4191 - 4305
FINE ARTS - VARIA, CATCHPENNY PRINTS, COMMERCIAL ART, MENU-CARDS, PAPER,
PAPER-CUTTINGS, PICTURE POSTCARDS, POSTERS etc.
76 4271 Picture postcards Paraguay Collection of ±35 col picture postcards 
- A few w. sm. defects.
= Only very early postcards. Mainly of Paraguay, i.a Asuncion, Montevideo, Rio de Janeiro, San Bernardino and Tobas-Tolderia.
76 4272 Picture postcards Scandinavia Album with ±270 col picture postcards 
- A few w. sm. defects.
= Comprises mainly views of Norway and Sweden and a few of Germany.
76 4273 Picture postcards Scandinavia Collection of ±125 col picture postcards 
- A few w. sm. defects.
= Early postcards only. Comprises i.a. Copenhagen, Fredensborg, Knivsta, Stavanger, people in folkloristic dress and royalty.
76 4274 Picture postcards Spain Album with ±155 col picture postcards 
76 4274 Picture postcards Spain Album with ±155 col picture postcards 
76 4274 Picture postcards Spain Album with ±155 col picture postcards 
76 4274 Picture postcards Spain Album with ±155 col picture postcards 
76 4274 Picture postcards Spain Album with ±155 col picture postcards 
- A few w. sm. defects.
= Comprises i.a. Barcelona (i.a. International exposition 1929), Madrid, Sevilla and a few of the Royal family.
AND 1 other album w. ±215 mounted small photographs and picture postcards of the Pyrenees, Northern Spain and Southern France (±1925).
76 4275 Picture postcards Switzerland Collection of ±225 col picture postcards 
- A few w. sm. defects.
= Comprises i.a mountain trails, coastal towns; the larger cities and women in Swiss dress.
76 4276 Posters Anonymous 20th cent 
= Original frame.
76 4277 Posters Anonymous 20th cent 
- Creased; a few tears closed w. tape on verso.
76 4278 Posters Borgoni M 1869 1936 
- Laid down on linen; undisturbing triangular restoration in upper left corner (5x5x7 cm.); closed tears and sm. chips in lower edge. Nevertheless an attractive poster.
76 4279 Posters Chéret J 1836 1932 
76 4280 Posters Chéret J 1836 1932 
76 4280 Posters Chéret J 1836 1932 
76 4280 Posters Chéret J 1836 1932 
- Sl. browned, especially blank margins; sl. frayed; edges very brittle.
Idem. "Halle aux Chapeaux. Le plus vaste entrepôt de Chapellerie de la Capitale." Col. lithogr. poster, 37x28,2 cm., signed on the stone, printed by Chaix, Paris. Idem. "Halle aux Chapeaux 1892. Le plus vaste entrepôt de Chapellerie de la Capitale."Col. lithogr. poster, 37,1x28 cm. (leaf 50x38,7 cm.), signed on the stone, printed by Chaix (Ateliers Chéret), Paris. - AND 2 variant copies and 28 duplicates by/ after the same for the same company, greater part on brittle paper.
76 4281 Posters d'Ornellas 1st half 20th cent 
76 4281 Posters d'Ornellas 1st half 20th cent 
76 4282 Posters Escher G b 1945 
- Both rolled.
= In 1982 15 posters were issued by Spanish artists on the occasion of the 1982 world football cup.
76 4284 Posters Monogrammist 'C L ' 1st half 20th cent 
- Occas. (sl.) frayed/ trifle nibbled by silverfish.
76 4285 Posters Monogrammist 'KJ' 1st half 20th cent 
= Sometimes attributed to Jean-Léon Gouweloos.
76 4286 Posters Post W b 1936 2020 
76 4286 Posters Post W b 1936 2020 
76 4287 Posters Roessel A van 1883 1947 
- Sl. creased and frayed; some foxing in top margin.
= SEE ILLUSTRATION PLATE XLII.
76 4288 Posters Sandberg W 1897 1984 
76 4288 Posters Sandberg W 1897 1984 
76 4289 Posters Toorop J Th 1858 1928 
- Sl. waterstained in left margin; rolled and creased; a few (partly closed) tears in upper and lower margin, partly extending into image (max. ±7 cm.).
76 4290 Posters Voormann Klaus b 1942 
- Formerly rolled; a few sm. (closed) tears in top margin and top margin strengthened w. tape on verso; traces of former tipping on in corners on verso (w. tiny chip in lower right corner).
= Nice promotional poster for the Revolver album after the design that Klaus Voormann made for the album. "Voormann told The Guardian that John Lennon approached him during the recording of Revolver: "He just said, 'Got any ideas for our new album cover?' I thought: 'Shit! Doing a cover for the most famous band in the world!' At moments like that, you could suddenly forget that they had once been scruffy little Liverpool boys. I thought, 'My God, I cant do that!'"
The Beatles invited Voormann to the Abbey Road studio for a preview of what they'd recorded. "When I heard the music, I was just shocked, it was so great," he said. "So amazing. But it was frightening because the last song that they played to me was 'Tomorrow Never Knows.'"
The lyrics of "Tomorrow Never Knows," Revolver's final track, were adapted from Timothy Leary's book The Psychedelic Experience: A Manual Based on the Tibetan Book of the Dead. The use of tape loops, backward recordings and Ringo Starr's hypnotic drumming helped create the psychedelic vibe - and influenced Voormann's cover art." (F. Mastropolo, The Story Behind the Cover of the Beatles' 'Revolver', referable on https://ultimateclassicrock.com/beatles-revolver-cover/).