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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 />

������������������������������������������������������������������<br />

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 />

�8�������������������<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 />

���������������������������������������������������<br />

����������������������������������������������<br />

���������������������������������������������<br />

play of lines drawn over a delicately nuanced<br />

��������������������������������<br />

1�� x 18 1 544. La Goulue. �����<br />

�2�����������������<br />

10<br />

Courier Lithographic Co., Buffalo (not shown)<br />

Cond A-/Faint horizontal fold. Framed.<br />

����������������������������������������������<br />

������������������������������<br />

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 />

�������������������������������������������������<br />

in a loge. Lautrec also printed a small edition<br />

���������������������������������������<br />

Est: $40,000-$50,000.<br />

1�2 x 13 1�2������������������� Cond A.<br />

���������������������������������<br />

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 />

���������������������������������������������������������������<br />

��������<br />

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 />

���������������������������������������������������������������<br />

���������<br />

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 />

������������������������������������������������������������������������<br />

������������������������������������������������������������������������<br />

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 />

��������������������������������������������������������<br />

Est: $25,000-$30,000.<br />

541. La Femme Qui se Lave / La Toilette. 1896.<br />

15<br />

�8�������������������<br />

Cond A/P.<br />

�������������������������������������<br />

From the original edition of 500 in his Le Café<br />

Concert series, this print shows the Spanish dancer<br />

�����������������������������������<br />

Est: $1,200-$1,500.<br />

3�� x 20 1 545<br />

�2���������������<br />

Cond A. Framed.<br />

��������������������������������<br />

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

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