Lot 279
Jules Cheret (French, 1836-1932). "Quinquina Mugnier" color lithograph on two sheets backed by linen, 1897. Signed in plate at lower left with publisher's monogram and inscription: "Imprimerie CHAIX (Ateliers Chéret) rue Bergère, 20. Paris. _14.086.8.97. (Encres LORILLEUX)." A radiant celebration of the Belle Epoque's exuberant spirit, Jules Cheret's "Quinquina Mugnier" captures the artist's unmistakable blend of elegance, movement, and joy. Created in 1897 for the Dijon-based aperitif manufacturer Frederic Mugnier, the poster transforms a simple advertisement into a lively tableau of Parisian sophistication and vitality. At the center, a vivacious young woman in a swirling red dress and striped skirt strides forward with infectious energy, her face animated by the charm and confidence of Cheret's quintessential "Cherette." With one arm extended, she offers a tray bearing a bottle and glass of Quinquina Mugnier, the aperitif sparkling as if lit from within. Size: 32.75" W x 95.75" H (83.2 cm x 243.2 cm)
Her animated pose, buoyant smile, and fluttering costume exemplify Cheret's gift for imbuing commercial subjects with theatrical delight.
Cheret's mastery of color lithography is fully on display in the luminous gradations of blue, cream, and vermilion that enliven the composition. His posters were produced at his own Ateliers Cheret and printed by the famed Imprimerie Chaix, where he pioneered innovations that made large-scale, full-color advertising affordable and transformative. In this work, Cheret's design fuses artistry and commerce seamlessly - the poster not merely an announcement, but a visual performance that animates the streets of Paris. "Quinquina Mugnier" epitomizes the joyous modernity that made Cheret the leading figure of Belle Epoque poster art. His works, adorning cafes, boulevards, and theater walls, turned everyday advertising into a public art form, celebrated for their grace, humor, and exuberance.
"Quinquina Mugnier" was a French aperitif wine produced in Dijon by Frederic Mugnier in the late 19th century. Made from Burgundy wine infused with quinine bark (quinquina) and aromatic herbs, it belonged to a popular class of tonic wines once promoted for their invigorating and digestive qualities. Balancing sweetness with a subtle bitterness, it was both a fashionable pre-dinner drink and a symbol of refined modern taste. Mugnier's brand, which won medals at international expositions, became widely recognized through vibrant advertising posters by artists such as Jules Cheret, whose 1897 design captured the drink's spirit of vitality and Parisian elegance.
About the artist: Jules Cheret was a pioneering French painter, lithographer, and designer whose dazzling posters came to define the visual spirit of the "Belle Epoque." Celebrated as the "father of the modern poster," he elevated commercial printing to an art form that bridged fine art and popular culture.
Born in Paris to a humble family of artisans, Cheret showed early artistic promise despite little formal education. At thirteen, he began a three-year apprenticeship with a lithographer, followed by studies at the Ecole Nationale de Dessin. Eager to refine his craft, he traveled to London in 1859, where he spent seven years learning advanced lithographic techniques and observing British innovations in advertising and printing. These experiences would profoundly influence his later style, blending technical precision with theatrical flair.
Returning to Paris in the late 1860s, Cheret applied his newfound expertise to the city's rapidly growing entertainment industry. His exuberant posters announced the latest spectacles at the Folies Bergere, Moulin Rouge, Theatre de l'Opera, Olympia, and Cafe des Ambassadeurs, transforming the streets of Paris into a riot of color and movement. Cheret's designs burst with energy: swirling compositions of elegant typography, bright hues, and spirited figures that seemed to dance off the paper.
Among his most striking contributions was his depiction of women - joyful, independent, and alive with personality. Dubbed "Cherettes," these figures represented a radical departure from the restrictive portrayals of women common in 19th-century art. They were neither prudish nor provocative, but instead modern, vivacious, and unashamedly free. This imagery resonated deeply with the social changes of fin-de-siecle Paris, earning Cheret the affectionate reputation as a kind of unwitting champion of women's liberation.
As his fame grew, Cheret expanded beyond theater promotions to design posters for a wide range of products - perfumes, beverages, soaps, cosmetics, and even railways - helping to define the emerging field of commercial branding. His technical innovations in color lithography, achieved alongside contemporaries like Leon and Alfred Choubrac, dramatically reduced printing costs and allowed for the mass production of richly colored art.
In 1895, he launched "Les Maitres de l'Affiche," a landmark portfolio that reproduced the finest modern posters by nearly one hundred Parisian artists, including Toulouse-Lautrec, Mucha, and Steinlen. This project not only preserved the era's most dynamic visual works but also secured the poster's place in the canon of modern art.
Cheret's achievements were recognized officially when he was awarded the "Legion d'Honneur" in 1890 for his service to art and industry - a rare honor for a commercial artist. The critic Edmond de Goncourt famously called him "the first painter of the Paris wall, the inventor of the art in the poster."
In his later years, Cheret retired to Nice, where he continued to paint and draw, surrounded by the light and color he so loved. He died there in 1932 at the age of ninety-six. The following year, the "Salon d'Automne" in Paris mounted a posthumous retrospective of his work, honoring a lifetime that had reshaped both art and advertising.
Today, Cheret's posters remain some of the most sought-after artifacts of the "Belle Epoque" - testaments to a moment when art spilled onto the streets, and the joy of modern life was captured in brilliant swirls of color and light.
Provenance: ex-Jasper collection, Illinois, USA; ex-Dennis Herr collection; ex-Leland Mast collection
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#194667
- Condition: Creasing and folds with some tears, chipping, and small losses, especially around peripheries and creases. Some discoloring to paper. Otherwise, imagery and text is clear with nice pigments.
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