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Romigioli Antichità
boraccine roses, gills, hibiscus, carnations and tulips in a glass vase
Juan de Arellano (Santorcaz 1614-1676 Madrid), attributed to Boraccine roses, gills, hibiscus, carnations and tulips in a glass vase Oil on canvas 78 x 63 cm Report by Professor Claudia Salvi Provenance: private collection, Florence
TEMPLON
françois rouan
François Rouan (Montpellier, 1943) Odalisque Flandres X, 2010 Oil on braided canvases 170 x 148.5 cm - framed 175 x 154 cm Unique piece Provenance: the artist's studio Literature: Marie Luise Syring, François Rouan: Eine Wirklichkeit aus Fetzen und Flicken', Künstler : Kritisches Lexikon der Gegenwartskunst, 2013; Exhibition catalogue François Rouan, La découpe comme modèle, Musée départemental Matisse, Le Cateau-Cambresis, 2011, publ. Bernard Chauveau, coll. Couleurs contemporaines; Exhibition catalogue François Rouan, Odalisques et Pavanes, 2009-2020, TEMPLON, 2023 (illustrated p. 41), published by TEMPLON 2023
Galerie Dina Vierny
Robert Couturier (Angoulême 1905-2008 Paris) Le soldat, 1967 Bronze H 184 x W 24 x D 24 cm Signed 'Couturier', numbered 'EA 1' and inscribed with the foundry mark 'Susse fondeur Paris' (under the foot) Conceived in plaster in 1967 and cast in bronze in an edition of 6 plus 4 EA and 2 HC. The present work is numbered 'EA 1' and was cast by Susse fondeur Paris in 2024 Provenance: Galerie Dina Vierny, Paris Literature: V. Da Costa, Catalogue raisonné de l'oeuvre sculptée de Robert Couturier, vol. II, 1998, n° 186, ill. (another cast); V. Da Costa, Robert Couturier, 2000, ill. p. 88 (another cast) Exhibitions: Paris, Salon de mai, 1968, n° 247, mentioned p. 12 (another cast); Paris, Musée Rodin, Robert Couturier, 1970, n° 51, ill. (another cast); Saint Etienne du Rouvray, Rodin, Couturier, César, Etienne-Martin, 1970, n° 19, mentioned p. 23 (another cast); Paris, Monnaie de Paris, Robert Couturier, 1975, n° 112, mentioned p. 10 and p. 26 (another cast); L'Isle sur la Sorgue, Campredon, Robert Couturier, 1996, ill. p. 40 (another cast); Paris, Galerie Dina Vierny, Robert Couturier. Silhouettes, 2024, n° 3, ill. p. 56
Galerie Cento Anni
andré lanskoy
André Lanskoy (Moscow 1903-1976 Paris) Abstract composition, 1961-1962 Oil on canvas 73 x 100 cm Signed Lanskoy Certificate of the Comité Lanskoy-Paris This work will be included in the artist's catalogue raisonné Provenance: Galerie E. Smith, Paris; Galerie Ivana de Gavardie, Paris
Chambre professionnelle belge de la Librairie Ancienne et Moderne (CLAM)
Aventuras de Juan Esparraguito o el niño casi legumbre. Cuchicheos de un abuelo Paris (Argenteuil, R. Coulouma & Le Coloris Moderne), 1930. Folio, publisher’s white pictorial wrappers in pochoir colour, (in modern box) (8) pp. 145 pp. 1 unnumbered leaf. Spanish text. 22 full-page plates, 25 text illustrations, and 14 initials by the South American artist A. Gómez-Palacios, all in superb pochoir colour, several with gold or silver highlights. Complete. First and only edition. Literature: Catalogue of the Cotsen Children’s Library, 2000, 3006 / Manuel Peña Muñoz, Historia de la Literatura infantil chilena, 1982, pp. 31-32 / Not in Bilderbuch im Kinderwelt & Olivier Piffault, Babar, Harry Potter & Cie (BnF) A monument of Chilean children’s literature that embodies the spirit of “realismo mágico” (magical realism) usually associated with South American art and literature, a mixture of world history, religion, and fantasy. It is a fairy tale about a little boy who dreams of being a fully-fledged asparagus someday. The illustrations show his journey and the people and creatures he meets along the way. The book was written by Agustín Edwards McClure (1878-1941), a rich Chilean businessman, lawyer, press tycoon, minister, and president of the League of Nations between 1922 and 1923, during his exile in Paris; it is dedicated to his grandchildren. “Los años 30 se inician con una publicación para niños que es una exclusividad y una joya para el coleccionista de libros infantiles chilenos antiguos. El libro chileno, aunque impreso en París, está lleno de imágenes caprichosas y originalidades, como llamar cascabeles a los capítulos. La primera lámina representa un hermoso gato negro que ostenta un lujoso collar de 14 cascabeles, uno por cada capítulo. La historia transcurre “en una tarde bañada de sol, como ias que solo se ven en Viña del Mar, rincón privilegiado de la Costa del Pacífico y en un sitio llamado desde tiempos remotos “Los Canelos”. Allí está el abuelo contándoles una historia maravillosa y extravagante a sus nietos Cuchito y Sonia. Y la historia abunda en fantasía y en descripciones de otros países como India, China, y tambien de nuestra cordillera. Contiene asimismo descripciones poéticas, muy modernistas. En suma, un libro delicado, fino, exquisito, de gran formato y pieza clave en la historia de la literatura infantil chilena” (Manuel Peña Muñoz). Although the colophon states that 1000 copies were produced, the book is very rare, and the cost of production may have precluded printing more than a couple of hundred copies. One of 900 numbered copies on vélin Lafuma. This copy was specially printed for the printer’s wife. A pristine copy, very uncommon in this condition. Pierre Coumans, Antiquarian bookseller
Lemaire
Late Louis XV ormulu and Meissen porcelain mantel clock The porcelain figures, modelled by Johann-Joachim Kändler (1706-1775), are dated circa 1750-1755 The dial, signed J.-B. Duluc, is dated late Louis XV period, circa 1765-1770 Clockmaker Jean-Baptiste Duluc (Master in 1770); clockmaker to the Comte d'Artois, brother of the future Louis XVI H 35.5 cm Literature: the figure is reproduced in ADAMS (Y), Meissen Figures, 1730-1775, The Kaendler Period, 2001, p. 113 The figures represent two Provençal musicians surrounded by a bunch of porcelain flowers, standing on a terrace complete with a staircase. The figures were inspired by an engraving by François Boucher (France, 1703-1770) depicting a Provençal street musician playing a fife and a drum
Galerie des Modernes
guillaume corneille
Corneille alias Guillaume Cornelis van Beverloo (Liege 1922-2010 Auvers-sur-Oise) The rocky soil has become a garden, 1961 Oil on canvas 73 x 92 cm Signed and dated lower left 'Corneille 61' Countersigned, dated and titled on the back 'Corneille 61 / the rocky soil has become a garden' Certificate of authenticity from the Guillaume Corneille Foundation, signed by Mrs Beverloo-Corneille Provenance: private collection, France Literature: Une nouvelle figuration, exh. cat. Galerie Mathias Fels, Paris, 1961, repr. in black and white, unpaginated Exhibition: Une nouvelle figuration, Galerie Mathias Fels, Paris, November-December 1961
Galerie Sophie Scheidecker
Anton Henning (Berlin, 1964) Blumenstilleben n° 253 (AH 2004-196), 2004 Oil on canvas 220 x 189 cm Anton Henning, born in Berlin in 1964, is a contemporary German artist whose work includes painting, sculpture, photography and installations. A self-taught artist, he trained largely through direct observation of ancient and modern art during his travels in the United States and Europe in the 1980s. Henning is distinguished by a bold approach that fuses a variety of styles and influences, from the old masters to modern movements. He appropriated classic artistic genres such as still life, portraiture and landscape. His style is recognisable for its complex compositions, bright colours and taste for geometric and organic motifs. An important figure in contemporary European art, Anton Henning has exhibited in renowned galleries and museums in Europe, notably in Germany, Switzerland and the Netherlands, and his works are included in major public and private collections. In his series of paintings Blumenstilleben (Still Life of Flowers), Anton Henning explores the traditional theme of the floral still life with a singularly modern twist. Blumenstilleben No.253 (AH 2004-196), painted in 2004, is notable for its treatment of the floral motif with a palette of vibrant colours, interwoven with geometric motifs of exaggerated proportions, visible brushstrokes and juxtapositions of textures, giving it a particularly pop, modern feel. With this series, Henning also seems to be questioning the relationship between academic painting and contemporary art. He does not hesitate to break with the solemnity of traditional still lifes by introducing elements reminiscent of modern design, abstraction and even the aesthetics of comics. Inspired by the aesthetic codes of the old masters, Henning revisits the subject of flower bouquets and floral compositions in a style that oscillates between the abstract and the figurative.
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.
Galerie La Forest Divonne
krjst
KRJST Studio (Belgian artist duo founded in 2012 and composed by Justine Moriamé (1987) and Erika Schillebeeckx (1989)) SAND IS THE BODY OF THE TREES TO COME, 2024 Jaquard weaving and hand embroidery Organic cotton, paper, mohair, merino, polymer, lurex, metalic yarns, polyester, linen, silk H 250 x W 250 cm Serie Omen, edition 1/4
Gallery de Potter d’Indoye
Pair of Empire period candelabras Attributed to Claude Galle (France, 1759-1815) Gilt and patinated bronze H 81 x W 31 x D 21 cm These candelabras from the Empire period, in the shape of winged figures of Victory carrying candlesticks in the hands and on the head, probably derive from the famous drawing in an album by Percier and Fontaine at the Metropolitan New York Museum of Art. The bronze stems take the form of women, who stand on tall plinths. These plinths are covered with a light brown patina and are decorated with gilt winged female figures, carrying baskets of fruit on their heads. Each woman strokes the heads of two dogs, who stand on their hind legs and lean against her. The sides and backs of the plinths are ornamented with gilt scrolled foliate motifs, topped by palmettes. The plinths are each set on four ormolu paw feet, placed on shaped, square gilt bronze bases. Above, patinated winged bronze women serve as the stems for the candelabra. They adopt monumental poses, reminiscent of ancient Egyptian or archaic sculpture. The winged women wear sheer dresses, which cling to their bodies. Each winged woman holds two gilt bronze lights in her outstretched hands and supports four more on her head. Those held in the women’s hands are conical shaped and are decorated around their tops with palmettes. The lights carried on their heads are raised up on slim stems and are crescent shaped in their arrangement. Three of the lights have cornucopia-shaped arms, which extend from open-mouthed dogs’ heads, and finish in urn-form palm leaf capitals. Stylised, curling leaves decorate the space above the dogs’ heads. On each, a cylindrical central light directly tops the stem, ending in a simple leafy capital. Claude Galle One of the foremost bronziers and fondeur-ciseleurs of the late Louis XVI and Empire periods, Claude Galle was born in Villepreux near Versailles. He served his apprenticeship in Paris under the fondeur Pierre Foy, and in 1784 married Foy’s daughter. In 1786 he became a maitre-fondeur. After the death of his father-in-law in 1788, Galle took over his workshop, soon turning it into one the finest. Galle moved to Quai de la Monnaie (later Quai de l’Unité), and then in 1805 to 60 Rue Vivienne. The Garde-Meuble de la Couronne, under the direction of sculptor Jean Hauré from 1786-88, entrusted him with many commissions. Galle collaborated with many excellent artisans, including Pierre-Philippe Thomire, and produced the majority of the furnishing bronzes for the Château de Fontainebleau during the Empire. He received many other Imperial commissions, including light fittings, figural clock cases, and vases for the palaces of Saint-Cloud, the Trianons, the Tuileries, Compiègne, and Rambouillet. He supplied several Italian palaces, such as Monte Cavallo, Rome and Stupinigi near Turin. In spite of his success, and due in part to his generous and lavish lifestyle, as well as to the failure of certain of his clients (such as the Prince Joseph Bonaparte) to pay what they owed, Galle often found himself in financial difficulty. Galle’s business was continued after his death by his son, Gérard-Jean Galle (1788-1846). Nowadays, his work can be found in the world’s most important museums and collections, those mentioned above, as well as the Musée National du Château de Malmaison, the Musée Marmottan in Paris, the Museo de Reloges at Jerez de la Frontera, the Residenz in Munich, and the Victoria and Albert Museum in London.
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
Galerie von Vertes
George Condo (New Hampshire, Concord 1957) Female composition, 2006 Oil on canvas 165.1 x 152.4 cm Verso signed and dated 'Condo 06' George Condo, Female Portrait, 2006 'Deep into that darkness peering, long I stood there, wondering, fearing, doubting, dreaming dreams no mortal ever dared to dream before'. Edgar Allan Poe Like the ‘Manichini’ or metaphysical mannequins of Giorgio de Chirico that reject a face as a symbol of status and identity, Female Composition is created as a hand puppet on a stick wearing a distinguished cloak, mocking the traditional depictions of the female portrait as seen in the works by Parmigianino, Rembrandt, and Picasso. This ironic interpretation depicts the woman as a faceless puppet with breasts, a cape, neckless and head topped with a carrot. Condo simultaneously offers a deep respect for art history and a blatant disregard for conventional narratives. In his own words: “As far as I’m concerned, the Renaissance was yesterday, and Cubism was a hundred years before it.” (George Condo quoted in Simon Baker, George Condo: Painting Reconfigured, New York 2015, p. 104). Female portrait perfectly encapsulates Condo’s concept of Artificial Realism. Exploring the carefully constructed conventions of traditional portraiture and how our reality is made up of artificial components, this majestic dystopian portrait ingeniously challenges the artificiality of visual representation.
Edouard Simoens Gallery
Antoni Tàpies (Barcelona, 1923-2012) Cap de gos, 1967 Acrylic, gouache and chalk on firm paper 48 x 63 cm Signed lower right: tàpies This work is registered in the Archives of the Comissio Tàpies under n° 1797 Provenance: Galerie Maeght, Paris; Galeria Dau al Set, Barcelona; Erker-Galerie, St. Gallen; private collection, Switzerland
Philippe Heim
abie loy kemarre
Abie Loy Kemarre (Australia, 1972) Bush Hen Dreaming, 2019 Acrylic on canvas 122 x 183 cm Provenance: Utopia, Central Desert, Northern Territory, Australia Collections: The Metropolitan Museum, New York; Bridgestone Museum of Art, Tokyo; Seattle Art Museum, Seattle; Musée des Confluences, Lyon; The Art Gallery of South Australia, Adélaïde; The Adelaide University Art Collection, Adélaïde; The National Gallery of Victoria, Melbourne, etc. The 'Bush Hen Dreaming', for which Abie Loy Kemarre has custodial rights inherited from her grandfather, was the first story Abie was allowed to paint. The bush hen, also referred to as a bush turkey or Australian bustard (Ardeotis australis), is Abie’s Dreaming Ancestor, an association commonly but erroneously referred to as a ‘totem’. These paintings refer to women’s sacred ceremonies, including a sacred waterhole site, and narrative elements from the peripatetic habits of the bush hen as it searches for food. The geometry in Abie’s Bush Hen Dreaming compositions is generated from her intimate familiarity with the hen, its habitat, and what we would recognise as the science of ethology - the study of animal behaviour.
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.
d'Arschot & Cie
Molenbeker Engraved silver Maker’s mark: IM in a shield Flanders, circa 1610-1620 H 22 cm These curious mill cups were very fashionable in Flanders in the early 17th century. They were also produced by German silversmiths. The tall, flared goblet is topped by a windmill with a ladder climbed by two millers to give the whole a more realistic look. At the bottom, a tube, also known as a blowpipe, is used to set in motion the four wings of the windmill and a small needle turning around a numbered circular dial. The ingenious mechanism consists of toothed wheels that are cleverly concealed inside the mill itself. At a time when banquets were particularly long, these table games were designed to entertain guests. Each guest took it in turns to blow into the blowpipe and the needle, once stopped, told them how many glasses they had left to drink. Many Kunstkammer included an object of this type, and this type of windmills can be found in many still-life paintings from this period. Fragile by nature, few of these goblets have survived. Remarkably, this example is in perfect working order. An engraved silver goblet by the same master silversmith is in the Tienen municipal museum. It is reproduced in: Zilver uit de gouden eeuw van Antwerpen, Rockoxhuis, 1988, n° 105
