Null Scherrer, Hedwig
1878 Bad Sulgen - 1940 Zurich. Studied at the St. Gallen S…

Description

Scherrer, Hedwig 1878 Bad Sulgen - 1940 Zurich. Studied at the St. Gallen School of Drawing under E. Nolde and at the Damenakademie des Münchner Künstlerinnenvereins. Oil on canvas. Church interior with a young peasant woman at Sunday worship. Signed lower right, Vienna inscr. and dated 1920. 68 x 55 cm. (77 x 65 cm). R. Lit.: 1.14.

867

Scherrer, Hedwig 1878 Bad Sulgen - 1940 Zurich. Studied at the St. Gallen School of Drawing under E. Nolde and at the Damenakademie des Münchner Künstlerinnenvereins. Oil on canvas. Church interior with a young peasant woman at Sunday worship. Signed lower right, Vienna inscr. and dated 1920. 68 x 55 cm. (77 x 65 cm). R. Lit.: 1.14.

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Estim. 20 - 40 EUR

Lot of 20 studies on Balzac: Barbéris, Mythes balzaciens. Paris, Colin, 1972. Chul Lee, Les scènes de la vie de campagne d'Honoré de Balzac. ANRT diffusion, 1995. Noahisa Usa, La Madone dans l'oeuvre d'Honoré de Balzac. ANRT Diffusion, 1996. Baron, Balzac occulte. L'âge d'homme, 2012. With dispatch from the author. Boussel, Les restaurants dans la comédie humaine. La Tournelle, 1950. Gillot, Balzac d'après sa correspondance avec l'Etrangère. Grenoble, Aubert, 1924. Houssa, Balzac and Colette. Extract from Revue d'histoire littéraire de la France, 1960. La Rabouilleuse with a preface by Bouteron. Boivin, sd. Gadenne, Trois préfaces à Balzac. Le temps qu'il fait, 1992. On fine paper. Didi-Huberman, La peinture incarnée followed by Le chef-d'oeuvre inconnu. Editions de Minuit, 1985. Kempf, Balzac Baudelaire Barbey d'aurevilly - sur le dandysme. Collection 10/18 Honoré de Balzac - A Paris. Editions complexe, 1993. Preface by Caillois. Barthes, S/Z. Editions du Seuil. Savant, Le vrai Vidocq. Hachette, 1957. Le Père Goriot, text and contexts. Magnard, 1986. Brunetière, Honoré de Balzac. Sd (Nelson editions). Bozzi, Balzac et les médecins dans la Comédie humaine. 1932. Yücel, Figures and messages in La Comédie humaine. 1972. Vacarie, La vertueuse faillite de César Birotteau. 1928. Honoré de Balzac, literary criticism. 1912. Lot of 7 books: Balzac en sa Touraine. CLD Normand & Cie, 1975. Unique edition of 1,200 numbered copies, full publisher's cloth, dust jacket. René Guise, Balzac - 1 la société. Hatier, 1972. René Guise, Balzac - 2 l'individu. Hatier, 1973. Balzac, Une ténébreuse affaire. Presses pocket, 1993. Commentary by Gérard Gengembre. Balzac, monographie de la presse parisienne. Paris, Pauvert, 1965. Jean Forest, Des femmes de Balzac. Universités de Montréal et Sherbrooke, 1984. Honoré de Balzac, mémoire de la critique. Paris-Sorbonne, 1999. Prefaces and notes by Stéphane Vachon. Lot of 12 books: G Jacques, "Le doigt de Dieu" by Honoré de Balzac. Louvain, 1970. L Frary, Selon Balzac. Paris, Nilsson, sd [imp. Arrault à Tours]. Half-percaline. Kurt Sulger, La cousine Bette, essay on Honoré de Balzac. Zurich, Ruegg, 1940. Franco Simone, Un romanzo esemplare di Balzac: Les Paysans. Firenze, Olschki, 1956. N Bourgeois, Balzac peintre d'histoire et écrivain regionaliste. Paris, Bloud & Gay, 1925. P Louis, Les types sociaux chez Balzac et Zola. Paris, éditeurs associés, 1925. P Abraham, Créatures chez Balzac. Paris, NRF Gallimard, 1931. Ex press service. Notes on Le Père Goriot. Longman York Press, 1984. G Gengembre, Honoré de Balzac, Le Lys dans la vallée. PUF, 1994. E Deschanel, Le mal qu'on a dit des femmes. Paris, Levy, 1858. Half-percaline. Prophetic, picturesque and useful almanac (for 1842?). Copy incomplete of the first leaf. Contains "Balzac et la chiromancie" by Adolphe Desbarrolles. L'épée et la plume, exhibition at Château de Saché in 2004. Lot of 7 volumes: Balzac, Journaux à la mec. Introduction, notes and commentary by Louis Jaffard. Around Balzac's unknown masterpiece. Ecole nationale supérieure des arts décoratifs, 1985. Le Balzac de Rodin. Catalog of the Saché exhibition, 1999. Littérature et société, collection of studies in honor of Bernard Guyon. DDB, 1973. 6 studies on Balzac. Marc Blanchard, La campagne et ses habitants dans l'oeuvre de Balzac. Paris, Champion, 1931. Doctoral thesis. Envoi de l'auteur à "Miss Hollingworth". Histoire véritable de la bossue courageuse [Francis Lacassin]. Ecrits sur le roman, anthology.

Estim. 3 800 - 4 200 EUR

Olympic Games/ Summer, 1934-1988-1992/ Original poster: "Badminton, A True Sport". On this fabulous lithograph signed by the great Maurice Lauro (1878-1934) in the late 1920s, the battle for Badminton's recognition is intense. At the time, Badminton enthusiasts were cunningly and artistically trying to fill the double gap left and opened by lawn tennis. Indeed, lawn-tennis disappeared from the Olympic program after the Paris Games, and this self-proclaimed "sporting" creation was an attempt to seize power - bad could well take over, couldn't it? The problem was that, in 1927, the Musketeers filled the gap by conquering and defending the Davis Cup. The opportunity for succession became less obvious, and the two disciplines remained in the Olympic shadows until the 1980s. Tennis demonstrated in 1984, and badminton in 1988, at home in Seoul. Neither would pass up the opportunity. With this iconic work, Lauro is the keystone of this long adventure for recognition, which had already borne fruit in 1934, the year of the artist's death, with the emergence of an International Federation for the discipline! This graphic construction is so accurate that we can reasonably assume that the artist must have been a practitioner, and that this cry from the heart: "Badminton is a real sport", was indeed his, and certainly not the fruit of chance or a commission, he could not have gone so far and "played" so accurately. In short, if badminton has been able to survive, develop and spread throughout the world, with now a staggering 400 million shuttlecock enthusiasts, it's because of its beauty and sporting dimension, of which Lauro is the dazzling interpreter here. As you know, this commando operation culminated in 1988 in Seoul, where the discipline is king, as it is throughout Asia. Only as a demonstration, it passed through the Olympic gates in Barcelona in 1992. Since then, it has not become indispensable, but essential to the Olympic program. And while Asia remains the driving force, Europe, with Spain and Denmark, is not giving its tongue to the dragon, as France's discreet but talented representative at the 1996 Games, Etienne Thobois, will tell us. All the more so as the French are now also flying aces, and have become at least as competitive as their tennis cousins. Please smile, Mr. Lauro, and for real...Lithograph, canvas, 64x44. Exceptionally fresh. Maurice Lauro (1878-1934) Badminton" poster Size: 64 x 44 cm Restoration. In this lithograph, the artist has managed to capture the lively soul of a sport that sometimes borders on dance. He had started out as a press cartoonist, making a name for himself before the Great War in "Le Rire", as well as "Le Journal", "Le Pêle-Mêle" and "l'Almanach Vermot" (1906-1919), his longest collaboration. Then came the Roaring Twenties, and his transition to fashion and posters was a success. His posters for Trouville, La Baule and Nice (Palais de la Méditerranée) were born, as was his work for Champigneules beer and Automoto bicycles. He died in 1934, the year the International Badminton Federation was founded. One specialist speculates that this 1925 image was intended for Dieppe, one of the sport's first strongholds from 1908. Badminton has been an Olympic sport since 1992.

Estim. 7 000 - 8 000 EUR

ROBERT FRANK (Zurich 1924 - Nova Scotia 2019) "Rainy day", c. 1955. Gelatin silver on Agfa paper. Signed in ink in lower left corner. Provenance: Christie's Paris, Photographies 10/11/2020, Lot 107. Measurements: 41 x 30 cm; 66,5 x 58 cm (frame). Robert Frank was a Swiss photographer and documentary filmmaker, who also became an American citizen. His most notable work is the 1958 book The Americans, which earned Frank comparisons to De Tocqueville because his photography provided a fresh and nuanced view of American society from the outside. Critic Sean O'Hagan, wrote in The Guardian in 2014, that The Americans "changed the nature of photography, what it could say and how it could say it. It remains perhaps the most influential photography book of the 20th century." Frank later explored other fields such as film and video and experimented with photo manipulation and photomontage. Robert Frank was born in Zurich, Switzerland, into a Jewish family. Frank and his family remained safe in Switzerland during World War II. He trained with several photographers and graphic designers before creating his first handmade photography book, 40 Photos, in 1946. Frank emigrated to the United States in 1947 and got a job in New York City as a fashion photographer for Harper's Bazaar. In 1949, Camera magazine's new editor, Walter Laubli (1902-1991), published a substantial portfolio of Jakob Tuggener's photographs taken at high-class shows and in factories, along with the work of the 25-year-old Frank, who had just returned to his native Switzerland after two years abroad. He soon left for South America and Europe and created another book of handmade photographs he took in Peru. He returned to the United States in 1950 where he met Edward Steichen, and participated in the group show 51 American Photographers at the Museum of Modern Art (MoMA). Although initially optimistic about American society and culture, Frank's perspective quickly changed when confronted with the fast pace of American life, which he saw as an overemphasis on money. It was then that his images began to show America as an often desolate and lonely place. Frank's own dissatisfaction with the control that editors exerted over his work also undoubtedly influenced his experience. He continued to travel, moving his family briefly to Paris. In 1953, he returned to New York and continued to work as a freelance photojournalist for magazines such as McCall's, Vogue and Fortune. By associating with other contemporary photographers such as Saul Leiter and Diane Arbus, he helped form what Jane Livingston has called the New York School of photographers during the 1940s and 1950s. In 1955, Frank achieved further recognition with Edward Steichen's inclusion of seven of his photographs in the Museum of Modern Art exhibition. In 1955 Frank was awarded a Guggenheim Fellowship from the John Simon Guggenheim Memorial Foundation to travel the United States and photograph society. The cities he visited included Detroit and Dearborn, Michigan; Savannah, Georgia; Miami Beach and St. Petersburg, Florida; New Orleans, Louisiana; Houston, Texas; Los Angeles, California; Reno, Nevada; Salt Lake City, Utah; Butte, Montana; and Chicago, Illinois. He took his family with him for part of his series of road trips over the next two years, during which time he took 28,000 photos of which only 83 were selected by him for publication in The Americans. He had his first solo show at the Art Institute of Chicago, and a year later exhibited a second time at MoMA. In 1972 the Kunsthaus Zürich held a major retrospective of his work.

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