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Jules-Alexis Muenier Auction Price Results

Jules-Alexis Muenier (1863-1942)  Please Register/Login to access your Invaluable Alerts

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JULES ALEXIS MUENIER FRENCH 1863-1942

Lot 30: JULES ALEXIS MUENIER FRENCH 1863-1942

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Description: "View from the Roadway" , oil on panel , 9 1/2 x 12 3/4 in (24.1 x 32.4 cm) , signed lower right ,colourman stamp verso "Tasset & Lhote...Paris"

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Jules A. Muenier

Lot 195: Jules A. Muenier "The First Music Lesson" Print Pencil Signed

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Description: Jules Alexis Muenier Print Entitled "The First Music Lesson" Print is Pencil Signed "Muenier" and Title is written in Lower left Corner. Print measures 4 1/4" x 7 3/4"

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Jules-Alexis Muenier

Lot 221: Jules-Alexis Muenier "View of a Town from a Bridge" WN2550

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Description: Jules-Alexis Muenier "View of a Town from a Bridge" Original oil on panel. Hand-signed. 5" x 12 3/4". WN2550

Condition Report: Great Condition WN2550

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Jules Alexis Muenier (Vesoul 1863 - Coulevon 1942)

Lot 304: Jules Alexis Muenier (Vesoul 1863 - Coulevon 1942)

Description: Pond by moonlight - Oil on canvas, 46.5 x 33.4 cm

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Jules-Alexis Muenier , Le Calme (Serenity)

Lot 1: Jules-Alexis Muenier , Le Calme (Serenity)

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Description: signed J. A. MUENIER and dated 1894 (lower left) oil on canvas

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 Jules-Alexis Muenier , French 1863-1942 The Young Artist oil on canvas

Lot 3: Jules-Alexis Muenier , French 1863-1942 The Young Artist oil on canvas

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Description: signed JA Muenier (lower left) oil on canvas

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Lot 6: MUENIER, JULES ALEXIS (1863/69-1942)

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Description: Young girl arranging spring flowers Oil/board 61x38 cm Signed, Dated lower right.

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Lot 6: JULES ALEXIS MUENIER (FRENCH, B. 1863)

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Description: A YOUNG GIRL ARRANGING SPRING FLOWERS signed J.A.Muenier./1909 lower right - - oil on board 23 7/8 x 15 in. (60.6 x 38.1 cm.).

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JULES ALEXIS MUENIER (FRENCH, 1863-1942) Jeunesse

Lot 15: JULES ALEXIS MUENIER (FRENCH, 1863-1942) Jeunesse

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Description: signed and dated "J. A. Muenier/1932" lower right- -oil on canvas 46 1/8 x 32 7/8 in. (117 x 83.5 cm.) EXHIBITED Paris, Salon of 1932, no. 1784.

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Lot 23: MUENIER, Jules Alexis (1863-1942, French)

Description: Paysanne a l'ane, s. Oil Painting (32x44in).

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Lot 26: MUENIER, JULES (1863/69-1942)

Description: Maisons au bord du chemin oil/canvas 20x18 inches (51x45 cm) signed (Lower Right).

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MUENIER Jules-Alexis (1863-1942) - Paysage de neige

Lot 28: MUENIER Jules-Alexis (1863-1942) - Paysage de neige

Description: MUENIER Jules-Alexis (1863-1942) - Paysage de neige

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Lot 29: MUENIER, Jules Alexis (1863-1942, French)

Description: Young angler, s.d.91 Oil Painting (16x13in).

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Jules Alexis Muenier painting (French, 1863-1942),

Lot 47: Jules Alexis Muenier painting (French, 1863-1942),

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Description: Jules Alexis Muenier painting (French, 1863-1942), view of a town from a bridge, signed lower right "J.A. Muenier", oil on panel, colourman stamp verso "Tasset & Lhote...Paris", 9-1/2 x 12-3/4 in.; gilt wood frame with frame plate. Retouch upper right, grime; frame with abrasions. Property of a South Carolina Collector

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A pastoral liaison

Lot 51: A pastoral liaison

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Description: Jules Alexis Muenier (French, 1863-1942) A pastoral liaison signed 'J.A.MUENIER' (lower left) oil on canvas 15¼ x 18¼ in. (38.7 x 46.3 cm.)

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Jules Alexis Muenier (French, 1863-1942), Paul Avril (French, 1843 - 1928); Maurice-Henri Orange (French, 1868-1916); Edmond Picard, (French, 1861 - 1899); Adrien Moreau (French, 1843-1906); Georges-Jules-Auguste Cain (French, 1856 - 1919); Gustave

Lot 77: Jules Alexis Muenier (French, 1863-1942), Paul Avril (French, 1843 - 1928); Maurice-Henri Orange (French, 1868-1916); Edmond Picard, (French, 1861 - 1899); Adrien Moreau (French, 1843-1906); Georges-Jules-Auguste Cain (French, 1856 - 1919); Gustave

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Description: Illustrations to Balzac's La Comédie humaine (115) all signed and variously inscribed with quotationsoil on panel (6); the remaining 109 are a combination of pencil, grey wash, watercolor, and charcoal with some heightened with white on paperboardVarious sizes

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Lot 79: MUENIER, JULES (1863/69-1942)

Description: A lady at a bureau in an interior Oil/board 24x20 inches (61x50 cm) signed (Lower Left).

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Lot 86: MUENIER, JULES (1863/69-1942)

Description: La lecon de clavecin oil/canvas 23x19 inches (59x49 cm) signed (Lower Left) A mon ami Maurice Lozel.

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Jules-Alexis MUENIER (Vesoul 1863 - Paris 1942)

Lot 86: Jules-Alexis MUENIER (Vesoul 1863 - Paris 1942)

Description: Jules-Alexis MUENIER (Vesoul 1863 - Paris 1942) Portrait du peintre Pascal-Adolphe Jean Dagnan-Bouveret Panneau 16,5 x 1...

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JULES ALEXIS MUENIER

Lot 91: JULES ALEXIS MUENIER

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Description: JULES ALEXIS MUENIER FRENCH 1863 - 1942 SERENITY signed J. A. MUENIER (lower left) oil on canvas 39 1/2 by 32 in. 100.3 by 81.2 cm

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Jules Alexis Muenier (French , 1863-1942) Checking

Lot 93: Jules Alexis Muenier (French , 1863-1942) Checking

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Description: Jules Alexis Muenier (French , 1863-1942) Checking the pots signed 'J.A.MUENIER' (lower right) oil on canvas 45.5 x 38cm (17 15/16 x 14 15/16in).

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Jules-Alexis Muenier (French, 1863-1942)

Lot 107: Jules-Alexis Muenier (French, 1863-1942)

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Description: Far-away thoughts signed and dated 'J-A-Muenier. 1932.' (lower left) oil on canvas 27 x 33 in. (68.5 x 83.7 cm.).

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Lot 118: Jules Alexis Muenier (French, 1863-1942)

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Description: The flower Arranger signed and dated 'J. A. Muenier./1909' (lower right) oil on board 23.7/8 x 15 in. (60.6 x 38.1 cm.).

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Lot 118: MUENIER, Jules Alexis (1863-1942, French)

Description: Flower arranger, s.d.1909 board Oil Painting (15x24in).

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Jules Alexis Muenier (French, 1863-1942) The rustic rendevous 14 1/2 x 18in (36.8 x 45.7cm)

Lot 120: Jules Alexis Muenier (French, 1863-1942) The rustic rendevous 14 1/2 x 18in (36.8 x 45.7cm)

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Description: The rustic rendevous signed and dated 'J. A. Muenier / 93' (lower left)oil on canvas14 1/2 x 18in (36.8 x 45.7cm)

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Lot 121: Jules-Alexis Muenier (French, 1863-1942)

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Description: Elegant repose signed and dated 'J-A-Muenier. 1932.' (lower left) oil on canvas 27 x 33 in. (68.5 x 83.7 cm.).

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Jules Alexis MUENIER (1863-1942) La rade de

Lot 122: Jules Alexis MUENIER (1863-1942) La rade de

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Description: Jules Alexis MUENIER (1863-1942) La rade de Villefranche sur Mer Huile sur toile. Signée en bas à droite et datée (18)92. 38 x 46 cm FC

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JULES-ALEXIS MUENIER FRENCH, 1863-1942 THE BEST DAYS (AUX BEAUX JOURS)

Lot 131: JULES-ALEXIS MUENIER FRENCH, 1863-1942 THE BEST DAYS (AUX BEAUX JOURS)

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Description: signed J.A. Muenier and dated 1889 Coulevon (lower right)oil on canvasPROVENANCESale, Sotheby's, New York, The Collection of Alberto Pinto, March 29, 1999, lot 631, illustratedEXHIBITEDParis, Salon, 1890, no. 663 (illustrated in the exh. cat., p. 52)LITERATURE AND REFERENCESGabriel P. Weisberg, Beyond Impressionism: the Naturalist Impulse in European Art, 1860-1905, New York, 1992, pp. 12-14, 25, 34, 38-40, illustratedCATALOGUE NOTEThe impact of photography on artists and critics was felt almost as soon as the new medium was invented. While many considered this new technology a change for the better, photography was widely debated throughout the second half of the nineteenth century. And its advent was a major component of the methods and theories of a new group of artists, who called themselves the Naturalists. One of the first critics to use the term and define its ideas was Jules-Antoine Castagnary (1830-1888). He understood the Naturalists' ideal of faithfully recording nature without allowing any extraneous sentiment or artifice to come between the artist and the canvas. However, this is not to say that these artists were painting final works directly from their plein air sources. Rather, they were expected to bring all scientific and artistic resources to bear on capturing a specific moment in time, within a contemporary setting. Jules Castagnary identified fitting Naturalist subjects in 1857 and then again in 1863: "Nature in landscape painting, humanity in genre painting?these are the proper concerns of art. Life everywhere: scattered all over the canvas in landscape painting, concentrated in portraiture"..."Art is the equilibrium of truth and science...the Naturalist school reestablished the severed relationship between man and nature"(Weisberg, p. 13)Emile Zola was another major proponent of Naturalism's advance. He adapted Castagnary's principles for painting to his writing, and in so doing, became Naturalism's most famous champion. Zola became obsessed with photography in the 1890's. This interest was coupled with his earlier practice of recording in his carnets any incident or experience he found intriguing while traveling the countryside as a journalist. Zola's emphases on real observation, the new concept of psychological analysis, and the use of photography made him a true Naturalist in his writing, and won many followers to the movement. But there were still those who felt photography had displaced the imagination of painters, and was sure to ruin painting as an art form.The Naturalists were not persuaded to reject photography, and forward thinking critics were quick to oppose the traditionalists. Francis Wey, a critic and close friend of Courbet, wrote of photography's ultimate benefit to truly gifted painters: "What is the primary, the true, the grand culprit, in the eyes of the academic painters and critics? What is this revolutionary, the pitiless leveler of modern art? Photography! To us, rather...photography will constrain the artist to rise above mechanical copying of objects...it will abolish that which has only a semblance of the ideal...It will supply [the artist] with irrefutable arguments to justify the boldest fantasies of the imagination."(Weisberg, p. 25)Jules Muenier fully embraced Naturalism. By the time he was to paint the present work, Aux beaux Jours, in 1889, he was an accomplished photographer as well as an academically trained painter. A student of Jean Léon Gérôme (see lots 10, 13, and 201) Muenier painted this work at Coulevon, in Gérôme's former country house, where in addition to a painter's studio, Muenier had installed a room to make his own photographic negatives. Muenier's photos of Coulevon are numerous, and showed his interest in recording the town as well as its inhabitants. Though the pictures appear as if the peasants captured on film were entirely unaware of his presence, he actually posed them very carefully for these works. He sometimes used the photographs as the basis for oils, but they were also often created for their own artistic merits. Dr. Gabriel Weisberg writes that another leading early Naturalist painter, Pascal Adolphe Jean Dagnan-Bouveret, was "so taken with the truthful quality of these portraits that he wrote that Muenier 'would become the Nadar of the Photographic Society of the Haute Saône.'"(Weisberg, p. 34)Though Aux Beaux Jours was always conceived as a painting, Muenier used photography as an integral part of its creation, and in the way he wanted the work to be perceived. With the help of recently rediscovered photographs (figures 1 - 4), Dr. Weisberg describes the way the process worked: "Completed in 1889, the painting resulted from an intricate process that relied on a series of photographic studies, traced and transferred drawings, and reference to actual models on several occasions during the painting's evolution to modify light and color." (Weisberg, p. 39) Muenier used the members of his family as models-- his wife, young son, and in-laws. First, Muenier took numerous preparatory photographs in which their positions changed often. The most dramatic change between the different photos was the pose of the child and his relationship with his mother. Next, Muenier transferred the negative images onto tracing paper, and he drew squared off, calibrated drawings based on the projected images. It is likely that Muenier used a "magic lantern" to move the images from the negative to the tracing paper. Though there isn't direct evidence of the lantern in the photographs, Dr. Weisberg confirms that family members do remember seeing one in his studio. With these drawings as aids, Muenier began to paint the oil in his studio. The third stage was to return his models, now with the large oil on canvas, outdoors again. The season had changed and Muenier used a portable studio (see Fig. 4) to avoid painting with the canvas unprotected in variable weather. Dr. Weisberg has an interesting theory about why this photo of Muenier with the portable studio exists: "these photographs indicate that the artist wanted it known that he worked outdoors on this painting. This documentation...serves as a form of propaganda and verifies that the painting was done outside...Integral to his process was the inventive way Muenier grafted photography onto academic practices and then tried to document with photographs that the scene had been completely painted outside." (Weisberg, pp. 38-39)For other works, in lieu of the "studio on wheels," Muenier captured the plein air effect he wanted by painting in a glassed-in greenhouse. In this way he achieved, in an authentic Naturalist way, the effects of light and color he wanted on days with prohibitively poor weather. Muenier's elaborate process in creating Aux Beaux Jours demonstrates Naturalist principles put into practice. The picture's success underscores that school's powerful ideas and their forward thinking embrace of the newest technological developments.We would like to thank Dr. Gabriel Weisberg for his assistance in preparing this catalogue entry.

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Lot 152: Jules-Alexis Muenier (French, 1863-1942)

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Description: Arranging flowers signed and dated 'J.A.MUENIER. 1909' (lower right) oil on board 24 x 15 in. (61 x 38.1 cm.).

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Lot 152: Old Master Painting: Jules-Alexis MUENIER (Vesoul

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Description: Old Master Painting: Jules-Alexis MUENIER (Vesoul 1863 - Paris 1942) Portrait du peintre Pascal Adolphe Jean Dagnan-Bouveret Panneau 16,5 x 10 cm...

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JULES ALEXIS MUENIER

Lot 153: JULES ALEXIS MUENIER

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Description: JULES ALEXIS MUENIER FRENCH, 1863-1942 FROM THE GARDEN signed J.A. Muenier (lower left) oil on canvas 59 5/8 by 46 7/8 in. 151.5 by 119.1cm.

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Jules Alexis Muenier (French, 1863-1942) A quiet country road 15 x 18in (38.1 x 45.7cm)

Lot 160: Jules Alexis Muenier (French, 1863-1942) A quiet country road 15 x 18in (38.1 x 45.7cm)

Description: A quiet country road signed and dated 'J.A. Muenier 1901' (lower right) oil on canvas 15 x 18in (38.1 x 45.7cm)

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Lot 183: MUENIER, JULES ALEXIS (1863/69-1942)

Description: Reflets d'eau Oil/canvas 45x31 inches (114x79 cm) signed (Lower Right).

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Lot 187: MUENIER, JULES (1863/69-194)

Description: An afternoon rest, 1909, 1909 Oil/canvas 19.3x24.3 in (48.9x61.6 cm) signed & dated.

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Jules Alexis Muenier French, 1863 - 1942 THE ONE THAT GOT AWAY Signed and dated J.A. Muenier
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JULES-ALEXIS MUENIER

Lot 205: JULES-ALEXIS MUENIER

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Description: signed J.A Muenier (lower left)oil on canvas

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Lot 221: MUENIER, Jules Alexis (1863-1942, French)

Description: Les lavandieres, s. Oil Painting (25x21in).

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Lot 233: Jules-Alexis Muenier (French, b. 1863)

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Description: LES PCHEURS: A PAIR OF PAINTINGS each signed, oil on canvas. each: 25 by 21 in.64.8 by 54 cm. (2).

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Lot 233: MUENIER, Jules Alexis (1863-1942, French)

Description: Les pecheurs, s. pair Oil Painting (21x26in).

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JULES ALEXIS MUENIER

Lot 235: JULES ALEXIS MUENIER

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Description: JULES ALEXIS MUENIER 1863 - 1942 SERENITY signed J. A. MUENIER (lower left) oil on canvas 39 1/2 by 32 in.; 100.3 by 81.2 cm.

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Jules-Alexis MUENIER (1863-1942) - La leçon de

Lot 265: Jules-Alexis MUENIER (1863-1942) - La leçon de

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Description: Jules-Alexis MUENIER (1863-1942) - La leçon de clavecin, circa 1920

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Jules Alexis Muenier (French, 1863-1942)

Lot 287: Jules Alexis Muenier (French, 1863-1942)

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Description: The new arrival signed 'J A Muenier' (lower left) oil on canvas 321/4 x 25 5/8 in. (82 x 65.3 cm.).

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Lot 317: MUENIER, Jules Alexis (1863-1942, French)

Description: Snowy landscape, s. Oil Painting (29x39in).

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Jules Alexis Muenier (French, 1863-1942), The Fisherman, Signed

Lot 359: Jules Alexis Muenier (French, 1863-1942), The Fisherman, Signed "J·A·MUENIER" l.r., Condition: Craquelure., Oil on canvas, 15 1/8 x 18

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Description: Jules Alexis Muenier (French, 1863-1942) The Fisherman Signed "J·A·MUENIER" l.r. Oil on canvas, 15 1/8 x 18 1/4 in. (38.4 x 46.4 cm), framed. Condition: Craquelure.

Condition Report: Fine, stable craquelure, primarily in the water and visible mainly in raking light. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging. Condition requests can be obtained via email (lot inquiry button) or by telephone to the appropriate gallery location (Boston/617.350.5400 or Marlborough/508.970.3000). Any condition statement given, as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Skinner Inc. shall have no responsibility for any error or omission.

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Lot 377: Jules Alexis Muenier

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Description: French 1863-1942 in the artist's studio signed, dated and dedicated u.r., a mon ami le Dr. Chevalier, Paris, 1886 oil on canvas, unframed 41 by 33 cm., 16 by 13 in.

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Lot 408: MUENIER, Jules Alexis (1863-1942, French)

Description: Unexpected meeting, s. Oil Painting (18x15in).

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Lot 408: Jules Alexis Muenier (French, 1863-1942)

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Description: An Unexpected Meeting signed 'J.A. Muenier' lower right oil on canvas 15 x 18in. (38 x 46cm.).

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Lot 631: Jules-Alexis Muenier (1863-1942),

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Description: THE BEST DAYS 1889, Coulevon oil on canvas. height 4ft. 3 1/2 in. by width 4ft. 5 3/4 in. (1.31m. by 1.37m.) Exhibited: Salon de la SociEtE Nationale des Beaux-Arts, Paris, 1890, no. 663; (illustrated by a drawing in the catalogue, p. 52). Bibliography: Gabriel P. Weisberg, Beyond Impressionism: the Naturalist Impulse in European Art, 1860-1905, New York, 1992, illustrated on p. 38, see also p. 40 for a reproduction of an old photograph showing J. A. Muenier painting The Best Days.

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Lot 658: MUENIER, Jules Alexis (1863-1942, French)

Description: Young maid serving chocolate, s. Oil Painting (28x35in).

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Lot 1774: Jules-Alexis Muenier

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Description: figures on a riverbank, indistinctly signed, 81 by 116cm.; 32 by 45Nin.

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