JOB Collection

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1907 Aleardo Villa calendar. Calendrier Collection JOB par Aleardo Villa 1906.jpg
1907 Aleardo Villa calendar.

The JOB collection is a production of graphic works consisting of calendars, posters and postcards advertising the JOB rolling paper factory. Artistic in character, it was illustrated by renowned painters and poster artists, mainly during the Art Nouveau period.

Contents

The owners of the JOB brand, grandchildren and allies of founder Jean Bardou, were industrialists and patrons of the arts. From 1895 until the Great War they enlisted the help of numerous artists, often their close friends, to advertise cigarette paper. Painters and illustrators representing the main artistic currents of the time, from academic painter Paul Jean Gervais to Catalan Modernist Ramon Casas, from orientalist Georges Rochegrosse to Montmartre humorist Charles Léandre, as well as Jane Atché, all contributed. This collection of 32 works became known to the general public through calendar and poster prints, and was widely distributed as postcards in France and abroad. Alphonse Mucha's two most famous productions, La femme blonde and La femme brune, were a huge success and are still highly sought-after by collectors today.

1897 calendar. La femme blonde, Alphonse Mucha. Mucha-job.jpg
1897 calendar. La femme blonde, Alphonse Mucha.

Alongside this well-referenced production, other works do not benefit from the widespread distribution offered by the postcard, either because they remained at the sketch stage, such as the soldiers imagined by Henri de Toulouse-Lautrec, or because they were only the subject of rare posters, such as the Spanish ones by Gaspar Camps. Recent biographies of the artists and the poster collections held in museums allow us to attempt to reconstruct the completeness of the collection up to the 1920s, when creation became very sporadic. Later, artists influenced by JOB and Art Nouveau revived certain posters. In the 1960s, a JOB poster by Mucha was reinterpreted with a psychedelic effect, and in 2008, Stuck artist Paul Harvey proposed a new version of the brand's advertising posters.

The JOB collection is a significant example of the "marriage of Art and Industry", one of the foundations of Art Nouveau, in the field of graphic arts.

JOB, advertising and Art Nouveau artistic creation

Advertising and Art Nouveau

1898 poster. La femme brune, Alphonse Mucha. Alphonse Mucha - Job - Google Art Project.jpg
1898 poster. La femme brune, Alphonse Mucha.

Around 1900 Art Nouveau and postcards were at their peak. It was a period of fundamental renewal for the arts; nature and the flower-woman were, like Japonisme, a source of inspiration for artists.

Painters, even the glories of academicism, were not reluctant to take part in the many poster and postcard competitions that were published in large numbers: Lefèvre-Utile, La Meuse, Nestlé, Byrrh... Thousands of posters of cartoonist Jules Chéret's famous Chérette, ancestor of the Pin-up, covered the walls of Paris, paving the way for Alphonse Mucha and the many painters whose main source of inspiration was women.

Based on artists' designs, printers used the chromolithography reproduction process, a four-color printing technique developed in 1839 by Godefroy Engelmann. The use of the three primary colors (blue, yellow, red), to which black is added, makes it possible to obtain all possible shades and nuances. [1]

Thanks to this collaboration Art Nouveau was democratized through small-format reproductions on paper, and entered every household. Artistic advertising and postcards illustrated the vocation of Art Nouveau, intended as "art for all" and a marriage of Art and Industry. Even if, for Paul Éluard, they represented only "the small currency of art", they "sometimes give the idea of gold".

Bardou family, industrialists and sponsors

1904 Paul Gervais calendar Paul Jean Gervais Calendrier JOB 1904.jpg
1904 Paul Gervais calendar

Products such as cigarette rolling papers were promoted through advertising and catchwords: people bought what they saw, better than what they thought they saw. Such was the case with advertisements for the Bardou family's JOB cigarette paper.

In the second half of the 19th century Pierre Bardou-Job turned the cigarette-paper manufacturing workshops created by his father Jean Bardou into a large-scale factory. A wealthy industrialist and sponsor of the arts, part of his estate consisted of art collections. After his death in 1892, his three children, Camille, Justin and Jeanne, formed the Pierre Bardou-Job company in memory of their father. It was formed by Justin Bardou-Job, Charles Ducup de St Paul, Camille's husband, and Jules Pams, Jeanne's husband. [2] As evidence of this period, there is a gouache advertising project by Alfons Mucha showing a variant of La Femme Blonde, dressed in blue on a black background, with the word JOB inscribed in red in the background. Above the drawing is the name Pierre Bardou-Job, the address of the Perpignan head office and below that of a Toulouse operator. [3]

The Bardou family and their allies, in particular the Pams and Ducup de Saint Paul families, were astute industrialists but also patrons of the arts with refined tastes, asking their artist friends to illustrate the cigarette paper company's products with advertisements. Relations between this family and renowned painters were close: Georges de Feure spent his vacations with the Bardou-Pams family, and Paul Jean Gervais and Alphonse Mucha were close friends. [4] What's more, Edgar Maxence's 1901 calendar, La femme rousse à l'orchidée, a Symbolist painting whose original is in the Musée d'Orsay, is a portrait of Pierre Job-Bardou's daughter Jeanne. [5]

In addition to Bouisset, Meunier, Chéret, and the already famous Mucha, they were able to enlist the help of numerous artists. In all some 30 painters and designers of first or second rank collaborated on the brand's advertising creations between 1895 and 1925.

JOB Art Nouveau Collection

1900 Louis Vallet poster. Louis Vallet pour Collection JOB.jpg
1900 Louis Vallet poster.

Thanks to Art Nouveau art magazines, fairs and, above all, the many poster competitions, the artists became better known and commissions were received. In 1896, for example, a major exhibition of French and foreign posters was held in Reims, attended by the leading illustrators of the day. The 202-page catalog announced "a description of the 1,690 most beautiful posters (...) and portraits of 48 of the leading artists". [6] Indeed, Alphonse Mucha worked alongside the young Jane Atché, Firmin Bouisset and Henri de Toulouse-Lautrec. The latter's project was not retained, [6] while Jane Atché's was taken over by the JOB company with a few modifications. [7]

Between 1895 and 1916 thirty-two works, including those reproduced on postcards, were signed by the greatest names of the time. Most often published as calendars, they were reproduced on postcards from 1903, given their success, and were sold or given as end-of-year gifts to the brand's factory workers. [8] Mucha's La Femme Blonde (1896) was a huge success, [8] sold as a popular edition at 3 francs and as a deluxe edition. [9] In addition to the paper prints, the illustrations were reproduced on various supports, such as tobacco or cigarette boxes in lithographed sheet metal. In addition to these 32 well-referenced pieces, there are some fifteen other creations, curiously under-referenced, such as the poster by Louis Vallet (circa 1900), the poster by Manuel Orazi (circa 1900) and at least two posters by Gaspar Camps (circa 1915), to name but a few well-known artists.

The recurring theme of the collection was women, often with cigarette in hand, whose wisps of smoke or background indicated that "she was smoking with JOB". The woman who smoked was certainly a liberated woman, but in the conservative society of the time it was not a sign of class. In his book France fin de siècle, Eugen Weber wrote that "women who smoked were low-class women or criminals", and in the 1890s, respectable women who smoked were considered "either eccentrics or feminists demanding gender equality". [10] While Mucha's La Femme Blonde echoed this stereotype of a scatterbrained, half-closed-eyed woman intoxicated by frivolous pleasures, [6] Jane Atché is considered one of the first artists to portray the JOB-smoking woman in a positive light, rather than as a light-hearted woman [11] paving the way for many other female conquests. [12]

Illustrators

1914 Leonetto Cappiello poster. Leonetto capiello.jpg
1914 Leonetto Cappiello poster.

Often scrupulously preserved in attics after the ephemeris had been used, calendars were forgotten after the war when fashions changed and past tragedies were erased from memory. Abandoned and often destroyed, some of them are now reappearing, in more or less good condition, for a second life. Sometimes, entire stacks are found in the stocks of former dealers. As skilled salesmen who were able to convince the customer that a print run of several thousand copies was "only slightly more expensive" than the one required, the representatives of the poster companies also unwittingly contributed to the longevity of the work. [13] Throughout this time, it is also thanks to the many collectors trying to reconstitute the JOB collection that the memory has been preserved, all the more so as the cards generally bear the references of the calendar or poster they reproduce. So, for the most part, the memory has been preserved.

Famous painters and designers who contributed to the JOB collection:

Not to forget the unpublished projects: Soldat fumant sa pipe by Henri de Toulouse-Lautrec [14] and a series of four smoking women by Georges de Feure. [15]

Alongside these big names, other illustrators also contributed to the production of the collection:

1898 Daniel Hernandez Calendar Affiche Collection JOB Daniel Hernandez.jpg
1898 Daniel Hernández Calendar

Other illustrators include Cyprien Boulez, a portrait painter; Nguyen Duc Thuc; G. Maurice, possibly a pseudonym; and Félix Thuillière, a French military painter and academy officer [28] who died in Toulouse in 1926. [29]

Artworks

Table of series

Table of series of the JOB collection -Art Nouveau period-.
JOB collection compositionPostcard print, series of:
YearIllustratorThemeCalendarPoster19031910 (A)1910 (B)191119141916
1895 Étienne Firmin Bouisset Le jeune ramoneur (The young chimney sweeper), "out of competition, Paris 1889"
1895 Georges Meunier Femme au chat (woman with cat), "out of competition, Paris 1889"
1896 Jules Chéret La Cherette, "out of competition, Paris 1889"
1897 Alfons Mucha La Femme blonde, (The blonde woman)
1897 Jane Atché Femme en vert et noir (Woman in green and black), "out of competition, Paris 1889"
1897G. MauriceFemme sur fond rouge (Woman on red background), "out of competition, Paris 1889"
1898 Lluís Graner Vieillard à la lampe (Old man with a lamp)
1898 Daniel Hernández Femme au coussin vert (Woman with green cushion)
1898 Alfons Mucha La Femme brune (The Brunette woman)
1899Angelo AstiFemme avec fleurs dans les cheveux (Woman with flowers in her hair), "out of competition, Paris 1889"
1900 Charles Léandre Femme rousse (Red-haired woman)
1901 Edgar Maxence Femme rousse à l'orchidée (Red-haired woman with orchid)
1902 Paul Jean Gervais Femme au bouquet de fleurs (Woman with a bouquet of flowers)
1903 Edgar Maxence Femme en barque (Woman in a boat), "out of competition, Paris 1900"
1904 Paul Jean Gervais Femme au masque (Woman with a mask), "out of competition, Paris 1900"
1905 Paul Jean Gervais Femme en jaune (Woman in yellow)
1905 Edgar Maxence Femme au figuier de Barbarie (Woman with prickly pear), "out of competition, Paris 1900"
1906 Ramon Casas Espagnole au gilet noir (Spanish girl in black vest), "out of competition, Paris 1900"
1906 Julien Duvocelle Femme fond marron (Woman on brown background)
1907 Aleardo Villa Femme au voile bleu (Woman with blue veil)
1908 Georges-Antoine Rochegrosse Femme à la guirlande de fleurs (Woman with flower garland)
1909 Paul Jean Gervais Femme avec bouquet à la main (Woman with bouquet in hand)
1910 Paul Jean Gervais Femme à la mantille noire (Woman with black mantilla)
1910 Armand Rassenfosse Gitane (Gypsy)
1911 Paul Jean Gervais Femme au vase (Woman with vase)
1912 Paul Jean Gervais Femme sur fond aquatique (Woman on an aquatic background)
1913Joseph GraniéFemme au chapeau à plumes (Woman with feathered hat)
1914 Leonetto Cappiello Le pacha
1914Nguyen Duc ThucChinese scene, la grande marque française JOB (the great French brand JOB)
1914 Georges-Antoine Rochegrosse Orientale au diadème (Oriental with tiara)
1915Gabriel HervéFemme à la jaquette rouge (Woman in a red jacket)
1916 Eugène Loup Portrait de femme sur fond marron (Portrait of a woman on a brown background)
Key for reading the table
calendarposterpostcardmeaningnote
Work originally published as a calendarNo poster print run or print run still unknown
Work originally published as a poster
Work originally published as a calendar and posterNote a large reprint of Cappiello's poster in 1933.
Serial year of postcard prints2 series in 1910

Table sources

Postcards

Calendars and posters were also widely used as postcards. Not all postcards have been inventoried, as they have never been found. In 1980, author and publisher Gérard Neudin estimated the number of postcards at "at least 84 from 31 drawings". [32] The 32nd drawing corresponded to the 1916 calendar by painter Eugène Loup, listed by Italian author Carmello Calò Carducci in 1987. [31] Finally, in 2001, the number of postcards was revised upwards, to around 126 for the major series (according to the table below), [8] but this inventory remains theoretical, due to variations in certain editions. It has been established that 32 calendars and posters were the subject of postcards; cartophiles differentiate them into series. There are 5 main series up to 1914, and a rare "1916" series. The series are supposed to indicate the year in which the cards were printed, but to complicate matters, there may have been several editions of the same series, with some variations. Thus, while the 1903 and 1914 series are easily recognizable, the 1910 and especially the 1916 series are questionable.

1903 series, D. Hernandez. Carte postale Job de Daniel Hernandez.jpg
1903 series, D. Hernández.
1910 series, L. Graner. Carte postale Graner 1898.JPG
1910 series, L. Graner.
1911 series, P. Gervais. Carte postale Gervais 1911.JPG
1911 series, P. Gervais.
1914 series, A. Asti. Carte postale asti.jpg
1914 series, A. Asti.
1916 series, J. Granie. Calendrier granie 1913.jpg
1916 series, J. Granié.
SeriesYearN° of postcardsPostcard orientationTextOrnament/Printer
1st190312HorizontalPapier à Cigarettes JOB (JOB rolling paper)Art Nouveau flowers
2nd191020Horizontalcollection JOB (JOB collection)Squares, rhombuses
3rd19108Horizontalcollection JOB (JOB collection)Squares, rhombuses + Lyon printer's mark
4th191124Horizontalcollection JOB Cigarettes JOB (JOB collection, JOB cigarettes)Squares, rhombuses
5th known as "The Great Series".191430Verticalcollection JOB (JOB collection)Frieze flower garland
"1916 series"191632Horizontalcollection JOB (JOB collection)Squares, rhombuses

1903 series

This series included 12 postcards, all of which have now been found except for Meunier and Chéret. [8] The postcards are horizontal, illustrated on the left-hand side and edged with a salmon-pink "Art Nouveau" motif. The motif also occupies the bottom of the right-hand side. A variant of this series is also reported with beige floral motifs. The postcards were labelled " Papier à cigarettes JOB " (JOB rolling paper). They are of excellent printing quality and relatively rare.

1910 series

The series is called "1910", but was issued at least twice, around 1907–1908. In all likelihood, these series included 20 cards in the "A" series and 8 cards in the "B" series (calendar reproductions). [33] The 1910 (A) series was printed horizontally, with the words "Collection JOB" (JOB collection), but no printer's mark or "cigarettes JOB" (JOB cigarettes) label. The background is squared. This series is available in two paper qualities: linen and smooth satin. Print quality is good on the rough paper, fair for those on the smooth satin paper. The 1910 (B) series is horizontal, and differs from the 1910 (A) series in that "lyon" is the name of the printer's town where the cards were produced by "Art couleurs".

1911 series

This series most certainly included 24 postcards, i.e. all production up to 1911 except for Rassenfosse. [31] The series is horizontal, marked "Collection JOB, cigarettes JOB" (JOB collection, cigarettes JOB) and has a squared background. Print quality is fair on rough backgrounds and good on cards with smooth backgrounds.

1914 series

The 1914 series included all production up to 1914, i.e. 30 cards. The design is vertical here, and this is the only series where it occupies the entire surface of the card and not just one half. The lower third of the surface is marked "Collection JOB" (JOB collection). The divided reverse side is marked "postcard". The printing quality is very good.

1916 series

This set included the entire series, i.e. 32 illustrations. This series is the rarest of all, and the print run must have been small. Logically, it is the only one to include the Hervé and Loup calendars, issued in 1915 and 1916 respectively. Little known and poorly referenced, this so-called "1916" series may in fact have been marketed only after the war. What's more, a few details in the descriptions differ and could point to the existence of 2 distinct print runs. Indeed, the cards are always horizontal, the left half is the same as the 1910 series, but the right side is described, depending on the source, as either "decorated with a single diamond, containing the word Job very stylized" [31] or as being identical to the 1910 series. [8] [34] The paper is rough and the printing quality, acceptable. This series is said to be subject to certain peculiarities: the 1910 Gervais calendar was mistakenly dated 1911, and the text on the Ng Duc Thuc card was adapted. [31]

Single postcards

Postcard by Alphonse Mucha, London office edition, 1908 Carte postale d'Alfons Mucha, papier a cigarettes Job, edition bureau de Londres, 1908.jpg
Postcard by Alphonse Mucha, London office edition, 1908
  • Mucha's London office

This is the rare 1908 postcard published for the Franco-British Exhibition in London by JOB's London office. It's a reproduction of Mucha's calendar (Femme blonde).

  • Cappiello, Le pacha

There is a large-format vertical postcard from Cappiello, "JOB cigarette paper and cigarettes". [35] The printing date of this card is not known with certainty (1914?). Some of Cappiello's postcards differ from the 1914 series in minor ways: no outline on the front, or no inscription on the reverse. This is linked to the period reprints of this "successful" card.

  • Other cards

Just as there is a large-format, vertical Gervais 1905 calendar postcard dating from around 1914, it's difficult to be exhaustive, as postcard issues were undoubtedly made elsewhere, but very sporadically.

Brief description of series works

1897 G. Maurice calendar Calendrier job maurice.JPG
1897 G. Maurice calendar

Each creation in the series was initially published as a calendar, and sometimes as a poster. The calendar was generally printed on cardboard, or at least on reinforced paper, with an ephemeris of the year notched into the cardboard, which has often been leafed through and disappeared. Posters were printed on paper, sometimes in deluxe editions.

The poster or calendar, at least the first print run, often included the advertising slogan "Smoke with JOB or don't smoke" in the language of the poster's destination, the "JOB" trademark, sometimes a reference to "out of competition, Paris 1889" (or 1900), and was often decorated with a harmonious border. The reference to the Paris Universal Exhibition of 1889 or 1900 indicated that the JOB brand was "out of competition", meaning it won a medal. This clarification is important, as biographers have sometimes believed that the date corresponded to a medal received by the artist himself. [36]

Other prints followed without any mention, with only the decorative image; this was also the case for the proofs before the letter, often found in the collections of old printing works. The printer's mark was often present, especially for quality prints, often the former Cassan or Sirven artistic printers, both of which had branches in Toulouse and Paris. It's important to distinguish these vintage lithographic prints from the more recent offset reproductions that have been in vogue for the last ten years or so, and to bear in mind that these posters, which were intended for advertising purposes and are by no means cabinet prints, were often printed in different sizes and qualities in their day.

Here is a brief description of the works.

Other creations

Other posters, which are rarely referenced and quoted, are listed here. As they were not printed on postcards, they do not benefit from the remarkable memory offered by this widely distributed medium, that of a widely collected image with the advantage of small format. [27] A development on the comparison between postcard and poster collecting around 1900, specialized directories and postcard series devoted to posters (Cinos, Gérin, Job, Chemins de Fer posters). They are no less interesting, especially as they are sometimes the work of important illustrators.

1902 Manuel Orazi poster Job advertisment Orazi.jpg
1902 Manuel Orazi poster
YearIllustratorThemeDescription
1895 Jean de Paleologue (Pal)Art nouveau: sensual womanPoster bearing the text "out of competition Paris 1889", depicting a sensual woman or cocotte, boldly dressed in a green dress near a bedside table. [46]
circa 1900 Louis Vallet Humor: the firefighterrare JOB poster of a firefighter [47] sacrificing fire extinguishing to the pleasure of a cigarette
1898Félix ThuillièreMilitaria: The spahiPoster entitled Spahi, size 55 x 36 cm, published by the printing house Cassan fils, Toulouse Paris and dated 1898. [48]
circa 1900–1910Félix ThuillièreMilitaria: Guard CossacksPoster entitled Cosaque de la garde, size 55 × 36 cm, published by the printing house Cassan fils, Toulouse. [49]
1902 Manuel Orazi Art nouveau: Female profilePoster or print, woman in profile, not JOB branded but often cited as such [25] [50]
circa 1914Militaria: Soldiers on the front lineSoldiers at the front during the "Great War". Patriotic series of posters on the various European army corps. The posters usually featured soldiers rolling or smoking cigarettes. Slogan, in French only, "fumez le JOB ou ne fumez pas" ("smoke with JOB or don't smoke"), various medium-sized (approx. 50 cm) unsigned signs, [51] example of illustration: gunner, [52] French infantry soldier.
1915 Gaspar Camps Spain: cigarette-smoking womanSpanish woman, elegantly dressed woman smoking a cigarette on red background, Dimensions 50 × 40 cm [53] or 43 × 30.5 cm [54]
circa 1920 Gaspar Camps Spain: Spanish girl with pearl necklacePoster on green background of a "femme fatale", Printing company Sirven, Toulouse, 26 × 35.2 cm, [55] in addition to JOB, the poster was also used by other brands, such as Anis Antich [53]
circa 1920André JoyeuxColonies: Asian smoking couplePoster with a pair of Asian smokers facing each other in profile, size 160 × 120 cm, printed by Sirven, Toulouse Paris. [56]
circa 1920André JoyeuxColonies : BuddhaPoster depicting a meditating Buddha, size 52 × 38 cm, [57] one of the JOB posters signed by A. Joyeux is conserved at the Bibliothèque de Genève and dated Circa 1910. [58]
1923André JoyeuxColonies: old Chinese manPoster showing an old Chinese man on a red background, size 52 × 36 cm, printed by Sirven, Toulouse. [59] Poster dated 1923 by the Musée du Papier, Angoulême [60]
1924Cyprien BoulezWoman with a fanPoster showing a woman in a summer dress carrying a fan [61]

In 20th-century art

Until 1914, calendar, poster and postcard editions were commonplace. They became rarer during the war, but continued nonetheless. In the inter-war period, posters were mainly used to promote products for exportation to the colonies. [62]

By the 1930s, there was little to report, and collaboration with artists became the exception. Of note, however, is a typically Art Deco creation, "Cigarettes Job blanches" (White Job cigarettes), by Swiss engraver Noël Fontanet (1898–1982), [63] and the 1933 reprint of Cappiello's Le pacha poster. [64] The few rigorously geometric [65] posters of the brand from the 1940s, though worthy of note, do not stand out from the mass of advertising of the period; they were often anonymous. In 1961, graphic designer and illustrator Donald Brun produced an advertising poster for the brand entitled Algérienne Job (Algerian Job). [66]

JOB inspired artists such as Maurits Cornelis Escher with his 1943 reptile lithograph. [67] After decades of disgrace, Art Nouveau returned to the forefront in the 1960s. In 1966, Alphonse Mucha's 1897 JOB poster was reinterpreted by Stanley Mouse and Alton Kelley with a psychedelic effect. Printed in San Francisco, to advertise a rock concert. [68] But in both cases, it was no longer an order from the JOB brand.

As elsewhere in the world, in the last quarter of the 20th century, the fight against smoking became a public health priority in France. The Veil law of 1976 and the Évin law of 1991 prohibited all direct or indirect advertising for tobacco and tobacco products. These measures could have put a stop to tobacco advertising, but the brand's artistic creations had already fallen into disuse at a time of serious financial difficulties. [69]

Nevertheless, in 2008, JOB asked British punk musician, painter and stuckist Paul Harvey, an artist inspired by Art Nouveau, [70] to update the brand's advertising posters. The result was a series of Famous Doubles posters, a commercial reference to the JOB factory's double packs. Gilbert and George supported this graphic creation, unlike other artist duos, The Mighty Boosh or The White Stripes, who appeared on the poster projects without their agreement. Famous Doubles were exhibited at Wanted Gallery, a contemporary art gallery in Notting Hill, London, in 2009. [71] The posters featured both real and imaginary characters, with no direct allusion to the brand except through collective memory. Thus, in a very Art Nouveau setting featuring Edgar Maxence's 1903 calendar frieze, and in a symmetrical composition, Gilbert and George posed standing framing Le pacha, the emblematic character imagined by Leonetto Cappiello almost a century earlier, as if to "come full circle". [72]

Today, the posters in the collection are widely recognized and reproduced. While art lovers and collectors prefer chromolithographic plates that are easy to recognize, the market is flooded with "decorative posters", reproductions of images at low prices. To adorn walls, these beautiful images of yesteryear still have their enthusiasts. The JOB collection will remain an outstanding, timeless example of advertising graphics. [31]

Selected calendars and posters

Selected postcards

The year indicated corresponds to the calendar date.

See also

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The Hôtel Pams is a mansion in Perpignan, Pyrénées-Orientales, France. It was built between 1852 and 1872 by Pierre Bardou, one of the founders of the JOB cigarette paper company, then transformed in the 1890s into an elegant mansion by his son-in-law Jules Pams, a politician and amateur art-lover. It illustrates the artistic taste of the wealthy bourgeois at the turn of the 20th century. Today the building is owned by the city of Perpignan, and is only occasionally open to the public.

<span class="mw-page-title-main">Pierre Bardou-Job</span> French businessman

Pierre Bardou-Job was a French industrialist, manufacturer of JOB cigarette papers, and art collector.

<span class="mw-page-title-main">Paul Gervais (painter)</span> French painter

Paul-Jean-Louis Gervais was a French painter who was fashionable around the end of the 19th century. He is known for his sensuous paintings of nude women.

<span class="mw-page-title-main">Art Nouveau posters and graphic arts</span>

Art Nouveau posters and graphic arts flourished and became an important vehicle of the style, thanks to the new technologies of color lithography and color printing, which allowed the creation of and distribution of the style to a vast audience in Europe, the United States and beyond. Art was no longer confined to art galleries, but could be seen on walls and illustrated magazines.

<span class="mw-page-title-main">Art Nouveau in Paris</span> Local implementation of a style of architecture and design

The Art Nouveau movement of architecture and design flourished in Paris from about 1895 to 1914, reaching its high point at the 1900 Paris International Exposition. with the Art Nouveau metro stations designed by Hector Guimard. It was characterized by a rejection of historicism and traditional architectural forms, and a flamboyant use of floral and vegetal designs, sinuous curving lines such as the whiplash line, and asymmetry. It was most prominent in architecture, appearing in department stores, apartment buildings, and churches; and in the decorative arts, particularly glassware, furniture, and jewelry. Besides Guimard, major artists included René Lalique in glassware, Louis Majorelle in furniture, and Alphonse Mucha in graphic arts, It spread quickly to other countries, but lost favor after 1910 and came to an end with the First World War.

<span class="mw-page-title-main">Jane Atché</span> French painter

Jeanne Louise Marie Euphrasie Atché, known as Jane was a French painter and poster artist in the Art Nouveau style.

References

  1. 1 2 Nourrisson, Didier. "Papier à cigarettes JOB" (in French). L’Histoire par l’image (l’histoire de France à travers les collections des musées et les documents d'archives). Retrieved 19 February 2013.
  2. ↑ E. Praca (2004). "Perpignan à l'ère industrielle : l'exemple du papier à cigarettes Job (XIXe-début XXe s.)". Perpignan une et plurielle. Retrieved 20 February 2012.
  3. ↑ Mucha, Alphonse (1895). "Projet de publicité pour Pierre Bardou-job" (in French). Arcadja. Retrieved 20 February 2013.
  4. ↑ Doumeyrou, Élisabeth; Praca, Edwige (2011). "La Belle Époque des Bardou" (PDF) (in French). musée des Beaux-Arts Hyacinthe Rigaud. Retrieved 22 February 2013.
  5. ↑ Edgar Maxence (1900). "La Femme à l'orchidée". Réunion des Musées Nationaux. Retrieved 28 February 2013.
  6. 1 2 3 4 5 6 Dhotel-Velliet, Claudine (September 2008). "Jane Atché : Le mystère". Revue de la Bibliothèque Nationale, nouvelles de l'estampe (in French) (219). Retrieved February 24, 2013.
  7. ↑ Didier Nourrisson. "Papier à cigarettes JOB". L’Histoire par l’image. Retrieved 24 February 2013.
  8. 1 2 3 4 5 6 7 8 9 10 "Le site des collectionneurs, la collection Job, musée virtuel de Frédéric Vavasseur et Jean-Louis Venet". La Vie du Collectionneur (in French) (390): 11. November 23, 2001. The article presents the website, the JOB virtual museum by Frédéric Vavasseur and Jean-Louis Venet.
  9. ↑ Ellridge, Arthur (April 1992). Mucha, le triomphe du moderne style (in French). Terrail. p. 71. ISBN   978-2-87939-047-5.
  10. ↑ Weber, Eugen (1986). France: Fin de Siècle. Harvard University Press. p. 29. ISBN   978-0-674-31813-7 . Retrieved 24 February 2013.
  11. ↑ Gilman, Sander L.; Zhou, Xun (4 November 2004). Smoke: A Global History of Smoking. Sander L. Gilman. p. 294. ISBN   978-1-86189-200-3.
  12. ↑ Mitchell, Dolores (1991). "The "New Woman" as Prometheus, Women Artists Depict Women Smoking". Woman's Art Journal. 12 (1): 3–9. doi:10.2307/1358183. JSTOR   1358183.
  13. 1 2 Weill, Alain (1987). Affiches et art publicitaire: 7500 résultats de ventes aux enchères (in French). Mayer. ISBN   978-2-85299-003-6.
  14. ↑ de Toulouse Lautrec, Henri (1898). "Soldat anglais fumant sa pipe. Projet non exécuté" (in French). Sept Deniers Web. Retrieved 23 February 2013.
  15. ↑ Millman, Ian (September 1996). Georges de Feure : maître du symbolisme et de l'Art nouveau (in French). Courbevoie: ACR édition. p. 236. ISBN   2-86770-046-9 . Retrieved 23 February 2012.
  16. ↑ Kevin Freeman. "Angelo Asti" (in French). Mutoscope Pin-Up World!. Archived from the original on 26 January 2013. Retrieved 24 February 2013.
  17. ↑ Duvocelle, Julien-Adolphe. "Inventaire général du patrimoine culturel" (in French). French government. Retrieved 24 February 2013.
  18. ↑ Auguste, Cécile (2012). "Toulouse-Lautrec en son nouveau palais" (in French). www.evene.fr. Retrieved 24 February 2013.
  19. ↑ André-Pallois, Nadine (February 1998). L'Indochine, un lieu d'échange culturel ?: les peintres français et indochinois, fin XIXe-XXe siècle (in French). Paris: École française d'Extrême-Orient. p. 151. ISBN   2-85539-784-7.
  20. ↑ Fanelli, Giovanni; Godoli (June 1992). Art nouveau, la carte postale (in French). Celiv-Eddl. p. 352. ISBN   2-86535-158-0.
  21. ↑ Magic calendar on Commons (image)
  22. ↑ Bergé, Pierre. "Manuel Orazi (1860–1934) & Austin de Croze (Dates Unknown) Calendrier magique" (in French). Swann Auction Galleries. Retrieved 25 February 2013.
  23. ↑ Lécuyer, Vincent. "Manuel Orazi". vincentlecuyer.com (in French). Retrieved 25 February 2013.
  24. ↑ advertising for La Maison moderne on Commons (image)
  25. 1 2 Moretti, Mattia (2011). "Manuel Orazi (1860–1934)" (in French). Retrieved 25 February 2013.
  26. ↑ BnF, Notice of authority person (in French)
  27. 1 2 Fanelli, Giovanni; Godoli (June 1992). Art nouveau, la carte postale (in French). Celiv-Eddl. p. 36. ISBN   2-86535-158-0.
  28. ↑ Thuilliere, Félix. "Félix Thuilliere (French)" (in French). arnet.fr. Retrieved 19 March 2013.
  29. ↑ Thuillière Family (1926). "l'Express du midi, édition de Toulouse du mardi 23 mars 1926, avis de décès" (PDF) (in French). Bibliothèque municipale de Toulouse. Archived from the original (PDF) on 7 January 2014. Retrieved 19 March 2013.
  30. ↑ "La Collection Job". La Vie du Collectionneur (in French) (170): 6. March 21, 1997.
  31. 1 2 3 4 5 6 Carducci, Carmello Calò (July 1987). "Une grande série La Collection JOB". Cartes Postales et Collection (in French) (116). The author, Carmello Calò Carducci, was president of the Bari (Italy) Cartophile and Cultural Association.
  32. ↑ Neudin, Gérard. Neudin 1980 – sixièmme année : L'argus International Des Cartes Postales - (in French). Neudin. p. 170.
  33. ↑ La vie du collectionneur n° 170of March 21, 1997, distinguishes between the 2nd 1910 series (i.e. 2nd and 3rd series respectively), whereas in 1987 the author Carmello Calò Carducci, "Une grande série La Collection JOB", Cartes postales et Collection, n° 116, classified all these cards in the 2nd series, resulting in a shift in the numbering of later series.
  34. ↑ see this 1913 postcard, which can only be assigned to the 1916 series. Wikimedia Commons, ed. (March 2, 2013). "carte postale du Calendrier 1913 Granié" (in French).
  35. ↑ Leonetto Cappiello postcard on Commons (image)
  36. ↑ Quoted by Claudine Dhotel-Velliet in the Bibliothèque Nationale magazine, "Nouvelles de l'Estampe" Paris, Sept.-Oct. 2008, about a mix-up by Jiri Mucha, biographer of Alphonse Mucha, who thought Jane Atché had backdated his calendar.
  37. ↑ "Videos, Trésor à la Une, La Belle Époque des Bardoux-Musée Rigaud" (in French). Direction de la Culture de la Ville de Perpignan sous la coordination de Marie Costa. 2011. Archived from the original on 1 February 2013. Retrieved 16 March 2013.
  38. ↑ "Alphons Mucha, arts décoratifs, " Job "". Lagribouille.com. Retrieved 12 March 2013.
  39. ↑ This rare sketch can be seen on the website of the University of Florida, page 17 of the The Cigarette and the New Woman in Fin de Siècle Paris document
  40. ↑ photo GAT (1896). "Affiche pour le papier JOB, Collection : Jane Atché" (in French). Musée du Pays rabastinois. Archived from the original on 7 February 2016. Retrieved 26 February 2013.
  41. ↑ Ahlsell de Toulza, Guy. "Collection : Jane Atché" (in French). Musée du pays rabastinois. Archived from the original on 8 August 2016. Retrieved 19 February 2013.
  42. ↑ "Femme à l'orchidée par Edgard Maxence". Je veux une rousse. 2012. Archived from the original on 2 September 2013. Retrieved 26 February 2013.
  43. ↑ Leonetto Cappiello (1933). "Papier à cigarettes JOB le Pacha". drouot.com catalogues. Archived from the original on 3 March 2016. Retrieved 23 February 2013.
  44. ↑ Weill, Alain (1987). Affiches et art publicitaire: 7500 résultats de ventes aux enchères. Mayer. p. 8. ISBN   978-2-85299-003-6. L'auteur précise qu'« ils proposaient à leurs clients des dégressivités dans les prix qui pouvaient leur laisser croire que 10000 affiches reviendraient à peine plus cher que les 500 dont ils avaient besoin. »
  45. ↑ "Lithografie Job – Eugène Loup". Museum of Design Zurich Archive of the Zurich University of the Arts (in German). Retrieved 2022-01-05.
  46. ↑ de Paléologu, Jean (1897). "«2028», Art Nouveau Posters, New York, Friday, December 17, 2004 Lot 104 Pal, Job". artvalue.com (in French). Retrieved 23 February 2013.
  47. ↑ Firefighter, Wikimedia Commons, JOB poster circa 1900 by Louis Vallet (image)
  48. ↑ Thuillière, Félix (1898). "Fumez Job ou ne fumez pas" (in French). Zurich University of the Arts Museum of Design Zurich. Archived from the original on 3 March 2016. Retrieved 2 March 2013.
  49. ↑ Thuillière, Félix (1900). "Fumez Job ou ne fumez pas" (in French). Antikbar website. Retrieved 20 March 2013.
  50. ↑ "Manuel Orazi poster". Sept Deniers Web. Retrieved 26 February 2013.
  51. ↑ Chartres, Ivoire. "Art de la publicité, vente aux enchères, 16 février 2013" (PDF). interencheres (in French). Retrieved 27 February 2013.
  52. ↑ See the anonymous poster of the gunner: "Fumez le Job". Chisholm-Larsson Galery. 1914. Archived from the original on 3 March 2016. Retrieved 23 March 2013.
  53. 1 2 Escala I Romeu, Gloria (2004). Gaspar Camps: Gent Nostra (in Catalan). Infiesta Editor. p. 73 and 75. ISBN   84-933589-0-8. with a photograph of this poster and its description
  54. ↑ Camps, Gaspar (2005). "JOB Papel de Fumar". iCollector. Retrieved 24 February 2013.
  55. ↑ "Lot 162: Job. Gaspar Camps". Poster Please, International Poster Center. Retrieved 27 February 2013., referenced with photograph, following an auction, by International Poster Center
  56. ↑ "Tabac JOB Joyeux". postersparis. Retrieved 27 February 2012.
  57. ↑ "Vacation Art de la publicité, Lot 317 Job, Carton d'après A. Joyeux" (PDF). Ivoire Chartres. 2013. Retrieved 27 February 2013.
  58. ↑ Joyeux, A. (1910). "JOB tabac cigares cigarettes A Joyeux". Catalogue collectif suisse des affiches. Archived from the original on 3 March 2016. Retrieved 27 February 2013.
  59. ↑ "Vacation Art de la publicité, Lot 316 Job, Carton de vitrine d'après A. Joyeux" (PDF). Ivoire Chartres. 2013. Retrieved 27 February 2013.
  60. ↑ "Affiche JOB par Joyeux, 1923 – Col. Musée du papier Le Nil d'Angoulême". Les amis des Bardou. 1923. Retrieved 27 February 2013.
  61. ↑ "Saint-Girons. Les débuts de la saga de la Moulasse". La Dépêche du Midi. February 27, 2011. Retrieved February 24, 2013.
  62. ↑ Les amis des Bardou (2012). "La dimension internationale des industries Bardou-Job, l'aventure indochinoise". amis des bardou. Retrieved 14 April 2013.. A poster by André Joyeux, depicting an old Chinese man, illustrated the "Indochinese adventure".
  63. ↑ Fontanet, Noël (1930). "Cigarettes Job blanche". Galerie 123. Archived from the original on 3 March 2016. Retrieved 10 March 2012.
  64. ↑ Cappiello, Leonetto (1933). "Leonetto Cappiello (1875–1942) "JOB Papier a Cigarettes"". Posterpassion. Retrieved 23 February 2013.
  65. ↑ Some of the brand's beautiful modern school posters can be seen on the Swiss Poster Catalogue website. Archived 2016-03-03 at the Wayback Machine
  66. ↑ Brun, Donald (1961). "Algérienne – Job (Original Plakattext)". eMuseumZurich University of the Arts Museum of Design Zurich Archive Zurich University of the Arts. Retrieved 3 March 2013.
  67. ↑ Escher, M.C (1943). "Picture gallery "Back in Holland 1941 – 1954" Reptiles 1943". The Official Site. Retrieved 23 February 2013. (image)
  68. ↑ Miller, Stanley; Kelley, Alton (1966). "Alton Kelley (1940–2008)". World Music, Ken Hunt. Retrieved 23 February 2012.
  69. ↑ Tellier, Emeric (2011). "JOB. Dessins d'une lutte". Arts, Images du Mouvement Ouvrier et Social. Retrieved 15 March 2013.
  70. ↑ "Stuckism Paul Harvey (Newcastle Stuckists)". stuckism. Retrieved 1 April 2013.
  71. ↑ "Famous double". 3:AM Magazine. 2009. Retrieved 1 April 2013.
  72. ↑ The poster can be viewed on the website http://www.3ammagazine.com, "Famous double". 3:AM Magazine. 2009. Retrieved 1 April 2013.

Bibliography

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