This section will be available this Autumn.
.(1926-1927)_FrançoisPOMPON_T638726233557192525.png?width=410&height=2000&qlt=90&scale=both&mode=max&format=jpeg)
Kunsthaus Kende
Ane Christensen (Copenhagen, 1972) Dented bowl Sterling silver London, 2000 H 10.3 x W circa 35 x D circa 30.1 cm Weight 966.2 gr. The body with a fully frosted surface, divided in the centre. A decorative, modern fruit bowl in sterling silver by one of Britain’s most important modern female designers and silversmiths. The silversmith and designer Ane Christensen, born in 1972 in Copenhagen, studied at the Royal College of Art, London and London Guildhall University, whilst also working as an assistant to Howard Fenn and Alfred Pain. Since 1999, she has worked as a professional artist silversmith in London. The incomparable formal language of her objects quickly brought her international renown as well as numerous exhibition participations and awards. Her artworks can be found in the Victoria & Albert Museum, London, the Koldinghus Museum, Kolding (Denmark) and in the Birmingham Museum Collection.
Willow Gallery
Raoul Dufy (Le Havre 1877-1953 Forcalquier) Le Bal, 1920 Oil on canvas 55 x 65 cm - framed: 70 x 80 cm Signed lower right 'Raoul Dufy' Provenance: Galerie Bernheim-Jeune, Paris (in March 1924); Max Pellequer, Paris (acquired from the latter in January 1925); Marcel Kapferer, Paris (before 1928); Doctor Alexandre Rudinesco, Paris (before 1951); its sale, Parke-Bernett Galleries Inc., New York, October 10, 1968, lot 22 (titled 'Le Bal du quatorze Juillet à Antibes', dated '1910'); B. Gerald Cantor, New York (before 1970); private collection; private collection, France Literature: C. Zervos, Raoul Dufy, Paris, 1928, n° 29 (ill.; titled 'Antibes'; dated '1921'); M. Gauthier, Raoul Dufy, Paris, 1949 (ill., pl. VIII; dated '1912'); P. Courthion, Raoul Dufy, Geneva, 1951, p. XII, n° 62 (ill., pl. 62; titled 'Le Bal à Antibes'; dated '1910'); M. Brion, Raoul Dufy, Paintings and Watercolors, London, 1958, pl. 13 (ill.: titled 'Ball at Antibes, 14 July'; dated '1910'); Maurice Laffaille, Raoul Dufy, Catalogue Raisonné de l’Oeuvre Peint, Tome IV, Editions Motte, Geneva, 1977, p. 147 n° 1581 Exhibitions: Paris, Galerie Charpentier, Plaisir de France, June 1951, n° 62 (titled 'July 14'); Paris, Galerie Charpentier, Plaisirs de la campagne, June 1954, n° 61 (titled 'July 14'); Albi, Toulouse-Lautrec Museum, Raoul Dufy Exhibition, Paintings, watercolors, drawings, tapestries, July-September 1955, p. 24, n° 11 (ill., pl. VIII; titled 'The Ball in Antibes, July 14'; dated '1910'); Paris, Galerie Bernheim-Jeune-Dauberville, Masterpieces of Raoul Dufy, For the benefit of mutual aid of intellectual workers, April-July 1959, n° 9 (ill., pl. 5; titled 'Antibes'; dated '1910'); Paris, Galerie Charpentier, Les Fauves, 1962, n° 55 (titled 'July 14'); Mexico, Museo Nacional de Arte Moderno, Cien años de pintura en Francia, De 1850 a nuestros dias, October-November 1962, p. 118, n° 47 (titled '14 de Julio'); Des Moines, Art Center; Indianapolis, Indianapolis Museum of Art; Albuquerque, University of New Mexico Art Museum; Santa Barbara, Santa Barbara Museum of Art and Fort Worth, Fort Worth Art Center Museum, Selections from the B. Gerald Cantor Collection, December 1970-August 1971, n° 4 (ill. in colour, titled 'Fourteenth of July Dance at Antibes'; dated '1910') Born in 1877 in Le Havre, Dufy entered the Ecole Nationale des Beaux-Arts in Paris in 1900. During this period, he was heavily influenced by Impressionism. He exhibited his work for the first time at the 1901 Salon des Artistes, and then at the Salon des Indépendants in 1903. He also met Berthe Weill in 1902, and began to show his work in her gallery. Dufy received a boost to his confidence when the artist Maurice Denis was one of the first buyers of his work. For the next few years, Dufy painted in the vicinity of Le Havre, made famous by Eugène Boudin and Claude Monet. In 1905 Dufy saw Matisse’s painting ‘Luxe, Calme et Volupté’ in the Salon des Indépendants and his work became influenced by the Fauves until about 1909 when exposure to the work of Paul Cézanne led him to adopt a more subtle technique. In 1911, he and the couturier Paul Poiret founded the ‘Petite Usine’, a company that printed fashion and decorative textiles. Initially interested in engraving, he then began to work in lithographs and watercolours before moving into ceramics alongside the Catalan artist Llorens Artigas. He also illustrated books. After also showing interest in cubism, Dufy finally began to develop his own distinctive approach in 1920. Skeletal structures, foreshortened perspective, and thin, quickly-applied washes of colour became his trademark, in a manner he referred to as stenographic. As subject matter, he chose yachting scenes, views of the French Riviera, parties, and musical events. He had also become fascinated with horseracing, which developed into one of his main subjects. Dufy initially focused on the fashionable racegoers, but soon also became fascinated by the racing itself. The colour and atmosphere of horseracing gave Dufy the opportunity to use and explore his ‘colour-light’ technique, which put the focus on using colour rather than black and white to imply light and shade. Throughout his career, the colour blue was a constant presence in his work. As he once remarked, ‘Blue is the only colour which maintains its own character in all its tones…it will always stay blue…whereas yellow is blackened in its shades and fades away when lightened: red when darkened becomes brown, and diluted with white is no longer red, but another colour – pink’. During this period, Dufy was prolific, working in a variety of materials producing ceramics, tapestry hangings, and large-scale architectural decorations. Dufy’s success continued to grow, and in 1937 he (with the help of his brother Jean) was asked to create what was then the largest painting in the world for the Electricity Pavilion at the Universal Exhibition. ‘La Fée Electricité’ covers over 600 square meters, and was donated the Musée d’Art Moderne by Électricité de France and installed in 1964. Despite the onset of rheumatoid arthritis, Dufy exhibited in the annual Salon des Tuileries during the late 1940s and early 1950s and was awarded the grand prize for painting at the 26th Venice Biennale in 1952, the year before his death. Today, Dufy’s work is held in the collections of the Musée D’Orsay in Paris, the Hermitage Museum in St Petersburg, and the Museum of Modern Art in New York, and many others. An explosion of colour with a dense yet carefully organized patchwork of lines and shapes convey the almost electric atmosphere of this festive dance scene painted by Raoul Dufy. Sometimes referred to as the 14th July, or the 14th July in Antibes, other times just as a dance or ball, Le Bal, is one of the most ambitious renderings of those two subjects combined into one that Dufy explored several times throughout his career. For example, Dufy painted a Bal Populaire in his Fauvist years in 1906, much less constructed and dominated by the green tones of the scene’s setting in park. In 1912, his interpretation of the 14th July festivities seems the closest in terms of composition to Le Bal, with its interlocked diagonals in the upper part – referring to the ball’s tent and flag garlands – and its animated dancing floor in the lower part rendered through spontaneous and vibrant brushstrokes suggesting the figures and their movements. In 1920, Raoul Dufy appears to have painted two very different dancing scenes, both titled Le Bal: the present work and another painting now in a private collection. Dufy opted for a setting in a park for the latter – closer to that of the 1906 painting – as opposed to setting the ball in a colourful almost circus-like tent, as seen in this example, recalling the painting of the 14th July (corresponding to ‘Bastille Day’, the national French public holiday marking the beginning of the French Revolution on 14 July 1789) dating from 1912. These similarities and differences with other works from Dufy’s oeuvre explain the ambiguity of the present work’s dating, given it was exhibited at Galerie Charpentier’s themed exhibition on Fauvism in 1962 and there dated ‘1908’. In other bibliographical references, it is often dated 1910, yet Fanny Guillon-Laffaille adamantly dated Le Bal of 1920 in the corresponding entry of her catalogue raisonné. The daring colour code and combinations, and the broad brushstrokes barely defining the figures are reminiscent of his Fauvist years. The wide bands of colours covering more than half of the composition show Dufy’s awareness of the slightly later avant-gardist movements steering towards abstraction, such as Orphism. Whether or not Le Bal depicts one of the traditional festivities of Bastille Day, and whether or not it is effectively set in Antibes, its vibrant composition is so full of life that it translates a sort of timelessness. Dufy presents us with a snapshot of modern life – it is colourful, dynamic and never stops – and there is no doubt that the 14th July was a perfect pretext to stage and glorify this exhilarating modern life. Judi Freeman wrote that Dufy ‘shared the Impressionist enthusiasm for the annual transformation of cities and towns for Bastille Day on July 14th and other flag-waving celebrations. Whereas Manet and Monet occasionally painted Parisian boulevards adorned with flags for patriotic holidays, Dufy and Marquet regularly depicted the festivities. For the Impressionist the flag-draped streets provided an opportunity to show a colorful festival of modern life, occasionally tinged with political overtones. For Dufy and Marquet the holiday provided motifs that could be situated within the Impressionist tradition but more loosely rendered, with the sketchier brushworks and scattered, almost random color ('The Distant Cousins in Normandy: Braque, Dufy and Friesz', in The Fauve Landscape, New York, 1990, p. 221-222).
Gallery de Potter d’Indoye
Pair of Empire period candelabras Attributed to Claude Galle (France, 1759-1815) Gilt and patinated bronze H 81 x W 31 x D 21 cm These candelabras from the Empire period, in the shape of winged figures of Victory carrying candlesticks in the hands and on the head, probably derive from the famous drawing in an album by Percier and Fontaine at the Metropolitan New York Museum of Art. The bronze stems take the form of women, who stand on tall plinths. These plinths are covered with a light brown patina and are decorated with gilt winged female figures, carrying baskets of fruit on their heads. Each woman strokes the heads of two dogs, who stand on their hind legs and lean against her. The sides and backs of the plinths are ornamented with gilt scrolled foliate motifs, topped by palmettes. The plinths are each set on four ormolu paw feet, placed on shaped, square gilt bronze bases. Above, patinated winged bronze women serve as the stems for the candelabra. They adopt monumental poses, reminiscent of ancient Egyptian or archaic sculpture. The winged women wear sheer dresses, which cling to their bodies. Each winged woman holds two gilt bronze lights in her outstretched hands and supports four more on her head. Those held in the women’s hands are conical shaped and are decorated around their tops with palmettes. The lights carried on their heads are raised up on slim stems and are crescent shaped in their arrangement. Three of the lights have cornucopia-shaped arms, which extend from open-mouthed dogs’ heads, and finish in urn-form palm leaf capitals. Stylised, curling leaves decorate the space above the dogs’ heads. On each, a cylindrical central light directly tops the stem, ending in a simple leafy capital. Claude Galle One of the foremost bronziers and fondeur-ciseleurs of the late Louis XVI and Empire periods, Claude Galle was born in Villepreux near Versailles. He served his apprenticeship in Paris under the fondeur Pierre Foy, and in 1784 married Foy’s daughter. In 1786 he became a maitre-fondeur. After the death of his father-in-law in 1788, Galle took over his workshop, soon turning it into one the finest. Galle moved to Quai de la Monnaie (later Quai de l’Unité), and then in 1805 to 60 Rue Vivienne. The Garde-Meuble de la Couronne, under the direction of sculptor Jean Hauré from 1786-88, entrusted him with many commissions. Galle collaborated with many excellent artisans, including Pierre-Philippe Thomire, and produced the majority of the furnishing bronzes for the Château de Fontainebleau during the Empire. He received many other Imperial commissions, including light fittings, figural clock cases, and vases for the palaces of Saint-Cloud, the Trianons, the Tuileries, Compiègne, and Rambouillet. He supplied several Italian palaces, such as Monte Cavallo, Rome and Stupinigi near Turin. In spite of his success, and due in part to his generous and lavish lifestyle, as well as to the failure of certain of his clients (such as the Prince Joseph Bonaparte) to pay what they owed, Galle often found himself in financial difficulty. Galle’s business was continued after his death by his son, Gérard-Jean Galle (1788-1846). Nowadays, his work can be found in the world’s most important museums and collections, those mentioned above, as well as the Musée National du Château de Malmaison, the Musée Marmottan in Paris, the Museo de Reloges at Jerez de la Frontera, the Residenz in Munich, and the Victoria and Albert Museum in London.
Repetto Gallery
giorgio de chirico
Giorgio de Chirico (Greece, Volos 1888-1978 Rome, Italy) Venezia, Palazzo Ducale, 1955 Oil on canvas cardboard 50 x 60 cm Signed lower left Label by Galleria d’Arte Sianesi, Milan Inscribed: 'Questa Venezia / Palazzo Ducale è opera / autentica da me eseguita e / firmata / Giorgio de Chirico / Milano, 1- 3- 3 1956' Certificate of authenticity signed by the artist on 2 March 1956 Provenance: private collection, Italy; Galleria d’Arte Sianesi, Milan Literature: Claudio Bruni Sakraischik, Giorgio de Chirico: Catalogo Generale, vol. 2, opere dal 1951-1971, Electa, Milan, 1983, n° 180 Exhibitions: Giorgio de Chirico, Galleria Gussoni, Milan, 30 October-10 November 1958; Giorgio de Chirico. Nello specchio del Novecento/Warhol, Schifano, Paolini, Ghirri, Salvo, Repetto Gallery, Lugano, 25 September-16 December 2023
Sylvia Kovacek – Vienna
gustav klimt
Gustav Klimt (Baumgarten 1862-1918 Vienna) Standing nude, hands on the hips, 1911 Pencil on paper 57.1 x 37.5 cm Provenance: private collection, USA, courtesy Serge Sabarsky Gallery, New York; private collection, Japan; 110. auction Klipstein und Kornfeld, Bern 1963, n° 536 (pl. 69); private collection Hikonobu Ise, Japan Literature: The Ise Collection, Ise Lifedesign House, Japan 1984, ill. n° 12; Alice Strobl, Gustav Klimt. Die Zeichnungen 1904-1912, vol. II, Salzburg 1982, catalogue raisonné n° 2023, p. 252f
Patrick Derom Gallery
lucio fontana
Lucio Fontana (Rosario 1899-1969 Comabbio) Concetto spaziale, Teatrino, 1964 Water-based paint on canvas, lacquered wood 102 x 83 cm Signed and titled on the back Provenance: Serge de Bloe, Brussels; private collection, Brussels Literature: M. Van Lier-Lottefier, Fontana: au seuil du Land Art, in Clés pour les arts, 27 September 1972, p. 27 (ill.); Enrico Crispolti, Lucio Fontana, 1974, vol. II, p. 168; Enrico Crispolti, Fontana. Catalogo Generale, Milan, 1986, 64TE2, p. 588 (ill.) Exhibition: 1972, Brussels, Palais des Beaux-Arts, Lucio Fontana, n. 78 (ill.)
Gallery Desmet
francesco fanelli
Pair of staggering and pacing horses Attributed to Francesco Fanelli (Italy, 1590-1653) Bronze, black lacquer patina Florence, second quarter of the 17th century H 15 x W 16.5 x D 5 cm H 16.5 x W 16 x D 5 cm Provenance: private collection, Italy To introduce these bronzes, there is no better way than the description made by the English antiquarian George Vertue (1684-1756). He depicted a number of statuettes by Fanelli at Welbeck: Fannelli the Forentine Sculptor who livd and dyd in England, made many small statues. models & cast them in brass (i.e. bronze). which he sold to persons that were Curious to sett on Tables cupboards shelves by way of Ornament - and irons. Many were bought by W. Duke of Newcastle, and left at Welbeck. where the Earl of Oxford. found them. This Fanelli had a particular genius for these works and was much esteemd in King Charles I time - and afterwards - so many of this little Statues as I have seen at Ld Oxfords - It shows us the impact and influence of yet another Florentine sculptor in England and this pair of bronzes is exactly what Fanelli is famous for: dark black lacquer patina, the subject of horses and the small size to appeal to the collector’s desire of the high nobility in England and beyond.
New Hope Gallery
jean dubuffet
Jean Dubuffet (Le Havre 1901-1985 Paris) Figure. Bust. 29 March 1967 Marker with collage 30.5 x 20 cm Provenance: Collection Ernst Beyeler; Private collection, Belgium Exhibitions: Kunstmuseum Basel, 6. June 1970- 2 August 1970, Catalogue n° 188; Galerie Beyeler Basel, February-April 1968, Catalogue n° 55
Florian Kolhammer
josef hoffmann
Josef Hoffmann (Brtnice 1870-1956 Vienna) Vase with etched decoration 'Orange Opal Aussen Schwarz' Mould-blown glass, etched decoration H 8 x Ø 11.5 cm Designed by Josef Hoffmann and executed by Johann Loetz Witwe, one of only two pieces, executed either in 1911 or 1914 Provenance: private collection Prague, Czechia Literature: A. Adlerova, E. Ploil, H. Ricke, T. Vlcek (ed.), Loetz-Böhmisches Glas 1880-1940, vol. I, Werkmonographie, Prestel publ., Munich 1989, p. 271 (similar vase in the museum Bergreichenstein); A. Adlerova, E. Ploil, H. Ricke, T. Vlcek (ed.), Loetz-Böhmisches Glas 1880-1940, vol. II, paper pattern catalogue, Prestel, Munich 1989, paper pattern 8031, p. 218; Jitka Lnenickova, Loetz/Series II. Paper Patterns for Glass from 1900 to 1914, Museum Sumavy, Susice 2011, n° II-8031, p. 755; Waltraud Neuwirth, Loetz Austria 1905-1918, Glass, self-published Dr. Waltraud Neuwirth, Vienna 1986, depiction 303, p. 323 In the early 1910s, Josef Hoffmann had reached the peak of his creative powers. He was very well connected in the art scene of the time and carried out commissions for both private individuals and the state. The etched glass vases that he had made by the Loetz glass manufactory for the winter exhibition at the Austrian Museum of Art and Industry in 1911 are certainly amongst his most important decorative arts designs from this period.
MARUANI MERCIER
ross bleckner
Ross Bleckner (New York City, 1949) Deep Below Our Violence, 2023 Oil on linen 182.9 x 243.8 cm Provenance: the artist's studio Literature: Ross Bleckner: Paralipsis, exh. cat. MARUANI MERCIER Gallery, Belgium Exhibition: Ross Bleckner: Paralipsis, MARUANI MERCIER Gallery, Belgium, 3 September-9 October, 2021
Douwes Fine Art b.v.
melchior d'hondecoeter
Melchior d'Hondecoeter (Utrecht 1636-1695 Amsterdam) The bird concert, a family of ducks near a pond with a farm in the background, circa 1666 Oil on canvas 102.5 x 87.5 cm Traces of signature at lower right: M. With thanks to Dr Fred Meijer who wrote a certificate for the work on 9 August 2024, confirming the authenticity of the artwork Provenance: sale collection Konstantin Tifoxilos, Vienna, Wawra, 28 November 1904, lot 75, b&w ill. opposite title page; Galerie Arnot, London 1919; Heirs to Minister Dr. H. Sulzer, Winterthur; Gebr. Douwes Fine Art, Amsterdam, n° 8377, 1968 shown at the Delftse Antique Fair; private collection, The Netherlands; thence by descent to the current owners Exhibition: Kunstmuseum Winterthur, Der unbekannte Winterthurer Privatbesitz 1500-1900, September-October 1942 (Kunstverein Winterthur), cat. n° 145
Gallery Sofie Van de Velde
james ensor
James Ensor (Ostend, 1860-1949) The Kingdom of Venus, 1921 Oil on canvas 50.5 x 61 cm – framed: 64.5 x 75 cm Signed bottom left corner Provenance: Gallery Sofie Van de Velde; private collection; sale Galerie des Beaux-Arts (Renaissance), Brussels, December 16th, 1941, n° 78 ('Le Bonheur'); sale G. Rosen, Frankfurt, October 11th, 1960, n° 408 ('Das Reich der Venus'); Galerie Wilhelm Grosshennig, Düsseldorf Literature: Xavier Tricot, James Ensor. Leven en werk. Oeuvrecatalogus van de schilderijen, Mercatorfonds, Brussels, 2009, n° 514, p. 357 repr. in colour
De Brock
ethan cook
Ethan Cook (USA, Texas 1983) Memory, Speak, 2024 Hand woven cotton canvas 157.5 x 228.6 cm Provenance: the artist's studio, Brooklyn, NY, USA; De Brock, Knokke, Belgium Literature: Ethan Cook, published by De Brock (2024) Exhibitions: Ethan Cook: Soup to Nuts, 12-15 September 2024, Lempertz, Brussels, Belgium; BRAFA Art Fair, 26 January-2 February 2025, Brussels Expo, Brussels, Belgium
Stéphane Renard Fine Art
giuseppe porta
Attributed to Giuseppe Porta (Tuscany 1520-1575 Venice) Allegory of Chastity Black chalk and white highlights on faded blue paper, lined with laid paper 15.5 x 12.8 cm 17th century Dutch frame in ebony veneer Provenance (of the drawing): Sir Peter Lely (1618-1680), his mark lower right (Lugt 2092), until its sale in April 1688, when our drawing was bought by William Gibson (1644-1702) from the inscription on the verso; Sir Lawrence Gowing (1918-1991), label on the original mounting board Provenance (of the frame): Marquis Carlo Camillo Visconti Venosta (1879-1942), from a stamped inscription on the verso of the frame; Cadres Lebrun
