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
Auction Description for Swann: MODERNIST POSTERS
Viewing Notes:
Exhibition & Sale Schedule: Sale 2346 - Modernist Posters - begins at 1:30pm in New York on Thursday, April 24. All material in Sale 2346 on display at our premises in New York City, 104 East 25th Street, as follows: Sat, Apr 19: Noon to 5pm - Mon, Apr 21: 10am to 6pm - Tues, Apr 22: 10am to 6pm - Wed, Apr 23: 10am to 6pm - Thurs, Apr 24: 10am to Noon.

MODERNIST POSTERS

by Swann Auction Galleries

Platinum House

214 lots with images

April 24, 2014

Live Auction

104 East 25th Street

New York, NY, 10010 USA

Phone: 212.254.4710

Fax: 212 979 1017

Email: swann@swanngalleries.com

214 Lots
Sort by:
Lots with images first
Next »
Per page:
BERTOLD LÖFFLER (1874-1960). KUNSTSCHAU WIEN. 1908. 14x19 inches, 36x49 cm. Alb. Berger, Vienna.

Lot 1: BERTOLD LÖFFLER (1874-1960). KUNSTSCHAU WIEN. 1908. 14x19 inches, 36x49 cm. Alb. Berger, Vienna.

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

Description: BERTOLD LÖFFLER (1874-1960) KUNSTSCHAU WIEN. 1908. 14 1/4x19 1/2 inches, 36 1/4x49 1/2 cm. Alb. Berger, Vienna. Condition A- / B+: scuffing and minor abrasions in margins and image; pin holes in corners. Printed on thick paper. Bertold Löffler studied at the Decorative Arts School in Vienna along with Koloman Moser. Throughout his entire life he was very active in many fields of the arts, both creating and teaching. Much of his graphic work was produced for the "Fledermaus" cabaret and for the Wiener Werkstätte, for whom he designed posters, postcards, calendars and other collateral material. In 1908, Löffler participated in the large art exhibition, "Kunstschau." Organized under the leadership of Gustav Klimt, the large exhibition combined the work of Vienna's Decorative Arts School, the Art School for Women and Girls and the Wiener Werkstätte. It was held in a building built specifically for the show by Josef Hoffmann, that contained 54 rooms and held the work of 179 artists; room 10 was dedicated to the poster art of Löffler. He also designed this poster advertising the exhibition (Oskar Kokoshka designed another one). It is a masterful stepping stone between the heavy, often abstract ornamentation of the Secession and the cleaner, more linear designs of the Wiener Werkstätte. This is the smaller format. Denscher 70, Vienna Secession 13, Modern Poster 45, Maitres 1900 p. 182, Design Graphique p. 28-29, Encyclopedie de l'Affiche p. 323.

View additional info »
Realized: Log in or create account to view price data
PAUL SCHEURICH (1883-1945). OLIVER. 1909. 26x36 inches, 66x91 cm. Hollerbaum & Schmidt.

Lot 2: PAUL SCHEURICH (1883-1945). OLIVER. 1909. 26x36 inches, 66x91 cm. Hollerbaum & Schmidt.

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

Description: PAUL SCHEURICH (1883-1945) OLIVER. 1909. 26 1/4x36 inches, 66 3/4x91 1/2 cm. Hollerbaum & Schmidt. Condition A- / B+: tears at edges; minor creases in image; pencil notation in lower right corner. Matted and framed. Scheurich was born in New York but settled in Germanyto work. A painter, sculptor and prolific graphic designer, he worked as a professor in Meissen (of porcelain painting) and then in Dresden for graphic design. In Berlin, Scheurich worked for the renowned printer Hollerbaum & Schmidt. In the years before the First World War, they were known not only for the quality of their lithography but also the impressive stable of artists they employed, such as Lucian Bernhardt, Hans Rudi Erdt and Julius Klinger. Scheurich's style was much like his counterparts in that it was heavily influenced by the British school, employing flat tones and no outlining. Such is the case in this Lucian Bernhard-style Sachs Plakat (Object Poster), in which the object being advertised is depicted against a flat background. It is curious to note the Bernhard's seminal poster for Adler typewriters was also designed in 1909. It is impossible to determine which image influenced the other. DFP-III 2854.

View additional info »
Realized: Log in or create account to view price data
ERWIN DOMINIK OSEN (1891-1970). MUNCHENER KUNSTLER THEATER / MIKADO. 1913. 40x28 inches, 101x28 cm. G. Shuh, Munich.

Lot 3: ERWIN DOMINIK OSEN (1891-1970). MUNCHENER KUNSTLER THEATER / MIKADO. 1913. 40x28 inches, 101x28 cm. G. Shuh, Munich.

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

Description: ERWIN DOMINIK OSEN (1891-1970) MUNCHENER KUNSTLER THEATER / MIKADO. 1913. 40x28 1/2 inches, 101 1/2x28 1/2 cm. G. Shuh, Munich. Condition B+ / A-: light vertical and horizontal folds; minor foxing in margins and image; minor abrasions in image. Little is known about Osen, aside from a few paintings of his that have appeared on the market. For this, his only known poster, he presents an intriguing, expressionism-influenced typographic construction to promote a German production of the Gilbert and Sullivan operetta. Max Schwartzer also designed a poster for this production. DFP-III 2499.

View additional info »
Realized: Log in or create account to view price data
LUDWIG HOHLWEIN (1874-1949). DIRECT CHINA COTTON IMPORTERS. Circa 1910. 32x23 inches, 82x59 cm. G. Schuh & Cie., Munich.

Lot 4: LUDWIG HOHLWEIN (1874-1949). DIRECT CHINA COTTON IMPORTERS. Circa 1910. 32x23 inches, 82x59 cm. G. Schuh & Cie., Munich.

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

Description: LUDWIG HOHLWEIN (1874-1949) DIRECT CHINA COTTON IMPORTERS. Circa 1910. 32 1/2x23 1/4 inches, 82 1/2x59 cm. G. Schuh & Cie., Munich. Condition A-: minor abrasions in image; restoration and repaired tears at edges; overpainting in margins. This image is in many ways the sister poster to Hohlwein's better-known and better-referenced image for Marco Polo Tee. Both images are made using the same composition; a central figure against a black background, surrounded by three green squares. Here, one of the squares contains the text of the poster. Hohlwein often used depictions of the local population to promote products from Asia, Africa or South America. With this image, he proves that his draughtsmanship is so deft that by merely changing the central figure he can re-employ an existing layout and color scheme without fear of being boring or repetitive. This is one of two images he created for the New Hampshire-based company. Hohlwein / Munich p. 162.

View additional info »
Realized: Log in or create account to view price data
ALFRED RUNGE (DATES UNKNOWN) & EDUARD SCOTLAND (DATES UNKNOWN). ERSTER PREIS / KAFFEE HAG. 1915. 35x23 inches, 90x59 cm. Kempedruck, Br

Lot 5: ALFRED RUNGE (DATES UNKNOWN) & EDUARD SCOTLAND (DATES UNKNOWN). ERSTER PREIS / KAFFEE HAG. 1915. 35x23 inches, 90x59 cm. Kempedruck, Br

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

Description: ALFRED RUNGE (DATES UNKNOWN) & EDUARD SCOTLAND (DATES UNKNOWN) ERSTER PREIS / KAFFEE HAG. 1915. 35 1/2x23 1/2 inches, 90 1/4x59 3/4 cm. Kempedruck, Bremen, Condition B+: restoration in upper left corner; discoloration along top and right edges; minor abrasions and creases in image. Runge and Scotland are virtually unknown except for this poster and one other they designed a few years earlier for the same product. At first glance, with its use of light and shadow without any outlining, this poster appears to be the work of Ludwig Hohlwein (who also designed a poster for the company in 1913, which featured a tennis player drinking coffee). What decaffeinated coffee has to do with playing tennis is as obscure as the actual position this player finds himself in, and yet the image itself is one of the finer, early tennis posters. Serious tennis connoisseurs will appreciate the "convex heart racket: a model which will disappear after the 1920's" (Tennis p. 40). Tennis p. 40.

View additional info »
Realized: Log in or create account to view price data
PETER BEHRENS (1868-1940). DEUTSCHE WERKBUND - AUSSTELLUNG. 1914. 35x25 inches, 90x63 cm. A. Molling & Comp., Hannover-Berlin.

Lot 6: PETER BEHRENS (1868-1940). DEUTSCHE WERKBUND - AUSSTELLUNG. 1914. 35x25 inches, 90x63 cm. A. Molling & Comp., Hannover-Berlin.

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

Description: PETER BEHRENS (1868-1940) DEUTSCHE WERKBUND - AUSSTELLUNG. 1914. 35 1/2x25 inches, 90 1/4x63 1/2 cm. A. Molling & Comp., Hannover-Berlin. Condition B+: repaired tears at edges, some affecting image; creases, abrasions and restoration in margins and image. Mounted on Japan. Behrens was a key figure in the birth of German graphic design as a member of the Munich Secession and founder of the Darmstadt Kunstler Kolonie, in 1901. He was also a driving force in the founding of the Werkbund, where industry and design came together. The Werkbund exhibition in Cologne in 1914 was the showcase of what would become a worldwide example for industrial design. Behrens' allegorical poster features a classical rendition of a man on horseback carrying a torch. Although a tenuous analogy can be made about the winds of change blowing the flame carried by the figure in the poster, the style of the image belied the modern progressive nature of the event and it was widely criticized. It was replaced by a strictly typographic poster by Ehmcke, making the remaining copies extremely rare and important. DFP-III 95, Kunst 15, Politische Plakate p. 18, Kunst-Ereignisse 57, Internationale Plakate 208.

View additional info »
Realized: Log in or create account to view price data
FRANZ PAUL GLASS (1886-1964). AUSSTELLUNG MUNCHEN / DAS BAYERISCHE HANDWERK. 1927. 48x36 inches, 122x97 cm. Gebr. Obpacher A.G., Munich

Lot 7: FRANZ PAUL GLASS (1886-1964). AUSSTELLUNG MUNCHEN / DAS BAYERISCHE HANDWERK. 1927. 48x36 inches, 122x97 cm. Gebr. Obpacher A.G., Munich

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

Description: FRANZ PAUL GLASS (1886-1964) AUSSTELLUNG MUNCHEN / DAS BAYERISCHE HANDWERK. 1927. 48 1/4x36 1/2 inches, 122 1/2x97 3/4 cm. Gebr. Obpacher A.G., Munich. Condition B+: losses, tears and repaired tears in margins, some affecting image; creases in margins and image; foxing in image. Paper. Glass, who studied at the Decorative Arts Museum in his native Munich, opened up his own studio in 1910 and shortly thereafter joined up with five other Munich-based graphic designers (Fritz Huebner, Carl Moos, Walenty Zietara, Emil Preetorius, and Maz Schwarzer). "Die Sechs" was a group of talented poster designers who worked for the same printer. They hoped that by joining together they could compete with Ludwig Hohlwein for Munich clients. Here, in a refined and bold style, Glass promotes an exhibition of Bavarian hand-craftsmanship. The hand, which contains the Bavarian colors and lion, as well as small vignettes of craftsmen at work, stands out starkly against the poster's yellow background, and the typography is well-arranged at the bottom of the image. Rademacher / Masters p. 118, Deutsche Plakat p. 247, Kunst 168.

View additional info »
Realized: Log in or create account to view price data
RUDI FELD (1896-1994). DIE GEFAHR DES BOLSCHEWISMUS. 1919. 36x27 inches, 93x68 cm.

Lot 8: RUDI FELD (1896-1994). DIE GEFAHR DES BOLSCHEWISMUS. 1919. 36x27 inches, 93x68 cm.

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

Description: RUDI FELD (1896-1994) DIE GEFAHR DES BOLSCHEWISMUS. 1919. 36 3/4x27 inches, 93 1/4x68 1/2 cm. Condition B+: restored losses, repaired tears, creases and overpainting in margins and image and along vertical and horizontal folds. "Political life in the [post World War I German] republic was haunted by the fear of communism that posters of the antibolshevik leagues and volunteer corps had helped propagate" (Paret p. 122). "The specter of communism in the form of death is one of the old motifs of anti-socialist propaganda. Since the Russian October Revolution, it often carries "Asian" traits -- in this case, the yellow color of the cranium and the curved dagger between his teeth. Gallows and graves in the background show that socialism equals death" (Politische Plakate p. 50). Rudi Feld became the head of advertising for UFA films in the 1930s and went on to work in Hollywood. Zeman p. 106, Paret 177, Plakat-Kunst p. 86, Modern Poster 71, Politische Plakate p. 50.

View additional info »
Realized: Log in or create account to view price data
HEINZ FUCHS (1886-1961). ARBEITER HUNGER TOD NAHT. 1919. 29x40 inches, 74x103 cm.

Lot 9: HEINZ FUCHS (1886-1961). ARBEITER HUNGER TOD NAHT. 1919. 29x40 inches, 74x103 cm.

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

Description: HEINZ FUCHS (1886-1961) ARBEITER HUNGER TOD NAHT. 1919. 29 1/4x40 1/2 inches, 74 1/4x103 cm. Condition B: visible overpainting along vertical and horizontal folds; restored losses in margins; repaired tears and restoration in margins and image; faded overall. 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 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). War Posters 168, Verfuhrungen 57, Modern Poster 74, Kunst 147, Plakat-Kunst p. 88, Word & Image p. 50, Politsche Plakate p. 47, The Poster 141, Interationale Plakate 323.

View additional info »
Realized: Log in or create account to view price data
HEINZ FUCHS (1886-1961). ARBEITER, WOLLT IHR SATT WERDEN? 1919. 29x37 inches, 101x94 cm. A. Wohlfeld, Magdeburg.

Lot 10: HEINZ FUCHS (1886-1961). ARBEITER, WOLLT IHR SATT WERDEN? 1919. 29x37 inches, 101x94 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. 29 3/4x37 inches, 101x94 cm. A. Wohlfeld, Magdeburg. Condition B: restored losses in margins; repaired tears, creases and overpainting in margins and image and along vertical and horizontal folds. 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 Plakate p. 48, Hoffnung und Widerstand p. 162, LACMA M.2003.114.121.

View additional info »
Realized: Log in or create account to view price data
ATTRIBUTED TO WALTER DEXEL (1890-1973). NEUE WEGE DER PHOTOGRAPHIE. 1928. Collage maquette. 13x10 inches, 35x25 cm.

Lot 11: ATTRIBUTED TO WALTER DEXEL (1890-1973). NEUE WEGE DER PHOTOGRAPHIE. 1928. Collage maquette. 13x10 inches, 35x25 cm.

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

Description: ATTRIBUTED TO WALTER DEXEL (1890-1973) NEUE WEGE DER PHOTOGRAPHIE. 1928. Collage maquette. 13 3/4x10 inches, 35x25 1/2 cm. Condition A / A-: creases in corners. Thick paper. A painter, typographer, graphic designer and teacher, Dexel was appointed as the director of the Art Union in Jena, a central German university town. Closely associated with the Bauhaus, he became one of the most prominent practitioners of Contstructivism. In 1935, he lost his position as a graphic design instructor at the Magdeburg Kunstgewerbe Schule, after he was deemed an "entartete" artist by the Nazi regime. Dexel's advertising work is almost strictly typographic, following the principles of the Neue Typographie. This collage, composed of cut out pieces of a flyer for a seminal photography exhibition (see Swann auction #2278, lot 20), has the appearance and size of a catalogue cover design, although it was never realized as such. "Such collages, of cut-up invitation cards, were a cheap alternative for more effective advertising than the small invitation cards, to take into bookstores etc, without having to print posters" (Dexel p. 24). Dexel p. 25, MoMA 664.1999 (var).

View additional info »
Realized: Log in or create account to view price data
WALTER DEXEL (1890-1973). AUSSTELLUNG KUNSTVEREIN JENA. Leaflet. 1923. 5x11 inches, 14x29 cm.

Lot 12: WALTER DEXEL (1890-1973). AUSSTELLUNG KUNSTVEREIN JENA. Leaflet. 1923. 5x11 inches, 14x29 cm.

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

Description: WALTER DEXEL (1890-1973) AUSSTELLUNG KUNSTVEREIN JENA. Leaflet. 1923. 5 3/4x11 3/4 inches, 14 1/2x29 3/4 cm. Condition A- / B+: red underlining in text; vertical folds as issued. Paper. Dexel's strict Constructivist style "used exclusively typography and abstract geometrical markers" (Avant Garde p. 64). He eschewed pictorial imagery for "the use of ornament based entirely on the precise geometric forms of the rectangle and the circle, and the almost exclusive use of a geometrically based sans-serif type" (Word & Image p. 56). MoMA 653.1999.

View additional info »
Realized: Log in or create account to view price data
WALTER DEXEL (1890-1973). NEUE REKLAME. Flyer. 1927. 4x11 inches, 10x29 cm.

Lot 13: WALTER DEXEL (1890-1973). NEUE REKLAME. Flyer. 1927. 4x11 inches, 10x29 cm.

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

Description: WALTER DEXEL (1890-1973) NEUE REKLAME. Flyer. 1927. 4 1/4x11 1/2 inches, 10 3/4x29 1/4 cm. Condition A. Paper. MoMA 663.1999.

View additional info »
Realized: Log in or create account to view price data
GUSTAV KLUTSIS (1895-1938). SPARTAKIADA. Postcard. 1928. 5x4 inches, 14x10 cm. Izvestiya, Moscow.

Lot 14: GUSTAV KLUTSIS (1895-1938). SPARTAKIADA. Postcard. 1928. 5x4 inches, 14x10 cm. Izvestiya, Moscow.

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

Description: GUSTAV KLUTSIS (1895-1938) SPARTAKIADA. Postcard. 1928. 5 3/4x4 inches, 14 1/2x10 1/4 cm. Izvestiya, Moscow. Condition B+: minor staining along left edge; corners rubbed; skinning and minor rubbing on verso. Klutsis designed nine postcards to promote the Spartakiada, a national sports competition which began on August 12, the day of the closing ceremony of the Olympics in Amsterdam in which Russia did not compete. "For the Bolsheviks, sporting success and physical perfection demonstrated the triumph of the Revolution, the efficacy of Socialism and the achievements of the Soviet state. The Spartakiada, therefore, had considerable propaganda potential, and, as a committed Communist and Constructivist, Klutsis orchestrated his photomontages to maximise this. While seeking to capture the dynamism of sporting activities and reveal the beauty of the physical gestures involved, he was also concerned to bring out the fundamental connection between sport and Communist ideology" (vam.co.uk). Klutsis pl. 45.

View additional info »
Realized: Log in or create account to view price data
GUSTAV KLUTSIS (1895-1938). [SPARTAKIADA.] Postcard. 1928. 5x4 inches, 14x10 cm. Izvestiya, Moscow.

Lot 15: GUSTAV KLUTSIS (1895-1938). [SPARTAKIADA.] Postcard. 1928. 5x4 inches, 14x10 cm. Izvestiya, Moscow.

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

Description: GUSTAV KLUTSIS (1895-1938) [SPARTAKIADA.] Postcard. 1928. 5 3/4x4 inches, 14 1/2x10 1/4 cm. Izvestiya, Moscow. Condition A-: corners rubbed; crease through upper left corner. Klutsis fig. 118, Witkovsky p. 59, Soviet Photograph 41.

View additional info »
Realized: Log in or create account to view price data
GUSTAV KLUTSIS (1895-1938). [SPARTAKIADA.] Postcard. 1928. 5x4 inches, 14x10 cm. Izvestiya, Moscow.

Lot 16: GUSTAV KLUTSIS (1895-1938). [SPARTAKIADA.] Postcard. 1928. 5x4 inches, 14x10 cm. Izvestiya, Moscow.

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

Description: GUSTAV KLUTSIS (1895-1938) [SPARTAKIADA.] Postcard. 1928. 5 3/4x4 inches, 14 1/2x10 1/4 cm. Izvestiya, Moscow. Condition B+: corners rubbed; some creases in corners and image; ink writing, stamp and postmark on verso. Soviet Photograph 40.

View additional info »
Realized: Log in or create account to view price data
GUSTAV KLUTSIS (1895-1938). [SPARTAKIADA.] Postcard. 1928. 5x4 inches, 14x10 cm. Izvestiya, Moscow.

Lot 17: GUSTAV KLUTSIS (1895-1938). [SPARTAKIADA.] Postcard. 1928. 5x4 inches, 14x10 cm. Izvestiya, Moscow.

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

Description: GUSTAV KLUTSIS (1895-1938) [SPARTAKIADA.] Postcard. 1928. 5 3/4x4 inches, 14 1/2x10 1/4 cm. Izvestiya, Moscow. Condition A-: corners slightly rubbed; ink writing (in Estonian) and postmark on verso. "Klutsis punctuated several postcards with portraits of the late soviet leader [Lenin] . . . [here] Lenin is unexpectedly shown atop his own mausoleum, apparently the artist's attempt to suggest that Lenin's spirit remained alive" (The Soviet Photograph p. 49). Klutsis pl. 46, Witkovsky p. 45 and p. 59.

View additional info »
Realized: Log in or create account to view price data
STENBERG BROTHERS (VLADIMIR, 1899-1982, GEORGII, 1900-1933) & YAKOV RUKLEVSKY. OTREZANNYE OT MIRA [ISOLATED FROM THE WORLD.] 1926. 42x2

Lot 18: STENBERG BROTHERS (VLADIMIR, 1899-1982, GEORGII, 1900-1933) & YAKOV RUKLEVSKY. OTREZANNYE OT MIRA [ISOLATED FROM THE WORLD.] 1926. 42x2

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

Description: STENBERG BROTHERS (VLADIMIR, 1899-1982, GEORGII, 1900-1933) & YAKOV RUKLEVSKY OTREZANNYE OT MIRA [ISOLATED FROM THE WORLD.] 1926. 42 1/2x28 1/4 inches, 108x71 3/4 cm. Condition B+: repaired tears and losses along vertical and horizontal folds and at edges; creases in margins and image. Mounted on Japan. The Stenberg Brothers revolutionized the concept of the movie poster in the 1920s with their innate sense of design and a technique of their own devising, whereby photos from movies were projected onto canvases and traced in order to create photomontages. Having been given total artistic freedom within the early years of the new Soviet state, they were the first to abandon the standard promotional technique of realistically depicting movie scenes on posters. This is one of their earlier posters. Eileen Sedgwick and William Desmond were silent screen stars who appeared in three movies together: Beasts of Paradise (1923); The Winking Idol (1926) and Strings of Steel (1926). Although these films have been lost to time, this is likely the earliest of them, as parts of the film are listed as being held in the Russian film archives.

View additional info »
Realized: Log in or create account to view price data
ALEXANDER RODCHENKO (1891-1956). [DOBROLET.] 1923. 13x18 inches, 34x45 cm.

Lot 19: ALEXANDER RODCHENKO (1891-1956). [DOBROLET.] 1923. 13x18 inches, 34x45 cm.

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

Description: ALEXANDER RODCHENKO (1891-1956) [DOBROLET.] 1923. 13 5/8x18 inches, 34 1/2x45 3/4 cm. Condition B+: discoloration and remnant of banner in the center of bottom edge; two pin holes along right edge; creases in top of image and in lower left corner. Mounted to stiff paper, with light bubbling along the left edge. With the Rodchenko Archive stamp on the back, and pencil notations in an unknown hand. Dobrolet, the Russian Society of Volunteer Airfleet, was founded in 1923, as part of Lenin's New Economic Policy, which allowed for a form of limited capitalism in certain large businesses. As a partially public company it originally sold shares to Russian citizens. Rodchenko was employed to help market the company, and went on to design posters and other advertising material for the company. The text on this posters reads, "To All . . . If one is not a shareholder of Dobrolet, one is not a citizen of the USSR / One golden ruble makes everyone a shareholder of Dobrolet." During the mid to late-1920's Rodchenko worked with Vladimir Mayakovsky on advertising campaigns for Mosselprom and GUM as well as Dobrolet. In the 1930s, the company lost its shareholder status and became part of the Soviet collective economy -- becoming "Aeroflot." Rodchenko, who was young and virtually unknown when he began his association with Dobrolet, used "simple geometric forms as the material for visual inventions and combinations . . . by means of pure geometric forms, all the shapes were transformed into symbolic patterns (signs), that could be visually simple and as clearly understandable as letters of the alphabet" (Rodchenko / Luftahansa p. 31). This poster was printed in four different color schemes, including red and black, red and green and red and blue. Rodchenko 82, Modern Poster p. 134 (var), Avant Garde p. 120 (var), Rodchenko / Lufthansa p. 68 (var), Aeroflot p. 17 Hoffnung und Wiederstand p. 161.

View additional info »
Realized: Log in or create account to view price data
NATALIA SERGEEVNA PINUS (1901-1986). [THE RESULTING PROBLEMS.] 1932. 36x23 inches, 91x58 cm.

Lot 20: NATALIA SERGEEVNA PINUS (1901-1986). [THE RESULTING PROBLEMS.] 1932. 36x23 inches, 91x58 cm.

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

Description: NATALIA SERGEEVNA PINUS (1901-1986) [THE RESULTING PROBLEMS.] 1932. 36x23 inches, 91 1/2x58 1/2 cm. Condition B+ / B: tears and repaired tears at edges; creases, abrasions and restoration along vertical and horizontal folds and in margins and image; pencil notations in image. Framed. The top of the poster bears the last three Cyrillic letters of the word "October" and below it says "Next Tasks." The red text in the left margin explains that this is one of seven posters in a series of which this is the fifth, and outlines the order in which they should be displayed. Although the entire series has not been recorded it is likely that the overall title would be "The Outcome of October" or "The Tasks of October."

View additional info »
Realized: Log in or create account to view price data
VASILY ELKIN (1897-1991). [RESULTS OF STRUGGLE AND CONSTRUCTION.] Circa 1930s. 36x23 inches, 91x58 cm.

Lot 21: VASILY ELKIN (1897-1991). [RESULTS OF STRUGGLE AND CONSTRUCTION.] Circa 1930s. 36x23 inches, 91x58 cm.

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

Description: VASILY ELKIN (1897-1991) [RESULTS OF STRUGGLE AND CONSTRUCTION.] Circa 1930s. 36x23 inches, 91 1/2x58 1/2 cm. Condition B+ / B: tears and repaired tears at edges; creases, abrasions and restoration along vertical and horizontal folds and in margins and image; pencil notations in image. Framed. This is the second poster in the series described in the previous lot. Designed by Elkin, with caricatures by Konevsky, the poster includes the printed resolutions from the XVII Conference of the Communist party.

View additional info »
Realized: Log in or create account to view price data
NATALIA SERGEEVNA PINUS (1901-1986). [FOR ORGANIZATIONAL AND ECONOMIC STRENGTHENING OF KOLKHOZES.] 1932. 35x22 inches, 90x57 cm.

Lot 22: NATALIA SERGEEVNA PINUS (1901-1986). [FOR ORGANIZATIONAL AND ECONOMIC STRENGTHENING OF KOLKHOZES.] 1932. 35x22 inches, 90x57 cm.

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

Description: NATALIA SERGEEVNA PINUS (1901-1986) [FOR ORGANIZATIONAL AND ECONOMIC STRENGTHENING OF KOLKHOZES.] 1932. 35 3/4x22 3/4 inches, 90 3/4x57 3/4 cm. Condition B+ / B: tears, repaired tears and staining at edges; creases and abrasions along vertical and horizontal folds and in margins and image; pencil notations in image. This is the sixth poster in the series described in lot 20. The quaotation along the bottom, from Stalin, reads, "with Lenin's banner we won in the battles for October Revolution. With Lenin's banner we achieved the decisive successes in the struggle for the victory of socialist construction. With the same banner we will win in the proletariat revolution all over the world." Kolkhozes were collective farms.

View additional info »
Realized: Log in or create account to view price data
A.V. KOROTKOV (DATES UNKNOWN). [LET'S BUILD THE RAILWAY TRACK MOSCOW - DONBASS WITH BOLSHEVIK'S TEMPO!] 1932. 29x41 inches, 75x106 cm

Lot 23: A.V. KOROTKOV (DATES UNKNOWN). [LET'S BUILD THE RAILWAY TRACK MOSCOW - DONBASS WITH BOLSHEVIK'S TEMPO!] 1932. 29x41 inches, 75x106 cm

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

Description: A.V. KOROTKOV (DATES UNKNOWN) [LET'S BUILD THE RAILWAY TRACK MOSCOW - DONBASS WITH BOLSHEVIK'S TEMPO!] 1932. 29 1/2x41 3/4 inches, 75x106 cm. Condition B+ / B: tears, repaired tears and staining at edges; creases and abrasions along vertical and horizontal folds and in margins and image; pencil notations in image; tape on verso. A Ukrainian poster printed in Kharkiv stating, "By August 1, 1933 there should be 24 pairs of trains running between Moscow and the Donbass . . . The railway Moscow - Donbass is a power victory for the Soviet proletariats!" The Donbass, or Donets Basin, is a coal-producing region in eastern Ukraine.

View additional info »
Realized: Log in or create account to view price data
I.I. LYSENKO (DATES UNKNOWN). [WE ARE ALWAYS READY TO WORK FOR DEFENSE OF THE USSR.] 1932. 14x20 inches, 35x52 cm.

Lot 24: I.I. LYSENKO (DATES UNKNOWN). [WE ARE ALWAYS READY TO WORK FOR DEFENSE OF THE USSR.] 1932. 14x20 inches, 35x52 cm.

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

Description: I.I. LYSENKO (DATES UNKNOWN) [WE ARE ALWAYS READY TO WORK FOR DEFENSE OF THE USSR.] 1932. 14x20 1/2 inches, 35 1/2x52 cm. Condition A-: repaired tears at edges; minor restoration along vertical fold.

View additional info »
Realized: Log in or create account to view price data
GUSTAV KLUTSIS (1895-1938). [BUILDING SOCIALISM UNDER THE BANNER OF LENIN.] 1930. 39x28 inches, 99x71 cm.

Lot 25: GUSTAV KLUTSIS (1895-1938). [BUILDING SOCIALISM UNDER THE BANNER OF LENIN.] 1930. 39x28 inches, 99x71 cm.

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

Description: GUSTAV KLUTSIS (1895-1938) [BUILDING SOCIALISM UNDER THE BANNER OF LENIN.] 1930. 39 1/4x28 1/4 inches, 99 3/4x71 3/4 cm. Condition B+: tears and repaired tears at edges, some affecting image; creases and abrasions in margins and image; minor losses and staining at edges; tape on verso. Paper. Using a photomontage entitled, "Plan for the socialist offensive," which he had made in 1929, this was Klutsis' first poster to depict Stalin. "Klutsis now used the cut-and-paste method [of photomontage] with a much more subtle hand, heavily retouching seams between combined photographs in a way that evokes Stalin's notion of 'political superimposition.' This enabled Klutsis to announce, in visual terms, the birth of the totalitarian mentality that occurs 'when reactionary concepts are superimposed upon revolutionary emotion'" (Klutsis p. 62). Iconography of Power cover, Klutsis pl. 110, Witkovsky p. 64.

View additional info »
Realized: Log in or create account to view price data
GUSTAV KLUTSIS (1895-1938). [IN THE STORM OF THE 3RD YEAR OF THE FIVE - YEAR PLAN.] 1930. 40x29 inches, 103x74 cm.

Lot 26: GUSTAV KLUTSIS (1895-1938). [IN THE STORM OF THE 3RD YEAR OF THE FIVE - YEAR PLAN.] 1930. 40x29 inches, 103x74 cm.

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

Description: GUSTAV KLUTSIS (1895-1938) [IN THE STORM OF THE 3RD YEAR OF THE FIVE - YEAR PLAN.] 1930. 40 1/2x29 1/4 inches, 103x74 1/4 cm. Condition B+: restored losses, repaired tears and overpainting at edges, some affecting image. Mounted on Japan. Born in Latvia, Klutsis studied at the influential Svomas/Vkutemas art school under Malevitch and Pevsner and then went on to become a founding member of "October," a group of artists dedicated to serving the needs of the proletariat all over the USSR. Klutsis became the most prolific virtuoso of the art of photomontage, designing emblematic posters to inspire the Communist cause throughout the Twenties and Thirties. In 1938, for all of his exceptional work for the cause, Stalin had Klutsis arrested and executed. Klutsis pl. 129, Witkovsky p. 61, Modern Poster 150, Art and Power p. 245, Arte Societico p. 41.

View additional info »
Realized: Log in or create account to view price data
GUSTAV KLUTSIS (1895-1938). [LONG LIVE THE MULTIMILLION - MEMBER LENINIST KOMSOMOL.] 1932. 57x40 inches, 145x103 cm.

Lot 27: GUSTAV KLUTSIS (1895-1938). [LONG LIVE THE MULTIMILLION - MEMBER LENINIST KOMSOMOL.] 1932. 57x40 inches, 145x103 cm.

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

Description: GUSTAV KLUTSIS (1895-1938) [LONG LIVE THE MULTIMILLION - MEMBER LENINIST KOMSOMOL.] 1932. 57 1/4x40 1/2 inches, 145 1/2x103 cm. Condition B: repaired tears, creases, abrasions, restoration, overpainting and staining along vertical and horizontal folds and in margins and image; restored losses at edges. Two-sheets. Mounted on Japan.

View additional info »
Realized: Log in or create account to view price data
GUSTAV KLUTSIS (1895-1938). [LONG LIVE THE USSR - PROTOTYPE OF BROTHERHOOD OF WORKING PEOPLE OF ALL NATIONS!] 1935. 33x47 inches, 85x12

Lot 28: GUSTAV KLUTSIS (1895-1938). [LONG LIVE THE USSR - PROTOTYPE OF BROTHERHOOD OF WORKING PEOPLE OF ALL NATIONS!] 1935. 33x47 inches, 85x12

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

Description: GUSTAV KLUTSIS (1895-1938) [LONG LIVE THE USSR - PROTOTYPE OF BROTHERHOOD OF WORKING PEOPLE OF ALL NATIONS!] 1935. 33 3/4x47 1/4 inches, 85 3/4x120 cm. Condition B-: sharp vertical creases; repaired tears, restored losses, creases, abrasions and overpainting along vertical and horizontal folds and in margins and image; staining in margins into image. Two-sheets. Mounted on Japan. Power of Images p. 129.

View additional info »
Realized: Log in or create account to view price data
VALENTINA KULAGINA (1902-1987). [INTERNATIONAL WORKING WOMEN'S DAY / IS THE FIGHTING DAY OF THE PROLETARIAT.] 1931. 39x27 inches, 100x

Lot 29: VALENTINA KULAGINA (1902-1987). [INTERNATIONAL WORKING WOMEN'S DAY / IS THE FIGHTING DAY OF THE PROLETARIAT.] 1931. 39x27 inches, 100x

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

Description: VALENTINA KULAGINA (1902-1987) [INTERNATIONAL WORKING WOMEN'S DAY / IS THE FIGHTING DAY OF THE PROLETARIAT.] 1931. 39 1/2x27 1/2 inches, 100 1/4x70 cm. Condition B / B-: extensive restored losses at edges into image; repaired tears, creases, abrasions, restoration and overpainting in margins and image. Linen mounted. Best known as being the wife of Gustav Klutsis, Valentina Kulagina was an exceptional artist in her own right, working on posters and book and exhibition designs. She met her future husband in 1920 when she enrolled as a student at Vkhutemas where he was teaching. Together they worked closely on photomontages, taking pictures at parades (and sometimes posing themselves), to capture the enthusiastic movement of the masses which they needed to fulfill various assignments. At the end of the 1920s, she departed from the sole use of photographic material in her work and began to incorporate graphic elements within her montages. This was unique at a time when photography had been unofficially adapted as the primary tool of the graphic propaganda machine. Klutsis pl. 100, Hoffnung und Widerstand p. 161.

View additional info »
Realized: Log in or create account to view price data
ATTRIBUTED TO VALENTINA KULAGINA (1902-1987). [TO THE 3RD YEAR OF THE 5 YEAR PLAN.] Circa 1932. 36x27 inches, 92x70 cm.

Lot 30: ATTRIBUTED TO VALENTINA KULAGINA (1902-1987). [TO THE 3RD YEAR OF THE 5 YEAR PLAN.] Circa 1932. 36x27 inches, 92x70 cm.

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

Description: ATTRIBUTED TO VALENTINA KULAGINA (1902-1987) [TO THE 3RD YEAR OF THE 5 YEAR PLAN.] Circa 1932. 36 1/2x27 3/4 inches, 92 3/4x70 1/2 cm. Condition B- / C+: extensive restored losses at edges into image; repaired tears, creases, abrasions and overpainting at edges, some affecting image. Trimmed. Linen mounted. Previously unrecorded.

View additional info »
Realized: Log in or create account to view price data
KUKRYNIKSY. [FOR THE SOVIET COUNTRY BEAT THE GERMAN BEASTS.] TASS WINDOW NO. 534. 1942. 83x44 inches, 210x111 cm.

Lot 31: KUKRYNIKSY. [FOR THE SOVIET COUNTRY BEAT THE GERMAN BEASTS.] TASS WINDOW NO. 534. 1942. 83x44 inches, 210x111 cm.

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

Description: KUKRYNIKSY [FOR THE SOVIET COUNTRY BEAT THE GERMAN BEASTS.] TASS WINDOW NO. 534. 1942. 83x44 inches, 210 3/4x111 3/4 cm. Condition B- / C+: tears, losses, creases and abrasions along sharp vertical and horizontal folds and in margins and image; tape in top margin; time-staining in text banner affixed to bottom; text banner affixed to top. Seven-sheets attached. Paper. "In the immediate aftermath of the German invasion of the Soviet Union on June 22, 1941, a group of artists and writers in Moscow joined forces under the auspices of the TASS News Agency, to produce large-scale posters [Tass Windows, so called as they were intended to hang in storefront or office building windows for all passers-by to view] - designed to reassure and rouse the Soviet citizenry while manipulating the information it received in the service of envisioning a new world order. Over the 1,418 days of World War II on the Eastern Front . . . the Tass studio produced some 1,240 designs" (Windows on the War p. 13). Devising almost a new image every day, they were each labor-intensive, multi-panel stencils, combining imagery with text. Kukryniksy was actually three artists, Mikhail Kupriyanov, Porfiri Krylov and Nikolai Sokolov, who combined letters from their names to come up with their collective working name. The trio designed over 70 Tass Windows between 1941 and 1945. For this poster, the text was written by A. Prokof'ev.

View additional info »
Realized: Log in or create account to view price data
VLADIMIR VASIL'EVICH LEBEDEV (1891-1967). [WHAT BRINGETH FORTH THE MORROW?] TASS WINDOW NO. 606. 1942. 61x33 inches, 155x85 cm.

Lot 32: VLADIMIR VASIL'EVICH LEBEDEV (1891-1967). [WHAT BRINGETH FORTH THE MORROW?] TASS WINDOW NO. 606. 1942. 61x33 inches, 155x85 cm.

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

Description: VLADIMIR VASIL'EVICH LEBEDEV (1891-1967) [WHAT BRINGETH FORTH THE MORROW?] TASS WINDOW NO. 606. 1942. 61 1/4x33 1/2 inches, 155 1/2x85 cm. Condition B+ / B: tears along sharp vertical and horizontal folds and at edges; creases and abrasions in margins and image; text banners affixed to top and bottom. Four-sheets attached. Paper. A Tass Window referring to "Operation Torch," and the Anglo-American expeditionary attack in North Africa "to expel the Axis powers from the region. The operation directly impacted the future of Mussolini, permanently thwarting his imperialist ambitions . . . [here] an apelike Mussolini, fleeing on all fours, moves over the scorched and burning Italian peninsula from south to north. Across the Mediterranean looms the coast of North Africa, above which appear, like locusts, ominous squadrons of fighter planes . . . the layering of colors in a variety of ways . . . demonstrate Lebedev's ability to achieve an overall painterly unity that belies the actual execution with stencils" (Windows on the War pps. 227-8). The title comes from Pushkin's Eugene Onegin. Windows on the War p. 227.

View additional info »
Realized: Log in or create account to view price data
VIKTOR PAVLOVICH SOKOLOV (1923-1980). [DIG OUT AND BURY.] TASS WINDOW NO. 615. 1942. 87x33 inches, 221x85 cm.

Lot 33: VIKTOR PAVLOVICH SOKOLOV (1923-1980). [DIG OUT AND BURY.] TASS WINDOW NO. 615. 1942. 87x33 inches, 221x85 cm.

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

Description: VIKTOR PAVLOVICH SOKOLOV (1923-1980) [DIG OUT AND BURY.] TASS WINDOW NO. 615. 1942. 87x33 1/2 inches, 221x85 cm. Condition B- / C+: losses at intersections of sharp vertical and horizontal folds; tears, repaired tears, losses, creases and abrasions in margins and image; staining in image; text banners affixed to top and bottom; tape on verso. Six-sheets attached. Paper. Sokolov was the son of the artistic director of the Tass studio. He is credited with designing about 34 different Tass Windows. For this poster, the text was written by Al. Zharov.

View additional info »
Realized: Log in or create account to view price data
VLADIMIR VASIL'EVICH LEBEDEV (1891-1967). [RETREAT WITH CRIME.] TASS WINDOW NO. 696. 1943. 76x31 inches, 194x80 cm.

Lot 34: VLADIMIR VASIL'EVICH LEBEDEV (1891-1967). [RETREAT WITH CRIME.] TASS WINDOW NO. 696. 1943. 76x31 inches, 194x80 cm.

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

Description: VLADIMIR VASIL'EVICH LEBEDEV (1891-1967) [RETREAT WITH CRIME.] TASS WINDOW NO. 696. 1943. 76 1/2x31 1/2 inches, 194 1/4x80 cm. Condition B+: tears, creases, abrasions and losses in margins and image; sharp vertical and horizontal folds; text banners affixed to top and bottom. Four-sheets attached. Paper. Lebedev was a painter and illustrator who was also very involved with the predecessor to the Tass Windows, the Rosta Windows. He also illustrated numerous children's books. For this poster, the text was written by Samuil Yakovlevich Marshak.

View additional info »
Realized: Log in or create account to view price data
DESIGNER UNKNOWN. PROFITEZ DES CAMPS DE VACANCES . . . . . / SOVIETIQUES. Circa 1952. 31x23 inches, 80x59 cm. Paix et Liberte, Paris.

Lot 35: DESIGNER UNKNOWN. PROFITEZ DES CAMPS DE VACANCES . . . . . / SOVIETIQUES. Circa 1952. 31x23 inches, 80x59 cm. Paix et Liberte, Paris.

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

Description: DESIGNER UNKNOWN PROFITEZ DES CAMPS DE VACANCES . . . . . / SOVIETIQUES. Circa 1952. 31 1/2x23 1/2 inches, 80x59 3/4 cm. Paix et Liberte, Paris. Condition B+: tears at edges, some affecting image; minor losses in margins; creases in margins and image and along vertical and horizontal folds. Paper. In the years following World War II, the French Communist Party comprised almost a quarter of the country's electorate. In 1950, the anti-Communist movement Paix et Liberte was formed. Between 1950 and 1955, they issued on average three posters per month on behalf of their cause. This one is a sarcastic message denouncing the gulags, with the title "enjoy Soviet summer camps."

View additional info »
Realized: Log in or create account to view price data
DESIGNER UNKNOWN. ARTICLES D'IMPORTATION . . . Circa 1952. 31x23 inches, 80x59 cm. Paix et Liberte, Paris.

Lot 36: DESIGNER UNKNOWN. ARTICLES D'IMPORTATION . . . Circa 1952. 31x23 inches, 80x59 cm. Paix et Liberte, Paris.

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

Description: DESIGNER UNKNOWN ARTICLES D'IMPORTATION . . . Circa 1952. 31 1/2x23 1/2 inches, 80x59 3/4 cm. Paix et Liberte, Paris. Condition B+: tears at edges, some affecting image; minor losses in margins; creases in margins and image and along vertical and horizontal folds. Paper. A leather case filled with a dossier of documents "imported" from the Soviet Union, including "Sabotage, Treason, Political Strikes" and more.

View additional info »
Realized: Log in or create account to view price data
R. PINATEL (DATES UNKNOWN). L'HOMME QUI A FAIT DON DE SA PERSONNE A L'U.R.S.S. Circa 1952. 22x29 inches, 56x75 cm. Paix et Liberte, P

Lot 37: R. PINATEL (DATES UNKNOWN). L'HOMME QUI A FAIT DON DE SA PERSONNE A L'U.R.S.S. Circa 1952. 22x29 inches, 56x75 cm. Paix et Liberte, P

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

Description: R. PINATEL (DATES UNKNOWN) L'HOMME QUI A FAIT DON DE SA PERSONNE A L'U.R.S.S. Circa 1952. 22x29 3/4 inches, 56x75 1/2 cm. Paix et Liberte, Paris. Condition A-: creases in margins and image and along vertical and horizontal folds. Paper. Here, an image of Maurice Thorez, the General Secretary of the Communist Party in France, chained to Stalin's arm.

View additional info »
Realized: Log in or create account to view price data
L. NEPOMNYASHY (DATES UNKNOWN). [THE BOUNDLESS DARINGS OF HUMANS.] 1966. 34x23 inches, 86x59 cm. Sovetsky Hudognik.

Lot 38: L. NEPOMNYASHY (DATES UNKNOWN). [THE BOUNDLESS DARINGS OF HUMANS.] 1966. 34x23 inches, 86x59 cm. Sovetsky Hudognik.

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

Description: L. NEPOMNYASHY (DATES UNKNOWN) [THE BOUNDLESS DARINGS OF HUMANS.] 1966. 34x23 1/4 inches, 86 1/2x59 cm. Sovetsky Hudognik. Condition A- / B+: light creases and abrasions in image. Part of the Cold War's race to space, depicting an optimistic image of Yuri Gargarin literally reaching for the stars.

View additional info »
Realized: Log in or create account to view price data
CARL MOOS (1878-1959). WAHLT / SOZIAL - DEMOKRATISCH. 1925. 25x17 inches, 64x45 cm. J.C. Muller, Zurich.

Lot 39: CARL MOOS (1878-1959). WAHLT / SOZIAL - DEMOKRATISCH. 1925. 25x17 inches, 64x45 cm. J.C. Muller, Zurich.

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

Description: CARL MOOS (1878-1959) WAHLT / SOZIAL - DEMOKRATISCH. 1925. 25 1/4x17 3/4 inches, 64x45 cm. J.C. Muller, Zurich. Condition A-: scuffing and restoration in upper margin; minor creases at edges. Paper.

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 40: 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. 42x31 inches, 108x78 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, yet even in his earlier posters, one gets the same 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
BART VAN DER LECK (1876-1958). [DE RUITER.] 1919. 35x14 inches, 89x37 cm. W. Scherjon, Utrecht.

Lot 41: BART VAN DER LECK (1876-1958). [DE RUITER.] 1919. 35x14 inches, 89x37 cm. W. Scherjon, Utrecht.

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

Description: BART VAN DER LECK (1876-1958) [DE RUITER.] 1919. 35x14 3/4 inches, 89x37 1/2 cm. W. Scherjon, Utrecht. Condition A: minor abrasions in margins and image. Initialed by the artist in pen in lower margin. Paper. Van der Leck was a painter, architect and graphic designer. Although much of his work, with its fragmented, minimalist and flat color elements, conforms to the tenets of De Stijl (and he did work with members of the group), he never formally signed their manifesto. He was totally uncompromising in his artistic views, which is why he never officially joined them in the first place, and why, after working with them for a short while, he ended up ultimately parting ways. For an exhibition of his own work in 1919 he created this poster which was taken from a painting he did the previous year for the St. Hubertus Hunting Lodge. "Van der Leck had employed many elements of De Stijl in his work for a number of years, such as the use of primary colours and a high degree of abstraction. But by depicting horse and rider in a more or less 'realistic' way and utilising the diagonal, the artist was opting here for a personal interpretation that was at odds with the attitudes of De Stijl" (www.stedelijkmuseum.nl). Although the poster was ultimately printed with text (stylized typography), versions were left without any lettering, perhaps for the artist to give to friends, as most of them are hand-initialed. Dutch 155 (var), Dutch Graphic Design p. 90, Muller-Brockmann 181 (var) .

View additional info »
Realized: Log in or create account to view price data
D'APRES PABLO PICASSO (1881-1973). BALLETS RUSSES / THEATRE DES CHAMPS - ELYSEES. Circa 1918. 58x46 inches, 148x118 cm. Versicolor Duf

Lot 42: D'APRES PABLO PICASSO (1881-1973). BALLETS RUSSES / THEATRE DES CHAMPS - ELYSEES. Circa 1918. 58x46 inches, 148x118 cm. Versicolor Duf

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

Description: D'APRES PABLO PICASSO (1881-1973) BALLETS RUSSES / THEATRE DES CHAMPS - ELYSEES. Circa 1918. 58 1/2x46 1/2 inches, 148 1/2x118 cm. Versicolor Dufay, Versailles. Condition B: tears and repaired tears at edges; creases, abrasions, staining and light offsetting in margins and image; vertical and horizontal folds; poster is detaching in some areas from brown paper it is mounted on; repaired pin holes at edges. Serge Diaghilev founded the Ballets Russes in 1909 and premiered with a revolutionary show and first season at the Theatre Chatelet, which transfixed Paris and transformed the artistic landscape. For years they performed at the Theatre des Champs-Elysees and were on the cutting edge of all the artistic disciplines, featuring music by Stravinsky, sets and costumes designed by the best Cubist artists and performances by some the greatest ballet dancers of all time. In 1917, at the suggestion of Jean Cocteau, Diaghilev commissioned Picasso to design the sets and costumes for Parade. His image for the costume design of the Chinese conjurer became an emblematic logo for the troupe. We can date this poster from the fact that Massine worked as the choreographer for the Ballets Russes from 1915-1921 and Parade was staged in 1917.

View additional info »
Realized: Log in or create account to view price data
D'APRES PABLO PICASSO (1881-1973). BALLETS RUSSES DE MONTE - CARLO. 1924. 62x47 inches, 158x119 cm. Albert Picard, [Saint Martin.]

Lot 43: D'APRES PABLO PICASSO (1881-1973). BALLETS RUSSES DE MONTE - CARLO. 1924. 62x47 inches, 158x119 cm. Albert Picard, [Saint Martin.]

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

Description: D'APRES PABLO PICASSO (1881-1973) BALLETS RUSSES DE MONTE - CARLO. 1924. 62 1/2x47 inches, 158 3/4x119 1/2 cm. Albert Picard, [Saint Martin.] Condition B / B-: repaired tears, abrasions, staining and extensive creasing in margins and image; sharp vertical and horizontal folds; pencil notation in text; text and image banners affixed to bottom. The image on this poster is a lithograph after a costume drawing of Picasso's which the Ballets Russes used like a logo on much of their advertising. For many of their typographic broadsides announcing their upcoming schedule they would adhere this image to a blank space left in the poster. This poster announces their Parisian show schedule as part of the "Gde. Saison d'Art de la VIIIe Olympiade," as it was concurrent with the Olympic Games being held in Paris. Arguably, their repertoire represented an Olympic class team. For Le Train Bleu, Cocteau wrote the libretto and Coco Chanel designed the costumes. For other performances, they incorporated the artistry of such master as Georges Braque, Juan Gris, Pablo Picasso, Marie Laurencin and others.

View additional info »
Realized: Log in or create account to view price data
D'APRES PABLO PICASSO (1881-1973). EXPOSITION BALLETS RUSSES DE DIAGHILEW. 1939. 39x24 inches, 99x61 cm. Watelet-Arbelot, Paris.

Lot 44: D'APRES PABLO PICASSO (1881-1973). EXPOSITION BALLETS RUSSES DE DIAGHILEW. 1939. 39x24 inches, 99x61 cm. Watelet-Arbelot, Paris.

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

Description: D'APRES PABLO PICASSO (1881-1973) EXPOSITION BALLETS RUSSES DE DIAGHILEW. 1939. 39x24 1/4 inches, 99x61 1/2 cm. Watelet-Arbelot, Paris. Condition B+ / B: tears at edges; creases in margins and image; pin holes in corners; pencil notation in text at bottom; image banner affixed to center; ink notation on verso. Paper.

View additional info »
Realized: Log in or create account to view price data
SERGE GLADKY (1900-1930). JEAN BORLIN. 1929. 47x31 inches, 119x80 cm.

Lot 45: SERGE GLADKY (1900-1930). JEAN BORLIN. 1929. 47x31 inches, 119x80 cm.

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

Description: SERGE GLADKY (1900-1930) JEAN BORLIN. 1929. 47x31 1/2 inches, 119 1/2x80 cm. Condition A-: light time-staining at edges; creases in margins and image; losses, punch holes and minor tears along right edge. Paper. Serge Gladky's primary legacy to the art world is several stunning pochoir portfolios that he designed in the mid-1920s, specifically Nouvelles Compositions Decoratives, which is filled with abstract decorative designs accomplished in his vibrant cubist style. Based on imagery from the natural world and executed using geometric forms and bright colors, it is a tour de force of Art Deco ornamentation. After Jean Borlin stopped dancing with the Ballet Suedois in 1925, he continued performing on his own. This poster is for one of his last shows in Paris, Cercle Eternel. He died in New York in 1930. This is Gladky's only known poster. A version exists with text announcing the program, which included sets by Paul Colin, Gladky, Ferdinand Leger and Francis Picabia. The image often appears with these extra large margins trimmed off. Theaterplakate 160 (var).

View additional info »
Realized: Log in or create account to view price data
ROBERT LEONARD (1879-?). GRAMMOPHON / TANZ ORCHESTER / NICU VLADESCU. 57x37 inches, 144x94 cm.

Lot 46: ROBERT LEONARD (1879-?). GRAMMOPHON / TANZ ORCHESTER / NICU VLADESCU. 57x37 inches, 144x94 cm.

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

Description: ROBERT LEONARD (1879-?) GRAMMOPHON / TANZ ORCHESTER / NICU VLADESCU. 57x37 1/4 inches, 144 3/4x94 1/2 cm. Condition A- / B+: unobtrusive repaired tears at edges; minor restoration and discoloration along vertical and horizontal folds. Two-sheets.

View additional info »
Realized: Log in or create account to view price data
ALEXEY BRODOVITCH (1898-1971). BAL BANAL. 1924. 22x26 inches, 56x66 cm.

Lot 47: ALEXEY BRODOVITCH (1898-1971). BAL BANAL. 1924. 22x26 inches, 56x66 cm.

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

Description: ALEXEY BRODOVITCH (1898-1971) BAL BANAL. 1924. 22x26 1/4 inches, 56x66 3/4 cm. Condition A-: soft creases and minor tears at edges; rippling in image. Hand-colored with watercolor. Paper. Brodovitch was a key figure in the development of 20th century graphic design. Born in Russia, he emigrated to Paris where he first distinguished himself as a graphic designer, working for a host of prestigious clients such as Aux Trois Quartiers, Arts et Metiers Graphiques, Cahiers d'Art and the restaurant Prunier. His designs won him five awards at the 1925 Art Deco exhibition. In the early 1930s, he moved to New York, where he eventually became the art director for Harper's Bazaar, during which time he hired A.M. Cassandre (as well as other top European designers like Man Ray and Herbert Bayer) to design covers for the magazine. He was also responsible for nurturing and developing young American talents such as Richard Avedon. This extremely rare poster is Brodovitch's first published work, the result of winning a poster design competition to advertise a ball for Russian emigres in Paris. The image is reflective of the Parisian art movements of the period, swinging between Cubism and the newborn Surrealism. Andy Grundberg cleverly analyzes it as "suggestive of both the influences on him and of his own future directions. The graphics, light to dark inversion of its mask shape, type and background not only suggest the positive negative process of photography but also symbolically represents the process of masking; one trades one's identity for another, contrary one" (Brodovitch p. 24).

View additional info »
Realized: Log in or create account to view price data
WERNER GRAUL (1905-1984). METROPOLIS. Magazine. 1927. 9x6 inches, 23x16 cm.

Lot 48: WERNER GRAUL (1905-1984). METROPOLIS. Magazine. 1927. 9x6 inches, 23x16 cm. "BUKWA," Berlin.

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

Description: WERNER GRAUL (1905-1984) METROPOLIS. Magazine. 1927. 9 1/2x6 1/2 inches, 23x16 1/2 cm. "BUKWA," Berlin. Condition A-: light foxing and wear on cover; staining and minor creases on foldout insert. This is the Dutch version of the special edition of the UFA Magazine on Metropolis published (in German) in January 1927. It contains stories and photographs about the making of the film. with - a printed program from a showing of Metropolis in the Netherlands on February 18, 1927. Affiche Art Deco p. 62 (var), Kunst 172 (var), Verfuhrungen 189 (var).

View additional info »
Realized: Log in or create account to view price data
H. NOCKUR (DATES UNKNOWN). PRESSA / KOLN. 1928. 28x19 inches, 72x49 cm. Cologne.

Lot 49: H. NOCKUR (DATES UNKNOWN). PRESSA / KOLN. 1928. 28x19 inches, 72x49 cm. Cologne.

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

Description: H. NOCKUR (DATES UNKNOWN) PRESSA / KOLN. 1928. 28 1/2x19 1/4 inches, 72 1/2x49 cm. Cologne. Condition A-: creases in lower image; creases and light foxing in bottom margin. Matted and framed. Although an international show featuring pavilions from countries around the world, the Pressa exhibition was held to highlight German dominance in all fields of printing and publishing. It was also intended as a showcase of modernist architecture and modernist exhibition display and is perhaps most remembered for El Lissitsky legendary work for the U.S.S.R. pavilion. At least four posters were commissioned for the event; three well-known and often reproduced images by Fritz Hellmut Ehmcke and this seldom seen image. Although the artist is unknown, the image for the Pressa, in a colorful, Art Deco style, cleverly juxtaposes the modern buildings of the fair with the ancient skyline of Cologne, the host city. This image, and one by Ehmcke, appeared in Alfred Barr's seminal 1936 exhibition, "Cubism and Abstract Art," at the Museum of Modern Art in New York and were reproduced in the catalogue for the show (7.29-7.30). This is the French version. Avant Garde p. 24 (var).

View additional info »
Realized: Log in or create account to view price data
RUDOLF EBERLE (DATES UNKNOWN). MARIA THERESIA - DIELE. Circa 1925. 37x34 inches, 94x86 cm. KID, Munich.

Lot 50: RUDOLF EBERLE (DATES UNKNOWN). MARIA THERESIA - DIELE. Circa 1925. 37x34 inches, 94x86 cm. KID, Munich.

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

Description: RUDOLF EBERLE (DATES UNKNOWN) MARIA THERESIA - DIELE. Circa 1925. 37x34 inches, 94x86 1/2 cm. KID, Munich. Condition A. Framed. A stylized image for a trendy Munich cafe and dance hall (no longer extant) where elegant men and women could wile away the afternoon and evening hours to live music and cocktails. The popular locale has been featured in posters before and seems to have survived through the mid-1950s.

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