William Carqueville, Lippincott's from Les Maîtres de L'Affiche, 1898

Details

Description

William carqueville (1871 - 1946)

lippincott's

year of ideation: 1895
year: 1898
lithograph on wove paper
publisher: chaix

size: 40 … Read more William carqueville (1871 - 1946)

lippincott's

year of ideation: 1895
year: 1898
lithograph on wove paper
publisher: chaix

size: 40 x 29 cm
signed in the plate, lower left

from the famous collection "les maîtres de l'affiche"
issue # 33, plate #132, august 1898

bottom left:
les maîtres de l'affiche pl. 132
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. 132
___

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.
___

about the artist

william l. Carqueville, sometimes known as will carqueville (1871 - 1946), was an american painter, printmaker, and poster artist associated with the art nouveau movement.

at a very young age, william carqueville learned the art of printmaking in his father's company, the shober & carqueville lithographing company, founded in chicago by the german-born lithographer charles shober.
william carqueville's career as a poster artist must be seen in the context of the period: chicago was experiencing a remarkable creative explosion around 1890, where artists like william bradley and frank hazenplug helped transform the graphic arts.
carqueville's first poster was printed in december 1894 for lippincott's monthly magazine, one of the most famous periodicals of its time. His father had found him a job as a graphic designer, and william produced several posters and a few drawings before being replaced in october 1895 by j. J. Gould. He then decided to leave for paris.
for a year, he explored the french capital, which was awakening to art nouveau, also visited england, and decided to make a living from his art. He likely met jules chéret, who chose to reproduce the may and august 1895 covers of lippincott's in his magazine, les maîtres de l'affiche (1895-1900).
when he returned to chicago at the end of 1896, he returned to producing posters, for international, harper's, the atlantic monthly, and scribner's magazines, among others.
his style was much less floral and more refined than his french colleagues, and was influenced by japonism, then in vogue.
___

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