This section will be available this Autumn.
HELENE BAILLY Paris-Genève
kees van dongen
Kees Van Dongen (Delfshaven 1877-1968 Monte-Carlo) Bouquet de fleurs, circa 1950 Oil on canvas 55 x 38 cm Signed lower right: Van Dongen and countersigned on the back on the frame: Van Dongen This work will be included in the digital Catalogue Raisonné of Kees Van Dongen's work which is being prepared by the Wildenstein Plattner Institute, Inc. Notice of inclusion dated 28 May 2024 Provenance: Galerie Romanet, Paris; private collection, acquired from above (before 1999); Kunsthandel Frans Jacobs, Amsterdam; Jan-Dirk Paarlberg, Amsterdam, acquired from above
J. Baptista
'Minas Novas' necklace Silver and quartz Portugal, 18th century Weight 100.5 gr. 9.5 x 33.5 cm Articulated links studded with 'Minas Novas' (colourless quartz) with a large bow in the centre, applications of stylised botanical elements and a removable dove Literature: similar pieces illustrated in Orey, Leonor d'-Cinco Séculos de Joalharia-Museu Nacional de Arte Antiga, Instituto Português de Museus/Zwemmer, Lisbon/London, 1995, pp. 92-94
COLNAGHI
willem adriaensz key
Willem Adriaensz Key (Breda 1515/16-1568 Antwerp) The Crucifixion, circa 1550 Oil on panel 102 x 74 cm Signed on the cross: W. KAY Provenance: private collection, Belgium, until 2023; acquired from the above Literature: Koenraad Jonckheere, Willem Key (1516-1568): Portrait of a Humanist Painter, Turnhout, 2011 This signed panel is a recently rediscovered work by Willem Key. Key is most known for his portrait paintings, which account for roughly two-thirds of his known output. However, he was also a gifted painter of historical and religious subjects - this picture is a testament to Key’s powerful religious achievements, several of which were destroyed during the Iconoclastic Fury, or Beeldenstorm, that swept the Low Countries and famously struck Antwerp in 1566. Willem Key was a prominent sixteenth-century painter from Antwerp, then one of the greatest commercial and artistic centres of Europe. Recognised for his exceptional talents, Key enjoyed high social and artistic status, earning the admiration of both local nobility and international figures, including Don Fernando Álvarez de Toledo, Duke of Alba, and Antoine Perrenot, Cardinal Granvelle.
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Univers du Bronze
rembrandt bugatti
Rembrandt Bugatti (Milan 1884-1916 Paris) Deux grands léopards, circa 1913-1914 Bronze, richly shaded black brown patina H 32.5 x W 108.7 x D 16.7 cm Bronze signed 'R.Bugatti', cast by Albino Palazzolo for 'A.A Hébrard cire perdue, Paris' (seal), second example inscribed (2) from an identified edition at 8 examples (circa 1914-1934) Cast in 1918 This model is typical of Bugatti’s way of depicting couples in a peaceful attitude, insisting on the fluidity of the line and the delicacy of the modelling: the first Leopard's barely raised left foreleg – a hesitation to walk ? – and the tail of the second, extending the scene to the rear, are the signatures of his work. The group belongs to the sculptor’s so-called Cubist period, when volumes become as if mathematised; and finally, of the patinas known for this model, the naturalistic red-brown colour is the most suited to the subject and also the one most sought-after by collectors. In Rembrandt Bugatti’s 326-issues in the catalogue raisonné, the 'Deux grands léopards' are one of the most imposing groups of beasts in this collection, after 'Les trois panthères marchant' from Bonhams in 2024 and the 'Deux panthères' from Rouillac in 2020. The edition is identified at 8 examples, all cast between 1915 and 1934. Ours is the second, cast in 1918.
Kunsthaus Kende
Classicist wine ewer Silver Ghent, 1780 Silversmith Joannes Paulus H 34 x Ø 11.4 cm (widest part) Weight 808.4 gr. Amphora-shaped body standing on a central baluster foot with a subtly curved spout and a lid following its shape. The circular body is adorned with classicist palmette decoration and a laurel wreath. The recessed shoulder is decorated with an acanthus frieze, completed by a beaded frieze at the top. The curved handle is connected to the laurel wreath at the bottom by a leaf-shaped spandrel and merges into the richly decorated socket at the top in the form of two leafy tendrils. This is a very elegant and generously proportioned classicist wine jug, outstandingly executed and presented in excellent, museum-quality condition. The original handle, presumably made of pear, is also completely undamaged. The visual decoration is in excellent condition throughout, and not overpolished in any areas. Due to the very representative design, as well as the details of the highest craftsmanship – note in particular the fine satin finish in the recesses of the acanthus leaves of the upper handle mount – a noble origin can definitely be attributed to this piece. The work of the Belgian silversmith Joannes Paulus can be traced back to between 1774 and 1784. The offer refers exclusively to the silver wine jug. Any other accessories shown serve solely to illustrate the proportions and are not included in the offer.
Chambre professionnelle belge de la Librairie Ancienne et Moderne (CLAM)
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, (in modern box) (8) pp. 145 pp. 1 unnumbered leaf. Spanish text. 22 full-page plates, 25 text illustrations, and 14 initials by the South American artist A. Gómez-Palacios, all in superb pochoir colour, several with gold or silver highlights. Complete. First and only edition. Literature: Catalogue of the Cotsen Children’s Library, 2000, 3006 / Manuel Peña Muñoz, Historia de la Literatura infantil chilena, 1982, pp. 31-32 / Not in Bilderbuch im Kinderwelt & Olivier Piffault, Babar, Harry Potter & Cie (BnF) A monument of Chilean children’s literature that embodies 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 fully-fledged asparagus someday. 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, and president of the League of Nations between 1922 and 1923, during his exile in Paris; it is dedicated to his grandchildren. “Los años 30 se inician con una publicación para niños que es una exclusividad y una joya para el coleccionista de libros infantiles chilenos antiguos. El libro chileno, aunque impreso en París, está lleno de imágenes caprichosas y originalidades, como llamar cascabeles a los capítulos. La primera lámina representa un hermoso gato negro que ostenta un lujoso collar de 14 cascabeles, uno por cada capítulo. La historia transcurre “en una tarde bañada de sol, como ias que solo se ven en Viña del Mar, rincón privilegiado de la Costa del Pacífico y en un sitio llamado desde tiempos remotos “Los Canelos”. Allí está el abuelo contándoles una historia maravillosa y extravagante a sus nietos Cuchito y Sonia. Y la historia abunda en fantasía y en descripciones de otros países como India, China, y tambien de nuestra cordillera. Contiene asimismo descripciones poéticas, muy modernistas. En suma, un libro delicado, fino, exquisito, de gran formato y pieza clave en la historia de la literatura infantil chilena” (Manuel Peña Muñoz). Although the colophon states that 1000 copies were produced, the book is very rare, and the cost of production may have precluded printing more than a couple of hundred copies. One of 900 numbered copies on vélin Lafuma. This copy was specially printed for the printer’s wife. A pristine copy, very uncommon in this condition. Pierre Coumans, Antiquarian bookseller
Floris van Wanroij Fine Art
abel grimmer
Abel Grimmer (Antwerp, circa 1570-circa 1618) Landscape symbolising the season of spring Oil on panel 25 x 36 cm Provenance: sale London, 1956; with Kunsthandel P. de Boer, Amsterdam, with label verso; private collection A. Heyn, Aerdenhout, 1961, by descent; private collection, The Netherlands Literature: Exh. cat., 1961, Kunsthandel P. de Boer. Amsterdam, cat. n° 28, with ill.; Exh. cat., 1965, De landman en de muze. Een tentoonstelling van schilderijen, aquarellen, tekeningen, grafiek, beeldhouwwerken en handschriften. Haarlem, with ill.; Berthier de Sauvigny, Reine de, Jacob et Abel Grimmer, Catalogue raisonné, Brussels, 1991, p. 302, n° 6 Exhibition: Frans Halsmuseum, Haarlem, 14 June 1965-29 August 1965, De landman en de muze. Een tentoonstelling van schilderijen, aquarellen, tekeningen, grafiek, beeldhouwwerken en handschriften, n° 16
Heutink Ikonen
In Thee Rejoiced All Creation Russia, second half of the 18th century Egg tempera on gesso on linen-covered wood 33.5 x 29 cm Provenance: private collection, Germany A special detail is that in the archway on the left, the prophet, king and psalmist David is depicted. In his arms he holds a triangular stringed instrument, with which he appears to provide musical accompaniment to the hymn. This rare iconography is based on the Marian hymn from the Liturgy of St Basil, which begins with the words: 'All of Creation rejoices in thee, O full of grace: the angels in heaven and the race of men' In the centre we see the Mother of God enthroned, with the infant Christ on her lap. Angels are gathered around the throne. Below, prophets, apostles, church fathers and other saints pay homage to the Mother of God. The hymn is attributed to the Church Father John of Damascus (676-749), who is depicted directly below the enthroned Mother of God on the left with a scroll of text in his hand and his distinctive white headscarf.
Galerie Oscar De Vos
emile claus
Emile Claus (Sint-Eloois-Vijve 1849-1924 Astene) Girl in flower garden, 1896 Oil on canvas 35 x 27 cm Signed upper right 'Emile Claus' Signed and dated on reverse: Juni / IF / E.C. Provenance: collection Vullers, Brussels Literature: De Smet, J. e.a., Retrospectieve Emile Claus, exh. cat. (Ostend: PMMK, 1997); De Smet, J. e.a., Emile Claus en het landleven, exh. cat. (Ghent: MSK, 2009); Eeckhout, P., Retrospectieve tentoonstelling Emile Claus 1849-1924, exh. cat. (Ghent: MSK, 1974) A pioneer of luminism in Belgium, Emile Claus (1849-1924) often managed to capture the beauty of rural life in his works. In ‘Girl in flower garden’, this fascination is perfectly illustrated by the serene expression of the girl and the colourful flowers in the background, which merge in harmony.
Lemaire
Tournai porcelain ornithological teapot from the Duc d'Orléans service, circa 1787 This teapot forms part of a service made for Philippe Duc d'Orléans in 1787. The ornithological designs were taken from the comte de Buffon's Histoire Naturelle des Oiseaux, published in ten volumes between 1770 and 1786. The painting of the panels for the service is attributed to Jean-Ghislain-Joseph Mayer Soft paste porcelain H 14.3 cm The shape is a Tournai interpretation of the Calabre teapots from Sèvres and was created especially for the service of the Duc d'Orléans. Birds reproduced on the teapot: Coraya de Cayenne (Buffon vol. IV, pp 484-485) and Hirondelle d’Amérique (Buffon vol. VI, pp. 669-670)
Galeria Jordi Pascual
manolo millares
Manolo Millares (Las Palmas de Gran Canaria 1926-1972 Madrid) Cuadro 93, 1960 Mixed media on burlap 162 x 130 cm Provenance: Galerie Daniel Cordier, Paris; private collection Literature: Alfonso De la Torre, Manolo Millares. Pinturas. Catálogo Razonado, Museo Nacional Centro de Arte Reina Sofía and Fundación Azcona, 2004, p. 214, fig. 182
Victor Werner
luigi carrubba
Luigi Carrubba (Tunisia 1907-? Rome) Diana the Huntress, circa 1937 Bronze with black patina H 108 x L 100 x D 47 cm Signed 'Carrubba Luigi Roma Febbraio XV' Literature: E. Zorzi, Uno sguardo d'insieme alla XXI Biennale d'Arte di Venezia, in 'Le vie d'Italia turismo nazionale, movimento dei forestieri, prodotto italiano', XLIV, 6, 1938, p. 750 Luigi Carrubba, a Tunis-born sculptor who later settled in Rome, rose to prominence in the late 1930s, gaining recognition through major Italian art exhibitions. His works, including bas-reliefs and sculptures, were featured in events such as the Venice Biennale and regional exhibitions, where they were celebrated for their quality and scale. One of his notable sculptures, The Hunt, which may correspond to the work presented here (based on the similarity of subject and date) highlights Carrubba's mastery of dynamic forms and stylised bodies. This work exemplifies his skill in capturing movement and emotion through simple, refined lines. Carrubba continued to display works like Maternità and L’estate at the Venice Biennale, where he earned recognition amongst the emerging talents of the time.
New Hope Gallery
lucio fontana
Lucio Fontana (Argentine, Rosario 1899-1969 Comabbio, Italy) Concetto Spaziale, 1962 Oil on canvas 113 x 100 cm Signed lower right ‘L. Fontana’ Signed and titled on the reverse ‘L. Fontana Concetto Spaziale' Provenance: Belgian private collection Literature: Lucio Fontana, Catalogue Raisonné, p. CCXIII Ref. 62 O 96
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Marc Heiremans
anzolo fuga
Anzolo Fuga (Italy, 1914-1998) For Arte Vetraria Muranese (AVEM) Murano, Italy, 1956 Bandierine (model 13480) Fused glass canes cased in colourless, free-formed glass H 42 cm x Ø 14.5 cm Literature: Heiremans M. AVEM-Arte Vetraria Muranese, artistic production 1932-1972. Stuttgart 2020
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Guy Pieters Gallery
christo and jeanne-claude .
Christo (Gabrovo 1935-2020 New York) and Jeanne-Claude (Casablanca 1935-2009 New York) The Mastaba (Project for Abu Dhabi, United Arab Emirates), 2013 Pencil, charcoal, wax crayon, pastel, hand-drawn technical data and map, enamel paint, wash and tape Left part: H 165 cm x W 38 cm Right part: H 165 cm x W 106 cm
Segoura Fine Art
carlos schwabe
Carlos Schwabe (Zwitserland, 1866-1926) Melisande, 1908 Gouache and mixed technique on paper 29 x 13 cm Signed, dated 1908 lower right and titled Mélisande lower left This full-length portrait depicts an emblematic female figure of the late nineteenth century, inspired by Maurice Maeterlinck's Symbolist play ‘Pelléas et Mélisande’. This dramatic play explores the platonic love between the two protagonists. This portrait of Mélisande reflects Carlos Schwabe's attachment to this enigmatic and spiritual character, illustrating his affinity with Symbolism. The painting bears witness to Schwabe's exceptional talent, his ability to capture emotional depth through his unique artistic expression. Between 1892 and 1924, Schwabe illustrated numerous works, enriching the texts with his striking visions. In 1924, he illustrated ‘Pelléas et Mélisande’, offering us sensual, enigmatic and mystical images. This portrait can therefore be seen as a real preparatory work for these illustrations.