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Thomas Deprez Fine Arts
gisbert combaz
Gisbert Combaz (Antwerp 1869-1941 Brussels) Poster project for the 75th anniversary of Belgian independence, 1905 Oil, gouache, pencil and ink on canvas 102 x 62 cm Signed and dated middle right: Gisbert Combaz 1905 Provenance: the artist's studio by his death in 1941 (?); former collection Wittamer-Descamps, Brussels; former collection Wéry, Brussels; private collection, Brussels Literature: Jane Block, Gisbert Combaz (1869-1941)-Fin de siècle Artist, Antwerp, Pandora, 1999, cf. p. 99, n° 141 & 142 Unpublished as a poster, the design was taken up by Octave Maus as a chromolithography for the frontispiece of the section 'L'Art Appliqué en Belgique' in the milestone publication: 'L'Art et La Vie en Belgique 1830-1905', Bruxelles & Paris: Librairie Nationale d'Art et d'Histoire, G. Van Oest & Cie, 1921, p. 117. The design was later also used as the cover for Th. Quoidbach, 'Le Chansonnier de la Jeunesse belge', Brussels, Schott, 1934
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Galerie Mathivet
carlo bugatti (1856-1940)
Carlo Bugatti (Milan 1856-1940 Molsheim) Side table, circa 1902 Parchment stool with polychrome decoration of dragonflies, enhanced with gilding and stamped copper with rectangular top. Lateral X-shaped base with a large circular lower part in copper and stamped brass H 39 x W 44 x D 44 cm Signed with the stamp: Marca depositata Bugatti Carlo Provenance: French collection Literature: Fabbrica italiana mobili artistici-A. De Vecchi e C. (gia C. Bugatti & C.), trade catalogue, Milan, circa 1902-1905, repr. under n° 699 (n.p.); M-M Massé, Carlo Bugatti au Musée d'Orsay-Catalogue sommaire illustré du fonds d'archives et des collections, Musée d'Orsay & RMN, Paris, 2001, repr. pp. 72 and 99
Harold t’Kint de Roodenbeke
Leopold Survage (Moscow 1879-1968 Paris) Surrealist composition, 1916 Gouache and pencil on paper 43 x 31 cm Signed lower right Survage, marked with his initials LS, stamped with the artist's studio stamp and dated 16 Anne-Marie Divieto has confirmed the authenticity of this work Provenance: Felix Landau, Paris; private collection, Germany (acquired from the above circa 1970)
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Stern Pissarro Gallery
yayoi kusama
Yayoi Kusama (Matsumoto, 1929) Fire (3), 1952 Gouache and pastel on paper 27.7 x 20.3 cm Signed, titled and dated 1952 on the reverse This work is accompanied by a registration card issued by Kusama Enterprise, Tokyo Provenance: Christiaan Paul Damsté, Amsterdam, gifted from the artist; private collection, London; Anthony Meier Fine Arts, San Francisco; private collection, Canada; private collection, Japan
Galerie Alexis Pentcheff
paul delvaux
Paul Delvaux (Belgium, Antheit 1897-1994 Veurne) La mise au tombeau, 1953 Oil, gouache, watercolour and ink on paper laid on canvas 68 x 120 cm Signed and dated lower right Certificate of authenticity issued by the Paul Delvaux Foundation dated 24 June 2017 Provenance: private collection, France Preparatory work for 'La mise au tombeau', kept at La Boverie, Musée des Beaux-Arts de Liège. A work on the same theme, La mise au tombeau, 1951, can also be found in the Musée d'Ixelles © Foundation Paul Delvaux, Belgium/SABAM, 2023-2024
Franck Anelli Fine Art
jacob van hulsdonck
Jacob Van Hulsdonck (Antwerp, 1582-1647) Still life with peaches and grapes Oil on panel 64 x 50 cm Provenance: collection Grasset Exhibitions: Brueghel to Canaletto, European Masterpieces from the Grasset Collection at the San Diego Museum of Art, San Diego. 2 April-2 August 2016; A Feast for the Eyes: European Masterpieces from the Grasset Collection at the Museum of Fine Arts, St Petersburg, Florida, 23 March-2 September 2019
Galerie Marc Maison
Gilded plaster statuette by Pierre Braecke (Belgium, 1858-1938) surmounting a sideboard made by Victor Horta (Ghent 1861-1947 Brussels) Four original gilded plaster statuettes by Pierre Braecke surmount the pair of sideboards This is part of a interior decor made of a suite of three paneled rooms designed by Victor Horta for a private owner in Kortrijk and including two fireplaces, a pair of sideboards, a stained-glass ceiling and windows, a screen with period fabric Circa 1903 Mahogany, oak and maple, bronze, marble, american glass, fabric: moiré damask Surface: approximately 80 sq meters, H 3.80 m Provenance: Kortrijk, Belgium
Gioielleria Nardi
Letters from Venice ring Rose gold and 203 diamonds. The significance of this unique ring lies in the fact that it opens, containing a message. In fact it comes with two letters, one with a sentence by Virgil; Omnia Vincit Amor, whilst the second can be a personalised message by the customer
Galerie Van den Bruinhorst
Gerrit Thomas Rietveld (Utrecht, 1888-1964) Original ‘Red Blue chair’ Designed in 1919/1923 Executed by G.A. van de Groenekan, circa 1970, De Bilt, The Netherlands Frame; solid beech wood slats with beech wood dowels, stained dark brown/black, the ends finished with chromate yellow paint. Seat; plywood, finished monochrome with ultramarine blue paint. Back: plywood finished monochrome with vermilion red paint H 86 x W 65.9 x D 82.5 cm The chair is marked with the paper label of Rietveld’s regular cabinet maker, Gerard van de Groenekan Provenance: from the first owner Architect Ruud Wilmink from Amsterdam. At the end of his architecture studies, he personally ordered the chair from Gerard van de Groenekan in De Bilt around 1970 for the furnishing of his first home In 1919, architect Gerrit Rietveld joined the legendary ‘De Stijl’ group, an esthetic movement founded by Dutch artists and architects two years earlier. Inspired by the work of his fellow ‘De Stijl’ member Bart van der Leck, Rietveld started experimenting with the use of primary colors in the designs for furniture around 1921-1922. Probably about 1923 – a hundred years ago! – he made the first copy of his wooden-slat easy-chair using Red Yellow and Blue, the color scheme that would bring the chair its world fame as an icon of De Stijl movement.
Thomas Deprez Fine Arts
emile fabry
Emile Fabry (Verviers 1865-1966 Brussels) A monumental triptych, including: Le péché originel, Les Déesses de la Vie and Prométhée & Pygmalion, circa 1896 Oil on canvas 246 x 138 cm | 249 x 205.5 cm | 245 x 140 cm All canvases waxed and retouched The middle panel carrying a certificate by Edmond Delescluze, the artist's son-in-law, dated April 6th 1990 Provenance: by descent in the family of the artist, after his death in 1966; former collection Suzanne Fabry and Edmond Delescluze, the artist’s daughter and son-in-law; triptych dismantled and sold separately, with different provenances on request; United again for the first time under single ownership, 2023 Literature: a list of contemporary press critiques available on request; Jacqueline Guisset, Emile Fabry 1865-1966, Brussels, Fonds du Patrimoine de Woluwe-Saint-Pierre, 2000, ill. pp. 75, 77 & 78; Sébastien Clerbois, L’Esotérisme et le Symbolisme belge, Anvers, Pandora Publishers, 2012, ill. p. 104 Exhibitions: Exposition du Cercle Pour l'Art, Brussels, 1896; Retrospective Emile Fabry, Woluwe-Saint-Pierre, Centre culturel, 2000
Willow Gallery
Henri Martin (Toulouse 1860-1943 Labastide-du-Vert) Jour de Pluie sur la Terrasse Fleurie de Marquayrol, circa 1920 Oil on canvas 79 x 108 cm - framed: 99 x 128 cm Signed This painting is accompanied by a certificate of authenticity from Cyrille Martin Provenance: Tajan Paris, 24 March 1999, lot 17; Richard Green Gallery, London; private collection, Canada
Opera Gallery
Paul Delvaux (Belgium, Antheit 1897-1994 Veurne) La Fin du Voyage, 1968 Oil on canvas 165.1 x 145 cm Signed: P. DELVAUX and dated 10-68 on the lower right; signed again, titled and dated: 1968 on the stretcher Provenance: Mr. and Mrs. Morton D. May, St. Louis, USA, by 1969; Marlborough Gallery, London; Don Bartolomé March, Madrid (until at least 1991); Christie's London, 3 February 2003, lot 168; Collection of Paul Yeou Chichong Literature: Jerrold Lanes, New York, The Burlington Magazine, vol. CXI, n° 794, May 1969, p. 325, ill.; Michel Butor, Jean Clair, Suzanne Houbart-Wilkin, Delvaux, Catalogue de l'oeuvre peint, Brussels, 1975, n° 309, p. 271, ill.; Jacques Sojcher, Paul Delvaux ou la passion puérile, Paris, 1991, p. 78, ill. Exhibitions: New York, Staempfli Gallery, Paul Delvaux, 1969, n° 15; Madrid, Fundacion Juan March; Barcelona, Funacio Caixa Catalunya and Florence, Pallazzo Corsini, Delvaux, 1998, n° 72, p. 113, ill. in colour © Foundation Paul Delvaux, Belgium/SABAM, 2023-2024
Alexis Lartigue Fine Art
alexander calder
Alexander Calder (Lawnton 1898-1976 New York) Untitled, 1967 Gouache on paper 77 x 110.5 Signed and dated N° Archive A18199 Provenance: private collection, Paris Calder's gouaches are spontaneous and simple, suffused with poetry. A poetry without artifice born from minimal means, such as elementary symbols, basic figures and a palette reduced to primary colours, arranged in solid colours that do not blend with each other. The gouaches are not that different from his "mobiles," except that here, the movement is imagined: a way of projecting time in space. In 1953, Calder moved to Saché where he created "la Gouacherie," where he made all his works on paper until 1976, as well as his mobiles and stabiles. "Alexander Calder possesses a clear gift of observation and the ability to draw a single stroke."
Galerie von Vertes
pierre soulages
Pierre Soulages (Rodez, 1919-2022) Peinture 81 x 102 cm, 9 février 1987 Oil on canvas 81 x 102 cm Signed, dated and titled on verso Provenance: Galerie de France, Paris; Pierre Benveniste, Pierrefonds (acquired from the above in 1987); Sotheby's, Paris, 6 December 2022, Lot 4; private collection, Switzerland Literature: Pierre Encrevé, Soulages. L'Oeuvre Complet. Peintures, vol. III: 1979-1997, Paris 1995, p. 158, n° 933 (ill. in colour)
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Samuel Vanhoegaerden Gallery
tom wesselmann
Tom Wesselmann (Cincinnati 1931-2004 New York) Monica nude in robe and stockings (Var #8), 1986 Enamel on laser-cut steel H 83.5 x W 168 cm Signed, dated and titled on verso Provenance: OK Harris Gallery, New York; private collection, USA Literature: Tom Wesselmann: a Pop Art Legend, Samuel Vanhoegaerden Gallery, Knokke, 2023, ill.
Artimo Fine Arts
alphons joseph strymans
Alphons Joseph Strymans (Belgium, 1866-1959) Le Vin, 1901 White Carrara marble H 130 cm Signed and dated: A. Jef. Strymans 1901 Provenance: 2001, Artimo Fine Arts Gallery; 2004, private collection, Belgium; 2021, Artimo Fine Arts Gallery Literature: Bénézit E. (1999), Dictionnaire des peintres, sculpteurs et graveurs (J. Buysse, Ed.) (nouvelle édition entièrement refondue). Gründ. p. 322; Engelen, C., & Marx, M. (2006). La Sculpture en Belgique à partir de 1830 (Tome VI), Louvain: Engelen-Marx. pp. 3328-3331; Joseph, Prof. Dr. D. (1897). Die Elfenbeinplastik auf des Brüsseler Weltausstellung von 1897. Zeitschrift für Bildende Kunst, 8, 281-288; Scherer, C. (n.d.). Monographien des Kunstgewerbes, Vol. 8, Elfenbeinplastik seit der Renaissance. pp. 122-141; Thieme, U., & Becker, F. (1999). Allgemeines Lexikon der bildenden Künstler von der Antike bis zur Gegenwart (Vol. 31/32). E.A. Seemann. p. 222 The sculptural work, masterfully executed in white Carrara marble, presents a refined figurative composition that reveals three human figures in dynamic interaction. The nuances and meticulously chiselled anatomical details attest to the exceptional talent and expertise of the sculptor Alphons Joseph Strymans. This grouping, comprised of two women and a man, all three nude, intertwine in a choreography evoking an ecstatic dance. Each figure holds a cluster of grapes, reproduced with remarkable precision, evidently symbolising the making of wine. A particularly striking note is the unconsciously dominant placement of a woman’s foot on the head the male figure serving as a point of support for the decadent trio. This composition, both graceful and intense, eloquently illustrates the effects of wine on the soul and human interactions. The silhouettes of the figures merge harmoniously with the botanical motifs of vines, thus suggesting an intrinsic union between man and nature in their mutual inebriation. This masterpiece poetically evokes the idea that man and nature share a common essence - a profound origin. Alphons Joseph Strymans Born on July 24, 1866, in Turnhout, Alphons Joseph Strymans passed away in 1959 in Antwerp. He distinguished himself as a cabinetmaker, draftsman, and above all as a sculptor. Trained at the art school of Turnhout, Strymans also benefited from the expertise of his father, a renowned cabinetmaker specialised in the creation of church furniture. This education bestowed upon him an exceptional mastery of sculpture in both wood and stone. His quest for excellence led him to pursue studies at the Antwerp Academy from 1886 to 1990, and then at the Higher Institute of Fine Arts in Brussels under the tutelage of Master Thomas Vinçotte. From 1898 to 1935, he shared his knowledge as a drawing teacher at the art school in Berchem. During this period, he also collaborated with eminent sculptors such as Frans Joris, Jules Weyns, and Josué Dupon, among others. His artistic repertoire is vast. Throughout his career, he designed various ornaments for Art Nouveau furniture as well as sculptural works in bronze, ivory, and marble. From the beginning of the twentieth century, his works found their place in Antwerp, exhibited in museums and during prestigious events. Besides his artworks, Strymans left his mark through various commemorative monuments and busts of notable personalities. Among his major accomplishments are the statues for the fishermen's house in Antwerp, busts of the music critic Guy Davenel, the poet Max Elskamp, and the mayor of Berchem, Mr. Van Oombeek. Numerous prestigious institutions preserve his works. The Museum of Central Africa in Tervueren houses the ivory "The Daughter of Eve" and other remarkable pieces. The sculpture "Despair," in bronze, can be found at the Dinant Museum, while one of his marble busts is proudly displayed at the Antwerp Museum
Gallery Desmet
Seated Venus with sandal Marble Hellenistic, circa 1st century BC H 21.5 x W 10 x D 13.5 cm Certificat d'un bien culturel (France): 216730 Accompanied by Art Loss Register certificate S000786578 Provenance: Simone de Monbrison, Paris (1970s); collection Pierre Moussa (1922-2019), Paris; public auction, France, 2019
Romigioli Antichità
Francesco di Girolamo dal Prato (Florence, 1516-1562)-Pupil of Francesco Salviati The Virgin and child Oil on panel 106 x 76 cm Studied by Professor Carlo Falciani. Giorgio Vasari's sources Provenance: Castelbarco Litta Albani collection in 1835, Milan; Costantino Nigro collection, Genoa; Seghezza collection, Genoa
Galeria Jordi Pascual
joan miró
Joan Miró (Barcelona 1893-1983 Palma de Mallorca) Peinture, projet pour une tapisserie, 1973-1974 Paint, oil and wool on wood 197 x 122 cm Provenance: private collection Literature: Lelong, Daniel. Joan Miró. Catalogue raisonné. Paintings, vol. V, 1969-1975, Successió Miró, 2003; p. 238, fig. 1641
Galerie Dina Vierny
fernand léger
Fernand Léger (Argentan 1881-1955 Gif-sur-Yvette) Les nageurs or Les acrobates, 1950 Bronze H 49.5 x w 44 x D 7 cm Signed lower right: F.Léger, numbered 8/8 and stamped with the foundry mark 'C. Valsuani, fondeur cire perdue' Provenance: Dina Vierny, Paris; acquired directly from Nadia Léger; private collection, Paris Exhibitions: Tokyo, Malborough, Eighteen Bronzes by Fernand Léger, 1989-1990, n° 2, ill. of another cast p. 9; Saint-Tropez, Galerie Lucas Ratton; Saint-Tropez, XAIPE, 2023