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Finch & Co
Workshop of Georg Pfründt (Germany, 1603-1663) Goblet and support raised upon a turned pear-wood base Narwhal, wood South Germany, 17th century H 16.5 cm Provenance: London art market 1960s; private collection Georg Pfründt (1603-1663), born in Franconia, trained under one of the greatest ivory carvers of the Renaissance, Leonard Kern (1588-1662). Moving to Strasbourg in 1639, Pfründt worked in the service of Charles Ludwig, Elector Palatine, and Duke Eberhard VIII of Würtemberg. The goblet is carved in the same style as the equally celebrated 'Nef' favoured by princely courts for their kunstkammer (the 17th century art chamber) developed out of a medieval treasury which in turn became the Renaissance studiolo. The use of narwhal in this cup adds to the sense of rarity and exotica.
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Helene Bailly
pablo picasso
Pablo Picasso (Malaga 1881-1973 Mougins) Le Peintre (Mousquetaire aux 2 visages), 1967 Oil on canvas 100 x 81 cm Signed: Picasso and dated: 21/2/67 at the top left Provenance: Louise Leiris Gallery; Galerie Taménaga (label on reverse); former Pierre and Jeannine Consten collection Literature: Christian Zervos, Pablo Picasso vol. 25 - oeuvres de 1965 et 1967, Editions Cahiers d'Art, Paris, 1972, n° 281, repr. in black and white pl. 126; Catalogue Exposition Internationale du Figuratif, 1971, ed. Tokyo ado banku, repr. in colour; Alan Wofsy, The Picasso's Project, Paintings, Watercolors, Drawings and Sculpture, The Sixties, Part II, 1964-1967, enlarged second edition, San Francisco, 2023, p. 302, n° 67-075
Jan Muller Antiques
Master of the Von Groote Adoration and workshop (Antwerp, active between 1500-1530) The crucifixion Oil on oak panel, original frame 88 x 59 cm - framed: 99.5 x 71.5 cm Label on the back Wallraf-Richartz-Museum, Gemälde-Inventar 1927 n° 427 Provenance: legacy of Ferdinand Franz Wallraf in 1824. Gift to the city of Cologne; sale 1976. Madrid, Berkowitsch, auctioned as the Master of 1518
Francis Maere Fine Arts
fernando botero
Fernando Botero (Medellin 1932-2023 Monaco) Lying nude, 1985 Bronze H 35 x W 60 x D 23 cm Signed and numbered: Botero 3/6 Provenance: collection Emile Veranneman, Kruishoutem; private collection, Belgium Literature: Exhibition catalogue, Botero, Emile Veranneman, Kruishoutem, 1990 Exhibition: 1990 Kruishoutem, Stichting Emile Veranneman, Fernando Botero
Samuel Vanhoegaerden Gallery
tom wesselmann
Tom Wesselmann (Cincinnati 1931-2004 New York) Study for great American nude #90, 1966 Liquitex on paper 46.4 x 55.2 cm Signed and dated Provenance: Sidney Janis Gallery, New York; David Janis Gallery, New York; Maxwell Davidson Gallery, New York Literature: Tom Wesselmann: a Pop Art Legend, Samuel Vanhoegaerden Gallery, Knokke, 2023, ill.
Galerie Mathivet
maison dominique
Maison DOMINIQUE (Paris, maison de décoration founded in 1922, closed in 1970) Chair, circa 1928 Mahogany and silvered bronze H 56 x W 45 x D 56 cm Provenance: private collection, Paris Literature: Felix Marcilhac, Dominique, Edition de l’Amateur, 2008, model repr. pp. 130, 134, 137 The same chair in pear wood is part of the collections of the Brohan-Museum in Berlin, Germany
Galerie Bertrand de Lavergne
Set of seven Chinese pendants for Court Ladies Turquoise, agate, amethyst, carnelian, smoked and citrinated rock crystal, jadeite and bi-colored tourmaline depicting a goddess, different animals, fruits or aquatic plants, some with their original mounts China, late Qing dynasty (1644-1912) From 4 to 5.5 cm
Galerie de la Béraudière
germaine richier
Germaine Richier (Grans 1902-1959 Montpellier) L'Ogre, 1949 Bronze with black patina H 81.2 x W 45 x D 40.3 cm Signed and stamped on the base: G Richier, C. Valsuani cire perdue Foundry: Claude Valsuani, Paris, conceived in 1949, cast in 1951 Edition of 12 (1/8 – 8/8 + 4 AP ) Original certificate of authenticity by Francoise Guiter, dated 5 March 2014 Provenance: Galerie Creuzevault, Paris (1962); Galerie Odermatt, Paris; Sale Prescheteau-Badin, Paris, 20 March 2006; private collection Literature: P. Levy, London's Frenetic Gallery Scene: O'Keeffe sinks; Freud is missing, in The Wall Street Journal Europe, 11 June 1993; Brassaï, Germaine Richier, in Les artistes de ma vie, Paris, 1982, pp. 194-197; R. Barotte, A la rencontre de Germaine Richier (1904-1959), le sculpteur qui va... au-delà de, in Vision sur les arts, Béziers, November 1978; G. Marchiori, Modern French Sculpture, London 1964, pp. 52-53; M. Seuphor, XXIII. Biographies: Richier, Germaine, in La sculpture de ce siècle, dictionnaire de la sculpture moderne, Neuchâtel, 1959, p. 322; M. H. Vieira da Silva, Tribune de Paris - Adieu à Germaine Richier: Son atelier était plein d'une étrange musique, in Tribune de Lausanne, Lausanne, 9 August 1959, n° 7; A. Giacometti, Tribune de Paris - Adieu à Germaine Richier: Assise parmi ses sculptures, in Tribune de Lausanne, Lausanne, 9 August 1959, n° 7; C. Roger-Marx, Cette héritière, inspirée des grands maîtres: Germaine Richier, in Le Figaro littéraire, Paris, 8 August 1959; R. Couturier, Tribune de Paris - Adieu à Germaine Richier: La force de son œuvre, in Tribune de Lausanne, Lausanne, 9 August 1959, n° 7; M. Conil-Lacoste, Chroniques: Germaine Richier ou la confusion des règnes in Cahiers du sud, Marseille, February 1957, pp. 307-311; D. Chevalier, Sculpture encore: dans son atelier, vaste forêt de plâtres et de bronzes, Germaine Richier, chef d'école sculpte les grands mythes sylvestres, in Femme, Paris, October-November 1956, pp. 71-83 (another cast ill.); A. Chastel, Germaine Richier: la puissance et le malaise, in Le Monde, Paris, 13 October 1956; B. Milleret, Envoûtement de Germaine Richier, in Les Nouvelles littéraires, Paris, 11 October 1956; D. Chevalier, Un grand sculpteur: Germaine Richier, in Prestige français et Mondanités, Paris, September 1956, pp. 60-65, n° 19 (another cast ill.); G. Waldemar, Germaine Richier, in Prisme des arts, Paris, April 1956, n° 2; J. Grenier, Germaine Richier, Sculpteur du terrible, in L'Oeil, Paris, September 1955, pp. 26-31, n° 9 (another cast ill.); R. M. Claude, Venise XXVI Biennale: Présence française, in Arts, Paris, 26 June 1952, n° 365 (another cast ill.) Exhibitions: 2014-2015 Genève, Galerie Jacques de la Béraudière, Germaine Richier, Retrospective, p.32; 2013 Berne, Kunstmuseum, Germaine Richier Rétropective, ill. n° 43 p. 146 (another cast exhibited); 2007 Venice, Peggy Guggenheim Collection, Richier pp. 131-135 (another cast exhibited and ill.); 2000-2001 Saint-Paul-de-Vence, Fondation Maeght, Le Nu au XXe siècle, n° 129 (another cast exhibited and ill.); 1996-1997 Lausanne, Musée cantonal des Beaux-arts, De Vallotton à Dubuffet p. 46, n° 28 (another cast exhibited and ill.); 1997 Berlin, Akademie der Künste, Germaine Richier, n° 39 (another cast exhibited and ill.); 1996 Saint-Paul-de-Vence, Fondation Maeght, Germaine Richier, Rétrospective, n° 36 (another cast exhibited and ill.); 1993 London, Tate Gallery, Paris Post War: Art and Existentialism 1945-55, n° 98 (another cast exhibited and ill.); 1993 Paris, Centre Wallonie-Bruxelles, Dominique Rolin, le temps approuvé, (another cast exhibited); 1988 Humlebaeck, Louisiana Museum of Modern Art, Germaine Richier, n° 12 (another cast exhibited); 1966 Paris, Galerie Creuzevault, Germaine Richier 1902- 1959 (another cast exhibited); 1964 Arles, Musée Réattu, Germaine Richier, no. 22 (another cast exhibited and ill.); 1963 Zurich, Kunsthaus, Germaine Richier, n° 46 (another cast exhibited); 1959 New York, Museum of Modern Art, New Images of Man, n° 90 (another cast exhibited and ill.); 1959 Antibes, Musée Picasso, Germaine Richier, n° 67 (another cast exhibited); 1959 Boston, University School of Fine and Applied Arts, Sculptures by Germaine Richier, n° 30 (another cast exhibited); 1959 Paris, Musée Grimaldi, Créations et récréations de Germaine Richier, exhibition cat.; 1958 Minneapolis, Walker Art Center, Sculpture by Germaine Richier, n° 10 (another cast exhibited); 1956 Paris, Musée national d'art moderne, Germaine Richier, n° 16, pl. XIV (another cast exhibited and ill.); 1955 London, The Hanover Gallery, Germaine Richier, n° 7 (another cast exhibited); 1955 Lille, Galerie Marcel Evrard, Germaine Richier, Roger Vieillard, n° 5 (another cast exhibited and ill.); 1955 Amsterdam, Stedelijk Museum, Vieira da Silva, Germaine Richier, n° 35 (another cast exhibited and ill.); 1954 Bienne, Collège des Près Ritter, Exposition Suisse de sculpture en plein air, n° 170 (another cast exhibited); 1954 Basel, Kunsthalle, Germaine Richier, Bissière, H. R. Schiess, Vieira da Silva, Raoul Ubac, n° 9 (another cast exhibited); 1954 Chicago, The Allan Frumkin Gallery, The Sculpture of Germaine Richier, n° 11 (ill.); 1952 São Paulo, Museu de Arte Moderna, II Biennale, n° 3 (another cast exhibited); 1952 Venice, French Pavilion, XXVI Biennale Internazionale dell'Arte, n° 151 (another cast exhibited)
Segoura Fine Art
jules georges clairin
Georges Jules Victor Clairin (France, 1843-1918) L'Epave, 1904 Oil on canvas 75.5 x 50.5 cm Signed lower right and dated on the back Provenance: private collection, France Painting donated by the artist at the tombola of the Salon des artistes français in aid of wounded Russians, April 1904
Kunsthaus Kende
Josef Hoffmann (Czech Republic, Brtnice 1870-1956 Vienna, Austria) For the Wiener Werkstätte Decorative basket in 'Cloverleaf' pattern, Vienna, 1910 900 grade silver basket H 12.1 x W 18.7 x D 12.5 cm The design drawing for the object is in the inventory of the MAK, Vienna under the number KI 12031-26. According to the calculation book of the Wiener Werkstätte, seven examples of this basket were made in 1910 Provenance: American private collection
Marc Heiremans
Fulvio Bianconi (Padua 1915-1996 Milan) Pezzame (aka Spicchi) vase for Venini, Murano, 1951 Free-blown and hand-formed colourless glass with applied fused glass pieces H 22.5 x W 20.5 cm Provenance: private collection, Sweden Literature: Domus 272, August 1952; Bossaglia R. I vetri di Fulvio Bianconi, Allemandi 1993, n° 36; Heiremans M. Art glass from Murano 1910-1970; Arnoldsche 1993, n° 221 p. 268; Deboni F. Venini glass, Allemandi 1996, n° 109; Barovier M./Sonego C. Fulvio Bianconi at Venini, Skira 2015, p. 178 Exhibitions: IX Triennale di Milano in 1951; XXIV Biennale di Venezia 1952; Fulvio Bianconi at Venini, Venice 2015
Galerie Oscar De Vos
gustave van de woestyne
Gustave Van de Woestyne (Ghent 1881-1947 Brussels) Christ in the spring garden, 1907 Oil on board 58 x 40 cm Signed and dated top right: GUSTAVE / VAN DE WOESTYNE 1907 Provenance: René Van Herrewege, Ghent; André Vyncke-Van Eyck, Ghent; Galerie Vanlangenhove, Ghent; Galerie Oscar De Vos, Sint-Martens-Latem; private collection, Belgium Literature: Borchert e.a., Van Eyck. Een optische revolutie (2020), pp. 456-457, p. 497, cat. n° 19.9 (ill.); Boyens, Sint-Martens-Latem. Kunstenaarsdorp in Vlaanderen (1992), pp. 265-266; Boyens, Een zeldzame Weelde (2001), pp. 24-25, p. 69, p. 211, cat. n° 77 (ill.); Boyens, Symbolisme in Vlaanderen (2022), p. 70, n° 60 (ill.); De Geest e.a., Gustave Van de Woestyne 1881-1947 (1997), p. 107, cat. n° 7 (ill.); Gepts, Gustave Van de Woestyne 1881-1947 (1981), p. 76, cat. n° 6 (ill.); Haesaerts, L'Ecole de Laethem-Saint-Martin (1945), p. 162; Hoozee e.a., Gustave Van de Woestyne (2010), pp. 62-63, cat. n° 8 (ill.); Langui, Gustave Van de Woestyne (1967), cat. n° 10; Pauwels e.a., De eerste groep van Sint-Martens-Latem 1899-1914 (1988), p. 101, p. 176, cat. n° 52 (ill.); Pauwels, Als een fonkelenden spiegel (2019), 178 (ill.); Schoonbaert, Religieuze thematiek in de Belgische Kunst 1875-1985 (1986), p. 147, cat. n° 47 (ill); Stubbe, De Vlaamse schilderkunst van Van Eyck tot Permeke (1953), pp. 364-365; Van de Woestyne e.a., Gustave Van de Woestyne 1881-1947 (1970), p. 24, cat. n° 13; Van de Woestyne, Gustave Van de Woestyne (1929), p. 3, cat. n° 7; Van den Abeele, Albijn Van den Abeele (1993), p. 187 (ill.); Vanbeselaere, Vlaamse schilderkunst 1850-1950 (1960), p. 39, cat. n° 112 Exhibitions: 1929, Brussels, Palais des Beaux-Arts, Gustave Van de Woestyne, n° 7; 1953, Ghent, Museum voor Schone Kunsten, Schilderijen uit Gentse Verzamelingen; 1960, Laren, Singer Museum, Vlaamse schilderkunst 1850-1950, n° 112; 1967, Mechelen, Cultureel Centrum, Gustave Van de Woestyne, n° 10; 1981, Antwerp, KMSKA, Gustave Van de Woestyne 1881-1947, n° 6; 1986, Brussels, Galerij ASLK, Religieuze thematiek in de Belgische kunst (1875-1985), n° 47; 1988, Brussels, KMSKAB, De eerste groep van Sint-Martens-Latem, n° 52; 1997, Deinze, MuDeL, Gustave Van de Woestyne 1881-1947, n° 7; 2001, Ghent, Museum voor Schone Kunsten, Een zeldzame weelde n° 77; 2010, Ghent, Museum voor Schone Kunsten, Gustave Van de Woestyne, n° 8; 2012, Deinze, MuDeL, Ecce Homo: de Heilige Bloedprocessie van Meigem; 2020, Ghent, Museum voor Schone Kunsten, Van Eyck. Een optische revolutie, n° 19.9
Gallery Sofie Van de Velde
jean brusselmans
Jean Brusselmans (Brussels 1884-1953 Dilbeek) Les Roses, 1948 Oil on canvas 122.5 x 112.5 cm Signed and dated lower right: Jean Brusselmans 1948 Literature: La Collection Tony Herbert, Brussel, 1957, n° 51; Robert-L Delevoy, Jean Brusselmans, ed. Laconti 1972, p. 403 n° 568 ill.; Dirk De Vos, Retrospectieve Jean Brusselmans, Groeningenmuseum, 1980; Hans Janssen, Jean Brusselmans 1884-1953, Den Haag, 2018, p 115 ill. Exhibitions: Den Haag, Groningen, Charleroi, Oostende, Hasselt, Gent, Collection Tony Herbert, 1957; Luxemburg, Musée d’Art et d’Histoire, Collection Tony Hebert, 1963; Brussels, Paleis van Schone Kunsten, n° 53, 1979; Brugge, Groeningenmuseum, 1980, retrospectieve Jean Brusselmans, 1980; Den Haag, Jean Brusselmans 1884-1953, Gemeentemuseum Den Haag, 2018
Florian Kolhammer
johann loetz witwe
Johann Loetz Witwe Vase Phänomen Genre 356, circa 1900 Designed and executed by Johann Loetz Witwe, Klostermühle, Bohemia Mould-blown, freeform, reduced and iridescent glass H 23.5 x Ø 14 cm Signed underneath 'Loetz Austria' Literature: A. Adlerova, E. Ploil, H. Ricke, T. Vlcek (ed.), Loetz-Böhmisches Glas 1880-1940, vol. II, paper pattern catalogue, Prestel, Munich 1989, paper pattern 420, p. 95
Ralph Gierhards Antiques / Fine Art
A pair of Turkish-style perfume vaporisers Paris, Louis XVI period, circa 1780-1785 Finely chased gilded bronze, glass, enamel. Over stepped base. Openwork cover with drapery decoration and foliage ornaments in the Turkish style. Removable lid. Azure transparent lacquer on copper alloy body (bronze or brass), white marble H 42.5 cm
Pauline's Jewellery Box
Edwardian fancy yellow cushion cut diamond ring Ring set with a fancy yellow cushion cut diamond weighing 7.80 carats. Clarity is VS2. Surrounded by bright and lively white diamonds and mounted in platinum. Accompanied by a GIA certificate Provenance: private collection, London
Floris van Wanroij Fine Art
Relief with the The Flight into Egypt and Miracles during the Journey (Matthew 2:13) Low countries, possibly Antwerp, Renaissance, last quarter of the 16th century, circa 1590 Pear-wood, carved in high relief, on later brass base H 19.6 x W. 16.8 cm (excl. base) Provenance: Jan Dirven Works of Art, Eindhoven, The Netherlands; collection Dreesmann-Houtkooper, The Netherlands; thence by decent private collection, Breda, The Netherlands Literature: Schuckman, Christiaan (1996). Hollstein's Dutch & Flemish Etchings, Engravings and Woodcuts 1450-1700, vol. XLIV: Maarten De Vos. Rotterdam, p. 65, cat. n° 263 This relief, probably carved in Antwerp, is based on a design by the influential Renaissance artist Maerten de Vos (Antwerp, 1532-1603). The original drawing is kept now in the collection of the Herzog Anton Ulrich-Museum, Braunschweig (inv./cat. n° Z. 1086) and is dated shortly before 1579. The drawing was published in engraving by Johannes Sadeler I, as the eighth prints of a twelve-part series on the birth and the first years of Christ. The series was published between 1579-1582 and the current sculpture probably originated shortly afterwards, ca. 1590, which indicates a date of the current sculpture around 1590. The Flight the Holy Family to Egypt, here represented as Joseph on foot and Mary sitting on a donkey with the Christ Child in her arms was, according to tradition, surrounded by miracles. At the top right in a chapel on a tree, a statue of a pegan god breaks in two. At the top left a group of accompanying Angels in the Heavens is depicted and trees bow down their branches in reverence to Christ.
Galerie Bertrand de Lavergne
Quadrangular Chinese ‘famille rose’ porcelain vase decorated with famous scenes from the ‘Romance of the Western Chamber’ that tells the story of a secret love affair between Zhang Sheng (张生), a young scholar, and Cui Yingying, the daughter of a chief minister of the Tang court China, Yongzheng period (1723-1735) H 29.5 cm
Segoura Fine Art
charles revel
Charles Revel (France, 1829-1880) Allégories de la Force et du Droit, circa 1872 Oil on canvas 66 x 54.5 cm Signed lower right Provenance: private collection, France With this painting, Charles Revel illustrates the words given to the German Chancellor Otto von Bismarck: 'Strength prevails over Law'
