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HELENE BAILLY Paris-Genève
kees van dongen
Kees Van Dongen (Delfshaven 1877-1968 Monte-Carlo) Bouquet de fleurs, circa 1950 Oil on canvas 55 x 38 cm Signed lower right: Van Dongen and countersigned on the back on the stretcher: Van Dongen This work will be included in the digital Catalogue Raisonné of Kees Van Dongen's work which is being prepared by the Wildenstein Plattner Institute, Inc. Notice of inclusion dated 28 May 2024 Provenance: Galerie Romanet, Paris; private collection, acquired from above (before 1999); Kunsthandel Frans Jacobs, Amsterdam; Jan-Dirk Paarlberg, Amsterdam, acquired from above
Galeries AB & BA
joan miró
Joan Miró (Barcelona 1893-1983 Palma de Mallorca) Untitled, 1949 Oil, watercolour, pastel crayon and charcoal on paper 32.5 x 25 cm Signed and dated on reverse, 1949 Provenance: Pierre Matisse Gallery, New York; J. Reiss collection, Wisconsin; private collection, Paris Literature: J. Dupin and A. Lelong-Mainaud, Joan Miró, Catalogue raisonné, Drawings II, Editions Daniel Lelong – Successió Miró, 2010, vol. II, p. 185, n° 1184 Exhibition: Milwaukee Art Center, Wisconsin Collects, 24 September-25 October 1964, p. 15, cat. 132
Galerie BG Arts
rené lalique
René Lalique (Ay 1860-1945 Paris) 'Cluny' and 'Senlis' vases, circa 1925 Moulded glass with bronze handles H 26 cm Provenance: private collection, London; Galerie BG Arts; Paris Literature: Félix Marcilhac, René Lalique-Catalogue de l'Œuvre de Verre, Les Editions de l'Amateur, Paris, 2011, n° 961 and 962
Romigioli Antichità
Michele Tosini, known as Michele di Ridolfo del Ghirlandaio (1503-1577) Portrait of Leonora Alvarez de Toledo as Judith, circa 1572-1576 Oil on panel 118 x 87 cm Study by Professor Antonio Geremicca Provenance: noble Florentine collection Wife of Pietro de Medici (1554-1604), son of Grand Duke Cosimo I (1519-1574), the girl in question was Eleonora Alvarez de Toledo (1555-1576), known as Leonora or Dionora, daughter of Garcia (1514-1577), Marquis of Villafranca, and niece of the more famous Eleonora di Toledo (1522-1562) Duchess of Florence
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.
COLNAGHI
willem adriaensz key
Willem Adriaensz Key (Breda 1515/16-1568 Antwerp) The Crucifixion, circa 1550 Oil on panel 102 x 74 cm Signed on the cross: W. KAY Provenance: private collection, Belgium, until 2023; acquired from the above Literature: Koenraad Jonckheere, Willem Key (1516-1568): Portrait of a Humanist Painter, Turnhout, 2011 This signed panel is a recently rediscovered work by Willem Key. Key is most known for his portrait paintings, which account for roughly two-thirds of his known output. However, he was also a gifted painter of historical and religious subjects - this picture is a testament to Key’s powerful religious achievements, several of which were destroyed during the Iconoclastic Fury, or Beeldenstorm, that swept the Low Countries and famously struck Antwerp in 1566. Willem Key was a prominent sixteenth-century painter from Antwerp, then one of the greatest commercial and artistic centres of Europe. Recognised for his exceptional talents, Key enjoyed high social and artistic status, earning the admiration of both local nobility and international figures, including Don Fernando Álvarez de Toledo, Duke of Alba, and Antoine Perrenot, Cardinal Granvelle.
Claes Gallery
Mangbetu slit drum Democratic Republic of Congo, Uele region Presumed period: late 19th-early 20th century Wood H 77 cm Provenance: Edith Hafter (1911-2001), Solothurn, acquired before 1970; transmitted by descent This tulip-shaped slit drum is characteristic of the Mangbetu, Zande and Mamvu of the Uele region. Called ‘nedundu’, these instruments were played in groups as part of an orchestral ensemble including xylophones, gongs or rattles, during festivities or ritual ceremonies. This type of slit drum was sometimes played in pairs by a single musician. These prestigious sound tools were also given to high dignitaries by Mangbetu chiefs ‘to invest them with authority’. (Burssens, Mangbetu. Art de cour africain de collections privées belges, 1992, p. 24). Almost the exclusive property of the local chiefs, these instruments produced a sound that had to carry very far in order to transmit messages to neighbouring villages. The instrument had to be large in order to be capable of sending drummed messages from the courtyard to distant villages. This model is exceptional for its voluminous resonance box in the shape of a half-moon, slightly domed, with clean lines. On each side, a handle is sculpted into the body. The beauty of its abstract form makes this instrument a sculpture in its own right, carved from very hard wood, which has been blackened and meticulously patinated.
COLNAGHI
wilhelm leibl
Wilhelm Leibl (Cologne 1844-1900 Würzburg) Study of a skull, circa 1868 Oil on canvas 34.4 x 31.4 cm Provenance: Johann Sperl (1840-1914), Munich; Karl Zitzmann (1871-1956); His sale, Hugo Helbing, Frankfurt am Main, November 16th, 1926, lot 12 [repr. table 5]; Galerie Heinemann, Munich, with the gallery's labels on the back, until at least May 10th, 1929; Georg Schäfer (1896-1975) Schweinfurt (with Inventory n° 0123 on the back); private collection, Southern Germany Literature: Emil Waldmann, Wilhelm Leibl. Eine Darstellung seiner Kunst, Gesamtverzeichnis seiner Gemälde, 2, Berlin, 1930, cat. n° 81 Exhibitions: Wilhelm Leibl. Gemälde, Zeichnungen, Radierungen (Akademie der Künste, Berlin, Wallraf-Richartz Museum, Cologne, and Galerie Matthiesen, Berlin, Cologne-Berlin: 1929), p. 43, cat. n° 29a; Vor hundert Jahren: Dänemark und Deutschland 1846-1900. Gegner und Nachbarn. (Statens Museum for Kunst, Copenhagen, Kunstmuseum Århus, Kunsthalle zu Kiel, Orangerie Schloss Charlottenburg, Berlin, 1981). p. 372, cat. n° 144 D
Galerie Marc Maison
pierre-ferdinand duvinage
Pierre-Ferdinand Duvinage (France, 1823-1876) Guéridon with a marquetry top resting on three sacred ibises, circa 1874-1876 Gilt bronze, silver, copper, ivory, wood marquetry of various species (top); gilt wooden base with polychromy H 83 x Ø 77 cm Provenance: former Roberto Polo collection Literature: Marc Maison et Emmanuelle Arnauld, Marqueteries virtuoses au XIXe siècle. Brevets d’invention, Éditions Faton, 2012; Daniëlle Kisluk-Grosheide, Maison Giroux and its 'Oriental' Marquetry Technique. The Journal of the Furniture History Society, vol. XXXV, 1999; Roberto Polo. The Eye, Frances Lincoln Publisher Ltd., 2011; Bill Pallot, Marqueteries en cloisonné de la veuve Duvinage, dans L’Estampille-L’Objet d’art, September 2007 The top of this splendid pedestal table was crafted using a technique patented by Duvinage on May 6th, 1874, described as "a type of mosaic with metal cloisons for furniture and art objects." The ivory plaques covering the surface are separated by a network of gilt metal resembling branches, whilst the central motif is a delicate marquetry of multicoloured wood. To enhance the luxuriousness of the piece, some of the leaves are made of silver. This extraordinary marquetry work is combined with three majestic sacred ibises, birds characteristic of the Nile region in Antiquity, revered by the Egyptians as divine symbols.
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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.
Stern Pissarro Gallery
marc chagall
Marc Chagall (Vitebsk 1887-1985 Saint-Paul de Vence) Les Glaïeuls, 1950 Gouache, watercolour, pastel and coloured wax crayons on paper 65 x 50.7 cm Signed lower left 'Marc Chagall' This work is accompanied by a certificate of authenticity from the Comité Marc Chagall Provenance: private collection, USA, circa 1985; thence by descent
rodolphe janssen
sanam khatibi
Sanam Khatibi (Belgian with Iranian heritage, 1979) A few more crimes, 2018 Oil, pastel and pencil on panel 24 x 31 cm Sanam Khatibi (b. 1979, Belgium, of Iranian heritage) is a Belgian artist whose multifaceted practice spans painting, tapestry, sculpture, and installation. Based between Brussels and Paris, Khatibi’s work explores the delicate and complex balance between beauty, violence, and vulnerability. Her practice engages with themes of human imperfection, the tension between domination and submission, and the chaotic forces that shape our lives. Through a distinctive use of color and form, she draws attention to the fragility of the human experience and the unspoken violence that often lies beneath surface appearances. In her work, Khatibi delves into the darker aspects of human nature, exploring our struggles with excess, control, and the breakdown of social and moral boundaries. These explorations are framed in landscapes that juxtapose natural beauty with underlying violence and destruction, invoking a timeless tension between civilization and primal instincts. Her figures -whether human, animal, or mythical-are often presented as fragile, vulnerable, and engaged in various states of conflict, emphasizing the stark realities of human survival and the consequences of unchecked desire. These small-scale vanitas paintings from the 'murders serie' are introspective works, conceived as protection charms, invite the viewer into an intimate reflection on life's transience and human vulnerability.
Stern Pissarro Gallery
tom wesselmann
Tom Wesselmann (Cincinnati 1931-2004 New York) Study for bedroom painting #31, 1972 Oil on canvas 20.3 x 26 cm Signed, dated twice and titled on the reverse This work is registered under n° 72-9 in the archive of the Tom Wesselmann Estate, New York Provenance: Sidney Janis Gallery, New York; private collection, USA, acquired from the above Exhibitions: Paris, Galerie Des 4 Mouvements, Tom Wesselmann: Peintures, 7-31 March 1974, n° 13 (ill.)
VKD Jewels
Seaman Schepps (USA) Rock crystal, onyx and diamond 'buckle' bracelet, circa 2000 Comprising five carved rock crystal buckle-shaped links connected by bridge-shaped diamond set onyx links Diamond carat weight is approx. 6.00 carats total Maker's mark of Seaman Schepps and stamped 750 assay mark for 18k white gold .
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Galerie Berès
Jean Degottex (Sathonay-Camp 1918-1988 Paris) IMPA-VIDE (II), 1959 Oil on canvas 199 x 130 cm Signed lower right ‘Degottex’; signed, titled and dated on the back: Degottex IMPA-VIDE (II) 1959 This work will be included in the catalogue raisonné of Jean Degottex Inclusion certificate n°2023-34 issued by Comité Jean Degottex dated 21 November 2023 Provenance: private collection Exhibitions: Les Alliances, Les Dix-huit vides, Galerie internationale d'Art contemporain, séquences sonores de Pierre Henry, Paris, 26 November-31 December 1959 Jean Degottex was born in Sathonay-Camp on 25 February 1918 and died in Paris on 6 December 1988. Degottex was a French abstract painter, best known for his initial proximity to the lyrical abstraction movement of the 1950s and 1960s. In his own words, his work gradually moved from gesture and sign to writing, and then from writing to line. Considered a major artist of abstraction in the second half of the 20th century, he drew inspiration from Far Eastern calligraphy and Zen philosophy to achieve the obliteration of the creative subject. In 1958, he joined the Galerie internationale d'art contemporain, directed by Maurice d'Arquian. There he rubbed shoulders with Pierre Henry, Yves Klein and Maurice Béjart. He became better known abroad, particularly in Belgium, Switzerland, Italy and Germany. The period from 1956 to 1963 was particularly productive. He worked in series/suites: suite Ashkénazi (1957), suite Serto (March-April, November 1957), suite des Hagakure (November 1957), les 18 Vides (1959), suite des Roses (1960), suite des Alliances (1960), les 7 Métasignes (1961), Jshet (1962). Many of his works were then entitled Écriture, Suite Écriture. EXHIBITION Les Alliances, Les Dix-huit vides, Galerie internationale d'Art contemporain, sound sequences by Pierre Henry, Paris, 26 November-31 December 1959 Jean Degottex joined Maurice d'Arquian's Galerie Internationale d'Art Contemporain in 1958. Maurice d'Arquian was particularly keen on the confrontation between different forms of creation. He organised performances in his gallery and brought the composer Pierre Henry into contact with the painter. In 1959, the artist exhibited Alliances, eighteen empty forms, and Pierre Henry produced sound sequences inspired by the 18 empty spaces on display. The music will be played throughout the exhibition. The title ‘IMPA-Vide’ (II) corresponds to the eighteen forms of emptiness listed in the Mahâ-prajnâpâramitâ (The Treatise on the Great Virtue of Wisdom).
Galerie Lowet de Wotrenge
jacques jordaens
Jacques Jordaens (Antwerp, 1593-1678) An academy of a seated male nude, circa 1635 Black chalk and sanguine, heightened with white, on laid paper 27.3 x 19.7 cm Provenance: Marquis Charles-Ferdinand-Louis de Valori, Paris (1820-1883), Paris (L. 2500); Hôtel Drouot, Paris, 25-26 November 1907, lot 136 (80 fcs to Mathey); Henry Nanteuil de La Norville (1876-1941), thence by descent Jacob (or Jacques) Jordaens was born in Antwerp in 1593. Little is known about his early life. At age fourteen he became an apprentice of Adam van Noort, who had also taught painters like Sebastiaen Vrancx and Peter Paul Rubens. He stayed with van Noort for eight years and joined the Guild of St Luke as a 'waterpainter' in 1615. The following year, he married van Noort's daughter Anna Catharina. The couple had three children, one of whom, Jacob II, went on to become a painter himself. Jordaens' clientele consisted mostly of well-to-do burghers and clergymen, although after the death of Rubens and van Dyck he was given several courtly commissions too, including a set of eight paintings for Charles I of England and a series of commissions for Christina of Sweden. He also producted numerous designs for tapestries. Apart from a few trips up in the Northern Netherlands, Jordaens lived and worked in Antwerp his whole life. He became a wealthy man and a prolific artist, remaining productive until the end of his life. Between 1621 and 1667, the records list fifteen official pupils, but the actual number of students and assistants that passed through his studio must have been much higher, especially given his sizeable output of often large-scale works. Stylistically, Jordaens was enormously influenced by Rubens, especially in his early work, although the influence of Italian painters such as Veronese and Barocci - whom he studied through prints and copies, having never been to Italy - can also readily be felt, for example in his use of vibrant colours. Until about 1618, his work clearly shows a mannerist touch. Caravaggism certainly also left its mark on his artistic development, as did the work by his contemporary Abraham Janssens. Gradually, Jordaens developed a style that was more his own, fusing the monumental figures of Rubens and Janssens with the brilliant colours of the Italians, combined with a sense of realism. Later on, his figures became somewhat more crudely painted, his compositions marked by a folksy exuberance and a more restriced, darker colour palette. From the 1650's onwards, the quality of his work deteriorated visibly; his later work often shows crowded compositions - albeit with less monumental figures - and at times an almost monochrome use of colour, often restricted to thinly applied blue-grey or earth tones. Jordaens was a somewhat gifted portrait painter, who also produced religious, mythological and history paintings as well as illustrations of Flemish proverbs. He is especially famous for the latter, following in the footsteps of Pieter Bruegel the Elder's genre tradition, depicting Flemish life with honesty and authenticity and staging common people in celebratory expressions of life. These humourous, albeit sometimes also somewhat coarse pictures, are amongst his best known work. Jordaens also etched a number of plates and was a prolific draughtsman, producing many excellent drawings either as preparatory sketches or as artworks in their own right. This drawing, not recorded in print or reproduced since the catalogue of the 1907 sale (see Provenance), is a new addition to three groups of important nude studies by Jordaens, all depicting middle-aged or older men (for a recent discussion, see N. Van Hout in Jordaens et l’antiquité, exhib. cat., Brussels, Musées Royaux des Beaux-Arts de Belgique, and Kassel, Museumslandschaft Hessen Kassel, 2012-2013, pp. 54-59, nos. 18-27, ill.). The majority can be dated to the 1620s, early in the artist’s career, and are divided between the collections of the Museum Kunstpalast in Düsseldorf and the Hessisches Landesmuseum Darmstadt (R.-A. d’Hulst, Jordaens Drawings, Brussels, 1974, I, nos. A8-A20, III, figs. 8-20); an additional sheet is held at the British Museum (inv. Gg,2.228; see ibid., I, no. A21, III, fig. 21). All seem to depict the same strong, bearded, curly-haired man. Of the same model, but markedly superior than the drawings in Darmstadt, Düsseldorf and London, is a sheet in a private collection that was sold at Christie’s, New York, January 26th, 2011, lot 282. Dated to the early 1640s are four studies of an older, bald, and corpulent man – the ‘Silenus type’ – of which two are untraced, and the others are in the print room of the university library in Leiden (inv. PK-T-AW-249) and in the Louvre (inv. RF 674; see D’Hulst, op. cit., I, nos. A148-A151, III, figs. 161-163). Although more accomplished, the present work seems to belong to a third group, drawn from the same model as a study that can be dated to the second half of the 1630s at the State Hermitage Museum, Saint Petersburg (inv. OR-14234; see D’Hulst, op. cit., I, A123, III, fig. 135); a third drawing should perhaps be related to these two sheets, although in the past it has been dated later (Frits Lugt Collection, Paris, inv. 5172; see D’Hulst, op. cit., I, no. A154, III, fig. 166). At least some of these drawings, certainly the earlier ones, seem to have been made in the context of an informal academy, where artists would gather to draw from a life model. None can be considered direct studies for paintings by Jordaens, but the best of them, including the drawing under discussion, display the powerful realism and bold use of media that distinguishes the artist’s most accomplished works. Interestingly, the verso of our drawing depicts a study of a sheep in sanguine, as well as a study of a sheep's head in sanguine and black chalk, also by Jordaens (see illustration). Since the artist presumably kept the present sheet in his studio as study material for a longer period, it is possible that these studies can be dated to a later period in Jordaens' career, as their style seems to suggest.