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Douwes Fine Art b.v.
henri fantin-latour
Henri Fantin-Latour (Grenoble 1836-1904 Bure) Fleurs d'Automne, 1861 Oil on canvas 46.4 x 36.5 cm Signed and dated lower left: Fantin Oct. 1861 Provenance: private collection, Europe; Galerie Hopkins-Custot, Paris, 2004; private collection, Belgium; Douwes Fine Art, Amsterdam, 2023
Galerie Bertrand de Lavergne
Chinese Blanc de Chine porcelain group Representation of a gallant scene of Dutch characters holding glasses in their hands, seated on each side of a table on which a checkerboard is placed; their servants on both sides and in front of them, a dog, a monkey and a plant China, Dehua kilns (Fujian province), Kangxi period (1662-1722) H 14.5 x W 15.5 x D 8 cm
Epoque Fine Jewels
cartier
Cartier Garland style diamond feather brooch In the shape of an ostrich feather with a bow, set with approx. 23 carats of diamonds, mounted in platinum with 'mille grains' finish. Several joints along the frame give flexibility to the feather. With detachable brooch fitting. Paris, 1914 11.7 x 6.8 cm Signed CARTIER PARIS LONDRES NEW YORK with maker's mark of Henri Lavabre According to the Cartier archives, this brooch was a special order, designed in the 'Style Guirlande' at the request of the buyer, even though Art Deco had already made its appearance at Cartier by that time
Harold t’Kint de Roodenbeke
Paul Delvaux (Belgium, Antheit 1897-1994 Veurne) La danse macabre, 1934 Watercolour and ink on paper 59.5 x 75 cm Signed and dated lower right: Spy 2-34 Provenance: Walter Delvaux, artist family; sale Sotheby's, 6 February 2014, lot 469; private collection Important and early composition from 1934, a key year for Delvaux's development of his surrealist world © Foundation Paul Delvaux, Belgium/SABAM, 2023-2024
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Dr. Nöth kunsthandel + galerie
albert marquet
Albert Marquet (Bordeaux 1875-1947 Paris) Le Jardin à l'Estaque, 1918 Oil on board 32.8 x 41 cm Signed lower left: Marquet, titled and signed on the reverse: Jardin à l'Estaque d'Albert Marquet This work is accompanied by an original attestation of inclusion from the Wildenstein Plattner Institute, and it will be included in the forthcoming Albert Marquet Digital catalogue raisonné. WPI Reference n° 21.10.14/20934, 20 January 2022 Provenance: Galerie Druet, Paris; René Keller, Director of Galerie Druet, Paris; private collection, France, gift from the above; Galerie Couleur du Temps, Paris, circa 1944; Sale: Me Etienne Ader, Me Antoine Ader, Me Jean-Louis Picard, Me Jacques Tajan, Palais Galliera, Paris, Tableaux Modernes, Aquarelles et Dessins modernes, November 26, 1976, n° 104; private collection, Paris; Galerie Boulakia, Paris, acquired from the above, 1988; Galerie de la Présidence, Paris; private collection, Woodside, California, acquired from the above, 1989; thence by descent to the present owner, Carmel, California Exhibition: Galerie Couleur du Temps, Paris, Marquet et quelques maîtres contemporains [Exposition inaugurale], March 21-April 15, 1944, n° 6 (as Jardin de l'Estaque)
Tobogan Antiques
charles de marnyhac (1840-1897)
Charles de Marnyhac (France, 1840-1897) 'African Venus', circa 1878 Two patina bronze figure H 168 x W 54 cm Life-size, representing a young African woman taming a snake, dressed with a feathered loincloth and a long drape in her hair, and wearing African jewels Literature: Great Exhibitions 1851-1900, Jonathan Meyer, Antique Collector’s Club, 2006, p. 241; L’Art et L’Industrie de tous les peuples à l’Exposition Universelle de 1878, Librairie Illustrée, Paris Similar model mounted as a floor lamp exhibited by Charles de Marnyhac at the World's Fair in Paris in 1878
Galerie La Patinoire Royale Bach
michel mouffe
Michel Mouffe (Brussels, 1957) Tous les matins du monde, 2015 Mixed technique on canvas (9x) H 70 x W 43 cm, in total: H 70 x W 495 cm Provenance: the artist's studio Literature: Alphabet, 2017, Conversation Joel Benzakin and Michel Mouffe; Tous les matins du monde, exhibition catalogue, Galerie La Patinoire Royale Bach Exhibition: Michel Mouffe: Tous les matins du monde, Galerie La Patinoire Royale Bach, 2023
Galerie Hadjer
fernand léger
Fernand Léger (Argentan 1881-1955 Gif-sur-Yvette) Shell composition Conceived in 1938, realised in 1965 Wool Workshop Gisèle Glaudin-Brivet, Tapestry Aubusson/Savonnerie, Aubusson, France Fernand Leger on the back, bolduc workshop Unique piece H 262 x W 220 cm Certificate from the Comité Leger Provenance: private collection, USA
Galerie Kaléidoscope
antonio recalcati
Antonio Recalcati (Bresso 1938-2022 Milan) Slip, 1961 Oil on canvas 80 x 60 cm Provenance: estate Antonio Recalcati Literature: (non exhaustive list) Jouffroy Alain, Les empreintes de Recalcati 1960-1962, Christian Bourgois, 1975; Recalcati, Dall' impronta all'immagine, exhibition catalogue, Palazzo Reale, Comune di Milano, Gabriele Mazzotta, Milan, 1987; Antonio Recalcati, exhibition catalogue, Galleria d'Arte Moderna Farsetti, Milan, 1990; Antonio Recalcati, 1959/1999-Mano a Mano, exhibition cat., Villa Tamaris, La Seyne-sur-mer, 1999; Antonio Recalcati-La passione della libertà, exhibition catalogue, Galleria Gruppo Credit Valtellinese, Refettorio delle Stelline, Grafiche Aurora, Milan, 2004; Antonio Recalcati, exhibition catalogue, Guttklein Fine Art, Paris, 2018 Exhibitions: (non exhaustive list) 1976, Paris, Centre National d'Art Contemporain/Musée National d'Art Moderne, Recalcati, Empreintes; 1987, Milan, Palazzo Reale, Recalcati-Dall' impronta all'immagine; 1990, Milan, Galleria d'Arte Moderna Farsetti, Antonio Recalcati; 1999, La Seyne-sur-mer, Villa Tamaris, Antonio Recalcati, 1959/1999-Mano a Mano; 2004, Milan, Galleria Gruppo Credit Valtellinese, Refettorio delle Stelline, Antonio Recalcati-La passione della libertà; 2018, Paris, Guttklein Fine Art, Antonio Recalcati The Galerie Kaléidoscope stand is dedicated to three painters from the figurative avant-garde in Paris in the 1960s and 1970s. It will feature something exceptional in the history of art: the first Slip Print made in 1961 by Antonio Recalcati (1938-2022). After beginning to make prints of his own body in oil paint in 1960, the following year Antonio Recalcati placed traces of his own clothes (shirt, pants, socks, pants, T-shirt, etc.) at the centre of his paintings. At the same time, Yves Klein was producing his beautiful Anthropometries, done in public and using the bodies of naked women as paintbrushes. On the other side of the Atlantic, Pop Art artists were also incorporating everyday objects into their paintings. But the references and atmosphere of Recalcati's paintings are radically different. The fruit of a hand-to-hand encounter between the painter and his canvas, in the solitude of the studio, these works have a dramatic tension that is offset by a singular luminosity and a great deal of vitality. In 2022, Galerie Kaléidoscope and Antonio Recalcati decided to embark on an ambitious process of rediscovery in France and abroad. Since the artist's death a year ago, she has represented the Estate, and will shortly be contributing to the launch of a catalogue raisonné of 60 years of painting. Antonio Recalcati was at the forefront of the great figurative renewal of the second half of the twentieth century, while constantly engaging in dialogue with his elders: from Etruscan painting to Picasso, via of course the masters of the Italian Renaissance.
Helene Bailly
marc chagall
Marc Chagall (Vitebsk 1887-1985 Saint-Paul de Vence) Au Cirque (Clown à la trompette), 1959-1968 Oil and gouache on paper mounted on canvas 63 x 47.5 cm Signed lower left: Marc Chagall and countersigned on reverse Certificate of authenticity issued by the Comité Marc Chagall Provenance: former Galerie Alex Maguy collection, label on reverse
Marc Heiremans
ercole barovier
Ercole Barovier (Italy, 1889-1974) Zaffiro, gemmata series for Ferro Toso Barovier-Vetrerie artistiche riunite, Murano, 1936 Free-blown colourless glass with enclosed raw colouring oxides. Applied colourless details H 29.5 x W 21.5 cm Provenance: private collection, Paris Literature: Dorigato A. Ercole Barovier 1889-1974, vetraio Muranese. Venice 1989; Barovier M. L’arte dei Barovier, vetrai di Murano 1866-1972. Venice 1993; Heiremans M. Art glass from Murano. Stuttgart 1993; Heiremans M. Twentieth century Murano glass, from craft to design, Stuttgart 1997 Exhibitions: XXa Biennale internazionale d’arte, Venice 1936; Ercole Barovier 1899-1974, vetraio Muranese, Venice 1989; L’arte dei Barovier, vetrai di Murano 1866-1972, Venice 1993; Twentieth century Murano glass-From craft to Design, Ghent 1996
Willow Gallery
Marc Chagall (Vitebsk 1887-1985 Saint-Paul de Vence) Flûtiste jaune et bouc dans l’arbre en fleurs, circa 1960-1964 Gouache, pastel, oil pastel and Indian Ink on paper 51 x 34 cm - framed: 70 x 53 cm Stamped with artist’s signature This painting is accompanied by a certificate of authenticity from the Comité Marc Chagall Provenance: estate of the artist; thence by descent
Boon Gallery
paul delvaux
Paul Delvaux (Belgium, Antheit 1897-1994 Veurne) La ville lunaire, 1944 Oil on canvas 144 x 200 cm Signed lower right Provenance: Private Collection, Europe; Jan Krugier Gallery, Geneva, 1976; Alex Salkin Collection, New York; G. Van Extergem Collection Literature: BATAILLE, G., Les larmes d’Eros, Paris, 1961, p. 202, ill.; BOSMANT, J., Trésors communaux : Cinquante peintures, Brussels, 1960, p. 297, ill.; BUTOR, M., Delvaux : catalogue de l’oeuvre peint, Brussels, 1975, p. 203, n° 134 ,ill.; DE BOCK, P.-A., Paul Delvaux, Brussels, 1967, pp. 292-293, n° 64, ill.; DE RIDDER, A., De levende kunst gezien te Venetië, Brussels, 1958, p. 295, ill.; JEAN, M., Histoire de la peinture surréaliste, Paris, 1959, p. 275, ill.; ROMBAUT, M., Paul Delvaux, Ediciones Poligrafa, 1999, n° 51, ill.; SOJCHER, J., Paul Delvaux, Ars Mundi, 1991, n° 42, ill.; SPAAK, C., Paul Delvaux, Antwerp, 1948, ill.; SYLVSTER, A., Architecture in Modern Painting, Vol. CIX, London, 1951, p. 83, n° 650, ill. Exhibitions: Palais des Beaux-Arts, Paul Delvaux, Brussels, 1944, n° 58; René Drouin Gallery, Paul Delvaux, Paris, 1948, n° 13; Venice Biennale, Biennale XXVII, Venice, 1954; Isy Brachot Gallery, Hommage à Paul Delvaux, Art Basel, 1977, n° 4 © Foundation Paul Delvaux, Belgium/SABAM, 2023-2024
Galerie Van den Bruinhorst
Gerrit Thomas Rietveld (Utrecht, 1888-1964) Metz & Co sideboard ‘r54', 1936 Executed in The Netherlands, circa 1941 White laquered beech wood and plywood, metal and wire glass H 93 x W 200 x D 51.5 cm Provenance: Mr and Mrs Montagne-Van Lommel, Rotterdam 1941; Mrs. H.H. Van Domisse-Van Lommel, 1947 the Hague; Mrs. Foss-Montagne 1991; Sotheby’s Amsterdam 1995; private collection, Amsterdam Exhibition: Bas van Pelt, The Netherlands, The Hague, 1960 Commissioned by the avant-garde department store Metz & Co in Amsterdam, the Dutch architect Gerrit Rietveld designed a small sideboard in 1932 consisting of wire glass sliding doors on a chromed steel base that could be combined with a separate drawer unit. With this design as a starting point he created sideboard r54 in 1936 which is a combination of the small sideboard and the drawer unit in one piece. The first owners bought this sideboard in 1941.
Gokelaere & Robinson
hans-christian hansen
Hans Christian Hansen & Viggo Jørgensen (Denmark, 1901-1978 & 1902-1981) Pair of armchairs, 1936 Oak and fabric H 92 x W 80 x D 80 cm Manufactured by Johannes Hansen, Denmark Exhibition: Cabinetmaker Guild, Copenhague, 1936; Exposition Universelle, Paris, 1937
