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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
Thomas Deprez Fine Arts
théo van rysselberghe
Théo van Rysselberghe (Ghent 1862-1926 Saint-Clair) Portrait d’une dame lisant, circa 1884 Oil on mahogany 51.5 x 37 cm - framed 55 x 40 cm Signed lower right 'Théo van Rysselberghe' This recent rediscovery is accompanied by a certificate from Olivier Bertrand and will be included in the forthcoming catalogue raisonné of the artist Provenance: private collection, Brussels
Whitford Fine Art
reinhold koehler
Reinhold Koehler (Germany, 1919-1970) Thorax contrecollage, 1963-64 Dessin trouvé Décollage with ink, paper and smashed glass laid down on canvas 72.5 x 50 cm Signed and dated lower right and signed, dated, titled and inscribed verso The work is included in the Koehler Archives as RK 58 Provenance: private collection, Germany
COLNAGHI
willem adriaensz key
Willem Adriaensz Key (Breda 1515/16-1568 Antwerp) The Crucifixion, circa 1550 Oil on panel 102 x 74 cm Signed on the cross: W. KAY Provenance: private collection, Belgium, until 2023; acquired from the above Literature: Koenraad Jonckheere, Willem Key (1516-1568): Portrait of a Humanist Painter, Turnhout, 2011 This signed panel is a recently rediscovered work by Willem Key. Key is most known for his portrait paintings, which account for roughly two-thirds of his known output. However, he was also a gifted painter of historical and religious subjects - this picture is a testament to Key’s powerful religious achievements, several of which were destroyed during the Iconoclastic Fury, or Beeldenstorm, that swept the Low Countries and famously struck Antwerp in 1566. Willem Key was a prominent sixteenth-century painter from Antwerp, then one of the greatest commercial and artistic centres of Europe. Recognised for his exceptional talents, Key enjoyed high social and artistic status, earning the admiration of both local nobility and international figures, including Don Fernando Álvarez de Toledo, Duke of Alba, and Antoine Perrenot, Cardinal Granvelle.
Chambre professionnelle belge de la Librairie Ancienne et Moderne (CLAM)
Miquel Barceló (Spain, Felanitx 1957) El libro de los ciegos / Book of the Blind Paris: Item, 1993 Artist's book Folio (40 x 30 cm), prototype binding consisting of rigid boards of incised and tinted plywood. Text by Evgen Bavčar printed in Braille. 48 lithographs and 33 prints by Miquel Barceló, some with added amber varnish Edition of 50 numbered copies on Augoumois paper printed in Spanish Braille, signed by the artist. Ingert ｜Antiquarian Bookseller
New Hope Gallery
lucio fontana
Lucio Fontana (Argentine, Rosario 1899-1969 Comabbio, Italy) Concetto Spaziale, 1962 Oil on canvas 113 x 100 cm Signed lower right ‘L. Fontana’ Signed and titled on the reverse ‘L. Fontana Concetto Spaziale' Provenance: Belgian private collection Literature: Enrico Crispolti, Lucio Fontana Catalogue raisonné des peintures, sculptures et environnements spatiaux rédigé par Enrico Crispolti, Vol. II, Brussels, 1974, cat. no. 62-O-96, p. CCXIII, illustrated
Rueb Modern and Contemporary Art
hans bellmer
Hans Bellmer (German artist, Poland, Katowice 1902-1975 Paris, France) Untitled, circa 1945 Pencil on paper 16 x 10 cm Signed Provenance: private collection, London; Art historian John Richardson, New York Literature: J. Reginato, John Richardson at home, New York 2021, ill. p. 92
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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
Kunstconsult 20th century art I objects
charles schneider
Charles Schneider (Château-Thierry 1881-1953 Epinay-sur-Seine) Five filetés-vases, circa 1925 Clear and opalescent glass in different colours, freehand and mould blown, with applied vertical stripes Designed by Schneider in the early 1920 and executed by Verreries Charles Schneider, Epinay-sur-Seine H 28 cm - Yellow vase with red foot H 44.5 cm - Yellow vase with blue foot H 36 cm - Red vase with yellow/dark foot H 47 cm - Yellow vase with orange/blue foot H 18 cm - Yellow vase with blue foot Literature: Helmut Ricke, Schneider France-Glas des Art Deco, Hannover 1981, pp. 165-167; Edith Mannoni, Schneider, not dated, pp. 92-93; Schneider-une verrerie au XXe siècle, Nancy, 2003, chapter 'oeuvres exposées' (similar pieces) Extremely rare ensemble of the highest quality, one of the highlights of the Schneider production, collected over thirty years on the French and Dutch art markets.
DYS44 Lampronti Gallery
Bernardo Bellotto (Venice 1722-1780 Varsavia) Roma, veduta del Colosseo e dell’Arco di Costantino, 1743-1744 Oil on canvas 61 x 98.1 cm Provenance: private collection, New England; R. Birkedal, Seekonk, Massachusetts; T. Gilbert Brouillette (1906-1970), Falmouth, Massachusetts; Alicia Corchenuk de Buenfil, Città del Messico; Con Steven Juvenis e Firestone & Parson, Massachusetts, entro il 1976; Vendita anonima ('The Property of a Gentleman'), London, Sotheby's, 4 July 1990, lot 19 (as Canaletto); acquired from a private collection; Vendita anonima ('The Property of a European Collector'), London, Christie's, 7 July 2004, lot 98 (as Bellotto); private collection, by 2008; with Cesare Lampronti Gallery, London, by 2009 (as Bellotto); purchased privately from Hampel, Munich, by the current collector in 2019 Exhibitions: Gorizia, Palazzo della Torre, Le Meraviglie di Venezia, Dipinti del '700 in collezioni private, 14 marzo-27 luglio 2008, n° 92; Foligno, Palazzo Trinci, Giuseppe Piermarini, tra barocco e neoclassico, Roma, Napoli, Caserta, Foligno, 5 giugno-2 ottobre 2010, n° B2.22; Monaco, Alte Pinakothek, Canaletto, Bernardo Bellotto Paints Europe, 17 ottobre 2014-15 gennaio 2015, n° 21 Literature: W.G. Constable, Canaletto, Giovanni Antonio Canal, 1697-1768, J.G. Links (a cura di), Oxford 1976, vol. I, n° 388*, riprodotto in pl. 206, e vol. II, pp. 393–94, n° 388* (come Canaletto); W.G. Constable, Canaletto, Giovanni Antonio Canal, 1697–1768, J.G. Links (a cura di), Oxford 1989, vol. I, n° 388*, riprodotto in pl. 206, e vol. II, pp. 393–94, n° 388* (come Canaletto); J.G. Links, A Supplement to W.G. Constable's Canaletto, Giovanni Antonio Canal, 1697–1768, Londra 1998, p. 38, n° 388* (come Canaletto); C. Beddington, in Bernardo Bellotto and the Capitals of Europe, E.P. Bowron (a cura di), cat. mostra, Venezia e Houston 2001, pp. 112 e 114 n° 7, sotto il n° 26; B.A. Kowalczyk, in Bernardo Bellotto and the Capitals of Europe, E.P. Bowron (a cura di), cat. mostra, Venezia e Houston 2001, pp. 136 e 138 n° 13, sotto il n° 35, riprodotto a p. 136; D. Succi, in Le Meraviglie di Venezia, Dipinti del ’700 in collezioni private, D. Succi e A. Delneri (a cura di), cat. mostra, Gorizia 2008, pp. 264–65, n° 92, riprodotto a colori (come Bellotto); M. Fagiolo, in Giuseppe Piermarini, tra barocco e neoclassico, Roma, Napoli, Caserta, Foligno, M. Fagiolo e M. Tabarrini (a cura di), cat. mostra, Foligno 2010, pp. 52 e 55, riprodotto a colori fig. 10; C. Lollobrigida, in Giuseppe Piermarini, tra barocco e neoclassico, Roma, Napoli, Caserta, Foligno, M. Fagiolo e M. Tabarrini (a cura di), cat. mostra, Foligno 2010, pp. 190, 300 e 301, n° B2.22, un dettaglio riprodotto a colori p. 190; T. Wagner, in Canaletto, Bernardo Bellotto Paints Europe, A. Schumacher (a cura di), cat. mostra, Monaco 2014, pp. 192–93, n° 21, riprodotto a colori; B.A. Kowalczyk, in Bellotto and Canaletto. Wonder and Light, B.A. Kowalczyk (a cura di), cat. mostra, Milano 2016-2017, p. 150, sotto il n° 46; B.A. Kowalczyk, in Canaletto 1697–1768, B.A. Kowalczyk (a cura di), cat. mostra, Roma 2018, p. 150, sotto il n° 39
Victor Werner
bert de leeuw
Bert De Leeuw (Antwerp, 1926-2007) Gedenksteen voor een Onbekende, 1955 Mixed media on canvas H 128 x W 96 cm Titled, signed and dated on reverse of canvas 'Gedenksteen voor een Onbekende 55' Literature: Bert De Leeuw, Monografie, Antwerpen, uitgeverij Pandora, 1997, ill. p. 51 Bert De Leeuw was a self-taught artist, excelling as a painter, draughtsman, sculptor, and engraver. He began his career in advertising but switched to art full-time in 1962. Known for his abstract and informal style, De Leeuw's early works used thick, textured materials to evoke interstellar spaces. He was a co-founder of the influential ‘G58’ artist group in Antwerp, which played a pivotal role in post-war abstract art. Over time, he transitioned from painting to sculpture, focusing on geometric forms and public art. De Leeuw exhibited internationally, including at the Paris and Tokyo Biennales, and won multiple awards, including a 2nd prize from 'De Beers' for jewellery design. He was later honoured as a 'Knight of the Order' by Leopold II.
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
Herwig Simons Fine Arts
Napoleon in the guise of Mars the Peacemaker, 1812 Francesco (Italy, 1749-1819) and his son Luigi Righetti (Italy, 1780-1852) Bronze H 95 cm A 19th century small version of the heroic 3m45 high bronze statue located in the courtyard of the Pinacoteca in Milan. The bronze statue was made from a cast of the marble sculpture created between 1802 and 1806 by Antonio Canova, now on display in the stairwell at Apsley House, the Duke of Wellington's London residence
Stern Pissarro Gallery
tom wesselmann
Tom Wesselmann (Cincinnati 1931-2004 New York) Study for bedroom painting #31, 1972 Oil on canvas 20.3 x 26 cm Signed, dated twice and titled on the reverse This work is registered under n° 72-9 in the archive of the Tom Wesselmann Estate, New York Provenance: Sidney Janis Gallery, New York; private collection, USA, acquired from the above Exhibitions: Paris, Galerie Des 4 Mouvements, Tom Wesselmann: Peintures, 7-31 March 1974, n° 13 (ill.)
Hoffmans Antiques
Pair of Gustavian armchairs Ephraim Ståhl (Sweden, 1768-1820) Parcel gilt and bronzed wood Stockholm, circa 1810 H 85 x W 63 x D 50 cm Each armchair has a scrolled back and armrests decorated with carved laurels. The side rails are adorned with griffin heads and a palmette frieze; the fluted, tapered front legs with leaf-tip carvings. The sabre-shaped back legs end in lion's paw feet. The pair of armchairs is attributed to Ephraim Ståhl and made around 1805. Ephraim Ståhl a renowned Swedish craftsman who was a prominent furniture maker from the late 18th century to the early 19th century. Known for the high quality of his work and as well his bold, innovative designs. Ståhl became a favorite of the Swedish Royal family, with his pieces featured in nearly every royal castle. This model however featuring griffins beneath the armrests, is one of Ståhl’s more unusual designs, rarely seen on the open market. It was likely a special commission, possibly by Duke Karl, the brother of Gustav III, who had a particular fondness for the griffin motif, incorporating it throughout the interiors of Rosersberg Castle.
