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De Jonckheere
abel grimmer
Abel Grimmer (Antwerp, circa 1570/73-1618/19) The Tower of Babel, 1604 Oil on panel 33.90 x 45 cm Signed and dated ABEL GRIMER FECIT 1604 on a stone, front right Provenance: Kunsthandel P. de Boer, 1930/1931; Galerie van Diemen, Berlin, 1933; C. Benedict, Paris, 1955; Douwes, Amsterdam, at the Delft Fair, 1972; Sale, Christie's, Amsterdam, 17 October 1977, n° 317, repr.; Richard Green Gallery, London (FL 90,000); Galerie J.O. Leegenhoek, Paris, 1978; private collection Literature: P. de Boer, Tentoonstelling van werken van Joost de Momper, eenige voorlopers en tijdgenoten, Kunsthandel P. de Boer, Amsterdam, 1930, n° 84; H. Minkovski, Aus dem Nebel der Vergangenheit steigt der Turm zu Babel, Berlin, 1960, n° 190; R. Bertier de Sauvigny, Jacob et Abel Grimmer, Brussels, 1991, p. 202, n° XLIV; H. Minkovski, Vermutungen über den Turm zu Babel, Luca Verlag Freren, 1991, p. 187, n° 259, repr. p. 186 Exhibition: Amsterdam, Kunsthandel P. de Boer, Tentoonstelling van werken van Joost de Momper, eenige voorlopers en tijdgenoten, December 1930-January 1931, n° 84
Boon Gallery
günther uecker
Günther Uecker (Germany, Wendorf 1930) Wind, 2005 Nails and oil on canvas laid down on wood 200 x 160 cm Signed on reverse This artwork is registered in the Uecker Archive with the number GU.05.011 and will be included in the forthcoming catalogue raisonné Günther Uecker has for six decades developed his reliefs comprising dynamic arrangements of nails. Born in 1930 in Wendorf, Germany, Uecker studied at the Kunsthochschule Berlin Weissensee and Kunstakademie in Düsseldorf, where he lives and works today. In the 1950s, influenced by Eastern philosophy and Gregorian chanting, he began a ritual of hammering nails. These materials signify protection and creation to the artist, who remembers nailing planks over the windows of his home to deter Soviet troops after the Second World War. By 1957, he was hammering nails onto canvas to achieve a 'sundial' optical effect, casting light and shadow in ephemeral patterns. In 1961, Uecker joined Heinz Mack and Otto Piene in the anti-expressionist movement Group Zero, which prioritised expanding beyond the traditional dimensions of the canvas into kinetic, serial, and participatory realms. After the group's dissolution in 1966, Uecker's work incorporated aspects of conceptual and land art, and he began designing stage sets for operas. Uecker's work has been the subject of solo exhibitions at museums worldwide. Retrospectives of his work have been organised by the Central House of Artists, Moscow (1988) and Kunsthalle München (1993), and he participated in Documenta (1964, 1968, 1977) and the 1970 Venice Biennale. His work resides in such collections as the Art Institute of Chicago; Guggenheim and MoMa in New York; Museum Ludwig in Cologne; Centre Pompidou in Paris; Stedelijk Museum in Amsterdam; and Tate Modern in London.
Gallery Desmet
francesco fanelli
Pair of staggering and pacing horses Attributed to Francesco Fanelli (Italy, 1590-1653) Bronze, black lacquer patina Florence, second quarter of the 17th century H 15 x W 16.5 x D 5 cm H 16.5 x W 16 x D 5 cm Provenance: private collection, Italy To introduce these bronzes, there is no better way than the description made by the English antiquarian George Vertue (1684-1756). He depicted a number of statuettes by Fanelli at Welbeck: Fannelli the Forentine Sculptor who livd and dyd in England, made many small statues. models & cast them in brass (i.e. bronze). which he sold to persons that were Curious to sett on Tables cupboards shelves by way of Ornament - and irons. Many were bought by W. Duke of Newcastle, and left at Welbeck. where the Earl of Oxford. found them. This Fanelli had a particular genius for these works and was much esteemd in King Charles I time - and afterwards - so many of this little Statues as I have seen at Ld Oxfords - It shows us the impact and influence of yet another Florentine sculptor in England and this pair of bronzes is exactly what Fanelli is famous for: dark black lacquer patina, the subject of horses and the small size to appeal to the collector’s desire of the high nobility in England and beyond.
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
J. Baptista
Silver salver Portugal, late 16th century Weight 1050 gr. Ø 33 cm Literature: Reynaldo Dos Santos; Irene Quilho. Ourivesaria portuguesa nas colecções particulares. Lisbon: 1974. pp. 139-140; Gonçalo Vasconcelos e Sousa, Pratas Portuguesas em Colecções Particulares: séc. XV ao séc. XX. Oporto: 1998. pp. 54-55 This concave silver salver is a remarkable example of Portuguese silverwork from the late 16th century, often serving a utilitarian function in the households of prominent families of the time. Pieces like this, richly decorated with geometric elements, volutes, and shell motifs, demonstrate the artistic sophistication and craftsmanship of Portuguese artisans during that period. The base of the piece is divided into eight dotted trapezoidal frames adorned with floral elements, while the engraved central medallion features a stylized open flower, highlighting the intricate ornamentation. The historical and artistic value of this salver is further attested by its presence in the collections of prestigious museums such as the Museu Nacional de Arte Antiga in Lisbon (Legado de Barros e Sá), the Lázaro Galdiano Foundation in Madrid (inventory n° 2484, room 11), and the Metropolitan Museum of Art in New York (accession n° 13.23.1), as well as in the private collection of Dr. Miguel Pereira de Abreu in Oporto. These pieces not only represent the excellence of Portuguese silverwork but also illustrate the cultural and social roles that utilitarian objects played in the households of important families during this period.
Galerie Hadjer
joan miró
Joan Miró (Barcelona 1893-1983 Palma de Mallorca) La femme au miroir Aubusson tapestry woven by the Pinton workshop / Mobilier National, France Wool Based on original tapestry cartoon from 1965 138 x 200 cm Edition 2/8 - Project with the Miro Foundation in 2024 Provenance: Atelier Pinton Aubusson-French National collection/Miro Foundation Literature: The Fabric of Modernity. Matisse, Lurçat, Miró and French tapestry, 2020 Exhibition: The Fabric of Modernity: Matisse, Lurçat, Miró... and French tapestries. Kunsthalle München, 6 December 2019-8 March 2020; Au fil du siècle, 1918-2018 Chefs-d'œuvre de la tapisserie, Galerie des Gobelins, 2018
Galerie Cento Anni
gaston le borgeois
Gaston Le Bourgeois (France, 1880-1956) Pigeon voyageur, circa 1924 Dark brown patinated bronze H 20.5 x W 28.5 x D 10 cm Model created in 1924, old-fashioned cast, most probably by Colin, foundryman Signed with the monogram stamp GLB and numbered 12/20 (in the monogram) on the left leg With thanks to Noël Cailly, the artist's grandson and successor, for confirming the authenticity of this piece Provenance: Lucienne Lazon (1910-2007) collection Lucienne Lazon was a painter, engraver and jeweller, the creator of the first Golden Palm at the Cannes Film Festival in 1955. Lucienne Lazon and Gaston Le Bourgeois both lived in Rambouillet. In addition to their professional encounters at exhibitions, notably those of the Société des Artistes Décorateurs, of which they were members, they saw each other regularly in Rambouillet, and the sculptor gifted some of his work to the jeweller on several occasions.
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.)
Brame & Lorenceau
salvo
Salvo (Italy, 1947–2015) Primavera tramonto, 1985 Oil on cardboard 30 x 23 cm Signed, dated and titled on the back with a ball point pen ‘Salvo 85 Primavera Tramonto' Provenance: private collection, Spain; private collection, Spain Exhibitions: 1986, November-December, Genoa, Galería Chisel, Salvo, p. 14, ill. col.; 1989, May-June, Valencia, Galería Ferrán Cano, Salvo, 1979-1987, p. 13, ill. col.
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Harold t’Kint de Roodenbeke
Raoul Dufy (Le Havre 1877-1953 Forcalquier) Régate sur la Marne, 1925 Watercolour on paper 50 x 65 cm Signed lower right Provenance: collection of the Belgian artist Jean Milo; acquired in 1943 Literature: Fanny Guidon-Lafaille, Catalogue raisonné, tome II, n° 1227, ill. p. 63 Exhibition: Brussels, 1943, n° 72
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.
Galerie Hadjer
joan miró
Joan Miró (Barcelona 1893-1983 Palma de Mallorca) Hirondelle d'Amour Aubusson tapestry woven by the Pinton workshop/ Mobilier National, France Wool Based on original tapestry cartoon from 1979 200 x 160 cm Edition 2/8 - Project with the Miro Foundation in 2024 Provenance: Atelier Pinton Aubusson - French National collection / Miró Foundation Literature: Le Monde Nouveau de Charlotte Perriand, Fondation Louis Vuitton; K. L. H. Wells, Weaving Modernism. Postwar Tapestry Between Paris and New York, Yale University Press, 2019; The Fabric of Modernity. Matisse, Lurçat, Miró and French tapestry, 2020 Exhibitions: Joan Miró, Hirondelle d’Amour was presented as part of the Louis Vuitton Foundation exhibition, Le Monde Nouveau de Charlotte Perriand, October 2nd, 2019-February 24th, 2020; The Fabric of Modernity. Matisse, Lurçat, Miró and French tapestry, 2020
Galerie Nicolas Bourriaud
Eva Aeppli (Switzerland, Zofingen 1925-2015 Honfleur, France) Taureau Floréal, 1991 Bronze with shaded brown patina H 36 x W 23 x D 24.5 cm Titled 'Taureau Floréal' and numbered 6/8 Cast by Susse Frères Paris, stamped 'Resygram' This proof, number 6, was commissioned by the artist and cast by the Susse foundry in July 1991 Pursuing her questioning of humanity by linking it to the cosmos, Eva Aeppli found in astrology a spiritual and formal repertoire in which she could work tirelessly for almost two decades. After the Planets (1975-1976), then the Erinyes (1977), goddesses of vengeance from Greek mythology, whom she associated with Pluto, Neptune and Uranus, she tackled the Zodiac (1979-1980), each of the 12 heads expressing the character of the astrological signs; such is the case of Taurus, with its heavy sensory appetites. The result is a striking head sewn in fabric and partly cast in bronze, with refined yet eminently expressive features, the scars drawn by the seams on the surface. It's a confrontation that leaves no viewer untouched. From a private collection in France, this head is remarkably in keeping with her tormented path as a creator who cannot be assigned to any particular artistic movement, which is what makes it so exceptional.
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Galeries AB & BA
Uli ancestor figure Northern New Ireland, Papua New Guinea, Melanesia, Oceania, first half of 20th century Carved wood and pigments H 108 cm Provenance: Umlauff Museum, Hamburg. Inv. 163/35591; Gros & Deletrez sale, May 26th, 1983; Robert Lebel collection, Paris; Calmels Cohen sale, December 4th, 2006; private collection; Christie's Paris sale, June 11th, 2012; Galerie Monbrison, Alain de Monbrison lists Elie de Rothschild as former provenance; collection Georges Goldfayn Literature: I Surrealisti, Arturo Schwartz, éd. Mazzotta, 1989, p. 251; Uli, Powerful Ancestors from the Pacific, Jean-Philippe Beaulieu, éd. Primedia, 2021, p. 252 Depiction of a standing man with his hands positioned behind his ears. The head is surmounted by a tall, feather-shaped crest cap over a checkerboard-engraved skullcap.
Galerie de la Béraudière
félix labisse
Félix Labisse (Marchiennes 1905-1982 Neuilly-sur-Seine) Histoire naturelle, 1943 Oil on canvas 72.7 x 59.4 cm Provenance: Jacques Arnold Croquez, Paris; Galerie Isy Brachot, Brussels and Paris (acquired from the above); collection Jean-Luc Lagardère, Paris; sale Christie's, London, 6 February 2007, lot 127; private collection Literature: Robert Desnos, Félix Labisse, Paris, 1945, (not paginated); Newsweek, New York, 10 February 1947 (ill.); C'est Paris, June 1950 (ill.); Louis Pauwels, Gurdjieff, Isle of Man, 1963; Patrick Waldberg, Félix Labisse, Brussels, 1970, (ill. p. 129; in its first state); Jean Cassou, Isy Brachot (eds.), Labisse, Catalogue de l'oeuvre peint, 1927-1979, Brussels, 1979, n° 164, ill. p. 92; Véronique Prat, A Félix Labisse, cent mille diables reconnaissants, in Figaro Magazine, 11 September 1982, p. 87 (ill.) Exhibitions: 2017, Brussels, Galerie de la Béraudière, La figure animalière; 2016, Brussels, Galerie de la Béraudière, Chefs d'œuvre de la galerie et Surréalisme; 2005-2006, Douai, Musée de la Chartreuse, Félix Labisse, 1905-1982, Exhibition rétrospective du centenaire de sa naissance, n° 23, ill. pp. 93 and 139 (this exhibition later travelled to Carcassone, Musée des Beaux-Arts, February-May 2006); 1986, Douai, Musée de la Chartreuse, Hippodrome, Rétrospective Félix Labisse, n° 14, ill. p. 49; 1979, Ostend, Casino Kursaal, Labisse, 50 ans de peinture, n° 51; 1978, Paris, Grand Palais, Salon des artistes français, Magritte, Delvaux, Labisse; 1960, Knokke, Casino, Rétrospective Félix Labisse, n° 9; 1953, Ostend, Kursaal, Art fantastique, n° 59; Brussels, Palais des Beaux-Arts, Félix Labisse, n° 9; Liège, Musée des Beaux-Arts, Félix Labisse, n° 6; 1947, New York, Whitney Museum, Painting in France; 1945, Brussels, Palais des Beaux-Arts, Jeune peinture française, n° 29; 1944, Paris, Galerie René Drouin, Le nu dans la peinture contemporaine