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Desmet Fine Art
Pietro Simoni da Barga (Florence, active 1574-1588) (Attributed) A fallen man-A Titan Florence, circa 1570-1590 Bronze, All’Antica patina H 11 x W 20 x D 12 cm Art Loss Register: S00213873 Provenance: probably Cardinal Ferdinando de ’Medici, later Grand Duke Ferdinando I of Tuscany (1549-1609); Hugo Finaly (1844-1915); Madame Jenny Finaly (1850-1938); Villa Landau Finaly, Florence, by 1916; private collection, UK; private collection, The Netherlands Published: G. de Nicola, 'Notes on the Museo Nazionale of Florence-II', in: The Burlington Magazine, (December 1916, Vol. XXIX), pp. 368-69 In the second half of the 16th century, Cardinal Ferdinando de’ Medici was one of the most renowned collectors in Rome. He created one of the greatest collections of Antiquities for his villa on the Pincian hill in Rome. When certain highly acclaimed sculptures ended up in the papal collection or other important collections which he couldn’t acquire, he contented himself with having copies made. These weren’t full-size copies, but rather fine statuettes on a reduced scale, intended for his studiolo. His passion for antiquity is mirrored in the collection of small bronzes he had. He kept in his service an artist called Pietro da Barga; a sculptor known to us only by the references in cardinal Ferdinando’s inventory. One of the main characteristics of his bronzes is the green all’antica patina he used to resemble the surface of the newly discovered ancient Roman bronze statues. Not only did he make reduced copies of ancient roman sculpture, he also used famed Renaissance models like Giambologna’s Mars or Michelangelo’s standing Christ.
Victor Werner
Svend Rathsack (Fredericia 1885-1941 Frederiksberg) Eve with the Serpent, 1941 Bronze garden sculpture with natural green patina H 128 x W 47 x D 37 cm Signed with the artist's monogram, dated '1941', and inscribed 'n°1' on the base Bears the foundry mark 'Lauritz Rasmussen, broncestøber, København' Provenance: acquired by the previous owner's aunt in 1941, where it remained in a garden in Charlottenlund until 2016; thence by descent
Stéphane Renard Fine Art
Maerten de Vos (Antwerp, 1532-1603) The Four Elements: Air, Earth, Water and Fire, 1579 Pen and brown ink wash on laid paper 10 x 13.8 cm (each drawing) The drawings of Earth, Water and Fire are signed and dated 1579 Provenance: private collection, Lyon, France These four previously unpublished drawings were used around 1585 to produce the series of four engravings by Johannes Sadeler (Hollstein 529-532). The success of this publication led, a few years later, to the production of a second, smaller series by Raphael Sadeler, Johannes’s brother (Hollstein Dutch and Flemish, Maerten de Vos, XLIV-XLVI, 1360-1364).
Van Herck-Eykelberg
Paul Delvaux (Antheit 1897-1994 Veurne) Hôtel de Ville, 1953 Watercolour and pen and ink on paper mounted on board 69.5 x 50.5 cm Signed and dated 'P. Delvaux 4.53' Provenance: Albert and Georges Niels, Brussels; Galerie Isy Brachot, Brussels; private collection, Belgium Literature: Jean Stengers, Bruxelles: Croissance d'une capitale, Anvers, 1979, ill. in colour on the cover Exhibitions: Brussels, Le Cercle Royal Gaulois, Bruxelles vu par les artistes, 1959, n° 46, listed (titled L'Hôtel de Ville); Brussels, Galerie Isy Brachot and Paris, Galerie Isy Brachot, Paul Delvaux: dessins, aquarelles et encres de Chine, 1987-88, n° 48, ill. in colour (titled L'Hôtel de Ville de Bruxelles)
Galerie Berès
Fernand Léger (Argentan 1881-1955 Gif-sur-Yvette) 'Composition pour les Illuminations d'Arthur Rimbaud', 1949 Gouache and ink on paper 33 x 24 cm Monogrammed and dated lower right 'F.L.49' Certificate of authenticity by the Comité Fernand Léger Certificate of authenticity by Irus Hansma Provenance: private collection, Paris
WHITFORD
Joseph Lacasse (Tournai 1894-1975 Paris) Dominante Rouge (Dia 385), 1948-1950 Oil on canvas 130 x 89 cm Signed and dated upper left Signed, dated and inscribed on reverse Lacasse estate inventory Dia n° 385 Certificate of authenticity issued by Mme Joostens-Koob Provenance: the estate of the artist
Samuel Vanhoegaerden Gallery
Karel Appel (Amsterdam 1921-2006 Zurich) People, Birds and Sun, 1951 Gouache and pastel on paper, mounted on canvas 65 x 100 cm Signed and dated lower right Provenance: the estate of the artist; Galerie Max Hetzler, London Exhibition: Karel Appel-Cobra/Non Cobra, Galerie Max Hetzler, London, January-February 2024 This work by Karel Appel embodies the playful, instinctive visual language that makes his finest Cobra-period pieces so instantly recognizable. As the original version of the painting held in the Tate Gallery’s collection, this piece offers a glimpse into the evolution of a composition in which the imagination is given free rein. A child, a bird, a sun, and fantastical creatures appear alongside and intertwined with one another, without ever conforming to a traditional representation of reality. The figures are childlike and direct. Large eyes, erratic contours, and bold, spontaneous lines lend them an expressive presence. Appel does not paint what he sees, but rather he paints what he imagines and senses. The exuberant colors - yellow, red, green, blue, and black - collide, overlap, and amplify one another. The yellow plane infuses the composition with light and energy, while the dark lines provide structure to the various figures. This combination of childlike spontaneity and controlled painterly craft lies at the heart of Appel’s Cobra aesthetic.
Galerie Patrice Trigano
Philippe Hiquily (Paris 1925-2013 Villejuif) La Maja délurée, 1987 Patined bronze H 50 x W 46 x D 14 cm Signed and numbered Edition of 8 + 1 AP + 3 HC Bocquel Foundry Literature: Beaux-Arts n° 72, October 1989; Georges Marti, Les Nouvelles de Tahiti, 'Le sculpteur Hiquily doit son succès aux américains', 10 March 1990; Pierre Cabanne, (ed.), Hiquily-Bronzes et mobilier, De la Différence, 2005, pp. 32 and 47; Catalogue raisonné: Philippe Hiquily, 1948-2011, vol. 1, 2012, p. 304 Exhibitions: FIAC 89, 7 to 15 October 1989, Grand Palais, Paris, presented by the Galerie Patrice Trigano; 'Paris-Concrémiers, le chemin de la mémoire et de l’inspiration, quatre expositions personnelles de Philippe Hiquily, Colette Portal, Michel Lebrun et François Leteuil', Espace Art Brenne, Prigny-Concrémiers, Le Blanc, 8 June-8 September 1991
Dei Bardi Art
Kneeling donor figure South Netherlandish, second half of the 16th century Limestone 67 x 22 x 37 cm Provenance: ancient collector's label on the reverse This rare limestone portrait of a Renaissance donor, kneeling in prayer and remarkably well preserved. Carved in the Southern Netherlands in the second half of the 16th century, the figure combines exceptional quality of execution with a richly detailed costume. The woman wears a huik, the characteristic outer garment of the women of the Low Countries, over a ruff with figure-of-eight pleats. This combination places the work in the last decades of the 16th century, c. 1560-1590. Beneath, a bodice with a central busk and cuffs incised with fine ornament complete an ensemble rendered with great precision. Familiar from painted portraits, such dress is only rarely preserved in such detail in sculpture. The face, with its heavy eyelids and marked features, favours a faithful likeness over an idealized type and lends the figure a quiet gravity and a strong sense of individual presence. The sculptor worked the piece fully in the round, and the crispness of the ruff, the incised cuffs, the hands and the drapery points to an important private commission, most likely from a family of considerable means and standing. The figure bears witness to those families who, in the Renaissance, could commission skilled sculptors to perpetuate their memory. Such images also conveyed the power of their patrons. This secular tradition, so different in spirit from religious sculpture, helped shape the stylistic evolution of Renaissance art. An old collector’s label on the reverse attests to the figure’s long history in collections.
Galerie de la Présidence
Geer van Velde (Lisse 1898-1977 Cachan) Composition, circa 1952 Oil on canvas 104 x 122 cm Signed with the initials 'GvV' lower right Signed on the reverse 'G. van Velde' with dimensions Certificate of authenticity issued by Pierre François Moget This work will be included in the forthcoming 'Catalogue Raisonné of Geer van Velde Painted Work' currently in preparation by Pierre François Moget, son of Piet Moget Provenance: private collection, Paris
Snackers Antiques & Fine Art
Walter Pompe (Lith 1703-1777 Antwerp) Cross with ivory corpus Antwerp, 1770 Carved wood and ivory H 57.5 x W 27 x D 11 cm Signed Accompanied by a CITES certificate Walter Pompe was a very well-known sculptor, especially of buxus/palm and ivory carvings. The richly decorated Calvary features ivory bones, skull, and the snake with apple.
Gallery Sofie Van de Velde
Georges Vantongerloo (Antwerp 1886-1965 Paris) Spiral with Certain Spots, 1946 Oil on masonite 73.8 x 58.8 cm Signed and dated: 'Spirale avec certaines taches Paris 1946 G. Vantongerloo' (title / verso) Provenance: Georges Baines collection (acquired directly from the artist); Bernard Baines; private collection, Switzerland; Galerie Ronny Van de Velde, Antwerp Literature: Georges Vantongerloo, Paintings, Sculptures, Reflections, in Problems of Contemporary Art n° 5, New York, 1948, n° 176, Wittenborn, fig. 44; Georges Vantongerloo: A Traveling Retrospective Exhibition, Corcoran Gallery of Art / Dallas Museum of Fine Arts / Los Angeles County Museum of Art, Loiseau, Brussels 1980, p. 146; Jan Ceuleers, Ronny Van de Velde, Georges Vantongerloo 1886-1965, Antwerp, OCNO, 1996-1997, n° 176, ill. p. 157; Serge Lemoine, Georges Vantongerloo (1886-1965). A Pioneer of Modern Sculpture, Musée Matisse, 2007, ill. p. 148; Larkin Erdmann, Five Years, Zurich, 2019, pp. 83-84; Ostend, Mu.ZEE, Belgium-Argentina. Transatlantic Modernisms, 1910–1958, 2022 Exhibitions: Paris, Palais des Beaux-Arts de la Ville de Paris, 1st Salon des Réalités Nouvelles. Abstract Art, Concrete Art, Constructivism, Non-Figurative, July 1946; Zurich, Kunsthaus Zürich, Antoine Pevsner, Georges Vantongerloo, Max Bill, 15 October-13 November 1949, n° 78; Washington, Corcoran Gallery of Art, Georges Vantongerloo. A Traveling Retrospective Exhibition, 22 April-17 June 1980, n° 176 (later shown in Dallas and Los Angeles); Brussels, Royal Museums of Fine Arts of Belgium, Georges Vantongerloo 1886-1965, 23 January-16 March 1981, n° 176; Zurich, Kunsthaus Zürich, Georges Vantongerloo, 3 April-17 May 1981, n° 176; Antwerp, Ronny Van de Velde, Georges Vantongerloo 1886-1965, 15 December 1996-31 March 1997, OCNO n° 176; Barcelona, MACBA-Museu d’Art Contemporani de Barcelona, Force Fields: Phases of the Kinetic, 19 April-18 June 2000, n° 232 (later at the Hayward Gallery); Le Cateau-Cambrésis, Musée Matisse, Georges Vantongerloo 1886-1965, A Pioneer of Modern Sculpture, 28 October 2007-2 March 2008 (later at Mu.ZEE); Madrid, Museo Nacional Centro de Arte Reina Sofía, Georges Vantongerloo: A Longing for Eternity, 3 November 2009-22 February 2010
Laurent Schaubroeck
Paul Evans (USA, Newtown 1931-1987 Nantucket Island) and Phillip Lloyd Powell (USA, Germantown 1919-2008 New Hope) Monumental wall unit, circa 1960 Steel, wood, gold leaf H 282 x W 236 x D 51 cm Unique piece Provenance: Martin Brooks, Doylestown Wall-mounted cabinet by Paul Evans and Phillip Lloyd Powell, two key figures in American postwar design. This one of a kind piece combines carved wood, torch-cut and enameled metal, and gold leaf. Features four floating shelves and a two-door lower cabinet with concealed storage. Rare in both scale and collaboration.
Brun Fine Art
James Cox (London 1723-1800 Watford) and Charles Magniac (Bedford 1786-1824 Paris) Coffer, circa 1760 Gilt bronze and glass painted in imitation of agate, pearls and precious stones 15.8 x 24.5 x 19 cm Engraved 'C3' on the inside front edge Expertise by Enrico Colle Literature: E. Colle, Enrico Colle, Brueghel: the Spirit of Collecting. Paintings. Sculptures. Wonders., Milan, 2026, pp. 294-299 Exhibitions: Brun Fine Art and De Jonckheere, Brueghel: the Spirit of Collecting. Paintings. Sculptures. Wonders., Milan, 2026
Stoppenbach & Delestre
Pierre-Auguste Renoir (Limoges 1841-1919 Cagnes-sur-Mer) Nature morte aux pommes et à poire, circa 1889 Oil on canvas 22 x 31 cm Signed ‘Renoir’ lower right The work is included in the Renoir digital catalogue raisonné project, n° 20411 Provenance: Ambroise Vollard, Paris, by whom acquired from the artist before 1919; Madame de la Chapelle, Paris; Galerie Durand-Ruel, Paris, by whom acquired from the above on 30 March 1938; Dr Albert & Elvira Charpentier, Paris, by whom acquired from above on 14 March 1939; Roberto & Elena Germain-Ribon, by descent from the above; Jacqueline Pizarro, by descent from the above; Sale, Christie’s, London, 22 June 2005, n° 110 (ill. colour); private collection, The Netherlands Literature: Ambroise Vollard, Pierre-Auguste Renoir. Paintings, pastels, and drawings. Tableaux, pastels et dessins, rev. ed. (San Francisco: Alan Wofsy Fine Arts, 1918), p. 306 (ill. fig. 1489); G.-P. & M. Dauberville, Renoir: Catalogue raisonné des tableaux, pastels, dessins et aquarelles, vol. II, 1882-1894, Paris, Bernheim-Jeune, 2009, n° 721, p. 26 (ill. p. 26 dated circa 1889)
Galerie Taménaga
Pierre-Auguste Renoir (Limoges 1841-1919 Cagnes-surMer) Paysage de Cagnes, 1900 Oil on canvas 24 x 54 cm Signed with initials lower left 'AR' This work will be included in the forthcoming catalogue raisonné of the work of Pierre-Auguste Renoir currently in preparation by the Wildenstein Plattner Institute Provenance: Ambroise Vollard, Paris; private collection, Japan Literature: Ambroise Vollard, Pierre-Auguste Renoir, Tableaux, pastels et dessins, Alan Wofsy Fine Arts, San Francisco, 1989, n° 612, 1185 and 1330, ill. pp. 155, 258 and 279
