Pesquisando por: "HENRI DE TOULOUSE LAUTREC" - Fotoarena - Agência de fotojornalismo

2X4XDAJ Marcelle Lender Dancing the Bolero in 'Chilpéric'. Henri de Toulouse-Lautrec. 1895-1896.

2X4XDB5 Hussars. Henri de Toulouse-Lautrec. 1878.

2X4XDAP Quadrille at the Moulin Rouge. Henri de Toulouse-Lautrec. 1892.

2X4XD8E Maxime Dethomas. Henri de Toulouse-Lautrec. , 1896.

2X2B2AH Moulin Rouge: La Goulue by Henri de Toulouse-Lautrec in 1891

2X0E5RC May Belfort. Henri de Toulouse-Lautrec. 1895.

2X1A34P Miss May Belfort, lithograph by French artist Henri de Toulouse-Lautrec, 1890s

2WKMP1R Alfred la Guigne. Henri de Toulouse-Lautrec. 1894.

2WKMP24 The Artist's Dog Flèche. Henri de Toulouse-Lautrec. , c. 1881.

2WKMP1X A Corner of the Moulin de la Galette. Henri de Toulouse-Lautrec., 1892.

2WJKA6H Lautrec nach einer Doppelfotografie von Henri Marie, Raymond de Toulouse-Lautrec Monfa 1864-1901 Französischer Maler, Grafiker, Zeichner und Illustrator, Historisch, digital restaurierte Reproduktion von einer Vorlage aus dem 19. Jahrhundert, Record date not stated

2WGEJBM Monsieur Boileau at the Café. Henri de Toulouse-Lautrec. 1893. oil and tempera with charcoal on millboard.

2WR84PA Title print for a collection of sheet music by Désiré Dihau for poems by Jean Goudezki, Les vieilles histoires. Poésies de Jean Goudezki mises en musique par Désiré Dihau (title on object), Old stories (series title), Les vieilles histoires (series title), Désiré Dihau walks with a bear on a chain along the River Seine in Paris., print maker: Henri de Toulouse-Lautrec, publisher: Georges Ondet, Paris, 1893, paper, height 445 mm × width 637 mm

2WR83BF Portrait of Henri de Toulouse-Lautrec, numbered in pencil at the bottom right: 41., print maker: Charles Maurin, (signed by artist), France, 1884 - 1914, paper, height 231 mm × width 141 mm, print

2WR82KM Testimony of Alexandre Ribot in court during the trial of Arton (Léopold Émile Aron), Procès Arton, déposition Ribot (original title), print maker: Henri de Toulouse-Lautrec, publisher: Edouard Kleinmann, Paris, 1896, paper, height 455 mm × width 606 mm, print

2WR82KR Poster for the book Le Tocsin in the newspaper La Dépêche de Toulouse, La Dépêche. Le Tocsin (title on object), La chatelaine (original title), Le Tocsin (original title), Woman in a long dress walks along a forest edge. A dog follows her. Ahead, a spire and a crescent moon., print maker: Henri de Toulouse-Lautrec, printer: Imprimerie Cassan et fils, Toulouse, 1895, paper, letterpress printing, height 569 mm × width 434 mm, print

2WR82KT Testimony of Soudais in court during the trial of Arton (Léopold Émile Aron) (title on object), Procès Arton, déposition Soudais (original title), print maker: Henri de Toulouse-Lautrec, publisher: Edouard Kleinmann, Paris, 1896, paper, height 459 mm × width 585 mm, print

2WR82KY Poster for the American magazine The Chap Book, The Chap Book (title on object), Irish American Bar, Rue Royale (original title), Two men with hats sit and stand at a bar, one of them holding a glass. A bartender mixes a drink., print maker: Henri de Toulouse-Lautrec, printer: Imprimerie Chaix, publisher: La Plume, Paris, 1895, paper, height 419 mm × width 605 mm, print

2WR82KE L'Estampe originale (title on object), print maker: Henri de Toulouse-Lautrec, Mar-1895, paper, height 584 mm × width 840 mm, print

2WBN9F2 May Milton. Henri de Toulouse-Lautrec. 1895.

2TD438M Midsummer day service in lohja church, 1899, by Magnus Enckell

2TD3NXD crucified Christ at center; Mary Magdalene in green gown hugs bottom of cross; two crucified men flank Christ; two soldiers in grey armor, man in oran

2TB2NR3 Frederick Wenz, portrait painting in oil on canvas by Henri de Toulouse-Lautrec, 1886-1890

2TB2NNE Henri de Toulouse-Lautrec, At the Table of Monsieur and Madame Natanson, painting in oil on board, 1898

2TAAT4E Colour litography Mercelle Lender by Henri de Toulouse-Lautrec, 1895. Toulouse Lautrec was a French painter, printmaker, draughtsman, caricaturist, and illustrator whose immersion in the colourful and theatrical life of Paris in the late 19th century allowed him to produce a collection of enticing, elegant, and provocative images of the sometimes decadent affairs of those times. Born into the aristocracy, Toulouse-Lautrec broke both his legs around the time of his adolescence and, due to the rare condition pycnodysostosis, was very short as an adult due to his undersized legs. In addition to

2WPK712 'Ivette Guilbert', 1893, Henri de Toulouse-Lautrec (1864-1901), Thyssen Bornemisza Museum, Madrid, Spain, Europe

2WPK713 'Gaston Bonnefoy', 1891, Henri de Toulouse-Lautrec (1864-1901), Thyssen Bornemisza Museum, Madrid, Spain, Europe

2WPK70W 'La Rousse in a White Blouse'', 1889, Henri de Toulouse-Lautrec (1864-1901), Thyssen Bornemisza Museum, Madrid, Spain, Europe

2WPK2KW Henri de Toulouse-Lautrec, (1864-1901), The Jockeys, 1882

2T8TNFX Impressionists on Paper: Degas to Toulouse-Lautrec explores how Impressionist and Post-Impressionist artists in late 19th-century France radically transformed the status of works on paper. During this period, drawings, pastels, watercolours, temperas and gouaches were increasingly perceived as more than just preparatory techniques, and became autonomous works of art, claiming a shared aesthetic with painting. The exhibition focuses on this crucial shift in how these works were viewed.

2T8TNFP Impressionists on Paper: Degas to Toulouse-Lautrec explores how Impressionist and Post-Impressionist artists in late 19th-century France radically transformed the status of works on paper. During this period, drawings, pastels, watercolours, temperas and gouaches were increasingly perceived as more than just preparatory techniques, and became autonomous works of art, claiming a shared aesthetic with painting. The exhibition focuses on this crucial shift in how these works were viewed.

2T8TNFN Impressionists on Paper: Degas to Toulouse-Lautrec explores how Impressionist and Post-Impressionist artists in late 19th-century France radically transformed the status of works on paper. During this period, drawings, pastels, watercolours, temperas and gouaches were increasingly perceived as more than just preparatory techniques, and became autonomous works of art, claiming a shared aesthetic with painting. The exhibition focuses on this crucial shift in how these works were viewed.

2T8TNFT Impressionists on Paper: Degas to Toulouse-Lautrec explores how Impressionist and Post-Impressionist artists in late 19th-century France radically transformed the status of works on paper. During this period, drawings, pastels, watercolours, temperas and gouaches were increasingly perceived as more than just preparatory techniques, and became autonomous works of art, claiming a shared aesthetic with painting. The exhibition focuses on this crucial shift in how these works were viewed.

2T8TNFJ Impressionists on Paper: Degas to Toulouse-Lautrec explores how Impressionist and Post-Impressionist artists in late 19th-century France radically transformed the status of works on paper. During this period, drawings, pastels, watercolours, temperas and gouaches were increasingly perceived as more than just preparatory techniques, and became autonomous works of art, claiming a shared aesthetic with painting. The exhibition focuses on this crucial shift in how these works were viewed.

2T8TNFR Impressionists on Paper: Degas to Toulouse-Lautrec explores how Impressionist and Post-Impressionist artists in late 19th-century France radically transformed the status of works on paper. During this period, drawings, pastels, watercolours, temperas and gouaches were increasingly perceived as more than just preparatory techniques, and became autonomous works of art, claiming a shared aesthetic with painting. The exhibition focuses on this crucial shift in how these works were viewed.

2T8TNFE Impressionists on Paper: Degas to Toulouse-Lautrec explores how Impressionist and Post-Impressionist artists in late 19th-century France radically transformed the status of works on paper. During this period, drawings, pastels, watercolours, temperas and gouaches were increasingly perceived as more than just preparatory techniques, and became autonomous works of art, claiming a shared aesthetic with painting. The exhibition focuses on this crucial shift in how these works were viewed.

2T8TNFH Impressionists on Paper: Degas to Toulouse-Lautrec explores how Impressionist and Post-Impressionist artists in late 19th-century France radically transformed the status of works on paper. During this period, drawings, pastels, watercolours, temperas and gouaches were increasingly perceived as more than just preparatory techniques, and became autonomous works of art, claiming a shared aesthetic with painting. The exhibition focuses on this crucial shift in how these works were viewed.

2T8TNF6 Impressionists on Paper: Degas to Toulouse-Lautrec explores how Impressionist and Post-Impressionist artists in late 19th-century France radically transformed the status of works on paper. During this period, drawings, pastels, watercolours, temperas and gouaches were increasingly perceived as more than just preparatory techniques, and became autonomous works of art, claiming a shared aesthetic with painting. The exhibition focuses on this crucial shift in how these works were viewed.

2T8TNFC Impressionists on Paper: Degas to Toulouse-Lautrec explores how Impressionist and Post-Impressionist artists in late 19th-century France radically transformed the status of works on paper. During this period, drawings, pastels, watercolours, temperas and gouaches were increasingly perceived as more than just preparatory techniques, and became autonomous works of art, claiming a shared aesthetic with painting. The exhibition focuses on this crucial shift in how these works were viewed.

2T8TNF8 Impressionists on Paper: Degas to Toulouse-Lautrec explores how Impressionist and Post-Impressionist artists in late 19th-century France radically transformed the status of works on paper. During this period, drawings, pastels, watercolours, temperas and gouaches were increasingly perceived as more than just preparatory techniques, and became autonomous works of art, claiming a shared aesthetic with painting. The exhibition focuses on this crucial shift in how these works were viewed.

2T8TNF2 Impressionists on Paper: Degas to Toulouse-Lautrec explores how Impressionist and Post-Impressionist artists in late 19th-century France radically transformed the status of works on paper. During this period, drawings, pastels, watercolours, temperas and gouaches were increasingly perceived as more than just preparatory techniques, and became autonomous works of art, claiming a shared aesthetic with painting. The exhibition focuses on this crucial shift in how these works were viewed.

2T8TNF0 Impressionists on Paper: Degas to Toulouse-Lautrec explores how Impressionist and Post-Impressionist artists in late 19th-century France radically transformed the status of works on paper. During this period, drawings, pastels, watercolours, temperas and gouaches were increasingly perceived as more than just preparatory techniques, and became autonomous works of art, claiming a shared aesthetic with painting. The exhibition focuses on this crucial shift in how these works were viewed.

2T8TNEM Impressionists on Paper: Degas to Toulouse-Lautrec explores how Impressionist and Post-Impressionist artists in late 19th-century France radically transformed the status of works on paper. During this period, drawings, pastels, watercolours, temperas and gouaches were increasingly perceived as more than just preparatory techniques, and became autonomous works of art, claiming a shared aesthetic with painting. The exhibition focuses on this crucial shift in how these works were viewed.

2T8TNER Impressionists on Paper: Degas to Toulouse-Lautrec explores how Impressionist and Post-Impressionist artists in late 19th-century France radically transformed the status of works on paper. During this period, drawings, pastels, watercolours, temperas and gouaches were increasingly perceived as more than just preparatory techniques, and became autonomous works of art, claiming a shared aesthetic with painting. The exhibition focuses on this crucial shift in how these works were viewed.

2T8TNEJ Impressionists on Paper: Degas to Toulouse-Lautrec explores how Impressionist and Post-Impressionist artists in late 19th-century France radically transformed the status of works on paper. During this period, drawings, pastels, watercolours, temperas and gouaches were increasingly perceived as more than just preparatory techniques, and became autonomous works of art, claiming a shared aesthetic with painting. The exhibition focuses on this crucial shift in how these works were viewed.

2T8TNET Impressionists on Paper: Degas to Toulouse-Lautrec explores how Impressionist and Post-Impressionist artists in late 19th-century France radically transformed the status of works on paper. During this period, drawings, pastels, watercolours, temperas and gouaches were increasingly perceived as more than just preparatory techniques, and became autonomous works of art, claiming a shared aesthetic with painting. The exhibition focuses on this crucial shift in how these works were viewed.

2T8TNEC Impressionists on Paper: Degas to Toulouse-Lautrec explores how Impressionist and Post-Impressionist artists in late 19th-century France radically transformed the status of works on paper. During this period, drawings, pastels, watercolours, temperas and gouaches were increasingly perceived as more than just preparatory techniques, and became autonomous works of art, claiming a shared aesthetic with painting. The exhibition focuses on this crucial shift in how these works were viewed.

2T8TNC1 Impressionists on Paper: Degas to Toulouse-Lautrec explores how Impressionist and Post-Impressionist artists in late 19th-century France radically transformed the status of works on paper. During this period, drawings, pastels, watercolours, temperas and gouaches were increasingly perceived as more than just preparatory techniques, and became autonomous works of art, claiming a shared aesthetic with painting. The exhibition focuses on this crucial shift in how these works were viewed.

2T8TNBB Impressionists on Paper: Degas to Toulouse-Lautrec explores how Impressionist and Post-Impressionist artists in late 19th-century France radically transformed the status of works on paper. During this period, drawings, pastels, watercolours, temperas and gouaches were increasingly perceived as more than just preparatory techniques, and became autonomous works of art, claiming a shared aesthetic with painting. The exhibition focuses on this crucial shift in how these works were viewed.

2T8TNBK Impressionists on Paper: Degas to Toulouse-Lautrec explores how Impressionist and Post-Impressionist artists in late 19th-century France radically transformed the status of works on paper. During this period, drawings, pastels, watercolours, temperas and gouaches were increasingly perceived as more than just preparatory techniques, and became autonomous works of art, claiming a shared aesthetic with painting. The exhibition focuses on this crucial shift in how these works were viewed.

2T8TNBE Impressionists on Paper: Degas to Toulouse-Lautrec explores how Impressionist and Post-Impressionist artists in late 19th-century France radically transformed the status of works on paper. During this period, drawings, pastels, watercolours, temperas and gouaches were increasingly perceived as more than just preparatory techniques, and became autonomous works of art, claiming a shared aesthetic with painting. The exhibition focuses on this crucial shift in how these works were viewed.

2T8TNB7 Impressionists on Paper: Degas to Toulouse-Lautrec explores how Impressionist and Post-Impressionist artists in late 19th-century France radically transformed the status of works on paper. During this period, drawings, pastels, watercolours, temperas and gouaches were increasingly perceived as more than just preparatory techniques, and became autonomous works of art, claiming a shared aesthetic with painting. The exhibition focuses on this crucial shift in how these works were viewed.

2T8TNB9 Impressionists on Paper: Degas to Toulouse-Lautrec explores how Impressionist and Post-Impressionist artists in late 19th-century France radically transformed the status of works on paper. During this period, drawings, pastels, watercolours, temperas and gouaches were increasingly perceived as more than just preparatory techniques, and became autonomous works of art, claiming a shared aesthetic with painting. The exhibition focuses on this crucial shift in how these works were viewed.

2T8TNBG Impressionists on Paper: Degas to Toulouse-Lautrec explores how Impressionist and Post-Impressionist artists in late 19th-century France radically transformed the status of works on paper. During this period, drawings, pastels, watercolours, temperas and gouaches were increasingly perceived as more than just preparatory techniques, and became autonomous works of art, claiming a shared aesthetic with painting. The exhibition focuses on this crucial shift in how these works were viewed.

2T8TNB4 Impressionists on Paper: Degas to Toulouse-Lautrec explores how Impressionist and Post-Impressionist artists in late 19th-century France radically transformed the status of works on paper. During this period, drawings, pastels, watercolours, temperas and gouaches were increasingly perceived as more than just preparatory techniques, and became autonomous works of art, claiming a shared aesthetic with painting. The exhibition focuses on this crucial shift in how these works were viewed.

2T8TNB0 Impressionists on Paper: Degas to Toulouse-Lautrec explores how Impressionist and Post-Impressionist artists in late 19th-century France radically transformed the status of works on paper. During this period, drawings, pastels, watercolours, temperas and gouaches were increasingly perceived as more than just preparatory techniques, and became autonomous works of art, claiming a shared aesthetic with painting. The exhibition focuses on this crucial shift in how these works were viewed.

2T8TNB2 Impressionists on Paper: Degas to Toulouse-Lautrec explores how Impressionist and Post-Impressionist artists in late 19th-century France radically transformed the status of works on paper. During this period, drawings, pastels, watercolours, temperas and gouaches were increasingly perceived as more than just preparatory techniques, and became autonomous works of art, claiming a shared aesthetic with painting. The exhibition focuses on this crucial shift in how these works were viewed.

2T8TNAX Impressionists on Paper: Degas to Toulouse-Lautrec explores how Impressionist and Post-Impressionist artists in late 19th-century France radically transformed the status of works on paper. During this period, drawings, pastels, watercolours, temperas and gouaches were increasingly perceived as more than just preparatory techniques, and became autonomous works of art, claiming a shared aesthetic with painting. The exhibition focuses on this crucial shift in how these works were viewed.

2T8TNAT Impressionists on Paper: Degas to Toulouse-Lautrec explores how Impressionist and Post-Impressionist artists in late 19th-century France radically transformed the status of works on paper. During this period, drawings, pastels, watercolours, temperas and gouaches were increasingly perceived as more than just preparatory techniques, and became autonomous works of art, claiming a shared aesthetic with painting. The exhibition focuses on this crucial shift in how these works were viewed.

2T8TNAP Impressionists on Paper: Degas to Toulouse-Lautrec explores how Impressionist and Post-Impressionist artists in late 19th-century France radically transformed the status of works on paper. During this period, drawings, pastels, watercolours, temperas and gouaches were increasingly perceived as more than just preparatory techniques, and became autonomous works of art, claiming a shared aesthetic with painting. The exhibition focuses on this crucial shift in how these works were viewed.

2T8TNAH Impressionists on Paper: Degas to Toulouse-Lautrec explores how Impressionist and Post-Impressionist artists in late 19th-century France radically transformed the status of works on paper. During this period, drawings, pastels, watercolours, temperas and gouaches were increasingly perceived as more than just preparatory techniques, and became autonomous works of art, claiming a shared aesthetic with painting. The exhibition focuses on this crucial shift in how these works were viewed.

2T8TNAM Impressionists on Paper: Degas to Toulouse-Lautrec explores how Impressionist and Post-Impressionist artists in late 19th-century France radically transformed the status of works on paper. During this period, drawings, pastels, watercolours, temperas and gouaches were increasingly perceived as more than just preparatory techniques, and became autonomous works of art, claiming a shared aesthetic with painting. The exhibition focuses on this crucial shift in how these works were viewed.

2T8TNAF Impressionists on Paper: Degas to Toulouse-Lautrec explores how Impressionist and Post-Impressionist artists in late 19th-century France radically transformed the status of works on paper. During this period, drawings, pastels, watercolours, temperas and gouaches were increasingly perceived as more than just preparatory techniques, and became autonomous works of art, claiming a shared aesthetic with painting. The exhibition focuses on this crucial shift in how these works were viewed.

2T8TNA9 Impressionists on Paper: Degas to Toulouse-Lautrec explores how Impressionist and Post-Impressionist artists in late 19th-century France radically transformed the status of works on paper. During this period, drawings, pastels, watercolours, temperas and gouaches were increasingly perceived as more than just preparatory techniques, and became autonomous works of art, claiming a shared aesthetic with painting. The exhibition focuses on this crucial shift in how these works were viewed.

2T8TNAC Impressionists on Paper: Degas to Toulouse-Lautrec explores how Impressionist and Post-Impressionist artists in late 19th-century France radically transformed the status of works on paper. During this period, drawings, pastels, watercolours, temperas and gouaches were increasingly perceived as more than just preparatory techniques, and became autonomous works of art, claiming a shared aesthetic with painting. The exhibition focuses on this crucial shift in how these works were viewed.

2T8TN90 Impressionists on Paper: Degas to Toulouse-Lautrec explores how Impressionist and Post-Impressionist artists in late 19th-century France radically transformed the status of works on paper. During this period, drawings, pastels, watercolours, temperas and gouaches were increasingly perceived as more than just preparatory techniques, and became autonomous works of art, claiming a shared aesthetic with painting. The exhibition focuses on this crucial shift in how these works were viewed.

2T8TN7K Impressionists on Paper: Degas to Toulouse-Lautrec explores how Impressionist and Post-Impressionist artists in late 19th-century France radically transformed the status of works on paper. During this period, drawings, pastels, watercolours, temperas and gouaches were increasingly perceived as more than just preparatory techniques, and became autonomous works of art, claiming a shared aesthetic with painting. The exhibition focuses on this crucial shift in how these works were viewed.

2T8TNAE Impressionists on Paper: Degas to Toulouse-Lautrec explores how Impressionist and Post-Impressionist artists in late 19th-century France radically transformed the status of works on paper. During this period, drawings, pastels, watercolours, temperas and gouaches were increasingly perceived as more than just preparatory techniques, and became autonomous works of art, claiming a shared aesthetic with painting. The exhibition focuses on this crucial shift in how these works were viewed.

2T8TNA6 Impressionists on Paper: Degas to Toulouse-Lautrec explores how Impressionist and Post-Impressionist artists in late 19th-century France radically transformed the status of works on paper. During this period, drawings, pastels, watercolours, temperas and gouaches were increasingly perceived as more than just preparatory techniques, and became autonomous works of art, claiming a shared aesthetic with painting. The exhibition focuses on this crucial shift in how these works were viewed.

2T8TNAA Impressionists on Paper: Degas to Toulouse-Lautrec explores how Impressionist and Post-Impressionist artists in late 19th-century France radically transformed the status of works on paper. During this period, drawings, pastels, watercolours, temperas and gouaches were increasingly perceived as more than just preparatory techniques, and became autonomous works of art, claiming a shared aesthetic with painting. The exhibition focuses on this crucial shift in how these works were viewed.

2T8TN7B Impressionists on Paper: Degas to Toulouse-Lautrec explores how Impressionist and Post-Impressionist artists in late 19th-century France radically transformed the status of works on paper. During this period, drawings, pastels, watercolours, temperas and gouaches were increasingly perceived as more than just preparatory techniques, and became autonomous works of art, claiming a shared aesthetic with painting. The exhibition focuses on this crucial shift in how these works were viewed.

2T8KYRE Le Jockey, Henri de Toulouse-Lautrec, Albi 1864 - 1901 Malromé Castle, 1899, print, color lithograph; Black drawing and green, crimson, brown, beige, blue; Chalk, ink with brush and sprayed, 51.3 x 35.7 cm

2T8KYTH Truffier et Moreno, dans les Femmes Savantes, Henri de Toulouse-Lautrec, Albi 1864 - 1901 Malromé Castle, 1893, print, chalk lithograph, 38.0 x 28.3 cm

2T8KYT0 Sortie de Théâtre, Henri de Toulouse-Lautrec, Albi 1864 - 1901 Malromé Castle, 1896, print, chalk lithograph, 47.5 x 35.3 cm

2T8KYRD Jeanne Granier en Buste, de Trois Quarts, Henri de Toulouse-Lautrec, Albi 1864 - 1901 Malromé Castle, 1898, print, lithograph, 47.0 x 31.0 cm

2T8KYT7 Lender et Auguez, in La Chanson de Fortunio, Henri de Toulouse-Lautrec, Albi 1864 - 1901 Malromé Castle, 1895, print, lithograph in olive green, 51.0 x 39.3 cm

2T8KYFN May Milton, 100 copies, Henri de Toulouse-Lautrec, Albi 1864 - 1901 Malromé Castle, 1895, print, color lithograph, 80.3 x 62 cm

2T8KYG0 La Passagère du 54 - Promenade en yacht. Salon des Cent - Exposition International d'affiches, Henri de Toulouse-Lautrec, Albi 1864 - 1901 Malromé Castle, 1895, print, color lithograph, sheet: 608 mm x 406 mm

2T8KYG2 Jane Avril, Henri de Toulouse-Lautrec, Albi 1864 - 1901 Malromé Castle, 1899, print, color lithograph, 56 x 38.2 cm

2T8KYFF Le Marchant de Marrons, Henri de Toulouse-Lautrec, Albi 1864 - 1901 Malromé Castle, 1897, print, lithograph, 30.4 x 22.9 cm

2T8KYFT Troupe de Mlle Eglantine, Henri de Toulouse-Lautrec, Albi 1864 - 1901 Malromé Castle, 1896, print, color lithograph, 623 x 803 mm

2T8KYFC L' AUBE, Henri de Toulouse-Lautrec, Albi 1864 - 1901 Malromé Castle, 1896, print, color lithograph; Dark blue drawing and turquoise; Chalk, ink with brush and sprayed; Vellum paper, sheet: 60.5 x 79.9 cm, l.l. '26 quai d'Orléans', in print

2T8KYFM Promenoir, Henri de Toulouse-Lautrec, Albi 1864 - 1901 Malromé Castle, 1898, print, lithograph; Black drawing: chalk; Japanese paper, sheet: 71.3 x 57.4 cm, l.l. 'HTL', monogram stamp in red

2T8KXMH Aux Ambassadeurs, Henri de Toulouse-Lautrec, Albi 1864 - 1901 Malromé Castle, 1894, print, color lithograph, 47.5 x 38.3 cm

2T8KG2F Moulin Rouge - La Goulue, Henri de Toulouse-Lautrec, Albi 1864 - 1901 Malromé Castle, 1891, print, color lithograph, 170.5 x 121.5 cm

2T8KG2C Au Pied de l'Echafaud - Lire dans le Matin, Memoires de l'Abbé Faure, Henri de Toulouse-Lautrec, Albi 1864 - 1901 Malromé Castle, 1893, print, color lithograph, 825 x 593 mm

2T8KG2E Reine de Joie, edition size unknown, according to Adriani approx. 1000 - 3000 copies, Henri de Toulouse-Lautrec, Albi 1864 - 1901 Malromé Castle, 1892, print, color lithograph, 1493 mm x 949 mm, 58 3/4 x 37 3 /8 in., Reine de Joie/par/Victor Joze chez tous les librairies/ Imp.Edw Ancourt & Cie Paris

2T8KG2A La Gitane de Richepin, Théâtre Antoine, Henri de Toulouse-Lautrec, Albi 1864 - 1901 Malromé Castle, 1899, print, color lithograph, 974 x 649 mm

2T8KG2M L'Artisan Moderne - Objets d'art, meubles, ensembles decoratifs, Henri de Toulouse-Lautrec, Albi 1864 - 1901 Malromé Castle, 1894, print, color lithograph, 932 x 656 mm

2T8KG18 Jane Avril, Henri de Toulouse-Lautrec, Albi 1864 - 1901 Malromé Castle, 1893, print, color lithograph, 127.7 x 93.7 cm

2T8KG2H Troupe de Mlle Eglantine, Henri de Toulouse-Lautrec, Albi 1864 - 1901 Malromé Castle, 1896, print, color lithograph, 622 x 807 mm

2T8KG29 L'Aube - revue illustrée, Henri de Toulouse-Lautrec, Albi 1864 - 1901 Malromé Castle, 1896, print, color lithograph, 623 x 811 mm

2T8KG28 The Chap Book - Irish and American Bar, Rue Royale, Henri de Toulouse-Lautrec, Albi 1864 - 1901 Malromé Castle, 1895, print, color lithograph, 411 x 592 mm

2T8KFKP Aristide Bruant, Henri de Toulouse-Lautrec, Albi 1864 - 1901 Malromé Castle, 1893, print, chalk lithograph, 43.4 x 32.2 cm

2T8KF66 Footit et Chocolat, Henri de Toulouse-Lautrec, Albi 1864 - 1901 Malromé Castle, 1894, print, transfer lithograph, 29.2 x 40.3 cm

2T8KF1H Répétition générale aux Folies Bergère, Emilienne d'Alençon et Mariquita, Henri de Toulouse-Lautrec, Albi 1864 - 1901 Malromé Castle, 1893, print, chalk lithograph, 38.0 x 27.6 cm; Plate: 27.1 x 26.0 cm

2T8KF0E En Quarante, Henri de Toulouse-Lautrec, Albi 1864 - 1901 Malromé Castle, 1893, print, lithograph, 38.2 x 28.0 cm, 15 1/16 x 11 in., l.l. Estate stamp 'TL', l.l. 'No 35' in pencil

2T8KF18 Couverture pour l'exemple de Ninon de Lenclos Amoureuse, Henri de Toulouse-Lautrec, Albi 1864 - 1901 Malromé Castle, 1898, print, chalk lithograph, 19.2 x 28.1 cm

2T8KF0P Luce Myrès, de Profil, Henri de Toulouse-Lautrec, Albi 1864 - 1901 Malromé Castle, 1895, print, chalk lithograph

2T8KEK2 Mademoiselle Lender dans Madame Satan, Album de la Revue blanche; édité par l'Estampe Originale; Paris 1895, Henri de Toulouse-Lautrec, Albi 1864 - 1901 Malromé Castle, 1893, print, color lithograph, 38.0 x 28.0 cm