Monday, July 20, 2026

 Favorite Film Posters: Risque + Sexploitation

All vintage original posters sold by Vasta Images/Books in the early 2000's


Slaves In Bondage, 1937



 Confessions of a Vice Baron, 1943



 Fingerprints Don't Lie, 1951


\\

 Blonde Bait, 1956



 The Blonde With Green Eyes
Belgian release, circa 1957



 Teaserama. Irving Klaw film, Betty Page and Tempest Storm, 1955



 The Fruit is Ripe, circa 1960


La Diosa Impura (Mexican), 1963


\
 Le Diabolique Docteur "Z" (French), 1966
Jesse Franco director
For SALE! email Vasta



 Il Porto del Vizio (Italian), 1956



 Die Satansweiber von Tittfield
German release for Faster Pussycat! Kill! Kill!
Russ Meyer director, 1966



 Maitresse, 1975. Directed by Barbet Schroeder
English release. Poster designed by Allan Jones.
For SALE! Email Vasta



Strip Tease. France, 1963
Starring Nico. Music by Serge Gainsbourgh
_____________

eBay store link at top of page
vasta@earthlink.net
@vasta_archives

 Paris Artist's Ball circa 1913 ~ 1932

Le Bal des 4Z'Arts, the Four Arts Ball, began in Montmartre in 1892. It was a carnival-like celebration organized by the graduates from the four different creative disciplines of the l'Ecole Nationale des Beaux-Arts: architecture, painting, sculpture and printing. The bal immediately took on bacchanalian, orgiastic aspects and is credited with the invention of the strip-tease, documented as taking place in front of the Moulin Rouge in 1893. 

Bal participants were obliged to arrived in costume, however after hours of informal parading through the streets of Paris, much of what was worn was removed, resulting in ad-hoc displays of public nudity. Many Parisians and public officials objected to the lack of proper attire of the bal participants as well as the noisy parading through the streets. Nonetheless, the bal endured until 1966 and was in it's golden age from 1915 through the 1930s.


Above is the cover of a special issue of EROS magazine devoted to the Bal des 4'Zarts, published in Paris, circa 1922 with text by Parisian artist and writer Andre Warnod. It includes full-page facsimiles of the original, small format posters created by beaux-arts students + photographs of the participants as well as a basic history by Warnod. The following five illustration are from this special issue.


 Poster for the 1920 Bal by P.Labbe

\
 Poster for the 1914 Bal by Georges Barbier

 Costumed participants photographed during the parade


 Poster for 1921 by P.Labbe

 Costumed participants (togas were popular for many years) photographed 
during the parade
___________

 Original photograph 4.5" x 6.25" circa 1923 showing a
large group of participants\

The next eight illustrations are scans of the original posters from a collection assembled approx. 30 years ago. They measure from 5" x 7" to 6.5" x 12". The posters were beautifully printed, most often by letterpress on quality art-paper. In most instances the posters served a dual purpose: to promote the bal and also to provide a ticket for each one of the participants for entry to the after parade party. After paying for the ticket it was rubber-stamped and signed by members of the committee.


Poster with ticket attached, 1932


Poster with ticket removed, 1913


Poster with ticket attached, 1924


Poster with ticket attached + signatures and rubber stamp, 1925


Poster will ticket attached, 1923


Poster with ticket attached, 1925


Small format announcement, 1920


Poster with ticket attached + signatures and rubber stamp. Note signature 
of Leo Fontan artist, illustrator and editor 
of La Vie Parisienne

__________

eBay store link at top of the page
vasta@earthlink.net
@vasta_archives


German Style & Fashion: Turn-of-the Century

In Germany at the start of the 20th century there was an explosion of creativity seen in all aspects of life. The fine arts, architecture, furniture design and fashion were all moving towards an exciting new look. This artistic movement, called art nouveau in France and Jugendstil in Germany (the name taken from one of the most influential lifestyle magazines of the era, Die Jugend), was a creative movement of modernity, finding inspiration from natures designs and the living world.\\

My interest in all things antiquarian, as always, leads to material related to my areas of speciality. Today's post illustrates two publications from Germany that show the influence of Jugendstil on art, illustration and book publishing.


DAS ALBUM. Published in Germany, circa 1902. A large format, bound volume of 12 issues with decorative binding. Das Album, similar in content to L'Album, published in Paris at the same time, was filled with beautiful illustrations in each issue, many full-page and in color. 

As was common at this time for publications appealing to a large audience (the turn-of-the-century is the birth of "pop-culture" magazines) Das Album focused its cutting edge style reflected in the growing interest of popular entertainments. Typical subject matter included the cabaret scene, music-hall shows, cafe concerts, "street festivals", the "karnival" (costume parties) and amusement parks. It appears that none of these activities would be complete without displays of women drinking and smoking and otherwise dressed seductively in public.

At first glance much of what we see from the worlds of German and French nightlife (read that as Berlin and Paris) seems quite marvelous with up swept hair-dos, large hats and elegant dresses and thanks to the can-can, hundreds of kicking legs in frou-frou lingerie. The high life! However much depicted at the time put a glossy veneer on activities that were marginally acceptable such as prostitution and the men who supported them. Looking closely at many of these illustrations are subtle depictions of prostitutes, usually attended by much older, distinguished looking gents. Wealthy mustachioed fellows, rarely without a bottle of champagne-on-ice at hand.

All that being said, this was an exceptional period, making art and illustration available to the average person via periodicals like Das Album and to a more affluent clientele via the Reznicek album which follows.


Title page, illustration by J.Wely

\

Cover illustration by Widhopff



Unsigned cover illustration



Unsigned cover illustration



Full-page illustration by Gerbault
____________

UNTER VIER AUGEN (Private Eyes). F. von Reznicek Album. Published in Munich: Albert Langen Verlag, 1908. Large format hardcover, beautifully printed in full-color. All illustrations full-page.

Reznicek's illustrations in some ways epitomize the "high" and "low" of German society at the turn-of-the-century. On the one hand are the incredibly elegant women and men in gowns and formal clothes and on the other the archetypal images of older men with seductive younger women in their bed chambers. There is no doubt that within these beautifully mannered scenes of women undressing from copious layers of undergarments and corsets, that these are working girls, prostitutes, preparing to engage their clients.


Stamped, partially embossed, hardcover binding printed in color


Title page

The next five scans are full-page illustrations from Unter vier Augen






_____________

Click link at top of the page for eBay store
vasta@earthlink.net
@vasta_archives

 Surrealist Postcard Set: Paris 1937


In January, 1938 the last of the International Surrealist Exhibitions took place in Paris at the Galerie des Beaux-Arts on the left bank. The exhibition, marking the end of the first generation of surrealism in Paris, included more than 60 international artists: Salvador Dali, Marcel Jean, Oscar Dominquez, Man Ray, Andre Masson, Wolfgang Paalen, Max Ernst, Kurt Seligmann, Marcel Duchamp et al; and organized by Andre Breton and Paul Eluard. The exhibition, which scandalized many who attended, contributed numerous iconic images that are an integral part of the surrealist canon.
______________________

Illustration at the top: postcard number 1 ~ Marcel Duchamp 
Ampoule contenant 50 c.c. l'Air de Paris
___________________

Prior to the exhibition in 1937, Georges Hugnet, celebrated surrealist artist, editor and publisher, invited artists participating in the exhibition to contribute artworks for a set of postcards he planned to published. The result was the set of twenty-one Cartes Surrealiste, Premiere Series (there was never a deuxieme series) published by Hugnet in 1937. Hugnet is best known for his extraordinary collages published in two rare and sought after surrealist books. Le Septieme Face du De (Paris, 1936) and A Huit Jours a Trebeaumec (Paris, 1968). Huit Jours was published as a facsimile of a Micheline Guide for the Bretagne region, the title being a play on words of an imaginary town, Trebeaumec i.e. "a very handsome guy".


Collage from Septieme Face du De (The Seventh Face of the Die), 1936



Cover of Huit Jours a Trebeaumec, 1968
________________

Background: my first encounter with the surrealist set known to Parisian 
postcard dealers as "les vingt et un", circa late 1980s

My earliest days in Paris as a dealer, starting in 1984, were focused on rare, unusual and out-of-print books related to all aspects of photography and the cinema. Prior to becoming a dealer I was a collector for tens years and a part of my collection included American postcards, the type which might have amused Walker Evans: diners, roadside attractions, gas stations, highways and byways, real photo street scenes of small rural towns lined with businesses and cars parked head-in at the curb. Arriving in Paris after my first few buying trips, postcards gained my attention and by late 1985 I was hooked by the variety of European postcards, especially the classic "French postcards" depicting risque and nude images.

 
\

(from the top, clockwise) blue, letter press printed label; card number 6 ~ Joan Miro; typical back; card number 7 ~ Salvador Dali
________________

Once the Parisian doors opened to vintage postcards, the flood of material never subsided and each buying trip lead to other areas of interest. In those early days I was offered a surrealist set, and not knowing what its value was, I declined the offer. A few years later I was a willing buyer when a dealer, the successor  to Andre Gonthier, a pioneer in the field of postcards and one of the foremost Parisian postcard dealers and collectors, offered me not one, but multiple sets in yellow, pink and blue, the "official" surrealist colors.


(clockwise from upper left) card number 14 ~ Meret Oppenheim; card number 21 ~ Pablo Picasso; card number 17 ~ Roland Penrose; card number 18 ~ Marcel Jean
___________________

That day, as I considered the deal, it was getting to be 1:00pm and as was usual during my meetings with this dealer it was time to lock the shop, pull the metal grate halfway down the storefront and go to lunch. We crossed the street to the unnamed Arab restaurant directly opposite his shop on the narrow street. It could not have been any closer and also gave him a clear view across the street should any unexpected clients show up at his door. Most visitors  understood that the half closed gate indicated he was across the street. I came to learn after a few years of buying trips to Paris that shop owners, from the lowest "brocanteurs" (junk dealers) to the most sophisticated art gallery owners i) always broke for lunch and ii) sought out the restaurant closest to their business with the best food and ate lunch there every day.


(clockwise from upper left) card number 2 ~ Andre Breton; card number 8 ~ Hans Bellmer; card number 5 ~ Dora Maar; card number 4 ~ Paul Eluard
__________________

Over lunch, Jacques Maillet the dealer now in charge of the ABC Gonthier postcard shop since the sudden death of Madame Gonthier and the subsequent retirement of her husband Andre, told me the story of "le vingt et un". An unnamed bookseller, on what was once "book row" on the rue de Seine on Paris' left bank, had a cache of the surrealist sets, all like new from the printer. In  the late 1970's he approached a few potential buyers in the book trade. None were interested. Eventually the word arrived at Gontier's door that "les vingt et un" was available in quantity. He sent a young assistant to investigate (Marc Lefevre later to become one of the leading postcard dealers) and later that day he arrived back at the shop with all the available sets. As many as 30 sets were stored, undisturbed in the back room of Gonthier's small shop on the rue Richard Lenoir, until the late 1980's.


(clockwise from upper left) card number 3 ~ Max Ernst; card number 12 ~ Hans Arp; card number 10 ~ Yves Tanguy; card number 9 ~ Man Ray
_________________

With our mechoui and cous-cous lunch complete, Jacques finished relating the details of the story. He knew that all the available sets, other than the ones he had already sold to other dealers and collectors, were in his possession. Convinced as I was years earlier that Jacques and this small shop, though always dirty, the unwashed windows clouded by years of cigarette smoke, was the real deal, I purchased my first three sets, one in each of the surrealist colors! Over the years I would sell a set and buy a set, until one day, when I asked for another set, his reply was "desole, tout vendu" - sorry all sold. 


(clockwise from upper left) card number 20 ~ Nusch Eluard; card number 16 ~ Jacqueline Breton; card number 15 ~ Rene Magritte; card number 19 ~ Wolfgang Palen



(clockwise from the left) card number 13 ~ Georges Hugnet; card number 1 ~ Marcel Duchamp; card number 11 ~ Oscar Dominguez


Card number 11 ~ Oscar Dominguez
Ouverture / Opening
__________

Link to eBay store at the top of the page
vasta@earthlink.net
@vasta_archives