23 - 30 JANUARY 2022



23 JAN - 30 JAN 2022


Galleries David Aaron Galerie AB-BA Paolo Antonacci W. Apolloni srl d'Arschot & Cie Art et Patrimoine - Laurence Lenne Artimo Fine Arts Arts et Autographes Galerie Ary Jan Bailly Gallery Helene Bailly Gallery Véronique Bamps Baronian Xippas Galerie de la Béraudière Galerie Berès Galerie Berger Berko Fine Paintings Bernier/Eliades Gallery Dr. Lennart Booij Fine Art & Rare Items Boon Gallery Galerie Alexis Bordes Bernard Bouisset Galerie Boulakia Brame & Lorenceau Brun Fine Art Cabinet of Curiosities-Honourable Silver Objects Callisto Fine Arts Galerie Jean-François Cazeau Galerie Cento Anni Chambre professionnelle belge de la Librairie Ancienne et Moderne (CLAM) Chiale Fine Art didier Claes C L E A R I N G Cortesi Gallery Costermans & Pelgrims de Bigard Galerie Cybele Dalton Somaré De Brock Gallery De Jonckheere Galerie Oscar De Vos De Wit Fine Tapestries Deletaille Gallery Gallery Desmet DIE GALERIE Douwes Fine Art BV Galerie Eberwein Xavier Eeckhout Epoque Fine Jewels Yann Ferrandin Finch & Co A&R Fleury Galerie des Modernes Dario Ghio Gladstone Gallery Gokelaere & Robinson Galerie Grand-Rue Marie-Laure Rondeau Grusenmeyer - Woliner Galerie Hadjer Philippe Heim Marc Heiremans Heritage Gallery Galerie Hioco Charles-Wesley Hourdé Huberty & Breyne Galerie Hurtebize Galerie Jamar rodolphe janssen Francis Janssens van der Maelen Harold t’Kint de Roodenbeke Lancz Gallery Alexis Lartigue Fine Art Galerie Bertrand de Lavergne Lemaire Francis Maere Fine Arts Kálmán Makláry Fine Arts Galerie Martel-Greiner MARUANI MERCIER Gallery Nao Masaki Galerie Mathivet Meessen De Clercq Montagut Gallery Galerie Montanari MORENTZ Jan Muller Antiques Klaas Muller Gioielleria Nardi Opera Gallery Osborne Samuel Gallery Galeria Jordi Pascual La Patinoire Royale / Galerie Valérie Bach La Pendulerie Galerie Alexis Pentcheff Guy Pieters Gallery Galerie de la Présidence Galerie Günter Puhze Gmbh Maison Rapin Repetto Gallery Röbbig München Robertaebasta Rosenberg & Co. Rueb Modern and Contemporary Art São Roque – Antiguidades e Galeria de Arte Galerie Schifferli Adrian Schlag Serge Schoffel - Art Premier Galerie Schoffel de Fabry Clara Scremini Gallery Herwig Simons Fine Arts Galerie Sismann STEINITZ Stern Pissarro Gallery Simon Studer Art Associés Studio 2000 Art Gallery Galerie Taménaga Gallery Tanakaya Tenzing Asian Art Theatrum Mundi Theunissen & de Ghellinck Galerie Patrice Trigano Univers du Bronze Van der Meij Fine Arts Samuel Vanhoegaerden Gallery Maurice Verbaet Gallery Galerie von Vertes Axel Vervoordt Galerie Florence de Voldère N. Vrouyr Waddington Custot Floris van Wanroij Fine Art Victor Werner Whitford Fine Art Willow Gallery

Maison Rapin

Robert Goossens (Paris, 1927-2016) Sculpture, made for Yves Saint Laurent Rock crystal cross, amethyst, bronze pearl, gilded brass leaves, wheat and rock crystal base France, circa 1980 H 48 x W 21 x D 13 cm


Galerie Eberwein

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.


Heritage Gallery

Nickolas Juravel (Ukraine, Kyiv 1960) Hive, diptych, 2006 Wood, gesso, honeycomb, wax, oil H 210 x W 200 cm x 2 parts


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.


Galerie Alexis Bordes

Marcel Delmotte (Charleroi, 1901-1984) At the edge of the new era, 1966 Oil on panel 70 x 90 cm Signed and dated lower left ‘M. Delmotte 1966’ Signed and titled on the back Provenance: private collection, France


Repetto Gallery

Michelangelo Pistoletto (Biella, 1933) Girasoli, 1970s Silkscreen on polished stainless steel mirror 100 x 70 cm Edition 357 of 450 Signed and numbered on the reverse Provenance: private collection, Brescia


Bernard Bouisset

Van Cleef & Arpels 'Christmas Roses' brooch and earrings suite Grey mother of pearl diamond white gold brooch and earrings suite


Maison Rapin

Robert Goossens (Paris, 1927-2016) 'Coral' mirror Gilded bronze imitating coral, mirrored glass and Mediterranean coral France, circa 1970 125 x 90 cm Signed


De Jonckheere

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


Guy Pieters Gallery

Jesús Rafael Soto (Ciudad Bolivar, Venezuela 1923-2005 Paris, France) Escritura - Para Getulio Alviani, 1974 Mixed media H 102 x W 200 x D 13 cm


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)


Marc Heiremans

A hand knotted carpet Studio Elisabeth De Saedeleer (Sint-Martens-Latem 1902-1972 Brussels) after a carton Kurt Lewy (Germany, Essen 1898-1963 Freibug im Breisgau) Wool and cotton 310 x 240 cm Woven monograms and date


Bernier/Eliades Gallery

Philip A. Zimmermann (Saarbrücken, 1988) Untitled, 2020 Acrylic on canvas 65 x 55 cm


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


Francis Janssens van der Maelen

Jean Puiforcat (Paris, 1897-1945) Tureen or centerpiece Silver and jadeite Paris, circa 1950 Weight 1.929 gr Ø 24.5 cm Literature: Françoise de Bonneville, Jean Puiforcat, Editions du Regard, 1986 ill. p. 87


Galerie Hurtebize

Hans Hartung (Leipzig 1904-1989 Antibes) T1960-19, 1960 Vinyl paint on paper 64.7 x 49.6 cm Certificate by Hartung-Bergman Foundation Provenance: private collection, Italy


Galerie Ary Jan

Ferdinand Loyer du Puigaudeau (France, 1864-1930) The pink tamarix in Batz-sur-Mer, circa 1905 Oil on canvas 46 x 55 cm Signed lower left


Galerie Berger

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.


Philippe Heim

Gaston Le Bourgeois (France, 1880-1956) The carrier pigeon Bronze with brown patina H 22 x W 28.5 x D 14 cm Cast iron 11/20 Designed and edited by the Colin Foundry around 1925


Stern Pissarro Gallery

Paul Jenkins (Kansas City 1923-2012 New York) Phenomena Spectrum Guardian, 1970 Acrylic on canvas 76 x 101.5 cm Signed lower middle 'Paul Jenkins'


Jan Muller Antiques

Jan Fijt (Antwerp, 1611-1661) Still life with a lobster, dead hare, a roomer and peaches on a table ledge Oil on canvas 72 x 90 cm Signed upper right on the marble pillar


La Patinoire Royale / Galerie Valérie Bach

Alice Anderson (London, 1972) Chromatiques Aléatoires, 2020 Copper and red metallic threads 61 x 49 cm Courtesy Studio Alice Anderson & La Patinoire Royale-Galerie Valérie Bach


Galerie Cento Anni

Jean Desprès (Souvigny 1889-1980 Avallon) Soliflore, circa 1935 Silver plated 12 x 30 cm Signed 'J. Desprès', Master stamp 'J.D'


Galerie des Modernes

André Lhote (Bordeaux 1885-1962 Paris) Ville du Nord, Bruges, 1922-1923 Watercolor on paper mounted on paper 22.6 x 30 cm Signed lower left 'A. LHOTE' Certificate of authenticity from Dominique Bermann-Martin, Paris on June 15, 2020


Victor Werner

Attributed to Jean-François Vermeylen (1824-1888) Belgium, second half of the 19th century The Way of the Cross Marble 60 x 50 cm 1 out of 14 bas-reliefs


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, 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