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Galerie Marc Maison
alexandre sandier
Alexandre Sandier (France, 1843-1916) Decorative panel depicting Queen Cleopatra, circa 1880 Sarreguemines earthenware with painted decoration H 161.5 x W 202.7 x D 2.5 cm Literature: Alain Benedick, La Faïencerie de Sarreguemines, Éditions ABM 57, 2009; Figures décoratives par Alex. Sandier, Éditions A. Calava, Paris, undated; Guide du visiteur […]. 8e Exposition de l’Union centrale des arts décoratifs, Paris, Imprimerie Chaix, 1884 Exhibitions: Exhibition of the Union centrale des arts décoratifs in 1884; 1889 Paris Exposition In the 1880s, the Sarreguemines pottery factory began creating earthenware panels for interior and exterior decoration. This magnificent panel depicting Cleopatra, painted by Alexandre Sandier, is one such example. Its vivid yet soft and pleasing colours combine with a meticulous sense of archaeological detail to produce a masterly lesson in Egyptomania, bearing witness to the fascination that Egypt still exerted at the end of the century for artists and audiences alike.
Galerie de la Béraudière
félix labisse
Félix Labisse (Marchiennes 1905-1982 Neuilly-sur-Seine) Histoire naturelle, 1943 Oil on canvas 72.7 x 59.4 cm Provenance: Jacques Arnold Croquez, Paris; Galerie Isy Brachot, Brussels and Paris (acquired from the above); collection Jean-Luc Lagardère, Paris; sale Christie's, London, 6 February 2007, lot 127; private collection Literature: Robert Desnos, Félix Labisse, Paris, 1945, (not paginated); Newsweek, New York, 10 February 1947 (ill.); C'est Paris, June 1950 (ill.); Louis Pauwels, Gurdjieff, Isle of Man, 1963; Patrick Waldberg, Félix Labisse, Brussels, 1970, (ill. p. 129; in its first state); Jean Cassou, Isy Brachot (eds.), Labisse, Catalogue de l'oeuvre peint, 1927-1979, Brussels, 1979, n° 164, ill. p. 92; Véronique Prat, A Félix Labisse, cent mille diables reconnaissants, in Figaro Magazine, 11 September 1982, p. 87 (ill.) Exhibitions: 2017, Brussels, Galerie de la Béraudière, La figure animalière; 2016, Brussels, Galerie de la Béraudière, Chefs d'œuvre de la galerie et Surréalisme; 2005-2006, Douai, Musée de la Chartreuse, Félix Labisse, 1905-1982, Exhibition rétrospective du centenaire de sa naissance, n° 23, ill. pp. 93 and 139 (this exhibition later travelled to Carcassone, Musée des Beaux-Arts, February-May 2006); 1986, Douai, Musée de la Chartreuse, Hippodrome, Rétrospective Félix Labisse, n° 14, ill. p. 49; 1979, Ostend, Casino Kursaal, Labisse, 50 ans de peinture, n° 51; 1978, Paris, Grand Palais, Salon des artistes français, Magritte, Delvaux, Labisse; 1960, Knokke, Casino, Rétrospective Félix Labisse, n° 9; 1953, Ostend, Kursaal, Art fantastique, n° 59; Brussels, Palais des Beaux-Arts, Félix Labisse, n° 9; Liège, Musée des Beaux-Arts, Félix Labisse, n° 6; 1947, New York, Whitney Museum, Painting in France; 1945, Brussels, Palais des Beaux-Arts, Jeune peinture française, n° 29; 1944, Paris, Galerie René Drouin, Le nu dans la peinture contemporaine
Gilden's Art Gallery
marc chagall
Marc Chagall (Vitebsk 1887-1985 Saint-Paul de Vence) Peintre, Ange et Amoureux, 1980 Tempera on masonite 40.6 x 34.9 cm Signed lower right corner 'Marc Chagall' Inscribed, signed and dated verso 'Tempera/Marc Chagall/1980' The work is accompanied by a certificate of authenticity from the Chagall Committee from 31 March 1992 issued by Jean-Louis Prat Provenance: Sotheby's New York, Sale 7132, 14 May 1998, lot 366; Collection of Bridget & Jerome Dobson, Atlanta, Georgia, USA
Epoque Fine Jewels
chaumet
Chaumet Art Deco bracelet Emerald and diamond bracelet of geometrical design by Chaumet, set throughout with old European cut and old single cut diamonds, highlighted with six engraved, baton-shaped Colombian emeralds, with rose cut diamond and black enamel caps, mounted in platinum and gold. Total emerald weight: approx. 14,67 ct. Total diamond weight: approx. 13,67 ct. Accompanied by the Chaumet certificate of authenticity Paris, December 1930
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
Van Herck-Eykelberg
leon spilliaert
Léon Spilliaert (Ostend 1881-1946 Brussels) Le rêve. Femmes dansantes et oiseaux, 1916 Pencil and chinese ink on paper 25 x 25 cm Signed and dated lower right This work will be included in the forthcoming catalogue raisonné being prepared by Dr. Anne Adriaens-Pannier
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
COLNAGHI
wilhelm leibl
Wilhelm Leibl (Cologne 1844-1900 Würzburg) Study of a skull, circa 1868 Oil on canvas 34.4 x 31.4 cm Provenance: Johann Sperl (1840-1914), Munich; Karl Zitzmann (1871-1956); His sale, Hugo Helbing, Frankfurt am Main, November 16th, 1926, lot 12 [repr. table 5]; Galerie Heinemann, Munich, with the gallery's labels on the back, until at least May 10th, 1929; Georg Schäfer (1896-1975) Schweinfurt (with Inventory n° 0123 on the back); private collection, Southern Germany Literature: Emil Waldmann, Wilhelm Leibl. Eine Darstellung seiner Kunst, Gesamtverzeichnis seiner Gemälde, 2, Berlin, 1930, cat. n° 81 Exhibitions: Wilhelm Leibl. Gemälde, Zeichnungen, Radierungen (Akademie der Künste, Berlin, Wallraf-Richartz Museum, Cologne, and Galerie Matthiesen, Berlin, Cologne-Berlin: 1929), p. 43, cat. n° 29a; Vor hundert Jahren: Dänemark und Deutschland 1846-1900. Gegner und Nachbarn. (Statens Museum for Kunst, Copenhagen, Kunstmuseum Århus, Kunsthalle zu Kiel, Orangerie Schloss Charlottenburg, Berlin, 1981). p. 372, cat. n° 144 D
Galerie Florence de Voldère
pierre brueghel le jeune
Peter Brueghel the Younger (Brussels 1564-1638 Antwerp) Winter Landscape with Skaters - The Bird Trap Oil on panel 39 x 57 cm Among the strong, committed subjects that make up the oeuvre of Peter Brueghel the Elder, The Bird Trap is like a gift in the form of a poem all its own. The very different subject at the heart of this work is pure emotion. Whether provoked by the silence of nature, or by an awareness of the human scale in the macrocosm, or for any other reason, it remains a masterpiece out of time.
Galerie Nicolas Bourriaud
Eva Aeppli (Switzerland, Zofingen 1925-2015 Honfleur, France) Taureau Floréal, 1991 Bronze with shaded brown patina H 36 x W 23 x D 24.5 cm Titled 'Taureau Floréal' and numbered 6/8 Cast by Susse Frères Paris, stamped 'Resygram' This proof, number 6, was commissioned by the artist and cast by the Susse foundry in July 1991 Pursuing her questioning of humanity by linking it to the cosmos, Eva Aeppli found in astrology a spiritual and formal repertoire in which she could work tirelessly for almost two decades. After the Planets (1975-1976), then the Erinyes (1977), goddesses of vengeance from Greek mythology, whom she associated with Pluto, Neptune and Uranus, she tackled the Zodiac (1979-1980), each of the 12 heads expressing the character of the astrological signs; such is the case of Taurus, with its heavy sensory appetites. The result is a striking head sewn in fabric and partly cast in bronze, with refined yet eminently expressive features, the scars drawn by the seams on the surface. It's a confrontation that leaves no viewer untouched. From a private collection in France, this head is remarkably in keeping with her tormented path as a creator who cannot be assigned to any particular artistic movement, which is what makes it so exceptional.
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.
Galeria Jordi Pascual
óscar domínguez
Óscar Domínguez (Spain, San Cristóbal de La Laguna 1906-1957 Paris, France) Téléphone et revolver, 1944 Oil on canvas 81 x 54 cm Certificate of authenticity by Asociación en defensa de Óscar Domínguez Provenance: private collection Literature: Fernando Castro, Óscar Domínguez y el Surrealismo, Madrid, 1978, p. 153, nº 244 Exhibitions: Marsella, Musée Cantini, La part du jeu et du rêve, Óscar Domínguez et le Surréalisme 1906-1957, June-October 2005, p. 150, nº 74
Romigioli Antichità
boraccine roses, gills, hibiscus, carnations and tulips in a glass vase
Juan de Arellano (Santorcaz 1614-1676 Madrid), attributed to Boraccine roses, gills, hibiscus, carnations and tulips in a glass vase Oil on canvas 78 x 63 cm Report by Professor Claudia Salvi Provenance: private collection, Florence
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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
Artimo Fine Arts
ulysses and his dog by joseph gott
Joseph Gott (UK, 1785–1860) Ulysses and his dog Life-size group in white Carrara marble H 185.5 cm Provenance: most certainly commissioned directly from the artist by Benjamin Rawson for the Nidd Hall Manor rebuilt in 1825; by descent: Elisabeth Rawson; by descent: Viscount Mountgarret (Sculpture still exhibited in 1902 in the Nidd Hall Manor); since 1989: property of Mr Alfred Brenner from the Brenner Verpackungen company in Germany Literature: T. Friedman and T. Stevens, Joseph Gott Sculptor, exh. cat., Temple Newsam House, Leeds and Walker Art Gallery, Liverpool, 1972, p. 40, n° G40, pl. 39; F.S. Bonfigli, Guide to the studios in Rome... 1860, p.32 It depicts Ulysses, in a loincloth and cap, being recognised by his loyal dog Arg after a 20-year absence. This group or a plaster of this group was seen in Gott's studio in Rome by Bonfigli in 1860. Joseph Gott (1785-1860) was one of the most esteemed British sculptors of the early nineteenth century, gaining international recognition. He maintained close ties to Yorkshire through his patrons, particularly his second cousin Benjamin Gott, a wealthy Leeds industrialist. After relocating to Rome in 1822, he became part of a vibrant British artistic community. Known for his unique interpretation of classicism, Gott’s works often depicted charming, intimate subjects such as playful children and animals. His style combined classical influences with a romantic sensitivity, setting him apart from his contemporaries in Rome.
Galerie Raf Van Severen
gustave van de woestyne
Gustave Van de Woestyne (Ghent 1881-1947 Brussels) Adrienne De Zutter au violon, 1920 Oil on canvas 208 x 110 cm Signed bottom left Dedicated 'To Adrienne De Zutter', signed with the artist's initials and dated on the back Provenance: collection of the model, Adrienne De Zutter (1905-1989), future Mrs. Paul Van de Woestyne (1905-1963), himself the son of the writer Karel Van de Woestyne (1878-1929) and nephew of the painter; private collection, Europe (by descent to the current owners, grandchildren of the model and great-grandnephews of the painter) Literature: Kultureel Centrum Mechelen, Gustave Van de Woestyne, 1881-1947, 1967; Museum Voor Schone Kunsten, Ghent, Gustave Van de Woestyne, 2010, n° 78 “Adrienne De Zutter au violon” is a masterclass by the Belgian painter Gustave Van de Woestyne (1881–1947). Van de Woestyne was a prominent member of the first group of the ‘School of Latem’, and this portrait is a beautiful example of his very distinctive and own personal style. On a first and quick look, we see a majestic lady, gracefully rising above the landscape, painted in peaceful duff coloring. Her violin in hand and modestly dressed, she is depicted in a fairytale landscape composed of two trees with graceful silhouettes, perhaps umbrella pines, rising from stylized valleys, and a rose, worthy of Saint Exupéry's Little Prince, in the foreground on the right. The upper part of the sky is simply described by means of a royal blue band in the manner of Hiroshige prints. How do we analyze this? Where does this come from? First, for his technique, we need to go back to Van de Woestyne’s youth. In 1902, a young Gustave went to an exhibition for the first time, one of the Flemish Primitives, like Jan van Eyck and Pieter Bruegel. It would leave an eternal mark on him. Gustave uses a sharp outline of the figures in his works, resulting in a sober and symbolic representation of the model. Secondly, regarding the color palette, we take a little step in Gustave’s life. At the time of the execution of the painting, Gustave had huge admiration for Douanier Rousseau. However, the actual inspiration for the coloring lies in Italy. In 1913, he toured Florence and Tuscany with Valerius De Saedeleer. The many fresco’s and mural paintings have a typical softer and lighter use of colors. So, we can say that, regarding coloring he leaned less towards the warm and dark coloring of the Flemish Primitives and more to the works of their Italian contemporaries. At the outbreak of the First World War, the Van de Woestynes fled the country, only to return in 1919. Around that time, Van de Woestyne soon settled with his family in in the Rozenhuis (or House of Roses) in Waregem, belonging to art lovers and philanthropists Charles De Zutter and his wife Marguerite Taelman. It was here, Van de Woestyne made a portrait of their daughter Adrienne De Zutter. The ties between the De Zutter and Van de Woestyne families predate the Great War. Beyond these friendly relations, the couple played a genuine role as patrons for the artist, as is evident from the booklet of the Van de Woestyne retrospective in Brussels (Palais des Beaux-Arts, 1929). In an unpublished supplication that the painter addressed, on February 5, 1929, to Marguerite Taelman to encourage her to lend her works after an initial refusal, he also stated: 'Without your paintings I must not show those of other collections because, as you know as well as I do, yours are the best.' If it is therefore very likely that the portrait of Adrienne was commissioned by the De Zutters, it is also possible to imagine that Gustave was touched by the languid and pale beauty of his model, who would marry the eldest son of his brother Karel in 1929. The exceptional quality of this painting and detailed story behind it, elevates it to the status of an absolute masterpiece.
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
