toulouse lautrec, autograph (24 Ergebnisse)

4to. 1� pp. Yvette Guilbert and Aristide Bruant are referenced in this letter to his friend, writer and art leader, Andre Marty. "The book could not be better. Yvette wrote me a very kind note. As for the two "japon" proofs, they are admirable. Do your best to request them. Geffroy and you know better than I what to do. Keep my copy of the lithograph I will pick it up when I come back and send me the clippings relative to our book. And these eight to Bruant". Signed, "Yours truly and my best regards to Mrs. Marty, H. de Toulouse Lautrec". - An exceptional letter making reference to his two greatest celebrities depicted in posters, Yvette [Guilbert] and [Aristide] Bruant. Lautrec did a complete set of illustrations for a book on Guilbert, and here he tells Marty how Guilbert was quite pleased. At the time of this letter, Lautrec was at the peak of his productivity. He unfortunately died in 1901 from syphilis and alcoholism. Letters signed with such a full bold signature, "H. de Toulouse Lautrec" are rare and most desirable and one talking about his work, more so. Some damage to edges. - Toulouse-Lautrec refers to Yvette Guilbert (1865-1944), French cabaret singer and actress epitomizing La Belle �poque, and Aristide Bruant, (1851-1925), French cabaret singer, comedian, and nightclub owner. Toulouse-Lautrec's famous posters immortalized both singers. Bruant is now perhaps best known as the man in the red scarf and black cape featured in Henri de Toulouse-Lautrec popular poster.

8vo. 1 p. ''Voici une invitation pour vous et une que je vous prie de faire parvenir � M. Lasalle dont j'ai perdu l'adresse. Ces invitations sont valables pour plusieurs personnes (.)''. - Jean Lasalle (1847-1909) was a baritone at the Opera.

8vo. 4 pp. on bifolium. In ink. Rare letter from the twelve-year-old Henri to his maternal grandmother Louise Tapi� de Celeyran, whom he calls "bonne maman", concerning his physical sufferings. After his right foot has healed, he writes, his left foot is now lame, but he is to undergo treatment with an electric brush which helped his uncle Charles: "Je suis plus libre ces jours-ci parce que Maman m'a retir� de chez mon professeur pour me faire suivre le traitement de la brosse �lectrique qui a jadis gu�ri mon oncle Charles. Je suis bien ennuy� d'�tre boiteux du pied gauche maintenant que le droit est gu�ri [.]". He still hopes that he will be able to go on a trip to the Pyrenees that same year: "[.] Comme dit le docteur Raymond; je me trouve deja mieux. Nous irons certainement aux eaux des Pyr�n�es cette ann�e ci, n'y viendrez-vous pas avec nous? [.]". Further, Toulouse-Lautrec mentions everyday events and his family members: "[.] Mon oncle Charles nous a quitt� avant-hier et je le regrette beaucoup. Papa est encore ici [.]". - Highly interesting letter in excellent condition, providing details on the earliest signs of Toulouse-Lautrec's disability, when it was discovered that he suffered from a rare bone disease, likely congenital. When Toulouse-Lautrec subsequently broke both his legs in quick succession at the age of 13 and 14, the ailment would cause the fractures to heal poorly, and his legs ceased to grow, resulting in an adult size of merely 5 ft, or 1.52 m.

8vo. � p. Letter to his ma�tre", another painter who he looked up to, making an appointment: Nous travaillerons Jeudi et mercredi si cela vous agr�e. Un mot s'il vous plait pour me dire si je peux compter sur vous". In very good condition, with a few vertical creases, one affecting the beginning of the signature, a block of toning over the letter and signature from previous display, pencil notation to upper right corner, and slight mirroring of the signature along the top. Sprache: fr.

8vo. 1 p. on bifolium. Suggesting a time to meet the unnamed recipient in order to talk about a project that was interesting to Toulouse-Lautrec: "Je serai chez moi Mardi de 3 � 4 et serai tr�s heureux de vous parler de votre projet qui me plait fort [.]". - 27 Rue Caulaincourt is the address of Toulouse-Lautrec's first studio in Montmartre. According to varying accounts, Toulouse-Lautrec used the studio between ca. 1886 and 1897. - Minimally stained.

8vo. 4 pp. on bifolium. Charming and insightful letter to his mother Ad�le sent from a surprise visit to London, where he accompanied his old friend, the art dealer Maurice Joyant. Toulouse-Lautrec expresses high hopes for a coming exhibition at the Goupil Gallery in London, organized by Joyant, citing his friend's successful publication of an album of drawings by Degas (Edgar Degas, Vingt dessins 1861-1896. Paris, Boussod, Manzi, Joyant et Cie). He reports on the preparations for Queen Victoria's Diamond Jubilee on 22 June 1897, describing London as being "turned over to the carpenters who install grandstands reaching up to the chimneys to see the gracious old lady pass by". In closing, Toulouse-Lautrec announces the completion of his move to 5, Avenue Frochot for his return to Paris and thanks his mother for clothes and 500 francs. The letter in full: "Ma ch�re Maman, vous allez �tre un peu �tonn�e de me savoir en bombe � Londres pour deux jours. J'ai accompagn� mon ami Joyant qui installe son associ� Londonien. J'ai vu pas mal d'affaires se conclure et ai bon espoir pour mon exposition de l'ann�e prochaine. Pour vous citer un exemple, le ma�tre Degas ayant autoris� la publication d'un album de ses uvres � 1000 f. l'exemplaire, j'ai vu 34 souscriteurs affluer dans la m�me apr�s-midi. Londres est livr� aux charpentiers qui installent des gradins jusque sur les chemin�es pour voir passer la gracieuse vieille dame. Quant � moi je rentre � Paris pour terminer mon d�m�nagement. Heureuse perspective. Merci des 500 f. et des v�tements, bien arriv�s. Je vous embrasse en anglais, yours [.]". - The exhibition at the Goupil gallery in May 1898 would be Toulouse-Lautrec's largest individual exhibition with 78 works on display, but was far from the success for which he had hoped. - Maurice Joyant (1864-1930) and Henri de Toulouse-Lautrec were schoolmates at the famous Lyc�e Concordet and reconnected in 1888. In 1890, Joyant succeeded Th�o van Gogh as director of the Parisian Goupil gallery. On behalf of Toulouse-Lautrec's parents, Maurice Joyant was chosen as executor of Henri's will in 1901. - Traces of former mounting affecting parts of the text; three tears to the folds and margins. Some browning and somewhat stained.

8vo. 1 page on bifolium. Stored in custom-made half morocco slipcase. To the French playwright, novelist, journalist and lawyer Tristan Bernard, asking for two fauteuils for the Ath�n�e - where Bernard's play "La Mari�e du Touring-Club" was given - and for one for the Grand Guignol. - Slightly spotty, and small traces of former mounting. - Correspondence (ed. Herbert Schimmel, 1992), no. 588, p. 364.

Oblong 8vo. 1 page. With autograph address. To his English publisher W. H. B. Sands, who had commissioned a few albums of Toulouse-Lautrec's lithographs, asking whether "the two drawings of horses" he sent have arrived: "Dear Sir / avez-vous re�u les deux dessins de chevaux? Je vous serais tr�s oblig� de me le dire au plus t�t car je vais partir � la campagne. / Yours truly / TLautrec". - One corner slightly creased; mild toning. - Correspondence (ed. Herbert Schimmel, 1992), no. 535, p. 341.

8vo. 2 pp. on bifolium. Asking his "ch�re maman", Comtesse Ad�le-Zo� de Toulouse-Lautrec, about family news: "Je suis sans nouvelles de vous, de toutes parts ayant eu souvent mon oncle et ma tante, plus papa. Quoi de neuf? [.] Si je n'avais les douches et le travail, je m'ennuierais � mort [.]. Etant souffrant, il ira probablement au Mont- Dore, je serai seul avec mon d�shonneur. C'est gai. tant pis? Si vous �tiez l�, nous aurions la ressource de la voiture le soir aux Champs Elys�es. Il y a l� une id�e � creuser. Vous en verriez davantage tout le monde ayant fichu le camp. Your boy. Harry". - Toulouse-Lautrec's family were Anglophiles, and though he was not perhaps as fluent as he pretended to be, he spoke English well enough. - On squared paper.

4to. 2 pp. In French, written from his summer holidays in Arcachon to the publisher Andr� Marty concerning the publication of a lithograph in the print portfolio "L'Estampe originale". In place of royalties, Toulouse-Lautrec asks for proofs of prints by Eug�ne Carri�re and Pierre-Auguste Renoir from an earlier issue: "Merci de votre bonne lettre, quand au r�glement de ma litho je vous r�pondrai sans artifice. Avez vous un exemplaire en trop du Carriere et du Renoir de la 1�re ann�e. Si oui �crivez le mot specimen derri�re et nous sommes quittes [.]". In a short postscript, he asks Marty to take care of some of Yvette Guilbert's belongings: "J'ai re�u une fort aimable lettre d'Yvette. Gardez les choses � Guilbert chez vous". - Henri Toulouse-Lautrec contributed several lithographs to the short-lived but highly influential publication "L'Estampe originale," including the first album cover and the concluding piece of the final portfolio with the names of the contributing artists. The prints he is asking for are Renoir's portrait of his son Pierre ("T�te d'enfant") and Eug�ne Carri�re's portrait of his wife ("T�te") from the fourth album, 1893. Among his contributions to "L'Estampe originale" are two portraits of the singer and actress Yvette Guilbert (1865-1944), who was one of Toulouse-Lautrec's favorite subjects. In 1894 he dedicated an entire print album to Guilbert, also published by Marty, immortalizing her as the epitome of La Belle �poque. - On stationery with printed letterhead "GD Caf� de la Place Thiers F. Repetto Arcachon". Traces of folds and slightly creased with insignificant tears to the right edge.

8vo. 3 pp. on bifolium. In ink. To his "ch�re maman", Comtesse Ad�le-Zo� de Toulouse-Lautrec: "Ce que vous dites de Jalabert est ennuyeux sans doute car je le crains un peu d�gout�. Cet �tat d'esprit est surtout terrible pour l'avenir car si on le rebute il enverra tout promener [.] Je suis dans les oeuvres jusqu'au cou et suis assez content [.]".

8vo. 4 pp. on bifolium. In ink. To his mother, Comtesse Ad�le-Zo� de Toulouse-Lautrec, concerning an exhibition at the "Cercle artistique et litt�raire Volnay" in January 1892, where the artist showed two of his paintings, among them "La toilette (Celle qui se peigne)". The artist already enjoyed a high reputation at this time (not least for his poster portrait of "La Goulue"), and his exhibited paintings at the Rue Volnay were praised by the press and art critics, among them Ars�ne Alexandre, who wrote an article in "La Paris" on 8 January 1892. Toulouse-Lautrec is delighted by the favourable response: "Ma ch�re maman, je viens d'ouvrir l'exposition du Cercle o� mes navets, quoique plac�s le plus mal possible, ont �t� not�s favorablement par la presse. On est d'ailleurs fort aimable pour moi dans les journaux depuis mon affiche. Le 'Paris' [.] a �t� jusqu'� me consacrer deux colonnes o� on d�voile ma personne sans omettre un d�tail [.] Distribuez mes amours � qui de droit, votre fils, Henri". - With a minor tear and minor inkstain (no loss of text). - Published in: Correspondance (ed. H. Schimmel, 1992), no. 212, p. 187.

8vo. 2 pp. on double leaf. To his mother, making an appointment: Ma ch�re maman, Jeudi je ne viendrai pas rue de Douai car Jacques m'emm�ne � Rueil d�jeuner. Tachez donc de venir demain dans l'apr�s midi. Nous mangerons nos petites affaires pour ne pas nous manquer. Je vous embrasse []". In rue de Douai, Toulouse-Lautrec's mother was living, and he also had his studio there. Sprache: fr.

Kein Einband. Zustand: Sehr gut. Toulouse-Lautrec, Henri de (1864-1901) - Autograph letter signed - French painter, printmaker, draughtsman, caricaturist and illustrator. Toulouse-Lautrec is among the best-known painters of the Post-Impressionist period, a group which includes C�zanne, Van Gogh and Gauguin. Autograph letter signed "H. de Toulouse-Lautrec". 2 pages, bifolium, written on first and third page (inside), blue ink. 15 Avenue Frochot (Paris/ his studio address), 1898 November 15. A fine letter in French to the publisher and print dealer Gustave Pellet. Mailing fold, minor fold break, pencil note at the top, else good condition. COMES WITH A CERTIFICATE OF AUTHENTICITY BY ANDREAS WIEMER HISTORICAL AUTOGRAPHS. Please do not hesitate to contact me with any questions. Signatur des Verfassers.

12mo and oblong 12mo. Together 2 pp. With autograph addresses. In brown ink and pencil. Pneumatic letters to the publisher and gallerist L�on Deschamps, concerning the publication of Toulouse-Lautrec's famous lithograph "Irish and American Bar, rue Royale - The Chap Book". In the letter from 18 October, Lautrec announces the test prints for the following day and expresses his hope that they will be able to "print right away" at the print shop of Edward Ancourt, where he invites Deschamps to meet him: "Malgr� tous nos efforts nos essais ne seront termin�s qu'� midi demain samedi. Venez chez Ancourt � 11h � vous verrez probablement la chose. S'il n'y a pas d'accident on pourra tirer tout de suite". - In the second letter, Toulouse-Lautrec expresses his disappointment with Ancourt, who had stood him up. He asks Deschamps to arrange a new appointment, underlining that he has to be there for the test prints: "Ancourt m'a pos� un lapin, il m'a dit-il pr�venu, je n'ai rien re�u. Nous voil� remis aux calendes grecques car j'ai � faire lundi et p.�tre mardi. Voyez avec lui pour arranger la chose, et pr�venez moi. On ne peut pas faire les essais sans moi. Je regrette ce qui arrive mais je n'y puis rien". - "The Chap Book" was ultimately printed by the Imprimerie Chaix and published in Deschamp's magazine "La Plume". - The earlier letter somewhat creased in the right margin. The second letter with a small tear to the upper margin from separating the perforation and insignificantly stained. Both letters with collector's marks in pencil. - The earlier letter published in: Correspondance (ed. H. Schimmel, 1992), no. 429, p. 289.

8vo. 4 pp. One of his earliest, unpublished letters to his godmother Louise Tapi� de C�leyran. "My dear godmother I'm sure I'll please you by telling you that I'm doing as well as I can and that I'm not suffering. I'm not too bored either, and I hope you don't worry too much about me, as I'm unworthy because of my clumsiness. I think that in the country they'll call Miss Fides my very honorable kitchen Fid�le or Fidelou and at home they'll call her Fifi. Forgive me for this philonomy, but I don't have many subjects to exercise my brain. The doctor is delighted with the prospect of a cure. [.] Farewell my dear godmother, I kiss you as much as I can and I beg you to be my interpreter to everyone. We have just received the letter from Monsieur l'abb�, and are waiting for mom and dad. Please be my interpreter with auntie uncle Am�d�e aunt Alix the cousins the sorchians Kiki and Gordon [.] Your clumsy godson Henri de Toulouse".

12mo. 2 pp. In blue ink. To the publisher and print dealer Gustave Pellet, summing up his outstanding debts from an advance payment and announcing that he will leave eight copies of "La Grande Loge" to redeem his liabilities and take back the remaining copies of this lithograph and of "Int�rieur de Brasserie": "Vous avez le 8 Juillet 1897 pris 25 �preuves en noir (Int�rieur de Brasserie) � 10 F prix net et 12 �preuves Femmes dans la loge [La Grande Loge] � 20 F net. Vous avez vendu 2 �p[reuves] Brasserie soit 20 F et une �preuve de la Loge � 20 F soit total 40 F. Vous m'avez avanc� sur le tout 200 reste d� 160. Je vous laisse donc 8 �preuves de la Loge en d�p�t et reprends possession du reste [.]". The note was probably written in Pellet's absence in his small library and print shop at 9 quai Voltaire. - With collector's mark in pencil. Traces of folds and minimal foxing. - Published in: Correspondance (ed. H. Schimmel, 1992), no. 551.

8vo. 4 pp. on bifolium. Charming and exceedingly rare childhood letter to his great-aunt Amandine d'Alichoux de S�n�gra, addressed as "Tata", thanking her for a pocket-knife and providing her with updates on the family. Toulouse-Lautrec also mentions that his mother was relieved that he has "given up one of [his] canes for the inside", which points to the fateful fractures of his femurs in 1877 and 1878 that would never fully heal and interrupted the growth of his legs. The translated letter in full: "I have come to give you good news about mother, who had an excellent trip. She was happy to see that I had given up one of my canes for the inside. I also have to thank you for my lovely knife. It is absolutely what I was looking for in terms of blades and appearance. My two cousins left with great courage. The others miss them very much. Kiki is very kind to her 'pannin'. Marianne is a little indisposed today. But granny Gabrielle says it is the fog. Papa's last hawk had just died when the carriage ['patache'] that brought Mama entered the yard. I am having fun with a very nice marten called Gibeline. Goodbye my dear aunt. Mama joins me in giving you a heartfelt kiss". - Amandine d'Alichoux de S�n�gra (d. 1893) was not the biological great-aunt of Henri de Toulouse-Lautrec's, as she was the sister of the first wife of his paternal grandfather L�once Tapi� de Celeyran, while his mother Ad�le was the daughter of his second wife. Nevertheless, Amandine remained close to the family and particularly to the young Henri de Toulouse-Lautrec, as documented in the charming letter. - Stained and with deep tears to the folds, partly affecting the text. With traces of old restoration.

Pas de couverture. Zustand: Bon. TOULOUSE-LAUTREC, Henri de (1864-1901) Lettre autographe sign�e � Your boy H � � sa m�re Ad�le Zo� Tapi� de C�leyran [Villiers-sur-Morin, automne 1886], 4 p. in-12 Superbe lettre immersive dans l'art de Toulouse-Lautrec, alors en pleine d�coration de l'auberge de Villiers-sur-Morin Le peintre d�voile son projet qu'il a mis en place pour aller embrasser Louis Anquetin et Claude Monet en Normandie puis d�veloppe sur un ton po�tique ses d�sillusions et consolations artistiques � Ma ch�re Maman Je suis dans la b�atitude d'un pays frais. Apr�s cinq jours de farniente je me suis encharg� dans une decoration de l'auberge de Villiers sur Morin. Au grand plaisir du patron de l'�tablissement qui me paie a boire toute la journ�e. Je voltige d'�chelle en �chelle. et suis tr�s content. Je vous remercie au nom de Grenier de votre hospitalit� charmante. Nous viendrons vers le 25,26,27, approximativement. Le Courrier Fran�ais me fait toujours des avances, et son dossier est toujours en train. Je t�cherai d'aller � Rivaulde, sans lacher Grenier. Car voici notre plan. A la fin de la semaine prochaine nous allons en Normandie embrasser [Louis] Anquetin et Claude Monet. De la nous repassons par Paris. [Albert] Grenier revient embrasser la femme de ses pens�es, (pendant ce temps je vais � Rivaulde) [] Mon plan de travailler tout l'�t� et reposer l'hivers a rat� compl�tement. Les intemp�ries, et ma rousse [Suzanne Valadon] m'ont assez �nerv�. je m'all�ge en canotant ferme entre les moulins de Villiers, qui ressemblent � des fusains de demoiselle. Je vous embrasse et vous prie d'en faire autant avec bonne-maman [L�once Tapi� de C�leyran]. Your boy H � Bien qu'il se fr�quentent depuis les cabarets et ateliers la butte Montmartre, Toulouse-Lautrec s�journe d�s l'�t� 1886 chez le couple Grenier (Albert, lui-m�me peintre, et Lili), propri�taires d'une auberge � Villiers-sur-Morin. Le couple invite leurs amis, anciens de l'atelier de Fernand Cormon : Louis Anquetin, Henri de Toulouse-Lautrec, �mile Bernard, Vincent Van Gogh, et apporte � Villiers leurs f�tes parisiennes qui valut � Villiers-sur-Morin le nom de � Vall�e des peintres �. Comme �voqu� dans la lettre, Toulouse-Lautrec alterne en effet � cette �poque les s�jours chez Anquetin � Etrepagny (Normandie) et chez les Grenier � Villiers-sur-Morin Apr�s avoir em�nag� dans la m�me maison que celle de Toulouse-Lautrec, Suzanne Valadon (pseudonyme de Marie-Cl�mentine Valadon) devient le mod�le du peintre mais aussi sa ma�tresse. Il fera d'elle, entre autres, le c�l�bre portrait intitul� Gueule de bois. Elle l'accompagne partout pendant ses escapades nocturnes Lettre in�dite. Sign� par l'auteur.

Folio. 4 pp. En bas de la premi�re feuille se trouvent deux esquisses � l'encre montrant une t�te d'un homme de profil. Au verso de cette feuille, � c�t� du monogramme en haut de la page, se trouvent plusieurs esquisses � l'encre montrant des taureaux - aussi bien dans l'int�gralit� qu'en d�tail. En haut de la deuxi�me feuille se trouvent plusieurs esquisses � l'encre montrant une t�te de profil, probablement celle de Cacus. Au verso de cette feuille, � c�t� de la signature en bas de la page, se trouvent deux esquisses � l'encre montrant deux t�tes de boeuf. Henri de Toulouse-Lautrec y fait r�f�rence � la mythologie romaine en citant la l�gende d'Hercule assommant Cacus: Le g�ant Cacus, fils de Vulcain, moiti� homme et moiti� satyre, habitait un antre sur le mont Aventin, au temps o� Hercule conduisit aux bords du Tibre les troupeaux qu'il avait enlev�s � G�ryon dans les p�turages d'�rythie. Cacus vola � Hercule, pendant son sommeil, quelques g�nisses, et, pour cacher son larcin, il les tra�na dans son antre � reculons. Le matin, comme Hercule se disposait � partir, les taureaux de son troupeau se mirent � mugir et les g�nisses enlev�es leur r�pondirent. Hercule furieux �carta de ses mains le rocher �norme qui fermait la caverne de Cacus, lutta contre le monstre, le vainquit en d�pit des flammes qu'il vomissait et l'�touffa ou le tua � coups de massue.�La figure �tait horrible; sa force �tait en rapport avec sa taille, son corps �tait immense et ce monstre �tait fils de Vulcain. La demeure �tait une caverne avec profondes retraites, et si cach�e que les b�tes sauvages la d�couvraient � peine. � l'entr�e sont clou�es des t�tes et des bras humains; la terre dess�ch�e est blanchie par les ossements. Le fils de Jupiter quittait le reste de son troupeau de boeufs, si mal gard�s; ceux qui lui avaient �t� vol�s furent entendre un mugissement. J'entends l'appel, dit-il, et se guidait � travers de cette voix. Le vengeur parvint aux cavernes du monstre. Celui-ci avait barr� l'entr�e d'un morceau d�tach� de la montagne. � peine dix hommes l'aurait-il �branl�. �Hercule le soul�ve sur les �paules, les m�mes qui avaient soutenu la vo�te c�leste et par d'un effort il fait voler en �clat son fardeau. L'air m�me retentit du bruit de cette chute et le poids de cette masse fait �branler la terre. Cacus, le premier engage le combat et dans sa fureur il attaque � coups de pierre et de. il ne produit aucun effet, il a recours en vain aux strat�gies de son p�re et vomit des flammes avec bruit. Quand il souffle on croirait entendre Typh�e ou la foudre rapide lanc�e des entrailles embras�e de l'Etna. Le fils d'Alcide le pr�vient et le saisit avec sa massue � trois noeuds, il lui porta trois ou quatre coups sur la figure de son adversaire. Celui tombe et vomissait des torrents de sang et de fum�e et en mourant il courue la terre sur lui un large.�.

Oblong 8vo. 1 p. Receipt for the sum of 200 francs paid by L�on Deschamps' magazine La Plume for the reproduction of Toulouse-Lautrec's famous lithograph "Irish and American Bar, rue Royale - The Chap Book" from 1895: "Re�u de la soci�t� anonyme 'La Plume' la somme de deux cents francs pour droits de reproduction d'une affiche demi-colombier The Chap Book". - With a collector's note in pencil. Some foxing and browning. Minor tears to the margins.

8vo. 4 pp. Extremely early letter to his little cousin and goddaughter B�atrix Tapie de C�leyran: Ma ch�re petite b�te qui prend des lapins, Vous �tes une fille tr�s sens�e, et jamais vous ne faites rien sans chercher pr�alablement le pourquoi. Si vous �tiez n�e du temps de Solon, vous auriez certainement �t� nomm�e dans l'ar�opage ; vous auriez �t� fort dr�le avec un bonnet pointu et de gros bouquins ; puisque vous �tes sage, je vous ferai un Kado, je vous le donnerai au Bosc. D'abord, le plus pr�cieux de l'histoire sera. ma b�n�- diction parrainale, ensuite une collection de poutous, et puis quelque chose de jaune enferm� dans du papier., cherchez � deviner. Il n'y a qu'une chose que je bl�me en vous, c'est votre choix de ma�tre d'orthographe, car c'est un �tre qui a tr�s peu de cervelle1 ; pour vous en convaincre, passez votre lapinerde griffe sur la t�te de votre illustre fr�re, et vous sentirez un ab�me ; il est si pro- fond que vous aurez peur de tomber au fond ; maintenant vous me demanderez quel rapport il y a entre cet ab�me et la cervelle de votre ma�tre orthographique, voici la raison; la cervelle est une tripe qui fait l'intelligence, elle est dans la t�te ; � la place du gouffre qui vous fait peur devrait �tre cette cervelle, et voil� pourquoi il n'est pas intelligent ce cher magister !!! Nous montons � �ne, et, si vous voulez nous imiter, montez sur votre ma�tre d'orthographe ; n'ayez paspeur s'il fait des p�tarades, les �nes en font tr�s souvent ; pour le corriger de ce vice, prenez l'air indomptable, et bouchez-vous le nez. C'est l� le hic. Il y a ici un roi prussien, et je suis s�r que si vous �tiez � Bar�ges vous lui tordriez prestement le cou, quoique ce ne soit pas un lapin. Adieu, ma ch�re petite ch�rie, soyez mon interpr�te aupr�s de Bonne-Maman, mon oncle, vos fr�res, M. l'abb�, tante Armandine, Mlle Rose et tout le monde, ainsi que mes canaris." In fine condition. - In August of 1879, when fifteen-year-old Toulouse-Lautrec broke his right femur in Bar�gesjust one year after breaking the lefthalting his growth completely, it became clear that he would not live the life of a typical young nobleman. Unable to participate in normal physical activities, he began studying under the painter Rene Princeteau, well known for his depiction of military and equestrian subjects. His influence can be easily spotted in Lautrec's earliest works, such as Artilleryman Saddling His Horse, Assembly of Hunters, and Horse and Rider with a Little Dog, all done the year of this letter. Painting a fairy-tale picture with words in this letter to his young goddaughter, B�atrix Tapi� de C�leyran (later the subject of one of his highly regarded portraits), Lautrec shows the captivating wit that helped him find his place in the bohemian circles of Monmartre, despite his physical deformity. An absolutely charming letter written at a crucial time in the young artist's life, as his body ceased to grow and his artistic talent took center stage. - Published in The Letters of Henri de Toulouse-Lautrec by Herbert D. Schimmel, Oxford University Press, 1991.

4to. 87 pages written in Latin in Lautrec's hand, as well as his ownership signature on the first page, H. de T. Lautrec". Although he adds "Fables d'Esope" beneath his name, the passages cover a vast array of topics typical of a 19th-century child's education, including summaries of events in classical history, moral reflections, religious lessons, and philosophical musings. Each piece is about a page long and headed with a brief title. Brief translated excerpts follow:The notebook begins with a passage entitled "Men's Firmest Defense Is in Piety," in part: "O Lord, blessed are they who have put their hope in You! For when desolation invades their spirits, oppressed with the burden of affairs, they flee to You, and then, forgetting their sorrows, they draw strength and peace of mind from their source. You shelter them in a paternal embrace and spread before them the sacred light of faithO most sweet, nourishing religion and most holy faith, who can live without you." Lautrec was raised by his devoutly religious and overbearing mother, and began his formal schooling in 1872 at the prestigious Lycee Fontanes in Paris, but withdrew in 1875 due to his poor health. His mother's presence in his life at this time is certainly discernible in his writings on religion and philosophy in this notebook.The piece on page 30 is headed "On Socrates," which is followed by "On Fables." The latter, in part: "What is a fable but a tale for the improvement of men's morals, generally wrapped in an amusing image, in which the pleasant and the useful, although most unlike in nature, conspire to mutually adorn and defend one another? What do you suppose that those ancient inventors of tales intended with so many and such ingenious fictions? Just to tickle the ears of their readers with a vain arrangement of words? Not at all, but rather, when they put trees and animals on stage, their aim was that the bad, contemplating their deformity as in a mirror, would avoid rashness in counsel, avarice in the search for wealth, pride in command, and fraud in all aspects of life." This is an especially interesting piece, as Lautrec studied the fables of Phaedrus and La Fontaine while in school and these likely informed the allegorical animals that appear in his late drawings.He further explores the classical world in "On the Phoenicians" on page 43, in part: "The Tyrians took their origin from the Phoenicians. Those who inhabited the seashore, being troubled by frequent movements of the earth in their homeland, founded a city that they called Sidona on account of the abundance of fish on those coasts, for the Phoenicians call fish sidon. Then many years later, having been driven out by the king of the Ascalonians, they took to their ships, leaving behind their homeland, and founded the city of Tyre a year before the fall of Troy." Although Lautrec's artwork presents an extreme departure from the classical style, his familiarity with the stories can be seen in his body of work, including his portrayals of Mademoiselle Cocyle as Helen of Troy in La Belle Helene.The last page takes a moralistic slant on classical figures in a passage entitled "On Flatterers," in part: "Flatterers think that they can seek the favor of kings to the extent that they imitate them, but it often happens that they reproduce their vices rather than their virtues, as one or another example will sufficiently demonstrate to be true. It is said that Alexander's head was bent down toward his shoulder, and his friends were in the habit of also going around with their heads bent down toward their shoulders. When Plato first came to Syracuse, Dionysius the Tyrant immediately devoted himself entirely to geometry, from which it is easily understood that everyone consequently became a geometer, following the king's example." Lautrec takes a strong stance against flattery in this passage, a principle he certainly held throughout his lifehis paintings were decidedly unflattering and direct.Interior pages in fine condition, with general wear, staining, and soiling to the covers. This is an incredibly fascinating notebook rife with content from the young Toulouse-Lautrec. It dates to what was arguably the most crucial period of his development, during the time that he broke his legs, permanently succumbing to dwarfism. While recuperating, he incessantly practiced drawing and painting. A truly magnificent and significant notebook.

8vo. 2 pp. Unver�ffentlichter Brief an seinen Vater Alphonse de Toulouse-Lautrec (18381913) cher p�re": Je vous prie de vous renvoyer les tableaux que j'avais envoy�s � Albi. On me les r�clame et comme ils ne sont plus � moi je suis en mauvaise posture. Tout va []".