This section will be available this Autumn.
Patrick Derom Gallery
lucio fontana
Lucio Fontana (Rosario 1899-1969 Comabbio) Concetto spaziale, Teatrino, 1964 Water-based paint on canvas, lacquered wood 102 x 83 cm Signed and titled on the back Provenance: Serge de Bloe, Brussels; private collection, Brussels Literature: M. Van Lier-Lottefier, Fontana: au seuil du Land Art, in Clés pour les arts, 27 September 1972, p. 27 (ill.); Enrico Crispolti, Lucio Fontana, 1974, vol. II, p. 168; Enrico Crispolti, Fontana. Catalogo Generale, Milan, 1986, 64TE2, p. 588 (ill.) Exhibition: 1972, Brussels, Palais des Beaux-Arts, Lucio Fontana, n. 78 (ill.)
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.
Montagut Gallery
Dan mask Dan people, Ivory Coast, 19th century Wood, nails, pigments H 23 cm Provenance: private collection, New York, USA; Pace Primitive, New York, USA; Martin Lerner collection, Curator of Asian Art, Metropolitan Museum of Art, New York Pace primitive, New York (Inv. n° 53-0602); Richard E. Anderson, Director Emeritus of the Aldrige Museum, USA; private collection, Florida
DYS44 Lampronti Gallery
Artemisia Gentileschi (Rome 1593-1656 Naples) Bathsheba at her bath, circa 1636-1638 Oil on canvas 185.2 x 145.4 cm Provenance: private collection, UK; Matthiesen Gallery, London Literature: M. Nicolaci, catalogue entry 41, in Artemisia Gentileschi: Storia di una Passione, R. Contini and F. Solinas (eds.), exh. cat., Palazzo Reale, Milan, 2011-2012, p. 228; M. Nicolaci, catalogue entry 52, in Artemisia, 1593-1654, R.P. Ciardi, R. Contini, and F. Solinas (eds.), exh. cat., Fondation Dina Vierny-Musée Maillol, Paris, 2012, pp. 184-185; N. Spinosa, Grazia e Tenerezza in Posa: Bernardo Cavallino e il Suo Tempo, 1616-1656 (Rome, 2013), p. 403, ill. A3.a; R. Lattuada, "Unknown Paintings by Artemisia in Naples and New Insights into Her Daily Life and 'Bottega'," in Artemisia Gentileschi in a Changing Light, ed. S. Baker, London-Turnhout, 2015, pp. 203-205, figs. 34–39 Exhibitions: Artemisia Gentileschi: Storia di una passione, Palazzo Reale, Milan, 22 September 2011-29 January 2012, curated by R. Contini and F. Solinas; Artemisia, 1593–1654, Fondation Dina Vierny-Musée Maillol, Paris, 14 March-15 July 2012, curated by R. P. Ciardi, R. Contini, and F. Solinas; Artemisia, Vrouw & Macht, Rijksmuseum Twente, Enschede, 26 September 2021-23 January 2022
Gilden's Art Gallery
marc chagall
Marc Chagall (Vitebsk 1887-1985 Saint-Paul de Vence) Peintre, Ange et Amoureux, 1980 Tempera on masonite 40.6 x 34.9 cm Signed lower right corner 'Marc Chagall' Inscribed, signed and dated verso 'Tempera/Marc Chagall/1980' The work is accompanied by a certificate of authenticity from the Chagall Committee from 31 March 1992 issued by Jean-Louis Prat Provenance: Sotheby's New York, Sale 7132, 14 May 1998, lot 366; Collection of Bridget & Jerome Dobson, Atlanta, Georgia, USA
Galerie Oscar De Vos
frits van den berghe
Frits Van den Berghe (Ghent, 1883-1939) The poor, 1925 Oil on canvas 177 x 115 cm Signed lower right 'FVBerghe' Provenance: collection Paul-Gustave Van Hecke, Brussels; collection Walter Schwarzenberg, Brussels; collection Victor Sevranck, Brussels; collection Maurice & Yvonne Naessens, Meise (Brussels) Literature: P. Boyens, Sint-Martens-Latem. Kunstenaars dorp in Vlaanderen (Tielt: Lannoo, 1992), p. 443, p. 525, n° 160 (ill.); Boyens, P., G. Marquenie & W. Van den Bussche, Retrospectieve Frits Van den Berghe, exh. cat. (Ostend: PMMK, 1999), p. 104, n° 64 (ill.); Boyens, P., Frits Van den Berghe. Oeuvre catalogue (Ghent: SDZ, 1999), p. 203, n° 385 (ill.); Boyens, P., Een zeldzame weelde. Kunst van Latem en Leiestreek 1900-1930, exh. cat. (Ghent/Amsterdam: Ludion, 2001), p. 191, n° 229 (ill.); Carpentier-Lebeer, G., P. Baert-Jaspers, J. D'Haese e.a., Maurits ter ere van het Vlaams expressionisme (Antwerp: Bank van Parijs en de Nederlanden/Mercatorfonds, 1983), n° 143 (ill.); De Jonge, C.H., K.G. Boon, J.V.C. Hefting e.a., Vlaamse kunstenaars van de Leie 1890-1940, exh. cat. (Utrecht: Centraal Museum, 1947), p. 28, cat. n° 10 (ill.); Denninger-Schreuder, C., Vlaamse expressionisten, exh. cat. (Kortenhoef: 1993), p. 20, p. 23 (ill.); De Ridder, A., Les expositions à Bruxelles. Le Salon des IX, in: Sélection VI, n° 1 (Brussels: 1926), p. 40 (ill.); De Ridder, A., L'Evolution de Frits Van den Berghe, in: Sélection, cahier 12 (Brussels: 1931), p. 74 (ill.); De Ridder, A., In memoriam Frits Van den Berghe, de kunstenaar (Ghent: Vooruit, 15.10.1939); De Ridder, A., Frits Van den Berghe, exh. cat. (Brussels: Palais des Beaux-Arts, 1962), cat. n° 33 (ill.); Exh. cat. Brussels (1960), n° 7, pl. 39 (ill.); Fierens, P. & J. Cassou, Laethem-Saint-Martin, colonie d'artistes en Flandre 1890-1940, exh. cat. (Paris: Musée National d'Art Moderne, 1948), n° 52 (ill.); Fierens, P. & N. Margue, Laethem-Saint-Martin, colonie d'artistes en Flandre, exh. cat. (Luxembourg: Musées de l'Etat, 1948), n° 52 (ill.); Hoozee, R., M. Tahon-Vanroose & S. Bown-Taevenier, Frits Van den Berghe (Ghent: Gemeentekrediet/Stad Gent, 1983), p. 115, p. 408, n° 69 (ill.); Hoozee, R., W. Van den Bussche, P. Boyens e.a., Expressions Flamandes 1900-1930, exh. cat. (Villeneuve d'Ascq: Musée d'Art Moderne, 1988), p. 99, p. 123 (ill.); Hoozee, R., P. Boyens & W. Van den Bussche, Pioniers van het Vlaams Expressionisme, exh. cat. (Groningen: Groninger Museum, 2004), p. 81 (ill.); Hoozee, R., M. Miyazawa, Light of Flandres. Images of a beautiful Belgian Village, exh. cat. (Japan: Himeji City Museum of Art, Bunkamura Museum of Art & Okuda Genso Sayume Art Museum, 2010), p. 131, p. 147, n° 87 (ill.); Langui, E., Frits Van den Berghe (Ghent: Vooruit, 1933) 12 (ill.); Langui, E., Frits Van den Berghe 1883-1939. Beschrijvende catalogus van zijn geschilderd oeuvre (Brussels: Laconti, 1966), n° 195 (ill.); Langui, E., Frits Van den Berghe 1883-1939 (Antwerp: Mercatorfonds, 1968), p. 81, p. 307, n° 195 (ill.); Langui, E., Het expressionisme in België (Brussels: 1970), p. 105, 62 (ill.); Langui, E. Espressionisti fiamminghi - Da Ensor a Permeke, exh. cat. (Rome: Galleria Nazionale d'Arte Moderna, 1977), n° 79; Pauwels, P.J.H., Als een fonkelenden spiegel (Sint-Martens-Latem: Galerie Oscar De Vos, 2019), p. 256 (ill.); Schimmel, P. & H. van Leuven, Flemish expressions, representional painting in the twentieth century (Tielt/Newport: Lannoo/Newport Art Museum, 1986), p. 169, n° 113 (ill.); Sosset, L.-L., Un peintre insolite, Frits Van den Berghe, in: Les Beaux-Arts (Brussels: 4 May 1962), p. 5; Schoonbaert, L.M.A. & K. Peereboom, Flemish Expressionism, exh. cat. (Tampa & Antlanta: The Tampa Museum & High Museum of Art, 1980), n° 64 (ill.); Vanbeselaere, W., De Vlaamse Schilderkunst van 1850 tot 1950. Van Leys tot Permeke (Brussels: 1959), p. 259, p. 262, n° 87 (ill.); Van Cauteren, K. e.a., OER. De wortels van Vlaanderen, exh. cat. (Antwerp: The Phoebus Foundation, 2017), pp. 244-245 (ill.); Van Cauteren, K. e.a., Coming home. Flemish art 1880-1930 (Antwerp: The Phoebus Foundation, 2017), pp. 348-349 (ill.); Van Hecke, P.-G. (1947), pl. 50 (ill.) Exhibitions: Brussels 1925, n° 123; Antwerp 1926, n° 17; Brussels 1927, n° 18; Antwerp 1940, n° 61; Brussels 1946, n° 153; Utrecht & The Hague 1947, n° 10; Luxembourg 1948, n° 52; Paris 1948, n° 52; Charleroi 1958, n° 11; Antwerp 1959, n° 37; Brussels 1960, n° 7, pl. 39; Brussels 1962, n° 33; Rome 1977, n° 79; Tampa & Atlanta 1980, n° 64; Antwerp 1983, n° 143 (ill.); Ghent 1983, n° 69; Newport Beach 1986-1987, n° 113; Fort Lauderdale 1987, n° 113; Sint-Martens-Latem 1987 (ill.); Villeneuve d'Ascq 1988, p. 99; Kortenhoef 1993, p. 23; Ghent/Deurle/Deinze, 2001, n° 229; Groningen 2004, n° 1; Japan 2010, n° 85; Ghent 2017, p. 244 ‘The Poor’ (1925) is the expressionist masterpiece by renowned Belgian artist Frits Van den Berghe to be presented. This painting, from the prestigious collections of Paul-Gustave Van Hecke, Walter Schwarzenberg, Victor Sevranckx, and Maurice & Yvonne Naessens, is a powerful social pamphlet and one of Van den Berghe's most important works. ‘The Poor’ features a telling double scene, centring on the stark contrast between wealth and poverty. Outside in the snow, a skinny wanderer wanders, while inside a beneficent woman wallows in abundance, illustrated by the image of her breastfeeding a piglet. The colours in the painting - the chilly blue versus the warm red-pink - reinforce the emotional charge of this contrast. Van den Berghe's work from 1922-1925 reflects his fascination with Flemish rural life, imbued with irony and social commentary. In Afsnee, where he worked with artists such as Gustave De Smet and Constant Permeke, he painted ‘The Poor’ in 1925, a work that expresses deep human sympathy with the harsh reality of the Flemish countryside. The painting is characterised by its narrative power and shows Van den Berghe's keen observation of social inequality. The tramp in the snow, accompanied by his faithful dog, symbolises the hopelessness of poverty, while the woman in her warm, rosy surroundings symbolises opulence and waste. Van den Berghe thus offers a philosophical reflection on the human condition, in which wealth and poverty exist side by side. Frits Van den Berghe (1883-1939) was a prominent Belgian artist and a key figure within Flemish expressionism. His work is characterised by strong colours, dramatic contrasts and emotionally charged scenes that often reflect the hard existence of man in the Flemish countryside. Van den Berghe began his career as a symbolist, but found his true voice in expressionism, in which he depicted themes such as loneliness, poverty and alienation. His masterpieces, such as ‘The Poor’ (1925), show his deep compassion for ordinary people and his sharp social criticism.
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
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
Florian Kolhammer
Seating ensemble (pair of chairs and table) Moritz Herrgesell (Vienna, 1853-1952) School of Koloman Moser, Vienna, circa 1902 Lacquered beech Table H 77 x W 50.5 cm Chairs H 96 x W 55 x D 55 cm Provenance: private collection Vienna, Austria Literature: Hochschule für angewandte Kunst in Wien (ed.), Koloman Moser 1868–1918, exh. cat., Vienna 1979, p. 203; Leopold Museum (ed.), Koloman Moser 1868-1918, exh. cat., Prestel 2007, pp. 204-205, 206; Hochschule für angewandte Kunst (ed.), Koloman Moser. Graphik Kunstgewerbe Malerei, Salzburg and Vienna 1984, p. 163, 241; Christian Witt-Dörring (ed.), Koloman Moser. Designing Modern Vienna 1897–1907, Prestel Verlag, München, London, New York 2013, pp. 138, 144, 159, 185, 193 Moritz Herrgesell studied architecture at the Vienna School of Arts and Crafts from 1901 to 1905. His famous teacher was none other than Josef Hoffmann. Herrgesell benefited above all from the fact that the ties between the Vienna Secession, artisans and the School of Arts and Crafts were particularly close at this time and that there was frequent creative exchange between individual classes and their teachers. This special situation also brought Moritz Herrgesell into contact with other renowned artists during his studies. The most influential role model here was the famous Viennese universal artist Koloman Moser. Hoffmann attested to Herrgesell's 'great talent and taste' and recommended him 'as completely capable and skillful in all these tasks'. Moritz Herrgesell's particular style can already be seen in his early design from 1903. The influence of his teachers is initially omnipresent and clearly noticeable. In the years that followed, however, his personal interpretation of furniture design became tangible. Herrgesell also regularly took part quite successfully in exhibitions and competitions. After completing his studies, he worked in his parents' carpentry business and showed his designs with great success at national and international exhibitions and competitions. The seating group shown here can be regarded as one of Moritz Herrgesell's first completely independent works from his early creative period. The influences of his mentor Koloman Moser are clearly evident, but it is the fine details that clearly set Herrgesell's design apart. This ensemble from the heyday of Viennese furniture art around 1900 is a rare museum piece from the circle of the most important artists of the time.
COLNAGHI
jacob jordaens
Jacob Jordaens (Antwerp, 1593-1678) A rostrum of musicians in a loggia, circa 1635 Watercolour, gouache, red chalk, pen and brown ink and brown wash. Coated paper 34.5 x 28.2 cm Provenance: Mrs. Lasserre (Dax, France; 1904); Maurice Delacre (Ghent, 1862-1938); Geoffrey & Bequet sale, Saintes, 20 April 2008; acquired by Jean Luc Baroni; private collection, UK Literature: R.A. d’Hulst, Jordaens Drawings, Catalogue raisonné, Brussels, 1974, Vol. I – A 199; ill. Vol. III, fig. 214 Exhibition: Antwerp, 1905, n° 126 This beautiful and highly important sheet by Jacob Jordaens belongs to a series of drawings intended as preliminary studies for the tapestry series Scenes from Country Life. The beauty and complexity of this composition has been interpreted by scholarship as Jordaens’ ultimate harnessing of the watercolour medium, and placed amongst his best graphic work. After the death of Rubens in 1640, Jordaens became the leading painter in Antwerp, producing numerous paintings for public, private, and ecclesiastical patrons, as well as many designs for tapestries.
Christophe Perlès
Set of Japanese porcelain with Kakiemon decoration, late 17th century The set consists of two dishes, two teapots and one covered bowl The term 'Kakiemon' is attributed to a group of Japanese porcelains whose characteristics are a subtle decoration in fine translucent overglaze enamels and a milky white unblemished body called 'nigoshide' in Japanese. Kakiemon porcelains were exported to Europe in large numbers where they were extremely popular. Compared with blue and white porcelains, Kakiemon was very expensive
Artimo Fine Arts
Magician question and answer automaton 'album amicorum' book with original leather case and instructions for use Meussel et Fils à Genève, March 1823 Gold, enamel and tortoiseshell H 20 x W 15 cm Unique piece Provenance: J.-G. & J.-C. Meüsel, Geneva, Jewellers at rue des Orfevres, 184 Geneva, dated 1823; Lydia Huber Strutt (1759-1832), Geneva acquired 1823 (?); Bernard Franck (1848-1924), 21 rue du Château d’Eau, Paris, exact date of acquisition unconfirmed, but likely before 1900; Henry & Sidney Hill, Berry-Hill Galleries, New York and London (formerly Frederick Berry & Sons of 25, Piccadilly), at the time specialists in gold boxes and objects, circa 1938; Maurice Sandoz, (1892-1958), Swiss nationality, resided variously in Burier, Switzerland, Rome, New York, Lisbon, Naples. Acquired the Magician, circa 1938; private collection, Europe Literature: A. Chapuis, E. Gelis, Le Monde des Automates, vol. II, Paris 1928, pp. 170-172, figs. 438/439; A. Chapuis, À travers les collections d’horlogerie: gens et choses, Neuchâtel, La Baconnière, 1942, ch. IX; Letter signed by Henry D. Hill of Berry-Hill, New York, 23 December 1947 to Alfred Chapuis confirming that they had purchased a part of the Bernard Franck Collection some years earlier. (Alfred Chapuis Archive held at the Musée d’Horlogerie, Chateau-des-Monts, Le Locle. Inv. G48.); A La Vieille Russie, Inc. A Loan Exhibition of Antique Automatons, 3 November-5 December 1950, Private Printing by Spinner Press, New York. p. 58, cat. n° 151; Maurice Sandoz collection, Watches and Automata, Fondation Maurice & Edouard Sandoz, 2012, vol. III, pp.201-202 Exhibition: A La Vieille Russie, Inc. A Loan Exhibition of Antique Automatons, 3 November-5 December 1950, New York
Galerie de la Présidence
geer van velde
Geer van Velde (Netherlands, Lisse 1898-1977 Cachan, France) Composition-L'atelier, circa 1953 Oil on canvas 100 x 100 cm Signed lower right with the initials 'GvV' Signed on the reverse 'G. van Velde' Certificate of authenticity by Pierre François Moget This work will be included in the catalogue raisonné of Geer van Velde Painted Work currently in preparation by Pierre François Moget. Provenance: private collection, France
Galeria Jordi Pascual
josé guerrero
José Guerrero (Granada 1914-1991 Barcelona) El Alba, 1967 Oil on canvas 146 x 114 cm Certificate of authenticity by Comité José Guerrero Provenance: Elliot M. Katz Living Trust, EE.UU; Galería Juana Mordó, Madrid; Galeria Buchholz, Lisbon Literature: Francisco Baena, Serge Guibault, Juan Antonio Ramírez, Yolanda Romero and Inés Vellejo Ulecia, José Guerrero Catálogo Razonado, Vol I 1931-1969, Ed. Diputación de Granada, 2008, p. 564, fig. 460 Exhibition: Galería Buchholz, Lisbon, 'José Guerrero', April 1967
Galerie Sophie Scheidecker
Philip Pearlstein (USA, 1924-2022) Seated Models on red and orange drapes, 1968 153.5 x 184 cm Oil on canvas Signed and dated 'Pearlstein 68' Exhibitions: Allan Frumkin Gallery, New York (with two labels on stretcher); Georgia Museum of Art, Georgia 1970; Massachusetts Institute of technology, Heyden Gallery 1971 (with label on reverse); Galerie M. E. Thelen, Köln; Galleri Östergren, Malmö (also printed three times on reverse)
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.
Segoura Fine Art
carlos schwabe
Carlos Schwabe (Zwitserland, 1866-1926) Melisande, 1908 Gouache and mixed technique on paper 29 x 13 cm Signed, dated 1908 lower right and titled Mélisande lower left This full-length portrait depicts an emblematic female figure of the late nineteenth century, inspired by Maurice Maeterlinck's Symbolist play ‘Pelléas et Mélisande’. This dramatic play explores the platonic love between the two protagonists. This portrait of Mélisande reflects Carlos Schwabe's attachment to this enigmatic and spiritual character, illustrating his affinity with Symbolism. The painting bears witness to Schwabe's exceptional talent, his ability to capture emotional depth through his unique artistic expression. Between 1892 and 1924, Schwabe illustrated numerous works, enriching the texts with his striking visions. In 1924, he illustrated ‘Pelléas et Mélisande’, offering us sensual, enigmatic and mystical images. This portrait can therefore be seen as a real preparatory work for these illustrations.
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.