André (1901) Girard Sold at Auction Prices

Peugeot. 1930.

ARTIST: ANDRÉ GIRARD (1901-1968) SIZE: 47 1/4 x 62 5/8 in./120 x 159 cm PRINTER: Création An. Girard, Neuilly DESCRIPTION: These Art Deco speedsters are likely to zoom right off the page, it seems. Girard presents three racing Peugeot models, which were tested at Monthéry, the famous autodrome just outside of Paris. The facility was opened in 1924 for car races and to test newer models before releasing them to the public. (Art Deco; Automobiles)

Poster by André Girard - Exposition Internationale des Arts Décoratifs

Poster by André Girard - Exposition Internationale des Arts Décoratifs

ANDRÉ GIRARD 1901-1968 Six Peugeot 12 1928

Litografia a colori, Création Girard, Levallois. Qualità: B+. Telato.  160,00 x 120,00 cm - Color lithograph, Création Girard, Levallois. Condition: B+. Backed on linen.   62.99 x 47.24 in.

Original Vintage Peugeot Car Poster by Girard 1930 Art Deco

In this poster by Andre Girard, we see a stylized Art Deco versions of three Peugeots from 1930. Peugeot is a French automotive manufacturer that was founded in 1858. The first car the company built was an unsuccessful steam tricycle. Peugeot has received many International awards for its vehicles and has been successfully involved in motor sport for over a century. The Art Deco movement was an offshoot of the groundbreaking 1925 International Exhibition of Modern Decorative and Industrial Arts. Artists took inspiration from Russian, Persian and Oriental influences, as well as the streamlined stylings of Cubism. This is an Original Vintage Poster; it is not a reproduction. This poster is conservation mounted, linen backed, and in excellent condition. We guarantee the authenticity of all of our posters.

Works by Girard Andre

Andre Girard (1901-1968), three Musicians, ink; 8 1/2" x 5 3/4" (view), framed 15" x 11 1/2", glazed. Provenance: Ipswich, Massachusetts estate.

Andre Girard Still Life

Andre Girard (American/French 1901-1968) oil on board still life of flowers signed lower left, 16 1/2" x 12 1/2". Good condition.

Andre Girard Automatic Skeleton Watch

Andre Girard automatic wristwatch, stainless steel square case with skeleton dial, with a gray leather band, water resistant. 40mm at widest.

Works by Girard Andre

Andre Girard (1901-1968), three Musicians, ink; 8 1/2" x 5 3/4" (view), framed 15" x 11 1/2", glazed. Provenance: Ipswich, Massachusetts estate.

Peugeot. 1930.

ARTIST: ANDRÉ GIRARD (1901-1968) SIZE: 46 3/4 x 62 1/2 in./118.7 x 158.7 cm PRINTER: Creation An. Girard, Neuilly DESCRIPTION: These Art Deco speedsters are likely to zoom right off the page, it seems. Girard presents three racing Peugeot models, which were tested at Monthéry, the famous autodrome just outside of Paris. The facility was opened in 1924 for car races and to test newer models before releasing them to the public. (Art Deco; Automobiles)

Peugeot. 1930.

ARTIST: ANDRÉ GIRARD (1901-1968) SIZE: 47 x 62 3/8 in./119.4 x 158.4 cm PRINTER: Création An. Girard, Neuilly DESCRIPTION: These Art Deco speedsters are likely to zoom right off the page, it seems. Girard presents three racing Peugeot models, which were tested at Monthéry, the famous autodrome just outside of Paris. The facility was opened in 1924 for car races and to test newer models before releasing them to the public. (Art Deco; Automobiles)

ANDRE GIRARD (1901-1968). PEUGEOT. 1930. 62x46 inches, 158x118 cm. Girard, Neuilly.

ANDRE GIRARD (1901-1968) PEUGEOT. 1930. 62 1/4x46 3/4 inches, 158x118 3/4 cm. Girard, Neuilly. Condition A-: repaired tears and small replaced losses along unobtrusive vertical and horizontal folds.

Andre Girard Automatic Men's Watch

Automatic. Item is in excellent condition and in working order. From the estate of Bob and Rosemary Trump. Gold/Silver Content: Stainless SteelType of Item: Wrist Watch Size: 9.75" around Approx. Net Weight 218 grams Keywords: Jewelry; Ref: SH60125

GIRARD, Andre (1901-1968) PEUGEOT 1930

GIRARD, Andre (1901-1968) PEUGEOT 1930

ANDRÉ GIRARD (1901-1968). EXPOSITION INTERNATIONALE DES ARTS DÉCORATIFS ET INDUSTRIELS MODERNES. 1925. 23x14 inches, 58x37 cm. Les Edit

ANDRÉ GIRARD (1901-1968) EXPOSITION INTERNATIONALE DES ARTS DÉCORATIFS ET INDUSTRIELS MODERNES. 1925. 23x14 3/4 inches, 58 1/2x37 1/2 cm. Les Editions de l''Image de France, Paris. Condition A. This is the rarest of the four posters that were commissioned for the seminal Exposition Internationale des Arts Décoratifs et Industriels Modernes. Similar to the use of smoking chimneys in Charles Loupot''s poster for the same exhibition, Girard''s image has a much stronger and more dynamic layout. The smokestacks rise in a pyramid that visually echoes the seething mass of men who are scrambling to get to the top of their own pyramid. At the pinnacle, one man holds aloft a chalice, perhaps meant to indicate a form of perfection toward which all are striving. As with the other three posters designed for the exhibition, colors are kept to a minimum. This is the scarce small format.

Andre Girard (British 1901-1968)/The Inner Harbour, Rouen/signed/oil on canvas, 35cm x 47cm

Andre Girard (British 1901-1968)/The Inner Harbour, Rouen/signed/oil on canvas, 35cm x 47cm

André Girard

Six Peugeot 12 Color lithograph. Création Girard, Levallois.  Condition: A.  62.99 x 47.24 in. - TAGS: Posters - manifesti

Original 1930s LUCIENNE BOYER French Music Star Poster

Artist: Girard, André 1901 - 1968. Lucienne Boyer. Technique: Lithograph ca. 1935. Size: 62.9 x 47.2 in. (160 x 120 cm). Printer: no information. Condition details: (B+) was folded, small tears and staining at the edges and at the folds, minor foxing, small paper loss in the bottom left corner.

ANDRÉ GIRARD (1901-1968). EXPOSITION INTERNATIONALE DES ARTS DÉCORATIFS ET INDUSTRIELS MODERNES. 1925. 23x14 inches, 58x37 cm. Les Edit

ANDRÉ GIRARD (1901-1968) EXPOSITION INTERNATIONALE DES ARTS DÉCORATIFS ET INDUSTRIELS MODERNES. 1925. 23x14 3/4 inches, 58 1/2x37 1/2 cm. Les Editions de l''Image de France, Paris. Condition A. This is the rarest of the four posters that were commissioned for the seminal Exposition Internationale des Arts Décoratifs et Industriels Modernes. Similar to the use of smoking chimneys in Charles Loupot''s poster for the same exhibition (see previous lot), Girard''s image has a much stronger and more dynamic layout. The smokestacks rise in a pyramid that visually echoes the seething mass of men who are scrambling to get to the top of their own pyramid. At the pinnacle, one man holds aloft a chalice, perhaps meant to indicate a form of perfection toward which all are striving. As with the other three posters designed for the exhibition, colors are kept to a minimum. This is the scarce smaller format.

ANDRE GIRARD (1901-1968) JERUSALEM

Andre Girard (french 1901-1968) Oil on Artist Board "Jerusalem". Signed lower right. In the original frame with linen liner. Measures in frame 20x17.50x1.50". Weight is 6 pds. PROVENANCE: From the Private Paris, France and Charleston SC Collection of J. Marterer, author of Paris 201, the Winner of the Benjamin Franklin Awards - GOLD MEDAL (Travel) and Independent Publisher Awards - SILVER MEDAL (Travel). Andre Girard (french 1901-1968) was a French painter, poster-maker and Resistance worker. During the Second World War he founded and headed the CARTE network, also taking "Carte" as his personal codename. During the first half of the twentieth century, Girard pioneered techniques in advertising in Paris, experimented with painting on glass and film in the U.S., and was involved in Worlds Fairs on both sides of the Atlantic. During the Second World War, Girard created one of the first Resistance networks in Southern France linked to the Allied powers. In 1918 André Girard met Georges Rouault, and their long friendship was a determining factor in his career. He travelled widely, including to Jordan, Palestine, Greece, England, the Netherlands and Italy (notably Venice). In 1921 he illustrated Paul Claudel's Le Partage de Midi. In the 1930s he worked a great deal on advertising projects: campaigns and posters for Peugeot, Duco paints, Columbia records, Pathé-Marconi, the cabaret singer Mireille and others. He painted portraits of actors, musicians and singers as well as theatrical scenes, many nudes, still-lifes and flowers and fruit. He painted landscapes of Paris, Venice, New York and the USA during his many travels. He also painted religious pictures, decorating the chapel of Mount Mansfield (Vermont) in 1949 and the chapel of St Anne, Palo Alto (California) in 1952. From 1958 he developed the technique of painting on film and produced many short and full-length films.

Exposition Internationale des Arts Décoratifs. 1925

Artist: ANDRE GIRARD (1901-1968) Size: 15 5/8 x 23 3/4 in./39.8 x 60.5 cm Les Editions de l'Image de France This is the exhibition that crowned the Art Deco trends of the period, gave it its name, and helped it to dominate applied arts for the next decade. (Paris 1925)

Exposition Internationale des Arts Décoratifs. 1925

Artist: ANDRE GIRARD (1901-1968) Size: 15 5/8 x 23 3/4 in./39.8 x 60.5 cm Les Editions de l'Image de France This is the exhibition that crowned the Art Deco trends of the period, gave it its name, and helped it to dominate applied arts for the next decade. (Paris 1925)

Girard, Andre (French, 1901-1968) Study for Stained Glass Windows - Oil Painting

Girard, Andre (French 1901-1968) Study for Stained Glass Window. Ink and Oil wash on paper. Unsigned. From the collection of the author Barbara Wersba, a friend of Girard. In good condition. Measures 20"x 23". Aluminum gold anodized frame adds ?" on each side. From the Sag Harbor, NY estate of New York author Barbara Wersba. Andre Girard was a French painter, poster-maker and Resistance worker. During the Second World War he founded and headed the CARTE network, also taking "Carte" as his personal codename. He was the eldest child born to a pair of brewers and attended the ?cole des Beaux-Arts before doing military service at Saint-Cyr. He became a painter, studying with Roualt and Bonnard, as well as a caricaturist and theatre set designer.He was known as one of the best publicity poster designers in Paris during the 1930s. He set himself up in Venice in 1936-37 and in Manhattan in 1938. In New York, he produced several religious paintings (Stations of the Cross, Apocalypse, etc.) and in 1952 he decorated several churches in New York, Vermont, and California. In 1947 he published Peut-on dire la v?rit? sur la R?sistance, in which he presented several important corrections to B?nouville's book Le Sacrifice du matin. He died and was buried in America in 1968. From Artistinwar: In 1941, Girard's attention also turned to depictions of Christ, when he showed his small scaled paintings of the Way of the Cross in Cannes. His solo show in November-December 1944 at New York's Bignou Gallery featured two rooms. In one was his series of small paintings on The Fourteen Stations of the Cross and, in another room, flowers and landscapes of France. Praised for his use of color and light, Girard's compositions contained strong graphic elements, high contrasts and a rich use of pigment. According to the catalogue, "his work became more solemn and more moving that ever before. It is a fact that the paintings produced during the years of German oppression bear not only the marks of revolt, but even more, those of prayer." Twelve years later, he recalled that when he arrived in New York from England in 1944: " I used to have in my pockets notebooks full of versions of the Stations of the Cross--so much so that when I was sent to America in 1944, I had only with me these pictures. When my art dealer proposed to exhibit them, I was astonished. Such a distressing subject, such a limited number of pictures!" His wartime experience found expression through sacred art, and became a new point of departure for his images.After the war, Girard never returned to drawing political caricatures for the press; instead he opted to make sacred and secular art. He worked in an impressionist style akin to Pierre Bonnard, one of his two teachers whose shattering of light into gemlike points Girard learned to employ. The other was Georges Rouault. Girard shared Rouault's use of heavily outlined bodies, but differed by rendering them as angular and bony forms. Ultimately, Girard's Jesus is born of crisis, a figure that has seen the limits of human fallibility. He is marked by the austerity of war, yet radiates light. St Ann Chapel's architect Vincent Raney designed a modern church, which features a series of angled panels that line one side, allowing light to penetrate the space indirectly. Girard drew his sketches for the Stations of the Cross on the plaster surface of the panels. Next, the final images were painted on canvas and mounted on the fourteen panels. He donated a series of 14 ink sketches to Stanford University. The Fourteen Stations of the Cross has its complement in the four stained glass windows at St. Ann Chapel, which are dedicated to the teachings and story of Jesus. Rather than go with traditional methods of stained glass panels, he instead painted directly on the glass. In his correspondence with his patron, Clare Boothe Luce, Girard outlines his reasoning for choosing these methods. Luce financed the chapel's building as a memorial to her

Girard, Andre (French, 1901-1968) Girl in Interior - Oil Painting

Girard, Andre (French, 1901-1968) Oil Painting. "Girl in Interior." Oil on canvas. Signed upper right An. Girard. In good condition. Measures 10 inches x 16 inches. Frame measures 15 inches x 21 inches. From the Sag Harbor, NY estate of New York author Barbara Wersba. Andre Girard was a French painter, poster-maker and Resistance worker. During the Second World War he founded and headed the CARTE network, also taking "Carte" as his personal codename. He was the eldest child born to a pair of brewers and attended the ?cole des Beaux-Arts before doing military service at Saint-Cyr. He became a painter, studying with Roualt and Bonnard, as well as a caricaturist and theatre set designer.He was known as one of the best publicity poster designers in Paris during the 1930s. He set himself up in Venice in 1936-37 and in Manhattan in 1938. In New York, he produced several religious paintings (Stations of the Cross, Apocalypse, etc.) and in 1952 he decorated several churches in New York, Vermont, and California. In 1947 he published Peut-on dire la v?rit? sur la R?sistance, in which he presented several important corrections to B?nouville's book Le Sacrifice du matin. He died and was buried in America in 1968. From Artistinwar: In 1941, Girard's attention also turned to depictions of Christ, when he showed his small scaled paintings of the Way of the Cross in Cannes. His solo show in November-December 1944 at New York's Bignou Gallery featured two rooms. In one was his series of small paintings on The Fourteen Stations of the Cross and, in another room, flowers and landscapes of France. Praised for his use of color and light, Girard's compositions contained strong graphic elements, high contrasts and a rich use of pigment. According to the catalogue, "his work became more solemn and more moving that ever before. It is a fact that the paintings produced during the years of German oppression bear not only the marks of revolt, but even more, those of prayer." Twelve years later, he recalled that when he arrived in New York from England in 1944: " I used to have in my pockets notebooks full of versions of the Stations of the Cross--so much so that when I was sent to America in 1944, I had only with me these pictures. When my art dealer proposed to exhibit them, I was astonished. Such a distressing subject, such a limited number of pictures!" His wartime experience found expression through sacred art, and became a new point of departure for his images.After the war, Girard never returned to drawing political caricatures for the press; instead he opted to make sacred and secular art. He worked in an impressionist style akin to Pierre Bonnard, one of his two teachers whose shattering of light into gemlike points Girard learned to employ. The other was Georges Rouault. Girard shared Rouault's use of heavily outlined bodies, but differed by rendering them as angular and bony forms. Ultimately, Girard's Jesus is born of crisis, a figure that has seen the limits of human fallibility. He is marked by the austerity of war, yet radiates light. St Ann Chapel's architect Vincent Raney designed a modern church, which features a series of angled panels that line one side, allowing light to penetrate the space indirectly. Girard drew his sketches for the Stations of the Cross on the plaster surface of the panels. Next, the final images were painted on canvas and mounted on the fourteen panels. He donated a series of 14 ink sketches to Stanford University. The Fourteen Stations of the Cross has its complement in the four stained glass windows at St. Ann Chapel, which are dedicated to the teachings and story of Jesus. Rather than go with traditional methods of stained glass panels, he instead painted directly on the glass. In his correspondence with his patron, Clare Boothe Luce, Girard outlines his reasoning for choosing these methods. Luce financed the chapel's building as a memorial to her daughter. For her, this project intended to signal that even in the US, there

Andre Girard (1901 - 1968) New York / France

Andre Girard (1901 - 1968) New York / France oil/canvas. Sight Size: 15.5 x 19 inches.

ANDRÉ GIRARD (1901-1968). OU EST LE SOLEIL? / SUREMENT AU PORTUGAL. 38x26 inches, 97x68 cm.

ANDRÉ GIRARD (1901-1968) OU EST LE SOLEIL? / SUREMENT AU PORTUGAL. 38 1/4x26 3/4 inches, 97x68 cm. Condition B+: repaired tear in top edge into image; minor creases at edges.

ANDRE GIRARD LITHOGRAPH FACE STUDIES

GIRARD, Andre, (French, 1901-1968): Face Studies, Lithograph, sight size 12 1/2" x 19 1/2", signed and dedicated lower right, framed, 16" x 23".

Original 1930s LUCIENNE BOYER French Music Star Poster

Girard, André 1901 - 1968. Lucienne Boyer. Lithograph ca. 1935. Size: 62.9 x 47.2 in. (160 x 120 cm). Printer: no information. Condition Details: (B+) was folded, small tears and staining at the edges and at the folds, minor foxing, small paper loss in the bottom left corner.

[Tino ROSSI (1907-1983)]. André GIRARD (1901-1968). Dessin original, plume, aquarelle et gouache, signé et daté en bas à droite « Girard 1937 » ; 45 x 30,5 cm Belle évocation de Tino Rossi, le visage dans sa

[Tino ROSSI (1907-1983)]. André GIRARD (1901-1968). Dessin original, plume, aquarelle et gouache, signé et daté en bas à droite « Girard 1937 » ; 45 x 30,5 cm Belle évocation de Tino Rossi, le visage dans sa guitare, la nuque et le cou formant l'île de Corse ; probablement maquette pour une affiche.

Columbia / Josephine Baker. ca. 1937

Artist: ANDRE GIRARD (1901-1968) Size: 47 x 62 7/8 in./119.5 x 159.6 cm Pub. An. Girard, Neuilly Rather than focus on a particular performer, this poster celebrates the entire Columbia catalog, showing off some of its top-tier talent, including Damia, Lucienne Boyer, and, of course, Josephine Baker.

ANDRÉ GIRARD (1901-1968). EXPOSITION INTERNATIONALE DES ARTS DÉCORATIFS ET INDUSTRIELS MODERNES. 1925. 23x15 inches, 59x39 cm. Les Edit

ANDRÉ GIRARD (1901-1968) EXPOSITION INTERNATIONALE DES ARTS DÉCORATIFS ET INDUSTRIELS MODERNES. 1925. 23 1/2x15 1/2 inches, 59 3/4x39 1/2 cm. Les Editions de l'Image de France, Paris. Condition B+ / B: repaired tears, restoration and discoloration at edges; creases and abrasions in margins and image; repaired pin holes in corners. This is the rarest of the four posters that were commissioned for the seminal Exposition Internationale de Arts Décoratifs et Industriels Modernes. Similar to its use of smoking chimneys in the poster designed by Charles Loupot for the same exhibition, Girard's image has a much stronger and more dynamic layout. The smokestacks rise in a pyramid that visually echoes the seething mass of men who are scrambling to get to the top of their own pyramid. At the pinnacle one man holds aloft a chalice, perhaps meant to indicate a form of perfection toward which all are striving. As with the other three posters designed for the exhibition, colors are kept to a minimum. this is the scarce smaller format/span Girard np.

Peugeot 12. 1935

Artist: ANDRE GIRARD (1901-1968) Size: 47 x 62 1/2 in./119.5 x 158.6 cm Création Girard, Levalloise The six-cylinder Peugeot 12 was one of Europe’s prestige cars in the early 1930s. Here, it is shown flying out at the viewer against a nationalistically-hued French road. A bold Art Deco design!

ANDRÉ GIRARD [FRENCH, 1901-1968], CANVAS GRAPH,

ANDRÉ GIRARD [FRENCH, 1901-1968], CANVAS GRAPH, 1932, 37" X 31", 'GILLES ET JULIEN': Also marked Theatre de la Potiniere 7 Rue Louis Le Grandand stamped. Overall size 41" X 34". Unframed.

ANDRÉ GIRARD [FRENCH, 1901-1968], CANVAS GRAPH, 1932, 37" X 31", 'GILLES ET JULIEN'

ANDRÉ GIRARD [FRENCH, 1901-1968], CANVAS GRAPH, 1932, 37" X 31", 'GILLES ET JULIEN': Also marked Theatre de la Potiniere 7 Rue Louis Le Grandand stamped. Overall size 41" X 34". Unframed.

Peugeot 12. 1935

Artist: ANDRE GIRARD (1901-1968) Size: 47 x 62 1/2 in./119.5 x 158.6 cm Création Girard, Levalloise The six-cylinder Peugeot 12 was one of Europe’s prestige cars in the early 1930s. Here, it is shown flying out at the viewer against a nationalistically-hued French road. A bold Art Deco design!

André Girard (1901-1968)

André Girard (1901-1968) PEUGEOT lithograph in colours, c.1929, condition B+; backed on linen 62½ x 47in. (159 x 120cm.)

André Girard (1901-1968)

André Girard (1901-1968) PEUGEOT lithograph in colours, c.1929, condition A-; backed on linen 62½ x 47½in. (159 x 121cm.)

*GIRARD, ANDRE

GIRARD, ANDRE A group of six gouache prints to recto and verso of three sheets. From an unknown manuscript. Some tape residue; light age-darkening; some chipping to edges of leaves; otherwise fine.

ANDRÉ GIRARD (1901-1968). EXPOSITION INTERNATIONALE DES ARTS DÉCORATIFS ET INDUSTRIELS MODERNES. 1925. 38x24 inches, 98x62 cm. Les Edit

ANDRÉ GIRARD (1901-1968) EXPOSITION INTERNATIONALE DES ARTS DÉCORATIFS ET INDUSTRIELS MODERNES. 1925. 38 1/2x24 1/2 inches, 98x62 cm. Les Editions de L'Image de France, Paris. Condition A-: minor restoration in margins and image. This is the rarest of the four posters that were commissioned for the seminal Exposition Internationale de Arts Décoratifs et Industriels Modernes. Similar in its use of smoking chimneys to the poster designed by Charles Loupot for the same exhibition, Girard's image has a much stronger and more dynamic layout. The smokestacks rise in a pyramid that visually echoes the seething mass of men who are scrambling to get to the top of their own pyramid. At the pinnacle one man holds aloft a chalice, perhaps meant to indicate a form of perfection towards which all are striving. As with the other three posters designed for the exhibition, colors are kept to a minimum. Girard np.

Original 1950 Lucienne Boyer Columbia Music Poster

Girard, André 1901 - 1968 Lucienne Boyer Offset ca. 1950 62.9 x 47.2 in. (160 x 120 cm) Printer: Keine Info/no information Details: (kein) wg, kleine Einrisse

GIRARD, ANDRE (1901-1968)

GIRARD, ANDRE (1901-1968) PEUGEOT lithograph in colours, c.1929, condition B+; backed on linen 63 x 47½in. (160 x 120cm.)

Girard, A. (1901-1968), watercolour, Boulevard in

Girard, A. (1901-1968), watercolour, Boulevard in Saint-Tropez, sig. b.r., dim. 18 x 24 cm.

ANDRE GIRARD (1901-1968). EXPOSITION INTERNATIONALE DES ARTS DÉCORATIFS ET INDUSTRIELS MODERNES. 1925. 38x24 inches, 97x62 cm. Les Edit

ANDRE GIRARD (1901-1968) EXPOSITION INTERNATIONALE DES ARTS DÉCORATIFS ET INDUSTRIELS MODERNES. 1925. 38 1/8x24 1/2 inches, 97x62 cm. Les Editions de l'Image de France. Condition B+ / A-: minor restoration at edges and along vertical and horizontal folds. This is by far the rarest of the four posters that were commissioned for the seminal Exposition Internationale de Arts Decoratifs et Industriels Modernes. Similar in its use of smoking chimneys to the poster designed by Charles Loupot for the same exhibition, Girard's image has a much stronger and more dynamic layout. The smokestacks rise in a pyramid that visually echoes the seething mass of men who are scrambling to get to the top of their own pyramid. At the pinnacle one man holds aloft a chalice, perhaps meant to indicate a form of perfection that all are striving for. As with the other three posters designed for the exhibition, colors are kept to a minimum. Girard was commissioned to design this poster based on the renown he achieved through his posters for Peugeot, Duco (paints), the Theatre des Champs Elysees and Columbia Records, for whom, he designed numerous posters as well as the first illustrated record sleeves in France. Girard np.

ANDRE GIRARD

COLUMBIA / LA VOIX DE SON MAITRE. Two posters. Each 62 3/4x47 1/4 inches. Condition varies, generally B+: minor discoloration along vertical and horizontal folds. Andre Girard designed one of the four official posters for the 1925 Arts Decoratifs Exhibition in Paris. His other known works include images for Peugeot, aux Dames de France and Columbia Records. Columbia was a young and dynamic record company that not only issued albums by the big names stars like Mistinguett, but also signed the new "jazzy" French generation of singers; Pills et Tabet, Damia etc. This pair of images show two passers-by considering different window displays of albums, one for RCA Victor, the other Columbia Records. In a style that is intimate and convivial, Girard's graphic approach heralded a revolution: He was the first artist, working for Columbia's Magic Notes label to produce records in illustrated jackets.

ANDRE GIRARD (1901- ?) PEUGEOT 6 / 12. Circa 1929.

633/4x47 inches. Girard, Levallois. Condition B+: restored losses in bottom left corner; repaired tear in image; minor repaired tears and creases in margins. To advertise the powerful Peugeot 6/12, Girard uses one of his classically simple designs. The car is presented in exaggerated perspective, zooming around the corner of a tri-color road in a style that lends an exciting, dynamic quality to the image. As the car is heading straight at the viewer, Girard is able to make the largest part of the image the company logo on the grill. Girard was obviously a discrete man, as very little is known about his personal life, but he had a very successful artistic career in which he flaunted his unique, deceptively simple, poetic style. His best known work is for Columbia Records, who, in the 1930s, had the finest catalogue of recording artists in France (including Josephine Baker and Mistinguett), for whom Girard designed posters (see Swann Modernist Posters auction #1859, lot 26) and a series of illustrated album sleeves. His other major clients were Duco paints, the department store Aux Dames des France, and Peugeot .

ANDRE GIRARD (1901- ?) PEUGEOT 6 / 12. Circa 1929.

63 3/4x47 inches. Girard, Levallois. Condition B+: restored losses in bottom left corner; repaired tear in image; minor repaired tears and creases in margins. To advertise the powerful Peugeot 6/12, Girard uses one of his classically simple designs. The car is presented in exaggerated perspective, zooming around the corner of a tri-color road in a style that lends an exciting, dynamic quality to the image. As the car is heading straight at the viewer, Girard is able to make the largest part of the image the company logo on the grill. Girard was obviously a discrete man, as very little is known about his personal life, but he had a very successful artistic career in which he flaunted his unique, deceptively simple, poetic style. His best known work is for Columbia Records, who, in the 1930s, had the finest catalogue of recording artists in France (including Josephine Baker and Mistinguett), for whom Girard designed posters (see Swann Modernist Posters auction #1859, lot 26) and a series of illustrated album sleeves. His other major clients were Duco paints, the department store Aux Dames des France, and Peugeot.

Andre Girard French, b. 1901 HE AND SHE AND SUMMERS DREAM, inspired by Felix Mendelssohns A Midsummer Nights Dream