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Finch & Co
Workshop of Georg Pfründt (Germany, 1603-1663) Goblet and support raised upon a turned pear-wood base Narwhal, wood South Germany, 17th century H 16.5 cm Provenance: London art market 1960s; private collection Georg Pfründt (1603-1663), born in Franconia, trained under one of the greatest ivory carvers of the Renaissance, Leonard Kern (1588-1662). Moving to Strasbourg in 1639, Pfründt worked in the service of Charles Ludwig, Elector Palatine, and Duke Eberhard VIII of Würtemberg. The goblet is carved in the same style as the equally celebrated 'Nef' favoured by princely courts for their kunstkammer (the 17th century art chamber) developed out of a medieval treasury which in turn became the Renaissance studiolo. The use of narwhal in this cup adds to the sense of rarity and exotica.
Galerie Oscar De Vos
Emile Claus (Sint-Eloois-Vijve 1849-1924 Astene) Return from school/Girls in the field, 1892 Oil on canvas 132 x 99 cm Signed lower left: Emile Claus Provenance: collection Mrs. G.C., Brussels; Galerie Georges Giroux, Brussels, 1929, n° 28; collection Mrs. F. Soethoudt, Brussels; auction Guillaume Campo, Antwerp, 1982, n° 25; Galerie Oscar De Vos, Sint-Martens-Latem; private collection, Belgium Literature: G. Giroux, Catalogue de la collection de Madame G.C. (Brussels: Galerie Georges Giroux, 1929), n° 28, ill. n° 12 (ill.); P. Eeckhout, Retrospectieve tentoonstelling Emile Claus 1849-1924, cat. (Gent: MSK, 1974), p. 49, n° 49; R. Bombeke, e.a., Schilders van het Leieland, cat. (Deinze: MuDeL, 1991), n° 144; P. Boyens, Sint-Martens-Latem. Kunstenaarsdorp in Vlaanderen (Tielt: Lannoo, 1992), 535 (ill.); M. Ruyters, Campo 1897-1997 (Antwerpen: Stefan Campo, 1997), p. 85, n° 11 (ill.); J. De Smet, e.a., Emile Claus en het landleven, cat. (Gent: MSL, 2009), p. 145, p. 93 (ill.); R. Hoozee, e.a., Lights of Flanders. Images of a beautiful Belgian village, cat. (Tokyo: The Mainichi Newspapers, 2010), p. 71, n° 36 (ill.); J. De Smet, e.a., Emile Claus and Belgian Impressionism, cat. (Kobe: The Kobe Shimbun, 2013), p. 46, n° 6 (ill.) Exhibitions: 1929, Brussels, Galerie George Giroux, n° 28; 1974, Ghent, Museum voor Schone Kunsten, Retrospective Exhibition Emile Claus 1849-1924, n° 49; 1982, Antwerp, Guillaume Campo, 1982, n° 25; 1991, Deinze, Museum van Deinze en de Leiestreek, Schilders van het Leieland, n° 144; 2009, Ghent, Museum voor Schone Kunsten, Emile Claus and Rural Life, n° 93; 2010-2011, Himeji, City Museum of Art; Tokyo, The Bunkamura Museum of Art; Miyoshi, Okuda Genso Museum, Light of Flanders. Images of a beautiful Belgian village, n° 36; 2013, Himeji, City Museum of Art; Tokyo, Station Gallery; Ishikawa, Prefectural Museum of Art; Hekinan, City Tatsukichi Fuji Museum of Contemporary Art, Emile Claus and Belgian Impressionism, n° 6; 2021, Mechelen, Heilige Geestkapel, Het Kunstuur
Gallery de Potter d’Indoye
Jean Prevel (Paris, 18th century) A Louis XVI Ormolu, blued metal and white marble 'Pendule au temple de l’amour', circa 1780 White marble, gilded bronze, blue patinated bronze H 78.7 x Ø 34.9 cm Signed: Prevel à Paris (clock maker, Cour abbatiale, St-Germain, France) Provenance: collection of Dr. & Mrs. Constantin Mamouris The white marble tempietto features an ormolu figure of Athena topped with a dome segmented by blue patinated bronze panels and applied ormolu stars surmounted by a spherical clock with revolving chapter rings. The time is indicated by an arrow held by a perched putto. The striking movement is signed Prevel [à Paris]. In the form of a rotunda, the design of this charming clock was inspired by the ancient Greek and Roman temples, often reproduced or reimagined by talented painters such as Hubert Robert throughout the second half of the eighteenth century. When searching for contemporaneous French buildings that could have influenced the maker of this clock, Richard Mique’s famous Temple of Love comes to mind, designed for Marie-Antoinette in her gardens of the Petit Trianon, see D. Ledoux-Lebard, Versailles, Le Petit Trianon: Le Mobilier Des Inventaires de 1807, 1810 et 1839, Paris, 1989, p. 31. A number of clocks of this popular design exist, although none are exactly the same as this clock. Comparable clocks include one in the Spanish Royal Collection, illustrated in J. Ramon Colon de Carvajal, Catalogo de Relojes del Patrimonio Nacional, Madrid, 1987, p. 90, n° 73; one in P. Kjellberg, Encyclopédie de la pendule française du Moyen Age au XXe siècle, Paris, 1997, p. 292, fig. B; and one is in the British Royal Collections, see C. Jagger, Royal Clocks, The British Monarchy and its Timekeepers 1300-1900, London, 1983, p. 150. Unlike this clock, the above examples have ormolu or pierced marble domes, making the star-studded and blue patinated bronze panels roof of this clock particularly interesting and unique.
Stern Pissarro Gallery
Pierre-Auguste Renoir (Limoges 1841-1919 Cagnes-sur-Mer) La Cueillette des fruits, circa 1905 Oil on canvas 46 x 56 cm Signed lower left: Renoir This work is accompanied by letter from the Wildenstein-Plattner Institute confirming the work will be included in the forthcoming Renoir digital catalogue raisonné Provenance: Dr. Fritz and Barbara Thurneyssen, Germany, acquired from the artist; Dr. Fritz Thurneyssen, Germany; Karl Levi, Berlin, 1927; Galerie Thannhauser, Berlin, 1929, acquired from above; Henry Lévy, Strasbourg,1933, acquired from above; Hélène Lucie Lévy, France, by descent, 1937; Bertrand-Charles Leary, France, by descent; private collection, Paris, by descent from the above Literature: Julius Meier-Graefe, Renoir, Leipzig, 1929, p. 300, n° 307; Guy-Patrice and Michel Dauberville, Renoir: Catalogue raisonné des Tableaux, Pastels, Dessins et Aquarelles, 1903-1910, Vol. 4, Éditions Bernheim-Jeune, Paris, n° 3066 (ill. p. 222 as 'Vendanges (Cagnes)') Exhibitions: Berlin, Galerie Thannhauser at Berliner Künstlerhaus, Erste Sonderausstellung in Berlin, January-February 1927, n° 204, p. 136 (ill. 'Obsternte')
Guy Pieters Gallery
Paul Delvaux (Belgium, Antheit 1897-1994 Veurne) Alésia ou les captives, 1973 Watercolour and ink on paper 67 x 100 cm Certificate of authenticity established by the Paul Delvaux Foundation, Saint-Idesbald, Belgium on May, 25th, 1985 Literature: Paul Delvaux, catalogue of the Paul Delvaux exhibition in Japan (various museums) from 1 November 1989 to 13 May 1990 Exhibition: Paul Delvaux in Japan (various museums) from 1 November 1989 to 13 May 1990 © Foundation Paul Delvaux, Belgium/SABAM, 2023-2024
Floris van Wanroij Fine Art
adriaen van ostade
Adriaen van Ostade (Haarlem, 1610-1685) Interior of a barn with peasants-An allegory of smell Oil on panel 17 x 24 cm Signed and dated middle centre: Av ostade 1637 Provenance: private collection; Floris van Wanroij Fine Art; private collection, Remscheid, Germany Literature: Krol, A.E., Musée de l’Ermitage. Peinture de l’Europe occidentale. Leningrad (Hermitage), 1981, vol. II, p. 155 In his charming and amusing painting Adriaen van Ostade, like his contemporaries David Teniers the Younger and Adriaen Brouwer, depicted a scene from the everyday life of the peasant classes. At the same time it forms an allegory, that of the sense of smell. A variation on this composition by Van Ostade is kept in the collection of the Hermitage, Saint Petersburg (inv. n° 999)
Angela Cummings (Austrian-American, 1944) Mother-of-pearl and 18k yellow gold necklace Composed of oval-shaped gold links inlaid with mother-of-pearl USA, circa 1980 Signed Angela Cummings Provenance: private collection Literature: Juliet Weir-de La Rochefoucauld, Women Jewellery Designers, pp. 134-139
Henri Martin (Toulouse 1860-1943 Labastide-du-Vert) Jour de Pluie sur la Terrasse Fleurie de Marquayrol, circa 1920 Oil on canvas 79 x 108 cm - framed: 99 x 128 cm Signed This painting is accompanied by a certificate of authenticity from Cyrille Martin Provenance: Tajan Paris, 24 March 1999, lot 17; Richard Green Gallery, London; private collection, Canada
carlo bugatti (1856-1940)
Carlo Bugatti (Milan 1856-1940 Molsheim) Side table, circa 1902 Parchment stool with polychrome decoration of dragonflies, enhanced with gilding and stamped copper with rectangular top. Lateral X-shaped base with a large circular lower part in copper and stamped brass H 39 x W 44 x D 44 cm Signed with the stamp: Marca depositata Bugatti Carlo Provenance: French collection Literature: Fabbrica italiana mobili artistici-A. De Vecchi e C. (gia C. Bugatti & C.), trade catalogue, Milan, circa 1902-1905, repr. under n° 699 (n.p.); M-M Massé, Carlo Bugatti au Musée d'Orsay-Catalogue sommaire illustré du fonds d'archives et des collections, Musée d'Orsay & RMN, Paris, 2001, repr. pp. 72 and 99
denijs van alsloot
Denijs van Alsloot (Mechelen 1568-1625 Brussels) Wooded Landscape opening onto a Mountain Range With the participation of the workshop of Jan Brueghel The Elder (Brussels 1568-1625 Antwerp) for the figures First decade of the 17th century Oil on panel 117 x 173 cm Provenance: Fournier Art Gallery, Rouen, 1984; Heim Gallery; De Jonckheere, 1984; private collection Literature: S. van Sprang, Denijs Van Alsloot (vers 1568 – 1625/26). Peintre paysagiste au service de la cour des archiducs Albert et Isabelle, Turnhout, Brepols, 2014, p. 104, ill. 25, repr. Denijs Van Alsloot's mastery of nature must be considered from the point of view of the overall effect it produces. The artist knew how to adapt his compositions to his subjects. While the forest can be a frightening place, in the artist's imagination, it is a space that shelters nymphs and humans. This large painting, whose deep, luminous colours have been preserved, provides a vivid example of its marvels, captured by the bluish line of the mountains nestled in a forest opening. It is one of the rare 20 or so landscapes that can currently be attributed to his body of work.
Galerie Dina Vierny
Judit Reigl (Kapuvár 1923-2020 Marcoussis) Mass Writing, 1958 Oil on canvas 80 x 114.5 cm Signed: Reigl and dated lower right: 1958 Provenance: Galerie Kléber, Paris; private collection, Paris; Galerie Dina Vierny, Paris Exhibition: Paris, Galerie Dina Vierny, Judit Reigl, Panta rhei, 2023, ill. p. 30
Rueb Modern and Contemporary Art
Bram Bogart (Delft 1921-2012 Sint Truiden) GeelBaanGroen, 1970 Cement and oil on panel H 101 x W 107 x D 12 cm Signed and dated: Juli 1970 twice Provenance: private collection, The Netherlands Exhibition: Sweden, Södertälje Konsthall, 28 March-18 April 1971, cat. ill. p. 2
Guardian Head Tsogho, Gabon Wood, metal H 23 cm Provenance: Georges Vidal collection, Paris; Alain Bovis, Paris; private collection, Paris Literature: Tsogho. Les icônes du Bwiti, Paris, 2016, n° 178, p. 212; Art primitif, Loudmer-Poulain, Paris, 21 juin 1976, lot 182; Statuaire de l'Afrique Noire, ABC Collection, 1979, p. 16
Arman (Nice 1928-2005 New York) Bracelet, 2001 Gold and sapphires Pol Bury (La Louvière 1922-2005 Paris) Brooch/pendant, 2005 White gold and ring silver Yoko Ono (Japan, 1933) Imagine Ring, 2004 Gold Karel Appel (Amsterdam 1921-2006 Zurich) Brooch/pendant, 1980 Yellow 18 kt gold and enamels Afro Basaldella (Udine 1912-1976 Zurich) Moon earrings, 1960s Yellow 18 kt gold and diamonds
Dr. Nöth kunsthandel + galerie
Albert Marquet (Bordeaux 1875-1947 Paris) Le Jardin à l'Estaque, 1918 Oil on board 32.8 x 41 cm Signed lower left: Marquet, titled and signed on the reverse: Jardin à l'Estaque d'Albert Marquet This work is accompanied by an original attestation of inclusion from the Wildenstein Plattner Institute, and it will be included in the forthcoming Albert Marquet Digital catalogue raisonné. WPI Reference n° 21.10.14/20934, 20 January 2022 Provenance: Galerie Druet, Paris; René Keller, Director of Galerie Druet, Paris; private collection, France, gift from the above; Galerie Couleur du Temps, Paris, circa 1944; Sale: Me Etienne Ader, Me Antoine Ader, Me Jean-Louis Picard, Me Jacques Tajan, Palais Galliera, Paris, Tableaux Modernes, Aquarelles et Dessins modernes, November 26, 1976, n° 104; private collection, Paris; Galerie Boulakia, Paris, acquired from the above, 1988; Galerie de la Présidence, Paris; private collection, Woodside, California, acquired from the above, 1989; thence by descent to the present owner, Carmel, California Exhibition: Galerie Couleur du Temps, Paris, Marquet et quelques maîtres contemporains [Exposition inaugurale], March 21-April 15, 1944, n° 6 (as Jardin de l'Estaque)
Ercole Barovier (Italy, 1889-1974) Zaffiro, gemmata series for Ferro Toso Barovier-Vetrerie artistiche riunite, Murano, 1936 Free-blown colourless glass with enclosed raw colouring oxides. Applied colourless details H 29.5 x W 21.5 cm Provenance: private collection, Paris Literature: Dorigato A. Ercole Barovier 1889-1974, vetraio Muranese. Venice 1989; Barovier M. L’arte dei Barovier, vetrai di Murano 1866-1972. Venice 1993; Heiremans M. Art glass from Murano. Stuttgart 1993; Heiremans M. Twentieth century Murano glass, from craft to design, Stuttgart 1997 Exhibitions: XXa Biennale internazionale d’arte, Venice 1936; Ercole Barovier 1899-1974, vetraio Muranese, Venice 1989; L’arte dei Barovier, vetrai di Murano 1866-1972, Venice 1993; Twentieth century Murano glass-From craft to Design, Ghent 1996
Ralph Gierhards Antiques / Fine Art
A pietre dure cabinet Pietre dure: Florence, late 17th century Cabinet and stand: England, late 18th century Pietre dure, pietre tenere, ebonised oak, mahogany, brass, gilt metal Cabinet: H 65.1 x W 76.5 x D 41.9 cm Table: H 82.6 x W 81.3 x D 41.9 cm Provenance: Partridge Fine Arts, London 1985; This cabinet belonged to The Gilbert Collection, Victoria and Albert Museum, London 1991; private collection, Italy Literature: This cabinet is illustrated in Anna Maria Massinelli, The Gilbert Collection-Hardstones, Philip Wilson Publishers in association with The Gilbert Collection, fig. 5; Baldini, Giusti and Pampaloni Martelli 1979, fig. 164; Kreisel 1970, fig. 186; Kunsthistorisches Museum 1987, p. 33 Exhibition: Los Angeles (USA), 1991 A cabinet with eleven pietre dure and pietre tenere mosaic panels on the front, with Tuscan landscape views on a background of Albarese limestone. This cabinet was made in England in the late eighteenth century and is typical of the furniture inspired by the taste of travellers who, during their Grand Tour of Italy, bought Florentine mosaic work in the Grand Ducal workshops and had it set in made-to-measure cabinets on their return. The landscape panels are linked to those on a cabinet documented as being in the Villa del Poggio Imperiale after 1691. They demonstrate the interest in landscape subjects in the Grand Ducal workshops during the late seventeenth century. Similar types of panels can be found on early eighteenth-century German furniture. Examples include cabinets from Ambras castle, Braunschweig and a desk in the castle at Wiesentheid. This cabinet was exhibited in Los Angeles in 1991 and the cabinet is illustrated in the book The Gilbert Collection – Hardstones
Zebregs&Röell Fine Art and Antiques
A Mammoth ivory figure of an African Amor Flanders or Southern Germany, 17th century H 17.3 cm Provenance: private collection, United Kingdom; with Peter Petrou, London This figure has many iconological meanings. With the bow and arrows, it is an Amor, but since the bow, the quiver of arrows and one single arrow are lying on the ground together with a shield, they may symbolise unsuccessful or fended-off love. The Amor playing with his penis and blowing a whirligig together may be symbols of the fickleness and transitoriness of love. The chain with a cross around his neck is a Roman Catholic symbol and may point to a Catholic country of origin, probably South Germany or Flanders.
Giammarco Cappuzzo Fine Art
Giuseppe Vermiglio (Milan, circa 1587-circa 1635/1636) The sacrifice of Isaac, circa 1610-1618 Oil on canvas 132 x 162 cm Provenance: private collection, Italy Literature: Alessandro Morandotti, Gli anni romani di Giuseppe Vermiglio, in Giuseppe Vermiglio. Un pittore caravaggesco tra Roma e la Lombardia, exhibition catalogue Campione d’Italia, Galleria Civica, 10 September-3 December 2000, ed. by D. Pescarmona, Milan 2000, p. 45, fig. 23; Ferdinando Bologna, Tre note caravaggesche, Prospettiva, 33-36, 1983-1984 (Studi in onore di Luigi Grassi), pp. 204-207, fig. 5; Mina Gregori, Il Sacrificio di Isacco: un inedito e considerazioni su una fase savoldesca del Caravaggio, Artibus et Historiae, X, 1989, p. 141, note 16