Théophile Alexandre Steinlen

Compagnie Francaise des Chololats et des Thes

1895

Original lithograph printed in colors on wove paper Signed on the stone lower left Mucha. A superb impression of the first of five variants of the original version of this lithogra...

Original lithograph printed in dark green ink on wove paper, with hand-coloring added A superb impression of the definitive state, from the edition issued in the book Documents Décoratifs...

Original lithograph printed in black ink on antique laid paper. Signed on the stone with the artist’s butterfly monogram center left. A superb impression of Spink’s third and f...

Original lithograph printed in black ink on China paper. Signed on the stone with the artist’s butterfly monogram upper center. A superb, richly printed impression of Spink’s only state From the edition of unknown size printed by Lemercier, Paris (apart from the posthumous edition of 58 printed by Goulding in 1904). Catalog: Spink 169; Levy 129; Way 151 Collections in which impressions from this edition can be found: Art Institute of Chicago (4 impressions); Hunterian Art Gallery, University of Glasgow (1 impression); British Museum, London (1 impression); Freer Art Gallery, Smithsonian Institution, Washington, D.C. (1 impression); National Gallery of Art, Washington, D.C. (1 impression); University of Michigan Museum of Art, Ann Arbor (1 impression); Boston Public Library (1 impression); Museum of Fine Art, Boston (1 impression); Cleveland Museum of Art (1 impression); Metropolitan Museum of Art, New York (2 impressions); Achenbach Foundation for the Graphic Arts, San Francisco (1 impression) . “The Shoemaker” was one of the first lithographs that Whistler made after his acrimonious break with his London printers, the Ways. It was entitled “The Shoemaker, Dieppe” by Rosalind Birnie Philip in her 1903 inventory of the artist’s estate, and indeed it does seem to have been drawn during a period when Whistler was making frequent Channel crossings...

December 1898 Original lithograph printed in colors on wove paper.  Signed and dated on the stone lower right de Feure. A fine impression of the definitive state, from the e...

Original lithograph printed in black ink on Arches wove paper. Signed and dated on the stone lower right Picasso 23 mai 50 A superb trial proof impression...

CHARPENTIER, ALEX (1856 -1909) "Grande Tuilerie d’Ivry" Original lithograph from "Les Maitres de L'Affiche" series Printed by Imprimerie Chaix, Paris Bearing MDL stamp lower right, issue # 33, 1898. Plate #131 Unframed Size: 11 3/8 x 15 3/4”The "Les Maitres de l'Affiche" series was offered as a subscription series to collectors every month for 60 months, from December 1895 through November 1900. The "Maitres de l'Affiche," were issued as separate numbered sheets, referred to as "plates". They were numbered, with the printers name "Imprimerie Chaix," in the margin at the bottom left hand corner, "PL.1" to "PL.240." In the margin at the bottom right hand corner of each, is a blind embossed stamp from a design of Cheret's. The smaller format and the fact the "Maitres" were a paid subscription series, allowed Imprimerie Chaix to use the latest state of the art printing techniques, not normally used in the large format posters due to cost. A very high quality of paper was used, where as the large format posters were printed on lesser quality newsprint, due to cost and a short expected life span. This explains why the quality of the printing, in the "Maitres de l'Affiche," usually far exceeds that of their larger counterparts. The text reads "Great Tileworks of Ivry, founded in 1854, Ivry-Port near Paris; the largest ceramics factory in the world for building, industry and art productions; Emille Muller stoneware; execution of works by masters of statuary; architectural facings; decorative sculpture; showroom and salesroom, 3 rue Halevy; the only tile able to bear the names Muller and Ivry; (tiles) guaranteed against frost" Given the commission for an extremely text heavy poster, the artist executes a masterful design. The angelic young boy holds the wares of this famous ceramics factory, against an abstract background awash in organic green hues. The handling of the immense text that flows from top to bottom in every available space shows great artistic skill, as the overall beauty of the design is intact. In 1989 the Metropolitan Museum of art acquired a stoneware plaque...

CHERET, JULES (1836 - 1932) "Quinquina Dubonnet" Original lithograph from “Les Maitres de L’Affiche” series Printed by Imprimerie Chaix, Paris Bearing MDL stamp lower right, from issue #28, 1898. Plate #109 Unframed Size: 11 3/8 x 15 3/4” The “Les Maitres de l’Affiche” series was offered as a subscription series to collectors every month for 60 months, from December 1895 through November 1900. The “Maitres de l’Affiche,” were issued as separate numbered sheets, referred to as “plates”. They were numbered, with the printers name “Imprimerie Chaix,” in the margin at the bottom left hand corner, “PL.1” to “PL.240.” In the margin at the bottom right hand corner of each, is a blind embossed stamp from a design of Cheret’s. The smaller format and the fact the “Maitres” were a paid subscription series, allowed Imprimerie Chaix to use the latest state of the art printing techniques, not normally used in the large format posters due to cost. A very high quality of paper was used, where as the large format posters were printed on lesser quality newsprint, due to cost and a short expected life span. This explains why the quality of the printing, in the “Maitres de l’Affiche,” usually far exceeds that of their larger counterparts. “The Dubonnet poster...

Alphonse Mucha "Lorenzaccio, a play in five acts and an epilogue by Alfred de Museet" Plate #114 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...

PENFIELD, FERDINAND (1866 - 1922) Harper’s Magazine - March Original lithograph from "Les Maitres de L'Affiche" series Printed by Imprimerie Chaix, Paris Bearing MDL stamp lowe...

BRADLEY, WILL (1868 - 1962) The Chap Book Original lithograph from “Les Maitres de L’Affiche” series Printed by Imprimerie Chaix, Paris Bearing MDL stamp lower right, from issue #34, 1898. Plate #136 Unframed Size: 11 3/8 x 15 3/4” The “Les Maitres de l’Affiche” series was offered as a subscription series to collectors every month for 60 months, from December 1895 through November 1900. The “Maitres de l’Affiche,” were issued as separate numbered sheets, referred to as “plates”. They were numbered, with the printers name “Imprimerie Chaix,” in the margin at the bottom left hand corner, “PL.1” to “PL.240.” In the margin at the bottom right hand corner of each, is a blind embossed stamp from a design of Cheret’s. The smaller format and the fact the “Maitres” were a paid subscription series, allowed Imprimerie Chaix to use the latest state of the art printing techniques, not normally used in the large format posters...

DE MONVEL, BOUTET (1859 - 1927) "La Petite Poucette" Original lithograph from “Les Maitres de L’Affiche” series Printed by Imprimerie Chaix, Paris Bearing MDL stamp lower right, from issue #27, 1898. Plate #106 Unframed Size: 11 3/8 x 15 3/4” The “Les Maitres de l’Affiche” series was offered as a subscription series to collectors every month for 60 months, from December 1895 through November 1900. The “Maitres de l’Affiche,” were issued as separate numbered sheets, referred to as “plates”. They were numbered, with the printers name “Imprimerie Chaix,” in the margin at the bottom left hand corner, “PL.1” to “PL.240.” In the margin at the bottom right hand corner of each, is a blind embossed stamp from a design of Cheret’s. The smaller format and the fact the “Maitres” were a paid subscription series, allowed Imprimerie Chaix to use the latest state of the art printing techniques, not normally used in the large format posters due to cost. A very high quality of paper was used, where as the large format posters were printed on lesser quality newsprint, due to cost and a short expected life span. This explains why the quality of the printing, in the “Maitres de l’Affiche,” usually far exceeds that of their larger counterparts. Boutet de Monvel...