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Beck & Eggeling International Fine Art
max ernst
Max Ernst (Brühl 1891-1976 Paris) Un Caprice de Neptune, 1959 Oil on canvas 27 x 35 cm Signed lower right 'max ernst' Provenance: Paolo Marinotti; Lawrence Rubin Greenberg Van Doren Fine Art, New York; private collection, Germany Literature: W. Spies, S. and G. Metgen: Max Ernst. Oeuvre-Katalog, Werke 1954-1963, Cologne, 1998, p. 194, n° 3425 (ill.) Exhibitions: 1961, June-July, Paris, Max Ernst sculptés, Galerie au Pont des Art Weill; 1966, 17 June-2 October, Venice, Max Ernst, Oltre la pittura, Palazzo Grassi, cat. n° 7 (ill.); 1979, Munich, Max Ernst, Retrospektiv, Haus der Kunst, cat. n° 296, ill. III (colour ill. n° 30, ill. 331)
Harold t’Kint de Roodenbeke
Englebert Van Anderlecht (Brussels, 1918-1961) Rome 1, 1960 Oil on canvas 150 x 122 cm Signed, dated and titled on the reverse Inventory number 664 on the reverse Provenance: private collection, Brussels Literature: Serge Goyens de Heusch, Englebert Van Anderlecht, Mercator, 1998, ill. p. 207; Englebert Van Anderlecht, exhibition catalogue, MRBAB, Brussels, 1990, ill. n° 79 Exhibitions: Galerij M.A.S. Astene, march-april 1969; Museum van Deinze, Englebert Van Anderlecht, March-May 1990; MRBAB, Englebert Van Anderlecht, Brussels, 1990 In the shadow of war and its aftermath, Englebert Van Anderlecht began his career as an artist in the early 1940s, right in the midst of the global conflict. After this tragedy, the “young Belgian painting” movement brought together a group of artists in a state of euphoria. Their style was colorful and optimistic - a form of rebirth, a way to forget and move toward new horizons. By the late 1940s, there was a desire to recreate new rules - or rather, to affirm that there were no longer any rules. Creativity alone mattered and had to prevail over any form of academicism. Thus, Englebert Van Anderlecht turned toward abstraction at the end of the 1940s and definitively embraced it by the mid-1950s. His palette grew stronger, his tones deeper, and he adhered to a form of abstract expressionism. This style of painting reflected a worldwide desire for rupture and emancipation. In the United States, the tone was set by Jackson Pollock and Franz Kline, from gestural to abstract expressionism. In France, a new generation emerged with Nicolas de Staël, Pierre Soulages, Simon Hantaï, and Judith Reigl. Belgium was no exception, with Antoine Mortier and Englebert Van Anderlecht, the latter being the most committed to the path of free or abstract expressionism. “I believe it is essential that there be men who do not accept established rules, who do not believe that truth is forever what a few moral leaders have decided it to be, who see that life is not merely the sum of all discoveries made so far. In this, I see a promise of freedom. We believe that everything remains to be done, that our earth is young, that we are not old men sunk into routine, and that the marvelous still awaits us tomorrow.” - Text by Englebert Van Anderlecht, 1960 Within this context, the large and striking canvas, Rome I, belongs to the period of maturity and recognition of this artist, who died prematurely in 1961 at the age of 43. The brush or paintbrush seems to whirl across the canvas like a ballet. The tones are deep, intense, applied with palpable strength and energy, while the final result bursts forth across the space. The work then takes on its full dimension, filling the surface with unmatched power - one of the finest works by this essential figure of Belgian painting.
Galerie Alexis Bordes
jacques-emile blanche
Jacques-Emile Blanche (Paris 1861-1942 Offranville) View of a longère at the end of a tree-lined path, near Offranville Oil on canvas 38.3 x 46.2 cm Signed lower right: J E Blanche Certificate of authenticity by Mrs. Jane Roberts, a specialist on the artist Provenance: private collection, France Literature: Jane Roberts, Jacques-Émile Blanche, Paris: Gourcuff-Gradenigo, 2012; Mireille Bialek, Michel Ciry, Félicien Cacan, Jacques-Émile Blanche à Offranville: peintre-écrivain, Offranville: Mairie d’Offranville, 2006
Galerie Greta Meert
carla accardi
Carla Accardi (Trapani 1924-2014 Rome) Frammenti, 1984 Acrylic on canvas 50 x 60 cm Frammenti, a work from 1984, ‘Fragments’; the work affirms Carla Accardi’s place as a voice of innovation in an Italian art scene dominated by male voices. In this 50 x 60 cm painting using only black paint on the untreated material of the canvas, the artist constructs a rhythmic interplay of signs animating recognition and illegibility, an evocation of a writing that dissolves into abstraction. The work embodies the tension that characterises her oeuvre: a subtle intertwining of classical painterly discipline and the radical openness of the avant-garde, resulting in a visual language that is as rigorous and experimental as it is personal.
Maison D'Art
Benvenuto Tisi called Il Garofalo (Ferrara, circa 1476–1559) The Nativity, circa 1525/1540 (Adoration of the Christ Child/Adoration of the Shepherds) Oil on wooden panel 38.1 x 33 cm Literature: A. Bliznukov, Ludovico Mazzolino: catalogo delle opere, Florence (forthcoming; as Garofalo, circa 1525/1540)
Pelgrims de Bigard
joachim beuckelaer
Joachim Beuckelaer (Antwerp, circa 1533-1574/75) and studio A young female seller at a fish market Oil on panel 103 x 76 cm Certificate of authenticity by Dr. Fred Meijer Provenance: possibly Christie’s sale London, 25 November 1966, lot 12; sale London, Bonhams Knightsbridge, 31 October 1996, lot 354; private collection, Spain, until 2023
Hoffmans Antiques
A Gustavian console table Stockholm, circa 1790 Gilt wood, Carrara marble H 83.5 x W 110 x D 54 cm This console table belongs to a small yet exclusive group of furniture of the highest class, preserved mainly within the royal collections. The model relates to drawings by Louis Masreliez (Paris 1748-1810 Sweden). The table was likely made by his brother, Jean-Baptiste (Stockholm, 1753-1801), or possibly by Pehr Ljung (Stockholm, 1743-1819). The decoration is masterfully carved in wood with exceptional precision. A vine motif runs along the apron, while the frieze above the front legs is adorned with palmette leaves and volutes. The table rests on six tapering, fluted legs and is crowned with a Carrara marble top.
Van Herck-Eykelberg
leon spilliaert
Léon Spilliaert (Ostende 1881-1946 Brussels) The stairs with yellow twilight, 1922 Watercolour and gouache on paper 78 x 59 cm Signed lower right The authenticity of this work is confirmed by Dr. Anne Adriaens-Pannier and will be included in the forthcoming catalogue raisonné currently in preparation Provenance: Madeleine Spillaert, Brussels; Bounameaux Art Consultants, Brussels; private collection, Brussels; thence by descent
Patrick Derom Gallery
günther förg
Günther Förg (Füssen 1952-2013 Freiburg) Untitled, 2003 Acrylic on canvas 140.5 x 160.5 cm Signed and dated upper right ‘Förg 03’ This work is registered in the archives of the Günther Förg Estate under number WVF.03.B.0242 Provenance: Alcalá Subastas, Madrid, 12 May 2011; private collection, Madrid; private collection; sale Christie’s Amsterdam, 8 April 2014, lot n° 74; private collection, Belgium Exhibition: 2003-2004, Galerie Heinrich Ehrhardt, Madrid, 18 November 2003-30 January 2004, Günther Förg
TASCHEN
marc newson
Marc Newson (Australia, Sydney 1963) America’s Cup This limited edition unfurls the story of America’s Cup and celebrates its skippers, owners, defenders, and challengers. Packed with previously untold tales and unseen photographs, it features a case designed by Marc Newson, crafted from cotton sailcloth, and a custom-made closure by Louis Vuitton, the official partner of the 37th America's Cup. Copies 1-175 come with a numbered carbon fiber bookstand also designed by Newson.
Galerie Oscar De Vos
emile claus
Emile Claus (Waregem 1849-1924 Astene) Villa Zonneschijn (Sunshine) and the Lys, 1893 Oil on canvas 83 x 73 cm Signed lower left: Emile Claus Dated and monogrammed on reverse: Juli 1893 / E.C. Provenance: private collection, Belgium Literature: Buysse, C., Emile Claus. Mijn broeder in Vlaanderen (1925); De Smet, J., Retrospectief Emile Claus (1997); De Smet, J., Emile Claus en het landleven (2009); De Smet, J., Emile Claus. Prins van het luminisme (2024); Lemonnier, C., Emile Claus (1908)
Hartford Fine Art - Lampronti Gallery
Francesco Fracanzano (Monopoli 1612-1656 Naples) The incredulity of Saint Thomas Oil on canvas 143 x 205 cm Literature: R. Causa, La pittura del Seicento a Napoli. Dal naturalismo al barocco, Naples, 1972, S. 976, n° 74; G. De Vito, Fracanziano’s periphrasis in XVII century Neapolitan studies, 2003/2004, pp. 104-105, fig. 2; N. Spinosa, XVII c. paintings in Naples, from Caravaggio to Massimo Stanzione, Naples 2010, p. 281 cat. n° 212; A. Della Ragione, Francesco Fracanzano, 2011, p. 10, fig. 23; N. Spinosa, Da Artemisia a Hackert. La collezione di un antiquario, exh. cat., Reggia di Caserta, Foligno 2019, cat. 9, pp. 18-19; N. Spinosa, Il Maestro degli Annunci ai pastori e i pittori del 'tremendo impasto' (Napoli 1625-1650), Rome 2021, cat. C5, p. 193 (quoting further literature: Cairo, 2011, pp. 203-210. Forgione, p. 233, fig. 12) Exhibition: Da Artemisia a Hackert. La collezione di un antiquario, Reggia di Caserta, 2019-2020
Art et Patrimoine - Laurence Lenne
Transport case, for Louis XV at the Château de Versailles France, made between 1745-1749 Gilt-tooled leather, copper hinges H 11 cm - Ø 26.5 cm Provenance: Louis XV in Versailles Carrying and protective case for a silver porringer. The lid of the case is decorated with the coat of arms of Louis XV and the three facing crowns of the Château de Versailles, both gilt-tooled. All copper hinges are stamped with the crowned 'C' mark. The case was made between March 5th, 1745 and February 4th, 1749.
HELENE BAILLY MARCILHAC
Henri Manguin (Paris 1874-1949 Saint Tropez) La Chemise Enlevée, 1908 Oil on canvas 100 x 81 cm Signed lower right Provenance: acquired from the artist by Eugène Druet in 1911 (Galerie Druet); collection Kritchvesky; private collection, France; private collection, Brasil Exhibitions: Paris, Galerie E. Druet, Manguin, Paris 1913, n° 42; Paris, Galerie de Paris, Manguin, 1964, n° 3; Nice, Palais de la Méditerranée, Henri Manguin, plus de cent cinquante oeuvres, 1969, n° 32; Okayama, Hiroshima, Tokyo, Gustave Moreau et ses éleves, 1974; Paris, Galerie de Paris, Centenaire, Henri Manguin, 1976, n° 49 Literature: Pierre Cabanne, Henri Manguin, Neuchätel, 1964, ill. n° 117, p.64; Marie-Caroline Sainsaulieu, Lucille & Claude Manguin, Jean-Pierre Manguin, Pierre Cabanne, Jacques Lassaigne (preface); Henri Manguin: Catalogue Raisonné de l'oeuvre peint, Neuchâtel, Switzerland, Ides et Calendes, 1980, ill. n° 298
Galerie AB - Agnès Aittouarès
jean-paul riopelle
Jean-Paul Riopelle (Montréal 1923-2002 Saint-Antoine-de-l'Isle-aux-Grues) Composition, 1964 Gouache on paper 46 x 67 cm Signed and dated lower right Provenance: French-Canadian private collection; private collection, Paris Literature: Pierre Schneider, Riopelle. Signes mêlés, Maeght éditeur, Paris, 1972, no. 124, p. 119; Catalogue of the exhibition 'Les Très riches heures de Jean Paul Riopelle', Musée Le Chafaud, Percée, 2000, reproduced on p. 23; Yseult Riopelle, Jean-Paul Riopelle. Catalogue raisonné, volume 3, Hibou Éditeurs, Montreal, 2004, p. 302, reproduced in colour under reference 1964.010P.1964 Exhibitions: Riopelle. Mixed Signs, Maeght Gallery, 1972; The Very Rich Hours of Jean Paul Riopelle, Le Chafaud Museum, Percée, 2000
COLNAGHI
Gillis Neyts (Ghent 1623-1687 Antwerp) A winter cityscape of Antwerp, 1666 Oil on panel 54 x 86 cm Signed and dated lower left: g. nyts. f. / 1666 Provenance: sale Fievez, Brussels (16 June 1931), lot 113; sale of the F. Stuyck collection, Brussels, Palais des Beaux-Arts (7-8 December 1960), lot 91; Galerie P. de Boer, Amsterdam (1961) n° 54; Laboratoria Tupens, Sint-Niklaas (?); with Rafael Valls, London; with De Jonckheere, from whom acquired by the present owner Literature: P. Gustot, Gillis Neyts. Un paysagiste brabançon en vallée mosane au XVIIe siècle, Namur, 2008, p. 69, n° P13, repr. Exhibition: Brussels, Musées Royaux des Beaux-Arts de Belgique, Le siècle de Rubens, 15 October-12 December 1965, n° 157, repr.
Galerie Cento Anni
andré lanskoy
André Lanskoy (Moscow 1903-1976 Paris) Un cas suspect, 1964 Oil on canvas 97 x 146 cm Signed and dated 'Lanskoy 64' Provenance: Galerie de Seine; private collection, Paris Certificate of authenticity from the Comité Lanskoy dated 4 April 2025 This work will be included in the forthcoming catalogue raisonné currently in preparation
Galerie Jean-François Cazeau
kees van dongen
Kees Van Dongen (Rotterdam 1877-1968 Monaco) La Chemise or Femme penchée sur un coussin jaune Oil on canvas 48.5 x 55 cm Signed lower right This work will be included in the forthcoming catalogue raisonné of Kees Van Dongen compiled by the Wildenstein Plattner Institute Provenance: studio of the artist, Paris; private collection, France (Marquise de X); Palais Galliera, 18 May 1964, Paris; Jacques Pignet, Neuilly-sur-Seine, France; Galerie Koller, Zurich, November 1981; Paul Petridès, Paris, France Ader-Picard-Tajan, 25 June 1987, Paris; acquired by the current owner at the above sale Exhibitions: Paris, Galerie de Paris, La Cage aux Fauves, Salon d'Automne, 1905; Paris, Musée National d'Art Moderne, Van Dongen, 13 October-26 November 1967, n° 68; Rotterdam, Museum Boymans van Beuningen, Van Dongen, 8 December 1967-28 January, n° 20; Monaco, Nouveau Musée de Monaco, Kees Van Dongen, 25 June-7 September 2008, n° 139
Galerie Alexis Bordes
paolo anesi
Paolo Anesi (Rome, 1697-1773) View of the Ponte Cestio from the Tiber island Oil on canvas 28 x 48 cm Provenance: anonymous sale, Paris, Hôtel Drouot (Maître Baudoin), May 31st, 1919, lot n° 98 (Vanvitelli, View of a city-houses rise on both banks of a river crossed by a stone bridge. In the foreground, on the ground to the right, a fragment of a fluted column and a broken capital); private collection, France Literature: Olivier Michel, Biographical Research on Paolo Anesi, in Publications de l'École Française de Rome, Vivre à peindre à Rome au XVIIIe siècle, vol. 217, 1996, pp. 319–334 Praised during his lifetime as one of the most brilliant vedute painters of the eighteenth century in Italy, Paolo Antonio Anesi nevertheless remains a figure whose life and work are still little studied. Active in Rome, Anesi never left his native city. The panoramas offered by its hills provided him with a multitude of striking viewpoints. The Aventine, one of Rome’s seven hills, appears to have been a favourite subject. To produce his painting, Anesi positioned himself on the Isola Tiberina, a small island in the middle of the Tiber, connected to the left bank by the Ponte Cestio and to the right bank by the Ponte Fabricio.
