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Gallery de Potter d’Indoye
Piat-Joseph Sauvage (Tournai, 1744-1818) and Sormany, Optician Empire oil on panel with barometer and thermometer, early 19th century Oil on panel, gilded bronze H 87 x W 112 cm Signed: Sauvage et de Sormany, Palais Égalité Provenance: collection of Hubert de Givenchy; Galerie Moatti, Paris, 1994 The rectangular panel painted in trompe l'oeil depicts the allegories of the four seasons beside a sheath surmounted by a globe flanked by two putti, the dial of the enamelled barometer is signed Sormany Palais Egalité, the thermometer inscribed in the sheath is signed Sormany Palais / Egalité n° 260, signed SAUVAGE in the plinth of the sheath, the frame is decorated with stars and stylised palmettes. This barometer-thermometer is a work of collaboration between Piat-Joseph Sauvage, painter and Sormany, optician. Piat-Joseph Sauvage, born in Tournai in Belgium, made a specialty of trompe-l'oeil paintingsat the end of the eighteenth and beginning of the nineteenth century. As a painter and decorator, he provided ornamentation for royal residences at the end of the reign of Louis XVI, such as Compiègne and Fontainebleau and the Hamlet of Marie Antoinette in Versailles, before turning to painting on porcelain and marble, working for the manufacture of Dihl and Guérhard then for that of Sèvres under the Empire. His compositions often represent friezes of putti, bacchanalia, mythological or allegorical scenes. The iconography of the Seasons developed here naturally refers to the function of this object, as a barometer and thermometer. Sormany was an optician installed in the Galerie de Bois of the Royal Palace (Palais Egalité under the Revolution and the Empire), as indicated by the inscriptions on the barometer and the thermometer. The old labels of this Sormany make it possible to describe its activity: "Palais Égalité n° 260 galerie de bois. / N° 260 Sormany opticien successeur de Catanyo vends toute sorte de lunettes (spectacle et autres) et tout ce qui concerne l’optique, mathématique physique et autres objets de curiosités, baromètres, thermomètres et pèse liqueurs. / Le tout à juste prix Paris." He seems to have been particularly recognised for his research on thermometers.
Galerie Berès
Georges Mathieu (Boulogne-sur-Mer 1921-2012 Boulogne-Billancourt) Vaillance d’un Gantois à la bataille de Gaure, 1957 Oil on paper 25 x 50 cm Signed and dated lower right: Mathieu 57 Certificate dated May 30th 2022, by Marc Ottavi, vice-president of the Archives Jean-Marie Cusinberche on Georges Mathieu; this work is referenced in the Maurice d’Arquian Archives under n° 12 Provenance: galerie Helios Art, Brussels; collection Nyst, and thence by descent; Clavé Fine Art, Paris Literature: G. Mathieu, Cycle des Grands Ducs d'Occident, galerie Helios Art, Brussels, 8-30 November 1957, n° 12 Exhibition: G. Mathieu, Cycle des Grands Ducs d'Occident, galerie Helios Art, Brussels, 8-30 November 1957
Stern Pissarro Gallery
pierre-auguste renoir
Pierre-Auguste Renoir (Limoges 1841-1919 Cagnes-sur-Mer) La Cueillette des fruits, circa 1905 Oil on canvas 46 x 56 cm Signed lower left: Renoir This work is accompanied by letter from the Wildenstein-Plattner Institute confirming the work will be included in the forthcoming Renoir digital catalogue raisonné Provenance: Dr. Fritz and Barbara Thurneyssen, Germany, acquired from the artist; Dr. Fritz Thurneyssen, Germany; Karl Levi, Berlin, 1927; Galerie Thannhauser, Berlin, 1929, acquired from above; Henry Lévy, Strasbourg,1933, acquired from above; Hélène Lucie Lévy, France, by descent, 1937; Bertrand-Charles Leary, France, by descent; private collection, Paris, by descent from the above Literature: Julius Meier-Graefe, Renoir, Leipzig, 1929, p. 300, n° 307; Guy-Patrice and Michel Dauberville, Renoir: Catalogue raisonné des Tableaux, Pastels, Dessins et Aquarelles, 1903-1910, Vol. 4, Éditions Bernheim-Jeune, Paris, n° 3066 (ill. p. 222 as 'Vendanges (Cagnes)') Exhibitions: Berlin, Galerie Thannhauser at Berliner Künstlerhaus, Erste Sonderausstellung in Berlin, January-February 1927, n° 204, p. 136 (ill. 'Obsternte')
Galerie Bertrand de Lavergne
Set of seven Chinese pendants for Court Ladies Turquoise, agate, amethyst, carnelian, smoked and citrinated rock crystal, jadeite and bi-colored tourmaline depicting a goddess, different animals, fruits or aquatic plants, some with their original mounts China, late Qing dynasty (1644-1912) From 4 to 5.5 cm
Romigioli Antichità
Francesco di Girolamo dal Prato (Florence, 1516-1562)-Pupil of Francesco Salviati The Virgin and child Oil on panel 106 x 76 cm Studied by Professor Carlo Falciani. Giorgio Vasari's sources Provenance: Castelbarco Litta Albani collection in 1835, Milan; Costantino Nigro collection, Genoa; Seghezza collection, Genoa
Galeria Jordi Pascual
joan miró
Joan Miró (Barcelona 1893-1983 Palma de Mallorca) Peinture, projet pour une tapisserie, 1973-1974 Paint, oil and wool on wood 197 x 122 cm Provenance: private collection Literature: Lelong, Daniel. Joan Miró. Catalogue raisonné. Paintings, vol. V, 1969-1975, Successió Miró, 2003; p. 238, fig. 1641
De Jonckheere
denijs van alsloot
Denijs van Alsloot (Mechelen 1568-1625 Brussels) Wooded Landscape opening onto a Mountain Range With the participation of the workshop of Jan Brueghel The Elder (Brussels 1568-1625 Antwerp) for the figures First decade of the 17th century Oil on panel 117 x 173 cm Provenance: Fournier Art Gallery, Rouen, 1984; Heim Gallery; De Jonckheere, 1984; private collection Literature: S. van Sprang, Denijs Van Alsloot (vers 1568 – 1625/26). Peintre paysagiste au service de la cour des archiducs Albert et Isabelle, Turnhout, Brepols, 2014, p. 104, ill. 25, repr. Denijs Van Alsloot's mastery of nature must be considered from the point of view of the overall effect it produces. The artist knew how to adapt his compositions to his subjects. While the forest can be a frightening place, in the artist's imagination, it is a space that shelters nymphs and humans. This large painting, whose deep, luminous colours have been preserved, provides a vivid example of its marvels, captured by the bluish line of the mountains nestled in a forest opening. It is one of the rare 20 or so landscapes that can currently be attributed to his body of work.
Lemaire
Two Vincennes porcelain jardinières fitted with porcelain flowers France, Louis XVI period Soft paste porcelain jardinière with pink monochrome decoration holding porcelain flowers on painted metal stems H 9.3 and H 9.5 cm; overall 26.8 cm Marked with a double L in blue bearing the letter-date C for 1755-56 Marked by the painters Jean-Charles Sioux l'aîné (French, active from 1752 to 1792) and Mutel (active from 1754 to 1759). 3rd size A flower jardinière with the same decoration has been published by GWILT (J.), Vincennes and Early Sèvres Porcelain from de Belvedere Collection, V & A Publishing, 2014, p. 147
Finch & Co
Headrest Kali Hahapo Patinated wood, sennet (coconut fibre), glass beads Tonga, late 18th-early 19th century H 19 x W 53 cm Provenance: Captain A.W.F. Fuller (1882-1961) given to Dr Roland Force, in recognition of Force’s work in cataloguing the Fuller collection (see below); Julian Harding collection; Wayne Heathcote; Patricia Withers collection (1934-1998), London; Sotheby’s London, 1988; Nasser Gallery, 2010; private collection Literature: The Mark and Carolyn Blackburn Collection, 2010, p. 246, ill. 146; The Fuller Collection of Pacific Artefacts, Lund Humphries, London, 1971; Pierre Loos, Bayet et Caltaux, La tête dans les étoiles. Appuis-nuque d’Afrique et d’ailleurs, BRUNEAF, 2012, p. 157 Exhibition: BRUNEAF, Bruxelles, Belgium, La tête dans les étoiles. Appuis-nuque d'Afrique et d’ailleurs, 6-10 June 2012 A comparable example in the Tongan National Museum, Tofoa. Also several neck-rests part of the collections in the National Museum of Australia, Canberra (inv. Oz 347 and inv. Oz 348) Of elegant arching form and carved in one piece from a dense, fine grained wood, possibly ‘Intsia bijuga’. Neck-rests of this type were used in Tonga as pillows to ensure that the elaborate coiffure of the owner would not be disturbed during sleep. ‘Kali’ acquired ‘mana’ (the spiritual force) by repeated contact with the owner’s head and in the case of a chief became objects of great prestige. This example, from the renowned Captain Fuller collection, is exceptional for the elegance and purity of its form, especially evident in the strongly curved legs ending in subtle horizontal flange feet. To each end of the ‘cross-bar’ glass beads have been inserted to enhance the decorative appeal and importance of this piece. In the opinion of George Ortiz no civilisation has equalled the Pacific Islanders’ superb furniture and domestic objects. Writing of Tongan neck-rests the great connoisseur of Polynesian Art Edward Dodd said: ‘What wonderful springing forms!’ For a comparable neck-rest (no. 689) in the James Hooper collection. Of classic Tongan form, it was however collected at Mbau, Fiji, in 1865. Compare also two ‘kali’ previously in the Fuller collection ( n° 274498 and 274499) and now in the Field Museum, Chicago.
Galerie Taménaga
marie laurencin
Marie Laurencin (Paris, 1883-1956) Jeunes filles aux jeux, 1938 Oil on canvas 73 x 132 cm Provenance: Lady Duveen, London; Steve Banks Fine Arts, San Francisco Literature: J. Pierre, Marie Laurencin, Paris: Somogy, 1988, p. 10; D. Marchesseau, Marie Laurencin, Catalogue raisonné de l'oeuvre peint, Tokyo: Musée Marie Laurencin, 1999, vol. II, n° 1432, pp. 100 & 179
Van Herck-Eykelberg
alexander calder
Alexander Calder (Lawnton 1898-1976 New York) La Grande Cravate, 1969 Gouache on paper 109 x 23 cm Signed and dated Registered at the Calder Foundation under the archive n° A24180 Literature: Alexander Calder, Château de Tours, 2008, exhibition catalogue, ill. p. 181 Exhibition: Alexander Calder, Château de Tours, 6 June-19 October 2008
Galerie von Vertes
pierre soulages
Pierre Soulages (Rodez, 1919-2022) Peinture 81 x 102 cm, 9 février 1987 Oil on canvas 81 x 102 cm Signed, dated and titled on verso Provenance: Galerie de France, Paris; Pierre Benveniste, Pierrefonds (acquired from the above in 1987); Sotheby's, Paris, 6 December 2022, Lot 4; private collection, Switzerland Literature: Pierre Encrevé, Soulages. L'Oeuvre Complet. Peintures, vol. III: 1979-1997, Paris 1995, p. 158, n° 933 (ill. in colour)
Studio 2000 Art Gallery
theo van rysselberghe
Theo van Rysselberghe (Belgium, Ghent 1862-1926 Saint-Clair, France) Le ruban écarlate, 1906 Red chalk on paper 110 x 88 cm Signed with monogram and dated: Fev. 06 Provenance: private collection, Belgium; auction Christie’s, Amsterdam, 22 May 1991, lot 526; G. Gieseler (?), 1973; Galerie Druet, Paris Literature: A. Dreyfuss, Die Kunst fur Alle, 29, 1914, pp. 508-538; P. Fierens, TVR, Brussels, 1937; R. Feltkamp, Théo Van Rysselberghe. Catalogue raisonné, n° 1906-011 (ill.); R. Feltkamp, Théo Van Rysselberghe: Schilder van de zon, n° 59 (ill.). Exhibitions: Rotterdam, Rotterdamse Kunstkring, TVR (cat. n° 70) 23 October-21 November 1909; Groningen, Galerie Hofteenge, Picture TVR (cat. n° 56), 16 January–2 February 1910; Laren, Singermuseum, Théo van Rysselberghe. Schilder van de zon, 17 May–4 September 2022
Galerie Alexis Pentcheff
Henri Martin (Toulouse 1860-1943 Labastide-du-Vert) L’Eglise de Labastide-du-Vert un matin de printemps Oil on canvas 101 x 79 cm Signed lower right Notice of inclusion in the archives for the Catalogue Raisonné of Henri Martin drawn up by Madame Marie-Anne Destrebecq-Martin dated 18 September 2020 © Foundation Paul Delvaux, Belgium/SABAM, 2023
Kunsthaus Kende
hans bolek
Hans Bolek (Vienna, 1890-1978) An 800 grade silver coffee and tea service, Vienna, 1909-1912 Designed by Hans Bolek, executed by Franz Schediwy for Alfred Pollack silversmithy A five piece coffee and tea service Provenance: private collection, San Francisco Literature: In 1912, the Vienna Museum of Applied Arts (MAK) acquired the tea service, consisting of a teapot, a small milk jug and a sugar bowl on a tray. It is still in the museum’s collection under inventory number WI 1102. An identical composition can be found in the Bröhan Museum, Berlin and is ill. in: Kerssenbrock-Krosigk, D. von, Bröhan Museum, von Kerssenbrock-Krosigk, D. & Kanowski, C. (2001). Metallkunst der Moderne: Bröhan-Museum, Landesmuseum für Jugenstil, Art Deco und Funktionalismus (1889-1939), Berlin. P. 521, cat. n° 464 Exhibition: This tea service was designed prior to 1909 and exhibited for the first time by the silversmith Alfred Pollack in 1910/11 at the winter exhibition in the Vienna Museum of Applied Arts (currently the Museum der angewandten Kunst, Vienna, known as MAK)
Franck Anelli Fine Art
Joost Cornelisz. Droochsloot (Utrecht, 1586-1666) Village scene, 1643 Oil on panel 71.8 x 106.5 cm 93 x 129 cm - framed Provenance: With Hans Trojanski, Dusseldorf, 1957; Private collection of Baroness Viktoria Dagmar von Rochow (1931–2022); By descent, private collection, Switzerland This painting is registered at the RKD, The Hague as by the hand of Joost Cornelisz. Droochsloot.
