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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.
Thomas Deprez Fine Arts
théo van rysselberghe
Théo van Rysselberghe (Ghent 1862-1926 Saint-Clair) Portrait d’une dame lisant, circa 1884 Oil on mahogany 51.5 x 37 cm - framed 55 x 40 cm Signed lower right 'Théo van Rysselberghe' This recent rediscovery is accompanied by a certificate from Olivier Bertrand and will be included in the forthcoming catalogue raisonné of the artist Provenance: private collection, Brussels
Artimo Fine Arts
albéric collin
Albéric Collin (Antwerp, 1886-1962) Elephant of the Indies Bronze, reddish-brown patina with golden undertones H 37.5 x W 36.5 x D 18 cm Model created in 1924, lost-wax, signed 'Alberic Collin' and stamped in the wax 'Claude Valsuani foundry' in Paris Provenance: Van Weert family for three generations; acquired by Mrs. Magier in 2001
Kunstconsult 20th century art I objects
lino tagliapietra
Lino Tagliapietra (Murano, 1934) Samarcande vase with filigree in clear and pink glass, 1989 Designed in 1981 and made for Effetre International 1989 H 15 x Ø 24 cm Provenance: collection Snijder, Aerdenhout Literature: Giovanni Sarpellon, Lino Tagliapietra Glass, Publisher Arsenale, p. 44
Heutink Ikonen
In Thee Rejoiced All Creation Russia, second half of the 18th century Egg tempera on gesso on linen-covered wood 33.5 x 29 cm Provenance: private collection, Germany A special detail is that in the archway on the left, the prophet, king and psalmist David is depicted. In his arms he holds a triangular stringed instrument, with which he appears to provide musical accompaniment to the hymn. This rare iconography is based on the Marian hymn from the Liturgy of St Basil, which begins with the words: 'All of Creation rejoices in thee, O full of grace: the angels in heaven and the race of men' In the centre we see the Mother of God enthroned, with the infant Christ on her lap. Angels are gathered around the throne. Below, prophets, apostles, church fathers and other saints pay homage to the Mother of God. The hymn is attributed to the Church Father John of Damascus (676-749), who is depicted directly below the enthroned Mother of God on the left with a scroll of text in his hand and his distinctive white headscarf.
Galeries AB & BA
Uli ancestor figure Northern New Ireland, Papua New Guinea, Melanesia, Oceania, first half of 20th century Carved wood and pigments H 108 cm Provenance: Umlauff Museum, Hamburg. Inv. 163/35591; Gros & Deletrez sale, May 26th, 1983; Robert Lebel collection, Paris; Calmels Cohen sale, December 4th, 2006; private collection; Christie's Paris sale, June 11th, 2012; Galerie Monbrison, Alain de Monbrison lists Elie de Rothschild as former provenance; collection Georges Goldfayn Literature: I Surrealisti, Arturo Schwartz, éd. Mazzotta, 1989, p. 251; Uli, Powerful Ancestors from the Pacific, Jean-Philippe Beaulieu, éd. Primedia, 2021, p. 252 Depiction of a standing man with his hands positioned behind his ears. The head is surmounted by a tall, feather-shaped crest cap over a checkerboard-engraved skullcap.
Galeria Jordi Pascual
óscar domínguez
Óscar Domínguez (Spain, San Cristóbal de La Laguna 1906-1957 Paris, France) Téléphone et revolver, 1944 Oil on canvas 81 x 54 cm Certificate of authenticity by Asociación en defensa de Óscar Domínguez Provenance: private collection Literature: Fernando Castro, Óscar Domínguez y el Surrealismo, Madrid, 1978, p. 153, nº 244 Exhibitions: Marsella, Musée Cantini, La part du jeu et du rêve, Óscar Domínguez et le Surréalisme 1906-1957, June-October 2005, p. 150, nº 74
Claes Gallery
Songye Mask Democratic Republic of Congo, Katanga Presumed period: late 19th-early 20th century Wood, pigments H 31.8 cm Provenance: acquired in situ by John Henry (aka Jack) Sandground in Ebombo, 1934; passed on to descendants; American private collection, Washington Amongst Songye masks, a general distinction was made in reference to the function of male and female masks. Male masks (bifwebebalume) were involved in rites of passage. On the other hand, female masks (bifwebe bakashi), which appeared on the occasion of the death or investiture of a chief and during lunar rites, were an integral part of the symbolic composition of these rituals, animating benevolent spiritual forces through dance. This mask is a female ‘kikashi’ mask, as indicated by the two-tone white and black, the absence of a sagittal crest and the flat nose. According to Plasmans, ‘the female kifwebe animates the vital forces through dance, calling upon the benevolent spirits of the forest. The woman, as the bearer of children and thus of good fortune, perpetuates the lineage and simultaneously also the magical essence of buci. In this way, female masks represent the continuity of life and cultural tradition. The presence of the passive female mask in the composition of bwadi society accentuates and completes the dialectical opposition of the active force of the male masks'.
Chambre professionnelle belge de la Librairie Ancienne et Moderne (CLAM)
Aventuras de Juan Esparraguito o el niño casi legumbre. Cuchicheos de un abuelo Paris (Argenteuil, R. Coulouma & Le Coloris Moderne), 1930. Folio, publisher’s white pictorial wrappers in pochoir colour, (in modern box) (8) pp. 145 pp. 1 unnumbered leaf. Spanish text. 22 full-page plates, 25 text illustrations, and 14 initials by the South American artist A. Gómez-Palacios, all in superb pochoir colour, several with gold or silver highlights. Complete. First and only edition. Literature: Catalogue of the Cotsen Children’s Library, 2000, 3006 / Manuel Peña Muñoz, Historia de la Literatura infantil chilena, 1982, pp. 31-32 / Not in Bilderbuch im Kinderwelt & Olivier Piffault, Babar, Harry Potter & Cie (BnF) A monument of Chilean children’s literature that embodies the spirit of “realismo mágico” (magical realism) usually associated with South American art and literature, a mixture of world history, religion, and fantasy. It is a fairy tale about a little boy who dreams of being a fully-fledged asparagus someday. The illustrations show his journey and the people and creatures he meets along the way. The book was written by Agustín Edwards McClure (1878-1941), a rich Chilean businessman, lawyer, press tycoon, minister, and president of the League of Nations between 1922 and 1923, during his exile in Paris; it is dedicated to his grandchildren. “Los años 30 se inician con una publicación para niños que es una exclusividad y una joya para el coleccionista de libros infantiles chilenos antiguos. El libro chileno, aunque impreso en París, está lleno de imágenes caprichosas y originalidades, como llamar cascabeles a los capítulos. La primera lámina representa un hermoso gato negro que ostenta un lujoso collar de 14 cascabeles, uno por cada capítulo. La historia transcurre “en una tarde bañada de sol, como ias que solo se ven en Viña del Mar, rincón privilegiado de la Costa del Pacífico y en un sitio llamado desde tiempos remotos “Los Canelos”. Allí está el abuelo contándoles una historia maravillosa y extravagante a sus nietos Cuchito y Sonia. Y la historia abunda en fantasía y en descripciones de otros países como India, China, y tambien de nuestra cordillera. Contiene asimismo descripciones poéticas, muy modernistas. En suma, un libro delicado, fino, exquisito, de gran formato y pieza clave en la historia de la literatura infantil chilena” (Manuel Peña Muñoz). Although the colophon states that 1000 copies were produced, the book is very rare, and the cost of production may have precluded printing more than a couple of hundred copies. One of 900 numbered copies on vélin Lafuma. This copy was specially printed for the printer’s wife. A pristine copy, very uncommon in this condition. Pierre Coumans, Antiquarian bookseller
Boon Gallery
Pablo Picasso (Málaga 1881-1973 Mougins) Le peintre et son modèle, 1963 Oil on canvas 65 x 100 cm Signed lower right Provenance: private collection, Europe; private collection, 1982; Alexander Lolas Collection, Paris; Louise Leiris Gallery, Paris Literature: C. Zervos, Pablo Picasso: catalogue raisonné, Vol. XXIII, Paris, 1971, plate 120, n° 253, ill.
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Galerie Lowet de Wotrenge
Frans Francken I or Frans Francken the Elder (Antwerp, 1542-1616) The Amazons fighting at Troy, circa 1600 Oil on copper 34 x 41.5 cm With thanks to Dr. Ursula Häerting for confirming the attribution to Frans I Francken and for providing a written certificate Provenance: sale, Christie's London, 13 March 1987, lot 31; private collection, Mallorca Frans I 'the Elder' Francken was born in Herentals in 1542. His father, Nicolaas Francken, was an obscure painter whose oeuvre remains unknown, but can be seen as the founding father of one of the most important dynasties of artists in the Southern Netherlands. Both Frans and his siblings Ambrosius and Hieronymus - who were to become painters as well - were first taught by their father. Karel van Mander mentions in his Schilder-boeck that Frans was later a pupil of the leading Antwerp Romanist painter Frans Floris. He became a member of the Antwerp guild of St Luke in 1567, and served several times as its dean. Frans Francken married Elisabeth Mertens; the couple had many children, of whom six were still alive at the time of his death in 1616: Thomas, Frans ('the Younger'), Hieronymus, Ambrosius, Magdalena and Elisabeth. The four sons all became painters and received their initial training from their father, who also taught several other pupils, such as Gortzius Geldorp. Much like his teacher Frans Floris, Frans Francken was one of the principal painters in Antwerp in the initial decades of the Counter-Reformation, working on many altar pieces which were commissioned to replace the ones that had been destroyed by the iconoclasm of the Calvinists. For these projects he regularly collaborated with his brothers; for example, for an Adoration of the Magi triptych (Brussels, Royal Museums of Fine Arts of Belgium and London, Brompton Oratory), which bears his monogram as well as that of his brother Hieronymus (along with both brothers' portraits in profile, which they impishly included in the wings of the tryptich). Stylistically, Frans' early work was clearly indebted to Frans Floris; later on he developed his own, more classicising style, although he remained first and foremost a mannerist painter. He seems to have been skilled at portraiture, too. Besides large-scale pictures, he also produced small-size cabinet pictures, often painted on copper - a genre in which his son Frans II would excel. The present work is a beautiful example of such production, and a valuable addition to the small body of work that can be attributed to him in this genre, as has been confirmed by Dr. Ursula Härting in a written certificate dated October 4th, 2023. She dates the present work to around 1600, or possibly a bit earlier. This small oil on copper depicts the Amazons fighting in front of the city of Troy, which can be seen in the background. According to Homer's Iliad, the Amazon queen Penthesilea had led her troops to Troy in support of King Priam in his fight against the Greeks. The queen, who can be seen in the foreground spearing a hapless Greek, was a fearless warrior who could best any man (according to one version of the story, she even killed Achilles, who was however subsequently brought back to life by Zeus). Ultimately, however, Penthesilea was slain by Achilles, who - according to some authors - fell deeply in love with her at the very moment of her death.
Selected by BRAFA, designed by Gert Voorjans
corneille
Corneille (Guillaume Cornelis Van Beverloo, Liege 1922-2010 Auvers-sur-Oise) Untitled, Abstract blue, red and grey, 1960 Mixed media on canvas 28 x 35 cm Signed and dated upper right corner 'Corneille 1960' Certificate of authenticity issued by Fondation Guillaume Corneille in Brussels on 15 November 2024 Couck Art Gallery - Lucie Couck
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 Florence de Voldère
pierre brueghel le jeune
Peter Brueghel the Younger (Brussels 1564-1638 Antwerp) Winter Landscape with Skaters - The Bird Trap Oil on panel 39 x 57 cm Among the strong, committed subjects that make up the oeuvre of Peter Brueghel the Elder, The Bird Trap is like a gift in the form of a poem all its own. The very different subject at the heart of this work is pure emotion. Whether provoked by the silence of nature, or by an awareness of the human scale in the macrocosm, or for any other reason, it remains a masterpiece out of time.