Robert ENGELS

Rare original color lithograph, executed by Robert Engels for L'Estampe Moderne, series number 11 published in March 1898.
One of 50 deluxe proofs printed on Japan paper with full margins, artist's signature in the plate, publisher's dry stamp showing a child's profile in the lower margin, numbered luxury edition stamp on verso; engraving preceded by a tissue guard inscribed with the artist's name, title and a poem; blank tissue guard.
Lithograph inspired by a poem by Edmond Pilon, reproduced on the print's tissue guard.
Magnificent French monthly publication issued between May 1897 and April 1899, L'Estampe moderne consists of unpublished chromolithographs which, unlike other journals such as Les Maîtres de l'Affiche and as stipulated on the tissue guards, were created specifically by each artist for the journal. 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 full margins and 50 in black on China paper at the considerable price of 30F.
This print in a handsome format is superbly printed on the most prestigious of papers: Japan. Thick, silky, satin and pearlescent, it contributes to making each page a work in its own right. Its ink absorption quality and affinity with colors also make it the ideal support for these very beautiful lithographs.
French collectors' interest in artistic posters intensified in the early 1890s. Octave Uzanne, to describe this fever, invented the term "affichomanie." The poster, originally popular and pasted in 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 purpose and elevate it to the rank of a complete work of art on the same level as the deluxe illustrated 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 style of the Deutscher Werkbund, the German equivalent of Art Nouveau.

Rare original lithograph, executed by Robert Engels for L'Estampe Moderne, series number 11 published in March 1898.
One of 50 deluxe proofs printed on China paper with wide margins, artist's signature in the plate, publisher's dry stamp representing a child's profile in the lower margin, mounted on a sheet of laid paper with the numbered stamp of the deluxe edition on the verso, pale marginal foxing.
Lithograph inspired by a poem by Edmond Pilon.
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 delivery of four prints was issued in 2000 copies sold for 3.50F and 100 on Japan paper offered at 10F. Henri Piazza also planned a confidential printing of very high luxury: 50 copies on Japan paper with wide margins and 50 in black on China paper at the considerable price of 30F.
This print of beautiful format is superbly printed on one of the most prestigious papers: China paper. "Despite all its qualities, China paper, too inconsistent, owes its reputation, not to its own beauty, but indeed to its particular affinities with printing ink. Its texture, smooth and soft at once, is more apt than any other to receive a beautiful printing. This property makes China paper sought after for printing engravings..." (Anatole France).
The interest of French collectors in artistic posters amplified at the beginning of the 1890s. Octave Uzanne, to qualify this fever, invented the term "poster mania". The poster, originally popular and posted in 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 on the same level 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.
Fine example in the style of the Deutscher Werkbund, the equivalent of Art Nouveau in Germany.