Null Jean LAMBERT-RUCKI (1888-1967) after
"The Four Evangelists
Bronze medallion…

Description

Jean LAMBERT-RUCKI (1888-1967) after "The Four Evangelists Bronze medallion with shaded brown-green patina, posthumously cast by Cheret Paris. On the back: J L Rucki and the publisher's mark. D. 11 cm

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Jean LAMBERT-RUCKI (1888-1967) after "The Four Evangelists Bronze medallion with shaded brown-green patina, posthumously cast by Cheret Paris. On the back: J L Rucki and the publisher's mark. D. 11 cm

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JEAN LAMBERT-RUCKI (1888-1967) Les oiseaux, 1923 Huile sur carton Monogrammée, située et datée « J.L.R. / Paris. 23 » en haut à gauche 45 x 28 cm Oil on cardboard Signed with initials, located and dated "J.L.R. / Paris. 23" upper left 17 3/4 x 11 in. Provenance Vente de l’atelier, 1971 (étiquette au dos) Collection particulière

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JEAN LAMBERT-RUCKI (1888-1967) La Confidence, dit aussi Le Conciliabule, 2006 Épreuve en bronze à patine noire Signée, datée et justifiée EA II/IV Cachet du fondeur TEP et cachet JDV Hauteur : 36 cm Dark patinated bronze Signed, dated and inscribed EA II/IV Foundry stamp TEP and stamp JDV Height: 14 1/8 in. Provenance Collection particulière Exposition "Centenaire de la naissance de J.L.- Rucki", 1887-1967, Galerie Jacques De Vos, Paris, 1988. "Lambert-Rucki, les Parisiens et les autres", Galerie Jacques De Vos, Paris, mai-juin 1993. "Jean Lambert-Rucki", Galerie Jacques De Vos, Giraud Gallery, New York, 17 novembre-16 décembre 2006. Un certificat d'authenticité N°220923 du Comité Jean Lambert-Rucki en date du 22 septembre 2023 sera remis à l'acquéreur.

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Jean-Baptiste NINI (1717-1786), after Louis XVI and Marie-Antoinette in profile Pair of ceramic medallions Diameter: 15 cm. The Marie-Antoinette medallion is broken and missing.

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TABLEAU "USINE, FUMEUR CHAT" by Jean LAMBERT-RUCKI (1888-1967) Framed oil on panel, signed and dated "1919" upper left. Certificate of authenticity enclosed. Size: 72.5 x 60 cm Good condition He attended the Academy of Fine Arts in his hometown from an early age, where he rubbed shoulders with his compatriot Moses Kisling, under the Munich influence that prevailed in Krakow at the time. Like Kisling, his teacher was Józef Pankiewicz, who had been to France and had met the Impressionists Pierre Bonnard and Édouard Vuillard. Pankiewitz encouraged Kisling to go to Paris, and probably Rucki too. In 1909, an exhibition of Picasso's work was held in Munich. Rucki discovers Cubism and "Negro art", and travels constantly to Eastern European cities: Vienna, Moscow, where he makes portraits to earn a living. He came into contact with this milieu, in which international art from Paris was very present, and where Cubism was disseminated. As early as 1910, a traveling Art Français exhibition showed Cubist works in St. Petersburg, Moscow and Kiev. Around 1909 or 1910, Rucki saw a Gauguin exhibition in Krakow. He decided to leave for France. In February 1911, he moved to Paris and enrolled at the Académie Colarossi. There he met up again with his compatriot Moïse Kisling, who had arrived in France a year earlier. He shared a room with Modigliani on rue de la Grande Chaumière, and became very close to Soutine, who had arrived in Paris the same year. Soutine's studio was located at La Ruche, where Marc Chagall, Blaise Cendrars, Gustave Miklos and, a little later, Fernand Léger were already living.

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