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Romigioli Antichità
Giovanni Baratta (Italy, 1670-1747) Pair of cherubs, 1699 Carrara marble H 72 cm Fragment recovered from the lost high altar of Santa Trinita in Florence, studied by Francesco Freddolini Provenance: Florence, Church of Santa Trinita until 1892 Literature: Francesco Freddolini, Journal of visual art Predella n° 53, June 2023 Pair of large (H 72 cm) and splendid statuary marble Cherubs by Giovanni Baratta (Carrara 1670 - 1747), they are the best expression of Florentine Baroque. Baratta, an artist of European fame, worked not only for the clergy but also for the most important Florentine aristocracy, including the Medici family. The two Cherubim are of historical and artistic significance because of their provenance; in fact, they are the only surviving element of the altar in the Santa Trinita church in Florence, the original location of Cimabue's Maestà. Their large size is obviously due to the fact that they were placed at the highest part of the altar and are portrayed in the act of kissing each other.
Galerie Kevorkian
persian art, samanid dynasty
'Buff ware bowl' with seated figure, animals and inscriptions Persian art, Samanid dynasty Earthenware pottery, painted in black, yellow and green under a transparent glaze Eastern Iran (Khurasan), Nishapur, 10th century H 6.2 cm; Ø 18.2 cm Provenance: former collection P.M., Paris; Hôtel Drouot, 10 July 1980, lot 9
Van Herck-Eykelberg
alexander calder
Alexander Calder (Lawnton 1898-1976 New York) La Grande Cravate, 1969 Gouache on paper 109 x 23 cm Signed and dated Registered at the Calder Foundation under the archive n° A24180 Literature: Alexander Calder, Château de Tours, 2008, exhibition catalogue, ill. p. 181 Exhibition: Alexander Calder, Château de Tours, 6 June-19 October 2008
Galerie Taménaga
kees van dongen
Kees van Dongen (Delftshaven 1877-1968 Monaco) Place de la Concorde, 1920 Oil on canvas 81 x 100 cm Signed lower right: van Dongen Provenance: A. Rueff; Galerie Urban, Paris; Galerie Paul Pétridès, Paris; private collection Literature: Louis Chaumeil, Van Dongen Geneva, 1967, n° 160; Jean Melas Kyriazi, Van Dongen après le Fauvime, Lausanne, 1976, p. 105, ill. in colour p. 143; New York, Galerie Taménaga, Kees Van Dongen, mai 1990, n° 9; Tokyo, Panasonic Shiodome Museum of Art, Kees Van Dongen: From Fauvism to Les Années folles, 2022, n° 37 ill. in colour p. 70 Exhibitions: Munich, Ausstellung der Secession, n.d.; Venice, XVII Esposizione Internazionale d’Arte della Citta di Venezia, 1930, n° 18; Paris, Musée National d’Art Moderne, Van Dongen, 1967, n° 106; Rotterdam, Museum Boymans-van Beuningen, Van Dongen, 1967-1968, n° 106; Paris, Grand Palais, Salon d’Automne, Van Dongen, 1972, n° 35; Geneva, Musée de l’Athénée, Van Dongen, 1976, n° 20; New York, Galerie Taménaga, Kees Van Dongen, mai 1990, n° 9; Tokyo, Panasonic Shiodome Museum of Art, Kees Van Dongen: From Fauvism to Les Années folles, 2022, n° 37
Galerie Van den Bruinhorst
William Hendrik Gispen (Amsterdam 1890-1981 The Hague) Saturnuslamp, Giso n° 2055, 1931 Executed by N.V. Gispen, Culemborg The Netherlands, 1945-1957 Matte brass nickel-plated pendant with an opal glass sphere and two frosted glass discs with bright edges H 105 x Ø 60 cm William Hendrik Gispen was a Dutch designer and manufacturer of modernist furniture and lighting. He was an important representative of the functionalist movement, promoting and selling modern interior designs at the beginning of the 20th century through his salesrooms in Amsterdam, Rotterdam, Brussels, Paris, London and Nottingham. This design was introduced in his lighting-catalogue 29 as n° 66 in 1931. It changed to no. 2055 in 1936, and later on the pendant was called ‘Saturnuslamp’ which means ‘Saturn-lamp’. The possibility to move around the world at high speed in cars, planes, trains but also rockets and space traveling were an inspiration for designers creating futuristic designs at the beginning of the 20th century. W.H. Gispen designed a lamp with two glass disks around an opal glass sphere that looks like the planet Saturn. Lighting by W.H. Gispen is part of the permanent collections of The Rijksmuseum Amsterdam, Museum Boijmans van Beuningen Rotterdam, Stedelijk Museum Amsterdam, V&A Museum London, The MOMA in New York and the MFAH in Houston USA.
Galerie Marc Maison
Gilded plaster statuette by Pierre Braecke (Belgium, 1858-1938) surmounting a sideboard made by Victor Horta (Ghent 1861-1947 Brussels) Four original gilded plaster statuettes by Pierre Braecke surmount the pair of sideboards This is part of a interior decor made of a suite of three paneled rooms designed by Victor Horta for a private owner in Kortrijk and including two fireplaces, a pair of sideboards, a stained-glass ceiling and windows, a screen with period fabric Circa 1903 Mahogany, oak and maple, bronze, marble, american glass, fabric: moiré damask Surface: approximately 80 sq meters, H 3.80 m Provenance: Kortrijk, Belgium
Cortesi Gallery
lucio fontana
Lucio Fontana (Argentina, Rosario 1899-1969 Comabbio, Italy) Concetto spaziale, Teatrino, 1965-1966 Waterpaint on canvas and lacquered wood 110 x 110 x 6.5 cm Signed and titled on the reverse: L. Fontana/Concetto spaziale; on the frame label of Galerie Bonnier, Genève, n° 73017 Provenance: Gallery Art Point, Tokyo; Galerie Pierre, Stockholm; Private collection, Milan; Private collection Literature: E. Crispolti, Lucio Fontana, catalogue raisonné des peintures, sculptures et environnement spatiaux, vol. II, La Connaissance, Bruxelles, 1974, pp.174-175, n° 65-66 TE 11; E. Crispolti, Fontana. Catalogo generale volume secondo, Electa, Miano, 1986, p. 615, n° 65-66 TE 11; E. Crispolti, Lucio Fontana. Catalogue raisonné des peintures, sculptures et environnement spatiaux, vol. II, in collaboration with N. Ardemagni Laurini, V. Ernesti, Skira editore, Milano 2006, p. 802, n° 65-66 TE 11; Sotheby’s, Aste: Londra, 27 giugno 1985, n° 540 Exhibitions: 1984, Lugano; 1990, Lucio Fontana, Spatial conception, Tokyo, Tama Art University Museum, 1 June-4 September 1990, cat. p. 55, n° 50; 1992, Lucio Fontana, la penetrazione dello spazio, mostra itinerante in giappone, April-November 1992, cat. p. 119, n° 88; 2014, Il fantasma dell'Opera. Grandi maestri tra mito e mistero, Cortina d'Ampezzo, Farsettiarte, December-January, ill. on the exhibition leaflet; 2014, Cinquant'anni di Farsettiarte a Cortina, Cortina d'Ampezzo, Farsettiarte, August 2014, cat. n° 31, ill.
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Samuel Vanhoegaerden Gallery
tom wesselmann
Tom Wesselmann (Cincinnati 1931-2004 New York) Monica nude in robe and stockings (Var #8), 1986 Enamel on laser-cut steel H 83.5 x W 168 cm Signed, dated and titled on verso Provenance: OK Harris Gallery, New York; private collection, USA Literature: Tom Wesselmann: a Pop Art Legend, Samuel Vanhoegaerden Gallery, Knokke, 2023, ill.
Stern Pissarro Gallery
auguste herbin
Auguste Herbin (Quiévy 1882-1960 Paris) VENUS I, 1945 Oil on canvas 100 x 81 cm Titled, signed and dated lower left, vénus-herbin 1945 Provenance: private collection, Stockholm; Galerie des Etats-Unis, S. Stoliar, Cannes; Sotheby's London, 2002; Dorval Gallery, Lille; private collection, France Literature: Geneviève Claisse, Herbin, Catalogue raisonné de l'Œuvre Peint, Paris, 1993, n° 846, (ill. in black and white p. 429) Exhibition: Cannes, Galerie des Etats-Unis, 1965, n° 29
Willow Gallery
Henri Martin (Toulouse 1860-1943 Labastide-du-Vert) Jour de Pluie sur la Terrasse Fleurie de Marquayrol, circa 1920 Oil on canvas 79 x 108 cm - framed: 99 x 128 cm Signed This painting is accompanied by a certificate of authenticity from Cyrille Martin Provenance: Tajan Paris, 24 March 1999, lot 17; Richard Green Gallery, London; private collection, Canada
Galerie Kaléidoscope
fernand teyssier
Fernand Teyssier (Paris, 1937-1988) X-ray and breathing-sheep, circa 1966-67 Acrylic, graphite pencil, stampo and ink on canvas 98.4 x 81.5 cm Provenance: estate Fernand Teyssier Exhibition: Konstanz/FRG, 1968, Bilder, Graphik, Objekte, Der Asta-Konstanz Universität
Finch & Co
Workshop of Georg Pfründt (Germany, 1603-1663) Goblet and support raised upon a turned pear-wood base Narwhal, wood South Germany, 17th century H 16.5 cm Provenance: London art market 1960s; private collection Georg Pfründt (1603-1663), born in Franconia, trained under one of the greatest ivory carvers of the Renaissance, Leonard Kern (1588-1662). Moving to Strasbourg in 1639, Pfründt worked in the service of Charles Ludwig, Elector Palatine, and Duke Eberhard VIII of Würtemberg. The goblet is carved in the same style as the equally celebrated 'Nef' favoured by princely courts for their kunstkammer (the 17th century art chamber) developed out of a medieval treasury which in turn became the Renaissance studiolo. The use of narwhal in this cup adds to the sense of rarity and exotica.
Thomas Deprez Fine Arts
emile fabry
Emile Fabry (Verviers 1865-1966 Brussels) A monumental triptych, including: Le péché originel, Les Déesses de la Vie and Prométhée & Pygmalion, circa 1896 Oil on canvas 246 x 138 cm | 249 x 205.5 cm | 245 x 140 cm All canvases waxed and retouched The middle panel carrying a certificate by Edmond Delescluze, the artist's son-in-law, dated April 6th 1990 Provenance: by descent in the family of the artist, after his death in 1966; former collection Suzanne Fabry and Edmond Delescluze, the artist’s daughter and son-in-law; triptych dismantled and sold separately, with different provenances on request; United again for the first time under single ownership, 2023 Literature: a list of contemporary press critiques available on request; Jacqueline Guisset, Emile Fabry 1865-1966, Brussels, Fonds du Patrimoine de Woluwe-Saint-Pierre, 2000, ill. pp. 75, 77 & 78; Sébastien Clerbois, L’Esotérisme et le Symbolisme belge, Anvers, Pandora Publishers, 2012, ill. p. 104 Exhibitions: Exposition du Cercle Pour l'Art, Brussels, 1896; Retrospective Emile Fabry, Woluwe-Saint-Pierre, Centre culturel, 2000
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Galerie Mathivet
carlo bugatti (1856-1940)
Carlo Bugatti (Milan 1856-1940 Molsheim) Side table, circa 1902 Parchment stool with polychrome decoration of dragonflies, enhanced with gilding and stamped copper with rectangular top. Lateral X-shaped base with a large circular lower part in copper and stamped brass H 39 x W 44 x D 44 cm Signed with the stamp: Marca depositata Bugatti Carlo Provenance: French collection Literature: Fabbrica italiana mobili artistici-A. De Vecchi e C. (gia C. Bugatti & C.), trade catalogue, Milan, circa 1902-1905, repr. under n° 699 (n.p.); M-M Massé, Carlo Bugatti au Musée d'Orsay-Catalogue sommaire illustré du fonds d'archives et des collections, Musée d'Orsay & RMN, Paris, 2001, repr. pp. 72 and 99
Galerie de la Béraudière
pablo picasso
Pablo Picasso (Malaga 1881-1973 Mougins) Le Bandillero, 1959 Colour linocut on Arches wove paper 53.4 x 66.3 cm Printed by Arnéra, Vallauris, published by Galerie Louise Leiris, Paris 1960 Signed in pencil lower right: Picasso Numbered lower left: 40/50, edition 40/50 Provenance: Galerie Michael Hertz, Bremen; private collection, North Rhine-Westphalia, Germany (until 2013); private collection, Germany (since 2013, inherited from the above); Ketterer Kunst, June 12, 2022, lot 469; private collection, Belgium Literature: Enrique Mallen, ed., Online Picasso Project, Sam Houston State University, 1997-2023, OPP.59:076; Bernhard Geiser, Brigitte Baer, Picasso peintre graveur, Catalogue raisonné de l'oeuvre gravé et des monotypes, Berne, Kornfeld, 1986-1994, n° 1225 IV B a; Georges Bloch, Pablo Picasso, catalogue de l'oeuvre gravé et lithographié, 4 vol., Berne, Kornfeld and Klipstein, 1968-1979, n° 940 (titré Les Banderilles)
QG Gallery
christo
Christo Javacheff (Gabrovo 1935-2020 New York) Wrapped Reichstag (Project for Deutsche Reichstag-West Berlin) Pencil, charcoal, wax crayon, map, photographs by Wolfgang Volz and glue, in artist's Plexiglas frame, in two parts H 39.4 x W 166.5 cm H 108 x W 166.5 cm Provenance: Otto Wolff von Amerongen, Germany (gifted by the artist for being instrumental in facilitating the wrapping of the Reichstag); Sotheby's London, June 2023; private collection, Belgium
Douwes Fine Art b.v.
Paul Delvaux (Antheit 1897-1994 Veurne) Portrait of a young woman, 1966 Pen and watercolour 17 x 12 cm Signed and dated: P.DELVAUX 24-12-1966 stuck on a sheet of paper filigree Wattman England. Provenance: Sale Auction house L’homme, Liège, 24 September 2016, cat. n° 40 Expertise: Certificate of authenticity of the Paul Delvaux Foundation, St-Idesbald, June 10, 2016 Notes In the work of Paul Delvaux we frequently find the female figure, a favorite subject of the artist. He stages the body of the women in antique setting or in scenes of everyday life. Often calm and mysterious, the women Delvaux focusses to represent are the reflection of the complex relationship that he maintains towards them. Indeed, already at a young age, the possessive and authoritarian mother of the artist warned him against women. Since then, the artist nurtured a fascination with the women he places on a pedestal. The woman represented in his work, are the image of his feminine ideal. Always young and beautiful, they are often naked, draped or preciously dressed. They symbolize the fascination and intrigue that Delvaux feels towards them and their bodies. The female figure occupies different roles in his work, from femme fatale to the mythological creature. In the present watercolour Delvaux integrates a contradictory image of the woman as being dangerous, free and independent but also valuable and untouchable. The chosen tones, from the aubergine color of the dress to the blue of the background, are very lively. Part of the bodice remained white, as well as the lighting in the upper left corner, which allows the chiaroscuro effect of the composition. In the same year as he made this drawing, he had a retrospective at the Lille Museum of Fine Arts and the Museum of Ixelles. A few years before, in 1959, he executed the mural decoration of the Palais des Congrès in Brussels and in 1965 he received the Five-Year Award for the dedication of his career and is appointed President and Director of the Class of Fine Arts of the Royal Academy of Belgium. Delvaux’s love life has not been without complication and this reflected in his art. When Delvaux fell in love with his first and great love Anne-Marie De Martelaere, known as Tam, at the age of thirty, the mother of Delvaux fiercely opposed this relationship, and he married someone else. This great sorrow of a lost love will permeate the image of the woman Delvaux depicts in his work: she is inaccessible and very often the man is excluded. At the death of his mother, the sadness felt by the artist is great but her death was also liberating for the future of his work. Delvaux now represents the woman in a much more libertine way. In 1947 he met Tam again in Sint-Idesbald. This chance meeting leads the two lovers to get married. The following decade will then mark a loss of creativity of the artist, his beloved imposes some constraints on Delvaux. He can no longer use models or represent them the way he desires. Later, Delvaux marries Suzanne Purnal and maintains a platonic love towards her.
Heutink Ikonen
The Ladder of Divine Ascent Russia (Vyg), circa 1800 Egg tempera with gold leaf on a wooden panel surfaced with gesso and linen 35 x 31 cm This rare iconography is based on the work 'The Ladder of Divine Ascent' by the hermit John Climacus, who lived in the Sinai Desert in the seventh century. The work was a major influence on Orthodox Christianity, comparable to 'The Following of Christ' by Thomas à Kempis in Roman Catholicism. The icon shows how monks may get closer to Christ through several stages of asceticism (steps on the ladder) and ultimately reach heaven. Angels encourage the monks and pray for succour, while to the left of the ladder demons are attempting to lure the monks into succumbing to earthly temptations. The steadfast monk who reaches the top of the ladder is welcomed with open arms by Christ in heaven. The monks who surrender to the temptations of the world fall into the devil's wide-open mouth. The icon was probably meant as a reminder and encouragement for monastics to live a virtuous life.
Stern Pissarro Gallery
pierre-auguste renoir
Pierre-Auguste Renoir (Limoges 1841-1919 Cagnes-sur-Mer) La Cueillette des fruits, circa 1905 Oil on canvas 46 x 56 cm Signed lower left: Renoir This work is accompanied by letter from the Wildenstein-Plattner Institute confirming the work will be included in the forthcoming Renoir digital catalogue raisonné Provenance: Dr. Fritz and Barbara Thurneyssen, Germany, acquired from the artist; Dr. Fritz Thurneyssen, Germany; Karl Levi, Berlin, 1927; Galerie Thannhauser, Berlin, 1929, acquired from above; Henry Lévy, Strasbourg,1933, acquired from above; Hélène Lucie Lévy, France, by descent, 1937; Bertrand-Charles Leary, France, by descent; private collection, Paris, by descent from the above Literature: Julius Meier-Graefe, Renoir, Leipzig, 1929, p. 300, n° 307; Guy-Patrice and Michel Dauberville, Renoir: Catalogue raisonné des Tableaux, Pastels, Dessins et Aquarelles, 1903-1910, Vol. 4, Éditions Bernheim-Jeune, Paris, n° 3066 (ill. p. 222 as 'Vendanges (Cagnes)') Exhibitions: Berlin, Galerie Thannhauser at Berliner Künstlerhaus, Erste Sonderausstellung in Berlin, January-February 1927, n° 204, p. 136 (ill. 'Obsternte')
Galerie Nicolas Bourriaud
auguste rodin
Auguste Rodin (Paris 1840-1917 Meudon) L'homme au nez cassé, masque - type II 2e modèle (1903) Bronze with black-green patina H 25.5 x W 20 x D 21.5 cm Total height with onyx pedestal: 37.5 cm Signed: A. Rodin and marked: A. Rodin in relief on the inside Cast by Alexis Rudier, bears the founder's signature, circa 1926
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Gilden's Art Gallery
sam francis
Sam Francis (San Mateo 1923-1994 Santa Monica) Untitled SF73-287 (Tokyo), 1973 Acrylic and gouache on wove paper 37.4 x 55.2 cm Signed, dated and inscribed Archive n° SF73-287 Provenance: Kornfeld und Klipstein, Bern, Switzerland; Irving Galleries, Palm Beach, Florida; acquired from the above in 1987; private collection, United States of America