THE PRICE OF FAME
- Munch, Tiger and Bear
- Dürer, Five Lansquenets
- Bonnard, Dans la Rue
- Vuillard, La Couturiére
- Bellows, The Hold-Up
- Magritte, Oreille-Cloche
- Canaletto, Landscape
- Cezanne, Self-Portrait at the Easel
- Matisse, Repos du Modèle
- Pissarro, Rue Saint-Romaine
- Tiepolo, Three Soldiers
- Rouault, L’Enfant de la Balle
- Toulouse-Lautrec, Yvette
- Jongkind, Jetée en Bois
- after Brueghel, Saint Jerome
- Blake, And My Servant Job
- Chagall, Le Vixe
- Piranesi, The Villa Albani
- after Rubens, St. Mary Magdalene
- Millet, La Fileuse Auvergnate
- Beckmann, Jacob Wrestles
- Corot, Environs de Rome
- Tissot, Le Matin
- Whistler, Little Dorothy
- Géricault, Cheval Anglais
- Ostade, The Barn
- Hogarth, A Chorus of Singers
- Watteau & Thomassin, Femme
- Goya, Nanny’s Boy
- Palmer, Herdsman’s Cottage
- Delacroix, Arabes d’Oran
- Sloan, Fifth Avenue Critics
- after Boucher, The Snare
- after da Vinci, Caricature Head
- Baskin, Bird-Man
- after Turner, In the Campagna
- after Raphael, A Muse
- Kirchner, Railway Curve
- Daumier, Eh, Eh ? Petit Gredin…
- Robert, Le Poteau
- Rowlandson, Wood Nymphs
- Doré, Lapplander Peasants
- van Dyck, Portrait of Brueghel
- after Constable, Mill Stream
- Rosa, Woman Walking to the Left
Dans la Rue
Color lithograph, ca. 1900, 267 x 139 mm. Roger Marx 46, Bouvet 71. An undescribed proof impression, with a fifth color and other differences from the edition, on wove paper with large margins; there is a vertical split in the blank left margin, and the print has been laid down to another sheet. In addition to the extra color (black or very dark brown), there is an increased use here of white areas, and an overprinting of the red stone, varied through the brown background. The specified edition was of 100, which were signed and numbered. Roger Marx says the print was included in the Insel Verlag Album; Bouvet says that this is an error. The title too is in error, as the image is clearly an indoor scene, the reluctant schoolgirl opening the door to go off to school while her mother watches. This is borne out by a watercolor Bonnard did of the same subject. The print nicely exemplifies the Nabi aesthetic of flattening the subject matter and creating patterns. Though not large, it is one of Bonnard’s best prints in that style.