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Christophe Perlès
Set of Chantilly porcelain with Kakiemon decoration, 18th century The set consists of one jar, one covered ewer, three cachepots, one cup and one saucer The term 'Kakiemon' is attributed to a group of Japanese porcelains whose characteristics are a subtle decoration in fine translucent overglaze enamels and a milky white unblemished body called 'nigoshide' in Japanese. Kakiemon porcelains were exported to Europe in large numbers where they were extremely popular. Compared with blue and white porcelains, Kakiemon was very expensive
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.)
Gallery Desmet
Head of Goddess Marble Roman, 1st century AD H 21 x W 14 x D 15 cm Certificat d'un bien culturel: 242734 Accompanied by Art Loss Register certificate: S00236852 Provenance: the attics of Château de Monty Saint-Eloi (Oise), bought in 1896 (collection of Alfred Dailly 1848-1929); by descent to the Dugardin family, sold in their succession in 2023
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
Stern Pissarro Gallery
henri martin
Henri Martin (Toulouse 1860-1943 Labastide-du-Vert) Venise, palais et gondoliers sur le Grand Canal, circa 1909 Oil on canvas 68.5 x 96 cm Signed lower right 'Henri Martin' This work is accompanied by a certificate from Madame Marie-Anne Destrebecq-Martin and will be included in the forthcoming catalogue raisonné which is currently being prepared. Provenance: Jacques Martin-Ferrières, Paris (son of the artist); private collection, France, acquired from the above; sale Christie's, New York, 2018; private collection, acquired from the above
Giammarco Cappuzzo Fine Art
Ottavio Vannini (Florence, 1585-1644) Susanna and the Elders, circa 1615-1620 Oil on canvas 135 x 170 cm Provenance: private collection, Italy Literature: G. Papi, A New 'Susanna' by Ottavio Vannini, Paragone, 805 (3rd series, 132), 2017, pp. 30-33, col. pl. 34 Ottavio Vannini was born in Florence in 1585, as recorded in the city’s Baptismal Registers. According to the two scholars Dr. Gianni Papi and Dr. Filippo Gheri, this painting represents an important addition to Vannini’s catalogue, due to its brilliant pictorial quality and its embodiment of the painter's interests and ideas. The current work serves as a milestone for understanding Vannini’s Roman period, showcasing the impact that classicist artistic culture had on him after the second decade of the seventeenth century
Objects With Narratives
vladimir slavov
Vladimir Slavov (Bulgaria, Sofia, 1980) Evolution Chandelier, 2023 The first composition from the Evolution series Three bronze strokes form an ensemble, creating a theatrical lighting experience Unique piece Provenance: the artist's studio, Belgium Exhibition: PAD London, 2024
Galerie Raf Van Severen
gustave van de woestyne
Gustave Van de Woestyne (Ghent 1881-1947 Brussels) Adrienne De Zutter au violon, 1920 Oil on canvas 208 x 110 cm Signed bottom left Dedicated 'To Adrienne De Zutter', signed with the artist's initials and dated on the back Provenance: collection of the model, Adrienne De Zutter (1905-1989), future Mrs. Paul Van de Woestyne (1905-1963), himself the son of the writer Karel Van de Woestyne (1878-1929) and nephew of the painter; private collection, Europe (by descent to the current owners, grandchildren of the model and great-grandnephews of the painter) Literature: Kultureel Centrum Mechelen, Gustave Van de Woestyne, 1881-1947, 1967; Museum Voor Schone Kunsten, Ghent, Gustave Van de Woestyne, 2010, n° 78 “Adrienne De Zutter au violon” is a masterclass by the Belgian painter Gustave Van de Woestyne (1881–1947). Van de Woestyne was a prominent member of the first group of the ‘School of Latem’, and this portrait is a beautiful example of his very distinctive and own personal style. On a first and quick look, we see a majestic lady, gracefully rising above the landscape, painted in peaceful duff coloring. Her violin in hand and modestly dressed, she is depicted in a fairytale landscape composed of two trees with graceful silhouettes, perhaps umbrella pines, rising from stylized valleys, and a rose, worthy of Saint Exupéry's Little Prince, in the foreground on the right. The upper part of the sky is simply described by means of a royal blue band in the manner of Hiroshige prints. How do we analyze this? Where does this come from? First, for his technique, we need to go back to Van de Woestyne’s youth. In 1902, a young Gustave went to an exhibition for the first time, one of the Flemish Primitives, like Jan van Eyck and Pieter Bruegel. It would leave an eternal mark on him. Gustave uses a sharp outline of the figures in his works, resulting in a sober and symbolic representation of the model. Secondly, regarding the color palette, we take a little step in Gustave’s life. At the time of the execution of the painting, Gustave had huge admiration for Douanier Rousseau. However, the actual inspiration for the coloring lies in Italy. In 1913, he toured Florence and Tuscany with Valerius De Saedeleer. The many fresco’s and mural paintings have a typical softer and lighter use of colors. So, we can say that, regarding coloring he leaned less towards the warm and dark coloring of the Flemish Primitives and more to the works of their Italian contemporaries. At the outbreak of the First World War, the Van de Woestynes fled the country, only to return in 1919. Around that time, Van de Woestyne soon settled with his family in in the Rozenhuis (or House of Roses) in Waregem, belonging to art lovers and philanthropists Charles De Zutter and his wife Marguerite Taelman. It was here, Van de Woestyne made a portrait of their daughter Adrienne De Zutter. The ties between the De Zutter and Van de Woestyne families predate the Great War. Beyond these friendly relations, the couple played a genuine role as patrons for the artist, as is evident from the booklet of the Van de Woestyne retrospective in Brussels (Palais des Beaux-Arts, 1929). In an unpublished supplication that the painter addressed, on February 5, 1929, to Marguerite Taelman to encourage her to lend her works after an initial refusal, he also stated: 'Without your paintings I must not show those of other collections because, as you know as well as I do, yours are the best.' If it is therefore very likely that the portrait of Adrienne was commissioned by the De Zutters, it is also possible to imagine that Gustave was touched by the languid and pale beauty of his model, who would marry the eldest son of his brother Karel in 1929. The exceptional quality of this painting and detailed story behind it, elevates it to the status of an absolute masterpiece.
De Wit Fine Tapestries
Fox and hare on a floral ground Southern Netherlands, possibly Sint-Truiden (Saint-Trond) Second quarter of the 16th century Wool and silk 103 x 236 cm In this composition, four abundant plants fill the space, all covered in flowers. From left to right: a tricolor violet (viola tricolora), a blue iris (iris germanica), a rose and a columbine (aquilegia vulgaris). A seated fox looks over at a hare, possibly his intended prey, and two pigeons fly above them. The borders are also decorated with flowers; marigolds, violets, lantern plants and vines. This splendidly decorative weaving refers to the many 'millefleurs' tapestries produced in Bruges and Enghien over several decades in the sixteenth century. These ancient tapestries, however, always present a varied background of flowers, where some animals occasionally appear. They were certainly highly valued for their decorative aspect, but probably also for a hidden symbolic meaning. A universe of flowers, where animals of all species live peacefully together, refers to the happiness of paradise before the Fall of Adam and Eve. But this peace could be disturbed at any moment: the fox is ready to attack and kill the hare, the pigeons are possibly warning the hare of the impending danger. The scheme of representing flowers in a row, as seen on this piece, is rarely applied in such weavings from the sixteenth century. A parallel can nevertheless be drawn with a contemporary 'millefleurs' Armorial with Arms by Christine de Lechy/ Lexhy, abbess of the convent of Herkenrode (private collection). She was born around 1440 in the nearby town of Sint-Truiden, Saint Trond, where several workshops were active during that period. Only a few weavings can be attributed to that provincial centre. The rather coarse aspect of the weaving may point to that production.
New Hope Gallery
jean dubuffet
Jean Dubuffet (Le Havre 1901-1985 Paris) Figure. Bust. 29 March 1967 Marker with collage 30.5 x 20 cm Provenance: Collection Ernst Beyeler; Private collection, Belgium Exhibitions: Kunstmuseum Basel, 6. June 1970- 2 August 1970, Catalogue n° 188; Galerie Beyeler Basel, February-April 1968, Catalogue n° 55
Alexis Lartigue
pierre soulages
Pierre Soulages (Rhodez 1919-2022 Nîmes) Sans titre, 1967 Oil on canvas 97 x 130 cm Signed lower left This work is included in the catalogue raisonné vol. II, n° 601 Provenance: Knoedler and Co, New York; private collection, USA; private collection, Paris Literature: Soulages, L'oeuvre complet, Peintures vol. 2, 1959-1978, n° 60, p. 187 Buffalo, Knox Art Gallery, 1968, n° 16 Exhibitions: Soulages paintings since 1963, Knoedler and Co, New York; Museum of Art, Carnegie Institute, Pittsburgh; Albright-Knox Art Gallery, Buffalo 'In the hundred or so paintings created between the fall of 1963 and the end of 1967, the evolution of Soulages' painting is evident in several essential aspects: the much greater fluidity of the paint; the treatment of blacks in large flat areas; the brief reappearance of blacks on unpainted white backgrounds. Finally, note the return of very large formats and virtual polyptychs. From mid-63 onwards, there is almost a disappearance of scraping. This technique was technically linked to the thick quality of the layer deposited by the painter, to its paste-like character. On the contrary, the canvases now show large swathes of dark, black, or brown-black paint, where the much more liquid coloured material is no longer deposited and removed with the blade, but spread with a brush, in a movement that leaves practically no trace. The fluidity is such that some paintings have streaks of black paint running down'.
Herwig Simons Fine Arts
Manierist Mascaron Italy, mid 16th century Istrian marble H 50 x W 40 cm An expressive Mascaron in Istrian marble of a lion's head holding a ring in his mouth. Istrian marble was widely used during the Renaissance, particularly in Venetian architecture, and its soft tones beautifully complement the intricate details of the lion's face and ring. This design is symbolic: lions represented strength, protection, and authority and gave the building grandeur, serving as a sculptural accent that elevates the aesthetic quality of the entrance or facade.
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Patrick Derom Gallery
lucio fontana
Lucio Fontana (Rosario 1899-1969 Comabbio) Concetto spaziale, Teatrino, 1964 Water-based paint on canvas, lacquered wood 102 x 83 cm Signed and titled on the back Provenance: Serge de Bloe, Brussels; private collection, Brussels Literature: M. Van Lier-Lottefier, Fontana: au seuil du Land Art, in Clés pour les arts, 27 September 1972, p. 27 (ill.); Enrico Crispolti, Lucio Fontana, 1974, vol. II, p. 168; Enrico Crispolti, Fontana. Catalogo Generale, Milan, 1986, 64TE2, p. 588 (ill.) Exhibition: 1972, Brussels, Palais des Beaux-Arts, Lucio Fontana, n. 78 (ill.)
Gallery Sofie Van de Velde
Pierre-Louis Flouquet (Paris 1900-1967 Dilbeek) Compositie, 1920-1922 Oil on canvas 131 x 91 cm Signed 'Flouquet' left bottom corner Provenance: Bernard Davis/Miami Museum of Modern Art; Collection of Harvey Probber; thence by descent The work Composition (1920-1922) by Pierre-Louis Flouquet marks a significant turning point in the art history of the early 20th century, through its bold exploration of abstraction and the visual language of geometry. Flouquet, a pioneer of constructivism, creates in this work a dynamic interplay of shapes and lines that blur the line between figuration and abstraction. The composition is both a reflection on the technological advancements of his time and a creative expression of the artist’s drive to reinvent the visual perception of reality. The clean, geometric forms and the stark contrasts in the work create a visual energy that is characteristic of the post-World War I period, when artists were seeking a new language to depict the devastations of the war and the changes in society. Flouquet’s use of color and line emphasizes the power of abstract compositions, presenting the artistic freedom of geometry not only as an aesthetic medium but also as a way to articulate the intellectual and emotional response to the modern age. What makes Composition so remarkable is how it emphasizes unity and order through the use of the purest visual elements: line, shape, and color. It is a subtle and refined response to the experimental nature of the early 20th-century avant-garde, where the search for new forms of expression was both liberating and innovative. This work reflects Flouquet’s ability to challenge the artistic norms of his time while also touching on a deeper, universal experience of order and chaos. Composition is therefore not just a work of art; it is a visual manifesto symbolizing the pursuit of modernity in art, encapsulating the fundamental principles of abstraction and the role of geometric shapes in constructivism. It remains a powerful example of the shift from traditional visual language to new forms of visual expression, which continues to serve as an inspiration for many today.
Gallery Desmet
francesco fanelli
Pair of staggering and pacing horses Attributed to Francesco Fanelli (Italy, 1590-1653) Bronze, black lacquer patina Florence, second quarter of the 17th century H 15 x W 16.5 x D 5 cm H 16.5 x W 16 x D 5 cm Provenance: private collection, Italy To introduce these bronzes, there is no better way than the description made by the English antiquarian George Vertue (1684-1756). He depicted a number of statuettes by Fanelli at Welbeck: Fannelli the Forentine Sculptor who livd and dyd in England, made many small statues. models & cast them in brass (i.e. bronze). which he sold to persons that were Curious to sett on Tables cupboards shelves by way of Ornament - and irons. Many were bought by W. Duke of Newcastle, and left at Welbeck. where the Earl of Oxford. found them. This Fanelli had a particular genius for these works and was much esteemd in King Charles I time - and afterwards - so many of this little Statues as I have seen at Ld Oxfords - It shows us the impact and influence of yet another Florentine sculptor in England and this pair of bronzes is exactly what Fanelli is famous for: dark black lacquer patina, the subject of horses and the small size to appeal to the collector’s desire of the high nobility in England and beyond.
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
Alexis Lartigue
alexander calder
Alexander Calder (Lawnton 1898-1976 New York) Untitled, 1967 Gouache and ink on paper 50 x 66 cm Signed and dated lower left CA.68 This work is registered in the Calder Foundation Archives under n° A30212 Provenance: Galerie Jacques Verrière, Lyon; private collection, France; sale Artcurial, Paris In 1968, Alexander Calder created this gouache in his studio in Saché, near Tours, where he had settled in 1953. This work, made using gouache and ink, is distinguished by a palette of black, blue, red, and orange. Like all his gouaches, it reflects the spontaneity and simplicity that characterise Calder's work. The pieces created by Calder in Saché, where he founded "La Gouacherie" after moving there, are imbued with a minimalist poetry. This poetry emerges from pared-back means: elemental symbols, basic figures, and a palette of primary colours. Calder's gouaches directly echo his mobiles and stabiles. Although movement is physically absent from his gouaches, it is nevertheless suggested and imagined, introducing a temporal dimension that is frozen in space. This is how Calder captures a moment of movement in a static form. This 1968 piece is no exception. Through planes of black, blue, red, and orange, Calder manages to convey a sense of balance and fluidity.
Douwes Fine Art b.v.
kees van dongen
Kees van Dongen (Rotterdam 1877-1968 Monte Carlo) Baigneuse à Trouville, circa 1925 Oil on canvas 53.3 x 32.8 cm - framed: 79 x 57 cm Signed lower right 'van Dongen' This work will be included in the forthcoming van Dongen digital catalogue raisonné, currently being prepared under the sponsorship of the Wildenstein Plattner Institute, Inc. Provenance: Madame Van der Velde, Le Havre (by 1928); Pierre Samuel and Emma Célina (born Bayeux) Van der Velde, Le Havre; Jeanne (born Van der Velde) Réquin, Le Havre (acquired by descent circa 1952); Jeanne (born Van der Velde) and Edouard Réquin, Le Havre (acquired circa 1952 and until 1970); (possibly) Galerie Beaux Arts, Paris; Espace Pierre Cardin, Paris, April 4th, 1973, lot 16; (possibly) Collection Lieury, Le Havre; Alain Lesieutre, Paris (acquired by 1983 and until at least 1992); De Quay-Lombrail, Paris, June 22nd, 1995, lot 68; Michelle Rosenfeld Gallery, New York (acquired circa 1999); Kunsthandel Frans Jacobs, Amsterdam; acquired from the above in 2000 by the former owner; Sotheby’s London; private collection, The Netherlands Literature: Yvonne Brunhammer, Art Deco Style, Paris, 1983, n° 86, p. 48, ill. in a photograph; Béatrice de Rochebouet, Vente de la collection Lesieutre: Fin d'un règne, Le Figaro, October 2nd, 1992, n.n., n.p., ill. (titled ‘Femme au bord de la mer’); Christel Aaftink, 'Kees van Dongen', In Detail: periodieke uitgave van Kunsthandel Frans Jacobs, February 2000, n° 10, p. 7, ill. in colour