The 1925 Exposition Internationale des Arts Decoratifs et Industriels Modernes which gave the name "Art Deco" to the new design movement, opened on April 28, 1925 and closed in October of that year. Arguably the most important design exhibition of the 20th Century, the fair was originally planned for 1915 but World War One and the following economic uncertainty caused it to be postponed until 1925. Germany was invited too late (possibly intentionally) to mount a presence and Herbert Hoover, then the Secretary of Commerce, informed the French government that the United States would not participate. Reportedly some sixteen million people visited the exhibition. The Exhibition, which was to reflect glory on France and its consumer goods, required a new graphic image. This started slowly with a poster by Henri Rapin (1873-1939)announcing the sale of bonds for the Exposition showing craft workers with flags of several countries (including the United States). The bonds, authorized April 1923, look much the same as other French bonds of the era. Ric collected these posters over a period of 30 years! The 10 works are documented in most of the literature of the period as well as in almost every book written about Art Deco after the period. They are in A+ Condition!! Framed and matted in museum quality framing by Steve Meeks & Sons at Borders in Miami. They are NOT to be sold individually. The entire collection is priced at $ 70,000.00. These are the works included: 1. Bonds Emission Poster by Henry Rapin (described above) 2 - 5. Robert Bonfils (1886-1972) created the most famous and ubiquitous of the four posters commissioned for the exhibition. His creation in red and black in imitation of a woodcut shows a young maid and leaping deer over stylized flora and a frieze of geometric flowers above her head. All four elements became icons of the Art Deco movement. The poster was produced in the standard 23’’x15’’ size and also in a larger 39’’x26’’ size. The image was also used on the cover of the official catalog of the exhibition. The poster also exists in the standard 23’’x15’’ size format with blue replacing the red…the blue poster is very rare. 6. The only other poster to be offered in the two sizes is Charles Loupot’s (1892-1962)stunning vision of factories (industry) pouring out smoke which turns into a giant stylized flower (art). 7. Andre Girard (1901-1968) produced the rarest of the four posters for the Exhibition. His image shows a pyramid of smokestacks in the background with their smoke rising toward the center. A pyramid of men struggle to reach a chalice held aloft. This poster is only known in the standard 23’’x15’’ size. 8. The organizers reached back to a “romantic” style for the fourth poster. Emile-Antoine Bourdelle (1861-1929) was considered at the time of the Exhibition to the most important living sculptor in France and in contrast to the younger designers of the other three posters he represented a link to the past glories of French art. The legend on the bottom translates to: “by labor and by Genius”. It is only found in the standard 23”x15” size. 9. A large etching by Louis Pierre Rigal (1889-1959) was awarded to exhibitors and judges at the Exhibition. The etching reveals two young women on a divan, the one on the left is all but completely covered and asleep…she represents the Old Order, the past. The girl on the right is smiling and partly nude, she has stylized flowers and ringlets in her hair and represents the exhibition’s break with the past. A modern vase, bust, plate and industrial gear complete the message: There is a new day, the past is behind and the 1925 exposition leads the way! 10. An actual bond issued for the Paris Exposition.