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Mearini Fine Art
Bartolomeo di Giovanni D'Astore called Baccio da Montelupo (Montelupo Fiorentino 1469-1536 Florence) Crucifix, circa 1515 Wood, plaster and paper 81.5 x 81.5 cm Provenance: private collection, Italy Literature: David Lucidi, Baccio da Montelupo, Tau, 2022, pp. 154, 342, 343, 413, 414
Ralph Gierhards Antiques / Fine Art
Marie Tassaert (Antwerp, 1642-after 1665) A garland of fruit surrounding a bust of Bacchus in a stone niche, 17th century Oil on canvas within a carved giltwood frame 85 x 69.5 cm Provenance: private collection, Namur (Belgium) Related works: A comparable oil on canvas of similar size (63.5cm x 53.5cm) and subject entitled 'A still life with a garland of fruit suspended from blue ribbons and a goblet in a niche', signed by Marie Tassaert, has recently been acquired by an important international Museum from the Rafael Valls gallery in London. It is interesting to note the similar composition of fruit garlands surrounding a central niche. The fruits and leaves on both paintings are identical and clearly painted by the same hand, as is the stone niche, up to and including the identical 'trompe l’oeil' cracks in the stone.
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Rueb Modern and Contemporary Art
bram bogart
Bram Bogart (Delft 1921-2012 Sint Truiden) GeelBaanGroen, 1970 Cement and oil on panel H 101 x W 107 x D 12 cm Signed and dated: Juli 1970 twice Provenance: private collection, The Netherlands Exhibition: Sweden, Södertälje Konsthall, 28 March-18 April 1971, cat. ill. p. 2
Samuel Vanhoegaerden Gallery
tom wesselmann
Tom Wesselmann (Cincinnati 1931-2004 New York) Study for great American nude #90, 1966 Liquitex on paper 46.4 x 55.2 cm Signed and dated Provenance: Sidney Janis Gallery, New York; David Janis Gallery, New York; Maxwell Davidson Gallery, New York Literature: Tom Wesselmann: a Pop Art Legend, Samuel Vanhoegaerden Gallery, Knokke, 2023, ill.
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
Heutink Ikonen
Ascension of Christ Russia (Yaroslavl), 17th century Egg tempera with gold leaf on a wooden panel surfaced with gesso and linen 72 x 48.5 cm This monumental icon shows an unusual division of planes. In the upper register, Christ is depicted in a green mandorla that is carried to heaven by two angels. The footprints in the earth beneath the mandorla show how Christ was still standing on the earth shortly before. The disciples left beneath gaze and point upwards in wonder. Noticeably, the disciples are standing before the openings of a cave, a reminder of Christ's resurrection from the grave. Directly below Christ, the Mother of God is depicted, flanked by radiant white angels. She bows her head slightly and raises her hands in prayer and reception - a pose reminiscent of the Annunciation. Just as Mary received her divine child at that time, she now leaves him to return to his heavenly father.
Opera Gallery
Paul Delvaux (Belgium, Antheit 1897-1994 Veurne) La Fin du Voyage, 1968 Oil on canvas 165.1 x 145 cm Signed: P. DELVAUX and dated 10-68 on the lower right; signed again, titled and dated: 1968 on the stretcher Provenance: Mr. and Mrs. Morton D. May, St. Louis, USA, by 1969; Marlborough Gallery, London; Don Bartolomé March, Madrid (until at least 1991); Christie's London, 3 February 2003, lot 168; Collection of Paul Yeou Chichong Literature: Jerrold Lanes, New York, The Burlington Magazine, vol. CXI, n° 794, May 1969, p. 325, ill.; Michel Butor, Jean Clair, Suzanne Houbart-Wilkin, Delvaux, Catalogue de l'oeuvre peint, Brussels, 1975, n° 309, p. 271, ill.; Jacques Sojcher, Paul Delvaux ou la passion puérile, Paris, 1991, p. 78, ill. Exhibitions: New York, Staempfli Gallery, Paul Delvaux, 1969, n° 15; Madrid, Fundacion Juan March; Barcelona, Funacio Caixa Catalunya and Florence, Pallazzo Corsini, Delvaux, 1998, n° 72, p. 113, ill. in colour © Foundation Paul Delvaux, Belgium/SABAM, 2023-2024
Galerie Oscar De Vos
gust. de smet
Gustave De Smet (Ghent 1877-1944 Deurle) Landscape with church, 1930 Oil on canvas 66 x 81 cm Signed lower left: Gust. De Smet Provenance: Galerie Le Centaure, 1932, lot 76, bought by Théo Bogaerts for Mr. Nijkerk; collection M.B.B. Nijkerk, Amsterdam; collection Dr. K. Nijkerk, Amsterdam; private collection, Brussels Literature: Haesaerts, Gustave De Smet (1936), n° 115; Langui, Gustaaf De Smet. De mensch en zijn werk (1945), p. 239, n° 432; Van Hecke & Langui, Gustave De Smet. Sa vie et son oeuvre (1945), p. 249, n° 428; Vanbeselaere, Gustave De Smet. Retrospectieve tentoonstelling, cat. (1961), p. 75, n° 147; Kikkert, Gustave De Smet 1877-1943, cat. (1978), n° 32; Milo, Vie et survie du Centaure (1980), p. 105, n° 76; Boyens, Retrospectieve Gust. De Smet (1989), p. 166, n° 120 (ill.); Boyens, Gust. De Smet (1989), p. 229, p. 399, n° 846 (ill.); Denninger-Schreuder, Vlaamse expressionisten (1993), p. 31 (ill.); Boyens e.a. , De maat der dingen (2003), p. 30 (ill.) Exhibitions: 1936, Brussels, Palais des Beaux-Arts, Gustave De Smet, n° 115; 1961, Antwerp, KMSKA, Gust. De Smet Retrospectieve, n° 147; 1973, Sint-Martens-Latem, Gemeentehuis, Latemse kunstenaars in Nederlandse verzamelingen, n° 13; 1978, Warmenhuizen, Oude Ursulakerk, Gustave De Smet, n° 32; 1989, Ostend, PMMK, Retrospectieve Gust. De Smet, n° 120; 1993, Kortenhoef, Kunst aan de dijk, Vlaamse expressionisten, 31; 2003, Deinze, MuDeL, De maat der dingen, n° 39
Stern Pissarro Gallery
auguste herbin
Auguste Herbin (Quiévy 1882-1960 Paris) VENUS I, 1945 Oil on canvas 100 x 81 cm Titled, signed and dated lower left, vénus-herbin 1945 Provenance: private collection, Stockholm; Galerie des Etats-Unis, S. Stoliar, Cannes; Sotheby's London, 2002; Dorval Gallery, Lille; private collection, France Literature: Geneviève Claisse, Herbin, Catalogue raisonné de l'Œuvre Peint, Paris, 1993, n° 846, (ill. in black and white p. 429) Exhibition: Cannes, Galerie des Etats-Unis, 1965, n° 29
Galerie Alexis Pentcheff
albert marquet
Albert Marquet (Bordeaux 1875-1947 Paris) L'Estaque, 1918 Oil on canvas 46 x 65.5 cm Signed lower right Certificate of inclusion in the digital catalogue raisonné being prepared by the Wildenstein Plattner Institute dated 2 February 2018 Provenance: sale Champain-Lombrail, Enghien-les-Bains, November 1979; private collection, Switzerland; Galerie Pentcheff, Marseille, 2015; private collection
Willow Gallery
Marc Chagall (Vitebsk 1887-1985 Saint-Paul de Vence) Flûtiste jaune et bouc dans l’arbre en fleurs, circa 1960-1964 Gouache, pastel, oil pastel and Indian Ink on paper 51 x 34 cm - framed: 70 x 53 cm Stamped with artist’s signature This painting is accompanied by a certificate of authenticity from the Comité Marc Chagall Provenance: estate of the artist; thence by descent
Francis Maere Fine Arts
fernando botero
Fernando Botero (Medellin 1932-2023 Monaco) Lying nude, 1985 Bronze H 35 x W 60 x D 23 cm Signed and numbered: Botero 3/6 Provenance: collection Emile Veranneman, Kruishoutem; private collection, Belgium Literature: Exhibition catalogue, Botero, Emile Veranneman, Kruishoutem, 1990 Exhibition: 1990 Kruishoutem, Stichting Emile Veranneman, Fernando Botero
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.
Gallery de Potter d’Indoye
Jean Prevel (Paris, 18th century) A Louis XVI Ormolu, blued metal and white marble 'Pendule au temple de l’amour', circa 1780 White marble, gilded bronze, blue patinated bronze H 78.7 x Ø 34.9 cm Signed: Prevel à Paris (clock maker, Cour abbatiale, St-Germain, France) Provenance: collection of Dr. & Mrs. Constantin Mamouris The white marble tempietto features an ormolu figure of Athena topped with a dome segmented by blue patinated bronze panels and applied ormolu stars surmounted by a spherical clock with revolving chapter rings. The time is indicated by an arrow held by a perched putto. The striking movement is signed Prevel [à Paris]. In the form of a rotunda, the design of this charming clock was inspired by the ancient Greek and Roman temples, often reproduced or reimagined by talented painters such as Hubert Robert throughout the second half of the eighteenth century. When searching for contemporaneous French buildings that could have influenced the maker of this clock, Richard Mique’s famous Temple of Love comes to mind, designed for Marie-Antoinette in her gardens of the Petit Trianon, see D. Ledoux-Lebard, Versailles, Le Petit Trianon: Le Mobilier Des Inventaires de 1807, 1810 et 1839, Paris, 1989, p. 31. A number of clocks of this popular design exist, although none are exactly the same as this clock. Comparable clocks include one in the Spanish Royal Collection, illustrated in J. Ramon Colon de Carvajal, Catalogo de Relojes del Patrimonio Nacional, Madrid, 1987, p. 90, n° 73; one in P. Kjellberg, Encyclopédie de la pendule française du Moyen Age au XXe siècle, Paris, 1997, p. 292, fig. B; and one is in the British Royal Collections, see C. Jagger, Royal Clocks, The British Monarchy and its Timekeepers 1300-1900, London, 1983, p. 150. Unlike this clock, the above examples have ormolu or pierced marble domes, making the star-studded and blue patinated bronze panels roof of this clock particularly interesting and unique.
Artimo Fine Arts
jean de bay
Jean Baptiste Joseph De Bay (Nantes 1802-1862 Paris) Le Génie de la Marine, 1832 White Carrara marble, finely carved H 101 x W 48 x D 85 cm Signature engraved on the boat's anchor: JEAN DEBAY Executed in Rome in 1832 Provenance: 1832, Rome; 1832 (June, Paris, Exposition at Petits-Augustins; 1833, Paris, Exposition at Salon de Paris; 1833, Mr. Hoppe Collection, Amsterdam; 1833-2010, private collection Literature: S. Lami (1916). Dictionnaire des sculpteurs de l'école française au dix-neuvième siècle, Paris, Librairie Ancienne Honoré Champion Edouard Champion, tome 2, pp. 126-132; A. Lenormand (1981), La Tradition classique et l’Esprit romantique. Les Sculpteurs de l’Académie de France à Rome de 1824 à 1840, Rome, Edizioni dell'Elefante, 1981 Exhibitions: 1832, Rome; 1832 (June), Paris, Exposition at the Petits-Augustins; 1833, Paris, Exposition at the Salon de Paris This masterful work entitled 'Le Génie de la Marine' is the work of the talented French sculptor Jean Baptiste Joseph De Bay. An emblem of marine allegory, the sculpture depicts a daring Cupid, bravely sailing against the currents on a delicate shell-shaped craft. In a posture of determination, Cupid steers his boat with an oar while seated on a folded sail, which envelops an ink at his feet. This representation of the Cupid's determination to follow his own course and speed without wishing to stop may allude to the persistence of love against all odds. Designed in Rome in 1832, this exquisite marble sculpture was later exhibited, albeit unfinished, at the Petits-Augustins in Paris. It was finally presented in all its splendour at the Paris Salon the following year, where it attracted the attention of the famous Amsterdam banker, Monsieur Hoppe. Jean Baptiste Joseph De Bay, better known as Jean De Bay, was born in Nantes on 31 August 1802. The son of a renowned sculptor and a pupil of Baron Bosio, De Bay quickly established himself as an emblematic figure of nineteenth-century French sculpture. After training at the École des Beaux-Arts in 1820, where he won numerous awards including the prestigious Prix de Rome, the sculptor succeeded in establishing himself in the art of bas relief and ronde bosse. Equally at ease working in marble and bronze, Jean De Bay contributed to numerous national projects, notably for the Louvre Palace and the Hôtel de Ville in Paris. Several of his works are also preserved at the Musée de Versailles. Many of his works can be found in various French museums, testifying to his artistic genius. This great sculptor died a few years later at his home in Paris on 7 January 1862.
De Jonckheere
denijs van alsloot
Denijs van Alsloot (Mechelen 1568-1625 Brussels) Wooded Landscape opening onto a Mountain Range With the participation of the workshop of Jan Brueghel The Elder (Brussels 1568-1625 Antwerp) for the figures First decade of the 17th century Oil on panel 117 x 173 cm Provenance: Fournier Art Gallery, Rouen, 1984; Heim Gallery; De Jonckheere, 1984; private collection Literature: S. van Sprang, Denijs Van Alsloot (vers 1568 – 1625/26). Peintre paysagiste au service de la cour des archiducs Albert et Isabelle, Turnhout, Brepols, 2014, p. 104, ill. 25, repr. Denijs Van Alsloot's mastery of nature must be considered from the point of view of the overall effect it produces. The artist knew how to adapt his compositions to his subjects. While the forest can be a frightening place, in the artist's imagination, it is a space that shelters nymphs and humans. This large painting, whose deep, luminous colours have been preserved, provides a vivid example of its marvels, captured by the bluish line of the mountains nestled in a forest opening. It is one of the rare 20 or so landscapes that can currently be attributed to his body of work.
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