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COLNAGHI
willem adriaensz key
Willem Adriaensz Key (Breda 1515/16-1568 Antwerp) The Crucifixion, circa 1550 Oil on panel 102 x 74 cm Signed on the cross: W. KAY Provenance: private collection, Belgium, until 2023; acquired from the above Literature: Koenraad Jonckheere, Willem Key (1516-1568): Portrait of a Humanist Painter, Turnhout, 2011 This signed panel is a recently rediscovered work by Willem Key. Key is most known for his portrait paintings, which account for roughly two-thirds of his known output. However, he was also a gifted painter of historical and religious subjects - this picture is a testament to Key’s powerful religious achievements, several of which were destroyed during the Iconoclastic Fury, or Beeldenstorm, that swept the Low Countries and famously struck Antwerp in 1566. Willem Key was a prominent sixteenth-century painter from Antwerp, then one of the greatest commercial and artistic centres of Europe. Recognised for his exceptional talents, Key enjoyed high social and artistic status, earning the admiration of both local nobility and international figures, including Don Fernando Álvarez de Toledo, Duke of Alba, and Antoine Perrenot, Cardinal Granvelle.
Valerio Turchi
Diana Venatrix Roman, 2nd century AD Marble H 103 x W 45 x D 26 cm Accompanied by Art Loss Register certificate: S00217922 Provenance: the former collection of an art dealer, USA; Sotheby’s New York, Antiquities and Islamic Art, 1-2 March 1984, lot.73; then former collection of the explorer and adventurer J. Stephen Fosset (1944-2007); acquired in London, 21 October 1986
Kunstconsult 20th century art I objects
charles schneider
Charles Schneider (Château-Thierry 1881-1953 Epinay-sur-Seine) Five filetés-vases, circa 1925 Clear and opalescent glass in different colours, freehand and mould blown, with applied vertical stripes Designed by Schneider in the early 1920 and executed by Verreries Charles Schneider, Epinay-sur-Seine H 28 cm - Yellow vase with red foot H 44.5 cm - Yellow vase with blue foot H 36 cm - Red vase with yellow/dark foot H 47 cm - Yellow vase with orange/blue foot H 18 cm - Yellow vase with blue foot Literature: Helmut Ricke, Schneider France-Glas des Art Deco, Hannover 1981, pp. 165-167; Edith Mannoni, Schneider, not dated, pp. 92-93; Schneider-une verrerie au XXe siècle, Nancy, 2003, chapter 'oeuvres exposées' (similar pieces) Extremely rare ensemble of the highest quality, one of the highlights of the Schneider production, collected over thirty years on the French and Dutch art markets.
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J. Baptista
'Minas Novas' necklace Silver and quartz Portugal, 18th century Weight 100.5 gr. 9.5 x 33.5 cm Articulated links studded with 'Minas Novas' (colourless quartz) with a large bow in the centre, applications of stylised botanical elements and a removable dove Literature: similar pieces illustrated in Orey, Leonor d'-Cinco Séculos de Joalharia-Museu Nacional de Arte Antiga, Instituto Português de Museus/Zwemmer, Lisbon/London, 1995, pp. 92-94
Galerie Bernard De Leye
Madonna and Child, 1774 Silver Master silversmith, François-Joseph Baudoux (France, 1720-1788), Lille hallmarks H 69 x W 26 x D 21 cm Literature: Master silversmith listed in Nicole Cartier-Les orfèvres de Lille, Cahier du Patrimoine vol. II pp. 671-691 Renowned for his talents, François-Joseph Baudoux obtained the most prestigious commissions in Lille, mainly for the Church of Sainte Madeleine. He was a member of the Lille Academy of Arts when it was founded in 1773. Under the fold of the robe are the Poinçon de Reconnaissance, Poinçon de Jurande, Poinçon de Maître Orfèvre.
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 Hadjer
joan miró
Joan Miró (Barcelona 1893-1983 Palma de Mallorca) Hirondelle d'Amour Aubusson tapestry woven by the Pinton workshop/ Mobilier National, France Wool Based on original tapestry cartoon from 1979 200 x 160 cm Edition 2/8 - Project with the Miro Foundation in 2024 Provenance: Atelier Pinton Aubusson - French National collection / Miró Foundation Literature: Le Monde Nouveau de Charlotte Perriand, Fondation Louis Vuitton; K. L. H. Wells, Weaving Modernism. Postwar Tapestry Between Paris and New York, Yale University Press, 2019; The Fabric of Modernity. Matisse, Lurçat, Miró and French tapestry, 2020 Exhibitions: Joan Miró, Hirondelle d’Amour was presented as part of the Louis Vuitton Foundation exhibition, Le Monde Nouveau de Charlotte Perriand, October 2nd, 2019-February 24th, 2020; The Fabric of Modernity. Matisse, Lurçat, Miró and French tapestry, 2020
Stéphane Renard Fine Art
giuseppe porta
Attributed to Giuseppe Porta (Tuscany 1520-1575 Venice) Allegory of Chastity Black chalk and white highlights on faded blue paper, lined with laid paper 15.5 x 12.8 cm 17th century Dutch frame in ebony veneer Provenance (of the drawing): Sir Peter Lely (1618-1680), his mark lower right (Lugt 2092), until its sale in April 1688, when our drawing was bought by William Gibson (1644-1702) from the inscription on the verso; Sir Lawrence Gowing (1918-1991), label on the original mounting board Provenance (of the frame): Marquis Carlo Camillo Visconti Venosta (1879-1942), from a stamped inscription on the verso of the frame; Cadres Lebrun
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'.
Samuel Vanhoegaerden Gallery
james ensor
James Ensor (Ostend, 1860-1949) Coquilles et Statuettes, 1934 Oil on wood panel 40 x 50 cm Signed lower right ‘Ensor’ , signed and titled on verso This work is included in the catalogue raisonné of the complete paintings of James Ensor by Xavier Tricot, n° 641 Provenance: private collection, Belgium (acquired ca. 1970); by descent from the above to the present owner; sale Sotheby’s London, February 2012, lot 187; Samuel Vanhoegaerden Gallery, Knokke; private collection, Brussels Literature: X. Tricot, James Ensor, The complete paintings, Mercatorfonds, Brussels, 2009, p. 383, n° 641
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Galerie Berès
Jean Degottex (Sathonay-Camp 1918-1988 Paris) IMPA-VIDE (II), 1959 Oil on canvas 199 x 130 cm Signed lower right ‘Degottex’; signed, titled and dated on the back: Degottex IMPA-VIDE (II) 1959 This work will be included in the catalogue raisonné of Jean Degottex Inclusion certificate n°2023-34 issued by Comité Jean Degottex dated 21 November 2023 Provenance: private collection Exhibitions: Les Alliances, Les Dix-huit vides, Galerie internationale d'Art contemporain, séquences sonores de Pierre Henry, Paris, 26 November-31 December 1959 Jean Degottex was born in Sathonay-Camp on 25 February 1918 and died in Paris on 6 December 1988. Degottex was a French abstract painter, best known for his initial proximity to the lyrical abstraction movement of the 1950s and 1960s. In his own words, his work gradually moved from gesture and sign to writing, and then from writing to line. Considered a major artist of abstraction in the second half of the 20th century, he drew inspiration from Far Eastern calligraphy and Zen philosophy to achieve the obliteration of the creative subject. In 1958, he joined the Galerie internationale d'art contemporain, directed by Maurice d'Arquian. There he rubbed shoulders with Pierre Henry, Yves Klein and Maurice Béjart. He became better known abroad, particularly in Belgium, Switzerland, Italy and Germany. The period from 1956 to 1963 was particularly productive. He worked in series/suites: suite Ashkénazi (1957), suite Serto (March-April, November 1957), suite des Hagakure (November 1957), les 18 Vides (1959), suite des Roses (1960), suite des Alliances (1960), les 7 Métasignes (1961), Jshet (1962). Many of his works were then entitled Écriture, Suite Écriture. EXHIBITION Les Alliances, Les Dix-huit vides, Galerie internationale d'Art contemporain, sound sequences by Pierre Henry, Paris, 26 November-31 December 1959 Jean Degottex joined Maurice d'Arquian's Galerie Internationale d'Art Contemporain in 1958. Maurice d'Arquian was particularly keen on the confrontation between different forms of creation. He organised performances in his gallery and brought the composer Pierre Henry into contact with the painter. In 1959, the artist exhibited Alliances, eighteen empty forms, and Pierre Henry produced sound sequences inspired by the 18 empty spaces on display. The music will be played throughout the exhibition. The title ‘IMPA-Vide’ (II) corresponds to the eighteen forms of emptiness listed in the Mahâ-prajnâpâramitâ (The Treatise on the Great Virtue of Wisdom).
Willow Gallery
Bernard Buffet (Paris 1928-1999 Tourtour) Le Phare, 1955 Oil on canvas 114 x 146 cm - framed: 136 x 168 cm Signed and dated 'Bernard Buffet 55’ Provenance: Galerie Drouant-David, Paris; Galerie Hélios Art, Bruxelles; private collection, Japan Literature: Fonds de dotation Bernard Buffet, éd., Bernard Buffet, Catalogue raisonné de l'Œuvre peint, 1954-1958, Paris, 2024, vol. II, p. 90 (ill.)
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.)
Galerie Sophie Scheidecker
Anton Henning (Berlin, 1964) Blumenstilleben n° 253 (AH 2004-196), 2004 Oil on canvas 220 x 189 cm Anton Henning, born in Berlin in 1964, is a contemporary German artist whose work includes painting, sculpture, photography and installations. A self-taught artist, he trained largely through direct observation of ancient and modern art during his travels in the United States and Europe in the 1980s. Henning is distinguished by a bold approach that fuses a variety of styles and influences, from the old masters to modern movements. He appropriated classic artistic genres such as still life, portraiture and landscape. His style is recognisable for its complex compositions, bright colours and taste for geometric and organic motifs. An important figure in contemporary European art, Anton Henning has exhibited in renowned galleries and museums in Europe, notably in Germany, Switzerland and the Netherlands, and his works are included in major public and private collections. In his series of paintings Blumenstilleben (Still Life of Flowers), Anton Henning explores the traditional theme of the floral still life with a singularly modern twist. Blumenstilleben No.253 (AH 2004-196), painted in 2004, is notable for its treatment of the floral motif with a palette of vibrant colours, interwoven with geometric motifs of exaggerated proportions, visible brushstrokes and juxtapositions of textures, giving it a particularly pop, modern feel. With this series, Henning also seems to be questioning the relationship between academic painting and contemporary art. He does not hesitate to break with the solemnity of traditional still lifes by introducing elements reminiscent of modern design, abstraction and even the aesthetics of comics. Inspired by the aesthetic codes of the old masters, Henning revisits the subject of flower bouquets and floral compositions in a style that oscillates between the abstract and the figurative.
Montagut Gallery
Baule statue Baule people, Ivory Coast, 19th century Wood H 40.5 cm Provenance: Galerie Olivier Le Corneur, Paris; Marceau Rivière collection, Paris, France; Alberto Costa Romero de Tejada, Barcelona, Spain; Javier Lentini collection, Barcelona, Spain Literature: África. La Figura Imaginada. Fundació LaCaixa, Barcelona, 2004. nº 44, p. 9 Unique within the corpus, this masterpiece destabilises, fascinates, and intrigues with its beauty and singularity. Its powerful serenity is magnified by its stature, refinement, gesture, and adornment. The sculpted forms, robust and vigorous due to its accentuated musculature, paradoxically suggest lightness, enhanced by its missing feet. The represented dignitary seems to be weightless, levitating, with its remarkably imposing elevated presence. The ideal of beauty and perfection amongst the Baule, representing moral perfection through its traits, is embodied here. Prestige is revealed in its details. Animated by combined energy and tranquility, its authority and dignity vibrate with admirable majesty. The distinctly rounded shoulders reinforce its stature, symbolising power, whilst the finely sculpted beard collar emphasises wisdom and maturity. Emerging from the torso are two nascent, flattened circular breasts with a dark brown patina, giving the figure an androgynous character and suggesting completeness through the union of both sexes. The finesse of the minute details enhances its gesture and adornment. The surface of its emaciated torso is adorned with subtly carved scarifications in slight relief, revealing or suggesting an armour, a necklace, an insignia of prestige and high rank. With fluidity, its delicate gesture attracts and guides the gaze to its slender fingers, which, on either side of the navel—slightly rounded, symbolising wealth and high social status—evoke a sign of welcome and esteem that spirits make when they encounter a diviner with whom they will form a future alliance. This gesture and the very particular treatment of the hands are unparalleled but can be closely associated in finesse with the treatment of the fingers in a work by the Master of Truth. Framed in a gentle oval, the strikingly peaceful face is sublimated by its crusty patina and the subtle interplay of forms between concave curves and reliefs. Slightly hollowed, the impact of its traits, carefully and clearly drawn, is accentuated. Its fine nasal ridge extends in a gentle continuity to the curved brow arches, intensifying the contours of the hollowed eyes, enhancing the circular shape of the gaze, revealing both its closed eyelids and the depth of introspection and meditation. The exceptional sophistication of its hairstyle, a testament to the Baule's sculptural finesse, contributes to this quest for perfection. This statue has been held in a collection for more than forty years and is now fresh on the market.
Kunstconsult 20th century art I objects
barbara nanning
Barbara Nanning (The Hague, 1957) Ceramic sculpture 'Hydras' from the Botanica series, 1997 Stoneware with coating of sand and pigment Ø approx. 80 cm Unique piece Provenance: collection Snijder, Aerdenhout Literature: Thimo te Duits, Barbara Nanning_evolution, Publisher nanning, 2004, p. 63 and p. 133
