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Florian Kolhammer
franz hagenauer
Franz Hagenauer (Vienna, 1906-1986) Pair of head sculptures, circa 1981 Designed by Franz Hagenauer and executed by Werkstatte Hagenauer Wien Cast, soldered, nickel-plated and polished brass H 46 x W 49.5 x D 11 cm Each sculpture is marked 'FRANZ', 'Handmade', 'HAGENAUER/WIEN', 'MADE IN/AUSTRIA' and 'wHw' in the circle Literature: Photograph of the female head in the Archiv Hagenauer in the Museum of Applied Arts Vienna, inv. n° HAF 1188
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Univers du Bronze
françois pompon
François Pompon (Saulieu 1855-1933 Paris) Grue couronnée au repos, 1926 Bronze with slate patina, specific to Pompon H 26.5 x W 10 x D 15.4 cm Artist's edition signed by Pompon in the wax, cast by Cire C.Valsuani perdue, confidential edition of few examples only, circa 1926-1933
Cabinet of Curiosities-Honourable Silver Objects
Circle Gerard Opstal (1605-1668) Carved relief with bacchanal scene, Bachus and five putti Ivory, tropical wood (frame) Southern Netherlands/Flanders, late 17th century 6.3 x 6.3 cm (relief) 11 x 11 cm (frame) Provenance: Stodel, Amsterdam Literature: Les Ivoires, Evolution décorative du Ier siècle à nos jours. Avec la collaboration de M. l'abbé P. Bidault, H. Levasseur, J. Joire, et de MM. les Conservateurs des Musées européens, Paris, Tardy, 1966, pp. 104-106, 109, 128; Elfenbein, Otto Pelka (Bibliothek für Kunst und Antiquitäten Sammler), p. 73, n° 262; Ivoires du Musée du Louvre 1480-1850, une collection inédite (Dieppe: Editions d’Art/Château-Musée de Dieppe, 2005), pp. 56, 220, n° 38; L’amour des ivoires, E. Mannoni, éd. Ch. Massin, Paris
F. Baulme Fine Arts
nicolas bertin
Nicolas Bertin (Paris, 1668-1736) Achilles entrusted by Thetis to the centaur Chiron, circa 1725 Oil on canvas 62 x 79.5 cm Provenance: private collection, Paris Literature: Thierry Lefrançois, Nicolas Bertin, 1668-1736, Paris, 1981 Nicolas Bertin has begun his career as a painter under the reign of Louis XIV and has ended it under Louis XV. He was part of this pivotal generation of 'Trianon painters' who switched from large historical painting, to smaller pictures – frequently easel paintings, which seduced a new generation of clients. Painting in the early years of the 18th century was ahead of the evolution of society, and it was only during the Regency that France freed itself from the rigorous artistic rules of the end of the reign of Louis XIV. The country undertook reforms and its morals evolved. It was just after this political and artistic revolution that Bertin painted this picture. The choice of theme itself is significant of lighter times: the nymph Thetis entrusts her son Achilles to the centaur Chiron.
Galerie Kevorkian
mughal art / art moghol
Portrait of nawab 'Ali Mardan Khan Mughal art Opaque watercolour and gold on paper, gold speckled margins Illuminated panel written in nasta'liq script: 'tasvir-e nawab 'Ali Mardan Khan' Mughal India, 18th century Folio: 32 x 22.8 cm, painting: 21 x 12.4 cm Provenance: probably collection of Sir Elijah Impey, chief justice of Bengal from 1774 to 1789; former collection of Jean Pozzi (1884-1967), French diplomat and collector; French private collection (1975-2000) Exhibition: Indian and Oriental Miniatures, Palais Galliera, Paris, 5 December 1970, n° 24
Galerie La Patinoire Royale Bach
michel mouffe
Michel Mouffe (Brussels, 1957) Tous les matins du monde, 2015 Mixed technique on canvas (9x) H 70 x W 43 cm, in total: H 70 x W 495 cm Provenance: the artist's studio Literature: Alphabet, 2017, Conversation Joel Benzakin and Michel Mouffe; Tous les matins du monde, exhibition catalogue, Galerie La Patinoire Royale Bach Exhibition: Michel Mouffe: Tous les matins du monde, Galerie La Patinoire Royale Bach, 2023
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
Chambre professionnelle belge de la Librairie Ancienne et Moderne (CLAM)
Pieter Bruegel the Elder (Brussels, 1525-1569) Invidia, Envy, one of the seven vices, circa 1558 Engraving by Pieter van der Heyden (1530-1572) Published by Hiëronymus Cock (Antwerp, 1518-1570) 29.7 x 22.6 cm References: New Hollstein Dutch 26 1(2), first state Lex Antiqua, Antiquarian Bookseller
De Zutter Art Gallery
asger jorn
Asger Jorn (Denmark, 1914-1973) The Awakening II, 1953 Oil on panel 152 x 121 cm This work is included in the Catalogue Raisonné under n° 799 Provenance: R. Dahlmann Olson, Copenhagen Exhibitions: 1953, Copenhagen, ‘spiralen’; 1964, Kunsthalle Basel, 'Asger Jorn-Dodeigne'; 1965, 'Jorn', Stedelijk Museum Amsterdam; Louisiana Museum of Modern Art, Humblebaek, 'Jorn'; 2001-2023 long-term loan to the CoBrA-museum Amstelveen
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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
Osborne Samuel Gallery
Lynn Chadwick (London 1914-2003 Lypiatt Park) Short Horn, 1954 Iron and composition H 41 x W 61.5 x D 20.5 cm Unique piece Provenance: The artist; Mrs. Helen Lessore O.B.E.; Acquired by René Gaffé at the Venice Biennale, 15th September 1956; Private collection, The Netherlands; Osborne Samuel, London; Private collection, Canada Literature: J.P. Hodin, Lynn Chadwick, Werk, vol. 44 (n° 3), March 1957, p. 113; Dennis Farr & Eva Chadwick, Lynn Chadwick, Sculptor, With a Complete Illustrated Catalogue 1947-2003, Lypiatt Studio, Stroud, 1997 p. 92, cat. no. 143 (prepatory drawing illustrated; with incorrect dimensions height: 45 cm.) Dennis Farr & Eva Chadwick, Lynn Chadwick, Sculptor, With a Complete Illustrated catalogue 1947-2003, Lund Humphries, Farnham, 2014, p. 111, cat. n° 143 (ill. b&w) Exhibitions: London, New Burlington Galleries, 53rd London Group: British Painting and Sculpture, November-December 1954, n° 264; Venice, XXVIII Biennale, June-October 1956, p. 412, n° 51 (titled Vacca Shortorn), lent by Mrs H. Lessore
Galerie des Modernes
jacques doucet
Jacques Doucet (Boulogne-Billancourt 1924-1994 Paris) Untitled, 1955-1957 Oil on canvas 100 x 50 cm Signed lower right: doucet Dated and numbered on the reverse: CLXV-197 Provenance: Galerie Ariel, Paris; private collection, Paris Literature: Jacques Doucet Parcours 1960-1976, Catalogue raisonné, tome II, Additif aux œuvres du tome I, by Andrée Doucet, ed. Galilée, Paris, 1998, desc. p. 207 and repr. p. 13 under n° 258
Galerie von Vertes
pierre soulages
Pierre Soulages (Rodez, 1919-2022) Peinture 81 x 102 cm, 9 février 1987 Oil on canvas 81 x 102 cm Signed, dated and titled on verso Provenance: Galerie de France, Paris; Pierre Benveniste, Pierrefonds (acquired from the above in 1987); Sotheby's, Paris, 6 December 2022, Lot 4; private collection, Switzerland Literature: Pierre Encrevé, Soulages. L'Oeuvre Complet. Peintures, vol. III: 1979-1997, Paris 1995, p. 158, n° 933 (ill. in colour)
Cortesi Gallery
arnaldo pomodoro
Arnaldo Pomodoro (Morciano di Romagna, 1926) Disco, 2002 Bronze 24.8 x 21 cm Ed. of 8 + 2 AP Provenance: Imago Art Gallery, Lugano; Thomas B. Lemann, New Orleans; Private Collection, New York Literature: Flaminio Gualdoni, ed., Arnaldo Pomodoro: Catalogo ragionato della scultura, vol. II, Milan, 2007, n° 1039, p. 766 (another example ill.); Fondazione Arnaldo Pomodoro, ed., Arnaldo Pomodoro: Catalogue Raisonné, n° 1039 (AP 779), online (another example ill.) Exhibitions: 2006 Arnaldo Pomodoro: Sculture, Chiari, Galleria d'arte L'Incontro Arte Moderna e Contemporanea, October 7–November 30, 2006, p. 44 (another example exh. and ill.)
Galeria Jordi Pascual
antoni tàpies
Antoni Tàpies (Barcelona 1923-2012) Cap amb paper encolat, 1987 Paint, pencil and collage on canvas 54 x 65 cm Provenance: private collection, Barcelona Literature: Agustí, Anna. Tàpies. Obra completa, vol. 6, 1986-1990, Fundació Antoni Tàpies and Edicions Polígrafa S.A, 2000, p. 153, fig. 5465
Segoura Fine Art
jules georges clairin
Georges Jules Victor Clairin (France, 1843-1918) L'Epave, 1904 Oil on canvas 75.5 x 50.5 cm Signed lower right and dated on the back Provenance: private collection, France Painting donated by the artist at the tombola of the Salon des artistes français in aid of wounded Russians, April 1904
Willow Gallery
Marc Chagall (Vitebsk 1887-1985 Saint-Paul de Vence) Flûtiste jaune et bouc dans l’arbre en fleurs, circa 1960-1964 Gouache, pastel, oil pastel and Indian Ink on paper 51 x 34 cm - framed: 70 x 53 cm Stamped with artist’s signature This painting is accompanied by a certificate of authenticity from the Comité Marc Chagall Provenance: estate of the artist; thence by descent
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
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.
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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 Flak
Ritual figure, Ngbaka or neighbouring cultures Ubangi, Democratic Republic of the Congo, early 20th century Carved wood, beads and metal H 32 cm Provenance: collection David Henrion, Brussels; collection Didier Claes, Brussels; collection Richard Carchon, private collection, California Literature: Claes. Premium Art from Black Africa/Art premier d’Afrique Noire, Didier Claes, Bruxelles, 2005; Ubangi. Art and Cultures from the African Heartland, Grootaers, Bruxelles, Fonds Mercator, 2007, p. 121, #3.13; African Impressions. Tribal Art and Currents of Life/Empreintes d’Afrique. L’art tribal au fil des fleuves, B. Von Lintig & H. Dubois, 5 Continents, 2011, pp. 82-83, #31 Exhibition: Ubangi. Art and Cultures from the African Heartland, Afrika Museum, Berg en Dal, The Netherlands, 13 October 2007–31 March 2008