1930
See also : Picasso 1907-1931 Holland II Sanyu Duesenberg Prints Prints by Picasso Rockwell Movies II Art deco
1930s The Secret Fish of Sanyu
2020 SOLD for HK$ 170M including premium
Henri-Pierre Roché was a discoverer of talents. He met Chang Yu (Sanyu) in Paris in 1929. Sanyu's artistic potential was considerable, through his desire for independence of style and his knowledge of Chinese culture. It is no coincidence that Sanyu used oil on canvas for the first time in the same year.
Sanyu already had a temperamental personality. He was jealous of his art which he believed deserved to be better paid. After a phase of high creativity, he had to face great difficulties after the death of his brother in 1931 and soon broke up with Roché.
Goldfish, oil on canvas 74 x 50 cm, is a synthesis of Sanyu's artistic research. Eight fish swim in a transparent glass cylindrical aquarium placed on a tablecloth, in front of a saturated coral-colored wall.
The extreme simplicity of the composition could be compared to the art of Matisse. The other evocations are Chinese. The number 8 and the fish are omen of prosperity. The signs scattered on the tablecloth remind that just before meeting Roché, Sanyu wanted to apply the techniques of calligraphy to his drawings. The varied positions of the fish is similar to the Jiajing jars with an interesting difference in the variety of individual colors.
Goldfish is not dated, as are most of those Sanyu's works that have not been entrusted to Roché. The first known owner of this painting is his friend Robert Frank, whom Sanyu did not meet until 1948, a time when he was concerned with promoting his ping-tennis. Goldfish, which is one of the most intimate examples of Sanyu's sensibility, had probably been painted in one of his most enthusiastic periods and kept for many years in the secret of his studio. No other eight fish composition is known.
Goldfish was sold for HK $ 67M including premium by Sotheby's on October 5, 2013, lot 7, and is estimated HK $ 120M for sale by Christie's in Hong Kong on December 2, lot 800.
Sanyu already had a temperamental personality. He was jealous of his art which he believed deserved to be better paid. After a phase of high creativity, he had to face great difficulties after the death of his brother in 1931 and soon broke up with Roché.
Goldfish, oil on canvas 74 x 50 cm, is a synthesis of Sanyu's artistic research. Eight fish swim in a transparent glass cylindrical aquarium placed on a tablecloth, in front of a saturated coral-colored wall.
The extreme simplicity of the composition could be compared to the art of Matisse. The other evocations are Chinese. The number 8 and the fish are omen of prosperity. The signs scattered on the tablecloth remind that just before meeting Roché, Sanyu wanted to apply the techniques of calligraphy to his drawings. The varied positions of the fish is similar to the Jiajing jars with an interesting difference in the variety of individual colors.
Goldfish is not dated, as are most of those Sanyu's works that have not been entrusted to Roché. The first known owner of this painting is his friend Robert Frank, whom Sanyu did not meet until 1948, a time when he was concerned with promoting his ping-tennis. Goldfish, which is one of the most intimate examples of Sanyu's sensibility, had probably been painted in one of his most enthusiastic periods and kept for many years in the secret of his studio. No other eight fish composition is known.
Goldfish was sold for HK $ 67M including premium by Sotheby's on October 5, 2013, lot 7, and is estimated HK $ 120M for sale by Christie's in Hong Kong on December 2, lot 800.
1930 Mondrian reaches the Infinity
2014 SOLD 12.4 M£ including premium
Mondrian's quest is mystical. The colors are reduced to blue, yellow or red in a purity without shade, painted with high care to ensure the removal of any inhomogeneity.
By studying the parallel lines, Euclid invited to consider the infinite through a figure executed on a small surface. In 1930, it becomes clear that Mondrian endeavours to implement a similar vision in art: the pattern of strictly horizontal and vertical lines is important, color is secondary.
On February 4 in London, Christie's sells an oil on canvas, estimated £ 8M.
At that time, two colors are now sufficient on the condirion that they appear at opposite corners of the canvas. The lowest line is very close to the edge, opening a mysterious area. Under such conditions, a small picture is sufficient to express rhe deletion of the limits : the size of this square canvas is only 50 cm.
There is no fantasy in an abstract painting by Mondrian. The thicker horizontal line at the top of the yellow zone is so short on the canvas that it is indeed the visible part of an endless journey.
I invite you to play the video shared by Christie's. It masterfully demonstrates that this painting is just one element in a series of different colors, put in a comparable manner on a similar pattern. In another artwork, yellow and blue are reversed compared with the painting that comes for sale.
In a less dogmatic way than Malevich, Mondrian also eliminates any emotional value of color. The only impression that remains is infinity.
POST SALE COMMENT
This small painting enables to appreciate Mondrian's quest. It was sold for £ 12.4 million including premium.
By studying the parallel lines, Euclid invited to consider the infinite through a figure executed on a small surface. In 1930, it becomes clear that Mondrian endeavours to implement a similar vision in art: the pattern of strictly horizontal and vertical lines is important, color is secondary.
On February 4 in London, Christie's sells an oil on canvas, estimated £ 8M.
At that time, two colors are now sufficient on the condirion that they appear at opposite corners of the canvas. The lowest line is very close to the edge, opening a mysterious area. Under such conditions, a small picture is sufficient to express rhe deletion of the limits : the size of this square canvas is only 50 cm.
There is no fantasy in an abstract painting by Mondrian. The thicker horizontal line at the top of the yellow zone is so short on the canvas that it is indeed the visible part of an endless journey.
I invite you to play the video shared by Christie's. It masterfully demonstrates that this painting is just one element in a series of different colors, put in a comparable manner on a similar pattern. In another artwork, yellow and blue are reversed compared with the painting that comes for sale.
In a less dogmatic way than Malevich, Mondrian also eliminates any emotional value of color. The only impression that remains is infinity.
POST SALE COMMENT
This small painting enables to appreciate Mondrian's quest. It was sold for £ 12.4 million including premium.
1930 The Reconstructed Woman
2018 SOLD for £ 8.3M including premium
After the 1920s Picasso needed to move forward, artistically and emotionally. As most often in his career he looks for influences.
The wrought iron sculptures of his childhood friend Julio Gonzalez encourage him to assemble forms featuring human organs. Watching from various angles creates the composition of his paintings as Matisse had done in his early days. When a rocky architecture posed on a beach evokes a woman whose hollows appeal for eroticism, it is unclear between Picasso and Dali who influenced the other.
Picasso defined this ephemeral surrealist period as the series of Bones, supported by some craze for the skeletons. Do not believe what artists say.
In fact Pablo is frustrated. He had chosen Marie-Thérèse as a muse but she is still a minor and he hides her in an apartment close to his. Olga certainly has doubts about Pablo's loyalty, and acrimony begins to settle in the couple.
Picasso's Bones are indeed women. The painter will later say that they are showing Olga, perhaps because he can no longer accept his frustration at not being legally able to display Marie-Thérèse.
On January 18, 1930 he was still painting L'Acrobate, a poor imitation of La Musique by Matisse, 162 x 130 cm. At the end of January in the same size the Baigneuse is Olga seated at the seaside. In a surrealist construction she has the overall morphology of a naked woman.
On February 1 Femme is a hollowed head that has retained the triangular beak and vertical jaws of the previous Baigneuse. This 64 x 47 cm oil on panel was sold for $ 8M including premium by Sotheby's on May 3, 2011 over a lower estimate of $ 3M.
On February 2, 1930 in the same technique and size, 'Figure' foils the attempts to interpret the organic features, even in comparison with the Femme from the day before, as if Picasso had wanted to ensure an abstract jump of his fantasies from Olga to Marie-Thérèse. This oil and charcoal is estimated £ 3M for sale by Christie's in London on February 27, lot 106.
The wrought iron sculptures of his childhood friend Julio Gonzalez encourage him to assemble forms featuring human organs. Watching from various angles creates the composition of his paintings as Matisse had done in his early days. When a rocky architecture posed on a beach evokes a woman whose hollows appeal for eroticism, it is unclear between Picasso and Dali who influenced the other.
Picasso defined this ephemeral surrealist period as the series of Bones, supported by some craze for the skeletons. Do not believe what artists say.
In fact Pablo is frustrated. He had chosen Marie-Thérèse as a muse but she is still a minor and he hides her in an apartment close to his. Olga certainly has doubts about Pablo's loyalty, and acrimony begins to settle in the couple.
Picasso's Bones are indeed women. The painter will later say that they are showing Olga, perhaps because he can no longer accept his frustration at not being legally able to display Marie-Thérèse.
On January 18, 1930 he was still painting L'Acrobate, a poor imitation of La Musique by Matisse, 162 x 130 cm. At the end of January in the same size the Baigneuse is Olga seated at the seaside. In a surrealist construction she has the overall morphology of a naked woman.
On February 1 Femme is a hollowed head that has retained the triangular beak and vertical jaws of the previous Baigneuse. This 64 x 47 cm oil on panel was sold for $ 8M including premium by Sotheby's on May 3, 2011 over a lower estimate of $ 3M.
On February 2, 1930 in the same technique and size, 'Figure' foils the attempts to interpret the organic features, even in comparison with the Femme from the day before, as if Picasso had wanted to ensure an abstract jump of his fantasies from Olga to Marie-Thérèse. This oil and charcoal is estimated £ 3M for sale by Christie's in London on February 27, lot 106.
1930 Pretty Women in the Roaring Twenties
2020 SOLD for $ 9.4M including premium
Tamara de Lempicka knew how to propel herself into Parisian high society through her talents as a portrait painter. She resolutely expresses the desire of good life in the Roaring Twenties, when women's skins begin to be revealed. The women in his paintings are neat and healthy, in warm colors and pleasing curves that appeal to partners. They are well in their time even when they are naked, by the bob hairstyle, the lipstick and the nails, and also by the proud assurance of their attitude.
She has no sexual taboos and is a pretty woman herself whom her admirers like to compare to Garbo. Beside her social portraits, she paints anonymous women who are often self-portraits or pictures of her favorite lovers, Ira and Rafaela.
On October 6 in New York, Christie's sells Les Jeunes femmes, oil on panel 73 x 38 cm painted in 1930, lot 29 estimated $ 6M. This work is also titled Les Deux amies in an assimilation with the couples of women by Toulouse-Lautrec.
They are naked. The slight chiaroscuro shows that they are outside. The brunette is leaning on a railing on which the blonde is seated in a dominant position. Despite their physical proximity, their intimacy is not sexual in this picture. They are both looking at something happening under their balcony.
The blonde's resemblance to Tamara seems obvious. The brunette, whose face is not visible, may be Ira.
She has no sexual taboos and is a pretty woman herself whom her admirers like to compare to Garbo. Beside her social portraits, she paints anonymous women who are often self-portraits or pictures of her favorite lovers, Ira and Rafaela.
On October 6 in New York, Christie's sells Les Jeunes femmes, oil on panel 73 x 38 cm painted in 1930, lot 29 estimated $ 6M. This work is also titled Les Deux amies in an assimilation with the couples of women by Toulouse-Lautrec.
They are naked. The slight chiaroscuro shows that they are outside. The brunette is leaning on a railing on which the blonde is seated in a dominant position. Despite their physical proximity, their intimacy is not sexual in this picture. They are both looking at something happening under their balcony.
The blonde's resemblance to Tamara seems obvious. The brunette, whose face is not visible, may be Ira.
1930 Gary Cooper as The Texan by Norman Rockwell
2007 SOLD for $ 5.9M including premium by Sotheby's
The low resolution image below is shared for fair use by Artwiki :
1930 An Emerald in New York City
2017 SOLD for $ 5.5M including premium
John D. Rockefeller was the first American billionaire. His last child and single son John D. Jr continued his philanthropic work and financed the construction of the Rockefeller Center in New York City from 1928 to 1930. Abby Rockefeller, the wife of John D. Jr. since 1901, was one of the founders of the Museum of Modern Art in 1929.
In 1930 John D. Jr. presented to Abby a brooch adorned with several emeralds. The jewel was dismantled in the division of Abby's deceased estate in 1948 and the biggest emerald was brought to Raymond Yard, the favorite jeweler of the Rockefeller family. This superb step cut stone weighing 18.04 carats offers the typical characteristics of the best Colombian emeralds by its intense color and saturation.
The jewel created in 1948 by Yard on a platinum ring has not been modified. The emerald is flanked on both sides by small diamonds. It will be sold by Christie's on June 20 in their usual auction room at the Rockefeller Center in New York, lot 126 estimated $ 4M.
An emerald of similar quality was in the collection of Elizabeth Taylor. It had been assembled by Bvlgari on a brooch in a surrounding of diamonds. Sold by Christie's on December 13, 2011 for $ 6.6M including premium, this emerald weighing 23.46 carats reached the record price of $ 280K per carat.
Please watch the video shared by Christie's :
In 1930 John D. Jr. presented to Abby a brooch adorned with several emeralds. The jewel was dismantled in the division of Abby's deceased estate in 1948 and the biggest emerald was brought to Raymond Yard, the favorite jeweler of the Rockefeller family. This superb step cut stone weighing 18.04 carats offers the typical characteristics of the best Colombian emeralds by its intense color and saturation.
The jewel created in 1948 by Yard on a platinum ring has not been modified. The emerald is flanked on both sides by small diamonds. It will be sold by Christie's on June 20 in their usual auction room at the Rockefeller Center in New York, lot 126 estimated $ 4M.
An emerald of similar quality was in the collection of Elizabeth Taylor. It had been assembled by Bvlgari on a brooch in a surrounding of diamonds. Sold by Christie's on December 13, 2011 for $ 6.6M including premium, this emerald weighing 23.46 carats reached the record price of $ 280K per carat.
Please watch the video shared by Christie's :
1930 La Dormeuse by Lempicka
2011 SOLD for £ 4.1M including premium by Sotheby's
Link to catalogue.
1930 Les Jeunes Filles by Lempicka
2019 SOLD for $ 5.3M including pemium by Christie's
Link to catalogue.
1930 Youki the Snowy Woman
2016 SOLD for HK$ 39M including premium
Tsuguharu Foujita arrives in 1913 in Montparnasse. He brings into the community of painters his Japanese sensitivity that will harmoniously mingle with the effectiveness of the lines of the Art Déco drawings.
Like the other artists, Foujita seeks and finds the ideal woman in Montparnasse. He marries Fernande and paints nudes of Kiki. The whiteness of Lucienne's skin brings to him a new artistic impulse. He nicknames her Youki which means Little snow.
Now his paintings must present the expressionist effect of the perfect woman. He covers the canvas with white or ivory paint on which he draws the nude in ink by a thin and sharp line before completing the work by the transparent color of skin and hair.
The hedonistic life of Montparnasse does not invite to fidelity. In 1930 Youki leaves Foujita for loving Desnos. The painter nevertheless continues his aesthetic quest and copies a 1924 modello showing Youki sleeping naked on a bed with her arm and her long hair carelessly flowing to the floor.
The ideal and diaphanous woman occupies the upper part of the picture. In the foreground, the strong point is a reclining cat bringing a high contrast in density along with the opposition of his bright gaze with the inactive attitude of the sleeping goddess.
This large size artwork 98 x 163 cm was sold for £ 1.2 million including premium by Sotheby's on February 5, 2014. It is estimated HK $ 20M for sale by Sotheby's in Hong Kong on April 3, lot 1035.
Like the other artists, Foujita seeks and finds the ideal woman in Montparnasse. He marries Fernande and paints nudes of Kiki. The whiteness of Lucienne's skin brings to him a new artistic impulse. He nicknames her Youki which means Little snow.
Now his paintings must present the expressionist effect of the perfect woman. He covers the canvas with white or ivory paint on which he draws the nude in ink by a thin and sharp line before completing the work by the transparent color of skin and hair.
The hedonistic life of Montparnasse does not invite to fidelity. In 1930 Youki leaves Foujita for loving Desnos. The painter nevertheless continues his aesthetic quest and copies a 1924 modello showing Youki sleeping naked on a bed with her arm and her long hair carelessly flowing to the floor.
The ideal and diaphanous woman occupies the upper part of the picture. In the foreground, the strong point is a reclining cat bringing a high contrast in density along with the opposition of his bright gaze with the inactive attitude of the sleeping goddess.
This large size artwork 98 x 163 cm was sold for £ 1.2 million including premium by Sotheby's on February 5, 2014. It is estimated HK $ 20M for sale by Sotheby's in Hong Kong on April 3, lot 1035.
1930-1937 Suite Vollard by Picasso
2019 SOLD for $ 4.8M including premium by Christie's
Link to catalogue.
1930 Mountain and Glacier by Lawren Harris
2015 SOLD for CAD 4.6M including premium by Heffel
1930-1937 La Suite Vollard
2012 SOLD 2.65 MCHF including premium
La Suite Vollard is one of the masterpieces of twentieth century engraving. It comes from an agreement between Pablo Picasso and Ambroise Vollard cleverly obtained by the merchant on a day when the artist wanted to buy paintings to him.
The one hundred prints which constitute this set were prepared from 1930 to 1937. It was a particularly fruitful period for Picasso. His love affair with Marie-Thérèse and his psychological exploration of the theme of the Minotaur brought to his images a carnal eroticism. The theme of the sculptor's studio is also abundant.
The accidental death of Vollard in 1939 stopped the project of publishing while the 310 copies were already printed. Henri Petiet took over the project after the war and tried to get autograph signatures from Picasso, but the complacency of the artist was not unlimited. Few sets were signed, and very few also have not been dismantled.
The copy for sale on June 15 by Galerie Kornfeld in Bern is complete, and all prints have been signed by Picasso. Ten of them are numbered 8/15 by the artist, assessing that they were among the 15 copies that Picasso had begun to sign during the lifetime of Vollard.
Even better: this is one of 50 copies with wide margins, on paper 38 x 50 cm. The paper size of the 260 other copies is smaller: 34 x 44.5 cm. This exceptional lot is estimated CHF 1.5 M.
POST SALE COMMENT
The description in the catalogue showed convincingly that this complete set was of exceptional quality. The result is excellent: CHF 2.3 million before fees, 2.65 million after calculating the premium announced by the auction house.
The one hundred prints which constitute this set were prepared from 1930 to 1937. It was a particularly fruitful period for Picasso. His love affair with Marie-Thérèse and his psychological exploration of the theme of the Minotaur brought to his images a carnal eroticism. The theme of the sculptor's studio is also abundant.
The accidental death of Vollard in 1939 stopped the project of publishing while the 310 copies were already printed. Henri Petiet took over the project after the war and tried to get autograph signatures from Picasso, but the complacency of the artist was not unlimited. Few sets were signed, and very few also have not been dismantled.
The copy for sale on June 15 by Galerie Kornfeld in Bern is complete, and all prints have been signed by Picasso. Ten of them are numbered 8/15 by the artist, assessing that they were among the 15 copies that Picasso had begun to sign during the lifetime of Vollard.
Even better: this is one of 50 copies with wide margins, on paper 38 x 50 cm. The paper size of the 260 other copies is smaller: 34 x 44.5 cm. This exceptional lot is estimated CHF 1.5 M.
POST SALE COMMENT
The description in the catalogue showed convincingly that this complete set was of exceptional quality. The result is excellent: CHF 2.3 million before fees, 2.65 million after calculating the premium announced by the auction house.
1930-1937 Picasso's Printer
2016 SOLD for $ 2.53M including premium
Upon his arrival in Paris Pablo Picasso was supported by Vollard. The conditions in which they start together in 1930 the project of a series of engravings have however not been documented. These one hundred illustrations were named La Suite Vollard after the accidental death of the editor that occurred in 1939.
Most of these images were prepared between 1930 and 1934. While admiring the gentle Marie-Thérèse, Pablo finds back the fiery impulses of his youth. Far away from Cubism, minotaurs and fauns approach with brutality or delicacy the snoozing women with appealing curves. The supplement up to the symbolic figure of 100 is assured in 1937 with three portraits of Ambroise Vollard.
At some time before 1934 the meeting of Picasso with Roger Lacourière changes the quality of graphics and printing. The drawings are getting richer. Picasso loves to experiment and he follows the instructions from his new printer who teaches to him the varied possibilities of chisel, aquatint and drypoint.
310 copies of each image are printed including 50 for a deluxe publication with wide margins on 51 x 39 cm sheet size. After the death of Vollard, this almost intact stock is acquired by the dealer Henri M. Petiet who will sell from it many single images. For this reason the original sets that are remaining complete are extremely rare. Picasso signed many sheets before and after the death of Vollard.
Here are below three examples of complete sets with wide margins of the Suite Vollard.
A set partially serialized by Picasso in Vollard's lifetime but fully signed by the artist was sold for CHF 2.65M including premium by Galerie Kornfeld on June 15, 2012.
A set acquired by Petiet and fully signed by Picasso was sold for £ 2,65M including premium by Sotheby's on June 19, 2013.
On November 14 in New York, Sotheby's sells the full collection assembled by Lacourière. The printer had retained proofs with beautiful tones executed before and during his participation. It is the rare case of a set that was not owned by Petiet but the plates are not signed. It is estimated $ 2M, lot 11.
Most of these images were prepared between 1930 and 1934. While admiring the gentle Marie-Thérèse, Pablo finds back the fiery impulses of his youth. Far away from Cubism, minotaurs and fauns approach with brutality or delicacy the snoozing women with appealing curves. The supplement up to the symbolic figure of 100 is assured in 1937 with three portraits of Ambroise Vollard.
At some time before 1934 the meeting of Picasso with Roger Lacourière changes the quality of graphics and printing. The drawings are getting richer. Picasso loves to experiment and he follows the instructions from his new printer who teaches to him the varied possibilities of chisel, aquatint and drypoint.
310 copies of each image are printed including 50 for a deluxe publication with wide margins on 51 x 39 cm sheet size. After the death of Vollard, this almost intact stock is acquired by the dealer Henri M. Petiet who will sell from it many single images. For this reason the original sets that are remaining complete are extremely rare. Picasso signed many sheets before and after the death of Vollard.
Here are below three examples of complete sets with wide margins of the Suite Vollard.
A set partially serialized by Picasso in Vollard's lifetime but fully signed by the artist was sold for CHF 2.65M including premium by Galerie Kornfeld on June 15, 2012.
A set acquired by Petiet and fully signed by Picasso was sold for £ 2,65M including premium by Sotheby's on June 19, 2013.
On November 14 in New York, Sotheby's sells the full collection assembled by Lacourière. The printer had retained proofs with beautiful tones executed before and during his participation. It is the rare case of a set that was not owned by Petiet but the plates are not signed. It is estimated $ 2M, lot 11.
1930 It is a Duesy
2015 SOLD for DKK 17.8M including premium
Upon its entry into the Cord group, Duesenberg captures the market of the rich and kings with the model J chassis, released in 1928. The strategy of the brand in terms of bodywork is combined as it both includes workshops under the approved LaGrande label and a network of autonomous companies.
Located in Pasadena, Walter J. Murphy is equipping the Duesenberg cars of Hollywood personalities at that time when Americans are amazed to finally acquire a high-end car made entirely in their country. Unfortunately, the crisis will soon slow the momentum towards luxury.
On September 26 in a formerly royal Danish castle, Bonhams sells a Duesenberg Model J bodied by Murphy as a roadster in 1930, lot 14 estimated DKK 17M. Its first owner had been typical of the customers targeted by Cord : a Hollywood photographer descendant to the Vanderbilt family.
This car remained highly original. It was never dismantled and its successive owners offered it for 60 years to the admiration of the demanding Auburn Cord Duesenberg Club. It has the rare and prestigious feature of the folding roof which was not in the catalog and required a specific customer request to Murphy.
A similar coupe made in the previous year was sold for $ 2.36M including premium by Gooding in August 2013. Both these cars can not however be compared with the coupe that sold for $ 10.3M including premium at Gooding in August 2011, a single specimen bodied by Murphy in 1931 that takes advantage of the longer wheelbase variant of the Model J to exhibit a superb Art Deco line.
Located in Pasadena, Walter J. Murphy is equipping the Duesenberg cars of Hollywood personalities at that time when Americans are amazed to finally acquire a high-end car made entirely in their country. Unfortunately, the crisis will soon slow the momentum towards luxury.
On September 26 in a formerly royal Danish castle, Bonhams sells a Duesenberg Model J bodied by Murphy as a roadster in 1930, lot 14 estimated DKK 17M. Its first owner had been typical of the customers targeted by Cord : a Hollywood photographer descendant to the Vanderbilt family.
This car remained highly original. It was never dismantled and its successive owners offered it for 60 years to the admiration of the demanding Auburn Cord Duesenberg Club. It has the rare and prestigious feature of the folding roof which was not in the catalog and required a specific customer request to Murphy.
A similar coupe made in the previous year was sold for $ 2.36M including premium by Gooding in August 2013. Both these cars can not however be compared with the coupe that sold for $ 10.3M including premium at Gooding in August 2011, a single specimen bodied by Murphy in 1931 that takes advantage of the longer wheelbase variant of the Model J to exhibit a superb Art Deco line.
1930 Art Déco Wood Panelling
2011 SOLD 2.2 M€ including premium
On October 22, 1997 in Paris, Francois de Ricqlès dispersed at auction the furniture of a Parisian apartment of the Avenue Marceau, decorated circa 1930. We can state afterwards that this event was exceptional because, of course, of the signatures, but also of the very good condition of the whole.
The finest lot comes back on sale at Christie's in Paris on March 29. Estimated € 2M, it is a set of wood panels signed by Jean Dunand forming the four walls and the doors of the smoking room.
The height of these panels, 3.44 m including a lighting cornice, is worthy of a castle. The set is complete, totalling a perimeter of nearly 20 m.
By his frequent use of lacquer decoration, Dunand was one of the best innovators of the Art Déco style. The highly stylized palm tree pattern with low contrasting grays attests of the exquisite attraction of Dunand toward cubism and abstraction.
Coming back to the sale of 1997 to find a little more of the luxurious comfort of this apartment of the 1930s: in the smoking room, a rug by Ivan Da Silva Bruhns repeated the motifs of the woodwork walls. Adjoining rooms were furnished with works by Leleu, Prou, Baguès and Bernard Dunand.
POST SALE COMMENT
This lot was a favorite of the connoisseurs, but it was perhaps one of the hardest to sell because of its dimensions.
Although the result, € 2.2 million including premium, has not exceeded the estimate, we consider this result as excellent.
The finest lot comes back on sale at Christie's in Paris on March 29. Estimated € 2M, it is a set of wood panels signed by Jean Dunand forming the four walls and the doors of the smoking room.
The height of these panels, 3.44 m including a lighting cornice, is worthy of a castle. The set is complete, totalling a perimeter of nearly 20 m.
By his frequent use of lacquer decoration, Dunand was one of the best innovators of the Art Déco style. The highly stylized palm tree pattern with low contrasting grays attests of the exquisite attraction of Dunand toward cubism and abstraction.
Coming back to the sale of 1997 to find a little more of the luxurious comfort of this apartment of the 1930s: in the smoking room, a rug by Ivan Da Silva Bruhns repeated the motifs of the woodwork walls. Adjoining rooms were furnished with works by Leleu, Prou, Baguès and Bernard Dunand.
POST SALE COMMENT
This lot was a favorite of the connoisseurs, but it was perhaps one of the hardest to sell because of its dimensions.
Although the result, € 2.2 million including premium, has not exceeded the estimate, we consider this result as excellent.
