Fine Art Framed
From $220
The same fine art print in a solid wood frame with UV-protective acrylic glaze and rigid backing. Five frame colours. Arrives ready to hang.
Help! My cutlet's being stolen! - Félix Vallotton
Regular price
$220.00 NZD
Sale price
$220.00 NZD
Regular price
Archival giclée
Frames arrive ready to hang
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Made to order
Description
A satirical lithograph by Félix Vallotton, originally published in L'Assiette au Beurre in 1904, featuring his signature bold lines and graphic style.
This work by Félix Vallotton appeared in the French satirical weekly magazine L'Assiette au Beurre in 1904. The publication was known for its biting social commentary and its use of high-quality lithographic illustrations. Vallotton, a member of the Nabis group, applied his characteristic graphic style to this scene, which depicts a chaotic moment in a butcher shop. The composition is defined by bold, black outlines and a flat application of colour, a technique that reflects the influence of Japanese woodblock prints on his practice. The scene captures a man in a state of alarm, gesturing towards a cutlet that is being taken. Behind him, a figure appears to be involved in the theft. The background features rows of hanging meat, rendered with minimal detail to maintain the focus on the central action. Vallotton uses a limited palette, allowing the stark contrast between the dark figures and the lighter background to create a sense of urgency. The inclusion of the artist's initials, FV, in the bottom corner confirms his authorship of this specific plate. Vallotton was a prolific printmaker, and his contributions to periodicals like L'Assiette au Beurre allowed him to reach a wider audience beyond the gallery circuit. His work often explored the tensions of modern life, frequently employing irony and dark humour. This particular print demonstrates his ability to distil complex social interactions into a single, graphic image. The lack of shading and the emphasis on silhouette are hallmarks of his approach, which prioritised clarity and visual impact over traditional modelling. This print serves as an example of the intersection between fine art and mass-market publishing during the early twentieth century, where artists used their skills to comment on the daily struggles and absurdities of urban existence.
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
Complete The Look
Help! My cutlet's being stolen! - Félix Vallotton
Regular price
From $130.00 NZD
Sale price
From $130.00 NZD
Regular price
Fine Art Framed / A4 (21x29.7 cm) / Black frame
Artist Biography
Felix Vallotton
Vallotton was called the Foreign Nabi, which was both a joke and a diagnosis. He was Swiss, from a conservative family in Lausanne, and his temperament was cooler and more detached than the Parisian painters he joined in 1892. The Nabis were interested in mysticism and spiritual art. Vallotton was interested in what happens between people when they think nobody is watching.
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.
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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Canvas
From $130
Hand-stretched canvas with neat gallery-wrapped edges, giving the artwork surface texture and depth. Arrives ready to hang.
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