Dec 15, 2005 - Sale 2062

Sale 2062 - Lot 141

Price Realized: $ 1,265
?Final Price Realized includes Buyer’s Premium added to Hammer Price
Estimate: $ 1,000 - $ 1,500
GEORGES DE FEURE (1868-1943) [L'ESTAMPE MODERNE.] One plate. 1897.
16x121/8 inches. Champenois, Paris.
Condition A. Paper.
L'Estampe Moderne was published between May 1897, and April 1899. The premise was the same as with Les Maitres de l'Affiche, in that every month four prints were issued to subscribers, delivered in a portfolio sleeve designed by Mucha. In all there was a total of 100 images. However, as the name implies, these were not posters, but prints, designed by many of the popular artists of the day. The technical and editorial team responsible for publishing the works was amongst the best of its day: the printer was Champenois, and the directors were Charles Piazza (who published Mucha's Ilsee and Le Pater) and Charles Masson, the director of the Musee du Luxembourg. In an attempt to reach as wide and popular audience as possible 2000 of each print, and 100 extra on Japan-paper were printed. Although all of the prints were designed especially for this portfolio not all of them were printed in the same way, as some were collotypes (photographically reproduced). Many of the artists chosen to have their work published were also quite academic, and their prints pale in comparison with those done by the recognizable names from the poster world. As Phillip Denis Cates writes in The Color Revolution, the project "had some saving graces, however, with the color lithographs of Mucha, Louis Rhead, Georges Meunier, Dillon, de Feure and Henri Evenpoel maintaining the artistic standards of Marty and Vollard" (Color Revolution p. 27). De Feure's print, Le Retour, belongs to his third symbolic period, as classified by Ian Millman. It was done at the time when he was working with the poet Marcel Schwab at Le Porte des Reves. The exquisite lithograph is both symbolist, yet archly Art Nouveau in style, depicting a lady waiting for the return of her prince. Millman p. 124.