26 JANUARY 2 FEBRUARY 2025

BRUSSELS EXPO | HEYSEL

Artworks

This section will be available this Autumn.

Galleries
Galleries Galeries AB & BA Franck Anelli Fine Art Ars Antiqua d'Arschot & Cie Art et Patrimoine - Laurence Lenne Artimo Fine Arts Galerie Ary Jan Bailly Gallery Helene Bailly Baronian Barbara Bassi F. Baulme Fine Arts Galerie de la Béraudière Galerie Berès Bernier/Eliades Gallery Dr. Lennart Booij Fine Art & Rare Items Boon Gallery Bernard Bouisset Galerie Boulakia Galerie Nicolas Bourriaud Brame & Lorenceau Galerie Van den Bruinhorst Cabinet of Curiosities-Honourable Silver Objects Giammarco Cappuzzo Fine Art Galerie Jean-François Cazeau Galerie Cento Anni Chambre professionnelle belge de la Librairie Ancienne et Moderne (CLAM) Claes Gallery Collectors Gallery Nicolás Cortés Gallery Cortesi Gallery Costermans & Pelgrims de Bigard Dalton Somaré De Brock De Jonckheere Galerie Bernard De Leye Galerie Oscar De Vos De Wit Fine Tapestries De Zutter Art Gallery Dei Bardi Art Thomas Deprez Fine Arts Gallery Desmet DIE GALERIE Douwes Fine Art b.v. Epoque Fine Jewels Finch & Co Galerie Flak A&R Fleury Galerie La Forest Divonne Galerie Christophe Gaillard Galerie des Modernes Ralph Gierhards Antiques / Fine Art Gilden's Art Gallery Gokelaere & Robinson Galerie Hadjer Marc Heiremans Heutink Ikonen Galerie Hioco Huberty & Breyne Galerie Hurtebize Galerie Jamar rodolphe janssen Francis Janssens van der Maelen Galerie Kaléidoscope Kunsthaus Kende Galerie Kevorkian Harold t’Kint de Roodenbeke Florian Kolhammer Alexis Lartigue Fine Art Galerie Bertrand de Lavergne Lemaire Francis Maere Fine Arts Galerie Marc Maison MARUANI MERCIER Galerie Mathivet Mearini Fine Art Meessen Montagut Gallery Galerie Montanari Jan Muller Antiques Klaas Muller Gioielleria Nardi New Hope Gallery Nosbaum Reding Dr. Nöth kunsthandel + galerie Opera Gallery Osborne Samuel Gallery Galeria Jordi Pascual Galerie La Patinoire Royale Bach Pauline's Jewellery Box Galerie Alexis Pentcheff Guy Pieters Gallery Gallery de Potter d’Indoye Galerie de la Présidence QG Gallery Maison Rapin Stéphane Renard Fine Art Repetto Gallery Röbbig München robertaebasta Romigioli Antichità Rueb Modern and Contemporary Art Richard Saltoun Gallery Galerie Sophie Scheidecker Serge Schoffel - Art Premier Secher Fine Art & Design Segoura Fine Art Herwig Simons Fine Arts Stern Pissarro Gallery Studio 2000 Art Gallery Galerie Taménaga Galerie Theunissen & de Ghellinck Tobogan Antiques Galerie Patrice Trigano Univers du Bronze Gallery Sofie Van de Velde Van Herck-Eykelberg Galerie Raf Van Severen Samuel Vanhoegaerden Gallery Maurice Verbaet Gallery Galerie von Vertes Axel Vervoordt Galerie Dina Vierny VKD Jewels Galerie Florence de Voldère N. Vrouyr Floris van Wanroij Fine Art Victor Werner Whitford Fine Art Willow Gallery Zebregs&Röell Fine Art and Antiques Zidoun-Bossuyt Gallery
 

Galerie Hadjer

fernand léger

Fernand Léger (Argentan 1881-1955 Gif-sur-Yvette) Shell composition Conceived in 1938, realised in 1965 Wool Workshop Gisèle Glaudin-Brivet, Tapestry Aubusson/Savonnerie, Aubusson, France Fernand Leger on the back, bolduc workshop Unique piece H 262 x W 220 cm Certificate from the Comité Leger Provenance: private collection, USA

 

Zidoun-Bossuyt Gallery

Jean-Michel Basquiat (New-York, 1960-1988) Blue Skies, 1985 Acrylic and mixed media on wood 69.8 x 209.6 cm

 

Gallery de Potter d’Indoye

Piat-Joseph Sauvage (Tournai, 1744-1818) and Sormany, Optician Empire oil on panel with barometer and thermometer, early 19th century Oil on panel, gilded bronze H 87 x W 112 cm Signed: Sauvage et de Sormany, Palais Égalité Provenance: collection of Hubert de Givenchy; Galerie Moatti, Paris, 1994 The rectangular panel painted in trompe l'oeil depicts the allegories of the four seasons beside a sheath surmounted by a globe flanked by two putti, the dial of the enamelled barometer is signed Sormany Palais Egalité, the thermometer inscribed in the sheath is signed Sormany Palais / Egalité n° 260, signed SAUVAGE in the plinth of the sheath, the frame is decorated with stars and stylised palmettes. This barometer-thermometer is a work of collaboration between Piat-Joseph Sauvage, painter and Sormany, optician. Piat-Joseph Sauvage, born in Tournai in Belgium, made a specialty of trompe-l'oeil paintingsat the end of the eighteenth and beginning of the nineteenth century. As a painter and decorator, he provided ornamentation for royal residences at the end of the reign of Louis XVI, such as Compiègne and Fontainebleau and the Hamlet of Marie Antoinette in Versailles, before turning to painting on porcelain and marble, working for the manufacture of Dihl and Guérhard then for that of Sèvres under the Empire. His compositions often represent friezes of putti, bacchanalia, mythological or allegorical scenes. The iconography of the Seasons developed here naturally refers to the function of this object, as a barometer and thermometer. Sormany was an optician installed in the Galerie de Bois of the Royal Palace (Palais Egalité under the Revolution and the Empire), as indicated by the inscriptions on the barometer and the thermometer. The old labels of this Sormany make it possible to describe its activity: "Palais Égalité n° 260 galerie de bois. / N° 260 Sormany opticien successeur de Catanyo vends toute sorte de lunettes (spectacle et autres) et tout ce qui concerne l’optique, mathématique physique et autres objets de curiosités, baromètres, thermomètres et pèse liqueurs. / Le tout à juste prix Paris." He seems to have been particularly recognised for his research on thermometers.

 

Finch & Co

Headrest Kali Hahapo Patinated wood, sennet (coconut fibre), glass beads Tonga, late 18th-early 19th century H 19 x W 53 cm Provenance: Captain A.W.F. Fuller (1882-1961) given to Dr Roland Force, in recognition of Force’s work in cataloguing the Fuller collection (see below); Julian Harding collection; Wayne Heathcote; Patricia Withers collection (1934-1998), London; Sotheby’s London, 1988; Nasser Gallery, 2010; private collection Literature: The Mark and Carolyn Blackburn Collection, 2010, p. 246, ill. 146; The Fuller Collection of Pacific Artefacts, Lund Humphries, London, 1971; Pierre Loos, Bayet et Caltaux, La tête dans les étoiles. Appuis-nuque d’Afrique et d’ailleurs, BRUNEAF, 2012, p. 157 Exhibition: BRUNEAF, Bruxelles, Belgium, La tête dans les étoiles. Appuis-nuque d'Afrique et d’ailleurs, 6-10 June 2012 A comparable example in the Tongan National Museum, Tofoa. Also several neck-rests part of the collections in the National Museum of Australia, Canberra (inv. Oz 347 and inv. Oz 348) Of elegant arching form and carved in one piece from a dense, fine grained wood, possibly ‘Intsia bijuga’. Neck-rests of this type were used in Tonga as pillows to ensure that the elaborate coiffure of the owner would not be disturbed during sleep. ‘Kali’ acquired ‘mana’ (the spiritual force) by repeated contact with the owner’s head and in the case of a chief became objects of great prestige. This example, from the renowned Captain Fuller collection, is exceptional for the elegance and purity of its form, especially evident in the strongly curved legs ending in subtle horizontal flange feet. To each end of the ‘cross-bar’ glass beads have been inserted to enhance the decorative appeal and importance of this piece. In the opinion of George Ortiz no civilisation has equalled the Pacific Islanders’ superb furniture and domestic objects. Writing of Tongan neck-rests the great connoisseur of Polynesian Art Edward Dodd said: ‘What wonderful springing forms!’ For a comparable neck-rest (no. 689) in the James Hooper collection. Of classic Tongan form, it was however collected at Mbau, Fiji, in 1865. Compare also two ‘kali’ previously in the Fuller collection ( n° 274498 and 274499) and now in the Field Museum, Chicago.

 

Galerie Bertrand de Lavergne

Chinese Blanc de Chine porcelain group Representation of a gallant scene of Dutch characters holding glasses in their hands, seated on each side of a table on which a checkerboard is placed; their servants on both sides and in front of them, a dog, a monkey and a plant China, Dehua kilns (Fujian province), Kangxi period (1662-1722) H 14.5 x W 15.5 x D 8 cm

 

A&R Fleury

joan miró

Joan Miró (Barcelona 1893-1983 Palma de Mallorca) Personnage, oiseau, XI 1977 Oil on canvas 35 x 24 cm Certificate of authenticity for the work Personnage, oiseau by Joan Miró issued by ADOM (Antiquités et Objets d'Art Miromesnil) in Paris on November 23rd, 2022

 

Willow Gallery

Eugène Boudin (Honfleur 1824-1898 Deauville) Pont sur La Touques, 1890 Oil on canvas, 46 x 66 cm - framed: 64 x 84 cm Signed, dated and inscribed lower left: Touques, E Boudin 90 Provenance: collection Panhard from 1899 Literature: Robert Schmit, Catalogue raisonné de l’œuvre peint d’Eugène; Boudin, Paris, 1973, vol. III, n° 3332, ill. p. 278, incorrectly dated 1894 Exhibition: Exposition des œuvres d’Eugène Boudin, Paris, École Nationale des Beaux-Arts, 1899, n° 43 (label verso)

 

Galerie Van den Bruinhorst

Gerrit Thomas Rietveld (Utrecht, 1888-1964) Original ‘Red Blue chair’ Designed in 1919/1923 Executed by G.A. van de Groenekan, circa 1970, De Bilt, The Netherlands Frame; solid beech wood slats with beech wood dowels, stained dark brown/black, the ends finished with chromate yellow paint. Seat; plywood, finished monochrome with ultramarine blue paint. Back: plywood finished monochrome with vermilion red paint H 86 x W 65.9 x D 82.5 cm The chair is marked with the paper label of Rietveld’s regular cabinet maker, Gerard van de Groenekan Provenance: from the first owner Architect Ruud Wilmink from Amsterdam. At the end of his architecture studies, he personally ordered the chair from Gerard van de Groenekan in De Bilt around 1970 for the furnishing of his first home In 1919, architect Gerrit Rietveld joined the legendary ‘De Stijl’ group, an esthetic movement founded by Dutch artists and architects two years earlier. Inspired by the work of his fellow ‘De Stijl’ member Bart van der Leck, Rietveld started experimenting with the use of primary colors in the designs for furniture around 1921-1922. Probably about 1923 – a hundred years ago! – he made the first copy of his wooden-slat easy-chair using Red Yellow and Blue, the color scheme that would bring the chair its world fame as an icon of De Stijl movement.

 

Jan Muller Antiques

Master of the Von Groote Adoration and workshop (Antwerp, active between 1500-1530) The crucifixion Oil on oak panel, original frame 88 x 59 cm - framed: 99.5 x 71.5 cm Label on the back Wallraf-Richartz-Museum, Gemälde-Inventar 1927 n° 427 Provenance: legacy of Ferdinand Franz Wallraf in 1824. Gift to the city of Cologne; sale 1976. Madrid, Berkowitsch, auctioned as the Master of 1518

 

Gioielleria Nardi

Geisha brooch/pendant Gold, enamel, engraved turquoise, brilliants, rubies and sapphires Its central part represents a fan that opens using micro mechanisms to reveal a branch underneath, symbolising a cherry tree in blossom

 

Galerie de la Présidence

geer van velde

Geer van Velde (Netherlands, Lisse 1898-1977 Cachan, France) Composition, 1960 Oil on canvas 162 x 162 cm Signed lower right with the artist's initials This work will be included in the forthcoming Geer van Velde catalogue raisonné currently being prepared by Pierre François Moget, son of Piet Moget Provenance: artist’s studio estate; private collection, France Literature: Viatte, Germain, 1989, Geer van Velde, Paris, Editions Cahiers d’Art, ill. col., p. 151 Exhibitions: 1981, La Haye, Haags Gemeentemuseum, Geer van Velde 1898-1977, schilderijen en tekeningen, n° 56 du cat., fig. 55, ill. col., p. 71; 1982, Høvikodden, Henie-Onstad Kunstsenter, Geer van Velde, n°17 du cat. (insert in the catalog of the exhibition of 1981 at Gemeente Museum, n° 56), fig. 55; 1982, Paris, Musée d’Art Moderne de la Ville de Paris, Geer van Velde 1898-1977. Peintures et œuvres sur papier, n° 54 du cat., fig. 55, ill. col., p. 71; 1982-Varberg, Museet I Varberg, Geer van Velde 1898-1977; 1986, Albi, Musée Toulouse-Lautrec, Geer van Velde 1898-1977, n° 22 du cat., ill. col., p. 26; 1991, Sigean, Lieu d’Art Contemporain, Geer van Velde. 1898-1977, n° 39 du cat., ill. col., p. 28; 2000, Antibes, Musée Picasso, Geer van Velde, n° 34 du cat., ill. col., p. 67; 2000, Colmar, Musée Unterlinden, Geer van Velde, n° 34 du cat., ill. col., p. 67; 2010, Lyon, Musée des Beaux-Arts, Bram et Geer van Velde, deux peintres un nom, n° 130 du cat., ill. col., p. 143

 

Galerie La Patinoire Royale Bach

lita albuquerque

Lita Albuquerque (Santa Monica, 1946) On a sliver of sun, she travels toward the moon, 2021 24kt gold leaf on resin and pigment on panel 2.10 x 2.10 m Provenance: the artist's studio Exhibitions: Lita Albuquerque: Liquid Light; Collateral Event of 59th La Biennale di Venezia, Biennale Arte 2022; Presented by bardLA, Los Angeles, California. Curated by Elizabeta Betinski and Neville Wakefield

 

Kunsthaus Kende

hans bolek

Hans Bolek (Vienna, 1890-1978) An 800 grade silver coffee and tea service, Vienna, 1909-1912 Designed by Hans Bolek, executed by Franz Schediwy for Alfred Pollack silversmithy A five piece coffee and tea service Provenance: private collection, San Francisco Literature: In 1912, the Vienna Museum of Applied Arts (MAK) acquired the tea service, consisting of a teapot, a small milk jug and a sugar bowl on a tray. It is still in the museum’s collection under inventory number WI 1102. An identical composition can be found in the Bröhan Museum, Berlin and is ill. in: Kerssenbrock-Krosigk, D. von, Bröhan Museum, von Kerssenbrock-Krosigk, D. & Kanowski, C. (2001). Metallkunst der Moderne: Bröhan-Museum, Landesmuseum für Jugenstil, Art Deco und Funktionalismus (1889-1939), Berlin. P. 521, cat. n° 464 Exhibition: This tea service was designed prior to 1909 and exhibited for the first time by the silversmith Alfred Pollack in 1910/11 at the winter exhibition in the Vienna Museum of Applied Arts (currently the Museum der angewandten Kunst, Vienna, known as MAK)

 

Gallery Sofie Van de Velde

pieter jennes

Pieter Jennes (Mortsel, 1990) Tumble, 2023 Oil and collage on canvas 200 x 125 cm

 

Gallery Desmet

Circle of Scipione Pulzone (Italy, 1544-1598), or Nordic painter (Prague) active in Florence Ferdinando I de' Medici, Florence, circa 1600 Oil on canvas H 78 x W 58 cm

 

Artimo Fine Arts

jean de bay

Jean Baptiste Joseph De Bay (Nantes 1802-1862 Paris) Le Génie de la Marine, 1832 White Carrara marble, finely carved H 101 x W 48 x D 85 cm Signature engraved on the boat's anchor: JEAN DEBAY Executed in Rome in 1832 Provenance: 1832, Rome; 1832 (June, Paris, Exposition at Petits-Augustins; 1833, Paris, Exposition at Salon de Paris; 1833, Mr. Hoppe Collection, Amsterdam; 1833-2010, private collection Literature: S. Lami (1916). Dictionnaire des sculpteurs de l'école française au dix-neuvième siècle, Paris, Librairie Ancienne Honoré Champion Edouard Champion, tome 2, pp. 126-132; A. Lenormand (1981), La Tradition classique et l’Esprit romantique. Les Sculpteurs de l’Académie de France à Rome de 1824 à 1840, Rome, Edizioni dell'Elefante, 1981 Exhibitions: 1832, Rome; 1832 (June), Paris, Exposition at the Petits-Augustins; 1833, Paris, Exposition at the Salon de Paris This masterful work entitled 'Le Génie de la Marine' is the work of the talented French sculptor Jean Baptiste Joseph De Bay. An emblem of marine allegory, the sculpture depicts a daring Cupid, bravely sailing against the currents on a delicate shell-shaped craft. In a posture of determination, Cupid steers his boat with an oar while seated on a folded sail, which envelops an ink at his feet. This representation of the Cupid's determination to follow his own course and speed without wishing to stop may allude to the persistence of love against all odds. Designed in Rome in 1832, this exquisite marble sculpture was later exhibited, albeit unfinished, at the Petits-Augustins in Paris. It was finally presented in all its splendour at the Paris Salon the following year, where it attracted the attention of the famous Amsterdam banker, Monsieur Hoppe. Jean Baptiste Joseph De Bay, better known as Jean De Bay, was born in Nantes on 31 August 1802. The son of a renowned sculptor and a pupil of Baron Bosio, De Bay quickly established himself as an emblematic figure of nineteenth-century French sculpture. After training at the École des Beaux-Arts in 1820, where he won numerous awards including the prestigious Prix de Rome, the sculptor succeeded in establishing himself in the art of bas relief and ronde bosse. Equally at ease working in marble and bronze, Jean De Bay contributed to numerous national projects, notably for the Louvre Palace and the Hôtel de Ville in Paris. Several of his works are also preserved at the Musée de Versailles. Many of his works can be found in various French museums, testifying to his artistic genius. This great sculptor died a few years later at his home in Paris on 7 January 1862.

 

Galerie Cento Anni

André (Andrei Mikhaïlovitch) Lanskoy (Moscow 1902-1976 Paris) 'VOUS DITES BIENTÔT', 1965 Oil on canvas 73 x 60 cm Provenance: private collection, France

 

Gilden's Art Gallery

Marc Chagall (Vitebsk 1887-1985 Saint-Paul de Vence) Study for Commedia dell’arte (Foyer of Frankfurt Opera House), 1958 Brush and India ink with charcoal and pencil on wove paper 36.5 x 56.5 cm Signed lower right: Marc Chagall The work is accompanied by a certificate of authenticity from the Chagall Committee from 27 February 2023 The composition is a study for the largest painting undertaken for a project in the foyer of Frankfurt Opera House, Germany Provenance: estate Marc Chagall

 

Opera Gallery

Paul Delvaux (Belgium, Antheit 1897-1994 Veurne) La Fin du Voyage, 1968 Oil on canvas 165.1 x 145 cm Signed: P. DELVAUX and dated 10-68 on the lower right; signed again, titled and dated: 1968 on the stretcher Provenance: Mr. and Mrs. Morton D. May, St. Louis, USA, by 1969; Marlborough Gallery, London; Don Bartolomé March, Madrid (until at least 1991); Christie's London, 3 February 2003, lot 168; Collection of Paul Yeou Chichong Literature: Jerrold Lanes, New York, The Burlington Magazine, vol. CXI, n° 794, May 1969, p. 325, ill.; Michel Butor, Jean Clair, Suzanne Houbart-Wilkin, Delvaux, Catalogue de l'oeuvre peint, Brussels, 1975, n° 309, p. 271, ill.; Jacques Sojcher, Paul Delvaux ou la passion puérile, Paris, 1991, p. 78, ill. Exhibitions: New York, Staempfli Gallery, Paul Delvaux, 1969, n° 15; Madrid, Fundacion Juan March; Barcelona, Funacio Caixa Catalunya and Florence, Pallazzo Corsini, Delvaux, 1998, n° 72, p. 113, ill. in colour © Foundation Paul Delvaux, Belgium/SABAM, 2023-2024

 

Floris van Wanroij Fine Art

Relief with the The Flight into Egypt and Miracles during the Journey (Matthew 2:13) Low countries, possibly Antwerp, Renaissance, last quarter of the 16th century, circa 1590 Pear-wood, carved in high relief, on later brass base H 19.6 x W. 16.8 cm (excl. base) Provenance: Jan Dirven Works of Art, Eindhoven, The Netherlands; collection Dreesmann-Houtkooper, The Netherlands; thence by decent private collection, Breda, The Netherlands Literature: Schuckman, Christiaan (1996). Hollstein's Dutch & Flemish Etchings, Engravings and Woodcuts 1450-1700, vol. XLIV: Maarten De Vos. Rotterdam, p. 65, cat. n° 263 This relief, probably carved in Antwerp, is based on a design by the influential Renaissance artist Maerten de Vos (Antwerp, 1532-1603). The original drawing is kept now in the collection of the Herzog Anton Ulrich-Museum, Braunschweig (inv./cat. n° Z. 1086) and is dated shortly before 1579. The drawing was published in engraving by Johannes Sadeler I, as the eighth prints of a twelve-part series on the birth and the first years of Christ. The series was published between 1579-1582 and the current sculpture probably originated shortly afterwards, ca. 1590, which indicates a date of the current sculpture around 1590. The Flight the Holy Family to Egypt, here represented as Joseph on foot and Mary sitting on a donkey with the Christ Child in her arms was, according to tradition, surrounded by miracles. At the top right in a chapel on a tree, a statue of a pegan god breaks in two. At the top left a group of accompanying Angels in the Heavens is depicted and trees bow down their branches in reverence to Christ.

 

Marc Heiremans

Fulvio Bianconi (Padua 1915-1996 Milan) Pezzame (aka Spicchi) vase for Venini, Murano, 1951 Free-blown and hand-formed colourless glass with applied fused glass pieces H 22.5 x W 20.5 cm Provenance: private collection, Sweden Literature: Domus 272, August 1952; Bossaglia R. I vetri di Fulvio Bianconi, Allemandi 1993, n° 36; Heiremans M. Art glass from Murano 1910-1970; Arnoldsche 1993, n° 221 p. 268; Deboni F. Venini glass, Allemandi 1996, n° 109; Barovier M./Sonego C. Fulvio Bianconi at Venini, Skira 2015, p. 178 Exhibitions: IX Triennale di Milano in 1951; XXIV Biennale di Venezia 1952; Fulvio Bianconi at Venini, Venice 2015

 

De Wit Fine Tapestries

Court Scene Southern Netherlands, probably Brussels, early 16th century Wool & silk 259 x 228 cm

 

Galerie Berès

Sam Szafran (Paris 1934-2019 Malakoff) Philodendrons en pots, circa 1987 Watercolour and pencil on paper 75 x 48 cm Signed lower center: Szafran To be included in the Sam Szafran catalogue raisonné by Julia Droste, requested early 2023

 

Pauline's Jewellery Box

Edwardian fancy yellow cushion cut diamond ring Ring set with a fancy yellow cushion cut diamond weighing 7.80 carats. Clarity is VS2. Surrounded by bright and lively white diamonds and mounted in platinum. Accompanied by a GIA certificate Provenance: private collection, London

 

Nicolás Cortés Gallery

francisco de zurbarán

Francisco de Zurbarán (Fuente de Cantos, Badajoz 1598-1664 Madrid) Still Life of Lent Oil on canvas 62.5 x 82.5 cm Provenance: private collection, Madrid, Spain; collection of Cardinal Despuig (1745-1813), Palacio de Montenegro, Palma de Mallorca [inv. n° 71]; Truyols collection (from 1972), Palma de Mallorca Francisco de Zurbarán, one of the foremost figures of the Spanish Baroque is renowned for his masterful works. Among them, 'Still Life of Lent' stands as a testament to his artistic genius. In this intriguing composition, Zurbarán skillfully brings to life a multitude of objects emerging from the shadows of an enigmatic, undefined background- captivating the viewer in the interplay of light. This masterpiece, dating back to the 1600s, has a fascinating history. It was once part of the esteemed collection of Antonio Despuig Dameto (1745-1813), the son of the Count and Countess of Montenegro y Montoro. During the tumultuous era of Napoleon's annexation of the Pontifical States to the French Empire, Despuig faced arrest and was transported to Paris, leaving behind this remarkable artwork. Astonishingly, 'Still Life of Lent' remained within the Despuig family's collection throughout the centuries. Through intensive scientific examination, Zurbarán's hidden signature beneath layers of the canvas has been uncovered, offering us a unique glimpse into Zurbarán's mastery and the rich historical tapestry that surrounds it.

 

Giammarco Cappuzzo Fine Art

Willem Eversdijck (Dutch, circa 1620-1671) Unknown Zeeland family, circa 1665 Oil on canvas 138 x 194 cm Provenance: Horace Buttery, London; Christie's London, 20 November 1925, lot 97, bought by Frank Partridge London; (probably) Lady Bertha Schaul Baron (1899-1981); property of a Lady, Christie's London, 10 May 1935, lot 46, bought by W. Sabin, London; Christie's London, 24 February 1939, lot. 57, bought by Berendt; Christie's London, 17 March 1939, lot 23, bought by Suttle; Viorel Virgil Tilea C.B.E. (1896-1972) at Sotheby's London, 28 November 1951, lot 147; Antonio Roque' Rivero (1918-2015), Barcelona Literature: F. van der Ploeg, C.E. Zonnevylle-Heyning, Brave koppen en gladde aangesigten, Middelburg, 1999, pp. 112-114 & p. 136, n° WE5, ill. n° 107

 

Floris van Wanroij Fine Art

adriaen van ostade

Adriaen van Ostade (Haarlem, 1610-1685) Interior of a barn with peasants-An allegory of smell Oil on panel 17 x 24 cm Signed and dated middle centre: Av ostade 1637 Provenance: private collection; Floris van Wanroij Fine Art; private collection, Remscheid, Germany Literature: Krol, A.E., Musée de l’Ermitage. Peinture de l’Europe occidentale. Leningrad (Hermitage), 1981, vol. II, p. 155 In his charming and amusing painting Adriaen van Ostade, like his contemporaries David Teniers the Younger and Adriaen Brouwer, depicted a scene from the everyday life of the peasant classes. At the same time it forms an allegory, that of the sense of smell. A variation on this composition by Van Ostade is kept in the collection of the Hermitage, Saint Petersburg (inv. n° 999)

 

Secher Fine Art & Design

pierre alechinsky

Pierre Alechinsky (Brussels, 1927) Russule, 1976 Acrylic on paper on canvas 100 x 154 cm Signed and dated Provenance: Lens Fine Art, Belgium

 

Röbbig München

johann joachim kaendler (1706-1775)

Johann Joachim Kaendler (Germany, 1706-1775) A pair of swans Porcelain models circa 1748, Meissen manufacture and decoration, circa 1750-1755 H 27.5 x W 23 cm and H 26.5 x W 22 cm Cobalt blue crossed swords mark Provenance: private collection With their majestic figure, swans were still considered royal animals in the eighteenth century and were modelled several times in the Meissen manufactory as table decorations, especially in connection with table fountains. They are also mentioned in the 1753 confectionery inventory of Count von Brühl, the Prime Minister of Saxony. In their timeless elegance, they may be seen as a design by the famous Meissen modeller Johann Joachim Kaendler, which he produced in porcelain together with his assistant Peter Reinicke around 1750. The minimalistic decoration of the reeds in a turquoise-green on-glaze colour suggests an early artistic style.

 

Stéphane Renard Fine Art

francesco conti

Francesco Conti (Florence, 1681-1760) Pair of paintings: Judith carrying the Head of Holofernes-Salome carrying the Head of Saint John the Baptist Oil on canvas 68.2 x 57.2 cm - framed: 83.5 x 72 cm

 
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