Alphonse Mucha

"Salon des Cent" Original 1897 Art Nouveau Color Lithograph by Alphonse Mucha

1899

Color lithograph on Chine volant, 1899. Edition of aproximately 112. Printed by H. Stern, Paris. Published by Pierrefort, Paris. Reference: Wittrock; 308-2nd edition, vol. 2, pg. 6...

“One of Mucha’s best Czech posters, printed by the firm of V. Neubert in the Smichov quarter of Prague, was for Princezna Hyacinta, a fairy-tale ballet and pantomime with music by Oskar Nedbal and libretto by Ladislav Novák. The portrait of the popular actress Andula Sedlácková as the princess dominates the poster. The plot develops as a dream of a village blacksmith who falls asleep after digging for a buried treasure. In his dreams he becomes lord of a castle, and his daughter Hanicka becomes the Princess Hyacinth. Of her three suitors, one is a sorcerer who abducts her to his underground palace, but she is rescued by a poor knight who looks like her real-life lover. Mucha used the motif of the hyacinth throughout the entire design, from embroideries to silver jewelry, and for an elaborate circle sparkling against the mossy green background. The portrait of the actress is seen against a sky full of stars and encircled with images from the dream: the blacksmith’s tools...

Jan Toorop was born in Java, studied in Holland and then spent three key years in Brussels, where he was a member of the circle of artists, "Les XX," during which time he befriended ...

Framed lithograph, signed ("Rónai") and numbered ("no. 50") by the artist. Also includes a silver József Rippl-Rónai coin, made in 1977 for the 50th anniversary of his death. The li...

Lithograph printed by Albert Berger, Vienna. This design "was considered very advanced in 1899, with its large scale portrayal of the motif and the almost complete renunciation of interior drawing. The silhouette of the body is in mysterious contrast to the realistically portrayed head and hands. The unwavering gaze of the woman underlines the symbolism of the design: the Norn [ancient Norse goddess of fate] with the hour-glass and snake-ring embodies the eternal circle of life and the running out of time" (Vienna Secession, Denscher, p. 45). As the poster was originally used in 1899, the waning sand in the hourglass quite naturally can be assumed to be the coming of the end of the century. KOLOMAN MOSER: Instead of applying his flair and art education to paintings, Koloman Moser embodied the idea of Gesamt Kunstwerk (all-embracing art work) by designing architecture, furniture, jewelry, graphics, and tapestries meant to coordinate every detail of an environment. His work transcended the imitative decorative arts of earlier eras and helped to define Modernism for generations to come. Moser achieved a remarkable balance between intellectual structure (often geometric) and hedonistic luxury. Collaborating with Gustav Klimt and Josef Hoffmann, the artist was an editor and active contributor to Ver Sacrum, (Sacred Spring), the journal of the Viennese Secession that was so prized for its aesthetics and high quality production that it was considered a work of art. The magazine featured drawings and designs in the Jugendstil (Youth Style) along with literary contributions from distinguished writers from across Europe. It quickly disseminated both the spirit and the style of the Secession. In 1903 Moser and Hoffmann founded and led the Wiener Werkstatte (Viennese Workshop) a collective of artisans that produced elegant decorative arts items, not as industrial prototypes but for the purpose of sale to the public. The plan, as idealistic then as now, was to elevate the lives of consumers by means of beautiful and useful interior surroundings. Moser’s influence has endured throughout the century. His design sensibility is evident from the mid-century modern furniture of the 1950s and ‘60s to the psychedelic rock posters...

Alphonse Mucha worked mainly as a poster artist and became an influential figure of Art Nouveau in late 1890s, when poster illustrations were emerging as popular art form and new pri...

Alphonse Mucha "Lorenzaccio, a play in five acts and an epilogue by Alfred de Museet" Plate #114 Image Size: 15" x 11" 1896 Alphonse Mucha was born in Southern Moravia on July 24, 1860. At the age of seventeen the artist left his home, to work as a painter of stage decorations...

First edition, from the edition of 250 copies on Vélin d’Arches from a total edition of 270; large 4to (42.2 x 32 cm); artist’s signature stamp to limitation page, 150 lithographs after Giacometti, loose as issued in publisher's printed wrappers, glassine wrappers, cloth chemise and slipcase. Giacometti’s testament to art and modern life in his beloved Paris. For Tériade it would be a milestone, the last great publication he would see through the press. The two men [Tériade and Giacometti] had maintained a close friendship ever since the Surrealist Years. The one hundred and fifty lithographs are a profoundly interpenetrating view of Giacometti's experience of Paris. He selected the plates to be printed and determined the order of their relationship, numbering each one. The frontispiece shows a nude figure of a woman plunging forward, as though diving into space, and is immediately followed by a quantity of views of city streets, then of interiors familiar to the artist. We come upon views of his studio, of the cafes he frequented, of Annette's apartment in the rue Mazarine and Caroline's in the Avenue du Maine, strangers at cafe tables, passers by, parked automobiles, the towers of Saint-Suplice, bridges across the Seine, The Eiffel Tower. To accompany the hundred and fifty plates, a text of twenty pages was planned, but the artist never got further than a few rough drafts. True, he was a devotee of words, Paris sans fin, however, said too much to the eye to be in need of other symbols (James Lord...

TOULOUSE-LAUTREC, HENRI DE (1864-1901) "FEMME AU TUB" (Woman with Tub) From the series, “Elles”, c. 1896 Wittrock 159, Adhemar 204 From the edition of 100; per Wittrock Original color crayon brush and splatter lithograph, five colors, printed on wove paper Printed without margins to deckled edge of paper Bearing Artist’s Monogram Stamp...

Le Caf’ Conc A poster for a post-liberation costume ball (retrospective 1900) on 23rd June 1945 designed by Jean Paul Le Verrier (1922-1996)

Adolphe Willette Lithograph Original Hand Signed 'Le Banquet' erotic No 95 Well known for his version of The Seven Deadly Sins Adolphe Léon Willette ...

Adolphe Willette Lithograph Original Hand Signed erotic nude No 189 Well known for his version of The Seven Deadly Sins Adolphe Léon Willette (30 Jul...