les maitres de l'affiche (316 résultats)

Pas de couverture. Etat : Très bon. Mucha Alphonse (illustrateur). Édition spéciale. Planche N°94, format 29 x 40 cm (toutes marges). Chromolithographie d'époque avec le timbre à sec de l'Imprimerie Chaix (Lugt 1777c). Notre exemplaire est une des très rares épreuves imprimées sur papier Japon (Our plate is one of the few copies printed on Japanese paper, original plate in good condition). LES MAITRES DE L'AFFICHE, prestigieuse publication d'art, éditée par l'atelier de lithographie Chaix, dont la parution s'étala de décembre 1895 à novembre 1900. Chaque livraison comportait 4 planches en lithographie, des plus belles affiches illustrées des grands artistes français et étrangers. Chaque livraison comportait 4 planches de reproduction en chromolithographie d'une remarquable qualité d'impression des plus belles affiches illustrées des grands artistes français et étrangers (auxquelles il faut ajouter 16 planches de lithographies originales données en prime aux abonnés). Lors de l'Exposition universelle de 1889, fut organisée la première exposition rétrospective dévolue à l'affiche, celle-ci devait valider la reconnaissance officielle d'appartenance de l'affiche au monde de l'art. Jules Chéret (1836-1932) y sera sacré '' Maître de l'affiche '', c'est aussi à cette date que Seurat commencera à collectionner les affiches de Chéret. Bel exemplaire d'une des très rares épreuves imprimées sur papier Japon, du tirage de tête (Our plate is one of the few copies printed on Japanese paper) ( Photographies sur demande / We can send pictures of this book on simple request ).

Pas de couverture. Etat : Très bon. Mucha Alphonse (illustrateur). Édition spéciale. Planche N°27, format 29 x 40 cm (toutes marges). Chromolithographie d'époque avec le timbre à sec de l'Imprimerie Chaix (Lugt 1777c). Notre exemplaire est une des très rares épreuves imprimées sur papier Japon (Our plate is one of the few copies printed on Japanese paper). Original plate in good condition). LES MAITRES DE L'AFFICHE, prestigieuse publication d'art, éditée par l'atelier de lithographie Chaix, dont la parution s'étala de décembre 1895 à novembre 1900. Chaque livraison comportait 4 planches de reproduction en chromolithographie d'une remarquable qualité d'impression des plus belles affiches illustrées des grands artistes français et étrangers (auxquelles il faut ajouter 16 planches de lithographies originales données en prime aux abonnés). Lors de l'Exposition universelle de 1889, fut organisée la première exposition rétrospective dévolue à l'affiche, celle-ci devait valider la reconnaissance officielle d'appartenance de l'affiche au monde de l'art. Jules Chéret (1836-1932) y sera sacré '' Maître de l'affiche '', c'est aussi à cette date que Seurat commencera à collectionner les affiches de Chéret. Alfons Maria Mucha, 1860-1939. Bel exemplaire d'une des très rares épreuves imprimées sur papier Japon, du tirage de tête (Our plate is one of the few copies printed on Japanese paper) ( Photographies sur demande / We can send pictures of this book on simple request ).

Etat : A very good example. Contemporary cloth boards, title in decorative border on upper board. , Maitres de l'Affiche (Masters of the Poster) refers to 256 colour lithographic plates used to create an art publication during the Belle Époque in Paris, France. The collection, based on the original works of ninety-seven artists in a smaller 11 x 15 inch format, was put together by Jules Cheret, the father of poster art. The varied selection of prints was sold in packages of four and delivered monthly to subscribers. On sixteen occasions during the selling period between December 1895 through November 1900, the monthly package included a bonus of a specially created lithograph.Jules Cheret (31 May 1836 ? 23 September 1932) was a French painter and lithographer who became a master of Belle Époque poster art. He has been called the father of the modern poster. In 1895, Cheret created the Maîtres de l'Affiche collection, a significant art publication of smaller sized posters featuring the best works of ninety-seven Parisian artists. His success inspired an industry that saw the emergence of a new generation of poster designers and painters such as Charles Gesmar and Henri de Toulouse-Lautrec. One of his students was Georges de Feure., Size : Folio with presentation b, This folio contains 33 of the 256 colour lithographed plates.List of plates: Pl.5 Le Punch GrassotPl.54 P.Puvise de ChauannesPl.63 Lyceum Don QuixotePl.55 Electricine Eclairage de LuxePl.56 Narodopisna Vystave CeskoslovanskaPl.86 Cycles GladiatorPl.49 Le Courier FrançaisPl.50 Tres Fetes de ParisPl.51 Deuxieme Salon du CyclePl.84 Vilh.Soborg.s Eft Reklame=PlakaterPl.58 Les Arts de la FemmePl.59 Ville de Liege 21 & 28 Juillet 1895 Concours International de ChantPl.60 Womens Edition (Buffalo) Courier.Pl.61 Paris Courses Nouveau Sport Grand Prix Une Riviere en DiamantsPl.82 La Revue Blanche bi-MensuellePl.80 Le SillonPl.79 The New Woman from the Comedy Theatre. LondonPl.77 Vin Mariani Popular French Tonic Wine Without number Pencil drawingPl.76 Geo.P.Humphrey At the Sign of the "Old Book Man".Pl.73 Folies-Bergere La Loie FullerPl.72 Societa-Anonima-Per-La Incandescenza.Pl.71 Lessive Figaro Seule AntiseptiquePl.70 Exposition Russe Champ-de-Marsp.69 La Terre Par E.Zolapl.92 Abbotts phit-eesi Boots and shoespl.91 Paul Hankar Architectepl.89 Fete De Charite donnee au Palais du Trocaderopl.88 Abourg de Parispl.87 Living PostersPl.96 The Gay ParisiennePl.64 A Yuniamiento De Barcelona Industria ArtePl.52 When hearts are trumps by Tom Hall Without number , without title.

"La Dame aux Camélias" lithograph in colours designed by Alphonse Mucha (1860-1936), here in an edition of 1896-1898 from "Les Maîtres de l'Affiche" printed by Imprimerie Chaix. Signed in the print in the lower left. Size.: (print) 32,5 x 10,5 cm (frame: 53,5 x 31 cm.) Alphonse Mucha was born in Moravia (now Czech Republic) and is inseparably associated with Art Nouveau, initially called 'le style Mucha'. Like no other, he knew how to depict the Slavic soul with a light melancholic touch. In 1887, Mucha moved to Paris. The entire city was overwhelmed by his work, and the posters were even stolen from the streets. The graceful lines, fresh pastel colours, and lavish motifs in his illustrations of sensual women became the icons of the fin de siècle. Mucha's style is beautifully expressed in the large posters he designed in the 1890s, which made him famous and internationally recognized. The most important of these are the posters for the Parisian actress Sarah Bernhardt. What made this work revolutionary from an artistic standpoint was the refinement he brought to what had until then been an extremely colourful, often even garish, Parisian street decor. Thanks to Mucha's contribution, the poster acquired a new meaning in modern art. Mucha succeeded in giving the posters for Sarah Bernhardt a great dramatic power. His intuitive sense of what is visually effective is evident in all his creations. Sarah Bernhardt played the lead role in Alexandre Dumas' La Dame aux Camélias more than once. Mucha's poster was intended for the 1896 revival. This magnificent work presents a dramatic image of the tragic love of the courtesan Camille, who, dying of tuberculosis, releases her lover from his pledge of fidelity. The weakened heroine leans against the balustrade against a backdrop of silver stars. White camellias, her favourite flower, are abundant. She has one in her hair, and the other, in the hand of fate at the bottom left, symbolizes death. The smooth stem of the plant contrasts with the thorny roses that encircle the hearts in the frame above the figure and refer to the main theme of the play: the ultimate sacrifice of love. The Maitres de l'Affiche series was the direct result of international interest in posters and poster artists that reached its height in the mid-1890s in Europe and America. The masterpieces of artists like Jules Chéret, Henri de Toulouse-Lautrec, and -as seen here- Alphonse Mucha, transformed commercial advertisements into an esteemed art form worthy of public adoration and scholarly pursuit. Along with the decade's wave of poster journals, books, and exhibitions came a serious desire to collect the artworks for personal enjoyment and study -- but the sheer size of posters made storage awkward and often times impossible. The Maitres de l'Affiche ("Masters of the Poster") series was born of this dilemma. By offering subscribers reductions of the era's most important posters, collectors and enthusiasts were able to build miniature archives of posters from around the world. The complete Maitres de l'Affiche series boasted 256 expertly produced miniature lithographic plates representing the best of the Belle Époque. During its five-year run from late 1895 to 1900 the series was hugely successful, and it continues to be popular today, offering experts and novices alike a convenient and dazzling overview of some of the finest achievements in poster art. It is not surprising that the exquisite Maitres de l'Affiche collection was the brainchild of Jules Chéret, inventor of the three-stone lithographic process and virtual founder of the modern poster. As early as the 1860s, Chéret's magnificent creations brought elegance and colour to the urban landscape of Paris and soon generated an international industry. By 1866, Chéret opened his own print shop, which would eventually become a branch of the large French publisher Imprimerie Chaix. His role as artistic director at Chaix provided Chéret with the platform and resources necessary to launch the Maitres series. The first four plates were released in December of 1895 and featured posters by Chéret, Toulouse-Lautrec, Julius Price, and Dudley Hardy. The series would continue for a total of 60 months, ending in November of 1900 -- truly spanning the peak of the poster craze. In the end, there were a total of 240 regular plates and 16 bonus plates. The Maitres de l'Affiche series operated much like a contemporary magazine. A poster enthusiast had the option of purchasing the current month's four plates from a specialized dealer, or he could choose to subscribe to the series for the length of one year. In France, a one-year subscription cost 27,- francs, equivalent to roughly five to ten original full-sized versions of the posters highlighted in the Maitres series. The original, full-sized posters and the Maitres prints they inspired were never considered in competition with one another; rather, they were viewed as two entirely different entities. While posters were large and bold, prints were beloved for their exquisite size and detail. In addition, posters were often printed on inexpensive newsprint due to their anticipated short lifespan. Prints, on the other hand, were made on very fine paper using printing techniques too intricate for larger items. Print collecting was an extremely popular hobby in its own right well before posters became fashionable. Chéret introduced the modern poster, but it was not until Toulouse-Lautrec's Moulin Rouge in 1891 that posters were elevated to an art form print collectors deemed worthy of their attention. In many ways, the Maitres series can be seen as the successful marriage of the poster and print crazes. In his preface to Volume I of the Maitres series, Roger Marx, a notable 19th-century art historian and critic, described the streets of Paris as "a museum in the breeze." He wrote that "the poster has a precarious fate. it gleams in sun, fades in the mist, dangles sadly in shreds, [and] sways in th.

autre. - Les Maîtres de l'Affiche - imprimerie Chaix, Paris 1896, planche : 29x39,9cm / cadre : 38x43,5cm, une affiche lithographiée sur vélin fin encadrée. - Lithographie originale en couleurs et tirée sur vélin fin. Timbre à sec de l'imprimeur en bas à droite de la planche. Superbe publication mensuelle française, les Maîtres de l'Affiche, parut entre 1895 et 1900 à l'initiative de Jules Chéret. Chaque numéro de la revue comprend quatre affiches reproduites au format cloche et en chromolithographie présentant pour chacune un timbre à sec d'authentification. Très bel exemplaire. NB : L'affiche est présentée encadrée, pour toute expédition elle devra être envoyée sans le cadre. [ENGLISH TRANSLATION FOLLOWS] Les Maîtres de l'Affiche - imprimerie Chaix | Paris 1896 | plate: 29 x 39.9 cm | frame: 38 x4 3.5 cm | framed lithograph poster on vélin fin paper Original color lithograph on vélin fin paper. Printer's embossed stamp to lower right of plate. A superb French monthly publication, the Maîtres de l'Affiche [Masters of the Poster Form] appeared from 1895 to 1900 under the aegis of Jules Chéret. Each number of the review included four reproductions of posters in cloche format (30 x 40 cm), chromolithographed with an embossed stamp for authentication. A fine copy. NB: The poster is sold framed, but would have to be shipped without the frame.

Pas de couverture. Etat : Très bon. Planche N°20, format 29 x 40 cm (toutes marges). Chromolithographie d'époque avec le timbre à sec de l'Imprimerie Chaix (Lugt 1777c). Notre exemplaire est une des très rares épreuves imprimées sur papier Japon, toute petite trace de punaisage dans l'extrémité de la marge supérieure gauche (Our plate is one of the few copies printed on Japanese paper. Original plate in good condition). LES MAITRES DE L'AFFICHE, prestigieuse publication d'art, éditée par l'atelier de lithographie Chaix, dont la parution s'étala de décembre 1895 à novembre 1900. Chaque livraison comportait 4 planches de reproduction en chromolithographie d'une remarquable qualité d'impression des plus belles affiches illustrées des grands artistes français et étrangers (auxquelles il faut ajouter 16 planches de lithographies originales offertes en prime aux abonnés). Lors de l'Exposition universelle de 1889, fut organisée la première exposition rétrospective dévolue à l'affiche, celle-ci devait valider la reconnaissance officielle d'appartenance de l'affiche au monde de l'art. Jules Chéret (1836-1932) y sera sacré '' Maître de l'affiche '', c'est aussi à cette date que Seurat commencera à collectionner les affiches de Chéret. Bel exemplaire ( Photographies sur demande / We can send pictures of this book on simple request ).

Pas de couverture. Etat : Très bon. Bouisset Firmin (illustrateur). Planche N°47, format 29 x 40 cm (toutes marges). Chromolithographie d'époque avec le timbre à sec de l'Imprimerie Chaix (Lugt 1777c). Notre exemplaire est une des très rares épreuves imprimées sur papier Japon, 2 toutes petites traces de punaisage chaque extrémité de la marge supérieure (Our plate is one of the few copies printed on Japanese paper. Original plate in good condition). LES MAITRES DE L'AFFICHE, prestigieuse publication d'art, éditée par l'atelier de lithographie Chaix, dont la parution s'étala de décembre 1895 à novembre 1900. Chaque livraison comportait 4 planches de reproduction en chromolithographie d'une remarquable qualité d'impression des plus belles affiches illustrées des grands artistes français et étrangers (auxquelles il faut ajouter 16 planches de lithographies originales offertes en prime aux abonnés). Lors de l'Exposition universelle de 1889, fut organisée la première exposition rétrospective dévolue à l'affiche, celle-ci devait valider la reconnaissance officielle d'appartenance de l'affiche au monde de l'art. Jules Chéret (1836-1932) y sera sacré '' Maître de l'affiche '', c'est aussi à cette date que Seurat commencera à collectionner les affiches de Chéret. Bel exemplaire ( Photographies sur demande / We can send pictures of this book on simple request ).

Etat : Fine. The book is in fine condition.

Pas de couverture. Etat : Très bon. De Feure Georges (illustrateur). Planche N°10, format 29 x 40 cm (toutes marges). Chromolithographie d'époque avec le timbre à sec de l'Imprimerie Chaix (Lugt 1777c). Notre exemplaire est une des très rares épreuves imprimées sur papier Japon, 2 toutes petites traces de punaisage dans l'extrémité de la marge supérieure (Our plate is one of the few copies printed on Japanese paper. Original plate in good condition). LES MAITRES DE L'AFFICHE, prestigieuse publication d'art, éditée par l'atelier de lithographie Chaix, dont la parution s'étala de décembre 1895 à novembre 1900. Chaque livraison comportait 4 planches de reproduction en chromolithographie d'une remarquable qualité d'impression des plus belles affiches illustrées des grands artistes français et étrangers (auxquelles il faut ajouter 16 planches de lithographies originales données en prime aux abonnés). Lors de l'Exposition universelle de 1889, fut organisée la première exposition rétrospective dévolue à l'affiche, celle-ci devait valider la reconnaissance officielle d'appartenance de l'affiche au monde de l'art. Jules Chéret (1836-1932) y sera sacré '' Maître de l'affiche '', c'est aussi à cette date que Seurat commencera à collectionner les affiches de Chéret. Bel exemplaire ( Photographies sur demande / We can send pictures of this book on simple request ).

Print. Etat : Fine. First edition. A picture of a young woman standing in a doorway with an otherworldly winged being behind her. Image size varies on paper 11 1/4 x 15 1/2" with the blind stamp in the lower right corner.

Print. Etat : Fine. First edition. An image of an enormous woman dancing over a cityscape. Image size varies on paper 11 1/4 x 15 1/2" with the blind stamp in the lower right corner.

No Binding. Etat : Fine. This piece has been called one of the fore-runners of the modern poster - it is simple, it is elegant, and it has all the makings of a fine advertising print. Indeed, if it were to be presented today at an advertising meeting, there is little doubt it would be accepted for a print ad. The Maitre de l'affiche posters were a collection sent to poster aficionados and subscribers just before the turn of the last century (roughly 1896-1900). THIS IS AN ORIGINAL POSTER AND NOT A REPRODUCTION. IT IS PART OF THE COLLECTION OF THE MAITRE DE L'AFFICHE AND IS EMBOSSED WITH THE SEAL OF THE MAITRE. By the 1890s the streets of every great metropolis were enlivened by large colourful posters . The poster had not only caught the fancy of the broad public, but its best examples were already being regarded as works of art (specifically, as fine prints) to be exhibited, reviewed in journals, collected and reprinted in a manageable form. In the last five years of the century, the Imprimerie Chaix was to play great part in codifying, hallowing and perpetuating the ebullient period of 'La Belle Epoque.' It was in those years that the firm published 'Les Maitres de l'Affiche' (Masters of the Poster) reduced lithographic versions, in authentic colours, of the best posters of Europe and America, by more than 90 great artists, posters that bring the period to life.' Of Steinlen, Wikipedia writes: "Théophile Alexandre Steinlen, (1859 1923), was a Swiss-born French Art Nouveau painter and printmaker. Steinlen became a regular contributor to Le Rire and Gil Blas magazines plus numerous other publications including L'Assiette au Beurre and Les Humouristes, a short-lived magazine he and a dozen other artists jointly founded in 1911. Between 1883 and 1920, he produced hundreds of illustrations, some which were done under a pseudonym to avoid political problems due to their harsh criticisms of societal ills. Today, his works can be found at many important museums around the world including at the Hermitage Museum in St. Petersburg, Russia. and the National Gallery of Art in Washington, D.C., United States." Please note that currently, we have two copies of this Maitres - one framed, and this one, unframed. This poster measures 11.5x15".

Print. Etat : Fine. First edition. A dynamically rendered image of a dark-haired woman turning on a lamp. Image size varies on paper 11 1/4 x 15 1/2" with the blind stamp in the lower right corner.

Pas de couverture. Etat : Comme neuf. Edition originale. "CASINO D'ENGHIEN" Planche originale entoilée Les Maîtres de l'Affiche n°129 avec son cachet à sec / Litho par Jules CHÉRET / Imp. CHAIX (1890) / Format entoilé: 32,5x43,5cm / Parfait état /// Original poster on linen Les Maîtres de l'Affiche n°129 / Litho by Jules CHÉRET (1890) / Size on linen: 32,5x43,5cm / Perfect condition.

Pas de couverture. Etat : Comme neuf. Edition originale. "KASSAMA / CORN FLOUR" Litho Les Maîtres de l'Affiche Planche n° 232 / Litho de J.W. BEGGARSTAFF de 1894 / Imp. CHAIX / Planche originale avec son cachet à sec entoilée / Format entoilé: 32,5x43,5cm / Parfait état / Original poster on linen / Litho by J.W. BEGGARSTAFF (1894) / Size on linen: 32,5x43,5cm / Perfect condition.

unbound. Etat : very good(+). Poster. Color lithograph. Page measures 15.75" x 11.5". Printed between 1895 and 1900, "Les Maitres de l'Affiche" ("Masters of the Poster") was a lithographed series of 256 plates that reproduced the best American and European posters of the time. Under the artistic direction of Jules Cheret (1836-1932), the prints were published as a monthly subscription. In addition to the four prints disseminated every month, there were 16 bonus plates each originally designed by noted artists including Cheret. This print was originally an advertisement for Harper's Magazine by Edward Penfield (1866-1925), an artist who lived and worked in New York City. Known as the "originator of the poster in America", Penfield designed for Harper's in the 18790's and his work is still highly collectible and sought after. In very good condition, with a faint crease mark to upper right corner.

Print. Etat : Fine. First edition. Joan of Arc holding a banner in a hail of arrows. Image size varies on paper 11 1/4 x 15 1/2" with the blind stamp in the lower right corner.

autre. - Les Maîtres de l'Affiche - imprimerie Chaix, Paris 1896, planche : 29x39,9cm / cadre : 37,5x47,5cm, une affiche lithographiée sur vélin fin encadrée. - Lithographie originale en couleurs et tirée sur vélin fin. Timbre à sec de l'imprimeur en bas à droite de la planche. L'affiche représentant un pierrot de dos, lisant devant Notre-Dame de Paris. Superbe publication mensuelle française, les Maîtres de l'Affiche, parut entre 1895 et 1900 à l'initiative de Jules Chéret. Chaque numéro de la revue comprend quatre affiches reproduites au format cloche et en chromolithographie présentant pour chacune un timbre à sec d'authentification. Très bel exemplaire. NB : L'affiche est présentée encadrée, pour toute expédition elle devra être envoyée sans cadre. [ENGLISH DESCRIPTION ON DEMAND].

Print. Etat : Fine. First edition. Four sirens, halfway submerged in water. Image size varies on paper 11 1/4 x 15 1/2" with the blind stamp in the lower right corner.

Print. Etat : Fine. First edition. Two young women in a gondola put flowers on a light post. Image size varies on paper 11 1/4 x 15 1/2" with the blind stamp in the lower right corner.

Print. Etat : Fine. First edition. A roughly rendered profile of a Chinese man in white on a reddish background. Image size varies on paper 11 1/4 x 15 1/2" with the blind stamp in the lower right corner.

Print. Etat : Very good condition. First edition. A poster design for a Paris department store, for which Cheret made a variety of designs. This image with a fashionable woman at the top, a harlequin in red riding a goat, a girl in yellow dress grasping a trumpet, and a girl in red and white polka dot dress playing a drum. A slightly different design for this store became famous when it appeared in Monica's apartment in the television series 'Friends'. Image size varies on paper 11 1/4 x 15 1/2" with the blind stamp in the lower right corner.

Etat : Fine. Crafty (illustrateur). This first edition, folio lithograph after a poster is from "Les Maitres de l'Affiche". The work was published by Imprimerie Chaix under the direction of Jules Cheret in Paris between 1896 and 1900. The prints were published as a monthly subscription, with 4 sent each month to subscribers. On 16 occasions "bonus" plates of original designs by noted artists were also included. Each lithograph features the blind embossed stamp of Maitres de l'Affiche designed by Cheret. Celebrated artists of the time contributed to the work including Steinlen, Mucha, Toulouse-Lautrec, Bonnard, Forain, Grasset, Meunier, Louis Rhead, Dudley Hardy, Beggarstaff, Edward Penfield et al. --- Jules Cheret was considered the father of poster art. "He dominated the series, with one in every four Maitres by him, the first in each monthly instalment, and 7 of the Special plates, a total of 67. With over 1000 poster designs to his credit, his large representation in the series is justified, although some critics have pointed out that, as the artistic director, he may have been biased towards selecting his own work." (Appelbaum p.iii) Cheret demonstrated a unique combination of artistic, technical, and entrepreneurial talent that spearheaded the poster industry. He opened his own print shop in 1866 in Paris and from 1881 on his shop operated as part of the Chaix firm which gave us "Les Maitres de l'Affiche". --- Among the most sought after plates in the work are the "Job" and "Moulin Rouge" by Toulouse Lautrec. Rennert noted of the "Job" by Mucha that "more than any other work of Mucha's, this beauty established him as the master of convoluted hair and the creator of unforgettable popular images; the poster was used for years in many variants all over the world, sometimes with marginal text in various languages. A classic by any standard." (Rennert, PAI-XLIX 389) "Jane Abdy called it "a secular icon," and indeed it is a magnificent production, considering that it advertises cigarette paper. "The background, in a dull imperial purple is a perfect foil for the golden curls of the smoking girl, whose locks are spread over the poster like the delicate filigree work of an Indian bracelet"(Abdy, p.136) --- This art subscription was created during the Belle Epoque period in France. "There was nothing exclusive about the 'joie de vivre' that swept Paris, at a delirious pace, out of the 19th century into the 20th. As Victor Hugo had observed, the city lived by, and for, the whole human race. Haussman's great boulevards had opened up a spacious stage where Paris made a spectacle of herself by day and night. Outdoors and indoors the walls of buildings flowered with posters that took their themes from the passing show of 'La Vie Parisenne.' Advertising never knew happier days. The most ephemeral of the arts has left us with a vision of the 'good old days' that vanished forever in the gunsmoke of 1914. Those gay nineties and naughty noughts that will always be remembered as 'La Belle Epoque.'(The beautiful era)" (Horizon p. 97) --- "By the 1890s the streets of every great metropolis were enlivened by large colourful posters (see The Great Poster Movement). The poster had not only caught the fancy of the broad public, but its best examples were already being regarded as works of art (specifically, as fine prints) to be exhibited, reviewed in journals, collected and reprinted in a manageable form. In the last five years of the century, the Imprimerie Chaix was to play great part in codifying, hallowing and perpetuating the ebullient period of 'La Belle Epoque.' It was in those years that the firm published "Les Maitres de l'Affiche" (Masters of the Poster) reduced lithographic versions, in authentic colours, of the best posters of Europe and America, by more than 90 great artists, posters that bring the period to life." (Appelbaum p.iii) --- The work is in very good to excellent condition. There may be a few minor imperfections to be expected with age. Please review the image carefully for condition and contact us with any questions. --- Paper Size ~ 11 1/4" by 15 1/2".

Pas de couverture. Etat : Très bon. Grasset Eugène (illustrateur). Planche N°50, format 29 x 40 cm (toutes marges). Chromolithographie d'époque avec le timbre à sec de l'Imprimerie Chaix (Lugt 1777c). Notre exemplaire est une des très rares épreuves imprimées sur papier Japon, 2 toutes petites traces de punaisage chaque extrémité de la marge supérieure (Our plate is one of the few copies printed on Japanese paper. Original plate in good condition). LES MAITRES DE L'AFFICHE, prestigieuse publication d'art, éditée par l'atelier de lithographie Chaix, dont la parution s'étala de décembre 1895 à novembre 1900. Chaque livraison comportait 4 planches de reproduction en chromolithographie d'une remarquable qualité d'impression des plus belles affiches illustrées des grands artistes français et étrangers (auxquelles il faut ajouter 16 planches de lithographies originales données en prime aux abonnés). Lors de l'Exposition universelle de 1889, fut organisée la première exposition rétrospective dévolue à l'affiche, celle-ci devait valider la reconnaissance officielle d'appartenance de l'affiche au monde de l'art. Jules Chéret (1836-1932) y sera sacré '' Maître de l'affiche '', c'est aussi à cette date que Seurat commencera à collectionner les affiches de Chéret. Bel exemplaire ( Photographies sur demande / We can send pictures of this book on simple request ).

En feuilles, couverture illust. Etat : Très bon. Chéret - Fraipont - Gosslob - Rhead - Léandre (illustrateur). EDITION ORIGINALE. Contient les 4 planches 217 à 220: CHERET. Affiche pour la "Taverne Olympia" - G. de FRAIPONT. Affiche pour la Cie. du Nord : "Pierrefonds" - F. GOSSLOB. Affiche pour la "2 exposition des peintres-lithographes" - Louis RHEAD. Affiche américaine pour le "Morning journal". Exemplaire bien complet de la planche supplémentaire, réservée aux abonnés : LEANDRE. "Dessin original pour Les Maîtres de l'affiche". Couverture fendue, mais planches très fraîches. > Publication mensuelle contenant la reproduction en couleurs des plus belles affiches illustrées des grands artistes, français et étrangers.

Very faint soiling around the edges, remnants of former mounting, otherwise in very good condition.

Print. Etat : Fine. First edition. Two young women, one of whom is holding a wreath over the head of Alessandro Volta, the inventor of the battery. Image size varies on paper 11 1/4 x 15 1/2" with the blind stamp in the lower right corner.

Print. Etat : Fine. First edition. An Image of a chaotic party with a woman playing the cymbals and a clown standing on his hand. Image size varies on paper 11 1/4 x 15 1/2" with the blind stamp in the lower right corner.

autre. - Les Maîtres de l'Affiche - imprimerie Chaix, Paris 1896, 29x39,9cm, une affiche lithographiée sur vélin fin. - Lithographie originale en couleurs tirée sur vélin fin. Timbre à sec de l'imprimeur en bas à droite de la planche. Superbe publication mensuelle française, les Maîtres de l'Affiche, parut entre 1895 et 1900 à l'initiative de Jules Chéret. Chaque numéro de la revue comprend quatre affiches reproduites au format cloche et en chromolithographie présentant pour chacune un timbre à sec d'authentification. Superbe exemplaire de cette affiche à la gloire de la célèbre marque de vermouth. [ENGLISH DESCRIPTION ON DEMAND].

Pas de couverture. Etat : Très bon. Boutet de Monvel Maurice (illustrateur). Planche N°26, format 29 x 40 cm (toutes marges). Chromolithographie d'époque avec le timbre à sec de l'Imprimerie Chaix (Lugt 1777c). Notre exemplaire est une des très rares épreuves imprimées sur papier Japon, toute petite trace de punaisage sur 3 angles externes de la marge supérieure (Our plate is one of the few copies printed on Japanese paper. Original plate in good condition). LES MAITRES DE L'AFFICHE, prestigieuse publication d'art, éditée par l'atelier de lithographie Chaix, dont la parution s'étala de décembre 1895 à novembre 1900. Chaque livraison comportait 4 planches de reproduction en chromolithographie d'une remarquable qualité d'impression des plus belles affiches illustrées des grands artistes français et étrangers (auxquelles il faut ajouter 16 planches de lithographies originales données en prime aux abonnés). Lors de l'Exposition universelle de 1889, fut organisée la première exposition rétrospective dévolue à l'affiche, celle-ci devait valider la reconnaissance officielle d'appartenance de l'affiche au monde de l'art. Jules Chéret (1836-1932) y sera sacré '' Maître de l'affiche '', c'est aussi à cette date que Seurat commencera à collectionner les affiches de Chéret. Bel exemplaire ( Photographies sur demande / We can send pictures of this book on simple request ).