HARRIS SCHRANK FINE PRINTS » Théophile Steinlen

Dans le Rue

Harris Schrank — Tue, 07 Jul 2009 20:34:16 +0000

Theophile Alexandre Steinlen (1859-1923), Dan le Rue, lithograph, 1911, signed in pencil [also signed in the plate). Reference: Crauzat 295, titled by him as Dan la Rue or also Femme Seule. In the only state, printed on a chine colle, on a heavy cream wove paper. In good condition, with full margins (9 3/4 x 6 1/8, the sheet 15 x 11 inches), archival matting.

Published “hors texte” in the volume La Misere Sociale de la Femme,” a compilation of essays by writers from the 16th to the 20th Century, in 1911, in Paris, by Dewambez.

A very good impression of this rarely encountered image.

Theophile Alexandre Steinlen began his career as an illustrator for several Paris journals (Le Chat Noir, Gil Blas), and was attracted to printmaking presumably because he was such an excellent draughtsman. His lithographic work, such as Dan la Rue, was of course informed by the marvelous draughtsmanship of his fellow-countryman and predecessor Honore Daumier, and in this example we see also the strong influence of impressionism.

Although he is famed publicly for his studies of cats, and his fin de siecle posters, his work throughout his career was marked by strong social consciousness. Early on, he created images of French life – prostitutes and pimps, construction workers and miners, ragpickers and soldiers, and, in this example, a young woman with an umbrella, alone in the wind-blown streets, probably coming home from work.

Interior of Tramway

Harris Schrank — Sat, 20 Jun 2009 19:43:37 +0000

Theophile Steinlen (1859-1923), Interior of Tramway, lithograph, 1896, signed lower right in red pencil. Reference: Crauzat 173. In good condition, on Chine Volant with wide (full) margins, 10 5/8 x 13 5/8, the sheet 16 1/2 x 20. A proof impression apart from the edition of 50.

A fine proof impression of this well known masterpiece.

Theophile Alexandre Steinlen began his career as an illustrator for Paris journals (Le Chat Noir, Gil Blas), and was naturally attracted to printmaking presumably because he was such an excellent draughtsman. His lithographic work, such as Interior of Tramway, was of course informed by the marvelous draughtsmanship of his fellow-countryman and predecessor Honore Daumier. Indeed, Daumier made several at least superficially similar images of people on trains, and this theme has of course been repeated by others including Hopper, Marsh, and Bishop in the US.

Although he is famed for his fin de siecle posters (and for his cats!), Steinlen’s work throughout his career was marked by strong social consciousness. From early on, he created images of French life – prostitutes and pimps, construction workers and miners, ragpickers and soldiers, workers, city people. Here we find group of Parisiens, some rather well dressed in fact, bundled up against the cold and although sitting close to each other, each in a world of their own.

Veuves d’un Louis

Harris Schrank — Thu, 23 Apr 2009 20:30:16 +0000

Théophile Steinlen (1859-1923), Veuves d’un Louis, lithograph in two colors (brown and black), 1915, numbered (326/400 but not signed [signed, titled and dated in the plate], from the edition of 400. Not in Crauzat (Crauzat was published in 1913, and so did not include works after that date). In very good condition, the full sheet, on a cream wove paper, 16 x 12 1/4, the sheet 22 x 15 inches.

A fine impression.

Although he is famed for his fin de siecle posters (and for his cats!), Steinlen’s work throughout his career was marked by strong social consciousness. From early on, he created images of French life – prostitutes and pimps, construction workers and miners, ragpickers and soldiers, workers, city people. Veuves (widows) is a night scene, a portrait of three young Parisien women – and another shadowy figure off to the right – standing on a street corner.