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Related Lots

(225 lots returned)

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

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

by Swann Auction Galleries

April 24, 2014, 1:30 PM EST

New York, NY, USA

Estimated Price: $20,000 - $30,000

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

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

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

by Swann Auction Galleries

April 24, 2014, 1:30 PM EST

New York, NY, USA

Estimated Price: $800 - $1,200

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

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

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

by Swann Auction Galleries

April 24, 2014, 1:30 PM EST

New York, NY, USA

Estimated Price: $1,000 - $1,500

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

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

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

by Swann Auction Galleries

April 24, 2014, 1:30 PM EST

New York, NY, USA

Estimated Price: $3,000 - $4,000

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

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

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

by Swann Auction Galleries

April 24, 2014, 1:30 PM EST

New York, NY, USA

Estimated Price: $3,000 - $4,000

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

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

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

by Swann Auction Galleries

April 24, 2014, 1:30 PM EST

New York, NY, USA

Estimated Price: $1,200 - $1,800

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

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

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

by Swann Auction Galleries

April 24, 2014, 1:30 PM EST

New York, NY, USA

Estimated Price: $1,200 - $1,800

Description: HEINZ FUCHS (1886-1961) ARBEITER HUNGER TOD NAHT. 1919. 29 1/4x40 1/2 inches, 74 1/4x103 cm. Condition B: visible overpainting along vertical and horizontal folds; restored losses in margins; repaired tears and restoration in margins and image; faded overall. Fuchs worked for most of his life in his native Berlin. In addition to studies at the Berlin Akademie under Lovis Corinth, he also studied at the Wiemar Art School. After World War I, he joined the November Group, whose artistic members advocated for a social revolution, a greater role for artists in the new German Republic and unification between art and the populace. Between 1918 and 1919, the November Group also worked with the "Publicity Office of the German Republic" (Werbedienst der Deutschen Republik), a governmental branch aimed at restoring civility and order to society in the trauma following the end of the War. Fuchs designed two posters for the cause in his "distinctive graphic style in which expressionist vocabularies of violent color and distorted form united with dynamic yet legible text exhorting workers to support the new Republic" (www.moma.org). War Posters 168, Verfuhrungen 57, Modern Poster 74, Kunst 147, Plakat-Kunst p. 88, Word & Image p. 50, Politsche Plakate p. 47, The Poster 141, Interationale Plakate 323.

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

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

by Swann Auction Galleries

April 24, 2014, 1:30 PM EST

New York, NY, USA

Estimated Price: $4,000 - $6,000

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

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

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

by Swann Auction Galleries

April 24, 2014, 1:30 PM EST

New York, NY, USA

Estimated Price: $1,000 - $1,500

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

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

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

by Swann Auction Galleries

April 24, 2014, 1:30 PM EST

New York, NY, USA

Estimated Price: $4,000 - $6,000

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

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

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

by Swann Auction Galleries

April 24, 2014, 1:30 PM EST

New York, NY, USA

Estimated Price: $20,000 - $30,000

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

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

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

by Swann Auction Galleries

April 24, 2014, 1:30 PM EST

New York, NY, USA

Estimated Price: $1,500 - $2,000

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

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

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

by Swann Auction Galleries

April 24, 2014, 1:30 PM EST

New York, NY, USA

Estimated Price: $1,500 - $2,000

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

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

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

by Swann Auction Galleries

April 24, 2014, 1:30 PM EST

New York, NY, USA

Estimated Price: $800 - $1,200

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

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

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

by Swann Auction Galleries

April 24, 2014, 1:30 PM EST

New York, NY, USA

Estimated Price: $10,000 - $15,000

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

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

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

by Swann Auction Galleries

April 24, 2014, 1:30 PM EST

New York, NY, USA

Estimated Price: $3,000 - $4,000

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

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

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

by Swann Auction Galleries

April 24, 2014, 1:30 PM EST

New York, NY, USA

Estimated Price: $1,500 - $2,000

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

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

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

by Swann Auction Galleries

April 24, 2014, 1:30 PM EST

New York, NY, USA

Estimated Price: $1,500 - $2,000

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

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

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

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April 24, 2014, 1:30 PM EST

New York, NY, USA

Estimated Price: $400 - $600

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

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

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

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April 24, 2014, 1:30 PM EST

New York, NY, USA

Estimated Price: $400 - $600

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

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

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

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April 24, 2014, 1:30 PM EST

New York, NY, USA

Estimated Price: $400 - $600

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

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

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

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April 24, 2014, 1:30 PM EST

New York, NY, USA

Estimated Price: $500 - $750

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

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

Lot 40: CHARLES VERSCHUUREN, JR. (1899-1955). DRUKKERIJ KOTTING. Circa 1917. 42x31 inches, 108x78 cm. [Drukkerij Kotting, Amsterdam.]

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April 24, 2014, 1:30 PM EST

New York, NY, USA

Estimated Price: $1,200 - $1,800

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

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

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

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April 24, 2014, 1:30 PM EST

New York, NY, USA

Estimated Price: $7,000 - $10,000

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

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

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

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April 24, 2014, 1:30 PM EST

New York, NY, USA

Estimated Price: $2,000 - $3,000

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

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

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

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April 24, 2014, 1:30 PM EST

New York, NY, USA

Estimated Price: $1,000 - $1,500

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

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

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

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April 24, 2014, 1:30 PM EST

New York, NY, USA

Estimated Price: $3,000 - $4,000

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

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

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

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April 24, 2014, 1:30 PM EST

New York, NY, USA

Estimated Price: $10,000 - $15,000

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

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

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

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April 24, 2014, 1:30 PM EST

New York, NY, USA

Estimated Price: $1,000 - $1,500

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

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

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

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April 24, 2014, 1:30 PM EST

New York, NY, USA

Estimated Price: $1,500 - $2,000

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

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KURT BORMEL (DATES UNKNOWN). SAISON - AUSVERKAUF. Circa 1920. 46x31 inches, 118x78 cm. S. Malz, Berlin.

Lot 51: KURT BORMEL (DATES UNKNOWN). SAISON - AUSVERKAUF. Circa 1920. 46x31 inches, 118x78 cm. S. Malz, Berlin.

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April 24, 2014, 1:30 PM EST

New York, NY, USA

Estimated Price: $1,000 - $1,500

Description: KURT BORMEL (DATES UNKNOWN) SAISON - AUSVERKAUF. Circa 1920. 46 3/4x31 inches, 118 3/4x78 3/4 cm. S. Malz, Berlin. Condition A / A-: tear in upper image; minor creases in margins. Paper. Nothing is known about Bormel other than the handful of posters he designed for sales or exhibitions at department stores.

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JOSE MORELL (1899-1949). DIA DEL LIBRO. 1931. 27x20 inches, 70x50 cm. Graficas Bobes, Paris.

Lot 52: JOSE MORELL (1899-1949). DIA DEL LIBRO. 1931. 27x20 inches, 70x50 cm. Graficas Bobes, Paris.

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April 24, 2014, 1:30 PM EST

New York, NY, USA

Estimated Price: $2,000 - $3,000

Description: JOSE MORELL (1899-1949) DIA DEL LIBRO. 1931. 27 1/2x20 inches, 70x50 3/4 cm. Graficas Bobes, Paris. Condition A. Morell was one of the most prolific Spanish poster designers, working from the late-1920s through the 1940s. He is primarily known for his travel posters, but his style varied from brightly-colored, boldly-rendered figures and vistas to impeccable Art Deco stylizations. As unlikely as it sounds, he both designed posters for the Republican Party during the Spanish Civil War and then received commissions from Franco after the war. Here, to promote Book Day, we see Morell's facility with layout and design, as he presents a colorful cascade of stylized books. Morell p. 88, Cataluna 432.

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J. CANET CABELLON (1887-1951). XVI FERIA MUESTRARIO INTERNACIONAL / VALENCIA. 1933. 35x25 inches, 90x64 cm. Ortega, Valencia.

Lot 53: J. CANET CABELLON (1887-1951). XVI FERIA MUESTRARIO INTERNACIONAL / VALENCIA. 1933. 35x25 inches, 90x64 cm. Ortega, Valencia.

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April 24, 2014, 1:30 PM EST

New York, NY, USA

Estimated Price: $800 - $1,200

Description: J. CANET CABELLON (1887-1951) XVI FERIA MUESTRARIO INTERNACIONAL / VALENCIA. 1933. 35 3/4x25 1/4 inches, 90 3/4x64 cm. Ortega, Valencia. Condition A / A-: minor repaired tears at edges; unobtrusive vertical and horizontal folds. Framed. Cabellon was a prolific designer based in Valencia whose works were notable for their bold stylization. He designed his first poster for the Feria in 1927 and proceeded to do many more over the years.

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E. TINEL (DATES UNKNOWN). GENTSCHE FLORALIEN. Gouache maquette. 1933. 28x21 inches, 60x54 cm.

Lot 55: E. TINEL (DATES UNKNOWN). GENTSCHE FLORALIEN. Gouache maquette. 1933. 28x21 inches, 60x54 cm.

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April 24, 2014, 1:30 PM EST

New York, NY, USA

Estimated Price: $400 - $600

Description: E. TINEL (DATES UNKNOWN) GENTSCHE FLORALIEN. Gouache maquette. 1933. 28 3/4x21 1/2 inches, 60 1/4x54 1/2 cm. Condition B+ / A-: light abrasions, staining and pin holes at edges. Paper. From the hand of an unknown artist, this lot and the following four lots are charming , stylized, softly-mannerist Art Deco designs for products. It is unknown whether these images were studies, maquettes (none were ever published) or merely students' work.

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E. TINEL (DATES UNKNOWN). SAVON DADA. Gouache maquette. 28x21 inches, 60x54 cm.

Lot 56: E. TINEL (DATES UNKNOWN). SAVON DADA. Gouache maquette. 28x21 inches, 60x54 cm.

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April 24, 2014, 1:30 PM EST

New York, NY, USA

Estimated Price: $400 - $600

Description: E. TINEL (DATES UNKNOWN) SAVON DADA. Gouache maquette. 28 3/4x21 1/2 inches, 60 1/4x54 1/2 cm. Condition B+: tears, staining and pin holes at edges. Paper.

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E. TINEL (DATES UNKNOWN). ROUGE ANTOINE / PARIS. Gouache maquette. 28x21 inches, 60x54 cm.

Lot 57: E. TINEL (DATES UNKNOWN). ROUGE ANTOINE / PARIS. Gouache maquette. 28x21 inches, 60x54 cm.

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April 24, 2014, 1:30 PM EST

New York, NY, USA

Estimated Price: $400 - $600

Description: E. TINEL (DATES UNKNOWN) ROUGE ANTOINE / PARIS. Gouache maquette. 28 3/4x21 1/2 inches, 60 1/4x54 1/2 cm. Condition B+: tears, staining and light creases at edges; pin holes in upper corners. Paper.

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E. TINEL (DATES UNKNOWN). SAVON LUX. Gouache maquette. 28x21 inches, 60x54 cm.

Lot 58: E. TINEL (DATES UNKNOWN). SAVON LUX. Gouache maquette. 28x21 inches, 60x54 cm.

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April 24, 2014, 1:30 PM EST

New York, NY, USA

Estimated Price: $400 - $600

Description: E. TINEL (DATES UNKNOWN) SAVON LUX. Gouache maquette. 28 3/4x21 1/2 inches, 60 1/4x54 1/2 cm. Condition B+: staining, minor tears and abrasions at edges. Paper.

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E. TINEL (DATES UNKNOWN). [ART DECO POSTER DESIGNS.] Two gouache maquettes. Sizes vary.

Lot 59: E. TINEL (DATES UNKNOWN). [ART DECO POSTER DESIGNS.] Two gouache maquettes. Sizes vary.

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April 24, 2014, 1:30 PM EST

New York, NY, USA

Estimated Price: $400 - $600

Description: E. TINEL (DATES UNKNOWN) [ART DECO POSTER DESIGNS.] Two gouache maquettes. Sizes vary. Condition varies, generally A- / B+. Paper. Includes Val St. Lambert / Cristallerie and Fumez Les Cigars / Melior.

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ROBERT BONFILS (1886-1972). PARIS - 1925 / EXPOSITION INTERNATIONALE DES ARTS DECORATIFS ET INDUSTRIELS MODERNES. Poster and proof befo

Lot 60: ROBERT BONFILS (1886-1972). PARIS - 1925 / EXPOSITION INTERNATIONALE DES ARTS DECORATIFS ET INDUSTRIELS MODERNES. Poster and proof befo

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April 24, 2014, 1:30 PM EST

New York, NY, USA

Estimated Price: $4,000 - $6,000

Description: ROBERT BONFILS (1886-1972) PARIS - 1925 / EXPOSITION INTERNATIONALE DES ARTS DECORATIFS ET INDUSTRIELS MODERNES. Poster and proof before lettering. 1925. Each approximately 39x25 1/2 inches, 99x64 3/4 cm. Vaugirard, Paris. Condition varies, generally B+: restoration at edges; staining in margins and image; darkened overall. Robert Bonfils worked as an illustrator, bookbinder, painter and decorator, and was one of the most active French artists during the Art Deco period. As such, he received the commission to design one of the four official posters to advertise the 1925 Parisian exhibition, from which the term "Art Deco" was derived. His image, in the style of a woodcut, is a classical allegory of a young girl frolicking in the woods with a gazelle. Above them is a stylized rose which was one of the symbols of the exhibition. This is the larger format. Weill 316, Art Deco Graphics p. 2.

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JEAN DUPAS (1882-1964). ARNOLD CONSTABLE. 1928. 46x30 inches, 118x77 cm. Tolmer, Paris.

Lot 61: JEAN DUPAS (1882-1964). ARNOLD CONSTABLE. 1928. 46x30 inches, 118x77 cm. Tolmer, Paris.

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April 24, 2014, 1:30 PM EST

New York, NY, USA

Estimated Price: $3,000 - $4,000

Description: JEAN DUPAS (1882-1964) ARNOLD CONSTABLE. 1928. 46 1/2x30 1/2 inches, 118x77 1/2 cm. Tolmer, Paris. Condition A / A-: minor creases in margins and image. Framed. Dupas was trained as an academic painter and became a successful graphic designer and interior decorator. His style is the essence of refined and luxurious French Art Deco, with a sophisticated, if somewhat stiff, elegance. Outside of the poster world, Dupas is largely remembered for his illustrations for Vogue, the splendid brochures for Max Furrier and his decorations for the steamship Normandie (now at the MoMA). This poster, commissioned by the Arnold Constable department store, is designed in the sophisticated Art Deco style of allegorical fantasies which was a hallmark of Dupas' work. Here, he depicts three women dressed in the fashions of the past, present and future, amid lush, slightly surrealistic scenery. Tolmer p. 79.

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RAYMOND GID (1905-2000). DUNCAN YOYO. 1930. 31x23 inches, 79x57 cm. Bedos & Cie, Paris.

Lot 63: RAYMOND GID (1905-2000). DUNCAN YOYO. 1930. 31x23 inches, 79x57 cm. Bedos & Cie, Paris.

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April 24, 2014, 1:30 PM EST

New York, NY, USA

Estimated Price: $5,000 - $7,500

Description: RAYMOND GID (1905-2000) DUNCAN YOYO. 1930. 31 1/4x23 1/2 inches, 79 1/2x57 3/4 cm. Bedos & Cie, Paris. Condition A: minor discoloration at edges. Duncan yo-yos hit the market in 1929 and quickly became an international sensation. Gid's design, using only two colors, encapsulates the sheer joy of the toy through three intricate characters that are not only playing with them, but are embodiments of the yo-yo itself. Their heads, each with one large eye, look like yo-yos, and even the letters seem to dance. A rare mixture of Art Deco and humor. Raymond Gid 24, Encyclopedie de l'Affiche p. 86, Affiche Art Deco p. 187.

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PAUL COLIN (1892-1986). TABARIN. 1928. 23x15 inches, 64x39 cm.

Lot 64: PAUL COLIN (1892-1986). TABARIN. 1928. 23x15 inches, 64x39 cm.

by Swann Auction Galleries

April 24, 2014, 1:30 PM EST

New York, NY, USA

Estimated Price: $4,000 - $6,000

Description: PAUL COLIN (1892-1986) TABARIN. 1928. 23 1/2x15 1/2 inches, 64 3/4x39 1/2 cm. Condition A. Paper. The Bal Tabarin was a popular night club in Montmartre, opened in 1904 by Auguste Bosc, a composer of some renown in Paris during the "Gay Nineties." The club made its reputation with the Belle Epoque favorite, the can-can, continuing to perform it even long after the First World War when the craze had all but died elsewhere. In the mid-twenties, two retired dancers infused the club with new life by introducing the Charleston. The passage of time and the changing trends are all illustrated in a spectacular manner here, with three women dancing three separate dances all melded into one image. Each figure demonstrates the same undeniable sex appeal meant to tantalize potential club-goers. This is one of the most sophisticated compositions Colin designed, animated with incredible movements of the legs and arms stretching in all directions and containing different layers, combining three images into one. Using only three colors, Colin pays a flamboyant tribute to the art of dancing and has created a classic image reflecting the energy of Paris during the Jazz Age. This is the smaller format. Colin 172, p. 122, Paul Colin et les Spectacles 131, p. 110, Weill 263, p. 209, Reina Sofia p. 35, Art Deco Graphics, p.101.

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PAUL COLIN (1892-1986). LE BAL FLEURI. 1927. 61x45 inches, 155x115 cm.

Lot 65: PAUL COLIN (1892-1986). LE BAL FLEURI. 1927. 61x45 inches, 155x115 cm.

by Swann Auction Galleries

April 24, 2014, 1:30 PM EST

New York, NY, USA

Estimated Price: $15,000 - $20,000

Description: PAUL COLIN (1892-1986) LE BAL FLEURI. 1927. 61 1/4x45 1/2 inches, 155 1/2x115 1/2 cm. Condition B+: repaired tears along vertical and horizontal folds and at edges, some affecting image; abrasions, restoration and overpainting in margins and image; minor creases in image. During the Roaring Twenties, elegant balls on behalf of charities were frequently organized in Paris to entertain the rich and famous, such as the Bal de la Fourrure, Bal des Bijoux, Bal des Petits Lits Blancs, Bal des Valses and numerous others. Paul Colin, who was at the height of his popularity having recently designed the poster for the Bal Negre (held a few months previously in February at the same fashionable venue, the Theatre des Champs Elysees) was commissioned to design posters for quite of few of these events. Uninspired by the flowers for which this ball was named, Colin produces a dynamic, Art Deco image in which elegant couples are dancing. The diagonals formed by their legs and the flash of magenta dresses lend a fluid, eye-catching appeal to the crowded dance floor. Unlike posters for performers, these balls were one-night events, so far fewer posters would have been printed. rare/span. Colin 117, Crouse, p. 156.

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ED. M. PEROT (DATES UNKNOWN). AU PRINTEMPS. Gouache maquette. Circa 1930s. 12x10 inches, 31x26 cm.

Lot 66: ED. M. PEROT (DATES UNKNOWN). AU PRINTEMPS. Gouache maquette. Circa 1930s. 12x10 inches, 31x26 cm.

by Swann Auction Galleries

April 24, 2014, 1:30 PM EST

New York, NY, USA

Estimated Price: $400 - $600

Description: ED. M. PEROT (DATES UNKNOWN) AU PRINTEMPS. Gouache maquette. Circa 1930s. 12 1/2x10 1/4 inches, 31 1/4x26 cm. Condition B+: minor losses at edges; abrasions in margins and image. Printed on board. Nothing is known about Ed. M. Perot, but he was clearly a skillful designer in the classic French style who had mastered the use of gouache, airbrush and photomontage. To the best of our knowledge this image was never published.

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ADOLPHE MOURON CASSANDRE (1901-1968). WILLI'S WINE BAR. 1984. 39x27 inches, 99x70 cm. Henri Mouron, Paris..

Lot 68: ADOLPHE MOURON CASSANDRE (1901-1968). WILLI'S WINE BAR. 1984. 39x27 inches, 99x70 cm. Henri Mouron, Paris..

by Swann Auction Galleries

April 24, 2014, 1:30 PM EST

New York, NY, USA

Estimated Price: $1,500 - $2,000

Description: ADOLPHE MOURON CASSANDRE (1901-1968) WILLI'S WINE BAR. 1984. 39 1/4x27 1/2 inches, 99 3/4x70 cm. Henri Mouron, Paris.. Condition A / A-: minor restoration at edges; light creases in image. In 1935, Cassandre designed this image for Nicolas, the wine merchant, which was never published. In 1984, the image was repurposed by Willi's Wine Bar and issued as their first poster. This is one of the copies from the first printing which was printed under the supervision of Henri Mouron, Cassandre's son. Affiches Art Deco p. 45 (var).

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ADOLPHE MOURON CASSANDRE (1901-1968). MINIWATT / PHILIPS RADIO. 1931. 22x15 inches, 57x38 cm. Alliance Graphique, Paris.

Lot 69: ADOLPHE MOURON CASSANDRE (1901-1968). MINIWATT / PHILIPS RADIO. 1931. 22x15 inches, 57x38 cm. Alliance Graphique, Paris.

by Swann Auction Galleries

April 24, 2014, 1:30 PM EST

New York, NY, USA

Estimated Price: $7,000 - $10,000

Description: ADOLPHE MOURON CASSANDRE (1901-1968) MINIWATT / PHILIPS RADIO. 1931. 22 1/2x15 inches, 57 1/4x38 cm. Alliance Graphique, Paris. Condition A- / B+: repaired tears and restoration at edges; minor abrasions in margins and image. One of Cassandre's few forays into the realm of Sachs Plakat, Object Posters (or as his son refers to them, "ideograms"). What differentiates this image from Object Posters designed by Swiss artists is Cassandre's airbrush treatment of the light and shadows; the tube is darker on the side with the lighter colored background and lighter on the side with darker background. The typography, which crosses the image, bears Cassandre's signature stylistic of being outlined within the confines of the bulb itself. "The primary virtue of the IDEOGRAM is to be precise and clear . . . by overturning the established order and scale of things to create a fictive counterreality that is more explicit than reality itself, it becomes a poetic object in its own right" (Mouron p. 74). This is the smallest of three formats. Mouron pl. 32, Suntory 25, Brown & Reinhold 33, Cassandre / Weill p. 53.

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ADOLPHE MOURON CASSANDRE (1901-1968). LYS CHANTILLY. 1930. 39x24 inches, 99x62 cm. L. Danel, Lille.

Lot 70: ADOLPHE MOURON CASSANDRE (1901-1968). LYS CHANTILLY. 1930. 39x24 inches, 99x62 cm. L. Danel, Lille.

by Swann Auction Galleries

April 24, 2014, 1:30 PM EST

New York, NY, USA

Estimated Price: $2,000 - $3,000

Description: ADOLPHE MOURON CASSANDRE (1901-1968) LYS CHANTILLY. 1930. 39 1/4x24 1/2 inches, 99 3/4x62 1/4 cm. L. Danel, Lille. Condition B+ / B: restoration along repaired tear through top margin into image; creases and abrasions in margins and image. This is one of Cassandre's most daring posters, bordering on abstraction. The Lys Chantilly was a large real estate project in the Chantilly forest north of Paris. One must assume that the railroad company was somehow involved in the project, which would explain their commission of this poster. As early as 1925, Roger Broders designed a poster promoting the same area, using his classic illustrative style. Cassandre takes an opposite graphic approach. The poster is a massive splash of green, a near impenetrable forest, where, through an opening in the "leaves," one can view a tri-color cubist abstraction of a house. With no details about prices, availability or anything else, the approach is completely symbolic. The poster is rather unique within Cassandre's oeuvre in that it is more like an oil painting than a graphic design. Mouron 109, p. 67, Suntory 59, p. 83, Reina Sofia p. 163, Word & Image p. 82.

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CHARLES LOUPOT (1892-1962). ST RAPHAEL. 1952. 61x47 inches, 156x119 cm. Affiches Gaillard, Paris.

Lot 72: CHARLES LOUPOT (1892-1962). ST RAPHAEL. 1952. 61x47 inches, 156x119 cm. Affiches Gaillard, Paris.

by Swann Auction Galleries

April 24, 2014, 1:30 PM EST

New York, NY, USA

Estimated Price: $1,200 - $1,800

Description: CHARLES LOUPOT (1892-1962) ST RAPHAEL. 1952. 61 3/4x47 inches, 156 3/4x119 1/2 cm. Affiches Gaillard, Paris. Condition B+: repaired tears and restored losses at edges, some affecting image; creases, abrasions and restoration in margins and image. As Zagrodzki notes in his book, Loupot's work for St. Raphael "can be qualified as the work of his life." From 1937-1960, Loupot worked hand-in-hand with Max Augier, the advertising director of St. Raphael, creating a series of posters that tell of a unique saga in the story of advertising. Beginning with the poster that features the stylization of red and white clad waiters, Loupot gradually moved towards creating more and more abstracted images. Starting in 1945, Loupot began experimenting with his geometric stylizations of two waiters and his continuous transformation of typography. Of historic note, between 1945 and 1952, poster publicity for aperitifs was forbidden in France, so although this poster is dated 1947 (the year it was designed), it would not have been printed before 1952. Zagrodzki p. 93, Loupot 89, Encyclopedie de l'Affiche p. 172.

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ORSI (1889-1947). PHILIPS. 62x46 inches, 158x116 cm. Phogor, Bagnolet, Paris.

Lot 73: ORSI (1889-1947). PHILIPS. 62x46 inches, 158x116 cm. Phogor, Bagnolet, Paris.

by Swann Auction Galleries

April 24, 2014, 1:30 PM EST

New York, NY, USA

Estimated Price: $2,000 - $3,000

Description: ORSI (1889-1947) PHILIPS. 62 1/2x46 inches, 158 3/4x116 3/4 cm. Phogor, Bagnolet, Paris. Condition B+: repaired tears, creases, abrasions and overpainting along vertical and horizontal folds and in margins and image; recreated upper margin. The expansive Benezit Dictionnaire des Peintres, Sculpteurs, Dessinateurs et Graveurs writes of Orsi that "his name should have an important place in the history of posters on behalf of his innovative aesthetics." Benezit goes on to praise Orsi's sense of simplification, his bright colors and his creative ideas, and estimates that he designed as many as 1,000 posters. Despite this prodigious output, nothing else has been written on the artist and no portrait of him exists. Philips was one of his primary clients, and here, he illustrates the slogan which states how their light bulbs bring "the sun under your roof."

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SEPO (SEVERO POZZATI, 1895-1983). MOTTA / MILANO. 1940. 38x23 inches, 97x59 cm. Luigi Cernuschi, Milan.

Lot 74: SEPO (SEVERO POZZATI, 1895-1983). MOTTA / MILANO. 1940. 38x23 inches, 97x59 cm. Luigi Cernuschi, Milan.

by Swann Auction Galleries

April 24, 2014, 1:30 PM EST

New York, NY, USA

Estimated Price: $700 - $1,000

Description: SEPO (SEVERO POZZATI, 1895-1983) MOTTA / MILANO. 1940. 38 1/4x23 1/2 inches, 97 1/4x59 3/4 cm. Luigi Cernuschi, Milan. Condition B+: repaired tears, restored losses and overpainting in margins and image. Having studied in Bologna, Sepo began his artistic career working for the publisher Maga, in his native Italy. He moved to France in 1920 and was hired by Vercasson, Maga's sister company in Paris and Cappiello's printer. Ultimately, he moved on to the French office of the Dorland Advertising Agency where he worked with their major clients while also receiving commissions from Italy. In 1934, Dino Villari, the art director for Motta, asked Sepo to design a poster for their emblematic panetone. Designed in 1934 (a date which appears on the poster after the artist's signature), this succulent image was a huge success and continued to be used on advertisements by the company in all different sizes long after the Second World War. Sepo 201, Weill 485, Poster Progress p. 79.

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