Henri BELLERY-DESFONTAINES

Rare original color lithograph, executed by Henri Bellery-Desfontaines for L'Estampe Moderne, "Third free premium reserved for annual subscribers of L'Estampe Moderne".
One of 50 deluxe copies printed on Japan paper with wide margins, artist's signature and date in the plate, publisher's blind stamp depicting a child's profile in the lower margin, numbered stamp of the deluxe issue on verso; engraving preceded by a tissue guard captioned with the artist's name, title and a text excerpt; blank tissue guard.
Lithograph inspired by an excerpt from La saga de Wiking translated by E. Reynaud, reproduced on the print's tissue guard.
Magnificent French monthly publication edited between May 1897 and April 1899, L'Estampe moderne consists of original chromolithographs which, unlike other magazines such as Les Maîtres de l'Affiche and as stipulated on the tissue guards, were created specially by each artist for the magazine. Thus 100 prints appeared in total, covering the major artistic movements of the late 19th century: Symbolism, Art Nouveau, Pre-Raphaelites, Orientalists and Belle Epoque. Each issue of four prints was printed in 2000 copies sold for 3.50F and 100 on Japan paper offered at 10F. Henri Piazza also planned a confidential deluxe printing: 50 copies on Japan paper with wide margins and 50 in black on China paper at the considerable price of 30F.
This print of handsome format is superbly printed on the most prestigious of papers: Japan paper. Thick, silky, satiny and pearlescent, it contributes to making each page a work of art in its own right. Its quality of ink absorption and its affinity with colors also make it the ideal support for these very beautiful lithographs.
The interest of French collectors in artistic posters grew at the beginning of the 1890s. Octave Uzanne, to qualify this fever, invented the term "affichomanie." The poster, originally popular and posted in the streets of the capital, then became an art object and its ephemeral medium became precious and devoted to preservation.
Piazza decided to remove the poster from its advertising purpose and elevate it to the rank of a complete work of art on the same level as the illustrated luxury book. He thus composed a prestigious collection of entirely original works by the most prominent European artists of the moment: Georges de Feure, Eugène Grasset, Henri Detouche, Emile Berchmans, Louis Rhead, Gaston de Latenay, Lucien Lévy-Dhurmer, Gustave-Max Stevens, Charles Doudelet, Hans Christiansen, Henri Fantin-Latour, Steinlen, Ibels, Engels, Willette, Henri Meunier, Evenepoël, Bellery-Desfontaines, Charles Léandre, etc.
Handsome copy in Art Nouveau style.

Rare original color lithograph executed by Henri Bellery-Desfontaines for L'Estampe Moderne, series number 5 published in September 1897.
One of 50 deluxe proofs printed on Japan paper with wide margins, artist's signature and date in the plate, publisher's dry stamp representing a child's profile in lower margin, numbered stamp of the deluxe printing on the verso; engraving preceded by a tissue guard inscribed with the artist's name, title and presentation text; and another blank tissue guard.
Magnificent French monthly publication issued between May 1897 and April 1899, L'Estampe moderne consisted of original chromolithographs which, unlike other periodicals such as Les Maîtres de l'Affiche and as stipulated on the tissue guards, were created specifically by each artist for the review. Thus 100 prints appeared in total, covering the major artistic movements of the late 19th century: Symbolism, Art Nouveau, Pre-Raphaelites, Orientalists and Belle Époque. Each issue of four prints was published in 2000 copies sold for 3.50F and 100 on Japan paper offered at 10F. Henri Piazza also planned a confidential deluxe printing: 50 copies on Japan paper with wide margins and 50 in black on China paper at the considerable price of 30F.
This print in a handsome format is superbly printed in colors on the most prestigious paper: Japan paper. Thick, silky, satiny and pearlescent, it contributes to making each page a complete work in itself. Its quality of ink absorption and its affinity with colors also make it the ideal medium for these very beautiful lithographs.
French collectors' interest in artistic posters intensified in the early 1890s. Octave Uzanne, to qualify this fever, invented the term "affichomanie." The poster, originally popular and displayed on the streets of the capital, then became an art object and its ephemeral medium became precious and destined for preservation.
Piazza decided to remove the poster from its advertising vocation and elevate it to the rank of a complete work of art in the same way as the illustrated deluxe book. He thus composed a prestigious collection of entirely original works by the most prominent European artists of the moment: Georges de Feure, Eugène Grasset, Henri Detouche, Emile Berchmans, Louis Rhead, Gaston de Latenay, Lucien Lévy-Dhurmer, Gustave-Max Stevens, Charles Doudelet, Hans Christiansen, Henri Fantin-Latour, Steinlen, Ibels, Engels, Willette, Henri Meunier, Evenepoël, Bellery-Desfontaines, Charles Léandre, etc.
Handsome copy in the Art Nouveau style.

Rare original lithograph executed by Henri Bellery-Desfontaines for L'Estampe Moderne, series number 5 published in September 1897.
One of 50 deluxe proofs printed on China paper with wide margins, artist's signature and date in the plate, publisher's dry stamp representing a child's profile in lower margin, mounted on a sheet of laid paper with the numbered stamp of the deluxe printing on the verso, pale marginal foxing.
Magnificent French monthly publication issued between May 1897 and April 1899, L'Estampe moderne consisted of original chromolithographs which, unlike other periodicals such as Les Maîtres de l'Affiche and as stipulated on the tissue guards, were created specifically by each artist for the review. Thus 100 prints appeared in total, covering the major artistic movements of the late 19th century: Symbolism, Art Nouveau, Pre-Raphaelites, Orientalists and Belle Époque. Each issue of four prints was published in 2000 copies sold for 3.50F and 100 on Japan paper offered at 10F. Henri Piazza also planned a confidential deluxe printing: 50 copies on Japan paper with wide margins and 50 in black on China paper at the considerable price of 30F.
This print in a handsome format is superbly printed on one of the most prestigious papers: China paper. "Despite all its qualities, China paper, too fragile, owes its reputation not to its own beauty, but to its particular affinity with printing ink. Its texture, smooth and soft together, is more apt than any other to receive a beautiful impression. This property makes China paper sought after for printing engravings..." (Anatole France).
French collectors' interest in artistic posters intensified in the early 1890s. Octave Uzanne, to qualify this fever, invented the term "affichomanie." The poster, originally popular and displayed on the streets of the capital, then became an art object and its ephemeral medium became precious and destined for preservation.
Piazza decided to remove the poster from its advertising vocation and elevate it to the rank of a complete work of art in the same way as the illustrated deluxe book. He thus composed a prestigious collection of entirely original works by the most prominent European artists of the moment: Georges de Feure, Eugène Grasset, Henri Detouche, Emile Berchmans, Louis Rhead, Gaston de Latenay, Lucien Lévy-Dhurmer, Gustave-Max Stevens, Charles Doudelet, Hans Christiansen, Henri Fantin-Latour, Steinlen, Ibels, Engels, Willette, Henri Meunier, Evenepoël, Bellery-Desfontaines, Charles Léandre, etc.
Handsome copy in the Belle Époque style.