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Rueb Modern and Contemporary Art
Pablo Picasso (Malaga 1881-1973 Mougins) Personnage assis dans un fauteuil Pencil on paper 32.5 x 23.5 cm Provenance: Marina Picasso Literature: Christian Zervos, Pablo Picasso, vol. 29, Paris, 1975, ill. n° 177, p. 78; Joseph Palau i Fabre, Picasso, Cubisme (1907-1917), Barcelona, 1990, n° 1323, ill. p. 441 Exhibition: Geneva, Galerie Jan Krugier, Pablo Picasso drawings, 1986
Simon Studer Art Associés
Pierre-Louis de La Rive (Geneva 1753-1817 Presinge) Paysage idyllique (Lac Léman et Grammont), 1792 Oil on canvas 85 x 114.5 cm, framed: 98 x 128 cm Signed and dated lower right Provenance: the artist's studio; Boissier family, Geneva; private collection, Geneva (by descent)
Galerie Günter Puhze GmbH
Mask of a sarcophagus Egypt, New Kingdom, 19th Dynasty, circa 1292-1190 BC Wood with remains of black colour H 14.2 cm Provenance: German private collection H. W., acquired 1983 at the German art market Published: Galerie Günter Puhze-catalogue Kunst der Antike 5, Freiburg im Breisgau, 1983, n° 313
Gaston Suisse (Paris, 1896-1988) African motherhood, circa 1958 Coloured lacquer with its original lacquer frame 59 x 49 cm Signed G Suisse. French artist designer, painter, lacquerer, decorator Literature: Émmanuel Bréon, Gaston Suisse. Splendeur du Laque Art Déco, Ed. Somogy, Paris, 2013
d'Arschot & Cie
Silver covered écuelle The lid is decorated with silver leaf applied and cut in the form of radiating lanceolate foliage, the handle in the form of a snake in the round, chiselled and embossed Tournai, letter date R, circa 1675 Master goldsmith signing the initials I.S for Marc Isaac Stienne, mentioned as master goldsmith from 1656 Coat of arms of François van Hoorn (1636-1679), his tombstone is still in the church of Saint Nicolas in Tournai Weight 560 gr H 26 cm Literature: L'orfèvrerie en Hainaut, 1985, p. 171, n° 34; E. J. Soil de Moriamé, L'orfèvrerie tournaisienne du XVII et du XVIIIème siècle à l'exposition de Tournai, 1911, p. 75; Michèle Bimbenet-Privat, Les orfèvres et l'orfèvrerie de Paris au XVIIème siècle, 2002, Tome II p. 224 For the tombstone: photo IRPA M224316
Van der Meij Fine Arts
Kristian Zahrtmann (Rønne 1843-1917 Frederiksberg) Still life with four tulips, 1912 Oil on cardboard 40 x 48 cm Signed lower right KZ 1912 (in ligature) Provenance: collection E. Th. Jensen, Denmark; private collection, Denmark Literature: H. Chr. Christensen, Kr. Zahrtmann 31 March 1843-22 June 1917. Fortegnelse over hans Malerier, Copenhagen 1917, n° 676; S. Danneskjold-Samsøe, Kristian Zahrtmann, Copenhagen, 1942, p. 572, n° 1069 (as Fire tulipaner i glas)
Adriaen Thomasz Key (Breda 1544-1589 Antwerp) Portrait of a bearded man, holding his gloves Oil on panel 80 x 59 cm Certificate by Dr. K. Jonckheere with confirmation of the work as an authentic A. T. Key, from the '60s of the 16th century Adriaenz Thomasz Key was born in Breda (1544), the son of Jan Thomas Mertens and Margriete Adriaen Keijen. After the death of his uncle Willem Key (in 1568) Adriaen Thomasz took over his studio in Antwerp and the name of his deceased and illustrious uncle by adding his surname to his own name. So Adriaen Thomasz Key was born. This was mainly for commercial reasons. Altough Adriaen Thomasz was a true calvinist and many of his paintings were therefore lost to the iconoclasm of the period, he stayed in Antwerp for the rest of his remaining career. Like his uncle, he painted several mythological and religious scenes but he was mainly renowned for his portraits. Amongst his clientele were the political and religious leaders of his era, such as Willem of Orange, Margareta of Parma, Abraham Ortemloius and others. Keys' portraits are often set during a turbulent period of history, on the brink of the 80 Years war, in which the religious, political and social structures were shaken up and called into question. Due to professional reasons, he was in contact with protagonists from both sides of the dispute. His portraits are silent witnesses to the deep earnestness and self-awareness that characterises the Dutch Renaissance. This portrait therefore fits the Zeitgeist: This man looks (down) at us, confident and stern. The background has little life in it and doesn't detract from the force of the face in the foreground. He is holding on tight to his glove(s), the latter a symbol of both protection and violence. Two visible rings might be the indication of a female pendant.
d'Arschot & Cie
Parisian 17th century bookbinding OFFITIO DELLA CHIESA. Paris, Étienne Chardon for Jacques Hérissant, 1689-1690, in-24 Silver, porcelain and amethyst binding from the Louis XIV period Decorated with chased silver and openwork on a red paillon background, ten cut amethysts set on each plate. The plates are decorated with enamels painted on porcelain 8.5 x 4.5 cm Literature: Paul Micio, Filigranes d'or et d'argent du Grand Siècle, in l'Objet d'Art Juin 2003, n° 381, pp. 66-73
Van der Meij Fine Arts
Johan Christian Dahl (Bergen 1788-1857 Dresden) Birds in the snow, 1836 Oil on canvas laid on wood 10 x 9.5 cm Signed and dated lower right J Dahl 1836 Provenance: E.W. von Coopmanns, Dresden, 1836; auction Blomqvist, Oslo, 4 December 1978, lot 15a; private collection, Norway; Christie's London, 29 November 1991, lot 77; private collection, Switzerland Literature: M.L. Bang, Johan Christian Dahl, 1788-1857. Life and Works, Oslo 1987, II, p. 258, n° 823; III, plate 349
Tove (1906-1994) and Edvardt (1901-1982) Kindt-Larsen 'Fireplace' armchairs Teak, leather Denmark, 1940 Dimensions: H x W x D cm Model made for Gustav Bertelsen Literature: Grete Jalk, 40 Years of Danish Furniture Design. The Copenhagen Cabinet-makers’ Guild Exhibitions 1927-1966. Copenhagen: Teknologisk Instituts Forlag, 1987, 1937-1946, pp. 108-110 This lounge chair was specially designed to sit in front of a fireplace. When it was first exhibited, this model was mentioned as a masterpiece of modern design. This chair has great characteristic details. Starting with the X-shaped crossbar under the seat. The L-shaped seat itself is separated from the wooden frame. Beautiful detail are the armrests which have a nice curve on top of the rests, towards the back of the chair. The chairs are still upholstered in their original cognac leather. Due to the rich patina, the age of the chairs is shown in a beautiful manner. Tove and Edvardt Kindt-Larsen are a Danish designer couple. Both of them were trained as architects and had studied under the guidance of Kaare Klint at the Royal Danish Academy of Fine Arts. In the beginning of his career, Edvardt Kindt-Larsen used a combination of shiny, painted surfaces with untreated wood or created one piece of furniture out of several different kinds of wood. However, a large part of his success is due to the collaboration with his wife, Tove. During their marriage and partnership as architects and furniture designers, they were at the forefront of Danish and Scandinavian design. Nowadays they are known for refined, modest design executed with the highest quality materials.
Galerie Alexis Pentcheff
Henri Manguin (Paris 1874-1949 Saint-Tropez) La bouquetière, 1906 Oil on canvas 92 x 73 cm Signed and dated lower left Provenance: Acquis de Henri Manguin par H. Bonan, Tunis, June 1939; sale, Paris, Palais Galliera, 14 March 1967, n° 67; collection Mrs Joseph King, 1981; Galerie Urban, Paris; private collection, France Literature: Lucile et Claude Manguin (dir.), Henri Manguin, catalogue raisonné de l'oeuvre peint, Ides et Calendes, Neuchâtel, 1980, repr. under n° 245 and p. 117 Exhibitions: Manguin, Galerie de l'Elysée, Paris, 1938, n° 2; Norton Gallery and School of Arts, Florida, 1981
Mangbetu Harp Democratic Republic of Congo, end of 19th-beginning of 20th century Wood, pigments, fiber H 85 cm Provenance: Mestach collection, Belgium Literature: Primitivism in 20th Century Art. Affinities of the Tribal and the Modern, Rubin, New York: The Museum of Modern Art, 1984; Le Primitivisme dans l’art du 20e siècle. Les artistes modernes devant l’art tribal, Paris, Editions Flammarion, 1987, p. 309; Mangbetu. Afrikaanse Hofkunst uit Belgische prive-verzamelingen, Brussels, KB, 1992, p. XXXIII; Hommage à l'Afrique Noire, 1794-Bicentenaire de l'abolition de l'esclave-1994, Belgium, 1994, p. 46; L'Intelligence des Formes, by Willy Mestach, Brussels: Tribal Arts, 2007, p. 85, Cat. 016; GEO-Graphics: a map of art practices in Africa, David Adjaye (concept), BOZAR Centre for Fine Arts; Sounding Forms, Brincard, New York, The American Federation of Arts, 1989, p. 86, fig. 2; The Intelligence of Forms, Minneapolis: The Minneapolis Institute of Arts, 1991, p. 44, fig. 8 Exhibitions: Brussels, Belgium: Mangbetu. Afrikaanse Hofkunst uit Belgische prive-verzamelingen, KB, 22.10-20.12.1992; Brussels, Belgium: L'Intelligence des Formes, Salle des Beaux-Arts, 6-29.6 2007; Brussels, Belgium: GEO-Graphics: a map of art practices in Africa, Centre for Fine Arts, Silvana Ed. Spa Cinisello Balsamo, 9.6-26.9.2010; Sounding Forms: African Musical Instruments: Washington, D.C.: The National Museum of African Art, 26 .4-18.6.1989; Richmond, Virginia: The Virginia Museum of Fine Arts, 16.07-10.9.1989; Kansas City, Missouri: The Nelson-Atkins Museum of Art, 7.10-5.12.1989; The Intelligence of Forms. An Artist Collects African Art: Kansas City, Missouri: The Nelson-Atkins Museum of Art, 5.10-24.11.1991; Minneapolis, Minnesota: The Minneapolis Institute of Arts, 21.12. 1991-22.03.1990
Raoul Ubac (Malmedy 1919-1985 Dieudonné) Untitled (Head), cicra 1969 Sculpture in stoneware covered with an amalgam of resin and slate powder H 22 x W 21 x D 15 cm Signed with the monogram 'U' on the back of the work Provenance: Maître Maurice Rheims' collection This piece is registered in the Raoul Ubac archives under n° 10 30 and is accompanied by a photographic certificate established by Anne Ubac Delfieu, daughter of the artist and holder of the moral rights
Vulture stamp seal Ancient Near East-Mesopotamia, Sumerian, Uruk IV-III., ca. 3200-2900 BC Calcite H 3.4 x W 5.3 x D 1.35 cm Provenance: private collection, New York City; Sotheby's, New York City, 2008, sale 8452, lot 66, private collection 1980, France Literature: P. Amiet, Glyptique Mésopotamienne, n° 163, and Au Pays de Baal, n° 80 (Aleppo Museum, G47) CMP, pl. XLVI n° 461/470, CNRS Paris 1980 Carved calcite stamp seal in the form of a vulture devouring a hare, the beak grooved and the eye drilled, the long ears and one eye of the hare indicated. Five animals are bow-drilled on the base and there is a vertical piercing for suspension. This seal may have served as both an amulet and a stamp seal.
Pablo Picasso (Malaga 1881-1973 Mougins) Untitled (African warrior with spade, various portraits), 1905 Ink on paper 25 x 17 cm Provenance: private collection, Geneva Literature: Christian Zervos, Catalogue raisonné de Pablo Picasso, vol. 22, Supplément aux années 1903-1906, Editions Cahiers d'Arts, Paris, repr. p. 116, nº 324
Douwes Fine Art BV
David Teniers II (Antwerp 1610-1690 Brussels) Barn scene with a man courting a young woman and several figures, 1681 Oil on canvas 53.5 x 69.5 cm Signed: D.Teniers on the wooden box (l.c.) and dated 1681 on the barrel Provenance: collection of the Duke of Orleans, 1798; private collection, United Kingdom; Felix & Charli Eyston, London, 1982; private collection, The Netherlands; Douwes Fine Art, Amsterdam, 2006; private collection, The Netherlands This is most probably the painting described by John Smith in his Catalogue Raisonné, London 1831, vol. III, under n° 372, where the dimensions are incorrectly stated as square
Trapezophorus fragment Roman, ca. 2nd century AD Marble H 46 cm Provenance: Nicolas Koutoulakis (1910-1996), Paris and Geneva; thence by descent This trapezophorus, or table support, is in the form of a horse. Most known examples of decorative tables span the centuries between 50 BC and 220 AD. In antiquity, few opportunities were missed to turn functional objects into visually interesting and artistic objects. Greek and Roman sculptures such as these were precursors for the decorative arts of the Italian Renaissance
Douwes Fine Art BV
Rembrandt van Rijn (Leiden 1606-1669 Amsterdam) Christ preaching, ca. 1657 Etching and drypoint 15.5 x 20.8 cm; with narrow margins Watermark: Arms of Amsterdam watermark (Ash/Fletcher 1, they date most impressions of various subjects by Rembrandt with this watermark from the 1650s Bartsch 67; Seidlitz 67; Hind 256; White-Boon 67, The New Hollstein Dutch n° 298, 1st state (of II), before the Watelet retouching Plate may be in existence-with Colnaghi in 1830 Provenance: private collection, USA; private collection, The Netherlands Literature: Erik Hinterding, Ger Luijten, and Martin Royalton-Kisch (eds.), Rembrandt the Printmaker, exhibition catalogue, Rijksprentenkabinet, Amsterdam/British Museum, London, 2000–2001, n° 68; Clifford S. Ackley et al. (eds.), Rembrandt’s Journey: Painter, Draftsman, Etcher, exhibition catalogue, Museum of Fine Arts, Boston/Art Institute of Chicago, 2003–2004, n° 136 f Richly-inked 'white sleeve' impression with very strong contrasts and no sign of wear, with burr on the robe of the man with his back turned lower left and on the diagonal shading below his feet