Henri de Toulouse-Lautrec

Lithograph printed in olive-green, 1894, one of Wittrock and Adriani's four trial proofs before lettering, linen-backed, printed by Chaix, published by the artist, framed 

The print is in good condion with margins on three sides, linen-backed. Mottled discoloration in the bottom half of the sheet. Several dark brown spots of brown discoloration in the center of the sheet, concentrated around the figure's left elbow. The largest, measuring 5/8 of an inch, appears behind the mounted figure's head. Several tears in the sheet edges, the largest a 4 inch vertical tear in the middle of the bottom sheet edge. Several hairline paper cracks at the sheet edges, the largest measuring three inches in the top left corner. Additional minor imperfections include unobtrussive creasing and rippling throughout the sheet. The largest crease appears in the bottom right corner and measures 13 inches. The linen-backed verso includes seven hinge remnants.
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.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

According to Wittrock, two impressions of this extremely rare trial proof are in public collections.

French hatred for Kaiser Wilhelm remained high in 1893 due to French xenophobia, the humiliation of losing the Franco-Prussian War and lingering payment of reparations to Prussia.  Babylone d’Allemagne was a short novel about the sexual depravity of Berliners.  Lautrec’s illustration focuses the viewer’s attention on four horses’ hindquarters, which are being closely observed by a caricature of Kaiser Wilhelm.  The not-so-subtle message was unmistakable and the German ambassador to France demanded that publication of the novel and poster cease.  However, Lautrec, anticipating such a reaction, paid for publication himself.  Lautrec’s publicity stunt worked.  According to the records of art dealer Edmond Sagot, prices for Lautrec’s prints and paintings quadrupled.