This section will be available this Autumn.
Boon Gallery
paul delvaux
Paul Delvaux (Belgium, Antheit 1897-1994 Veurne) La ville lunaire, 1944 Oil on canvas 144 x 200 cm Signed lower right Provenance: Private Collection, Europe; Jan Krugier Gallery, Geneva, 1976; Alex Salkin Collection, New York; G. Van Extergem Collection Literature: BATAILLE, G., Les larmes d’Eros, Paris, 1961, p. 202, ill.; BOSMANT, J., Trésors communaux : Cinquante peintures, Brussels, 1960, p. 297, ill.; BUTOR, M., Delvaux : catalogue de l’oeuvre peint, Brussels, 1975, p. 203, n° 134 ,ill.; DE BOCK, P.-A., Paul Delvaux, Brussels, 1967, pp. 292-293, n° 64, ill.; DE RIDDER, A., De levende kunst gezien te Venetië, Brussels, 1958, p. 295, ill.; JEAN, M., Histoire de la peinture surréaliste, Paris, 1959, p. 275, ill.; ROMBAUT, M., Paul Delvaux, Ediciones Poligrafa, 1999, n° 51, ill.; SOJCHER, J., Paul Delvaux, Ars Mundi, 1991, n° 42, ill.; SPAAK, C., Paul Delvaux, Antwerp, 1948, ill.; SYLVSTER, A., Architecture in Modern Painting, Vol. CIX, London, 1951, p. 83, n° 650, ill. Exhibitions: Palais des Beaux-Arts, Paul Delvaux, Brussels, 1944, n° 58; René Drouin Gallery, Paul Delvaux, Paris, 1948, n° 13; Venice Biennale, Biennale XXVII, Venice, 1954; Isy Brachot Gallery, Hommage à Paul Delvaux, Art Basel, 1977, n° 4 © Foundation Paul Delvaux, Belgium/SABAM, 2023-2024
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Stern Pissarro Gallery
yayoi kusama
Yayoi Kusama (Matsumoto, 1929) Fire (3), 1952 Gouache and pastel on paper 27.7 x 20.3 cm Signed, titled and dated 1952 on the reverse This work is accompanied by a registration card issued by Kusama Enterprise, Tokyo Provenance: Christiaan Paul Damsté, Amsterdam, gifted from the artist; private collection, London; Anthony Meier Fine Arts, San Francisco; private collection, Canada; private collection, Japan
Galerie des Modernes
jacques doucet
Jacques Doucet (Boulogne-Billancourt 1924-1994 Paris) Untitled, 1955-1957 Oil on canvas 100 x 50 cm Signed lower right: doucet Dated and numbered on the reverse: CLXV-197 Provenance: Galerie Ariel, Paris; private collection, Paris Literature: Jacques Doucet Parcours 1960-1976, Catalogue raisonné, tome II, Additif aux œuvres du tome I, by Andrée Doucet, ed. Galilée, Paris, 1998, desc. p. 207 and repr. p. 13 under n° 258
Galeries AB & BA
henri michaux
Henri Michaux (Namur 1899-1984 Paris) Composition, 1950 Gouache on canvas 48 x 62.5 cm Signed lower right This work is registered in the Michaux Archives by Franck Leibovici under n° hm4112 and will be included in the forthcoming catalogue raisonné currently in preparation Provenance: collection of M. Chatelus, Paris; collection of M. René Schneider; private collection, Paris Literature: Wieland Schmied, Hanovre (1972), p. 71; Wieland Schmied, Michaux (1973), p. 79; Marseille (1993), p. 124; Franck Leibovici, Henri Michaux, (2014), p. 31 Exhibitions: Retrospective, Musée Kestner-Gesellschaft, Hanover, 1972; Henri Michaux, peintures, Fondation Maeght, Saint-Paul-de-Vence, 3 April -10 June 1976; Galerie Baudoin Lebon, Paris, 1985; Henri Michaux, selected works 1927-1984, Musée Cantini, Marseille, 1993; Henri Michaux, selected works 1927-1984, Julio Gonzalez Art Center (i.v.a.m), Valencia, 1993; Henri Michaux, selected works 1927-1984, Musée Rath, Geneva, 1994; Henri Michaux, Whitechapel Gallery, London, 1999; Untitled passages by Henri Michaux, Drawing Center Art Center, New York, 2000
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Galerie Van den Bruinhorst
Gerrit Thomas Rietveld (Utrecht, 1888-1964) Original ‘Red Blue chair’ Designed in 1919/1923 Executed by G.A. van de Groenekan, circa 1970, De Bilt, The Netherlands Frame; solid beech wood slats with beech wood dowels, stained dark brown/black, the ends finished with chromate yellow paint. Seat; plywood, finished monochrome with ultramarine blue paint. Back: plywood finished monochrome with vermilion red paint H 86 x W 65.9 x D 82.5 cm The chair is marked with the paper label of Rietveld’s regular cabinet maker, Gerard van de Groenekan Provenance: from the first owner Architect Ruud Wilmink from Amsterdam. At the end of his architecture studies, he personally ordered the chair from Gerard van de Groenekan in De Bilt around 1970 for the furnishing of his first home In 1919, architect Gerrit Rietveld joined the legendary ‘De Stijl’ group, an esthetic movement founded by Dutch artists and architects two years earlier. Inspired by the work of his fellow ‘De Stijl’ member Bart van der Leck, Rietveld started experimenting with the use of primary colors in the designs for furniture around 1921-1922. Probably about 1923 – a hundred years ago! – he made the first copy of his wooden-slat easy-chair using Red Yellow and Blue, the color scheme that would bring the chair its world fame as an icon of De Stijl movement.
VKD Jewels
gold, diamond, ruby and sapphire earclips
Van Cleef & Arpels Pair of 18k gold earclips, each set with three small flower elements of diamonds, rubies and sapphires France, circa 1960 Signed VCA USA, Made in France, 750, French assay marks for gold and numbered 18695 Provenance: private collection
Van Herck-Eykelberg
james ensor
James Ensor (Ostend, 1860-1949) Roses, tanagras and boot, 1917 Oil on canvas 46.5 x 66 cm Signed and dated lower right Literature: G. Le Roy, James Ensor, G. Van Oest, Bruxelles/Paris 1922, p. 195; F. C. Legrand, Ensor cet inconnu, La Renaissance du Livre, Bruxelles 1971, n° 238; X. Tricot, James Ensor, Catalogue raisonné of the paintings. II, 1902-1941, Wienand, 1992 Anvers, n° 484; X. Tricot, James Ensor, Catalogue Raisonné of the paintings. Mercator, 2009, n° 495 Exhibition: XV Exposizione Internationale d’Arte della Cittá di Venezia (Venice Biennale), 1926; Partially legible label on the back: ‘XIVieme Exposition Internationale des Beaux-Arts’
Osborne Samuel Gallery
bram bogart
Bram Bogart (Delft 1921-2012 Sint Truiden) Agglomeration, 1959 Homemade paint on canvas H 95.3 x W 158 x D 5 cm Signed and dated lower right Also signed, dated and titled verso Provenance: Arthur Tooth Gallery, UK (March 1959); Martin Summers Art Ltd, London-J P Cochrane Collection (2005); Fine Art Society, London (2006); Rosenfeld Porcini, London (2017); Vigo Gallery, London (2022); private collection Exhibitions: 1960, Matter Painting, ICA, London (Bram Bogart, Lucio Fontana, Nicolas De Stael, Antonio Tapies, Jean Dubuffet, Jean Fautrier) (21 Sep-22 Oct, 1960); 2013, The Continuation of Romance painting an Interrupted discourse, Rosenfeld Porcini, London; 2017, Bram Bogart. Zonzucht, Vigo Gallery, London
Klaas Muller
dutch school ca 1610
Dutch School Portrait of a Lady, circa 1610 Oil on panel, oval format H 62 cm To this day, no one has been able to identify the creator of this work. Based on the style of the clothes, we can date the work to around 1610 (the period when Rubens made his famous portrait 'The Honeysucle Bower' (circa 1609, Münich, Alte Pinakothek) showing himself together with his first wife Isabella Brant). Altough stylistically our portrait is closely related to Rubens double portrait, based on attire and jewellery, we should rather situate our portrait in the Northern Netherlands. The outstretched hairpin was meant to deter 'the evil eye'.
Galerie La Patinoire Royale Bach
lita albuquerque
Lita Albuquerque (Santa Monica, 1946) On a sliver of sun, she travels toward the moon, 2021 24kt gold leaf on resin and pigment on panel 2.10 x 2.10 m Provenance: the artist's studio Exhibitions: Lita Albuquerque: Liquid Light; Collateral Event of 59th La Biennale di Venezia, Biennale Arte 2022; Presented by bardLA, Los Angeles, California. Curated by Elizabeta Betinski and Neville Wakefield
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Gilden's Art Gallery
sam francis
Sam Francis (San Mateo 1923-1994 Santa Monica) Untitled SF73-287 (Tokyo), 1973 Acrylic and gouache on wove paper 37.4 x 55.2 cm Signed, dated and inscribed Archive n° SF73-287 Provenance: Kornfeld und Klipstein, Bern, Switzerland; Irving Galleries, Palm Beach, Florida; acquired from the above in 1987; private collection, United States of America
Galerie Jean-François Cazeau
André Masson (Balagny-sur-Thérain 1896-1987 Paris) La Ville abandonnée, 1923-1924 Pastel, coloured wax and charcoal on paper 62.2 x 47 cm 98.5 x 83.3 cm (framed) Study for the final painting entitled La Ville abandonnée, 1923-1924 Signed lower left: André Masson Provenance: the Artist's studio; Collection T. Mesens, Belgian surrealist artist; Gallery Knoedler, New York; Galerie Odermatt-Cazeau, Paris; Private collection, Paris Literature: André Masson, oeuvres maîtresses, Galerie H. Odermatt - Ph. Cazeau, Paris, 1990, ill. in colour, p. 99, n° 43 Exhibition: New York, Surrealism in Art, M. Knoedler & Co., Inc., February-March 1975, catalogue n° 86 Study for the final painting entitled La Ville abandonnée, 1923-1924, oil on canvas, 73 x 60 cm, property of Galerie Louise Leiris, Paris. Literature: Paris, André Masson, oeuvres maîtresses, Galerie H. Odermatt - Ph. Cazeau, 5 December 1990-2 February 1991, p. 99; de Joinville, France, Château du Grand Jardin, Beauvais, Musée Départemental de l'Oise; Tchécoslovaquie, Sovinec, Ostrava, Bratislava, Prague: André Masson : Dessins Surréalistes 1925-1965. 17 April 1993-31 January 1994; Paris, André Masson: peintures et œuvres sur papier 1919-1927, Galerie Louise Leiris, 14 May-13 July 1996. Definitive painting after the drawing, ill. on the cover of the catalogue, p. n°9. Property of Galerie Louise Leiris. Illustrated on the cover of the catalogue; André Masson: Dessins Surréalistes 1925-1965, 1993. The catalogue is published by the AFAA (L'Association Française d'Action Artistique), Le Château du Grand Jardin (Conseil Général de la Haute Marne) and the Musée Départemental de l'Oise, Beauvais and produced by Soft Publicité Reims.
Galerie Raf Van Severen
tsuguharu foujita
Léonard Tsuguharu Foujita (Tokyo 1886-1968 Zurich) Les Deux Amies, 1920 Mixed media on canvas 46.5 x 38.5 cm Signed in the bottom right in Japanese: T. Foujita Signed and dated at the back Provenance: label from Maison Manteau on the back; collection van Buuren; private collection, Belgium Literature: Lechien-Durant, F., Le musée David et Alice van Buuren. Maison de mémoire, Brussels, 1995, p. 100 (repr.) This work will be included in the forthcoming fourth volume of the Catalogue Raisonné of Foujita's work currently being prepared by Sylvie Buisson under the n° B 20.031.H. Exhibitions: 1927, Brussels, Galerie Le Centaure, n°4, Deux femmes I.; 1995, Antwerp, Campo Vlaamse Kaai, Autour de Gustave Van de Woestyne, Réserve du Musée David et Alice van Buuren
Heutink Ikonen
Deesis and Apostle row (four panels) Asia Minor, possibly Smyrna (now Izmir), 17th century Egg tempera with gold leaf on a wooden panel surfaced with gesso and linen 28 x 59 cm, 27.5 x 92 cm, 27 x 102 cm, 27.5 x 67.5 cm A very rare and monumental Deësis ('intercession'), originally a Byzantine composition, in which Christ is depicted centrally as a judge while a number of selected saints are facing him in supplication. In this case, Christ is flanked by the Mother of God and John the Forerunner (the Baptist), with the Apostles at some distance from them. Remarkably, the apostles are not all positioned adjacent to each other, but are interspersed with ornamentation. The panels formed a part of the templon of a modest iconostasis of a church in the region of Asia Minor, possibly from the vicinity of Smyrna (present-day Izmir), where they were displayed directly above the royal doors.
Epoque Fine Jewels
cartier
Cartier Garland style diamond feather brooch In the shape of an ostrich feather with a bow, set with approx. 23 carats of diamonds, mounted in platinum with 'mille grains' finish. Several joints along the frame give flexibility to the feather. With detachable brooch fitting. Paris, 1914 11.7 x 6.8 cm Signed CARTIER PARIS LONDRES NEW YORK with maker's mark of Henri Lavabre According to the Cartier archives, this brooch was a special order, designed in the 'Style Guirlande' at the request of the buyer, even though Art Deco had already made its appearance at Cartier by that time
Montagut Gallery
Jukun figure Jukun people, Nigeria, 17th century Wood, metal H 96 cm Provenance: Roger Azar collection, Paris; private collection, USA; Adrian Schlag collection, Brussels; Dr. Tibor Kiss collection, Vienna Literature: Liliana Albertazzi, Roger Azar. Galeries Magazine, nº 30, April-May 1989; Kevin Conru, Anonymous Collectors, Brussels, 2007; Exhibition catalogue: Suintante, Adrian Schlag, Brussels, 2015
Galerie Van den Bruinhorst
William Hendrik Gispen (Amsterdam 1890-1981 The Hague) Saturnuslamp, Giso n° 2055, 1931 Executed by N.V. Gispen, Culemborg The Netherlands, 1945-1957 Matte brass nickel-plated pendant with an opal glass sphere and two frosted glass discs with bright edges H 105 x Ø 60 cm William Hendrik Gispen was a Dutch designer and manufacturer of modernist furniture and lighting. He was an important representative of the functionalist movement, promoting and selling modern interior designs at the beginning of the 20th century through his salesrooms in Amsterdam, Rotterdam, Brussels, Paris, London and Nottingham. This design was introduced in his lighting-catalogue 29 as n° 66 in 1931. It changed to no. 2055 in 1936, and later on the pendant was called ‘Saturnuslamp’ which means ‘Saturn-lamp’. The possibility to move around the world at high speed in cars, planes, trains but also rockets and space traveling were an inspiration for designers creating futuristic designs at the beginning of the 20th century. W.H. Gispen designed a lamp with two glass disks around an opal glass sphere that looks like the planet Saturn. Lighting by W.H. Gispen is part of the permanent collections of The Rijksmuseum Amsterdam, Museum Boijmans van Beuningen Rotterdam, Stedelijk Museum Amsterdam, V&A Museum London, The MOMA in New York and the MFAH in Houston USA.
Art et Patrimoine - Laurence Lenne
Large ceremonial covered vase Castelli, first half of the 18th century Polychrome tin-glazed earthenware H 52.5 cm It depicts an animated landscape representing a camp of Roman soldiers Literature: Fernando Filipponi, Aurelio Anselmo Grue. La Maiolica nel Settecento fra Castelli e Atri, Ed. Verdone, 2015; Luciana Arbace, Francesco Antonio Saverio Grue (1686-1746). L'attivita del Dottore maiolicaro da Castelli a Napoli, Ed. Andromeda, 2005
Bailly Gallery
henri le sidaner
Henri Le Sidaner (Maurice, Port Louis 1862-1939 Paris) Petite place au soleil couchant, 1901 Oil on canvas 57 x 80 cm Signed lower left: Le Sidaner Certificate of authenticity issued by Yann Farinaux-Le Sidaner, dated January 10th, 2023 Provenance: Galerie Georges Petit, Paris; private collection, Canada Literature: Notice of inclusion in the forthcoming supplément du catalogue raisonné, Le Sidaner-L'Oeuvre peint et gravé, currently being prepared by Yann Farinaux-Le Sidaner De son langage poétique à la musicalité feutrée de ses compositions, Henri Le Sidaner puise une grande partie de son inspiration dans les paysages ruraux. Au travers de pavés dorés par le coucher du soleil ou encore de toitures rougeâtres, l'artiste transforme des environnements architecturaux et domestiques en des portraits intimistes et mystérieux. « Petite place au Soleil couchant » en est un parfait exemple. Les nuances d'une lumière vécue au crépuscule s'imprègnent dans cette scène afin d'en ressortir les qualités oniriques et mystiques. Un langage visuel distinct, dans lequel Le Sidaner rend hommage à sa racine symboliste. Le traitement de la matière reste, quant à lui, fidèlement attaché aux techniques néo-impressionnistes. Les paysages qui l'entourent ont offert à Le Sidaner une inspiration considérable pour ses compositions. En mai 1900, le peintre rentrant du Bruges, se laisse influencer par les conseils d'Auguste Rodin, et s'installe au milieu de l'été à Beauvais. Il affirme alors sa conception de l'intimisme par des paysages d'évocation où la figure humaine n'a pratiquement plus sa place. C'est dans cette même période, le 21 avril 1901, Le Sidaner élabore les premiers motifs du tableau présenté et débuta la composition sur toile quatre jours plus tard. L'oeuvre est un hommage à la noblesse des bâtisses, ainsi qu'à la statue du docteur Ernest Gérard, ainsi maire de Beauvais. Achevée le 23 mai 1901, cette toile est livrée par l'artiste le 2 juin à son marchand Georges Petit pour un montant de 500 francs. Les paysages de Le Sidaner sont des manifestations intimes de l'artiste, qui possèdent une luminosités étonnante grâce à ses harmonies subtiles et l'application picturale des pigments. Une incroyable maitrise qui lui permet encore aujourd'hui d'être grandement reconnu par de nombreuses collections privées et institutionnelles. "Toute son oeuvre est influencée par un goût des atmosphères tendres, douces et silencieuses". (Y. Farinaux, Le Sidaner, L'oeuvre peint et gravé, Milan, 1989, p. 31)
Douwes Fine Art b.v.
Paul Delvaux (Antheit 1897-1994 Veurne) Portrait of a young woman, 1966 Pen and watercolour 17 x 12 cm Signed and dated: P.DELVAUX 24-12-1966 stuck on a sheet of paper filigree Wattman England. Provenance: Sale Auction house L’homme, Liège, 24 September 2016, cat. n° 40 Expertise: Certificate of authenticity of the Paul Delvaux Foundation, St-Idesbald, June 10, 2016 Notes In the work of Paul Delvaux we frequently find the female figure, a favorite subject of the artist. He stages the body of the women in antique setting or in scenes of everyday life. Often calm and mysterious, the women Delvaux focusses to represent are the reflection of the complex relationship that he maintains towards them. Indeed, already at a young age, the possessive and authoritarian mother of the artist warned him against women. Since then, the artist nurtured a fascination with the women he places on a pedestal. The woman represented in his work, are the image of his feminine ideal. Always young and beautiful, they are often naked, draped or preciously dressed. They symbolize the fascination and intrigue that Delvaux feels towards them and their bodies. The female figure occupies different roles in his work, from femme fatale to the mythological creature. In the present watercolour Delvaux integrates a contradictory image of the woman as being dangerous, free and independent but also valuable and untouchable. The chosen tones, from the aubergine color of the dress to the blue of the background, are very lively. Part of the bodice remained white, as well as the lighting in the upper left corner, which allows the chiaroscuro effect of the composition. In the same year as he made this drawing, he had a retrospective at the Lille Museum of Fine Arts and the Museum of Ixelles. A few years before, in 1959, he executed the mural decoration of the Palais des Congrès in Brussels and in 1965 he received the Five-Year Award for the dedication of his career and is appointed President and Director of the Class of Fine Arts of the Royal Academy of Belgium. Delvaux’s love life has not been without complication and this reflected in his art. When Delvaux fell in love with his first and great love Anne-Marie De Martelaere, known as Tam, at the age of thirty, the mother of Delvaux fiercely opposed this relationship, and he married someone else. This great sorrow of a lost love will permeate the image of the woman Delvaux depicts in his work: she is inaccessible and very often the man is excluded. At the death of his mother, the sadness felt by the artist is great but her death was also liberating for the future of his work. Delvaux now represents the woman in a much more libertine way. In 1947 he met Tam again in Sint-Idesbald. This chance meeting leads the two lovers to get married. The following decade will then mark a loss of creativity of the artist, his beloved imposes some constraints on Delvaux. He can no longer use models or represent them the way he desires. Later, Delvaux marries Suzanne Purnal and maintains a platonic love towards her.
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Helene Bailly
pablo picasso
Pablo Picasso (Malaga 1881-1973 Mougins) Le Peintre (Mousquetaire aux 2 visages), 1967 Oil on canvas 100 x 81 cm Signed: Picasso and dated: 21/2/67 at the top left Provenance: Louise Leiris Gallery; Galerie Taménaga (label on reverse); former Pierre and Jeannine Consten collection Literature: Christian Zervos, Pablo Picasso vol. 25 - oeuvres de 1965 et 1967, Editions Cahiers d'Art, Paris, 1972, n° 281, repr. in black and white pl. 126; Catalogue Exposition Internationale du Figuratif, 1971, ed. Tokyo ado banku, repr. in colour; Alan Wofsy, The Picasso's Project, Paintings, Watercolors, Drawings and Sculpture, The Sixties, Part II, 1964-1967, enlarged second edition, San Francisco, 2023, p. 302, n° 67-075
