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Le Jockey (the Jockey)
by Henri de Toulouse-Lautrec

Available at Simon Theobald Ltd

  • Date: 1899
  • Type: Prints
  • Medium: Lithograph
  • Edition size: 100
  • Image Size: 35.8 x 51.3 cm
  • Sheet Size: 35.8 x 51.3 cm
  • Reference: Loys Delteil, Le peintre-graveur illustre, no.279; Wittrock 308; Adriani. 345
  • Signed: Unsigned
  • Condition: Excellent
  • Price: Price on Application

Description — Click to read

Toulouse-Lautrec's close association with horses from a young age is well documented. Many of the artist's earliest drawings are dedicated to this subject and over the years as he developed as a painter and as a creator or extravagant and innovative posters highlighting and advertising life in fin-de siecle Paris, his love of horses neer left him. Racing was of course also a fashionable pastime for the inhabitants of Paris and the racecourse here at Longchamps in the Bois de Bolougne, Paris (identified by the distant windmill) would be a place where people from all levels of society would go. Whilst other artists depicted horseracing with a focus on the social interaction between spectators or the interplay between jockeys, Lautrec focussed on the agility of horses and the skill of their riders. In this extraordinary work, 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. Quite remarkably, the vantage point is that of one of the following jockeys rather than one of the spectators. Toulouse - Lautrec was in Paris at the time of the poularisation of the lmedium of lithograph - the drawing onto a stone and printing images from this. Colour lithography which involved printing onto the same sheet of paper using multiple stones was still in its relative infancy, but Toulouse-Lautrec completely revolutionised this medium and finely tuned his spattered ink technique known as crachis. The superb effect of this technique is seen in this celebrated lithograph Le Jockey. The colour lithograph was printed in an edition of 100 on wove paper and 12 on Japanese paper (there was also an edition of about 70 in black only). Many of these works are now in the collections of major museums including The British Museum, London, The Museum of Modern Art, New York (Gift of David and Peggy Rockefeller), The Museum of Fine Arts Boston, The National Gallery of Australia, Canberra, The Kröller Müller Museum, Otterlo, The Bibliotheque Nationale Paris and elsewhere. The former owner of this work, Henri Marie Petiet (1894 - 1980) was one of the leading dealers and publishers in Paris in the early twentieth century. His extensive dealing gave him the opportunity to acquire a fine and enormous collection of high quality artists' orginal prints - which was his passion. He had many great works by the Modern Masters, including Pierre Bonnard, Andre Derain, Paul Gauguin, Toulouse-Lautrec and others. Works bearing the Petiet Provenance stamp (such as this) are usually characterised by their remarkably fresh condition, the result of being preserved in folders and draws and being largely unhandled over a great many years. Works formerly in his possession are now in many notable museums including The British Museum, London, The Museum of Modern Art, New York, The Museum of Fine Arts, Boston

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