Henri de TOULOUSE-LAUTREC (1864-1901) - Lot 14

Lot n° 14
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Result : 141 000EUR
Henri de TOULOUSE-LAUTREC (1864-1901) - Lot 14
Henri de TOULOUSE-LAUTREC (1864-1901) Young Rider Mounting his Horse Oil on panel Monogrammed (T.L) in black and dated 1880 by incision lower left 23,5 x 13,7 cm On the back of the panel, two studies of faces Provenance : Former Jacques Guerlain collection (label on back) Bibliography: - M.G. Dortu, Toulouse-Lautrec and his work, volume II, Collector Editions, New York, 1971, n°P.85 p 38, reproduced in black and white p 39. The aristocratic traditions perpetuated by the Toulouse-Lautrec family were based on the art of horsemanship, falconry and a passion for hunting. Charles, the future painter's uncle, guided his nephew's first sketches, whose school notebooks were filled with horses and falcons. The father, Alphonse de Toulouse-Lautrec, was very close to the painter René Princeteau, heir to Géricault, a perfect connoisseur of horses, racing scenes, carriages and equestrian portraits. Henri benefited from his lessons during a stay in Paris in 1872. Following his childhood illness, forced immobilization and his handicap, he concentrated on drawing and painting horses. In the summer of 1878, military manoeuvres took place near the family castle of Bosc. He was inspired to paint Artilleur saddling his horse, 1879. (Albi, Toulouse-Lautrec museum). Numerous other works were executed on small wooden panels as well as 23 drawings in Indian ink intended to illustrate a manuscript of a children's tale by his friend Etienne Devismes. They testify that all the premises of Lautrec's genius are present from the age of 20. The rediscovery of "Young Rider Mounting his Horse" made it possible to detect an inconspicuous monogram and a date of 1880 in the lower left corner. It is certainly one of the most sought-after works of the period: the sumptuous morphology of the horse with its powerful rump opposed to the slender rider, the acrobatic balance of the latter testify to the accuracy and vivacity of the brush but also to the sense of observation and humour characteristic of his future Parisian work.
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