This section will be available this Autumn.
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
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)
Galerie des Modernes
paul delvaux
Paul Delvaux (Belgium, Antheit 1897-1994 Veurne) Les deux Amies, 1972 Watercolour and ink on paper 35.5 x 27 cm Signed and dated lower right: P. DELVAUX 1972 Certificate of authenticity from Mr. Charles Van Deun of the Foundation Paul Delvaux Provenance: private collection, Brussels, acquired directly from the artist; Galerie Eric Gillis Fine Art, Belgium; private collection, France © Foundation Paul Delvaux, Belgium/SABAM, 2023
Galerie Marc Maison
Gilded plaster statuette by Pierre Braecke (Belgium, 1858-1938) surmounting a sideboard made by Victor Horta (Ghent 1861-1947 Brussels) Four original gilded plaster statuettes by Pierre Braecke surmount the pair of sideboards This is part of a interior decor made of a suite of three paneled rooms designed by Victor Horta for a private owner in Kortrijk and including two fireplaces, a pair of sideboards, a stained-glass ceiling and windows, a screen with period fabric Circa 1903 Mahogany, oak and maple, bronze, marble, american glass, fabric: moiré damask Surface: approximately 80 sq meters, H 3.80 m Provenance: Kortrijk, Belgium
Mearini Fine Art
Pair of pseudo-Corinthian capitals with acanthus foliage and palmettes North Adriatic, second half of the 11th-first half of the 12th century White marble (possibly spolia marble) H 40 x W 40 x D 47 cm Diameter of the inferior bases 27/28 cm Condition: good, except for small losses at the tips of several leaves and larger losses on the abaci, at the corners and at certain points of the edges Provenance: private collection, Italy Literature: Full report by Prof. Guido Tigler, University of Florence
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 de la Béraudière
jean fautrier
Jean Fautrier (Paris 1898-1964 Châtenay-Malabry) Les feuilles vertes, 1934 Oil on canvas 73 x 60 cm Signed lower left: Fautrier Provenance: collection Jean Paulhan, France; collection Dominique Aury, France; private collection, France (by descent); Tajan, Paris, November 2022, lot 44; private collection, Belgium This work will be included in the catalogue raisonné of Jean Fautrier’s painted work currently being prepared by Madame Marie-José Lefort Literature: Palma Bucarelli, Jean Fautrier, Pittura e materia, ed. Il Saggiatore, Milano 1960, Ill. 107, p. 306 Exhibition: 1974, Paris, Galeries Nationales du Grand Palais, Jean Paulhan à travers ses peintres, cat. 563, p. 218
Van Herck-Eykelberg
james ensor
James Ensor (Ostend, 1860-1949) Roses, tanagras and boot, 1917 Oil on canvas 46.5 x 66 cm Signed and dated lower right Literature: G. Le Roy, James Ensor, G. Van Oest, Bruxelles/Paris 1922, p. 195; F. C. Legrand, Ensor cet inconnu, La Renaissance du Livre, Bruxelles 1971, n° 238; X. Tricot, James Ensor, Catalogue raisonné of the paintings. II, 1902-1941, Wienand, 1992 Anvers, n° 484; X. Tricot, James Ensor, Catalogue Raisonné of the paintings. Mercator, 2009, n° 495 Exhibition: XV Exposizione Internationale d’Arte della Cittá di Venezia (Venice Biennale), 1926; Partially legible label on the back: ‘XIVieme Exposition Internationale des Beaux-Arts’
F. Baulme Fine Arts
nicolas bertin
Nicolas Bertin (Paris, 1668-1736) Achilles entrusted by Thetis to the centaur Chiron, circa 1725 Oil on canvas 62 x 79.5 cm Provenance: private collection, Paris Literature: Thierry Lefrançois, Nicolas Bertin, 1668-1736, Paris, 1981 Nicolas Bertin has begun his career as a painter under the reign of Louis XIV and has ended it under Louis XV. He was part of this pivotal generation of 'Trianon painters' who switched from large historical painting, to smaller pictures – frequently easel paintings, which seduced a new generation of clients. Painting in the early years of the 18th century was ahead of the evolution of society, and it was only during the Regency that France freed itself from the rigorous artistic rules of the end of the reign of Louis XIV. The country undertook reforms and its morals evolved. It was just after this political and artistic revolution that Bertin painted this picture. The choice of theme itself is significant of lighter times: the nymph Thetis entrusts her son Achilles to the centaur Chiron.
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
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
_T638297823410330093.jpeg?width=410&height=2000&qlt=90&scale=both&mode=max&format=jpeg)
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
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
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
Thomas Deprez Fine Arts
willem paerels
Willem Paerels (Delft 1878-1962 Braine-l'Alleud) Dans un cabinet de toilette, circa 1910 Oil on canvas 72 x 53 cm Signed lower right: Paerels Provenance: former collection Anna Boch (1848-1936); by descent in the family, until; private collection, Belgium Literature: The present work figures in the 'inventaire mortuaire' established upon Anna Boch's death in 1936, as part of the prestigious stairwell hanging in her own home designed by Victor Horta (Liste Blondel, private archives, as transcribed in: Thérèse Thomas & Cécile Dulière, Anna Boch 1848-1936, Paris, La Renaissance du Livre, 2000, p. 147, n° 357
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
_ChristoandJeanne-Claude_T638297599752649497.jpg?width=410&height=2000&qlt=90&scale=both&mode=max&format=jpeg)
Guy Pieters Gallery
christo and jeanne-claude .
Christo (Gabrovo 1935-2020 New York) and Jeanne-Claude (Casablanca 1935-2009 New York) The Floating Piers (Project for Lake Iseo, Italy), 2014 Pencil, wax crayon, enamel paint, photographs by Wolfgang Volz, technical data and fabric sample 66 x 43 cm Provenance: private collection Linda and Guy Pieters Certificate of authenticity n°308-11 recorded in the archives of the Estate of Christo V. Javacheff
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)
Dr. Lennart Booij Fine Art & Rare Items
pablo picasso
Pablo Picasso (Malaga 1881-1973 Mougins) Bull in the Arena plate, 1948 White earthenware with engobes H 32 x W 39 cm Edition Picasso Madoura, from the unnumbered edition of 450 Provenance: private collection, France Literature: A. Ramié, Picasso, Catalogue of the edited ceramic works 1947-1971, p. 52, n° 80