Artist: Jules Cheret French (1836-1932)
Title: Papier a Cigarettes Job
Plate: PL. 1
Original lithograph from "Les Maitres de L'Affiche" series.
Printed by Imprimerie Chaix, Paris, 1896.
Presented in 16 x 20 in. acid free, archival museum mat, with framing labels. Ready to frame. Shipped boxed flat via Fedex.
Certificate of Authenticity.
Maitre Sheet Size: 11 3/8 in x 15 3/4 in 29 cm x 40 cm
Plate Number 1 The very first "Maitre de L'Affiche" of the series.
Full size sold for $ 7,475 USD
Poster Auctions International, NY May 1999
"The defiant gesture of an emancipated woman daring to flout conventional manners is caught with perfection; the fact that it happened over a century ago adds to its piquancy. One of Cheret's best and most famous designs."(Rennert)
One of Chéret's best and most famous designs is this ad for Job cigarette papers. It's notable that so many of Paris's top poster artists (Atché, Meunier, Mucha, Pal et al) were all commissioned to create Job advertisements at virtually the same time, in the 1895-'96 period, as the manufacturer wanted to appeal to consumers of all sensibilities and tastes. Founded by Jean Bardou in 1838, the company's logo featured the founder's initials within a diamond shape – spelling out J.O.B. (Rennert)
Jean Bardou (French 1826-1892)
"In 1838, the French craftsman named Jean Bardou came up with the idea for a booklet of rolling papers made of thin, pure rice paper. The booklets were a smashing success and Bardou's trademark, the initials "JB" separated by a diamond became such a common sight that people began referring to them as "JOB" (rollingpapers.net)
Yvette Guilbert (French 1865-1944)
"Once again Cheret presents his vivacious, scintillating Parisenne, who sets all male hearts beating faster and evokes an 'oo la la' of admiration. There is a more than passing resemblance between the self-assured fashionably dressed young woman with the come-hither look and the frequently red-haired Yvette Guilbert with the saucy mouth, the turned up nose, the rounded chin, and the provocative gestures…" (Paris 1900, p.152)