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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 Dina Vierny
Serge Poliakoff (Moscow 1900-1969 Paris) Composition abstraite, 1956 Oil on burlap 81 x 130 cm Signed lower left 'Serge Poliakoff' Provenance: Dr. Franz Meyer collection, Zürich; sale Perrin-Royère-Lajeunesse, Versailles, 10 December 1989, lot 113; private collection, Switzerland; sale Christie's, London, 29 June 2000, lot 343; private collection; Galerie Applicat-Prazan, Paris; private collection (acquired from the above in 2003); Galerie Dina Vierny, Paris Literature: J. Grenier, 'Poliakoff', in L'Oeil, March 1958, n° 39, ill. p. 31; G. Bernier, Modern Art Yesterday and Tomorrow, 1960, ill. p. 121; La Gazette de l'Hôtel Drouot, 30 September 1994, ill. p. XXIII; La Gazette de l'Hôtel Drouot, n° 41, 24 November 1994, ill. p. 291; A. Poliakoff, Serge Poliakoff: Catalogue raisonné, vol. II, 1955-1958, 2010, n° 56-38, ill. p. 128 Exhibitions: Paris, Galerie Bing, Serge Poliakoff, 1956; Künzelsau, Museum Würth, Serge Poliakoff, 1997-1998; Wien, Kunstlerhaus, Serge Poliakoff, 1998
Heutink Ikonen
Mother of God Hodegetria of Smolensk Russia, second half of the 17th century Egg tempera on gesso on linen-covered wood 31.5 x 27 cm The Mother of God Hodegetria is one of the oldest known iconographies. The oldest surviving image is a miniature from the 7th or 8th century from Syria. The icon is characterised as a Lucas icon, which according to legend was painted by the evangelist Luke, during the lifetime of the Mother of God. This icon is painted in a very classical, Byzantine style. It is reminiscent to the statues and portraits of old Roman emperors and gods.
Harold t’Kint de Roodenbeke
James Ensor (Ostend, 1860-1949) Book, mask and skull, 1910 Oil on panel 24 x 19 cm Signed Provenance: collection C. Snauwaert, Ostend; collection Moureau, Brussels; collection de Bellefroid, Brussels Literature: Xavier Tricot, James Ensor, catalogue raisonné des peintures, Fonds Mercator, 2009, ill. p. 390, n° 675 Exhibition: Galerie Motte, James Ensor, Geneva, 1966, n° 4
Galerie Patrice Trigano
césar
César Baldaccini alias Cesar (Marseille 1921-1998 Paris) Fanny Fanny, 1990 Welded bronze H 245 x W 123 x D 235 cm Signed and numbered, Bocquel foundry Registered in the archives of Denyse Durand-Ruel, n° 4136 Provenance: acquired from the artist Literature: B.H. Lévy, César, les bronzes, éd. de la Différence, Galerie Beaubourg, Paris, 1991, p. 41; César, oeuvre de 1947 à 1993, Musées de Marseilles, Réunion des Musées Nationaux, Marseille, 1993, p. 25; César, Galerie Enrico Navarra, Paris, 1996, pp.74-75 The Fanny Fanny is the most spectacular and largest of César's hens. The artist used the technique of welded bronzes that he invented to create the series of his famous hens.
Gilden's Art Gallery
marc chagall
Marc Chagall (Vitebsk 1887-1985 Saint-Paul de Vence) Peintre, Ange et Amoureux, 1980 Tempera on masonite 40.6 x 34.9 cm Signed lower right corner 'Marc Chagall' Inscribed, signed and dated verso 'Tempera/Marc Chagall/1980' The work is accompanied by a certificate of authenticity from the Chagall Committee from 31 March 1992 issued by Jean-Louis Prat Provenance: Sotheby's New York, Sale 7132, 14 May 1998, lot 366; Collection of Bridget & Jerome Dobson, Atlanta, Georgia, USA
Giammarco Cappuzzo Fine Art
Ottavio Vannini (Florence, 1585-1644) Susanna and the Elders, circa 1615-1620 Oil on canvas 135 x 170 cm Provenance: private collection, Italy Literature: G. Papi, A New 'Susanna' by Ottavio Vannini, Paragone, 805 (3rd series, 132), 2017, pp. 30-33, col. pl. 34 Ottavio Vannini was born in Florence in 1585, as recorded in the city’s Baptismal Registers. According to the two scholars Dr. Gianni Papi and Dr. Filippo Gheri, this painting represents an important addition to Vannini’s catalogue, due to its brilliant pictorial quality and its embodiment of the painter's interests and ideas. The current work serves as a milestone for understanding Vannini’s Roman period, showcasing the impact that classicist artistic culture had on him after the second decade of the seventeenth century
Galerie de la Béraudière
jean dubuffet
Jean Dubuffet (Le Havre 1901-1985 Paris) Barbe de la sentence inique, 1959 Prints collage and India ink on paper 51 x 33.5 cm Signed and dated upper right: J. Dubuffet 59 Dated and inscribed on the reverse: Barbe de la sentence inique, juin 59 Provenance: Galerie Daniel Cordier, Paris; collection Claude Hersaint, Paris; collection Hélène Anavi, Paulhiac (acquired in 1965); sale Sotheby’s, New York, 27 March 1984, lot 50; Richard L. Feigen & Co., New York; private collection (acquired from the above in 1987); sale Christie's, Paris, 20 October 2022, lot 10; private collection, Belgium Literature: Max Loreau, Catalogue des travaux de Jean Dubuffet, As-tu cueilli la fleur de barbe, Fascicule XV, Paris, 1985, n° 53, ill. p. 36
Dr. Nöth kunsthandel + galerie
gustave loiseau
Gustave Loiseau (Paris, 1865-1935) Falaises d'Yport en hiver, 1924 Oil on canvas 54 x 65 cm Signed and dated lower left 'G Loiseau 1924' This work will be included in the forthcoming Gustave Loiseau catalogue raisonné which is currently being prepared by Didier Imbert Provenance: Galerie Durand-Ruel, Paris, by whom acquired directly from the artist on 31 May 1924; Marie Louise d'Alayer, by descent from the above in 1949; anonymous sale, Sotheby's, London, 30 November 1972, lot 46; private collection, Europe, by whom acquired at the above sale; private collection, Japan; acquired from the above by the present owner
Gallery Desmet
Head of Goddess Marble Roman, 1st century AD H 21 x W 14 x D 15 cm Certificat d'un bien culturel: 242734 Accompanied by Art Loss Register certificate: S00236852 Provenance: the attics of Château de Monty Saint-Eloi (Oise), bought in 1896 (collection of Alfred Dailly 1848-1929); by descent to the Dugardin family, sold in their succession in 2023
Galerie des Modernes
pablo picasso
Pablo Picasso (Malaga 1881-1973 Mougins) Moustachu, Paris, 1915 Graphite on paper 32 x 24 cm Pencil sketch on reverse Handwritten inscriptions on reverse Provenance: succession Picasso (Inv. 01666); Marina Picasso, granddaughter of the artist; Galerie Jan Krugier, Geneva (Inv. 1666), entrusted by Marina Picasso; Marina Picasso Literature: Christian Zervos, Pablo Picasso, vol. 6, Supplément aux volumes 1 à 5, Paris, Éditions Cahiers d'Art, Paris, 1954, described (with dimensions 31.7 x 23.7 cm) and reproduced p. 152 under n° 1276; Pablo Picasso Sammlung Marina Picasso, catalogue of the travelling exhibition in Germany and Switzerland, by Werner Spies with the collaboration of Eduard Beaucamp, Giovanni Carandente, Klauss Gallwitz, Siegfried Gohr, Reinhold Hohl and Günter Metken, Prestel-Verlag, Munich, 1981, described in the catalogue by Reinhold Hohl on p. 284 and reproduced on p. 285 under n° 103; Picasso: Opere dal 1895 al 1971 dalla Collezione Marina Picasso, exh. cat. of the Centro di Cultura di Palazzo Grassi, Venice, 1981, described (with the title Studio per un uomo seduto and the date Avignon 1914?) on p. 246 and reproduced on p. 247 under n° 123; Picasso, catalogue of the Australian exhibition, by Patrick Mc Caughey, Margaret Plant, Memory Holloway, Ruth Pullin, Judith Ryan, The International Cultural Corporation of Australia Limited, 1984, described and reproduced on p. 82 as n° 75 Exhibitions: Pablo Picasso Sammlung Marina Picasso, Eine Ausstellung zum hundertsten Geburtstag, travelling exhibition in Germany and Switzerland, under n° 103; Haus des Kunst München, Munich, February 14 to April 20, 1981; Joseph-Haubricht-Kunsthalle, Cologne, in cooperation with Museum Ludwig, Cologne, August 11-October 11, 1981; Städtische Galerie in the Städelschen Kunstinstitut, Frankfurt am Main, October 22, 1981-January 10, 1982; Kunsthaus, Zürich, January 29, 1982-March 28, 1982; Picasso: Opere dal 1895 al 1971 dalla Collezione Marina Picasso, Centro di Cultura di Palazzo Grassi, Venice, May-June 1981, under n° 123; Picasso. Works from the Marina Picasso Collection in collaboration with Galerie Jan Krugier, Geneva with loans from museums in Europe and the United States of America and private collections, in Australia, under n° 75; National Gallery of Victoria, Melbourne, July 28-September 23, 1984; Art Gallery of New South Wales, Sidney, from October 10 to December 2, 1984; Michel Charzat, Derain et ses amis. La Pléiade prodigieuse, Editions Gourcuff Gradenigo, Montreuil, 2024, described and reproduced in colour under the figure n° 11, p. 63
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
COLNAGHI
wilhelm leibl
Wilhelm Leibl (Cologne 1844-1900 Würzburg) Study of a skull, circa 1868 Oil on canvas 34.4 x 31.4 cm Provenance: Johann Sperl (1840-1914), Munich; Karl Zitzmann (1871-1956); His sale, Hugo Helbing, Frankfurt am Main, November 16th, 1926, lot 12 [repr. table 5]; Galerie Heinemann, Munich, with the gallery's labels on the back, until at least May 10th, 1929; Georg Schäfer (1896-1975) Schweinfurt (with Inventory n° 0123 on the back); private collection, Southern Germany Literature: Emil Waldmann, Wilhelm Leibl. Eine Darstellung seiner Kunst, Gesamtverzeichnis seiner Gemälde, 2, Berlin, 1930, cat. n° 81 Exhibitions: Wilhelm Leibl. Gemälde, Zeichnungen, Radierungen (Akademie der Künste, Berlin, Wallraf-Richartz Museum, Cologne, and Galerie Matthiesen, Berlin, Cologne-Berlin: 1929), p. 43, cat. n° 29a; Vor hundert Jahren: Dänemark und Deutschland 1846-1900. Gegner und Nachbarn. (Statens Museum for Kunst, Copenhagen, Kunstmuseum Århus, Kunsthalle zu Kiel, Orangerie Schloss Charlottenburg, Berlin, 1981). p. 372, cat. n° 144 D
Philippe Heim
abie loy kemarre
Abie Loy Kemarre (Australia, 1972) Bush Hen Dreaming, 2019 Acrylic on canvas 122 x 183 cm Provenance: Utopia, Central Desert, Northern Territory, Australia Collections: The Metropolitan Museum, New York; Bridgestone Museum of Art, Tokyo; Seattle Art Museum, Seattle; Musée des Confluences, Lyon; The Art Gallery of South Australia, Adélaïde; The Adelaide University Art Collection, Adélaïde; The National Gallery of Victoria, Melbourne, etc. The 'Bush Hen Dreaming', for which Abie Loy Kemarre has custodial rights inherited from her grandfather, was the first story Abie was allowed to paint. The bush hen, also referred to as a bush turkey or Australian bustard (Ardeotis australis), is Abie’s Dreaming Ancestor, an association commonly but erroneously referred to as a ‘totem’. These paintings refer to women’s sacred ceremonies, including a sacred waterhole site, and narrative elements from the peripatetic habits of the bush hen as it searches for food. The geometry in Abie’s Bush Hen Dreaming compositions is generated from her intimate familiarity with the hen, its habitat, and what we would recognise as the science of ethology - the study of animal behaviour.
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Galerie Nicolas Bourriaud
Céline Lepage (Warsaw 1882-1928 Paris) Femme de Marrakech, circa 1920 Bronze with double shaded brown-green and medal patina H 80.5 x W 22 x D 22 cm Weight 12.7 kg Signed 'Céline Lepage' Sand casting probably made by the Rudier foundry. Publisher's stamp 'La Stèle', the artist's stamp with number 6 Literature: Paul Camille Lepage, 'Les conceptions artistiques de Céline Lepage', L’Art et les artistes, March 1933, model repr. p. 185
Sylvia Kovacek – Vienna
gustav klimt
Gustav Klimt (Baumgarten 1862-1918 Vienna) Standing nude, hands on the hips, 1911 Pencil on paper 57.1 x 37.5 cm Provenance: private collection, USA, courtesy Serge Sabarsky Gallery, New York; private collection, Japan; 110. auction Klipstein und Kornfeld, Bern 1963, n° 536 (pl. 69); private collection Hikonobu Ise, Japan Literature: The Ise Collection, Ise Lifedesign House, Japan 1984, ill. n° 12; Alice Strobl, Gustav Klimt. Die Zeichnungen 1904-1912, vol. II, Salzburg 1982, catalogue raisonné n° 2023, p. 252f
Kunstconsult 20th century art I objects
lino tagliapietra
Lino Tagliapietra (Murano, 1934) Samarcande vase with filigree in clear and pink glass, 1989 Designed in 1981 and made for Effetre International 1989 H 15 x Ø 24 cm Provenance: collection Snijder, Aerdenhout Literature: Giovanni Sarpellon, Lino Tagliapietra Glass, Publisher Arsenale, p. 44
Galerie Cento Anni
andré lanskoy
André Lanskoy (Moscow 1903-1976 Paris) Abstract composition, 1961-1962 Oil on canvas 73 x 100 cm Signed Lanskoy Certificate of the Comité Lanskoy-Paris This work will be included in the artist's catalogue raisonné Provenance: Galerie E. Smith, Paris; Galerie Ivana de Gavardie, Paris
Whitford Fine Art
reinhold koehler
Reinhold Koehler (Germany, 1919-1970) Thorax contrecollage, 1963-64 Dessin trouvé Décollage with ink, paper and smashed glass laid down on canvas 72.5 x 50 cm Signed and dated lower right and signed, dated, titled and inscribed verso The work is included in the Koehler Archives as RK 58 Provenance: private collection, Germany
Gilden's Art Gallery
rene magritte
René Magritte (Lessines 1898-1967 Brussels) Le Bouchon d'Epouvante from 'L'Aube à l'Antipode', 1966 Etching on wove paper Paper size: 38.4 x 28.6 cm Image size: 17.8 x 13 cm Hand signed in pencil lower right margin 'Magritte' and numbered in pencil lower left margin, edition of 17 This work was printed in 1966 at the studio of J. Rigal, Paris and published in a limited edition of 17 hand signed and numbered impressions for the series 'L'Aube à l'Antipode' (Dawn of the Antipode). It is from the rare suite of 17 hand signed etchings. There is also a suite of 77 where only two of the etchings (La Comtesse de Monte Cristo and Les Deux Mystères (Ceci n'est pas une pipe) are signed in pencil Literature: Gilbert E. Kaplan & Timothy Baum, 1982. The Graphic Work of René Magritte. New York: II Editions Reference: Kaplan & Baum 11
Van der Meij Fine Arts
janus la cour
Janus la Cour (Denmark, Tim Parish 1837-1909 Odder) From Bordighera, 1898 Oil on canvas 45 x 73.5 cm Signed lower right: 5.I.98 janus la Cour Provenance: estate auction Janus la Cour, Charlottenborg Copenhagen, December 1909, lot 119; private collection, Copenhagen Literature: Rikard Magnussen, Landskabsmaleren Janus la Cour. 1837-1909 (Copenhagen, 1928), n° 780
Galerie Marc Maison
louis malard
Louis Malard, French cabinetmaker Monumental bed in Egyptomania style, 19th century Walnut with polychromy Presented at the 1889 Exposition Universelle in Paris. This bed is part of a complete bedroom set H 271 x W 232 x D 260 cm Provenance: formerly in the collection of Countess Bathilde Ducos (1851-1927) from 1889 to 1896; private collection of Charles Henri Duquesne and his descendants from 1896 to 2019 Literature: Le Figaro du 1er juillet 1889, 35th year, 3rd series, n° 182, p. 2; Alfred Picard (sous la direction de), Exposition universelle de 1889 à Paris. Rapports du Jury international, Groupe III - Mobilier et accessoires, classes 17 à 29, p. 68; Gazette de l’hôtel Drouot Saturday, Sunday, and Monday, June 1, 1896; Brissonneau, Livres, Tableaux anciens et modernes, Bijoux, Argenterie, Céramiques, Arts de l’Asie, Armes, Meubles et Objets d’art, auction catalogue from April 5, 2019, pp. 30-33, n° 182 Exhibition: Presented at the 1889 Exposition Universelle in Paris This style is associated at the time with the reign of Ramses II in ancient Egypt. Its deeply original decor embodies the 19th century’s fascination with ancient Egyptian art and caused a true uproar: both Le Figaro and the official jury report praised it in glowing terms.