Ex-Libris Hans R. Hahnloser - Félix Vallotton
Archival giclée
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Description
A striking 1907 woodcut by Félix Vallotton, designed as a bookplate for the collector Hans R. Hahnloser, featuring bold black-and-white silhouettes.
This woodcut by Félix Vallotton, created in 1907, functions as a bookplate for the collector Hans R. Hahnloser. Vallotton, a member of the Nabis group, gained recognition for his stark, high-contrast woodcuts that simplified forms into bold areas of black and white. This work demonstrates his mastery of the medium, where the absence of mid-tones forces the viewer to interpret the scene through silhouette and negative space.
The composition depicts a figure holding a framed artwork, a subject that reflects the close relationship between the artist and the Hahnloser family, who were significant patrons of his work. The figure is rendered in a solid black mass, contrasting with the white of the paper and the framed image held in their hands. The text 'EX-LIBRIS' and 'A. HAHNLOSER' is integrated into the lower portion of the print, framed within simple rectangular borders that balance the visual weight of the main subject. The initials 'FV' appear in the bottom right corner, a signature mark of the artist's graphic output.
Vallotton's approach to the woodcut was modern for the period, rejecting the traditional, fine-lined engraving techniques in favour of flat, graphic shapes. This style allowed for a directness that was well-suited to bookplates, posters, and illustrations. The work captures a moment of quiet contemplation, typical of Vallotton's domestic scenes, while serving its functional purpose as a mark of ownership for a library. The starkness of the image creates a graphic clarity that remains effective even at a small scale. By stripping away unnecessary detail, Vallotton focuses the viewer on the act of viewing art itself, creating a self-referential quality that is characteristic of his later graphic work.
Return policy
Because every print is made to order, we don't offer change-of-mind returns, refunds or exchanges. If your order arrives faulty, damaged or incorrect, we'll replace it free of charge — just contact us within 48 hours of delivery. See our refunds page for full details.
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We ship worldwide, printing at the production hub nearest to your delivery address. Delivery times and costs vary by destination — you'll see the options available to you at checkout.
Manufacturing
Each print is produced to order using 12-colour giclée printing on FSC-certified archival paper. Designed in Britain and printed at your nearest production hub to reduce waste and speed up delivery.
Care and materials
Specific Features
Every Solis piece is made to order with archival, gallery-quality materials built to last.
- Museum-grade giclée printing for rich, fade-resistant colour
- Archival matte fine-art paper, FSC-certified
- Multiple sizes and framing options available
- Frames in black, natural wood, dark wood or white
- Framed prints arrive ready to hang
Care & Cleaning
To keep your artwork looking its best:
- Dust gently with a soft, dry cloth
- Avoid prolonged direct sunlight
- Never use liquid cleaners on the print or canvas surface
- Keep in a dry, room-temperature space
- Handle prints with clean, dry hands
Materials & Sizing
Museum-grade giclée on FSC-certified archival matte paper, with framed and canvas options.
- Paper sizes: A4, A3, A2, A1, A0 and B2 (50×70 cm)
- Canvas: XS (20×30 cm) to Large (60×90 cm)
- Frames: black, natural wood, dark wood or white
Ex-Libris Hans R. Hahnloser - Félix Vallotton
Artist Biography
Felix Vallotton
He moved to Paris at seventeen and studied at the Academie Julian. His woodcuts, made in the 1890s, revived a medium that most printmakers had abandoned in favour of colour lithography. Working in pure black and white, he carved domestic interiors, street scenes, and a series called Intimites: ten prints depicting the private moments of married life, with an emphasis on adultery, deception and the particular loneliness of two people in the same room. The images are flat, graphic and psychologically sharp.
His support for Alfred Dreyfus, the Jewish officer falsely convicted of espionage, strained his relationship with several of the Nabis. He bought a Kodak camera in 1899 and began using photographs as source material for paintings, manipulating compositions into fictionalised versions of observed reality.
He married the daughter of the art dealer Alexandre Bernheim in 1899, which gave him financial security and access to the Parisian art market. He painted nudes, still lifes and landscapes with a smooth, almost clinical finish that disturbed viewers who expected warmth from pictures of naked women.
He wrote three novels and eight plays, none of which were published in his lifetime. His first novel, La Vie Meurtriere (The Murderous Life), appeared posthumously in 1930. He died the day after his sixtieth birthday.
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