Alphonse Mucha Prints

Alphonse Mucha Prints

A Mucha image can exist as a design, a printed sheet, a calendar, a poster and a later reproduction. Those terms are related, but they do not identify the same physical object. The image above offers a useful example. It shows a woman opening a book below the name F. CHAMPENOIS. The Mucha Foundation traces the composition to the printer's 1898 company calendar and says it was later issued by La Plume as the decorative panel Rêverie.^[1] The BnF records a lettered 1898 colour lithograph advertising Champenois and a separate textless state of the composition.^[2][3]

This page follows the printed versions rather than treating “print” as a synonym for a modern copy offered for sale. Mucha worked with publishers, printers and clients. Lettering could be added or removed, and a design could reach people as public advertising or as a panel for a room. The small inherited hero belongs to that history, though its own source impression remains untraced. A larger BnF sheet of the lettered state appears in the close reading below, clearly identified as a different held impression.

At a Glance

• Artist and designerAlphonse Mucha, whose Paris posters and decorative prints made extensive use of colour lithography^[4]
• Printer-publisherF. Champenois, Paris; Mucha signed an exclusive contract with the firm in 1896^[4]
• Hero compositionChampenois's 1898 calendar design, later known in a textless La Plume form as Rêverie^[1]
• Hero statelettered F. Champenois version; exact printed impression behind the inherited website JPEG untraced^[2]
• BnF comparisonseparate 1898 with-lettering colour lithograph, catalogued as 67 × 49 cm for its held sheet^[2]
• Related stateBnF records an unlettered Rêverie variant; it is not the image at the top of this page^[3]
• Local hero limitinherited 400 × 545-pixel reproduction; exact digital lineage and physical source untraced

Contents

1. What makes a print a print?
2. The Champenois design in several forms
3. Lettering changes what a sheet does
4. From posters to decorative panels and books
5. Prints offered for sale in Mucha's own period
6. A design reused as a calendar
7. Look closely, then return to the record

What makes a print a print?

The word print describes an image produced through a printing process rather than a unique painted canvas. Mucha's best-known sheets were often colour lithographs. The Mucha Foundation describes the growth of colour lithography as central to the 1890s spread of posters, and records Champenois as the printer of many of Mucha's Paris designs.^[4] The artist supplied a design; the printer made impressions that could be distributed. A surviving sheet belongs to a particular edition or state, with its own text, size and use.

Printing also involved decisions before an edition was released. The BnF catalogues a 1897 black-and-white lithographic frontispiece called Mélancolie as a bon à tirer, an approval proof, signed by Léon Deschamps and associated with La Plume.^[7] This is a documented point in production, not simply another title for a finished public poster. A proof can bear a printer or editor's decision about proceeding; the signature recorded on this sheet should not be read as Mucha's unless the source says so. Here the BnF names Deschamps.

That distinction helps with a common problem. Two web images may show almost the same woman, flowers and circular pattern, yet one has a printer's heading, another has no headline, and a third is a modern reproduction cropped or recoloured for display. The underlying composition can be related without those images being evidence of the same physical print. Collection records usually describe an identified sheet; they do not automatically authenticate an inherited website file that lacks provenance.

Mucha's printmaking reached many kinds of reader. A theatre poster announced a Bernhardt performance. A product advertisement named a brand. A calendar joined image to time and company information. A magazine could publish a related version, and a decorative panel could put the image on a domestic wall.^[4][5] The medium of a particular sheet and the purpose of its edition both deserve attention. Neither is visible from the subject alone.

The Champenois design in several forms

In the hero, the woman sits before a dark floral disk and leafs through an open book. She wears a pale dress with a broad ornament down the front. Above her, F. CHAMPENOIS appears in large letters, followed by printer-publisher wording and Paris. The dates 1898 sit in small roundels at the upper corners. The printing house is therefore part of the image's message, not a credit added by a modern website.^[1][2]

The Foundation says this composition was first designed for the 1898 Champenois company calendar. Its popularity led to publication by La Plume as a decorative panel titled Rêverie, or “daydream.”^[1] The BnF makes the difference material: one of its records describes an “avec lettre” print, meaning it retains lettering for Champenois; another describes a variant without lettering and date.^[2][3] A comparison of those records is stronger than assuming that every reproduction carrying the same figure is one edition.

The BnF's lettered sheet is a colour lithograph dated 1898 and catalogued as 67 × 49 cm. It notes that the catalogue by Rennert and Weill lists seven variants of the design.^[2] That number indicates a complicated version history, but it does not identify the exact source of the 400-pixel hero. The inherited image includes broad white margins and a different digital colour balance from the BnF scan below. Its printed lineage remains open. The BnF dimensions describe the BnF sheet only.

The dedicated Rêverie article treats a textless issue. The separate F. Champenois page uses another local reproduction of the lettered design. These pages are related by one composition but differ in printed information. Readers can move among them to see why a clean title or a similar thumbnail is not enough to settle an object's identity.

Lettering changes what a sheet does

Large lettering turns the Champenois version into an announcement for the printer-publisher. It tells a viewer whose firm made and circulated the image. Remove that headline and the same central figure has a more open-ended decorative role. The Foundation calls the later La Plume issue a decorative panel.^[1] Its purpose was not to advertise the Champenois name in the same way as the lettered sheet. The shift can be seen without claiming that one specific surviving print was physically altered into another.

Lettering is equally important elsewhere in Mucha's work. The Monaco–Monte-Carlo poster survives in variants with and without P.L.M. railway lettering. Zodiac appears in calendar and textless contexts. The two Salon des Cent exhibition posters each name a different event. In those cases, reading the words prevents a sheet from being flattened into an anonymous “Mucha woman.” A change in wording can signal a new publisher, audience or use.

This does not mean every small difference makes a wholly new artwork page. The shared image still matters, and an artist may reuse an effective design. The useful question is what each print asks its viewer to do. To visit a theatre? Buy a product? Know a date? Decorate a room? Those tasks often leave visible traces in the lettering, layout and format.^[4][5]

From posters to decorative panels and books

The Foundation says Champenois issued Mucha's designs across advertisements, calendars and decorative panels. The latter were often printed without commercial text for appreciation and display in homes.^[4][5] The Seasons is one well-known four-panel example. Its Spring, Summer, Autumn and Winter sheets should be understood as parts of a related series, not as four unrelated shop products. Later groups such as The Arts and The Flowers show how the image could be printed and sold as a set.^[5]

That series also travelled in smaller forms. The BnF catalogues four Champenois postcards of the first Seasons set, deposited in 1898, as colour chromolithographs measuring 9 × 14 cm.^[8] These should not inherit the dimensions or display purpose of the earlier decorative panels simply because they repeat the seasonal subjects. A postcard could circulate through handling and correspondence, while a large panel was intended to be seen on a wall. The catalogue records a new printed format, not just a modern thumbnail of the original sheets.

Mucha's printed work extended beyond single-sheet posters and panels. The Foundation's books-and-illustrations catalogue identifies illustrated books to which he contributed, including Le Pater.^[6] The Le Pater article explains a book with its own sequence of text and images. One interior image is not the book's cover, and the book is not just a poster folded into pages. The printed medium is part of how a reader encounters the work.

The British Museum's 1897 Salomé provides a periodical example. Its record describes a 33.5 × 23 cm colour lithograph issued as a plate in L’Estampe Moderne, with associated text printed on the back. The museum notes that plates in this hundred-plate series carried a blindstamp, but warns that many were photolithographic reproductions of drawings even when marketed as original prints.^[9] Its description does not settle the precise reproduction method of every plate in the series. For Salomé, the safe claim is the museum's object description and its caution about the publisher's broad “original print” language.

The museum's series record supplies a publication framework: 24 monthly parts, normally four plates each, appeared from May 1897 to April 1899. Four extra plates for subscribers brought the complete set to 100; the British Museum gives the series edition as 2,000.^[9] This is an edition figure for L'Estampe Moderne as a publication, not proof that Mucha separately printed 2,000 of every composition in all forms. The blindstamp and text on the back help identify a periodical plate as a particular issued object. A loose modern reproduction of Salomé should not inherit that publication history merely because its image matches.

The Hammer Museum's own Salomé impression makes another cataloguing distinction tangible. It measures the stone area at 33.5 × 23.2 cm and the whole sheet at 40.6 × 30.5 cm. It records Mucha's signature in the stone at lower left and the L'Estampe Moderne blindstamp at lower right.^[17] The printed signature belongs to the composition transferred through the lithographic process; the impressed publisher's mark identifies a feature of the issued sheet. Neither measurement should be quoted without saying what was measured. The Foundation's separately held Salomé is described at 41 × 31 cm, close to the Hammer sheet size but still a record for another object.^[18] These catalogue entries make it possible to compare two holdings without pretending to have established their exact paper, trimming or print-run relationship.

An illustrated volume can contain several kinds of print at once. The National Gallery of Art catalogues a 1898 copy of Léon Maillard's Les Menus et Programmes illustrés with 460 lithographic and photozincotype illustrations, 22 separate colour or two-tone plates, and original lithographed endpapers by Mucha.^[19] Mucha appears among several named artists in the volume. His endpapers are a specific contribution to the book as an object; the 460 illustrations are the book's total, not 460 Mucha prints. The mixture of processes also matters: a reproduction of an earlier menu or programme is not made into an original artist's lithograph by being bound next to one. The NGA gives the closed book's size as 31.9 × 23 cm, a book measurement that cannot stand in for the dimensions of an individual plate or endpaper.^[19]

A related boundary appears in the NGA's 1896–97 L'Image: Revue littéraire et artistique. It catalogues a bound, partly disbound volume associated with Mucha and many other contributors, and describes original woodcuts alongside photomechanical reproductions.^[20] The record identifies the volume's mixed media, but it does not specify in that summary which individual image or technique belongs to Mucha. The safe conclusion is about the publication's character: its pages combine original printed work and reproduced imagery. To call every illustration in it an original Mucha print would require an item-by-item collation the general collection record does not provide. This same discipline applies when a later portfolio, catalogue or website presents an old design under a single artist's name.^[20]

Two other NGA books show how much the material description can change even within Mucha's illustrated-book work. Its 1897 Ilsée, princesse de Tripoli, written by Robert de Flers, contains 132 chromolithographic illustrations, some heightened with silver, together with ten initial letters and vignettes, all attributed to Mucha's design.^[21] Those are printed parts of a bound narrative, not 132 independent advertising posters. The colour process and occasional silver also make the book a different undertaking from the black-and-white Mélancolie approval proof mentioned above. The catalogue says what the NGA copy contains; it does not document how many copies of Ilsée were sold.^[7][21]

The gallery's copy of Anatole France's Clio, published in 1900, gives a particularly precise account of states within a book. It records 42 wood-engraved illustrations on China paper. For the cover and twelve illustrations, the copy preserves a monochrome state, a colour state and the published state; its lower-cover vignette appears in two states.^[22] Here “state” describes successive or alternative print forms of components kept in one particular volume, rather than a change from advertising poster to household panel. Their presence in this NGA copy is not evidence that every ordinary copy of Clio included all those extra states. Together Ilsée and Clio widen the meaning of Mucha's printed work beyond the colour lithograph while keeping process and edition claims tied to actual books.^[21][22]

Prints offered for sale in Mucha's own period

A publisher's list bound into a 1898 Société Anonyme La Plume volume shows how printed works reached buyers. It offers an assortment of artistic posters at wholesale and retail, with a fuller catalogue available on request, and lists two Mucha exhibition designs as five-colour lithographs.^[12] Those entries establish that the publisher marketed the exhibition images as prints after their initial public announcements. They do not give a print run or price for either Mucha poster, so neither can be supplied from this list.

The same list is unusually specific about a different Mucha work: the colour print Le Carillon de Pâques réveillant la nature, described as retouched by the artist, with an edition of 50 offered at 25 francs per impression.^[12] That is an example of a small, explicitly priced collector edition within the same network that sold posters. The named print, its artist retouching, edition and price must stay together. It would be wrong to carry its 50-copy figure over to Gismonda, The Seasons or the Salon posters. A contemporary sales list is valuable precisely because it can define such boundaries more sharply than a generic claim that Mucha's “prints were popular.”

The Metropolitan Museum of Art holds an 1897 La Plume publication, Alphonse Mucha et son oeuvre.^[13] A Czech museum conservation report distinguishes the periodical instalments of the Mucha issue from separately published versions with altered covers and pagination.^[14] The report is later bibliographic evidence, not an original 1897 sales ledger. Together these records show another way print culture made Mucha's designs collectable: the magazine and its special publication became objects with their own issue histories, separate from the full-size sheets they discussed or reproduced.

A design reused as a calendar

The BnF's record for L'Année qui vient gives a 1897 Champenois colour lithograph measuring 102 × 38 cm. Its catalogue note says the image was later used for an advertising calendar issued by L'Estampe et l'Affiche under the title Évocation.^[15] This provides a second documented route from composition to different printed use, alongside the Champenois calendar and textless Rêverie panel. The BnF note establishes a reuse; it does not make the 102 × 38 cm sheet and every calendar impression the same physical format. The publication name, title and inserted calendar function are part of the later object's identity.

Across these examples, “Mucha print” can mean an approval proof, a publisher's periodical plate, a purchased art print, a poster, a calendar or a smaller postcard. Each was printed, yet each reached a reader through different paper, text, scale and distribution. That is why a print guide needs to begin with an identifiable sheet or issue, then trace its relationship to other versions instead of treating a familiar image as a single timeless product.^{[7][8][9][12][15]}

Another collector issue makes that method concrete. The BnF groups six Mucha subjects in Jules Chéret's Les Maîtres de l'Affiche, including Gismonda, Lorenzaccio, Bières de la Meuse and JOB. It records Chaix as printer, a 39.5 × 28 cm colour-lithograph format and a dry stamp.^[16] These small portfolio sheets reproduce designs whose original public posters could be much larger and printed under different arrangements. The dry stamp helps identify the portfolio issue; it does not mean the sheet was once pasted in the street. The BnF assigns each image a number in the series, so an apparently familiar Mucha composition can be located within a separate publishing sequence. This is a particularly clear case of an authentic period print that is still a reproduction of a poster design, with its own date range and material description.^[16]

A printed design could also pass into product packaging long after its first conception. The Library of Congress catalogues a 1907 colour-lithograph label design for Savon Mucha lilac soap, commissioned by Armour & Company in Chicago; its patent was filed on 9 March and registered on 2 April 1907.^[10] The Library separately traces a reuse of the Zodiac/La Plume design on Whitman's Salmagundi chocolate packaging registered in 1924.^[11] A design reused on a box is evidence of circulation across products and decades, but it is not a new original 1924 composition by Mucha. Likewise, a patent registration date belongs to a registered label, not automatically to every later package printed from it.

For more public-facing prints, the posters guide follows theatre, advertising, travel and exhibition messages. Gismonda shows Mucha's Bernhardt breakthrough; JOB joins brand name and flowing form; Slavia carries a Czech insurance advertisement. This prints guide asks a different question across those routes: which impression or state do we actually have evidence for, and which details belong only to a related sheet?

Look closely, then return to the record

The inherited image can show the overall composition, but its 400 × 545 pixels cannot support confident claims about paper, tiny lettering or exact printmaking marks. The public-domain BnF scan used in the close reading below is much larger and records its own physical sheet. It makes the printer heading, flower disk and woman's book easier to see.^[2] The BnF catalogues that sheet, not the source of the generic website reproduction. The two images are best compared as examples of the same lettered design, with their separate digital and physical histories kept visible.

When browsing other Mucha prints, begin with the title and the medium, then read the text inside the image and the collection's account of that particular version. A caption saying “Mucha print” may be true but too broad to explain whether an image first served a calendar, a magazine, an advertisement or a decorative wall. The works directory below offers many routes through the catalogue; the source records and individual pages explain what can safely be said about each one.

Look closer: a lettered print state

These details come from the BnF's scan of its 1898 Champenois sheet. It shares the lettered design of the inherited image above; the exact source of that small website reproduction is untraced.

1 2 3

Details from a lettered print state

Select a detail image to open the full-size gallery, then use the arrows to compare views.

1

The publisher's name

The large heading and smaller Paris address make the printer-publisher part of the image's purpose. The BnF records this as a with-lettering state.^[2]

2

The floral disk

Flowers and stems form a patterned disk around the figure. The Foundation describes the lace-like floral structure of the shared composition.^[1]

3

A book within the print

The woman leafs through a book of decorative designs, perhaps printers' samples in the Foundation's reading. The book links the figure to the firm's printed work without proving the content of any real sample volume.^[1]

Watch: Alphonse Mucha

Follow Mucha’s work from Art Nouveau Paris to his later Czech projects.

Alphonse Mucha: Plongez dans l’Art nouveau !

Grand Palais

A French museum introduction to Mucha’s Art Nouveau years, poster work and decorative language.

Watch on YouTube

▶01 · Art Nouveau overviewAlphonse Mucha: Plongez dans l’Art nouveau !Grand Palais▶02 · Paris and designAlphonse Mucha: Art Nouveau in ParijsKunstmuseum Den Haag▶03 · Prague and the Slav EpicPrague’s Art Nouveau, Mucha, and the Slav EpicRick Steves Classroom Europe

Artworks directory

292 artworks

Search artworks Medium All media Drawing Painting Reset

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

References

1. Mucha Foundation, Rêverie, object 78: 1898 Champenois calendar origin, later La Plume decorative issue and composition. Foundation object.
2. Bibliothèque nationale de France, F. Champenois imprimeur-éditeur, with-lettering 1898 colour lithograph, 67 × 49 cm, FRBNF40461635; BnF catalogue and Gallica scan.
3. Bibliothèque nationale de France, Rêverie, variant 2 without lettering and date, FRBNF40562956. BnF catalogue.
4. Mucha Foundation, posters catalogue introduction for colour lithography, Champenois's 1896 contract and cross-format output. Foundation poster catalogue.
5. Mucha Foundation, “Art Posters,” thematic account of textless decorative panels and series. Foundation theme.
6. Mucha Foundation, books and illustrations catalogue introduction and examples. Foundation books and illustrations.
7. Bibliothèque nationale de France, Mélancolie, approval proof for a frontispiece, 1897; black-and-white lithograph, 23 × 17 cm, bon à tirer signed by Léon Deschamps.
8. Bibliothèque nationale de France, first Seasons postcards, four Champenois colour chromolithographs, legal deposit 1898, 9 × 14 cm.
9. British Museum, Salomé, L’Estampe Moderne plate, 1897; colour lithograph and curatorial note on the series' mixed original/reproductive processes.
10. Library of Congress, Savon Mucha lilac label, 1907; Armour & Company commission and patent dates.
11. Library of Congress, account of Mucha prints and later packaging reuse, including 1924 registration of a Whitman's chocolate package carrying the Zodiac/La Plume design.
12. Société Anonyme La Plume, poster and print sales list bound in Adolphe Retté, Oeuvres complètes, vol. 2 (Paris, 1898), back matter pp. 196–197; two Mucha exhibition entries and the separately priced Carillon de Pâques edition.
13. Metropolitan Museum of Art, Alphonse Mucha et son oeuvre, published by Société Anonyme La Plume, 1897, object 62.652.8.
14. Muzeum Brněnska, conservation dossier for an 1897 La Plume Mucha publication, pp. 28–29; later bibliography distinguishing serial and separate issue forms.
15. Bibliothèque nationale de France, L'Année qui vient, cb404616338, 1897 colour lithograph, 102 × 38 cm; later calendar reuse as Évocation.
16. Bibliothèque nationale de France, Mucha's six Maîtres de l'Affiche subjects, cb40469980j, Chaix colour lithographs, 39.5 × 28 cm, dry stamp and numbered series entries.
17. Hammer Museum, UCLA, Salomé, accession 1958.6.3, 1897 L'Estampe Moderne colour lithograph, with separately measured stone and sheet, printed signature and publisher blindstamp.
18. Mucha Foundation, Salomé, object 331, 1897 Champenois colour lithograph from L'Estampe Moderne, held at 41 × 31 cm.
19. National Gallery of Art, Léon Maillard, Les Menus et Programmes illustrés, accession 2001.59.1, 1898 bound volume with mixed print processes and Mucha's original lithographed endpapers.
20. National Gallery of Art, L'Image: Revue littéraire et artistique, accession 2006.155.24, 1896–97 mixed-process bound volume listing Mucha among several contributors.
21. National Gallery of Art, Ilsée, princesse de Tripoli, accession 1999.48.1, published 1897, bound volume with Mucha-designed chromolithographic illustrations, initials and vignettes.
22. National Gallery of Art, Clio, accession 2016.99.1, 1900 bound volume with wood-engravings and multiple states of selected illustrations.

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