Henri de Toulouse-Lautrec (1864-1901) - photo 1
Henri de Toulouse-Lautrec (1864-1901) - photo 2

Henri de Toulouse-Lautrec (1864-1901)

Lot 445
21.10.2023 14:30UTC +01:00
Classic
Sold
€ 32 760
AuctioneerCHRISTIE'S
Event locationFrance, Paris
Archive
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Archive
ID 1051794
Lot 445 | Henri de Toulouse-Lautrec (1864-1901)
Estimate value
€ 40 000 – 60 000
Henri de Toulouse-Lautrec (1864-1901)

Le jockey

lithographie en couleurs sur papier Chine

Feuille: 51 x 35.5 cm.

Exécutée en 1899, belle impression du deuxième et dernier état, numérotée 'No. 88' au crayon (en bas à droite au verso), épreuve issue de l'édition à cent exemplaires (il existe également une édition à douze exemplaires, tirée sur papier Japon), imprimée par H. Stern et publiée par Pierrefort, Paris



lithograph in colours, on China paper

Sheet: 20 x 13 ¾ in.

Executed in 1899, a fine impression of the second, final state, numbered 'No. 88' in pencil (lower right verso), from the edition of one hundred (there were also twelve copies on Japan paper), printed by H. Stern, published by Pierrefort, Paris





Provenance

Sam Josefowitz, Pully.

Puis par descendances aux propriétaires actuels.



Literature

Toulouse-Lautrec, l'oeuvre graphique, collection Charell, cat.exp., Biennale de Venise, Venise, 1952, p.123, no. 246 (un autre état illustré, p. 124).

J. Adhémar, Toulouse-Lautrec, His Complete Lithographs and Drypoints, London, 1965, p. 365 (un autre édition illustrée).

L. Delteil, Le Peintre-Graveur illustré, Toulouse-Lautrec, New York, 1968, Vol. XI, no. 279 (une autre édition illustrée).

Post-Impressionist Graphics, original prints by French artists 1800-1903, cat. exp., Arts Council, London, 1980, p. 30, no. 82 (une autre édition illustrée).

W. Wittrock, Toulouse-Lautrec, catalogue complet des estampes, Courbevoie, 1985, Vol. II, p.694, no.308.II (une autre épreuve illustrée).

Adriani, Götz, Toulouse-Lautrec, Das Gesamte Graphische Werk, Cologne, 1986, no. 345 (une autre épreuve illustrée).

Toulouse-Lautrec, The complete graphic works, cat. exp., The Gerstenberg collection, Royal Academy of Arts, London, 1988, p.398, no. 345-II (illustrée,

p. 399).





Further details

Le Jockey est l'une des dernières grandes lithographies de l'artiste, née d'un nouvel élan artistique après la maladie nerveuse due à l'alcool qui l'a conduit à l'hôpital en février 1899. Pendant sa convalescence, l'éditeur Pierrefort, accompagné de son imprimeur Henri Stern, rend visite à l'artiste à la clinique de Neuilly et lui propose de réaliser une série de lithographies consacrées aux courses de chevaux qui seront publiées dans un album intitulé Les Courses. Seules quatre lithographies sont réalisées (Adriani 345-348), dont seule Le Jockey fait l'objet d'une édition.

Le moulin à vent lointain visible dans Le Jockey identifie le cadre comme étant le champ de courses de Longchamp, dans le bois de Boulogne, à Paris. Le dynamisme de l'estampe est obtenu grâce au raccourcissement audacieux du cheval au premier plan et à l'utilisation dramatique de la perspective, des procédés redevables aux œuvres de Degas et de Manet. L'audace de la composition est encore renforcée par l'horizon élevé et le recadrage abrupt des chevaux à gauche, vus d'une position élevée (un procédé dérivé des estampes japonaises), créant l'illusion qu'ils sont en fait suspendus au sol. Les formes en écho des chevaux et des jockeys, qui occupent la majeure partie de l'espace de l'image et se détachent puissamment sur l'étendue vert clair de l'arrière-plan, confèrent à l'œuvre une forte impression de surface. La force irrésistible de ce motif est particulièrement évidente dans la présente impression en raison de la puissance des couleurs qui ajoutent de la profondeur et du contraste à la scène.


Le Jockey is one of the last great lithographs to be made by the artist, arising from a new burst of artistic activity following the alcohol-induced nervous illness which led to his hospitalization in February 1899. During his convalescence, the publisher Pierrefort, accompanied by his printer Henri Stern, visited the artist in the clinic at Neuilly and suggested that he make a series of lithographs devoted to horse racing to be published in an album entitled Les Courses. Only four lithographs were completed (Adriani 345-348), of which only Le Jockey was published in an edition.

The distant windmill visible in Le Jockey identifies the setting as the racing course at Longchamp, in the Bois de Boulogne, Paris. The dynamism of the print is achieved through the daring foreshortening of the foreground horse and dramatic use of perspective, devices indebted to the work of Degas and Manet. The boldness of the composition is further heightened by the high horizon and abrupt cropping of the horses at the left viewed from an elevated position (a device derived from Japanese prints), creating the illusion that they are actually suspended from the ground. A strong sense of surface design is achieved by the echoing shapes of the horses and jockeys, taking up most of the picture space and standing out powerfully against the light green expanse of the background. The compelling power of this design is particularly evident in the present impression due to the strengths of the colors which add depth and contrast to the scene.
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