HENRI-GABRIEL IBELS (1867-1936) [AU CIRQUE.] 1893. 23 1/4x16 1/2 inches. Condition B+ / A-: foxing and minor creases in margins. Numbered in pencil. Paper. In 1893, Andre Marty began publishing L'Estampe Originale . Through 1895, prints were issued to subscribers on a quarterly basis. The rather eclectic selection of artists included both those who were well established, such as Toulouse-Lautrec, Gaugin, Renoir and Redon, as well as young emerging talents. It was "a remarkable cross-section of the most advanced aesthetic attitudes in fin-de-siècle French art" (Color Revolution p. 22) and the result "was privileged to begin the renewal and to give impetus to the contemporary print movement" (ibid p. 92). This image, from the Cirque Fernando, where both Ibels and Lautrec found inspiration for many of their works, is the best of all Ibels' lithographs. It has a dramatic layout, which masterfully employs use of perspective, flat tones, crachis and bold outlining. This lithograph is hand numbered #25, from an edition of 100 that was printed for L'Estampe Originale . It has extremely fresh colors and large margins.
HENRI-GABRIEL IBELS (1867-1936) [AU CIRQUE.] 1893. 23 1/4x16 1/2 inches. Condition B+ / A-: foxing and minor creases in margins. Numbered in pencil. Paper. In 1893, Andre Marty began publishing L'Estampe Originale . Through 1895, prints were issued to subscribers on a quarterly basis. The rather eclectic selection of artists included both those who were well established, such as Toulouse-Lautrec, Gaugin, Renoir and Redon, as well as young emerging talents. It was "a remarkable cross-section of the most advanced aesthetic attitudes in fin-de-siècle French art" (Color Revolution p. 22) and the result "was privileged to begin the renewal and to give impetus to the contemporary print movement" (ibid p. 92). This image, from the Cirque Fernando, where both Ibels and Lautrec found inspiration for many of their works, is the best of all Ibels' lithographs. It has a dramatic layout, which masterfully employs use of perspective, flat tones, crachis and bold outlining. This lithograph is hand numbered #25, from an edition of 100 that was printed for L'Estampe Originale . It has extremely fresh colors and large margins.
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