Galerie Lafitte - Lucien Moline

Bonjour,

This is the first time that I have used a blog. Inadvertently, I posted the following message under the wrong topic, and had not finished writing it. Not sure how to retrace my steps, I am posting it again.

The Galerie Moline, otherwise known as the Galerie Laffitte, was run by Lucien Moline and was located at 20 rue Laffitte, Montmartre, Paris, a road known for its art galleries. Moline offered a selection of artworks by such famous figures as Toulouse-Lautrec and Bonnard (a famous paravent) and had dealings with Picasso. He also stocked various art nouveau objects. These last may have included grès ceramics signed by the sculptor Lenormand. I should be grateful for any information about both Lucien Moline and his gallery (dates and stock), and about the work of Lenormand.

All best wishes to art nouveau lovers

Hello Mougin,

No worries, I am also new in administrating a forum!!

I deleted the other topic, as I don't have a clue on how to move wrong posted messages.

I will see if I can find some extra information on the Gallery.

Can you please confirm the first name of the sculptor Lenormand ??

This would really help as at the moment I can only find a ceramic artist named Lenormad born in the 1970's.

Thanks!
Stella

Goodmorning!

I have done some research and used following keywords for my searches:
- Galerie Lafitte / Laffitte
- Lucien Moline / Leonce Moline
- 20 rue Lafitte / Laffitte
- Editer MOLINES / Edite MOLINES / Published MOLINES

I came across the artdealer Moline with firstname Lucien and Leonce. I think we are dealing with the same Moline, because Siegfried Bing is also refered to as Samuel Bing. Moline seems to have published art under the name MOLINES. Typing error or not, the name of the street and the gallerie is sometimes mentioned as Lafitte and sometimes as Laffitte.

I have found several artworks and some extra information, I gues you will allready have found most of this information yourselve. I will post them anyway!

Galerie Lafitte was opened at 20, Rue Lafitte by Moline in December 1893.
Source: Malcolm Gee: Dealers, Critics, and Collectors of Modern Painting: Aspects of the Parisian Art Market Between 1910 and 1930, New York 1981, ISBN: 0-8240-3931-9.





Catalogue de l'exposition de 25 tableaux, 40 aquarelles de Harpignies présentés par Lucien Moline dans les salons du Grand Hôtel de Roubaix ... du 28 avril au 7 mai 1928
Gepubliceerd door s.n., 1928
Source: Google Books




FAMILLE DE SALTIMBANQUES - Pablo Picasso

Henri de Toulouse-Lautrec
Lot 148 Description:
Two autograph letters to the dealer Edouard Kleinmann (one in pencil), one signed postcard in ink, and one note signed in pencil on verso of a business card, (various sizes, the largest being 4to), signed "HTLautrec," Paris, spanning the years 1894-1898; in generally good overall condition, one letter lightly soiled along crease with a 1/2 inch tear along base of vertical center fold The first letter to the dealer Edouard Kleinmann, from early February 1894, is a request made on behalf of the cabaret dancer Jane Avril, "Cher Monsieur, Madame Jane Avril passera 1/2 1 heure aujourd'hui chez vous. Veuillez lui remettre deux de ses affiches." "Deux de ses affiches" refers to the poster done in 1893 of the Montmartre performer doing her celebrated high kick on stage. Kleinmann was working closely with Lautrec in these years, apparently disseminating Lautrec's graphic works and drawings to the press and public. A note from the same year written on the back of the business card of the art supply store P. Cluzel informs Kleinmann that the bearer is to receive two Theatre Libre programmes, "avant les lettres." The two letters dated to 1898 contain similar requests for copies of individual posters, lists of posters done by Lautrec, and entrusting a drawing to the care of an employee of Monsieur Moline, director of the Galerie Lafitte. Together four items.
Source: Artfact

PAUL GAUGUIN 1848-1903 - TAHITIENNE PORTANT UN FRUIT
LOT 112 PROPERTY FROM THE GUSTAVE FAYET COLLECTION, FRANCE
Lot Sold. Hammer Price with Buyer's Premium: 120,000 GBP
MEASUREMENTS 22.5 by 10.5cm., 8 7/8 by 4 1/8 in. (irregular)

DESCRIPTION
Executed circa 1896-99. signed PGO (lower right) watercolour monotype, reworked with watercolour, on paper
To be included in the new edition of the Catalogue raisonné de l'oeuvre de Paul Gauguin being prepared under the sponsorship of the Wildenstein Institute.

PROVENANCE
Lucien Moline, Paris
Gustave Fayet, Béziers (acquired from the above in September-October 1903)

Source: Sothebys Sale: L07009 | Location: London, New Bond Street Auction Dates: Session 1: Wed, 20 Jun 07 9:00 AM

PIERRE BONNARD 1867-1947 - LA PROMENADE DES NOURRICES, FRISE DES FIACRES
PARAVENT À QUATRE FEUILLES
LOT 116 PROVENANT D'UNE COLLECTION PARTICULIÈRE FRANÇAISE
Lot Sold. Hammer Price with Buyer's Premium: 39,150 EUR

MEASUREMENTS measurements paravent : 191 x 144,3 cm; 75 1/8 x 56 3/4 in.
alternate measurements chaque feuille : 45,3 x 144,3 cm; 17 7/8 x 56 3/4 in.

DESCRIPTION
Exécuté en 1897 et tiré à 110 exemplaires par l'éditeur Molines, Paris.
signé PB (en bas à droite d'une des feuilles)
Lithographie en cinq couleurs sur papier contrecollé sur quatre panneaux (montés en paravent)

PROVENANCE
André Dunoyer de Segonzac, Paris
Collection particulière, France

LITERATURE AND REFERENCES
Claude Roger-Marx, Bonnard, lithographe, Monte-Carlo, 1952, no. 47
Francis Bouvet, Bonnard, l'oeuvre gravé, catalogue complet, Paris, 1981, no. 55

CATALOGUE NOTE
signed 'PB' (lower right on one of the sheets), lithograph printed in five colours on four sheets. Executed in 1897 and printed in an edition of 110 by the publisher Molines, Paris.

Avec l'ouverture du Japon à l'Occident, c'est toute la tradition du paravent de Korîn, Tôhaku, Sesshu...qui vient renouveler la tradition du paravent en Europe. Rappelant le format vertical des kakemonos, le paravent, à la croisée des arts décoratifs, de la peinture de chevalet et de la peinture monumentale, devient l'espace privilégié où décliner en deux, trois ou quatre volets de véritables fresques picturales.

Déjà converti aux principes de l'estampe japonaise (aplats de couleurs, étagement des plans, abolition de la perspective géométrique, diagonales dynamiques, silhouettes fluides...), Bonnard s'essaie à l'art délicat du paravent en 1892. En 1894, convaincu de pouvoir en explorer tous les possibles, il conçoit le projet, ambitieux, de La Promenade des Nourrices, frise des fiacres. En 1897, trois ans après le modello peint à la détrempe, le paravent est édité sous forme de lithographies (un medium particulièrement cher aux Nabis) imprimées en cinq couleurs et tirées à 110 exemplaires par l'éditeur Molines, 20 rue Laffitte à Paris.

Comme il en est de l'exemplaire conservé dans les collections du Musée d'Orsay, le présent paravent est un des rares exemplaires complets qui subsiste de ce projet de paravent à quatre feuilles. Près de la moitié ayant été détruits, certains panneaux ayant eux-mêmes et dès l'origine, pu être vendus non montés, il n'en resterait probablement à ce jour qu'une dizaine entre des mains privées.

When Japan opened up to the West, the influence of the historic tradition of Korîn, Tôhaku, and Sesshu screens transformed European screen techniques. Reminiscent of the vertical format of kakemonos, the screen, at the crossroads between decorative art, easel painting and murals, becomes a privileged space where frescos unfold between two, three or four panels.

Already a convert to the principles of Japanese prints (flat planes of colour, superimposed layers, an absence of geometric perspective, dynamic diagonals, moving silhouettes...), Bonnard first tried his hand at the delicate art of the screen in 1892. In 1894, determined to explore all the possibilities of this new genre, he devised the ambitious project La Promenade des Nourrices, frise des fiacres. In 1897, three years after the tempera model, he reworked the screen in the form of lithographs (a medium that was particularly dear to the Nabis), printed in five colours in 110 editions by the publisher Molines, based in Paris at 20 Rue Laffitte.

Along with the version housed in the Musée d'Orsay, the present screen is one of the rare complete examples that exist today of this four-panelled screen. Over half of them have been destroyed, from the outset certain panels were sold separately, and today probably only a dozen remain in private hands.

Source: Sothebys Sale: PF8008 | Location: Paris Auction Dates: Session 2: Thu, 03 Jul 08 2:30 PM

Pierre Bonnard - Promenade des nourrices, frise de fiacres
Paravant a quatre feuilles 1899 Print four colour lithographs 144.7 x 225.6 x 4.0cm overall
Gift of Margaret Olley 1999



Further Information
This set of lithographs, drawn by Bonnard on lithographic stone at the studio of Molines, Paris, in 1899, is closely based on his painted screen, with the same title, of 1894. While the original edition was of 110 impressions, 40-50 were severely damaged or destroyed in a Paris flood around 1930. Showing the influence of Japanese prints, this work also represents the 'Belle Epoque' interest in everyday street scenes of city life.

Provenance
Margaret Olley (Australia, b.1923), Aug 1999, Sydney/New South Wales/Australia, Gift of Margaret Olley 1999. Purchased by Olley purchased from William Weston Gallery, August 1999 & subsequently gifted it to the Gallery.
William Weston Gallery (England), 1988-Aug 1999, London/England
Private Collection, 1948?-1988, Bristol/Avon/England, English collector, acquired 1947 or 1948
The Redfern Gallery (England, estab. 1923), 1947, London/England, Rex Nankivell
Private Collection, 1930-1947, Paris/France, Unknown Paris dealer
Source: Art Gallery New South Wales

Pierre BONNARD = 'La Promenade des Nourrices, frise de fiacres', 1899.



Quatre lithographies en couleurs formant un PARAVENT, entoilées et montées sur châssis avec cadre en bois pour chaque (griffes, traces d'insolation et d'humidité, manques et restaurations). Monogramme dans la planche en bas à droite de la troisième feuille. 44.8 x 149.2 cm chaque à vue. 152 x 194 cm à l'extérieur.

Numéro de lot 0035
Prix de vente 15500,00
Date de vente 10.12.2003
Source: ROSSINI S.A. -

BONNARD Pierre = 'La Promenade des Nourrices, Frise de Fiacres' aux Tuileries, Place de la Concorde.

PARAVENT à quatre feuilles édité par MOLINES, 20 rue Lafitte 1899, marouflé sur panneaux de bois, plaqués de loupe de frêne au revers. (Bouvet 55).



Les panneaux 1 et 3 mesurent 144.2 x 47 cm. Les panneaux mesurent : 144.2 x 47.3 cm. Lithographie en couleurs. Belles fortement insolées, probablement vernies.
1er panneau : taches éparses, déchirure horizontale, plusieurs accidents.
2 ème panneau : petit manque dans l'angle supérieur gauche, quelques taches.
3 ème panneau : accidenté, dont une déchirure traversant le sujet horizontalement, deux petits manques.
4 ème panneau : quelaues taches, petit manque en retrait du bord gauche sur une longueur d'environ 20 cm.

Date de vente 27.11.2003 / 28.10.2002
Source: MILLON & ASSOCIES

Pierre Bonnard, Molines Promenade des nourrices, frise des fiacres en 1897
paravent constitué d'une suite de quatre feuilles lithographiées en cinq couleurs H. 1.43 ; L. 0.46

Lithographie en cinq couleurs : bistre, jaune, bleu clair, rouge et noir. Tirage à 110 exemplaires. Etant donné que les exemplaires de ces lithographies furent abimés lors d'une inondation chez l'éditeur Molines, il n'existe plus vraisemblablement qu'une trentaine d'exemplaires complets.



Oeuvres en rapport
L'original à la détrempe de 1894 est conservé à Houston dans une collection particulière (Dauberville, 1967, t.I, n°60. Exemplaires complets : The Museum of Fine Arts, Boston ; The Cleveland Museum, Cleveland ; The Museum of Fine Arts, Houston ; The Museum of Modern Art, New York ; The Philadelphia Museum of Fine Arts, Philadelphie ; Museum für Kunst und Gewerbe, Hambourg ; Fondation Neumann, Gingins, Suisse ; Art Gallery of New South Wales, Sydney.

Source: Musée d'Orsay, Paris, France


PIERRE BONNARD - La promenade des nourrices, friese de fiacres.



Set of 4 color lithographs, 1899. Panel 1. 610x480 mm; 24x19 inches (sheet) * Panel 2. 580x430 mm; 22 7/8x17 inches (sheet) * Panel 3. 1044x480 mm; 41 1/8x19 inches (sheet) * Panel 4. 700x460 mm; 27 1/2x18 inches (sheet). Edition of 110. Published by Molines, Paris. Bouvet 55.
Source: Swann Auction Galleries 2070 - Mar 7th, 2006



GEORGES SEURAT 1859-1891 - LE DANSEUR À LA CANNE
LOT 12 Lot Sold. Hammer Price with Buyer's Premium: 108,750 EUR

MEASUREMENTS 30,7 x 23,2 cm; 12 x 9 1/8 in.

DESCRIPTION
Exécuté vers 1889. porte le cachet Seurat (en bas à gauche) crayon Conté sur papier

PROVENANCE
Léonce Moline
André Level, Paris (sa vente : Hôtel Drouot, Paris, 3 mars 1927, lot 68 )
Collection Saint, Paris (vente : Hôtel Drouot, Paris, 27 février 1932, lot 48 )
Vente : Ader Picard Tajan, Paris, 9 avril 1987, lot 17 Acquis lors de cette vente par le propriétaire actuel

EXHIBITED
Paris, Galerie Bernheim-Jeune, Les Dessins de Seurat, 1926, no. 39

LITERATURE AND REFERENCES
Gustave Kahn, Les dessins de Georges Seurat, Paris, 1928, reproduit pl. 26
C. M. de Hauke, Seurat et son œuvre, vol. II, Paris, 1961, no. 682, reproduit p. 263
Jean-Claude Lebensztejn, Chahut, Paris, 1989, reproduit p. 24

CATALOGUE NOTE
stamped 'Seurat' (lower left), Conté crayon on paper. Executed in 1889.

Source: Sotheby's Sale: PF8019 | Location: Paris Auction Dates: Session 1: Wed, 03 Dec 08 5:00 PM

Georges Seurat French, 1859-1891 - Roses in a Vase, 1881/83

Black Conté crayon on ivory laid paper, discolored to tan, edge mounted on tan wove paper
311 x 240 mm
Inscribed recto, upper center on mount, in graphite: "2H"[?]
Gift of Dorothy Braude Edinburg to the Harry B. and Bessie K. Braude Memorial Collection, 1998.698

[img]https://i.servimg.com/u/f87/11/97/44/73/roses_10.jpg[/]

Publication History
Gustave Coquiot, Seurat (Paris, 1924), p. 135.
Gustave Kahn, Les Dessins de Seurat 1 (Paris, 1928), no. 51.
César M. de Hauke, Seurat et son oeuvre 1 (Paris, 1961), pp. 150 and 151, no. 572.
Germain Seligman, The Drawings of Georges Seurat (New York, 1971), pl. 71.

Ownership History
Léonce Moline, Paris [Hauke 1961]. Mme. J. D., by December 1908 [Paris 1908]. Camille Platteel (1854–1943), Paris [Hauke 1961]. Wildenstein and Company, New York, by November 1953 [New York 1953]. Mrs. James W. Johnson; sold, Christie’s, London, December 1, 1970, lot 35, to Dorothy Braude Edinburg; given to the Art Institute, 1998.

Source: The Art Institute of Chicago


Georges Seurat Paysage d'Ile de France entre 1881 et 1882
huile sur toile H. 0.325 ; L. 0.405 musée des Beaux-Arts, Bordeaux, France



Inscriptions
S.b.d. : Seurat
cachet rouge b.d. : Moline

Exposition(s)
Seurat, Paris, France, 1900
Rétrospective Georges Seurat, Paris, France, 1908
Quelques tableaux de maîtres néo-impressionnistes, Chicago, Etats-Unis, 1958
Vingt ans d'acquisitions au Musée du Louvre, 1947-1967, Paris, France, 1967
Seurat, Paris, France, 1985
Seurat, Paris, France, 1991
Neoimpressionismo, la eclosion de la modernidad, Madrid, Espagne, 2007

Source: Musee d'Orsay


Vincent van Gogh (Dutch, 1853–1890) - Cypresses 1889
Oil on canvas - 36 3/4 x 29 1/8 in. (93.4 x 74 cm)

Gallery Label
"Cypresses" was painted in late June 1889, shortly after Van Gogh began his yearlong voluntary stay as a patient in the asylum in Saint-Rémy. The subject, which he found "as beautiful of line and proportion as an Egyptian obelisk," both captivated and challenged the artist: "It is a splash of black in a sunny landscape, but it is one of the most interesting black notes, and the most difficult to hit off exactly that I can imagine." Van Gogh's initial fascination with cypresses resulted in three paintings: two showing the "big and massive trees" at close range, in vertical format (this and one in the Kröller-Müller Museum, Otterlo), and a majestic horizontal view, "Wheat Field with Cypresses" (on view in the adjacent gallery), which he later repeated in two variants.



Provenance
the artist's brother, Theo van Gogh, Paris (1889–d. 1891; sent to him by the artist on September 28, 1889); his widow, Johanna van Gogh-Bonger, Amsterdam (1891–95; sold with six other paintings for fl. 384 - EUR 175 - to Moline); [Lucien Moline, Paris, from 1895]; Julien Leclercq, Paris (bought in 1901, until d. 1901); Maurice Fabre, Paris and Gasparets (by 1904–8 ); [E. Druet, Paris, 1908]; sale, Hôtel Drouot, Paris, May 16, 1908, no. 25; Fritz Meyer-Fierz, Zürich (bought in Paris; May 1908–1923/24); [Justin K. Thannhauser, Berlin, 1923/24–at least 1929; sold to Schocken]; Salman Schocken, Berlin, later New York (until 1949; sold to Thannhauser); [Justin K. Thannhauser, New York, 1949; sold to MMA]

Source: The Metropolitan Museum of Art

Vincent van Gogh (Dutch, 1853–1890) - Women Picking Olives 1889/90
Oil on canvas - 28 5/8 x 36 in. (72.7 x 91.4 cm)



Gallery Label
In December and early January 1889–90, Van Gogh painted a group of three pictures of women gathering olives. This is probably the one he sent to his sister and mother. He wrote: "I hope that the picture of the women in the orchard of olive trees will be a little to your liking—I sent a drawing of it to Gauguin, . . . and he thinks it good. . . ."

Provenance
the artist's brother, Theo van Gogh, Paris (1890–d. 1891; sent to him by the artist on January 3, 1890); his widow, Johanna van Gogh-Bonger, Amsterdam (1891–95; sold with six other paintings for fl. 384 - EUR 175 - to Moline); [Lucien Moline, Paris, from 1895]; Bernard Goudchaux, Paris; Dikran Khan Kélékian, Paris and New York (by 1920–22; his sale, American Art Galleries, New York, January 30–31, 1922, no. 157, for $4,400, to Joseph Brummer, possibly for Wildenstein); [Wildenstein, possibly in shares with Paul Rosenberg, Paris and New York, until 1937; sold in July for currency plus a "Wheatfields" by Vincent van Gogh, to Schuster]; Sir Victor Schuster, London (from 1937); [Wildenstein, in 1949; sold on December 13 to Haupt]; Mr. and Mrs. Ira Haupt, New York (1949–his d. 1963); Mrs. Ira Haupt, New York (1963–83; sold to Annenberg); her brother and his wife, Walter H. and Leonore Annenberg, Rancho Mirage, Calif. (1983–95; jointly with MMA, 1995–his d. 2002)

Source: The Metropolitan Museum of Art

3118: Drechsler, Georges: Album mit 20 Arbeiten
Drechsler, Georges. Album mit 20 Original-Aquarellen bzw. Original-Federzeichnungen mit eigenh. Texten und teils auch Anmerkungen für den Drucker. Alle Arbeiten hochformatig auf grüne Untersatzkartons montiert in 57 x 42 cm grünem Halblederband mit Buntpapierbezug. Frankreich um 1913.



Leider konnten wir über den Künstler selbst wenig herausfinden. Mit Sicherheit ist er nicht identisch mit dem bei Vollmer aufgeführten Georg Drechsler (Leipzig 1879) als Maler ansässig in Wurzen. Art, Beschriftung und Inhalt lassen auf künstlerische Beiträges schließen, die der in Paris in der rue Le Prince No 63 ansässige Karikaturist Georges Drechsler für den Courrier français gefertigt haben muss. "Fondé par le publicitaire Jules Roques en 1884, Le Courrier Français est un " hebdomadaire illustré humoristique, littéraire et artistique " de format 30 x 40, imprimé en noir et blanc par procédé Gillot qui, sous couvert de polissonnerie plus ou moins bohème, va pratiquer durant plus de 25 ans une subversion tous azimut avec un bonheur variable mais une étonnante inventivité. Le titre correspond sans conteste à l'éclosion d'une nouvelle génération de dessinateurs satiristes, issus de la sociabilité montmartroise des années 1880, dont il fidélise une part des crayons comme celui de Willette qui totalise une collaboration d'environ 23 ans, hors ruptures ponctuelles pour causes d'engueulades. .... Roques et son fidèle secrétaire de rédaction Jean Derville sont remplacés à partir de 1905 par Jean Hellaire (pseudonyme de Louis Robert) qui meurt en 1911. Il est lui-même remplacé par Georges Normandy, le 13 mars 1911, puis en 1913 par Lucien Moline et Daniel Rivoré. Ce n'est plus qu'une feuille fantôme qui tombe entre les mains d'un fameux maître chanteur, Georges Anquetil associé à Marcel Hervieu et reparaît en avril 1914 après une interruption d'un an. On connaît l'existence d'un numéro de 1921 sous rédaction fantôme, avec une reprise d'un ancien dessin de Willette en couverture." (Laurent Bihl). - Wohlerhalten und farbfrisch.

Source: Galerie Bassenge

My thanks and compliments to Stella for all the information on Molines.

Regrding Lenormand, he was Pierre Jules Augustin Lenormand (fl. Paris 1889-1913), sculptor and member of the SAF. He signed a number of grès ceramics, although it is not yet certain if he was the designer of the pieces that he signed, or acted as a ceramist who also produced pieces designed and signed by others. His somewhat organic, floral or rocaille forms are in a typical red-brown fabric with green or brown leathery surfaces. I would be interested to see any ceramics signed by him and to know if anyone has further information concerning his life and works.

Bon dimanche,

Paul