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Gallery Sofie Van de Velde
james ensor
James Ensor (Ostend, 1860-1949) The Kingdom of Venus, 1921 Oil on canvas 50.5 x 61 cm – framed: 64.5 x 75 cm Signed bottom left corner Provenance: Gallery Sofie Van de Velde; private collection; sale Galerie des Beaux-Arts (Renaissance), Brussels, December 16th, 1941, n° 78 ('Le Bonheur'); sale G. Rosen, Frankfurt, October 11th, 1960, n° 408 ('Das Reich der Venus'); Galerie Wilhelm Grosshennig, Düsseldorf Literature: Xavier Tricot, James Ensor. Leven en werk. Oeuvrecatalogus van de schilderijen, Mercatorfonds, Brussels, 2009, n° 514, p. 357 repr. in colour
Gallery Desmet
Head of Goddess Marble Roman, 1st century AD H 21 x W 14 x D 15 cm Certificat d'un bien culturel: 242734 Accompanied by Art Loss Register certificate: S00236852 Provenance: the attics of Château de Monty Saint-Eloi (Oise), bought in 1896 (collection of Alfred Dailly 1848-1929); by descent to the Dugardin family, sold in their succession in 2023
Hoffmans Antiques
Pair of Gustavian armchairs Ephraim Ståhl (Sweden, 1768-1820) Parcel gilt and bronzed wood Stockholm, circa 1810 H 85 x W 63 x D 50 cm Each armchair has a scrolled back and armrests decorated with carved laurels. The side rails are adorned with griffin heads and a palmette frieze; the fluted, tapered front legs with leaf-tip carvings. The sabre-shaped back legs end in lion's paw feet. The pair of armchairs is attributed to Ephraim Ståhl and made around 1805. Ephraim Ståhl a renowned Swedish craftsman who was a prominent furniture maker from the late 18th century to the early 19th century. Known for the high quality of his work and as well his bold, innovative designs. Ståhl became a favorite of the Swedish Royal family, with his pieces featured in nearly every royal castle. This model however featuring griffins beneath the armrests, is one of Ståhl’s more unusual designs, rarely seen on the open market. It was likely a special commission, possibly by Duke Karl, the brother of Gustav III, who had a particular fondness for the griffin motif, incorporating it throughout the interiors of Rosersberg Castle.
Galerie des Modernes
guillaume corneille
Corneille alias Guillaume Cornelis van Beverloo (Liege 1922-2010 Auvers-sur-Oise) The rocky soil has become a garden, 1961 Oil on canvas 73 x 92 cm Signed and dated lower left 'Corneille 61' Countersigned, dated and titled on the back 'Corneille 61 / the rocky soil has become a garden' Certificate of authenticity from the Guillaume Corneille Foundation, signed by Mrs Beverloo-Corneille Provenance: private collection, France Literature: Une nouvelle figuration, exh. cat. Galerie Mathias Fels, Paris, 1961, repr. in black and white, unpaginated Exhibition: Une nouvelle figuration, Galerie Mathias Fels, Paris, November-December 1961
Victor Werner
bert de leeuw
Bert De Leeuw (Antwerp, 1926-2007) Gedenksteen voor een Onbekende, 1955 Mixed media on canvas H 128 x W 96 cm Titled, signed and dated on reverse of canvas 'Gedenksteen voor een Onbekende 55' Literature: Bert De Leeuw, Monografie, Antwerpen, uitgeverij Pandora, 1997, ill. p. 51 Bert De Leeuw was a self-taught artist, excelling as a painter, draughtsman, sculptor, and engraver. He began his career in advertising but switched to art full-time in 1962. Known for his abstract and informal style, De Leeuw's early works used thick, textured materials to evoke interstellar spaces. He was a co-founder of the influential ‘G58’ artist group in Antwerp, which played a pivotal role in post-war abstract art. Over time, he transitioned from painting to sculpture, focusing on geometric forms and public art. De Leeuw exhibited internationally, including at the Paris and Tokyo Biennales, and won multiple awards, including a 2nd prize from 'De Beers' for jewellery design. He was later honoured as a 'Knight of the Order' by Leopold II.
Stéphane Renard Fine Art
giuseppe porta
Attributed to Giuseppe Porta (Tuscany 1520-1575 Venice) Allegory of Chastity Black chalk and white highlights on faded blue paper, lined with laid paper 15.5 x 12.8 cm 17th century Dutch frame in ebony veneer Provenance (of the drawing): Sir Peter Lely (1618-1680), his mark lower right (Lugt 2092), until its sale in April 1688, when our drawing was bought by William Gibson (1644-1702) from the inscription on the verso; Sir Lawrence Gowing (1918-991), label on the original mounting board Provenance (of the frame): Marquis Carlo Camillo Visconti Venosta (1879-1942), from a stamped inscription on the verso of the frame; Cadres Lebrun
Romigioli Antichità
Standing Madonna with Child, circa 1290-1310 Polychrome sandstone (and restorations) Northern Spain (in particular the cultural area between Castilla and Léon, La Rioja, the Basque Country and Navarre) H 102 x W 65 x D 42 cm Provenance: private collection, Genoa Condition: the lower part of the statue is missing Literature: attribution and critical reading by Professor Luca Mor Exhibition: Biaf-Biennale Internazionale di Firenze, 2022
Patrick Derom Gallery
lucio fontana
Lucio Fontana (Rosario 1899-1969 Comabbio) Concetto spaziale, Teatrino, 1964 Water-based paint on canvas, lacquered wood 102 x 83 cm Signed and titled on the back Provenance: Serge de Bloe, Brussels; private collection, Brussels Literature: M. Van Lier-Lottefier, Fontana: au seuil du Land Art, in Clés pour les arts, 27 September 1972, p. 27 (ill.); Enrico Crispolti, Lucio Fontana, 1974, vol. II, p. 168; Enrico Crispolti, Fontana. Catalogo Generale, Milan, 1986, 64TE2, p. 588 (ill.) Exhibition: 1972, Brussels, Palais des Beaux-Arts, Lucio Fontana, n. 78 (ill.)
Galerie Oscar De Vos
george minne
George Minne (Ghent 1866-1941 Sint-Martens-Latem) Kneeling youth with shell, 1923 Bronze H 70 x W 25 x D 45 cm Signed 'G MINNE' Bronze mark: Fondery Batardy / Bruxelles Provenance: Galerie Georges Giroux, Brussels (n° 3627) Literature: Berg, B. e.a., George Minne. Voorbode van de moderne kunst (2013), p. 20, p. 65, n° 10 (ill.); Boyens, P., Sint-Martens-Latem. Kunstenaarsdorp in Vlaanderen (1992), p. 569 (ill.); Devigne, M., La sculpture belge 1830-1930 (1930), n° 66 (ill.); Hoozee, R. e.a., George Minne en de kunst rond 1900, cat. (1982), p. 246, n° 209 (ill.); Poulain, N. e.a., Groeten uit 1926 (Gent: VDK Spaarbank, 1991), p. 88, n° 54 (ill.); Van de Woesyne, K., George Minne als teekenaar, in: Elseviers Geïllustreerd Maandtijdschrift (1924), pp. 289-292 (ill.); Van Puyvelde, L., George Minne (1930), n° 85, pl. 100-101 (ill.) Exhibitions: comparable copies in museum collections: MuDeL, Deinze, inv. 1032/MIN.g-9; Kunsthalle Manheim, Germany
Galerie Nathalie Obadia, Paris/Brussels
shirley jaffe
Shirley Jaffe (USA, Elizabeth 1923-2016 Louveciennes, France) Sans titre, 1969 Oil on canvas 197.5 x 132 cm Courtesy of the Shirley Jaffe estate and Galerie Nathalie Obadia Paris/Brussels Provenance: the artist’s studio; Galerie Jean Fournier; Estate of Shirley Jaffe; Galerie Nathalie Obadia
Herwig Simons Fine Arts
Manierist Mascaron Italy, mid 16th century Istrian marble H 50 x W 40 cm An expressive Mascaron in Istrian marble of a lions head holding a ring in his mouth. Istrian marble was widely used during the Renaissance, particularly in Venetian architecture, and its soft tones beautifully complement the intricate details of the lion's face and ring. This design is symbolic, lions represented strength, protection, and authority and gives the building grandeur, serving as a sculptural accent that elevates the aesthetic quality of the entrance or facade.
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Galerie Cento Anni
edouard marcel sandoz
Edouard Marcel Sandoz (Basel 1881-1971 Lausanne) Fennec assis, circa 1922 Bronze H 13 cm Signed Ed. Sandoz, foundry stamp Susse frères, Paris Lost wax Provenance: private collection, Belgium Literature: Félix Marcilhac, Sandoz sculpteur figuriste et animalier Les Éditions de l'Amateur, Paris, 1993. Model repr. p. 365
d'Arschot & Cie
Molenbeker Engraved silver Maker’s mark: IM in a shield Flanders, circa 1610-1620 H 22 cm These curious mill cups were very fashionable in Flanders in the early 17th century. They were also produced by German silversmiths. The tall, flared goblet is topped by a windmill with a ladder climbed by two millers to give the whole a more realistic look. At the bottom, a tube, also known as a blowpipe, is used to set in motion the four wings of the windmill and a small needle turning around a numbered circular dial. The ingenious mechanism consists of toothed wheels that are cleverly concealed inside the mill itself. At a time when banquets were particularly long, these table games were designed to entertain guests. Each guest took it in turns to blow into the blowpipe and the needle, once stopped, told them how many glasses they had left to drink. Many Kunstkammer included an object of this type, and this type of windmills can be found in many still-life paintings from this period. Fragile by nature, few of these goblets have survived. Remarkably, this example is in perfect working order. An engraved silver goblet by the same master silversmith is in the Tienen municipal museum. It is reproduced in: Zilver uit de gouden eeuw van Antwerpen, Rockoxhuis, 1988, n° 105
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Marc Heiremans
dino martens
Dino Martens (Venice, 1894-1970) For Aureliano Toso Murano, Italy, 1953 Oriente Rubinio (model 5242) Free-blown glass decorated with enclosed ground glass, flattened zanfirico pieces and transparent coloured glass squares H 34 cm x Ø 14.5 cm Provenance: acquired from an important German collection Literature: Heiremans M, Dino Martens, Muranese glass designer, Stuttgart, 1999, Heiremans M, Vetreria Aureliano Toso, Murano 1938-1968, Stuttgart, 2016 Exhibitions: XXVIa Espoizione Biennale Internazionale d'Arte, Venice 1952; Vidros de Murano em Lisboa, Lisbon 1961 The present object represents not only the Muranese fifties in full splendor by the combination of bold primary colors but is on its own also emblematic for the glass designs of the Venetian painter Dino Martens. Technically seen, it is the culmination of Martens experiments in coloring glass through ground glass. This series was presented as the 'Oriente', named after their vivid coloring - at the time a novelty on Murano - which reminded Martens of his years in East Africa. The line was firstly presented at the XXVI Biennial of Venice in 1952. Though seemingly arbitrarily, the composition - which consists of ground glass, transparent colored glass squares, flattened zanfirico canes and fragments of broken reticello vessels - was first carefully arranged on a flat surface before being heated and picked-up with a colorless blown form. Iconic because designed by a painter, alien to glass making.
Dr. Nöth kunsthandel + galerie
André Lhote (Bordeaux 1985-1962 Paris) Fillette, 1909-1910 Oil on paper laid down on board 48.8 x 31.8 cm Signed upper right; inscribed on the reverse: Fillette, 1909, 59 x 32, 343, I The painting will be included in forthcoming catalogue raisonné which is being prepared by Dominique Bermann Martin Provenance: the artist's studio; Simone André Lhote, France (by decent); Suzanne Bermann, France (by decent); anonymous sale Me Ferri, 15 December 1994, lot 126; anonymous sale Me Loudmer, Paris, 1 April 1996, lot 57; private collection, France Exhibitions: Paris, Artcurial, Centre d'art plastique contemporain, André Lhote Rétrospective 1907-1962, Peintures, aquarelles, dessins, October-November 1981 ill. in situ p. 27