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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.
Galerie Ary Jan
Anto Carte (Mons 1886-1954 Bruxelles) L'homme au poulain Oil on canvas 140.8 x 110 cm Signed lower left Literature: The 1935 International exhibition of paintings, Carnegie Institute, Pittsburgh, repr. on plate 17, listed under n° 135; Anto Carte, monographie de l'art belge, published by the Ministère de l'Instruction Publique, 1950. Reproduced under n° 15; 'The Blue Sky Book, prose and poetry' repr. to illustrate ‘Man with colt’ p. 217 Exhibition: International Exhibition at Carnegie Institute 1935 Provenance: Private collection, Philadelphia Acquired directly from the artist by John H. Fraser in the early 1930s. Fraser was head of the art department at Marietta College, near Pittsburgh, Pennsylvania H 75 cm
Galerie Florence de Voldère
pierre brueghel le jeune
Peter Brueghel the Younger (Brussels 1564-1638 Antwerp) Winter Landscape with Skaters - The Bird Trap Oil on panel 39 x 57 cm Among the strong, committed subjects that make up the oeuvre of Peter Brueghel the Elder, The Bird Trap is like a gift in the form of a poem all its own. The very different subject at the heart of this work is pure emotion. Whether provoked by the silence of nature, or by an awareness of the human scale in the macrocosm, or for any other reason, it remains a masterpiece out of time.
Galerie Lowet de Wotrenge
Jacob van Loo (Sluis 1614-1670 Paris) Portrait of a woman and her son as Venus and Cupid, circa 1670 Oil on canvas 87.5 x 77.5 cm Signed and dated lower right 'J. v. Loo f / An. o 16 (...)' Provenance: sale, Angers, November 25th, 1970, lot 198; Galerie Heim-Gairac, Paris, 1971; sale, Sotheby’s, London, May 2nd, 2018, lot 35; where acquired by the previous owner Literature: K. Bender, The Venus of the Low Countries. A topical catalogue of sculptures, reliefs, paintings, frescos, drawings, prints and illustrations of identified artists of the Low Countries, 2010, p. 80; D. Mandrella, Jacob van Loo 1614-1670, Paris, 2011, p. 203, fig. 146, ill. Jacob van Loo was one of the greatest artists of the Dutch Golden Age. Born in Sluis, a town in the Dutch Republic, in 1614, he trained with his father, the genre painter Jan van Loo. At some point in the 1630s, van Loo moved to Amsterdam, marrying Anna Lengele, the sister of painter Maerten Lengele, in 1642. During his first ten years in the city, van Loo mostly produced complex historical and mythological scenes inspired by the Flemish school and the work of Van Dyck. In the 1650s, the artist started painting scenes of galanterie, featuring musicians, soldiers and young women engaged in conversations, gambling and flirting, which were a source of inspiration for similar works by Johannes Vermeer. Van Loo was also highly esteemed as a painter of nudes and portraits, and received important public commissions. In the autumn of 1660, the artist fled Amsterdam after fatally stabbing the wine merchant Hendrik Breda during an altercation at an inn. Sentenced to death in absentia, he escaped to Paris, where he settled with his family and continued enjoying great success. In 1663, he was admitted to the Académie and, four years later, obtained French citizenship. Following his death in 1670, his two sons Jean and Abraham followed in their father’s footsteps, continuing a painterly family tradition that would successfully last until the nineteenth century. According to David Mandrella, the author of Jacob van Loo's catalogue raisonné, the present painting is one of the latest known by the artist, dating from 1670, the year of his death. It shows a woman in half-length, with dark, curvy long hair embellished by a shimmering string of pearls. She wears an all’antica dark green robe, revealing her nude breasts to the viewer. Set before a landscape, she hands a golden apple to her son, a smiling child half-dressed in a classicising drape. The Greek myth The Judgement of Paris, narrating the contest between the three most beautiful goddesses of Olympus – Venus, Hera and Athena – for the prize of a golden apple addressed “to the fairest,” allows us to identify the subject as Venus with her son Cupid. By the time the present work was painted, this subject had become very popular amongst Dutch painters, including, for example, Govert Flinck and Rembrandt’s pupils. Throughout his career, van Loo treated this subject on at least two other occasions, as exemplified by his Venus and Cupid (1649, Statens Museum for Kunst, Copenhagen) and An Allegory of Venus and Cupid (1654, Speed Art Museum, Kentucky). The former is exemplary of van Loo’s compositions, with few isolated figures reminiscent of Jacob Adriaensz Backer. In the latter, the artist exploited the mythological subject to create an allegory of wealth, highlighting the vanity and futility of earthly pleasures. During his Parisian years, the artist is believed to have approached mythological subjects exclusively with the purpose of disguising portraits – a practice probably born in Venice in the seventeenth century, which later spread to the Netherlands and France. The ambivalent fusion between these two genres is exemplified by a now lost painting by the artist, Ulysse découvrant Achille parmi les filles de Lycomède (1666), commissioned by a member of the Van Gangelt family, where the figures bear the traits of the daughters of the banker Caspar van Gangelt and those of the explorer François Caron. Similarly, the figure of Venus in the present work is believed to be a portrait of a real woman, possibly the wife of an élite Parisian patron who commissioned the painting, depicted together with their son. As per other similar mythological portraits by van Loo, such as the Portrait de femme en Diane (1668), the woman’s features are individualised and her gaze confronts the viewer, as if inviting him to recognise her. The present canvas is an exquisite example of the refined yet sensuous classicism of van Loo’s late oeuvre. The woman’s beautifully rendered, half-nude figure recalls the eroticised charge of van Loo’s works of the Amsterdam period, when he was celebrated for the exceptional quality of his nudes. According to the contemporary chronicler Arnoud Houbraken, van Loo excelled at “painting nudes, and female nudes in particular,” to the extent that his mythological scenes featuring naked gods and goddesses were more sought after and considered superior to those of his competitor Rembrandt. Van Loo was able to develop a type of academic nude, classical yet imbued with life, that succeeded in fulfilling the ambitions and social aspirations of the élite of the time. In paintings such as the present one, van Loo excelled in achieving the so-called welstant, or the art of standing well, which allowed his aristocratic clients to distinguish themselves from the inferior classes, by creating parallelisms with the classical world and its aesthetic canons. In the seventeenth-century Netherlands, a mythological subject such as Venus and Cupid was often used to justify the depiction of erotic images, which would have otherwise have been considered inappropriate. For a considerable part of the aristocratic and even burgher élite, a certain amount of erotic playfulness was permitted in both painting and literature, with Venus and Cupid being particularly appropriate subjects for love poems and marriage-related paintings. Works such as the present one had voyeuristic implications and aimed to stimulate the senses: by having the woman looking out at the viewer – which, in this case, would probably be her husband –, van Loo expressed the contemporary belief that the gaze of a woman could send out a powerful force that entered through the eyes of the beloved, inflaming his heart. In accordance with the sixteenth-century Italian tradition, contemplating images of beautiful nudes in the privacy of one’s own room was believed to increase the chances of generating beautiful and healthy offspring, such as the present handsome child.
Samuel Vanhoegaerden Gallery
james ensor
James Ensor (Ostend, 1860-1949) Coquilles et Statuettes, 1934 Oil on wood panel 40 x 50 cm Signed lower right ‘Ensor’ , signed and titled on verso This work is included in the catalogue raisonné of the complete paintings of James Ensor by Xavier Tricot, n° 641 Provenance: private collection, Belgium (acquired ca. 1970); by descent from the above to the present owner; sale Sotheby’s London, February 2012, lot 187; Samuel Vanhoegaerden Gallery, Knokke; private collection, Brussels Literature: X. Tricot, James Ensor, The complete paintings, Mercatorfonds, Brussels, 2009, p. 383, n° 641
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Marc Heiremans
anzolo fuga
Anzolo Fuga (Italy, 1914-1998) For Arte Vetraria Muranese (AVEM) Murano, Italy, 1956 Bandierine (model 13480) Fused glass canes cased in colourless, free-formed glass H 42 x Ø 14.5 cm Literature: Heiremans M. AVEM-Arte Vetraria Muranese, artistic production 1932-1972. Stuttgart 2020
Victor Werner
raymond de meester de betzenbroeck
Raymond de Meester de Betzenbroeck (Mechelen 1904-1995 Woluwe-Saint-Lambert) Poodle 'Zazou', first half of the 20th century Bronze with brown patina H 44 x L 50 x D 16 cm Signed 'Raymond de Meester' Mentored by Albéric Collin, Raymond de Meester studied animals at Antwerp Zoo and gained recognition with his first exhibition at the age of 22. In 1930, he achieved further visibility with commissions for the International Exhibition in Antwerp, creating major works like a 14-metre elephant scene. He exhibited globally, and his iconic pieces include a monumental polar bear and the 'Roaring Lion' for the 1958 Brussels World's Fair. Awarded the title of baron in 1952, he remained actively involved in the artistic community and continued to receive international accolades throughout his career.
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: collection Costantino Nigro, 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
Chambre professionnelle belge de la Librairie Ancienne et Moderne (CLAM)
Miquel Barceló (Spain, Felanitx 1957) El libro de los ciegos / Book of the Blind Paris: Item, 1993 Artist's book Folio (40 x 30 cm), prototype binding consisting of rigid boards of incised and tinted plywood. Text by Evgen Bavčar printed in Braille. 48 lithographs and 33 prints by Miquel Barceló, some with added amber varnish Edition of 50 numbered copies on Augoumois paper printed in Spanish Braille, signed by the artist. Ingert ｜Antiquarian Bookseller
A&R Fleury
bernar venet
Bernar Venet (Château-Arnoux, 1941) 226.5° Arc x 4, 2004 Rolled steel H 128 x W 130 x D 24.5 cm Certificate of authenticity issued by the artist and registered in the Bernar Venet archives under inventory n° bv04s17 Provenance: Guy Pieters Gallery, Knokke-Heist; private collection, Belgium
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Mearini Fine Art
Venetian Master (Michele Linder from Hamburg?) Crucifix, circa 1490 Alder wood H 115 x W 92 x D 16 cm Recto and verso hollowed out and juxtaposed to recompose the figure Expertise Prof.ssa Serenella Castri Provenance: private collection, Italy Exhibition: 'Sculptura' Capolavori Italiani dal XIII al XX secolo, Modena 2023 This is an absolute masterpiece in the corpus of wooden Crucifixes of the late fifteenth century in Venice. This is a sculpture of exceptional technical skill. The ‘construction’ technique is unique: the figure of the Christ has been obtained from two alder wood valves hollowed out and then fitted together more then perfectly. Even more emblematic is the dramatic introspection of its carving, whose executive value is comparable to that of ivories, and, above all we can date it to circa 1490, the apex of the Venetian Renaissance. In Venice, the reference model for the production of wooden crucifixes was the famous monumental Crucifix (ca.1468/75) of the basilica of Santa Maria Gloriosa dei Frari, from which a varied series of examples derived until the first decades of the sixteenth century. The expressive suggestion of ‘German’ models certainly contributed to the very original characteristic of these sculptures, especially thanks to the presence in Venice of skilled carvers from Northen Europe. The attribution to Michele Linder from Hamburg, resident in the district of Santi Marcuola and Fortunato, has been strongly corroborated. Linder was one of the most estemeed wood carvers in Venice and the most famous sculptor of ivory crucifixes.
Galerie Marc Maison
pierre-ferdinand duvinage
Pierre-Ferdinand Duvinage (France, 1823-1876) Guéridon with a marquetry top resting on three sacred ibises, circa 1874-1876 Gilt bronze, silver, copper, ivory, wood marquetry of various species (top); gilt wooden base with polychromy H 83 x Ø 77 cm Provenance: former Roberto Polo collection Literature: Marc Maison et Emmanuelle Arnauld, Marqueteries virtuoses au XIXe siècle. Brevets d’invention, Éditions Faton, 2012; Daniëlle Kisluk-Grosheide, Maison Giroux and its 'Oriental' Marquetry Technique. The Journal of the Furniture History Society, vol. XXXV, 1999; Roberto Polo. The Eye, Frances Lincoln Publisher Ltd., 2011; Bill Pallot, Marqueteries en cloisonné de la veuve Duvinage, dans L’Estampille-L’Objet d’art, September 2007 The top of this splendid pedestal table was crafted using a technique patented by Duvinage on May 6th, 1874, described as "a type of mosaic with metal cloisons for furniture and art objects." The ivory plaques covering the surface are separated by a network of gilt metal resembling branches, whilst the central motif is a delicate marquetry of multicoloured wood. To enhance the luxuriousness of the piece, some of the leaves are made of silver. This extraordinary marquetry work is combined with three majestic sacred ibises, birds characteristic of the Nile region in Antiquity, revered by the Egyptians as divine symbols.
Giammarco Cappuzzo Fine Art
Bartolomeo Manfredi (Ostiano 1582-1622 Rome) The Denial of Saint Peter, circa 1618-1620 Oil on canvas 125 x 183 cm Provenance: private collection, Belgium This unpublished Denial of Saint Peter (fig. 1) is an important autograph work by Bartolomeo Manfredi, painted during his mature years. The evident elements of style and quality of this new Denial of Saint Peter, especially in its best preserved places, affirms Manfredi’s authorship, which has been confirmed by leading expert Dr. Gianni Papi.
Valerio Turchi
Diana Venatrix Roman, 2nd century AD Marble H 103 x W 45 x D 26 cm Accompanied by Art Loss Register certificate: S00217922 Provenance: the former collection of an art dealer, USA; Sotheby’s New York, Antiquities and Islamic Art, 1-2 March 1984, lot.73; then former collection of the explorer and adventurer J. Stephen Fosset (1944-2007); acquired in London, 21 October 1986
De Jonckheere
Pieter Neefs The Elder (Antwerp 1578/1590-after 1656/1661), and the participation of Frans Francken The Younger (Antwerp, 1581-1642) for the figures Church Interior, inspired by Antwerp Cathedral Oil on panel 41.5 x 71 cm Signed Peeter De Neef Franck In. Stamped on the back with the mark MV of the manufacturer Michiel Vriendt, active in Antwerp between 1615 and 1637, and the arms of the City of Antwerp Provenance: Letizia Bonaparte Collection (1750-1836); Charles Talbot Collection (1753-1827), through Lucien Bonaparte; Bertram Arthur Talbot Collection, 17th Earl of Shrewsbury, 17th Earl of Waterford (1832-1856) Alton Towers, Stafford; Sale, Shrewsbury, Christie & Manson, London, 4 July, 1857, lot 300; Sholto Charles John Hay Douglas Collection, 20th Earl of Morton (1906-1976); Sotheby’s, London Belgravia, 28 July 1976, lot 42; private collection, Spain
Stern Pissarro Gallery
tom wesselmann
Tom Wesselmann (Cincinnati 1931-2004 New York) Study for bedroom painting #31, 1972 Oil on canvas 20.3 x 26 cm Signed, dated twice and titled on the reverse This work is registered under n° 72-9 in the archive of the Tom Wesselmann Estate, New York Provenance: Sidney Janis Gallery, New York; private collection, USA, acquired from the above Exhibitions: Paris, Galerie Des 4 Mouvements, Tom Wesselmann: Peintures, 7-31 March 1974, n° 13 (ill.)
Montagut Gallery
Baule statue Baule people, Ivory Coast, 19th century Wood H 40.5 cm Provenance: Galerie Olivier Le Corneur, Paris; Marceau Rivière collection, Paris, France; Alberto Costa Romero de Tejada, Barcelona, Spain; Javier Lentini collection, Barcelona, Spain Literature: África. La Figura Imaginada. Fundació LaCaixa, Barcelona, 2004. nº 44, p. 9 Unique within the corpus, this masterpiece destabilises, fascinates, and intrigues with its beauty and singularity. Its powerful serenity is magnified by its stature, refinement, gesture, and adornment. The sculpted forms, robust and vigorous due to its accentuated musculature, paradoxically suggest lightness, enhanced by its missing feet. The represented dignitary seems to be weightless, levitating, with its remarkably imposing elevated presence. The ideal of beauty and perfection amongst the Baule, representing moral perfection through its traits, is embodied here. Prestige is revealed in its details. Animated by combined energy and tranquility, its authority and dignity vibrate with admirable majesty. The distinctly rounded shoulders reinforce its stature, symbolising power, whilst the finely sculpted beard collar emphasises wisdom and maturity. Emerging from the torso are two nascent, flattened circular breasts with a dark brown patina, giving the figure an androgynous character and suggesting completeness through the union of both sexes. The finesse of the minute details enhances its gesture and adornment. The surface of its emaciated torso is adorned with subtly carved scarifications in slight relief, revealing or suggesting an armour, a necklace, an insignia of prestige and high rank. With fluidity, its delicate gesture attracts and guides the gaze to its slender fingers, which, on either side of the navel—slightly rounded, symbolising wealth and high social status—evoke a sign of welcome and esteem that spirits make when they encounter a diviner with whom they will form a future alliance. This gesture and the very particular treatment of the hands are unparalleled but can be closely associated in finesse with the treatment of the fingers in a work by the Master of Truth. Framed in a gentle oval, the strikingly peaceful face is sublimated by its crusty patina and the subtle interplay of forms between concave curves and reliefs. Slightly hollowed, the impact of its traits, carefully and clearly drawn, is accentuated. Its fine nasal ridge extends in a gentle continuity to the curved brow arches, intensifying the contours of the hollowed eyes, enhancing the circular shape of the gaze, revealing both its closed eyelids and the depth of introspection and meditation. The exceptional sophistication of its hairstyle, a testament to the Baule's sculptural finesse, contributes to this quest for perfection. This statue has been held in a collection for more than forty years and is now fresh on the market.
Galeries AB & BA
joan miró
Joan Miró (Barcelona 1893-1983 Palma de Mallorca) Untitled, 1949 Oil, watercolour, pastel crayon and charcoal on paper 32.5 x 25 cm Signed and dated on reverse, 1949 Provenance: Pierre Matisse Gallery, New York; J. Reiss collection, Wisconsin; private collection, Paris Literature: J. Dupin and A. Lelong-Mainaud, Joan Miró, Catalogue raisonné, Drawings II, Editions Daniel Lelong – Successió Miró, 2010, vol. II, p. 185, n° 1184 Exhibition: Milwaukee Art Center, Wisconsin Collects, 24 September-25 October 1964, p. 15, cat. 132
HELENE BAILLY Paris-Genève
kees van dongen
Kees Van Dongen (Delfshaven 1877-1968 Monte-Carlo) Bouquet de fleurs, circa 1950 Oil on canvas 55 x 38 cm Signed lower right: Van Dongen and countersigned on the back on the stretcher: Van Dongen This work will be included in the digital Catalogue Raisonné of Kees Van Dongen's work which is being prepared by the Wildenstein Plattner Institute, Inc. Notice of inclusion dated 28 May 2024 Provenance: Galerie Romanet, Paris; private collection, acquired from above (before 1999); Kunsthandel Frans Jacobs, Amsterdam; Jan-Dirk Paarlberg, Amsterdam, acquired from above
Galerie von Vertes
George Condo (New Hampshire, Concord 1957) Female composition, 2006 Oil on canvas 165.1 x 152.4 cm Verso signed and dated 'Condo 06' George Condo, Female Portrait, 2006 'Deep into that darkness peering, long I stood there, wondering, fearing, doubting, dreaming dreams no mortal ever dared to dream before'. Edgar Allan Poe Like the ‘Manichini’ or metaphysical mannequins of Giorgio de Chirico that reject a face as a symbol of status and identity, Female Composition is created as a hand puppet on a stick wearing a distinguished cloak, mocking the traditional depictions of the female portrait as seen in the works by Parmigianino, Rembrandt, and Picasso. This ironic interpretation depicts the woman as a faceless puppet with breasts, a cape, neckless and head topped with a carrot. Condo simultaneously offers a deep respect for art history and a blatant disregard for conventional narratives. In his own words: “As far as I’m concerned, the Renaissance was yesterday, and Cubism was a hundred years before it.” (George Condo quoted in Simon Baker, George Condo: Painting Reconfigured, New York 2015, p. 104). Female portrait perfectly encapsulates Condo’s concept of Artificial Realism. Exploring the carefully constructed conventions of traditional portraiture and how our reality is made up of artificial components, this majestic dystopian portrait ingeniously challenges the artificiality of visual representation.
Epoque Fine Jewels
cartier
Cartier Panther brooch, beginning of the 21st century Onyx, emerald and diamond A graceful, strolling panther set throughout with brilliant cut diamonds, highlighted with buff-top onyx dots and pear-shaped emerald eyes, mounted in platinum and 18 karat gold Signed Cartier and numbered Provenance: from an important estate Belgian blood runs through Cartier’s iconic Panther The Cartier onyx and diamond Panther brooch is an iconic piece of jewelry, symbolizing both elegance and boldness. This brooch features a meticulously crafted panther, its sleek body encrusted with sparkling diamonds, and its spots highlighted by black onyx. Emeralds accentuate the eyes, giving the panther a piercing gaze. The craftsmanship involved in this piece demonstrates Cartier's attention to detail and mastery of combining precious stones to create lifelike and sculptural representations of animals. The panther motif has become synonymous with Cartier, and much of this can be attributed to Belgian fashion and jewelry designer Jeanne Toussaint, who played a transformative role in the Cartier’s design evolution. Jeanne Toussaint was born in Charleroi in 1887 and raised in a family of lacemakers who made her aware of fashion and style from a young age. She moved to Paris where she was introduced to French society. She soon became acquainted with Coco Chanel, the illustrator George Barbier and, most importantly, Louis Cartier who was enthralled with Toussaint’s taste for fashion. In 1913, he hired her to coordinate his company's accessories, handbags and objects. After first being promoted to head Cartier's silver department in 1918, in 1933 Louis Cartier conferred on her full responsibility for artistic design, an area which until then he had directed himself. Jeanne Toussaint, also called ‘La Panthère’, was a visionary designer whose style pushed boundaries. Known for her boldness, independence, and exceptional taste, she introduced themes of nature and exoticism into Cartier’s collections, with the panther becoming her most famous symbol. In a historical context, Jeanne Toussaint’s influence extended beyond mere aesthetics; she redefined femininity in jewelry. At a time when women’s roles in high society were changing, Toussaint’s designs, like the Panther brooch, mirrored a new sense of power, freedom, and sophistication for women. The most famous panther was a brooch commissioned by Wallis Simpson, the Duchess of Windsor in 1948, a woman known for her daring fashion choices. This association cemented the panther’s status as a symbol of fierce femininity and strength. Toussaint’s contribution to Cartier and the world of luxury jewelry endures, with the panther motif becoming one of the most enduring and recognizable emblems in Cartier’s history. Through pieces like this onyx and diamond panther brooch, she left an indelible mark on 20th-century design, blending the opulence of diamonds with the mystery and power of the panther, embodying both grace and danger. Jeanne Toussaint retired from Cartier in 1970 and died in Paris on 7 May 1976.