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Henri de Toulouse-Lautrec
"Yvette Guilbert" by Toulouse-Lautrec

1898

About the Item

TOULOUSE-LAUTREC, HENRI DE (1864-1901) "Yvette Guilbert – A Menilmontant de Bruant" Delteil 255, Adhemar 311 Lithograph printed in black with beige tint stone wove paper c. 1898 Signed on the stone with the artist’s monogram, TL, upper left From the edition of 350, 4th state of 4 Published by Bliss & Sands, London, an English set of eight plates titled: Album Yvette Guilbert. c. 1898 11 5/8” x 9 1/2” “Of all the music hall performers who inspired Lautrec, Yvette Guilbert exerted by far the greatest hold over him. He was completely fascinated by the style and atmosphere of her act. Lautrec first saw her in about 1892, she had revolutionized the whole atmosphere of the cafe concert by a totally new approach to the performance of a song. Standing almost still except for gestures of her long thin arms in black gloves, which she almost invariably wore, her face almost expressionless except for the twist of her lips, she sang songs with highly scandalous words and themes. The Paris audience was captivated and none more than Lautrec. He found the whole atmosphere of her act and personality magnetic. Henri de Toulouse-Lautrec was born in 1864 in the South of France. From an early age, he suffered from poor health and by the age of 14, he had broken both of his legs, causing them never to develop properly. Ultimately, he grew to be only 4 feet, eleven inches. In 1882, he traveled to Paris, where he studied at conventional painting studios alongside Emil Bernard and Vincent van Gogh. After a time, he became more interested in the Impressionist artists, such as Edgar Degas, and gave up his lessons at the studios. Living in the Montmarte section of Paris, Lautrec soon became emerged in the world of cafés, cabarets, dance halls and brothels. He frequented these establishments, often sitting and sketching his observations. These sketches were to be transformed into paintings and lithographs. His work began to attract some recognition and after a few exhibitions in galleries, he was overrun with commissions. Lautrec’s lithographs depict the famous personalities of the French “belle époque”. He was greatly impressed, as were many other Impressionist artists, by the Ukiyo-e art of Japan and Japanese printmaking which had a profound influence on his style. Some of the singer and dancers in his works were people that he knew personally. Lautrec produced his first lithograph in 1891. Edition sizes and papers used vary from print to print. Lautrec’s graphic oeuvre consists of 351 lithographs and 9 drypoint prints of which this is one example.
  • Creator:
    Henri de Toulouse-Lautrec (1864 - 1901, French)
  • Creation Year:
    1898
  • Dimensions:
    Height: 22.25 in (56.52 cm)Width: 20.25 in (51.44 cm)Depth: 1.5 in (3.81 cm)
  • More Editions & Sizes:
    4th State, two marks lover right corner. Small edition for 100 year anniversary of T-L birthPrice: $8,500
  • Medium:
  • Movement & Style:
  • Period:
  • Condition:
  • Gallery Location:
    Hinsdale, IL
  • Reference Number:
    Seller: 18581stDibs: LU138426988832

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TOULOUSE-LAUTREC, HENRI DE (1864-1901) "LA CHAINE SIMPSON" Original lithograph from "Les Maitres de L'Affiche" series Printed by Imprimerie Chaix, Paris Bearing MDL stamp lower right, from issue #60, 1900. Plate #238 Unframed Size: 11 3/8 x 15 3/4” The "Les Maitres de l'Affiche" series was offered as a subscription series to collectors every month for 60 months, from December 1895 through November 1900. The "Maitres de l'Affiche," were issued as separate numbered sheets, referred to as "plates". They were numbered, with the printers name "Imprimerie Chaix," in the margin at the bottom left hand corner, "PL.1" to "PL.240." In the margin at the bottom right hand corner of each, is a blind embossed stamp from a design of Cheret's. The smaller format and the fact the "Maitres" were a paid subscription series, allowed Imprimerie Chaix to use the latest state of the art printing techniques, not normally used in the large format posters due to cost. A very high quality of paper was used, where as the large format posters were printed on lesser quality newsprint, due to cost and a short expected life span. This explains why the quality of the printing, in the "Maitres de l'Affiche," usually far exceeds that of their larger counterparts. "In her recent excellent biography of Lautrec, Julia Frey indicates that 'Henry, the frustrated athlete, was compulsively familiar with the vocabulary and technical aspects of a variety of sports in which he could participate as a spectator: horse and bicycle racing, wrestling, yachting, bullfighting. He watched them all with the same intensity that he watched a line of dancers or a circus bareback rider, attracted by the beauty of movement, but also by the smells, sounds and excitement of the spectacle (Frey, p.353) His 'insider' knowledge of the cycling field shows up abundantly in this poster for the French agent of the Simpson bicycle chain company. In the foreground is the champion cyclist Constant Huret. In the background are Tristan Bernard, the sports impresario who was a close friend of Lautrec, with Louis Bougle, the French agent who adopted the name 'Spoke.' A touch of levity is added by what appears to be a 'bicycle-built-for-ten' in the upper-left corner, in fact it's two five-seaters, known at the time as 'quints.'"(Rennert, PAI-XXII, 35)Henri de Toulouse-Lautrec came from an aristocratic background, having been born the son of an earl.Even as a schoolboy he showed a talent for drawing. By 14 he had suffered two horse back riding accidents, combined with a serious bone disease which eventually left him crippled for life. His body continued to grow but not his legs, he would remain only five feet tall and suffer pain and embarrassment his entire life.At the age of 18, Lautrec moved to Montmartre in Paris to study art seriously. He worked with artists Louis Anquentin, Emile Bernard, Degas, Van Gogh and others. He became a frequenter of the the cafes, cabarets and brothels of the neighborhood, drawing from them inspirations for his artistic themes. As the artist's stature grew, several magazines wanted to publish his work, including Le Rire. His subjects, as well as street life, included some of the most famous music-hall performers, with whom he became friends, such as Yvette Guilbert, La Goulue Jane Avril, May Milton, May Belfort...
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