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Galerie des Modernes
jean-michel atlan
Jean-Michel Atlan (Algeria, Constantine 1913-1960 Paris, France) Pharaon III, 1959 Oil on canvas 60 x 92 cm Signed and dated lower left: Atlan 59 Inscribed, dated and titled on the back on the stretcher 'ATLAN 59 PHARAON III 60 x 92 cm' Provenance: Galleria Pater, Milan; private collection, France Literature: Les Non-Figuratifs du Midi autour de Atlan, catalogue of the exhibition of the Musée Ingres, Montauban, 1986, n° 8; Jacques Polieri, Atlan Catalogue raisonné de l'œuvre complet, éditions Gallimard, Paris, 1996, described on p. 390 and repr. in colour on p. 391 under n° 832
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Galerie des Modernes
Francis Picabia (Paris, 1879-1953) Untitled or La Plage (à Martigues ?), vers 1902-1903 Oil on canvas pasted on cardboard 19.5 x 50.4 cm Signed lower right: Picabia Provenance: former Dr. Arthur Brandt collection, New York Literature: William A. Camfield, Francis Picabia Catalogue raisonné, vol. I (1898-1914), Beverley Calté, Candace Clements and Arnauld Pierre, Mercatorfonds, Brussels, 2014, described and reproduced in colour p. 183, n° 64, Inv. 2423
Thomas Deprez Fine Arts
pieter braecke
Pieter Braecke (Nieuwpoort 1858-1938 Brussels) Mantelpiece clock 'Le Jour et La Nuit', circa 1900 Patinated bronze, sand-casted H 42 x W 64.5 x D 10 cm Reworked by hand, with hammering and chasing, most likely a unique prototype; hands and clockwork missing. Recorded in a personal portfolio belonging to the artist (private coll.) Provenance: the artist's studio after his death in 1938; sale Christie’s, Monaco, 6 December 1987, lot 53, as: 'Victor Horta & Pierre Braecke'; sale at Boisgirard, Paris, 26 January 2001, lot 77, as: 'Victor Horta & Pierre Braecke'; private collection, Belgium The present mantelpiece clock was recently rediscovered as the sole effort of sculptor Pieter-Jan Braecke (1858-1938) through a vintage photographic reproduction in one of the artist's albums (private collection). The figures are closely related to the clocks designed by Pierre Braecke in collaboration with Victor Horta for Armand Solvay and Octave Aubecq. No other versions of the present clock have been recorded.
Finch & Co
Attributed to the Embriachi workshop / and the so-called Master of the ‘Susanna Two’ Sarcophagus ‘wedding casket' Bone, wood, polychrome Venice, Italy, 15th century (circa 1450-1475) H 25 x W 41 x D 26.5 cm Provenance: ex private collection, USA; ex English collection The ‘Susanna Two’ are two very similar caskets housed in the Museum of Ravenna, Italy, made by the same workshop and Master as this fine sarcophagus. The Embriachi workshop was a northern Italian family of entrepreneurs and carvers. The precise location of the workshop is unknown, except that it originated in Florence, probably around the 1370s. Baldassare Embriachi was a member of a nobel Florentine family and frequented the Florentine literary circles. During his career, he acted as both a merchant and diplomat. His connections and financial independence allowed him to set up and found the bone-carving workshop that bears his name, rather than that of its leading artist. By 1395, political and financial circumstances had forced him to transfer the workshop to Venice. The suggested time range of the workshop's activity does differ, the earliest known dates being 1390-1405, encompassing a wider span from the 1370s until at least 1416, but certainly no later than 1433. The workshop employed local workers specialising in ‘certosina’ (inlay of stained woods, bone and horn), and produced items carved in bone (usually horse or ox) with wood and bone marquetry. As well as altarpieces, the workshop also made caskets as bridal gifts to hold jewels or documents, and these were often decorated with scenes from mythology.
Art et Patrimoine - Laurence Lenne
philipp jakob vi drentwett
Philipp Jakob VI Drentwett (1686-1754) Condiment service Augsbourg, circa 1750 Master silversmith Philippe Jacob VI Drentwett, received master silversmith in 1717 Hallmark 14 in an oval: for a silver title of 14 löthige = 875/1000 H 19 x W 36 cm Literature: Helmut Seiling, 'Die Kunst der Augsburger Goldschmiede 1529-1868', Verlag C. H. Beck Munchen, 1980, vol. 2 & 3
Galerie Kraemer + Ars Belga
Mark Grotjahn (USA, 1968) Untitled (Black and Cream Butterfly #711), 2008 Coloured pencil on paper 50.8 x 40.6 cm Provenance: the artist’s studio; Gagosian Gallery; private collection, Italy; private collection, Belgium Adam Weisweiler (1744-1820) Secretary forming a 'Bonheur du jour' Lemon tree and amaranth veneer, decorated with chased and gilded bronzes France, Louis XVI period, 18th century H 115 x W 60 x D 32.5 cm Stamped by Weisweiler Provenance: belonged to the city of Frankfurt, then returned to its owner; probably Niarchos collection, then private collection
Artimo Fine Arts
ercole rosa
Ercole Rosa (Rome, 1846-1893) Cupid caught in the net, circa 1875 White Carrara marble sculpture, original column in portor and arabescato H 130 cm (statue), H 95.5 cm (column) Provenance: private collection from the U.K. Considered to be one of the artist's masterpieces, this sculpture was pictured in an article published in the journal 'Natura ed Arte' in 1893 by the famous art critic Luigi Archinti.
Osborne Samuel Gallery
bridget riley
Bridget Riley (London, 1931) Rising and Falling Curve with Turquoise, Cerise, Olive and Black, 1974 Gouache and pencil on paper 146 x 51 cm Signed and dated lower right, titled lower left in pencil Provenance: Rowan Gallery, London (#R1302); private collection, New York (from the above in 1975); Scolar Fine Art, London (before 2004); private collection, UK (before 2004); Osborne Samuel, London
Galerie Jean-François Cazeau
andré masson
André Masson (Balagny-sur-Thérain 1896-1987 Paris) Poursuite, 1933 Oil on canvas 81 x 116 cm Signed in the lower left corner Provenance: Galerie Simon, Paris; Galerie Wildenstein, Paris; Galerie Thessa Herold, Paris; Philippe Samuel collection, Paris; private collection, France Literature: G. Masson, M. Masson et C. Loewer, André Masson. Catalogue raisonné de l'œuvre peint, Tome 1 (1919-1941), Vol. II (1930-1941), Editions ArtAcatos, Vaumarcus, Switzerland, 2010, n° 1933*13, repr. p. 165; P. Le Thorel-Daviot, Petit dictionnaire des artistes modernes, Editions Larousse, Paris, 1999, repr. p. 180 Exhibitions: Roma, Max Ernst e i suoi amici surrealisti, Fondazione Cassa di Risparmio di Roma, Museo del Corso, July 24th-November 3rd 2002, repr. p. 97; Barcelona, Les avantguardes a Catalunya, 1906-1939, Olimpíada Cultural, Fundació Caixa de Catalunya, 1992
Repetto Gallery
christo
Christo Javacheff (Gabrovo 1935-2020 New York) Wrapped floor (Project for Museum Haus-Lange, Krefeld), 1971 Pencil, charcoal, fabric, thread, staples, white paper, museum floorplan, glue, brown kraft paper and cellophane tape on card 71 x 56 cm Signed, titled and dated Certificate of authenticity issued by the Estate of Christo V. Javacheff n° 406-01 Provenance: Guy Pieters Gallery, Knokke-Heist; private collection, Belgium
Galerie Bernard De Leye
Pair of silver toilet torches 'à la financière' Paris, 1658 Master silversmith Nicolas Simonin These toilet torches are one of the oldest pair of toilet torches in Paris known and listed to date. They are also the only known and listed object by Nicolas Simonin. By their shape and size, these torches are characteristic of those that appeared in the toilet services H 10.5 x W 10.2 cm - Weight: 465 gr. the pair Provenance: private collection
Finch & Co
Seated ‘Ball player’ Polychromed terracotta Pre-Columbian Nayarit pottery, Mexico, 100 BC to 250 AD H 48 cm Provenance: Stanley J. Seeger collection, USA; Sotheby's, London, 5th March 2014; ex private UK collection Literature: The Art Museum, Princeton University, 1961 Exhibition: Princeton University, June 1961 Before their arrival in the New World, the Spanish had never seen games played with balls of rubber, a substance unknown in Europe. Upon their arrival in central Mexico, they were so enamoured with the Aztec ballgame that they sent a team of indigenous players to Spain to play before the court of Charles V. The game the Spanish witnessed in the Aztec region was just one manifestation of a long-lived and wide-ranging ballgame tradition in Mesoamerica. Cultures throughout Mesoamerica played games using rubber balls, and the tradition also extended to the Caribbean and the southwestern United States. Mesoamerican peoples played many types of ballgames, with different rules and styles of play. The seated figure in our example sits wearing multiple earrings and nose rings, and is decorated with polychrome ‘slip’ of red, black, white and yellow. He is clasping a ball between his cupped hands in front of his chest.
Marc Heiremans
Flavio Poli (Italy, 1900-1984) Valva Grigio violetto, 1957 Executed for Seguso vetri d'arte, Murano, Italy Free-blown, hand-formed, carved and hand-polished multi-layered glass. H 14 x W 18. 5 x D 7 cm Provenance: private collection, Stockholm Literature: Marc Heiremans, Seguso vetri d'arte-Glass objects from Murano (1932-1973), Arnoldsche Stuttgart 2014 Exhibited: Model 11895, exhibited at the XIe Triennale di Milano, 1957
Klaas Muller
jan boeckhorst
Jan Boeckhorst (Münster 1604-1668 Antwerp) Study of a Female Head in profile Oil on canvas 42.5 x 32.3 cm Literature: Kunsthandel J. Goudstikker, Rubens-Tentoonstelling, Ten bate Van de Vereeniging 'Rembrandt' in de zalen van den Kunsthandel J. Goudstikker N.V., exh. cat., Amsterdam 1933, cat. n° 57, repr. (as Rubens); H. Vlieghe, Jan Boeckhorst, 1604–1668, Maler der Rubenszeit, exh. cat., Antwerp 1990, p. 64, repr. p. 65, fig. 33 (as Boeckhorst); M. Galen, Johann Boeckhorst, Gemälde und Zeichnungen, Hamburg 2012, p. 254, cat. n° Z 14, repr. p. 253, fig. Z 14 (as Boeckhorst); N. Van Hout, Corpus Rubenianum L. Burchard, Part XX, Studyheads, Vol. 1, fig 168; Vol. 2, pp. 147-149; Nils Bütner, Becoming Famous Pieter Paul Rubens, Exp. Cat. Staatsgalerie Stuttgart, 2021, pp. 249-251, repr. abb.3 (as Boeckhorst) This well-known study has been published several times. It can be linked to a painting: 'Woman reading' in Mannheim (Reiss-Engelhorn Museum), which is probably a collaboration between Rubens and Boeckhorst (see literature, Van Hout and Bütner). Yet the sketch differs in several points from the final work, and even from the infrared of the (Mannheim-) work. For example, the woman is not wearing a hood (in contrast to Mannheim's infrared) and her hairstyle differs significantly from the final work, together with her clothing. The head is very monumental and at the same time clearly painted after life.
Floris van Wanroij Fine Art
anselmus weeling
Anselmus Weeling (Den Bosch, 1675-1774) The Holy Family with Saint John the Baptist and Elisabeth Oil on panel H 30.2 x W 24.2 cm Signed upper left: A.Weeling Registered at the RKD, The Hague, under inv. n° 1863 Provenance: possibly the collection of Johan Steengracht van Oostcapelle (Middelburg 1782-1846 Paris); thence by decent to Cecilia Maria baroness van Pallandt, born van Steengracht van Oostcapelle (The Hague, 1813-1899), Castle Keukenhof, Lisse; collection of the Cornelia Johanna countess van Lynden, born van Pallandt (The Hague 1840-1923 Lisse), Castle Keukenhof, Lisse; thence by descent to her niece Carola Elisabeth Aurelia Anna countess van Rechteren Limpurg – born baroness van Lynden (Wassenaar 1900- 1986 Dalfsen), Castle Rechteren, Dalfsen; collection of Nijstad Antiquairs N.V., Lochem/The Hague, after 1946 (photographed by A. Dingjan; see RKD database); private collection, The Netherlands Literature: Hofstede de Groot, C. (1901). 'Kritische opmerkingen omtrent Oud-Hollandsche schilderijen in onze musea'. In: Oud Holland, n° 19, pp. 143-144 Exhibitions: The Royal Cabinet of Paintings the Mauritshuis, The Hague, 1899-1901, as attributed to Nicolaes Willingh (or Wieling) on loan from Countess van Lynden-van Pallandt
Galerie Cento Anni
Edouard-Marcel Sandoz (Basel 1881-1971 Lausanne) Seated fennec, head turned, size 2, 1921 Bronze with a shaded brown patina Cast by Susse, numbered 5 and marked 'Susse Fes Edts Paris' 'Cire perdue', circa 1926-1930 H 28.5 x W 30 x D 14.5 cm Signed: EdM. Sandoz Provenance: private collection, France Literature: Félix Marcilhac, Édouard Marcel Sandoz, sculpteur, figuriste et animalier 1881-1971, catalogue raisonné de l'œuvre sculpté, éd. de l'Amateur, Paris, 1993, p.364, model n° 602, repr. p. 365
Dr. Lennart Booij Fine Art & Rare Items
pablo picasso
Pablo Picasso (Malaga 1881-1973 Mougins) Turned vase in the shape of a wood owl, 1958 White earthenware clay, engobe decoration, engraved with a knife, glazed inside, red and black colours H 28 cm Numbered 155/200, incised ‘Edition Picasso’ and stamped ‘Edition Picasso’ and ‘Madoura Plein Feu' Provenance: private collection, UK Literature: Alain Ramié, Picasso, Catalogue of the Edited Ceramic Works, 1947-1971, Madoura, 1988, p. 213, n° 405 © Succession Picasso - Sabam Belgium 2023
Galerie Boulakia
rashid johnson
Rashid Johnson (Chicago, 1977) Junie, 2013 Oil on panel 154 x 215 cm Provenance: Hauser and Wirth, London Chicago-born artist Rashid Johnson produces conceptual post-black art using a wide range of media. He explores literature, philosophy, and collective aspects of African American intellectual history and cultural identity. Johnson makes his own tools to scrape and engrave his pieces, frequently conveying occult and mystic rhythms. In Junie, the black and gold oils dispersed on the frantically engraved panel encapsulate the artist's intricate and multidisciplinary practice, incorporating diverse materials rich in symbolism and personal history.
Galerie Montanari
Ebony veneered frame with engraved guillochets Flanders, 17th century 72 x 54.2 cm On the spout part of the frame is an engraved frieze of leaves with a wide rib. On the flat part there is an engraved floral and country décor. The latter gives rise to a figurative dialogue, which breaks with the symbolic precepts of earlier periods. The frame thus becomes a decorative object in its own right
Whitford Fine Art
joseph lacasse
Joseph Lacasse (Tournai 1894-1975 Paris) Dominante bleue, 1955-56 Oil on canvas 246 x 105 cm Signed and dated verso Provenance: private collection, Belgium Literature: Joseph Lacasse: Pioneer of Abstraction, exhibition catalogue with essay by An Jo Fermon, Whitford Fine Art, London, 2015, cat. n° 29, ill.