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Axel Vervoordt
José Zanine Caldas (Brazil, Belmonte 1918-2001 Vitória) Table, 1978 Pequi wood 80 x 120 cm Provenance: private collection, São Paulo, acquired directly from the artist Born on the southern coast of Bahia, in a town called Belmonte, José Zanine Caldas moved to Rio de Janeiro in 1938, to start a workshop producing architectural scale models. Through his work, he met a number of iconic Brazilian architects such as Oscar Niemeyer and Lucio Costa. When plywood was introduced in the Brazilian construction market in the early 1940s, Zanine soon realised that this material lent itself perfectly to the mass production of furniture. Along with several partners, he founded the furniture company Moveis Artisticos Z, which he left in 1952 due to internal conflicts. He continued his work as a scale modeller and furniture designer in São Paulo, where he also became active as a landscape designer, architect, and modelling teacher at the University’s Faculty of Architecture and Urbanism. Zanine Caldas returned to Bahia in the 1970s, and there became inspired by the way in which local craftsmen carved canoes and rowboats from felled trees. He started to develop a more elemental approach to furniture manufacturing, by chiselling pieces directly from large logs of wood, creating a distinct signature style with these organic, sculptural pieces. José Zanine Caldas' work is a testament to the power of natural wood and its beauty as a material. As a pioneer in the field of forest preservation and ecology, Zanine Caldas’ intention was to plant a new tree every time another was cut down for one of his projects. He wrote several essays on the relationship between Brazil’s forests and its people, drawing inspiration and knowledge from architectural history, philosophy and local folk tales.
Helene Bailly Gallery
André Lhote (Bordeaux 1885-1962 Paris) Marseille, le bateau à voile, 1930 Oil on canvas 92 x 65 cm Signed and dated upper left: A Lhote 30 Exhibitions: Salon d'Automne 1931, n° 1310 XVIIIth International Biennale Exhibition of Fine Arts of Venice, 1932 Literature: Roger Brielle Lhote, Les Albums d'art Druet, n°32, Paris, Librairie de France. 1931 repr. on board XIX Mrs. Bermann-Martin has confirmed the authenticity of this work.
Chambre professionnelle belge de la Librairie Ancienne et Moderne (CLAM)
Victor Brauner (Romania, Piatra Neamt 1903-1966 Paris, France) Le Petit Taraph. [Celliers de Rousset], 1943 Original wax and paint on board 23.5 x 14.2 cm Signed and dated lower right, framed Taraphs, or talismans, are gifts of friendship, viatics distributed to companions in misfortune Librairie Lardanchet, Antiquarian bookseller
Galerie de la Béraudière
Jean Dubuffet (Le Havre 1901-1985 Paris) Masque de théâtre IV Transfer on polyester, mounted on a plexiglass base H 39 x W 32 x D 5 cm Monogrammed and dated on the right side: J.D., 69 Unique piece Provenance: collection Michelle and Pierre Fagot (gift from Henri Creuzevault to his daughter and son-in-law); private collection, Belgium Literature: Max Loreau, Catalogue des travaux de Jean Dubuffet, fascicule XXIV : Tour aux figures, amoncellements, cabinet logologique, Paris, Weber, 1973, n° 130, p. 132 (ill.)
Collectors Gallery
louise nevelson
Louise Nevelson (Ukraine, Pereiaslav 1899-1988 New York) Pendant, circa 1980-1985 Painted wood and brass H 13.2 x W 7.9 x D 3.8 cm Unique piece unsigned with label on reverse 28439 Provenance: estate of the artist (50073), Pace Wildenstein NYC (28439) Literature: 'Paint It black', Edition Didier Ltd, p. 54
Chambre professionnelle belge de la Librairie Ancienne et Moderne (CLAM)
Pieter Bruegel the Elder (Brussels, 1525-1569) Avaritia (Avarice, one of the seven vices), 1558 Engraving by Pieter van der Heyden (1530-1572), published by Hiëronymus Cock (Antwerp, 1518-1570) 29.6 x 22.5 cm References: New Hollstein Dutch 24 1(2), first state Lex Antiqua, Antiquarian bookseller
Willow Gallery
Maurice de Vlaminck (Paris 1876-1958 Rueil-la-Gadelière) Village près de la Rivière, 1911-1912 Oil on canvas 73 x 92 cm, framed: 93 x 112 cm Certificate of inclusion, ref. n° 20124 from the Wildenstein Plattner Institute, and will be included in the forthcoming digital catalogue raisonné Provenance: Ambroise Vollard, Paris; Galerie Alex Maguy, Paris; Galerie de l'Elysée (Alex Maguy), Paris, 1961; sale, Mes Ader, Picard et Tajan, Paris, 20 June 1974, lot E; Georges Bernheim, Paris; Galerie Urban, Paris; Mildred J. Langston, Rumson, New Jersey; private collection, USA (by descent); sale, Sotheby Parke Bernet, Inc., New York, 19 October 1977, lot 37 (titled 'Bougival'); private collection (acquired at the above); sale, Sotheby's, New York, 14 November 1990, lot 398 (titled ‘Bougival’); collection of Nancy Lee and Perry B. Bass Literature: Exhibition: Fort Worth, Kimbell Art Museum, The Collection of Nancy Lee and Perry R. Bass, March-May 2015, p. 72, n° 35 (ill. in colour p. 73; titled 'Bougival'; dated 'circa 1910')
Gilden's Art Gallery
sam francis
Sam Francis (San Mateo 1923-1994 Santa Monica) Untitled, SF91-27PRS, 1991 Acrylic on wove paper 78 x 49 cm Stamped and signed on verso, ink stamp of the artist’s estate and hand signed in pencil by the artist’s wife, 'Margaret Francis', verso The archive registration number SF91-27PRS in inscribed below the ink stamps, verso. This work is identified with the interim identification numbers of SF91-27PRS in consideration for the forthcoming Sam Francis catalogue raisonné of unique works on paper Provenance: the Estate of the Artist; Gallery Delaive, Amsterdam, 1986; Poulain Le Fur, Paris, 18 November 2001, lot 342
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Röbbig München
Johann Friedrich Eberlein (1696-1749) Two hunters mounted as three-branch candelabra Models, 1739, Manufacture and decoration, Meissen, circa 1742-1745 Ormolu mounts (stamped 'c couronné'), Paris, Louis XV period, 1745-1749 Soft-paste porcelain flowers, France, 18th century H 28.5 x W 28 cm and H 30 x W 29.5 cm
Galerie von Vertes
Pablo Picasso (Malaga 1881-1973 Mougins) Nu couché, 1 September 1969 Coloured crayon, charcoal and pastel on paper 50.5 x 65 cm Signed and dated upper left Picasso 1.9.69.IV Provenance: Galerie Louise Leiris, Paris; Saidenberg Gallery, New York; Hirschl & Adler Galleries, New York; Desmond Page, London; J.P.L. Fine Arts, London; private collection, London; James Goodman Gallery, New York; Evelyn Aimis Fine Art, Miami (acquired from the above); private collection (acquired from the above on 4 June 2007); Sotheby's, New York, 29 June 2020, lot 62; private collection, The Netherlands (acquired from the above) Literature: Christian Zervos, Pablo Picasso, Oeuvres de 1969, vol. XXXI, Paris, no. 403, p. 115 (ill.) © Succession Picasso - Sabam Belgium 2023
Cortesi Gallery
Arnaldo Pomodoro (Morciano di Romagna, 1926) Uccello: a Brancusi, 1981-82 Bronze H 36.8 x W 53.3 x D 45.7 cm Signed Arnaldo Pomodoro and numbered 4/6 (on the base), ed. of 6 Provenance: Thomas Segal Gallery, Boston, United States; private collection Literature: Sam Hunter & Arnaldo Pomodoro, Arnaldo Pomodoro, Milan, 1995, p. 70; Flaminio Gualdoni, Arnaldo Pomodoro: Catalogo Ragionato della Scultura, vol. II, Milan, 2007, n° 689, pp. 622-623, ill.
Whitford Fine Art
Joseph Lacasse (Tournai 1894-1975 Paris) Dominante bleue, 1955-56 Oil on canvas 246 x 105 cm Signed and dated verso Provenance: private collection, Belgium Literature: Joseph Lacasse: Pioneer of Abstraction, exhibition catalogue with essay by An Jo Fermon, Whitford Fine Art, London, 2015, cat. n° 29, ill.
Helene Bailly Gallery
Raoul Dufy (Le Havre 1877-1953 Forcalquier) Compotier, bananes et fruits sur un entablement, 1905 Oil on canvas 81 x 95 cm, framed: 109 x 123 cm Signed in orange lower left: Raoul Dufy. Annotated from the artist's sister on the edge: Peinture de mon frère Raoul Dufy exécutée en 1905 - Germaine DUFY Provenance: collection of the artist's sister, Germaine Literature: This work will be included in the second supplément du Catalogue Raisonné de l'oeuvre peint de Raoul Dufy being prepared by Mrs Fanny Guillon-Laffaille. Certificate of authenticity issued by Germaine Dufy, the artist's sister June 28 1967. Certificate of authenticity issued by Mrs Fanny Guillon-Laffaille dated November 2nd 2017
