Henri de Toulouse-Lautrec Auction Price Results

Lot 33: Henri de Toulouse-Lautrec (1864-1901)

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Description: Aristide Bruant, from Le Café Concert (W. 24)lithograph, 1893, on wove paper, from the regular edition of 500 (there was also a deluxe edition of 50 on japon), published by L'Estampe originale, Paris, with margins, apparently in good condition, unexamined out of the frameL. 268 x 215mm.

Lot 33: HENRI DE TOULOUSE-LAUTREC

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Description: Luce Myrès, de profil (D. 124; W. 120; Adr. 131) lithograph in olive-green, 1895, on wove paper, with the artist's red monogram stamp (L. 1338), numbered '9', from the edition of about 30, with the Kleinmann blindstamp, with margins, in very good condition L. 83/4 x 8.5/8 in. (220 x 218 mm.).

Lot 33: HENRI DE TOULOUSE-LAUTREC

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Description: Luce Myrès, de profil (D. 124; W. 120; Adr. 131) lithograph in olive-green, 1895, on wove paper, with the artist's red monogram stamp (L. 1338), numbered '9', from the edition of about 30, with the Kleinmann blindstamp, with margins, in very good condition L. 83/4 x 8.5/8 in. (220 x 218 mm.).

Lot 33: HENRI DE TOULOUSE-LAUTREC

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Description: Luce Myrès, de profil (D. 124; W. 120; Adr. 131) lithograph in olive-green, 1895, on wove paper, with the artist's red monogram stamp (L. 1338), numbered '9', from the edition of about 30, with the Kleinmann blindstamp, with margins, in very good condition L. 83/4 x 8.5/8 in. (220 x 218 mm.).

Lot 33: HENRI DE TOULOUSE-LAUTREC

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Description: Luce Myrès, de profil (D. 124; W. 120; Adr. 131) lithograph in olive-green, 1895, on wove paper, with the artist's red monogram stamp (L. 1338), numbered '9', from the edition of about 30, with the Kleinmann blindstamp, with margins, in very good condition L. 83/4 x 8.5/8 in. (220 x 218 mm.).

Lot 33: HENRI DE TOULOUSE-LAUTREC

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Description: Le coiffeur -- Programme du Th‚ƒtre Libre (D. 14; W. 15; Adr. 40) lithograph in colors, 1893, on simili Japon, Wittrock's second (final) state, from the first edition, numbered 'N o 16' in red crayon by Kleinmann, from the edition of 100, with wide margins, pale light-staining, minor glue staining at the reverse of the margin corners (showing through), otherwise in very good condition, framed L. 12 3/8 x 9 5/8 in. (314 x 245 mm.) S. 183/4 x 12 7/8 in. (476 x 327 mm.) PROVENANCE H.M. Petiet, Paris.

Lot 33: HENRI DE TOULOUSE-LAUTREC

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Description: Le coiffeur -- Programme du Th‚ƒtre Libre (D. 14; W. 15; Adr. 40) lithograph in colors, 1893, on simili Japon, Wittrock's second (final) state, from the first edition, numbered 'N o 16' in red crayon by Kleinmann, from the edition of 100, with wide margins, pale light-staining, minor glue staining at the reverse of the margin corners (showing through), otherwise in very good condition, framed L. 12 3/8 x 9 5/8 in. (314 x 245 mm.) S. 183/4 x 12 7/8 in. (476 x 327 mm.) PROVENANCE H.M. Petiet, Paris.

Lot 33: HENRI DE TOULOUSE-LAUTREC

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Description: Le coiffeur -- Programme du Th‚ƒtre Libre (D. 14; W. 15; Adr. 40) lithograph in colors, 1893, on simili Japon, Wittrock's second (final) state, from the first edition, numbered 'N o 16' in red crayon by Kleinmann, from the edition of 100, with wide margins, pale light-staining, minor glue staining at the reverse of the margin corners (showing through), otherwise in very good condition, framed L. 12 3/8 x 9 5/8 in. (314 x 245 mm.) S. 183/4 x 12 7/8 in. (476 x 327 mm.) PROVENANCE H.M. Petiet, Paris.

Lot 33: HENRI DE TOULOUSE-LAUTREC

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Description: Le coiffeur -- Programme du Th‚ƒtre Libre (D. 14; W. 15; Adr. 40) lithograph in colors, 1893, on simili Japon, Wittrock's second (final) state, from the first edition, numbered 'N o 16' in red crayon by Kleinmann, from the edition of 100, with wide margins, pale light-staining, minor glue staining at the reverse of the margin corners (showing through), otherwise in very good condition, framed L. 12 3/8 x 9 5/8 in. (314 x 245 mm.) S. 183/4 x 12 7/8 in. (476 x 327 mm.) PROVENANCE H.M. Petiet, Paris.

Lot 33: Henri de Toulouse-Lautrec

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Description: (1864-1901) MADEMOISELLE LENDER ET BARON (D. 43; A. 46; W. 33) Lithograph printed in olive green, 1893, with the artist's red monogram stamp (L. 1338), numbered in pencil 'no. 26', one of 50 impressions printed in olive green (an additional 50 examples were printed in black), included in L'Escarmouche, December 1893, on wove paper, published by Kleinmann, and with his blindstamp, with full margins, in good condition apart from a horizontal crease (c. 2 inches) and associated short tear at upper right, remains of hinges at the left sheet edge, visible recto and along the right sheet edge, verso, the sheet edges with traces of pale mat stain and an occasional small crease, framed 320 by 235mm. 12A by 9 1/4 in. sheet 380 by 280mm. 15 by 11in. Ex coll. M.L Guerin (Lugt 1872b).

Lot 33: Henri de Toulouse-Lautrec

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Description: (1864-1901) MADEMOISELLE LENDER ET BARON (D. 43; A. 46; W. 33) Lithograph printed in olive green, 1893, with the artist's red monogram stamp (L. 1338), numbered in pencil 'no. 26', one of 50 impressions printed in olive green (an additional 50 examples were printed in black), included in L'Escarmouche, December 1893, on wove paper, published by Kleinmann, and with his blindstamp, with full margins, in good condition apart from a horizontal crease (c. 2 inches) and associated short tear at upper right, remains of hinges at the left sheet edge, visible recto and along the right sheet edge, verso, the sheet edges with traces of pale mat stain and an occasional small crease, framed 320 by 235mm. 12A by 9 1/4 in. sheet 380 by 280mm. 15 by 11in. Ex coll. M.L Guerin (Lugt 1872b).

Lot 33: Henri de Toulouse-Lautrec

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Description: (1864-1901) MADEMOISELLE LENDER ET BARON (D. 43; A. 46; W. 33) Lithograph printed in olive green, 1893, with the artist's red monogram stamp (L. 1338), numbered in pencil 'no. 26', one of 50 impressions printed in olive green (an additional 50 examples were printed in black), included in L'Escarmouche, December 1893, on wove paper, published by Kleinmann, and with his blindstamp, with full margins, in good condition apart from a horizontal crease (c. 2 inches) and associated short tear at upper right, remains of hinges at the left sheet edge, visible recto and along the right sheet edge, verso, the sheet edges with traces of pale mat stain and an occasional small crease, framed 320 by 235mm. 12A by 9 1/4 in. sheet 380 by 280mm. 15 by 11in. Ex coll. M.L Guerin (Lugt 1872b).

Lot 33: Henri de Toulouse-Lautrec

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Description: (1864-1901) MADEMOISELLE LENDER ET BARON (D. 43; A. 46; W. 33) Lithograph printed in olive green, 1893, with the artist's red monogram stamp (L. 1338), numbered in pencil 'no. 26', one of 50 impressions printed in olive green (an additional 50 examples were printed in black), included in L'Escarmouche, December 1893, on wove paper, published by Kleinmann, and with his blindstamp, with full margins, in good condition apart from a horizontal crease (c. 2 inches) and associated short tear at upper right, remains of hinges at the left sheet edge, visible recto and along the right sheet edge, verso, the sheet edges with traces of pale mat stain and an occasional small crease, framed 320 by 235mm. 12A by 9 1/4 in. sheet 380 by 280mm. 15 by 11in. Ex coll. M.L Guerin (Lugt 1872b).

Lot 33: HENRI DE TOULOUSE-LAUTREC (1864-1901)

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Description: FEMME ROUSSE ASSISE DANS LE JARDIN DE M. FOREST signed top right H.T. Lautrec - - oil on canvas 25 1/2 x 21 1/4 in. (64.8 x 54 cm.) Painted in 1889 PROVENANCE Paul Rosenberg & Co., Paris Sir William van Horne, Montreal; sale, Parke-Bernet Galleries, Inc., New York, Jan. 24, 1946, lot 14 (illustrated) EXHIBITED Montreal, Art Association, A Selection from the Collection of Paintings of the late Sir William van Horne KCMG, Oct.-Nov., 1933, p. 16, no. 147 New York, Wildenstein & Co., Inc., Six Masters of Post Impressionism, April-May, 1948, no. 27 New York, Metropolitan Museum of Art, Paintings from Private Collections, Summer Loan Exhibition, 1958 Los Angeles, Municipal Art Gallery, Henri de Toulouse-Lautrec, May-June, 1959, no. 4 (illustrated) New York, Wildenstein & Co., Inc., Toulouse-Lautrec, Feb.-Mar., 1964, no. 17 (illustrated) Chicago, The Art Institute, Toulouse-Lautrec: Paintings, Oct.-Dec., 1979, no. 39, pp. 148-150 (illustrated in color, p. 37, pl. 8) New York, The Metropolitan Museum of Art, on extended loan, 1984-Sept., 1991 LITERATURE G. Coquiot, Lautrec ou quinze ans de moeurs parisiennes, Paris, 1921, p. 213 M. Joyant, Henri de Toulouse-Lautrec (1864-1901), Peintre, Paris, 1926, pp. 78 and 267 (illustrated, p. 79) G. Jedlicka, Lautrec, Berlin, 1929, p. 111 (illustrated) J. Lassaigne, Toulouse-Lautrec, Paris, 1939, p. 165 (illustrated, p. 53) D. Cooper, H. de Toulouse-Lautrec, London, 1955 (illustrated, p. 78) M.G. Dortu, Toulouse-Lautrec et son oeuvre, New York, 1971, vol. II, p. 170, no. P. 343 (illustrated, p. 171) G.M. Sugana, Tout l'oeuvre peint de Toulouse-Lautrec, Paris, 1986, p. 109, no. 334 (illustrated, p. 108) In 1885 Toulouse-Lautrec completed two small studies on panel (one double-sided) of a red-headed model Carmen Gaudin (Dortu P. 244-246) as well as a larger oil painting, Carmen (Sterling and Francine Clark Art Institute, Williamstown, Massachusetts, Dortu P. 243). Lautrec obviously had a penchant for straight-nosed firm-jawed young women with russet hair and the subject of this portrait has sometimes been identified as Rosa, who posed for La blanchisseuse (Dortu P. 346). It is, however, a portrait of Mme Gaudin who was a regular model of Lautrec's from 1885 until 1889 when she came one day to his studio after having allowed her hair to return to its natural brown color. Although Lautrec's mis-en-scene is typically a nightclub, dance hall or bordello and he eschewed the plein-air perambulations of so many of his contemporaries, there was one outdoor site that he returned to again and again and where he posed Carmen for this painting as well as at least two other major works: Red-headed Woman in the Garden of Monsieur Forest, 1889 (The Norton Simon Foundation, Los Angeles; Dortu P. 342, fig. 1) and Femme rousse (Buhrle Collection, Zurich, Dortu P. 353). This was the garden, near his studio in the rue Caulincourt, of a wealthy older man, Monsieur Forest, a photographer. These picturesque gardens, situated below the Montmartre cemetery in the angle made by the rue Forest and the rue Caulincourt where the two streets meet the boulevard de Clichy, have long since disappeared. On this site now rises the immense building of the Gaumont cinema, formerly the Hippodrome. But in Lautrec's time it was a peaceful, semi-rural hillside, undisturbed by the noise and bustle of the city below. The gardens were half cultivated, half wild, with great plane trees and lindens, lilacs and other shrubs and bushes growing at random, and a small summer-house or arbour. Monsieur Forest was an enthusiastic devotee of the sport of archery, and two or three times a week the gardens were invaded by the amateur archers of the neighbourhood, who set up their targets and diligently improved their marksmanship in this quiet enclosure. Most of the time, however, the gardens were nearly empty and Lautrec could paint here without interruption. (G. Macke, Toulouse-Lautrec, New York, 1938, pp. 76-77) At the time of the exhibition in Toulouse-Lautrec Paintings at The Art Institute of Chicago in 1979 Naomi E. Maurer wrote about this painting: The overwhelming beauty of this portrait lies in the sumptuosity of its color and exuberance of brushwork. Obviously influenced by the "Impressionist" profile portraits posed in gardens by Manet and Renoir, Lautrec has contrived a similar figure whose undulating contours are poised against a flat, decorative background in the manner of the early Renaissance portraits the artist loved. The curving arabesque of her body is echoed by the armchair, and both sinuous forms are played off against the angular fronds of spikey shrubbery. Lautrec is a consummate master at intensifying the essential quality of a form by juxtaposing it with forms of a contrasting nature. His characteristic use of this device sets his work apart from that of the Impressionists with their more homogeneous surfaces. Lautrec extended this artistic idea to all other aspects of the picture as well. While the Impressionists' colors are rich and sensuous, Lautrec intensifies his even further by juxtaposing contrasting complementaries. The carefully orchestrated oppositions of orange and blue-violet, cerise and green, have a vibrancy that is reinforced by the bold, energetic facture. While Manet and Renoir tended to handle the picture surface fairly evenly, giving equal attention to both figure and ground, Lautrec concentrates attention more closely on his model by contrasting her densely painted form with the more thinly and sketchily treated peripheries of the canvas. Finally, whereas his older colleagues were preoccupied exclusively with the decorative effects of forms and colors seen in outdoor light, Lautrec reveals his abiding concern for capturing some quality of inner life in his subject. The single detail of the woman's eye gazing fixedly into the distance beyond the picture frame suggests idle meditation, an essential human activity that the Impressionists seldom sought to portray. (C. Stuckey, Toulouse-Lautrec: Paintings, Chicago, 1979, pp. 149-150).

Lot 33: HENRI DE TOULOUSE-LAUTREC (1864-1901)

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Description: FEMME ROUSSE ASSISE DANS LE JARDIN DE M. FOREST signed top right H.T. Lautrec - - oil on canvas 25 1/2 x 21 1/4 in. (64.8 x 54 cm.) Painted in 1889 PROVENANCE Paul Rosenberg & Co., Paris Sir William van Horne, Montreal; sale, Parke-Bernet Galleries, Inc., New York, Jan. 24, 1946, lot 14 (illustrated) EXHIBITED Montreal, Art Association, A Selection from the Collection of Paintings of the late Sir William van Horne KCMG, Oct.-Nov., 1933, p. 16, no. 147 New York, Wildenstein & Co., Inc., Six Masters of Post Impressionism, April-May, 1948, no. 27 New York, Metropolitan Museum of Art, Paintings from Private Collections, Summer Loan Exhibition, 1958 Los Angeles, Municipal Art Gallery, Henri de Toulouse-Lautrec, May-June, 1959, no. 4 (illustrated) New York, Wildenstein & Co., Inc., Toulouse-Lautrec, Feb.-Mar., 1964, no. 17 (illustrated) Chicago, The Art Institute, Toulouse-Lautrec: Paintings, Oct.-Dec., 1979, no. 39, pp. 148-150 (illustrated in color, p. 37, pl. 8) New York, The Metropolitan Museum of Art, on extended loan, 1984-Sept., 1991 LITERATURE G. Coquiot, Lautrec ou quinze ans de moeurs parisiennes, Paris, 1921, p. 213 M. Joyant, Henri de Toulouse-Lautrec (1864-1901), Peintre, Paris, 1926, pp. 78 and 267 (illustrated, p. 79) G. Jedlicka, Lautrec, Berlin, 1929, p. 111 (illustrated) J. Lassaigne, Toulouse-Lautrec, Paris, 1939, p. 165 (illustrated, p. 53) D. Cooper, H. de Toulouse-Lautrec, London, 1955 (illustrated, p. 78) M.G. Dortu, Toulouse-Lautrec et son oeuvre, New York, 1971, vol. II, p. 170, no. P. 343 (illustrated, p. 171) G.M. Sugana, Tout l'oeuvre peint de Toulouse-Lautrec, Paris, 1986, p. 109, no. 334 (illustrated, p. 108) In 1885 Toulouse-Lautrec completed two small studies on panel (one double-sided) of a red-headed model Carmen Gaudin (Dortu P. 244-246) as well as a larger oil painting, Carmen (Sterling and Francine Clark Art Institute, Williamstown, Massachusetts, Dortu P. 243). Lautrec obviously had a penchant for straight-nosed firm-jawed young women with russet hair and the subject of this portrait has sometimes been identified as Rosa, who posed for La blanchisseuse (Dortu P. 346). It is, however, a portrait of Mme Gaudin who was a regular model of Lautrec's from 1885 until 1889 when she came one day to his studio after having allowed her hair to return to its natural brown color. Although Lautrec's mis-en-scene is typically a nightclub, dance hall or bordello and he eschewed the plein-air perambulations of so many of his contemporaries, there was one outdoor site that he returned to again and again and where he posed Carmen for this painting as well as at least two other major works: Red-headed Woman in the Garden of Monsieur Forest, 1889 (The Norton Simon Foundation, Los Angeles; Dortu P. 342, fig. 1) and Femme rousse (Buhrle Collection, Zurich, Dortu P. 353). This was the garden, near his studio in the rue Caulincourt, of a wealthy older man, Monsieur Forest, a photographer. These picturesque gardens, situated below the Montmartre cemetery in the angle made by the rue Forest and the rue Caulincourt where the two streets meet the boulevard de Clichy, have long since disappeared. On this site now rises the immense building of the Gaumont cinema, formerly the Hippodrome. But in Lautrec's time it was a peaceful, semi-rural hillside, undisturbed by the noise and bustle of the city below. The gardens were half cultivated, half wild, with great plane trees and lindens, lilacs and other shrubs and bushes growing at random, and a small summer-house or arbour. Monsieur Forest was an enthusiastic devotee of the sport of archery, and two or three times a week the gardens were invaded by the amateur archers of the neighbourhood, who set up their targets and diligently improved their marksmanship in this quiet enclosure. Most of the time, however, the gardens were nearly empty and Lautrec could paint here without interruption. (G. Macke, Toulouse-Lautrec, New York, 1938, pp. 76-77) At the time of the exhibition in Toulouse-Lautrec Paintings at The Art Institute of Chicago in 1979 Naomi E. Maurer wrote about this painting: The overwhelming beauty of this portrait lies in the sumptuosity of its color and exuberance of brushwork. Obviously influenced by the "Impressionist" profile portraits posed in gardens by Manet and Renoir, Lautrec has contrived a similar figure whose undulating contours are poised against a flat, decorative background in the manner of the early Renaissance portraits the artist loved. The curving arabesque of her body is echoed by the armchair, and both sinuous forms are played off against the angular fronds of spikey shrubbery. Lautrec is a consummate master at intensifying the essential quality of a form by juxtaposing it with forms of a contrasting nature. His characteristic use of this device sets his work apart from that of the Impressionists with their more homogeneous surfaces. Lautrec extended this artistic idea to all other aspects of the picture as well. While the Impressionists' colors are rich and sensuous, Lautrec intensifies his even further by juxtaposing contrasting complementaries. The carefully orchestrated oppositions of orange and blue-violet, cerise and green, have a vibrancy that is reinforced by the bold, energetic facture. While Manet and Renoir tended to handle the picture surface fairly evenly, giving equal attention to both figure and ground, Lautrec concentrates attention more closely on his model by contrasting her densely painted form with the more thinly and sketchily treated peripheries of the canvas. Finally, whereas his older colleagues were preoccupied exclusively with the decorative effects of forms and colors seen in outdoor light, Lautrec reveals his abiding concern for capturing some quality of inner life in his subject. The single detail of the woman's eye gazing fixedly into the distance beyond the picture frame suggests idle meditation, an essential human activity that the Impressionists seldom sought to portray. (C. Stuckey, Toulouse-Lautrec: Paintings, Chicago, 1979, pp. 149-150).

Lot 33: HENRI DE TOULOUSE-LAUTREC (1864-1901)

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Description: FEMME ROUSSE ASSISE DANS LE JARDIN DE M. FOREST signed top right H.T. Lautrec - - oil on canvas 25 1/2 x 21 1/4 in. (64.8 x 54 cm.) Painted in 1889 PROVENANCE Paul Rosenberg & Co., Paris Sir William van Horne, Montreal; sale, Parke-Bernet Galleries, Inc., New York, Jan. 24, 1946, lot 14 (illustrated) EXHIBITED Montreal, Art Association, A Selection from the Collection of Paintings of the late Sir William van Horne KCMG, Oct.-Nov., 1933, p. 16, no. 147 New York, Wildenstein & Co., Inc., Six Masters of Post Impressionism, April-May, 1948, no. 27 New York, Metropolitan Museum of Art, Paintings from Private Collections, Summer Loan Exhibition, 1958 Los Angeles, Municipal Art Gallery, Henri de Toulouse-Lautrec, May-June, 1959, no. 4 (illustrated) New York, Wildenstein & Co., Inc., Toulouse-Lautrec, Feb.-Mar., 1964, no. 17 (illustrated) Chicago, The Art Institute, Toulouse-Lautrec: Paintings, Oct.-Dec., 1979, no. 39, pp. 148-150 (illustrated in color, p. 37, pl. 8) New York, The Metropolitan Museum of Art, on extended loan, 1984-Sept., 1991 LITERATURE G. Coquiot, Lautrec ou quinze ans de moeurs parisiennes, Paris, 1921, p. 213 M. Joyant, Henri de Toulouse-Lautrec (1864-1901), Peintre, Paris, 1926, pp. 78 and 267 (illustrated, p. 79) G. Jedlicka, Lautrec, Berlin, 1929, p. 111 (illustrated) J. Lassaigne, Toulouse-Lautrec, Paris, 1939, p. 165 (illustrated, p. 53) D. Cooper, H. de Toulouse-Lautrec, London, 1955 (illustrated, p. 78) M.G. Dortu, Toulouse-Lautrec et son oeuvre, New York, 1971, vol. II, p. 170, no. P. 343 (illustrated, p. 171) G.M. Sugana, Tout l'oeuvre peint de Toulouse-Lautrec, Paris, 1986, p. 109, no. 334 (illustrated, p. 108) In 1885 Toulouse-Lautrec completed two small studies on panel (one double-sided) of a red-headed model Carmen Gaudin (Dortu P. 244-246) as well as a larger oil painting, Carmen (Sterling and Francine Clark Art Institute, Williamstown, Massachusetts, Dortu P. 243). Lautrec obviously had a penchant for straight-nosed firm-jawed young women with russet hair and the subject of this portrait has sometimes been identified as Rosa, who posed for La blanchisseuse (Dortu P. 346). It is, however, a portrait of Mme Gaudin who was a regular model of Lautrec's from 1885 until 1889 when she came one day to his studio after having allowed her hair to return to its natural brown color. Although Lautrec's mis-en-scene is typically a nightclub, dance hall or bordello and he eschewed the plein-air perambulations of so many of his contemporaries, there was one outdoor site that he returned to again and again and where he posed Carmen for this painting as well as at least two other major works: Red-headed Woman in the Garden of Monsieur Forest, 1889 (The Norton Simon Foundation, Los Angeles; Dortu P. 342, fig. 1) and Femme rousse (Buhrle Collection, Zurich, Dortu P. 353). This was the garden, near his studio in the rue Caulincourt, of a wealthy older man, Monsieur Forest, a photographer. These picturesque gardens, situated below the Montmartre cemetery in the angle made by the rue Forest and the rue Caulincourt where the two streets meet the boulevard de Clichy, have long since disappeared. On this site now rises the immense building of the Gaumont cinema, formerly the Hippodrome. But in Lautrec's time it was a peaceful, semi-rural hillside, undisturbed by the noise and bustle of the city below. The gardens were half cultivated, half wild, with great plane trees and lindens, lilacs and other shrubs and bushes growing at random, and a small summer-house or arbour. Monsieur Forest was an enthusiastic devotee of the sport of archery, and two or three times a week the gardens were invaded by the amateur archers of the neighbourhood, who set up their targets and diligently improved their marksmanship in this quiet enclosure. Most of the time, however, the gardens were nearly empty and Lautrec could paint here without interruption. (G. Macke, Toulouse-Lautrec, New York, 1938, pp. 76-77) At the time of the exhibition in Toulouse-Lautrec Paintings at The Art Institute of Chicago in 1979 Naomi E. Maurer wrote about this painting: The overwhelming beauty of this portrait lies in the sumptuosity of its color and exuberance of brushwork. Obviously influenced by the "Impressionist" profile portraits posed in gardens by Manet and Renoir, Lautrec has contrived a similar figure whose undulating contours are poised against a flat, decorative background in the manner of the early Renaissance portraits the artist loved. The curving arabesque of her body is echoed by the armchair, and both sinuous forms are played off against the angular fronds of spikey shrubbery. Lautrec is a consummate master at intensifying the essential quality of a form by juxtaposing it with forms of a contrasting nature. His characteristic use of this device sets his work apart from that of the Impressionists with their more homogeneous surfaces. Lautrec extended this artistic idea to all other aspects of the picture as well. While the Impressionists' colors are rich and sensuous, Lautrec intensifies his even further by juxtaposing contrasting complementaries. The carefully orchestrated oppositions of orange and blue-violet, cerise and green, have a vibrancy that is reinforced by the bold, energetic facture. While Manet and Renoir tended to handle the picture surface fairly evenly, giving equal attention to both figure and ground, Lautrec concentrates attention more closely on his model by contrasting her densely painted form with the more thinly and sketchily treated peripheries of the canvas. Finally, whereas his older colleagues were preoccupied exclusively with the decorative effects of forms and colors seen in outdoor light, Lautrec reveals his abiding concern for capturing some quality of inner life in his subject. The single detail of the woman's eye gazing fixedly into the distance beyond the picture frame suggests idle meditation, an essential human activity that the Impressionists seldom sought to portray. (C. Stuckey, Toulouse-Lautrec: Paintings, Chicago, 1979, pp. 149-150).

Lot 33: HENRI DE TOULOUSE-LAUTREC (1864-1901)

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Description: FEMME ROUSSE ASSISE DANS LE JARDIN DE M. FOREST signed top right H.T. Lautrec - - oil on canvas 25 1/2 x 21 1/4 in. (64.8 x 54 cm.) Painted in 1889 PROVENANCE Paul Rosenberg & Co., Paris Sir William van Horne, Montreal; sale, Parke-Bernet Galleries, Inc., New York, Jan. 24, 1946, lot 14 (illustrated) EXHIBITED Montreal, Art Association, A Selection from the Collection of Paintings of the late Sir William van Horne KCMG, Oct.-Nov., 1933, p. 16, no. 147 New York, Wildenstein & Co., Inc., Six Masters of Post Impressionism, April-May, 1948, no. 27 New York, Metropolitan Museum of Art, Paintings from Private Collections, Summer Loan Exhibition, 1958 Los Angeles, Municipal Art Gallery, Henri de Toulouse-Lautrec, May-June, 1959, no. 4 (illustrated) New York, Wildenstein & Co., Inc., Toulouse-Lautrec, Feb.-Mar., 1964, no. 17 (illustrated) Chicago, The Art Institute, Toulouse-Lautrec: Paintings, Oct.-Dec., 1979, no. 39, pp. 148-150 (illustrated in color, p. 37, pl. 8) New York, The Metropolitan Museum of Art, on extended loan, 1984-Sept., 1991 LITERATURE G. Coquiot, Lautrec ou quinze ans de moeurs parisiennes, Paris, 1921, p. 213 M. Joyant, Henri de Toulouse-Lautrec (1864-1901), Peintre, Paris, 1926, pp. 78 and 267 (illustrated, p. 79) G. Jedlicka, Lautrec, Berlin, 1929, p. 111 (illustrated) J. Lassaigne, Toulouse-Lautrec, Paris, 1939, p. 165 (illustrated, p. 53) D. Cooper, H. de Toulouse-Lautrec, London, 1955 (illustrated, p. 78) M.G. Dortu, Toulouse-Lautrec et son oeuvre, New York, 1971, vol. II, p. 170, no. P. 343 (illustrated, p. 171) G.M. Sugana, Tout l'oeuvre peint de Toulouse-Lautrec, Paris, 1986, p. 109, no. 334 (illustrated, p. 108) In 1885 Toulouse-Lautrec completed two small studies on panel (one double-sided) of a red-headed model Carmen Gaudin (Dortu P. 244-246) as well as a larger oil painting, Carmen (Sterling and Francine Clark Art Institute, Williamstown, Massachusetts, Dortu P. 243). Lautrec obviously had a penchant for straight-nosed firm-jawed young women with russet hair and the subject of this portrait has sometimes been identified as Rosa, who posed for La blanchisseuse (Dortu P. 346). It is, however, a portrait of Mme Gaudin who was a regular model of Lautrec's from 1885 until 1889 when she came one day to his studio after having allowed her hair to return to its natural brown color. Although Lautrec's mis-en-scene is typically a nightclub, dance hall or bordello and he eschewed the plein-air perambulations of so many of his contemporaries, there was one outdoor site that he returned to again and again and where he posed Carmen for this painting as well as at least two other major works: Red-headed Woman in the Garden of Monsieur Forest, 1889 (The Norton Simon Foundation, Los Angeles; Dortu P. 342, fig. 1) and Femme rousse (Buhrle Collection, Zurich, Dortu P. 353). This was the garden, near his studio in the rue Caulincourt, of a wealthy older man, Monsieur Forest, a photographer. These picturesque gardens, situated below the Montmartre cemetery in the angle made by the rue Forest and the rue Caulincourt where the two streets meet the boulevard de Clichy, have long since disappeared. On this site now rises the immense building of the Gaumont cinema, formerly the Hippodrome. But in Lautrec's time it was a peaceful, semi-rural hillside, undisturbed by the noise and bustle of the city below. The gardens were half cultivated, half wild, with great plane trees and lindens, lilacs and other shrubs and bushes growing at random, and a small summer-house or arbour. Monsieur Forest was an enthusiastic devotee of the sport of archery, and two or three times a week the gardens were invaded by the amateur archers of the neighbourhood, who set up their targets and diligently improved their marksmanship in this quiet enclosure. Most of the time, however, the gardens were nearly empty and Lautrec could paint here without interruption. (G. Macke, Toulouse-Lautrec, New York, 1938, pp. 76-77) At the time of the exhibition in Toulouse-Lautrec Paintings at The Art Institute of Chicago in 1979 Naomi E. Maurer wrote about this painting: The overwhelming beauty of this portrait lies in the sumptuosity of its color and exuberance of brushwork. Obviously influenced by the "Impressionist" profile portraits posed in gardens by Manet and Renoir, Lautrec has contrived a similar figure whose undulating contours are poised against a flat, decorative background in the manner of the early Renaissance portraits the artist loved. The curving arabesque of her body is echoed by the armchair, and both sinuous forms are played off against the angular fronds of spikey shrubbery. Lautrec is a consummate master at intensifying the essential quality of a form by juxtaposing it with forms of a contrasting nature. His characteristic use of this device sets his work apart from that of the Impressionists with their more homogeneous surfaces. Lautrec extended this artistic idea to all other aspects of the picture as well. While the Impressionists' colors are rich and sensuous, Lautrec intensifies his even further by juxtaposing contrasting complementaries. The carefully orchestrated oppositions of orange and blue-violet, cerise and green, have a vibrancy that is reinforced by the bold, energetic facture. While Manet and Renoir tended to handle the picture surface fairly evenly, giving equal attention to both figure and ground, Lautrec concentrates attention more closely on his model by contrasting her densely painted form with the more thinly and sketchily treated peripheries of the canvas. Finally, whereas his older colleagues were preoccupied exclusively with the decorative effects of forms and colors seen in outdoor light, Lautrec reveals his abiding concern for capturing some quality of inner life in his subject. The single detail of the woman's eye gazing fixedly into the distance beyond the picture frame suggests idle meditation, an essential human activity that the Impressionists seldom sought to portray. (C. Stuckey, Toulouse-Lautrec: Paintings, Chicago, 1979, pp. 149-150).

Lot 33: Amazone et Tonneau (Adr. 286; W. 301)

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Description: Henri de Toulouse-Lautrec Amazone et Tonneau (Adr. 286; W. 301) lithograph, 1898, on laid paper with an elaborate proprietary watermark, from the only edition of twenty impressions, with wide margins, a rust spot on the reverse towards the left of the subject (just showing through), otherwise in extremely good condition L. 233 x 290 mm., S. 315 x 490 mm.

Lot 33: Divan Japonais (D. 341; W. P11; Adr. 8)

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Description: HENRI DE TOULOUSE-LAUTREC Divan Japonais (D. 341; W. P11; Adr. 8) lithograph in colors, 1893, on wove paper, Wittrock's only state, the full sheet, the colors attenuated, the sheet toned, light-, mat and time staining, occasional creases, tears and paper losses (some touched-in), laid down to Chine and mounted on canvasS. 31¾ x 24 in. (807 x 610 mm.)

Lot 33: HENRI TOULOUSE-LAUTREC Programme pour L'Argent.

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Description: HENRI TOULOUSE-LAUTREC Programme pour L'Argent. Color lithograph on cream wove paper, 1895. 319x238 mm; 12 1/2x9 3/8 inches, wide margins. Second state (of 2). Printed by Eugene Verneau, Paris. A good impression. Delteil 15; Adhémar 148; Adriani 133.

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Lot 33: 33: HENRI DE TOULOUSE-LAUTREC (FRENCH 1864-1901)

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Description: HENRI DE TOULOUSE-LAUTREC (FRENCH 1864-1901) "La Marchande de Marrons" Lithograph 10 1/4 x 6 7/8 in (26 x 17.6 cm)

Lot 33: TOULOUSE-LAUTREC (Henri de) - Elles, The

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Description: TOULOUSE-LAUTREC (Henri de) - Elles, The Toulouse-Lantrec Circle in association with The Sunday Times, London, introduced by Michael Melot, published 1969, number 783 of a limited edition of 1250 copies, with text on thick grey hand made paper followed by eleven facsimile colour lithographs by Mourlet after Toulouse-Lautrec, printed on handmade wove pages and mounted on the same, bearing embossed blind stamp and limitation number in pencil, another lithographs numbered 586/5000 to rear of the book together with a certification of ownership, dec. yellow boards and slip case and a collection of eighteen lithographs 'Six Masters of the Poster of the Eighteen Nineties' contained in three paper slips, 1825/2000, 1826/2000 and 1827/2000, See illustration

Lot 34: HENRI DE TOULOUSE-LAUTREC

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Description: Le Tocsin (D. 357; W. P19; Adr. 143) lithograph in colors, 1895, on wove paper, Wittrock's first state (of three), with wide margins, occasional soft handling creases, otherwise in very good condition, framed L. 221/2 x 173/4 in. (572 x 452 mm.).

Lot 34: HENRI DE TOULOUSE-LAUTREC

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Description: Le Tocsin (D. 357; W. P19; Adr. 143) lithograph in colors, 1895, on wove paper, Wittrock's first state (of three), with wide margins, occasional soft handling creases, otherwise in very good condition, framed L. 221/2 x 173/4 in. (572 x 452 mm.).

Lot 34: HENRI DE TOULOUSE-LAUTREC

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Description: Le Tocsin (D. 357; W. P19; Adr. 143) lithograph in colors, 1895, on wove paper, Wittrock's first state (of three), with wide margins, occasional soft handling creases, otherwise in very good condition, framed L. 221/2 x 173/4 in. (572 x 452 mm.).

Lot 34: HENRI DE TOULOUSE-LAUTREC

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Description: Le Tocsin (D. 357; W. P19; Adr. 143) lithograph in colors, 1895, on wove paper, Wittrock's first state (of three), with wide margins, occasional soft handling creases, otherwise in very good condition, framed L. 221/2 x 173/4 in. (572 x 452 mm.).

Lot 34: HENRI DE TOULOUSE-LAUTREC

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Description: Bartet et Mounet-Sully, dans Antigone (D. 53; W. 45; Adr. 44) lithograph in black and brown, 1893, on wove paper, Wittrock's second (final) state, with the artist's red monogram stamp (L. 1338), numbered 'N o 29' by Kleinmann in red crayon, from the edition of 65, the full sheet, pale time staining, otherwise in good condition, framed S. 14 7/8 x 11 1/16 in. (378 x 281 mm.) PROVENANCE H.M. Petiet, Paris.

Lot 34: HENRI DE TOULOUSE-LAUTREC

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Description: Bartet et Mounet-Sully, dans Antigone (D. 53; W. 45; Adr. 44) lithograph in black and brown, 1893, on wove paper, Wittrock's second (final) state, with the artist's red monogram stamp (L. 1338), numbered 'N o 29' by Kleinmann in red crayon, from the edition of 65, the full sheet, pale time staining, otherwise in good condition, framed S. 14 7/8 x 11 1/16 in. (378 x 281 mm.) PROVENANCE H.M. Petiet, Paris.

Lot 34: HENRI DE TOULOUSE-LAUTREC

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Description: Bartet et Mounet-Sully, dans Antigone (D. 53; W. 45; Adr. 44) lithograph in black and brown, 1893, on wove paper, Wittrock's second (final) state, with the artist's red monogram stamp (L. 1338), numbered 'N o 29' by Kleinmann in red crayon, from the edition of 65, the full sheet, pale time staining, otherwise in good condition, framed S. 14 7/8 x 11 1/16 in. (378 x 281 mm.) PROVENANCE H.M. Petiet, Paris.

Lot 34: HENRI DE TOULOUSE-LAUTREC

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Description: Bartet et Mounet-Sully, dans Antigone (D. 53; W. 45; Adr. 44) lithograph in black and brown, 1893, on wove paper, Wittrock's second (final) state, with the artist's red monogram stamp (L. 1338), numbered 'N o 29' by Kleinmann in red crayon, from the edition of 65, the full sheet, pale time staining, otherwise in good condition, framed S. 14 7/8 x 11 1/16 in. (378 x 281 mm.) PROVENANCE H.M. Petiet, Paris.

Lot 34: Henri de Toulouse-Lautrec

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Description: (1864-1901) REPETITION GENERALE AUX FOLIES BERGERE, EMILIENNE D'ALENCON ET MARIQUITA (D. 44; A. 47; W. 34) Lithograph, 1893, the first state, with the artist's red monogram stamp (L. 1338), numbered in pencil 'no. 97', from the first edition of 100, on wove paper, with margins, in good condition except the sheet edges with pale discoloration, a few small creases, remains of paper tape hinges on the verso at right, framed 370 by 260mm. 14A by 10 1/4 in. sheet 380 by 280mm. 15 by 11in. This print appeared in the 3 December 1893 edition of L'Escarmouche.

Lot 34: Henri de Toulouse-Lautrec

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Description: (1864-1901) REPETITION GENERALE AUX FOLIES BERGERE, EMILIENNE D'ALENCON ET MARIQUITA (D. 44; A. 47; W. 34) Lithograph, 1893, the first state, with the artist's red monogram stamp (L. 1338), numbered in pencil 'no. 97', from the first edition of 100, on wove paper, with margins, in good condition except the sheet edges with pale discoloration, a few small creases, remains of paper tape hinges on the verso at right, framed 370 by 260mm. 14A by 10 1/4 in. sheet 380 by 280mm. 15 by 11in. This print appeared in the 3 December 1893 edition of L'Escarmouche.

Lot 34: Henri de Toulouse-Lautrec

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Description: (1864-1901) REPETITION GENERALE AUX FOLIES BERGERE, EMILIENNE D'ALENCON ET MARIQUITA (D. 44; A. 47; W. 34) Lithograph, 1893, the first state, with the artist's red monogram stamp (L. 1338), numbered in pencil 'no. 97', from the first edition of 100, on wove paper, with margins, in good condition except the sheet edges with pale discoloration, a few small creases, remains of paper tape hinges on the verso at right, framed 370 by 260mm. 14A by 10 1/4 in. sheet 380 by 280mm. 15 by 11in. This print appeared in the 3 December 1893 edition of L'Escarmouche.

Lot 34: Henri de Toulouse-Lautrec

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Description: (1864-1901) REPETITION GENERALE AUX FOLIES BERGERE, EMILIENNE D'ALENCON ET MARIQUITA (D. 44; A. 47; W. 34) Lithograph, 1893, the first state, with the artist's red monogram stamp (L. 1338), numbered in pencil 'no. 97', from the first edition of 100, on wove paper, with margins, in good condition except the sheet edges with pale discoloration, a few small creases, remains of paper tape hinges on the verso at right, framed 370 by 260mm. 14A by 10 1/4 in. sheet 380 by 280mm. 15 by 11in. This print appeared in the 3 December 1893 edition of L'Escarmouche.

Lot 34: Remarque (La Troupe de Mademoiselle Eglantine) (Adr. 162; Wittrock Posters 21D)

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Description: Henri de Toulouse-Lautrec Remarque (La Troupe de Mademoiselle Eglantine) (Adr. 162; Wittrock Posters 21D) lithograph, 1896, on simili Japon, a fine impression of this unusual, extremely rare print (Wittrock records only three impressions), with wide margins, in exceptionally good condition L. 75 x 95 mm., S. 330 x 230 mm.

Lot 34: La Revue Blanche (D. 355; W. P16; Adr. 130)

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Description: HENRI DE TOULOUSE-LAUTREC La Revue Blanche (D. 355; W. P16; Adr. 130) lithograph in colors, 1895, on two joined sheets of wove paper (as issued), Wittrock's state C (of D), with full margins, the paper toned, light-, mat and time staining, surface soiling, a small gap where the sheets meet (due to paper loss), a small hole and a crease (with associated ink loss) in the feathers in her hat, several supported tears at the sheet edges (a few affecting the image), several moisture stains in places along the lower margin, a few paper losses in places along the sheet edges, laid down to linen, framedL. 49¼ x 35 5/8 in. (1251 x 905 mm.)S. 50 1/8 x 36 in. (1299 x 914 mm.)

Lot 34: HENRI TOULOUSE-LAUTREC May Belfort.

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Description: HENRI TOULOUSE-LAUTREC May Belfort. Color lithograph on tan wove paper, 1895. 795x610 mm; 31 3/8x24 inches. Fourth state (of 5). Published by Kleinmann, Paris. Laid down. A good impression of this large color print. Delteil 354; Adhémar 116; Adriani 126.

Condition Report: All items are offered for sale subject to Swann Galleries'' standard terms and conditions of sale, which are published in our catalogues.

Lot 34A: Henri de Toulouse-Lautrec

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Description: (1864-1901) ETUDE DE FEMME (D. 24; A. 26; W. 11) Lithograph printed in olive green, 1893, first state of two, before letters, signed in pencil, numbered 'no. 18', from the edition of 100, published by Kleinmann (a posthumous edition of 400 was executed in 1927), on Japan paper (the first 20 impressions were on Japan, the rest on wove), with (full?) margins, in good condition apart from a few tiny pin holes in the margins, pale discoloration at the sheet edges, remains of hinges at the upper sheet corners, verso, showing through slightly, framed 255 by 204mm. 10 by 8in. sheet 347 by 268mm. 13A by 10 1/2 in.

Lot 34A: Henri de Toulouse-Lautrec

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Description: (1864-1901) ETUDE DE FEMME (D. 24; A. 26; W. 11) Lithograph printed in olive green, 1893, first state of two, before letters, signed in pencil, numbered 'no. 18', from the edition of 100, published by Kleinmann (a posthumous edition of 400 was executed in 1927), on Japan paper (the first 20 impressions were on Japan, the rest on wove), with (full?) margins, in good condition apart from a few tiny pin holes in the margins, pale discoloration at the sheet edges, remains of hinges at the upper sheet corners, verso, showing through slightly, framed 255 by 204mm. 10 by 8in. sheet 347 by 268mm. 13A by 10 1/2 in.

Lot 34A: Henri de Toulouse-Lautrec

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Description: (1864-1901) ETUDE DE FEMME (D. 24; A. 26; W. 11) Lithograph printed in olive green, 1893, first state of two, before letters, signed in pencil, numbered 'no. 18', from the edition of 100, published by Kleinmann (a posthumous edition of 400 was executed in 1927), on Japan paper (the first 20 impressions were on Japan, the rest on wove), with (full?) margins, in good condition apart from a few tiny pin holes in the margins, pale discoloration at the sheet edges, remains of hinges at the upper sheet corners, verso, showing through slightly, framed 255 by 204mm. 10 by 8in. sheet 347 by 268mm. 13A by 10 1/2 in.

Lot 34A: Henri de Toulouse-Lautrec

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Description: (1864-1901) ETUDE DE FEMME (D. 24; A. 26; W. 11) Lithograph printed in olive green, 1893, first state of two, before letters, signed in pencil, numbered 'no. 18', from the edition of 100, published by Kleinmann (a posthumous edition of 400 was executed in 1927), on Japan paper (the first 20 impressions were on Japan, the rest on wove), with (full?) margins, in good condition apart from a few tiny pin holes in the margins, pale discoloration at the sheet edges, remains of hinges at the upper sheet corners, verso, showing through slightly, framed 255 by 204mm. 10 by 8in. sheet 347 by 268mm. 13A by 10 1/2 in.

Lot 35: Henri de Toulouse-Lautrec

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Description: Maurice Joyant, Henri de Toulouse-Lautrec 1864-1901, H. Floury, Paris, 1927 (W. 241 & 246)the set of two volumes, the standard edition, with title, text, two drypoints and 106 plates, 21 with pochoir in colours (including the covers), bound in paper covers, with the original paper wrappers, a little splitting to the spines, otherwise in good condition(books)each 265 x 210mm. (2)

Lot 35: HENRI DE TOULOUSE-LAUTREC

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Description: Etoiles filantes (D. 136; W. 131; Adr. 152) lithograph, 1895, on wove paper, Wittrock's second (final) state, with the artist's red monogram stamp (L. 1338), from the edition of 20, with margins, the paper tone darkened, a few scattered foxmarks, otherwise generally in good condition L. 116 x 96 in. (294 x 243 mm.).

Lot 35: HENRI DE TOULOUSE-LAUTREC

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Description: Etoiles filantes (D. 136; W. 131; Adr. 152) lithograph, 1895, on wove paper, Wittrock's second (final) state, with the artist's red monogram stamp (L. 1338), from the edition of 20, with margins, the paper tone darkened, a few scattered foxmarks, otherwise generally in good condition L. 116 x 96 in. (294 x 243 mm.).

Lot 35: HENRI DE TOULOUSE-LAUTREC

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Description: Etoiles filantes (D. 136; W. 131; Adr. 152) lithograph, 1895, on wove paper, Wittrock's second (final) state, with the artist's red monogram stamp (L. 1338), from the edition of 20, with margins, the paper tone darkened, a few scattered foxmarks, otherwise generally in good condition L. 116 x 96 in. (294 x 243 mm.).

Lot 35: HENRI DE TOULOUSE-LAUTREC

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Description: Etoiles filantes (D. 136; W. 131; Adr. 152) lithograph, 1895, on wove paper, Wittrock's second (final) state, with the artist's red monogram stamp (L. 1338), from the edition of 20, with margins, the paper tone darkened, a few scattered foxmarks, otherwise generally in good condition L. 116 x 96 in. (294 x 243 mm.).

Lot 35: HENRI DE TOULOUSE-LAUTREC

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Description: R‚p‚tition g‚n‚rale aux Folies-BergŠre -- Emilienne D'Alen‡on et Mariquita (D. 44; W. 34; Adr. 49) lithograph, 1893, on wove paper, Wittrock's first state (of two), from the first edition, with the artist's red monogram stamp (L. 1338), numbered 'N o 89', from the edition of 100, published in L'Escarmouche, with wide margins, pale time staining and minor surface soiling in the margins, a few short repaired tears in the right margin, minor soiling and old staining on the reverse, otherwise in good condition, framed L. 141/2 x 10 1/8 in. (368 x 257 mm.) S. 14 15/16 x 11 in. (379 x 279 mm.) NOTES Originally published in L'Escarmouche, R‚p‚tition g‚n‚rale aux Folies-BergŠre depicts Mariquita, the director of ballet at the Folies BergŠre instucting Emilienne d'Alen‡on in a rehearsal for a pantomime ballet which opened on December 16, 1893. Emilienne d'Alen‡on had debuted at Cirque d'et‚ in 1889 with performing rabbits and later at the Casino de Paris with her ƒnes savants. By the 1890s she was appearing as a dancer and was to serve as a model for one of the women depicted by Lautrec in La grande loge (see lot 68).

Lot 35: HENRI DE TOULOUSE-LAUTREC

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Description: R‚p‚tition g‚n‚rale aux Folies-BergŠre -- Emilienne D'Alen‡on et Mariquita (D. 44; W. 34; Adr. 49) lithograph, 1893, on wove paper, Wittrock's first state (of two), from the first edition, with the artist's red monogram stamp (L. 1338), numbered 'N o 89', from the edition of 100, published in L'Escarmouche, with wide margins, pale time staining and minor surface soiling in the margins, a few short repaired tears in the right margin, minor soiling and old staining on the reverse, otherwise in good condition, framed L. 141/2 x 10 1/8 in. (368 x 257 mm.) S. 14 15/16 x 11 in. (379 x 279 mm.) NOTES Originally published in L'Escarmouche, R‚p‚tition g‚n‚rale aux Folies-BergŠre depicts Mariquita, the director of ballet at the Folies BergŠre instucting Emilienne d'Alen‡on in a rehearsal for a pantomime ballet which opened on December 16, 1893. Emilienne d'Alen‡on had debuted at Cirque d'et‚ in 1889 with performing rabbits and later at the Casino de Paris with her ƒnes savants. By the 1890s she was appearing as a dancer and was to serve as a model for one of the women depicted by Lautrec in La grande loge (see lot 68).

Lot 35: HENRI DE TOULOUSE-LAUTREC

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Description: R‚p‚tition g‚n‚rale aux Folies-BergŠre -- Emilienne D'Alen‡on et Mariquita (D. 44; W. 34; Adr. 49) lithograph, 1893, on wove paper, Wittrock's first state (of two), from the first edition, with the artist's red monogram stamp (L. 1338), numbered 'N o 89', from the edition of 100, published in L'Escarmouche, with wide margins, pale time staining and minor surface soiling in the margins, a few short repaired tears in the right margin, minor soiling and old staining on the reverse, otherwise in good condition, framed L. 141/2 x 10 1/8 in. (368 x 257 mm.) S. 14 15/16 x 11 in. (379 x 279 mm.) NOTES Originally published in L'Escarmouche, R‚p‚tition g‚n‚rale aux Folies-BergŠre depicts Mariquita, the director of ballet at the Folies BergŠre instucting Emilienne d'Alen‡on in a rehearsal for a pantomime ballet which opened on December 16, 1893. Emilienne d'Alen‡on had debuted at Cirque d'et‚ in 1889 with performing rabbits and later at the Casino de Paris with her ƒnes savants. By the 1890s she was appearing as a dancer and was to serve as a model for one of the women depicted by Lautrec in La grande loge (see lot 68).

Lot 35: HENRI DE TOULOUSE-LAUTREC

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Description: R‚p‚tition g‚n‚rale aux Folies-BergŠre -- Emilienne D'Alen‡on et Mariquita (D. 44; W. 34; Adr. 49) lithograph, 1893, on wove paper, Wittrock's first state (of two), from the first edition, with the artist's red monogram stamp (L. 1338), numbered 'N o 89', from the edition of 100, published in L'Escarmouche, with wide margins, pale time staining and minor surface soiling in the margins, a few short repaired tears in the right margin, minor soiling and old staining on the reverse, otherwise in good condition, framed L. 141/2 x 10 1/8 in. (368 x 257 mm.) S. 14 15/16 x 11 in. (379 x 279 mm.) NOTES Originally published in L'Escarmouche, R‚p‚tition g‚n‚rale aux Folies-BergŠre depicts Mariquita, the director of ballet at the Folies BergŠre instucting Emilienne d'Alen‡on in a rehearsal for a pantomime ballet which opened on December 16, 1893. Emilienne d'Alen‡on had debuted at Cirque d'et‚ in 1889 with performing rabbits and later at the Casino de Paris with her ƒnes savants. By the 1890s she was appearing as a dancer and was to serve as a model for one of the women depicted by Lautrec in La grande loge (see lot 68).

Lot 35: Toulouse-Lautrec (Henri de)-Joyant (Maurice) Henri de Toulouse-Lautrec 1864-1901, 2 vol., numerous plain and coloured plates and

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Description: illustrations, half morocco, rubbed, spines darkened, original pictorial wrappers bound in, t.e.g., 4to, Paris, 1927.

Lot 35: Toulouse-Lautrec (Henri de)-Joyant (Maurice) Henri de Toulouse-Lautrec 1864-1901, 2 vol., numerous plain and coloured plates and

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Description: illustrations, half morocco, rubbed, spines darkened, original pictorial wrappers bound in, t.e.g., 4to, Paris, 1927.

Lot 35: Toulouse-Lautrec (Henri de)-Joyant (Maurice) Henri de Toulouse-Lautrec 1864-1901, 2 vol., numerous plain and coloured plates and

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Description: illustrations, half morocco, rubbed, spines darkened, original pictorial wrappers bound in, t.e.g., 4to, Paris, 1927.

Lot 35: Toulouse-Lautrec (Henri de)-Joyant (Maurice) Henri de Toulouse-Lautrec 1864-1901, 2 vol., numerous plain and coloured plates and

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Description: illustrations, half morocco, rubbed, spines darkened, original pictorial wrappers bound in, t.e.g., 4to, Paris, 1927.

Lot 35: Henri de Toulouse-Lautrec

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Description: Eight autograph letters signed ("Henri", "Henry", "Harry"), 25 pages, (cd. 8 x 5 in.; 203 x 127 mm), [Paris], [spring-October 1886], to his mother, Adele de Toulouse-Lautrec; some minor repairs LIFE IN MONTMARTRE. On the work front, Lautrec complains that his model is threatening to leave ("quel sale metier que la peinture"), announces that he is going to do some sketches for Le Courier Francais, and describes his Bohemian life in Montmartre at the Chat Noir cabaret "nous avons organise un orchestre et nous faisions danser le peuple. C'Etait fort drole, seulement on se couchait 1/2 5 heures du matin ce qui fait souffrir un peu le travail dudit matin". He adds that he has been working at a sculptor's in the avenue de Villiers making some drawings, and that he is working out of doors as much as he can in the sunshine. He gives a characteristically self-deprecating description of his attempts to gain admission to the Opera: "Paris est... boueux ce qui ne m'empeche pas de trottiner dans les rues apres les musiciens de l'Opera que j'essaye de charmer pour me faufiler dans le temple des arts et de l'ennui". Once again he acts almost as an intermediary between his parents, sending his mother news of his father's activities and projects: he informs her that his father has given him some money, but is not sure if it will be enough both to pay the rent and live on (in which case, of course, he will be obliged to call on her), and explains why he is resisting his father's suggestion to take a studio near the Arc de Triomphe ("Ce ne serait jamais qu'un salon"). He mentions his beard, evidently a new development, and complains that he is "an orphan," since his mother hasn't written to him and his father has gone to Orleans without giving him his allowance, so he may need money urgently, in which case he will telegraph her. Later in the year he notes that he has been seeing his father frequently. Together eight items.

Lot 35: Henri de Toulouse-Lautrec

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Description: Eight autograph letters signed ("Henri", "Henry", "Harry"), 25 pages, (cd. 8 x 5 in.; 203 x 127 mm), [Paris], [spring-October 1886], to his mother, Adele de Toulouse-Lautrec; some minor repairs LIFE IN MONTMARTRE. On the work front, Lautrec complains that his model is threatening to leave ("quel sale metier que la peinture"), announces that he is going to do some sketches for Le Courier Francais, and describes his Bohemian life in Montmartre at the Chat Noir cabaret "nous avons organise un orchestre et nous faisions danser le peuple. C'Etait fort drole, seulement on se couchait 1/2 5 heures du matin ce qui fait souffrir un peu le travail dudit matin". He adds that he has been working at a sculptor's in the avenue de Villiers making some drawings, and that he is working out of doors as much as he can in the sunshine. He gives a characteristically self-deprecating description of his attempts to gain admission to the Opera: "Paris est... boueux ce qui ne m'empeche pas de trottiner dans les rues apres les musiciens de l'Opera que j'essaye de charmer pour me faufiler dans le temple des arts et de l'ennui". Once again he acts almost as an intermediary between his parents, sending his mother news of his father's activities and projects: he informs her that his father has given him some money, but is not sure if it will be enough both to pay the rent and live on (in which case, of course, he will be obliged to call on her), and explains why he is resisting his father's suggestion to take a studio near the Arc de Triomphe ("Ce ne serait jamais qu'un salon"). He mentions his beard, evidently a new development, and complains that he is "an orphan," since his mother hasn't written to him and his father has gone to Orleans without giving him his allowance, so he may need money urgently, in which case he will telegraph her. Later in the year he notes that he has been seeing his father frequently. Together eight items.

Lot 35: Henri de Toulouse-Lautrec

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Description: Eight autograph letters signed ("Henri", "Henry", "Harry"), 25 pages, (cd. 8 x 5 in.; 203 x 127 mm), [Paris], [spring-October 1886], to his mother, Adele de Toulouse-Lautrec; some minor repairs LIFE IN MONTMARTRE. On the work front, Lautrec complains that his model is threatening to leave ("quel sale metier que la peinture"), announces that he is going to do some sketches for Le Courier Francais, and describes his Bohemian life in Montmartre at the Chat Noir cabaret "nous avons organise un orchestre et nous faisions danser le peuple. C'Etait fort drole, seulement on se couchait 1/2 5 heures du matin ce qui fait souffrir un peu le travail dudit matin". He adds that he has been working at a sculptor's in the avenue de Villiers making some drawings, and that he is working out of doors as much as he can in the sunshine. He gives a characteristically self-deprecating description of his attempts to gain admission to the Opera: "Paris est... boueux ce qui ne m'empeche pas de trottiner dans les rues apres les musiciens de l'Opera que j'essaye de charmer pour me faufiler dans le temple des arts et de l'ennui". Once again he acts almost as an intermediary between his parents, sending his mother news of his father's activities and projects: he informs her that his father has given him some money, but is not sure if it will be enough both to pay the rent and live on (in which case, of course, he will be obliged to call on her), and explains why he is resisting his father's suggestion to take a studio near the Arc de Triomphe ("Ce ne serait jamais qu'un salon"). He mentions his beard, evidently a new development, and complains that he is "an orphan," since his mother hasn't written to him and his father has gone to Orleans without giving him his allowance, so he may need money urgently, in which case he will telegraph her. Later in the year he notes that he has been seeing his father frequently. Together eight items.

Lot 35: Henri de Toulouse-Lautrec

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Description: Eight autograph letters signed ("Henri", "Henry", "Harry"), 25 pages, (cd. 8 x 5 in.; 203 x 127 mm), [Paris], [spring-October 1886], to his mother, Adele de Toulouse-Lautrec; some minor repairs LIFE IN MONTMARTRE. On the work front, Lautrec complains that his model is threatening to leave ("quel sale metier que la peinture"), announces that he is going to do some sketches for Le Courier Francais, and describes his Bohemian life in Montmartre at the Chat Noir cabaret "nous avons organise un orchestre et nous faisions danser le peuple. C'Etait fort drole, seulement on se couchait 1/2 5 heures du matin ce qui fait souffrir un peu le travail dudit matin". He adds that he has been working at a sculptor's in the avenue de Villiers making some drawings, and that he is working out of doors as much as he can in the sunshine. He gives a characteristically self-deprecating description of his attempts to gain admission to the Opera: "Paris est... boueux ce qui ne m'empeche pas de trottiner dans les rues apres les musiciens de l'Opera que j'essaye de charmer pour me faufiler dans le temple des arts et de l'ennui". Once again he acts almost as an intermediary between his parents, sending his mother news of his father's activities and projects: he informs her that his father has given him some money, but is not sure if it will be enough both to pay the rent and live on (in which case, of course, he will be obliged to call on her), and explains why he is resisting his father's suggestion to take a studio near the Arc de Triomphe ("Ce ne serait jamais qu'un salon"). He mentions his beard, evidently a new development, and complains that he is "an orphan," since his mother hasn't written to him and his father has gone to Orleans without giving him his allowance, so he may need money urgently, in which case he will telegraph her. Later in the year he notes that he has been seeing his father frequently. Together eight items.

Lot 35: TOULOUSE-LAUTREC, Henri de (1864-1901, French)

Description: Tete de femme, st.mono. board painted 1896 Oil Painting (14x17in).

Lot 35: TOULOUSE-LAUTREC, Henri de (1864-1901, French)

Description: Tete de femme, st.mono. board painted 1896 Oil Painting (14x17in).

Lot 35: TOULOUSE-LAUTREC, Henri de (1864-1901, French)

Description: Tete de femme, st.mono. board painted 1896 Oil Painting (14x17in).

Lot 35: TOULOUSE-LAUTREC, Henri de (1864-1901, French)

Description: Tete de femme, st.mono. board painted 1896 Oil Painting (14x17in).

Lot 35: Au Concert (Adr. 196; W. P. 28)

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Description: Henri de Toulouse-Lautrec Au Concert (Adr. 196; W. P. 28) lithograph in colours, 1896, on wove paper, from Wittrock's Edition B, before the Ault & Wiborg Co. text, a very good impression of this rare print, trimmed 12 mm. at the left sheet edge and 25 mm. at the lower sheet edge (just touching the date below the monogram), scattered foxing on the reverse (occasionally showing through) L., S. 295 x 240 mm.

Lot 35: Au bal de l'opéra

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Description: Henri de Toulouse-Lautrec (1864-1901) Au bal de l'opéra signed and dated 'H.T. Lautrec. 93' (lower left) and signed with monogram (upper left)oil, charcoal and gouache on joined paper laid down on panel 30½ x 19 1/8 in. (77.4 x 48.5 cm.) Executed in 1893

Lot 35: Les Juifs polonais, Carlsbad (D. 240, W. 193; Adr. 218)

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Description: HENRI DE TOULOUSE-LAUTREC Les Juifs polonais, Carlsbad (D. 240, W. 193; Adr. 218) lithograph, 1897, on Chine, Wittrock's state iii (of iv), from the edition of 25, with margins (trimmed), minor surface soiling, pale discoloration in the upper image, a few pale stains, pale time staining along the upper sheet edge, hinged to the support at the reverse of the upper and lower right sheet edges (slightly showing through), otherwise in good conditionL. 6 7/8 x 5 5/8 in. (175 x 143 mm.)S. 10 1/8 x 7 5/8 in. (257 x 194 mm.)

Lot 35: HENRI TOULOUSE-LAUTREC May Milton.

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Description: HENRI TOULOUSE-LAUTREC May Milton. Color lithograph on cream wove paper, 1895. 795x610 mm; 31 1/4x24 inches, full margins. Second state (of 2). Edition of 100. Several flattened creases. Strong, fresh colors. Delteil 356; Adhémar 149; Adriani 134.

Condition Report: All items are offered for sale subject to Swann Galleries'' standard terms and conditions of sale, which are published in our catalogues.

Lot 35: HENRI DE TOULOUSE LAUTREC (1864-1901), 'Adult

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Description: HENRI DE TOULOUSE LAUTREC (1864-1901), 'Adult Wiborg', lithograph, 33cm x 23cm, from the original plates, published in 1932 by Librairie de France in an edition of 200.

Lot 36: HENRI DE TOULOUSE-LAUTREC

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Description: La Troupe de Mademoiselle Eglantine (D. 361; W. P21; Adr. 162) lithograph in colors, 1896, on wove paper, the colors fresh, Wittrock's edition c (of d), with full margins, old central vertical and horizontal folds, laid down on Japan, otherwise in good condition L. 246 x 311/2 in. (615 x 800 mm.).

Lot 36: HENRI DE TOULOUSE-LAUTREC

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Description: La Troupe de Mademoiselle Eglantine (D. 361; W. P21; Adr. 162) lithograph in colors, 1896, on wove paper, the colors fresh, Wittrock's edition c (of d), with full margins, old central vertical and horizontal folds, laid down on Japan, otherwise in good condition L. 246 x 311/2 in. (615 x 800 mm.).

Lot 36: HENRI DE TOULOUSE-LAUTREC

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Description: La Troupe de Mademoiselle Eglantine (D. 361; W. P21; Adr. 162) lithograph in colors, 1896, on wove paper, the colors fresh, Wittrock's edition c (of d), with full margins, old central vertical and horizontal folds, laid down on Japan, otherwise in good condition L. 246 x 311/2 in. (615 x 800 mm.).

Lot 36: HENRI DE TOULOUSE-LAUTREC

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Description: La Troupe de Mademoiselle Eglantine (D. 361; W. P21; Adr. 162) lithograph in colors, 1896, on wove paper, the colors fresh, Wittrock's edition c (of d), with full margins, old central vertical and horizontal folds, laid down on Japan, otherwise in good condition L. 246 x 311/2 in. (615 x 800 mm.).

Lot 36: HENRI DE TOULOUSE-LAUTREC

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Description: A la Renaissance: Sarah Bernhardt dans PhŠdre (D. 47; W. 37; Adr. 52) lithograph, 1893, on wove paper, with the artist's red monogram stamp (L. 1338), numbered '5', from the edition of 100, published in L'Escarmouche, with wide margins, pale time staining, minor surface soiling, otherwise in good condition, framed L. 131/4 x 9 1/8 in. (337 x 232 mm.) S. 15 x 11 1/8 in. (381 x 282 mm.) NOTES In 1893, after a two year world tour, Sarah Bernhardt returned to Paris and opened her own theater, La Renaissance. After a difficult start she filled the theater revisting her success in Racine's PhŠdre. Lautrec's lithograph, based on a photograph, depicts PhŠdre with her nurse Oneone. The success heralded the revival of Bernhardt's status as a theatrical phenomenon.

Lot 36: HENRI DE TOULOUSE-LAUTREC

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Description: A la Renaissance: Sarah Bernhardt dans PhŠdre (D. 47; W. 37; Adr. 52) lithograph, 1893, on wove paper, with the artist's red monogram stamp (L. 1338), numbered '5', from the edition of 100, published in L'Escarmouche, with wide margins, pale time staining, minor surface soiling, otherwise in good condition, framed L. 131/4 x 9 1/8 in. (337 x 232 mm.) S. 15 x 11 1/8 in. (381 x 282 mm.) NOTES In 1893, after a two year world tour, Sarah Bernhardt returned to Paris and opened her own theater, La Renaissance. After a difficult start she filled the theater revisting her success in Racine's PhŠdre. Lautrec's lithograph, based on a photograph, depicts PhŠdre with her nurse Oneone. The success heralded the revival of Bernhardt's status as a theatrical phenomenon.

Lot 36: HENRI DE TOULOUSE-LAUTREC

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Description: A la Renaissance: Sarah Bernhardt dans PhŠdre (D. 47; W. 37; Adr. 52) lithograph, 1893, on wove paper, with the artist's red monogram stamp (L. 1338), numbered '5', from the edition of 100, published in L'Escarmouche, with wide margins, pale time staining, minor surface soiling, otherwise in good condition, framed L. 131/4 x 9 1/8 in. (337 x 232 mm.) S. 15 x 11 1/8 in. (381 x 282 mm.) NOTES In 1893, after a two year world tour, Sarah Bernhardt returned to Paris and opened her own theater, La Renaissance. After a difficult start she filled the theater revisting her success in Racine's PhŠdre. Lautrec's lithograph, based on a photograph, depicts PhŠdre with her nurse Oneone. The success heralded the revival of Bernhardt's status as a theatrical phenomenon.

Lot 36: HENRI DE TOULOUSE-LAUTREC

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Description: A la Renaissance: Sarah Bernhardt dans PhŠdre (D. 47; W. 37; Adr. 52) lithograph, 1893, on wove paper, with the artist's red monogram stamp (L. 1338), numbered '5', from the edition of 100, published in L'Escarmouche, with wide margins, pale time staining, minor surface soiling, otherwise in good condition, framed L. 131/4 x 9 1/8 in. (337 x 232 mm.) S. 15 x 11 1/8 in. (381 x 282 mm.) NOTES In 1893, after a two year world tour, Sarah Bernhardt returned to Paris and opened her own theater, La Renaissance. After a difficult start she filled the theater revisting her success in Racine's PhŠdre. Lautrec's lithograph, based on a photograph, depicts PhŠdre with her nurse Oneone. The success heralded the revival of Bernhardt's status as a theatrical phenomenon.

Lot 36: TOULOUSE-LAUTREC, Henri de (1864-1901, French)

Description: Deux cavaliers, Indian ink Works on paper (10x7in).

Lot 36: TOULOUSE-LAUTREC, Henri de (1864-1901, French)

Description: Deux cavaliers, Indian ink Works on paper (10x7in).

Lot 36: TOULOUSE-LAUTREC, Henri de (1864-1901, French)

Description: Deux cavaliers, Indian ink Works on paper (10x7in).

Lot 36: TOULOUSE-LAUTREC, Henri de (1864-1901, French)

Description: Deux cavaliers, Indian ink Works on paper (10x7in).

Lot 36: Henri de Toulouse-Lautrec

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Description: (1864-1901) A L'OPERA, MADAME CARON DANS 'FAUST' (D. 49; A. 52; W. 39) Lithograph printed in olive green, 1893, with the artist's red monogram stamp (L. 1338), numbered in pencil, '39', from the edition of 100, on smooth wove paper, printed by Edward Ancourt, with margins, in good condition apart from two pale fox marks at the right sheet edge (remains of hinges at the right sheet edge, verso, pressing through slightly), framed 382 by 282mm. 15 by 11 1/8 in. This image was reproduced in L'Escarmouche, no. 1 on 7 January 1894.

Lot 36: Henri de Toulouse-Lautrec

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Description: (1864-1901) A L'OPERA, MADAME CARON DANS 'FAUST' (D. 49; A. 52; W. 39) Lithograph printed in olive green, 1893, with the artist's red monogram stamp (L. 1338), numbered in pencil, '39', from the edition of 100, on smooth wove paper, printed by Edward Ancourt, with margins, in good condition apart from two pale fox marks at the right sheet edge (remains of hinges at the right sheet edge, verso, pressing through slightly), framed 382 by 282mm. 15 by 11 1/8 in. This image was reproduced in L'Escarmouche, no. 1 on 7 January 1894.

Lot 36: Henri de Toulouse-Lautrec

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Description: (1864-1901) A L'OPERA, MADAME CARON DANS 'FAUST' (D. 49; A. 52; W. 39) Lithograph printed in olive green, 1893, with the artist's red monogram stamp (L. 1338), numbered in pencil, '39', from the edition of 100, on smooth wove paper, printed by Edward Ancourt, with margins, in good condition apart from two pale fox marks at the right sheet edge (remains of hinges at the right sheet edge, verso, pressing through slightly), framed 382 by 282mm. 15 by 11 1/8 in. This image was reproduced in L'Escarmouche, no. 1 on 7 January 1894.

Lot 36: Henri de Toulouse-Lautrec

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Description: (1864-1901) A L'OPERA, MADAME CARON DANS 'FAUST' (D. 49; A. 52; W. 39) Lithograph printed in olive green, 1893, with the artist's red monogram stamp (L. 1338), numbered in pencil, '39', from the edition of 100, on smooth wove paper, printed by Edward Ancourt, with margins, in good condition apart from two pale fox marks at the right sheet edge (remains of hinges at the right sheet edge, verso, pressing through slightly), framed 382 by 282mm. 15 by 11 1/8 in. This image was reproduced in L'Escarmouche, no. 1 on 7 January 1894.

Lot 36: TOULOUSE-LAUTREC, Henri de (1864-1901, French)

Description: Etudfe de tetes, dr Works on paper (9x13in).

Lot 36: TOULOUSE-LAUTREC, Henri de (1864-1901, French)

Description: Etudfe de tetes, dr Works on paper (9x13in).