By order of the Sultan - Félix Vallotton
Archival giclée
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Description
A striking 1901 lithograph by Félix Vallotton, featuring his signature high-contrast style and sharp political commentary.
This lithograph by Félix Vallotton appeared in the satirical weekly magazine L'Assiette au Beurre in 1901. The image depicts a tense encounter between a seated individual and two figures in dark, imposing uniforms. Vallotton employs his characteristic style of high-contrast black and white, using large, flat areas of ink to create a sense of foreboding. The composition is stark, focusing on the power imbalance between the authority figures and the subject. Vallotton was a member of the Nabis, a group of post-impressionist artists who favoured symbolic and decorative approaches to painting. However, his graphic work often took a different path, leaning into social commentary and political critique. In this piece, the heavy black shapes of the uniforms dominate the frame, pressing down on the lighter figure seated at the desk. The limited use of colour, restricted to small touches of red on the shoes and a cloth held by the official, draws the eye to specific details within the otherwise monochromatic scene. The text at the bottom, written in the artist's hand, translates to: 'By order of the Sultan, you have twenty-four hours to leave France.' This work demonstrates Vallotton's ability to convey narrative tension through minimal visual information. By stripping away unnecessary detail, he forces the viewer to focus on the interaction and the implied threat. The print is a fine example of early twentieth-century political satire, reflecting the anxieties of the period through a sharp, graphic lens. It remains a compelling study in the use of negative space and silhouette to build atmosphere.
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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. EU customers have a 14-day cooling-off right. See our refunds page for full details.
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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.
By order of the Sultan - Félix Vallotton
Our Features
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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
- Choose poster, framed print, canvas or framed canvas
- 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
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Artist Biography
Félix 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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