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Laurent Schaubroeck
George Nakashima (USA, Washington 1905-1990 Pennsylvenia) Cushion chair with arms, 1960s Black American cherry, upholstery 77.5 x 74.3 x 86.4 cm Produced by George Nakashima Studio Includes a digital copy of the order card Provenance: Craighead family Produced by the Nakashima Studio in the 1960s, this lounge chair exemplifies George Nakashima’s refined craftsmanship and harmony between form and material. Its spindled back recalls Windsor traditions, while the tapered legs and clean geometry express his modern sensibility. Upholstered in white linen, the chair combines warmth and elegance, standing as a rare and timeless piece from one of the most influential American designers of the 20th century.
De Wit Fine Tapestries
victor vasarely
Victor Vasarely (Hungary 1906-1997 Paris) WA-4, circa 1970 Wool 156 x 156 cm Signed lower right corner Aubusson, atelier Pinton (Monogram lower left corner) Edition 1/6 The WA-4 tapestry consists of a large square divided into four squares, on top of which a fifth square is placed, itself divided into four squares. The inside of each of these squares is filled with rhombuses whose colour change from dark blue to purple and then to light beige. These rhombi are arranged on backgrounds of varying colours, ranging from charcoal grey to purple and pink, then from aqua green to pale pink and dark green. The different colour areas are clearly distinct from one another when viewed up close on the tapestry's very fine fabric. But when you step back and view the tapestry from a distance, the planes and shapes seem to interact with each other, and the colours appear to move. The optical effects are particularly striking here. Our gaze is captured by the illusion of movement created by the brain. Vasarely experimented with this fascinating relationship between vision and perception in his paintings, which he then transposed into various media, including glass, ceramics, metal, goldsmithing and tapestry. Vasarely relied on science, because he believed it was the only common language available to humanity. He developed a pictorial system based on the logic of algorithms and binary codes, a square background, coloured and filled with simple geometric shapes. A champion of geometric abstraction, he is best known as the inventor of op-kinetic art (the adjective kinetic derives from the Greek word κίνησις (kinesis), meaning “movement”). Op art or optical art was revealed to the general public by the sensational exhibition ‘Le Mouvement’ (1955), which Vasarely initiated at the Denise René gallery in Paris. In this exhibition he brought together younger artists such as Bury, Jacobsen, Soto and Tinguely alongside the leading figures of Marcel Duchamp and Alexander Calder. Alongside his work as a painter, Vasarely devoted a significant portion of his activity to transposing his art into other media. He promoted the reproduction of his works as tapestries, as he saw this as an opportunity for recreation, in contrast to the concept of a unique work. He envisioned a concept of art for all, based on a new aesthetic, leading to ‘the polychrome city of happiness’. He thought of his tapestries as prototypes, hand-woven in limited numbers and displayed in the comfortable homes of art lovers. He painted around a hundred tapestry cartoons, woven in various workshops. Furthermore, he played a pioneering role by inviting other artists to try their hand at this art form, including Léger, Jean Arp, Agam, Atlan, Dewasne and Josef Albers. This textile experimentation was the result of Vasarely's encounter with François Tabard, an Aubusson tapestry entrepreneur, and Denise René, an avant-garde gallery owner. According to the artist, kinetic art, often described as cold, is compatible with tapestry insofar as it results from a "technique that allows for flat areas to retain warmth. There is none of the monotony of flat areas applied with a brush to a surface." With Tabard, Vasarely developed a systematic method of creating cartoons, allowing infinite chromatic combinations to be obtained. Denise René was the publisher of these tapestries (1952-1970). From 1966 onwards, the national tapestry manufacturers of the Gobelins and Beauvais wove Vasarely's designs. Shortly afterwards, another industrialist from Aubusson, Olivier Pinton, began weaving Vasarely's designs. More than thirty cartoons were finely woven, including WA-4, created around 1970.
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Edouard Simoens Gallery
christo and jeanne-claude
Christo (Bulgaria 1935-2020 New York) and Jeanne-Claude (Casablanca 1935-2009 New York) The Pont Neuf Wrapped (Project for Paris), 1985 Pencil, charcoal, pastel, wax crayon, and technical data 144 x 165 cm (overall) Provenance: Wolfgang Volz collection; private collection Literature: Christo and Jeanne-Claude: Water Projects, Silvana 2016, p. 167
Virginie Devillez Fine Art
rené magritte
René Magritte (Lessines 1898-1967 Brussels) Le Prince charmant, 1948 Gouache on paper 37 x 46 cm Signed lower left 'Magritte' Provenance: Willy van Hove-Cuche, Brussels; private collection; Galerie Motte, Geneva (auction 7 December 1973, lot 30); Margaret Krebs, Brussels; Christie’s, London (auction 27 June 1978, lot 145); Sotheby’s, London (auction 6 February 2001, lot 157); Beaux-Arts Auction, Brussels (auction 26 April 2005, lot 51); private collection, Belgium Literature: Ronny Van de Velde, René Magritte. Peintures et gouaches, Antwerp, 1994, ill. n. p.; David Sylvester (Ed.), René Magritte – Catalogue Raisonné. IV: Gouaches, Temperas, Watercolours and Papiers Collés 1918-1967, Menil-Foundation/Fonds Mercator, 1994, CR 261 (ill. p. 102); Esther Schlicht & Max Hollein (Éd.), René Magritte 1948. La période vache, Frankfurt, Schirn Kunsthalle, 2008-2009, ill. p. 45; Paris, Galerie du Faubourg, Magritte: peintures et gouaches, 1948, cat. n° 24 ( ? or CR 1260); Rotterdam, Museum Boymans-van Beuningen, René Magritte: het mysterie van de werkelijkheid, 1967, cat. n° 97 (ill. p. 223); Stockholm, Moderna Museet, René Magritte, 1967, cat. n° 50; Paris, Fondation Dina Vierny – Musée Maillol, Magritte tout en papier, 2006, without cat. n° (ill. p. 160); Rotterdam, Museum Boymans-van Beuningen, Voici Magritte. Gouaches, collages, tekeningen, studies, schilderijen, 2006, without cat. n° (ill. p. 160); Paris, Centre Pompidou – Musée national d’Art moderne, Magritte. La Trahison des Images, 2016-2017, without cat. n° (ill. p. 152); Skärhamn, Nordiska Akvarellmuseet, Magritte. A Lab of Ideas. Works on paper, 2022, without cat. n° (ill. p. 135)
Almine Rech
vivian springford
untitled
Vivian Springford (USA, Wisconsin 1913-2003 New York) Untitled, circa 1973 Acrylic on canvas 182.9 x 183.5 x 3.2 cm Provenance: estate of the artist Exhibition: Almine Rech, 'Gesture & Form: Women in Abstraction', May 3rd - June 15th, 2024, New York, Upper East Side Vivian Springford’s 'Untitled', circa 1973, encapsulates the American painter’s expressive, vibrant style. During the late 1960s, Springford had come into her own as an artist. She had developed a signature visual vocabulary and a technique of stain painting to go with it, working with thinned paint to create kaleidoscopic, gestural works.
Jan Muller Antiques
cornelis kick
Cornelis Kick (Amsterdam, 1634-1681) Flowers in a glass vase Oil on canvas 62 x 49 cm 78 x 69 cm (framed) Authenticity and identification confirmed by Dr. Fred Meijer Provenance: Percey B. Meyer, London, 1953 (as Jacob van Walscapelle) Literature: Jan Kelch and Ingeborg Becker, Holländische Malerei aus Berliner Privatbesitz, Kaiser-Friedrich-Museums-Vereins und der Gemäldegalerie (Berlin, 1984), pp. 170-171 (as Jacob van Walscapelle); Royal Academy of Arts, London, 1952-53: Dutch pictures 1450-1750, catalogue p. 103, n° 563; Gemäldegalerie der Staatlichen Museen Berlin, 1984: Hollandische Malerei aus Berliner Privatsbesitz, pp. 170-171, pl. n° 84
Galerie Berès
simon hantai
Simon Hantaï (Hungary, Bia 1922-2008 Paris, France) Étude en noir et blanc pour Pierre Reverdy, circa 1969 Oil on canvas 96 x 75.5 cm Certificate of authenticity n° 2024-16 from the archives Simon Hantai on October 12th, 2024 Provenance: gifted by the artist to Peter Stuyvesant Foundation in 1969 Exhibition: Tilburg, Kultureel Centrum, Peter Stuyvesant collectie, 1979
Gallery de Potter d’Indoye
georges jacob
Pair of bergères 'à la Reine' Georges Jacob (Cheny 1739-1814 Paris) France, Louis XVI period Carved and gilded wood H 100 x W 69 x D 61 cm Stamped Georges Jacob Provenance: Jacques Perrin, Paris, 1997 Pair of carved and gilded wood Bergères with rounded backs, decorated with acanthus leaves and an interlacing frieze. Tapered and caned legs with gadroons. The arched crest surmounts padded armrests, the frames carved with guilloche patterns and foliage, resting on turned fluted legs, stamped G. Jacob. Georges Jacob, received as master on the July 5th, 1765, is the most famous of all the 18th-century French menuisiers. Unlike his colleagues, Jacob founded his company from scratch in 1765 and moved his workshops to Rue Meslée in 1775. This is where the most brilliant period of his career took place and where the major royal commissions were produced. From 1773 he was solicited by the Garde-Meuble de la Couronne, for which he continued to work until the Revolution. In addition to the Queen and, to a lesser extent, the King, his clientele included the main members of the royal family and its entourage. As ordinary carpenter to Monsieur, Count of Provence and brother of the King, the future Louis XVIII, he furnished most of his homes. He also worked for the Count of Artois, another brother of the King and future Charles X, Madame Élisabeth, sister of Louis XVI, the Prince of Condé, the Duke of Penthièvre, the Duke of Bavaria and Deux-Ponts Charles-Théodore, etc.
Florian Kolhammer
louis c. tiffany
Louis C. Tiffany (New York 1848-1933 New York) Jack-in-the-pulpit vase Tiffany, 1906 Yellow glass H 44 x 23.5 x 12.5 cm Marked 'L.C.T.' and '2210A' underneath Provenance: Christie's sale The 'Jack-in-the-pulpit' vases represent a special design category within the production of the Louis Comfort Tiffany company. These glasses were modeled after the Arisaema Triphyllum plant and are among the most iconic designs of this famous manufacturer. Our example shines in pure gold. It was made in 1906 and received as a wedding gift at the time.
Galerie Alexis Pentcheff
maurice utrillo
Maurice Utrillo (Paris 1883-1955 Dax) Belle Gabrielle, Montmartre, circa 1912-1914 Oil and gesso on cardboard mounted on panel, signed lower right 41 x 55.5 cm Provenance: London, Christie’s sale, 23 June 2004, lot n° 267; European private collection; Galerie Alexis Pentcheff; private collection, France Literature: Jean Fabris and Cédric Paillier, L’œuvre complet de Maurice Utrillo, Paris, 2009, repr. n° 332, p. 396; Maurice Utrillo, exhibition catalogue, Tokyo, Seiji Togo Memorial Sompo Japan Museum of Art, 2010, n° 1, p. 142 (ill. in colour in the section 'Works reproduced as archives') Exhibitions: Centenary of the Birth of Maurice Utrillo, Musée Jacquemart-André, Paris, May-August 1983, n° 13 (travelling exhibition to Liège, Musée Saint-Georges, and to Lille, Fondation Septentrion in Marcq-en-Barœul, until 15 January 1984); Maurice Utrillo, Tokyo, then Osaka, Kyoto, and Yamaguchi, Japan, 1 November 1985-5 May 1986, n° 17 (ill. cat. in colour); Maurice Utrillo: Solitude Urbaine, Galerie Alexis Pentcheff, Marseille, 22 September-4 November 2017, n° 3 (ill. cat. in colour)
De Zutter Art Gallery
corneille
Corneille (Liège 1922-2010 Auvers-sur-Oise) Le rouge itinéraire de l'été, 1964 Oil on canvas 73 x 92 cm Provenance: Galerie Delta, Rotterdam; kunsthandel Lambert Tegenbosch, Heusden; collection Dr. Johan B.W. Polak (1928-1992), Amsterdam; Christie's, Amsterdam, 10 December 1992, lot n° 325; private collection, Switzerland Literature: Catalogue Galerie Cimaise Bonaparte (Patrick d'Elme and Daniel Templon), 1967, Paris Exhibition: Galerie Cimaise Bonaparte (Patrick d'Elme and Daniel Templon), 1967, Paris
Axel Vervoordt
Jef Verheyen (Belgium, Itegem 1932-1984 Apt, France) Untitled Matt lacquer on round board 100 x 100 cm - Ø 80 cm Provenance: private collection, Belgium; collection Axel Vervoordt, 2003; private collection, Belgium Exhibition: Jef Verheyen, Lux est Lex, Wijnegem, 2004, cat. n° 60, ill. p. 93
Edouard Simoens Gallery
raoul de keyser
Raoul De Keyser (Deinze, 1930-2012) Untitled, 1967 Oil on canvas 120 x 150 cm Provenance: acquired from the artist; private collection Literature: 'Raoul De Keyser: early works. Catalogue of paintings 1964-1980', Publ. Walther König, Keulen 2024, n° RDK-67 ill. Exhibition: Beervelde 20 km: Roger Raveel, Lucassen, Raoul De Keyser, Elias Kaleidoskoop, Gent 1967; 'Raoul De Keyser', Gal. M.A.S., Deinze 1967
Franck Anelli Fine Art
Marcellus Coffermans (active in Antwerp, 1549-1578) Deposition of Christ, circa 1570 Oil on panel 32.7 x 21 cm Provenance: anonymous sale, Amsterdam, Christie's, 15 May 2002, lot 97 (as Marcellus Coffermans); private collection, Europe; from 2020, private collection, California Literature: M. Leeflang, Gemaakt in Antwerpen, bestemd voor Spanje? in Catharijne, Magazine van Museum Catharijneconvent Utrecht 2 (2010), repr. p. 11 Exhibition: Utrecht, Museum het Catherijneconvent, long-term loan, 2010-2020 Marcellus Coffermans deserves credit for bringing together a unique composition, the great deposition and the descent from the cross.
Brame & Lorenceau
julio gonzález
Julio González (Spain, Barcelona 1876-1942 Arcueil, France) Personnage au cornet, 1937 China ink and coloured pencil on paper 29 x 21 cm Signed and dated lower centre Provenance: private collection Literature: J. Gibert, Catalogue raisonné des dessins de Julio González, Projets pour sculptures personnages, Paris, 1975, vol. 9, p. 47 (ill.) Exhibition: New York, The Museum of Modern Art, Julio González, Drawings and Sculpture, February-April 1956, Minneapolis
Thomas Deprez Fine Arts
jean delville
Jean Delville (Leuven 1867-1953 Brussels) Aveugle, 1888 Oil on canvas 65 x 81 cm Signed and dated l.l.: 'Jean Delville / 1888' Relined, with a fair amount of retouching Provenance: private collection, Brussels, since three generations. Exhibitions: Salon de Gand, XXXIVe Exposition Triennale, Ghent, 1889, cat. n° 166, as: 'Aveugle'; L'Essor, XIIIe exposition annuelle, Brussels, 1889, cat. n° 4, as: 'Aveugle' PRESS F.N., 'Chronique Artistique', dans: Journal de Bruxelles, 24/03/1889, p. 5 (Supplément au Journal de Bruxelles du 24 mars 1889): 'L'Aveugle, la femme si visiblement plongée en des pensées lourdes et étroites, qui se chauffe [...]'