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Galerijen David Aaron Galerie AB-BA Paolo Antonacci W. Apolloni srl d'Arschot & Cie Art et Patrimoine - Laurence Lenne Artimo Fine Arts Arts et Autographes Galerie Ary Jan Bailly Gallery Helene Bailly Gallery Véronique Bamps Baronian Xippas Galerie de la Béraudière Galerie Berès Galerie Berger Berko Fine Paintings Bernier/Eliades Gallery Dr. Lennart Booij Fine Art & Rare Items Boon Gallery Galerie Alexis Bordes Bernard Bouisset Galerie Boulakia Brame & Lorenceau Brun Fine Art Cabinet of Curiosities-Honourable Silver Objects Callisto Fine Arts Galerie Jean-François Cazeau Galerie Cento Anni Chambre professionnelle belge de la Librairie Ancienne et Moderne (CLAM) Chiale Fine Art didier Claes C L E A R I N G Cortesi Gallery Costermans & Pelgrims de Bigard Dalton Somaré Patrick De Brock Gallery De Jonckheere Galerie Oscar De Vos De Wit Fine Tapestries Deletaille Gallery Gallery Desmet DIE GALERIE Douwes Fine Art BV Galerie Eberwein Xavier Eeckhout Yann Ferrandin Finch & Co A&R Fleury Galerie des Modernes Gladstone Gallery Gokelaere & Robinson Galerie Grand-Rue Marie-Laure Rondeau Grusenmeyer - Woliner Galerie Hadjer Philippe Heim Marc Heiremans Heritage Gallery Christophe Hioco Charles-Wesley Hourdé Huberty & Breyne Galerie Hurtebize Galerie Jamar rodolphe janssen Francis Janssens van der Maelen Harold t’Kint de Roodenbeke Lancz Gallery Alexis Lartigue Fine Art Galerie Bertrand de Lavergne Lemaire Francis Maere Fine Arts Kálmán Makláry Fine Arts Galerie Martel-Greiner MARUANI MERCIER Gallery Nao Masaki Galerie Mathivet Meessen De Clercq Montagut Gallery Galerie Montanari MORENTZ Jan Muller Antiques Klaas Muller Gioielleria Nardi Opera Gallery Osborne Samuel Gallery Galeria Jordi Pascual La Patinoire Royale / Galerie Valérie Bach La Pendulerie Galerie Alexis Pentcheff Guy Pieters Gallery Galerie de la Présidence Galerie Günter Puhze Gmbh Maison Rapin Repetto Gallery Röbbig München Robertaebasta Rosenberg & Co. Rueb Modern and Contemporary Art São Roque – Antiguidades e Galeria de Arte Galerie Schifferli Adrian Schlag Serge Schoffel - Art Premier Galerie Schoffel de Fabry Clara Scremini Gallery Galerie Seghers Herwig Simons Galerie Sismann STEINITZ Stern Pissarro Gallery Simon Studer Art Associés Studio 2000 Art Gallery Galerie Taménaga Tenzing Asian Art Theatrum Mundi Theunissen & de Ghellinck Galerie Patrice Trigano Univers du Bronze Van der Meij Fine Arts Samuel Vanhoegaerden Gallery Maurice Verbaet Gallery Galerie von Vertes Axel Vervoordt Galerie Florence de Voldère N. Vrouyr Waddington Custot Floris van Wanroij Fine Art Victor Werner Whitford Fine Art Willow Gallery
 

Galerie Cento Anni

Jean Desprès (Souvigny 1889-1980 Avallon) Soliflore, circa 1935 Silver plated 12 x 30 cm Signed 'J. Desprès', Master stamp 'J.D'

 

Finch & Co

Polynesian Fijian Priest’s ‘Tānoa’ or ‘Kumete’ shallow bowl Vesi wood with serrated skirting beneath the rim Late 18th-early 19th century H 16.5 cm Ø 48 cm (max) Inwardly raked untapered legs the shallow bowl with ancient layered patina of Yaqona deposits a hanging lug ‘Daliga’ to the underside the rim having five ‘Tally’ mark depressions suggesting a succession of Chiefly or Priestly owners Old smooth silky interior with blackened aged patina to underside Provenance: John Cordy Ltd., Auckland, New Zealand, 1964, lot 58 from the sale of the Reizenstein Estate; offered for sale again at John Cordy Ltd in 2002 acquired by Peter Stratford of Auckland, New Zealand; former private English collection

 

Opera Gallery

Karel Appel (Amsterdam 1921-2006 Zurich) Untitled, 1955 Oil on canvas 100 x 72 cm Signed and dated lower left 'K. Appel 55' Provenance: W.M. Smit collection, Belgium; Christie's, Amsterdam, 7.12.1994, Lot 406; Galerie Michael Haas, Berlin; private collection Literature: Michel Ragon, Karel Appel, Peinture 1937-1957, Paris, 1988, p. 531, plate 828 (illustrated)

 

Gioielleria Nardi

Nardi 'Mongolfiera' brooch Made in 18 kt gold and set with a fire opal of more than 60 ct., sapphires, garnets and diamonds

 

Galerie Eberwein

Mummy mask of a woman Plaster with original polychrome Middle Egypt, Roman Period, first half of the 2nd century AD H 24.1 x W 14.7 cm Provenance: former private collection USA, acquired prior to 1985; Sotheby’s New York, Antiquities and Islamic Art auction, sale 5288, February 8, 1985, lot 275 Literature: G. Grimm, Die Römischen Mumienmasken aus Ägypten, Wiesbaden 1974, pp. 85 and 120, plate 92-3 and 93-1; M. F. Aubert et R. Cortopassi, Louvre Portraits funéraires de l'Égypte romaine, Paris, 2004, p. 103, B 30 Louvre AF 6704 Funerary mask of a young woman with lifelike features. The big eyes are encircled by thick black pigment. The placement of her painted pupils gives the appearance of her gazing upward at the viewer, while her pert nose and small mouth, set in a slight smile, creates an overall playful and youthful air. The large eyebrows are delicately-painted. The coiffure consists of a raised band forming a crown around her head, a small bun at the back. The woman is wearing curled earrings and two beaded strands around her neck; a bright pink garment is visible below her neck. The skin tone is painted with a variety of colours rather than as a flat, single tone, lending the figure depth and realism. Like a portrait, the face may have been modelled on the true features of the deceased women.

 

Montagut Gallery

Ammata mask Wood, pigments and fibers Dogon people, Mali, late 19th-early 20th century H 113 cm Provenance: Klaus-Jochen Krüger collection, Berlin Literature: Marcel Griaule. Masques Dogons. Université de Paris, Institut d’ethnologie, 1938, p. 599

 

Victor Werner

Hermann Haase-Ilsenburg (Germany, 1879-1960) Cupid riding a ram Bronze, blackish brown patina H 56 x W 31 x D 11 cm Art Deco period Signed 'Haase-Ilsenburg' (on the base)

 

La Pendulerie

Mantel clock with carillon 'Urania' or 'Allegory of Astronomy' Carillon clock by Julien Le Roy, case by bronze caster Jean-Joseph de Saint-Germain Patinated, matte and burnished finishing gilt bronze Paris, transition period Louis XV-Louis XVI, circa 1760-1765 Probably sold by cabinetmaker Antoine Foullet (d. 1775) H 46 x W 41 x D 23 cm Provenance: probably the clock described in March 1826 in the sale of the late Monsieur Doyen: '40. Carillon clock by Julien Leroy, adorned with a bronze figure (meaning patinated) representing a seated woman surrounded by the attributes of astronomy'.

 

Galerie Berger

Grandfather clock Jacques-Nicolas Baradelle (1701-1770; qualified as a Master Craftsman in 1725) In three parts, in amaranth and ebony veneer with framed latticework H 236 x W 52 x D 27.5 cm The violin-shaped case, which can be attributed to Balthazard Lieutaud (who qualified as a Master Craftsman in 1749), is surmounted by a lantern clock adorned with a representation of Diana the huntress holding her bow. Jacques-Nicolas Baradelle's movement comprises three dials. The peg escapement (‘échappement à chevilles’) features a Huygens-style, flexible, cycloid, long-blade suspension. The bob is adorned with a mask of Dionysus, the Greek god of vines and wine.

 

Galerie AB-BA

Karel Appel (Amsterdam 1921-2006 Zurich) Personnages, before 1967 Oil on canvas 65 x 80 cm Signed lower left Provenance: exhibited in 1967 at the Martha Jackson Gallery, New York, New York (label on reverse); exhibited in 1967 at the Makler Gallery, Philadelphia, Pennsylvania (label on reverse); Dr. Henry and Mrs. Fannie Levine collection, Philadelphia, Pennsylvania, acquired in 1972

 

Brame & Lorenceau

Alexander Calder (Lawnton 1898-1976 New York) Composition surréaliste, 1932 Ink on paper 57.5 x 78 cm Signed and dated lower right 'Calder 1932'

 

Jan Muller Antiques

Emile Claus (Sint-Eloois-Vijve 1849-1924 Astene ) The garden of Emile Claus Oil on canvas 92 x 73 cm Signed lower left 'E. Claus'

 

N. Vrouyr

Kilim Wool on wool Iran, province of Kurdistan, mid 20th century 340 x 160 cm

 

Berko Fine Paintings

Ernst Aschenbach (Røyken 1872-1954 Lunner) Norwegian school View of Helstad, Norway Oil on canvas 66 x 105 cm Signed lower right; situated on the back 'Vue Haelstad'

 

Galerie Eberwein

Sarcophagus mask Wood with original gesso and polychrome painting Egypt, New Kingdom, 18th-21st Dynasty, 1570-1070 BC H 66 x W 24 cm Provenance: former private collection UK, by descent until June 2008; thereafter private collection Berlin, Germany Literature: O. Koefoed-Petersen, Catalogue des sarcophages et cerceuils egyptines, Copenhague, 1951; A. Küffer, Die Bedeutung des Sarges, Swiss Coffin Project 2012; K. M. Cooney, Coffins, Cartonnage, and Sarcophagi, John Wiley & Sons 2015 Upper part of a sarcophagus with the left remaining side of a tri-parted wig. The yellow painted face has large and prominent eyes beneath black arched eye brows. The nose and lips are small and not underlined to give the eyes a stronger presence. The finely detailed wing of a falcon headed vulture headdress covers the blue and yellow striped wig ending in a large finely detailed floral border. Below the 'ib' - pendant worn around the neck, a black Inpw (Anubis as a jackal) 'he who is over the secrets, of secret words, rests upon a column of inscription: ji n(y)-sw.t [htp] – May the king give [a boon]...'

 

Stern Pissarro Gallery

Paul Jenkins (Kansas City 1923-2012 New York) Phenomena Spectrum Guardian, 1970 Acrylic on canvas 76 x 101.5 cm Signed lower middle 'Paul Jenkins'

 

Helene Bailly Gallery

Bernard Buffet (Paris 1928-1999 Tourtour) Bouquet au vase chinois, fond orange, 1967 Oil on canvas 131 x 81 cm Signed and dated upper right '67 Bernard Buffet' Stamped and numbered at the back 'David et Garnier 53U' Certificate of authenticity issued by Maurice Garnier Gallery dated 19 March 2015 Provenance: Galerie Maurice Garnier, Paris; Wally Findlay Galleries, Palm Beach, Florida Literature: Related work 'Bouquet au vase chinois', oil on canvas, 130 x 89 cm, reproduced in Yann Le Pichon, Bernard Buffet 1962- 1981, tome II, Maurice Garnier, 1986, under the n° 637, p. 181

 

Berko Fine Paintings

Jean Paul Sinibaldi (Paris 1857-1909 Bourg) French school At the Chicago World Fair, 1893 Oil on canvas 57 x 40 cm Signed lower right Literature: E. Bénézit, Dictionary of Artists, Paris, 2006, Vol. 12, p. 1272

 

Simon Studer Art Associés

Gustav Klimt (Baumgarten 1862-1918 Vienna) Auf dem Bauch Liegender Akt mit Angezogenem Linken Bein, 1913-1914 Pencil on paper H 61.5 x W 80.5 x D 5 cm Signed lower left ‘GVSTAV KLIMT’ This work is registered in the Catalogue Raisonné of paper works established by A. Strobl, reference no. 2349 Provenance: Ludwig Baldass collection, Vienna (director of the Kunsthistorisches Museum, Vienna, from 1919 to 1949); Herbert Turnauer collection, Vienna (purchased from the above); Otto Hoehne collection, Vienna (gift from the above); private collection, Germany (by descent from the above, circa 1960); private collection, Geneva (from 2011) Literature: Alice Strobl, Gustav Klimt-Die Zeichnungen, Galerie Welz, Salzburg, 1980-1984, vol. III: 1912-1918, ’LEDA, 1917-Frühe Studien 1913/14’, pp. 60-61, p. no. 2349, No. illustrated; A. Strobl, Klimtmappe, 25 Zeichnungen ausgewählt und bearbeitet von A. Strobl, Veröffentlichungen der Albertina I, Ed. W. Koschatzky, Graz-Vienna, 1964, p. p. 7, No. pl. 24; G. Lo Duca, Die Erotik im 20. Jahrhundert, Basel, 1967, p. p. 108, No. F. Novotny et J. Dobaï,Gustav Klimt. Werk katalog, Galerie Welz, Salzburg, p. 1967, No. p. 367; A. Werner, Gustav Klimt: one hundred drawings, New York, 1972, p. no. 93, No.; O. Breicha, Gustav Klimt. Die goldene Pforte : Werk, Wesen,Wirkung, Galerie Welz, Salzburg, p. 1978, No. p. 158 This drawing is part of a serie of preparatory drawings for the painting Léda, painted in 1917 (oil on canvas, 99 x 99 cm). This painting as well as 12 others that belong to the August Lederer collection have been all destroyed in the fire of the Schloss Immendorf in Vienna, deliberaly caused by the SS on 8 May 1945 during the retreat of German forces at the end of World War II. It is the only drawing representing Leda which supports the viewers gaze. Generally languid and half-closed eyes, few women have been designed by Klimt with this intense look. Deriving from Ovid's Metamorphoses, the theme of Leda is a reccuring theme in the art history. Leda, wife of a Spartan king, was seduced by Zeus who turn himself in a swan. From this union, borned the Dioscures Castor and Pollux and Clytemnestre and Helen, heroines of the Trojan War. Its iconography represents most often the key moment of the story : the act of love between Leda and the swan, methamorphose of Zeus.

 

Arts et Autographes

Joan Miro (Barcelone 1893-1983 Palma) ‘Bonnes fêtes et meilleurs voeux pour 1969. Miro’ Pastel on paper Autographed greetings card signed lower right by Miro and by his wife, dated 1969 29.5 x 41 cm

 

Galerie Schifferli

Christian Gonzenbach (Geneva, 1975) Homo ab Ovo, 2008 Ostrich egg and glue H 14 x W 21 x D 19 cm Exhibition: Switzerland, Abbatiale de Bellelay, 21 June - 11 September 2009 This work is reproduced in the digital archives of Christian Gonzenbach.

 

Galerie AB-BA

Henri Michaux (Namur 1899-1984 Paris) Composition, circa 1960-1961 India ink on paper 75 x 108 cm Monogram lower right Reference: B2 4354 Provenance: Baudoin Lebon

 

Robertaebasta

Carla Accardi (Trapani 1924-2014 Rome) Negativo (ideogramma), 1954 Enamel and casein on canvas 88.50 x 116.50 cm Signed

 

Chiale Fine Art

Crucifix Carved and painted walnut Spain, circa 1380-1430 H 110 x W 89 x D 20 cm Provenance: private collection, France

 

Arts et Autographes

Paul Gauguin (Paris, 1848-1903 Atuona, îles Marquises), French painter Autograph letter signed ‘Paul Gauguin’ to ‘Daniel’ (de Monfreid), stamped upper left with wooden engraving of his initials, dated ‘août 1900’, 2 pages 1/2 in-4° H 22.5 x 17.5 cm Provenance: private collection, Switzerland; private collection, France « Mon cher Daniel Je vous écris un peu d’avance car maintenant nos courriers nous donnent à peine le temps d’aller à Papeete et de répondre sur le pouce. Le mois dernier je ne vous ai écrit ni à vous ni à Vollard car je n’avais aucune lettre aucun argent et cependant j’attendais des nouvelles de mes tableaux qui devraient être arrivés déjà depuis 2 mois; ce serait pour moi une catastrophe. J’espère que ce courrier va me rassurer. Je crois qu’avec Vollard vous n’avez pas fait attention que les courriers par voie de Marseille partent tous les 28 jours et aire tous les mois; du reste à partir de Novembre nous allons avoir le courrier par voie d’Amérique bateau à vapeur et nos lettres arriveront régulièrement 28 jours après. J’informe, vous donc exactement des départs de courriers qui ceux là partiront je crois tous le 34 jours - à propos de Vollard j’ai reçu un premier envoi de couleurs mais les tubes sont à peine de moitié de ceux de Lefranc ce qui fait une grosse différence - voyez-celà puis je ne sais si j’ai oublié sur la lettre de marquer les tubes de blanc d’argent mais il en faut à tout prix. Ceux de Lefranc sont excellents. Enfin espérons que petit à petit toutes les difficultés s’applaniront mais ce qui ne va pas du tout c’est la maladie : Impossible encore de me remettre au travail ; c’est désolent et je ne fais que cependant que me soigner. Ce mois-ci j’ai vu un médecin de la marine qui va aux marquises. Il avait une commission à me faire un de vos amis et le sien Paul Louis de Béziers peintre lui aurait recommandé de me dire qu’à Béziers il y aurait amateur pour mes tableaux. Un de mes tableaux ferait fureur à Béziers dans une exposition. Naturellement je ne sais ce que cela veut dire et il est probable que vous en savez plus long que moi. Je vous laisse loin de débrouiller ce mystère et d’agir à votre guise. Du reste je reçois votre lettre qui éclaircit : comme vous le voyez les anciennes toiles dont on faisait fi avant viennent à leur heure faire chorus. Certainement que vous pensez vendre à 1000 ; du reste je vous l’ai dit avant agissez toujours sans attendre mon avis. Je ne sais ce que sont devenu mes toiles ainsi qu’un paquet de gravures. Certes vous m’en parleriez si vous les aviez reçues. C’est qu’elles sont égarées et comment en retrouver la trace maintenant. C’est vraiment de la déveine et surtout cette année de l’Exposition Universelle. Je comptais là dessus pour en refaire complètement et avoir de l’avance, d’autant plus que d’ici un an je ne sais pas comment j’arriverai à combler les avances faites par Vollard, ne pouvant sérieusement peindre dans l’état maladif où je suis. Pour Charedat à qui j’ai écrit je ne sais que lui dire à nouveau puisque je lui ai écrit qu’il était impossible de comprendre les comptes de son frère et que j’en faisais mon deuil. Cordialement tout à vous Paul Gauguin ».

 

Finch & Co

German carved Vanitas Ivory Early 17th century H 4.5 x W 4.5 x D 7 cm A salamander and snake crawling through the partly decomposed skull with scraps of skin dangling from the face, the exposed muscles partly decomposed Provenance: former private European collection; former private collection of the late Robert Noortman (1946-2007); sale Sotheby's Amsterdam, 2007; former collection Finch & Co, 2008; private collection, London, 2008-2020

 

La Patinoire Royale / Galerie Valérie Bach

 

Cortesi Gallery

Heinz Mack (Lollar, Germany 1931) Untitled (Chromatic Constellation), 2018 Acrylic on canvas 89.5 x 100.5 cm Signed, dated ‘mack 18’ (left central on front / upper left on reverse) / Inscribed ‘101 x 90 cm’ (right central on reverse on canvas) Provenance: the artist’s studio

 

Galerie Jean-François Cazeau

Pablo Picasso (Malaga 1881-1973 Mougins) Petit déjeuner sur l'herbe, d'après Manet, 1962 Linoleum cut printed in colors on arches wove paper Image: 35 x 27 cm Sheet: 62 x 44 cm Signed by the artist in pencil 'Pablo Picasso' and numbered '35/50', printed by Arnera (Vallauris) Literature: Galerie Louise Leiris, Paris

 

didier Claes

Ibeij twin statues Wood Yoruba people, Nigeria H 26 cm (left) H 26.5 cm (right)

 
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