THE PRICE OF FAME
- Munch, Tiger and Bear
- Dürer, Five Lansquenets
- Bonnard, Dans la Rue
- Vuillard, La Couturiére
- Bellows, The Hold-Up
- Magritte, Oreille-Cloche
- Canaletto, Landscape
- Cezanne, Self-Portrait at the Easel
- Matisse, Repos du Modèle
- Pissarro, Rue Saint-Romaine
- Tiepolo, Three Soldiers
- Rouault, L’Enfant de la Balle
- Toulouse-Lautrec, Yvette
- Jongkind, Jetée en Bois
- after Brueghel, Saint Jerome
- Blake, And My Servant Job
- Chagall, Le Vixe
- Piranesi, The Villa Albani
- after Rubens, St. Mary Magdalene
- Millet, La Fileuse Auvergnate
- Beckmann, Jacob Wrestles
- Corot, Environs de Rome
- Tissot, Le Matin
- Whistler, Little Dorothy
- Géricault, Cheval Anglais
- Ostade, The Barn
- Hogarth, A Chorus of Singers
- Watteau & Thomassin, Femme
- Goya, Nanny’s Boy
- Palmer, Herdsman’s Cottage
- Delacroix, Arabes d’Oran
- Sloan, Fifth Avenue Critics
- after Boucher, The Snare
- after da Vinci, Caricature Head
- Baskin, Bird-Man
- after Turner, In the Campagna
- after Raphael, A Muse
- Kirchner, Railway Curve
- Daumier, Eh, Eh ? Petit Gredin…
- Robert, Le Poteau
- Rowlandson, Wood Nymphs
- Doré, Lapplander Peasants
- van Dyck, Portrait of Brueghel
- after Constable, Mill Stream
- Rosa, Woman Walking to the Left
13. Henri de Toulouse-Lautrec (1864-1901) Yvette Guilbert – A Ménilmontant de Bruant |
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Yvette Guilbert – A Ménilmontant de Bruant
Lithograph from Yvette Guilbert; Série Anglaise, 1898, 295 x 239 mm. Wittrock 275, Delteil 255, Adhèmar 311. Fine impression in sanguine on simili-japon paper with full margins, from the second edition, published by the Leicester Galleries, London, in 1930, signed with the monogram stamp and with the blind stamp of the publisher. The edition was 82 and Wittrock lists impressions from it as “rare”. The first edition, published by Bliss & Sands, was printed in black and did not show the edges of the stone; impressions from it are more common. The paper slightly and evenly darkened across the whole subject, the monogram stamp slightly faded. The title refers to a working-class neighborhood of Paris and to the singer-songwriter Aristide Bruant. Guilbert was one of the great theatrical figures of the Belle Époque. On stage she presented a virginal aspect and the contrast with her songs – which were anything but virginal – produced a theatrical ambiguity that drove audiences wild.