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Galerie Bernard De Leye
Head of Saint Janvier known as San Gennaro Naples, (Italy), 18th century Silver gilt H 15 x W 11.8 cm - Weight: 696 gr. Saint Janvier is the patron saint of the city of Naples. The head is made from a thick sheet of silver that is entirely hammered, embossed and chased. The pathos of the face expresses the mystical vision typical of Italian Baroque taste. The rendering of the face is highly expressive. This head is executed in the purest tradition of the reliquary busts found in Naples at the beginning of the eighteenth century in the treasury of the cathedral of San Gennaro (Treasure of Saint Janvier). Comparative pieces in The Treasure of Naples, The Jewels of San Gennaro, Gallimard, Musée Maillol, 2014
A&R Fleury
alicia penalba
Alicia Penalba (1913-1982) Grande annonciatrice, 1965 Bronze with patina 90 x 140 x 70 cm Signed and numbered “APenalba 1/5” The work is referenced in the catalogue raisonné during the exhibition 'Alicia Penalba, escultora', MALBA, Buenos Aires, 2016-2017, under n° 48b p. 107
Cortesi Gallery
arnaldo pomodoro
Arnaldo Pomodoro (Morciano di Romagna, 1926) Disco, 2002 Bronze 24.8 x 21 cm Ed. of 8 + 2 AP Provenance: Imago Art Gallery, Lugano; Thomas B. Lemann, New Orleans; Private Collection, New York Literature: Flaminio Gualdoni, ed., Arnaldo Pomodoro: Catalogo ragionato della scultura, vol. II, Milan, 2007, n° 1039, p. 766 (another example ill.); Fondazione Arnaldo Pomodoro, ed., Arnaldo Pomodoro: Catalogue Raisonné, n° 1039 (AP 779), online (another example ill.) Exhibitions: 2006 Arnaldo Pomodoro: Sculture, Chiari, Galleria d'arte L'Incontro Arte Moderna e Contemporanea, October 7–November 30, 2006, p. 44 (another example exh. and ill.)
Dr. Lennart Booij Fine Art & Rare Items
emile gallé
Emile Gallé (Nancy, 1846-1904) Vase, circa 1895 Aquamarin enamelled and hand etched vase with applied handles H 25 cm Provenance: private collection, France Literature: Alistair Duncan, The Paris Salons 1895-1914, vol. IV, p. 228 for a similar model
Galerie Oscar De Vos
gust. de smet
Gustave De Smet (Ghent 1877-1944 Deurle) Landscape with church, 1930 Oil on canvas 66 x 81 cm Signed lower left: Gust. De Smet Provenance: Galerie Le Centaure, 1932, lot 76, bought by Théo Bogaerts for Mr. Nijkerk; collection M.B.B. Nijkerk, Amsterdam; collection Dr. K. Nijkerk, Amsterdam; private collection, Brussels Literature: Haesaerts, Gustave De Smet (1936), n° 115; Langui, Gustaaf De Smet. De mensch en zijn werk (1945), p. 239, n° 432; Van Hecke & Langui, Gustave De Smet. Sa vie et son oeuvre (1945), p. 249, n° 428; Vanbeselaere, Gustave De Smet. Retrospectieve tentoonstelling, cat. (1961), p. 75, n° 147; Kikkert, Gustave De Smet 1877-1943, cat. (1978), n° 32; Milo, Vie et survie du Centaure (1980), p. 105, n° 76; Boyens, Retrospectieve Gust. De Smet (1989), p. 166, n° 120 (ill.); Boyens, Gust. De Smet (1989), p. 229, p. 399, n° 846 (ill.); Denninger-Schreuder, Vlaamse expressionisten (1993), p. 31 (ill.); Boyens e.a. , De maat der dingen (2003), p. 30 (ill.) Exhibitions: 1936, Brussels, Palais des Beaux-Arts, Gustave De Smet, n° 115; 1961, Antwerp, KMSKA, Gust. De Smet Retrospectieve, n° 147; 1973, Sint-Martens-Latem, Gemeentehuis, Latemse kunstenaars in Nederlandse verzamelingen, n° 13; 1978, Warmenhuizen, Oude Ursulakerk, Gustave De Smet, n° 32; 1989, Ostend, PMMK, Retrospectieve Gust. De Smet, n° 120; 1993, Kortenhoef, Kunst aan de dijk, Vlaamse expressionisten, 31; 2003, Deinze, MuDeL, De maat der dingen, n° 39
Ralph Gierhards Antiques / Fine Art
A pietre dure cabinet Pietre dure: Florence, late 17th century Cabinet and stand: England, late 18th century Pietre dure, pietre tenere, ebonised oak, mahogany, brass, gilt metal Cabinet: H 65.1 x W 76.5 x D 41.9 cm Table: H 82.6 x W 81.3 x D 41.9 cm Provenance: Partridge Fine Arts, London 1985; This cabinet belonged to The Gilbert Collection, Victoria and Albert Museum, London 1991; private collection, Italy Literature: This cabinet is illustrated in Anna Maria Massinelli, The Gilbert Collection-Hardstones, Philip Wilson Publishers in association with The Gilbert Collection, fig. 5; Baldini, Giusti and Pampaloni Martelli 1979, fig. 164; Kreisel 1970, fig. 186; Kunsthistorisches Museum 1987, p. 33 Exhibition: Los Angeles (USA), 1991 A cabinet with eleven pietre dure and pietre tenere mosaic panels on the front, with Tuscan landscape views on a background of Albarese limestone. This cabinet was made in England in the late eighteenth century and is typical of the furniture inspired by the taste of travellers who, during their Grand Tour of Italy, bought Florentine mosaic work in the Grand Ducal workshops and had it set in made-to-measure cabinets on their return. The landscape panels are linked to those on a cabinet documented as being in the Villa del Poggio Imperiale after 1691. They demonstrate the interest in landscape subjects in the Grand Ducal workshops during the late seventeenth century. Similar types of panels can be found on early eighteenth-century German furniture. Examples include cabinets from Ambras castle, Braunschweig and a desk in the castle at Wiesentheid. This cabinet was exhibited in Los Angeles in 1991 and the cabinet is illustrated in the book The Gilbert Collection – Hardstones
Heutink Ikonen
The Ladder of Divine Ascent Russia (Vyg), circa 1800 Egg tempera with gold leaf on a wooden panel surfaced with gesso and linen 35 x 31 cm This rare iconography is based on the work 'The Ladder of Divine Ascent' by the hermit John Climacus, who lived in the Sinai Desert in the seventh century. The work was a major influence on Orthodox Christianity, comparable to 'The Following of Christ' by Thomas à Kempis in Roman Catholicism. The icon shows how monks may get closer to Christ through several stages of asceticism (steps on the ladder) and ultimately reach heaven. Angels encourage the monks and pray for succour, while to the left of the ladder demons are attempting to lure the monks into succumbing to earthly temptations. The steadfast monk who reaches the top of the ladder is welcomed with open arms by Christ in heaven. The monks who surrender to the temptations of the world fall into the devil's wide-open mouth. The icon was probably meant as a reminder and encouragement for monastics to live a virtuous life.
Floris van Wanroij Fine Art
Madonna and Child Malines, late Gothic, first quarter of the 16th century Walnut with original polychrome and gilding, marked with the ‘M’ mark in the front and Malines three-bar Guild mark on the reverse H 32.4 cm (incl. base) Recorded at KIK-IRPA, Brussels, object n° 11016890 Certificate of expertise by Mrs J. Zeberg, Vice-President of the Chambre Royale des Antiquaires de Belgique, dd. 1 February 1996 Provenance: J. Zeberg Antiques NV, Antwerp, TEFAF Maastricht 1996, acquired by private collection, Antwerp Literature: Exhibition catalogue 1996 TEFAF Maastricht. Den Bosch: The European Fine Art Foundation, p. 293, with ill.; F. Cayron & D. Steyaert, Made in Malines. Les statuettes malinoises ou poupées de Malines de 1500-1540. Étude matérielle et typologique, 2019; Brussels: KIK-IRPA, p. 150, ill. 3.55 Exhibition: TEFAF Maastricht, March 1996 This statuette of the Madonna and Child is a prime example of the Malines sculpture production of the early sixteenth century. The polychromy is attributed to the anonymous Maître aux fleurettes isolées (ca. 1501–ca. 1550). Cayron and Steyaert have identified three other sculptures with applied polychrome and gilding by this Malines master (2019, p. 150)
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
Galerie de la Présidence
jean dubuffet
Jean Dubuffet (Le Havre 1901-1985 Paris) Tasse de thé, 18 mai 1967 Marker on paper 25 x 16.5 cm Signed with the initials and dated lower right Provenance: Galerie Jeanne Bucher Jaeger, Paris; private collection, Paris Literature: Max Loreau, Catalogue des Travaux de Jean Dubuffet: Cartes, Ustensiles, fascicule XXII, Suisse 1972, p. 53, n° 166 Exhibitions: Dubuffet, L’Hourloupe, Kunsthalle, Basel, 1970; Dubuffet, Paysages du mental, Galerie Jeanne-Bucher, Paris, 1989; Dubuffet, obras sobre papel, Fundaçao Arpad Szenes - Vieira da Silva, Lisbon, 2000; Dubuffet L’Hourloupe, Grand-Palais, Paris, 2006; Cent dessins de Jean Dubuffet, Galerie Jeanne-Bucher, Paris, 2009; Jean Dubuffet-Le Cours des choses, Jeanne Bucher Jaeger, Paris, 2022
Romigioli Antichità
Giovanni Baratta (Italy, 1670-1747) Pair of cherubs, 1699 Carrara marble H 72 cm Fragment recovered from the lost high altar of Santa Trinita in Florence, studied by Francesco Freddolini Provenance: Florence, Church of Santa Trinita until 1892 Literature: Francesco Freddolini, Journal of visual art Predella n° 53, June 2023 Pair of large (H 72 cm) and splendid statuary marble Cherubs by Giovanni Baratta (Carrara 1670 - 1747), they are the best expression of Florentine Baroque. Baratta, an artist of European fame, worked not only for the clergy but also for the most important Florentine aristocracy, including the Medici family. The two Cherubim are of historical and artistic significance because of their provenance; in fact, they are the only surviving element of the altar in the Santa Trinita church in Florence, the original location of Cimabue's Maestà. Their large size is obviously due to the fact that they were placed at the highest part of the altar and are portrayed in the act of kissing each other.
Galerie de la Béraudière
jean fautrier
Jean Fautrier (Paris 1898-1964 Châtenay-Malabry) Les feuilles vertes, 1934 Oil on canvas 73 x 60 cm Signed lower left: Fautrier Provenance: collection Jean Paulhan, France; collection Dominique Aury, France; private collection, France (by descent); Tajan, Paris, November 2022, lot 44; private collection, Belgium This work will be included in the catalogue raisonné of Jean Fautrier’s painted work currently being prepared by Madame Marie-José Lefort Literature: Palma Bucarelli, Jean Fautrier, Pittura e materia, ed. Il Saggiatore, Milano 1960, Ill. 107, p. 306 Exhibition: 1974, Paris, Galeries Nationales du Grand Palais, Jean Paulhan à travers ses peintres, cat. 563, p. 218
Cabinet of Curiosities-Honourable Silver Objects
cartier paris
Bracelet, circa 1960 Signed Cartier Paris, n° 114069 Stamped with French assay marks 18K yellow and white gold, designed with 13 carved fluted round lapis lazuli beads, on a slightly flexible gold shaft, terminating with a hook clasp set with 22 single and full-cut round diamonds, approximately 0.90 ct. Provenance: private collection, The Netherlands Ladybird brooch, circa 1930, signed Cartier Paris, n° 07544, stamped with French assay marks, platinum, designed with a head in enamel and a red coral body set with 8 full-cut round diamonds 22 x 19 x 11 mm Provenance: private collection, London Literature: N. Coleno, Etourdissant Cartier (Paris: Editions du Regards, 2008), pp. 44-45, 81
Cabinet of Curiosities-Honourable Silver Objects
Circle Gerard Opstal (1605-1668) Carved relief with bacchanal scene, Bachus and five putti Ivory, tropical wood (frame) Southern Netherlands/Flanders, late 17th century 6.3 x 6.3 cm (relief) 11 x 11 cm (frame) Provenance: Stodel, Amsterdam Literature: Les Ivoires, Evolution décorative du Ier siècle à nos jours. Avec la collaboration de M. l'abbé P. Bidault, H. Levasseur, J. Joire, et de MM. les Conservateurs des Musées européens, Paris, Tardy, 1966, pp. 104-106, 109, 128; Elfenbein, Otto Pelka (Bibliothek für Kunst und Antiquitäten Sammler), p. 73, n° 262; Ivoires du Musée du Louvre 1480-1850, une collection inédite (Dieppe: Editions d’Art/Château-Musée de Dieppe, 2005), pp. 56, 220, n° 38; L’amour des ivoires, E. Mannoni, éd. Ch. Massin, Paris
Galerie Nicolas Bourriaud
auguste rodin
Auguste Rodin (Paris 1840-1917 Meudon) L'homme au nez cassé, masque - type II 2e modèle (1903) Bronze with black-green patina H 25.5 x W 20 x D 21.5 cm Total height with onyx pedestal: 37.5 cm Signed: A. Rodin and marked: A. Rodin in relief on the inside Cast by Alexis Rudier, bears the founder's signature, circa 1926
Gioielleria Nardi
Homage to Canaletto ring Gold and silver with diamonds, rubies and sapphires A painting by Canaletto is the basic idea that provided the inspiration for making this ring. The idea is to create an ideal bridge between ancient art and contemporary jewellery. The beautiful engraving is completely handmade
Alexis Lartigue Fine Art
simon hantaï
Simon Hantaï (Hungary, Bia 1922-2008 Paris, France) Untitled, 1971 Watercolour on canvas 85 x 73 cm Monogrammed and dated Certificate from Daniel Hantaï Provenance: private collection, Paris This work on canvas is part of the series of watercolours presented by the Fournier gallery in 1971 in Paris. Simon Hantaï whitened the canvas beforehand with a filler, then he crumpled and pinched it. The visible parts were painted in several colours. Once deployed, we discover the whites held in reserve. The artist considered that the works must live, and undergo the onslaught of time and light, without particular protection and without frames. He went so far as to bury certain works in his garden, before taking them out and exhibiting them as they were, smeared with dust and organic waste. "The work exudes an aura of sensitive, sovereign light that is hard not to surrender rapturously to." Alain Delaunois
Gilden's Art Gallery
alexander calder
Alexander Calder (Lawnton 1898-1976 New York) Eclipse, 1961 Gouache on wove paper 55 x 74.5 cm Signed and dated lower right: Calder 61 This work is registered in the archive of the Calder Foundation with the application n° A11010 Provenance: Nicholas Guppy (1925-2012); acquired directly from the artist; Sotheby's Parke Barnet, 3 December 1981, lot 535; Renton Family, Thaxted, Essex, United Kingdom (after 1981) Exhibition: Calder, 12 July-10 August 1980, Kettle's Yard, Cambridge, cat. n° 17 (incorrectly titled Red moon)
Galerie Oscar De Vos
emile claus
Emile Claus (Sint-Eloois-Vijve 1849-1924 Astene) Return from school/Girls in the field, 1892 Oil on canvas 132 x 99 cm Signed lower left: Emile Claus Provenance: collection Mrs. G.C., Brussels; Galerie Georges Giroux, Brussels, 1929, n° 28; collection Mrs. F. Soethoudt, Brussels; auction Guillaume Campo, Antwerp, 1982, n° 25; Galerie Oscar De Vos, Sint-Martens-Latem; private collection, Belgium Literature: G. Giroux, Catalogue de la collection de Madame G.C. (Brussels: Galerie Georges Giroux, 1929), n° 28, ill. n° 12 (ill.); P. Eeckhout, Retrospectieve tentoonstelling Emile Claus 1849-1924, cat. (Gent: MSK, 1974), p. 49, n° 49; R. Bombeke, e.a., Schilders van het Leieland, cat. (Deinze: MuDeL, 1991), n° 144; P. Boyens, Sint-Martens-Latem. Kunstenaarsdorp in Vlaanderen (Tielt: Lannoo, 1992), 535 (ill.); M. Ruyters, Campo 1897-1997 (Antwerpen: Stefan Campo, 1997), p. 85, n° 11 (ill.); J. De Smet, e.a., Emile Claus en het landleven, cat. (Gent: MSL, 2009), p. 145, p. 93 (ill.); R. Hoozee, e.a., Lights of Flanders. Images of a beautiful Belgian village, cat. (Tokyo: The Mainichi Newspapers, 2010), p. 71, n° 36 (ill.); J. De Smet, e.a., Emile Claus and Belgian Impressionism, cat. (Kobe: The Kobe Shimbun, 2013), p. 46, n° 6 (ill.) Exhibitions: 1929, Brussels, Galerie George Giroux, n° 28; 1974, Ghent, Museum voor Schone Kunsten, Retrospective Exhibition Emile Claus 1849-1924, n° 49; 1982, Antwerp, Guillaume Campo, 1982, n° 25; 1991, Deinze, Museum van Deinze en de Leiestreek, Schilders van het Leieland, n° 144; 2009, Ghent, Museum voor Schone Kunsten, Emile Claus and Rural Life, n° 93; 2010-2011, Himeji, City Museum of Art; Tokyo, The Bunkamura Museum of Art; Miyoshi, Okuda Genso Museum, Light of Flanders. Images of a beautiful Belgian village, n° 36; 2013, Himeji, City Museum of Art; Tokyo, Station Gallery; Ishikawa, Prefectural Museum of Art; Hekinan, City Tatsukichi Fuji Museum of Contemporary Art, Emile Claus and Belgian Impressionism, n° 6; 2021, Mechelen, Heilige Geestkapel, Het Kunstuur