26 résultats
1895033926London: George Bell And Sons 1895. 1st Edition 1st Printing. Hardcover. Very Good. Xvi 367 Pp. Light Green Cloth Gilt Lettering Dark Green Decorations Top Edge Gilt Deckled Edges. Bookplate Of Henry A. Harben 1848-1910 And Inscribed "H. A. Harben From Henry / Xmas 1895". Inscription Bears Some Similarities To Handwriting Of Henry James The Author But In Important Respects Not Similar. Light Wear But Fraying At Spine Ends And At Tips All Gilt Bright Spine Cloth Browning 2" Split At Bottom Of Front Endpapers. <br/> <br/> George Bell And Sons hardcover
188014211880. Pencil on cream wove paper 2 1/2 x 4 inches 65 x 102 mm. Scattered staining and laid down to card stock with a partially trimmed drawing on the verso that is visible through to the recto. unknown
1895048427Paris: Félix Juven 1895. First Edition. Hardcover Half Leather. Very Good Condition. The first year 52 weekly issues of Le Rire bound up in half leather over marbled boards some wear to leather at spine ends but quite sound overall. SLight browning otherwise fine internally. Each issue 12 pages.<br /> <br /> Le Rire ran from 1894 to 1971 covering the issues of the day with mostly modesrtly satirical words and illustrations. Some page centerfolds a large fold out color and black and white illustration and period advertisements throughout. A nice reduction of Belle Epoque Paris. Size: Folio. Quantity Available: 1. Shipped Weight: Under 1 kilo. Category: Humour; Inventory No: 048427. Félix Juven hardcover
189880053Paris: P.V. Stock 1898. Fine. Lithographed cover by Henri de Toulouse-Lautrec P.V. Stock Paris 1898 13 x 19 cm broché First edition with no deluxe paper copies issued. Two small spots of foxing on the upper cover. A handsome copy with an ex-libris pasted on the verso of the upper cover. Work illustrated on the covers with an original lithograph by Henri de Toulouse-Lautrec. P.V. Stock unknown
189824116Paris: La Plume 1898. Fine. La Plume Paris 1er janvier au 15 décembre 1898 19 x 25 cm relié First edition of the final year edited by Léon Deschamps founder of this magazine which gave a predominant place to the visual arts. 24 issues gathered here including the exceptional number devoted to Alexandre Falguière. Publisher's binding in full fir green cloth smooth spine red shagreen title label gilt floral motif blind fillets on boards. The cover of the first issue illustrated by Mucha is bound at the head of the volume. Contributions by Théophile Gautier Jules Barbey d'Aurevilly Karl Boès Adolphe Retté Francis Jammes Victor Margueritte Ernest Raynaud Stuart Merrill etc. Numerous illustrations including a watercolored frontispiece by Eugène Grasset and drawings by Henri de Toulouse-Lautrec Alfons Mucha Alexandre Falguière Vivant-Denon Willette Jossot André des Gachons Ferdinand Cazals Henri Detouche James Ensor. The frontispiece by Emile Berchmans announced on the title page is not present in our copy. Table and index at end of volume. Manuscript dedication by a former owner on the endpaper. Tiny tear on the front board otherwise a rare and handsome copy. La Plume hardcover
189360594Paris: L'Estampe originale 1893. Fine. L'Estampe originale Paris 1893 31.50 x 43 cm en feuilles Original print by Henri de Toulouse from the series Le Café-Concert published by the Publications de l'Estampe Originale. Very rare and beautiful lithography is one of the 500 original proofs drawn on vellum by Edouard Ancourt's printing press. L'Estampe originale hardcover
189360589Paris: L'Estampe originale 1893. Fine. L'Estampe originale Paris 1893 31.50 x 43 cm en feuilles Original print by Henri de Toulouse from the series Le Café-Concert published by the Publications de l'Estampe Originale. Very rare and beautiful lithography is one of the 500 original proofs drawn on vellum by Edouard Ancourt's printing press. L'Estampe originale hardcover
189878088Paris: Librairie Charpentier et Fasquelle 1898. Fine. Librairie Charpentier et Fasquelle Paris 1898 13 x 19 cm broché First edition with no mention of deluxe paper copies. Precious signed autograph inscription from Octave Mirbeau to his friend Jules Renard. Blue pencil mark by Jules Renard on the front cover. Our copy is further enriched with the famous bookplate of Jules Renard designed and engraved by Henri de Toulouse-Lautrec. Librairie Charpentier et Fasquelle unknown
189360587Paris: L'Estampe originale 1893. Fine. L'Estampe originale Paris 1893 31.50 x 43 cm en feuilles Mary Hamilton - Le Café Concert An original print by Henri de Toulouse-Lautrec from the Le Café-Concert series published by Publications de l'Estampe Originale. A very rare and handsome lithograph one of 500 original proofs printed on vélin paper by Edouard Ancourt printers. Portrait of Mary Hamilton by Toulouse-Lautrec. This cabaret singer is here presented in full flow dressed in men's clothes. Lautrec was fond at this time of lithographic ink drawing simple lines full of movement reminiscent of Japanese ukiyo-e prints. A veritable ode to the café-concert this series by Toulouse-Lautrec and Henri-Gabriel Ibels captures the essence of the Parisian lifestyle and the vitality of its nights. The plates are accompanied by a pamphlet by the writer Georges Montorgueil singing the praises of these establishments so wrongly looked down on which he calls a tonic for modern life. Far removed from the heavy atmosphere of theatres and concert halls these carefreeplaces saw a real boom during the Belle Epoque and launched the careers of some remarkably modern artists. The two painters here produced portraits of the most famous cabaret stars at the time caught in the movements of their epileptic choreographies or the grace of their poses. The big names in cafés-concerts including Jane Avril Yvette Guilbert - Toulouse-Lautrec's muse - or Aristide Bruant are shown in direct and confident aspects inspired by Japanese woodcuts. The influence of Impressionism is also discernible in the finer details the style being in vogue at the fin du siècle. Toulouse-Lautrec had been a regular fixture at the Salon des Indépendants since 1889 and had shown there his view of Parisian high society traversing society salons and the city's brothels as well not to mention cabarets like the Moulin Rouge for which he designed a poster that has remained famous to this day. Another master of posters and draughtsmanship Ibels would work with the Éditions de l'Estampe Originale several times including on a series of drawings of the circus. He was also the creator of numerous illustrations for popular newspapers known for his dynamic and incisive style. A rare print perfectly preserved a reminder of the splendors of the "" Fin de siècle Paris by night "". L'Estampe originale hardcover
189360597Paris: L'Estampe originale 1893. Fine. L'Estampe originale Paris 1893 31.50 x 43 cm en feuilles Original print by Henri de Toulouse from the series Le Café-Concert published by the Publications de l'Estampe Originale. Very rare and beautiful lithography is one of the 500 original proofs drawn on vellum by Edouard Ancourt's printing press. L'Estampe originale hardcover
188531053AB1885. Jahrgänge 121. Paris. Directeur Aristide Bruant. 18851905. Quarto 275 x 14 und 375 x 275 cm. 190 von 194 Heften. Nummern 1142 ohne die Hefte 69 und 103m Serie 2: Nummern 130 Serie 3: Nummern 121 ohne die die Hefte 6 und 22. Lose Hefte mit meist farbigen Titeln in Lithographie von Toulouse-Lautrec und Steinlen. Fast vollständige Serie dieser seltenen Zeitschrift herausgegeben vom Pariser Chansonniert Aristide Bruat der zu dieser Zeit auf dem Montmartre ein Cabaret mit dem Namen "Le Mirliton" führte. - Die ersten 100 Nummern und alle der 3. Serie sind im Format 275 x 14 cm von Nummer 101 bis zum Schluss der 2. Serie im Format 375 x 275 cm. Ab dem Jahr 1895 erschien die Zeitschrift nur noch sporadisch. Zwischen Juni 1896 und Mai 1903 erschienen keine Ausgaben. Sehr seltene bis auf 4 Nummern komplette Folge dieser Jugendstil-Zeitschrift. unknown
189360590Paris: L'Estampe originale 1893. Fine. L'Estampe originale Paris 1893 31.50 x 43 cm en feuilles TOULOUSE-LAUTREC Henri de. Chanteur américain Le Café Concert L'Estampe originale Paris 1893 315 x 43 cm one single leaf An original print by Henri de Toulouse-Lautrec from Le Café-Concert series published by Publications de l'Estampe Originale. A very rare and handsome lithograph one of 500 original proofs printed on vélin paper by Edouard Ancourt printers. A rare print perfectly preserved a reminder of the splendors of the Fin de siècle Paris by night. A veritable ode to the Café-concert this series by Toulouse-Lautrec and Henri-Gabriel Ibels captures the essence of the Parisian lifestyle and the vitality of its nights. The plates are accompanied by a pamphlet by the writer Georges Montorgueil singing the praises of these establishments so wrongly looked down on which he calls a tonic for modern life. Far removed from the heavy atmosphere of theatres and concert halls these carefree places saw a real boom during the Belle époque and launched the careers of some remarkably modern artists. The two painters here produced portraits of the most famous cabaret stars at the time caught in the movements of their epileptic choreographies or the grace of their poses. The big names in cafés-concerts including Jane Avril Yvette Guilbert Toulouse-Lautrec's muse or Aristide Bruant are shown in direct and confident aspects inspired by Japanese woodcuts. The influence of Impressionism is also discernible in the finer details the style being in vogue at the fin du siècle. Toulouse-Lautrec had been a regular fixture at the Salon des Indépendants since 1889 and had shown there his view of Parisian high society traversing society salons and the city's brothels as well not to mention cabarets like the Moulin Rouge for which he designed a poster that has remained famous to this day. Another master of posters and draughtsmanship Ibels would work with the Éditions de l'Estampe Originale several times including on a series of drawings of the circus. He was also the creator of numerous illustrations for popular newspapers known for his dynamic and incisive style. L'Estampe originale unknown
18962401<p>The " debauched " man next to the prostitute on the cover is known to be Maxime Dethomas 1867-1929 one of Toulouse-Lautrec's close friends.</p><p>This catalog with <strong>32 full page plates contains 451 posters</strong> by Bonnard Caran d'Ache Chéret Forain Grasset Guillaume Lautrec Moreau-Nélaton Mucha Pal Steinlen Willette Beardsley Bradley etc.<br /><br /></p> Arnould
189412839Paris 1894. Letter and envelope. Very Good. Single 4-1/2 x 7 inch bifolium leaf written on one side in its stamped envelope with three different Paris postmarks. Minimally soiled. The correspondence refers to the 1894 album Yvette Guilbert which contains seventeen Toulouse-Lautrec crayon lithographs with text by Geffroy published by André Marty. Gustave Geffroy was a journalist art critic and historian of Impressionism. Guilbert was an innovative star cabaret singer during the Belle Epoque performing at the Moulin Rouge and Café des Ambassadeurs. She was a favorite subject of Toulouse-Lautrec.<p>"Mon cher Geffroy Dès que vous avez les épreuves d'Yvette ayez la gentillesse de me faire signe. Je voudrai bien que nous examinons tout cela ensemble. Bien votre T Lautrec".<p>My dear Geffroy as soon as you have the proofs of Yvette please be kind enough to let me know. I would very much like for us to examine everything together. Yours T Lautrec.<p>Now housed in a clear archival sleeve with acid free backing. unknown
18945215<p>Five small folio volumes. Contemporary half cloth over marbled paper-covered boards; three volumes disbound with covers still present. <i>Le Rire</i> was a successful French humor magazine published from October 1894 through the 1950s. Black and white and color illustrations copiously throughout. Artists who contributed to Le Rire include: Henri de Toulouse-Lautrec Théophile Steinlen Georges Goursat Hermann-Paul Juan Gris Georges Meunier Lucien Metivet Jean-Louis Forain Adolphe Willette Albert Guillaume Jules Grandjouan Abel Faivre and many others. Boards rubbed and scuffed board edges heavily abraded spine ends and corners bumped. Text blocks shaken with some sporadic gatherings and leaves loose leaves toned multiple places over-opened. Hinges in two volumes cracked. Large tear on page 7-8 of No. 49 in the first volume. Fifth volume with front cover detached. Backstrips separating on second and fifth volumes. </p><p>First volume: Nos. 1-50 1894-1895. Second volume: No. 51-100 1895-1896. Third volume: Nos. 209-260 1898-1899. Fourth volume: Nos. 261-312 with <i>Numero Special hors Serie </i>1899-1900. Fifth volume: Nos. 313-364 1900-1901. 2 vol: 9 1/2 x 12 inches // 3 vol: 9 1/2 x 13 inches</p> hardcover
189360591Paris: L'Estampe originale 1893. Fine. L'Estampe originale Paris 1893 31.50 x 43 cm en feuilles Henri de TOULOUSE-LAUTREC Aristide Bruant Original print from Le Café-Concert L'Estampe originale Paris 1893 31.5 x 43 cm one leaf Original print by Henri de Toulouse-Lautrec from the Le Café-Concert series published by Publications de l'Estampe Originale. Very rare and beautiful lithograph forming part of 500 original proofs printed on vellum by Edouard Ancourt's printing house. A few angular lacks. Portrait by Toulouse-Lautrec of Aristide Bruant a huge figure in the Belle Epoque music-hall and close friend of the artist to whom he ordered cabaret posters that remain well-known. Singer actor and performer he acquired his fame at the Chat Noir before setting up his own cabaret the Mirliton. In his preface to this current series of lithographs Montorgueil is full of praise for the undisputed master of realistic song: Mr Bruant endowed with an unusual forceful expression and an obvious originality could condense a complex and shady wild cat soul into popular beautifully styled songs. Here Lautrec depicts Bruant with his typical get-up and expression: ""Velvet jacket; Breton waistcoat crimson felt scarf with giant edges with parted flat hair. . Hands in pockets and a strongly disdainful expression. A rare print a reminder of the splendors of the Fin de siècle Paris by night. L'Estampe originale hardcover
18932709.Lithograph. 1893. Plate 7 from the "Le Cafe Concert " Concert Series. One of 100 on Japan paper. Deltiel 34 Adehemar 38 Adriani 23 Wittrock 24. 268mm x 215mm. Lautrec created 11 lithographs Delteil 28-38 for this set of 22. H.G. Ibels created the other 11. Ancourt & Co.
1895207853Paris: C. Joubert 1895. Remnants of mounting tape at upper margins; discreet owner's stamps on reverse of each; small chip to one corner; a very well-preserved group. 8 folio leaves. Toulouse-Lautrec produced a series of fourteen original covers to illustrate song with music by Desiré Dihau and lyrics by Jean Richepin. The pictures soon proved more popular than the songs and the publisher began to sell them separately without the sheet music. Later after the artist's death they would be reprinted on higher quallity paper and sold as a portfolio. This group comprises:<br /> Etoiles Filantes Delteil 130<br /> Oceano Nox Deteil 131<br /> Les Hirondelles de Mer Delteil 132<br /> L'Hareng Saur Delteil 137<br /> Le Secret Delteil 138<br /> Floréal Delteil 139<br /> Achetex mes Belles Violettes Delteil 140<br /> Beceuse Delteil 141. C. Joubert unknown
1895309347Paris 1895. Second state avec la lettre. Lithograph blue on light pink paper. 17-1/4 x 11-1/16 inches. Mounted at top edge on mat. Some wrinkling two half-inch closed tears on right margin mended on verso with portions of margin reinforced one short closed tear on left margin. Second state avec la lettre. Lithograph blue on light pink paper. 17-1/4 x 11-1/16 inches. Theatrical poster by Toulouse-Lautrec for Le Chariot de Terre Cuite an adaptation of the Sanskrit Mrichhhakatikâ attributed to the prince and poet Shûdraka. The play was adapted here by Victor Barrucand for the Théâtre de l'Œuvre with scenery by Toulouse-Lautrec Louis Valtat and Albert André. Toulouse-Lautrec also designed the cover for the published edition of the play cf. Delteil 78. The poster depicts Toulouse-Lautrec's friend critic and actor Felix Fénéon addressing his audience from atop an elephant a favorite animal of the artist's. Adhemar 109; Adriani 105; Delteil 77 II; Wittrock 89 unknown
1886Lautrec2<p><b>TOULOUSE-LAUTREC Henri de 1864-1901</b></p><p>Autograph letter signed " Your boy H " to his mother Adèle Zoë Tapié de CéleyranVilliers-sur-Morin fall 1886 4 p. in-12</p><p><br /></p><p><b>Superb immersive letter in the art of Toulouse-Lautrec then in the process of decorating of the inn of Villiers-sur-Morin – The painter reveals his "plan" to go and kiss Louis Anquetin and Claude Monet in Normandy and then develops with poetry on his disillusionments and artistic consolations since the summer</b></p><p><i>" Ma chère MamanJe suis dans la béatitude d'un pays frais. <b>Après cinq jours de farniente je me suis enchargé dans une decoration de l'auberge de Villiers sur Morin. Au grand plaisir du patron de l'établissement qui me paie a boire toute la journée. Je voltige d'échelle en échelle. et suis très content</b>. Je vous remercie au nom de Grenier de votre hospitalité charmante. Nous viendrons vers le 252627 approximativement.Le Courrier Français me fait toujours des avances et son dossier est toujours en train. Je tâcherai d'aller à Rivaulde sans lacher Grenier. Car voici notre plan. <b>A la fin de la semaine prochaine nous allons en Normandie embrasser </b></i>Louis <b><i>Anquetin et Claude Monet</i></b><i>. De la nous repassons par Paris. </i>Albert <i>Grenier revient embrasser la femme de ses pensées pendant ce temps je vais à Rivaulde </i>…<i> <b>Mon plan de travailler tout l'été et reposer l'hivers a raté complètement. Les intempéries et ma rousse </b></i>Suzanne Valadon <b><i>m'ont assez énervé. je m'allège en canotant ferme entre les moulins de Villiers qui ressemblent à des fusains de demoiselle.</i></b><i>Je vous embrasse et vous prie d'en faire autant avec bonne-maman</i>Léonce Tapié de Céleyran. <i>Your boyH "</i></p><p><i><br /></i></p><p>Although they frequented in the cabarets and workshops on the butte Montmartre Toulouse-Lautrec stayed in the summer of 1886 with the Grenier couple Albert and Lili owners of an inn in Villiers-sur-Morin. The couple invited their friends former members of Fernand Cormon's studio: Louis Anquetin Henri de Toulouse-Lautrec Émile Bernard Vincent Van Gogh and brought to Villiers their Parisian parties – which earned Villiers-sur-Morin the name "Valley of the Painters".</p><p>As mentioned in the letter Toulouse-Lautrec alternated at that time stays with Anquetin in Etrepagny Normandy and with the Grenier in Villiers-sur-Morin</p><p>After moving to the same house as Toulouse-Lautrec Suzanne Valadon pseudonym of Marie-Clémentine Valadon became the painter's model but also his mistress. He will make of her among others the famous portrait entitled <i>Gueule de bois</i>. She accompanies him everywhere during his nocturnal escapades</p><p>Unpublished letter</p>
189348437Paris. 1893 – 1894. Later burgundy cloth-backed marbled paper boards original publisher's printed illustrated wrappers preserved. 11 issues. Folio. 396 x 294 mm. Each issue with title and cover illustration printed text in French throughout and advertisements to rear cover and with 33 illustrations by Toulouse-Lautrec Bonnard Ibels Willette Vallotton Hermann-Paul and others. An excellent complete set of the very scarce fin-de-siècle illustrated revue 'L'Escarmouche' with additional important ephemera and original material.Directed by Georges Darien the writer satirist and artist the anarchist 'L'Escarmouche' was short-lived even by the standards of the day appearing weekly for only three short months from November 1893 to January 1894 a very rare final number included here was issued as an afterthought and without illustration apart from the cover by Ibels in March 1894. Noted rather more for its illustration than any literary merit 'LEscarmouche' featured covers by Henri-Gabriel Ibels 4 René Georges Hermann-Paul 5 and Félix Vallotton 1.The illustration fine and typical examples from the French fin-de-siècle features 12 lithographs by Henri de Toulouse-Lautrec. Artistic contributors to the revue also included Louis Anquetin Pierre Bonnard Henri-Gabriel Ibels René Georges Hermann-Paul Félix Vallotton and Adolphe Willette.Also included inserted loose is the following additional material:- the original 'affiche' for 'L'Escarmouche' by Ibels 650 x 485 mm a large colour lithograph showing the interior of a bar with the patrons turned to watch soldiers marching past outside the image was reduced and printed in black for the cover of issue no. 1; - the reproduction of the same from 'Les Maîtres de l'Affiche'; - the catalogue for Ibels' first exhibition in 1894 which includes many of the drawings that appeared in 'L'Escarmouche'; - Ibels' carte de visite with some lines in manuscript; - Ibels' letter dated Janvier 1906 to Achille Astre Gustave Geffroy's secretary; - the manuscript for Arsène Alexandre's article on Toulouse-Lautrec published in PAN in October 1893; - the original prospectus for the exhibition of lithographs by Henri de Toulouse-Lautrec at the Musée de Luxembourg Décembre 1904 - Janvier 1905 in many of the artist's lithographs from 'L'Escarmouche' were published.- Also included is a letter from Ibels dated 21 Fevrier 1906 Manuscript receipt from Hermann Paul Visiting card of Ibels Catalogue of an exhibition of Hermann Paul's drawings and printsat Bernheim Jeune c. 1905.'L'Escarmouche' is one of the scarcest of the periodicals from the French fin-de-siècle and this exceptional set includes the final number - almost always missing from sets - issued two months after the penultimate number. OCLC reports a single complete set that at the Bibliothèque Nationale in France; sets without the final number are also scarce and we can only trace those at the Swiss Bibliothèque d'Art et d'Archéologie the National Library of Canada the National Gallery of Australia and Iowa only.not in Ray. hardcover
189838060Paris: Henri Floury 1898. ONE OF THE FIRST AND ONE OF THE GREATEST MODERN ILLUSTRATED BOOKS WITH 20 ORIGINAL FULL-PAGE HORS-TEXTE LITHOGRAPHS BY HENRI DE TOULOUSE-LAUTREC. First edition of the text by Georges Clemenceau about the condition of Jews in Poland. Illustrated with 10 lithographs by Toulouse-Lautrec printed in black on Arches wove paper with an additional suite printed in various tones on Chinese paper. The wraps furthermore are an original color lithograph: the front cover shows Moses receiving the Ten Commandments; the back cover shows the Golden Calf deposed from its pedestal and is colored with gold ink. From a total edition of 380 numbered copies this is one of 355 on fine Arches wove paper. 4to. BEAUTIFULLY BOUND BY MERCHER fils IN A PERFECTLY CONCEIVED AND EXECUTED MODERN BINDING: morocco spine lettered direct with plexiglass covers revealing the color lithographs on the wraps. Fine matching morocco- and fleece-lined slipcase. Top edge gilt other edges uncut. FINE AND BRIGHT AS NEW WITH ABSOLUTELY NO DEFECTS INSIDE OR OUT. The Artist & The Book 302; Chapon p. 278; Skira 338; Adhémar 240-250; Adriani 213-223; Rauch 16; Stern 108; Strachan p. 34. AN OUTSTANDING COPY OF A RARE AND IMPORTANT BOOK IN PERFECT CONDITION. <br/><br/> Henri Floury paperback
1880Toulouse-Lautrec5<p><strong>TOULOUSE-LAUTREC de Henri 1864-1901</strong></p><p>Original drawings. Ink on paper <em>Dog and cat</em><br />N.p.n.d c. 1876-1880 1 p. in-4° in black ink<br />On the verso a study in English on Cromwell from an unknown hand<br />Monogram stamp Lugt 1338 on lower left corner<br />Tiny stain on right hand margin slight missing bits on upper and lower margins overall browning</p><p><strong>Charming studies of animals by young Toulouse-Lautrec</strong></p><p>These two freehand studies are to be compared with an important series of drawings that the young Toulouse-Lautrec probably made when he was a student at the Lycée Fontanes now the Lycée Condorcet in Paris. A similar sketch from the same period can be found on the work referenced D.448 in M. G. Dortu's C<em>atalogue raisonné</em> depicting a dog's head very similar to the one presented here.<br />Although it is not possible to identify the writer of the English assignment on the back of the sheet there is an identical handwriting for an "English Theme" on the back of another work by the artist referenced this time D.449 in the <em>Catalogue raisonné</em>.</p><p>If we look closely at the study of the dog on the right we notice that the head of the animal is more elaborate than the rest of the body which has remained in the state of primitive outline. The cat on the other hand is sketched in a more accomplished way. The fact remains that the very young Toulouse-Lautrec reveals here a style that is already his own immediately recognizable.</p><p><u>A certificate of authenticity from the Toulouse-Lautrec Committee issued on November 12 2024 will be given to the buyer.</u></p><p><u>Provenance:</u><br />Galy collection</p><p><u>Bibliography:<br /></u><em>Henri de Toulouse-Lautrec 1864-1901</em> Dessins-Estampes-Affiches Maurice Joyant éd. Floury Paris 1927 p. 178 Dessins à la plume et à l'encre</p><p><u>Iconography:<br /></u><em>Catalogue raisonné de l'Œuvre de Toulouse-Lautrec</em> Collectors Editions M.G. Dortu Ne York 1971 vol. IV D. 447 p. 78-79 repr. N&B titré : <em>Croquis à l'encre</em></p> M.G. Dortu
189997129Paris: Floury 1899. Toulouse-Lautrec's masterpiece of the illustrated book First edition number 84 of 100 copies only one of the most celebrated and sought-after of all livres d'artiste some of Lautrec's finest illustrations and the prototype of nearly all modern bestiairies Garvey. Lautrec and Jules Renard met first in 1894. The artist asked to illustrate some of the charming and witty portraits of animals and his first sketches were made at the Jardin d'Acclimatation and Jardin des Plantes in 1896. The last two illustrations printed were executed by Lautrec while he was a patient at the Neuilly clinic of Dr Sémalaigne. Renard's Histoire naturelles "contains some of Toulouse Lautrec's most refined draftsmanship and with Yvette Guilbert it is considered one of the masterpieces of the illustrated book. It was Lautrec who requested the pleasure of illustrating Renard's bestiary and Renard agreed hoping for descriptions that 'would please the animals themselves'. The two creative personalities clashed. Lautrec resented the book's limitation to mundane animals while Renard although paid homage to by a cover design of a fox objected to a number of Lautrec's drawings. Today we are amazed that it took Floury twenty years to sell out the edition of 100 copies" Donson/Gripp. Small folio 310 x 220 mm. With an original transfer lithograph to front wrapper on Japan paper and 22 throughout the text on vélin paper by Toulouse-Lautrec. Finely bound in 1973 by Pierre Lucien Martin 1913-1985 in olive green modelled calf titles to covers in raised lettering. Housed in a matching quarter calf chemise and slipcase. Foot of spine lightly rubbed with one small nick contents fresh; slipcase slightly sunned and rubbed. A finely bound copy. Adhémar 333-355; The Artist and the Book 304; Delteil 297-319; Donson/Gripp Great Lithographs by Toulouse-Lautrec nos. 78/79; Garvey 304 "Now one of the greatest rarities of the 19th century. Not only does it contain some of Lautrec's finest illustration but it is the prototype of nearly all modern bestiaries"; Rauch 17; Wittrock Toulouse-Lautrec I 202-224. unknown
189447793Paris.: L'Estampe Originale. 1894. Original publisher's printed wrappers with title and original lithograph by Toulouse-Lautrec to front wrapper sheets held in by canvas cords. Square folio. 408 x 390 mm. Leaf with justification verso blank leaf with publisher's imprint verso 16 leaves with Geffroy's text and original lithographs by Henri de Toulouse-Lautrec all printed in olive green ink recto only 2 blank leaves final leaf with colophon recto. Sheet size: c.375 x 390 mm. Toulouse-Lautrec's masterpiece pre-dating Bonnard's 'Parallèlement' by some 6 years and one of the earliest and greatest modern illustrated books.From the edition limited to 100 numbered copies on Arches signed by Yvette Guilbert in green crayon.The silhouettes of the female entertainers such as Yvette Guilbert and Jane Avril had already appeared in Lautrec's 1892 poster Divan Japonais and again in his illustrations for Georges Montorgueil's Le Café Concert of 1893. In the Yvette Guilbert volume published the following year Lautrec in his 16 lithographs depicts the singer in a variety of poses her restless gestures breaking the narrow composition and stabbing into the text itself. Toulouse-Lautrec was known to oversee the printing process with care often inking his subjects himself and when creating original lithographs - as here - drew directly on the lithographic stone. 'Yvette Guilbert the famous singer in many cafés and revues of the nineties was one of Lautrec's favourite subjects … these sharply observed lithographs … have immortalized her.' The Artist and the Book.Wittrock 69 - 85; The Artist and the Book 301. L'Estampe Originale. unknown
