This section will be available this Autumn.
Edouard Simoens Gallery
Antoni Tàpies (Barcelona, 1923-2012) Cap de gos, 1967 Acrylic, gouache and chalk on firm paper 48 x 63 cm Signed lower right: tàpies This work is registered in the Archives of the Comissio Tàpies under n° 1797 Provenance: Galerie Maeght, Paris; Galeria Dau al Set, Barcelona; Erker-Galerie, St. Gallen; private collection, Switzerland
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
,2024_JuliendesMonstiers_T638622547409331818.jpeg?width=410&height=2000&qlt=90&scale=both&mode=max&format=jpeg)
Douwes Fine Art b.v.
rembrandt van rijn
Rembrandt van Rijn (Leiden 1606-1669 Amsterdam) The Angel appearing to the Shepherds, 1634 Etching, engraving and drypoint on laid paper 26.4 x 22.1 cm Signed and dated lower right ‘Rembrandt f. 1634’ With a 3-4 mm wide margin around the borderlines On laid paper with watermark: 'Seven Provinces' (sub-variant D.a.), cf. Erik Hinterding, Rembrandt as an etcher. Catalogue of watermarks (words), vol. II, p. 253 (1634) Provenance: private collection, Germany; Karl & Faber, Munich; private collection, The Netherlands; Douwes Fine Art, Amsterdam Literature: Bartsch 44; White/Boon 44; The New Hollstein Dutch 125 Third state (of VI); Nowell-Usticke C 2; plate in existence in the Thrivent Collection of Religious Art in Minneapolis, MN, USA
Hoffmans Antiques
Pair of candelabras, 'Night & Day' Attributed to Pierre Philippe Thomire (Paris, 1751-1843) Patinated and ormolu bronze Paris, early 19th century H 100 cm The pair of candelabras, 'Night & Day', were made of patinated and ormolu bronze of outstanding quality after a design by C. Percier and P.F.L. Fontaine in the Recueil de Décorations Intérieures from 1801. This model, which is very unusual, was commissioned for Emperor Napoleon Bonaparte's decoration of the Elysée Palace in the early 19th century.
Gallery de Potter d’Indoye
Pair of Empire period candelabras Attributed to Claude Galle (France, 1759-1815) Gilt and patinated bronze H 81 x W 31 x D 21 cm These candelabras from the Empire period, in the shape of winged figures of Victory carrying candlesticks in the hands and on the head, probably derive from the famous drawing in an album by Percier and Fontaine at the Metropolitan New York Museum of Art. The bronze stems take the form of women, who stand on tall plinths. These plinths are covered with a light brown patina and are decorated with gilt winged female figures, carrying baskets of fruit on their heads. Each woman strokes the heads of two dogs, who stand on their hind legs and lean against her. The sides and backs of the plinths are ornamented with gilt scrolled foliate motifs, topped by palmettes. The plinths are each set on four ormolu paw feet, placed on shaped, square gilt bronze bases. Above, patinated winged bronze women serve as the stems for the candelabra. They adopt monumental poses, reminiscent of ancient Egyptian or archaic sculpture. The winged women wear sheer dresses, which cling to their bodies. Each winged woman holds two gilt bronze lights in her outstretched hands and supports four more on her head. Those held in the women’s hands are conical shaped and are decorated around their tops with palmettes. The lights carried on their heads are raised up on slim stems and are crescent shaped in their arrangement. Three of the lights have cornucopia-shaped arms, which extend from open-mouthed dogs’ heads, and finish in urn-form palm leaf capitals. Stylised, curling leaves decorate the space above the dogs’ heads. On each, a cylindrical central light directly tops the stem, ending in a simple leafy capital. Claude Galle One of the foremost bronziers and fondeur-ciseleurs of the late Louis XVI and Empire periods, Claude Galle was born in Villepreux near Versailles. He served his apprenticeship in Paris under the fondeur Pierre Foy, and in 1784 married Foy’s daughter. In 1786 he became a maitre-fondeur. After the death of his father-in-law in 1788, Galle took over his workshop, soon turning it into one the finest. Galle moved to Quai de la Monnaie (later Quai de l’Unité), and then in 1805 to 60 Rue Vivienne. The Garde-Meuble de la Couronne, under the direction of sculptor Jean Hauré from 1786-88, entrusted him with many commissions. Galle collaborated with many excellent artisans, including Pierre-Philippe Thomire, and produced the majority of the furnishing bronzes for the Château de Fontainebleau during the Empire. He received many other Imperial commissions, including light fittings, figural clock cases, and vases for the palaces of Saint-Cloud, the Trianons, the Tuileries, Compiègne, and Rambouillet. He supplied several Italian palaces, such as Monte Cavallo, Rome and Stupinigi near Turin. In spite of his success, and due in part to his generous and lavish lifestyle, as well as to the failure of certain of his clients (such as the Prince Joseph Bonaparte) to pay what they owed, Galle often found himself in financial difficulty. Galle’s business was continued after his death by his son, Gérard-Jean Galle (1788-1846). Nowadays, his work can be found in the world’s most important museums and collections, those mentioned above, as well as the Musée National du Château de Malmaison, the Musée Marmottan in Paris, the Museo de Reloges at Jerez de la Frontera, the Residenz in Munich, and the Victoria and Albert Museum in London.
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
Florian Kolhammer
Seating ensemble (pair of chairs and table) Moritz Herrgesell (Vienna, 1853-1952) School of Koloman Moser, Vienna, circa 1902 Lacquered beech Table H 77 x W 50.5 cm Chairs H 96 x W 55 x D 55 cm Provenance: private collection Vienna, Austria Literature: Hochschule für angewandte Kunst in Wien (ed.), Koloman Moser 1868–1918, exh. cat., Vienna 1979, p. 203; Leopold Museum (ed.), Koloman Moser 1868-1918, exh. cat., Prestel 2007, pp. 204-205, 206; Hochschule für angewandte Kunst (ed.), Koloman Moser. Graphik Kunstgewerbe Malerei, Salzburg and Vienna 1984, p. 163, 241; Christian Witt-Dörring (ed.), Koloman Moser. Designing Modern Vienna 1897–1907, Prestel Verlag, München, London, New York 2013, pp. 138, 144, 159, 185, 193 Moritz Herrgesell studied architecture at the Vienna School of Arts and Crafts from 1901 to 1905. His famous teacher was none other than Josef Hoffmann. Herrgesell benefited above all from the fact that the ties between the Vienna Secession, artisans and the School of Arts and Crafts were particularly close at this time and that there was frequent creative exchange between individual classes and their teachers. This special situation also brought Moritz Herrgesell into contact with other renowned artists during his studies. The most influential role model here was the famous Viennese universal artist Koloman Moser. Hoffmann attested to Herrgesell's 'great talent and taste' and recommended him 'as completely capable and skillful in all these tasks'. Moritz Herrgesell's particular style can already be seen in his early design from 1903. The influence of his teachers is initially omnipresent and clearly noticeable. In the years that followed, however, his personal interpretation of furniture design became tangible. Herrgesell also regularly took part quite successfully in exhibitions and competitions. After completing his studies, he worked in his parents' carpentry business and showed his designs with great success at national and international exhibitions and competitions. The seating group shown here can be regarded as one of Moritz Herrgesell's first completely independent works from his early creative period. The influences of his mentor Koloman Moser are clearly evident, but it is the fine details that clearly set Herrgesell's design apart. This ensemble from the heyday of Viennese furniture art around 1900 is a rare museum piece from the circle of the most important artists of the time.
Montagut Gallery
Ngon mask Bekom people Cameroon, 19th century Wood and ritual patina H 44 cm Provenance: Marcial Bronzi collection, Brussels; Didier Claes, Brussels; Rachel Montagut collection, Barcelona Ngon masks are one of the many types that appear at commemorative ceremonies held for deceased persons in the kingdoms of Cameroon. These sets of masks, in the possession of various lineages, can include more than twenty masks, most of which represent different figures. Some of the masks are obligatory, such as the kam, the male head mask, and the ngon, which represents the woman.
Samuel Vanhoegaerden Gallery
Hans Hartung (Leipzig 1904-1989 Antibes) Composition, 1957 Ink and watercolour on paper 27 x 21 cm Signed and dated lower right The present work is registered in the Fondation Hartung Bergman, Antibes and will be included in the forthcoming catalogue raisonné under n° HH5919 Provenance: Galerie des Etats-Unis, Cannes; private collection, Brussels
A&R Fleury
bernar venet
Bernar Venet (Château-Arnoux, 1941) 226.5° Arc x 4, 2004 Rolled steel H 128 x W 130 x D 24.5 cm Certificate of authenticity issued by the artist and registered in the Bernar Venet archives under inventory n° bv04s17 Provenance: Guy Pieters Gallery, Knokke-Heist; private collection, Belgium
Galerie de la Béraudière
germaine richier
Germaine Richier (Grans 1902-1959 Montpellier) La Sauterelle, moyenne, 1945 Bronze with dark patina H 54 x W 44 x D 65 cm Signed, numbered and stamped on the base: G. Richier, HC3, C. Valsuani cire perdue. Edition HC3 out of 12 (1/8 - 8/8 + HC1-HC2-HC3 + EA) Posthumous cast Provenance: collection Henri Creuzevault, Paris; collection Colette Creuzevault, Paris (by descent); De Baecque & Associés, 19 November 2021, lot 2; private collection, Belgium Literature: Peggy Guggenheim collection, Germaine Richier, exhibition catalogue, Venice, 2007, p. 70; Jean-Louis Prat et Françoise Guiter, Germaine Richier, Rétrospective, Saint-Paul de Vence, Fondation Maeght, 1996, n° 15, pp. 46-47, ill. (another cast); Peter Selz, New Images of Man, New York, 1959, ill. p. 129 (another cast) Exhibitions: 1997, Berlin, Akademie der Künste, Germaine Richier, p. 77, n° 15, p. 85, n° 20, ill. (another cast); 1996, Saint-Paul de Vence, Fondation Maeght, Germaine Richier, Rétrospective, p. 46, n° 15, ill. (another cast); 1976, Japan, Tokyo, Contemporary Sculpture Center and Osaka, Contemporary Sculpture Center, Exposition Richier, n°7; 1955, London, The Hanover Gallery, Germaine Richier, np., n° 10 (another cast) A key figure in the history of modern art, Germaine Richier remains unclassifiable. Trained by Bourdelle to sculpt from live models, her work took on an anthropomorphic character after the war, with the human body remaining at the centre of her preoccupations, but from then on taking on an allegorical and fantastic character, in the image of this Sauterelle, whose tormented material takes on a dramatic character of existentialist essence. Charged with a primitive force that, as André Pieyre de Mandiargues points out, is ‘as much rock or stump as flayed man’, La Sauterelle is undoubtedly one of the artist's masterpieces, a sculpture that has evolved towards an unprecedented baroque and expressive naturalism. The Sauterelles are among Germaine Richier's most emblematic creations, the artist produced three different versions. La Sauterelle, petite (1944), La Sauterelle, moyenne (1945) and La Sauterelle grande (1955-1956) offer astonishing variations on the strangeness of this hybrid being, both woman and animal, and impose a remarkable questioning of form and balance through a play of juxtaposed squares, fostering the ambiguity of a work that is both frozen and in motion, ready to leap.
Boon Gallery
Pablo Picasso (Málaga 1881-1973 Mougins) Le peintre et son modèle, 1963 Oil on canvas 65 x 100 cm Signed lower right Provenance: private collection, Europe; private collection, 1982; Alexander Lolas Collection, Paris; Louise Leiris Gallery, Paris Literature: C. Zervos, Pablo Picasso: catalogue raisonné, Vol. XXIII, Paris, 1971, plate 120, n° 253, ill.
Galerie Oscar De Vos
george minne
George Minne (Ghent 1866-1941 Sint-Martens-Latem) Kneeling youth with shell, 1923 Bronze H 70 x W 25 x D 45 cm Signed 'G MINNE' Bronze mark: Fondery Batardy / Bruxelles Provenance: Galerie Georges Giroux, Brussels (n° 3627) Literature: Berg, B. e.a., George Minne. Voorbode van de moderne kunst (2013), p. 20, p. 65, n° 10 (ill.); Boyens, P., Sint-Martens-Latem. Kunstenaarsdorp in Vlaanderen (1992), p. 569 (ill.); Devigne, M., La sculpture belge 1830-1930 (1930), n° 66 (ill.); Hoozee, R. e.a., George Minne en de kunst rond 1900, cat. (1982), p. 246, n° 209 (ill.); Poulain, N. e.a., Groeten uit 1926 (Gent: VDK Spaarbank, 1991), p. 88, n° 54 (ill.); Van de Woesyne, K., George Minne als teekenaar, in: Elseviers Geïllustreerd Maandtijdschrift (1924), pp. 289-292 (ill.); Van Puyvelde, L., George Minne (1930), n° 85, pl. 100-101 (ill.) Exhibitions: comparable copies in museum collections: MuDeL, Deinze, inv. 1032/MIN.g-9; Kunsthalle Manheim, Germany
Dr. Nöth kunsthandel + galerie
George Grosz (Berlin, 1893-1959) Moonlight, 1936 Oil on canvas 41.3 x 51.4 cm Signed lower right Ralph Jentsch will include the painting in his forthcoming catalogue raisonné of paintings by George Grosz Provenance: the artist's studio, Douglaston, NY 1936; Contemporary Galleries, New York; Sale, Sotheby's, New York, June 22nd, 1984, lot 329; private collection, estate of Robert H. Arnow
Giammarco Cappuzzo Fine Art
Jusepe Ribera (Jativa 1591-1652 Napoli) An Apostle, circa 1635-1638 Oil on canvas 76 x 62 cm With gratitude to Dr. Nicola Spinosa, Dr. Riccardo Lattuada and Dr. Viviana Farina, leading experts of Jusepe Ribera to have confirmed the attribution. Provenance: private collection, France; private collection, Italy This Apostle is part of the cycle of portraits of the Apostles by the same artist, housed in the Prado Museum in Madrid. Diagnostic analyses conducted on the canvas have confirmed its full compatibility with works executed around 1630 by the painter, also revealing the presence of preparatory drawing, a method he frequently employed.
_ChristoandJeanne-Claude_T638604210025431057.jpg?width=410&height=2000&qlt=90&scale=both&mode=max&format=jpeg)
Guy Pieters Gallery
christo and jeanne-claude .
Christo (Gabrovo 1935-2020 New York) and Jeanne-Claude (Casablanca 1935-2009 New York) The Mastaba (Project for Abu Dhabi, United Arab Emirates), 2013 Pencil, charcoal, wax crayon, pastel, hand-drawn technical data and map, enamel paint, wash and tape Left part: H 165 x W 38 cm Right part: H 165 x W 106 cm
