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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)
Galerie de la Béraudière
pablo picasso
Pablo Picasso (Malaga 1881-1973 Mougins) Le Bandillero, 1959 Colour linocut on Arches wove paper 53.4 x 66.3 cm Printed by Arnéra, Vallauris, published by Galerie Louise Leiris, Paris 1960 Signed in pencil lower right: Picasso Numbered lower left: 40/50, edition 40/50 Provenance: Galerie Michael Hertz, Bremen; private collection, North Rhine-Westphalia, Germany (until 2013); private collection, Germany (since 2013, inherited from the above); Ketterer Kunst, June 12, 2022, lot 469; private collection, Belgium Literature: Enrique Mallen, ed., Online Picasso Project, Sam Houston State University, 1997-2023, OPP.59:076; Bernhard Geiser, Brigitte Baer, Picasso peintre graveur, Catalogue raisonné de l'oeuvre gravé et des monotypes, Berne, Kornfeld, 1986-1994, n° 1225 IV B a; Georges Bloch, Pablo Picasso, catalogue de l'oeuvre gravé et lithographié, 4 vol., Berne, Kornfeld and Klipstein, 1968-1979, n° 940 (titré Les Banderilles)
Galerie La Patinoire Royale Bach
lita albuquerque
Lita Albuquerque (Santa Monica, 1946) On a sliver of sun, she travels toward the moon, 2021 24kt gold leaf on resin and pigment on panel 2.10 x 2.10 m Provenance: the artist's studio Exhibitions: Lita Albuquerque: Liquid Light; Collateral Event of 59th La Biennale di Venezia, Biennale Arte 2022; Presented by bardLA, Los Angeles, California. Curated by Elizabeta Betinski and Neville Wakefield
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Univers du Bronze
françois pompon
François Pompon (Saulieu 1855-1933 Paris) Grue couronnée au repos, 1926 Bronze with slate patina, specific to Pompon H 26.5 x W 10 x D 15.4 cm Artist's edition signed by Pompon in the wax, cast by Cire C.Valsuani perdue, confidential edition of few examples only, circa 1926-1933
Rueb Modern and Contemporary Art
pablo picasso
Pablo Picasso (Malaga 1881-1973 Mougins) Personnage assis dans un fauteuil, 1915 Pencil on paper 32.5 x 23.5 cm Dated and numbered 178 on verso Provenance: studio of the artist; collection of Marina Picasso Literature: Christian Zervos, Pablo Picasso, vol. 29, Paris 1975, ill. n° 177 p. 78 Exhibition: Genève, with Galerie Jan Krugier, Pablo Picasso, 1986
Montagut Gallery
Baule figure Baule people, Ivory Coast, 19th century Wood H 60 cm Provenance: André Blandin (1930-2015), France; Lucien Van de Velde, Antwerp, Belgium, end 1960s-1970; Marc Sherman, New York, acquired in 1982; Pace Gallery, New York; collection Patrick & Béatrice Caput, France, 1999; private collection, France Literature: Boyer (Alain-Michel), Miroirs de l'invisible: la statuaire baoulé. Arts d'Afrique Noire, nº 45; Exhibition catalogue: Objetos-Signos de Africa, Zaragoza, 2000: #27; François Neyt, Trésors de Côte d'Ivoire, Fonds Mercator, 2014 #174; Patrick Caput & Valentine Plisnier, Arts d'Afrique. Portraits d'une Collection, Milan: 5 Continents, 2016 Exhibition: Zaragoza, Spain: Objetos-Signos de Africa, Centro de Exposiciones y Congresos, 11 April-24 June 2000
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Francis Janssens van der Maelen
henry van de velde
Henry van de Velde (Belgium, Antwerp 1863-1957, Oberägeri, Switzerland) Art Nouveau flat desk (detail), circa 1898 Sycamore wood, double-sided, the top is covered with black leather in its centre 129.50 x 73 cm Certificate of authenticity from Professor Klaus-Jürgen Sembach This desk is a variation of a games table that was in the collection of Villa Esche Provenance: private collection, France Literature: Catalogue of the exhibition L'Art Nouveau en Belgique, Brussels, Palais des Beaux-Arts, 19 December 1980-15 February 1981, p. 266 n° 143; Wolf D. Percher, Henry van de Velde - Das Gesamtwerk, Edition Factum, p. 94, ref 1318, p. 151, ref. 3406, p. 229, ref. 1317. This desk will be presented in a book about Henry van de Velde written by Bea Maybach from the Bauhaus-Museum in Weimar in Germany Exhibition: L'Art Nouveau en Belgique, Brussels, Palais des Beaux-Arts, 19 December 1980-15 February 1981
Bailly Gallery
henri le sidaner
Henri Le Sidaner (Maurice, Port Louis 1862-1939 Paris) Petite place au soleil couchant, 1901 Oil on canvas 57 x 80 cm Signed lower left: Le Sidaner Certificate of authenticity issued by Yann Farinaux-Le Sidaner, dated January 10th, 2023 Provenance: Galerie Georges Petit, Paris; private collection, Canada Literature: Notice of inclusion in the forthcoming supplément du catalogue raisonné, Le Sidaner-L'Oeuvre peint et gravé, currently being prepared by Yann Farinaux-Le Sidaner De son langage poétique à la musicalité feutrée de ses compositions, Henri Le Sidaner puise une grande partie de son inspiration dans les paysages ruraux. Au travers de pavés dorés par le coucher du soleil ou encore de toitures rougeâtres, l'artiste transforme des environnements architecturaux et domestiques en des portraits intimistes et mystérieux. « Petite place au Soleil couchant » en est un parfait exemple. Les nuances d'une lumière vécue au crépuscule s'imprègnent dans cette scène afin d'en ressortir les qualités oniriques et mystiques. Un langage visuel distinct, dans lequel Le Sidaner rend hommage à sa racine symboliste. Le traitement de la matière reste, quant à lui, fidèlement attaché aux techniques néo-impressionnistes. Les paysages qui l'entourent ont offert à Le Sidaner une inspiration considérable pour ses compositions. En mai 1900, le peintre rentrant du Bruges, se laisse influencer par les conseils d'Auguste Rodin, et s'installe au milieu de l'été à Beauvais. Il affirme alors sa conception de l'intimisme par des paysages d'évocation où la figure humaine n'a pratiquement plus sa place. C'est dans cette même période, le 21 avril 1901, Le Sidaner élabore les premiers motifs du tableau présenté et débuta la composition sur toile quatre jours plus tard. L'oeuvre est un hommage à la noblesse des bâtisses, ainsi qu'à la statue du docteur Ernest Gérard, ainsi maire de Beauvais. Achevée le 23 mai 1901, cette toile est livrée par l'artiste le 2 juin à son marchand Georges Petit pour un montant de 500 francs. Les paysages de Le Sidaner sont des manifestations intimes de l'artiste, qui possèdent une luminosités étonnante grâce à ses harmonies subtiles et l'application picturale des pigments. Une incroyable maitrise qui lui permet encore aujourd'hui d'être grandement reconnu par de nombreuses collections privées et institutionnelles. "Toute son oeuvre est influencée par un goût des atmosphères tendres, douces et silencieuses". (Y. Farinaux, Le Sidaner, L'oeuvre peint et gravé, Milan, 1989, p. 31)
Kunsthaus Kende
Ryuhei Sako (Japan, Okayama Prefecture 1976) Mokume-gane Mizusashi, 2021 Silver, copper, shakudo, shibuichi, kuromido H 16.5 cm x Ø 18.5 cm Provenance: the artist's property Works by Ryuhei Sako form part of the inventory of the Victoria & Albert Museum, London, as well as of the Metropolitan Museum of Art, New York
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.)
Giammarco Cappuzzo Fine Art
Giuseppe Vermiglio (Milan, circa 1587-circa 1635/1636) The sacrifice of Isaac, circa 1610-1618 Oil on canvas 132 x 162 cm Provenance: private collection, Italy Literature: Alessandro Morandotti, Gli anni romani di Giuseppe Vermiglio, in Giuseppe Vermiglio. Un pittore caravaggesco tra Roma e la Lombardia, exhibition catalogue Campione d’Italia, Galleria Civica, 10 September-3 December 2000, ed. by D. Pescarmona, Milan 2000, p. 45, fig. 23; Ferdinando Bologna, Tre note caravaggesche, Prospettiva, 33-36, 1983-1984 (Studi in onore di Luigi Grassi), pp. 204-207, fig. 5; Mina Gregori, Il Sacrificio di Isacco: un inedito e considerazioni su una fase savoldesca del Caravaggio, Artibus et Historiae, X, 1989, p. 141, note 16
Gallery de Potter d’Indoye
Jean Prevel (Paris, 18th century) A Louis XVI Ormolu, blued metal and white marble 'Pendule au temple de l’amour', circa 1780 White marble, gilded bronze, blue patinated bronze H 78.7 x Ø 34.9 cm Signed: Prevel à Paris (clock maker, Cour abbatiale, St-Germain, France) Provenance: collection of Dr. & Mrs. Constantin Mamouris The white marble tempietto features an ormolu figure of Athena topped with a dome segmented by blue patinated bronze panels and applied ormolu stars surmounted by a spherical clock with revolving chapter rings. The time is indicated by an arrow held by a perched putto. The striking movement is signed Prevel [à Paris]. In the form of a rotunda, the design of this charming clock was inspired by the ancient Greek and Roman temples, often reproduced or reimagined by talented painters such as Hubert Robert throughout the second half of the eighteenth century. When searching for contemporaneous French buildings that could have influenced the maker of this clock, Richard Mique’s famous Temple of Love comes to mind, designed for Marie-Antoinette in her gardens of the Petit Trianon, see D. Ledoux-Lebard, Versailles, Le Petit Trianon: Le Mobilier Des Inventaires de 1807, 1810 et 1839, Paris, 1989, p. 31. A number of clocks of this popular design exist, although none are exactly the same as this clock. Comparable clocks include one in the Spanish Royal Collection, illustrated in J. Ramon Colon de Carvajal, Catalogo de Relojes del Patrimonio Nacional, Madrid, 1987, p. 90, n° 73; one in P. Kjellberg, Encyclopédie de la pendule française du Moyen Age au XXe siècle, Paris, 1997, p. 292, fig. B; and one is in the British Royal Collections, see C. Jagger, Royal Clocks, The British Monarchy and its Timekeepers 1300-1900, London, 1983, p. 150. Unlike this clock, the above examples have ormolu or pierced marble domes, making the star-studded and blue patinated bronze panels roof of this clock particularly interesting and unique.
Univers du Bronze
François Pompon (Saulieu 1855-1933 Paris) Bust of André Leproust, 1904 Salon des Artistes français in 1904, n° 3228 Original plaster H 57.4 x W 22.5 x D 22.8 cm Unique piece signed 'F Pompon', dated '1904' Circa 1904 The bust of Pompon is the original plaster cast exhibited at the Salon in 1904 and is one of the rare examples of Pompon's 'classical' work just before he became the animal sculptor we know today. this work is in the same spirit as Cosette that was exhibited two years ago at BRAFA, a model with which he hoped to achieve great success in the late 1880s. André Leproust's bust is particularly modern, with its contrast between the very pure face and the lower part of the bust, where the material is very present. The flowers evoke both the innocence of the young boy and the Eure countryside where the model lived. Finally, the very narrow cut-out at the bottom of the bust lends a greater verticality and contributes to this modern élan.
Ralph Gierhards Antiques / Fine Art
Marie Tassaert (Antwerp, 1642-after 1665) A garland of fruit surrounding a bust of Bacchus in a stone niche, 17th century Oil on canvas within a carved giltwood frame 85 x 69.5 cm Provenance: private collection, Namur (Belgium) Related works: A comparable oil on canvas of similar size (63.5cm x 53.5cm) and subject entitled 'A still life with a garland of fruit suspended from blue ribbons and a goblet in a niche', signed by Marie Tassaert, has recently been acquired by an important international Museum from the Rafael Valls gallery in London. It is interesting to note the similar composition of fruit garlands surrounding a central niche. The fruits and leaves on both paintings are identical and clearly painted by the same hand, as is the stone niche, up to and including the identical 'trompe l’oeil' cracks in the stone.
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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