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Floris van Wanroij Fine Art
Saint John the Baptist England, Midlands, traditionally Nottingham Gothic, mid 15th century, circa 1420-1460 Alabaster carved in high relief with original polychrome and gilding H 41 cm Provenance: Jan Dirven Works of Art collection, Eindhoven, 1997; acquired by Dr. J. Smit collection, Valkenswaard, The Netherlands; thence by descent Literature: Cheetham, F. (2003), Alabaster images of Medieval England. Woodbridge: The Boydell Press, p. 48, n° 205 (reference literature)
La Galerie URBAN
Camille Pissarro (Les Antilles, Saint-Thomas 1830-1903 Paris) Baigneuses, 1895 Oil on canvas 38.5 x 46 cm Signed and dated lower right 'C. Pissarro. 95' This work is listed in the artist's catalogue raisonné under n° 1102 Provenance: Jeanne Pissarro-Bonin, Paris (daughter of the artist); Georges Urion, Paris; sale collection d'un amateur, G. Urion, Paris, Hôtel Drouot, 16 May 1934, n° 15 (ill.); Bergaud collection (acquired at the above sale); Doctor Louis Boidin, Paris; Piasa Paris sale, 24 June 2009, p. 17, n° 15; private collection, Paris Literature: L.R. Pissarro, L. Venturi, Camille Pissarro: son art, son œuvre, Paris, 1939, vol. I, n° 902, vol. II, pl. 183; C. Kunstler, Camille Pissarro, Milan: Fabbri, 1974, p. 67; J. Pissarro, C. Durand-Ruel Snollaerts, Pissarro, Catalogue critique des peintures, Skira, Wildenstein Institute Publications, 2005, vol. III, p. 696, n° 1102. Exhibition: Pictures by Camille Pissarro, London, Stafford Gallery, October 1911, n° 21 or 27
Serge Schoffel - Art Premier
Ngoin mask Bamileke, Cameroon, 19th century Wood, pigments, crusty deposits H 65 x W 45 cm Provenance: Jacques Ulmann, Paris, France; Galerie Ratton-Hourdé, Paris, France; Michel Périnet, Paris, France; Christie’s Paris, Michel Périnet collection, on 23 June 2021, lot 59
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)
W. Apolloni - Laocoon Gallery
Leoncillo Leonardi (Spoleto 1915-1968 Rome) Plate with abstract design, circa 1950 Glazed ceramic Ø 28 cm Signed below on the edge 'Leoncillo' Literature: E. Mascelloni (text by), M. F. Apolloni and M. Cardarelli (edited by), Leoncillo. Le Ceramiche, De Luca Editori d’Arte, Rome 2018 Exhibition: Leoncillo: Earth, Fire and Colours. A retrospective exhibition 1939-1955, 2026-2027
COLNAGHI
Paul de Vos (Hulst 1595–1678 Antwerp) Deer hunt Oil on canvas 201 x 331 cm Signed lower right of centre, on a stone: P. De vos. fecit, this monumental canvas belongs to the large-scale hunting pictures for which Paul de Vos became known among seventeenth-century collectors. The picture’s scale and format place it within a group of large hunting compositions conceived for the principal rooms of aristocratic houses. Works of comparable dimensions by de Vos include the stag hunt now in the Royal Museums of Fine Arts of Belgium and the two hunts in the Museo del Prado. The latter are dated by the Prado to 1637–1640, when de Vos was working on the decoration of Philip IV’s hunting lodge, the Torre de la Parada. The present composition is distinguished within this group by its open diagonal movement and by the stag’s apparent escape: the animal runs towards the edge of the canvas, while the hounds are still negotiating the river. The absence of huntsmen, horns and weapons concentrates attention on the animals themselves. The painting is also characteristic of de Vos’s particular approach to animal subjects. His long-bodied hounds, their coats described in broken, light-catching strokes, and the comparatively open, atmospheric landscape distinguish his manner from that of Frans Snyders, with whom de Vos’s work was often confused. The two artists were closely connected: Snyders married de Vos’s sister Margaretha in 1611, and de Vos probably worked in his studio. De Vos also collaborated with leading Antwerp painters, supplying animal and still-life passages for compositions by Rubens, Van Dyck, Erasmus Quellinus and others. His independent reputation, however, rested chiefly on hunting scenes and animal pictures, many of them made for Spanish patrons. The early provenance of this canvas is well documented. It belonged to Diego Mexía Felípez de Guzmán, the first Marqués de Leganés, whose collection in Madrid comprised more than 1,300 paintings at his death in 1655 and was particularly rich in Flemish works. Leganés was an important patron of hunting pictures and a significant collector of de Vos. The painting is identifiable as no. 199 in inventories of his collection drawn up in 1637, 1642 and 1655. It is described there as a large painting of a stag fleeing from six dogs, by “Pedro de Vos”, the Spanish form of the artist’s name. Its dimensions in the inventory, two and a half Castilian varas high and four varas long, also correspond to the monumental scale of the surviving canvas. The inventory entry places it among a sequence of large hunts by de Vos, including works now known through the painting in Brussels and a boar hunt formerly in Aachen. Following the death of the third Marqués in 1711, the collection passed by inheritance to the Counts of Altamira. In their 1726 inventory, the painting is recorded in a room beside the oratory of the San Bernardo palace, between two boar hunts, as “un zieruo que ba huiendo de seis Perros” (“a stag fleeing from six dogs”). The Altamira collection was dispersed during the nineteenth century. By 1867 the canvas had entered the collection of José de Salamanca y Mayol, first Marqués de Salamanca, in Madrid. It appeared in the sale of his hôtel at 50 rue de la Victoire in Paris, held from 3 to 6 June 1867, as Chasse au cerf by Paul de Vos. Its documented association with the Leganés collection gives the painting particular historical importance. It is the only one of that collector’s great hunting scenes by de Vos known to survive apart from the related stag hunt now in Brussels.
Galerie Florence de Voldère
PIERRE BREUGHEL LE JEUNE BRUXELLES, VERS 1564 – ANVERS, VERS 1637/38 « Le déjeuner de noces dans la grange » Signé et daté ‘P.BREVGHEL 1622’ Huile sur panneau, 75 x 105 cm Provenances : Collection privée, Belgique Galerie Robert Finck, Bruxelles, 1976 Collection privée, Belgique 1969 Chez John Mitchell, Londres, 1958 Lord Sperling, 1932 Bibliographie : G. Marlier, Pierre Breughel le Jeune, Bruxelles, 1969, pp. 177-179 N2 (illustré sous les numéros 99-101) K. Ertz, Pieter Brueghel der Jünger (1564-1637/38), Die Gemälde mit Kriti-schem OeuvreKataloog, vol 2, Lingen, 1988-2000, p709 n°E857, p646, pp 652 - 653 (illustré sur ces pages en couleur fig. 524-525 et pp 650-660). Kulturstiftung Ruhr Essen, ed, Pieter Breughel der Jüngere - Jan Brueghel der Ältere, Flämische Malerei um 1600, Tradition und Fortschrift, Lingen, 1997 pp398-400 n°135 (illustré en couleur p.399) Koninklijk Museum voor Schone Kunsten, ed, Pieter Brueghel le Jeune - Jan Brueghel l’Ancien, Une famille de peintres flamands vers 1600, Anvers, 1988, p384 n°140 (illustré en couleur p385) Expositions : Bruxelles, Galerie Robert Finck, « Pieter Brueghel de Jongere in Belgische prive col-lecties » 1969 Essen, Kulturstiftung Ruhr, Villa Hügel « Brueghel-Brueghel, Pieter Brueghel d.J - Jan Breughel de.Ä, Flämische Malerei um 1600, Tradition und Fortschritt » 16 aout au 16 novembre 1997 n°135 Vienne, Kunsthistorisches Museum, « Brueghel-Brueghel, Pieter Brueghel d.J - Jan Breughel de.Ä, Flämische Malerei um 1600, Tradition und Fortschritt » 9 décembre 1997 - 14 avril 1998, n135 Anvers, Koninklijk, Museum voor Schone Kunsten, « Pieter Brueghel le Jeune - Jan Brueghel l’Ancien. Une famille de peintre flamands vers 1600 » 3 mai - 26 juillet 1998 n140
Dr. Nöth kunsthandel
Armand Guillaumin (Paris 1841-1927 Orly) Les hauteurs de la Sedelle, Crozant, 1910 Pastel on paper 48 x 63 cm Signed lower left Certificate of authenticity from the Comité Guillaumin This pastel will be included in the second volume of the forthcoming catalogue raisonné currently in preparation Provenance: Galerie Marcel Bernheim, Paris (label on the reverse); collection F., Paris
De Jonckheere
Herri met de Bles (Dinant or Bouvignes-sur-Meuse circa 1510-active in Antwerp between 1533 and 1566) The Ascent to Calvary Oil on panel 41.5 x 69 cm Signed bottom right with the owl, the artist's symbol, on the drum of one of the peasants Provenance: Franz Haverda-Werlandt collection, Vienna; Count Filip Kolowrat-Krakowski collection, Vienna; Count Ernst Kolowrat-Krakowski collection, Vienna; Oscar Bondy collection, Vienna; confiscated in Vienna for the Kunstmuseum Linz, listed in the inventory of 31 July 1940; returned to the Republic of Austria on 25 April 1946; returned to Oscar Bondy in 1948; sold by Kende Galleries Inc, New York, 3 March 1949, n° 68; private collection, New York; Bob P. Habolt & Co., New York; De Jonckheere, Brussels-Paris, 1990; private collection, France Literature: M. J. Friedländer, Die Altniederlandische Malerei, Berlin, 1937, vol. XII, p. 131, n° 65; R. A. Koch, A Rediscovered Painting, 'The Road to Calvary', by Herri met de Bles, in Record of the Art Museum. Princeton University, 1955, vol. 14, n° 2, p. 37, note 4; M. J. Friedländer, Early Netherlandish Painting. Jan van Scorel and Pieter Coeck van Aelst, Leiden and Brussels, 1975, vol. XIII, p. 107; W. S. Gibson, 'Mirror of the Earth': The World Landscape in Sixteenth-Century Flemish Painting, Princeton, 1989, p. 101, n° 108, p. 103, n° 139; L. Serck, Henri Bles et la peinture de paysage dans les Pays-Bas méridionaux avant Bruegel, unpublished doctoral thesis, Université Catholique de Louvain, 1990, n° 33, p. 709, vol. II, p. 711, vol. III; De Jonckheere, Rencontre de Maîtres. XVIIIe exposition. Paysages et Natures mortes, spring 1992, n° 6; L. Serck, 'La Montée au Calvaire d'Henri Bles: Création et composition', in N. E. Muller (dir.), Herri met de Bles. Studies and Explorations of the World Landscape Tradition, exh. cat., Princeton University, 10 October 1995-10 November 1995], Princeton, 1998, p. 63, n° 5; J. Toussaint, Autour de Henri Bles, exh. cat., TreM.a-Musée des Arts anciens du Namurois, 13 May 2000-1 November 2000, Namur, 2000, p. 23, n° 23, repr.; C. Currie, L. Serck, La Montée au Calvaire d'Henri Bles du Musée de Namur, in Guide du visiteur, n° 11, TreM.a-Musée provincial des Arts anciens du Namurois, J. Toussaint (ed.), 2007, p. 39, fig. 23, repr.; B. Schwarz, Hitlers Museum. Die Fotoalben. Gemäldegalerie Linz, Horn, 2004, p. 97, album I/42a, p. 203 repr. Exhibition: New York, Colnaghi Gallery, in association with Alexander Gallery, New York, The Northern Renaissance: 15th and 16th Century Netherlandish Paintings, 6 April-14 May 1983, n° 13
CKS Gallery
Jean Gabriel Domergue (Bordeaux 1889-1962 Paris) Grand Gala Oil on canvas 100 x 80 cm (unframed) 126 x 107 cm (framed) Signed, titled and inscribed 'A Madame G.' Inscriptions on the stretcher: A Jacky Grasseau 'Ce coin de la vie parisienne' Provenance: private collection Exhibition: Galerie Goya, 28 allées de Tourny, Bordeaux, Domergue n° 1
Pauline Janssen
Friedrich Kreuter for Koch Edwardian tiara, circa 1911 Diamond & Ceylon Sapphires Total weight 61.7 gr Set with old cut and rose cut diamonds and faceted sapphires. Estimated centre diamond weight approximately 3.70 carats. Estimated total diamond weight approximately 20.00 carats. Estimated centre sapphire weight approximately 6.50 carats. Estimated total sapphire weight approximately 12.00 carats. The sapphires are of Ceylon origin with no indications of heat treatment. Diamonds are bright & lively. Mounted in platinum. German work by Friedrich Kreuter for Koch. Weight 61.5 gr. Accompanied by a CGL laboratory certificate. Accompanied by the original fitted box.
F. Baulme Fine Arts
Godfried Maes (Antwerp, 1649-1700) Ceres Transforming the Old Woman’s Son into a Lizard Black chalk, pen and black ink, grey and brown wash on paper 18 x 24 cm Provenance: Maes’s widow sold to Jacob de Wit before 1717; Jacob de Wit sale, Amsterdam, 10 March 1755, n° 87; Cronenburgh sale, 22 March 1762, n° 1; anonymous sale, Mak van Waay collection, Sotheby’s, 15 January 1974, n° 1273; Dr. A. Dreesmann sale, Christie’s, 11 April 2002, n° 668-670 Related works: Engravings by Bernard Picart and Peter van Gunst for the 1732 edition of Ovid’s Metamorphoses translated and annotated by Abbé Banier, a member of the French Academy
F. Baulme Fine Arts
Claude-Marie Dubufe (Paris 1790-1864 La-Celle-Saint-Cloud) Expression Head: Modesty, circa 1827-1828 Oil on canvas 55.5 x 46.5 cm Provenance: private collection, England Literature: Emmanuel Bréon, Claude-Marie, Édouard et Guillaume Dubufe, Portraits d’un siècle d’élégance parisienne, exh. cat., Paris, Délégation à l’Action Artistique de la Ville de Paris, 1988 (engraving after the present painting, p. 70, repr.) Related work: Claude-Marie Dubufe, Modesty, 1828, engraving
N. Vrouyr
Etablissements veuve Guillon et fils, Belgium Before 1925 Warp and weft, cellulose, pile, wool 460 x 370 cm Numbered at the back Literature: Arthur De Rudder, International exhibition of modern decorative and industrial arts (Paris, 1925): official catalogue of the belgian section Exhibition: International exhibition of modern decorative and industrial arts, Paris, 1925, Belgian Pavilion, gallery of complete interiors, dining room by the Maison Gustave and Edouard Blondel The Guillon company The firm Établissements Veuve Guillon et fils was founded on 20 November 1924 by Célina Penez and her two sons, Alexandre and Charles Guillon, with its registered office at 69 avenue de la Toison d’Or in Brussels. The company operated factories in Brussels, Hemiksem (Sichem) and Herselt and specialised in carpets, including coconut-fibre rugs. Paris 1925 The carpet was exhibited in the dining room furnished by Maison Gustave & Edouard Blondel at the Exposition internationale des arts décoratifs et industriels modernes (Paris, 28 April–October/November 1925), in the 'Galerie des ensembles complets' of the Belgian Pavilion. Designed by Victor Horta, the pavilion comprised three large halls: a monumental hall with a fifteen-metre-high domed roof, the Constant Montald Hall, and Philippe Wolfers’ official dining room, complemented by six smaller rooms. The Blondel dining room was one of the eight Belgian “ensembles complets” (complete room interiors), alongside those by, for example, Van de Voorde, Hamesse, Risel and Au Bon Marché.
Spazio Nobile
Pao Hui Kao (Taiwan, 1987) Urushi Black in Red Lacquer Leaf, 2023 Crepe paper, rice glue, Urushi lacquer, red and black pigments, gold kinstsugi 114 x 70 x 16 cm Unique piece Signed by the artist at the back Black Urushi Paper Pleats, 2023 Tracing paper, rice glue, Urushi lacquer, black pigment Sideboard H 70 x W 135 x D 33 cm Low stool H 45 x Ø 32 cm Low bench H 35 x W 130 x D 29 cm Side table H 60 x Ø 32 cm Unique pieces Signed and dated by the artist Certificates of authenticity Literature: Pao Hui Kao, 25 Seasons, Artist Book, Spazio Nobile Editions, Brussels, 2024 Exhibitions: Fondation POC, Brussels, 2020; Jewish Museum, Brussels, 2021; LOEWE FOUNDATION Craft Prize Finalist, Seoul, 2022; Pao Hui Kao, 25 Seasons, Solo Exhibition, Spazio Nobile, Brussels, 2023-2024; Fondazione Dries Van Noten, Venice, 2026
