Salon Des Cent Hall de la Plume poster – Alphonse Mucha – April 1896 – Les Maitres de L’Affiche, plate 94
There is no doubt that Mucha’s career was well and truly on the rise when he created this remarkable Salon Des Cent Hall de la Plume poster. Just twelve months earlier, the Czech born artist had caused an immediate sensation setting the Parisian art world alight with his Gismonda poster for the renowned actress Sarah Bernhardt. The success of the Bernhardt poster brought Mucha commissions for advertising posters. He designed posters for JOB cigarette papers, Ruinart Champagne, Lefèvre-Utile biscuits, Nestlé baby food, Idéal Chocolate, the Beers of the Meuse, Moët-Chandon champagne, Trappestine brandy, and Waverly and Perfect bicycles.
In 1896, the French poet and novelist Léon Deschamps, founded the French art magazine La Plume. Deschamps invited Mucha to join the Salon des Cent. The Salon des Cent was an art gallery at 31 Rue Bonaparte in Paris, France. It was established in 1894 and became renowned for its exhibitions showcasing the works of contemporary artists, offering posters, prints and reproductions of artwork to the public at reasonable prices. The gallery sold lithographic prints of works by luminary artists such as Eugene Grasset, Georges de Feure, Pierre Bonnard, Toulouse-Lautrec, Paul Berthon, Steinlen, Evenpoël, James Ensor, Rassenfosse, and the American Louis Rhead.
In a heartfelt display of gratitude, Mucha crafted this poster design for the twentieth edition of the art exhibition. It was a tangible expression of thanks for the invitation to join the ranks of the magazine’s esteemed cohort of artists. Just a year later, Mucha was given a major retrospective. Six editions of La Plume devoted to the artist served as a catalogue for the exhibition, which further spread his fame as it toured through Vienna, Prague, Munich, Brussels, London, and New York.
The partnership flourished, with La Plume taking the helm in exclusively marketing Mucha’s posters and ornamental panels through their art department. This alliance proved an artful union, solidifying their collaboration. Marking his meteoric ascent, the magazine then paid homage to his mastery with a solo exhibition the very next year, an eloquent salute to his artistic prowess that resonated deeply.
Mucha’s posters focused almost entirely on exquisite women. The Salon Des Cent Hall de la Plume poster maintains that theme. The focus is on a young woman seated in an artistic pose. Holding her paintbrush and quill in her left hand it’s difficult to distinguish whether she is the artist or the artist’s model. The quill, which in French is la plume, is a direct reference to the name of the monthly publication.
The young mademoiselle is resting her chin on her hand, her eyes are closed in a moment of contemplation whilst her auburn hair cascades down over her shoulders and torso falling gently onto a white Greek style robe drapes over her legs. The hair is held from her face by a gossamer headband that falls over her naked chest. Bare breasts have always played an important role in fine art painting and poster designs. Here it is likely Mucha is referencing the Eugene Delacroix painting “Liberty Leading The People” where the symbolism of the naked breasts denotes freedom and revolution. Mucha’s model epitomises the statues of ancient Greek or Roman Goddesses.
The poster maintains Mucha’s characteristic style based on curved lines, light tones, flattened colours and strong outlines. In this print he has even recalled the stars motif employed on the Sarah Bernhardt posters. The hand-drawn typography reads Salon des Cent. XXme Exposition du Salon des Cent. It continues to provide the show dates as March and April 1896, the entry price as 50 centimes and the venue details as the Hall de la Plume at 31 Rue Bonaparte – Paris.
Les Maitres de l’Affiche Plate 94
Beyond its visual allure, “Salon Des Cent Hall de la Plume poster” ” is an embodiment of artistic legacy and craftsmanship. Its significance is underscored by its inclusion in the esteemed Maitres de l’Affiche (Masters of the Poster) collection as Plate 94. This collection, comprising 256 color lithographic plates, showcased the finest works from prominent artists. Delivered to monthly subscribers between 1895 and 1900, these smaller-sized reproductions echoed the grandeur of the original posters and bore the prestigious name of “Imprimerie Chaix” in the margin, a testament to their authenticity.
Jules Chéret’s “Maitres de l’Affiche” was a groundbreaking idea that played a pivotal role in elevating the art of poster design to new heights during the late 19th century. The project aimed to celebrate and preserve the best of the vibrant and captivating posters that had become an integral part of the urban landscape, particularly in the bustling streets of fin de siècle Paris. Through “Maitres de l’Affiche,” Chéret sought to showcase the finest examples of poster artistry by collaborating with some of the most accomplished artists of his time.
This innovative endeavor involved the reproduction of larger posters in a smaller, more manageable format, making these remarkable artworks accessible to a broader audience. The collection consisted of 256 color lithographic plates, each measuring 15 3/4 x 11 3/8 inches (40 x 29 cm). These reduced-size versions retained the essence of the original posters, allowing art enthusiasts and collectors to appreciate the intricate details, vivid colors, and artistic techniques that defined this emerging form of visual communication.
What is the meaning of Salon des Cent?
The Salon des Cent, often referred to as the “Salon of the One Hundred,” occupied a unique space in the vibrant artistic landscape of early 20th-century Paris. Located at the esteemed 31 Rue Bonaparte, this commercial art exhibition offered a dynamic collection of color posters, prints, and reproductions of artworks that resonated with both art enthusiasts and the general public alike. What set the Salon apart was its commitment to making art accessible to a wider audience by offering these pieces at reasonable prices, bridging the gap between the world of art and everyday life.
Established in February 1894 by Léon Deschamps, who was also the visionary behind the influential avant-garde publication La Plume (“The Pen”), the Salon des Cent rapidly evolved into a hub that showcased the cutting-edge creativity of contemporary graphical artists. Under Deschamps’ guidance, the Salon’s exhibitions became a platform for emerging talents to showcase their work and connect with a diverse and engaged audience.
Over the span of its existence until 1900, the Salon des Cent hosted a series of exhibitions that left an indelible mark on the cultural fabric of Paris. Beyond the mere display of art, the Salon fostered an environment of exploration and appreciation. Visitors could experience a wide range of artistic expressions, from elaborate color posters that adorned the walls to carefully crafted prints that captured the essence of the era.
One notable aspect of the Salon’s legacy is the transformation of its promotional posters into coveted collectors’ items. The very advertisements used to entice visitors to the exhibitions themselves became pieces of art, reflecting the profound impact and lasting significance of the Salon des Cent.
By providing a space for both established and emerging artists to share their creations, the Salon played a crucial role in shaping the art scene of the time. It enabled artists to engage with a broader public, sparking conversations and inspiring new artistic directions. In essence, the Salon des Cent acted as a bridge between the traditional art world and the evolving sensibilities of the early 20th century, making it an integral part of Paris’ rich artistic heritage.
How much is an original Alphonse Mucha Salon Des Cent Hall de la Plume poster worth?
Sometimes its strange how things work out. This poster was created to promote an exhibition showcasing the works of contemporary artists. The La Plume venue prided itself on offering posters, prints and reproductions of artwork to the public at reasonable prices. Ironically, the posters advertising the shows have now become collector’s items themselves commanding significant prices when they occasionally come up at auction or for private sale.
Original stone lithograph prints of this stunning Alphonse Mucha poster were printed by the Parisian printer F. Champenois in five colours – beige, dark olive, grey olive, carmine red, and gold. Such is the scarcity and demand for original copies of this Salon des Cent poster that when one came up for sale in 2023 it was listed with a price tag of over £37,500. poster currently sell for around £15,000-£20,000. Even the smaller reprints published by Imprimerie Chaix under the watchful eye of Jules Cheret for the Les Maitres de l’Affiche collection have been know to fetch over $4,500.
There’s no argument from us, if you can find an original copy and can afford to buy it, you’re on to a winner. There’s nothing like owning an original vintage poster and they often make a great investment. Chances are in just a few years you’ll be able to sell it for more than you paid for it. Unfortunately, for most of us, an investment, even at the entry-level prices of the collectable poster isn’t even close to being a possibility. This is where our stunning high-quality reproductions come into their own. They cost a fraction of an original and look absolutely fantastic when they’re framed and hung on your living room wall.
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