by Tom Gurney
Tom Gurney BSc (Hons) is an art history expert with over 20 years experience
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Fall (Autumn, 1896) by Alphonse Mucha
A seated woman reaches into a grapevine amid autumn plants. The Mucha Foundation catalogues this as The Seasons: Autumn, a 1896 colour lithograph printed by F. Champenois in Paris.[1] The local route calls it “Fall,” but the pictured panel is the Autumn of Mucha's first Seasons set. Its seated pose and grapes distinguish it from the later 1900 Autumn image elsewhere on this site.
At a Glance
- SeriesThe Seasons (1896)
- Date1896
- Mediumcolour lithograph
- PrinterF. Champenois, Paris
- Catalogued sheet103 × 54 cm in the Mucha Foundation record[1]
Fall (Autumn, 1896) in Mucha’s career
Contents
- Harvest in a narrow panel
- Which Autumn?
- The French 1896 editions
- A set offered for homes and reused abroad
- Looking again
Harvest in a narrow panel
The woman sits among dense foliage rather than standing in front of a distant view. One arm reaches toward grapes on the vine. The Foundation identifies a chrysanthemum wreath in her auburn hair and describes the figure gathering grapes amid a rich grouping of autumn plants.[1] Fruit, flowers and warm hair colour give the season recognisable signs without placing the image in a named field or village.
The pose creates movement inside a contained design. Her reaching hand leads toward the vine, while the body and dress draw the eye back to the seated figure. The surrounding foliage fills the panel, so there is little empty background. That visual abundance suits the idea of harvest. It is a reading of what is pictured, not evidence about a particular harvest or Mucha's personal memories.
Which Autumn?
The Foundation identifies the 1896 Seasons as Mucha's first set of decorative panels and lists Spring, Summer, Autumn and Winter as its four parts.[2] A guide to the series links the individual images. Its Autumn is the seated grape-gatherer on this page. The separate 1900 Autumn panel shows a standing woman with fruit.[3] Both may be titled “Autumn” in English, but their poses, dates and catalogue records differ.
The Foundation gives 103 × 54 centimetres for the 1896 catalogued sheet.[1] That measurement belongs to its print, not to the local web file. It also records F. Champenois as printer, fitting the series into Mucha's Paris colour-lithographic work. The print was designed to be read both as a single season and as one part of a year's cycle.[2]
The French 1896 editions
The Bibliothèque nationale de France (BnF) holds the 1896 four-part suite in two catalogued forms: one with the season names and another without them.[4][5] Both entries describe four colour lithographs published by Champenois in Paris and give 104 × 54 cm for their respective catalogued prints. The Foundation gives 103 × 54 cm for the object on this page.[1] Those values belong to different records; they should not be merged into a single universal sheet size. More importantly, a title visible or absent on a surviving impression is a print-state distinction, not a reason to date the basic composition to a different year. The small website reproduction does not identify which BnF state, if either, supplied it.
The BnF inventories the four parts separately within each version, rather than treating the season names as one free-standing poster title. Its with-name record lists Printemps, Été, Automne and Hiver; the without-name record lists the same four subjects in brackets.[4][5] This helps explain why an individual panel can appear with or without French wording and still belong to the same 1896 design programme. It does not establish how many copies of either version were printed or which format was sold first.
The two BnF states preserve the subject as Automne in the titled suite and as an untitled Autumn part in the other.[4][5] That distinction does not change what the Foundation catalogues: a seated grape-gatherer with a chrysanthemum wreath in the 1896 set.[1] The 1900 standing fruit-bearer has its own Foundation record and belongs to a different quartet.[3] When comparing the site’s two autumn routes, first identify the pose and plants, then attach the appropriate series date. The presence or absence of the word Automne on a particular sheet is a further state question; it should not be used to collapse the two designs into one.[1][3][4]
A Hiroshima Prefectural Art Museum exhibition checklist separately records a 1896 Autumn colour lithograph on paper at 104.8 × 56.9 cm.[6] Its number is specific to that exhibited sheet. It corroborates the 1896 set identification in a Japanese institutional catalogue but cannot decide whether the small differences from Foundation and BnF measurements reflect margins, print state or cataloguing method.
A 2023 Hachioji Yume Art Museum checklist lists a separate 1896 Autumn impression from the Ozawa collection as printed on satin.[7] This support belongs to that exhibited print. It shows that satin was used for the 1896 design as well as for documented later Seasons impressions; it does not identify the paper or fabric behind this site’s reproduction.
The Moravian Gallery in Brno catalogues its own Autumn as a 1896 lithograph on paper, inventory GD 9384, measuring 97.5 × 50 cm; it records acquisition in 1956.[8] Its four consecutive inventory records, GD 9382–9385, give the same medium, year, measurements and acquisition year for Spring through Winter. That makes a documented collection group, though the online entries do not say whether the four impressions retain their printed season names, how their smaller measurements arose, or whether they have always been together. The Brno figure is specific to these holdings and should not replace the Foundation, BnF or Japanese sheet measurements.[8]
A Kumamoto exhibition checklist lists a 1896 four-part Seasons group at 45 × 15 cm for each lithograph on paper.[12] That format is markedly smaller than the BnF, Foundation, Hiroshima and Brno records, yet the checklist gives no variant number or lettering description. It is useful evidence that the 1896 seasonal designs were catalogued at a compact individual-panel scale; it cannot show whether they were printed separately, cut from a joined sheet or reduced in a later issue. Nor should their dimensions be transferred to this site's untraced Autumn reproduction.[1][4][6][8][12]
A set offered for homes and reused abroad
The Art Nouveau Production collection describes a 1896 Champenois Seasons set and reports that an 1896 catalogue offered all four panels for 40 francs.[9] This is the collection's account of a period catalogue, not a direct transcription from a catalogue consulted here. The price concerns the quartet, not this Autumn panel alone. Its account also mentions a smaller sheet combining the four designs within an ornamental frame, another format that cannot be assumed to match the tall individual print recorded by the Foundation or the website file.[9]
A 2021 French museum exhibition guide explains the purpose of Mucha's decorative panels: Champenois marketed them on sturdier paper than ordinary advertising posters for use in homes, while Mucha saw a way to circulate art more widely.[10] That distinction helps explain why an allegory of grape harvest could be sold without a product name. It does not establish which of the paper, satin or combined formats a particular buyer chose.
The designs also travelled into advertising. Swann Galleries catalogued a set of four calendar sheets printed by Ketterlinus Lithographic Manufacturing Company, Philadelphia, dated 1897 for a 1898 company calendar.[11] This is a later American reuse of the 1896 imagery, not a new date for Mucha's Autumn design or evidence that the local file derives from a Ketterlinus sheet. The catalogue gives the calendar sheets as about 41 × 21 cm each, substantially smaller than the Champenois-format holdings discussed above.[11]
Looking again
Find the chrysanthemums, then follow the hand to the grapes. Compare that action with the more self-contained standing pose of the 1900 panel. Identifying the pictured details before applying a date prevents two related Mucha designs from being flattened into one object.[1][3]
Watch: Alphonse Mucha
Follow Mucha’s work from Art Nouveau Paris to his later Czech projects.
Alphonse Mucha: Plongez dans l’Art nouveau !
A French museum introduction to Mucha’s Art Nouveau years, poster work and decorative language.
Watch on YouTubeArtworks directory
| Name | Date | Medium |
|---|---|---|
| 'Accept Love and Enthusiasm from Your Son, Mother of the Holy Nation': study for the mural 'By Own Strength III' at the Lord Mayor's Hall, Obecní Dům, Prague | 1910-1911 | Pencil and charcoal on canvas |
| 'By force towards freedom, with love towards unity!': study for the mural 'By Own Strength II' at the Lord Mayor's Hall, Obecní Dům, Prague | 1910-1911 | Pencil and charcoal on canvas |
| 'The Passing Wind Takes Youth Away': design for a fan and the façade of the 'Pavilion of Man' (unrealised) | 1899 | Colour lithograph |
| 'Through humiliated and tortured, you will live again, my country!': study for the mural 'By Own Strength II' at the Lord Mayor's Hall, Obecní Dům, Prague | 1910-1911 | Pencil and charcoal on canvas |
| 1918-1928: Poster for the 10th Anniversary of the Independence of the Republic of Czechoslovakia | 1928 | Colour lithograph |
| 6th Sokol Festival | 1912 | Colour lithograph |
| 8th Sokol Festival | 1925 | Colour lithograph |
| After the Battle of Grunwald | 1924 | egg tempera on canvas |
| After the Battle of Vitkov Hill | 1923 | egg tempera on canvas |
| Age of Love | 1936–1938 | |
| Age of Reason | 1936–1938 | |
| Age of Wisdom | 1936–1938 | |
| Amants | 1895 | Colour lithograph |
| Apotheosis of the Slavs | 1926 | Egg tempera on canvas |
| As Hamlet | 1899 | colour lithograph |
| Au Quartier Latin | 1898 | Magazine cover |
| Banknotes of Czechoslovakia, designed by Mucha: 500 crown; 50 Crown; 10 Crown | 1929 | Banknotes |
| Bieres de la Meuse | 1897 | Colour lithograph |
| Biscuits Champagne Lefevre Utile | 1896 | Colour lithograph |
| Biscuits Lefevre Utile | 1896 design for 1897 calendar; Foundation object/Carnavalet 1897 | Colour lithograph |
| Blessed are the Pure in Heart | 1906 | Printed magazine illustration |
| Bleu Deschamps | 1903 (deposit) | Colour lithograph |
| Bosnia & Herzegovina Pavilion - illustration featured in 'Le Figaro Illustré' (1 March 1900) | 1900 | Reproduction from Le Figaro Illustré after watercolour original |
| Bosnia-Herzegovina Pavilion: cartoon for the mural 'The Roman Period and the Arrival of the Slavs' | 1899-1900 | ink and crayon on paper |
| Bosnia-Herzegovina Pavilion: fragment of the upper frieze featuring Ivo and Anica, characters from Bosnian legends | 1899-1900 | tempera and watercolour on canvas |
| Bosnian Legends: Death of Hasanaga's Bride | 1899 | Charcoal on paper |
| Bosnian Legends: Murcia - The Plague Lady | 1899 | Charcoal on paper |
| Bosnian Pavilion Restaurant at the Paris Exhibition 1900: design for the menu | 1900 | Pencil and watercolour on paper |
| Boutique Fouquet (interior design) | 1901 | Shop interior design |
| Boutique Fouquet: sketches of the shop's signboard and decorative details | c.1900 | Pencil, ink and watercolour on paper |
| Box for Lefèvre-Utile biscuits: Gaufrettes Vanille | c.1900 | Tin box covered with lithographed label |
| Box for Lefèvre-Utile biscuits: Madère | c.1900 | Tin box covered with lithographed label |
| Brightness of the Day | 1899 | Colour lithograph |
| Broach with Pendant | 1900 | Gold, ivory, mother-of-pearl and semi-precious stones |
| Byzantine Head - The Blonde | 1897 | Colour lithograph |
| Byzantine Heads (pair) | 1897 | Colour lithograph |
| Byzantine Heads: Brunette | 1897 | Colour lithograph |
| Bénédictine | 1898 (BnF deposit); Hamburg 1899; MNAC 1896 or 1898 | Colour lithograph |
| Champagne Ruinart | 1896 | Colour lithograph |
| Chocolat Ideal | before or in 1897 (catalogue conflict) | Colour lithograph |
| Chocolat Masson (1897 calendar) | 1896–1897 | Colour lithograph |
| Choirboys at Petrov Church, Brno | 1905 | Watercolour on cardboard |
| Cloches de Noel | 1900 | Illustrated book |
| Comedy: study for a mural for the German Theatre, New York | 1908 | Oil on canvas |
| Cours Mucha: poster advertising Mucha's art classes held at the Académie Colarossi, Paris | 1900 | colour lithograph |
| Creative Force - Jan z Pernštýna: study for a pendentive of the Lord Mayor’s Hall, Obecní Dům, Prague | 1910-1911 | Oil on canvas |
| Crucifixion | c.1868 | Pencil, crayon and watercolour on paper |
| Cycles Perfecta | 1897 or 1902 (catalogue conflict) | Colour lithograph |
| Dance | 1898 | Colour lithograph |
| Dead Couple - Abandoned | c.1899-1900 | Charcoal and pastel on blue paper |
| Defense of Sziget against the Turks by Nicholas Zrinsky | 1914 | egg tempera on canvas |
| Design for a champagne poster | c. 1896 | Charcoal and pastel on paper |
| Design for a display stand at the Paris Exhibition 1900 | c.1899-1900 | Pencil and wash on paper |
| Design for Champagne Ruinart | c. 1896 | Pencil, watercolour and gold leaf on paper |
| Design for the cover of the magazine 'Fantaz' | 1882 | Ink and watercolour on paper |
| Design for the heading of the cover of the magazine 'Krokodil' | 1885 | Pen and ink on cardboard |
| Design for the poster for the Mucha Exhibition at the Brooklyn Museum, New York, January-February 1921 | 1920 | Pen and ink and watercolour on paper |
| Designs for cutlery | c.1900 | Charcoal and white on card |
| Designs for tableware | c.1900 | Charcoal, coloured pencil and white on card |
| Diadem for 'La princesse lointaine' | 1895 | metal and pearls |
| Diploma of Ivančice: Mock diploma honouring a local celebrity, with illustration of the first line of 'May', a poem by Karel Hynek Mácha | 1882 | Pen and ink and watercolour on paper |
| Documents décoratifs: designs for a watch and accessories (unused) | 1901-1902 | Pencil, ink and white on paper |
| Documents décoratifs: final study for Plate 25, featuring studies of lily | 1901-1902 | Pencil on paper |
| Documents décoratifs: final study for Plate 43 | 1901-1902 | Pencil, ink and wash, heightened with white on paper |
| Documents décoratifs: final study for Plate 49 | 1901-1902 | Pencil and white on paper |
| Documents décoratifs: final study for Plate 50 | 1901-1902 | Pencil and white on paper |
| Documents décoratifs: final study for Plate 60 | 1901-1902 | Pencil, ink and wash, heightened with white on paper |
| Documents décoratifs: final study for Plate 63 | 1901-1902 | Pencil and white on paper |
| Documents décoratifs: final study for Plate 67 | 1901-1902 | Pencil and white on paper |
| Documents décoratifs: final study for Plate 71 | 1901-1902 | Pencil and white on paper |
| Documents décoratifs: final study for Plate 72 | 1901-1902 | Pencil and wash, heightened with white on paper |
| Documents décoratifs: line drawing for Plate 33, featuring lily motifs | 1901-1902 | Pencil, pen and ink on paper |
| Documents décoratifs: Plate 54 | 1902 | Lithograph |
| Dreaming of Freedom: study for a Panel of the Small Reception Room at the Lord Mayor’s Hall, Obecní Dům, Prague | 1910-1911 | Pen and ink and watercolour on paper |
| Dusk | 1899 | Colour lithograph |
| Evening | 1899 | Colour lithograph |
| F. Champenois (Rêverie imprint) | 1898 | Colour lithograph |
| F. Guillot-Pelletier calendar (1898) | 1897–1898 | Colour lithograph |
| Feather | 1899 | Colour lithograph |
| Figures décoratives: final study for Plate 2 | 1904-1905 | Pencil and white on paper |
| Figures décoratives: final study for Plate 3 | 1904-1905 | Pencil and white on paper |
| Figures décoratives: final study for Plate14 | 1904-1905 | Pencil with white on paper |
| Figures décoratives: sketch study for Plate14 | 1904-1905 | Blue pencil on paper |
| Flirt Lefevre Utile | 1899 (Foundation design); BnF legal deposit 1900 | Colour lithograph |
| Flower | 1897 | Colour lithograph |
| Flower: final study for decorative panel | 1897 | Pencil, ink and watercolour on paper |
| France Embraces Bohemia | 1918 | oil on canvas |
| Fruit | 1897 | Colour lithograph |
| Georges Fouquet (1858-1929), Paris, after design by Mucha: Ornamental Chain with pendants | 1900 | Gold, enamel, fresh-water pearls, mother of pearl and semi-precious stones |
| Georges Fouquet (1858-1929), Paris, after Mucha design: 'Peacock' Ring (Exhibited at the Paris Exhibition 1900) | 1900 | Opal and gold |
| Girl Weeping | c.1899-1900 | Black chalk and pastel on paper |
| Girl with Loose Hair and Tulips | 1920 | Oil on canvas |
| Gismonda | 1894 | Colour lithograph |
| Head of a Girl, statue for the stand of the Houbigant Perfumery at the Paris Exhibition 1900 | 1900 | Bronze, silver and parcel gilt |
| Head of Sarah Bernhardt: Study for 'Lorenzaccio' | 1896 | Pencil on paper |
| Heather from Coastal Cliffs | 1902 | Colour lithograph |
| Heidsieck & Co | 1901 | Colour lithograph |
| Holy Mount Athos | 1926 | Egg tempera on canvas |
| Ilsée, Princesse de Tripoli | 1897 | Illustrated book |
| In the Desert: Study for an illustration for the Světozor magazine | 1889 | Pencil, watercolour and gouache on paper |
| Incantation (Salammbô) | 1897 | Lithograph |
| Independence - Jiří z Poděbrad: study for a pendentive of the Lord Mayor’s Hall, Obecní Dům, Prague | 1910-1911 | Oil on canvas |
| Interior and furniture designs | c.1900 | Pencil on paper |
| Interior of Boutique Fouquet: design for a wall-mounted display cabinet with statuette and mirror | c.1900 | Pencil on paper |
| Interior of Boutique Fouquet: design for the fireplace with statuettes, mirror, and the ornamental details of the wall | c.1900 | Pencil and watercolour on cardboard |
| Interior of Boutique Fouquet: sketches of the fireplace with statue, mirror, display cabinet, and the ornamental details of the wall | c.1900 | Pencil, pen and ink on paper |
| Ivy | 1901 | Colour lithograph |
| Jan Milic of Kromeriz | 1916 | egg tempera on canvas |
| Jaroslava and Jiří, the Artist’s Children | 1918 | Oil on canvas |
| JOB poster | 1896 | Colour lithograph |
| Judgement of Paris (calendar for Vieillemard printing company) | 1895 | Colour lithograph |
| Justice - Master Jan Hus: study for a pendentive of the Lord Mayor's Hall, Obecní dům, Prague | 1910-1911 | Oil on canvas |
| L'Annee Qui Vient | 1897 | red chalk on paper |
| L'Illustration magazine - cover for Christmas 1896/1897 | 1896 | Magazine cover |
| L'Illustré Soleil du Dimanche | 1897 | Magazine cover |
| La Dame aux Camélias: designs for cover and interior of special programme | 1896 | Pencil and watercolour on paper |
| La Nature | 1899-1900 | Bronze and amethyst |
| La Plume | 1897 | Magazine cover |
| La Samaritaine | 1897 | colour lithograph |
| Lance Parfum Rodo | 1896; Albertina print c. 1900 | Colour lithograph |
| Laurel | 1901 | Colour lithograph |
| Le Monde Illustré | 1900 | Magazine cover |
| Le Pater | 1899 | Illustrated book |
| Le Pater: early study for the 1st allegorical scene 'Our Father who art in Heaven' (1899) (Mucha Foundation object 300) | 1899 | Pencil on paper |
| Le Pater: early study for the 1st allegorical scene 'Our Father who art in Heaven' (1899) (Mucha Foundation object 302) | 1899 | Pastel on paper |
| Le Pater: study for the 6th allegorical scene 'Forgive us our debts, as we forgive our debtors' | 1899 | Charcoal and ink wash on paper |
| Lefevre Utile | 1904 | Advertisement |
| Leslie Carter | 1908 | Colour lithograph |
| Letem Českým Světem | 1898 | Printed book |
| Lorenzaccio | 1896 | Colour lithograph |
| Luchon poster (attributed to Mucha) | 1895 | Colour lithograph |
| Madonna of the Lilies | 1905 | Tempera on canvas |
| Master Jan Hus Preaching at the Bethlehem Chapel | 1916 | egg tempera on canvas |
| Maude Adams | 1908 | Lithograph, hand-coloured in watercolour and gouache |
| Maude Adams as Joan of Arc | 1909 | Oil on canvas |
| Medea | 1898 | Colour lithograph |
| Menu for the Bosnian Pavilion Restaurant at the Paris Exhibition 1900 | 1900 | Colour lithograph |
| Militancy - Jan Žižka: study for a pendentive of the Lord Mayor's Hall, Obecní dům, Prague | 1910-1911 | Oil on canvas |
| Military Camp in Winter, near a City on Fire | c.1899-1900 | Pastel on paper |
| Moet et Chandon | 1899 | Colour lithograph |
| Monaco Monte Carlo | 1897 | Colour lithograph |
| Moon | 1902 | |
| Moravian Teachers' Choir | 1911 | Colour lithograph |
| Morning Alphonse Mucha Painting / AlphonseMucha.org | 1899 | Colour lithograph |
| Morning Star | 1902 | Colour lithograph |
| Moët & Chandon White Star | 1899 | Colour lithograph |
| Mrs Mucha’s Necklace | 1906 | gold, enamel and semi-precious stones |
| Mural for the Bosnia-Herzegovina Pavilion: The Roman Period and the Arrival of the Slavs | 1900 | tempera and watercolour on canvas |
| Murals by Mucha in the Lord Mayor's Hall, Obecní Dům (Municipal House), Prague (1910-1911) | ||
| Music | 1898 | Colour lithograph |
| Nativity | c. 1934 | oil on canvas |
| Nestle's Food for Infants | 1897 | Colour lithograph |
| Night | 1899 | Colour lithograph |
| Nude on a Rock | 1898-1899 | Bronze |
| Official Banquet of the Paris Exhibition 1900: design for the menu featuring a fashionable woman wearing a Mucha-style jewellery | 1900 | Pencil, gouache and wash on grey paper |
| Ornamental motifs designed for 'Combinaisons Ornementales se Multipliant à l'Infini à l'Aide du Miroir' (1901) | c.1900-1901 | Blue and red pencil on paper |
| Packaging for 'Savon Mucha Violette' | 1906 | Colour lithograph |
| Packaging for Lefèvre-Utile biscuits: Boudoir | 1901 | Colour lithograph |
| Page's Costume: study for an illustration for 'Le Costume au Théâtre' | 1890 | Pencil and watercolour on cardboard |
| Painting | 1898 | Colour lithograph |
| Peonies | 1897–1898 | Ink and watercolour |
| Petr Chelcicky at Vodnany | 1918 | egg tempera on canvas |
| Poetry | 1898 | Colour lithograph |
| Portrait of Jaroslava | c.1927-1935 | Oil on canvas |
| Portrait of Josephine Crane Bradley as Slavia | 1908 | Oil and tempera on canvas |
| Portrait of Marie Chytilová (Maruška), Mucha's Future Wife | 1903 | pastel on paper |
| Portrait of Mucha's Sister, Angela | c.1880 | Oil on canvas |
| Portrait of Mucha's Sister, Anna | c.1885 | Oil on canvas |
| Portrait of Mucha's Son, Jiří | 1925 | Oil on canvas |
| Portrait of Mucha's Wife, Maruška | 1908/17 | Oil on canvas |
| Portrait of Woman | c. mid 1910s - 1925 | Blue pastel on grey paper |
| Poster for 'Hommage Respectueux de Nestlé' (the Nestlé Company's tribute to Queen Victoria's 60th Jubilee) | 1897 | Colour lithograph |
| Poster for 'Imprimerie Cassan Fils' | 1896 | Colour lithograph |
| JOB poster (1898) | 1898 | Colour lithograph |
| Poster for 'La Dame aux Camélias' | 1896 | Colour lithograph |
| Poster for 'La Tosca' | 1899 | Colour lithograph |
| Poster for 'Regional Exhibition at Ivančice 1913' | 1912 | Colour lithograph |
| Poster for 'The Slav Epic Exhibition, Brno, 1930' | 1928-1930 | Colour lithograph |
| Poster for 'Waverley Cycles' | 1898 | Colour lithograph |
| Poster for the 'Lottery of the Union of Southwestern Moravia' | 1912 | Colour lithograph |
| Poster for the Austrian Pavilion at the Paris Exhibition 1900 | 1900 | Colour lithograph |
| Prague Subjugated: study for a Panel of the Small Reception Room at the Lord Mayor’s Hall, Obecní Dům, Prague | 1910-1911 | Pen and ink and watercolour on paper |
| Primrose | 1899 | Colour lithograph |
| Primrose and Feather (paired image) | 1899 | Colour lithographs (paired image) |
| Princess Hyacinth (Princezna Hyacinta) | 1911 | Colour lithograph |
| Print proof for the Biscuits Lefèvre-Utile tin | 1899 | Lithograph |
| Reverie | 1898 | Colour lithograph |
| Russia Restituenda [Russia Must Recover] | 1922 | Colour lithograph |
| Salome | 1897 | Colour lithograph |
| Salon des Cent | 1896 | Colour lithograph |
| Salon of the Hundred | 1897 | Colour lithograph |
| Sarah Bernhardt - La Princesse Lointaine - Lefevre Utile | 1903 | Colour lithograph |
| Sarah Bernhardt as La Princesse Lointaine: poster for 'La Plume' magazine | 1897 | Colour lithograph |
| Sarah Bernhardt in the role of the Duc de Reichstadt in L’Aiglon | 1900 | Pencil on paper |
| Sarah Bernhardt: study of her full-standing figure | c.1896 | Pen and ink on paper |
| Savonnerie de Bagnolet calendar | 1898 (calendar) | Printed advertising calendar |
| Self-portrait (1899) | 1899 | Oil on board |
| Self-portrait (1907) | 1907 | Blue and white crayon on blue Ingres paper |
| Self-portrait, sketching in his apartment, Paris | late 1880s | oil on canvas |
| Sketches of flowers for Documents décoratifs | c.1900-1901 | Pen and ink on paper |
| Slavia insurance poster | 1907 | Poster |
| Slavs in their Original Homeland | 1912 | Egg tempera on canvas |
| Snake Bracelet with a Ring | 1899 | Gold, enamel, opal, ruby and diamond |
| Société Populaire des Beaux Arts | 1897 | Colour lithograph |
| Song of Bohemia | 1918 | oil on canvas |
| St. Vitus Cathedral Stained-glass Window, Prague: final design for the central panels, featuring SS Cyril and Methodius | 1931 | Ink and watercolour on paper |
| St. Vitus Cathedral Stained-glass Window, Prague: final design for the central panels, featuring St. Ludmila | 1931 | Ink and watercolour on paper |
| St. Vitus Cathedral Stained-glass Window, Prague: final design for the central panels, featuring St. Wenceslas (Duke of Bohemia) kneeling next to his Grandmother, St. Ludmila | 1931 | Ink and watercolour on paper |
| St.Vitus Cathedral Stained-glass Window, Prague: final design for the bottom left panels | 1931 | Ink and watercolour on paper |
| St.Vitus Cathedral Stained-glass Window, Prague: final design for the bottom right panels | 1931 | Ink and watercolour on paper |
| Stained-glass Window designed by Mucha at St. Vitus Cathedral, Prague | Early 1930s | N/A |
| Study for 'The Age of Reason' | 1936-1938 | Pencil and watercolour on paper |
| Study for 'The Slav Epic cycle' No.19: The Abolition of Serfdom in Russia | 1913-1914 | Watercolour and gouache on paper |
| Study for 'The Slav Epic' cycle No.14: The Sacrifice at Szigetvár by Nikola Zrinski | c.1913-1914 | Photographed drawings stuck together, tinted with watercolour and gouache |
| Study for 'The Slav Epic' cycle No.17: The Holy Mount Athos (1926) | c.1925-26 | Charcoal heightened with white on cardboard |
| Study for 'The Slav Epic' cycle No.18: The Oath of Omladina under the Slavic Linden Tree | c.1925-1926 | Pencil and watercolour on paper |
| Study for 'The Slav Epic' cycle No.1: The Slavs in Their Original Homeland (1912) | c.1910-1912 | Oil on canvas |
| Study for 'The Slav Epic' cycle No.2: The Celebration of Svantovít | c.1910-1912 | Oil on canvas |
| Study for 'The Slav Epic' cycle No.7: Jan Milíč of Kroměříž | c.1915-1916 | Oil on canvas |
| Study for 'The Slav Epic' cycle No.9: Master Jan Hus Preaching at the Bethlehem Chapel. The Magic of the Word: Truth Prevails (1412). | c.1915-1916 | Oil on canvas |
| Study for 'The Three Ages' triptych: Reason, Wisdom and Love [unfinished project] | 1936-1938 | Pencil and watercolour on paper |
| Study for 'Woman in the Wilderness' (c. 1922-1923) (Mucha Foundation object 315) | c. 1922-1923 | oil on canvas |
| Study for 'Woman in the Wilderness' (c. 1922-1923) (Mucha Foundation object 316) | c. 1922-1923 | oil on canvas |
| Study for Savon Notre Dame | c. 1896 | pencil and watercolour on paper |
| Study for the poster 'Russia Restituenda [Russia Must Recover]' | 1922 | Pen and ink and watercolour on paper |
| Study of a Male Nude | 1885-1887 | Oil on canvas |
| The Abolition of Serfdom in Russia | 1914 | Egg tempera on canvas |
| The Arts (series) | 1898 | Colour lithograph |
| The Arts: study for 'Dance' | 1898 | Pencil and watercolour on paper |
| The Arts: study for 'Music' | 1898 | Pencil and watercolour on paper |
| The Arts: study for 'Painting' | 1898 | Pencil and watercolour on paper |
| The Arts: study for 'Poetry' | 1898 | Pencil and watercolour on paper |
| The Bohemian King Premysl Otakar II | 1924 | egg tempera on canvas |
| The Bulgarian Tsar Simeon | 1923 | egg tempera on canvas |
| The Burr McIntosh Monthly, 1907 | 1907 | Magazine cover |
| The Celebration of Svantovit | 1912 | egg tempera on canvas |
| The Coronation of the Serbian Tsar Stefan Dusan as East Roman Emperor | 1923 | egg tempera on canvas |
| The Devil and Mr Twardowsky: study for an illustration for 'The Tale of Pan Twardowsky' (a variation of 'Faust') | c.1887-1888 | Charcoal on paper |
| The Flowers (series) | 1898 | Colour lithographs |
| The Flowers: Carnation | 1898 | Colour lithograph |
| The Flowers: Iris | 1898 | Colour lithograph |
| The Flowers: Lily | 1898 | Colour lithograph |
| The Flowers: Rose | 1898 | Colour lithograph |
| The Hussite King Jiri of Podebrady | 1923 | Egg tempera on canvas |
| The Introduction of the Slavonic Liturgy | 1912 | egg tempera on canvas |
| The Last Days of Jan Amos Komensky (Comenius) in Naarden | 1918 | Egg tempera on canvas |
| The Light of Hope | 1933 | Oil on canvas |
| The Meeting at Krizky | 1916 | egg tempera on canvas |
| The Months (January-June) | 1899 | Colour lithograph |
| The Months (July-December) | 1899 | Colour lithograph |
| The Moon and the Stars (four-panel montage) | 1902 | Colour lithographs (four-panel montage) |
| The Moon and the Stars (series) | 1902 | Colour lithograph |
| The Moon and the Stars: study for 'The Evening Star' | 1902 | Ink and watercolour on paper |
| The Moon and the Stars: study for 'The Pole Star' | 1902 | Ink and watercolour on paper |
| The New York Daily News art supplement | 1904 | Printed art supplement |
| The Oath of Concord of the Slavs (unfinished) | 1939 | oil on canvas |
| The Oath of Omladina under the Slavic Linden Tree | 1926, unfinished | Egg tempera on canvas |
| The Precious Stones (four-panel montage) | 1900 | Colour lithographs (four-panel montage) |
| The Precious Stones (series) | 1900 | Colour lithograph |
| The Precious Stones: Amethyst | 1900 | Colour lithograph |
| The Precious Stones: Emerald | 1900 | Colour lithograph |
| The Precious Stones: Ruby | 1900 | Colour lithograph |
| The Printing of the Bible of Kralice in Ivancice | 1914 | egg tempera on canvas |
| The Seasons (series) | 1896 | Colour lithograph |
| The Seasons (series) (1900) | 1900 | Colour lithograph |
| The Seasons (variation in screen format) | 1896 | Colour lithograph |
| The Seasons: Autumn (1896) | 1896 | Colour lithograph |
| The Seasons: Autumn (1900) | 1900 | Colour lithograph |
| The Seasons: Spring | 1900 | Colour lithograph |
| The Seasons: Spring (1896) | 1896 | Colour lithograph |
| The Seasons: Summer | 1900 | Colour lithograph |
| The Seasons: Summer (1896) | 1896 | Colour lithograph |
| The Seasons: Winter | 1900 | Colour lithograph |
| The Seasons: Winter (1896) | 1896 | Colour lithograph |
| The Slavonic Concord: study for the ceiling painting for the Lord Mayor's Hall, Obecní Dům, Prague | 1910-1911 | Oil on canvas |
| The Threat | 1912 | Colour lithograph |
| The Times of the Day (series) | 1899 | Colour lithograph |
| The West End Review | 1897 (Foundation); 1898 promotional cover | Colour lithograph |
| Thistle from the Sands | 1902 | Colour lithograph |
| Théâtre de la Renaissance: design for poster advertising Sarah Bernhardt's theatre | c.1895 | Pen and ink on paper |
| Tin for Lefèvre-Utile biscuits | 1899 | Circular tin with lid and handle; colour print on metal |
| Topaz | 1900 | Colour lithograph |
| Tragedy - study for a mural for the German theatre New York | 1908 | Oil and tempera on canvas |
| Trappistine Liquors | 1897 | colour lithograph |
| Wiener Chic | 1905 | Magazine cover |
| Woman in the Wilderness | 1923 | Oil on canvas |
| Woman masked in white head-scarf - study for the illustration of the Bosnia & Herzegovina Pavilion featured in 'Le Figaro Illustré' (1 March 1900) | 1899 | Pencil and wash heightened with white on paper |
| Woman with a Daisy - textile designed by Mucha | 1900 | Printed upholstery fabric |
| Zdenka Cerny | 1913 | Colour lithograph |
| Zodiac (La Plume calendar) | 1896–97 | Colour lithograph |
| Zodiac (textless decorative panel) | 1896 | Colour lithograph |
| ‘At the sight of the two storks the owl rose.’ Study for an illustration for Contes de Grand-mères | 1891 | Watercolour and gouache on paper |
Frequently Asked Questions
When was the Fall panel on this page made?
What is the woman doing?
Is this the same as the 1900 Autumn?
Discussion
The 1896 Autumn gathers grapes within a dense field of plants.
The same season received a different Mucha panel in 1900.
Reader Insights
Where does the reaching hand lead your eye?
Which details signal autumn most clearly?
What changes in the 1900 version?
Join the Conversation
Share how the two treatments of one season compare.
References
- Mucha Foundation, “The Seasons: Autumn (1896),” object record. View source.
- Mucha Foundation, “The Seasons (series) (1896),” series record. View source.
- Mucha Foundation, “The Seasons: Autumn (1900),” distinct panel. View source.
- Bibliothèque nationale de France, “Les Saisons (1896): variantes avec le nom des saisons,” four-part Champenois set. View source.
- Bibliothèque nationale de France, “Les Saisons (1896): variantes sans le nom des saisons,” corresponding untitled set. View source.
- Hiroshima Prefectural Art Museum, exhibition checklist, 1896 Autumn: The Seasons. View source.
- Hachioji Yume Art Museum, 2023 Mucha exhibition checklist, 1896 Autumn on satin, Ozawa collection. Work list.
- Moravian Gallery in Brno, Čtyři roční doby – Podzim, inventory GD 9384; Czech collection record and linked 1896 quartet. Spring; Summer; Autumn; Winter.
- Art Nouveau Production, collection account for its 1896 Champenois Seasons set, citing an 1896 catalogue's quartet price and a smaller combined format. Collection text.
- Musée départemental breton, Alphonse Mucha: La Beauté Art nouveau exhibition press guide, French/English account of the purpose and household use of decorative panels. Museum PDF.
- Swann Galleries, lot 135, Ketterlinus The Seasons four-sheet Philadelphia calendar, dated 1897 and prepared for 1898. Sale catalogue.
- Contemporary Art Museum, Kumamoto, Japanese Mucha exhibition checklist, item 63, 1896 Seasons quartet, lithographs on paper at 45 × 15 cm each. Work list.
