Henri Evenepoel, Anvers et son Exposition from Les Maîtres de L'Affiche, 1898, Original Lithograph

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Description

Henri Evenepoel (1872-1899)

Anvers et son Exposition

Year of ideation: 1895
Year of printing: 1898
Lithograph on wove paper
Publisher: … Read more Henri Evenepoel (1872-1899)

Anvers et son Exposition

Year of ideation: 1895
Year of printing: 1898
Lithograph on wove paper
Publisher: Chaix

Signed in the plate, lower right

from the famous collection "Les Maîtres de l'Affiche"
Issue # 29, Plate #116, April 1898

Bottom left:
Les Maîtres de l'Affiche PL. 116
Imprimerie Chaix
(Encres Lorilleux & Cie.)

Bottom right, blind stamp of publisher / edition

Excellent Condition

Literature:
"The Complete Masters of the Poster", edited by Stanley Appelbaum, Dover, New York, 1990, p. 116
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About the collection "Les Maîtres de l'Affiche"

Les Maîtres de l'Affiche (The Masters of the Poster) is one of the most prestigious and influential art publications in history Its 256 color plates have preserved for each succeeding generation a wide-ranging selection of outstanding posters from the turn of the century, when that popular art form had reached its first peak.

The earliest printed posters were chiefly typographic, with relatively few illustrated examples. But in the second half of the nineteenth century, when all types of commercial products, including printed matter, were being aesthetically upgraded, largely thanks to various arts-and-crafts movements, serious artists such as Manet began to see new possibilities in the poster medium. It was especially Jules Chéret (1836-1932) whose unique combination of artistic, technical and entrepreneurial talents was to pave the way for a true poster industry. After Chéret opened his own print shop in Paris in 1866, his work continued to inspire numerous emulators in Europe and America. from 1881 on, his shop operated as a branch of the large Chaix firm (Imprimerie Chaix)

By the 1890s the streets of every great metropolis were enlivened by large, colourful posters.
This Chaix publication, Les Maîtres de l'Affiche, was issued as separate numbered sheets measuring 40 x 29 cm. Every month for 60 months, from December 1895 through November 1900, subscribers received a wrapper containing four consecutively numbered poster. On 16 occasions the monthly wrapper also contained a bonus plate, a specially created art lithograph. Jules Chéret, artistic director of Chaix and father of the modern poster, emerged with the lion's share of the plates, one Chéret being included in each monthly issue of four, and seven of the 16 unnumbered bonus plates.

Of the 97 artists represented in Les Maîtres de l'Affiche, some were preeminent painters and printmakers at various stages of their careers: Toulouse-Lautrec, Denis, Bonnard, Vallotton, Puvis de Chavannes. Others were famous illustrators and cartoonists of the period, still well known to art collectors and bibliophiles. Forain, Caran d'Ache, Ibels, Willette, Boutet de Monvel, Léandre. But there were also all those whose names say "poster," the conquering pioneers of the new medium. Chéret himself, Mucha, Steinlen, the Beggarstaffs, Grasset, Penfield, Parrish, Bradley, Hardy The list could go on and on.
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About the Artist

Henri Evenepoel (1872 - 1899) was a Belgian artist whose most important works are associated with Fauvism.

Evenepoel was born in Nice. He first studied art in Brussels at the Académie Royale des Beaux-Arts between 1889 and 1890, and entered Paris's Ecole des Beaux-Arts in 1892. Evenepoel entered the atelier of Gustave Moreau in 1893, which put him in contact with Henri Matisse, Georges Rouault, Albert Marquet, Edgar Maxence, Charles Milcendeau and Léon Printemps.

The artist debuted a portrait of his cousin (Louise in Mourning) at the 1894 Salon des Artistes Français. He showed four portraits at the Salon du Champ-de-Mars in 1895 and continued to exhibit there until his death. His first solo exhibition came at the Brussels Cercle Artistique (December 1897 – January 1898). Family and friends were the artist's preferred subjects; his full-length portraits, often against a neutral background, show the influence of Édouard Manet and James Abbott McNeill Whistler. His Parisian scenes were influenced by Henri de Toulouse-Lautrec and Jean-Louis Forain. Though his early scenes had a somber palette, his paintings while in Algeria (where he first wintered during his solo exhibition) were very different in style, anticipating the bold colours of Fauvism (e.g., Orange Market, Blidah).
Evenepoel died in Paris at the age of 27
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Important:

. The listing is for the original lithograph.
. The cover of the issue by Jules Chéret is shown for reference.
This piece has an attribution mark,
I am sure that it is completely authentic and take full responsibility for any authenticity
issues arising from misattribution See less