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Van Herck-Eykelberg
James Ensor (Ostend, 1860-1949) Rotundités (1936-1937) Oil on canvas 51 x 61 cm Signed lower right Literature: X. Tricot, James Ensor, Catalogue Raisonné of the paintings. II 1902-1941, Wienand, 1992 Anvers, n° 695; X. Tricot, James Ensor, Catalogue Raisonné of the paintings. Mercator, 2009, n° 713 Exhibitions: Brussels, Galerie Robert Finck, Exposition de peinture belge moderne, 1961; Ostend, Venetiaanse Gaanderijen, Ensors denkbeeldige paradijs, 2024
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.)
Boon Gallery
günther uecker
Günther Uecker (Germany, Wendorf 1930) Wind, 2005 Nails and oil on canvas laid down on wood 200 x 160 cm Signed on reverse This artwork is registered in the Uecker Archive with the number GU.05.011 and will be included in the forthcoming catalogue raisonné Günther Uecker has for six decades developed his reliefs comprising dynamic arrangements of nails. Born in 1930 in Wendorf, Germany, Uecker studied at the Kunsthochschule Berlin Weissensee and Kunstakademie in Düsseldorf, where he lives and works today. In the 1950s, influenced by Eastern philosophy and Gregorian chanting, he began a ritual of hammering nails. These materials signify protection and creation to the artist, who remembers nailing planks over the windows of his home to deter Soviet troops after the Second World War. By 1957, he was hammering nails onto canvas to achieve a 'sundial' optical effect, casting light and shadow in ephemeral patterns. In 1961, Uecker joined Heinz Mack and Otto Piene in the anti-expressionist movement Group Zero, which prioritised expanding beyond the traditional dimensions of the canvas into kinetic, serial, and participatory realms. After the group's dissolution in 1966, Uecker's work incorporated aspects of conceptual and land art, and he began designing stage sets for operas. Uecker's work has been the subject of solo exhibitions at museums worldwide. Retrospectives of his work have been organised by the Central House of Artists, Moscow (1988) and Kunsthalle München (1993), and he participated in Documenta (1964, 1968, 1977) and the 1970 Venice Biennale. His work resides in such collections as the Art Institute of Chicago; Guggenheim and MoMa in New York; Museum Ludwig in Cologne; Centre Pompidou in Paris; Stedelijk Museum in Amsterdam; and Tate Modern in London.
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Guy Pieters Gallery
christo and jeanne-claude .
Christo (Gabrovo 1935-2020 New York) and Jeanne-Claude (Casablanca 1935-2009 New York) The Mastaba (Project for Abu Dhabi, United Arab Emirates), 2013 Pencil, charcoal, wax crayon, pastel, hand-drawn technical data and map, enamel paint, wash and tape Left part: H 165 x W 38 cm Right part: H 165 x W 106 cm
robertaebasta
Gabriella Crespi (Saronno 1922-2017 Milan) Caleidoscopio table lamp Nickel-plated brass characterised by engraved profiles that emanate subtle effects of light Italy, circa 1970 H 87 x W 18 x D 18 cm Engraved signature on the base and on the diffuser Certificate of authenticity by Archivio Gabriella Crespi n° 040605075P Provenance: private collection, Italy
Lemaire
Late Louis XV ormulu and Meissen porcelain mantel clock The porcelain figures, modelled by Johann-Joachim Kändler (1706-1775), are dated circa 1750-1755 The dial, signed J.-B. Duluc, is dated late Louis XV period, circa 1765-1770 Clockmaker Jean-Baptiste Duluc (Master in 1770); clockmaker to the Comte d'Artois, brother of the future Louis XVI H 35.5 cm Literature: the figure is reproduced in ADAMS (Y), Meissen Figures, 1730-1775, The Kaendler Period, 2001, p. 113 The figures represent two Provençal musicians surrounded by a bunch of porcelain flowers, standing on a terrace complete with a staircase. The figures were inspired by an engraving by François Boucher (France, 1703-1770) depicting a Provençal street musician playing a fife and a drum
Hoffmans Antiques
Chandelier in 'Retour d'Égypte' style Attributed to Benjamin Ladouèpe-Dufougerias (France, 1766-1821) and Manufacture de Cristaux de Montcenis For twelve candles. Patinated and ormolu bronze and crystal rockchains Paris, circa 1806 H 130 cm The centre of the chandelier is an amphora-shaped patinated vase, topped with a flame finial and finishing in a pinecone detail. Surrounding the vase, twelve curved and candle arms ornamented with leaves extend in tiers from four Egyptian masks. The chandelier is supported by four chains linked to an imposing crown adorned with lion mascarons and volute decorations embellished with floral motifs. A reference for this chandelier can be found in the collections at Versailles, located in Marie-Antoinette's inner cabinet at the Petit Trianon.
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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'.
Galerie de la Présidence
Albert Marquet (Bordeaux 1875-1947 Paris) Septembre à Porquerolles, 1939 Oil on canvas 46.4 x 61.3 cm - framed 67 x 82 cm Signed lower right This work will be included in the Marquet Digital catalogue raisonné, in preparation by the Wildenstein Plattner Institute Provenance: Marcelle Marquet collection, Paris (1947); Salvador collection, Paris; Galerie Couleur du Temps, Paris; Galerie Motte, Geneva; private collection, United Kingdom; private collection, France Exhibition: Albert Marquet. Rétrospective, Galerie des Granges, Geneva, 1974, n° 27 Let’s approach the shores of the Iles d’Or with the painter Albert Marquet (Iles d’Or or The Golden Islands, the group of three islands located near Saint-Tropez, in South-East France, Mediterranean Sea). In the early summer of 1939, he and his wife moved into a delightful villa on the island of Porquerolles. On a windy day, he captures the lapping of the Mediterranean Sea with astonishing modernity. Combining realism and poetry, in this subtle harmony of light greens, he conveys the essential, with his accurate perception of tones and contrast. In front of this idyllic landscape filled with light, Marquet 'painter of the suspended time' invites to enjoy the journey...
Chambre professionnelle belge de la Librairie Ancienne et Moderne (CLAM)
Aventuras de Juan Esparraguito o el niño casi legumbre. Cuchicheos de un abuelo Paris (Argenteuil, R. Coulouma & Le Coloris Moderne), 1930. Folio, publisher’s white pictorial wrappers in pochoir colour, (in modern box) (8) pp. 145 pp. 1 unnumbered leaf. Spanish text. 22 full-page plates, 25 text illustrations, and 14 initials by the South American artist A. Gómez-Palacios, all in superb pochoir colour, several with gold or silver highlights. Complete. First and only edition. Literature: Catalogue of the Cotsen Children’s Library, 2000, 3006 / Manuel Peña Muñoz, Historia de la Literatura infantil chilena, 1982, pp. 31-32 / Not in Bilderbuch im Kinderwelt & Olivier Piffault, Babar, Harry Potter & Cie (BnF) A monument of Chilean children’s literature that embodies the spirit of “realismo mágico” (magical realism) usually associated with South American art and literature, a mixture of world history, religion, and fantasy. It is a fairy tale about a little boy who dreams of being a fully-fledged asparagus someday. The illustrations show his journey and the people and creatures he meets along the way. The book was written by Agustín Edwards McClure (1878-1941), a rich Chilean businessman, lawyer, press tycoon, minister, and president of the League of Nations between 1922 and 1923, during his exile in Paris; it is dedicated to his grandchildren. “Los años 30 se inician con una publicación para niños que es una exclusividad y una joya para el coleccionista de libros infantiles chilenos antiguos. El libro chileno, aunque impreso en París, está lleno de imágenes caprichosas y originalidades, como llamar cascabeles a los capítulos. La primera lámina representa un hermoso gato negro que ostenta un lujoso collar de 14 cascabeles, uno por cada capítulo. La historia transcurre “en una tarde bañada de sol, como ias que solo se ven en Viña del Mar, rincón privilegiado de la Costa del Pacífico y en un sitio llamado desde tiempos remotos “Los Canelos”. Allí está el abuelo contándoles una historia maravillosa y extravagante a sus nietos Cuchito y Sonia. Y la historia abunda en fantasía y en descripciones de otros países como India, China, y tambien de nuestra cordillera. Contiene asimismo descripciones poéticas, muy modernistas. En suma, un libro delicado, fino, exquisito, de gran formato y pieza clave en la historia de la literatura infantil chilena” (Manuel Peña Muñoz). Although the colophon states that 1000 copies were produced, the book is very rare, and the cost of production may have precluded printing more than a couple of hundred copies. One of 900 numbered copies on vélin Lafuma. This copy was specially printed for the printer’s wife. A pristine copy, very uncommon in this condition. Pierre Coumans, Antiquarian bookseller
Samuel Vanhoegaerden Gallery
Panamarenko (Antwerp 1940-2019 Brakel) Archaeopterix III, 1990 Mixed media sculpture: balsa, strings, twelve servos, electronic chips ... H 36 x W 33 x D 25 cm Signed Certificate of authenticity by the Panamarenko Foundation dated 2 October 2024 Provenance: Ronald Feldman Gallery, New York Literature: Toyama-The Museum of Modern Art, Kamakura, 1992, n° 47, ill.; Moderne Museet, Stockholm, Metafor och Materia, Panamarenko, Rollof, Shannon, 1991, ill. p. 78; Museum Dhondt-Dhaenens, Deurle, Belgium, Selectie Belgische Kunstenaars voor Documenta IX, Deurle, 1992, ill. p. 114; H. Theys, Panamarenko: A book by Hans Theys, Brussels, 1992, ill. Exhibitions: Ronny Van de Velde Gallery, Antwerp, Belgium, Nam Jun Paik-Joseph Beuys-Panamarenko, 1990; Städtische Galerie im Lehnbachhaus, Munich, Paradoxe des Alltags, 1991; The Watari Museum of Contemporary Art, Tokyo, Irony by Vision, 1991; International Art Center, Hasselt, Panamarenko, 1991; Toyama-The Museum of Modern Art, Kamakura, 1992; The Bunkamura Museum of Art, Tokyo, 1992; The National Museum of Art, Osaka, 1993; Fukuyama Museum of Modern Art, Fukuyama, 1993
Galerie Taménaga
georges rouault
Georges Rouault (Paris, 1871-1958) Pierrot accoudé, 1932-1939 Oil on paper laid on canvas 65 x 55.5 cm Provenance: Galerie Jean-Claude Bellier; private collection Literature: Olivier Nouaille et Olivier Rouault, Rouault L’Oeuvre Peint, vol. 3, Fondation Georges Rouault, 2022, n° 3751-3233, ill. p. 203
Galerie Oscar De Vos
george minne
George Minne (Ghent 1866-1941 Sint-Martens-Latem) Kneeling youth with shell, 1923 Bronze H 70 x W 25 x D 45 cm Signed 'G MINNE' Bronze mark: Fondery Batardy / Bruxelles Provenance: Galerie Georges Giroux, Brussels (n° 3627) Literature: Berg, B. e.a., George Minne. Voorbode van de moderne kunst (2013), p. 20, p. 65, n° 10 (ill.); Boyens, P., Sint-Martens-Latem. Kunstenaarsdorp in Vlaanderen (1992), p. 569 (ill.); Devigne, M., La sculpture belge 1830-1930 (1930), n° 66 (ill.); Hoozee, R. e.a., George Minne en de kunst rond 1900, cat. (1982), p. 246, n° 209 (ill.); Poulain, N. e.a., Groeten uit 1926 (Gent: VDK Spaarbank, 1991), p. 88, n° 54 (ill.); Van de Woesyne, K., George Minne als teekenaar, in: Elseviers Geïllustreerd Maandtijdschrift (1924), pp. 289-292 (ill.); Van Puyvelde, L., George Minne (1930), n° 85, pl. 100-101 (ill.) Exhibitions: comparable copies in museum collections: MuDeL, Deinze, inv. 1032/MIN.g-9; Kunsthalle Manheim, Germany
Galerie Raf Van Severen
pierre alechinsky
Pierre Alechinsky (Brussels, 1927) Les Pleins et les Déliés, 1962 Oil on canvas 100 x 80 cm Signed and dated Provenance: Kunsthandel M.L. de Boer, Amsterdam, n° 8048; private collection, The Netherlands 'Les pleins et les déliés' is an abstract expressionist painting by the Belgian painter Pierre Alechinsky (1927). Alechinsky was one of the prominent members of the avant-garde group Cobra (1948-1951). Characteristic for the art movement of that time, Alechinsky applied a chaotic and dynamic use of colors, with red the main color in this painting. He got to that result by using wild brushstrokes. This painting is considered an early work in the oeuvre of Alechinsky and can be situated during the top period with the likes of Karel Appel. Paintings like 'Barbaars Naakt' (SMAK, Ghent) by Karel Appel used a similar color palette with again violent paint strokes. As a result, the figures in their paintings are barely obeservable. But that was basically what they were trying to achieve. Together, the members of Cobra all tried to bring over the same message in their paintings. They wanted to disrupt an existing order and harmony. As this is an early work, the painting is still oil on canvas. Not much later in his career, Alechinsky made the full-time switch to mixed media on paper laid down on canvas. In the latter technique, the viewer can recognize elements of calligraphy. That became a passion for Alechnisky, after he visited Japan in 1955. In these paintings, he started expressing his love for calligraphy, by using it on the canvas itself, more specifically the typical ink. Even in this painting, we can already notice a reference to calligraphy or handwriting. Just not yet on the canvas, but in the title. 'Les pleins et les déliés' is a concept used in calligraphy where 'Les Pleins' refers to the thick strokes or the full, bold lines made when writing. 'Les Déliés' refers to the thin strokes or the delicate, lighter lines. It is easier to comprehend by imagining a brush stroke. If it’s done vertically you get a thicker brush stroke, if done horizontally, it’s possible to get a finer stroke.
COLNAGHI
jacob jordaens
Jacob Jordaens (Antwerp, 1593-1678) A rostrum of musicians in a loggia, circa 1635 Watercolour, gouache, red chalk, pen and brown ink and brown wash. Coated paper 34.5 x 28.2 cm Provenance: Mrs. Lasserre (Dax, France; 1904); Maurice Delacre (Ghent, 1862-1938); Geoffrey & Bequet sale, Saintes, 20 April 2008; acquired by Jean Luc Baroni; private collection, UK Literature: R.A. d’Hulst, Jordaens Drawings, Catalogue raisonné, Brussels, 1974, Vol. I – A 199; ill. Vol. III, fig. 214 Exhibition: Antwerp, 1905, n° 126 This beautiful and highly important sheet by Jacob Jordaens belongs to a series of drawings intended as preliminary studies for the tapestry series Scenes from Country Life. The beauty and complexity of this composition has been interpreted by scholarship as Jordaens’ ultimate harnessing of the watercolour medium, and placed amongst his best graphic work. After the death of Rubens in 1640, Jordaens became the leading painter in Antwerp, producing numerous paintings for public, private, and ecclesiastical patrons, as well as many designs for tapestries.
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Univers du Bronze
raymond delamarre
torse du diadumene (1936)
Plaster exhibited at the Salon des Tuileries (cat. n°439). Bronze, richly dark black brown patina H : 119 cm, L : 51,5 cm, D : 27 cm Bronze cast for the patron M. Giron (commissioned in December 1937), signed "Raymond Delamarre", dated "1937", cast by "Bisceglia Cire Perdue Malakoff" (seal), only one bronze example currently identified. Cast circa 1937-1938
Galerie Marc Maison
louis malard
Louis Malard, French cabinetmaker Monumental bed in Egyptomania style, 19th century Walnut with polychromy Presented at the 1889 Exposition Universelle in Paris. This bed is part of a complete bedroom set H 271 x W 232 x D 260 cm Provenance: formerly in the collection of Countess Bathilde Ducos (1851-1927) from 1889 to 1896; private collection of Charles Henri Duquesne and his descendants from 1896 to 2019 Literature: Le Figaro du 1er juillet 1889, 35th year, 3rd series, n° 182, p. 2; Alfred Picard (sous la direction de), Exposition universelle de 1889 à Paris. Rapports du Jury international, Groupe III - Mobilier et accessoires, classes 17 à 29, p. 68; Gazette de l’hôtel Drouot Saturday, Sunday, and Monday, June 1, 1896; Brissonneau, Livres, Tableaux anciens et modernes, Bijoux, Argenterie, Céramiques, Arts de l’Asie, Armes, Meubles et Objets d’art, auction catalogue from April 5, 2019, pp. 30-33, n° 182 Exhibition: Presented at the 1889 Exposition Universelle in Paris This style is associated at the time with the reign of Ramses II in ancient Egypt. Its deeply original decor embodies the 19th century’s fascination with ancient Egyptian art and caused a true uproar: both Le Figaro and the official jury report praised it in glowing terms.
Dei Bardi Art
The Martyrdom of Saint Barbara Flemish tapestry, probably Bruges, circa 1525-1550 Wool and silk 270 x 198 cm The Flemish tapestry depicting the Martyrdom of Saint Barbara stands out as a remarkable example of 16th-century craftsmanship, distinguished by its exceptionally well-preserved color palette. The vibrant brick reds and striking bluish-green leaves create a stunning visual impact, showcasing the artistry of its creators and the outstanding state of conservation. Professor Guy Delmarcel links this tapestry to a series of textiles produced in Bruges after 1530, characterized by their fantastical nature scenes and populated by imaginative creatures. This tapestry exemplifies the rich decorative style of the time, merging naturalistic and poetic elements with exotic animals that spark the imagination. Bruges was a preeminent weaving center during this period, with numerous tapestries documented in contemporary inventories. However, very few have survived, making this piece particularly rare and valuable. Notable examples include two millefleurs tapestries featuring the arms of Paolo Giovio, found in the collections of the Victoria and Albert Museum in London and the Princes of Liechtenstein in Vaduz. The absence of the town mark on our tapestry indicates that it was woven before May 2, 1547, when the guild mandated its use, further enhancing its historical significance. The exquisite craftsmanship of Bruges tapestries, such as this one, has left a lasting impact on textile production throughout Europe, establishing high standards of artistic innovation and technical skill that subsequent generations would aspire to emulate. Particularly striking is the intricate border design, adorned with floral motifs and goldsmith-inspired elements like incense burners and small bells against a warm brick-red background. This style, often associated with heraldic imagery, can be traced back to Bruges around 1530, underscoring the tapestry's connection to the city’s rich artistic heritage. The dramatic depiction of the executioner brandishing a curved sabre serves as a powerful reminder of the historical context of the time, reflecting the Ottoman incursions into Central Europe. This detail not only situates the tapestry within a specific moment in history but also aids in dating it to the second quarter of the 16th century. In summary, this tapestry is not just a work of art; it is a rare and significant artifact from Bruges, showcasing an extraordinary preservation of color and design that captures the essence of its era.
Willow Gallery
Raoul Dufy (Le Havre 1877-1953 Forcalquier) Le Bal, 1920 Oil on canvas 55 x 65 cm - framed: 70 x 80 cm Signed lower right 'Raoul Dufy' Provenance: Galerie Bernheim-Jeune, Paris (in March 1924); Max Pellequer, Paris (acquired from the latter in January 1925); Marcel Kapferer, Paris (before 1928); Doctor Alexandre Rudinesco, Paris (before 1951); its sale, Parke-Bernett Galleries Inc., New York, October 10, 1968, lot 22 (titled 'Le Bal du quatorze Juillet à Antibes', dated '1910'); B. Gerald Cantor, New York (before 1970); private collection; private collection, France Literature: C. Zervos, Raoul Dufy, Paris, 1928, n° 29 (ill.; titled 'Antibes'; dated '1921'); M. Gauthier, Raoul Dufy, Paris, 1949 (ill., pl. VIII; dated '1912'); P. Courthion, Raoul Dufy, Geneva, 1951, p. XII, n° 62 (ill., pl. 62; titled 'Le Bal à Antibes'; dated '1910'); M. Brion, Raoul Dufy, Paintings and Watercolors, London, 1958, pl. 13 (ill.: titled 'Ball at Antibes, 14 July'; dated '1910'); Maurice Laffaille, Raoul Dufy, Catalogue Raisonné de l’Oeuvre Peint, Tome IV, Editions Motte, Geneva, 1977, p. 147 n° 1581 Exhibitions: Paris, Galerie Charpentier, Plaisir de France, June 1951, n° 62 (titled 'July 14'); Paris, Galerie Charpentier, Plaisirs de la campagne, June 1954, n° 61 (titled 'July 14'); Albi, Toulouse-Lautrec Museum, Raoul Dufy Exhibition, Paintings, watercolors, drawings, tapestries, July-September 1955, p. 24, n° 11 (ill., pl. VIII; titled 'The Ball in Antibes, July 14'; dated '1910'); Paris, Galerie Bernheim-Jeune-Dauberville, Masterpieces of Raoul Dufy, For the benefit of mutual aid of intellectual workers, April-July 1959, n° 9 (ill., pl. 5; titled 'Antibes'; dated '1910'); Paris, Galerie Charpentier, Les Fauves, 1962, n° 55 (titled 'July 14'); Mexico, Museo Nacional de Arte Moderno, Cien años de pintura en Francia, De 1850 a nuestros dias, October-November 1962, p. 118, n° 47 (titled '14 de Julio'); Des Moines, Art Center; Indianapolis, Indianapolis Museum of Art; Albuquerque, University of New Mexico Art Museum; Santa Barbara, Santa Barbara Museum of Art and Fort Worth, Fort Worth Art Center Museum, Selections from the B. Gerald Cantor Collection, December 1970-August 1971, n° 4 (ill. in colour, titled 'Fourteenth of July Dance at Antibes'; dated '1910') Born in 1877 in Le Havre, Dufy entered the Ecole Nationale des Beaux-Arts in Paris in 1900. During this period, he was heavily influenced by Impressionism. He exhibited his work for the first time at the 1901 Salon des Artistes, and then at the Salon des Indépendants in 1903. He also met Berthe Weill in 1902, and began to show his work in her gallery. Dufy received a boost to his confidence when the artist Maurice Denis was one of the first buyers of his work. For the next few years, Dufy painted in the vicinity of Le Havre, made famous by Eugène Boudin and Claude Monet. In 1905 Dufy saw Matisse’s painting ‘Luxe, Calme et Volupté’ in the Salon des Indépendants and his work became influenced by the Fauves until about 1909 when exposure to the work of Paul Cézanne led him to adopt a more subtle technique. In 1911, he and the couturier Paul Poiret founded the ‘Petite Usine’, a company that printed fashion and decorative textiles. Initially interested in engraving, he then began to work in lithographs and watercolours before moving into ceramics alongside the Catalan artist Llorens Artigas. He also illustrated books. After also showing interest in cubism, Dufy finally began to develop his own distinctive approach in 1920. Skeletal structures, foreshortened perspective, and thin, quickly-applied washes of colour became his trademark, in a manner he referred to as stenographic. As subject matter, he chose yachting scenes, views of the French Riviera, parties, and musical events. He had also become fascinated with horseracing, which developed into one of his main subjects. Dufy initially focused on the fashionable racegoers, but soon also became fascinated by the racing itself. The colour and atmosphere of horseracing gave Dufy the opportunity to use and explore his ‘colour-light’ technique, which put the focus on using colour rather than black and white to imply light and shade. Throughout his career, the colour blue was a constant presence in his work. As he once remarked, ‘Blue is the only colour which maintains its own character in all its tones…it will always stay blue…whereas yellow is blackened in its shades and fades away when lightened: red when darkened becomes brown, and diluted with white is no longer red, but another colour – pink’. During this period, Dufy was prolific, working in a variety of materials producing ceramics, tapestry hangings, and large-scale architectural decorations. Dufy’s success continued to grow, and in 1937 he (with the help of his brother Jean) was asked to create what was then the largest painting in the world for the Electricity Pavilion at the Universal Exhibition. ‘La Fée Electricité’ covers over 600 square meters, and was donated the Musée d’Art Moderne by Électricité de France and installed in 1964. Despite the onset of rheumatoid arthritis, Dufy exhibited in the annual Salon des Tuileries during the late 1940s and early 1950s and was awarded the grand prize for painting at the 26th Venice Biennale in 1952, the year before his death. Today, Dufy’s work is held in the collections of the Musée D’Orsay in Paris, the Hermitage Museum in St Petersburg, and the Museum of Modern Art in New York, and many others. An explosion of colour with a dense yet carefully organized patchwork of lines and shapes convey the almost electric atmosphere of this festive dance scene painted by Raoul Dufy. Sometimes referred to as the 14th July, or the 14th July in Antibes, other times just as a dance or ball, Le Bal, is one of the most ambitious renderings of those two subjects combined into one that Dufy explored several times throughout his career. For example, Dufy painted a Bal Populaire in his Fauvist years in 1906, much less constructed and dominated by the green tones of the scene’s setting in park. In 1912, his interpretation of the 14th July festivities seems the closest in terms of composition to Le Bal, with its interlocked diagonals in the upper part – referring to the ball’s tent and flag garlands – and its animated dancing floor in the lower part rendered through spontaneous and vibrant brushstrokes suggesting the figures and their movements. In 1920, Raoul Dufy appears to have painted two very different dancing scenes, both titled Le Bal: the present work and another painting now in a private collection. Dufy opted for a setting in a park for the latter – closer to that of the 1906 painting – as opposed to setting the ball in a colourful almost circus-like tent, as seen in this example, recalling the painting of the 14th July (corresponding to ‘Bastille Day’, the national French public holiday marking the beginning of the French Revolution on 14 July 1789) dating from 1912. These similarities and differences with other works from Dufy’s oeuvre explain the ambiguity of the present work’s dating, given it was exhibited at Galerie Charpentier’s themed exhibition on Fauvism in 1962 and there dated ‘1908’. In other bibliographical references, it is often dated 1910, yet Fanny Guillon-Laffaille adamantly dated Le Bal of 1920 in the corresponding entry of her catalogue raisonné. The daring colour code and combinations, and the broad brushstrokes barely defining the figures are reminiscent of his Fauvist years. The wide bands of colours covering more than half of the composition show Dufy’s awareness of the slightly later avant-gardist movements steering towards abstraction, such as Orphism. Whether or not Le Bal depicts one of the traditional festivities of Bastille Day, and whether or not it is effectively set in Antibes, its vibrant composition is so full of life that it translates a sort of timelessness. Dufy presents us with a snapshot of modern life – it is colourful, dynamic and never stops – and there is no doubt that the 14th July was a perfect pretext to stage and glorify this exhilarating modern life. Judi Freeman wrote that Dufy ‘shared the Impressionist enthusiasm for the annual transformation of cities and towns for Bastille Day on July 14th and other flag-waving celebrations. Whereas Manet and Monet occasionally painted Parisian boulevards adorned with flags for patriotic holidays, Dufy and Marquet regularly depicted the festivities. For the Impressionist the flag-draped streets provided an opportunity to show a colorful festival of modern life, occasionally tinged with political overtones. For Dufy and Marquet the holiday provided motifs that could be situated within the Impressionist tradition but more loosely rendered, with the sketchier brushworks and scattered, almost random color ('The Distant Cousins in Normandy: Braque, Dufy and Friesz', in The Fauve Landscape, New York, 1990, p. 221-222).