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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
Galerie de la Béraudière
pablo picasso
Pablo Picasso (Malaga 1881-1973 Mougins) Le Bandillero, 1959 Colour linocut on Arches wove paper 53.4 x 66.3 cm Printed by Arnéra, Vallauris, published by Galerie Louise Leiris, Paris 1960 Signed in pencil lower right: Picasso Numbered lower left: 40/50, edition 40/50 Provenance: Galerie Michael Hertz, Bremen; private collection, North Rhine-Westphalia, Germany (until 2013); private collection, Germany (since 2013, inherited from the above); Ketterer Kunst, June 12, 2022, lot 469; private collection, Belgium Literature: Enrique Mallen, ed., Online Picasso Project, Sam Houston State University, 1997-2023, OPP.59:076; Bernhard Geiser, Brigitte Baer, Picasso peintre graveur, Catalogue raisonné de l'oeuvre gravé et des monotypes, Berne, Kornfeld, 1986-1994, n° 1225 IV B a; Georges Bloch, Pablo Picasso, catalogue de l'oeuvre gravé et lithographié, 4 vol., Berne, Kornfeld and Klipstein, 1968-1979, n° 940 (titré Les Banderilles)
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
Serge Schoffel - Art Premier
Bamileke Ku n'gan society mask Cameroon, 19th-early 20th century Wood, hair, cowrie shells, St. Christopher's medal H 33 cm (with the hair: circa 110 cm) Provenance: collected in situ circa 1960 by Klaus Paysan, photographer and author from Stuttgart, Germany (1930-2011); the mask was a gift from King Fon Happi III of Bana; Boris Kegel-Konietzko, Hamburg, Germany Literature: published in Kosmos magazine, 1961
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
De Brock
antoni tàpies
Antoni Tàpies (Barcelona 1923-2012) Ocre Amb Cinc Entallats, 1964 Marble dust and oil on canvas 162 x 130 cm Signed and dated on the reverse: Tàpies 1964 Provenance: the artist's studio, Barcelona, Spain; Galerie Stadler, Paris, France; private collection, Madrid, Spain; Josep Suñol Soler collection, Barcelona, Spain; Christie’s, London, UK; private collection; De Brock, Knokke, Belgium Literature: A. Cirici, Tàpies: Witness of Silence, Barcelona, 1972, p. 273, n° 268 (ill. and titled 'Ochre with five incisions'); A. Agustí, ed., Antoni Tàpies: The Complete Works, vol. 2, 1961-1968, Barcelona, 1996, p. 211, n° 1301 (ill. in colour); Fundació Josep Suñol, Col·lecció Josep Suñol Catàleg raonat, Barcelona, 2004, p. 110, n° 736 (ill. in colour); Fundació Josep Suñol, Col·lecció Josep Suñol Les Escales, Barcelona, 2004, pp. 79 and 164 (installation view ill. in colour) Exhibitions: Cannes, Galerie Jacques Verrière, Tàpies. Oeuvres récentes, September 1966, n° 6; Barcelona, Fundació Antoni Tàpies; Valencia, Institut Valencià d’art Modern Centro Julio González; London, Serpentine Gallery, Tàpies. Comunicació sobre el mur, January-August 1992; Barcelona, Fundació Suñol, Col·lecció Josep Suñol 1915-1995, May 2007-January 2008
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.
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
Galerie La Patinoire Royale Bach
michel mouffe
Michel Mouffe (Brussels, 1957) Tous les matins du monde, 2015 Mixed technique on canvas (9x) H 70 x W 43 cm, in total: H 70 x W 495 cm Provenance: the artist's studio Literature: Alphabet, 2017, Conversation Joel Benzakin and Michel Mouffe; Tous les matins du monde, exhibition catalogue, Galerie La Patinoire Royale Bach Exhibition: Michel Mouffe: Tous les matins du monde, Galerie La Patinoire Royale Bach, 2023
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
Gilden's Art Gallery
Marc Chagall (Vitebsk 1887-1985 Saint-Paul de Vence) Study for Commedia dell’arte (Foyer of Frankfurt Opera House), 1958 Brush and India ink with charcoal and pencil on wove paper 36.5 x 56.5 cm Signed lower right: Marc Chagall The work is accompanied by a certificate of authenticity from the Chagall Committee from 27 February 2023 The composition is a study for the largest painting undertaken for a project in the foyer of Frankfurt Opera House, Germany Provenance: estate Marc Chagall
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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
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)
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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
Alexis Lartigue Fine Art
simon hantaï
Simon Hantaï (Hungary, Bia 1922-2008 Paris, France) Untitled, 1971 Watercolour on canvas 85 x 73 cm Monogrammed and dated Certificate from Daniel Hantaï Provenance: private collection, Paris This work on canvas is part of the series of watercolours presented by the Fournier gallery in 1971 in Paris. Simon Hantaï whitened the canvas beforehand with a filler, then he crumpled and pinched it. The visible parts were painted in several colours. Once deployed, we discover the whites held in reserve. The artist considered that the works must live, and undergo the onslaught of time and light, without particular protection and without frames. He went so far as to bury certain works in his garden, before taking them out and exhibiting them as they were, smeared with dust and organic waste. "The work exudes an aura of sensitive, sovereign light that is hard not to surrender rapturously to." Alain Delaunois
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
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
Galerie Kevorkian
mughal art / art moghol
Portrait of nawab 'Ali Mardan Khan Mughal art Opaque watercolour and gold on paper, gold speckled margins Illuminated panel written in nasta'liq script: 'tasvir-e nawab 'Ali Mardan Khan' Mughal India, 18th century Folio: 32 x 22.8 cm, painting: 21 x 12.4 cm Provenance: probably collection of Sir Elijah Impey, chief justice of Bengal from 1774 to 1789; former collection of Jean Pozzi (1884-1967), French diplomat and collector; French private collection (1975-2000) Exhibition: Indian and Oriental Miniatures, Palais Galliera, Paris, 5 December 1970, n° 24
Alexis Lartigue Fine Art
Sam Francis (San Mateo 1923-1994 Santa Monica) Celestial Insect (72-020), 1972 Acrylic on paper 45 x 55 cm Signed and dated Sam Francis Archive SF72-020 Provenance: private collection, Italy Exhibition: Falchi arte Moderna, Milano, 1974 From the end of the 1960s, Sam Francis carried out in-depth research on light. He wondered about the two contradictory states of the latter: "black, the original background from which the light springs, and white, the base of the light and the sum of the colours." He sought to obtain a good balance since, according to him, "an increase in light causes an increase in darkness." His painting is not fixed, the irregular shape of the spots and the arrangement of the colours come to rest and form a network that is both structured and disarticulated.
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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
Costermans & Pelgrims de Bigard
ernest louis jean cremer
Ernest Louis Jean Cremer (France, 1731-1793) Mahogany quartet table, circa 1780 Louis XVI period H 74.5 x W 53.5 x D 38 cm Stamped by Cremer, received Master on July 13, 1777 Literature: P. Kjellberg, Le Mobilier français du XVIIIe siècle, Les Editions de l'Amateur 2008, p. 218