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Grand Prix d'Amerique, Goux le gagnant sur Peugeot à Indianapolis (Indianapolis 500), 1911
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Grand Prix d'Amerique, Goux le gagnant sur Peugeot à Indianapolis (Indianapolis 500), 1911

By GAMY-MONTAUT

Paris: Mabileau & Co, 1913. Hand-coloured pochoir print. Very good condition apart from some slight foxing in the right margin. The Lion-Peugeot of Jules Goux at Indianapolis in 1911. This was the last year of this complex car. The new Peugeot Company began racing in 1912, and won the Indy with Goux at the wheel in 1913. The Gamy-Montaut prints document various historical events in the early history of motorized transportation, including Power Boat Racing, Motorcycle and Motor Car Racing, Motor Car Touring, Zeppelins and Airplanes. Having observed the rapidly growing interest in cars and racing during the early years of motor cars, Ernest Montaut ( 1879-1909) 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 M. Montaut, Ernest's wife, continued his work after his death 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 usually used "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.

$1750.00

Coupe Vanderbilt / Le Match Gabriel -- Long-Island Railroad, au passage a niveau d'Hicksville
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Coupe Vanderbilt / Le Match Gabriel -- Long-Island Railroad, au passage a niveau d'Hicksville

By GAMY MONTAUT

Paris: M.M., 1910. Hand-coloured pochoir print. Very good condition. The Vanderbilt Cup began on Long Island in 1904, modeled after the European long distance races. The race was supported by the local elite and the fledgling AAA, while it was opposed by farmers, politicians and the local press. Eighteen competitors took part in the first race. The Gamy-Montaut prints document various historical events in the early history of motorized transportation, including Power Boat Racing, Motorcycle and Motor Car Racing, Motor Car Touring, Zeppelins and Airplanes. 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.

$1750.00

L'equipe "La Licorne" dans le Tour de France 1912 / Magneto Bosch, Carburateur Claudel
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L'equipe "La Licorne" dans le Tour de France 1912 / Magneto Bosch, Carburateur Claudel

By GAMY-MONTAUT after NEVIL

Paris: Mabileau & Co, 1912. Hand-coloured pochoir print. Very good condition apart from some light soiling in the left margin. The four cylinder, 10HP motor model pictured here was manufactured by the French company La Licorne (The Unicorn) and raced in the Tour de France of 1912 and 1913. La Licorne, which was named in honor of the founder, J. Corré, on whose family crest the fabled beast appeared, quickly became one of the most significant French automobile manufacturers. 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.

$850.00

Prix de la Nature (100 kil)/ E Dubonnet le gagnant sur monoplan Tellier moteur Panhard
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Prix de la Nature (100 kil)/ E Dubonnet le gagnant sur monoplan Tellier moteur Panhard

By GAMY-MONTAUT after Georges BRIC

Paris: Mabileau & Co, 1910. Hand-coloured pochoir print. Very good condition. The little known Tellier monoplane. As the man who was at the helm of the tow-boat for Voisin's Box-kite glider trials on the Seine, Tellier had long been associated with Voisin & Panhard. The Gamy-Montaut prints document various historical events in the early history of motorized transportation, including Power Boat Racing, Motorcycle and Motor Car Racing, Motor Car Touring, Zeppelins and Airplanes. 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.

$850.00

[La Voiture Dedalia classée première du grand Prix de l'ACF 1913 des Cycle Cars]
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[La Voiture Dedalia classée première du grand Prix de l'ACF 1913 des Cycle Cars]

By GAMY-MONTAUT

Paris: Mabileau & Co, 1913. Hand-coloured pochoir print. Very good condition apart from a 3/4" tear in the lower margin. Proof copy. Dedalin, 1913. The Gamy-Montaut prints document various historical events in the early history of motorized transportation, including Power Boat Racing, Motorcycle and Motor Car Racing, Motor Car Touring, Zeppelins and Airplanes. Having observed the rapidly growing interest in cars and racing during the early years of motor cars, Ernest Montaut ( 1879-1909) 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 M. Montaut, Ernest's wife, continued his work after his death 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 usually used "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.

$750.00

Circuit Europeen / 1r Beaumont 2e Garros sur monoplan Bleriot, Moteur Gnome Magneto Bosch, Helice Normale
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Circuit Europeen / 1r Beaumont 2e Garros sur monoplan Bleriot, Moteur Gnome Magneto Bosch, Helice Normale

By GAMY-MONTAUT

Paris: Mabileau & Co, 1911. Hand-coloured pochoir print. Very good condition apart from some overall light toning. Several skilfully reapired tears at edges. The picture is touting Beaumont as the winner of the 1911 Circuit of Europe Air Race. André Beaumont was a pseudonym used by Jean Conneau. Conneau collected $ 32,000 for his victory. The Gamy-Montaut prints document various historical events in the early history of motorized transportation, including Power Boat Racing, Motorcycle and Motor Car Racing, Motor Car Touring, Zeppelins and Airplanes. 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.

$600.00

Renault 1908
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Renault 1908

By GAMY-MONTAUT

Paris: M.M., 1908. Hand-coloured pochoir print. Very good condition apart from some minor foxing in the margins and a 1" tear in the lower margin. This is the Coal-Shovel nosed Renault, which was very popular and successful in 1906 and 1907. In 1908, the car was less formidable, but could reach speeds of 100 miles per hour. Hungarian Francois Szisz drove his last race for Renault in 1908, in this beautiful car.` 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.

$750.00

"Gabriel sur Mors" depasse pour la premiere fois une moyenne de 100 a l'heure sur route gagnant la course Paris-Madrid 1903 (600 kilom a une moyenne de 106 a l'heure)
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"Gabriel sur Mors" depasse pour la premiere fois une moyenne de 100 a l'heure sur route gagnant la course Paris-Madrid 1903 (600 kilom a une moyenne de 106 a l'heure)

By GAMY-MONTAUT

Paris: [Mabileau & Co.], 1903. Hand-coloured pochoir print. Very good condition apart from some light soiling in the left margin. The pass for the lead made by Gabriel over the very recognizable "Shovel-nose". Mors, the driver behind Gabriel, had limited success in these races, this 70 horse power chain-driven car being the exception. There is some confusion as to the actual number on the car during this race, with some records indicating #6 rather than #168 as shown. This was Fernand Gabriel's only win in a career that lasted until 1923. He was killed during an RAF air raid on Paris in 1943. The 1903 Paris-Madrid race is infamous in racing history. The cars were extremely well-powered for the time, though not as well-endowed with breaking power. The speculators crowded the route for the race, and casualties resulted. Other oddities included one car whose transmission became stuck in reverse and was driven that way for 25 miles. 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.

$850.00

La Voiture Th. Schneider, 1912 gagne à Dieppe Dinant et à la Sarthe vitesse et régularité / Magneto Bosch Corburateur Claudel Roues Riley
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La Voiture Th. Schneider, 1912 gagne à Dieppe Dinant et à la Sarthe vitesse et régularité / Magneto Bosch Corburateur Claudel Roues Riley

By GAMY-MONTAUT

Paris: Mabileau & Co, 1912. Hand-coloured pochoir print. Very good condition. 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. All pre-1914 Schneiders were built in this way. 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.

$950.00

[Number 22]
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[Number 22]

By GAMY-MONTAUT after M. CAMPION

Colombes: M. Campion, 1912. Hand-coloured pochoir print. Very good condition apart from a paper crease and some minor foxing in the bottom margin. The Gamy-Montaut prints document various historical events in the early history of motorized transportation, including Power Boat Racing, Motorcycle and Motor Car Racing, Motor Car Touring, Zeppelins and Airplanes. 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.

$950.00

L'Allumage Moderne / Magneto Lavalette Eisemann
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L'Allumage Moderne / Magneto Lavalette Eisemann

By GAMY-MONTAUT

Paris: [Mabileau & Co.], 1911. Hand-coloured pochoir print. Very good condition. Modern lightning. The Gamy-Montaut prints document various historical events in the early history of motorized transportation, including Power Boat Racing, Motorcycle and Motor Car Racing, Motor Car Touring, Zeppelins and Airplanes. Having observed the rapidly growing interest in cars and racing during the early years of motor cars, Ernest Montaut ( 1879-1909) 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 M. Montaut, Ernest's wife, continued his work after his death 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 usually used "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.

$850.00

[Racing Car No. 11. Grand Prix de France 1913 / Le Mans Pablot sur Delage.]
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[Racing Car No. 11. Grand Prix de France 1913 / Le Mans Pablot sur Delage.]

By GAMY-MONTAUT

Paris: Mabileau & Co, 1913. Hand-coloured pochoir print. Very good condition apart from some minor soiling in the left margin. Proof, Grand Prix de France 1913, LeMans Pablot sur Delage. 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 Airplanes. 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.

$950.00

Paris, La Mer
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Paris, La Mer

By GAMY-MONTAUT

Paris: [Mabileau & Co.], 1903. Hand-coloured pochoir print. Very good condition apart from some overall slight soiling. In the first International Harmsworth Trophy Competition of 1903, the English Napier motorboat beat the French motorboat, driven by M. Charley and powered by a Mercedes motor, in a race from Paris to Trouville. 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 airplanes. 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.

$750.00

Coupe du Salon 1904. Dietrich III barré par Perignon. 1er du classement general des Cruisers Record du monde
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Coupe du Salon 1904. Dietrich III barré par Perignon. 1er du classement general des Cruisers Record du monde

By GAMY-MONTAUT

Paris: [Mabileau & Co.], 1904. Hand-coloured pochoir print. Very good condition. The Gamy-Montaut prints document various historical events in the early history of motorized transportation, including Power Boat Racing, Motorcycle and Motor Car Racing, Motor Car Touring, Zeppelins and Airplanes. 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.

$750.00

"Zeppelin"
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"Zeppelin"

By GAMY-MONTAUT

Paris: [Mabileau & Co.], 1915. Hand-coloured pochoir print. Very good condition apart from some overall light soiling in the margins and the image. Small loss upper right edge. This LZ2 was built sometime between 1910 and 1914. Five airships of this design operated by Delag, safely carried 35,000 passengers between German cities. This was the first passenger air service in the world. The Gamy-Montaut prints document various historical events in the early history of motorized transportation, including Power Boat Racing, Motorcycle and Motor Car Racing, Motor Car Touring, Zeppelins and Airplanes. 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.

$750.00

Raid Paris Boulogne, 1912 / Andre Beaumont sur Hydroaéroplane "Donnet-Leveque" hélice Levasseur réservoir inexplosible Brionne
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Raid Paris Boulogne, 1912 / Andre Beaumont sur Hydroaéroplane "Donnet-Leveque" hélice Levasseur réservoir inexplosible Brionne

By GAMY-MONTAUT

Paris: Mabileau & Co, 1912. Hand-coloured pochoir print. Very good condition. Andre Beaumont in a Donnet-Leveque, one of 3 models built in 1912. The plane had a 27' central float and was controlled with warping ailerons. The wording also touts a non-explosive fuel tank by Brionne. 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-1890's, 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, being 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. 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. The process was quite labour intensive and the studio of Gamy-Montaut employed a group of trained artists, including Nevil and Campion, to assist in the colouring.

$750.00