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Kunsthaus Kende
Yoshiko Okamoto (Japan, Yamaguchi 1976) Hagiawase jardinière, 2014 Silver, copper, shakudo, shibuichi H 11.4 x W 26.8 x D 8.4 cm A navette-shaped form, with the wall subtly tapering towards the ends and the base sloping upwards, analogous to the ends. The upper rim terminates in a square moulding. The body is adorned with an abstract frieze of foliage in alternating colours at alternating heights, which is subdivided by a subtle linear decoration. The pattern has been obtained using the traditional Japanese hagiawase technique. A masterfully crafted jardinière or flower planter of outstanding quality, brilliant finesse and unobtrusive elegance. The Japanese artist-silversmith and designer Yoshiko Okamoto (born in 1976 in Yamaguchi) began his career as an illustrator in Yamaguchi Prefecture, her favourite themes being the four seasons and depictions of the beauty of Japanese nature. She took part in arts and crafts courses under the guidance of the metal artist and living national treasure Akira Yamamoto (also from Yamaguchi Prefecture) while still at school, which awakened her interest in traditional Japanese metalworking techniques. After leaving school, she became a master student of Yamamoto, learning the special techniques of hagiawase (hot soldering with metal forging) and kiribame-zogan (heat-welding of cut-out inlays). Her preferred subject has remained unchanged throughout her artistic career: the endless story of nature, woven from the four seasons, into which she incorporates her artistic perspectives, represented by masterful colour gradations of several layers of metal. The traditional Japanese forging technique known as hagiawase (Japanese for ‘brazing’) consists of joining together different types of metal sheets. This technique makes it possible to create metalwork with striped or patchwork patterns. After joining, the artist shapes the metal with a hammer. The work often consists of silver (white), different types of shibuichi (a copper-silver alloy that appears grey) and shakudo (a copper-gold alloy that appears black). The surface of shibuichi becomes light grey when silver is added, the addition of copper makes the colour appear progressively darker depending on the quantity, and the addition of gold makes it dark grey. These metal alloy plates are cut with a fine saw to produce the desired pattern. These plates are joined together with silver and then melted with a gas burner to bond the pieces together. Alternatively, hotter flames are used to bond the different metals together directly. Since it is not possible to produce the pattern exactly as designed each time, Yoshiko Okamoto performs this hagiawase process several times until she has produced the desired number of patterns. When the pattern plates are finished, she grinds the inside to smooth out the unevenness caused by the soldering. She then begins to mould the metal by driving it with a hammer. Once the basic shape has been created, the pattern of white dots is incorporated: for this purpose she drills holes with a drill of maximum 1 mm diameter, inserts a short-cut round wire made of pure silver into the hole and fixes the protruding part of the silver by hammering. The protruding part is then removed to make it level with the surface. This technique is known in Japanese as Kiribame-zogan. The surface is then hand-sanded using coarser abrasive media, the grain of which becomes progressively finer during the sanding process, ultimately resulting in a high lustre. Once all the sections have been completed, the inner surface of the piece is sanded again with coarse sandpaper and the edges of the individual parts are harmonised. The metal plates are then assembled to form the three-dimensional workpiece, fixed together with wire and the segments soldered together. Finally, the surface is preserved using the traditional Japanese patination technique Niiro.
DYS44 Lampronti Gallery
Bernardo Bellotto (Venice 1722-1780 Varsavia) Roma, veduta del Colosseo e dell’Arco di Costantino, 1743-1744 Oil on canvas 61 x 98.1 cm Provenance: private collection, New England; R. Birkedal, Seekonk, Massachusetts; T. Gilbert Brouillette (1906-1970), Falmouth, Massachusetts; Alicia Corchenuk de Buenfil, Città del Messico; Con Steven Juvenis e Firestone & Parson, Massachusetts, entro il 1976; Vendita anonima ('The Property of a Gentleman'), London, Sotheby's, 4 July 1990, lot 19 (as Canaletto); acquired from a private collection; Vendita anonima ('The Property of a European Collector'), London, Christie's, 7 July 2004, lot 98 (as Bellotto); private collection, by 2008; with Cesare Lampronti Gallery, London, by 2009 (as Bellotto); purchased privately from Hampel, Munich, by the current collector in 2019 Exhibitions: Gorizia, Palazzo della Torre, Le Meraviglie di Venezia, Dipinti del '700 in collezioni private, 14 marzo-27 luglio 2008, n° 92; Foligno, Palazzo Trinci, Giuseppe Piermarini, tra barocco e neoclassico, Roma, Napoli, Caserta, Foligno, 5 giugno-2 ottobre 2010, n° B2.22; Monaco, Alte Pinakothek, Canaletto, Bernardo Bellotto Paints Europe, 17 ottobre 2014-15 gennaio 2015, n° 21 Literature: W.G. Constable, Canaletto, Giovanni Antonio Canal, 1697-1768, J.G. Links (a cura di), Oxford 1976, vol. I, n° 388*, riprodotto in pl. 206, e vol. II, pp. 393–94, n° 388* (come Canaletto); W.G. Constable, Canaletto, Giovanni Antonio Canal, 1697–1768, J.G. Links (a cura di), Oxford 1989, vol. I, n° 388*, riprodotto in pl. 206, e vol. II, pp. 393–94, n° 388* (come Canaletto); J.G. Links, A Supplement to W.G. Constable's Canaletto, Giovanni Antonio Canal, 1697–1768, Londra 1998, p. 38, n° 388* (come Canaletto); C. Beddington, in Bernardo Bellotto and the Capitals of Europe, E.P. Bowron (a cura di), cat. mostra, Venezia e Houston 2001, pp. 112 e 114 n° 7, sotto il n° 26; B.A. Kowalczyk, in Bernardo Bellotto and the Capitals of Europe, E.P. Bowron (a cura di), cat. mostra, Venezia e Houston 2001, pp. 136 e 138 n° 13, sotto il n° 35, riprodotto a p. 136; D. Succi, in Le Meraviglie di Venezia, Dipinti del ’700 in collezioni private, D. Succi e A. Delneri (a cura di), cat. mostra, Gorizia 2008, pp. 264–65, n° 92, riprodotto a colori (come Bellotto); M. Fagiolo, in Giuseppe Piermarini, tra barocco e neoclassico, Roma, Napoli, Caserta, Foligno, M. Fagiolo e M. Tabarrini (a cura di), cat. mostra, Foligno 2010, pp. 52 e 55, riprodotto a colori fig. 10; C. Lollobrigida, in Giuseppe Piermarini, tra barocco e neoclassico, Roma, Napoli, Caserta, Foligno, M. Fagiolo e M. Tabarrini (a cura di), cat. mostra, Foligno 2010, pp. 190, 300 e 301, n° B2.22, un dettaglio riprodotto a colori p. 190; T. Wagner, in Canaletto, Bernardo Bellotto Paints Europe, A. Schumacher (a cura di), cat. mostra, Monaco 2014, pp. 192–93, n° 21, riprodotto a colori; B.A. Kowalczyk, in Bellotto and Canaletto. Wonder and Light, B.A. Kowalczyk (a cura di), cat. mostra, Milano 2016-2017, p. 150, sotto il n° 46; B.A. Kowalczyk, in Canaletto 1697–1768, B.A. Kowalczyk (a cura di), cat. mostra, Roma 2018, p. 150, sotto il n° 39
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
Van der Meij Fine Arts
janus la cour
Janus la Cour (Denmark, Tim Parish 1837-1909 Odder) From Bordighera, 1898 Oil on canvas 45 x 73.5 cm Signed lower right: 5.I.98 janus la Cour Provenance: estate auction Janus la Cour, Charlottenborg Copenhagen, December 1909, lot 119; private collection, Copenhagen Literature: Rikard Magnussen, Landskabsmaleren Janus la Cour. 1837-1909 (Copenhagen, 1928), n° 780
Chambre professionnelle belge de la Librairie Ancienne et Moderne (CLAM)
Miquel Barceló (Spain, Felanitx 1957) El libro de los ciegos / Book of the Blind Paris: Item, 1993 Artist's book Folio (40 x 30 cm), prototype binding consisting of rigid boards of incised and tinted plywood. Text by Evgen Bavčar printed in Braille. 48 lithographs and 33 prints by Miquel Barceló, some with added amber varnish Edition of 50 numbered copies on Augoumois paper printed in Spanish Braille, signed by the artist. Ingert ｜Antiquarian Bookseller
Kunstconsult 20th century art I objects
lino tagliapietra
Lino Tagliapietra (Murano, 1934) Samarcande vase with filigree in clear and pink glass, 1989 Designed in 1981 and made for Effetre International 1989 H 15 x Ø 24 cm Provenance: collection Snijder, Aerdenhout Literature: Giovanni Sarpellon, Lino Tagliapietra Glass, Publisher Arsenale, p. 44
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Mearini Fine Art
Venetian Master (Michele Linder from Hamburg?) Crucifix, circa 1490 Alder wood H 115 x W 92 x D 16 cm Recto and verso hollowed out and juxtaposed to recompose the figure Expertise Prof.ssa Serenella Castri Provenance: private collection, Italy Exhibition: 'Sculptura' Capolavori Italiani dal XIII al XX secolo, Modena 2023 This is an absolute masterpiece in the corpus of wooden Crucifixes of the late fifteenth century in Venice. This is a sculpture of exceptional technical skill. The ‘construction’ technique is unique: the figure of the Christ has been obtained from two alder wood valves hollowed out and then fitted together more then perfectly. Even more emblematic is the dramatic introspection of its carving, whose executive value is comparable to that of ivories, and, above all we can date it to circa 1490, the apex of the Venetian Renaissance. In Venice, the reference model for the production of wooden crucifixes was the famous monumental Crucifix (ca.1468/75) of the basilica of Santa Maria Gloriosa dei Frari, from which a varied series of examples derived until the first decades of the sixteenth century. The expressive suggestion of ‘German’ models certainly contributed to the very original characteristic of these sculptures, especially thanks to the presence in Venice of skilled carvers from Northen Europe. The attribution to Michele Linder from Hamburg, resident in the district of Santi Marcuola and Fortunato, has been strongly corroborated. Linder was one of the most estemeed wood carvers in Venice and the most famous sculptor of ivory crucifixes.
Galerie Jean-François Cazeau
andré masson
André Masson (Balagny-sur-Thérain 1896-1987 Paris) Combat stellaire, 1955 Tempera and sand on canvas 50 x 65 cm Signed on the back 'André Masson' Provenance: the artist's studio; Galerie Odermatt-Cazeau, Paris; private collection, France (acquired from the former) Literature: André Masson: Oeuvres maîtresses, Galerie Odermatt-Cazeau, 1990, repr. p. 87, n° 38; André Masson: Il n'y a pas de monde achevé, Centre Pompidou-Metz, March 30th-September 2nd, 2023, (retrospective), ill. p 214 André Masson created his first works in sand in the autumn of 1926 in Sanary-sur-Mer. The free flow of glue fixing the sand appealed to the artist for its unpremeditated nature. Textured shapes in subtle, varied shades make up the random weave of Combat stellaire, set against a deep red and mauve background reminiscent of a nebula. The painted line recalls that of the 'automatic drawings' initiated by the artist in 1923-1924, made by a hand freed from the injunctions of the brain, the mark of true automatism that fascinated André Breton. The cosmic subject is reminiscent of works from the American period. André Masson’s sand paintings represent the invention of 'dripping', a technique that post-war painters like Jackson Pollock would push to its fullest.
Gilden's Art Gallery
rene magritte
René Magritte (Lessines 1898-1967 Brussels) Le Bouchon d'Epouvante from 'L'Aube à l'Antipode', 1966 Etching on wove paper Paper size: 38.4 x 28.6 cm Image size: 17.8 x 13 cm Hand signed in pencil lower right margin 'Magritte' and numbered in pencil lower left margin, edition of 17 This work was printed in 1966 at the studio of J. Rigal, Paris and published in a limited edition of 17 hand signed and numbered impressions for the series 'L'Aube à l'Antipode' (Dawn of the Antipode). It is from the rare suite of 17 hand signed etchings. There is also a suite of 77 where only two of the etchings (La Comtesse de Monte Cristo and Les Deux Mystères (Ceci n'est pas une pipe) are signed in pencil Literature: Gilbert E. Kaplan & Timothy Baum, 1982. The Graphic Work of René Magritte. New York: II Editions Reference: Kaplan & Baum 11
Harold t’Kint de Roodenbeke
Raoul Dufy (Le Havre 1877-1953 Forcalquier) Régate sur la Marne, 1925 Watercolour on paper 50 x 65 cm Signed lower right Provenance: collection of the Belgian artist Jean Milo; acquired in 1943 Literature: Fanny Guidon-Lafaille, Catalogue raisonné, tome II, n° 1227, ill. p. 63 Exhibition: Brussels, 1943, n° 72
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
Mearini Fine Art
Presbytery fence pillar with ribbon, interlacing relief and recesses for pluteo on the sides White marble Central Italy (Lazio or Umbria), late 8th-early 9th century H 46 x W 27 x D 16 cm Expertise by Professor Guido Tigler Provenance: private collection, Italy Comparative literature: M. Salmi, la Basilica di San Salvatore di Spoleto, Firenze 1951, p. 37, tavv. XXIIId; L. Pani Ermini, (la Diocesi di Roma: La quarta regione Ecclesiastica (Corpus della scultura alto medievale, VII, 1), Spoleto 1974. pp.91-92 cat. 40); R. Krautheimer, S. Corbett, W. Frankl, Corpus Basilicarum Christianarum Romae. The Early Christian Basilicas of Rome (IV-IX century), Città del Vaticano 1959, p. 91 fig. 86
Dr. Nöth kunsthandel + galerie
André Lhote (Bordeaux 1985-1962 Paris) Fillette, 1909-1910 Oil on paper laid down on board 48.8 x 31.8 cm Signed upper right; inscribed on the reverse: Fillette, 1909, 59 x 32, 343, I The painting will be included in forthcoming catalogue raisonné which is being prepared by Dominique Bermann Martin Provenance: the artist's studio; Simone André Lhote, France (by decent); Suzanne Bermann, France (by decent); anonymous sale Me Ferri, 15 December 1994, lot 126; anonymous sale Me Loudmer, Paris, 1 April 1996, lot 57; private collection, France Exhibitions: Paris, Artcurial, Centre d'art plastique contemporain, André Lhote Rétrospective 1907-1962, Peintures, aquarelles, dessins, October-November 1981 ill. in situ p. 27
Philippe Heim
Kathleen Petyarre (Australia, circa 1930-2018) Devil Lizard Dreaming, 2010 Acrylic on canvas 137 x 137 cm Created and exhibited: Abbaye de Daoulas 'Grand Nord-Grand Sud. Artistes Inuits et Aborigènes', 2010; Chemins du patrimoine en Finistère in co-production with the Musée des Confluences - Département du Rhône Collections: The Metropolitan Museum, New York; Musée du Quai Branly, Paris; Musée des Confluences, Lyon; Art Gallery of South Australia, Adelaïde; National Gallery of Australia, Canberra; National Gallery of Victoria, Melbourne
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
