Our 82nd Rare Posters Auction was a smashing success, but we’ve still got some gems available. If you missed the sale, now is your chance to grab a fantastic poster—and these are all under $1,500.
The Second Chance Sale runs through November 23.
All lots are priced at the reserve plus our 20% commission.
Bid to buy or call us now at 212-787-4000.
45 x 30 in./114.2 x 76.2 cm
If it wasn’t already clear by the very Cézanne-like landscape depicted here, Carel Weight was primarily a painter; his most acclaimed portrait was of another painter, Camille Pissarro. Here, he gives us the rare poster design—and a lovely one at that—to advertise trips to Britain’s landmarks care of Shell. In the far distance, the abstract shape above the hill represents Haldon Belvedere, an 18th century castle-like estate. Its position 244 meters above sea level with 99 steps leading to its roof continues to impress visitors with sweeping panoramic views of the surrounding countryside.
27 1/4 x 39 1/8 in./69.3 x 99.5 cm
Dudovich gives us a powerful scene from the northern Italian city of Padova (in English, Padua). At center, Donatello’s 1453 Equestrian Statue of Gattamelata rises powerfully; the sculpture of the Venetian general was the first full-size equestrian bronze cast since antiquity. Behind it, we glimpse the Basilica di Sant’Antonio da Padova, a Roman Catholic church completed in 1310. “Moving towards the thirties, the echo of Art Déco began to resonate also in the advertising world, with the spread of Romanesque monumentalism, huge block capital and architectonic lettering, theatrical effects, and brusque colors” (Manifesti Posters/Travel, p. 49). During the reign of Mussolini and the extensive government-sponsored tourism efforts, it makes perfect sense that Dudovich would focus this design on power, authority, and the grandeur of Italian history.
42 3/8 x 55 5/8 in./107.5 x 141.2 cm
With a noble-looking Marianne figure standing proudly in front of them, we are presented with a glimpse of both the bicycle and early motorcycle models offered by Clément. By 1890, it was the most popular cycle brand in France, allowing it to boast the “largest factory in the world,” shown spreading out toward the horizon.
14 5/8 x 22 1/2 in./37 x 57 cm
Campbell gives us a crisp wintry scene for the Christmas Number of Scribner’s; our cool and collected lady is suited to brave the chill with a fur muff, stole, and hat, accentuated by a red cape and leather gloves. The publication advertised this issue as such: “The Christmas Number will be the most beautiful and sumptuous magazine of the holidays. Unrivaled in the variety and interest of its literary contributions, and gay and bright in colored illustrations, it will be a fitting issue with which to close Scribner’s most successful year.”
45 1/4 x 61 3/4 in./114.8 x 156.7 cm
“Cognac Pellisson is one of Cappiello’s best and earliest in the overstatement department—shocking and surprising us with its incongruity—and it provided the visual punch of lasting impact… The company, founded in 1836, remained in the Pellisson family’s hands until 1980 when they sold it to the Hennessy conglomerate. Yet Cappiello’s magnificent barrel-carrying imp survived all changes of hands and is still lugging the huge cask on the product’s logo” (Cappiello/Rennert, p. 101). This is the larger format.
20 3/8 x 12 1/2 in./51.8 x 31.7 cm
Ernest Maindron’s Les Affiches Illustrées was a seminal lithographic volume published from 1886-1896 by Imprimerie Chaix; it featured original lithographic prints by top artists of the time, including Mucha, Toulouse-Lautrec, Steinlen, and of course, Jules Chéret. Here, Chéret revisits his 1896 cover with a print version that unravels the entire affichomanie scene.
31 3/8 x 46 1/8 in./79.7 x 117.2 cm
Whether it’s 1897 in Paris, 1967 in San Francisco, or 2020 in Brooklyn, the counterculture scene resonates in this indelible image: a Bohemian poet, orating in wild hair and tangled beard, to a gaggle of female admirers in a dimly lit night café—this one was just a block from the Jardins du Luxembourg and two blocks from the Sorbonne. It’s the first known poster of the little-known Georges Fay, and was good enough to get him noticed by Jules Chéret, who solicited two pieces from him for inclusion in Les Maîtres de l’Affiche.
24 7/8 x 38 7/8 in./63 x 97.5 cm
For Dionne Warwick’s debut performance at Lincoln Center’s Philharmonic Hall, Glaser imagined the performer on stage with spotlights illuminating her and casting shadows. The deep black of her shadows against the bright orange and red background creates a mesmerizing optical treat. Warwick was backed by a 24-piece orchestra led by composer Burt Bacharach; Anthony and the Imperials opened. The venue was packed to nearly full capacity, and Warwick crooned her way to stardom.
35 5/9 x 50 3/8 in./90.5 x 127.8 cm
Dolce Vita was Lausanne’s rock-and-roll version of Studio 54—so naturally, Keith Haring was a frequent visitor and creative contributor. To capture the vibe of the place, he conjured these two porous wrestlers whose limbs create an abstract geometric form. The owners of the venue so loved the design that they adopted his text as their official sign before closing in 1999. And because the Swiss have always been hip, you’ll find this text at bottom: “An original creation of Keith Haring published by the Swiss State Dept. to commemorate the 700th anniversary of the Swiss confederation.” Rare!
54 x 78 1/8 in./137.3 x 198.4 cm
Mauzan’s “Copertoni Impermeabili Moretti” poster with an elephant is world-famous; here’s another angle, on a smaller, cuter scale: a delighted scarecrow, bundled in a Moretti raincoat, shelters two conversational frogs. It’s another sunny tale in the middle of a dark, down-pouring night.
29 1/2 x 41 1/4 in./74.8 x 104.7 cm
Like Lucien Lefèvre, Péan was a student of Chéret and worked under him at the Chaix printing plant. The influence is detectable here in the attitudes of the two charming women who dominate this French railway poster. A pipe-smoking gentleman completes the companionable trio advertising the boat-train across the English Channel.
19 7/8 x 29 1/4 in./50.5 x 74.2 cm
This poster is a jewel in any serious poster collection. For the lively English monthly journal which chronicled the contemporary poster scene in Europe and America, we are shown a character from one poster stepping out to admire one from another! Little is known of this artist, who signed his works, largely caricature-style illustrations, either M.Y. or M. Yendis, or as shown here, Mosnar Yendis. The design is an instructive example of how to deal effectively with the subject of posters, and remains the most admired legacy of the artist.
32 3/4 x 43 1/4 in./83.2 x 110 cm
“Stevens began with a poster of the highest style… for the Art Exhibition of Le Sillon. In itself the subject is common: a young woman hangs a painting on the wall. Only the artist implements his originality and his talent as a designer and colorist and right away has made of his poster a print of more than simple worth, elegant and distinguished” (Beaumont, p. 60). Le Sillon (The Furrow) “was an artistic society following realist tendencies; it was founded in Brussels in 1893 and lasted until 1925, as a continuation of Voorwaarts (1885-1893), a small Brussels society aiding budding artists” (Belle Epoque 1970, p. 72).
24 x 17 1/2 in./61 x 44.4 cm
In 1983, Warhol created a variety of images for Perrier, each taking the product and elevating it through his signature use of silkscreen color-washing. “These posters were intended for publicity in bistros and cafés in France. They won the French poster Grand Prix in 1983, the only award Warhol ever received for his work as a poster artist” (Warhol Posters, p. 85). This is the fuchsia image in the smaller format.