23 - 30 JANUARY 2022

TOUR & TAXIS | BRUSSELS

#stayconnected
#beinspired
#loveart
Artworks

This section will be available this Autumn.

Galeries
Galeries David Aaron Galerie AB-BA Paolo Antonacci W. Apolloni srl d'Arschot & Cie Art et Patrimoine - Laurence Lenne Artimo Fine Arts Arts et Autographes Galerie Ary Jan Bailly Gallery Helene Bailly Gallery Véronique Bamps Baronian Xippas Galerie de la Béraudière Galerie Berès Galerie Berger Berko Fine Paintings Galerie Claude Bernard Bernier/Eliades Gallery Dr. Lennart Booij Fine Art & Rare Items Boon Gallery Galerie Alexis Bordes Bernard Bouisset Galerie Boulakia Brame & Lorenceau Brun Fine Art Cabinet of Curiosities-Honourable Silver Objects Callisto Fine Arts Giammarco Cappuzzo Fine Art Galerie Jean-François Cazeau Galerie Cento Anni Chambre professionnelle belge de la Librairie Ancienne et Moderne (CLAM) Chiale Fine Art didier Claes C L E A R I N G Collectors Gallery Cortesi Gallery Costermans & Pelgrims de Bigard Galerie Cybele Dalton Somaré De Brock Gallery De Jonckheere Galerie Oscar De Vos De Wit Fine Tapestries Thomas Deprez Fine Arts Gallery Desmet Miriam Di Penta Fine Arts DIE GALERIE Douwes Fine Art BV Galerie Eberwein Xavier Eeckhout Epoque Fine Jewels Yann Ferrandin Finch & Co A&R Fleury Galerie des Modernes Dario Ghio Gladstone Gallery Gokelaere & Robinson Galerie Grand-Rue Marie-Laure Rondeau Galerie Hadjer Philippe Heim Marc Heiremans Galerie Hioco Huberty & Breyne Galerie Hurtebize Igra Lignum Antiquités Galerie Jamar rodolphe janssen Francis Janssens van der Maelen Galerie Kevorkian Harold t’Kint de Roodenbeke Lancz Gallery Alexis Lartigue Fine Art Galerie Bertrand de Lavergne Lemaire Francis Maere Fine Arts Kálmán Makláry Fine Arts MARUANI MERCIER Gallery NAO MASAKI Galerie Mathivet MDZ Art Gallery Meessen De Clercq Montagut Gallery Galerie Montanari MORENTZ Jan Muller Antiques Klaas Muller Gioielleria Nardi Nosbaum Reding Opera Gallery Osborne Samuel Gallery Galeria Jordi Pascual La Patinoire Royale ǀ Galerie Valérie Bach La Pendulerie Galerie Alexis Pentcheff Guy Pieters Gallery Galerie de la Présidence Benjamin Proust Fine Art Galerie Günter Puhze GmbH Maison Rapin Repetto Gallery Röbbig München Robertaebasta Rosenberg & Co. Rueb Modern and Contemporary Art Galerie Schifferli Serge Schoffel - Art Premier Herwig Simons Fine Arts STEINITZ Stern Pissarro Gallery Simon Studer Art Associés Studio 2000 Art Gallery Galerie Taménaga Gallery Tanakaya Tenzing Asian Art Theatrum Mundi Theunissen & de Ghellinck M.F. Toninelli Art Moderne Galerie Patrice Trigano Univers du Bronze Van der Meij Fine Arts Samuel Vanhoegaerden Gallery Maurice Verbaet Gallery Galerie von Vertes Axel Vervoordt Galerie Florence de Voldère N. Vrouyr Floris van Wanroij Fine Art Victor Werner Whitford Fine Art Willow Gallery
 

Rueb Modern and Contemporary Art

Pablo Picasso (Malaga 1881-1973 Mougins) Personnage assis dans un fauteuil Pencil on paper 32.5 x 23.5 cm Provenance: Marina Picasso Literature: Christian Zervos, Pablo Picasso, vol. 29, Paris, 1975, ill. n° 177, p. 78; Joseph Palau i Fabre, Picasso, Cubisme (1907-1917), Barcelona, 1990, n° 1323, ill. p. 441 Exhibition: Geneva, Galerie Jan Krugier, Pablo Picasso drawings, 1986

 

Gallery NAO MASAKI

Sadaharu Horio (Japan, Kobe 1939-2018) Ordinary things / Zebra, 1985 Ink on Japanese paper 185 x 128 cm

 

Baronian Xippas

Seyni Awa Camara (Senegal, Casamance 1945) Anakhane, 2021 Fired clay H 94 x W 42 x D 40 cm

 

Galerie Hurtebize

Georges Mathieu (Boulogne-sur-Mer 1921-2012 Boulogne-Billancourt)  Deuil de la Folie, 1986 Alkyde on canvas 120 x 160 cm Titled on the back of the stretcher Certificate by Georges Mathieu Committee Provenance: private collection, France

 

Simon Studer Art Associés

Pierre-Louis de La Rive (Geneva 1753-1817 Presinge) Paysage idyllique (Lac Léman et Grammont), 1792 Oil on canvas 85 x 114.5 cm, framed: 98 x 128 cm Signed and dated lower right Provenance: the artist's studio; Boissier family, Geneva; private collection, Geneva (by descent)

 

Lemaire

Pair of ormolu torches decorated with Saxony porcelain figurines: a mischievous Colombine and a boy in Turkish costume Saxony porcelain figurines: model of Kaendler, around 1750 and ormulu torches: Louis XV period H 20.2 cm each

 

Galerie Günter Puhze GmbH

Mask of a sarcophagus Egypt, New Kingdom, 19th Dynasty, circa 1292-1190 BC Wood with remains of black colour H 14.2 cm Provenance: German private collection H. W., acquired 1983 at the German art market Published: Galerie Günter Puhze-catalogue Kunst der Antike 5, Freiburg im Breisgau, 1983, n° 313

 

Collectors Gallery

Sophia Vari (Vari, 1940) Candle holders 'Feu fugitif', 2012 Silver and black marble base H 37.3 cm Limited edition of 9, signed and numbered Provenance: from the artist's studio

 

Galerie Mathivet

Gaston Suisse (Paris, 1896-1988) African motherhood, circa 1958 Coloured lacquer with its original lacquer frame 59 x 49 cm Signed G Suisse. French artist designer, painter, lacquerer, decorator Literature: Émmanuel Bréon, Gaston Suisse. Splendeur du Laque Art Déco, Ed. Somogy, Paris, 2013

 

d'Arschot & Cie

Silver covered écuelle The lid is decorated with silver leaf applied and cut in the form of radiating lanceolate foliage, the handle in the form of a snake in the round, chiselled and embossed Tournai, letter date R, circa 1675 Master goldsmith signing the initials I.S for Marc Isaac Stienne, mentioned as master goldsmith from 1656 Coat of arms of François van Hoorn (1636-1679), his tombstone is still in the church of Saint Nicolas in Tournai Weight 560 gr H 26 cm Literature: L'orfèvrerie en Hainaut, 1985, p. 171, n° 34; E. J. Soil de Moriamé, L'orfèvrerie tournaisienne du XVII et du XVIIIème siècle à l'exposition de Tournai, 1911, p. 75; Michèle Bimbenet-Privat, Les orfèvres et l'orfèvrerie de Paris au XVIIème siècle, 2002, Tome II p. 224 For the tombstone: photo IRPA M224316

 

Van der Meij Fine Arts

Kristian Zahrtmann (Rønne 1843-1917 Frederiksberg) Still life with four tulips, 1912 Oil on cardboard 40 x 48 cm Signed lower right KZ 1912 (in ligature) Provenance: collection E. Th. Jensen, Denmark; private collection, Denmark Literature: H. Chr. Christensen, Kr. Zahrtmann 31 March 1843-22 June 1917. Fortegnelse over hans Malerier, Copenhagen 1917, n° 676; S. Danneskjold-Samsøe, Kristian Zahrtmann, Copenhagen, 1942, p. 572, n° 1069 (as Fire tulipaner i glas)

 

Klaas Muller

Adriaen Thomasz Key (Breda 1544-1589 Antwerp) Portrait of a bearded man, holding his gloves Oil on panel 80 x 59 cm Certificate by Dr. K. Jonckheere with confirmation of the work as an authentic A. T. Key, from the '60s of the 16th century Adriaenz Thomasz Key was born in Breda (1544), the son of Jan Thomas Mertens and Margriete Adriaen Keijen. After the death of his uncle Willem Key (in 1568) Adriaen Thomasz took over his studio in Antwerp and the name of his deceased and illustrious uncle by adding his surname to his own name. So Adriaen Thomasz Key was born. This was mainly for commercial reasons. Altough Adriaen Thomasz was a true calvinist and many of his paintings were therefore lost to the iconoclasm of the period, he stayed in Antwerp for the rest of his remaining career. Like his uncle, he painted several mythological and religious scenes but he was mainly renowned for his portraits.  Amongst his clientele were the political and religious leaders of his era, such as Willem of Orange, Margareta of Parma, Abraham Ortemloius and others. Keys' portraits are often set during a turbulent period of history, on the brink of the 80 Years war, in which the religious, political and social structures were shaken up and called into question. Due to professional reasons, he was in contact with protagonists from both sides of the dispute. His portraits are silent witnesses to the deep earnestness and self-awareness that characterises the Dutch Renaissance. This portrait therefore fits the Zeitgeist: This man looks (down) at us, confident and stern. The background has little life in it and doesn't detract from the force of the face in the foreground. He is holding on tight to his glove(s), the latter a symbol of both protection and violence. Two visible rings might be the indication of a female pendant.

 

Paolo Antonacci

Hieronymus Hess (Basel, 1799-1850) Synagogue interior with Rabbis and figures, 1830 Pencil and watercolour on paper 29 x 34 cm Signed and dated lower left H Hess .inv. et f. 1830 Provenance: private collection, Switzerland

 

d'Arschot & Cie

Parisian 17th century bookbinding OFFITIO DELLA CHIESA. Paris, Étienne Chardon for Jacques Hérissant, 1689-1690, in-24 Silver, porcelain and amethyst binding from the Louis XIV period Decorated with chased silver and openwork on a red paillon background, ten cut amethysts set on each plate. The plates are decorated with enamels painted on porcelain 8.5 x 4.5 cm Literature: Paul Micio, Filigranes d'or et d'argent du Grand Siècle, in l'Objet d'Art Juin 2003, n° 381, pp. 66-73

 

Arts et Autographes

Ludwig van Beethoven (Bonn 1770-1827 Vienna) Autograph letter signed 'L. v. Beethoven', adressed to an employee of K. k. Universalkameralamt in Vienna. [26 octobre 1819 ?]; 1 page in-8° oblong Provenance: private collection, France

 

Van der Meij Fine Arts

Johan Christian Dahl (Bergen 1788-1857 Dresden) Birds in the snow, 1836 Oil on canvas laid on wood 10 x 9.5 cm Signed and dated lower right J Dahl 1836 Provenance: E.W. von Coopmanns, Dresden, 1836; auction Blomqvist, Oslo, 4 December 1978, lot 15a; private collection, Norway; Christie's London, 29 November 1991, lot 77; private collection, Switzerland Literature: M.L. Bang, Johan Christian Dahl, 1788-1857. Life and Works, Oslo 1987, II, p. 258, n° 823; III, plate 349

 

MORENTZ

Tove (1906-1994) and Edvardt (1901-1982) Kindt-Larsen 'Fireplace' armchairs Teak, leather Denmark, 1940 Dimensions: H x W x D cm Model made for Gustav Bertelsen Literature: Grete Jalk, 40 Years of Danish Furniture Design. The Copenhagen Cabinet-makers’ Guild Exhibitions 1927-1966. Copenhagen: Teknologisk Instituts Forlag, 1987, 1937-1946, pp. 108-110 This lounge chair was specially designed to sit in front of a fireplace. When it was first exhibited, this model was mentioned as a masterpiece of modern design. This chair has great characteristic details. Starting with the X-shaped crossbar under the seat. The L-shaped seat itself is separated from the wooden frame. Beautiful detail are the armrests which have a nice curve on top of the rests, towards the back of the chair. The chairs are still upholstered in their original cognac leather. Due to the rich patina, the age of the chairs is shown in a beautiful manner. Tove and Edvardt Kindt-Larsen are a Danish designer couple. Both of them were trained as architects and had studied under the guidance of Kaare Klint at the Royal Danish Academy of Fine Arts. In the beginning of his career, Edvardt Kindt-Larsen used a combination of shiny, painted surfaces with untreated wood or created one piece of furniture out of several different kinds of wood. However, a large part of his success is due to the collaboration with his wife, Tove. During their marriage and partnership as architects and furniture designers, they were at the forefront of Danish and Scandinavian design. Nowadays they are known for refined, modest design executed with the highest quality materials.

 

Galerie Alexis Pentcheff

Henri Manguin (Paris 1874-1949 Saint-Tropez) La bouquetière, 1906 Oil on canvas 92 x 73 cm Signed and dated lower left Provenance: Acquis de Henri Manguin par H. Bonan, Tunis, June 1939; sale, Paris, Palais Galliera, 14 March 1967, n° 67; collection Mrs Joseph King, 1981; Galerie Urban, Paris; private collection, France Literature: Lucile et Claude Manguin (dir.), Henri Manguin, catalogue raisonné de l'oeuvre peint, Ides et Calendes, Neuchâtel, 1980, repr. under n° 245 and p. 117 Exhibitions: Manguin, Galerie de l'Elysée, Paris, 1938, n° 2; Norton Gallery and School of Arts, Florida, 1981

 

Baronian Xippas

Gilbert & George-Gilbert Prousch (San Martin de Tor, 1943) and George Passmore (Plymouth, 1942) OLIVARY, 2021 Mixed media 191 x 302 cm

 

didier Claes

Mangbetu Harp Democratic Republic of Congo, end of 19th-beginning of 20th century Wood, pigments, fiber H 85 cm Provenance: Mestach collection, Belgium Literature: Primitivism in 20th Century Art. Affinities of the Tribal and the Modern, Rubin, New York: The Museum of Modern Art, 1984; Le Primitivisme dans l’art du 20e siècle. Les artistes modernes devant l’art tribal, Paris, Editions Flammarion, 1987, p. 309; Mangbetu. Afrikaanse Hofkunst uit Belgische prive-verzamelingen, Brussels, KB, 1992, p. XXXIII; Hommage à l'Afrique Noire, 1794-Bicentenaire de l'abolition de l'esclave-1994, Belgium, 1994, p. 46; L'Intelligence des Formes, by Willy Mestach, Brussels: Tribal Arts, 2007, p. 85, Cat. 016; GEO-Graphics: a map of art practices in Africa, David Adjaye (concept), BOZAR Centre for Fine Arts; Sounding Forms, Brincard, New York, The American Federation of Arts, 1989, p. 86, fig. 2; The Intelligence of Forms, Minneapolis: The Minneapolis Institute of Arts, 1991, p. 44, fig. 8 Exhibitions: Brussels, Belgium: Mangbetu. Afrikaanse Hofkunst uit Belgische prive-verzamelingen, KB, 22.10-20.12.1992; Brussels, Belgium: L'Intelligence des Formes, Salle des Beaux-Arts, 6-29.6 2007; Brussels, Belgium: GEO-Graphics: a map of art practices in Africa, Centre for Fine Arts, Silvana Ed. Spa Cinisello Balsamo, 9.6-26.9.2010; Sounding Forms: African Musical Instruments: Washington, D.C.: The National Museum of African Art, 26 .4-18.6.1989; Richmond, Virginia: The Virginia Museum of Fine Arts, 16.07-10.9.1989; Kansas City, Missouri: The Nelson-Atkins Museum of Art, 7.10-5.12.1989; The Intelligence of Forms. An Artist Collects African Art: Kansas City, Missouri: The Nelson-Atkins Museum of Art, 5.10-24.11.1991; Minneapolis, Minnesota: The Minneapolis Institute of Arts, 21.12. 1991-22.03.1990

 

Galerie Jamar

Jan Fabre (Antwerp, 1958) Swords, Crosses and Daggers III, 1989 Bic ballpoint pen on paper 218 x 150 cm Signed and dated

 

Galerie Bertrand de Lavergne

Chinese blue-and-white vase Porcelain of ovoid shape decorated with children playing in a landscape China, early 17th century: late Wanli (1573-1620) or early Tianqi period (1621-1627) H 15 cm Rabbit mark under the base

 

Galerie Schifferli

Raoul Ubac (Malmedy 1919-1985 Dieudonné) Untitled (Head), cicra 1969 Sculpture in stoneware covered with an amalgam of resin and slate powder H 22 x W 21 x D 15 cm Signed with the monogram 'U' on the back of the work Provenance: Maître Maurice Rheims' collection This piece is registered in the Raoul Ubac archives under n° 10 30 and is accompanied by a photographic certificate established by Anne Ubac Delfieu, daughter of the artist and holder of the moral rights

 

Galerie Eberwein

Vulture stamp seal Ancient Near East-Mesopotamia, Sumerian, Uruk IV-III., ca. 3200-2900 BC Calcite H 3.4 x W 5.3 x D 1.35 cm Provenance: private collection, New York City; Sotheby's, New York City, 2008, sale 8452, lot 66, private collection 1980, France Literature: P. Amiet, Glyptique Mésopotamienne, n° 163, and Au Pays de Baal, n° 80 (Aleppo Museum, G47) CMP, pl. XLVI n° 461/470, CNRS Paris 1980 Carved calcite stamp seal in the form of a vulture devouring a hare, the beak grooved and the eye drilled, the long ears and one eye of the hare indicated. Five animals are bow-drilled on the base and there is a vertical piercing for suspension. This seal may have served as both an amulet and a stamp seal.

 

d'Arschot & Cie

Silver pomander Model with six numbered and hinged compartments, fitted with a sliding lid The unscrewable base reveals a small spoon and is engraved with the initials H. S The Netherlands or Germany, 1620-1630 H 6.3 cm

 

Galerie Schifferli

Pablo Picasso (Malaga 1881-1973 Mougins) Untitled (African warrior with spade, various portraits), 1905 Ink on paper 25 x 17 cm Provenance: private collection, Geneva Literature: Christian Zervos, Catalogue raisonné de Pablo Picasso, vol. 22, Supplément aux années 1903-1906, Editions Cahiers d'Arts, Paris, repr. p. 116, nº 324

 

MDZ Art Gallery

Tony Cragg (Liverpool, 1949) Eclipse, 2016 Stainless steel H 95 x W 32 x D 30 cm Provenance: the artist's studio

 

Douwes Fine Art BV

David Teniers II (Antwerp 1610-1690 Brussels) Barn scene with a man courting a young woman and several figures, 1681 Oil on canvas 53.5 x 69.5 cm Signed: D.Teniers on the wooden box (l.c.) and dated 1681 on the barrel Provenance: collection of the Duke of Orleans, 1798; private collection, United Kingdom; Felix & Charli Eyston, London, 1982; private collection, The Netherlands; Douwes Fine Art, Amsterdam, 2006; private collection, The Netherlands This is most probably the painting described by John Smith in his Catalogue Raisonné, London 1831, vol. III, under n° 372, where the dimensions are incorrectly stated as square

 

Galerie Cybele

Trapezophorus fragment Roman, ca. 2nd century AD Marble H 46 cm Provenance: Nicolas Koutoulakis (1910-1996), Paris and Geneva; thence by descent This trapezophorus, or table support, is in the form of a horse. Most known examples of decorative tables span the centuries between 50 BC and 220 AD. In antiquity, few opportunities were missed to turn functional objects into visually interesting and artistic objects. Greek and Roman sculptures such as these were precursors for the decorative arts of the Italian Renaissance

 

Douwes Fine Art BV

Rembrandt van Rijn (Leiden 1606-1669 Amsterdam) Christ preaching, ca. 1657 Etching and drypoint 15.5 x 20.8 cm; with narrow margins Watermark: Arms of Amsterdam watermark (Ash/Fletcher 1, they date most impressions of various subjects by Rembrandt with this watermark from the 1650s Bartsch 67; Seidlitz 67; Hind 256; White-Boon 67, The New Hollstein Dutch n° 298, 1st state (of II), before the Watelet retouching Plate may be in existence-with Colnaghi in 1830 Provenance: private collection, USA; private collection, The Netherlands Literature: Erik Hinterding, Ger Luijten, and Martin Royalton-Kisch (eds.), Rembrandt the Printmaker, exhibition catalogue, Rijksprentenkabinet, Amsterdam/British Museum, London, 2000–2001, n° 68; Clifford S. Ackley et al. (eds.), Rembrandt’s Journey: Painter, Draftsman, Etcher, exhibition catalogue, Museum of Fine Arts, Boston/Art Institute of Chicago, 2003–2004, n° 136 f Richly-inked 'white sleeve' impression with very strong contrasts and no sign of wear, with burr on the robe of the man with his back turned lower left and on the diagonal shading below his feet

 
{image}

{dealerName}

{caption}