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Klaas Muller
daniël seghers and cornelis schut
Daniël Seghers (Antwerp, 1590-1661) and Cornelis Schut (Antwerp, 1597-1655) Portrait of the Virgin and Child, supported by Cherubs with a Flower Garland Oil on canvas 127 x 104 cm Provenance: collection of Willem de Blasere, Lord of Hellebus, Ghent, circa 1635, and recorded in Seghers’ inventory as n° 135; Galerie Marcus, Paris, 1970-1974; private collection, Belgium Literature: Diary of Daniel Seghers in W. Couvreur, ‘Daniel Seghers’ inventaris van door hem geschilderde bloemstukken’, in Gentse bijdragen tot de kunstgeschiedenis, vol. XX, 1967, p. 112, n° 135; M.-L. Hairs, Pour un tricentenaire, D. Seghers, in revue Belge d’archéologie et d’histoire de l’art, Liège 1960; M.-L. Hairs, Dans le sillage de Rubens, les peintres d’histoire anversois au XVIIe siècle, Liège 1977, p. 213; M.-L. Hairs, The Flemish Flower Painters in the XVIIth Century, Brussels 1985, pp. 125–29, cat. n° 33, a detail reproduced p. 130; G. Wilmers, Corneli Schut (1597–1655): a Flemish Painter of the High Baroque, Belgium 1996, pp. 172–73, cat. n° A108, repr. p. 413 (erroneously as cat. n° A110); The golden age of Flemish painting. Taichung (Taiwan), 1988, p. 151 (repr. in colour) Exhibitions: Cologne, Wallraf-Richartz-Museum, 4 September–22 November 1992; Antwerp, Koninklijk Museum voor Schone Kunsten, 12 December 1992–8 March 1993; Vienna, Kunsthistorisches Museum, 2 April– 20 June 1993, Von Bruegel bis Rubens, n° 99.1; Taichung, National Taiwan Museum of Fine Arts, The Golden Age of Flemish Painting, 1988, n° 54 This collaboration between two important Flemish painters (Seghers painted the flowers, Schut was responsible for the putti and the cartouche) resulted in a beautiful painting with an exceptional story. Hairs related this work to work 'n° 119' from Daniel Seghers' inventory. This work was described in the diary of Philippe Chifflet (from the entourage of Cardinal Infante Ferdinand of Spain). Chifflet noted that Ferdinand visited Seghers in his studio where this work was presented to him (See: G. Wilmers, Corneli Schut (1597-1655): a Flemish Painter of the High Baroque, Belgium 1996, pp. 172-73). This is a great collaboration between two specialists in their genre: Schut's free 'Rubenesque' figuration is broken by Segher's hyperrealism and bright use of colour. Although the two painters retain their individuality and their own style, they reinforced each other in this work and built a composition together. (Schut and Seghers worked together several times during this period, resulting in several cartouches with putti).
Galerie Berès
Georges Mathieu (Boulogne-sur-Mer 1921-2012 Boulogne-Billancourt) Vaillance d’un Gantois à la bataille de Gaure, 1957 Oil on paper 25 x 50 cm Signed and dated lower right: Mathieu 57 Certificate dated May 30th 2022, by Marc Ottavi, vice-president of the Archives Jean-Marie Cusinberche on Georges Mathieu; this work is referenced in the Maurice d’Arquian Archives under n° 12 Provenance: galerie Helios Art, Brussels; collection Nyst, and thence by descent; Clavé Fine Art, Paris Literature: G. Mathieu, Cycle des Grands Ducs d'Occident, galerie Helios Art, Brussels, 8-30 November 1957, n° 12 Exhibition: G. Mathieu, Cycle des Grands Ducs d'Occident, galerie Helios Art, Brussels, 8-30 November 1957
Galerie Kevorkian
mughal art / art moghol
Portrait of nawab 'Ali Mardan Khan Mughal art Opaque watercolour and gold on paper, gold speckled margins Illuminated panel written in nasta'liq script: 'tasvir-e nawab 'Ali Mardan Khan' Mughal India, 18th century Folio: 32 x 22.8 cm, painting: 21 x 12.4 cm Provenance: probably collection of Sir Elijah Impey, chief justice of Bengal from 1774 to 1789; former collection of Jean Pozzi (1884-1967), French diplomat and collector; French private collection (1975-2000) Exhibition: Indian and Oriental Miniatures, Palais Galliera, Paris, 5 December 1970, n° 24
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 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
Lemaire
Two Vincennes porcelain jardinières fitted with porcelain flowers France, Louis XVI period Soft paste porcelain jardinière with pink monochrome decoration holding porcelain flowers on painted metal stems H 9.3 and H 9.5 cm; overall 26.8 cm Marked with a double L in blue bearing the letter-date C for 1755-56 Marked by the painters Jean-Charles Sioux l'aîné (French, active from 1752 to 1792) and Mutel (active from 1754 to 1759). 3rd size A flower jardinière with the same decoration has been published by GWILT (J.), Vincennes and Early Sèvres Porcelain from de Belvedere Collection, V & A Publishing, 2014, p. 147
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 Kevorkian
persian art, samanid dynasty
'Buff ware bowl' with seated figure, animals and inscriptions Persian art, Samanid dynasty Earthenware pottery, painted in black, yellow and green under a transparent glaze Eastern Iran (Khurasan), Nishapur, 10th century H 6.2 cm; Ø 18.2 cm Provenance: former collection P.M., Paris; Hôtel Drouot, 10 July 1980, lot 9
DIE GALERIE
max ernst
Max Ernst (Brühl 1891-1976 Paris) Corps enseignant pour une école de tueurs, 1967/2020 1967 - ensemble of sculptures in limestone (roche dure de Vilhonneur) 2020 - ensemble of sculptures in bronze Bronze, Susse Fondeur Paris Ex. 8/8 Ensemble consisting of: Big Brother, H 150 x W 100 x D 94 cm (without plinth) Séraphin le néophyte, H 198 x W 75 x D 75 cm (figure without eyes) Séraphine-Cherubin, H 200 x W 80 x D 75 cm (figure with eyes) Provenance: estate Max Ernst Literature: Werner Spies, Max Ernst-Skulpturen, Häuser, Landschaften, Köln, 1998, p. 192, p. 210ff, p. 273; Jürgen Pech. Max Ernst. Plastische Werke, Köln, 2005, p. 194-201
Victor Werner
camille marc sturbelle
Camille Marc Sturbelle (Brussels 1873-1944 Sint-Lambrechts-Woluwe) Pair of outdoor sculptures of shepherd dogs, 1925 Bronze with green patina The dog in a standing position is signed and dated Sturbelle, 1925 - H 88 x W 115 x D 37 cm The dog in a seated position is signed and dated Sturbelle, 1902 - H 113 x W 59 x D 37 cm Both sculptures bear the name of the foundry Fonderie Nationale Des Bronzes, St. Gilles Bruxelles Provenance: private collection Literature: Pas, W. & G., ARTO 2000 Biografisch Lexicon Plastische Kunst in België, p. 370; Museum: A bronze sculpture made by the same artist (depicting an English bulldog) can be found in the collection of the Royal Museum of Fine Arts Antwerp (KMSKA)
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Tobogan Antiques
giuseppe ghedina (1825-1896)
Giuseppe Ghedina (Italy, 1825-1896) The music lesson, circa 1860 Oil on canvas H 141 x W 179 cm Signed: G. Ghedina Painting representing a music lesson, composed of a group of three elegantly dressed ladies, listening to a musician playing the lute and accompanied on vocals by a man holding a musical score in hand. This artist’s genre scene is distinguished by the softness of the eyes, the romanticism of the attitudes and the harmony of the tones used Provenance: Château de Prépinson, Sologne
Klaas Muller
dutch school ca 1610
Dutch School Portrait of a Lady, circa 1610 Oil on panel, oval format H 62 cm To this day, no one has been able to identify the creator of this work. Based on the style of the clothes, we can date the work to around 1610 (the period when Rubens made his famous portrait 'The Honeysucle Bower' (circa 1609, Münich, Alte Pinakothek) showing himself together with his first wife Isabella Brant). Altough stylistically our portrait is closely related to Rubens double portrait, based on attire and jewellery, we should rather situate our portrait in the Northern Netherlands. The outstretched hairpin was meant to deter 'the evil eye'.
Mearini Fine Art
Bartolomeo di Giovanni D'Astore called Baccio da Montelupo (Montelupo Fiorentino 1469-1536 Florence) Crucifix, circa 1515 Wood, plaster and paper 81.5 x 81.5 cm Provenance: private collection, Italy Literature: David Lucidi, Baccio da Montelupo, Tau, 2022, pp. 154, 342, 343, 413, 414
