{"id":131881,"date":"1901-01-01T00:00:00","date_gmt":"1900-12-31T23:50:39","guid":{"rendered":"https:\/\/cappiello.fr\/produit\/caisse-simon-la-huitres-exquises\/"},"modified":"2025-05-15T00:02:24","modified_gmt":"2025-05-14T22:02:24","slug":"caisse-simon-la-huitres-exquises","status":"publish","type":"product","link":"https:\/\/cappiello.fr\/en\/produit\/caisse-simon-la-huitres-exquises\/","title":{"rendered":"Caisse Simon (La) \/ Hu\u00eetres Exquises"},"content":{"rendered":"<p>By the sea, a couple enjoys oysters opened by the vendor.<br \/>\n<br \/>To draw his characters, Cappiello drew inspiration from his brother Oreste and from Camille (on the left) and Marie M\u00fcller (in the center), sisters of the painter Alfredo M\u00fcller. Camille and Oreste married on March 3, 1900, in Paris&#8217;s 17th arrondissement.<\/p>\n<p>&#8220;The sketch for this poster was made in June 1901 and the artist was paid 500F.<br \/>\n<br \/>While women are heavily represented in Cappiello&#8217;s posters overall, men are much less so, although there are male types: the jovial heavyset figures of <em>Eschenauer<\/em> or <em>Cruz del Campo<\/em>, historical figures: the Caesar of <em>Esperantine<\/em>, the Francis I of <em>Bi\u00e8res du Fort-Carr\u00e9<\/em>, or the Henry IV of <em>Royal Gaillac<\/em>, men depicted for their role: the magistrates of <em>El Gramophone<\/em>, the shoemaker of <em>Cuir<\/em>, the chef of <em>Lesieur<\/em>. They are rarely presented for themselves; they merely accompany women in scenes of daily life, but it is the women who embody the appeal: here, the man turns his back to us, his only value lies in the black shape of his jacket, which echoes that of the shawl of the oyster seller, framing the yellow shape formed by the dress.<br \/>\n<br \/>A note on the pastel mentions a print run of 3,000 copies.&#8221;<br \/>\n[in Cappiello 1875-1942: Caricatures, Posters, Paintings, and Decorative Projects, 1981]<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Oysters farmed in Andernos on the Arcachon Bay.<\/p>\n","protected":false},"featured_media":131882,"template":"","meta":{"_acf_changed":false},"type-doeuvre":[4057],"product_brand":[],"product_cat":[3352],"product_tag":[3364,3250,3900,3270,3601,3311],"class_list":{"0":"post-131881","1":"product","2":"type-product","3":"status-publish","4":"has-post-thumbnail","6":"type-doeuvre-affiches","7":"product_cat-agricultural-and-seafood-products","8":"product_tag-long-dress-en-2","9":"product_tag-hat","10":"product_tag-sea-en-3","11":"product_tag-sea-en","12":"product_tag-society-man","13":"product_tag-society-woman","14":"pa_periode-1900-1918-en","15":"pa_type-de-contenu-lithography","17":"first","18":"instock","19":"virtual","20":"product-type-simple"},"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO Premium plugin v27.0 (Yoast SEO v27.4) - https:\/\/yoast.com\/product\/yoast-seo-premium-wordpress\/ -->\n<title>Caisse Simon (La) \/ Huitres Exquises - Catalogue Raisonn\u00e9 de Leonetto Cappiello<\/title>\n<meta name=\"description\" content=\"By the sea, a couple enjoys oysters opened by the vendor. To draw his characters, Cappiello drew inspiration from his brother Oreste and from Camille (on the left) and Marie (in the center) M\u00fcller, sisters of the painter Alfredo M\u00fcller. Camille M\u00fcller is Cappiello&#039;s sister-in-law. She and Oreste married on March 3, 1900, in Paris&#039;s 17th arrondissement. &quot;The sketch for this poster was made in June 1901 and paid 500F to the artist. While women are prominently featured in Cappiello&#039;s posters overall, men are far less represented, though there are male types: the jovial heavyset figures of Eschenauer or La Cruz del Campo, historical characters like the Caesar of L&#039;Esperantine, the Francis I of Bi\u00e8res du Fort-Carr\u00e9, or the Henry IV of Royal Gaillac, and men depicted for their roles: the magistrates of El Gramophone, the shoemaker of Cuir, the chef of Lesieur. They are rarely presented for themselves; they merely accompany women in scenes of daily life, but it is the women who embody the appeal: here, the man turns his back to us, his only significance lies in the black shape of his jacket, mirroring the shawl of the oyster seller, framing the yellow shape formed by the dress. A note on the pastel mentions a print run of 3,000 copies.&quot; [in Cappiello 1875-1942: Caricatures, Posters, Paintings, and Decorative Projects, 1981]\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/cappiello.fr\/en\/produit\/caisse-simon-la-huitres-exquises\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Caisse Simon (La) \/ Huitres Exquises\" \/>\n<meta property=\"og:description\" content=\"By the sea, a couple enjoys oysters opened by the vendor. To draw his characters, Cappiello drew inspiration from his brother Oreste and from Camille (on the left) and Marie (in the center) M\u00fcller, sisters of the painter Alfredo M\u00fcller. Camille M\u00fcller is Cappiello&#039;s sister-in-law. She and Oreste married on March 3, 1900, in Paris&#039;s 17th arrondissement. &quot;The sketch for this poster was made in June 1901 and paid 500F to the artist. While women are prominently featured in Cappiello&#039;s posters overall, men are far less represented, though there are male types: the jovial heavyset figures of Eschenauer or La Cruz del Campo, historical characters like the Caesar of L&#039;Esperantine, the Francis I of Bi\u00e8res du Fort-Carr\u00e9, or the Henry IV of Royal Gaillac, and men depicted for their roles: the magistrates of El Gramophone, the shoemaker of Cuir, the chef of Lesieur. They are rarely presented for themselves; they merely accompany women in scenes of daily life, but it is the women who embody the appeal: here, the man turns his back to us, his only significance lies in the black shape of his jacket, mirroring the shawl of the oyster seller, framing the yellow shape formed by the dress. 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To draw his characters, Cappiello drew inspiration from his brother Oreste and from Camille (on the left) and Marie (in the center) M\u00fcller, sisters of the painter Alfredo M\u00fcller. Camille M\u00fcller is Cappiello&#039;s sister-in-law. She and Oreste married on March 3, 1900, in Paris&#039;s 17th arrondissement. &quot;The sketch for this poster was made in June 1901 and paid 500F to the artist. While women are prominently featured in Cappiello&#039;s posters overall, men are far less represented, though there are male types: the jovial heavyset figures of Eschenauer or La Cruz del Campo, historical characters like the Caesar of L&#039;Esperantine, the Francis I of Bi\u00e8res du Fort-Carr\u00e9, or the Henry IV of Royal Gaillac, and men depicted for their roles: the magistrates of El Gramophone, the shoemaker of Cuir, the chef of Lesieur. 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To draw his characters, Cappiello drew inspiration from his brother Oreste and from Camille (on the left) and Marie (in the center) M\u00fcller, sisters of the painter Alfredo M\u00fcller. Camille M\u00fcller is Cappiello's sister-in-law. She and Oreste married on March 3, 1900, in Paris's 17th arrondissement. \"The sketch for this poster was made in June 1901 and paid 500F to the artist. While women are prominently featured in Cappiello's posters overall, men are far less represented, though there are male types: the jovial heavyset figures of Eschenauer or La Cruz del Campo, historical characters like the Caesar of L'Esperantine, the Francis I of Bi\u00e8res du Fort-Carr\u00e9, or the Henry IV of Royal Gaillac, and men depicted for their roles: the magistrates of El Gramophone, the shoemaker of Cuir, the chef of Lesieur. 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She and Oreste married on March 3, 1900, in Paris's 17th arrondissement. \"The sketch for this poster was made in June 1901 and paid 500F to the artist. While women are prominently featured in Cappiello's posters overall, men are far less represented, though there are male types: the jovial heavyset figures of Eschenauer or La Cruz del Campo, historical characters like the Caesar of L'Esperantine, the Francis I of Bi\u00e8res du Fort-Carr\u00e9, or the Henry IV of Royal Gaillac, and men depicted for their roles: the magistrates of El Gramophone, the shoemaker of Cuir, the chef of Lesieur. They are rarely presented for themselves; they merely accompany women in scenes of daily life, but it is the women who embody the appeal: here, the man turns his back to us, his only significance lies in the black shape of his jacket, mirroring the shawl of the oyster seller, framing the yellow shape formed by the dress. 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