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Floris van Wanroij Fine Art
Relief with the The Flight into Egypt and Miracles during the Journey (Matthew 2:13) Low countries, possibly Antwerp, Renaissance, last quarter of the 16th century, circa 1590 Pear-wood, carved in high relief, on later brass base H 19.6 x W. 16.8 cm (excl. base) Provenance: Jan Dirven Works of Art, Eindhoven, The Netherlands; collection Dreesmann-Houtkooper, The Netherlands; thence by decent private collection, Breda, The Netherlands Literature: Schuckman, Christiaan (1996). Hollstein's Dutch & Flemish Etchings, Engravings and Woodcuts 1450-1700, vol. XLIV: Maarten De Vos. Rotterdam, p. 65, cat. n° 263 This relief, probably carved in Antwerp, is based on a design by the influential Renaissance artist Maerten de Vos (Antwerp, 1532-1603). The original drawing is kept now in the collection of the Herzog Anton Ulrich-Museum, Braunschweig (inv./cat. n° Z. 1086) and is dated shortly before 1579. The drawing was published in engraving by Johannes Sadeler I, as the eighth prints of a twelve-part series on the birth and the first years of Christ. The series was published between 1579-1582 and the current sculpture probably originated shortly afterwards, ca. 1590, which indicates a date of the current sculpture around 1590. The Flight the Holy Family to Egypt, here represented as Joseph on foot and Mary sitting on a donkey with the Christ Child in her arms was, according to tradition, surrounded by miracles. At the top right in a chapel on a tree, a statue of a pegan god breaks in two. At the top left a group of accompanying Angels in the Heavens is depicted and trees bow down their branches in reverence to Christ.
Thomas Deprez Fine Arts
emile fabry
Emile Fabry (Verviers 1865-1966 Brussels) A monumental triptych, including: Le péché originel, Les Déesses de la Vie and Prométhée & Pygmalion, circa 1896 Oil on canvas 246 x 138 cm | 249 x 205.5 cm | 245 x 140 cm All canvases waxed and retouched The middle panel carrying a certificate by Edmond Delescluze, the artist's son-in-law, dated April 6th 1990 Provenance: by descent in the family of the artist, after his death in 1966; former collection Suzanne Fabry and Edmond Delescluze, the artist’s daughter and son-in-law; triptych dismantled and sold separately, with different provenances on request; United again for the first time under single ownership, 2023 Literature: a list of contemporary press critiques available on request; Jacqueline Guisset, Emile Fabry 1865-1966, Brussels, Fonds du Patrimoine de Woluwe-Saint-Pierre, 2000, ill. pp. 75, 77 & 78; Sébastien Clerbois, L’Esotérisme et le Symbolisme belge, Anvers, Pandora Publishers, 2012, ill. p. 104 Exhibitions: Exposition du Cercle Pour l'Art, Brussels, 1896; Retrospective Emile Fabry, Woluwe-Saint-Pierre, Centre culturel, 2000
Nicolás Cortés Gallery
francisco de goya y lucientes
Francisco de Goya y Lucientes (Spain, Fuendetodos 1746-1828 Bordeaux, France) Adoration of the Cross Oil on canvas 134 x 89 cm Provenance: Chapel of the Santa Cruz (now the chapel of San Roque) in the parish church of Nuestra Señora de la Asunción (Our Lady of the Assumption, formerly dedicated to St Anthony of Padua), Torrecilla de Valmadrid, near Zaragoza, until 1968-70; Don Jaime de Paraíso de Andéríz, Zaragoza, to 1971; private collection, Barcelona (now London) Literature: Gudiol, Goya, Barcelona, 1970, vol. I, p. 33 and 240, cat. 37 (image, vol II, pp. 50-51, figs. 52 and 53); A. Martínez Beltrán, Goya en Zaragoza, 1971, Ayuntamiento de Zaragoza; p. 155; J. Camón Aznar, Francisco de Goya, Zaragoza, 1981, vol 1, pp. 62-63, ill., p. 243; R. De Angelis., La obra pictórica completa de Goya, Noguer, 1975, p. 90, n° 40 (as Devotis al pie de una Cruz); José-Luis Morales y Marín, Goya, Pintor Religioso, Aragon, 1990, n° 11, p. 50; J. Gudiol, Goya, Barcelona, 1985, 2nd edition, vol. 1, p. 96, n° 34, fig. p. 168; P. E. Mangiante, Goya e l’Italia, Rome, 1992, pp. 20-21; A. Ansón Navarro, Goya y Aragón: Familia, amistades y encargos artísticos, Aragon, 1995, p. 93.; P.E. Mangiante, Goya e Italia, Zaragoza, 2007, p. 34 y 38; Fundación Goya, J.C. Lozano Llopis, J. Wilson-Bareau, and others, Museo de Zaragoza, La memoria de Goya, (1828-1978): [Museo de Zaragoza., 7 de febrero-6 de abril de 2008, Aragón, 2008, p. 126, fig. 89 [as attributed]; Dr Arturo Ansón Navarro, Goya. Un joven pintor en formación, Zaragoza, 2021; La Estella de Corrado Giaquinto en España-Da Antonio González Velázquez a Francisco Bayeu a Goya, Exhibition Catalogue, Museo de Zaragoza, 24 June-26 Sep 2021, pp. 110-111 (ill.) Exhibition: Zaragoza, Museo de Zaragoza, 2008 La memoria de Goya, (1828-1978), n° 117
Gilden's Art Gallery
alexander calder
Alexander Calder (Lawnton 1898-1976 New York) Eclipse, 1961 Gouache on wove paper 55 x 74.5 cm Signed and dated lower right: Calder 61 This work is registered in the archive of the Calder Foundation with the application n° A11010 Provenance: Nicholas Guppy (1925-2012); acquired directly from the artist; Sotheby's Parke Barnet, 3 December 1981, lot 535; Renton Family, Thaxted, Essex, United Kingdom (after 1981) Exhibition: Calder, 12 July-10 August 1980, Kettle's Yard, Cambridge, cat. n° 17 (incorrectly titled Red moon)
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
Galerie Kaléidoscope
fernand teyssier
Fernand Teyssier (Paris, 1937-1988) X-ray and breathing-sheep, circa 1966-67 Acrylic, graphite pencil, stampo and ink on canvas 98.4 x 81.5 cm Provenance: estate Fernand Teyssier Exhibition: Konstanz/FRG, 1968, Bilder, Graphik, Objekte, Der Asta-Konstanz Universität
Galerie Florence de Voldère
Cornelis Van Cleve (et Atelier) (1527-Antwerp circa 1581) Adoration des Mages Oil on panel 101.5 x 77.5 cm Fils et élève du grand Maître Anversois Joos van Cleve (1485-1541), il a sans doute été très actif au sein de l’atelier paternel entre 1535 et 1540. Son style se rapprochant de celui de son père, il est encore difficile aujourd'hui pour certaines œuvres, de discerner la main du père de celle du fils. Maître à Anvers, il est doyen de la Gilde en 1541 au décès de Joos. Son caractère ombrageux et ses affinités protestantes le font quitter sa ville natale et émigrer en Angleterre où il recherche le patronage de Philippe II d’Espagne. Ses peintures sophistiquées et délicates témoignent aussi de l’influence de Léonard de Vinci. Cette composition dérive du tableau de Cornelis van Cleve aujourd’hui conservé au Musée des beaux-arts d’Anvers. MUSÉES: ANVERS, COLOGNE, DRESDE, PHILADELPHIE, ST P
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.
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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
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 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
Dr. Nöth kunsthandel + galerie
lotte laserstein
Lotte Laserstein (Preußisch Holland/Königsberg 1898-1993 Kalmar/Sweden) Young couple turned to the left (The Neumans), 1970 Oil on canvas 49 x 59 cm Signed and dated upper left: Lotte Laserstein 1970 Provenance: purchased directly from the artist by the present owner
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
Marc Heiremans
ercole barovier
Ercole Barovier (Italy, 1889-1974) Zaffiro, gemmata series for Ferro Toso Barovier-Vetrerie artistiche riunite, Murano, 1936 Free-blown colourless glass with enclosed raw colouring oxides. Applied colourless details H 29.5 x W 21.5 cm Provenance: private collection, Paris Literature: Dorigato A. Ercole Barovier 1889-1974, vetraio Muranese. Venice 1989; Barovier M. L’arte dei Barovier, vetrai di Murano 1866-1972. Venice 1993; Heiremans M. Art glass from Murano. Stuttgart 1993; Heiremans M. Twentieth century Murano glass, from craft to design, Stuttgart 1997 Exhibitions: XXa Biennale internazionale d’arte, Venice 1936; Ercole Barovier 1899-1974, vetraio Muranese, Venice 1989; L’arte dei Barovier, vetrai di Murano 1866-1972, Venice 1993; Twentieth century Murano glass-From craft to Design, Ghent 1996
Galerie de la Béraudière
germaine richier
Germaine Richier (Grans 1902-1959 Montpellier) L'Ogre, 1949 Bronze with black patina H 81.2 x W 45 x D 40.3 cm Signed and stamped on the base: G Richier, C. Valsuani cire perdue Foundry: Claude Valsuani, Paris, conceived in 1949, cast in 1951 Edition of 12 (1/8 – 8/8 + 4 AP ) Original certificate of authenticity by Francoise Guiter, dated 5 March 2014 Provenance: Galerie Creuzevault, Paris (1962); Galerie Odermatt, Paris; Sale Prescheteau-Badin, Paris, 20 March 2006; private collection Literature: P. Levy, London's Frenetic Gallery Scene: O'Keeffe sinks; Freud is missing, in The Wall Street Journal Europe, 11 June 1993; Brassaï, Germaine Richier, in Les artistes de ma vie, Paris, 1982, pp. 194-197; R. Barotte, A la rencontre de Germaine Richier (1904-1959), le sculpteur qui va... au-delà de, in Vision sur les arts, Béziers, November 1978; G. Marchiori, Modern French Sculpture, London 1964, pp. 52-53; M. Seuphor, XXIII. Biographies: Richier, Germaine, in La sculpture de ce siècle, dictionnaire de la sculpture moderne, Neuchâtel, 1959, p. 322; M. H. Vieira da Silva, Tribune de Paris - Adieu à Germaine Richier: Son atelier était plein d'une étrange musique, in Tribune de Lausanne, Lausanne, 9 August 1959, n° 7; A. Giacometti, Tribune de Paris - Adieu à Germaine Richier: Assise parmi ses sculptures, in Tribune de Lausanne, Lausanne, 9 August 1959, n° 7; C. Roger-Marx, Cette héritière, inspirée des grands maîtres: Germaine Richier, in Le Figaro littéraire, Paris, 8 August 1959; R. Couturier, Tribune de Paris - Adieu à Germaine Richier: La force de son œuvre, in Tribune de Lausanne, Lausanne, 9 August 1959, n° 7; M. Conil-Lacoste, Chroniques: Germaine Richier ou la confusion des règnes in Cahiers du sud, Marseille, February 1957, pp. 307-311; D. Chevalier, Sculpture encore: dans son atelier, vaste forêt de plâtres et de bronzes, Germaine Richier, chef d'école sculpte les grands mythes sylvestres, in Femme, Paris, October-November 1956, pp. 71-83 (another cast ill.); A. Chastel, Germaine Richier: la puissance et le malaise, in Le Monde, Paris, 13 October 1956; B. Milleret, Envoûtement de Germaine Richier, in Les Nouvelles littéraires, Paris, 11 October 1956; D. Chevalier, Un grand sculpteur: Germaine Richier, in Prestige français et Mondanités, Paris, September 1956, pp. 60-65, n° 19 (another cast ill.); G. Waldemar, Germaine Richier, in Prisme des arts, Paris, April 1956, n° 2; J. Grenier, Germaine Richier, Sculpteur du terrible, in L'Oeil, Paris, September 1955, pp. 26-31, n° 9 (another cast ill.); R. M. Claude, Venise XXVI Biennale: Présence française, in Arts, Paris, 26 June 1952, n° 365 (another cast ill.) Exhibitions: 2014-2015 Genève, Galerie Jacques de la Béraudière, Germaine Richier, Retrospective, p.32; 2013 Berne, Kunstmuseum, Germaine Richier Rétropective, ill. n° 43 p. 146 (another cast exhibited); 2007 Venice, Peggy Guggenheim Collection, Richier pp. 131-135 (another cast exhibited and ill.); 2000-2001 Saint-Paul-de-Vence, Fondation Maeght, Le Nu au XXe siècle, n° 129 (another cast exhibited and ill.); 1996-1997 Lausanne, Musée cantonal des Beaux-arts, De Vallotton à Dubuffet p. 46, n° 28 (another cast exhibited and ill.); 1997 Berlin, Akademie der Künste, Germaine Richier, n° 39 (another cast exhibited and ill.); 1996 Saint-Paul-de-Vence, Fondation Maeght, Germaine Richier, Rétrospective, n° 36 (another cast exhibited and ill.); 1993 London, Tate Gallery, Paris Post War: Art and Existentialism 1945-55, n° 98 (another cast exhibited and ill.); 1993 Paris, Centre Wallonie-Bruxelles, Dominique Rolin, le temps approuvé, (another cast exhibited); 1988 Humlebaeck, Louisiana Museum of Modern Art, Germaine Richier, n° 12 (another cast exhibited); 1966 Paris, Galerie Creuzevault, Germaine Richier 1902- 1959 (another cast exhibited); 1964 Arles, Musée Réattu, Germaine Richier, no. 22 (another cast exhibited and ill.); 1963 Zurich, Kunsthaus, Germaine Richier, n° 46 (another cast exhibited); 1959 New York, Museum of Modern Art, New Images of Man, n° 90 (another cast exhibited and ill.); 1959 Antibes, Musée Picasso, Germaine Richier, n° 67 (another cast exhibited); 1959 Boston, University School of Fine and Applied Arts, Sculptures by Germaine Richier, n° 30 (another cast exhibited); 1959 Paris, Musée Grimaldi, Créations et récréations de Germaine Richier, exhibition cat.; 1958 Minneapolis, Walker Art Center, Sculpture by Germaine Richier, n° 10 (another cast exhibited); 1956 Paris, Musée national d'art moderne, Germaine Richier, n° 16, pl. XIV (another cast exhibited and ill.); 1955 London, The Hanover Gallery, Germaine Richier, n° 7 (another cast exhibited); 1955 Lille, Galerie Marcel Evrard, Germaine Richier, Roger Vieillard, n° 5 (another cast exhibited and ill.); 1955 Amsterdam, Stedelijk Museum, Vieira da Silva, Germaine Richier, n° 35 (another cast exhibited and ill.); 1954 Bienne, Collège des Près Ritter, Exposition Suisse de sculpture en plein air, n° 170 (another cast exhibited); 1954 Basel, Kunsthalle, Germaine Richier, Bissière, H. R. Schiess, Vieira da Silva, Raoul Ubac, n° 9 (another cast exhibited); 1954 Chicago, The Allan Frumkin Gallery, The Sculpture of Germaine Richier, n° 11 (ill.); 1952 São Paulo, Museu de Arte Moderna, II Biennale, n° 3 (another cast exhibited); 1952 Venice, French Pavilion, XXVI Biennale Internazionale dell'Arte, n° 151 (another cast exhibited)
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.