Les Maîtres de l’Affiche

Les Maîtres de l’Affiche — Palais de Glace (Chéret)

One plate from the 256-plate founding anthology.

Les Maîtres de l’Affiche — Librairie Romantique (Grasset)

Grasset’s medievalist line, plated for the anthology.

Maîtres de l'Affiche, Vol. 2, Plate 74 — Carlos Schwabe

Symbolist reverie on a commercial press: Carlos Schwabe's plate 74, dated 1895.

Pl 34 - Steinlen

Steinlen's Montmartre crayon, pulled at plate scale for the Chaix Maîtres de l'Affiche series.

Pl 20 - Edward Penfield

America's first great poster man, admitted to the Paris canon at plate 20.

Les Maîtres de l'Affiche, Vol. 1, Plate 2 - Toulouse-Lautrec (Divan Japonais)

Lautrec's Divan Japonais, shrunk to collector scale as plate 2 of the first Maîtres de l'Affiche volume.

Pl 16 - Beggarstaff

The Beggarstaffs' cut-paper flatness — the poster style that taught modern advertising to drop the detail.

Pl 10 - De Feure

Georges de Feure's Symbolist line, shrunk to portfolio scale by the Chaix presses in 1895.

Maîtres de l'Affiche, Vol. 2, Plate 52 — Will Bradley

The lone American in the French portfolio: Will Bradley's flat inks and whiplash line, plate 52.

Pl 04 - Dudley Hardy

An English poster hand pulled through a French press: Dudley Hardy's plate for volume one of Les Maîtres de l'Affiche.

Pl 94 - Alfons Mucha

Mucha's Salon des Cent design, shrunk to a Chaix pocket lithograph and scanned so clean the line still sings.

Maîtres de l'Affiche, Vol. 2, Plate 82 — Henri de Toulouse-Lautrec

Toulouse-Lautrec for La Revue Blanche — spattered crachis over flat colour, Maîtres de l'Affiche plate 82.

Pl 172 - Bradley

Will Bradley's flat color and hard black line — America's answer to Paris, issued as plate 172.

Maîtres de l'Affiche, Vol. 2, Plate 63 — Beggarstaffs

Cut-paper silhouettes on blank ground — the Beggarstaffs stripped the poster to its bones.

Maîtres de l'Affiche, Vol. 2, Plate 88 — Privat-Livemont

A woman, a breaking wave and Art Nouveau lettering — the rare landscape plate in the series.

Pl 27 - Alfons Mucha

Mucha at the exact moment the Paris poster trade decided he mattered.

Pl 95 - Théophile-Alexandre Steinlen

Steinlen for the Chaix anthology — Montmartre's blunt draughtsman at collector's scale, 4381 x 6146.

Pl 182 - Alfons Mucha

Mucha's Bieres de la Meuse woman, haloed and hair-swept, in the miniature Chaix reprint.

Maîtres de l'Affiche, Vol. 1, Plate 46 — Steinlen

Steinlen's cabaret poster, shrunk to a collector's plate and printed on Chaix's presses.

Pl 175 - Paul Berthon

Berthon's stringed-instrument reverie in tendril-tangled Art Nouveau, printed landscape-wide.

Pl 110 - Toulouse-Lautrec

Lautrec's Jane Avril, the dancer drawn as a single nervous line, at 4285 x 6001.

Pl 114 - Alfons Mucha

Mucha's Lorenzaccio design, the tall narrow format that made the Sarah Bernhardt posters famous.

Pl 99 - Ethel Reed

Ethel Reed's Miss Traumerei — the rare American woman admitted to the Paris poster canon.

Pl 115 - Edward Penfield

The American in the French canon: Penfield's flat-colour poster style, plate 115 of volume 3.

Pl 214 - Manuel Orazi

Orazi's Theodora for the Porte-Saint-Martin: Byzantine gold-work turned into theatre advertising.

Pl 232 - William Nicolson

Nicholson's blunt British silhouette work - a maize flour advert with the drawing cut to the bone.

Maîtres de l'Affiche, Plate 238

Toulouse-Lautrec reduced to pocket size for the collector's portfolio that made poster art respectable.

Pl 227 - Paul Berthon

Berthon again, plate 227, the chalk-soft end of Art Nouveau at full poster height.