From the 1979 Loupot exhibtion at the Musée de l’Affiche in Paris to the recent survey “Loupot, Painter of Posters” at the Museum of Printing in Lyon, there has been new interest and appreciation of this artist’s work. Our collection spans all periods of this artist’s work – so you can see Loupot’s development from a sensitive commercial portraitist in Switzerland to a radical Parisian experimenter with forms, styles and techniques.
A rare, smaller-format version of one of Loupot’s most compelling designs. “This Bedouin with slender fingers, with seductive eyes reminiscent of the silent film images, and the black horse all add to the Oriental feel,” said Thierry DeVynk (Loupot/Lyon, N6). In this case, Loupot had many discussions with the advertiser, Phillipossian, and the black stallion is a personal nod to the industrialist, who was an aficionado of amateur horseracing (Loupot/Zagrodzki, p. 57). Smaller format. Rare!
Bold geometries signify a fascinating artwork in the history of Loupot’s artistic development. For the furniture manufacturer Barbès, Loupot uses the faded-frame device he deployed for Voisin Autos (see PAI-LXXII, 275) and the 1925 Art Deco expo (see PAI-LXXI, 275), which delivered career-establishing successes. However, by eschewing the naturalism of his earlier period, and abstracting the figure into geometric forms, he paves the way for his acclaimed series for St. Raphael (see No. 366 in the upcoming catalogue).
Stop-Fire made fire extinguishers, adaptable especially for automobiles. To show its power and effectiveness, Loupot transforms it into a simpler and more familiar object – a candle snuffer: a more powerful and minimalist treatment than the earlier 1925 version for the same company.
Brilliant, formidable, riveting and bold – Loupot’s indelible emblem for Lion Noir Shoe Polish is one of the clear masterpieces of post-war graphic art. It’s exceptionally rare; this is only the second we’ve encountered “in the wild” in 73 auctions, and this copy comes directly from the Loupot estate.