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Galerie Oscar De Vos
albijn van den abeele
Albijn Van den Abeele (Sint-Martens-Latem 1835-1918 Aldaar) Last rays of sunshine and rising moon, 1904 Oil on canvas 80.5 x 110.5 cm Signed lower right: Albijn Van den Abeele Provenance: A. Van den Abeele, Sint-Marten-Latem; P. De Rijckere, Ghent; R. Van den Abeele, Sint-Martens-Latem; E. Van den Abeele, Sint-Martens-Latem Literature: Boyens, P., Sint-Martens-Latem. Kunstenaarsdorp in Vlaanderen (1992), 176-177 (ill.); Boyens, P., In de voetsporen van de Latemse kunstenaars (2003), 76-77 (ill.); Devoghelaere, H., Albijn Van den Abeele (1935), 39, 45, no. 33; D'Haese, J. & H. Lampo, Albijn Van den Abeele en de schilders van de Leie (1973), cat. 28 (ill.); Haesaerts, P., Sint-Martens-Latem. Gezegend oord van de Vlaamse kunst (1965), 76 (ill.); Hoozee, R., Veertig kunstenaars rond Karel Van den Woestijne (1979), 43-44, cat. 58 (ill.); Pauwels, H., De eerste groep van Sint-Martens-Latem 1899-1914 (1980), 96, 148, cat. 5 (ill.); Pauwels, P.J.H. & V. Van Doorne, Leie. Rimpeloze eenvoud (2010), 35, 106, cat. 8 (ill.); Van den Abeele, R., Albijn Van den Abeele. De stamvader van de Latemse kunstenaars (1993), 98-99, 135-138, 211, cat. 117 (ill.); Van den Abeele, E. e.a., Albijn Van den Abeele (2019), 34 (ill.); Van Doorne, V. e.a., Retrospectieve tentoonstelling Albijn Van den Abeele (1835-1918) (1985), 98-99, 211, 226, cat. 117 (ill.); Van Doorne, V. e.a., Sint-Martens-Latem - Worpswede 1880-1914. Twee kunstenaarskolonies (1996), 13, 65, 72, cat. 5 (ill.); Van Lerberghe, J., Belgische kunst van 1890-heden (1966), 21, cat. 7 Exhibitions: 1924, Ghent, Kunstgalerij Brabantdam, Albijn van den Abeele, cat. 8; 1966, Utrecht, Centraal Museum, Belgische kunst van 1890 tot heden, cat. 7; 1973, Venlo, Cultureel Centrum, Albijn Van den Abeele en de schilders van de Leie, cat. 28; 1974, Sint-Martens-Latem, Latemse Galerij, Kunstenaars zien Latem, cat. 156; 1976, Brussels, Passage 44, Tentoonstelling Oost-Vlaanderen, s.n.; 1978, Antwerp, AMVC Letterenhuis, Karel Van de Woestyne, s.n.; 1979, Brussels, Koninklijke Bibliotheek, Karel Van de Woestyne 1879-1929, cat. 183; 1979, Ghent, MSK, 40 Kunstenaars rond Karel Van de Woestyne, cat. 58; 1980, Ingelheim (Duitsland), Villa Schneider, Von Ensor bis Delvaux, cat. 9; 1985, Deinze, MuDeL, Retrospectieve tentoonstelling Albijn Van den Abeele (1835-1918), cat. 58; 2010, Deinze, MuDeL, Leie. Rimpeloze eenvoud, cat. 8; 2019, Sint-Martens-Latem, Gemeentehuis, Albijn Van den Abeele, s.n.
Laurent Schaubroeck
Jorge Zalszupin (Warsaw 1922-2020 São Paulo) Minimalist daybed, Brazil, 1963 Jacaranda, Brazilian rosewood, upholstery H 35 x W 191 x D 80 cm Provenance: Ina Zalszupin (sister of the artist) One of only two ever produced, this exceptionally rare daybed was crafted in 1963 as a personal gift for the designer’s sister, Ina Zalszupin. Its minimalist wooden frame displays a warm patina and supports a refined off-white mattress - an extraordinary example of mid-century Brazilian modernism.
Galerie Bernard De Leye
Stag hanap Germany, Melchior Mair, circa 1582-1583 Augsbourg Hall mark Bears the crest of Hans Moser, lord of Pötzleinsdorf from 1571 to 1583 Provenance: Hans Moser, Pötzleinsdorf (near Vienna), 1582-1583; collection Otto Wessner Saint-Gallen, until 1921; sale 'Galerie Fischer', Lucerne, 1922; private collection Switzerland until 2024 Comparative works: Stag hanap, identical to this model, with hallmark from Vienna, after 1582, goldsmith marked with a hunting horn, Waddesdon Bequest, British Museum inv. WB138; Stag hanap, gilded silver, Augsbourg hallmark, 1576-1586, Melchior Bair, Museum of Applied Arts, Budapest
De Jonckheere
lucas van valckenborch
Lucas van Valckenborch (Leuven 1535/6-1597 Frankfurt am Main) The Kermesse of St. George, 1595 Oil on panel 22.5 x 38.5 cm Signed and dated 1595 LVV on the fountain Provenance: collection of Charles Theodore of Bavaria (1724-1799), Elector of the Palatinate and Bavaria, Munich, inv. n° 138 (according to a label in brown ink on the back dating from 1799, n° 138); collection of Maximilian de Beauharnais, Duke of Leuchtenberg (1835-1852) (fragmentary label); Almas Gallery, Munich, 1941; private collection, South Germany Literature: Pantheon, September 1941, supplement V, repr.; Bernt, Walter, Die niederländischen Maler des 17. Jahrhunderts, Munich, 1948, n° 865 (1960 edition, n° 1216, repr.); Wied, Alexander, Lucas und Marten van Valckenborch. Das Gesamtwerk mit kritischem Oeuvrekatalog, Freren, Luca Verlag, 1990, pp. 176-77, n° 81, repr. Lucas van Valckenborch was undoubtedly introduced to painting by his father Laureys van Valckenborch, before being accepted as a master of the Mechelen painters' guild in 1564. Following the religious persecution inflicted by the Duke of Alba's troops on supporters of the Reformation, he fled the city in 1567 to take refuge in Liège, then in Aachen from 1570 to 1573, where he was reunited with his brother Marten and Hans Vredeman de Vries (1527-1609). He settled temporarily in Antwerp from 1575 to 1577. He was then employed in Brussels by Matthias, the then Governor-General of the Netherlands. In 1581, he accompanied the latter to Austria, staying in Vienna and Prague, as well as in Linz and Nuremberg. As of 1593, he shared his workshop in Frankfurt am Main with his brother Marten; he was granted citizenship on 10 January, 1594, encouraged by Archduke Ernest of Austria (1553-1595). He worked actively in the family workshop until his death in 1597. Considered one of the greatest landscape painters of the 16th century, Lucas van Valckenborch's concept of landscape was derived from Joachim Patinir and Pieter Bruegel the Elder. His very detailed portrayals of the seasons, village kermesses, romantic scenes and townscapes, stand out owing to the meticulous care employed in their execution and the precise structure of the planes leading to the horizon. His panoramic landscapes are a careful observation of the Meuse valley; his anecdotal scenes are painted with the delicacy of a miniaturist, while his landscapes are presented with topographical accuracy. At the end of his life, his deep landscapes with their luminous, refined nuances, bear witness to a creative approach that sought to go beyond the Bruegelian concept, which was never surpassed by his contemporaries.
Grusenmeyer-Woliner
Hariti, the Buddhist protectress of children Ancient region of Gandhara, Swat Valley, 3rd-4th century AD Grey schist stone H 125 cm Provenance: European private collection, before 1990 (by reputation); an important private collection, Japan, by 1990 Literature: I. Kurita. Gandharan Art, vol. II, Tokyo, 1990, p. 169, fig. 493; M. Akira. Gandharan Art and Bamiyan Site, Tokyo, 2006, p. 114, n° 86 Hariti, the Buddhist protectress of children Imbued with an aura of maternal guardianship, Hariti was originally a yakshi who devoured children to sustain her own large family. Converted by the Buddha into their protector, she is depicted in Graeco-Buddhist art of the ancient Gandhara region surrounded by children. Perhaps the most prominent female deity in Gandhara, Hariti embodies fertility, wealth, and maternal care. She assumes a commanding stance, offering protection to mothers and infants. Draped in a clinging tunic that reveals a robust, fecund body, she is accompanied by children at her feet and shoulders, while a fifth child once hung from her left breast, of which only fragments remain. Her distinctive headdress represents the fortified walls of a city, a motif also associated with Tyche/Fortuna, the Greco-Roman guardian of cities, thereby reflecting the syncretism of Buddhist and Greco-Roman iconography. A wealth-bestowing goddess, she is richly adorned with jewellery - a necklace, collar, substantial earrings, and a pair of coiled serpentine armlets, a favoured motif in Graeco-style ornamentation. The present large-scale figure is exceptionally rare in private hands and was published in the seminal Japanese study on Gandhara art, widely known within collectors’ circles as the Kurita, which adds significantly to its prestige and desirability.
Finch & Co
Turned standing cup and cover on knopped foot Germany, late Renaissance, first half 17th century Rhinoceros horn and ivory, old smooth patina, age cracks to foot H 33 cm - Ø 11 cm Belgium CITES: 2025/BE01678/CE Provenance: Finch and Co, item n° 77, catalogue n° 20, summer 2013; private collection Comparative literature: a cup and cover of similar shape engraved with the inscription ‘the exalted Roman Emperor Rudolf II’s goblet which protects against poison – the unconquerable Emperor’s hand shaped this ingenious goblet’ D 406.766 / 339 Royal Danish Kunstkammer, Copenhagen, National Museum A fine and large late Renaissance turned standing cup and cover on knopped foot of impressive size The Milanese master instructor of turning Giovanni Ambrogio Maggiore visited Bavaria on various occasions between 1574 and 1593 to teach the Duke Wilhelm this newly invented form of art, creating marvellous objects from natural substances. Maggiore also trained the artist Georg Wecker who went on to become Dresden’s ‘court turner for life’ to the elector Augustus of Saxony in 1578. Regarded at the time as a form of advanced mechanical technology, the art of turning in ivory, ebony and rhinoceros horn became a princely pastime for ‘Drechselnder souverän’. Rhinoceros horn objects were regarded as items of great rarity and prestige in Renaissance Europe, but they had been seen as objects of great value with inherent magical properties for well over one thousand years before this time in China, and by the early 17th century Chinese cups and vessels of carved rhino horn were being exported to Europe to meet the demand for exotic curiosities for the cabinets of wealthy collectors.
Gilden's Art Gallery
Andy Warhol (Pittsburgh 1928-1987 New York) Campbell's Chicken Noodle Soup Box, 1986 Acrylic and ink on canvas 50.8 x 50.8 cm Signed in felt tip pen 'Andy Warhol' and dated '86' [1986] on the upper canvas overlap, verso Stamped by the Andy Warhol Authentication Board and numbered in ballpoint pen A104.056, on the lower canvas overlap, verso Provenance: Michael Kohn Gallery, Los Angeles; private collection, Arizona; Van de Weghe Fine Art, New York; Demisch Danant, New York; private collection, Atlanta; Sotheby’s New York, May 13th, 2010, lot 191; private collection, Hong Kong; Christie’s Shanghai, September 21st, 2019, lot 310; private collection, Asia Literature: exh. cat. (1986), Warhol. Campbell’s Soup Boxes 1986, Michael Kohn Gallery, Los Angeles, reference n° 153, pp. 19, 30, ill. in colour
Beck & Eggeling International Fine Art
max ernst
Max Ernst (Brühl 1891-1976 Paris) Un Caprice de Neptune, 1959 Oil on canvas 27 x 35 cm Signed lower right 'max ernst' Provenance: Paolo Marinotti; Lawrence Rubin Greenberg Van Doren Fine Art, New York; private collection, Germany Literature: W. Spies, S. and G. Metgen: Max Ernst. Oeuvre-Katalog, Werke 1954-1963, Cologne, 1998, p. 194, n° 3425 (ill.) Exhibitions: 1961, June-July, Paris, Max Ernst sculptés, Galerie au Pont des Art Weill; 1966, 17 June-2 October, Venice, Max Ernst, Oltre la pittura, Palazzo Grassi, cat. n° 7 (ill.); 1979, Munich, Max Ernst, Retrospektiv, Haus der Kunst, cat. n° 296, ill. III (colour ill. n° 30, ill. 331)
Galerie Bernard De Leye
Umbilicated dish and gadrooned basin in enameled copper Venise, circa 1500-1530 Ø 33 cm Provenance: collection Messel, Darmstadt; collection Ludwig and Anne Messel, London; collection Leonard and Maud Messel, London until 1953; Galerie Kugel, Paris; private collection, Switzerland Literature: Les cuivres émaillés dits Vénitiens, Corpus des œuvres en collections publiques et privées, Silvana Editoriale, 2018, Volume II, n° 34, p. 92 Twelve convex, curved white gadroons with blue highlights on a green background. This enamel production in Venice spans over a very short period within Venetian Decorative Arts. The basin is adorned with two rows of 24 concave, curved gadroons, then with scale-like motifs. The entirely blue reverse is richly decorated with gilded patterns.
Galerie Hadjer
fernand léger
Fernand Léger (Argantan 1881-1955 Gif-sur-Yevette) (after) & Yvette Cauquil-Prince (Belgium, Dampremy 1928-2005 Tresques, France) La parade sur fond rouge Created in 1975 Wool 280 x 400 cm Woven by Yvette Cauquil-Prince in Paris (pictogram lower right) Tapestry number 1/1 - Unique Piece Provenance: Yvette Cauquil-Prince; Paul Haim collection; private collection, USA Literature: Masters of the 20th century, KunstHausWien Exhibition: KunstHausWien, 10 February-14 May 2000, Vienna
Desmet Fine Arts
Pietra dura table top Coloured marble, alabaster and onyx Roman workshop, circa 1565-1600 H 6 x W 104.5 x D 83 cm Accompanied by Art Loss Register certificate: S00253658 Provenance: private collection, Lombardy (Italy) The pietra dura tabletop represents a symbiosis that evokes the rediscovery of the ancient world. The colored marbles used all originate from ancient Roman marble, brought to Rome from across the Roman Empire as early as the 3rd century BCE. In late 16th-century Rome, artists repurposed columns and all manner of these ancient Roman artifacts, reshaping them into sumptuous tabletops to decorate the grand palazzi. This work visualizes how 16th-century Rome sought to reclaim the identity and power of the great Roman Empire, and it must be fully understood within the context of the decoration of St. Peter’s Basilica, when Rome was once again regarded as the center of the world. The patterns are architecturally and geometrically designed to showcase the rarest marbles to their fullest effect. In this specific example, around 1800, the edge underwent restoration, during which the finest artists of the time added a black decorative band. Their aim was to frame what was already spectacular with a dignified restoration. Although created in the late 16th century, this piece radiates two millennia of superiority—politically, socially, artistically, and art historically.
Herwig Simons Fine Arts
Game box with chess and backgammon Eger, 17th century 48 x 48 x 11.5 cm Provenance: Lothar Schmid (1928-2013), German chess Grandmaster Literature: publications World of Art: Art chamber games by the Kunsthistoriches Museum in Vienna Double-sided game box : one side shows a bas-relief depicting the meeting of Aeneas and Dido, accompanied by a Putto. The other side features a chessboard in finely executed marquetry. The interior reveals an elegant backgammon board decorated with double-tailed dolphins. Eger, a Bohemian Free City (now Cheb, Czech Republic), was well known in the 17th century for a specialised type of woodworking, particularly for intarsia panels. This set belonged to Lothar Schmid, the German chess Grandmaster and collector of chess books, boards and pieces. He is best known as the chief arbiter of the World Championship of chess in 1972 between Bobby Fisher and Boris Spassky in Reykjavik.
De Brock
ethan cook
Ethan Cook (USA, Texas 1893) Untitled, 2014 Hand woven cotton canvas and industrial canvas, framed 193 x 193 cm Provenance: the artist's studio, Brooklyn, NY, USA; T293 Gallery, Rome, Italy; private collection, Europe; Phillips, London, 26 June 2018, lot 276; private collection, UK; Phillips, London, 5 December 2018, lot 71; De Brock, Knokke, Belgium (acquired at the above sale)
Galerie AB - Agnès Aittouarès
pablo picasso
Pablo Picasso (Malaga 1881-1973 Mougins) Two characters, séduction, 1953 Produced in Cannes on 16 December 1953 Ink on paper 20.9 x 26.4 cm Signed upper left and dated upper right Provenance: Scheffel Gallery, Bad Homburg, Germany; private collection, acquired from the Scheffel Gallery in 1989; private collection; private collection, Paris Literature: Christian Zervos, Pablo Picasso. Œuvres de 1953 à 1955, vol. 16, Paris, 1965, n° 57, p. 20; Dore Ashton, Picasso on Art: A Selection of Views, New York, 1972, p. 125
unforget Decorative Arts
fulvio bianconi
Fulvio Bianconi (Padua 1915-1996 Milan) 'Sirena' vase model 4201 Designed in 1950, manufactured by Venini Murano, Italy Blown glass in amber color, iridescent, decoration in white glass called lattimo H 30.5 x W 20 x D 10 cm Acid signed on the reverse on 4 lines 'venini murano MADE IN ITALY' Provenance: Sotheby's London, Design, 16 October 2018, lot 88 Literature: Marc Heiremans, Art Glass from Murano 1910-1970, Stuttgart, 1993, p. 270, fig. 223 Franco Deboni, VENINI GLASS: Its history, artists and techniques, Volume I, Turin, 2007, n.p. for a drawing of the model in the Venini ‘Red’ catalogue; Franco Deboni, VENINI GLASS: Catalogue 1921-2007, Volume II, Turin, 2007, pl. 193; Marino Barovier, ed., FULVIO BIANCONI AT VENINI, exh. cat., Le Stanze del Vetro, San Giorgio Maggiore, Venice, 2015, p. 16 for a sketch from the Venini ‘Black’ notebook, p. 25 possibly illustrates the present lot, pp. 130, 144, 156 In 1950, Bianconi created a series of glass sculptures, some representing marine subjects (mermaids and fish) in a playful manner, and others exploring the theme of the female body. Several of these pieces were successfully exhibited at the major traveling exhibition Italy at Work, organized in the United States between 1950 and 1953. Many of these sculptures are characterized by a technique of applying 'lattimo' threads that stand out on a transparent surface. Other sculptures feature Phoenician decorations which, like 'lattimo' decorations, are also used on vases with soft baselines.
Galerie von Vertes
jean dubuffet
Jean Dubuffet (Le Havre 1901-1985 Paris) Site avec deux personnages, 10 September 1982 Acrylic and collage on paper, mounted on canvas 67 x 100 cm Monogrammed and dated lower right 'J.D. 82' Verso numbered on the stretcher 'F146' Provenance: Waddington Galleries, London (verso with label); James Corcoran Gallery, Santa Monica (verso with label); Karsten Greve Galerie, Cologne (verso with label); private collection, Switzerland (acquired from the above) Literature: Max Loreau, Catalogue des travaux de Jean Dubuffet, vol. XXXV: Sites aléatoires, Paris 1986, p. 73, n° 142 (ill.) Exhibition: London, Waddington Galleries, Jean Dubuffet. A retrospective, October 1983, n° 46 (ill.)
Galerie Nicolas Bourriaud
jacq orlande sinapi
Jacq Orlande Sinapi (Marseille, 1911-1989) Bison, circa 1940 Bronze with nuanced brown patina Cast by Leblanc-Barbedienne and bearing the foundry's stamp H 50 x W 57 x D 21 cm Signed ‘Jacq Orlande Sinapi’ Only two pieces known to date Provenance: private collection, France