Galerie de la Béraudière
Rembrandt Bugatti (Milan 1884-1916 Paris) Gazelles apprivoisées, face à face Bronze with brown patina, marble base H 22.7 x W 45.3 x D 10.4 cm Lost wax cast by Hébrard foundry in Paris Signed, stamped and numbered on the base: R BUGATTI, Cire perdue AA. Hébrard, 3 Date of design: circa 1905, edition of 3 casts, made from 1905 to 1934 Certificate of authenticity made by Véronique Fromanger on October 15th, 2019 Provenance: private collection, Saint-Etienne, France; private collection, Belgium Literature : Véronique Fromanger, Rembrandt Bugatti Sculpteur, Répertoire Monographique, Paris, Les éditions de l'Amateur, 2016, revised edition, pp. 301-302, ill. n° 133
Stern Pissarro Gallery
Auguste Herbin (Quiévy 1882-1960 Paris) Aoum II Oil on canvas 65 x 100 cm Signed and dated lower right 'herbin 1944' and titled lower left 'aoum 2' Provenance: private collection, Switzerland; private collection, Belgium; Galerie Von Bartha, Basel; Tajan Paris, 30th November 2004; private collection, acquired at the above sale Literature: G. Claisse, Herbin, Catalogue Raisonné de l'Oeuvre Peint, Lausanne, 1993, p. 424, n° 817 (illustrated) Exhibitions: Brussels, Palais des Beaux-Arts, Herbin Rétrospective, 1956, n° 33; Cologne, Galerie Bargera, Abstraction-Création, 1974, n° 22 (illustrated)
Simon Studer Art Associés
Jack Pierson (Plymouth, 1960) Cara Domani, 1995 Salvaged plastic, metal and bachelite letters 150 x 100 cm Signed, dated and titled ‘Jack Pierson 1995 Cara Domani NYC’ on the back of the letter ‘d’ Provenance: The Theoretical Events, Naples; private collection, Europe; Sale Phillips, London, 30 June 2008 (lot No. 524); private collection, Geneva Exhibition: Cara Domani: Opere dalla Collezione Ernesto Esposito, Museo d'arte moderna di Bologna, 29 September-2 December 2012 Beginning in 1991, Jack Pierson begins creating verbal installations using salvaged materials. Letters recovered from landfills, old advertising signs, cinemas, casinos or abandoned businesses. The letters are combined to create sentences with varied meanings. For the artist, language is a great vector of meaning in addition to an object that can be artistically transcribed by modifying the spatial composition or even the design of the letters. Pierson deals in his installations with social issues such as sexuality (and homosexuality), consumerism or loneliness. The artist also intends to highlight the beauty of the ubiquitous and almost iconic advertising banners in the United States and to speak to our collective imagination. In this case, Cara Domani, is a more personal construction: it is indeed the two words that have most marked the artist during a stay in Italy.
Douwes Fine Art BV
Rembrandt van Rijn (Leiden 1606-1669 Amsterdam) Self-Portrait in a Velvet Cap with Plume, 1638 Etching on laid paper 13.4 x 10.3 cm Signed and dated upper left 'Rembrandt f. 1638' Bartsch 20; Seidlitz 20; Hind 156; White-Boon 20; the New Hollstein Dutch n° 170, 2nd state (of four); plate in existence in Paris - with Nowell-Usticke (1967) Provenance: private collection, USA; private collection, The Netherlands Condition: a fine print with good margins all around the plate edge. An excellent print of the second state of four, before probably being rebitten and the strengthening and broadening of lines with cross-hatching throughout. No artist has left a loftier or more penetrating personal testament than Rembrandt van Rijn. In more than 90 portraits of himself that date from the outset of his career in the 1620s to the year of his death in 1669, he created an autobiography in art that is the equal of the finest ever produced even in literature. It wasn't until the 19th and 20th centuries, when scholars studied Rembrandt's oeuvre as a whole, that it was discovered how very many times the artist had portrayed himself. The number is still a matter of contention, but it seems he depicted himself in approximately forty to fifty extant paintings, about thirty-two etchings, and seven drawings. It is an output unique in history; most artists produce only a handful of self-portraits, if that. And why Rembrandt did this is one of the great mysteries of art history. Rembrandt's self-portraits always tell us how he feels about himself. In 1638 he feels prosperous: his shirt and jacket are expensive and stylish; the plain artist's beret has been supplanted by a crushed velvet hat with a plume; he has grown whiskers -all befitting a man with much revenue, a costly household and admiring students. Rembrandt also feels cocky: his bearing is aristocratic; his face and eyes convey a certain smugness; his hand is thrust jauntily into the folds of his garment. The scale and ostentation of this self-portrait contrast sharply with the modest, intimate studies of 1630-1631, which reveal only his head and shoulders. Yet within five years of this fine reflection of 1638, Rembrandt's popularity as a portraitist for the wealthy Amsterdam bourgeoisie would fade, his beloved wife Saskia and his mother would be dead, and the resulting financial and emotional turmoil would bring a mature understanding of human fragility to Rembrandt's art and his views of himself. More recent scholarship has shed additional light on Rembrandt's early self-portrayals. Quite a few, it is argued, were tronies -head-and-shoulder studies in which the model plays a role or expresses a particular emotion. In the seventeenth century there was an avid market for such studies, which were considered a separate genre (although for an artist they also served as a storehouse of facial types and expressions for figures in history paintings). Thus, for example, we have four tiny etchings from 1630 that show Rembrandt, in turn, caught in fearful surprise, glowering with anger, smiling gamefully, and appearing to snarl -each expressed in lines that themselves embody the distinct emotions. Rembrandt may have used his own face because the model was cheap, but perhaps he was killing two birds with one stone. The art-buying public -which now included people from many walks of life, not only aristocratic or clerical patrons, as in the past -went for etchings of famous people, including artists. By using himself as the model for these and other studies, Rembrandt was making himself into a recognizable celebrity at the same time that he gave the public strikingly original and expressive tronies. The wide dissemination of these and other prints was important in establishing Rembrandt's reputation as an artist.
Hendrick Bloemaert (Utrecht, 1601-1672) Man with a Tankard Oil on canvas 72.5 x 56 cm Signed above left 'AHs Bloemaert' Hendrick was the son of the famous Utrecht painter Abraham Bloemaert. He received his education in his father's workshop and travelled to Italy around 1626-27. Around 1631 he returned to the Dutch Republic and became a member of the Guild of Saint Luke and stayed in his hometown for the rest of his life. The presented work is a great example of Bloemaert's caravaggesque style and recalls other famous painters from the ‘Utrecht School’, such as Jan Van Bijlert and Hendrick Ter Brugghen.
Tenzing Asian Art
Bodhisattva Padmapani Gilt copper alloy with semiprecious stones Tibet, 15th century H 33 cm Provenance: USA art market; private European collection, 1998 Condition: figure's left earring modern replacement, turquoise in the left and right armlet, left wrist bracelet and center of the girdle are modern replacements. Slight dent in the right knee hammered out. Otherwise in an excellent condition. As the embodiment or personification of compassion, the Bodhisattva is an advanced heroic aspirant who vows not to take release from the cycle of birth and death (samsara) in order to usher others along the path to enlightenment. In this resplendent Padmapani (the holder of the lotus and emanation of the Buddha Amitabha who appears in his crown) the concept of Bodhisattvahood is clearly illustrated through the figure’s posture, hand gestures, attributes, and dress. He displays the peaceful countenance and divine body of a Buddha, while at the same time he remains actively engaged in samsara as follows: the bodhisattva keeps a foot in our world by taking half-lotus pose with his right leg lowered so that he is always ready to step into action; his right hand reaches down in varadamudra with the palm turned outwards to show the viewer he is ready to grant their wishes; his left hand is raised in vitarkamudra and holding the stem of a lotus, his attribute, which blossoms at his side. The lotus is an important symbol in Tibetan Buddhism. As a flower that grows in even the most difficult conditions, it represents the potential of all sentient beings to attain enlightenment, despite the many challenges our realm presents. Because he has not completely renounced the world, the Bodhisattva is shown wearing brilliant ornaments inlaid with turquoise stones, including foot and ankle bands, jeweled belt, a cross-chest ornament and necklace, bracelets and armlets, and plug-disk earrings. His sweet face is crowned with a multi-part tiara with ribbons fanning to the sides. His hair, piled in a topknot, has been touched with blue pigment to mark his auspicious status. The pleated hem of the sanghati incised with a scrolling floral motif, the abundant ornaments that naturalistically adorn his form, including the multi-strand looped girdle that falls across his lap, the turquoise inlay, and the slender ribbons that far to the sides of his foliate tiara indicate a 15th century date of production in Tibet.
Tenzing Asian Art
Avalokiteshvara Shadakshari Copper alloy with silver and copper inlay Western Tibet, 14th century H 27.9 cm Provenance: private collection, UK, late 1980s-early 1990s; collection of Sandor P. Fuss, Colorado, 2010-2011 In Tibetan Buddhism, enlightenment is attained through intensive meditation (dhyana) and also recitation of sacred syllables (mantras) intended to liberate not only the individual practitioner but all living beings. In a superb example of the fine metal working tradition practiced in western Tibet, Avalokitesvara takes a four-armed form known as Shadakshari (shad 'six' – aksha 'syllable'), in which he is the embodiment of the six-syllable mystic Buddhist mantra, om mani padme hum. This mantra vocally expresses the six realms of the wheel of life, each of which is associated with a specific color as follows: om is white and represents the realm of gods, ma is green and represents the demigod or asura realm, ni is yellow and represents the human realm, pad is blue and belongs to the animal realm, me is red and stands for the realm of the hungry ghosts, and hum is black and represents hell. By recitation of these six seed syllables, the practitioner symbolically traverses the wheel of life. This 14th century Shadakshari is an expert visual realization of the sacred sounds. Seated in dhyanasana (dhyana 'meditation' – asana 'posture or seat') on a double-lotus base with the foremost hands in prayer before his heart and the upper hands holding a mala (beaded necklace used in prayer) and the lotus attribute, the bodhisattva is clad in an ankle-length dhoti with copper-inlaid hems, and he is adorned with elaborate jewelry expressive of the splendor of enlightenment. The smooth contours of his body overall, the elongated fingers and articulated toes, the fish-shaped eyes beneath sinuous brows centered by a silver-inlaid urna (auspicious mark at the center of the forehead, originally representing a tuft of hair) surmounted by a wide chignon secured with a foliate tiara, as well as the broad shoulders and breath-filled chest, reveal the consummate craftsmanship of this important commission.
Stern Pissarro Gallery
Marc Chagall (Vitebsk 1887-1985 Saint-Paul de Vence) Le Bouquet d'Orphée et Vence, 1969 Gouache and watercolor over pencil on paper 45.7 x 37.5 cm Signed lower right 'Marc Chagall' This work is accompanied by a certificate of authenticity from the Comité Chagall Provenance: Estate of the artist, Saint Paul de Vence; private collection; Howard Russeck; Thomas Monahan; private collection, Chicago
Joan Miró (Barcelona 1893-1983 Palma de Mallorca) Personnage, circa 1961 Wax crayon on paper 65.5 x 51 cm Signed in graphite lower right, ‘Miro’; inscribed in graphite on the facing page, ‘r. Queneau / 18/75 /Miro’ This artwork is accompanied by a photo-certificate of authenticity issued by ADOM (Association pour la Défense de l'oeuvre de Joan Miró), Paris on 18 January 2020 Provenance: private collection, Barcelona (gifted by the artist); private collection, Barcelona; private collection, Madrid (purchased in 2015)
Samurai armour Edo period, tosei gusoku style, late 17th century by Saotome Ietsugu Restored in Bunsei 13 (1830) by Iba Masanaga Belonged to the Kyogoku family The armor comes in two yoroi bitsu, traditional armor boxes original to the armor All pieces signed and dated H 160 x W 100 x D 60 cm
Chiale Fine Art
Octavianus Montfort (Italy, 1646-1696) Still life Tempera on vellum Turin, circa 1680-85 H 40 x W 52 cm Provenance: Kerbastick Castle, Lanvin-Polignac collection, France This painting, which represents the highest quality of Monfort production, reflects the scrolls in which the artist prefers a Still Life with more fruits, to symbolize abundance, the wealth of art. The remarkable quality of execution and setting a harmonious whole with detailed attention to the colors of each fruit related to create a color balance of the whole work. The beautiful ultramarine blue vase falls in the foreground of a beautiful pink painted with delicate brush strokes. A wonderful variety of fruits including cherries, pears, apricots and lazzeruoli. We can recognize a hibiscus flower blue and a beautiful rose. Drs. Arabella Cifani defines: '...This beautiful miniature, is an original work of Monfort and is comparable with specific references to other artist’s works'. She adds: 'The parchement has strong references in his very fine grained with coloristic works by Giovanna Garzoni'.
Flemish school, 16th century The Five Senses ‘De wereld voedt vele zotten’ (The world feeds many fools) Oil on panel 35.5 x 48.5 cm Literature: S. Gudlaugsson, Kunsthistorische Mededeelingen, The Hague, 1946, pp. 2-3, n° 1 The presented panel is a rare example of a moralising and humorous painting at the same time, commonly depicted in the circles of the ‘Rederijkers’ and the late 16th century intellectual elite. Inventories of this period show that pictures such as these were also hung in the dining rooms of the wealthy bourgeoisie in Mechelen and Antwerp, as a conversation piece: to erudite and delight the informed viewer. The iconography of the 5 senses is obvious and clearly recognizable: the dog-eared fool tasting from a spoon, touching the other fool with the index-finger and the other fool pointing at his nose, both of them are looking the spectator in the eyes. The symbols on the lintel above the two fools or ‘zotten’ (in Dutch) denote a pictorial rebus, a hidden message so to say. The gilded letter ‘D’ stands for 'De' (Dutch) or ‘the’ (English), whilst the crystal orb, usually seen in the hand of the Salvator Mundi represents the world (or wereld in Dutch). The 'voedt', or foot, is a Dutch word with double meaning, namely ‘feet’ but also 'feed'. And last, the stringed fiddle, is referring to a 'velle', a word which also means 'many' or 'a lot', while the fools in their typical costume below complete the phrase 'De wereld voedt vele zotten', or ‘The world feeds many fools'.
Isis with Horus seated on her lap Bronze with green and red patina Egypt, Late Dynastic Period, 6th century BC H 17.3 cm Provenance: former private collection Italy, acquired from R. Wace 2003; Mitsukoshi Department Store, Japan 1978 Literature: G. Roeder, Bronzewerke; G. Roeder, Bronzefiguren; S. Schoske und D. Wildung, Gott und Götter im Alten Ägypten, Mainz, 1992 The goddess, seated with her feet resting on an integral trapezoidal plinth, is dressed in a tightly-fitted sheath. She wears an echeloned tripartite wig and vulture headdress crowned with a modius of uraei supporting cow horns framing a solar disk. While she is offering her left breast to her divine son Horus seated across her lap, her left hand is supporting the child’s back. Horus displays the nudity of youth only wearing a tightly fit cap-crown fronted by an uraeus and his lock of youth with incised details attached to the right side of the head.
Helene Bailly Gallery
Henri Matisse (Cateau-Cambresis 1869-1954 Nice) Maisons à Kervilahouen, Belle-Île, 1896 Oil on board 31 x 37 cm Signed and dedicated lower right 'à amicalement Matisse' Certificate of authenticity issued by Mrs Wanda de Guébriant Provenance: sale Hôtel Drouot, Bailly-Pommery, Paris, June 2011; by descent to the former owner
Henri Martin (Toulouse 1860-1943 Labastide-du-Vert) Le Pont de Labastide-du-Vert (un jour de printemps, ciel couvert) Oil on canvas Signed 56 x 99 cm This painting is accompanied by a certificate from Marie-Anne Destrebecq-Martin and will be included in the forthcoming catalogue raisonné Provenance: Gastón Fourvel Rigolleau, Buenos Aires (by 1946); Cecilia Bunge Shaw, Buenos Aires (by descent from the above); Jorge Mayer, Buenos Aires
Van der Meij Fine Arts
Johan Christian Dahl (Norway, Bergen 1788-1857 Dresden, Germany) Birds in the snow, 1836 Oil on canvas laid on wood 10 x 9.5 cm Signed lower right: J Dahl 1836 Provenance: E.W. von Coopmanns, Dresden, 1836; Auction Blomqvist, Oslo, 4 December 1978, lot 15a; private collection, Norway; Christie's London, 29 November 1991, lot 77; private collection, Switzerland Literature: M.L. Bang, Johan Christian Dahl, Life and Works, Oslo, 1987, vol. II, p. 258, n° 823, vol. III, plate 349 The Norwegian-born painter Johan Christian Dahl (1788-1857) is arguably the most important representative of Dresden romanticism after Caspar David Friedrich. Dahl was born in Bergen, Norway, in 1788 and studied at Copenhagen's Royal Academy between 1811-18. In 1818 he travelled to Germany and settled in Dresden, where he became a member of the Academy in 1820. This was the heyday of Caspar David Friedrich's fame and influence, and although Dahl certainly derived inspiration from Friedrich's revolutionary approach to romanticist landscape panting, he would always prefer a stronger sense of naturalism in his art. . The present painting shows Dahl at his most “Friedrichian”. It is a small oil sketch, the size of a Christmas card. It was made as a gift by Dahl for a close friend, the diplomat E.W. von Coopmanns, who acted apparently as Norwegian chargé d’affairs in Dresden during (some of) the 1830s. The intimate size of the painting is indicative of the fact that it was a present. The theme and composition are firmly grounded in Dresden-based Romanticism. A number of snow-covered fir trees are stood among some rocks. A few crows in the foreground are sitting on the rock to the left, whilst a third bird is sitting on a branch on the right. The presence of the trees is made more pronounced by the unclear perspective: the background is left deliberately undefined. This makes the trees dominate the composition, especially as they are grouped closely together, reminiscent of the way in which Friedrich would do this. Unlike Dahl, for Caspar David Friedrich many compositions carried religious connotations, with snow, for example, representing death and fir trees the promise of resurrection. Dahl did not seek to infer symbols into his paintings in this way, but he did manage to create a contemplative mood in the present oil sketch that exudes what Germans so accurately refer to as Stimmung. The trees and the birds have been painted quite effortlessly, with a few dabs here and there. A soft sprinkling of snow on the branches of the fir trees combines with the gloomy background, creating a warm and peaceful feel. And it is by the loose way in which this has been painted that we can sense the quiet spirit that we are meant to perceive when viewing this slice of nature in such diminutive detail.