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A French Art Nouveau lithograph, “Zodiaque,” by Alphonse Mucha. This poster turned out to be one of Mucha’s most successful designs; no fewer than seven different uses were made of it over the years. Initially it was an in-house poster for Champenois; but the editor of La Plume liked it so much that he bought it for his magazine and started giving it wide publicity. For this reason, for years it was identified as a La Plume calendar. Mucha’s customary circular background here serves the functional role of carrying the symbols of the zodiac. The attention to detail in this work is unusual even for a meticulous artist like Mucha. Circa 1896. Pictured in, Alphonse Mucha, The Complete Posters and Panels, by Jack Rennert and Alain Weill, G.K. Hall & Co., Publishers, pages 100-106.
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French Art Nouveau "Monaco Monte-Carlo" lithograph by Alphonse Mucha, printed by F. Champenois, Paris. This work illustrates one of the most intricate color designs by the artist. The lithograph portrays a kneeling young woman encircled by lilacs and hydrangeas with the bay of Monte Carlo in the background. The lines and curves of the flowers and stems within this lithograph are meant to suggest the wheels and tracks that convey the passengers to Monte Carlo. The advertisement was was commissioned by the railroad Chemin de Fer P.L.M. Circa 1897. Pictured in: Alphonse Mucha: The Complete Posters and Panels by Jack Rennert and Alain Weill, G.K. Hall & Co., Publishers, Boston, pages 136-137.
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A French Art Nouveau lithograph, "Lorenzaccio", by Alphonse Mucha. The poster was designed by Mucha for the play "Lorenzaccio", written by Alfred de Musset, about the Medici family in 16th century Florence, in which Sarah Bernhardt played the title role. The poster shows Lorenzaccio considering how to kill Alessandro de’ Medici, his cousin, who is besieging the city. The dragon above represents the city of Florence (its emblem appears by the dragon’s mouth). The ornate, jeweled sword in the bottom panel, above the theater’s name, represents a possible solution to Lorenzaccio’s dliemma. Signed lower right-hand corner. Pictured in Alphonse Mucha: The Complete Posters and Panels, by Jack Rennert and Alain Weill, G.K. Hall & Co., Publishers, Boston, pages 107-109, cat. 20. Framed.
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Artist: Mucha
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| Signed: “Mucha” |
| Circa: 1896 |
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A series of French Art Nouveau decorative panel lithographs by Alphonse Mucha, titled “Les Pierres Precieuses” or “Precious Stones”. This is one of Mucha’s rarest sets, with only three or four known sets to have survived among collectors. The featured jewels are topaz, ruby, amethyst and emerald. Each jewel is represented by a woman, and the gemstone’s characteristic color is woven into the entire image, including each woman’s dress and the flowers at her feet. This set was created during the period when Mucha was associated with the goldsmith Fouquet and was, himself, designing jewelry. Pictured in Alphonse Mucha: The Complete Posters and Panels, by Jack Rennert and Alain Weill, G.K. Hall & Co., Publishers, Boston, pages 264-269.
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Artist: Mucha
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| Signed: “Mucha” and stamped “F. Champenois á Paris” |
| Circa: 1900 |
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A French Art Nouveau lithograph by Hippolyte Lucas, titled “Au Bord de l’Eau (At the Riverside), signed Lucas, circa 1900.
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Artist: Lucas
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| Signed: Lucas |
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A French Art Nouveau lithograph, “Flirt Biscuits”, by Alphonse Mucha. “Flirt” was one of the brands of biscuits made by Lefevre-Utile who gave Mucha a number of commissions over the years. The added text “Grand Prix - Paris 1900” was placed in later versions of this display poster. Circa 1900. Framed with UV Plexiglass. Pictured in, Alphonse Mucha, The Complete Posters and Panels, by Jack Rennert and Alain Weill, G.K. Hall & Co., Publishers, Boston, pages 262-263.
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Artist: Mucha
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| Signed: Mucha |
| Circa: 1899 |
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A French Art Nouveau lithograph, “Waverley Cycles”, by Alphonse Mucha, featuring a young woman on a bicycle holding a branch of laurel. Waverley was an American brand of bicycles, but very popular in Europe. The sturdiness of the machine is symbolized by the woman’s resolute expression as she leans on an anvil. The laurel branch probably indicates the prizes won by the product. Pictured in: Alphonse Mucha: The Complete Posters and Panels by Jack Rennert and Alain Weill, G.K. Hall & Co., Publishers, Boston, pages 206-207, cat. 52.
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Artist: Mucha
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| Signed: “Mucha” |
| Circa: 1898 |
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A French Art Nouveau lithograph, "Biscuits Lefèvre-Utile,” by Alphonse Mucha. An advertisement for the Gaufrette Vanille brand of cookies featuring an attractive young lady with poppies and shafts of wheat in her blonde hair, offering a plate of cookies. The woman's dress is decorated with a pattern of sickles and wheat, indicating the origin of the product. The poster proudly announces taking first prize at the World's Fair of 1900. Pictured in: Alphonse Mucha: The Complete Posters and Panels by Jack Rennert and Alain Weill, G.K. Hall & Co., Publishers, Boston, pages 113-115, cat. 22 (var. 2).
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Artist: Mucha
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| Signed: Mucha |
| Circa: 1900 |
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