Osborne Samuel Gallery
Sean Henry (Woking, 1965) Cradle, 2020 Bronze, oil paint H 29 x W 70 x D 30 cm Edition of 5 Inspired by Markéta Luskacova’s iconic photograph ‘Sleeping Pilgrim’ from 1978 Provenance: the artist Literature: Waiting for the Sun: Sean Henry, published by Osborne Samuel, November 2020, illustrated p. 10-13 Exhibition: 'Waiting for the Sun: Sean Henry', Osborne Samuel, November-December 2020
Paolo Antonacci
Carel Max Gerlach Antoon Quaedvlieg (Valkenburg 1823-1874 Rome) Paesants in a wood near Rome, 1872 Oil on board 16 x 21.7 cm Signed lower right: Ch Quaedvlieg Dated: Roma 1872 This fine painting is painted in the typical miniature style of the Dutch artist Carel Max Quaedvlieg, a technique in which he excelled. It depicts a scene set in the surroundings of Rome, probably in the Castelli Romani: in a forest of oak and chestnut trees crossed by a path, a peasant on horseback is leading two other horses with baskets on their backs. He is heading towards a fountain where other two other peasants are resting. A joyful dog, typical of Quaedvlieg’s subjects, welcomes the newcomers. Carl (Karel) Max Gerlach Antoon Quaedvlieg was born in Limburg and enrolled at the Academy of Fine Arts in Antwerp and in Düsseldorf. Following his wife Marie-Thérese Eymael's death, however, he decided to move to Rome in 1853, then aged thirty, and ended up spending the rest of his life in the city. Soon finding his place in the city's artistic life, he took up residence at 42, Via Margutta and devoted his energies to studying the great masters, subsequently transferring the lessons learned through direct contact with the masterpieces of the past into his own work. His subjects of choice varied from scenes of daily life to views of the Roman countryside, and even included far more unusual themes such as the carnival. He showed his work for the first time three years later, at the annual exhibition held by the Società degli Amatori e Cultori delle Belle Arti in its historic venue in Piazza del Popolo, entering three paintings: an animalier theme and two views of the countryside around Rome, the celebrated Ager Romanus. He was to afford priority to such themes throughout his artistic career, in the course of which he received many accolades – he was made a member of the Pontifical Order of St. Gregory the Great and his Apostle Paul and the Prophetess Eudora was to be displayed in the Pantheon – enjoying popularity not only with collectors but also with eminent members of society. One has but to consider that his illustrious patrons included Princess Marianne, the sister of King William II of the Netherlands. While the painter's favourite subject was the Roman countryside, we should not overlook certain fairly large oil paintings depicting carnival scenes on the city's Corso, remarkable for their teeming compositions and for the care lavished on the figures' features. Such works are of eminent collecting interest.
De Jonckheere
Lucio Fontana (Rosario Santa Fé 1899-1968 Varese) Concetto Spaziale, Attesa, 1966 Oil on canvas 55 x 46 cm "I. Fontana/ Concetto spaziale / Attesa / il giallo è come / il sole" Provenance: Galleria Iolas, Milan; Galleria Sianesi, private collection, Milan; private collection, Milan; private collection, Milan; private collection, Brescia Literature: Enrico Crispolti, Lucio Fontana Catalogo Generale, vol. II, Milan (1974), n° 66 (T118), p. 845 Throughout his career, Lucio Fontana defended the need for a new art and questioned traditional painting on canvas. To achieve this, he explored space in all its forms through his works. This search led to his ‘Concetto Spaziale’, in which he sought to create space within his works through perforations and later cuts. Fascinated by space, Lucio Fontana published a manifesto after the Second World War that aimed to create a synthesis between "colour, sound, space and movement". The artist's first Tagli appeared in 1958, and he would continue to produce these works until his death in 1968. This artistic production is characterized by monochromes cut once or more with a blade. These cuts, which create an additional space within the canvas, have something mysterious about them, like an opening into a sensuous ‘other place’. These canvases are undeniably erotic, a sensation which is reinforced by the artist’s act of delicately parting the slits with his fingers. This also allows us to understand why these spatial concepts place greater emphasis on the artist’s idea and gesture rather than the result. These works of art are a cross between painting, sculpture and performance. The cut, which vertically divides the canvas in the centre, creates movement and invites the viewer to enter into the space offered to them. Painted in a magnificent shade of yellow, this monochrome was produced in 1966.
Van der Meij Fine Arts
Thomas Fearnley (Frederikshald 1802-1842 Munich) Little square in Berchtesgaden, 1830 Oil on paper laid on board 28.5 x 27.5 cm Signed and dated lower right: TF Berchtesgaden 24.9.1830 Provenance: collection Lorentz Jacob Meyer, Norway; collection Sophie Boeck, Oslo, by 1914; private collection, Oslo Exhibition: Thomas Fearnley 1802-1842, Christiania Kunstforening, February 1903, n° 42a (Berchtesgaden); jubileumsutstillingen 1814 - 1914, Oslo 1914, n° 118 (Fra en by i Tyskland) Literature: Sigurd Willoch, Maleren Thomas Fearnley, Oslo 1932, p. 70 The Norwegian artist Thomas Fearnley (1802-42) was without a doubt one of the most gifted European landscape painters of the early 19th century. Born in what is present-day Halden (Norway) in 1802, he was of British descent, with his surname attesting to his Yorkshire roots. He received his formal training at the Drawing School in Oslo (1819-21) and the Royal Academy in Copenhagen (1821-23), and subsequently the Royal Academy in Stockholm. Throughout the second half of the 1820s, Fearnley travelled throughout Norway and Sweden, and spent the period 1829/30 as a pupil of his compatriot Johan Christian Dahl, who was professor at the Academy in Dresden. Fearnley left Dresden in 1830 to spend the following two years in Munich, where he would become a leading proponent of plein-air sketching – applying the realistic approach that Dahl had expounded. Our oil sketch was produced whilst Fearnley travelled throughout Bavaria in the summer of 1830. He stopped at the small market town of Berchtesgaden, a picturesque village in south-east Bavaria, at the foot of the magnificent Watzmann mountain. Fearnley worked in and around Berchtesgaden during August and September 1830; our oil sketch was made in September 1830. It shows a small square in Berchtesgaden, with the Watzmann looming in the misty distance. The view is enclosed by the white-stuccoed houses on either side, with a small fountain, with its tinkling stream of water, adding to the overall quietude. In the distance the onion dome so typical of Bavarian churches can just be made out. Fearnley has chosen a remarkably challenging, angular view, allowing him to experiment with the way in which the warm, late-summer sunshine casts its rays of light on the buildings. Stripes of shadow are projected onto the wall on the right, whilst the leaves of the tree appear to be individually coloured, almost caressed by the sunshine, impressing upon the viewer the remarkable realism of the scene. For the rest of his life, Fearnley continued to travel and paint restlessly all over Europe. After he left Germany in 1832, he visited and worked in Italy, Switzerland, France, England (especially the Lake District), Norway and Holland (Amsterdam). He returned to Munich in 1841, where he died of typhus in January 1842. His legacy as one of Europe’s most versatile and gifted painters of the early 19th century had been cemented by that time, and today his work can be found in leading museums all over the world.
Studio 2000 Art Gallery
Raoul Dufy (Le Havre 1877-1953 Forcalquier) La Seine au Pont d'Asnières, circa 1900 Oil on canvas 49.5 x 108 cm Signed lower left 'R Dufy' Provenance: Auction Paris, 23 November 1990; Auction Marc Arthur Kohn, Paris, 22 November 2017, lot 5; Auction Artcurial, Paris, 30 June 2003, lot n° 81 d; private collection, Belgium Literature: R. Clement, Les Fauves. A Sourcebook, Westport Connecticut, 1994, 914 (ill.); M. Laffaille, Raoul Dufy, Catalogue Raisonné de l'Oeuvre Peint, Editions Motte, Genève, Vol. 1, 1972, p. 63, n° 64; S. Monneret, Sur les pas des Impressionnistes, Editions de La Martinière, Paris, 1997
Waddington Custot
Barry Flanagan (Prestatyn, North Wales 1941-2009 Ibiza) Pirate Wheel, 2005 Bronze Cast number 7 from an edition of 8 plus 4 ACs H 213 x W 198 x D 77 cm Provenance: Plubronze Limited (The Estate of Barry Flanagan) Literature: Sculpture, Waddington Galleries, London, 2007, n° 31 (repro. in colour p. 63) (5/8 catalogued) Barry Flanagan, Clare Preston (ed.), Jo Melvin, Teresa Gleadowe, Mel Gooding and Bruce McLean, Waddington Custot in association with The Estate of Barry Flanagan, London, 2017 (repro. in colour pl. 140) Exhibitions: on request
Galerie Berès
Martin Barré (Nantes 1924-1993 Paris) Untitled, 1956 Oil on canvas 73 x 93 cm Signed and dated lower left 'MARTIN BARRE 56' Signed and dated on the back 'Martin Barré 1956' Provenance: Artist's studio The work will be included in the forthcoming catalogue raisonné of the artist by Ann Hindry and Yves-Alain Bois
Boon Gallery
Nicolas de Staël (Sint-Petersburg 1913-1955 Antibes) Composition, 1949 Oil on canvas 22 x 27 cm Signed lower left Provenance: private collection; Jacques Dubourg Collection, Paris; Nathan Gallery, Zurich Exhibitions: Kunsthal Charlottenburg, Levende Farver, 1950, n° 185; Jacques Dubourg Gallery, Hommage à Nicolas de Staël, Paris, 1969; Nathan Gallery, Nicolas de Staël : Gemälde und Zeichnungen, Zurich, 1976, n° 5 Literature: F. de Staël, Nicolas de Staël : Catalogue Raisonné des Peintures, Paris, 1968, p. 116, ill.; F. de Staël, Nicolas de Staël : Catalogue Raisonné, Neuchâtel, 1997, p. 256, ill.
Artimo Fine Arts
Jef Lambeaux (Antwerp 1852-1908 Brussels) The Eagle Hunter, circa 1900-1903 Sand cast bronze with light brown patina H 130 x W 80 x D 70 cm Signed 'Jef Lambeaux' & 'H. Luppens & Cie Editeurs' Literature: S. Clerbois, Jef Lambeaux, l'amant de la matière, Saint-Gilles, Les Rencontres Saint-Gilloises, 2008, p. 29; C. Engelen, M. Marx, La Sculpture en Belgique à partir de 1830, Louvain, Engelen-Marx, 2006, tome IV, p. 2228
Whitford Fine Art
Caziel (Sosnowiec, Poland 1906-1988 Somerset, UK) Composition 03.08.1967, 1967 Oil on plywood 33 x 19 cm Signed and dated verso Caziel Estate Inventory number WC553 Provenance: the estate of the artist Literature: Caziel: Abstraction 1963-1967, exhibition catalogue with introduction by Clementina Stiegler, Whitford Fine Art, London, 2004, pl. 17, ill. Exhibition: 2004, Caziel: Abstraction 1963 - 1967, Whitford Fine Art, London
Victor Werner
Albéric Collin (Antwerp, 1886-1962) Three white-tailed deer, circa 1920 Bronze, shaded brown patina H 31 x W 131 x D 15 cm Signed 'Albéric Collin' Stamped by foundry mark ‘Cire perdue C. Valsuani’ (on the terrace) Albéric Collin studied at the Royal Academy of Antwerp. He devoted a large part of his career to sculpting animals and more specifically those from the Antwerp Zoo. At the age of 21 he came into contact with a soul mate, the Italian sculptor 'animalier' Rembrandt Bugatti. Both worked together regularly at the Antwerp Zoo where Bugatti acted as mentor and teacher for Collin. From him, Collin learned that accurate observation of living animals was very important in order to reflect the movement of the animal, rather than the anatomical model, in the sculpture.
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Chambre professionnelle belge de la Librairie Ancienne et Moderne (CLAM)
Agustín Ivan Edwards McClure & A. Gomez Palacios Aventuras de Juan Esparraguito o el niño casi legumbre. Cuchicheos de un abuelo. Paris (Argenteuil, R. Coulouma & Le Coloris Moderne), 1930 Folio, publisher’s white pictorial wrappers in pochoir colour. (8) pp., 145 pp., 1 unnumbered leaf. Spanish text. 22 full-page plates, 25 text illustrations and 14 initials by the artist Gomez-Palacios, all in superb pochoir colour, several with gold or silver highlights. First and only edition. A monument of Chilean children’s literature which encapsulates the spirit of ‘realismo mágico’ (magical realism) usually associated with South American art and literature, a mixture of world history, religion, and fantasy. It is a fairy tale about a little boy who dreams of being a full-fledged asparagus some day; the illustrations show his journey and the people and creatures he meets along the way. The book was written by Agustín Edwards McClure (1878-1941), a rich Chilean businessman, lawyer, press tycoon, minister, president of the League of Nations in 1922-1923, during his exile in Paris; it is dedicated to his grandchildren. Ref. Catalogue of the Cotsen Children’s Library, 3006 Pierre Coumans, antiquarian bookseller
Yann Ferrandin
Kongo figure Carved wood, thick encrusted patina, glass, resin, fabric, pigments, fibers Democratic Republic of the Congo, 19th century H 24 cm Nkisi figure used in religious, protective and medical rites. Provenance: French private collection before 1914; then by descent to the present owner Picture by Vincent Girier Dufournier, Paris
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Repetto Gallery
Christo alias Christo Vladimirov Javacheff (Gabrovo 1935–2020 New York) The Gates (Project for Central Park, NYC), 1996 Pencil, enamel paint, photograph by Wolfang Volz, wax crayon and tape on brown board 21.5 x 28 cm Signed, titled, dated and notations recto: 'Christo 1996' Signed verso: '(c) CHRISTO 1996' COA by Estate of Christo V. Javacheff No. 210-01
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Galerie de la Présidence
Geer van Velde (Lisse 1898-1977 Cachan) Composition, circa 1953 Oil on canvas 81 x 100 cm Signed with the artist’s initiales ‘GvV’ lower right Signed on the reverse This work, which has been recorded by Monsieur Pierre François Moget in the Archives Geer van Velde under the number 118 059, will be included in the forthcoming Catalogue Raisonné prepared by himself. Attestation letter of Pierre François Moget Provenance: collection Michel Guy, Paris; private collection, Paris