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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).
Gallery Sofie Van de Velde
jean brusselmans
Jean Brusselmans (Brussels 1884-1953 Dilbeek) Les Roses, 1948 Oil on canvas 122.5 x 112.5 cm Signed and dated lower right: Jean Brusselmans 1948 Literature: La Collection Tony Herbert, Brussel, 1957, n° 51; Robert-L Delevoy, Jean Brusselmans, ed. Laconti 1972, p. 403 n° 568 ill.; Dirk De Vos, Retrospectieve Jean Brusselmans, Groeningenmuseum, 1980; Hans Janssen, Jean Brusselmans 1884-1953, Den Haag, 2018, p 115 ill. Exhibitions: Den Haag, Groningen, Charleroi, Oostende, Hasselt, Gent, Collection Tony Herbert, 1957; Luxemburg, Musée d’Art et d’Histoire, Collection Tony Hebert, 1963; Brussels, Paleis van Schone Kunsten, n° 53, 1979; Brugge, Groeningenmuseum, 1980, retrospectieve Jean Brusselmans, 1980; Den Haag, Jean Brusselmans 1884-1953, Gemeentemuseum Den Haag, 2018
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Stern Pissarro Gallery
yayoi kusama
Yayoi Kusama (Matsumoto, 1929) Fire (3), 1952 Gouache and pastel on paper 27.7 x 20.3 cm Signed, titled and dated 1952 on the reverse This work is accompanied by a registration card issued by Kusama Enterprise, Tokyo Provenance: Christiaan Paul Damsté, Amsterdam, gifted from the artist; private collection, London; Anthony Meier Fine Arts, San Francisco; private collection, Canada; private collection, Japan
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
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.
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Stéphane Renard Fine Art
henri-pierre danloux
Henri-Pierre Danloux (Paris, 1753-1809) Pair of portraits: Portrait of the Duc d'Angoulême & Portrait of the Duc de Berry Oil on canvas pasted on wood panels Duc d'Angoulême: oval canvas 25 x 21 cm - framed: 35.5 x 30 cm Duc de Berry: oval canvas 26.5 x 21 cm - framed: 35.5 x 30.3 cm Rectangular frames in the neoclassical style with pearl and rais-de-coeurs motif surrounding an oval medallion. The frames are surmounted by cartouches reading 'Donné par S.A.R. le Mgr Le Duc d'Angoulême à Lord Adam Gordon' and 'Donné par S.A.R. le Mgr Le Duc d'Berri à Lord Adam Gordon' Signed 'HP Danloux 1797' on the portrait of the Duc d'Angoulême Provenance: gifted by the models to Lord Adam Gordon and then by family descent
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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
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
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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
Harold t’Kint de Roodenbeke
Paul Delvaux (Belgium, Antheit 1897-1994 Veurne) La danse macabre, 1934 Watercolour and ink on paper 59.5 x 75 cm Signed and dated lower right: Spy 2-34 Provenance: Walter Delvaux, artist family; sale Sotheby's, 6 February 2014, lot 469; private collection Important and early composition from 1934, a key year for Delvaux's development of his surrealist world © Foundation Paul Delvaux, Belgium/SABAM, 2023-2024
Dalton Somaré
Androgynous figure with twins Dogon, Mali, 1406-1512 AD (C14 tested) Wood H 48 cm Provenance: Henri Kamer, Paris; René Rasmussen, Paris; Merton Simpson, New York; Reginald Groux, Paris; private collection, France; private collection, Brussels Literature: Les Mondes Dogon, ed. M. Konaté and M. Le Bris, 2002, p. 167
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.)
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Repetto Gallery
Giorgio de Chirico (Greece, Volos 1898-1978 Rome, Italy) Piazza d’Italia con Arianna, Beginning 1950s Oil on canvas 70 x 100 cm Signed lower left, inscribed on the reverse: questa pittura metafisica è opera autentica da me eseguita e firmata, Giorgio de Chirico. COA by Fondazione Giorgio e Isa de Chirico n. 0050/10/33 OT Provenance: Galleria Renzo Spagnoli, Florence; Private collection, Italy Literature: Fondazione Giorgio e Isa de Chirico, Giorgio de Chirico. Catalogo generale – opere dal 1913 al 1976, vol. 3/2016, Maretti Editore, p. 236, n° 1166
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Gilden's Art Gallery
sam francis
Sam Francis (San Mateo 1923-1994 Santa Monica) Untitled SF73-287 (Tokyo), 1973 Acrylic and gouache on wove paper 37.4 x 55.2 cm Signed, dated and inscribed Archive n° SF73-287 Provenance: Kornfeld und Klipstein, Bern, Switzerland; Irving Galleries, Palm Beach, Florida; acquired from the above in 1987; private collection, United States of America
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
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
Röbbig München
nicolas petit (1732–1791, maître in 1761)
Nicolas Petit (France, 1732-1791) Ormolu mounted floral marquetry table "en chiffonnière" Paris, Louis XV/Louis XVI (Transition) period, circa 1770 H 68.5 x W 32.5 x D 25.5 cm Stamped 'N.PETIT' maître in 1761 and 'JME' Provenance: the Lesley and Emma Sheafer collection, Bequest of Emma A. Sheafer, 1973
Galeria Jordi Pascual
antoni tàpies
Antoni Tàpies (Barcelona 1923-2012) Cap amb paper encolat, 1987 Paint, pencil and collage on canvas 54 x 65 cm Provenance: private collection, Barcelona Literature: Agustí, Anna. Tàpies. Obra completa, vol. 6, 1986-1990, Fundació Antoni Tàpies and Edicions Polígrafa S.A, 2000, p. 153, fig. 5465
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.