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Franck Anelli Fine Art
Secretary Charles Topino (1742-1803), master in 1773 Transition period Oak, Breccia marble top, bronze and marquetry in rosewood, amaranth, holly, sycamore, lemonwood, stained woods and tobacco wood H 139 x W 92 x D 38 cm Stamped TOPINO and bearing the Jurande hallmark 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.
Labellov
Delvaux Lady Gipset, Brillant black edition Box calf leather, silk pink, hand-embroidered with sequins and semi-precious stones: rose quartz, tourmaline, red jasper, sodalite and amazonite H 36 x W 20.5 x D 35 cm Limited edition of 9 pieces worldwide Entirely embroidered by hand, requiring approximately 100 hours of craftsmanship
Galerie bei der Albertina ▪ Zetter
Johann Lötz Witwe, Klostermühle and Gustave Serrurier-Bovy (attributed to) Table Lamp, around 1900 Metal with hammered décor, square-shaped lampshade, twelve square-shaped glasses, in blue and violet, with melted splashes in silver-yellow, iricised, by Johann Lötz Witwe, Klostermühle, single light, electrification renewed H 55 cm, D 25 cm
Galerie Perrin
Odilon Redon (Bordeaux 1840-1916 Paris) Femme de profil, circa 1901-1905 Oil on paper mounted on panel 52 x 49.7 cm (unframed) 71 x 68 cm (framed) Signed lower right 'Odilon Redon' This work will be included in the forthcoming catalogue raisonné currently in preparation by the Wildenstein Plattner Institute Provenance: collection Roger Imbert
Edouard Simoens Gallery
Pierre Alechinsky (Brussels, 1927) Le trou du souffleur, 1997 Acrylic and ink on paper laid on canvas 146 x 113 cm Signed and dated on the back This work will be included in the forthcoming catalogue raisonné currently in preparation by Frédéric Charron under n° 3216 Provenance: 'Pierre Alechinsky: Oil, acrylic, watercolour, etching, lithograph...' Atelier 22, Schilde 2004
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 Uzal
Josuë Dupon (Ichtegem 1864-1935 Antwerp) Pair of groups 'Panther and Serpent', circa 1900 Bronze, rich brown patina and ivory on one Griotte marble and one faux-marble base H 114.5 x W 104 cm Signed ‘Josuë Dupon' and bears foundry mark 'F. van Aerschodt Fondeur' Provided with the CITES document for both sculptures
Desmet Fine Art
Pietro Simoni da Barga (Florence, active 1574-1588) (Attributed) A fallen man-A Titan Florence, circa 1570-1590 Bronze, All’Antica patina H 11 x W 20 x D 12 cm Art Loss Register: S00213873 Provenance: probably Cardinal Ferdinando de ’Medici, later Grand Duke Ferdinando I of Tuscany (1549-1609); Hugo Finaly (1844-1915); Madame Jenny Finaly (1850-1938); Villa Landau Finaly, Florence, by 1916; private collection, UK; private collection, The Netherlands Published: G. de Nicola, 'Notes on the Museo Nazionale of Florence-II', in: The Burlington Magazine, (December 1916, Vol. XXIX), pp. 368-69
Galerie Haesaerts-le Grelle
‘Thebes’ stool Walnut London, 1900 H 36.5 x W 36.5 x D 31 cm Manufactured by Liberty & Co Liberty & Co. Regent Street label, with serial number beneath the seat Literature: Daryl Bennett, Liberty’s Furniture 1875-1915: The Birth of Modern Interior Design, Antique Collectors’ Club, p. 97, pl. 4.16 A faithful copy of the original Egyptian version, this stool reflects the aesthetic influence of the colonies on British artistic production, and in particular on that of Liberty & Co. at the end of the nineteenth century. The name ‘Thebes’ derives from the identical stool discovered in a tomb dating from the 18th Dynasty in the region of the ancient city of Thebes (modern-day Luxor) by an English diplomat. Appointed British Consul-General in Cairo in 1815, Henry Salt developed a passion for ancient Egypt and undertook a series of archaeological excavations. Following his death in 1827, the archaeological works from his collection were sold at Sotheby’s in 1835. The stool was acquired by the British Museum on this occasion. The original is on permanent display at the British Museum.
Axel Vervoordt
William Turnbull (Dundee 1922-2012 London) Young Torso, 1981 Bronze 49 x 28.5 x 3 cm Edition of 6, AP 1/1 Provenance: the estate of the artist Literature: Amanda A. Davidson, The Sculpture of William Turnbull, The Henry Moore Foundation in association with Lund Humphries, 2005, cat. n° 205, ill. p. 154
Spazio Nobile
Pao Hui Kao (Taiwan, 1987) 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 H 70 x W 135 x D 33 cm Low stool H 45 x Ø 32 cm Low bench H 35 x W 130 x D 29 cm Side table H 60 x Ø 32 cm Unique pieces Signed and dated by the artist Certificates of authenticity Literature: 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
Thomas Deprez Fine Arts
Gabrielle Montald (born Canivet) (Brussels, 1867-1942) Decorative bird, 1929 Gouache and ink over gold ground on paper 61.5 x 46 cm (sheet) 64 x 48 cm (framed) Signed and dated lower right ‘G. Montald 29’ Provenance: private collection, Belgium Related works: Among Gabrielle Montald’s most significant autonomous bodies of work, the so-called 'Oiseau décoratif series' occupies a central position. Although the motif appears as early as 1914, the majority of these works were produced between 1925 and the early 1930s. Following her international recognition at the 1925 'Exposition des Arts Décoratifs in Paris', where her imaginative bird drawings were prominently exhibited, the series expanded in both scope and refinement. In 1927, three of the works shown in Paris were acquired by the Belgian government, marking the beginning of an institutional recognition that endures to this day. Rarely appearing on the market, a large part of Gabrielle Montald’s known oeuvre, including her textiles and bookbindings, is now preserved in Belgian museum collections.
Dr. Nöth kunsthandel
Raoul Dufy (Le Havre 1877-1953 Forcalquier) Cérès au bord de la mer, 1928 Gouache on paper 49.5 x 63.5 cm Signed lower center Certificate of authenticity by Fanny Guillon-Laffaille This work will be published in the forthcoming catalogue raisonné des 4Aquarelles, gouaches and pastels' currently in preparation Provenance: Hartford, Wadsworth Atheneum 1959, n° 24; Fr. Gershwin Godowski collection, Sotheby´s New York, 12 May 1999, lot 373
Samuel Vanhoegaerden Gallery
Karel Appel (Amsterdam 1921-2006 Zurich) People, Birds and Sun, 1951 Gouache and pastel on paper, mounted on canvas 65 x 100 cm Signed and dated lower right Provenance: the estate of the artist; Galerie Max Hetzler, London Exhibition: Karel Appel-Cobra/Non Cobra, Galerie Max Hetzler, London, January-February 2024
