Henri De Toulouse-Lautrec (1864-1901)
Property from the Collection of Lew and Edie Wasserman
Henri De Toulouse-Lautrec (1864-1901)

Eventail

Details
Henri De Toulouse-Lautrec (1864-1901)
Eventail
stamped with monogram (Lugt 1338; lower right)
watercolor on paper fan with bamboo support
25 5/8 x 13¼ in. (65 x 33.7 cm.) (irregular)
Painted circa 1892
Provenance
Paul Cassirer, Berlin.
Marianne Feilchenfeldt, Zurich.
Private collection, New York.
Acquired by Lew and Edie Wasserman, Los Angeles, circa 1965.
Literature
M.G. Dortu, Toulouse-Lautrec et son oeuvre, New York, 1971, vol. III, p. 500, no. A. 202 (illustrated, p. 501).
Exhibited
Kunsthalle, Basel, Henri de Toulouse-Lautrec, 1937, no. 149.
Munich, Haus der Kunst, Henri de Toulouse-Lautrec, October-December 1961, no. 163.
Cologne, Wallraf-Richartz-Museum, Toulouse-Lautrec, December 1961-February 1962, no. 161.

Lot Essay

The five fans from the present collection form an unusually varied selection of the popular éventails which artists such as Edouard Manet, Camille Pissarro and Pierre-Auguste Renoir undertook in response to the increasing fashion of fans as well as the exotic japonisme with which they were associated. Beginning in the late 1860s--Edgar Degas created his first fan in 1869, Paul Gauguin in 1884 (see Evening Sale lot 8)--Impressionist painters ascribed style and grace to these objects, appearing in their compositions (e.g. Manet's La dame aux éventails, Rouart and Wildenstein no. 208; Musée du Louvre, Paris), and becoming decorated objects in their own right. In 1880, Gazette des beaux-arts critic Arthur Baignières would write of "une épidémie d'éventails"--by 1891, "the combined total of folding and rigid fans exported from Japan was 15,724,048" (Dr. A. Mackrell, Art and Fashion, London, 2005, p. 95). The present examples--floral and feminine in subject--elegantly balance japoniste influence with traditional Impressionist motifs.
;

More from Impressionist and Modern Day Sale

View All
View All