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Floris van Wanroij Fine Art
jan mertens
Jan Mertens the Elder (active in Antwerp circa 1473-1509) Saint Anne Selbdritt, circa 1490-1500 Oak, carved in high relief H 85 cm Provenance: private collection, The Netherlands; anonymous sale, Christie’s, Amsterdam, 23 March 1983, lot 228, with ill.; With Limburg Antiquairs; Brouwershaven, Zierikzee and Düsseldorf, 1983-1984; private collection, Antwerp Literature: Stuurman-Aalbers, J & Stuurman, R., Internationaal Jaarboek Kunst en Antiek Veilingopbrengsten 1982, Utrecht/Antwerp, 1983, Spectrum, p. 180, n° 8, with ill.; Tableau (Dec 1983/Jan 1984). As Nether Rhine circa 1500, with ill.; Engelen, C., Jan Mertens en de laatgotiek, Confrontatie met Jan Borreman, Essay tot inzicht en overzicht van de laatgotiek, Leuven, 1993, p. 121, with ill. (chapter VII, Sint-Anna-Ten-Drieën, pp. 119-127). Reference literature: BRAFA catalogue, 2005, p. 362
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)
HELENE BAILLY Paris-Genève
pierre-auguste renoir
Pierre-Auguste Renoir (Limoges 1841-1919 Cagnes-sur-Mer) Vase de roses, 1909-1910 Oil on canvas 55.5 x 46 cm Signed middle left 'Renoir' This work will be included in the Pierre-Auguste Renoir digital catalogue which is being prepared by the Wildenstein Plattner Insitute, Inc. Notice of inclusion dated February 29th, 2024 Provenance: Friedrich and Barbara Thurneyssen, Munich, acquired from the artist (from 1911); Rudolf von Simolin, Bavaria; private collection Literature: Ingrid Mössinger and Karen Sanger, Pierre-Auguste Renoir: Wie Seide Gemalt/L'Effet de la Soie, cat. ex. (Chemnitz: Kunstsammlungen Chemnitz, 2011) (ill. fig. 2, p. 111, installation view, Le salon de la famille Thurneyssen at Franz-Joseph-Strasse 36 in Munich. Undated photo showing Renoir's painting Alexandre Thurneyssen, 1911, near the door) Exhibitions: Berlin, Galerie Alfred Flechtheim, Pierre-Auguste Renoir: Peintures provenant des possessions de ses fils et ses sculptures, November 20th-December 22nd, 1927, n° 37 (titled Roses, dated 1914)
Lemaire
Tournai porcelain ornithological teapot from the duc d'Orléans service, circa 1787 This teapot form part of a service made for Philippe duc d'Orléans in 1787. The ornithological designs were taken from the comte de Buffon's Histoire Naturelle des Oiseaux published in ten volumes between 1770 and 1786. The painting of the panels for the service are attributed to Jean-Ghislain-Joseph Mayer Soft paste porcelain H 14.3 cm The shape is a Tournai interpretation of the Calabre teapots from Sèvres and was created especially for the service of the Duc d'Orléans. Birds reproduced on the teapot: Coraya de Cayenne (Buffon vol. IV, pp 484-485) and Hirondelle d’Amérique (Buffon vol. VI, pp. 669-670)
Galeria Jordi Pascual
manolo millares
Manolo Millares (Las Palmas de Gran Canaria 1926-1972 Madrid) Cuadro 93, 1960 Mixed media on burlap 162 x 130 cm Provenance: Galerie Daniel Cordier, Paris; private collection Literature: Alfonso De la Torre, Manolo Millares. Pinturas. Catálogo Razonado, Museo Nacional Centro de Arte Reina Sofía y Fundación Azcona, 2004, p. 214, fig. 182
Galeries AB & BA
jean degottex
Jean Degottex (Sathonay-Camp 1918-1988 Paris) Gidayu III, 1961 Oil on heavyweight paper mounted on canvas 120 x 80 cm Certificate of authenticity issued in 2021 Provenance: private collection Literature: Degottex, Jean Frémon, Editions du regard, 1986, p. 282 © Bertrand Michau. Courtesy Galerie Berthet-Aittouarès
Samuel Vanhoegaerden Gallery
james ensor
James Ensor (Ostend, 1860-1949) Coquilles et Statuettes, 1934 Oil on wood panel 40 x 50 cm Signed lower right ‘Ensor’ , signed and titled on verso Provenance: private collection, Belgium (acquired ca. 1970); by descent from the above to the present owner; sale Sotheby’s London, February 2012, lot 187; Samuel Vanhoegaerden Gallery, Knokke; private collection, Brussels Literature: X. Tricot, James Ensor, The complete paintings, Mercatorfonds, Brussels, 2009, p. 383, n° 641
Galerie Lowet de Wotrenge
Jacob van Loo (Sluis 1614-1670 Paris) Portrait of a woman and her son as Venus and Cupid, circa 1670 Oil on canvas 87.5 x 77.5 cm Signed and dated lower right 'J. v. Loo f / An. o 16 (...)' Provenance: sale, Angers, November 25th, 1970, lot 198; Galerie Heim-Gairac, Paris, 1971; sale, Sotheby’s, London, May 2nd, 2018, lot 35; where acquired by the previous owner Literature: K. Bender, The Venus of the Low Countries. A topical catalogue of sculptures, reliefs, paintings, frescos, drawings, prints and illustrations of identified artists of the Low Countries, 2010, p. 80; D. Mandrella, Jacob van Loo 1614-1670, Paris, 2011, p. 203, fig. 146, ill. Jacob van Loo was one of the greatest artists of the Dutch Golden Age. Born in Sluis, a town in the Dutch Republic, in 1614, he trained with his father, the genre painter Jan van Loo. At some point in the 1630s, van Loo moved to Amsterdam, marrying Anna Lengele, the sister of painter Maerten Lengele, in 1642. During his first ten years in the city, van Loo mostly produced complex historical and mythological scenes inspired by the Flemish school and the work of Van Dyck. In the 1650s, the artist started painting scenes of galanterie, featuring musicians, soldiers and young women engaged in conversations, gambling and flirting, which were a source of inspiration for similar works by Johannes Vermeer. Van Loo was also highly esteemed as a painter of nudes and portraits, and received important public commissions. In the autumn of 1660, the artist fled Amsterdam after fatally stabbing the wine merchant Hendrik Breda during an altercation at an inn. Sentenced to death in absentia, he escaped to Paris, where he settled with his family and continued enjoying great success. In 1663, he was admitted to the Académie and, four years later, obtained French citizenship. Following his death in 1670, his two sons Jean and Abraham followed in their father’s footsteps, continuing a painterly family tradition that would successfully last until the nineteenth century. According to David Mandrella, the author of Jacob van Loo's catalogue raisonné, the present painting is one of the latest known by the artist, dating from 1670, the year of his death. It shows a woman in half-length, with dark, curvy long hair embellished by a shimmering string of pearls. She wears an all’antica dark green robe, revealing her nude breasts to the viewer. Set before a landscape, she hands a golden apple to her son, a smiling child half-dressed in a classicising drape. The Greek myth The Judgement of Paris, narrating the contest between the three most beautiful goddesses of Olympus – Venus, Hera and Athena – for the prize of a golden apple addressed “to the fairest,” allows us to identify the subject as Venus with her son Cupid. By the time the present work was painted, this subject had become very popular amongst Dutch painters, including, for example, Govert Flinck and Rembrandt’s pupils. Throughout his career, van Loo treated this subject on at least two other occasions, as exemplified by his Venus and Cupid (1649, Statens Museum for Kunst, Copenhagen) and An Allegory of Venus and Cupid (1654, Speed Art Museum, Kentucky). The former is exemplary of van Loo’s compositions, with few isolated figures reminiscent of Jacob Adriaensz Backer. In the latter, the artist exploited the mythological subject to create an allegory of wealth, highlighting the vanity and futility of earthly pleasures. During his Parisian years, the artist is believed to have approached mythological subjects exclusively with the purpose of disguising portraits – a practice probably born in Venice in the seventeenth century, which later spread to the Netherlands and France. The ambivalent fusion between these two genres is exemplified by a now lost painting by the artist, Ulysse découvrant Achille parmi les filles de Lycomède (1666), commissioned by a member of the Van Gangelt family, where the figures bear the traits of the daughters of the banker Caspar van Gangelt and those of the explorer François Caron. Similarly, the figure of Venus in the present work is believed to be a portrait of a real woman, possibly the wife of an élite Parisian patron who commissioned the painting, depicted together with their son. As per other similar mythological portraits by van Loo, such as the Portrait de femme en Diane (1668), the woman’s features are individualised and her gaze confronts the viewer, as if inviting him to recognise her. The present canvas is an exquisite example of the refined yet sensuous classicism of van Loo’s late oeuvre. The woman’s beautifully rendered, half-nude figure recalls the eroticised charge of van Loo’s works of the Amsterdam period, when he was celebrated for the exceptional quality of his nudes. According to the contemporary chronicler Arnoud Houbraken, van Loo excelled at “painting nudes, and female nudes in particular,” to the extent that his mythological scenes featuring naked gods and goddesses were more sought after and considered superior to those of his competitor Rembrandt. Van Loo was able to develop a type of academic nude, classical yet imbued with life, that succeeded in fulfilling the ambitions and social aspirations of the élite of the time. In paintings such as the present one, van Loo excelled in achieving the so-called welstant, or the art of standing well, which allowed his aristocratic clients to distinguish themselves from the inferior classes, by creating parallelisms with the classical world and its aesthetic canons. In the seventeenth-century Netherlands, a mythological subject such as Venus and Cupid was often used to justify the depiction of erotic images, which would have otherwise have been considered inappropriate. For a considerable part of the aristocratic and even burgher élite, a certain amount of erotic playfulness was permitted in both painting and literature, with Venus and Cupid being particularly appropriate subjects for love poems and marriage-related paintings. Works such as the present one had voyeuristic implications and aimed to stimulate the senses: by having the woman looking out at the viewer – which, in this case, would probably be her husband –, van Loo expressed the contemporary belief that the gaze of a woman could send out a powerful force that entered through the eyes of the beloved, inflaming his heart. In accordance with the sixteenth-century Italian tradition, contemplating images of beautiful nudes in the privacy of one’s own room was believed to increase the chances of generating beautiful and healthy offspring, such as the present handsome child.
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
Victor Werner
luigi carrubba
Luigi Carrubba (Tunisia 1907-? Rome) Diana the Huntress, circa 1937 Bronze with black patina H 108 x W 100 x D 47 cm Signed 'Carrubba Luigi Roma Febbraio XV' Literature: E. Zorzi, Uno sguardo d'insieme alla XXI Biennale d'Arte di Venezia, in 'Le vie d'Italia turismo nazionale, movimento dei forestieri, prodotto italiano', XLIV, 6, 1938, p. 750 Luigi Carrubba, a Tunis-born sculptor who later settled in Rome, rose to prominence in the late 1930s, gaining recognition through major Italian art exhibitions. His works, including bas-reliefs and sculptures, were featured in events such as the Venice Biennale and regional exhibitions, where they were celebrated for their quality and scale. One of his notable sculptures, The Hunt, which may correspond to the work presented here (based on the similarity of subject and date) highlights Carrubba's mastery of dynamic forms and stylised bodies. This work exemplifies his skill in capturing movement and emotion through simple, refined lines. Carrubba continued to display works like Maternità and L’estate at the Venice Biennale, where he earned recognition amongst the emerging talents of the time.
Florian Kolhammer
josef hoffmann
Josef Hoffmann (Brtnice 1870-1956 Vienna) Vase with etched decoration 'Orange Opal Aussen Schwarz' Mould-blown glass, etched decoration H 8 x Ø 11.5 cm Designed by Josef Hoffmann and executed by Johann Loetz Witwe, one of only two pieces, executed either in 1911 or 1914 Provenance: private collection Prague, Czechia Literature: A. Adlerova, E. Ploil, H. Ricke, T. Vlcek (ed.), Loetz-Böhmisches Glas 1880-1940, vol. I, Werkmonographie, Prestel publ., Munich 1989, p. 271 (similar vase in the museum Bergreichenstein); A. Adlerova, E. Ploil, H. Ricke, T. Vlcek (ed.), Loetz-Böhmisches Glas 1880-1940, vol. II, paper pattern catalogue, Prestel, Munich 1989, paper pattern 8031, p. 218; Jitka Lnenickova, Loetz/Series II. Paper Patterns for Glass from 1900 to 1914, Museum Sumavy, Susice 2011, n° II-8031, p. 755; Waltraud Neuwirth, Loetz Austria 1905-1918, Glass, self-published Dr. Waltraud Neuwirth, Vienna 1986, depiction 303, p. 323 In the early 1910s, Josef Hoffmann had reached the peak of his creative powers. He was very well connected in the art scene of the time and carried out commissions for both private individuals and the state. The etched glass vases that he had made by the Loetz glass manufactory for the winter exhibition at the Austrian Museum of Art and Industry in 1911 are certainly amongst his most important decorative arts designs from this period.
DIE GALERIE
max ernst
Max Ernst (Brühl 1891-1976 Paris) La grande tortue, 1944/1967/2021 Bronze H 105 x W 80 x D 115 cm Cast number 4/8; Amy Ernst, the granddaughter of Max Ernst, held the rights to cast this sculpture, produced by Susse Fondeur Provenance: Max Ernst estate, Amy Ernst Literature: Spies/Metken Nr./n° 2469 (1944, original form in plaster); Spies/Metken/Pech Nr./n° 4591,I (another cast); Werner Spies, Fabrice Hergott, Doris Krystof, Gunter Metken, Jurgen Pech: Max Ernst, sculptures, maisons, paysages, exh. cat., Centre national d'art et de culture Georges Pompidou, Paris and Kunstsammlung Nordrhein-Westfalen, Dusseldorf, 1998, p. 272 (another cast)
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.
Giammarco Cappuzzo Fine Art
Ottavio Vannini (Florence, 1585-1644) Susanna and the Elders, circa 1615-1620 Oil on canvas 135 x 170 cm Provenance: private collection, Italy Literature: G. Papi, A New 'Susanna' by Ottavio Vannini, Paragone, 805 (3rd series, 132), 2017, pp. 30-33, col. pl. 34 Ottavio Vannini was born in Florence in 1585, as recorded in the city’s Baptismal Registers. According to the two scholars Dr. Gianni Papi and Dr. Filippo Gheri, this painting represents an important addition to Vannini’s catalogue, due to its brilliant pictorial quality and its embodiment of the painter's interests and ideas. The current work serves as a milestone for understanding Vannini’s Roman period, showcasing the impact that classicist artistic culture had on him after the second decade of the seventeenth century
Douwes Fine Art b.v.
melchior d'hondecoeter
Melchior d'Hondecoeter (Utrecht 1636-1695 Amsterdam) The bird concert, a family of ducks near a pond with a farm in the background, circa 1666 Oil on canvas 102.5 x 87.5 cm Traces of signature at lower right: M. With thanks to Dr Fred Meijer who wrote a certificate for the work on 9 August 2024, confirming the authenticity of the artwork Provenance: sale collection Konstantin Tifoxilos, Vienna, Wawra, 28 November 1904, lot 75, b&w ill. opposite title page; Galerie Arnot, London 1919; Heirs to Minister Dr. H. Sulzer, Winterthur; Gebr. Douwes Fine Art, Amsterdam, n° 8377, 1968 shown at the Delftse Antique Fair; private collection, The Netherlands; thence by descent to the current owners Exhibition: Kunstmuseum Winterthur, Der unbekannte Winterthurer Privatbesitz 1500-1900, September-October 1942 (Kunstverein Winterthur), cat. n° 145
Stern Pissarro Gallery
henri martin
Henri Martin (Toulouse 1860-1943 Labastide-du-Vert) Venise, palais et gondoliers sur le Grand Canal, circa 1909-1910 Oil on canvas 68.5 x 96 cm Signed lower right 'Henri Martin' This work is accompanied by a certificate from Madame Marie-Anne Destrebecq-Martin and will be included in the forthcoming catalogue raisonné which is currently being prepared. Provenance: Jacques Martin-Ferrières, Paris (son of the artist); private collection, France, acquired from the above; sale Christie's, New York, 2018; private collection, acquired from the above
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.
Kovacek Spiegelgasse
gustav klimt
Gustav Klimt (Baumgarten 1862-1918 Vienna) Standing nude, hands on the hips, 1911 Pencil on paper 57.1 x 37.5 cm Provenance: private collection, USA, courtesy Serge Sabarsky Gallery, New York; private collection, Japan; 110. auction Klipstein und Kornfeld, Bern 1963, n° 536 (pl. 69); private collection Hikonobu Ise, Japan Literature: The Ise Collection, Ise Lifedesign House, Japan 1984, ill. n° 12; Alice Strobl, Gustav Klimt. Die Zeichnungen 1904-1912, vol. II, Salzburg 1982, catalogue raisonné n° 2023, p. 252f
Galerie Nicolas Bourriaud
Eva Aeppli (Switzerland, Zofingen 1925-2015 Honfleur, France) Taureau Floréal, 1991 Bronze with shaded brown patina H 36 x W 23 x D 24.5 cm Titled 'Taureau Floréal' and numbered 6/8 Cast by Susse Frères Paris, stamped 'Resygram' This proof, number 6, was commissioned by the artist and cast by the Susse foundry in July 1991 Pursuing her questioning of humanity by linking it to the cosmos, Eva Aeppli found in astrology a spiritual and formal repertoire in which she could work tirelessly for almost two decades. After the Planets (1975-1976), then the Erinyes (1977), goddesses of vengeance from Greek mythology, whom she associated with Pluto, Neptune and Uranus, she tackled the Zodiac (1979-1980), each of the 12 heads expressing the character of the astrological signs; such is the case of Taurus, with its heavy sensory appetites. The result is a striking head sewn in fabric and partly cast in bronze, with refined yet eminently expressive features, the scars drawn by the seams on the surface. It's a confrontation that leaves no viewer untouched. From a private collection in France, this head is remarkably in keeping with her tormented path as a creator who cannot be assigned to any particular artistic movement, which is what makes it so exceptional.
Galerie Oscar De Vos
emile claus
Emile Claus (Sint-Eloois-Vijve 1849-1924 Astene) Girl in flower garden, 1896 Oil on canvas 35 x 27 cm Signed upper right 'Emile Claus' Signed and dated on reverse: Juni / IF / E.C. Provenance: collection Vullers, Brussels Literature: De Smet, J. e.a., Retrospectieve Emile Claus, exh. cat. (Ostend: PMMK, 1997); De Smet, J. e.a., Emile Claus en het landleven, exh. cat. (Ghent: MSK, 2009); Eeckhout, P., Retrospectieve tentoonstelling Emile Claus 1849-1924, exh. cat. (Ghent: MSK, 1974) A pioneer of luminism in Belgium, Emile Claus (1849-1924) often managed to capture the beauty of rural life in his works. In ‘Girl in flower garden’, this fascination is perfectly illustrated by the serene expression of the girl and the colourful flowers in the background, which merge in harmony.
Galeria Jordi Pascual
josé guerrero
José Guerrero (Granada 1914-1991 Barcelona) El Alba, 1967 Oil on canvas 146 x 114 cm Certificate of authenticity by Comité José Guerrero Provenance: Elliot M. Katz Living Trust, EE.UU; Galería Juana Mordó, Madrid; Galería Buchholz, Lisbon Literature: Francisco Baena, Serge Guibault, Juan Antonio Ramírez, Yolanda Romero and Inés Vellejo Ulecia, José Guerrero Catálogo Razonado, Vol I 1931-1969, Ed. Diputación de Granada, 2008, p. 564, fig. 460 Exhibition: Galería Buchholz, Lisbon, 'José Guerrero', April 1967
