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Florian Kolhammer
georg klimt
Georg Klimt (Vienna, 1867-1931) Jugendstil panel 'Nymph at the fountain', circa 1900 Chased and patinated copper H 57 x W 29 cm Literature: comp. Belvedere Museum Vienna, inventory n° 10862 The inspiration of the Symbolist painter Franz von Stuck is particularly evident in this relief. Based on the motif compositions of the famous artist, Klimt created an antique scene. An homage to Symbolism and the influence of antiquity on the young, revolutionary art movement.
Kunsthaus Kende
Yoshiko Okamoto (Japan, Yamaguchi 1976) Hagiawase jardinière, 2014 Silver, copper, shakudo, shibuichi H 11.4 x W 26.8 x D 8.4 cm A navette-shaped form, with the wall subtly tapering towards the ends and the base sloping upwards, analogous to the ends. The upper rim terminates in a square moulding. The body is adorned with an abstract frieze of foliage in alternating colours at alternating heights, which is subdivided by a subtle linear decoration. The pattern has been obtained using the traditional Japanese hagiawase technique. A masterfully crafted jardinière or flower planter of outstanding quality, brilliant finesse and unobtrusive elegance. The Japanese artist-silversmith and designer Yoshiko Okamoto (born in 1976 in Yamaguchi) began his career as an illustrator in Yamaguchi Prefecture, her favourite themes being the four seasons and depictions of the beauty of Japanese nature. She took part in arts and crafts courses under the guidance of the metal artist and living national treasure Akira Yamamoto (also from Yamaguchi Prefecture) while still at school, which awakened her interest in traditional Japanese metalworking techniques. After leaving school, she became a master student of Yamamoto, learning the special techniques of hagiawase (hot soldering with metal forging) and kiribame-zogan (heat-welding of cut-out inlays). Her preferred subject has remained unchanged throughout her artistic career: the endless story of nature, woven from the four seasons, into which she incorporates her artistic perspectives, represented by masterful colour gradations of several layers of metal. The traditional Japanese forging technique known as hagiawase (Japanese for ‘brazing’) consists of joining together different types of metal sheets. This technique makes it possible to create metalwork with striped or patchwork patterns. After joining, the artist shapes the metal with a hammer. The work often consists of silver (white), different types of shibuichi (a copper-silver alloy that appears grey) and shakudo (a copper-gold alloy that appears black). The surface of shibuichi becomes light grey when silver is added, the addition of copper makes the colour appear progressively darker depending on the quantity, and the addition of gold makes it dark grey. These metal alloy plates are cut with a fine saw to produce the desired pattern. These plates are joined together with silver and then melted with a gas burner to bond the pieces together. Alternatively, hotter flames are used to bond the different metals together directly. Since it is not possible to produce the pattern exactly as designed each time, Yoshiko Okamoto performs this hagiawase process several times until she has produced the desired number of patterns. When the pattern plates are finished, she grinds the inside to smooth out the unevenness caused by the soldering. She then begins to mould the metal by driving it with a hammer. Once the basic shape has been created, the pattern of white dots is incorporated: for this purpose she drills holes with a drill of maximum 1 mm diameter, inserts a short-cut round wire made of pure silver into the hole and fixes the protruding part of the silver by hammering. The protruding part is then removed to make it level with the surface. This technique is known in Japanese as Kiribame-zogan. The surface is then hand-sanded using coarser abrasive media, the grain of which becomes progressively finer during the sanding process, ultimately resulting in a high lustre. Once all the sections have been completed, the inner surface of the piece is sanded again with coarse sandpaper and the edges of the individual parts are harmonised. The metal plates are then assembled to form the three-dimensional workpiece, fixed together with wire and the segments soldered together. Finally, the surface is preserved using the traditional Japanese patination technique Niiro.
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
Gilden's Art Gallery
marc chagall
Marc Chagall (Vitebsk 1887-1985 Saint-Paul de Vence) Peintre, Ange et Amoureux, 1980 Tempera on masonite 40.6 x 34.9 cm Signed lower right corner 'Marc Chagall' Inscribed, signed and dated verso 'Tempera/Marc Chagall/1980' The work is accompanied by a certificate of authenticity from the Chagall Committee from 31 March 1992 issued by Jean-Louis Prat Provenance: Sotheby's New York, Sale 7132, 14 May 1998, lot 366; Collection of Bridget & Jerome Dobson, Atlanta, Georgia, USA
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
Gallery Desmet
francesco fanelli
Pair of staggering and pacing horses Attributed to Francesco Fanelli (Italy, 1590-1653) Bronze, black lacquer patina Florence, second quarter of the 17th century H 15 x W 16.5 x D 5 cm H 16.5 x W 16 x D 5 cm Provenance: private collection, Italy To introduce these bronzes, there is no better way than the description made by the English antiquarian George Vertue (1684-1756). He depicted a number of statuettes by Fanelli at Welbeck: Fannelli the Forentine Sculptor who livd and dyd in England, made many small statues. models & cast them in brass (i.e. bronze). which he sold to persons that were Curious to sett on Tables cupboards shelves by way of Ornament - and irons. Many were bought by W. Duke of Newcastle, and left at Welbeck. where the Earl of Oxford. found them. This Fanelli had a particular genius for these works and was much esteemd in King Charles I time - and afterwards - so many of this little Statues as I have seen at Ld Oxfords - It shows us the impact and influence of yet another Florentine sculptor in England and this pair of bronzes is exactly what Fanelli is famous for: dark black lacquer patina, the subject of horses and the small size to appeal to the collector’s desire of the high nobility in England and beyond.
Repetto Gallery
kazuo shiraga
Kazuo Shiraga (Japan, Amagasaki 1924-2008) Ouichi, October 1973 Oil on canvas 32 x 41 cm Signed lower left; signed, titled and dated on the reverse Certificate of authenticity on photograph signed by David Juda, 15 June 2012 Provenance: Matsumoto Co. Ltd., Tokyo; Annely Juda Fine Art, London; private collection, Italy
J. Baptista
'Minas Novas' necklace Silver and quartz Portugal, 18th century Weight 100.5 gr. 9.5 x 33.5 cm Articulated links studded with 'Minas Novas' (colourless quartz) with a large bow in the centre, applications of stylised botanical elements and a removable dove Literature: similar pieces illustrated in Orey, Leonor d'-Cinco Séculos de Joalharia-Museu Nacional de Arte Antiga, Instituto Português de Museus/Zwemmer, Lisbon/London, 1995, pp. 92-94
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MARUANI MERCIER
ross bleckner
Ross Bleckner (New York City, 1949) Deep Below Our Violence, 2023 Oil on linen 182.9 x 243.8 cm Provenance: the artist's studio Literature: Ross Bleckner: Paralipsis, exh. cat. MARUANI MERCIER Gallery, Belgium Exhibition: Ross Bleckner: Paralipsis, MARUANI MERCIER Gallery, Belgium, 3 September-9 October, 2021
robertaebasta
Gabriella Crespi (Saronno 1922-2017 Milan) Caleidoscopio table lamp Nickel-plated brass characterised by engraved profiles that emanate subtle effects of light Italy, circa 1970 H 87 x W 18 x D 18 cm Engraved signature on the base and on the diffuser Certificate of authenticity by Archivio Gabriella Crespi n° 040605075P Provenance: private collection, Italy
Alexis Lartigue
pierre soulages
Pierre Soulages (Rhodez 1919-2022 Nîmes) Sans titre, 1967 Oil on canvas 97 x 130 cm Signed lower left This work is included in the catalogue raisonné vol. II, n° 601 Provenance: Knoedler and Co, New York; private collection, USA; private collection, Paris Literature: Soulages, L'oeuvre complet, Peintures vol. 2, 1959-1978, n° 60, p. 187 Buffalo, Knox Art Gallery, 1968, n° 16 Exhibitions: Soulages paintings since 1963, Knoedler and Co, New York; Museum of Art, Carnegie Institute, Pittsburgh; Albright-Knox Art Gallery, Buffalo 'In the hundred or so paintings created between the fall of 1963 and the end of 1967, the evolution of Soulages' painting is evident in several essential aspects: the much greater fluidity of the paint; the treatment of blacks in large flat areas; the brief reappearance of blacks on unpainted white backgrounds. Finally, note the return of very large formats and virtual polyptychs. From mid-63 onwards, there is almost a disappearance of scraping. This technique was technically linked to the thick quality of the layer deposited by the painter, to its paste-like character. On the contrary, the canvases now show large swathes of dark, black, or brown-black paint, where the much more liquid coloured material is no longer deposited and removed with the blade, but spread with a brush, in a movement that leaves practically no trace. The fluidity is such that some paintings have streaks of black paint running down'.
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Klaas Muller
Henri Evenepoel (Nice 1872-1899 Paris) The rocks of Tipaza, 1898 Oil on canvas 54 x 81 cm Stamp on the reverse 'Oeuvre authentique d'Henri Evenepoel 1872-1899' Labels on the reverse Certified on the reverse by Edmond Evenepoel, father of the artist Provenance: Louise Van Mattemburgh, Brussels; collection J.L. Brunet, Brussels; auction PvSK, Brussels 9.10.1962, n° 368, pl. VII ill. Literature: H. Evenepoel, Paul Lambotte, Ed. G. Van Oest & Cie, Brussels, 1908, p. 103; Le voyage du peintre Henri Evenepoel en Algérie, H. Coenen, Leuven, 1982, n° 31, p. 37 and 48; Henri Evenepoel 1872-1899, Catalogue raisonné, Danielle Derrey-Capon, Municipal Credit 1994, n° 265 ill. Exhibitions: Henri Huklenbrok-Henri Evenepoel, Cercle artistique et littéraire, Brussels 1899, n° 20; Kunst van Heden, Antwerp 1909, n° 211; Henri Evenepoel, Gal. Georges Giroux, Brussels 1913, n° 111; Exposition d'oeuvres d'Henri Evenepoel, Cercle artistique et littéraire, Brussels 1923-1924, n° 103; Evenepoel, K.M.S.K., Antwerp 1953, n° 136; Henri Evenepoel, K.M.S.K., Brussels 1994
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.
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
Philippe Heim
abie loy kemarre
Abie Loy Kemarre (Australia, 1972) Bush Hen Dreaming, 2019 Acrylic on canvas 122 x 183 cm Provenance: Utopia, Central Desert, Northern Territory, Australia Collections: The Metropolitan Museum, New York; Bridgestone Museum of Art, Tokyo; Seattle Art Museum, Seattle; Musée des Confluences, Lyon; The Art Gallery of South Australia, Adélaïde; The Adelaide University Art Collection, Adélaïde; The National Gallery of Victoria, Melbourne, etc. The 'Bush Hen Dreaming', for which Abie Loy Kemarre has custodial rights inherited from her grandfather, was the first story Abie was allowed to paint. The bush hen, also referred to as a bush turkey or Australian bustard (Ardeotis australis), is Abie’s Dreaming Ancestor, an association commonly but erroneously referred to as a ‘totem’. These paintings refer to women’s sacred ceremonies, including a sacred waterhole site, and narrative elements from the peripatetic habits of the bush hen as it searches for food. The geometry in Abie’s Bush Hen Dreaming compositions is generated from her intimate familiarity with the hen, its habitat, and what we would recognise as the science of ethology - the study of animal behaviour.
Artimo Fine Arts
albéric collin
Albéric Collin (Antwerp, 1886-1962) Elephant of the Indies Bronze, reddish-brown patina with golden undertones H 37.5 x W 36.5 x D 18 cm Model created in 1924, lost-wax, signed 'Alberic Collin' and stamped in the wax 'Claude Valsuani foundry' in Paris Provenance: Van Weert family for three generations; acquired by Mrs. Magier in 2001
