Null Alvar Sunol Munoz-Ramos, genannt Alvar (*1935), 'Frauenporträts mit Apfel' …

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Alvar Sunol Munoz-Ramos, genannt Alvar (*1935), 'Frauenporträts mit Apfel' / 'Portraits of women with apple' Technique: Color lithograph on cardboard paper, Signature: signed 'Alvar' lower right, Edition: lower left 'E.A.', Dimensions: 55 x 76 cm, Condition: good, verso with old adhesive residue, browned

461792

Alvar Sunol Munoz-Ramos, genannt Alvar (*1935), 'Frauenporträts mit Apfel' / 'Portraits of women with apple' Technique: Color lithograph on cardboard paper, Signature: signed 'Alvar' lower right, Edition: lower left 'E.A.', Dimensions: 55 x 76 cm, Condition: good, verso with old adhesive residue, browned

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Estim. 8 000 - 10 000 EUR

BEN (1935-2024), Benjamin VAUTIER dit Portrait of Mr. Ciarlet, 1981 Acrylic on cardboard and collage Signed lower right and titled on the side 50 x 42.5 x 13.5 cm A certificate from Madame Eva VAUTIER will be given to the buyer.

Estim. 20 000 - 30 000 EUR

Jean DUNAND (1877-1942) "Waders" also known as "Birds Rare folding screen featuring four articulated rectangular panels in lacquered wood with finely incised polychrome decoration on a gilded leaf background. Signed lower right "JEAN DUNAND". Created in 1933, unique piece H : 180 L : 200 cm Provenance: Private collection, South of France Bibliography: "Jean Dunand", by Félix and Amélie Marcilhac, Norma Éditions, Paris, 2020, documented in black and white on page 212 under number 169. Exhibition: Galerie Georges Petit, Paris, 1933, n7 Note: We know of a gouache-on-paper project for a four-leaf folding screen with a design almost identical to ours, titled La nichée and dating from 1933-1935. It was made for a project commissioned by Valentine Brun, but apparently never realized. Jean DUNAND Born in Switzerland in 1877, Jean Dunand specialized in metalworking at the École des Arts Industriels in Geneva from the age of 14. With his diploma in hand, he moved to Paris in 1897, working as a chaser while studying at the École Nationale des Arts Décoratifs in the workshop of sculptor Jean Dampt. His introduction to the subtleties of coppersmithing with a Geneva artisan during his vacations in Switzerland, and his commitment to the Association des Artistes Suisses in Paris, which he founded in 1899, testify to his deep bond with his native country. In 1900, Dunand received a gold medal for a sculpture at the Exposition Universelle in Paris. His first exhibition of dinanderie at the Salon de la Société nationale des Beaux-Arts in 1904 encouraged him to move definitively into the decorative arts. Determined to produce unique pieces, he abandoned the turning and stamping processes in favor of hammering and hand chasing, incorporating gold or silver inlays, patinas, lacquers or enamels. After a first international success at the Milan International Exhibition in 1906, Dunand discovered Chinese and Japanese bronzes, influencing his style towards more realistic ornamentation. In 1912, he deepened his knowledge of lacquer with Japanese master Seizo Sugawara, a technique that would become central to his work. Although the Great War interrupted his activity, he remained in France, signing on as an ambulance driver and designing a combat helmet for French soldiers. After the war, Dunand devoted himself intensely to lacquer, a technique that fascinated him, and created works that integrated metal and lacquer. His work attracted attention at the 1925 Exposition Internationale des Arts Décoratifs et Industriels Modernes, where he was recognized as a master of lacquer and metal. In the 1930s, he completed prestigious commissions, notably for the liners l'Atlantique and Normandie. Working with his son Bernard, Jean Dunand continued to perfect his art until his death in 1942. His work, combining technical skill and creativity, made him an icon of the Decorative Arts, symbolizing the spirit of the Roaring Twenties.

Estim. 20 - 30 EUR

Cornelius Wagner, Das Bergkirchli in Arosa View from an elevated position of the famous Bergkirchli in the Graubünden climatic health resort of Arosa, completed in 1493, next to farmhouses, against a sublime high mountain backdrop in deep snowy splendour and bright sunlight, The atmospheric, impasto impressionist landscape painting in finely tuned colours, initially adhering to heavy academic painting, Wagner soon found his way to a light, sometimes colour-intensive impressionism, Although he was inclined towards the depiction of seascapes and river landscapes throughout his life, the artist's enthusiasm for his own experiences on his travels rarely resulted in beautiful landscape depictions such as the present motif from Arosa, where Wagner probably stayed several times between 1917 and 1919 - due to the dating of the motifs he created there, oil on canvas and stretcher, signed, inscribed and dated "Cornelius Wagner Arosa 19.", minor craquelure, stretcher somewhat showing through, minor restoration required, unframed, dimensions approx. 45.5 x 65 cm. Artist information: named Corny Wagner, German landscape and marine painter. Landscape and marine painter (1870 Dresden - 1956 Söcking near Starnberg), childhood in Dresden, first taught by his father, the painter Karl Ludwig Friedrich Wagner, studied 1886-95 at the Düsseldorf academy under Peter Janssen, Heinrich Lauenstein and Hugo Crola, here 1892-95 master student of Eugen Dücker, travelled to India in 1897, to Argentina in 1904, to Italy (Capri, Ischia), repeatedly to England (Cornwall) and Scotland, Holland, Belgium, the Baltic Sea and around 1917-19 stayed in Arosa in Graubünden in Switzerland, worked in Düsseldorf-Kaiserswerth from 1906-55, friend of Wilhelm Degode and Max Clarenbach, 1935 painting of the Duisburg railway station concourse, 1955 moved to Söcking on Lake Starnberg, organised exhibitions in Düsseldorf, Zurich and 1938-44 the Great German Art Exhibition at the Haus der Deutschen Kunst in Munich, member of the artists' group "Laetitia", of the "Sonderbund" as well as in the Allgemeine Deutsche Kunstgenossenschaft, the Reichsverband bildender Künstler Deutschlands, the Düsseldorfer Künstlerunterstützungsverein, the Freie Vereinigung Düsseldorfer Künstler and 1898-1919 and 1924-1956 in the Düsseldorfer Künstlerverein "Malkasten", source: Thieme-Becker, Vollmer, Saur "Bio-Bibliographisches Künstlerlexikon", Bruckmann "Lexikon der Düsseldorfer Malerschule", Müller-Singer, Dressler and Wikipedia.

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