This section will be available this Autumn.
J. Baptista
Silver salver Portugal, late 16th century Weight 1050 gr. Ø 33 cm Literature: Reynaldo Dos Santos; Irene Quilho. Ourivesaria portuguesa nas colecções particulares. Lisbon: 1974. pp. 139-140; Gonçalo Vasconcelos e Sousa, Pratas Portuguesas em Colecções Particulares: séc. XV ao séc. XX. Oporto: 1998. pp. 54-55 This concave silver salver is a remarkable example of Portuguese silverwork from the late 16th century, often serving a utilitarian function in the households of prominent families of the time. Pieces like this, richly decorated with geometric elements, volutes, and shell motifs, demonstrate the artistic sophistication and craftsmanship of Portuguese artisans during that period. The base of the piece is divided into eight dotted trapezoidal frames adorned with floral elements, while the engraved central medallion features a stylized open flower, highlighting the intricate ornamentation. The historical and artistic value of this salver is further attested by its presence in the collections of prestigious museums such as the Museu Nacional de Arte Antiga in Lisbon (Legado de Barros e Sá), the Lázaro Galdiano Foundation in Madrid (inventory n° 2484, room 11), and the Metropolitan Museum of Art in New York (accession n° 13.23.1), as well as in the private collection of Dr. Miguel Pereira de Abreu in Oporto. These pieces not only represent the excellence of Portuguese silverwork but also illustrate the cultural and social roles that utilitarian objects played in the households of important families during this period.
Galerie Nicolas Bourriaud
Georges Lucien Guyot (Paris, 1885-1972) Panther sharpening its claws, circa 1925 Brown, green nuanced patina bronze H 76.5 x W 16.8 x D 67 cm Signed ‘Guyot’, bears the inscription ‘lost wax’ and ‘BRONZE’ Cast by Susse, stamped ‘Susse Frères Editeurs Paris’ and numbered 2 Provenance: private collection, Bordeaux Literature: G. Dornand, Georges-Lucien Guyot, Paris, 1963; J. Dorst, 'Georges-Lucien Guyot', Le club français de la médaille, n° 68, second quarter of 1980, pp. 12-14; J. Cottel, 'Georges-Lucien Guyot sculpteur et peintre', ABC Antiquités Beaux-Arts Curiosités, n° 224, September 1983, pp. 54-58
Galerie Raf Van Severen
paul klee
Paul Klee (Münchenbuchsee 1879-1940 Locarno) Kronen-Narr (Crown Fool), 1938 Gouache, brush and ink on newsprint laid on board 48.9 x 32.4 cm Signed bottom right ‘Klee’ Titled and dated on the paper backing, bottom centre Provenance: Hans and Erika Meyer-Bentelli, Bern until 1955; Berggruen & Cie, Paris, 1955-58; Saidenberg Gallery, Inc., New York, 1958-59; James Wise, Geneva, New York and Nice from 1959; Nahum Goldman, Jerusalem until 1983; collection of Sidney Rothberg, Philadelphia, Pennsylvania Literature: Paul Klee-Stiftung, Kunstmuseum Bern, Paul Klee: Catalogue Raisonné, Band 7, 1934-1938, Thames and Hudson, London, 1998-2004, p. 344, n° 7250 (ill.) Exhibitions: 1957, Amsterdam, Stedelijk Museum, Paul Klee; 1957, Brussels, Palais des Beaux-Arts, n° 97a
Alexis Lartigue
alexander calder
Alexander Calder (Lawnton 1898-1976 New York) Untitled, 1967 Gouache and ink on paper 50 x 66 cm Signed and dated lower left CA.68 This work is registered in the Calder Foundation Archives under n° A30212 Provenance: Galerie Jacques Verrière, Lyon; private collection, France; sale Artcurial, Paris In 1968, Alexander Calder created this gouache in his studio in Saché, near Tours, where he had settled in 1953. This work, made using gouache and ink, is distinguished by a palette of black, blue, red, and orange. Like all his gouaches, it reflects the spontaneity and simplicity that characterise Calder's work. The pieces created by Calder in Saché, where he founded "La Gouacherie" after moving there, are imbued with a minimalist poetry. This poetry emerges from pared-back means: elemental symbols, basic figures, and a palette of primary colours. Calder's gouaches directly echo his mobiles and stabiles. Although movement is physically absent from his gouaches, it is nevertheless suggested and imagined, introducing a temporal dimension that is frozen in space. This is how Calder captures a moment of movement in a static form. This 1968 piece is no exception. Through planes of black, blue, red, and orange, Calder manages to convey a sense of balance and fluidity.
Cortesi Gallery
Agostino Bonalumi (Vimercate 1935-2013 Monza) Rosso, 1965-1971 Shaped canvas and vinyl tempera H 100 x W 80 x D 3.5 cm Signed and dated on the reverse: 'Bonalumi / 71'; size on the stretcher '80 x 100' Certificate of Authenticity Archivio Agostino Bonalumi, Milano, n° 71-014, technical report by Archivio Agostino Bonalumi Provenance: private collection, Milano Literature: M. Meneguzzo, F. Bonalumi (curators) Agostino Bonalumi, Catalogo ragionato, Milano, Skira, 2015, vol. II, p. 446, n° 492 Exhibitions: 2008, Agostino Bonalumi, Loggiato di San Bartolomeo, Palermo, (ill. 7); 2021, Agostiono Bonalumi. Ricucire la tela, curated by Marco Meneguzzo, Cortesi Gallery, Milano
Victor Werner
raymond de meester de betzenbroeck
Raymond de Meester de Betzenbroeck (Mechelen 1904-1995 Woluwe-Saint-Lambert) Poodle 'Zazou', first half of the 20th century Bronze with brown patina H 44 x L 50 x D 16 cm Signed 'Raymond de Meester' Mentored by Albéric Collin, Raymond de Meester studied animals at Antwerp Zoo and gained recognition with his first exhibition at the age of 22. In 1930, he achieved further visibility with commissions for the International Exhibition in Antwerp, creating major works like a 14-metre elephant scene. He exhibited globally, and his iconic pieces include a monumental polar bear and the 'Roaring Lion' for the 1958 Brussels World's Fair. Awarded the title of baron in 1952, he remained actively involved in the artistic community and continued to receive international accolades throughout his career.
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.)
Lemaire
Japanese porcelain statuette Representation of a Bijin ('beautiful lady') Imari decoration of cherry blossoms and gilt bronze for various elements Arita porcelain (1690-1730) and gilt bronze (18th century) H 42.5 cm The statuette was transformed in the 18th century with a removable head that moves gently on a pivot like the Buddha in Meissen porcelain. It holds a chased bronze parasol in its left hand and stands on a gilded bronze gadrooned base An identical but larger figure can be found in the collection of Charles III, AYERS (J.), Chinese and Japanese Works of Art in the Collection of Her Majesty the Queen, t. II, p. 686
Thomas Deprez Fine Arts
james ensor
James Ensor (Ostend, 1860-1949) Portrait of Léon Rinskopf, Futur Baron du Rat Mort, 1903 Conté crayon, coloured pencils, watercolour and gouache on laid cream paper 16.6 x 13.4 cm - framed: 36 x 32 cm Signed, annotated, located and dated: ‘Portrait de Léon Rinskoff [sic]/futur baron du Rat Mort/Ostende 1903/James Ensor’ This drawing is accompanied by a certificate from the official Ensor Advisory Committee, 2023 Provenance: private collection, Belgium Exhibition: Joodse sporen in Oostende, Ostend and Antwerp, organised by Zahava Seewald, 2000 Literature: Laurence Madeline et al., Ensor, Paris: Musée d’Orsay, New York: The Museum of Modern Art, 2009, ill. fig. 60, pp. 78-79 Related Literature: James Ensor, Discours en noble languaige de chevalerie, in: Les Écus, Ostende : G. Daveluy ed., Le Rat Mort, 1904, p. 16. Reprinted and re-edited in many forms Related works: James Ensor, Au conservatoire, 1902, oil on canvas laid down on board, 56.5 x 71.5 cm, Musée d’Orsay, Paris (inv. RF 2009 4), given by the artist to Léon Rinskopf Portrait of Léon Rinskopf (1862-1915), artistic director of the Kursaal in Ostend and conductor of its symphonic orchestra. Dressed in smoking and wearing a crown, he is represented with an asparagus between the teeth in reference to a conducting baton. Ensor projected himself on the figure of his friend, by affiliating his likeness to his own, and by pinning a prominent medal of the Ordre de Léopold on his chest and baton, which Ensor received himself that same year. In the top right corner a dead rat is a direct reference to the Compagnie du Rat Mort, of which Ensor was a founding member and which was legendary for its masked balls and its burlesque character.
Epoque Fine Jewels
chaumet
a magnificent art deco diamond tiara by chaumet.
This tiara was made in Paris in 1909 as a wedding tiara for the daughter of Count and Countess de Heeren. Chaumet retains all the original drawings, as well as the nickel silver model created as a preliminary design for the final piece, which is preserved in the Chaumet archives. The tiara features a series of rounded Greek motifs, set with 2096 diamonds, mounted in platinum and gold, showcasing the typical ‘mille-grain’ finish. Founded in 1780, Chaumet has designed over 2,000 unique tiaras. While most tiaras from that era adhered to the Garland style or traditional 19th-century floral and scroll motifs, this particular piece is an early example of the geometric aesthetics that would come to define the Art Deco period, which reached its zenith in the 1920s. The tiara was featured in the ‘Chaumet en Majesté’ exhibition at the Grimaldi Forum in Monaco in 2019, where the nickel silver model was also displayed. The tiara is currently housed in a special Chaumet case, created for the Monaco exhibition. Total diamond weight: 28,10 carats Collection Epoque Fine Jewels, Belgium.
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
Montagut Gallery
Ngon mask Bekom people Cameroon, 19th century Wood and ritual patina H 44 cm Provenance: Marcial Bronzi collection, Brussels; Didier Claes, Brussels; Rachel Montagut collection, Barcelona Ngon masks are one of the many types that appear at commemorative ceremonies held for deceased persons in the kingdoms of Cameroon. These sets of masks, in the possession of various lineages, can include more than twenty masks, most of which represent different figures. Some of the masks are obligatory, such as the kam, the male head mask, and the ngon, which represents the woman.
Galerie de la Béraudière
germaine richier
Germaine Richier (Grans 1902-1959 Montpellier) La Sauterelle, moyenne, 1945 Bronze with dark patina H 54 x W 44 x D 65 cm Signed, numbered and stamped on the base: G. Richier, HC3, C. Valsuani cire perdue. Edition HC3 out of 12 (1/8 - 8/8 + HC1-HC2-HC3 + EA) Posthumous cast Provenance: collection Henri Creuzevault, Paris; collection Colette Creuzevault, Paris (by descent); De Baecque & Associés, 19 November 2021, lot 2; private collection, Belgium Literature: Peggy Guggenheim collection, Germaine Richier, exhibition catalogue, Venice, 2007, p. 70; Jean-Louis Prat et Françoise Guiter, Germaine Richier, Rétrospective, Saint-Paul de Vence, Fondation Maeght, 1996, n° 15, pp. 46-47, ill. (another cast); Peter Selz, New Images of Man, New York, 1959, ill. p. 129 (another cast) Exhibitions: 1997, Berlin, Akademie der Künste, Germaine Richier, p. 77, n° 15, p. 85, n° 20, ill. (another cast); 1996, Saint-Paul de Vence, Fondation Maeght, Germaine Richier, Rétrospective, p. 46, n° 15, ill. (another cast); 1976, Japan, Tokyo, Contemporary Sculpture Center and Osaka, Contemporary Sculpture Center, Exposition Richier, n°7; 1955, London, The Hanover Gallery, Germaine Richier, np., n° 10 (another cast) A key figure in the history of modern art, Germaine Richier remains unclassifiable. Trained by Bourdelle to sculpt from live models, her work took on an anthropomorphic character after the war, with the human body remaining at the centre of her preoccupations, but from then on taking on an allegorical and fantastic character, in the image of this Sauterelle, whose tormented material takes on a dramatic character of existentialist essence. Charged with a primitive force that, as André Pieyre de Mandiargues points out, is ‘as much rock or stump as flayed man’, La Sauterelle is undoubtedly one of the artist's masterpieces, a sculpture that has evolved towards an unprecedented baroque and expressive naturalism. The Sauterelles are among Germaine Richier's most emblematic creations, the artist produced three different versions. La Sauterelle, petite (1944), La Sauterelle, moyenne (1945) and La Sauterelle grande (1955-1956) offer astonishing variations on the strangeness of this hybrid being, both woman and animal, and impose a remarkable questioning of form and balance through a play of juxtaposed squares, fostering the ambiguity of a work that is both frozen and in motion, ready to leap.
Artimo Fine Arts
Magician question and answer automaton 'album amicorum' book with original leather case and instructions for use Meussel et Fils à Genève, March 1823 Gold, enamel and tortoiseshell H 20 x W 15 cm Unique piece Provenance: J.-G. & J.-C. Meüsel, Geneva, Jewellers at rue des Orfevres, 184 Geneva, dated 1823; Lydia Huber Strutt (1759-1832), Geneva acquired 1823 (?); Bernard Franck (1848-1924), 21 rue du Château d’Eau, Paris, exact date of acquisition unconfirmed, but likely before 1900; Henry & Sidney Hill, Berry-Hill Galleries, New York and London (formerly Frederick Berry & Sons of 25, Piccadilly), at the time specialists in gold boxes and objects, circa 1938; Maurice Sandoz, (1892-1958), Swiss nationality, resided variously in Burier, Switzerland, Rome, New York, Lisbon, Naples. Acquired the Magician, circa 1938; private collection, Europe Literature: A. Chapuis, E. Gelis, Le Monde des Automates, vol. II, Paris 1928, pp. 170-172, figs. 438/439; A. Chapuis, À travers les collections d’horlogerie: gens et choses, Neuchâtel, La Baconnière, 1942, ch. IX; Letter signed by Henry D. Hill of Berry-Hill, New York, 23 December 1947 to Alfred Chapuis confirming that they had purchased a part of the Bernard Franck Collection some years earlier. (Alfred Chapuis Archive held at the Musée d’Horlogerie, Chateau-des-Monts, Le Locle. Inv. G48.); A La Vieille Russie, Inc. A Loan Exhibition of Antique Automatons, 3 November-5 December 1950, Private Printing by Spinner Press, New York. p. 58, cat. n° 151; Maurice Sandoz collection, Watches and Automata, Fondation Maurice & Edouard Sandoz, 2012, vol. III, pp.201-202 Exhibition: A La Vieille Russie, Inc. A Loan Exhibition of Antique Automatons, 3 November-5 December 1950, New York
Stern Pissarro Gallery
henri martin
Henri Martin (Toulouse 1860-1943 Labastide-du-Vert) Venise, palais et gondoliers sur le Grand Canal, circa 1909 Oil on canvas 68.5 x 96 cm Signed lower right 'Henri Martin' This work is accompanied by a certificate from Madame Marie-Anne Destrebecq-Martin and will be included in the forthcoming catalogue raisonné which is currently being prepared. Provenance: Jacques Martin-Ferrières, Paris (son of the artist); private collection, France, acquired from the above; sale Christie's, New York, 2018; private collection, acquired from the above
