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DIE GALERIE
lucebert
Lucebert (Amsterdam 1924-1994 Alkmaar) De laatste goeroe, 1978 Acrylic on canvas 80 x 100 cm Provenance: acquired directly from the artist’s estate Literature: Lucebert. Schilder/Dichter. Gemälde und Arbeiten auf Papier, exh. cat. DIE GALERIE, Frankfurt am Main 2005, p. 15 Exhibitions: Lucebert. Schilder/Dichter. Gemälde und Arbeiten auf Papier, DIE GALERIE, Frankfurt am Main, 2005; Lucebert, 100 Jahre Licht/100 Years of Light, DIE GALERIE, Frankfurt am Main, 2024
J. Baptista
'Minas Novas' necklace Silver and quartz Portugal, 18th century Weight 100.5 gr. 9.5 x 33.5 cm Articulated links studded with 'Minas Novas' (colourless quartz) with a large bow in the centre, applications of stylised botanical elements and a removable dove Literature: similar pieces illustrated in Orey, Leonor d'-Cinco Séculos de Joalharia-Museu Nacional de Arte Antiga, Instituto Português de Museus/Zwemmer, Lisbon/London, 1995, pp. 92-94
Philippe Heim
abie loy kemarre
Abie Loy Kemarre (Australia, 1972) Bush Leaves-Optic, 2018 Acrylic on canvas 137 x 137 cm Provenance: Utopia, Central Desert, Northern Territory, Australia Exhibition: 2024, Knokke Art Fair, Arts d’Australie • Stéphane Jacob, Knokke-Heist, Belgium Abie Loy is part of the new generation of artists living in the Utopia community, in the heart of the Australian desert. She began painting in 1994 on the advice of her grandmother, the famous Kathleen Petyarre, who guided her in her first works, inspired by the ‘dreams’ of which she is the ritual guardian: principally that of the Bush Leaves, of which this painting is a celebration. Remarkable for its variation on the theme of dot painting, the impression of breathing that emanates from it, the hypnotic character of the motifs animated by a movement that is both centrifugal and centripetal, this painting demonstrates the high degree of awareness and aesthetic success that Abie Loy has achieved - proof of the high quality and inventiveness of modern-day desert painting.
Edouard Simoens Gallery
Antoni Tàpies (Barcelona, 1923-2012) Cap de gos, 1967 Acrylic, gouache and chalk on firm paper 48 x 63 cm Signed lower right: tàpies This work is registered in the Archives of the Comissio Tàpies under n° 1797 Provenance: Galerie Maeght, Paris; Galeria Dau al Set, Barcelona; Erker-Galerie, St. Gallen; private collection, Switzerland
Galerie Dina Vierny
Robert Couturier (Angoulême 1905-2008 Paris) Le soldat, 1967 Bronze H 184 x W 24 x D 24 cm Signed 'Couturier', numbered 'EA 1' and inscribed with the foundry mark 'Susse fondeur Paris' (under the foot) Conceived in plaster in 1967 and cast in bronze in an edition of 6 plus 4 EA and 2 HC. The present work is numbered 'EA 1' and was cast by Susse fondeur Paris in 2024 Provenance: Galerie Dina Vierny, Paris Literature: V. Da Costa, Catalogue raisonné de l'oeuvre sculptée de Robert Couturier, vol. II, 1998, n° 186, ill. (another cast); V. Da Costa, Robert Couturier, 2000, ill. p. 88 (another cast) Exhibitions: Paris, Salon de mai, 1968, n° 247, mentioned p. 12 (another cast); Paris, Musée Rodin, Robert Couturier, 1970, n° 51, ill. (another cast); Saint Etienne du Rouvray, Rodin, Couturier, César, Etienne-Martin, 1970, n° 19, mentioned p. 23 (another cast); Paris, Monnaie de Paris, Robert Couturier, 1975, n° 112, mentioned p. 10 and p. 26 (another cast); L'Isle sur la Sorgue, Campredon, Robert Couturier, 1996, ill. p. 40 (another cast); Paris, Galerie Dina Vierny, Robert Couturier. Silhouettes, 2024, n° 3, ill. p. 56
Herwig Simons Fine Arts
Manierist Mascaron Italy, mid 16th century Istrian marble H 50 x W 40 cm An expressive Mascaron in Istrian marble of a lion's head holding a ring in his mouth. Istrian marble was widely used during the Renaissance, particularly in Venetian architecture, and its soft tones beautifully complement the intricate details of the lion's face and ring. This design is symbolic: lions represented strength, protection, and authority and gave the building grandeur, serving as a sculptural accent that elevates the aesthetic quality of the entrance or facade.
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Galerie Mathivet
jean dunand ( 1877-1942)
Jean Dunand (Switzerland, Lancy 1877-1942 Paris, France) Eggshell table, circa 1921 Black lacquer and eggshell H 71.5 x W 31.5 x D 31.5 cm Signed 'Jean Dunand Laqueur' This side table symbolises the revival of the art of lacquer and the use of eggshell in Art Deco, of which Jean Dunand was an undisputed master. He used the eggshell technique to replace white, which did not exist in lacquer colours. Dunand kept hens so that he could produce his own eggshells to perfect his technique. This deep black table, whose red undercoat shows through in places, is remarkable for the extremely delicate application of the eggshell, like stardust. This side table belonged once to a former cabinet-making associate of Jean Dunand, Mr MC. Jean Dunand was a multi-talented artist; sculptor, coppersmith, lacquerer, mosaicist, goldsmith and interior designer. Initially trained as a sculptor, he turned to the decorative arts and copperware in 1905. In 1912, he learnt to work with lacquer, a technique he used to decorate screens, panels, furniture, vases and to create portraits. He is also renowned for his contribution to the interior decoration of the liners L'Atlantique and Normandie.
A&R Fleury
hans hartung
Hans Hartung (Leipzig 1904-1989 Antibes) T1965-R16, 1965 Vinyl and scratch on canvas 54 x 81 cm Certificate of authenticity from the Fondation Hartung Bergman on 28 June 2022 Provenance: Fondation Hartung Bergman, Antibes; private collection, France Exhibitions: Città di Castello, La luce del Nero, Fondation Burri, 15 April-13 November 2022
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Guy Pieters Gallery
christo and jeanne-claude .
Christo (Gabrovo 1935-2020 New York) and Jeanne-Claude (Casablanca 1935-2009 New York) The Mastaba (Project for Abu Dhabi, United Arab Emirates), 2013 Pencil, charcoal, wax crayon, pastel, hand-drawn technical data and map, enamel paint, wash and tape Left part: H 165 x W 38 cm Right part: H 165 x W 106 cm
Patrick Derom Gallery
léon spilliaert
Léon Spilliaert (Ostend 1881-1946 Brussels) Wall-Mounted Cabinet with Cup and 'Le Carillon,' 1908 Indian ink, brush, watercolour, wax crayon on paper 73.4 x 52.2 cm (day) Signed and dated bottom left: LSpilliaert / 08 This work will be included in the forthcoming Léon Spilliaert catalogue raisonné currently being prepared by Dr. Anne Adriaens-Pannier Provenance: Madeleine Spilliaert collection; Frederik van Rossum collection; private collection Literature: Anne Adriaens-Pannier, Spilliaert. Le regard de l’âme, Ludion, Ghent, 2006, ill. 61, pp. 51-52; Anne Adriaens-Pannier, Léon Spilliaert. From the Depths of the Soul, Ludion, Antwerp, Brussels, 2019, ill. 61, p. 52; Anne Adriaens-Pannier, Léon Spilliaert: A Discerning Eye, London, 2020, ill., p. 16; Anne Adriaens-Pannier, Solitude féminine, intérieurs insolites, in Léon Spilliaert. Avec la mer du Nord… Snoeck, Lausanne, Ghent, 2023, p. 7, ill. p. 81; Norbert Hostyn, Léon Spilliaert, Museum voor Schone Kunsten, Ludion, Flammarion, Ghent, 1996, ill. 44a, p. 93; Fr.-Cl. Legrand, Léon Spilliaert et son époque, Fonds Mercator, Antwerp, 1981, cat. 68, ill., p. 67 Exhibitions: 1972, Brussels, Royal Museums of Fine Arts of Belgium, Hommage à Léon Spilliaert / Hulde aan Léon Spilliaert, cat. 28; 2006, Brussels, Royal Museums of Fine Arts of Belgium, Léon Spilliaert, Un esprit libre / Een vrije geest / A free spirit, cat. 79 (ill.); 2016, Ostend, Het Spilliaert Huis, Ontmoetingen met Spilliaert / Rencontres avec Spilliaert / Encounters with Spilliaert, cat. 1; 2019-2020, Lodève, Musée de Lodève, Ensor, Magritte, Alechinksy… Chefs-d’oeuvre du Musée d’Ixelles, cat. 44 (ill.); 2023, Lausanne, Fondation de L’Hermitage, Léon Spilliaert. Avec la Mer du Nord… cat. 43 (ill.), p. 81; 2023-2024, Neuss, Clemens Sels Museum, Gewagte Visionen. George Minne und Léon Spilliaert. Vom Symbolismus bis Expressionismus, cat. 45 (ill.), p. 43
Galerie Taménaga
georges rouault
Georges Rouault (Paris, 1871-1958) Pierrot accoudé, 1932-1939 Oil on paper laid on canvas 65 x 55.5 cm Provenance: Galerie Jean-Claude Bellier; private collection Literature: Olivier Nouaille et Olivier Rouault, Rouault L’Oeuvre Peint, vol. 3, Fondation Georges Rouault, 2022, n° 3751-3233, ill. p. 203
Galerie Jean-François Cazeau
andré masson
André Masson (Balagny-sur-Thérain 1896-1987 Paris) Combat stellaire, 1955 Tempera and sand on canvas 50 x 65 cm Signed on the back 'André Masson' Provenance: the artist's studio; Galerie Odermatt-Cazeau, Paris; private collection, France (acquired from the former) Literature: André Masson: Oeuvres maîtresses, Galerie Odermatt-Cazeau, 1990, repr. p. 87, n° 38; André Masson: Il n'y a pas de monde achevé, Centre Pompidou-Metz, March 30th-September 2nd, 2023, (retrospective), ill. p 214 André Masson created his first works in sand in the autumn of 1926 in Sanary-sur-Mer. The free flow of glue fixing the sand appealed to the artist for its unpremeditated nature. Textured shapes in subtle, varied shades make up the random weave of Combat stellaire, set against a deep red and mauve background reminiscent of a nebula. The painted line recalls that of the 'automatic drawings' initiated by the artist in 1923-1924, made by a hand freed from the injunctions of the brain, the mark of true automatism that fascinated André Breton. The cosmic subject is reminiscent of works from the American period. André Masson’s sand paintings represent the invention of 'dripping', a technique that post-war painters like Jackson Pollock would push to its fullest.
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
Claes Gallery
Songye Mask Democratic Republic of Congo, Katanga Presumed period: late 19th-early 20th century Wood, pigments H 31.8 cm Provenance: acquired in situ by John Henry (aka Jack) Sandground in Ebombo, 1934; passed on to descendants; American private collection, Washington Amongst Songye masks, a general distinction was made in reference to the function of male and female masks. Male masks (bifwebebalume) were involved in rites of passage. On the other hand, female masks (bifwebe bakashi), which appeared on the occasion of the death or investiture of a chief and during lunar rites, were an integral part of the symbolic composition of these rituals, animating benevolent spiritual forces through dance. This mask is a female ‘kikashi’ mask, as indicated by the two-tone white and black, the absence of a sagittal crest and the flat nose. According to Plasmans, ‘the female kifwebe animates the vital forces through dance, calling upon the benevolent spirits of the forest. The woman, as the bearer of children and thus of good fortune, perpetuates the lineage and simultaneously also the magical essence of buci. In this way, female masks represent the continuity of life and cultural tradition. The presence of the passive female mask in the composition of bwadi society accentuates and completes the dialectical opposition of the active force of the male masks'.
Galerie Taménaga
pierre bonnard
Pierre Bonnard (Fontenay-aux-Roses 1867-1947 Cannet) Femme nue à la lampe, circa 1900 Oil on cardboard 53 x 33 cm Stamp of the signature at the lower right 'Bonnard' Provenance: Bonnard estate; private collection Literature: Jean et Henry Dauberville, Bonnard, catalogue raisonné de l’œuvre peint, supplément 1887-1947, n° 01830 repr. p. 207 Exhibitions: Musée de Lodève, Bonnard, guetteur sensible du quotidien, 20 June-1 November 2009, n° 14, p. 103; Musée national des Beaux-Arts de Quebec, Pierre Bonnard, La couleur radieuse, 6 October 2016-15 January 2017, édition Skira, ill. p.87
TEMPLON
françois rouan
François Rouan (Montpellier, 1943) Pavane IV, 2018-2019 Oil on braided canvases 200.5 x 170 cm - framed 206 x 175 cm Unique piece Provenance: the artist's studio Literature: Exhibition catalogue François Rouan, Odalisques et Pavanes, 2009-2020, TEMPLON, 2023 (illustrated p. 23), published by TEMPLON 2023
Galerie Cento Anni
andré lanskoy
André Lanskoy (Moscow 1903-1976 Paris) Abstract composition, 1961-1962 Oil on canvas 73 x 100 cm Signed Lanskoy Certificate of the Comité Lanskoy-Paris This work will be included in the artist's catalogue raisonné Provenance: Galerie E. Smith, Paris; Galerie Ivana de Gavardie, Paris
Van Herck-Eykelberg
Georges Vantongerloo (Antwerp 1886-1965 Paris) Study for Variant 'Curves', 1939 Gouache on paper 17.6 x 17.8 cm Titled, located, dated, and signed on verso 'Paris 1939' Provenance: Max Bill Estate; Max Bill-Georges Vantongerloo Foundation Annely Juda Fine Art, London; private collection, New York; Galerie Harold t'Kint de Roodenbeke, Brussels; private collection, Belgium Literature: Jan Ceuleers, Georges Vantongerloo, Ronny Van de Velde - Pandora, Antwerp, 1996, p. 200; Naum Gabo, Georges Vantongerloo, Friedrich Vordemberge-Gildewart, exh. cat., Annely Juda Fine Art, London, cat. 57 (ill.); Angela Thomas Schmid, Georges Vantongerloo: A Retrospective, exh. cat., Annely Juda Fine Art, London, cat. 59 (ill.) Georges Vantongerloo (1886-1965) was one of the founding members of De Stijl in 1918 along with Theo Van Doesburg and Piet Mondrian, among others. The Antwerp-based artist created sculptures as well as paintings and gouaches and is considered one of the pioneers of abstract art. He was a member of the 'Cercle et Carré' group and founded the Abstraction-Création group in Paris in 1931 to promote abstract art. At first, his abstract works still followed the straight line and angle but from 1937, curves and circles entered Vantongerloo's work. With the curved line, his work becomes more lyrical and playful. Rational volumes and proportions are replaced by lines that reflect an expression of energy.