Aly BEN SALEM (1910-2001)
Evening Return, circa 1935/1940
Gouache over graphite,…

Description

Aly BEN SALEM (1910-2001) Evening Return, circa 1935/1940 Gouache over graphite, signed lower left. H. 73.5 cm - L. 53 cm (as seen) Slightly sun-blinded leaf

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Aly BEN SALEM (1910-2001)

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Estim. 900 - 1 350 EUR

Willy Müller-Lückendorf, Alte Mühle in Lückendorf View of the old mill on the Prescherberg in Lückendorf near Oybin in Saxony, in the light of the waning day, on a spring evening with the moon rising, the foothills of the Brandberg on the right, the high forest in the background on the left, with this intimate landscape portrait, Müller-Lückendorf shows his attachment to his Saxon homeland - his studio house is 100 metres away from the old mill house depicted, predominantly glazed painting in restrained colours in the style of the romantic landscape painting of Caspar David Friedrich, oil on canvas, incised signature "W. Müller-Lückendorf" and dated "1933", according to the author of the catalogue raisonné and son of the artist, Knut Müller, the painting was created in 1935, on the reverse signed, dated and titled "Vorfrühlingsabend mit altem Mühlhaus in Lückendorf" in pencil by the artist, on old label probably old auction or gallery label with numbering and information on the work, also in the upper left corner annotated by another hand as a gift from 1945, minor pressure marks on the left and right edge of the picture due to the stretcher, somewhat in need of cleaning, we would like to thank Mr Knut Müller for kind written information, framed, folded dimensions approx. 33 x 46,5 cm. Artist information: actually Willy Müller, called himself "Müller-Lückendorf" after his place of residence, German pattern draughtsman, landscape painter and painter. Pattern draughtsman, landscape painter and draughtsman (1905 Olbersdorf to 1969 Lückendorf), resident in Lückendorf from 1911, artistically supported by the Russian stage painter Pjotr Andrejew, Paul Otto Croeber and the Zittau art teacher Adolf Schorisch, 1919-22 apprenticeship as a weaver and pattern draughtsman at the Higher Weaving School in Zittau, then worked as a weaver in the mechanical weaving mill, 1924-32 pattern draughtsman for the Vereinigte Deutsche Textilwerke Wagner und Moras in Ebersbach, with the support of the textile industrialist Otto Moras 1925-27 studied at the Dresden School of Arts and Crafts under Alexander Baranowsky, influenced by Caspar David Friedrich, Franz Lenk and Otto Dix, from 1932 freelance landscape painter, 1940-48 military service and captivity, exhibited in Neusalza-Spremberg, Zittau, Dresden, Leipzig, Berlin, Karlsruhe, Darmstadt, Frankfurt a. M. and 1937-43 participation in the Great German Art Exhibition at the Haus der Kunst in Munich, active in Lückendorf near Oybin, source: Vollmer, homepage of the artist, Saur and Internet.

Estim. 600 - 900 EUR

Willy Friedrich Burger, "Alpweg mit Dent Blanche" barren, sunny high mountain landscape of the Valais Alps, with a distant view of the Dent Blanche from the north-west, slightly impasto landscape painting with a flat application of paint in finely coordinated colours, AKL comments: "... As a landscape painter, he mainly painted motifs from Italy, Morocco, England and the Swiss Alps. The feeling of the vastness and grandeur of the mountain world is expressed in the harmonious composition and warm colours, whereby his encounter with Ferdinand Hodler is very significant. ...", oil on canvas, c. 1940, signed "W. F. Burger" lower right, original artist's label on the reverse of the stretcher, here titled, signed and inscribed ""Alpweg mit Dent Blanche" W.F. Burger, Rüschlikon", also old owner's label "Robert Aeschbach, Löwenstr. 11 Zürich", originally framed, folded dimensions approx. 48 x 64.5 cm. Artist information: Wilhelm Friedrich Burger, Swiss painter, draughtsman, graphic artist, illustrator and poster artist (1882 Zurich - 1964 Rüschlikon), initially trained as a lithographer, then a student at the Kunstgewerbeschule Zurich, 1901-02 studied at the Karlsruhe Academy under Ludwig Schmid-Reutte, 1903-05 as a graphic artist in London, at the same time a student at the Royal Academy, 1906 in Switzerland, finally 1906-08 worked as an illustrator and graphic artist in New York, Philadelphia and Boston, from 1909 in Rome and Florence, returned to Switzerland in 1913 and worked in Rüschlikon as a landscape painter, illustrator and poster artist, undertook various study trips such as to Italy in 1921, to Spain in 1925 and 1926, to Morocco in 1934, to Egypt and Palestine (Jerusalem) in 1935, as well as to Algeria and southern France, participated in the world exhibitions in Milan (1906) and Brussels (1910), among others, which honoured him with a silver medal and a gold medal, worked in Rüschlikon/Canton Zurich, citizen of Zurich, source: Vollmer, AKL, Saur "Bio-Bibliographisches Künstlerlexikon", Sikart, Historisches Lexikon der Schweiz, Huber-Frauenfeld and Wikipedia.

Estim. 80 - 120 EUR

Otto Scheinhammer, Sommerliche Deichlandschaft View along a dyke with trees and a guard's cottage, glazed, partially slightly impasto landscape painting, oil on canvas, c. 1930, signed "Otto Scheinhammer" lower left, in need of cleaning, framed, folded dimensions approx. 64.5 x 74 cm. Artist information: German painter and sculptor (1897 Munich - 1982 Augsburg), initially trained as a carpenter from 1912 and worked in the profession until 1922, 1916-18 military service as an aerial radio operator in WW1, from 1922 self-taught. He studied at the Munich Academy under Karl Johann Becker-Gundahl and Franz Klemmer from 1923-26, travelled to Italy in 1924 with private sponsorship and to Dalmatia in 1925, to Holland in 1926, travelled to Ceylon and Egypt from 1927-29, special exhibition at the International Glass Palace Exhibition in Munich in 1931 and lost 35 works as a result of the Glass Palace fire, after making the acquaintance of a Ceylonese plantation owner, 1927-30 stays in Ceylon and 1932-35 in Egypt with special exhibitions in Colombo and Cairo, 1935 return to Germany, participated in numerous exhibitions in Munich, Cologne, Berlin and Düsseldorf, active in Munich, 1938-44 the Great German Art Exhibition in the House of German Art in Munich, 1940-45 military service in the Second World War, 1944 destruction of the Munich Art Gallery, 1944 destruction of the Munich Art Gallery. World War II, 1944 destruction of the Munich studio in World War 2. World War II, moved to Ammersee in 1946, moved to Augsburg in 1948, travelled to Italy, Spain, Greece and Morocco, member of the Reichsverband Bildender Künstler Deutschlands, the Münchner Künstlergenossenschaft and the Neue Münchner Künstler-Genossenschaft, sources: Thieme-Becker, Vollmer, Saur "Bio-Bibliographisches Künstlerlexikon", Dressler, Munich Academy register, Bruckmann "Münchner Maler des 19./20. Jh." and Internet.

Estim. 2 500 - 2 800 EUR

JOSÉ FRAU (Vigo, 1898 - Madrid, 1976). "Night at the port". Gouache on paper. Signed in the lower margin. Measurements: 50 x 72 cm; 80,5 x 103 cm (frame). José Frau begins his formation with Antonio de la Torre and Eugenio Hermoso, to later enter the School of Fine Arts of San Fernando, where he had José Muñoz de Degrain as a teacher. From 1917 he became known through the National Exhibitions of Fine Arts, being awarded the third medal in 1924, second in 1932 and first in 1943. He held his first individual exhibition, in the Layetanas Galleries in Barcelona, and in 1925 he was one of the participants in the exhibition of the Society of Iberian Artists, with which he also exhibited at the Jeu de Paume in Paris in 1936. Previously, Frau had also shown his work in the exhibitions of Spanish artists organized by the Carnegie Institute of Pittsburg in 1933 and 1935. From the 1940s he lived in Buenos Aires, Montevideo and Mexico, before finally returning to Spain in 1946. He is currently represented in the Novacaixa Foundation of Galicia, the Museo Nacional Centro de Arte Reina Sofia in Madrid, the Museum of Huelva, the Castrelos of Vigo and other collections, both public and private. Stylistically, he began with figurative works, evolving from 1930 to a post-impressionist style to later focus on landscapes with figures, recreated in magical and fantastic environments. In his later works he used a Fauvist chromatism with a predominance of greens, blues, earths and blacks in great contrast, showing, at the same time, a progressive stylization, with the human figure ceasing to have the prominence he had given it in his previous paintings.

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