NEWSLETTER
This section will be available this Autumn.
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
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.
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
Galerie Hurtebize
alfred sisley
Alfred Sisley (Paris 1839-1899 Moret-sur-Loing) Matinée d'octobre près de Port-Marly, 1876 Oil on canvas 46.5 x 54.3cm Signed lower left: Sisley Provenance: Durand-Ruel and Co. Gallery, Paris; Feder & Picq, Paris; Galerie Durand-Ruel et Cie., Paris, June 1892; Martin A. Ryerson, Chicago, August 1892; Durand-Ruel Galleries, New York, March 1893; J.M. Schley, New York, February 1899; Katherine Schley Variell, New York by descent from previous owner, August 1915; Brick Store Museum, Kennebunk, Maine by bequest of previous owner, 1960; sale, Sotheby's, London, April 24, 1963; O'Hana Gallery, London; acquired from the latter by the family of the last owner, October 1963 Literature: F. Daulte, Alfred Sisley: Catalogue raisonné of the painted work, Lausanne, 1959, n° 224 (ill. titled Morning of October); S. Brame and F. Lorenceau, Alfred Sisley: Critical catalogue of paintings and pastels, Paris, 2021, p. 118, n° 236, ill. p. 43 Exhibitions: New York, Galeries Durand-Ruel, Works by Alfred Sisley, February-March 1899, n° 23; Waterville, Colby College Bixler Art and Music Center, 1961-62 (on extended loan); London, O'Hana Gallery, Summer Exhibition of French Paintings and Sculpture of the Nineteenth and Twentieth Centuries, June-September 1963, n° 52
Gallery Desmet
Seated Venus with sandal Marble Hellenistic, circa 1st century BC H 21.5 x W 10 x D 13.5 cm Certificat d'un bien culturel (France): 216730 Accompanied by Art Loss Register certificate S000786578 Provenance: Simone de Monbrison, Paris (1970s); collection Pierre Moussa (1922-2019), Paris; public auction, France, 2019
_ChristoandJeanne-Claude_T638297599752649497.jpg?width=410&height=2000&qlt=90&scale=both&mode=max&format=jpeg)
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
Studio 2000 Art Gallery
theo van rysselberghe
Theo van Rysselberghe (Ghent 1862-1926 Saint-Clair, Var) Portrait of Mrs. H. Aubry, 1907 Oil on canvas 81 x 65 cm Signed and dated middle left with monogram 'April 07' Provenance: private collection, The Netherlands; Sotheby's, Amsterdam, 13 December 1999; Campo & Campo, Antwerpen, 18 October 1998; Me Cousin, Les Andelys, France, 9 December 1990 Literature: Ronald Feltkamp, Théo van Rysselberghe Catalogue raisonné, Editions Racine, Brussels, 2003, p. 367, n° 032 (ill.); G. Van Zype, Notice Théo van Rysselberghe, in: Annuaire de l'Académie Royale de Belgique, Bruxelles, 1932 Exhibitions: Théo van Rysselberghe, Bernheim-Jeune, Paris, 27 April-9 May 1908
Artimo Fine Arts
alphons joseph strymans
Alphons Joseph Strymans (Belgium, 1866-1959) Le Vin, 1901 White Carrara marble H 130 cm Signed and dated: A. Jef. Strymans 1901 Provenance: 2001, Artimo Fine Arts Gallery; 2004, private collection, Belgium; 2021, Artimo Fine Arts Gallery Literature: Bénézit E. (1999), Dictionnaire des peintres, sculpteurs et graveurs (J. Buysse, Ed.) (nouvelle édition entièrement refondue). Gründ. p. 322; Engelen, C., & Marx, M. (2006). La Sculpture en Belgique à partir de 1830 (Tome VI), Louvain: Engelen-Marx. pp. 3328-3331; Joseph, Prof. Dr. D. (1897). Die Elfenbeinplastik auf des Brüsseler Weltausstellung von 1897. Zeitschrift für Bildende Kunst, 8, 281-288; Scherer, C. (n.d.). Monographien des Kunstgewerbes, Vol. 8, Elfenbeinplastik seit der Renaissance. pp. 122-141; Thieme, U., & Becker, F. (1999). Allgemeines Lexikon der bildenden Künstler von der Antike bis zur Gegenwart (Vol. 31/32). E.A. Seemann. p. 222 The sculptural work, masterfully executed in white Carrara marble, presents a refined figurative composition that reveals three human figures in dynamic interaction. The nuances and meticulously chiselled anatomical details attest to the exceptional talent and expertise of the sculptor Alphons Joseph Strymans. This grouping, comprised of two women and a man, all three nude, intertwine in a choreography evoking an ecstatic dance. Each figure holds a cluster of grapes, reproduced with remarkable precision, evidently symbolising the making of wine. A particularly striking note is the unconsciously dominant placement of a woman’s foot on the head the male figure serving as a point of support for the decadent trio. This composition, both graceful and intense, eloquently illustrates the effects of wine on the soul and human interactions. The silhouettes of the figures merge harmoniously with the botanical motifs of vines, thus suggesting an intrinsic union between man and nature in their mutual inebriation. This masterpiece poetically evokes the idea that man and nature share a common essence - a profound origin. Alphons Joseph Strymans Born on July 24, 1866, in Turnhout, Alphons Joseph Strymans passed away in 1959 in Antwerp. He distinguished himself as a cabinetmaker, draftsman, and above all as a sculptor. Trained at the art school of Turnhout, Strymans also benefited from the expertise of his father, a renowned cabinetmaker specialised in the creation of church furniture. This education bestowed upon him an exceptional mastery of sculpture in both wood and stone. His quest for excellence led him to pursue studies at the Antwerp Academy from 1886 to 1990, and then at the Higher Institute of Fine Arts in Brussels under the tutelage of Master Thomas Vinçotte. From 1898 to 1935, he shared his knowledge as a drawing teacher at the art school in Berchem. During this period, he also collaborated with eminent sculptors such as Frans Joris, Jules Weyns, and Josué Dupon, among others. His artistic repertoire is vast. Throughout his career, he designed various ornaments for Art Nouveau furniture as well as sculptural works in bronze, ivory, and marble. From the beginning of the twentieth century, his works found their place in Antwerp, exhibited in museums and during prestigious events. Besides his artworks, Strymans left his mark through various commemorative monuments and busts of notable personalities. Among his major accomplishments are the statues for the fishermen's house in Antwerp, busts of the music critic Guy Davenel, the poet Max Elskamp, and the mayor of Berchem, Mr. Van Oombeek. Numerous prestigious institutions preserve his works. The Museum of Central Africa in Tervueren houses the ivory "The Daughter of Eve" and other remarkable pieces. The sculpture "Despair," in bronze, can be found at the Dinant Museum, while one of his marble busts is proudly displayed at the Antwerp Museum
Nicolás Cortés Gallery
francisco de goya y lucientes
Francisco de Goya y Lucientes (Spain, Fuendetodos 1746-1828 Bordeaux, France) Adoration of the Cross Oil on canvas 134 x 89 cm Provenance: Chapel of the Santa Cruz (now the chapel of San Roque) in the parish church of Nuestra Señora de la Asunción (Our Lady of the Assumption, formerly dedicated to St Anthony of Padua), Torrecilla de Valmadrid, near Zaragoza, until 1968-70; Don Jaime de Paraíso de Andéríz, Zaragoza, to 1971; private collection, Barcelona (now London) Literature: Gudiol, Goya, Barcelona, 1970, vol. I, p. 33 and 240, cat. 37 (image, vol II, pp. 50-51, figs. 52 and 53); A. Martínez Beltrán, Goya en Zaragoza, 1971, Ayuntamiento de Zaragoza; p. 155; J. Camón Aznar, Francisco de Goya, Zaragoza, 1981, vol 1, pp. 62-63, ill., p. 243; R. De Angelis., La obra pictórica completa de Goya, Noguer, 1975, p. 90, n° 40 (as Devotis al pie de una Cruz); José-Luis Morales y Marín, Goya, Pintor Religioso, Aragon, 1990, n° 11, p. 50; J. Gudiol, Goya, Barcelona, 1985, 2nd edition, vol. 1, p. 96, n° 34, fig. p. 168; P. E. Mangiante, Goya e l’Italia, Rome, 1992, pp. 20-21; A. Ansón Navarro, Goya y Aragón: Familia, amistades y encargos artísticos, Aragon, 1995, p. 93.; P.E. Mangiante, Goya e Italia, Zaragoza, 2007, p. 34 y 38; Fundación Goya, J.C. Lozano Llopis, J. Wilson-Bareau, and others, Museo de Zaragoza, La memoria de Goya, (1828-1978): [Museo de Zaragoza., 7 de febrero-6 de abril de 2008, Aragón, 2008, p. 126, fig. 89 [as attributed]; Dr Arturo Ansón Navarro, Goya. Un joven pintor en formación, Zaragoza, 2021; La Estella de Corrado Giaquinto en España-Da Antonio González Velázquez a Francisco Bayeu a Goya, Exhibition Catalogue, Museo de Zaragoza, 24 June-26 Sep 2021, pp. 110-111 (ill.) Exhibition: Zaragoza, Museo de Zaragoza, 2008 La memoria de Goya, (1828-1978), n° 117
Galerie Christophe Gaillard
stéphane couturier
Stéphane Couturier (Neuilly-sur-Seine, 1957) Angers - Chant de l'Apocalypse n° 1, 2022 Tapestry: mixed technique - rag, wool, cotton, hemp, linen, acrylic, string, onion and citrus threads, sewing thread, nylon thread, sequins... 205 x 277 cm Edition of 3 Provenance: the artist's studio; Galerie Christophe Gaillard
Tobogan Antiques
charles de marnyhac (1840-1897)
Charles de Marnyhac (France, 1840-1897) 'African Venus', circa 1878 Two patina bronze figure H 168 x W 54 cm Life-size, representing a young African woman taming a snake, dressed with a feathered loincloth and a long drape in her hair, and wearing African jewels Literature: Great Exhibitions 1851-1900, Jonathan Meyer, Antique Collector’s Club, 2006, p. 241; L’Art et L’Industrie de tous les peuples à l’Exposition Universelle de 1878, Librairie Illustrée, Paris Similar model mounted as a floor lamp exhibited by Charles de Marnyhac at the World's Fair in Paris in 1878
Floris van Wanroij Fine Art
adriaen van ostade
Adriaen van Ostade (Haarlem, 1610-1685) Interior of a barn with peasants-An allegory of smell Oil on panel 17 x 24 cm Signed and dated middle centre: Av ostade 1637 Provenance: private collection; Floris van Wanroij Fine Art; private collection, Remscheid, Germany Literature: Krol, A.E., Musée de l’Ermitage. Peinture de l’Europe occidentale. Leningrad (Hermitage), 1981, vol. II, p. 155 In his charming and amusing painting Adriaen van Ostade, like his contemporaries David Teniers the Younger and Adriaen Brouwer, depicted a scene from the everyday life of the peasant classes. At the same time it forms an allegory, that of the sense of smell. A variation on this composition by Van Ostade is kept in the collection of the Hermitage, Saint Petersburg (inv. n° 999)
Galerie Hadjer
victor vasarely
Victor Vasarely (Pecs 1908-1997 Paris) Vega-Fel, 1971 Wool Tabard workshop, Tapestry Aubusson, France Unique piece H 263 x W 260 cm Signed lower centre right: Vasarely Provenance: Victor Vasarely, Paris; Galerie Denise René, Paris; private collection, UK Literature: P. Benavides & M. Vasarely, Victor Vasarely, Catalogue raisonné 2, Multiples: Spatials and Remarkable Works, Venezuela, 2019, pp. 161-163, n° 2177