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Rueb Modern and Contemporary Art
Jan Sluijters ('s-Hertogenbosch 1881-1957 Amsterdam) Greet van Cooten 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 Sluijters - www.rkd.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 After winning the prestigious Prix de Rome, Jan Sluijters received a grant that enabled him to travel to Rome and later to Paris. There, he encountered Fauvism, an avant-garde movement that emerged in the early 20th century. The Fauves revolutionised the use of colour, applying vivid, unmixed colours directly to the canvas. Their bold approach challenged artistic conventions and initially provoked criticism. The art critic Louis Vauxcelles famously nicknamed them les fauves (“the wild beasts”). Together with Piet Mondrian and Leo Gestel, Sluijters became one of the leading representatives of Dutch Luminism, a movement that developed around 1909 and embraced the expressive power of light and intense colour. Painted in 1910, Greet van Cooten with Headband is an early example of Sluijters’s exploration of this vibrant new style. Its striking colours reflect the influence of Fauvism, while demonstrating his own distinctive approach to colour and light. Greet van Cooten was Sluijters’s favourite model; she later became his wife in 1913.
Galerie Taménaga
Jean Fautrier (Paris 1898–1964 Châtenay-Malabry) Tête, 1927 Oil on canvas 35 x 27 cm Signed upper right: 'Fautrier' Provenance: Jean-Paul Ledeur, Paris Literature: Marcel-André Stalter, Recherches sur la vie et l'œuvre de Jean Fautrier (1898-1964) de leurs commencements à 1940. Essai de catalogue méthodique et d'interprétation, doctoral thesis, Université de la Sorbonne, Paris IV, 1982, n° 319; Marie-José Lefort, Fautrier. Catalogue raisonné de l'œuvre peint, Éditions Norma, Paris, 2023, n° 256, ill. p. 199 Exhibitions: Hamburg, Kunstverein, Jean Fautrier, 19 May-17 June 1973, n° 16; Amsterdam, Stedelijk Museum / Zurich, Kunsthaus, Jean Fautrier, 11 January-4 May 1986, n° 35, ill. p. 25; Paris, Galerie Jeanne Castel, 1986
Galerie Édouard Ambroselli
Artus Quellinus the Younger (Sint-Truiden 1625-1700 Antwerp) Virgin and Child, circa 1650-1665 Terracotta, stone H 81.2 x W 42.5 x D 34 cm Born into a dynasty of sculptors in the Southern Netherlands, Arthus Quellinus theYounger, became one of the leading artists of the region. He followed his cousin, Artus Quellinus the Elder, to work on the Amsterdam Town Hall, a landmark of European sculpture. Back in Antwerp, he ran a workshop that trained a successful generation of sculptors, and he exported his works across Europe. Our Virgin and Child, is a preparatory model for a larger statue. The Virgin’s elongated face and elaborate hairstyle, the Child’s plump belly and slender legs, and the crisp, flowing drapery are all hallmarks of the artist’s refined style. The throne is decorated with cherub heads and volutes that differ on each side, a way of offering the patron a choice between two decorative solutions. Spontaneous and intimate, this terracotta gives us the intimacy of a working model, a glimpse of the sculptor’s creative process.
CKS Gallery
Jean Gabriel Domergue (Bordeaux 1889-1962 Paris) Grand Gala Oil on canvas 100 x 80 cm 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
Galerie Perrin
Odilon Redon (Bordeaux 1840-1916 Paris) Femme de profil, circa 1901-1905 Oil on paper mounted on panel 52 x 49.7 cm 71 x 68 cm (framed) Signed lower right 'Odilon Redon' This work will be included in the forthcoming catalogue raisonné currently in preparation by the Wildenstein Plattner Institute Provenance: Roger Imbert collection Few images sum up Odilon Redon’s late manner as completely as this small panel. A woman’s profile, her head wrapped in a coif, rises from the heart of a flower as though she were its pistil; around her, reds, oranges and a pale, luminous ground dissolve the boundary between figure and bloom. Painted in oil on paper around 1901–1905, it belongs to the decisive decade in which Redon, after two decades of the charcoal noirs, turned to colour and transformed the hallucinatory visions of his youth into images of serene metamorphosis. The profile is Redon’s most personal format. Seen from the side and half-concealed, his faces never quite give themselves away: “At the centre of my work,” he wrote, “there is a small door that opens onto a mystery.” Here that door opens onto two motifs that run through his finest works of the period: the head within the flower, as in Fleur illuminée (Staatliche Museen zu Berlin, c. 1900), and the coif that reappears on male and female faces alike up to Moine lisant of 1914 (Kunst Museum Winterthur). Oil on paper, a support Redon used for some of his most intimate late pictures, gave him the velvety, floating surface of his pastels together with the depth of painting. The painting entered the collection of the Paris dealer Roger Imbert in 1930 alongside two Redons from the collection of Robert de Domecy, the patron for whom the artist painted the decorative panels now at the Musée d’Orsay, a provenance that places it in the circle of Redon’s closest early supporters. It will be included in the digital catalogue raisonné in preparation at the Wildenstein Plattner Institute. Coming to light as Redon’s colour works are being reassessed by major exhibitions in Winterthur, Gifu, Tokyo and at the Getty, Femme de profil offers what rarely reaches the market: a signed, intimately scaled Symbolist Redon in colour, in which the dream has become a flower.
HELENE BAILLY MARCILHAC
Henri Martin (Toulouse 1860-1943 Labastide-du-Vert) La terrasse de Marquayrol au soleil du matin Oil on original canvas 65.4 x 92.4 cm Signed lower left 'Henri Martin' This work will be included in the forthcoming catalogue raisonné of Henri Martin’s work, currently in preparation by Marie-Anne Destrebecq-Martin
Van Herck-Eykelberg
Jean Dubuffet (Le Havre 1901-1985 Paris) Personnage, 1964 India ink on paper 22 x 17.5 cm Signed with the artist's monogram and dated 'Mars 64' Provenance: Galerie Beyeler, Basel; Artel Galerie, Geneva; private collection, France Literature: Max Loreau, Catalogue des travaux de Jean Dubuffet, Fascicule XX: L'Hourloupe I, Paris 1966, p. 139, n° 283, ill. b/w Exhibitions: Venice, Palazzo Grassi, Centro Internazionale delle Arti e del Costume, L'Hourloupe di Jean Dubuffet, 15 June-13 September 1964, n° 48; Amsterdam, Stedelijk Museum, Jean Dubuffet: Tekeningen, gouaches, 26 November 1964-11 January 1965, n° 192; Basel, Kunstmuseum, Jean Dubuffet, Zeichnungen, Aquarelle, Gouachen, Collagen, 6 June-10 August 1970, p. 133, n° 132
Samuel Vanhoegaerden Gallery
Karel Appel (Amsterdam 1921-2006 Zurich) People, Birds and Sun, 1951 Gouache and pastel on paper, mounted on canvas 65 x 100 cm Signed and dated lower right Provenance: the estate of the artist; Galerie Max Hetzler, London Exhibition: Karel Appel-Cobra/Non Cobra, Galerie Max Hetzler, London, January-February 2024
Anthony Short Antiques Ltd.
Burr walnut secretaire chest-on-chest or Tallboy England, George II period, circa 1760 Walnut and brass handles H 192 x W 103 x D 55 cm A very fine mid 18th century George II period burr walnut secretaire chest-on-chest, also known as a Tallboy. This stunning piece of early Georgian furniture is cross and feather banded throughout, showcasing matched veneers of exceptional colour and patina. The Tallboy is divided into two sections by a cross-grain moulding. The upper section features a complex cross-grain cornice over three short drawers and three long, graduating cockbeaded, cross banded, and feather banded oak lined drawers, all flanked by reeded canted corners. The lower section boasts a secretaire drawer above three long graduating drawers, also cockbeaded, cross banded, and feather banded, with beautiful oak lining. It stands proudly on its original shaped bracket feet. All drawers are fitted with the original swan neck brass handles and escutcheons, enhancing its historical authenticity. This piece is a testament to exceptional craftsmanship and is a stunning example of early Georgian design, making it an ideal addition to any refined interior.
Gallery de Potter d’Indoye
Empire chandelier, circa 1810 Crystal, chiseled and gilded bronze H 117 x Ø 81 cm Chandelier with 18 lights in crystal and finely chiseled and gilded bronze. It is composed of two circles of fillets bordering a frieze of laurels and flowerets separated by eight arrows, joined at the centre by a blue enameled globe and scattered with gilt stars. The basket ends with a rose and a seed-shaped knob. A panache and small palm leaves crown the chandelier from which hang garlands of crystals. Crystal: by Ladoupède du Fougerais, entrepreneur and owner of the Manufacture de cristal du Mont-Cenis de leurs Majestés Impériales et Royales. Ladoupède du Fougerais delivered a very similar chandelier with 16 lights on 24 April 1810, for the small salon of the apartments of the Empress at the Petit Trianon in Versailles. This chandelier is illustrated in 'Versailles, le Petit Trianon', by Denise Ledoux-Lebard, published by Editions de l'Amateur, 1989, р. 95, n° 6l.
WHITFORD
Joseph Lacasse (Tournai 1894-1975 Paris) Dominante Rouge (Dia 385), 1948-1950 Oil on canvas 130 x 89 cm Signed and dated upper left Signed, dated and inscribed on reverse Lacasse estate inventory Dia n° 385 Certificate of authenticity issued by Mme Joostens-Koob Provenance: the estate of the artist
Stern Pissarro Gallery
Pablo Picasso (Málaga 1881-1973 Mougins) Guitare, 1923 Pastel on paper 21 x 14 cm Signed upper right 'Picasso' Provenance: Galerie István Schlégl, Zurich; private collection, acquired from the above in 1988 Literature: C. Zervos, Pablo Picasso Oeuvres de 1923 à 1925, Vol. V, Editions Cahiers d'arts, Paris, 1952, n° 70 (ill. in b/w)
Harold t’Kint de Roodenbeke
Jane Graverol (Brussels 1905-1984 Fontainebleau) Femme Libérée, 1949 Oil on canvas 60 x 73 cm Signed and dated 'Jane Graverol 1949' Provenance: collection of his friend and artist Tom Gutt Literature: Xavier Canonne, Le surréalisme en Belgique: 1924-2000, Fonds Mercator, 2006; Le surréalisme en Belgique, Bozar Books, Fonds Mercator, 2024 Exhibitions: Le surréalisme en Belgique, Musée de Mons, March-August 2007; Histoire de ne pas rire, Bozar, Brussels, February-June 2024, ill. p. 221 Created in 1949, the year Jane Graverol met René Magritte, this work is an important example of the artist’s exploration of female identity and confinement. Graverol depicts herself inside a cage. The image reflects on women’s position in the mid-20th century, when social expectations strongly limited women’s independence. Yet, the open door suggests the possibility of emancipation and a desire to break away from prescribed roles. The painting was also repeatedly selected by the press to illustrate coverage of the Bozar exhibition. This artwork embodies something larger: the tension between the restrictions of an era and a woman’s desire to claim a space of her own. Full press references available on request.
Dalton Somaré
Chokwe chair Angola, late 19th century Wood, metal, and leather H 68 x W 31 x D 38 cm Provenance: collection of Joyce and Donald Doyle, diamond mine directors for the Compagnie de la Forminière in the Belgian Congo in the 1920s. The majority of their collection was donated to the Princeton University Art Museum. Thence by descent to their daughter Suzanne "Sue" Miers, née Doyle (1922–2016), Africanist historian and professor at Ohio University. Thence by descent to her children Charles Miers and Caroline Farrington, New York Literature: Narrative Wisdom and African Arts (Exhibition catalogue), St. Louis Art Museum, 19 October-16 February, 2025, pp. 74, 75, 81 Exhibition: Narrative Wisdom and African Arts, St. Louis Art Museum, 19 October-16 February, 2025 This leather-seated chair belongs to a tradition of Chokwe seats of authority, commonly described as ngundja. Its refined decoration transforms a functional furnishing into a visual expression of chiefly prestige. Such seats formed part of a wider repertoire of objects associated with leadership, alongside ceremonial weapons, staffs and elaborately carved pipes. The combination of a backrest, a leather-covered seat and metal tacks reflects the adaptation of European furniture encountered through trade from the seventeenth century onward. Chokwe artists reworked these features within their own sculptural language, making the chair an expression of local political and spiritual values. At the centre of the back is a sculpted female face, which must be identified as Pwo. Pwo honours female ancestors and has particular significance within a society that traces descent through women. Her imagery also belongs to the wider world of masquerade and initiation. The lower stretchers carry small sculptural groups as musicians playing handheld drums and a slit drum, and a mounted pombeiro, or long-distance trader. It must be noted the unusual prominence of a female subject in these carved scenes. These scenes can be read within the broader Chokwe tradition of presenting ritual and everyday activities as aspects of the social world entrusted to a leader. Extremely sophisticated geometric carving and rows of metal studs enrich the back and supports, contrasting with the leather seat and the varied tones of the wood. The combination of carved figures, the monumentality of the composition and the rigour of the geometric decoration in high relief lend this sculpture the dignity and authority of a true throne.
Thomas Deprez Fine Arts
Josuë Dupon (Ichtegem 1864-1935 Antwerp) Flandria, 1914 (model), pre-1916 (cast) H 66 x W 71 x D 25 cm Patinated bronze, sand-cast Signed on the base ‘Josuë Dupon’ Titled on the front end of the base ‘FLANDRIA’ Stamped along the backside of the base: 'Fonderie Nationale des Bronzes’. Provenance: anonymous sale, Pictura, Ghent, 5 January 2007; former collection K. D., bought in the sale; thence by descent Exhibition: studio of the artist, March, cf. press, 1914; Exhibition Henry Luyten et Josué Dupon, April 1914; Salon Triennale, Brussels, 1914 as: n° 1001. 'Flandria (plaster)'; Salon Triennale, Antwerp, 1920 as: 'Flandria (bronze)'; Salon Triennale, Ghent, 1922 as: 'Flandria (bronze)' Related documents: A letter from Dupon to art historian and collector Max Rooses, dated to 30 March 1914, discusses the sale of a bronze version for 1,800 francs as a special offer at a reduced price. Rooses passed away some 100 days later on 15 July 1914. (Letterenhuis, Antwerpen, D922) Press: René Sancy 'Flandria chez M. Josué Dupon', in: Le Matin, 25 March 1914, p. 3; René Sancy, 'Exhibition Henry Luyten et Josué Dupon', in: Le Matin, 16 April 1916, p. 7; Arnold Goffin, 'De driejaarlijksche tentoonstelling te Brussel, II Beeldhouw- en penningkunst', in: Onze Kunst; Geïllustreerd maandschrift voor beeldende en decoratieve kunsten, Brussel, 13de jaargang, 1914, p. 103: D. Visu. 'Driejaarlijksche Tentoonstelling (vervolg en slot)', in: Het Handelsblad, 20 July 1920, p. 1; 'Beeldende kunsten: Driejaarlijksche Tentoonstelling', in: Gazette van Antwerpen, 8 August 1920, p. 2; 'Kunstkroniek: 42e Driejaarlijksch Salon te Gent, XVIII', in: Vooruit, 4 August 1922, p. 7; Karel Van de Woestyne, 'Het driejaarlijksch salon te Gent. V.', in: N.R.C., 20 September 1922 Full press articles available on request.
Mearini Fine Art
'In visceribus Christi' type crucifix Sicilian wax modeller, late 17th-early 18th century Polychromed wax H 30 x W 26 x D 3 cm Comparative literature: T. De Giorgio, L’invenzione dell’iconografia in visceribus Christi. Dai prodromi medievali della devozione cordicolare alla rappresentazione moderna delle viscere di Cristo, 'Mitteilungen des Kunsthistorischen Institutes in Florenz', LXI, 2019, 1, pp. 74-103; F. M. Gerbino, Civiltà plastica tra arte e manufatto: la ceroplastica in Sicilia tra ’700 e ’800, PhD thesis, Università degli Studi di Palermo 2013, pp. 147-156
Alexis Lartigue
Max Ernst (Brühl 1891-1976 Paris) Paysage, 1964 Tempera and pencil on paper 8.4 x 15.5 cm Signed ‘Max’ below right Provenance: estate of the artist; Galerie Bel’Art, Stockholm; Sotheby’s sale, London; private collection, New York; collection of Dr. Arthur Brandt, New York; Sotheby’s sale, New York; private collection, Paris Literature: Spies, Werner. Max Ernst Oeuvre-Katalog, Werke 1964-1969, Cologne, 2007, n° 4095, ill. p. 127 Exhibitions: Stockholm, Galerie Bel'Art, Max Ernst, Retrospective, 1979; Boone, Turchin Center for the Arts, The Omnipotent Dream: Man Ray, Confluences and Influences, 2003, ill. in the catalogue p. 23, listed p. 35; Ithaca, Herbert F. Johnson Museum of Art, A Private Eye: Dada, Surrealism and More from the Brandt Collection, 2006, illustrated in the catalogue p. 47
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