Venise Sauvée. Venice Saved. Programme for Théatre de L'Oeuvre 1895. by Jan Toorop, 1858-1928

Jan Toorop, 1858-1928
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Venise Sauvée. Venice Saved. Programme for Théatre de L'Oeuvre 1895.

Original lithograph in black ink. 1895. Signed in the stone. Exceptionally rare proof before the addition of the lettering (details of the play and cast) upper right. Inscribed (faintly) in ink at the sheet foot: 'Epreuve avant la lettre no 3' - proof before letters no 3, and 'pour M. J.M.Gros de la part de l'Oeuvre' (a gift from L'Oeuvre).
Ref: Rijksmuseum - Toorop Graphic Work no 15.

Extremely fine strong impression. On light cream laid Arches paper. Generally exceptionally fine condition for such a rare item; Print surface excellent, ink inscription a little faded, repaired 1 inch tear in the outer edge of the bottom margin, slight traces of old laying on the
reverse. Full margins. Sheet: 24 x 17 1/4ins. Image: 17 ½ x 10 7/8ins (445 x 279mm).

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This exceptionally rare early proof impression, before the lettering upper right, was drawn by Toorop as a programme sheet for the Théatre de l?Oeuvre in 1895. The Rijksmuseum 1969 catalogue of Toorop?s prints does not record any proofs before lettering. This impression has a pen inscription recording it as ?proof before letters no 3, a gift from L?Oeuvre? (see above).
In its final form this ?programme? has the details of the cast etc for the play Venise Sauvée by the English playwright Thomas Otway in the upper right corner area.

The composition for Venise Sauvée is an outstanding example of the extremes to which Toorop took the expressive sinuous forms of Symbolism, and how he also played a profoundly important role in the developing interaction of the decorative and the emotional in Art Nouveau.

Toorop was one of the most fascinating and individual painters in the whole Symbolist movement. Toorop was born in Java and his oriental background certainly influenced his subsequent handling of his art. He settled in Holland in his youth and studied painting in Brussels where he quickly came into contact with the avant-garde group Les Vingt. The painters in this circle, which he joined in 1885, were closely linked to the Symbolist teachings of Parisian artists like Puvis de Chavannes, Gustave Moreau and Redon.. Toorop was also much attracted to the work of the Pre-Raphaelites whom he visited in London. The central themes of Symbolism - the ?Externalisation of the Idea? (the ?idea? being the workings of the inner mind) and ?nature seen through the eyes of temperament? reached a very special climax of expression in Toorop?s unique art.