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.
You give me your money, I lend you my experience - 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 biting 1901 satirical lithograph by Félix Vallotton, originally published in L'Assiette au Beurre, critiquing the transactional nature of social and financial power.
This lithograph by Félix Vallotton appeared in the French satirical weekly, L'Assiette au Beurre, in 1901. The publication was known for its biting social commentary and its use of bold, graphic imagery to critique the bourgeoisie and political establishment of the era. Vallotton, a member of the Nabis group, applied his characteristic style of flat planes and stark contrasts to this scene of financial exploitation. The composition features a rotund, self-important figure in checked trousers, gesturing with an open hand toward a younger man. The caption, written in the artist's hand, translates to: 'You give me your money, I lend you my experience. There!' The visual language is intentionally reductive. Vallotton uses heavy black ink to define the figures, stripping away unnecessary detail to focus on the power dynamic between the two men. The background is minimal, suggesting an office environment with a sign reading 'HORAIRE' (schedule), which adds to the bureaucratic, cold nature of the transaction. Vallotton was a master of the woodcut and lithographic medium, often employing a limited palette to maximise the impact of his lines. His work for L'Assiette au Beurre allowed him to explore themes of greed, corruption, and social inequality with a dry, cynical wit. The starkness of the black and white areas, punctuated by subtle touches of colour, creates a graphic tension that draws the eye directly to the central interaction. This print serves as a clear example of the artist's ability to condense complex social critique into a single, punchy visual statement. It remains a sharp observation of human nature and the transactional relationships that define modern society.
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
You give me your money, I lend you my experience - 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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