all of his design work. Modern Dutch 43.

View additional info »
Realized: Log in or create account to view price data
CHARLES VERSCHUUREN, JR. (1899-1955). OTHELLO. 1917. 42x30 inches, 108x78 cm. Kotting, Amsterdam.

Lot 25: CHARLES VERSCHUUREN, JR. (1899-1955). OTHELLO. 1917. 42x30 inches, 108x78 cm. Kotting, Amsterdam.

Estimated Price: Log in or create account to view price data

Description: CHARLES VERSCHUUREN, JR. (1899-1955) OTHELLO. 1917. 42 1/2x30 3/4 inches, 108x78 cm. Kotting, Amsterdam. Condition B+: creases and abrasions in margins and image. Dutch Poster 148.

View additional info »
Realized: Log in or create account to view price data
PIETER ADRIANUS HENDRIK HOFMAN (1885-1965). L'ETRANGER. Circa 1920. 42x29 inches, 108x73 cm. Lankhout, The Hague.

Lot 26: PIETER ADRIANUS HENDRIK HOFMAN (1885-1965). L'ETRANGER. Circa 1920. 42x29 inches, 108x73 cm. Lankhout, The Hague.

Estimated Price: Log in or create account to view price data

Description: PIETER ADRIANUS HENDRIK HOFMAN (1885-1965) L'ETRANGER. Circa 1920. 42 1/2x29 inches, 108x73 3/4 cm. Lankhout, The Hague. Condition A. Framed. A rigid image strictly organized around its vertical axis in a style that was often used by Dutch artists. Hofman was primarily a poster and book cover designer, although he also designed bookplates, stamps and stained glass.

View additional info »
Realized: Log in or create account to view price data
BART VAN VLYMEN (DATES UNKNOWN). INTERNATIONALE TENTOONSTELLING / VOOR HANDEL & INDUSTRIE. 1924. 43x30 inches, 111x71 cm. Teulings Graf

Lot 27: BART VAN VLYMEN (DATES UNKNOWN). INTERNATIONALE TENTOONSTELLING / VOOR HANDEL & INDUSTRIE. 1924. 43x30 inches, 111x71 cm. Teulings Graf

Estimated Price: Log in or create account to view price data

Description: BART VAN VLYMEN (DATES UNKNOWN) INTERNATIONALE TENTOONSTELLING / VOOR HANDEL & INDUSTRIE. 1924. 43 3/4x30 3/4 inches, 111x71 cm. Teulings Grafische Kunstinrichting, Amsterdam. Condition B+ / B: repaired tears and restoration at edges, some affecting image; abrasions and restoration in margins and image; staining at edges. From the beginning of the Industrial Revolution pollution was not considered to be a societal evil but rather a sign of progress and even prosperity. This image, for an International Exhibition of Trade and Industry, literally shows how Mercury's Caduceus (symbol of commerce and trade) forms within the conflux of the massive cloud of smoke rising from all the factory chimneys. In 1925, Charles Loupot used a similar theme of smoke emitting from factory smokestacks to advertise the Exposition International Art Décoratifs et Industriels Modernes in Paris.

View additional info »
Realized: Log in or create account to view price data
BUIGAS (DATES UNKNOWN). PEREGRINACION TRADICIONALISTA / A ROMA / CENTENARIO DE LA REDENCION. 1933. 43x30 inches, 109x76 cm. M. Blasi, B

Lot 28: BUIGAS (DATES UNKNOWN). PEREGRINACION TRADICIONALISTA / A ROMA / CENTENARIO DE LA REDENCION. 1933. 43x30 inches, 109x76 cm. M. Blasi, B

Estimated Price: Log in or create account to view price data

Description: BUIGAS (DATES UNKNOWN) PEREGRINACION TRADICIONALISTA / A ROMA / CENTENARIO DE LA REDENCION. 1933. 43x30 inches, 109 1/4x76 1/4 cm. M. Blasi, Barcelona. Condition B+ / B: abrasions and restoration along horizontal fold and in margins and image; staining in lower margin affecting text; lower right corner is detaching from paper and linen. The 19th Centenary of the Redemption was held in 1933. The Holy Year Jubilee was proclaimed by Pope Pius XI and lasted for a year beginning in April 1933. Pilgrims from across Europe traveled to Rome. This is a well-designed Art Deco image for a very traditional event. Cataluna 336.

View additional info »
Realized: Log in or create account to view price data
DESIGNER UNKNOWN. DÉFENDEZ - VOUS CONTRE LA SYPHILIS. Circa 1930. 46x31 inches, 118x78 cm. PAG, Paris.

Lot 29: DESIGNER UNKNOWN. DÉFENDEZ - VOUS CONTRE LA SYPHILIS. Circa 1930. 46x31 inches, 118x78 cm. PAG, Paris.

Estimated Price: Log in or create account to view price data

Description: DESIGNER UNKNOWN DÉFENDEZ - VOUS CONTRE LA SYPHILIS. Circa 1930. 46 1/2x31 inches, 118x78 3/4 cm. PAG, Paris. Condition B: losses along vertical and horizontal folds; creases, abrasions and staining in margins and image. Paper. Framed. A public awareness poster to warn the populace about the dangers of syphilis. In no uncertain terms it reads, "Defend yourself against syphilis. Don't expose yourself to infection, but if you already have it: to avoid spreading it to those near you, so that your children are not maimed, so that you yourself avoid becoming, sooner or later, BLIND, PARALYZED, ATAXIC or MAD start treatment right away from your doctor or at anti-veneral dispensaries. Ask the Ministry of Health for the list of addresses." This poster, which was part of a large campaign all over Paris at the time, made an impression on Henry Miller, who writes in Tropic of Cancer, "In every Metro station there are grinning skulls that greet you with Défendez-vous contre la syphilis! Wherever there are walls, there are posters with bright venomous crabs heralding the approach of cancer. No matter where you go, no matter what you touch, there is cancer and syphilis."

View additional info »
Realized: Log in or create account to view price data
THOR BÖGELUND (1890-1959). TIVOLI. 1915. 16x23 inches, 42x59 cm. Andreasen & Lachmann. Lit., [ Copenhagen.]

Lot 30: THOR BÖGELUND (1890-1959). TIVOLI. 1915. 16x23 inches, 42x59 cm. Andreasen & Lachmann. Lit., [ Copenhagen.]

Estimated Price: Log in or create account to view price data

Description: THOR BÖGELUND (1890-1959) TIVOLI. 1915. 16 1/2x23 1/2 inches, 42x59 3/4 cm. Andreasen & Lachmann. Lit., [ Copenhagen.] Condition B: partially restored loss in upper right corner; tears at edges; creases and abrasions along vertical fold and in image. Paper. Matted and framed. "Bögelund worked in many styles and is perhaps the most versatile and prolific of Danish poster artists. His diverse talents and long career certainly make him one of the most interesting of Danish artists; he designed posters for Tivoli for nearly 50 years, from 1911 until 1958" (Turner-Dailey, np).

View additional info »
Realized: Log in or create account to view price data
SVEN HENRIKSEN (1890-1935). SOCIAL - DEMOKRATEN. 1934. 33x24 inches, 85x61 cm. J.P. Jensens Trykkerier, [Copenhagen.]

Lot 31: SVEN HENRIKSEN (1890-1935). SOCIAL - DEMOKRATEN. 1934. 33x24 inches, 85x61 cm. J.P. Jensens Trykkerier, [Copenhagen.]

Estimated Price: Log in or create account to view price data

Description: SVEN HENRIKSEN (1890-1935) SOCIAL - DEMOKRATEN. 1934. 33 1/2x24 inches, 85x61 cm. J.P. Jensens Trykkerier, [Copenhagen.] Condition B+ / A-: repaired tears at edges, some affecting text at bottom; minor creases, abrasions and restoration in margins and image. Matted and framed. Social-Demokraten was a moderate left-wing newspaper which was an organ of the Danish Worker's Party. Henriksen, a self-taught artist turned graphic designer, had created a poster for the paper in 1930 and was subsequently commissioned to design this one, a poster for their 60th anniversary. The bold image is amplified by the shadow effect, a conceit Henriksen had also used on his first poster for the paper. Fit to Print 125.

View additional info »
Realized: Log in or create account to view price data
DESIGNER UNKNOWN. FESTIVAL THEATRAL DE MOSCOW. 1935. 40x28 inches, 101x71 cm. Foreign Trade Publishers, U.S.S.R.

Lot 32: DESIGNER UNKNOWN. FESTIVAL THEATRAL DE MOSCOW. 1935. 40x28 inches, 101x71 cm. Foreign Trade Publishers, U.S.S.R.

Estimated Price: Log in or create account to view price data

Description: DESIGNER UNKNOWN FESTIVAL THEATRAL DE MOSCOW. 1935. 40x28 inches, 101 1/2x71 cm. Foreign Trade Publishers, U.S.S.R. Condition B+ / B: repaired tears, creases and restoration in corners, at edges and in image. The glory days of avant-garde design, Constructivism and photomontage had disappeared by the mid-1930s in the Soviet Union. Stalin preferred the "smiling peasant" form of Socialist Realism and the conservative artists within the government propaganda agencies were only too happy to oblige. As an exception, travel posters targeted to an audience outside the country were designed with more flair; it was rightfully understood that the prevailing European artistic trend of Art Deco would be more appealing to potential tourists than Socialist Realism. This poster, with its soft, fluid, Art Deco touch is quite accomplished. The image of the conductor, dwarfed by a giant red curtain, makes for a good theatrical effect. This is the French version.

View additional info »
Realized: Log in or create account to view price data
N. ZHUKOV (1908-1973). FOURTH MOSCOW THEATRE FESTIVAL. 1936. 39x26 inches, 99x66 cm. Foreign Trade Publishers, U.S.S.R.

Lot 33: N. ZHUKOV (1908-1973). FOURTH MOSCOW THEATRE FESTIVAL. 1936. 39x26 inches, 99x66 cm. Foreign Trade Publishers, U.S.S.R.

Estimated Price: Log in or create account to view price data

Description: N. ZHUKOV (1908-1973) FOURTH MOSCOW THEATRE FESTIVAL. 1936. 39 1/4x26 inches, 99 3/4x66 cm. Foreign Trade Publishers, U.S.S.R. Condition B+: creases and restoration in margins and image.

View additional info »
Realized: Log in or create account to view price data
ISTVAN TURI-POLGÁR (1884-1980). MESSE / BUDAPEST. 1938. 37x25 inches, 94x63 cm.

Lot 34: ISTVAN TURI-POLGÁR (1884-1980). MESSE / BUDAPEST. 1938. 37x25 inches, 94x63 cm.

Estimated Price: Log in or create account to view price data

Description: ISTVAN TURI-POLGÁR (1884-1980) MESSE / BUDAPEST. 1938. 37x25 inches, 94x63 1/2 cm. Condition A. Many of Hungary's top artists were enlisted to help promote the yearly trade fair held in the capital city. Mihály Biró, Sándor Bortnyik, Berény, Konecsni and others contributed images to the series. The designer of this poster, whose fame does not equal those of his colleagues, designed two images in successive years, each employing the same cinematic effect of showing grand structures in the city seen from a low perspective. Illustrated here is the lighthouse on Budapest's Petofi Bridge, which was constructed in 1937, designed after the famous Rijeka harbor lighthouse in Croatia. The bridge was destroyed in 1945 when the Nazis were fleeing the city and the lighthouse was never rebuilt.

View additional info »
Realized: Log in or create account to view price data
ISTVAN TURI-POLGÁR (1884-1980). INTERNATIONALE MESSE / BUDAPEST. 1939. 37x25 inches, 94x63 cm.

Lot 35: ISTVAN TURI-POLGÁR (1884-1980). INTERNATIONALE MESSE / BUDAPEST. 1939. 37x25 inches, 94x63 cm.

Estimated Price: Log in or create account to view price data

Description: ISTVAN TURI-POLGÁR (1884-1980) INTERNATIONALE MESSE / BUDAPEST. 1939. 37x25 inches, 94x63 1/2 cm. Condition B+: creases, abrasions and restoration in image; minor restoration in margins and corners. Here, three chimneys illuminated in the colors of the Hungarian flag are filling the sky with the output of their production (meant to be indicative of the great industrial infrastructure in the country).

View additional info »
Realized: Log in or create account to view price data
JOSEP RENAU-MONTORO (1907-1982). SALA BLAVA / VALENCIA. 1929. 29x21 inches, 75x55 cm. Mirabet, Valencia.

Lot 36: JOSEP RENAU-MONTORO (1907-1982). SALA BLAVA / VALENCIA. 1929. 29x21 inches, 75x55 cm. Mirabet, Valencia.

Estimated Price: Log in or create account to view price data

Description: JOSEP RENAU-MONTORO (1907-1982) SALA BLAVA / VALENCIA. 1929. 29 1/2x21 3/4 inches, 75x55 cm. Mirabet, Valencia. Condition B+: sharp vertical and horizontal folds; creases in corners. A rare image for one of the nuclei of Spain's avant-garde artistic community in the late 1920s and 30s. The Sala Blava was an exhibition hall and meeting place for artists. In addition to designing this poster, Renau was one of the artists to help found the group, and it was also his work that was exhibited at their first show. Contemporary photographs reveal the gallery's arches and timbered ceilings which Renau captures with elegant simplicity. It is one of the earliest posters for the salon, as it only opened in 1929. previously unreferenced/span

View additional info »
Realized: Log in or create account to view price data
JOSEP RENAU-MONTORO (1907-1982). GRAN FERIA DE VALENCIA. 1935. 64x45 inches, 162x115 cm. Ortega, Valencia.

Lot 37: JOSEP RENAU-MONTORO (1907-1982). GRAN FERIA DE VALENCIA. 1935. 64x45 inches, 162x115 cm. Ortega, Valencia.

Estimated Price: Log in or create account to view price data

Description: JOSEP RENAU-MONTORO (1907-1982) GRAN FERIA DE VALENCIA. 1935. 64x45 1/2 inches, 162 1/2x115 1/2 cm. Ortega, Valencia. Condition B+: restoration along sharp horizontal folds; abrasions in image. Renau was very active during the Spanish Civil War, supporting the Spanish Republic against Franco and his fascist allies by designing posters for the cause. He was ultimately named General Director of the Arts, in which position he was also in charge of safeguarding Spain's cultural heritage. His graphic design fluctuated between accomplished Art Deco and sophisticated photomontage, and he applied his talents to military, propaganda, tourism, travel and cultural events. He designed several posters for the Gran Feria de Valencia, beginning in 1929. The bold appearance of the Valencian flag on this poster, one year prior to the outbreak of war, may have been an intentional attempt at stirring national unity. Espana 367.

View additional info »
Realized: Log in or create account to view price data
MAGA (GUISEPPE MAGAGNOLI, 1878-1933). GACETA DEPORTIVA. Circa 1925. 38x27 inches, 98x70 cm. Maga, Milan.

Lot 38: MAGA (GUISEPPE MAGAGNOLI, 1878-1933). GACETA DEPORTIVA. Circa 1925. 38x27 inches, 98x70 cm. Maga, Milan.

Estimated Price: Log in or create account to view price data

Description: MAGA (GUISEPPE MAGAGNOLI, 1878-1933) GACETA DEPORTIVA. Circa 1925. 38 3/4x27 1/2 inches, 98 1/2x70 cm. Maga, Milan. Condition B+: restoration and overpainting along vertical and horizontal folds. Magagnoli had worked for years as Vercasson's agent in Italy. When he opened up his own agency in the 1920s he employed the best Italian designers of the inter-war era. "Pupazzi, Nizzoli, Fabiano, Terzi, Amaldi, and the young Severo Pozzati [Sepo]" were all under contract at the firm (Weill p. 275). Regardless of the artist, the posters were generally just signed "Maga." "Although stylistically very different because they originated from different artists, Maga's posters are almost always persuasive and effective, as well as graphically of great interest" (Bolaffi p. 127). This poster, for a Spanish sports magazine establishes the fact that Maga also had offices in Madrid.

View additional info »
Realized: Log in or create account to view price data
JOZEF WINTERS (1911-1981). ANTWERPEN / WERELDHAVEN - KUNSTSTAD. Circa 1935. 39x24 inches, 99x61 cm.

Lot 39: JOZEF WINTERS (1911-1981). ANTWERPEN / WERELDHAVEN - KUNSTSTAD. Circa 1935. 39x24 inches, 99x61 cm.

Estimated Price: Log in or create account to view price data

Description: JOZEF WINTERS (1911-1981) ANTWERPEN / WERELDHAVEN - KUNSTSTAD. Circa 1935. 39 1/4x24 inches, 99 3/4x61 cm. Condition B+: repaired tears and restoration at edges, some affecting image; creases and restoration in image. Promoting Antwerp as a city with both an international port and great artistic heritage, the artist (who is unknown except for this poster) harmoniously aligns images of both themes. Against the colors of the Belgian flag he depicts ships in the city's harbor, and the great Art Deco skyscraper, the Boerentoren (the Farmer's Tower), against a darker silhouette of the city's famous Cathedral of Our Lady. The excellent Art Deco image is composed of only flat tones of color without the use of any outlining.

View additional info »
Realized: Log in or create account to view price data
DESIGNER UNKNOWN. LUXEMBOURG / CHEMIN DE FER. Circa 1930. 39x24 inches, 101x62 cm. Art. Ed. Huss & Cie., Luxembourg.

Lot 40: DESIGNER UNKNOWN. LUXEMBOURG / CHEMIN DE FER. Circa 1930. 39x24 inches, 101x62 cm. Art. Ed. Huss & Cie., Luxembourg.

Estimated Price: Log in or create account to view price data

Description: DESIGNER UNKNOWN LUXEMBOURG / CHEMIN DE FER. Circa 1930. 39 3/4x24 1/2 inches, 101x62 1/4 cm. Art. Ed. Huss & Cie., Luxembourg. Condition A-: repaired tear in image. This strong image, in what Austin Cooper described as "simplified realism," gives a modernist view of the capital city's spires and bridges. Amateur train-spotters may be surprised to learn from this poster that tiny Luxembourg had its own state railway.

View additional info »
Realized: Log in or create account to view price data
OTTO BAUMBERGER (1889-1961). PKZ. 1923. 49x35 inches, 125x89 cm. Wolfsberg, Zurich.

Lot 41: OTTO BAUMBERGER (1889-1961). PKZ. 1923. 49x35 inches, 125x89 cm. Wolfsberg, Zurich.

Estimated Price: Log in or create account to view price data

Description: OTTO BAUMBERGER (1889-1961) PKZ. 1923. 49 1/2x35 inches, 125 3/4x89 cm. Wolfsberg, Zurich. Condition A-: minor restoration in upper left corner; foxing in margins and upper image. Paper. Matted and framed. Baumberger was one of the most prolific Swiss poster artists, with well over 200 designs to his credit. Beginning in 1917, he regularly worked for PKZ, during which time he became close friends with (and advisor to) Emile Huber, PKZ's advertising director. This poster is not only the best he produced for the company but is also an icon in poster history. The tweed coat is rendered in near-photographic perfection to the point where you can practically feel the fabric. Baumberger took a totally new approach to advertising by ingeniously incorporating the poster's text into the image in the form of the label in the coat. With this poster Baumberger cemented his role as master of the "Object Poster," (a title he earned four years earlier with a classic image of a top hat), and began the trend of "New Objectivity" within the Swiss school of Graphic Design. A sensation from the day it was issued, this image remains compelling and proves to be one of the finest of the PKZ posters. Avant Garde p. 114, Modern Poster 188, Weill 439, Realisme 19, 1000 Posters 156, Design Graphique 77.

View additional info »
Realized: Log in or create account to view price data
ALEX W. DIGGELMANN (1902-1987). INTERLAKEN / FÜR IHRE FERIEN. 1933. 50x35 inches, 127x64 cm. Gebr. Fretz. A.G., Zurich.

Lot 42: ALEX W. DIGGELMANN (1902-1987). INTERLAKEN / FÜR IHRE FERIEN. 1933. 50x35 inches, 127x64 cm. Gebr. Fretz. A.G., Zurich.

Estimated Price: Log in or create account to view price data

Description: ALEX W. DIGGELMANN (1902-1987) INTERLAKEN / FÜR IHRE FERIEN. 1933. 50x35 1/2 inches, 127x64 3/4 cm. Gebr. Fretz. A.G., Zurich. Condition B+: creases and abrasions in margins and image; restoration at edges. Diggelman opened his own studio at the beginning of the 1930s. He specialized in sports and tourism posters, working for fashionable resorts like Gstaad, Klosters, St. Moritz and Interlaken. His style, which varied depending on his inspiration, included classical and stylized landscapes, the famous white rabbit of St. Moritz, Neue Sachlichkeit and more. Here he employs an elegant, mannerist, Art Deco style. Perhaps taking a cue from the depicted mountain, the Jungfrau (Young Woman), he portrays the outline of a woman's head, rouge and lipstick meticulously applied, with a strand of pearls around her neck, all against a metallic-silver rendition of the surrounding mountains. This is the German version. Paradis p. 193.

View additional info »
Realized: Log in or create account to view price data
HUGO LAUBI (1888-1959). PKZ / TANZ - ANZUG 125. 1923. 50x35 inches, 127x90 cm.

Lot 43: HUGO LAUBI (1888-1959). PKZ / TANZ - ANZUG 125. 1923. 50x35 inches, 127x90 cm.

Estimated Price: Log in or create account to view price data

Description: HUGO LAUBI (1888-1959) PKZ / TANZ - ANZUG 125. 1923. 50x35 1/2 inches, 127x90 1/4 cm. Condition B / B+: repaired tears and restoration at edges and in corners; restoration along horizontal fold and in margins and image; abrasions in image. Laubi was an illustrator and poster designer. Here, he provides an appealing combination of the traditional Swiss Object poster with Art Deco illustration. In 1918, Laubi became Art Director at the Fretz Brothers printing house.

View additional info »
Realized: Log in or create account to view price data
M. COCHARD (DATES UNKNOWN). ALGER ALETTI CASINO MUNICIPAL. Circa 1930. 34x23 inches, 87x60 cm. Baconnier, Algiers.

Lot 44: M. COCHARD (DATES UNKNOWN). ALGER ALETTI CASINO MUNICIPAL. Circa 1930. 34x23 inches, 87x60 cm. Baconnier, Algiers.

Estimated Price: Log in or create account to view price data

Description: M. COCHARD (DATES UNKNOWN) ALGER ALETTI CASINO MUNICIPAL. Circa 1930. 34 1/2x23 3/4 inches, 87 1/2x60 1/4 cm. Baconnier, Algiers. Condition A. Joseph Aletti was a hotel and hospitality magnate. Through his family he came to own a string of prominent hotels in Vichy and on the French Riviera. In 1930, the year France was celebrating the 100th anniversary of the French occupation of Algeria, Aletti opened up a large, high-end hotel in the country's capital city. The elegant hotel and casino soon became one of the most fashionable spots in the entire city, and this poster perfectly captures the feeling of the sought-after destination. Although the artist is unknown, the printer Baconnier was one of the best in Algeria. This image also exists in a smaller variant and as a luggage label.

View additional info »
Realized: Log in or create account to view price data
P. SOULOUMIAC (DATES UNKNOWN). PUBLICITÉ / ORIENT OFFICE. 1930. 49x36 inches, 124x92 cm. Richat Fres, Beirut.

Lot 45: P. SOULOUMIAC (DATES UNKNOWN). PUBLICITÉ / ORIENT OFFICE. 1930. 49x36 inches, 124x92 cm. Richat Fres, Beirut.

Estimated Price: Log in or create account to view price data

Description: P. SOULOUMIAC (DATES UNKNOWN) PUBLICITÉ / ORIENT OFFICE. 1930. 49x36 1/2 inches, 124 1/2x92 3/4 cm. Richat Fres, Beirut. Condition B / B+: restored losses in margins; restoration and restored losses along vertical and horizontal folds. A poster for one of the first, but no longer extant advertising agencies in Lebanon. While the artist is unknown, F. Pharaon was one of the pioneers of modern advertising in the country. The simple image, in only two colors, is accomplished in a pure Art Deco style.

View additional info »
Realized: Log in or create account to view price data
ASTA TIGRI (DATES UNKNOWN). BAL DE LA FOURRURE. 1926. 31x20 inches, 79x51 cm. Phogor, Paris.

Lot 46: ASTA TIGRI (DATES UNKNOWN). BAL DE LA FOURRURE. 1926. 31x20 inches, 79x51 cm. Phogor, Paris.

Estimated Price: Log in or create account to view price data

Description: ASTA TIGRI (DATES UNKNOWN) BAL DE LA FOURRURE. 1926. 31x20 1/4 inches, 79x51 1/2 cm. Phogor, Paris. Condition A-: creases and abrasions at edges. The annual Furriers Ball in Paris was advertised by such Art Deco luminaries as Charles Gesmar, Maurice Milliere and the unknown Asta Tigri who designed both this poster and the image for the same event the following year. This image, for the fifth ball, was also used on the cover of the evening's program.

View additional info »
Realized: Log in or create account to view price data
PIERRE SEGOGNE (?-1958). DIANY DORANGE. 1923. 61x44 inches, 156x111 cm. Stella, Paris.

Lot 47: PIERRE SEGOGNE (?-1958). DIANY DORANGE. 1923. 61x44 inches, 156x111 cm. Stella, Paris.

Estimated Price: Log in or create account to view price data

Description: PIERRE SEGOGNE (?-1958) DIANY DORANGE. 1923. 61 1/2x44 inches, 156 1/4x111 3/4 cm. Stella, Paris. Condition B / B-: repaired tears, restored losses and overpainting in margins and image; creases, abrasions and restoration along vertical and horizontal folds and in margins and image. Although Segogne was a prolific film poster designer, he has largely been forgotten and his work overlooked. Yet, for a short period in the 1920s he was extremely inventive and developed a singular style using a stencil technique in which he would apply colors using either a sponge or a roll. This gave his posters from the period a unique look, and for those that have survived, he is due more recognition than he has received up until now. Dorange was a circus performer with a popular riding act. A program from 1925 bills her as the star performer at l'Empire, one of the largest Parisian Music Halls. This exquisite poster shows Segogne's skill as a draftsman; his light, mannerist style is augmented by the warm, subtle background of the circus ring, giving the image entrancing power.

View additional info »
Realized: Log in or create account to view price data
PIERRE SEGOGNE (?-1958). FIGURES DE CIRE. Circa 1924. 60x34 inches, 154x87 cm. Les Grandes Exclusivités, Paris.

Lot 48: PIERRE SEGOGNE (?-1958). FIGURES DE CIRE. Circa 1924. 60x34 inches, 154x87 cm. Les Grandes Exclusivités, Paris.

Estimated Price: Log in or create account to view price data

Description: PIERRE SEGOGNE (?-1958) FIGURES DE CIRE. Circa 1924. 60 3/4x34 1/4 inches, 154 1/4x87 cm. Les Grandes Exclusivités, Paris. Condition B: repaired tears and restored losses along vertical and horizontal folds; creases, abrasions, restoration and overpainting in margins and image; repaired tear through upper right corner. A poster for the French release of the 1924 silent German horror/fantasy film, Wachsfigurenkabinett (Waxworks). The plot involves a wax museum owner who hires a poet to write stories about some of the most colorful figures on display (including Harun al-Rashid (the 5th Caliph of Baghdad), Jack the Ripper and Ivan the Terrible), in hopes of drawing more people in to view the exhibition. Directed by Paul Leni, the film stars Emil Jannings, Conrad Veidt and Werner Krauss. This poster advertises the first part of the film about the Caliph of Baghdad and shows him seducing the wife of a poor baker. The image is an impressive close-up and captures the different emotional expressions on the characters' faces, skillfully achieved without any outlining. A rare/span and creative movie poster that stands out as an artistic exception within its field.

View additional info »
Realized: Log in or create account to view price data
PIERRE SEGOGNE (?-1958). FIGURES DE CIRE. Circa 1924. 60x34 inches, 154x87 cm. Les Grandes Exclusivités, Paris.

Lot 49: PIERRE SEGOGNE (?-1958). FIGURES DE CIRE. Circa 1924. 60x34 inches, 154x87 cm. Les Grandes Exclusivités, Paris.

Estimated Price: Log in or create account to view price data

Description: PIERRE SEGOGNE (?-1958) FIGURES DE CIRE. Circa 1924. 60 3/4x34 1/4 inches, 154 1/4x87 cm. Les Grandes Exclusivités, Paris. Condition B-: repaired tears at edges, some affecting image; creases, abrasions, restored losses, restoration and overpainting along vertical and horizontal folds and in margins and image. This poster is for the third part of the film (see previous lot) in which a terrified couple are huddled on the street as a wild-eyed and pale-faced Jack the Ripper wanders around looking for his next victim. It is interesting to note the almost expressionist way in which the artist handles the city skyline, reminiscent of German film posters of the time such as The Cabinet of Dr. Caligari. A rare/span and creative movie poster that stands out as an artistic exception within its field.

View additional info »
Realized: Log in or create account to view price data
PAOLO FEDERICO GARRETTO (1903-1989). AXA / MARGARINE. 1932. 59x39 inches, 175x99 cm. Pontal Publicite, Paris.

Lot 50: PAOLO FEDERICO GARRETTO (1903-1989). AXA / MARGARINE. 1932. 59x39 inches, 175x99 cm. Pontal Publicite, Paris.

Estimated Price: Log in or create account to view price data

Description: PAOLO FEDERICO GARRETTO (1903-1989) AXA / MARGARINE. 1932. 59x39 inches, 175 1/4x99 cm. Pontal Publicite, Paris. Condition B-: creases, abrasions and restoration along vertical and horizontal folds and in margins and image; overpainting and staining in image and at edges. Garretto was primarily a caricaturist but became an international artistic star in the 1920s, with work published in French, British and German magazines. He also contributed numerous covers and drawings to American magazines like Vanity Fair and Fortune. In between his travelling and magazine illustration work Garretto also designed posters. He mainly worked for transportation companies but also designed a few product ads. In this simple and direct image, he transforms the typography of the product's name into an exultant chef holding his product proudly in the air.

View additional info »
Realized: Log in or create account to view price data
1
2
3
4
5
6
Next »