Description
Henri de Toulouse-Lautrec (1864-1901)
Mademoiselle Marcelle Lender, En Buste, 1895
Medium: Crayon and Brush Lithograph on Wove Paper
Edition: /1100
Artwork Size: 13.5 x 10.5 in
Framed Size: 25 x 21.5 in
This work is Framed
Crayon and brush lithograph on wove paper
A borderline surrounding image added to key stone, the colour stones not printed
Pan edition 1895; 1211 impressions, 36 for the artist’s edition and 75 for the deluxe edition, signed on a few
impressions – numbered and inscribed T.E in top left
Sheet Size: 13 ½” x10 ½” inches
Printed by Ancourt (H. Stern); Published by Pan, Berlin.
Condition A
Marcelle Lender (1862-1926) starred in many of the operettas and comic operas popular at the end of
the 19th century. One of her shows, Chilperic, was justifiably unmemorable except that it inspired Lautrec to
paint a magnificent painting and design six lithographs (Adriani 110-115). This is by far the best image from
that series and the only one in color. Lautrec depicts her bowing after an extravagant Spanish dance that
fascinated him. To render her wild attire and hairdo, he uses eight colors with chalk, ink with brush and a
spraying/splatter technique. As Adriani notes, "no other lithograph is printed with such wealth of subtle color
combinations and none embodies, as this does, the opulent decoration of an age moving towards its close." This is
the fourth state of four, from the edition of 1211 impressions printed for the Berlin magazine Pan, which were
inserted in volume I, no. 3 of the periodical. Delteil 102 III, Wittrock 99 IV, Adriani 115 4B, Schardt p. 179.
The young Henri went to Paris in 1882 to attend different, conventional painting studios where he met the
artists Emil Bernard and Vincent van Gogh. Soon he is more attracted by the Impressionist artists like Edgar
Degas than by the conventional painting style and gives up the lessons in the studios.
Lautrec lived in the Montmartre section, the nightlife quarter of cabarets, cafes, restaurants, sleazy dance halls
and brothels. He soon emerged into this world and became a part of the bohemian community. In the evenings,
he could be seen chatting with friends and drinking, and at the same time drawing sketches on paper. Then the
next day, he would transform the sketches into paintings and lithographs.
This piece is in 23 public collections including Berlin, Kupferstichkabinett and The Institute of Chicago.
Description
Henri de Toulouse-Lautrec (1864-1901)
Mademoiselle Marcelle Lender, En Buste, 1895
Medium: Crayon and Brush Lithograph on Wove Paper
Edition: /1100
Artwork Size: 13.5 x 10.5 in
Framed Size: 25 x 21.5 in
This work is Framed
Crayon and brush lithograph on wove paper
A borderline surrounding image added to key stone, the colour stones not printed
Pan edition 1895; 1211 impressions, 36 for the artist’s edition and 75 for the deluxe edition, signed on a few
impressions – numbered and inscribed T.E in top left
Sheet Size: 13 ½” x10 ½” inches
Printed by Ancourt (H. Stern); Published by Pan, Berlin.
Condition A
Marcelle Lender (1862-1926) starred in many of the operettas and comic operas popular at the end of
the 19th century. One of her shows, Chilperic, was justifiably unmemorable except that it inspired Lautrec to
paint a magnificent painting and design six lithographs (Adriani 110-115). This is by far the best image from
that series and the only one in color. Lautrec depicts her bowing after an extravagant Spanish dance that
fascinated him. To render her wild attire and hairdo, he uses eight colors with chalk, ink with brush and a
spraying/splatter technique. As Adriani notes, "no other lithograph is printed with such wealth of subtle color
combinations and none embodies, as this does, the opulent decoration of an age moving towards its close." This is
the fourth state of four, from the edition of 1211 impressions printed for the Berlin magazine Pan, which were
inserted in volume I, no. 3 of the periodical. Delteil 102 III, Wittrock 99 IV, Adriani 115 4B, Schardt p. 179.
The young Henri went to Paris in 1882 to attend different, conventional painting studios where he met the
artists Emil Bernard and Vincent van Gogh. Soon he is more attracted by the Impressionist artists like Edgar
Degas than by the conventional painting style and gives up the lessons in the studios.
Lautrec lived in the Montmartre section, the nightlife quarter of cabarets, cafes, restaurants, sleazy dance halls
and brothels. He soon emerged into this world and became a part of the bohemian community. In the evenings,
he could be seen chatting with friends and drinking, and at the same time drawing sketches on paper. Then the
next day, he would transform the sketches into paintings and lithographs.
This piece is in 23 public collections including Berlin, Kupferstichkabinett and The Institute of Chicago.
A seamless addition
Always Chic.
