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Klaas Muller
Henri Evenepoel (Nice 1872-1899 Paris) The rocks of Tipaza, 1898 Oil on canvas 54 x 81 cm Stamp on the reverse 'Oeuvre authentique d'Henri Evenepoel 1872-1899' Labels on the reverse Certified on the reverse by Edmond Evenepoel, father of the artist Provenance: Louise Van Mattemburgh, Brussels; collection J.L. Brunet, Brussels; auction PvSK, Brussels 9.10.1962, n° 368, pl. VII ill. Literature: H. Evenepoel, Paul Lambotte, Ed. G. Van Oest & Cie, Brussels, 1908, p. 103; Le voyage du peintre Henri Evenepoel en Algérie, H. Coenen, Leuven, 1982, n° 31, p. 37 and 48; Henri Evenepoel 1872-1899, Catalogue raisonné, Danielle Derrey-Capon, Municipal Credit 1994, n° 265 ill. Exhibitions: Henri Huklenbrok-Henri Evenepoel, Cercle artistique et littéraire, Brussels 1899, n° 20; Kunst van Heden, Antwerp 1909, n° 211; Henri Evenepoel, Gal. Georges Giroux, Brussels 1913, n° 111; Exposition d'oeuvres d'Henri Evenepoel, Cercle artistique et littéraire, Brussels 1923-1924, n° 103; Evenepoel, K.M.S.K., Antwerp 1953, n° 136; Henri Evenepoel, K.M.S.K., Brussels 1994
Thomas Deprez Fine Arts
james ensor
James Ensor (Ostend, 1860-1949) Portrait of Léon Rinskopf, Futur Baron du Rat Mort, 1903 Conté crayon, coloured pencils, watercolour and gouache on laid cream paper 16.6 x 13.4 cm - framed: 36 x 32 cm Signed, annotated, located and dated: ‘Portrait de Léon Rinskoff [sic]/futur baron du Rat Mort/Ostende 1903/James Ensor’ This drawing is accompanied by a certificate from the official Ensor Advisory Committee, 2023 Provenance: private collection, Belgium Exhibition: Joodse sporen in Oostende, Ostend and Antwerp, organised by Zahava Seewald, 2000 Literature: Laurence Madeline et al., Ensor, Paris: Musée d’Orsay, New York: The Museum of Modern Art, 2009, ill. fig. 60, pp. 78-79 Related Literature: James Ensor, Discours en noble languaige de chevalerie, in: Les Écus, Ostende : G. Daveluy ed., Le Rat Mort, 1904, p. 16. Reprinted and re-edited in many forms Related works: James Ensor, Au conservatoire, 1902, oil on canvas laid down on board, 56.5 x 71.5 cm, Musée d’Orsay, Paris (inv. RF 2009 4), given by the artist to Léon Rinskopf Portrait of Léon Rinskopf (1862-1915), artistic director of the Kursaal in Ostend and conductor of its symphonic orchestra. Dressed in smoking and wearing a crown, he is represented with an asparagus between the teeth in reference to a conducting baton. Ensor projected himself on the figure of his friend, by affiliating his likeness to his own, and by pinning a prominent medal of the Ordre de Léopold on his chest and baton, which Ensor received himself that same year. In the top right corner a dead rat is a direct reference to the Compagnie du Rat Mort, of which Ensor was a founding member and which was legendary for its masked balls and its burlesque character.
Giammarco Cappuzzo Fine Art
Jusepe Ribera (Jativa 1591-1652 Napoli) An Apostle, circa 1635-1638 Oil on canvas 76 x 62 cm With gratitude to Dr. Nicola Spinosa, Dr. Riccardo Lattuada and Dr. Viviana Farina, leading experts of Jusepe Ribera to have confirmed the attribution. Provenance: private collection, France; private collection, Italy This Apostle is part of the cycle of portraits of the Apostles by the same artist, housed in the Prado Museum in Madrid. Diagnostic analyses conducted on the canvas have confirmed its full compatibility with works executed around 1630 by the painter, also revealing the presence of preparatory drawing, a method he frequently employed.
Galerie Raf Van Severen
gustave van de woestyne
Gustave Van de Woestyne (Ghent 1881-1947 Brussels) Adrienne De Zutter au violon, 1920 Oil on canvas 208 x 110 cm Signed bottom left Dedicated 'To Adrienne De Zutter', signed with the artist's initials and dated on the back Provenance: collection of the model, Adrienne De Zutter (1905-1989), future Mrs. Paul Van de Woestyne (1905-1963), himself the son of the writer Karel Van de Woestyne (1878-1929) and nephew of the painter; private collection, Europe (by descent to the current owners, grandchildren of the model and great-grandnephews of the painter) Literature: Kultureel Centrum Mechelen, Gustave Van de Woestyne, 1881-1947, 1967; Museum Voor Schone Kunsten, Ghent, Gustave Van de Woestyne, 2010, n° 78 “Adrienne De Zutter au violon” is a masterclass by the Belgian painter Gustave Van de Woestyne (1881–1947). Van de Woestyne was a prominent member of the first group of the ‘School of Latem’, and this portrait is a beautiful example of his very distinctive and own personal style. On a first and quick look, we see a majestic lady, gracefully rising above the landscape, painted in peaceful duff coloring. Her violin in hand and modestly dressed, she is depicted in a fairytale landscape composed of two trees with graceful silhouettes, perhaps umbrella pines, rising from stylized valleys, and a rose, worthy of Saint Exupéry's Little Prince, in the foreground on the right. The upper part of the sky is simply described by means of a royal blue band in the manner of Hiroshige prints. How do we analyze this? Where does this come from? First, for his technique, we need to go back to Van de Woestyne’s youth. In 1902, a young Gustave went to an exhibition for the first time, one of the Flemish Primitives, like Jan van Eyck and Pieter Bruegel. It would leave an eternal mark on him. Gustave uses a sharp outline of the figures in his works, resulting in a sober and symbolic representation of the model. Secondly, regarding the color palette, we take a little step in Gustave’s life. At the time of the execution of the painting, Gustave had huge admiration for Douanier Rousseau. However, the actual inspiration for the coloring lies in Italy. In 1913, he toured Florence and Tuscany with Valerius De Saedeleer. The many fresco’s and mural paintings have a typical softer and lighter use of colors. So, we can say that, regarding coloring he leaned less towards the warm and dark coloring of the Flemish Primitives and more to the works of their Italian contemporaries. At the outbreak of the First World War, the Van de Woestynes fled the country, only to return in 1919. Around that time, Van de Woestyne soon settled with his family in in the Rozenhuis (or House of Roses) in Waregem, belonging to art lovers and philanthropists Charles De Zutter and his wife Marguerite Taelman. It was here, Van de Woestyne made a portrait of their daughter Adrienne De Zutter. The ties between the De Zutter and Van de Woestyne families predate the Great War. Beyond these friendly relations, the couple played a genuine role as patrons for the artist, as is evident from the booklet of the Van de Woestyne retrospective in Brussels (Palais des Beaux-Arts, 1929). In an unpublished supplication that the painter addressed, on February 5, 1929, to Marguerite Taelman to encourage her to lend her works after an initial refusal, he also stated: 'Without your paintings I must not show those of other collections because, as you know as well as I do, yours are the best.' If it is therefore very likely that the portrait of Adrienne was commissioned by the De Zutters, it is also possible to imagine that Gustave was touched by the languid and pale beauty of his model, who would marry the eldest son of his brother Karel in 1929. The exceptional quality of this painting and detailed story behind it, elevates it to the status of an absolute masterpiece.
Galerie La Patinoire Royale Bach
joana vasconcelos
Joana Vasconcelos (Paris, 1971) Blue Rose, 2016 Stainless steel shower heads, handmade woollen crochet, fabric, ornaments, polyester H 246 x W 95 x D 47 cm Provenance: the artist's studio Courtesy Joana Vasconcelos and Galerie La Patinoire Royale Bach A group of works belonging to various series - Showers, Washbasins and Urinals - in which Joana Vasconcelos adds colourful crocheted elements to household sanitary ware. Resorting to crochet, Joana refers to the intimacy of the domestic realm through its link to female labour, who work from home and for the home. Textiles infiltrate and/or cover up ceramics. These coloured, smooth, and pliable additions contrast with the hard, sterile coldness of the porcelain. The disruptive process of transformation encourages a fresh look at these everyday objects and intimacy. "Water, for me, is synonymous with life and renewal. It is such a constant presence in our routine in Europe that I was only aware of its real importance when I traveled to Mexico. I remember walking into a pueblo house, which consisted of a single room, where everything happened, complete with a hammock and television, but there wasn't one single tap. That realisation awakened me. Gradually, water entered my body of work, through the shape of swimming pools, urinols or washbasins, for instance, where the aquatic representation is made through textile elements, often in blue colors with bright details simulating the water reflection. My work as an artist allows me to address pressing matters, such as the sustainability of the planet and the management of resources for the future. And the expression of water in my work is done through abundance, with elements that flow from the works, defining what water represents more and more: a luxury."
DYS44 Lampronti Gallery
Artemisia Gentileschi (Rome 1593-1656 Naples) Bathsheba at her bath, circa 1636-1638 Oil on canvas 185.2 x 145.4 cm Provenance: private collection, UK; Matthiesen Gallery, London Literature: M. Nicolaci, catalogue entry 41, in Artemisia Gentileschi: Storia di una Passione, R. Contini and F. Solinas (eds.), exh. cat., Palazzo Reale, Milan, 2011-2012, p. 228; M. Nicolaci, catalogue entry 52, in Artemisia, 1593-1654, R.P. Ciardi, R. Contini, and F. Solinas (eds.), exh. cat., Fondation Dina Vierny-Musée Maillol, Paris, 2012, pp. 184-185; N. Spinosa, Grazia e Tenerezza in Posa: Bernardo Cavallino e il Suo Tempo, 1616-1656 (Rome, 2013), p. 403, ill. A3.a; R. Lattuada, "Unknown Paintings by Artemisia in Naples and New Insights into Her Daily Life and 'Bottega'," in Artemisia Gentileschi in a Changing Light, ed. S. Baker, London-Turnhout, 2015, pp. 203-205, figs. 34–39 Exhibitions: Artemisia Gentileschi: Storia di una passione, Palazzo Reale, Milan, 22 September 2011-29 January 2012, curated by R. Contini and F. Solinas; Artemisia, 1593–1654, Fondation Dina Vierny-Musée Maillol, Paris, 14 March-15 July 2012, curated by R. P. Ciardi, R. Contini, and F. Solinas; Artemisia, Vrouw & Macht, Rijksmuseum Twente, Enschede, 26 September 2021-23 January 2022
Gallery de Potter d’Indoye
victor de jonquieres (active from 1838 to 1870)
Victor-Philippe-A. de Jonquieres (French, active from 1838 to 1870) The Prince President Louis Napoleon Bonaparte with Prince Jérôme and his staff reviewing the mobile gendarmerie, acclaimed by the crowd, Place de la Concorde, 2 December 1851 Oil on canvas 160 x 230 cm Signed and dated lower right '1865' History: We will quote the monitor of the arts of November 3rd, 1865 relating to the exhibition of fine arts applied to industry: 'We have said a word about the painting by M. Victor de Jonquières, exhibited at Disdéri. The scene takes place in the Place de la Concorde which extends between the Obelisk and the gate of the Tuileries Gardens. An equestrian procession, accompanied by an enthusiastic crowd, advances towards the spectator. The atmosphere is reminiscent of a December morning. Napoleon III is surrounded and followed by Prince Jérôme, Prince Murat, Marshal Exelmans, Count de Flahaut, General Roguet, Generals Daumas and de Bourjolly, Baron Vast Vineux, Colonel Fleury, Lieutenant Colonel Edgar Ney, Baron Béville, Marquis de Toulongeon, Count Lepic, Baron de Méneval, Baron Ducasse, Count de Nieuwerkerke, Commander Jolly de Fleury, etc. All these figures are very similar, provided that we go back fourteen years (note: we are in 1865). M. de Jonquières showed himself to be both a faithful historian and a talented artist, skilfully grouping his characters and leaving no detail to chance. The horses especially are of a very true and very conscientious design'. Provenance: acquired by the Emperor Napoleon III by order of 10 May 1865 for 2.000 francs from the Encouragement budget; returned to the Empress after the judgment of 1881; former collection of Mr. Firmin Rainbeaux Literature: Le Moniteur des arts, November 3rd, 1865, p. 1; Catherine Granger, The Emperor and the Arts, the civil list of Napoleon III, Ecole des Chartes, 2005, p. 557; Michael Forrest, Napoleon III Bronzes, The Antique Collector, January 1990, Vol. 61, n° 1, pp. 43-49; Christopher Forbes, Napoleon III: The Other Napoleon and His Empire, Antiques, December 2002, pp. 83-91; Armand Dayot, The Second Empire, December 2nd, 1851-September 4th, 1870, Ernest Flammarion, Paris, p. 33; Benjamin Genocchio, The Imperial French Style, The New York Times, June 19th, 2009, repr. in colour; Napoleon III, Le Magazine du Second Empire, n° 16, October-December 2011 Exhibitions: Napoleon III and the Prince Imperial: Selections from the Collection of Christopher Forbes, The Grolier Club, New York, November 10th, 1985-January 10th, 1986; Napoleon III: The Other Napoleon and His Empire, The Forbes Galleries, New York, December 2nd, 2002-April 10th, 2003; Napoleon & Eugenie: Opulence and Splendor of France's Second Empire, Nassau County Museum of Art, Glen Cove, New York, June 7th-September 7th, 2009, repr. in colour, p. 34
Galerie Marc Maison
alexandre sandier
Alexandre Sandier (France, 1843-1916) Decorative panel depicting Queen Cleopatra, circa 1880 Sarreguemines earthenware with painted decoration H 161.5 x W 202.7 x D 2.5 cm Literature: Alain Benedick, La Faïencerie de Sarreguemines, Éditions ABM 57, 2009; Figures décoratives par Alex. Sandier, Éditions A. Calava, Paris, undated; Guide du visiteur […]. 8e Exposition de l’Union centrale des arts décoratifs, Paris, Imprimerie Chaix, 1884 Exhibitions: Exhibition of the Union centrale des arts décoratifs in 1884; 1889 Paris Exposition In the 1880s, the Sarreguemines pottery factory began creating earthenware panels for interior and exterior decoration. This magnificent panel depicting Cleopatra, painted by Alexandre Sandier, is one such example. Its vivid yet soft and pleasing colours combine with a meticulous sense of archaeological detail to produce a masterly lesson in Egyptomania, bearing witness to the fascination that Egypt still exerted at the end of the century for artists and audiences alike.
Selected by BRAFA, designed by Gert Voorjans
corneille
Corneille (Guillaume Cornelis Van Beverloo, Liege 1922-2010 Auvers-sur-Oise) Untitled, Abstract blue, red and grey, 1960 Mixed media on canvas 28 x 35 cm Signed and dated upper right corner 'Corneille 1960' Certificate of authenticity issued by Fondation Guillaume Corneille in Brussels on 15 November 2024 Couck Art Gallery - Lucie Couck
Whitford Fine Art
reinhold koehler
Reinhold Koehler (Germany, 1919-1970) Thorax contrecollage, 1963-64 Dessin trouvé Décollage with ink, paper and smashed glass laid down on canvas 72.5 x 50 cm Signed and dated lower right and signed, dated, titled and inscribed verso The work is included in the Koehler Archives as RK 58 Provenance: private collection, Germany
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.)
COLNAGHI
jacob jordaens
Jacob Jordaens (Antwerp, 1593-1678) A rostrum of musicians in a loggia, circa 1635 Watercolour, gouache, red chalk, pen and brown ink and brown wash. Coated paper 34.5 x 28.2 cm Provenance: Mrs. Lasserre (Dax, France; 1904); Maurice Delacre (Ghent, 1862-1938); Geoffrey & Bequet sale, Saintes, 20 April 2008; acquired by Jean Luc Baroni; private collection, UK Literature: R.A. d’Hulst, Jordaens Drawings, Catalogue raisonné, Brussels, 1974, Vol. I – A 199; ill. Vol. III, fig. 214 Exhibition: Antwerp, 1905, n° 126 This beautiful and highly important sheet by Jacob Jordaens belongs to a series of drawings intended as preliminary studies for the tapestry series Scenes from Country Life. The beauty and complexity of this composition has been interpreted by scholarship as Jordaens’ ultimate harnessing of the watercolour medium, and placed amongst his best graphic work. After the death of Rubens in 1640, Jordaens became the leading painter in Antwerp, producing numerous paintings for public, private, and ecclesiastical patrons, as well as many designs for tapestries.
Cortesi Gallery
Agostino Bonalumi (Vimercate 1935-2013 Monza) Rosso, 1965-1971 Shaped canvas and vinyl tempera H 100 x W 80 x D 3.5 cm Signed and dated on the reverse: 'Bonalumi / 71'; size on the stretcher '80 x 100' Certificate of Authenticity Archivio Agostino Bonalumi, Milano, n° 71-014, technical report by Archivio Agostino Bonalumi Provenance: private collection, Milano Literature: M. Meneguzzo, F. Bonalumi (curators) Agostino Bonalumi, Catalogo ragionato, Milano, Skira, 2015, vol. II, p. 446, n° 492 Exhibitions: 2008, Agostino Bonalumi, Loggiato di San Bartolomeo, Palermo, (ill. 7); 2021, Agostiono Bonalumi. Ricucire la tela, curated by Marco Meneguzzo, Cortesi Gallery, Milano
Hoffmans Antiques
Pair of candelabras, 'Night & Day' Attributed to Pierre Philippe Thomire (Paris, 1751-1843) Patinated and ormolu bronze Paris, early 19th century H 100 cm The pair of candelabras, 'Night & Day', were made of patinated and ormolu bronze of outstanding quality after a design by C. Percier and P.F.L. Fontaine in the Recueil de Décorations Intérieures from 1801. This model, which is very unusual, was commissioned for Emperor Napoleon Bonaparte's decoration of the Elysée Palace in the early 19th century.
Dei Bardi Art
Saint Jérôme Burgundy, last quarter of the 15th century Limestone H 60.5 cm Literature: J. Baudoin, La sculpture flamboyante en Bourgogne et Franche-Comté, Nonette, 1993 This exquisite sculpture of Saint Jerome, carved from soft, nearly white limestone typical of eastern France, exemplifies the exceptional craftsmanship of 15th-century Burgundian art. What makes this piece particularly remarkable is its deep connection to the distinctive Burgundian sculptural tradition. It reflects the enduring influence of the renowned Spanish sculptor Jean de la Huerta (1413-1462), who served as the artist for Duke Philip the Good of Burgundy. The artistic quality and stylistic features of the sculpture are strikingly evident in Saint Jerome's broad, angular face and powerfully square jawline. The low forehead—accentuated by the wide brim of the hat—along with his large, flattened cheeks and small mouth that forms a circumflex accent, adds to the character of the piece. His crescent-shaped eyes, defined by prominent eyelids and well-formed eyebrows, further enhance the expressive quality of the sculpture. These traits draw parallels to other notable works, such as Richard de Plaine’s praying figure from the Jacobins Chapel in Poligny and the Saint Jean from the Calvary in the Saint-Anatoile Church in Salins, attributed to Jean de Blany, follower of de la Huerta. Despite its relatively small size, the sculpture possesses a monumental presence. The meticulous representation of the clothing illustrates a blend of Flemish and Germanic influences, reminiscent of some of de la Huerta’s later works. Given its close ties to the artistic milieu of the Burgundian ducal court, it is likely that this piece was commissioned by an individual of high political or ecclesiastical status, further underscoring its significance within the cultural context of the time.
Van der Meij Fine Arts
janus la cour
Janus la Cour (Denmark, Tim Parish 1837-1909 Odder) From Bordighera, 1898 Oil on canvas 45 x 73.5 cm Signed lower right: 5.I.98 janus la Cour Provenance: estate auction Janus la Cour, Charlottenborg Copenhagen, December 1909, lot 119; private collection, Copenhagen Literature: Rikard Magnussen, Landskabsmaleren Janus la Cour. 1837-1909 (Copenhagen, 1928), n° 780
Epoque Fine Jewels
chaumet
a magnificent art deco diamond tiara by chaumet.
This tiara was made in Paris in 1909 as a wedding tiara for the daughter of Count and Countess de Heeren. Chaumet retains all the original drawings, as well as the nickel silver model created as a preliminary design for the final piece, which is preserved in the Chaumet archives. The tiara features a series of rounded Greek motifs, set with 2096 diamonds, mounted in platinum and gold, showcasing the typical ‘mille-grain’ finish. Founded in 1780, Chaumet has designed over 2,000 unique tiaras. While most tiaras from that era adhered to the Garland style or traditional 19th-century floral and scroll motifs, this particular piece is an early example of the geometric aesthetics that would come to define the Art Deco period, which reached its zenith in the 1920s. The tiara was featured in the ‘Chaumet en Majesté’ exhibition at the Grimaldi Forum in Monaco in 2019, where the nickel silver model was also displayed. The tiara is currently housed in a special Chaumet case, created for the Monaco exhibition. Total diamond weight: 28,10 carats Collection Epoque Fine Jewels, Belgium.
