This section will be available this Autumn.
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
Galerie Marc Maison
pierre-ferdinand duvinage
Pierre-Ferdinand Duvinage (France, 1823-1876) Guéridon with a marquetry top resting on three sacred ibises, circa 1874-1876 Gilt bronze, silver, copper, ivory, wood marquetry of various species (top); gilt wooden base with polychromy H 83 x Ø 77 cm Provenance: former Roberto Polo collection Literature: Marc Maison et Emmanuelle Arnauld, Marqueteries virtuoses au XIXe siècle. Brevets d’invention, Éditions Faton, 2012; Daniëlle Kisluk-Grosheide, Maison Giroux and its 'Oriental' Marquetry Technique. The Journal of the Furniture History Society, vol. XXXV, 1999; Roberto Polo. The Eye, Frances Lincoln Publisher Ltd., 2011; Bill Pallot, Marqueteries en cloisonné de la veuve Duvinage, dans L’Estampille-L’Objet d’art, September 2007 The top of this splendid pedestal table was crafted using a technique patented by Duvinage on May 6th, 1874, described as "a type of mosaic with metal cloisons for furniture and art objects." The ivory plaques covering the surface are separated by a network of gilt metal resembling branches, whilst the central motif is a delicate marquetry of multicoloured wood. To enhance the luxuriousness of the piece, some of the leaves are made of silver. This extraordinary marquetry work is combined with three majestic sacred ibises, birds characteristic of the Nile region in Antiquity, revered by the Egyptians as divine symbols.
Lemaire
Japanese porcelain statuette Representation of a Bijin ('beautiful lady') Imari decoration of cherry blossoms and gilt bronze for various elements Arita porcelain (1690-1730) and gilt bronze (18th century) H 42.5 cm The statuette was transformed in the 18th century with a removable head that moves gently on a pivot like the Buddha in Meissen porcelain. It holds a chased bronze parasol in its left hand and stands on a gilded bronze gadrooned base An identical but larger figure can be found in the collection of Charles III, AYERS (J.), Chinese and Japanese Works of Art in the Collection of Her Majesty the Queen, t. II, p. 686
Objects With Narratives
maison jonckers
Maison Jonckers (Belgium, founded in 2015) Hypsometrique Bronze, 2015 H 28.5 x W 121 x D 78.5 cm Edition of 8. Signed, dated and numbered Provenance: Ateliers Zaventem Beyond any graphic, scientific or mathematical data, towards a line of arrhythmic curves symbolising a surface in relief, the engraving of this table is inspired by the art of cartography, created almost 8000 years ago. Cartography is an essential tool for mankind, helping to inform and specify our journeys, carrying us gradually further and further towards the unknown, towards the discovery of new worlds
Galerie Taménaga
georges rouault
Georges Rouault (Paris, 1871-1958) Pierrot accoudé, 1932-1939 Oil on paper laid on canvas 65 x 55.5 cm Provenance: Galerie Jean-Claude Bellier; private collection Literature: Olivier Nouaille et Olivier Rouault, Rouault L’Oeuvre Peint, vol. 3, Fondation Georges Rouault, 2022, n° 3751-3233, ill. p. 203
Douwes Fine Art b.v.
kees van dongen
Kees van Dongen (Rotterdam 1877-1968 Monte Carlo) Baigneuse à Trouville, circa 1925 Oil on canvas 53.3 x 32.8 cm - framed: 79 x 57 cm Signed lower right 'van Dongen' This work will be included in the forthcoming van Dongen digital catalogue raisonné, currently being prepared under the sponsorship of the Wildenstein Plattner Institute, Inc. Provenance: Madame Van der Velde, Le Havre (by 1928); Pierre Samuel and Emma Célina (born Bayeux) Van der Velde, Le Havre; Jeanne (born Van der Velde) Réquin, Le Havre (acquired by descent circa 1952); Jeanne (born Van der Velde) and Edouard Réquin, Le Havre (acquired circa 1952 and until 1970); (possibly) Galerie Beaux Arts, Paris; Espace Pierre Cardin, Paris, April 4th, 1973, lot 16; (possibly) Collection Lieury, Le Havre; Alain Lesieutre, Paris (acquired by 1983 and until at least 1992); De Quay-Lombrail, Paris, June 22nd, 1995, lot 68; Michelle Rosenfeld Gallery, New York (acquired circa 1999); Kunsthandel Frans Jacobs, Amsterdam; acquired from the above in 2000 by the former owner; Sotheby’s London; private collection, The Netherlands Literature: Yvonne Brunhammer, Art Deco Style, Paris, 1983, n° 86, p. 48, ill. in a photograph; Béatrice de Rochebouet, Vente de la collection Lesieutre: Fin d'un règne, Le Figaro, October 2nd, 1992, n.n., n.p., ill. (titled ‘Femme au bord de la mer’); Christel Aaftink, 'Kees van Dongen', In Detail: periodieke uitgave van Kunsthandel Frans Jacobs, February 2000, n° 10, p. 7, ill. in colour
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.
Dei Bardi Art
Saint Jérôme Burgundy, last quarter of the 15th century Limestone H 60.5 cm Literature: J. Baudoin, La sculpture flamboyante en Bourgogne et Franche-Comté, Nonette, 1993 This exquisite sculpture of Saint Jerome, carved from soft, nearly white limestone typical of eastern France, exemplifies the exceptional craftsmanship of 15th-century Burgundian art. What makes this piece particularly remarkable is its deep connection to the distinctive Burgundian sculptural tradition. It reflects the enduring influence of the renowned Spanish sculptor Jean de la Huerta (1413-1462), who served as the artist for Duke Philip the Good of Burgundy. The artistic quality and stylistic features of the sculpture are strikingly evident in Saint Jerome's broad, angular face and powerfully square jawline. The low forehead—accentuated by the wide brim of the hat—along with his large, flattened cheeks and small mouth that forms a circumflex accent, adds to the character of the piece. His crescent-shaped eyes, defined by prominent eyelids and well-formed eyebrows, further enhance the expressive quality of the sculpture. These traits draw parallels to other notable works, such as Richard de Plaine’s praying figure from the Jacobins Chapel in Poligny and the Saint Jean from the Calvary in the Saint-Anatoile Church in Salins, attributed to Jean de Blany, follower of de la Huerta. Despite its relatively small size, the sculpture possesses a monumental presence. The meticulous representation of the clothing illustrates a blend of Flemish and Germanic influences, reminiscent of some of de la Huerta’s later works. Given its close ties to the artistic milieu of the Burgundian ducal court, it is likely that this piece was commissioned by an individual of high political or ecclesiastical status, further underscoring its significance within the cultural context of the time.
Galerie de la Présidence
Albert Marquet (Bordeaux 1875-1947 Paris) Septembre à Porquerolles, 1939 Oil on canvas 46.4 x 61.3 cm - framed 67 x 82 cm Signed lower right This work will be included in the Marquet Digital catalogue raisonné, in preparation by the Wildenstein Plattner Institute Provenance: Marcelle Marquet collection, Paris (1947); Salvador collection, Paris; Galerie Couleur du Temps, Paris; Galerie Motte, Geneva; private collection, United Kingdom; private collection, France Exhibition: Albert Marquet. Rétrospective, Galerie des Granges, Geneva, 1974, n° 27 Let’s approach the shores of the Iles d’Or with the painter Albert Marquet (Iles d’Or or The Golden Islands, the group of three islands located near Saint-Tropez, in South-East France, Mediterranean Sea). In the early summer of 1939, he and his wife moved into a delightful villa on the island of Porquerolles. On a windy day, he captures the lapping of the Mediterranean Sea with astonishing modernity. Combining realism and poetry, in this subtle harmony of light greens, he conveys the essential, with his accurate perception of tones and contrast. In front of this idyllic landscape filled with light, Marquet 'painter of the suspended time' invites to enjoy the journey...
Valerio Turchi
Diana Venatrix Roman, 2nd century AD Marble H 103 x W 45 x D 26 cm Accompanied by Art Loss Register certificate: S00217922 Provenance: the former collection of an art dealer, USA; Sotheby’s New York, Antiquities and Islamic Art, 1-2 March 1984, lot.73; then former collection of the explorer and adventurer J. Stephen Fosset (1944-2007); acquired in London, 21 October 1986
d'Arschot & Cie
Molenbeker Engraved silver Maker’s mark: IM in a shield Flanders, circa 1610-1620 H 22 cm These curious mill cups were very fashionable in Flanders in the early 17th century. They were also produced by German silversmiths. The tall, flared goblet is topped by a windmill with a ladder climbed by two millers to give the whole a more realistic look. At the bottom, a tube, also known as a blowpipe, is used to set in motion the four wings of the windmill and a small needle turning around a numbered circular dial. The ingenious mechanism consists of toothed wheels that are cleverly concealed inside the mill itself. At a time when banquets were particularly long, these table games were designed to entertain guests. Each guest took it in turns to blow into the blowpipe and the needle, once stopped, told them how many glasses they had left to drink. Many Kunstkammer included an object of this type, and this type of windmills can be found in many still-life paintings from this period. Fragile by nature, few of these goblets have survived. Remarkably, this example is in perfect working order. An engraved silver goblet by the same master silversmith is in the Tienen municipal museum. It is reproduced in: Zilver uit de gouden eeuw van Antwerpen, Rockoxhuis, 1988, n° 105
HELENE BAILLY Paris-Genève
henri martin
Henri Martin (Toulouse 1860-1943 Labastide-du-Vert) La Pergola de la cuisine à Marquayrol, un matin d'automne, circa 1920 Oil on canvas 67 x 99 cm Signed lower left 'Henri Martin' This work will be included in the forthcoming Catalogue Raisonné which is being prepared by Madame Marie-Anne Destrebecq-Martin. Notice of inclusion dated 26 March 2024
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.
Galeries AB & BA
jean degottex
Jean Degottex (Sathonay-Camp 1918-1988 Paris) Gidayu III, 1961 Oil on cardboard mounted on canvas 120 x 80 cm Signed and dated lower right Signed, dated and titled at the back Certificate of authenticity issued in 2021 Provenance: private collection Literature: Degottex, Jean Frémon, Editions du regard, 1986, p. 282 © Bertrand Michau. Courtesy Galerie Berthet-Aittouarès
Galerie des Modernes
pablo picasso
Pablo Picasso (Malaga 1881-1973 Mougins) Moustachu, Paris, 1915 Graphite on paper 32 x 24 cm Pencil sketch on reverse Handwritten inscriptions on reverse Provenance: succession Picasso (Inv. 01666); Marina Picasso, granddaughter of the artist; Galerie Jan Krugier, Geneva (Inv. 1666), entrusted by Marina Picasso; Marina Picasso Literature: Christian Zervos, Pablo Picasso, vol. 6, Supplément aux volumes 1 à 5, Paris, Éditions Cahiers d'Art, Paris, 1954, described (with dimensions 31.7 x 23.7 cm) and reproduced p. 152 under n° 1276; Pablo Picasso Sammlung Marina Picasso, catalogue of the travelling exhibition in Germany and Switzerland, by Werner Spies with the collaboration of Eduard Beaucamp, Giovanni Carandente, Klauss Gallwitz, Siegfried Gohr, Reinhold Hohl and Günter Metken, Prestel-Verlag, Munich, 1981, described in the catalogue by Reinhold Hohl on p. 284 and reproduced on p. 285 under n° 103; Picasso: Opere dal 1895 al 1971 dalla Collezione Marina Picasso, exh. cat. of the Centro di Cultura di Palazzo Grassi, Venice, 1981, described (with the title Studio per un uomo seduto and the date Avignon 1914?) on p. 246 and reproduced on p. 247 under n° 123; Picasso, catalogue of the Australian exhibition, by Patrick Mc Caughey, Margaret Plant, Memory Holloway, Ruth Pullin, Judith Ryan, The International Cultural Corporation of Australia Limited, 1984, described and reproduced on p. 82 as n° 75 Exhibitions: Pablo Picasso Sammlung Marina Picasso, Eine Ausstellung zum hundertsten Geburtstag, travelling exhibition in Germany and Switzerland, under n° 103; Haus des Kunst München, Munich, February 14 to April 20, 1981; Joseph-Haubricht-Kunsthalle, Cologne, in cooperation with Museum Ludwig, Cologne, August 11-October 11, 1981; Städtische Galerie in the Städelschen Kunstinstitut, Frankfurt am Main, October 22, 1981-January 10, 1982; Kunsthaus, Zürich, January 29, 1982-March 28, 1982; Picasso: Opere dal 1895 al 1971 dalla Collezione Marina Picasso, Centro di Cultura di Palazzo Grassi, Venice, May-June 1981, under n° 123; Picasso. Works from the Marina Picasso Collection in collaboration with Galerie Jan Krugier, Geneva with loans from museums in Europe and the United States of America and private collections, in Australia, under n° 75; National Gallery of Victoria, Melbourne, July 28-September 23, 1984; Art Gallery of New South Wales, Sidney, from October 10 to December 2, 1984; Michel Charzat, Derain et ses amis. La Pléiade prodigieuse, Editions Gourcuff Gradenigo, Montreuil, 2024, described and reproduced in colour under the figure n° 11, p. 63