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Willow Gallery
Henri Martin (Toulouse 1860-1943 Labastide-du-Vert) Jour de Pluie sur la Terrasse Fleurie de Marquayrol, circa 1920 Oil on canvas 79 x 108 cm - framed: 99 x 128 cm Signed This painting is accompanied by a certificate of authenticity from Cyrille Martin Provenance: Tajan Paris, 24 March 1999, lot 17; Richard Green Gallery, London; private collection, Canada
Herwig Simons Fine Arts
Sculpture representing Emperor Augustus of Prima Porta Italy, 19th century Bronze, roso levanto and nero Belgio marble base, smooth medal patina H 110 cm Signed by the foundry A. Röhrich Roma The original statue was discovered on April 20, 1863, during archaeological excavations directed by Giuseppe Gagliardi at the Villa of Livia owned by Augustus' third and final wife, Livia Drusilla in Prima Porta. The Augustus of Prima Porta is now displayed in the Braccio Nuovo (New Arm) of the Vatican Museums.
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
Galerie Berès
Bernar Venet (Château-Arnoux-Saint-Auban, 1941) Combinaison aléatoire de lignes indéterminées, 1992 Gouache and pencil on paper 43 x 54 cm Signed, titled and dated on the back: Combinaison aléatoire de lignes indéterminées, Venet Bernar 1992 Referenced in the artist’s records under the number bv092d27
Florian Kolhammer
franz hagenauer
Franz Hagenauer (Vienna, 1906-1986) Pair of head sculptures, circa 1981 Designed by Franz Hagenauer and executed by Werkstatte Hagenauer Wien Cast, soldered, nickel-plated and polished brass H 46 x W 49.5 x D 11 cm Each sculpture is marked 'FRANZ', 'Handmade', 'HAGENAUER/WIEN', 'MADE IN/AUSTRIA' and 'wHw' in the circle Literature: Photograph of the female head in the Archiv Hagenauer in the Museum of Applied Arts Vienna, inv. n° HAF 1188
Brame & Lorenceau
sol lewitt
Sol LeWitt (Hartford 1928-2007 New York) Asymmetrical pyramids, 1985 Gouache on paper 55.4 x 74.8 cm Signed and dated on the lower right: S. LEWITT 1985 Provenance: private collection, Oslo; Jörg Maass Kunsthandel, Berlin; private collection, USA; private collection, Paris
Heutink Ikonen
Deesis and Apostle row (four panels) Asia Minor, possibly Smyrna (now Izmir), 17th century Egg tempera with gold leaf on a wooden panel surfaced with gesso and linen 28 x 59 cm, 27.5 x 92 cm, 27 x 102 cm, 27.5 x 67.5 cm A very rare and monumental Deësis ('intercession'), originally a Byzantine composition, in which Christ is depicted centrally as a judge while a number of selected saints are facing him in supplication. In this case, Christ is flanked by the Mother of God and John the Forerunner (the Baptist), with the Apostles at some distance from them. Remarkably, the apostles are not all positioned adjacent to each other, but are interspersed with ornamentation. The panels formed a part of the templon of a modest iconostasis of a church in the region of Asia Minor, possibly from the vicinity of Smyrna (present-day Izmir), where they were displayed directly above the royal doors.
Victor Werner
marcel-louis baugniet
Marcel-Louis Baugniet (Liege 1896-1995 Brussels) Marin américain, 1925 Oil on canvas 55 x 40 cm Signed and dated lower right: M-L Baugniet 1925 Two exhibition labels on reverse: (1) 'MUSÉE D'IXELLES, exposition Art déco' with name of exhibitor and title of work (2) Salon Annuel Des Amis, La Louvière Provenance: Galerie Maurice Tzwern, Antwerp; Galerie Ronny Van de Velde, Antwerp; private collection Literature: ART DECO BELGIQUE 1920-1940, Editions I.P.S., 1988, ill. p. 220, n° 7 Exhibition: ART DECO BELGIQUE 1920-1940, Musée d'Ixelles, October 6, 1988-December 18, 1988; Salon Annuel Des Amis, La Louvière
Gallery de Potter d’Indoye
Pair of ornamental columns, late 18th century Black marble with matte and polished gilt bronze mounts and applications, decorated with vases and toupie feet H 57.5 x W 17.5 x D 14.5 cm Provenance: European private collection A comparable pair of obelisk-shaped black and white marble ornaments had been part of Jacqueline Kennedy Onassis's collection, having been acquired from Vladimir Barjanasky. Mrs. Kennedy Onassis had graciously loaned these pieces to the White House during her husband's presidency, where they adorned the mantel in the Red Room. Subsequently, these items were included in the estate sale held at Sotheby's New York from April 23 to 26, 1996.
Galeria Jordi Pascual
manolo valdés
Manolo Valdés (Valencia, 1942) Matisse como pretexto, 1987 Mixed media on burlap 170 x 240 cm Provenance: collection Guillermo Caballero de Luján, Valencia Literature: Fundación Museo Guggenheim Bilbao, Art of this Century, 2022. Manolo Valdés. Painting and sculpture, 18 October 2002-19 January 2003, p. 105; de Barañano, Kosme, 1999, Manolo Valdés. Ediciones Polígrafa and Caja de Ahorros del Mediterráneo, p. 51
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Galerie Mathivet
carlo bugatti (1856-1940)
Carlo Bugatti (Milan 1856-1940 Molsheim) Side table, circa 1902 Parchment stool with polychrome decoration of dragonflies, enhanced with gilding and stamped copper with rectangular top. Lateral X-shaped base with a large circular lower part in copper and stamped brass H 39 x W 44 x D 44 cm Signed with the stamp: Marca depositata Bugatti Carlo Provenance: French collection Literature: Fabbrica italiana mobili artistici-A. De Vecchi e C. (gia C. Bugatti & C.), trade catalogue, Milan, circa 1902-1905, repr. under n° 699 (n.p.); M-M Massé, Carlo Bugatti au Musée d'Orsay-Catalogue sommaire illustré du fonds d'archives et des collections, Musée d'Orsay & RMN, Paris, 2001, repr. pp. 72 and 99
Ralph Gierhards Antiques / Fine Art
A pair of Turkish-style perfume vaporisers Paris, Louis XVI period, circa 1780-1785 Finely chased gilded bronze, glass, enamel. Over stepped base. Openwork cover with drapery decoration and foliage ornaments in the Turkish style. Removable lid. Azure transparent lacquer on copper alloy body (bronze or brass), white marble H 42.5 cm
Art et Patrimoine - Laurence Lenne
Large ceremonial covered vase Castelli, first half of the 18th century Polychrome tin-glazed earthenware H 52.5 cm It depicts an animated landscape representing a camp of Roman soldiers Literature: Fernando Filipponi, Aurelio Anselmo Grue. La Maiolica nel Settecento fra Castelli e Atri, Ed. Verdone, 2015; Luciana Arbace, Francesco Antonio Saverio Grue (1686-1746). L'attivita del Dottore maiolicaro da Castelli a Napoli, Ed. Andromeda, 2005
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
Ralph Gierhards Antiques / Fine Art
A pietre dure cabinet Pietre dure: Florence, late 17th century Cabinet and stand: England, late 18th century Pietre dure, pietre tenere, ebonised oak, mahogany, brass, gilt metal Cabinet: H 65.1 x W 76.5 x D 41.9 cm Table: H 82.6 x W 81.3 x D 41.9 cm Provenance: Partridge Fine Arts, London 1985; This cabinet belonged to The Gilbert Collection, Victoria and Albert Museum, London 1991; private collection, Italy Literature: This cabinet is illustrated in Anna Maria Massinelli, The Gilbert Collection-Hardstones, Philip Wilson Publishers in association with The Gilbert Collection, fig. 5; Baldini, Giusti and Pampaloni Martelli 1979, fig. 164; Kreisel 1970, fig. 186; Kunsthistorisches Museum 1987, p. 33 Exhibition: Los Angeles (USA), 1991 A cabinet with eleven pietre dure and pietre tenere mosaic panels on the front, with Tuscan landscape views on a background of Albarese limestone. This cabinet was made in England in the late eighteenth century and is typical of the furniture inspired by the taste of travellers who, during their Grand Tour of Italy, bought Florentine mosaic work in the Grand Ducal workshops and had it set in made-to-measure cabinets on their return. The landscape panels are linked to those on a cabinet documented as being in the Villa del Poggio Imperiale after 1691. They demonstrate the interest in landscape subjects in the Grand Ducal workshops during the late seventeenth century. Similar types of panels can be found on early eighteenth-century German furniture. Examples include cabinets from Ambras castle, Braunschweig and a desk in the castle at Wiesentheid. This cabinet was exhibited in Los Angeles in 1991 and the cabinet is illustrated in the book The Gilbert Collection – Hardstones
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
Zebregs&Röell Fine Art and Antiques
Indo-Portuguese colonial mother-of-pearl veneered casket with silver mounts India, Gujarat, 2nd half of the 16th century, the silver mounts Goa or probably Lisbon H 16 x W 24.6 x D 16.1 cm An exceptional Gujarati casket with a rectangular box and truncated pyramidal lid (with slopes on each side and a flat top) made from exotic wood, probably teak (Tectona grandis), covered with a mother-of-pearl mosaic. The tesserae, cut from the shell of the green turban sea snail (Turbo marmoratus, a marine gastropod) in the shape of fish scales, are pinned to the wooden structure with silver ball-headed nails. The casket is set on bracket feet on the corners. The masterfully engraved decoration of the silver mounts follows the most refined and erudite Mannerist repertoire of rinceaux and ferroneries dating from the mid-sixteenth century. The high quality and refinement of the silver mounts and, likewise, the silver nails that replaced the original brass pins used to hold the mother-of-pearl tesserae in place indicate the work of a silversmith probably working in Lisbon in the second half of the sixteenth century. The Indian origin of this production, namely from Cambay (Khambhat) and Surat in the present state of Gujarat in north India, has been consensual and fully demonstrated for the last three decades, not only by documentary and literary evidence - such as descriptions, travelogues and contemporary archival documentation - but also by the survival in situ of sixteenth-century wooden structures covered in mother-of-pearl tesserae. A fine example is a canopy decorating the tomb (dargah) of the Sufi saint, Sheik Salim Chisti (1478-1572) in Fatehpur Sikri in Agra district in the state of Uttar Pradesh, north India. This is an artistic production, geometric in character and Islamic in nature, where usually the mother-of-pearl tesserae form complex designs of fish scales or, similar to the dishes also made using the same technique with thin brass sheets and pins, stylised lotus flowers. The truncated pyramidal shape corresponds, like their contemporary tortoiseshell counterparts also made in Gujarat, to a piece of furniture used in the Indian subcontinent within the Islamic world prior to the arrival of the first Portuguese. This shape is very old and specific to East-Asian caskets, chests or boxes used to contain and protect Buddhist texts, the sutras. A similar chest is the famous and large reliquary chest from Lisbon Cathedral that once contained the relics of the city's patron saint, Saint Vincent. Both match in shape, having the same kind of pedestal and bracket feet, and in their engraved silver mountings, featuring the same type of refined, erudite decoration. Their differences lie in the silver borders that frame the entire length of the edges of the chest (both the box and the lid), pinned with silver nails, and on the lock plate, shaped like a coat of arms in the Lisbon example. Given the exceptional dimensions of the reliquary casket from Lisbon Cathedral (48 x 65 x 42 cm), the goldsmith responsible for its mounting opted to place two bracket-shaped side handles instead of a top handle, as in our casket. Another similar example, probably mounted in the same Lisbon workshop as the other examples from this small group, belongs to the Seville Cathedral and still needs to be discovered. It shares many features in common with the one in the Lisbon cathedral, namely the use of engraved silver borders running along the edges, protecting the casket. An aspect that distinguished it from the others is the use of tesserae cut from Turbo marmoratus, which show a higher iridescence but also cut from the shell of the pearl oyster, probably Pinctada radiata or Pinctada maxima, given the whitish hue of the base colour. Nevertheless, the type of square-like lock plate is similar to our casket. Another example, slightly larger but with fewer silver mounts, is in the collection of the Kunstkammer Wien in the Kunsthistorischen Museums in Vienna (inv.no. GS Kap 5) and belonged to the Habsburger Family. The same type of large silver ball-headed nails seems to be characteristic of this small, rare and important group, of which the present example is the second known example in private hands, given that the others have been in their current place since the time they entered their collections in the late sixteenth century or the first years of the seventeenth century.