FONDS D'ATELIER ANDRÉ-LÉON VIVREL (1886-1976) - 1RE PART…

Lot 1 - ANDRÉ-LÉON VIVREL (1886-1976) - ANDRÉ-LÉON VIVREL (1886-1976) Reunion of two paintings View of Paris at the Sacré-Coeur - Paris under the snow Oil on canvas The first signed lower left, the second signed lower left (Soiling, stretcher mark and worn upper edge on the second) A set of two paintings, oil on canvas, the first one signed lower left, the second one signed lower left 55 x 46 cm - 21 5/8 x 18 1/8 in. 46 x 55 cm - 18 1/8 x 21 5/8 in. Provenance Private collection, France André-Léon Vivrel was born in Paris in 1886. At just 15, he decided to become a painter. He was supported in this by his mother, whom he describes as his first teacher, and his father, a wine merchant who won first prize for drawing in 1870. A pupil at the Lycée Louis-le-Grand, André-Léon Vivrel entered the Académie Julian in 1910. There, he studied with Paul Albert Laurens, and later with Marcel Baschet and Henri Royer at the École des Beaux-Arts. He rents a studio in Montmartre, at 65 rue Caulaincourt, just eight numbers from Auguste Renoir's. He first exhibited at the Salon des Artistes Français in 1913. Mobilized in 1914, he was awarded the Croix de Guerre for heroic conduct in 1917. After the war, he returned to his studio in Montmartre. He was awarded an honorable mention at the 1920 Salon, and the French government bought the two still lifes he exhibited at the Salon des indépendants. He also exhibited two portraits of Breton women painted on his return from a stay in Ploumanac'h (Côtesss d'Armor). In 1922, Vivrel appeared for the first time at the Salon de la Société Nationale des Beaux-Arts. After winning the Deldebat de Gonzalva prize in 1932, the following year he won a silver medal at the Salon des Artistes Français with "Le Temps des cerises". In 1934, Vivrel presented Bathers, the first in a series of large nudes exhibited at the Salon until 1943. The culmination of his research into the female nude, his 1939 "Baigneuses" won a gold medal at the Salon des Artistes Français. This final award crowned a silver medal won by Vivrel in 1937 at the Exposition Internationale des Arts et Techniques in Paris. Critics were unanimous in their praise of his talent, and in 1940, Louis Paillard wrote on the front page of the "Petit journal" of May 6, 1940: "André Vivrel, appears, I proclaim, as one of the best in this Salon [of French artists]". The exhibition "Vivrel - peintures récentes" (Vivrel - recent paintings), organized by the Galerie de Berri in May 1942, illustrated the diversity of Vivrel's genres in 31 paintings, but it was landscape that he explored most passionately. His land of choice was the Loiret, where his older brother Marcel owned a second home in Châtillon-sur-Loire, not far from Champtoceaux. In the aftermath of the Great War, destitute of money, he took refuge there to paint on the motif at lower cost. In the spring of 1926, Vivrel was again in Brittany, from where he brought back "Port de Camaret", exhibited at the 1926 Salon des Tuileries. A few years later, in 1934, he returned to Côtes d'Armor, where he composed seascapes that were also studies of the sky. Vivrel spent the summer of 1926 in Corsica. There, he produced watercolors that were exhibited in the autumn at the Galerie Georges Petit and then in New York. On each occasion, the critics were unanimous in praising their qualities: "André Vivrel's exhibition is the work of an artist who is sensitive and refined, while remaining broad in his conceptions. His views of Corsica, Brittany and Paris are like his delicately harmonious flowers" ("La Semaine à Paris", November 12, 1926, p. 63). In 1928, he returned to the Midi. Capturing the warm, vibrant light of Provence, he painted "Le port de Saint-Tropez", exhibited the same year at the Salon des Indépendants. The Mediterranean theme was also evident at the Salon des Tuileries, where Vivrel presented harbor views and ocean liners, evidence of a flourishing tourist industry. When Vivrel wasn't on the roads of France, he took Paris as his model. He painted the alleyways of the Montmartre hilltop and the capital's monuments, such as Notre-Dame Cathedral, which he painted in series, following Monet's example. He liked to linger on the banks of the Seine, which offered him many unusual views of the city and inspired paintings reminiscent of Albert Lebourg's Parisian landscapes. Painting until his last breath, André-Léon Vivrel died in Bonneville-sur-Touques on June 7, 1976.

Estim. 150 - 200 EUR

Lot 2 - ANDRÉ-LÉON VIVREL (1886-1976) - ANDRÉ-LÉON VIVREL (1886-1976) Reunion of two paintings Vue de Montmartre à la colonne Morris, 1927 - Vue de Montmartre au Sacré-Coeur Oil on canvas The first signed with the signature stamp [non Lugt] lower right and dated 'mai 1927' on the back, the second signed lower left. A set of two paintings, oil on canvas, the first one stamped with the signature's mark lower right and dated 'mai 1927' on the reverse, the second one signed lower left 54 x 65 cm - 21 1/4 x 25 5/8 in. 65 x 54 cm - 25 5/8 x 21 1/4 in. Provenance Private collection, France André-Léon Vivrel was born in Paris in 1886. At just 15, he decided to become a painter. He was supported in this by his mother, whom he describes as his first teacher, and his father, a wine merchant who won first prize for drawing in 1870. A pupil at the Lycée Louis-le-Grand, André-Léon Vivrel entered the Académie Julian in 1910. There, he studied with Paul Albert Laurens, and later with Marcel Baschet and Henri Royer at the École des Beaux-Arts. He rents a studio in Montmartre, at 65 rue Caulaincourt, just eight numbers from Auguste Renoir's. He first exhibited at the Salon des Artistes Français in 1913. Mobilized in 1914, he was awarded the Croix de Guerre for heroic conduct in 1917. After the war, he returned to his studio in Montmartre. He was awarded an honorable mention at the 1920 Salon, and the French government bought the two still lifes he exhibited at the Salon des indépendants. He also exhibited two portraits of Breton women painted on his return from a stay in Ploumanac'h (Côtesss d'Armor). In 1922, Vivrel appeared for the first time at the Salon de la Société Nationale des Beaux-Arts. After winning the Deldebat de Gonzalva prize in 1932, the following year he won a silver medal at the Salon des Artistes Français with "Le Temps des cerises". In 1934, Vivrel presented Bathers, the first in a series of large nudes exhibited at the Salon until 1943. The culmination of his research into the female nude, his 1939 "Baigneuses" won a gold medal at the Salon des Artistes Français. This final award crowned a silver medal won by Vivrel in 1937 at the Exposition Internationale des Arts et Techniques in Paris. Critics were unanimous in their praise of his talent, and in 1940, Louis Paillard wrote on the front page of the "Petit journal" of May 6, 1940: "André Vivrel, appears, I proclaim, as one of the best in this Salon [of French artists]". The exhibition "Vivrel - peintures récentes" (Vivrel - recent paintings), organized by the Galerie de Berri in May 1942, illustrated the diversity of Vivrel's genres in 31 paintings, but it was landscape that he explored most passionately. His land of choice was the Loiret, where his older brother Marcel owned a second home in Châtillon-sur-Loire, not far from Champtoceaux. In the aftermath of the Great War, destitute of money, he took refuge there to paint on the motif at lower cost. In the spring of 1926, Vivrel was again in Brittany, from where he brought back "Port de Camaret", exhibited at the 1926 Salon des Tuileries. A few years later, in 1934, he returned to Côtes d'Armor, where he composed seascapes that were also studies of the sky. Vivrel spent the summer of 1926 in Corsica. There, he produced watercolors that were exhibited in the autumn at the Galerie Georges Petit and then in New York. On each occasion, the critics were unanimous in praising their qualities: "André Vivrel's exhibition is the work of an artist who is sensitive and refined, while remaining larggge in his conceptions. His views of Corsica, Brittany and Paris are like his delicately harmonious flowers" ("La Semaine à Paris", November 12, 1926, p. 63). In 1928, he returned to the Midi. Capturing the warm, vibrant light of Provence, he painted "Le port de Saint-Tropez", exhibited the same year at the Salon des Indépendants. The Mediterranean theme was also evident at the Salon des Tuileries, where Vivrel presented harbor views and ocean liners, evidence of a flourishing tourist industry. When Vivrel wasn't on the roads of France, he took Paris as his model. He painted the alleyways of the Montmartre hilltop and the capital's monuments, such as Notre-Dame Cathedral, which he painted in series, following Monet's example. He liked to linger on the banks of the Seine, which offered him many unusual views of the city and inspired paintings reminiscent of Albert Lebourg's Parisian landscapes. Painting until his last breath, André-Léon Vivrel died in Bonneville-sur-Touques on June 7, 1976.

Estim. 150 - 200 EUR

Lot 3 - ANDRÉ-LÉON VIVREL (1886-1976) - ANDRÉ-LÉON VIVREL (1886-1976) View of Paris with Notre-Dame, 1931 Oil on canvas Signed lower left Dated 'novembre 1931' on the back (Scratch with indentation) Oil on canvas, signed lower left, dated 'novembre 1931' on the reverse 46 x 55 cm - 18 1/8 x 21 5/8 in. Provenance Private collection, France André-Léon Vivrel was born in Paris in 1886. At just 15, he decided to become a painter. He was supported in this by his mother, whom he describes as his first teacher, and his father, a wine merchant who won first prize for drawing in 1870. A pupil at the Lycée Louis-le-Grand, André-Léon Vivrel entered the Académie Julian in 1910. There, he studied with Paul Albert Laurens, and later with Marcel Baschet and Henri Royer at the École des Beaux-Arts. He rents a studio in Montmartre, at 65 rue Caulaincourt, just eight numbers from Auguste Renoir's. He first exhibited at the Salon des Artistes Français in 1913. Mobilized in 1914, he was awarded the Croix de Guerre for heroic conduct in 1917. After the war, he returned to his studio in Montmartre. He was awarded an honorable mention at the 1920 Salon, and the French government bought the two still lifes he exhibited at the Salon des indépendants. He also exhibited two portraits of Breton women painted on his return from a stay in Ploumanac'h (Côtesss d'Armor). In 1922, Vivrel appeared for the first time at the Salon de la Société Nationale des Beaux-Arts. After winning the Deldebat de Gonzalva prize in 1932, the following year he won a silver medal at the Salon des Artistes Français with "Le Temps des cerises". In 1934, Vivrel presented Bathers, the first in a series of large nudes exhibited at the Salon until 1943. The culmination of his research into the female nude, his 1939 "Baigneuses" won a gold medal at the Salon des Artistes Français. This final award crowned a silver medal won by Vivrel in 1937 at the Exposition Internationale des Arts et Techniques in Paris. Critics were unanimous in their praise of his talent, and in 1940, Louis Paillard wrote on the front page of the "Petit journal" of May 6, 1940: "André Vivrel, appears, I proclaim, as one of the best in this Salon [of French artists]". The exhibition "Vivrel - peintures récentes" (Vivrel - recent paintings), organized by the Galerie de Berri in May 1942, illustrated the diversity of Vivrel's genres in 31 paintings, but it was landscape that he explored most passionately. His land of choice was the Loiret, where his older brother Marcel owned a second home in Châtillon-sur-Loire, not far from Champtoceaux. In the aftermath of the Great War, destitute of money, he took refuge there to paint on the motif at lower cost. In the spring of 1926, Vivrel was again in Brittany, from where he brought back "Port de Camaret", exhibited at the 1926 Salon des Tuileries. A few years later, in 1934, he returned to Côtes d'Armor, where he composed seascapes that were also studies of the sky. Vivrel spent the summer of 1926 in Corsica. There, he produced watercolors that were exhibited in the autumn at the Galerie Georges Petit and then in New York. On each occasion, the critics were unanimous in praising their qualities: "André Vivrel's exhibition is the work of an artist who is sensitive and refined, while remaining larggge in his conceptions. His views of Corsica, Brittany and Paris are like his delicately harmonious flowers" ("La Semaine à Paris", November 12, 1926, p. 63). In 1928, he returned to the Midi. Capturing the warm, vibrant light of Provence, he painted "Le port de Saint-Tropez", exhibited the same year at the Salon des Indépendants. The Mediterranean theme was also evident at the Salon des Tuileries, where Vivrel presented harbor views and ocean liners, evidence of a flourishing tourist industry. When Vivrel wasn't on the roads of France, he took Paris as his model. He painted the alleyways of the Montmartre hilltop and the capital's monuments, such as Notre-Dame Cathedral, which he painted in series, following Monet's example. He liked to linger on the banks of the Seine, which offered him many unusual views of the city and inspired paintings reminiscent of Albert Lebourg's Parisian landscapes. Painting until his last breath, André-Léon Vivrel died in Bonneville-sur-Touques on June 7, 1976.

Estim. 100 - 150 EUR

Lot 4 - ANDRÉ-LÉON VIVREL (1886-1976) - ANDRÉ-LÉON VIVREL (1886-1976) Reunion of three paintings Still life with flowers Oil on canvas The first signed with the signature stamp [non Lugt] upper right, the second and third signed with the signature stamp [non Lugt] lower right (Marks on the stretcher, wear and soiling) A set of three paintings, oil on canvas, the first one stamped with the signature's mark upper right, the second and third one stamped with the signature's mark lower right 65 x 54 cm - 25 5/8 x 21 1/4 in. 54 x 65 cm - 21 1/4 x 25 5/8 in. 61 x 50 cm - 24 x 19 3/4 in. Provenance Private collection, France André-Léon Vivrel was born in Paris in 1886. At just 15, he decided to become a painter. He was supported in this by his mother, whom he describes as his first teacher, and his father, a wine merchant who won first prize for drawing in 1870. A pupil at the Lycée Louis-le-Grand, André-Léon Vivrel entered the Académie Julian in 1910. There, he studied with Paul Albert Laurens, and later with Marcel Baschet and Henri Royer at the École des Beaux-Arts. He rents a studio in Montmartre, at 65 rue Caulaincourt, just eight numbers from Auguste Renoir's. He first exhibited at the Salon des Artistes Français in 1913. Mobilized in 1914, he was awarded the Croix de Guerre for heroic conduct in 1917. After the war, he returned to his studio in Montmartre. He was awarded an honorable mention at the 1920 Salon, and the French government bought the two still lifes he exhibited at the Salon des indépendants. He also exhibited two portraits of Breton women painted on his return from a stay in Ploumanac'h (Côtesss d'Armor). In 1922, Vivrel appeared for the first time at the Salon de la Société Nationale des Beaux-Arts. After winning the Deldebat de Gonzalva prize in 1932, the following year he won a silver medal at the Salon des Artistes Français with "Le Temps des cerises". In 1934, Vivrel presented Bathers, the first in a series of large nudes exhibited at the Salon until 1943. The culmination of his research into the female nude, his 1939 "Baigneuses" won a gold medal at the Salon des Artistes Français. This final award crowned a silver medal won by Vivrel in 1937 at the Exposition Internationale des Arts et Techniques in Paris. Critics were unanimous in their praise of his talent, and in 1940, Louis Paillard wrote on the front page of the "Petit journal" of May 6, 1940: "André Vivrel, appears, I proclaim, as one of the best in this Salon [of French artists]". The exhibition "Vivrel - peintures récentes" (Vivrel - recent paintings), organized by the Galerie de Berri in May 1942, illustrated the diversity of Vivrel's genres in 31 paintings, but it was landscape that he explored most passionately. His land of choice was the Loiret, where his older brother Marcel owned a second home in Châtillon-sur-Loire, not far from Champtoceaux. In the aftermath of the Great War, destitute of money, he took refuge there to paint on the motif at lower cost. In the spring of 1926, Vivrel was again in Brittany, from where he brought back "Port de Camaret", exhibited at the 1926 Salon des Tuileries. A few years later, in 1934, he returned to Côtes d'Armor, where he composed seascapes that were also studies of the sky. Vivrel spent the summer of 1926 in Corsica. There, he produced watercolors that were exhibited in the autumn at the Galerie Georges Petit and then in New York. On each occasion, the critics were unanimous in praising their qualities: "André Vivrel's exhibition is the work of an artist who is sensitive and refined, while remaining larggge in his conceptions. His views of Corsica, Brittany and Paris are like his delicately harmonious flowers" ("La Semaine à Paris", November 12, 1926, p. 63). In 1928, he returned to the Midi. Capturing the warm, vibrant light of Provence, he painted "Le port de Saint-Tropez", exhibited the same year at the Salon des Indépendants. The Mediterranean theme was also evident at the Salon des Tuileries, where Vivrel presented harbor views and liners, evidence of a flourishing tourist industry. When Vivrel wasn't on the roads of France, he took Paris as his model. He painted the alleyways of the Montmartre hilltop and the capital's monuments, such as Notre-Dame Cathedral, which he painted in series, following Monet's example. He liked to linger on the banks of the Seine, which offered him many unusual views of the city and inspired paintings reminiscent of Albert Lebourg's Parisian landscapes. Painting until his last breath, André-Léon Vivrel died in Bonneville-sur-Touques on June 7, 1976.

Estim. 200 - 300 EUR

Lot 5 - ANDRÉ-LÉON VIVREL (1886-1976) - ANDRÉ-LÉON VIVREL (1886-1976) Reunion of two paintings Thatched farmhouse - House by the river Oil on canvas The first signed lower right, the second signed with the signature stamp [non Lugt] lower left (Chassis marks on the first) A set of two paintings, oil on canvas, the first one signed lower right, the second one stamped with the signature's mark lower left 54 x 65 cm - 21 1/4 x 25 5/8 in. 54 x 65 cm - 21 1/4 x 25 5/8 in. Provenance Private collection, France André-Léon Vivrel was born in Paris in 1886. At just 15, he decided to become a painter. He was supported in this by his mother, whom he describes as his first teacher, and his father, a wine merchant who won first prize for drawing in 1870. A pupil at the Lycée Louis-le-Grand, André-Léon Vivrel entered the Académie Julian in 1910. There, he studied with Paul Albert Laurens, and later with Marcel Baschet and Henri Royer at the École des Beaux-Arts. He rents a studio in Montmartre, at 65 rue Caulaincourt, just eight numbers from Auguste Renoir's. He first exhibited at the Salon des Artistes Français in 1913. Mobilized in 1914, he was awarded the Croix de Guerre for heroic conduct in 1917. After the war, he returned to his studio in Montmartre. He was awarded an honorable mention at the 1920 Salon, and the French government bought the two still lifes he exhibited at the Salon des indépendants. He also exhibited two portraits of Breton women painted on his return from a stay in Ploumanac'h (Côtesss d'Armor). In 1922, Vivrel appeared for the first time at the Salon de la Société Nationale des Beaux-Arts. After winning the Deldebat de Gonzalva prize in 1932, the following year he won a silver medal at the Salon des Artistes Français with "Le Temps des cerises". In 1934, Vivrel presented Bathers, the first in a series of large nudes exhibited at the Salon until 1943. The culmination of his research into the female nude, his 1939 "Baigneuses" won a gold medal at the Salon des Artistes Français. This final award crowned a silver medal won by Vivrel in 1937 at the Exposition Internationale des Arts et Techniques in Paris. Critics were unanimous in their praise of his talent, and in 1940, Louis Paillard wrote on the front page of the "Petit journal" of May 6, 1940: "André Vivrel, appears, I proclaim, as one of the best in this Salon [of French artists]". The exhibition "Vivrel - peintures récentes" (Vivrel - recent paintings), organized by the Galerie de Berri in May 1942, illustrated the diversity of Vivrel's genres in 31 paintings, but it was landscape that he explored most passionately. His land of choice was the Loiret, where his older brother Marcel owned a second home in Châtillon-sur-Loire, not far from Champtoceaux. In the aftermath of the Great War, destitute of money, he took refuge there to paint on the motif at lower cost. In the spring of 1926, Vivrel was again in Brittany, from where he brought back "Port de Camaret", exhibited at the 1926 Salon des Tuileries. A few years later, in 1934, he returned to Côtes d'Armor, where he composed seascapes that were also studies of the sky. Vivrel spent the summer of 1926 in Corsica. There, he produced watercolors that were exhibited in the autumn at the Galerie Georges Petit and then in New York. On each occasion, the critics were unanimous in praising their qualities: "André Vivrel's exhibition is the work of an artist who is sensitive and refined, while remaining larggge in his conceptions. His views of Corsica, Brittany and Paris are like his delicately harmonious flowers" ("La Semaine à Paris", November 12, 1926, p. 63). In 1928, he returned to the Midi. Capturing the warm, vibrant light of Provence, he painted "Le port de Saint-Tropez", exhibited the same year at the Salon des Indépendants. The Mediterranean theme was also evident at the Salon des Tuileries, where Vivrel presented harbor views and liners, evidence of a flourishing tourist industry. When Vivrel wasn't on the roads of France, he took Paris as his model. He painted the alleyways of the Montmartre hilltop and the capital's monuments, such as Notre-Dame Cathedral, which he painted in series, following Monet's example. He liked to linger on the banks of the Seine, which offered him many unusual views of the city and inspired paintings reminiscent of Albert Lebourg's Parisian landscapes. Painting until his last breath, André-Léon Vivrel died in Bonneville-sur-Touques on June 7, 1976.

Estim. 150 - 200 EUR

Lot 6 - ANDRÉ-LÉON VIVREL (1886-1976) - ANDRÉ-LÉON VIVREL (1886-1976) Reunion of two paintings Roadside houses - Farm landscape Oil on canvas The first signed lower left, the second signed lower left A set of two paintings, oil on canvas, the first one signed lower left, the second one signed lower left 46 x 55 cm - 18 1/8 x 21 5/8 in. 46 x 55 cm - 18 1/8 x 21 5/8 in. Provenance Private collection, France André-Léon Vivrel was born in Paris in 1886. At just 15, he decided to become a painter. He was supported in this by his mother, whom he describes as his first teacher, and his father, a wine merchant who won first prize for drawing in 1870. A pupil at the Lycée Louis-le-Grand, André-Léon Vivrel entered the Académie Julian in 1910. There, he studied with Paul Albert Laurens, and later with Marcel Baschet and Henri Royer at the École des Beaux-Arts. He rents a studio in Montmartre, at 65 rue Caulaincourt, just eight numbers from Auguste Renoir's. He first exhibited at the Salon des Artistes Français in 1913. Mobilized in 1914, he was awarded the Croix de Guerre for heroic conduct in 1917. After the war, he returned to his studio in Montmartre. He was awarded an honorable mention at the 1920 Salon, and the French government bought the two still lifes he exhibited at the Salon des indépendants. He also exhibited two portraits of Breton women painted on his return from a stay in Ploumanac'h (Côtesss d'Armor). In 1922, Vivrel appeared for the first time at the Salon de la Société Nationale des Beaux-Arts. After winning the Deldebat de Gonzalva prize in 1932, the following year he won a silver medal at the Salon des Artistes Français with "Le Temps des cerises". In 1934, Vivrel presented Bathers, the first in a series of large nudes exhibited at the Salon until 1943. The culmination of his research into the female nude, his 1939 "Baigneuses" won a gold medal at the Salon des Artistes Français. This final award crowned a silver medal won by Vivrel in 1937 at the Exposition Internationale des Arts et Techniques in Paris. Critics were unanimous in their praise of his talent, and in 1940, Louis Paillard wrote on the front page of the "Petit journal" of May 6, 1940: "André Vivrel, appears, I proclaim, as one of the best in this Salon [of French artists]". The exhibition "Vivrel - peintures récentes" (Vivrel - recent paintings), organized by the Galerie de Berri in May 1942, illustrated the diversity of Vivrel's genres in 31 paintings, but it was landscape that he explored most passionately. His land of choice was the Loiret, where his older brother Marcel owned a second home in Châtillon-sur-Loire, not far from Champtoceaux. In the aftermath of the Great War, destitute of money, he took refuge there to paint on the motif at lower cost. In the spring of 1926, Vivrel was again in Brittany, from where he brought back "Port de Camaret", exhibited at the 1926 Salon des Tuileries. A few years later, in 1934, he returned to Côtes d'Armor, where he composed seascapes that were also studies of the sky. Vivrel spent the summer of 1926 in Corsica. There, he produced watercolors that were exhibited in the autumn at the Galerie Georges Petit and then in New York. On each occasion, the critics were unanimous in praising their qualities: "André Vivrel's exhibition is the work of an artist who is sensitive and refined, while remaining larggge in his conceptions. His views of Corsica, Brittany and Paris are like his delicately harmonious flowers" ("La Semaine à Paris", November 12, 1926, p. 63). In 1928, he returned to the Midi. Capturing the warm, vibrant light of Provence, he painted "Le port de Saint-Tropez", exhibited the same year at the Salon des Indépendants. The Mediterranean theme was also evident at the Salon des Tuileries, where Vivrel presented harbor views and ocean liners, evidence of a flourishing tourist industry. When Vivrel wasn't on the roads of France, he took Paris as his model. He painted the alleyways of the Montmartre hilltop and the capital's monuments, such as Notre-Dame Cathedral, which he painted in series, following Monet's example. He liked to linger on the banks of the Seine, which offered him many unusual views of the city and inspired paintings reminiscent of Albert Lebourg's Parisian landscapes. Painting until his last breath, André-Léon Vivrel died in Bonneville-sur-Touques on June 7, 1976.

Estim. 150 - 200 EUR

Lot 7 - ANDRÉ-LÉON VIVREL (1886-1976) - ANDRÉ-LÉON VIVREL (1886-1976) Reunion of two paintings Landscape with a church - Landscape with a river Oil on canvas The first signed lower left, the second signed lower right (dents, missing paint layer and soiling) A set of two paintings, oil on canvas, the first one signed lower left, the second one signed lower right 33 x 46 cm - 13 x 18 1/8 in. 33 x 41 cm - 13 x 16 1/8 in. Provenance Private collection, France André-Léon Vivrel was born in Paris in 1886. At just 15, he decided to become a painter. He was supported in this by his mother, whom he describes as his first teacher, and his father, a wine merchant who won first prize for drawing in 1870. A pupil at the Lycée Louis-le-Grand, André-Léon Vivrel entered the Académie Julian in 1910. There, he studied with Paul Albert Laurens, and later with Marcel Baschet and Henri Royer at the École des Beaux-Arts. He rents a studio in Montmartre, at 65 rue Caulaincourt, just eight numbers from Auguste Renoir's. He first exhibited at the Salon des Artistes Français in 1913. Mobilized in 1914, he was awarded the Croix de Guerre for heroic conduct in 1917. After the war, he returned to his studio in Montmartre. He was awarded an honorable mention at the 1920 Salon, and the French government bought the two still lifes he exhibited at the Salon des indépendants. He also exhibited two portraits of Breton women painted on his return from a stay in Ploumanac'h (Côtesss d'Armor). In 1922, Vivrel appeared for the first time at the Salon de la Société Nationale des Beaux-Arts. After winning the Deldebat de Gonzalva prize in 1932, the following year he won a silver medal at the Salon des Artistes Français with "Le Temps des cerises". In 1934, Vivrel presented Bathers, the first in a series of large nudes exhibited at the Salon until 1943. The culmination of his research into the female nude, his 1939 "Baigneuses" won a gold medal at the Salon des Artistes Français. This final award crowned a silver medal won by Vivrel in 1937 at the Exposition Internationale des Arts et Techniques in Paris. Critics were unanimous in their praise of his talent, and in 1940, Louis Paillard wrote on the front page of the "Petit journal" of May 6, 1940: "André Vivrel, appears, I proclaim, as one of the best in this Salon [of French artists]". The exhibition "Vivrel - peintures récentes" (Vivrel - recent paintings), organized by the Galerie de Berri in May 1942, illustrated the diversity of Vivrel's genres in 31 paintings, but it was landscape that he explored most passionately. His land of choice was the Loiret, where his older brother Marcel owned a second home in Châtillon-sur-Loire, not far from Champtoceaux. In the aftermath of the Great War, destitute of money, he took refuge there to paint on the motif at lower cost. In the spring of 1926, Vivrel was again in Brittany, from where he brought back "Port de Camaret", exhibited at the 1926 Salon des Tuileries. A few years later, in 1934, he returned to Côtes d'Armor, where he composed seascapes that were also studies of the sky. Vivrel spent the summer of 1926 in Corsica. There, he produced watercolors that were exhibited in the autumn at the Galerie Georges Petit and then in New York. On each occasion, the critics were unanimous in praising their qualities: "André Vivrel's exhibition is the work of an artist who is sensitive and refined, while remaining larggge in his conceptions. His views of Corsica, Brittany and Paris are like his delicately harmonious flowers" ("La Semaine à Paris", November 12, 1926, p. 63). In 1928, he returned to the Midi. Capturing the warm, vibrant light of Provence, he painted "Le port de Saint-Tropez", exhibited the same year at the Salon des Indépendants. The Mediterranean theme was also evident at the Salon des Tuileries, where Vivrel presented harbor views and ocean liners, evidence of a flourishing tourist industry. When Vivrel wasn't on the roads of France, he took Paris as his model. He painted the alleyways of the Montmartre hilltop and the capital's monuments, such as Notre-Dame Cathedral, which he painted in series, following Monet's example. He liked to linger on the banks of the Seine, which offered him many unusual views of the city and inspired paintings reminiscent of Albert Lebourg's Parisian landscapes. Painting until his last breath, André-Léon Vivrel died in Bonneville-sur-Touques on June 7, 1976.

Estim. 60 - 80 EUR

Lot 8 - ANDRÉ-LÉON VIVREL (1886-1976) - ANDRÉ-LÉON VIVREL (1886-1976) Reunion of two paintings Walkers in the forest, 193[?] - Road in the countryside Oil on canvas The first signed lower left and dated 'mars 193[?]' on the back, the second signed lower left. (Chassis mark, dent and canvas to be reattached to the stretcher for the second) A set of two paintings, oil on canvas, the first one signed lower left and dated 'mars 193[?]' on the reverse, the second one signed lower left 54 x 65 cm - 21 1/4 x 25 5/8 in. 54 x 65 cm - 21 1/4 x 25 5/8 in. Provenance Private collection, France André-Léon Vivrel was born in Paris in 1886. At just 15, he decided to become a painter. He was supported in this by his mother, whom he describes as his first teacher, and his father, a wine merchant who won first prize for drawing in 1870. A pupil at the Lycée Louis-le-Grand, André-Léon Vivrel entered the Académie Julian in 1910. There, he studied with Paul Albert Laurens, and later with Marcel Baschet and Henri Royer at the École des Beaux-Arts. He rents a studio in Montmartre, at 65 rue Caulaincourt, just eight numbers from Auguste Renoir's. He first exhibited at the Salon des Artistes Français in 1913. Mobilized in 1914, he was awarded the Croix de Guerre for heroic conduct in 1917. After the war, he returned to his studio in Montmartre. He was awarded an honorable mention at the 1920 Salon, and the French government bought the two still lifes he exhibited at the Salon des indépendants. He also exhibited two portraits of Breton women painted on his return from a stay in Ploumanac'h (Côtesss d'Armor). In 1922, Vivrel appeared for the first time at the Salon de la Société Nationale des Beaux-Arts. After winning the Deldebat de Gonzalva prize in 1932, the following year he won a silver medal at the Salon des Artistes Français with "Le Temps des cerises". In 1934, Vivrel presented Bathers, the first in a series of large nudes exhibited at the Salon until 1943. The culmination of his research into the female nude, his 1939 "Baigneuses" won a gold medal at the Salon des Artistes Français. This final award crowned a silver medal won by Vivrel in 1937 at the Exposition Internationale des Arts et Techniques in Paris. Critics were unanimous in their praise of his talent, and in 1940, Louis Paillard wrote on the front page of the "Petit journal" of May 6, 1940: "André Vivrel, appears, I proclaim, as one of the best in this Salon [of French artists]". The exhibition "Vivrel - peintures récentes" (Vivrel - recent paintings), organized by the Galerie de Berri in May 1942, illustrated the diversity of Vivrel's genres in 31 paintings, but it was landscape that he explored most passionately. His land of choice was the Loiret, where his older brother Marcel owned a second home in Châtillon-sur-Loire, not far from Champtoceaux. In the aftermath of the Great War, destitute of money, he took refuge there to paint on the motif at lower cost. In the spring of 1926, Vivrel was again in Brittany, from where he brought back "Port de Camaret", exhibited at the 1926 Salon des Tuileries. A few years later, in 1934, he returned to Côtes d'Armor, where he composed seascapes that were also studies of the sky. Vivrel spent the summer of 1926 in Corsica. There, he produced watercolors that were exhibited in the autumn at the Galerie Georges Petit and then in New York. On each occasion, the critics were unanimous in praising their qualities: "André Vivrel's exhibition is the work of an artist who is sensitive and refined, while remaining larggge in his conceptions. His views of Corsica, Brittany and Paris are like his delicately harmonious flowers" ("La Semaine à Paris", November 12, 1926, p. 63). In 1928, he returned to the Midi. Capturing the warm, vibrant light of Provence, he painted "Le port de Saint-Tropez", exhibited the same year at the Salon des Indépendants. The Mediterranean theme was also evident at the Salon des Tuileries, where Vivrel presented harbor views and ocean liners, evidence of a flourishing tourist industry. When Vivrel wasn't on the roads of France, he took Paris as his model. He painted the alleyways of the Montmartre hilltop and the capital's monuments, such as Notre-Dame Cathedral, which he painted in series, following Monet's example. He liked to linger on the banks of the Seine, which offered him many unusual views of the city and inspired paintings reminiscent of Albert Lebourg's Parisian landscapes. Painting until his last breath, André-Léon Vivrel died in Bonneville-sur-Touques on June 7, 1976.

Estim. 150 - 200 EUR

Lot 9 - ANDRÉ-LÉON VIVREL (1886-1976) - ANDRÉ-LÉON VIVREL (1886-1976) Collection of three unframed paintings Femme sur un chemin - Maison bourgeoise au bord de l'eau, 1938 - Chemin dans la campagne Oil on canvas The first and second signed lower left, the third signed with the signature stamp [non Lugt] lower left. (Tack holes in the corners and small gaps in the paint layer of one) A set of three paintings without stretcher, oil on free canvas, the first and second ones signed lower left, the third one stamped with the signature's mark lower left Ca. 45 x 53,5 cm - Ca. 17 3/4 x 21 in. Provenance Private collection, France André-Léon Vivrel was born in Paris in 1886. At just 15, he decided to become a painter. He was supported in this by his mother, whom he describes as his first teacher, and his father, a wine merchant who won first prize for drawing in 1870. A pupil at the Lycée Louis-le-Grand, André-Léon Vivrel entered the Académie Julian in 1910. There, he studied with Paul Albert Laurens, and later with Marcel Baschet and Henri Royer at the École des Beaux-Arts. He rents a studio in Montmartre, at 65 rue Caulaincourt, just eight numbers from Auguste Renoir's. He first exhibited at the Salon des Artistes Français in 1913. Mobilized in 1914, he was awarded the Croix de Guerre for heroic conduct in 1917. After the war, he returned to his studio in Montmartre. He was awarded an honorable mention at the 1920 Salon, and the French government bought the two still lifes he exhibited at the Salon des indépendants. He also exhibited two portraits of Breton women painted on his return from a stay in Ploumanac'h (Côtesss d'Armor). In 1922, Vivrel appeared for the first time at the Salon de la Société Nationale des Beaux-Arts. After winning the Deldebat de Gonzalva prize in 1932, the following year he won a silver medal at the Salon des Artistes Français with "Le Temps des cerises". In 1934, Vivrel presented Bathers, the first in a series of large nudes exhibited at the Salon until 1943. The culmination of his research into the female nude, his 1939 "Baigneuses" won a gold medal at the Salon des Artistes Français. This final award crowned a silver medal won by Vivrel in 1937 at the Exposition Internationale des Arts et Techniques in Paris. Critics were unanimous in their praise of his talent, and in 1940, Louis Paillard wrote on the front page of the "Petit journal" of May 6, 1940: "André Vivrel, appears, I proclaim, as one of the best in this Salon [of French artists]". The exhibition "Vivrel - peintures récentes" (Vivrel - recent paintings), organized by the Galerie de Berri in May 1942, illustrated the diversity of Vivrel's genres in 31 paintings, but it was landscape that he explored most passionately. His land of choice was the Loiret, where his older brother Marcel owned a second home in Châtillon-sur-Loire, not far from Champtoceaux. In the aftermath of the Great War, destitute of money, he took refuge there to paint on the motif at lower cost. In the spring of 1926, Vivrel was again in Brittany, from where he brought back "Port de Camaret", exhibited at the 1926 Salon des Tuileries. A few years later, in 1934, he returned to Côtes d'Armor, where he composed seascapes that were also studies of the sky. Vivrel spent the summer of 1926 in Corsica. There, he produced watercolors that were exhibited in the autumn at the Galerie Georges Petit and then in New York. On each occasion, the critics were unanimous in praising their qualities: "André Vivrel's exhibition is the work of an artist who is sensitive and refined, while remaining larggge in his conceptions. His views of Corsica, Brittany and Paris are like his delicately harmonious flowers" ("La Semaine à Paris", November 12, 1926, p. 63). In 1928, he returned to the Midi. Capturing the warm, vibrant light of Provence, he painted "Le port de Saint-Tropez", exhibited the same year at the Salon des Indépendants. The Mediterranean theme was also evident at the Salon des Tuileries, where Vivrel presented harbor views and ocean liners, evidence of a flourishing tourist industry. When Vivrel wasn't on the roads of France, he took Paris as his model. He painted the alleyways of the Montmartre hilltop and the capital's monuments, such as Notre-Dame Cathedral, which he painted in series, following Monet's example. He liked to linger on the banks of the Seine, which offered him many unusual views of the city and inspired paintings reminiscent of Albert Lebourg's Parisian landscapes. Painting until his last breath, André-Léon Vivrel died in Bonneville-sur-Touques on June 7, 1976.

Estim. 150 - 200 EUR

Lot 10 - ANDRÉ-LÉON VIVREL (1886-1976) - ANDRÉ-LÉON VIVREL (1886-1976) Reunion of three unframed paintings Cour de ferme - Maisons au bord du chemin, 1935 - Soleil couchant sur la vallée, 1928 Oil on loose canvas Signed lower right (Tack holes and small gaps in the paint layer) A set of three paintings without stretcher, oil on free canvas, signed lower right Ca. 52,5 x 63,5 cm - Ca. 20 5/8 x 25 in. Provenance Private collection, France André-Léon Vivrel was born in Paris in 1886. At just 15, he decided to become a painter. He was supported in this by his mother, whom he describes as his first teacher, and his father, a wine merchant who won first prize for drawing in 1870. A pupil at the Lycée Louis-le-Grand, André-Léon Vivrel entered the Académie Julian in 1910. There, he studied with Paul Albert Laurens, and later with Marcel Baschet and Henri Royer at the École des Beaux-Arts. He rents a studio in Montmartre, at 65 rue Caulaincourt, just eight numbers from Auguste Renoir's. He first exhibited at the Salon des Artistes Français in 1913. Mobilized in 1914, he was awarded the Croix de Guerre for heroic conduct in 1917. After the war, he returned to his studio in Montmartre. He was awarded an honorable mention at the 1920 Salon, and the French government bought the two still lifes he exhibited at the Salon des indépendants. He also exhibited two portraits of Breton women painted on his return from a stay in Ploumanac'h (Côtesss d'Armor). In 1922, Vivrel appeared for the first time at the Salon de la Société Nationale des Beaux-Arts. After winning the Deldebat de Gonzalva prize in 1932, the following year he won a silver medal at the Salon des Artistes Français with "Le Temps des cerises". In 1934, Vivrel presented Bathers, the first in a series of large nudes exhibited at the Salon until 1943. The culmination of his research into the female nude, his 1939 "Baigneuses" won a gold medal at the Salon des Artistes Français. This final award crowned a silver medal won by Vivrel in 1937 at the Exposition Internationale des Arts et Techniques in Paris. Critics were unanimous in their praise of his talent, and in 1940, Louis Paillard wrote on the front page of the "Petit journal" of May 6, 1940: "André Vivrel, appears, I proclaim, as one of the best in this Salon [of French artists]". The exhibition "Vivrel - peintures récentes" (Vivrel - recent paintings), organized by the Galerie de Berri in May 1942, illustrated the diversity of Vivrel's genres in 31 paintings, but it was landscape that he explored most passionately. His land of choice was the Loiret, where his older brother Marcel owned a second home in Châtillon-sur-Loire, not far from Champtoceaux. In the aftermath of the Great War, destitute of money, he took refuge there to paint on the motif at lower cost. In the spring of 1926, Vivrel was again in Brittany, from where he brought back "Port de Camaret", exhibited at the 1926 Salon des Tuileries. A few years later, in 1934, he returned to Côtes d'Armor, where he composed seascapes that were also studies of the sky. Vivrel spent the summer of 1926 in Corsica. There, he produced watercolors that were exhibited in the autumn at the Galerie Georges Petit and then in New York. On each occasion, the critics were unanimous in praising their qualities: "André Vivrel's exhibition is the work of an artist who is sensitive and refined, while remaining larggge in his conceptions. His views of Corsica, Brittany and Paris are like his delicately harmonious flowers" ("La Semaine à Paris", November 12, 1926, p. 63). In 1928, he returned to the Midi. Capturing the warm, vibrant light of Provence, he painted "Le port de Saint-Tropez", exhibited the same year at the Salon des Indépendants. The Mediterranean theme was also evident at the Salon des Tuileries, where Vivrel presented harbor views and ocean liners, evidence of a flourishing tourist industry. When Vivrel wasn't on the roads of France, he took Paris as his model. He painted the alleyways of the Montmartre hilltop and the capital's monuments, such as Notre-Dame Cathedral, which he painted in series, following Monet's example. He liked to linger on the banks of the Seine, which offered him many unusual views of the city and inspired paintings reminiscent of Albert Lebourg's Parisian landscapes. Painting until his last breath, André-Léon Vivrel died in Bonneville-sur-Touques on June 7, 1976.

Estim. 150 - 200 EUR

Lot 11 - ANDRÉ-LÉON VIVREL (1886-1976) - ANDRÉ-LÉON VIVREL (1886-1976) Reunion of two paintings Bouquets de fleurs Oil on canvas The first signed lower right and dated 'February 1925' on the back, the second signed with the signature stamp [non Lugt] lower left and dated 'March 1934'. (Small gaps in the paint layer and stretcher mark on the second). A set of two paintings, oil on canvas, the first one signed lower right and dated 'février 1925' on the reverse, the second one stamped with the signature's mark lower left and dated 'mars 1934' 55 x 46 cm - 21 5/8 x 18 1/8 in. 46 x 55 cm - 18 1/8 x 21 5/8 in. Provenance Private collection, France André-Léon Vivrel was born in Paris in 1886. At just 15, he decided to become a painter. He was supported in this by his mother, whom he describes as his first teacher, and his father, a wine merchant who won first prize for drawing in 1870. A pupil at the Lycée Louis-le-Grand, André-Léon Vivrel entered the Académie Julian in 1910. There, he studied with Paul Albert Laurens, and later with Marcel Baschet and Henri Royer at the École des Beaux-Arts. He rents a studio in Montmartre, at 65 rue Caulaincourt, just eight numbers from Auguste Renoir's. He first exhibited at the Salon des Artistes Français in 1913. Mobilized in 1914, he was awarded the Croix de Guerre for heroic conduct in 1917. After the war, he returned to his studio in Montmartre. He was awarded an honorable mention at the 1920 Salon, and the French government bought the two still lifes he exhibited at the Salon des indépendants. He also exhibited two portraits of Breton women painted on his return from a stay in Ploumanac'h (Côtesss d'Armor). In 1922, Vivrel appeared for the first time at the Salon de la Société Nationale des Beaux-Arts. After winning the Deldebat de Gonzalva prize in 1932, the following year he won a silver medal at the Salon des Artistes Français with "Le Temps des cerises". In 1934, Vivrel presented Bathers, the first in a series of large nudes exhibited at the Salon until 1943. The culmination of his research into the female nude, his 1939 "Baigneuses" won a gold medal at the Salon des Artistes Français. This final award crowned a silver medal won by Vivrel in 1937 at the Exposition Internationale des Arts et Techniques in Paris. Critics were unanimous in their praise of his talent, and in 1940, Louis Paillard wrote on the front page of the "Petit journal" of May 6, 1940: "André Vivrel, appears, I proclaim, as one of the best in this Salon [of French artists]". The exhibition "Vivrel - peintures récentes" (Vivrel - recent paintings), organized by the Galerie de Berri in May 1942, illustrated the diversity of Vivrel's genres in 31 paintings, but it was landscape that he explored most passionately. His land of choice was the Loiret, where his older brother Marcel owned a second home in Châtillon-sur-Loire, not far from Champtoceaux. In the aftermath of the Great War, destitute of money, he took refuge there to paint on the motif at lower cost. In the spring of 1926, Vivrel was again in Brittany, from where he brought back "Port de Camaret", exhibited at the 1926 Salon des Tuileries. A few years later, in 1934, he returned to Côtes d'Armor, where he composed seascapes that were also studies of the sky. Vivrel spent the summer of 1926 in Corsica. There, he produced watercolors that were exhibited in the autumn at the Galerie Georges Petit and then in New York. On each occasion, the critics were unanimous in praising their qualities: "André Vivrel's exhibition is the work of an artist who is sensitive and refined, while remaining larggge in his conceptions. His views of Corsica, Brittany and Paris are like his delicately harmonious flowers" ("La Semaine à Paris", November 12, 1926, p. 63). In 1928, he returned to the Midi. Capturing the warm, vibrant light of Provence, he painted "Le port de Saint-Tropez", exhibited the same year at the Salon des Indépendants. The Mediterranean theme was also evident at the Salon des Tuileries, where Vivrel presented harbor views and liners, evidence of a flourishing tourist industry. When Vivrel wasn't on the roads of France, he took Paris as his model. He painted the alleyways of the Montmartre hilltop and the capital's monuments, such as Notre-Dame Cathedral, which he painted in series, following Monet's example. He liked to linger on the banks of the Seine, which offered him many unusual views of the city and inspired paintings reminiscent of Albert Lebourg's Parisian landscapes. Painting until his last breath, André-Léon Vivrel died in Bonneville-sur-Touques on June 7, 1976.

Estim. 150 - 200 EUR

Lot 12 - ANDRÉ-LÉON VIVREL (1886-1976) - ANDRÉ-LÉON VIVREL (1886-1976) Reunion of two paintings Riverside Oil on canvas the first signed with the signature's mark [non Lugt] lower left and dated 'juin 1930' on the back, the second signed lower left A set of two paintings, oil on canvas, the first one stamped with the signature's mark lower left and dated 'juin 1930' on the reverse, the second one signed lower left 46 x 55 cm - 18 1/8 x 21 5/8 in. 46 x 55 cm - 18 1/8 x 21 5/8 in. Provenance Private collection, France André-Léon Vivrel was born in Paris in 1886. At just 15, he decided to become a painter. He was supported in this by his mother, whom he describes as his first teacher, and his father, a wine merchant who won first prize for drawing in 1870. A pupil at the Lycée Louis-le-Grand, André-Léon Vivrel entered the Académie Julian in 1910. There, he studied with Paul Albert Laurens, and later with Marcel Baschet and Henri Royer at the École des Beaux-Arts. He rents a studio in Montmartre, at 65 rue Caulaincourt, just eight numbers from Auguste Renoir's. He first exhibited at the Salon des Artistes Français in 1913. Mobilized in 1914, he was awarded the Croix de Guerre for heroic conduct in 1917. After the war, he returned to his studio in Montmartre. He was awarded an honorable mention at the 1920 Salon, and the French government bought the two still lifes he exhibited at the Salon des indépendants. He also exhibited two portraits of Breton women painted on his return from a stay in Ploumanac'h (Côtesss d'Armor). In 1922, Vivrel appeared for the first time at the Salon de la Société Nationale des Beaux-Arts. After winning the Deldebat de Gonzalva prize in 1932, the following year he won a silver medal at the Salon des Artistes Français with "Le Temps des cerises". In 1934, Vivrel presented Bathers, the first in a series of large nudes exhibited at the Salon until 1943. The culmination of his research into the female nude, his 1939 "Baigneuses" won a gold medal at the Salon des Artistes Français. This final award crowned a silver medal won by Vivrel in 1937 at the Exposition Internationale des Arts et Techniques in Paris. Critics were unanimous in their praise of his talent, and in 1940, Louis Paillard wrote on the front page of the "Petit journal" of May 6, 1940: "André Vivrel, appears, I proclaim, as one of the best in this Salon [of French artists]". The exhibition "Vivrel - peintures récentes" (Vivrel - recent paintings), organized by the Galerie de Berri in May 1942, illustrated the diversity of Vivrel's genres in 31 paintings, but it was landscape that he explored most passionately. His land of choice was the Loiret, where his older brother Marcel owned a second home in Châtillon-sur-Loire, not far from Champtoceaux. In the aftermath of the Great War, destitute of money, he took refuge there to paint on the motif at lower cost. In the spring of 1926, Vivrel was again in Brittany, from where he brought back "Port de Camaret", exhibited at the 1926 Salon des Tuileries. A few years later, in 1934, he returned to Côtes d'Armor, where he composed seascapes that were also studies of the sky. Vivrel spent the summer of 1926 in Corsica. There, he produced watercolors that were exhibited in the autumn at the Galerie Georges Petit and then in New York. On each occasion, the critics were unanimous in praising their qualities: "André Vivrel's exhibition is the work of an artist who is sensitive and refined, while remaining larggge in his conceptions. His views of Corsica, Brittany and Paris are like his delicately harmonious flowers" ("La Semaine à Paris", November 12, 1926, p. 63). In 1928, he returned to the Midi. Capturing the warm, vibrant light of Provence, he painted "Le port de Saint-Tropez", exhibited the same year at the Salon des Indépendants. The Mediterranean theme was also evident at the Salon des Tuileries, where Vivrel presented harbor views and ocean liners, evidence of a flourishing tourist industry. When Vivrel wasn't on the roads of France, he took Paris as his model. He painted the alleyways of the Montmartre hilltop and the capital's monuments, such as Notre-Dame Cathedral, which he painted in series, following Monet's example. He liked to linger on the banks of the Seine, which offered him many unusual views of the city and inspired paintings reminiscent of Albert Lebourg's Parisian landscapes. Painting until his last breath, André-Léon Vivrel died in Bonneville-sur-Touques on June 7, 1976.

Estim. 150 - 200 EUR

Lot 13 - ANDRÉ-LÉON VIVREL (1886-1976) - ANDRÉ-LÉON VIVREL (1886-1976) Reunion of two paintings Paysage à la ferme, 193[?] - Paysage au pont, 1934 Oil on canvas The first signed lower left and dated 'juillet 193[?]' on the back, the second signed lower left and dated 'mai 1934' on the back. (Scratches on the first) A set of two paintings, oil on canvas, the first one signed lower left and dated 'juillet 193[?]' on the reverse, the second one signed lower left and dated 'mai 1934' on the reverse 54 x 65 cm - 21 1/4 x 25 5/8 in. 54 x 65 cm - 21 1/4 x 25 5/8 in. Provenance Private collection, France André-Léon Vivrel was born in Paris in 1886. At just 15, he decided to become a painter. He was supported in this by his mother, whom he describes as his first teacher, and his father, a wine merchant who won first prize for drawing in 1870. A pupil at the Lycée Louis-le-Grand, André-Léon Vivrel entered the Académie Julian in 1910. There, he studied with Paul Albert Laurens, and later with Marcel Baschet and Henri Royer at the École des Beaux-Arts. He rents a studio in Montmartre, at 65 rue Caulaincourt, just eight numbers from Auguste Renoir's. He first exhibited at the Salon des Artistes Français in 1913. Mobilized in 1914, he was awarded the Croix de Guerre for heroic conduct in 1917. After the war, he returned to his studio in Montmartre. He was awarded an honorable mention at the 1920 Salon, and the French government bought the two still lifes he exhibited at the Salon des indépendants. He also exhibited two portraits of Breton women painted on his return from a stay in Ploumanac'h (Côtesss d'Armor). In 1922, Vivrel appeared for the first time at the Salon de la Société Nationale des Beaux-Arts. After winning the Deldebat de Gonzalva prize in 1932, the following year he won a silver medal at the Salon des Artistes Français with "Le Temps des cerises". In 1934, Vivrel presented Bathers, the first in a series of large nudes exhibited at the Salon until 1943. The culmination of his research into the female nude, his 1939 "Baigneuses" won a gold medal at the Salon des Artistes Français. This final award crowned a silver medal won by Vivrel in 1937 at the Exposition Internationale des Arts et Techniques in Paris. Critics were unanimous in their praise of his talent, and in 1940, Louis Paillard wrote on the front page of the "Petit journal" of May 6, 1940: "André Vivrel, appears, I proclaim, as one of the best in this Salon [of French artists]". The exhibition "Vivrel - peintures récentes" (Vivrel - recent paintings), organized by the Galerie de Berri in May 1942, illustrated the diversity of Vivrel's genres in 31 paintings, but it was landscape that he explored most passionately. His land of choice was the Loiret, where his older brother Marcel owned a second home in Châtillon-sur-Loire, not far from Champtoceaux. In the aftermath of the Great War, destitute of money, he took refuge there to paint on the motif at lower cost. In the spring of 1926, Vivrel was again in Brittany, from where he brought back "Port de Camaret", exhibited at the 1926 Salon des Tuileries. A few years later, in 1934, he returned to Côtes d'Armor, where he composed seascapes that were also studies of the sky. Vivrel spent the summer of 1926 in Corsica. There, he produced watercolors that were exhibited in the autumn at the Galerie Georges Petit and then in New York. On each occasion, the critics were unanimous in praising their qualities: "André Vivrel's exhibition is the work of an artist who is sensitive and refined, while remaining larggge in his conceptions. His views of Corsica, Brittany and Paris are like his delicately harmonious flowers" ("La Semaine à Paris", November 12, 1926, p. 63). In 1928, he returned to the Midi. Capturing the warm, vibrant light of Provence, he painted "Le port de Saint-Tropez", exhibited the same year at the Salon des Indépendants. The Mediterranean theme was also evident at the Salon des Tuileries, where Vivrel presented harbor views and ocean liners, evidence of a flourishing tourist industry. When Vivrel wasn't on the roads of France, he took Paris as his model. He painted the alleyways of the Montmartre hilltop and the capital's monuments, such as Notre-Dame Cathedral, which he painted in series, following Monet's example. He liked to linger on the banks of the Seine, which offered him many unusual views of the city and inspired paintings reminiscent of Albert Lebourg's Parisian landscapes. Painting until his last breath, André-Léon Vivrel died in Bonneville-sur-Touques on June 7, 1976.

Estim. 150 - 200 EUR

Lot 14 - ANDRÉ-LÉON VIVREL (1886-1976) - ANDRÉ-LÉON VIVREL (1886-1976) Reunion of four paintings River banks with rocks - Landscape with church - Person on a path - Bouquet of flowers in a vase Oil on cardboard; oil on panel and oil on canvas mounted on cardboard The first three signed lower right, the fourth signed upper right (Small gaps in the paint layer, folds, small perforations and soiling) A set of four paintings, oil on cardboard, oil on panel and oil on canvas laid on cardboard, the three first ones signed lower right and the fourth one signed upper right 32 x 42 cm - 12 5/8 x 16 1/2 in. 33 x 41 cm - 13 x 16 1/8 in. 33 x 41 cm - 13 x 16 1/8 in. 33 x 41 cm - 13 x 16 1/8 in. Provenance Private collection, France André-Léon Vivrel was born in Paris in 1886. At just 15, he decided to become a painter. He was supported in this by his mother, whom he describes as his first teacher, and his father, a wine merchant who won first prize for drawing in 1870. A pupil at the Lycée Louis-le-Grand, André-Léon Vivrel entered the Académie Julian in 1910. There, he studied with Paul Albert Laurens, and later with Marcel Baschet and Henri Royer at the École des Beaux-Arts. He rents a studio in Montmartre, at 65 rue Caulaincourt, just eight numbers from Auguste Renoir's. He first exhibited at the Salon des Artistes Français in 1913. Mobilized in 1914, he was awarded the Croix de Guerre for heroic conduct in 1917. After the war, he returned to his studio in Montmartre. He was awarded an honorable mention at the 1920 Salon, and the French government bought the two still lifes he exhibited at the Salon des indépendants. He also exhibited two portraits of Breton women painted on his return from a stay in Ploumanac'h (Côtesss d'Armor). In 1922, Vivrel appeared for the first time at the Salon de la Société Nationale des Beaux-Arts. After winning the Deldebat de Gonzalva prize in 1932, the following year he won a silver medal at the Salon des Artistes Français with "Le Temps des cerises". In 1934, Vivrel presented Bathers, the first in a series of large nudes exhibited at the Salon until 1943. The culmination of his research into the female nude, his 1939 "Baigneuses" won a gold medal at the Salon des Artistes Français. This final award crowned a silver medal won by Vivrel in 1937 at the Exposition Internationale des Arts et Techniques in Paris. Critics were unanimous in their praise of his talent, and in 1940, Louis Paillard wrote on the front page of the "Petit journal" of May 6, 1940: "André Vivrel, appears, I proclaim, as one of the best in this Salon [of French artists]". The exhibition "Vivrel - peintures récentes" (Vivrel - recent paintings), organized by the Galerie de Berri in May 1942, illustrated the diversity of Vivrel's genres in 31 paintings, but it was landscape that he explored most passionately. His land of choice was the Loiret, where his older brother Marcel owned a second home in Châtillon-sur-Loire, not far from Champtoceaux. In the aftermath of the Great War, destitute of money, he took refuge there to paint on the motif at lower cost. In the spring of 1926, Vivrel was again in Brittany, from where he brought back "Port de Camaret", exhibited at the 1926 Salon des Tuileries. A few years later, in 1934, he returned to Côtes d'Armor, where he composed seascapes that were also studies of the sky. Vivrel spent the summer of 1926 in Corsica. There, he produced watercolors that were exhibited in the autumn at the Galerie Georges Petit and then in New York. On each occasion, the critics were unanimous in praising their qualities: "André Vivrel's exhibition is the work of an artist who is sensitive and refined, while remaining larggge in his conceptions. His views of Corsica, Brittany and Paris are like his delicately harmonious flowers" ("La Semaine à Paris", November 12, 1926, p. 63). In 1928, he returned to the Midi. Capturing the warm, vibrant light of Provence, he painted "Le port de Saint-Tropez", exhibited the same year at the Salon des Indépendants. The Mediterranean theme was also evident at the Salon des Tuileries, where Vivrel presented harbor views and ocean liners, evidence of a flourishing tourist industry. When Vivrel wasn't on the roads of France, he took Paris as his model. He painted the alleyways of the Montmartre hilltop and the capital's monuments, such as Notre-Dame Cathedral, which he painted in series, following Monet's example. He liked to linger on the banks of the Seine, which offered him many unusual views of the city and inspired paintings reminiscent of Albert Lebourg's Parisian landscapes. Painting until his last breath, André-Léon Vivrel died in Bonneville-sur-Touques on June 7, 1976.

Estim. 120 - 180 EUR

Lot 15 - ANDRÉ-LÉON VIVREL (1886-1976) - ANDRÉ-LÉON VIVREL (1886-1976) Reunion of two paintings Houses by the water - Fruit trees in bloom Oil on canvas The first signed lower left, the second signed lower right (Marks on the stretcher of the second) A set of two paintings, oil on canvas, the first one signed lower left, the second one signed lower right 50 x 61 cm - 19 3/4 x 24 in. 50 x 61 cm - 19 3/4 x 24 in. Provenance Private collection, France André-Léon Vivrel was born in Paris in 1886. At just 15, he decided to become a painter. He was supported in this by his mother, whom he describes as his first teacher, and his father, a wine merchant who won first prize for drawing in 1870. A pupil at the Lycée Louis-le-Grand, André-Léon Vivrel entered the Académie Julian in 1910. There, he studied with Paul Albert Laurens, and later with Marcel Baschet and Henri Royer at the École des Beaux-Arts. He rents a studio in Montmartre, at 65 rue Caulaincourt, just eight numbers from Auguste Renoir's. He first exhibited at the Salon des Artistes Français in 1913. Mobilized in 1914, he was awarded the Croix de Guerre for heroic conduct in 1917. After the war, he returned to his studio in Montmartre. He was awarded an honorable mention at the 1920 Salon, and the French government bought the two still lifes he exhibited at the Salon des indépendants. He also exhibited two portraits of Breton women painted on his return from a stay in Ploumanac'h (Côtesss d'Armor). In 1922, Vivrel appeared for the first time at the Salon de la Société Nationale des Beaux-Arts. After winning the Deldebat de Gonzalva prize in 1932, the following year he won a silver medal at the Salon des Artistes Français with "Le Temps des cerises". In 1934, Vivrel presented Bathers, the first in a series of large nudes exhibited at the Salon until 1943. The culmination of his research into the female nude, his 1939 "Baigneuses" won a gold medal at the Salon des Artistes Français. This final award crowned a silver medal won by Vivrel in 1937 at the Exposition Internationale des Arts et Techniques in Paris. Critics were unanimous in their praise of his talent, and in 1940, Louis Paillard wrote on the front page of the "Petit journal" of May 6, 1940: "André Vivrel, appears, I proclaim, as one of the best in this Salon [of French artists]". The exhibition "Vivrel - peintures récentes" (Vivrel - recent paintings), organized by the Galerie de Berri in May 1942, illustrated the diversity of Vivrel's genres in 31 paintings, but it was landscape that he explored most passionately. His land of choice was the Loiret, where his older brother Marcel owned a second home in Châtillon-sur-Loire, not far from Champtoceaux. In the aftermath of the Great War, destitute of money, he took refuge there to paint on the motif at lower cost. In the spring of 1926, Vivrel was again in Brittany, from where he brought back "Port de Camaret", exhibited at the 1926 Salon des Tuileries. A few years later, in 1934, he returned to Côtes d'Armor, where he composed seascapes that were also studies of the sky. Vivrel spent the summer of 1926 in Corsica. There, he produced watercolors that were exhibited in the autumn at the Galerie Georges Petit and then in New York. On each occasion, the critics were unanimous in praising their qualities: "André Vivrel's exhibition is the work of an artist who is sensitive and refined, while remaining larggge in his conceptions. His views of Corsica, Brittany and Paris are like his delicately harmonious flowers" ("La Semaine à Paris", November 12, 1926, p. 63). In 1928, he returned to the Midi. Capturing the warm, vibrant light of Provence, he painted "Le port de Saint-Tropez", exhibited the same year at the Salon des Indépendants. The Mediterranean theme was also evident at the Salon des Tuileries, where Vivrel presented harbor views and ocean liners, evidence of a flourishing tourist industry. When Vivrel wasn't on the roads of France, he took Paris as his model. He painted the alleyways of the Montmartre hilltop and the capital's monuments, such as Notre-Dame Cathedral, which he painted in series, following Monet's example. He liked to linger on the banks of the Seine, which offered him many unusual views of the city and inspired paintings reminiscent of Albert Lebourg's Parisian landscapes. Painting until his last breath, André-Léon Vivrel died in Bonneville-sur-Touques on June 7, 1976.

Estim. 150 - 200 EUR

Lot 16 - ANDRÉ-LÉON VIVREL (1886-1976) - ANDRÉ-LÉON VIVREL (1886-1976) Bust-Length Portrait of a Woman, 1940 Oil on canvas Signed lower right and dated 'octobre 1940' on the back (Marks and soiling) Oil on canvas, signed lower right and dated 'octobre 1940' on the reverse 55 x 46 cm - 21 5/8 x 18 1/8 in. Provenance Private collection, France André-Léon Vivrel was born in Paris in 1886. At just 15, he decided to become a painter. He was supported in this by his mother, whom he describes as his first teacher, and his father, a wine merchant who won first prize for drawing in 1870. A pupil at the Lycée Louis-le-Grand, André-Léon Vivrel entered the Académie Julian in 1910. There, he studied with Paul Albert Laurens, and later with Marcel Baschet and Henri Royer at the École des Beaux-Arts. He rents a studio in Montmartre, at 65 rue Caulaincourt, just eight numbers from Auguste Renoir's. He first exhibited at the Salon des Artistes Français in 1913. Mobilized in 1914, he was awarded the Croix de Guerre for heroic conduct in 1917. After the war, he returned to his studio in Montmartre. He was awarded an honorable mention at the 1920 Salon, and the French government bought the two still lifes he exhibited at the Salon des indépendants. He also exhibited two portraits of Breton women painted on his return from a stay in Ploumanac'h (Côtesss d'Armor). In 1922, Vivrel appeared for the first time at the Salon de la Société Nationale des Beaux-Arts. After winning the Deldebat de Gonzalva prize in 1932, the following year he won a silver medal at the Salon des Artistes Français with "Le Temps des cerises". In 1934, Vivrel presented Bathers, the first in a series of large nudes exhibited at the Salon until 1943. The culmination of his research into the female nude, his 1939 "Baigneuses" won a gold medal at the Salon des Artistes Français. This final award crowned a silver medal won by Vivrel in 1937 at the Exposition Internationale des Arts et Techniques in Paris. Critics were unanimous in their praise of his talent, and in 1940, Louis Paillard wrote on the front page of the "Petit journal" of May 6, 1940: "André Vivrel, appears, I proclaim, as one of the best in this Salon [of French artists]". The exhibition "Vivrel - peintures récentes" (Vivrel - recent paintings), organized by the Galerie de Berri in May 1942, illustrated the diversity of Vivrel's genres in 31 paintings, but it was landscape that he explored most passionately. His land of choice was the Loiret, where his older brother Marcel owned a second home in Châtillon-sur-Loire, not far from Champtoceaux. In the aftermath of the Great War, destitute of money, he took refuge there to paint on the motif at lower cost. In the spring of 1926, Vivrel was again in Brittany, from where he brought back "Port de Camaret", exhibited at the 1926 Salon des Tuileries. A few years later, in 1934, he returned to Côtes d'Armor, where he composed seascapes that were also studies of the sky. Vivrel spent the summer of 1926 in Corsica. There, he produced watercolors that were exhibited in the autumn at the Galerie Georges Petit and then in New York. On each occasion, the critics were unanimous in praising their qualities: "André Vivrel's exhibition is the work of an artist who is sensitive and refined, while remaining larggge in his conceptions. His views of Corsica, Brittany and Paris are like his delicately harmonious flowers" ("La Semaine à Paris", November 12, 1926, p. 63). In 1928, he returned to the Midi. Capturing the warm, vibrant light of Provence, he painted "Le port de Saint-Tropez", exhibited the same year at the Salon des Indépendants. The Mediterranean theme was also evident at the Salon des Tuileries, where Vivrel presented harbor views and ocean liners, evidence of a flourishing tourist industry. When Vivrel wasn't on the roads of France, he took Paris as his model. He painted the alleyways of the Montmartre hilltop and the capital's monuments, such as Notre-Dame Cathedral, which he painted in series, following Monet's example. He liked to linger on the banks of the Seine, which offered him many unusual views of the city and inspired paintings reminiscent of Albert Lebourg's Parisian landscapes. Painting until his last breath, André-Léon Vivrel died in Bonneville-sur-Touques on June 7, 1976.

Estim. 100 - 150 EUR

Lot 17 - ANDRÉ-LÉON VIVREL (1886-1976) - ANDRÉ-LÉON VIVREL (1886-1976) Reunion of three paintings without stretcher Paysage au pont - Bord de rivière à la barque - Bord de rivière aux barques Oil on canvas The first and second signed lower right The third signed lower left (Tack holes and dirt) A set of three paintings without stretcher, oil on free canvas, the first and second ones signed lower right, the third one signed lower left Ca. 53,5 x 63,5 cm - Ca. 21 x 25 in. Provenance Private collection, France André-Léon Vivrel was born in Paris in 1886. At just 15, he decided to become a painter. He was supported in this by his mother, whom he describes as his first teacher, and his father, a wine merchant who won first prize for drawing in 1870. A pupil at the Lycée Louis-le-Grand, André-Léon Vivrel entered the Académie Julian in 1910. There, he studied with Paul Albert Laurens, and later with Marcel Baschet and Henri Royer at the École des Beaux-Arts. He rents a studio in Montmartre, at 65 rue Caulaincourt, just eight numbers from Auguste Renoir's. He first exhibited at the Salon des Artistes Français in 1913. Mobilized in 1914, he was awarded the Croix de Guerre for heroic conduct in 1917. After the war, he returned to his studio in Montmartre. He was awarded an honorable mention at the 1920 Salon, and the French government bought the two still lifes he exhibited at the Salon des indépendants. He also exhibited two portraits of Breton women painted on his return from a stay in Ploumanac'h (Côtesss d'Armor). In 1922, Vivrel appeared for the first time at the Salon de la Société Nationale des Beaux-Arts. After winning the Deldebat de Gonzalva prize in 1932, the following year he won a silver medal at the Salon des Artistes Français with "Le Temps des cerises". In 1934, Vivrel presented Bathers, the first in a series of large nudes exhibited at the Salon until 1943. The culmination of his research into the female nude, his 1939 "Baigneuses" won a gold medal at the Salon des Artistes Français. This final award crowned a silver medal won by Vivrel in 1937 at the Exposition Internationale des Arts et Techniques in Paris. Critics were unanimous in their praise of his talent, and in 1940, Louis Paillard wrote on the front page of the "Petit journal" of May 6, 1940: "André Vivrel, appears, I proclaim, as one of the best in this Salon [of French artists]". The exhibition "Vivrel - peintures récentes" (Vivrel - recent paintings), organized by the Galerie de Berri in May 1942, illustrated the diversity of Vivrel's genres in 31 paintings, but it was landscape that he explored most passionately. His land of choice was the Loiret, where his older brother Marcel owned a second home in Châtillon-sur-Loire, not far from Champtoceaux. In the aftermath of the Great War, destitute of money, he took refuge there to paint on the motif at lower cost. In the spring of 1926, Vivrel was again in Brittany, from where he brought back "Port de Camaret", exhibited at the 1926 Salon des Tuileries. A few years later, in 1934, he returned to Côtes d'Armor, where he composed seascapes that were also studies of the sky. Vivrel spent the summer of 1926 in Corsica. There, he produced watercolors that were exhibited in the autumn at the Galerie Georges Petit and then in New York. On each occasion, the critics were unanimous in praising their qualities: "André Vivrel's exhibition is the work of an artist who is sensitive and refined, while remaining larggge in his conceptions. His views of Corsica, Brittany and Paris are like his delicately harmonious flowers" ("La Semaine à Paris", November 12, 1926, p. 63). In 1928, he returned to the Midi. Capturing the warm, vibrant light of Provence, he painted "Le port de Saint-Tropez", exhibited the same year at the Salon des Indépendants. The Mediterranean theme was also evident at the Salon des Tuileries, where Vivrel presented harbor views and ocean liners, evidence of a flourishing tourist industry. When Vivrel wasn't on the roads of France, he took Paris as his model. He painted the alleyways of the Montmartre hilltop and the capital's monuments, such as Notre-Dame Cathedral, which he painted in series, following Monet's example. He liked to linger on the banks of the Seine, which offered him many unusual views of the city and inspired paintings reminiscent of Albert Lebourg's Parisian landscapes. Painting until his last breath, André-Léon Vivrel died in Bonneville-sur-Touques on June 7, 1976.

Estim. 120 - 180 EUR

Lot 18 - ANDRÉ-LÉON VIVREL (1886-1976) - ANDRÉ-LÉON VIVREL (1886-1976) Reunion of three paintings Bouquets de fleurs Oil on canvas Signed lower right (Gaps in the paint layer and soiling) A set of three paintings, oil on canvas, signed lower right 33 x 41 cm - 13 x 16 1/8 in. 33 x 41 cm - 13 x 16 1/8 in. 33 x 41 cm - 13 x 16 1/8 in. Provenance Private collection, France André-Léon Vivrel was born in Paris in 1886. At just 15, he decided to become a painter. He was supported in this by his mother, whom he describes as his first teacher, and his father, a wine merchant who won first prize for drawing in 1870. A pupil at the Lycée Louis-le-Grand, André-Léon Vivrel entered the Académie Julian in 1910. There, he studied with Paul Albert Laurens, and later with Marcel Baschet and Henri Royer at the École des Beaux-Arts. He rents a studio in Montmartre, at 65 rue Caulaincourt, just eight numbers from Auguste Renoir's. He first exhibited at the Salon des Artistes Français in 1913. Mobilized in 1914, he was awarded the Croix de Guerre for heroic conduct in 1917. After the war, he returned to his studio in Montmartre. He was awarded an honorable mention at the 1920 Salon, and the French government bought the two still lifes he exhibited at the Salon des indépendants. He also exhibited two portraits of Breton women painted on his return from a stay in Ploumanac'h (Côtesss d'Armor). In 1922, Vivrel appeared for the first time at the Salon de la Société Nationale des Beaux-Arts. After winning the Deldebat de Gonzalva prize in 1932, the following year he won a silver medal at the Salon des Artistes Français with "Le Temps des cerises". In 1934, Vivrel presented Bathers, the first in a series of large nudes exhibited at the Salon until 1943. The culmination of his research into the female nude, his 1939 "Baigneuses" won a gold medal at the Salon des Artistes Français. This final award crowned a silver medal won by Vivrel in 1937 at the Exposition Internationale des Arts et Techniques in Paris. Critics were unanimous in their praise of his talent, and in 1940, Louis Paillard wrote on the front page of the "Petit journal" of May 6, 1940: "André Vivrel, appears, I proclaim, as one of the best in this Salon [of French artists]". The exhibition "Vivrel - peintures récentes" (Vivrel - recent paintings), organized by the Galerie de Berri in May 1942, illustrated the diversity of Vivrel's genres in 31 paintings, but it was landscape that he explored most passionately. His land of choice was the Loiret, where his older brother Marcel owned a second home in Châtillon-sur-Loire, not far from Champtoceaux. In the aftermath of the Great War, destitute of money, he took refuge there to paint on the motif at lower cost. In the spring of 1926, Vivrel was again in Brittany, from where he brought back "Port de Camaret", exhibited at the 1926 Salon des Tuileries. A few years later, in 1934, he returned to Côtes d'Armor, where he composed seascapes that were also studies of the sky. Vivrel spent the summer of 1926 in Corsica. There, he produced watercolors that were exhibited in the autumn at the Galerie Georges Petit and then in New York. On each occasion, the critics were unanimous in praising their qualities: "André Vivrel's exhibition is the work of an artist who is sensitive and refined, while remaining larggge in his conceptions. His views of Corsica, Brittany and Paris are like his delicately harmonious flowers" ("La Semaine à Paris", November 12, 1926, p. 63). In 1928, he returned to the Midi. Capturing the warm, vibrant light of Provence, he painted "Le port de Saint-Tropez", exhibited the same year at the Salon des Indépendants. The Mediterranean theme was also evident at the Salon des Tuileries, where Vivrel presented harbor views and ocean liners, evidence of a flourishing tourist industry. When Vivrel wasn't on the roads of France, he took Paris as his model. He painted the alleyways of the Montmartre hilltop and the capital's monuments, such as Notre-Dame Cathedral, which he painted in series, following Monet's example. He liked to linger on the banks of the Seine, which offered him many unusual views of the city and inspired paintings reminiscent of Albert Lebourg's Parisian landscapes. Painting until his last breath, André-Léon Vivrel died in Bonneville-sur-Touques on June 7, 1976.

Estim. 120 - 180 EUR

Lot 19 - ANDRÉ-LÉON VIVREL (1886-1976) - ANDRÉ-LÉON VIVREL (1886-1976) Reunion of two paintings Paysage aux barques, 1935 - Boat taking on water Oil on canvas The first signed lower right and dated 'mars 1935' on the back, the second signed lower right (Dirt and small gaps in the paint layer and stretcher mark) A set of two paintings, oil on canvas, the first one signed lower right and dated 'mars 1935' on the reverse, the second one signed lower right 46 x 55 cm - 18 1/8 x 21 5/8 in. 46 x 55 cm - 18 1/8 x 21 5/8 in. Provenance Private collection, France Note "This is an acute 'eye', which translates with undeniable constructive power, and without any false note of very close tones, the hollow paths, lonely roads and wet skies of Brittany." Gérald Schurr, "Les petits maîtres de la peinture, valeur de demain", Volume 2, Paris: Les Éditions de l'Amateur, 1972, pp. 135 and 138 André-Léon Vivrel was born in Paris in 1886. At just 15, he decided to become a painter. He was supported in this by his mother, whom he describes as his first teacher, and his father, a wine merchant who won first prize for drawing in 1870. A pupil at the Lycée Louis-le-Grand, André-Léon Vivrel entered the Académie Julian in 1910. There, he studied with Paul Albert Laurens, and later with Marcel Baschet and Henri Royer at the École des Beaux-Arts. He rents a studio in Montmartre, at 65 rue Caulaincourt, just eight numbers from Auguste Renoir's. He first exhibited at the Salon des Artistes Français in 1913. Mobilized in 1914, he was awarded the Croix de Guerre for heroic conduct in 1917. After the war, he returned to his studio in Montmartre. He was awarded an honorable mention at the 1920 Salon, and the French government bought the two still lifes he exhibited at the Salon des indépendants. He also exhibited two portraits of Breton women painted on his return from a stay in Ploumanac'h (Côtesss d'Armor). In 1922, Vivrel appeared for the first time at the Salon de la Société Nationale des Beaux-Arts. After winning the Deldebat de Gonzalva prize in 1932, the following year he won a silver medal at the Salon des Artistes Français with "Le Temps des cerises". In 1934, Vivrel presented Bathers, the first in a series of large nudes exhibited at the Salon until 1943. The culmination of his research into the female nude, his 1939 "Baigneuses" won a gold medal at the Salon des Artistes Français. This final award crowned a silver medal won by Vivrel in 1937 at the Exposition Internationale des Arts et Techniques in Paris. Critics were unanimous in their praise of his talent, and in 1940, Louis Paillard wrote on the front page of the "Petit journal" of May 6, 1940: "André Vivrel, appears, I proclaim, as one of the best in this Salon [of French artists]". The exhibition "Vivrel - peintures récentes" (Vivrel - recent paintings), organized by the Galerie de Berri in May 1942, illustrated the diversity of Vivrel's genres in 31 paintings, but it was landscape that he explored most passionately. His land of choice was the Loiret, where his older brother Marcel owned a second home in Châtillon-sur-Loire, not far from Champtoceaux. In the aftermath of the Great War, destitute of money, he took refuge there to paint on the motif at lower cost. In the spring of 1926, Vivrel was again in Brittany, from where he brought back "Port de Camaret", exhibited at the 1926 Salon des Tuileries. A few years later, in 1934, he returned to Côtes d'Armor, where he composed seascapes that were also studies of the sky. Vivrel spent the summer of 1926 in Corsica. There, he produced watercolors that were exhibited in the autumn at the Galerie Georges Petit and then in New York. On each occasion, the critics were unanimous in praising their qualities: "André Vivrel's exhibition is the work of an artist who is sensitive and refined, while remaining larggge in his conceptions. His views of Corsica, Brittany and Paris are like his delicately harmonious flowers" ("La Semaine à Paris", November 12, 1926, p. 63). In 1928, he returned to the Midi. Capturing the warm, vibrant light of Provence, he painted "Le port de Saint-Tropez", exhibited the same year at the Salon des Indépendants. The Mediterranean theme was also evident at the Salon des Tuileries, where Vivrel presented harbor views and ocean liners, evidence of a flourishing tourist industry. When Vivrel wasn't on the roads of France, he took Paris as his model. He painted the alleyways of the Montmartre hilltop and the capital's monuments, such as Notre-Dame Cathedral, which he painted in series, following Monet's example. He liked to linger on the banks of the Seine, which offered him many unusual views of the city and inspired paintings reminiscent of Albert Lebourg's Parisian landscapes. Peig

Estim. 150 - 200 EUR

Lot 20 - ANDRÉ-LÉON VIVREL (1886-1976) - ANDRÉ-LÉON VIVREL (1886-1976) Reunion of two paintings without stretcher La couture sur la plage - Still life with hare and rifle, 1925 Oil on loose canvas The first signed with the signature stamp [non Lugt] lower right, the second signed upper left. (Tack holes and small gaps in the paint layer) A set of two paintings without stretcher, oil on free canvas, the first one stamped with the signature's mark lower right, the second one signed upper left 40,5 x 56,5 cm - 16 x 22 1/4 in. 45 x 54 cm - 17 ¾ x 21 1/4 in. Provenance Private collection, France André-Léon Vivrel was born in Paris in 1886. At just 15, he decided to become a painter. He was supported in this by his mother, whom he describes as his first teacher, and his father, a wine merchant who won first prize for drawing in 1870. A pupil at the Lycée Louis-le-Grand, André-Léon Vivrel entered the Académie Julian in 1910. There, he studied with Paul Albert Laurens, and later with Marcel Baschet and Henri Royer at the École des Beaux-Arts. He rents a studio in Montmartre, at 65 rue Caulaincourt, just eight numbers from Auguste Renoir's. He first exhibited at the Salon des Artistes Français in 1913. Mobilized in 1914, he was awarded the Croix de Guerre for heroic conduct in 1917. After the war, he returned to his studio in Montmartre. He was awarded an honorable mention at the 1920 Salon, and the French government bought the two still lifes he exhibited at the Salon des indépendants. He also exhibited two portraits of Breton women painted on his return from a stay in Ploumanac'h (Côtessss d'Armor). In 1922, Vivrel appeared for the first time at the Salon de la Société Nationale des Beaux-Arts. After winning the Deldebat de Gonzalva prize in 1932, the following year he won a silver medal at the Salon des Artistes Français with "Le Temps des cerises". In 1934, Vivrel presented Bathers, the first in a series of large nudes exhibited at the Salon until 1943. The culmination of his research into the female nude, his 1939 "Baigneuses" won a gold medal at the Salon des Artistes Français. This final award crowned a silver medal won by Vivrel in 1937 at the Exposition Internationale des Arts et Techniques in Paris. Critics were unanimous in their praise of his talent, and in 1940, Louis Paillard wrote on the front page of the "Petit journal" of May 6, 1940: "André Vivrel, appears, I proclaim, as one of the best in this Salon [of French artists]". The exhibition "Vivrel - peintures récentes" (Vivrel - recent paintings), organized by the Galerie de Berri in May 1942, illustrated the diversity of Vivrel's genres in 31 paintings, but it was landscape that he explored most passionately. His land of choice was the Loiret, where his older brother Marcel owned a second home in Châtillon-sur-Loire, not far from Champtoceaux. In the aftermath of the Great War, destitute of money, he took refuge there to paint on the motif at lower cost. In the spring of 1926, Vivrel was again in Brittany, from where he brought back "Port de Camaret", exhibited at the 1926 Salon des Tuileries. A few years later, in 1934, he returned to Côtes d'Armor, where he composed seascapes that were also studies of the sky. Vivrel spent the summer of 1926 in Corsica. There, he produced watercolors that were exhibited in the autumn at the Galerie Georges Petit and then in New York. On each occasion, the critics were unanimous in praising their qualities: "André Vivrel's exhibition is the work of an artist who is sensitive and refined, while remaining larggge in his conceptions. His views of Corsica, Brittany and Paris are like his delicately harmonious flowers" ("La Semaine à Paris", November 12, 1926, p. 63). In 1928, he returned to the Midi. Capturing the warm, vibrant light of Provence, he painted "Le port de Saint-Tropez", exhibited the same year at the Salon des Indépendants. The Mediterranean theme was also evident at the Salon des Tuileries, where Vivrel presented harbor views and ocean liners, evidence of a flourishing tourist industry. When Vivrel wasn't on the roads of France, he took Paris as his model. He painted the alleyways of the Montmartre hilltop and the capital's monuments, such as Notre-Dame Cathedral, which he painted in series, following Monet's example. He liked to linger on the banks of the Seine, which offered him many unusual views of the city and inspired paintings reminiscent of Albert Lebourg's Parisian landscapes. Painting until his last breath, André-Léon Vivrel died in Bonneville-sur-Touques on June 7, 1976.

Estim. 120 - 180 EUR

Lot 21 - ANDRÉ-LÉON VIVREL (1886-1976) - ANDRÉ-LÉON VIVREL (1886-1976) Reunion of four paintings Seashore, rocks and village in Brittany Oil on cardboard or oil on canvas mounted on cardboard The first signed lower right, the last three signed lower left (Small gaps in the paint layer, soiling and very oxidized varnish on one) A set of four paintings, oil on cardboard or oil on canvas laid on cardboard, the first one signed lower right and the three last ones signed lower left 33 x 41 cm - 13 x 16 1/8 in. Provenance Private collection, France Note "This is an acute 'eye', which translates with undeniable constructive power, and without any false note of very close tones, the hollow paths, lonely roads and wet skies of Brittany." Gérald Schurr, "Les petits maîtres de la peinture, valeur de demain", Volume 2, Paris: Les Éditions de l'Amateur, 1972, pp. 135 and 138 André-Léon Vivrel was born in Paris in 1886. At just 15, he decided to become a painter. He was supported in this by his mother, whom he describes as his first teacher, and his father, a wine merchant who won first prize for drawing in 1870. A pupil at the Lycée Louis-le-Grand, André-Léon Vivrel entered the Académie Julian in 1910. There, he studied with Paul Albert Laurens, and later with Marcel Baschet and Henri Royer at the École des Beaux-Arts. He rents a studio in Montmartre, at 65 rue Caulaincourt, just eight numbers from Auguste Renoir's. He first exhibited at the Salon des Artistes Français in 1913. Mobilized in 1914, he was awarded the Croix de Guerre for heroic conduct in 1917. After the war, he returned to his studio in Montmartre. He was awarded an honorable mention at the 1920 Salon, and the French government bought the two still lifes he exhibited at the Salon des indépendants. He also exhibited two portraits of Breton women painted on his return from a stay in Ploumanac'h (Côtesss d'Armor). In 1922, Vivrel appeared for the first time at the Salon de la Société Nationale des Beaux-Arts. After winning the Deldebat de Gonzalva prize in 1932, the following year he won a silver medal at the Salon des Artistes Français with "Le Temps des cerises". In 1934, Vivrel presented Bathers, the first in a series of large nudes exhibited at the Salon until 1943. The culmination of his research into the female nude, his 1939 "Baigneuses" won a gold medal at the Salon des Artistes Français. This final award crowned a silver medal won by Vivrel in 1937 at the Exposition Internationale des Arts et Techniques in Paris. Critics were unanimous in their praise of his talent, and in 1940, Louis Paillard wrote on the front page of the "Petit journal" of May 6, 1940: "André Vivrel, appears, I proclaim, as one of the best in this Salon [of French artists]". The exhibition "Vivrel - peintures récentes" (Vivrel - recent paintings), organized by the Galerie de Berri in May 1942, illustrated the diversity of Vivrel's genres in 31 paintings, but it was landscape that he explored most passionately. His land of choice was the Loiret, where his older brother Marcel owned a second home in Châtillon-sur-Loire, not far from Champtoceaux. In the aftermath of the Great War, destitute of money, he took refuge there to paint on the motif at lower cost. In the spring of 1926, Vivrel was again in Brittany, from where he brought back "Port de Camaret", exhibited at the 1926 Salon des Tuileries. A few years later, in 1934, he returned to Côtes d'Armor, where he composed seascapes that were also studies of the sky. Vivrel spent the summer of 1926 in Corsica. There, he produced watercolors that were exhibited in the autumn at the Galerie Georges Petit and then in New York. On each occasion, the critics were unanimous in praising their qualities: "André Vivrel's exhibition is the work of an artist who is sensitive and refined, while remaining larggge in his conceptions. His views of Corsica, Brittany and Paris are like his delicately harmonious flowers" ("La Semaine à Paris", November 12, 1926, p. 63). In 1928, he returned to the Midi. Capturing the warm, vibrant light of Provence, he painted "Le port de Saint-Tropez", exhibited the same year at the Salon des Indépendants. The Mediterranean theme was also evident at the Salon des Tuileries, where Vivrel presented harbor views and ocean liners, evidence of a flourishing tourist industry. When Vivrel wasn't on the roads of France, he took Paris as his model. He painted the alleyways of the Montmartre hilltop and the capital's monuments, such as Notre-Dame Cathedral, which he painted in series, following Monet's example. He liked to linger on the banks of the Seine, which offered him many unusual views of the city and inspired paintings reminiscent of Albert Lebourg's Parisian landscapes.

Estim. 150 - 200 EUR

Lot 22 - ANDRÉ-LÉON VIVREL (1886-1976) - ANDRÉ-LÉON VIVREL (1886-1976) Reunion of two paintings Houses and trees in bloom, 1927 - Path in the countryside Oil on canvas The first signed with the signature stamp [non Lugt] lower right and dated 'juin 1927' on the back, the second signed lower left. (Chassis marks on the first and soiling) A set of two paintings, oil on canvas, the first one stamped with the signature's mark lower right and dated 'juin 1927' on the reverse, the second one signed lower left 54 x 65 cm - 21 1/4 x 25 5/8 in. 54 x 65 cm - 21 1/4 x 25 5/8 in. Provenance Private collection, France André-Léon Vivrel was born in Paris in 1886. At just 15, he decided to become a painter. He was supported in this by his mother, whom he describes as his first teacher, and his father, a wine merchant who won first prize for drawing in 1870. A pupil at the Lycée Louis-le-Grand, André-Léon Vivrel entered the Académie Julian in 1910. There, he studied with Paul Albert Laurens, and later with Marcel Baschet and Henri Royer at the École des Beaux-Arts. He rents a studio in Montmartre, at 65 rue Caulaincourt, just eight numbers from Auguste Renoir's. He first exhibited at the Salon des Artistes Français in 1913. Mobilized in 1914, he was awarded the Croix de Guerre for heroic conduct in 1917. After the war, he returned to his studio in Montmartre. He was awarded an honorable mention at the 1920 Salon, and the French government bought the two still lifes he exhibited at the Salon des indépendants. He also exhibited two portraits of Breton women painted on his return from a stay in Ploumanac'h (Côtesss d'Armor). In 1922, Vivrel appeared for the first time at the Salon de la Société Nationale des Beaux-Arts. After winning the Deldebat de Gonzalva prize in 1932, the following year he won a silver medal at the Salon des Artistes Français with "Le Temps des cerises". In 1934, Vivrel presented Bathers, the first in a series of large nudes exhibited at the Salon until 1943. The culmination of his research into the female nude, his 1939 "Baigneuses" won a gold medal at the Salon des Artistes Français. This final award crowned a silver medal won by Vivrel in 1937 at the Exposition Internationale des Arts et Techniques in Paris. Critics were unanimous in their praise of his talent, and in 1940, Louis Paillard wrote on the front page of the "Petit journal" of May 6, 1940: "André Vivrel, appears, I proclaim, as one of the best in this Salon [of French artists]". The exhibition "Vivrel - peintures récentes" (Vivrel - recent paintings), organized by the Galerie de Berri in May 1942, illustrated the diversity of Vivrel's genres in 31 paintings, but it was landscape that he explored most passionately. His land of choice was the Loiret, where his older brother Marcel owned a second home in Châtillon-sur-Loire, not far from Champtoceaux. In the aftermath of the Great War, destitute of money, he took refuge there to paint on the motif at lower cost. In the spring of 1926, Vivrel was again in Brittany, from where he brought back "Port de Camaret", exhibited at the 1926 Salon des Tuileries. A few years later, in 1934, he returned to Côtes d'Armor, where he composed seascapes that were also studies of the sky. Vivrel spent the summer of 1926 in Corsica. There, he produced watercolors that were exhibited in the autumn at the Galerie Georges Petit and then in New York. On each occasion, the critics were unanimous in praising their qualities: "André Vivrel's exhibition is the work of an artist who is sensitive and refined, while remaining larggge in his conceptions. His views of Corsica, Brittany and Paris are like his delicately harmonious flowers" ("La Semaine à Paris", November 12, 1926, p. 63). In 1928, he returned to the Midi. Capturing the warm, vibrant light of Provence, he painted "Le port de Saint-Tropez", exhibited the same year at the Salon des Indépendants. The Mediterranean theme was also evident at the Salon des Tuileries, where Vivrel presented harbor views and ocean liners, evidence of a flourishing tourist industry. When Vivrel wasn't on the roads of France, he took Paris as his model. He painted the alleyways of the Montmartre hilltop and the capital's monuments, such as Notre-Dame Cathedral, which he painted in series, following Monet's example. He liked to linger on the banks of the Seine, which offered him many unusual views of the city and inspired paintings reminiscent of Albert Lebourg's Parisian landscapes. Painting until his last breath, André-Léon Vivrel died in Bonneville-sur-Touques on June 7, 1976.

Estim. 150 - 200 EUR

Lot 23 - ANDRÉ-LÉON VIVREL (1886-1976) - ANDRÉ-LÉON VIVREL (1886-1976) Reunion of two paintings Maisons au bord de l'eau, 1927 - Paysage aux barques, 1928 Oil on canvas The first signed with the signature stamp [non Lugt] lower right and dated 'mai 1927' on the back, the second signed with the signature stamp [non Lugt] lower left and dated 'septembre 1928' on the back. (Small gaps in the paint layer, lifting and slight indentation on the second) A set of two paintings, oil on canvas, the first one stamped with the signature's mark lower right and dated 'mai 1927' on the reverse, the second one stamped with the signature's mark lower left and dated 'septembre 1928' on the reverse 54 x 65 cm - 21 1/4 x 25 5/8 in. 54 x 65 cm - 21 1/4 x 25 5/8 in. Provenance Private collection, France André-Léon Vivrel was born in Paris in 1886. At just 15, he decided to become a painter. He was supported in this by his mother, whom he describes as his first teacher, and his father, a wine merchant who won first prize for drawing in 1870. A pupil at the Lycée Louis-le-Grand, André-Léon Vivrel entered the Académie Julian in 1910. There, he studied with Paul Albert Laurens, and later with Marcel Baschet and Henri Royer at the École des Beaux-Arts. He rents a studio in Montmartre, at 65 rue Caulaincourt, just eight numbers from Auguste Renoir's. He first exhibited at the Salon des Artistes Français in 1913. Mobilized in 1914, he was awarded the Croix de Guerre for heroic conduct in 1917. After the war, he returned to his studio in Montmartre. He was awarded an honorable mention at the 1920 Salon, and the French government bought the two still lifes he exhibited at the Salon des indépendants. He also exhibited two portraits of Breton women painted on his return from a stay in Ploumanac'h (Côtesss d'Armor). In 1922, Vivrel appeared for the first time at the Salon de la Société Nationale des Beaux-Arts. After winning the Deldebat de Gonzalva prize in 1932, the following year he won a silver medal at the Salon des Artistes Français with "Le Temps des cerises". In 1934, Vivrel presented Bathers, the first in a series of large nudes exhibited at the Salon until 1943. The culmination of his research into the female nude, his 1939 "Baigneuses" won a gold medal at the Salon des Artistes Français. This final award crowned a silver medal won by Vivrel in 1937 at the Exposition Internationale des Arts et Techniques in Paris. Critics were unanimous in their praise of his talent, and in 1940, Louis Paillard wrote on the front page of the "Petit journal" of May 6, 1940: "André Vivrel, appears, I proclaim, as one of the best in this Salon [of French artists]". The exhibition "Vivrel - peintures récentes" (Vivrel - recent paintings), organized by the Galerie de Berri in May 1942, illustrated the diversity of Vivrel's genres in 31 paintings, but it was landscape that he explored most passionately. His land of choice was the Loiret, where his older brother Marcel owned a second home in Châtillon-sur-Loire, not far from Champtoceaux. In the aftermath of the Great War, destitute of money, he took refuge there to paint on the motif at lower cost. In the spring of 1926, Vivrel was again in Brittany, from where he brought back "Port de Camaret", exhibited at the 1926 Salon des Tuileries. A few years later, in 1934, he returned to Côtes d'Armor, where he composed seascapes that were also studies of the sky. Vivrel spent the summer of 1926 in Corsica. There, he produced watercolors that were exhibited in the autumn at the Galerie Georges Petit and then in New York. On each occasion, the critics were unanimous in praising their qualities: "André Vivrel's exhibition is the work of an artist who is sensitive and refined, while remaining larggge in his conceptions. His views of Corsica, Brittany and Paris are like his delicately harmonious flowers" ("La Semaine à Paris", November 12, 1926, p. 63). In 1928, he returned to the Midi. Capturing the warm, vibrant light of Provence, he painted "Le port de Saint-Tropez", exhibited the same year at the Salon des Indépendants. The Mediterranean theme was also evident at the Salon des Tuileries, where Vivrel presented harbor views and liners, evidence of a flourishing tourist industry. When Vivrel wasn't on the roads of France, he took Paris as his model. He painted the alleyways of the Montmartre hilltop and the capital's monuments, such as Notre-Dame Cathedral, which he painted in series, following Monet's example. He liked to linger on the banks of the Seine, which offered him many unusual views of the city and inspired paintings reminiscent of Albert Lebourg's Parisian landscapes. Painting until his last breath, André-Léon Vivrel died in Bonneville-sur-Touques on June 7, 1976.

Estim. 150 - 200 EUR

Lot 24 - ANDRÉ-LÉON VIVREL (1886-1976) - ANDRÉ-LÉON VIVREL (1886-1976) Reunion of two paintings Garden corner - Walkers on a path Oil on canvas The first signed lower left, the second signed with the signature stamp [non Lugt] lower right (Chancis, tears, perforations, missing paint layer and soiling) A set of two paintings, oil on canvas, the first one signed lower left, the second one stamped with the signature's mark lower right 41 x 33 cm - 16 1/8 x 13 in. 33 x 46 cm - 13 x 18 1/8 in. Provenance Private collection, France André-Léon Vivrel was born in Paris in 1886. At just 15, he decided to become a painter. He was supported in this by his mother, whom he describes as his first teacher, and his father, a wine merchant who won first prize for drawing in 1870. A pupil at the Lycée Louis-le-Grand, André-Léon Vivrel entered the Académie Julian in 1910. There, he studied with Paul Albert Laurens, and later with Marcel Baschet and Henri Royer at the École des Beaux-Arts. He rents a studio in Montmartre, at 65 rue Caulaincourt, just eight numbers from Auguste Renoir's. He first exhibited at the Salon des Artistes Français in 1913. Mobilized in 1914, he was awarded the Croix de Guerre for heroic conduct in 1917. After the war, he returned to his studio in Montmartre. He was awarded an honorable mention at the 1920 Salon, and the French government bought the two still lifes he exhibited at the Salon des indépendants. He also exhibited two portraits of Breton women painted on his return from a stay in Ploumanac'h (Côtesss d'Armor). In 1922, Vivrel appeared for the first time at the Salon de la Société Nationale des Beaux-Arts. After winning the Deldebat de Gonzalva prize in 1932, the following year he won a silver medal at the Salon des Artistes Français with "Le Temps des cerises". In 1934, Vivrel presented Bathers, the first in a series of large nudes exhibited at the Salon until 1943. The culmination of his research into the female nude, his 1939 "Baigneuses" won a gold medal at the Salon des Artistes Français. This final award crowned a silver medal won by Vivrel in 1937 at the Exposition Internationale des Arts et Techniques in Paris. Critics were unanimous in their praise of his talent, and in 1940, Louis Paillard wrote on the front page of the "Petit journal" of May 6, 1940: "André Vivrel, appears, I proclaim, as one of the best in this Salon [of French artists]". The exhibition "Vivrel - peintures récentes" (Vivrel - recent paintings), organized by the Galerie de Berri in May 1942, illustrated the diversity of Vivrel's genres in 31 paintings, but it was landscape that he explored most passionately. His land of choice was the Loiret, where his older brother Marcel owned a second home in Châtillon-sur-Loire, not far from Champtoceaux. In the aftermath of the Great War, destitute of money, he took refuge there to paint on the motif at lower cost. In the spring of 1926, Vivrel was again in Brittany, from where he brought back "Port de Camaret", exhibited at the 1926 Salon des Tuileries. A few years later, in 1934, he returned to Côtes d'Armor, where he composed seascapes that were also studies of the sky. Vivrel spent the summer of 1926 in Corsica. There, he produced watercolors that were exhibited in the autumn at the Galerie Georges Petit and then in New York. On each occasion, the critics were unanimous in praising their qualities: "André Vivrel's exhibition is the work of an artist who is sensitive and refined, while remaining larggge in his conceptions. His views of Corsica, Brittany and Paris are like his delicately harmonious flowers" ("La Semaine à Paris", November 12, 1926, p. 63). In 1928, he returned to the Midi. Capturing the warm, vibrant light of Provence, he painted "Le port de Saint-Tropez", exhibited the same year at the Salon des Indépendants. The Mediterranean theme was also evident at the Salon des Tuileries, where Vivrel presented harbor views and ocean liners, evidence of a flourishing tourist industry. When Vivrel wasn't on the roads of France, he took Paris as his model. He painted the alleyways of the Montmartre hilltop and the capital's monuments, such as Notre-Dame Cathedral, which he painted in series, following Monet's example. He liked to linger on the banks of the Seine, which offered him many unusual views of the city and inspired paintings reminiscent of Albert Lebourg's Parisian landscapes. Painting until his last breath, André-Léon Vivrel died in Bonneville-sur-Touques on June 7, 1976.

Estim. 80 - 120 EUR

Lot 25 - ANDRÉ-LÉON VIVREL (1886-1976) - ANDRÉ-LÉON VIVREL (1886-1976) Reunion of two paintings Personnage dans un paysage - Bords de rivière Oil on canvas Signed lower left (Soiling) A set of two paintings, oil on canvas, signed lower left 33 x 41 cm - 13 x 16 1/8 in. 33 x 41 cm - 13 x 16 1/8 in. Provenance Private collection, France André-Léon Vivrel was born in Paris in 1886. At just 15, he decided to become a painter. He was supported in this by his mother, whom he describes as his first teacher, and his father, a wine merchant who won first prize for drawing in 1870. A pupil at the Lycée Louis-le-Grand, André-Léon Vivrel entered the Académie Julian in 1910. There, he studied with Paul Albert Laurens, and later with Marcel Baschet and Henri Royer at the École des Beaux-Arts. He rents a studio in Montmartre, at 65 rue Caulaincourt, just eight numbers from Auguste Renoir's. He first exhibited at the Salon des Artistes Français in 1913. Mobilized in 1914, he was awarded the Croix de Guerre for heroic conduct in 1917. After the war, he returned to his studio in Montmartre. He was awarded an honorable mention at the 1920 Salon, and the French government bought the two still lifes he exhibited at the Salon des indépendants. He also exhibited two portraits of Breton women painted on his return from a stay in Ploumanac'h (Côtesss d'Armor). In 1922, Vivrel appeared for the first time at the Salon de la Société Nationale des Beaux-Arts. After winning the Deldebat de Gonzalva prize in 1932, the following year he won a silver medal at the Salon des Artistes Français with "Le Temps des cerises". In 1934, Vivrel presented Bathers, the first in a series of large nudes exhibited at the Salon until 1943. The culmination of his research into the female nude, his 1939 "Baigneuses" won a gold medal at the Salon des Artistes Français. This final award crowned a silver medal won by Vivrel in 1937 at the Exposition Internationale des Arts et Techniques in Paris. Critics were unanimous in their praise of his talent, and in 1940, Louis Paillard wrote on the front page of the "Petit journal" of May 6, 1940: "André Vivrel, appears, I proclaim, as one of the best in this Salon [of French artists]". The exhibition "Vivrel - peintures récentes" (Vivrel - recent paintings), organized by the Galerie de Berri in May 1942, illustrated the diversity of Vivrel's genres in 31 paintings, but it was landscape that he explored most passionately. His land of choice was the Loiret, where his older brother Marcel owned a second home in Châtillon-sur-Loire, not far from Champtoceaux. In the aftermath of the Great War, destitute of money, he took refuge there to paint on the motif at lower cost. In the spring of 1926, Vivrel was again in Brittany, from where he brought back "Port de Camaret", exhibited at the 1926 Salon des Tuileries. A few years later, in 1934, he returned to Côtes d'Armor, where he composed seascapes that were also studies of the sky. Vivrel spent the summer of 1926 in Corsica. There, he produced watercolors that were exhibited in the autumn at the Galerie Georges Petit and then in New York. On each occasion, the critics were unanimous in praising their qualities: "André Vivrel's exhibition is the work of an artist who is sensitive and refined, while remaining larggge in his conceptions. His views of Corsica, Brittany and Paris are like his delicately harmonious flowers" ("La Semaine à Paris", November 12, 1926, p. 63). In 1928, he returned to the Midi. Capturing the warm, vibrant light of Provence, he painted "Le port de Saint-Tropez", exhibited the same year at the Salon des Indépendants. The Mediterranean theme was also evident at the Salon des Tuileries, where Vivrel presented harbor views and ocean liners, evidence of a flourishing tourist industry. When Vivrel wasn't on the roads of France, he took Paris as his model. He painted the alleyways of the Montmartre hilltop and the capital's monuments, such as Notre-Dame Cathedral, which he painted in series, following Monet's example. He liked to linger on the banks of the Seine, which offered him many unusual views of the city and inspired paintings reminiscent of Albert Lebourg's Parisian landscapes. Painting until his last breath, André-Léon Vivrel died in Bonneville-sur-Touques on June 7, 1976.

Estim. 100 - 150 EUR

Lot 26 - ANDRÉ-LÉON VIVREL (1886-1976) - ANDRÉ-LÉON VIVREL (1886-1976) Reunion of two paintings Bouquets de fleurs Oil on canvas The first signed lower right, the second signed with the signature stamp [non Lugt] lower left (Soiling, open craquelure and lifting) A set of two paintings, oil on canvas, the first one signed lower right, the second one stamped with the signature's mark lower left 33 x 41 cm - 13 x 16 1/8 in. 33 x 41 cm - 13 x 16 1/8 in. Provenance Private collection, France André-Léon Vivrel was born in Paris in 1886. At just 15, he decided to become a painter. He was supported in this by his mother, whom he describes as his first teacher, and his father, a wine merchant who won first prize for drawing in 1870. A pupil at the Lycée Louis-le-Grand, André-Léon Vivrel entered the Académie Julian in 1910. There, he studied with Paul Albert Laurens, and later with Marcel Baschet and Henri Royer at the École des Beaux-Arts. He rents a studio in Montmartre, at 65 rue Caulaincourt, just eight numbers from Auguste Renoir's. He first exhibited at the Salon des Artistes Français in 1913. Mobilized in 1914, he was awarded the Croix de Guerre for heroic conduct in 1917. After the war, he returned to his studio in Montmartre. He was awarded an honorable mention at the 1920 Salon, and the French government bought the two still lifes he exhibited at the Salon des indépendants. He also exhibited two portraits of Breton women painted on his return from a stay in Ploumanac'h (Côtesss d'Armor). In 1922, Vivrel appeared for the first time at the Salon de la Société Nationale des Beaux-Arts. After winning the Deldebat de Gonzalva prize in 1932, the following year he won a silver medal at the Salon des Artistes Français with "Le Temps des cerises". In 1934, Vivrel presented Bathers, the first in a series of large nudes exhibited at the Salon until 1943. The culmination of his research into the female nude, his 1939 "Baigneuses" won a gold medal at the Salon des Artistes Français. This final award crowned a silver medal won by Vivrel in 1937 at the Exposition Internationale des Arts et Techniques in Paris. Critics were unanimous in their praise of his talent, and in 1940, Louis Paillard wrote on the front page of the "Petit journal" of May 6, 1940: "André Vivrel, appears, I proclaim, as one of the best in this Salon [of French artists]". The exhibition "Vivrel - peintures récentes" (Vivrel - recent paintings), organized by the Galerie de Berri in May 1942, illustrated the diversity of Vivrel's genres in 31 paintings, but it was landscape that he explored most passionately. His land of choice was the Loiret, where his older brother Marcel owned a second home in Châtillon-sur-Loire, not far from Champtoceaux. In the aftermath of the Great War, destitute of money, he took refuge there to paint on the motif at lower cost. In the spring of 1926, Vivrel was again in Brittany, from where he brought back "Port de Camaret", exhibited at the 1926 Salon des Tuileries. A few years later, in 1934, he returned to Côtes d'Armor, where he composed seascapes that were also studies of the sky. Vivrel spent the summer of 1926 in Corsica. There, he produced watercolors that were exhibited in the autumn at the Galerie Georges Petit and then in New York. On each occasion, the critics were unanimous in praising their qualities: "André Vivrel's exhibition is the work of an artist who is sensitive and refined, while remaining larggge in his conceptions. His views of Corsica, Brittany and Paris are like his delicately harmonious flowers" ("La Semaine à Paris", November 12, 1926, p. 63). In 1928, he returned to the Midi. Capturing the warm, vibrant light of Provence, he painted "Le port de Saint-Tropez", exhibited the same year at the Salon des Indépendants. The Mediterranean theme was also evident at the Salon des Tuileries, where Vivrel presented harbor views and ocean liners, evidence of a flourishing tourist industry. When Vivrel wasn't on the roads of France, he took Paris as his model. He painted the alleyways of the Montmartre hilltop and the capital's monuments, such as Notre-Dame Cathedral, which he painted in series, following Monet's example. He liked to linger on the banks of the Seine, which offered him many unusual views of the city and inspired paintings reminiscent of Albert Lebourg's Parisian landscapes. Painting until his last breath, André-Léon Vivrel died in Bonneville-sur-Touques on June 7, 1976.

Estim. 100 - 150 EUR

Lot 27 - ANDRÉ-LÉON VIVREL (1886-1976) - ANDRÉ-LÉON VIVREL (1886-1976) Reunion of two paintings Port scenes with boats Oil on canvas The first signed lower left, the second signed lower right (Small gaps in the paint layer and soiling) A set of two paintings, oil on canvas, the first one signed lower left, the second one signed lower right 33 x 41 cm - 13 x 16 1/8 in. 33 x 41 cm - 13 x 16 1/8 in. Provenance Private collection, France Note "This is an acute 'eye', which translates with undeniable constructive power, and without any false note of very close tones, the hollow paths, lonely roads and wet skies of Brittany." Gérald Schurr, "Les petits maîtres de la peinture, valeur de demain", Volume 2, Paris: Les Éditions de l'Amateur, 1972, pp. 135 and 138 André-Léon Vivrel was born in Paris in 1886. At just 15, he decided to become a painter. He was supported in this by his mother, whom he describes as his first teacher, and his father, a wine merchant who won first prize for drawing in 1870. A pupil at the Lycée Louis-le-Grand, André-Léon Vivrel entered the Académie Julian in 1910. There, he studied with Paul Albert Laurens, and later with Marcel Baschet and Henri Royer at the École des Beaux-Arts. He rents a studio in Montmartre, at 65 rue Caulaincourt, just eight numbers from Auguste Renoir's. He first exhibited at the Salon des Artistes Français in 1913. Mobilized in 1914, he was awarded the Croix de Guerre for heroic conduct in 1917. After the war, he returned to his studio in Montmartre. He was awarded an honorable mention at the 1920 Salon, and the French government bought the two still lifes he exhibited at the Salon des indépendants. He also exhibited two portraits of Breton women painted on his return from a stay in Ploumanac'h (Côtesss d'Armor). In 1922, Vivrel appeared for the first time at the Salon de la Société Nationale des Beaux-Arts. After winning the Deldebat de Gonzalva prize in 1932, the following year he won a silver medal at the Salon des Artistes Français with "Le Temps des cerises". In 1934, Vivrel presented Bathers, the first in a series of large nudes exhibited at the Salon until 1943. The culmination of his research into the female nude, his 1939 "Baigneuses" won a gold medal at the Salon des Artistes Français. This final award crowned a silver medal won by Vivrel in 1937 at the Exposition Internationale des Arts et Techniques in Paris. Critics were unanimous in their praise of his talent, and in 1940, Louis Paillard wrote on the front page of the "Petit journal" of May 6, 1940: "André Vivrel, appears, I proclaim, as one of the best in this Salon [of French artists]". The exhibition "Vivrel - peintures récentes" (Vivrel - recent paintings), organized by the Galerie de Berri in May 1942, illustrated the diversity of Vivrel's genres in 31 paintings, but it was landscape that he explored most passionately. His land of choice was the Loiret, where his older brother Marcel owned a second home in Châtillon-sur-Loire, not far from Champtoceaux. In the aftermath of the Great War, destitute of money, he took refuge there to paint on the motif at lower cost. In the spring of 1926, Vivrel was again in Brittany, from where he brought back "Port de Camaret", exhibited at the 1926 Salon des Tuileries. A few years later, in 1934, he returned to Côtes d'Armor, where he composed seascapes that were also studies of the sky. Vivrel spent the summer of 1926 in Corsica. There, he produced watercolors that were exhibited in the autumn at the Galerie Georges Petit and then in New York. On each occasion, the critics were unanimous in praising their qualities: "André Vivrel's exhibition is the work of an artist who is sensitive and refined, while remaining larggge in his conceptions. His views of Corsica, Brittany and Paris are like his delicately harmonious flowers" ("La Semaine à Paris", November 12, 1926, p. 63). In 1928, he returned to the Midi. Capturing the warm, vibrant light of Provence, he painted "Le port de Saint-Tropez", exhibited the same year at the Salon des Indépendants. The Mediterranean theme was also evident at the Salon des Tuileries, where Vivrel presented harbor views and ocean liners, evidence of a flourishing tourist industry. When Vivrel wasn't on the roads of France, he took Paris as his model. He painted the alleyways of the Montmartre hilltop and the capital's monuments, such as Notre-Dame Cathedral, which he painted in series, following Monet's example. He liked to linger on the banks of the Seine, which offered him many unusual views of the city and inspired paintings reminiscent of Albert Lebourg's Parisian landscapes. Painting until his last breath, André-Léon Vivrel died in Bonneville-sur-Touques on June 7, 1976.

Estim. 100 - 150 EUR

Lot 28 - ANDRÉ-LÉON VIVREL (1886-1976) - ANDRÉ-LÉON VIVREL (1886-1976) Reunion of two paintings Seaside Oil on canvas The first signed with the signature stamp [non Lugt] lower left, the second signed lower right (Discoloration and soiling) A set of two paintings, oil on canvas, the first one stamped with the signature's mark lower left, the second one signed lower right 22 x 35 cm - 8 5/8 x 13 3/4 in. 33 x 55 cm - 13 x 21 5/8 in. Provenance Private collection, France Note "This is an acute 'eye', which translates with undeniable constructive power, and without any false note of very close tones, the hollow paths, lonely roads and wet skies of Brittany." Gérald Schurr, "Les petits maîtres de la peinture, valeur de demain", Volume 2, Paris: Les Éditions de l'Amateur, 1972, pp. 135 and 138 André-Léon Vivrel was born in Paris in 1886. At just 15, he decided to become a painter. He was supported in this by his mother, whom he describes as his first teacher, and his father, a wine merchant who won first prize for drawing in 1870. A pupil at the Lycée Louis-le-Grand, André-Léon Vivrel entered the Académie Julian in 1910. There, he studied with Paul Albert Laurens, and later with Marcel Baschet and Henri Royer at the École des Beaux-Arts. He rents a studio in Montmartre, at 65 rue Caulaincourt, just eight numbers from Auguste Renoir's. He first exhibited at the Salon des Artistes Français in 1913. Mobilized in 1914, he was awarded the Croix de Guerre for heroic conduct in 1917. After the war, he returned to his studio in Montmartre. He was awarded an honorable mention at the 1920 Salon, and the French government bought the two still lifes he exhibited at the Salon des indépendants. He also exhibited two portraits of Breton women painted on his return from a stay in Ploumanac'h (Côtesss d'Armor). In 1922, Vivrel appeared for the first time at the Salon de la Société Nationale des Beaux-Arts. After winning the Deldebat de Gonzalva prize in 1932, the following year he won a silver medal at the Salon des Artistes Français with "Le Temps des cerises". In 1934, Vivrel presented Bathers, the first in a series of large nudes exhibited at the Salon until 1943. The culmination of his research into the female nude, his 1939 "Baigneuses" won a gold medal at the Salon des Artistes Français. This final award crowned a silver medal won by Vivrel in 1937 at the Exposition Internationale des Arts et Techniques in Paris. Critics were unanimous in their praise of his talent, and in 1940, Louis Paillard wrote on the front page of the "Petit journal" of May 6, 1940: "André Vivrel, appears, I proclaim, as one of the best in this Salon [of French artists]". The exhibition "Vivrel - peintures récentes" (Vivrel - recent paintings), organized by the Galerie de Berri in May 1942, illustrated the diversity of Vivrel's genres in 31 paintings, but it was landscape that he explored most passionately. His land of choice was the Loiret, where his older brother Marcel owned a second home in Châtillon-sur-Loire, not far from Champtoceaux. In the aftermath of the Great War, destitute of money, he took refuge there to paint on the motif at lower cost. In the spring of 1926, Vivrel was again in Brittany, from where he brought back "Port de Camaret", exhibited at the 1926 Salon des Tuileries. A few years later, in 1934, he returned to Côtes d'Armor, where he composed seascapes that were also studies of the sky. Vivrel spent the summer of 1926 in Corsica. There, he produced watercolors that were exhibited in the autumn at the Galerie Georges Petit and then in New York. On each occasion, the critics were unanimous in praising their qualities: "André Vivrel's exhibition is the work of an artist who is sensitive and refined, while remaining larggge in his conceptions. His views of Corsica, Brittany and Paris are like his delicately harmonious flowers" ("La Semaine à Paris", November 12, 1926, p. 63). In 1928, he returned to the Midi. Capturing the warm, vibrant light of Provence, he painted "Le port de Saint-Tropez", exhibited the same year at the Salon des Indépendants. The Mediterranean theme was also evident at the Salon des Tuileries, where Vivrel presented harbor views and ocean liners, evidence of a flourishing tourist industry. When Vivrel wasn't on the roads of France, he took Paris as his model. He painted the alleyways of the Montmartre hilltop and the capital's monuments, such as Notre-Dame Cathedral, which he painted in series, following Monet's example. He liked to linger on the banks of the Seine, which offered him many unusual views of the city and inspired paintings reminiscent of Albert Lebourg's Parisian landscapes. Painting until his last breath, André-Léon Vivrel died in Bonneville-s

Estim. 80 - 120 EUR

Lot 29 - ANDRÉ-LÉON VIVREL (1886-1976) - ANDRÉ-LÉON VIVREL (1886-1976) Reunion of two paintings Water lilies - River banks Oil on canvas The first signed upper left, the second signed lower left A set of two paintings, oil on canvas, the first one signed upper left, the second one signed lower left 55,5 x 33 cm - 21 7/8 x 13 in. 55,5 x 33 cm - 21 7/8 x 13 in. Provenance Private collection, France André-Léon Vivrel was born in Paris in 1886. At just 15, he decided to become a painter. He was supported in this by his mother, whom he describes as his first teacher, and his father, a wine merchant who won first prize for drawing in 1870. A pupil at the Lycée Louis-le-Grand, André-Léon Vivrel entered the Académie Julian in 1910. There, he studied with Paul Albert Laurens, and later with Marcel Baschet and Henri Royer at the École des Beaux-Arts. He rents a studio in Montmartre, at 65 rue Caulaincourt, just eight numbers from Auguste Renoir's. He first exhibited at the Salon des Artistes Français in 1913. Mobilized in 1914, he was awarded the Croix de Guerre for heroic conduct in 1917. After the war, he returned to his studio in Montmartre. He was awarded an honorable mention at the 1920 Salon, and the French government bought the two still lifes he exhibited at the Salon des indépendants. He also exhibited two portraits of Breton women painted on his return from a stay in Ploumanac'h (Côtesss d'Armor). In 1922, Vivrel appeared for the first time at the Salon de la Société Nationale des Beaux-Arts. After winning the Deldebat de Gonzalva prize in 1932, the following year he won a silver medal at the Salon des Artistes Français with "Le Temps des cerises". In 1934, Vivrel presented Bathers, the first in a series of large nudes exhibited at the Salon until 1943. The culmination of his research into the female nude, his 1939 "Baigneuses" won a gold medal at the Salon des Artistes Français. This final award crowned a silver medal won by Vivrel in 1937 at the Exposition Internationale des Arts et Techniques in Paris. Critics were unanimous in their praise of his talent, and in 1940, Louis Paillard wrote on the front page of the "Petit journal" of May 6, 1940: "André Vivrel, appears, I proclaim, as one of the best in this Salon [of French artists]". The exhibition "Vivrel - peintures récentes" (Vivrel - recent paintings), organized by the Galerie de Berri in May 1942, illustrated the diversity of Vivrel's genres in 31 paintings, but it was landscape that he explored most passionately. His land of choice was the Loiret, where his older brother Marcel owned a second home in Châtillon-sur-Loire, not far from Champtoceaux. In the aftermath of the Great War, destitute of money, he took refuge there to paint on the motif at lower cost. In the spring of 1926, Vivrel was again in Brittany, from where he brought back "Port de Camaret", exhibited at the 1926 Salon des Tuileries. A few years later, in 1934, he returned to Côtes d'Armor, where he composed seascapes that were also studies of the sky. Vivrel spent the summer of 1926 in Corsica. There, he produced watercolors that were exhibited in the autumn at the Galerie Georges Petit and then in New York. On each occasion, the critics were unanimous in praising their qualities: "André Vivrel's exhibition is the work of an artist who is sensitive and refined, while remaining larggge in his conceptions. His views of Corsica, Brittany and Paris are like his delicately harmonious flowers" ("La Semaine à Paris", November 12, 1926, p. 63). In 1928, he returned to the Midi. Capturing the warm, vibrant light of Provence, he painted "Le port de Saint-Tropez", exhibited the same year at the Salon des Indépendants. The Mediterranean theme was also evident at the Salon des Tuileries, where Vivrel presented harbor views and ocean liners, evidence of a flourishing tourist industry. When Vivrel wasn't on the roads of France, he took Paris as his model. He painted the alleyways of the Montmartre hilltop and the capital's monuments, such as Notre-Dame Cathedral, which he painted in series, following Monet's example. He liked to linger on the banks of the Seine, which offered him many unusual views of the city and inspired paintings reminiscent of Albert Lebourg's Parisian landscapes. Painting until his last breath, André-Léon Vivrel died in Bonneville-sur-Touques on June 7, 1976.

Estim. 120 - 180 EUR

Lot 30 - ANDRÉ-LÉON VIVREL (1886-1976) - ANDRÉ-LÉON VIVREL (1886-1976) Reunion of four paintings Heath - River banks Oil on canvas mounted on cardboard; oil on cardboard or oil on panel The first and second signed lower right, the third signed with the signature stamp [non Lugt] lower right and the third signed lower left. (Large arrow on the second, thumbtack holes at the top of the third, small gaps in the paint layer and soiling) A set of four paintings, oil on canvas laid on cardboard, oil on cardboard or oil on panel, the two first ones signed lower right, the third one stamped with the signature's mark lower right and the third one signed lower left 32 x 41 cm - 12 5/8 x 16 1/8 in. 26 x 35 cm - 10 ¼ x 13 3/4 in. 26,5 x 35 cm - 10 3/8 x 13 3/4 in. 27 x 34,5 cm - 10 5/8 x 13 5/8 in. Provenance Private collection, France Note "This is an acute 'eye', which translates with undeniable constructive power, and without any false note of very close tones, the hollow paths, lonely roads and wet skies of Brittany." Gérald Schurr, "Les petits maîtres de la peinture, valeur de demain", Volume 2, Paris: Les Éditions de l'Amateur, 1972, pp. 135 and 138 André-Léon Vivrel was born in Paris in 1886. At just 15, he decided to become a painter. He was supported in this by his mother, whom he describes as his first teacher, and his father, a wine merchant who won first prize for drawing in 1870. A pupil at the Lycée Louis-le-Grand, André-Léon Vivrel entered the Académie Julian in 1910. There, he studied with Paul Albert Laurens, and later with Marcel Baschet and Henri Royer at the École des Beaux-Arts. He rents a studio in Montmartre, at 65 rue Caulaincourt, just eight numbers from Auguste Renoir's. He first exhibited at the Salon des Artistes Français in 1913. Mobilized in 1914, he was awarded the Croix de Guerre for heroic conduct in 1917. After the war, he returned to his studio in Montmartre. He was awarded an honorable mention at the 1920 Salon, and the French government bought the two still lifes he exhibited at the Salon des indépendants. He also exhibited two portraits of Breton women painted on his return from a stay in Ploumanac'h (Côtesss d'Armor). In 1922, Vivrel appeared for the first time at the Salon de la Société Nationale des Beaux-Arts. After winning the Deldebat de Gonzalva prize in 1932, the following year he won a silver medal at the Salon des Artistes Français with "Le Temps des cerises". In 1934, Vivrel presented Bathers, the first in a series of large nudes exhibited at the Salon until 1943. The culmination of his research into the female nude, his 1939 "Baigneuses" won a gold medal at the Salon des Artistes Français. This final award crowned a silver medal won by Vivrel in 1937 at the Exposition Internationale des Arts et Techniques in Paris. Critics were unanimous in their praise of his talent, and in 1940, Louis Paillard wrote on the front page of the "Petit journal" of May 6, 1940: "André Vivrel, appears, I proclaim, as one of the best in this Salon [of French artists]". The exhibition "Vivrel - peintures récentes" (Vivrel - recent paintings), organized by the Galerie de Berri in May 1942, illustrated the diversity of Vivrel's genres in 31 paintings, but it was landscape that he explored most passionately. His land of choice was the Loiret, where his older brother Marcel owned a second home in Châtillon-sur-Loire, not far from Champtoceaux. In the aftermath of the Great War, destitute of money, he took refuge there to paint on the motif at lower cost. In the spring of 1926, Vivrel was again in Brittany, from where he brought back "Port de Camaret", exhibited at the 1926 Salon des Tuileries. A few years later, in 1934, he returned to Côtes d'Armor, where he composed seascapes that were also studies of the sky. Vivrel spent the summer of 1926 in Corsica. There, he produced watercolors that were exhibited in the autumn at the Galerie Georges Petit and then in New York. On each occasion, the critics were unanimous in praising their qualities: "André Vivrel's exhibition is the work of an artist who is sensitive and refined, while remaining larggge in his conceptions. His views of Corsica, Brittany and Paris are like his delicately harmonious flowers" ("La Semaine à Paris", November 12, 1926, p. 63). In 1928, he returned to the Midi. Capturing the warm, vibrant light of Provence, he painted "Le port de Saint-Tropez", exhibited the same year at the Salon des Indépendants. The Mediterranean theme was also evident at the Salon des Tuileries, where Vivrel presented harbor views and ocean liners, evidence of a flourishing tourist industry. When Vivrel wasn't on the roads of France, he took Paris as his model. He painted the alleyways of the Montmartre hilltop and the m

Estim. 120 - 180 EUR

Lot 31 - ANDRÉ-LÉON VIVREL (1886-1976) - ANDRÉ-LÉON VIVREL (1886-1976) Reunion of three paintings Country landscapes Oil on canvas Signed lower left (Soiling) A set of three paintings, oil on canvas, signed lower left 24 x 41 cm - 9 1/2 x 16 1/8 in 22 x 41 cm - 8 5/8 x 16 1/8 in. 19,5 x 24 cm - 7 5/8 x 9 1/2 in. Provenance Private collection, France André-Léon Vivrel was born in Paris in 1886. At just 15, he decided to become a painter. He was supported in this by his mother, whom he describes as his first teacher, and his father, a wine merchant who won first prize for drawing in 1870. A pupil at the Lycée Louis-le-Grand, André-Léon Vivrel entered the Académie Julian in 1910. There, he studied with Paul Albert Laurens, and later with Marcel Baschet and Henri Royer at the École des Beaux-Arts. He rents a studio in Montmartre, at 65 rue Caulaincourt, just eight numbers from Auguste Renoir's. He first exhibited at the Salon des Artistes Français in 1913. Mobilized in 1914, he was awarded the Croix de Guerre for heroic conduct in 1917. After the war, he returned to his studio in Montmartre. He was awarded an honorable mention at the 1920 Salon, and the French government bought the two still lifes he exhibited at the Salon des indépendants. He also exhibited two portraits of Breton women painted on his return from a stay in Ploumanac'h (Côtesss d'Armor). In 1922, Vivrel appeared for the first time at the Salon de la Société Nationale des Beaux-Arts. After winning the Deldebat de Gonzalva prize in 1932, the following year he won a silver medal at the Salon des Artistes Français with "Le Temps des cerises". In 1934, Vivrel presented Bathers, the first in a series of large nudes exhibited at the Salon until 1943. The culmination of his research into the female nude, his 1939 "Baigneuses" won a gold medal at the Salon des Artistes Français. This final award crowned a silver medal won by Vivrel in 1937 at the Exposition Internationale des Arts et Techniques in Paris. Critics were unanimous in their praise of his talent, and in 1940, Louis Paillard wrote on the front page of the "Petit journal" of May 6, 1940: "André Vivrel, appears, I proclaim, as one of the best in this Salon [of French artists]". The exhibition "Vivrel - peintures récentes" (Vivrel - recent paintings), organized by the Galerie de Berri in May 1942, illustrated the diversity of Vivrel's genres in 31 paintings, but it was landscape that he explored most passionately. His land of choice was the Loiret, where his older brother Marcel owned a second home in Châtillon-sur-Loire, not far from Champtoceaux. In the aftermath of the Great War, destitute of money, he took refuge there to paint on the motif at lower cost. In the spring of 1926, Vivrel was again in Brittany, from where he brought back "Port de Camaret", exhibited at the 1926 Salon des Tuileries. A few years later, in 1934, he returned to Côtes d'Armor, where he composed seascapes that were also studies of the sky. Vivrel spent the summer of 1926 in Corsica. There, he produced watercolors that were exhibited in the autumn at the Galerie Georges Petit and then in New York. On each occasion, the critics were unanimous in praising their qualities: "André Vivrel's exhibition is the work of an artist who is sensitive and refined, while remaining larggge in his conceptions. His views of Corsica, Brittany and Paris are like his delicately harmonious flowers" ("La Semaine à Paris", November 12, 1926, p. 63). In 1928, he returned to the Midi. Capturing the warm, vibrant light of Provence, he painted "Le port de Saint-Tropez", exhibited the same year at the Salon des Indépendants. The Mediterranean theme was also evident at the Salon des Tuileries, where Vivrel presented harbor views and ocean liners, evidence of a flourishing tourist industry. When Vivrel wasn't on the roads of France, he took Paris as his model. He painted the alleyways of the Montmartre hilltop and the capital's monuments, such as Notre-Dame Cathedral, which he painted in series, following Monet's example. He liked to linger on the banks of the Seine, which offered him many unusual views of the city and inspired paintings reminiscent of Albert Lebourg's Parisian landscapes. Painting until his last breath, André-Léon Vivrel died in Bonneville-sur-Touques on June 7, 1976.

Estim. 120 - 180 EUR

Lot 32 - RAYMOND FEUILLATTE (1901-1971) - RAYMOND FEUILLATTE (1901-1971) Woman seated on a sofa Oil on canvas Annotated 'Raymond Feuillatte/Neuilly-S-Seine' on the stretcher Incorrectly stamped with the signature 'Vivrel' [not Lugt] lower right (Chanci, missing paint layers and restorations) Oil on canvas, wrongly bears the 'Vivrel' signature's mark lower right, inscribed 'Raymond Feuillatte/Neuilly-S-Seine' on the stretcher 55 x 46 cm - 21 5/8 x 18 1/8 in. Provenance Private collection, France

Estim. 40 - 60 EUR

Lot 33 - MICHAUT (XIXE-XXE SIÈCLE) - MICHAUT (NINETEENTH-TWENTIETH CENTURY) Archer in Training, 187[7?] Oil on panel Signed and dated '[18]7[7?]' lower right Oil on panel, signed and dated '[18]7[7?]' lower right 17 x 31 cm - 6 3/4 x 12 1/4 in. Provenance Private collection, France

Estim. 150 - 200 EUR

Lot 34 - D'APRÈS FRANÇOIS-MARIE FIRMIN-GIRARD - AFTER FRANÇOIS-MARIE FIRMIN-GIRARD The Godmother's Garden Oil on etching mounted on panel Annotated 'D'après Firmin-Girard' lower left and 'Kossbuhl' lower right Oil on print laid on panel, inscribed 'D'après Firmin-Girard' lower left and 'Kossbuhl' lower right 13 x 9,5 cm - 5 1/8 x 3 3/4 in. Provenance Private collection, France

Estim. 150 - 200 EUR

Lot 35 - FRANÇOIS JACOBS (1832-1887) - FRANÇOIS JACOBS (1832-1887) Young woman with pearl necklace Oil on canvas Signed lower right (Perforation and small gaps in the paint layer) Oil on canvas, signed lower right 83 x 56,5 cm - 32 5/8 x 22 1/4 in. Provenance Private collection, Belgium

Estim. 800 - 1 200 EUR

Lot 36 - ADOLPHE LELEUX (1812-1891) - ADOLPHE LELEUX (1812-1891) Couture at the Château de Crénille salon, Seine-et-Marne, 1876 Oil on canvas Signed and dated '1876' lower right (Lining and old restorations) Oil on lined canvas, signed and dated '1876' lower right 54 x 76 cm - 21 1/4 x 29 7/8 in. Provenance Private collection, Belgium Exhibition Possibly: Salon, Paris, Palais des Champs-Élysées, 1876, n°1267 (titled 'À Crénille (Seine-et-Marne)')

Estim. 1 000 - 1 500 EUR

Lot 37 - ATTRIBUÉ À EDGARD MAXENCE - ATTRIBUTED TO EDGARD MAXENCE Woman at prayer in front of a recumbent tomb Charcoal and red chalk on paper Signed lower right Black and red chalk on paper, signed lower right 37,8 x 28 cm - 14 7/8 x 11 in. Provenance - Sale, Les Trésors d'Actéon #12, Artefact Enchères, Lille, July 2, 2022, lot 210 (as 'Attributed to Edgar Maxence' and titled 'Femme à la prière') - Sale, Classique, Drouot Estimations, Paris, Hôtel Drouot, November 25, 2022, lot 28 (as 'Edgard Maxence' and titled 'Femme en prière devant un tombeau') - Private collection, France (acquired at previous sale) Note The motif of the woman, depicted with hands clasped in prayer in a medieval context, is recurrent in the work of Edgard Maxence. See e.g. 'Sérénité', oil on wood, Salon 1912, deposited by the Musée d'Orsay with the Musée Sainte-Croix de Poitiers (LUX 959).

Estim. 600 - 800 EUR

Lot 38 - ROBERT MOLS (1848-1903) - ROBERT MOLS (1848-1903) Busy street in Fécamp, Normandy Watercolor, ink and graphite on paper Signed lower right (Yellowing, accidents and old restorations) Watercolor, ink and graphite on paper, signed lower right 39,5 x 51,5 cm - 15 1/2 x 20 1/4 in Provenance Private collection, France (by descent)

Estim. 300 - 500 EUR

Lot 39 - ÉLISABETH SONREL (1874-1953) - ÉLISABETH SONREL (1874-1953) Young Breton woman and her child Watercolor and graphite on paper Signed lower right In original frame (minor accidents) Watercolor and graphite on paper, signed lower right, original frame 27.5 x 35.5 cm - 10 7/8 x 14 in. Provenance - Private collection, France - Acquired from the latter

Estim. 3 000 - 5 000 EUR

Lot 40 - ROBERT MOLS (1848-1903) - ROBERT MOLS (1848-1903) View of Le Havre with the old Musée des Beaux-Arts Oil on panel Signed lower right Oil on panel, signed lower right 21.5 x 47 cm - 8 1/2 x 18 1/2 in Provenance Private collection, France (by descent)

Estim. 600 - 800 EUR

Lot 41 - LOUIS METTLING (1847-1904) - LOUIS METTLING (1847-1904) Women in the garden with their pet dogs Oil on panel Signed lower left Oil on panel, signed lower left 22,5 x 14,5 cm - 8 7/8 x 5 3/4 in. Provenance Private collection, France (by descent)

Estim. 1 000 - 1 500 EUR

Lot 42 - ÉCOLE DU XIXE SIÈCLE - NINETEENTH-CENTURY SCHOOL Stopover in the forest, 1864 Oil on panel Monogrammed and dated '1864' lower left Oil on panel, signed with a monogram and dated '1864' lower left 32 x 37,5 cm - 12 5/8 x 14 3/4 in. Provenance Private collection, Belgium

Estim. 100 - 150 EUR

Lot 43 - HILAIRE BALS (XXE SIÈCLE) - HILAIRE BALS (20TH CENTURY) Rooster and hens near a pond Oil on panel Signed lower right Signed a second time on the reverse Oil on panel, signed lower right, signed again on the reverse 18 x 23,5 cm - 7 1/8 x 9 1/4 in. Provenance Private collection, Belgium

Estim. 200 - 300 EUR

Lot 44 - ÉCOLE MODERNE - MODERN SCHOOL Portrait of a little girl with a basket full of flowers Mixed media on paper Slight trace of signature lower right Annotated 'Montesquiou' on a label on the back of the frame Mixed media on paper, light trace of a signature lower right, inscribed 'Montesquiou' on a label on the back of the framing 38,5 x 30 cm (ovale) - 15 1/8 x 11 3/4 in. (oval) Provenance Private collection, France

Estim. 200 - 300 EUR

Lot 45 - ISIDORE ROSENSTOCK (1880-1956) - ISIDORE ROSENSTOCK (1880-1956) Pond and statues in the gardens of the Château de Versailles Watercolor on paper mounted on cardboard Signed lower left (Yellowed, worn and framed without glass) Watercolor on paper laid on cardboard, signed lower left 29 x 39 cm - 11 3/8 x 15 3/8 in. Provenance Private collection, France

Estim. 100 - 150 EUR

Lot 46 - ÉCOLE SYMBOLISTE - SYMBOLIST SCHOOL The Horsemen of the Apocalypse Gouache and charcoal on paper Unsigned Inscribed 'Moreau (Gustave)' on the mat Gouache and black chalk on paper, unsigned, inscribed 'Moreau (Gustave)' on the mat 28 x 17,8 cm - 11 x 7 in. Provenance Private collection, France

Estim. 300 - 500 EUR

Lot 47 - EUGÈNE HABERT (1842-1916) - EUGÈNE HABERT (1842-1916) Muse at dusk Oil on panel Signed lower left (Old restorations) Oil on panel, signed lower left 61 x 50 cm - 24 x 19 3/4 in. Provenance Private collection, France

Estim. 500 - 700 EUR

Lot 48 - GEORGES SCOOT (1873-1943) - GEORGES SCOOT (1873-1943) Colonial troops on the march, 1916 Enhanced process on paper Signed and dated '1916' in the plate lower right Enhanced print on paper, signed and dated '1916' in the plate lower right 22 x 35 cm - 8 5/8 x 13 3/4 in. Provenance Private collection, France

Estim. 20 - 30 EUR

Lot 49 - ÉCOLE SCANDINAVE DU XIXE SIÈCLE - NINETEENTH-CENTURY SCANDINAVIAN SCHOOL Reindeer herding family in a fjord, 1866 Watercolor and gouache on paper Signed '[Alb?] Berg' and dated '1866' lower right (Yellowing and foxing) Watercolor and gouache on paper, signed '[Alb?] Berg' and dated '1866' lower right 23 x 50 cm - 9 x 19 3/4 in. Provenance Private collection, France (by descent)

Estim. 100 - 150 EUR

Lot 50 - JAN STOBBAERTS (1838-1914) - JAN STOBBAERTS (1838-1914) The dog shearer, ca. 1875 Oil on canvas Signed lower left (Slight lifting and small gaps in the paint layer) Oil on canvas, signed lower left 48 x 73,5 cm - 18 7/8 x 29 in. Provenance Private collection, France Related work Jan Stobbaerts, (1838-1914), The Dog Shearer, circa 1875, oil on canvas, signed lower left, 98 x 125 cm, exhibited at the 1875 Brussels Salon, in. Sale, Impressionist & Modern Art, Aguttes, Neuilly-sur-Seine, March 13, 2024, lot 43

Estim. 1 000 - 1 500 EUR

Lot 51 - ANTOINE VOLLON (1833-1900) - ANTOINE VOLLON (1833-1900) Still life with oranges and oriental coffee pot Oil on panel Signed lower right (Gaps in the paint layer and old restorations) Oil on panel, signed lower right 23,8 x 33 cm - 9 3/8 x 13 in. Provenance Private collection, France (by descent)

Estim. 400 - 600 EUR

Lot 52 - DANS LE GOÛT D'HONORÉ DAUMIER - IN THE STYLE OF HONORÉ DAUMIER Bust of peasants Charcoal and white chalk on paper Unsigned (Fold) Black chalk and white chalk on paper, unsigned 19 x 22,5 cm - 7 1/2 x 8 7/8 in. Provenance Private collection, France

Estim. 100 - 150 EUR

Lot 53 - PAUL LECOMTE (1842-1920) - PAUL LECOMTE (1842-1920) Country landscape at home Oil on canvas Signed lower left (Lining and old restorations) Oil on lined canvas, signed lower left 38 x 55,5 cm - 15 x 21 7/8 in. Provenance Private collection, France (by descent)

Estim. 500 - 700 EUR

Lot 54 - ZELIA-MARIA KLERX (XIXE-XXE SIÈCLE) - ZELIA-MARIA KLERX (19TH-20TH CENTURY) Pair of paintings Jeux de chatons persans - Jeux de griffons bruxellois Oil on canvas Signed lower right (Small gaps in the paint layer, lifting and one of the frames very damaged) A pair of paintings, oil on canvas, signed lower right 42 x 61 cm - 16 1/2 x 24 in. Provenance Private collection, Belgium

Estim. 100 - 150 EUR

Lot 55 - LUIGI G. BALDERO (XIXE-XXE SIÈCLE) - LUIGI G. BALDERO (19TH-20TH CENTURY) Reunion of two paintings forming pendants Chess players in a tavern - Card players in a tavern Oil on canvas Signed lower right (Restoration with piece on the back of one) A set of two paintings, oil on canvas, signed lower right 38,5 x 46,5 cm - 15 1/8 x 18 1/4 in. Provenance Private collection, France

Estim. 300 - 500 EUR

Lot 56 - ENTOURAGE DE STANISLAS LÉPINE - ENTOURAGE OF STANISLAS LÉPINE Winter landscape with pond Oil on canvas Apocryphal signature and date '1876' lower left Apocryphal signature on back Oil on canvas, apocryphal signature and apocryphal '1876' date lower left, apocryphal signature on the reverse 35 x 47,5 cm - 13 3/4 x 18 3/4 in. Provenance Private collection, France (by descent)

Estim. 200 - 300 EUR

Lot 57 - ENTOURAGE DE CHARLES JACQUE - ENTOURAGE OF CHARLES JACQUE Rooster and hens Oil on panel Unsigned Annotated 'Charles Jacque' with armorial wax stamp on the back (Old restorations in the backgrounds) Oil on panel, unsigned, inscribed 'Charles Jacque' with an armorial wax seal on the reverse 14 x 22 cm - 5 1/2 x 8 5/8 in. Provenance Private collection, France

Estim. 300 - 500 EUR

Lot 58 - CORNELIS RAAPHORST (1875-1954) - CORNELIS RAAPHORST (1875-1954) Games with kittens Oil on canvas Signed lower left (Small lacuna in the paint layer) Oil on canvas, signed lower left 50 x 70 cm - 19 3/4 x 27 1/2 in. Provenance Private collection, Belgium

Estim. 1 500 - 2 000 EUR

Lot 59 - HENRY FUGÈRE (1872-1944) - HENRY FUGÈRE (1872-1944) Standing worker Bronze with brown patina Signed on the terrace (Damage to the left arm, missing cartel and rubbing) Bonze with black patina, signed on the base 52,5 cm - 20 5/8 in. Provenance Private collection, Belgium

Estim. 500 - 700 EUR

Lot 60 - D'APRÈS HENRI DE TOULOUSE-LAUTREC - AFTER HENRI DE TOULOUSE-LAUTREC Ces dames or Women in the brothel Oil on canvas Unsigned (Lining and accidents) Oil on lined canvas, unsigned 46 x 61 cm - 18 1/8 x 24 in. Provenance Private collection, France (by descent) Note This painting is a partial copy with variants of the work in the Magyar Nemzeti Galéria (Hungarian National Gallery), Budapest (356.B).

Estim. 200 - 300 EUR

Lot 61 - CLAUDE FIRMIN (1864-1944) - CLAUDE FIRMIN (1864-1944) Millstones in a field Pastel on cardboard Signed lower left Pastel on cardboard, signed lower left 46 x 61 cm - 18 1/8 x 24 in. Provenance Private collection, France

Estim. 100 - 150 EUR

Lot 62 - CHARLES CAMOIN (1879-1965) - CHARLES CAMOIN (1879-1965) Portrait of a woman in bust form Pastel and graphite on paper Signed lower right Pastel and graphite on paper, signed lower right 13 x 10 cm - 5 1/8 x 4 in. The authenticity of this work has been confirmed by the Camoin Archives. Provenance Private collection, France

Estim. 300 - 500 EUR

Lot 63 - ISABELLE DE GANAY (NÉE EN 1960) - ISABELLE DE GANAY (B. 1960) Le Vieux-Bassin, Honfleur Oil on canvas Signed lower right Oil on canvas, signed lower right 65 x 81 cm - 25 5/8 x 31 7/8 in. Provenance - Sale, untitled, Deauville Enchères, Deauville, November 16, 2020, lot 315 (titled 'Honfleur, la Capitainerie) - Private collection, France (acquired in previous sale)

Estim. 150 - 200 EUR

Lot 64 - DAVID WOODLOCK (1842-1929) - DAVID WOODLOCK (1842-1929) At the cottage door Watercolor on paper Signed lower right Watercolor on paper, signed lower right 29 x 18,5 cm - 11 3/8 x 7 1/4 in. Provenance Private collection, France

Estim. 200 - 300 EUR

Lot 65 - CHARLES LEPLAE (1903-1961) - CHARLES LEPLAE (1903-1961) Seated woman, 1935 Bronze with dark brown patina Signed, dated '[19]35' and numbered on XI on the terrace Foundry stamp 'Batardy/cire perdue/Bruxelles' below Model created in 1935 Bronze with dark brown patina, signed, dated '[19]35' and numbered of XI on the base, stamped with the 'Batardy/cire perdue/Bruxelles' mark lower. 21 cm - 8 1/4 in. Provenance Private collection, Belgium (by descent)

Estim. 500 - 700 EUR

Lot 66 - RUDOLF PLEISSNER (1889-1977) - RUDOLF PLEISSNER (1889-1977) City in winter Oil on canvas Signed lower right (Small gaps in the paint layer) Oil on canvas, signed lower right 47 x 67,5 cm - 18 1/2 x 26 5/8 in. Provenance Private collection, France Note Rudolf Pleissner was a German painter born in Chemnitz in 1889, and a pupil of Hugo von Habermann. He is renowned for his city views, which he treated in a style close to that of Eugène Galien-Laloue (1854-1941) or Édouard Cortès (1882-1969).

Estim. 500 - 700 EUR

Lot 67 - CHARLES LAPIERRE (1868-1944) - CHARLES LAPIERRE (1868-1944) Reunion of two paintings Danseuse debout (Standing Dancer), 1890 - Danseuse assise (Seated Dancer), 1891 Oil on canvas The first signed lower right and dated '1890' lower left The second signed lower left and dated '1891' lower right (Old restorations) A set of two paintings, oil on canvas, the first one signed lower right and dated '1890' lower left, the second one signed lower left and dated '1891' lower right 41 x 27,5 cm - 16 1/8 x 10 7/8 in. Provenance Private collection, France

Estim. 700 - 900 EUR

Lot 68 - LOUIS RAOUL GUIRAUD (1888-1976) - LOUIS RAOUL GUIRAUD (1888-1976) View of the port of Marseille with Notre-Dame de la Garde, 1939 Oil on canvas board Signed and dated '1939' lower right Oil on canvas cardboard, signed and dated '1939' lower right 37 x 46 cm - 14 5/8 x 18 1/8 in. Provenance Private collection, France

Estim. 150 - 200 EUR

Lot 69 - OTOLIA KRASZEWSKA (1859-1938) - OTOLIA KRASZEWSKA (1859-1938) Woman on a couch Oil on canvas Signed lower right Material supplier's stamp 'Adrian Brügger/München' on stretcher (Slight dent in the back, scratches and soiling) Oil on canvas, signed lower right, stamped with the 'Adrian Brügger/München' material supplier mark on the stretcher 56,5 x 46,5 cm - 22 1/4 x 18 1/4 in. Provenance - Private collection, France - Acquired from the latter

Estim. 800 - 1 200 EUR

Lot 70 - TONY VERGNOLET (1842-1900) - TONY VERGNOLET (1842-1900) Rocks at Beg-Meil, Brittany Graphite and colored pencil on paper Signed with initials lower left Graphite and colored pencils on paper, signed with the artist's initials lower left 16,5 x 22,5 cm - 6 1/2 x 8 7/8 in. Provenance Private collection, France

Estim. 60 - 80 EUR

Lot 71 - TONY VERGNOLET (1842-1900) - TONY VERGNOLET (1842-1900) Dublin Irish woman with striped kerchief, 1866 Ink and gouache on paper Signed, dated '1866' and located lower left (Yellowed) Ink and gouache on paper, signed, dated '1866' and located lower left 17,5 x 23 cm - 6 7/8 x 9 in. Provenance Private collection, France

Estim. 40 - 60 EUR

Lot 72 - GUERO (XXE SIÈCLE) - GUERO (20TH CENTURY) Bust of Ludwig van Beethoven Edition terracotta with patina Signed (Minor patina shifts) Patinated terracotta, signed 28 cm - 11 in. Provenance Private collection, France

Estim. 80 - 120 EUR

Lot 73 - FERDINAND FARGEOT (1880-1957) - FERDINAND FARGEOT (1880-1957) Reunion of three works Élégantes dans un salon Gouache on paper Signed lower right Gouache on paper, signed lower right 13 x 13 cm - 5 1/8 x 5 1/8 in Women and child in a living room Gouache on paper Signed lower right Gouache on paper, signed lower right 13 x 13 cm - 5 1/8 x 5 1/8 in Man riding a bull Sanguine and watercolor on varnished panel Signed lower right Red chalk, watercolor and varnish on panel, signed lower right 25,5 x 25,5 cm - 10 x 10 in. Provenance Artist's family, France (by descent)

Estim. 200 - 300 EUR

Lot 74 - FERDINAND FARGEOT (1880-1957) - FERDINAND FARGEOT (1880-1957) Meeting of three pastels Walk in the Luxembourg Gardens, circa 1937 Pastel on cardboard Signed lower right Pastel on cardboard, signed lower right 25 x 25 cm - 9 7/8 x 9 7/8 in Strollers near Lyon's historic courthouse Pastel on cardboard Signed lower left Pastel on cardboard, signed lower left 25 x 25 cm - 9 7/8 x 9 7/8 in Monument à l'antique au bord de l'eau, circa 1928 Pastel on cardboard Signed lower left Dedicated and signed a second time on the back Pastel on cardboard, signed lower left, dedicated and signed again on the reverse 50 x 50 cm - 19 3/4 x 19 3/4 in. Provenance Artist's family, France (by descent)

Estim. 300 - 500 EUR

Lot 75 - FERDINAND FARGEOT (1880-1957) - FERDINAND FARGEOT (1880-1957) Meeting of three pastels Woman in white on a red sofa Pastel on cardboard Signed lower left Pastel on cardboard, signed lower left 37,5 x 46,5 cm - 14 3/4 x 18 1/4 in. Woman with bouquet in an interior Pastel on cardboard Signed lower left Pastel on cardboard, signed lower left 25 x 25 cm - 9 7/8 x 9 7/8 in Bouquet of roses in a vase Pastel on cardboard Signed lower left Dedicated and signed a second time on the reverse Pastel on cardboard, signed lower left, dedicated and signed again on the reverse 39 x 31 cm - 15 3/8 x 12 1/4 in. Provenance Artist's family, France (by descent)

Estim. 300 - 500 EUR

Lot 76 - FERDINAND FARGEOT (1880-1957) - FERDINAND FARGEOT (1880-1957) Reunion of three works Elegant girls, child and musician in the garden Pastel on cardboard Signed lower right Pastel on cardboard, signed lower right 41,5 x 33 cm - 16 3/8 x 13 in. Characters from the Italian Comedy, 1943 Oil on Isorel Signed lower left Titled and dated '1943' on back Oil on hardboard, signed lower left, titled and dated ' 1943' on the reverse 24 x 22 cm - 9 1/2 x 8 5/8 in. The musicians Oil on canvas Signed lower right (missing paint layer) Oil on canvas, signed lower right 27 x 22,5 cm - 10 5/8 x 8 7/8 in. Provenance Artist's family, France (by descent)

Estim. 300 - 500 EUR

Lot 77 - FERDINAND FARGEOT (1880-1957) - FERDINAND FARGEOT (1880-1957) Reunion of two paintings Paysage à la barrière Oil on canvas Signed lower left Oil on canvas, signed lower left 46 x 55 cm - 18 1/8 x 21 5/8 in. Couple of lovers in a landscape, circa 1932 Oil on panel Signed lower left Oil on panel, signed lower left 22 x 27 cm - 8 5/8 x 10 5/8 in. Provenance Artist's family, France (by descent)

Estim. 300 - 500 EUR

Lot 78 - RENÉ FONTAYNE (1892-1952) - RENÉ FONTAYNE (1892-1952) White house in the gardens, Limoux (Aude) Oil on canvas Signed lower left Titled on the stretcher (Scratches) Oil on canvas, signed lower left, titled on the stretcher 54 x 65 cm - 21 1/4 x 25 5/8 in. Provenance Private collection, France

Estim. 600 - 800 EUR

Lot 79 - RENÉ FONTAYNE (1892-1952) - RENÉ FONTAYNE (1892-1952) The rocks at Four, Gard Oil on canvas Signed lower left (Old restoration) Oil on canvas, signed lower left 46 x 55 cm - 18 1/8 x 21 5/8 in. Provenance Private collection, France

Estim. 400 - 600 EUR

Lot 80 - ADRIEN HAMON (1875-163) - ADRIEN HAMON (1875-163) La Gourgue near Saint-Antonin, Tarn-et-Garonne Oil on canvas Signed lower right Oil on canvas, signed lower right 32,5 x 41 cm - 12 3/4 x 16 1/8 in. Provenance Private collection, France

Estim. 500 - 700 EUR

Lot 81 - GIUSEPPE BESSI (1857-1922) - GIUSEPPE BESSI (1857-1922) Oriental dancer Edition bronze with brown and green double patina Signed with the founder's stamp 'FBL' and the words 'cire perdue/bronze'. Wooden base (Scratches, slight patina wear and small traces of oxidation) Bronze with brown and green patina, signed, stamped with the 'FBL' foundry mark and inscribed 'cire perdue/bronze', wooden stand 33 cm (sans le socle) - 13 in. (without the stand) Provenance Private collection, Belgium

Estim. 600 - 800 EUR

Lot 82 - JOSEF HEGENBARTH (1884-1962) - JOSEF HEGENBARTH (1884-1962) Toiletteszene (2 Fassung) Etching on paper Signed lower right Titled and annotated lower left (Small tears in margins and creases) Etching on paper, signed lower right, titled and inscribed lower left 34 x 31 cm - 13 3/8 x 12 1/4 in. Provenance Private collection, France (by descent)

Estim. 200 - 300 EUR

Lot 83 - MANÉ-KATZ (1894-1962) - MANÉ-KATZ (1894-1962) Rabbi with child Ink and ink wash on paper Signed lower right (Yellowing and foxing) Ink and wash on paper, signed lower right 25,5 x 33,5 cm - 10 x 13 1/4 in. Provenance Private collection, France (by descent)

Estim. 200 - 300 EUR

Lot 84 - LUC-ALBERT MOREAU (1882-1948) - LUC-ALBERT MOREAU (1882-1948) Reunion of two prints from 'La physiologie de la boxe', circa 1929 Standing boxer - Cutmen Lithograph on paper (Rousseurs) Lithograph on paper 31 x 24 cm (vue) - 12 1/4 x 9 1/2 in. (view) Provenance Private collection, France (by descent)

Estim. 30 - 50 EUR

Lot 85 - D'APRÈS ARISTIDE MAILLOL - AFTER ARISTIDE MAILLOL Reunion of two dies Man and horse (drawn) - Gathering (not drawn) Woodcut enhanced with gilding to reveal the motif The first annotated 'Tiré' with the words 'Bois original d'Aristide/Maillol pour mon édition des Géorgiques de Virgile/Philippe Gonin' on the back (Small chips, wear and the second one parqueted) A set of two printing blocks, woodcut enhanced with gilding to reveal the motif, the first one annotated 'Tiré' with the words 'Bois original d'Aristide/Maillol pour mon édition des Géorgiques de Virgile/Philippe Gonin' on the back 11,5 x 13,4 cm - 4 1/2 x 5 1/4 in. 12,3 x 13,4 cm - 4 7/8 x 5 1/4 in. Provenance - Philippe Gonin Collection, France - Private collection, France (acquired from the latter) - Acquired from the latter Note In February 1939, publisher Philippe Gonin published a prospectus announcing a new edition of the classic text "Les géorgiques". Of the planned one hundred woodcuts by sculptor Aristide Maillot, fifteen were already ready and, according to Gonin, the rest would be finished within a month. This was too optimistic, and the book was not published until several years later. To make his point, Gonin wrote that it was Maillol himself who engraved the plates for this edition, but this was not the case; he couldn't see well enough for that (it was because of this sight defect that he had given up tapestry in 1895 and sought his salvation in sculpture). Maillol would sketch on the plate, which was then carved by experienced engravers. "Les géorgiques" was the third book he produced for the Gonin brothers: he illustrated Ovid's "L'art d'aimer" (1935), as well as an English and French translation of Longus' "Daphnis et Chloé" (1937-193888888]. This fruitful collaboration suited the brothers Philippe and André Gonin well, as their beginnings as publishers in the 1920s had proved difficult. Their motto was: "Labor improbus omnia vincit" ("Hard work conquers all"). Between 1925 and 1939, the publishing house was based in Paris, then continued its activities in Lausanne.Source: Nationale Bibliotheek, The Hague

Estim. 200 - 300 EUR

Lot 86 - ANDRÉ DERAIN (1880-1954) - ANDRÉ DERAIN (1880-1954) Standing man with sword or The knight Graphite on paper Atelier/André Derain' stamp [Lugt L.668a] lower right (Yellowing and small tear along right edge) Graphite on paper, stamped with the 'Atelier/André Derain' mark lower right 49 x 31,5 cm - 19 1/4 x 12 3/4 in. Provenance Private collection, France

Estim. 150 - 200 EUR

Lot 87 - ANDRÉ DERAIN (1880-1954) - ANDRÉ DERAIN (1880-1954) Bird in profile Graphite on Ingres paper Atelier/André Derain' stamp [Lugt L.668a] lower right (Yellowed, traces of adhesive at top and minor foxing) Graphite on Ingres paper, stamped with the 'Atelier/André Derain' mark lower right 31 x 21 cm - 12 1/4 x 8 1/4 in. Provenance Private collection, France

Estim. 120 - 180 EUR

Lot 88 - ATTRIBUÉ À ANDRÉ DERAIN - ATTRIBUTED TO ANDRÉ DERAIN Elegant Women and Men in Profile Graphite on paper Unsigned (Slight folds) Graphite on paper, unsigned 35 x 42 cm - 13 3/4 x 16 1/2 in. Provenance Private collection, France

Estim. 150 - 200 EUR

Lot 89 - D'APRÈS PAUL CÉZANNE - AFTER PAUL CÉZANNE Landscape of Provence Color lithograph Unsigned Removal stamp of Ganymede lower right (Yellowed and darkened) Lithograph in colors, unsigned, abduction of Ganymede stamp lower right 29,5 x 44,5 cm - 11 5/8 x 17 1/2 in. Provenance Private collection, France

Estim. 40 - 60 EUR

Lot 90 - D'APRÈS LÉONARD TSUGUHARU FOUJITA - AFTER LÉONARD TSUGUHARU FOUJITA Girl's head Color lithograph on paper Unsigned Lithograph in colors on paper, unsigned 34 x 14 cm - 13 3/8 x 5 1/2 in. Provenance Private collection, France

Estim. 200 - 300 EUR

Lot 91 - D'APRÈS LÉONARD TSUGUHARU FOUJITA - AFTER LÉONARD TSUGUHARU FOUJITA Portrait of Marie-Berthe Aurenche, 1928 [Buisson 28.54] Photomechanical process on paper Signed in the plate lower left Print on paper, signed in the plate lower left 24.5 x 17.8 cm (oval) - 9 5/8 x 7 in. (oval) Provenance Private collection, France Note Our work is a reproduction of a drawing by Foujita that appeared in Paul Morand's booklet, "Foujita", published by Chroniques du Jour in 1928.

Estim. 200 - 300 EUR

Lot 92 - OTHON FRIESZ (1879-1949) - OTHON FRIESZ (1879-1949) Standing female nude Graphite on paper Signed with signature stamp [non Lugt] lower right (Yellowed and slightly creased) Graphite on paper, stamped with the signature's mark lower right 21 x 15 cm - 8 1/4 x 5 7/8 in. Provenance Private collection, France

Estim. 80 - 120 EUR

Lot 93 - JACQUES MARTIN (1844-1919) - JACQUES MARTIN (1844-1919) Bouquets of flowers in a coffee pot Oil on panel Signed upper right Oil on panel, signed upper right 50 x 29,5 cm - 19 3/4 x 11 5/8 in. Provenance Private collection, France

Estim. 100 - 150 EUR

Lot 94 - RENÉ DEMEURISSE (1895-1961) - RENÉ DEMEURISSE (1895-1961) Alley in the forest Oil on canvas Signed lower left (Small gaps in the paint layer) Oil on canvas, signed lower left 61 x 81 cm - 24 x 31 7/8 in. Provenance Private collection, France

Estim. 50 - 70 EUR

Lot 95 - ÉCOLE DE LA FIN DU XIXE SIÈCLE - LATE NINETEENTH CENTURY SCHOOL Rixe de folles Oil on canvas Monogrammed 'VG' lower right Oil on canvas, signed with 'VG' initials lower right 38 x 55 cm - 15 x 21 5/8 in. Provenance Private collection, France

Estim. 100 - 150 EUR

Lot 96 - CLOVIS FRÉDÉRICK TERRAIRE (1858-1931) - CLOVIS FRÉDÉRICK TERRAIRE (1858-1931) Village in winter, 189[?] Oil on panel Signed and dated '189[?]' lower right Oil on panel, signed and dated '189[?]' lower right 33,5 x 25 cm - 13 1/4 x 9 7/8 in. Provenance Private collection, France

Estim. 60 - 80 EUR

Lot 97 - FRANÇOIS CHARLES CACHOUD (1866-1943) - FRANÇOIS CHARLES CACHOUD (1866-1943) Houses in the moonlight in Savoy Oil on canvas Signed lower right Trace of a title and located 'Savoie' on the stretcher Oil on canvas, signed lower right, trace of a title and located 'Savoie' on the stretcher 65 x 81 cm - 25 5/8 x 31 7/8 in. Provenance - Galerie Tedesco Frères, Paris (label on stretcher) - Private collection, France (by descent)

Estim. 300 - 500 EUR

Lot 98 - JEAN-DENIS MALCLÈS (1912-2002) - JEAN-DENIS MALCLÈS (1912-2002) Profile of the artist by himself India ink on paper Signed lower left Signed a second time lower right Indian ink on paper, signed lower left and signed again lower right 27 x 20,5 cm - 10 3/8 x 7 7/8 in. Provenance - Boris Kochno Collection, France - Private collection, France

Estim. 80 - 120 EUR

Lot 99 - LOUIS-ALBERT CARVIN (1875-1951) - LOUIS-ALBERT CARVIN (1875-1951) Gazelles at full gallop Bronze and regule with brown patina Signed on the base (Wear and minor traces of oxidation) Bronze and spelter with dark patina, signed on the base 16,5 x 47 cm - 6 1/4 x 18 1/2 in. 51 x 11 cm (socle) - 20 1/8 x 4 3/8 in. (base) Provenance Private collection, France (by descent)

Estim. 300 - 500 EUR

Lot 100 - ÉCOLE MODERNE DU XXE SIÈCLE - MODERN SCHOOL OF THE 20TH CENTURY Lake Titisee, Baden-Württemberg (Germany), 1946 Oil on panel Signed indistinctly lower left Titled, located, dated '1946' and signed indistinctly a second time on the back (Small gap in the paint layer) Oil on panel, indistinctly signed lower left, titled, located, dated '1946' and indistinctly signed again on the reverse 15,5 x 23,5 cm - 6 1/8 x 9 1/4 in. Provenance Private collection, France (by descent)

Estim. 100 - 150 EUR

ANDRÉ-LÉON VIVREL (1886-1976) STUDIO COLLECTION - PART 1 AND IMPRESSIONIST & MODERN ART

Aguttes - +33147455555 - Email CVV

Lot 33 - MICHAUT (XIXE-XXE SIÈCLE) - MICHAUT (NINETEENTH-TWENTIETH CENTURY) Archer in Training, 187[7?] Oil on panel Signed and dated '[18]7[7?]' lower right Oil on panel, signed and dated '[18]7[7?]' lower right 17 x 31 cm - 6 3/4 x 12 1/4 in. Provenance Private collection, France

Lot 35 - FRANÇOIS JACOBS (1832-1887) - FRANÇOIS JACOBS (1832-1887) Young woman with pearl necklace Oil on canvas Signed lower right (Perforation and small gaps in the paint layer) Oil on canvas, signed lower right 83 x 56,5 cm - 32 5/8 x 22 1/4 in. Provenance Private collection, Belgium

Lot 40 - ROBERT MOLS (1848-1903) - ROBERT MOLS (1848-1903) View of Le Havre with the old Musée des Beaux-Arts Oil on panel Signed lower right Oil on panel, signed lower right 21.5 x 47 cm - 8 1/2 x 18 1/2 in Provenance Private collection, France (by descent)

Lot 41 - LOUIS METTLING (1847-1904) - LOUIS METTLING (1847-1904) Women in the garden with their pet dogs Oil on panel Signed lower left Oil on panel, signed lower left 22,5 x 14,5 cm - 8 7/8 x 5 3/4 in. Provenance Private collection, France (by descent)

Lot 42 - ÉCOLE DU XIXE SIÈCLE - NINETEENTH-CENTURY SCHOOL Stopover in the forest, 1864 Oil on panel Monogrammed and dated '1864' lower left Oil on panel, signed with a monogram and dated '1864' lower left 32 x 37,5 cm - 12 5/8 x 14 3/4 in. Provenance Private collection, Belgium

Lot 43 - HILAIRE BALS (XXE SIÈCLE) - HILAIRE BALS (20TH CENTURY) Rooster and hens near a pond Oil on panel Signed lower right Signed a second time on the reverse Oil on panel, signed lower right, signed again on the reverse 18 x 23,5 cm - 7 1/8 x 9 1/4 in. Provenance Private collection, Belgium

Lot 47 - EUGÈNE HABERT (1842-1916) - EUGÈNE HABERT (1842-1916) Muse at dusk Oil on panel Signed lower left (Old restorations) Oil on panel, signed lower left 61 x 50 cm - 24 x 19 3/4 in. Provenance Private collection, France

Lot 52 - DANS LE GOÛT D'HONORÉ DAUMIER - IN THE STYLE OF HONORÉ DAUMIER Bust of peasants Charcoal and white chalk on paper Unsigned (Fold) Black chalk and white chalk on paper, unsigned 19 x 22,5 cm - 7 1/2 x 8 7/8 in. Provenance Private collection, France

Lot 53 - PAUL LECOMTE (1842-1920) - PAUL LECOMTE (1842-1920) Country landscape at home Oil on canvas Signed lower left (Lining and old restorations) Oil on lined canvas, signed lower left 38 x 55,5 cm - 15 x 21 7/8 in. Provenance Private collection, France (by descent)

Lot 58 - CORNELIS RAAPHORST (1875-1954) - CORNELIS RAAPHORST (1875-1954) Games with kittens Oil on canvas Signed lower left (Small lacuna in the paint layer) Oil on canvas, signed lower left 50 x 70 cm - 19 3/4 x 27 1/2 in. Provenance Private collection, Belgium

Lot 59 - HENRY FUGÈRE (1872-1944) - HENRY FUGÈRE (1872-1944) Standing worker Bronze with brown patina Signed on the terrace (Damage to the left arm, missing cartel and rubbing) Bonze with black patina, signed on the base 52,5 cm - 20 5/8 in. Provenance Private collection, Belgium

Lot 61 - CLAUDE FIRMIN (1864-1944) - CLAUDE FIRMIN (1864-1944) Millstones in a field Pastel on cardboard Signed lower left Pastel on cardboard, signed lower left 46 x 61 cm - 18 1/8 x 24 in. Provenance Private collection, France

Lot 64 - DAVID WOODLOCK (1842-1929) - DAVID WOODLOCK (1842-1929) At the cottage door Watercolor on paper Signed lower right Watercolor on paper, signed lower right 29 x 18,5 cm - 11 3/8 x 7 1/4 in. Provenance Private collection, France

Lot 72 - GUERO (XXE SIÈCLE) - GUERO (20TH CENTURY) Bust of Ludwig van Beethoven Edition terracotta with patina Signed (Minor patina shifts) Patinated terracotta, signed 28 cm - 11 in. Provenance Private collection, France

Lot 79 - RENÉ FONTAYNE (1892-1952) - RENÉ FONTAYNE (1892-1952) The rocks at Four, Gard Oil on canvas Signed lower left (Old restoration) Oil on canvas, signed lower left 46 x 55 cm - 18 1/8 x 21 5/8 in. Provenance Private collection, France

Lot 80 - ADRIEN HAMON (1875-163) - ADRIEN HAMON (1875-163) La Gourgue near Saint-Antonin, Tarn-et-Garonne Oil on canvas Signed lower right Oil on canvas, signed lower right 32,5 x 41 cm - 12 3/4 x 16 1/8 in. Provenance Private collection, France

Lot 83 - MANÉ-KATZ (1894-1962) - MANÉ-KATZ (1894-1962) Rabbi with child Ink and ink wash on paper Signed lower right (Yellowing and foxing) Ink and wash on paper, signed lower right 25,5 x 33,5 cm - 10 x 13 1/4 in. Provenance Private collection, France (by descent)

Lot 88 - ATTRIBUÉ À ANDRÉ DERAIN - ATTRIBUTED TO ANDRÉ DERAIN Elegant Women and Men in Profile Graphite on paper Unsigned (Slight folds) Graphite on paper, unsigned 35 x 42 cm - 13 3/4 x 16 1/2 in. Provenance Private collection, France

Lot 90 - D'APRÈS LÉONARD TSUGUHARU FOUJITA - AFTER LÉONARD TSUGUHARU FOUJITA Girl's head Color lithograph on paper Unsigned Lithograph in colors on paper, unsigned 34 x 14 cm - 13 3/8 x 5 1/2 in. Provenance Private collection, France

Lot 93 - JACQUES MARTIN (1844-1919) - JACQUES MARTIN (1844-1919) Bouquets of flowers in a coffee pot Oil on panel Signed upper right Oil on panel, signed upper right 50 x 29,5 cm - 19 3/4 x 11 5/8 in. Provenance Private collection, France

Lot 94 - RENÉ DEMEURISSE (1895-1961) - RENÉ DEMEURISSE (1895-1961) Alley in the forest Oil on canvas Signed lower left (Small gaps in the paint layer) Oil on canvas, signed lower left 61 x 81 cm - 24 x 31 7/8 in. Provenance Private collection, France

Lot 95 - ÉCOLE DE LA FIN DU XIXE SIÈCLE - LATE NINETEENTH CENTURY SCHOOL Rixe de folles Oil on canvas Monogrammed 'VG' lower right Oil on canvas, signed with 'VG' initials lower right 38 x 55 cm - 15 x 21 5/8 in. Provenance Private collection, France

Lot 96 - CLOVIS FRÉDÉRICK TERRAIRE (1858-1931) - CLOVIS FRÉDÉRICK TERRAIRE (1858-1931) Village in winter, 189[?] Oil on panel Signed and dated '189[?]' lower right Oil on panel, signed and dated '189[?]' lower right 33,5 x 25 cm - 13 1/4 x 9 7/8 in. Provenance Private collection, France