Théophile alexandre steinlen (1859-1923)
bal de barrière (dance at the outskirts of town)
original lithograph from the glorious portfolio "l'estampe …
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Théophile alexandre steinlen (1859-1923)
bal de barrière (dance at the outskirts of town)
original lithograph from the glorious portfolio "l'estampe moderne", issue #14 (june 1898)
on wove paper
year: 1898
size (sheet): 305 x 405 mm
size (image): 215 x 350 mm
signed on the plate "steinlen", bottom right
blind stamp of the publisher, bottom right, out of the image
great condition: minor signs of age and handling
great colours
full margins (not cropped, not trimmed)
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about the collection (l'estampe moderne)
l'estampe moderne appeared in 1897-1899 as a series of 24 monthly fascicles, each containing 4 original lithographs, printed by parisian imprimerie champenois. Many accomplished european art nouveau painters contributed works to this publication, which contained only original prints invented and produced especially for this collection. The publication was edited by charles masson and h. Piazza. Each issue came in a paper cover bearing an original lithograph by alphonse mucha.
each lithograph was accompanied by a tissue containing the details (title of the artwork, name of the artist, etc.) and a short text by a well-known author who inspired the artist (this one being from germinie lacerteux by edmond and jules de goncourt).
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about the artist
théophile alexandre steinlen (1859 – 1923), was a swiss-born french art nouveau painter and printmaker. He was politically engaged and collaborated with anarchist and socialist press.
in his early twenties he was still developing his skills as a painter when he and his wife emilie were encouraged by the painter françois bocion to move to the artistic community in the montmartre quarter of paris. Once there, steinlen was befriended by the painter adolphe willette who introduced him to the artistic crowd at le chat noir that led to his commissions to do poster art for the cabaret owner/entertainer, aristide bruant and other commercial enterprises.
his permanent home, montmartre and its environs, was a favorite subject throughout steinlen's life and he often painted scenes of some of the harsher aspects of life in the area.
between 1883 and 1920, he produced hundreds of illustrations, a number of which were done under a pseudonym so as to avoid political problems because of their harsh criticisms of social ills. His art influenced the work of other artists, including pablo picasso.
today, his works can be found at many museums around the world including at the hermitage museum in st. Petersburg, russia. And the national gallery of art in washington, d.c., united states.
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from the text on the tissue paper, by edmond and jules de goncourt, chapter xvi:
la salle avait le caractère moderne des lieux de plaisir du peuple. Elle était éclatante d'une richesse fausse et d'un luxe pauvre. On y voyait des peintures et des tables de marchands de vin des appareils de gaz dorés et des verres à boire un poisson d'eau-de-vie. Des poteaux carrés, tachés de maigres arabesques, soutenaient le milieu de la salle, au centre de laquelle une petite tribune octogone portait l'orchestre.
les hommes avaient le paletot, la petite casquette flasque rabattue par derrière, le cache-nez de laine dénoué et pendant dans le dos. Ils invitaient les femmes en les tirant par les rubans de leurs bonnets, volant derrière elles. Quelques-uns en chapeaux, en redingotes, en chemises de cou-leur, avaient un air de domesticité insolente et d'écurie de grande maison.
tout sautait et s'agitait. Les danseuses se démenaient, tortillaient, cabriolaient, animées, pataudes et déchaînées sous le coup de fouet d'une joie bestiale. Et dans les avant-deux, l'on entendait des adresses se donner : impasse du dépotoir.
english translation:
the ball-room had the ordinary appearance of modern places of amusement for the people. It was brilliant with false richness and tawdry splendor. There were paintings there, and tables at which wine was sold, gilded chandeliers and glasses that held a quartern of brandy\. Square pillars, embellished with meagre arabesques supported the ceiling in the centre of the hall, where there was a small octagonal stand containing the orchestra\.
the men wore paletots, small, soft caps pulled down over their ears, and woolen comforters untied and hanging down their backs. They invited the women to dance by pulling them by the cap ribbons that fluttered behind them. Some few, in hats and frockcoats and coloured shirts, had an insolent air of domesticity and a swagger befitting grooms in some great family.
everybody was jumping and bustling about. The women frisked and capered and gamboled, excited and stimulated by the spur of bestial pleasure. And in the evolutions of the contra-dance, one could hear brothel addresses given: impasse du dépotoir.
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important:
. The listing is for the original print, in the above mentioned very good / excellent condition.
. The original tissue paper introduction has some folds and tears, especially along the margins, and it will be given as is to the buyer as a gift for confirming the authenticity.
. The cover by mucha is shown as a reference: a high quality picture will be given on request and, eventually, it is possible to purchase it on another listing (same to the other three plates of the issue) this piece has an attribution mark,
i am sure that it is completely authentic and take full responsibility for any authenticity
issues arising from misattribution
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