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Auction Description for Swann: RARE & IMPORTANT TRAVEL POSTERS
Viewing Notes:
Exhibition & Sale Schedule: Sale 2293 - Rare & Important Travel Posters - begins at 1:30pm in New York on Thurs, November 8. All material in Sale 2293 on display at our premises in New York City, 104 East 25th Street, as follows - Sat, Nov 3: Noon to 5pm - Mon, Nov 5: 10am to 6pm - Tues, Nov 6: 10am to 6pm - Wed, Nov 7: 10am to 6pm - Thurs, Nov 8: 10am to Noon.

RARE & IMPORTANT TRAVEL POSTERS

(201 Lots)

by Swann Auction Galleries

Platinum House

201 lots with images

November 8, 2012

Live Auction

104 East 25th Street

New York, NY, 10010 USA

Phone: 212.254.4710

Fax: 212 979 1017

Email: swann@swanngalleries.com

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JUNZO ITO (DATES UNKNOWN). SOUTH MANCHURIA RAILWAY CO. Circa 1930. 41x19 inches, 105x48 cm. Toppan Printing Co. Ltd., Tokyo.

Lot 1: JUNZO ITO (DATES UNKNOWN). SOUTH MANCHURIA RAILWAY CO. Circa 1930. 41x19 inches, 105x48 cm. Toppan Printing Co. Ltd., Tokyo.

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Description: JUNZO ITO (DATES UNKNOWN) SOUTH MANCHURIA RAILWAY CO. Circa 1930. 41 1/2x19 inches, 105 1/2x48 1/4 cm. Toppan Printing Co. Ltd., Tokyo. Condition B+: restoration in image; minor repaired tears at edges. The tracks for the South Manchuria Railway were originally built by the Russians as part of the Chinese Eastern Railway to connect Port Arthur (Lushun) with Dalian (Dairen) on the Liaodong Peninsula. The network was turned over to the Japanese as reparations in the aftermath of the Russo-Japanese War. The company developed commerce all along the line to take advantage of the region's abundant natural resources (from coal mines to soy fields), and then built the infrastructure necessary to support the industries there, such as warehouses, schools, hospitals and more. The railway literally became the vehicle by which the Japanese penetrated into China for both colonization and commerce. It grew to become the largest corporation in Japan. Japan formally invaded Manchuria in 1931, setting up a puppet state called Manchuko.

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JUNZO ITO (DATES UNKNOWN). SOUTH MANCHURIA RAILWAY CO. Circa 1930. 38x29 inches, 96x74 cm.

Lot 2: JUNZO ITO (DATES UNKNOWN). SOUTH MANCHURIA RAILWAY CO. Circa 1930. 38x29 inches, 96x74 cm.

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Description: JUNZO ITO (DATES UNKNOWN) SOUTH MANCHURIA RAILWAY CO. Circa 1930. 38x29 1/4 inches, 96 1/2x74 1/4 cm. Condition B+: restored losses at edges, some affecting image; repaired tears and restoration in margins and image. What at first glance appears to be a traditional railway poster is actually a sophisticated allegorical representation filled with imagery connected with the South Manchuria Railway Company. Amongst the prominent symbolism is the woman's clothing, a regional robe from Jiandao, an area on the border between China and Korea which had been annexed by Japan in 1910; her elaborate hair is actually a fan of decorative railway ties; she is holding a lamb, which is representative of the wool production in Manchuria, and the flowers behind her are ginseng, an indigenous Manchurian flower and a great source of revenue.

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MUNETSUGU SATOMI (1900-1995). ORIENT CALLS. 1936. 39x25 inches, 100x63 cm. Toppan Printing Co., [Tokyo.]

Lot 3: MUNETSUGU SATOMI (1900-1995). ORIENT CALLS. 1936. 39x25 inches, 100x63 cm. Toppan Printing Co., [Tokyo.]

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Description: MUNETSUGU SATOMI (1900-1995) ORIENT CALLS. 1936. 39 1/2x25 inches, 100 1/2x63 1/2 cm. Toppan Printing Co., [Tokyo.] Condition A. Japanese-born Satomi moved to Paris in 1922, where he studied at the École des Beaux Arts. During his studies he was clearly influenced by the streamlined, Machine Age, Art Deco look of works by A.M. Cassandre. The first Oriental Tourist Conference was held in Tokyo in 1935, for the following year Satomi designed this poster to help promote the event using photomontage images of modes of transportation, a map and stylized ethnic figures from across the Orient.

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MUNETSUGU SATOMI (1900-1995). JAPAN. 1937. 35x29 inches, 89x74 cm. Seihan Printing Co., Osaka.

Lot 4: MUNETSUGU SATOMI (1900-1995). JAPAN. 1937. 35x29 inches, 89x74 cm. Seihan Printing Co., Osaka.

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Description: MUNETSUGU SATOMI (1900-1995) JAPAN. 1937. 35x29 inches, 89x74 cm. Seihan Printing Co., Osaka. Condition A / A-: minor discoloration along lower left margin; minor repaired tears in margins. For the Japanese Tourist Board, Satomi creates a strong impression of the view from a speeding train--impressively fast, yet enormously beautiful. "Even the telephone poles are dominated by the train's powerful wake" (Art Deco Graphics p. 56). The image manages to compliment both Japanese technical prowess and the glory of the countryside at the same time. Voyage p. 51, Reclame 83, Affiches Art Deco 85, Art Deco Graphics p. 56.

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D'APRÈS GAKURYO NAKAMURA (1890-1960). JAPAN. Circa 1935. 39x25 inches, 62x63 cm. Kyodo Printing Co., Tokyo.

Lot 5: D'APRÈS GAKURYO NAKAMURA (1890-1960). JAPAN. Circa 1935. 39x25 inches, 62x63 cm. Kyodo Printing Co., Tokyo.

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Description: D'APRÈS GAKURYO NAKAMURA (1890-1960) JAPAN. Circa 1935. 39 1/4x25 inches, 62 1/4x63 1/2 cm. Kyodo Printing Co., Tokyo. Condition B+: overpainting and restoration in margins; creases and minor restoration in image. An evocative, tranquil and Zen-like ink-wash image of a landscape and rising sun.

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A.W. BAYLIS (DATES UNKNOWN). THE ROOF OF RHODESIA / INYANGA. 1937. 38x24 inches, 97x61 cm. Gov't Lithographie Press for the Dept. of P

Lot 6: A.W. BAYLIS (DATES UNKNOWN). THE ROOF OF RHODESIA / INYANGA. 1937. 38x24 inches, 97x61 cm. Gov't Lithographie Press for the Dept. of P

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Description: A.W. BAYLIS (DATES UNKNOWN) THE ROOF OF RHODESIA / INYANGA. 1937. 38 1/2x24 inches, 97 3/4x61 cm. Gov't Lithographie Press for the Dept. of Publicity, Salisbury. Condition A. In 1895, the country of South Zambezia was re-named Rhodesia after Cecil Rhodes, the British colonial whose South Africa Company governed the area from 1889. The country is currently referred to as Zimbabwe. The town of Inyanga is present-day Nyanga in the northeast of the country near the border with Mozambique. The name "Roof of Rhodesia" likely refers to Mt. Nyangani, the tallest mountain in the country which is very close to the town. The area is rich in Stone Age, archaeological remains. Little is known about Baylis, who designed at least four posters relating to tourism in Rhodesia.

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DESIGNER UNKNOWN. SEE SUMATRA. Circa 1935. 39x25 inches, 99x65 cm. De Unie-Rotogravure.

Lot 7: DESIGNER UNKNOWN. SEE SUMATRA. Circa 1935. 39x25 inches, 99x65 cm. De Unie-Rotogravure.

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Description: DESIGNER UNKNOWN SEE SUMATRA. Circa 1935. 39 1/4x25 3/4 inches, 99 1/2x65 1/2 cm. De Unie-Rotogravure. Condition A / A-: minor restoration at edges. One in a series of Indonesian travel posters produced in the 1930s by the Information Bureau of the Netherlands Indies. Sumatra was a Dutch colony from 1873 until the Japanese invaded in 1942.

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DESIGNER UNKNOWN. SEE BALI. Circa 1935. 39x25 inches, 99x65 cm. De Unie-Rotogravure.

Lot 8: DESIGNER UNKNOWN. SEE BALI. Circa 1935. 39x25 inches, 99x65 cm. De Unie-Rotogravure.

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Description: DESIGNER UNKNOWN SEE BALI. Circa 1935. 39x25 3/4 inches, 99x65 1/2 cm. De Unie-Rotogravure. Condition A: minor repaired tear in left margin. Another in the series of Indonesian travel posters produced in the 1930s by the Information Bureau of the Netherlands Indies.

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SOBHA SINGH (1901-1986). NAINI TAL. Circa 1935. 39x25 inches, 101x63 cm. Calcutta Chromotype Ltd., Calcutta.

Lot 9: SOBHA SINGH (1901-1986). NAINI TAL. Circa 1935. 39x25 inches, 101x63 cm. Calcutta Chromotype Ltd., Calcutta.

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Description: SOBHA SINGH (1901-1986) NAINI TAL. Circa 1935. 39 3/4x25 inches, 101x63 cm. Calcutta Chromotype Ltd., Calcutta. Condition A-: minor restoration and repaired tears at edges. Located in the foothills of the Himalayas, almost 6500 feet above sea level, Nainital is a picturesque valley often referred to as the "Lake District" of India. The largest of the lakes is Naini, which is surrounded by hills.

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M. EYRE PROUDMAN (1906 - ?). SEE INDIA / JODHPUR. 1934. 39x25 inches, 99x63 cm. G. Claridge & Co., Bombay.

Lot 10: M. EYRE PROUDMAN (1906 - ?). SEE INDIA / JODHPUR. 1934. 39x25 inches, 99x63 cm. G. Claridge & Co., Bombay.

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Description: M. EYRE PROUDMAN (1906 - ?) SEE INDIA / JODHPUR. 1934. 39 1/4x25 inches, 99 1/2x63 1/2 cm. G. Claridge & Co., Bombay. Condition A- / B+: repaired tears and minor restoration in corners and margins. A view of the 17th century Mehrangarh Fort in the hills above Jodhpur. Proudman was a "painter, illustrator, print maker and designer of many objects . . . whose correct name was Maureen Patey Proudman (Eyre was her maiden name). She graduated art in Rome, also studying at Royal College of Art under Ernest Tristram and William Rothenstein. Exhibited in Italy, India, Leicester Galleries, Walker Art Gallery, Liverpool and elsewhere in the provinces" (Artists in Britain since 1945 p. 135).

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VIC VEEVERS (DATES UNKNOWN). SEE INDIA / DARJEELING. 1934. 39x25 inches, 99x63 cm. Bolton, Bombay.

Lot 11: VIC VEEVERS (DATES UNKNOWN). SEE INDIA / DARJEELING. 1934. 39x25 inches, 99x63 cm. Bolton, Bombay.

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Description: VIC VEEVERS (DATES UNKNOWN) SEE INDIA / DARJEELING. 1934. 39 1/4x25 inches, 99 1/2x63 1/2 cm. Bolton, Bombay. Condition A- / B+: restored losses in corners. The Lama Dance was originally a Tibetan tradition held over two days immediately prior to the New Year. Its purpose was to cleanse all negative forces from the past year in preparation for an auspicious and joyful new year. Little is known about Veevers, who designed at least five travel posters for the Indian State Railways in the 1930s.

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SOBHA SINGH (1901-1986). SEE INDIA / NORTH - WEST FRONTIER. Circa 1935. 38x25 inches, 98x65 cm. Bolton Fine Art, Bombay.

Lot 12: SOBHA SINGH (1901-1986). SEE INDIA / NORTH - WEST FRONTIER. Circa 1935. 38x25 inches, 98x65 cm. Bolton Fine Art, Bombay.

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Description: SOBHA SINGH (1901-1986) SEE INDIA / NORTH - WEST FRONTIER. Circa 1935. 38 3/4x25 3/4 inches, 98 1/2x65 cm. Bolton Fine Art, Bombay. Condition B+: repaired tears at edges, some affecting image. A geographical region within India until 1947, the North-West Frontier Province is now a part of Pakistan. Depicted here is a pre-partition scene of the Khyber Pass, which connects the region with Afghanistan. The poster, like a Rudyard Kipling story, highlights both the geological wonders of the region as well as the exotic, tribal nature of the local cultures. While the mountainous region between India and Pakistan has taken on a whole new geo-political significance in today's world, for centuries the region has been both an active trading route and a strategic gateway for invading armies.

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PERCY TROMPF (1902-1964). AUSTRALIA / THE TALLEST TREES IN THE BRITISH EMPIRE. Circa 1935. 39x25 inches, 101x63 cm.

Lot 13: PERCY TROMPF (1902-1964). AUSTRALIA / THE TALLEST TREES IN THE BRITISH EMPIRE. Circa 1935. 39x25 inches, 101x63 cm.

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Description: PERCY TROMPF (1902-1964) AUSTRALIA / THE TALLEST TREES IN THE BRITISH EMPIRE. Circa 1935. 39 3/4x25 inches, 101x63 1/2 cm. Condition B / B+: restored losses and restoration along vertical and horizontal folds. One of Australia's most prolific and most celebrated poster designers, Trompf is attributed as the designer of "thousands of advertising posters" (Australian Travel Posters p. 29). Known for his "bright, colorful and optimistic images," Trompf also utilized "natural images . . . to beguile both domestic and international tourists to various regions of Australia" (ibid p. 29-30). This is the larger of two formats. Monash 50.

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ROBERT EMERSON CURTIS (1898-1996). CANBERRA. Circa 1940. 39x25 inches, 101x63 cm.

Lot 14: ROBERT EMERSON CURTIS (1898-1996). CANBERRA. Circa 1940. 39x25 inches, 101x63 cm.

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Description: ROBERT EMERSON CURTIS (1898-1996) CANBERRA. Circa 1940. 39 3/4x25 inches, 101x63 1/2 cm. Condition B+ / B: restored loss in image; restoration along sharp vertical and horizontal folds; repaired tears in image. Canberra's Provisional Parliament House viewed with the Black Mountain in the background. Born in England, Curtis and his family moved to Australia where he became an illustrator and cartoonist. He is best known for his architectural and industrial studies, including a book of lithographs about the construction of the Sydney Harbor Bridge.

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JAMES NORTHFIELD (1887-1973). AUSTRALIA / GREAT BARRIER REEF, QUEENSLAND. Circa 1930s. 41x24 inches, 15x63 cm. McLarens, Melbourne.

Lot 15: JAMES NORTHFIELD (1887-1973). AUSTRALIA / GREAT BARRIER REEF, QUEENSLAND. Circa 1930s. 41x24 inches, 15x63 cm. McLarens, Melbourne.

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Description: JAMES NORTHFIELD (1887-1973) AUSTRALIA / GREAT BARRIER REEF, QUEENSLAND. Circa 1930s. 41 1/4x24 3/4 inches, 15x63 cm. McLarens, Melbourne. Condition B+: expertly restored losses in top right and bottom left corners; minor restoration and repaired tears at edges. "With fellow artist Percy Trompf, Northfield was represented in Australian displays of international travel posters. No other poster artist's works were reproduced in such volume" (Trading Places / Australian Travel Posters p. 28). One of Australia's most renowned attractions, the Great Barrier Reef was the subject of a handful of posters during the 1930s. Percy Trompf, Gert Selheim and Eileen Mayo all designed images focusing on the extraordinary natural beauty of this wonder of the natural world. Northfield p.vi.

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EILEEN MAYO (1906-1994). THE GREAT BARRIER REEF / QUEENSLAND. Circa 1956. 39x24 inches, 100x61 cm. McLarens & Co., Melbourne.

Lot 16: EILEEN MAYO (1906-1994). THE GREAT BARRIER REEF / QUEENSLAND. Circa 1956. 39x24 inches, 100x61 cm. McLarens & Co., Melbourne.

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Description: EILEEN MAYO (1906-1994) THE GREAT BARRIER REEF / QUEENSLAND. Circa 1956. 39 1/2x24 1/4 inches, 100x61 1/2 cm. McLarens & Co., Melbourne. Condition B / B+: restoration and skinning in corners; creases and abrasions in image; hinged to mat. Paper. A vibrant and exotic view of a "Longspined Butterfly-fish & Heron Island Volute," as well as some of the bright coral that inhabits the Great Barrier Reef. This is an unusual variant/span. The more common version has the title, "Australia." Lebovic 10 (var).

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ERNEST LOUIS LESSIEUX (1848-1925). LE MAROC VIA MARSEILLE. 1913. 42x30 inches, 106x76 cm. Cornille & Serre, Paris.

Lot 17: ERNEST LOUIS LESSIEUX (1848-1925). LE MAROC VIA MARSEILLE. 1913. 42x30 inches, 106x76 cm. Cornille & Serre, Paris.

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Description: ERNEST LOUIS LESSIEUX (1848-1925) LE MAROC VIA MARSEILLE. 1913. 42x30 inches, 106 3/4x76 1/4 cm. Cornille & Serre, Paris. Condition B+: restoration in lower left margin. Framed. Lessieux was a painter, watercolorist and poster designer who focussed much of his work on scenes from the Côte d'Azur. His posters advertise a broad range of subjects including travel to Africa, destinations throughout France and ocean liner companies, as well as commercial products. Orientalist p. 29.

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MAURICE ROMBERG DE VAUCORBEIL (1862-1943). LE MAROC PAR MARSEILLE. 1920. 41x30 inches, 104x76 cm. Cornille & Serre, Paris.

Lot 18: MAURICE ROMBERG DE VAUCORBEIL (1862-1943). LE MAROC PAR MARSEILLE. 1920. 41x30 inches, 104x76 cm. Cornille & Serre, Paris.

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Description: MAURICE ROMBERG DE VAUCORBEIL (1862-1943) LE MAROC PAR MARSEILLE. 1920. 41 1/4x30 1/4 inches, 104 3/4x76 3/4 cm. Cornille & Serre, Paris. Condition A. Framed. A cross promotional poster published by the PLM Railway and the Compagnie de Navigation Paquet. "The Compagnie Paquet alone accounted for over a third of all the posters for Morocco" (Orientalist p. 27). Little biographical information exists about Romberg, but he was an Orientalist painter, watercolorist and poster designer. Here he depicts "the Sultan on his way to the mosque in Fez." Orientalist p. 24.

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MAURICE ROMBERG DE VAUCORBEIL (1862-1943). CHEMINS DE FER MAROCAINS. Circa 1920. 41x30 inches, 106x76 cm. Buttner-Thierry, Paris.

Lot 19: MAURICE ROMBERG DE VAUCORBEIL (1862-1943). CHEMINS DE FER MAROCAINS. Circa 1920. 41x30 inches, 106x76 cm. Buttner-Thierry, Paris.

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Description: MAURICE ROMBERG DE VAUCORBEIL (1862-1943) CHEMINS DE FER MAROCAINS. Circa 1920. 41 3/4x30 inches, 106x76 1/4 cm. Buttner-Thierry, Paris. Condition B+: repaired tears, restored losses and restoration in text at top; creases in image. Framed. Romberg's image here depicts "The Sultan on Horseback." Orientalist p. 34.

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D'APRÈS ALMERY LOBEL - RICHE (1880-1950). LE MAROC VIA BORDEAUX. Circa 1930. 40x29 inches, 101x74 cm. Champenois, Paris.

Lot 20: D'APRÈS ALMERY LOBEL - RICHE (1880-1950). LE MAROC VIA BORDEAUX. Circa 1930. 40x29 inches, 101x74 cm. Champenois, Paris.

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Description: D'APRÈS ALMERY LOBEL - RICHE (1880-1950) LE MAROC VIA BORDEAUX. Circa 1930. 40x29 1/4 inches, 101 1/2x74 1/4 cm. Champenois, Paris. Condition B+: repaired tears, restored losses and restoration at edges and in corners; abrasions in image. rare/span Not in Orientalist.

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EDOUARD - MARCEL SANDOZ (1881-1971). LE MAROC PAR LISBONNE / CIE. GLE. TRANSATLANTIQUE. Circa 1920. 40x28 inches, 101x72 cm. Affiches E

Lot 21: EDOUARD - MARCEL SANDOZ (1881-1971). LE MAROC PAR LISBONNE / CIE. GLE. TRANSATLANTIQUE. Circa 1920. 40x28 inches, 101x72 cm. Affiches E

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Description: EDOUARD - MARCEL SANDOZ (1881-1971) LE MAROC PAR LISBONNE / CIE. GLE. TRANSATLANTIQUE. Circa 1920. 40x28 1/2 inches, 101 1/2x72 1/2 cm. Affiches Edia, Paris. Condition A. Framed. Architectural elements and shadows cast by ancient stone work combine to create this intriguing and exotic image. Sandoz is primarily regarded for his small bronze animal sculptures and similar creations in ceramics and porcelain. Orientalist p. 21.

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MATTEO BRONDY (1866-1944). MEKNES / SES REMPARTS / SES CORTÈGES MAROCAINS. 1927. 40x28 inches, 101x71 cm. Baconnier, Algiers.

Lot 22: MATTEO BRONDY (1866-1944). MEKNES / SES REMPARTS / SES CORTÈGES MAROCAINS. 1927. 40x28 inches, 101x71 cm. Baconnier, Algiers.

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Description: MATTEO BRONDY (1866-1944) MEKNES / SES REMPARTS / SES CORTÈGES MAROCAINS. 1927. 40x28 1/4 inches, 101 1/2x71 3/4 cm. Baconnier, Algiers. Condition B+ / B: repaired tears, creases and restoration in margins and image. Framed. One of several posters promoting the city of Meknes designed by the artist, who was the head of the city's tourist office in the 1930s. This image has an added imprint from the Cie. Gle. Transatlantique steamship company. Orientalist p. 73 (var).

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DESIGNER UNKNOWN. EL MINZA HOTEL / TANGIER. Circa 1935. 36x26 inches, 92x66 cm. Morrison & Gibb, Scotland.

Lot 23: DESIGNER UNKNOWN. EL MINZA HOTEL / TANGIER. Circa 1935. 36x26 inches, 92x66 cm. Morrison & Gibb, Scotland.

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Description: DESIGNER UNKNOWN EL MINZA HOTEL / TANGIER. Circa 1935. 36 1/4x26 1/4 inches, 92x66 1/2 cm. Morrison & Gibb, Scotland. Condition A. Framed. The Minza Hotel was built in 1930 under the guidance of British aristocracy, yet was designed completely in the Moorish style, reflecting traditional Moroccan architecture. The hotel is situated on the Strait of Gibraltar with great views of the Bay of Tangier and the Rif Mountains inland. For years, as the confluence of luxury and exoticism, it was an international destination.

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DESIGNER UNKNOWN. L'ALGÉRIE ET LA TUNISIE / PAR LA CIE. GLE. TRANSATLANTIQUE. Circa 1900. 41x28 inches, 105x72 cm.

Lot 24: DESIGNER UNKNOWN. L'ALGÉRIE ET LA TUNISIE / PAR LA CIE. GLE. TRANSATLANTIQUE. Circa 1900. 41x28 inches, 105x72 cm.

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Description: DESIGNER UNKNOWN L'ALGÉRIE ET LA TUNISIE / PAR LA CIE. GLE. TRANSATLANTIQUE. Circa 1900. 41 1/4x28 1/4 inches, 105x72 cm. Condition B: minor restoration at edges; minor creases and abrasions in image. Faded. A European couple is enjoying a serene evening on their terrace in Algiers - a tableaux based on the lines of Victor Hugo's poem "La Captive," taken from his "Orientales." "I love these lands / with their sweet burning scents / against the golden panes / the trembling leaves / the water that courses from the spring / under the leaning palm / and the white stork / on the ivory minaret." The only suggestion that the poster is promoting a shipping company is the ocean liner depicted in the harbor. Orientalist p. 16.

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A. BODINIET (DATES UNKNOWN). EL - KALAA / VILLA RIVAUD. Circa 1930. 46x30 inches, 117x78 cm. Baconnier, Algiers.

Lot 25: A. BODINIET (DATES UNKNOWN). EL - KALAA / VILLA RIVAUD. Circa 1930. 46x30 inches, 117x78 cm. Baconnier, Algiers.

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Description: A. BODINIET (DATES UNKNOWN) EL - KALAA / VILLA RIVAUD. Circa 1930. 46 1/4x30 3/4 inches, 117 1/2x78 cm. Baconnier, Algiers. Condition B+: Faded. A stylish, tranquil image for a hotel in the hills above Tlemcen, in Northwest Algeria. Little is known about the artist aside from the fact that he also designed a few Algerian postage stamps. Orientalist p. 90.

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LEON CONSTANT DUVAL (1877-?). LA TUNISIE. Circa 1920. 40x29 inches, 103x74 cm. F. Champenois, Paris.

Lot 26: LEON CONSTANT DUVAL (1877-?). LA TUNISIE. Circa 1920. 40x29 inches, 103x74 cm. F. Champenois, Paris.

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Description: LEON CONSTANT DUVAL (1877-?) LA TUNISIE. Circa 1920. 40 3/4x29 1/4 inches, 103 1/2x74 1/2 cm. F. Champenois, Paris. Condition B+ / B: repaired tear through top edge into image; minor loss along top edge; repaired tears and restoration in margins and corners. Faded. Initially designed as a destination poster without affiliation with any railroad, this version has a PLM overprint. Orientalist p. 87 (var).

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R. PINATEL (DATES UNKNOWN). LE MAROC. Circa 1925. 42x30 inches, 107x76 cm. Moullot, Marseille.

Lot 27: R. PINATEL (DATES UNKNOWN). LE MAROC. Circa 1925. 42x30 inches, 107x76 cm. Moullot, Marseille.

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Description: R. PINATEL (DATES UNKNOWN) LE MAROC. Circa 1925. 42 1/4x30 inches, 107 1/2x76 1/2 cm. Moullot, Marseille. Condition A / A-: minor repaired tears at edges; minor abrasions in image. Framed. This poster exists in at least one other variation - with an imprint for the Chemins de Fer d'Orléans. Orientalist p. 72.

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JACQUES MAJORELLE (1886-1962). LE MAROC. 1923. 41x29 inches, 104x75 cm. Champenois, Paris.

Lot 28: JACQUES MAJORELLE (1886-1962). LE MAROC. 1923. 41x29 inches, 104x75 cm. Champenois, Paris.

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Description: JACQUES MAJORELLE (1886-1962) LE MAROC. 1923. 41x29 1/2 inches, 104x75 cm. Champenois, Paris. Condition B+: repaired tears at edges; creases and abrasions in margins and image. Primarily a painter and watercolorist, Majorelle (son of the famous Art Nouveau furniture designer Louis Majorelle) may be best remembered for the botanical garden he designed and landscaped in Marrakech. The garden bears his name, as does a color he used extensively in the garden, Majorelle Blue. Orientalist p. 68, Voyage p. 130.

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JACQUES MAJORELLE (1886-1962). TANGER / SON SITE / SON CLIMAT. 1924. 40x28 inches, 102x72 cm. Baconnier, Algiers.

Lot 29: JACQUES MAJORELLE (1886-1962). TANGER / SON SITE / SON CLIMAT. 1924. 40x28 inches, 102x72 cm. Baconnier, Algiers.

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Description: JACQUES MAJORELLE (1886-1962) TANGER / SON SITE / SON CLIMAT. 1924. 40 1/4x28 1/2 inches, 102 1/4x72 1/4 cm. Baconnier, Algiers. Condition B+: creases and abrasions in image; minor discoloration in margins. Framed. "Graphic simplicity and flat colours . . . are a feature of all five posters produced by Majorelle" (Orientalist p. 52). Orientalist p. 74.

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VINCENT GUERRA (DATES UNKNOWN). AIR FRANCE / AFRIQUE DU NORD. 1950 39x29 inches, 101x75 cm. Alépée, Paris.

Lot 30: VINCENT GUERRA (DATES UNKNOWN). AIR FRANCE / AFRIQUE DU NORD. 1950 39x29 inches, 101x75 cm. Alépée, Paris.

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Description: VINCENT GUERRA (DATES UNKNOWN) AIR FRANCE / AFRIQUE DU NORD. 1950 39 1/4x29 1/2 inches, 101x75 cm. Alépée, Paris. Condition A-: creases in image. Framed. Air France p. 40, Orientalist p. 61.

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BERNARD VILLEMOT (1911-1989). AIR FRANCE / MAROC - ALGÉRIE - TUNISIE. 1952. 38x24 inches, 98x61 cm. Hubert Baille, Paris.

Lot 31: BERNARD VILLEMOT (1911-1989). AIR FRANCE / MAROC - ALGÉRIE - TUNISIE. 1952. 38x24 inches, 98x61 cm. Hubert Baille, Paris.

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Description: BERNARD VILLEMOT (1911-1989) AIR FRANCE / MAROC - ALGÉRIE - TUNISIE. 1952. 38 3/4x24 1/4 inches, 98 1/2x61 1/2 cm. Hubert Baille, Paris. Condition A-: minor scratches and abrasions in image. Framed. One of Villemot's rarer travel images. Villemot 79, Air France p. 60.

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F. HAUDEPIN (DATES UNKNOWN). RÉGIE AIR AFRIQUE. Circa 1936. 31x23 inches, 78x58 cm. Fehrenbach & Cie., Paris.

Lot 32: F. HAUDEPIN (DATES UNKNOWN). RÉGIE AIR AFRIQUE. Circa 1936. 31x23 inches, 78x58 cm. Fehrenbach & Cie., Paris.

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Description: F. HAUDEPIN (DATES UNKNOWN) RÉGIE AIR AFRIQUE. Circa 1936. 31x23 inches, 78 3/4x58 1/2 cm. Fehrenbach & Cie., Paris. Condition A-: minor restoration in margins; abrasions in image. Framed. "Regie Air Afrique was formed by the French Government in 1934 to help link the French colonies in Africa. On September 7, 1934, the first regular airmail service between Algiers and the Congo began" (Encyclopedia of African Airlines, by Ben R. Guttery, p. 17). The company began using 3-engine Bloch MB.120 aircraft in its early years. Equipped to carry three crew members and up to ten passengers, the aircraft was often operated with only a few passengers and more mail instead. In 1937, the French government merged the company with two other small lines to form Air Afrique. The particular aircraft depicted here, the "Sirius," was destroyed in an accident in 1939.

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RAYMOND GID (1905-2000). AIR FRANCE / FLY TO PARIS. 1953. 39x24 inches, 99x63 cm. Bedos, Paris.

Lot 33: RAYMOND GID (1905-2000). AIR FRANCE / FLY TO PARIS. 1953. 39x24 inches, 99x63 cm. Bedos, Paris.

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Description: RAYMOND GID (1905-2000) AIR FRANCE / FLY TO PARIS. 1953. 39x24 3/4 inches, 99x63 cm. Bedos, Paris. Condition B+ / B: restored loss in upper right corner; creases, restoration and repaired tears in corners and at edges; restored pin holes in corners. This exceptional and surprisingly rare/span image resulted from a commission requesting a poster "whose contagious cheerfulness attracts people to the capital" (Gid p. 51). It harmoniously pairs a photographic image of one of the company's Lockheed Constellations with a fashionable, patriotically-colored and stylized representation of Paris' beauty and cultural icons. Gid 57 (var), not in Air France.

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DESIGNER UNKNOWN. AFRICA / PAN AM. 1967. 41x27 inches, 104x69 cm.

Lot 34: DESIGNER UNKNOWN. AFRICA / PAN AM. 1967. 41x27 inches, 104x69 cm.

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Description: DESIGNER UNKNOWN AFRICA / PAN AM. 1967. 41x27 1/4 inches, 104x69 1/4 cm. Condition B+: creases, wrinkles and bubbling in image. Framed.

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DESIGNER UNKNOWN. DANISH AIR LINES. Circa 1938. 39x24 inches, 100x62 cm. Vil. Søborgs Eftf.

Lot 35: DESIGNER UNKNOWN. DANISH AIR LINES. Circa 1938. 39x24 inches, 100x62 cm. Vil. Søborgs Eftf.

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Description: DESIGNER UNKNOWN DANISH AIR LINES. Circa 1938. 39 1/2x24 1/2 inches, 100 1/2x62 1/2 cm. Vil. Søborgs Eftf. Condition B+ / A-: repaired through top margin; minor restoration at edges. A rare/span and previously unrecorded photomontage poster for Denmark's national airline, Det Danske Luftfartselskab, which began operating in 1920 and merged to become SAS in 1951. Pictured is a Focke-Wulf Fw 200A Condor, one of two such aircraft which went into service for the airline in 1938. Not in SAS.

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PAULUS CASPER ERKELEN (1912-?). K.L.M. / HOMEWARD. 1944. 39x23 inches, 100x59 cm.

Lot 36: PAULUS CASPER ERKELEN (1912-?). K.L.M. / HOMEWARD. 1944. 39x23 inches, 100x59 cm.

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Description: PAULUS CASPER ERKELEN (1912-?) K.L.M. / HOMEWARD. 1944. 39 1/2x23 1/2 inches, 100 1/4x59 3/4 cm. Condition B: restored losses and restoration in corners; repaired tears and abrasions in image. Erkelen worked extensively for KLM, designing more than a dozen different posters for the airline as well as images promoting travel to Holland in general.

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LUCIEN BOUCHER (1889-1971). AIR FRANCE / ANTILLES - AMÉRIQUE CENTRALE. 1948. 39x24 inches, 99x62 cm. Perceval, Paris.

Lot 37: LUCIEN BOUCHER (1889-1971). AIR FRANCE / ANTILLES - AMÉRIQUE CENTRALE. 1948. 39x24 inches, 99x62 cm. Perceval, Paris.

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Description: LUCIEN BOUCHER (1889-1971) AIR FRANCE / ANTILLES - AMÉRIQUE CENTRALE. 1948. 39 1/4x24 1/2 inches, 99 3/4x62 1/4 cm. Perceval, Paris. Condition B+: repaired tears and light foxing at edges; creases, abrasions and restoration in margins and image; repaired pin holes in corners. rare/span Air France p. 94.

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PAUL THEODORE ETBAUER (1892-1975). VIAJES EN ZEPPELIN / SOBRE MAR Y TIERRA. Circa 1930. 33x24 inches, 83x61 cm. Muhlmeister & Johler, H

Lot 38: PAUL THEODORE ETBAUER (1892-1975). VIAJES EN ZEPPELIN / SOBRE MAR Y TIERRA. Circa 1930. 33x24 inches, 83x61 cm. Muhlmeister & Johler, H

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Description: PAUL THEODORE ETBAUER (1892-1975) VIAJES EN ZEPPELIN / SOBRE MAR Y TIERRA. Circa 1930. 33x24 inches, 83 3/4x61 cm. Muhlmeister & Johler, Hamburg. Condition A / A-: creases in margins and image; scratches in lower image and text. In addition to her Transatlantic runs, the Graf Zeppelin also did sightseeing tours around Europe. That she was run by the Hamburg-America Line is reinforced here by the small image of the ocean liner visible on the water. Etbauer designed a number of posters for the Hamburg-America Line. Spanish version.

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OTTOMAR ANTON (1895-1976). L'AMÉRIQUE DU SUD EN 3 JOURS / HAMBURG - AMERIKA LINIE. 1936. 39x25 inches, 100x64 cm. Muhlmeister & Johler

Lot 39: OTTOMAR ANTON (1895-1976). L'AMÉRIQUE DU SUD EN 3 JOURS / HAMBURG - AMERIKA LINIE. 1936. 39x25 inches, 100x64 cm. Muhlmeister & Johler

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Description: OTTOMAR ANTON (1895-1976) L'AMÉRIQUE DU SUD EN 3 JOURS / HAMBURG - AMERIKA LINIE. 1936. 39 1/2x25 1/4 inches, 100x64 cm. Muhlmeister & Johler, Hamburg. Condition B+: repaired tears and restoration in image and margins. The Graf Zeppelin, sister ship of the ill-fated Hindenburg, is depicted here practically spanning the Atlantic Ocean. By 1930, 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. 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. Several different variations of this poster exist including one which shows the route map with stops in Spain, while this copy illustrates connections to Hamburg and Berlin. This is the rare/span French version. Airlines p. 36 (var).

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PETR KARACHENTSOV (DATES UNKNOWN). [BOLSHEVIK GREETINGS TO THE COURAGEOUS CONQUERORS OF THE NORTH POLE.] 1937. 36x24 inches, 93x62 cm.

Lot 40: PETR KARACHENTSOV (DATES UNKNOWN). [BOLSHEVIK GREETINGS TO THE COURAGEOUS CONQUERORS OF THE NORTH POLE.] 1937. 36x24 inches, 93x62 cm.

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Description: PETR KARACHENTSOV (DATES UNKNOWN) [BOLSHEVIK GREETINGS TO THE COURAGEOUS CONQUERORS OF THE NORTH POLE.] 1937. 36 3/4x24 1/2 inches, 93 1/4x62 1/4 cm. Ogiz-Isogiz, Moscow. Condition A / A-: minor restoration in image. In 1937, the Soviet Union not only set up and manned the first drifting ice station at the North Pole, but also achieved a record setting, trans-Polar flight from Russia to the United States. The drifting ice station was supplied by a fleet of aircraft, including modified Tupolev TB-3s, known as ANT-6-4M-34R Aviaarktika, one of which is depicted here. The caption at the bottom is a quote by Stalin which reads, "There are no fortresses which the Bolsheviks would not be able to seize!"

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MAX LITWAK AND ROBERT FEDOR (DATES UNKNOWN). BESUCHET / USSR. 1930. 40x28 inches, 102x71 cm.

Lot 41: MAX LITWAK AND ROBERT FEDOR (DATES UNKNOWN). BESUCHET / USSR. 1930. 40x28 inches, 102x71 cm.

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Description: MAX LITWAK AND ROBERT FEDOR (DATES UNKNOWN) BESUCHET / USSR. 1930. 40 1/4x28 inches, 102 1/4x71 cm. Condition B+: repaired tears, creases, abrasions and restoration along vertical and horizontal folds and in margins and image. Intourist, the Soviet state travel agency, was founded in 1929 for the purpose of facilitating foreign visits to the Soviet Union. This state-controlled tourism served the dual purpose of propagating the myth of Socialism and the Soviet way of life to the outside world, and helping the impoverished Bolshevik government raise much-needed foreign currency. This is one of the earliest and rarest Intourist posters. It is also one of the best. The dynamic Art Deco image presents a tremendous amount of imagery in an effective, vibrant and aesthetically compelling manner; it depicts modern transportation in the form of trains, automobiles and ocean liners, showing how up-to-date and connected the Soviet Union is. The globe and a variety of foliage suggest the vastness and variety of the Soviet Union, and the image also presents the historical aspect of Russia via its architecture, as well as an indication of the incredible amount of ongoing construction and modernization taking place within the country. Litwak also designed another Intourist poster, for the Trans-Siberian railway, in addition to several stylized Art Deco advertising and movie posters. German version. Voyage p. 67.

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MARIA NESTEROVA - BERZINA (1897–1965). SUMMER SPORTS IN USSR. Circa 1935. 40x24 inches, 102x62 cm.

Lot 42: MARIA NESTEROVA - BERZINA (1897–1965). SUMMER SPORTS IN USSR. Circa 1935. 40x24 inches, 102x62 cm.

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Description: MARIA NESTEROVA - BERZINA (1897–1965) SUMMER SPORTS IN USSR. Circa 1935. 40x24 3/4 inches, 102x62 cm. Condition B+: repaired tears and restoration at edges, some affecting image; repaired tear in central image; abrasions and restoration in margins and image. The use of constructivism and photomontage for propaganda had receded in the Soviet Union by the mid 1930s, in favor of Stalin's preferred 'smiling peasant' form of Socialist Realism. As an exception, travel posters that were targeted to a public outside the country were designed with more flair in a style comparable with other European travel posters of the era. This poster is an example of the "westernization" that the Soviet national travel agency, Intourist, was willing to undergo in the 1930s in order to attract foreign visitors. A crew is rowing up a scenic river toward a mighty metropolis in the distance. Presumably it is the Moskva River, which runs through Moscow (note the "M"s on the oarsmen's jerseys). Also noteworthy are the "wonderful" attractions along the river, such as the ferris wheel and the bathhouses. This is the English version.

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DESIGNER UNKNOWN. SOVIET ARMENIA. Circa 1935. 35x24 inches, 89x63 cm.

Lot 43: DESIGNER UNKNOWN. SOVIET ARMENIA. Circa 1935. 35x24 inches, 89x63 cm.

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Description: DESIGNER UNKNOWN SOVIET ARMENIA. Circa 1935. 35 1/4x24 3/4 inches, 89 1/2x63 cm. Condition B+: slight discoloration and minor restoration along upper left margin. Intourist rightfully understood that the prevailing European artistic trend of Art Deco design would be more appealing to potential tourists than Social Realism. "The image of Soviet Armenia communicated here is a glamorous and varied one. The train and the car in the foreground boast the advanced modern machinery of the period and the high railway bridge is an example of Soviet engineering skills. The beauty of the country's natural landscape is shown in the background. The poster creates an image of glamorous tourism, and is similar to travel posters produced in western Europe at the time" (Victoria & Albert Museum, vam.ac.uk). English version.

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HANS THONI (1906-1980). SWITZERLAND. 1937. 39x49 inches, 101x125 cm. Wolfsberg, Zurich.

Lot 44: HANS THONI (1906-1980). SWITZERLAND. 1937. 39x49 inches, 101x125 cm. Wolfsberg, Zurich.

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Description: HANS THONI (1906-1980) SWITZERLAND. 1937. 39 3/4x49 3/4 inches, 101x125 cm. Wolfsberg, Zurich. Condition A: restoration along top left edge. A endearing, stylish map of the Cantons, railway routes, sports, leisure activities and ethnic charm of Switzerland. Originally designed by Thoni in 1935, this English version was reprinted in 1937, and the more common German version was printed two years later in 1939. Thoni studied at the School of Applied Arts in Zurich and trained for four years in Paris before settling in Berne. He was an illustrator, stamp and exhibition designer and a founding member of the VSG (Verbandes Schweizerische Graphiker).

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AUGUSTE VIOLLIER (1845-1908). APPENZELL / SUISSE. 1904. 44x32 inches, 112x82 cm. Walter Marty, Herisau.

Lot 45: AUGUSTE VIOLLIER (1845-1908). APPENZELL / SUISSE. 1904. 44x32 inches, 112x82 cm. Walter Marty, Herisau.

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Description: AUGUSTE VIOLLIER (1845-1908) APPENZELL / SUISSE. 1904. 44x32 1/2 inches, 112x82 cm. Walter Marty, Herisau. Condition B+ / B: sharp vertical and horizontal folds; repaired tears and restoration in margins and image. In 1898, Switzerland's five large private railroad companies were nationalized, to form the Swiss Federal Railways (SBB in German, CFF in French and FFS in Italian). In 1903, the new company held a poster contest, open only to Swiss artists, asking for a landscape with no requirements for the appearance of trains, bridges or even overt commercial advertising. Viollier, who under the pseudonym Godefroy had already designed a number of posters, was one of the four winners. The winning posters were "realized by painters who express their work through the attachment with their homeland, of which they want to show the essence. The spirit of these posters is completely different from that of previous ones. They celebrate their country through dense, colored, expressive images" (Paradis p. 122). This is the French version. Paradis p. 122.

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OTTO BAUMBERGER (1889-1961). SWITZERLAND / THE BRUNIG LINE. 1937. 39x24 inches, 99x63 cm. Sauberlin & Pfeiffer, Vevey.

Lot 46: OTTO BAUMBERGER (1889-1961). SWITZERLAND / THE BRUNIG LINE. 1937. 39x24 inches, 99x63 cm. Sauberlin & Pfeiffer, Vevey.

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Description: OTTO BAUMBERGER (1889-1961) SWITZERLAND / THE BRUNIG LINE. 1937. 39 1/4x24 3/4 inches, 99 1/2x63 cm. Sauberlin & Pfeiffer, Vevey. Condition B+: restoration and overpainting along vertical and horizontal folds; restoration in corners. Baumberger was one the most prolific and versatile Swiss graphic designers. His posters switched nimbly between the near-photographic representation of objects in the Neue Sachlichkeit style, minimal typographic creations, abstract and realistic landscapes and concise Art Deco designs. The Brunig Line connects Interlaken with Lucern. This is the rare/span English version which is not listed in Baumberger. Baumberger 199 (var).

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LISEL ZIPF (DATES UNKNOWN). CHATEAU - D'OEX. 1931. 39x25 inches, 99x64 cm. A. Marsens, Lausanne, Switzerland.

Lot 47: LISEL ZIPF (DATES UNKNOWN). CHATEAU - D'OEX. 1931. 39x25 inches, 99x64 cm. A. Marsens, Lausanne, Switzerland.

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Description: LISEL ZIPF (DATES UNKNOWN) CHATEAU - D'OEX. 1931. 39x25 1/4 inches, 99x64 cm. A. Marsens, Lausanne, Switzerland. Condition B+ / B: vertical and horizontal folds; tears and creases at edges; ink markings in bottom margin; mounted to board. A bright and colorful summer scene from the Swiss Alpine town, in which stylish bathers delight in the waters at the foot of the mountains.

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HENEL (DATES UNKNOWN). AROSA. Circa 1930. 49x34 inches, 125x88 cm.

Lot 48: HENEL (DATES UNKNOWN). AROSA. Circa 1930. 49x34 inches, 125x88 cm.

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Description: HENEL (DATES UNKNOWN) AROSA. Circa 1930. 49 1/4x34 3/4 inches, 125x88 1/4 cm. Condition B+: minor restoration and slight losses along vertical and horizontal folds; mounted to board. A bold and eye-catching image of both the natural and human beauty surrounding the upper lake in this Alpine town.

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ADELIN CHARLES MOREL DE TANGUY (1857-1930). P.L.M. / LES FUMADES. Circa 1925. 41x29 inches, 105x74 cm. Moullot, Marseille.

Lot 49: ADELIN CHARLES MOREL DE TANGUY (1857-1930). P.L.M. / LES FUMADES. Circa 1925. 41x29 inches, 105x74 cm. Moullot, Marseille.

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Description: ADELIN CHARLES MOREL DE TANGUY (1857-1930) P.L.M. / LES FUMADES. Circa 1925. 41 1/2x29 1/4 inches, 105 1/2x74 1/2 cm. Moullot, Marseille. Condition B+ / B: repaired tears and restoration in margins and border. Les Fumades is spa town located in the Ceze Valley at the foot of the Cevennes mountains, known not only for its curative waters rich in sulfur and minerals, but also its ancient heritage and luscious green flora and fauna. The image makes good use of the concept that a tourist poster is supposed to be a window into another world by using its dark brown border to present a view as if actually through a window. The image is rich in detail, from the topography and foliage, to the Thonet rocking chair, the lemons on the table and the crystal decanter.

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G. LANDRIEUX (DATES UNKNOWN). BERCK PLAGE. 1930. 39x24 inches, 99x61 cm, Lucien Serre, Paris.

Lot 50: G. LANDRIEUX (DATES UNKNOWN). BERCK PLAGE. 1930. 39x24 inches, 99x61 cm, Lucien Serre, Paris.

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Description: G. LANDRIEUX (DATES UNKNOWN) BERCK PLAGE. 1930. 39x24 1/4 inches, 99x61 1/2 cm, Lucien Serre, Paris. Condition B+: repaired tear through top margin, affecting text. Landrieux designed another poster for this same resort on France's northern shore, but little else is known of him aside from the two images.

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