Montaut, Ernest (31 results)

In 4° grande (cm 34x24) 12 pp.n.n. e 25 tavole a colori: corse automobilistiche fine '800-1914 nelle litografie di Ernest Montaut. Edizione fuori commercio, testo italiano e inglese. Tela editoriale, piatto figurato, astuccio cartonato. Volume freschissimo, in ottimo stato. All books are in stock in fine condition or described meticulously. Very safe packaging ***Books dated over 70 years old: ONLY SHIPPING WITHIN ITALY - please do not order if locaded abroad***.…

No binding. Condition: Very Good. CELEBRATING RENAULT CARS. 450 x 785 mm., (paper size), hand coloured pochoir print, in excellent condition. Clendenin stated that 'The Renault 1908 . is commonly called the Bluebird and is one of the most valuable and sought after'. A superb poster celebrating the entry of Ferenc Szisz (1873-44) in his Renault number 4 at the French Grand Prix at Dieppe. Szisz has gone down in the annals of Grand Prix racing as the winner of the first ever Grand Prix held at Le Mans in 1906, also in a Renault. That race was held on a closed public road circuit over two days, six circuits each day of a 64-mile route for a total distance of 769 miles. Szisz won in just over 12 hours with a top speed of 96 mph. The cars were allowed a driver and a mechanic. One of the key factors in Renault's victory was the detachable wheel rims seen here designed by Michelin, which allowed tire changes to occur without having to prise the tire and tube on and off the rim.The driving force behind the decision to race on a circuit ? as opposed to racing on ordinary roads from town to town ? was theParis to Madrid road raceof 1903. During this race several people, both drivers and pedestrians were killed. These included Marcel Renault (1872-1903) one of the founders of the Renault firm. The race was stopped by the French authorities at Bordeaux. Hundreds of thousands of spectators would line the roads with no safety in place. Further road-based events were banned.The artist here is Ernest Montaut (1878-1909) who is the most famous of the early illustrators of motor sports. He was born in Montauban, north of Toulouse, into an era in France where the motor car was beginning to catch the public imagination. Until Montaut, there had been no artist of motor racing. The cars had developed into large machines with big engines and were now being raced town to town on roads rutted by horse and cart. The thrill of these roaring down the road was captured best by Montaut, who began in 1897 to chronicle these races in art. He drew upon the poster art of the period produced by the likes of Henri de Toulouse-Lautrec (1864-1901) and Jules Cheret (1836-1932). 'His lighting can be Impressionist, his trees, swaying to the passage of a car, take on Symbolist curves. He is not afraid to colour like a Fauve' (Tubbs). In this image of a Renault a swallow is included lower right, a symbol of speed.He is credited with inventing two artistic methods to illustrate speed amongst others. The use of speed lines to indicate movement, the bending of the foreground of the car all help to project the feeling of speed and power. It was however Diego Velasquez who first blurred spinning wheels in a painting entitled 'The Spinners' from 1657! He drew directly on stone from which each print was made. Then followed the extensive hand coloured process using several stencils elaborately cut for each image, one for each colour. This is a process known as pochoir, a forerunner of the modern silk-screening process. As demand grew, he took on more staff eventually employing about a dozen to do the colouring alone. The motor car industry was booming, and his posters were used to decorate showrooms to encourage sales. He was not only known for motor cars, but his posters depicted other motorised machines, especially aeroplanes, another recent invention, along with dirigibles and motorboats. His earliest posters date from the late 1890s but the glory period is the early 1900s leading up to his tragic death in 1909 from appendicitis. Automobile Quarterly (Summer 1962) 'Montaut & Atelier' pp. 196-213; Clendinin, Dorothy (1976) 'Lively Legacy. The first automotive prints for the first automotive enthusiasts' in 'Road & Track' pp. 70-73; Helck, Peter (1977) 'Car Classics'; 'Collection de L'Atelier Montaut-Mabileau' (1992) Musee de La Colline de L'Automobile; Tubbs, Douglas B. (1978) 'Art and the Automobile'.…

cm 45x90 colored pochoir print. Litografia colorata con la tecnica del pochoir. Hubert Latham (1883-1912), pioniere dell'aviazione francese, in volo con l'Antoinette l'aereo con cui compì numerose imprese.

cm 45x90. colored pochoir print. Litografia colorata con la tecnica del pochoir. Louis Bleriot (1872-1936) fu il primo ad attraversare la Manica il 25 luglio 1909.

cm 89x45 (vert.). colored pochoir print. Litografia colorata con la tecnica del pochoir. Hubert Latham (1883-1912), pioniere dell'aviazione francese, compì con l'Antoinette il primo volo sopra Berlino. Leggermente brunito al margine inferiore con l'iscrizione.

cm 45x89. colored pochoir print. Litografia colorata con la tecnica del pochoir. Ottimo stato di conservazione. Roland Garros (1888-1910) ottenuto il brevetto di pilota nel 1910 e avendo dimostrato una particolare inclinazione al volo, vince su un Bleriot il Grand Prix dell'Aéro Club de France nel 1912.…

cm 42x87. colored pochoir print. Litografia colorata con la tecnica del pochoir. La litografia si riferisce probabilmente all'impresa compiuta da Henri Farman (1874-1958) dell'anello o loop di un chilometro, da lui compiuta per primo che gli valse la vittoria al Grand Prix de l'aviation nel 1908.

cm 45x89. colored pochoir print. Litografia colorata con la tecnica del pochoir. Ottima conservazione. Il poster ricorda l'impresa di Roger Sommer (1877-1965), con il biplano che da lui prese il nome: nel 1909 batte il record del mondo di durata di volo. Sommer fu inventore e costruttore di aerei, un pioniere in questo campo. …

cm 45x89. colored pochoir print. Litografia colorata con la tecnica del pochoir. Santos Dumont (1873-1932), brasiliano, fu un pioniere dell'aviazione; disegnò e costruì alcuni dei primi dirigibili, compì il famoso volo attorno alla torre Eiffel. La Demoiselle, monoplano costruibile in soli 15 giorni, fu l'ultima creazione di Santos Dumont. ottime condizioni.…

It illustrates a fine Renault limousine in the foreground (the lurcher) with the famous (renault-powered) airship 'L'Hirondelle' (swallow) in the background, with the two combined with a game of tennis which had become popular towards the end of the nineteenth century. The Gamy-Montaut prints document various historical events in the early history of transportation, including Power Boat Racing, Motorcycle and Motor Car Racing, Motor Car Touring, Zeppelins and Tennis. Having observed the rapidly growing interest in cars and racing during the early years of motor cars, Ernest Montaut produced his first motoring prints in the mid-1890s, and by 1897, his drawings were pictorial records of the many races in France. Montaut's work was extremely well received in the Paris of his day and was shown in the fashionable shops of the Rue de l'Opera and Rue de la Paix, as well as in the better galleries. Marguerite Montaut, Ernest's wife, joined him in his work producing not only racing prints but also developing a fine series of aviation prints commemorating such events as the first flights on the early European mail routes. While Marguerite Montaut's works were occasionally signed 'M. Montaut', she also used the name 'Gamy', an anagram for Magy. The Gamy-Montaut prints were all produced by the pochoir process in which the outlines for each image were drawn onto lithographic stones and printed. Using these uncoloured prints as a template, elaborate stencils were cut for each colour. Water-colour was then brushed onto the image through the stencil. The colouring process was quite complex, with each print taking several days to produce. It was also quite labour intensive, and the studio of Gamy-Montaut therefore employed a group of trained artists, including Nevil and Campion, to assist in the colouring. Hand-coloured pochoir print, minor marks in left margin. Paper size: 45 x 90 cm. Framed and glazed, overall size: 52.5 x 98.5 cm x 4.5 cm.…

Original antique advertising poster - Clement-Bayard En Reconnaissance - featuring a dynamic design depicting the driver and passengers in military uniform in a red Clement-Bayard car racing at speed diagonally in the foreground with white trails and smoke behind it, an airship in the sky above with a biplane structure suspended below showcasing the company's involvement in aviation. Artwork by the pioneering automotive artist Ernest Montaut (1879-1909). The French company Clement-Bayard (1903-1922) was founded by the entrepreneur Gustave Adolphe Clement manufacturing bicycles, cars and aircraft at its Paris factory; it was taken over by Citroen in 1922. Printed by Via Decor, Paris.Large size. Good condition, staining, restored tears, creasing, printing errors, backed on linen. Size: 156x117cm. Ernest Montaut (illustrator).…

Ernest Montaut (1878-1909) was an innovative French poster designer whose all-too-short career captured the exhilarating new world of motorised transport, whether in the air, on the water, or especially at high speed on the ground. He introduced the stylistic conceits of close horizontal lines and forward-leaning perspective in his vehicles, for instance, to exaggerate the sense of rapid motion. This period from the mid-1890s saw not only the rapid evolution of the motor car, but also the application of the internal combustion engine to boat design, as well as being fundamental in making possible the whole new concept of powered flight. Montaut was joined in this endeavour by his wife, Marguerite (1883-1936), who expanding the range of earlier motoring posters to include aviation. She occasionally signed herself as M. Montaut, but more often as Gamy, an anagram of her familiar name, Magy. Following her husband's untimely death at the age of only 31, Marguerite continued their good work in the same distinctive and highly appealing style. This centred on the bold flat colours of the pochoir printing technique they mastered so well. Outlines and any text were printed lithographically, then corresponding stencils carefully prepared to allow in-filling by hand in watercolour and gouache, employing a number of artists for the purpose, leading to subtle variations in colour in each painstaking example, often taking days to complete. It is this combination of factors that gives these highly attractive prints their superlative quality. Hand-coloured pochoir print depicting a woman cross-country skiing, paper size: 45 x 90 cm. Framed and glazed, overall size: 49.3 x 93.5 cm.…

The symbiotic relationship between prestigious motor sports and technological advances in engineering, with the concomitant potential for mutual publicity, which are so familiar today, clearly date back to these formative years. Georges Boillot (1884-1916) is depicted taking the lead the French Grand Prix in Dieppe, in 1912, which he went on to win. He was driving the legendary Peugeot L76, powered by the first motor ever to to have double overhead camshafts and 4 valves per cylinder, still seen recognised as key elements of higher performing engines today. Boillot was in the same team as Jules Goux, who is depicted winning the Indianapolis 500, in 1913, in another print in this Gamy-Montaut series. It was during that race in 1914, that Boillot came within a whisker of breaking the 100mph barrier, recording a speed of 99.86mph. He was to retire after the next French Grand Prix later that year. He saw service during WW1, first using his driving skills to take the commander-in-chief, General Joffre, at high speed to meetings along the front, before seeking more excitement as a pilot. He bacame a flying ace, winning the Croix de Guerre and Legion d'Honneur, before being shot down and killed in 1916. Ernest Montaut (1878-1909) was an innovative French poster designer whose all-too-short career captured the exhilarating new world of motorised transport, whether in the air, on the water, or especially at high speed on the ground. He introduced the stylistic conceits of close horizontal lines and forward-leaning perspective in his vehicles, for instance, to exaggerate the sense of rapid motion. This period from the mid-1890s saw not only the rapid evolution of the motor car, but also the application of the internal combustion engine to boat design, as well as being fundamental in making possible the whole new concept of powered flight. Montaut was joined in this endeavour by his wife, Marguerite (1883-1936), who expanding the range of earlier motoring posters to include aviation. She occasionally signed herself as M. Montaut, but more often as Gamy, an anagram of her familiar name, Magy. Following her husband's untimely death at the age of only 31, Marguerite continued their good work in the same distinctive and highly appealing style. This centred on the bold flat colours of the pochoir printing technique they mastered so well. Outlines and any text were printed lithographically, then corresponding stencils carefully prepared to allow in-filling by hand in watercolour and gouache, employing a number of artists for the purpose, leading to subtle variations in colour in each painstaking example, often taking days to complete. It is this combination of factors that gives these highly attractive prints their superlative quality. Hand-coloured pochoir print, 47 x 91 cm., signed Gamy, laid on board.…

The Gamy-Montaut prints document various historical events in the early history of transportation, including Power Boat Racing, Motorcycle and Motor Car Racing, Motor Car Touring, Zeppelins and Tennis. Having observed the rapidly growing interest in cars and racing during the early years of motor cars, Ernest Montaut produced his first motoring prints in the mid-1890s, and by 1897, his drawings were pictorial records of the many races in France. Montaut's work was extremely well received in the Paris of his day and was shown in the fashionable shops of the Rue de l'Opera and Rue de la Paix, as well as in the better galleries. Marguerite Montaut, Ernest's wife, joined him in his work producing not only racing prints but also developing a fine series of aviation prints commemorating such events as the first flights on the early European mail routes. While Marguerite Montaut's works were occasionally signed "M. Montaut", she also used the name "Gamy", an anagram for Magy. The Gamy-Montaut prints were all produced by the pochoir process in which the outlines for each image were drawn onto lithographic stones and printed. Using these uncoloured prints as a template, elaborate stencils were cut for each colour. Water-colour was then brushed onto the image through the stencil. The colouring process was quite complex, with each print taking several days to produce. It was also quite labour intensive, and the studio of Gamy-Montaut therefore employed a group of trained artists, including Nevil and Campion, to assist in the colouring. Hand-coloured pochoir print, size: 45 cm x 90 cm. Framed and glazed, overall size: 49.3 cm x 93.5 cm.…

A group standing near their Panhard & Levassor automobile on a cliff side watch the airship, Republique, fly overhead. Ernest Montaut (1878-1909) was an innovative French poster designer whose all-too-short career captured the exhilarating new world of motorised transport, whether in the air, on the water, or especially at high speed on the ground. He introduced the stylistic conceits of close horizontal lines and forward-leaning perspective in his vehicles, for instance, to exaggerate the sense of rapid motion. This period from the mid-1890s saw not only the rapid evolution of the motor car, but also the application of the internal combustion engine to boat design, as well as being fundamental in making possible the whole new concept of powered flight. Montaut was joined in this endeavour by his wife, Marguerite (1883-1936), who expanding the range of earlier motoring posters to include aviation. She occasionally signed herself as M. Montaut, but more often as Gamy, an anagram of her familiar name, Magy. Following her husband's untimely death at the age of only 31, Marguerite continued their good work in the same distinctive and highly appealing style. This centred on the bold flat colours of the pochoir printing technique they mastered so well. Outlines and any text were printed lithographically, then corresponding stencils carefully prepared to allow in-filling by hand in watercolour and gouache, employing a number of artists for the purpose, leading to subtle variations in colour in each painstaking example, often taking days to complete. It is this combination of factors that gives these highly attractive prints their superlative quality. Hand-coloured pochoir print, paper size: 45 cm x 90 cm. Framed and glazed, overall size: 49.3 cm x 93.5 cm.…

Count Ferdinand von Zeppelin (1838-1917) developed his interest in airships as early as the 1870s. By 1895, he had patented the first of these iconic craft to carry his name, the patent in US following four years later. In 1909, he founded the Deutsche Luftschiffahrts-Aktiengesellschaft (DELAG), the world's first commercial passenger-carrying airline. As can be seen here, where this 1912 model is depicted gliding in a leisurely manner above the Rhine, the service provided mainly pleasure cruises rather than inter-city travel. Ernest Montaut (1878-1909) was an innovative French poster designer whose all-too-short career captured the exhilarating new world of motorised transport, whether in the air, on the water, or especially at high speed on the ground. He introduced the stylistic conceits of close horizontal lines and forward-leaning perspective in his vehicles, for instance, to exaggerate the sense of rapid motion. This period from the mid-1890s saw not only the rapid evolution of the motor car, but also the application of the internal combustion engine to boat design, as well as being fundamental in making possible the whole new concept of powered flight. Montaut was joined in this endeavour by his wife, Marguerite (1883-1936), who expanding the range of earlier motoring posters to include aviation. She occasionally signed herself as M. Montaut, but more often as Gamy, an anagram of her familiar name, Magy. Following her husband's untimely death at the age of only 31, Marguerite continued their good work in the same distinctive and highly appealing style. This centred on the bold flat colours of the pochoir printing technique they mastered so well. Outlines and any text were printed lithographically, then corresponding stencils carefully prepared to allow in-filling by hand in watercolour and gouache, employing a number of artists for the purpose, leading to subtle variations in colour in each painstaking example, often taking days to complete. It is this combination of factors that gives these highly attractive prints their superlative quality. Hand-coloured pochoir print, 44 cm x 88.5 cm. Framed and glazed, overall size: 49.3 cm x 93.5 cm.…

Original antique motorsport poster celebrating the Circuit Des Ardennes Belge 1906 race winner Arthur Duray (1882-1954) featuring a number 7 red racing car with the Cross of Lorraine-Dietrich emblem on it speeding towards the viewer followed by a green classic car in the background, passing trees with fields in the distance. The annual Circuit des Ardennes race was held at the Circuit de Bastogne from 1902 to 1907. Artwork by the French artist Ernest Montaut (1878-1909) credited with the invention of artistic techniques such as lines to create the impression of speed. Horizontal. Good condition, staining, browning, repaired tears, backed on linen. Size: 46x90cm. Ernest Montaut (illustrator).…

Original antique lithograph poster for the French car manufacturer Hautier (1899-1905): Hautier Ebrayage Metallique Progressif Automobiles Canots Moteurs / Hautier Progressive Metal Clutch Automobiles Canoes Engines - featuring a great design by Ernest Montaut (1879-1909) depicting four men looking over their wheels at a classic car driving at speed towards the viewer, the driver smiling as the fashionably dressed young lady passenger turns around to cock a snook / thumb her nose waving her fingers for fun at them, a cherub angel figure sitting on the front of the car looking up with the bold stylised lettering diagonally on the side and below, the Hautier company name above mechanical cogs across the top. Large size. Very good condition, repaired tears, minor creasing, light folds, minor staining, backed on linen. Size: 140x99cm. Ernest Montaut (illustrator).…

The archetype of French cyclecars the Bà dà lia was manufactured between 1910 and 1925 by Bourbeau et Devaux Co. of Paris. With the passenger seated at the front, the driver was at the rear steering the vehicle. In 1913 a Bà dà lia won the Cyclecar Grand Prix at Amiens (the year this print was made). The Gamy-Montaut prints document various historical events in the early history of transportation, including Power Boat Racing, Motorcycle and Motor Car Racing, Motor Car Touring, Zeppelins and Tennis. Having observed the rapidly growing interest in cars and racing during the early years of motor cars, Ernest Montaut produced his first motoring prints in the mid-1890s, and by 1897, his drawings were pictorial records of the many races in France. Montaut's work was extremely well received in the Paris of his day and was shown in the fashionable shops of the Rue de l'Opera and Rue de la Paix, as well as in the better galleries. Marguerite Montaut, Ernest's wife, joined him in his work producing not only racing prints but also developing a fine series of aviation prints commemorating such events as the first flights on the early European mail routes. While Marguerite Montaut's works were occasionally signed 'M. Montaut', she also used the name 'Gamy', an anagram for Magy. The Gamy-Montaut prints were all produced by the pochoir process in which the outlines for each image were drawn onto lithographic stones and printed. Using these uncoloured prints as a template, elaborate stencils were cut for each colour. Water-colour was then brushed onto the image through the stencil. The colouring process was quite complex, with each print taking several days to produce. It was also quite labour intensive, and the studio of Gamy-Montaut therefore employed a group of trained artists, including Nevil and Campion, to assist in the colouring. Hand-coloured pochoir print. Framed and glazed, overall size: 94 x 49 x 5cm.…

This example shows the American Aviator Glenn Curtiss, flying a Curtiss no. 2, as he took first prize in the 1909 Gordon Bennett competition in Reims, France. The Gamy-Montaut prints document various historical events in the early history of transportation, including Power Boat Racing, Motorcycle and Motor Car Racing, Motor Car Touring, Zeppelins and Tennis. Having observed the rapidly growing interest in cars and racing during the early years of motor cars, Ernest Montaut produced his first motoring prints in the mid-1890s, and by 1897, his drawings were pictorial records of the many races in France. Montaut's work was extremely well received in the Paris of his day and was shown in the fashionable shops of the Rue de l'Opera and Rue de la Paix, as well as in the better galleries. Marguerite Montaut, Ernest's wife, joined him in his work producing not only racing prints but also developing a fine series of aviation prints commemorating such events as the first flights on the early European mail routes. While Marguerite Montaut's works were occasionally signed "M. Montaut", she also used the name "Gamy", an anagram for Magy. The Gamy-Montaut prints were all produced by the pochoir process in which the outlines for each image were drawn onto lithographic stones and printed. Using these uncoloured prints as a template, elaborate stencils were cut for each colour. Water-colour was then brushed onto the image through the stencil. The colouring process was quite complex, with each print taking several days to produce. It was also quite labour intensive, and the studio of Gamy-Montaut therefore employed a group of trained artists, including Nevil and Campion, to assist in the colouring. Hand-coloured pochoir print. Framed and glazed, overall size: 51.3cm x 96cm x 4.5cm.…

Theophile Schneider, formerly of the Rochet/Schneider Company, began building his own cars in 1910. This car, a 2.8 litre 4 cylinder model, had an unusual radiator placement, on the dashboard. The Gamy-Montaut prints document various, mostly hurried events in the early history of motorized transportation, including Power Boat Racing, Motorcycle and Motor Car Racing, Motor Car Touring, Zeppelins and Airplanes. Clearly an enthusiast himself, Ernest Montaut produced his first motoring prints in the mid-1890s, and by 1897, his drawings depicted many races in France. Montaut's work was extremely well received in the Paris of his day and was shown in the fashionable shops of the Rue de l'Opera and Rue de la Paix, as well as in the better galleries. Marguerite Montaut, Ernest's wife, joined him in his work producing not only racing prints but also developing a fine series of aviation prints commemorating such events as the first flights on the early European mail routes. While Marguerite Montaut's works were occasionally signed "M. Montaut", she also used the name "Gamy", an anagram for Magy. The Gamy-Montaut prints were all produced by the pochoir process in which the outlines for each image were drawn onto lithographic stones and printed. Using these uncoloured prints as a template, elaborate stencils were cut for each colour. Water-colour was then brushed onto the image through the stencil. The colouring process was quite complex, with each print taking several days to produce. It was also quite labour intensive, and the studio of Gamy-Montaut therefore employed a group of trained artists, including Nevil and Campion, to assist in the colouring. Hand-coloured pochoir print. Framed and glazed, overall size: 93.6cm x 49.2cm.…

The Gamy-Montaut prints document various historical events in the early history of transportation, including Power Boat Racing, Motorcycle and Motor Car Racing, Motor Car Touring, Zeppelins and Tennis. Having observed the rapidly growing interest in cars and racing during the early years of motor cars, Ernest Montaut produced his first motoring prints in the mid-1890s, and by 1897, his drawings were pictorial records of the many races in France. Montaut's work was extremely well received in the Paris of his day and was shown in the fashionable shops of the Rue de l'Opera and Rue de la Paix, as well as in the better galleries. Marguerite Montaut, Ernest's wife, joined him in his work producing not only racing prints but also developing a fine series of aviation prints commemorating such events as the first flights on the early European mail routes. While Marguerite Montaut's works were occasionally signed 'M. Montaut', she also used the name 'Gamy', an anagram for Magy. The Gamy-Montaut prints were all produced by the pochoir process in which the outlines for each image were drawn onto lithographic stones and printed. Using these uncoloured prints as a template, elaborate stencils were cut for each colour. Water-colour was then brushed onto the image through the stencil. The colouring process was quite complex, with each print taking several days to produce. It was also quite labour intensive, and the studio of Gamy-Montaut therefore employed a group of trained artists, including Nevil and Campion, to assist in the colouring. Hand-coloured pochoir print. Framed and glazed, overall size: 93.6 x 49.2cm.…

This records the pioneering, but ill-fated, international race of 1903. The first motor race was run from Paris to Rouen in 1894. But there was strong official resistance to racing on public roads, thereafter. Only persistent lobbying by manufacturers eventually led to a reluctant change of heart. They argued such a race offered huge promotional potential for an industry now employing thousands of workers. The race attracted around 300 entrants, of which over 200 actually set off, starting in the gardens of Versailles at 3.30 am on Sunday, 24th May. Such was the lack of experience in planning such a vast event, staged over a course of 1307 km, that the lack of crowd control and failure to anticipate the amount of blinding dust stirred up led to numerous accidents and injuries, as well as around a dozen fatalities. Following emergency government intervention, both French and Spanish, the race was abandoned at Bordeaux. At that stage, Fernand Gabriel was in 3rd place, driving one of the four Mors cars with their powerful 90hp engines, capable of achieving 140kph. Ernest Montaut (1878-1909) was an innovative French poster designer whose all-too-short career captured the exhilarating new world of motorised transport, whether in the air, on the water, or especially at high speed on the ground. He introduced the stylistic conceits of close horizontal lines and forward-leaning perspective in his vehicles, for instance, to exaggerate the sense of rapid motion. This period from the mid-1890s saw not only the rapid evolution of the motor car, but also the application of the internal combustion engine to boat design, as well as being fundamental in making possible the whole new concept of powered flight. Montaut was joined in this endeavour by his wife, Marguerite (1883-1936), who expanding the range of earlier motoring posters to include aviation. She occasionally signed herself as M. Montaut, but more often as Gamy, an anagram of her familiar name, Magy. Following her husband's untimely death at the age of only 31, Marguerite continued their good work in the same distinctive and highly appealing style. This centred on the bold flat colours of the pochoir printing technique they mastered so well. Outlines and any text were printed lithographically, then corresponding stencils carefully prepared to allow in-filling by hand in watercolour and gouache, employing a number of artists for the purpose, leading to subtle variations in colour in each painstaking example, often taking days to complete. It is this combination of factors that gives these highly attractive prints their superlative quality. Hand-coloured pochoir print, 45 x 90.5 cm., laid on board. …

The Tracteur Châtillon-Panhard, or sometimes called Panhard-Châtillon, was a pioneering all-wheel drive vehicle developed from around 1910 by the French motor manufacturing company of Panhard Levassor and the French military. Following extensive trials of a number of such vehicles, the Châtillon-Panhard proved the most successful, and 50 were ordered in 1914 for use by the artillery. Capable of towing up to 15 tonnes, they replaced horses to haul heavy guns at the battle of the Marne, as depicted here. Ernest Montaut (1878-1909) was an innovative French poster designer whose all-too-short career captured the exhilarating new world of motorised transport, whether in the air, on the water, or especially at high speed on the ground. He introduced the stylistic conceits of close horizontal lines and forward-leaning perspective in his vehicles, for instance, to exaggerate the sense of rapid motion. This period from the mid-1890s saw not only the rapid evolution of the motor car, but also the application of the internal combustion engine to boat design, as well as being fundamental in making possible the whole new concept of powered flight. Montaut was joined in this endeavour by his wife, Marguerite (1883-1936), who expanding the range of earlier motoring posters to include aviation. She occasionally signed herself as M. Montaut, but more often as Gamy, an anagram of her familiar name, Magy. Following her husband's untimely death at the age of only 31, Marguerite continued their good work in the same distinctive and highly appealing style. This centred on the bold flat colours of the pochoir printing technique they mastered so well. Outlines and any text were printed lithographically, then corresponding stencils carefully prepared to allow in-filling by hand in watercolour and gouache, employing a number of artists for the purpose, leading to subtle variations in colour in each painstaking example, often taking days to complete. It is this combination of factors that gives these highly attractive prints their superlative quality. Hand-coloured pochoir print, 45 x 89 cm., signed 'Gamy', laid on board and mounted.…

Pochoir con ritocchi a mano di mm 420x870 su foglio di mm 450x900. Sulla scia del grande interesse suscitato nell'opinione pubblica dall'invenzione e dal primitivo ma veloce sviluppo del motore a scoppio, Ernest Montaut creÚ fin dal 1897 una serie di tavole raffiguranti gare di veicoli a motore; con la collaborazione della moglie Margherite (Gamy) produsse litografie acquerellate di auto, moto, motoscafi, aerei e dirigibili. Il complesso processo di colorazione delle litografie impegnÚ una numerosa squadra di artisti di alto livello, che contribuÏ all'enorme successo che le opere dei coniugi Montaut ebbero in tutta l'Europa contemporanea, affascinata dalla nascita e dalla veloce evoluzione che ebbe il motore nei suoi primi anni di vita. Bell'esemplare, finemente colorato. Nr.cat: P2280006.…

Print pochoir, colorata, cm 20,5x33. n. 17.

Print pochoir, colorata, cm 20,5x33. n. 16.

Print pochoir, colorata, cm 20,5x33. n. 22.

Print pochoir, colorata, cm 20,5x33. macchina che attraversa i binari su cui viaggia un treno.n. 200.

Print pochoir, colorata, cm 20,5x33. n. 22.