|Artist: H. G. Ibels
French (1867-1936) |
Cond. A+, Original Lithograph,
by L'Estampe Modern, August 1898,
Printed by F. Champenois, Paris.
lower right in margin.
Presented in 16
x 20 in. acid free, archival museum mat, with framing labels. Ready to frame.
Shipped boxed flat via Fedex.
Certificate of Authenticity.
Terms of Sale
Original tissue overlay
with poem by Paul Verlaine (1844-1896, French poet and leader
of the Symbolist
movement in poetry)
| Sheet Size:||12 in x 15 3/4 in|
| ||31 cm x 40 cm|
|Price: temporarily out of stock
(Like many of my most sought after images I am usually able to locate
this for clients. email me for a price estimate, Greg) To
"A member of the Nabi group of artists, Ibels shared with the others a stylistic
debt to Gauguin, but diverged from the esoteric, symbolist interests, preferring
to depict directly and honestly the popular life of the streets"(Rennert,
Not unlike the Maitre de L'Affiche series, L'Estampe
Modern was a portfolio printed between 1897-98, published by Imprimerie Champenois,
Paris, contained 24 monthly portfolios, with four original lithographs in each.
Each commissioned only for this series. As well as Mucha,
some of the contributing artists included Rhead,
and Grasset. This is from the series with
the blindstamp in the margin lower right corner.
Ibels’ works were bold
and expressively graphic, typical of the artists of these movements in that their
work included not only fine art, but early forms of graphic design and advertising
as well, as viewed in lithographs and posters for theaters and cabarets, and book
illustrations (Gauguin, Utrillo, and Ibels). His art was inspired by contemporary
life, with subjects drawn from the spectacle of modern Paris, particularly from
the café, circus and boxing ring. Both in subject and technique he can be likened
to such artists as Adolphe Willette, Henri
de Toulouse-Lautrec (who was his friend
and began lithography at Ibels’ insistence) and Théophile-Alexandre Steinlen,
and his work shares many characteristics with theirs, notably an economy of line
and simplicity of shapes and colors. Such features derived in Ibels’ case from
the art of Honoré Daumier, Japanese printmakers and Paul Gauguin and the Pont-Aven