- Listed: January 1, 1970 12:00 am
- Title: Mademoiselle Marcelle Lender, en buste
- Artist: Henri de Toulouse-Lautrec
- Format (cm):
- Format (in):
- Last Sale price: 15 330,00
- Last Sale date:
Henri de Toulouse-Lautrec (1864-1901) Mademoiselle Marcelle Lender, en buste lithograph in colours, 1895, on smooth wove paper, a fine impression of Wittrock’s fourth, final state, the colours exceptionally fresh, with letterpress text, from the edition of 1,211 published in PAN, Vol. I, no. 3 (there was also a French edition of one hundred without text), the full sheet, in very good condition, with the original patterned tissue paper cover, glued along the left sheet edge (as issued) L. 324 x 245 mm., S. 355 x 265 mm.
Galerie Kornfeld, Bern, 21 June 2001, lot 846 (CHF 30,000).
Henri de Toulouse-Lautrec had a passion for the theatre in all its forms, from the popular dance halls and cabarets to the avant-garde theatres of Paris. The following lithographs (lots 9-15), including several rare impressions, depict some of the actresses and singers whom Lautrec most admired, many of them celebrated in their day but now remembered primarily through his art.
Delteil 102; Adhémar 131; Wittrock 99; Adriani 115
The actress and singer Marcelle Lender (1862-1926) was one of the Lautrec’s favourite performers. In 1895 she starred in the comic operetta Chilpéric , performed at the Théâtre des Variétés in Paris. Such was Lautrec’s infatuation that, in the operetta’s three month run, he attended more than twenty times, arriving just to see Lender dance the bolero in the second act. When asked by his friend the poet and playwright Romain Coolus about his devotion to the play Lautrec explained, ‘I come only to see Lender’s back’, he replied. ‘Look at it carefully; you will seldom see anything as wonderful. Lender’s back is magnificent’ (Romain Coolus, Souvenirs sur Toulouse-Lautrec , 1931, quoted in G. Adriani, p. 157). This celebrated portrait of Lender in Spanish costume, bowing to the audience, is one of Lautrec’s most famous. Gotz Adriani observed that ‘no other lithograph is printed with such a wealth of subtle colour combinations, and none embodies, as this does, the opulent decoration of an age moving towards its close’ (Adriani, p. 161).
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