25 JANUARY 1 FEBRUARY 2026

BRUSSELS EXPO | HEYSEL

Artworks

This section will be available this Autumn.

Galleries
Galleries Galerie AB - Agnès Aittouarès Franck Anelli Fine Art Ars Antiqua d'Arschot & Cie Art et Patrimoine - Laurence Lenne Arte-Fact Fine Art Artimo Fine Arts Galerie Ary Jan Galerie BA - Berthet Aittouarès HELENE BAILLY MARCILHAC Véronique Bamps Barbara Bassi Beck & Eggeling International Fine Art Galerie de la Béraudière Galerie Berès Bernier/Eliades Galeria Bessa Pereira Galerie BG Arts Boon Gallery Galerie Alexis Bordes Bernard Bouisset Galerie Boulakia Galerie Nicolas Bourriaud Brame & Lorenceau Cabinet of Curiosities - Honourable Silver Objects Galerie Capazza Giammarco Cappuzzo Fine Art Carlucci Gallery Galerie Jean-François Cazeau Galerie Cento Anni Chambre professionnelle belge de la Librairie Ancienne et Moderne (CLAM) Citadelles & Mazenod CKS Gallery Claes Gallery Collectors Gallery COLNAGHI Costermans Dalton Somaré De Brock De Jonckheere Galerie Bernard De Leye Galerie Oscar De Vos De Wit Fine Tapestries De Zutter Art Gallery Dei Bardi Art Thomas Deprez Fine Arts Patrick Derom Gallery Desmet Fine Arts Virginie Devillez Fine Art DIE GALERIE Douwes Fine Art b.v. Epoque Fine Jewels Finch & Co Galerie Flak A&R Fleury Galerie La Forest Divonne Galerie Christophe Gaillard Galerie des Modernes Gilden's Art Gallery Grusenmeyer-Woliner Galerie Hadjer Galerie Haesaerts-le Grelle Philippe Heim Heutink Ikonen Galerie Hioco Hoffmans Antiques Huberty & Breyne Galerie Hurtebize rodolphe janssen Francis Janssens van der Maelen Kunsthaus Kende Harold t’Kint de Roodenbeke Florian Kolhammer Hartford Fine Art - Lampronti Gallery Alexis Lartigue Lemaire Galerie Lowet de Wotrenge Francis Maere Fine Arts Maison D'Art Maisonjaune Studio Martins&Montero Martos Gallery MARUANI MERCIER MassModernDesign Galerie Mathivet Mearini Fine Art Galerie Greta Meert Meessen Galerie la Ménagerie Mulier Mulier Gallery Jan Muller Antiques Klaas Muller NARDI VENEZIA Nosbaum Reding Dr. Nöth kunsthandel Galerie Nathalie Obadia, Paris/Brussels Objects With Narratives Galeria Jordi Pascual Galerie La Patinoire Royale Bach Pauline's Jewellery Box Pelgrims de Bigard Galerie Alexis Pentcheff Christophe Perlès Galerie Perrin Guy Pieters Gallery Gallery de Potter d’Indoye Galerie de la Présidence Pron Van Pruissen Asian Art QG Gallery Maison Rapin Almine Rech Stéphane Renard Fine Art Repetto Gallery robertaebasta Romigioli Antichità Laurent Schaubroeck Serge Schoffel - Art Premier Segoura Fine Art Edouard Simoens Gallery Herwig Simons Fine Arts Stern Pissarro Gallery Stone Gallery Galerie Taménaga TASCHEN TEMPLON The old Treasury Galerie Patrice Trigano unforget Decorative Arts Univers du Bronze Vagabond Antiques Gallery Sofie Van de Velde Van Herck-Eykelberg Galerie Raf Van Severen Samuel Vanhoegaerden Gallery Maurice Verbaet Gallery Galerie von Vertes Axel Vervoordt Galerie Dina Vierny VKD Jewels Galerie Florence de Voldère N. Vrouyr Floris van Wanroij Fine Art Galerie Watteeu by Edouard & Andrea de Caters Victor Werner WHITFORD Willow Gallery
 

Victor Werner

carl johan bonnesen

Carl Johan Bonnesen (Aalborg 1868-1933 Copenhagen) African elephant, 1924 Bronze with green patina H 54 x W 78 x D 34 cm Signed and dated CARL J. BONNESEN 1924 Provenance: Professor Karl Meyer, board member of Villadsens Fabrikker; donated Nov. 9th, 1932, to the company director Christian Villadsen and his wife Ingeborg (as inscribed on the base); gifted by Christian Villadsen’s grandson to the previous owner

 

Gilden's Art Gallery

Andy Warhol (Pittsburgh 1928-1987 New York) Campbell's Chicken Noodle Soup Box, 1986 Acrylic and ink on canvas 50.8 x 50.8 cm Signed in felt tip pen 'Andy Warhol' and dated '86' [1986] on the upper canvas overlap, verso Stamped by the Andy Warhol Authentication Board and numbered in ballpoint pen A104.056, on the lower canvas overlap, verso Provenance: Michael Kohn Gallery, Los Angeles; private collection, Arizona; Van de Weghe Fine Art, New York; Demisch Danant, New York; private collection, Atlanta; Sotheby’s New York, May 13th, 2010, lot 191; private collection, Hong Kong; Christie’s Shanghai, September 21st, 2019, lot 310; private collection, Asia Literature: exh. cat. (1986), Warhol. Campbell’s Soup Boxes 1986, Michael Kohn Gallery, Los Angeles, reference n° 153, pp. 19, 30, ill. in colour

 

DIE GALERIE

johannes heisig

Johannes Heisig (Leipzig, 1953) Großes Stillleben, 2025 Oil on canvas 200 x 170 cm Monogrammed and dated lower right Provenance: the artist's studio Exhibition: Johannes Heisig - Weltgefühl, DIE GALERIE Frankfurt am Main, 2025

 

WHITFORD

paul van hoeydonck

Paul Van Hoeydonck (Antwerp 1925-2025 Wijnegem) White New World, 1966 Mixed media H 91.5 x W 61 x D 20 cm Signed and dated on verso Whitford reference PVH068 Provenance: acquired directly from the artist

 

Romigioli Antichità

giuseppe piamontini

Giuseppe Piamontini (Florence, 1664-1744) Small Faun playing with a Satyr, 1710 Carrara marble H 79 cm Signed and dated 1710 Provenance: private collection, Florence Literature: Sandro Bellesi, I marmi di Giuseppe Piamontini, ed. Polistampa 2008 Ideal pendant 'Eros and Anteros' at the Money Museum in Palazzo Pitti, Florence

 

Thomas Deprez Fine Arts

george minne

George Minne (Ghent 1866-1941 Sint-Martens-Latem) Baigneuse I, 1899 Boxwood (composite) H 40 cm Signed on the base: ‘G. MINNE’ Provenance: private collection by family descent, Belgium Exhibitions: La Libre Esthétique, Brussels, 1902, cat. 139, as: ‘Figure de femme. boxwood.' Related literature: Arthur Roesler, George Minne, in: Deutsche Kunst und Dekoration, 1910, 14th year, IV, 2, ill. article frontispiece, p. 240 (cf. Waerndorfer marble); Léo Van Puyvelde, George Minne, Brussels : Edition 'Cahiers de Belgique', 1930, cat. n° 31, p. 78, ill. pl. 31 (bronze); Robert Hoozee et al., George Minne en de kunst rond 1900, Gent: Museum voor Schone Kunsten, 1982, cf. cat. 95 & 96 (bronze and alabaster). Related exhibitions: Berliner Secession V, Berlin, 1902, cat. 319, as: ‘Badende’ (plaster); Wiener Secession XIV, Vienna, 1902, as: ‘Badendes Mädchen’ (plaster); Tento. Jozef Israëls & George Minne, Rotterdam, 1903, as: ‘Badende vrouw’ (marble); Berliner Secession XI, Berlin, 1906, cat. 332, as: ‘Junge Frau’ (plaster); Mücsarnok, Teli, Nemzetkozi Kiallitas, Budapest, 1908-09, cat. 285 (marble); Esposizione Internazionale d’Arte, Venice, 1909, cat. 3, as: ‘Bagnante’ (marble); Sonderbund westdeutscher K., Dusseldorf, 1910, cat. 237, as: ‘Die Badende’ (marble); Leipziger Jahresaustellung, Leipzig, 1912, cat. 895c, as: ’Baigneuse’ (bronze); Sonderbund internationale Kunstaustellung Köln, 1912, cat. 611, as: ‘Badende’ (marble). Related works: It has been said that George Minne, with the present sculpture, directly influenced Gustav KLIMT (1862-1918) for the painting 'Wasserschlangen I' (1904/07), cf. Hoozee. Its appeal, however, has never faded, as can be seen in several variations on the pose which have been an integral part of the famous Belgian contemporary choreographer Anne Teresa De Keersmaeker’s so-called 'Attitudes'. Note on versions: Van Puyvelde mentions editions in marble, wood and bronze. In addition, several fine plaster casts with family provenances can be identified, amongst others at the MSK Gent and at the Museum Gevaert-Minne. Among the early collectors of bronze versions we find Hélène Kröller-Müller and Karl Ernst Osthaus, partly due to the fact that Minne’s ‘Baigneuse I’ has been a favourite for the inclusion in decorative settings designed by Henry Van de Velde (1863-1959). Versions in marble are held at the Royal Museums of Art & History and at the Belvedere in Vienna. We have been unable to find records of any other versions of Minne’s ‘Baigneuse I’ in wood. Executed in a fine composite of boxwood, it is likely a unique piece in the material and can therefore be identified as entry n° 139 at La Libre Esthétique in 1902; where both a bronze version and a version in boxwood of Minne's 'Baigneuse' were exhibited under the title 'Figure de femme'. Interestingly, the 1902 exhibition of La Libre Esthétique in Brussels also marked the model's public debut, ranking the present version as one of the earliest in existance and one of the first two shown publicly.

 

Artimo Fine Arts

charles-auguste fraikin

Charles-Auguste Fraikin (Herentals 1817-1893 Brussels) Emerging from the Sea Bath White Carrara marble H 123 x W 37 x D 33 cm Provenance: Francis Meyer collection, Switzerland Literature: Fraikin, Charles-Auguste. Catalogue de la galerie. Musée Fraikin de Herenthals offert par l'artiste à sa ville natale l'an 1891. Herentals: Typ. L. Bongaerts-Verbeeck, 1891; Engelen & Marx. La sculpture en Belgique à partir de 1830. Tome III: Devreese-Hecq. Bruxelles : Éditions Ars 2006, pp. 1550-1557 With this work, Charles-Auguste Fraikin celebrates feminine beauty captured in the intimacy of a daily gesture: that modest and natural act of a young woman emerging from the water and wringing out her long hair. The sculptor excels here in the art of suggestion rather than revelation. The delicately fitted drapery clings to the body’s contours whilst gracefully concealing them, playing on the translucency of the marble and the softness of the volumes. The work bears witness to the dual influence of classical ideals and the romantic taste for a sensitive evocation of femininity. Through his treatment of surfaces - silken, clean, almost vibrant - Fraikin achieves a remarkable degree of refinement whilst preserving a clear narrative: that of a moment suspended in time, poised between genre scene and allegory. Emerging from the Sea Bath brilliantly illustrates Fraikin’s ability to combine modesty with sensuality, simplicity with virtuosity, in a sculpture that speaks both to the eye and to the imagination.

 

The old Treasury

van cleef & arpels

Van Cleef & Arpels necklace 18k yellow gold France, circa 1990

 

Kunsthaus Kende

Takahiro Iede (Japan, 1962) Ayaori-gane vase 'Rhythm', Saitama 2019 Shakudo, Shibuichi, silver H 23 cm - Ø 27.3 cm The gracefully curved body widening towards the waved upper rim. The body composed of woven strips of shakudo, shibuichi and silver. Spectacular, large work by Japanese artist Takahiro Iede, crafted with brilliant skill using the so-called Ayaori-gane technique. “To set myself free, I test the limits of myself and metal.” – the Japanese artist metalsmith Takahiro Iede Born in Fukui Prefecture, Japan in 1962, the artist and metalsmith Takahiro Iede now lives and works in Saitama. The metal artworks of Takahiro Iede combine traditional craftsmanship with modern innovation. With every hammer stroke, he explores and expands the possibilities of his material. His works take a special status in Japanese art and are perceived as avant-garde, sculptural and transcending all formal limitations imposed by the technical feasibility of traditional metalworking. Takahiro Iede has enriched Japanese metalwork with a deeply impressive technique known as Ayaori-gane ('metal weaving'). This technique is characterised by various types of copper alloys with gold and silver, which are woven into patterns and then hammered and soldered together with silver. The braided creations of the Ajiro weaving technique in the bamboo craftsmanship of his home region and the woven tapestries of the Native Americans inspired the artist to develop this very difficult technique. In the Ayaori-gane technique, a plate is made by weaving metal strings. In the next step, the fine cavities within the pattern are filled with melted silver. This fills the individual metal strands of the pattern to form a coherent plate, and the resulting workpiece is shaped into three-dimensional forms using various metalworking techniques, primarily hammering. In some cases, the artist deliberately refrains from filling the spaces between the strands to leave the woven formation unfinished. There are no comparable techniques to the Ayaori-gane technique in Japanese art or other cultures that preceded it. For his outstanding achievement, Takahiro Iede received the highly prestigious Medal with Purple Ribbon for artistic merit in 2016, the awarding of which usually precedes a later designation as a future Living National Treasure.

 

Desmet Fine Arts

giovanni & giacomo zoffoli

Giacomo (Italy, 1731-1785) & Giovanni Zoffoli (Italy, 1745-1805) Capitoline Flora, late 18th century Bronze H 34 x W 10 x D 7 cm Signed 'G.Z.F' (base) After the antique model (Capitoline Musea, Rome) Accompanied by Art Loss Register certificate: S00247973 Other versions: Victoria & Albert: Museum inv. n° A.14-1974; Saltram, National Trust, 871621.4; Philadelphia Museum of Art, Acc # 1978-70-139; Oxford, Ashmolean Museum: Acc # WA1899.CDEF.B449

 

Galerie Ary Jan

lucien levy-dhurmer

Lucien Levy-Dhurmer (Alger 1865-1953 Vésinet) The white veil, 1891 Pastel and gold gouache on paper 41.5 x 35.5 cm Signed, located and dated upper right 'Lucien Lévy / Golfe Juan 91'

 

Meessen

léa belooussovitch

Léa Belooussovitch (Paris, 1989) Langue de Barbarie (Sénégal), 2025 Drawing with coloured pencil on wool felt 56.5 x 46.5 cm (framed)

 

Maison Rapin

kam tin

KAM TIN Octopus bench with six legs, 2025 Patinated bronze, mohair velvet H 50 x W 120 x D 40 cm

 

TASCHEN

salvador dalí

Salvador Dalí (Spain, Figueras 1904-1989) Dalí. BABY SUMO This collector’s edition of 10,000 numbered copies presents Salvador Dalí’s work in unprecedented size and detail and is accompanied by a chronology following his path from Catalonia through Paris to Hollywood and back, with photos, sketches, and magazine pages.

 

Collectors Gallery

ettore sottsass

Ettore Sottsass (Austria, Innsbruck 1917-2007 Milan, Italy) 18ct gold ring, 1984-1986 Ring with a long rectangular table featuring a black onyx disc and diamonds Designed by Sottsass for Cleto Munari, Milan Produced in an edition of 9 Provenance: private collection, London Literature: Radice 1987, p. 78; Vezzosi 1990, p. 105

 

N. Vrouyr

Kinheim rug Dutch rug produced in the workshops of Kinheim (Beverwijk), circa 1930, after 1926 Handknotted wool 530 x 405 cm Signed at the back 'KON. KINHEIM BEVERWYK' Provenance: Beverwijk, Holland Kinheim rugs, Beverwijk workshops, Holland (1910-1973) According to the trade register, Hendrik Godefridus Polvliet founded the carpet workshop “Kinheim” on September 1, 1910, at Zeestraat 104 in Beverwijk. The company was originally located on Vondellaan in Beverwijk, which at the time was called Spargielaan. His wife, Mrs. C.M. Polvliet–Van Hoogstraaten (1883–1966), had already started the handwoven carpet workshop “Kinheim” there in 1909. At first, carpets were woven by hand on a small scale. The couple became interested in carpet weaving during a stay in Morocco, where they lived for some time due to Mr. Polvliet’s health problems. Because of recurring asthma attacks, he had been advised to stay for extended periods in warm, dry climates. During this time, Mrs. Polvliet taught herself knotting and weaving techniques and drew many patterns. Initially, the carpets were sold to family and friends. Orders soon began to pour in, and thanks to Mrs. Polvliet–Van Hoogstraaten’s skill, the business grew rapidly. After just a year, in 1911, it moved to Zeestraat and employed about twelve girls. A major commission for 15 carpets for the Peace Palace in 1913 required a larger workshop. The couple had a 144-meter-long wooden workshop built behind their house at Zeestraat 104. This made it possible to weave large hand-knotted carpets behind the residence. Within ten years, the company was well known throughout the Netherlands for its quality and artistic originality. Their own designs, inspired by Oriental motifs, quickly found their way into ships, palaces, city halls, and council chambers. On May 19, 1926, the company was granted the title “Royal.” The founder did not live to see this honor, as he had died on June 17, 1923. His widow, Cornelia Maartina Polvliet–Van Hoogstraaten, continued the business under the new name “Royal Handwoven Carpet Workshop Kinheim.” In addition to private commissions, the company produced many carpets for Dutch passenger ships, such as the Johan de Witt (designed by Lion Cachet), the Nieuw Amsterdam, and many others. Municipal and provincial governments also commissioned important works. For instance, Kinheim carpets can be found in the council chamber of Amsterdam and in the council houses of Den Bosch, De Bilt, Enschede, Uithoorn, and Beverwijk, as well as in the provincial government buildings of Maastricht and Haarlem. In the latter, stair runners designed by Jo de Jong are among the works. Carpets were also supplied to offices such as those of the Netherlands Trading Society and the Shipping House. Highlights for the workshop included commissions from the Royal House. Kinheim made a dining room carpet for Soestdijk Palace designed by Mrs. Brom-Fischer and carpeting for the royal yacht Piet Hein. Notably, the Sultan of Deli (in 1938) and the Shah of Persia also placed orders with Kinheim. After an initial period of prosperity, the workshop suffered a setback due to World War I, but it flourished again in the 1920s. At that time, the many commissions provided employment for around 60 women and girls. During the economic crisis of the 1930s, the company survived by focusing on simpler techniques, producing the cheaper “konkit carpet,” woven with coarse knots and undyed materials. During World War II, the business, which had in 1941 passed into the hands of Mr. Keizer from Hilversum, came to a standstill. Work resumed after 1945 under the leadership of Mr. and Mrs. Mastenbroek. Many large commissions were once again completed for government buildings, ships, and businesses. The company then employed between 30 and 40 women on average, sometimes as many as 60. Later, changes in taste and economic conditions, particularly the decline in orders from shipping companies, caused a sharp drop in demand for hand-knotted carpets made with special patterns. These and even plain rugs were increasingly replaced by much cheaper, machine-made carpets. Kinheim completed its final commission in early 1973, and in April of that year, the Beverwijk workshop closed. Well-known designers who worked for Kinheim included Jac. van den Bosch, C.A. Lion Cachet, Theo Nieuwenhuis, and Dirk Verstraten. Kinheim was the only company in the Netherlands where carpets were knotted following the classical Oriental method. Each carpet required a vast number of working hours. The size of the carpet determined how many girls worked on it: a narrow runner or cushion cover was made by one girl, but a large carpet could involve 8 to 10 workers. The women ranged in age from 15 to 60. A carpet with 40 knots per square centimeter and a size of 2 by 3 meters contained about two and a half million knots. A skilled knotter made 5,000 to 8,000 knots a day, meaning that such a carpet required around 350 working days. The early carpets of the Kinheim Carpet Workshop (before 1926) were marked on the back with the words “Kinheim” and “Beverwijk,” along with an image of a swastika. After the company received the “Royal” title in 1926, the swastika mark was replaced by a crown or the abbreviation ‘KON.’.

 

QG Gallery

alain biltereyst

Alain Biltereyst (Brussels, 1965) Untitled, 356-4, 2025 Acrylic on plywood 118 x 87.5 cm

 

Harold t’Kint de Roodenbeke

Auguste Herbin (Quiévy 1882-1960 Paris) Pluie 2, 1946 Gouache on cardboard 60 x 45 cm Signed and dated 1946 lower right Titled 'Pluie 2' lower left Certificate of authenticity by Geneviève Claisse, dated October 4, 1983 Provenance: private collection, Brussels

 

Galerie La Patinoire Royale Bach

Erró (Ólafsvík, Iceland, 1932) Le Wall, 1975 Acrylic on canvas 99 x 67 cm

 

Chambre professionnelle belge de la Librairie Ancienne et Moderne (CLAM)

Unique binding of incredible modernity, produced circa 1925 by the great architect and designer Josef Hoffmann (Pirnitz 1870-1956 Vienna), one of the founding members of the Wiener Werkstätte and the creator of the fabulous Palais Stoclet in Brussels. Large quarto, full fawn morocco on wooden boards with undulating decor, dark fuchsia silk doublure and endpapers, interior gilt signature Wiener Werkstätte with, above, Hoffmann's small gilt monogrammed mark. On: Henny Bauer & Wilhelm Kienzl, Sanctissimum (1924), first edition of the score for voice and piano. Signed by Josef Hoffmann Literature: Isabella Croÿ-Frick, Bookbinding and Leather in Christian Witt-Dörring & Janis Staggs, Wiener Werkstätte 1903-1932, The Luxury of Beauty, (2017), pp. 192-211; MAK Wien: Archiv der Wiener Werkstätte, Entwurfszeichnungen, Bucheinband, inventarnummer WWE 24-9; Yves Peyré, Histoire de la reliure de création, (2005), p. 138, p. 140; Ruperta Pichler, Wiener Werkstätte. Lederobjekte aus den Sammlungen des Österreichischen Museums für angewandte Kunst, (1992), pp. 77-92; Werner J. Schweiger, Wiener Werkstätte, art et artisanat, 1903-1932, (1982), p. 183 Pierre Coumans, Antiquarian bookseller

 

Segoura Fine Art

eduard hildebrandt

Eduard Hildebrandt (Poland, Gdańsk 1818-1868 Berlin, Germany) Cormorants at Sunset over the Arctic, 1852 Oil on canvas 80 x 90 cm Signed and dated lower right Provenance: private collection, France

 

Galerie Dina Vierny

Jean Degottex (Sathonay-Camp 1918-1988 Paris) Et dix mille choses..., 1958 Oil on canvas 197 x 133 cm Provenance: private collection, Paris

 

Galerie de la Présidence

andré lanskoy

André Lanskoy (Moscow 1903-1976 Paris) Composition, 1947 Charcoal on paper 108 x 74 cm Signed lower right Provenance: Galerie Louis Carré & Cie, Paris; Galerie Renou & Poyet, Paris; private collection, The Netherlands

 

Willow Gallery

henri le sidaner

la neige

Henri Le Sidaner (Mauritius, Port Louis 1862-1939 Versailles) La Neige, 1899 Oil on canvas 66 x 75 cm Signed, dated and inscribed ‘Le Sidaner Bruges 1899’ Provenance: James Fulton, Paisley; Paisley Art Institute, Paisley, a bequest from the above in 1933 Literature: W. Philip Mayes, Illustrated Catalogue of Paintings, Drawings, Sculpture in the Collections of Paisley Corporation and Paisley Art Institute, Paisley, 1948, n° A189au., p. 49 (titled 'The Red House'); Y. Farinaux-le Sidaner, Le Sidaner: L'oeuvre peint et gravé, Milan, 1989, ill. p. 70, n° 86

 

De Brock

alan charlton

Alan Charlton (Sheffield, 1948) Triangle, 2012 Acrylic on canvas H 162 x W 162 x D 4.5 cm Provenance: the artist's studio, Hatfield, UK; De Brock, Knokke, Belgium

 

Galerie Greta Meert

john baldessari

John Baldessari (USA, 1931-2020) The Purple Series: Periwinkle, 2016 Varnished inkjet print on canvas with acrylic paint 240.7 x 111.4 cm

 

Galeria Bessa Pereira

Abraham Palatnik (Brasil, Natal 1928-2020 Rio de Janeiro) Cupboard, 1950s Iron, wood and painted glass H 90 x W 150 x D 49 cm Origin: Brasil Provenance: private collection, Rio de Janeiro; Galeria Bessa Pereira collection Literature: Vicente, A., & Vasconcellos, M. (Comps.), Móvel moderno brasileiro (1st edition), São Paulo: Olhares, 2017, pp. 244-245; Vasconcellos, M., Móvel brasileiro moderno (1st edition), Rio de Janeiro: Aeroplano, 2012, p. 193

 

Alexis Lartigue

jean-paul riopelle

Jean-Paul Riopelle (Montreal 1923-2002 Saint-Antoine-de-l'Isle-aux-Grues) Untitled, 1955 Watercolour and ink on paper 64 x 49 cm Signed lower right 'Riopelle 55' Provenance: Claude Duthuit private collection Literature: Catalogue raisonné Jean Paul Riopelle, tome 2, 1954-1959, p. 368

 

Gallery de Potter d’Indoye

Mantel clock depicting the fall of Phaeton Ormoulu bronze France, Consulat period, circa 1800 H 80 x W 53 x D 19 cm Provenance: collection of Robert de Balkany, Paris Literature: Hans Ottomeyer and Peter Pröschel, Vergoldete Bronzen, Munich, 1986, pp. 354-355, n° 5.9.4.; Marie-France Dupuis-Baylet, L’Heure, le Feu, la Lumière, les Bronzes du Mobilier National 1800-1870, 2010, Ed. Faton, p. 26 n° 1; Marie-France Dupuy-Baylet, Napoléon 1er et les Arts décoratifs. Trésors des palais impériaux, exh. cat. 2013, Macao, Museum of Art, n° 1, pp. 34-35; Thierry Sarmant, Palais disparus de Napoléon : Tuileries, Saint-Cloud, Meudon [exhibition, Paris, Galerie des Gobelins, 15 September 2021 to 15 January 2022], Paris : In fine, 2021; Adrien Goetz, Ambroise Tézenas, Résidences présidentielles, Paris : Flammarion, 2021, p.173 The subject of this clock illustrates the episode in which Jupiter strikes Phaeton with a thunderbolt. Phaeton wanted proof that he was the son of the Sun, (Helios). Phaeton then asked his father to let him drive his chariot. Terrified by the height and the sky, Phaeton veered off course and descended so low that he scorched the Earth. The maddened stars complained to Jupiter, who struck the chariot and Phaeton. 'The terrified horses leap in a large circular movement with pin-wheel escapement mounted on the backplate, the pendulum crutch with fine-screw beat adjustment, and outside countwheel strike on a bell, the canthmechanism showing seconds with original hands'. The bronzier Pierre-Etienne Romain (1765- after 1821) deposited the drawing of a Clock representing the same subject in the cabinet of drawings of the National Library in March 1800. Related works: The Mobilier National keeps three clocks representing this subject: one found at the Tuileries Palace in 1809, another at Ministry of Foreign Affairs, and the third at the Palace of Saint Cloud in 1818, then at the Elysée Palace.

 

Thomas Deprez Fine Arts

franz binjé

Franz Binjé (Liège 1835-1900 Brussels) Le feu, circa 1894 Watercolour and gouache on paper 42 x 27.5 cm Signed l.l.: 'F. Binjé'. Provenance: private collection, Belgium Exhibitions: Exposition Universelle des Beaux-Arts, section Société Royale belge des Aquarellistes, Antwerp, World Fair, 1894, cat. nr. 699, as: 'Le feu'; Internationale Kunst-Ausstellung, Berlin, World Fair, 1896, Gemälde cat. nr. 228, as: 'Das Feuer. Aquarell.'

 
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