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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
Segoura Fine Art
carlos schwabe
Carlos Schwabe (Zwitserland, 1866-1926) Melisande, 1908 Gouache and mixed technique on paper 29 x 13 cm Signed, dated 1908 lower right and titled Mélisande lower left This full-length portrait depicts an emblematic female figure of the late nineteenth century, inspired by Maurice Maeterlinck's Symbolist play ‘Pelléas et Mélisande’. This dramatic play explores the platonic love between the two protagonists. This portrait of Mélisande reflects Carlos Schwabe's attachment to this enigmatic and spiritual character, illustrating his affinity with Symbolism. The painting bears witness to Schwabe's exceptional talent, his ability to capture emotional depth through his unique artistic expression. Between 1892 and 1924, Schwabe illustrated numerous works, enriching the texts with his striking visions. In 1924, he illustrated ‘Pelléas et Mélisande’, offering us sensual, enigmatic and mystical images. This portrait can therefore be seen as a real preparatory work for these illustrations.
Heutink Ikonen
The Transfiguration of Christ Russia, Kaluga region, late 18th century Egg tempera on gesso on linen-covered wood 54 x 44.5 cm This finely painted and colourful icon, with late Baroque and Rococo influences, depicts the miracle of the Transfiguration of Christ. Remarkably, not only the Transfiguration of Christ itself is depicted, but also the preceding and subsequent events, as described in the gospels of Matthew, Mark and Luke, are captured in one and the same composition. Christ and his three disciples are each portrayed four times, each at a different moment of the narrative, and in a different state of mind. On the left, we see Christ telling the disciples Peter, John and James to follow him up the mountain. Once on the mountain, Christ changes shape: his clothes turn white like light and his countenance becomes radiant like a sun. Next to Christ, the prophets Moses and Elijah appear, being brought to the mountain by angels. When the voice of God sounds from heaven, the disciples become fearful and fall face down to earth. Christ touches them and reassures them. Then, as they descend from the mountain, Christ urges his disciples not to tell anyone what they had seen.
Dr. Nöth kunsthandel + galerie
George Grosz (Berlin, 1893-1959) Moonlight, 1936 Oil on canvas 41.3 x 51.4 cm Signed lower right Ralph Jentsch will include the painting in his forthcoming catalogue raisonné of paintings by George Grosz Provenance: the artist's studio, Douglaston, NY 1936; Contemporary Galleries, New York; Sale, Sotheby's, New York, June 22nd, 1984, lot 329; private collection, estate of Robert H. Arnow
Chambre professionnelle belge de la Librairie Ancienne et Moderne (CLAM)
Miquel Barceló (Spain, Felanitx 1957) El libro de los ciegos / Book of the Blind Paris: Item, 1993 Artist's book Folio (40 x 30 cm), prototype binding consisting of rigid boards of incised and tinted plywood. Text by Evgen Bavčar printed in Braille. 48 lithographs and 33 prints by Miquel Barceló, some with added amber varnish Edition of 50 numbered copies on Augoumois paper printed in Spanish Braille, signed by the artist. Ingert ｜Antiquarian Bookseller
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
Mearini Fine Art
Presbytery fence pillar with ribbon, interlacing relief and recesses for pluteo on the sides White marble Central Italy (Lazio or Umbria), late 8th-early 9th century H 46 x W 27 x D 16 cm Expertise by Professor Guido Tigler Provenance: private collection, Italy Comparative literature: M. Salmi, la Basilica di San Salvatore di Spoleto, Firenze 1951, p. 37, tavv. XXIIId; L. Pani Ermini, (la Diocesi di Roma: La quarta regione Ecclesiastica (Corpus della scultura alto medievale, VII, 1), Spoleto 1974. pp.91-92 cat. 40); R. Krautheimer, S. Corbett, W. Frankl, Corpus Basilicarum Christianarum Romae. The Early Christian Basilicas of Rome (IV-IX century), Città del Vaticano 1959, p. 91 fig. 86
Artimo Fine Arts
ulysses and his dog by joseph gott
Joseph Gott (UK, 1785–1860) Ulysses and his dog Life-size group in white Carrara marble H 185.5 cm Provenance: most certainly commissioned directly from the artist by Benjamin Rawson for the Nidd Hall Manor rebuilt in 1825; by descent: Elisabeth Rawson; by descent: Viscount Mountgarret (Sculpture still exhibited in 1902 in the Nidd Hall Manor); since 1989: property of Mr Alfred Brenner from the Brenner Verpackungen company in Germany Literature: T. Friedman and T. Stevens, Joseph Gott Sculptor, exh. cat., Temple Newsam House, Leeds and Walker Art Gallery, Liverpool, 1972, p. 40, n° G40, pl. 39; F.S. Bonfigli, Guide to the studios in Rome... 1860, p.32 It depicts Ulysses, in a loincloth and cap, being recognised by his loyal dog Arg after a 20-year absence. This group or a plaster of this group was seen in Gott's studio in Rome by Bonfigli in 1860. Joseph Gott (1785-1860) was one of the most esteemed British sculptors of the early nineteenth century, gaining international recognition. He maintained close ties to Yorkshire through his patrons, particularly his second cousin Benjamin Gott, a wealthy Leeds industrialist. After relocating to Rome in 1822, he became part of a vibrant British artistic community. Known for his unique interpretation of classicism, Gott’s works often depicted charming, intimate subjects such as playful children and animals. His style combined classical influences with a romantic sensitivity, setting him apart from his contemporaries in Rome.
Galerie Jean-François Cazeau
andré masson
André Masson (Balagny-sur-Thérain 1896-1987 Paris) Combat stellaire, 1955 Tempera and sand on canvas 50 x 65 cm Signed on the back 'André Masson' Provenance: the artist's studio; Galerie Odermatt-Cazeau, Paris; private collection, France (acquired from the former) Literature: André Masson: Oeuvres maîtresses, Galerie Odermatt-Cazeau, 1990, repr. p. 87, n° 38; André Masson: Il n'y a pas de monde achevé, Centre Pompidou-Metz, March 30th-September 2nd, 2023, (retrospective), ill. p 214 André Masson created his first works in sand in the autumn of 1926 in Sanary-sur-Mer. The free flow of glue fixing the sand appealed to the artist for its unpremeditated nature. Textured shapes in subtle, varied shades make up the random weave of Combat stellaire, set against a deep red and mauve background reminiscent of a nebula. The painted line recalls that of the 'automatic drawings' initiated by the artist in 1923-1924, made by a hand freed from the injunctions of the brain, the mark of true automatism that fascinated André Breton. The cosmic subject is reminiscent of works from the American period. André Masson’s sand paintings represent the invention of 'dripping', a technique that post-war painters like Jackson Pollock would push to its fullest.
Montagut Gallery
Ngon mask Bekom people Cameroon, 19th century Wood and ritual patina H 44 cm Provenance: Marcial Bronzi collection, Brussels; Didier Claes, Brussels; Rachel Montagut collection, Barcelona Ngon masks are one of the many types that appear at commemorative ceremonies held for deceased persons in the kingdoms of Cameroon. These sets of masks, in the possession of various lineages, can include more than twenty masks, most of which represent different figures. Some of the masks are obligatory, such as the kam, the male head mask, and the ngon, which represents the woman.
Kunstconsult 20th century art I objects
barbara nanning
Barbara Nanning (The Hague, 1957) Ceramic sculpture 'Hydras' from the Botanica series, 1997 Stoneware with coating of sand and pigment Ø approx. 80 cm Unique piece Provenance: collection Snijder, Aerdenhout Literature: Thimo te Duits, Barbara Nanning_evolution, Publisher nanning, 2004, p. 63 and p. 133
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
Galerie Lowet de Wotrenge
Frans Francken I or Frans Francken the Elder (Antwerp, 1542-1616) The Amazons fighting at Troy, circa 1600 Oil on copper 34 x 41.5 cm With thanks to Dr. Ursula Häerting for confirming the attribution to Frans I Francken and for providing a written certificate Provenance: sale, Christie's London, 13 March 1987, lot 31; private collection, Mallorca Frans I 'the Elder' Francken was born in Herentals in 1542. His father, Nicolaas Francken, was an obscure painter whose oeuvre remains unknown, but can be seen as the founding father of one of the most important dynasties of artists in the Southern Netherlands. Both Frans and his siblings Ambrosius and Hieronymus - who were to become painters as well - were first taught by their father. Karel van Mander mentions in his Schilder-boeck that Frans was later a pupil of the leading Antwerp Romanist painter Frans Floris. He became a member of the Antwerp guild of St Luke in 1567, and served several times as its dean. Frans Francken married Elisabeth Mertens; the couple had many children, of whom six were still alive at the time of his death in 1616: Thomas, Frans ('the Younger'), Hieronymus, Ambrosius, Magdalena and Elisabeth. The four sons all became painters and received their initial training from their father, who also taught several other pupils, such as Gortzius Geldorp. Much like his teacher Frans Floris, Frans Francken was one of the principal painters in Antwerp in the initial decades of the Counter-Reformation, working on many altar pieces which were commissioned to replace the ones that had been destroyed by the iconoclasm of the Calvinists. For these projects he regularly collaborated with his brothers; for example, for an Adoration of the Magi triptych (Brussels, Royal Museums of Fine Arts of Belgium and London, Brompton Oratory), which bears his monogram as well as that of his brother Hieronymus (along with both brothers' portraits in profile, which they impishly included in the wings of the tryptich). Stylistically, Frans' early work was clearly indebted to Frans Floris; later on he developed his own, more classicising style, although he remained first and foremost a mannerist painter. He seems to have been skilled at portraiture, too. Besides large-scale pictures, he also produced small-size cabinet pictures, often painted on copper - a genre in which his son Frans II would excel. The present work is a beautiful example of such production, and a valuable addition to the small body of work that can be attributed to him in this genre, as has been confirmed by Dr. Ursula Härting in a written certificate dated October 4th, 2023. She dates the present work to around 1600, or possibly a bit earlier. This small oil on copper depicts the Amazons fighting in front of the city of Troy, which can be seen in the background. According to Homer's Iliad, the Amazon queen Penthesilea had led her troops to Troy in support of King Priam in his fight against the Greeks. The queen, who can be seen in the foreground spearing a hapless Greek, was a fearless warrior who could best any man (according to one version of the story, she even killed Achilles, who was however subsequently brought back to life by Zeus). Ultimately, however, Penthesilea was slain by Achilles, who - according to some authors - fell deeply in love with her at the very moment of her death.
Stone Gallery
180 million year old pregnant Ichthyosaur A pregnancy of 180 million years ago, captured in rock, preserved forever Provenance: Holzmaden, Germany Besides being an extraordinary fossil, 'Mutti' (the nickname for this Ichthyosaur, German for Mommy) can be seen as a symbol for motherhood, fertility and femininity. This female ichthyosaur is unique because she was carrying two offspring that can be seen clearly in her abdomen, making her a symbol of femininity and motherhood. Ichthyosaur was an ancient sea monster that ruled the oceans approximately 251 million years ago, 20 million years before dinosaurs came about. Icthyosaur means “Fish Lizards” in Greek. They existed for 100 million years. They were at the top of the marine food chain.
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Guy Pieters Gallery
christo and jeanne-claude .
Christo (Gabrovo 1935-2020 New York) and Jeanne-Claude (Casablanca 1935-2009 New York) The Mastaba (Project for Abu Dhabi, United Arab Emirates), 2013 Pencil, charcoal, wax crayon, pastel, hand-drawn technical data and map, enamel paint, wash and tape Left part: H 165 x W 38 cm Right part: H 165 x W 106 cm
Giammarco Cappuzzo Fine Art
Jusepe Ribera (Jativa 1591-1652 Napoli) An Apostle, circa 1635-1638 Oil on canvas 76 x 62 cm With gratitude to Dr. Nicola Spinosa, Dr. Riccardo Lattuada and Dr. Viviana Farina, leading experts of Jusepe Ribera to have confirmed the attribution. Provenance: private collection, France; private collection, Italy This Apostle is part of the cycle of portraits of the Apostles by the same artist, housed in the Prado Museum in Madrid. Diagnostic analyses conducted on the canvas have confirmed its full compatibility with works executed around 1630 by the painter, also revealing the presence of preparatory drawing, a method he frequently employed.
Galerie Florence de Voldère
pierre brueghel le jeune
Peter Brueghel the Younger (Brussels 1564-1638 Antwerp) Winter Landscape with Skaters - The Bird Trap Oil on panel 39 x 57 cm Among the strong, committed subjects that make up the oeuvre of Peter Brueghel the Elder, The Bird Trap is like a gift in the form of a poem all its own. The very different subject at the heart of this work is pure emotion. Whether provoked by the silence of nature, or by an awareness of the human scale in the macrocosm, or for any other reason, it remains a masterpiece out of time.