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23 JAN - 30 JAN 2022

TOUR & TAXIS | BRUSSELS

 

23 JAN - 30 JAN 2022

TOUR & TAXIS | BRUSSELS

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Artworks
Galleries
Galleries David Aaron Galerie AB-BA Paolo Antonacci W. Apolloni srl d'Arschot & Cie Art et Patrimoine - Laurence Lenne Artimo Fine Arts Arts et Autographes Galerie Ary Jan Bailly Gallery Helene Bailly Gallery Véronique Bamps Baronian Xippas Galerie de la Béraudière Galerie Berès Galerie Berger Berko Fine Paintings Bernier/Eliades Gallery Dr. Lennart Booij Fine Art & Rare Items Boon Gallery Galerie Alexis Bordes Bernard Bouisset Galerie Boulakia Brame & Lorenceau Brun Fine Art Cabinet of Curiosities-Honourable Silver Objects Callisto Fine Arts Galerie Jean-François Cazeau Galerie Cento Anni Chambre professionnelle belge de la Librairie Ancienne et Moderne (CLAM) Chiale Fine Art didier Claes C L E A R I N G Cortesi Gallery Costermans & Pelgrims de Bigard Dalton Somaré Patrick De Brock Gallery De Jonckheere Galerie Oscar De Vos De Wit Fine Tapestries Deletaille Gallery Gallery Desmet DIE GALERIE Douwes Fine Art BV Galerie Eberwein Xavier Eeckhout Epoque Fine Jewels Yann Ferrandin Finch & Co A&R Fleury Galerie des Modernes Gladstone Gallery Gokelaere & Robinson Galerie Grand-Rue Marie-Laure Rondeau Grusenmeyer - Woliner Galerie Hadjer Philippe Heim Marc Heiremans Heritage Gallery Christophe Hioco Charles-Wesley Hourdé Huberty & Breyne Galerie Hurtebize Galerie Jamar rodolphe janssen Francis Janssens van der Maelen Harold t’Kint de Roodenbeke Lancz Gallery Alexis Lartigue Fine Art Galerie Bertrand de Lavergne Lemaire Francis Maere Fine Arts Kálmán Makláry Fine Arts Galerie Martel-Greiner MARUANI MERCIER Gallery Nao Masaki Galerie Mathivet Meessen De Clercq Montagut Gallery Galerie Montanari MORENTZ Jan Muller Antiques Klaas Muller Gioielleria Nardi Opera Gallery Osborne Samuel Gallery Galeria Jordi Pascual La Patinoire Royale / Galerie Valérie Bach La Pendulerie Galerie Alexis Pentcheff Guy Pieters Gallery Galerie de la Présidence Galerie Günter Puhze Gmbh Maison Rapin Repetto Gallery Röbbig München Robertaebasta Rosenberg & Co. Rueb Modern and Contemporary Art São Roque – Antiguidades e Galeria de Arte Galerie Schifferli Adrian Schlag Serge Schoffel - Art Premier Galerie Schoffel de Fabry Clara Scremini Gallery Galerie Seghers Herwig Simons Galerie Sismann STEINITZ Stern Pissarro Gallery Simon Studer Art Associés Studio 2000 Art Gallery Galerie Taménaga Tenzing Asian Art Theatrum Mundi Theunissen & de Ghellinck Galerie Patrice Trigano Univers du Bronze Van der Meij Fine Arts Samuel Vanhoegaerden Gallery Maurice Verbaet Gallery Galerie von Vertes Axel Vervoordt Galerie Florence de Voldère N. Vrouyr Waddington Custot Floris van Wanroij Fine Art Victor Werner Whitford Fine Art Willow Gallery
 

Rosenberg & Co.

Joaquín Torres-García (Montevideo, 1874-1949) Untitled, circa 1901 Oil on canvas 33 x 44.5 cm Signed J. Torres GARCIA lower right. Provenance: private collection, Barcelona; private collection; Rosenberg & Co., New York Literature: Joaquín Torres-García Online Catalogue Raisonné (www.torresgarcia.com), no. 1901.14; Ciruelo, Pedro. "En el palacio de la Virreina: Las 'Retrospectivas' de la Bienal,’ Destino (Barcelona: October 12, 1955), ill.

 

Galerie Günter Puhze Gmbh

Mule's head from a fulcrum Bronze and iron Roman, 1st century BC-1st century AD H 9.5 x W 13 cm Condition: the fulcrum was attached to the klinē with two iron pins at the backside Unbroken; tip of right ear and small part of mane missing Provenance: collection M. S., Vienna, acquired from Dr. A. A., Munich, in the late 1970s-1980s. ALR S00149945 This mule´s head would originally have decorated a side of the headrest of a Roman klinē (couch), more precisely the upper part of the headrest support (fulcrum). The head is depicted with open mouth with incised teeth. At the upper head a decorative ornament; a part of the mane tied in a bunch and bound with a ribbon; incised decoration for the hairs of the mane; muscles and folds of skin on the curving neck are carefully characterized. Below the mule´s neck a collar and a panther's skin with pow.

 

Galerie Martel-Greiner

Jean Vendome (Lyon 1930-2017 Eaubonne) Necklace 'Boréale', 1955 18K white gold Unique piece Signed 'Jean Vendome' Literature: Marlène Crégut-Ledué, Jean Vendome the precious journeys of a creator, Faton editions, 2008 ('Boréale' series referenced pp. 34-35) The first jewel in the 'Boréale' line is a 1955 brooch. Rings and ear clips will be added to it. Jean Vendome worked on this line until the 1970s, developing it with 'Star' and 'Horizon'. Extract from Sophie Lefèvre's book 'Jean Vendome a half-century of contemporary jewelry creation', Somogy éditions d'Art, 1999. In the 1960s, the creations of the jeweler Jean VENDOME brought about a real revival: he was one of the first to apply the aesthetic principles of abstraction to the art of jewelry. When he started, in the 1950s, the style of jewelry was the opposite, decorative and figurative. Jean Vendome is in search of a new path, a language in correlation with the way of life of his time. However, jewelry is still frozen in secular codes, classicism is required. In this context, deliberately going off the beaten track was an option that was all the more difficult because everything had to be invented. Starting with the design of the jewel. Jean Vendôme no longer considers it an outward sign of wealth but sees in it an object in harmony with modern life, fashion, music, painting. He sees it as a work of art, a miniature sculpture that can be worn and gives it a specific expressive value. He is developing his research on several fronts: the renewal of forms, the integration of new materials, and work on transformative pieces, allowing elements of a necklace or bracelet to be worn as a ring or brooch. Plastic research leads to radical changes in the appearance of parts. Jean Vendome begins by removing the traditional frame in favor of an abstract pattern, where the stones are arranged in an irregular grid. The break with symmetry and regular ordering is a real novelty, which gives the stones a particular relief, and makes the setting a decoration in itself. He strives to renew and enrich the repertoire of jewelry materials, with native or nugget gold, uncut crystals, mica plates. Participating in numerous exhibitions and professional, national and international events, he contributes to making known and recognized the new forms of the jewel. Revolutionary at the time, but in fact in phase with his century, they will never go out of fashion: many of them have become part of the repertoire of current jewelry (the asymmetry, the use of originals, the frame melted as a decoration, the use of the circle, the rhombus, the spiral, the triangle, among others).

 

Bernard Bouisset

Two emerald cut diamonds Mounted on platinum tennis bracelets Around 35 carats and 18 carats

 

Galerie Mathivet

Jules Leleu (Boulogne-sur-Mer 1883-1961 Paris) Sofa and 2 armchairs, circa 1958 Set consisting of a three-seater sofa and two armchairs resting on wooden legs Armchairs: H 79 x W 73,5 x D 80 cm Sofa: H 79 x W 72.5 x D 184 cm Literature: F. Siriex, Leleu, décorateurs ensembliers, Editions Monelle Hayot, 2007, p. 423

 

d'Arschot & Cie

A lady’s tankard Goldsmith’s mark with an H Ravensburg, late 16th century Partially gilt silver H 10 cm Weight 256 gr

 

Philippe Heim

Olof Wilfried Nilsson (Sweden, 1868-1956) View from Sweden, 1914 85 x 72 cm

 

Studio 2000 Art Gallery

Jan Toorop (Java, Poerworedjo 1858-1928 The Hague) The orphanage, Amsterdam, 1926 Mixed technique on paper 23.5 x 14.5 cm Signed and dated lower left ‘J.Th. Toorop 1926’ Annotated ‘R.K. Vereeniging ter Bescherming van meisjes (Amsterdam) Voor Programma. De letters in één rechte lijn onder laten drukken’ Study for a poster for the Roman Catholic Association for the protection of girls, Amsterdam Provenance: Auction Christie's, Amsterdam, 12 December 1990, lot n° 97; private collection, The Netherlands Literature: H. Kraaij en W. Rothuizen, Jan Toorop: Het late Symbolisme, Amsterdam 2001, p. 97

 

Meessen De Clercq

Benoît Maire (Pessac, France 1978) Château, 2019 Ammonite, camera lens, level, brass 28.5 x 42 x 33 cm

 

Grusenmeyer - Woliner

Kota-Ndasa reliquary figure Wood, red copper and yellow brass Gabon, late 19th-early 20th century H 50.5 cm Provenance: Bruce Frank, USA; Bertrand Duchaufour collection, Paris Photo credit: Studio Asselberghs-Frédéric Dehaen

 

Galerie AB-BA

André Marfaing (Toulouse 1925-1987 Paris) Mai 82-85, 1982 Acrylic on canvas 92 x 73 cm Signed lower left

 

Waddington Custot

Joan Miró (Barcelona 1893-1983 Palma de Mallorca) Personnage, circa 1961 Wax crayon on paper 65.5 x 51 cm Signed in graphite lower right, ‘Miro’; inscribed in graphite on the facing page, ‘r. Queneau / 18/75 /Miro’ This artwork is accompanied by a photo-certificate of authenticity issued by ADOM (Association pour la Défense de l'oeuvre de Joan Miró), Paris on 18 January 2020 Provenance: private collection, Barcelona (gifted by the artist); private collection, Barcelona; private collection, Madrid (purchased in 2015)

 

Gioielleria Nardi

Nardi 'Finestre Veneziane' earrings Made in 18 kt white gold, reminding the shape of the venetian bifore, the shape of the windows of the most important palaces

 

Christophe Hioco

Bust of Buddha Copper alloy Thailand, U-Thong style, 15th century H 61 cm Provenance: private collection, France, acquired from La Compagnie de la Chine et des Indes, Paris, 1970

 

Galerie Schifferli

Raoul Ubac (Belgium, Malmedy 1910-1985 Dieudonné, France) Untitled (Head), circa 1969 Stoneware covered with an amalgam of resin and slate powder H 23 x W 21 x D 15 cm Signed with the 'U' monogram on the back of the sculpture Provenance: collection of Maître Maurice Rheims This sculpture is registered in the Raoul Ubac archives under nº 10 30. The work is accompanied by a photographic certificate from Anne Ubac Delfieu, daughter of the artist and moral rights holder.

 

A&R Fleury

Pierre Alechinsky (Brussels, 1927) Opter pour l'esprit, 1966 Acrylic on paper mounted on canvas 100 x 154 cm Signed upper left 'Alechinsky' Signed, titled and dated on the back The authenticity of this work has been confirmed by the artist

 

Galerie Patrice Trigano

Lucien Clergue (Arles 1934-2014 Nîmes) Nu zébré (Liz), 1998 120 x 80 cm Silver print on aluminum AP 1/2 of an edition of 8 Signed and annotated by the artist on the back of the montage

 

N. Vrouyr

Kilim Wool on wool Iran, province of Azerbaijan, mid 20th century 386 x 148 cm

 

Van der Meij Fine Arts

Johan Christian Dahl (Norway, Bergen 1788-1857 Dresden, Germany) Birds in the snow, 1836 Oil on canvas laid on wood 10 x 9.5 cm Signed lower right: J Dahl 1836 Provenance: E.W. von Coopmanns, Dresden, 1836; Auction Blomqvist, Oslo, 4 December 1978, lot 15a; private collection, Norway; Christie's London, 29 November 1991, lot 77; private collection, Switzerland Literature: M.L. Bang, Johan Christian Dahl, Life and Works, Oslo, 1987, vol. II, p. 258, n° 823, vol. III, plate 349 The Norwegian-born painter Johan Christian Dahl (1788-1857) is arguably the most important representative of Dresden romanticism after Caspar David Friedrich. Dahl was born in Bergen, Norway, in 1788 and studied at Copenhagen's Royal Academy between 1811-18. In 1818 he travelled to Germany and settled in Dresden, where he became a member of the Academy in 1820. This was the heyday of Caspar David Friedrich's fame and influence, and although Dahl certainly derived inspiration from Friedrich's revolutionary approach to romanticist landscape panting, he would always prefer a stronger sense of naturalism in his art. . The present painting shows Dahl at his most “Friedrichian”. It is a small oil sketch, the size of a Christmas card. It was made as a gift by Dahl for a close friend, the diplomat E.W. von Coopmanns, who acted apparently as Norwegian chargé d’affairs in Dresden during (some of) the 1830s. The intimate size of the painting is indicative of the fact that it was a present. The theme and composition are firmly grounded in Dresden-based Romanticism. A number of snow-covered fir trees are stood among some rocks. A few crows in the foreground are sitting on the rock to the left, whilst a third bird is sitting on a branch on the right. The presence of the trees is made more pronounced by the unclear perspective: the background is left deliberately undefined. This makes the trees dominate the composition, especially as they are grouped closely together, reminiscent of the way in which Friedrich would do this. Unlike Dahl, for Caspar David Friedrich many compositions carried religious connotations, with snow, for example, representing death and fir trees the promise of resurrection. Dahl did not seek to infer symbols into his paintings in this way, but he did manage to create a contemplative mood in the present oil sketch that exudes what Germans so accurately refer to as Stimmung. The trees and the birds have been painted quite effortlessly, with a few dabs here and there. A soft sprinkling of snow on the branches of the fir trees combines with the gloomy background, creating a warm and peaceful feel. And it is by the loose way in which this has been painted that we can sense the quiet spirit that we are meant to perceive when viewing this slice of nature in such diminutive detail.

 

MARUANI MERCIER

Marcel Mariën (Antwerp 1920-1993 Brussels) Rapproche-Orient, 1979-2020 Black Marquina marble H 39 x W 39.6 x D 33.3 cm Limited edition of 8 copies and 4 artist's proofs conform to the original work of Marcel Mariën Copyright © Fondation Marcel Mariën

 

Willow Gallery

Armand Guillaumin (Paris 1841-1927 Orly) La Scierie de Poitiers, circa 1910 Oil on canvas 51 x 71 cm Signed and inscribed 'Guillaumin Hommage à l'Amérique' Provenance: private collection (acquired from the artist around 1920); sale, Parke-Bernet Galleries, New York, October 28, 1970, lot 2 Literature: G. Serret et D. Fabiani, Armand Guillaumin, Catalogue raisonné de l'oeuvre peint, Paris, 1971, n° 776 (illustré)

 

Philippe Heim

Peter Leftwich (Sweden, 1913-?) Hunter and Warrior Zoulou Tempera and oil on canvas 76 x 56 cm Painting n° 17 exhibited at Stolo 1937-1938

 

Gallery Nao Masaki

Mitsugu Sato (Osaka, 1971) Untitled, 2009 Mixed media H 172 x W 60 x D 22,5 cm / H 140 x W 21 x D 21 cm

 

Yann Ferrandin

Noh mask Hinoki wood (Japanese Cypres), gesso, pigments, laquer on the back side Japan, middle-end Edo period, 18th-19th century H 21.1 cm FUKAI, used to play a middle-aged graceful woman Picture by Hughes Dubois, Paris-Brussels

 

Galerie AB-BA

Victor Vasarely (Pécs 1906-1997 Paris) Polos, 1989-1993 Acrylic on canvas 127 x 114 cm Signed lower right Reference: (1627) 3228 Certificate from Pierre Vasarely Registered in the archives of the Vasarely Foundation Provenance: private collection

 

Galerie Jamar

Léon Spillaert (Ostend 1881-1946 Brussels) Domino-Witte kapmantel, 1912 India ink and gouache on cardboard 56 x 40 cm Verso, authentification by Madeleine Spilliaert, daughter of the artist Provenance: one of grand-children of Léon Spilliaert; Irmingarde Van Rossum, Brussels

 

La Patinoire Royale / Galerie Valérie Bach

Olga de Amaral (Bogota, 1932) Memento 8, 2013 Linen, gesso, gold leaf and acrylic paint 160 x 200 cm Courtesy of Casa Amaral © Diego Amaral

 

Alexis Lartigue Fine Art

Olivier Debré (Paris, 1920-1999) Ocre vert, tâche bleue, 1984 in Touraine Acrylic on canvas 180 x 250 cm Signed and dated

 

Véronique Bamps

Necklace Yellow gold ‘Sablier’ René Boivin, circa 1960

 

De Wit Fine Tapestries

Dancers after David Teniers Brussels, mid 18th century Wool and silk 253 x 525 cm

 
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