MAY 7 - NOVEMBER 7, 2021 CONSTANCE SCHWARTZ | GUEST CURATOR AND DIRECTOR EMERITA
MAY 7 - NOVEMBER 7, 2021 CONSTANCE SCHWARTZ GUEST CURATOR AND DIRECTOR EMERITA
la belle époque La Belle Époque (1870-1914) was era of the French Third Republic, following France’s defeat in the Franco-Prussian War, the uprising of the Paris Commune, and the toppling of the Minister of War General Georges Ernest Boulanger, who threatened to overthrow the French Government. His defeat led to a period in Paris characterized by optimism, regional peace, economic prosperity, colonial expansion and technological, scientific and cultural innovations. The arts flourished, with numerous masterpieces of literature, music, theatre and visual art gaining extensive recognition.
The exhibition includes the abundance of art styles in Paris during the period of La Belle Époque with no defining single format. It included Impressionism, Post-Impressionism encompassing the Nabis and Symbolist movements, Fauvism and early Modernism. It embraced the greatest artists of its time: painters, sculptors, graphic artists, fashion designers, jewelers, architects, furniture and objets d’art. It was a moment of unabashed ostentation and extravagance where the rich enjoyed a last fling before the First World War changed society forever. Prominent artists in Paris during La Belle Époque included Edgar Degas, Pierre-Auguste Renoir, Maurice Denis, Pierre Bonnard, Henri de ToulouseLautrec, and graphic artists such as Jacques Joseph Tissot, Jules Chéret, Paul-César Helleu, Alphonse Maria Mucha, Louis Valtat, Jacques Villon, and Théophile-Alexandre Steinlen, among many others, as well as An Idle Afternoon by Julius LeBlanc Stewart and 1
The Gardens of Luxembourg by Fernand Harvey Lungren. Foreign influences were being strongly felt in Paris as well. The official art school in Paris, the École des Beaux-Arts, held an exhibition of Japanese printmaking that began the rage for Japonisme, a term for the incorporation of Japanese art and design concepts into European art. It was a particular influence on Art Nouveau, the most popularly recognized art movement to emerge from the period. This largely decorative style was characterized by its curvilinear forms and nature inspired motifs. Its use in public art, architecture and posters in Paris has made it synonymous with the city. Art Nouveau was a concerted effort to create an international style based on decoration developed by artists and designers who sought to fashion an art form appropriate to modern life. Old customs and artistic styles sat alongside the new combining a wide range of contradictory images and ideas. Artists looked for inspiration to not only the cultural roots of their own country but to Asia and the Middle East as well, experimenting with new materials and techniques across a broad range of media. Printing techniques such as multiple-color lithography allowed for a more sophisticated range of tones, attracting painters to the medium. The poster now became one of the glamorous means through which Art Nouveau reached a mass audience promoting products and entertainment, assuming new heights of artistic expression.
ABOVE:
FOLLOWING SPREAD:
Pierre Bonnard Rue, le soir, sous la pluie (The Street, at Night, in the Rain), from Quelques Aspects de la Vie de Paris (Some Aspects of Life in Paris), 1899 Lithograph in chocolate brown, dark olive and mustard, signed and numbered, from the edition of 100 10 1/16 x 13 7/8 inches (Framed: 19 x 23 inches) Courtesy of Theodore B. Donson and Marvel M. Griepp
Fernand Harvey Lungren The Gardens of Luxembourg, c. 1882-84 Oil on canvas 30 1/2 x 58 1/8 inches Courtesy of Hirschl & Adler Galleries, Inc., New York
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OPPOSITE
ABOVE
TOP
Félix Vallotton La symphonie (The Symphony), 1897 woodcut, block 8 9/16 x 10 9/16 inches Private Collection
Félix Vallotton La Paresse (Laziness), 1896 woodcut 7 x 8 13/16 inches Private Collection BOTTOM Théophile-Alexandre Steinlen Modèle lisant (Model Reading), 1898 Etching with drypoint and aquatint in colors on Holland paper, signed in red and numbered “No. 3” in bottom right corner 7 3/4 x 11 3/4 inches (Framed: 23 x 19 inches) Courtesy of Theodore B. Donson and Marvel M. Griepp
FOLOWING SPREAD Julius LeBlanc Stewart An Idle Afternoon, 1884 oil on canvas 20 3/4 x 39 3/4 inches Private Collection
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IMPRESSIONISM, POST-IMPRESSIONISM AND LA BELLE ÉPOQUE
The four decades of La Belle Époque, 1870 to 1914, mark the years of a time of joie de vivre for the French in contrast to the tumult of the early years of the Third Republic, Napoleon’s wars and poor class life. Now the Parisians experienced another renaissance. This period brought new freedom, optimism and affluence, artistic influences, and extravagance to the European capital of style and fashion. La Belle Époque marks the years of French desire for expressionism, literary and artistic liberation, and the mixing of beauty, pleasure, and entertainment. The Bohemian 18th arrondissement, Montmartre, became the place where together, rich and poor, old and young, Parisians, workers, elegant ladies, influential people, and gamblers enjoyed the pleasure of nightlife and the temple of modern cabarets, the Moulin Rouge. In this era, the arts markedly flourished, with numerous masterworks of literature, music, theatre and visual art gaining extensive recognition. A variety of art styles abounded during the period of La Belle Époque in Paris with no defining single format. It encompassed the greatest artists of its time: painters, sculptors, fashion designers, graphic artists, glassmakers, and furniture designers.
Baron Haussmann’s modernization of the center of Paris saw the cramped medieval streets replaced with grand boulevards, parks and public squares. These became the playground for the elite fashionable society. In their works, Belle Époque artists strove to capture the rapidly 5
changing environment and scenes of modern life. Although Impressionism, then known as the artistic avant-garde, began well before the Belle Époque in the 1860s, it had initially been met with scorn by a public accustomed to the realist and representational art approved by the Academy, which fostered conventional subject matter from historical to religious allegories and portraits. Reacting against these stifling requirements, the Impressionists created light-filled canvases with agile brushstrokes, cropping images, and ordinary subject matter involving daily life. In Danseuses sur une banquette, Edgar Degas presents ballerinas offstage in startling proximity between physical closeups and emotional distance, in asymmetrical compositions with unfamiliar viewpoints. The ballerinas express deep fatigue and hopelessness, closely associated with urban existence in fin-de-siècle France. PierreAuguste Renoir’s brush dances across his canvases with agility that fractures the light and fills the canvases with arbitrarily chosen colors. His figures and portraits reflects these characteristics. Pierre Bonnard was the leader of a group of Post-Impressionist painters who called themselves Les Nabis, from the Hebrew word meaning “prophet”. The most distinguished of the group, Bonnard, Vuillard, and Denis revolutionized the spirit of decorative technique during one of the richest periods in the history of French painting. Influenced by popular imagery
and by Japanese prints, intimate close-ups were created with flattening of the forms and with patterns of colors leading to a proto-abstract composition. The Nabis were very open to the art of Japan and adapted the Japanese screen concept in their art. Bonnard produced a five-color lithograph in a screen format, titled Nannies’ Promenade: Frieze of Carriages, in an attempt to make it available to a wider public. The artist made brilliant use of the dissimilarity between decorated areas and blank space and gave the bare canvas an important role in the
screen’s structure, where he inventively used the folds in the screen to link the panels. From 1890 to 1914, La Belle Époque offered years of feverish activity in painting, the applied and decorative arts, the theatre and publications. It was indeed a beautiful time!
LEFT Edgar Degas (1834-1917) Danseuse Habillée au Repos (Dancer Dressed at Rest), 1896-1911 Bronze, cast by Valsuani Foundry 17 1/8 inches high Collection of Carol Conn and Walter Maibaum, New York
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Ihenri de toulouse-lautrec Prior to the apocalypse of the First World War, beginning in the 1870s, Paris was the capital of the fashionable world. This was the dawn of La Belle Époque, and the end of the century, la fin-de-siècle. It was the backdrop for the new society and demi-monde, and for the first time, a visible burgeoning middle class. Paris was the center for industrial achievement and dynamic innovation and the showplace for beautiful objects (objets d’art) and furniture, which were acknowledged as cultural art objects and took their place alongside paintings and sculpture, attracting an international audience. The city incorporated a world of bistros and bars serving the new American cocktails, of music halls, and of cabarets featuring the infamous can-can.
A bohemian artist of the late nineteenth century, Henri de ToulouseLautrec captured the spirit of the “beautiful era” in his works and became known for his portrayal of the many highs and lows of the city as well as his own short tormented life. As a Post-Impressionist painter, Art Nouveau illustrator and lithographer, he was the recorder of the society and culture of the time that was filled with colorful people, dance halls, cabarets, circuses, brothels and decadent haunts. All this was played out against the winding streets of Montmartre and the famed cabaret Moulin Rouge, with its red windmill, the place to be seen as an integral aspect of the Parisian creative class. Through his talented artistry, he immortalized Mademoiselle Marcelle Lender, La Goulue, Valentin le désossé, Aristide
Bruant and so many others. Having studied art in the ateliers of Léon Bonnat, Toulouse-Lautrec was a masterful draughtsman and was willing to experiment with bold composition, revolutionizing poster design depicting barmaids, clowns, prostitutes and cabaret stars. When three thousand copies of his poster, Moulin Rouge: La Goulue (The Glutton) was pasted all over the walls around Paris, Toulouse-Lautrec became an overnight sensation and the premier poster artist of his day. He used text as an integral aspect of his poster’s overall design. His exciting new visual marketing tool included strong outlines, flat planes, silhouettes and unusual angles, to which he sometimes added “special effects” into the realm of art, brilliantly executing his art in a variety of media. It is Henri de Toulouse-Lautrec who is synonymous with Paris and its wonderful spectacle. Renowned for his self-deprecating wit, empathy, sympathy and fascination for those marginalized by society, alcoholism and Syphilis were significant factors in his tragically early demise in 1901.
OPPOSITE Henri de Toulouse-Lautrec Divan Japonais, 1893 Lithograph on wove paper backed with linen 31 5/8 x 24 1/8 inches Courtesy of the Gordon Collection
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PREVIOUS SPREAD Henri de Toulouse-Lautrec Tristan Bernard au Vélodrome Buffalo (Tristan Bernard at the Buffalo Velodrome), 1895 Oil on canvas 25 3/8 x 31 7/8 inches Private Collection RIGHT Henri de Toulouse-Lautrec La Troupe de Mademoiselle Églantine, 1896 Color lithograph on linen-backed wove paper 24 5/8 x 31 5/8 inches Courtesy of the Gordon Collection FOLLOWING SPREAD Henri de Toulouse-Lautrec (1864-1901) Folies Bergère: The Modesty of Monsieur Prudhomme, 1893 Lithograph on paper 14 13/16 x 10 9/16 inches Courtesy of the Gordon Collection Henri de Toulouse-Lautrec Aristide Bruant dans son Cabaret (Aristide Bruant at his Cabaret), 1893 Color lithograph on paper 38 1/2 x 53 1/2 inches Courtesy of the Gordon Collection
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louis comfort-tiffany Louis Comfort Tiffany, renowned as a magical designer and creator of beauty in glass, mosaic, ceramics and jewelry, became the leading decorative artist of the era in America. He explored natural forms and combined them with fantasy, narrative and myth in a resonance and revelry of color. His lamps and stained glass windows became synonymous with Art Nouveau with forms derived from nature, asymmetric rhythms and elongated organic sinuous designs: visual poetry in a unique decorative style.
The Gilded Age, parallel to Art Nouveau in Europe, described the brash tycoons in the decades between the Civil War and the advent of World War I. This era of enormous wealth, socioeconomic disparity and lavish consumption included the industrial barons John D. Rockefeller, Henry Clay Frick, Cornelius Vanderbilt and Andrew Carnegie. Fortunes were conspicuously spent, often on the European Grand Tour, in a search for an American lifestyle patterned after the richness and assured elegance of the royalty of Europe and the fascinating decoration of the Far East. International fairs were popular in the mid-nineteenth century, and Tiffany utilized them to expand his renown. Initially, Tiffany exhibited his stained glass windows, favrile glass, and lamps at these international exhibitions as part of the Tiffany & Co. display. Siegfried Bing, an influential Parisian dealer, saw his work, which led to Bing’s sponsorship of Tiffany in Paris and
ultimately to Tiffany’s international acclaim, not only in America but also in Paris and throughout the world. Siegfried Bing was a major factor in the development of the Art Nouveau style in Paris and Europe. Bing and his gallery, La Maison de l’Art Nouveau, were synonymous with the international movement and a source for the newly informed consumer. As a sponsor of young talent, Bing influenced countless designers who saw that the unity of Eastern and Western art and Art Nouveau decoration could improve home design for home and break the stranglehold of Victorian Arts and Crafts. Tiffany’s creativity peaked at virtually the same moment in America that Art Nouveau burst on the scene in Europe in the mid-1890s. He was fascinated by organic forms. He utilized the fluidity of glass and invented new techniques to suggest the growth and movement of flowers and plants: pushing and twisting hot glass until it moved into rippled folds to create drapery glass; exposing the material to vapors and
OPPOSITE Detail: Tiffany Studios, New York Peony Library Lamp, ca. 1905 Leaded glass and bronze 22 x 27 1/2 inches Courtesy of The Neustadt Collection of Tiffany Glass, Queens, NY
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gases, or applying or corroding the surface for an iridescent glass with a metallic luster called favrile. With his unsurpassed artistic invention in glassmaking techniques, Tiffany produced a great variety of textures and color, often reviving old methods and creating new ones to achieve unusual results. His lamps with flowing abstract patterns in reds, greens, golds or mother-ofpearl, sometimes suggest waves, leaves or peacock feathers, while those in this gallery display those characteristics in the flower forms of Peony, Daffodil, Apple Blossom, Poppy, Lily Pond and Dogwood.
RIGHT TOP, L-R: Tiffany Studios, New York Daffodil Library Lamp, ca. 1905 Leaded glass and bronze; 20 x 25 inches Courtesy of The Neustadt Collection of Tiffany Glass, Queens, NY Tiffany Studios, New York Peony Library Lamp, ca. 1905 Leaded glass and bronze; 22 x 27 1/2 inches Courtesy of The Neustadt Collection of Tiffany Glass, Queens, NY Tiffany Studios, New York Pond Lily Library Lamp, ca. 1905 Leaded glass and bronze; 20 1/2 x 23 inches Courtesy of The Neustadt Collection of Tiffany Glass, Queens, NY BOTTOM, L-R: Tiffany Studios, New York Dogwood Band Library Lamp, ca. 1910 Leaded glass and bronze; 20 x 28 1/2 inches Courtesy of The Neustadt Collection of Tiffany Glass, Queens, NY Tiffany Studios, New York Moth Lamp Screen, ca. 1905 Leaded glass and brass; 17 x 8 inches Courtesy of The Neustadt Collection of Tiffany Glass, Queens, NY Tiffany Studios, New York Poppy Library Lamp, ca. 1905 Leaded glass with brass filigree and bronze; 19 x 17 inches Courtesy of The Neustadt Collection of Tiffany Glass, Queens, NY
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exhibition checklist Pierre Bonnard (1867-1947) Scène de Famille (Family Scene), from L’Estampe originale (The Original Print), 1893 Lithograph on paper 12 5/16 x 7 1/16 inches Courtesy of the Gordon Collection Pierre Bonnard (1867-1947) Le Paravent: La promenade des nourrices, frise de Fiacres (Screen: Nannies’ Promenade, Frieze of Carriages), 1897 Five-color lithograph on four-panel screen 53 4/5 x 19 inches each Courtesy of the Gordon Collection Pierre Bonnard (1867-1947) L’Estampe et l’affiche (The Print and the Poster), 1897 Lithograph on paper 32 11/16 x 24 3/16 inches Courtesy of the Gordon Collection Pierre Bonnard (1867-1947) Rue, le soir, sous la pluie (The Street, at Night, in the Rain), from Quelques Aspects de la Vie de Paris (Some Aspects of Life in Paris), 1899 Lithograph in chocolate brown, dark olive and mustard, signed and numbered, from the edition of 100 10 1/16 x 13 7/8 inches (Framed: 19 x 23 inches) Courtesy of Theodore B. Donson and Marvel M. Griepp Pierre Bonnard (1867-1947) Tête de jeune fille à la chevelure défaite (Head of a girl with undone hair), ca. 1914 Oil on canvas 20 3/8 x 13 3/4 inches (Framed: 28 x 21 1/2 inches) Private Collection Pierre Bonnard (1867-1947) La Revue Blanche: Derrière le Miroir Lithograph on paper 32 x 24 inches (Framed: 43 x 36 inches) Courtesy of the Gordon Collection Victor Brugairolles (1869-1936) Place de la Concorde, Paris, ca. 1890 Oil on canvas 44 x 62 inches Nassau County Museum of Art Permanent Collection, Gift of Mr. and Mrs. Harvey Blau Paul Boyer (1861-1952) Sarah Bernhardt as Duc de Reichstadt in “L’Aiglon” by Edmond Rostand, 1900 Medium-format albumen cabinet photograph 11 3/4 x 9 1/2 inches Collection of Dr. Jay and Deborah Tartell
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Leonetto Cappiello (1875-1942) Katabexine, 1903 Color lithograph on paper 54 3/4 x 39 3/4 inches Courtesy of La Belle Époque Vintage Posters, New York Jules Chéret (1836-1932) Théâtre de l’Opera – Carnaval 1892, 1892 Color lithograph on wove poster paper 48 3/4 x 34 3/8 inches Courtesy of La Belle Époque Vintage Posters, New York
Maurice Denis (1870-1943) Jardin dans le Midi (Garden in the Morning) Oil on canvas 13 1/5 x 18 1/2 inches (Framed: 23 1/3 x 28 3/4 inches) Private Collection, New York Maurice Denis (1870-1943) Maternité ou madone au soleil couchant (Fiesole) (Madonna and Child in Sunset) (Fiesole), 1907 Oil on canvas 25 1/2 x 19 inches (Framed: 34 1/2 x 28 inches) Private Collection
Jules Chéret (1836-1932) Le Punch Grassot, 1895 Color lithograph on paper, proof before lettering 23 3/4 x 16 5/8 inches Courtesy of the Gordon Collection
Henri Fantin-Latour (1836-1904) Bouquet of Roses, 1902 Oil on canvas 21 1/2 x 16 1/2 inches Courtesy of Lois and David Lerner
Corbay-Wenzel Day Suit, ca. 1888-90 Light brown wool with black braided embroidery Courtesy of the Cohasset Historical Society, Cohasset, MA
Georges de Feure (1868-1943) “Grenade” Settee, ca. 1900 Painted wood and silk/velvet upholstery 38 1/4 x 47 1/2 x 21 inches Courtesy of Maison Gerard, New York
Daum Nancy French Cameo Glass Vase Mushrooms in natural colors 6 1/4 inches high Private Collection Edgar Degas (1834-1917) Arabesque sur la Jambe Droite, la Main Droite Près de Terre le Bras Gauche en Debors (Arabesque over the Right Leg, Right Hand Near the Ground Left Arm Outstretched), 1882-95 Bronze, cast by Valsuani Foundry 11 1/4 inches high Collection of Carol Conn and Walter Maibaum, New York Edgar Degas (1834-1917) Danseuse Habillée au Repos (Dancer Dressed at Rest), 1896-1911 Bronze, cast by Valsuani Foundry 17 1/8 inches high Collection of Carol Conn and Walter Maibaum, New York Edgar Degas (1834-1917) Femme Assise, s’Essuyant la Hanche Gauche (Seated Woman, Wiping Her Left Hip), 1896-1911 Bronze, cast by Valsuani Foundry 17 1/8 inches high Collection of Carol Conn and Walter Maibaum, New York Edgar Degas Danseuses sur une Banquette, n.d. pastel on paper 16 x 23 inches Private Collection
Émile Gallé (1846-1904) Vase with Silver Mount, ca. 1898 Cameo glass and silver 7 1/4 inches high Private Collection Émile Gallé (1846-1904) Pale Lavender Crocus Vase, ca. 1899 Glass marquetry 17 3/4 inches high Private Collection Émile Gallé (1846-1904) Table Lamp with Butterflies, ca. 1900 Glass and gold 23 x 11 inches Private Collection Émile Gallé (1846-1904) Table: The Fern, ca. 1900 Various hand-carved woods with marquetry 30 x 36 x 25 inches Private Collection Émile Gallé (1846-1904) L’Orgnon, ca. 1900 Cameo glass floriform vase 13 inches high Private Collection Émile Gallé (1846-1904) Vase L’Ancolie, ca. 1900 Engraved and patinated glass 14 3/4 inches high Private Collection
Émile Gallé (1846-1904) Vase with Yellow Water Lilies, ca. 1900 Blown and carved glass 10 1/4 inches high Private Collection Émile Gallé (1846-1904) Dragonfly Vase, ca. 1907 Carved cameo glass 11 3/4 inches high Private Collection Émile Gallé (1846-1904) French Cameo Glass Vase Carved wheel with marine growths in red and green on pale green ground with internal decoration 9 1/2 inches high Private Collection Émile Gallé (1846-1904) French Cameo Glass Vase, Arabesque Design Violet brown overlay and peacock feather in various shades of bluishgreen intaglio cut on body on bluish ground, signed “Gallé” Diameter: 6 1/2 inches Private Collection Paul César Helleu (1859-1927) Figure sur la Passarelle (Figure on the Passarelle) Sanguine and charcoal on paper 36 1/2 x 23 1/2 inches Courtesy of Mr. and Mrs. Arthur S. and Arlene Levine Paul César Helleu (1859-1927) Madame Helleu devant les dessins de Watteau au Louvre (Madame Helleu Looking at Watteau Drawings at the Louvre), ca. 1895 Color drypoint, signed in pencil 11 1/2 x 15 3/4 inches (Framed: 20 x 24 inches) Courtesy of Theodore B. Donson and Marvel M. Griepp James Lafayette (James Stack Lauder) (1853-1923)Sarah Bernhardt as Ophelia in “Hamlet” by Shakespeare, on stair with sword, 1886 Medium-format albumen cabinet photograph 11 3/4 x 9 1/2 inches Collection of Dr. Jay and Deborah Tartell Henri Le Sidaner (1862-1939) La table de pierre (The Stone Table), 1919 Oil over pen and India ink on canvas 25 3/8 x 31 1/8 inches Courtesy of Lois and David Lerner C. Licht Le Suez, papier à cigarettes (Le Suez Cigarette Paper), 1901 Chromolithograph on Velin paper 29 x 78 inches Courtesy of La Belle Époque Vintage Posters, New York
Gustave Loiseau (1865-1935) Fleurs et statue (Flowers and Statue) Oil on canvas 21 x 28 inches (Framed: 29 1/2 x 37 inches) Private Collection Fernand Harvey Lungren (1857-1932) The Gardens of Luxembourg, ca. 1882-84 Oil on canvas 30 1/2 x 58 1/8 inches Courtesy of Hirschl & Adler Galleries, New York Frederick William MacMonnies (1863-1937) Cupidon: Cupid Sulking, ca. 1905 Bronze with brown patina 25 inches high Collection of Dr. Jay and Deborah Tartell Frederick William MacMonnies (1863-1937) Cupidon: Cupid on the Warpath, ca. 1905 Bronze with brown patina 26 inches high Collection of Dr. Jay and Deborah Tartell Jacques Martin-Ferrières (1893-1972) Le Port de Collioure (The Port of Collioure) Oil on canvas 20 5/8 x 24 7/8 inches Courtesy of Mr. and Mrs. Arthur S. and Arlene Levine Melandri (active 1860s-ca. 1883) Sarah Bernhardt as Queen Maria of Spain in “Ruy Blas” by Victor Hugo, 1872 Small-format albumen cabinet photograph 9 1/2 x 8 inches Collection of Dr. Jay and Deborah Tartell Alphonse Maria Mucha (18601939) Job, 1896 Color lithograph on paper 30 x 24 inches Courtesy of Theodore B. Donson and Marvel M. Griepp Alphonse Maria Mucha (18601939) “Lorenzaccio” – Sarah Bernhardt as Lorenzo de’ Medici, 1896 Color lithograph on paper 37 x 14 1/2 inches (Framed: 47 1/2 x 23 inches) Courtesy of the Gordon Collection Alphonse Maria Mucha (1860-1939) Bières de la Meuse, 1897 Color lithograph on paper 66 x 46 inches Courtesy of La Belle Époque Vintage Posters, New York
Nadar (Gaspard-Félix Tournachon) (1820-1910) Sarah Bernhardt as Dona del Sol in “Hernani” by Victor Hugo, 1877 Medium-format albumen cabinet photograph 11 3/4 x 9 1/2 inches Collection of Dr. Jay and Deborah Tartell Nadar (Gaspard-Félix Tournachon) (1820-1910) Sarah Bernhardt as Théodora, Empress of Byzantium, in “Théodora” by Victorien Sardou, 1882 Medium-format albumen cabinet photograph 11 3/4 x 9 1/2 inches Collection of Dr. Jay and Deborah Tartell Nadar (Gaspard-Félix Tournachon) (1820-1910) Sarah Bernhardt as Pierrot in “Pierrot Assassin” by Jean Richepin, 1883 Medium-format albumen cabinet photograph 11 3/4 x 9 1/2 inches Collection of Dr. Jay and Deborah Tartell Nadar (Gaspard-Félix Tournachon) (1820-1910) Sarah Bernhardt as Lady Macbeth by Shakespeare (adapted by Jean Richepin), with dagger, 1884 Medium-format albumen cabinet photograph 11 3/4 x 9 1/2 inches Collection of Dr. Jay and Deborah Tartell Nadar (Gaspard-Félix Tournachon) (1820-1910) Sarah Bernhardt as Lady Macbeth by Shakespeare (adapted by Jean Richepin), fleur de Lis frock, 1884 Medium-format albumen cabinet photograph 11 3/4 x 9 1/2 inches Collection of Dr. Jay and Deborah Tartell Nadar (Gaspard-Félix Tournachon) (1820-1910) Sarah Bernhardt as Lady Macbeth by Shakespeare (adapted by Jean Richepin), raising goblet, 1884 Medium-format albumen cabinet photograph 11 3/4 x 9 1/2 inches Collection of Dr. Jay and Deborah Tartell Nadar (Gaspard-Félix Tournachon) (1820-1910) Sarah Bernhardt as Floria Tosca in “La Tosca” by Victorien Sardou, seated next to table, 1887 Medium-format albumen cabinet photograph 11 3/4 x 9 1/2 inches Collection of Dr. Jay and Deborah Tartell
Alphonse Maria Mucha (18601939) Job, 1898 Color lithograph poster 66 x 46 inches Courtesy of the Gordon Collection Ferdinand Mulnier (1817-1891) Sarah Bernhardt in Non-Costumed Portrait, ca. 1876 Small-format albumen cabinet photograph; 9 1/2 x 8 inches Collection of Dr. Jay and Deborah Tartell Nadar (Gaspard-Félix Tournachon) (1820-1910) Sarah Bernhardt as Floria Tosca in “La Tosca” by Victorien Sardou, standing with walking stick, 1887 Medium-format albumen cabinet photograph 11 3/4 x 9 1/2 inches Collection of Dr. Jay and Deborah Tartell Nadar (Gaspard-Félix Tournachon) (1820-1910) Sarah Bernhardt as Floria Tosca in “La Tosca” by Victorien Sardou, seated with walking stick, 1887 Medium-format albumen cabinet photograph 11 3/4 x 9 1/2 inches Collection of Dr. Jay and Deborah Tartell Nadar (Gaspard-Félix Tournachon) (1820-1910) Sarah Bernhardt as Floria Tosca in “La Tosca” by Victorien Sardou, standing over the body of Scarpia (played by Pierre Berton), 1887 Medium-format albumen cabinet photograph 11 3/4 x 9 1/2 inches Collection of Dr. Jay and Deborah Tartell Nadar (Gaspard-Félix Tournachon) (1820-1910) Sarah Bernhardt as Floria Tosca in “La Tosca” by Victorien Sardou, seated next to table, 1887 Medium-format albumen cabinet photograph 11 3/4 x 9 1/2 inches Collection of Dr. Jay and Deborah Tartell Nadar (Gaspard-Félix Tournachon) (1820-1910) Sarah Bernhardt in Unidentified Costume with Hat, 1890 Medium-format albumen cabinet photograph 11 3/4 x 9 1/2 inches Collection of Dr. Jay and Deborah Tartell Nadar (Gaspard-Félix Tournachon) (1820-1910) Sarah Bernhardt as Marguerite in “La Dame aux Camélias” by Alexandre Dumas fils, collared cape, 1896 Medium-format albumen cabinet photograph 11 3/4 x 9 1/2 inches Collection of Dr. Jay and Deborah Tartell
PAL (Jean de Paleologue) (1855-1942) Euskal-Jai Parisien, ca. 1895 Color lithograph on paper 53 3/4 x 39 1/2 inches Courtesy of La Belle Époque Vintage Posters, New York René Péan (1875-1955) Moulin Rouge – Nouvelles Montagnes Russes, 1900 Color lithograph on paper 49 x 35 inches Courtesy of La Belle Époque Vintage Posters, New York Jean Puiforcat (1897-1945) Covered Bowl, ca. 1900 Silver and lapis lazuli 6 x 9 inches Private Collection Ferdinand Loyen du Puigaudeau (1864-1930) Bretonnes aux lampions à Notre-Damede-Trémalo (Pont Aven), ca. 1896 Oil on canvas 23 1/4 x 28 inches Collection of Arnold and Anne Gumowitz Jean Puy (1876-1960) Femme en rouge dans un paysage (Woman in Red in a Landscape), 1906 Oil on canvas 30 3/4 x 23 inches Courtesy of the Gordon Collection Pierre-Auguste Renoir (1841-1919) Étude de nu (Study of a Nude) Charcoal on paper 22 x 18 inches Courtesy of Mr. and Mrs. Arthur S. and Arlene Levine Pierre-Auguste Renoir (1841-1919) Femme au Manchon (Woman with a Muff), ca. 1885 Sanguine and white chalk on paper 18 7/8 x 13 1/2 inches (Framed: 28 1/2 x 22 1/2 inches) Courtesy of Dr. Harvey Manes Pierre-Auguste Renoir (1841-1919) Portrait de Femme (Portrait of a Woman), 1897 Oil on canvas 16 1/4 x 13 1/4 inches Courtesy of Mr. and Mrs. Arthur S. and Arlene Levine Pierre-Auguste Renoir (1841-1919) Femme nue aux coussins verts (Nude on Green Cushions), 1909 Oil on canvas Framed: 31 1/2 x 28 1/2 inches Courtesy of Carol Wolowitz Pierre-Auguste Renoir (1841-1919) Femme nue couchée (Reclining Nude Woman), 1918 Oil on canvas 17 3/4 x 20 3/4 inches Collection of Arnold and Anne Gumowitz
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Théo van Rysselberghe (1862-1926) Le Café-Concert, 1896 Etching in brown ink on simulated cream-colored Japan paper, initialed in red pencil and with the monogram and numbered, from the edition of 100 9 5/8 x 11 5/8 inches (Framed: 21 x 22 inches) Courtesy of Theodore B. Donson and Marvel M. Griepp
Napoleon Sarony (1821-1896) Sarah Bernhardt as Dona del Sol in “Hernani” by Victor Hugo, 1877 Medium-format albumen cabinet photograph 11 3/4 x 9 1/2 inches Collection of Dr. Jay and Deborah Tartell Napoleon Sarony (1821-1896) Sarah Bernhardt as Phèdre in “Phèdre” by Jean Racine, reclining on chair with footrest, 1879 Medium-format albumen cabinet photograph 11 3/4 x 9 1/2 inches Collection of Dr. Jay and Deborah Tartell Napoleon Sarony (1821-1896) Sarah Bernhardt as Marguerite in “La Dame aux Camélias” by Alexandre Dumas fils, collared cape, 1880 Medium-format albumen cabinet photograph 11 3/4 x 9 1/2 inches Collection of Dr. Jay and Deborah Tartell Napoleon Sarony (1821-1896) Sarah Bernhardt as Gilberte in “Froufrou” by Henri Meilhac and Ludovic Halévy, looking at book on stand, 1880 Medium-format albumen cabinet photograph 11 3/4 x 9 1/2 inches Collection of Dr. Jay and Deborah Tartell Napoleon Sarony (1821-1896) Sarah Bernhardt, Uncostumed, with Studio Backdrop, 1880 Medium-format albumen cabinet photograph 11 3/4 x 9 1/2 inches Collection of Dr. Jay and Deborah Tartell Napoleon Sarony (1821-1896) Sarah Bernhardt as Cléopatre in “Cléopatre” by Victorien Sardou, on divan, 1890 Medium-format albumen cabinet photograph 11 3/4 x 9 1/2 inches Collection of Dr. Jay and Deborah Tartell Napoleon Sarony (1821-1896) Sarah Bernhardt as Leah in “La Samaritaine” by Edmond Rostand, arms up, (printed posthumously, 1897) Medium-format albumen cabinet photograph 11 3/4 x 9 1/2 inches
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Collection of Dr. Jay and Deborah Tartell Théophile-Alexandre Steinlen (1859-1923) Tournée du Chat Noir avec Rodolphe Salis (Tour of the Chat Noir with Rodolphe Salis), 1896 Color lithograph on paper 53 1/2 x 37 3/4 inches Courtesy of the Gordon Collection Théophile-Alexandre Steinlen (1859-1923) Modèle lisant (Model Reading), 1898 Etching with drypoint and aquatint in colors on Holland paper, signed in red and numbered “No. 3” in bottom right corner 7 3/4 x 11 3/4 inches (Framed: 23 x 19 inches) Courtesy of Theodore B. Donson and Marvel M. Griepp Théophile-Alexandre Steinlen (1859-1923) Le Journal: La Traite des Blanches, 1899 Color lithograph poster 67 x 53 inches Courtesy of La Belle Époque Vintage Posters, New York Julius LeBlanc Stewart (1855-1919) An Idle Afternoon, 1884 Oil on canvas 20 3/4 x 39 3/4 inches (Framed: 33 x 50 3/4 x 3 1/8 inches) Private Collection; Courtesy of Gerald Peters Gallery Attributed to Louis Comfort Tiffany (1848-1933) Chanson de Printemps (after WilliamAdolphe Bouguereau), ca. 1895 Leaded and plate glass window 66 x 38 1/2 inches Nassau County Museum of Art Permanent Collection; Gift of an Anonymous Donor Louis Comfort Tiffany (1848-1933) Iridescent Red Vase, ca. 1900-05 Favrile glass 8 1/2 inches high Nassau County Museum of Art Permanent Collection; Gift of an Anonymous Donor Louis Comfort Tiffany (1848-1933) Rosewater Sprinkler Gooseneck Vase, ca. 1902 Favrile glass 12 1/2 inches high Nassau County Museum of Art Permanent Collection; Gift of an Anonymous Donor Louis Comfort Tiffany (1848-1933) Glass Flower Form with Feather Pattern in Bronze, ca. 1905 Favrile glass and bronze 17 inches high Nassau County Museum of Art Permanent Collection; Gift of an Anonymous Donor
Tiffany Studios, New York Pond Lily Library Lamp, ca. 1905 Leaded glass and bronze 20 1/2 x 23 inches Courtesy of The Neustadt Collection of Tiffany Glass, Queens, NY Tiffany Studios, New York Peony Library Lamp, ca. 1905 Leaded glass and bronze 22 x 27 1/2 inches Courtesy of The Neustadt Collection of Tiffany Glass, Queens, NY
Tiffany Studios, New York Daffodil Library Lamp, ca. 1905 Leaded glass and bronze 20 x 25 inches Courtesy of The Neustadt Collection of Tiffany Glass, Queens, NY Tiffany Studios, New York Apple Blossom Library Lamp, ca. 1905 Leaded glass and bronze 25 x 30 inches Courtesy of The Neustadt Collection of Tiffany Glass, Queens, NY Tiffany Studios, New York Poppy Library Lamp, ca. 1905 Leaded glass with brass filigree and bronze 19 x 17 inches Courtesy of The Neustadt Collection of Tiffany Glass, Queens, NY Tiffany Studios, New York Dogwood Band Library Lamp, ca. 1910 Leaded glass and bronze 20 x 28 1/2 inches Courtesy of The Neustadt Collection of Tiffany Glass, Queens, NY Tiffany Studios, New York Moth Lamp Screen, ca. 1905 Leaded glass and brass 17 x 8 inches Courtesy of The Neustadt Collection of Tiffany Glass, Queens, NY Jacques Joseph Tissot (1836-1902) Querelle d’amoureaux (The Lover’s Quarrel), 1876 Drypoint printed on cream laid paper, signed in pencil and with the red monogram stamp of the artist, from the edition of 50 12 x 7 1/8 inches (Framed: 20 x 15 inches) Courtesy of Theodore B. Donson and Marvel M. Griepp Henri de Toulouse-Lautrec (1864-1901) Au Moulin Rouge: La Goulue et sa sœur (At the Moulin Rouge: La Goulue and her Sister), 1892 Color lithograph on paper, signed in pencil, red-stamped, and numbered “28” from the edition of 100, and with the oval red stamp of the printer Ancourt 25 1/4 x 19 7/16 inches (Framed: 30 x 25 inches) Courtesy of Theodore B. Donson and Marvel M. Griepp
Henri de Toulouse-Lautrec (1864-1901) Folies Bergère: The Modesty of Monsieur Prudhomme, 1893 Lithograph on paper 14 13/16 x 10 9/16 inches Courtesy of the Gordon Collection Henri de Toulouse-Lautrec (1864-1901) La Loge au mascaron doré (The Box with the Gilded Mask), 1893 Lithograph in colors on Japanese paper 16 1/4 x 12 3/4 inches Courtesy of the Gordon Collection Henri de Toulouse-Lautrec (1864-1901) Divan Japonais, 1893 Lithograph on wove paper backed with linen 31 5/8 x 24 1/8 inches Courtesy of the Gordon Collection Henri de Toulouse-Lautrec (1864-1901) Caudieux, 1893 Color lithograph on wove paper 49 x 34 1/2 inches Courtesy of the Gordon Collection Henri de Toulouse-Lautrec (1864-1901) Aristide Bruant dans son Cabaret (Aristide Bruant at his Cabaret), 1893 Color lithograph on paper 38 1/2 x 53 1/2 inches Courtesy of the Gordon Collection Henri de Toulouse-Lautrec (1864-1901) Tous les Soirs, Bruant au Mirliton, 1893 Lithograph printed in black and orange-red, second state (of four), on wove paper 31 5/8 x 23 3/8 inches Courtesy of the Gordon Collection Henri de Toulouse-Lautrec (1864-1901) Au Moulin Rouge: L’Union FrancoRousse (At the Moulin Rouge: The Franco-Russian Alliance), 1893 (published 1894) Lithograph on cream wove paper 13 1/2 x 9 4/5 inches Courtesy of the Gordon Collection Henri de Toulouse-Lautrec (1864-1901) Aux Ambassadeurs – Chanteuse au Café-Concert (At the Ambassadors – Singer at the Café-Concert), 1894 Color lithograph on wove paper, signed in pencil, from an edition of 100 12 x 9 3/4 inches Courtest of the Gordon Collection Henri de Toulouse-Lautrec (1864-1901) La Revue Blanche, 1895 Color lithograph on wove paper 49 1/2 x 36 inches Courtesy of Dr. and Mrs. Todd Cohen
Henri de Toulouse-Lautrec (1864-1901) Lender de Dos, dansant le boléro dans Chilpéric (Marcelle Lender from the Back, Dancing the Bolero in Chilpéric), 1895 Lithograph printed in dark olive green on Vellum paper, signed with the red stamp monogram, with the blindstamp of the publisher Kleinmann 23 x 16 1/3 inches (Framed: 25 x 20 inches) Courtesy of Theodore B. Donson and Marvel M. Griepp Henri de Toulouse-Lautrec (1864-1901) La Danse au Moulin Rouge (La Goulue et Valentin le Désossé) (Dance at the Moulin Rouge, La Goulue and Valentin le Désossé), 1895 Oil on panel 15 x 17 1/5 inches Private Collection, New York Henri de Toulouse-Lautrec (1864-1901) Tristan Bernard au Vélodrome Buffalo (Tristan Bernard at the Buffalo Velodrome), 1895 Oil on canvas 25 3/8 x 31 7/8 inches Private Collection Henri de Toulouse-Lautrec (1864-1901) May Milton, 1895 Color lithograph on wove paper 31 1/3 x 24 inches Courtesy of the Gordon Collection Henri de Toulouse-Lautrec (1864-1901) La Troupe de Mademoiselle Églantine, 1896 Color lithograph on linen-backed wove paper 24 5/8 x 31 5/8 inches Courtesy of the Gordon Collection Henri de Toulouse-Lautrec (1864-1901) Salon des Cent, 1896 Color lithograph on paper 15 5/8 x 23 3/8 inches Courtesy of the Gordon Collection Henri de Toulouse-Lautrec (1864-1901) Le Jockey (The Jockey), 1899 Lithograph on paper, ed. 112 20 1/4 x 14 1/8 inches Courtesy of the Gordon Collection Félix Vallotton (1865-1925) La paresse (Laziness), 1896 Woodcut, signed and numbered “89” in blue pencil, from the edition of 150 9 13/16 x 12 5/8 inches (Framed: 15 x 17 inches) Courtesy of Theodore B. Donson and Marvel M. Griepp
Félix Vallotton (1865-1925) La symphonie (The Symphony), 1897 Woodcut, signed and annotated “ea” in blue pencil, apart from the edition 8 9/16 x 10 9/16 inches (Framed: 17 x 18 inches) Courtesy of Theodore B. Donson and Marvel M. Griepp Louis Valtat (1869-1952) La Critique, ca. 1896 Lithographic poster in two shades of blue ink printed on imitation Japan paper 25 x 19 1/4 inches (Framed: 31 x 26 inches) Courtesy of Theodore B. Donson and Marvel M. Griepp Jacques Villon (1875-1963) Le Nègre en bonne fortune (The Lucky Negro), 1899 Gouache, ink wash and pencil on brown paper 11 x 14 1/2 inches (Framed: 21 x 23 inches) Courtesy of Carol Wolowitz
and Marvel M. Griepp W. & D. Downey Sarah Bernhardt as Gilberte in “Froufrou” by Henri Meilhac and Ludovic Halévy, lacy dress, 1880 Medium-format albumen cabinet photograph 11 3/4 x 9 1/2 inches Collection of Dr. Jay and Deborah Tartell W. & D. Downey Sarah Bernhardt as Theodora, Empress of Byzantium, in “Theodora” by Victorien Sardou, on throne, 1882 Medium-format albumen cabinet photograph 11 3/4 x 9 1/2 inches Collection of Dr. Jay and Deborah Tartell Weller Sicard Peacock Bowl, ca. 1900 Ceramic 9 x 9 inches Courtesy of Dr. Lawrence Tarasuk
Jacques Villon (1875-1963) La Dame en Bleu (Woman in Blue), 1902 Color aquatint on wove paper 28 1/4 x 22 inches Courtesy of the Gordon Collection Jacques Villon (1875-1963) Comédie de Société (An Entertainment), 1903 Etching and aquatint in colors, signed and dated “03” in blue crayon, trial proof apart from the edition of 50 24 3/8 x 19 1/4 inches (Framed: 30 x 25 inches) Courtesy of Theodore B. Donson and Marvel M. Griepp Jacques Villon (1875-1963) La Parisienne, Tournée à gauche (Petite planche) (The Parisian, Turned to the Left, Small Plate), 1908 Drypoint on thin Japanese paper 15 1/2 x 12 1/8 inches Courtesy of the Gordon Collection Édouard Vuillard (1868-1940) Mère et Enfant (Mother and Child), ca. 1892 Oil on board laid down on panel 15 1/4 x 12 3/4 inches Nassau County Museum of Art Permanent Collection; Gift of Mr. and Mrs. Alexander Lewyt, Collection of Madame K. X. Roussell
Édouard Vuillard (1868-1940) La Partie de dames (The Game of Checkers), 1899 Color lithograph on paper 4 13/16 x 12 1/16 inches (Framed: 24 x 21 inches) Courtesy of Theodore B. Donson
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LEFT Alphonse Maria Mucha (1860-1939) “Lorenzaccio” – Sarah Bernhardt as Lorenzo de’ Medici, 1896 Color lithograph on paper 37 x 14 1/2 inches (Framed: 47 1/2 x 23 inches) Courtesy of the Gordon Collection
MUSEUM STAFF
BOARD OF TRUSTEES
Administration
Angela Susan Anton
Charles A. Riley II, PhD, Director
President
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Roz Eisenberg, Weekend Coordinator William Achenbaum Exhibitions
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Fernanda Bennett, Deputy Director & Chief Registrar Jennifer Haller, Exhibitions Associate
Wm. Russell G. Byers, Jr.
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Todd J. Cohen, M.D. Mrs. Stephen J. Cuchel
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Coco Han
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Steven A. Klar
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Constance Schwartz
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ONE MUSEUM DRIVE | ROSLYN HARBOR, NY 11576 | 516.484.9338 | NASSAUMUSEUM.ORG Front Cover: detail from Henri de Toulouse-Lautrec, Divan Japonais, 1893 Lithograph on wove paper backed with linen, 31 5/8 x 24 1/8 inches