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Aside from a few random tags the building was untouched. That was until now. Join us as artists Disposable Hero, MadOne & Family Soda transform a baron building into a Free Art Gallery.

Enjoy

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In their absence, Saddam Hussains tyranny, the Iran-Iraq war and the two Gulf Wars consequently caused many Iraqi intellectuals, artists and prominent individuals to leave the country. Faisel and Modhir never managed to go back to their motherland. Instead, they manifested their own artistic independence as well as their desire to participate in the important changes taking place in the world of art, for Iraq.

These two artists used their art to pursue their artistic dreams for their country. Their art became ambassadors that represent Iraq in an international milieu of artists, intellectuals and art collectors.

Iraq: Two Faces, presents a selection of paintings that epitomise the striking look of Faisel Laibi and the bold spirit of Modhir Ahmed.

The result is an unusual combination modern realism and post modern two-dimensional art a clash of radically two different styles that has been coexisting for more three decades but with one unified objective: To redefine the world view on Iraqi tradition, modernism and the avant-garde.

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This is a once-in-a-lifetime opportunity to acquire these extraordinarily rare and important works in exceptional condition, said Nicholas Lowry, Swann President and Poster Specialist.

The auctions top lot is a copy of Lautrecs Moulin Rouge, La Goulue, 1891, the artists first poster, in the very rare three-sheet version, and with the original top banner. Likely the single most important poster in the history of graphic arts, the enormous color lithograph advertises a performance by can-can dancer La Goulue at the famous cabaret. When the poster was first released, dealers found the size unmanageable and discarded the top banner, making versions with the original top virtually unavailable. The provenance goes back to Lautrecs own estate, after which it passed on to his close friend, art dealer Maurice Joyant, and then descended to his heirs. (Estimate: $250,000 to $350,000).

Other featured works by Lautrec include The Chap Book, with an image of one of Lautrecs favorite haunts, the Irish-American Bar at 33 Rue Royal. Not mounted on linen, this example in its original paper state is basically in the same condition as the day it was printed ($50,000 to $75,000); Salon des Cent, a poster also referred to as La Passagère du 54 or Promenade en Yacht, inspired by a beautiful young woman Lautrec met in the summer of 1895 when he was traveling by ship to visit his mother. The image was created from a photograph taken aboard the ship ($50,000 to $75,000); and La Loge au Mascaron Dorè [The Box with the Gilded Mask], which offers the artists only head-on view of a theater box—all others were shown from the side. This example is the works first state, which was printed in a run of only 100, with very wide margins, signed and numbered by the artist ($40,000 to $60,000).

Among the Mucha highlights in the collection are an exquisite 1896 image for Job rolling papers, which features the long, luxuriant tendrils of a young womans hair intertwining with the smoke from her cigarette, a recurring motif in Muchas posters ($20,000 to $30,000); Zodiac, 1896, an example of the full maturity of the artists style, with every one of his signature design elements represented, this is the original version of the image, published as a calendar by Champenois ($15,000 to $20,000); Reverie, 1897, one of Mucha’s most popular designs, this version with no text was sold to collectors and connoisseurs ($15,000 to $20,000); and a previously unknown variant of the Times of the Day, a calendar used to advertise a Parisian store specializing in signs and window shades ($12,000 to $18,000).

Notable works by Mucha among the material from other consignors are the celebrated Bières de la Meuse, 1897, considered a classic in its own time ($30,000 to $40,000); Monaco, Monte-Carlo, a lush and symbolic image, 1897 ($20,000 to $30,000); and Flirt, a romantic advertisement for Lefevre-Utile biscuits, 1899 ($8,000 to $12,000).

Belgian Art Nouveau is represented by a small run of works by Privat Livemont, including his masterpiece Absinthe Robette, Brussels, 1896 ($12,000 to $18,000); and Adolphe Crespins poster for the famous architect and designer Paul Hankar, Brussels, 1894 ($8,000 to $12,000).

Desirable Italian posters include Leonardo Bistolfis Prima Esposizione Internazionale dArte Decorativa Moderna, Turin, 1902, depicting muses dancing in a field ($10,000 to $15,000); and Giovanni Matalonis La Tribuna Roma, for a Rome newspaper, 1897 ($4,000 to $6,000).

The auction also includes several works by Jules Cheret, among them Palais de Glace, depicting elegant ice skaters, Paris, 1896 ($12,000 to $18,000), and a set of four panels representing The Arts, a triumph of color lithography ($40,000 to $60,000); Théophile-Alexandre Steinlens Lait Pur Stérilisé, 1894, featuring his signature cats ($20,000 to $30,000); Maurice Biaiss La Maison Moderne, 1900, promoting a store devoted to the Art Nouveau finery of the day ($8,000 to $12,000); and two of OGalops posters for Michelin picturing the iconic Bibendum, aka the Michelin Man, Nunc est Bibendum / Le Pneu Michelin Boit lObstacle, circa 1898 ($6,000 to $9,000), and Le Coup de la Semelle Michelin, 1913 ($5,000 to $7,500).

Rounding out the sale are works by Cappiello, Grasset and Pal. There are examples from the German Secession; American works by Bradley; and posters promoting champagne, chocolate, and much more.

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