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Finch & Co
Safavid quatrefoil panel Pierced steel with a band of extremely delicate reciprocal trefoil designs around the rim, traces of gilding The inscription reads ‘ya Muhammad’ O Muhammad Iran, second half of the 17th century or early 18th century Ø 14.5 cm Provenance: former private UK collection since 1990; Christie's Important Islamic Art Auction, 7th April 2011, 120A; former private English collection This panel has the same basic outline and basic layout as a small group of Safavid cut steel panels, one of which was sold at Christies, from the collection of Professor Ehsan Yarshater, 10th April 1999, lot 63 and another, 17th April 2007. Similar quatrefoil panels can be found amongst the door fittings formerly in the Harari Collection said to be from the Dar-i-Imam in Isfahan (A.U. Pope, A Survey of Persian Art, Oxford, 1938, pl.1389). Another example is in the David Collection (Kjeld V. Folsach, Islamic Art: The David Collection, Copenhagen, 1990, no.349, p. 208). Two further panels from that group were sold at Sotheby’s, 22nd October 1992, lot 179. The present panel partly differs from previously published examples in that the central panel bears a brief inscription. Another distinguishing feature is the exquisite pierced reciprocal trefoil border. This motif was relativelt common in the seventeenth century, on carpets, pottery and manuscripts as well as metal. Rarely, however, was it so delicately worked as here.
Galerie Hioco
Jain stele Sandstone India, 7th-8th century, post-Gupta period H 61.5 cm Provenance: Michel Beurdeley collection, 70's This majestic stele depicts a Jina, or Tīrthaṅkara, in a meditative attitude. He is depicted nude - in accordance with Jain iconographic prerequisites, and he is coiffed with a bun, strands of hair from which fall over his shoulders. This characteristic hairstyle corresponds to the codes of representation of the Rishabhanatha Jina. His chest is adorned in the centre with the endless knot, also called śrīvatsa. The figure is surrounded by two attendants, and is seated on a throne supported by two lions on either side of a wheel of the law - dharmachakra. His large, wide-set eyes and his fleshy, faintly smiling lips contribute to the impression of serenity evoked by the stele. The strong geometry and stylisation characteristic of Jain works are softened here by the particular care given to the contour lines and the thinness of the eyebrows, which considerably refine the face. Jain shrines contain countless representations of the Tīrthaṅkara, also called Jina, omniscient beings who have escaped the cycle of reincarnations. These extraordinary figures, twenty-four in number, can be found throughout the history of the world and are responsible for transmitting the foundations of the Jain doctrine across the centuries. This doctrine predates Buddhism and one of its fundamental principles is non-violence (ahiṃsā), which applies to all creatures.
Artimo Fine Arts
ercole rosa
Ercole Rosa (Rome, 1846-1893) Cupid caught in the net, circa 1875 White Carrara marble sculpture, original column in portor and arabescato H 130 cm (statue), H 95.5 cm (column) Provenance: private collection from the U.K. Considered to be one of the artist's masterpieces, this sculpture was pictured in an article published in the journal 'Natura ed Arte' in 1893 by the famous art critic Luigi Archinti.
Galerie Cento Anni
Philippe Wolfers (Brussels, 1858-1929) Nue couchée, 1913 Bronze sculpture on a Burgundy marble base H 13 x W 19.2 x D 7.2 cm Lost wax cast, signed and cast by Philippe Wolfers Provenance: private collection, Belgium Literature: Werner Adriaenssens, Raf Steel, La Dynastie Wolfers de l'Art Nouveau à l'Art Déco, p. 402, n° 254
Victor Werner
janet scudder
Janet Scudder (United States, 1869-1940) Bird bath, circa 1921 Sculpture in marble H 88 x W 73 x D 36 cm Signed Janet SCUDDER Literature: Virginia Roderick , ed. (1921) The Woman's Journal, 6 (Public domain ed.), Woman Citizen Corporation, p. 2, 'Bird Bath' by Janet Scudder. Courtesy of Gorham Galleries In 1891, Janet Scudder left her birthplace of Indiana to pursue her sculpture training at the Art Institute of Chicago. She worked as an assistant for the sculptor Lorado Taft (1860-1936), who employed several women sculptors known as the 'White Rabbits'. Her admiration for the latest works of the French school of sculpture led her to cross the Atlantic to continue her training in Paris. She was amongst the first American artists to devote herself to bronze ornamental fountains. She created at least thirty fountains as commissions for the homes of wealthy Americans. These included Piping Pan (1911) for John D. Rockefeller, Shell Fountain (1913) for Edith Rockefeller McCormick, and other works for Henry Huntington. In 1912, a feature article in the New York Times described Scudder as 'one of the foremost woman sculptors of America'. She became involved in the women's suffrage movement in New York in 1915 and was a member of New York State Woman Suffrage Association. She was also a member of the art committee of the National American Women Suffrage Association (NAWSA), and was elected an associate of the National Academy of Design in 1920. Scudder's art was exhibited at numerous national and international exhibitions from 1893 to 1937, as well as in public museums throughout the United States. Currently, works by her are included in the collection of important museums such as the Metropolitan Museum of Art (New York) and the Musée d'Orsay (Paris).
Brame & Lorenceau
hans hartung
Hans Hartung (Leipzig 1904-1989 Antibes) P1959-138, 1959 Pastel and pencil on paper mounted on canvas 44 x 54.7 cm Signed on the lower left: Hartung 59 Registered by the Hans Hartung and Anna-Eva Bergman Foundation under number CT9101-4E Provenance: Galerie de France; private collection
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Rueb Modern and Contemporary Art
geer van velde
Geer van Velde (The Netherlands, Lisse 1898-1977 Cachan, France) Composition, circa 1957 Oil on canvas 104 x 106.5 cm Signed with the initials lower right Provenance: estate of the artist; Wiegersma Fine Art, Paris; Kunsthandel Frans Jacobs, Amsterdam; private collection, Amsterdam This work is accompanied with a certificate of authenticity issued 2 September 2021 by Pierre François Moget
A&R Fleury
charles-edouard jeanneret dit le corbusier
Charles-Edouard Jeanneret dit Le Corbusier (Switzerland, La Chaux-de-Fonds 1887-1965 Roquebrune-Cap-Martin, France) Garder mon aile dans ta main et Trois taureaux, 1960 Collage of gouache paper, Salubra paper, black paper and ink on paper 56.7 x 72.6 cm Monogrammed and dated lower center 'L.C./1953/1960' Provenance: private collection, France Certificate of authenticity established by Eric Mouchet
Dr. Nöth Kunsthandel + Galerie
suzanne valadon
Suzanne Valadon (Bessines-sur-Gartempe 1865-1938 Paris) Verres, citrons et pommes, circa 1917 Oil on panel 28 x 37 cm Signed upper left: Suzanne Valadon Certificate of authenticity by P. Cailac for the auction at Hôtel Drouot, Paris 1974. The Comité Utrillo-Valadon has confirmed the authenticity of the work Provenance: collection A. A.; Paris, Hôtel Drouot, vente Me Paul Renaud, 25th April 1975; private collection, Paris Literature: Paul Pétridès, L'Oeuvre complet de Suzanne Valadon, Paris, 1971, cat. n° p. 94, p. 295, ill.
Klaas Muller
jan boeckhorst
Jan Boeckhorst (Münster 1604-1668 Antwerp) Study of a Female Head in profile Oil on canvas 42.5 x 32.3 cm Literature: Kunsthandel J. Goudstikker, Rubens-Tentoonstelling, Ten bate Van de Vereeniging 'Rembrandt' in de zalen van den Kunsthandel J. Goudstikker N.V., exh. cat., Amsterdam 1933, cat. n° 57, repr. (as Rubens); H. Vlieghe, Jan Boeckhorst, 1604–1668, Maler der Rubenszeit, exh. cat., Antwerp 1990, p. 64, repr. p. 65, fig. 33 (as Boeckhorst); M. Galen, Johann Boeckhorst, Gemälde und Zeichnungen, Hamburg 2012, p. 254, cat. n° Z 14, repr. p. 253, fig. Z 14 (as Boeckhorst); N. Van Hout, Corpus Rubenianum L. Burchard, Part XX, Studyheads, Vol. 1, fig 168; Vol. 2, pp. 147-149; Nils Bütner, Becoming Famous Pieter Paul Rubens, Exp. Cat. Staatsgalerie Stuttgart, 2021, pp. 249-251, repr. abb.3 (as Boeckhorst) This well-known study has been published several times. It can be linked to a painting: 'Woman reading' in Mannheim (Reiss-Engelhorn Museum), which is probably a collaboration between Rubens and Boeckhorst (see literature, Van Hout and Bütner). Yet the sketch differs in several points from the final work, and even from the infrared of the (Mannheim-) work. For example, the woman is not wearing a hood (in contrast to Mannheim's infrared) and her hairstyle differs significantly from the final work, together with her clothing. The head is very monumental and at the same time clearly painted after life.
Finch & Co
Attributed to the Embriachi workshop / and the so-called Master of the ‘Susanna Two’ Sarcophagus ‘wedding casket' Bone, wood, polychrome Venice, Italy, 15th century (circa 1450-1475) H 25 x W 41 x D 26.5 cm Provenance: ex private collection, USA; ex English collection The ‘Susanna Two’ are two very similar caskets housed in the Museum of Ravenna, Italy, made by the same workshop and Master as this fine sarcophagus. The Embriachi workshop was a northern Italian family of entrepreneurs and carvers. The precise location of the workshop is unknown, except that it originated in Florence, probably around the 1370s. Baldassare Embriachi was a member of a nobel Florentine family and frequented the Florentine literary circles. During his career, he acted as both a merchant and diplomat. His connections and financial independence allowed him to set up and found the bone-carving workshop that bears his name, rather than that of its leading artist. By 1395, political and financial circumstances had forced him to transfer the workshop to Venice. The suggested time range of the workshop's activity does differ, the earliest known dates being 1390-1405, encompassing a wider span from the 1370s until at least 1416, but certainly no later than 1433. The workshop employed local workers specialising in ‘certosina’ (inlay of stained woods, bone and horn), and produced items carved in bone (usually horse or ox) with wood and bone marquetry. As well as altarpieces, the workshop also made caskets as bridal gifts to hold jewels or documents, and these were often decorated with scenes from mythology.
Galerie Oscar De Vos
emile claus
Emile Claus (Sint-Eloois-Vijve 1849-1924 Astene) Hydrangeas on the Lys, 1898 Oil on canvas 46 x 55 cm Signed lower left: Em. Claus Inscription on reverse of the canvas (date and monogram): Oktober/IH/E.C. Exhibition: 2013, Emile Claus and Belgian Impressionism (Japan: Himeji City Museum of Art, Tokyo Station Gallery, Ishikawa Prefectural Museum of Art & Hekinan City Tatsukichi Fujii Museum of Contemporary Art, 2013), n° 15 Literature: Catalogue des oeuvres d'Emile Claus ayant fait partie du Musée d'Astene, Galerie de l'Art Belge, Brussels, 1942, et Vyncke-Van Eyck, Ghent, 1943 in: A. Sauton, Un Prince du Luminisme Em. Claus (Brussels: Lebègue, 1946), p. 57; P. Haesaerts, Sint-Martens-Latem. Gezegend oord van de Vlaamse Kunst (Brussels: Arcade, 1966), pp. 54-58; P. Boyens, Sint-Martens-Latem. Kunstenaarsdorp in Vlaanderen (Tielt/ Sint-Martens-Latem: Lannoo/Art Book Company, 1992), pp. 19-21, 197-201; J. De Smet, Retrospectief Emile Claus (Ostend: PMMK, 1997), pp. 51-52; J. De Smet, Sint-Martens-Latem en de kunst aan de Leie (Tielt/Sint-Martens-Latem: Lannoo/Art Book Company, 2000), pp. 61-62; De Smet, Emile Claus en het landleven (Brussels: Mercatorfonds, 2009), p. 45; J. De Smet, A. Tomita, A. Yuzuhana e.a., Emile Claus and Belgian Impressionism, cat. (Japan: The Kobe Shimbun, 2013), p. 60, cat.n° 15 (ill.); C. Ekonomidès, Emile Claus (1849-1924) (Paris: Bibliothèque de l'image, 2013), pp. 100-101 (ill.); P.J.H. Pauwels, Als een fonkelenden spiegel (Sint-Martens-Latem: Galerie Oscar De Vos, 2019), p. 88 (ill.)
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Galerie Van den Bruinhorst
sybold van ravesteyn
Sybold Van Ravesteyn (Rotterdam 1889-1983 Laren) Easy Chair 'Tiel Utrecht' Design: Utrecht, The Netherlands, 1935-1936 Executed by H.P. Mutters & Zoon, The Hague, The Netherlands, circa 1936 Tubular steel frame and black lacquered wooden armrests, seating and back built traditionally with a steel spring interior, upholstered with velours d’Utrecht, a classic velvet-like fabric made of goats hair Provenance: employee of the fire insurance company ‘Tiel-Utrecht,' Utrecht, The Netherlands; collection of the Dutch art-dealer and collector Jan Juffermans, Utrecht Literature: Kees Rouw, Sybold van Ravesteyn Architect, Nai 010 Publishers, Rotterdam 2014, pp. 92, 94, 104 After the cool, abstract modernism of the 1920s, some modern designers and architects in the 1930s began to design unique and limited series again. These unique pieces or small series for a wealthy clientele were often created using luxurious materials with an exclusive appearance. The armchairs designed by Sybold van Ravesteyn for insurance company ‘ Tiel-Utrecht‘, and the Royal Yacht ‘Piet Hein‘ for the Dutch Princess Juliana, are fine examples of this development. Because Van Ravesteyn's easy chairs were only made for special projects in very limited numbers, they are extremely rare and seldom appear on the market. Similar chairs from the same interior are part of the permanent collection of Museum ‘Boijmans van Beuningen’ in Rotterdam and the ‘Centraal Museum’ in Utrecht
Galerie de la Présidence
Alexander Calder (Lawnton 1898-1976 New York) Composition, 1976 Gouache on paper 37.7 x 109.6 cm Signed and dated lower right, dedicated to Nicholas Guppy lower center This work is registered in the Calder Foundation under n° A09277 Provenance: Nicholas Guppy collection, London (a gift of the artist in 1976); private collection, Istanbul; private collection, Paris Exhibition: Calder, Kettle’s Yard, Cambridge, July–August 1980, n° 41 Alexander Calder is an artist born in the United States in 1898. He came to Paris in 1926 and was part of the Abstraction-Création group that promoted non-figurative art with Delaunay, Arp and Hélion among others. His meeting with Mondrian in 1930 was capital. He was fascinated by abstraction, he added this movement to his work and built animated sculptures from 1931, which Marcel Duchamp baptized ‘mobiles’. He was thus the first to place movement in sculpture and to detach himself from the academic tradition, long before American abstract expressionism. During the summer of 1953 - the date of our painting - Calder moved close to Aix-en-Provence with his family. He developed a real passion for gouaches. These gouaches, works of art in their own right, are part of the continuity of his work as a sculptor, and they share his minimalist and joyfully colorful language. Calder succeeded in reaching a new modernity incorporating joie de vivre, freshness, simplicity and great freedom. Certain themes recur regularly using primary colours: the cosmos with the sun, moon and stars. It was a new language, more immediate and more direct, breaking with European tradition and borrowed from American modernity.
