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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

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

201 Lots
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EMMANUEL LOUIS JOSEPH GAILLARD (1902-?). SCHEVENINGEN / HOLLAND. Circa 1930. 38x24 inches, 98x61 cm. L. van Leer, Amsterdam.

Lot 51: EMMANUEL LOUIS JOSEPH GAILLARD (1902-?). SCHEVENINGEN / HOLLAND. Circa 1930. 38x24 inches, 98x61 cm. L. van Leer, Amsterdam.

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Description: EMMANUEL LOUIS JOSEPH GAILLARD (1902-?) SCHEVENINGEN / HOLLAND. Circa 1930. 38 3/4x24 inches, 98 1/2x61 cm. L. van Leer, Amsterdam. Condition B+ / B: creases and wrinkles in image; pin holes in corners. Framed. An encompassing perspective of the wide range of activity at one of Holland's most fashionable beach resorts. From the stylized cars in the foreground, past the elegant couples on the promenade, over the beach dotted with cabanas and out towards the wharf, colorfully-clad people go about their serious business of relaxing and enjoying the sea air.

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EUGENE MAX CORDIER (DATES UNKNOWN). RHEINGOLD - EXPRESS. 1953. 40x25 inches, 101x65 cm. Carl Gerber, Munich.

Lot 52: EUGENE MAX CORDIER (DATES UNKNOWN). RHEINGOLD - EXPRESS. 1953. 40x25 inches, 101x65 cm. Carl Gerber, Munich.

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Description: EUGENE MAX CORDIER (DATES UNKNOWN) RHEINGOLD - EXPRESS. 1953. 40x25 1/2 inches, 101 1/2x65 cm. Carl Gerber, Munich. Condition A-: minor restoration at edges. The Rheingold was a luxurious train which made the international run from the Hook of Holland to Basel in Switzerland. Her name, taken from the Wagner opera, derives from her route, which was largely along the Rhine river. The route began service in 1928, was cancelled in 1938 on account of the outbreak of war and was reestablished in 1951.

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DESIGNER UNKNOWN. CROISIERE BLEUE. Circa 1925. 32x23 inches, 82x60 cm. Ciné-Studio, Brussels.

Lot 53: DESIGNER UNKNOWN. CROISIERE BLEUE. Circa 1925. 32x23 inches, 82x60 cm. Ciné-Studio, Brussels.

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Description: DESIGNER UNKNOWN CROISIERE BLEUE. Circa 1925. 32 1/4x23 3/4 inches, 82x60 cm. Ciné-Studio, Brussels. Condition B+ / B: restoration along vertical and horizontal folds; minor restoration in top right corner. A smart, sharp and simple Art Deco image of a driver suited up for a Belgian transcontinental race from Paris to Cape Town and back, and his sturdy vehicle. The round-trip trek, a 38,000 kilometer journey, is billed as the world's longest car race. Although Ciné-Studio printed movie posters there is no historical record of a film with this name.

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SERGIO FRANCISCONE (1912-?). MERANO. 1936. 39x27 inches, 100x70 cm, Coen & Co., Milan.

Lot 54: SERGIO FRANCISCONE (1912-?). MERANO. 1936. 39x27 inches, 100x70 cm, Coen & Co., Milan.

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Description: SERGIO FRANCISCONE (1912-?) MERANO. 1936. 39 1/2x27 1/2 inches, 100x70 cm, Coen & Co., Milan. Condition B+: repaired tears and restoration in margins, some slightly affecting image. Framed between the snow-capped Alps of the Italian Tyrol, a distinctly Japonisme-inspired blossom branch and the local grapes and flora are some of the many leisure activities which can be pursued at this resort; including tennis, golf and riding. Travel Italia p. 50, Tennis p. 87.

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WALTER MOLINO (1915-1997). ITALIA / ABBAZIA. 1935. 39x27 inches, 99x70 cm. F.I.A.R., Milan.

Lot 55: WALTER MOLINO (1915-1997). ITALIA / ABBAZIA. 1935. 39x27 inches, 99x70 cm. F.I.A.R., Milan.

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Description: WALTER MOLINO (1915-1997) ITALIA / ABBAZIA. 1935. 39 1/4x27 1/2 inches, 99 3/4x70 cm. F.I.A.R., Milan. Condition B+: restored losses, repaired tears and restoration in margins, some affecting image. Languid elegance pervades this nocturnal image which captures an intimate moment for an impeccably-dressed couple overlooking the Gulf of Quarnero at the foot of Monte Maggiore. The Croatian town of Opatija (Abbazia) on the Adriatic was part of the Austro-Hungarian Empire through the first World War. In 1920 it became part of Italy, and then in 1947, after the Second World War, it became part of Yugoslavia. It officially became part of Croatia in 1991. An illustrator and cartoonist, "Molino illustrated the Italian editions of Mickey Mouse and Donald Duck [in 1938] . . . Molino's crowning achievements are thirty years of illustrations for the magazine Domenica del Corriere including many memorable covers" (Travel Italia p. 152). Adriatico 78, Travel Italia p. 14.

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GIUSEPPE RICCOBALDI (1887-1976). LAGO DI GARDA / RIVA - TORBOLE. 1936. 39x27 inches, 99x69 cm. Barabino & Graeve, Genova.

Lot 56: GIUSEPPE RICCOBALDI (1887-1976). LAGO DI GARDA / RIVA - TORBOLE. 1936. 39x27 inches, 99x69 cm. Barabino & Graeve, Genova.

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Description: GIUSEPPE RICCOBALDI (1887-1976) LAGO DI GARDA / RIVA - TORBOLE. 1936. 39x27 1/4 inches, 99x69 1/4 cm. Barabino & Graeve, Genova. Condition B+ / B: pin holes and skinning in corners and margins; minor tears at edges; wrinkles in image. Riccobaldi studied drawing, painting and set design. He supported himself selling illustrations to books and magazines, and ultimately began designing movie posters. From 1927 on, he mostly designed travel posters. Travel Italia p. 47.

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GIOVANNI GUERRINI (1887-1972). CESENATICO. 1927. 39x27 inches, 100x70 cm. Novissima, Rome.

Lot 57: GIOVANNI GUERRINI (1887-1972). CESENATICO. 1927. 39x27 inches, 100x70 cm. Novissima, Rome.

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Description: GIOVANNI GUERRINI (1887-1972) CESENATICO. 1927. 39 1/2x27 3/4 inches, 100 1/4x70 1/2 cm. Novissima, Rome. Condition B+: repaired tears, creases and restoration in margins and image. An exciting, colorful and visually invigorating view of the sails of traditional fishing boats gathered in the port canal which connects this coastal town with the Adriatic. The canal dates to 1500 and was drawn and surveyed by Leonardo da Vinci. An engraver, illustrator and professor of art, Guerrini designed a handful of travel posters as well as doing experimental work in other media such as textiles and ceramics. rare/span Adriatico 67, Travel Italia p. 81, Italia 114.

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LUDWIG HOHLWEIN (1874-1949). HERBST IN WIESBADEN. Circa 1930. 33x22 inches, 85x57 cm. F. Bruckmann, Munich.

Lot 58: LUDWIG HOHLWEIN (1874-1949). HERBST IN WIESBADEN. Circa 1930. 33x22 inches, 85x57 cm. F. Bruckmann, Munich.

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Description: LUDWIG HOHLWEIN (1874-1949) HERBST IN WIESBADEN. Circa 1930. 33 1/2x22 1/2 inches, 85x57 cm. F. Bruckmann, Munich. Condition A- / B+: unobtrusive vertical and horizontal folds; ink stamp in bottom right corner. Hohlwein designed several travel posters for German destinations based on the different seasons, but this one may have given him particular pleasure, as he was a Wiesbaden native. It has been suggested that Hohlwein used Suzanne Lenglen as the inspiration for this image. Hohlwein / Stuttgart 300, Hohlwein / Munich 247, Tennis p. 90, Sportissimo p. 74.

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FRIEDEL DZUBAS (1915-1994) AND KRAUSS. GERMANY / XITH OLYMPIAD BERLIN. 1936. 39x25 inches, 101x63 cm. Reichsbahnzentral für den Deutsch

Lot 59: FRIEDEL DZUBAS (1915-1994) AND KRAUSS. GERMANY / XITH OLYMPIAD BERLIN. 1936. 39x25 inches, 101x63 cm. Reichsbahnzentral für den Deutsch

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Description: FRIEDEL DZUBAS (1915-1994) AND KRAUSS GERMANY / XITH OLYMPIAD BERLIN. 1936. 39 3/4x25 inches, 101x63 1/2 cm. Reichsbahnzentral für den Deutschen Reiseverkehr, Berlin. Condition B+: repaired tears, restoration and creases in margins. A photographic poster of the Quadriga, the four-horse chariot of Victory, atop Berlin's Brandenburg Gate. Curiously, an important element of the statue seems to have been removed from the photograph; the iron cross within the laurel wreath. Although this was not ultimately selected as the official poster of the 1936 Berlin Olympic Games, it was issued in several different languages all the same, as was the final version by Franz Wurbel. Ironically, Dzubas fled Germany in 1939 and settled in New York, where he went on to a prominent career as an abstract expressionist painter. This is the English version. Olympics p. 47.

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ZDENEK RYKR (1900-1940). PRAHA. Circa 1935. 37x24 inches, 94x61 cm. Melantrich, Prague.

Lot 60: ZDENEK RYKR (1900-1940). PRAHA. Circa 1935. 37x24 inches, 94x61 cm. Melantrich, Prague.

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Description: ZDENEK RYKR (1900-1940) PRAHA. Circa 1935. 37 1/4x24 1/4 inches, 94 1/2x61 1/2 cm. Melantrich, Prague. Condition A. Largely a self-taught artist, Rykr was a set designer at the National Theatre in Prague, an illustrator, painter, journalist and graphic designer. Out of all of his work, he is best remembered for his package designs for Orion, a Czech chocolate company, as well as corporate designs for Palaba, Bata and Skoda. His style varied from Surrealism to Cubism and, here, assumes a soft, ethereal quality in depicting the bridges over Prague's Vltava river at twilight.

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JEAN CARLU (1900-1997). GRANDES FÊTES DE PARIS. 1934. 44x60 inches, 112x154 cm. Alliance Graphique, Paris.

Lot 61: JEAN CARLU (1900-1997). GRANDES FÊTES DE PARIS. 1934. 44x60 inches, 112x154 cm. Alliance Graphique, Paris.

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Description: JEAN CARLU (1900-1997) GRANDES FÊTES DE PARIS. 1934. 44x60 3/4 inches, 112x154 1/2 cm. Alliance Graphique, Paris. Condition B / B-: restored loss in bottom right corner; restoration along vertical and horizontal folds; repaired tears and creases in image. Framed. In 1934, the French Ministry of Trade and Industry decided to coordinate a series of events under the name Grandes Fêtes de Paris. The idea was to promote tourism to the capital city in an attempt to fight off financial losses occurring as a result of the depression. Four of France's most prominent poster artists, A.M. Cassandre, Paul Colin, Jean-Gabriel Domergue and Jean Carlu, designed posters to advertise the event. Carlu had originally envisioned the elegant couple in a design for the cover of Vanity Fair in 1930, but this was never realized. In a 1980 interview he recalled, "I brought them back for the Fetes de Paris. The trace of the sinuous line reflects a greater freedom: the element of sensitivity outweighs the element of construction. The treatment of the background evokes the influence of [Raul] Dufy, who I greatly admire" (Reclame p. 101). From 1925 to 1930, Carlu's designs were influenced by the spatial nuances, angles and abstracted forms of Cubism. Here, the single-line effortlessness with which he renders the faces of this aristocratic couple belies the sophistication of the rendering which exudes style, elegance and wealth. The delightful, sensitive image is unusual in comparison with Carlu's normally sharper, Cubist style. Carlu also designed a poster for the event in the following year. This is the larger format. Carlu 39, Cartel Moderno p. 70 (var), Art Deco Graphics p. 112, Reclame 73 (var).

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ADOLPHE MOURON CASSANDRE (1901-1968). CHATEAU DE LA ROCHE VASOUY. 1926. 75x50 inches, 191x127 cm. Hachard & Cie., Paris.

Lot 62: ADOLPHE MOURON CASSANDRE (1901-1968). CHATEAU DE LA ROCHE VASOUY. 1926. 75x50 inches, 191x127 cm. Hachard & Cie., Paris.

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Description: ADOLPHE MOURON CASSANDRE (1901-1968) CHATEAU DE LA ROCHE VASOUY. 1926. 75 1/2x50 1/4 inches, 191 3/4x127 1/2 cm. Hachard & Cie., Paris. Condition B+ / B: restoration along vertical and horizontal folds; repaired tears and restoration in margins; abrasions in image. Depicting a map, ocean liner and the elite pursuits enjoyed by the bourgeoisie on holiday, (tennis, champagne, cards and cocktails), Cassandre provides all the visual elements needed to convey the particulars of this hotel, which opened in 1926. The mixture of images and typography, with their lyrical and fanciful suggestions, take a similar form to the 'picture poem' collages of Devetsil, the Czech avant-garde group from the same era. One of Cassandre's earlier posters. This is the rare larger format. Mouron 191, Cassandre / Tokyo 15, Voyage p. 46.

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ADOLPHE MOURON CASSANDRE (1901-1968). VIAGGIATE DI NOTTE / IN WAGONS LITS. 1930. 39x24 inches, 100x61 cm. L. Danel, Lille.

Lot 63: ADOLPHE MOURON CASSANDRE (1901-1968). VIAGGIATE DI NOTTE / IN WAGONS LITS. 1930. 39x24 inches, 100x61 cm. L. Danel, Lille.

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Description: ADOLPHE MOURON CASSANDRE (1901-1968) VIAGGIATE DI NOTTE / IN WAGONS LITS. 1930. 39 1/2x24 inches, 100 1/4x61 cm. L. Danel, Lille. Condition B / B+: expertly restored loss in upper right corner affecting text; repaired tears, restoration and creases in image; text strip, "carrozze" affixed to text at bottom. For the Wagons Lits (a sleeping car company), Cassandre chooses an "unquestionably persuasive," (Mouron p. 69), symbolic and poetic approach to advertising. Rather than focusing on the sleeping car or the internal trappings of night travel by rail, Cassandre depicts the evening outside the carriage, showing the deep blue sky pierced by an eye-like red signal along the rails. "The breath-takingly simple device of a red light glowing in the foggy darkness of a railroad siding is perfectly consistent with our poetically charged experience of looking out the window of a speeding night express" (ibid). It is an elegant, inviting approach evoking travel by night. The poster exists with different text variants, but this one is the least cluttered. This is also the rare/span Italian version. We could locate only one other copy in the collection of the Suntory Museum in Japan. Cassandre / Suntory 54B, Mouron pl. 24 (var) Cassandre / Tokyo 41 (var), Cassandre / Weill p. 37 (var), p. 78, Reina Sophia p. 170 (var), Brown & Reinhold p. 54 (var).

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ADOLPHE MOURON CASSANDRE (1901-1968). NORD EXPRESS. 1927. 41x29 inches, 105x75 cm. Hachard & Cie., Paris.

Lot 64: ADOLPHE MOURON CASSANDRE (1901-1968). NORD EXPRESS. 1927. 41x29 inches, 105x75 cm. Hachard & Cie., Paris.

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Description: ADOLPHE MOURON CASSANDRE (1901-1968) NORD EXPRESS. 1927. 41 1/2x29 1/2 inches, 105 1/2x75 cm. Hachard & Cie., Paris. Condition B+ / B: minor restoration along sharp vertical and horizontal folds; restored pin holes and restoration in corners; minor repaired tears at edges. Nord Express was the second poster Cassandre designed for the Chemin de fer du Nord railway in 1927. This stylized locomotive is a graphic glorification of the Machine Age and is rendered in architecturally precise geometric shapes and white lines. The design is made even more impressive by its perspective; seen from track level, the locomotive appears all the more massive and powerful, with its great speed emphasized by the dramatic way it disappears into the horizon, (a horizon ingeniously brought even closer by the telegraph wires, which also quickly disappear). An airbrush is cleverly used to create what Henri Mouron, Cassandre's son, refers to as an "authentic poetry of space." Repeating a design choice from the Étoile du Nord, Cassandre has again arranged the typography around the outside of the poster so as not to interfere with the image. The image has become one of the most enduring Machine Age icons. Mouron pl. 10, Cassandre / Weill pl. 13, Suntory 49, p. 73, Cassandre / Tokyo 18, Brown & Reinhold 9, Reina Sophia p. 159, Modern Poster 155, Word & Image p. 80, Weill 310, Art Deco Graphics p. 77.

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ADOLPHE MOURON CASSANDRE (1901-1968). L.M.S. / BEST WAY. 1928. 41x50 inches, 105x127 cm. M.C. Corquodale & Co. Limited, London.

Lot 65: ADOLPHE MOURON CASSANDRE (1901-1968). L.M.S. / BEST WAY. 1928. 41x50 inches, 105x127 cm. M.C. Corquodale & Co. Limited, London.

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Description: ADOLPHE MOURON CASSANDRE (1901-1968) L.M.S. / BEST WAY. 1928. 41 1/2x50 inches, 105 1/2x127 cm. M.C. Corquodale & Co. Limited, London. Condition B+ / B: repaired tears through bottom and right margins, extending into image; restored pin holes in corners; minor loss and restoration at edges; abrasions and minor restoration in image. Mounted to thick paper. Initialed and numbered 41/50 in pencil by the artist. "In terms of its image and the energy it connotes, L.M.S. Bestway is Cassandre's most powerful poster" (Brown & Reinhold p. 14). In 1927, Cassandre painted an image very similar to this one for the Nord Express railway, who actually ended up rejecting the design. In 1928, Cassandre designed his first poster for the British railway line, LMS. He followed that poster with this one, a reconfiguration of his earlier painting. Printed in England, the poster conforms to the standard, quad royal, measurements for British Railway posters of the time. However, By all accounts, this poster was not used commercially as only 50 copies were printed. "By changing to the unusual nearly square format, he evokes a feeling of vertical and horizontal compression of energy about to be unleashed . . . [by] creating an artful cacophony of light, shading, and geometric forms, he is able to emphasize the kinetic and dynamic aspects of a train in motion" (ibid). "It is a superb Cubistic painting . . . the vermilion aura around the two driving wheels evokes both speed and the flames that used to roar in the bowels of the old steam engines" (Mourn p. 61). Mouron pl. 15, Brown & Reinhold cover and 13, Cassandre / Weill p. 17, Cassandre / Suntory 50, Cassandre / Tokyo 24, Art Deco Graphics p. 38, Weill 342, Avant-Garde p. 159, Art Deco Graphics p. 80, Modern Poster 156.

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ADOLPHE MOURON CASSANDRE (1901-1968). L'OISEAU BLEU. 1929. 39x24 inches, 99x61 cm. L. Danel, Lille.

Lot 66: ADOLPHE MOURON CASSANDRE (1901-1968). L'OISEAU BLEU. 1929. 39x24 inches, 99x61 cm. L. Danel, Lille.

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Description: ADOLPHE MOURON CASSANDRE (1901-1968) L'OISEAU BLEU. 1929. 39x24 1/4 inches, 99x61 1/2 cm. L. Danel, Lille. Condition B+: repaired tears and restoration in corners and margins. For L'Oiseau Bleu, a Pullman overnight car on the Chemins de Fer du Nord, Cassandre creates a more metaphorical image than usual; not so much rendering a Machine Age image of the mode of transportation, but rather, suggesting it poetically. The signal and telegraph wires visible in the center of the image are the only indication that the poster is advertising travel by train. "In a highly effective metaphor for speed, a ["blue bird," the namesake of the train] is substituted for the express train hurtling past at full steam" (Mouron p. 64). The combination of the telegraph wires, the perspective of the sign, the incline of the typography and the direction of the bird all lead the viewer's eye towards a fixed vanishing point outside the poster. Mouron / Cassandre pl. 18, Brown & Reinhold 20, Cassandre / Tokyo 34, Cassandre / Suntory 56, p. 80, Reina Sophia p. 164, Cassandre / Weill p. 31.

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ADOLPHE MOURON CASSANDRE (1901-1968). AIR - ORIENT. 1932. 31x23 inches, 80x60 cm. Alliance Graphique Loupot-Cassandre, Paris.

Lot 67: ADOLPHE MOURON CASSANDRE (1901-1968). AIR - ORIENT. 1932. 31x23 inches, 80x60 cm. Alliance Graphique Loupot-Cassandre, Paris.

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Description: ADOLPHE MOURON CASSANDRE (1901-1968) AIR - ORIENT. 1932. 31 1/2x23 3/4 inches, 80x60 1/4 cm. Alliance Graphique Loupot-Cassandre, Paris. Condition A. On "Air Orient, mail from the Far East arrived in France in record time. Between 1929 and 1931, Air-Orient cut travel time between Paris and Saigon, paring down mail service from ten to eight days . . . [Cassandre's poster] celebrates the achievement -- juxtaposing Saigon (then Indochina) and Paris as if they were next-door neighbors. An air brushed sky, silhouetted airplane, and gauzy letter-carrying dove link the distant capitals. The image encourages French citizens to rethink their relationship to Indochina (now Vietnam, Laos, and Cambodia), one of France's farthest-flung colonies" (Fly Now! p. 57). Mouron ill. 144, Brown & Reinhold 36, Cassandre / Tokyo 51, Cassandre / Weill p. 61, Cassandre / Suntory 57, Airways p. 59, Fly Now! p. 56.

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ADOLPHE MOURON CASSANDRE (1901-1968). NEW STATENDAM / HOLLAND - AMERICA LINE. 1928. 40x29 inches, 101x73 cm. Nijgh & Van Dittmar, Rotte

Lot 68: ADOLPHE MOURON CASSANDRE (1901-1968). NEW STATENDAM / HOLLAND - AMERICA LINE. 1928. 40x29 inches, 101x73 cm. Nijgh & Van Dittmar, Rotte

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Description: ADOLPHE MOURON CASSANDRE (1901-1968) NEW STATENDAM / HOLLAND - AMERICA LINE. 1928. 40x29 inches, 101 1/2x73 3/4 cm. Nijgh & Van Dittmar, Rotterdam. Condition B: expertly recreated borders; repaired tears, abrasions, restoration and overpainting in image. Launched in 1924, construction problems delayed the maiden voyage of the Statendam until April 11, 1929. Known as "the Queen of the Spotless Fleet," she served the Holland-America Line until 1940 when she was destroyed during World War II. To promote her first crossing, Cassandre developed this compelling close-up view of funnels and ventilation cowls with waves of smoke billowing out overhead. Cassandre's love of sea travel found him "constantly renewing himself, constantly varying not only his point of view and angle but also his style" (Mouron p. 64). This poster not only represents another unique vantage point from which to view technology, but is "a prime example of Cassandre's attention to tonal values. The color scheme . . . brings a wonderfully sober equilibrium to the composition" (ibid. p.66). Mouron 104, Brown & Reinhold pl. 12, Cassandre / Weill p. 22, Cassandre / Suntory 69, Cassandre / Tokyo 28, Schipp & Affiche 53, Passenger Ships 73.

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ADOLPHE MOURON CASSANDRE (1901-1968).

Lot 69: ADOLPHE MOURON CASSANDRE (1901-1968). "CÔTE D'AZUR." 1931. 39x24 inches, 99x62 cm. L. Danel, Lille.

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Description: ADOLPHE MOURON CASSANDRE (1901-1968) "CÔTE D'AZUR." 1931. 39 1/4x24 1/2 inches, 99 3/4x62 1/4 cm. L. Danel, Lille. Condition B+: scuffs and abrasions in image. 1931 was a turning point in Cassandre's vision of steamships. Up until then he had focused on individual design components of the boats, such as their funnels and airshafts. Beginning with l'Atlantique, Cassandre turned his attention to the ships as a whole. Côte d'Azur is the last of the "chimney series." He depicts the boat from the side, cutting off the prow and the stern, focusing only on the center with its funnel, lifeboat, airshaft, and railing. Cassandre's expert use of airbrush to represent the smoke and the sky creates volume within the different elements of the ship and establishes excellent atmosphere. As he did for the majority of his posters for the Chemins de fer du Nord, Cassandre runs the typography around the outside of the image. Mouron pl. 35, Brown & Reinhold 32, Cassandre / Suntory 72, p. 96, Cassandre / Tokyo 43, Cassandre / Weill p. 59, Reina Sophia p. 173, Schipp & Affiche p. 147.

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MONTAGUE BIRRELL BLACK (1884-1964). [WHITE STAR LINE / OLYMPIC & TITANIC.] Circa 1910. 29x39 inches, 73x99 cm.

Lot 70: MONTAGUE BIRRELL BLACK (1884-1964). [WHITE STAR LINE / OLYMPIC & TITANIC.] Circa 1910. 29x39 inches, 73x99 cm.

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Description: MONTAGUE BIRRELL BLACK (1884-1964) [WHITE STAR LINE / OLYMPIC & TITANIC.] Circa 1910. 29x39 inches, 73 3/4x99 cm. Condition B+: losses at edges and in upper image; minor abrasions and staining in image; mounted to board. Framed in original White Star frame. Montague B. Black and Fred Pansing were two of the artists who produced most of the paintings and postcards for the White Star Line through the 1920s. This image of the Olympic and the Titanic passing at sea (the Titanic is in the distance), based on a painting by Black, was also used as a postcard. The poster originally had a green border bearing the caption, "White Star Line / Olympic 45,000 tons - Titanic 45,000 tons the Largest Steamers in the world." Printed in a relatively small number to hang in White Star Offices, only a few copies have survived. Most likely the borders were removed from copies of the original poster after the catastrophic maiden voyage of the Titanic.

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FELIX SCHWORMSTÄDT (1870-1938). HAMBURG - AMERIKA LINIE / PLEASURE CRUISES. Circa 1904. 41x27 inches, 104x68 cm. Institute Act. Ges. Vo

Lot 71: FELIX SCHWORMSTÄDT (1870-1938). HAMBURG - AMERIKA LINIE / PLEASURE CRUISES. Circa 1904. 41x27 inches, 104x68 cm. Institute Act. Ges. Vo

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Description: FELIX SCHWORMSTÄDT (1870-1938) HAMBURG - AMERIKA LINIE / PLEASURE CRUISES. Circa 1904. 41 1/4x27 inches, 104 3/4x68 cm. Institute Act. Ges. Vorm. O. Troitzsch, Berlin. Condition B+ / B: repaired tears, creases and abrasions in margins and image; restored losses in upper edge. The concept of "Pleasure Cruising," as opposed to using a steam ship to travel from one destination to another, was originated by Albert Ballin, the Director of the Hamburg America Line. The first pleasure cruise was a 57 day Mediterranean tour that left Cuxhaven in 1891. While it is impossible to identify the ship on which these elegantly-attired travelers are enjoying a leisurely afternoon, the ship in the background is the Deutschland, the Hamburg America Line's only four-stacker, whose maiden voyage was in 1900. Schwormstädt was a painter and illustrator who worked for both the Hamburg America Line and North German Lloyd Bremen. English version. Passenger Ships front end-paper (var), Monarchs p. 165 (var).

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OTTOMAR ANTON (1895-1976). NACH NEW YORK UND SAN FRANCISCO / AMERICAN LINE. Circa 1925. 39x26 inches, 99x67 cm. Muhlmeister & Johler, H

Lot 72: OTTOMAR ANTON (1895-1976). NACH NEW YORK UND SAN FRANCISCO / AMERICAN LINE. Circa 1925. 39x26 inches, 99x67 cm. Muhlmeister & Johler, H

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Description: OTTOMAR ANTON (1895-1976) NACH NEW YORK UND SAN FRANCISCO / AMERICAN LINE. Circa 1925. 39x26 1/2 inches, 99x67 1/4 cm. Muhlmeister & Johler, Hamburg. Condition A / A-: minor creases, abrasions and restoration in margins and image. Anton designed posters for several German shipping lines during the 1930s including the American Line, Hamburg-America Line, Norddeutscher Lloyd-Bremen, Hamburg South America Steamship Company and Cunard.

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DESIGNER UNKNOWN. LMS EXPRESS & CUNARD LINER [AQUITANIA.] Circa 1920. 39x25 inches, 100x63 cm. Thos. Forman & Sons, Nottingham.

Lot 73: DESIGNER UNKNOWN. LMS EXPRESS & CUNARD LINER [AQUITANIA.] Circa 1920. 39x25 inches, 100x63 cm. Thos. Forman & Sons, Nottingham.

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Description: DESIGNER UNKNOWN LMS EXPRESS & CUNARD LINER [AQUITANIA.] Circa 1920. 39 1/2x25 inches, 100 1/4x63 1/2 cm. Thos. Forman & Sons, Nottingham. Condition A / A-: minor creases and abrasions in margins and image. An effort to cross-market two formidable transportation companies by highlighting their elegant, streamlined flagships. The Royal Scot was the London Midlands and Scottish Railway's signature locomotive that made the run from London's Euston Station to Glasgow. Pictured with the locomotive appears to be the Cunard's own Aquitania, which, from 1919, made the run from Southampton to Cherbourg to New York. In creating a poster highlighting the style and comfort of these two machines, the advertiser appears to have taken some liberties with geography. In actuality, the Royal Scot didn't stop in Southampton, which means that these two super-vehicles may never have come face-to-face. Le Train p. 154.

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WILLEM FREDERICK TEN BROEK (1905-1993). HOLLAND - AMERICA LINE. 1936. 38x24 inches, 96x63 cm. Joh. Enschede en Zonen, Haarlem.

Lot 74: WILLEM FREDERICK TEN BROEK (1905-1993). HOLLAND - AMERICA LINE. 1936. 38x24 inches, 96x63 cm. Joh. Enschede en Zonen, Haarlem.

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Description: WILLEM FREDERICK TEN BROEK (1905-1993) HOLLAND - AMERICA LINE. 1936. 38x24 3/4 inches, 96 1/2x63 cm. Joh. Enschede en Zonen, Haarlem. Condition B+: minor repaired tears and restoration in margins; creases and abrasions in image. Employing a dramatic, Cassandre-esque, low-angle perspective of a sleek ocean liner, twisting it a little to the side and adding an Art Deco curve to its profile, Ten Broek creates a powerful, sweeping image. Unlike Cassandre's ship posters, which feature specific vessels, Ten Broek is not heralding the launch of a new liner, but rather glorifying the company and the concept of sea travel as a whole. English version. Modern Dutch 101, Schipp & Affiche 27 (var), Art Deco Graphics p. 73 (var), Encyclopedie de l'Affiche p. 207, Weallans p. 157 (var).

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ADRIAAN JOH. VAN' T HOFF (1893-1939). HOLLAND AMERICA LINE. 1928. 42x31 inches, 108x80 cm. Lankhout, The Hague.

Lot 75: ADRIAAN JOH. VAN' T HOFF (1893-1939). HOLLAND AMERICA LINE. 1928. 42x31 inches, 108x80 cm. Lankhout, The Hague.

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Description: ADRIAAN JOH. VAN' T HOFF (1893-1939) HOLLAND AMERICA LINE. 1928. 42 3/4x31 1/2 inches, 108 1/2x80 cm. Lankhout, The Hague. Condition B+ / B: expert overpainting and restoration in margins; repaired tear through top margin. The Holland America Line's flagship Statendam took her maiden voyage on April 11, 1929. Both Van't Hoff and Cassandre designed posters to mark the event. Each design is an inventive and eye-catching, Machine Age image, but Van't Hoff's personal style separates his work from Cassandre's synthetic geometric style, and fills his image with interacting elements. Here, surrounded by the powerful visual trappings of ship-building technology, such as chains and cranes, and the graceful imagery of stylized birds and water, the Statendam appears as the solid product of the combination of function and form. This is the English version. Schipp & Affiche 17.

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ARTHUR C. MICHAEL (DATES UNKNOWN). WHITE STAR LINE /

Lot 76: ARTHUR C. MICHAEL (DATES UNKNOWN). WHITE STAR LINE / "HOMERIC" CRUISES. Circa 1932. 38x24 inches, 98x61 cm.

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Description: ARTHUR C. MICHAEL (DATES UNKNOWN) WHITE STAR LINE / "HOMERIC" CRUISES. Circa 1932. 38 3/4x24 inches, 98 1/2x61 cm. Condition B+: repaired tears and restoration at edges; creases and abrasions along vertical and horizontal folds and in margins and image; repaired pin holes in corners. A painter, etcher and illustrator, Michael designed posters for the LNER railroad as well as the White Star Line. Whether depicting sports, beach scenes or elegant evening tableaux, his subjects are vivaciously rendered in a style which radiates England's optimism in the best tradition of pre-war travel posters. His realistic style, a contemporary Art Deco mannerism, focuses as much on fashion as lifestyle. The Homeric went into service for the White Star Line in 1922 and was employed solely as a cruise ship after her final transatlantic voyage in 1932. rare/span

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WALTER THOMAS (1894-1971). CUNARD / WHITE STAR / NEW WORLD RIVIERAS. Circa 1938. 39x24 inches, 99x63 cm. Liverpool Printing and Station

Lot 77: WALTER THOMAS (1894-1971). CUNARD / WHITE STAR / NEW WORLD RIVIERAS. Circa 1938. 39x24 inches, 99x63 cm. Liverpool Printing and Station

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Description: WALTER THOMAS (1894-1971) CUNARD / WHITE STAR / NEW WORLD RIVIERAS. Circa 1938. 39x24 3/4 inches, 99x63 cm. Liverpool Printing and Stationery Co., England. Condition B+: repaired tears at edges, some affecting image; abrasions in image. A colorful and creative advertisement for Cunard's North American beach resort service, printed on textured, metalic-silver paper. Cunard and White Star merged in 1934. Walter Thomas designed posters for several shipping companies, including Cunard, White Star, Lamport & Holt, the British Navy and others.

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GERARD VAN DER VOORT (DATES UNKNOWN). HOLLAND AMERIKA LIJN. Gouache maquette. 1960. 27x19 inches, 70x50 cm.

Lot 78: GERARD VAN DER VOORT (DATES UNKNOWN). HOLLAND AMERIKA LIJN. Gouache maquette. 1960. 27x19 inches, 70x50 cm.

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Description: GERARD VAN DER VOORT (DATES UNKNOWN) HOLLAND AMERIKA LIJN. Gouache maquette. 1960. 27 1/2x19 3/4 inches, 70x50 1/4 cm. Condition A- / B+: scratches and minor losses in image.

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BERG (DATES UNKNOWN). ROTTERDAM LLOYD / MALAYA - SUMATRA - JAVA. Circa 1940. 28x16 inches, 71x41 cm.

Lot 79: BERG (DATES UNKNOWN). ROTTERDAM LLOYD / MALAYA - SUMATRA - JAVA. Circa 1940. 28x16 inches, 71x41 cm.

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Description: BERG (DATES UNKNOWN) ROTTERDAM LLOYD / MALAYA - SUMATRA - JAVA. Circa 1940. 28 1/4x16 1/4 inches, 71 3/4x41 1/4 cm. Condition A. Paper. Depicted here is the Wilhelm Ruys, which served Rotterdam Lloyd from 1939-1947, at which point she was purchased by Flotta Lauro Line. She was renamed the Achille Lauro and went on to become famous for many of the tragedies she became involved with including several fires and collisions. Most memorably, in 1985, the ship was hijacked, resulting in the death of an American passenger. Her career ended in 1994 after she caught fire and sank off the coast of Somalia.

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MUNETSUGU SATOMI (1900-1995). TRAVEL NYK / WORLD - WIDE PASSENGER SERVICE. 1936. 36x24 inches, 93x63 cm. Kyodo Printing Co., Ltd., Japa

Lot 80: MUNETSUGU SATOMI (1900-1995). TRAVEL NYK / WORLD - WIDE PASSENGER SERVICE. 1936. 36x24 inches, 93x63 cm. Kyodo Printing Co., Ltd., Japa

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Description: MUNETSUGU SATOMI (1900-1995) TRAVEL NYK / WORLD - WIDE PASSENGER SERVICE. 1936. 36 3/4x24 3/4 inches, 93 1/4x63 cm. Kyodo Printing Co., Ltd., Japan. Condition B: restoration along repaired tear through image; creases and repaired tears in image; minor restored losses along right edge. Satomi's strong sense of design helped him gain commissions in both France and Japan. Pictured is the Nippon Yusen Kaisha Line's Chichibu Maru, who had her maiden voyage in 1930 and primarily made the crossing between Yokohama and San Francisco. Commandeered by the Japanese government during the war, she was sunk while serving as a troop ship in 1943. Her speed and direction are suggested by the arrow surrounding her. One of Satomi's rarest posters. Weallans p. 144.

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ALDA SASSI (1929- ). AMERICAN EXPORT LINES. 1951. 26x18 inches, 68xc47 cm. A. Pesce, Genova.

Lot 81: ALDA SASSI (1929- ). AMERICAN EXPORT LINES. 1951. 26x18 inches, 68xc47 cm. A. Pesce, Genova.

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Description: ALDA SASSI (1929- ) AMERICAN EXPORT LINES. 1951. 26 3/4x18 1/2 inches, 68xc47 cm. A. Pesce, Genova. Condition A-: wrinkles at edges and in corners. Paper. Sassi designed around a dozen posters, primarily for different Italian shipping companies in the post-war period. Here the eight-day Atlantic crossing of the sister ships, Independence and Constitution, which had their maiden voyages in 1951, is being trumpeted by an aquatic deity.

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J. TONELLI (DATES UNKNOWN). MAROC ET SÉNÉGAL PAR LA MEDITERRANEE / CIE DE NAVIGATION PAQUET. 1952. 38x24 inches, 98x 61 cm. Societe Mar

Lot 82: J. TONELLI (DATES UNKNOWN). MAROC ET SÉNÉGAL PAR LA MEDITERRANEE / CIE DE NAVIGATION PAQUET. 1952. 38x24 inches, 98x 61 cm. Societe Mar

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Description: J. TONELLI (DATES UNKNOWN) MAROC ET SÉNÉGAL PAR LA MEDITERRANEE / CIE DE NAVIGATION PAQUET. 1952. 38 3/4x24 1/4 inches, 98 1/2x 61 1/2 cm. Societe Marseillaise de Publicite, [Marseille.] Condition A. Framed. The Compagnie de Navigation Paquet was named after its founder, Nicolas Paquet, and operated primarily between France and Morocco, but also to destinations on the Black Sea. The Lyautey, depicted here, sailed for the company until 1967. Orientalist p. 26.

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PAOLO FEDERICO GARRETTO (1903-1991). ITALIAN LINE. 1937. 36x24 inches, 92x61 cm.

Lot 83: PAOLO FEDERICO GARRETTO (1903-1991). ITALIAN LINE. 1937. 36x24 inches, 92x61 cm.

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Description: PAOLO FEDERICO GARRETTO (1903-1991) ITALIAN LINE. 1937. 36 1/2x24 inches, 92 3/4x61 cm. Condition B+: repaired tear through left margin; chipping in image. Silkscreen. Born in Italy, Garetto moved to Paris in the 1930s. In his early career he was known as a caricaturist of actors and politicians, but by 1934, was regularly designing covers for Vanity Fair. In constant demand, he traveled back and forth between Paris and London, and spent four months every year working in America, where he received frequent assignments from such media giants as J. Walter Thompson, N.Y. Ayer and McCann Ericsson. This is one of several posters Garretto designed for the shipping line that were printed in America.

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DESIGNER UNKNOWN. CUNARD / EUROPE - AMERICA [MAURETANIA.] Circa 1930. 40x25 inches, 101x63 cm. T. Forman & Sons, London.

Lot 84: DESIGNER UNKNOWN. CUNARD / EUROPE - AMERICA [MAURETANIA.] Circa 1930. 40x25 inches, 101x63 cm. T. Forman & Sons, London.

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Description: DESIGNER UNKNOWN CUNARD / EUROPE - AMERICA [MAURETANIA.] Circa 1930. 40x25 inches, 101 1/2x63 1/2 cm. T. Forman & Sons, London. Condition B+: repaired tear in upper right edge, affecting image; minor creases, abrasions and restoration in image; restoration and overpainting in margins. An exceptional advertisement for the Mauretania, with the shipping company's name literally written across the sky by the smoke from the ship's funnels. This is an unusual variant in which the Midland Railway cross promotes with Cunard. Their overprinting advises travelers that they will be picked up at the Adelphi Hotel, one of the most elegant in Liverpool.

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VARIOUS ARTISTS. WHITE STAR LINE. Group of 4 posters. Circa 1930. Each approximately 19x12 inches, 49x30 cm. The Liverpool Printing & S

Lot 85: VARIOUS ARTISTS. WHITE STAR LINE. Group of 4 posters. Circa 1930. Each approximately 19x12 inches, 49x30 cm. The Liverpool Printing & S

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Description: VARIOUS ARTISTS WHITE STAR LINE. Group of 4 posters. Circa 1930. Each approximately 19 1/4x12 inches, 49x30 1/2 cm. The Liverpool Printing & Stationary Company, Limited / James Haworth & Bro. Ltd., London. Condition varies, generally B. Paper. Group includes White Star Line To Canada by E. Byatt, Make 1929 a White Star Holiday Year, White Star Line / S.S. Albertic and S.S. Megantic and White Star Line New Cabin Service / S.S. Cedric and Celtic.

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DESIGNER UNKNOWN. TO THE FAR EAST / CANADIAN PACIFIC / WHITE EMPRESS ROUTE. 1936. 39x24 inches, 101x63 cm.

Lot 86: DESIGNER UNKNOWN. TO THE FAR EAST / CANADIAN PACIFIC / WHITE EMPRESS ROUTE. 1936. 39x24 inches, 101x63 cm.

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Description: DESIGNER UNKNOWN TO THE FAR EAST / CANADIAN PACIFIC / WHITE EMPRESS ROUTE. 1936. 39 3/4x24 3/4 inches, 101x63 cm. Condition B+: repaired tears and restoration at edges, some affecting text at bottom; creases and abrasions in image. "Between 1918 and the outbreak of World War II in September of 1939, Canadian Pacific's activities achieved a truly worldwide status, through the advent of a steamship cruise service [and] the expansion of services in the Pacific" (Canadian Pacific p. 41). This brightly-colored image juxtaposes a Japanese family adorned in their colorful, traditional garments, with the sharp, clean lines of the Empress of Britain. Canadian Pacific np.

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PERCY ANGELO STAYNES (1875-1953). CANADIAN PACIFIC / DUCHESS STEAMSHIPS. Circa 1929. 39x24 inches, 100x63 cm.

Lot 87: PERCY ANGELO STAYNES (1875-1953). CANADIAN PACIFIC / DUCHESS STEAMSHIPS. Circa 1929. 39x24 inches, 100x63 cm.

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Description: PERCY ANGELO STAYNES (1875-1953) CANADIAN PACIFIC / DUCHESS STEAMSHIPS. Circa 1929. 39 1/2x24 3/4 inches, 100 1/2x63 cm. Condition B+: repaired tears and restoration at edges; creases and abrasions in margins and image. The Canadian Pacific's four sister "Duchess" liners, Duchess of Atholl, Duchess of York, Duchess of Bedford and Duchess of Richmond, went into service in 1928. Canadian Pacific p. 45.

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ROGER COUILLARD (1910-1999). SAIL WHITE EMPRESS TO EUROPE / CANADIAN PACIFIC. 1950. 36x24 inches, 91x61 cm.

Lot 88: ROGER COUILLARD (1910-1999). SAIL WHITE EMPRESS TO EUROPE / CANADIAN PACIFIC. 1950. 36x24 inches, 91x61 cm.

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Description: ROGER COUILLARD (1910-1999) SAIL WHITE EMPRESS TO EUROPE / CANADIAN PACIFIC. 1950. 36x24 inches, 91 1/2x61 cm. Condition B+ / B: repaired tear through left margin into image; minor repaired tears and slight losses at edges. Mounted on paper. An Art Deco-style image of the Canadian Pacific's White Empress steamship in the style popularized by A. M. Cassandre. Despite its 1930s look, this poster is identifiable as post-war via the "Canadian Pacific red-and-white-checkered houseflags which were painted on the sides of the ships' funnels" (Canadian Pacific p. 59), a feature of post-World War II marketing by the company. Canadian Pacific p. 171.

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ROGER COUILLARD (1910-1999). THE NEW EMPRESS OF BRITAIN / CANADIAN PACIFIC. Circa 1956. 39x24 inches, 101x63 cm.

Lot 89: ROGER COUILLARD (1910-1999). THE NEW EMPRESS OF BRITAIN / CANADIAN PACIFIC. Circa 1956. 39x24 inches, 101x63 cm.

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Description: ROGER COUILLARD (1910-1999) THE NEW EMPRESS OF BRITAIN / CANADIAN PACIFIC. Circa 1956. 39 3/4x24 3/4 inches, 101x63 cm. Condition B+ / A-: minor restoration at edges and in corners. The Canadian Pacific's majestic ocean liner, Empress of Britain (II), was commandeered as a troop convoy during World War II. She sank in 1940 when she was attacked by German aircraft and submarines. The Empress of Britain (III) was launched in 1956, and made her maiden voyage on April 20th between Liverpool and Montreal. She and her sister ship, Empress of England, were the first completely air-conditioned liners to cross the Atlantic. A prolific commercial artist and native Montrealer, Couillard designed posters for Canadian Pacific, Canadian Steamship Lines, Canadian National Railways, the cities of Montreal and Quebec, the Canadian Department of War and others. Here, a graphic parallel is created between the ship and a spit of land with a town, suggesting just how large the ship is. Canadian Pacific 8.

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PETER EWART (1918-2001). BANFF / CANADIAN PACIFIC. Circa 1939. 35x24 inches, 91x61 cm.

Lot 90: PETER EWART (1918-2001). BANFF / CANADIAN PACIFIC. Circa 1939. 35x24 inches, 91x61 cm.

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Description: PETER EWART (1918-2001) BANFF / CANADIAN PACIFIC. Circa 1939. 35 3/4x24 1/4 inches, 91x61 1/2 cm. Condition A-: minor restoration at edges. The Banff Springs Hotel , the brainchild of William Cornellius van Horne, general manager of the Canadian Pacific Railroad, opened for business in 1888. Over the course of the early decades of the 20th century, the building was remodeled and rebuilt, assuming its current appearance in 1928. That same year Stanley Thompson, renowned golf-course architect, redesigned the Banff golf course. Here, amidst the splendid human and natural beauty of the region, golfers can be seen on the course in front of the hotel. We could find no other example of this rare/span poster previously appearing at auction. Not in Canadian Pacific.

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PETER EWART (1918-2001). CRUISE THE GREAT LAKES / CANADIAN PACIFIC. Circa 1940. 35x24 inches, 91x61 cm.

Lot 91: PETER EWART (1918-2001). CRUISE THE GREAT LAKES / CANADIAN PACIFIC. Circa 1940. 35x24 inches, 91x61 cm.

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Description: PETER EWART (1918-2001) CRUISE THE GREAT LAKES / CANADIAN PACIFIC. Circa 1940. 35 3/4x24 inches, 91x61 cm. Condition B+: repaired tears in margins and corners, some affecting image. Ewart worked for the Canadian Pacific Railway for 20 years and created more than 24 different posters for the company, including two promoting the company's cruises on the Great Lakes; this is the much rarer of the two. Several other prominent artists designed posters for the Canadian Pacific's cruise service within the Great Lakes, including Tom Purvis and Norman Fraser, all featuring attractive women sitting on the railing of the ship. Another rare and previously unreferenced poster by Peter Ewart. Not in Canadian Pacific.

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NORMAN FRASER (DATES UNKNOWN). BANFF / A CANADIAN PACIFIC HOTEL IN THE CANADIAN ROCKIES. Circa 1938. 36x23 inches, 91x59 cm.

Lot 92: NORMAN FRASER (DATES UNKNOWN). BANFF / A CANADIAN PACIFIC HOTEL IN THE CANADIAN ROCKIES. Circa 1938. 36x23 inches, 91x59 cm.

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Description: NORMAN FRASER (DATES UNKNOWN) BANFF / A CANADIAN PACIFIC HOTEL IN THE CANADIAN ROCKIES. Circa 1938. 36x23 1/2 inches, 91 1/2x59 3/4 cm. Condition B+ / B: tears at edges; water stains at bottom; time-staining in image. Framed in original Canadian Pacific wooden frame. Although Fraser is considered "one of the most prolific artists employed by the Canadian Pacific" (Canadian Pacific p. 70), there exists almost no biographical information on him.

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NORMAN FRASER (DATES UNKNOWN). SUMMER VACATIONS / CANADIAN PACIFIC. Circa 1939. 35x24 inches, 91x61 cm.

Lot 93: NORMAN FRASER (DATES UNKNOWN). SUMMER VACATIONS / CANADIAN PACIFIC. Circa 1939. 35x24 inches, 91x61 cm.

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Description: NORMAN FRASER (DATES UNKNOWN) SUMMER VACATIONS / CANADIAN PACIFIC. Circa 1939. 35 3/4x24 1/4 inches, 91x61 1/2 cm. Condition A-: minor restoration at edges; minor abrasions in image. Silkscreen.

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LORNE HOLLAND BOUCHARD (1913-1978). CANADA / TRAVEL CANADIAN PACIFIC. Circa 1950. 35x24 inches, 90x61 cm.

Lot 94: LORNE HOLLAND BOUCHARD (1913-1978). CANADA / TRAVEL CANADIAN PACIFIC. Circa 1950. 35x24 inches, 90x61 cm.

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Description: LORNE HOLLAND BOUCHARD (1913-1978) CANADA / TRAVEL CANADIAN PACIFIC. Circa 1950. 35 1/2x24 inches, 90 1/4x61 cm. Condition A-: creases in margins and image; abrasions and restoration at edges. Bouchard was a painter who went on become an illustrator and occasional poster artist, in which capacity he designed posters for both Canadian Pacific and its rival company, Canadian National Railways.

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F. WHATLEY (DATES UNKNOWN). L. & N.W.R. / SUMMER BREEZES ON THE WICKLOW COAST. Circa 1910. 39x25 inches, 101x63 cm. McCorquodale, Londo

Lot 95: F. WHATLEY (DATES UNKNOWN). L. & N.W.R. / SUMMER BREEZES ON THE WICKLOW COAST. Circa 1910. 39x25 inches, 101x63 cm. McCorquodale, Londo

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Description: F. WHATLEY (DATES UNKNOWN) L. & N.W.R. / SUMMER BREEZES ON THE WICKLOW COAST. Circa 1910. 39 3/4x25 inches, 101x63 1/2 cm. McCorquodale, London. Condition B+: light water staining and restoration along bottom edge. The L. & N.W.R. (London and North Western Railway) operated between its founding in 1846 and 1922, when it became part of the London, Midland and Scotland Railway (LMS). Whatley designed fewer than a dozen posters, most of which were for the L. & N.W.R. and its successor, the LMS.

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DESIGNER UNKNOWN. EAST COAST ROUTE / EDINBURGH - LONDON / THE GATHERING OF THE CLANS. Circa 1910. 39x 49 inches, 100x125 cm.

Lot 96: DESIGNER UNKNOWN. EAST COAST ROUTE / EDINBURGH - LONDON / THE GATHERING OF THE CLANS. Circa 1910. 39x 49 inches, 100x125 cm.

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Description: DESIGNER UNKNOWN EAST COAST ROUTE / EDINBURGH - LONDON / THE GATHERING OF THE CLANS. Circa 1910. 39 1/2x 49 1/2 inches, 100 1/4x125 1/4 cm. Condition B+: restored losses in bottom margin, affecting printer information; vertical and horizontal folds. A rare/span poster for the North British Railway promoting travel to Scotland for the Gathering of the Clans. The poster features an inset of London and Edinburgh with a border of the tartans of major Scottish clans.

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RAPHAEL T. ROUSSEL (1883-1967). L. & N.W.R. / NORTH WALES FOR SUNSHINE. Pre-1914. 39x25 inches, 101x63 cm. McCorquodale, London.

Lot 97: RAPHAEL T. ROUSSEL (1883-1967). L. & N.W.R. / NORTH WALES FOR SUNSHINE. Pre-1914. 39x25 inches, 101x63 cm. McCorquodale, London.

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Description: RAPHAEL T. ROUSSEL (1883-1967) L. & N.W.R. / NORTH WALES FOR SUNSHINE. Pre-1914. 39 3/4x25 inches, 101x63 1/2 cm. McCorquodale, London. Condition B+ / A-: repaired tears and minor restoration in margins. Raphael, son of the French painter Theodore Roussel, designed posters for the British steamship lines P&O and RSMP promoting travel to such exotic destinations as Australia and Sudan. He also designed dioramas for the British Empire Exhibition in 1926. We can date this poster based on the mention of Frank Ree, who served as general manager of the L. & N.W.R. from 1909-1914. rare/span

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DESIGNER UNKNOWN. LOVELY LOCH EARN / TRUE LINE TRAINS. Circa 1915. 39x59 inches, 100x152 cm. Dobson, Molle & Co., Edinburgh.

Lot 98: DESIGNER UNKNOWN. LOVELY LOCH EARN / TRUE LINE TRAINS. Circa 1915. 39x59 inches, 100x152 cm. Dobson, Molle & Co., Edinburgh.

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Description: DESIGNER UNKNOWN LOVELY LOCH EARN / TRUE LINE TRAINS. Circa 1915. 39 1/2x59 3/4 inches, 100 1/2x152 cm. Dobson, Molle & Co., Edinburgh. Condition B+: creases, wrinkles and abrasions in margins and image; overpainting in margins. The Caledonian Railway was one of the first major Scottish railroad companies. Founded in 1843, it absorbed several smaller rail companies later in the 19th century. The company's goal was to link local rail networks with the railroads in England, thus providing a direct link between Edinburgh, Glasgow and London. In 1923, the company became part of the London Midland and Scottish Railway. Here, insets atop a sprig of heather show the splendid natural vistas of "St. Fillians & Hotel," and "Lochearnhead & Hotel."

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DESIGNER UNKNOWN. SCOTLAND'S FAVOURITE LOCHS. Circa 1915. 39x59 inches, 100x152 cm. Dobson, Molle & Co., [Edinburgh.]

Lot 99: DESIGNER UNKNOWN. SCOTLAND'S FAVOURITE LOCHS. Circa 1915. 39x59 inches, 100x152 cm. Dobson, Molle & Co., [Edinburgh.]

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Description: DESIGNER UNKNOWN SCOTLAND'S FAVOURITE LOCHS. Circa 1915. 39 1/2x59 3/4 inches, 100 1/2x152 cm. Dobson, Molle & Co., [Edinburgh.] Condition B+ / B: restored losses, restoration and overpainting in image and margins; creases and repaired tears in image. Curiously, the Caledonian and North British Railways were in constant competition with each other for primacy of the Scottish railroad market, and yet, they are both advertised together on this poster. The glory of the Scottish landscape is depicted here with two idyllic vignettes of peaceful days on Loch Lomond and Loch Katherine, with the steamboats on each.

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DESIGNER UNKNOWN. NORTH BRITISH RAILWAY. Circa 1915. 39x60 inches, 100x152 cm. McCorquodale, Glasgow.

Lot 100: DESIGNER UNKNOWN. NORTH BRITISH RAILWAY. Circa 1915. 39x60 inches, 100x152 cm. McCorquodale, Glasgow.

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Description: DESIGNER UNKNOWN NORTH BRITISH RAILWAY. Circa 1915. 39 1/2x60 inches, 100 1/2x152 1/2 cm. McCorquodale, Glasgow. Condition B+: restored lower right corner; repaired tears, creases and restoration in image. The North British Railway was the largest Scottish rail company during its time. It was founded in 1844 and ran trains along the East coast of Scotland, connecting Edinburgh with Berwick-upon-Tweed, with the ultimate goal of connecting London with Aberdeen. The NBR was responsible for two incredible feats of engineering which ultimately made this connection possible; the bridges over the Tay and Forth rivers. In 1923, the North British Railway became part of the LNER. Here, a map of Scotland's East coast depicting holiday highlights along the route: with vignettes of golfers in St. Andrews and North Berwick.

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