Henri de Toulouse-Lautrec, Jane Avril: Jardin de Paris from Les Maîtres de L'Affiche, 1898, Original Lithograph

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Henri de toulouse-lautrec (1864-1901)

jane avril - jardin de paris

year of ideation: 1893
year of printing: 1898
lithograph on … Read more Henri de toulouse-lautrec (1864-1901)

jane avril - jardin de paris

year of ideation: 1893
year of printing: 1898
lithograph on wove paper
publisher: chaix

signed in the plate, lower left

from the famous collection "les maîtres de l'affiche"
issue # 28, plate #110, march 1898

one of the rarest and most attractive plates of the entire collection
variant with orange skirt: this lithograph has been issued in two versions, this one (orange skirt), and with red skirt (please see another listing)

bottom left:
les maîtres de l'affiche pl. 110
imprimerie chaix
(encres lorilleux & cie.)

bottom right, blind stamp of publisher / edition

very good condition (a-)

literature:
"the complete masters of the poster", edited by stanley appelbaum, dover, new york, 1990, p. 110
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about the collection "les maîtres de l'affiche"

les maîtres de l'affiche (the masters of the poster) is one of the most prestigious and influential art publications in history its 256 color plates have preserved for each succeeding generation a wide-ranging selection of outstanding posters from the turn of the century, when that popular art form had reached its first peak.

the earliest printed posters were chiefly typographic, with relatively few illustrated examples. But in the second half of the nineteenth century, when all types of commercial products, including printed matter, were being aesthetically upgraded, largely thanks to various arts-and-crafts movements, serious artists such as manet began to see new possibilities in the poster medium. It was especially jules chéret (1836-1932) whose unique combination of artistic, technical and entrepreneurial talents was to pave the way for a true poster industry. After chéret opened his own print shop in paris in 1866, his work continued to inspire numerous emulators in europe and america. From 1881 on, his shop operated as a branch of the large chaix firm (imprimerie chaix)

by the 1890s the streets of every great metropolis were enlivened by large, colourful posters.
this chaix publication, les maîtres de l'affiche, was issued as separate numbered sheets measuring 40 x 29 cm. Every month for 60 months, from december 1895 through november 1900, subscribers received a wrapper containing four consecutively numbered poster. On 16 occasions the monthly wrapper also contained a bonus plate, a specially created art lithograph. Jules chéret, artistic director of chaix and father of the modern poster, emerged with the lion's share of the plates, one chéret being included in each monthly issue of four, and seven of the 16 unnumbered bonus plates.

of the 97 artists represented in les maîtres de l'affiche, some were preeminent painters and printmakers at various stages of their careers: toulouse-lautrec, denis, bonnard, vallotton, puvis de chavannes. Others were famous illustrators and cartoonists of the period, still well known to art collectors and bibliophiles. Forain, caran d'ache, ibels, willette, boutet de monvel, léandre. But there were also all those whose names say "poster," the conquering pioneers of the new medium. Chéret himself, mucha, steinlen, the beggarstaffs, grasset, penfield, parrish, bradley, hardy the list could go on and on.
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about the artist

comte henri marie raymond de toulouse-lautrec-monfa (24 november 1864 – 9 september 1901), known as toulouse-lautrec, was a french painter, printmaker, draughtsman, caricaturist, and illustrator whose immersion in the colourful and theatrical life of paris in the late 19th century allowed him to produce a collection of enticing, elegant, and provocative images of the sometimes decadent affairs of those times.

born into the aristocracy, toulouse-lautrec broke both his legs during adolescence, leaving him with a stunted appearance. In later life, he developed an affinity for brothels and prostitutes that directed the subject matter for many of his works, which record details of the late-19th-century bohemian lifestyle in paris. He is among the painters described as being post-impressionists, with paul cézanne, vincent van gogh, paul gauguin, and georges seurat also commonly considered as belonging in this loose group.

in a career of less than 20 years, toulouse-lautrec created 737 paintings on canvas, 275 watercolours, 363 prints and posters, 5,084 drawings and some ceramic and stained-glass work.
toulouse-lautrec's debt to the impressionists, particularly the more figurative painters like manet and degas, is apparent, that within his works, one can draw parallels to the detached barmaid at a bar at the folies-bergère by manet and the behind-the-scenes ballet dancers of degas. Toulouse-lautrec's style was also influenced by the ukiyo-e genre of japanese woodblock prints, which became popular in the parisian art world.

toulouse-lautrec excelled at depicting people in their working environments, with the colour and movement of the gaudy nightlife present but the glamour stripped away. He was a master at painting crowd scenes where each figure was highly individualised. At the time they were painted, the individual figures in his larger paintings could be identified by silhouette alone, and the names of many of these characters have been recorded.[citation needed] his treatment of his subject matter, whether as portraits, in scenes of parisian nightlife, or as intimate studies, has been described as alternately "sympathetic" and "dispassionate".[citation needed]

his skilled depiction of people relied on his highly linear approach emphasising contours. He often applied paint in long, thin brushstrokes leaving much of the board visible. Many of his works may be best described as "drawings in coloured paint".

in a 2005 auction at christie's auction house, la blanchisseuse, toulouse-lautrec's early painting of a young laundress, sold for us$22.4 million.

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important:

. The listing is for the original lithograph.
. The cover of the issue by jules chéret is shown for reference. Minor barely visible tear in the right side, not affecting the image and the text, minimum ancient trimming not affecting the image and the text, very light wear consistent with age this piece has an attribution mark,
i am sure that it is completely authentic and take full responsibility for any authenticity
issues arising from misattribution See less