MUCHA, Alphonse:Biblio.com
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30007Bohemia Czech Republic: Johann Maresch. c.1898. Art Nouveau bas-relief siderolith plaque produced by Johann Maresch after 'Danse' one of four lithographs in Alphonse Mucha's 'Les Arts' series 1898. Stamped JM and with the model number 4495 to the reverse. In excellent condition with just one small nick to the paint surface of the dress. Dimensions 59 cm x 39.5 cm. A rare and beautiful bas-relief plaque that exemplifies Art Nouveau's emphasis on the marriage of the fine and decorative arts as well as Alphonse Mucha's monumental impact on the movement. The design is from Mucha's 'Danse' decorative panel from his 'Les Arts' series commissioned and printed by the Parisian printer Champenois. Mucha and Champenois embarked upon a successful partnership in 1896 producing theatre posters and advertisements for companies such as Moët and Chandon and Job cigarettes. Mucha's designs were so popular with the public that Champenois asked him to produce purely decorative posters without text for sale to collectors a new concept at the time. This prompted Mucha to develop his decorative panel series the first of which depicted the seasons personified as beautiful women. Later series were based on precious stones the moon and stars and times of day. Mucha's Chapenois panels present an intriguing distillation of Art Nouveau values reproducing incredibly skilfully executed and visually rich designs whilst also utilising industrial production methods embracing the practical nature of the decorative arts and rendering art available to a wide audience. Of the panels Mucha wrote "I was happy to be involved in an art for the people and not for private drawing rooms. It was inexpensive accessible to the general public and it found a home in poor families as well as in more affluent circles" Mucha Foundation. The work of Johann Maresch and his ceramic studio heavily influenced by Art Nouveau straddled a similar convergence of concepts creating both practical and purely decorative objects that were durable accessible and reflected commercially popular designs but always centred beauty and artistic merit. Johann Maresch produced ceramics of all kinds from fishbowls to figurines but Art Nouveau sensibilities surface particularly strongly in their vases many of which were designed by August Otto and relief plaques. Bas-relief was a common component of the Art Nouveau style utilised in architecture sculpture and interior and applied design to build the highly decorative opulent and naturalistic appearance for which the movement was known. This Johann Maresch production of 'Danse' creates an interesting extension of the Champenois panels and the idea of art as interior decoration. Originally designed for reproduction and for decorative use by a wide range of people the design is here reproduced with a further degree of separation in a material and form with a long history of use in mass-production and the applied arts rooting Mucha's work even further within the world of crafts. Further details and images for any of the items listed are available on request. Lucius Books welcomes direct contact with our customers. Bohemia (Czech Republic): Johann Maresch. [c.1898] unknown
17682Prague: Original artwork. Later published by J. Otto. 1929. Pencil on heavy paper mounted on card. Picturing a beautifully rendered cherub surrounded by a stunning mass of flowers foliage and baroque-style ornamentation all arranged around the author's name the title and publisher wonderfully showcasing Mucha's characteristic delicate yet confident line-work. The drawing itself measures 29 x 35cm while the mounted paper measures 32.5cm x 37cm. Signed in pencil to the right of the cherub's foot. With two authentication / provenance ink stamps to the reverse. Mounted framed and glazed using archival materials. Mucha is known for his distinctive strong sweeping curved lines and natural motifs. His work has become the most loved and recognised representation of Art Nouveau and continues to have a lasting impact on visual arts today. This original drawing offers a fascinating intimate look at the artist's accomplished use of pencil. The first edition of Andelicek z Bariku for which Mucha provided this cover illustration an illustrated title leaf ornamental or figurative text frames and 37 vignette or tail pieces was published in 1929 in an edition of 200 numbered copies each signed by the author and the artist. Provenance: Z umelecke pozustalosti "From artistic inheritance Alfonse Muchy" ink stamp on verso; "Narodni Galerie V Praze vývoz" "National Gallery Prague export" ink stamp on verso; Rizzoli Bookstore New York December 1973; private US collection. Further details and images for any of the items listed are available on request. Lucius Books welcomes direct contact with our customers. Prague: Original artwork. Later published by J. Otto. 1929 unknown
189773887Paris: Imprimerie Champenoispour CH. MassonH. Piazza 1897. Fine. Imprimerie Champenois pour CH. Masson H. Piazza Paris s. d. Mai 1897 22 x 38 cm une feuille et une serpente ""L'incantation"" Salammbô Original lithograph on papier japon L'Estampe Moderne L'Estampe Moderne Imprimerie Champenois for C H Masson & H Piazza Paris june 1897 subject: 23.5 x 33 cm plate: 40.8 x 55 cm one leaf and one captioned silk tissue Rare Alphonse Mucha color lithograph heightened with gold for L'Estampe Moderne 'The free first prize reserved to subscribers to a whole annual run of L'Estampe Moderne'. One of 50 'grand luxe' prints with wide margins signed by the artist in the plate publisher's stamp to lower margin de luxe printing numbered stamp to verso upper margin slightly sunned; the plate itself preceded by a silk tissue with the name of the artist title a poem and a caption - a tear to the tissue not affecting the text. A lithograph inspired by Gustave Flaubert's Salammbô with a excerpt from the novel printed on the silk protective paper: And Salammbô went out onto the balcony of her palace. L'Estampe moderne was a magnificent monthly French publication published between May 1897 and April 1899. It included unpublished chromolithographs specially made by each artist for the magazine as mentioned on the protective silk tissue over each plate unlike other publications such as Les Maîtres de l'Affiche. 100 prints were published in total covering major artistic movements of the late 19th-century: Symbolism Art Nouveau Pre-Raphaelites Orientalists and Belle époque'. 2000 copies were printed of each fascicule containing four prints and sold for 3.50F. 100 copies were printed on papier japon for 10F. Henri Piazza also planned a very luxurious secret print of 50 copies on papier japon with wide margins and 50 in black and white on papier chine at the considerable price of 30F. This well-sized print is superbly printed in colors on the most prestigious of papers: japon. Thick creamy satin and with a nice sheen it contributes to making each page a work of art in itself. Its qualities of absorption and its affinity for colors make it the ideal support for these lovely lithographs. The interest of French collectors for artistic posters grew from the beginning of the 1890s. Octave Uzanne invented a term for this new form of collection: affichomanie' or poster mania. The initially common poster displayed in the streets of Paris became a work of art and its ephemeral material became precious and made to last. Piazza decided to separate the poster from its advertising role and to elevate it to a form of art similarly to luxury illustrated artists' books. He put together a prestigious collection of entirely original artworks by the most fashionable European artists: Georges de Feure Eugène Grasset Henri Detouche Emile Berchmans Louis Rhead Gaston de Latenay Lucien Lévy-Dhurmer Gustave-Max Stevens Charles Doudelet Hans Christiansen Henri Fantin-Latour Steinlen Ibels Engels Willette Henri Meunier Evenepoël Bellery-Desfontaines Charles Léandre etc. He also included in this project a Czech artist freshly arrived in Paris Alfonse Mucha who has only recently become active in France but immediately carved out for himself the affection of the public. Like his posters which everyone knows and covets he shows us here the varied resources of his multifaceted talents as accomplished draughstman decorator and colorist from the notes printed on the silk protective paper of Salomé. The two first special numbers of the journal were in fact dedicated to him and were given to all the subscribers for all twelve annual numbers of L'Estampe moderne as well as the famous illustration of the covers. A fine signed plate by the master of Art nouveau. Imprimerie Champenoispour CH. MassonH. Piazza unknown
189773918Paris: Imprimerie Champenoispour CH. MassonH. Piazza 1897. Fine. Imprimerie Champenois pour CH. Masson H. Piazza Paris s. d. Juin 1897 23.50 x 33 cm une feuille et une serpente Salomé Original lithograph on papier japon L'Estampe ModerneL'Estampe Moderne Imprimerie Champenois for C. H. Masson & H. Piazza Paris June 1897 subject: 23.5 x 33 cm plate: 40.8 x 55 cm one leaf and one captioned silk tissue Rare Alphonse Mucha color lithograph heightened with gold for L'Estampe Moderne series number 2 published in June 1897. One of 50 grand luxe proofs printed on papier japon with wide margins signed by the artist in the plate publisher's stamp to lower margin de luxe printing numbered stamp to verso upper margin slightly sunned; the plate itself preceded by a silk tissue with the name of the artist title a poem and a caption. L'Estampe moderne was a magnificent monthly French publication published between May 1897 and April 1899. It included unpublished chromolithographs specially made by each artist for the magazine as mentioned on the protective silk tissue over each plate unlike other publications such as Les Maîtres de l'Affiche. 100 prints were published in total covering major artistic movements of the late 19th-century: Symbolism Art Nouveau Pre-Raphaelites Orientalists and Belle époque'. 2000 copies were printed of each fascicule containing four prints and sold for 3.50F. 100 copies were printed on papier japon for 10F. Henri Piazza also planned a very luxurious secret printing of 50 copies on papier japon with wide margins and 50 in black and white on papier chine at the considerable price of 30F. This well-sized print is superbly printed in colors on the most prestigious of papers: japon. Thick creamy satin and with a nice sheen it contributes to making each page a work of art in itself. Its qualities of absorption and its affinity for colors make it the ideal support for these lovely lithographs. The interest of French collectors for artistic posters grew from the beginning of the 1890s. Octave Uzanne invented a term for this new form of collection: affichomanie' or poster mania. The initially common poster displayed in the streets of Paris became a work of art and its ephemeral material became precious and made to last. Piazza decided to separate the poster from its advertising role and to elevate it to a form of art similarly to luxury illustrated artists' books. He put together a prestigious collection of entirely original artworks by the most fashionable European artists: Georges de Feure Eugène Grasset Henri Detouche Emile Berchmans Louis Rhead Gaston de Latenay Lucien Lévy-Dhurmer Gustave-Max Stevens Charles Doudelet Hans Christiansen Henri Fantin-Latour Steinlen Ibels Engels Willette Henri Meunier Evenepoël Bellery-Desfontaines Charles Léandre etc. He also included in this project a Czech artist freshly arrived in Paris Alfonse Mucha who has only recently become active in France but immediately carved out for himself the affection of the public. Like his posters which everyone knows and covets he shows us here the varied resources of his multifaceted talents as accomplished draughstman decorator and colorist from the notes printed on the silk protective paper of Salomé. The two first special numbers of the journal were in fact dedicated to him and were given to all the subscribers for all twelve annual numbers of L'Estampe moderne as well as the famous illustration of the covers. A fine signed plate by the master of Art nouveau. Imprimerie Champenoispour CH. MassonH. Piazza unknown
19059620<p>Complete with forty numbered lithographic plates and two preliminary leaves each measuring 13 x 18 in 33 x 46 cm. Housed in a quarter cloth illustrated portfolio with remnants of the original ribbon ties. Some wear to cloth on spine and around edges of the exterior. Plates remain bright and clean with bump to bottom right foredge & slight crease to lower fore edge. No previous owners' names stamps or other defacements. Scarce.</p> Libraire Centrale des Beaux Arts hardcover
189615844AB1896. Paris F.Champenois 1896. 1003 : 505 cm image Lithograph in colours by Alphonse Mucha. Framed in contemporary wooden frame. Alphonse Mucha's poster "Été" "Summer" is part of his series titled The Seasons created in 1896. This poster captures the essence of summer with its warm golden hues and lush flowing forms. Mucha depicts a young woman draped in a light flowing garment that accentuates the curves of her body embodying the sensuality and warmth of the season. She is surrounded by an abundance of flowers and foliage symbolizing the fullness and fertility of summer. Her hair long and wavy cascades down her back adding to the natural unrestrained feel of the image. Mucha's characteristic use of intricate lines and decorative patterns is evident in the detailed borders and the swirling motifs that frame the central figure. The poster exudes a sense of harmony and beauty typical of Mucha's Art Nouveau style where nature femininity and elegance are central themes. The soft color palette dominated by shades of gold green and soft pastels further enhances the idyllic dream-like quality of the work making "Été" a quintessential representation of summer's warmth and beauty. Alphonse Mucha was known for his distinctive Art Nouveau style characterized by its use of natural forms flowing lines and elaborate decoration. His techniques combined both traditional and innovative approaches contributing to his iconic aesthetic. Here are some of the key techniques and elements in Mucha's work: Line Work: Mucha's use of lines is one of the most defining aspects of his style. He employed fine flowing outlines to create graceful organic shapes that mimic the curves found in nature. His lines were often decorative and stylized contributing to the overall harmony and unity of the composition. Color Palette: Mucha favored a soft pastel color palette often using muted tones of gold green pink and blue. These colors were carefully chosen to create a sense of harmony and to evoke specific moods often reflecting the seasons or the subject matter of the piece. Ornamentation and Patterns: Mucha's works are rich in decorative elements and intricate patterns. He incorporated floral motifs arabesques and geometric designs into his compositions often framing the central figure with these ornate details. This ornamentation was not merely decorative but also served to enhance the thematic elements of the piece. Use of Light and Shadow: Although Mucha's work is more stylized than realistic he employed light and shadow to add depth and dimension to his figures. His approach to light was subtle often using gentle shading rather than harsh contrasts which contributed to the soft ethereal quality of his work. Symbolism: Mucha frequently used symbolic elements in his paintings and posters. For example flowers seasons and zodiac signs often carried deeper meanings related to themes of nature femininity and the passage of time. These symbols were seamlessly integrated into the decorative elements of his work. Composition: Mucha's compositions were carefully balanced often centered around a single idealized figure. He employed symmetry and repetition to create a sense of order and harmony with the figure often surrounded by elaborate circular frames or halos that draw the viewer's eye. Media and Techniques: While Mucha is best known for his posters and prints which were typically lithographs he also worked in a variety of media including painting drawing and jewelry design. His lithographic technique involved multiple layers of color carefully aligned to create richly textured and vibrant images. In his paintings he used traditional techniques such as oil on canvas but applied them with the same decorative and stylized approach as in his graphic works. Mucha's techniques were instrumental in defining the Art Nouveau movement blending fine art with applied arts and his work remains a cornerstone of this decorative style. Alphonse Mucha holds a significant place in the history of art particularly as a leading figure of the Art Nouveau movement. His influence extends beyond his immediate contributions to the art world affecting design advertising and popular culture. Here are some key reasons why Mucha is important in the history of art: 1. Pioneer of Art Nouveau: Mucha is often credited with shaping and popularizing the Art Nouveau style which emerged in the late 19th century. This movement was characterized by its use of organic forms flowing lines and intricate decorative patterns all of which are hallmarks of Mucha's work. His designs especially his posters became synonymous with the Art Nouveau movement defining its aesthetic and helping it gain widespread recognition. 2. Innovative Use of Graphic Design: Mucha was a pioneer in using graphic design as a fine art form. His work in advertising and posters elevated these mediums to a new level blending commercial appeal with artistic integrity. His posters for Sarah Bernhardt the famous actress are particularly notable. They not only promoted her plays but also became collectible works of art in their own right. 3. Influence on Decorative Arts: Mucha's influence extended beyond painting and posters to various decorative arts including jewelry furniture and interior design. His aesthetic principles were applied to everyday objects making art more accessible to the public. This blending of fine art with applied arts helped bridge the gap between high art and popular culture a concept that has continued to evolve in modern design. 4. Impact on Visual Culture: Mucha's style has had a lasting impact on visual culture influencing everything from early 20th-century design to contemporary art and popular media. His work has inspired countless artists and designers in the realms of illustration fashion and graphic design. The Art Nouveau style as epitomized by Mucha has seen periodic revivals and continues to be referenced in various cultural contexts demonstrating its enduring appeal. 5. Symbolism and National Identity: Beyond his contributions to Art Nouveau Mucha was also deeply involved in the promotion of Czech national identity. His later works particularly the Slav Epic reflect his interest in Slavic history and mythology aiming to create a visual narrative that celebrated his cultural heritage. This aspect of his work underscores the role of art in expressing and shaping national and cultural identity adding another layer to his importance as an artist. 6. Legacy in Fine Arts: Mucha's ability to blend aesthetics with practical applications laid the groundwork for future movements in art and design particularly in how art could be integrated into everyday life. His legacy is evident in the continued appreciation and study of his work which remains a significant part of museum collections and exhibitions worldwide. Alphonse Mucha's contributions to the art world go beyond his beautiful and iconic images; he played a crucial role in defining an era shaping modern design and influencing the intersection of art culture and commerce. His work continues to inspire and resonate across disciplines making him a central figure in the history of modern art. The panel 'Ètè' Summer out of the series 'Four Seasons'. Mucha made a panel for each of the four seasons. He represents each season with characteristic flair here the sultry Summer. Four Seasons was Mucha's first series of decorative panels and one of his most popular ones. An classic Art Nouveau piece. A highlight in each Mucha collection. - Here contemporary framed therefore in very good condition. unknown
189615844ABParis, F.Champenois, 1896. 100,3 : 50,5 cm image Lithograph in colours by Alphonse Mucha. Framed in contemporary wooden frame.
19000037327Paris: F. Champenois & H. Piazza et Cie 1900. First Edition. Hardcover Hardcover. Near Fine Condition. 31cm x 22cm. vi 80 2 pages 1 original pencil and watercolour drawing and 86 leaves being a double suite of the plates most printed on both sides. Signed Vermorel half blue leather inlay design of bells and roses to spine marbled papered boards top edge gilt marbled endpapers. Text is in French. Copy No. 1 of 10 on Japon containing an original Mucha drawing. Emile Gebhart's three medieval tales: Les trois rois La derniere nuit de Judas and Alleluia! presented in one of the great illustrated books of the Art Nouveau period. Alphonse Mucha provided the complete decorative programme: cover design title-page decoration limitation page colophon and 78 individual headpiece compositions with elaborate floral borders enclosing the text each hand-coloured by au pochoir. This copy No. 1 contains an original full-page mixed-media drawing in pencil and watercolour on Japon signed 'Mucha' at lower right depicting a young woman in flowing drapery and broad knotted sash her hair loose to her waist beneath a patterned headband in profile with her hands raised to her collarbone a detailed study for the main figure featured in the vignette on page 69. Also bound in are a complete suite in colour on Japon of the 78 borders and vignettes and the three designs for the title limitation and colophon together with a second state in black on China paper. The original wrappers and prospectus are retained. The prospectus established a hierarchy of 252 copies in five categories of which the ten copies on Japon with original watercolours priced at 550 francs each ranked only below the unique parchment and satin copies priced at 1000 and 800 francs both entirely reworked by the artist and above 25 further copies on Japon without watercolour and 215 copies on velin de Rives. The prospectus also noted explicitly that trade discount on the watercolour copies excluded "the cost of the watercolour executed by the artist" formally distinguishing the value of the Mucha original from that of the book at the point of publication. Provenance: Acquired in 1947 by Albert Quesnot 1882-1954 first violinist with the Paris Opera thence by descent retained in the family home until 2026 when acquired at auction in Paris. Fresh to the market after nearly eighty years of unbroken family ownership. Text is in French. Minor tanning to fore-edge of marbled papered boards. Very minor rubbing to fore-edge of upper board near crown corner. Offsetting to flyleaf facing original upper wrapper. Upper wrapper fore-edge very slightly cropped . Category: Art & Design; Foreign Language::French; French Language; Fine Bindings. Inventory No: 0037327. BZDB407 Art & Design; Foreign Language::French; French Language; Fine Bindings. Unbranded Emile Gebhart; Alphonse Mucha Cloches de Noel et de Paques F. Champenois & H. Piazza et Cie hardcover
