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Galerie Uzal
Jean Delville (Louvain 1867-1953 Forest) La Libération, 1936 Oil on canvas 188.5 x 240.5 cm (framed) Signed and dated Exhibition: Brussels, Salon de la Société des Beaux-Arts-Salon de Printemps 1936 In a letter addressed to the former owner and dated 1 July 1947, Jean Delville described the work as follows: 'Man, in flight, frees himself and escapes towards broader horizons and spaces of freedom, while the forces of evil hold him back in the lower spheres of the world, where the inert mass of beings remains imprisoned by their prejudices, desires, passions and selfishness.'
Galerie bei der Albertina ▪ Zetter
Dagobert Peche (Sankt Michael im Lungau 1887-1923 Mödling) Lamp, Design 1921 Manufactured by the Wiener Werkstätte, model number M 3494-M la 24 Brass, embossed, floral decoration, foot with beaded decoration, one flame, lamp shade renewed, new electrification H 87 cm - Ø 46 cm (lamp shade) Marks: WIENER / WERK / STÄTTE, monogram DP According to the MAK only two lamps were manufactured in the year 1923 Provenance: collection Schedlmayer Literature: cf. WW Archive, MAK Vienna, design sketch lamp base KI 12649-5-2, photo archive inventory n° WWF 98-116-1 as well as entry in the book of commissions of the Wiener Werkstätte model book WWKA 679; cf. Exhibition catalogue ‘Die Überwindung der Utilität. Dagobert Peche und die Wiener Werkstätte’, ed. by Peter Noever, MAK, Vienna 1998, ill. p. 221, n° 51; cf. Exhibition catalogue ‘Dagobert Peche and the Wiener Werkstätte’, ed. by Peter Noever, MAK, Vienna 1998, Neue Galerie, New York 2002, ill. p. 228, n° 45; Exhibition catalogue ‘Die Sammlung Schedlmayer. Die Entdeckung’, ed. by Ivan Ristic, Hans-Peter Wipplinger, Leopold Museum, Vienna 2021, ill. p. 72 Exhibition: Vienna, Leopoldmuseum, 'Die Sammlung Schedlmayer. Eine Entdeckung', 2021
Van Herck-Eykelberg
Jean Dubuffet (Le Havre 1901-1985 Paris) Personnage, 1964 India ink on paper 22 x 17.5 cm Signed with the artist's monogram and dated 'Mars 64' Literature: Max Loreau, Catalogue des travaux de Jean Dubuffet, Fascicule XX: L'Hourloupe I, Paris 1966, p. 139, n° 283, ill b/w Provenance: Galerie Beyeler, Basel; Artel Galerie, Geneva; private collection, France Exhibitions: Venice, Palazzo Grassi, Centro Internazionale delle Arti e del Costume, L'Hourloupe di Jean Dubuffet, 15 June-13 September 1964, n° 48; Amsterdam, Stedelijk Museum, Jean Dubuffet: Tekeningen, gouaches, 26 November 1964-11 January 1965, n° 192; Basel, Kunstmuseum, Jean Dubuffet, Zeichnungen, Aquarelle, Gouachen, Collagen, 6 June-10 August 1970, p. 133, n° 132
Galerie Alexis Pentcheff
Carved wooden frame, gilded with gold leaf, fitted with its original mercury glass Spain, 17th century Symmetrical decoration featuring four cherubs, stylised scrolls, acanthus leaves and gemstones at the corners Provenance: Amedeo Montanari collection Literature: Amedeo Montanari and Roberto Lodi, Directory of European frales, editions Galleria Roberto Lodi, 2003, repr. n° 641, p. 323
Laurent Schaubroeck
José Zanine Caldas (Belmonte 1919-2001 Vitória) Moveis Artisticos Z 2-21 Zeca armchair, circa 1949 Leather, plywood, hardware H 87 x W 67 x D 77 cm An early 2-21 'Zeca' armchair by José Zanine Caldas for Móveis Artísticos Z. Introduced circa 1949, the 2-21 represents the first edition of the model, before Zanine later adapted the design with Airfoam cushioning and renumbered it 2-24. Its sculptural plywood structure and leather upholstery fully represent Zanine’s pioneering approach to Brazilian modern furniture.
Galerie Oscar De Vos
Frits Van den Berghe (Ghent, 1883-1939) The companions, 1932 Oil on canvas 150 x 130 cm Signed lower right 'FVBerghe 32' Provenance: Alla and Bénédict Goldschmidt collection, Brussels Literature: Langui, Frits Van den Berghe en de jongere generatie, in: Kunst-Kultuur, yr. 1, 1940, p. 4; Van Hecke, Frits Van den Berghe, in: Les Peintres Contemporains, 1948, pp. 99-110, cat. 55; Van Hecke, A propos des deux expositions de Frits Van den Berghe, in: Les Arts plastiques, n° 5-6, 1948, pp. 240-242, pl. 55; Haesaerts, Sint-Martens-Latem. Gezegend oord van de Vlaamse kunst, 1965, n° 689; Langui, Frits Van den Berghe. Catalogue raisonné de son oeuvre peint (Bruxelles: Laconte, 1966), n° 396; Langui, Het Expressionisme in België, 1970, pl. 81, p. 128; Hoozee, Tahon-Vanroose & Bown-Taevenier, Frits Van den Berghe, 1983, p. 164; Boyens, Frits Van den Berghe, 1999, pp. 161, 233, n° 132; Boyens, Frits Van den Berghe, 1999, p. 290, n° 753; Pauwels, Als een fonkelenden spiegel, 2019, pp. 296-297 Exhibitions: Frits Van den Berghe en Joseph Cantré, 1933, Ghent, n° 6; Belgisk Konst, 1934, Stockholm, n° 204; Belgisk kunst - Belgisk utstillung av moderne kunst i Norge ordnet ved L'art contemporain i Antwerpen, 1934, Oslo, n° 204; Hedendaagse Belgische Kunst, 1937, Moscow & Leningrad, n° 9; Les Compagnons de l'Art, 1938, Brussels, n° 187; Deurle 6 July 1997 (The Deurle Conversation), 1997, Deurle; 1999, Ostend, Retrospectieve Frits Van den Berghe, n° 132
Van Herck-Eykelberg
Léon Spilliaert (Ostend 1881-1946 Brussels) The White Domino, 1912 India ink, gouache, crayon on paper on cardboard 88,5 x 67,5 cm Signed and dated top right ‘L. Spilliaert / 1912’ The work will be included in the forthcoming catalogue raisonné currently in preparation by Ms. Anne Adriaens Pannier Provenance: Ms Madeleine Spilliaert, Brussels; Ms. Irmingarde van Rossum, Brussel (2000); De Vuyst, Lokeren, 2016, Moderne en Hedendaagse Kunst, n° 163, cat. 163; private collection, Belgium Exhibition: 2000 Knokke, Casino, Léon Spilliaert (1881-1946). Onbekende werken. Oeuvres inédites. Unbekannte Werke. Unseen works, 6 May-18 June 2000; verlenging: 23 June-3 September 2000: cat. 41, ill. in colour p. 77
LUDORFF
Gerhard Richter (Dresden, 1932) Fuji 839-108, 1996 Oil on alucobond 29 x 37 cm Signed and numbered '839-108' on the reverse Certificate of authenticity issued by Hubertus Butin, Berlin 2010 Provenance: Galerie Hubertus Melsheimer, Cologne (2011); Galerie Ludorff, Dusseldorf (2013); private collection, Hesse (on permanent loan to the Mönchehaus Museum Goslar) Literature: Galerie Ludorff, 'Neuerwerbungen Frühjahr 2024', Dusseldorf 2024, p. 100; Galerie Ludorff, 'Gerhard Richter', Dusseldorf 2013, p. 51; Kunstsammlung Nordrhein-Westfalen (ed.), 'Gerhard Richter mit dem Catalogue Raisonné 1993-2004', Dusseldorf 2005, n° 839-108; Hubertus Butin/Stefan Gronert, 'Gerhard Richter. Editionen 1965-2004. Catalogue Raisonné', Ostfildern-Ruit 2004, n° 89 Exhibitions: Galerie Ludorff, 'Neuerwerbungen Frühjahr 2024', Dusseldorf 2024; Galerie Ludorff, 'Gerhard Richter. Abstrakte Bilder', Dusseldorf 2013 Gerhard Richter has been exploring abstraction in depth since the late 1960s. In the late 1990s, he developed the ‘Fuji’ series. As part of this series, Richter no longer applies paint to canvas, but to Alucobond, an aluminium composite panel. This highly durable panel with a smooth surface allows for the creation of particularly delicate colour structures. Richter applies the three colours that form the basis of the painting - a vibrant red, a rich green and a warm yellow-orange - to the substrate in three horizontal bands. Using a squeegee, a painting tool resembling a narrow plastic strip, the artist applies the white oil paint and draws it across the coloured surface in thin layers from the top to the bottom edge of the picture. The white paint blends with the tones of the background. This technique creates a highly complex, delicate structure on the panel, characterised by great painterly subtlety. Viewed from top to bottom, red, green and white alternate with one another. The orange, also used by Richter, is now only partially visible in the right-hand half of the composition. As the application of paint with a squeegee can only be controlled to a limited extent, the principle of chance comes into play. The title ‘Fuji’ allows for interpretation on two different levels, namely, ‘[…] the conical volcano on the island of Honshu, which, as Japan’s sacred mountain, is the country’s national symbol, and the Japanese film and photography manufacturer of the same name, whose products are also widely available in Germany. As a photographer, Richter sometimes uses Fuji film; furthermore, in 1991 he spent two weeks travelling through Japan, during which he saw the famous mountain. Some of the paintings, with their streaky, at times almost graphic structural elements, do indeed bear a distant resemblance to old-master Japanese or Chinese landscape depictions.' The background to the creation of the ‘Fuji’ paintings lies in the approach made to the artist by Helmut Friedel, director of the Städtische Galerie im Lenbachhaus. Richter’s ‘Atlas’ - a collection of photographs, sketches, documents and reference materials by the artist - was to be acquired for the Lenbachhaus collection. To finance the purchase, Richter agreed to paint a series of oil paintings for the museum. The proceeds from the sale of these ‘Fuji’ paintings played a key role in enabling the museum to acquire the ‘Atlas’ collection of documents. Much like the works in the ‘Green-Blue-Red’ series, the appearance of each individual painting in the ‘Fuji Edition’ varies considerably, as they were painted in portrait rather than landscape format. Furthermore, the varying degrees to which the base colours had dried by the time the white layer was applied result in the colours blending in ever-changing ways. Whilst some ‘Fujis’, with their extremely delicate colour blends, invite the viewer to discover their detailed textures, others, in stark contrast, exude a particularly strong sense of self-assurance. Although the ‘Fujis’ comprise a series of 110 works conceived along the same lines, each one is unique and wonderfully illustrates the principle of Gerhard Richter’s abstract painting, which treads the fine line between conceptual work and the principle of chance.
Galerie Hurtebize
Maurice Utrillo (Paris 1883-1955 Dax) Commune de Maixe (Meurthe-et-Moselle), 1924 Oil on canvas 98.4 x 131.3 cm Signed and dated lower left Certificate by Hélène Bruneau, President of the Utrillo-Valadon Committee Provenance: private collection, France Literature: P. Pétridès, L’Œuvre complet de Maurice Utrillo, Paris, 1974, vol V, p. 238, n° 2720 (ill. p. 239)
Marty de Cambiaire
Hans Rottenhammer (Munich 1564-1625 Augsburg) Minerva and the Muses, 1606 Oil on copper 32.8 x 39.4 cm Signed with a monogram and dated '1606/ HR' on the rock, centre right Provenance: said to have belonged to the Earl of Roseberry, Mentmore, Buckinghamshire; private collection, Danbury, Connecticut; Jean-Luc Baroni Ltd., London, 2011; Charles Petit collection, London, 2011; Sotheby’s, London, 8 July 2015, lot 39; private collection Literature: Bernard Aikema, in 'Hans Rottenhammer', exhibition catalogue, Munich, 2004, p. 38, repr. fig. 55; Jean-Luc Baroni, 'Master Paintings at the Tefaf Art and Antiques Fair', cat. 2011, n° 8
Galerie Cento Anni
Philippe Wolfers (Brussels, 1858-1929) Salomé Drapée, 1928 Bonze and marble base H 52.5 x W 49.5 x D 17.5 cm Signed 'Ph. Wolfers' Bears the foundry mark Montagutelli Provenance: Wolfers' family Literature: Werner Adriaenssens and Raf Steel, The Wolfers Dynasty, p. 426, n° 324 Exhibitions: Antwerp, 1929; Ghent, 1979
Caretto & Occhinegro
Lucas Gassel (Deurne circa 1488-1570 Brussels) Landscape with the penitent Saint Jerome, circa 1543-1545 Oil on oak panel 56 x 85 cm Signed with traces of the monogram LG (interlaced) lower left on the rock Expertise by Peter van den Brink and the gallery is grateful to Luc Serck for confirming the authorship of this work
Galerie Jean-François Cazeau
Victor Vasarely (Pecs 1908-1997 Paris) EG-2, 1965 Acrylic on canvas 160 x 160 cm Signed in the centre Countersigned, titled and dated on the reverse Certificate of authenticity issued by Pierre Vasarely dated 26 July 2020 Provenance: the artist’s studio; Galerie Denise René, Paris; private collection, France
Floris van Wanroij Fine Art
Anna Ruysch (The Hague 1666-1754 Amsterdam) Flowers in a Glass Vase on a partly draped Marble Ledge Oil on canvas 47 x 37.5 cm Signed Anna Ruysch lower left The present picture is recorded at the RKD in The Hague under n° 194147 as by Anna Ruysch Provenance: sale Piasa, Paris, 27 July 2008, Lot 16; Kunsthandel P. de Boer, Amsterdam, 2008; Kunsthandel Xaver Scheidwimmer, Munich, 2009; private collection, Ohé en Laak, The Netherlands; thence by decent Exhibitions: Kunsthandel Xaver Scheidwimmer, TEFAF Maastricht, 13-22 March 2009; Rachel Ruysch. Artist, Naturalist and Pioneer (traveling exhibition) Munich, Alte Pinakothek, 26 november 2024-16 March 2025; Toledo OH, Toledo Museum of Art, 13 April-27 July 2025; Boston, Museum of Fine Arts, 23 August-7 December 2025 Literature: Schindler, R., Ebert, B. & Knaap, A. C. (2025). Rachel Ruysch. Nature into Art. Boston: MFA Publications, exh. cat., p. 24, ill. n° 12, identified as by Anna Ruysch
Virginie Devillez Fine Art
Théo Van Rysselberghe (Ghent 1862-1926 Saint-Clair) Baie de Saint-Brélade, 1907 OIl on canvas 65.5 x 81 cm Monogrammed and dated '07' lower left Titled on the stretcher Provenance: private collection, Belgium; thence by descent to the present owner Literature: Ronald Feltkamp, 'Théo Van Rysselberghe. Catalogue raisonné', les éditions de l’amateur/Éditions Racine, 2003, CR 1907-003 (ill. p. 363) Exhibitions: Paris, Bernheim-Jeune, 'Théo van Rysselberghe', 1908, cat. n° 43; Rotterdam, Rotterdamse Kunstkring, 'Théo van Rysselberghe', 1909, cat. n° 29; Groningen, Galerie Hofsteenge, 'Pictura Théo van Rysselberghe', 1910, cat. n° 24; Berlin, Ausstellungshaus Kurfürstendam, 'Sezession', 1912, cat. n° 231 (?)
