This section will be available this Autumn.
Objects With Narratives
maison jonckers
Maison Jonckers (Belgium, founded in 2015) Hypsometrique Bronze, 2015 H 28.5 x W 121 x D 78.5 cm Edition of 8. Signed, dated and numbered Provenance: Ateliers Zaventem Beyond any graphic, scientific or mathematical data, towards a line of arrhythmic curves symbolising a surface in relief, the engraving of this table is inspired by the art of cartography, created almost 8000 years ago. Cartography is an essential tool for mankind, helping to inform and specify our journeys, carrying us gradually further and further towards the unknown, towards the discovery of new worlds
Galerie Jean-François Cazeau
andré masson
André Masson (Balagny-sur-Thérain 1896-1987 Paris) Combat stellaire, 1955 Tempera and sand on canvas 50 x 65 cm Signed on the back 'André Masson' Provenance: the artist's studio; Galerie Odermatt-Cazeau, Paris; private collection, France (acquired from the former) Literature: André Masson: Oeuvres maîtresses, Galerie Odermatt-Cazeau, 1990, repr. p. 87, n° 38; André Masson: Il n'y a pas de monde achevé, Centre Pompidou-Metz, March 30th-September 2nd, 2023, (retrospective), ill. p 214 André Masson created his first works in sand in the autumn of 1926 in Sanary-sur-Mer. The free flow of glue fixing the sand appealed to the artist for its unpremeditated nature. Textured shapes in subtle, varied shades make up the random weave of Combat stellaire, set against a deep red and mauve background reminiscent of a nebula. The painted line recalls that of the 'automatic drawings' initiated by the artist in 1923-1924, made by a hand freed from the injunctions of the brain, the mark of true automatism that fascinated André Breton. The cosmic subject is reminiscent of works from the American period. André Masson’s sand paintings represent the invention of 'dripping', a technique that post-war painters like Jackson Pollock would push to its fullest.
Klaas Muller
Frans Snijders (Antwerp, 1579-1659) Kitchen interior with two dogs, offal and a basket with fruits and vegetables, circa 1620 Oil on canvas 113 x 183 cm Signed upper left: F. SNIJDERS. Fecit Provenance: sale Campo, Antwerp, 13-15 December 1966, lot 90; sale Sotheby’s, London, 7 October 1981, lot 123, ill. p. 89; sale Sotheby’s, London, 7 July 1982, lot 233, ill.; private collection, Belgium In a kitchen, a dog (a Friesian Wetterhound) guards its booty from another dog that appears on the left. Apparently, he has pulled away from his chain and is not giving up his booty (entrails) lightly. On the right of the painting, we see an overturned basket with artichokes, asparagus, a lemon and apples. At the top left, the painting is proudly signed 'F. SNIJDERS.FECIT'. Frans Snijders had a predilection for depicting dogs and they appear frequently in his oeuvre. About seven -mostly larger works as is the case here- can be named as scenes in larders or front rooms of kitchens. The theme is usually similar: a dog defends its stolen loot against another dog (e.g. a painting on loan with a similar theme among others in the Snijders-Rockoxhuis 'Larder with dogs and a cows head'). It remains conjecture whether Snijders was pursuing a metaphor or deeper symbolism with this theme. However: each time, he shows himself to be a fantastic cinematographer and manages to render a scene just before the climax through which he builds the tension. Also typical is the dog's head on the left, which is only partially depicted (cut off from the composition it seems) which generates even more movement. The textures of the fur, meat, vegetables and fruit are fantastically rendered.
Van Herck-Eykelberg
Georges Vantongerloo (Antwerp 1886-1965 Paris) Study for Variant 'Curves', 1939 Gouache on paper 17.6 x 17.8 cm Titled, located, dated, and signed on verso 'Paris 1939' Provenance: Max Bill Estate; Max Bill-Georges Vantongerloo Foundation Annely Juda Fine Art, London; private collection, New York; Galerie Harold t'Kint de Roodenbeke, Brussels; private collection, Belgium Literature: Jan Ceuleers, Georges Vantongerloo, Ronny Van de Velde - Pandora, Antwerp, 1996, p. 200; Naum Gabo, Georges Vantongerloo, Friedrich Vordemberge-Gildewart, exh. cat., Annely Juda Fine Art, London, cat. 57 (ill.); Angela Thomas Schmid, Georges Vantongerloo: A Retrospective, exh. cat., Annely Juda Fine Art, London, cat. 59 (ill.) Georges Vantongerloo (1886-1965) was one of the founding members of De Stijl in 1918 along with Theo Van Doesburg and Piet Mondrian, among others. The Antwerp-based artist created sculptures as well as paintings and gouaches and is considered one of the pioneers of abstract art. He was a member of the 'Cercle et Carré' group and founded the Abstraction-Création group in Paris in 1931 to promote abstract art. At first, his abstract works still followed the straight line and angle but from 1937, curves and circles entered Vantongerloo's work. With the curved line, his work becomes more lyrical and playful. Rational volumes and proportions are replaced by lines that reflect an expression of energy.
Alexis Lartigue
alexander calder
Alexander Calder (Lawnton 1898-1976 New York) Untitled, 1967 Gouache and ink on paper 50 x 66 cm Signed and dated lower left CA.68 This work is registered in the Calder Foundation Archives under n° A30212 Provenance: Galerie Jacques Verrière, Lyon; private collection, France; sale Artcurial, Paris In 1968, Alexander Calder created this gouache in his studio in Saché, near Tours, where he had settled in 1953. This work, made using gouache and ink, is distinguished by a palette of black, blue, red, and orange. Like all his gouaches, it reflects the spontaneity and simplicity that characterise Calder's work. The pieces created by Calder in Saché, where he founded "La Gouacherie" after moving there, are imbued with a minimalist poetry. This poetry emerges from pared-back means: elemental symbols, basic figures, and a palette of primary colours. Calder's gouaches directly echo his mobiles and stabiles. Although movement is physically absent from his gouaches, it is nevertheless suggested and imagined, introducing a temporal dimension that is frozen in space. This is how Calder captures a moment of movement in a static form. This 1968 piece is no exception. Through planes of black, blue, red, and orange, Calder manages to convey a sense of balance and fluidity.
Francis Maere Fine Arts
conrad willems
Conrad Willems (Belgium, 1983) Construction VII, 2022 977 Verde Levanto building blocks Black paper and white paint H 229 x W 148.5 x D 335 cm (sculpture) 3 x (110 x 75 cm) (drawings) The work consists of 977 Verde Levanto building blocks and three framed hand-drawn construction drawings. The blocks have been cut and sanded into 11 different basic shapes, based on wooden toy blocks. These are built into a construction, based on the construction drawings on black paper. The blocks are not affixed in any way, but placed on top of each other in a specific building order.
Galerie Lowet de Wotrenge
Frans Francken I or Frans Francken the Elder (Antwerp, 1542-1616) The Amazons fighting at Troy, circa 1600 Oil on copper 34 x 41.5 cm With thanks to Dr. Ursula Häerting for confirming the attribution to Frans I Francken and for providing a written certificate Provenance: sale, Christie's London, 13 March 1987, lot 31; private collection, Mallorca Frans I 'the Elder' Francken was born in Herentals in 1542. His father, Nicolaas Francken, was an obscure painter whose oeuvre remains unknown, but can be seen as the founding father of one of the most important dynasties of artists in the Southern Netherlands. Both Frans and his siblings Ambrosius and Hieronymus - who were to become painters as well - were first taught by their father. Karel van Mander mentions in his Schilder-boeck that Frans was later a pupil of the leading Antwerp Romanist painter Frans Floris. He became a member of the Antwerp guild of St Luke in 1567, and served several times as its dean. Frans Francken married Elisabeth Mertens; the couple had many children, of whom six were still alive at the time of his death in 1616: Thomas, Frans ('the Younger'), Hieronymus, Ambrosius, Magdalena and Elisabeth. The four sons all became painters and received their initial training from their father, who also taught several other pupils, such as Gortzius Geldorp. Much like his teacher Frans Floris, Frans Francken was one of the principal painters in Antwerp in the initial decades of the Counter-Reformation, working on many altar pieces which were commissioned to replace the ones that had been destroyed by the iconoclasm of the Calvinists. For these projects he regularly collaborated with his brothers; for example, for an Adoration of the Magi triptych (Brussels, Royal Museums of Fine Arts of Belgium and London, Brompton Oratory), which bears his monogram as well as that of his brother Hieronymus (along with both brothers' portraits in profile, which they impishly included in the wings of the tryptich). Stylistically, Frans' early work was clearly indebted to Frans Floris; later on he developed his own, more classicising style, although he remained first and foremost a mannerist painter. He seems to have been skilled at portraiture, too. Besides large-scale pictures, he also produced small-size cabinet pictures, often painted on copper - a genre in which his son Frans II would excel. The present work is a beautiful example of such production, and a valuable addition to the small body of work that can be attributed to him in this genre, as has been confirmed by Dr. Ursula Härting in a written certificate dated October 4th, 2023. She dates the present work to around 1600, or possibly a bit earlier. This small oil on copper depicts the Amazons fighting in front of the city of Troy, which can be seen in the background. According to Homer's Iliad, the Amazon queen Penthesilea had led her troops to Troy in support of King Priam in his fight against the Greeks. The queen, who can be seen in the foreground spearing a hapless Greek, was a fearless warrior who could best any man (according to one version of the story, she even killed Achilles, who was however subsequently brought back to life by Zeus). Ultimately, however, Penthesilea was slain by Achilles, who - according to some authors - fell deeply in love with her at the very moment of her death.
Heutink Ikonen
The Transfiguration of Christ Russia, Kaluga region, late 18th century Egg tempera on gesso on linen-covered wood 54 x 44.5 cm This finely painted and colourful icon, with late Baroque and Rococo influences, depicts the miracle of the Transfiguration of Christ. Remarkably, not only the Transfiguration of Christ itself is depicted, but also the preceding and subsequent events, as described in the gospels of Matthew, Mark and Luke, are captured in one and the same composition. Christ and his three disciples are each portrayed four times, each at a different moment of the narrative, and in a different state of mind. On the left, we see Christ telling the disciples Peter, John and James to follow him up the mountain. Once on the mountain, Christ changes shape: his clothes turn white like light and his countenance becomes radiant like a sun. Next to Christ, the prophets Moses and Elijah appear, being brought to the mountain by angels. When the voice of God sounds from heaven, the disciples become fearful and fall face down to earth. Christ touches them and reassures them. Then, as they descend from the mountain, Christ urges his disciples not to tell anyone what they had seen.
Giammarco Cappuzzo Fine Art
Jusepe Ribera (Jativa 1591-1652 Napoli) An Apostle, circa 1635-1638 Oil on canvas 76 x 62 cm With gratitude to Dr. Nicola Spinosa, Dr. Riccardo Lattuada and Dr. Viviana Farina, leading experts of Jusepe Ribera to have confirmed the attribution. Provenance: private collection, France; private collection, Italy This Apostle is part of the cycle of portraits of the Apostles by the same artist, housed in the Prado Museum in Madrid. Diagnostic analyses conducted on the canvas have confirmed its full compatibility with works executed around 1630 by the painter, also revealing the presence of preparatory drawing, a method he frequently employed.
Galerie des Modernes
jean dubuffet
Jean Dubuffet (Le Havre 1901-1985 Paris) Chien errant, 1957 'Assemblage d'empreintes' series Ink and cut paper collage on paper mounted on cardboard 105 x 67 cm Signed and dated lower left 'J. Dubuffet 57' Provenance: Galerie René Drouin, Paris; collection Madame F. Montel, Paris; the Redfern Gallery, London; Waddington Galleries, London; Andrew Crispo Galleries Inc, New York; Sid Deutsch Gallery, New York; private collection, New York; private collection, Belgium Literature: Max Loreau, Catalogue des Travaux de Jean Dubuffet, Fascicule XII: Tableaux d'assemblages, Weber éditeur, Lausanne, 1969, described p. 99 and p. 130 and reproduced p. 99, n° 119; Andreas Franzke, Dubuffet Zeichnungen, Rogner & Bernhard, Munich, 1980, repr. in black and white on p. 175 Exhibition: Summer Exhibition 1972, The Redfern Gallery, London, Summer 1972
Epoque Fine Jewels
chaumet
Chaumet Art Deco bracelet Emerald and diamond bracelet of geometrical design by Chaumet, set throughout with old European cut and old single cut diamonds, highlighted with six engraved, baton-shaped Colombian emeralds, with rose cut diamond and black enamel caps, mounted in platinum and gold. Total emerald weight: approx. 14,67 ct. Total diamond weight: approx. 13,67 ct. Accompanied by the Chaumet certificate of authenticity Paris, December 1930
J. Baptista
Joana Vasconcelos (Paris, 1971) Enamorados (In Love), 2005 Glazed ceramic and hand-crocheted cotton Signed and dated H 48 x W 58 x D 30 cm Literature : Joana Vasconcelos, ADIAC - Associação para a Difusão Internacional da Arte Contemporânea, Lisbon, 2007 (p. 181) Exhibition: A Tribute to Women. Artists in the São Roque Collection, São Roque Too, Lisbon, 2021 (catalogue, p. 76)
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Galerie Taménaga
georges rouault
Georges Rouault (Paris, 1871-1958) Pierrot accoudé, 1932-1939 Oil on paper laid on canvas 65 x 55.5 cm Provenance: Galerie Jean-Claude Bellier; private collection Literature: Olivier Nouaille et Olivier Rouault, Rouault L’Oeuvre Peint, vol. 3, Fondation Georges Rouault, 2022, n° 3751-3233, ill. p. 203
rodolphe janssen
sanam khatibi
Sanam Khatibi (Belgian with Iranian heritage, 1979) A few more crimes, 2018 Oil, pastel and pencil on panel 24 x 31 cm Sanam Khatibi (b. 1979, Belgium, of Iranian heritage) is a Belgian artist whose multifaceted practice spans painting, tapestry, sculpture, and installation. Based between Brussels and Paris, Khatibi’s work explores the delicate and complex balance between beauty, violence, and vulnerability. Her practice engages with themes of human imperfection, the tension between domination and submission, and the chaotic forces that shape our lives. Through a distinctive use of color and form, she draws attention to the fragility of the human experience and the unspoken violence that often lies beneath surface appearances. In her work, Khatibi delves into the darker aspects of human nature, exploring our struggles with excess, control, and the breakdown of social and moral boundaries. These explorations are framed in landscapes that juxtapose natural beauty with underlying violence and destruction, invoking a timeless tension between civilization and primal instincts. Her figures -whether human, animal, or mythical-are often presented as fragile, vulnerable, and engaged in various states of conflict, emphasizing the stark realities of human survival and the consequences of unchecked desire. These small-scale vanitas paintings from the 'murders serie' are introspective works, conceived as protection charms, invite the viewer into an intimate reflection on life's transience and human vulnerability.
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Marc Heiremans
anzolo fuga
Anzolo Fuga (Italy, 1914-1998) For Arte Vetraria Muranese (AVEM) Murano, Italy, 1956 Bandierine (model 13480) Fused glass canes cased in colourless, free-formed glass H 42 x Ø 14.5 cm Literature: Heiremans M. AVEM-Arte Vetraria Muranese, artistic production 1932-1972. Stuttgart 2020
Floris van Wanroij Fine Art
abel grimmer
Abel Grimmer (Antwerp, circa 1570-circa 1618) Landscape symbolising the season of spring Oil on panel 25 x 36 cm Provenance: sale London, 1956; with Kunsthandel P. de Boer, Amsterdam, with label verso; private collection A. Heyn, Aerdenhout, 1961, by descent; private collection, The Netherlands Literature: Exh. cat., 1961, Kunsthandel P. de Boer. Amsterdam, cat. n° 28, with ill.; Exh. cat., 1965, De landman en de muze. Een tentoonstelling van schilderijen, aquarellen, tekeningen, grafiek, beeldhouwwerken en handschriften. Haarlem, with ill.; Berthier de Sauvigny, Reine de, Jacob et Abel Grimmer, Catalogue raisonné, Brussels, 1991, p. 302, n° 6 Exhibition: Frans Halsmuseum, Haarlem, 14 June 1965-29 August 1965, De landman en de muze. Een tentoonstelling van schilderijen, aquarellen, tekeningen, grafiek, beeldhouwwerken en handschriften, n° 16
Galerie Bernard De Leye
Madonna and Child, 1774 Silver Master silversmith, François-Joseph Baudoux (France, 1720-1788), Lille hallmarks H 69 x W 26 x D 21 cm Literature: Master silversmith listed in Nicole Cartier-Les orfèvres de Lille, Cahier du Patrimoine vol. II pp. 671-691 Renowned for his talents, François-Joseph Baudoux obtained the most prestigious commissions in Lille, mainly for the Church of Sainte Madeleine. He was a member of the Lille Academy of Arts when it was founded in 1773. Under the fold of the robe are the Poinçon de Reconnaissance, Poinçon de Jurande, Poinçon de Maître Orfèvre.