Chambre professionnelle belge de la Librairie Ancienne et Moderne (CLAM)
Pablo Picasso (Malaga 1881-1973 Mougins) La Célestine Original drawing with black ink and red pen Dated ‘Samedi 4.12.71.’, dedicated and signed ‘Pour René Gutmann, son ami Picasso’ 212 x 170 mm The drawing is on the end paper of: Rojas (F. de) – Picasso (P.). La Célestine Paris, Éditions de l'Atelier Crommelynck, 1971 Quarto, original publisher’s velum 66 etchings and aquatints by Picasso One of the 18 nominative copies, this one printed for Dr René Gutmann is enriched with (in addition to the drawing): - a colour photograph representing Joseph Hirshhorn, Picasso and Dr Gutmann in 1966; - a post card from Jacqueline Picasso to the Gutmanns; - an invitation card to the Galerie Madoura in Vallauris in March 1975. Librairie Lardanchet, antiquarian bookseller
Galerie Bertrand de Lavergne
‘Famille rose’ tureen Chinese moulded porcelain with ‘tobacco leaf’ decoration and flowershaped handles and knob The so-called ‘tobacco-leaf pattern’ was typically ordered for the Portuguese market and would have been inspired by exotic fabrics Qianlong period (1736-1795), circa 1775 H 12.5 x W 29.5 x D 21 cm
Jean Dubuffet (Le Havre 1901-1985 Paris) Lieux et action 27 juin 1979 Acrylic and collage on canvas-backed paper 51 x 70.2 cm Initialled and dated upper left ‘J.D. 79’ Provenance: Larry Levinson collection, Hollywood; the Pace Gallery, New York; private collection (acquired from the above in 1982); Christie’s New York, 9 November 2011 (lot no. 696); private collection, California; Galerie Natalie Seroussi, Paris; private collection, London Literature: Catalogue des travaux de Jean Dubuffet: Théâtres de mémoire, Fascicule XXXII, Max Loreau (ed.), Les Editions de Minuit, Paris, 1982, n° 373, p. 209 (repro. in bl. & w. p. 167)
Helene Bailly Gallery
Alexander Calder (Lawnton 1898-1976 New York) Mobile, 1946 Metal sheet, wire and paint H 16.5 x W 22.9 x D 16.5 cm This work is referenced in the archives of the Calder Foundation of New York, under the number A15385 Provenance: Galerie Louis Carré & Cie, Paris; Galerie Gérald Cramer, Geneva; François Lachenal collection, Switzerland, acquired in 1949; then by descent to the former owner in 1997 Exhibition: Alexander Calder: Mobiles, Stabiles, Constellations, October-November 1946, Galerie Louis Carré & Cie, Paris Literature: Calder After the War, The Pace Gallery, 2003, exhibition catalogue, London, illustrated p. 142; Alexander Calder; Multum in Parvo, Dominique Lévy, New York, 2015, Exhibition Catalogue, illustrated p. 16
Phillip Lloyd Powell (USA, 1919-2008) 'New Hope' lounge chair American walnut and velvet upholstery United States, 1960s H 75 x W 73.5 x D 80 cm (seat H 42 cm) The name 'New Hope' is a reference to the place where Powell opened his workshop in 1953. Phillip Lloyd Powell (1919-2008) was an American self-taught designer who designed natural, sinuous and textural furniture. All of his pieces are handmade from high quality, grained woods that often recall there natural shape and form. Another natural material that he often used was slate, the deep grey material was used for table or credenza tops. Lloyd Powell created about a thousand pieces in his lifetime because he wanted to produce only exquisite pieces. In comparison to his contemporary George Nakashima, who produced about 10.000 pieces.
Harold t’Kint de Roodenbeke
Antoine de Saint-Exupéry (Lyon 1900-1944 near Marseille) Original watercolour and preparatory work for 'the Drunkard’ in Le Petit Prince Watercolour and ink on paper 14 x 21.6 cm Provenance: Silvia Hamilton-Reinhardt; Sherlee Lantz (a gift from Silvia Hamilton) Antoine de Saint-Exupéry wrote and illustrated 'Le Petit Prince' during his time in New York in 1942-1943 when he was there visiting Silvia Hamilton, with whom he was in a relationship at the time. It is said that Silvia inspired several aspects of his tale - in particular the character of the fox. Before leaving New York to join his air force squadron in April 1943, Saint-Exupéry gave Silvia the original manuscript and most of the illustrations for ‘Le Petit Prince’. Before selling the manuscript and most of the illustrations to the Morgan Library and Museum in New York in 1968, Silvia let her friend Sherlee Lantz choose three drawings from her box of illustrations. This watercolour is one of the three offered by Silvia to Sherlee Lantz.
Virgin and Child attached to the Oratory of the Abbey Saint-Georges de Boscherville Eastern Normandy or French Vexin Circa 1400 Polychrome limestone with significant traces of gilt H 147 cm Provenance: Saint Gorgon Chapel located in the estate of the Manor of Saint-Martin-de-Boscherville (Seine-Maritime)
Chambre professionnelle belge de la Librairie Ancienne et Moderne (CLAM)
WIENER WERKSTÄTTE Maria Pranke (Hungary, Pándorfalu Parndorf 1891–1972 Vienna, Austria) Die Jagd [= Hunting]. Ein Ausstellspiel (Vienna), Wiener Werkstätte, n.d., circa 1920 Oblong folio, loose as issued in original red paper chemise printed in black, (in custom-made box by designer bookbinder Clara Gevaert). Construction game consisting of a set of two original colour lithographs by Maria Pranke with cut-out figures to fold and assemble, one including a schematic for the arrangement of the figures. Complete. First and only edition, very rare. Three other such children’s games were designed and published by the Wiener Werkstätte: 'Die Stadt', 'Die Wallfahrt' and 'Das Dorf' Born in Pandorf in 1891, the Hungarian artist Maria Pranke studied in Vienna at the Kunstschule für Frauen und Mädchen, and from 1910 to 1914 at the Kunstgewerbeschule under Kolo Moser. Among other works, she designed postcards for the Wiener Werkstätte. Pierre Coumans, antiquarian bookseller
Finch & Co
Portuguese Macao devotional plaque depicting St Jerome kneeling before Christ crucified gripping the Cross in one hand holding a stone in the other Ivory Mid 17th century H 12 x W 8.5 x D 1 cm Symbolic of his asceticism, his hands and feet with the stigmata, a sign of his passionate Christian devotion, his cardinal’s hat and robe hanging in the tree, God the Father in the clouds above a lion at the Saint’s feet, above him two medieval church towers. The scene is probably based on an European engraving. Provenance: former private collection of the Berkeley Family Spetchley Park Worcestershire catalogued in a 1949 inventory as ‘A Carved Panel (4 7/8” x 3 ½”) of St Jerome Kept in the Strong Room’
Douwes Fine Art BV
Jan Davidsz. de Heem (Utrecht 1606-1684 Antwerp) Oil on canvas 88 x 120.5 cm Signed, right of centre J. De heem. f, circa 1645 Fred Meijer, in a letter of 18 October 2004: ‘the signature, the quality of the composition, and the certitude with which the objects are placed do not leave any doubt about the authorship. This painting can be dated ca. 1645’. This work is included in the catalogue raisonné by Fred G. Meijer, 2016. Provenance: collection Sir Richard V. Sutton Bt.; by descent to F. Chaplin, London 1855; by whom given to Sir Richard Sutton; by descent to Sir R.V. Sutton; Christie’s London, 1971; with Richard Green Gallery, cat. 1971, n° 6 & ill.; sale Paul Brandt, Amsterdam, 1972; with art dealer F.G. Bosiak, Frankfurt (Weltkunst n° 48, 1978); Christie’s London, 1979; with Waterman Gallery, Amsterdam, cat. 1979, n° 9 & ill.; a private Dutch collection; from a foreign collection; Douwes Fine Art 2006; private collection, The Netherlands Exhibitions: Braunschweig, Herzog Anton Ulrich Museum, 1991, ‘Jan Davidsz de Heem und sein Kreis’; Leeuwarden, Fries Museum, 'Van Jan Steen tot Jan Sluijters, De smaak van Douwes', from November 1998 until February 1999, cat. n° 9, with ill. (incorrectly as Jan Jansz. De Heem.) Literature: London 1971, cat. n° 6, colour ill.; Greindl, 1983, n° 10, p. 359, n° 69, p. 361, n° 69 as by Jan Davidsz. de Heem & n° 88; Sam Segal, Jan Davidsz de Heem und sein Kreis, Herzog Anton Ulrich Museum, Braunschweig 1991, addendum 34 A & ill. (wrongly attributed to Jan Jansz. De Heem.); Liedtke 1992(2), pp. 112, 113, wrongly as by Jan Jansz. de Heem; Liedtke 2007, p. 322 (notes 2 and 5); Meijer 2013, pp. 255, 263, 266 (detail k), 269 (note 18); F. G. Meijer, (2016) Jan Davidsz. de Heem 1606-1684, Catalogue Raisonné, Part 2, pp. 109-110, A 95 with ill.
Clara Scremini Gallery
Xavier Le Normand (France, 1978) Untitled, 2020 Glass H 30 cm Unique piece A stone, a fragment of landscape, a pebble slipped in a pocket… Xavier Le Normand’s work leads us through dreamlike places and fantastical landscapes. Each piece is a clue for us to find; a sign to guides us through a. For his primary material results from his search for the most fleeting sensations; forgotten things that have retained their power. His language is sensitive, his forms can appear vulnerable, but his material has untold strength.
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.
São Roque – Antiguidades e Galeria de Arte
Casket Tortoiseshell and silver India, Gujarat, 16th century H 9.5 x W 21 x D 9.5 cm Provenance: F.K.A. collection, Portugal Silver mounted translucent, or blonde, tortoiseshell casket of silver mounts. For its rarity this extraordinary piece belongs to a group of approximately a dozen of identical origin that are recorded at various international museum collections. The lizard lock and snake handles were often depicted in Portuguese pieces, in which they assume a warning role to those attempting to violate the casket’s contents
Osborne Samuel Gallery
Lynn Chadwick (London 1914-2003 Lypiatt Park) Encounter VI, 1956 Bronze H 153 x W 88 x D 50 cm Numbered from the edition of 4 Inscribed Chadwick, the foundry mark Morris Singer, dated 56 and numbered 214 Cast between 1961 and 1968 Provenance: David Hughes, London; private collection, USA; James Goodman Gallery, New York; Marion Benedek, USA (acquired from the above in 1969); Christie's, New York, May 16, 1980, lot 15; private collection (acquired at the above sale); private collection, UK Literature: Josef Paul Hodin, Chadwick, London, 1961, n.n., illustration of another cast pl. 10; Alan Bowness, Lynn Chadwick, London, 1962, n.n., mentioned n.p.; Abraham Marie Hammacher, Modern English Sculpture, New York, 1967, mentioned p.112; Dennis Farr & Eva Chadwick, Lynn Chadwick Sculptor, With a Complete Illustrated; catalogue 1947-2005, Farnham, 2014, no. 214, illustration of another cast p.141; The Studio, London, June 1959, mentioned p. 167; Karen Thomson, ed., The Blema and H. Arnold Steinberg Collection, Montreal, 2015, no. 20, illustrated in colour p. 28 Exhibitions: ‘Paintings by Ben Nicholson: sculpture and drawings by Robert Adams, Kenneth Armitage, Reg Butler, Lynn Chadwick, F. E. McWilliam, Bernard Meadows, Eduardo Paolozzi, Leslie Thornton, William Turnbull, Austin Wright’, IV São Paulo Bienal (22 September-30 December 1957), cat. no. 60; ‘Ten Young British Sculptors: Robert Adams, Kenneth Armitage, Reg Butler, Lynn Chadwick, F. E. McWilliam, Bernard Meadows, Eduardo Paolozzi, Leslie Thornton, William Turnbull, Austin Wright’, touring version of the São Paulo Bienal exhibition (1957-9), cat. no. 22
Galerie Oscar De Vos
Constant Permeke (Antwerp 1886-1952 Ostend) Woman cutting bread, 1927 Oil and charcoal on canvas 175 x 145 cm Signed lower right 'Permeke' Dated and titled on reverse 'BROODSNYDSTER / 27' Provenance: collection Constant Permeke, Jabbeke; collection widow and children C. Permeke, Jabbeke; collection Th. Baumgold, Antwerp; collection Willy D'Huysser, Brussels Exhibitions: Prague, 1942, Permeke, cat. n° 42; Musée d'Art Moderne, Paris, 1948, cat. n° 31; XXVIe Exposition Biennale Internationale des Beaux-Arts, Venice, 1952; Belgisches Haus Köln/ Ministerie van Openbaar Onderwijs België, Tekeningen van Constant Permeke, Cologne, 1953; Van Abbemuseum, Eindhoven, Vlaamse expressionisten: Permeke, Van den Berghe, De Smet, 11.12.1954-16.01.1955, cat. n° 15; KMSKA, Antwerp, Constant Permeke, 28.06-31.08.1959, cat. n° 75; Musée d'Art Moderne, Villeneuve d'Ascq, Expressions Flamandes 1900-1930, 23.04-12.06.1988; Kunstnernes Hus, Oslo, Constant Permeke, 1989, cat. n° 26; PMMK, Ostend, Van Ensor tot Permeke, 1996-1997, cat. p. 249; Museo Nacional de Artes Plasticas-Departamento de Estampas y Dibujos; Yugoslavia; Japan, cat. n° 52 Zuidhoven/Zuidlaren (?)
Floris van Wanroij Fine Art
South Netherlandish Master First quarter of the 17th century, circa 1620 A wooded landscape with Vertumnus - in the guise of an old woman - wooing Pomona. An Allegory of Harvest or Plenty Oil on panel 41.5 x 64.4 cm Provenance: private collection The present work seems to be based on an engraving by Crispijn de Passe (ca. 1564 – 1637), from his series of Ovid's Metamorphoses, dating to 1602/7. As very similar work, know at the RKD, The Hague, The Netherlands, under n° 66761, is given to a follower of Jan Brueghel I or Jan Breughel II and the figures attributed to Frans Francken II and is dated to circa 1620. The same composition also appears in a more elaborate work by Abraham Govaerts, signed and dated ‘A. GOVAERTS 1620’, in the collection of Galerie De Jonckheere. Dendrochronological analysis of the panel by Prof. Dr. Peter Klein, Universität Hamburg, is plausible from 1618 upwards, underlining a date of circa 1620.