- 494
Henri de Toulouse-Lautrec
Estimate
12,000 - 18,000 GBP
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Description
- Henri de Toulouse-Lautrec
- Femme à l'éventail - recto Scène de cirque - verso
- stamped with the artist's monogram (lower left recto)
- pencil on paper - recto
pencil and coloured crayons on paper - verso - 27 by 17.1cm., 10 5/8 by 6 3/4 in.
Provenance
Michel Tapié de Céleyran, Paris
D. Viau, Paris
P.A. Weill, Paris
M. Schneider, Zurich
Thomas Le Claire, Hamburg
Acquired from the above by the present owner in 2009
D. Viau, Paris
P.A. Weill, Paris
M. Schneider, Zurich
Thomas Le Claire, Hamburg
Acquired from the above by the present owner in 2009
Literature
Maurice Joyant, Henri de Toulouse-Lautrec 1864-1901. Dessins, estampes affiches, Paris, 1927, vol. II, p. 183
Jean-Paul Crespelle, Toulouse-Lautrec. Feuilles d'études. Fac-similé d'un carnet de dessins, Paris, 1962, illustrated pp. 5, 59 & 61
John Ashbery, New York Herald Tribute, 1962, illustrated n.p.
Jean Albert Cartier, Combat, 1962, illustrated n.p.
M.G. Dortu, Toulouse-Lautrec et son œuvre, New York, 1971, vol. V, no. 2.108 & 2.109, illustrated p. 351
Jean-Paul Crespelle, Toulouse-Lautrec. Feuilles d'études. Fac-similé d'un carnet de dessins, Paris, 1962, illustrated pp. 5, 59 & 61
John Ashbery, New York Herald Tribute, 1962, illustrated n.p.
Jean Albert Cartier, Combat, 1962, illustrated n.p.
M.G. Dortu, Toulouse-Lautrec et son œuvre, New York, 1971, vol. V, no. 2.108 & 2.109, illustrated p. 351
Condition
Executed on cream wove paper, not laid down and affixed with corner mounts to the window mount, thereby revealing the verso. The lower edge is deckled.
Recto - the sheet is slightly time stained and there is some mount staining to the extreme edges. There are small pinholes to each of the four corners, and there is a paper loss to the extreme lower left corner. There is a spot of raised paper irregularity to the lower right of the lady's skirt, possibly inherent to the sheet. There are some very small spots of foxing in places.
Verso - The sheet is slightly time stained and there are some paper remnants to the lower edge of the sheet.There is a small stain to the left of the sketch of the gentleman with the hat.
This work is in overall good condition.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."
Catalogue Note
The first owner of this work was Michel Tapié de Céleyran, Toulouse-Lautrec's second cousin, and an avid art collector, critic, and curator. Tapié de Céleyran was one of the first to theorise the "art informel" and has been at the forefront of avant-garde art movements, assisting Jackson Pollock's first exhibition in Paris in 1952.