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Galerie Nicolas Bourriaud
Raymond de Meester (Mechelen 1904-1995 Brussels) Yawning Leopard, circa 1928-1929 Bronze with a nuanced brown patina H 45.2 x W 41.6 x D 15.5 cm Signed ‘Rd de Meester de B’, titled ‘Yawning Leopard’ and dated ‘1928–29’ Batardy cast, numbered I/III, bearing the stamp ‘BATARDY CIRE PERDUE BRUXELLES’, and the inscriptions ‘Épreuve d’Artiste’ and ‘cire perdue’ Literature: Léonard Dieleman, Raymond de Meester de Betzenbroeck, Animal Sculptor, Gallery Dieleman, Brussels 1989, repr. n° 5; Xavier de Ghellinck Vaernewyck, ‘de Meester de Betzenbroeck’, Nouvelle Biographie Nationale, Part 6, Royal Academy of Belgium, Brussels, 2001, pp. 133–135
Franck Anelli Fine Art
Transition period secretary in wardrobe stamped Charles TOPINO (1742-1803) and Jurande hallmark Rectangular in shape, the front uprights with cut sides, the front legs arched, the hind legs straight, the oak frame, it opens with a drawer, two leaves and a flap revealing a compartmentalized interior of seven drawers and four compartments. Top of breccia marble from Aleppo. Inlaid decoration in rosewood, amaranth, holly, sycamore, lemon tree, stained wood, tobacco wood, drawing lattices on the uprights and the upper drawer, those of the latter, embellished with flowers, and trompe-l'oeil on the front and on the sides, a decoration of garlands of oval cartouches of stylised acanthus leaves uniting the panels of the toilet seat and the leaves, each also presenting, in the upper part, a leafy garland that can be found on the side panels. The latter are decorated with two gadrooned urns close to the flowered vases of the leaves. The toilet seat has a trompe-l'oeil perspective decoration, an orangery whose open shutters give a glimpse of a wooded landscape in the distance, a perspective accentuated by the checkerboard paving, also present on the leaves. Eight boxes of fruit trees are spread around a table on which are placed two flowered vases and under which is a watering can. The interior reveals six side drawers in three rows, inlaid with a floral vase pattern, as well as a central drawer. Stamped TOPINO and hallmark of Jurande Charles TOPINO received master in 1773 The art of marquetry The bronzes are discreet on our desk and this is intended to give pride of place to marquetry, qualified as wooden painting. If it is possible and tempting - rightly to link a cabinetmaker to his marquetry and this is regularly the case for Topino whose utensil marquetry inspired by the borders of Chinese Coromandel lacquer screens of the time is a characteristic of the artist - it turns out that the models circulated and that inlaid panels could be used by the same circle of cabinetmakers. If the vases, potiches, flowers, utensils reproduced, invented, associated, allow us to recognize Topino's art, it should be noted that the framing motif made up of oval reserves with quartefeuilles and spandrels can be found on secretaries, a chest of drawers and a dressing table stamped Jacques Bircklé. By this same cabinetmaker, a secretary also presents the same vases present on our furniture. Very similar marquetry panels. both in their compositions and in their frames can be found on a chest of drawers attributed to Jacques Bircklé, illustrated in the book by Pierre Kjellberg, who also defines the paving pattern as Bircklé's "almost exclusiveness". our secretary thus witnessed the circulation of drawn or engraved models -
Galerie des Modernes
Jean Dubuffet (Le Havre 1901-1985 Paris) Personnage (buste) M. 406, 29 March 1967 Marker pen and gouache on paper with cut and pasted elements 45,5 x 26 cm Signed with the artist’s initials and dated lower right Annotated lower right Provenance: Jean Dubuffet collection, Paris; Ludovic Massé collection (1900–1982), Perpignan (gift from the artist, March 1968); private collection, France Literature: Max Loreau, 'Catalogue des Travaux de Jean Dubuffet, Fascicule XXII: Cartes, Ustensiles', Weber Publisher, Lausanne, 1972, pp. 145 and 188, ill. p. 145, n° 371
Willow Gallery
André Lhote (Bordeaux 1885-1962 PAris) Pique-nique à Mirmande, 1939 Oil on paper, laid down on canvas 106 x 127 cm Signed lower right Provenance: Simone Lhote, Paris (wife of the artist); Suzanne Bermann, Paris (by descent from the above); Soufer Gallery, New York (acquired from the above, 1988); Acquired from the above by the late owner, March 1991; private collection, Chicago This work is accompanied by a certificate of authenticity from Dominique Bermann Martin and will be included in the forthcoming Lhote catalogue raisonné currently in preparation. Exhibition: New York, Soufer Gallery, André Lhote: Cubism and Later Periods, April-May 1988 (ill. in colour; dated 1927)
Spazio Nobile Gallery
Pao Hui Kao, Urushi Black in Red Lacquer Leaf, 2023, Crepe paper, rice glue, Urushi lacquer, red and black pigments, gold kinstsugi, 114 x 70 x 16 cm, unique piece, signed by the artist at the back /Black Urushi Paper Pleats, 2023 tracing paper, rice glue, Urushi lacquer, black pigment, sideboard (70 x 33 x 135 cm), low stool (45 x ø 32 cm), low bench (35 x 130 x 29 cm), side table (60 x ø 32 cm), unique pieces, signed and dated by the artist Certificates of authenticity Bibliographical references: Pao Hui Kao, 25 Seasons, Artist Book, Spazio Nobile Editions, Brussels, 2024 Exhibitions: Fondation POC, Brussels, 2020 Jewish Museum, Brussels, 2021 LOEWE FOUNDATION Craft Prize Finalist, Seoul, 2022 Pao Hui Kao, 25 Seasons, Solo Exhibition, Spazio Nobile, Brussels, 2023-2024 Fondazione Dries Van Noten, Venice, 2026
Galerie Jean-François Cazeau
Niki de Saint Phalle (1930-2002) La Force (Strenght), 1987 Painted polyester resin 35 x 53,3 x 29,2 cm Edition of 10, numbered 3/10 Artist's signature and number '3/10 Niki de Saint Phalle' (on a plaque fixed at the bottom) Provenance: artist's studio; Gallery Gimpel Fils, Londres; private collection, acquired in 1989; private collection, France
Vagabond Antiques
Wall Lights Attributed to Giocondo Albertolli (1742-1839) Milan, Late 18th Century Height: 72cm Width: 45cm Depth: 37cm These elegant gilt-metal wall sconces are attributed to the Milanese architect, designer and ornamentist Giocondo Albertolli, one of the leading figures of Italian Neo-classicism. Their design closely relates to the engraved ornament published in Albertolli's celebrated pattern books, particularly Ornamenti Diversi (Milan, 1782), which played a central role in disseminating the new classical taste throughout Lombardy and Northern Italy. The sconces display many of the motifs associated with Albertolli's ornamental vocabulary, including scrolling acanthus brances, finely fluted candle sockets and radiating drip pans. Their unusually tall proportions and boldly projecting arms give them a distinctly sculptural character, creating a sense of movement and depth rarely encountered in wall lights of the period. The open voluted arms, enriched with naturalistic foliage, closely resemble a number of Albertolli's published designs for girandoles and wall lights. Born in Bedano, near Lugano, Albertolli settled in Milan in 1774 at the invitation of the architect Giuseppe Piermarini. As Professor of Ornament at the Brera Academy he exerted a profound influence on the decorative arts of Northern Italy, providing designs for architecture, furniture, metalwork and interior decoration. His published engravings became an important source for craftsmen working in the Neoclassical style throughout the late eighteenth century. The present sconces are attributed to Giocondo Albertolli and were almost certainly produced by craftsmen working within the circle of artists and decorators associated with him in late eighteenth century Milan. Their refined design and high quality of execution reflect the sophisticated decorative arts tradition that flourished in Lombardy during the Neoclassical period. Height: 72cm Width: 45cm Depth: 37cm
Vagabond Antiques
A Neoclassical Painted and Parcel-Gilt Console Table. Italy Late 18th Century An elegant Italian neoclassical console table retaining its beautifully faded original painted and parcel-gilt decoration. The original shaped solid Breccia Violette marble top rests voce a panelled frieze decorated with scrolling acanthus, flower-filled classical urns and carved paterae. The table is raised on four beautifully proportioned fluted legs, tapering to an unusually fine point and giving the table a particularly elegant and refined profile. Height: 90cm Width: 110cm Depth: 54cm
Stern Pissarro Gallery
GLENN BROWN (b. 1966) Drawing 2 (after Delacroix/Raphaël) Executed in 2019 Acrylic on polyester film laid down on cardboard 109.2 x 94 cm Signed and dated lower right, Glenn Brown 2019 The work has the artist's signed label on the reverse Provenance: Galerie Max Hetzler, Berlin Private collection, Belgium, acquired from the above Exhibitions: Paris, Musée national Eugène Delacroix, Glenn Brown, 10 October - 9 December 2019 Berlin, Galerie Max Hetzler, And Thus We Existed, 30 October 2020 - 23 January 2021, no. 6, pp. 40-41, 43-44, 125, 152 (illustrated, p. 41, detail illustrated, p. 43, exhibition view illustrated, pp. 44, 125) Provenance Galerie Max Hetzler, Berlin Private collection, Belgium, acquired from the above Exhibitions Paris, Musée national Eugène Delacroix, Glenn Brown, 10 October - 9 December 2019 Berlin, Galerie Max Hetzler, And Thus We Existed, 30 October 2020 - 23 January 2021, no. 6, pp. 40-41, 43-44, 125, 152 (illustrated, p. 41, detail illustrated, p. 43, exhibition view illustrated, pp. 44, 125)
Galerie Flak
U’u Club Marquesas Islands, Polynesia, 18th or 19th century Carved wood and fibers H 138,5 cm Provenance: David Petty collection, London; Pierre-Richard Royer collection, Paris; Alexandre Bernand collection, Paris; private collection, acquired from the above in September 2016 Exhibition: TEFAF 2024, Maastricht, Serge Schoffel, catalogue T3, p. 28
Galeria Jordi Pascual
Fernand Léger (Argentan 1881-1955 Gif-sur-Yvette) Paysage animé, 1937 Oil on canvas 92,1 x 60 cm Provenance: Galerie Simon, Paris; Galerie Louise Leiris, Paris; Kunsthalle Bern; Marlborough Gallery, London; Saidenberg Gallery, New York; Michelle Rosenfeld Gallery, New York; Nierendorf Gallery, New York; Samuel Berger, New York; private collection Literature: Cooper, Douglas, Fernand Léger et le nouvel espace, Lund Humphries / Éditions des Trois Collines, 1949, p. 130; Bauquier, Georges, Fernand Léger: Catalogue raisonné 1932–1937, 1996, pp. 238–39, fig. 938 Exhibitions: San Francisco Museum of Art, Art of Our Time, 1935–1945, 1945, cat. p. 33, fig. 39; Marlborough Gallery, London, Selected European Masters of the 19th and 20th Centuries, 1973, cat. pp. 78–79, fig. 39; Stad Mechelen, Cultureel Centrum, Belgium, Fernand Léger, 1979, fig. 60; Museo de Arte Contemporáneo, Caracas, Fernand Léger, 1982, cat. p. 74, fig. 46; Whitechapel Art Gallery, London, Fernand Léger: The Later Years, 1987–88, cat. p. 19, fig. 21; Staatsgalerie, Stuttgart. Fernand Léger: Zeichnungen, Bilder, Zyklen, 1930–1955, 1988, cat. p. 190, fig. 21; Michelle Rosenfeld Gallery, Léger: America’s Culture, 1998, cat. fig. 18; Fundació Joan Miró, Fernand Léger, 2002, cat. p. 129; Marlborough Fine Art, London, Jacques Lipchitz and the School of Paris, 2023
