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Galerie Taménaga
pierre bonnard
Pierre Bonnard (Fontenay-aux-Roses 1867-1947 Cannet) Femme nue à la lampe, circa 1900 Oil on cardboard 53 x 33 cm Stamp of the signature at the lower right 'Bonnard' Provenance: Bonnard estate; private collection Literature: Jean et Henry Dauberville, Bonnard, catalogue raisonné de l’œuvre peint, supplément 1887-1947, n° 01830 repr. p. 207 Exhibitions: Musée de Lodève, Bonnard, guetteur sensible du quotidien, 20 June-1 November 2009, n° 14, p. 103; Musée national des Beaux-Arts de Quebec, Pierre Bonnard, La couleur radieuse, 6 October 2016-15 January 2017, édition Skira, ill. p.87
Whitford Fine Art
reinhold koehler
Reinhold Koehler (Germany, 1919-1970) Thorax contrecollage, 1963-64 Dessin trouvé Décollage with ink, paper and smashed glass laid down on canvas 72.5 x 50 cm Signed and dated lower right and signed, dated, titled and inscribed verso The work is included in the Koehler Archives as RK 58 Provenance: private collection, Germany
De Jonckheere
abel grimmer
Abel Grimmer (Antwerp, circa 1570/73-1618/19) The Tower of Babel, 1604 Oil on panel 33.90 x 45 cm Signed and dated ABEL GRIMER FECIT 1604 on a stone, front right Provenance: Kunsthandel P. de Boer, 1930/1931; Galerie van Diemen, Berlin, 1933; C. Benedict, Paris, 1955; Douwes, Amsterdam, at the Delft Fair, 1972; Sale, Christie's, Amsterdam, 17 October 1977, n° 317, repr.; Richard Green Gallery, London (FL 90,000); Galerie J.O. Leegenhoek, Paris, 1978; private collection Literature: P. de Boer, Tentoonstelling van werken van Joost de Momper, eenige voorlopers en tijdgenoten, Kunsthandel P. de Boer, Amsterdam, 1930, n° 84; H. Minkovski, Aus dem Nebel der Vergangenheit steigt der Turm zu Babel, Berlin, 1960, n° 190; R. Bertier de Sauvigny, Jacob et Abel Grimmer, Brussels, 1991, p. 202, n° XLIV; H. Minkovski, Vermutungen über den Turm zu Babel, Luca Verlag Freren, 1991, p. 187, n° 259, repr. p. 186 Exhibition: Amsterdam, Kunsthandel P. de Boer, Tentoonstelling van werken van Joost de Momper, eenige voorlopers en tijdgenoten, December 1930-January 1931, n° 84
Cabinet of Curiosities-Honourable Silver Objects
Van Cleef & Arpels brooch, Paris, 18K with 201 brilliant and 40 cabochon onyx stones, signed and numbered, circa 1960 Cartier bracelet, Paris, 18K trinity yellow gold with brilliant approx. 6.45 ct, signed and numbered Cartier earrings, Paris, 18K trinity yellow gold with 90 diamonds 1.80 ct, signed and numbered Provenance: private collection
Galerie Jean-François Cazeau
andré masson
André Masson (Balagny-sur-Thérain 1896-1987 Paris) Fête (Festival), 1956 Oil on canvas 90 x 81 cm Signed lower left ‘André Masson' Provenance: the artist’s studio; Galerie Louise Leiris, Paris, 1956; Galerie Beyeler, Basel; Galerie Cleto Polcina, Rome; private collection, Paris (since 1996) Literature: André Masson, une mythologie de l’être et de la nature, éd. Silvana, Musée d’art moderne de Céret, 22 June-27 October 2019, p 197; André Masson, 29 January-19 April 2004, Musée National de la Reina Sofia, éd Armero, Madrid, 2004, p 250 Exhibitions: XXIX Exposition biennale internationale des Beaux-Arts, Venice, 1958; 5th International Art Exhibition, Japan, 1959; Madrid, André Masson, Armero Ediciones, Nacional Centro de Arte Reina Sofia, 29 January-19 April 2004, cat. n° 250
Dalton Somaré
Pair of Headdresses, tchi–wara Bamana, Mali, early 20th century Wood H 85.5 cm and H 74 cm Provenance: Christian Duponcheel collection, Paris; private collection, Brussels, 1969; private collection, Belgium This extraordinary pair of Antelope Headdresses Bamana perfectly illustrates the astonishing modernity and vibrant dynamism of Bamana sculpture at the beginning of the twentieth century, when African traditional artists were able to move freely and smoothly from absolute abstraction to a delicate naturalism. Aware of the need to embody strength and grace at the same time, the artist who created these pair of sculptures, male and female to celebrate the efficacy of the union of these two principles, pushed himself to the extreme synthesis and purity of forms, creating slim, elegant silhouettes of pure living energy. Iconic sculptures in the panorama of African Art, the Antelope Headdresses played a prominent role in the discovery and appreciation by European avant-garde artists, introducing a revolutionary aesthetic language considered as one of the apex of African Art for its ability to amaze and consequently inspire the revolution of Modern Art.
Galeries AB & BA
Uli ancestor figure Northern New Ireland, Papua New Guinea, Melanesia, Oceania, first half of 20th century Carved wood and pigments H 108 cm Provenance: Umlauff Museum, Hamburg. Inv. 163/35591; Gros & Deletrez sale, May 26th, 1983; Robert Lebel collection, Paris; Calmels Cohen sale, December 4th, 2006; private collection; Christie's Paris sale, June 11th, 2012; Galerie Monbrison, Alain de Monbrison lists Elie de Rothschild as former provenance; collection Georges Goldfayn Literature: I Surrealisti, Arturo Schwartz, éd. Mazzotta, 1989, p. 251; Uli, Powerful Ancestors from the Pacific, Jean-Philippe Beaulieu, éd. Primedia, 2021, p. 252 Depiction of a standing man with his hands positioned behind his ears. The head is surmounted by a tall, feather-shaped crest cap over a checkerboard-engraved skullcap.
Chambre professionnelle belge de la Librairie Ancienne et Moderne (CLAM)
Michel Leiris (Paris 1901-1990 Saint-Hilaire) and Francis Bacon (Dublin 1909-1992 Madrid) Miroir de la tauromachie Paris, Galerie Lelong, 1990 Folio, loose (as issued), original publisher’s wrappers and box 4 original colour lithographs by Francis Bacon, all signed in pencil by the artist Limited edition of 155 copies, all printed on vélin d'Arches Librairie Lardanchet, Antiquarian bookseller
Gilden's Art Gallery
marc chagall
Marc Chagall (Vitebsk 1887-1985 Saint-Paul de Vence) Peintre, Ange et Amoureux, 1980 Tempera on masonite 40.6 x 34.9 cm Signed lower right corner 'Marc Chagall' Inscribed, signed and dated verso 'Tempera/Marc Chagall/1980' The work is accompanied by a certificate of authenticity from the Chagall Committee from 31 March 1992 issued by Jean-Louis Prat Provenance: Sotheby's New York, Sale 7132, 14 May 1998, lot 366; Collection of Bridget & Jerome Dobson, Atlanta, Georgia, USA
Univers du Bronze
auguste rodin
Auguste Rodin (Paris 1840-1917 Meudon) Petite ombre de la Porte de l'enfer ou 'Petite Ombre n°1' Model of 1885, cast in 1943 Bronze, richly shaded green brown patina H 31.1 x W 13.8 x D 10.9 cm Bronze signed 'Rodin', cast by 'Alexis Rudier Fondeur Paris' (mark), 'A.Rodin' inside relief seal; 13 examples by this founder for Rodin between 1906 and 1911, then 4 by him for the Museum between 1919 and 1945 (completed edition by Georges Rudier between 1958 and 1966 with 7 bronzes) - Comité Rodin advice letter 2022-6677B
Thomas Deprez Fine Arts
pieter braecke
Pieter Jan Braecke (Nieuwpoort 1858-1938 Nossegem) L'Humanité, before 1906 Marble H 220 cm Unique piece Signed on the base 'P. Braecke' Provenance: created for the grand hall of the Hôtel Aubecq (1903) by Victor Horta (1861-1947); private collection Octave Aubecq, Brussels (industrialist and founder of Le Cresuet); by descent into the family; sold following the demolition of the Hôtel Aubecq in 1949; possibly bought with part of the furniture by Louis Wittamer-De Camps, Brussels (?); circa 1979, in the collection of Mme Vanderperre, Antoing; private collection, New Jersey; private estate, Queens, New York Literature: Braecke's masterpiece ‘L'Humanité’ has been widely published and discussed, both at the time in the press, as well as in more recent art historical and architecture related publications up to the present day. A full literature and press list are available on request Exhibitions: Salon triennal de Gand, 1906 (cf. version in plaster); Pour L'Art, XVe exposition annuel, Brussels, 1908 (cf. cat. p. 11, plaster); Exposition universelle de Gand, 1913 (cf. cat. p. 66, n° 574, Hall 20, plaster) Related works: A plaster cast of a first version of the sculpture was given by the artist to his hometown of Nieuwpoort, Belgium in 1925, and has now been confirmed as having been destroyed during the Second World War. A single plaster version of the sculpture in its final conception survives today, and was gifted by the artist's widow, Elodea Roméo-Braecke, from the artist's studio to the city of Nieuwpoort, after the Second World War. It is currently held at the city's district court. Related documents: The present sculpture can be identified on several photographs taken at the Hôtel Aubecq during its painstaking demolition in 1949. The building's façade was saved by the Belgian government and awaits its reconstruction, while the original furniture was dispersed and is currently held in private collections as well as important institutions such as the Musée d'Orsay and the Musée Horta.
Galerie Nicolas Bourriaud
Eva Aeppli (Switzerland, Zofingen 1925-2015 Honfleur, France) Taureau Floréal, 1991 Bronze with shaded brown patina H 36 x W 23 x D 24.5 cm Titled 'Taureau Floréal' and numbered 6/8 Cast by Susse Frères Paris, stamped 'Resygram' This proof, number 6, was commissioned by the artist and cast by the Susse foundry in July 1991 Pursuing her questioning of humanity by linking it to the cosmos, Eva Aeppli found in astrology a spiritual and formal repertoire in which she could work tirelessly for almost two decades. After the Planets (1975-1976), then the Erinyes (1977), goddesses of vengeance from Greek mythology, whom she associated with Pluto, Neptune and Uranus, she tackled the Zodiac (1979-1980), each of the 12 heads expressing the character of the astrological signs; such is the case of Taurus, with its heavy sensory appetites. The result is a striking head sewn in fabric and partly cast in bronze, with refined yet eminently expressive features, the scars drawn by the seams on the surface. It's a confrontation that leaves no viewer untouched. From a private collection in France, this head is remarkably in keeping with her tormented path as a creator who cannot be assigned to any particular artistic movement, which is what makes it so exceptional.
Galerie Raf Van Severen
paul klee
Paul Klee (Münchenbuchsee 1879-1940 Locarno) Kronen-Narr (Crown Fool), 1938 Gouache, brush and ink on newsprint laid on board 48.9 x 32.4 cm Signed bottom right ‘Klee’ Titled and dated on the paper backing, bottom centre Provenance: Hans and Erika Meyer-Bentelli, Bern until 1955; Berggruen & Cie, Paris, 1955-58; Saidenberg Gallery, Inc., New York, 1958-59; James Wise, Geneva, New York and Nice from 1959; Nahum Goldman, Jerusalem until 1983; collection of Sidney Rothberg, Philadelphia, Pennsylvania Literature: Paul Klee-Stiftung, Kunstmuseum Bern, Paul Klee: Catalogue Raisonné, Band 7, 1934-1938, Thames and Hudson, London, 1998-2004, p. 344, n° 7250 (ill.) Exhibitions: 1957, Amsterdam, Stedelijk Museum, Paul Klee; 1957, Brussels, Palais des Beaux-Arts, n° 97a
Victor Werner
bert de leeuw
Bert De Leeuw (Antwerp, 1926-2007) Gedenksteen voor een Onbekende, 1955 Mixed media on canvas H 128 x W 96 cm Titled, signed and dated on reverse of canvas 'Gedenksteen voor een Onbekende 55' Literature: Bert De Leeuw, Monografie, Antwerpen, uitgeverij Pandora, 1997, ill. p. 51 Bert De Leeuw was a self-taught artist, excelling as a painter, draughtsman, sculptor, and engraver. He began his career in advertising but switched to art full-time in 1962. Known for his abstract and informal style, De Leeuw's early works used thick, textured materials to evoke interstellar spaces. He was a co-founder of the influential ‘G58’ artist group in Antwerp, which played a pivotal role in post-war abstract art. Over time, he transitioned from painting to sculpture, focusing on geometric forms and public art. De Leeuw exhibited internationally, including at the Paris and Tokyo Biennales, and won multiple awards, including a 2nd prize from 'De Beers' for jewellery design. He was later honoured as a 'Knight of the Order' by Leopold II.
Stone Gallery
Pallasite meteorite slice on metal base Weight: 3.030 gr. H 56 x W 32 x D 7 cm Provenance: from outer space, found in Seymchan, Russia Pallasites are a rare type of stony/iron meteorite, widely considered to be the most beautiful known otherworldly substance. Extraterrestrial olivine and peridot are suspended in the highly-polished iron-nickel matrix originating from an asteroid’s core. This complete slice of a Seymchan meteorite is delimited by the meteorite’s external surface. The combination of part iron and part iron with olivine crystals in this specimen are a superior example of a transitional pallasite. Modern cutting. Classified as a pallasite, it is composed of dark crystals of the silicate mineral olivine in a spongelike network of nickel-iron alloy. Meteorites are pieces of stone or iron that fell to Earth from outer space. They are often small chunks of planetoids, but sometimes can be pieces up to kilometres in diameter. Like the planets, the planetoids orbit around our Sun. While meteorites are among the rarest substances on Earth — all the world’s meteorites weigh less than the world’s annual output of gold — pallasites are rarer still as they represent less than 0.2% of all known meteorites. Pallasites formed at the core-mantle boundary of an asteroid when some of the mantle’s olivine, which is in proximity to the molten metallic core, crystallised. As a result of the asteroid having been shattered following a collision with another asteroid, inner sections of this asteroid became liberated with a bit of it having found its way to Earth. Gem-quality olivine or peridot (the August birthstone) is found in some pallasites — including the current offering. About Meteorites in general: A typical meteorite hits the surface of the Earth at a rate of approximately 100 metres per second (about 350 km per hour). Obviously even a small meteorite at such a speed may cause great damage. Depending on its size and where the meteorite falls, it might cause an impact crater with a depth of between a few centimetres and up to many metres deep.
TEMPLON
françois rouan
François Rouan (Montpellier, 1943) Odalisque Flandres X, 2010 Oil on braided canvases 170 x 148.5 cm - framed 175 x 154 cm Unique piece Provenance: the artist's studio Literature: Marie Luise Syring, François Rouan: Eine Wirklichkeit aus Fetzen und Flicken', Künstler : Kritisches Lexikon der Gegenwartskunst, 2013; Exhibition catalogue François Rouan, La découpe comme modèle, Musée départemental Matisse, Le Cateau-Cambresis, 2011, publ. Bernard Chauveau, coll. Couleurs contemporaines; Exhibition catalogue François Rouan, Odalisques et Pavanes, 2009-2020, TEMPLON, 2023 (illustrated p. 41), published by TEMPLON 2023
DYS44 Lampronti Gallery
Giovanni Antonio Canal called Canaletto (Venice, 1697-1768) Capriccio of the Prisons of San Marco, circa 1744 Oil on canvas 105.5 x 127.5 cm Provenance: Venice, Palazzo Mangilli-Valmarana, commissioned by Joseph Consul Smith (circa 1674-1770); London, King George III, 1762; Dr. Grant David Yeats (1773–1836); London, Christie’s, 8 April 1815, lot 95; London, Christie’s, 13 January 1816, lot 57; London, the Earl of Annaly; Liverpool, John H. Paris, 15 & 17 Leece Street, early 20th century; Ireland, C.B. Ponsonby; New York, Koetser-Lilienfeld Galleries, 1948; Comte de Messay, London, Edward Speelman; London, Partridge Gallery, 1957; New York, Schaeffer Galleries, until 1964; Hans S. Schaeffer Literature: J. Smith, Manuscript Catalogue of his Paintings bought by George III (Windsor), among n° 85-97; 'Note apart', n° 9 'The Publick Prison at St. Mark's'; W.G. Constable, Canaletto, Oxford, 1962, I, pl. 68; II, p. 356, n° 374; M. Levey, The Later Italian Pictures in the Collection of Her Majesty the Queen, London, 1964, p. 35, fig. XII; T.J. McCormick, 'The Canaletto Exhibition in Canada', The Burlington Magazine, CVII, No. 742, January 1965, p. 29, fig. 34; L. Puppi, L'opera completa del Canaletto, Milan, 1968, no. 227, repr.; F. Vivian, Il Console Smith mercante e collezionista, Vicenza, 1971, p. 197; W.G. Constable, Canaletto, 2nd ed. revised by J.G. Links, Oxford, 1976, I, pl. 68; II, pp. 382, n° 374, 433, under n° 451, and 439, under n° 460; W.L. Barcham, The Imaginary View Scenes of Antonio Canaletto, New York/London, 1977, pp. 157-158 and 161, fig. 153; O. Millar, catalogue of the exhibition Canaletto. Paintings & Drawings, The Queen's Gallery, London, 1980-1981, p. 68, note 1; J.G. Links, Canaletto. The Complete Paintings, London, 1981, n° 186, repr.; A. Corboz, Canaletto. Una Venezia immaginaria, Milan, 1985, I, p. 333, fig. 399; II, p. 604, n° p. 123, repr.; W.G. Constable, Canaletto, 2nd ed. revised by J.G. Links reissued with supplement and additional plates, Oxford, 1989, I, pp. lv-lvi, pl. 68; II, pp. 382, n° 374, 433, under n° 451, 439, under n° 460, and 737; M. Levey, The Later Italian Pictures in the Collection of Her Majesty the Queen, 2nd ed., Cambridge, 1991, p. 43, under n° 408, fig. 13; The Splendours of Venice. View paintings from the Eighteenth Century, exh. cat. ed. by. V. Rossi and A. Hilliam, Lampronti Gallery London, December 1st-24th, 2014, Rome 2014, cat. 1 pp. 6-9; C. Beddington in Da Artemisia a Hackert. La collezione di un antiquario, exh. catalogue, Reggia di Caserta, Foligno 2019, cat. 49 pp. 106-107 Exhibitions: Louisville, Kentucky, The J.B. Speed Art Museum, Eighteenth Century Venetian Painting, 1948; Toronto, Art Gallery of Toronto, 17 October-15 November 1964; Ottawa, National Gallery of Canada, Canaletto, 4 December 1964-10 January 1965; Montreal, Museum of Fine Arts, Canaletto, 29 January-28 February 1965; Da Artemisia a Hackert. La collezione di un antiquario, Reggia di Caserta, 16 September-16 January 2020 Giovanni Antonio Canal, known as Canaletto, was born in 1697 and became a renowned Italian painter celebrated for his stunning depictions of Venetian landscapes and cityscapes. He gained popularity for his vedute - detailed and picturesque representations of city views - and capricci - imaginative architectural compositions that blended reality with fantasy. His work particularly resonated with British aristocrats on their grand tours of Venice. This extraordinary capriccio features the Public Prisons of San Marco, one of the most prominent structures on the Venetian Molo, adjacent to the Doge's Palace and connected by the iconic Bridge of Sighs. This painting has the most distinguished provenance a painting by Canaletto can have. It was painted for the artist's great patron and agent Joseph Consul Smith, being part of a series of thirteen canvases, presumably intended as overdoors to decorate the Palazzo Mangilli-Valmarana, Smith's house on the Grand Canal just above the Rialto Bridge. In 1762, Smith sold the cream of his collection to King George III of England, including this painting.
Galerie von Vertes
George Condo (New Hampshire, Concord 1957) Female composition, 2006 Oil on canvas 165.1 x 152.4 cm Verso signed and dated 'Condo 06' George Condo, Female Portrait, 2006 'Deep into that darkness peering, long I stood there, wondering, fearing, doubting, dreaming dreams no mortal ever dared to dream before'. Edgar Allan Poe Like the ‘Manichini’ or metaphysical mannequins of Giorgio de Chirico that reject a face as a symbol of status and identity, Female Composition is created as a hand puppet on a stick wearing a distinguished cloak, mocking the traditional depictions of the female portrait as seen in the works by Parmigianino, Rembrandt, and Picasso. This ironic interpretation depicts the woman as a faceless puppet with breasts, a cape, neckless and head topped with a carrot. Condo simultaneously offers a deep respect for art history and a blatant disregard for conventional narratives. In his own words: “As far as I’m concerned, the Renaissance was yesterday, and Cubism was a hundred years before it.” (George Condo quoted in Simon Baker, George Condo: Painting Reconfigured, New York 2015, p. 104). Female portrait perfectly encapsulates Condo’s concept of Artificial Realism. Exploring the carefully constructed conventions of traditional portraiture and how our reality is made up of artificial components, this majestic dystopian portrait ingeniously challenges the artificiality of visual representation.
Valerio Turchi
Torso of Mercury 1st-2nd century AD Marble H 29 x W 21 x D 13 cm Accompanied by Art Loss Register certificate: S00217924 Provenance: English private collection, acquired in 1988; Bonhams, London, 21 April 2005, lot 203; Axel Vervoordt Gallery, Belgium; American private collection, acquired from the above
Galeria Jordi Pascual
óscar domínguez
Óscar Domínguez (Spain, San Cristóbal de La Laguna 1906-1957 Paris, France) Téléphone et revolver, 1944 Oil on canvas 81 x 54 cm Certificate of authenticity by Asociación en defensa de Óscar Domínguez Provenance: private collection Literature: Fernando Castro, Óscar Domínguez y el Surrealismo, Madrid, 1978, p. 153, nº 244 Exhibitions: Marsella, Musée Cantini, La part du jeu et du rêve, Óscar Domínguez et le Surréalisme 1906-1957, June-October 2005, p. 150, nº 74
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.