This section will be available this Autumn.
Montagut Gallery
Baule statue Baule people, Ivory Coast, 19th century Wood H 40.5 cm Provenance: Galerie Olivier Le Corneur, Paris; Marceau Rivière collection, Paris, France; Alberto Costa Romero de Tejada, Barcelona, Spain; Javier Lentini collection, Barcelona, Spain Literature: África. La Figura Imaginada. Fundació LaCaixa, Barcelona, 2004. nº 44, p. 9 Unique within the corpus, this masterpiece destabilises, fascinates, and intrigues with its beauty and singularity. Its powerful serenity is magnified by its stature, refinement, gesture, and adornment. The sculpted forms, robust and vigorous due to its accentuated musculature, paradoxically suggest lightness, enhanced by its missing feet. The represented dignitary seems to be weightless, levitating, with its remarkably imposing elevated presence. The ideal of beauty and perfection amongst the Baule, representing moral perfection through its traits, is embodied here. Prestige is revealed in its details. Animated by combined energy and tranquility, its authority and dignity vibrate with admirable majesty. The distinctly rounded shoulders reinforce its stature, symbolising power, whilst the finely sculpted beard collar emphasises wisdom and maturity. Emerging from the torso are two nascent, flattened circular breasts with a dark brown patina, giving the figure an androgynous character and suggesting completeness through the union of both sexes. The finesse of the minute details enhances its gesture and adornment. The surface of its emaciated torso is adorned with subtly carved scarifications in slight relief, revealing or suggesting an armour, a necklace, an insignia of prestige and high rank. With fluidity, its delicate gesture attracts and guides the gaze to its slender fingers, which, on either side of the navel—slightly rounded, symbolising wealth and high social status—evoke a sign of welcome and esteem that spirits make when they encounter a diviner with whom they will form a future alliance. This gesture and the very particular treatment of the hands are unparalleled but can be closely associated in finesse with the treatment of the fingers in a work by the Master of Truth. Framed in a gentle oval, the strikingly peaceful face is sublimated by its crusty patina and the subtle interplay of forms between concave curves and reliefs. Slightly hollowed, the impact of its traits, carefully and clearly drawn, is accentuated. Its fine nasal ridge extends in a gentle continuity to the curved brow arches, intensifying the contours of the hollowed eyes, enhancing the circular shape of the gaze, revealing both its closed eyelids and the depth of introspection and meditation. The exceptional sophistication of its hairstyle, a testament to the Baule's sculptural finesse, contributes to this quest for perfection. This statue has been held in a collection for more than forty years and is now fresh on the market.
De Jonckheere
Pieter Neefs The Elder (Antwerp 1578/1590-after 1656/1661), and the participation of Frans Francken The Younger (Antwerp, 1581-1642) for the figures Church Interior, inspired by Antwerp Cathedral Oil on panel 41.5 x 71 cm Signed Peeter De Neef Franck In. Stamped on the back with the mark MV of the manufacturer Michiel Vriendt, active in Antwerp between 1615 and 1637, and the arms of the City of Antwerp Provenance: Letizia Bonaparte Collection (1750-1836); Charles Talbot Collection (1753-1827), through Lucien Bonaparte; Bertram Arthur Talbot Collection, 17th Earl of Shrewsbury, 17th Earl of Waterford (1832-1856) Alton Towers, Stafford; Sale, Shrewsbury, Christie & Manson, London, 4 July, 1857, lot 300; Sholto Charles John Hay Douglas Collection, 20th Earl of Morton (1906-1976); Sotheby’s, London Belgravia, 28 July 1976, lot 42; private collection, Spain
Galerie Hadjer
joan miró
Joan Miró (Barcelona 1893-1983 Palma de Mallorca) Hirondelle d'Amour Aubusson tapestry woven by the Pinton workshop/ Mobilier National, France Wool Based on original tapestry cartoon from 1979 200 x 160 cm Edition 2/8 - Project with the Miro Foundation in 2024 Provenance: Atelier Pinton Aubusson - French National collection / Miró Foundation Literature: Le Monde Nouveau de Charlotte Perriand, Fondation Louis Vuitton; K. L. H. Wells, Weaving Modernism. Postwar Tapestry Between Paris and New York, Yale University Press, 2019; The Fabric of Modernity. Matisse, Lurçat, Miró and French tapestry, 2020 Exhibitions: Joan Miró, Hirondelle d’Amour was presented as part of the Louis Vuitton Foundation exhibition, Le Monde Nouveau de Charlotte Perriand, October 2nd, 2019-February 24th, 2020; The Fabric of Modernity. Matisse, Lurçat, Miró and French tapestry, 2020
Van Herck-Eykelberg
James Ensor (Ostend, 1860-1949) Rotundités (1936-1937) Oil on canvas 51 x 61 cm Signed lower right Literature: X. Tricot, James Ensor, Catalogue Raisonné of the paintings. II 1902-1941, Wienand, 1992 Anvers, n° 695; X. Tricot, James Ensor, Catalogue Raisonné of the paintings. Mercator, 2009, n° 713 Exhibitions: Brussels, Galerie Robert Finck, Exposition de peinture belge moderne, 1961; Ostend, Venetiaanse Gaanderijen, Ensors denkbeeldige paradijs, 2024
Philippe Heim
abie loy kemarre
Abie Loy Kemarre (Australia, 1972) Bush Leaves-Optic, 2018 Acrylic on canvas 137 x 137 cm Provenance: Utopia, Central Desert, Northern Territory, Australia Exhibition: 2024, Knokke Art Fair, Arts d’Australie • Stéphane Jacob, Knokke-Heist, Belgium Abie Loy is part of the new generation of artists living in the Utopia community, in the heart of the Australian desert. She began painting in 1994 on the advice of her grandmother, the famous Kathleen Petyarre, who guided her in her first works, inspired by the ‘dreams’ of which she is the ritual guardian: principally that of the Bush Leaves, of which this painting is a celebration. Remarkable for its variation on the theme of dot painting, the impression of breathing that emanates from it, the hypnotic character of the motifs animated by a movement that is both centrifugal and centripetal, this painting demonstrates the high degree of awareness and aesthetic success that Abie Loy has achieved - proof of the high quality and inventiveness of modern-day desert painting.
Montagut Gallery
Ngon mask Bekom people Cameroon, 19th century Wood and ritual patina H 44 cm Provenance: Marcial Bronzi collection, Brussels; Didier Claes, Brussels; Rachel Montagut collection, Barcelona Ngon masks are one of the many types that appear at commemorative ceremonies held for deceased persons in the kingdoms of Cameroon. These sets of masks, in the possession of various lineages, can include more than twenty masks, most of which represent different figures. Some of the masks are obligatory, such as the kam, the male head mask, and the ngon, which represents the woman.
Harold t’Kint de Roodenbeke
James Ensor (Ostend, 1860-1949) Book, mask and skull, 1910 Oil on panel 24 x 19 cm Signed Provenance: collection C. Snauwaert, Ostend; collection Moureau, Brussels; collection de Bellefroid, Brussels Literature: Xavier Tricot, James Ensor, catalogue raisonné des peintures, Fonds Mercator, 2009, ill. p. 390, n° 675 Exhibition: Galerie Motte, James Ensor, Geneva, 1966, n° 4
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Guy Pieters Gallery
christo and jeanne-claude .
Christo (Gabrovo 1935-2020 New York) and Jeanne-Claude (Casablanca 1935-2009 New York) The Mastaba (Project for Abu Dhabi, United Arab Emirates), 2013 Pencil, charcoal, wax crayon, pastel, hand-drawn technical data and map, enamel paint, wash and tape Left part: H 165 x W 38 cm Right part: H 165 x W 106 cm
Hoffmans Antiques
Chandelier in 'Retour d'Égypte' style Attributed to Benjamin Ladouèpe-Dufougerias (France, 1766-1821) and Manufacture de Cristaux de Montcenis For twelve candles. Patinated and ormolu bronze and crystal rockchains Paris, circa 1806 H 130 cm The centre of the chandelier is an amphora-shaped patinated vase, topped with a flame finial and finishing in a pinecone detail. Surrounding the vase, twelve curved and candle arms ornamented with leaves extend in tiers from four Egyptian masks. The chandelier is supported by four chains linked to an imposing crown adorned with lion mascarons and volute decorations embellished with floral motifs. A reference for this chandelier can be found in the collections at Versailles, located in Marie-Antoinette's inner cabinet at the Petit Trianon.
New Hope Gallery
poul kjaerholm
Poul Kjaerholm (Denmark, 1929-1980) Set of 16 EKC 11 armchairs Denmark, circa 1957 Ash wood and oak wood, nickel plated steel, tan leather H 66 x W 63 x D 46 cm Stamped Provenance: Belgian private collection Literature: Michael Sheridan, Poul Kjaerholm Furniture Architect, 2006, Louisiana Museum of Modern Art
De Brock
austin eddy
Austin Eddy (USA, Boston, 1986) Consolation, 2024 Oil on canvas 203.2 x 142.2 cm Provenance: the artist's studio, Brooklyn, NY, USA; De Brock, Knokke, Belgium Exhibitions: Austin Eddy: Still Life, 21 September-24 November 2024, Kunstverein Heilbronn, Heilbronn, Germany; BRAFA Art Fair, 26 January-2 February 2025, Brussels Expo, Brussels, Belgium
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.
Galerie Boulakia
marc chagall
Marc Chagall (Vitebsk 1887-1985 Saint-Paul de Vence) Les fiancés au cirque, 1982 Oil, tempera and pastel on canvas 100 x 73 cm Signed ‘Marc Chagall’ in blue oil paint (lower right), signed and dated 'Marc/Chagall/1982’ in oil paint on the reverse This work is accompanied by a certificate of authenticity issued by the Comité Marc Chagall, Paris Provenance: artist's estate; private collection, Europe
Cortesi Gallery
lucio fontana
Lucio Fontana (Argentine, Rosario 1899-1969 Comabbio, Italy) Concetto spaziale, Attese, 1959 Water-based paint on canvas 81 x 99 cm Signed and inscribed on the reverse 'l. fontana attese 1+1-AE2' Provenance: Marlborough Galleria d'Arte, Rome, Italy; Martha Jackson Gallery, New York, USA; Galleria Levi, Milan, Italy; Studio La Città, Verona, Italy; Galleria Corvucci, Forlì, Italy; private collection; private collection, New York, USA Literature: E. Crispolti, Lucio Fontana Catalogue raisonné des peintures, sculptures et environnements spatiaux, vol. II, Brussels, 1974, n° 59 T 87 (ill. p. 86); E. Crispolti, Lucio Fontana Catalogo Generale, vol. I, Milan, 1986, n° 59 T 87 (ill. p. 295); E. Crispolti, Lucio Fontana, Catalogo ragionato di sculture, dipinti, ambientazioni, vol. I, Milan, 2006, n° 59 T 87 (ill. p. 461) Exhibition: 1959, Lucio Fontana (opere dal 1931 al 1959), Galleria Notizie, Turin, ill. p. 8 The present work, Concetto spaziale, Attese from 1959 is an extremely rare example in Fontana’s production owing to its rhomboid-shaped canvas and high number of unmistakably elegant slashes - fourteen - incised in three discrete bands over white. The movement and distribution of these cuts is a measure of energy and dispersion. Irregularly shaped, the power of the present work is bound in its rejection of painterly norms and the boldness to suggest a new form of art. This unique shaped work could be seen as an anticipation to his series called 'Quanta', a group of works which Fontana created between 1959 and 1960. Each example of this cycle consists of a different number of elements, related in constellations of different geometric profile, and arranged freely in space. In 1959, Lucio Fontana realized two twin artworks, one white and one black (as seen in the image below in the artist's studio in Corso Monforte). Both pieces were exhibited the same year, first at Galleria Notizie in Turin and later at Marlborough Gallery in Rome.
Kunsthaus Kende
Yoshiko Okamoto (Japan, Yamaguchi 1976) Hagiawase jardinière, 2014 Silver, copper, shakudo, shibuichi H 11.4 x W 26.8 x D 8.4 cm A navette-shaped form, with the wall subtly tapering towards the ends and the base sloping upwards, analogous to the ends. The upper rim terminates in a square moulding. The body is adorned with an abstract frieze of foliage in alternating colours at alternating heights, which is subdivided by a subtle linear decoration. The pattern has been obtained using the traditional Japanese hagiawase technique. A masterfully crafted jardinière or flower planter of outstanding quality, brilliant finesse and unobtrusive elegance. The Japanese artist-silversmith and designer Yoshiko Okamoto (born in 1976 in Yamaguchi) began his career as an illustrator in Yamaguchi Prefecture, her favourite themes being the four seasons and depictions of the beauty of Japanese nature. She took part in arts and crafts courses under the guidance of the metal artist and living national treasure Akira Yamamoto (also from Yamaguchi Prefecture) while still at school, which awakened her interest in traditional Japanese metalworking techniques. After leaving school, she became a master student of Yamamoto, learning the special techniques of hagiawase (hot soldering with metal forging) and kiribame-zogan (heat-welding of cut-out inlays). Her preferred subject has remained unchanged throughout her artistic career: the endless story of nature, woven from the four seasons, into which she incorporates her artistic perspectives, represented by masterful colour gradations of several layers of metal. The traditional Japanese forging technique known as hagiawase (Japanese for ‘brazing’) consists of joining together different types of metal sheets. This technique makes it possible to create metalwork with striped or patchwork patterns. After joining, the artist shapes the metal with a hammer. The work often consists of silver (white), different types of shibuichi (a copper-silver alloy that appears grey) and shakudo (a copper-gold alloy that appears black). The surface of shibuichi becomes light grey when silver is added, the addition of copper makes the colour appear progressively darker depending on the quantity, and the addition of gold makes it dark grey. These metal alloy plates are cut with a fine saw to produce the desired pattern. These plates are joined together with silver and then melted with a gas burner to bond the pieces together. Alternatively, hotter flames are used to bond the different metals together directly. Since it is not possible to produce the pattern exactly as designed each time, Yoshiko Okamoto performs this hagiawase process several times until she has produced the desired number of patterns. When the pattern plates are finished, she grinds the inside to smooth out the unevenness caused by the soldering. She then begins to mould the metal by driving it with a hammer. Once the basic shape has been created, the pattern of white dots is incorporated: for this purpose she drills holes with a drill of maximum 1 mm diameter, inserts a short-cut round wire made of pure silver into the hole and fixes the protruding part of the silver by hammering. The protruding part is then removed to make it level with the surface. This technique is known in Japanese as Kiribame-zogan. The surface is then hand-sanded using coarser abrasive media, the grain of which becomes progressively finer during the sanding process, ultimately resulting in a high lustre. Once all the sections have been completed, the inner surface of the piece is sanded again with coarse sandpaper and the edges of the individual parts are harmonised. The metal plates are then assembled to form the three-dimensional workpiece, fixed together with wire and the segments soldered together. Finally, the surface is preserved using the traditional Japanese patination technique Niiro.
Chambre professionnelle belge de la Librairie Ancienne et Moderne (CLAM)
Pieter Bruegel the Elder (Brussels, 1525-1569) 'Everybody', 'Elck' or 'Nemonon', circa 1558 Engraving by Pieter van der Heyden (1530-1572) Published by Hiëronymus Cock (Antwerp, 1518-1570) 23.2 x 30 cm References: New Hollstein Dutch 35 1(2), first state. Text version C Lex Antiqua, Antiquarian bookseller
Dr. Nöth kunsthandel + galerie
André Lhote (Bordeaux 1985-1962 Paris) Fillette, 1909-1910 Oil on paper laid down on board 48.8 x 31.8 cm Signed upper right; inscribed on the reverse: Fillette, 1909, 59 x 32, 343, I The painting will be included in forthcoming catalogue raisonné which is being prepared by Dominique Bermann Martin Provenance: the artist's studio; Simone André Lhote, France (by decent); Suzanne Bermann, France (by decent); anonymous sale Me Ferri, 15 December 1994, lot 126; anonymous sale Me Loudmer, Paris, 1 April 1996, lot 57; private collection, France Exhibitions: Paris, Artcurial, Centre d'art plastique contemporain, André Lhote Rétrospective 1907-1962, Peintures, aquarelles, dessins, October-November 1981 ill. in situ p. 27
Galerie Nathalie Obadia, Paris/Brussels
Shirley Jaffe (USA, Elizabeth 1923-2016 Louveciennes, France) Untitled, circa 1955 Oil on canvas 174.5 x 101.5 x 4 cm Provenance: the Artist’s studio; Estate of Shirley Jaffe; Galerie Nathalie Obadia Dated circa 1955, Shirley Jaffe's Untitled is a work that is both remarkable and characteristic of this decisive decade, for its composition of bursts of small, independent brushstrokes that coalesce into irregular blocks. These shapes, composed of countless brushstrokes and sometimes evoking natural forms, are inserted into surfaces that are more modulated than before, and in which patches of local color appear. Fine glazes and dramatic shifts from light to dark contribute to the luminous transparency of her works from the 1950s, which seem flooded with a beautiful, roborative clarity. At the time, Shirley Jaffe was looking for “the moment in a painting that was unusual”. The important thing, for her, was to “bring the forms out of the background, while constantly tilting the balance”. In her works from this period, she often succeeded in giving the impression that shapes emanate naturally from the application of paint, and that compositions become unstable, sometimes radically so. This text appears in Raphaël Rubinstein's 2014 catalog Les Formes de la Dislocation. This work has never been exhibited. Courtesy of Shirley Jaffe Estate / ADAGP, Paris 2024 and Galerie Nathalie Obadia Paris/Brussels © Bertrand Huet / tutti image
