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  Ingegerd Torhamn Art Deco / Modernist rug c. 1930 (Exhibited: Stockholm Exhibition 1930)

  INGEGERD TORHAMN (1898-1994) Sweden

  Modernist rug   c. 1930

  Hand-knotted wool

  Signed: it (Ingegerd Torhamn) lower left

  Exhibited: Stockholm Exhibition 1930, Stockholmsutställningen 1930, Villa 42; V.I.P. in Swedish Design, Kalmar Konstmuseum 1996.

  Illustrated: Katalog Över Bostadsavdelningen: Stockholms Utställningen 1930 (illustrated in situ) Stockholm Exhibition1930 (Stockholm: Tryckt Hos Bröderna Lagerström, Boktryckare, 1930) p. 149

  Drawing illustrated: V.I.P. in Swedish Design: Axel Larsso, Ingegerd Torhamn, Inga Linden & Paula Sokolow, Arkiv for Svensk Formgivning, Kalmar Konstmuseum

  For more information see: Svenska Textilier 1930, Stockholm 1930, Nils G. Wollin, plate nr. 50

  Dimensions: 7’2” square

  One of the ten rugs of her designs (including this rug as part of the music room) exhibited at the important Stockholm Exhibition of 1930 is now in the permanent collection of the Nationalmuseum in Stockholm.

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  Arrigo Varettoni de Molin, “Conflict”, Oil on canvas 1945

  ARRIGO VARETTONI DE MOLIN (1902-1985)

  Conflict 1945

  Oil on canvas

  Signed: de molin 1945 (lower left on front of canvas)

  For more information see: Who’s Who in America, Series II, no. 11 (November 1, 1941) p. 6.

  Canvas: H: 38” x W: 44”

  Framed: H: 45 ½” x W: 51”

  The work of Arrigo De Molin shows a genuine understanding of everyday people. His paintings have sympathy, humor and a touch of gentle irony. The artist himself, after immigrating to the United States from Borca di Cadore, Italy in 1921, had the opportunity to study art and design at Cooper Union and the Art Students’ League. His first enterprises as a theatrical designer and painter of community and church murals heavily influenced his later portrayals of New York City life. These, his most revered works, were exhibited at the Vendome Art Galleries in 1941. Later in life, de Molin, persevered as an independent artist, diversifying his talents to span design and invention.

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  Edmund F. Ward “The Swimming Hole” Oil on canvas c. 1930

  EDMUND F. WARD (b. 1892 – 1991) USA

  “The Swimming Hole”   c. 1930

  Oil on canvas

  Marks: signed Edm. F. Ward (lower right); partial labels verso:Westchester Arts and Crafts Guild; 4 Edmund F. Ward

  For more information on the artist see: Who Was Who in American Art,Peter Hastings Falk, ed. (Madison, Conn.: Sound View Press, 1985), p. 658.

  Canvas H: 18” x W: 24”

  Framed H: 27 9/16” x W: 33 9/16”

  Price: $14,000

  Ward studied at the Arts Student’s League with Edward Dufner, George Bridgeman, and Thomas Fogarty. He was an illustrator for several national magazines and books. In 1925, Ward exhibited an award winning work at the Art Institute of Chicago. He is perhaps best known for his WPA mural in the Federal Building, White Plains, New York.

   

   

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  Roger Georges Andre Duval, “La Chambré” Oil on canvas 1924

  ROGER GEORGES ANDRÈ DUVAL (1901-?) Meudon (Seine-et-Oise), France

  La Chambré 1924

  Oil on canvas

  Signed and dated: ROGER DUVAL XXIV(lower left)

  Exhbited: Paris, Salon des Indépendants, 1926, no. 1122

  For more information see: Dictionnaire des Peintres, Sculpteurs, Dessinateurs et Graveurs, Vol. 4, E. Bénézit (Paris: Librairie Gründ, 1976).

  Painting: H: 23 2/3” x W: 36 1/5”

  Framed: H: 35” x 47 5/8”

  Roger Duval painted in a modernist figurative style and beginning in 1920 regularly exhibited at the Salon d’Automne and the Salon des Indépendants in Paris. In 1925 he was awarded a prize by Paul Poiret for a painting entitled Conversation and again in 1926 for another painting entitled Bal Musette. Also in 1926, La Chambrée (1924) was exhibited in Paris at the Salon des Indépendants. By 1928 Duval’s technique had evolved into a moderninst/cubist style and a group of his paintings were featured in an Exposition of Painting and Sculpture in Boston, MA.

   It is interesting to note Duval’s shared vision with Picasso in their depiction of peasant figures in repose. Their full-bodied, voluptuous and sensual forms illustrate both artists’ sculptural approach to painting in the early 1920s. However by the mid-1920s Duval and Picasso’s painting styles evolved from these softer, rounded shapes into more angular, abstracted forms.