206- tir91
Medal, bronze plaque, France.
Minted around 1909.
Some defects, beautiful old patina on the obverse, cleaned on the reverse.
Engraver / Artist / Sculptor : Camille LEFEVRE (1853-1947).
Dimensions : 79 mm by 72 mm.
Weight : 256 g.
Metal : bronze.
Weight : 256 g.
Metal : bronze.
Hallmark on the edge (mark on the edge) : triangle + bronze.
Quick and neat delivery.
The stand is not for sale.
The support is not for sale.
Théophile Alexandre Steinlen, born in Lausanne on November 20, 1859 and died in Paris (18th arrondissement) on December 13, 19231, is a Swiss anarchist artist, painter, engraver, illustrator, poster designer and sculptor, naturalized French in 1901.
Théophile Alexandre Steinlen is the son of Samuel Steinlen, an employee of the Lausanne Post Office, himself the son of Christian Gottlieb (Théophile) Steinlen (1779-1847), painter and designer. Originally from Germany, the Steinlen family had been admitted to the bourgeoisie of Vevey in 1832. Théophile Alexandre Steinlen studied theology at the University of Lausanne for two years, then, in 1879, turned to art, training in industrial ornamental design in Mulhouse, with Schoenhaupt4, before settling in Paris with his wife Émilie in 1881.
A Montmartre artist
The Breton town of Plestin (drawing by Théophile Alexandre Steinlen, 1902).
Poster for the Black Cat Tour (1896), New Brunswick (New Jersey), Zimmerli Art Museum (en).
Living on the Butte Montmartre since 1883, Steinlen quickly became acquainted with the artistic personalities who gravitated there. He entered into a relationship with Adolphe Willette, and Antonio de La Gandara with whom he frequented the Chat noir, the cabaret run by Rodolphe Salis, from 1884, becoming in particular the friend of Henri de Toulouse-Lautrec. He naturally knew Aristide Bruant there. He also frequents the Au Tambourin café-restaurant at 62, boulevard de Clichy5.
He initially exhibited at the Salon des Indépendants in 1893, then regularly at the Salon des Humistes.
Opponent of injustice, compassionate towards the underprivileged, who were then not lacking in Montmartre, he depicts scenes from the street, from the factories, from the mines, depicting the unfortunate of all kinds, beggars, workers in poverty, ragged kids and prostitutes. These characters seem more often crushed by their sad condition than revolted. He is also the specialist in cats, which he draws without tiring, in all their fantasy, playful, asleep or angry. He also draws female nudes.
Steinlen prefers drawing and pastels to depict daily street life and its small jobs. The realism of his drawings inspired certain works of Jean Peské, or the beginnings of Pablo Picasso. He also developed an engraved work, taking up the same themes as his drawings, or mixing politics, as in the lithographs with which he illustrated the misfortunes of Belgium and Serbia in 1914-1918. But it is above all his posters which, like that of the Black Cat Tour, are at the origin of his popularity. He also practices sculpture on the theme of cats (Angora cat sitting6). He also illustrated literary works, such as the 1903 reworking of the Soliloquies of the Poor by Jehan Rictus, and collaborated with various humorous journals such as Gil Blas illustrated, L'Assiette au Beurre (from no. 1), Le Rire and Les Hommes d today, then Les Humoristes, which he founded in 1911 with Jean-Louis Forain and Charles Léandre.
Steinlen is buried in the Saint-Vincent cemetery in Paris.
Libertarian commitments
Pieter Dupont, Portrait of TA Steinlen (1901), engraving, Lawrence (Kansas), Spencer Museum of Art7.
In 1897, he became the main illustrator of La Feuille de Zo d'Axa and became involved during the Dreyfus affair by denouncing the military machinations and the lies of the general staff, putting justice and the army back to back8 .
The same year, he became friends with Jean Grave and, when the latter launched Les Temps nouvelles in 1902, he was among illustrators such as Maximilien Luce, Jules Grandjouan, Félix Vallotton, Paul Signac and Camille Pissarro. He also provided prints for raffles or sales for the benefit of Les Temps nouvelles in which he participated until the First World War and the resumption until 1920. He made portraits of Jean Grave (gouache and print), illustrated numerous books and brochures linked to the anarchist movement as well as War and Militarism by Jean Grave (1909), The State, its historical role by Pierre Kropotkin, The Social Question of Sébastien Faure or Evolution and Revolution by Élisée Reclus. Between 1901 and 1912, he drew in L'Assiette au Beurre where he denounced social inequities and affirmed his aspirations and his libertarian approach8.
In 1901, Samuel-Sigismond Schwarz called on his talents to illustrate the first cover of L'Assiette au Beurre. Schwarz had until then only published rather light magazines; Steinlen was very aware of what was happening in the world of the committed press in Europe, he was a friend of Albert Langen, the founder of the German satirical magazine Simplicissimus, an activist publisher who was quickly condemned by the imperial power, and who was inspired in 1896 by the illustrated Gil Blas.
In 1902, Steinlen campaigned for the formation of a workers' union.
Théophile Alexandre Steinlen is the son of Samuel Steinlen, an employee of the Lausanne Post Office, himself the son of Christian Gottlieb (Théophile) Steinlen (1779-1847), painter and designer. Originally from Germany, the Steinlen family had been admitted to the bourgeoisie of Vevey in 1832. Théophile Alexandre Steinlen studied theology at the University of Lausanne for two years, then, in 1879, turned to art, training in industrial ornamental design in Mulhouse, with Schoenhaupt4, before settling in Paris with his wife Émilie in 1881.
A Montmartre artist
The Breton town of Plestin (drawing by Théophile Alexandre Steinlen, 1902).
Poster for the Black Cat Tour (1896), New Brunswick (New Jersey), Zimmerli Art Museum (en).
Living on the Butte Montmartre since 1883, Steinlen quickly became acquainted with the artistic personalities who gravitated there. He entered into a relationship with Adolphe Willette, and Antonio de La Gandara with whom he frequented the Chat noir, the cabaret run by Rodolphe Salis, from 1884, becoming in particular the friend of Henri de Toulouse-Lautrec. He naturally knew Aristide Bruant there. He also frequents the Au Tambourin café-restaurant at 62, boulevard de Clichy5.
He initially exhibited at the Salon des Indépendants in 1893, then regularly at the Salon des Humistes.
Opponent of injustice, compassionate towards the underprivileged, who were then not lacking in Montmartre, he depicts scenes from the street, from the factories, from the mines, depicting the unfortunate of all kinds, beggars, workers in poverty, ragged kids and prostitutes. These characters seem more often crushed by their sad condition than revolted. He is also the specialist in cats, which he draws without tiring, in all their fantasy, playful, asleep or angry. He also draws female nudes.
Steinlen prefers drawing and pastels to depict daily street life and its small jobs. The realism of his drawings inspired certain works of Jean Peské, or the beginnings of Pablo Picasso. He also developed an engraved work, taking up the same themes as his drawings, or mixing politics, as in the lithographs with which he illustrated the misfortunes of Belgium and Serbia in 1914-1918. But it is above all his posters which, like that of the Black Cat Tour, are at the origin of his popularity. He also practices sculpture on the theme of cats (Angora cat sitting6). He also illustrated literary works, such as the 1903 reworking of the Soliloquies of the Poor by Jehan Rictus, and collaborated with various humorous journals such as Gil Blas illustrated, L'Assiette au Beurre (from no. 1), Le Rire and Les Hommes d today, then Les Humoristes, which he founded in 1911 with Jean-Louis Forain and Charles Léandre.
Steinlen is buried in the Saint-Vincent cemetery in Paris.
Libertarian commitments
Pieter Dupont, Portrait of TA Steinlen (1901), engraving, Lawrence (Kansas), Spencer Museum of Art7.
In 1897, he became the main illustrator of La Feuille de Zo d'Axa and became involved during the Dreyfus affair by denouncing the military machinations and the lies of the general staff, putting justice and the army back to back8 .
The same year, he became friends with Jean Grave and, when the latter launched Les Temps nouvelles in 1902, he was among illustrators such as Maximilien Luce, Jules Grandjouan, Félix Vallotton, Paul Signac and Camille Pissarro. He also provided prints for raffles or sales for the benefit of Les Temps nouvelles in which he participated until the First World War and the resumption until 1920. He made portraits of Jean Grave (gouache and print), illustrated numerous books and brochures linked to the anarchist movement as well as War and Militarism by Jean Grave (1909), The State, its historical role by Pierre Kropotkin, The Social Question of Sébastien Faure or Evolution and Revolution by Élisée Reclus. Between 1901 and 1912, he drew in L'Assiette au Beurre where he denounced social inequities and affirmed his aspirations and his libertarian approach8.
In 1901, Samuel-Sigismond Schwarz called on his talents to illustrate the first cover of L'Assiette au Beurre. Schwarz had until then only published rather light magazines; Steinlen was very aware of what was happening in the world of the committed press in Europe, he was a friend of Albert Langen, the founder of the German satirical magazine Simplicissimus, an activist publisher who was quickly condemned by the imperial power, and who was inspired in 1896 by the illustrated Gil Blas.
In 1902, Steinlen campaigned for the formation of a workers' union.
annexed” whose president is Anatole France. In 1907, he was among a committee formed to erect a statue to Louise Michel. He was also a signatory of various petitions against the death sentence of shoemaker Jean-Jacques Liabeuf in 19108.
Tribute
A stone monument, by the sculptor Paul Vannier9,10, is dedicated to him in the Joël-Le Tac square (18th arrondissement of Paris), which was built for this occasion in 1935.
Works
2017-fr.wp-orange-source.svg
This section does not sufficiently cite its sources (February 2014).
Paint
Cat on a cushion.
The return of the workers, Paris, Musée d'Orsay
The elements. Shapes and colors, 1900.
Application to the decoration of embroiderers with loom and needle, 1900.
Night party, 1900.
Hairy, 1917, Paris, Musée d’Orsay
Café à Léon, 1921, private collection.
Belmont-sur-Lausanne, 1923.
Lovers.
Relaxation.
The beautiful redhead.
The Butter Plate.
Drawing
The Omnibus...
The Flâneur11
Pensioner lighting his pipe
Anatole France.
Young woman with uncovered bust.
The Bouquetières.
The Violinist.
Characters with blue turbans.
Studies of Standing Women.
Couple of lovers near the old fortifications of Paris commonly called “the fortifs”, charcoal, 45 × 62 cm, Gray, Baron-Martin museum.
Lithography
The two Cats.
Black Cat Tour, 1896, color lithograph.
clinique Chéron, 1905, color lithograph and poster.
Barrier Ball, 1898, lithograph on paper, Gray, Baron-Martin museum.
Works by Théophile Alexandre Steinlen
The elements. Shapes and colors (1900), Nancy Museum of Fine Arts.
Night party (1900), Nancy Museum of Fine Arts.
Poilu (1917), Paris, Musée d’Orsay.
Portrait of Suzanne Valadon, Vernon, Alphonse-Georges-Poulain museum.
Girls and pimps at the Moulin Rouge, Buenos Aires, National Museum of Fine Arts of Argentina.
Poster
Pure sterilized milk from Vingeanne.
Aristide Bruant.
Yvette Guilbert.
French Chocolate and Tea Company.
The 14th of July.
Absinthe.
The Beautiful Evening.
In the rain and the wind.
Posters reproduced in The Masters of the Poster
Hellé
Mothu & Doria
Pure sterilized milk from Vingeanne
The Journal publishes: The culprit
French Chocolate and Tea Company.
Comiot engines
Drawing
1888: The Women of Friends by Georges Courteline.
1888: Les Gaietés bourgeoises, by Jules Moinaux (father of Georges Courteline).
1889: In the street, collection of songs by Aristide Bruant.
1889: In the street II, by Aristide Bruant.
1896: Women's Songs, by Paul D
Tribute
A stone monument, by the sculptor Paul Vannier9,10, is dedicated to him in the Joël-Le Tac square (18th arrondissement of Paris), which was built for this occasion in 1935.
Works
2017-fr.wp-orange-source.svg
This section does not sufficiently cite its sources (February 2014).
Paint
Cat on a cushion.
The return of the workers, Paris, Musée d'Orsay
The elements. Shapes and colors, 1900.
Application to the decoration of embroiderers with loom and needle, 1900.
Night party, 1900.
Hairy, 1917, Paris, Musée d’Orsay
Café à Léon, 1921, private collection.
Belmont-sur-Lausanne, 1923.
Lovers.
Relaxation.
The beautiful redhead.
The Butter Plate.
Drawing
The Omnibus...
The Flâneur11
Pensioner lighting his pipe
Anatole France.
Young woman with uncovered bust.
The Bouquetières.
The Violinist.
Characters with blue turbans.
Studies of Standing Women.
Couple of lovers near the old fortifications of Paris commonly called “the fortifs”, charcoal, 45 × 62 cm, Gray, Baron-Martin museum.
Lithography
The two Cats.
Black Cat Tour, 1896, color lithograph.
clinique Chéron, 1905, color lithograph and poster.
Barrier Ball, 1898, lithograph on paper, Gray, Baron-Martin museum.
Works by Théophile Alexandre Steinlen
The elements. Shapes and colors (1900), Nancy Museum of Fine Arts.
Night party (1900), Nancy Museum of Fine Arts.
Poilu (1917), Paris, Musée d’Orsay.
Portrait of Suzanne Valadon, Vernon, Alphonse-Georges-Poulain museum.
Girls and pimps at the Moulin Rouge, Buenos Aires, National Museum of Fine Arts of Argentina.
Poster
Pure sterilized milk from Vingeanne.
Aristide Bruant.
Yvette Guilbert.
French Chocolate and Tea Company.
The 14th of July.
Absinthe.
The Beautiful Evening.
In the rain and the wind.
Posters reproduced in The Masters of the Poster
Hellé
Mothu & Doria
Pure sterilized milk from Vingeanne
The Journal publishes: The culprit
French Chocolate and Tea Company.
Comiot engines
Drawing
1888: The Women of Friends by Georges Courteline.
1888: Les Gaietés bourgeoises, by Jules Moinaux (father of Georges Courteline).
1889: In the street, collection of songs by Aristide Bruant.
1889: In the street II, by Aristide Bruant.
1896: Women's Songs, by Paul D