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Willow Gallery
Bernard Buffet (Paris 1928-1999 Tourtour) Le Phare, 1955 Oil on canvas 114 x 146 cm - framed: 136 x 168 cm Signed and dated 'Bernard Buffet 55’ Provenance: Galerie Drouant-David, Paris; Galerie Hélios Art, Bruxelles; private collection, Japan Literature: Fonds de dotation Bernard Buffet, éd., Bernard Buffet, Catalogue raisonné de l'Œuvre peint, 1954-1958, Paris, 2024, vol. II, p. 90 (ill.)
Christophe Perlès
Set of Japanese porcelain with Kakiemon decoration, late 17th century The set consists of two dishes, two teapots and one covered bowl The term 'Kakiemon' is attributed to a group of Japanese porcelains whose characteristics are a subtle decoration in fine translucent overglaze enamels and a milky white unblemished body called 'nigoshide' in Japanese. Kakiemon porcelains were exported to Europe in large numbers where they were extremely popular. Compared with blue and white porcelains, Kakiemon was very expensive
Boon Gallery
Pablo Picasso (Málaga 1881-1973 Mougins) Le peintre et son modèle, 1963 Oil on canvas 65 x 100 cm Signed lower right Provenance: private collection, Europe; private collection, 1982; Alexander Lolas Collection, Paris; Louise Leiris Gallery, Paris Literature: C. Zervos, Pablo Picasso: catalogue raisonné, Vol. XXIII, Paris, 1971, plate 120, n° 253, ill.
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.
Giammarco Cappuzzo Fine Art
Bartolomeo Manfredi (Ostiano 1582-1622 Rome) The Denial of Saint Peter, circa 1618-1620 Oil on canvas 125 x 183 cm Provenance: private collection, Belgium This unpublished Denial of Saint Peter (fig. 1) is an important autograph work by Bartolomeo Manfredi, painted during his mature years. The evident elements of style and quality of this new Denial of Saint Peter, especially in its best preserved places, affirms Manfredi’s authorship, which has been confirmed by leading expert Dr. Gianni Papi.
Romigioli Antichità
boraccine roses, gills, hibiscus, carnations and tulips in a glass vase
Juan de Arellano (Santorcaz 1614-1676 Madrid), attributed to Boraccine roses, gills, hibiscus, carnations and tulips in a glass vase Oil on canvas 78 x 63 cm Report by Professor Claudia Salvi Provenance: private collection, Florence
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
Gokelaere & Robinson
bodil kjaer
Bodil Kjaer (Denmark, 1932) President desk, 1959 Rosewood, steel H 72 x W 210 x D 100 cm Manufactured by E. Pedersen & Son, Denmark Bodil Kjær is a Danish architect, furniture designer, professor and researcher. Kjær’s furniture creations mainly date from 1959 to 1964. Her first commission was a series of upholstered sofas for Paul Rudolph, the dean of the Yale School of Architecture. She also designed a building for Harvard University for Josep Lluís Sert, the head of the Harvard Graduate School of Design. The architect and furniture designer Marcel Breuer installed 28 of her upholstered sofas in a building he had designed in New York. Examples of her furniture are still visible today at Harvard University, Massachusetts Institute of Technology and Boston University. In the notes she prepared in 1995 for an exhibition in Berlin, Kjær commented: "I often had problems finding furniture that could express the same ideas as those we used in the buildings we designed and which could, at the same time, express the ideas of Modern management."
Hoffmans Antiques
Pair of candelabras, 'Night & Day' Attributed to Pierre Philippe Thomire (Paris, 1751-1843) Patinated and ormolu bronze Paris, early 19th century H 100 cm The pair of candelabras, 'Night & Day', were made of patinated and ormolu bronze of outstanding quality after a design by C. Percier and P.F.L. Fontaine in the Recueil de Décorations Intérieures from 1801. This model, which is very unusual, was commissioned for Emperor Napoleon Bonaparte's decoration of the Elysée Palace in the early 19th century.
Galerie Florence de Voldère
pierre brueghel le jeune
Peter Brueghel the Younger (Brussels 1564-1638 Antwerp) Winter Landscape with Skaters - The Bird Trap Oil on panel 39 x 57 cm Among the strong, committed subjects that make up the oeuvre of Peter Brueghel the Elder, The Bird Trap is like a gift in the form of a poem all its own. The very different subject at the heart of this work is pure emotion. Whether provoked by the silence of nature, or by an awareness of the human scale in the macrocosm, or for any other reason, it remains a masterpiece out of time.
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.
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Univers du Bronze
raymond delamarre
torse du diadumene (1936)
Plaster exhibited at the Salon des Tuileries (cat. n°439). Bronze, richly dark black brown patina H : 119 cm, L : 51,5 cm, D : 27 cm Bronze cast for the patron M. Giron (commissioned in December 1937), signed "Raymond Delamarre", dated "1937", cast by "Bisceglia Cire Perdue Malakoff" (seal), only one bronze example currently identified. Cast circa 1937-1938
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Marc Heiremans
anzolo fuga
Anzolo Fuga (Italy, 1914-1998) For Arte Vetraria Muranese (AVEM) Murano, Italy, 1956 Bandierine (model 13480) Fused glass canes cased in colourless, free-formed glass H 42 x Ø 14.5 cm Literature: Heiremans M. AVEM-Arte Vetraria Muranese, artistic production 1932-1972. Stuttgart 2020
Galerie Flak
Outrigger canoe model Wuvulu (formerly Maty Island) Bismarck Archipelago, Papua New Guinea, Micronesia, Oceania, early 20th century Carved wood, fibre and pigments L 87 cm Provenance: former collection Serge Schoffel, Paris / Brussels; former collection Claude Meyer, Paris; Pierre Bergé & Associés, Paris, April 2nd, 2012, lot 78; former princely collection, acquired at the above sale
Galerie von Vertes
yayoi kusama
Yayoi Kusama (Matsumoto, 1929) Untitled, 1966 Mixed media H 21.5 x W 33 x D 28 cm On the bottom signed and dated 'KUSAMA 1966' Certificate of authenticity from the Yayoi Kusama Studio on 21 March 2017 Provenance: Gallery HAM, Nagoya; private collection, US (acquired from the above)
Christophe Perlès
Set of Chantilly porcelain with Kakiemon decoration, 18th century The set consists of one jar, one covered ewer, three cachepots, one cup and one saucer The term 'Kakiemon' is attributed to a group of Japanese porcelains whose characteristics are a subtle decoration in fine translucent overglaze enamels and a milky white unblemished body called 'nigoshide' in Japanese. Kakiemon porcelains were exported to Europe in large numbers where they were extremely popular. Compared with blue and white porcelains, Kakiemon was very expensive
Galerie Nathalie Obadia, Paris/Brussels
Shirley Jaffe (USA, Elizabeth 1923-2016 Louveciennes, France) Untitled, circa 1955 Oil on canvas 174.5 x 101.5 x 4 cm Provenance: the Artist’s studio; Estate of Shirley Jaffe; Galerie Nathalie Obadia Dated circa 1955, Shirley Jaffe's Untitled is a work that is both remarkable and characteristic of this decisive decade, for its composition of bursts of small, independent brushstrokes that coalesce into irregular blocks. These shapes, composed of countless brushstrokes and sometimes evoking natural forms, are inserted into surfaces that are more modulated than before, and in which patches of local color appear. Fine glazes and dramatic shifts from light to dark contribute to the luminous transparency of her works from the 1950s, which seem flooded with a beautiful, roborative clarity. At the time, Shirley Jaffe was looking for “the moment in a painting that was unusual”. The important thing, for her, was to “bring the forms out of the background, while constantly tilting the balance”. In her works from this period, she often succeeded in giving the impression that shapes emanate naturally from the application of paint, and that compositions become unstable, sometimes radically so. This text appears in Raphaël Rubinstein's 2014 catalog Les Formes de la Dislocation. This work has never been exhibited. Courtesy of Shirley Jaffe Estate / ADAGP, Paris 2024 and Galerie Nathalie Obadia Paris/Brussels © Bertrand Huet / tutti image
