This section will be available this Autumn.
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).
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 Van den Bruinhorst
Gerrit Thomas Rietveld (Utrecht, 1888-1964) Metz & Co sideboard ‘r54', 1936 Executed in The Netherlands, circa 1941 White laquered beech wood and plywood, metal and wire glass H 93 x W 200 x D 51.5 cm Provenance: Mr and Mrs Montagne-Van Lommel, Rotterdam 1941; Mrs. H.H. Van Domisse-Van Lommel, 1947 the Hague; Mrs. Foss-Montagne 1991; Sotheby’s Amsterdam 1995; private collection, Amsterdam Exhibition: Bas van Pelt, The Netherlands, The Hague, 1960 Commissioned by the avant-garde department store Metz & Co in Amsterdam, the Dutch architect Gerrit Rietveld designed a small sideboard in 1932 consisting of wire glass sliding doors on a chromed steel base that could be combined with a separate drawer unit. With this design as a starting point he created sideboard r54 in 1936 which is a combination of the small sideboard and the drawer unit in one piece. The first owners bought this sideboard in 1941.
QG Gallery
christo
Christo Javacheff (Gabrovo 1935-2020 New York) Wrapped Reichstag (Project for Deutsche Reichstag-West Berlin) Pencil, charcoal, wax crayon, map, photographs by Wolfgang Volz and glue, in artist's Plexiglas frame, in two parts H 39.4 x W 166.5 cm H 108 x W 166.5 cm Provenance: Otto Wolff von Amerongen, Germany (gifted by the artist for being instrumental in facilitating the wrapping of the Reichstag); Sotheby's London, June 2023; private collection, Belgium
_JanDries_T638316780648368122.jpg?width=410&height=2000&qlt=90&scale=both&mode=max&format=jpeg)
Galerie Jean-François Cazeau
Auguste Herbin (Quiévy 1882-1960 Paris) Le Vieux Pont à Bruges, 1906 Oil on canvas 46 x 55 cm Signed lower left Provenance: the artist’s studio; M. Rheims, Paris; Malborough Fine Art Ltd., London; private collection, Basel Exhibitions: 1914, Exposition Auguste Herbin, Galerie Clovis Sagot, 2 March–17 March 1914, n° 3; Bern 1963, Auguste Herbin, Kunsthalle Bern, 16 February–24 March 1963, n° 1 (ill.); Amsterdam 1963, Herbin, Stedelijk Museum, 7 June–22 July 1963, n° 2 (ill.); Zurich 1965, Auguste Herbin, City Galerie Bruno Bischofberger, 2 April–30 April 1965, n° 2; Paris 1975/76, Le Bateau-Lavoir, Musée Jacquemart-André, 31 October 1975-31 November 1976 (label on the back) Literature: Geneviève Claisse: Herbin. Catalogue raisonné de l'oeuvre peint, Paris 1993, p. 291, n° 70 (ill.)
Stéphane Renard Fine Art
alessandro oliverio
Alessandro Oliverio (Bergamo or Venice, ante 1500-post 1544) Christ Carrying the Cross, 1505-1510 Oil on poplar panel H 49.5 x W 41.5 cm Provenance: collection Count Hubert Ludwig de la Fontaine and d'Harnoncourt-Unverzagt (1789-1846), from 1826 at Hrotovice Castle, Trebic, Czech Republic; purchased in 1836 with the entire collection and the castle by Georg Simon von Sina (1783-1856); transferred around 1847 by his son Simon Sina to Mysliborice Castle, Trebic, Czech Republic; by inheritance, in 1876, to Simon's daughter Iphigenie Sina (1847-1914), Duchess of Castries, sold in 1882 to Baron Anton Dreher of Schwechat; Mysliborice Castle; Antiqua auction sale, Prague, 1921, n° 12 (Italian Master of the 16th century)
Cabinet of Curiosities-Honourable Silver Objects
leysen frères
Pair of Art Deco silver ice buckets Marked at the bottom LEYSEN & FRERES in rectangle and silver mark A800 in oval (silvermarks for Leysen: before 1942) Brussels, circa 1930 H 14 x 16 Ø (top) x 13.5 cm Ø (bottom base) Provenance: private collection, Belgium Literature: R. Steel & W. Nijs, Art Deco Zilver. Antwerp-Brussels-Ghent, Sterckshof Studies 3 (1996), pp. 176-177, 282, n° M38 The smooth body, equipped with two semi-circular and silver mounted ivory handles, ends on round and constricted base, the top is decorated with a folded edge
Galerie Boulakia
pierre alechinsky
Pierre Alechinsky (Brussels, 1927) L'affaire du bois de Meillant, 1990 Acrylic on paper mounted on canvas 60 x 100 cm Signed and dated lower right: Alechinsky, signed, titled, and dated on the reverse: L’AFFAIRE DU BOIS DE MEILLANT 1990 Alechinsky Provenance: acquired directly from the artist Exhibitions: Alès, Musée Pierre André Benoit, Pierre Alechinsky, peinture - livres, June-October 1990, n° 42; Salzburg, Rupertinum, Pierre Alechinsky: Reisende Tusche, May-July 1991, n° 28 Born in 1927, Pierre Alechinsky moved to France in 1951 where he became a part of the CoBrA movement, sharing the same passion for the freedom of form and colour as other artists belonging to this group. After travelling around Japan in 1955, he became interested in Asian artistic techniques, ultimately adopting a style which incorporated the processes of Japanese calligraphy. The incorporation of calligraphic signage is apparent, set up against a blue border which elegantly frames the central composition. The title provides a playful backstory for the figures in the painting, whose wide eyes and claw-like hands draw us into a thrilling aesthetic narrative.
Boon Gallery
paul delvaux
Paul Delvaux (Belgium, Antheit 1897-1994 Veurne) La ville lunaire, 1944 Oil on canvas 144 x 200 cm Signed lower right Provenance: Private Collection, Europe; Jan Krugier Gallery, Geneva, 1976; Alex Salkin Collection, New York; G. Van Extergem Collection Literature: BATAILLE, G., Les larmes d’Eros, Paris, 1961, p. 202, ill.; BOSMANT, J., Trésors communaux : Cinquante peintures, Brussels, 1960, p. 297, ill.; BUTOR, M., Delvaux : catalogue de l’oeuvre peint, Brussels, 1975, p. 203, n° 134 ,ill.; DE BOCK, P.-A., Paul Delvaux, Brussels, 1967, pp. 292-293, n° 64, ill.; DE RIDDER, A., De levende kunst gezien te Venetië, Brussels, 1958, p. 295, ill.; JEAN, M., Histoire de la peinture surréaliste, Paris, 1959, p. 275, ill.; ROMBAUT, M., Paul Delvaux, Ediciones Poligrafa, 1999, n° 51, ill.; SOJCHER, J., Paul Delvaux, Ars Mundi, 1991, n° 42, ill.; SPAAK, C., Paul Delvaux, Antwerp, 1948, ill.; SYLVSTER, A., Architecture in Modern Painting, Vol. CIX, London, 1951, p. 83, n° 650, ill. Exhibitions: Palais des Beaux-Arts, Paul Delvaux, Brussels, 1944, n° 58; René Drouin Gallery, Paul Delvaux, Paris, 1948, n° 13; Venice Biennale, Biennale XXVII, Venice, 1954; Isy Brachot Gallery, Hommage à Paul Delvaux, Art Basel, 1977, n° 4 © Foundation Paul Delvaux, Belgium/SABAM, 2023-2024
A&R Fleury
alicia penalba
Alicia Penalba (1913-1982) Grande annonciatrice, 1965 Bronze with patina 90 x 140 x 70 cm Signed and numbered “APenalba 1/5” The work is referenced in the catalogue raisonné during the exhibition 'Alicia Penalba, escultora', MALBA, Buenos Aires, 2016-2017, under n° 48b p. 107
Gallery de Potter d’Indoye
Piat-Joseph Sauvage (Tournai, 1744-1818) and Sormany, Optician Empire oil on panel with barometer and thermometer, early 19th century Oil on panel, gilded bronze H 87 x W 112 cm Signed: Sauvage et de Sormany, Palais Égalité Provenance: collection of Hubert de Givenchy; Galerie Moatti, Paris, 1994 The rectangular panel painted in trompe l'oeil depicts the allegories of the four seasons beside a sheath surmounted by a globe flanked by two putti, the dial of the enamelled barometer is signed Sormany Palais Egalité, the thermometer inscribed in the sheath is signed Sormany Palais / Egalité n° 260, signed SAUVAGE in the plinth of the sheath, the frame is decorated with stars and stylised palmettes. This barometer-thermometer is a work of collaboration between Piat-Joseph Sauvage, painter and Sormany, optician. Piat-Joseph Sauvage, born in Tournai in Belgium, made a specialty of trompe-l'oeil paintingsat the end of the eighteenth and beginning of the nineteenth century. As a painter and decorator, he provided ornamentation for royal residences at the end of the reign of Louis XVI, such as Compiègne and Fontainebleau and the Hamlet of Marie Antoinette in Versailles, before turning to painting on porcelain and marble, working for the manufacture of Dihl and Guérhard then for that of Sèvres under the Empire. His compositions often represent friezes of putti, bacchanalia, mythological or allegorical scenes. The iconography of the Seasons developed here naturally refers to the function of this object, as a barometer and thermometer. Sormany was an optician installed in the Galerie de Bois of the Royal Palace (Palais Egalité under the Revolution and the Empire), as indicated by the inscriptions on the barometer and the thermometer. The old labels of this Sormany make it possible to describe its activity: "Palais Égalité n° 260 galerie de bois. / N° 260 Sormany opticien successeur de Catanyo vends toute sorte de lunettes (spectacle et autres) et tout ce qui concerne l’optique, mathématique physique et autres objets de curiosités, baromètres, thermomètres et pèse liqueurs. / Le tout à juste prix Paris." He seems to have been particularly recognised for his research on thermometers.
_TomWesselmann_T638312507953577326.jpeg?width=410&height=2000&qlt=90&scale=both&mode=max&format=jpeg)
Samuel Vanhoegaerden Gallery
tom wesselmann
Tom Wesselmann (Cincinnati 1931-2004 New York) Wildflower bouquet (two handled vase), 1988 Enamel on laser-cut steel H 147.5 x W 223.5 cm Signed, dated and titled on the verso Provenance: Opera Gallery, Paris; private collection, Belgium Literature: Tom Wesselmann: a Pop Art Legend, Samuel Vanhoegaerden Gallery, Knokke, 2023, ill.
VKD Jewels
Angela Cummings (Austrian-American, 1944) Mother-of-pearl and 18k yellow gold necklace Composed of oval-shaped gold links inlaid with mother-of-pearl USA, circa 1980 Signed Angela Cummings Provenance: private collection Literature: Juliet Weir-de La Rochefoucauld, Women Jewellery Designers, pp. 134-139
Osborne Samuel Gallery
henry moore
Henry Moore (Castleford 1898-1986 Much Hadham) Reclining Woman N° 2, 1980 Bronze H 15 x W 29 x D 15 cm Edition of 9 + 1, cast by Morris Singer Foundry Provenance: the artist's studio; The Goodman Gallery, Johannesburg, 1981; private collection, London (acquired from the above); Osborne Samuel, London Literature: John Hedgecoe, A Monumental Vision: The Sculpture of Henry Moore, Collins & Brown, London, 1998, p. 224, cat. n° 685 (ill. col. p. 245); A Bowness (ed), Henry Moore: Volume 6 Complete Sculpture 1980-86, Lund Humphries, London, 1988, p. 40, cat. n° 811 (ill. b&w p. 41)
,1967_PabloPicasso_T638295934880618980.tif?width=410&height=2000&qlt=90&scale=both&mode=max&format=jpeg)
Helene Bailly
pablo picasso
Pablo Picasso (Malaga 1881-1973 Mougins) Le Peintre (Mousquetaire aux 2 visages), 1967 Oil on canvas 100 x 81 cm Signed: Picasso and dated: 21/2/67 at the top left Provenance: Louise Leiris Gallery; Galerie Taménaga (label on reverse); former Pierre and Jeannine Consten collection Literature: Christian Zervos, Pablo Picasso vol. 25 - oeuvres de 1965 et 1967, Editions Cahiers d'Art, Paris, 1972, n° 281, repr. in black and white pl. 126; Catalogue Exposition Internationale du Figuratif, 1971, ed. Tokyo ado banku, repr. in colour; Alan Wofsy, The Picasso's Project, Paintings, Watercolors, Drawings and Sculpture, The Sixties, Part II, 1964-1967, enlarged second edition, San Francisco, 2023, p. 302, n° 67-075
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
Francis Maere Fine Arts
fernando botero
Fernando Botero (Medellin 1932-2023 Monaco) Lying nude, 1985 Bronze H 35 x W 60 x D 23 cm Signed and numbered: Botero 3/6 Provenance: collection Emile Veranneman, Kruishoutem; private collection, Belgium Literature: Exhibition catalogue, Botero, Emile Veranneman, Kruishoutem, 1990 Exhibition: 1990 Kruishoutem, Stichting Emile Veranneman, Fernando Botero
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.
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