the Vintage and the Dance: Normandie Panel by Jean Dunand * RESERVE TBD * together with bag containing Normandie Bronze medal (1935), collection of books, magazine and photographs of the Normadie and Normandie Panels
Lot 2211
A Jean Dunand carved, lacquered and gilt-decorated wood panel: Grape Harvesting circa 1935
US$ 30,000 - 40,000
£18,000 - 24,000
Auction Details
A Jean Dunand carved, lacquered and gilt-decorated wood panel: Grape Harvesting    circa 1935
Lot Details
A Jean Dunand carved, lacquered and gilt-decorated wood panel: Grape Harvesting
circa 1935
incised lower left JEAN DUNAND and numbered on the verso 14A20
height 24in (61cm); width 22in (56cm)

together with a letter from Jean Dunand's workshop entitled The LINER NORMANDIE 1st class Smoking Saloon, three black and white photographs of Normandie panels by Albin Salaün with annotations by Dunand's studio on the verso, a copy of Normandie published for the Compagnie Generale Transatlantique, a copy of Frank O. Braynard's Picture History of the Normandie, two circa 1935 Normandie Programmes, a patinated bronze Normandie circular medal dated 1935 in original box; and volume one, numbers one, two and three, and volume two, numbers one and two of Fashions Art magazines; a copy of volume one, number one of Style Arts magazine and a copy of France VIA FRENCH LINE

Footnotes

  • Provenance: Mr. and Mrs. Brevoort Barr

    Literature:
    Félix Marcilhac, Jean Dunand His Life and Works, Harry N. Abrams Inc., New York, p. 317, #1094 and #1099 for descriptions and an illustration of similar panels.

    Marcilhac's book notes that these panels are "reduced-scale versions in colored lacquer and molded gold lacquer of the Normandie mural. Numerous versions of this scene were made by Jean Dunand, as was also the case with the other panels. Some of them could be mounted for use as occasional tables or as a firescreen".

    The original owner of this panel, Mrs. Dessie M. Barr, was the editor of Fashions Art magazine. Mrs. Barr was influential in forging ties between American tradesmen and French fashion houses of the 1930s. It is likely that the relationships that she developed at this time with French avant garde desingers led her to meet Dunand and acquire this piece.
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