Alphonse Mucha, Incantation (aka Salammbô), Nude, 1897, Lithograph on Paper

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Description

Alphonse marie mucha (1860-1939)

incantation
(aka salammbô)

original lithograph from the glorious portfolio "l'estampe moderne", first special plate of … Read more Alphonse marie mucha (1860-1939)

incantation
(aka salammbô)

original lithograph from the glorious portfolio "l'estampe moderne", first special plate of the first year

on wove paper

year: 1897

size (sheet): 405 x 305 mm

signed on the plate "mucha", lower left

blind stamp of the publisher, lower right

excellent condition: minor signs of age and handling
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.
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the artist

alphonse mucha (1860–1939) was the definitive "architect" of art nouveau, a movement so intertwined with his vision that it was initially dubbed le style mucha. His fame exploded in 1895 with his poster for sarah bernhardt, which introduced his revolutionary aesthetic to the streets of paris. Mucha’s work is synonymous with his portrayal of women—ethereal, goddess-like figures defined by "macaroni" curves of flowing hair, halo-like mosaics, and intricate botanical frames. These women were not merely decorative; they became icons of modern femininity, blending classical grace with a sensuous, organic energy that defined the belle époque.
his masterpieces are preserved in the mucha museum (prague), national gallery (prague), musée d’orsay (paris), metropolitan museum of art (new york), and the victoria and albert museum (london), and many other public collections worldwide, and his artworks may fetch even millions at international auction.
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from the text on the tissue paper:

salammbô monta sur la terrasse de son palais\. Il y avait au milieu de la terrasse un petit lit d'ivoire, et dans les quatre coins s'élevaient quatre cassolettes remplies de nard, d'encens, de cinnamome et de myrrhe. L'esclave alluma ces parfums. Salammbo regarda l'étoile polaire; elle salua lentement les quatre points du ciel et s'agenouilla sur le sol parmi la poudre d'azur qui était semée d'étoiles d'or à l'imitation du firmament. Puis, les deux coudes contre les flancs, les avant-bras tout droits et les mains ouvertes, en se renversant la tête sous les rayons de la lune, elle dit : « o rabbetna!\.
baalet!\. Tanit!\. » et sa voix se traînait d'une façon plaintive comme pour appeler quelqu'un.
« taanach, dit-elle, prends ton nebal et joue tout bas sur la corde d'argent, car mon cœur est triste !\. »
l'esclave souleva une sorte de harpe en bois d'ébène, et des deux mains se mit à iouer\.
gustave flaubert.
(salammbó).

english translation:

salammbô ascended to the terrace of her palace\. In the middle of the terrace was a small ivory bed, and in the four corners rose four censers filled with nard, incense, cinnamon, and myrrh. The slave lit these perfumes. Salammbô looked toward the north star; she slowly saluted the four points of the sky and knelt upon the ground amidst the azure powder which was strewn with gold stars in imitation of the firmament. Then, with her two elbows against her sides, her forearms held straight and her hands open, throwing back her head under the rays of the moon, she said: "o rabbetna!\. Baalet!\. Tanit!\." and her voice trailed in a plaintive manner as if to call someone.
"taanach," she said, "take your nebal and play softly upon the silver string, for my heart is sad!\."
the slave lifted a kind of harp made of ebony wood, and with both hands began to play\.
gustave flaubert
(salammbô)
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this artwork

this stunning lithograph by alphonse mucha, titled "salammbô," was created in 1896 for the publication l’estampe moderne. It serves as a visual homage to gustave flaubert’s 1862 historical novel, capturing the carthaginian priestess in a moment of ritualistic invocation. Mucha perfectly translates flaubert’s lush, "orientalist" prose into the definitive art nouveau style, blending archaeological detail with decorative fantasy.

the composition is anchored by salammbô’s statuesque figure, her head tilted back in a trance-like state as she addresses the moon. She is adorned in intricate, byzantine-inspired jewelry and a peacock-feather headdress, motifs that signify both her royal status and her connection to the goddess tanit. Below her, the slave taanach hunches over an ebony harp, providing the "silver-stringed" accompaniment described in the text.

mucha’s mastery is evident in the smoke rising from the cassolettes (perfume burners), which transforms into elegant, whiplash curves that frame the scene. The "azure powder" and "gold stars" from the novel are reimagined as a celestial, patterned backdrop. Through his use of muted pastels—terracotta, pale gold, and seafoam green—mucha evokes a sense of ancient, hushed mystery, turning a scene of religious fervor into a masterpiece of decorative harmony.
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important:

. The listing is for the original print, in the above mentioned excellent condition.
. The original tissue paper introduction will be given to the buyer as a gift 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