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(Continued from front flap)

A L PH ON SE and Anna Dvořák chronicle the artist's life,

MUCHA
his achievements and his philosophies. A
complete catalog section contains 525 de-
tailed and illustrated items and an extensive
bibliography of books, periodicals and ex-
THE COMPLETE GRAPHIC WORKS hibition catalogs that contain all the addi-
tional information about the illustrious
Edited by Ann Bridges graphic output of this important and influ-
ential artist.
Foreword by Jifi Mucha
With 163 plates in full color

Alphonse Mucha was at the height of his

fame in the 1890s. “Le style Mucha” is
characterized by beautiful women with
Marina HENDERSON has written exten-
long, flowing hair, curving, sensuous lines
sively on nineteenth-century art.
and exotic flower motifs in subtle, muted
pastels. Although best known for his pan- Dr. Амма DvoRÁK has made numerous
neaux décoratifs and celebrated posters for studies of Mucha as an illustrator
andmural
the theater, the most popular ofwhich is the painter, and has helped mount major ex-
one he designed for Sarah Bernhardt, hibitions of his work.
Mucha was also a highly gifted illustrator.
He himself laid great importance on this
aspect of his work and it is in his book
illustrations that he gave full expression to
his main preoccupation in life—national-
ism and religion.

Mucha’s work was an inspiration to ar-

chitects and designers of that period who
translated his sinuous flower and plant
motifs into buildings and furniture. His har-
monious designs, sensitive colors and su-
perb draughtsmanship have deservedly
earned him the reputation as one of the
outstanding and influential graphic artists
of Europe. He exemplified and popularized
the Art Nouveau style of 1890 to 1910.

This stunning and colorful book is the

most comprehensive and accurate record of
Mucha’s work available. Included are 163
color plates that show the majority of his
panneaux and posters and a representative
selection of his illustrations for calendars,
menus, books, periodicals and postcards.
Several appear here for the first time since HARMONY BOOKS
their original publication. Insightful essays
à division of Crown Publishers, Inc.,
by art history experts Marina Henderson One Park Avenue, New York, New York 10016

(Continued on back flap)

Printed in Hong Kong
ALPHONSE
IMUCIRLA
THE COMPLETE GRAPHIC WORKS
AULPIAIONSE
IMOCIALA
THE COMPLETE GRAPHIC WORKS

edited by Ann Bridges

foreword by Jiri Mucha

contributions by
Marina Henderson and Anna Dvorak

Н
HARMONY
BOOKS
New York
Frontispiece:
Alphonse Mucha, c. 1897

ACKNOWLEDGEMENTS
We should like to thank the many collectors, galleries and museums who have
given permission for works in their collections to be photographed and
reproduced and have helped with checking information for the catalogue
section. In particular we should like to thank the following, who have provided
new material for this revised edition: the Victoria £ Albert Museum, Editions
Graphiques Gallery, the Seen Gallery and Moét 4: Chandon in London; the
Bibliothéque Forney and the Musée des Arts Décoratifs in Paris; the Museum für
Kunst und Gewerbe, Hamburg; Staatliches Museum Preussischer Kulturbesitz,
Berlin; and the Galleria del Levante, Milan. Other illustrations are from the
Academy Editions Archives.

Copyright © Academy Editions 1980

This edition first published in the United States by
Harmony Books, a division of Crown Publishers, Inc.,
One Park Avenue, New York, New York 10016

All rights reserved. No part of this book may be reproduced or utilized іп any form
or by any means, electronic or mechanical, including photocopying, recording, or
by any information storage and retrieval system without permission in writing from
the publisher.
LIBRARY OF CONGRESS CATALOGING IN PUBLICATION DATA
Mucha, Alphonse Marie, 1860-1939.
Alphonse Mucha The Graphic Works’
First published in Great Britain in 1980
Bibliography: p.
Includes index.
І. Mucha, Alphonse Marie, 1860-1939.
I Bridges, Ann. II. Title.
NE2371.C9M82 1980 741.6'092'4 80-12274
ISBN 0-517-54189-0 НВ ISBN 0-517-55308-2 PB

Printed and bound in Hong Kong

CONTENTS
FOREWORD

“WOMEN AND FLOWERS”

The Life and Work of Alphonse Mucha
Marina Henderson

THE COLOUR PLATES

Panneaux
Posters
Calendars
Books
Periodicals 113
Miscellaneous Graphics and Postcards 121

ILLUSTRATIONS FOR BOOKS AND PERIODICALS 129

Anna Dvorák

Notes 143

THE CATALOGUE 145

Panneaux 146
Posters 152
Calendars 162
Books 164
Periodicals 170
Miscellaneous Graphics: 177
Menus 177
Programmes, catalogue covers, invitations, etc. 178
Banknotes 181
Stamps 182
Postcards 183
Addenda to the Catalogue 187

SELECTED BIBLIOGRAPHY 188

INDEX TO THE GRAPHIC WORKS 191

FOREWORD
The revival of interest in Art Nouveau continues and the decorative designs of
my father, Alphonse Mucha, are still as much in demand today as when the first
edition of The Graphic Works appeared іп 1973. This new revised and enlarged
edition includes many more of his works in colour — the majority of his best-
known panneaux and posters and a representative selection of his illustrations
for calendars, menus, books, periodicals and postcards, several of which appear
here for the first time since their original publication. Also included is an
additional essay by Anna Dvořák on my father’s illustrations for books and
periodicals. Though mainly remembered for his posters and раплеаих
décoratifs in the Art Nouveau style, he was also a highly gifted and innovative
illustrator. He himself laid great importance on this aspect of his work and iti
his book illustrations that he gave full expression to his main preoccupations in
Ше — nationalism and religion. His ambitions and ideals were, in fact, totally at
variance with the commercial graphic work that brought him his past and present
fame. Anna Dvorak discusses in detail his most important books, which contain
а complete statement of his philosophy, achievements and development in
various fields between 1889 and 1929, and reassesses this neglected and little-
known side of his work.
Recent research into the graphic works has revealed much new material and
information and the catalogue section has been extensively checked and revised,
with several new entries added. As a further check, the catalogue was then
circulated to various collectors and galleries for their comments. With 525 items
detailed, many illustrated, it is the most comprehensive and accurate record
available of my father’s work. The bibliography of books, periodicals and
exhibition catalogues has also been expanded, revised and updated.
JIRÍMUCHA

Оррозйе:
131 Plate from Documents décoratifs, 1902.

m
Marina Henderson

"WOMEN AND
FLOWERS
The Life and Work of Alphonse Mucha
The image of Paris as a city of elegance, frivolity, extravagance and
sophistication, spiced with more than a hint of naughtiness, is the
legacy of the Belle Epoque, when Parisian society seemed to act out a
Feydeau farce to the accompaniment of the can-can. As the essential of
farce is the contradiction between reality and appearance, it is in
keeping that the period’s most fashionable decorative artist should be a
man whose life seems totally at variance with the work that made him
famous. Alphonse Mucha, whose delicately sensuous style epitomises
the urbane grace of French Art Nouveau, was a Czech, born in 1860,
next to the local jail in the remote Moravian town of Ivančice, who died
after being questioned by the Gestapo in Prague in 1939.
To examine the unlikely path by which Mucha travelled from
provincial obscurity to international fame is to sympathise with his
conviction that his life had been shaped by the direct intervention of
Fate. Certainly, at three crucial stages in his life, his future was
determined by chance encounters — in a country church, a small
market town and a Paris printing works.
The youngest son of a court usher who was ambitious for his children
and had destined Alphonse for the priesthood, Mucha as a child was
dominated by the two forces that he recognised as the inspiration for his
art — religion and nationalism. He was born in a region where Slav
language and traditions had only been retained with difficulty against
the Hapsburg policy of the Germanisation of Slav provinces and where
the emergent pan-Slavic and Czech nationalist movements were to find
some of their most fervent adherents. Throughout his life his favoured
associates were fellow-Slavs and he was eventually to reject the
adulation of Paris and New York to dedicate his art and twenty-five
years of his life to The Slav Epic for the Czech people.
Always deeply religious and convinced of the occult workings of the
supernatural in daily life, his first aesthetic experiences had sprung from
church ritual and music. He gained intimate knowledge of both as a
choirmaster at the great Baroque cathedral of St. Brno and maintained
a lifelong love for them. Perhaps the most significant encounter in his
life also took place in a church. Returning home from Brno after his
voice had broken, he chanced to visit the church at Usti nad Orlici,
which was being frescoed by the painter Umlauf. In the restricted
society in which he had moved, his undoubted precocious talent for
drawing was accepted as a pleasant pastime. Never before had he
realised that there were such people as living artists, and an artist he
now determined to become.
Few fathers have greeted such a decision with enthusiasm — and
Mucha’s father was no exception. For two years the boy acted as court
scribe at Ivančice, learning more from the endless amateur theatricals
he organised than the cases he reluctantly recorded. His release came
through the theatre. An application to join the Prague Academy having
been refused on the grounds that an artist's life was too risky, Mucha
Opposite: left home to become an apprentice scene-painter in Vienna, where he
P22 La Musique/Music, panneau décoratif, was also able to attend some drawing classes. The near-bankruptcy of
1898. his employers in 1881 left him workless and penniless and in the summer

В
WOMEN AND FLOWERS

of that year he arrived, completely without plans or purpose, at the

small town of Mikulov. Here his sketches, displayed by a friendly
bookseller, were brought to the attention of the local landowner Count
Carl Khuen. Mucha received his first important commission from the
Count and for nearly two years worked at his castle, the Emmahof,
restoring family portraits and decorating the dining room with
classically inspired murals. A similar commission came from the
Count's brother, at whose castle in the Tyrol Mucha's work attracted
the attention of the German painter Wilhelm Kray, Professor at the
Munich Academy. It was through Kray’s encouragement and the
Count's support that Mucha, in 1885, arrived in Munich for his first
formal art training. On leaving Munich after two years of study, and
having won two prizes, the Count suggested that Mucha continue his
studies in Paris. It was there, first at the Académie Julian and then the
Académie Colarossi, that Mucha first came into contact with the latest
агі movements and theories.
The abrupt termination of his allowance in 1899 resulted in two years
of the artist's traditional lot — starvation in a garret. He was saved
from this by his growing reputation as a skilled, versatile and
dependable illustrator. Initially his work was for cheaper journals like
Le Petit Illustré and other enterprises of the friendly publisher Armand
Colin, but he then secured a commission to illustrate Xavier Marmier’s
fairy tales Les Contes des grand-meres. These illustrations brought
Mucha’s first public recognition and gained an Honourable Mention at
the Salon. Slowly, during the next four years, Mucha consolidated his
growing reputation with increasingly prestigious commissions such as
his contributions to Seignobos’ monumental Scenes et épisodes de
l'histoire d'Allemagne.
Until the end of 1894 there was little remarkable in Mucha's life and
nothing particularly outstanding, certainly in a Parisian context, about
his work. Distinguished by a remarkable graphic fluency and a certain
elusive charm, his style, from the first surviving Mikulov sketches to the
Seignobos illustrations, was strictly within the high academic tradition.
Only in the isolated and now very rare calendar that he designed for
Lorilleux in 1892 is there a faint hint of "le style Mucha”. Self-taught to
a considerable extent, his innate technical skill had been well trained
under Herterich at Munich, but neither in form nor subject matter did
his work display any great originality, reflecting rather the influence of
established artists he admired — Meissonier, Delacrois, Doré and that
immensely successful painter of Viennese matrons in decent allegorical P45 La Lune/Moon, panneau décoratif, 1902.
nudity, Hans Makart.
It was the third crucial intervention of chance that produced the style
so essentially his own. In the afternoon of Christmas Eve, 1894, Mucha
was correcting proofs for a friend at the printing works of Lemercier
when Sarah Bernhardt, dissatisfied with the poster for her new
production, Gismonda by Sardou, telephoned demanding another
poster to be ready for billing on New Year's Day. For want of another
immediately available artist, Mucha was offered the job and produced a
poster so radically new in design that from the moment it appeared on
the hoardings it became a collector's piece (not unaided by Bernhardt's
shrewd business dealings) and Mucha was catapulted to immediate
fame.
Not until recently have posters attracted the same critical attention as
in the Paris of the eighties and nineties when a new example by Chéret,
Toulouse-Lautrec or Steinlen merited reviews in serious art journals.
Now, when Art Nouveau posters are a staple of fashionable interior
decoration, it is difficult to appreciate the impact of Mucha's
Gismonda, in many ways the most impressive poster he ever produced.
In 1895 its distinctive shape, muted colouring and exquisitely simplified
draughtsmanship, allied to a Byzantine richness of decoration, were
completely novel. The poster's obvious merit, together with the

110]
WOMEN AND FLOWERS

publicity value of anything or anybody connected with Bernhardt,

ensured that within a week Mucha was the most talked about artist in
Paris.
As a result of Gismonda Mucha signed a six-year contract with
Bernhardt during which time he designed nine outstanding posters for
her (of which only one, Les Amants, 1895, was not in the elongated
format he had established at the first). As well as posters he designed
costumes, sets and jewellery for Bernhardt and together they produced
two extremely successful plays, Rostand’s La Princess Lointaine and La
Dame aux Camélias. Her patronage and the sheer prettiness of the work
that Mucha was now producing, brought a flood of commissions and
one of the first to realise the commercial possibilities of his decorative
designs was the printer Champenois. In return for a fixed and generous
salary, Champenois secured the exclusive right to print as much of
Mucha's lithographic work as he required. A shrewd businessman, it
was he who suggested the idea for the famous panneaux décoratifs.
These were basically posters, without textual matter, printed on quality
я paper, or even satin, and sold in considerable quantities for framing or
Aке
display in private houses and shops. Of the surviving panneaux those
printed on satin, now rare, give the most accurate impression of
I; Mucha's original schemes. Overwhelmed with work, he often did not
ка
я have time to correct the colour proofs of the many cheaper editions
я printed on paper and which, even in the cases of corrected editions,
have tended to discolour. Although Mucha found his contract with
Champenois increasingly onerous and complained that he was being
commercially exploited, he produced some of his most attractive and
popular lithographic work for him, like the delightful Four Seasons of
1896, perhaps the most spontaneous and relaxed series, and the Four
Flowers, the most frequently reproduced of all his designs.
Champenois, who was not one to let a saleable commodity fade, used
Mucha's designs repeatedly — as posters, calendars, panneaux and,
ultimately, postcards. These postcards reached a peak of production in
France around 1900 and are interesting both because designs originally
produced in monochrome are here first produced in colour and because
they proved useful in dating otherwise undated work. The variations in
colour can be attributed to the frequent occasions when Mucha was not
able to supervise the final printing. As time went on and he increasingly
lost interest in this sort of work, the colouring often tended to become
coarser and more harsh.
P48 L’Etoile du matin/Morning Star, Within eighteen months of Gismonda, Mucha held his first one-man
panneau décoratif, 1902. show at the Salon des Cents in the galleries of the influential La Plume
magazine. Over four hundred items were displayed, two thirds
completed within the last two years, ranging from religio-historical
illustrations to his latest panneaux. The complete break in his style pre-
and post- Gismonda must have been patent but few critics paid much
attention to his “serious” work, preferring to rhapsodise, with some
exceptions, over Mucha’s women and flowers. Thus, at the very start of
his success, attention was focussed on that aspect of his work which
Mucha came to despise and for which, paradoxically, he is now best
remembered. Mucha's views on art are totally unexpected if, as 15
general, only the decorative work in the idiom of his Paris period is
known and considered. To Mucha, art was essentially concerned with
the propagation of ideas that would contribute to the spiritual evolution
of the human spirit, hence his slightly unexpected admiration for Puvis
de Chavannes and other Symbolists. Mucha repudiated any description
or classification of his work as Art Nouveau, protesting that, as art was
eternal it could never be new. Equally, he refused to enter into any
discussions on his affinities and links with any individual school or
movement.
Mucha was a friendly, gregarious, attractive man, generous to a
fault, and during his Paris apprenticeship met many other artists. For
WOMEN AND FLOWERS

six years his studio, which for some months he shared with Gauguin,
had been over the famous crémerie owned by Madame Charlotte, a
patron of modern art despite herself, and here he became familiar with
the latest experiments and theories of artists who were seeking to break
the conventions of academic art and to take art out of the Salon and
back to the people. He was unmoved by the arguments for and against
academic art and his admiration for the artists who had influenced him
in his youth persisted all his life. But with the gospel of William Morris,
spread by the enthusiastic Delius, he was in complete agreement. Mucha
welcomed the comparative cheapness of his lithographic work for this
very reason. Not for him the creed of art for art's sake, art was for the
people.
On examination, his style can be seen to have affinities with many
trends current in the art world of the time — an interest in Japanese
graphics, the cloisonism of Gauguin and Grasset, the spangled skies of
Schwabe and Beardsley’s development of simplified line as the essential
element of composition. But to Mucha, his style was the natural
evolution of purely Czech artistic traditions, organically growing from
roots in the country he loved so well. The criticism that most saddened
him was that of jealous Czech artists who derided his work because “it is
French’. Perhaps the most convincing explanation of the sudden
efflorescence of Mucha's style is that given by his son, ЛА Mucha, in
Alphonse Mucha, Posters and Photographs: “І can only suggest that it
was the power of Bernhardt's personality and the emotional force of the
scene in which he chose to depict her — on her way to church — in a
Byzantine setting, which acted as a catalyst on the diverse strands which
must һауе contributed to his artistic development’. For more than a
decade, until his first visit to America іп 1904, Muchas studio in the rue
du Val de Gráce became one of the sights of fashionable Paris. The
atmosphere there reminded one observer of the mysteriously lit interiors
of Czech Baroque churches. An impression of the confusion of bizarre
objects with which it was crammed can be gained from several of
Mucha's own photographs where the studio appears as a background
for his models. He had moved to this larger studio towards the end of
796 in order to have room to complete one of his most interesting and
successful commissions, //sée. Published in 1897 by Piazza, /lsée was a
bibliographical rarity from the day of publication and has always
retained its value. It is Mucha’s most successful illustrated book,
displaying his authoritative mastery of design on every page and, at a
time of distinguished book illustration and production, it is
unquestionably a masterpiece. With what now appears a wanton
inability to appreciate the true strength of his work, Mucha, however,
preferred his designs for Le Pater (1899). In this book his supreme C7 L’Annee qui vient/The Coming Year,
decorative gifts, while as always apparent, were subordinated to an calendar, 1897.
emotional romanticism in the style he was later to perfect in The Slav
Epic. Indeed, in the chaotic months leading up to the Paris Exhibition
of 1900, Le Pater and similarly inspired murals for the Bosnia-
Herzegovina Pavilion, together with his extremely polished essays in
sculpture, were Mucha’s consolation for the increasing amount of
commercial work he was undertaking in the style demanded by his
popularity.
Between 1896 and 1902 Mucha achieved his maximum graphic output
and it was during this period, on balance, that his best work was
produced — the early panneaux, the superb Job posters of '96 and '98,
Zodiac, the poster for Moét & Chandon's “Dry Imperial" of 1899, the
forerunner of all evocatively glamorous travel posters Monaco-Monte-
Carlo (1897), Ilsée, Documents décoratifs (1902) and all but one
(uncompleted) of the Bernhardt posters. Already in the gorgeous La
Plume and Primevére of 1899 a certain hardening of his style can be
discerned and in the glowing Four Precious Stones (1900) maturity and
worldly wisdom have replaced the untested charm of his earlier models.

021
WOMEN AND FLOWERS

His style is more tightly organised and more dependent on the

reiteration of certain stock motifs that people had come to expect in his
work. Amongst his later posters only a few, like Princess Hyacinth
(1911), totally captured the carefree, innocent sexuality that contributed
so greatly to the charm of his early work in Paris. What was lost in
spontaneity and originality was largely replaced by an astoundingly
confident graphic virtuosity and inventiveness — qualities apparent in
every attractive page of Documents decoratifs. Issued as a folio of
seventy-two plates, both monochrome and colour, many hand-coloured
under Mucha's supervision, this was an encyclopaedic source for
Mucha’s style in every branch of decorative and applied art and one of
the few books on design where even individual plates are sought after by
collectors. Both in conception and execution it is superior to the later
Figures décoratives (1905) in which only a few plates are more than
pedestrianally competent.
Between 1904 and 1912 Mucha spent most of his time in America. His
reasons for visiting there were uncomplicated — money. In 1903 he had
met the young Czech girl that he was to marry, but being spendthrift
and generous had not managed to accumulate any capital in Paris in
spite of his high earnings. Sarah Bernhardt's vivid account of the
profitability of her first American tour and his friendship with the
A35 Poster for The West End Review, 1898. Baroness de Rothschild, who was only too happy to supply
introductions to suitably wealthy potential clients, seemed to augur
well. Moreover, he was now determined to establish a new reputation as
a serious painter and portraitist, a reputation which his very popularity
would make virtually impossible to acquire in Paris.
Mucha left Paris at the height of his fame, when the most popular
item at the Folies Bergére was the dancer Lygie in poses plastiques based
on his panneaux; and fashionable dress, theatre and costume design,
interior decoration and his many imitators all testified to the triumph of
Че style Mucha”. On arriving in America, however, his hopes, from the
financial point of view, were soon dashed. New York welcomed him as
enthusiastically as Paris. Two full pages of panegyric in the New York
Times and countless social invitations heralded his arrival. But the
Mucha that America demanded was the Mucha of the posters and
panneaux, the type of work that he had determined to abandon.
During his years in America, Mucha's main source of income was
from teaching, (he gave classes in both New York and Chicago). He
secured several commissions for portraits but painting in oil was a
medium he found tediously time-consuming although he greatly
enjoyed it. A task that also engaged much of his time was the complete
decoration of the German Theatre in New York (converted into a
cinema in 1909 and demolished in 1929). His graphic output in the
States was limited and much of it for magazines like Hearst’s. Perhaps
his most “commercial” undertaking was a set of delightful soap
wrappers for Armour of Chicago, but no panneaux and only four of his
posters are known to have been designed and executed in the States. Of
these, two were for the theatre, one for the ill-fated super-production
Kassa (1908) starring the sadly over-ambitious Leslie Carter, and for
which Mucha also designed the costumes and sets, and a poster (which
does not appear to have been published) for Maude Adam's one night
production of Schiller’s The Maid of Orleans (1909) at the Harvard
Stadium.
The most momentous result of Mucha's American sojourn was the
support of the millionaire Charles R. Crane, who agreed to finance
what had become Mucha's one ambition, The Slav Epic. In 1909, in the
teeth of violently jealous objections from local artists, he was
commissioned to decorate the Mayor's Parlour in Prague's Municipal
Building. In this task, for almost the first time, he felt that he was
enjoying his art to its proper end — the celebration of the spirit of the
Czech people. He produced a triumphantly theatrical fresco which,

из]
WOMEN AND FLOWERS

even today when national-heroic art is little esteemed, cannot fail to

impress. The Slav Epic, twenty vast panels in tempera and oil depicting
incidents from Slav history, was completed between 1912 and 1928.
Executed with all the technical skill and mastery of composition
inseparable from any of Mucha's work, one cannot question the
effectiveness of these monumental pictures. What can be questioned is
whether Mucha’s unique abilities were used to their best advantage in
this genre. For, with the exception of his work for Bernhardt, for whom
he had unstinted admiration and with whom he shared a deep rapport,
it can be argued that the less Mucha’s ideals and emotions were aroused
by his subject, the more direct and individual the impact of his art. The
posters he designed in Czechoslovakia, the majority for charitable
organisations or national events, are unmistakably Mucha but rarely as
successful as the purely “commercial” work he was doing in France at
the height of his fame. In place of effortless elegance there is a striving
to communicate emotion which too often only succeeds in creating an
uneasy imbalance between form and content. An uncomplicated,
successful and, as far as can be judged, fundamentally happy man,
Muchas strength lay in his celebration of natural and feminine beauty.
His best work seems to flow from an inner equilibrium between an
uncomplicated response to physical beauty, whatever its manifestation,
and a rarely surpassed graphic dexterity and ornamental fluency. In
attempting to communicate emotional or intellectual concepts, this
equilibrium tended to be thrown out of balance and the result, however
competent, lacks the qualities of Mucha’s best design ATI Poster for The Slav Epic, 1928.
uncomplicated, immediate and totally satisfying grace.
After the glittering scene of fin de siécle Paris, Mucha’s later years,
spent largely in Czechoslovakia, must inevitably seem an anti-climax.
But in the context of his family life, and in his assurance that he was
directly serving the nation with his designs for stamps, banknotes and
even policemen’s uniforms, for all of which he would not accept any
payment, he appears to have been fulfilled. His European and
international reputation was kept alive by the extremely successful
exhibition of his work at the Brooklyn Museum in 1921 (which featured
The Slav Epic) and a comprehensive retrospective exhibition at the Jeu
de Paume in Paris in 1936. Already by then his art did not seem so much
outmoded as representative of a Europe and a civilisation that had
disappeared, in which the douceur de vie, whose passing Talleyrand had
lamented in the Revolution, had briefly been revived.
Mucha was an old man when the Germans marched into
Czechoslovakia in 1939. His life had seen the birth and the effectual
death of the nation that had for so long been the focus of his
aspirations. He was one of the first in Prague to be questioned by the
Gestapo and his health, already suffering, did not long withstand the
interview. Three months later he died, leaving behind him an
unparalleled collection of every aspect of his work done in a long and
ultimately successful life.
Among the cognoscenti, Mucha’s name was never forgotten but it
was an exhibition at the Bibliothéque Forney in Paris in 1966 that again
drew general attention to this superb decorative artist. Since then his
work has been amongst the most sought after of any Art Nouveau
artist, and at a time of proliferating poster reproduction, his posters
and раппеаих are internationally perhaps the most consistently
popular. As a considerable quantity of lithographs were published
during Mucha’s lifetime under his direct supervision, either drawn
directly on the stone but more often transferred from carefully detailed
sketches, a substantial number are still available and appear regularly at
international salerooms. This catalogue of Mucha’s printed work has
been produced in response to the immense popular interest in these
items, an interest which Mucha, with his belief in the relevance of his art
not to the few but to the many, would be the first to welcome.

иа]
THE
COLOUR PLATES
The number preceding each caption refers to the catalogue entry at the back of
the book, where full details are given. The date із for the year in which the Нет
was printed.

Abbreviations:
Р = Panneaux
А = Posters/A/fiches
= Calendars/Calendriers
= Books/Livres
и Periodicals/Revues
ro=
O» Miscellaneous Graphics/Oeuvres graphiques variées
CP = Postcards/Cartes postales
PANNEAUX
РІ REVERIE/DAYDREAM, 1896

119]
P3 PRINTEMPS/SPRING, 1896 P4 ETE/SUMMER, 1896

120)
Р5 AUTOMNE/AUTUMN, 1896 Рб HIVER/WINTER, 1896

еи
P9 L'IRIS/IRIS,
1897 РІО L'OEILLET/CARNATION, 1897

122)
PII LE LYS/LILY, 1897 PI2 LA ROSE/ROSE, 1897
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124]
P17 LA FLEUR/FLOWERS, c.1897

25)
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(26)
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27
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1301
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(33)
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IMPORTANCE DE LEXPOSITION
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ILLUSTRATIONS

125 CLIO, 1900

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MISCELLANEOUS
GRAPHICS AND
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VARIEES ET CARTES
POSTALES
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I CP4b Тае Byzantine-Brunette 9 СР12 Jarni slavnosti
2 CP7K Dessin pour un éventail 10 СРІ20 ҮШ. Slet viesokolsky
3 Срда Тае Byzantine-Blonde 11 СРІ2р Slovanská ерореј
4 СРУГ Menu de banquet 12 CP12c Josephine Crane
5 CP8e Dessin pour un programme de soirée 13 CP12i Krajinská Výstava у Ivandicich
6 CPRa Dessin pour un calendrier 14 СРІ2Ь Pojistovaci banka Slavia
7 CP6j Octobre extrait de Le Mois
Job — calendrier

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GUIDE OFFICIEL
SECTIONS AUTRICHIENNES
LEXPOSITION UNIVERSELLESEPARISEN

бг) GUIDE OFFICIEL DES SECTIONS AUTRICHIENNES РЕ L'EXPOSITION UNIVERSELLE DE PARIS, 1900

0281
Anna Dvorak

ILLUSTRATIONS FOR
BOOKS AND PERIODICALS
The first piece of work I did to attract wide attention was not . . . my poster work.
No, it was the illustration for a poem. Since then my best work, my most celebrated
and the work I love best, has been along the same line.\

Book illustrations are an important part of Alphonse week for a new drawing on boxwood, all ready for cutting,
Mucha's work not only for their reflection of the artist's but half the money was usually spent on models and similar
stylistic development over some forty years, but above all expenses - only the wood itself was free. Mucha soon
fortheir revelation of the multifaceted character of his talent learned to use his Czech and French friends as models, and it
and interests. Several of the books interconnect Mucha's was not necessarily a sign of vanity that his self-portrait
early professional training with the monumental canvasses appeared in so many illustrations of the period.
of his later years, point to the roots of his life long interest in Fairly steady work for the publication Le Costume au
historical painting, and help to explain his return to Theätrerenewed Mucha's earlier interest in theatre, brought
nationalistic themes at a time when both nationalism and him backstage where he sketched documentary drawings of
historical painting were equally outmoded. The most costumes and stage sets, and enabled him to meet several of
important books reaffirm Mucha’s prominent position his later theatrical friends. He sketched both Sarah
among the very best Art Nouveau artists, while they also Bernhardt and the playwright Sardou several years before he
reveal some of the differences between him and his French had the opportunity to design for them the first of his
confréres. Mucha's Slav temperament, described by a famous Bernhardt posters, Gismonda. The portrait of
contemporary critic as a mixture of passion and melancholy Sardou was commissioned for a book of patriotic poems for
with а strong undercurrent of poetical feeling? as well as his children, Poésies du foyer et de l'école by Eugene Manuel,
preoccupation with religion and mysticism, is more manifest who reportedly told Sardou over the samples of Mucha’s
in his illustrations than in the more commercial work of his work: ‘We mustn’t lose sight of that chap. He'll do
Art Nouveau period. Of the forty titles in which Mucha’s something in the world.”
illustrations can be found, some contain only a cover or title All Mucha’s early illustrations for periodicals are entirely
page of his design and are hardly more important than his conventional and without any personal character that would
numerous covers for periodicals. However, the body of differentiate his work from that of other young illustrators
books included here for closer scrutiny contains a complete of the time. As both the Munich Academy and the Académie
statement of Mucha’s ambitions, philosophy, achievements Julian stressed draughtsmanship, he had had enough
and development in various fields between 1889 and 1929. professional training and was able to handle draperies,
It should be noted that Mucha’s ambitions, both in his facial expressions, and especially hands, in a thoroughly
youth and in his mature years, were not connected competent manner. However, an illustration for Le Monde
exclusively with the decorative arts. He always wanted to be Moderne shows that at times he was able to project into the
a painter, and with the help of an understanding patron study of a female figure a feeling of innocent and
pursued this goal first at the Academy in Munich and laterat unconscious seductiveness which later became the hallmark
the Académie Julian and Académie Colarossi in Paris.3 His of his panneaux décoratifs.& Mucha was by then proving
formal training began fairly late, and when in 1889 his himself to publishers as a dependable, conscientious and
allowance was abruptly and without explanation hardworking artist who knew his craft, had considerable
terminated, Mucha was already twenty-nine years old and feeling for composition, and delivered work of predictable
painfully aware that even more established artists found it quality and style. Eventually, the illustrations for
difficult to support themselves by painting. Fortunately, as periodicals led to book illustrations.
his earliest extant pencil sketches show, he was a born Mucha's debut in this field, Adamité by a Czech poet
draughtsman, and the strict formal training in drawing Svatopluk Cech, was published by Šimáček in Prague. The
within the academic tradition gave him the technical skill illustrations date from 1888 to 89 when the artist was looking
necessary for illustrative work. for commissions both in Paris and at home, but the book
In time, Mucha was able to sell his drawings to various was not published until 1897 when he already had a
magazines including La Vie Parisienne, Le Monde Illustré, reputation as a poster designer in a new style. A critic noted
Le Figaro Illustré, Revue Мате, Noël Illustré and that the illustrations show “а knowledge of the craft and
L’Illustration.4 But in the beginning he was barely able to inner feeling for composition typical of all Mucha's work,”
makea living. La Vie Populaire paid him forty francs every and although he appraised the work as capable but not

129)
ILLUSTRATIONS FOR BOOKS AND PERIODICALS

original, he pointed out in all fairness the nine years of

difference between the design and the date of publication.”
In his memoirs, Mucha explained that the work sent to the
publisher was only unfinished sketches, and that only the
necessity of making a living prevented him from
approaching the illustrations as historical paintings on a
large scale. This statement reveals one of Mucha's most
under-estimated ambitions. In the light of his best known
graphic work, itis easy to overlook the fact that during the
artist’s long career, there were only a few years when his
interest in monumental projects was dormant. Even when
his name became synonymous with Art Nouveau, he never
renounced the influence of Makart in Vienna, of the Munich
Academy, and of Laurens at the Académie Julian. He had a
great admiration for Puvis de Chavannes, but did not share
the disdain of the younger generation for academic art. He
was in his forties when he found an American patron who
enabled him to depict Czech history in the grand manner,
regardless of expense and contemporary trends, but the
foundations for his final work were already laid in his
earliest book illustrations.
The story of Adamité was to Mucha's liking not only as an
exercise in historical painting, but also because the epic
poem described the dramatic events concerning the life and
final annihilation of the religious sect that was a part of the
Hussite movement and of Czech history. His illustrations
for Adamité can be divided into two distinct groups whose
stylistic differences seem to be determined by the size of the
picture. There are twelve small pen or gouache designs of
single figures enclosed in partial frames (fig. 1). They are Fig.1 Illustration from Adamité, 1897.
obviously drawings of models arranged in appropriate poses
and stylistically are close to Mucha’s illustrations for
magazines. The double pages and fourteen full-page designs historique and especially the Scènes et épisodes de l’histoi
are of a different character. They are all done in gouache, a d'Allemagne by Charles Seignobos helped Mucha d
technique suitable for contrasting deep shadows with stark establish a reputation as an artist with a definite affinity fq
light effects, and while the grouping of figures shows the history painting, and both books were favourably reviewe|
influence of Hans Makart and his allegorical scenes,8 there is as an important part of his two major exhibitions of 1897
a pronounced flavour of theatricality in these designs that These two titles, together with Adamité and the privatel
comes from Mucha’s association with the stage both in published Mistr Jan Hus of 1902, form a special group q
Vienna and Paris. The skilful use oflight fills even relatively works closely related to Mucha’s final series of monumentä
static scenes with drama and tension. A single torch inacave historical paintings, rather than his decorative designs oft
with a youthful prisoner, or a full moon illuminating a 1890s.
confrontation of former friends, are examples of Mucha’s Album historique by André Emile Emmanuel Parmentid
familiarity with stage effects and of his feeling for the was published in four volumes by Armand Colin in Pari
dramatic potential of the situation. Several devices between 1897 and 1907. Encyclopaedic in nature, it call
developed in Adamité will appear repeatedly in Mucha’s for a careful visual interpretation of a scholarly text, an
later designs, among them the metallic wings used in the contained a great number of highly descriptive illustratio
frontispiece, and the close-up of the vegetation in the Accuracy, authenticity, and faithful rendering ofeach deta
foreground partly screening more distant figures in outdoor of costume or furnishing seemed to be the prima
scenes. Although Mucha probably used his sketchbooks responsibility of the artists. The illustrations represent
from life classes, he distributed the nude figures in the plein combined effort of several able and conscientioi
air setting with considerably success. His compositions are contributors, including Mucha, whose full-page scenes i
competent exercises in the academic tradition, and the volumes I and II show a willingness to emulate appropriat|
majority of the full-page illustrations could be transferred models from illuminated manuscripts to contempora
onto a large canvas without any changes. academic painters. The only illustration that Mucha late
While Adamité was known only to Czech readers, chose to include in his exhibitions is by subject matter as wel
Mucha’sillustrations for books published by Armand Colin as by style closest to his teacher Jean-Paul Laurens, whos
introduced him to the French public. Grousset’s Histoire de Récits carolingiens had a lasting influence on Mucha’
deux enfants de Londres (1891), Normand’s Six nouvelles approach to historical painting. It depicts the Sacre dul
(1891) and Magbert’s Les Lunettes bleues (1892) did not prince carolingien іп the basilica of Aix-la-Chapelle. As i
bring any critical response, but Parmentier’s Album Laurens’ Récits, the dignified figures in full regalia ап

1130]
ILLUSTRATIONS FOR BOOKS AND PERIODICALS

describing battles lost (Victoire de Julien sur les Alamans,

Charlemagne soumet les Saxons), the parts that illuminate
more German spirit than aggressiveness (L’Empereur
Lothaire et le pape innocent, Mort de Frédéric Barberousse,
Goethe et Schiller), or such moments in German history
when the Czechs played an important or even decisive role
(Charles IV fonde l'université de Prague, Suplice de Jean
Hus, Défenestration de Prague). Surviving photographs
prove the ingenuity of the painter who at that time still lived
in a small room in the rue de la Grande Chaumière in
Montparnasse and had little money to hire professional
models. Both his French and Czech visitors were forced to
pose for him, and a homemade device enabled him to join
any group for a photograph of a complicated scene. Jean de
Leyde decapitating one of his wives (fig. 2) and Conrad III
facing Saint Bernard both seem to have Mucha's head on
their shoulders.
In 1897 Mucha exhibited the originals of the illustrations
along with his other works at his first two important
exhibitions in Paris, and the critics paid as much attention to
these as to his poster and panneaux in the new style. Paul
Georges wrote in Europe Artiste of 7 March 1897: “One does
not know if one should praise more the originality of
composition, skilful grouping of figures, or the vigour of
execution. These works radiate a very special poetry of a
world where things are both grander and simpler and far
from the vulgarity and banality of everyday life.' Paul
Dupray in the Journal des Artistes of 21 April praised the
sincerity of Mucha's original ideas, and noted that his
Fig.2 Jean de Leyde décapite une de ses femmes from Scenes et compositions were not images superimposed upon the text,
épisodes de l'histoire d'Allemagne, 1898. but works of art in their own right. Both Le Libéral of 1
March and the Moniteur Universel of 25 March compared
frozen into the architectural setting. The poses and the folds him to Gustav Doré.
ofthecostumes leave no doubt that Mucha used models, and In the following years, when Mucha was celebrated
the attention to detail reflects not only the editor's specifica- primarily for his graphic work in the Art Nouveau style, the
tions but also Mucha's own interest. In a review of 1900 illustrations for the Scénes et épisodes continually forced his
Candiani noted that his reconstruction of historical scenes critics to consider him not only as a fashionable decorative
would have satisfied the most meticulous ofarchaeologists,? artist, but also as a historical painter whose illustrations, no
even though Mucha, like other illustrators, must have often matter how restricted in size, had qualities that were usually
improved on historical facts. found only in frescoes covering large mural surfaces.!! Even
Mucha's following assignment was more demanding and authors who claimed іо detest history painting
also more rewarding. When Armand Colin decided to acknowledged that it was a field where Mucha excelled. The
publish in instalments a literary version of German history Belgian critic Candiani pointed out that the artist so often
by Charles Seignobos of the French Academy, he was accused of misusing charm was able to engage his usually
looking for illustrators who were not mere craftsmen, but immobile figures in a hurricane of movement, and to evoke
"artists with a flair for dramatic interpretation of historical horror. In certain illustrations he found an intensity of life
events. He chose Rochegrosse who was already well known, that no other artist surpassed.!2
and Mucha whose potential he knew from previous works. The Scenes et épisodes was published in instalments and
For Mucha it was an opportunity to prove that he was equal represented not only several years of work, but reflected also
toa painter who was at the time in fashion, іп an enterprise the changes in Mucha's approach to history painting and its
that was bound to have а wide appeal and a permanent place development from the descriptive to the symbolic. It is
inlibrary collections. On the other hand, to illustrate stories surprising that no one commented on the striking difference
celebrating German expansion seemed a dubious under- between the much admired Défenestration and such scenes p.165
taking for this incurable patriot who shared the nationalistic as, for example, Le Mort de Fréderic Barberousse (fig. 3).
feelings of his countrymen, who associated both in Munich Oneis fullofaction, struggling figures, faces contorted with
and in Paris with Slavs, and found his best friends abroad rage or fear, and expressive hands, for which Mucha became
among his compatriots. Even Mucha's embroidered famous. In the other scene the naked body of dead
Russian shirt, a gift from a friend, proclaimed loudly his Barbarossa and the dark figure of the hooded monk at his
allegiance to the Slav cause.!0 feet are less significant than the deadly stillness of the swamp
In the end Mucha found a satisfactory solution. Of his around them and the tangle of roots in the foreground.
thirty-three illustrations the majority are for the episodes There are no clashing armies and no glorification of death in

131)
ILLUSTRATIONS FOR BOOKS AND PERIODICALS

Fig.3 Mort de Fréderic Barberousse from Scénes et épisodes de Fig.4 Vasilisa à la tresse d'or from Les Contes des grand-mères,
l'histoire d'Allemagne, 1898. 1892.
battle. The lifeless, desolate, twisted segment of nature is days of John Hus, the spiritual leader of the Hussite
more eloquent than vigorous action or facial expression. movement. The trial in Constance, and the death at the stake
Professionally, the illustrations turned out to bea success. through which Hus became a martyr of the Czech
To Mucha, the only source of annoyance were those critics Reformation, were two of the most important incidents in
who maintained that he was Hungarian, and explained his Czech history, so a document presumably written by an
‘need to depict cruelty’ by his Tartar origin.!* Finally, ‘une eyewitness called for publication. Mucha obviously did not
rectification’ in La France of 4 July 1897 indignantly realise that Poggio’s description of Hus’ sufferings was a
pointed out that Mucha was a Czech from Moravia, and a nineteenth century forgery and contributed five full-page
pure Slav not only by birth but also by conviction and illustrations and his share of the expenses.!5 While the
sentiment. Eventually, Mucha's nationality and ethnic illustrations for Adamité are academic, the contributions to
background became a standard explanation of the 'Slav the Album historique rigidly correct, and the work for the
character” of his decorative designs. Scenes et épisodes overflowing with drama and movement,
Seignobos' Scenes et épisodes de l'histoire d'Allemagne was the designs for Jan Hus show a further development, leading
to have been followed by similar publications - L'Histoire from a linearist to a painterly style. They belong to a group
d'Espagne and L'Histoire d'Italie, but these never passed of untypically bold charcoals and pastels drawn quickly,
beyond the preparatory stages. However, in the decoration freely, with swift strokes and great expressiveness.
of the pavilion of the Southern Slavs for the Paris World Although Mucha’s historical illustrations span some
Exhibition of 1900, Mucha found an opportunity to work on fourteen years and overlap his most prolific Art Nouveau
large murals and panels depicting incidents from Slav period in the late nineties, and although they show a definite
history, and began to dream of his S/av Epic. development from a rigid to a freer style, they seem to be
Among the many books he illustrated, a 1902 edition of kept scrupulously apart from his decorative designs in “е
Mistr Jan Hus na Koncilu Kostnickém is an example of style Mucha”. Іп the total
sum ofthe artist’s work they can be
Mucha's determined attempts to employ his art to its proper more easily grouped together with his later murals than with
end - the celebration of the spirit of the Czech people. The his famous posters and panneaux. Independent of Mucha's
book was published in Prague by J. Otto, but paid for by history painting is another group ofillustrations done over
Mucha and Jan Dédina, the two illustrators. The text was an extended period of time - both before and during his Art
believed to be a letter written in 1415 by Abbot Poggio- Nouveau period - and later, in his last book, echoing the
Bracciolini of Baden, who described in moving detail the last style years after its demise.

1132)
ILLUSTRATIONS FOR BOOKS AND PERIODICALS

The first of these works deserving attention is Jouvet’s

1892 edition of Xavier Marmier's fairy-tales Les Contes des
grand-méres. The forty-four illustrations show the qualities
that predisposed Mucha for success as an illustrator — a
profound knowledge of his craft, a marvellous instinct for
composition, and a gift for decoration which had to be held
| in check in the historical scenes, but could be given free rein
in the fairy-tales. The figures have none of the stiffness of
| poses noticeable in Album historique, and they do not
display the overabundance of facial expressions and
animated gestures of the protagonists in Scenes et épisodes.
Sure of his draughtsmanship, Mucha does not avoid
foreshortening and skilfully handles difficult spatial
relationships — as in the illustration for the story of
‘Jack et
| le géant’. For the first time in Mucha’s illustrations the
composition is arranged along the 5 form, which gives life
and movement to the scene and will later be an integral part
of Mucha’s design. In the story of ‘Vasilisa а la tresse d'or”
thediagonal movement is already beginning to change into
ап$ (fig. 4). Symbolist imagery begins to appear in some of
thestories; eyes of
all kinds and sizes, and branches ending in
human palms surround the prince in ‘Le Fils du roi’. Jouvet
feltthat the
illustrations
were successful and sent them to the
Salon. Mucha later wrote: ‘This was something beyond my
wildest dreams and I was even more surprised when I arrived
at the exhibition and found a notice under my pictures
saying “Mention Honorable”.”16 Five years later, the
reviewsina special Mucha number of La Plume included the
‘book among the monuments of French publishing.
In 1894 Armand Colin published Mémoires d’un élephant
blanc by Judith Gautier. The illustrations were by Mucha 1894.
and the ornamentation of the chapter headings by P. M.
Ruty, a painter and designer and pupil of ГеспеуаШег-
Chevignard. Mucha’s representations of the jungle scenes
with Indian temples and human figures dwarfed by the
massive body of the white elephant are examples of
virtuosity based on talent, conscientious research and hard
work. The overwhelmingly abundant flora is not a product
of the artist's imagination but a realistic study of palms and
shrubs. Several compositions develop further the formula
already discovered in A damité and usedinContes des grand-
mères. The foliage in the foreground, often greatly
enlarged, helps to engulf and to diminish the human figure
placed deeper in the landscape, and the combination oftall
palms with the huge trunk of the elephant stresses the
insignificance of human beings in comparison to nature. Fig.6 Р. Ruty. Ornamental heading from Mémoires d'un éléphant
Regardless of Mucha’s growing skill, the book would not blanc, 1894.
‘bean important example of his development if it were not
for Ruty’s ornamental headings. They not only contain the context of Symbolism, and Mucha's interest in theosophy,
symbolist vocabulary appropriated by the Art Nouveau mysticism and occultism widens considerably the field of
designers of the nineties and eventually used freely by possible influences. Nevertheless, if we disregard Mucha’s
Mucha as well, but they already display the approach to early connections with the Costume au Théátre which
stylisation that places them firmly within the Art Nouveau displayed an Art Nouveau motif of stylised flowers by
‘proper before Mucha himself adopted the new style. A Steinlen, the Mémoires d'un élephant blanc was the first
comparison of Mucha’s jungle scene with Ruty’s chapter publication in which Mucha's collaborator used a
‘heading using identical elements — palms and an elephant — profoundly different and more advanced style than his own.
‚shows the difference between Mucha's conventional and In a letter exchanged between the two men in the twenties,
Ruty's stylised design (figs. 5/6). Symbols and images Mucha acknowledged his indebtedness to this forgotten
incorporated by Ruty in the continuous bands appeared artist for his inspiration, and assured him that whenever he
‚later
in Mucha’s illustrations, especially for Le Pater, but by referred to the origins of Art Nouveau he never failed to
then these symbols were commonly used and misused in the mention Ruty’s original contribution.17

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Continuous bands of repetitive design were a frequently 252 copies, is Mucha's most complete statement in the Art
used part of Art Nouveau decoration. They were often Nouveau style. Thecritics who claimed that Grasset with his
reproduced in magazines like Art et Décoration and were Quatre fils Aymon had used all possible imagery and that
also published in book form. Mucha designed the cover for Mucha would not be able to invent anything new, were
such a book of band designs by M. P. Verneuil, G. Auriol forced to admit that he surpassed all expectations.2 For the
p.103 and himself, called Combinaisons ornementales se story, Mucha used the sumptuous setting and decorative
multipliant à l'infiniàl’aide du miroir, published in 1901 by elements in costume and jewellery that were recognised as
Librairie Centrale des Beaux-Arts. Byzantine, and that, after the Gismonda poster, had become
At the end of 1894 Mucha's style underwent a sudden his hallmark. The vogue of
the time for Byzantine splendour
transformation that followed a general trend but was was in Mucha's case interwoven with his admiration of the
without a real precedent in his own work. TheS curves in the period in the eighth and ninth centuries when, through the
compositions for the Contes des grand-méres, the elusive Byzantine influence, Greater Moravia signified the time of
charm of the figures incorporated into circular forms in the Czech greatness, and this personal involvement may have
calendar for Charles Lorilleux, and a few tentative Art been the reason why Jisée was found different from
Nouveau elements in the design for the Bon de Concorde comparable books. By then even the German critics
may have suggested it, but they were of little importance admitted that he had the gift of apeculiar and elusive charm,
compared to the works that reflected Mucha's admiration and that his style was novel, unusual, modern3
for Makart, Doré and Laurens. In /Isée, Mucha used as a leitmotif
astring (une cordelette)
The breakthrough came with Gismonda, Mucha's first which is tied around each page in numerous variations,
poster for Sarah Bernhardt. Although he got the framing the text and the illustrations, and providing a visual
commission by a stroke of incredibly good luck, he continuation from page to page. The continuous bands that
succeeded in creating
aposter so different from others on the Mucha admired іп Ruty’s work include here plants, animals
billboards, both in design and colouring, that from the and also spirits and human bodies interweaving and
beginning he was considered not a follower but equal to the intertwining into arabesques that have to be deciphered
best artists of the period. For the life-size figures of his element by element, and whose imagery and symbolic
Bernhardt posters Mucha chose an extremely elongated content far surpass similar études of the period. Several of
shape, and in contrast to other poster designers he used very the symbols used already in posters, for example a heart
pale colours - whites, beiges, mauves, dull purples, reds and pierced by thorns in La Dame aux Camélias, are repeated
greens, with decorative touches of gold and silver. His herein many variations. Like Redon, Mucha was fascinated
unusual posters were uniquely appropriate to the famous by the eye, from the all-seeing eye of an invisible deity to an
actress of whom Charles Hiatt wrote that she had the ability eye pierced by a thorn. He developes a theme of wild roses,
to touch even a classical French drama with the oriental, the from a rosebush in bloom to а thorny wreath encircling a
strange and the exotic.!8 The success of the Gismonda poster bird of prey sitting on a human heart. Birds, from doves to
resulted in long-term contracts with both Bernhardt and the cocks and eagles, carry various symbolic meanings, and
printer Champenois. While Mucha's co-operation with flowers have their definite role as in all Mucha’s works. The
Champenois led to some of his best known lithograhic work, symbols used in //зёе illustrate the devotion, the tenderness
including the enormously popular panneaux décoratifs, one and the suffering of the two lovers who are not destined to
of his best books was connected with a Bernhardt meet in this world, and ‘Princesse Lointaine’ became a
production. synonym for unattainable love.
La Princess Lointaine, a play in verse by Rostand, was Ilsee also contains, develops and interchanges in
based on a thirteenth century legend about the unfulfilled numerous variations several stylistic elements found
love between the troubadour Jufroi and Mélisande, Princess repeatedly in Mucha’s posters and typical of his work in the
of Tripoli. Mucha designed the production in the Art Art Nouveau idiom. A conspicuous and, finally, notorious
Nouveau style, and always recalled his work on the play with feature of Mucha’s design consisted of strongly curved
obvious pride. When the publisher Piazza decided to publish strands of hair. The whiplash curves of long hair, based
the play in book form, under the title I/sée, Princesse de probably on the stylised lines of water in Japanese prints,
Tripoli, the expected success of the edition was based not on were also used by Burne-Jones, Beardsley, van de Velde,
the adaptation by Robert de Flers, but on the 134 colour Toorop, Munch and others. However, Mucha’s increasing
lithographs by Mucha. tendency to relate long strands ofhair to other arabesques in
The artist's decision to illustrate the book page by page the labyrinth-like configurations of his designs was
had precedents in Grasset's Quatre fils Aymon and extremely influential and by 1900 synonymous with ‘le style
especially in L’Evangile de l'enfance of Carlos Schwabe. Mucha’,
The text was finished only three months before the The composition of Jisée is well balanced and closely
publication date and Mucha decided to move into a larger integrated, and depends on line drawing outlining the two-
studio in the rue du Val de Grâce, so that part of the dimensional design. The female head is frequently placed
lithographic work could be done on the premises under his before a circular form which appears like a halo, an aureole
supervision. Drawing some of the scenes straight on to the or a section of acircle in many of his posters and panneaux,
stone, and individual ornamental motifs on tracing paper, and together with the crescent and horseshoe forms is one of
he was hardly able to keep abreast of the craftsmen who the most typical devices of Mucha’s design. The use of an
multiplied his designs into ornamental bands. enormous figure in the background, usually representing a
Тізбе, published Бу Н. Piazza in 1897 ina limited editionof protective deity, appears both іп illustrations and

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'monumental paintings; itis typical of Mucha that the deity,

divinity or symbolic being is always female. The metallic
wings had already appeared in a similar form in the
frontispiece for Adamité designed in 1889; they can also be
found on the cover of the 1896 Christmas number of
L’Illustration, in an illustration for Chansons d’aieules of
1898, and several other designs.
The single most often used decorative element is a five or
six-point star. It is used in so many configurations in so
many designs that at times it does not have a symbolic, but
only a decorative role, The stars incorporated іп the poster
for La Dame aux Camélias can be found in Jlsée (fig. 7) as
well as in Le Pater, and in numerous small graphic works
including a menu for the Société de Bienfaisance Austro-
Hongroise. They appear with a frequency that borders on
obsession, but a search for the original source of the
decorative device opens a wide field of possibilities, While
Reade suggests that Mucha might have been influenced by
Carlos Schwabe,2 a look at one of Ruty’s ornamental
headings from the Mémoires d’un éléphant blanc point to
him as a more likely example (fig. 8). However, Mucha’s
interest in the Freemasons and their signs might have been
sufficient reason for the inclusion of stars and other symbols
to an artist concerned with the visual representation of the
Neoplatonic theories of harmony.23 Moreover, the
vocabulary of symbolism was widely used by all Art
Nouveau designers, and the meaning of certain forms and
‘objects was easily recognised among the cognoscenti, who
would read the aureole behind the head of Mucha’s virginal
Ъш sensuous woman as a symbol of divinity and supreme
power, the circle as a symbol of eternity, and the star as a
symbol of deity or divine guidance.24
Mucha, who throughout his life never accepted for his
work the term ‘Art Nouveau’ but stubbornly called it ‘my
style’, was convinced that his work was a natural evolution
of purely Czech art. If we consider his own opinion as at least
partly valid, we must add to the sources of his decorative
elements the folk art of the embroideries, wood carvings and
songs of Bohemia and Moravia.25
The repeated use of several selected stylised forms that
eventually became typical of most of Mucha’s designs,
including those for Пзве, seems to have caused adverse
criticism only in Prague, where a Czech critic wrote with
disdain: ‘Mucha’s use of ‘‘macaroni’’, peculiarly cut wings, Fig.8 Р. Ruty. Ornamental heading from Mémoires d'un éléphant
stars repeated with a disgusting regularity, and a facile play blanc, 1894.
with ribbons do not make out of him a modern stylist.’26
Another Czech writer accused Mucha of cheap symbolism Gauguin continued to create, an ornamental and undivided
that ‘can be bought in Paris for two, three sous’, and of inner whole out ofdifferent fields of art.30 This trend was further
poverty of ideas. 27 Abroad, Mucha was thought to pass the reflected in Art Nouveau book design where the bindings,
test of true genius, and his imaginative ability to weave typography, illustrations and ornament fused in a small but
ornament from а single flowing line was found remarkable. fully integrated work ofart. Ilsee, beautifully bound, witha
Rogers appreciated the honesty and conscientious study of front page relief designed by Alexandre Charpentier, with
all objects that the artist stylised with such obvious ease in its ornamental frames tying together the text and
the final design,28 while the French and German critics illustrations, continuing from page to page in endless
praised not only the facility of the drawing, but above all the variations like avisual musical accompaniment, is one of the
wealth of symbolic imagery. best examples of total book design.
While Пзве was not the first book of its kind, it did not Rama, a drama in verse by Paul Vérola was published by
follow the examples of Grasset or Schwabe so much as a the Bibliothèque Artistique et Littéraire in 1898. Mucha
general trend already noticeable in painting. By diminishing designed five full-page colour illustrations that are different
the boundary line between the frame and the picture, from the decorative style he used for Пзве, but more
Rossetti and Whistler anticipated, and Toorop, Munch and appropriate to the dramatic content of the poem. In Jisée,

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Mucha illustrated a dream, a fairy-tale, in Rama he was

closer to the drama of Seignobos' Scénes et épisodes except
that he attempted to describe the feelings, not the actions of
the protagonists (fig. 9). Compared to Пе, there are fewer
signs of purely decorative elements and less stress on a
p.166 deliberately smooth flow of line. In an outdoor scene, the
foliage gives a broken effect, and thestillness of the figures is
in strange contrast to the busy swirls of their robes. With the
reeds in the foreground Mucha achieves a similar effect as
with the grass and young trees in Adamité; it seems that һе
жаз unable to give up several formulas of this type and used
them repeatedly, probably unconsciously, іп his
illustrations. However, in time he began to treat these
motives as a draughtsman, not as a painter, and the line
became an all-important element in his designs.
pp.100 Of the books illustrated by Mucha іп 1897 and 1898, Clio
02 by Anatole France deserves to be mentioned for its
homogeneity of the typographical design and illustrations
with the text. Anatole France was one of the visitors to
Mucha’s studio іп the rue du Val de Gráce, and Mucha's
appreciation of the writer's logical and sceptical mind is
reflected in his illustrations for Clio. Although he used a
number of his basic elements, Mucha created a work very
different from Jisée, and more remarkable than Rama.
Published in 1900 by Claman Lévy in a limited edition of 150
copies, the book was from the beginning a collector's item.
In fourteen illustrations, the artist employed the deliberate
outline of the figures and his famous pale colouring without
giving way to his usual urge to cover the background with
p.101 огпатепі. One of the illustrations for the story Че
ChanteurdeKyme’ depicts Homeratthe moment when he is
falling off a cliff, but Mucha's interpretation implies
heavenward movement more than a fall, an ascension
leading to immortality rather than the tragic end of a blind
bard. The emptiness of the land and sky is without precedent Fig.9 Illustration from Rama, 1898.
in the work ofthe artist who filled all available space іп Ле
to overflowing.
Clio reflects the friendship between Mucha and Anatole brought about the appearance of the “universal artist’ who
France; the result is a rare affinity of text and illustrations, worked ina number of different media, for various purposes
ої the idea and its visual equivalent. The impression of the and in various fields. Schmutzler believes that the most
clear, pristine and solitary intellect of the author is as much versatile of these “universal artists’ was Henry van de Velde
enhanced by Ше restraint shown іп the illustrations as the who, outdoing William Morris, produced designs for
romanticism of the bitter-sweet love story in //5ёе was everything imaginable from painting through applied art
enhanced by the orgy of symbolic ornamentation. The and design, book decoration, posters, packaging of
typographical design of the book follows another trend of industrial products, designs for wallpapers, furnishings,
the nineties, a fashion for increasingly large margins that fabric and clothing, architecture and industrial objects from |
show off both the text and theillustrations likearare printin domestic utensils to an ocean liner, everything except
a wide mat. sculpture in the round.32 Of Mucha it can be said that he did
While the illustrations for Clio give an impression of all things enumerated above, including sculpture in the
infinite leisure and care, by the time of its publication book round, but excluding the design of an ocean liner. In La
illustrations had to compete hard for Mucha’s time, even Plume, Paul Redonnel asked with tongue in cheek why some
though he was an extremely prolific artist.3! By the end of rich industrialist did not ask Mucha to design “une forme
the century his posters, panneaux, calendars and illustrated adéquate aux véhicules automobiles.’33 However, there is a
books were sought after by the general public as well as by more serious difference - Mucha was not interested in any
discerning collectors. As his co-operation with Bernhardt theories about Art Nouveau as a style of living. He most
included designs for sets, costumes, hairdos and jewellery, certainly was not a doctrinaire like van de Velde who took
there was also a growing demand for his work in many other care that his wallpaper, his furniture, his wife’s dresses and
kinds of applied arts. jewellery and even the colour of the food served to his guests,
In branching out into various fields of decorative design, were an integrated part ofthe total decorative scheme of the
Mucha was again following a general trend. The tendencyof house,34 and who said: ‘I refused to allow the presence of
Art Nouveau towards a synthesis of various genres of art any object in my own home which was not as basically

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Corn
i

Fig.10 Plate from Documents décoratifs, 1902.

Fig.11 Plate from Documents décoratifs, 1902.

honest, genuinely straightforward and altogether above The folio of seventy-two sheets contains not only finished
suspicion in design as the character of
the friends we received designs of innumerable objects that may be used бу
‘there.’35 manufacturers, but also examples of the process of
Incomparison, Mucha’s studio in the rue du Val de Grace stylisation from an analytical nature study to an object for
was, according to contemporary visitors, ‘a cross between а practical use. Mucha's lessons aimed at the graphic artist
museum and a bazaar’ filled with hundreds of various include studies of nude and draped models, and of heads. As
objects that had been used as props in his paintings and never in the later Figures décoratives, the necessity of
discarded.” On others it made an impression of a secular incorporating the figure into a particular shape, a circle,
chapel. Contemporary photographs of the atelier show triangle, crescent or rectangle is stressed. Further examples
‘draperies and embroidery, paintings and posters, Persian show a combination of these forms and their pictorial
‘carpets, bear and tiger skins, palms, musical instruments, content with ornament and lettering (fig. 10).
stuffed birds, and a medley of furniture ofvarious styles ina James Grady described Art Nouveau as the culmination
‘combination that would have been unacceptable to any Art of nature as an aesthetic expression,?? and Mucha seems to
Nouveau purist. Nevertheless, Mucha’s decorative designs have shared with the French artists that special rapproche-
were pure Art Nouveau, and were in such demand that he ment with nature “as a big book from which we can draw
found it increasingly difficult to meet all the requests for inspiration.’ However, he also accepted the growing belief
them. Finally he decided to present to the public a book that the trend should be “away from the imitative reproduc-
which would contain a great number of decorative elements tion, towards an abstract and refashioned interpretation,41
along with various examples of their possible application, and included examples that are invaluable to craftsmen.
and which would make a contribution towards bringing Some of his études offer step by step instructions in this
‘aesthetic values into the arts and crafts. direction. He may start with a naturalistic study of a plant,
Published in 1902 by the Librairie Centrale des Beaux- flower or fruit, for example a cluster of berries from the
Arts, with a preface by Gabriel Mourey, Documents mountain ash, and through simplification and stylisation he
décoratifs is an encyclopedia ої Mucha's decorative work. slowly progresses to a design for a useful object. To prove

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that the stylistic approach is influenced not only by the

artistic criteria but also by the material used in making the
object, he often uses identical motifs through a full page of
designs for embroidery, leatherwork and metalwork (fig.
11).
His floral motifs, used іп ornamental bands and repeated
ad infinitum, point to a typically Art Nouveau pre-
occupation with the total plant - the roots, the stem, the bud
and the bloom. These drawings display a high quality of
draughtsmanship, a virtuosity that surpasses mere technical
ability and explains his status among the best decorative
artists of the period.
Mucha was quite capable of designing a complete house-
hold in compliance with the laws laid down by van de Velde,
although he himself did not live in a similarly controlled
environment. From Documents décoratifs awealthy patron
could order a stained glass window for his dining room and
choose the wallpaper, furniture, fabrics, china, glassware,
flatware and тепиз.42 The book also pays much attention to
jewellery and elaborate decoration of dresses. There are
pendants, brooches, and hair combs where either the
whiplash line, the floral motifs, or a woman's face with
masses of hair are used as decoration. Very similar designs
can be found in the silverware of the Unger Brothers, and
there is a possibility that Mucha's book, available in the
United States, had the influence he hoped for.43
With Documents décoratifs Mucha reaffirmed his
position as a successful decorative artist at a time when he
began to be weary both of poster design and of the
‘fashionable vagaries’ that were in such demand. His
involvement with the Paris World Exhibition of 1900 gave
Fig.12 Plate from Figures décoratives, 1905.
him all the opportunity he needed to prove both his talent
and versatility. He exhibited approximately twenty-five praised as a new Тіероїо, and small decorative objects.
panneaux, all the posters for Sarah Bernhardt, calendars Numerous magazine covers, theatre programmes, invita-
and illustrated books including //sée, Documents décoratifs tions and menus document that each of the graphic examples
and Le Pater. He painted murals and sculpted a statue for included in Documents décoratifs 15 the result of experience
the pavilion of Bosnia and Herzegovina.“ Another bust was based on countless large and small commissions that
commissioned for the section of the perfumer Houbigant.45 sharpened Mucha's natural ability to combine figure,
He also designed catalogues and posters for both the ornament and lettering into a flawless whole. It was typical
Austrian and the city of Paris sections. of Art Nouveau artists that even the most trifling tasks were
Objects exhibited by various firms after Mucha’s designs not considered demeaning and throughout his whole life
included сагре15,46 fabrics, furniture, and above all, Mucha never lost his willingness to apply his talent to the
jewellery - for which the jeweller Fouquet received several smallest jobs. During his visit to the United States he
awards. They are the surviving proof that the designs for designed a charming wrapping paper for Armour soap, and
Documents décoratifs were not mere études in skilful after his return to Prague the commissions which he gladly
drawing but workable blueprints for craftsmen. Mucha accepted, and for which he refused to be paid, ranged from
himself received the Légion d’Honneur and the Order of banknotes and stamps to uniforms.
Franz Josef I, and was awarded a gold meal, a silver medal At the time when Documents décoratifs was published, it
and three bronze medals - one of them quite unexpectedly was meant to be not only a summary of Mucha's widely
for sculpture.47 diversified design in the Art Nouveau style, but also a
In addition to the works exhibited in 1900 there are other definitive work that would enable him to turn his attention
extant works that have the ‘richesse de vision, fantaisie from decorative design to more worthy projects. However, а
d’interprétation, parfum d’exotisme, charme tout féminin, contract with the publisher Lévy forced the unwilling artist
[et] subtilité et délicatesse de stylisation’ attributed to the to complement the publication with forty additional plates
Documents décoratifs.$ Among them is imaginative for Figures décoratives. Using exclusively the human figure,
jewellery, mostly designed for Sarah Bernhardt in connec- Mucha produced over a period of four years a pattern book
tion with specific productions, a ‘total design’ for a new in which the female body, in endless variations of poses, is
exterior and interior for the shop of Mucha’s friend the incorporated into various geometric forms. Placed in
jeweller Fouquet, dining room furniture and a fireplace rectangles, triangles, stars, circles and a number ofirregular
executed in Sèvres for Baron Edouard Tuck а Rueil,‘ forms, are nudes as well as bizarre draped figures, women,
designs for stained glass windows for which the artist was young girls and children. The reviewers praised beauty and

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harmony of line, and some found that the Slav origin of elaborating on the main theme. The text and floral symbols
many of the models lent them an exotic air, seductive and are incorporated into an eight-point star enclosed in a circle,
charming.5! However, as Mucha continually postponed the with a crescent-like pendant underneath. This constant
| time-consuming and unwelcome commission, there seems to geometric configuration is tied to the main frame by
| be progressively less charm and seductiveness in the elaborate abstract arabesques that form an effective
increasingly routine drawings. In his earlier works the contrast to the realistic drawings of plants and flowers
famous Mucha women were conceived as a symbol which encircling the text. The floral designs on the ornamental
embodied an eternal emotional mystery. In Figures pages are noteworthy both for their form and symbolic
décoratives the female figure is all too often only an content. Mucha’s studies published in Verneuil’s Encyclo-
academic nude. A revealing feature of the book is the pédie artistique et documentaire de la plante show the
frequent and straightforward rendering of folk art, from attention he paid to all parts of a plant and all stages of its
embroideries to complete peasant costumes (fig. 12). From life, Flowers аге an indispensable part of the majority of his
1902, after the tour of Moravian villages with Rodin, Mucha panneaux, but in Le Pater they are used exclusively for their
developed an increasing yearning for the country of his symbolic meaning. In ‘Sanctificetus nomen tuum’ blubells
origin. In Figures décoratives this preoccupation filters into ring along with church bells; in ‘Fiat voluntas tua’ wild roses
a largely commercial undertaking and points to Mucha's in bloom are intermingled with rosehips and thorny
constant interest in the culture and history of his own branches indicating both joy and suffering; in ‘Dimitte
people. nobis debita nostra’ violet is used as a symbol of humility;
As textbooks of Art Nouveau design, Documents and ‘Ne nos inducas in tentationem’ includes apples, the
décoratifs and Figures décoratives were complemented by symbols of
original sin. Although each flower appears in the
Mucha’s lectures on art both in Paris and in the United book on three occasions, the design always varies. Pome-
States,? representing a valiant effort to spread good design granates, half open in the first page, are used in a tightly
among the masses. They also mark the turning point in his closed stage in the continuous band of the explanatory page,
life. By the time the second book was published Art and reappear fully open, spilling their seeds, with all the
Nouveau as a style had already begun its swift decline and other flowers around the final Amen.
the master was exploring the possibilities of an entirely new The second, textual page, emulates a medieval manu-
career. script. The initial contains an appropriate miniature scene,
In Mucha’s opinion, the book that was more important usually a single figure, and the hand-written script is framed
than any of his Art Nouveau works was Le Pater. Today with a continuous band that repeats the floral motif of the
either unknown or underrated, it is his most revealing preceding decorative page. The text is Mucha’s own
creation, a complete statement of his artistic, philosophical explanation of the meaning of the verse, and reveals a
and religious beliefs. Designed after the artist finished the fascinating mixture of conventional religious imagery and
plates for Documents décoratifs for the 1900 Paris World the ideas of the Symbolist and Masonic circles with which
Exhibition, the book combines all the virtuosity of Mucha associated.
decorative design displayed previously in Jisée, with figural The monochrome figural painting following the
monochrome scenes that point to Mucha’s ties with the explanatory paragraph is in each case a pictorial equivalent
Symbolists. In addition, the textual part reflects the complex of the main idea. The design for the first verse of the Lord’s
nature of his belief in a Supreme Being for which the terms Prayer illustrates man’s struggling ascent from the darkness
"Idéal, ‘la Lumière’, Ча Divinité’, "Amour, Ча of his prehistoric origin to the recognition and acceptance of
Puissance bienveillante’ or “la Volonté supérieure’ are used the Deity which appears as an all-seeing eye in blinding light,
instead of God, who appears in symbolic disguises far a God that is Light.
removed from the image typical of Mucha’s childhood ‘The figural page for ‘Panem nostrum quotidianum’ is one
religion. of the best examples of the symbolism employed in Le Pater
Le Pater was published in 1899 by H. Piazza and F. (fig. 13). Enormous masses of half-savage people are
Champenois іп L’Edition d'Art series. It was printed in a nurtured from the rich sources of the earth, drinking from
limited edition of 510 copies, the first ten containing ап the milky stream of life. Some of them are also already
original watercolour. On the title page a Genius of Mankind, looking for nourishment to the ethereal, veiled apparition
framed in a circle of stars, holds іп his palm a quivering representing the spiritual aspect of life, while in the
human spirit. The whiplash lines of the windblown hair аге background looms an enormous figure of Matter, a symbol
in contrast to the still figure whose uplifted face is partially of the material substance that constitutes the observable
hidden by the stars and hectagonal frame. Arranged in a universe.
vertical row, the seven symbols that will be used with the In the final Amen, all floral symbols used throughout the p.29
individual verses of the prayer represent Mucha's equivalent book encircle a spirit with outstretched hands and visionary
of the seven seals of the Apocalyptic book. eyes, whose unseeing, other-worldly stare looks into the past
Тһе compositions and the pictorial content are thought and the future of mankind.53
ош to the smallest detail, and every detail has a symbolic Le Pater was published in one French and two Czech
meaning. For each sentence there are three pages. The first is editions, and to Mucha, who always included the originals in
always an ornamental page in the style of //sée, and includes his most important exhibitions, it represented the height of
oneverse of the prayer in Latin and French, the main symbol his achievements. He was gratified when the illustrations
appropriate to the verse, a supporting symbol chosen from attracted the attention of the Emperor Francis Joseph I, a
plant life, and a number of secondary pictorial ideas deeply religious man, and in 1904 his American reviewers

1139]
ILLUSTRATIONS FOR BOOKS AND PERIODICALS

Camille Mauclaire and the painter Sérusier, the Dutch

painter Jan Verkade and the English composer Delius. He
also made friends with Strindberg, with whom he discussed
occultism.55 For a while Mucha offered his atelier above the
crémerie, his hospitality and his harmonium to Gauguin,
who had just returned from his first trip to Tahiti and had
nowhere to stay.56 He was also acquainted with Huysmans,
whose book A Rebours, drew attention to Gustave Moreau
and Odilon Redon, and Reade points out that although
Mucha did not consider himself apart of any art movement,
his kind of symbolism can be associated with Moreau and
the Decadents.57
Interest in the occult was widespread, and in the late
nineties Mucha lent his spacious atelier to Colonel de
Rochas, librarian of the Paris Polytechnic, and to the
famous astronomer Flammarion for their seances. The
nature of their experiments with a medium under hypnosis
reacting to poetry and music is documented in de Rocha's
book Les Sentiments, la musique et le geste, for which
Mucha designed the cover.
Mucha's interest in mysticism led him eventually to
Freemasonry. There are Masonic symbols on the cover ofLe
Pater, and in the explanatory texts his acceptance of
Masonic ideals is documented by the repeated equation of
the terms Ча Divinité' and Ча Lumiére’. Masonry is
described as a quest for light, a way oflife, veiled in allegory
and illustrated by symbols, and as a quest for ultimate
objective truth. Mucha must have found appealing the claim
that “Masonry is mystical as music is mystical, the poetry,
and love, and prayer, and all else that makes it worth our
ahs time to Пуе.58 With the Masons he believed that it is
necessary to find a deeper and more spiritual meaning in the
world of ordinary experience, and to advance in the
Fig.13 Illustration from Le Pater, 1899. knowledge of God, the world, and ourselves.5? To Mucha,
Le Pater represented a vehicle that was designed to spread
quickly noted that ‘it is on the pages of his books that he these noble ideas. However, it was also a work that was
loves to rest his laurels.'54 The illustrations were repeatedly meant to prove his ability as a painter, a tentative step.
exhibited in the United States, and in 1913, at the time of towards a more meaningful career that was for a decade.
Mucha’s final departure for Bohemia, he hoped that his interrupted by the demanding success of his decorative
version of Le Pater would be produced as a film. design but was never quite forgotten.
The war interrupted this and similar dreams, and even After the 1900 World Exhibition in Paris, where the
renewed interest in Art Nouveau and Symbolism has not yet originals for Documents décoratifs and Le Pater were
rediscovered this book to the extent which it deserves. It displayed, Mucha's illustrative style slowly began to change.
seems that it is the dual character of the illustrations that There was an exploratory period of free, expressive
creates the vagueness of its reception. charcoals with a minimum of bright pastel touches,
The colour lithographs, printed from eight stones, have represented by Poggio-Bracciolini's Mistr Jan Hus па
less luminosity than the original designs, but in their Koncilu Kostnickém of 1902, very different from the precise
exquisite draughtsmanship still present a work fully naturalistic studies of plants for Verneuil's Encyclopédie:
comparable го //sée. The seven monochrome pages аге artistique et documentaire de la plante of 1904, as well as
important for a different reason. Conceived as monumental from the figural studies for the Figures décoratives of 1905;
paintings and stepping out of the accepted Mucha pattern, After 1905 the tendency away from linearism towards illu-
they represent a valid reason why Mucha should not be sionistic painting is documented mainly in his illustrations
appraised only on the merit of
his decorative art. All his life, for American magazines. It is surprising that between 1904
he had a definite philosophy concerning the role of art, and and 1913, when Mucha lived part of each year іп the United
mere graphic virtuosity channelled into commercial work States, he did not seem to have an opportunity to illustrate
could not bring him lasting satisfaction. any literary work comparable to Clio or П5ве. However, the
Mucha’s interest in Symbolism predates his Art Nouveau lack of real opportunity might have been aggravated by his
work. From his reminiscences it сап be traced to the early erratic judgement as to the commissions which he decided to
nineties, to the discussions in the crémerie of Madame accept, and those that he thought unsuitable in his roleof
Charlotte in the rue de la Grande Chaumiére in serious artist. He was willing to design four small panneaux.
Montparnasse. There Mucha met among others, the poet for a soap carton, but turned down illustrations for a novel

1140]
ILLUSTRATIONS FOR BOOKS AND PERIODICALS

| Том N TOPICS |

Fig.14 Cover for Town Topics, 1906.

because it would have involved him too much in ‘vulgar
business society’. He cut all his connections in Paris so that
nothing should hamper the serious and important work he
intended to do, but as he had no savings from his lucrative
years in Paris, his prolonged stays in the United States
turned into a constant struggle between his ideals, the need
to support a family and the necessity to accumulate funds
for his future work on his greatest project, the mural series
The Slav Epic. Thus, the illustrations for The New York
Daily News, The Index, Century Magazine, Literary Digest
and similar periodicals became a necessary addition to
portraits and theatre ventures that proved an irregular
source of income.
Considering that Mucha refused a panneau décoratif
fora
New York millionaire as beneath his dignity, it was а quaint
twist of fate that sent his way a commission for the notorious
Town Topics, specialising in gossip about rich New Yorkers.
The cover for the holiday number of December 1906 (fig. 14)
isremarkable for a total lack of the ‘style Mucha’ typical of
his Paris work. It is a purely commercial painting of a
charming young New Yorker in stylish dress in a Christmas
setting; Mucha’s usual circle appears аз a green wreath, but
the whole illustration could have been done by any other
skilful illustrator of the period. Nevertheless, whether by
design or chance, it is as appropriate to the content of the
infamous magazine as all previous illustrations by Mucha
жеге to the content of the various literary works for which
they were designed. As an illustrator, Mucha had an
uncanny ability to respond to the quality of the text.
Among commercial commissions, Mucha's personality Fig.16 Contemporary photograph of models posing.

пап
ILLUSTRATIONS FOR BOOKS AND PERIODICALS
comes through much stronger in the gentle poetry of his
р.176 twelve covers for Hearst's International published in 1922.
The use of symbols, so extravagant in his Paris works, is
usually restricted to a circle made of stars, flowers or a
thorny branch, and suggesting the eternal joys and sorrows
of young love. Courting couples are the leitmotif of the
whole series. An extant photograph indicates that Mucha,
like other artists of the time, used this device to great
advantage (figs. 15/16).
Ofall Mucha's graphic work of the American period there
is only one series that he considered nearly as important as
Le Pater, which it echoes both in intent and in the
combination of figural scenes with ornament: the
Beatitudes. Printed in colour in Everybody's Magazine,
volume 15, asa Christmas addition to the December number
p.176 ої 1906, the work consists of the title page with the text of the
individual verses, six full-page illustrations and a final
medallion. The Beatitudes already lack the flatness of
colour typical of Mucha's Art Nouveau works, but they also
lack the pleasing sentimentalism that seems to be typical of
the illustrations of the American period. They are an
example of art whose aim is “to light man on his way".
Like Le Pater, the Beatitudes could have been designed in
book form with three pages for each line of the text.
However, by 1906 Mucha obviously did not consider a
similar elaborate arrangement, but decided to frame each
figural scene with a stylised frame of flowers and arabesques
that unfortunately have none of the inventiveness of Ilsee,
and employ little of the symbolic approach used in Le Pater.
In the illustrations the artist did not use exotic settings and
characters, but interpreted the meaning of the Sermon on
the Mount by employing the plain, homely types of his
native country. He did the work on his honeymoon, in a Fig.17 Illustration for ‘Blessed are the meek. . 2 from The
small village of Pec in Southern Bohemia, a region known Beatitudes, Everybody's Magazine, 1906.
for the strong personality of its inhabitants. The Chod
peasants in their typical attire were used for the symbolic floral frame has a double symbolic meaning, with leaves of
scenes, and the humility of the poor and the unfortunate in the linden tree representing Bohemia, and laurel leaves,
their Old World surroundings strikes a strange contrast to glory. In ‘Blessed are the poor in spirit . . .' the naturalistic
the rest of Mucha’s American illustrative work of the study of a village idiot watching over а herd of grazing sheep
period. He was well aware of the difference, and although he is a heartrending portrayal of ahuman being who lacks both
was paid two hundred dollars for each illustration, the beauty and intellect, but still deserves pity, consideration,
originals remained his property. Later he sold them to the and in the end, the kingdom of heaven.
Brno Museum for very little just so they would remain in his In Ilsee and Le Pater each form and each object was
country. chosen for its symbolic meaning, and to a degree the search
For the first verse “Blessed аге the meek . . .” Mucha used a for appropriate symbols was an intellectual game that was
young family (fig. 17). A mother with an infant in her arms favoured in the atmosphere of the nineties, a game which
sits quietly at a spinning wheel, listening to her husband who Mucha played as well as anybody. In Paris, he mixed with
is reading the Bible. Despite the poor dwelling, there is great therich, the famous and the gifted, and shared with them the
contentment and warmth emanating from the little group. nostalgia, melancholy and feelings of unfulfilment typical
p.176 The scene for “Blessed are they that mourn . . .' shows how of Art Nouveau artists. However, during his honeymoon in |
close Mucha was to his own people after all the years in Pec, Mucha encountered poverty, sadness, kindness and
Paris. The dead man, laid out in state with a cross and resignation among simple folk, and the usual brilliant play
covered with images of saints, presents a picture familiar in with floral symbols seemed inadequate to express his
the house of mourning in rural Bohemia - even the white compassion.
dove above his head is a genuine example of folk Moreover, by 1906 Art Nouveau was already on the
woodcarving. However, the quiet, tired despair of the decline, and the movement began to disintegrate. Some ofits
widow with infant in her lap communicates a universal adherents died early, others like Horta, Mackintosh and
feeling quite independent of the surroundings. A similar Toorop reverted to a conservative style, those that
feeling of loneliness in the face of death is conveyed by the continued their work in the Art Nouveau idiom were
figure of a wounded soldier in ‘Blessed are they which are regarded as anachronistic. Still others, such as Bonnard,
persecuted for righteousness sake . . . In this picture the Vuillard, Kandinsky and Picasso found their own unique

[142]
NOTES

expressive forms after their Art Nouveau apprenticeship.6!

Mucha had already made his own decision in 1900, when he
set his heart on depicting the history of the Slav people. To
fulfil his dream, he also reverted to a conservative style, and
although he did not quite return to his early historical
paintings, his American illustrations represent tentative
advances from the lighthearted charm of his Art Nouveau
work to a less stylised and less ornamental approach. In
Mucha’s illustrative work the Beatitudes represent an
important step in his development; they are examples of his
farthest step towards naturalism.
If we decided to disregard the illustrations for periodicals
and to concentrate on book illustrations in the narrow sense
of the term, we would note that Mucha’s imprint on the field
stopped with Le Pater, as his Figures décoratives and Fig.18 Illustration from Andëlièek z baroku, 1929.
Documents décoratifs should be considered textbooks for
designers rather than illustrated books. The artist returned
to book illustration only in 1928 in Quido Maria Vyskocil's figural scenes, the ease with which the irregular design is
Шок More, and in the 1929 edition of Hais-Tynecky’s balanced, the wealth of detail, and the rich decorativeness of
Апабіїбек z baroku. Both books were published in limited the illustrations indicate that the sixty-nine year old Mucha
editions in Prague. In his last illustrations Mucha returned still worked with verve and gusto (fig. 18). It is quite possible
to one of the sources that influenced his earlier stylistic that after years of work on the overwhelmingly large and
development as an Art Nouveau artist. Andélicek z baroku serious canvasses of the Slav Epic, tired of the ridicule
(The Little Baroque Angel) demonstrates that the baroque heaped on him by younger avant-garde artists for his old-
and rococo styles of Bohemian churches had meant to young fashioned patriotism and conservative style, he found both
Mucha what the magnificent eighteenth century Place refuge and pleasure in illustrative work that reminded him of
Stanislas meant to Gallé and Majorelle of the School of his years of success.
Nancy. The assymetrical ornamentation, the vigorous By then Art Nouveau, with its inventiveness of ornament,
curve, the flowing grace of the line, was not copied from its playfulness, its symbolic-organic structure, was a style of
French Art Nouveau artists, it was part of the sensual the past, and the orgy of flowing lines in Mucha’s last book
‘experience
ofMucha’s religious childhood. The interplayof illustrations is a solitary reminder of the qualities that made
the rococo framework with floral ornamentation and him famous as a decorative artist and illustrator.

NOTES
|1 From an interview with Mucha in The Sun, 10 April 1904. Unless Reproduced inLa Plume, Numéro Consacré d Alphonse Mucha
otherwise indicated, the source of all other excerpts from Mucha’s (July 1897). is one of the most important sources on Mucha's
correspondence and memoirs is a biography by ИН Mucha, work and critical reaction to it up to that date. It contains articles,
Alphonse Mucha, His Life and Art, (London, Heinemann 1966). reprints of reviews, a list of the Salon des Cent exhibits, and
Hereafter cited as Life and Art. numerous illustrations. It also contains reviews of Mucha's
exhibition organised in the same year by the Journal desArtistes at
2 Charles Masson, ‘Mucha’, Art et Décoration, 7 (May 1900) p. 129. 18 rue Saint-Lazare, A la Bodiniére. The exhibition travelled
subsequently to Vienna, Prague and London. Hereafter cited as La
3 Of the numerous reference works andindividual articles containing Plume (July 1897).
biographical information on Mucha, Prokop Toman, Nový slovník
československých výtvarných umélcú, 2 (Prague, Tvar, 1945-50) Yvanhoé Rambosson, ‘Mucha Illustrateur”, La Plume (July 1897)
and Ulrich Thieme & Е. Becker, Allgemeines Lexicon der Bildenden p. 410.
Künstler, 25 (Leipzig, E. A. Seemann 1931) are among the most
accurate and contain the greatest number of bibliographical Anappropriate example is Makart's Triumph of Ariadne ofс.1872,
references. Many Czech sources are not quite dependable in dating reproduced in the exhibition catalogue Hans Makart und seineZeit,
Mucha’s schooling and his Paris period, while French sources Salzburger Residenzgalerie (July-September 1900).
invariably misspell names connected with Mucha’s youth in
Bohemia, including his birthplace. Whenever there was a В. Candiani, “А. Mucha', Indépendance Belge, Supplément
disagreement on biographical data in various sources, two studies Littéraire, 3 June 1900, n.p.
by the artist’s son, Mr. Jiti Mucha, were consulted: Alphonse
Mucha, His Lifeand Art (London, Heinemann 1966) and Alphonse Memoirs, Life and Art,p. 64.
Mucha, the Master of Art Nouveau (Prague, Artia 1966).
J. Krecar, Řemeslo a umént у knize (Prague 1927) p. 152. 11 Charles Masson, р. 134.
5 Memoirs, Life and Art, р. 128. 12 Candiani, n.p.

1143]
NOTES

13 Апоп., Cas, 12 (December 1897) р. 789. The author points out that Ignát Нойса, ‘Návšteva у dilne Mistra Muchy v Рана’, Zlatá
Mucha's hands are often more expressive than the rendering of eyes Praha, 7 (1900) pp. 586-87.
or faces.
Paul Redonnel, ‘Alphonse Mucha’ La Plume (July 1897) р. 479.
14 Emile Cardon in Moniteur desArts,16 February, Anon. in Courrier
du Soir, 14 June 1897, and others. This biographical error appeared James Grady, ‘Nature and the Art Nouveau’, Art Bulletin, 37 (1955)
as late as 1971 in Marian Klamkin, The Collector's Book of Art p. 188.
Nouveau (Newton Abbot, David & Charles 1971) p. 84.
Hector Guimard, "Ап Architect's Opinion of “L'Art Nouveau”,
For this information I am indebted to Professor Joseph Anderle of The Architectural Record, 12 (1902) p. 127.
the University of North Carolina who wrote a paper Poggio
Bracciolini, a Prototype of Italian Humanism, and indicated that Stephan Tschudi Madsen, Sources of Art Nouveau (New York,
Poggio's account is a German forgery. Also in Cenek Zibrt, Wittenborn 1955) р. 167.
Bibliografie ceské historie, 2 (Prague, Ceska akademie Cisare
Frantiska Josefa pro меду, slovesnost а umeni, 1900-12) p. 1169, Five of the menus designed by Mucha are reproduced іп Léon
nos. 14870-14875. Maillard's Les Menus dprogrammes illustrés, published in 1898 by
С. Boudet in Paris. The cover design із also by Mucha.
16 Memoirs, Life andArt, p. 92.
43 Examples of small decorative objects similar to Че style Mucha”,
7 Correspondence, Life and Art, pp. 149-50. manufactured by the Unger Brothers с. 1895-1905, are reproduced
іп Graham Hood, American Silver (New York, Praeger 1971)
18 Charles Hiatt, ‘Sarah Bernhardt, Mucha and some Posters’, The р. 243, fig. 281.
Poster, 2 (1899) p. 238.
Adolphe Holzhauser, ed. La Bosnie-Hercégovine à l'Exposition
19 Peter Selz and Mildred Constantine, ed., Art Nouveau, new edition Internationale Universelle de 1900d Paris(Vienna 1900) pp. 119-20.
(London, Secker & Warburg 1975) p. 147.
45 Exposition Universelle 1900: The Artof the Minor European States.
20 Candiani, n.p. The cover page of the Histoire des quatre fils Aymon The Chef d’Oeuvres, 3 (1900) р. 70, lists a bronze bust of Nature
(1879-83) shows that Eugene Grasset used Celtic and classical motifs similar in description to the sculpture Гог Houbigant.
to frame his design and to assert the proportion of
the page оп which
it is placed, and oriental scrolls infront of the flat figural scenes. 46 A carpet executed after Mucha's design by 1. Ginskey of
Maffersdorf is reproduced in Reade, fig. 20. From Lehnert,
21 Folnessies, ‘Mucha als Illustrator’, Mitteilungen für Illustrierte Geschichte des Kunstgewerbes, 2 (Berlin 1907-09).
vervielfaigende Kunst. Beilage der Grophischen Künste (1897)
р.30. 47 Eduard Polivka, ‘Alfons Maria Mucha v numismatickjch
památkách’, Numismatické listy, 19 (1964) pp. 4-5.
22 Brian Reade, Art Nouveau and Alphonse Mucha (London, Her
Majesty's Stationery Office 1967) р. 14. 48 Anon. ‘Documents Décoratifs par A. M. Mucha’, Ал et
Décoration, 14 (July-December 1903) p. 304.
23 To the Freemasons, the five-pointed star with one point upward
represented God and all that is pure, virtuous and good, but when 49 Mario Amaya, ‘Mucha’s Fantasy’, Apollo, 77 (June 1963) р. 477.
turned with one point down, itrepresented Evil. Henry Leonard Reproduced in L’Oeil (November 1960) p. 61.
Stillson, ed., History of the Ancient and Honorable Fraternity of
Free and Accepted Masons and Concordant Orders (Boston, The 50 W. R., ‘Die Mucha-Ausstellung in Paris’, Mitteilungen für
Fraternity Publishing Co. 1896) p. 49. The hexagon or *David's vervielfaltigende Kunst, Graphische Künste, 21 (1898) p. 4.
shield’ seems to have come into being in the midst of thehistorical
obscurities of the Kabalah in the Middle Ages. During the si Lancelot, ‘Figures Décoratives de A. Mucha’, Art er Décoration, 17
seventeenth century the speculative movement within Freemasonry (January-June 1905) p. 36.
adopted symbolism from the Kabalah and from Neoplatonic
theories of harmony. Desirée Hirst, Hidden Riches. Traditional 52 ‘Some of the lectures are reprinted in Alphonse Mucha, Lectures on
Symbolism from the Renaissance to Blake (London, Eyre & Art (London, Academy Editions 1975).
Spottiswoode 1964) p. 323.
53 А poetic but very illuminating explanation of the symbolism
Arnold Whittich, Symbols for Designers (London, Crosby in the individual designs in Le Pater was published in
Lockwood 1935) рр. 25, 30, 111. Rúzena Jesenská, "Мисійу Oteenás', Zlatá Praha, 19
(1902) pp. 311-12. Also in Whittich, Symbols for Designers, рр. 25,
25 This possibility was suggested to me by Miss Marta Kadleciková 38, 93, 135 апа in George Ferguson, Signs and Symbols in Christian
who did the research of manuscript materials for Jiri Mucha's Art (New York, Oxford University Press 1954) рр. 14, 47, 49.
biographical studies.
54 “A Chat with Mucha’, The Sun, Sunday Supplement, 10 April 1904.
26 Stanislav К. Neumann, Stati a projevy, 1893-1903 (Prague, Stätni
nakladatelstvi krasné literatury а umeni, 1964) р. 43. 55 Mucha left an interesting account of his friendship with Strindberg,
and of their interests in alchemy and in life after death. Memoi
п Karel Hlaváček, Kritiky (Prague, Kvasnicka а Hampl 1930) Life and Art, pp. 154-5.
pp.62-3.
56 р. 105. It is difficult to assess the importance of Gauguin's
28 W. S. Rogers, ‘The Art of Mucha’, The Poster, 3 (1899) р. 56. on Mucha’s subsequent development. Their
personalities and goals were quite dissimilar and although Mucha
29 Erich Haenel, ste, Princessin von Tripolis’, Monatsberichte über admired Gauguin both as a painter and asathinker, he said ofhit
Kunstwissenschaft (February 1902) р. 99. “Не [Gauguin] maintained that he was a primitive, wanting to
produce the art of primitive people. Thad other tasks. "LfeandArt
30 Robert Schmutzler, Art Nouveau (New York, Harry М. Abrams р. 101.
1962) p. 10.
5 Reade, р. 18.
зі The special number ofLa Plume (July 1897) shows thathe exhibited
close to 450 works, including posters, calendars, covers, menus, 58 Е. У. Mataraly, The Masonic Way. A Study in the Mysticism and
programmes, historical illustrations, originals for Jlsée, stained Symbolism of the Craft (London, John M. Watkins 1936) p. 11.
glass windows, panneaux, genre subjects, drawings and portraits.
After hisreturn to Bohemia, Mucha eventually became the Supreme
32 Schmutzler, р. 11. Commander of his lodge in Prague, and published a work on
Masonry. Alfons Mucha, Svobodné zednárství (Prague 1925). А
33 La Plume (July 1897) р. 480. short review article is in Kapras, “О svobodném zednářství", Česká
revue, 19, No. 2 (1926) р. 118.
34 Selz and Constantine, p. 8.
зій Mucha, Alphonse Mucha, the Master of Art Nouveau, р. 219.
35 Р. Morton Shand, ‘Henry уап de Velde: Extracts from his
Memoirs’, The Architectural Review, 112 (1955) р. 143. ai Selz and Constantine, p. 16.
36 Václav Hladik, *U Alfonsa Muchy', Zlatá Praha, 17 (1900) p. 577.

1144)
CATALOGUE
This catalogue із based on the information originally signature, size, printer, etc. are given. The date for each
compiled by Jana Smejkalová, with the help of the artist's entry із the year in which the item was printed and the first
son ИЯ Mucha and the editorial staff of Academy Editions. title is, where known, the original title (French, English or
Аз many entries as possible have been checked with inter- Czech). Measurements are in centimetres, height first, and
national experts, galleries and museums and further details are for the actual printed area. All known variants are listed
have been added. New material has also come to light and and cross referenced, and differences in size and lettering are
several new entries are included. The majority of items are also noted.
illustrated for identification and full details as to medium,
Ce catalogue se fonde sur la documentation rassemblée й renseignements détaillés sur la technique (médium),
l'origine par Jana Smejkalová avec l'aide du fils de l'artiste signature, dimensions, imprimeur, etc. La date de chaque
ЛИ Mucha et de la rédaction des Editions Academy. Tous les document est celle de l’impression et le premier titre donné
documents, dans la plus large mesure, ont été vérifiés auprès est, lorsqu'il est connu, le titre original (francais, anglais ou
d'experts internationaux, des musées et galeries de peinture tchéque). Les dimensions sont données en centimetres, en
et des détails complémentaires ont été ajoutés. De nouveaux commençant par la hauteur et représentent la surface
matériaux ont été également découverts, qui ont donné lieu à imprimée. Toutes les variantes sont mentionnées et
de nouvelles insertions. La plupart des documents sont référencées, en tenant compte des variations dans les
identifiés par des illustrations, augmentees ае dimensions et le lettrage.

1145]
PANNEAUX
РІ 1896
REVERIE|DAYDREAM
Colour lithograph/lithographie en couleurs
64x 47.5 cm
Signed bottom right/signée en bas à droite: Mucha
Printer/imprimerie: Е. Champenois, Paris
Variants/variantes:
Pla With ornamental design in top centre panel/avec dessin
ornemental dans le panneau central en haut
Св Champenois- calendar/calendrier.
1896
ZODIAC
Colour lithograph/lithographie en couleurs
63х47 ст
Signed bottom right/signée en bas à droite: Mucha
Printer/imprimerie: F. Champenois, Paris
Variants/variant
A38 Carmichael's Luxuria Bath Tablets - poster/affiche
C4 Champenois- calendar/calendrier
C4a La Plume- calendar/calendrier
C4b Imprimerie Librairie L. Marchal- calendar/calendrier
Сіс Savon de Bagnolet – calendar/calendrier (central figure
only/seulement la figure centrale)

1896
PRINTEMPS/SPRING
Colour lithograph/lithographie en couleurs
98 x 50.5 cm
Signed bottom left and right/signée en bas à droite
et à gauche: Mucha
Printer/imprimerie: F. Champenois, Paris
P4 1896
ETE/SUMMER
Colour lithograph/lithographie en couleurs
98 x 50.5 cm
Signed bottom left and right/signée en basádroite
et à gauche: Mucha
Printer/imprimerie: F. Champenois, Paris
1896
AUTOMNE/AUTUMN
Colour lithograph/lithographie en couleurs
98 x 50.5 cm
Signed bottom left and right/signée en bas й gauche
ега droite: Mucha
Printer/imprimerie: F. Champenois, Paris
P6 1896
HIVER/WINTER
Colour lithograph/lithographie en couleurs
98 x 50.5 cm
Signed bottom left and right/signée en bas á droite
et à gauche: Mucha
Printer/imprimerie: F. Champenois, Paris
P7 1896
LES SAISONS/SEASONS
The above four panneaux (P3-P6) in an
ornamental frame/les quatre panneaux ci-dessus,
(P3- P6) dans un cadre ornemental
Colour lithograph/lithographie еп couleurs
43 x 61 cm
Printer/imprimerie: F. Champenois, Paris
РАММЕАОХ
P8 с. 1896
TROIS SAISONS/THREE SEASONS
Colour lithograph/lithographie en couleurs
64 х 47.5 ст
Signed bottom right/signée en bas à droite: Mucha
Printer/imprimerie: Е. Champenois, Paris
1897
L'IRIS/IRIS
Colour lithograph/lithographie en couleurs
100 х 41 cm
Signed bottom right/signée en bas й droite: Mucha
Printer/imprimerie: F. Champenois, Paris

Р10 1897
L'OEILLET/CARNATION
Colour lithograph/lithographie en couleurs
100 x 41 ст
Signed bottom right/signée en basûdroite: Mucha
Printer/imprimerie: F. Champenois, Paris
РИ 1897
LE LYSILILY
Colour lithograph/lithographie en couleurs
100 x 41 ст
Signed bottom right/signee en bas аdroite: Mucha
Printer/imprimerie: F. Champenois, Paris
1897
LA ROSE/ROSE
Colour lithograph/lithographie en couleurs
100 x 41 ст
Signed bottom left/signée en bas á gauche: Mucha
Printer/imprimerie: F. Champenois, Paris

РІЗ 1897
LES FLEURS/FLOWERS
The above four panneaux (P9-P12) in an
ornamental frame/les quatre panneaux ci-dessus
(Р9-РІ2) dans un cadre ornemental
Colour lithograph/lithographie en couleurs
42 x 61 cm
Printer/imprimerie: F. Champenois, Paris
P14 1897
L'ANNEE QUI VIENT/THE COMING YEAR
Monochrome lithograph/lithographie monochrome
82x 33 cm
Signed bottom right/signée en bas à droite: Mucha 97
Printer/imprimerie: Е. Champenois, Paris
Variant/variante:
Р14а Without decorative border/sans Богашге ornementale
C7 Calendar/calendrier

PIS с. 1897
ТЕТЕ BYZANTINE-BRUNETTE|
BYZANTINE HEAD-BRUNETTE
Colour lithograph/lithographie en couleurs
34.5 x 28 ст
Signed bottom left/signée en bas й gauche: Mucha
Printer/imprimerie: F. Champenois, Paris
Variant/variante:
P15a With ornamental border/avec bordure ornementale

пат
PANNEAUX
P16 c. 1897
TETE BYZANTINE-BLONDE/BYZANTINE
HEAD-BLONDE
Colour lithograph/lithographie en couleurs
3: 28 cm
Signed bottom right/signée en bas à droite: Mucha
Printer/imprimerie: F. Champenois, Paris
Variant/variante:
РІба With ornamental border/avec bordure ornementale

P17 c. 1897
LA FLEUR/FLOWERS
Colour lithograph/lithographie en couleurs
60 x 36.5 ст
Signed bottom right/signee en bas й droite: Mucha
Printer/imprimerie: Е. Champenois, Paris
P18 с. 1897
LE FRUIT/FRUIT
Colour lithograph/lithographie en couleurs
60 х 36.5 cm
Signed bottom right/signée en bas à droite: Mucha
Printer/imprimerie: F. Champenois, Paris
P19 1898
LA POESIE/POETRY
Colour lithograph/lithographie en couleurs
56x 34 cm
Signed bottom left/signée еп bas à gauche: Mucha 98
Printer/imprimerie: Е. Champenois, Paris
P20 1898
LA DANSE/DANCE
Colour lithograph/lithographie en couleurs
56 x 34 ст
Signed bottom right/signée en bas à droite: Mucha98
Printer/imprimerie: F. Champenois. Paris

P21 1898
LA PEINTURE/PAINTING
Colour lithograph/lithographie en couleurs
56x 34 cm
Signed bottom right/signée en bas à droit Mucha
Printer/imprimerie: Е. Champenois, Pari
1898
LA MUSIQUE/MUSIC
Colour lithograph/lithographie en couleurs
56x 34 ст
Signed bottom right/signéeenbas àdroite: Mucha98
Printer/imprimerie: F. Champenois, Paris
1898
NENUPHARINATER-LILY
Colour lithograph/lithographie en couleurs
21.5 x 29.5 cm
Signed bottom right/signée en bas à droite: Mucha
Printer/imprimerie: F. Champenois, Paris
P24 1898
FLEUR DE CERISIER/CHERRY BLOSSOM
Colour lithograph/lithographie en couleurs
21.5x 29.5 cm
Signed bottom left/signée en bas à gauche: Mucha98
Printer/imprimerie: F. Champenois, Paris
1148]
PANNEAUX
P25 1898
FEMME AU CARTON А DESSINS/GIRL
WITH EASEL
Colour lithograph/lithographie en couleurs
63.5 х 45 ст
Signed bottom left/signée en bas й gauche: Mucha 98
Printer/imprimerie: Е. Champenois, Paris
Р26 1899
LA PRIMEVERE/POLYANTHUS
Colour lithograph/lithographie en couleurs
71.5 x 27.5ст
Signed bottom right/signée еп bas й droite: Mucha 99
Printer/imprimerie: Е. Champenois, Paris
Р27 1899
LA PLUME/THE PEN
Colour lithograph/lithographie en couleurs
71.5 x 27.5 ст
Signed bottom left/signée en bas й gauche: Mucha 99
Printer/imprimerie: Е. Champenois, Paris
P28 1899
EVEIL DU MATIN/MORNING AWAKENING
Colour lithograph/lithographie en couleurs
101.5 x 36.5 ст
Signed bottom right/signée en bas à droite: Mucha99
Printer/imprimerie: F. Champenois, Paris
P29 1899
ECLAT DUJOUR/DAY BREAK
Colour lithograph/lithographie en couleurs
101.5 x 36.5 ст
Signed bottom right/signée en bas à droite: Mucha 99
Printer/imprimerie: Е. Champenois, Paris
P30 1899
REVERIE DU
SOIR/EVENING REVERIE
Colour lithograph/lithographie en couleurs
101.5 x 36.5 ст
Signed bottom right/signée en basàdroite: Mucha 99
Printer/imprimerie: Е. Champenois, Paris
P31 1899
REPOS DE LA NUITINOCTURNAL
SLUMBER
Colour lithograph/lithographie en couleurs
101.5 x 36.5 ст
Signed bottom right/signée en bas à droite: Mucha99
Printer/imprimerie: Е. Champenois, Paris
P32 1899
AURORE/DAWN
Colour lithograph/lithographie en couleurs
68 x 103 ст
Signed bottom left/signéeenbas à gauche: Mucha 99
Printer/imprimerie: F. Champenois, Paris
P33 1899
CREPUSCULE/DUSK
Colour lithograph/lithographie en couleurs
68 x 103 ст
Signed bottom right/signée en bas й droite: Mucha 99
Printer/imprimerie:F. Champenois, Paris
PANNEAUX
P34 1900
LA TOPAZE/TOPAZ
Colour lithograph/lithographie en couleurs
99.5 x 36 cm & 60x 24 cm
Signed bottom left/signée en bas à gauche: Mucha
Printer/imprimerie: Е. Champenois, Paris
P35 1900
L'EMERAUDE/EMERALD
Colour lithograph/lithographie еп couleurs
99.5 x 36 ст & 60x 24 ст
Signed bottom right/signée en bas á droite: Mucha
Printer/imprimerie: F. Champenois, Paris
P36 1900
L'AMETHYSTE/AMETHYST
Colour lithograph/lithographie en couleurs
99.5 x 36 cm & 60x 24 ст
Signed bottom left/signée en bas й gauche: Mucha
Printer/imprimerie: Е. Champenois, Paris
P37 1900
LE RUBIS/RUBY
Colour lithograph/lithographie en couleurs
99.5 x 36 cm & 60 x 24 ст
Signed bottom right/signée en basйdroite: Mucha
Printer/imprimerie: Е. Champenois, Paris
P38 1900
PRINTEMPS/SPRING
Colour lithograph/lithographie еп couleurs
70 x 29.5 cm
Signed bottom right/signee en bas й 4ғойе: Mucha
1900
Printer/imprimerie: F. Champenois, Paris

P39 с. 1900
FEMMEA LA MARGUERITE|WOMAN
WITH DAISY
Printed rep and velvet/impression sur reps et velours
65x 83 ст
Signed bottom right/signée en bas й droite: Mucha
Р40 с. 1900
FEMME PARMI LES FLEURS/WOMAN
AMONG THE FLOWERS
Printed silk, velvet and rep/impression sur soie,
velours et reps
65 х 83 cm
Signed bottom right/signée en bas й droite: Mucha
Р 1901
LE LIERRE/IVY
Colour lithograph/lithographie en couleurs
53x 39.5 cm
Signed bottom right/signée en bas à droite: Mucha
1901
Printer/imprimerie: F. Champenois, Paris
P42 1901
LE LAURIER/LAUREL
Colour lithograph/lithographie en couleurs
53x 39.5 cm
Signed bottom right/signée en bas à droite: Mucha
1901
Printer/imprimerie: Е. Champenois, Paris
PANNEAUX
с. 1901
BRUYERE DE FALAISE/HEATHER
Colour lithograph/lithographie en couleurs
66.5 х 27.5 ст
Signed bottom right/signée en bas a droite: Mucha
Printer/imprimerie: F. Champenois, Paris

P44 с. 1901
CHARDON DE GREVES/SEA-HOLLY
Colour lithograph/lithographie en couleurs
66.5 х 27.5 ст
Signed bottom right/signée en bas й droite: Mucha
Printer/imprimerie: Е. Champenois, Paris
P45 1902
LA LUNE/MOON
Colour lithograph/lithographie en couleurs
59 x 23.5 ст
Signed bottom left/signée еп bas à gauche: Mucha
Printer/imprimerie: F. Champenois, Paris
P46 1902
L'ETOILE DU SOIR/EVENING STAR
Colour lithograph/lithographie en couleurs
59 x 23.5 ст
Signed bottom right/signée en bas й droite: Mucha
Printer/imprimerie: Е. Champenois, Paris
P47 1902
L'ETOILE POLAIRE/POLE STAR en
Colour lithograph/lithographie en couleurs
59 x 23.5 cm
Signed bottom left/signée en bas á gauche: Mucha
Printer/imprimerie: Е. Champenois, Paris
P48 1902
L'ETOILE DU MATIN/MORNING STAR
Colour lithograph/lithographie en couleurs
59 x 23.5 ст
Signed bottom left/signee en bas й gauche: Mucha
Printer/imprimerie: F. Champenois, Paris
P49 1903
ETE/SUMMER
Colour lithograph/lithographie en couleurs
70 x 29.5 ст
Signed bottom left/signee en bas ágauche: Mucha
1903
Printer/imprimerie: F. Champenois, Paris
P50 с.1903
AUTOMNE/AUTUMN
Colour lithograph/lithographie en couleurs
70x 29.5 ст
Signed bottom right/signée en bas á droite: Mucha
Printer/imprimerie: Е. Champenois, Paris
с. 1903
HIVER/WINTER
Colour lithograph/lithographie en couleurs
70x 29.5 ст
Signed bottom left/signée en bas à gauche: Mucha
Printer/imprimerie: F. Champenois, Paris
POSTERS/AFFICHES
Al 1894/5
GISMONDA
‘Théâtre de la Renaissance”
Colour lithograph/lithographie en couleurs
213 x 75 ст
Signed bottom left/signée en bas д gauche: Mucha
Printer/imprimerie: Lemercier, Paris
Variant/variante:
Ala с. 1905 Lettering at bottom/lettrage en bas:
“American Tour’
A2 с. 1894
PAPETERIE/STATIONERY
Monochrome lithograph/lithographie
monochrome
36 x 26cm
Unsigned/non signée
Printer/imprimerie: Lemercier, Paris

A3 1895
AMANTS
‘Théâtre de la Renaissance”
Colour lithograph/lithographie en couleurs
99 x 130cm
Signed bottom left/signée en bas d gauche: Mucha
Printer/imprimerie: Camis, Paris
Often issued with sticker bottom left giving details
of cast and performances/publiée souvent avec une
étiquette collée en bas д gauche donnant des
renseignements sur les acteurs et les séances.
А4 с. 1895
FLIRT— BISCUITS LEFEVRE-UTILE
Colour lithograph/lithographie en couleurs
61.5 x 27.5ст
Signed bottom right/signée en bas d droite: Mucha
Printer /imprimerie: Е. Champenois, Paris
А5 1896
LANCE PARFUM ‘RODO’
Perfume spray
Colour lithograph/lithographie en couleurs
44.5 x 31.5cm
Signed bottom right/signée en bas 4 droite: Mucha
Printer/imprimerie: F. Champenois, Paris

Аб 1896
JOB
Cigarette papers/papiers d cigarettes
Colour lithograph/lithographie en couleurs
51.5 x 39cm
Signed bottom right/signée en bas d droite: Mucha
Printer/imprimerie: F. Champenois, Paris
Variant/variante:
C6 Job calendars/calendriers

АТ 1896
SALON DES CENT
"ХХте Exposition”
Colour lithograph/lithographie en couleurs
61.5 x 40cm
Signed bottom left/signée en bas й gauche: Mucha
Printer/imprimerie: F. Champenois, Paris
Variant/variante:
G2c Cover of exhibition catalogue/couverture pour le
catalogue de l'exposition

1152]
POSTERS/AFFICHES
A8 1896 99909906
BENEDICTINE БҮЛ
Colour lithograph/lithographie en couleurs
200 x 71 cm
Signed bottom right/signée en bas à droite: Mucha
Printer/imprimerie: Е. Champenois, Paris
A9 1896
REVUE POUR LES JEUNES FILLES
Lithograph/lithographie
123 x 49 cm
Signed centre left/signée au centre à gauche:
Mucha
Printer/imprimerie: Lemercier, Paris?
А10 1896
LORENZACCIO
“Théâtre de la Renaissance’
Colour lithograph/lithographie en couleurs
195 x 70 ст
Signed bottom right/signée en bas d droite: Mucha
Printer/imprimerie: Е. Champenois, Paris
А11 1896
LA DAME AUX CAMELIAS
“Théâtre de la Renaissance”
Colour lithograph/lithographie en couleurs
201.5 x 69.5 ст
Signed bottom left/signée en bas 4 gauche: Mucha
Printer/imprimerie: F. Champenois, Paris
Variant/variante:
Alla Lettering at top and bottom//ettrage en haut et en bas:
71905 Farewell American Tour 1906/Sarah Bernhardt’
Printed in USA с. 1905 with different colours/imprimée
aux Etats-Unis vers 1905 dans d'autres couleurs
А12 c. 1896
BISCUITS CHAMPAGNE LEFEVRE-UTILE
Colour lithograph/lithographie en couleurs
65 x 40 cm
Signed bottom left/signée en bas й gauche: Mucha
Printer/imprimerie: Е. Champenois, Paris
Al3 c. 1896
ATELIER MUCHA
“Cours de Composition d'Art Décoratif”
Monochrome lithograph/lithographie

ооо ы 1 ATELIER MUCHA I

Signed centre/signée au centre: Mucha | 1975
Printer
AB
Variant/variante:
G2g_ Prospectus cover/couverture de prospectus
Al4 с. 1896
SAVON DE NOTRE DAME
Colour lithograph/lithographie en couleurs
53 x 37cm
Signed bottom right/signée en bas d droite: Mucha
Printer/imprimerie: F. Champenois, Paris
А15 1897
LA SAMARITAINE
“Théâtre de la Renaissance"
Colour lithograph /lithographie en couleurs
167 x 54cm
Signed bottom right/signée en bas @ droite: Mucha
Printer/imprimerie: Е. Champenois, Paris
1153]
POSTERS/AFFICHES
А16 1897
SARAH BERNHARDT
“La Plume du 15 décembre publiera un article sur
Sarah Bernhardt’
Colour lithograph/lithographie en couleurs
62.5 x 40.5 ст
Signed bottom left/signée en bas @ gauche: Mucha
Printer/imprimerie: Е. Champenois, Paris
Variants/variantes:
Al6a With different lettering/avec lettrage different:
“Еп l'honneur de Sarah Bernhardt/ses admirateurs et ses
amis”
Al6b Without lettering/sans lettrage

А17 1897 SARAH BERNHARDT

LA TRAPPISTINE
Colour lithograph/lithographie en couleurs AIG
201 x 70cm халат
Signed bottom right/signée еп bas д агойе: Mucha ADE
Printer/imprimerie: F. Champenois, Paris

А18 1897
COURS MUCHA
‘Académie Colarossi”
Colour lithograph/lithographie en couleurs
64 x 27cm
Signed centre right/signée au centre a droite:
Mucha
Printer/imprimerie: Е. Champenois, Paris
А19 1897
SALON DES CENT
‘Exposition de l'Oeuvre de A. Mucha’
Colour lithograph/lithographie en couleurs
63.5 х 43 cm
Signed bottom right/signée en bas д droite: Mucha
Printer/imprimerie: F. Champenois, Paris

А20 1897
SOCIETE POPULAIRE DES BEAUX-ARTS
Colour lithograph/lithographie en couleurs
58 x 42 ст
Signed bottom right/signée en bas д droite: Mucha
Printer/imprimerie: Е. Champenois, Paris
А21 1897
MONACO. MONTE-CARLO
Colour lithograph/lithographie en couleurs
110 x 76 cm
Signed bottom left/signée en bas à gauche:
Mucha 1897
Printer/imprimerie: F. Champenois, Paris

А22 1897
CHAMPAGNE RUINART
Colour lithograph/lithographie en couleurs
173 x 59 cm
Signed bottom right/signée en bas à droite: Mucha
Printer/imprimerie: F. Champenois, Paris

A23 1897
HOMMAGE RESPECTUEUX DE NESTLE
Mer
3 арапа й
Colour lithograph/lithographie en couleurs
199.5 x 298 cm
Signed bottom right/signée en bas à droite: Mucha
Printer/imprimerie: F. Champenois, Paris
POSTERS/AFFICHES
A24 1897
IMPRIMERIE CASSAN FILS
Colour lithograph/lithographie en couleurs
166 x 69.5 cm and smaller version/et version plus
petite
Signed bottom left/signée en bas à gauche: Mucha
Printer/imprimerie: Cassan Fils, Toulouse
A25 1897
WAVERLEY CYCLES
Colour lithograph/lithographie en couleurs
80 x 101 cm
Signed bottom right/signée en bas @ droite: Mucha
Printer/imprimerie: Е. Champenois, Paris
A26 с. 1897
BIERES DE LA MEUSE
Colour lithograph/lithographie en couleurs
141 x 90 cm & 123 x 88.5 ст
Signed bottom left/signée en bas д gauche: Mucha
Printer/imprimerie: F. Champenois, Paris
Variant/variante:
A26a Without lettering/sans lettrage

A27 с. 1897
CYCLES PERFECTA
Colour lithograph/lithographie en couleurs
150 x 105 cm
Signed bottom right/signée en basddroite: Mucha
Printer/imprimerie: Е. Champenois, Paris
A28 с. 1897
CHOCOLAT IDEAL
Colour lithograph/lithographie en couleurs
117 x 78 cm
Signed bottom right/signée en bas d агойе: Mucha
Printer/imprimerie: F. Champenois, Paris
Variant/variante:
A28a ‘Cacao Schaal’ 80 x 55 cm With German lettering and
different pack/avec texte allemand et paquet different

A29 с. 1897
CHOCOLAT CACAO
"Compagnie Francaise/F. Schaal & Cie.’
Colour lithograph/lithographie en couleurs
Unsigned/non signée
Printer not known/imprimerie inconnue
A30 с. 1897
BLEU DESCHAMPS
“En Vente Ісі”
Colour lithograph/lithographie en couleurs
35 x 25cm
Signed bottom left/signée en bas d gauche: Mucha
Printer/imprimerie: F. Champenois, Paris
A31 с. 1897
BLEU DESCHAMPS
Colour lithograph/lithographie en couleurs
50.5 x 33.5cm
Signed centre right/signée au centre d droite:
Mucha
Printer/imprimerie: F. Champenois, Paris
POSTERS/AFFICHES
A32 с.1897
DENTIFRICES DES BENEDICTINS DE
SOULAC
Colour lithograph? /lithographie en couleurs?
Listed as no. 52 in the Salon des Cent exhibition
catalogue. No other information available/numéro
52 dans la liste du catalogue de l'exposition Salon
des Cent. Pas d'autres renseignements

A33 1898
MEDEE
"Théátre de la Renaissance’
Colour lithograph/lithographie en couleurs
199 x 69 cm
Signed bottom left/signée en bas й gauche: Mucha
98 A32 A33
Printer/imprimerie: F. Champenois, Paris
A34 1898
NESTLE’S FOOD FOR INFANTS
Colour lithograph/lithographie en couleurs
74 х 33 cm
Signed bottom left/signée en bas à gauche: Mucha
Printer/imprimerie: [Link], Paris
A35 1898
THE WEST END REVIEW
Colour lithograph/lithographie en couleurs
286 x 205.5 cm
Unsigned/non signée
Printer/imprimerie: Lemercier, Paris
A36 1898
JOB
Cigarette papers/papiers à cigarettes
Colour lithograph/lithographie en couleurs
138.5 x 92.5 cm
Signed bottom left/signée en bas à gauche: Mucha
Printer/imprimerie: F. Champenois, Paris
A37 1898
MENUS & PROGRAMMES ILLUSTRES
Colour lithograph/lithographie en couleurs
36 x 23 cm
Signed bottom right/signée en bas à droite: Mucha
Printer unknown/imprimerie inconnue
Variant/variante:
120 Book cover/couverture de livre

A38 с.1898
CACHOU DE LUXE
*Carmichael's Luxuria Bath Tablets’
Colour lithograph/lithographie en couleurs
Signed bottom right/signée en bas à droite: Mucha
Printer/imprimerie: F. Champenois, Paris
Variant/ variante:
P2 Zodiac — panneau

A39 1899
MOET & CHANDON
‘Champagne White Star”
Colour lithograph/lithographie en couleurs
58 x 19.5cm [Link] corer FARIS
Signed bottom left/signée en bas d gauche: Mucha
Printer/imprimerie: [Link], Paris
POSTERS/AFFICHES
А40 1899
MOET & CHANDON
“Grand Crémant Imperial’
Colour lithograph/lithographie en couleurs
58 x 19.5 cm
Signed bottom left/signée en bas à gauche: Mucha
Printer/imprimerie: F. Champenois, Paris
Variant/variante:
А40а ‘Dry Imperial’

A41 1899
NECTAR
Colour lithograph/lithographie en couleurs
64 x 26cm
Signed bottom right/signée en bas d droite: Mucha
Printer/imprimerie: Librairie Centrale des Beaux-
Arts?

A42 1899
HAMLET
"Théütre Sarah Bernhardt’
Colour lithograph/lithographie en couleurs
196.5 x 67.5 ст
Signed bottom left/signée еп bas d gauche: Mucha
99
Printer/imprimerie: Е. Champenois, Paris
A43 1899
LA TOSCA
“Théâtre Sarah Bernhardt’
Colour lithograph /lithographie en couleurs
102 x 38 ст
Signed bottom left/signée en bas d gauche:
Mucha 99
Printer/imprimerie: Е. Champenois, Paris
A44 с. 1899
VIN DES INCAS
Colour lithograph/lithographie en couleurs
74.5 х 191.5 ст&14 х 36cm
Signed bottom right/signée en bas d droite: Mucha
Printer/imprimerie: F. Champenois, Paris
A45 1900
(Oesterreich auf der Weltausstellung Paris 1900)
AUSTRIAN PAVILION AT THE WORLD
FAIR/PAVILLON AUTRICHIEN A
L’EXPOSITION UNIVERSELLE
Colour lithograph/lithographie en couleurs
96 x 63cm
Signed bottom left/signée en bas д gauche: Mucha
Paris
Printer/imprimerie: S. Czetger, Vienna
Variant/variante:
A45a Left half published separately/la moitié gauche imprimée
apart

А46 1901
LYGIE
“Reproduction des Oeuvres Décoratives de Mucha’
Colour lithograph/lithographie en couleurs
174 x 58 cm
Signed bottom left/signée en bas 4 gauche:
Mucha 1901
Printer/imprimerie: Е. Champenois, Paris
1157)
POSTERS/AFFICHES
А47 1901
DOCUMENTS DECORATIFS
*Vient de Paraitre’
Monochrome lithograph/lithographie
monochrome
70 x 40.5 cm
Signed centre/signée au centre: Mucha
Printer/imprimerie: Librairie Centrale des Beaux-
Arts, Paris?
“Шы
А48 1901
DOCUMENTS DECORATIFS
Monochrome lithograph hand-coloured/
lithographie monochrome coloriée à la main
46 x 33cm
Signed bottom right/signée en bas àdroite: Mucha А47
Printer/imprimerie: Librairie Centrale des Beaux-
Arts, Paris?

А49 1902
(Výstava ve Уўзкоуё)
EXHIBITION OF AGRICULTURE, INDUSTRY
& ETHNOLOGY АТ VYSKOV/EXPOSITION
D'AGRICULTURE, D'INDUSTRIE ET
D'ETHNOLOGIE A VYSKOV
Colour lithograph/lithographie en couleurs
115 х 50 ст
Signed bottom left/signée en bas @ gauche: Mucha
Paris 1902
Printer/imprimerie: Unie, Prague ios]
хнотеки I
А50 1903
(Výstava у Hořicích) А50
EXHIBITION OF AGRICULTURE, INDUSTRY
& ART АТ HORICE/EXPOSITION
D'AGRICULTURE, D'INDUSTRIE ET D'ART
A HORICE
Colour lithograph/lithographie en couleurs
149 x 56 ст
Signed bottom right/signée en bas à droite: Mucha
Paris 03
Printer/imprimerie: Unie, Prague

АЯ 1903
EXPOSITION UNIVERSELLE &
INTERNATIONALE DE ST. LOUIS
Colour lithograph/lithographie en couleurs
105 x 77 cm
Signed bottom right/signée en bas à droite:
Mucha 1903
Printer/imprimerie: F. Champenois, Paris
А52 1904
LA PASSION D'EDMOND HARAUCOURT
Lithograph/lithographie
225 x 70cm
Signed bottom left/signée en bas à gauche: Mucha
Printer/imprimerie: F. Champenois, Paris
А53 с. 1905
RUDOLF FRIML
Colour lithograph/lithographie en couleurs
Dimensions unknown/dimensions inconnues
Signed bottom right/signée en bas а дгойе: Mucha
Printer unknown/imprimerie тсоппие
AS3
1158]
POSTERS/AFFICHES
А54 1907
(Pojistovací Бапка Slavia)
INSURANCE BANK SLAVIA/BANQUE
D’ASSURANCE SLAVIA
Colour lithograph/lithographie en couleurs
55 x 36 cm & 48 x 30 cm
Signed bottom centre/signée en bas au centre:
Mucha 1907 й
Printer/imprimerie: 1. Stenc, Prague
Variantes/variantes:
Basic design used in several other graphics/plusieurs oeuvres
graphiques basées sur ce dessin
А55 1908
LESLIE CARTER
Colour lithograph/lithographie en couleurs
202.5 x 69 ст
Signed bottom right/signée en bas à droite: Mucha
Printer/imprimerie: The Strobridge Litho Со.,
New York
Variant/variante:
G2p Centre panel of programme cover/panneau central d'une
couverture de programme
А56 1909
WARNER’S RUST PROOF CORSETS
Colour lithograph/lithographie en couleurs
264.5 x 100 ст
Signed bottom right/signée en bas à droite: Mucha
Printer/imprimerie: The Warner Brothers
Company, U.S.A.
А57 c. 1910-15
(Spolek Komenský)
KOMENSKÝ SOCIETY/LA SOCIETE KOMENSKÝ
Lithograph/lithographie
84 x 57 cm & 38 x 27 cm
Signed bottom right/signée en bas à droite: Mucha
Printer unknown/imprimerie inconnue
А58 1911
(Pěvecké sdružení učitelů moravských)
MORAVIAN TEACHERS CHOIR/CHOEUR
DES PROFESSEURS MORA VIENS
Colour lithograph/lithographie en couleurs
105.5 x 77 cm
Signed bottom left/signée en bas à gauche: Mucha 1911
Printer/imprimerie: V. Neubert, Prague
А59 1911
(Princezna Hyacinta)
PRINCESS HYACINTH
Colour lithograph/lithographie en couleurs
117.5 х 78.5 cm
Signed bottom right/signée en bas à droite: Mucha 11
Printer/imprimerie: V. Neubert, Prague
A60 1912
(Loterie Národní jednoty)
LOTTERY OF THE UNION OF SOUTH-
WESTERN MORAVIA/LOTERIE DE L'UNION
DE LA MORAVIE DU SUD-OUEST
Colour lithograph/lithographie en couleurs
170 х 94 cm
Signed bottom right/signée en bas à droite: Mucha 1912
Printer/imprimerie: V. Neubert, Prague
[159]
POSTERS/AFFICHES
A61 1912
(VI. Slet viesokolsky 1912)
6TH SOKOL FESTIVAL/6EME FOIRE DE
SOKOL
Colour lithograph/lithographie en couleurs
166 x 82cm
Signed bottom right/signée en bas d droite:
Mucha 1912
Printer/imprimerie: У. Neubert, Prague
Variant/ variante:
A6la With Russian text at bottom/avec texte russe en bas

A62 1912 аша| С

(Krajinská výstava у Ivančicích) ЎВА,
REGIONAL EXHIBITION AT E
IVANCICE/EXPOSITION REGIONALEA
IVANCICE
Colour lithograph/lithographie en couleurs
89.5 x 48.5 cm
Signed bottom left/signée en bas d gauche:
Mucha 12
Printer/imprimerie: У. Neubert, Prague

A63 1913 қ
(Celistka Zdenka Cerná)
EUROPEAN TOUR OF THE CELLIST
ZDENKA CERNA/TOURNEE EUROPEENNE
DE LA VIOLONCELLISTE ZDENKA ČERNÁ
Colour lithograph/lithographie en couleurs
102 x 104 ст
Signed bottom left/signée en bas d gauche:
Mucha 1913
Printer/imprimerie: V. Neubert, Prague

А64 1914
(Jarni slavnosti pévecké a hudebni v Praze)
SPRING FESTIVAL OF SONG & MUSIC IN
PRAGUE/FOIRE DE PRINTEMPS DE LA
CHANSON ET DE LA MUSIQUE APRAGUE
Colour lithograph/lithographie en couleurs
143 x 71 cm
Signed bottom right/signée en bas à droite:
Mucha 1914
Printer/imprimerie: V. Neubert, Prague

A65 1916
(Sokolská loterie)
SOKOL LOTTERY/LOTERIE DE SOKOL
Lithograph/lithographie
87 x 34.5 cm
Signed centre right/signée au centre à droite:
Mucha 1916
Printer unknown/imprimerie inconnue

A66 1921
MUCHA EXHIBITION/EXPOSITION MUCHA
Brooklyn Museum
Colour lithograph/lithographie en couleurs
45 x 30cm
Signed centre left/signée au centre à gauche:
Mucha
Printed in USA/imprimée aux Etats-Unis
A66 A67
[160]
POSTERS/AFFICHES
A67 с. 1922
Y.W.C.A.
Colour lithograph/lithographie en couleurs
66.5 x 37.5 ст 4:25 x 14.5 cm
Signed bottom right/signée en bas d droite: Mucha
Printer/imprimerie: V. Neubert, Prague
A68 1922
RUSSIA RESTITUENDA
Colour lithograph/lithographie en couleurs
76 x 43.5 ст & 50 х 28.5 cm
Signed bottom right/signée en bas à droite: Mucha
Printer/imprimerie: Melantrich, Prague
A69 1925
(VIII. Slet vsesokolsky)
8TH SOKOL FESTIVAL/8EME FOIRE DE
SOKOL
Colour lithograph/lithographie en couleurs
176.5 x 78.5 cm
Signed bottom right/signée en bas à droite:
Mucha 25
Printer/imprimerie: 1. Ziegloser, Prague
А70 1927
BIO ADRIA
Poster for the first sound film in Prague/affiche
pour le premier film sonore й Prague
Colour lithograph/lithographie en couleurs
146 x 66 ст ET
Signed bottom left/signée en bas à gauche: асва
SRS БАЗОЖ
Mucha 27 CR
Printer/imprimerie: V. Neubert, Prague

А71 1928
(Slovanská epopej)
THE SLAV EPIC/L’EPOPEE SLAVE
ALOVANTKA EPOPEJ
РІЗТОВІЄ SLOVADSTVA V OBRAZICH
Poster for the first public exhibition of the Slav
Epic/affiche pour la premiere exposition publique
de l'Epopée Slave e-ALFONS МОСРА-»
Colour lithograph/lithographie en couleurs WYSTAVENO OD 23.2 ARÍ DO 31. RIJNA 1928
140 x 89 ст & 118 x 76 cm; text/texte: VE VELKÉ DVORANE [Link]ÍRO PALACE
66 x 89 ст УР
Signed bottom right/signée en bas й агойе: PODPROTEKTORATEM MINISTRA ŠKOLSTVÍ À NÁRODNÍ OSVĚTY
Mucha 28
Printer/imprimerie: У. Neubert, Prague D* MILANA RODZI.
Variants/variantes:
Illustration and text were published both together and
DENNE OTEVŘENO oD ӛ- т ROD.
separately/l'illustration et le texte imprimés à la fois ensemble et
séparément

А72 с. 1928
KRINOGEN
Print taken from India ink drawing/gravure tirée
d'un dessin à Гепсге de Chine
44.5 x 44.5 cm
Unsigned/non signée
Printer/imprimerie: V. Neubert, Prague

A73 1928
*1918-1928"
Colour lithograph/lithographie en couleurs
116.5 x 78.5 cm
Signed bottom right/signée en bas à droite: Mucha
Printer/imprimerie: K. Kriz, Prague
161]
CALENDARS/CALENDRIERS
А74 с. 1935 AN VÍSTAVA
(ОК slepcú) SLEPECREHO TISKU
THANKS OF THE BLIND/REMERCIEMENTS
DES AVEUGLES
EIER,
V PRAZE Lu ка.

Colour lithograph/lithographie en couleurs

Centre panel/panneau central: 24 х 12 ст
With text/avec texte: 50 x 34 cm
Signed bottom left/signée en bas d gauche:
1933 Mucha
Printer unknown/imprimerie inconnue

DOUBTFUL ATTRIBUTION/ATTRIBUTION
INCERTAINE
BIV ЗУ. 1935.
Err зом
astnRe
A75 с. 1896 Ала
LUCHON LA REINE DES
PYRENEES/LUCHON QUEEN OF THE
PYRENEES ADDENDA
Colour lithograph/lithographie en couleurs 1899 THEODORA
94 x 68.5 ст
Unsigned/non signée 1900 L'AIGLON
Printer/imprimerie: Camis, Paris Both posters were for Rostand plays starring Sarah
Bernhardt. No other information available/ces deux
Also attributed to Eugene Grasset/attribuée aussi à affiches étaient destinées aux pieces de theätre de Rostand
Eugene Grasset avec Sarah Bernhardt. Pas d'autres renseignements.

CALENDARS/CALENDRIERS
СІ 1892
CHARLES LORILLEUXET CIE.
Lithograph, 12 leaves/lithographie, 12 feuilles
24 x 19.5 ст
Signed bottom left/signée en bas d gauche: Mucha
Printer unknown/imprimerie inconnue
Variants/variantes:
Minor variations for successive years/petites variations pour les
années suivantes.
c2 c. 1894
L'IMPRIMERIE VIEILLEMARD ET FILS
Perpetual calendar/calendrier perpétuel
Listed as no. 61 in the Salon des Cent exhibition
catalogue. No other information available/numéro
61 dans la liste du catalogue de l'exposition Salon
des Cent. Pas d'autres renseignements
C3 1896
CHOCOLAT MASSON/CHOCOLAT
MEXICAIN 1897
Colour lithograph/lithographie en couleurs
42.5 x 58cm
Each panel signed bottom right/chaque panneau
signé en bas à droite: Mucha
Printer/imprimerie: F. Champenois, Paris
Variants/variantes:
C3a Les Calendriers des Saisons — without advertising
lettering іп top panels or at foot of illustrations/sans texte
publicitaire sur les panneaux en haut ou au bas des
illustrations
C3b Without lettering and calendar part/sans texte et sans
calendrier
Cie Аз four separate panels/en quatre panneaux séparés

1162]
CALENDARS/CALENDRIERS
С4 1896
CHAMPENOIS (ZODIAC) 1897
Colour lithograph/lithographie en couleurs
63 x 47 cm
Signed bottom right/signée en bas à droite: Mucha
Printer/imprimerie: F. Champenois, Paris
Variants/variantes:
С4а La Plume — calendar/calendrier 1897
C4b Imprimerie Librairie L. Marchal — calendar/calendrier
Các Savon de Bagnolet — calendar /calendrier 1889 (central
figure only/seulement la figure centrale
P2 Zodiac — panneau
A38 Cachou de luxe — poster/affiche

cs 1896
BISCUITS LEFEVRE-UTILE 1897
Colour lithograph/lithographie en couleurs
60.5 x 43 ст
Signed bottom left/signée en bas à gauche: Mucha
Printer/imprimerie: F. Champenois, Paris

C6 1896-7
JOB
Colour lithographs/lithographies en couleurs
51.5 x 39cm
Signed bottom right/signées en bas à droite: Mucha
Printer/imprimerie: F. Champenois, Paris
Variant/variante:
A6 Job — poster/affiche

ст 1897
L'ANNEE QUI VIENT
Monochrome lithograph/lithographie monochrome
94.5 x 33 ст
Signed bottom right/signée en bas à droite:
Mucha 97
Printer/imprimerie: F. Champenois, Paris
Variant/variante:
PI4 L'Année qui vient — panneau

C8 1897
CHAMPENOIS (REVERIE) 1898
Colour lithograph/lithographie en couleurs
64 x 47.5 ст
Signed bottom right/signée en bas à droite: Mucha.
Printer/imprimerie: F. Champenois, Paris
Variants/ variantes:
Сва With lettering in top centre panel/avec lettrage sur le
panneau central en haut
РІ Réverie — panneau

C9 1897
CHOCOLAT MASSON/CHOCOLAT
MEXICAIN 1898
Enfance, Adolescence, Аве Міг,
Vieillesse/Childhood, Adolescence, Manhood, Old
Age
Colour lithographs, 4 sheets/lithographies en
couleurs, 4 feuilles
30 x 22 ст each sheet/chaque feuille
Signed bottom left/signée en bas à gauche: Mucha
Printer/imprimerie: F. Champenois, Paris
BOOKS/LIVRES
C10 1897
F. GUILLOT-PELLETIER ORLEANS 1898
Colour lithograph/lithographie en couleurs
34 x 52cm
Signed bottom right/signée en bas d droite: Mucha
Printer/imprimerie: F. Champenois, Paris
СІІ 1899
RJ (LA PLUME) 1900
Colour lithograph/lithographie en couleurs
58.5 x 28cm
Signed bottom left/signée en bas d gauche:
Mucha 99
Printer/imprimerie: F. Champenois, Paris
Variant/variante:
P27 La Plume — panneau
CI2 1903
LEFEVRE-UTILE
Sarah Bernhardt — La Princesse Lointaine, 1904
Colour lithograph/lithographie en couleurs
70 x 50.5 cm
Signed bottom left/signée en bas d gauche: Mucha
Printer/imprimerie: F. Champenois, Paris

BOOKS/LIVRES
L1 1891
HISTOIRE DE DEUX ENFANTS DE
LONDRES, AVENTURE NAUTIQUE, LES —
BAVARDAGES DE FANNY си Сіз
Illustrations by Mucha for/illustrations de Mucha
pour: Aventure Nautique
Pascal Grousset
Armand Colin, Paris

12 1891
SIX NOUVELLES
Charles Normand
Illustrations by Mucha for/illustrations de Mucha
pour: Le premier shampooing d’Absalon
Armand Colin, Paris

L3 1892
LES CONTES DES GRAND-MERES
Xavier Marmier
Jouvet, Paris
L4 1892
LES LUNETTES BLEUES, RECITS
JURASSIENS
Mme Magbert
“Illustrés de 33 gravures d'après Mucha et Martin’
Armand Colin, Paris

15 1894
MEMOIRES D'UN ELEPHANT BLANC
Judith Gautier
Armand Colin, Paris

16 1895
JAMAIS CONTENT
Gérald Montméril
Armand Colin, Paris
BOOKS/LIVRES
17 1896
L’AVENTURE DE ROLAND
Henri de Brisay
Paris Charavay, Manteaux Martin

18 1896-8
SCENES ET EPISODES DE L’HISTOIRE
D'ALLEMAGNE
Charles Seignobos
Published in 41 parts/publié en 41 parties
“Illustrés de 40 compositions inédites par
С. Rochegrosse el A. Mucha”
Engravings by/gravures de: G. Lemoine
A limited edition of 20 copies was printed in
addition to the ordinary edition/édition àtirage |,
limité de 20 exemplaires imprimés en plus de
l'édition ordinaire
Armand Colin, Paris
V REGIMENT қ

19 1896-98
LE IER REGIMENT
DE ZOUAVES 1852-95
2 volumes
Simon Godchot
‘Illustrations de MM. E. Titeux, Kreiger et Mucha’
The figure on the cover is used for both volumes
and аз a frontispiece for volume 1/ la figure sur la
couverture est utilisée pour les deux volumes ainsi
qu'en frontispice pour le volume 1
Librairie Centrale des Beaux-Arts

110 1896-1900
LES MAITRES DE L’AFFICHE
5 volumes
Contains 7 posters by Mucha/avec 7affiches de
Mucha:
Gismonda — P1. 27
Salon des Cent — P1. 94
Lorenzaccio — P1. 114
La Dame aux Camélias — P1. 144
Samaritaine — P1. 166
Biéres de Іа Meuse — P1. 182
Job 1896 — P1. 202
Roger Marx (editor/directeur)
Imprimerie Chaix, Paris

Lil 1897
ILSEE, PRINCESSE DE TRIPOLI
Robert de Flers
"Lithographies de A. Mucha’
Limited edition of 252 copies, 180 of which are on
vellum, 1 on parchment, 1 on silk, 35 on Japan
paper and 35 on Chine paper/édition à tirage limité
de 252 exemplaires, à savoir: 180 sur vélin, 1 sur
parchemin, 1 sur soie, 35 sur papier Japon et 35 sur.
papier de Chine
H. Piazza, Paris
Lila 1901
ILSEE, PRINZESSIN VON TRIPOLIS
German edition/édition allemande
‘Deutsch von Regine Adler. Lithographien von А. Mucha’
Limited edition of 800 copies on vellum/édition д tirage
limité de 800 exemplaires sur vélin
В. Kodi, Prague
BOOKS/LIVRES
112 1897-1907
ALBUM HISTORIQUE
4 volumes
André Emile Emmanuel Parmentier
Illustrations by Mucha in volumes 1 and 2
only/illustrations de Mucha dans les volumes 1 et 2
seulement
Armand Colin, Paris
113 1897
АРАМІТЕ |
Jan Svatopluk Сесії
“Ilustroval Alphons Mucha’
F. Šimáček, Prague
114 1897
LA PLUME
Alphonse Mucha et son Oeuvre
Texte par Léon Deschamps, etc. . .127
illustrations par A. Mucha”
Originally issued in La Plume in 6 parts between 1
July and 15 September 1897. Special edition
prepared for Les XX. 20 copies on Japan paper,
edition statement signed by Mucha; 20 copies on
Chine paper. Original lithograph on both Japan
and Chine. Cover, designed by Mucha, printed on
Japan and on Chine — and in colour on
vellum/Publié pour la premiere fois dans La Plume
en 6 parties à partir du Ier juillet jusqu'au 15
septembre. Edition spéciale préparée pour Les XX.
20 exemplaires sur papier Japon, déclaration de
l'édition signée par Mucha; 20 exemplaires sur
papier de Chine. Une lithographie originale sur les
papiers de Japon et de Chine. Couverture, créée
par Mucha, imprimée sur papiers de Japon et de
Chine — et en couleurs sur vélin
Société anonyme La Plume, Paris
LIS 1898
LA VALLEE DES COLIBRIS
Lucien Biart
Alfred Mame, Tours

LI6 1898
LORENZACCIO
Alfred de Musset
Cover by Mucha/couverture de Mucha
P. Ollendorf, Paris
L17 1898
POESIES DU FOYER ET DE L'ECOLE
Eugéne Manuel
"Extraites des oeuvres de l'auteur, avec des pieces
inédites. Illustrations de A. Mucha. Portrait раг L.
Flament”
Limited edition of 200 copies, 125 of which are on
Holland paper/édition à tirage limité de 200
exemplaires, dont 125 sont sur papier de Hollande
Librairie Centrale des Beaux-Arts, Paris

LI8 1898
LES CHASSEURS D'EPAVES
Georges Price
Includes 6 illustrations by Mucha/y compris 6
illustrations de Mucha
Alfred Mame, Tours

1166]
BOOKS/LIVRES

«М 4
119 1898
RAMA
Paul Vérola
“Родте dramatique en trois actes. Illustrations de Ж
Alphonse Mucha”
Limited edition of 400copies, 385 of which are on
vellum/édition d tirage limité de 400 exemplaires,
dont 385 sont sur vélin
Bibliothéque Artistique et Littéraire
NOCH

120 1898
LES MENUS ET PROGRAMMES ILLUSTRES

SOMONE)
Léon Maillard
Covers and 5 menus by Mucha/couvertures et 5
menus de Mucha
плата
Limited edition of 1050 copies, 1000 on 120
vellum/édition d tirage limité de 1050 exemplaires,
dont 1000 sont sur velin
G. Boudet, Paris

.
121 1898
LES CHANSONS ETERNELLES
Paul Redonnel
Cover and one loose-leaf plate/couverture el une
planche hors-texte
Limited edition of 550 copies, 500 of which are on
vellum/édition d tirage limité de 550 exemplaires,
dont 500 sont sur vélin
Bibliothèque Artistique et Littéraire, Paris

122 с. 1898
CHANSONS D’AIEULES
"Dites par Madame Amel de la Comédie Française”
Cover/couverture
Also includes lithographs by Mucha/y compris des
lithographies de Mucha
Henri Tellier, Paris

123 1899
LE PATER
‘Commentaire et compositions de А. М. Mucha’
Limited edition of 510 copies, 400 of which are on
Marais paper. The first 10 copies were printed on
Japan paper with an original watercolour/édition @ AM ÑUKA
tirage limité de 510 exemplaires dont 400 sont sur
papier de Marais. Les 10 premiers exemplaires
étaient tirés sur papier Japon avec une адиагейе
originale 123
39.5 х 30 ст
Е. Champenois, Н. Piazza, Paris transformer Le Pater en Оісёпаў. Malgré la page
de titre et avant-titre en tchèque, les feuilles du
ТР texte ае cet exemplaire proviennent ае l'edition
124
OTCENÁS francaise. Quelques versions du texte et du
Ki ice A. М. Muchy’ commentaire tchéques, imprimées sur papier de
м we а sc У à Р — Chine et encollées sur de grandes feuilles sont
5 3» "3 На an SC SR e aun CARNE 9 interfoliées. Selon la justification de tirage 510
са Age = Ө $3 u 1 ed = з s 8 4 exemplaires ае l'édition francaise étaient imprimés
ЧЕ PASS ANC a Ооо
are of the French edition. S Versions ofб the Czech bien que
= l’edition tchèque n'en eût que 120
text and commentary, printed on Chine paper and
В. Коё, Prague
mounted on full-size sheets, are interleaved. The шы екін
edition statement indicates that 510 copies were With different commentary and illustrations reduced іп
printed of the French edition and only 120 copies size/avec un commentaire different et des illustrations de
of the Czech edition//'exemplaire de Mucha pour Format réduit

1167]
BOOKS/LIVRES
L25 1900
CLIO
Anatole France
"Illustrations de Mucha”
2 limited editions: 100 copies on Japan paper and
50 copies on Chine paper with loose-leaf plate.
Special edition of 20 copies reserved for Les XX,
оп vellum with suite on Chine paper/2 éditions д
tirage limité: 100 exemplaires sur papier Japon, 50
exemplaires sur papier de Chine avec suite. “Пгаве
Spécialàvingt exemplaires sur papier vélin à la
cuve des Usines d'Arches avec suite en couleurs
tirée à part sur papier de Сите” (pour Les XX)
Calmann Lévy, Paris

L26 1900
CLOCHES DE NOEL ET DE PAQUES
Emile Gebhart
‘Illustrations et décorations de A. Mucha’
Limited edition of 252 copies, 35 of which are on
Japan paper and 215 on vellum. A few copies also
printed on satin/édition à tirage limité de 252
exemplaires dont 35 sur papier Japon et 215 sur
vélin. Quelques exemplaires tirés aussi sur satin
F. Champenois, H. Piazza, Paris

m ‎‫ر‬
127 1900
PRAHA-PARÍZI
n PA
Cover/couverture
В. Köci, Prague

128 1900
LES SENTIMENTS, LA MUSIQUE ET LE
GESTE
Albert de Rochas
Cover/couverture
Limited edition of 1100 copies/édition 4
tirage limité de 1100 exemplaires
H. Falque et Félix Perrin, Grenoble

129 1901
COMBINAISONS ORNEMENTALES
“Se multipliant à l'infini à l'aide du miroir’
M.P. Verneuil, G. Auriol, A. Mucha
Cover and following pages by Mucha/couverture et
pages suivantes de Mucha:
6, 12, 18, 24, 30, 36, 42, 48, 54, 59
Librairie Centrale des Beaux-Arts, Paris
129a 1901

INES
DIE GROTESKLINIE UND IHRE SPIEGEL
VARIATION IN MODERNEN ORNAMENT UND IN

SAQUE
DER DEKORATIONSMALEREI
German reprint of above/édition réimprimée en allemand
de celle mentionnée ci-dessus
Kanter & Mohr, Berlin & Cologne SCMLIIFLIANT ALITFIN À L'AIDE nummum
PEFTINTDE
130 1902
MATVERTEUL E. [Link]
DICTIONNAIRE DES ARTS DECORATIFS PARIS
2 volumes Cover/couverture es Beau Arig
Paul Rouaix
"Ouvrage illustré d'environ 600 gravures’
Montgredien, Paris
129
1168]
BOOKS/LIVRES
131 1902
DOCUMENTS DECORATIFS
A. M. Mucha
“Panneaux décoratifs, études des applications de
fleurs, papiers peints, frises, vitraux, orfevrerie. 72
planches. Préface de Gabriel Mourey’
45 x 30.5 ст
Librairie Centrale des Beaux-Arts, Paris

132 1902
MISTR JAN HUS NA KONCILU KOSTNICKÉM
Poggio-Bracciolini
«Шизігції a vlastním nákladem vydávají Alfons
Mucha а Jan Dédina’
J. Otto, Prague
133 1904-1908
ENCYCLOPEDIE ARTISTIQUE ET
DOCUMENTAIRE DE LA PLANTE
4 volumes
Maurice Pillard Verneuil
Includes 3 plates by Mucha/y compris 3 planches
de Mucha
Librairie Centrale des Beaux-Arts, Paris

134 1905
IN BOHEMIA
James Clarence Harvey
Includes illustrations by Mucha/y compris
quelques illustrations de Mucha
H. M. Caldwell, New York, Boston

135 1905
FIGURES DECORATIVES
A. M. Mucha
“Quarante planches reproduisant en fac-similé les
dessins de l'artiste" FIGURES
45.5 x 33 ст 06
Librairie Centrale des Beaux-Arts, Paris DECORATIVES
136 1922 ,
ÜTOK MORE
Quido Maria Vyskoëil
‘Románová legenda. Knižní výzdoba od Alfonse em
Muchy’ :
A limited edition of 200 copies was printed in
addition to the ordinary edition/une édition à
tirage limité de 200 exemplaires fut tirée en plus
que l'édition ordinaire
E. Beaufort Prague
135
137 1909
PLEIADES CLUB YEARBOOK
Includes 2 illustrations by Mucha/y compris 2
illustrations de Mucha
Limited edition of 500 copies/édition д tirage limité
de 500 exemplaires К
Pleiades Club, New York ae ^
138 199 | оток MORE
ANDELICEK Z BAROKU
Josef Hais-Tynecky
Limited edition of 300 copies, 200 of which were
numbered and signed by the author/édition d tirage
limité de 300 exemplaires, dont 200 numérotés el
signés par l’auteur
J. Otto, Prague
136 138
1169]
PERIODICALS/REVUES
L39 nd. LA VIE POPULAIRE
PLACÍCÍ MADONA
Quido Maria Vyskocil
L. Mazac, Prague
140 n.d.
SINGOALA
An epic poem/un родте épique
Ridval
PERIODICALS/REVUES
RI 1890-01
LE COSTUME
AU THEATRE
Illustrations by Mucha in the following
issues/illustrations de Mucha dans les numéros
suivants: 10, 11 & 12

R2 1890-01
LA VIE POPULAIRE
Covers by Mucha for the following
issues/couvertures de Mucha pour les numéros
suivants: 1890: 24 April/avril, 22, 29 May/mai, 1
June/juin, 1891: 1 January/janvier
R3 1891-5
LE PETIT FRANCAIS ILLUSTRE
Journal des écoliers et des écoliéres
Covers by Mucha for the following
issues/couvertures de Mucha pour les numéros
suivants: 1891: 28 March/mars; 25 April/avril; 2,
9,23 May/mai; 1892: 2, 23 January/janvier;
1893: 22 April/avril; 13 Мау/таі; 3 June/juin;
30 September/septembre; 21 October/octobre; 2,
16, 23 December/décembre; 1894: 13
January/janvier; 9, 16, 30 June/juin; 7, 14
July/juillet; 4, 11, 18 August/août; 1895: 7, 28
September/septembre
R4 1896
THE NINETEEN HUNDRED
Vol. 2, No. 6, June/juin 1896
Signed bottom centre/signée en bas au centre:
Mucha
Cover/couverture
RS 1896
FIGARO ILLUSTRE
Vol. 14, No. 75, June/juin 1896
Cover/couverture

R6 1896-1900
L’IMAGE
Revue artistique et littéraire
R6a Vol. 1, No. 1, December/décembre 1896
Front and back cover/couverture et dos de
couverture
29.5 х 21.5ст
Signed bottom right/signée en bas d droite:
Mucha
R6b No. 105, December/décembre 1900
Cover/couverture

R7 1896
L'AFFICHE ILLUSTREE
Includes one illustration by Mucha/y compris une
illustration de Mucha
PERIODICALS/REVUES

R8 1896
L'ILLUSTRATION
1896-Noël-1897
Cover/couverture
Colour lithograph/lithographie en couleurs
38 x 26.5ст
Signed bottom right/signée en bas à droite:
Mucha 1896

R9 1897
LA PLUME
“No consacré à Alphonse Mucha”
No. 197, July/juillet 1897
Cover/couverture
Colour lithograph/lithographie en couleurs
25 x 18cm
Signed bottom right/signée en bas d droite: Mucha
This issue and the following 5 (nos. 197-202, 15
September) contained special sections devoted to
LESTAMPE
the work of Мисһа/сейе édition et les 5 suivantes
Moderne
(nos. 197-202, 15 septembre) comprenaient
quelques pages dédiées à l'oeuvre de Mucha
The same cover design in different colours was also
used for subsequent issues/le méme dessin de la
couverture, en couleurs différentes, paraissait sur
d'autres éditions

R10 1897-99
L'ESTAMPE MODERNE
R10a Cover for all 24 issues from Мау 1897 to
April 1899/couverture pour toutes les 24
éditions de mai 1897 à avril 1899
Black and white engraving/gravure noir et
blanc
56 x 41 ст&42 x 31 ст
Signed bottom left/signée en bas à gauche:
Mucha
R10b 1897
Salammbó
Colour lithograph/lithographie en couleurs
38 x 21.5cm
Signed bottom left/signée en bas d gauche:
Mucha
R10c 1897
Salomé
Colour lithograph/lithographie en couleurs
41 x 31 ст
Signed bottom left/signée en bas d gauche:
Mucha

ки 1897-1900
AU QUARTIER LATIN
Ri la Numéro Exceptionnel 1897
Cover/couverture
Colour lithograph/lithographie en couleurs
44 x 31 cm
Signed bottom left/signée en bas d gauche:
Mucha
R11b Cover/couverture 1898
Colour lithograph/lithographie en couleurs
44 x 31 cm
Signed bottom right/signée en bas d droite:
Mucha 98
PERIODICALS/REVUES
кс Numéro Exceptionnel Noël 1900
Cover/couverture
Colour lithograph/lithographie en couleurs
Signed bottom right/signee en bas д droite:
Mucha

R12 1899-1902
COCORICO
К12а For all issues/pour tous les numéros:
frontispiece/frontispice
8x 19cm
Black and white print/estampe noir et blanc
Signed bottom left/signée en bas й gauche:
Mucha
R12b No. 1,31 December/décembre 1898
Cover/couverture
Monochrome lithograph/lithographie
monochrome
30 x 23 ст
Signed bottom right/signée en bas d droite:
Mucha
R12c No. 4, 15 February/février 1899
Cover/couverture
Lithograph, silver and black/lithographie,
argent et noir
30 x 23cm
Signed bottom right/signée en bas d droite:
Mucha
R12d No. 19, 5 October/octobre 1899
Cover/couverture
Colour lithograph/lithographie en couleurs
30 x 23cm
Signed bottom right/signée en bas à droite: R12b
Mucha
R12e No. 24, 30 December/décembre 1899
Cover/couverture 2
Colour lithograph/lithographie en couleurs >
30 x 23cm
Signed/signée: Mucha
RI2f No. 42, 1-15 November/novembre 1900
Cover/couverture
Monochrome lithograph/lithographie
monochrome
30 x 23 ст
Signed/signée: Mucha
R12g No. 62, 1-15 April/avril 1902

COCO
Cover/couverture
Colour lithograph/lithographie en couleurs
31 x 20cm
Signed bottom right/signée en bas д droite: Ride
Mucha

RI2 1899
h-s 12 months of the year, one appearing each
month//2 mois de l'année, un paraissant
chaque mois
Black and white prints/estampes noir et
blanc
19 x 13cm
Signed bottom right or left/signée en bas d
gauche ou d droite: Mucha

R13 1898
L'AGE D'ART
Vol. 1, No. 4, 19 February/février 1898 and
кі24
PERIODICALS/REVUES
others/parmi d'autres VER SACRUM
Cover/couverture
Lithograph, colour varying monthly/lithographie,
dont les couleurs changent mensuellement
28.5 x 19.5 cm
Signed bottom left/signée en bas à gauche: Mucha
R14 1898
VER SACRUM
Vol. 1, November/novembre 1898
Cover/couverture
Monochrome lithograph/lithographie
monochrome
29 x 23.5ст
Signed /signée: Mucha
RIS 1899
L’ART PHOTOGRAPHIQUE
No. 2, August/août 1899
Cover/couverture
Also used on successive issues /utilisée aussi pour
les numéros suivants
Colour lithograph/lithographie en couleurs
47 x 33 cm
Signed bottom left/signée en bas @ gauche: Mucha
99
RI6 1899-1900
LE МОІ5 LITTERAIRE ET PITTORESQUE
RI6 24 covers/couvertures (2 series)
ах Monochrome lithographs/lithographies
monochromes
25 x 17cm
Cover signed bottom right/couverture signée
en bas й droite: Mucha 98
Central illustration signed at the bottom/
illustration au centre signée en bas: Mucha
Variants/variantes:
614 menus
R16y Emblem/embleme
Black and white lithograph; also colour/
lithographie en noir е! blanc, aussi en
couleurs
11x 7cm
Signed centre right/signée au centre d droite:
Mucha
Variant/variante:
125 Title page for/page de titre de: Clio
R17 1899
LE CHIC
Vol. 9, Suppl. to No. 96, 1899
Cover/couverture
Blue monochrome print/estampe monochrome
bleue
39 x 31.5 ст
Signed bottom right/signée en bas d droite:
Mucha 99

R18 1909
LE QUARTIER LATIN
Моё! 1900
Cover/couverture
Colour lithograph/lithographie en couleurs
44 x 31 cm
Signed bottom right/signée en bas à droite: Mucha

1173]
PERIODICALS/REVUES
R19 1900
L’IDEE
Vol. 16, No. 58, 30 April/avril 1900
Cover/couverture
Monochrome print, colour varying
monthly/estampe monochrome dont la couleur
change mensuellement
29 x 20cm
Signed bottom right/signée en bas d droite:
Mucha 99

R20 1900
L'UNIVERSELLE
Vol. 2, No. 4, 1900
Cover/couverture
Print/estampe
28 x 22.5 cm
Signed centre right/signée au centre à droite:
Mucha
DEBATT БАЎМ
R21 1901
PARIS WORLD NUM
No. 2, December/décembre 1901
Cover/couverture
Colour lithograph/lithographie en couleurs
25 x 17cm
Signed centre left/signée au centre à gauche:
Mucha
R22 гб И PROGRAMOE:
Е
я
REVUE DES DEBATS EUROPEENS
March/mars 1901
Cover/couverture
Print/estampe
25 x 16ст
Signed bottom centre/signée en bas au centre:
Mucha

R23 1903-4 S
РУАСАТУ VEK
20th century/20éme siecle
R23a Vol. 3, No. 3, 1903
Cover/couverture
Black and white print/estampe noir et blanc
34 x 14 ст
Signed bottom right/signée en bas à droite:
Mucha
R23b Vol. 4, No. 8, 1904
Cover/couverture
R24 1903
VZPOMINKY
Cover/couverture
Print/estampe
26 x 18cm
Signed bottom right/signée en bas d droite:
Mucha 1902
1903 v (4 Gi
R25 ei |
LE CHRONIQUEUR DE PARIS LE CBRONIQUEUR
Vol. 4, No. 43, 19 November/novembre 1903 EC
Front page/premiére page і DE PARIS FE |
Print/estampe
36.5 х 26.5 ст
Signed bottom left/signée en bas d gauche:
Mucha 1903
PERIODICALS/REVUES
R26 1903
МАЛ La Rewe » Bien
Vol. 1, No. 26, 1903 Sen laVie [Link]
Cover/couverture
Red monochrome print/estampe rouge
monochrome
26 x 18 ст
Signed bottom right/signée en bas à droite:
Mucha 1902
R27 c. 1903
LA REVUE DU BIEN
Cover/couverture
Monochrome print/estampe monochrome
Signed bottom left/signée en bas à gauche: Mucha
Variant/variante:
R27a Cover for/couverture pour: Dvacáty věk

R28 1904
THE NEW YORK DAILY NEWS
Front page of the colour section, 3 April. Also
published as a separate print/premiere page de la
partie en couleurs. Publiée aussi comme estampe
Colour lithograph/lithographie еп couleurs
48.5 x 33 cm
Signed bottom left/signée en bas д gauche:
Mucha 1904
R29 1905-07
LA PAROLE REPUBLICAINE
Cover/couverture
Print taken from Indian ink drawing/estampe tirée
d'un dessin й Гепсге de Chine
Signed centre right/signée au centre й droite:
Mucha 1904
R30 1905
THE INDEX
R30a Vol. 12, No. 26, 1 July/juillet 1905
Colour print/estampe en couleurs
36 x 28cm
Signed bottom left/signée en bas д gauche:
Mucha
R30b Vol. 13, No. 2, 15 July/juillet 1905
Cover/couverture
Colour print/estampe en couleurs
36 x 28cm
Unsigned/non signée
Wie
з
R30a R30b
R31 1906
TOWN TOPICS
Vol. 56, No. 23, 6 December/décembre 1906 |Town TOPICS
Cover/couverture
Colour print/estampe en couleurs
Signed bottom left/signée en bas d gauche:
Mucha 1906
R32 1906
AMERICAN-JOURNAL EXAMINER
Double-page spread/illustration sur deux pages
*Mucha's Easter Girl’/Jeune fille de Páques de
Mucha
Colour lithograph/lithographie en couleurs
47 x 38 cm
Signed bottom right/signée en bas à droite: Mucha Î " "
R31

1175]
PERIODICALS/REVUES
R33 1906
EVERYBODY'S MAGAZINE
Supplement to December issue, Vol. 15
‘The Beatitudes’
Title page with text of verses, 6 full page
illustrations and medallion/page de titre avec le
texte des vers, 6illustrations hors-texte et
médaillon

R34 с. 1907
THE BURR McINTOSH MONTHLY
Cover/couverture
35.5 x 23 ст
Signed bottom left/signée en bas д gauche:
Mucha 1907
R35 1910
THE LITERARY DIGEST
R35a Vol. 40, No. 6, 5 February/février 1910
Cover/couverture
Colour lithograph/lithographie en couleurs
Signed bottom left/signée en bas d gauche:
Mucha 1907
R35b October/octobre 1910
Cover/couverture
29.5 x 21.5 ст

R36 1910
L’HABITATION PRATIQUE
December /décembre 1910
Same cover for all issues/la méme couverture pour
tous les numéros
Monochrome lithograph/lithographie
‘monochrome
38 x 32 ст
Signed bottom right/signée en bas à droite:
Mucha 1903
R37 c. 1910
APPLETON'S MAGAZINE
Cover/couverture
23 x 15cm Ре
1918 — Sess |
R38
таня о
Special number celebrating Armistice/Numéro
FARITATION
= E
PRATIQUE
З
spécial fétant Armistice HA Col
Cover/couverture
Monochrome print/estampe monochrome
40 x 30cm
Signed bottom right/signée en bas à droite: Mucha #36 R38
R39 1922
HEARST'S INTERNATIONAL
R39 12 covers/couvertures
а Colour prints/estampes en couleurs
33 x 24 cm
Signed bottom left or right/signée en bas à
gauche ou à droite: Mucha
R40 1934
VESTNIK ZAHRANICNÍ DOMOVINY
Vol. 3, No. 7, 1934
Cover/couverture
Monochrome print/estampe monochrome
21.5 x 15cm
Signed bottom right/signée en bas à droite: Mucha
MISCELLANEOUS GRAPHICS/OEUVRES GRAPHIQUES VARIEES
R41 SALON
Cover/couverture SALON
Signed bottom right/signée en bas д агойе: Mucha
Prague (no other information available/pas
d'autres renseignements)

MISCELLANEOUS GRAPHICS/
OEUVRES GRAPHIQUES VARIEES
GI MENUS

Gla с. 1894
BRASSERIE SEPTANT
Colour lithograph /lithographie en couleurs
31 x 23 cm
Unsigned/non signée
Printer/imprimerie: Lemercier, Paris

Gib c.1896
4 MENUS
Printemps, Eté, Automne, Hiver
Colour lithographs/lithographies en couleurs
Printer/imprimerie: F. Champenois, Paris
Variants of variantes de: P3-6
Сіс c.1896
SARAH BERNHARDT — 50 EME
ANNIVERSAIRE/SOTH BIRTHDAY
Lithograph/lithographie
28.5 x 19.5 cm
Signed bottom right/signée en bas à droite: Mucha
Printer/imprimerie: Е. Champenois, Paris
Gld c.1897
4 MENUS
Iris, Lys, Rose, Oeillet
Colour lithographs/lithographies en couleurs
Printer/imprimerie: Е. Champenois, Paris
Variants of/variantes de: P9-12
Gle 1898
LA SOCIETE DE BIENFAISANCE AUSTRO-
HONGROISE
Engraving from pen and ink drawing/gravure
d'aprés un dessin à la plume
24.5 x 17cm
Signed bottom right/signée en bas à droite: Mucha
Printer unknown/imprimerie inconnue
Gif 1898
BANQUET OFFERTA MRS. DE
MONTHOLON & MAURICE MONTHIERS
Engraving from pen and ink drawing/gravure
d'aprés un dessin à la plume
25.5 x 14 cm
Signed bottom right/signée en bas à droite: Mucha
Printer/imprimerie: F. Champenois, Paris
MISCELLANEOUS GRAPHICS/OEUVRES GRAPHIQUES VARIEES
Сів 1899
MOET & CHANDON
Set of 10 cards/une serie de 10 cartes
Colour lithographs/lithographies en couleurs
22 x 15cm
Signed/signees: Mucha or/ou Mucha 99
Printer/imprimerie: F. Champenois, Paris
Gih 1900
RESTAURANT DU PAVILLON BOSNIAQUE.
EXPOSITION UNIVERSELLE DE 1900
Colour lithograph/lithographie en couleurs
32.5 x 13cm
Signed bottom right/signée en bas й droite: Mucha
Printer/imprimerie: F. Champenois, Paris
Gli с. 1900
4 MENUS
Monochrome lithographs/lithographies
monochromes
Signed bottom left/signées en bas д gauche: Mucha
Printer/imprimerie: F. Champenois, Paris

ou c.1900
4 MENUS
Colour lithographs/lithographies en couleurs
23 x 10cm
Illustration signed bottom centre/illustration
signée en bas au centre: Mucha
Printer/imprimerie: F. Champenois, Paris
Variants of/variantes de: R16

бїк 1903
LAMALOU LES BAINS
Lithograph in blue/lithographie en bleu
28.5 x 13.5ст
Signed bottom left/signée en bas д gauche:
Mucha 1903
Printer /imprimerie: Devambez, Paris
G2 PROGRAMMES, CATALOGUE COVERS,
INVITATIONS ETC./PROGRAMMES,
COUVERTURES DE CATALOGUES,
INVITATIONS ETC.

G2a с. 1895
LA PRINCESSE LOINTAINE — SARAH
BERNHARDT
No other information available/pas d'autres
renseignements

G2b 1896
FETE DE
INVITATIONA UNEPETITE SQEMOISELLES
NOEL/CHRISTMAS PARTY INVITATION BS COSIANE. ET SIMONE BERNHARDT
de la part des petits-enfants de Sarah » T
4 м 3
Bernhardt /from Sarah Bernhardt's grand-children
Я > а DE VENIR DÉPOUILLER AVEC
Lithograph/lithographie БД ELLES L'ARBRE DE NOËL
13 x 18.5cm $ 5| LE VENDREDI 25 DECEMBRE 1896
5 Е Р АРІ CHEZ Ме SARAH BERNHARDT!
Signed bottom left/signée en basйgauche: Mucha 56. BOULEVARD PÉREIRE
Printer/imprimerie: Е. Champenois, Paris

G2c 1896
SALON DES CENT
Exhibition catalogue cover/couverture pour le
catalogue de l'exposition
Variant/variante:
А7 Exhibition poster/affiche pour l'exposition
MISCELLANEOUS GRAPHICS/OEUVRES GRAPHIQUES VARIEES
G2d с. 1896
COURS MUCHA
Académie Colarossi, Paris — prospectus
9 x 6.5 ст
Unsigned/non signé
Printer unknown/imprimerie inconnue
G2e 1897
LE BAL DES QUAT’Z ARTS
Invitation
Lithograph/lithographie
Signed bottom left/signée en bas д gauche: Mucha
Printer unknown/imprimerie inconnue

G2f 1897
SOIREE MUSICALE
Invitation from Mucha/ invitation de la part de
Mucha
Print taken from a pen and ink drawing/estampe
d'aprés un dessin à la plume
11.5
x14.5 ст
Signed bottom left/signée en bas й gauche: Mucha
Printer/imprimerie: Е. Champenois, Paris
Gig с. 1897 de voulair bien lui foire
ATELIER MUCHA plaisir dassislera là coires
Prospectus musicale quil dodmers samedi
Print taken from Indian ink drawing/estampe tirée E еее danggan ate
d’un dessin д Гепсге de Chine |
22.5 х 16ст
Signed centre/signé au centre: Mucha grП Grue dy се
Val-de-
Printer unknown/imprimerie inconnue
Variant/variante: cor
A13 Atelier Mucha — poster/affiche
G2h 1899
CHAMPENOIS CATALOGUE
Cover/couverture
Signed bottom centre/signée en bas au centre:
Mucha
Printer/imprimerie: F. Champenois, Paris
Variant/variante:
Reprinted as frontispiece for the catalogue of the Mucha
exhibition at Brno 1936/réimprimée comme frontispice
pour le catalogue de l'exposition de Mucha à Brno 1936
Dä 1899
LE VENT QUI PASSE EMPORTE LA
JEUNESSE
Design for a fan/dessin pour un éventail
Colour lithograph/lithographie en couleurs
26 x 16cm
Signed centre left/signée au centre à gauche:
Mucha
Printer unknown/imprimerie inconnue
62) 1900
GUIDE OFFICIEL DES SECTIONS
AUTRICHIENNES
DE L’EXPOSITION
UNIVERSELLE DE PARIS
Front and back cover/couverture et dos de
couverture
Colour lithograph/lithographie en couleurs өз)
21 x 11 cm N € а
Signed bottom left/signée en bas 4 gauche: / } M deer
Mucha 99
Printer unknown/imprimerie inconnue w
1179]
MISCELLANEOUS GRAPHICS/OEUVRES GRAPHIQUES VARIEES

G2k 1900
PROGRAMME — 27 OCTOBRE 1900
Pour le Président de la République, Loubet
Hand coloured lithograph/lithographie coloriée à
la main
25.5 x 10cm
Signed bottom right/signée en basдdroite: Mucha
Printer unknown/imprimerie inconnue

Ga с.1900
PARIS 1900
Catalogue cover/couverture de catalogue
No other information available/pas d'autres
renseignements
Variants/variantes:
R30a Cover/couverture — Index
Design for poster in/dessin d’affiche dans:
Documents Décoratifs YORK
SCHOOL OF APPLIED
DESIGN FOR WOMEN
G2m 1903
WERTHER
Programme cover/couverture de programme
Lithograph in brown/lithographie en brun
25.5 x 16.5 ст
Signed bottom left/signée en bas д gauche: Mucha
Printer unknown/imprimerie inconnue

G2n 1905
COURSE MUCHA
Prospectus — New York School of Applied Design
for Women
Front cover illustration/illustration de couverture:
8 x 8cm
Back cover illustration/illustration de dos de
couverture: 6.5 х 6.5 ст
Both signed bottom centre/toutes les deux signées
en bas au centre: Mucha
Printed in U.S.A/imprimé aux Etats-Unis

G20 1906
SAVON MUCHA
Box and set of 4 wrappers/boite et série de 4
papiers d'emballage
Colour lithographs/lithographies en couleurs
31 x 18cm
Signed bottom right/signée en bas d droite: Mucha
or/ou Mucha 1906
Printer unknown/imprimerie inconnue
Variant/ variante:
The 4 wrappers in an ornamental frame/les 4 papiers
d'emballage dans un cadre ornemental
42 x 61.5cm

G2p 1908
LESLIE CARTER
Programme cover/couverture de programme
Colour lithograph/lithographie en couleurs
31 x 34.5 cm
Signed bottom centre/signée en bas au centre:
Mucha
Printed in U.S.A/imprimé aux Etats Unis
Variant/variante:
ASS Centre panel as poster/panneau central en affiche

[180]
MISCELLANEOUS GRAPHICS/OEUVRES GRAPHIQUES VARIEES
G2q 1909
STUDENTS FAIR/FOIRE DES ETUDIANTS
Programme cover/couverture de programme
Signed bottom right/signée en bas à droite: Mucha
Printer/imprimerie: Politika, Prague
G2r 1909
FETE FRANCO-TCHEQUE
Programme cover/couverture de programme
16 x 10cm
Printer unknown/imprimerie inconnue
G2s 1919
LE BAISER DU PRINTEMPS/THE KISS OF
SPRING
Lithograph/lithographie
Signed bottom left/signée en bas d gauche:
Mucha 1919
Printer unknown/imprimerie inconnue
G2t 1928
SPOLEK PRO РЁСІ О SIROTKY
Orphans charity membership card/carte de
membre de la charité des Orphelins
In 3 colours/en 3 couleurs
Signed bottom right/signée en баз д droite: Mucha
Printed in Prague/imprimée d Prague

G3 BANK-NOTES/BILLETS DE BANQUE
Between 1919 and 1929 Mucha designed several
bank-notes for the new Czechoslovak state. Some
ofthe notes printed in Prague, eg. the first 100
Si uote were tao cartaгана were " TATO STATONKA урна VOLE LAKONAZIDNE IQ UPANA:
withdrawn. Mucha's daughter is the model for the
girl on the 10 and 50 crown notes. The 100 crown PET SEL к
note incorporates Josephine Crane as Slavia (see
G3f)/entre 1919 et 1929 Mucha fit les dessins de
plusieurs billets de banque pour le nouvel Etat
tchécoslovaque. Quelques-uns des billets
imprimés д Prague, par exemple le premier billet
de 100 couronnes, étaient faciles д falsifier et
furent retirés. La fille de Mucha sert de modele
pour la jeune fille sur les billets de 10 et 50
couronnes. Sur le billet de 100 couronnes
Josephine Crane personnifie Slavia (voir G3f)
G3a 1 crown note/billet
Designed/créé: 1919
Prague Озе

G3b 100 crown note/billet

(grey-blue/gris-bleu)
Issued/émis: July/juillet 1919
Withdrawn/retiré: January/janvier 1921
Variant/variante:
Green/vert — issued /émis: 1921
G3c 500 crown note/billet
First issued /premiére émission: 1919
Two variants/deux variantes

G3d 10 crown note/billet

First issued/premiére émission: February /février
1920
Two variants/deux variantes сза
MISCELLANEOUS GRAPHICS/OEUVRES GRAPHIQUES VARIEES
Озе 20 crown note/billet ЕРИВЫКА ČESKOSLOVENSKA ;
Issued/émis: 1920

G3f 100 crown note/billet

Issued /émis: 1920

G3g 50 crown note/billet

Issued/émis: 1931
Withdrawn/retiré: 1945

Mucha also designed bank-notes for Bulgaria and

Yugoslavia/Mucha fit des dessins aussi de billets de
banque pour la Bulgarie et la Yougoslavie.
G3h Bulgaria — 50 leva note/billet
1000 leva note/billet

G3i Yugoslavia — 10 dina note/billet

G4 POSTAGE STAMPS UP TO 1920/TIMBRES

JUSQU'A 1920
Mucha designed the first Czechoslovak stamps
towards the end of the first World War, when
завагалася SE
Czechoslovakia was still part of the Austro-
Hungarian Empire. Some of these stamps were
E
issued in vast quantities — there were, for example,
350,000,000 copies made of the 5h newspaper
stamp. Several of the stamps were also overprinted
for special delivery and postage dues/Mucha fit les
dessins pour les premiers timbres tchécoslovaques
vers la fin de la premiere Guerre Mondiale, quand
la Tchécoslovaquie faisait toujours partie de
l'Empire Austro-Hongrois. Quelques uns de ces
timbres furent émis en quantités énormes — il y
avait, par exemple, 350.000.000 exemplaires du
timbre de journal 5h. Plusieurs timbres furent
surchargés pour la livraison spéciale et les frais de
рогі
For full information see/pour plus de
renseignements voir: Katalog známek-
Ceskoslovensko (Postovni filatelistická, sluzba-
¿UVA
Praha). = DESET в
D DINARA
100h = 100 haléřů = 1 crown

G4a Hradcany castle/cháteau

Several variations/plusieurs variations
3h, Sh, 10h, 20h, 25h issued/émis:
December/décembre 1918
The series of 28 stamps from 1h-1000h was
completed іп 1920/la série de 28 timbres de
1h-1000h fut achevée en 1920

G4b Husita
Hussite priest holding a chalice. Badly printed
and soon recalled due to opposition from the
Catholic Church/prétre hussite tenant un
90
calice. Mal imprimé et retiré par la suite д cause Gab Gad
de l'opposition de l'Eglise Catholique
80h, 90h issued/émis: June/juin 1920

бас Známky spěšné

Express printed matter/imprimés exprèss
Two doves/deux colombes
2h, Sh, 10h'issued/émis: 1919-20

[182]
POSTCARDS/CARTES POSTALES
044 Známky novinové
Newspaper stamp/timbre de journal
Falcon in flight/faucon en vol
2h, 5h, 6h, 20h, 30h, 50h, 100h issued/émis:
1918-20
Ode Známky doplatni
Excess postage/supplément de port
Design based on linden leaves/dessin basé sur
des feuilles de tilleul
14 denominations from 5h-2000h issued/74
timbres de toutes valeurs de 5h-2000h émis:
1919-20

POSTCARDS/CARTES POSTALES
CP2a
CPI 1898
SARAH BERNHARDT - POSTERS/AFFICHES
Set of 4 cards/une série de 4 cartes
Colour lithographs/lithographies en couleurs
14 x 9cm
Printer/imprimerie: Cinos, Paris
CPla Gismonda — variant of/variante de: Al
СРІБ Lorenzaccio — variant of/variante de: A10
СР1с La Dame aux Camélias — variant of/
variante de: All
CPid La Samaritaine — variant of/variante de:
А15

СР2 с. 1900
Colour lithographs/lithographies en couleurs
14 x 9cm
Printer/imprimerie: Е. Champenois, Paris СР5а
CP2a Job calendar/calendrier 1897 — variant
of/variante de: C6
Also issued as a postcard in 1911, probably
by another printer, together with a variant
of the Job poster of 1898 (A6)/imprimé
aussi comme carte postale en 1911,
probablement par une autre imprimerie, en
méme temps qu'une variante de l'affiche
Job de 1898 (A36)
CP2b-k Set of 10 cards in an envelope for Moët &
Chandon/une série de 10 cartes avec
enveloppe pour Moët & Chandon —
variants of/variantes de: Glg
CP2l Cocorico — cover/couverture
1900-1901
CARTES POSTALES ARTISTIQUES
These cards were issued in numbered series (sets of
12 in a folder); at least 7 series were issued/ces
cartes étaient publiées en séries numérotées (12
cartes dans une chemise); 7 séries au moins ont été
publiées
Colour lithographs/lithographies en couleurs
14 x 9cm
Printer/imprimerie: F. Champenois, Paris
CP3 JERE SERIE 1900
CP3a-d Printemps, Eté, Automne, Hiver—
variants of/variantes de: P3-6
CP3e-h Iris, Oeillet, Lys, Rose — variants
of/variantes de: P9-12
CP3i-l Enfance, Adolescence, Age Már, Vieillesse
— variants of/variantes de: C9
СРК СРЯ
[183]
POSTCARDS/CARTES POSTALES
СР4 2EME SERIE 1900
CP4a-b Téte Byzantine-Blonde, Téte Byzantine-
Brunette — variants of/variantes de:
P15-16
CP4c-f Quatre Saisons — variantes of/variantes
de: C3
CP4g-j La Poésie, La Danse, La Peinture, La
Musique — variants of/variantes de:
P19-22
CP4k-1 Réverie, Zodiac — variants of/variantes
de: P1-2

СР5 3EME SERIE 1900

CP5a-c 3 Vignettes
СР54 Salome — variant of/variante de: R10c
CPSe-f Aurore, Crépuscule — variants CP6d
of/variantes de: P32-33
CP5g-h Primevère, La Plume — variants
of/variantes de: P26-27
СРЯ Printemps, Eté, Automne, Hiver — only
published as postcards/publiées seulement
comme cartes postales

СР6 4EME SERIE 1900

CP6a-1 Janvier, février, mars, avril, mai, juin,
juillet, аой1, septembre, octobre,
novembre, décembre
First published as monochrome
lithographs іп Le Mois (R16a-l)/première
publication en lithographies monochromes
dans Le Mois

СР? ЗЕМЕ SERIE 1900 CP6f

CP7a Sarah Bernhardt, La Plume (also without
lettering/aussi sans lettrage) — variants
of/variantes de: A16
СРТЬ Bienfaisance Austro-Hongroise (without
lettering/sans lettrage) — variant
of/variante de: Gle
CP7c-e 3 covers for Cocorico/3 couvertures pour
Cocorico
CP7f Banquet menu/menu de banquet —
variant 6f/variante de: OUT
CP7g-j 4 menu designs/4 dessins de menu —
variants of /variante de: Gli
CP7k Design for a fan/dessin pour un éventail
— variant of /variante de: G2i
CP71 Paris 1900 — design for catalogue cover/
dessin pour une couverture de catalogue —
variant of /variante de: G21 CP6g

CP8 бЕМЕ SERIE 1901

CP8a Design for a calendar/dessin pour un
calendrier
CP8b-e Eveil du Matin, Eclat du Jour, Réverie du
Soir, Repos de la Nuit — variants
of/variantes de: P28-31
CP8f Réverie — variant of/variante de: Pl
CP8g Design for a soirée programme/dessin
pour une programme de soirée
CP8h Papeterie — variant of/variante de: A2
CP8i Printemps — variant of/variante de: P38
СР8і Girl with pen/jeune fille avec plume —
variant of/variante de: R10a
CP8k-1 Nénuphar, Fleur de Cerisier — variants
of/variantes de: P23-24
POSTCARDS/CARTES POSTALES
СР9 7EME SERIE 1901
CP9a Automne — variant of/variante de: PS
CP9b-c Bruyère de Falaise, Chardon de Grèves —
variants of/variantes de: P43-44
СР94-е Lierre, Laurier — variants of/variantes de:
P41-42
СР9ї Lygie — variant of/variante de: A46
CP9g-j Topaze, Emeraude, Améthyste, Rubis —
variants of/variantes de: P34-37
CP9k-1 La Fleur, Le Fruit — variants of/variantes
de: P17-18
СР10 c. 1904
Biscuits Lu Recommandés
"Collection Lefévre-Utile’
Variant of/variante de: C12
CP7g
СРИ n.d.
Le Cerveau ди Poéte du Crayon
Photograph of girl standing by an easel with
раппеаи Téte Byzantine — Blonde in the
background /photographie d'une jeune fille devant
un carton à dessins avec le panneau Téte
Byzantine — Blonde à l’arriere plan
Signed top right/signée en haut à droite: Mucha
СР12 POSTCARDS PRINTED IN
CZECHOSLOVAKIA AFTER 1902/CARTES
POSTALES IMPRIMEES ЕМ
TCHECOSLOVAQUIE APRES 1902
The following list gives only a selection of
postcards printed during this period/la liste
suivante donne seulement un choix de cartes
postales imprimées pendant cette période СРІ24

CP12a Výstava ve Vyškově 1902

Colour/en couleurs
Signed bottom left/signée en bas à gauche:
Mucha Paris 1902
Printer/imprimerie: Jan Hona, Vyskov
Variant of/variante de: A49

CPI2b Pojistovaci banka Зама 1909

Colour/en couleurs
Signed bottom centre/signée en bas au
centre: Mucha 1909 _
Printer/imprimerie: Stenc, Prague
Variant of/variante de: А54
СР12с Josephine Crane — Slavia 1909 ср БЕ
Colour/en couleurs
Signed bottom left/signée en bas д gauche:
А.М. Mucha 1909
Printed in USA /imprimée aux Etats-Unis CP12e Students Fair/Foire des Etudiants 1909
Variant of oil-painting/variante d'une Black and gold/en noir et or
peinture à l'huile Signed bottom right/signée en bas à droite:
Mucha
CP12d The Beatitudes Printer/imprimerie: Politika, Prague
Set of 7 cards in colour/une série de 7 Variant of/variante de: G2q
cartes en couleurs
Signed bottom left or right/signée en bas à CP12f Memory of Native Ivantice/Souvenir
gauche ou й droite: Mucha d'Ivancice Native 1909
Printer/imprimerie: Stenc, Prague In 3 colours/en 3 couleurs
First published in/publié pour la Signed bottom right/signée en bas d droite:
premiere fois dans: Everybody's Magazine Mucha
(R33) Printer/imprimerie: Navratil, Ivančice
1185]
POSTCARDS/CARTES POSTALES
СРІ28 Murals painted by Mucha for the Lord СР12р Slovanská epopej
Mayor's Hall, Prague/peintures murales The Slav Epic/L 'Epopée Slave 1928
de Mucha pour la Salle du Maire, Prague Set of 10 cards in colour/une série de 10
1912 cartes en couleurs
Set of 15 cards in colour/une série de 15 Unsigned/non signées
cartes en couleurs Printer/imprimerie: Neubert, Prague
Unsigned/non signées Includes variant of/y compris variante de:
Printer/imprimerie: Stenc, Prague АТ
CP12h Bohemian Heart Charity/La Charité du
Coeur Bohémien 1912
СРІ24 Spolek pro рёёі о sirotky 1928
Orphans Charity/La Charité des
Colour/en couleurs Orphelines
Signed bottom left/signée en bas d gauche: In 3 colours/en 3 couleurs
Mucha Signed bottom right/signée en bas d droite:
Printer/imprimerie: Politika, Prague
Mucha
Printed in Prague/imprimee д Prague
CP12i Krajinská výstava у Ivančicích c.1912
Colour/en couleurs Variants/ variantes:
Signed bottom left/signée en bas à gauche: Membership card for the organisation/carte de
Mucha 1912 membre pour l'organisation: G2t
Printer/imprimerie: Neubert, Prague Charity stamp/timbre pour la charité
Variant of/variante de: A62
СР) Jarní slavnosti c. 1914 СРІ2г Emmahof Castle/Cháteau Emmahof 1931
Colour/en couleurs In black and white from an original
Signed bottom right/signée en bas à droite: drawing/en noir et blanc d’apres un dessin
Mucha original
Printer/imprimerie: Neubert, Prague Signed bottom right/signée en bas д droite:
Variant of/variante de: A64 Mucha
Printer unknown/imprimerie inconnue
CP12k Defence of National Minorities/La
Défense des Minorités Nationales 1915 CP12s Nativity/La Nativite 1934
Colour/en couleurs Colour/en couleurs
Signed bottom left/signée en bas à gauche: Signed bottom left/signée en bas д gauche:
Mucha Mucha
Printed in Prague/imprimée à Prague Printer/imprimerie: Ребе o mládez,
Prague
CPI) Komenský Society/La société Komenský
с.1920
Black and white/en noir et blanc CPI2t Fifty years ої Ivanéice Sokol
Signed bottom right/signée en bas d droite: Organisation/Cinquante ans de
Mucha l'Organisation Sokol à Ivančice 1937
Printed in Prague/imprimée d Prague Black and white/en noir et blanc
Variant of /variante de: A57 Unsigned/non signée
Printer/imprimerie: Navratil, Ivančice
CP12m Russia Restituenda с. 1922
Monochrome рік slepcü с. 1939
Unsigned/non signée CP12u
Signed bottom left/signée en bas d gauche:
Printer/imprimerie: Neubert, Prague
Variant of /variante de: A68 1933 Mucha
Variant of/variante de: А74
CP12n Y.W.C.A. с. 1922
Colour/en couleurs СР12у Dvacáty vek
Signed bottom right/signée en bas d droite: The Twentieth Century/Le Vingtieme
Mucha Siècle
Printer/imprimerie: Neubert, Prague Black and white/en noir et blanc
Variant of /variante de: A67 Signed bottom right/signée en bas à droite:
Mucha
CP120 ҮШ. Slet vsesokolsky 1926 Printed in Prague/imprimée à Prague
Colour/en couleurs
Signed bottom right/signée en bas 4 droite: Variants/variantes:
Mucha La Revue du Bien — card in black and white, printed
Printer/imprimerie: Jan Ziegloser, Prague in Paris/carte en noir et blanc, imprimée д Paris
Variant of/variante de: А69 Magazine cover/couverture de revue: R23

1186]
ADDENDA TO THE CATALOGUE/ADDITIONS b) July/juillet 1905 — cover/couverture, Au Café-Concert
АП CATALOGUE
1906 WIENER CHIC
October/octobre, no. 173 — cover/couverture
From new documentary evidence which has come to light, differences in Signed/signée: Mucha 1905 or/ou 1906
dates of more than one year, plus additional items and information are
noted here/nous avons noté ci-dessous les renseignements MISCELLANEOUS GRAPHICS/OEUVRES
complémentaires ainsi que les différences de plus d'une année dans la GRAPHIQUES VARIEES
datation des oeuvres qui sont apparus д la lumiere de récentes 1896 CARILLON DE PASQUES REVEILLANT LA NATURE
informations Colour lithograph/lithographie en couleurs
P43/44 — с. 1902/3 Before/avant 1900
AL GISMONDA — Alb ‘Théâtre de la Monnaie’ Bruxelles TIN FOR/BOITE POUR: LES GAUFRETTES PRALINEES
LEFEVRE-UTILE 19 x 18.5 x 17.5 cm
A4 FLIRT—с. 1900 Another version exists with lettering/il existe une Printer/imprimerie: Gueneux, Robert sucer, Nantes
version avec lettrage: ‘Grand Prix Paris 1900" After/aprés 1900
АВ — 1898; A18 — c. 1900-01; A31 — 1903; A44 — 1897 TIN FOR/BOITE POUR: ES BISCUITS BOUDOIR LEFEVRE-
1900 L’AIGLON — Printer/imprimerie: Е. Champenois, Paris UTILE 8x20x11,5 ст
C12 — 1903/4 Possibly a poster rather than a calendar/peut-être une Printer unknown/imprimerie inconnue
affiche plutöt qu'un calendrier After/aprés 1910
L7 L'AVENTURE DE ROLAND — Paris, Charavay, Mantoux, Martin TIN FOR/BOITE POUR: LES BISCUITS CHAMPAGNE LEFEVRE-
RI3 L'AGE D'ART— 1898: 28 January/janvier, 5 February/ février UTILE 8x 20x11.5 ст
(then known as/connue alors sous le titre: L'ART UNIVERSEL, nos. 1 Printer/imprimerie: Imprimerie Moderne, Nantes
4 2) & 12 February/février (Age d'Art no. 3)
RIS L'ART PHOTOGRAPHIQUE — + no. 1 July/juillet 1899 — ‎‫ ا‬e
R20 L'UNIVERSELLE — Vol. 2 nos. 2-8 on green background/sur
fond vert; 15 November/novembre, 1, 15 December/décembre on white
background/sur fond blanc.
R27 LA REVUE DU BIEN — 1901-02
HEIDSIECKAG
R36 L'HABITATION PRATIQUE — 1904-10
POSTERS/AFFICHES
1897 BORDER FOR POSTER/AFFICHE PASSE-PARTOUT
Used to advertise plays etc./utilisée comme annonce pour des spectacles
etc.
Signed bottom right/signée en bas à droite: Mucha
Affiches Artistiques de la Société La Plume
Printer/imprimerie: F. Champenois, Paris?
1897 FOX-LAND JAMAICA RUM
Colour lithograph/lithographie en couleurs
30 x 44 cm Signed bottom right/signée en bas à droite: Mucha
Printer/imprimerie: F. Champenois, Paris
с. 1899 (unpublished inédite)
PARFUMERIE GELLE FRERES, SYLVANIS ESSENCE
Colour lithograph /lithographie en couleurs
64 x 26 ст Signed bottom right/signée en bas d droite: Mucha
Printer/imprimerie: Е. Champenois, Paris
1900 BISCUITS LEFEVRE-UTILE
Gaufrette Vanille/Desserts Lu Recommandés/Gaufrette/Pralinée
Ds
K
Variant of/variante de: CS
1901 HEIDSIECK & CO. — CHAMPAGNE
Colour lithograph /lithographie en couleurs
66.5 x 49.5 cm Signed bottom left/signée en basàgauche: Mucha
Printer/imprimerie: F. Champenois, Paris
1901-04 4 posters for/affiches pour:
L. BRANCHER (lithographic ink/encre lithographique)
Le Printemps émergeant des brumes de l'hiver.
L'Automne symbolisant la maturité de l'année.
L'Eté, L'Hiver
Colour lithographs/lithographies en couleurs 72 x 32 cm
Printer/imprimerie: Е. Champenois, Paris
BOOKS/LIVRES
n.d LE GRAND FERRE Noël Gaulois
17 full page illustrations//7 illustrations en pleine page
Librairie Felix Juven, Paris
PERIODICALS/REVUES
1897 LE MONDE MODERNE
May/mai — cover/couverture
Signed bottom right/signée en bas й droite: Mucha 96
1897 LE COURRIER FRANCAIS
11 April/avril — cover/couverture
Le Bal des Quat'z Arts — G2e
1898 LUMIR Frontispiece/frontispice
Signed bottom right/signé en bas à droite: Mucha 1898
1901 LA VIE MODERNE
10 February /février — 2 June/juin
Cover/couverture, Same design as used for cover of/le méme dessin
utilisé comme couverture de: L'Universelle (R20)
1904 LE GAULOIS DU DIMANCHE
24-25 December/décembre — Page 1
L'Etoile de Bethléem
Signed/signée: Mucha 1904
1903-05 PARIS ILLUSTRE
а) December/décembre 1903 — cover/couverture
Same illustration as on cover of/la méme illustration utilisée comme
couverture de: The Index (R30a)

1187]
SELECTED BIBLIOGRAPHY
BIBLIOGRAPHIE CHOISIE
BOOKS/LIVRES
АБУ, Jane. The French Poster: Chéret to Capiello, London/Londres: Studio Vista, 1969.
Bénézit, Emmanuel. Dictionnaire critique et documentaire des peintres, sculpteurs, dessinateurs et graveurs, 8 vols., Paris: Grind, 1948-55.
La Bosnie-Hercégovine à l'Exposition Internationale Universelle de 1900àParis, Vienna/Vien: Adolphe Holzhauser, 1900.
Éadik, Jindřich. “А. Mucha — Zivot a dilo’, unpublished study/étude inédit, Prague n.d.
Cadik, Jindřich. Špachtle a paleta úsměvná, Plzeň 1966.
Harlas, Е.Х. Роба аumëni, Prague 1902.
Harlas, Е.Х. Malířství, Prague: Bursík & Kohout, 1908.
Hillier, Bevis. Posters, New York: Stein & Day, 1969.
Hlaváček, Karel. Kritiky, Prague: Kvasnička & Hampl, 1930.
Hutchinson, Harold Е. The Poster: an Illustrated History from 1860, New York: Viking Press, 1968.
Jullian, Philippe. Dreamers of Decadence: Symbolist Painters of the 18905, New York: Praeger, 1971.
Jullian, Philippe. The Symbolists, London/Londres: Phaidon Press, 1973.
Koch, Robert, Louis C. Tiffany, Rebel in Glass, New York: Crown Publishers, 1964.
Krecar, Jarmil. Řemeslo a umění у knize, Prague: A. Novak, 1927.
Lehnert, F. Illustrierte Geschichte des Kunstgewerbes, Berlin 1907-09.
Lesehrad, Emmanuel. /deje аprofily, Prague 1927.
Madsen, Tschudi 5. Art Nouveau, New York: McGraw-Hill, 1967.
Madsen, Tschudi 5. Sources of Art Nouveau, New York: Wittenborn, 1955.
Mucha, Alphonse. Lectures on Art, London/Londres: Academy Editions, 1975.
Mucha, Alphonse. Manuscript for М. Dosset, the Mayor of Paris/manuscrit pour М. Dosset, Maire de Paris.
Mucha, Alphonse. Svobodné zednářství, Prague 1925.
Mucha — All Colour Paperback, London/Londres: Academy Editions, 1976.
Mucha, [Link] Mucha, his Life and Art, London/Londres: Heinemann, 1966.
Mucha, [Link] Mucha, the Master of Art Nouveau, Prague: Artia, 1966.
Mucha, Jifi, Marina Henderson and Aaron Scharf. Alphonse Mucha: Posters and Photographs, London/Londres: Academy Editions, 1971.
Mucha, ЛЯ, Marina Henderson and Aaron Scharf. Mucha, London/Londres: Academy Editions, 1974. Revised, enlarged
edition of/édition révisée et agrandie de: Alphonse Mucha: Posters апа Photographs. Includes an additional essay on the Slav
Epic paintings/avec un essai supplémentaire sur les peintures de l'Epopée Slave.
Mucha, [Link]án se svatozáí, Prague: Artia, 1969.
Neumann, Stanislav Kostka. Stati aprojevy, 1893-1903, Prague: Státni nakladatelstvi krásné literatury a штёпі, 1964.
Ovenden, Graham. Mucha Photographs, London/Londres: Academy Editions, 1974.
Reade, Brian. Art Nouveau and Alphonse Mucha, 2nd ed., London/Londres: Her Majesty's Stationery Office, 1967.
Rechcigl, Miloslav. (ed.) The Czechoslovak Contribution to World Culture, The Hague: Mouton, 1964.
Rheims, Maurice. The Flowering of Art Nouveau, New York: Abrams, 1966.
Rheims, Maurice. L ‘Objet 1900, Paris: Arts et Métiers Graphiques, 1964.
Richards, Maurice. The Rise and Fall of the Poster, New York: McGraw Hill, 1971.
Selz, Peter and Mildred Constantine. (eds.) Art Nouveau, new edition/édition nouvelle, London/Londres: Secker & Warburg, 1975.
The Slavonic Encyclopedia. Ed. Joseph S. Rouček, Toronto: George J. McLeod, 1949.
Thieme, Ulrich and Felix Becker. Allgemeines Lexikon der bildenden Künstler, Leipzig: E. A. Seemann, 1907-50.
Toman, Prokop. Novy slovnik československých výtvarných umělců, 2 vols., Prague: Tvar, 1945-50.
Tyrsová, Renata. ‘Alfons Mucha”. Ottův slovník naučný. Vol. XVIII, Prague: J. Otto, 1907, р. 845.
Wittlich, Petr. Art Nouveau Drawings, London/Londres: Octopus Books, 1974.

PERIODICALS AND NEWSPAPERS/

REVUES ET JOU! их
“Alfons Mucha’ Cas, 12 (December/décembre 1897) 789.
Amaya, Mario ‘Mucha’s Fantasy’ Apollo, 77 (June 1963) 475-77.
American Art Annual. Ed. Florence N. Lévy. Vol. V, New York (1905).
Banham, Reyner. ‘First Master of the Mass Медіа?" The Listener, 69, no. 1787 (June 1963) 1080-81.
Валіка, К. ‘Sté уўгоёі narozeni А. Muchy’ Filatelie, 10, no. 13 (1960) 248-49.

[188]
BIBLIOGRAPHY/BIBLIOGRAPHIE
Bouchot, Н. ‘Propos sur l'affiche" Art et Décoration, по. 111 (juin 1898) 115-122.
Brinton, Christian. ‘Alfons Mucha and the New Mysticism’ The Century Magazine, 69, no. 2 (December 1904) 218-225.
Bulletin of the Art Institute ofChicago, 1, по. 2 (October 1907)8;1, no. 3
(January 1908) 12; 1, no. 4 (April 1908)33,42;3, no. 1.
Calmettes, Pier e. ‘The Modern Style in Jewelry’ The Architectural Record, 14 (July 1903) 205-218.
Candiani, В. "А. Mucha’ Indépendance Belge, Supplément Littéraire, (3 juin 1900).
Сізрек), J[osef]. “Alfons Mucha zemřel” Lidové noviny, (15 July/juillet 1937) 7.
Carey. ‘Alphonse Mucha’s Mural Decorations’ New York Times Book Review and Magazine, (16 January 1921) 6.
Champier, Victor “L'Exposition de В. [sic] Mucha àla Bodinière Revue des Arts Décoratifs, 17 (1897) 57-60.
“A Chat with M. Mucha’ The Sun, (10 April 1904) 8.
“Chicago prvni’ Svornost (Chicago, 21 April 1920).
Classens, Henri. ‘Le Modern Style’ Le Jardin des Arts, no. 114 (mai 1964) 34-47.
Davis, F. ‘Pioneer of Art Nouveau’ Country Life, 161 (24 February 1977) 430.
Davis, F. “Talking about Sale-rooms’ Country Life, 150 (16 December 1971) 1721.
Deschamps, Léon etal.‘Alphonse Mucha et son oeuvre’ Special number of /numéro spécial de:La Plume Sociétéanonyme La Plume. (Paris 1897).
“Deux peintres Tehécoslovaques’ Beaux-Arts, по. 178 (1936) 1.
“Documents Décoratifs par A. M. Mucha’ Art et Décoration, 14 (juillet-décembre 1903) 302-304.
Fárová, Anna. “Alphonse Mucha’ Československá fotografie, 24, no. 1 (1973) 20-21.
Folnessics. ‘Mucha als Illustrator’ Mitteilungen der Gesellschaft für verfielfältigende Kunst. Beilage der Graphischen Künste. (Vienna/ Vien 1897).
Gilles, Xavier. ‘Mucha, peintre et photographe" L'Oeil, no. 236 (mars 1975) 39-43.
Haenel, Erich. ‘Ilse, Princessin von Tripolis’ Monatsberichte über Kunstwissenschaft und Kunsthandel, 2, по. 2
(February/février 1902) 97-100.
Harris, Lilian 1. ‘Alfons-Marie Mucha’ The World To-Day, 15, по. 1 (July 1908) 732-37.
Hayden-Clarendon, J. ‘Mucha: The Life and Work of the Greatest Decorative Artist in the World’ New York Daily News (3 April 1904).
Heppenstall, Rayner, ‘Mucha’s Stamp Designs’ Apollo, no. 87 (March 1968) 209.
Hiatt, Charles. ‘Sarah Bernhardt, Mucha & Some Posters’ The Poster, 2 (June-July 1899) 236-42.
Hilbert, Jaroslav. ‘Alfons Mucha’ Zlatá Praha, 15 (1898) 44-45, 48.
Hladik, Václav. ‘U Alfonsa Muchy' Zlatá Praha, 17 (1900) 577.
Hoffmann, Albert. ‘Alphons Maria Mucha’ Zeitschrift furbildende Kunst. Kunstgewerbeblatt, 11 (October/octobre 1899) 1-5.
Hoffmeister, Adolf. ‘Mucha’ Literárni noviny, 12, no. 25 (1963) 9.
Holeiovskj, Karel. “К plakátúm па přelomu stoleti’ Typografia, no. 169 (1966) 289-93.
Holme, Charles, ed. ‘Modern Design in Jewellery and Fans’ Special winter number of/numéro spécial d'hiver de: The Studio (1901-02).
Hofica, Ignát, *Návitéva у diln£ Mistra Muchy у Pařiži Zlatá Praha, 7 (1900) 586-87.
Jesenská, Rüzena. “Мисһйу Otčenáš” Zlatá Praha, 19 (1902) 311-12.
К.В. *Mucha's Art’ The Artist, 30 (1901) 119.
Kahn, Gustave. ‘L’Exposition de la Miniature et des Arts Précieux' Art et Décoration, 11 (janvier-juin 1902) 93-100.
Kapras. ‘O svobodném zednářství” Česká revue, 19, no. 2 (1926) 118.
Ketzek, František. ‘Klasik moderniho umění Filatelie, 14, no. 5 (1964) 102.
Kossatz, Horst-Herbert. ‘Style Mucha’ Alte und Moderne Kunst, nos. 124-125 (1972) 34-39.
Kryéer, Rudolf. “К pobytu тайге Alfonse Muchy у Mikulove" Ročenka Slovanského Ústavu v Praze, 11, по. 1 (1956) 37-39.
Lancelot. ‘Figures Décoratives de A. Mucha’ Art et Décoration, 17 (janvier-juin 1905) 33-36.
Lécombre, Sylvain. ‘Alphonse Mucha et son oeuvre d'affichiste" L'Information d'histoire de l'art, 17 (novembre-décembre 1972) 231-233.
Lees, Frederick. ‘A Great Decorative Artist: Alphonse Marie Mucha’ The Magazine of Art, 23 (1898) 272-277.
LoDuca, G.M. ‘Mostra del Jeu de Paume’ Emporium, 85 (February/février 1937) 805.
Masson, Charles, ‘Mucha’ Art et Décoration, 7 (mai 1900) 129-38.
in Master seiner Kunst, Alphonse Mucha’ New York Stadt Zeitung (1908).
Melville, Robert. ‘Le Style Mucha is Fashion’ Ambassador (1963) 89-93.
Mosenthal, Elisabeth. ‘Alphonse Mucha on Color and Design’ Palette and Bench, 1 (April 1909) 153-55, 179-81.
Mourey, Gabriel. ‘Some French Illustrated Programmes’ International Studio, 1 (1897) 237.
Mucha, Alfons. ‘Kulturni význam vytvarné vjchovy' Dilo, 20 (1927-28) 44-50.
Mucha, Alfons. ‘Moje začátky’ Lidové noviny (12 October/octobre 1936) 2.
Mucha, Alfons. ‘Pařižská léta’ Lidové noviny (10 October/octobre 1936) 2.
Mucha, ЛА. *Mládi Alfonse Muchy’ Plamen, по. 1 (1967) 25-37.
Mucha, Jifi. ‘The World of Mucha’ The London Magazine (August 1963) 43-52.
‘Mucha, Prince of Poster Artists’ New York Herald(3April 1904) 1.
‘Muchas Entwickelte Modelle" Zeit Magazin (Suly /juillet 1972).
"Mucha's Famous Drawings Гог the Lord's Prayer’ The World Magazine (December 1908)
“Muchovo dilo před Americkou veřejností’ Svornost (Chicago, 20 June 1920).
[Neumann, Stanislav Kostka]. О výstavě Alfonsa Muchy' Moravský kraj, 12 (24 January /janvier 1907) 3.
Neumann, Stanislav Kostka. ‘Výstava Jednoty umělců výtvarných v Praze’ Moderní Revue, no. 11 (2 December/décembre 1899) 57-68.
‘Noted Czech Artist in America’ American Red Cross, Bureau of Foreign Language Information Service, Czechoslovak
Section. Clipsheet no. 7 (16 September 1920).
Novak, Arne. ‘Velký malif secesni” Dilo, 30 (1939-40) 8-9.
P., Т. ‘Alfons Mucha’ Československá fotografie, 21, no. 7 (1970) 302-303.
Polivka, Eduard. ‘Alfons Maria Mucha v numismatick$ch památkách’ Numismatické listy, 19 (1964).
Rogers, W.S. ‘The Art of Mucha’ The Poster, 3 (October 1899) 56.
“Un Second bronze de Mucha est retrouvé" Connaissance des Arts, no. 155 (janvier 1965) 11.
Schurr, Gerald, "The Belle Epoque as seen by Mucha. The Galerie del Levante at Munich (the Milan Branch) The
Connoisseur, 164 (April 1967) 256.
Sheldon-Williams, P.M.T. ‘L'Art Nouveau and Alphonse Mucha’ Contemporary Review, 203 (Мау 1963) 265-270, 317-320.
Soulier, Gustave. ‘Ilsée, Princesse de Tripoli’ Art et Décoration (juillet 1897).

1189]
BIBLIOGRAPHY/B/BLIOGRAPHIE

Stech, У.У. ‘Alfons Mucha’ Vlastivédny věstník moravský, 11 (1939) 111-115.

Stech, V.V. ‘Alfons Mucha’ Ročenka Slovanského ústavu v Praze, 12 (1939) 111-115.
Stiková, Eva. ‘Knižní tvorba A. Muchy’ Typografia, 69 (1966) 268-70.
Sylvester, David. ‘Sarah’s Signwriter’ The Sunday Times Colour Magazine (19 May 1963).
Vaisey, Marina. ‘The Robert Walker Collection. Part 1” The Connoisseur, 178 (September 1971) 16-26.
Verneuil, М.Р. ‘Dessins de bijoux. Mm. Mucha, De Feure, Dufréne, Marcel Bing’ Art et Décoration, 11 (janvier-juin 1902) 13-17.
Verneuil, М.Р. ‘L’Insecte' Artet Décoration, 15 (janvier-juin 1904) 1-21.
“Výstava Muchovjch originálů” Svornost (Chicago, 31 October/octobre 1920) 12.
Wenig, Jan. 'S Muchou o Muchovi’ Kulturní tvorba (4 July/juillet 1963) 16.
Wittlich, Petr. ‘Poznámky К významu secesního ornamentu vdile Alfonse Muchy’ Umění ařemesla, no. 3 (1973) 28-29.
Zeyons, Serge. ‘Mucha: mille créations, un style’ Fouineuse (avril 1978).

SELECTED EXHIBITION CATALOGUES/

CATALOGUES CHOISIS DES EXPOSITIONS
1897 Exposition des oeuvres du [Link]. Р: Сай de la Bodiniére, Reprinted in/réimprimé dans: La Plume,
numéro consacré à Alphonse Mucha.
Catalogue de l'exposition desoeuvresdeMucha. Paris: Galeries de la Plume. Reprinted in/réimprimé dans:La Plume,
numéro consacré à Alphonse Mucha.
Ausstellung Alfons Mucha. Vienna/ Vien: Kunstsalon Апага.
1900 Exposition Universelle 1900: The Art of the Minor European States. The Chefs-d'Oeuvre. Part 3. Paris.
1919 Slovanská Epopej. Alfons Mucha. Prague: Klementinum.
1921 Historical Paintings of the Slavic Nations by Alfons Mucha. Dr. Christian Brinton, Prof. Sárka Hrbková. New York:
The Brooklyn Museum.
1928 Alfons Mucha, Slovanská Epopeje. Prague: Prvni Veletržní Райс.
1936 Е Кирка, A. Mucha. Oeuvres Exposées. Paris: Musées des Ecoles Etrangères Contemporaines, Jeu de Paume des
Tuileries.
1959 Citroën Collection of the Hessisches Landesmuseum, Darmstadt. Arnhem: Municipal Museum; Rotterda
Boyman's Museum; Amsterdam: Stedelijk Museum.
Meister der Plakatkunst. Zurich: Kunstgewerbemuseum.
1962 Dix siècles de joaillerie francaise. Paris: Musée du Louvre.
1963 Art Nouveau апа Alphonse Mucha. Brian Reade. London/Londres: Victoria and Albert Museum.
Alphonse Mucha. London/Londres: Grosvenor Gallery.
Affiches 1900. В.Н. Guerrand. Paris: Bibliothèque Forney.
1966 Un Maitre de l'art nouveau, Alphonse Mucha. A. David, В.Н. Guerrand. Paris: libliothéque Forney.
Alphonse Mucha. Milan: Galleria del Levante.
Art Nouveau. London/Londres: Grosvenor Gallery.
1967 Alphonse Mucha 1860-1939, Plakate und Druckgraphik. Zurich: Kunstgewerbemuseum.
1968 Muchova Slovanská Epopej. Krajské Středisko Státní Památkové Péče а Ochrany Pfirody v Brně.
1969 Slovanská Epopej. Julius Koller. Moravský Krumlov: Městský národni výbor.
1970 Alfons Mucha. Zurich: Galerie Daniel Keel.
1972 Alphonse Mucha, Zeichnungen und Aquarelle, Vienna/ Vien: Gallerie Christian M. Nebehay.
Mucha. An exhibition of books and periodicals illustrated by Alphonse Mucha. Los Angeles: College Library,
University of California.
1973 Alphonse Mucha. Posters, Lithographs, Drawings. London/Londres: Editions Graphiques Gallery.
A. Mucha. New York: Rizzoli.
1974 Alphonse Mucha. Brussels/Bruxelles: Musée Horta
1975 Alfons Mucha. Slovanská Epopej. Josef Staroëtik. Moravský Krumlov: Městský národní výbor.
1979 Plakáty — Alfons Mucha. Souborný Katalog. Brno: Moravská Galerie.
1980 Mucha 1860-1939 Illustrations, affiches, arts décoratifs. Paris: Grand Palais

[190]
INDEX
Вгиуеге de falaise P43 40, 151; CP9b 185 Epopée slave, L’ ATI 161; CP12p 127, 186
Burr McIntosh Monthly, The R34 176 Estampe Moderne R10a 171; RI0b 116, 171;
Byzantine head — Blonde P16 148; P16a 148; Bite 117, 171; СРВ) 184
CP4a 126, 184 Eté 1896 P4 20, 146; СЛЬ 177; CP3b 183
TO THE GRAPHIC WORKS/ Byzantine head — Brunette P15 147; Eté 1903 P49 43, 151
AUX OEUVRES GRAPHIQUES P15a 147; CP4b 126, 184 Eté СР) 184
Etoile du matin РАВ 151
Carmichael’s Luxuria Bath Tablets A38 156 Etoile du soir Р46 42, 151
Carnation P10 22, 147; С14 177; CP3 183 Etoile polaire P47 42, 151
Carter, Leslie ASS 75, 159; G2p 180 Eveil du matin P28 32, 146 'P8b 184
Černá, Zdeňka А63 160 Evening Reverie P30 33, 14 CP8d 184
Each entry із followed by its catalogue reference Cerveau du poète du crayon, Le СРИ 185 Evening Star P46 42, 151
number. Page numbers in italics refer to colour Champagne Ruinart A22 60, 154 Everybody's Magazine R33 176
plates, those in roman to catalogue entries/ Champenois catalogue G2h 179 Exhibition of Agriculture, Industry and Art at
chaque inscription est référencée selon le Champenois (Réverie) СВ 163 Hofice А50 158
catalogue, Les paginations en chiffres italiques se Champenois (Zodiac) C4 163 Exhibition of Agriculture, Industry and
rapportent aux planches en couleurs et celles en Chansons d’aleules 122 95, 167 Ethnology at Vyškov А49 158; CP12a 185
romains aux inscriptions du catalogue. Chansons éternelles, Les 121 167 Exposition d'Agriculture, d'Industrie et d'Art à
Chardon de grèves P44 41, 151; CP9 185 Нойсе А50 158
Charité des Orphelins, La G2t 181; CP12q 186 Exposition d'Agriculture, d'Industrie et
Charité du Coeur Bohémien, La CP 12h 186 d'Ethnologie àVyskov A49 158; СР12а 185
Chasseurs d'Epaves, Les 118 166 Exposition Mucha, Brooklyn Museum A66 77,
Château Emmahof CPl2r 186 160
Cherry Blossom P24 29, 148; СРВІ 184 Exposition Regionale й Ivanéice A62 160;
Chic, Le R17173 Cru 127, 186
Chocolat Cacao A29 155 Exposition-Universelle et Internationale de St.
Chocolat Idéal А28 155; А28а 155 Louis AS1 74, 158
Chocolat Masson, Chocolat Mexicain 1897
C3 82-3, 162; C3a 162; C3b 162; C3c 162 Fan, design for G2i 179; CP7k 126, 184
Chocolat Masson, Chocolat Mexicain 1898 Farewell American Tour Alla 153
(Enfance, Adolescence, Age Mr, Vieillesse) Femme дla marguerite P39 37, 150
C9 84-5, 163; СРЗ 183 Femme au carton д dessins Р25 30, 149
Choeur des professeurs moraviens ASB 159 Femme parmi les fleurs P40 37, 150
Christmas party invitation G2b 178 Fête Franco-Tchéque G2r 181
Chroniqueur de Paris, Le R25 174 Fifty years of Ivančice Sokol Organisation
Cinquante ans de l'Organisation Sokol à CPI2t 186
Adamité L13 166 Ivančice СРІМ 186 Figaro Illustré RS 170
Affiche Mustrée, 1.” RT 170 Clio 125 100-02, 168 Figures décoratives L35 110-12, 169
Age d'Art, L’ ВАЗ 172 Cloches de Моё! et de Páques 126 168 Fleur, La P17 25, 148; СРОК 185
Aiglon, L' 162 Cocorico В12а- 172; CP21 183; СРТе-е 184 Fleur de cerisier P24 29, 148; CP81 184
Album historique 142 166 Combinaisons ornementales 1.29 103, 168 Fleurs, Les P13 147
Amants АЗ 48, 152 Coming Year, The P14 147; Р14а 147; C7 163 Flirt—Biscuits Lefévre-Utile A4 49, 152
American Journal Examiner R32 120, 175 Contes des grand-méres, Les L3 164 Flowers P13 147
Améthyste P36 35, 150; СРО 185 Costume au Théâtre, Le RY 170 Flowers P17 25, 148; СРОК 185
Andéliéek z baroku 138 169 Cours Mucha — Académie Colarossi 624 179; Foire de printemps de la chanson et de la
Année qui vient, 1.” P14 147; P14a 147; СТ 163 А18 154 musique à Praque A64 160; CP12j 127, 186
Appleton's Magazine R37 176 Cours Mucha — New York School of Applied Foire de Sokol — бте A61 160
Art Photographique, 1" RAS 173 Design for Women G2n 180 Bme A69 161; СР120 127, 186
Atelier Mucha A13 153; G2g 179 Crane, Josephine — Slavia G3f 182; Foire desétudiants G2q 181; СР126 185
Aurore P32 149; CPSe 184 CPI2e 127, 185 Friml, Rudolph AS3 158
Austrian Pavilion at the World Fair А45 73, 157 Crépuscule P33 149; CPSt 184 Fruit, Le P18 24,148; СР91 185
Automne 1896 PS 21, 146; Glb 177; CP3c 183 Cycles Perfecta A11 63, 155
Automne с. 1903 P5044, 151 Girl with Easel P25 30, 149
Automne CPSk 184 Dame aux Camélias, La A11 54, 153; Alla 153; Gismonda A147, 152; Ala 152; CPla 183
Aventure de Roland, L’ L7 165 CPic 183 Grotesklinie und ihre Spiegelvariation, Die
Aventure nautique L1 164 Danse, La P20 27, 148; CP4h 184 L29a 168
Dawn P32 149; СР5е 184 Guide officiel des sections autrichiennes G2j
Baiser du printemps, Le G2s 181 Daybreak P29 32, 149; CP8e 184 128, 179
Bal des Quat’z Arts, Le С2е 179 Daydream РІ 19, 146; Pla 146; СВ 163; Guillot-Pelletier, Е. C10 164
Banknotes 63 181 Сва 163; CP4k 184; СРВІ 184
Banque d'Assurance Slavia А54 159; CP12b Défence des Minorités Nationales CP12k 186 Habitation Pratique, L’ R36 176
127, 185 Defence of National Minorities CP12k 186 Hamlet A42 71, 157
Banquet, menu СИ 177; СР 126, 184 Dentifrices des Benedictins de Soulac A32 156 Hearst's International R39a-1 176
Beatitudes, The R33 176; CP12d 185 Design for a calendar CP8a 126, 184 Heather P4340, 151; CP9b 185
Bénédictine A8 52, 153 Design for a soirée programme CP8g 126, 184 Histoire de deux enfants de Londres LA 164
Bernhardt, Sarah — 50th birthday/anniversaire Dessin pour un calendrier CP8a 126, 184 ‘Hiver 1896 P6 21, 146; СЛЬ 177; CP3d 183
Gle 177 Dessin pour une programme de soirée CP8g Hiverс.1903 PS143, 151
Bernhardt, Sarah — Lefévre-Utile С12 87, 164, 126, 184 Hiver CPS1 184
СР10 185 Dictionnaire des arts décoratifs 1.30 168 Hommage respectueux de Nestlé A23 154
Bernhardt, Sarah — La Plume А16 154; Dik slepců A74 162; СР12и 186
Alfa 154; A16b 56, 154; СРТа 184 Documents décoratifs L31 104-09, 169 Idée, L' R19 174
Bernhardt, Sarah — La Princesse Lointaine Documents décoratifs A48 158 Illustration, L' R8 171
С2а 178 Documents décoratifs — Vient de paraître Isée, Princesse de Tripoli L11 91-94, 165
Bières de la Meuse A26 62, 155; A26a 155 A47 158 Isée, Prinzessin von Tripolis Lila 165
Billets de banque G3 181 Dusk P33 149; CPSf 184 Image, L’ R6 170
Bio Adria A70 161 Dvacdty vêk R23 174; CP12v 186 Imprimerie Cassan Fils A24 61, 155.
Biscuits Champagne Lefévre-Utile A12 153 Imprimerie Librarie L. Marchal Cá 163
Biscuits Lefévre-Utile C5 86, 163 Eclat du jour P29 32, 149; CP8c 184 Imprimerie Vieillemard et Fils C2 162
Bleu Deschamps A31 155 Emeraude, L’ P35 34, 150; CP9h 185 In Bohemia 134 169
Bleu Deschamps “En vente ici’ A30 64, 155 Emmahof Castle CP12r 186 Index, The R30a 175; R30b 175
Bohemian Heart Charity CP12h 186 Encyclopédie artistique et documentaire de la Insurance Bank Slavia A54 159; CP12b /27,
Brasserie Septant, menu Ga 177 plante 133 169 185

091]
INDEX
Invitation 4 une реше féte de Noel G2b 178 Orphans Charity G2t 181; СРІ24 186 Savon de Notre Dame A4 153
Iris, L' P9 22, 147; С14 177; CP3e 183 Otčenáš 124 167; L24a 167 Savon Mucha G2o 180
Ivy P41 38, 150; CP9d 185 Scènes et épisodes de l'histoire d'Allemagne
Painting P21 28, 148; CP4i 184 L8 165
Jamais content L6 164 ‚Papeterie A2 152; CP8h 184 Sea-holly P44 4/, 151; CP9c 185
Jarni slavnosti pévecké a hudebni у Praze Paris 1900 G21 180; R30a 175; CPTI 184 Seasons, The P7 146
A64 160; CP12j 127, 186 Paris World R21 174 Sentiments, la musique et la geste, Les 128 168
Job 1896 A6 50, 152; C6 163; CP2a 126, 183 ‚Parole Republicaine, La R29 175 Singoala 140 170.
Job 1898 A36 67, 156 Passion, La AS2 158 Six nouvelles L2 164
Pater, Le 123 96-99, 167 Slav Epic A71 161; CP12p, 127, 186
Kiss of Spring, The G2s 181 Pavillon autrichien à l'Exposition Universelle Slet vSesokolsky VI A61 160
Slet véesokolskÿ VIII A69 161; CP120 127, 186
Komenský Society A57 159; СР121 186 А45 73, 157
Krajinská výstava у Ivandicich A62 1 Peinture, La P21 28, 148; CP4i 184 Slovanská epopej A71 161; CP12p 127, 186
Société de Bienfaisance Austro-Hongroise,
CP12i 127, 186 Peintures murales pour la Salle du Maire, menu Gle 177; CP7b 184
Krinogen AT2 161 Prague CP12g 186
Pen, The Р27 31, 149; C11 164; CPSh 184 Société Komenský, La A57 159; CP121 186
Société Populaire des Beaux-Arts A20 154
Lamalou les bains, menu Gik 178 Petit Français Illustré, Le R3a 170; R3b 170
Lance parfum ‘Водо’ AS 152 R3e 170 Soirée musicale, invitation GM 179
Sokol Festival — 6th A61 160
Laurel P42 39, 150; CP9e 185 Pévecké sdružení učitelů moravských А58 159
Laurier P42 39, 150; CP9e 185 Ріабігі Madonna 139 170 Sokol Festival — 8th A69 161; СР120 127, 186

Lefèvre-Utile — Sarah Bernhardt C12 87, 164 Pleiades Club Yearbook 137 169 Sokol Lottery A65 160
Sokolskä loterie А65 160
Lierre P4138, 150; CP9d 185 Plume, La P27, 31, 149; СИ 164; CPSh 184 Souvenir d'Ivancice Native CP12f 185
Lily P1123, 147; Gld 177; CP3g 183 Plume, La R9 115, 171
Literary Digest, The R35 176 Plume, La (Zodiac) C4a 81, 163 Spolek Котепзку А57 159; CP121 186
Spolek pro péči o sirotky G2 181; CP12q 186
Lorenzaccio A10 53, 153; CP1b 183 Plume, La — Alphonse Mucha et son Oeuvre Spring 1896 РЗ 20, 146; G1b 177; CP3a 183
Lorenzaccio — Alfred de Musset 1.16 166 1.14 166
Lorilleux, Charles et Cie. C1 162 Plume, La — Numéro consacré д Alphonse Spring 1900 P38 36, 150; CP8i 184
Spring CPSi 184
Loterie de l'Union de la Moravie du Sud-Ouest Mucha R9 171 Spring Festival of Song and Music й Prague
A60 159 Plume, La — Sarah Bernhardt A16 154; A64 160; СР12] 127, 186
Loterie de Sokol А65 160 Алба 154; А16 56, 154; CPTa 184
Loterie Närodni jednoty Або 159 Poésie, La P19 26, 148; СР4 184 Stationery A2 152; CP8h 184
Students’ Fair G2q 181; CP12e 185
Lottery of the Union of South Western Moravia Poésies du foyer et de l'école ЛАТ 166
A60 159 Poetry Р19 26, 148; CP4g 184 Summer 1896 P4 20, 146; Gib 177; CP3b 183
Summer 1903 P49 43, 151
Luchon, la Reine des Pyrénées A15 78, 162 Pojistövaci banka Slavia А54 159; CP12b 127,
Lune, La P45 151 185 Summer CPSj 184
Lunettes bleues, Les 14 164 Pole Star Р47 42, 151 Tête Byzantine Blonde Р16 148; P16a 148;
Lygie A46 157; CP9f 185 Polyanthus Р26 31, 149; CPSg 184 CP4a 126, 184
Lys, Le РИ 23, 147; CP3g 183 Postage stamps 64 182 Téte Byzantine Brunette Р15 147; Р15а 147;
Praha-Pariéi 127 168 CP4b 126, 184
Maîtres de l'affiche, Les 1.10 165 Premier régiment de Zouaves, Le 19 165 Thanks of the Blind A74 162; CP12u 186
Ма) R26 175 Primevere, La P26 31, 149; CPSg 184 Théodora 162
Médée A33 65, 156 Princess Hyacinth A59 76, 159 Three Seasons Р 147
Mémoires d'un éléphant blanc Lë 164 Printemps 1896 РЗ 20, 146; СЛЬ 177; CP3a 183 Three Vignettes CPSa-c 184
Memory of Native Ivančice CP12f 185 Printemps 1900 P38 36, 150; СРВ 184 Timbres G4 182
Menus 4Gib 177; Gld 177; Gli 178; СЦ 17! Printemps СРЯ! 184 Topaze, La P34 34, 150; CP9g 185
CP7g-j 184 Programme — 27 octobre 1900 G2k 180 Tosca, La A43 72, 157
Menus et programmes illustrés, Les 120 167; Town Topics RM 175
A37 156 Quartier Latin, Au Ria 118, 171; ВИ 171; Trappistine, La A17 57, 154
Mistr Jan Hus па Koncilu Kostnickém 1.32 169 Rile 119, 172 Trois saisons P8 147
Moët et Chandon — Champagne White Star Quartier Latin, Le R18 173 Trois vignettes СР5а-с 184
A39 68, 156 Quatre Saisons C3a 162; СР4с- 184
Моё et Chandon — Dry Imperial А4ба 69, 157 Universelle, L’ R20 174
Moët et Chandon — Grand Crémant Impérial RJ (La Plume) CM 164 Útok Moře 136 169
A40 157 Rama L19 167
Moët et Chandon — menus Glg /24-25, 178; Regional Exhibition at Ivančice A62 160 Vallée des colibris, La L15 166
CP2b-k 183 СРІ21 127, 186 Vent qui passe emporte la jeunesse, Le
Mois Littéraire et Pittoresque, Le Rl6a-y 173; Remerciements des aveugles АТА 162; CP12u G2i 179; СРТК 126, 184
СРба-1 126), 184 186 Vers Sacrum RM 173
Monaco Monte-Carlo A21 59, 154 Repos de la пий P31 33, 149; CP8e 184 Vestnik Zahraniční Domoviny R40 176
Moon Р45 151 Restaurant du Pavillon Bosniaque, menu Vie Populaire, La R2 170
Moravian Teachers’ Choir AS8 159 GIh 123, 178 Vin des Incas R44 157
Morning Awakening P28 32, 149; CP8b 184 Réverie РІ 19, 146; Pla 146; СВ 163; Сва 163; Výstava v Hoficich ASO 158
Morning Star РАВ 151 CP4k 184; СРВГ 184 Výstava ve Vyškově A49 158; СР12а 185
Mucha Exhibition, Brooklyn Museum A66 77, Réverie du soir P30 33, 149; CP8d 184 Vzpomínky R24 174
160 Revue des Debats Européens R22 174
Murals for Lord Mayor’s Hall, Prague CP12g Revue du Bien, La R27 175 Warner's Rust Proof Corsets А56 159
186 Revue pour les Jeunes Filles А9 153 Water-lily P23 29, 148; CP8k 184
Musique, La P22 148; CP4j 184 Rose, La P12 23, 147; Gld 177; CP3h 183 Waverley Cycles А25 155
Rubis РУТ 35, 150; CP9j 185 Werther С?т 180
Nativity CP12s 186 Russia Restituenda A68 161; CP12m 186 West End Review, The A35 156
Nectar A1 70, 157 Winter 1896 Рб21, 146; Gib 177; CP3d 183
Nénuphar P23 29, 148; CP8k 184 Saisons, Les P7146 Winter с. 1903 P5143, 151
Nestlé's Food for Infants A34 66, 156 Salammbó R10b 116, 171 Winter CPSI 184
New York Daily News, The R28 175 Salomé R10c 117, 171; СР54 184 Woman among the Flowers Р4037,150
1918-1928 A73 161 Salon R41 177 Woman with Daisy Р39 37, 150
Nineteen Hundred, The R4 170 Salon des Cent — Exposition de l'oeuvre de
Nocturnal Slumber P31 33, 149; CP8e 184 A. Mucha A19 58, 154 Y.W.C.A. A67 161; CP12n 186
Salon des Сет — ХХте Exposition АТ 51,
Oeillet, 1.7 P10 22, 147; 614 177; СРЭГ 183 152; G2e 178 Zlatá Praha R38 176
Oesterreich auf der Weltausstellung А45 73, Samaritaine, La A15 55, 153; CP1d 183 Zodiac P2 146; A38 156; C4 163; Саа 81, 163;
157 Savon de Bagnolet Các 163 C4b 163; Các 163; СРАЇ 184

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ISBN 0-517-541840