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Galerie de la Béraudière
germaine richier
Germaine Richier (Grans 1902-1959 Montpellier) La Sauterelle, moyenne, 1945 Bronze with dark patina H 54 x W 44 x D 65 cm Signed, numbered and stamped on the base: G. Richier, HC3, C. Valsuani cire perdue. Edition HC3 out of 12 (1/8 - 8/8 + HC1-HC2-HC3 + EA) Posthumous cast Provenance: collection Henri Creuzevault, Paris; collection Colette Creuzevault, Paris (by descent); De Baecque & Associés, 19 November 2021, lot 2; private collection, Belgium Literature: Peggy Guggenheim collection, Germaine Richier, exhibition catalogue, Venice, 2007, p. 70; Jean-Louis Prat et Françoise Guiter, Germaine Richier, Rétrospective, Saint-Paul de Vence, Fondation Maeght, 1996, n° 15, pp. 46-47, ill. (another cast); Peter Selz, New Images of Man, New York, 1959, ill. p. 129 (another cast) Exhibitions: 1997, Berlin, Akademie der Künste, Germaine Richier, p. 77, n° 15, p. 85, n° 20, ill. (another cast); 1996, Saint-Paul de Vence, Fondation Maeght, Germaine Richier, Rétrospective, p. 46, n° 15, ill. (another cast); 1976, Japan, Tokyo, Contemporary Sculpture Center and Osaka, Contemporary Sculpture Center, Exposition Richier, n°7; 1955, London, The Hanover Gallery, Germaine Richier, np., n° 10 (another cast) A key figure in the history of modern art, Germaine Richier remains unclassifiable. Trained by Bourdelle to sculpt from live models, her work took on an anthropomorphic character after the war, with the human body remaining at the centre of her preoccupations, but from then on taking on an allegorical and fantastic character, in the image of this Sauterelle, whose tormented material takes on a dramatic character of existentialist essence. Charged with a primitive force that, as André Pieyre de Mandiargues points out, is ‘as much rock or stump as flayed man’, La Sauterelle is undoubtedly one of the artist's masterpieces, a sculpture that has evolved towards an unprecedented baroque and expressive naturalism. The Sauterelles are among Germaine Richier's most emblematic creations, the artist produced three different versions. La Sauterelle, petite (1944), La Sauterelle, moyenne (1945) and La Sauterelle grande (1955-1956) offer astonishing variations on the strangeness of this hybrid being, both woman and animal, and impose a remarkable questioning of form and balance through a play of juxtaposed squares, fostering the ambiguity of a work that is both frozen and in motion, ready to leap.
Kunstconsult 20th century art I objects
lino tagliapietra
Lino Tagliapietra (Murano, 1934) Samarcande vase with filigree in clear and pink glass, 1989 Designed in 1981 and made for Effetre International 1989 H 15 x Ø 24 cm Provenance: collection Snijder, Aerdenhout Literature: Giovanni Sarpellon, Lino Tagliapietra Glass, Publisher Arsenale, p. 44
Galerie Ary Jan
Anto Carte (Mons 1886-1954 Bruxelles) L'homme au poulain Oil on canvas 140.8 x 110 cm Signed lower left Literature: The 1935 International exhibition of paintings, Carnegie Institute, Pittsburgh, repr. on plate 17, listed under n° 135; Anto Carte, monographie de l'art belge, published by the Ministère de l'Instruction Publique, 1950. Reproduced under n° 15; 'The Blue Sky Book, prose and poetry' repr. to illustrate ‘Man with colt’ p. 217 Exhibition: International Exhibition at Carnegie Institute 1935 Provenance: Private collection, Philadelphia Acquired directly from the artist by John H. Fraser in the early 1930s. Fraser was head of the art department at Marietta College, near Pittsburgh, Pennsylvania H 75 cm
Claes Gallery
Songye Mask Democratic Republic of Congo, Katanga Presumed period: late 19th-early 20th century Wood, pigments H 31.8 cm Provenance: acquired in situ by John Henry (aka Jack) Sandground in Ebombo, 1934; passed on to descendants; American private collection, Washington Amongst Songye masks, a general distinction was made in reference to the function of male and female masks. Male masks (bifwebebalume) were involved in rites of passage. On the other hand, female masks (bifwebe bakashi), which appeared on the occasion of the death or investiture of a chief and during lunar rites, were an integral part of the symbolic composition of these rituals, animating benevolent spiritual forces through dance. This mask is a female ‘kikashi’ mask, as indicated by the two-tone white and black, the absence of a sagittal crest and the flat nose. According to Plasmans, ‘the female kifwebe animates the vital forces through dance, calling upon the benevolent spirits of the forest. The woman, as the bearer of children and thus of good fortune, perpetuates the lineage and simultaneously also the magical essence of buci. In this way, female masks represent the continuity of life and cultural tradition. The presence of the passive female mask in the composition of bwadi society accentuates and completes the dialectical opposition of the active force of the male masks'.
Galerie Marc Maison
alexandre sandier
Alexandre Sandier (France, 1843-1916) Decorative panel depicting Queen Cleopatra, circa 1880 Sarreguemines earthenware with painted decoration H 161.5 x W 202.7 x D 2.5 cm Literature: Alain Benedick, La Faïencerie de Sarreguemines, Éditions ABM 57, 2009; Figures décoratives par Alex. Sandier, Éditions A. Calava, Paris, undated; Guide du visiteur […]. 8e Exposition de l’Union centrale des arts décoratifs, Paris, Imprimerie Chaix, 1884 Exhibitions: Exhibition of the Union centrale des arts décoratifs in 1884; 1889 Paris Exposition In the 1880s, the Sarreguemines pottery factory began creating earthenware panels for interior and exterior decoration. This magnificent panel depicting Cleopatra, painted by Alexandre Sandier, is one such example. Its vivid yet soft and pleasing colours combine with a meticulous sense of archaeological detail to produce a masterly lesson in Egyptomania, bearing witness to the fascination that Egypt still exerted at the end of the century for artists and audiences alike.
Francis Maere Fine Arts
conrad willems
Conrad Willems (Belgium, 1983) Construction VII, 2022 977 Verde Levanto building blocks Black paper and white paint H 229 x W 148.5 x D 335 cm (sculpture) 3 x (110 x 75 cm) (drawings) The work consists of 977 Verde Levanto building blocks and three framed hand-drawn construction drawings. The blocks have been cut and sanded into 11 different basic shapes, based on wooden toy blocks. These are built into a construction, based on the construction drawings on black paper. The blocks are not affixed in any way, but placed on top of each other in a specific building order.
Objects With Narratives
vladimir slavov
Vladimir Slavov (Bulgaria, Sofia, 1980) Evolution Chandelier, 2023 The first composition from the Evolution series Three bronze strokes form an ensemble, creating a theatrical lighting experience Unique piece Provenance: the artist's studio, Belgium Exhibition: PAD London, 2024
Galerie Sophie Scheidecker
Anton Henning (Berlin, 1964) Blumenstilleben n° 253 (AH 2004-196), 2004 Oil on canvas 220 x 189 cm Anton Henning, born in Berlin in 1964, is a contemporary German artist whose work includes painting, sculpture, photography and installations. A self-taught artist, he trained largely through direct observation of ancient and modern art during his travels in the United States and Europe in the 1980s. Henning is distinguished by a bold approach that fuses a variety of styles and influences, from the old masters to modern movements. He appropriated classic artistic genres such as still life, portraiture and landscape. His style is recognisable for its complex compositions, bright colours and taste for geometric and organic motifs. An important figure in contemporary European art, Anton Henning has exhibited in renowned galleries and museums in Europe, notably in Germany, Switzerland and the Netherlands, and his works are included in major public and private collections. In his series of paintings Blumenstilleben (Still Life of Flowers), Anton Henning explores the traditional theme of the floral still life with a singularly modern twist. Blumenstilleben No.253 (AH 2004-196), painted in 2004, is notable for its treatment of the floral motif with a palette of vibrant colours, interwoven with geometric motifs of exaggerated proportions, visible brushstrokes and juxtapositions of textures, giving it a particularly pop, modern feel. With this series, Henning also seems to be questioning the relationship between academic painting and contemporary art. He does not hesitate to break with the solemnity of traditional still lifes by introducing elements reminiscent of modern design, abstraction and even the aesthetics of comics. Inspired by the aesthetic codes of the old masters, Henning revisits the subject of flower bouquets and floral compositions in a style that oscillates between the abstract and the figurative.
Galerie Marc Maison
louis malard
Louis Malard, French cabinetmaker Monumental bed in Egyptomania style, 19th century Walnut with polychromy Presented at the 1889 Exposition Universelle in Paris. This bed is part of a complete bedroom set H 271 x W 232 x D 260 cm Provenance: formerly in the collection of Countess Bathilde Ducos (1851-1927) from 1889 to 1896; private collection of Charles Henri Duquesne and his descendants from 1896 to 2019 Literature: Le Figaro du 1er juillet 1889, 35th year, 3rd series, n° 182, p. 2; Alfred Picard (sous la direction de), Exposition universelle de 1889 à Paris. Rapports du Jury international, Groupe III - Mobilier et accessoires, classes 17 à 29, p. 68; Gazette de l’hôtel Drouot Saturday, Sunday, and Monday, June 1, 1896; Brissonneau, Livres, Tableaux anciens et modernes, Bijoux, Argenterie, Céramiques, Arts de l’Asie, Armes, Meubles et Objets d’art, auction catalogue from April 5, 2019, pp. 30-33, n° 182 Exhibition: Presented at the 1889 Exposition Universelle in Paris This style is associated at the time with the reign of Ramses II in ancient Egypt. Its deeply original decor embodies the 19th century’s fascination with ancient Egyptian art and caused a true uproar: both Le Figaro and the official jury report praised it in glowing terms.
Klaas Muller
Frans Snijders (Antwerp, 1579-1659) Kitchen interior with two dogs, offal and a basket with fruits and vegetables, circa 1620 Oil on canvas 113 x 183 cm Signed upper left: F. SNIJDERS. Fecit Provenance: sale Campo, Antwerp, 13-15 December 1966, lot 90; sale Sotheby’s, London, 7 October 1981, lot 123, ill. p. 89; sale Sotheby’s, London, 7 July 1982, lot 233, ill.; private collection, Belgium In a kitchen, a dog (a Friesian Wetterhound) guards its booty from another dog that appears on the left. Apparently, he has pulled away from his chain and is not giving up his booty (entrails) lightly. On the right of the painting, we see an overturned basket with artichokes, asparagus, a lemon and apples. At the top left, the painting is proudly signed 'F. SNIJDERS.FECIT'. Frans Snijders had a predilection for depicting dogs and they appear frequently in his oeuvre. About seven -mostly larger works as is the case here- can be named as scenes in larders or front rooms of kitchens. The theme is usually similar: a dog defends its stolen loot against another dog (e.g. a painting on loan with a similar theme among others in the Snijders-Rockoxhuis 'Larder with dogs and a cows head'). It remains conjecture whether Snijders was pursuing a metaphor or deeper symbolism with this theme. However: each time, he shows himself to be a fantastic cinematographer and manages to render a scene just before the climax through which he builds the tension. Also typical is the dog's head on the left, which is only partially depicted (cut off from the composition it seems) which generates even more movement. The textures of the fur, meat, vegetables and fruit are fantastically rendered.
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.
Galerie BG Arts
rené lalique
René Lalique (Ay 1860-1945 Paris) 'Cluny' and 'Senlis' vases, circa 1925 Moulded glass with bronze handles H 26 cm Provenance: private collection, London; Galerie BG Arts; Paris Literature: Félix Marcilhac, René Lalique-Catalogue de l'Œuvre de Verre, Les Editions de l'Amateur, Paris, 2011, n° 961 and 962
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
Gallery de Potter d’Indoye
victor de jonquieres (active from 1838 to 1870)
Victor-Philippe-A. de Jonquieres (French, active from 1838 to 1870) The Prince President Louis Napoleon Bonaparte with Prince Jérôme and his staff reviewing the mobile gendarmerie, acclaimed by the crowd, Place de la Concorde, 2 December 1851 Oil on canvas 160 x 230 cm Signed and dated lower right '1865' History: We will quote the monitor of the arts of November 3rd, 1865 relating to the exhibition of fine arts applied to industry: 'We have said a word about the painting by M. Victor de Jonquières, exhibited at Disdéri. The scene takes place in the Place de la Concorde which extends between the Obelisk and the gate of the Tuileries Gardens. An equestrian procession, accompanied by an enthusiastic crowd, advances towards the spectator. The atmosphere is reminiscent of a December morning. Napoleon III is surrounded and followed by Prince Jérôme, Prince Murat, Marshal Exelmans, Count de Flahaut, General Roguet, Generals Daumas and de Bourjolly, Baron Vast Vineux, Colonel Fleury, Lieutenant Colonel Edgar Ney, Baron Béville, Marquis de Toulongeon, Count Lepic, Baron de Méneval, Baron Ducasse, Count de Nieuwerkerke, Commander Jolly de Fleury, etc. All these figures are very similar, provided that we go back fourteen years (note: we are in 1865). M. de Jonquières showed himself to be both a faithful historian and a talented artist, skilfully grouping his characters and leaving no detail to chance. The horses especially are of a very true and very conscientious design'. Provenance: acquired by the Emperor Napoleon III by order of 10 May 1865 for 2.000 francs from the Encouragement budget; returned to the Empress after the judgment of 1881; former collection of Mr. Firmin Rainbeaux Literature: Le Moniteur des arts, November 3rd, 1865, p. 1; Catherine Granger, The Emperor and the Arts, the civil list of Napoleon III, Ecole des Chartes, 2005, p. 557; Michael Forrest, Napoleon III Bronzes, The Antique Collector, January 1990, Vol. 61, n° 1, pp. 43-49; Christopher Forbes, Napoleon III: The Other Napoleon and His Empire, Antiques, December 2002, pp. 83-91; Armand Dayot, The Second Empire, December 2nd, 1851-September 4th, 1870, Ernest Flammarion, Paris, p. 33; Benjamin Genocchio, The Imperial French Style, The New York Times, June 19th, 2009, repr. in colour; Napoleon III, Le Magazine du Second Empire, n° 16, October-December 2011 Exhibitions: Napoleon III and the Prince Imperial: Selections from the Collection of Christopher Forbes, The Grolier Club, New York, November 10th, 1985-January 10th, 1986; Napoleon III: The Other Napoleon and His Empire, The Forbes Galleries, New York, December 2nd, 2002-April 10th, 2003; Napoleon & Eugenie: Opulence and Splendor of France's Second Empire, Nassau County Museum of Art, Glen Cove, New York, June 7th-September 7th, 2009, repr. in colour, p. 34
Romigioli Antichità
Standing Madonna with Child, circa 1290-1310 Polychrome sandstone (and restorations) Northern Spain (in particular the cultural area between Castilla and Léon, La Rioja, the Basque Country and Navarre) H 102 x W 65 x D 42 cm Provenance: collection Costantino Nigro, Genoa Condition: the lower part of the statue is missing Literature: attribution and critical reading by Professor Luca Mor Exhibition: Biaf-Biennale Internazionale di Firenze, 2022
Romigioli Antichità
boraccine roses, gills, hibiscus, carnations and tulips in a glass vase
Juan de Arellano (Santorcaz 1614-1676 Madrid), attributed to Boraccine roses, gills, hibiscus, carnations and tulips in a glass vase Oil on canvas 78 x 63 cm Report by Professor Claudia Salvi Provenance: private collection, Florence
J. Baptista
Joana Vasconcelos (Paris, 1971) Enamorados (In Love), 2005 Glazed ceramic and hand-crocheted cotton Signed and dated H 48 x W 58 x D 30 cm Literature : Joana Vasconcelos, ADIAC - Associação para a Difusão Internacional da Arte Contemporânea, Lisbon, 2007 (p. 181) Exhibition: A Tribute to Women. Artists in the São Roque Collection, São Roque Too, Lisbon, 2021 (catalogue, p. 76)