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  • A head and shoulders self-portrait of Mucha in a brown shirt against a brown background

    Self-portrait (1899)

  • Woman in a brown hat and gown holding a bunch of flowers and a cane framed with circular decorative elements

    Poster for 'La Tosca' (1899)

  • A brunette with a high-necked embroidered dress and ornate jewellery holds a glass of champagne. She is framed by a decorative halo in golds and blues and leans on a rich pink fabric which ruffles at her feet. The words 'Moët Chandon' feature at the top of the poster, and 'Grand Crémant Impérial' at the bottom.

    Poster for 'Moët & Chandon: Dry Imperial' (1899)

  • A blond girl with a pink dress and bare shoulders entwined with vines and white flowers holds a bowl of grapes in her left hand and is framed by a floral halo. The words 'Moët Chandon' feature at the top of the poster, and 'Champagne White Star' at the bottom.

    Poster for 'Moët & Chandon: Champagne White Star' (1899)

  • Round biscuit tin with a metal handle decorated with a female figure and a decorative floral motif

    Tin for Lefèvre-Utile biscuits (1899)

  • 2D designs for top and side of bicuit tin with female figures and a decorative floral motif

    Print proof for the Biscuits Lefèvre-Utile tin (1899)

  • Young woman in stripey stockings with a white scarf around her neck reclining on a velvet couch next to a stove.

    Model reclining on the couch in Mucha's studio, Rue du Val-de-Grâce, Paris. (1899)

  • a round fan with plant motifs in the bottom half and two reclining women with drapery and petals in the top half

    'The Passing Wind Takes Youth Away': design for a fan and the façade of the 'Pavilion of Man' (unrealised) (1899)

  • 3 arched panels with decorative elements and a crescent-shaped entrance

    Design for a display stand at the Paris Exhibition 1900 (c.1899-1900)

  • Figure wearing a dark tunic with face obscured by a white scalf leaning to her right on a pale blue background

    Woman masked in white head-scarf - study for the illustration of the Bosnia & Herzegovina Pavilion featured in 'Le Figaro Illustré' (1 March 1900) (1899)

  • A group of four men, four women, and a small boy stand in a line in front of a stone settlement

    Bosnian people in ceremonial costumes - from research trip to the Balkans (1899)

  • A woman in a white headdress stands with her arms around two girls in embroidered tunics holding bunches of flowers

    Models posing for the Bosnia & Herzegovina Pavilion decoration (1899-1900)

  • A boy with a bare chest and traditional trousers with a sash sits side on on a floral coach with his arms in his lap and his head touching his clenched fists

    Model posing for the Bosnia & Herzegovina Pavilion decoration (1899-1900)

  • A woman leans back into the arms of a caped man who holds his left hand over her eyes

    Bosnian Legends: Murcia - The Plague Lady (1899)

  • A dead woman slumps over the body of a recling man in white

    Bosnian Legends: Death of Hasanaga's Bride (1899)

  • A rough sketch of two skeletal figures lying on the ground in each others arms

    Dead Couple - Abandoned (c.1899-1900)

  • A rough sketch with non-distinct bundles on the foreground under a dark sky and a fire blazing in the distance

    Military Camp in Winter, near a City on Fire (c.1899-1900)

  • A girl seated with her head slumped in her hands

    Girl Weeping (c.1899-1900)

  • Gold snake wrapped around three times with a stylised blue face attached to a chain with a second snake face motif

    Snake Bracelet with a Ring (1899)

  • The bust of a woman with bare breasts, long and ondulating hair and a crown capped with a light fitting

    La Nature (1899-1900)

  • Bosnia-Herzegovina Pavilion: cartoon for the mural 'The Roman Period and the Arrival of the Slavs' (1899-1900)

  • Bosnia-Herzegovina Pavilion: fragment of the upper frieze featuring Ivo and Anica, characters from Bosnian legends (1899-1900)

  • A three quarter length female figure in a pink robe with dark hair and jewels in her hair holds a primrose to her nose; decorative motifs frame her face

    Primrose (1899)

  • A three quarter length female figure in a white robe with blond hair and jewels in her hair and dress holds a feather and laurel leaves in her hand; decorative motifs frame her face.

    Feather (1899)

  • 4 vertical panels of female figures (see individual works)

    The Times of the Day (series) (1899)

  • A fair haired woman in a pink strapless dress sits perched on a tree and looks out of the frame to her right; behind her is a grassy patch with trees in the distance; the composition is framed with a decorative arched border filled with mauve flowers

    The Times of the Day: Morning Awakening (1899)

  • A fair haired woman in a biege strapless dress holds her right arm around her head and her left hand behind her neck; behind her is a sandly landscape; she is surrounded by large yellow daisies and is framed by an arched border with pink flowers

    The Times of the Day: Brightness of Day (1899)

  • A woman with aubern hair and a pale strapless dress seen side on leans on a cloth support with her right elbow and holds her left arm behind her; she sits among pale trees against a pink sky and is framed by an arched border with pale pink flowers

    The Times of the Day: Evening Contemplation (1899)

  • A woman with dark hair and a pale strapless dress sits rests on a cloth support with her hands supporting her head and her eyes closed; behind her tall, thin trees are lit by the full moon beyond; she is framed by an arched border with pale mauve flowers

    The Times of the Day: Night’s Rest (1899)

  • 6 circular pictures with female figures set against seasonal landscapes that represent each of the months between January and June

    The Months (January-June) (1899)

  • 6 circular pictures with female figures set against seasonal landscapes that represent each of the months between July and December

    The Months (July-December) (1899)

  • An elegant couple in evening wear stand in a glasshouse surrounded by plants with 'Lefèvre-Utile' in the ironwork behind; the text 'Flirt' features at the top of the poster and 'Biscuits Lefèvre-Utile' at the bottom

    Flirt (1899)

  • Frontispiece with decorative vertical border on the left and image of a woman with long flowing hair falling around her holding a female figurine in her right hand; title at the top of the page and detail on author (Mucha) and printers at the bottom of the page

    Le Pater (1899)

  • Rough pencil sketch of a group of figures reaching towards the top of the composition

    Le Pater: early study for the 1st allegorical scene 'Our Father who art in Heaven' (1899)

  • Figure seen from behind looking at a light on the horizon

    Le Pater: study for the 6th allegorical scene 'Forgive us our debts, as we forgive our debtors' (1899)

  • Rough sketch with dark outline at bottom of figures reaching towards the top of the composition dominated by green and a yellow source of light

    Le Pater: early study for the 1st allegorical scene 'Our Father who art in Heaven' (1899)

  • A woman with short red hair wearing a brown tunic and a heavy fur trimmed cape stands in profile holding a sword; she stands against a decorative alcove framing a scene from the play beyond; details of the play are at the top and bottom of the composition

    Poster for 'Hamlet' (1899)

  • A full-length sketch of Bernhardt wearing military costume and holding her left hand on her hip in a defiant pose

    Sarah Bernhardt in the role of the Duc de Reichstadt in L’Aiglon (1900)

  • A bearded man in a white tunic and a fabric headdress touches his face with his left hand as he leans to his right

    Model posing in Mucha's studio, Rue du Val-de-Grâce, Paris (c.1900)

  • A female model dressed in a white tunic with fabric in her long, dark hair kneels on the carpeted floor with her face in her hands

    Model posing in Mucha's studio, Rue du Val-de-Grâce, Paris (c.1900)

  • A square box seen from the side with a blond woman with poppies in her hair in a red circular form with the words 'Lefèvre-Utile Gaufrettes Vanille' on one side, and a picture of the LU factory in black and white on one of the other sides.

    Box for Lefèvre-Utile biscuits: Gaufrettes Vanille (c.1900)

  • A rectangular box seen from above with an image of two elegantly dressed women and a man sitting at a table eating biscuits and a decorative vegetal pattern in gold, green and grey with the words 'Biscuits Madère Lefèvre-Utile.

    Box for Lefèvre-Utile biscuits: Madère (c.1900)

  • Two spoons, a pair of pinces and a fork

    Designs for cutlery (c.1900)

  • Plate with ornate tea pot and cup and saucer

    Designs for tableware (c.1900)

  • Ornamental motifs designed for 'Combinaisons Ornementales se Multipliant à l'Infini à l'Aide du Miroir' (1901) (c.1900-1901)

  • A series of benches lined up in the snow with trees and open space beyond

    Winter View, Jardin du Luxembourg, Paris (c.1900)

  • 22 sketches of flowers from the poppy family

    Sketches of flowers for Documents décoratifs (c.1900-1901)

  • A rich floral motif in pale pink, pale green and ochre intertwine and partially obscure a fair-haired woman in regal red robes holding a daisy

    Woman with a Daisy - textile designed by Mucha (1900)

  • Bare-shouldered model sitting on an ornate wooden chair and leaning on a cushion placed on the right arm of the chair

    Model posing in Mucha's studio, Rue du Val de Grâce, Paris (1899-1900)

  • Young bare-shouldered model wrapped in a large piece of fabric leans on a cushion on a pedestal with her left elbow and holds her right hand on her right hip

    Model posing in Mucha's studio, Rue du Val de Grâce, Paris (c.1900)

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