Chambre professionnelle belge de la Librairie Ancienne et Moderne (CLAM)
Invitations to 'L’Ecran du Séminaire des Arts, Bruxelles, Palais des Beaux Arts' Hommage à Eric Von Stroheim, 1957; Ox-bow Incident, 1959; Les Frères Prévert, 1961; Le cinéma de Raymond Queneau, 1964, drawings by René Magritte (Lessines 1898-1967 Brussels) Ivan le Terrible, 1956, drawing by Edgar Tytgat (Brussels, 1879-1957) Films qui ont fait scandale, 1957, drawing by Paul Delvaux (Wanze 1897-1994 Veurne) Librairie Dominique Basteyns, antiquarian bookseller
Bailly Gallery
Lucio Fontana (Rosario, Argentina 1899-1969 Comabbio, Italy) Concetto spaziale, 1959 Painted terracotta, graffiti and cut Ø 37 cm Unique work signed and dated on the front : l. fontana / 59 Registered in the archives of Fondazione Lucio Fontana, Milano under n° 4331/1 Provenance: collection of Lucio Fontana, Rome; private collection, Rome; collection of Sergio Casoli, Milan; collection of Hélène de Franchis (acquired in the early 90's) Exhibitions: Vision 12 : Pittori e Scultori America Latina, Istituto Italo-Latino Americano, Rome, 1969.The Fontana I Love, Galleria Tonelli/Studio La Città, Milan, 2015
Simon Studer Art Associés
Gustav Klimt (Baumgarten 1862-1918 Vienna) Auf dem Bauch Liegender Akt mit Angezogenem Linken Bein, 1913-1914 Pencil on paper H 61.5 x W 80.5 x D 5 cm Signed lower left ‘GVSTAV KLIMT’ This work is registered in the Catalogue Raisonné of paper works established by A. Strobl, reference no. 2349 Provenance: Ludwig Baldass collection, Vienna (director of the Kunsthistorisches Museum, Vienna, from 1919 to 1949); Herbert Turnauer collection, Vienna (purchased from the above); Otto Hoehne collection, Vienna (gift from the above); private collection, Germany (by descent from the above, circa 1960); private collection, Geneva (from 2011) Literature: Alice Strobl, Gustav Klimt-Die Zeichnungen, Galerie Welz, Salzburg, 1980-1984, vol. III: 1912-1918, ’LEDA, 1917-Frühe Studien 1913/14’, pp. 60-61, p. no. 2349, No. illustrated; A. Strobl, Klimtmappe, 25 Zeichnungen ausgewählt und bearbeitet von A. Strobl, Veröffentlichungen der Albertina I, Ed. W. Koschatzky, Graz-Vienna, 1964, p. p. 7, No. pl. 24; G. Lo Duca, Die Erotik im 20. Jahrhundert, Basel, 1967, p. p. 108, No. F. Novotny et J. Dobaï,Gustav Klimt. Werk katalog, Galerie Welz, Salzburg, p. 1967, No. p. 367; A. Werner, Gustav Klimt: one hundred drawings, New York, 1972, p. no. 93, No.; O. Breicha, Gustav Klimt. Die goldene Pforte : Werk, Wesen,Wirkung, Galerie Welz, Salzburg, p. 1978, No. p. 158 This drawing is part of a serie of preparatory drawings for the painting Léda, painted in 1917 (oil on canvas, 99 x 99 cm). This painting as well as 12 others that belong to the August Lederer collection have been all destroyed in the fire of the Schloss Immendorf in Vienna, deliberaly caused by the SS on 8 May 1945 during the retreat of German forces at the end of World War II. It is the only drawing representing Leda which supports the viewers gaze. Generally languid and half-closed eyes, few women have been designed by Klimt with this intense look. Deriving from Ovid's Metamorphoses, the theme of Leda is a reccuring theme in the art history. Leda, wife of a Spartan king, was seduced by Zeus who turn himself in a swan. From this union, borned the Dioscures Castor and Pollux and Clytemnestre and Helen, heroines of the Trojan War. Its iconography represents most often the key moment of the story : the act of love between Leda and the swan, methamorphose of Zeus.
Willow Gallery
Pierre-Auguste Renoir (Limoges 1841-1919 Cagnes-sur-Mer) Roses dans un vase décoré, circa 1912-1913 Oil on canvas 36 x 28 cm Signed lower left This work is accompanied by an attestation of inclusion from the Wildenstein Institute, and it will be included in the forthcoming Renoir digital catalogue raisonné currently being prepared under the sponsorship of the Wildenstein Plattner Institute, Inc Provenance: Ambroise Vollard, Paris; Galerie Vaumousse, Paris; private collection; Galerie Daniel Malingue, Paris; private collection, Japan Literature: Ambroise Vollard, Tableaux, pastels et dessins de Pierre-Auguste Renoir, vol. I, Paris, 1918, n° 412, illustrated p. 103; Guy-Patrice & Michel Dauberville, Renoir, Catalogue raisonné des tableaux, pastels, dessins et aquarelles, vol. V, Paris, 2014, n° 3660, illustrated in color p. 41
Brun Fine Art
Micromosaic tabletop with views of Rome on a mahogany gueridon Rome and Paris, 19th century Micromosaic, mahogany and gilded bronze H 75 cm (height of wooden foot); Ø 84 cm Gueridon stamped with the mark of Paul Sormani (1817-1866), Parisian cabinet-maker born in Italy Literature: R. Valeriani, Mosaic Tabletop with Views of Rome, in R. Valeriani, Ed., Pietre Dure. Hardstones, Marbles, Mosaics, London 2019, pp. 120-125, n° 19 (Illustrated)
Galerie von Vertes
Tom Wesselmann (Cincinnati 1931-2004 New York) Study for Pat Nude, 1979 Oil on canvas 41.9 x 58.4 cm Verso signed, dated, titled and inscribed The work is registered in the Tom Wesselmann Archive Provenance: Sidney Janis Gallery, New York (no. 15440); Hokin Gallery Inc., Bay Harbour Islands, Florida (no. C1-81152); Galleria Flora Bigai Arte Contemporanea, Pietrasanta (acquired 2003 from the above); private collection, London
Galerie Martel-Greiner
Jean Vendome (Lyon 1930-2017 Eaubonne) Torque necklace 'Eclat croisé', 1979 18k yellow gold and rutile quartz Unique piece Maker's mark Exhibitions: Arts and Crafts exhibition, Museums of Decorative Arts at the Louvre, Paris, 1980-81 and in Cologne in 1981-82 Literature: Exhibition catalog of Arts and Crafts, Museums of Decorative Arts at the Louvre, Paris, 1980; Sophie Lefèvre, Jean Vendome, Artist-jeweler, Somogy, Museum of Lyon, 1999; Marlène Crégut-Ledué, Jean Vendome, The precious journeys of a creator, Editions Faton, 2008 In the 1960s, the creations of the jeweler Jean Vendome brought about a real revival: he was one of the first to apply the aesthetic principles of abstraction to the art of jewelry. When he started, in the 1950s, the style of jewelry was the opposite, decorative and figurative. Jean Vendome is in search of a new path, a language in correlation with the way of life of his time. However, jewelry is still frozen in secular codes, classicism is required. In this context, deliberately going off the beaten track was an option that was all the more difficult because everything had to be invented. Starting with the design of the jewel. Jean Vendôme no longer considers it an outward sign of wealth but sees in it an object in harmony with modern life, fashion, music, painting. He sees it as a work of art, a miniature sculpture that can be worn and gives it a specific expressive value. He is developing his research on several fronts: the renewal of forms, the integration of new materials, and work on transformative pieces, allowing elements of a necklace or bracelet to be worn as a ring or brooch. Plastic research leads to radical changes in the appearance of parts. Jean Vendome begins by removing the traditional frame in favor of an abstract pattern, where the stones are arranged in an irregular grid. The break with symmetry and regular ordering is a real novelty, which gives the stones a particular relief, and makes the setting a decoration in itself. He strives to renew and enrich the repertoire of jewelry materials, with native or nugget gold, uncut crystals, mica plates. Participating in numerous exhibitions and professional, national and international events, he contributes to making known and recognized the new forms of the jewel. Revolutionary at the time, but in fact in phase with his century, they will never go out of fashion: many of them have become part of the repertoire of current jewelry (the asymmetry, the use of originals, the frame melted as a decoration, the use of the circle, the rhombus, the spiral, the triangle, among others).
Douwes Fine Art BV
Cornelis Springer (Amsterdam 1817-1891 Hilversum) View of ‘Het Huis met de Hoofden’ in Amsterdam at the Keizersgracht 123 Oil on panel 66 x 55 cm Signed and with monogram, dated '53' (1853) Provenance: acquired directly from the artist by collection C.F. Roos in Amsterdam, 20th of August 1853; Frederik Muller, Amsterdam 1932, lot 414; collection Mensing, The Netherlands; thence by descent to the current owners Exhibitions: Douwes Fine Art, Amsterdam: Retrospective Exhibition Springer and the book launch of W. Laanstra, 1984; Dordrechts Museum, Dordrecht 1984; Rijksmuseum Twente, Enschede 1985; Zuiderzee Museum, Enkhuizen. ‘Door het oog van Springer’ 12 december 2015-10 april 2016 Literature: W. Laanstra ‘Cornelis Springer’, p. 84, n° 53-6. Amsterdam, 1984
Klaas Muller
Jacob Van Loo (Sluis 1614-1670 Paris) Woman with a parrot holding a basket of fruit and a young man with a flute, circa 1650 Oil on canvas 107 x 139 cm Labels on the back Literature: David Mandrella, Jacob Van Loo (1614-1670), Arthena, 2011, cat n° P. 33 (with photo); RKD, under Jacob Van Loo; Adriaan E. Waiboer, Gabriel Metsu, Yale University Press, 2012, cat. n° D-32 Jacob Van Loo was a Dutch painter, born in Sluis (Zeeuws Vlaanderen) but chiefly active in Amsterdam, where he build up a great career. He became famous for historical paintings with biblical and mythological scenes and was deeply inspired by painters such as Jacob Backer, Gabriel Metsu and Bartholomeus Van der Helst. He was especially celebrated for the quality of his nudes and works with a sexual connotation. In addition with concerts on balconies and terraces. In 1660, van Loo fled from Amsterdam to Paris because he was sentenced to death in absentia after a fight in a tavern. He settled there and in 1663, he was admitted to the 'Académie de peinture et de sculpture'. He died in Paris in 1670. The presented work can be dated (based on stylistic grounds) around 1650 and is emblematic for Van Loo's oeuvre: The parrot, the flute, the younger boy and the woman holding a basket with 'fresh fruits' are all sexually connotated.
