THE COMPLETE POSTER WORKS OF ROGER BRODERS
by Swann Auction Galleries
Platinum House 100 lots with images
December 15, 2011
Live Auction104 East 25th Street
New York, NY, 10010 USA
Phone: 212.254.4710
Fax: 212 979 1017
Email: swann@swanngalleries.com
Viewing NotesExhibition & Sale Schedule: Sale 2266 - The Complete Poster Works of Roger Broders - begins at 1:30pm in New York on Thurs, Dec 15. All material in Sale 2266 on display at our premises in New York City, 104 East 25th Street, as follows - Sat, Dec 10: 10am to 4pm - Mon, Dec 12: 10am to 6pm - Tues, Dec 13: 10am to 6pm - Wed, Dec 14: 10am to 6pm - Thurs, Dec 15: 10am to Noon.
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Lot 1: ROGER BRODERS (1883-1953). HUILE RENAULT. Circa 1920. 46x30 inches, 117x77 cm. Courbet, Paris.
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Description: ROGER BRODERS (1883-1953) HUILE RENAULT. Circa 1920. 46 1/4x30 1/2 inches, 117 1/2x77 1/2 cm. Courbet, Paris. Condition B+: repaired tears, restoration and overpainting in margins and image; darkened overall. One of Broders' earliest known published images is from a 1912 French fashion magazine. Journal des Dames et des Modes it depcits a woman in an elegant robe in front of a lacquered Chinese cabinet. The haute Art Deco mannerism of that fashion image did not appear in his posters until the late 1920s. Among his earliest posters is this ad for car oil. The Moliere-inspired doctor, treating a car with oil, is a figure quite far from the lithe Art Deco figures Broders would soon be drawing. The slogan "The Health of the Engine" is borne out by the visual association of the medical treatment. rare/span Broders p. 22, Perry / Broders p. 8.
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Lot 2: ROGER BRODERS (1883-1953). RENAULT BILLANCOURT (SEINE). Circa 1920. 30x45 inches, 77x116 cm. Courbet, Paris.
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Description: ROGER BRODERS (1883-1953) RENAULT BILLANCOURT (SEINE). Circa 1920. 30 1/2x45 3/4 inches, 77 1/2x116 cm. Courbet, Paris. Condition B+ / B: restored losses and overpainting in margins and image; repaired tears and restoration in image. In the years following the First World War, Renault re-tooled their factories from tank production to utility and farm vehicles. Broders designed two posters for the company (see lot 1), both printed by the same Parisian printer, Courbet. Broders p. 26, Perry / Broders p. 7.
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Lot 3: ROGER BRODERS (1883-1953). TUNIS. 1920. 42x30 inches, 108x77 cm. Daude Frères, Paris.
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Description: ROGER BRODERS (1883-1953) TUNIS. 1920. 42 3/4x30 1/4 inches, 108 1/2x77 cm. Daude Frères, Paris. Condition A. It is interesting to note that Broders' first travel posters were for destinations outside of France. Stylistically these early images were very similar to posters designed by other renowned travel poster artists such as E. Paul Champseix, Constant Duval, Julien Lacaze and Charles Hallo (Alo). Yet Broders' early posters show a commanding use of depth of field, each having a pronounced foreground and background, set off from each other by strongly contrasting colors and shades of light. Broders p. 110, Perry / Broders p. 88, Algerie p. 195, Bon Voyage p. 42, Chemins de Fer 171, not in Orientalist.
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Lot 4: ROGER BRODERS (1883-1953). ALGER / LA VILLE BLANCHE. 1920. 42x30 inches, 108x77 cm. Cornille & Serre, Paris.
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Description: ROGER BRODERS (1883-1953) ALGER / LA VILLE BLANCHE. 1920. 42 1/2x30 1/2 inches, 108x77 1/2 cm. Cornille & Serre, Paris. Condition A: minor restoration along right edge. Broders p. 112, Perry / Broders p. 87, Algerie p. 31, Suez p. 43, not in Orientalist.
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Lot 5: ROGER BRODERS (1883-1953). LA ROUTE DES ALPES. Circa 1920. 42x30 inches, 107x78 cm. Cornille & Serre, Paris.
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Description: ROGER BRODERS (1883-1953) LA ROUTE DES ALPES. Circa 1920. 42 1/4x30 3/4 inches, 107x78 cm. Cornille & Serre, Paris. Condition A: repaired tear in top margin; crease through bottom left corner. Again, Broders masterfully employs the use of depth of field, with the vegetation and people in the foreground and the route from Nice to Geneva in the background. His depiction of the people taking the tour of the Alps by motor coach is straight forward and illustrative, bearing none of the Art Deco stylization that would appear in his work later in the decade. Broders p. 66, Perry / Broders p. 57, Hillion p. 252.
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