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Florian Kolhammer
franz hagenauer
Franz Hagenauer (Vienna, 1906-1986) Pair of head sculptures, circa 1981 Designed by Franz Hagenauer and executed by Werkstatte Hagenauer Wien Cast, soldered, nickel-plated and polished brass H 46 x W 49.5 x D 11 cm Each sculpture is marked 'FRANZ', 'Handmade', 'HAGENAUER/WIEN', 'MADE IN/AUSTRIA' and 'wHw' in the circle Literature: Photograph of the female head in the Archiv Hagenauer in the Museum of Applied Arts Vienna, inv. n° HAF 1188
Bailly Gallery
henri le sidaner
Henri Le Sidaner (Maurice, Port Louis 1862-1939 Paris) Petite place au soleil couchant, 1901 Oil on canvas 57 x 80 cm Signed lower left: Le Sidaner Certificate of authenticity issued by Yann Farinaux-Le Sidaner, dated January 10th, 2023 Provenance: Galerie Georges Petit, Paris; private collection, Canada Literature: Notice of inclusion in the forthcoming supplément du catalogue raisonné, Le Sidaner-L'Oeuvre peint et gravé, currently being prepared by Yann Farinaux-Le Sidaner De son langage poétique à la musicalité feutrée de ses compositions, Henri Le Sidaner puise une grande partie de son inspiration dans les paysages ruraux. Au travers de pavés dorés par le coucher du soleil ou encore de toitures rougeâtres, l'artiste transforme des environnements architecturaux et domestiques en des portraits intimistes et mystérieux. « Petite place au Soleil couchant » en est un parfait exemple. Les nuances d'une lumière vécue au crépuscule s'imprègnent dans cette scène afin d'en ressortir les qualités oniriques et mystiques. Un langage visuel distinct, dans lequel Le Sidaner rend hommage à sa racine symboliste. Le traitement de la matière reste, quant à lui, fidèlement attaché aux techniques néo-impressionnistes. Les paysages qui l'entourent ont offert à Le Sidaner une inspiration considérable pour ses compositions. En mai 1900, le peintre rentrant du Bruges, se laisse influencer par les conseils d'Auguste Rodin, et s'installe au milieu de l'été à Beauvais. Il affirme alors sa conception de l'intimisme par des paysages d'évocation où la figure humaine n'a pratiquement plus sa place. C'est dans cette même période, le 21 avril 1901, Le Sidaner élabore les premiers motifs du tableau présenté et débuta la composition sur toile quatre jours plus tard. L'oeuvre est un hommage à la noblesse des bâtisses, ainsi qu'à la statue du docteur Ernest Gérard, ainsi maire de Beauvais. Achevée le 23 mai 1901, cette toile est livrée par l'artiste le 2 juin à son marchand Georges Petit pour un montant de 500 francs. Les paysages de Le Sidaner sont des manifestations intimes de l'artiste, qui possèdent une luminosités étonnante grâce à ses harmonies subtiles et l'application picturale des pigments. Une incroyable maitrise qui lui permet encore aujourd'hui d'être grandement reconnu par de nombreuses collections privées et institutionnelles. "Toute son oeuvre est influencée par un goût des atmosphères tendres, douces et silencieuses". (Y. Farinaux, Le Sidaner, L'oeuvre peint et gravé, Milan, 1989, p. 31)
Franck Anelli Fine Art
Joost Cornelisz. Droochsloot (Utrecht, 1586-1666) Village scene, 1643 Oil on panel 71.8 x 106.5 cm 93 x 129 cm - framed Provenance: With Hans Trojanski, Dusseldorf, 1957; Private collection of Baroness Viktoria Dagmar von Rochow (1931–2022); By descent, private collection, Switzerland This painting is registered at the RKD, The Hague as by the hand of Joost Cornelisz. Droochsloot.
Galerie Jean-François Cazeau
serge charchoune
Serge Charchoune (Russia 1888-1975 France) La Chute de l'ange, 1954 Oil on canvas 50 x 61 cm Signed and dated: Charchoune IV 54 Certificate of authenticity and inclusion in the catalogue raisonné established by Mr. Pierre Guénégan, on June 1, 2023. With the alternate title 'The Flying Dutchman,' Charchoune was inspired to create this work by listening to Wagner's opera 'Der fliegende Holländer' (completed in Paris in 1841 and premiered in Dresden in 1843), and more particularly by the third and final act of the first of Wagner's great dramas. On the back, it bears the inscription by the artist 'Trio piano, flûte, violoncelle' Provenance: the artist’s studio; Galerie Raymond Creuze; Galerie Thessa Hérold, 2007; private collection, France; acquired from the former Literature: Charchouniana, Raymond Creuze, 1989, Paris, repr. p. 105 Exhibitions: Serge Charchoune, Le Soleil russe, 2007, exhibition catalogue, Galerie Thessa Herold, Paris, n° 28, p. 79
Osborne Samuel Gallery
Lynn Chadwick (London 1914-2003 Lypiatt Park) Short Horn, 1954 Iron and composition H 41 x W 61.5 x D 20.5 cm Unique piece Provenance: The artist; Mrs. Helen Lessore O.B.E.; Acquired by René Gaffé at the Venice Biennale, 15th September 1956; Private collection, The Netherlands; Osborne Samuel, London; Private collection, Canada Literature: J.P. Hodin, Lynn Chadwick, Werk, vol. 44 (n° 3), March 1957, p. 113; Dennis Farr & Eva Chadwick, Lynn Chadwick, Sculptor, With a Complete Illustrated Catalogue 1947-2003, Lypiatt Studio, Stroud, 1997 p. 92, cat. no. 143 (prepatory drawing illustrated; with incorrect dimensions height: 45 cm.) Dennis Farr & Eva Chadwick, Lynn Chadwick, Sculptor, With a Complete Illustrated catalogue 1947-2003, Lund Humphries, Farnham, 2014, p. 111, cat. n° 143 (ill. b&w) Exhibitions: London, New Burlington Galleries, 53rd London Group: British Painting and Sculpture, November-December 1954, n° 264; Venice, XXVIII Biennale, June-October 1956, p. 412, n° 51 (titled Vacca Shortorn), lent by Mrs H. Lessore
Galerie de la Béraudière
germaine richier
Germaine Richier (Grans 1902-1959 Montpellier) L'Ogre, 1949 Bronze with black patina H 81.2 x W 45 x D 40.3 cm Signed and stamped on the base: G Richier, C. Valsuani cire perdue Foundry: Claude Valsuani, Paris, conceived in 1949, cast in 1951 Edition of 12 (1/8 – 8/8 + 4 AP ) Original certificate of authenticity by Francoise Guiter, dated 5 March 2014 Provenance: Galerie Creuzevault, Paris (1962); Galerie Odermatt, Paris; Sale Prescheteau-Badin, Paris, 20 March 2006; private collection Literature: P. Levy, London's Frenetic Gallery Scene: O'Keeffe sinks; Freud is missing, in The Wall Street Journal Europe, 11 June 1993; Brassaï, Germaine Richier, in Les artistes de ma vie, Paris, 1982, pp. 194-197; R. Barotte, A la rencontre de Germaine Richier (1904-1959), le sculpteur qui va... au-delà de, in Vision sur les arts, Béziers, November 1978; G. Marchiori, Modern French Sculpture, London 1964, pp. 52-53; M. Seuphor, XXIII. Biographies: Richier, Germaine, in La sculpture de ce siècle, dictionnaire de la sculpture moderne, Neuchâtel, 1959, p. 322; M. H. Vieira da Silva, Tribune de Paris - Adieu à Germaine Richier: Son atelier était plein d'une étrange musique, in Tribune de Lausanne, Lausanne, 9 August 1959, n° 7; A. Giacometti, Tribune de Paris - Adieu à Germaine Richier: Assise parmi ses sculptures, in Tribune de Lausanne, Lausanne, 9 August 1959, n° 7; C. Roger-Marx, Cette héritière, inspirée des grands maîtres: Germaine Richier, in Le Figaro littéraire, Paris, 8 August 1959; R. Couturier, Tribune de Paris - Adieu à Germaine Richier: La force de son œuvre, in Tribune de Lausanne, Lausanne, 9 August 1959, n° 7; M. Conil-Lacoste, Chroniques: Germaine Richier ou la confusion des règnes in Cahiers du sud, Marseille, February 1957, pp. 307-311; D. Chevalier, Sculpture encore: dans son atelier, vaste forêt de plâtres et de bronzes, Germaine Richier, chef d'école sculpte les grands mythes sylvestres, in Femme, Paris, October-November 1956, pp. 71-83 (another cast ill.); A. Chastel, Germaine Richier: la puissance et le malaise, in Le Monde, Paris, 13 October 1956; B. Milleret, Envoûtement de Germaine Richier, in Les Nouvelles littéraires, Paris, 11 October 1956; D. Chevalier, Un grand sculpteur: Germaine Richier, in Prestige français et Mondanités, Paris, September 1956, pp. 60-65, n° 19 (another cast ill.); G. Waldemar, Germaine Richier, in Prisme des arts, Paris, April 1956, n° 2; J. Grenier, Germaine Richier, Sculpteur du terrible, in L'Oeil, Paris, September 1955, pp. 26-31, n° 9 (another cast ill.); R. M. Claude, Venise XXVI Biennale: Présence française, in Arts, Paris, 26 June 1952, n° 365 (another cast ill.) Exhibitions: 2014-2015 Genève, Galerie Jacques de la Béraudière, Germaine Richier, Retrospective, p.32; 2013 Berne, Kunstmuseum, Germaine Richier Rétropective, ill. n° 43 p. 146 (another cast exhibited); 2007 Venice, Peggy Guggenheim Collection, Richier pp. 131-135 (another cast exhibited and ill.); 2000-2001 Saint-Paul-de-Vence, Fondation Maeght, Le Nu au XXe siècle, n° 129 (another cast exhibited and ill.); 1996-1997 Lausanne, Musée cantonal des Beaux-arts, De Vallotton à Dubuffet p. 46, n° 28 (another cast exhibited and ill.); 1997 Berlin, Akademie der Künste, Germaine Richier, n° 39 (another cast exhibited and ill.); 1996 Saint-Paul-de-Vence, Fondation Maeght, Germaine Richier, Rétrospective, n° 36 (another cast exhibited and ill.); 1993 London, Tate Gallery, Paris Post War: Art and Existentialism 1945-55, n° 98 (another cast exhibited and ill.); 1993 Paris, Centre Wallonie-Bruxelles, Dominique Rolin, le temps approuvé, (another cast exhibited); 1988 Humlebaeck, Louisiana Museum of Modern Art, Germaine Richier, n° 12 (another cast exhibited); 1966 Paris, Galerie Creuzevault, Germaine Richier 1902- 1959 (another cast exhibited); 1964 Arles, Musée Réattu, Germaine Richier, no. 22 (another cast exhibited and ill.); 1963 Zurich, Kunsthaus, Germaine Richier, n° 46 (another cast exhibited); 1959 New York, Museum of Modern Art, New Images of Man, n° 90 (another cast exhibited and ill.); 1959 Antibes, Musée Picasso, Germaine Richier, n° 67 (another cast exhibited); 1959 Boston, University School of Fine and Applied Arts, Sculptures by Germaine Richier, n° 30 (another cast exhibited); 1959 Paris, Musée Grimaldi, Créations et récréations de Germaine Richier, exhibition cat.; 1958 Minneapolis, Walker Art Center, Sculpture by Germaine Richier, n° 10 (another cast exhibited); 1956 Paris, Musée national d'art moderne, Germaine Richier, n° 16, pl. XIV (another cast exhibited and ill.); 1955 London, The Hanover Gallery, Germaine Richier, n° 7 (another cast exhibited); 1955 Lille, Galerie Marcel Evrard, Germaine Richier, Roger Vieillard, n° 5 (another cast exhibited and ill.); 1955 Amsterdam, Stedelijk Museum, Vieira da Silva, Germaine Richier, n° 35 (another cast exhibited and ill.); 1954 Bienne, Collège des Près Ritter, Exposition Suisse de sculpture en plein air, n° 170 (another cast exhibited); 1954 Basel, Kunsthalle, Germaine Richier, Bissière, H. R. Schiess, Vieira da Silva, Raoul Ubac, n° 9 (another cast exhibited); 1954 Chicago, The Allan Frumkin Gallery, The Sculpture of Germaine Richier, n° 11 (ill.); 1952 São Paulo, Museu de Arte Moderna, II Biennale, n° 3 (another cast exhibited); 1952 Venice, French Pavilion, XXVI Biennale Internazionale dell'Arte, n° 151 (another cast exhibited)
Willow Gallery
Marc Chagall (Vitebsk 1887-1985 Saint-Paul de Vence) Flûtiste jaune et bouc dans l’arbre en fleurs, circa 1960-1964 Gouache, pastel, oil pastel and Indian Ink on paper 51 x 34 cm - framed: 70 x 53 cm Stamped with artist’s signature This painting is accompanied by a certificate of authenticity from the Comité Marc Chagall Provenance: estate of the artist; thence by descent
Kunsthaus Kende
Ryuhei Sako (Japan, Okayama Prefecture 1976) Mokume-gane Mizusashi, 2021 Silver, copper, shakudo, shibuichi, kuromido H 16.5 cm x Ø 18.5 cm Provenance: the artist's property Works by Ryuhei Sako form part of the inventory of the Victoria & Albert Museum, London, as well as of the Metropolitan Museum of Art, New York
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Tobogan Antiques
giuseppe ghedina (1825-1896)
Giuseppe Ghedina (Italy, 1825-1896) The music lesson, circa 1860 Oil on canvas H 141 x W 179 cm Signed: G. Ghedina Painting representing a music lesson, composed of a group of three elegantly dressed ladies, listening to a musician playing the lute and accompanied on vocals by a man holding a musical score in hand. This artist’s genre scene is distinguished by the softness of the eyes, the romanticism of the attitudes and the harmony of the tones used Provenance: Château de Prépinson, Sologne
Galerie Bertrand de Lavergne
Set of seven Chinese pendants for Court Ladies Turquoise, agate, amethyst, carnelian, smoked and citrinated rock crystal, jadeite and bi-colored tourmaline depicting a goddess, different animals, fruits or aquatic plants, some with their original mounts China, late Qing dynasty (1644-1912) From 4 to 5.5 cm
Galerie Cento Anni
philippe wolfers
Philippe Wolfers (Brussels, 1858-1929) The garland or frieze of garlands, circa 1928 Bronze sketch on marble base H 28 cm Signed Philippe Wolfers Lost wax, Foundry Ateliers Wolfers Provenance: private collection, Belgium Literature: La Dynastie Wolfers, Ed. Pandora, p. 425 Exhibitions: Brussels 1928, n° 197; Antwerp 1929, n° 69
Galerie Bernard De Leye
Head of Saint Janvier known as San Gennaro Naples, (Italy), 18th century Silver gilt H 15 x W 11.8 cm - Weight: 696 gr. Saint Janvier is the patron saint of the city of Naples. The head is made from a thick sheet of silver that is entirely hammered, embossed and chased. The pathos of the face expresses the mystical vision typical of Italian Baroque taste. The rendering of the face is highly expressive. This head is executed in the purest tradition of the reliquary busts found in Naples at the beginning of the eighteenth century in the treasury of the cathedral of San Gennaro (Treasure of Saint Janvier). Comparative pieces in The Treasure of Naples, The Jewels of San Gennaro, Gallimard, Musée Maillol, 2014
Romigioli Antichità
Giovanni Baratta (Italy, 1670-1747) Pair of cherubs, 1699 Carrara marble H 72 cm Fragment recovered from the lost high altar of Santa Trinita in Florence, studied by Francesco Freddolini Provenance: Florence, Church of Santa Trinita until 1892 Literature: Francesco Freddolini, Journal of visual art Predella n° 53, June 2023 Pair of large (H 72 cm) and splendid statuary marble Cherubs by Giovanni Baratta (Carrara 1670 - 1747), they are the best expression of Florentine Baroque. Baratta, an artist of European fame, worked not only for the clergy but also for the most important Florentine aristocracy, including the Medici family. The two Cherubim are of historical and artistic significance because of their provenance; in fact, they are the only surviving element of the altar in the Santa Trinita church in Florence, the original location of Cimabue's Maestà. Their large size is obviously due to the fact that they were placed at the highest part of the altar and are portrayed in the act of kissing each other.
A&R Fleury
alicia penalba
Alicia Penalba (1913-1982) Grande annonciatrice, 1965 Bronze with patina 90 x 140 x 70 cm Signed and numbered “APenalba 1/5” The work is referenced in the catalogue raisonné during the exhibition 'Alicia Penalba, escultora', MALBA, Buenos Aires, 2016-2017, under n° 48b p. 107
Willow Gallery
Henri Martin (Toulouse 1860-1943 Labastide-du-Vert) Jour de Pluie sur la Terrasse Fleurie de Marquayrol, circa 1920 Oil on canvas 79 x 108 cm - framed: 99 x 128 cm Signed This painting is accompanied by a certificate of authenticity from Cyrille Martin Provenance: Tajan Paris, 24 March 1999, lot 17; Richard Green Gallery, London; private collection, Canada
Art et Patrimoine - Laurence Lenne
Large ceremonial covered vase Castelli, first half of the 18th century Polychrome tin-glazed earthenware H 52.5 cm It depicts an animated landscape representing a camp of Roman soldiers Literature: Fernando Filipponi, Aurelio Anselmo Grue. La Maiolica nel Settecento fra Castelli e Atri, Ed. Verdone, 2015; Luciana Arbace, Francesco Antonio Saverio Grue (1686-1746). L'attivita del Dottore maiolicaro da Castelli a Napoli, Ed. Andromeda, 2005
VKD Jewels
Angela Cummings (Austrian-American, 1944) Mother-of-pearl and 18k yellow gold necklace Composed of oval-shaped gold links inlaid with mother-of-pearl USA, circa 1980 Signed Angela Cummings Provenance: private collection Literature: Juliet Weir-de La Rochefoucauld, Women Jewellery Designers, pp. 134-139
Galerie Dina Vierny
judit reigl
Judit Reigl (Kapuvár 1923-2020 Marcoussis) Mass Writing, 1958 Oil on canvas 80 x 114.5 cm Signed: Reigl and dated lower right: 1958 Provenance: Galerie Kléber, Paris; private collection, Paris; Galerie Dina Vierny, Paris Exhibition: Paris, Galerie Dina Vierny, Judit Reigl, Panta rhei, 2023, ill. p. 30