3 Cover of "L'Estampe originale". 1893. Lithograph.... Lot 3

3 Cover of "L'Estampe originale". 1893. Lithograph. [645 x 555]. Delteil 17; Wittrock 3. Nice proof of the only line stone, printed in olive green on thin ivory vellum, addressed to Edward Ancourt. Extremely rare: 2 known proofs according to Wittrock. Ex-coll. Roger Marx (Lugt 2229). 2 000 - 2 500 € Weakened paper, oxidized, with large flaws in three of the four corners, one of which having amputated the date. Some light foxing. Long horizontal soft fold in the middle. About the collection of Roger Marx (1859-1913): "From Toulouse-Lautrec there were no less than 180 nos, including La Grande loge 2300 fr., Elsa 1000 fr., Blanche et noire 1620 fr. and Lender debout 920 fr." (Fondation Custodia, Collection Frits Lugt, www.marquesdecollection.fr, n° 2229). Jane Avril was the model for the young woman looking at a print. The man at the press is Father Cotelle, who worked for the lithographer Edward Ancourt. This cover was to be used for the publication of L'Estampe originale, a quarterly album of ten prints, printed at 100 proofs and sold at a price of 150 francs per year, on subscription. This publication was an offshoot of the Journal des Artistes, directed by André Marty. It brought together 74 important artists of the time: the Nabis Bonnard, Denis, Roussel, Vuillard, but also Gauguin, É. Bernard, Seguin, Sérusier, Bracquemond, Buhot, Carrière, Guérard, Guilloux, C. and L. Pissarro, Redon, Renoir, Rodin, Vallotton, Whistler, etc. 9 albums were published in 4 issues, from 1893 to 1895, as well as a closing album. "On March 30 [1893], the Estampe originale appeared; it was both a magazine and a movement, the importance of which is not sufficiently obvious today, but which was revolutionary at the time. Under the impetus of Roger Marx, painters had begun to engrave and above all to lithograph, which had brought discredit on the reproduction print, which until then had been highly prized, and which was threatened, on the other hand, by photography. Lautrec was to be one of the most important figures in this movement. (On March 2, Pissarro went to Marty's house "which makes a journal of prints", and met him, and told his son about it). Here he depicts Jane Avril, the model for his paintings since 1890, with her face treated in the Japanese manner, this great coat which gave her, he said, the air of a "coachman of the Urban". Father Cotelle is at work, he is the pressman of the Ancourt printing house where Lautrec will have almost all his lithos printed, and it is repeated since Joyant that Father Cotelle used the grease from his cap to impregnate the stones, an anecdote in the spirit of Lautrec. "(Adhémar, p. XIII).