Henri de Toulouse-Lautrec's drawings of 1880s Parisian nightlife led to his innovative posters of cabaret singers, entertainers, and now famous advertisements for the Moulin Rouge. Their popularity furthered his success as an artist. Born to an aristocratic family, he suffered childhood accidents that broke both his thigh bones. Neither grew back correctly. As an adult, his legs remained short while his torso was normal. Long periods of recuperation spent drawing led him to become an artist after his move to Paris and completion of his studies.
Once he discovered the Montmartre cabarets, Henri de Toulouse-Lautrec produced drawings that captured the characters who frequented them. He was fascinated by the local prostitutes, spending weeks in brothels, candidly documenting their lives. Henri de Toulouse-Lautrec's paintings and artwork influenced the art world for decades after his death at 36 from alcoholism and syphilis. Buy other vintage collectibles from the portrait prints for sale at Invaluable.
Henri de Toulouse-Lautrec Mélodies de Désiré Dihau 11 Blatt Lithografien, auf Velin, jeweils gefaltet und mit Notenblättern bedruckt, in Kartonumschlag / 11 Sheets of lithographs, on wove paper, each folded and printed with sheet music, in cardboard cover 1895/1896 35x27,5 cm, Umschlag; je 35x27 cm, gefaltet / 35x27.5 cm, cover; each 35x27 cm, folded Signatur / Signature Vorhanden sind: 1. Adieu. Wittrock 124. Adriani 145/II 2. Ballade de Noël. Wittrock 125. Adriani 146/II 3. Le fou. Wittrock 127. Adriani 148/II 4. Les papillons. Wittrock 128. Adriani 149/II 5. L'hareng saur. Wittrock 129. Adriani 150/II 6. Étoiles filantes. Wittrock 131/II. Adriani 152/III 7. Les hirondelles de mer. Wittrock 133. Adriani 154/II 8. Floréal. Wittrock 134. Adriani 155/II 9. Achetez mes belles violettes. Wittrock 135. Adriani 156/II 10. Berceuse. Wittrock 136. Adriani 157/II 11. Les vieux papillons. Wittrock 137. Adriani 158/II Present are: 1. Adieu. Wittrock 124. Adriani 145/II 2. Ballade de Noël. Wittrock 125. Adriani 146/II 3. Le fou. Wittrock 127. Adriani 148/II 4. Les papillons. Wittrock 128. Adriani 149/II 5. L'hareng saur. Wittrock 129. Adriani 150/II 6. ÉToiles filantes. Wittrock 131/II. Adriani 152/III 7. Les hirondelles de mer. Wittrock 133. Adriani 154/II 8. Floréal. Wittrock 134. Adriani 155/II 9. Achetez mes belles violettes. Wittrock 135. Adriani 156/II 10. Berceuse. Wittrock 136. Adriani 157/II 11. Les vieux papillons. Wittrock 137. Adriani 158/II Werkverzeichnis / Catalogue Raisonné Wittrock 124, 125, 127-129, 131, 133-137 Adriani 145, 146, 148-150, 152, 154-158, jeweils letzter Zustand Delteil 129, 130, 132, 133, 135, 136, 138-142, jeweils letzter Zustand Adhémar 152, 154-156, 158, 159, 161-165, jeweils letzter Zustand Wittrock 124, 125, 127-129, 131, 133-137 Adriani 145, 146, 148-150, 152, 154-158, each in the final state Delteil 129, 130, 132, 133, 135, 136, 138-142, each in the final state Adhémar 152, 154-156, 158, 159, 161-165, each in the final state Provenienz / Provenance Slg. Eberhard W. Kornfeld, Bern, auf der Innenseite des Umschlags mit dem Sammlerstempel, Lugt 913b The Eberhard W. Kornfeld Collection, Bern, with the collector's stamp on the inside of the cover, Lugt 913b Zustand / Condition Der Umschlag mit leichten Gebrauchs- und Alterungsspuren. Die Blätter leicht im Papier gebräunt und teilweise stockfleckig. In guter Erhaltung The cover with slight signs of use and ageing. The sheets slightly browned in the paper and partly foxed. In good condition Erläuterungen / Comments Anfang der 1890er-Jahre komponierte Désiré Dihau Melodien zu Texten befreundeter Dichter wie Jean Richepin, die mitunter von seiner Schwester Marie Dihau interpretiert wurden. Seine Partituren für die Künstler des Cabaret du Chat noir wurden von seinem Cousin Henri de Toulouse-Lautrec illustriert. At the beginning of the 1890s, Désiré Dihau composed melodies to texts by poet friends such as Jean Richepin, which were sometimes interpreted by his sister Marie Dihau. His scores for the artists of the Cabaret du Chat noir were illustrated by his cousin Henri de Toulouse-Lautrec. MWST / VAT Mehrwertsteuer auf dem Zuschlagspreis plus Aufgeld / VAT on hammer price plus buyer's premium Erwartete Ausrufzeit / Estimated Auction Time of Lot (+/- 30min) 10.09.2026; 19:05 h (MEST / CET) For further information visit our website (www.kornfeld.ch) Versandkosten / Shipping cost Schweiz / Switzerland: CHF 150.- Europa / Europe: CHF 250.- Übrige Länder / Other countries: CHF 320.-
Henri de Toulouse-Lautrec Elles Paris, Gustave Pellet Éditeur, 1896 Folge von 11 Farblithografien, darunter das Frontispiz, auf Velin mit Wasserzeichen "G. PELLET / T. LAUTREC", in Umschlag mit Farblithografie auf Japanbütten / Series of 11 colour lithographs, including the frontispiece, on wove paper with watermark "G. PELLET / T. LAUTREC", in folder with colour lithograph on Japan laid paper 1896 53x41,5 cm, Umschlag; je ca. 52,2x40,3 cm, Blattgrösse / 53x41.5 cm, cover; each approx. 52.2x40.3 cm, sheet size Signatur / Signature Der Umschlag unten rechts vom Künstler in schwarzer Kreide signiert "HT Lautrec". Der Umschlag, das Frontispiz und die 10 Blätter unten rechts mit der Bezeichnung in Tinte "Série n° 51", mit der Paraphe von Gustave Pellet und seinem Stempel, Lugt 1190. Blatt 9 unten links zusätzlich mit dem Monogrammstempel des Künstlers in Blau. Enthalten sind: 1. Couverture. Wittrock 155/I (v. III). Adriani 171/I (v. IV) 2. Frontispice. Wittrock 155/II (v. III). Adriani 171/II (v. IV) 3. La clownesse assise (Mademoiselle Ch-U-Ka-O). Wittrock 156. Adriani 172 4. Femme au plateau - Petit déjeuner (Madame Baron et Mademoiselle Popo) Wittrock 157. Adriani 173 5. Femme couchée - Réveil. Wittrock 158. Adriani 174 6. Femme au tub - Le tub. Wittrock159. Adriani 175 7. Femme qui se lave - La toilette. Wittrock 160. Adriani 176 8. Femme à glace - La glace à main. Wittrock 161. Adriani 177 9. Femme qui se peigne - La coiffure. Wittrock 162. Adriani 178 10. Femme au lit, profil - Au petit lever. Wittrock 163. Adriani 179/III 11. Femme en corset - Conquête de passage. Wittrock 164. Adriani 180 12. Femme sur le dos - Lassitude. Wittrock 165. Adriani 181 The cover lower right signed by the artist in black chalk "HT Lautrec". The cover, the frontispiece, and the 10 sheets lower right inscribed in ink "Série n° 51", with the initials of Gustave Pellet and his stamp, Lugt 1190. Sheet 9 lower left additionally with the artist's monogram stamp in blue. Included are: 1. Couverture. Wittrock 155/I (v. III). Adriani 171/I (v. IV) 2. Frontispice. Wittrock 155/II (v. III). Adriani 171/II (v. IV) 3. La clownesse assise (Mademoiselle Ch-U-Ka-O). Wittrock 156. Adriani 172 4. Femme au plateau – Petit déjeuner (Madame Baron et Mademoiselle Popo) Wittrock 157. Adriani 173 5. Femme couchée – Réveil. Wittrock 158. Adriani 174 6. Femme au tub – Le tub. Wittrock159. Adriani 175 7. Femme qui se lave – La toilette. Wittrock 160. Adriani 176 8. Femme à glace – La glace à main. Wittrock 161. Adriani 177 9. Femme qui se peigne – La coiffure. Wittrock 162. Adriani 178 10. Femme au lit, profil – Au petit lever. Wittrock 163. Adriani 179/III 11. Femme en corset – Conquête de passage. Wittrock 164. Adriani 180 12. Femme sur le dos – Lassitude. Wittrock 165. Adriani 181 Werkverzeichnis / Catalogue Raisonné Wittrock 155/I, 155/II (v. III), 156-165 Adriani 171/I, 171/II (v. IV), 172-178, 179/III, 180, 181 Delteil 179-189 Adhémar 200-210 Wittrock 155/I, 155/II (of III), 156-165 Adriani 171/I, 171/II (of IV), 172-178, 179/III, 180, 181 Delteil 179-189 Adhémar 200-210 Provenienz / Provenance Galerie Sagot - Le Garrec, Paris Slg. S.V. Steiner (gestorben 1923), New York, Lugt 2368b, dort als "Marque non identifiée" aufgeführt Slg. Eberhard W. Kornfeld, Bern, auf der Innenseite des Umschlags mit dem Sammlerstempel, Lugt 913b Galerie Sagot - Le Garrec, Paris Collection S.V. Steiner (died 1923), New York, Lugt 2368b, listed there as "Marque non identifiée" The Eberhard W. Kornfeld Collection, Bern, with the collector's stamp on the inside of the cover, Lugt 913b Ausstellungen / Exhibitions Basel/Høvikodden 1975/1977, Kunstmuseum/Henie Onstad Kunstsenter, Meisterwerke der Graphik von 1800 bis zur Gegenwart, Kat. Nr. 84 Salzburg/Winterthur 1984/1985, Rupertinum/Kunstmuseum, Von Goya bis Warhol, Meisterwerke der Graphik des 19. und 20. Jahrhunderts aus einer Schweizer Privatsammlung [Slg. Eberhard W. Kornfeld], Kat. Nr. 81 Martigny 1987, Fondation Pierre Gianadda, HT Lautrec, Kat. Nrn. 138-140, 142-150 Basel/Høvikodden 1975/1977, Kunstmuseum/Henie Onstad Kunstsenter, Meisterwerke der Graphik von 1800 bis zur Gegenwart, cat. no. 84 Salzburg/Winterthur 1984/1985, Rupertinum/Kunstmuseum, Von Goya bis Warhol, Meisterwerke der Graphik des 19. und 20. Jahrhunderts aus einer Schweizer Privatsammlung [The Eberhard W. Kornfeld Collection], cat. no. 81 Martigny 1987, Fondation Pierre Gianadda, HT Lautrec, cat. nos. 138-140, 142-150 Zustand / Condition Der Umschlag leicht stockfleckig. Die meisten Blätter weisen im Unterrand ein kleines Löchlein auf, das Blatt "Femme couchée", Wittrock 158, zwei minime Einrisse in der Mitte. Insgesamt sind die Grafiken farbfrisch und in sehr guter Druckqualität und Erhaltung The cover slightly foxed. Most sheets show a small puncture at the lower margin, the sheet "Femme couchée", Wittrock 158, two minimal tears in the centre. Overall, the prints are fresh in colour and in very good print quality and condition Erläuterungen / Comments Die 1896 von Gustave Pellet herausgegebene Lithografiefolge "Elles" von Henri de Toulouse-Lautrec zählt zu den Meisterwerken der Druckgrafik des 19. Jahrhunderts. Sie umfasst elf lose Blätter inklusive Frontispiz sowie einen lithografierten Umschlag und erschien in einer Auflage von 100 Exemplaren, die alle einheitlich nummeriert und mit der Paraphe sowie dem Stempel des Verlegers versehen sind. Thematisch befasst sich der Künstler mit den Akteuren der Pariser Bordelle, der sogenannten "maisons closes", an der Rue des Moulins, der Rue d'Amboise und der Rue Joubert. In diesen Bordellen war der Künstler Dauergast und hielt sich zwischen 1892 und 1895 auch wochenlang dort auf. Somit erlebte er den Alltag der Prostituierten hautnah mit und hielt ihn in diversen Skizzen, Zeichnungen und Grafiken fest. In diesem Portfolio sind die Frauen der Etablissements, die "Elles", in ihrer Arbeitsumgebung bei routinierten Handlungen dargestellt: bei der morgendlichen Toilette, der Haarpflege, beim Aufräumen oder beim Empfang eines Liebhabers. Für den Umschlag und das Frontispiz wählt Toulouse-Lautrec dasselbe Motiv, aber ein anderes Papier, eine andere Farbgebung und einen minim anderen Ausschnitt, da der Umschlag eingeklappt ist. Das Hauptblatt der Folge, "La clownesse assise (Mademoiselle Ch-U-Ka-O)", als erstes gereiht, ist das einzige, bei dem der Künstler kein Motiv aus den "maisons closes" wählt, sondern eine Tänzerin und Akrobatin, die im Moulin Rouge und im Nouveau Cirque auftrat und deren Name auf den Tanz "Cha-u-Kao" zurückgeht. Die neun weiteren Arbeiten von "Elles" beziehen sich auf Szenen, die der Künstler in den Bordellen eingefangen hat. Zu allen Motiven liegen auch Figurenstudien in Öl, Kreide, Kohle oder Bleistift vor. Sechs Blätter zeigen Frauen allein in intimen Alltagsszenen bei der Körperpflege oder beim Sich-Ausruhen. Auf Blatt 2 und Blatt 8 sind Juliette Baron und ihre Tochter Paulette, als Mademoiselle Popo, dargestellt. Beide waren im Bordell in der Rue des Moulins tätig. Nur bei Blatt 11 der Folge ist ein Freier zu sehen: ein angezogener Herr mit Zylinder, der seine Dame beim Auf- oder Zuschnüren ihres Korsetts beobachtet. Toulouse-Lautrec wählte für alle Arbeiten eine fein aufeinander abgestimmte, leicht zurückhaltende Farbgebung. Die Zeichnungen führte er meist in Kreide, teilweise mit Pinsel in Tusche und gespritzt aus. Sie zählen zu den Meisterwerken seines grafischen Œuvres. Die Folge "Elles" war ein wagemutiges Projekt des Verlegers Gustave Pellet, der sie in einer Auflage von 100 Exemplaren herausgab. Der Verkaufserfolg des Portfolios war gering, daher kamen auch viele Einzelgrafiken in den Handel. Eine komplette Folge in diesem Erhaltungszustand ist auf dem Markt äusserst selten zu finden. The lithograph series "Elles" by Henri de Toulouse-Lautrec, published by Gustave Pellet in 1896, is considered one of the masterpieces of 19th-century printmaking. It comprises eleven loose sheets including a frontispiece as well as a lithographed cover and appeared in an edition of 100 copies, all uniformly numbered and provided with the publisher's paraphe and stamp. Thematically, the artist focuses on the protagonists of the Parisian brothels, the so-called "maisons closes", on Rue des Moulins, Rue d'Amboise, and Rue Joubert. In these brothels, the artist was a regular guest and even stayed there for weeks at a time between 1892 and 1895. Thus, he experienced the everyday life of the prostitutes up close and captured it in various sketches, drawings, and prints. In this portfolio, the women of the establishments, the "Elles", are depicted in their working environment performing routine actions: during their morning toilette, hair care, tidying up, or receiving a lover. For the cover and frontispiece, Toulouse-Lautrec chose the same motif, but a different paper, different colouring, and a slightly different cut, as the cover is folded. The main sheet of the series, "La clownesse assise (Mademoiselle Ch-U-Ka-O)", placed first, is the only one in which the artist does not choose a motif from the "maisons closes", but rather a dancer and acrobat who performed at the Moulin Rouge and the Nouveau Cirque and whose name derives from the dance "Cha-u-Kao". The nine other works from "Elles" relate to scenes the artist captured in the brothels. For all motifs, there are also figure studies in oil, chalk, charcoal, or pencil. Six sheets show women alone in intimate everyday scenes during personal care or resting. On sheet 2 and sheet 8, Juliette Baron and her daughter Paulette, as Mademoiselle Popo, are depicted. Both worked in the brothel on Rue des Moulins. Only on sheet 11 of the series is a client to be seen: a dressed gentleman with a top hat, observing his lady as she laces or unlaces her corset. Toulouse-Lautrec chose a finely coordinated, slightly restrained palette for all the works. He executed the drawings mostly in chalk, partly with brush in ink and by splattering. They are among the masterpieces of his graphic oeuvre. The series "Elles" was a daring project by the publisher Gustave Pellet, who published it in an edition of 100 copies. The portfolio was not a commercial success, so many individual prints also entered the market. A complete series in this condition is extremely rare to find on the market. MWST / VAT Mehrwertsteuer auf dem Zuschlagspreis plus Aufgeld / VAT on hammer price plus buyer's premium Erwartete Ausrufzeit / Estimated Auction Time of Lot (+/- 30min) 10.09.2026; 19:05 h (MEST / CET) For further information visit our website (www.kornfeld.ch) Versandkosten / Shipping cost Schweiz / Switzerland: CHF 150.- Europa / Europe: CHF 250.- Übrige Länder / Other countries: CHF 320.-
Henri de Toulouse-Lautrec Le Jockey Lithografie auf Chinabütten / Lithograph on china paper 1899 51,5x36 cm, Blattgrösse / 51.5x36 cm, sheet size Werkverzeichnis / Catalogue Raisonné Wittrock 302/I (v. II) Adriani 345/I (v. II) Delteil 279 Wittrock 302/I (vol. II) Adriani 345/I (vol. II) Delteil 279 Provenienz / Provenance Slg. Henri-Jean Thomas (1872-1960), Paris, rückseitig mit Sammlerstempel, Lugt 1378, versteigert bei Auktion Hotel Drouot, Paris, 17. Juni 1952, Los 187 Privatsammlung Norwegen, versteigert bei Auktion Galerie Kornfeld, Bern, 25. Juni 1982, Los 907, dort erworben von Internationale Privatsammlung Collection Henri-Jean Thomas (1872-1960), Paris, with collector's stamp on the reverse, Lugt 1378, sold at Auction Hotel Drouot, Paris, 17 June 1952, lot 187 Private collection Norway, sold at Auction Galerie Kornfeld, Bern, 25 June 1982, lot 907, acquired there by International private collection Zustand / Condition Rückseitig mit Spuren einer alten Montierung, links unten wohl mit einem kleinen hinterlegten Einriss. In sehr schöner Druckqualität und Erhaltung Traces of an old mounting on the reverse, lower left probably with a small supported tear. In very fine printing quality and condition Erläuterungen / Comments Der Künstler plante 1899 eine Folge von Lithografien unter dem Titel "Courses", vollendete aber nur vier Darstellungen, von denen das vorliegende Blatt als einziges in einer Auflage erschien. Auf Veranlassung des Verlegers Pierrefort erschien eine Auflage in Schwarz von ca. 100 Exemplaren und eine Auflage in Farbe von 112 Exemplaren. Gedruckt von Henry Stern, Paris. Alle Blätter blieben unsigniert und unnummeriert. The artist planned a series of lithographs in 1899 under the title "Courses", but completed only four images, of which the present sheet was the only one to be published in an edition. At the instigation of the publisher Pierrefort, an edition in black of circa 100 copies and an edition in colour of 112 copies appeared. Printed by Henry Stern, Paris. All sheets remained unsigned and unnumbered. MWST / VAT Mehrwertsteuer auf dem Zuschlagspreis plus Aufgeld / VAT on hammer price plus buyer's premium Erwartete Ausrufzeit / Estimated Auction Time of Lot (+/- 30min) 10.09.2026; 14:50 h (MEST / CET) For further information visit our website (www.kornfeld.ch) Versandkosten / Shipping cost Schweiz / Switzerland: CHF 170.- Europa / Europe: CHF 270.- Übrige Länder / Other countries: CHF 360.-
Henri de Toulouse-Lautrec Miss May Belfort au bar Achille Lithografie auf Velin / Lithograph on wove paper 1895 33x26,3 cm, Darstellung; 58,7x42 cm, Blattgrösse / 33x26.3 cm, image; 58.7x42 cm, sheet size Signatur / Signature Unten rechts mit dem roten Monogrammstempel des Künstlers im Rund "HTL", links mit dem Blindstempel des Verlegers Kleinmann und darunter in Rotstift die Nummerierung "N° 1" Lower right with the artist's red monogram stamp in a circle "HTL", left with the publisher Kleinmann's blindstamp and below in red pencil the numbering "N° 1" Werkverzeichnis / Catalogue Raisonné Wittrock 119 Adriani 140 Delteil 123 Wittrock 119 Adriani 140 Delteil 123 Provenienz / Provenance Slg. Alfred Beurdeley (1847-1919), Paris, mit Sammlerstempel, Lugt 421 Auktion Hôtel Drouot, 19. und 20. Mai 1920, Los 178 Privatsammlung Schweiz Auktion Galerie Kornfeld, Bern, 16. Juni 2005, Los 814, erworben von Privatsammlung Schweiz Collection Alfred Beurdeley (1847-1919), Paris, with collector's stamp, Lugt 421 Auction Hôtel Drouot, 19 and 20 May 1920, lot 178 Private collection Switzerland Auction Galerie Kornfeld, Bern, 16 June 2005, lot 814, acquired by Private collection Switzerland Zustand / Condition Mit leichtem Lichtrand, rückseitig mit Spuren einer alten Montierung With slight lightstruck area, traces of an old mounting on the reverse Erläuterungen / Comments "Miss May Belfort au bar Achille" erschien in einer Auflage von lediglich 25 Exemplaren, die teilweise nummeriert und mit dem roten Monogrammstempel des Künstlers, Lugt 1338, versehen sind, wovon beides auf unser Los zutrifft. Seltenes Blatt mit bedeutender Provenienz. "Miss May Belfort au bar Achille" was issued in an edition of only 25 copies, some of which are numbered and bear the artist’s red monogram stamp, Lugt 1338, both of which apply to our lot. Rare sheet with significant provenance. Erwartete Ausrufzeit / Estimated Auction Time of Lot (+/- 30min) 10.09.2026; 14:50 h (MEST / CET) For further information visit our website (www.kornfeld.ch) Versandkosten / Shipping cost Schweiz / Switzerland: CHF 150.- Europa / Europe: CHF 250.- Übrige Länder / Other countries: CHF 320.-
Henri de Toulouse-Lautrec Mademoiselle Marcelle Lender, en buste Farblithografie auf Velin / Colour lithograph on wove paper 1895 32,4x24,5 cm, Darstellung; 47,5x36,5 cm, Blattgrösse / 32.4x24.5 cm, image; 47.5x36.5 cm, sheet size Signatur / Signature Unten links mit dem Monogrammstempel Lower left with the monogram stamp Werkverzeichnis / Catalogue Raisonné Wittrock 99/IV Adriani 115/IV/a (v. b) Delteil 102/II Wittrock 99/IV Adriani 115/IV/a (see b) Delteil 102/II Provenienz / Provenance Internationale Privatsammlung International private collection Zustand / Condition Unregelmässige Ränder, mit Lichtrand. Druck ohne den zweiten Rotstein (Blume im Brustausschnitt, beide Haarmaschen) Irregular margins, with lightstruck area. Print without the second red stone (flower in the neckline, both hair ribbons) Erläuterungen / Comments Breitrandiger Druck, wohl von der sogenannten Pariser Ausgabe, in Paris gedruckt und in 100 Exemplaren publiziert. Alle mit dem Monogrammstempel in Orange, Lugt 1338, und ohne die Schrift. In der Farbgebung leicht heller als die grosse Auflage von 1000 Exemplaren mit Schrift für die deutsche Ausgabe, erschienen in PAN. Wide-margined print, probably from the so-called Paris edition, printed in Paris and published in 100 copies. All with the monogram stamp in orange, Lugt 1338, and without the text. The colouring is slightly lighter than the large edition of 1000 copies with text for the German edition, published in PAN. MWST / VAT Mehrwertsteuer auf dem Zuschlagspreis plus Aufgeld / VAT on hammer price plus buyer's premium Erwartete Ausrufzeit / Estimated Auction Time of Lot (+/- 30min) 10.09.2026; 14:50 h (MEST / CET) For further information visit our website (www.kornfeld.ch) Versandkosten / Shipping cost Schweiz / Switzerland: CHF 150.- Europa / Europe: CHF 250.- Übrige Länder / Other countries: CHF 320.-
Henri de Toulouse-Lautrec Chanteuse au café-concert - Aux Ambassadeurs Farblithografie auf Velin / Colour lithograph on wove paper 1894 30,5x24,7 cm, Darstellung; 59,2x43,2 cm, Blattgrösse / 30.5x24.7 cm, image; 59.2x43.2 cm, sheet size Signatur / Signature Unten links vom Künstler in Bleistift signiert "T-Lautrec", im Unterrand rechts mit der Nummer "6-9" bezeichnet, mit dem Blindstempel des Herausgebers Lower left signed by the artist in pencil "T-Lautrec", lower margin right inscribed with the number "6-9", with the publisher's blindstamp Werkverzeichnis / Catalogue Raisonné Wittrock 58 Adriani 70 Delteil 68 Wittrock 58 Adriani 70 Delteil 68 Provenienz / Provenance Slg. Eberhard W. Kornfeld, Bern, rückseitig mit dem Sammlerstempel, Lugt 913b The Eberhard W. Kornfeld Collection, Bern, with the collector's stamp on the reverse, Lugt 913b Ausstellungen / Exhibitions Basel/Høvikodden 1975/1977, Kunstmuseum/Henie Onstad Kunstsenter, Meisterwerke der Graphik von 1800 bis zur Gegenwart, Kat. Nr. 78 Salzburg/Winterthur 1984/1985, Rupertinum/Kunstmuseum, Von Goya bis Warhol, Meisterwerke der Graphik des 19. und 20. Jahrhunderts aus einer Schweizer Privatsammlung [Slg. Eberhard W. Kornfeld], Kat. Nr. 78 Bern 2015, Kunstmuseum, Toulouse-Lautrec und die Photographie Basel/Høvikodden 1975/1977, Kunstmuseum/Henie Onstad Kunstsenter, Meisterwerke der Graphik von 1800 bis zur Gegenwart, cat. no. 78 Salzburg/Winterthur 1984/1985, Rupertinum/Kunstmuseum, Von Goya bis Warhol, Meisterwerke der Graphik des 19. Und 20. Jahrhunderts aus einer Schweizer Privatsammlung [The Eberhard W. Kornfeld Collection], cat. no. 78 Bern 2015, Kunstmuseum, Toulouse-Lautrec und die Photographie Zustand / Condition Die äussersten Papierränder minim verschmutzt, stellenweise mit leichten Spuren vom Druckprozess, mit Flecken am unteren Rand. In der Darstellung am oberen und unteren Rand in der Mitte mit je einem Löchlein. Rückseitig mit Spuren einer alten Montierung. Insgesamt farbfrisch und in guter Erhaltung The outermost paper margins minimally soiled, with slight traces of the printing process in places, with stains at the lower margin. Within the image, at the upper and lower margin in the centre, each with a small puncture. Verso with traces of old mounting. Overall fresh in colour and in good condition Erläuterungen / Comments In einer Auflage von 100 Exemplaren bei Ancourt in Paris gedruckt und von André Marty für die sechste Lieferung der Édition L'Estampe Originale (Paris, April-Juni 1894) herausgegeben, verzeichnet bei Lugt unter der Nummer 819. Dargestellt ist eine Sängerin im Pariser Restaurant Les Ambassadeurs, das seit der Mitte des 19. Jahrhunderts im 1758 erbauten Hôtel de Crillon betrieben wurde. Als eines der bedeutendsten Café-Concerts der Stadt erlebte das Lokal in den letzten drei Jahrzehnten des 19. Jahrhunderts seine Blütezeit. Es war seit jeher ein gesellschaftlicher Mittelpunkt der Aristokratie und entwickelte sich in den 1870er-Jahren zudem zu einem regelmässigen Treffpunkt zahlreicher prominenter Persönlichkeiten aus Kunst, Literatur und der Pariser Halbwelt. Printed in an edition of 100 copies by Ancourt in Paris and published by André Marty for the sixth installment of Édition L'Estampe Originale (Paris, April–June 1894), listed in Lugt under number 819. Depicted is a singer in the Parisian restaurant Les Ambassadeurs, which had been operated since the mid-19th century in the Hôtel de Crillon, built in 1758. As one of the city’s most important café-concerts, the venue experienced its heyday in the last three decades of the 19th century. It had always been a social center for the aristocracy and, in the 1870s, also became a regular meeting place for numerous prominent figures from the arts, literature, and the Parisian demi-monde. MWST / VAT Mehrwertsteuer auf dem Zuschlagspreis plus Aufgeld / VAT on hammer price plus buyer's premium Erwartete Ausrufzeit / Estimated Auction Time of Lot (+/- 30min) 10.09.2026; 14:50 h (MEST / CET) For further information visit our website (www.kornfeld.ch) Versandkosten / Shipping cost Schweiz / Switzerland: CHF 150.- Europa / Europe: CHF 250.- Übrige Länder / Other countries: CHF 320.-
Henri de Toulouse-Lautrec Au Moulin Rouge, la Goulue et sa sœur Farblithografie auf Velin / Colour lithograph on wove paper 1892, Auflage von 1892 46,1x34,8 cm, Darstellung; 58x43,5 cm, Blattgrösse / 46.1x34.8 cm, image; 58x43.5 cm, sheet size Signatur / Signature Unten links vom Künstler in Bleistift signiert "TLautrec", mit gestempelter Nummer in Rot "72", darüber mit dem roten Monogrammstempel "HTL" im Rund, Lugt 1338, unten rechts ovaler Stempel des Verlegers "Chromo - Lithographie EDW. ANCOURT & Cie / PARIS / 83 FAUBOURG St-DENIS" Lower left signed by the artist in pencil "TLautrec", with stamped number in red "72", above with the red monogram stamp "HTL" in a circle, Lugt 1338, lower right oval stamp of the publisher "Chromo - Lithographie EDW. ANCOURT & Cie / PARIS / 83 FAUBOURG St-DENIS" Werkverzeichnis / Catalogue Raisonné Wittrock 1/II Adriani 6/II Delteil 11 Wittrock 1/II Adriani 6/II Delteil 11 Provenienz / Provenance Slg. Alphonse-François Lotz-Brissonneau (1840-1921), Nantes, Lugt 83 Slg. Eberhard W. Kornfeld, Bern, rückseitig mit dem Sammlerstempel, Lugt 913b Collection Alphonse-François Lotz-Brissonneau (1840-1921), Nantes, Lugt 83 The Eberhard W. Kornfeld Collection, Bern, with the collector's stamp on the reverse, Lugt 913b Ausstellungen / Exhibitions Basel/Hovikodden 1975/1977, Kunstmuseum/Henie Onstad Kunstsenter, Meisterwerke der Graphik von 1800 bis zur Gegenwart, Kat. Nr. 71 Salzburg/Winterthur 1984/1985, Rupertinum/Kunstmuseum, Von Goya bis Warhol, Meisterwerke der Graphik des 19. und 20. Jahrhunderts aus einer Schweizer Privatsammlung [Slg. Eberhard W. Kornfeld], Kat. Nr. 74 Ingelheim 2001, Internationale Tage, Altes Rathaus, Japan, Quelle der Inspiration, Japanische Kunst & europäische Moderne um 1900, Kat. Nr. 113 Bern 2015, Kunstmuseum, Toulouse-Lautrec und die Photographie, S. 231 Basel/Hovikodden 1975/1977, Kunstmuseum/Henie Onstad Kunstsenter, Meisterwerke der Graphik von 1800 bis zur Gegenwart, cat. no. 71 Salzburg/Winterthur 1984/1985, Rupertinum/Kunstmuseum, Von Goya bis Warhol, Meisterwerke der Graphik des 19. Und 20. Jahrhunderts aus einer Schweizer Privatsammlung [The Eberhard W. Kornfeld Collection], cat. no. 74 Ingelheim 2001, Internationale Tage, Altes Rathaus, Japan, Quelle der Inspiration, Japanische Kunst & europäische Moderne um 1900, cat. no. 113 Bern 2015, Kunstmuseum, Toulouse-Lautrec und die Photographie, p. 231 Zustand / Condition Das Papier leicht gebräunt, mit Stockfleckchen. Farbfrisch und in sehr guter Gesamterhaltung The paper slightly browned, with small foxing spots. Fresh in colour and in very good overall condition Erläuterungen / Comments Die Hauptfigur der vorliegenden Lithografie, "La Goulue" (die Gierige), geboren als Louise Weber (1866-1929), ist der Star des Moulin Rouge, des bekannten Kabaretts im Pariser Stadtteil Pigalle in der Nähe des Montmartre. Sie stammte aus ärmlichen Verhältnissen und wurde die bestbezahlte Variététänzerin von Paris. Sie ist in korsettiertem Kleid mit Hochsteckfrisur links zu sehen, am Arm ihre eher bieder wirkende, fülligere Schwester. Ihr Künstlername bezieht sich auf ihre Angewohnheit, beim Tanzen zwischen den Tischen die Getränke der Zuschauer in einem Zug zu leeren. Sie war auch dafür berüchtigt, Männern während ihrer Show unvermittelt mit der Stiefelspitze die Zylinder vom Kopf zu kicken. Keine der auf dem Blatt dargestellten Personen nimmt Blickkontakt mit den Betrachtenden auf, sodass man sich selbst mitten im Geschehen des Kabaretts wähnt. Das vorliegende Blatt ist eine der ersten Farblithografien, die Toulouse-Lautrec schuf, und zeigt schon alle technischen Feinheiten, die seine Arbeiten auszeichnen und ihn zu einem der Grossen der Lithografie werden liessen. Der vom Japonismus inspirierte Umgang mit Farbflächen oder die gezielt eingesetzte Spritztechnik wirken verblüffend. Toulouse-Lautrec erreichte so wunderbare Zwischentöne und erweiterte eindrücklich das Farbenspektrum. The main figure of the present lithograph, "La Goulue" (the Glutton), born Louise Weber (1866–1929), is the star of the Moulin Rouge, the famous cabaret in the Paris district of Pigalle near Montmartre. She came from a poor background and became the highest-paid variety dancer in Paris. She is seen on the left in a corseted dress with her hair up, accompanied by her rather demure, fuller-figured sister. Her stage name refers to her habit of draining the drinks of spectators in one gulp as she danced between the tables. She was also notorious for suddenly kicking men’s top hats off their heads with the tip of her boot during her show. None of the people depicted in the image make eye contact with the viewer, so one feels as if they are right in the midst of the cabaret scene. The present sheet is one of the first colour lithographs created by Toulouse-Lautrec and already displays all the technical refinements that distinguish his work and made him one of the greats of lithography. The Japonism-inspired use of colour fields and the deliberately applied splatter technique are astonishing. In this way, Toulouse-Lautrec achieved wonderful nuances and impressively expanded the colour spectrum. MWST / VAT Mehrwertsteuer auf dem Zuschlagspreis plus Aufgeld / VAT on hammer price plus buyer's premium Erwartete Ausrufzeit / Estimated Auction Time of Lot (+/- 30min) 10.09.2026; 14:45 h (MEST / CET) For further information visit our website (www.kornfeld.ch) Versandkosten / Shipping cost Schweiz / Switzerland: CHF 150.- Europa / Europe: CHF 250.- Übrige Länder / Other countries: CHF 320.-
Henri de Toulouse-Lautrec (1864-1901) Jean de Tinan: L'Exemple de Ninon de Lenclos Amoureux The book, 1898, comprising two lithographs, signed and dedicated by the author in green pencil on title page, one of 25 hors commerce copies, from the total edition of 41, on China paper, bound as issued, in the original brown leather boards and marbled slipcase, overall 200 x 130 x 25mm (7 7/8 x 5 1/8 x 1in) (book)
Henri de Toulouse-Lautrec, French 1864-1901 - Femme assise de profil à gauche; black chalk on brown paper, signed twice with initials lower right 'THL' and bears collector's stamp for Casimir de Woznicki [L. 1652a] lower right, 15 x 9.7 cm Provenance: Casimir de Woznicki (d.1950); Anon. sale, Christie's, Paris, 27 March 2003, lot 177 (€6,462); Property from a Distinguished British Private Collection Note: After moving to Paris in 1880, Toulouse-Lautrec immersed himself in the vibrant nightlife of Montmartre, producing numerous studies of dancers, singers, and prostitutes. Working from life, he captured his sitters in moments both intimate and animated. Though the figure in the present work is seated, the folds of her skirt lend an effective sense of movement to the composition, recalling Toulouse-Lautrec's more finished works, such as 'Marcelle Lender Dancing the Bolero in "Chilpéric"', which is held in the National Gallery of Art, Washington [1990.127.1]. A comparable drawing of a woman seen in profile, turned to the left sold at Sotheby’s, London on 6 February 2014, lot 494 (£20,000).
(1864 Albi - 1901 Château Malromé/Gironde) nach "Divan Japonais". Originaltitel Farblithographie/Papier, 1893. Im Stein sign., typografisch bez.; Edition Stedelijk Museum. Erschienen in den 1970er Jahren nach dem ikonischen Werbeplakat für das Pariser Café du Divan Japonais als Inbegriff der Plakatkunst des Jugendstils. Blatt ca. 80 cm x 59 cm. Rahmen. Lithograph in colours after the poster of Henri de Toulouse-Lautrec. Signed in the stone. Typografically inscribed. Edition Stedelijk Museum, Amsterdam.
(1864 Albi - 1901 Château Malromé/Gironde) "Le Tocsin (La Chatelaine)". Originaltitel Farblithographie in grau und schwarz/Velin, um 1895. R. u. im Stein ligiert sign.; Blatt 27,4 cm x 20,4 cm. Rahmen. Das Blatt entstand um 1895 im Auftrag von Arthur Huc, dem Besitzer der Zeitung "La Dépêche de Toulouse" als Motiv für ein Plakat, dass die Veröffentlichung des Schauerromans "Le Tocsin" (Die Alarmglocke) bewarb. Hier seltener, nur die Umrisslininen erfassender Druck vor dem Text und dem Monogramm. Lithograph in black and grey on paper. Signed in the stone.
TOULOUSE LAUTREC (France, 1864 - 1901). Facsimile "Artilleur et femme". Complete suite of six studies published by the Société des Amis du Musée Albi, Paris, 1972. Signed with monogram on plate. Limited edition of 275 copies, copy 126. Measurements: 56 x 41 cm. Toulouse-Lautrec sketched the characters of Montmartre life, the music-hall actors and the events that marked his time. Today, his testimonies of a life and an era have acquired an inestimable value. New discoveries and studies call for the elaboration of a new and more complete catalog raisonné. Four hundred documents are presented, including galley proofs and galley proofs, lithographs, pointes sèches, monotypes and posters that he created between 1891 and 1900.
Toulouse Lautrec (1864-1901) France La Revue Blanche Four-colour reproduction of a Toulouse-Lautrec poster for the bi-monthly La Revue Blanche n°60 85 x 65 cm Unsigned, unnumbered
Two lithographs, to include: Henri de Toulouse-Lautrec (French, 1864-1901), "La Halle aux Draps Cracovie", lithograph, editioned 86/380, unsigned, 8" x 7" (image), framed 14" x 12"; James Abbott McNeill Whistler (American, 1834-1903), mother and daughter, 9" x 8" (image), famed 15" x 13". Provenance: Lasky Family Trust, Longmont, Colorado.
Henri de Toulouse-Lautrec French, (1864-1901) Proces Arton (The Arton Trial) lithograph Signed with initials in the plate. Biography from the Archives of askART: Henri Toulouse-Lautrec became one of France's most prominent Post-Impressionist painters and capturing the night life of part of the city, was described as "the soul of Montmartre." He also did a number of illustrations for the magazine Le Rire during the 1890s's. Toulouse-Lautrec was born in Albi, France, in the mid-Pyranees region. He was the first child of a Count and Countess whose aristocratic lineage dated back over a thousand years but whose fortune had collapsed before he was born. At birth, they gave him the full name of Henri Marie Raymond de Toulouse-Lautrec Monfa. The parents were first cousins, and credited to inbreeding were the many birth defects that Henri suffered including an osteoporosis condition that left him with weak bones that did not heal properly when his legs were fractured when he was ages 13 and 14. In adulthood, he was only four feet and six inches in height, although his torso was fully developed. Growing up, he was unable to participate in normal activities, so he turned to art expression. Toulouse-Lautrec moved to Paris in 1882 in order to learn from artists by working with them in their studios. He was especially impressed with Impressionist painter and sculptor Edgar Degas. Lautrec's subjects were primarily the bohemian world of Montmartre, the city's quarter where he lived and the area that had a mix that included starving' artists, actors, actresses, singers and dancers such as La Goulue who created the Can Can and performed at the Moulin Rouge. It was also the location of racetracks, dancehalls and many bars and brothels, likely the places where he, a frequent visitor, got the syphilis that along with excessive alcohal consumption added to his health problems and caused his death. He partied and sketched the nightlife, and in the daytime, converted his sketches into paintings and lithographs. Shortly before he died on September 9, 1901at the age of 36, he was put in a sanatorium after his highly protective mother was unable to keep him at home. He is buried in Malromé at his family's estate, and he is buried in Verdelais, Gironde, close to his death place. The Comtesse Adéle Toulouse-Lautrec, his mother, and his dealer, Maurice Joyant, worked hard after his death to keep his name alive and promote his artwork. Because of their efforts, a museum in Albi was built in his honor. Two movies titled Moulin Rouge are about his life. Sources include: Wikipedia: http://en.wikipedia.org/wiki/Henri_de_Toulouse-Lautrec WebMuseum, Paris http://www.ibiblio.org/wm/paint/auth/toulouse-lautrec/ artelino-Art Auctions: http://www.artelino.com/articles/toulouse_lautrec.asp
Henri de Toulouse-Lautrec French, (1864-1901) Frontispiece, Yvette Guilbert before the Prompter's Box, 1898 lithograph signed in the plate. Biography from the Archives of askART: Henri Toulouse-Lautrec became one of France's most prominent Post-Impressionist painters and capturing the night life of part of the city, was described as "the soul of Montmartre." He also did a number of illustrations for the magazine Le Rire during the 1890s's. Toulouse-Lautrec was born in Albi, France, in the mid-Pyranees region. He was the first child of a Count and Countess whose aristocratic lineage dated back over a thousand years but whose fortune had collapsed before he was born. At birth, they gave him the full name of Henri Marie Raymond de Toulouse-Lautrec Monfa. The parents were first cousins, and credited to inbreeding were the many birth defects that Henri suffered including an osteoporosis condition that left him with weak bones that did not heal properly when his legs were fractured when he was ages 13 and 14. In adulthood, he was only four feet and six inches in height, although his torso was fully developed. Growing up, he was unable to participate in normal activities, so he turned to art expression. Toulouse-Lautrec moved to Paris in 1882 in order to learn from artists by working with them in their studios. He was especially impressed with Impressionist painter and sculptor Edgar Degas. Lautrec's subjects were primarily the bohemian world of Montmartre, the city's quarter where he lived and the area that had a mix that included starving' artists, actors, actresses, singers and dancers such as La Goulue who created the Can Can and performed at the Moulin Rouge. It was also the location of racetracks, dancehalls and many bars and brothels, likely the places where he, a frequent visitor, got the syphilis that along with excessive alcohal consumption added to his health problems and caused his death. He partied and sketched the nightlife, and in the daytime, converted his sketches into paintings and lithographs. Shortly before he died on September 9, 1901at the age of 36, he was put in a sanatorium after his highly protective mother was unable to keep him at home. He is buried in Malromé at his family's estate, and he is buried in Verdelais, Gironde, close to his death place. The Comtesse Adéle Toulouse-Lautrec, his mother, and his dealer, Maurice Joyant, worked hard after his death to keep his name alive and promote his artwork. Because of their efforts, a museum in Albi was built in his honor. Two movies titled Moulin Rouge are about his life. Sources include: Wikipedia: http://en.wikipedia.org/wiki/Henri_de_Toulouse-Lautrec WebMuseum, Paris http://www.ibiblio.org/wm/paint/auth/toulouse-lautrec/ artelino-Art Auctions: http://www.artelino.com/articles/toulouse_lautrec.asp
Toulouse Lautrec (1864-1901) France La Revue Blanche Four-colour reproduction of a Toulouse-Lautrec poster for the bi-monthly La Revue Blanche no. 60 85 x 65 cm Unsigned, unnumbered
Vintage reproduction of an advertising poster created in 1898 by Henri de Toulouse-Lautrec (1864-1901) for Moulin Rouge ball every evening with an image of La Goulue, a French can-can dancer seen dancing on the stage with silhouettes of ladies and gentlemen around her. Good condition, minor staining, minor creasing, trimmed edges. Country of issue: France, designer: Henri Toulouse-Lautrec, size (cm): 32x19.5, year of printing: Unknown.
Vintage reproduction poster featuring French artist Henri de Toulouse-Lautrec's (1864-1901) 1892 lithograph poster titled Ambassadeurs - The design features Toulouse-Lautrec's friend and cabaret singer Aristide Bruant. Published by Athena Reproductions London. Good condition, creasing, tears. Country of issue: UK, designer: Henri de Toulouse-Lautrec, size (cm): 91x61, year of printing: 1970s.
Vintage reproduction poster featuring French artist Henri de Toulouse-Lautrec's (1864-1901) 1893 lithograph poster originally made for Jane Avril (1868-1943) to advertise her cabaret show at the Jardin de Paris in 1893. Toulouse-Lautrec depicted Avril doing the cancan with the silhouettes of musical instruments in the foreground. Published by Athena Reproductions London. Fair condition, paper losses, tears, creasing, staining, pinholes, tape marks. Country of issue: UK, designer: Henri de Toulouse-Lautrec, size (cm): 82x62, year of printing: 1970s.
Original vintage Librairie Grund reproduction art print of Henri de Toulouse-Lautrec (1864-1901) 1894 artwork titled - The Box with the Gilded Mask / La Loge au Mascaron Doré - featuring a lady sitting in a theatre box and watching a performance through opera glasses with red curtains in the background. Published by Librairie Grund, Paris whose embossed stamp is visible in the bottom left corner, originally part of a set of 12 lithographs titled - Douze Lithographies. Good condition, staining, creasing, tears, tape on reverse, blind embossed logo 'LG'. Country of issue: France, designer: Henri de Toulouse-Lautrec, size (cm): 52.5x36, year of printing: 1948.
Original vintage Librairie Grund reproduction art print of Henri de Toulouse-Lautrec (1864-1901) 1897 artwork titled - Elsa The Viennese featuring a lady wearing a green coat walking down some stairs with a red door in the background. Published by Librairie Grund, Paris whose embossed stamp is visible in the bottom left corner, originally part of a set of 12 lithographs titled - Douze Lithographies. Good condition, staining, creasing, tears, tape on reverse, blind embossed logo 'LG'. Country of issue: France, designer: Henri de Toulouse-Lautrec, size (cm): 52.5x36, year of printing: 1948.
Original vintage Librairie Grund reproduction art print of Henri de Toulouse-Lautrec (1864-1901) 1895 artwork titled - Napoleon - featuring French general and statesman Napoleon Bonaparte riding on horseback alongside two allies with a French flag waving in the background. Published by Librairie Grund, Paris whose embossed stamp is visible in the bottom left corner, originally part of a set of 12 lithographs titled - Douze Lithographies. Good condition, staining, creasing, tears, tape on reverse, blind embossed logo 'LG'. Country of issue: France, designer: Henri de Toulouse-Lautrec, size (cm): 52.5x36, year of printing: 1948.
Original vintage Librairie Grund reproduction art print of Henri de Toulouse-Lautrec (1864-1901) 1894 artwork titled - Cissy Loftus - featuring a drawing of Cecilia Loftus (1876-1943) a Scottish actress, singer, mimic, vaudevillian, and music hall performer in the late 19th and early 20th centuries. Published by Librairie Grund, Paris whose embossed stamp is visible in the bottom left corner, originally part of a set of 12 lithographs titled - Douze Lithographies. Good condition, staining, creasing, tears, tape on reverse, blind embossed logo 'LG'. Country of issue: France, designer: Henri de Toulouse-Lautrec, size (cm): 52.5x36, year of printing: 1948.
Original vintage Librairie Grund reproduction art print of Henri de Toulouse-Lautrec (1864-1901) 1899 artwork titled - Le Jockey - featuring two jockeys riding horses on a race track with flags waving in the background. Published by Librairie Grund, Paris whose embossed stamp is visible in the bottom left corner, originally part of a set of 12 lithographs titled - Douze Lithographies. Good condition, staining, creasing, foxing, tears, small paper loss on bottom edge, tape on reverse, blind embossed logo 'LG'. Country of issue: France, designer: Henri de Toulouse-Lautrec, size (cm): 53x36, year of printing: 1948.
Henri de Toulouse-Lautrec Poster Collection A group lot of Henri de Toulouse-Lautrec art exhibition posters featuring some of his most iconic Belle Époque designs, including Divan Japonais and Troupe de Mlle Eglantine. They are rolled up. *does not include the paper weights photographed
Henri de Toulouse-Lautrec "Les Vieux Messieurs" 1894 Lithograph The lithograph measures 18" x 13". Frame- 23.5" x 21.5" Was once sold at a Sotheby's New York auction (sticker still attached).
Henri de TOULOUSE-LAUTREC : original LITHOGRAPH, 1927. Plate signed monogram, from 1927 Henri Floury, ed. 175. Size 5 x 7 in. plus margins. In excellent condition. This is not a later reprint. VG.
Henri de TOULOUSE-LAUTREC : original LITHOGRAPH, 1927. Plate signed monogram, from 1927 Henri Floury, ed. 175. Size 5-1/2 x 7-1/4 in. plus margins. In excellent condition. This is not a later reprint. Very good condition.
HENRI DE TOULOUSE-LAUTREC France, (1864 - 1901) Elsa la Viennoise lithograph, ed. 244/275 signed in print lower right: T-Lautrec artist stamp printed lower left
Toulouse Lautrec (1864-1901) France La Revue Blanche Four-colour reproduction of a Toulouse-Lautrec poster for the bi-monthly Revue Blanche no. 60 85 x 65 cm Unsigned, unnumbered
Henri de Toulouse-Lautrec 1864-1901 Troupe De Mlle Églantine. 1896. Condition A-: paper toned. Paper, hinged on verso. Matted and framed. Lautrec designed this poster in response to a request from his friend Jane Avril and her co-star Églantine. Writing on January 19, 1896, they asked him to design an image for their appearance at the Palace Theatre in London, charging him to design it "as you think best," leaving the art to him, but requested that the performers appear in a certain order, and that the theater name not be printed, so they could use the poster for another appearance. Lautrec designed the image based on a photograph he had of the four dancers, who appear in the finished lithograph in the requested order: Églantine, Jane Avril, Cléopatre and Gazelle. The women are depicted performing the Quadrille Naturaliste. The dance had become world famous after it was performed at the Moulin Rouge, and in England a British producer dubbed the dance the "French Can Can." Lautrec clearly appreciated these commissions he got from friends, and in return, infused the poster with his own personal inspiration. He bathes the dancers in the yellow glow of the stage lights, and uses the wooden planks of the stage to highlight the diagonal layout of the image. Their dark-stockinged legs emerging from the large white expanse of their petticoats was both alluring and risqué. Witrock P21C, Adriani 162-III, Encyclopedie de l'Affiche p. 223, DFP-II 850, Maitres 1900 p. 49, Devynck p. 83 (var), Wine Spectator 43 and cover.
Henri de Toulouse-Lautrec 1864-1901 Catalogue d'Affiches Artistiques [Débauché]. 1896. Condition A / A-: minor overpainting in margins. Lautrec's lithograph entitled Débauché was also used by the prominent Parisian print and poster dealer A. Arnaud as the cover for one of his catalogues (with text that did not appear on the first state of the lithograph). The print run was limited to only 100 copies. The ribald image was hardly what one would expect to see on the cover of catalogue, but is a classic Lautrec image, both for its subject matter and because a friend of his is depicted as the driving force of this lascivious scene. Wittrock 167 II, Adriani 187 III, Affichomanie 9.
Henri de Toulouse-Lautrec 1864-1901 Divan Japonais. Maitres de l'Affiche pl. 2. 1896. Condition A-: slightly trimmed, affecting printer's text; slight darkening at edges. Paper.
Henri de Toulouse-Lautrec 1864-1901 La Revue Blanche. Maitres de l'Affiche pl. 82. 1897. Condition A / A-: small loss at top edge; slight darkening at top and left edges. Paper.
Henri de Toulouse-Lautrec 1864-1901 La Revue Blanche. 1895. Condition A-: expert unobtrusive overpainting in margins. Two-sheets. Misia Natanson, the wife of one of the founders of La Revue Blanche, a French art and literary magazine published between 1889 and 1903, was a muse for the artists and writers within this Belle Époque circle. Renowned as a charming and beautiful woman, she was a source of inspiration for Pierre Bonnard, Jacques Villon and Félix Vallotton, among other artists and writers. Both Bonnard and Toulouse-Lautrec (1864-1901) were commissioned to design a poster promoting the magazine and they selected Misia, who represented the spirit of La Revue Blanche, as their subject. Lautrec's image is uncharacteristically soft and endearing when compared with much of his other work. It has been suggested that he had fallen in love with Misia, which might explain this scarce, tender portrait. The somewhat photographic perspective in which Lautrec depicted her, without showing her legs and uncentered, lends the image a modern appearance. This is the third state (of 3), with letters. Delteil 355, Adhémar 115, Adriani 130.
Henri de Toulouse-Lautrec 1864-1901 L'Aube Revue Illustrée. 1896. Condition A-: minor restoration at edges and along vertical and horizontal folds; repaired pin holes in corners; partially-erased pencil notation at top left. Preview On Your Wall. With mastery of light and tone, Lautrec illustrates this early morning scene with an atmospheric blue ink; only the beams of the streetlight and the illuminated horse are left as the paper color. Lautrec's depiction of the Parisian working class was printed for the new left-wing periodical L'Aube ( The Dawn). The publication only lasted for two years. Wittrock P23, Adriani 184, Wagner 25, DFP-II 845, MoMA 592.1940.
Henri de Toulouse-Lautrec 1864-1901 Confetti. 1894. Condition A-: small tears at corners; minor crease at edges; tipped to mat at edges. Paper. Matted and framed. Preview On Your Wall. "One would hardly think that an artist of Toulouse-Lautrec's stature and wealth would normally apply his talents to advertise a product as routine as confetti" (Wine Spectator 53). The explanation is that the British brothers who owned this company were poster collectors themselves, and even "organized poster exhibitions at the Royal Aquarium, London, in 1894 and 1896, to which they invited Lautrec" (Adriani p. 144). Confetti, which was one of five of Lautrec's posters featured in the first exhibition, also appeared as the frontispiece in the catalogue. "The text, which is designed as part of the drawing, forms an integral element of the composition; it fits into the overall character of the design to create an effective advertisement without impinging on the drawing in any way. It is also one of Lautrec's most optimistic and joyful images, an indication of the breadth of his artistic ability" (Adriani p. 144). Delteil 352, Adhemar 9, Adriani 101, Reims 779, Wember 763, DFP-II 834, Wine Spectator 53, Abdy p. 82.
Henri de Toulouse-Lautrec (1864-1901) La Troupe de Mademoiselle Églantine (Mademoiselle Églantine's Troupe) (Delteil 361, Adhémar 198, Wittrock P21, Adriani 162), 1896 Lithograph in colors on wove paper backed with japon, Wittrock's state C (of D), with lettering, commissioned by Jane Avril, Paris, the full sheet, framed. sheet 24 1/8 x 31 3/8in (61.3 x 79.7cm)
Un-numbered copy of an edition of 350, includes 39 lithographs on Arches paper, separated by tissue. Missing all introduction pages, only lithos are present. Housed in the original green clam shell box. Each sheet overall is approx. 12.5" x 17", overall box size approx. 13-1/8" x 17-5/8". Box has some surface rubbing and edge and corner wear.
Henri de Toulouse-Lautrec (French 1864-1901) Mademoiselle Lender en Buste (1895) signed with red monograph stamp and numbered 34 from the edition of 100 lithograph in colours with full margins, from the rare deluxe French colour edition of 100 impressions, before the regular edition issued for Pan (Vol I, 1985), printed by Ancourt, Paris, published by Pan, Berlin image 32.4 x 24 cm, sheet 57.7 x 41 cm, framed and glazed 72 x 61 cm Sheet hinged to mount with tape verso, along upper edge in 3 places. Uneven toning and mount staining to sheet, most pronounced to upper and left margin. Sheet lightly cockled. Light creases to lower left and upper right corners. Scattered spots of foxing and dirt to margins. Printed area appears to be in good condition and good colour.
Henri de Toulouse-Lautrec Moulin Rouge (from Les Maitres de l'Affiche) 1898 lithograph in colors image: 11.75 h x 8 w in (30 x 20 cm) sheet: 15.625 h x 11.5 w in (40 x 29 cm) Publisher's blindstamp and inkstamp to lower edge. This work is from the edition printed by Imprimerie Chaix, Paris and published by Les Maitres de l'Affiche, Paris. This work will ship from Chicago, Illinois.
Henri de Toulouse-Lautrec Jane Avril (from Les Maitres de l'Affiche) 1898 lithograph in colors image: 10.25 h x 7.375 w in (26 x 19 cm) sheet: 15.75 h x 11.5 w in (40 x 29 cm) Publisher's blindstamp and ink stamp to lower edge. This work is from the edition printed by Imprimerie Chaix, Paris and published by Les Maitres de l'Affiche, Paris. This work will ship from Chicago, Illinois.
TOULOUSE-LAUTREC.- "EL TEATRO" Artika, 2003. Estuche expositor conservado en caja original, tela estampada con ventana de metacrilato que contiene tres libros: libro de Arte, libro de estudios y libro Montmartre. Esmerada edición, numerada de tirada limitada, que reproduce 30 litografías del artista, numeradas y con el sello del Museo Toulouse-Lautrec.
Henri de Toulouse-Lautrec French, 1864-1901 "Yvette Guilbert" and "Couverture pour Les Courtes Joies" Lithographs "Yvette Guilbert" on cream wove paper, "Couverture pour Les Courtes Joies" on Chine volant, both signed in plate, labels for Swann Auction Galleries, New York, NY to verso. Framed.
Henri de Toulouse-Lautrec Troupe de Mlle Eglantine vintage poster 1896 24.25 h x 31.5 w in (62 x 80 cm) "At the height of cancan's popularity, dancers formed groups which offered their services as a unit: whether the Troupe de Mlle Eglantine was the best of them we don't know, but it is certainly the only one publicized by the best. Toulouse-Lautrec did it at the request of his friend Jane Avril. From left to right, we see Jane Avril, Cleopatre, Eglantine, and Gazelle. As with his Moulin Rouge poster, he lets the white of the petticoats, punctuated by stockinged legs, do most of the talking, but he also offhandedly gives each girl a distinct character in only a few lines lining their facial expressions" (Wine Spectator, 43). Literature: Wittrock, P21C; Adriani, 162-III; Wine Spectator, 43; DFP-II, 850; Wagner, 23; Posters of Paris, 100; Reims, 791; PAI-XC, 434 This work will ship from Chicago, Illinois.
![Henri de Toulouse-Lautrec, Catalogue d'Affiches Artistiques [Débauché]. 1896.](https://image.invaluable.com/housePhotos/swanngalleries/94/812994/H0132-LbVP2Sp02hS7Rj.JPG)
