Vallotton French Poster by Les Maîtres De L’Affiche Ah La Pé La Pé La Pépinierè

Description

Félix Vallotton French Poster by Les Maîtres de l’Affiche: Ah! la Pé . . . la Pé . . . … more Félix Vallotton French Poster by Les Maîtres de l’Affiche: Ah! la Pé . . . la Pé . . . la Pépinierè!!!.
Lithographie # Plate 119 from the original stone lithograph circa 1898.
Framed poster.
Ah! La Pe La Pe Concert de la Pepiniere Les Maitres De L'Affiche Plate 119 by Felix Vallotton from 1898 France.
Original Vintage Poster.
This lithograph shows men in black suits cheering, clapping and leaning over a balcony at a play.
Artist: Felix Vallotton.
Circa: 1898.
Origin: France
Dimensions Framed: 11.75 x 15.75 in.
Image size: 11.25 x 9 inches.
"Les Maitres De L’Affiche" (The Masters of the Poster) stands as a pinnacle in art history, renowned for its profound influence and prestige.
Comprising 256 vibrant color plates, this collection showcases a diverse array of exceptional original posters from the turn of the twentieth century, a period when the art of poster-making flourished.
In the early days, printed posters leaned heavily on text, with minimal illustrations, primarily serving as advertisements for various products. However, as the nineteenth century progressed, a shift occurred. With the aesthetic enhancement of commercial goods, serious artists recognized the potential of posters as a medium for artistic expression. They began to infuse their creations with imagery that resonated with contemporary commerce, believing that the fusion of art and advertisement would mutually elevate each other's value.
Artist: Félix Vallotton.
Title: Ah! la Pé . . . la Pé . . . la Pépinierè!!! Circa 1898.
(Plate 119) original stone lithograph (c.1898)
The "Maitres de l'Affiche" were issued as separate numbered sheets, referred to as "plates" (PL). They were numbered sequentially from "PL.1" to "PL.240"
The printer's name, "Imprimerie Chaix," is in the margin at the bottom left-hand corner.
In the margin at the bottom right-hand corner of each sheet is a blind embossed stamp from a Cheret design.
Image size: 11.25 x 9 inches.
Félix Vallotton (1865-1925) was a French-Swiss painter, engraver, illustrator, sculptor, art critic, and novelist.
In 1882, he enrolled at the Académie Julian in Paris, where he attended workshops frequented by many post-impressionist artists, including future Nabis.
He gained recognition for his wood engravings and black-and-white illustrations.
From 1891 onwards, he revolutionized the art of woodcut printing.
He worked as an illustrator for La Revue Blanche.
VALLOTTON, F. (1865 - 1925) "Ah! la Pe . . . la Pe . . . la Pepiniere" Original lithograph from “Les Maitres de L’Affiche” series Printed by Imprimerie Chaix, Paris Bearing MDL stamp lower right, from issue #30, 1898. Plate #119 Unframed Size: 11 3/8 x 15 3/4” The “Les Maitres de l’Affiche” series was offered as a subscription series to collectors every month for 60 months, from December 1895 through November 1900. The “Maitres de l’Affiche,” were issued as separate numbered sheets, referred to as “plates”. They were numbered, with the printers name “Imprimerie Chaix,” in the margin at the bottom left hand corner, “PL.1” to “PL.240.” In the margin at the bottom right hand corner of each, is a blind embossed stamp from a design of Cheret’s. The smaller format and the fact the “Maitres” were a paid subscription series, allowed Imprimerie Chaix to use the latest state of the art printing techniques, not normally used in the large format posters due to cost. A very high quality of paper was used, where as the large format posters were printed on lesser quality newsprint, due to cost and a short expected life span. This explains why the quality of the printing, in the “Maitres de l’Affiche,” usually far exceeds that of their larger counterparts. “It has been the good fortune of Vallotton to produce at least one poster which is excellent from every point of view. Nothing more appropriate to the advertisement of a frivolous burlesque than his… ’Pepiniere’ could well be imagined. It represents a characteristic audience at a theatre convulsed in laughter at what is taking place on the stage. The variety of expression on the faces of the spectators is infinite, and the effect of the whole thing is as mirthful as may be. From the advertiser’s point, I can conceive nothing more completely satisfactory” (Hiatt p.123, 124) less