Maurice Réalier-Dumas, Champagne Jules Mumm & Co. from Les Maîtres de L'Affiche, 1898, Original Lithograph

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Maurice Réalier-Dumas (1860-1928)

Champagne Jules Mumm & Co.

Year of ideation: 1895
Year of printing: 1898
Lithograph on wove paper
… Read more Maurice Réalier-Dumas (1860-1928)

Champagne Jules Mumm & Co.

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

Signed in the plate, lower left

from the famous collection "Les Maîtres de l'Affiche"
Issue # 28, Plate #111, March 1898

Bottom left:
Les Maîtres de l'Affiche PL. 111
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. 111
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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

Maurice Réalier-Dumas (1860 - 1928) was a French painter and poster artist, associated with the Art Nouveau movement.

In 1879, he entered the École des Beaux-Arts in Paris as a student, where he studied under the painter Jean-Léon Gérôme. from this time on, Maurice Réalier-Dumas frequented the Maison Fournaise, a restaurant-open-air café located in Chatou, where his father had purchased a vacation home. There, Maurice met Auguste Renoir and many Impressionists, but especially Louise Alphonsine Papillon, the daughter of Alphonse Fournaise, the restaurant's owner. Alphonsine Papillon quickly became a recurring subject in Renoir's works, as it is widely believed that she was depicted in the famous painting, The Luncheon of the Boating Party. Also Maurice Réalier-Dumas painted a portrait of Alphonsine Fournaise, entitled "Alphonsine with a Parasol" (1896, private collection). Alphonsine is depicted standing on a riverbank, wearing a white dress and holding an umbrella in her left hand. This portrait illustrates the intimate bond that may have existed between her and him.

Although he frequented the Impressionists, Réalier-Dumas kept his distance: he chose to travel and drew on a form of Orientalism, the style of his first notable paintings. Morocco, Tunisia, Algeria, but also Spain and Italy had a lasting impact on the painter, who exhibited regularly from 1886 onwards at the Salon des Artistes Français. The Ministry of Colonies approached him and commissioned his work, and in 1908, he was awarded the Legion of Honor.
In late 1896, he joined the Société des peintres-lithographes (Society of Painters and Lithographers), where he began producing particularly elegant, tall formats featuring the theme of the young woman. Three of his works were reproduced by Jules Chéret in his magazine Les Maîtres de l'affiche (1895-1900), namely: Incandescence par le Gaz Système Auer (1892), Champagne Jules Mumm (1895), and Société Internationale de Peinture et de Sculpture Galerie Georges Petit (1897). Réalier-Dumas also contributed to the art magazine L'Estampe moderne and illustrated several piano scores.
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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