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About our Monumental Posters Collection

This selection of authentic vintage posters exemplifies the power of the poster in its day up to the present. These were conceived to be viewed from a distance where they can grab the fleeting attention of the viewer and hold their eye for a few moments longer to deliver their message.

Originally conceived for a building wall as opposed to the kiosk, these monumental posters rarely survived their moment of glory, unprotected from the sun and rain, city grime as well as the actual gluing process to the wall, done with bristle brushes used to smooth out the glued poster over the brick or rough wooden walls of the time, a process that often commences the deterioration process at the start.

With few exceptions, these monumental posters have at least one dimension of 60”. Some of these posters exceed 120” in height. All are framed in simple custom milled maple exhibition frames with reinforced corners. All are floated on linen. We have deliberately chosen this format for consistency in framing as well as creating a neutral design, allowing the image to jump at your viewer instead of competing with an ornate frame design as so many periodworks on paper are traditionally presented.

Along with the framed poster, we include a brief history of the poster, comments on its artistic merit or significance plus a brief historical background placing the poster in its historical context.

Photographs shown in this book can be enlarged and included with the text. With some of these posters, we have sufficient photographs not shown here for a very interesting exhibition.

We have a number of posters with similar imagery and artistic significance but which fall below the 60" size threshold here. We will be happy to work with you and configure an exhibit to meet your needs. If you have any questions or comments please feel free to contact our curator of this managed collection. He can be reached at Curator@ECM2.org or (408) 993-1111.

The following is a key of the different sizes for the pieces in this collection. If a piece does not fit into one of these categories, its actual size is listed instead of a letter. All sizes are outside dimensions of the frames so space requirements can be calculated for your exhibition.

  • D - 46" X 63"
  • F - 49" X 68"

A La Tour St. Jacques

                          Text to come.

19665
A La Tour St. Jacques
Anonymous
France, 1885
Size: 38" X 58"UF

If You Cough, Take Geraudel Lozenges

Auguste-Arthur Géraudel (1841-1906) became interested in the medicinal properties of several natural products which could deliver the necessary benefits, but due to the bitter taste, was not consumable. He spent much of the mid-19th Century in experimenting with various agents that would modify the taste without lessening the curative powers of the pine tar extract. In the process Geraudel developed one of the first pharmaceutical companies in France. When he finally succeeded in removing bitterness and adding a sweet taste, he had invented cough medicine not only in syrup form, but throat lozenges as well.

19666
Si Vous Toussez...Geraudel
Jules Cheret
France, 1890
Size: 94 1/4" X 33 1/2"UF

Louvre Department Store Sells Christmas Gifts

How fun it must have been to visit the largest department store on earth during Christmas. Taking an entire city block on Rue Rivoli across from the Louvre in Paris, a building still standing, Grands Magasins was divided into various departments not unlike Bloomingdales in New York City or Harrod’s in London are today. Home furnishings, men’s clothing, carpets, toys, a restaurant---everything you need for one stop shopping during the height of the Belle Epoch.

Jules Cheret, the undisputed master posterist of the day, clearly displays his greatness in showing the joys of Christmas on the faces of these children having fun with the presents purchased from Grands Magasins. What kind of parent could pass up the opportunity to partake in this joy Grands Magasins offers children and adults alike. It is the job of the posterist to conceive of a design and text that sells Grands Magasins and the toy store brings joy and smiling faces to all.

17723
Grands Magasins du Louvre / Jouets
Jules Cheret
France, 1891
Size: 101" X 39"

Moulin Rouge - The Glutton

Clearly the most famous of all posters ever created, this all totally complete, all original poster in its final state, set the bar for all subsequent poster designers to follow. This is the final state with both original Paris tax stamps and Moulin Rouge authentication stamps attached. What is so interesting is that this Latrec tour de force was Latrec’s first lithograph after being taught lithography by none other than Mr. Cheret himself, the creator of the modern poster process a few years earlier.

Furthermore, this poster is truly monumental in size as well as stature. Three lithography stones were required to meet Lautrac’s vision. At the time, no printing press could print a single pieces of paper this large and no stone was available to accommodate the image Lautrec conceived. There were two standard large size stones which were used for the body of the poster and a third stone to accommodate the lettering on top, called a “banner.” Lautrec needed to not only draw his image on the stones, he needed to make sure that his drawing aligned perfectly with the adjacent stone, not a small job in that day.

It was the printer whose job it was to not only run the stones through the press, but to make sure that the alignment was correct AND the inks matched the adjacent sheets, a major undertaking at the time. Because each sheet was printed separately, time would go by between the printings, allowing for inks to change or last minute substitutions of paper. If you look at this poster, you can see where the sheets are affixed to each other by the change in ink density and shading. Lautrec’s design didn’t change, it were the inks that changed.

What makes this poster so rare is the fact that all three original sheets are attached. At the time, the public was mad about collecting posters of the day. The problem with this poster was that it was far too large for most people to hang in their apartments. So they cut off the top banner and threw it away. It is estimated that there are less than a dozen complete original three panel posters in existence today.

The Moulin Rouge was the nightclub of the Belle Epoch. Timed to open at the same time of the Eiffel Tower and the huge Expositions Universellesin 1889, the owners were able to capitalize on international events and the need for men’s entertainment. Visualize the bar scene in An American in Paris where Gene Kelly dances with a number of characters walking through the scene. What many people don’t recognize is that all these characters were taken right out of Lautrec’s paintings and prints of denizens of the Moulin Rouge. The big difference is that in the movie, the can can girls were not exposed. But at the time, in real life, they were more naughty. After a lot of complaints, the town fathers required the dancers to put their underwear back on.

The name "La Goulue" was her stage name (the glutton) but at the Moulin Rouge, was the stage name of Louise Weber (1866 - 1929), a term her audience gave her as a result of her ability to consume a huge amount of alcohol during an evening of dance performances. She became the most famous dancer in Paris if not Europe. Noted for her provocative can-can routines, she packed the men in, made them happy, and became very rich in the process. She had a partner of sorts, the man in the stovepipe hat in the poster’s foreground. His nickname was “Valentin le désossé”, (Valentin the Boneless) and appears in many of Lautrec’s works. He was a contortionist who would dance, sharing the floor with La Goulue. La Goulue went from being one of the wealthiest women in Paris to becoming an alcoholic, to selling matches and cigarettes on a street corner, dying at the age of 63. Valentin had a day job believed to be a wine merchant. No one knows what happed to him after he left the Moulin Rouge.

19542
Moulin Rouge - La Goulue
Henri Toulouse Latrec
France, 1891
Size: 75" X 46"UF

Dr. Craveri's Phosphorus Free Matches

What is so wonderful about this collection is the fascinating back story some of these posters have. For Fiammiferi Senza Fosforo, it is the match. We have all used them. There are 14” long designer matches next to the fireplace. There are heavy paper matches in match books with the cover advertising your favorite restaurant or bar, the one that always becomes evidence in a Sam Spade film noir movie. But what we all have in common is that we take the match for granted.

Google “match” and you will see pages of fascinating match history. Here is the condensed version. The match is a story of chemical agents. (The little match girl comes in later.) There was a point in time when someone decided that keeping a fire burning all the time so as to not lose the flame was no longer practical. And knocking two rocks together didn’t always work when one was away from home and needed to light a fire. Chemists discovered that chemicals, when mixed together, would cause heat and then burst into flame. Voila! Not quite.

The problem with these chemicals was that they would burst into flame when they wanted to, not necessarily when you wanted them to. Phosphorus was the key agent and matches were nothing other than phosphorus on a stick. But when the ends to these sticks accidentally rubbed against each other, they would burst into flames, often in the clothes you were wearing at the moment. Physical maiming and death were not uncommon. To solve the problem, a smart chemist broke the phosphorous down into two parts. One part was dipped onto the end of a stick and the second chemical was added to a strip of friction material. Then in 1889, Joshua Pusey, an American inventor, conceived the idea of the matchbook. Attached to the side of the match book is a striking surface with chemicals in it. Didn’t know that, did you. Move the stick or now heavy paper match, against the friction paper, the two chemicals come together and presto, lung cancer was made easier to get. Diamond Match, yes that Diamond Match, bought Pusey’s patent and thought that they would get rich. Not. So what happened? Guilt. U. S. President William Howard Taft (ever notice how it is always “William Howard Taft” and not just President Taft? Or Bill Taft? We only had one President Taft so it’s not like we’re going to mix him up with a Bush or Adams. But I digress). So the President calls up Diamond Match (that as in telegram) and twists their arm. The line is that Diamond should give their patent to the world this wonderful invention. So Diamond caved. And the poor little match girl was out of a job. Diamond was out of a patent. And the tobacco companies became filthy rich.

17900
Fiammiferi Senza Fosforo
Adolfo Hohenstein
Italy, 1895
Size: F

The Greatest Show on Earth

Text to come.

19667
The Greatest Show on Earth
Edward Potthast
USA, 1895
Size: 82 1/2" X 39"

Folies Bergere - Liane De Pougy

Begun in 1872 as Folies Trévisea as a place for light opera and popular music, the entertainment inside did not become the entertainment for which it is so well known for even today until the end of World War I.


A Bar at the Folies-Bergère, 1882, Edouard Manet

With the success of the Moulin Rouge's nude can and risqué acts, the Folies Bergere did the same, but on a more demure basis, with dancers wearing very ornate costumes, often bare breasted, would walk, dance and sing. Ziegfield Follies and Las Vegas style entertainment has borrowed heavily from this long tradition of very attractive young women promenading on the stage.


"Baker Banana" by Walery, French, 1863-1935

The Folies Bergere had headline acts as well, named performers with "A" billings. As Las Vegas had Frank Sinatra, Cher, Dion and others, the Folies Bergere had Josephine Baker, Maurice Chevalier, Edith Piaf, Liane De Pougy and many other famous entertainers of the day.

This poster, created by Paul Berthon, a well-known artist of the Belle Epoch, features Miss De Pougy as the bait caught in a spider's web. A rare photo of the actual set on the Folies Bergere's large stage shows the performers in various poses that would titillate the audience.

Liane De Pougy was not "only an actress." Known throughout Europe as one of the most beautiful woman in the world, she was sought after as a courtesan by European nobility as well as the industrialists and moneyed. Ms De Pougy was not unlike Cher, Madonna, Elizabeth Taylor, or any number of similar A List personalities of the day, generating numerous biographies written about her life. Her presence in the Follies brought in huge sums of money for the owners and set a standard for Paris entertainment establishments of the time.

15885
Folies Bergere - Liane De Pougy
Paul Berthon
France, 1896
Size: 63" X 24"

The Enraged Bull

This poster is not about a struggling author or about dreams, the Moulin Rouge or the hills of Montmartre, it is announcing a neighborhood parade. And not just any kind of parade. It is a parade of locals who happen to consist of the famous artistic community of Paris. Think New York's Halloween parade of the 1980's or San Francisco's early Gay Pride or Carnival parades. The parade was so successful that it occurred the following year as well.

15846
La Vache Enragee
Palogne
France, 1896
Size: 59" X 43"UF

The Good Samaritan ~ A Sacred Play in Three Acts

The Good Samaritan ~ A Sacred Play in Three Acts.

Sarah Bernhart was the most famous stage and film actress of the day, performing internationally as did Liane De Pougy, right up there with Enrico Caruso. So much in demand, Ms Bernhart was able to command her own performance hall named after herself.

The history of this poster is legend. Ms Bernhart was a notorious hands on actress, taking interest in all aspects of her productions. The deadline for approving the copy of her advertising material for her upcoming production The Good Samaritan, and she had no artwork to approve. She went out and approached Mr. Mucha who had recently moved to Paris, promising him additional work if he could design the artwork for this play and now.

Ms. Bernhard was so pleased with the result, Alfons Mucha became her primary posterist and Mucha’s reputation was set for the rest of his life.

18000
La Samaritaine
Alphons Mucha
France, 1897
Size: 70" X 23"UF

Cream of the Orient - Powder and Soap

Orientalism was the rage during the 19th Century. This Pal poster, the artist’s own contraction of his name, successfully ties the model’s near eastern attire into the name of the product, Cream of the Orient. “Orient” did not mean Asia or the Near East at the time, it was a loosely used term to describe anything non-European. So Northern Africa, Persia and the Near East qualify as does China, Japan and the Far East.

15550
Creme Orientale - Poudre & Savon
Jean De Paleologue
France, 1898
Size: F

Cycles Dion - Bouton

De Dion-Bouton was one of the first automobile manufactures whose success was based on their engineering skill and quality of construction. Unlike cars of today, these early automobiles were steam propelled and far easier to operate than the combustion engine of the time.

As their automobiles became successful, De Dion, the entrepreneur of the company, visualized a smaller version of their automobile and came up with the tricycle concept. After several design changes by Bouton, this became the famous De Dion-Bouton "petite voiture" that remained in production for another six years. From 1890 through the end of WWI, De Dion-Bouton was the largest automobile manufacturer in Europe, but by 1950, it had ceased operations.

Here, Misti (pen name for Ferdinand Misti-Mifliez) sells the product first, then the sex. The tricycle is cleanly designed and pops out from the solid red background. The attractive girl on the bike enjoying herself is entirely secondary to the product and the product’s name. Compare this poster to Motorcycles Comiot for a completely different effect. (See page 32).

17101
Cycles Dion - Bouton
Misti
France, 1895
Size: 60" X 44"UF

Velleda Acatene

Acatene is the name of a chainless bicycle unique in its method of creating torque with a driveshaft, a gear at the end that connects to the axel at right angles thereby doing away with the traditional chain system together with the grease and dirt that came with it.

The posterist apparently needed to refer to G & J Tires, perhaps for joint payment of the bill. You rarely see a bicycle ad allowing another product to compete with the viewer’s focus as happens here. In the sun above the eagle it says "Vae Catenis", or "woe to chains". Velleda was a legendary Germanic priestess and leader of the Batavian uprising against the Romans. (Think Russell Crowe in the first scene of Gladiator, best picture, 2000.)

This is an excellent example of art nouveau. The poster gushes the sinuous, long and curvy lines often of a botanical nature. Not only do we have all the traditional trademarks of the style here, but he have mythology as a theme as well, which was so popular at the time.

17110
Velleda Acatene
Lucien Baylac
France, 1898
Size: 63" X 46"UF

Cyrano De Bergerac

First, there truly was a Cyrano de Bergerac (1619-1655) born Hercule-Savinien Cyrano de Bergerac...and he did in fact have a large nose. What about Roxanne? No one knows for sure, but authorities believe she may be based on a cousin who lived in a local convent. Cyrano joined the military as was so common at the time to meet living expenses. When his tour ended, he took to writing and became quite well known for a large body of work created in a short life span. Notably, he is credited as being one of the first published writers of science fiction. "His mixture of science and romance in the last two works furnished a model for many subsequent writers, among them Jonathan Swift, Edgar Allan Poe and probably Voltaire. Corneille and Molière freely borrowed ideas from Le Pédant joué." (Courtesy Wikipedia)

This poster is not only truly effective in its depiction of Cyrano calling to arms, an important plot point in the play, but it announces the first performance of Cyrano de Bergerac, the play by Edmond Rostand which established the fictional Cyrano character we know today and which has been subsequently adapted for the screen many times.

17744
Cyrano De Bergerac
Lucien Metivet
France, 1898
Size: 88" X 30"UF

Medee - Sarah Bernhardt

Medea
Renaissance Theater
Sarah Bernhardt

19730
Medee - Sarah Bernhardt
Alphonse Mucha
France, 1898
Size: 81 1/2" X 29 5/8"UF

Motorcycles Comiot

Whereas Cycles Dion features the clear image of its product, (As seen on page 24), Steinlen chooses to sell the attractive young woman and her enjoyment of using the product.

Upon close inspection, both motorized tricycles look very similar. Unfortunately, the sizzle didn’t last while the Cycles Dion streak lasted until the 1950’s. But the real winner is Steinlen’s poster design here, which has found itself into many museum collections and widely exhibited throughout the world.

17728
Motocycles Comiot
Theophil Steinlen
France, 1899
Size: 85" X 61"

Caffaro - Political Newspaper, Founded 1874

The transition between a monarchy and a Republican form of government took nearly ten years, essentially mirroring the time of the conflicts in the American Civil War.



In Italy since there were so many city-states with their independent political parties, the formation of Italy as we know it today was a political act that continues today. Although fewer today, after World War II, there were in excess of fifty different political parties throughout Italy. It is understandable that there would be a publication directed at these politicos and Il Caffaro was one of the best at the time.

16915
Caffaro
Giovanni Mataloni
Italy, 1900
Size: 92" X 44"UF

Mele & Company, Italian Department Store in Naples has the Largest Assortment of Childrens Clothes with Guaranteed Best Prices.

Knowing the importance of consistency in advertising imagery, Mele authorized some of the most beautiful posters ever created in Europe. They were always large, depicting beautiful people in magnificent clothes they buy only at Mele. Whether it be for men’s clothing, women’s fashion or children’s clothes, all could be found at Mele.

Located in Naples, one of the poorest areas of Italy, the region suffered during the 1930’s world depression with many people in the area migrating to the United States. With fewer customers with less money to spend, this great department store closed in 1932.

16776
Magazzini Mele & C.
Italy, 1900
Size: 66" X 45"UF

Ladies Daily Mail

Poster translation: "8 pages 4 times a week. With rich full color engravings on the front page and 8 more pages of the latest most interesting fiction of the day. 5 lire per year or 10 centismos(cents) each issue."


Clearly one of the most beautiful posters in the collection, Corriere Delle Signore is a woman’s periodical of the day, highlighting women’s fashion as well as homemaking suggestions. The industrial age at the end of the 19th Century saw many life style changes both in the home and office. Clothing was divided into totally homemade, readymade but in limited sizes or custom made. Custom made was divided into prefabricated foundations where the milliner or tailor would then add the finishing details of pockets, ribbons, belt loops and of course the external fabric. For the wealthy, the consumer would go to a dress maker or tailor who would either use a made to measure article of clothing where the sleeves, pocket design, ornamentation would be added to a precut factory piece of goods. Corriere brought to the fashion industry images of the latest Paris haute couture lines as well as mail order patterns that the house wife can make herself or point them out to her milliner and seamstress for a custom made dress.

In addition to fashion, all sorts of home making ideas were included for the kitchen, washroom, sitting room and all through the house. Gift giving ideas and commentary on Italian life made the Italian woman more worldly and therefor more socially acceptable.

19579

Corriere Delle Signore
Italy, 1900
Size: 65" X 36"UF

Cycles Rochet

17032
Cycles Rochet
Charles Tichon
France, 1900
Size: 62" X 22 3/4"UF

Elixir de "Kempenaar"

19729
Elixir de "Kempenaar"
Adolfo Hohenstein
Belgium, 1900
Size: 55 1/2" X 36 1/4"UF

Lygie

Decorative Works of Mucha.

In 1901, Edouard Marchand, director of the Follies Bergère in Paris, along with Mucha, organized a gala charity show based on the poses of models used by Mucha for his various posters. Lygie was a freelance dancer well known to the Paris entertainment world. She was chosen to introduce the various model tableaux created by Mucha all of which was staged by Mucha including the costume and set designs. He named the dancer Lygie for the show after the name of the heroine of Quo vadis. (Mucha throughout his life was strongly inspired by mythological entities by their ideals in the search for beauty and purity as is evident in so many of his models.) The show was very popular and was performed throughout Europe. Mucha gave Lygie a reduced size of this poster but without the text for her own publicity. This, the full sized poster, is very rare.

19731
Lygie
Alphonse Mucha
France, 1901
Size: 69 1/2" X 23"UF

La Lanterne

Napoleon came to power to overthrow the French monarchy and restore power to the people. With his success in gaining power in France, Napoleon turned his armies toward the other imperial European governments. He had not only the backing of the French, he was welcomed by the peasants throughout Europe. Monarchists had to put an end to Napoleon to preserve their way of life and the status quo. The monarchists won at the Battle of Waterloo, Napoleon retreated back to Paris, was dethroned and put into exile. You are taught this in high school. Not so well known is that after that, the victorious Germans, seeing how weak France was without its great leader Napoleon, took back the long disputed northeast areas of France known as Alsace and Loraine, two neighboring regions of France with their own dialect and values. Napoleon III was put on the throne by the now governing monarchists, but he was a very weak leader. Seeing this, the Germans decided to take all of France. Why not? Paris was weak and Germany already had its army at the border after its victory at Waterloo and was ready to move.

France had been a Catholic country since the days of Charlemagne.    Being faithful to the Church, Frenchmen believed that the Church would be faithful to them, but no, the Church supported the new King and the power he had over the masses.   The French merchants, artesian and other blue collar-like workers rose up in rebellion against the monarchy.   On one hand, the monarchy had the Germans outside the town ready to burn Paris while the workers held Paris and threatened to burn down the city if the government did not change.   This little known civil war caused friends to become enemies, Catholics to kill clergymen, extensive executions by both sides.   The Parisians in the city elected their own new government and called themselves the Paris Commune. During the Paris Commune, the Catholic Church came out in favor of the monarchy, namely Napoleon III. The peaceful Communards were then largely slaughtered by the French Army during 1869-1870, killing the working classes which were historically aligned with the Catholic Church. Much of Paris was destroyed by cannon fire from both sides as well as blasting holes in buildings and destroying architectural monuments.

As a side note, the famous posterist Jules Cheret has a huge void in his oeuvre where he was unable to create posters. Print shops were destroyed or closed. Clients had no money. Wealthy Parisians had their homes confiscated so they moved quickly to the provinces or England for safety.

On a positive note, after the debris was removed, Paris, and its architects suddenly had room to construct its large boulevards, parks, exhibition centers and the famous avenue des Champs-Élysées. But for some of the small merchants with stores in these old building, they were now unable to compete with the new mega stores such Bon Marche , Galeries Lafayette, Les Grands Magasins (see Page 10) and others.







By 1890, the French government had allowed many to return from exile or were released from prison. Much of the City was rebuilt including Sacre Coeur whose construction was delayed by the fighting. This poster is a depiction of the hated Catholic clergy in La Lanterne, a political publication directed by Henri Rochefort. Looking for a silver lining, all this destruction allowed for the redesign of the city and the construction of the large boulevards for which Paris is now noted.

And by now, the posterists were back in business, Cheret started his own poster printing company and artistic styles and thinking were changing the look of posters. The Eiffel tower was under construction as was the Simplon Tunnel designed to connect Italy to the rest of Europe through France, the Moulin Rouge was busy and the 1889 World’s Fair was drawing crowds.

The name, La Lanterne, refers to the expression during the French Revolution to hang someone on the lantern pole or post, which were nearly at every corner and therefore very convenient. This practice stopped with the proclamation that executions must be by the guillotine. Figuratively, this magazine continued the demand.

19080
Eugene Oge
France, 1902
Size: D

Madame Butterfly

19638
Madame Butterfly
Leopoldo, Metlicovitz
Italy, 1904
Size: 57" X 39.75"UF

Cycle and Automobile Show - Milan

19644
Mostra Del Ciclo E Dell Automobile - Milano
Leopoldo, Metlicovitz
Italy, 1905
Size: 77.5" X 55"UF

Feste Laraine

Lariane Festival of Como
August-September 1905
Musical Concerts
A Grand Dove Launch
Championship Races
Venetian Festival on the Lake (in honor of the Press)
Gala Electric Illumination
St. Abbondio Fair
"Iris" by Mascagni. Performed at the Social Theater
The First National Exposition of Illustrated Postcards
International Swimming Competitions
National Gymnastics Conference
National Championship for Amateur Boxing
Mixed Music Concerts
National Regattas
National Shooting Competition
Horse Racing at Mornello
International Livestock Exposition
Fire on the Lake
Grand Auto and Cycle Conference
Royal Floral Course
Instrumental and Vocal Concert on the Lake
Concert Bands
Fantastic Lighting on St. Fermo Hill

In case of bad weather or other circumstance, the Committee reserves the right to cancel events, or change the dates.

19734
Feste Laraine
T. Borsato
Italy, 1905
Size: 55" X 39 1/2"UF

Exposition Decennale De L'Automobile Au Grand Palais

Although the commercial production of the automobile had only been around for a few years (Ford did not start producing his Model T until 1908) the public was enamored with the contraption. Large venues for the exhibition of what was to become known as motorcars plus airplanes and motorcycles occurred all over Europe.

Since service stations, automobile lots and dealerships did not exist yet, the trade show became the popular and common way for a manufacturer to meet potential clients and make sales.

In 1908 during the 11th Paris Motor Show… that show’s organizer, Gustave Rives, set up an aeronautical exhibition for the few flying machines in France at that time. The success of the aeronautical display at the automobile show led the next year to the “Exposition de la Locomotion Aerienne,” a full exhibition of aircraft with 380 exhibitors and some 100,000 visitors. The show was hosted by France’s first aerospace industries’ trade association, the Chambre Syndicale de L’industrie Aeronautique, created by pioneer aircraft manufacturers such as Louis Bleriot, Louis-Charles Breguet and Gabriel Voisin. The aircraft were floated on barges up the Seine and carried on horse-drawn wagons to the Grand Palais.

Rives published substantial reports on these shows.

Between 1901 and 1910, Rives was manager and organizer for special events at the Grand Palais in Paris, particularly the popular automobile and aeronautical shows. For each one, he designed elaborate temporary decorations. The aeronautical show was a spin-off from the auto shows.

19548
Exposition Decennale De L'Automobile
Rochegrosse
France, 1907
Size: 46.25" X 96"UF

Leslie Carter

Text to come.

19732
Leslie Carter
Alphonse Mucha
USA, 1908
Size: 83" X 31"UF

Peugeot

Ever since the first automobile was invented in the mid 1880’s, men wanted to be boys and see how fast they could make it go.

Ten years later was the first recorded automobile race in history immediately followed by races throughout Europe and the United States. Here we have the famous Peugeot that won the first French Grand Prix in 1912 at a speed in excess of 100 miles per hour.

Rene Vincent, one of the premier posterists of the time, skillfully works in the feeling of speed as the front tires leave the ground while the patriotic blue, white and red colors of France cover the sky.

17023
Peugeot
Rene Vincent
France, 1912
Size: 69" X 53"

Lottery for National Unity

Lottery to benefit the National Union for Soutwestern Moravia at Brno.
2257 prizes totaling 60,000 korunas.
The Grand Prize is 25,000 korunas.
Payment will be made after a 10% fee and state tax deduction of 20%.
Other prizes consist of gold and jewelry.
Tickets can be purchased for 1 koruna each at all news agents, shops and finacial institutions.
The drawing will take place November 17, 1912 at the Brne Festival Hall Lottery office in Brne, Large Room 21.

19733
Loterie Narodni Jednoty Pro
Alphonse Mucha
Czech Republic, 1912
Size: 73 1/8" X 38 3/4"UF

Bring Your Kodak

Text to come.

19648
Bring Your Kodak
Fred Pegram
England, 1914
Size: 120" X 79 1/2"UF

Remember Scarborough

Text to come.

19444
Remember Scarborough
E. Kemp-Welch
England, 1914
Size: 58 7/8" X 38 7/8"UF

Forward!

Up to now, British citizens were still very much in favor of the war and to get the Jerry. To get the Hun. Original enlistments were high for God and country. But by 1916, the common man, the guy who had to go to the front, was very much aware that all is not rosy and that people were returning with body parts missing or in boxes.



Voluntary enlistments dropped, so the thrust of advertising changed to guilt for not serving, notices to where to meet your draft board, and what we are doing to them.

This is the last poster created for the War Office depicting war as fun or an heroic act. Posters changed to “Do Your Bit,” “Watch your buddies” and similar themes.

15556
Forward!
Lucy Kemp Walsh
England, 1916
Size: D

Support the Sixth War Loan

Historians and art critics alike are unanimous in their descriptions of the differences between the tone of the war posters from the Central Powers side of the war and those of the Allies. Germany, and especially Austria, often used religious references in their posters, referring to the Gods of Germania, here a guardian angel offers a bouquet of flowers to the gods, ensuring peace and prosperity. This is a particularly beautiful poster, perhaps the most beautiful created during the war. It is very soothing to view, created in 1917 at the height of the war and the height of the Central Powers’ might.

Even more subtle is the fact that this poster was created by Landersbank of the great Rothschild banking dynasty, one of the largest banks in Europe. Much of the Austrian noble families as well as the crown used this bank for both personal and business banking. At the end of the war, with physical losses and then reparations to the Allies, most of these families as well as the state were ruined. The bank failed several years later.

15770
Zeichnet Die Sechste Kriegsanleihe
Alois Schram
Germany, 1917
Size: 64" X 27"UF

Red Soldiers Advance!

19347
Voros Katonak Elore!
Bela Uitz
Hungary, 1919
Size: 49" X 74"UF

Winter Sale at Derry & Toms

19347
Winter Sale at Derry and Toms
Edward McKnight Kaufer
England, 1919
Size: 58" X 38"UF

Bitter Campari

19680
Bitter Campari
Leonett Cappiello
France, 1921
Size: 77 1/2" X 54 3/4"UF

Six



19691
Six
Aly
France, 1923
Size: 61" X 45"UF

Stylo Bayard

19735
Stylo Bayard
Marc
France, 1925
Size: 61" X 45 1/2"UF

Slovakian Epic

Alphonse Mucha worked on the Slav Epic for almost twenty years and first unveiled it to the public in the fall of 1928.

The Epic consists of twenty monumental paintings all inspired by Slavic mythology, not unlike the mythology of Wagner and greater Austro-Hungarian Empire of which the Czech’s unhappy alliance came to an end after the end of the Great War in 1919. This poster is the formal announcement of this exhibition. What makes this poster so rare is the fact that most collectors at the time cut off the bottom text portion, just keeping the top image. Very few complete posters as this one remain in existence.

19329
Slovanska Epope
Alphonse Mucha
Czech Republic, 1928
Size: 91" X 44"

Mistinguett

19640
Mistinguett
C. Gesmar
France, 1928
Size: 123 1/2" X 44 3/4"

The USSR is the Action Brigade of the World's Proletariat.

Alternate title: "The USSR is the Stakhanovite bridge of the world's proletariat."

19182
Gustav Klutsis
Russia, 1931
Size: F

Bullfighting Arena Madrid

This is the full size poster one would see on the arena walls itself. Large, powerful and with all the details of who is doing what to whom. Bullfighting has been a family activity for years, not unlike going to a boxing match or football game. Bullfight posters of this size are very rare.


15829
Plaza De Toros Madrid
Roberto Domingo
Spain, 1934
Size: 93" X 45"UF

Camel Filters

19737
Camel Filters
Nick Price
USA, 1976
Size: 68" X 46 1/2"UF

Metropolitan Opera - Madame Butterfly

19312
Metropolitan Opera - Madame Butterfly
Larry Rivers
USA, 1978
Size: 33" X 45"UF

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