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RARE & IMPORTANT TRAVEL POSTERS

by Swann Auction Galleries

Platinum House

185 lots with images

November 11, 2011

Live Auction

104 East 25th Street

New York, NY, 10010 USA

Phone: 212.254.4710

Fax: 212 979 1017

Email: swann@swanngalleries.com

185 Lots
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DESIGNER UNKNOWN. BARNUM & BAILEY / EXCURSIONS. 1891. 40x30 inches, 101x76 cm. The Strobridge Lith. Co., Cincinnati.

Lot 1: DESIGNER UNKNOWN. BARNUM & BAILEY / EXCURSIONS. 1891. 40x30 inches, 101x76 cm. The Strobridge Lith. Co., Cincinnati.

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Description: DESIGNER UNKNOWN BARNUM & BAILEY / EXCURSIONS. 1891. 40x30 inches, 101 1/2x76 cm. The Strobridge Lith. Co., Cincinnati. Condition B+ / A-: repaired tears and minor restoration in margins; minor restoration along unobtrusive horizontal fold. "The railroad circus enjoyed an unusual collaborative relationship with the host systems over which it traveled during the summer season . . . overland circuses had already grown so large in the mid - to late 1860s that the 20 - to 30 - mile moves between communities placed them in villages and towns whose populations could not fill the tents. To assure adequate revenues, some circuses collaborated with the local railroads to operate special excursion trains on Circus Day - conveyances that would bring hundreds, if not thousands, of hinterland residents to fill the seats . . . Excursion train operations endured into the 1920s, when public transportation and private autos alone were adequate to transport the audience to the circus" (Circus Poster p. 128). The circus literally brought the world to America's doorstep. With its elaborate spectacles and exotic animals, a trip to the circus was indeed something of a trip around the world. Barnum, already noted as the World's Greatest Showman, clearly had no problem touting his circus as "A World's Fair of marvels" and appears to have coined budget travel's future raison d'etre, that a trip to the circus was "A Holiday Created for all Classes at Little Cost." It is impossible to say whether or not his image was designed after an existing travel poster. However, in the years following this poster, ocean liner companies began employing the identical conceit in their posters, using globes with vignettes in each corner of the image as a means for advertising their services. Barnum passed away on April 7th, 1891, so it is unclear whether or not he ever saw this poster, it is certain that the impresario would have been pleased to know that the design became an archetypal model for a whole generation of travel posters. Circus Poster 18.

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VARIOUS ARTISTS. [LUGGAGE LABELS.] Group of approximately 600. Circa 1920s and 30s. Sizes vary.

Lot 2: VARIOUS ARTISTS. [LUGGAGE LABELS.] Group of approximately 600. Circa 1920s and 30s. Sizes vary.

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Description: VARIOUS ARTISTS [LUGGAGE LABELS.] Group of approximately 600. Circa 1920s and 30s. Sizes vary. Conditions vary, generally B+ / A-. Paper. An exceptional and varied collection of hotel and luggage labels from around the world. Representing the Golden Age of Travel, this colorful, graphic and exotic assortment represents many different design styles from Art Nouveau to Art Deco. They also represent an extensive travelogue of locations including: Acapulco, Norway, Russia (Leningrad, Moscow and others), Mexico, St. Andrews, Uruguay, China, Miami, England, Italy, Egypt, Hong Kong, Korea, Japan, Spain and many others, including duplicates and some stuck together.

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VARIOUS ARTISTS. [LUGGAGE LABELS.] Group of over 100. Circa 1920s and 1930s. Sizes vary.

Lot 3: VARIOUS ARTISTS. [LUGGAGE LABELS.] Group of over 100. Circa 1920s and 1930s. Sizes vary.

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Description: VARIOUS ARTISTS [LUGGAGE LABELS.] Group of over 100. Circa 1920s and 1930s. Sizes vary. Conditions vary, generally B+ / A-: Paper. Art Deco hotel and luggage labels from around the world including: Switzerland, Canada, United States, Israel, Egypt, Russia, Germany, Sweden, Britain and more, including duplicates.

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V . VEEVERS (DATES UNKNOWN). SEE INDIA / STREET SCENE LAHORE. Circa 1935. 39x25 inches, 99x63 cm. G. Claridge & Co. Ltd., Bombay.

Lot 4: V . VEEVERS (DATES UNKNOWN). SEE INDIA / STREET SCENE LAHORE. Circa 1935. 39x25 inches, 99x63 cm. G. Claridge & Co. Ltd., Bombay.

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Description: V . VEEVERS (DATES UNKNOWN) SEE INDIA / STREET SCENE LAHORE. Circa 1935. 39x25 inches, 99x63 1/2 cm. G. Claridge & Co. Ltd., Bombay. Condition B+: tears and creases in margins and image; slight foxing in right margin. Paper. Little is known about Veevers, who designed at least five travel posters for the Indian State Railways in the 1930s. Lahore is the capital of the Punjab province of Pakistan and the second largest city in the country. Pakistan became an independent state upon the partition of British India in 1947.

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V. VEEVERS (DATES UNKNOWN). DARJEELING / EASTERN BENGAL RAILWAY. 1928. 39x25 inches, 100x65 cm. Calcutta Printing and Publicity Ltd., C

Lot 5: V. VEEVERS (DATES UNKNOWN). DARJEELING / EASTERN BENGAL RAILWAY. 1928. 39x25 inches, 100x65 cm. Calcutta Printing and Publicity Ltd., C

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Description: V. VEEVERS (DATES UNKNOWN) DARJEELING / EASTERN BENGAL RAILWAY. 1928. 39 1/2x25 1/2 inches, 100x65 cm. Calcutta Printing and Publicity Ltd., Calcutta. Condition B+: light foxing in image; repaired tear through right margin into image. Colorful and cheerful representatives of Darjeeling's native population in front of an abstract background, perhaps meant to represent a local market. From the typography to the graphic style of the image, this exotic poster boasts one of the more progressive designs to come out of India during the 1920s and 30s.

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F. CHANNER (DATES UNKNOWN). SIMLA. Circa 1930s. 39x25 inches, 99x63 cm. C. Claridge & Co., Bombay.

Lot 6: F. CHANNER (DATES UNKNOWN). SIMLA. Circa 1930s. 39x25 inches, 99x63 cm. C. Claridge & Co., Bombay.

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Description: F. CHANNER (DATES UNKNOWN) SIMLA. Circa 1930s. 39x25 inches, 99x63 1/2 cm. C. Claridge & Co., Bombay. Condition B+: tears, creases and minor losses in margins. Paper. Simla (also known as Shimla), is the mountainous and geologically beautiful hillside town that was both the former summer capital of (British) India and the former capital of Punjab.

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V. A. MALI (DATES UNKNOWN). SEE INDIA / ELLORA. Circa 1930. 39x25 inches, 100x63 cm. Bolton Fine Art, Bombay.

Lot 7: V. A. MALI (DATES UNKNOWN). SEE INDIA / ELLORA. Circa 1930. 39x25 inches, 100x63 cm. Bolton Fine Art, Bombay.

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Description: V. A. MALI (DATES UNKNOWN) SEE INDIA / ELLORA. Circa 1930. 39 1/2x25 inches, 100 1/4x63 1/2 cm. Bolton Fine Art, Bombay. Condition B+ / A-: minor tears and creases at edges; abrasions in image. Paper. The centuries-old caves at Ellora are actually a group of thirty-four different chambers hidden behind elaborately carved temple facades that represent three different religions: Hinduism, Buddhism and Jainism. Here, visitors are depicted admiring a towering statue of Siva inside one of the caves.

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DOROTHY NEWSOME (DATES UNKNOWN). [LUCKNOW / THE CITY OF GARDENS.] Circa 1935. 39x25 inches, 100x64 cm. The Calcutta Printing Co.

Lot 9: DOROTHY NEWSOME (DATES UNKNOWN). [LUCKNOW / THE CITY OF GARDENS.] Circa 1935. 39x25 inches, 100x64 cm. The Calcutta Printing Co.

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Description: DOROTHY NEWSOME (DATES UNKNOWN) [LUCKNOW / THE CITY OF GARDENS.] Circa 1935. 39 1/2x25 1/4 inches, 100x64 cm. The Calcutta Printing Co. Condition B+: repaired tears and restoration in margins and image. Two women are strolling through a field of flowers beneath the impressive Chhota Imambara, a monument built in 1837 by Muhammad Ali Shah to serve as his mausoleum. A city of art and culture, Lucknow is also renowned for its gardens. Bengali version.

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DOROTHY NEWSOME (DATES UNKNOWN). [GHUTIARI SHARIF.] Circa 1935. 38x25 inches, 96x63 cm. The Calcutta Posters.

Lot 10: DOROTHY NEWSOME (DATES UNKNOWN). [GHUTIARI SHARIF.] Circa 1935. 38x25 inches, 96x63 cm. The Calcutta Posters.

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Description: DOROTHY NEWSOME (DATES UNKNOWN) [GHUTIARI SHARIF.] Circa 1935. 38x25 inches, 96 1/2x63 1/2 cm. The Calcutta Posters. Condition B+: repaired tears and restored losses in margins. Newsome designed many posters advertising travel to India; some depict local scenes with famous landmarks, some depict local peoples and some, a combination of both. Here for a small, west Bengali town, she depicts one of the town's major structures, the mazaar of Pir Ghazi Mubarak Ali Sahab. It is a shrine in honor of a holy man whose intense meditation brought an end to a severe drought in the 17th century. Bengali version.

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C.K.L. SAMARASINHA (1919-2003). CEYLON. Circa 1935. 40x25 inches, 101x63 cm. Waterlow & Sons Ltd., London.

Lot 11: C.K.L. SAMARASINHA (1919-2003). CEYLON. Circa 1935. 40x25 inches, 101x63 cm. Waterlow & Sons Ltd., London.

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Description: C.K.L. SAMARASINHA (1919-2003) CEYLON. Circa 1935. 40x25 inches, 101 1/2x63 1/2 cm. Waterlow & Sons Ltd., London. Condition B+ / A-: minor restoration along unobtrusive vertical and horizontal folds. One of two posters this artist is known to have designed promoting travel to the island off India's Southern coast. Ceylon, currently known as Sri Lanka, was a British colony until it achieved its independence in 1948. Given that this poster was printed in London suggests that it was designed while the colony was still under British rule. This is the larger format.

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ZE'EV RABAN (1890-1970). TOURISM IN PALESTINE / COME AND SEE EREZISRAEL. 1929. 26x18 inches, 68x47 cm. Bezalel, Jerusalem.

Lot 12: ZE'EV RABAN (1890-1970). TOURISM IN PALESTINE / COME AND SEE EREZISRAEL. 1929. 26x18 inches, 68x47 cm. Bezalel, Jerusalem.

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Description: ZE'EV RABAN (1890-1970) TOURISM IN PALESTINE / COME AND SEE EREZISRAEL. 1929. 26x18 inches, 68x47 cm. Bezalel, Jerusalem. Condition B+: repaired tears and restoration in margins and image; overpainting in margins; colors attenuated. Ze'ev Raban joined Bezalel in 1912 when he emigrated from Poland to Palestine. He was an industrial and graphic designer, painter, sculptor, decorative artist and expert at repousée (metal work). In addition to his ceramic tile designs, many of which can still be seen on buildings in Tel-Aviv, Raban was best known for his book illustrations. He designed two posters; one in his classic, illustrative style and this one. "In small pictures flanking a map of Palestine, a mixture of Jewish sites are shown: traditional Holy Places of the Temple Site, Rachel's Tomb, The Cave of Machpelah (in Hebron); the Tower of David, the two Zionist schools Bezalel and Herzliya, and the two Zionist colonies Rishon Le-tzyion and Metulah" (Art in Zion, p. 206). The poster proudly offers artistic goods and local services for sale. Founded in 1906, the Bezalel movement worked towards forging a recognizable national art form, combining Jewish, Middle Eastern and European artistic traditions. Much of their graphic art portrayed biblical and Zionist subjects in a style influenced by Art Nouveau. very rare/span Raban p. 106, Not in the Israeli Museum, not in Magnes.

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DESIGNER UNKNOWN. TRIPOLI. Circa 1930. 39x24 inches, 100x61 cm. Sten, Turin.

Lot 13: DESIGNER UNKNOWN. TRIPOLI. Circa 1930. 39x24 inches, 100x61 cm. Sten, Turin.

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Description: DESIGNER UNKNOWN TRIPOLI. Circa 1930. 39 1/2x24 1/4 inches, 100x61 1/2 cm. Sten, Turin. Condition A-: creases through top right corner; wrinkles at edges. Paper. Immortalized in the words of the U.S. Marine hymn, this North African city is the largest city in Libya and the country's capital. Tripoli was an Italian colony from 1911 until 1943, which explains why this poster was printed in Italy advertising travel via Italian Railroads. English version. Orientalist p. 92 (var), Travel Italia p. 15 (var).

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MAURICE GUIRAUD - RIVIÈRE (1881-1967). CHEMINS DE FER DU MAROC. 1933. 40x25 inches, 101x63 cm. H. Chachoin, Paris.

Lot 14: MAURICE GUIRAUD - RIVIÈRE (1881-1967). CHEMINS DE FER DU MAROC. 1933. 40x25 inches, 101x63 cm. H. Chachoin, Paris.

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Description: MAURICE GUIRAUD - RIVIÈRE (1881-1967) CHEMINS DE FER DU MAROC. 1933. 40x25 inches, 101 1/2x63 1/2 cm. H. Chachoin, Paris. Condition B+: minor restoration and creases along sharp vertical and horizontal folds; restoration in margins. Depicting the Gateway to the Tafilelt, "built of red mud and stone, this monumental gateway guarding the entrance to the huge Tafilelt oasis is typical of Saharan architecture" (Orientalist p. 48). Guiraud-Riviere was a celebrated Art Deco sculptor. His metal statuettes reflect aerodynamic speed, grace and even lithe sexuality. In 1933, he traveled to Morocco and returned with many watercolors from his trip, as well as a poster design. Orientalist p. 48.

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CHARLES - EDOUARD DERCHE (DATES UNKNOWN). AU MAROC. 1929. 39x24 inches, 99x61 cm.

Lot 15: CHARLES - EDOUARD DERCHE (DATES UNKNOWN). AU MAROC. 1929. 39x24 inches, 99x61 cm.

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Description: CHARLES - EDOUARD DERCHE (DATES UNKNOWN) AU MAROC. 1929. 39 1/4x24 1/4 inches, 99 1/2x61 1/2 cm. Condition B+: repaired tears in margins; creases and restoration in image. "Derche was one of the first decorative artists to settle in Morocco. In 1932, he helped organise the Exposition des artistes decorateurs francais at the Pavillon de la Mamounia" (Orientalist p. 51). This is one of two posters he designed in 1929 promoting travel to Morocco. The poster originally bore the imprint of the PLM Railway. The images were also used with an additional line of text (and minus the railroad's logo), to advertise Aeropostale. This is a third, previously unrecorded variant, advertising travel on the Chemins des Fer de Paris a Orleans. Derche's style was similar to that of Jacques Majorelle. Air France p. 132 (var).

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E. V. KEALEY (DATES UNKNOWN). MOTOR TOURS / ALGERIA - TUNISIA - MOROCCO. Circa 1925. 39x25 inches, 101x63 cm. Hill Siffken & Co., Londo

Lot 16: E. V. KEALEY (DATES UNKNOWN). MOTOR TOURS / ALGERIA - TUNISIA - MOROCCO. Circa 1925. 39x25 inches, 101x63 cm. Hill Siffken & Co., Londo

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Description: E. V. KEALEY (DATES UNKNOWN) MOTOR TOURS / ALGERIA - TUNISIA - MOROCCO. Circa 1925. 39 3/4x25 inches, 101x63 1/2 cm. Hill Siffken & Co., London. Condition A-: restoration at edges. One in a series of images published on behalf of the ocean liner company, Compagnie Generale Transatlantique, showing potential voyagers some of the exotic delights that awaited them on shore during a cruise. There is at least one other similar image from this "series" promoting the "magic of Islam," in which two children are running away from a car.

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SIGNATURE ILLEGIBLE. SEE HONG KONG / THE RIVIERA OF THE ORIENT. Circa 1935. 39x24 inches, 101x62 cm.

Lot 17: SIGNATURE ILLEGIBLE. SEE HONG KONG / THE RIVIERA OF THE ORIENT. Circa 1935. 39x24 inches, 101x62 cm.

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Description: SIGNATURE ILLEGIBLE SEE HONG KONG / THE RIVIERA OF THE ORIENT. Circa 1935. 39 3/4x24 1/2 inches, 101x62 cm. Condition B / B-: repaired tears, restoration and overpainting in text and image. A British Colonial view of Hong Kong, both literally and figuratively, in which a Western gentleman is being carried up Victoria Peak in a sedan chair with Victoria Harbor splayed out in the distance. The poster has been overpainted with the notice, "Travel A.O. Line / S.S. Changte & S.S. Taiping." The Australian Oriental Line ran between Sydney and Hong Kong.

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DESIGNER UNKNOWN. [YOKOHAMA RAIL.] Circa 1930. 36x24 inches, 92x63 cm.

Lot 18: DESIGNER UNKNOWN. [YOKOHAMA RAIL.] Circa 1930. 36x24 inches, 92x63 cm.

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Description: DESIGNER UNKNOWN [YOKOHAMA RAIL.] Circa 1930. 36x24 3/4 inches, 92x63 cm. Condition B+: restored loss in upper left corner; repaired tears at edges; creases and abrasions in image. A stylistic, Japanese Art Deco image promoting rail trips in the Autumn along the Keihin, Shonan and Dentetsu routes.

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SIGNATURE ILLEGIBLE. [TOKYO NICHI NICHI SHIMBUN / VOYAGE AROUND THE WORLD.] 1939. 30x20 inches, 76x52 cm.

Lot 19: SIGNATURE ILLEGIBLE. [TOKYO NICHI NICHI SHIMBUN / VOYAGE AROUND THE WORLD.] 1939. 30x20 inches, 76x52 cm.

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Description: SIGNATURE ILLEGIBLE [TOKYO NICHI NICHI SHIMBUN / VOYAGE AROUND THE WORLD.] 1939. 30x20 1/2 inches, 76x52 cm. Condition B+ / B: restoration along vertical and horizontal folds; repaired tear through upper left edge affecting image. This classic, graceful evocation of a plane circling the globe was used to promote an around the world flight sponsored by the Tokyo Nichi Nichi Shimbun newspaper. In August of 1939, a twin propeller Mitsubishi aircraft named the "Nippon" successfully flew around the world, a distance of nearly 60,000 kilometers. The crew of seven took fifty six days to complete the journey, marking the first time the Japanese successfully flew non-stop across both oceans.

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DESIGNER UNKNOWN. A GRAND EXPOSITION / THE IMPERIAL CORONATION. 1928. 41x26 inches, 106x68 cm. Toppan Printing Co., Japan.

Lot 20: DESIGNER UNKNOWN. A GRAND EXPOSITION / THE IMPERIAL CORONATION. 1928. 41x26 inches, 106x68 cm. Toppan Printing Co., Japan.

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Description: DESIGNER UNKNOWN A GRAND EXPOSITION / THE IMPERIAL CORONATION. 1928. 41 3/4x26 3/4 inches, 106x68 cm. Toppan Printing Co., Japan. Condition B+: restoration along unobtrusive vertical and horizontal folds; restoration in margins. The Emperor Hirohito (1901-1989), assumed the throne upon the death of his father in 1926. His official coronation was two years later in a lavish, traditional ceremony imbued with ancient Japanese pageantry. The New York Times reported that over one million people took to the streets of Kyoto as part of the celebration. This rare and exceptional/span poster advertising an exposition held in conjunction with the coronation is a stylized, decorative map of Kyoto, displaying for visitors highlights of the city's infrastructure. The image harmoniously combines the prevailing Japanese Art Deco style with traditional Japanese cultural design elements. The chrysanthemums seen in the middle part of the design represent the "Chrysanthemum Throne" to which the Emperor was ascending; the flowers were also strewn and planted all around the city during the event. A handful of extraordinary posters were designed for the coronoation celebration, each one more staggering than the previous, however this is the only design we could locate in English. According to the inscription in the lower right hand corner, this poster was a prize-winning design.

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ROGER JOURDAIN (DATES UNKNOWN). AÉRODROME DE VICHY. 1909. 42x29 inches, 108x76 cm. Wall, Paris

Lot 21: ROGER JOURDAIN (DATES UNKNOWN). AÉRODROME DE VICHY. 1909. 42x29 inches, 108x76 cm. Wall, Paris

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Description: ROGER JOURDAIN (DATES UNKNOWN) AÉRODROME DE VICHY. 1909. 42x29 inches, 108x76 cm. Wall, Paris Condition B+: repaired tears in margins, some affecting image; creases in margins and image. A very early, rare/span French aviation poster for an air show that is all but unremembered in history. Europe's first international air show was held in Paris at the Grand Palais in December 1908. The "Grande Semaine d'Aviation" at Rheims in August 1909 is considered to have been "the first great gathering of airmen," as well as the first large-scale aviation meeting held after Bleriot successfully flew across the English Channel, on July 25, 1909. Falling in between these two seminal events, the airshow at Vichy would have made history itself had the show not been plagued by horrendous weather and overshadowed by Bleriot's crossing of the Channel (which occurred simultaneously with the show's last day). Although Jourdain is a completely unknown artist, his theme of an elegant woman in a fancy hat with her back to the viewer, coupled with recognizable silhouettes of actual aircraft in the sky (here, a Wright-Ariel and Voisin biplanes), became the standard of the genre. This poster replaces the better known image from Rheims as the "true ancestor of the aviation poster" (Looping the Loop p. 42). Federation Aeronautique 58.

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DESIGNER UNKNOWN. [AIRCRAFT AND HYDROPLANES FACTORY / ARTHUR ANATRA / ODESSA.] 1910. 20x28 inches, 57x71 cm.

Lot 22: DESIGNER UNKNOWN. [AIRCRAFT AND HYDROPLANES FACTORY / ARTHUR ANATRA / ODESSA.] 1910. 20x28 inches, 57x71 cm.

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Description: DESIGNER UNKNOWN [AIRCRAFT AND HYDROPLANES FACTORY / ARTHUR ANATRA / ODESSA.] 1910. 20 1/4x28 inches, 57 1/2x71 cm. Condition B+: creases in margins and image; sharp vertical and horizontal folds. Japan. A very early aviation poster and perhaps the earliest/span Russian aviation poster advertising a Ukranian aircraft manufacturer. Russia was gripped by the excitement of heavier-than-air flight from the moment French aviators performed shows in Moscow, St. Petersburg and Odessa in 1909. Starting in 1909, Arthur Anatra 's Odessa factory began to manufacture planes of foreign design. Here, we see three Morane-Saulnier monoplanes in the sky along with a hydroplane that appears to be a variation of a machine constructed by Levasque. The entrepreneur also began to produce aircraft of his own design, some of which were used by the Russian military during World War I. The factory was destroyed in 1918 by its former workers. The full text of the poster reads, "Equipped with all recent technologies. Building of aircrafts of original construction and all existing systems." Aeroflot p. 11.

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DESIGNER UNKNOWN. THE JEWEL THIEVES OUTWITTED. 1913. 40x29 inches, 101x75 cm. Chorley & Pickersgill, Ltd., London.

Lot 23: DESIGNER UNKNOWN. THE JEWEL THIEVES OUTWITTED. 1913. 40x29 inches, 101x75 cm. Chorley & Pickersgill, Ltd., London.

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Description: DESIGNER UNKNOWN THE JEWEL THIEVES OUTWITTED. 1913. 40x29 3/4 inches, 101 1/2x75 1/2 cm. Chorley & Pickersgill, Ltd., London. Condition B+ / B: restoration along horizontal folds through image; skinning and abrasions in image; tears and creases at edges; pin-holes in corners. Little information remains about this early, twelve-minute silent movie, whose plot has simply been described as "police perusing jewel thieves by motor car and aeroplane." The aircraft appears to be modeled after a Voisin, and this is one of the earliest British film posters to depict an airplane.

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LUDWIG HOHLWEIN (1874-1949). OBERURSELER UMLAUFMOTOR / MOTORENFABRIK OBERURSEL. Circa 1915. 35x27 inches, 89x70 cm. Kornsand & Co., Fra

Lot 24: LUDWIG HOHLWEIN (1874-1949). OBERURSELER UMLAUFMOTOR / MOTORENFABRIK OBERURSEL. Circa 1915. 35x27 inches, 89x70 cm. Kornsand & Co., Fra

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Description: LUDWIG HOHLWEIN (1874-1949) OBERURSELER UMLAUFMOTOR / MOTORENFABRIK OBERURSEL. Circa 1915. 35x27 inches, 89x70 cm. Kornsand & Co., Frankfurt. Condition B+ / B: chipping along sharp vertical and horizontal folds; minor tears and losses at edges; minor foxing in margins and image; loss in lower left corner. Printed on thick paper. Oberurseler Umlaufmotor was a company that manufactured rotary engines for automobiles, locomotives and aircraft. The name comes from its location in the city of Oberursel, near Frankfurt. During the first World War they were primarily designing aircraft engines, and their U.0 model, with seven pistons, was used to power the Fokker E.I (the E stood for Eindecker which means monoplane). During war-time, the motors on these aircraft were covered with a cowl. Here, with the artistic license required to show consumers the powerful 7-cylinder engine, Hohlwein depicts the confidence of soldiers and an airman conversing in front of the aircraft. Hohlwein / Stuttgart 159.

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LUDWIG HOHLWEIN (1874-1949). OBERURSELER UMLAUFMOTOR / MOTORENFABRIK OBERURSEL. Circa 1915. 35x27 inches, 89x70 cm. Kornsand & Co., Fra

Lot 25: LUDWIG HOHLWEIN (1874-1949). OBERURSELER UMLAUFMOTOR / MOTORENFABRIK OBERURSEL. Circa 1915. 35x27 inches, 89x70 cm. Kornsand & Co., Fra

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Description: LUDWIG HOHLWEIN (1874-1949) OBERURSELER UMLAUFMOTOR / MOTORENFABRIK OBERURSEL. Circa 1915. 35 1/4x27 1/2 inches, 89 1/2x70 cm. Kornsand & Co., Frankfurt. Condition B+ / B: chipping along sharp vertical and horizontal folds; minor tears and losses at edges; minor foxing in margins and image. Printed on thick paper. This poster, and the previous lot, have traditionally been dated to circa 1914. A more exact date would be 1915, as it was this year when the Fokker Eindecker was developed and entered in military service. The planes were so successful that Anthony Fokker himself bought the factory in 1916 to ensure a steady and continuous production of the engines for his aircraft. Here, two servicemen are examining highlights of the engine's construction. Hohlwein / Stuttgart 160, Hillier 37.

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OTTOMAR ANTON (1895-1976). TO EUROPE BY ZEPPELIN. 1936. 32x23 inches, 81x59 cm. [Muhlmeister & Johler, Hamburg.]

Lot 26: OTTOMAR ANTON (1895-1976). TO EUROPE BY ZEPPELIN. 1936. 32x23 inches, 81x59 cm. [Muhlmeister & Johler, Hamburg.]

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Description: OTTOMAR ANTON (1895-1976 TO EUROPE BY ZEPPELIN. 1936. 32x23 1/2 inches, 81x59 1/2 cm. [Muhlmeister & Johler, Hamburg.] Condition B+: expertly recreated top and bottom margins; wrinkles and creases in margins and image; expertly replaced bottom margin. The Graf Zeppelin, sister ship of the ill-fated Hindenburg, is depicted here from a perspective that has her practically stretching across the Atlantic Ocean. After several widely publicized voyages (including around the world in 1929, which made her the first airship to ever cross the Pacific Ocean non-stop), the Graf Zeppelin settled into a regular transatlantic route by 1930. When she was taken out of service in 1937, barely a month after the Hindenburg disaster, she had made a total of 143 Atlantic crossings. A separate variation shows the route map with stops in Spain, while this copy illustrates connections to Hamburg and Berlin. English version. Airlines p. 36.

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ADRIAAN VAN'T HOFF (1893-1939). POSTVLUCHTEN. 1930. 34x24 inches, 87x61 cm.

Lot 27: ADRIAAN VAN'T HOFF (1893-1939). POSTVLUCHTEN. 1930. 34x24 inches, 87x61 cm.

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Description: ADRIAAN VAN'T HOFF (1893-1939) POSTVLUCHTEN. 1930. 34 1/2x24 inches, 87 1/2x61 cm. Condition A-: repaired tears at edges. Van't Hoff was a Dutch designer who worked alongside A.M. Cassandre for the Holland America Line. The posters Van't Hoff designed, especially those for transportation companies, reflect the influence of Cassandre's style. For the Dutch Air Mail service, he provides a classic image of a stylized airplane with impeccable typography. This image also exists with an orange background.

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ERIK ROHMAN (1891-1949). MED BYRD TILL SYDPOLEN [WITH BYRD AT THE SOUTH POLE.] Circa 1930. 39x27 inches, 99x70 cm. Offsettryck, Stockho

Lot 28: ERIK ROHMAN (1891-1949). MED BYRD TILL SYDPOLEN [WITH BYRD AT THE SOUTH POLE.] Circa 1930. 39x27 inches, 99x70 cm. Offsettryck, Stockho

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Description: ERIK ROHMAN (1891-1949) MED BYRD TILL SYDPOLEN [WITH BYRD AT THE SOUTH POLE.] Circa 1930. 39x27 1/2 inches, 99x70 cm. Offsettryck, Stockholm. Condition B+: restored losses and restoration in margins and corners, some affecting image. This film is a silent documentary that follows Admiral Byrd's expedition to the South Pole. It won the Academy Award for best cinematography at the 3rd Academy Awards. The American movie poster for this film boasted that it was a "Drama of Human Daring and Courage at the Bottom of the World / Actually Filmed in the Vast unknown of the Antarctic." Eric Rohman was one of Sweden's leading poster artists, designing hundreds of posters promoting American movies. His simple, illustrative Art Deco style alternated between accomplished caricatures and hard edge design.

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ERIK ROHMAN (1891-1949). DEN VITA STADEN [INTO LITTLE AMERICA.] Circa 1935. 39x27 inches, 99x68 cm. Kopia, Stockholm.

Lot 29: ERIK ROHMAN (1891-1949). DEN VITA STADEN [INTO LITTLE AMERICA.] Circa 1935. 39x27 inches, 99x68 cm. Kopia, Stockholm.

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Description: ERIK ROHMAN (1891-1949) DEN VITA STADEN [INTO LITTLE AMERICA.] Circa 1935. 39x27 inches, 99x68 1/2 cm. Kopia, Stockholm. Condition B+: repaired tears and restoration in margins and corners; unobtrusive vertical and horizontal folds; creases in image. Little America was the name of Byrd's base camp in the Antarctic, and this was a fifty-three minute documentary about Byrd's second expedition there. The New York Times review explained how the movie captured elements of Antarctic life not often touched on by the popular press, pointing out that "such problems as the Saturday night bath, the care of luxuriant beards, finding shelter for cattle, feeding the dogs and cooking seal-fat doughnuts for breakfast have not figured in the headlines." Rohman's Art Deco treatment of the plane and even the penguins bespeaks his talent as an illustrator.

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SIGNATURE ILLEGIBLE. SWITZERLAND / IMPERIAL AIRWAYS. 1935. 39x25 inches, 101x63 cm. Haycock Press, London.

Lot 30: SIGNATURE ILLEGIBLE. SWITZERLAND / IMPERIAL AIRWAYS. 1935. 39x25 inches, 101x63 cm. Haycock Press, London.

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Description: SIGNATURE ILLEGIBLE SWITZERLAND / IMPERIAL AIRWAYS. 1935. 39 3/4x25 inches, 101x63 cm. Haycock Press, London. Condition B+: restoration, repaired tears and creases in margins and corners, some slightly affecting image; creases and abrasions in image Although this poster incongruously associates mermaids and Switzerland, it very accurately depicts the airplane. The Short L.17 Scylla was a luxurious, four-engine bi-plane, the last such vessel the airline would operate. Built as the land version of the Kent flying boat, the airline took delivery of two aircraft (The Scylla and the Syrinx, whose tail number is visible here), in 1934. The planes operated until 1940 and were then taken out of service. They were used for flights between London and other European cities.

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ANDERS BECKMAN (1907-1967). FLYG OVER STOCKHOLM. 1930. 39x26 inches, 99x66 cm. J. Olsens, Stockholm.

Lot 31: ANDERS BECKMAN (1907-1967). FLYG OVER STOCKHOLM. 1930. 39x26 inches, 99x66 cm. J. Olsens, Stockholm.

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Description: ANDERS BECKMAN (1907-1967) FLYG OVER STOCKHOLM. 1930. 39x26 inches, 99x66 cm. J. Olsens, Stockholm. Condition B: expertly restored losses in top corners, right margin and bottom margin; water stains in image. Framed. A.B. Aerotransport (ABA) was Sweden's first airline company. It was founded in 1924 and was one of three Swedish aviation companies which eventually merged to form SAS. Beckman was one of Sweden's foremost graphic designers. A.B. Aerotransport was one of his larger accounts for which he produced numerous posters. In addition to his poster work, he also designed pavilions for international exhibitions and events, including the New York World's Fair in 1939. In 1939, he founded the Anders Beckman School to train up-and-coming Swedish youth in fashion and advertising design. SAS p. 16.

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OLLE SVENSSON (DATES UNKNOWN). SWEDISH AIR LINES / ABA. 1947. 39x24 inches, 100x62 cm.

Lot 32: OLLE SVENSSON (DATES UNKNOWN). SWEDISH AIR LINES / ABA. 1947. 39x24 inches, 100x62 cm.

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Description: OLLE SVENSSON (DATES UNKNOWN) SWEDISH AIR LINES / ABA. 1947. 39 1/2x24 1/2 inches, 100x62 cm. Condition A. After World War II, during a time when their service was largely disrupted by the German occupation of Europe, ABA again began to branch out to various parts of the world. In 1950, the company merged with two other airlines and began using the name SAS.

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O. OVALLE (DATES UNKNOWN). LINEA AEREA NACIONAL. 29x20 inches, 75x53 cm. Universo, [Chile.]

Lot 33: O. OVALLE (DATES UNKNOWN). LINEA AEREA NACIONAL. 29x20 inches, 75x53 cm. Universo, [Chile.]

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Description: O. OVALLE (DATES UNKNOWN) LINEA AEREA NACIONAL. 29 3/4x20 7/8 inches, 75 1/2x53 cm. Universo, [Chile.] Condition B+: minor restoration and creasing in image. "Linea Aerea Nacional (LAN), Chile's national carrier, had sole rights to air travel within the country. Originally a military-run airline, LAN became a commercial venture in 1929, offering faster, cheaper rates for transporting mail and people than did Chile's nationally subsidized railroad and shipping lines" (Fly Now! p. 97). Here, an ethereal bird gracefully traces the curve of the Chilean coast, suggesting calm, effortless flight. Very few LAN posters come to market. rare/span

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WOLFGANG ALEXANDER SCHLOSSER (1913-1984). CZECHOSLOVAK AIRLINES / IT'S O.K. WITH CSA. Circa 1946. 39x24 inches, 100x63 cm.

Lot 34: WOLFGANG ALEXANDER SCHLOSSER (1913-1984). CZECHOSLOVAK AIRLINES / IT'S O.K. WITH CSA. Circa 1946. 39x24 inches, 100x63 cm.

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Description: WOLFGANG ALEXANDER SCHLOSSER (1913-1984) CZECHOSLOVAK AIRLINES / IT'S O.K. WITH CSA. Circa 1946. 39 1/2x24 3/4 inches, 100x63 cm. Condition B+ / A-: repaired tears and restoration in margins. Schlosser studied book design in Leipzig and art in Cologne and Prague. During World War II he fled to England where he designed propaganda posters for the British Ministry of Information. Returning to Czechoslovakia after the war, he worked as a graphic and exhibition designer. He is best remembered for the posters he designed for Czechoslovak Airlines (CSA) in the post-war era.

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WOLFGANG ALEXANDER SCHLOSSER (1913-1984). CZECHOSLOVAK AIRLINES / LINK THE CONTINENTS. Circa 1946. 37x24 inches, 96x63 cm. Svoboda, Pra

Lot 35: WOLFGANG ALEXANDER SCHLOSSER (1913-1984). CZECHOSLOVAK AIRLINES / LINK THE CONTINENTS. Circa 1946. 37x24 inches, 96x63 cm. Svoboda, Pra

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Description: WOLFGANG ALEXANDER SCHLOSSER (1913-1984) CZECHOSLOVAK AIRLINES / LINK THE CONTINENTS. Circa 1946. 37 3/4x24 3/4 inches, 96x63 cm. Svoboda, Prague. Condition B+: restoration along lower right edge. Previsouly unrecorded. rare/span

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RONALD CLAYTON SKATE (1913-1990). ANA / COVERS AUSTRALIA / COAST TO COAST. Circa 1955. 38x24 inches, 98x63 cm.

Lot 36: RONALD CLAYTON SKATE (1913-1990). ANA / COVERS AUSTRALIA / COAST TO COAST. Circa 1955. 38x24 inches, 98x63 cm.

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Description: RONALD CLAYTON SKATE (1913-1990) ANA / COVERS AUSTRALIA / COAST TO COAST. Circa 1955. 38 1/2x24 3/4 inches, 98x63 cm. Condition A- / B+: minor restoration and repaired tears in margins. Australian National Airways began operation in 1930 and was bought out by Ansett in 1957. "Ronald Clayton Skate was an Australian graphic designer and illustrator living and working in Melbourne. Skate appears to have become the ANA's sole advertising artist after WWII working with ANA up to and including the period of ANA's takeover by Ansett in 1957" (Powerhousemuseum.com).

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WALTHER - BOLAND ASSOCIATES. PHILIPPINE AIR LINES. Circa 1949. 39x25 inches, 99x64 cm. Schwabacher-Frey.

Lot 37: WALTHER - BOLAND ASSOCIATES. PHILIPPINE AIR LINES. Circa 1949. 39x25 inches, 99x64 cm. Schwabacher-Frey.

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Description: WALTHER - BOLAND ASSOCIATES PHILIPPINE AIR LINES. Circa 1949. 39x25 1/4 inches, 99x64 cm. Schwabacher-Frey. Condition B+ / A-: creases and abrasions in image. Framed. Philippine Air Lines made its first regular flight in March of 1941. The airline stopped service from 1942-1946 due to World War II, but resumed when the war was over. The DC-6 was the first pressurized aircraft that Douglas produced; as a sleeper it was used on the Trans-Oceanic routes, as depicted here within the typography of the airlines initials. This is one in a series of posters designed for the airline by the agency during this period.

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CORRADO MANCIOLI (1904-1958). ALITALIA. Circa 1948. 38x26 inches, 96x67 cm. I.G.A.P., Rome.

Lot 38: CORRADO MANCIOLI (1904-1958). ALITALIA. Circa 1948. 38x26 inches, 96x67 cm. I.G.A.P., Rome.

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Description: CORRADO MANCIOLI (1904-1958) ALITALIA. Circa 1948. 38x26 1/2 inches, 96 1/2x67 cm. I.G.A.P., Rome. Condition A- / B+: minor restoration at edges; minor abrasions in image. Alitalia was founded in 1946 and began transatlantic service the following year with flights between Rome and Buenos Aires on British-built Avro Lancaster aircraft. This previously undocumented/span image shows a comfortable passenger making her way across the Atlantic. Alitalia's first logo was the Freccia Alata, the winged arrow, which represented speed and was used until 1969. Mancioli is primarily known for his posters promoting sporting and cultural events. He also designed postcards and stamps. extremely rare/span

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MARIUCCINI (DATES UNKNOWN). PARIS / ALITALIA. 1956. 38x26 inches, 98x68 cm. S.p.A. Arti Grafiche Panetto & Petrelli, Spoleto.

Lot 39: MARIUCCINI (DATES UNKNOWN). PARIS / ALITALIA. 1956. 38x26 inches, 98x68 cm. S.p.A. Arti Grafiche Panetto & Petrelli, Spoleto.

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Description: MARIUCCINI (DATES UNKNOWN) PARIS / ALITALIA. 1956. 38 3/4x26 3/4 inches, 98 1/2x68 cm. S.p.A. Arti Grafiche Panetto & Petrelli, Spoleto. Condition B / B+: restored loss along right edge; repaired tears in margins and image; crease through upper left corner. An exceptional composition presenting the unexpected visual similarities in two of Paris' most renowned sights. Humorous, simple and obvious only when shown in this configuration; the comparison between steel and nylon crossing like swords makes for a memorable image.

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LUCIEN BOUCHER (1889-1971). AIR FRANCE / DE JOUR ET DE NUIT. 1938. 24x38 inches, 63x98 cm. Perceval, Paris.

Lot 40: LUCIEN BOUCHER (1889-1971). AIR FRANCE / DE JOUR ET DE NUIT. 1938. 24x38 inches, 63x98 cm. Perceval, Paris.

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Description: LUCIEN BOUCHER (1889-1971) AIR FRANCE / DE JOUR ET DE NUIT. 1938. 24 3/4x38 3/4 inches, 63x98 1/2 cm. Perceval, Paris. Condition A- / B+: minor restoration and discoloration in margins. From an edition of 200. Air France began using planispheres in their posters as early as 1933. This early celestial chart is luxuriously printed, making sophisticated use of metallic inks and rich, deep colors. Here, "we have a genuine ellipse, the omission of the globe, just barely suggested by the names of the stops written next to the air routes. But if we stand back and look from a distance at this network drawn on the celestial chart, we have the strange impression of seeing the world projected onto the sky . . . The result is astonishing, this magnificent representation of the signs of the Zodiac becoming a mirror in which the earth suggested by Air France routes is reflected" (Air France p. 91).

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LUCIEN BOUCHER (1889-1971). AIR FRANCE. 1950. 28x43 inches, 73x109 cm. Perceval, Paris.

Lot 41: LUCIEN BOUCHER (1889-1971). AIR FRANCE. 1950. 28x43 inches, 73x109 cm. Perceval, Paris.

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Description: LUCIEN BOUCHER (1889-1971) AIR FRANCE. 1950. 28 3/4x43 inches, 73x109 cm. Perceval, Paris. Condition A- / B+: tears and wrinkles in margins. Paper. Air France pp. 92-93.

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ALAIN PERCEVAL (DATES UNKNOWN). AIR FRANCE / PROVENCE BREGUET 763. 1953. 29x43 inches, 75x109 cm. Perceval, Paris.

Lot 42: ALAIN PERCEVAL (DATES UNKNOWN). AIR FRANCE / PROVENCE BREGUET 763. 1953. 29x43 inches, 75x109 cm. Perceval, Paris.

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Description: ALAIN PERCEVAL (DATES UNKNOWN) AIR FRANCE / PROVENCE BREGUET 763. 1953. 29 3/4x43 inches, 75 1/2x109 cm. Perceval, Paris. Condition B+: repaired tear through left margin, extending into image; repaired tears and restoration at edges. The Breguet 763 was unofficially known as the Deux-Ponts (Double Decker). The aircraft was in service from 1953-1958, primarily for flying between Paris' Le Bourget airport to Provence and Algiers. This image is one of four airplane portrait posters, each against a monochromatic, illustrated world map background, designed by Perceval for Air France in 1953; the others were a de Haviland Comet, a Vickers Viscount and a Lockheed Super Constellation.

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RENLUC (DATES UNKNOWN). AIR FRANCE / ISRAEL. 1951. 39x24 inches, 100x61 cm. Hubert Baille, Paris.

Lot 43: RENLUC (DATES UNKNOWN). AIR FRANCE / ISRAEL. 1951. 39x24 inches, 100x61 cm. Hubert Baille, Paris.

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Description: RENLUC (DATES UNKNOWN) AIR FRANCE / ISRAEL. 1951. 39 1/4x24 1/4 inches, 100x61 1/2 cm. Hubert Baille, Paris. Condition B+: tears and creases at edges, some affecting image. Paper. One of two posters the artist designed promoting Israel as an Air France destination. Not in Air France.

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VINCENT GUERRA (DATES UNKNOWN). AIR FRANCE / WEST AFRICA. 1946. 39x24 inches, 99x61 cm. Alepee, Paris.

Lot 44: VINCENT GUERRA (DATES UNKNOWN). AIR FRANCE / WEST AFRICA. 1946. 39x24 inches, 99x61 cm. Alepee, Paris.

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Description: VINCENT GUERRA (DATES UNKNOWN) AIR FRANCE / WEST AFRICA. 1946. 39 1/4x24 1/4 inches, 99 1/2x61 1/2 cm. Alepee, Paris. Condition B+: restoration in margins and image. This is the rare first version of the poster. Although drawn by the artist from photographs, "unfortunately he had used photographs of Asian elephants . . . and their morphology is distinctly different from that of African elephants, and notably the ears, which are shorter" (Air France p. 130). In 1948, the artist corrected the image and the poster was reissued, "giving the African pachyderms earlobes worthy of their breed" (ibid). This is the English version. Air France 70.

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JEAN DORÉ (DATES UNKNOWN). AIR FRANCE / CANADA. 1951. 39x24 inches, 100x62 cm. Hubert Baille, Paris.

Lot 45: JEAN DORÉ (DATES UNKNOWN). AIR FRANCE / CANADA. 1951. 39x24 inches, 100x62 cm. Hubert Baille, Paris.

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Description: JEAN DORÉ (DATES UNKNOWN) AIR FRANCE / CANADA. 1951. 39 1/4x24 1/2 inches, 100x62 1/2 cm. Hubert Baille, Paris. Condition B+: repaired tears in margins; abrasions in image. Air France p. 55.

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DESIGNER UNKNOWN. BRITISH SOUTH AMERICAN AIRWAYS / TO SOUTH & CENTRAL AMERICA AND THE WEST INDIES. Circa 1950s. 40x25 inches, 102x63 cm

Lot 46: DESIGNER UNKNOWN. BRITISH SOUTH AMERICAN AIRWAYS / TO SOUTH & CENTRAL AMERICA AND THE WEST INDIES. Circa 1950s. 40x25 inches, 102x63 cm

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Description: DESIGNER UNKNOWN BRITISH SOUTH AMERICAN AIRWAYS / TO SOUTH & CENTRAL AMERICA AND THE WEST INDIES. Circa 1950s. 40 1/4x25 inches, 102x63 1/2 cm. Industrial Publicity Service, London. Condition B+: repaired tear through bottom margin into text; restoration in bottom right corner.

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BADIA VILATO (DATES UNKNOWN). AIR FRANCE / THE MAGIC DOORWAY TO THE WORLD. 1951. 39x24 inches, 100x62 cm. Perceval, Paris.

Lot 47: BADIA VILATO (DATES UNKNOWN). AIR FRANCE / THE MAGIC DOORWAY TO THE WORLD. 1951. 39x24 inches, 100x62 cm. Perceval, Paris.

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Description: BADIA VILATO (DATES UNKNOWN) AIR FRANCE / THE MAGIC DOORWAY TO THE WORLD. 1951. 39 1/2x24 1/2 inches, 100x62 cm. Perceval, Paris. Condition A-: creases in margins and image; tape around edges on verso. Paper. English version. Not in Air France.

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DAVID KLEIN (1918-2005). NEW YORK / FLY TWA. Circa 1960. 40x25 inches, 101x63 cm.

Lot 48: DAVID KLEIN (1918-2005). NEW YORK / FLY TWA. Circa 1960. 40x25 inches, 101x63 cm.

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Description: DAVID KLEIN (1918-2005) NEW YORK / FLY TWA. Circa 1960. 40x25 inches, 101x63 cm. Condition A: minor tears at edges; minor abrasions in image. Paper. A bright, geometric, abstract, kaleidoscopic view of Times Square, with its billboards, signs, lights, traffic, energy and excitement, depicted in Day-Glo, electric colors which further convey the visual splendor of the city. Originally issued in 1956, the poster featured a detailed image of a TWA Constellation. The image was so popular that the airline reused it when it fully entered the Jet Age, changing the image to feature the silhouette of a jet plane. A year after it was first issued, a copy of this poster was acquired by the Museum of Modern Art for their permanent collection. Metzl p. 166 (var), Airways p. 148.

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ZDINAK (DATES UNKNOWN). PAN AM / BERMUDA. Circa 1960. 41x28 inches, 105x71 cm.

Lot 49: ZDINAK (DATES UNKNOWN). PAN AM / BERMUDA. Circa 1960. 41x28 inches, 105x71 cm.

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Description: ZDINAK (DATES UNKNOWN) PAN AM / BERMUDA. Circa 1960. 41 1/2x28 1/4 inches, 105 1/2x71 3/4 cm. Condition B+: restored losses at edges; restoration and abrasions in image. An extremely rare/span poster for the airline. We could find no reference to the image, nor the artist.

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DESIGNER UNKNOWN. PAN AM / RIO. Circa 1965. 37x25 inches, 94x63 cm.

Lot 50: DESIGNER UNKNOWN. PAN AM / RIO. Circa 1965. 37x25 inches, 94x63 cm.

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Description: DESIGNER UNKNOWN PAN AM / RIO. Circa 1965. 37x25 inches, 94x63 1/2 cm. Condition A: minor restoration at edges. "Oba-Oba dancers from Oswaldo Sargentelli's night-club in Rio de Janeiro, Brazil" wearing 10 inch heels and not much else. Sargentelli, the famed "Sambista," brought Mulatto dancers to the world's attention in the late 1960s. Here, Pan Am forgoes traditional travel images in favor of a more prurient advertising strategy. "This controversial poster . . . was quickly pulled after the mayor of Rio stated that these dancers represented another region of Brazil, but not Rio. He feared tourism might be hurt" (The Popular Culture Review, Vol. 5 No. 2, August 1994, pps. 123-131). Airlines p. 54.

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IVAN CHERMAYEFF (1932- ). USA / PAN AM. 1971. 42x28 inches, 106x71 cm.

Lot 51: IVAN CHERMAYEFF (1932- ). USA / PAN AM. 1971. 42x28 inches, 106x71 cm.

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Description: IVAN CHERMAYEFF (1932- ) USA / PAN AM. 1971. 42 1/2x28 inches, 106 3/4x71 cm. Condition A: minor creases at edges. Paper. In 1970, Chermayeff & Geismar were hired to redesign Pan American's logo and corporate identity. First and foremost, the designers changed the airline's logo, initiating a more modern and streamlined look using a minimalist, Helvetica typeface. They also designed a new advertising campaign for the company featuring twelve posters. The resulting "Swiss-style, late-Modernist identity program and posters [were] captivating pieces of graphic design and art direction" (Frederico Duarte, Eye #73, December 2009). Modern American Poster p. 132 (var).

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