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Alphonse Maria Mucha on Sale Now at Auction

Alphonse Maria Mucha (1860-1939) for Swann Auction Galleries  Please Register/Login to access your Invaluable Alerts

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ALPHONSE MUCHA (1860-1939). SALON DES CENT. 1896. 24x15 inches, 62x39 cm. F. Champenois, Paris.

Estimate: $7,000 - $10,000

Description: ALPHONSE MUCHA (1860-1939) SALON DES CENT. 1896. 24 1/2x15 1/2 inches, 62 1/4x39 1/2 cm. F. Champenois, Paris. Condition B+: minor creases, abrasions and mat staining in margins; minor restoration along vertical and horizontal folds; ink stamp in text. Matted and framed. Mucha''s poster design for the Salon des Cent was the start of a long collaboration between the artist and La Plume. One year after he created this poster, the magazine dedicated an entire issue to Mucha and gave him a one-man show. While Mucha was working on this poster, Léon Deschamps, La Plume''s publisher, went to visit the artist at his studio. Deschamps recalls that the poster design he saw at that time featured "a half-nude woman, her inclined head resting nonchalantly on one hand, her golden hair curling like a halo in rich arabesques - those famous ''macaroni'' which tomorrow would be celebrated and copied by all the apes of art - a divine languor lingering over the clean outlines of her face, the whole emanating an indefinable charm." Mucha protested that the poster wasn''t finished, but Deschamps self-aggrandizingly insisted "print it as it is and you will produce a masterpiece of the illustrative decorative poster" (La Plume Mucha Special Issue, 1897, p. 4). Rennert / Weill 12, Lendl p. 133, Brno 7, Mucha Grand Palais 13, Darmstadt 26, Mucha / Henderson 58, Mucha / Bridges A7, Reade 5, Jiri Mucha p. 94, Triumph des Jugendstils 19 (var), Art Nouveau p. 112, Salon des Cent 19 (var), Spirit of Art Nouveau 18, DFP-II 628 (var), Abdy p. 139, Schardt p. 129.

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ALPHONSE MUCHA (1860-1939). JOB. 1896. 21x16 inches, 53x42 cm. F. Champenois, Paris.

Estimate: $15,000 - $20,000

Description: ALPHONSE MUCHA (1860-1939) JOB. 1896. 21x16 3/4 inches, 53 1/4x42 1/2 cm. F. Champenois, Paris. Condition B+: repaired tears in margins, some affecting image; unevenly trimmed margins, not affecting image; tape on verso along tears. Matted and framed. Job cigarette rolling papers, offered in small packets, were the brainchild of Jean Bardou, a baker in Perpignan. On the cover of these booklets he put his initials separated by a diamond. The public interpreted this as "Job," and the name stuck. Bardou was both a patron of the arts and a man with exceptional vision in regard to advertising. He commissioned artists such as Jules Chéret, Pal, Leonetto Cappiello, Firmin Bouisset, Jane Atché and Toulouse-Lautrec to design posters for his company. Mucha designed two posters for Job; the first is this charming, small format piece featuring the bust of a woman with extravagant hair. She appears to be the same woman he depicted on his poster for the Salon des Cent''s 1896 exhibition (see previous lot). While Mucha saw the other poster as "an unfinished design," he viewed this image for Job as complete. The "exquisite arabesque of luxuriant hair . . . became the artist''s trademark over the next few years" (Rennert / Weill p. 82). No longer based on reality, the hair on Mucha''s maiden became an entirely decorative element, as did the smoke rising from her cigarette. The borders and the poster''s title are designed to look like a mosaic, and in the background, Mucha ingeniously utilizes a stylized version of the company''s logo as another decorative element. Rennert / Weill 15, Maitres pl. 202, Lendl p. 118, Wember 609, Weill 58, Brno 10, Mucha Grand Palais 28, Darmstadt 50, Mucha / Henderson 47, Mucha / Bridges A6, Reade 12, Triumph des Jugendstils 23 (var), Art Nouveau p. 112, Spirit of Art Nouveau 20, DFP-II 635, Abdy p. 137.

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ALPHONSE MUCHA (1860-1939). JOB. 1898. 60x38 inches, 153x97 cm. F. Champenois, Paris.

Estimate: $6,000 - $9,000

Description: ALPHONSE MUCHA (1860-1939) JOB. 1898. 60 1/4x38 1/4 inches, 153x97 1/4 cm. F. Champenois, Paris. Condition A. Framed. Unexamined out of frame. Mucha''s second poster for Job, done two years after the first in a large format, is one of his best advertising pieces. Here Mucha provides the viewer with three levels of reading that constantly reinforce the brand. The girl sitting in a circle, her brown hair contrasting with her skin and pink dress, is eye-catching in and of herself, as is the big, bold lettering across the top bearing the company''s name. But as viewers look more closely at the image, they discover that Mucha has also included the company name in the wallpaper behind the figure, that she is holding a package of the product, and finally, that her brooch also bears the Job logo. The image and design create a masterpiece of commercial art. Rennert / Weill 51, DFP-II 634, Modern Poster 9, Wine Spectator 74, Wember 610, Lendl p. 121, Weill 59, Maitres 1900 p. 18, Meisterplakate 164, Schardt p. 137, Triumph des Jugendstils 24, Mucha Grand Palais 76, Darmstadt 77, Mucha / Henderson 82, Mucha / Bridges A36, Jiri Mucha p. 180, Schardt p. 137.

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ALPHONSE MUCHA (1860-1939). JOB. Enamel sign. After 1897. 18x12 inches, 47x32 cm. B. Sirven, Toulouse.

Estimate: $1,500 - $2,000

Description: ALPHONSE MUCHA (1860-1939) JOB. Enamel sign. After 1897. 18 1/2x12 7/8 inches, 47x32 3/4 cm. B. Sirven, Toulouse. Condition A / A-: minor flaking at edges; slight area of overpainting in image and in bottom margin. Framed. Unexamined out of frame. This enamel sign stands as evidence of the widespread influence and appeal of Mucha''s art. Using the image from the first of his posters for Job, the advertisers include text in French, Arabic and Greek, clearly aimed at the Middle Eastern market. This enamel sign appeared in the famous exhibition of Mucha''s works at the Grand Palais in Paris in 1980. Its provenance was listed as coming from the Job family through Alain Lesieutre, the famous Art Nouveau dealer. This is the only other known copy of this work, if not the same one. It is so rare that most subsequent references miss the fact that it is an enamel sign; this is the first time it has been pictured within its white frame, which is part of the enamel sign itself. Rennert / Weill 15 (var 4), Mucha Grand Palais 30, Spirit of Art Nouveau p. 57.

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ALPHONSE MUCHA (1860-1939). BÉNÉDICTINS DE SOULAC. Circa 1896. 14x11 inches, 36x29 cm. F. Champenois, Paris.

Estimate: $1,500 - $2,000

Description: ALPHONSE MUCHA (1860-1939) BÉNÉDICTINS DE SOULAC. Circa 1896. 14 1/2x11 1/2 inches, 36 3/4x29 1/4 cm. F. Champenois, Paris. Condition B / B-: expertly-recreated text panel; creases, restoration and overpainting in image; minor smudging and discoloration in margins and image; metal grommets in top margin. Printed on card. Matted and framed. Unexamined out of frame. "The most elusive of all Mucha posters" (Rennert / Weill p. 66). Until the mid-1980s, this poster was "known to us only from a single reproduction in the pages of La Plume magazine and from a listing in the Salon des Cent exhibition of 1897" (ibid). When the Moravian Galerie held their big exhibition of Mucha''s works in Brno in 1979, this poster was represented in the catalogue without any dimensions or description of its colors with the caption: "This poster exists only as a period reproduction." Advertising dental hygiene products, the image depicts a monk consulting an ancient botanical book, clearly scouring its pages for important ingredients for their toothpastes. The image reproduced in La Plume shows the blank space at the bottom right as being an intricately carved piece of wood - either the side of the chair the monk is sitting in or the door to a cabinet. Here, that area has been cut out and replaced with a blank piece of paper. This is the first time this poster has appeared at auction and only the second copy we have been able to locate, the other being part of the Ivan Lendl Collection. This copy is the only one to have the grommets intact at top. The copy in the Lendl collection has the same missing area in the lower right part of the image. The question remains as to why La Plume saw fit to illustrate this atypical poster of Mucha''s in the first place. rare. Rennert / Weill 9, Brno 18, Mucha / Henderson 118, Mucha / Bridges A32, Jiri Mucha p. 85, Lendl p. 108.

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ALPHONSE MUCHA (1860-1939). LANCE PARFUM

Estimate: $5,000 - $7,500

Description: ALPHONSE MUCHA (1860-1939) LANCE PARFUM "RODO." 1896. 17 3/8x12 3/8 inches, 44x31 1/2 cm. F. Champenois, Paris. Condition A-: minor creases and mat staining in margins; light staining in margins and image; tape on verso; hinged to mat at top edge. Paper. Matted and framed. This charming and graceful poster was designed early in Mucha''s career, and yet already exhibits the heart and soul of his design system, which would become so prevalent and refined in the following years. Mucha incorporates the whole image, including the text, into a sophisticated graphic frame, and uses a halo behind his angelic figures against a mosaic background. What differentiates this piece from Mucha''s subsequent masterpieces is the intricate precision of the rendering of the women''s chemise, which all but disappears in Mucha''s later works - replaced by flowing diaphanous gowns - and her hair, which bears only a scant resemblance to the cascading "exquisite arabesque of luxuriant hair, which became the artist''s trademark" (Rennert / Weill p. 82). Mucha also designed the packaging for this perfume. Rennert / Weill 14 (var 2), Lendl p. 113, Brno 11, Mucha Grand Palais A. 21, Mucha / Henderson 55, Art Nouveau p. 114, Spirit of Art Nouveau p. 59.

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ALPHONSE MUCHA (1860-1939). BLEUZE - HADANCOURT PARFUMEUR. Circa 1899. 24x10 inches, 61x27 cm. F. Champenois, Paris.

Estimate: $15,000 - $20,000

Description: ALPHONSE MUCHA (1860-1939) BLEUZE - HADANCOURT PARFUMEUR. Circa 1899. 24 1/8x10 3/4 inches, 61 3/8x27 3/8 cm. F. Champenois, Paris. Condition A / A-: light creasing in margins and corners. Paper. Matted and framed. Unexamined out of frame. "This is one of the rarest posters by Mucha . . . As befits a perfumer, flowers whose fragrances are used in the trade abound throughout the design, in the girl''s hair as well as in the decorative panels. Note the delicate shadings of the background and the graceful lines of the figure" (Rennert / Weill p. 260). This poster, like the following lots, represents a new approach by Mucha in laying out his posters using more of the white of the paper to form decorative elements. Here, he adds the elements of the plumes of wafting perfume and the branches of the flowering tree for an extra layer of depth. rare. We could find only five other copies at auction since 1991. Rennert / Weill 71, Lendl p. 116.

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ALPHONSE MUCHA (1860-1939). [PARFUMERIE GELLÉ FRÈRES / SYLVANIS ESSENCE.] 1899. 24x9 inches, 61x23 cm. [F. Champenois, Paris.]

Estimate: $10,000 - $15,000

Description: ALPHONSE MUCHA (1860-1939) [PARFUMERIE GELLÉ FRÈRES / SYLVANIS ESSENCE.] 1899. 24 1/8x9 1/8 inches, 61 3/8x23 1/4 cm. [F. Champenois, Paris.] Condition A-: light mat staining around edges; minor loss in upper left corner. Matted and framed. "The poster shows one of Mucha''s fragile beauties against a background of a natural scene in full bloom. A sample of the product is shown at lower left, with a decorative label that may well have been also designed by Mucha . . . The concept of the layout can be compared with the two Moët & Chandon posters" (Rennert / Weill p. 255). "Strangely, even Mucha''s signature and the printer''s credit are missing here [they both appear on the version with text. See next lot]" (ibid, p. 256). This is the version before text. rare. We have found no other copies at auction. Rennert / Weill 69 (var 1), Mucha Grand Palais A. 41 (var), Darmstadt P41 (var).

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ALPHONSE MUCHA (1860-1939). PARFUMERIE GELLÉ FRÈRES / SYLVANIS ESSENCE. 1899. 24x9 inches, 61x23 cm. F. Champenois, Paris.

Estimate: $4,000 - $6,000

Description: ALPHONSE MUCHA (1860-1939) PARFUMERIE GELLÉ FRÈRES / SYLVANIS ESSENCE. 1899. 24x9 inches, 61x23 cm. F. Champenois, Paris. Condition B: overpainting, water staining and pin hole in bottom margin; minor abrasions in margins; faded overall; darkening at edges. Matted and framed. rare. We have found only two other examples at auction. Rennert / Weill 69, Mucha Grand Palais A. 41, Darmstadt P41, Mucha / Bridges p. 187.

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ALPHONSE MUCHA (1860-1939). VIN DES INCAS. 1897. 5x14 inches, 13x35 cm.

Estimate: $3,000 - $4,000

Description: ALPHONSE MUCHA (1860-1939) VIN DES INCAS. 1897. 5 1/4x14 inches, 13 1/4x35 1/2 cm. Condition A / A-: minor mat staining. Mounted to paper. Matted and framed. Fortified wines containing small amounts of cocaine were extremely popular (and legal) during the Belle Époque. Jules Chéret designed a poster for Vin Mariani, another one of these tonics. This curious allegory, which is set in a landscape and with costumes that do not have any bearing on Peru (where the product is from), is pleasantly bizarre. A native is begging the sensuous goddess for a sip of fortifying elixir from the bottle she holds, and all she offers him is her hand to be kissed. The image is in an unusual format to advertise a commercial product (the full-size poster was seven feet long and almost three feet high), but it must have been popular, as it was also issued in this more approachable size for collectors. This is the smaller format. Rennert / Weill 43 (var 1), Health 119 (var), Lendl p. 91 (var), Brno 39, Mucha Grand Palais 58, Darmstadt 61, Mucha / Henderson 86, Mucha / Bridges A44 (var), Spirit of Art Nouveau 21.

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ALPHONSE MUCHA (1860-1939). BIÈRES DE LA MEUSE. 1897. 23x15 inches, 58x38 cm. F. Champenois, Paris.

Estimate: $6,000 - $9,000

Description: ALPHONSE MUCHA (1860-1939) BIÈRES DE LA MEUSE. 1897. 23x15 inches, 58 1/4x38 cm. F. Champenois, Paris. Condition B / B+: repaired tears and overpainting in left image; restored pin holes and overpainting in corners and around border of image; creases in image; slightly trimmed along bottom margin, affecting printer''s mark. Matted and framed. Unexamined out of frame. This is one of Mucha''s most well-renowned images. The central figure is a young daydreamer whose hair is filled with the hops, barley and malt, which together brew the foamy stein of beer which her hand is absentmindedly caressing. Her hair flows around her body as freely as the beer flows over the stein, her curls embodying Mucha''s trademark "macaroni" style. The image is an impeccable melding of art and commerce in which Mucha''s promotion for a French brewer''s association becomes a gentle, yet compelling Art Nouveau masterpiece. The allegory of the Meuse River, depicted in gray and white at the bottom, appears in several other posters from this era, and was an established trademark of this organization. Even in its own time, this poster was considered a classic. It was so revered that in 1899, in an amusing supplement to the Maîtres de l''Affiche, Adolf Willette designed an image of a young girl on a country road, kneeling down and praying before this poster, mistaking the beautiful maiden for a saint. This is the rare small format. We have found only one other copy in this format at auction. Lendl p. 93 (var), Brno 31 (var), Rennert / Weill 27 (var 2), Darmstadt 54 (var), Mucha Grand Palais A. 19, Mucha / Henderson 68, Mucha / Bridges p. 71 (var), Triumph des Jugendstils 25 (var), Spirit of Art Nouveau 23 (var), DFP-II 633 (var), Abdy p. 147 (var).

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ALPHONSE MUCHA (1860-1939). LA TRAPPISTINE. 1897. 80x28 inches, 203x72 cm. F. Champenois, Paris.

Estimate: $7,000 - $10,000

Description: ALPHONSE MUCHA (1860-1939) LA TRAPPISTINE. 1897. 80 1/8x28 1/2 inches, 203 1/2x72 1/2 cm. F. Champenois, Paris. Condition A-: minor restored loss in upper left margin; creases in margins and text; repaired pin holes in corners. Two-sheets. Framed. Unexamined out of frame. A classic Mucha maiden advertising a liqueur, allegedly based on an old Trappist recipe. "Her head encircled by a halo which in this case has circles within it to reinforce the circular motif. Their embellishment with the Maltese cross serves to remind us of the religious order involved in the preparation of the beverage. The same motif is repeated on the girl''s high collar . . . [her] hair hangs down in a single thick strand . . . to lead our eyes to the tabouret in the foreground which holds the bottle; in addition the girl''s outstretched hand also helps to make the bottle the focus of our attention" (Rennert / Weill p. 134). Rennert / Weill 30, Meisterplakate 162, Lendl p. 97, Brno 28, Mucha Grand Palais 45, Darmstadt 56, Mucha / Henderson 66, Mucha / Bridges A17, Reade 15, Triumph des Jugendstils 31, DFP-II 631, Schardt p. 147.

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ALPHONSE MUCHA (1860-1939). BÉNÉDICTINE. 1898. 80x29 inches, 203x75 cm. F. Champenois, Paris.

Estimate: $7,000 - $10,000

Description: ALPHONSE MUCHA (1860-1939) BÉNÉDICTINE. 1898. 80 1/4x29 3/4 inches, 203 3/4x75 1/2 cm. F. Champenois, Paris. Condition B+: repaired tears and losses in margins, some affecting image; creases along unobtrusive vertical and horizontal folds. Two-sheets. Framed. Unexamined out of frame. "Benedictine is a liqueur flavoured with a variety of aromatic herbs, and Mucha gives a hint of it by showing two girls pressing flowers between the pages of a book. At the bottom is a view of the Fécamp Abbey [in Normandy] . . . This poster serves as an example of colour being used to create depth. In monochrome, the design would look too crowded; but by giving the girls'' dresses an identical blue that makes a distinct contrast with the maroon and beige background, Mucha placed them in an entirely different plane and made the design three dimensional" (Lendl p. 98). The liqueur is still sold today, and the bottles haven''t changed their appearance. Mucha Grand Palais A. 35, Rennert / Weill 58, Mucha / Henderson 59, Mucha / Bridges A8, Triumph des Jugendstils 39, Brno 12, DFP-II 648, Wine Spectator 70, Lendl p. 98.

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ALPHONSE MUCHA (1860-1939). MEDEE / SARAH BERNHARDT. 1898. 81x29 inches, 207x75 cm. F. Champenois, Paris.

Estimate: $12,000 - $18,000

Description: ALPHONSE MUCHA (1860-1939) MEDEE / SARAH BERNHARDT. 1898. 81 1/2x29 5/8 inches, 207x75 1/4 cm. F. Champenois, Paris. Condition B+ / A-: repaired tears, restored losses and minor restoration in margins, some affecting text. Two-sheets. Framed. Unexamined out of frame. The production of Medee advertised here was a contemporary adaptation of a play originally written by Euripides. A classic, violent Greek tragedy about the warrior Jason, the play begins when he returns home from his quest for the Golden Fleece, bringing with him Medea. When he falls in love with another woman, Medea, "driven by a pagan code of honor and her own dark passions . . . conceives a terrible vengeance of gothic cruelty: she kills Jason''s father, her own two children, and his new mistress, so that he would have to go through life deprived of everything he loved" (Rennert / Weill p. 208). The somber and tragic image depicts a glimpse of the slaughter, with Medea, a mad look in her eyes, standing with a bloody dagger over one of her victims. "Mucha''s exquisite design uses Medea''s arm and the dagger as a giant exclamation point, emphasized by the look of stark horror on her face as she exacts her gothic revenge. It is one of [Mucha''s] most powerful posters" (Lendl p. 53). "It carries all the signs of Mucha''s masterpieces in composition and color as well as the decorative certainty with which he left the bottom two-thirds of the background white" (Spirit of Art Nouveau p. 151). The composition is organized vertically with Mucha''s trademark "halo" behind the actress'' head, and lettering designed in the style of mosaic to evoke the story''s origin in ancient Greece. Sarah Bernhardt was so enamored with the snake bracelet that Mucha depicted adorning her arm that she actually had one made by Fouquet for her to wear. Rennert / Weill 53, DFP-II 645, Lendl p. 53, Brno 35, Mucha Grand Palais 93, Darmstadt 80, Mucha / Henderson 80, Mucha / Bridges A33, Triumph des Jugendstils 12, Art Nouveau p. 111, Spirit of Art Nouveau 13, Abdy p. 138.

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ALPHONSE MUCHA (1860-1939). LA TOSCA. 1898. 40x13 inches, 101x35 cm. F. Champenois, Paris.

Estimate: $4,000 - $6,000

Description: ALPHONSE MUCHA (1860-1939) LA TOSCA. 1898. 40x13 3/4 inches, 101 1/2x35 cm. F. Champenois, Paris. Condition B+: repaired tears at edges; minor skinning and paper remnants in lower text; minor water stain in lower right corner; small abrasion in left margin; repaired pin holes in corners; paper stamp in lower image. Matted and framed. Unexamined out of frame. In 1887, Sarah Bernhardt commissioned her close friend Victorien Sardou to write La Tosca. Although the tale has achieved near immortality through the Puccini opera based on the story (which premiered in 1900), Bernhardt successfully performed it as part of her repertoire for years. This particular poster advertised a run of the show that began in January 1899. The poster is a textbook example of the designs Mucha created for the actress, with its the elongated format, a "halo" behind the actress'' head and the text divided between the top and the bottom of the poster. However, the highly stylized decorative element of the swan heads reflects something totally new in Mucha''s graphic vocabulary. "This is the only one of the posters for Sarah Bernhardt''s play which exists only in the small format" (Rennert / Weill p. 221). This lot bears the overprint for a single performance on July 4th, 1899 at the Casino Villa des Fleurs in Belgium. Rennert / Weill 57, Lendl p. 57, Brno 40, Mucha Grand Palais 117, Darmstadt 107, Mucha / Henderson 89, Mucha / Bridges A43, Triumph des Jugendstils 16, DFP-II 647.

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ALPHONSE MUCHA (1860-1939). LA PASSION. 1904. 79x28 inches, 201x72 cm. F. Champenois, Paris.

Estimate: $6,000 - $9,000

Description: ALPHONSE MUCHA (1860-1939) LA PASSION. 1904. 79 1/4x28 1/2 inches, 201 1/4x72 1/2 cm. F. Champenois, Paris. Condition B+: repaired tears and minor restored losses along horizontal creases through image; staining in bottom margin and central image; rippling in image. Two-sheets. Framed. Unexamined out of frame. "La Passion was a drama by Edmond Haraucourt in seven acts describing the last days of Christ. The play was accompanied by music by Johann Sebastian Bach. La Passion, printed by F. Champenois, Paris, is one of Mucha''s most heartfelt posters, expressing his love of church music in a simple but very moving design. Christ''s pensive, fatigued expression reflects Mucha''s own emotional response to the event. Using a tall, narrow format, he framed Christ''s head with a large circle of red passionflowers and thorny branches. He chose the passionflower for the presumed resemblance of its parts to the instruments of the crucifixion. In the far distance are faint images of the three crosses of Calvary and a dome representing a mosque or the Temple of Jerusalem. The lower part of the background includes a diagonal flow of stars. The simple vertical lines on the right side of Christ''s robe contrast with the rich folds on the left, where his hand holds a smaller wreath of thorns" (Spirit of Art Nouveau p. 172). "This is one of Mucha''s rarest and most sensitive posters. Note the use of the stars in the background, not seen since La Dame Aux Camelias and La Samaritaine" (Rennert / Weill p. 312). rare. We have found only three other copies at auction since 1994. Lendl p. 63, Brno 53 (var), Rennert / Weill 88, Mucha Grand Palais 308, Mucha / Henderson 95 (var), Mucha / Bridges A52, Spirit of Art Nouveau 31.

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ALPHONSE MUCHA (1860-1939). LYGIE. 1901. 69x23 inches, 176x58 cm. F. Champenois, Paris.

Estimate: $12,000 - $18,000

Description: ALPHONSE MUCHA (1860-1939) LYGIE. 1901. 69 1/2x23 inches, 176 1/2x58 1/2 cm. F. Champenois, Paris. Condition A. Two-sheets. Framed. Unexamined out of frame. Lygie was a young performer who, in an act presented at the Folies Bergère, would strike poses taken from Mucha''s posters and decorative panels, creating living tableaux in costumes. Mucha himself helped with the production and had a hand in designing the sets and costumes. It was a fashionable pastime in the 1890s for women of all social backgrounds to play charade-like games in which they would strike a pose of a certain poster and have their fellow players try and guess which poster it was. For Mucha, to design such a self-referential poster must have been a delight, if not a challenge; how to design an original poster depicting a woman who is posing as a Mucha poster, without copying a previous poster? He achieves this by providing a classic image with all of his favorite ornamental and decorative elements, from the mosaic in the halo behind the actress'' head, to the flowers and the decorative borders. One cannot help but recognize the wistful expression of the performer, which resembles the visage of the maiden in Mucha''s La Fleur (see lot 138), as well as her clasped hands, which closely echo his 1897 version of Spring. Lendl p. 62, Brno 49, Rennert / Weill 77, Mucha Grand Palais A. 49, Mucha / Henderson 90, Mucha / Bridges A46, Triumph des Jugendstils 40.

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ALPHONSE MUCHA (1860-1939). [OESTERREICH AUF DER WELTAUSSTELLUNG.] 1899. 38x12 inches, 96x30 cm. S. Czeiger, Vienna.

Estimate: $2,000 - $3,000

Description: ALPHONSE MUCHA (1860-1939) [OESTERREICH AUF DER WELTAUSSTELLUNG.] 1899. 38x12 inches, 96 1/2x30 1/2 cm. S. Czeiger, Vienna. Condition A: minor time-staining in margins; minor abrasion in left side of image. Matted and framed. Unexamined out of frame. This image is virtually unique among Mucha''s work, as it does not display a woman posing on her own, but instead features a young ephebe unveiling a statuesque lady. It surpasses Mucha''s normal, passively evocative images and borders on the overtly sexual. Contemporary publicity explained the image as "Paris revealing Austria to the world;" a revelation superbly drawn by Mucha, bathed in a palette of soft, earthy tones. An additional panel on the right side of the poster, absent here, was designed by the architect, G. Rossman, and depicts architectural renderings of Austria''s various buildings at the Paris World''s Fair of 1900. When the poster originally appeared, many collectors cut the piece in two and kept only the sensuous half designed by Mucha. Rennert / Weill 66, Wiener Plakat 90, Lendl p. 147, Brno 46, Mucha Grand Palais 159, Darmstadt 137, Mucha / Henderson 91, Mucha / Bridges A45, Triumph des Jugendstils 41, DFP-II 649.

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ALPHONSE MUCHA (1860-1939). BISCUITS CHAMPAGNE / LEFÈVRE - UTILE. 1896. 20x13 inches, 51x35 cm. F. Champenois, Paris.

Estimate: $12,000 - $18,000

Description: ALPHONSE MUCHA (1860-1939) BISCUITS CHAMPAGNE / LEFÈVRE - UTILE. 1896. 20 1/4x13 3/4 inches, 51 1/2x35 cm. F. Champenois, Paris. Condition B+ / A-: light time-staining at edges; minor restored losses in top margin where there were originally grommets, affecting border. Matted and framed. "The most elusive of the many designs Mucha executed for this firm . . . It was meant to be hung as a display at the point of sale, and came mounted on a board which had two holes at the top reinforced with metal grommets. As usual with Lèfevre-Utile advertising material, the design is laced with the initials LU: they are on the wall relief ornament in the background, on the cushion at the blonde lady''s right elbow, and in the handkerchief on her lap. Mucha''s painstaking craftsmanship may be seen here in its top form; the convivial scene is animated and every detail is fully executed. The sales message obviously says that the LU biscuits are proper fare in the highest social circles" (Rennert / Weill p. 88). Rennert / Weill 17, Lendl p. 69, Brno 77, Mucha Grand Palais 32, Darmstadt 59, Spirit of Art Nouveau 19b.

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ALPHONSE MUCHA (1860-1939). BISCUITS LEFÈVRE - UTILE. 1897. 23x17 inches, 60x17 cm. F. Champenois, Paris.

Estimate: $7,000 - $10,000

Description: ALPHONSE MUCHA (1860-1939) BISCUITS LEFÈVRE - UTILE. 1897. 23 3/4x17 1/4 inches, 60 1/4x17 1/4 cm. F. Champenois, Paris. Condition B+: abrasions in margins, some affecting image; minor staining in lower corners; on linen mounted to board. Matted and framed. "All of the firm''s designs featured the initials LU somewhere, and in this case they are incorporated into the golden arch that protrudes into the picture. The girl''s dress has a pattern of sickles and wheat, and she even has some wheat stalks in her hair, ideal to indicate the origin of the product" (Lendl p. 70). Rennert / Weill 22, Brno 13, Gold 59, Lendl p. 71 (var), Mucha Grand Palais 22 (var), Darmstadt 43 (var), Mucha / Henderson 126, Mucha / Bridges C5, Triumph des Jugendstils 26, DFP-II 632.

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ALPHONSE MUCHA (1860-1939). LEFÈVRE - UTILE / SARAH BERNHARDT. 1903. 27x20 inches, 69x50 cm. F. Champenois, Paris.

Estimate: $5,000 - $7,500

Description: ALPHONSE MUCHA (1860-1939) LEFÈVRE - UTILE / SARAH BERNHARDT. 1903. 27 1/2x20 inches, 69 1/4x50 3/4 cm. F. Champenois, Paris. Condition A-: minor staining in margins and image; with ribbon through holes at top for hanging, as issued. Mounted to period board. Framed. This poster was one of the last Mucha designed before he left Paris to live in the United States (1904-1910). The idea of associating a celebrity portrait and testimonial with a product seems to have been copied from Mariani, the advertising genius who used this formula to market his wine. For this poster, Mucha depicts Sarah Bernhardt in her beloved role as La Princess Lointaine (a pose he had already captured, in 1896, for La Plume). It is more of a painterly portrait than graphic art, but Mucha is at the height of his artistic maturity and handles his subject splendidly, conveying a far more intimate image of the actress than in any of his other posters. Her printed quotation, often mistaken for her actual inscription and autograph on the poster, reads "I haven''t found anything better than a little LU - oh yes, two little LU." This is a previously unrecorded format. Rennert / Weill 86, Lendl p. 75, Mucha Grand Palais 301 (var), Mucha / Bridges C12.

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ALPHONSE MUCHA (1860-1939). SARAH BERNHARDT / [LA PLUME.] 1896. 29x22 inches, 74x56 cm. F. Champenois, Paris.

Estimate: $4,000 - $6,000

Description: ALPHONSE MUCHA (1860-1939) SARAH BERNHARDT / [LA PLUME.] 1896. 29 1/8x22 1/4 inches, 74x56 1/2 cm. F. Champenois, Paris. Condition B+: staining and mat staining in margins, some affecting image; minor creases, tears and abrasions at edges. Matted and framed. At the end of 1896, La Plume decided to publish an article on Sarah Bernhardt (which came out in the very first issue of 1897). To promote the event, they asked her favorite artist to design a poster. The result is a textbook Art Nouveau image by Mucha, in which he combines his favorite decorative elements: a halo, stars, byzantine motifs, overgrown stylized hair and flowers (in this case the tiara of lilies Bernhardt wore in one of her most successful plays, Princess Lointaine). "The L''Edition d''Art department of La Plume offered this design for sale with no text in the lower left corner" (Rennert / Weill p. 112). Rennert / Weill 21 (var 2), Lendl p. 48, Brno 22 (var), Mucha Grand Palais 19, Darmstadt 27, Mucha / Henderson 65 (var), Mucha / Posters and Photographs 23 (var), Mucha / Bridges A16b, Triumph des Jugendstils 9 (var), Art Nouveau p. 112 (var), Spirit of Art Nouveau p. 147, DFP-II 636, Abdy p. 141 (var).

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ALPHONSE MUCHA (1860-1939). NESTLÉ''S FOOD FOR INFANTS. 1897. 27x13 inches, 70x33 cm. F. Champenois, Paris.

Estimate: $4,000 - $6,000

Description: ALPHONSE MUCHA (1860-1939) NESTLÉ''S FOOD FOR INFANTS. 1897. 27 1/2x13 inches, 70x33 cm. F. Champenois, Paris. Condition B: repaired tears, restored losses and overpainting in margins, text and image. Matted and framed. Unexamined out of frame. This is one of two posters Mucha designed for Nestlé''s in 1897, the year of Queen Victoria''s 60th anniversary on the throne. The other was a large billboard, more than nine by six feet large. This domestic image, of a mother (a "secular Goddess," see Spirit of Art Nouveau p. 59) preparing food for her child is a commercial commission executed in Mucha''s typical style, with sophisticated hair and flowing gowns, albeit slightly demure compared to some of his other imagery. Mucha''s flair for symbolism is also present as he includes two idealized birds feeding their young in the upper corners of the design, mimicking the action below. The seminal Mucha touch, the mosaic halo behind the woman''s head, is the only one of his standard design elements which doesn''t fit into the tender family scene he has depicted. rare. We have found only seven other copies at auction since 1987. Lendl p. 79, Brno 37, Rennert / Weill 26, Mucha Grand Palais A. 27, Darmstadt P27, Mucha / Henderson 81, Mucha / Bridges A34, DFP-II 646.

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ALPHONSE MUCHA (1860-1939). CHOCOLAT IDÉAL. 1897. 21x13 inches, 53x35 cm. F. Champenois, Paris.

Estimate: $4,000 - $6,000

Description: ALPHONSE MUCHA (1860-1939) CHOCOLAT IDÉAL. 1897. 21x13 3/4 inches, 53 1/4x35 cm. F. Champenois, Paris. Condition A-: minor creases in upper right corner; small repaired tear through top margin; light foxing and toning in image. Mounted on paper. Matted and framed. Although this is an exquisitely-drawn image of a charming domestic scene, it is rendered in a style that is more straightforward and commercial than most of Mucha''s posters, with only the steam from the hot chocolate showing any of his usual flourishing curls. That said, his mastery of design still stands out. The slightly awkward lettering and package displays on the bottom were almost certainly the result of the client insisting that their name and package appear more prominently. The Compagnie Française des Chocolats et des Thés is the name that was used by the German firm Chocolat Schaal for the French market. The German version of this poster bears that original German brand name. This company had extraordinarily good artistic sense - they also commissioned Théophile-Alexandre Steinlen and Abel Faivre to design other posters. This is the rare smaller format. Rennert / Weill 32 (var 1), Lendl p. 83, Brno 32 (var), Mucha / Bridges A28, Triumph des Jugendstils 34 (var), DFP-II 644 (var).

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ALPHONSE MUCHA (1860-1939). SOCIÉTÉ POPULAIRE DES BEAUX - ARTS. 1897. 24x18 inches, 63x47 cm. F. Champenois, Paris.

Estimate: $2,000 - $3,000

Description: ALPHONSE MUCHA (1860-1939) SOCIÉTÉ POPULAIRE DES BEAUX - ARTS. 1897. 24 3/4x18 inches, 63x47 3/4 cm. F. Champenois, Paris. Condition A-: minor repaired tears in margins. Framed. Founded by a lawyer, Edmond Benoit-Levy, the Société Populaire des Beaux Arts'' "aim was to disseminate art among the people by means of ''projections,'' [and it] was one of Mucha''s favorite causes. He believed that art should be enjoyed by everyone, not just the rich, and so the idea of arranging slide shows in which art works would be seen by wide audiences appealed to him . . . The young artist in Mucha''s design is being inspired by the Muse with preternaturally buoyant hair, she symbolizes what the Society is doing and makes a fine example of Mucha''s custom of combining real people with mythical guiding spirits" (Lendl p. 136). Mucha, seduced by the cause of the Société, treats his graphic allegory with incredible grace, style and erotic appeal. He depicts a poor student paying attention to a heavenly muse leaning on a projector, within a decorative border. Rennert / Weill 23, Lendl p. 137, Brno 21, Mucha Grand Palais 24, Darmstadt 46, Mucha / Henderson 69, Mucha / Bridges A20, Triumph des Jugendstils 29, DFP-II 641.

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ALPHONSE MUCHA (1860-1939). CASSAN FILS. 1896. 68x26 inches, 173x68 cm. Cassan Fils, Toulouse.

Estimate: $6,000 - $9,000

Description: ALPHONSE MUCHA (1860-1939) CASSAN FILS. 1896. 68 1/4x26 1/8 inches, 173 1/2x68 3/8 cm. Cassan Fils, Toulouse. Condition B+: water stain in lower right corner; repaired tears and creases in margins and image and along vertical and horizontal folds; speckling along seam. Two-sheets. Framed. Unexamined out of frame. Cassan was once the largest and most important lithographer in Southwest France. This poster, Mucha''s elaborate and exquisite self-advertisement for the printer, features a seamless blend of printing imagery with fantasy. "The muscular printer is an allegorical figure, representing the [printing] industry. An unusual border of eyes in the mosaic background probably is meant to indicate the multitude of readers for whom the printing trade works. It is also one of the mystic symbols used by Mucha in several other works" (Rennert / Weill p. 70). The young lady is herself representative of the public that patronizes printers. In a brilliant self-referential detail, this woman, marked by her beauty, a state of semi-undress and stylized cascading hair, is pulling prints straight off the press that feature other young women with equally flowing locks - as if Mucha were indicating how his archetypical treatment of female tresses was about to take over the industry. This is the large format. Rennert / Weill 11, Lendl p. 109, Mucha / Bridges A24, Reims 897, Brno 25, Mucha Grand Palais 25, Mucha / Henderson 74, Triumph des Jugendstils 21, DFP-II 640.

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ALPHONSE MUCHA (1860-1939). MONACO • MONTE - CARLO. 1897. 42x29 inches, 108x74 cm. F. Champenois, Paris.

Estimate: $12,000 - $18,000

Description: ALPHONSE MUCHA (1860-1939) MONACO • MONTE - CARLO. 1897. 42 5/8x29 3/8 inches, 108 3/8x74 5/8 cm. F. Champenois, Paris. Condition A / A-: minor creases in margins and image; slight ragged trimming at bottom margin. Framed. By the late 1890s, Mucha''s fame was such that he was called upon to help advertise travel to one of the Riviera''s most elegant locales. The resulting image represents the perfect advertising combination, equating Mucha''s exquisite talent with the inherent luxury of the destination. The image also shows how Mucha was allowed to interpret his commissions almost any way he chose. This is by no means an average travel poster. The coastline and sea of Monte Carlo are barely visible through the staggeringly-effusive sunburst of "curving stalks of lilacs and hydrangea, featuring some of the most intricate conflorescences (sic) ever painted by Mucha" (Rennert / Weill p. 136). Mucha''s maiden has her back turned to the few visible features of the region and is instead facing the viewer in an almost beatific pose. It has been postulated that Mucha''s design might have been suggesting the wheels of a train and the train tracks that would bring travelers to Monte Carlo, or perhaps even the curve of a roulette wheel in the resort''s famous casino. What is certain is that Mucha never went so far in his depiction of flowers and floral ornamentation as in this poster. "Here Mucha harmonizes accurate realization and decorative stylization" (Spirit of Art Nouveau p. 165). His extravagant renderings, accomplished even more brilliantly via the use of metallic inks, manage to achieve a previously inconceivable concept: Mucha''s diagonal movement within the image is actually curved! Rennert / Weill 31, Wine Spectator 73, Voyage p. 15, Train p. 16, Brno 29, Mucha Grand Palais 55, Darmstadt 57, Mucha / Henderson 70, Mucha / Bridges A21, Spirit of Art Nouveau 24, DFP-II 639, Lendl p. 111.

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ALPHONSE MUCHA (1860-1939). OPERA DE MONTE - CARLO / LA VIE DE BOHÈME. 1922. 47x32 inches, 119x83 cm. Robaudy, Cannes.

Estimate: $1,200 - $1,800

Description: ALPHONSE MUCHA (1860-1939) OPERA DE MONTE - CARLO / LA VIE DE BOHÈME. 1922. 47 1/8x32 5/8 inches, 119 3/4x83 cm. Robaudy, Cannes. Condition A-: minor abrasions and restoration along creases in image and at edges. Framed. Unexamined out of frame. This stock image originated in the pages of La Plume in 1897 when it was used as the border for the title page of a special edition of the magazine dedicated to Mucha. From 1904 through 1923 the borders were printed in Cannes and used to promote various events in Monte Carlo. Rennert / Weill 33 (var), Mucha Grand Palais A. 28 (var), Darmstadt P28 (var), Lendl p. 23.

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ALPHONSE MUCHA (1860-1939). ACADEMIE COLAROSSI / COURS MUCHA. 1900. 27x13 inches, 69x33 cm.

Estimate: $1,500 - $2,000

Description: ALPHONSE MUCHA (1860-1939) ACADEMIE COLAROSSI / COURS MUCHA. 1900. 27 1/4x13 inches, 69 1/2x33 cm. Condition B: replaced losses in margins, affecting upper text; minor creases and abrasions at edges; small stain in upper left corner. Mounted on paper. Matted and framed. Unexamined out of frame. Amongst Mucha''s other varied traits resided a love of teaching, as can be seen in a photograph from La Plume in the special issue devoted to his work (p. 78), where he is found surrounded by students in his studio. He briefly taught a drawing course at James Whistler''s Académie Carmen and then began a course on the composition of decorative art. He even designed a poster, which was never printed, advertising that these classes would be in his studio (see Mucha Grand Palais 27). Perhaps because there wasn''t enough room in his studio, he wound up teaching his class at the Academie Colarossi, where he himself had been a student. To advertise the classes, he designed a small poster in two colors depicting a face in profile, with thick outlines evoking a stained glass design, similar to those he created for the jeweler Fouquet. Mucha did not design the typography in the bottom text panel. rare. We have found no other copy at auction since 1988. Lendl p. 145, Brno 24, Rennert / Weill 75, Mucha Grand Palais 183, Darmstadt 219, Mucha / Henderson 67, Mucha / Bridges A18.

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ALPHONSE MUCHA (1860-1939). DOCUMENTS DÉCORATIFS. Group of 10 plates. 1902. Sizes vary. [Emile Levy, Paris.]

Estimate: $1,000 - $1,500

Description: ALPHONSE MUCHA (1860-1939) DOCUMENTS DÉCORATIFS. Group of 10 plates. 1902. Sizes vary. [Emile Levy, Paris.] Condition varies, generally A. Matted and framed. Unexamined out of frames. Mucha had a privileged relationship with the Librairie Centrale des Beaux-Arts, the publishers of the Documents Décoratifs. When he arrived in Paris in 1890, they were among the first to give him commissions for illustrations. They also published his key theoretical essays, the Documents Lithographiques and the Combinaisons Ornementales, which is rightly considered to be the bible of Art Nouveau decorative elements. In this portfolio, Mucha, who was at the height of his artistic career, shows examples of jewelry, furniture and silverware, and illustrates how to draw women and flowers, in all cases brilliantly demonstrating his stylistic prowess. It "authoritatively set down the precepts of Art Nouveau and its decorative elements" (Rennert / Weill p. 288). Includes pl. 3, 19, 30, 31, 32, 33, 36, 40, 41 and 45. Mucha Grand Palais no. 281-297, Spirit of Art Nouveau 123, Lendl p. 247-250.

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ALPHONSE MUCHA (1860-1939). [DOCUMENTS DÉCORATIFS DE MUCHA.] Group of three plates. 1902. Sizes vary, each approximately 14x7 inches, 3

Estimate: $400 - $600

Description: ALPHONSE MUCHA (1860-1939) [DOCUMENTS DÉCORATIFS DE MUCHA.] Group of three plates. 1902. Sizes vary, each approximately 14 1/2x7 inches, 36 3/4x17 3/4 cm. [Emile Levy, Paris.] Condition A. Matted and framed. Unexamined out of frames. Includes pl. 7, 8, & 9. 150th Mucha pl 200, Mucha Grand Palais 281, Darmstadt 242, Mucha / Bridges L31, Lendl p. 247.

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ALPHONSE MUCHA (1860-1939). AU PARADIS DES BEBES / A L''ARBRE DE NOEL. Documents Décoratifs pl. 56. 1902. 17x11 inches, 43x29 cm. [Emil

Estimate: $600 - $900

Description: ALPHONSE MUCHA (1860-1939) AU PARADIS DES BEBES / A L''ARBRE DE NOEL. Documents Décoratifs pl. 56. 1902. 17x11 1/2 inches, 43 1/4x29 1/4 cm. [Emile Levy, Paris.] Condition A-: minor staining in image; small loss in lower right corner; minor creases and darkening in margins; pencil notations at bottom edge; hinged to mat at top edge. Paper. Matted and framed. Lendl p. 249.

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ALPHONSE MUCHA (1860-1939). ART ET DECORATION. Documents Décoratifs pl. 57. 1902. 14x10 inches, 37x25 cm. [Emile Levy, Paris.]

Estimate: $1,200 - $1,800

Description: ALPHONSE MUCHA (1860-1939) ART ET DECORATION. Documents Décoratifs pl. 57. 1902. 14 3/4x10 inches, 37 1/2x25 1/2 cm. [Emile Levy, Paris.] Condition A. Matted and framed. Unexamined out of frame. Lendl p. 250.

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ALPHONSE MUCHA (1860-1939). [FIGURES DÉCORATIFS.] Group of 4 plates. 1905. Each approximately 15x11 inches, 40x28 cm. [Emile Levy, Pari

Estimate: $500 - $750

Description: ALPHONSE MUCHA (1860-1939) [FIGURES DÉCORATIFS.] Group of 4 plates. 1905. Each approximately 15 7/8x11 inches, 40 1/4x28 cm. [Emile Levy, Paris.] Condition varies, generally A. Matted and framed. Unexamined out of frames. Includes pl. 3, 11, 18 and 23.

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ALPHONSE MUCHA (1860-1939). DOCUMENTS DÉCORATIFS DE A.M. MUCHA. Documents Décoratifs, pl. 13. 1902. 16x10 inches, 42x27 cm. [Emile Levy

Estimate: $2,000 - $3,000

Description: ALPHONSE MUCHA (1860-1939) DOCUMENTS DÉCORATIFS DE A.M. MUCHA. Documents Décoratifs, pl. 13. 1902. 16 3/4x10 5/8 inches, 42 1/2x27 cm. [Emile Levy, Paris.] Condition A-: mat staining, time-staining, minor tears and pencil marks in margins. Matted and framed. Although advertising the very portfolio in which this plate appears, this image (plate 13) was never used to promote the book. Instead, the publisher chose a far less decorative image, which ultimately would have been cheaper to print and was a more efficient promotion. This plate, like so many in the portfolio, is a tour-de-force of design wherein Mucha shows his incredible talent as a draughtsman and his masterly use of the vertical format. Rennert / Weill A7, Lendl p. 247, Brno 48, Darmstadt 243, Mucha / Bridges L31.

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ALPHONSE MUCHA (1860-1939). NECTAR. Documents Décoratifs, pl. 14. 1902. 16x10 inches, 42x27 cm. [Emile Levy, Paris.]

Estimate: $3,000 - $4,000

Description: ALPHONSE MUCHA (1860-1939) NECTAR. Documents Décoratifs, pl. 14. 1902. 16 3/4x10 5/8 inches, 42 1/2x27 cm. [Emile Levy, Paris.] Condition A-: minor abrasion in central image; mat staining, time-staining, minor tears and pencil marks in margins. Matted and framed. This poster design is one of the two most sought-after individual plates from Documents Décoratifs. Like the other plates in the portfolio, it was created as a teaching method, "advertising a purely mythical product" (Rennert / Weill p. 390), which visually encapsulated Mucha''s whole oeuvre of commercial design. Although it never appeared as a full-sized poster, it contains all of his classic, stylistic Art Nouveau trademarks - a woman with stylized hair, a decorative halo behind her, dressed in a flowing gown, with text grouped at the top and bottom of the image, within a vertical format and with sophisticated decorative elements that support the vertical structure of the design. Rennert / Weill A8, Lendl p. 247, Mucha / Henderson 87 (var), Mucha / Bridges A31.

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ALPHONSE MUCHA (1860-1939). [ZODIAC] / LA PLUME. 1896. 25x18 inches, 63x46 cm. F. Champenois, Paris.

Estimate: $15,000 - $20,000

Description: ALPHONSE MUCHA (1860-1939) [ZODIAC] / LA PLUME. 1896. 25x18 1/4 inches, 63 1/2x46 1/2 cm. F. Champenois, Paris. Condition B+: expertly-repaired tear at right edge into image; minor repaired tears, restored losses and abrasions in margins; tape and pencil notations on verso; hinged to mat at top edge. Paper. Matted and framed. With Zodiac, Mucha reaches the full maturity of his style, with every one of his signature design elements in their most fluid and elaborate incarnations. The image was originally published as a calendar by F. Champenois but was quickly bought by La Plume, who began issuing it as a calendar with their own name at the top. The image was a huge success and was ultimately used for a variety of different advertising purposes; in all, ten different variations have been identified (see lot 122). With this image, Champenois realized they could begin licensing out Mucha''s images to different companies, upon which they could imprint their own names, resulting in a very profitable side business for the printer who already owned all the rights to Mucha''s works. Brno 8 (var), Lendl 56 (var), Rennert / Weill 19 (var 1), Mucha Grand Palais 23 (var), Darmstadt 28 (var), Arco p. 85, Sarah Mucha p. 28 (var), Mucha / Henderson 131, Mucha / Posters and Photographs 24 (var), Mucha / Bridges C4a, Triumph des Jugendstils 63 (var), Spirit of Art Nouveau p. 79, DFP-II 629, Schardt p. 131.

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ALPHONSE MUCHA (1860-1939). [TÊTES BYZANTINES.] Two decorative panels. 1897. Each approximately 20x14 inches, 52x87 cm. [F. Champenois,

Estimate: $15,000 - $20,000

Description: ALPHONSE MUCHA (1860-1939) [TÊTES BYZANTINES.] Two decorative panels. 1897. Each approximately 20 1/2x14 3/8 inches, 52x87 cm. [F. Champenois, Paris.] Condition varies, generally A- / B+: mat stains in margins and light staining in image; minor tears and creases at edges. Mounted on Japan. Matted and framed. Mucha''s graphic work was often marked by Byzantine influences and styles, beginning with his very first poster for Gismonda in 1894. In visually extolling the splendors of ancient Byzantium, Mucha relied on the use of gold and bronze colors, created sumptuous and intricate designs for the jewelry depicted in his images, employed mosaic or mosaic-style decorative elements in many of his works, and elevated his subjects to iconic status by using halos. Anointing these two profiles as "Têtes Byzantines" confirms his adherence to this impressive influence. These two decorative panels were among the most successful ever published by Champenois, and the printer issued them in many variations. Intended to hang facing each other, the blonde and brunette have cascading hair that interrupt the halos behind them, tantalizingly breaking through Mucha''s trademark mystical circle. The precise yet delicate outlining of their faces is a tour-de-force of design, made even stronger by placing the profiles against a background of geometric, almost floral patterns. Rennert / Weill 40 (var 1), Lendl p. 196 & 197 (var), Mucha Grand Palais 37 & 38 (var), Style Mucha 9 (var), Darmstadt 65 & 66 (var), Mucha / Henderson 35 & 36 (var), Mucha / Bridges P15a, Triumph des Jugendstils 67 & 68 (var), Spirit of Art Nouveau 48.

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ALPHONSE MUCHA (1860-1939). [TÊTE BYZANTINE BRUNETTE] / SOIERIES LAINAGES A L''ABBÉ CONSTANTIN. Circa 1897. 17x11 inches, 43x29 cm. [F.

Estimate: $4,000 - $6,000

Description: ALPHONSE MUCHA (1860-1939) [TÊTE BYZANTINE BRUNETTE] / SOIERIES LAINAGES A L''ABBÉ CONSTANTIN. Circa 1897. 17 1/8x11 3/4 inches, 43 1/2x29 3/4 cm. [F. Champenois, Paris.] Condition B+: mat staining in margins; punch holes in top margin as issued; cut and replaced section in lower right image; mounted on paper; water damage on back of paper mount, not affecting image. Matted and framed. Originally, this poster was accompanied by a calendar pad affixed to the lower right corner (which is now the small blank area). The store being advertised was a haberdasher "offering silks and woolens along with thread, ribbon and lace, and specializing in needs for the bride" (Rennert / Weill p. 170). As the calendar pages have been removed, it is unclear in which exact year this variant was printed. It also seems that this was printed on its own, without a version bearing the other Tête Byzantine, as that second image has not appeared on the market. rare. Rennert / Weill 40 (var 3), Lendl p. 196 (var), Mucha Grand Palais 37 (var), Darmstadt 66 (var), Mucha / Henderson 35 (var), Mucha / Bridges P15 (var), Triumph des Jugendstils 67 (var), Art Nouveau p. 255 (var), Spirit of Art Nouveau 48a (var).

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D''APRÈS ALPHONSE MUCHA (1860-1939). [TÊTES BYZANTINES.] Two decorative metal plates. Circa 1900. Each with a diameter of 16 inches, 40

Estimate: $7,000 - $10,000

Description: D''APRÈS ALPHONSE MUCHA (1860-1939) [TÊTES BYZANTINES.] Two decorative metal plates. Circa 1900. Each with a diameter of 16 inches, 40 1/2 cm. Condition varies, generally B+ / A-: minor chipping of pigment around edges; minor abrasions in image. Framed. These iconic decorative images were instant best sellers for Champenois, and they galvanized this success by printing different variants. Given their circular format and ornate detailing, using the design for decorative plates was too obvious not to be done. For this, Mucha added a double ornamental border to contain the women''s hair. The finished plates were offered through ads in La Plume and Cocorico for 25 Francs. Mucha was certainly satisfied with the result, as "he had one pair hanging in his studio at rue Du Val-de-Grâce and later in New York and Zbiroh" (Grand Palais, notes for 39-40). rare. We have found no other copies at auction. Mucha Grand Palais 39 & 40, Darmstadt p. 123, Mucha / Henderson 35 & 36 (var), Spirit of Art Nouveau 48 (var).

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ALPHONSE MUCHA (1860-1939). [ZODIAC] / IMPRIMERIE OBERTHÜR. 1898. 17x13 inches, 43x33 cm. [F. Champenois, Paris.]

Estimate: $7,000 - $10,000

Description: ALPHONSE MUCHA (1860-1939) [ZODIAC] / IMPRIMERIE OBERTHÜR. 1898. 17 1/8x13 1/8 inches, 43 1/2x33 1/2 cm. [F. Champenois, Paris.] Condition B: restored losses, repaired tears, creases and abrasions in margins and image; repaired slices through central image and text; mat staining in margins. Matted and framed. This is a previously unrecorded variant of Mucha''s famous image. It is a smaller format than the original printing, but a consistent size with other variants which have surfaced bearing imprints from other printers (See Rennert / Weill 19 var 8). Rennert / Weill 19 (var), Schardt p. 131 (var), Gold 97 (var), Lendl p. 165 (var), 150th Mucha 92, Mucha Grand Palais 23 (var), Darmstadt 28 (var), Mucha / Henderson 129 (var), Mucha / Bridges C4a (var), Triumph des Jugendstils 63 (var), Spirit of Art Nouveau 46 (var), DFP-II 629 (var), Schardt p. 131 (var).

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D''APRÈS ALPHONSE MUCHA (1860-1939). [LEATHER WORK.] 12x12 inches, 31x31 cm.

Estimate: $300 - $400

Description: D''APRÈS ALPHONSE MUCHA (1860-1939) [LEATHER WORK.] 12 1/2x12 1/2 inches, 31 3/4x31 3/4 cm. Condition B+: cracking, losses, time-staining and holes in margins; staining and fading in image. Framed. Unexamined out of frame.

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D''APRÈS ALPHONSE MUCHA (1860-1939). [TWO SILVER - PLATED VASES.] Circa 1905. Each 9x3x2 inches, 24x7x6 cm.

Estimate: $300 - $400

Description: D''APRÈS ALPHONSE MUCHA (1860-1939) [TWO SILVER - PLATED VASES.] Circa 1905. Each 9 3/4x3x2 1/2 inches, 24 3/4x7 1/2x6 1/2 cm. Condition varies, generally A-. Some tarnish and wear.

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ALPHONSE MUCHA (1860-1939). [JUDGEMENT OF PARIS.] Calendar holder. 1895. 24x18 inches, 61x46 cm. [Vieillemard & Ses Filles, Paris.]

Estimate: $3,000 - $4,000

Description: ALPHONSE MUCHA (1860-1939) [JUDGEMENT OF PARIS.] Calendar holder. 1895. 24 1/4x18 3/8 inches, 61 1/2x46 3/4 cm. [Vieillemard & Ses Filles, Paris.] Condition B+: repaired tears and overpainting at edges; creases and restoration at edges and in image; tipped to mat. Missing calendar scrolls. Printed on cardboard. Matted and framed. Unexamined out of frame. Mucha was a talented draughtsman who spent his early career in Paris making book illustrations for historical books, which were far more classical in style than the posters with which he rose to fame. It was most likely due to his academic work that Vieillemard hired him to design the frame for their perpetual calendar. The image presents the mythical scene of Paris presenting an apple to Aphrodite, thereby choosing her as the most beautiful of the three goddesses. "What makes this rare calendar unusual is the transition it represents from Mucha the book illustrator - seen in the central image - to Mucha the graphic artist - seen in the strong, ornate borders, with their repetitious, colorful embellishments and the interesting use of a Greek frieze to convey the printer''s message" (Lendl p. 163). The calendar operated via three paper strips which would be run through the open mouths of the theatrical masks at the bottom, displaying the numerical date, day of the week and month, which could be changed by pulling down the strips, which are missing on this example. rare. We have found only two other copies at auction since 1987. Rennert / Weill 5, Mucha / Henderson 134, Mucha / Bridges C2, Lendl p. 163, Spirit of Art Nouveau 2 (var).

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ALPHONSE MUCHA (1860-1939). LE VENT QUI PASSE EMPORTE LA JEUNESSE. 1899. 11x7 inches, 28x18 cm. [F. Champenois, Paris.]

Estimate: $3,000 - $4,000

Description: ALPHONSE MUCHA (1860-1939) LE VENT QUI PASSE EMPORTE LA JEUNESSE. 1899. 11 1/4x7 1/4 inches, 28 1/2x18 1/2 cm. [F. Champenois, Paris.] Condition A: minor foxing in image; fold in upper left corner. Matted and framed. Unexamined out of frame. The image is a romantic allegory of Time watching a maiden as autumn leaves blow out of her hand; a poignant image explained by the caption: "the passing wind takes youth away." This is the smaller version. Rennert / Weill 68 (var 1), Lendl p. 150 (var), Mucha Grand Palais 132, Mucha / Japan 73, Darmstadt 114, Mucha / Henderson 165, Reade 24, Spirit of Art Nouveau 75 (var), Mucha / Bridges G2i.

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ALPHONSE MUCHA (1860-1939). [CALENDAR.] Circa 1897. 22x8 inches, 56x21 cm.

Estimate: $2,000 - $3,000

Description: ALPHONSE MUCHA (1860-1939) [CALENDAR.] Circa 1897. 22 1/4x8 3/8 inches, 56 1/2x21 1/4 cm. Condition A-: minor loss in upper right corner; minor repaired tear in lower left corner. Mounted on board. Framed. Mucha''s soft, romantic and winsome imagery was tailor-made to suit calendars, and many of his images were used for just that purpose. The original watercolor upon which this image is based is housed in the North Bohemian Gallery of Fine Art in Litomerice, in the Czech Republic (see Lendl p. 168). The image is a quintessential Mucha composition, featuring a young girl seated within a circle that serves to draw attention to her face. Although the piece is not signed, it is delicately rendered in Mucha''s refined style. Several versions with the dates and calendarium filled in have surfaced (bearing the dates 1902 and 1903), but this is only the second time that the blank calendar has come up for auction. rare. Rennert / Weill 42, Lendl p. 169.

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ALPHONSE MUCHA (1860-1939). [CHAMPENOIS CALENDAR.] Circa 1898. 22x8 inches 56x21,cm. [F. Champenois, Paris.]

Estimate: $2,000 - $3,000

Description: ALPHONSE MUCHA (1860-1939) [CHAMPENOIS CALENDAR.] Circa 1898. 22 3/8x8 3/8 inches 56 3/4x21 1/4,cm. [F. Champenois, Paris.] Condition B+: minor repaired tears and restored loss in bottom margin; mat staining in margins; faded. Matted and framed. This image originally appeared on the cover of the F. Champenois catalogue in 1899. It was then executed in this larger format to be used as a calendar, although no realized versions of this have come to market. This rare version with the blank calendarium included at the bottom is only the second copy to come up for auction. The image was also used on a postcard. Rennert / Weill 59, Lendl p. 177 Bridges G2h (var), Mucha / Postcards 79 (var).

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ALPHONSE MUCHA (1860-1939). [CALENDAR.] Circa 1900. 20x12 inches, 50x31 cm. F. Champenois, Paris.

Estimate: $2,000 - $3,000

Description: ALPHONSE MUCHA (1860-1939) [CALENDAR.] Circa 1900. 20x12 1/4 inches, 50 3/4x31 cm. F. Champenois, Paris. Condition B+: repaired tears and overpainting in margins and border; minor creases in margins and image. Matted and framed. A woman seemingly lost in a floral reverie is depicted here in typical Mucha fashion, adorned with ornate jewelery and flowing robes. Champenois printed this blank calendar "so that they could be marketed to any number of potential advertisers" (Spirit of Art Nouveau p. 60). Several different versions have appeared on the market over the years advertising diverse products such as perfume, a store in Tours and a decorator in Grenoble. The image also exists as a postcard, on which it is described as "a design for a menu." rare. We have found only three other copies at auction since 1991. Lendl p. 117 (var), Rennert / Weill 60, Mucha / Postcards 78 (var), Mucha / Bridges CP8a (var), Spirit of Art Nouveau p. 61.

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ALPHONSE MUCHA (1860-1939). [AURORE ET CRÉPUSCULE / DAWN & DUSK]. Two decorative panels. 1899. Each 18x34 inches, 47x87 cm. [F. Champen

Estimate: $10,000 - $15,000

Description: ALPHONSE MUCHA (1860-1939) [AURORE ET CRÉPUSCULE / DAWN & DUSK]. Two decorative panels. 1899. Each 18x34 1/2 inches, 47 3/4x87 1/2 cm. [F. Champenois, Paris.] Condition varies, generally B+: margins unevenly trimmed to image; overpainting added around edges; minor tears and abrasions at edges. Matted and framed. This consummate pair of maidens at opposite ends of the day is a splendid and rarified vision of Mucha at the peak of his sensitivity and sensuality. With delicate pastel colors in an almost monochromatic palette, Mucha captures two serene, innocent and intimate moments. Only the slightest shift in color between the two signifies the differences in atmosphere. Couched beneath the boughs of a graceful tree, each figure is depicted in the style of a graphic lullaby. "Dawn is represented by a girl removing the coverlet from her naked torso as she looks towards to rising sun [and] Dusk is a somnolent beauty settling down in her bed under the last rays of the day" (Rennert / Weill p. 258). Only 1000 copies were printed. Rennert / Weill 70, Lendl p. 216, Mucha Grand Palais 135 & 136, Mucha / Henderson 31 & 34, Mucha / Bridges P32 & P33.

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ALPHONSE MUCHA (1860-1939). CHOCOLAT MASSON / CHOCOLAT MEXICAIN / [FOUR SEASONS.] 1896. Sizes vary, each panel approximately 16x5 inche

Estimate: $4,000 - $6,000

Description: ALPHONSE MUCHA (1860-1939) CHOCOLAT MASSON / CHOCOLAT MEXICAIN / [FOUR SEASONS.] 1896. Sizes vary, each panel approximately 16 3/4x5 3/4 inches, 42 1/2x14 1/2 cm. F. Champenois, Paris. Condition varies, generally B+ / B: losses to calendarium on Spring panel. Paper. After the success of his first set of decorative panels glorifying the seasons in 1896, Mucha''s printer, F. Champenois, immediately commissioned a second series. While in many ways this second group of allegorical beauties is much like the first (Mucha''s two visions of Winter are quite similar), there are evolved differences between the two. In this later set, the colors are sharper in contrast to the pastel palette of the first series; more importantly, this series was originally designed within a graphic frame featuring a floral design at top and a structured bottom section, which bore either the name of each season, a calendar, or was left intentionally empty. This third option was a critical commercial decision to make the panels attractive to advertisers, who would use the blank spaces to fill in their particulars. Chocolat Masson did just that, and was clearly so happy with the results that they came back to Champenois the following year and used Mucha''s Ages of Man for their next advertising promotion. As these images were used for Chocolat Masson''s 1897 calendar, it makes sense that the images were designed in 1896, thus refuting the up-until-now universally considered date of design of 1897. Rennert / Weill 37 (var 1), Mucha / Henderson 125, Mucha / Bridges C3, Lendl p. 188 & 189 (var).

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