This section will be available this Autumn.
Victor Werner
Louis Tuaillon (Berlin, 1862-1919) Stag, circa 1912 Bronze garden sculpture with natural green patina H 110 x W 90 x D 32 cm Signed ‘Louis Tuaillon’ on the base Bears the foundry ‘Martin u. Piltzing Hofbildgiesser Berlin’ A neoclassical bronze sculpture depicting a stag in a standing sentinel pose. This design was acquired in 1912 by the prominent art philanthropist Eduard Arnhold for his private estate in Hirschfelde (Brandenburg), where a large-scale version still stands today as a public monument.
Herwig Simons Fine Arts
Door lock with Christ and the Twelve Apostles 17th-century Provenance: former private collection, Belgium Finely crafted 17th-century door lock, featuring an elaborate openwork design depicting Christ and the Twelve Apostles. The lock retains its original key and the lock is in good working order. A fascinating example of 17th-century decorative ironwork, combining historical significance religious iconography, and intricate craftsmanship.
Galerie Nicolas Bourriaud
Emile Monier (Paris, 1883-1970) Bust of a Peulh woman, 1930 Fine Swedish granite H 65.5 x W 43 x D 30.5 cm Signed ‘EMILE MONIER’, dated ‘1930’ and titled ‘KOUMBO’ Unique piece Provenance: private collection, France Exhibitions: Société coloniale des artistes français, 1930, n° 101; Office privée des colonies, 34 rue Pasquier, Paris 8th arrondissement, until 19 December 1930
Verdini Antiques
Enrico Podio (Active 1840-1890 between Rome and Venice) Micromosaic centre table, 1873 Polychrome micromosaic, patinated, cast and chased bronze H 100 x Ø 125 cm Signed and dated 'Enrico Podio fece Venezia 1873' A highly accomplished Venetian micromosaic conceived as a complete decorative programme of Classical imagery, centred on a dramatic head of Medusa.
Douwes Fine Art b.v.
Jeronimus van Diest (The Hague, 1631-1684) Herring busses under the protection of 'Men of War', circa 1652-1654 Oil on canvas 105.5 x 161 cm Monogrammed ‘I VD’ on the barrel at bottom right Provenance: Baron van Dedem collection, The Netherlands; M. Wolff Gallery, Amsterdam, before 1940; private collection, The Netherlands; Hoogsteder Gallery, The Hague, 1991; Inder Rieden collection, since 1991 Literature: Gerlinde de Beer, 'The Golden Age of Dutch Marine Painting-The Inder Rieden Collection', edited by Charles Dumas, Primavera Pers, Leiden 2019, Catalogue II, n° 43, pp. 682-694; Charles Dumas, Gerlinde de Beer, 'In de ban van de zee-De Gouden Eeuw van de Nederlandse marineschilderkunst', De Inder Rieden Collectie, Museum Bredius, 2019, Wilco, Amersfoort, The Netherlands, n° 60, ill. in colour; E. Buijsen, in: Buijsen/Ekkart/Dumas 1998, p. 121, fig. 3 in colour Exhibitions: Charles Dumas, Gerlinde de Beer, 'In de ban van de zee-De Gouden Eeuw van de Nederlandse marineschilderkunst', De Inder Rieden Collectie, Museum Bredius, 2019, Wilco, Amersfoort, The Netherlands, n° 60, ill. colour; The Hague 1998/99, without n°
WHITFORD
Joseph Lacasse (Tournai 1894-1975 Paris) Dominante Rouge (Dia 385), 1948-1950 Oil on canvas 130 x 89 cm Signed and dated upper left Signed, dated and inscribed on reverse Lacasse estate inventory Dia n° 385 Certificate of authenticity issued by Mme Joostens-Koob Provenance: the estate of the artist
Univers du Bronze
Rembrandt Bugatti (Milan 1884-1916 Paris) Deux antilopes Goudou or 'Deux Amis', circa 1911 Bronze, dark brown patina H 23.1 x L 43.2 x D 11.9 cm Signed 'R. Bugatti' Original cast and edition by 'A.-A. Hébrard cire perdue Paris' (seal and inscribed in the wax 'Fondu en 1925'), engraved '(13)' Edition cast in 1925
F. Baulme Fine Arts
Nicolas Vleughels (Paris 1668-1737 Rome) King Solomon Sacrificing to the Idols, 1721 Oil on canvas 38 x 52.5 cm Monogrammed and dated lower left 'N.V.F 1721' Provenance: Paris, de Troy sale, 9 April 1764, n° 123; Pierre Rémy collection, 1764 Literature: Bernard Hercenberg, Nicolas Vleughels, directeur de l’Académie de France à Rome, 1668-1737, Paris, Léonce Laget, 1975 (cat. n° 93, p. 89; engraving, fig. 100, repr.) Related works: Edme Jeaurat, after Nicolas Vleughels, King Solomon Sacrificing to the Idols, 1723, engraving; Nicolas Vleughels, King Solomon Sacrificing to the Idols, 1720, oil on panel, 21.5 x 30 cm, private collection; Nicolas Vleughels, Solomon and the Queen of Sheba, 1728-1729, oil on copper, 39 x 50.7 cm, Paris, Musée du Louvre (RF 1992 412)
Francis Janssens van der Maelen
Philippe Wolfers (Brussels, 1858-1929) Evocation, 1923 Granite H 39 cm Signed by engraving on the neck 'Ph. Wolfers.' Provenance: Wolfers family, created for the renowned Gioconda ensemble Art Deco bust of a woman with hair adorned with a diadem, sculpted in stone. Philippe Wolfers’ Evocation bust, created around 1923 in granite, was part of the emblematic Gioconda ensemble, designed for the 1925 International Exhibition of Decorative Arts in Paris. With this ensemble, Wolfers sought to create a true Gesamtkunstwerk - an integrated work of art in which sculpture, furniture, architecture, and silverware engage in dialogue around a unified aesthetic vision. Gioconda was awarded the prestigious Grand Prix at the exhibition.
Verdini Antiques
Domenico Morelli (Naples, 1823-1901) Cesare Borgia in Capua, 1854 Oil on canvas 131 x 183.5 cm Provenance: Count Tasca d'Almerita of Palermo Literature: Almerinda Di Benedetto, 'The painted history: Domenico Morelli and the Sack of Capua' in Rosanna Cioffi, Ornella Scogliamiglio, MOSAIC, Themes and methods of art and criticism for Gianni Carlo Sciolla, vol. 2, Luciano Editore, 2012 Exhibition: Exhibition of Fine Arts in Palermo, 1856, presented as: Cesare Borgia after the siege of Capua makes women who had taken refuge in a basement of the castle draw It is above all through the letters to his friend Pasquale Villari that we know the various moments of the work that allow the painter Domenico Morelli to complete the painting 'Cesare Borgia in Capua', commissioned by the wealthy German entrepreneur Ettore Giulio Marstaller. On September 26, 1849 Domenico Morelli wrote to Villari that Marstaller had been very interested in a 'drawing sketch representing Cesare Borgia after the capture of Capua who chooses among the women locked up in a tower 40 of the most beautiful and we agreed that he will execute the painting of the same size as the bodies, with torchlight'. The relationship between the painter and the client was somewhat troubled, to the point that Domenico Morelli proposed the painting to another buyer. Completed in the spring of 54, due to Marsteller's death, the painting was sold in January of the following year to Count Tasca d'Almerita of Palermo. In 1856 the painting was thus presented at the Exhibition of Fine Arts in Palermo with the title 'Cesare Borgia after the siege of Capua makes women who had taken refuge in a basement of the castle draw', obtaining enthusiastic judgments to such an extent that in the magazine 'Il Poligrafo' the regret of not being able to grant the Neapolitan painter a diploma of gratitude, as the regulation provided for it only for Sicilian artists. The certain motivations for Morelli's choice of this dramatic historical event are not known, but, as Almerinda Di Benedetto points out, it is shown 'certain, however, that the identification of an event so historically full of meaning, both for the terribleness with which the events took place, and for the very strong symbolic message transmitted by the behavior of the Capuans, strenuous and indomitable defenders of their own land and of the moral and civil values linked to it, appears more than appropriate in an era permeated by deep Risorgimento and patriotic moods'. In relation to the terrible decision of the ruthless Duke Valentino to perpetrate an unprecedented massacre in Capua to the detriment of the helpless population, which came to count a few thousand victims, the professor and researcher Almerinda Di Benedetto recommends the 'very recent publication by Giancarlo Bova, Il sacco di Capua, July 24, 1501, in which the author contributes, with the contribution of unpublished documents, to make greater clarity on the chilling story of the memorable massacre'. As far as the purely pictorial aspect is concerned, in the year 1925 Vittorio Spinazzola would have condensed the description of the work in the following lines: 'the lush canvas, in which all the virtues of his imagination, his brush, the wise research, the sensuality of the forms, the tumultuous yet Latinally contained impetus of the composition were employed, connecting to our Venetian or seventeenth-century Neapolitan tradition, in which the wonderful bottom of battlemented walls and towers glimpsed in a gold dust and the mastery of the groupings, the glimpses, the nudes, would be enough to show how much his mastery of the drawing, the brush, the form would be enough'.
Galerie Nicolas Bourriaud
André Bizette-Lindet (Savenay 1906-1998 Sèvres) Diane the Huntress, circa 1937-1938 Bronze with a nuanced brown-green patina, on a blackened wooden base H 64 x W 70 x D 20 cm Signed ‘Bizette-Lindet’ Cast by Susse, bears the foundry’s mark ‘SUSSE Fres / PARIS / CIRE PERDUE’ and the inscription ‘BRONZE’ Literature: Amandine Delcourt, Bruno Gaudichon and Fanny Legru, 'Faire le Beau. Le bestiaire de La Piscine', Ghent, Snoeck, 2017, p. 57 A similar example is held at the Musée de la Piscine in Roubaix (Inv.: FNAC 6463)
Galerie Uzal
Josuë Dupon (Ichtegem 1864-1935 Antwerp) Pair of groups 'Panther and Serpent', circa 1900 Bronze, rich brown patina and ivory on one Griotte marble and one faux-marble base H 114.5 x W 104 cm Signed ‘Josuë Dupon' and bears foundry mark 'F. van Aerschodt Fondeur' Provided with the CITES document for both sculptures
CKS Gallery
Sam Francis (San Mateo 1923-1994 Santa Monica) Composition, 1990 Acrylic and paper collage on paper 57.2 x 81.3 cm Stamped on the reverse with Sam Francis Estate logo stamp This work is registered in the archives of the Sam Francis Foundation under identification n° SF90-5PRS Provenance: private collection, the Netherlands; private collection, USA Exhibitions: St. Paul de Vence, Guy Pieters Gallery, Sam Francis, July-August 2003 (ill. in colour); Amsterdam, Museum Jan Van Der Togt, Sam Francis Remembering, November 2004-January 2005, pp. 138-139 (ill. in colour)
Desmet Fine Art
Odoardo Fantacchiotti (Rome 1809-1877 Florence) Musidora, Firenze, 1859 Inspired by James Thomson’s poem ‘Summer’, originally published in 1727 Marble H 167.6 x W 49 x D 49 cm Plinth: H 95.3 x D 63 cm (at base) Total height: 262.9 cm Signed 'Per commis del meritis / ... / Odoardo Fantachiotti / Scolpiva in Firenze / l'anno 1859 Art Loss Register: S00258863 Provenance: commissioned by August Belmont (1813-1890) USA; Randall family, Clarendon Court (Newport, USA) Literature: Ricordi fotografici degli artisti contemporanei in Toscana: ‘La Musidora’(Firenze-1858); V. Lia Bernini, G. Moradei, Odoardo Fantacchiotti scultore (1811-1877): atti delle giornate di studio nel bicentenario della nascita 1811-2011, (Toscana 2021), Volume 227, pp. 37-41 Other verions: 1862, for Baron Belper, Edward Strutt (Israele collection); 1865, for the King of Portugal (Lisbon Palacio Nacional da Ajuda)