Alphonse Mucha

Poster for JOB Cigarette Paper, 1896

1896

This black and white original lithograph by Mexican artist Juan Carlos Breceda depicts a checkerboard of abstracted woman's face from a variety of ...

By Pablo Picasso Intaglio Etching pair, edition 116/850, Dated 1937 Signed and numbered in pencil Image size 14" x 18" each Frame Size: 25.5" X 29" Entri...

This figurative piece by Paul Jauregui is a hand colored etching depicting the silhouette of a father, his daughter and her small dog all walking in the rain. The father holds an umb...

This piece is an etching which features 6 scenes from a park. Each square measures 3.75 x 3.75 inches.

This piece entitled "La Vide Sigue," which translate to "Life Goes On" depicts the silhouette of a child running and rolling a hoop while one rabbit run away and another watches. The...

By John Sloan American Realist From the early 20th century Ashcan School which focused on capturing day to day life in New York City during that period. Image size: 5.75" x 4.25" Et...

Portrait of Philip Andreevich Malavin.1879.Paper, lithography, 32x23 cm with minor defects. Leon Bakst. (1866-1924)

Limited edition lithograph on Arches paper from edition of 2,000 of "La Revue Blanche" by Henri de Toulouse-Lautrec. Reproduction reissued in 1974. Th...

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...

Cirage Jacquot et Cie is an 1886 chromolithograph of Lucien Lefèvre's delightful poster, printed at Imprimerie Chaix under the direction Ernest Maindron...

Le Cenacle is an 1897 chromolithograph of Victor Mignot's poster, printed at Imprimerie Chaix under the direction Ernest Maindron and G. Boudet for the lauded poster collection 'Les ...

Alcazar d'Hiver is an 1896 chromolithograph of Choubrac's brilliant poster, printed at Imprimerie Chaix under the direction Ernest Maindron and G. Boudet for the lauded poster collec...