Important French painter and printmaker (1864–1901) whose lively, colorful portrayals of the people and places of fin-de-siècle Paris take a place among the most iconic images of the era. ALS in French, signed “Henri,” four pages on two adjoining sheets, 4.5 x 7, no date. Letter to his mother. In full (translated): “I have so many things to tell you. I worked like a Negro having simultaneously to keep watch on three machines and working flat on my belly in the [printing] press. I've finally finished and believe I have something successful. We shall see. Raoul has just announced his marriage to me. You must have heard about it. All the better, that's certainly better than stagnating. Drop me a note to tell me if I can send little Dora in all haste. The breeders oblige me to pick her up immediately because the neighbors tried to poison her elder sister and her mother. And that would be a pity. I'll send her in all haste and all you'll have to do is arrange to have her picked up at the morning train. All Boulette wants is to be friendly with her, since they're of the same sex, but I feel sorry for the future thieves who might venture into your corridor. Her father is a redoubtable watchdog." At the top of the first page he draws a shirt detailing buttons, sleeves, and collar and writes: "Have six red flannel shirts made for me, wide collar and large buttons. The button holes should all be horizontal. Answer me right away." In fine condition, with a couple slight brushes to sketch and a bit of light foxing to last page.
As an only child with a great demand for physical care, Toulouse-Lautrec grew very close to his mother. Dismayed that her son’s health would likely forever exclude him from the typical pursuits of young men—sports, military service, marriage—she actively encouraged his artistic skill and remained his strongest supporter throughout his career. The closeness of the two is highlighted here. Likely written in 1893, the year that his eldest cousin Raoul Tapie de Celeyran married, the letter begins with a comment on his current work, “having simultaneously to keep watch on three machines and working flat on my belly in the [printing] press.” The early 1890s were intensely prolific years for the artist, seeing the creation of some of his most famous Moulin Rouge pieces, Jane Avril prints, and now iconic French fin de siècle scenes. Only considering the personal charm of a letter to his mother and the artistic interest with his reference to working in the printing press, this would still be an excellent letter; but adding to that the incredibly scarce, bold sketch adorning the first page, this becomes one of the finest letters from the artist’s short life that we have ever seen. Pre-certified John Reznikoff/PSA/DNA and RR Auction COA.
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