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Galerie Raf Van Severen
tsuguharu foujita
Léonard Tsuguharu Foujita (Tokyo 1886-1968 Zurich) Les Deux Amies, 1920 Mixed media on canvas 46.5 x 38.5 cm Signed in the bottom right in Japanese: T. Foujita Signed and dated at the back Provenance: label from Maison Manteau on the back; collection van Buuren; private collection, Belgium Literature: Lechien-Durant, F., Le musée David et Alice van Buuren. Maison de mémoire, Brussels, 1995, p. 100 (repr.) This work will be included in the forthcoming fourth volume of the Catalogue Raisonné of Foujita's work currently being prepared by Sylvie Buisson under the n° B 20.031.H. Exhibitions: 1927, Brussels, Galerie Le Centaure, n°4, Deux femmes I.; 1995, Antwerp, Campo Vlaamse Kaai, Autour de Gustave Van de Woestyne, Réserve du Musée David et Alice van Buuren
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.
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Gilden's Art Gallery
sam francis
Sam Francis (San Mateo 1923-1994 Santa Monica) Untitled SF73-287 (Tokyo), 1973 Acrylic and gouache on wove paper 37.4 x 55.2 cm Signed, dated and inscribed Archive n° SF73-287 Provenance: Kornfeld und Klipstein, Bern, Switzerland; Irving Galleries, Palm Beach, Florida; acquired from the above in 1987; private collection, United States of America
Galerie Hurtebize
alfred sisley
Alfred Sisley (Paris 1839-1899 Moret-sur-Loing) Matinée d'octobre près de Port-Marly, 1876 Oil on canvas 46.5 x 54.3cm Signed lower left: Sisley Provenance: Durand-Ruel and Co. Gallery, Paris; Feder & Picq, Paris; Galerie Durand-Ruel et Cie., Paris, June 1892; Martin A. Ryerson, Chicago, August 1892; Durand-Ruel Galleries, New York, March 1893; J.M. Schley, New York, February 1899; Katherine Schley Variell, New York by descent from previous owner, August 1915; Brick Store Museum, Kennebunk, Maine by bequest of previous owner, 1960; sale, Sotheby's, London, April 24, 1963; O'Hana Gallery, London; acquired from the latter by the family of the last owner, October 1963 Literature: F. Daulte, Alfred Sisley: Catalogue raisonné of the painted work, Lausanne, 1959, n° 224 (ill. titled Morning of October); S. Brame and F. Lorenceau, Alfred Sisley: Critical catalogue of paintings and pastels, Paris, 2021, p. 118, n° 236, ill. p. 43 Exhibitions: New York, Galeries Durand-Ruel, Works by Alfred Sisley, February-March 1899, n° 23; Waterville, Colby College Bixler Art and Music Center, 1961-62 (on extended loan); London, O'Hana Gallery, Summer Exhibition of French Paintings and Sculpture of the Nineteenth and Twentieth Centuries, June-September 1963, n° 52
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Stéphane Renard Fine Art
henri-pierre danloux
Henri-Pierre Danloux (Paris, 1753-1809) Pair of portraits: Portrait of the Duc d'Angoulême & Portrait of the Duc de Berry Oil on canvas pasted on wood panels Duc d'Angoulême: oval canvas 25 x 21 cm - framed: 35.5 x 30 cm Duc de Berry: oval canvas 26.5 x 21 cm - framed: 35.5 x 30.3 cm Rectangular frames in the neoclassical style with pearl and rais-de-coeurs motif surrounding an oval medallion. The frames are surmounted by cartouches reading 'Donné par S.A.R. le Mgr Le Duc d'Angoulême à Lord Adam Gordon' and 'Donné par S.A.R. le Mgr Le Duc d'Berri à Lord Adam Gordon' Signed 'HP Danloux 1797' on the portrait of the Duc d'Angoulême Provenance: gifted by the models to Lord Adam Gordon and then by family descent
Galerie des Modernes
serge poliakoff
Serge Poliakoff (Moscow 1900-1969 Paris) Abstract composition, 1960 Gouache on paper 50 x 65.5 cm Signed lower left: SErgE PoliakoFF Provenance: private collection, Switzerland Literature: Catalogue raisonné de l’œuvre de Serge Poliakoff by Alexis Poliakoff, vol. III, 1959-1962, desc. and repr. in colour on p. 226, n° 60-202
Van Herck-Eykelberg
alexander calder
Alexander Calder (Lawnton 1898-1976 New York) La Grande Cravate, 1969 Gouache on paper 109 x 23 cm Signed and dated Registered at the Calder Foundation under the archive n° A24180 Literature: Alexander Calder, Château de Tours, 2008, exhibition catalogue, ill. p. 181 Exhibition: Alexander Calder, Château de Tours, 6 June-19 October 2008
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."
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
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
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)
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
Epoque Fine Jewels
marcel bing
Marcel Bing (1875-1920) Art Nouveau gold, ivory, opal and enamel brooch, designed as an woman’s ivory face in profile, her long hair in billowing waves of gold, her headdress set with two cabochon opals, decorated with green iridescent enamel and dark red enamel highlights Paris, circa 1900 3.6 x 3.2 cm Maker’s mark of Marcel Bing Marcel Bing (1875-1920) was the fourth child of Siegfried Bing (1838-1905), the great collector of Japanese art and founder of the gallery 'La Maison Art Nouveau Bing', located at 22 rue de Provence in Paris. Marcel trained as a jeweller, creating jewelry and vase mounts for the gallery, and took over its management upon his father's death in 1905. The shop and its owners were so influential in their day that it was from the name of this Parisian Shop 'La Maison Art Nouveau Bing' that the entire 'Art Nouveau' movement got its name. Bing(s importance in the development of the Art Nouveau movement cannot be over-stated.
Costermans & Pelgrims de Bigard
ernest louis jean cremer
Ernest Louis Jean Cremer (France, 1731-1793) Mahogany quartet table, circa 1780 Louis XVI period H 74.5 x W 53.5 x D 38 cm Stamped by Cremer, received Master on July 13, 1777 Literature: P. Kjellberg, Le Mobilier français du XVIIIe siècle, Les Editions de l'Amateur 2008, p. 218
Galerie des Modernes
paul delvaux
Paul Delvaux (Belgium, Antheit 1897-1994 Veurne) Les deux Amies, 1972 Watercolour and ink on paper 35.5 x 27 cm Signed and dated lower right: P. DELVAUX 1972 Certificate of authenticity from Mr. Charles Van Deun of the Foundation Paul Delvaux Provenance: private collection, Brussels, acquired directly from the artist; Galerie Eric Gillis Fine Art, Belgium; private collection, France © Foundation Paul Delvaux, Belgium/SABAM, 2023
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
Galerie Boulakia
karel appel
Karel Appel (Amsterdam 1921-2006 Zurich) Untitled, 1960 Oil on canvas 81 x 116 cm Signed and dated lower right Written confirmation of the work's authenticity Provenance: private collection Karel Appel was a Dutch painter, avid sculptor, and one of the founders of the avant-garde CoBrA movement in 1948. Born in the Netherlands, he began painting at the age of fourteen. Recognised for his ironic imagery, bold brushstrokes and energetic use of colour, Appel’s work received both broad critical acclaim and unfavourable criticisms. Known for his figurative abstractions and expressive colours, Appel found inspiration in the artwork of children and the rejection of sophisticated aesthetic tastes. He was drawn to the animated, primitive style of Jean Dubuffet in the years following the isolated, repressive environment of WWII in Amsterdam. In a childlike manner, painted in thick, black lines against a background of primary colours, Appel's unique style is immediately discernible in Untitled, 1960.
Galerie Cento Anni
Philippe Wolfers (Brussels, 1858-1929) Eternelle idylle, circa 1911 Sketch in patinated bronze on a burgundy marble base H 30 cm Signed Philippe Wolfers with monogram Lost wax, Foundry Ateliers Wolfers Provenance: private collection, Belgium Literature: La Dynastie Wolfers, Ed. Pandora, p. 394 Exhibitions: Brussels 1911, n° 3; Milan 1926, n° 42; Brussels 1928, n° 31, Antwerp 1929, n° 30; Brussels 1972, n° 69
Victor Werner
carl max kruse
Carl Max Kruse (Berlin, 1854-1942) Messenger of Victory on Marathon, circa 1900 Life-size bronze with green patina of an athlete carrying the Olympic palm H 210 x W 120 x D 50 cm Signed Max Kruse Literature: Amtsblatt Lutherstadt Eisleben, ill. p.17; Carl-Peter Steinmann: Sonntagsspaziergänge 2. Entdeckungen in Charlottenburg, Friedrichshain, Gesundbrunnen, Grunewald, Karlshorst, Prenzlauer Berg, Transit Verlag Berlin 2010, ISBN 978-3-88747-286-3; Fritz Stahl: Max Kruse. Wasmuth, Berlin 1924 Other examples can be found in the collection of the museum 'Alte Nationalgalerie Berlin', in Lutherstadt Eisleben (a town in the German state of Saxony-Anhalt) and at the sports facility in 'Gladbacher Straße', Krefeld (a town in the German state of North Rhine-Westphalia)
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Guy Pieters Gallery
christo and jeanne-claude .
Christo (Gabrovo 1935-2020 New York) and Jeanne-Claude (Casablanca 1935-2009 New York) The Floating Piers (Project for Lake Iseo, Italy), 2014 Pencil, wax crayon, enamel paint, photographs by Wolfgang Volz, technical data and fabric sample 66 x 43 cm Provenance: private collection Linda and Guy Pieters Certificate of authenticity n°308-11 recorded in the archives of the Estate of Christo V. Javacheff
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.)