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Franck Anelli Fine Art
Secretary Charles Topino (1742-1803), master in 1773 Transition period Oak, Breccia marble top, bronze and marquetry in rosewood, amaranth, holly, sycamore, lemonwood, stained woods and tobacco wood H 139 x W 92 x D 38 cm Stamped TOPINO and bearing the Jurande hallmark Transition period secretary in wardrobe stamped Charles TOPINO (1742-1803) and Jurande hallmark. Rectangular in shape, the front uprights with cut sides, the front legs arched, the hind legs straight, the oak frame, it opens with a drawer, two leaves and a flap revealing a compartmentalized interior of seven drawers and four compartments. Top of breccia marble from Aleppo. Inlaid decoration in rosewood, amaranth, holly, sycamore, lemon tree, stained wood, tobacco wood, drawing lattices on the uprights and the upper drawer, those of the latter, embellished with flowers, and trompe-l'oeil on the front and on the sides, a decoration of garlands of oval cartouches of stylised acanthus leaves uniting the panels of the toilet seat and the leaves, each also presenting, in the upper part, a leafy garland that can be found on the side panels. The latter are decorated with two gadrooned urns close to the flowered vases of the leaves. The toilet seat has a trompe-l'oeil perspective decoration, an orangery whose open shutters give a glimpse of a wooded landscape in the distance, a perspective accentuated by the checkerboard paving, also present on the leaves. Eight boxes of fruit trees are spread around a table on which are placed two flowered vases and under which is a watering can. The interior reveals six side drawers in three rows, inlaid with a floral vase pattern, as well as a central drawer. Stamped TOPINO and hallmark of Jurande Charles TOPINO received master in 1773 The art of marquetry The bronzes are discreet on our desk and this is intended to give pride of place to marquetry, qualified as wooden painting. If it is possible and tempting - rightly to link a cabinetmaker to his marquetry and this is regularly the case for Topino whose utensil marquetry inspired by the borders of Chinese Coromandel lacquer screens of the time is a characteristic of the artist - it turns out that the models circulated and that inlaid panels could be used by the same circle of cabinetmakers. If the vases, potiches, flowers, utensils reproduced, invented, associated, allow us to recognize Topino's art, it should be noted that the framing motif made up of oval reserves with quartefeuilles and spandrels can be found on secretaries, a chest of drawers and a dressing table stamped Jacques Bircklé. By this same cabinetmaker, a secretary also presents the same vases present on our furniture. Very similar marquetry panels. both in their compositions and in their frames can be found on a chest of drawers attributed to Jacques Bircklé, illustrated in the book by Pierre Kjellberg, who also defines the paving pattern as Bircklé's 'almost exclusiveness'. our secretary thus witnessed the circulation of drawn or engraved models.
Mearini Fine Art
Corinthian capital (variation of a Roman type from the 3rd/4th century) Central-southern Italy, late 12th-early 13th century Greek Marble H 52 x W 50 x D 50 cm In this unusual variation on the Corinthian there are three orders of acanthus leaves, finelly indented with drill holes in evidence, which reach up to the top of the kalathos. Already in ancient times this type of capital was exported to Aquileia (Udine) a city destroyed by Attila in 452 and temporarily abandoned upon the arrival of the longboards in 568, as shown by a fragmentary example in the national Archeological Museum datable between the 3rd and 4th century.
Thomas Deprez Fine Arts
Gabrielle Montald (born Canivet) (Brussels, 1867-1942) Decorative bird, 1929 Gouache and ink over gold ground on paper 61.5 x 46 cm (sheet) 64 x 48 cm (framed) Signed and dated lower right ‘G. Montald 29’ Provenance: private collection, Belgium Related works: Among Gabrielle Montald’s most significant autonomous bodies of work, the so-called 'Oiseau décoratif series' occupies a central position. Although the motif appears as early as 1914, the majority of these works were produced between 1925 and the early 1930s. Following her international recognition at the 1925 'Exposition des Arts Décoratifs in Paris', where her imaginative bird drawings were prominently exhibited, the series expanded in both scope and refinement. In 1927, three of the works shown in Paris were acquired by the Belgian government, marking the beginning of an institutional recognition that endures to this day. Rarely appearing on the market, a large part of Gabrielle Montald’s known oeuvre, including her textiles and bookbindings, is now preserved in Belgian museum collections.
Rueb Modern and Contemporary Art
Jan Sluijters (Hertogenbosch 1881-1957 Amsterdam) Greet van Kooten with headband, 1910 Oil on canvas 35.5 x 42 cm Signed and dated Provenance: Salomon Beffie collection, Amsterdam; Willem Beffie collection, New York; Galerie van Voorst van Beest, The Hague; Reens, collection, Amsterdam; A.J. van Hillegondsberg collection, Blaricum; private collection, Amsterdam Literature: online catalogue raisonné Jan Sluiters-www.rks.nl/images/100130 Exhibition: The Hague, Pulchri Studio, Paintings, drawings and pointes-sèches of Jan Sluijters and Lodewijk, Schelfhout, 3 July-25 July 1915 n° 40
Floris van Wanroij Fine Art
Jacob Grimmer (Antwerp, 1525/6-1590) A Landscape with Travellers near a Castle or An Allegory of Spring Oil on panel H 27.3 x 37 cm Signed lower left GRIMMER FECIT The present picture is recorded at the RKD in The Hague under n° 102433 as by Jacob Grimmer Provenance: René Gilbert collection, Geneva; thence by descent until znonymous sale (the property of a Lady), Sotheby’s, London, 14 December 2000, lot 3 (179.500 GBP); private collection, United Kingdom; anonymous sale, Sotheby’s | London, Old Masters Evening Sale, 5 July 2017, lot 49; private collection, The Netherlands Literature: Mander, K. van (1603/4). Schilder-boeck. Haarlem, Vol. II, fol. 256V Bertier de Sauvigny, R. (1991). Jacob et Abel Grimmer. Brussels, p. 68, fig. 13; p. 81, fig. 28
Galerie Hurtebize
Maurice Utrillo (Paris 1883-1955 Dax) Commune de Maixe (Meurthe-et-Moselle), 1924 Oil on canvas 98.4 x 131.3 cm Signed and dated lower left Certificate by Hélène Bruneau, President of the Utrillo-Valadon Committee Provenance: private collection, France Literature: P. Pétridès, L’Œuvre complet de Maurice Utrillo, Paris, 1974, vol V, p. 238, n° 2720 (ill. p. 239)
Van Pruissen Asian Art
Ban'ura Shogo (Nanao 1901-1982 Kyoto) Paper and writing box with pea plant design Japan, 1950-1960 H 20.8 x W 32 cm Signed Shogo saku Provenance: Ben Janssens collection, UK Literature: Jan Dees, Splendour in detail-20th century Japanese lacquer from the Ben Janssens collection, 2021 Exhibition: Japan museum SieboldHuis, 2021
Francis Janssens van der Maelen
Luigi Genazzi (Milan, 1876-1946) Art Deco vase, 1930 Silver 800, 2.900 gr 35 x 32 cm Hallmarked and signed by the artist Large hammered silver vase or wine cooler, embellished with two geometric handles and enhanced by a finely detailed decorative design. A testament to Milanesità - the elegance and timeless character of Milanese silversmithing. Bearing the hallmarks of the silversmith Luigi Genazzi and his signature.
Vagabond Antiques
A Neoclassical painted and parcel-gilt console table Italy, late 18th century Marble and painted wood H 90 x W 110 x D 54 cm Italian neoclassical console table retaining its beautifully faded original painted and parcel-gilt decoration. The original shaped solid Breccia Violette marble top rests on a panelled frieze decorated with scrolling acanthus, flower-filled classical urns and carved paterae. The table is raised on four beautifully proportioned fluted legs, tapering to an unusually fine point and giving the table a particularly elegant and refined profile.
Marjan Sterk Fine Art Jewellery
Hemmerle Pair of coral earrings 18k yellow gold, oxidised copper, corals and pink sapphires Signed Hemmerle, and made in Munich A pair of eighteen carat yellow gold earrings, each comprising a coral button on the ear, suspending a tassel of numerous strands of coral, mounted in a cap pavé-set with pink sapphires.
Galerie von Vertes
Marino Marini (Pistoia 1901-1980 Viareggio) Composizione, 1956 (conceived and cast before 1970) Bronze with brown and green patina (6/6) 20 x 14 x 8.5 cm Stamped on the base plate 'MM' Casts: 6 + 1 A.P. Provenance: Dominion Gallery, Montréal (after 1970); private collection, Canada; Finartis Kunsthandels AG, Zug; collection Gerard Valkier (acquired June 2004 from the above); Christie's, Paris, 20 October 2021, lot 15; private collection, Switzerland (acquired from the above) Literature: Franco Russoli, Marino Marini, pitture e disegni, Milan, 1963, n° 5 (ill., titled 'Der Sturz (kleine Bronze)'; Abraham M. Hammacher, Marino Marini: Sculpture, Paintings, Drawings, London, 1970, n° 245; Patrick Waldberg, Herbert Read and Gualtieri di San Lazzaro, Marino Marini, Complete Works, New York, 1970, n° 337; C. Pirovano, Marino Marini, Scultore, Milan, 1972, n° 343; 'Hommage à Marino Marini', in XXe siècle, Paris 1974, pp. 56-57 (another cast is illustrated); Mercedes Precerutti-Garberi, Marino Marini Alla Galleria D'Arte Moderna Di Milano, Milan 1973, p. 31; Cat. Omaggio a Marino Marini, XX. Siecolo, Milan 1974, pp. 56-57; Mercedes Precerutti-Garberi, Marino Marini, Guida al Museo-Galleria d'Arte Moderna, Milan 1984, p. 32 (ill. p. 164); Mario Meneguzzo, Marino Marini, Cavalli e cavalieri, Milan 1997, p. 227, n° 89 (ill.); M. Meneguzzo, Marino Marini, Il Museo alla Villa Reale di Milano, Milan 1997, n° 30; Giovanni Carandente, Marino Marini, Catalogo ragionato della scultura, Milan 1998, p. 424, n° 422 (ill. p. 292)
Beck & Eggeling International Fine Art
Manolo Valdés (Valencia, 1944) 'The Cartier', 2008 Oil and mixed media on canvas 188 x 188 cm H 200 x W 200 x D 10 cm (in artist's frame) Signed 'MAVALDES', dated '2008', titled 'The Cartier' and inscribed with measurements on the reverse Provenance: acquired directly from the artist's studio
Galerie bei der Albertina ▪ Zetter
Dagobert Peche (Sankt Michael im Lungau 1887-1923 Mödling) Lamp, Design 1921 Manufactured by the Wiener Werkstätte, model number M 3494-M la 24 Brass, embossed, floral decoration, foot with beaded decoration, one flame, lamp shade renewed, new electrification H 87 cm - Ø 46 cm (lamp shade) Marks: WIENER / WERK / STÄTTE, monogram DP According to the MAK only two lamps were manufactured in the year 1923 Provenance: collection Schedlmayer Literature: cf. WW Archive, MAK Vienna, design sketch lamp base KI 12649-5-2, photo archive inventory n° WWF 98-116-1 as well as entry in the book of commissions of the Wiener Werkstätte model book WWKA 679; cf. Exhibition catalogue ‘Die Überwindung der Utilität. Dagobert Peche und die Wiener Werkstätte’, ed. by Peter Noever, MAK, Vienna 1998, ill. p. 221, n° 51; cf. Exhibition catalogue ‘Dagobert Peche and the Wiener Werkstätte’, ed. by Peter Noever, MAK, Vienna 1998, Neue Galerie, New York 2002, ill. p. 228, n° 45; Exhibition catalogue ‘Die Sammlung Schedlmayer. Die Entdeckung’, ed. by Ivan Ristic, Hans-Peter Wipplinger, Leopold Museum, Vienna 2021, ill. p. 72 Exhibition: Vienna, Leopoldmuseum, 'Die Sammlung Schedlmayer. Eine Entdeckung', 2021
