Francis Jourdain, Les Cygnes, 1898, Original Lithograph

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Description

Francis jourdain (1876-1958)

les cygnes
(the swans)

original lithograph from the glorious portfolio "l'estampe moderne", issue #18 (october 1898)

on … Read more Francis jourdain (1876-1958)

les cygnes
(the swans)

original lithograph from the glorious portfolio "l'estampe moderne", issue #18 (october 1898)

on wove paper

year: 1898

size (sheet): 305 x 405 mm
size (image): 233 x 337 mm

blind stamp of the publisher, bottom right, out of the image

excellent condition as issued: minor signs of age
proof: some colours are slightly lighter
full margins (not cropped, not trimmed)

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about the collection (l'estampe moderne)

l'estampe moderne appeared in 1897-1899 as a series of 24 monthly fascicles, each containing 4 original lithographs, printed by parisian imprimerie champenois. Many accomplished european art nouveau painters contributed works to this publication, which contained only original prints invented and produced especially for this collection. The publication was edited by charles masson and h. Piazza. Each issue came in a paper cover bearing an original lithograph by alphonse mucha.
each lithograph was accompanied by a tissue containing the details (title of the artwork, name of the artist, etc.) and a short text by a well-known author who inspired the artist (this one being from les cygnes, the swans, by léon dierx).
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about the artist

francis jourdain (1876 – 1958) was a french painter, furniture maker, interior designer, maker of ceramics, and other decorative arts, and a left-wing political activist.

francis jourdain was born on 2 november 1876, son of the architect frantz jourdain. His father was the founder of the salon d'automne collection. Jourdain said of the society in which he grew up that it was dominated by people who were highly opinionated and quick to take sides. Although its members pretended to be in favor of liberty and compassion, he saw it as tainted by prejudices, xenophobia and extreme emotion. His father was very much typical of this society. A stenciled panel by jourdain with elegant, cleanly silhouetted images was shown at the 1900 exposition universelle in paris.

in 1911, jourdain began to design furniture, following the teachings of adolf loos. He opened les ateliers modernes in 1912, a small furniture factory. He designed modular wooden furniture for working-class people, advertising in the socialist paper l'humanité. With his built-in furniture and storage systems he was able to make small areas appear spacious. He owned a furniture shop by 1919, chez francis jourdain. His own designs were simple, with straightforward construction. He collaborated with le corbusier in 1920 in publishing a journal titled l'esprit nouveau, subsidized by the government. It advocated standardization and industrial production as an alternative to individual design, required to rebuild the shattered french society and economy of the years following world war i (1914–18).

at the 1925 exposition internationale des arts décoratifs et industriels modernes (international exposition of modern industrial and decorative arts) jourdain's "physical culture room", unlike other exhibits, did not emphasize luxury living. His design used smooth wood paneling on the walls and ceilings that resembled riveted sheets of metal. He worked with robert mallet-stevens between 1925 and 1930. An interior he designed for an intellectual worker was exhibited in 1937 at the exposition internationale des arts et techniques dans la vie moderne in paris.

in 1939, he was secretary general of the world committee against war and fascism. The committee's letterhead showed henri barbusse as founder and romain rolland as honorary president.

jourdain was a prolific writer on art in the period after world war 2. He died in paris on 31 december 1958 at the age of 82.[1]

jourdain was a dreyfusard and an anarchist.

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from the text on the tissue paper, by léon dierx:

sous des massifs touffus, au fond désert du parc
la colonnade antique arrondissant son arc,
dans une eau sombre encore à moitié se profile :
et la fleur, que le pampre ou que le lierre exile,
parfois brille furtive aux creux des chapiteaux.
l'eau sommeille; une mousse y fait de sourds cristaux.
a peine un coin du ciel en éclaircit la moire,
de sa lueur mourante où survit la mémoire
des regards clairs tournés vers des cieux éclatants.
l'eau profonde ressemble à nos yeux, ces étangs
où chaque siècle ajoute, avec d'obscurs mirages,
au poids de sa lourdeur l'ombre de ses ombrages.
elle sort, enfermant près du pur souvenir
le pan du bleu manteau qu'elle veut retenir;
mais sur le ténébreux miroir qui les encadre
des cygnes familiers, éblouissante escadre,
suivent le long des bords un gracieux circuit,
et glissent lentement, en bel ordre et sans bruit,
nobles vaisseaux croisant devant un propylée,
comme un reste orgueilleux de gloire immaculée.

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important:

. The listing is for the original print, in the above mentioned very good / excellent condition.
. The original tissue paper introduction has some folds and tears, especially along the margins, and it will be given as is to the buyer as a gift for confirming the authenticity.
. The cover by mucha is shown as a reference i have official proof of authenticity such as vintage catalogs,
designer records,
or other literature sources and take full responsibility for any authenticity issues arising
from
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