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Henri de Toulouse-Lautrec

Currency:USD Category:Collectibles / Autographs Start Price:NA Estimated At:12,000.00 - 15,000.00 USD
Henri de Toulouse-Lautrec

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Auction Date:2017 Sep 13 @ 18:00 (UTC-5 : EST/CDT)
Location:236 Commercial St., Suite 100, Boston, Massachusetts, 02109, United States
ALS - Autograph Letter Signed
ANS - Autograph Note Signed
AQS - Autograph Quotation Signed
AMQS - Autograph Musical Quotation Signed
DS - Document Signed
FDC - First Day Cover
Inscribed - “Personalized”
ISP - Inscribed Signed Photograph
LS - Letter Signed
SP - Signed Photograph
TLS - Typed Letter Signed
Exceptional ALS signed “H. de Toulouse Lautrec,” one page both sides, lightly gridded, 8.25 x 10.5, no date, but circa 1894. Letter to his publisher and lithographer Andre Marty, in full (translated): "The book could not be better. Yvette wrote me a very kind note. As for the two japon proofs, they are admirable. Do your best to request them. Geffroy and you know better than I what to do. Keep my copy of the lithograph I will pick it up when I come back and send me the clippings relative to our book. And these eight to Bruant." In very good to fine condition, with chipping to the edges, and old archival reinforcement tape along portions of the back left edge.

Gustave Geffroy was a journalist who wrote for the left-wing paper ‘La Justice,’ and “Yvette” presumably refers to Yvette Guilbert, a singer and actress who was the subject of some of Toulouse-Lautrec's most striking artwork. The mention of Guilbert's "very kind note" concerning "the book," is most likely referring to the famous 1894 portfolio entitled ‘Yvette Guilbert,’ which was published by Marty and featured text by Geffroy and lithographs by Toulouse-Lautrec. Andre Marty found great success producing limited-edition print portfolios during the 1890s, and ‘Yvette Guilbert’ was conceived as part of a proposed series on Parisian cafe singers (although it was the only one published). Toulouse-Lautrec’s artwork shows scenes from the singer’s daily life, while Geffroy uses the subject as a device to discuss the living and working conditions of her primary audience, members of the Paris working class.