This section will be available this Autumn.
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
Cabinet of Curiosities-Honourable Silver Objects
Circle Gerard Opstal (1605-1668) Carved relief with bacchanal scene, Bachus and five putti Ivory, tropical wood (frame) Southern Netherlands/Flanders, late 17th century 6.3 x 6.3 cm (relief) 11 x 11 cm (frame) Provenance: Stodel, Amsterdam Literature: Les Ivoires, Evolution décorative du Ier siècle à nos jours. Avec la collaboration de M. l'abbé P. Bidault, H. Levasseur, J. Joire, et de MM. les Conservateurs des Musées européens, Paris, Tardy, 1966, pp. 104-106, 109, 128; Elfenbein, Otto Pelka (Bibliothek für Kunst und Antiquitäten Sammler), p. 73, n° 262; Ivoires du Musée du Louvre 1480-1850, une collection inédite (Dieppe: Editions d’Art/Château-Musée de Dieppe, 2005), pp. 56, 220, n° 38; L’amour des ivoires, E. Mannoni, éd. Ch. Massin, Paris
Galerie Cento Anni
philippe wolfers
Philippe Wolfers (Brussels, 1858-1929) The garland or frieze of garlands, circa 1928 Bronze sketch on marble base H 28 cm Signed Philippe Wolfers Lost wax, Foundry Ateliers Wolfers Provenance: private collection, Belgium Literature: La Dynastie Wolfers, Ed. Pandora, p. 425 Exhibitions: Brussels 1928, n° 197; Antwerp 1929, n° 69
Chambre professionnelle belge de la Librairie Ancienne et Moderne (CLAM)
Jean Clair, Considérations sur l’état des beaux-arts. Critique de la modernité. Paris, Gallimard, 16 février 1983, 8to, semi-flexible bluish-grey calf boards with sanded flower (found as such) with sharp edges in head and tail and bordered at edge with a strip in black elephant skin. Relief strip at the joints of the same calf skin, printed with the burnt vein of a pine board, attached with stainless steel eyelets. Board on two thongs of black elephant skin. Grey faux lizard spine cover, natural edges (J. de Gonet, dated 1984) First edition This essay by Jean Clair (Paris, 1940) is the first true critique of artistic modernity. There was no large paper edition. The copy is dedicated by the author to the aesthete and music lover Claude Bernard (1939-2022): Pour Claude Bernard, Ces Essais, au Prince des perversions, à l’aimable tyran des peintres et au dernier des grands mécènes, dont le règne s’étend de la Rue à l’empire des Beaux-Arts, en espérant qu’ils affirmeront son pouvoir, et en hommage très cordial Jean Clair 17 juil. LXXXIII To Claude Bernard, These Essays, to the Prince of perversions, to the amiable tyrant of painters and to the last of the great patrons, whose reign extends from the Rue to the empire of Fine Arts, hoping that they will assert his power, and in very cordial homage Jean Clair 17 July LXXXIII And with a watercolour by Sam Szafran (1934-2019), signed and dedicated to Claude Bernard, with whom he exhibited for the first time in 1965, an event organised by Jacques Kerchache (1942-2001). His encounters with Kerchache, Jean Clair and Claude Bernard profoundly influenced his life as a painter. Claude Bernard seemed to enjoy bookbinding and commissioned works to Jean de Gonet and Monique Mathieu. Watercolour: 203 x 197 mm Provenance: Claude Bernard, Paris Literature: Le Bars (F.), Jean de Gonet. Catalogue raisonné, t. II, 1983-1993, 0379 (from which the description of the binding was borrowed) Librairie Lardanchet, Antiquarian bookseller
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
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
Giammarco Cappuzzo Fine Art
Willem Eversdijck (Dutch, circa 1620-1671) Unknown Zeeland family, circa 1665 Oil on canvas 138 x 194 cm Provenance: Horace Buttery, London; Christie's London, 20 November 1925, lot 97, bought by Frank Partridge London; (probably) Lady Bertha Schaul Baron (1899-1981); property of a Lady, Christie's London, 10 May 1935, lot 46, bought by W. Sabin, London; Christie's London, 24 February 1939, lot. 57, bought by Berendt; Christie's London, 17 March 1939, lot 23, bought by Suttle; Viorel Virgil Tilea C.B.E. (1896-1972) at Sotheby's London, 28 November 1951, lot 147; Antonio Roque' Rivero (1918-2015), Barcelona Literature: F. van der Ploeg, C.E. Zonnevylle-Heyning, Brave koppen en gladde aangesigten, Middelburg, 1999, pp. 112-114 & p. 136, n° WE5, ill. n° 107
Tobogan Antiques
machauld (né en 1835) et eug. cornu (1827-1899)
Machauld (France, born in 1835) and Eugène Cornu (France, 1827-1899) Bust of a Greek goddess, circa 1867 Silvered and gilded bronze, enamel, red marble H 64 cm; base 22 x 21 cm Signed: Machauld et Eug. Cornu, G. Viot et Cie Fondeurs The tiara and collar necklace that adorn the bust are finely decorated with stylised floral motifs of polychrome champlevé enamel. It rests on a molded base and square plinth made of Antique red marble Literature: Rapport du Jury International, Exposition Universelle de 1867 à Paris, 1868, t. III, groupe III, classe XV, chapitre II, § 2, pp. 45-46; 1851-1900, Le arti decorative alle grandi esposizioni universali, Daniel Alcouffe, Marc Bascou, Anne Dion-Tenenbaum et Philippe Thiébaut, Idealibri, 1988, pp. 136-138; Les merveilles de l’Exposition de 1878, Paris, p. 561
Galeria Jordi Pascual
joan miró
Joan Miró (Barcelona 1893-1983 Palma de Mallorca) Peinture, projet pour une tapisserie, 1973-1974 Paint, oil and wool on wood 197 x 122 cm Provenance: private collection Literature: Lelong, Daniel. Joan Miró. Catalogue raisonné. Paintings, vol. V, 1969-1975, Successió Miró, 2003; p. 238, fig. 1641
robertaebasta
Lucio Fontana (Argentina, Rosario 1899-1969 Comabbio, Italy) Concetto Spaziale Natura, 1967 Artwork made of two pieces in polished brass H 26 x W 20 x D 21 cm Both signed: Lucio Fontana on the reverse and numbered 186/500, cast by Berrocal founderies Provenance: private collection, Italy
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
_FrançoisPOMPON_T638296944022132057.JPG?width=410&height=2000&qlt=90&scale=both&mode=max&format=jpeg)
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
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
Artimo Fine Arts
alphons joseph strymans
Alphons Joseph Strymans (Belgium, 1866-1959) Le Vin, 1901 White Carrara marble H 130 cm Signed and dated: A. Jef. Strymans 1901 Provenance: 2001, Artimo Fine Arts Gallery; 2004, private collection, Belgium; 2021, Artimo Fine Arts Gallery Literature: Bénézit E. (1999), Dictionnaire des peintres, sculpteurs et graveurs (J. Buysse, Ed.) (nouvelle édition entièrement refondue). Gründ. p. 322; Engelen, C., & Marx, M. (2006). La Sculpture en Belgique à partir de 1830 (Tome VI), Louvain: Engelen-Marx. pp. 3328-3331; Joseph, Prof. Dr. D. (1897). Die Elfenbeinplastik auf des Brüsseler Weltausstellung von 1897. Zeitschrift für Bildende Kunst, 8, 281-288; Scherer, C. (n.d.). Monographien des Kunstgewerbes, Vol. 8, Elfenbeinplastik seit der Renaissance. pp. 122-141; Thieme, U., & Becker, F. (1999). Allgemeines Lexikon der bildenden Künstler von der Antike bis zur Gegenwart (Vol. 31/32). E.A. Seemann. p. 222 The sculptural work, masterfully executed in white Carrara marble, presents a refined figurative composition that reveals three human figures in dynamic interaction. The nuances and meticulously chiselled anatomical details attest to the exceptional talent and expertise of the sculptor Alphons Joseph Strymans. This grouping, comprised of two women and a man, all three nude, intertwine in a choreography evoking an ecstatic dance. Each figure holds a cluster of grapes, reproduced with remarkable precision, evidently symbolising the making of wine. A particularly striking note is the unconsciously dominant placement of a woman’s foot on the head the male figure serving as a point of support for the decadent trio. This composition, both graceful and intense, eloquently illustrates the effects of wine on the soul and human interactions. The silhouettes of the figures merge harmoniously with the botanical motifs of vines, thus suggesting an intrinsic union between man and nature in their mutual inebriation. This masterpiece poetically evokes the idea that man and nature share a common essence - a profound origin. Alphons Joseph Strymans Born on July 24, 1866, in Turnhout, Alphons Joseph Strymans passed away in 1959 in Antwerp. He distinguished himself as a cabinetmaker, draftsman, and above all as a sculptor. Trained at the art school of Turnhout, Strymans also benefited from the expertise of his father, a renowned cabinetmaker specialised in the creation of church furniture. This education bestowed upon him an exceptional mastery of sculpture in both wood and stone. His quest for excellence led him to pursue studies at the Antwerp Academy from 1886 to 1990, and then at the Higher Institute of Fine Arts in Brussels under the tutelage of Master Thomas Vinçotte. From 1898 to 1935, he shared his knowledge as a drawing teacher at the art school in Berchem. During this period, he also collaborated with eminent sculptors such as Frans Joris, Jules Weyns, and Josué Dupon, among others. His artistic repertoire is vast. Throughout his career, he designed various ornaments for Art Nouveau furniture as well as sculptural works in bronze, ivory, and marble. From the beginning of the twentieth century, his works found their place in Antwerp, exhibited in museums and during prestigious events. Besides his artworks, Strymans left his mark through various commemorative monuments and busts of notable personalities. Among his major accomplishments are the statues for the fishermen's house in Antwerp, busts of the music critic Guy Davenel, the poet Max Elskamp, and the mayor of Berchem, Mr. Van Oombeek. Numerous prestigious institutions preserve his works. The Museum of Central Africa in Tervueren houses the ivory "The Daughter of Eve" and other remarkable pieces. The sculpture "Despair," in bronze, can be found at the Dinant Museum, while one of his marble busts is proudly displayed at the Antwerp Museum
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
Secher Fine Art & Design
karel appel
Karel Appel (Amsterdam 1921-2006 Zurich) The Cobra bird, 1950 Patinated bronze sculpture H 42 x W 51 x D 34 cm Signed and dated: K. Appel 1950 H. C. Edition of 6 plus 2 HC which this is one of the two Provenance: collection Karel van Stuijvenberg, Caracas, Venezuela Literature: Karel Appel, The Complete Sculptures 1936-1990, p. 242; Exhibition catalogue, El movimiento Cobra en la colección Karel van Stuijvenberg, Museo de Arte Contemporáneo de Caracas, Venezuela, 1984, cat. n° 23 ill. pp. 44-45; Exhibition catalogue, Cobra Liège 93, Coll. Karel P. van Stuijvenberg, Musée d'Art Moderne, Liège, Belgique, 1993, ill. p. 67 Exhibitions: Cobra en la colección Karel van Stuijvenberg, 1984, Museo de Arte Contemporáneo de Caracas, Venezuela; Cobra, 9 avril-31 mai 1993, Musée d'Art Moderne, Liège, Belgique
Zebregs&Röell Fine Art and Antiques
A Mammoth ivory figure of an African Amor Flanders or Southern Germany, 17th century H 17.3 cm Provenance: private collection, United Kingdom; with Peter Petrou, London This figure has many iconological meanings. With the bow and arrows, it is an Amor, but since the bow, the quiver of arrows and one single arrow are lying on the ground together with a shield, they may symbolise unsuccessful or fended-off love. The Amor playing with his penis and blowing a whirligig together may be symbols of the fickleness and transitoriness of love. The chain with a cross around his neck is a Roman Catholic symbol and may point to a Catholic country of origin, probably South Germany or Flanders.