Alphonse Mucha — Documents Decoratifs: Plate 38 Print
1901–2
Illustrative frame preview.
Bibliothèque nationale de France, ParisOriginal work, 1894-1895
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Alphonse Mucha — Gismonda Print
Sarah Bernhardt stands within Mucha’s tall architectural surround, holding a palm branch beneath an elaborate title. Ornamental lettering, floral detail and the figure’s patterned costume turn the theatre poster into a complete decorative composition.
A fine-art giclée reproduction on 200 gsm uncoated paper. The complete composition is presented with a white paper border. Choose from the available sizes and unframed or framed finishes.
$29.00
Delivery to the contiguous US and Washington, DC.
Paper, size & framing
Fine-art print on 200 gsm enhanced matte paper. Measurements are the paper dimensions, including the white border. Framing adds to the overall dimensions. The artwork keeps its approved composition within those margins. White, natural and dark wood frames are ready to hang with plexiglass.
About the artwork
Sarah Bernhardt stands within Mucha’s tall architectural surround, holding a palm branch beneath an elaborate title. Ornamental lettering, floral detail and the figure’s patterned costume turn the theatre poster into a complete decorative composition.
A fine-art giclée reproduction on 200 gsm uncoated paper. The complete composition is presented with a white paper border. Choose from the available sizes and unframed or framed finishes.
- Artist
- Alphonse Mucha
- Artwork
- Alphonse Mucha — Gismonda Print
- Date of work
- 1894-1895
- Museum collection
- Bibliothèque nationale de France, Paris
About Alphonse Mucha
Czech · 1860–1939
Alphonse Mucha was born in Ivančice in 1860 and became one of the most recognisable artists associated with Art Nouveau. His reputation grew dramatically in Paris after his poster for Sarah Bernhardt’s Gismonda appeared in 1895. The commission placed his decorative language before a wide audience, bringing an illustrator’s attention to line into the public life of the city.
Mucha worked across posters and decorative designs, treating practical objects as opportunities for artistic invention. Documents décoratifs, published in 1902, offered designers examples of motifs and their applications. Flowers and leaves became the material for patterns that could retain the character of a plant while taking on a clear ornamental structure.
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