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Galerie Raf Van Severen
paul klee
Paul Klee (Münchenbuchsee 1879-1940 Locarno) Kronen-Narr (Crown Fool), 1938 Gouache, brush and ink on newsprint laid on board 48.9 x 32.4 cm Signed bottom right ‘Klee’ Titled and dated on the paper backing, bottom centre Provenance: Hans and Erika Meyer-Bentelli, Bern until 1955; Berggruen & Cie, Paris, 1955-58; Saidenberg Gallery, Inc., New York, 1958-59; James Wise, Geneva, New York and Nice from 1959; Nahum Goldman, Jerusalem until 1983; collection of Sidney Rothberg, Philadelphia, Pennsylvania Literature: Paul Klee-Stiftung, Kunstmuseum Bern, Paul Klee: Catalogue Raisonné, Band 7, 1934-1938, Thames and Hudson, London, 1998-2004, p. 344, n° 7250 (ill.) Exhibitions: 1957, Amsterdam, Stedelijk Museum, Paul Klee; 1957, Brussels, Palais des Beaux-Arts, n° 97a
Patrick Derom Gallery
lucio fontana
Lucio Fontana (Rosario 1899-1969 Comabbio) Concetto spaziale, Teatrino, 1964 Water-based paint on canvas, lacquered wood 102 x 83 cm Signed and titled on the back Provenance: Serge de Bloe, Brussels; private collection, Brussels Literature: M. Van Lier-Lottefier, Fontana: au seuil du Land Art, in Clés pour les arts, 27 September 1972, p. 27 (ill.); Enrico Crispolti, Lucio Fontana, 1974, vol. II, p. 168; Enrico Crispolti, Fontana. Catalogo Generale, Milan, 1986, 64TE2, p. 588 (ill.) Exhibition: 1972, Brussels, Palais des Beaux-Arts, Lucio Fontana, n. 78 (ill.)
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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.
Cabinet of Curiosities-Honourable Silver Objects
Van Cleef & Arpels brooch, Paris, 18K with 201 brilliant and 40 cabochon onyx stones, signed and numbered, circa 1960 Cartier bracelet, Paris, 18K trinity yellow gold with brilliant approx. 6.45 ct, signed and numbered Cartier earrings, Paris, 18K trinity yellow gold with 90 diamonds 1.80 ct, signed and numbered Provenance: private collection
Galerie BG Arts
rené lalique
René Lalique (Ay 1860-1945 Paris) Necklace 'Couple of Dragonflies', circa 1905 Yellow gold, tourmalines, diamonds, enamel and plique-a-jour Provenance: Sotheby's sale, London, 3 December 1998, lot 102; private collection, London; Galerie BG Arts, Paris Literature: For a similar model: Sigrid Barten, René Lalique Schmuk und Objects d'Art 1890-1910, Munich, 1977, ill. p. 344, n° 733
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.
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.
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
Galerie de la Présidence
geer van velde
Geer van Velde (Netherlands, Lisse 1898-1977 Cachan, France) Composition-L'atelier, circa 1953 Oil on canvas 100 x 100 cm Signed lower right with the initials 'GvV' Signed on the reverse 'G. van Velde' Certificate of authenticity by Pierre François Moget This work will be included in the catalogue raisonné of Geer van Velde Painted Work currently in preparation by Pierre François Moget. Provenance: private collection, France
Sylvia Kovacek – Vienna
Goblet-shaped lidded cup Gilded, cold-painted, diamond-point glass decoration Tyrol, 1570-1591 H 31.5 cm (with lid) Provenance: private collection, United Kingdom Literature: Erich Egg, Die Glashütten zu Hall und Innsbruck im 16. Jahrhundert, Innsbruck 1962, plate XIV, fig. 27-comparable lidded goblet from Ambras Castle at KHM (Museum of Art History) Vienna; Anna Elisabeth Theuerkauff-Liederwald, Venezianisches Glas der Veste Coburg. Sammlung Herzog Alfreds von Sachsen Coburg, Coburg 1994, pp. 240-243-comparable goblet, and p. 271, fig. 256 -comparable shape, decorated in diamond-point, without painting; Brigitte Klesse, Hans Mayr, Veredelte Gläser aus Renaissance und Barock, Ernesto Wolf Collection, Vienna 1990, p. 28, fig. 33, n° 35 in catalogue-comparable, very similar object in blue glass; The Mühleib Collection of European Glass, sale Bonhams, 2 May 2013, London 2013, pp. 20 and 21-similar lidded goblet (without lion's head baluster); Strasser/ Spiegl, Dekoriertes Glas, Munich 1989, pp. 163 and 164-similar lidded goblets; Strasser/Baumgärtner, Light and Colour. Licht und Farbe. Die Sammlung Rudolf von Strasser, KHM, Vienna 2002, fig. n° 8 and fig. n° 9
Lemaire
Japanese porcelain statuette Representation of a Bijin ('beautiful lady') Imari decoration of cherry blossoms and gilt bronze for various elements Arita porcelain (1690-1730) and gilt bronze (18th century) H 42.5 cm The statuette was transformed in the 18th century with a removable head that moves gently on a pivot like the Buddha in Meissen porcelain. It holds a chased bronze parasol in its left hand and stands on a gilded bronze gadrooned base An identical but larger figure can be found in the collection of Charles III, AYERS (J.), Chinese and Japanese Works of Art in the Collection of Her Majesty the Queen, t. II, p. 686
