Ushebti for Tjai-ne-hebu - Overseer of the royal fleet, born to Tanefertity Blue-green faience with incised hieroglyphs Egypt, Late Dynastic Period, 26th Dynasty, 570-525 BC H 17.8 cm Provenance: private collection France, acquired prior 1987 Literature: J. & L. Aubert: Statuettes égyptiennes, Paris, 1974, p. 227; Gl. Janes, A private view, Paris, 2002, pp. 213-214 Tjanehebu wears a tripartite wig arms crossed right over left on the chest with his hands holding the implements (pick, hoe and the twisted rope of a basket suspended behind the left shoulder). The plaited and curled divine beard is typical for the figures since the 26th dynasty. The body is finely incised with nine horizontal lines citing the sixth chapter of the book of the dead as well as the name and filiation of the deceased. His tomb was found by Barsanti in 1900 near the Unas pyramid in Saqqara. Four hundered and one Ushebti were inventoried, many of which are exhibited in the worlds largest museums.
Chambre professionnelle belge de la Librairie Ancienne et Moderne (CLAM)
Max Ernst (Brühl 1891-1976 Paris) Untitled, circa 1964 Collage, Indian ink on cut paper 83 x 94 mm (subject) Signed with pencil on the bottom right Framed by Claude de Muzac, who worked regularly for the artist Literature: Spies – Pech, Max Ernst. Œuvre-Katalog, VII, n° 3997 (with reproduction) Librairie Lardanchet, antiquarian bookseller
Chiale Fine Art
Joseph Effner (Dachau 1687-1745 Munich) Table Carved, painted and gilded poplar Germany, circa 1720-1725 H 74 x W 53 x D 74 cm Provenance: private collection, New York, USA Joseph whose spelling was originally Öffnercomes from an old family of gardeners. He was the ninth of ten children of Christian Öffner, master court gardener since 1668. He entered the graces of Prince Elector Maximilian II Emmanuel of Bavaria, who brought him as a gardener with him in April 1706, in Brussels; and he later sent him to Paris where he discovered his interest in architecture. In 1708 Joseph Effner entered the workshop of the great French architect Germain Boffrand where he learned French style and received training as a builder. He later entered as a private student in the prestigious Académie royale d’architecture. From that moment he changed his surname into Effner. On 1 April 1715, after his return from France, he was appointed architect of the Bavarian court, responsible for all the buildings of the elector prince, together with Enrico Zuccalli. Joseph Effner was a importer from France of innovative ideas in architecture and rococo style. In 1717 Massimiliano II Emanuele sent him to Italy for a ten-week trip between Venice, Rome and Naples. In 1720 he was appointed Superintendent and in 1724, with the death of Zuccalli, he obtained even more powers. However, in 1726, with the ascent to the throne of Charles VII of Bavaria, Joseph Effner had to give way to his pupil François de Cuvilliés the Elder, working only in the administration. He died in Munich in 1745 and his stone tomb is in the Frauenkirche choir. The Effnerplatz in Munich and the Josef-Effner-Gymnasium in Dachau are dedicated to him. The cabinet, from the center follows that type of lacquered furniture made in Europe in the eighteenth century. In red lacquer it is garnished in the parts carved with gold leaf following the technique of the mission. The legs are elegant and sinuous and end with an elegant curl on the feet and a volute in gold in the central part that 'divides' the leg. The crosspieces end with a rosette in the center with plant styles carved in the central and side, also gilded. The elegant cabinet is part of that production of furniture made in southern Germany and in particular in Bavaria, where lacquered furniture was a compendium of fashionable furniture within the noble society. A similar example of this fashion is the Pagadenbour at the castle of Nynphenbourg, Bavaria. The central hall, which is decorated with fresh Chinese porcelain, is furnished with ivory lacquer furniture with sculptures painted in Prussian blue. The entire pagoda, including the furnishings, was designed by the architect Joseph Effner, who also took care of designing the furniture. The central table follows the same model and line as this cabinet so as to be attributable to the Effner’s hand; the similarity is such that even the shop in which it was executed is the same as the pagodenbourg itself, with the difference that the cabinet in question has a decoration embellished by the highlights in gold.
Gijsbrecht Leytens (Antwerp, 1586-1656) Winter landscape animated with villagers Oil on panel 48 x 74 cm Provenance: private collection, France Literature: Yvonne Thiery, Les Peintres flamands de paysage au XVIIe siècle: des précurseurs à Rubens, published by Lefèbvre et Gillet, Brussels, 1988
Stern Pissarro Gallery
Raoul Dufy (Le Havre 1877-1953 Forcalquier) L'Atelier à Vence Gouache, watercolour, ink and pencil on paper 49.7 x 65.5 cm Signed lower centre 'Raoul Dufy', numbered lower right III and numbered upper right 3 Provenance: private collection, Switzerland, acquired in the 1950s; private collection, thence by descent Literature: Fanny Guillon-Laffaille, Raoul Dufy, Catalogue Raisonné des Aquarelles, Gouaches et Pastels, Paris, 1982, vol. II, n° 1782 (illus. p. 263)
Helene Bailly Gallery
Kees van Dongen (Delfshaven 1877-1968 Monte-Carlo) Portrait de femme à la plume blanche, circa 1908 Oil on canvas 55.5 x 46 cm Signed lower right 'van Dongen' Signed and dated on the frame 'van Dongen circa 1908' Provenance: Galerie Kahnweiler, Paris; Olivier Sainsère, Paris, acquired from the above in 1914; by descent to the former owner Exhibitions: Galerie Kahnweiler, Paris, Exposition d'œuvres de Kees van Dongen, 2-28 March 1908, n° 1 ('Jeune femme au chapeau'); van Dongen et le Bateau-Lavoir, Musée de Montmartre, Paris, February 15th-August 26th 2018 This work will be included in the Catalogue Raisonné de l'œuvre de Kees van Dongen being prepared by the Wildenstein Institute. Attestation of inclusion dated 27 April 2011
Rosenberg & Co.
André Derain (Chatou, France 1880-1954 Garches) Nu debout de face, circa 1937–40 Pastel on thin grey cardboard 48 x 30.8 cm Studio stamp lower right This work is accompanied by a certificate from the André Derain committee Provenance: collection of the artist; Maurice Rheims collection, Paris; private collection (by descent); Rosenberg & Co., New York
Grandfather clock Jacques-Nicolas Baradelle (1701-1770; qualified as a Master Craftsman in 1725) In three parts, in amaranth and ebony veneer with framed latticework H 236 x W 52 x D 27.5 cm The violin-shaped case, which can be attributed to Balthazard Lieutaud (who qualified as a Master Craftsman in 1749), is surmounted by a lantern clock adorned with a representation of Diana the huntress holding her bow. Jacques-Nicolas Baradelle's movement comprises three dials. The peg escapement (‘échappement à chevilles’) features a Huygens-style, flexible, cycloid, long-blade suspension. The bob is adorned with a mask of Dionysus, the Greek god of vines and wine.
Chambre professionnelle belge de la Librairie Ancienne et Moderne (CLAM)
A magnificent watercolor catalog of Japanese arts and crafts WINCKLER. [COMMERCIAL CATALOG]. Japan, circa 1900, 4to (26.5 x 19 cm), contemporary oriental binding with printed fabric cover, contained in a modern cloth box. Superb catalog from the company J. Winckler of Hamburg, featuring drawn and watercolor images of numerous Japanese arts and crafts intended for sale in Europe: decorative objects, porcelains, vases, flower pots, pitchers, soup bowls, baskets, cups, jewelry boxes, brushes, lanterns, shelves, screens, costumes, etc. Each drawing, executed with great delicacy in ink, wash and watercolor, is accompanied by a number. The Winckler company, established in Japan since 1885, is one of the oldest German trading firms still operating in Japan today. 550 ff. on tissue paper containing over 1330 drawings in ink and watercolor. Librairie Chamonal, antiquarian bookseller
Clara Scremini Gallery
Eva Vlčková (Czech Republic, 1966) Empty Case, 2020 Glass H 26.5 x W 39 x D 10 cm Unique piece Eva Vlčková’s sculptural expression is drawn from the unique properties of molten glass, transcending the simple adoration of bright colour, transparency or exaggerated fragility. In her work superimposed planes suggest the richness of colour, the impenetrability and translucidity of glass. The minimalist dream form of the apertures and curves invoke a sense of mystery which draws the viewer in.
Galerie Oscar De Vos
George Minne (Ghent 1866-1941 Sint-Martens-Latem) Man with waterbag, 1897 Bronze Foundry mark J. PETERMANN BRUXELLES H 63.8 x W 41.5 x D 26 cm Signed on base 'GMinne' Literature: H. Fierens-Gevaere, George Minne, in: G. Soulier, Art & Décoration, Paris, Emile Lévy Ed., 1901, pp. 109-110; George Minne, in: Ver Sacrum: Mitteilungen der Vereinigung Bildender Künstler Österreichs, n° 4 (1901), pp. 28-29; L. Van Puyvelde, George Minne, Brussels, Cahier de Belgique, 1930, n° 23, pl. 21; C. H. De Jonge, K. G. Boon, J. V. C. Hefting, e.a., Vlaamse kunstenaars van de Leie 1890-1940, exh. cat. Centraal Museum, Utrecht, 1947, p. 43, n° 88; A. De Ridder, George Minne, Antwerp, ed. De Sikkel, 1947, n° 10; W. Vanbeselaere, Moderne Vlaamse Schilderkunst, Brussel, Arcade, s.d., p. 96; R. Hoozee, (ed.), Veertig kunstenaars rond Karel van de Woestijne, MSK/Provinciebestuur/Stadsbestuur, Ghent, 1970, pp. 46-47, n° 67; S. Creuz, P. D'Arschot, A. Dasnoy e.a., L'Art en Belgique. Hommage à Luc et Paul Haesaerts, Palais des Beaux-Arts, Brussels, 1978, p. 87, n° 42; R. Hoozee & M. Tahon-Vanroose, George Minne en de kunst rond 1900, exh. cat. Gemeentekrediet, Ghent, 1982, pp. 35-40, pp. 132-133, n° 59 & 60; J. D'Haese, Moderne Vlaamse Kunst van Ensor tot Landuyt, exh. cat. Casino, Knokke, 1985, p. 24, n° 30 (ill. of another bronze); A. Pingeot, A. Lenormand-Romain, L. de Margerie, Musée d'Orsay. Catalogue sommaire illustré des sculptures, Réunion des musées nationaux, Paris, 1986; Wilhelm Lehmbruck-George Minne-Joseph Beuys, exh.cat. ASLK/Stad Gent, Ghent, 1991, p. 142; Valerius De Saedeleer en George Minne, Latemse Kunstkring, Sint-Martens-Latem, 1992, p. 64, n° 22; V. Van Doorne, C. Baumann M.A., Sint-Martens-Latem - Worpswerde 1880-1914 twee kunstenaarskolonies, exh. cat. Worpswede, Deinze, Grosse Kunstschau/MDL, 1996, p. 76, n° 10; Engelen-Marx, Beeldhouwkunst in België vanaf 1830, deel I A-D, Algemeen Rijksarchief, Brussels, 2002, p. 2600; R. Hoozee, M. Tahon-Vanroose & C. Verleysen, De wereld van George Minne & Maurice Maeterlinck, exh. cat. Antwerp, Mercatorfonds, 2011-2012, p. 169; I. Rossi-Schrimpf, George Minne. Das Frühwerk (Weimar: VDG, 2012), pp. 79, 163, 190, 212, 370, ill. 74, n° P17 (ill.) A sculpture of the same subject in the museum collections of: - Kröller-Müller Museum, Otterlo, inv. n° KM120.672 - Musée d'Orsay, Paris, inv. n° RF 3257, JdeP 73, LUX 282