24 - UARY 31 JANVIERRUARY 2027

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Artworks

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Galeries
Galeries Galerie AB - Agnès Aittouarès Franck Anelli Fine Art Ars Antiqua d'Arschot & Cie Art et Patrimoine - Laurence Lenne Arte-Fact Fine Art Artimo Fine Arts Galerie Ary Jan Galerie BA - Berthet Aittouarès HELENE BAILLY MARCILHAC Véronique Bamps Barbara Bassi Beck & Eggeling International Fine Art Galerie de la Béraudière Galerie Berès Bernier/Eliades Galeria Bessa Pereira Galerie BG Arts Boon Gallery Galerie Alexis Bordes Bernard Bouisset Galerie Boulakia Galerie Nicolas Bourriaud Brame & Lorenceau Cabinet of Curiosities - Honourable Silver Objects Galerie Capazza Giammarco Cappuzzo Fine Art Carlucci Gallery Galerie Jean-François Cazeau Galerie Cento Anni Chambre professionnelle belge de la Librairie Ancienne et Moderne (CLAM) Citadelles & Mazenod CKS Gallery Claes Gallery Collectors Gallery COLNAGHI Costermans Dalton Somaré De Brock De Jonckheere Galerie Bernard De Leye Galerie Oscar De Vos De Wit Fine Tapestries De Zutter Art Gallery Dei Bardi Art Thomas Deprez Fine Arts Patrick Derom Gallery Desmet Fine Arts Virginie Devillez Fine Art DIE GALERIE Douwes Fine Art b.v. Epoque Fine Jewels Finch & Co Galerie Flak A&R Fleury Galerie La Forest Divonne Galerie Christophe Gaillard Galerie des Modernes Gilden's Art Gallery Grusenmeyer-Woliner Galerie Hadjer Galerie Haesaerts-le Grelle Philippe Heim Heutink Ikonen Galerie Hioco Hoffmans Antiques Huberty & Breyne Galerie Hurtebize rodolphe janssen Francis Janssens van der Maelen Kunsthaus Kende Harold t’Kint de Roodenbeke Florian Kolhammer Hartford Fine Art - Lampronti Gallery Alexis Lartigue Lemaire Galerie Lowet de Wotrenge Francis Maere Fine Arts Maison D'Art Maisonjaune Studio Martins&Montero Martos Gallery MARUANI MERCIER MassModernDesign Galerie Mathivet Mearini Fine Art Galerie Greta Meert Meessen Galerie la Ménagerie Mulier Mulier Gallery Jan Muller Antiques Klaas Muller NARDI VENEZIA Nosbaum Reding Dr. Nöth kunsthandel Galerie Nathalie Obadia, Paris/Brussels Objects With Narratives Galeria Jordi Pascual Galerie La Patinoire Royale Bach Pauline's Jewellery Box Pelgrims de Bigard Galerie Alexis Pentcheff Christophe Perlès Galerie Perrin Guy Pieters Gallery Gallery de Potter d’Indoye Galerie de la Présidence Pron Van Pruissen Asian Art QG Gallery Maison Rapin Almine Rech Stéphane Renard Fine Art Repetto Gallery robertaebasta Romigioli Antichità Laurent Schaubroeck Serge Schoffel - Art Premier Segoura Fine Art Edouard Simoens Gallery Herwig Simons Fine Arts Stern Pissarro Gallery Stone Gallery Galerie Taménaga TASCHEN TEMPLON The old Treasury Galerie Patrice Trigano unforget Decorative Arts Univers du Bronze Vagabond Antiques Gallery Sofie Van de Velde Van Herck-Eykelberg Galerie Raf Van Severen Samuel Vanhoegaerden Gallery Maurice Verbaet Gallery Galerie von Vertes Axel Vervoordt Galerie Dina Vierny VKD Jewels Galerie Florence de Voldère N. Vrouyr Floris van Wanroij Fine Art Galerie Watteeu by Edouard & Andrea de Caters Victor Werner WHITFORD Willow Gallery
 

Galerie Patrice Trigano

césar

César, alias César Baldaccini (Marseille 1921-1998 Paris) Hommage à Eiffel, 1989 Welded bronze Bocquel foundry 280 x 200 x 55 cm Signed and numbered Provenance: acquired from the artist in 1990 Literature: P. Restany, César, éd. De la Différence, Paris, 1988, p. 65 and p. 328 (Monumental version of Cartier Foundation, photography in progress); B.-H. Lévy, César, les bronzes, Éditons de la Différence, Galerie Baubourg, Paris, 1991, p. 24; César, Oeuvres de 1947 à 1993, Musée de Marseille, Réunion des Musées Nationaux, Marseille, 1993, p. 159; César, Galerie Enrico Navarra, Paris, 1996, pp. 76-77; César, Museu Brasileiro da Escultura Marilisa Rathsam, São Paulo, 1999, p. 212; Paris, Centre Georges Pompidou, César la rétrospective, December 2017- March 2018, p. 173; Archives Denyse Durand-Ruel, n° 4499 Exhibitions: Marseille, centre de la Vieille Charité, César, oeuvres de 1947 à 1993, July-September 1993, p. 159; Monte-Carlo, César à Monte-Carlo, May-September 1993, (unnumbered); Luxembourg, Dexia Banque Internationale, Hommage à César, October-December 2000, p. 70; Cannes, La Malmaison, César, l’oeuvre de bronze, July-October 2002, p. 86; Travelling exhibition: Cannes, parvis du palais des Festivals, July-September 2002; Geneviève, Galerie Artrium, September-December 2002; Rabat, Musée Mohammed VI d’Art Moderne et Contemporain, César, une histoire méditerranéenne, December 2015-March 2016, reproduced in colour p. 68 and p. 70

 

De Jonckheere

pieter brueghel the younger

Pieter Brueghel the Younger (Brussels 1564-1638 Antwerp) The Payment of the Tithe or the Village Lawyer, 1622 Oil on panel 78.9 x 123.2 cm Signed and dated: P. BREVGHEL, 1622 Provenance: private collection, Belgium; Galerie Legenhoek, Paris, 1991; private collection, France Literature: Ertz, Klaus, Pieter Brueghel der Jüngere: Die Gemälde mit kritischem Oeuvrekatalog, Lingen, Luca Verlag, Vol. I, 2000, p. 513, cat. E 507, repr.; Curie, Christina, Allart, Dominique, The Brue[H]el Phenomenon, Brussels, Royal Institute for Cultural Heritage, vol. III, p. 1030-1031 This Payment of the Tithe, or The Village Lawyer, is marked by Pieter Brueghel the Younger’s verve, meticulous execution, and vibrant colours. The satirical subject mocks the profession of the lawyer responsible for collecting the heavy tax that the poorest peasants struggled to pay. The grotesque faces of the petitioners, as well as the lawyer’s prognathous jaw - associating him with the Spanish authorities then in power - fascinate through their caricatural force. This original composition by Pieter Brueghel the Younger stimulated the market of the time, generating strong demand. The success of this still-relevant satire has endured to the present day.

 

Véronique Bamps

. cartier

Cartier Panther head set with diamonds, pear-cut emerald eyes and onyx muzzle White gold bracelet, circa 2000

 

Galerie AB - Agnès Aittouarès

pablo picasso

Pablo Picasso (Malaga 1881-1973 Mougins) Two characters, séduction, 1953 Produced in Cannes on 16 December 1953 Ink on paper 20.9 x 26.4 cm Signed upper left and dated upper right Provenance: Scheffel Gallery, Bad Homburg, Germany; private collection, acquired from the Scheffel Gallery in 1989; private collection; private collection, Paris Literature: Christian Zervos, Pablo Picasso. Œuvres de 1953 à 1955, vol. 16, Paris, 1965, n° 57, p. 20; Dore Ashton, Picasso on Art: A Selection of Views, New York, 1972, p. 125

 

Cabinet of Curiosities - Honourable Silver Objects

Cartier necklace 18-carat yellow gold, diamond and onyx France, 1970s Commissioned for a Belgian family Signed and numbered Provenance: private collection, Brussels

 

Epoque Fine Jewels

rené lalique

René Lalique (Ay 1860-1945 Paris) Detail of Art Nouveau thistle necklace Paris, circa 1905 Gold, diamond, enamel and glass Signed: Lalique Provenance: private collection, France

 

Alexis Lartigue

jean-paul riopelle

Jean-Paul Riopelle (Montreal 1923-2002 Saint-Antoine-de-l'Isle-aux-Grues) Untitled, 1955 Watercolour and ink on paper 64 x 49 cm Signed lower right 'Riopelle 55' Provenance: Claude Duthuit private collection Literature: Catalogue raisonné Jean Paul Riopelle, tome 2, 1954-1959, p. 368

 

Galerie la Ménagerie

jacques froment-meurice

Jacques Froment-Meurice (Paris 1864-1946 Maisons-Lafitte) Bucking donkey, circa 1904 Model from 'Les gestes d'Ânes' Bronze A. A Hébrard foundry H 14.5 x W 18 x D 9 cm Signed on the base Provenance: collection New York, USA Literature: A strong love of all animals, but particularly of domestic breeds, especially donkeys, is evident in the character that Froment-Meurice captures in all his intimate portraits. Cast by Hebrard, they are always of the highest quality, Edward Horswell, Sculpture of Les Animaliers, 1900-1950, Scala Arts and Heritage Publishers Ltd, 2019, p. 136

 

Galerie Flak

Yup'ik shaman mask Coastal Yup’ik - Eskimo, St Michael or Yukon river Delta, Alaska, 19th century Carved wood, pigments H 19.5 cm Provenance: Karin & Leo (1937-1987) Van Oosterom collection, The Hague, acquired in 1980 Yup’ik shamanic masks (from the Indigenous culture of the Arctic region of Alaska) bear witness to a spirituality and artistic power of remarkable depth. Exceptionally rare today - as most were destroyed or discarded after their ceremonial use - these works are imbued with mystery and poetry. Their evocative force and symbolism of metamorphosis deeply inspired Surrealist masters such as Max Ernst and Leonora Carrington, who discovered in them a new visual language of the unconscious. This striking mask represents a tunghak spirit - a powerful celestial being linked to the moon, the sun, and the balance between humans and nature.

 

HELENE BAILLY MARCILHAC

Henri Manguin (Paris 1874-1949 Saint Tropez) La Chemise Enlevée, 1908 Oil on canvas 100 x 81 cm Signed lower right Provenance: acquired from the artist by Eugène Druet in 1911 (Galerie Druet); collection Kritchvesky; private collection, France; private collection, Brasil Exhibitions: Paris, Galerie E. Druet, Manguin, Paris 1913, n° 42; Paris, Galerie de Paris, Manguin, 1964, n° 3; Nice, Palais de la Méditerranée, Henri Manguin, plus de cent cinquante oeuvres, 1969, n° 32; Okayama, Hiroshima, Tokyo, Gustave Moreau et ses éleves, 1974; Paris, Galerie de Paris, Centenaire, Henri Manguin, 1976, n° 49 Literature: Pierre Cabanne, Henri Manguin, Neuchätel, 1964, ill. n° 117, p.64; Marie-Caroline Sainsaulieu, Lucille & Claude Manguin, Jean-Pierre Manguin, Pierre Cabanne, Jacques Lassaigne (preface); Henri Manguin: Catalogue Raisonné de l'oeuvre peint, Neuchâtel, Switzerland, Ides et Calendes, 1980, ill. n° 298

 

Romigioli Antichità

Pair of marble plates with semi-precious stones and soft polychromes Florence, early 19th century 44 x 38 cm (plates) 62.5 x 55 cm (frames) Provenance: Florentine workshop Oval plate depicting a naturalistic composition with a basket, flower buds, fruit and birds, one with a bird's nest, the other with a nest and eggs, in an antique carved and gilded wooden frame.

 

Maurice Verbaet Gallery

paul van hoeydonck

Paul Van Hoeydonck (Antwerp 1925-2025 Wijnegem) Untitled, 1958 Oil on unalit 80 x 80 cm Provenance: Maurice Verbaet collection, Belgium Literature: Jan Ceuleers, Paul Van Hoeydonck, Antwerpen, Pandora Publishers, 2011, p. 160 & p. 287 Exhibition: KMSKA, Antwerp, Belgium, Fallen Astronaut. Hommage aan Paul Van Hoeydonck, 12 September 2025-12 October 2025

 

Samuel Vanhoegaerden Gallery

Bram Bogart (Delft 1921-2012 Sint Truiden) Topgroen, August 1963 Mixed media on canvas laid on wooden panel 161 x 201 cm Signed, dated and titled on reverse Provenance: private collection, London In August 1963, Bram Bogart created a powerful and iconic work: Topgroen (August 1963). The painting – executed with homemade paint on a board/canvas made by the artist himself – measures approximately 161 x 201 cm and testifies to Bogart's radically innovative approach to matter and colour. The work Topgroen is at the heart of Bogart's most highly regarded period, in which he experimented with imposing layers of paint, sculptural reliefs and a colour palette that transcends the surface and becomes almost tangible. In this work, he combines powerful fields of colour with monumental texture: an intense red surface is directly framed by thick, almost architecturally shaped green and yellow accents. The paint is hardly imagination anymore, but matter – as if the paint itself is the object. Topgroen marks a turning point in Bogart's oeuvre: colour and volume become one, the painting resists classical painting through an enormous physical presence of the matter. The work invites tactile viewing: the depth of the paint layers, the shadow effects between reliefs, and the tension between surface and volume make it a masterpiece of material painting. Bogart thus confirms his pioneering role in European post-war abstraction.

 

Galerie de la Présidence

geer van velde

Geer van Velde (The Netherlands, Lisse 1898-1977 Cachan, France) Composition - atelier, circa 1951 Oil on canvas 134 x 148 cm Signed lower right with initials This work will be included in the forthcoming catalogue raisonné of Geer van Velde - Painted Work, currently in preparation by Pierre François Moget, son of Piet Moget Provenance: Galerie Hautefeuille, Paris; private collection, Brussels

 

Franck Anelli Fine Art

Marcellus Coffermans (active in Antwerp, 1549-1578) Deposition of Christ, circa 1570 Oil on panel 32.7 x 21 cm Provenance: anonymous sale, Amsterdam, Christie's, 15 May 2002, lot 97 (as Marcellus Coffermans); private collection, Europe; from 2020, private collection, California Literature: M. Leeflang, Gemaakt in Antwerpen, bestemd voor Spanje? in Catharijne, Magazine van Museum Catharijneconvent Utrecht 2 (2010), repr. p. 11 Exhibition: Utrecht, Museum het Catherijneconvent, long-term loan, 2010-2020 Marcellus Coffermans deserves credit for bringing together a unique composition, the great deposition and the descent from the cross.

 

Van Herck-Eykelberg

Asger Jorn (Denmark, Jutland 1914-1973 Aarhus) The girl and the bird, 1940 Oil on canvas 44 x 69 cm Signed and dated lower right Literature: Guy Atkins, Jorn in Scandinavia 1930-1953, London, 1968, n° 156, ill. p. 333 Exhibitions: 13 kunstnere i telt, Bellevue, Copenhagen, 17 May-8 June 1941, cat. n° 61; Jorn, Arken Museum for Moderne Kunst, Ishøj, Denmark, 14 September 2002-19 January 2003, Cobra Museum voor Moderne Kunst, Amstelveen, The Netherlands, 7 February-27 April 2003 and Kunsthalle zu Kiel, Germany, 17 May-10 August 2003, cat. n° 8, ill. cat. p. 56 (in colour); Jorn-Picasso. Myter og Møder. Myths & Meetings', Museum Jorn, Silkeborg, 7 September-8 December 2013, cat. n° 6, ill. cat. p. 72 (in colour); Cobra Museum voor Moderne kunst, Amstelveen, The Netherlands, 2013

 

Desmet Fine Arts

Pietra dura table top Coloured marble, alabaster and onyx Roman workshop, circa 1565-1600 H 6 x W 104.5 x D 83 cm Accompanied by Art Loss Register certificate: S00253658 Provenance: private collection, Lombardy (Italy) The pietra dura tabletop represents a symbiosis that evokes the rediscovery of the ancient world. The colored marbles used all originate from ancient Roman marble, brought to Rome from across the Roman Empire as early as the 3rd century BCE. In late 16th-century Rome, artists repurposed columns and all manner of these ancient Roman artifacts, reshaping them into sumptuous tabletops to decorate the grand palazzi. This work visualizes how 16th-century Rome sought to reclaim the identity and power of the great Roman Empire, and it must be fully understood within the context of the decoration of St. Peter’s Basilica, when Rome was once again regarded as the center of the world. The patterns are architecturally and geometrically designed to showcase the rarest marbles to their fullest effect. In this specific example, around 1800, the edge underwent restoration, during which the finest artists of the time added a black decorative band. Their aim was to frame what was already spectacular with a dignified restoration. Although created in the late 16th century, this piece radiates two millennia of superiority—politically, socially, artistically, and art historically.

 

Repetto Gallery

valerio adami

Valerio Adami (Bologna, 1935) La firma del muro antico, Odisseo (per E. Pound), 1977 Acrylic on canvas 204 x 152 cm Signed, dated and titled on the reverse: Adami 8.8.77 17.11.77 La firma del muro antico. Odisseo (per E. Pound) Label on the reverse by Galerie Rive Gauche Marcel Strouk, Paris Certificate of authenticity by Archivio Valerio Adami n° 878 Provenance: Galerie Maeght, Paris; private collection, France (acquired from the above) Exhibition: Valerio Adami, 7 October-12 November 1978, Palais des Beaux-Arts, Charleroi; Valerio Adami. Ripensando la realtà, Dep Art Gallery, Milan, 6 March-17 May 2025

 

COLNAGHI

Nicolaas Struyck (Amsterdam, 1686-1769) A rose with garden whites, circa 1715 With partial Fleur-de-lis watermark Bodycolour and watercolour on paper with period black and gold ruled beige card mount 23.8 x 19.2 cm Provenance: private collection, Germany until 2023

 

Galerie Capazza

georges jeanclos

Georges Jeanclos (Paris, 1933-1997) Kamakura, 1991 Terracotta H 30 x W 45 x D 40 cm Provenance: the artist's studio Exhibition: Georges Jeanclos, Élévation, Abbaye Royale de Fontevraud, 25 November 2023-4 March 2024 The Kamakura series was inspired by Georges Jeanclos' trip to Japan, which took him to the country's ancient medieval capital, home to the oldest Japanese Zen gardens. Jeanclos was deeply moved by the beauty and serenity that emanated from these meditative and contemplative landscapes. Upon his return to Paris, these characters were born, sculptures of resilience, ‘monks in meditation, spectators of their inner gardens’ (Tzvetan Todorov). Georges Jeanclos (1933–1997) was one of the great French sculptors of the 20th century. His work was inspired by the traumatic events of the Second World War. To escape the roundups threatening Jews in France, his family had to hide in the woods; he himself, aged around ten, learned to live with the danger of death. In the aftermath of the Liberation, he saw the bodies of former collaborators hanging from lampposts; shortly afterwards, he discovered the skeletal beings who had survived the camps. Decades later, Jeanclos would respond to this formative experience: not by withdrawing into his own experiences, but by opening himself up to the universal, listening to all suffering, past and present; not by depicting horror, but by finding within himself the strength to create beauty. Jeanclos transforms the earth he works with into thin sheets, which he uses to form figures with similar faces, both children and adults, men and women. They are sleepers lying under a sheet of earth; beings enclosed in urns stamped with Hebrew letters taken from prayers for the dead; figures loaded onto boats bound for the other world; kamakuras, meditating monks. Later, he would add Pietàs, Adam and Eve in love, couples brushing against or embracing each other. Jeanclos' images reveal both the insignificance of our person and the indomitable strength of our love; by their mere existence, they help us to live. Tzvetan Todorov

 

Galerie Bernard De Leye

Umbilicated dish and gadrooned basin in enameled copper Venise, circa 1500-1530 Ø 33 cm Provenance: collection Messel, Darmstadt; collection Ludwig and Anne Messel, London; collection Leonard and Maud Messel, London until 1953; Galerie Kugel, Paris; private collection, Switzerland Literature: Les cuivres émaillés dits Vénitiens, Corpus des œuvres en collections publiques et privées, Silvana Editoriale, 2018, Volume II, n° 34, p. 92 Twelve convex, curved white gadroons with blue highlights on a green background. This enamel production in Venice spans over a very short period within Venetian Decorative Arts. The basin is adorned with two rows of 24 concave, curved gadroons, then with scale-like motifs. The entirely blue reverse is richly decorated with gilded patterns.

 

Lemaire

Pair of covered jars in Chinese porcelain Powdered-blue ground porcelain with Famille verte floral motifs, and mounted in chiseled silver (scrolls and stars) Kangxi period, early 18th century H 14.5 cm

 

Stéphane Renard Fine Art

Workshop of Benedetto da Maiano (Maiano 1442-1497 Florence) Bas-relief of the Virgin and Child with Saint John the Baptist as a child Polychrome and gilded stucco in its original carved and gilded wooden frame H 76 x W 64 x D 13 cm (framed) Provenance: Coat of arms with the alliance arms of two Florentine families: the Compagni (on the left) and the Tornaquinci (on the right) We can estimate that around thirty copies of this bas-relief were probably made, half of which are in public collections (including the Bode Museum in Berlin (Germany – Inv. 1581), the Victoria & Albert Museum in London (United Kingdom – two copies), the Bargello and Stefano Bardini Museums in Florence (Italy), and the Hermitage Museum in Saint Petersburg (Russia) but this one is the only one bearing the coat of arms of its commissioners.

 

Ars Antiqua

viviano codazzi and jan miel

Viviano Codazzi (Italy, Bergamo 1604-1670 Rome) and Jan Miel (Belgium, Beveren 1599-1663 Turin, Italy) Architectural Capriccio with a View of Saint Peter's Basilica and Classical Antiquities First half of the 17th century Oil on canvas 149 x 200 cm Authenticated by Professor Alessandro Agresti

 

Florian Kolhammer

louis c. tiffany

Louis C. Tiffany (New York 1848-1933 New York) Jack-in-the-pulpit vase Tiffany, 1906 Yellow glass H 44 x 23.5 x 12.5 cm Marked 'L.C.T.' and '2210A' underneath Provenance: Christie's sale The 'Jack-in-the-pulpit' vases represent a special design category within the production of the Louis Comfort Tiffany company. These glasses were modeled after the Arisaema Triphyllum plant and are among the most iconic designs of this famous manufacturer. Our example shines in pure gold. It was made in 1906 and received as a wedding gift at the time.

 

CKS Gallery

nicolas de stael

Nicolas de Staël (Saint Petersburg 1914-1955 Antibes) Composition, 1949 Oil on canvas 200 x 100 cm Provenance: private collection of the artist Literature: Françoise de Staël, Nicolas de Staël, Catalogue Raisonné de l'oeuvre peint, Paris, 1997, n° 203 Exhibitions: Hôtel de Caumont, Aix-en-Provence, 27 April-23 September 2018, Nicolas de Staël en Provence; Château Grimaldi d’Antibes, 17 May-7 September 2014, exhibition La figure à nu, hommage à Nicolas de Staël; MuMa – Musée d’Art Moderne André Malraux, Lumières du Nord, Lumières du Sud, 7 June-9 November 2014; Académie Royale des Beaux-Arts de Bruxelles, Belgium, 2012, for the 300th anniversary of the Académie Royale where de Staël studied from 1931 to 1934, 9 May-2 June 2012; Fondation Gianadda de Martigny, Switzerland, retrospective of the work of Nicolas de Staël, 18 June-21 November 2010; Centre Pompidou, Nicolas de Staël 1945-1955, Paris, 12 March-30 June 2003; Musée d'Art Moderne, Paris, Retrospective Nicolas de Staël, 15 September 2023-21 January 2024; Fondation de l’Hermitage, Lausanne, Nicolas de Staël Exhibition, 9 February-9 June 2024

 

Hartford Fine Art - Lampronti Gallery

Francesco Fracanzano (Monopoli 1612-1656 Naples) The incredulity of Saint Thomas Oil on canvas 143 x 205 cm Literature: R. Causa, La pittura del Seicento a Napoli. Dal naturalismo al barocco, Naples, 1972, S. 976, n° 74; G. De Vito, Fracanziano’s periphrasis in XVII century Neapolitan studies, 2003/2004, pp. 104-105, fig. 2; N. Spinosa, XVII c. paintings in Naples, from Caravaggio to Massimo Stanzione, Naples 2010, p. 281 cat. n° 212; A. Della Ragione, Francesco Fracanzano, 2011, p. 10, fig. 23; N. Spinosa, Da Artemisia a Hackert. La collezione di un antiquario, exh. cat., Reggia di Caserta, Foligno 2019, cat. 9, pp. 18-19; N. Spinosa, Il Maestro degli Annunci ai pastori e i pittori del 'tremendo impasto' (Napoli 1625-1650), Rome 2021, cat. C5, p. 193 (quoting further literature: Cairo, 2011, pp. 203-210. Forgione, p. 233, fig. 12) Exhibition: Da Artemisia a Hackert. La collezione di un antiquario, Reggia di Caserta, 2019-2020

 

De Wit Fine Tapestries

After David Teniers II The Fish Quay–Return of Fishermen Brussels, 1725-1750 Wool and silk 264 x 390 cm Celebrated for their lively depictions of rural life, sets of tapestries inspired by the famous peasant scenes of David Teniers II (1610–1690) formed some of the most popular tapestry series in late 17th- and early 18th-centuries. Their extraordinary appeal is reflected in the sheer number of workshops that produced them. In Brussels alone, seven ateliers wove this distinctly Flemish genre, while so-called Teniers tapestries were also produced in other European centres such as Amsterdam, Aubusson, Beauvais, Lille, London, Madrid, and Oudenaarde. Owing to this widespread production and the enduring commercial success of the genre, attributing individual designs can often be challenging. The present example, however, belongs to a distinguished series that laid the foundation for the genre and was designed by David Teniers II himself. Description The tapestry depicts a bustling quay where fishermen unload and sort their catch. On the left, a boat carrying five men arrives, still hauling in its nets, while one fisherman on the bow hands a line to a man standing at the end of the quay. In the foreground, a fisherman empties a barrel of fish and shellfish, while three men nearby appear to be negotiating. Further along the quay, another sorts his catch, two men converse, and a man leans casually on a donkey. Behind them, a figure with his back turned adds a touch of unvarnished realism. In the background, a bay stretches out, framed by a wooded coast to the left and a fortified structure to the right, complete with patrolling figures and a tall, three-tiered tower. Through the central passageway, two additional boats are visible. One hauling in its nets, the other lowering its mast. Attribution The Fish Quay was executed in the Brussels workshop of Hieronymus Le Clerc (1643-1722) or that of his associate Gaspar van der Borcht (1675-1742). Several editions of the scene are known, some bearing the signature of one of these associated tapissiers: Le Clerc or Van der Borcht’s Latinized form, A Castro. A now-lost edition formerly in Dresden bore Van der Borcht’s signature along with an extensive inscription identifying David Teniers II – the court painter to Archduke Leopold Wilhelm of Austria (1614-1662) and Don John Joseph of Austria (1629-1679), governors of the Southern Netherlands from 1648 to 1656 and 1656 to 1658 respectively – as the designer. Teniers is also cited as the designer in a 1701 archival document recording that Le Clerc and Van der Borcht sold a six-part edition of the series, including a tapestry described as “un port de mer, où l’on pesche le poisson” (a seaport, where fish are caught). Dating the collaborative production of this particular example is difficult. The earliest known editions of the series were likely produced in the 1680s, with production continuing until Le Clerc’s death in 1722. The Fish Quay lacks the usual outer border, suggesting it was intended for mounting on wainscoting.

 

TEMPLON

Martial Raysse (France, Golfe-Juan 1936) Que veux-tu dire mon bel ami ?, 2017 Acrylic on canvas 116 x 89 x 2.5 cm (unframed) 119 x 92 x 5.5 cm (framed) Unique Provenance: the artist’s studio Courtesy of the artist and TEMPLON, Paris-Brussels-New York

 

Galerie Hadjer

fernand léger

Fernand Léger (Argantan 1881-1955 Gif-sur-Yevette) (after) & Yvette Cauquil-Prince (Belgium, Dampremy 1928-2005 Tresques, France) La parade sur fond rouge Created in 1975 Wool 280 x 400 cm Woven by Yvette Cauquil-Prince in Paris (pictogram lower right) Tapestry number 1/1 - Unique Piece Provenance: Yvette Cauquil-Prince; Paul Haim collection; private collection, USA Literature: Masters of the 20th century, KunstHausWien Exhibition: KunstHausWien, 10 February-14 May 2000, Vienna

 
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