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细节
Charles Conder (1868-1909)
Seven plates, from The carnival set
lithographs in sepia, 1904-1906, on cream laid paper, comprising The Green Room, A dream of Araby, A pastoral fantasy, L'entree en scene, Schaunard's studio, The sea wall and La mi careme, each signed in pencil, from the edition of 50, published by Ernest Brown and Phillips, London, with margins, pale-scattered foxing, other blemishes, unexamined out of the frames
L. 223 x 310 mm.; with Lucien and Esther (illustrated) and Prince de la Bohéme, from The Balzac Suite, lithographs in sepia, 1899, each signed in pencil, from the edition of 25 (9)
Seven plates, from The carnival set
lithographs in sepia, 1904-1906, on cream laid paper, comprising The Green Room, A dream of Araby, A pastoral fantasy, L'entree en scene, Schaunard's studio, The sea wall and La mi careme, each signed in pencil, from the edition of 50, published by Ernest Brown and Phillips, London, with margins, pale-scattered foxing, other blemishes, unexamined out of the frames
L. 223 x 310 mm.; with Lucien and Esther (illustrated) and Prince de la Bohéme, from The Balzac Suite, lithographs in sepia, 1899, each signed in pencil, from the edition of 25 (9)
来源
From the collection of Lady Ottoline Morrell. By descent to the present owner.
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Charles Conder was a personal friend of Lady Ottoline, of whom he painted at least two portraits. They had met in 1906 and it was through Conder that she met Augustus John. Conder was a great admirer of Balzac, and for a fancy-dress ball given by Conder and his wife Stella in 1906, he played his favourite villain, Rastignac (Miranda Seymour, Ottoline Morrell pp. 71-73).