LaurieAnnie's photos with the keyword: Toulouse-Lautrec

Woman before a Mirror Henri de Toulouse-Lautrec (French, Albi 1864–1901 Saint-André-du-Bois) Date: 1897 Medium: Oil on cardboard Dimensions: 24 1/2 x 18 1/2 in. (62.2 x 47 cm) Classification: Paintings Credit Line: The Walter H. and Leonore Annenberg Collection, Bequest of Walter H. Annenberg, 2002 Accession Number: 2003.20.15 Gallery Label: The indolent, cloistered lives of prostitutes were the subject of some of Lautrec’s most powerful works. He made about fifty paintings depicting them, as well as numerous drawings and prints, including a suite of color lithographs, Elles, which was completed the year before this painting. Lautrec does not flatter the woman’s naked figure, nor does he divulge the expression she sees in her mirror: she appears simply to be taking a stark appraisal of herself. Text from: www.metmuseum.org/collection/the-collection-online/search/438018

Woman before a Mirror Henri de Toulouse-Lautrec (French, Albi 1864–1901 Saint-André-du-Bois) Date: 1897 Medium: Oil on cardboard Dimensions: 24 1/2 x 18 1/2 in. (62.2 x 47 cm) Classification: Paintings Credit Line: The Walter H. and Leonore Annenberg Collection, Bequest of Walter H. Annenberg, 2002 Accession Number: 2003.20.15 Gallery Label: The indolent, cloistered lives of prostitutes were the subject of some of Lautrec’s most powerful works. He made about fifty paintings depicting them, as well as numerous drawings and prints, including a suite of color lithographs, Elles, which was completed the year before this painting. Lautrec does not flatter the woman’s naked figure, nor does he divulge the expression she sees in her mirror: she appears simply to be taking a stark appraisal of herself. Text from: www.metmuseum.org/collection/the-collection-online/search/438018

The Streetwalker Henri de Toulouse-Lautrec (French, Albi 1864–1901 Saint-André-du-Bois) Date: ca. 1890–91 Medium: Oil on cardboard Dimensions: 25 1/2 x 21 in. (64.8 x 53.3 cm) Classification: Paintings Credit Line: The Walter H. and Leonore Annenberg Collection, Bequest of Walter H. Annenberg, 2002 Accession Number: 2003.20.13 Gallery Label: As early as 1901 the woman in this painting was identified as a streetwalker. Her name, however, has been lost to history; only the nickname La Casque d'Or (Golden Helmet), which refers to her wig, has survived. She sits in the garden of Monsieur Forest, Lautrec's neighbor in Montmartre. Text from: www.metmuseum.org/collection/the-collection-online/search/438016

The Streetwalker Henri de Toulouse-Lautrec (French, Albi 1864–1901 Saint-André-du-Bois) Date: ca. 1890–91 Medium: Oil on cardboard Dimensions: 25 1/2 x 21 in. (64.8 x 53.3 cm) Classification: Paintings Credit Line: The Walter H. and Leonore Annenberg Collection, Bequest of Walter H. Annenberg, 2002 Accession Number: 2003.20.13 Gallery Label: As early as 1901 the woman in this painting was identified as a streetwalker. Her name, however, has been lost to history; only the nickname La Casque d'Or (Golden Helmet), which refers to her wig, has survived. She sits in the garden of Monsieur Forest, Lautrec's neighbor in Montmartre. Text from: www.metmuseum.org/collection/the-collection-online/search/438016

Carriage The Calash Henri de Toulouse-Lautrec, French, 1864 - 1901 Geography: Made in France, Europe Date: c. 1881 Medium: Oil on panel Dimensions: 12 3/4 × 9 3/8 inches (32.4 × 23.8 cm) Framed: 18 × 14 3/4 × 3 1/2 inches (45.7 × 37.5 × 8.9 cm) Curatorial Department: European Painting before 1900, Johnson Collection Object Location: Currently not on view Accession Number: 1978-1-32 Credit Line: Bequest of Charlotte Dorrance Wright, 1978 Provenance: Tapié de Céleyran [1]. With Wildenstein & Co., New York; sold to Charlotte Dorrance Wright (1911-1977) and William Coxe Wright (d. 1970), St. Davids, PA, January 7, 1954, until his d. 1970 [2]; Charlotte Dorrance Wright; bequest to PMA, 1978. 1. From note in curatorial file. Possibly Dr. Gabriel Tapié de Céleyran (1869-1930), a cousin and close friend of the artist, whose mother was Adèle Tapié de Céleyran. He and his wife owned several Toulouse-Lautrec paintings that were sold in the 1940s and 1950s to Paris dealers. 2. Information from 1977 Dorrance Wright estate inventory by Carroll Hogan (registrar file). Text from: www.philamuseum.org/collections/permanent/72136.html?mulR=1014009520|1

Carriage The Calash Henri de Toulouse-Lautrec, French, 1864 - 1901 Geography: Made in France, Europe Date: c. 1881 Medium: Oil on panel Dimensions: 12 3/4 × 9 3/8 inches (32.4 × 23.8 cm) Framed: 18 × 14 3/4 × 3 1/2 inches (45.7 × 37.5 × 8.9 cm) Curatorial Department: European Painting before 1900, Johnson Collection Object Location: Currently not on view Accession Number: 1978-1-32 Credit Line: Bequest of Charlotte Dorrance Wright, 1978 Provenance: Tapié de Céleyran [1]. With Wildenstein & Co., New York; sold to Charlotte Dorrance Wright (1911-1977) and William Coxe Wright (d. 1970), St. Davids, PA, January 7, 1954, until his d. 1970 [2]; Charlotte Dorrance Wright; bequest to PMA, 1978. 1. From note in curatorial file. Possibly Dr. Gabriel Tapié de Céleyran (1869-1930), a cousin and close friend of the artist, whose mother was Adèle Tapié de Céleyran. He and his wife owned several Toulouse-Lautrec paintings that were sold in the 1940s and 1950s to Paris dealers. 2. Information from 1977 Dorrance Wright estate inventory by Carroll Hogan (registrar file). Text from: www.philamuseum.org/collections/permanent/72136.html?mulR=1014009520|1

At the Moulin Rouge: The Dance Henri de Toulouse-Lautrec, French, 1864 - 1901 Geography: Made in Paris, France, Europe Date: 1890 Medium: Oil on canvas Dimensions: 45 1/2 x 59 inches (115.6 x 149.9 cm) Curatorial Department: European Painting before 1900, Johnson Collection Object Location: Gallery 165, European Art 1850-1900, first floor (Eglin Gallery) Accession Number: 1986-26-32 Credit Line: The Henry P. McIlhenny Collection in memory of Frances P. McIlhenny, 1986 Additional information: Publication- Philadelphia Museum of Art: Handbook of the Collections A recently discovered penciled inscription, in the artist's hand, on the back of this famous painting reads: "The instruction of the new ones by Valentine the Boneless." Henri de Toulouse-Lautrec was thus not depicting an ordinary evening at the Moulin Rouge, the fashionable Parisian nightclub but rather a specific moment when a man now known only by his nickname (which certainly describes his nimbleness as a dancer) appears to be teaching the "can-can." Many of the inhabitants of the scene are well-known members of Lautrec's demimonde of prostitutes and artists and people seen only at night including the white-bearded Irish poet William Butler Yeats who leans on the bar. One of the mysteries, however, is the dominant woman in the foreground, the beauty of her profile made all the more so in comparison with that of her chinless companion. It is the latter who expresses better than nearly any other character in this full stage of people Lautrec's profoundly touching ability to be brutally truthful but also truly kind in his observations. Joseph J. Rishel, from Philadelphia Museum of Art: Handbook of the Collections (1995), p. 206. Provenance: Joseph Oller, Paris, 1890, until at least 1893. With Paul Rosenberg, Paris [1]; S. Sévadjian; his sale, [as M. S... S...], Hôtel Drouot, March 22, 1920, no. 17; purchased by Arnold Seligmann of Arnold Seligmann & Cie., Paris, and still in 1925 [2]. ?With Paul Rosenberg, by 1926 [3]; with Arnold Seligmann & Cie., Paris, by 1928, to 1934 [4]; Seligmann estate, as of February 1934 [5]; sold to Henry P. McIlhenny, Philadelphia (possibly via Jacques Seligmann & Co.), by June 1934 [6]; bequest to PMA, 1986. 1. Per M. G. Dortu, Toulouse-Lautrec et son oeuvre, vol. 2, New York, 1971, no. P.361. Oller and Charles Zidler were co-owners of the Moulin Rouge in Paris. Zidler, the Moulin Rouge director, placed the painting on permanent exhibit there from 1890-1893. See Richard Thomson, Toulouse-Lautrec (exh. cat., Hayward Gallery, 1991), pp. 229, 246. 2. Clipping (Gazette de l'Hôtel Drouot) and annotation in Getty copy of sale catalogue. Arnold Seligmann was the lender to the exhibition Paris, Musée des Arts Décoratifs, "Cinquante ans de peinture française, 1875-1925," May 28-July 12, 1925, no. 77. 3. Rosenberg is listed as the owner in Maurice Joyant, Henri de Toulouse-Lautrec, 1864-1901, Paris, 1926, p. 268. Possibly a mistake based on Rosenberg's earlier ownership, as Seligmann is documented as owner in 1925 and from 1928-1934. 4. Seligmann loaned the painting to a 1928 Paris exhibition (see also partial label on reverse). 5. The painting was lent to the exhibition "Paintings and Drawings by Toulouse-Lautrec," London, M. Knoedler & Co., February 1-21, 1934, by the Seligmann estate. 6. McIlhenny lent the painting to the PMA in June 1934. He writes in a letter to Martin Birnbaum dated July 17, 1934 (copy in curatorial file) that he had recently acquired the painting from the estate of Arnold Seligmann. In a letter to his insurance agent dated May 6, 1935 (copy in curatorial file), McIlhenny states that the painting was purchased from the dealer Jacques Seligmann (the firm founded by Arnold Seligmann's brother, who died in 1923), who presumably acquired it from the Arnold Seligmann estate. Text from: www.philamuseum.org/collections/permanent/82776.html?mulR=111439228|1

At the Moulin Rouge: The Dance Henri de Toulouse-Lautrec, French, 1864 - 1901 Geography: Made in Paris, France, Europe Date: 1890 Medium: Oil on canvas Dimensions: 45 1/2 x 59 inches (115.6 x 149.9 cm) Curatorial Department: European Painting before 1900, Johnson Collection Object Location: Gallery 165, European Art 1850-1900, first floor (Eglin Gallery) Accession Number: 1986-26-32 Credit Line: The Henry P. McIlhenny Collection in memory of Frances P. McIlhenny, 1986 Additional information: Publication- Philadelphia Museum of Art: Handbook of the Collections A recently discovered penciled inscription, in the artist's hand, on the back of this famous painting reads: "The instruction of the new ones by Valentine the Boneless." Henri de Toulouse-Lautrec was thus not depicting an ordinary evening at the Moulin Rouge, the fashionable Parisian nightclub but rather a specific moment when a man now known only by his nickname (which certainly describes his nimbleness as a dancer) appears to be teaching the "can-can." Many of the inhabitants of the scene are well-known members of Lautrec's demimonde of prostitutes and artists and people seen only at night including the white-bearded Irish poet William Butler Yeats who leans on the bar. One of the mysteries, however, is the dominant woman in the foreground, the beauty of her profile made all the more so in comparison with that of her chinless companion. It is the latter who expresses better than nearly any other character in this full stage of people Lautrec's profoundly touching ability to be brutally truthful but also truly kind in his observations. Joseph J. Rishel, from Philadelphia Museum of Art: Handbook of the Collections (1995), p. 206. Provenance: Joseph Oller, Paris, 1890, until at least 1893. With Paul Rosenberg, Paris [1]; S. Sévadjian; his sale, [as M. S... S...], Hôtel Drouot, March 22, 1920, no. 17; purchased by Arnold Seligmann of Arnold Seligmann & Cie., Paris, and still in 1925 [2]. ?With Paul Rosenberg, by 1926 [3]; with Arnold Seligmann & Cie., Paris, by 1928, to 1934 [4]; Seligmann estate, as of February 1934 [5]; sold to Henry P. McIlhenny, Philadelphia (possibly via Jacques Seligmann & Co.), by June 1934 [6]; bequest to PMA, 1986. 1. Per M. G. Dortu, Toulouse-Lautrec et son oeuvre, vol. 2, New York, 1971, no. P.361. Oller and Charles Zidler were co-owners of the Moulin Rouge in Paris. Zidler, the Moulin Rouge director, placed the painting on permanent exhibit there from 1890-1893. See Richard Thomson, Toulouse-Lautrec (exh. cat., Hayward Gallery, 1991), pp. 229, 246. 2. Clipping (Gazette de l'Hôtel Drouot) and annotation in Getty copy of sale catalogue. Arnold Seligmann was the lender to the exhibition Paris, Musée des Arts Décoratifs, "Cinquante ans de peinture française, 1875-1925," May 28-July 12, 1925, no. 77. 3. Rosenberg is listed as the owner in Maurice Joyant, Henri de Toulouse-Lautrec, 1864-1901, Paris, 1926, p. 268. Possibly a mistake based on Rosenberg's earlier ownership, as Seligmann is documented as owner in 1925 and from 1928-1934. 4. Seligmann loaned the painting to a 1928 Paris exhibition (see also partial label on reverse). 5. The painting was lent to the exhibition "Paintings and Drawings by Toulouse-Lautrec," London, M. Knoedler & Co., February 1-21, 1934, by the Seligmann estate. 6. McIlhenny lent the painting to the PMA in June 1934. He writes in a letter to Martin Birnbaum dated July 17, 1934 (copy in curatorial file) that he had recently acquired the painting from the estate of Arnold Seligmann. In a letter to his insurance agent dated May 6, 1935 (copy in curatorial file), McIlhenny states that the painting was purchased from the dealer Jacques Seligmann (the firm founded by Arnold Seligmann's brother, who died in 1923), who presumably acquired it from the Arnold Seligmann estate. Text from: www.philamuseum.org/collections/permanent/82776.html?mulR=111439228|1

At the Moulin Rouge: The Dance Henri de Toulouse-Lautrec, French, 1864 - 1901 Geography: Made in Paris, France, Europe Date: 1890 Medium: Oil on canvas Dimensions: 45 1/2 x 59 inches (115.6 x 149.9 cm) Curatorial Department: European Painting before 1900, Johnson Collection Object Location: Gallery 165, European Art 1850-1900, first floor (Eglin Gallery) Accession Number: 1986-26-32 Credit Line: The Henry P. McIlhenny Collection in memory of Frances P. McIlhenny, 1986 Additional information: Publication- Philadelphia Museum of Art: Handbook of the Collections A recently discovered penciled inscription, in the artist's hand, on the back of this famous painting reads: "The instruction of the new ones by Valentine the Boneless." Henri de Toulouse-Lautrec was thus not depicting an ordinary evening at the Moulin Rouge, the fashionable Parisian nightclub but rather a specific moment when a man now known only by his nickname (which certainly describes his nimbleness as a dancer) appears to be teaching the "can-can." Many of the inhabitants of the scene are well-known members of Lautrec's demimonde of prostitutes and artists and people seen only at night including the white-bearded Irish poet William Butler Yeats who leans on the bar. One of the mysteries, however, is the dominant woman in the foreground, the beauty of her profile made all the more so in comparison with that of her chinless companion. It is the latter who expresses better than nearly any other character in this full stage of people Lautrec's profoundly touching ability to be brutally truthful but also truly kind in his observations. Joseph J. Rishel, from Philadelphia Museum of Art: Handbook of the Collections (1995), p. 206. Provenance: Joseph Oller, Paris, 1890, until at least 1893. With Paul Rosenberg, Paris [1]; S. Sévadjian; his sale, [as M. S... S...], Hôtel Drouot, March 22, 1920, no. 17; purchased by Arnold Seligmann of Arnold Seligmann & Cie., Paris, and still in 1925 [2]. ?With Paul Rosenberg, by 1926 [3]; with Arnold Seligmann & Cie., Paris, by 1928, to 1934 [4]; Seligmann estate, as of February 1934 [5]; sold to Henry P. McIlhenny, Philadelphia (possibly via Jacques Seligmann & Co.), by June 1934 [6]; bequest to PMA, 1986. 1. Per M. G. Dortu, Toulouse-Lautrec et son oeuvre, vol. 2, New York, 1971, no. P.361. Oller and Charles Zidler were co-owners of the Moulin Rouge in Paris. Zidler, the Moulin Rouge director, placed the painting on permanent exhibit there from 1890-1893. See Richard Thomson, Toulouse-Lautrec (exh. cat., Hayward Gallery, 1991), pp. 229, 246. 2. Clipping (Gazette de l'Hôtel Drouot) and annotation in Getty copy of sale catalogue. Arnold Seligmann was the lender to the exhibition Paris, Musée des Arts Décoratifs, "Cinquante ans de peinture française, 1875-1925," May 28-July 12, 1925, no. 77. 3. Rosenberg is listed as the owner in Maurice Joyant, Henri de Toulouse-Lautrec, 1864-1901, Paris, 1926, p. 268. Possibly a mistake based on Rosenberg's earlier ownership, as Seligmann is documented as owner in 1925 and from 1928-1934. 4. Seligmann loaned the painting to a 1928 Paris exhibition (see also partial label on reverse). 5. The painting was lent to the exhibition "Paintings and Drawings by Toulouse-Lautrec," London, M. Knoedler & Co., February 1-21, 1934, by the Seligmann estate. 6. McIlhenny lent the painting to the PMA in June 1934. He writes in a letter to Martin Birnbaum dated July 17, 1934 (copy in curatorial file) that he had recently acquired the painting from the estate of Arnold Seligmann. In a letter to his insurance agent dated May 6, 1935 (copy in curatorial file), McIlhenny states that the painting was purchased from the dealer Jacques Seligmann (the firm founded by Arnold Seligmann's brother, who died in 1923), who presumably acquired it from the Arnold Seligmann estate. Text from: www.philamuseum.org/collections/permanent/82776.html?mulR=111439228|1

Henri de Toulouse-Lautrec. (French, 1864-1901). La Goulue at the Moulin Rouge. (1891-92). Oil on board, 31 1/4 x 23 1/4" (79.4 x 59.0 cm). Gift of Mrs. David M. Levy Text from: www.moma.org/collection/browse_results.php?object_id=34936