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| Artist: T. A. Steinlen
Swiss (1859-1923) | | Plate: PL. 95 |
| Title: Lait Pur Sterilise de la Vingeanne |
| Description: Condition
A+. Original lithograph from "Les Maitre
de L'Affiches" series.
Printed by Imprimerie Chaix, Paris, 1897.
Presented in 16 x 20 in. acid free, archival museum mat, with framing
labels. Ready to frame. Shipped boxed flat.
Certificate of Authenticity.
See our Terms of Sale |
| Maitre Sheet Size: | 11 3/8 in x
15 3/4 in | | | 29 cm x 40 cm |
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Price: temporarily out of stock
(Like many of my most sought after images I am usually able to
locate this for clients. email me for a price estimate, Greg)
To Request
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| See Other
version |
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Medium size sold
for $ 23,000 US
Poster Auctions International, N.Y. Nov. 2007
"One
of the all-time most endearing poster images ever created"
"The humble dairy of Quillot Brothers in the village of Montigny sur
Vingeanne could not have had the slightest notion that, to advertise their sterilized
milk, they caused Steinlen to produce one of the all-time most endearing poster
images ever created"(Rennert-XXX 50)
"Nowhere does Steinlen's humanity shine with a greater glow than
in 'Lait pur Sterilise' a poster for a milk distributor. His daughter Colette
is shown here, as she carefully tastes the milk she's giving the family cats,
to make sure it isn't too hot for them. The cats show up in many of Steinlen's
drawings and in several posters (see PL. 170). Apparently
they were very important members of the household. This was his first poster for
(the printer) Verneau, who later became his principle printer, and it remains,
justly, his most successful one. Its simple domesticity, expressed in warm colours,
has never been surpassed, with it, Steinlen assured himself of a place among the
front rank of all-time great poster artists"(Wine
Spectator 112)
Steinlen arrived in Paris from his native Switzerland
in 1882; his first poster dates from 1885 and, in a long and extremely prolific
career that saw him illustrate about 100 books and over 1,000 issues of periodicals,
as well as create paintings, lithographs and bronzes, he produced about fifty
posters. Abdy makes this point: “Steinlen was one of the four or five great poster
artists of his time; all his lithographic work is distinguished by a freshness
and vigour which makes it powerful, and a simplicity and sympathy which makes
it appealing . . . The subject of his posters are those dearest to his heart,
his pretty little daughter Colette, and his beloved cats” (p. 94). All the warmth,
humanity and affection for which he is so loved comes through gloriously in this
poster for the newly-marketed “lait stérilisé” that was touted over the “lait
ordinaire” at that time. Charles Knowles Bolton, writing a year after its publication,
proclaimed that this “is perhaps, the most attractive poster ever made. No man
with half a heart could fail to fall in love with the child.” Louis Rhead himself
commented: “When I saw it in Paris last year . . . it seemed to me the best and
brightest form of advertising that had appeared.” That judgment remains valid
today.
(Rennert-XL1 533A)
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