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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 Berès
Bernar Venet (Château-Arnoux-Saint-Auban, 1941) Combinaison aléatoire de lignes indéterminées, 1992 Gouache and pencil on paper 43 x 54 cm Signed, titled and dated on the back: Combinaison aléatoire de lignes indéterminées, Venet Bernar 1992 Referenced in the artist’s records under the number bv092d27
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Gilden's Art Gallery
sam francis
Sam Francis (San Mateo 1923-1994 Santa Monica) Untitled SF73-287 (Tokyo), 1973 Acrylic and gouache on wove paper 37.4 x 55.2 cm Signed, dated and inscribed Archive n° SF73-287 Provenance: Kornfeld und Klipstein, Bern, Switzerland; Irving Galleries, Palm Beach, Florida; acquired from the above in 1987; private collection, United States of America
Cabinet of Curiosities-Honourable Silver Objects
cartier paris
Bracelet, circa 1960 Signed Cartier Paris, n° 114069 Stamped with French assay marks 18K yellow and white gold, designed with 13 carved fluted round lapis lazuli beads, on a slightly flexible gold shaft, terminating with a hook clasp set with 22 single and full-cut round diamonds, approximately 0.90 ct. Provenance: private collection, The Netherlands Ladybird brooch, circa 1930, signed Cartier Paris, n° 07544, stamped with French assay marks, platinum, designed with a head in enamel and a red coral body set with 8 full-cut round diamonds 22 x 19 x 11 mm Provenance: private collection, London Literature: N. Coleno, Etourdissant Cartier (Paris: Editions du Regards, 2008), pp. 44-45, 81
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Tobogan Antiques
giuseppe ghedina (1825-1896)
Giuseppe Ghedina (Italy, 1825-1896) The music lesson, circa 1860 Oil on canvas H 141 x W 179 cm Signed: G. Ghedina Painting representing a music lesson, composed of a group of three elegantly dressed ladies, listening to a musician playing the lute and accompanied on vocals by a man holding a musical score in hand. This artist’s genre scene is distinguished by the softness of the eyes, the romanticism of the attitudes and the harmony of the tones used Provenance: Château de Prépinson, Sologne
Alexis Lartigue Fine Art
Sam Francis (San Mateo 1923-1994 Santa Monica) Celestial Insect (72-020), 1972 Acrylic on paper 45 x 55 cm Signed and dated Sam Francis Archive SF72-020 Provenance: private collection, Italy Exhibition: Falchi arte Moderna, Milano, 1974 From the end of the 1960s, Sam Francis carried out in-depth research on light. He wondered about the two contradictory states of the latter: "black, the original background from which the light springs, and white, the base of the light and the sum of the colours." He sought to obtain a good balance since, according to him, "an increase in light causes an increase in darkness." His painting is not fixed, the irregular shape of the spots and the arrangement of the colours come to rest and form a network that is both structured and disarticulated.
Kunsthaus Kende
hans bolek
Hans Bolek (Vienna, 1890-1978) An 800 grade silver coffee and tea service, Vienna, 1909-1912 Designed by Hans Bolek, executed by Franz Schediwy for Alfred Pollack silversmithy A five piece coffee and tea service Provenance: private collection, San Francisco Literature: In 1912, the Vienna Museum of Applied Arts (MAK) acquired the tea service, consisting of a teapot, a small milk jug and a sugar bowl on a tray. It is still in the museum’s collection under inventory number WI 1102. An identical composition can be found in the Bröhan Museum, Berlin and is ill. in: Kerssenbrock-Krosigk, D. von, Bröhan Museum, von Kerssenbrock-Krosigk, D. & Kanowski, C. (2001). Metallkunst der Moderne: Bröhan-Museum, Landesmuseum für Jugenstil, Art Deco und Funktionalismus (1889-1939), Berlin. P. 521, cat. n° 464 Exhibition: This tea service was designed prior to 1909 and exhibited for the first time by the silversmith Alfred Pollack in 1910/11 at the winter exhibition in the Vienna Museum of Applied Arts (currently the Museum der angewandten Kunst, Vienna, known as MAK)
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
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Zebregs&Röell Fine Art and Antiques
Indo-Portuguese colonial mother-of-pearl veneered casket with silver mounts India, Gujarat, 2nd half of the 16th century, the silver mounts Goa or probably Lisbon H 16 x W 24.6 x D 16.1 cm An exceptional Gujarati casket with a rectangular box and truncated pyramidal lid (with slopes on each side and a flat top) made from exotic wood, probably teak (Tectona grandis), covered with a mother-of-pearl mosaic. The tesserae, cut from the shell of the green turban sea snail (Turbo marmoratus, a marine gastropod) in the shape of fish scales, are pinned to the wooden structure with silver ball-headed nails. The casket is set on bracket feet on the corners. The masterfully engraved decoration of the silver mounts follows the most refined and erudite Mannerist repertoire of rinceaux and ferroneries dating from the mid-sixteenth century. The high quality and refinement of the silver mounts and, likewise, the silver nails that replaced the original brass pins used to hold the mother-of-pearl tesserae in place indicate the work of a silversmith probably working in Lisbon in the second half of the sixteenth century. The Indian origin of this production, namely from Cambay (Khambhat) and Surat in the present state of Gujarat in north India, has been consensual and fully demonstrated for the last three decades, not only by documentary and literary evidence - such as descriptions, travelogues and contemporary archival documentation - but also by the survival in situ of sixteenth-century wooden structures covered in mother-of-pearl tesserae. A fine example is a canopy decorating the tomb (dargah) of the Sufi saint, Sheik Salim Chisti (1478-1572) in Fatehpur Sikri in Agra district in the state of Uttar Pradesh, north India. This is an artistic production, geometric in character and Islamic in nature, where usually the mother-of-pearl tesserae form complex designs of fish scales or, similar to the dishes also made using the same technique with thin brass sheets and pins, stylised lotus flowers. The truncated pyramidal shape corresponds, like their contemporary tortoiseshell counterparts also made in Gujarat, to a piece of furniture used in the Indian subcontinent within the Islamic world prior to the arrival of the first Portuguese. This shape is very old and specific to East-Asian caskets, chests or boxes used to contain and protect Buddhist texts, the sutras. A similar chest is the famous and large reliquary chest from Lisbon Cathedral that once contained the relics of the city's patron saint, Saint Vincent. Both match in shape, having the same kind of pedestal and bracket feet, and in their engraved silver mountings, featuring the same type of refined, erudite decoration. Their differences lie in the silver borders that frame the entire length of the edges of the chest (both the box and the lid), pinned with silver nails, and on the lock plate, shaped like a coat of arms in the Lisbon example. Given the exceptional dimensions of the reliquary casket from Lisbon Cathedral (48 x 65 x 42 cm), the goldsmith responsible for its mounting opted to place two bracket-shaped side handles instead of a top handle, as in our casket. Another similar example, probably mounted in the same Lisbon workshop as the other examples from this small group, belongs to the Seville Cathedral and still needs to be discovered. It shares many features in common with the one in the Lisbon cathedral, namely the use of engraved silver borders running along the edges, protecting the casket. An aspect that distinguished it from the others is the use of tesserae cut from Turbo marmoratus, which show a higher iridescence but also cut from the shell of the pearl oyster, probably Pinctada radiata or Pinctada maxima, given the whitish hue of the base colour. Nevertheless, the type of square-like lock plate is similar to our casket. Another example, slightly larger but with fewer silver mounts, is in the collection of the Kunstkammer Wien in the Kunsthistorischen Museums in Vienna (inv.no. GS Kap 5) and belonged to the Habsburger Family. The same type of large silver ball-headed nails seems to be characteristic of this small, rare and important group, of which the present example is the second known example in private hands, given that the others have been in their current place since the time they entered their collections in the late sixteenth century or the first years of the seventeenth century.
Röbbig München
nicolas petit (1732–1791, maître in 1761)
Nicolas Petit (France, 1732-1791) Ormolu mounted floral marquetry table "en chiffonnière" Paris, Louis XV/Louis XVI (Transition) period, circa 1770 H 68.5 x W 32.5 x D 25.5 cm Stamped 'N.PETIT' maître in 1761 and 'JME' Provenance: the Lesley and Emma Sheafer collection, Bequest of Emma A. Sheafer, 1973
De Brock
serge poliakoff
Serge Poliakoff (Moscow 1900-1969 Paris) Composition Abstraite, 1968 Oil on canvas 161.9 x 129.9 cm Signed lower center: Serge Poliakoff Provenance: the artist's studio, Paris, France; collection Doctor Bachmann, Teufen, Switzerland; Galerie Malingue, Paris, France; private collection, Italy; Connaught Brown, London, UK; private collection, Belgium; De Brock, Knokke, Belgium Literature: Programme des concerts du domaine musical de la ville de Paris, Saison 1969-1970 (ill. in colour); Plaisir de France, nº 372, p. 34, November 1969 (ill. in colour); Giuseppe Marchiori, Serge Poliakoff, Paris, Les Presses de la Connaissance, p. 107, 1976; Françoise Brütsch, Serge Poliakoff, Neuchâtel, Ides et Calendes, p. 144, 1993 (ill. in colour); La Collection T, une collection privée suisse, Zurich, J & P Fine Art, nº 15, p. 31, 2003 (ill. in colour); Marie Victoire Poliakoff, Serge Poliakoff, mon grand-père, Paris, Éditions du Chêne, p. 82, 2011 (ill. in colour); Beaux-Arts Éditions, hors série, p. 41, 2013 (ill. in colour); Connaissance des Arts, hors série, nº 601, p. 32, October 2013 (ill. in colour)
Galerie Cento Anni
philippe wolfers
Philippe Wolfers (Brussels, 1858-1929) The garland or frieze of garlands, circa 1928 Bronze sketch on marble base H 28 cm Signed Philippe Wolfers Lost wax, Foundry Ateliers Wolfers Provenance: private collection, Belgium Literature: La Dynastie Wolfers, Ed. Pandora, p. 425 Exhibitions: Brussels 1928, n° 197; Antwerp 1929, n° 69
De Jonckheere
denijs van alsloot
Denijs van Alsloot (Mechelen 1568-1625 Brussels) Wooded Landscape opening onto a Mountain Range With the participation of the workshop of Jan Brueghel The Elder (Brussels 1568-1625 Antwerp) for the figures First decade of the 17th century Oil on panel 117 x 173 cm Provenance: Fournier Art Gallery, Rouen, 1984; Heim Gallery; De Jonckheere, 1984; private collection Literature: S. van Sprang, Denijs Van Alsloot (vers 1568 – 1625/26). Peintre paysagiste au service de la cour des archiducs Albert et Isabelle, Turnhout, Brepols, 2014, p. 104, ill. 25, repr. Denijs Van Alsloot's mastery of nature must be considered from the point of view of the overall effect it produces. The artist knew how to adapt his compositions to his subjects. While the forest can be a frightening place, in the artist's imagination, it is a space that shelters nymphs and humans. This large painting, whose deep, luminous colours have been preserved, provides a vivid example of its marvels, captured by the bluish line of the mountains nestled in a forest opening. It is one of the rare 20 or so landscapes that can currently be attributed to his body of work.
Van Herck-Eykelberg
alexander calder
Alexander Calder (Lawnton 1898-1976 New York) La Grande Cravate, 1969 Gouache on paper 109 x 23 cm Signed and dated Registered at the Calder Foundation under the archive n° A24180 Literature: Alexander Calder, Château de Tours, 2008, exhibition catalogue, ill. p. 181 Exhibition: Alexander Calder, Château de Tours, 6 June-19 October 2008
Galeria Jordi Pascual
antoni tàpies
Antoni Tàpies (Barcelona 1923-2012) Cap amb paper encolat, 1987 Paint, pencil and collage on canvas 54 x 65 cm Provenance: private collection, Barcelona Literature: Agustí, Anna. Tàpies. Obra completa, vol. 6, 1986-1990, Fundació Antoni Tàpies and Edicions Polígrafa S.A, 2000, p. 153, fig. 5465
Galerie von Vertes
yayoi kusama
Yayoi Kusama (Matsumoto, 1929) Hat (ATE), 2001 Acrylic on canvas 22 x 27.3 cm Signed, dated and titled on verso Provenance: private collection, Japan; Mallet Japan, January 25, 2008, lot 92; Opera Gallery, Geneva; private collection, Geneva Literature: Certificate of authenticity from the Yayoi Kusama Studio on 7 December 2007
Willow Gallery
Eugène Boudin (Honfleur 1824-1898 Deauville) Pont sur La Touques, 1890 Oil on canvas, 46 x 66 cm - framed: 64 x 84 cm Signed, dated and inscribed lower left: Touques, E Boudin 90 Provenance: collection Panhard from 1899 Literature: Robert Schmit, Catalogue raisonné de l’œuvre peint d’Eugène; Boudin, Paris, 1973, vol. III, n° 3332, ill. p. 278, incorrectly dated 1894 Exhibition: Exposition des œuvres d’Eugène Boudin, Paris, École Nationale des Beaux-Arts, 1899, n° 43 (label verso)
