Clementine-Helene Dufau

Clémentine-Hélène Dufau's original Art Nouveau poster for "La Fronde" in 1898

1898

Nice poster of the beginning of the century for the Vaudeville theater, entitled A night out and printed by David Allen & sons in London. John Hassall ( 1...

The original lithograph by Eugène Grasset for Le Salon des Cent in 1894 epitomizes the artistic vibrancy of the Belle Époque era. Grasset, a Swiss-born artist celebrated for his con...

The original 1895 poster by Steinlen, titled "De Mazas à Jérusalem par Zo d'Axa," offers a compelling glimpse into the cultural and political landscape of the era. Created by renowne...

The original 1896 poster by H. G. Ibels, titled "Demi Cabots le café-concert le cirque les forains," offers a vivid glimpse into the colorful world of Parisian café-concerts and circ...

Very beautiful poster of Thelem (Ernest BARTHÉLEMY LEM, 1869-1930) for the Peugeot cycles. The Peugeot family began its rise to industrial power with the discovery of iron in the Do...

Max Cowper 🏴󠁧󠁢󠁳󠁣󠁴󠁿(1860-1911) was a Dundee born painter. He was employed as an illustrator for the Dundee Courier before moving to London around 1901 to join the staff of the ...

'Babylone d'Allemagne' or 'German Babylon' is an original lithograph poster by the lauded artist of the Art Nouveau style Henri de Toulouse-Lautrec. This is the second poster that La...

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 ...

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

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...

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 (1860-1939) (after) The Arts : The Dance Lithograph Printed signature in the plate Numbered / 500 Published in "Edition d'Art Henri Piazza" Authenticated by the blind...