Henri de Toulouse-Lautrec

Pierre Decourcelle, Paris (sale: Hôtel Drouot, Vente Pierre Decourcelle, Paris, 16th June 1926, lot 70)
Eugene Blot, Paris (purchased at the above sale; sale: Hôtel Drouot, Vente Eugéne Blot, Paris, 2nd June 1933, lot 23)
Private Collection, Switzerland (acquired before 1940; sale: Sotheby's, London, 6th February 2007, lot 105)
Purchased at the above sale by the present owner

Paris, Galerie Charpentier, La Danse et la Musique, 1923
Athens, Herakleidon Museum & Cyprus, The Evagoras and Kathleen Lanitis Foundation, Toulouse-Lautrec and the Belle Epoque in Paris and in Athens, 2008-2009, illustrated in the catalogue
Connecticut, New Britain Museum of American Art; Allentown, Leigh Valley Museum of Art & Michigan, Flint Museum of Art, Toulouse Lautrec and his world, 2010-2012, illustrated in the catalogue

Gustave Geffroy, 'Le Plaisir à Paris. Les Restaurants et les cafés-concert des Champs-Élysées', in Figaro illustré, Paris, July 1893, no. 40, illustration no. 3
Maurice Joyant, Henri de Toulouse-Lautrec, 1864-1901, Dessins-Estampes-Affiches, Paris, 1927, listed p. 199
Hanspeter Landholt, Henri de Toulouse-Lautrec, Drawings and Sketches in Colour, New York & Basel, 1955, illustrated in colour pl. 8
M. G. Dortu, Touolouse-Lautrec et son œuvre, New York, 1971, vol. III, no. A203, illustrated p. 501

Executed on tracing paper laid down on board. The board is stable. The upper and lower edges of the sheet are unevenly cut and laid down by the artist. There are adhesive remnants along the edges of the board and the edges of the board are scuffed. There is a pin hole to the lower right corner of the sheet and a small scuff to the sheet above the model's raised arm. This work appears to be in good overall 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."

Toulouse-Lautrec was a devoted admirer of Yvette Guilbert from the time of her debut in 1890, when her distinctive vocals and elegant costume earned her a place as one of Montmartre's foremost entertainers. In 1892 he began to include likenesses of her in posters and lithographs. Two years later, the artist and songstress collaborated to produce an elaborate, limited edition book of lithographs of Guilbert by Lautrec. It was the first example of a publication dedicated to the then unusual subject of an entertainment celebrity.

The long black gloves and V-necked dress were Guilbert's stage trademarks and in this work Lautrec captures her gesture and performance to expressive effect. It is hard to tell whether Guilbert found Lautrec's portrayals of her to be affectionate or not. Judging by their recorded comments they teased each other wildly, and evidently Guilbert complained that he drew her uglier than she was, but it is doubtful she was in reality offended by Lautrec's own artistic interpretation.