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Galerie Dina Vierny
Serge Poliakoff (Moscow 1900-1969 Paris) Composition abstraite, 1956 Oil on burlap 81 x 130 cm Signed lower left 'Serge Poliakoff' Provenance: Dr. Franz Meyer collection, Zürich; sale Perrin-Royère-Lajeunesse, Versailles, 10 December 1989, lot 113; private collection, Switzerland; sale Christie's, London, 29 June 2000, lot 343; private collection; Galerie Applicat-Prazan, Paris; private collection (acquired from the above in 2003); Galerie Dina Vierny, Paris Literature: J. Grenier, 'Poliakoff', in L'Oeil, March 1958, n° 39, ill. p. 31; G. Bernier, Modern Art Yesterday and Tomorrow, 1960, ill. p. 121; La Gazette de l'Hôtel Drouot, 30 September 1994, ill. p. XXIII; La Gazette de l'Hôtel Drouot, n° 41, 24 November 1994, ill. p. 291; A. Poliakoff, Serge Poliakoff: Catalogue raisonné, vol. II, 1955-1958, 2010, n° 56-38, ill. p. 128 Exhibitions: Paris, Galerie Bing, Serge Poliakoff, 1956; Künzelsau, Museum Würth, Serge Poliakoff, 1997-1998; Wien, Kunstlerhaus, Serge Poliakoff, 1998
Galerie Bernard De Leye
Madonna and Child, 1774 Silver Master silversmith, François-Joseph Baudoux (France, 1720-1788), Lille hallmarks H 69 x W 26 x D 21 cm Literature: Master silversmith listed in Nicole Cartier-Les orfèvres de Lille, Cahier du Patrimoine vol. II pp. 671-691 Renowned for his talents, François-Joseph Baudoux obtained the most prestigious commissions in Lille, mainly for the Church of Sainte Madeleine. He was a member of the Lille Academy of Arts when it was founded in 1773. Under the fold of the robe are the Poinçon de Reconnaissance, Poinçon de Jurande, Poinçon de Maître Orfèvre.
Floris van Wanroij Fine Art
jan mertens
Jan Mertens the Elder (active in Antwerp circa 1473-1509) Saint Anne Selbdritt, circa 1490-1500 Oak, carved in high relief H 85 cm Provenance: private collection, The Netherlands; anonymous sale, Christie’s, Amsterdam, 23 March 1983, lot 228, with ill.; With Limburg Antiquairs; Brouwershaven, Zierikzee and Düsseldorf, 1983-1984; private collection, Antwerp Literature: Stuurman-Aalbers, J & Stuurman, R., Internationaal Jaarboek Kunst en Antiek Veilingopbrengsten 1982, Utrecht/Antwerp, 1983, Spectrum, p. 180, n° 8, with ill.; Tableau (Dec 1983/Jan 1984). As Nether Rhine circa 1500, with ill.; Engelen, C., Jan Mertens en de laatgotiek, Confrontatie met Jan Borreman, Essay tot inzicht en overzicht van de laatgotiek, Leuven, 1993, p. 121, with ill. (chapter VII, Sint-Anna-Ten-Drieën, pp. 119-127). Reference literature: BRAFA catalogue, 2005, p. 362
Francis Maere Fine Arts
conrad willems
Conrad Willems (Belgium, 1983) Construction VII, 2022 977 Verde Levanto building blocks Black paper and white paint H 229 x W 148.5 x D 335 cm (sculpture) 3 x (110 x 75 cm) (drawings) The work consists of 977 Verde Levanto building blocks and three framed hand-drawn construction drawings. The blocks have been cut and sanded into 11 different basic shapes, based on wooden toy blocks. These are built into a construction, based on the construction drawings on black paper. The blocks are not affixed in any way, but placed on top of each other in a specific building order.
Samuel Vanhoegaerden Gallery
james ensor
James Ensor (Ostend, 1860-1949) Coquilles et Statuettes, 1934 Oil on wood panel 40 x 50 cm Signed lower right ‘Ensor’ , signed and titled on verso This work is included in the catalogue raisonné of the complete paintings of James Ensor by Xavier Tricot, n° 641 Provenance: private collection, Belgium (acquired ca. 1970); by descent from the above to the present owner; sale Sotheby’s London, February 2012, lot 187; Samuel Vanhoegaerden Gallery, Knokke; private collection, Brussels Literature: X. Tricot, James Ensor, The complete paintings, Mercatorfonds, Brussels, 2009, p. 383, n° 641
Stoppenbach & Delestre
Henri-Edmond Cross (Douai 1856-1910 Saint-Clair) La jeune femme et le cygne, circa 1905 Oil on paper laid on board 31.1 x 48.1 cm Signed lower right HE CROSS This work is accompanied by a copy of the original Letter of Authenticity by André Schoeller, dated 13 May 1986 Provenance: Ambroise Vollard, personal collection, Paris (n° 350); Galerie Druet, Paris; Armand Hammer, New York; sale Christie's, London, 2 July 1974, lot 36; Alan I. and Dianne Kay Collection, Bethesda, Maryland; The Armand Hammer collection, Brooks Memorial Art Gallery, Memphis, Tennessee, 2 October-30 December 1969, n° 56; Hammer Galleries, 50th Anniversary Southern Exhibition, High Point Theater and Exhibition Center, High Point, North Carolina, 23 July-20 August 1978; The Mint Museum, Charlotte, North Carolina, 27 August-17 September 1978; Federal Reserve Bank of Richmond, Richmond, Virginia, 26 September-15 October 1978, n° 14 (as Leda and the Swan) Literature: Henri-Edmond Cross Catalogue Raisonné de l’oeuvre peint, Patrick Offenstadt, ill. n° 315, p. 347 The 1890’s would see Cross and his close friend and confrère Signac with a predilection for pastoral themes – employing picturesque locations in the south of France, depicting an Arcadian golden age where humanity and nature co-exist peacefully. These ideas, rooted in ancient mythology and Renaissance painting, can also be seen against the political background of the time and the leanings owards an anarchist utopian ideology that many artists favoured at the time, where humans could live harmoniously in nature. Whilst the Impressionists had eschewed depictions from mythology, opting for the real, modern, and changing landscapes of their own time, there had been a trend increasingly to look back on the art of the 18th century, and the Neo-Impressionists started to look back to these myths for inspiration. In this painting, from 1905, Cross uses the theme of the mythological Leda and the swan in a contemporary setting. At this time, Cross was interested in Friedrich Nietzsche’s writing, especially his theories on Dionysian revelry and abandon. Using Leda and the swan, he explored a myth often portrayed in classical art, seen in paintings by Michelangelo, Leonardo da Vinci (both lost), Tintoretto and Rubens. Cezanne had made his version of the theme in 1882 (now in the Barnes Foundation). The swan is a subject that Cross had painted several times prior to this (Including Three Swans, c.1899-1900, Fogg Museum ; Family of Swans c.1899 -1900., Private collection; The Swan, 1893, Private Collection), among others. It would seem that the bird fascinated him, perhaps as it lives on the water, affording an opportunity to paint the effects of light reflecting on the water. In this painting, he unites the swan and an opportunity to paint a nude, using pale pink, fleshy tones. Cross’s Leda is aboard a small rowing boat, leaning on the edge, watching the swan intently. The swan, just left of the centre, forms a heart shape with its wings arched. Cross’s brushstrokes are larger, broader, and quite impasto in places. As was typical for him during this period, he leaves significant spaces between strokes, especially to the right of Leda and in the sky, bringing our eye down to the more densely painted area of water, the figure of Leda and the swan itself. The pinks used for Leda’s body are echoed in the sky and again in dashes around the swan, linking the two protagonists of this story. Dashes of turquoise blue we see in the sky and the interior of the boat. At the almost central part of the painting, the dense use of pale colours for the water, the swan seems to come out of the water, as if camouflaged, unfurling its wings. From the early to mid 1890’s Cross’s paintings were more characteristically Pointillist, a technique originated by Seurat and Signac, using small and regularly positioned dots of colour harmoniously. However, following Seurat’s early death, in 1891 both Cross and Signac evolved their technique from around 1895 into using broader, longer brushstrokes, in contrasting colours, leaving small areas of exposed canvas between the strokes, placing the paint like mosaics on the canvas. This approach, where he favoured keeping the colours separate, resulted in vibrant, shimmering visual effects through contrast. This painting is a wonderful example of this period and style of Cross’s work. 1905 was the culmination of a vibrant and fertile stretch of work, seeing him access a freedom within to seek expression and style, and a bold use of colour. That year, he was rewarded by an important solo exhibition at the Galerie Druet in Paris.
Galerie von Vertes
George Condo (New Hampshire, Concord 1957) Female composition, 2006 Oil on canvas 165.1 x 152.4 cm Verso signed and dated 'Condo 06' George Condo, Female Portrait, 2006 'Deep into that darkness peering, long I stood there, wondering, fearing, doubting, dreaming dreams no mortal ever dared to dream before'. Edgar Allan Poe Like the ‘Manichini’ or metaphysical mannequins of Giorgio de Chirico that reject a face as a symbol of status and identity, Female Composition is created as a hand puppet on a stick wearing a distinguished cloak, mocking the traditional depictions of the female portrait as seen in the works by Parmigianino, Rembrandt, and Picasso. This ironic interpretation depicts the woman as a faceless puppet with breasts, a cape, neckless and head topped with a carrot. Condo simultaneously offers a deep respect for art history and a blatant disregard for conventional narratives. In his own words: “As far as I’m concerned, the Renaissance was yesterday, and Cubism was a hundred years before it.” (George Condo quoted in Simon Baker, George Condo: Painting Reconfigured, New York 2015, p. 104). Female portrait perfectly encapsulates Condo’s concept of Artificial Realism. Exploring the carefully constructed conventions of traditional portraiture and how our reality is made up of artificial components, this majestic dystopian portrait ingeniously challenges the artificiality of visual representation.
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Heutink Ikonen
In Thee Rejoiced All Creation Russia, second half of the 18th century Egg tempera on gesso on linen-covered wood 33.5 x 29 cm Provenance: private collection, Germany A special detail is that in the archway on the left, the prophet, king and psalmist David is depicted. In his arms he holds a triangular stringed instrument, with which he appears to provide musical accompaniment to the hymn. This rare iconography is based on the Marian hymn from the Liturgy of St Basil, which begins with the words: 'All of Creation rejoices in thee, O full of grace: the angels in heaven and the race of men' In the centre we see the Mother of God enthroned, with the infant Christ on her lap. Angels are gathered around the throne. Below, prophets, apostles, church fathers and other saints pay homage to the Mother of God. The hymn is attributed to the Church Father John of Damascus (676-749), who is depicted directly below the enthroned Mother of God on the left with a scroll of text in his hand and his distinctive white headscarf.
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.
Lemaire
Late Louis XV ormulu and Meissen porcelain mantel clock The porcelain figures, modelled by Johann-Joachim Kändler (1706-1775), are dated circa 1750-1755 The dial, signed J.-B. Duluc, is dated late Louis XV period, circa 1765-1770 Clockmaker Jean-Baptiste Duluc (Master in 1770); clockmaker to the Comte d'Artois, brother of the future Louis XVI H 35.5 cm Literature: the figure is reproduced in ADAMS (Y), Meissen Figures, 1730-1775, The Kaendler Period, 2001, p. 113 The figures represent two Provençal musicians surrounded by a bunch of porcelain flowers, standing on a terrace complete with a staircase. The figures were inspired by an engraving by François Boucher (France, 1703-1770) depicting a Provençal street musician playing a fife and a drum
Galerie Florence de Voldère
pierre brueghel le jeune
Peter Brueghel the Younger (Brussels 1564-1638 Antwerp) Winter Landscape with Skaters - The Bird Trap Oil on panel 39 x 57 cm Among the strong, committed subjects that make up the oeuvre of Peter Brueghel the Elder, The Bird Trap is like a gift in the form of a poem all its own. The very different subject at the heart of this work is pure emotion. Whether provoked by the silence of nature, or by an awareness of the human scale in the macrocosm, or for any other reason, it remains a masterpiece out of time.
Galerie BG Arts
rené lalique
René Lalique (Ay 1860-1945 Paris) Necklace 'Couple of Dragonflies', circa 1905 Yellow gold, tourmalines, diamonds, enamel and plique-a-jour Provenance: Sotheby's sale, London, 3 December 1998, lot 102; private collection, London; Galerie BG Arts, Paris Literature: For a similar model: Sigrid Barten, René Lalique Schmuk und Objects d'Art 1890-1910, Munich, 1977, ill. p. 344, n° 733
A&R Fleury
Sam Francis (San Matteo 1923-1994 Santa Monica) The blue between the red and green, 1960 Acrylic and gouache on paper 85.8 x 58.7 cm - framed 102.5 x 76 cm Provenance: private collection, Switzerland; Galerie Kornfeld, Bern, 1990; André Emmerich Gallery, New York; Dina and Raphael Recanati Collection, New York Exhibitions: New York, André Emmerich Gallery, Sam Francis: Paintings on paper 1956-1964, October-November 1990, ill.; Los Angeles, Manny Silverman Gallery, Sam Francis : Selected works, April-May 1999, n°1, ill. Literature: D. Burchett-Lere, ed, Sam Francis Online Catalogue Raisonné Project, n° SF60-1116
Douwes Fine Art b.v.
kees van dongen
Kees van Dongen (Rotterdam 1877-1968 Monte Carlo) Baigneuse à Trouville, circa 1925 Oil on canvas 53.3 x 32.8 cm - framed: 79 x 57 cm Signed lower right 'van Dongen' This work will be included in the forthcoming van Dongen digital catalogue raisonné, currently being prepared under the sponsorship of the Wildenstein Plattner Institute, Inc. Provenance: Madame Van der Velde, Le Havre (by 1928); Pierre Samuel and Emma Célina (born Bayeux) Van der Velde, Le Havre; Jeanne (born Van der Velde) Réquin, Le Havre (acquired by descent circa 1952); Jeanne (born Van der Velde) and Edouard Réquin, Le Havre (acquired circa 1952 and until 1970); (possibly) Galerie Beaux Arts, Paris; Espace Pierre Cardin, Paris, April 4th, 1973, lot 16; (possibly) Collection Lieury, Le Havre; Alain Lesieutre, Paris (acquired by 1983 and until at least 1992); De Quay-Lombrail, Paris, June 22nd, 1995, lot 68; Michelle Rosenfeld Gallery, New York (acquired circa 1999); Kunsthandel Frans Jacobs, Amsterdam; acquired from the above in 2000 by the former owner; Sotheby’s London; private collection, The Netherlands Literature: Yvonne Brunhammer, Art Deco Style, Paris, 1983, n° 86, p. 48, ill. in a photograph; Béatrice de Rochebouet, Vente de la collection Lesieutre: Fin d'un règne, Le Figaro, October 2nd, 1992, n.n., n.p., ill. (titled ‘Femme au bord de la mer’); Christel Aaftink, 'Kees van Dongen', In Detail: periodieke uitgave van Kunsthandel Frans Jacobs, February 2000, n° 10, p. 7, ill. in colour