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New Hope Gallery
poul kjaerholm
Poul Kjaerholm (Denmark, 1929-1980) Set of 16 EKC 11 armchairs Denmark, circa 1957 Ash wood and oak wood, nickel plated steel, tan leather H 66 x W 63 x D 46 cm Stamped Provenance: Belgian private collection Literature: Michael Sheridan, Poul Kjaerholm Furniture Architect, 2006, Louisiana Museum of Modern Art
Florian Kolhammer
georg klimt
Georg Klimt (Vienna, 1867-1931) Jugendstil panel 'Nymph at the fountain', circa 1900 Chased and patinated copper H 57 x W 29 cm Literature: comp. Belvedere Museum Vienna, inventory n° 10862 The inspiration of the Symbolist painter Franz von Stuck is particularly evident in this relief. Based on the motif compositions of the famous artist, Klimt created an antique scene. An homage to Symbolism and the influence of antiquity on the young, revolutionary art movement.
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Kunstconsult 20th century art I objects
lino tagliapietra
Lino Tagliapietra (Murano, 1934) Samarcande vase with filigree in clear and pink glass, 1989 Designed in 1981 and made for Effetre International 1989 H 15 x Ø 24 cm Provenance: collection Snijder, Aerdenhout Literature: Giovanni Sarpellon, Lino Tagliapietra Glass, Publisher Arsenale, p. 44
Alexis Lartigue
René Magritte (Lessines 1898-1967 Brussels) Les Grâces naturelles, circa 1953 Red chalk on paper 47 x 36.7 cm Signed lower right Signed and titled on the reverse lower right Certificate of authenticity by Comité Magritte Provenance: La Sirène gallery, Brussels; private collection; sale Sotheby's, Paris; private collection, Paris 'If we imagine young girls blossoming, we can also acknowledge a bird in bloom. The emergence of this bird is as delightful as the sunrise'. René Magritte The bird-plant in this beautiful chalk drawing, Les Grâces naturelles, is an emblematic and recurring theme of Magritte's art. This particularly graceful model of metamorphosis was cquired from the Belgian artist in 1953 by Raymond Becquevort, founder of the La Sirène gallery in Brussels. Frequented by Ponge, Artaud and Michaud, it was a major hub for the surrealist intelligentsia; a place where words discovered images. Magritte began developing the theme of the bird-plant in 1942, when Belgium was under Nazi occupation. He adapted this theme into infinite variations moving from chalk to gouache, then onto canvas. So often symbols of hope, here birds are poetic and neurasthenic metaphors. The assimilation of the naturally-mobile bird with the plant that is rooted deep in the earth, contributes to a troubled state of mind.
Galerie Marc Maison
alexandre sandier
Alexandre Sandier (France, 1843-1916) Decorative panel depicting Queen Cleopatra, circa 1880 Sarreguemines earthenware with painted decoration H 161.5 x W 202.7 x D 2.5 cm Literature: Alain Benedick, La Faïencerie de Sarreguemines, Éditions ABM 57, 2009; Figures décoratives par Alex. Sandier, Éditions A. Calava, Paris, undated; Guide du visiteur […]. 8e Exposition de l’Union centrale des arts décoratifs, Paris, Imprimerie Chaix, 1884 Exhibitions: Exhibition of the Union centrale des arts décoratifs in 1884; 1889 Paris Exposition In the 1880s, the Sarreguemines pottery factory began creating earthenware panels for interior and exterior decoration. This magnificent panel depicting Cleopatra, painted by Alexandre Sandier, is one such example. Its vivid yet soft and pleasing colours combine with a meticulous sense of archaeological detail to produce a masterly lesson in Egyptomania, bearing witness to the fascination that Egypt still exerted at the end of the century for artists and audiences alike.
Galerie de la Présidence
albert marquet
Albert Marquet (Bordeaux 1875-1947 Paris) Stockholm, Strandvägen ciel clair, 1938 Oil on panel 33.2 x 41.2 cm Signed lower left This work will be included in the Marquet digital catalogue raisonné, in preparation by the Wildenstein Plattner Institute Provenance: Albert Marquet collection, Paris; on consignment with Gösta Olson, Svensk-Franska Konstgalleriet, Stockholm; returned to Albert Marquet, Paris June 21, 1938; Madame Albert Marquet collection, Paris, by descent from above, (1947); Alex Maguy collection, Galerie de l’Elysée, Paris; sale Sotheby’s & Co, London, March 31, 1965, n° 110; private collection, Switzerland Exhibition: Utställning Albert Marquet, Svensk-Franska Konstgalleriet, Stockholm, April-May 1938, n° 38, p. 11
Victor Werner
raymond de meester de betzenbroeck
Raymond de Meester de Betzenbroeck (Mechelen 1904-1995 Woluwe-Saint-Lambert) Poodle 'Zazou', first half of the 20th century Bronze with brown patina H 44 x L 50 x D 16 cm Signed 'Raymond de Meester' Mentored by Albéric Collin, Raymond de Meester studied animals at Antwerp Zoo and gained recognition with his first exhibition at the age of 22. In 1930, he achieved further visibility with commissions for the International Exhibition in Antwerp, creating major works like a 14-metre elephant scene. He exhibited globally, and his iconic pieces include a monumental polar bear and the 'Roaring Lion' for the 1958 Brussels World's Fair. Awarded the title of baron in 1952, he remained actively involved in the artistic community and continued to receive international accolades throughout his career.
Klaas Muller
Frans Snijders (Antwerp, 1579-1659) Kitchen interior with two dogs, offal and a basket with fruits and vegetables, circa 1620 Oil on canvas 113 x 183 cm Signed upper left: F. SNIJDERS. Fecit Provenance: sale Campo, Antwerp, 13-15 December 1966, lot 90; sale Sotheby’s, London, 7 October 1981, lot 123, ill. p. 89; sale Sotheby’s, London, 7 July 1982, lot 233, ill.; private collection, Belgium In a kitchen, a dog (a Friesian Wetterhound) guards its booty from another dog that appears on the left. Apparently, he has pulled away from his chain and is not giving up his booty (entrails) lightly. On the right of the painting, we see an overturned basket with artichokes, asparagus, a lemon and apples. At the top left, the painting is proudly signed 'F. SNIJDERS.FECIT'. Frans Snijders had a predilection for depicting dogs and they appear frequently in his oeuvre. About seven -mostly larger works as is the case here- can be named as scenes in larders or front rooms of kitchens. The theme is usually similar: a dog defends its stolen loot against another dog (e.g. a painting on loan with a similar theme among others in the Snijders-Rockoxhuis 'Larder with dogs and a cows head'). It remains conjecture whether Snijders was pursuing a metaphor or deeper symbolism with this theme. However: each time, he shows himself to be a fantastic cinematographer and manages to render a scene just before the climax through which he builds the tension. Also typical is the dog's head on the left, which is only partially depicted (cut off from the composition it seems) which generates even more movement. The textures of the fur, meat, vegetables and fruit are fantastically rendered.
Stern Pissarro Gallery
henri martin
Henri Martin (Toulouse 1860-1943 Labastide-du-Vert) Venise, palais et gondoliers sur le Grand Canal, circa 1909 Oil on canvas 68.5 x 96 cm Signed lower right 'Henri Martin' This work is accompanied by a certificate from Madame Marie-Anne Destrebecq-Martin and will be included in the forthcoming catalogue raisonné which is currently being prepared. Provenance: Jacques Martin-Ferrières, Paris (son of the artist); private collection, France, acquired from the above; sale Christie's, New York, 2018; private collection, acquired from the above
Chambre professionnelle belge de la Librairie Ancienne et Moderne (CLAM)
Pieter Bruegel the Elder (Brussels, 1525-1569) 'Everybody', 'Elck' or 'Nemonon', circa 1558 Engraving by Pieter van der Heyden (1530-1572) Published by Hiëronymus Cock (Antwerp, 1518-1570) 23.2 x 30 cm References: New Hollstein Dutch 35 1(2), first state. Text version C Lex Antiqua, Antiquarian bookseller
Victor Werner
luigi carrubba
Luigi Carrubba (Tunisia 1907-? Rome) Diana the Huntress, circa 1937 Bronze with black patina H 108 x L 100 x D 47 cm Signed 'Carrubba Luigi Roma Febbraio XV' Literature: E. Zorzi, Uno sguardo d'insieme alla XXI Biennale d'Arte di Venezia, in 'Le vie d'Italia turismo nazionale, movimento dei forestieri, prodotto italiano', XLIV, 6, 1938, p. 750 Luigi Carrubba, a Tunis-born sculptor who later settled in Rome, rose to prominence in the late 1930s, gaining recognition through major Italian art exhibitions. His works, including bas-reliefs and sculptures, were featured in events such as the Venice Biennale and regional exhibitions, where they were celebrated for their quality and scale. One of his notable sculptures, The Hunt, which may correspond to the work presented here (based on the similarity of subject and date) highlights Carrubba's mastery of dynamic forms and stylised bodies. This work exemplifies his skill in capturing movement and emotion through simple, refined lines. Carrubba continued to display works like Maternità and L’estate at the Venice Biennale, where he earned recognition amongst the emerging talents of the time.
MARUANI MERCIER
ross bleckner
Ross Bleckner (New York City, 1949) Deep Below Our Violence, 2023 Oil on linen 182.9 x 243.8 cm Provenance: the artist's studio Literature: Ross Bleckner: Paralipsis, exh. cat. MARUANI MERCIER Gallery, Belgium Exhibition: Ross Bleckner: Paralipsis, MARUANI MERCIER Gallery, Belgium, 3 September-9 October, 2021
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Klaas Muller
Henri Evenepoel (Nice 1872-1899 Paris) The rocks of Tipaza, 1898 Oil on canvas 54 x 81 cm Stamp on the reverse 'Oeuvre authentique d'Henri Evenepoel 1872-1899' Labels on the reverse Certified on the reverse by Edmond Evenepoel, father of the artist Provenance: Louise Van Mattemburgh, Brussels; collection J.L. Brunet, Brussels; auction PvSK, Brussels 9.10.1962, n° 368, pl. VII ill. Literature: H. Evenepoel, Paul Lambotte, Ed. G. Van Oest & Cie, Brussels, 1908, p. 103; Le voyage du peintre Henri Evenepoel en Algérie, H. Coenen, Leuven, 1982, n° 31, p. 37 and 48; Henri Evenepoel 1872-1899, Catalogue raisonné, Danielle Derrey-Capon, Municipal Credit 1994, n° 265 ill. Exhibitions: Henri Huklenbrok-Henri Evenepoel, Cercle artistique et littéraire, Brussels 1899, n° 20; Kunst van Heden, Antwerp 1909, n° 211; Henri Evenepoel, Gal. Georges Giroux, Brussels 1913, n° 111; Exposition d'oeuvres d'Henri Evenepoel, Cercle artistique et littéraire, Brussels 1923-1924, n° 103; Evenepoel, K.M.S.K., Antwerp 1953, n° 136; Henri Evenepoel, K.M.S.K., Brussels 1994
Thomas Deprez Fine Arts
james ensor
James Ensor (Ostend, 1860-1949) Portrait of Léon Rinskopf, Futur Baron du Rat Mort, 1903 Conté crayon, coloured pencils, watercolour and gouache on laid cream paper 16.6 x 13.4 cm - framed: 36 x 32 cm Signed, annotated, located and dated: ‘Portrait de Léon Rinskoff [sic]/futur baron du Rat Mort/Ostende 1903/James Ensor’ This drawing is accompanied by a certificate from the official Ensor Advisory Committee, 2023 Provenance: private collection, Belgium Exhibition: Joodse sporen in Oostende, Ostend and Antwerp, organised by Zahava Seewald, 2000 Literature: Laurence Madeline et al., Ensor, Paris: Musée d’Orsay, New York: The Museum of Modern Art, 2009, ill. fig. 60, pp. 78-79 Related Literature: James Ensor, Discours en noble languaige de chevalerie, in: Les Écus, Ostende : G. Daveluy ed., Le Rat Mort, 1904, p. 16. Reprinted and re-edited in many forms Related works: James Ensor, Au conservatoire, 1902, oil on canvas laid down on board, 56.5 x 71.5 cm, Musée d’Orsay, Paris (inv. RF 2009 4), given by the artist to Léon Rinskopf Portrait of Léon Rinskopf (1862-1915), artistic director of the Kursaal in Ostend and conductor of its symphonic orchestra. Dressed in smoking and wearing a crown, he is represented with an asparagus between the teeth in reference to a conducting baton. Ensor projected himself on the figure of his friend, by affiliating his likeness to his own, and by pinning a prominent medal of the Ordre de Léopold on his chest and baton, which Ensor received himself that same year. In the top right corner a dead rat is a direct reference to the Compagnie du Rat Mort, of which Ensor was a founding member and which was legendary for its masked balls and its burlesque character.
rodolphe janssen
sanam khatibi
Sanam Khatibi (Belgian with Iranian heritage, 1979) A few more crimes, 2018 Oil, pastel and pencil on panel 24 x 31 cm Sanam Khatibi (b. 1979, Belgium, of Iranian heritage) is a Belgian artist whose multifaceted practice spans painting, tapestry, sculpture, and installation. Based between Brussels and Paris, Khatibi’s work explores the delicate and complex balance between beauty, violence, and vulnerability. Her practice engages with themes of human imperfection, the tension between domination and submission, and the chaotic forces that shape our lives. Through a distinctive use of color and form, she draws attention to the fragility of the human experience and the unspoken violence that often lies beneath surface appearances. In her work, Khatibi delves into the darker aspects of human nature, exploring our struggles with excess, control, and the breakdown of social and moral boundaries. These explorations are framed in landscapes that juxtapose natural beauty with underlying violence and destruction, invoking a timeless tension between civilization and primal instincts. Her figures -whether human, animal, or mythical-are often presented as fragile, vulnerable, and engaged in various states of conflict, emphasizing the stark realities of human survival and the consequences of unchecked desire. These small-scale vanitas paintings from the 'murders serie' are introspective works, conceived as protection charms, invite the viewer into an intimate reflection on life's transience and human vulnerability.
Galeria Jordi Pascual
josé guerrero
José Guerrero (Granada 1914-1991 Barcelona) El Alba, 1967 Oil on canvas 146 x 114 cm Certificate of authenticity by Comité José Guerrero Provenance: Elliot M. Katz Living Trust, EE.UU; Galería Juana Mordó, Madrid; Galeria Buchholz, Lisbon Literature: Francisco Baena, Serge Guibault, Juan Antonio Ramírez, Yolanda Romero and Inés Vellejo Ulecia, José Guerrero Catálogo Razonado, Vol I 1931-1969, Ed. Diputación de Granada, 2008, p. 564, fig. 460 Exhibition: Galería Buchholz, Lisbon, 'José Guerrero', April 1967
