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Galerie Jean-François Cazeau
André Masson (Balagny-sur-Thérain 1896-1987 Paris) La Ville abandonnée, 1923-1924 Pastel, coloured wax and charcoal on paper 62.2 x 47 cm 98.5 x 83.3 cm (framed) Study for the final painting entitled La Ville abandonnée, 1923-1924 Signed lower left: André Masson Provenance: the Artist's studio; Collection T. Mesens, Belgian surrealist artist; Gallery Knoedler, New York; Galerie Odermatt-Cazeau, Paris; Private collection, Paris Literature: André Masson, oeuvres maîtresses, Galerie H. Odermatt - Ph. Cazeau, Paris, 1990, ill. in colour, p. 99, n° 43 Exhibition: New York, Surrealism in Art, M. Knoedler & Co., Inc., February-March 1975, catalogue n° 86 Study for the final painting entitled La Ville abandonnée, 1923-1924, oil on canvas, 73 x 60 cm, property of Galerie Louise Leiris, Paris. Literature: Paris, André Masson, oeuvres maîtresses, Galerie H. Odermatt - Ph. Cazeau, 5 December 1990-2 February 1991, p. 99; de Joinville, France, Château du Grand Jardin, Beauvais, Musée Départemental de l'Oise; Tchécoslovaquie, Sovinec, Ostrava, Bratislava, Prague: André Masson : Dessins Surréalistes 1925-1965. 17 April 1993-31 January 1994; Paris, André Masson: peintures et œuvres sur papier 1919-1927, Galerie Louise Leiris, 14 May-13 July 1996. Definitive painting after the drawing, ill. on the cover of the catalogue, p. n°9. Property of Galerie Louise Leiris. Illustrated on the cover of the catalogue; André Masson: Dessins Surréalistes 1925-1965, 1993. The catalogue is published by the AFAA (L'Association Française d'Action Artistique), Le Château du Grand Jardin (Conseil Général de la Haute Marne) and the Musée Départemental de l'Oise, Beauvais and produced by Soft Publicité Reims.
Floris van Wanroij Fine Art
adriaen van ostade
Adriaen van Ostade (Haarlem, 1610-1685) Interior of a barn with peasants-An allegory of smell Oil on panel 17 x 24 cm Signed and dated middle centre: Av ostade 1637 Provenance: private collection; Floris van Wanroij Fine Art; private collection, Remscheid, Germany Literature: Krol, A.E., Musée de l’Ermitage. Peinture de l’Europe occidentale. Leningrad (Hermitage), 1981, vol. II, p. 155 In his charming and amusing painting Adriaen van Ostade, like his contemporaries David Teniers the Younger and Adriaen Brouwer, depicted a scene from the everyday life of the peasant classes. At the same time it forms an allegory, that of the sense of smell. A variation on this composition by Van Ostade is kept in the collection of the Hermitage, Saint Petersburg (inv. n° 999)
Osborne Samuel Gallery
bram bogart
Bram Bogart (Delft 1921-2012 Sint Truiden) Agglomeration, 1959 Homemade paint on canvas H 95.3 x W 158 x D 5 cm Signed and dated lower right Also signed, dated and titled verso Provenance: Arthur Tooth Gallery, UK (March 1959); Martin Summers Art Ltd, London-J P Cochrane Collection (2005); Fine Art Society, London (2006); Rosenfeld Porcini, London (2017); Vigo Gallery, London (2022); private collection Exhibitions: 1960, Matter Painting, ICA, London (Bram Bogart, Lucio Fontana, Nicolas De Stael, Antonio Tapies, Jean Dubuffet, Jean Fautrier) (21 Sep-22 Oct, 1960); 2013, The Continuation of Romance painting an Interrupted discourse, Rosenfeld Porcini, London; 2017, Bram Bogart. Zonzucht, Vigo Gallery, London
F. Baulme Fine Arts
arnould de vuez
Arnould De Vuez (Saint-Omer 1644-1720 Lille) Jacob and Ésaü reconciliation, circa 1678 Oil on canvas 105 x 137 cm Provenance: private collection, Périgord since 1920; by inheritance, the artist's descendants; fonds d'atelier d'Arnould Vuez Arnould de Vuez, a key Flemish historical painter of the second half of the 17th century, was trained by Claude François in his Parisian studio, himself trained by Simon Vouet. The master sent his pupil to Italy so he could get the finest education surrounded by Old Master works. He won the first prize of the Roman Saint Luc Academy in 1677. In 1681, Arnould de Vuez was received at the Royal Academy of Paintings and Sculpture for the alliance between France and Bavaria allegory (Louvre Museum). A decade later, in 1692, he was commissioned by the brotherhood of goldsmiths to paint the « Mays » of Notre-Dame picturing the disbelief of Saint Thomas (Lyon, Saint Jean Primatial). In 1694, soon after Charles Le Brun’s death, with whom he collaborated in Versailles, Arnould de Vuez established himself in Lille where he was commissioned with great orders. He was in charge of the religious monuments, in which he blends Poussin’s classicism lessons, Le Brun inspiration and Rubens influence. His work is characterized by a structured composition, retained drapery and a taste for orthogonal lines. Poussin’s influence should be noted in this frieze composition, as well as the Italian Masters, such as the young men’s head copied from the Athen’s school by Raphael.
Galerie Hadjer
fernand léger
Fernand Léger (Argentan 1881-1955 Gif-sur-Yvette) Shell composition Conceived in 1938, realised in 1965 Wool Workshop Gisèle Glaudin-Brivet, Tapestry Aubusson/Savonnerie, Aubusson, France Fernand Leger on the back, bolduc workshop Unique piece H 262 x W 220 cm Certificate from the Comité Leger Provenance: private collection, USA
Galerie Kevorkian
luristan
Two zoomorphic finials Finial with rampant ibexes and finial with confronted ibexes and pin with a double-headed feline framed by antelope protomes Bronze Luristan, Iron Age II, early 1st millennium BC H 14 and H 21 cm Provenance: former collection of M. & R. Stora, Paris, before 1938; collection of Dr. C. assembled between 1960 and 1993, Paris Literature: A.U. Pope, A survey of Persian Art, vol. VII, 1938, pl. 44 C
Florian Kolhammer
franz hagenauer
Franz Hagenauer (Vienna, 1906-1986) Pair of head sculptures, circa 1981 Designed by Franz Hagenauer and executed by Werkstatte Hagenauer Wien Cast, soldered, nickel-plated and polished brass H 46 x W 49.5 x D 11 cm Each sculpture is marked 'FRANZ', 'Handmade', 'HAGENAUER/WIEN', 'MADE IN/AUSTRIA' and 'wHw' in the circle Literature: Photograph of the female head in the Archiv Hagenauer in the Museum of Applied Arts Vienna, inv. n° HAF 1188
Heutink Ikonen
Ascension of Christ Russia (Yaroslavl), 17th century Egg tempera with gold leaf on a wooden panel surfaced with gesso and linen 72 x 48.5 cm This monumental icon shows an unusual division of planes. In the upper register, Christ is depicted in a green mandorla that is carried to heaven by two angels. The footprints in the earth beneath the mandorla show how Christ was still standing on the earth shortly before. The disciples left beneath gaze and point upwards in wonder. Noticeably, the disciples are standing before the openings of a cave, a reminder of Christ's resurrection from the grave. Directly below Christ, the Mother of God is depicted, flanked by radiant white angels. She bows her head slightly and raises her hands in prayer and reception - a pose reminiscent of the Annunciation. Just as Mary received her divine child at that time, she now leaves him to return to his heavenly father.
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
Galerie Bertrand de Lavergne
Chinese Blanc de Chine porcelain group Representation of a gallant scene of Dutch characters holding glasses in their hands, seated on each side of a table on which a checkerboard is placed; their servants on both sides and in front of them, a dog, a monkey and a plant China, Dehua kilns (Fujian province), Kangxi period (1662-1722) H 14.5 x W 15.5 x D 8 cm
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Gilden's Art Gallery
Marc Chagall (Vitebsk 1887-1985 Saint-Paul de Vence) Study for Commedia dell’arte (Foyer of Frankfurt Opera House), 1958 Brush and India ink with charcoal and pencil on wove paper 36.5 x 56.5 cm Signed lower right: Marc Chagall The work is accompanied by a certificate of authenticity from the Chagall Committee from 27 February 2023 The composition is a study for the largest painting undertaken for a project in the foyer of Frankfurt Opera House, Germany Provenance: estate Marc Chagall
Nosbaum Reding
Manuel Ocampo (Philippines, 1965) Don't give them any puzzle, 2002 Oil on canvas 196 x 248 cm Provenance: the artist's studio Literature: Slow Paintings, ed. Markus Heinzelmann, Museum Morsbroich, Verlag für moderne Kunst Nürnberg, 2009; Manuel Ocampo. Fear of a Kitsch Existence, ed. Menene Gras Balaguer, Casa Asia, Barcelona, 2017, p. 215; Manuel Ocampo, Wunderkammer, Gesellschaft für Gegenwartskunst e. V., Augsburg, Munich, 2003, pp. 24-25 Exhibitions: Group exhibition, Slow Paintings, Museum Morsbroich, Leverkusen, Germany, 24.11.2009-7.2.2010; Solo exhibition, Sprüth Magers Projekte, Munich, Germany, 2003; Solo exhibition, Wunderkammer, Gesellschaft für Gegenwartskunst e. V., Augsburg, Germany, 7 May-15 June 2003
Osborne Samuel Gallery
Lynn Chadwick (London 1914-2003 Lypiatt Park) Short Horn, 1954 Iron and composition H 41 x W 61.5 x D 20.5 cm Unique piece Provenance: The artist; Mrs. Helen Lessore O.B.E.; Acquired by René Gaffé at the Venice Biennale, 15th September 1956; Private collection, The Netherlands; Osborne Samuel, London; Private collection, Canada Literature: J.P. Hodin, Lynn Chadwick, Werk, vol. 44 (n° 3), March 1957, p. 113; Dennis Farr & Eva Chadwick, Lynn Chadwick, Sculptor, With a Complete Illustrated Catalogue 1947-2003, Lypiatt Studio, Stroud, 1997 p. 92, cat. no. 143 (prepatory drawing illustrated; with incorrect dimensions height: 45 cm.) Dennis Farr & Eva Chadwick, Lynn Chadwick, Sculptor, With a Complete Illustrated catalogue 1947-2003, Lund Humphries, Farnham, 2014, p. 111, cat. n° 143 (ill. b&w) Exhibitions: London, New Burlington Galleries, 53rd London Group: British Painting and Sculpture, November-December 1954, n° 264; Venice, XXVIII Biennale, June-October 1956, p. 412, n° 51 (titled Vacca Shortorn), lent by Mrs H. Lessore
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Galeria Jordi Pascual
antoni tàpies
Antoni Tàpies (Barcelona 1923-2012) Cap amb paper encolat, 1987 Paint, pencil and collage on canvas 54 x 65 cm Provenance: private collection, Barcelona Literature: Agustí, Anna. Tàpies. Obra completa, vol. 6, 1986-1990, Fundació Antoni Tàpies and Edicions Polígrafa S.A, 2000, p. 153, fig. 5465
Epoque Fine Jewels
cartier
Cartier Garland style diamond feather brooch In the shape of an ostrich feather with a bow, set with approx. 23 carats of diamonds, mounted in platinum with 'mille grains' finish. Several joints along the frame give flexibility to the feather. With detachable brooch fitting. Paris, 1914 11.7 x 6.8 cm Signed CARTIER PARIS LONDRES NEW YORK with maker's mark of Henri Lavabre According to the Cartier archives, this brooch was a special order, designed in the 'Style Guirlande' at the request of the buyer, even though Art Deco had already made its appearance at Cartier by that time
De Zutter Art Gallery
asger jorn
Asger Jorn (Denmark, 1914-1973) The Awakening II, 1953 Oil on panel 152 x 121 cm This work is included in the Catalogue Raisonné under n° 799 Provenance: R. Dahlmann Olson, Copenhagen Exhibitions: 1953, Copenhagen, ‘spiralen’; 1964, Kunsthalle Basel, 'Asger Jorn-Dodeigne'; 1965, 'Jorn', Stedelijk Museum Amsterdam; Louisiana Museum of Modern Art, Humblebaek, 'Jorn'; 2001-2023 long-term loan to the CoBrA-museum Amstelveen
Galerie Christophe Gaillard
hélène delprat
Hélène Delprat (Amiens, 1957) Turritopsis nutricula, 2010 Pigments, silver pigment, acrylic and glitter on canvas 200 x 160 cm Signed Provenance: the artist's studio; Galerie Christophe Gaillard Literature: Hélène Delprat, Les Travaux et les Jours, Éditions Dilecta/Galerie Christophe Gaillard, 2017, p. 247 Exhibition: Hélène Delprat, I Did it My Way, La Maison Rouge, Paris, France, 2017
Willow Gallery
Eugène Boudin (Honfleur 1824-1898 Deauville) Pont sur La Touques, 1890 Oil on canvas, 46 x 66 cm - framed: 64 x 84 cm Signed, dated and inscribed lower left: Touques, E Boudin 90 Provenance: collection Panhard from 1899 Literature: Robert Schmit, Catalogue raisonné de l’œuvre peint d’Eugène; Boudin, Paris, 1973, vol. III, n° 3332, ill. p. 278, incorrectly dated 1894 Exhibition: Exposition des œuvres d’Eugène Boudin, Paris, École Nationale des Beaux-Arts, 1899, n° 43 (label verso)