15MB PDF file - The International Poster Center
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540<br />
541<br />
TOULOUSE-LAUTREC (Continued)<br />
540. Elles. 1896.<br />
542<br />
15 7 �8 x 20 1 �� �������������������<br />
Cond A. Framed.<br />
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PAI-LI, 523<br />
Est: $20,000-$30,000.<br />
542. La Dépêche / Le Tocsin. 1895.<br />
16 3�� x 21 7 543. <strong>The</strong> Ault & Wiborg Co. 1896.<br />
13<br />
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Advertising a serialized novel in the Toulousebased<br />
paper La Dépêche, this image shows a<br />
ghostly woman followed down a deserted evening<br />
path by a skin-and-bones dog, the outline of a<br />
gloomy castle in the background. <strong>The</strong> Alarm<br />
(also known as <strong>The</strong> Lady of the Manor) by Jules<br />
de Gastyne is a gothic romance. “It is evident<br />
from this rather historical design . . . that Lautrec<br />
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play of lines drawn over a delicately nuanced<br />
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1�� x 18 1 544. La Goulue. �����<br />
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10<br />
Courier Lithographic Co., Buffalo (not shown)<br />
Cond A-/Faint horizontal fold. Framed.<br />
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Lautrec’s smallest poster is also the only one<br />
executed by him on zinc plates and the only one<br />
printed in the United States. He sent the plates<br />
to the Cincinnati ink and printing company, Ault<br />
and Wiborg, who commissioned it from him. It<br />
represents the actress Emilienne d’Alençon and<br />
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in a loge. Lautrec also printed a small edition<br />
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Est: $40,000-$50,000.<br />
1�2 x 13 1�2������������������� Cond A.<br />
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With a besotted Lautrec gazing on in the<br />
background, the famous duo from the Moulin Rouge<br />
poster, La Goulue and Valentin, slither out a waltz in<br />
this music cover for Bosc’s little ditty.<br />
Est: $1,200-$1,500.<br />
545. Edmée Lescot. ca. 1893.<br />
12 3�� x 17 1 <strong>The</strong> Elles collection is Lautrec’s most famous brothel series, an edition<br />
of lithographs depicting prostitutes simply referred to as Elles (<strong>The</strong>m).<br />
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ladies), and at the same time is the pronoun indicating all females.<br />
Although the women of the Elles series are prostitutes, they appear<br />
desexualized, shown in postures that emphasize the everyday and<br />
unglamorous nature of their occupation. In this instance, putting her hair<br />
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even in the room is his top hat resting gingerly on her bed. “It was the<br />
pictorial epilogue to what the artist had experienced in the maisons closes<br />
of the Rue des Moulins, the Rue d’Amboise and the Rue Joubert. ‘<strong>The</strong>y’<br />
are ‘women to my liking,’ as he used to say cynically, and he often lived<br />
with them for weeks at a time during the years 1892 to 1895, a constant<br />
witness of their daily lives, of their suffering and intimacy. Attentively he<br />
noted their monotonous routine at the wash-stand, at breakfast, waiting for<br />
customers, or during the medical inspection. <strong>The</strong>se places on the periphery<br />
of society seemed to him ideally suited for a social allegory, in which<br />
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p. 222). <strong>The</strong> series was placed on exhibition at the Galeries de la Plume’s<br />
twentieth Salon des Cent on 22 April 1896, where the lithographs could<br />
be viewed by anyone who wished. Oddly enough, the series received little<br />
attention and proved very hard to sell. One set, however, was sold to the<br />
Norwegian artist Edvard Munch. This is the frontispiece to the collection,<br />
543<br />
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Est: $25,000-$30,000.<br />
541. La Femme Qui se Lave / La Toilette. 1896.<br />
15<br />
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Cond A/P.<br />
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From the original edition of 500 in his Le Café<br />
Concert series, this print shows the Spanish dancer<br />
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Est: $1,200-$1,500.<br />
3�� x 20 1 545<br />
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Cond A. Framed.<br />
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From his Elles suite, this print shows the quiet moment of a voluptuous<br />
woman sponging herself after a wearisome day. One interpretation<br />
of the entire series is that, rather than simply being a collection of<br />
brothel motifs, it portrays the domestic life of a lesbian couple, one<br />
half of which was the clowness of the Moulin Rouge, Cha-U-Kao. <strong>The</strong><br />
resemblance to her here, even from behind, is striking. Such a reading<br />
gathers likelihood in the knowledge that the publishers, Pellet, favored<br />
risqué themes, and that the album matches the usual size of twelve<br />
images in the traditional Japanese erotic woodblock collections, many<br />
of which focus on the ritual of the woman at her bath. �������������������<br />
with the publisher’s blindstamp in the lower right.<br />
Est: $2,500-$3,000.<br />
544