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VKD Jewels
Cartier Pair of Ladybird clip brooches France, circa 1935 Coral, diamonds and enamel Signed Cartier Paris French assay mark for 18k gold Each modelled as a ladybird, the wing cases are carved from coral and divided by a central line, set with bezel-set old-cut diamond 'spots'. The head, thorax and legs are in black enamel, the leg tips of the larger example accented with small diamonds. The brooches are in two sizes and fitted with clip mechanisms. The ladybird is a traditional good-luck symbol in Europe. Its old name, 'Our Lady’s bird', ties it to the Virgin Mary, and it has been a popular motif in charm and novelty jewelry since the 19th century. Cartier’s insect and animal jewels belong to its naturalistic repertoire. That tradition grew strongly in the 1930s and 1940s, when Jeanne Toussaint led Cartier’s high-jewelry design in Paris. Her best-known creations are the panther pieces and the fauna and flora brooches. Small, wearable lucky motifs in coral, enamel, onyx and diamonds were part of this range.
Galerie bei der Albertina ▪ Zetter
Dagobert Peche (Sankt Michael im Lungau 1887-1923 Mödling) Lamp, Design 1921 Manufactured by the Wiener Werkstätte, model number M 3494-M la 24 Brass, embossed, floral decoration, foot with beaded decoration, one flame, lamp shade renewed, new electrification H 87 cm - Ø 46 cm (lamp shade) Marks: WIENER / WERK / STÄTTE, monogram DP According to the MAK only two lamps were manufactured in the year 1923 Provenance: collection Schedlmayer Literature: cf. WW Archive, MAK Vienna, design sketch lamp base KI 12649-5-2, photo archive inventory n° WWF 98-116-1 as well as entry in the book of commissions of the Wiener Werkstätte model book WWKA 679; cf. Exhibition catalogue ‘Die Überwindung der Utilität. Dagobert Peche und die Wiener Werkstätte’, ed. by Peter Noever, MAK, Vienna 1998, ill. p. 221, n° 51; cf. Exhibition catalogue ‘Dagobert Peche and the Wiener Werkstätte’, ed. by Peter Noever, MAK, Vienna 1998, Neue Galerie, New York 2002, ill. p. 228, n° 45; Exhibition catalogue ‘Die Sammlung Schedlmayer. Die Entdeckung’, ed. by Ivan Ristic, Hans-Peter Wipplinger, Leopold Museum, Vienna 2021, ill. p. 72 Exhibition: Vienna, Leopoldmuseum, 'Die Sammlung Schedlmayer. Eine Entdeckung', 2021
Maurice Verbaet Collection (MVC)
Marcel Mariën (Antwerp 1920-1993 Brussels) La Mire, circa 1981-83 Gelatin silver print on paper 18 x 12.5 cm (unframed) 33 x 43 cm (framed) Edition 2/6 Even before meeting the Brussels surrealists at the age of 17, Marcel Mariën (1920-1993) had taken his first steps in photography, having begun an apprenticeship with a photographer in Hoboken at the age of 15. During the 1940s, he began to use photography to create images with the bodies of the women he loved, but it was mainly from the 1980s onwards that he made frequent use of it. The photograph La Mire highlights the remarkable effectiveness of his creations, which, whilst appearing simple, reveal a wealth of meanings the moment one takes a closer look. It also demonstrates the extent to which photography enables Mariën to explore in greater depth the themes he develops in his objects, collages and writings. Indeed, his entire body of work is a reflection on the status of art. In this respect, he builds upon not only the concerns of the surrealists but also those of Marcel Duchamp. The Mona Lisa, the quintessential masterpiece of Western painting, was notably appropriated by Duchamp, who drew a moustache on it and added the inscription ‘L.H.O.O.Q.’ (‘Elle a chaud au cul’ or ‘She’s got a hot arse’) in 1919. Mariën takes this provocative critique of the mythicization surrounding this artwork a step further. The pubic hair encapsulates the moustache and inscription. It emphasizes the distance between the real woman and the painted one, whose identity has been forgotten whilst her depiction has become ubiquitous. The title refers to ‘la mire’ – that is, the image shown on television when channels were off the air –, an ever-present image that nobody looks at, much like the Mona Lisa, of which we have seen so many reproductions that we can no longer truly appreciate the real painting. But it also implies that ‘elle la mire’, which means ‘she is gazing at her’: it echoes Duchamp’s inscription, which can also be read as ‘look’. Furthermore, it plays on the belief that the Mona Lisa follows viewers with her gaze. Mariën presents the Mona Lisa as looking intently at the sex of the flesh-and-blood woman lying in front of her – in a perspective reminiscent of L’Origine du monde by Courbet. Perhaps his photograph enables us to better understand the reason behind the Mona Lisa’s famous mischievous smile?
Lemaire
Bust depicting Honoré-Gabriel Riqueti de Mirabeau Manufacture of the Comte d’Artois in Paris Paris, circa 1792 Hard-paste porcelain H 27 cm Honoré-Gabriel Riqueti de Mirabeau (1749-1791), was a French writer, diplomat, journalist, and politician, and a prominent figure of the French Revolution
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 The years 1910–1911 were the most creative in Rembrandt Bugatti’s career. His art was flourishing, with his first major exhibition in Antwerp in 1910, followed by one organised by the foundryman Hébrard, for which the artist presented a magnificent collection of one hundred sculptures. The 'Deux antilopes goudou' were probably created in 1911, following a group of Trois antilopes goudou that Bugatti presented for the first time at the Salon d’Automne in 1911. From this group of three, the sculptor chose to retain only a pair of animals, adopting an even more sensitive approach, full of great tenderness, which the artist’s Impressionist touch renders here even more vibrant. To emphasise this intimate and ‘friendly’ character, Bugatti positions the antelopes – also known as Les deux amis – in a face-to-face interaction, with the head of one resting trustingly on the other’s large ear. The two heads come together harmoniously at the centre of the composition. At the same time, the sculptor modelled another, complementary group featuring similar antelopes, this time muzzle to muzzle, which he named 'Deux antilopes Goudou' or 'Caresse'. This cast, listed in the sculptor’s catalogue raisonné, bears the number '13', denoting the thirteenth cast produced from this model, and the casting date 'Fondu en 1925' – an extremely rare detail in Bugatti’s Oeuvre. The production run of these beautiful African antelopes was a great success for Hébrard, who cast thirty-two bronzes based on this subject. This bronze, with its deep brown patina, stands out from other known casts due to the high quality of the mould, which perfectly showcases the master’s characteristic and original treatment of the material.
Galerie la Ménagerie
Georges Collard (Antwerp, 1881-1961) Scimitar Oryx, 1926 Bronze with dark brown patina and gold rims H 31 x W 54 x D 21 cm Signed and dated 'Georges Collard 1926' on the base Foundry stamp 'Batardy Bruxelles cire perdue' Model created and cast circa 1926 This sculpture of two antelopes is a fine example of the work of Georges Collard. The artist was the brother-in-law of Josuë Dupon, the renowned animal sculptor and one of the founding members of the Antwerp Artists and Sculptors Circle. This reclining scene is the result of careful observation, drawing us into an intimate moment between the two animals. It is a beautiful expression of stylized, highly expressive realism. This bronze was created in 1926, based on a pair of scimitar-horned oryx that lived at Antwerp Zoo and originally came from the Sahara Desert. These antelopes are now extinct in the wild. Thanks to the artist's talent and this exceptional casting by Batardy, Brussels, their presence has been immortalized in bronze.
Gallery Sofie Van de Velde
Victor Servranckx (Diegem 1897-1965 Vilvoorde) Opus 20, (Calm Blocks Fallen from an Obscure Disaster), 1927 Oil on canvas 146 x 81 cm Signed and dated lower left Provenance: Félix Carlier, Watermael-Boisfort (purchased from Galerie Le Centaure, Brussels, 1929); Galerie J.-P. Alaerts, Brussels; London, Christie’s, 16 October 1990, lot n° 61 (ill.); Lokeren, De Vuyst, 6 October 2001, lot n° 489; private collection, Brussels; Galerie Ronny Van de Velde, Antwerp Literature: La Nation belge (Brussels), 12th year, n° 48, 17 February 1929, ill. p. 3; Le Peuple (Brussels), 5th year, n° 48, 17 February 1929, ill. p. 1 Exhibitions: Brussels, Palais des Beaux-Arts, 1929 (no catalogue); Brussels, Galerie Le Centaure, Exhibition De Boeck, Flouquet, Gailliard, Servranckx, 1929, n° 33; Brussels, Palais des Beaux-Arts, 1947, n° 45 '146 x 92 cm'; Brussels, Musée d’Ixelles/Museum van Elsene, Retrospective Le Centaure. Homage to Walter Schwarzenberg, 1963, n° 117; Brussels, Musée d’Ixelles/Museum van Elsene, 1965, n° 107; Hasselt, Provinciaal Begijnhof, 1970, n° 57 (ill.) Thanks to a photograph showing the artist during his solo exhibition at the Palais des Beaux-Arts (Brussels) in January 1929, we know that the painting was exhibited there. Félix Carlier acquired the work at the group exhibition (featuring works by De Boeck, Flouquet, Gailliard, and Servranckx) at Galerie Le Centaure in Brussels in 1929. As one of the leading pioneers of the abstract movement in Flanders, Servranckx explored the new possibilities of modern art with extraordinary intensity. Opus 20, (Calm Blocks Fallen from an Obscure Disaster), dating from 1927, can rightly be regarded as a pivotal work in his oeuvre. It represents a remarkable synthesis of geometric abstraction and the artist’s lyrical imagination, while also anticipating the emergence of Surrealism. Jacques Lipchitz (Lithuania, Druskininkai 1891-1973 Capri) Sitting figure, 1915 Bronze H 87 cm Signed 'JLipchitz' and numbered 2/7 (on base) Provenance: the estate of the artist; acquired from the above mentioned in 1989 by current owner Exhibition: Musée des Années 30, 'Lipchitz, Les Années Françaises de 1910 à 1940', 2005-2006, n° 10, pp. 16-17, ill. in colour
De Wit Fine Tapestries
Large leaf verdure with wild boar Southern Netherlands, possibly Oudenaarde, 16th century Tapestry, wool and silk 265 x 370 cm This Large leaf lerdure with wild boar depicts an idealised view of nature. The vegetation is in bloom and various animals are roaming through the crops. Whilst tapestries of this type often survive in fragments, this piece is complete and contains all the typical, characteristic elements. The piece is in very good condition, with strong contrasting colours that emphasise the illusion of vibrant nature. Whereas we often see oval or circular balustrades in tapestries of this kind, which frame the natural scene behind them, the picture plane here is sharply interrupted by a straight balustrade. A gallery is formed which attempts to keep the viewer at a distance, but it cannot hold back the foliage, and some of the vegetation and animals pass beyond the frame and escape from the border.
Galerie Alexis Pentcheff
Carved wooden frame, gilded with gold leaf, fitted with its original mercury glass Spain, 17th century Symmetrical decoration featuring four cherubs, stylised scrolls, acanthus leaves and gemstones at the corners Provenance: Amedeo Montanari collection Literature: Amedeo Montanari and Roberto Lodi, Directory of European frales, editions Galleria Roberto Lodi, 2003, repr. n° 641, p. 323
Galerie Alexis Bordes
Constant Montald (Ghent 1862-1944 Woluwe-Saint-Lambert) View of houses in Spring, 1917 Gouache on paper laid down on cardboard 70 x 88.5 cm Signed and dated lower right 'C. Montald 17' Provenance: private collection, Belgium (acquired at public auction in 1993); private collection, France
Galeria Jordi Pascual
Joan Miró (Barcelona 1893-1983 Palma de Mallorca) Painting III, 1960 Acrylic and pastel pencil on canvas 92 x 65 cm Certificate of authenticity issued by ADOM Provenance: Galerie Maeght, Paris; Galerie Adrien Maeght, Paris; private collection, Barcelona Literature: Dupin, J. Miró, Flammarion, 1961, nº 928, p. 554; Dupin, J., Lelong-Mainaud, A. Joan Miró, Catalogue raisonné, paintings, volume IV: 1959-1968, Polígrafa, 2010, nº 1118; Weelen, G. Miró. Nouvelles Éditions Françaises, 1984, nº 8, p. 9 Exhibitions: Grand Palais, Paris, 1974, cat. nº 77; Villeneuve d'Ascq, Musée d'Art Moderne, cat. nº 16
Dalton Somaré
Slit drum, nedundu Uele Region, Northeastern Democratic Republic of the Congo Early 20th century Wood with dark brown patina 52 x 122 cm Provenance: collection Monsieur H., (Agricultural Engineer), France, collected in situ before 1950; thence by descent; private collection, France; Sotheby’s, Paris, Arts d’Afrique et d’Océanie, 21 June 2017; private collection, New York
Epoque Fine Jewels
Van Cleef & Arpels Art Deco bracelet, circa 1925 Platinum and diamonds Total diamond weight: approx. 30 ct Signed Van Cleef & Arpels and numbered The rhythmic, continuous wave motif creates a strong sense of movement and symmetry, characteristic of the refined geometric elegance of the Art Deco period. The dynamic repetition of the wave forms evokes the era’s fascination with speed, progress and technological innovation, reflecting the visual language of the Machine Age, in which streamlined motion and modern engineering inspired both architecture and the decorative arts. This impression of forward movement is reinforced by the uninterrupted horizontal flow of the design, giving the bracelet a distinctly modern and energetic presence. Executed in platinum, the bracelet displays exceptional craftsmanship and meticulous stone setting, allowing maximum brilliance while preserving the lightness of the openwork structure. The scroll-like abstraction of natural forms into repeating patterns exemplifies the Art Deco ideal of transforming organic movement into elegant modern geometry.
Galerie Jean-François Cazeau
Niki de Saint Phalle (Neuilly-sur-Seine 1930-2002 La Jolla, USA) La Force (Strength), 1987 Painted polyester resin 35 x 53.3 x 29.2 cm Edition of 10, numbered 3/10 Artist's signature and number '3/10 Niki de Saint Phalle' (on a plaque fixed at the bottom) Provenance: the artist's studio; Gallery Gimpel Fils, Londres; private collection, acquired in 1989; private collection, France
Galerie Jean-François Cazeau
Yayoi Kusama (Matsumoto 1929-2026 Tokyo) Uchu/Universe, 1994 Acrylic on canvas 91 x 73 cm Signed, titled and dated in Japanese on the reverse 'Yayoi Kusama 1994' This work is registered in the Archives of Yayoi Kusama Studio as n° 1518 Provenance: Ota Fine Art, Tokyo; private collection Sotheby’s London, 2022, lot 318; acquired by the current owner at Sotheby’s London; private collection, France
Pauline Janssen
Friedrich Kreuter for Koch Edwardian tiara, circa 1911 Diamond & Ceylon Sapphires Total weight 61.7 gr Set with old cut and rose cut diamonds and faceted sapphires. Estimated centre diamond weight approximately 3.70 carats. Estimated total diamond weight approximately 20.00 carats. Estimated centre sapphire weight approximately 6.50 carats. Estimated total sapphire weight approximately 12.00 carats. The sapphires are of Ceylon origin with no indications of heat treatment. Diamonds are bright & lively. Mounted in platinum. German work by Friedrich Kreuter for Koch. Weight 61.5 gr. Accompanied by a CGL laboratory certificate. Accompanied by the original fitted box.