Molins, account

 

 

Impressionism, a historical reconstruction:

Auguste de Molins

(1821-1890)

Account

of his exhibited works

 

Introduction:
On this page you will find an account of the paintings Auguste de Molins exhibited at the 1st ‘impressionist’ exposition of 1874 and at the Salon. There are two drawings known of the works he exhibited at the Salon in 1863 and a painting he showed at his debut in 1850 (see overview of his pictures). At a single occasion he also exhibited at regional exhibitions. It is hard to connect the many works on hunting scenes De Molins exhibited, with the many hunting scenes that are known nowadays.

 

The first ‘impressionist’ exposition 1874:

General overview:

  • catalogue numbers 92-94bis
  • so in total De Molins (Auguste) exhibited 4 works ;
    • 0x an indication of place
    • 1x an indication of time, season or weather
    • 0x a study
    • 0x a loan
  • Dayez / Adhémar renders one suggestion(1974=R87,p242), Moffett refers to it (R2,p121); Patry/Robins also suggests this one and another one; Berson renders two other suggestions (R90II,p9+23).
  • See link for the pictures.

Reviews:
E.C. (Emile Cardon) reviewed in Revue de France vol.10 1874/04 ‘except for a few paintings that are quite surprising to come across in such an environment and which don’t belong there in any respect: those of Boudin, Brandon, Gustave Colin, de Molins, de Nittis, – (but) the totality of the works collected by the Societe Anonyme, would have been indignantly refused by the official jury of the Salon (R90I, p11).
Emile Cardon (1874/04/29) reviewed: ‘The misters Brandon, Cals, de Molins, cannot without injustice be regarded as followers of the New School. We will therefore not deal here with them or their works, since we are sure to find them at the Champs-Elysées Palace or on rue Le Peletier.’ (R90I,p13;R87,p263).
Etienne Carjat (1874/04/27) reviewed ‘M. de Molins, within a frame, restraint knows how to make a large painting. He was particularly fond of scenes from chateau life, carriage rides, horse processions and hunts. His Amazons, his riders, his horses, his dogs full of spin and movement, are finely drawn and painted with rare skill.’ (R90I,p14)
C. de Malte (1874/04/19) mentions him in an enumeration ‘The landscapes, studies, marines of madame Berthe Morisot, of Mrs. Brandon, de Molins, Belin (sic), Baudin (sic), Lépine, etc., etc.’ (R90I,p28)
Le Phare de la Loire (1874/04/18) mentions him in an enumeration ‘We find here Mrs. A. de Molens (sic), with his Rendez-vous de chasse, …’ (iR437).
Auguste de Molins is summed up in 5 reviews as one of the partakers by Burty (1874/04/16 + 25), d’Hervilly (1874/04/17), Drumont (1874/04/19) and in La Liberté (1874/04/20).
See the seperate pages on the reviews and on the art-critics.

1874 catalogue: (R2,p121;R87,p242;iR1)

1IE-1874-92, The Coming storm
Auguste de Molins asked 1.200fr for this work (R411).
Note: the English title. Adhémar, Moffett and Patry/Robbins don’t give a suggestion.
Berson suggests (based on subject and date): 1874, SDbr, Rendez-vous in the Bois de Boulogne, 35×55, private Lausanne (iR10;iR48;R90II,p9+23). Indeed you see dark clouds to the right, while on the left the sky is still a bit clear; you also see several people with umbrella’s; so it depicts at least the coming of rain.
To compare I also render: 1875, SDbr, Chasse à courre, 40×61, A2007/12/15 (iR89;M2,p121), a work that also seems to depict a coming storm.

1IE-1874-93, Rendez-vous de chasse
Auguste de Molins asked 600fr for this work (R411).
Eng.: Hunting appointment / meeting. Note: the same title as no.94bis and SdR1873-343. There were no reviews.
Adhémar and Moffett don’t give a suggestion.
Berson suggests: 18xx, Départ pour la chasse, 36×55, private (R90II,p9). She also mentions it is a possibility for no.94bis. The suggestion is based on its subject. Because it has the same dimensions as her suggestion for no.92, it could have been shown as a pair. I could not find this picture, so I render her black-and-white picture. But I don’t think it was exhibited, because it depicts two riders leaving for the hunt and not a meeting.
Berson also refers to two works that were auction at Hôtel Drouot with the same title:
HD1876/05/06-14, Rendez-vous de chasse (35x55cm)
and: HD1876/05/06-22, Rendez-vous de chasse (24×32). (R90II,p9).
Patry/Robbins renders two options for no.93 or 94bis:
1874, SDbr, Rendez-vous de chasse, 35×56, private (R410,no94), this is the one Adhémar suggests for 94bis (R87,p242), see at no.94bis.
1874, SDbr, La Chasse à courre, 35×56, private (R410,no95), the same as I earlier suggested: 1874, Chasse à courre, 34×54, A2011/10/26 (iR11;iR13;iR15;iR4). It is not clear if this work made in 1874 depicts a Spring or an Autumn scene. There are all sort’s of interactions, but there is not one accounter that is central. So, I think it is a poor suggestion for no.93 or 94bis.
As an uncertain option I render:
1873, Chasse à courre, 35×56, A2005/06/22 (iR13;R2,p121;R88I,p538); this also could be an option for no.94; the scene depicts a meeting during the hunt; it also depicts dogs at rest.

1IE-1874-94, Relai de chiens
Auguste de Molins asked 800fr for this work (R411).
Relais de chiens means: dog relay; something like the refreshment of dogs (during the chase). When I search for pictures on relais de chiens I see hunting dogs depicted in a group, mostly at rest, with or without guards, mostly somewhere in the fields (iR10).
Adhémar and Moffett don’t give a suggestion. Nor does Berson; there were no reviews.
Berson refers to an auction of a work with the same title at Hôtel Drouot: HD1876/05/06-4, relai de chiens (44x70cm) (R90II,p9).
I could not find a work with this size depicting a dog relay.
As an uncertain option I render: 1874, Before the hunt, 36×56, 2011/12/16 (iR13;iR11;iR10;R2,p121). The group of dogs on the left is quite in the foreground; they are at rest; but it is not in the field, but before the hunt.
The picture I suggest for no.93 also is an option.

1IE-1874-94bis, Rendez-vous de chasse
Auguste de Molins asked 1.200fr for this work (R411).
Eng.: Hunting appointment / meeting. Note: the same title as no.93 and SdR1873-343.
Moffett and Adhémar, Moffett and Patry/Robbins suggest: 1874, SDbr, Rendez-vous de chasse, 35×56, private (R87,p242;R2,p121); Patry/Robbins also suggest it for no.93. I don’t think it is a good suggestion: it doesn’t depict a meeting; it is dated 1874, but it shows more an autumn landscape, than a Spring landscape.
Suggestions made by Berson and Patry/Robbins for no.93, also can apply on no. 94bis, see at no.93.
As an uncertain suggestion I render:
1874, Chasse à courre en plaine, 35×55, A2003/12/05 (iR13;iR15;iR10;cpR88I,p538;R2,p121). This work depicts more some conversation within one group, instead of a meeting of two different groups, still it is the best option I could find.

 

 

Auguste de Molins at the Salon:
Auguste de Molin made his debut with 4 works at the Salon of 1850; this was the only time that his name was written without an ‘s’. Later on he exhibited at the Salon of 1853, 1863, 1864 and 1872. After being rejected for the Salon in 1873, he exhibited at the Salon des Refusés. (iR1)
Note 1: other sources mention he participated irregularly in the Salon between 1850 and 1872 (R9;R87;iR69;aR1); other sources mentions between 1850-70, which is incorrect (R88;R3;iR4).
Note 2: There also was a portraitist with the name Benoit(-Nermogaste) Molin (1810-94), who exhibited at the Salon (at least in 1843 / 46 / 47 / 66 / 77) and a Swedish sculptor with the name Jean-Pierre Molin, who exhibited at least in 1855 / 59 and a Adolphe Kolin who in 1870 is wrongly written as Molin (iR1;R9,p534).

S1850-2291, Vue du pont du Gard
Eng.: View of the Pont du Gard. Now: 1850, Le pont du Gard, 42×70, MAH Neuchâtel.
Note: the catalogue number should be 2229-1. All four works had the number 2229, the artist before him had 2228 and after him 2230 (iR1).

S1850-2292, Un temps couvert (Arles)
Eng.: A cloudy day (Arles)

S1850-2293, Environs de Nîmes
Eng.: Surroundings of Nîmes. In 1853 Auguste de Molins had his address in Nîmes.

S1850-2294, Colonnes du théâtre romain d’Arles
Eng.: Columns of the Roman theatre of Arles

S1853-840, Sous le chêne
Eng.: Under the oak tree.

S1863-1331, Danse de bayadère sous un figuier multipliant (île de Java)
Eng.: Bayadère dance under a multiplying fig tree (Java Island). Compare De Molins his drawing in Voyage à Java: 1858-61, Danse de bayadères sous un multipliant aux environs de Boghor, dr, xx, xx (aR7;aR8)

S1863-1332, Porte d’entrée de la mosquée de Soërabaija (île de Java)
Eng.: Gateway to the mosque of Surabaya (Java Island). Compare the drawing of Bar of this work of De Molins: S1863, Entrée de la mosquée de Soërabaija, Bar (after de Molins), dr, xx, xx (aR7).

S1864-1367, Cimetière malais auprès d’un temple indou, à Singapore
Eng.: Malayan cemetery near an Hindu temple in Singapore.

S1864-1368, Site du Kampong-Djirouk-Maniss, à Batavia
Eng.: Kampong-Djirouk-Maniss site, Batavia.

S1872-1124, Chiens en défaut ; automne.
Eng.: Dogs in default; fall.

SdR-1873-343, Rendez-vous de chasse.
Eng.: Hunting appointment. Note: the same title as 1IE-1874-93 and 94bis.

 

1877: Exposition des Beaux-Arts in Toulouse (iR1):
Auguste de Molins sometimes exhibited at regional exhibitions, namely in Toulouse in 1877 (iR1).

Toulouse-1877-194, La visite
Eng.: The visit.

Toulouse-1877-195, Promenade dans le parc
Eng.: The walk in the parc. Maybe: 1860, the walk in the Saint-Cloud park, near Paris, 34×55, A2010/06/22 (aR9;iR11;iR41;iR10) or: 18xx, the walk in the Bois du Boulogne,(a day in the park), 36×55, A2010/06/22 (aR9;iR41;iR89;iR10).

 

 

Recommanded citation: “Impressionism: Auguste de Molins, an account of his exhibited works. Last modified 2024/10/06.  https://www.impressionism.nl/molins-account/.”