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Samuel Vanhoegaerden Gallery
Karel Appel (Amsterdam 1921-2006 Zurich) People, Birds and Sun, 1951 Gouache and pastel on paper, mounted on canvas 65 x 100 cm Signed and dated lower right Provenance: the estate of the artist; Galerie Max Hetzler, London Exhibition: Karel Appel-Cobra/Non Cobra, Galerie Max Hetzler, London, January-February 2024 This work by Karel Appel embodies the playful, instinctive visual language that makes his finest Cobra-period pieces so instantly recognizable. As the original version of the painting held in the Tate Gallery’s collection, this piece offers a glimpse into the evolution of a composition in which the imagination is given free rein. A child, a bird, a sun, and fantastical creatures appear alongside and intertwined with one another, without ever conforming to a traditional representation of reality. The figures are childlike and direct. Large eyes, erratic contours, and bold, spontaneous lines lend them an expressive presence. Appel does not paint what he sees, but rather he paints what he imagines and senses. The exuberant colors - yellow, red, green, blue, and black - collide, overlap, and amplify one another. The yellow plane infuses the composition with light and energy, while the dark lines provide structure to the various figures. This combination of childlike spontaneity and controlled painterly craft lies at the heart of Appel’s Cobra aesthetic.
Waddington Custot
Barry Flanagan (Prestatyn 1941-2009 Santa Eulària des Riu) Large Troubador, 2004 Bronze, cast 2019 185 x 140 x 114 cm Edition of 8 + 3 AP (AP 2) Stamped with the artist’s monogram, casting date and edition number ‘f-/19 AP 2/3’ and foundry mark Provenance: Plubronze Limited (the Estate of Barry Flanagan) Literature: Paintings, Sculpture and Works on Paper, Waddington Galleries, London, 2004, n° 29 (rep. in colour p. 63) (1/8 catalogued); Barry Flanagan, Clare Preston (ed.), Jo Melvin, Teresa Gleadowe, Mel Gooding and Bruce McLean, Waddington Custot in association with The Estate of Barry Flanagan, London, 2017 (repro. in colour pl 137) Exhibitions: ‘Barry Flanagan: Sculpture 1965–2005’, Irish Museum of Modern Art, Dublin, in collaboration with Dublin City Gallery The Hugh Lane, 28 June-24 September 2006, catalogue p. 160 (rep. in colour) (3/8 exhibited); ‘Barry Flanagan: Sculpture’, Paul Kasmin Gallery, New York, 23 February-31 March 2007 (3/8 exhibited); ‘Barry Flanagan: Sculptures 2001-2008’, Waddington Galleries, London, 30 April-23 May 2008, catalogue n° 7 (rep. in colour p.[23]; detail pp.[18–19]) (4/8 exhibited); ‘Beyond Limits’, Chatsworth House, Bakewell, Derbyshire, 7 September-28 October 2012 (AP 1/3 exhibited); ‘Barry Flanagan’, IKON, Birmingham, 18 September-24 November 2019 (rep. in colour in catalogue on p. 2-3, 5, 88) (another edition exhibited outside); ‘Mayfair Sculpture Trail’, London, 1-31 October 2020, catalogue n° 8 (rep. in colour p. 41) (AP 2/3exhibited)
N. Vrouyr
Etablissements veuve Guillon et fils, Belgium Before 1925 Warp and weft, cellulose, pile, wool 460 x 370 cm Numbered at the back Literature: Arthur De Rudder, International exhibition of modern decorative and industrial arts (Paris, 1925): official catalogue of the belgian section Exhibition: International exhibition of modern decorative and industrial arts, Paris, 1925, Belgian Pavilion, gallery of complete interiors, dining room by the Maison Gustave and Edouard Blondel The Guillon company The firm Établissements Veuve Guillon et fils was founded on 20 November 1924 by Célina Penez and her two sons, Alexandre and Charles Guillon, with its registered office at 69 avenue de la Toison d’Or in Brussels. The company operated factories in Brussels, Hemiksem (Sichem) and Herselt and specialised in carpets, including coconut-fibre rugs. Paris 1925 The carpet was exhibited in the dining room furnished by Maison Gustave & Edouard Blondel at the Exposition internationale des arts décoratifs et industriels modernes (Paris, 28 April–October/November 1925), in the 'Galerie des ensembles complets' of the Belgian Pavilion. Designed by Victor Horta, the pavilion comprised three large halls: a monumental hall with a fifteen-metre-high domed roof, the Constant Montald Hall, and Philippe Wolfers’ official dining room, complemented by six smaller rooms. The Blondel dining room was one of the eight Belgian “ensembles complets” (complete room interiors), alongside those by, for example, Van de Voorde, Hamesse, Risel and Au Bon Marché.
Caretto & Occhinegro
Jan Provoost (Mons 1465-1529 Bruges) Crucifixion with a view of the city of Bruges, circa 1512-1515 Oil on panel 31.5 x 25 cm Expertise by Peter van den Brink Active primarily in Bruges between the late 15th and early 16th centuries, Provoost centered his art on a formidable capacity for aesthetic synthesis, marked by highly intellectual nuances and an unmistakable solemn style capable of blending diverse influences, from Van Eyck to Antonello da Messina. A shining example of this is this small Calvary, where three modernly minimalist figures are arranged with skillful geometry against a meticulously detailed view of the city of Bruges stretching out behind them. While Provoost explored this subject in other versions, always incorporating detailed cities in the background, none features such a precise and topographical view of Bruges. Indeed, one can readily recognize the belfry of the Church of Our Lady, the now-lost architectural structure of the Jerusalem Chapel of Bruges (still intact at the time), and the tower of the city's town hall.
Galerie bei der Albertina ▪ Zetter
Adolf Loos (Brünn 1870-1933 Kalksburg) Lady's Writing Desk, around 1903/04 Softwood, oil varnish, brass fittings, writing inlay with new leather H 106 (with top) x H 80 (without top) x W 113 x D 67.5 cm Manufactured by Friedrich Otto Schmidt, Vienna Company stamp on the underside: Friedrich Otto Schmidt / Wien / 1 Singerstrasse 16 / Schmidt Miksa / Budapest / 5. Lipotkorut 4 Provenance: Private collection, Vienna Literature: Burkhardt Rukschcio/Roland Schachel, Adolf Loos. Leben und Werk, 1982, Salzburg/Vienna, ill. p. 115, n° 117 cf. Exhibition catalogue ‘Adolf Loos. Private Spaces’, Barcelona Design Museum, 2017, ill. p. 134 Exhibitions: Paris, ‘Adolf Loos – Exposition Du Cinquantenaire’, 1983; Karlsruhe, ‘Gründerzeit, Adolf Loos: Jahrhundertwende: Rückblick und Ausblick im Spiegel der Wiener Architektur’, 1987 Questions of furnishing remained an important subject for the architect Adolf Loos (1870–1933) throughout his entire creative output. The World’s Fair held in Chicago in 1893 was the reason for a trip to the USA, which resulted in a three-year stay. The engagement with modern lifestyle and Anglo-Saxon interior design culture were formative experiences for the aspiring architect. Today, Loos is widely seen as one of the most avant-garde architects of his generation and his work is presented in national and international collections, from the MAK – Museum of Applied Arts in Vienna, to the Musée d’Orsay in Paris and the Victoria and Albert Museum in London. Of this particular writing desk only two pieces are known to exist. It perfectly exemplifies Loos’ strict no-ornament policy, always putting functionality before aesthetic, and his high standards concerning materials and craftmanship. To ensure the latter he would often employ the traditional Viennese furnishings company Friedrich Otto Schmidt and its master carpenters as manufacturers for his interior designs. This model was shown in three separate museum exhibitions, in Paris 1983, Karlsruhe 1987 and Barcelona 2017.
Galerie Tiago
Rectangular lacquered wooden suzuribako (writing box) Japan, Edo period (1603-1868) Wood, lacquer, silver, gold, hiramaki-e, takamaki-e, kirigane, gyōbu-nashiji, tsumemaki nashiji H 4.7 x W 27 x D 23.5 cm Decorated in gold lacquer with a continuous design depicting a pavilion set in a karst landscape dotted with pine and maple trees. Complete with an inkstone, a silver water dropper, a blade and a set of brushes.
Laurent Schaubroeck
Paul Evans (USA, Newtown 1931-1987 Nantucket Island) and Phillip Lloyd Powell (USA, Germantown 1919-2008 New Hope) Monumental wall unit, circa 1960 Steel, wood, gold leaf H 282 x W 236 x D 51 cm Unique piece Provenance: Martin Brooks, Doylestown Wall-mounted cabinet by Paul Evans and Phillip Lloyd Powell, two key figures in American postwar design. This one of a kind piece combines carved wood, torch-cut and enameled metal, and gold leaf. Features four floating shelves and a two-door lower cabinet with concealed storage. Rare in both scale and collaboration.
Dei Bardi Art
Kneeling donor figure South Netherlandish, second half of the 16th century Limestone 67 x 22 x 37 cm Provenance: ancient collector's label on the reverse This rare limestone portrait of a Renaissance donor, kneeling in prayer and remarkably well preserved. Carved in the Southern Netherlands in the second half of the 16th century, the figure combines exceptional quality of execution with a richly detailed costume. The woman wears a huik, the characteristic outer garment of the women of the Low Countries, over a ruff with figure-of-eight pleats. This combination places the work in the last decades of the 16th century, c. 1560-1590. Beneath, a bodice with a central busk and cuffs incised with fine ornament complete an ensemble rendered with great precision. Familiar from painted portraits, such dress is only rarely preserved in such detail in sculpture. The face, with its heavy eyelids and marked features, favours a faithful likeness over an idealized type and lends the figure a quiet gravity and a strong sense of individual presence. The sculptor worked the piece fully in the round, and the crispness of the ruff, the incised cuffs, the hands and the drapery points to an important private commission, most likely from a family of considerable means and standing. The figure bears witness to those families who, in the Renaissance, could commission skilled sculptors to perpetuate their memory. Such images also conveyed the power of their patrons. This secular tradition, so different in spirit from religious sculpture, helped shape the stylistic evolution of Renaissance art. An old collector’s label on the reverse attests to the figure’s long history in collections.
Univers du Bronze
Auguste Rodin (Paris 1840-1917 Meudon) Saint John the Baptist preaching, cast in 1899 Bronze, richly dark brown patina H 19.6 x W 12.5 x D 5.3 cm Reduction n° 3 (1/10 of original size) Signed Rodin and marked 'Thiebaut frères, Fumière et Gavignot Successeurs' Edition of 4 (in this size) Provenance: Knoedler and Co collection; sale Sotheby’s New York (6 October 1989) Lifetime cast signed 'Rodin', old cast and edition by Thiébaut with the engraved mark 'Thiebaut frères, Fumière et Gavignot Successeurs' (purchase of the funds and Thiébaut rights by Fumière et Gavignot in 1898). This example is probably the first, maybe the second of an edition of 4 cast in 1899 (prime account from 4 February to 9 December 1899), stamped '200' under the base (sale price 200 frs?) and engraved '4' (number of casts?)
Alexis Lartigue
Victor Vasarely (Pecs 1906-1997 Paris) Untitled, circa 1958, Oil on masonite 120 x 100 cm Signed lower center Provenance: private collection, USA; Christie’s sale, London; Lo Guidice Gallery, Chicago; Sotheby's sale, London; private collection, London; Christie’s sale, London; Galerie Zlotowski, Paris; private collection, Europe; Sotheby's sale, Paris; private collection, Switzerland Exhibition: Philadelphia, Philadelphia Museum of Art, Summer Loans, 1970
Franck Anelli Fine Art
Secretary Charles Topino (1742-1803), master in 1773 Transition period Oak, Breccia marble top, bronze and marquetry in rosewood, amaranth, holly, sycamore, lemonwood, stained woods and tobacco wood H 139 x W 92 x D 38 cm Stamped TOPINO and bearing the Jurande hallmark Transition period secretary in wardrobe stamped Charles TOPINO (1742-1803) and Jurande hallmark. Rectangular in shape, the front uprights with cut sides, the front legs arched, the hind legs straight, the oak frame, it opens with a drawer, two leaves and a flap revealing a compartmentalized interior of seven drawers and four compartments. Top of breccia marble from Aleppo. Inlaid decoration in rosewood, amaranth, holly, sycamore, lemon tree, stained wood, tobacco wood, drawing lattices on the uprights and the upper drawer, those of the latter, embellished with flowers, and trompe-l'oeil on the front and on the sides, a decoration of garlands of oval cartouches of stylised acanthus leaves uniting the panels of the toilet seat and the leaves, each also presenting, in the upper part, a leafy garland that can be found on the side panels. The latter are decorated with two gadrooned urns close to the flowered vases of the leaves. The toilet seat has a trompe-l'oeil perspective decoration, an orangery whose open shutters give a glimpse of a wooded landscape in the distance, a perspective accentuated by the checkerboard paving, also present on the leaves. Eight boxes of fruit trees are spread around a table on which are placed two flowered vases and under which is a watering can. The interior reveals six side drawers in three rows, inlaid with a floral vase pattern, as well as a central drawer. Stamped TOPINO and hallmark of Jurande Charles TOPINO received master in 1773 The art of marquetry The bronzes are discreet on our desk and this is intended to give pride of place to marquetry, qualified as wooden painting. If it is possible and tempting - rightly to link a cabinetmaker to his marquetry and this is regularly the case for Topino whose utensil marquetry inspired by the borders of Chinese Coromandel lacquer screens of the time is a characteristic of the artist - it turns out that the models circulated and that inlaid panels could be used by the same circle of cabinetmakers. If the vases, potiches, flowers, utensils reproduced, invented, associated, allow us to recognize Topino's art, it should be noted that the framing motif made up of oval reserves with quartefeuilles and spandrels can be found on secretaries, a chest of drawers and a dressing table stamped Jacques Bircklé. By this same cabinetmaker, a secretary also presents the same vases present on our furniture. Very similar marquetry panels. both in their compositions and in their frames can be found on a chest of drawers attributed to Jacques Bircklé, illustrated in the book by Pierre Kjellberg, who also defines the paving pattern as Bircklé's 'almost exclusiveness'. our secretary thus witnessed the circulation of drawn or engraved models.
Galerie Flak
U’u Club Marquesas Islands, Polynesia, 18th or 19th century Carved wood and fibers H 138.5 cm Provenance: David Petty collection, London; Pierre-Richard Royer collection, Paris; Alexandre Bernand collection, Paris; private collection, acquired from the above in September 2016 Exhibition: TEFAF 2024, Maastricht, Serge Schoffel, catalogue T3, p. 28
LUDORFF
Gerhard Richter (Dresden, 1932) Fuji 839-108, 1996 Oil on alucobond 29 x 37 cm Signed and numbered '839-108' on the reverse Certificate of authenticity issued by Hubertus Butin, Berlin 2010 Provenance: Galerie Hubertus Melsheimer, Cologne (2011); Galerie Ludorff, Dusseldorf (2013); private collection, Hesse (on permanent loan to the Mönchehaus Museum Goslar) Literature: Galerie Ludorff, 'Neuerwerbungen Frühjahr 2024', Dusseldorf 2024, p. 100; Galerie Ludorff, 'Gerhard Richter', Dusseldorf 2013, p. 51; Kunstsammlung Nordrhein-Westfalen (ed.), 'Gerhard Richter mit dem Catalogue Raisonné 1993-2004', Dusseldorf 2005, n° 839-108; Hubertus Butin/Stefan Gronert, 'Gerhard Richter. Editionen 1965-2004. Catalogue Raisonné', Ostfildern-Ruit 2004, n° 89 Exhibitions: Galerie Ludorff, 'Neuerwerbungen Frühjahr 2024', Dusseldorf 2024; Galerie Ludorff, 'Gerhard Richter. Abstrakte Bilder', Dusseldorf 2013 Gerhard Richter has been exploring abstraction in depth since the late 1960s. In the late 1990s, he developed the ‘Fuji’ series. As part of this series, Richter no longer applies paint to canvas, but to Alucobond, an aluminium composite panel. This highly durable panel with a smooth surface allows for the creation of particularly delicate colour structures. Richter applies the three colours that form the basis of the painting - a vibrant red, a rich green and a warm yellow-orange - to the substrate in three horizontal bands. Using a squeegee, a painting tool resembling a narrow plastic strip, the artist applies the white oil paint and draws it across the coloured surface in thin layers from the top to the bottom edge of the picture. The white paint blends with the tones of the background. This technique creates a highly complex, delicate structure on the panel, characterised by great painterly subtlety. Viewed from top to bottom, red, green and white alternate with one another. The orange, also used by Richter, is now only partially visible in the right-hand half of the composition. As the application of paint with a squeegee can only be controlled to a limited extent, the principle of chance comes into play. The title ‘Fuji’ allows for interpretation on two different levels, namely, ‘[…] the conical volcano on the island of Honshu, which, as Japan’s sacred mountain, is the country’s national symbol, and the Japanese film and photography manufacturer of the same name, whose products are also widely available in Germany. As a photographer, Richter sometimes uses Fuji film; furthermore, in 1991 he spent two weeks travelling through Japan, during which he saw the famous mountain. Some of the paintings, with their streaky, at times almost graphic structural elements, do indeed bear a distant resemblance to old-master Japanese or Chinese landscape depictions.' The background to the creation of the ‘Fuji’ paintings lies in the approach made to the artist by Helmut Friedel, director of the Städtische Galerie im Lenbachhaus. Richter’s ‘Atlas’ - a collection of photographs, sketches, documents and reference materials by the artist - was to be acquired for the Lenbachhaus collection. To finance the purchase, Richter agreed to paint a series of oil paintings for the museum. The proceeds from the sale of these ‘Fuji’ paintings played a key role in enabling the museum to acquire the ‘Atlas’ collection of documents. Much like the works in the ‘Green-Blue-Red’ series, the appearance of each individual painting in the ‘Fuji Edition’ varies considerably, as they were painted in portrait rather than landscape format. Furthermore, the varying degrees to which the base colours had dried by the time the white layer was applied result in the colours blending in ever-changing ways. Whilst some ‘Fujis’, with their extremely delicate colour blends, invite the viewer to discover their detailed textures, others, in stark contrast, exude a particularly strong sense of self-assurance. Although the ‘Fujis’ comprise a series of 110 works conceived along the same lines, each one is unique and wonderfully illustrates the principle of Gerhard Richter’s abstract painting, which treads the fine line between conceptual work and the principle of chance.
Harold t’Kint de Roodenbeke
Jane Graverol (Brussels 1905-1984 Fontainebleau) Femme Libérée, 1949 Oil on canvas 60 x 73 cm Signed and dated 'Jane Graverol 1949' Provenance: collection of his friend and artist Tom Gutt Literature: Xavier Canonne, Le surréalisme en Belgique: 1924-2000, Fonds Mercator, 2006; Le surréalisme en Belgique, Bozar Books, Fonds Mercator, 2024 Exhibitions: Le surréalisme en Belgique, Musée de Mons, March-August 2007; Histoire de ne pas rire, Bozar, Brussels, February-June 2024, ill. p. 221 Created in 1949, the year Jane Graverol met René Magritte, this work is an important example of the artist’s exploration of female identity and confinement. Graverol depicts herself inside a cage. The image reflects on women’s position in the mid-20th century, when social expectations strongly limited women’s independence. Yet, the open door suggests the possibility of emancipation and a desire to break away from prescribed roles. The painting was also repeatedly selected by the press to illustrate coverage of the Bozar exhibition. This artwork embodies something larger: the tension between the restrictions of an era and a woman’s desire to claim a space of her own. Full press references available on request.
Galerie bei der Albertina ▪ Zetter
Dagobert Peche (Sankt Michael im Lungau 1887-1923 Mödling) Lamp, Design 1921 Manufactured by the Wiener Werkstätte, model number M 3494-M la 24 Brass, embossed, floral decoration, foot with beaded decoration, one flame, lamp shade renewed, new electrification H 87 cm - Ø 46 cm (lamp shade) Marks: WIENER / WERK / STÄTTE, monogram DP According to the MAK only two lamps were manufactured in the year 1923 Provenance: collection Schedlmayer Literature: cf. WW Archive, MAK Vienna, design sketch lamp base KI 12649-5-2, photo archive inventory n° WWF 98-116-1 as well as entry in the book of commissions of the Wiener Werkstätte model book WWKA 679; cf. Exhibition catalogue ‘Die Überwindung der Utilität. Dagobert Peche und die Wiener Werkstätte’, ed. by Peter Noever, MAK, Vienna 1998, ill. p. 221, n° 51; cf. Exhibition catalogue ‘Dagobert Peche and the Wiener Werkstätte’, ed. by Peter Noever, MAK, Vienna 1998, Neue Galerie, New York 2002, ill. p. 228, n° 45; Exhibition catalogue ‘Die Sammlung Schedlmayer. Die Entdeckung’, ed. by Ivan Ristic, Hans-Peter Wipplinger, Leopold Museum, Vienna 2021, ill. p. 72 Exhibition: Vienna, Leopoldmuseum, 'Die Sammlung Schedlmayer. Eine Entdeckung', 2021 Josef Hoffmann, one of the founders of the Wiener Werkstätte, hired the then 28 year old Dagobert Peche as a leading designer for the Wiener Werkstätte in 1915. With his finesse and elegance Peche fundamentally shaped the second decade of the Wiener Werkstätte, heading the Zurich branch of the Wiener Werkstätte from 1917 to 1919. Floral ornamentation and playful designs play a key role in his artistic works full of subtlety and imagination, which contrasted the strict geometric designs of Hoffmann and Koloman Moser. Before his untimely death he was involved in the opening of the ‘Wiener Werkstätte of America’ showroom on Fifth Avenue in Manhattan. According to the records of the MAK, Vienna’s Museum of Applied Arts, this table lamp was produced only twice, in 1923. It was part of the renowned Schedlmayer collection – a high-ranking collection bringing together prime examples of Austrian decorative arts and works of fine art from the first half of the 20th century. In 2021 this lamp was presented at the Leopold Museum’s exhibition 'The Schedlmayer collection. A discovery'.
Galerie Nicolas Bourriaud
Raymond de Meester (Mechelen 1904-1995 Brussels) Yawning Leopard, circa 1928-1929 Bronze with a nuanced brown patina H 45.2 x W 41.6 x D 15.5 cm Signed ‘Rd de Meester de B’, titled ‘Yawning Leopard’ and dated ‘1928–29’ Batardy cast, edition of 3, numbered I/III, bearing the stamp ‘BATARDY CIRE PERDUE BRUXELLES’, and the inscriptions ‘Épreuve d’Artiste’ and ‘cire perdue’ Literature: Léonard Dieleman, Raymond de Meester de Betzenbroeck, Animal Sculptor, Gallery Dieleman, Brussels 1989, repr. n° 5; Xavier de Ghellinck Vaernewyck, ‘de Meester de Betzenbroeck’, Nouvelle Biographie Nationale, Part 6, Royal Academy of Belgium, Brussels, 2001, pp. 133–135
Galerie Raf Van Severen
Jean Brusselmans (Brussels 1884-1953 Dilbeek) Decor for Erwartung, 1936 Mixed media on paper 60 x 90 cm Label at the back; Erwartung; Decor pour 'Erwartung', d’Arnold Schoenberg, 1936; Décor pour le 4e acte Literature: Paul Haesaerts, Jean Brusselmans, 1939, p. 67; Robert L. Delevoy, Jean Brusselmans: CR établi par Mme G. Brys-Schatan, 1972, 421.IV
Marty de Cambiaire
Hans Rottenhammer (Munich 1564-1625 Augsburg) Minerva and the Muses, 1606 Oil on copper 32.8 x 39.4 cm Signed with a monogram and dated '1606/ HR' on the rock, centre right Provenance: said to have belonged to the Earl of Roseberry, Mentmore, Buckinghamshire; private collection, Danbury, Connecticut; Jean-Luc Baroni Ltd., London, 2011; Charles Petit collection, London, 2011; Sotheby’s, London, 8 July 2015, lot 39; private collection Literature: Bernard Aikema, in 'Hans Rottenhammer', exhibition catalogue, Munich, 2004, p. 38, repr. fig. 55; Jean-Luc Baroni, 'Master Paintings at the Tefaf Art and Antiques Fair', cat. 2011, n° 8
Galerie Perrin
Odilon Redon (Bordeaux 1840-1916 Paris) Femme de profil, circa 1901-1905 Oil on paper mounted on panel 52 x 49.7 cm (unframed) 71 x 68 cm (framed) Signed lower right 'Odilon Redon' This work will be included in the forthcoming catalogue raisonné currently in preparation by the Wildenstein Plattner Institute Provenance: collection Roger Imbert
Marty de Cambiaire
Denys Calvaert (Antwerp circa 1540-1619 Bologna) Holy Family with Saint Jerome and the Infant John the Baptist Oil on copper 50.4 cm x 39.6 cm Signed and dated CALVA ... T ... / ... CIT / 158 ? ... lower centre Provenance: Von Planta Family, Samedan, acquired in the 1920s according to the family tradition (although it could have been acquired earlier); London, Sotheby’s, 3 December 2014, lot 18; private collection, Brussels
La Galerie URBAN
Maurice Denis (Granville 1870-1943 Saint-Germain-en-Laye) Bucolique d’Automne or L’Heureux Verger Pouldu, 1906 Oil on canvas 82 x 117 cm Signed and dated lower left 'MAVRICE DENIS 1906' This work is accompanied by the certificate of authenticity and it will be included in the forthcoming catalogue raisonné of the artist under n° 906.0016 Provenance: Baron Eberhard von Bodenhausen, Berlin (acquired from the artist, 1906-1908); Bernheim-Jeune, Paris (1908-1919); Miss Edwards (1919); Brooklyn Museum, New York (1927); Galerie Philippe Reichenbach, Paris; Walter P. Chrysler Jr., New York (1960); Stuart Pivar, New York (2004-2021); private collection, Switzerland Exhibitions: Salon de la Société Nationale des Beaux-Arts, Paris, Grand Palais, 15 April-30 June 1906, p. 19, n° 389 (ill.); Fünfzehnten Ausstellung der Berliner Secession, Berlin, spring 1908, n° 46; Internationale Kunstschau, Vienna, Gebäude der Secession, May-October 1909, n° 15; Nus, Paris, Galerie Bernheim-Jeune, 17-28 May 1910, n° 30; Ausstellung Französischer Kunst des 18., 19. und 20. Jahrhunderts, Leipzig, Leipziger Kunstverein, October-November 1910, n° 55; Internationale Kunstausstellung der Münchener Secession, Munich, Kgl. Kunstausstellungsgebäude am Königsplatz, 16 May-31 October 1911, n° 36; Exposition d'Art contemporain, Paris, Galerie Manzi-Joyant, 12-31 October 1912, n° 44; Ausstellung französischer Kunst, Zurich, Zürcher Kunsthaus, 16 February-26 March 1913, n° 93; A XIX. Szàzad nagy francia mesterei, Budapest, Ernst-Muzeum, September 1913, n° 78; Le Paysage du Midi, Paris, Galerie Bernheim-Jeune, 8-16 June 1914, n° 26; Exposition de peinture, série C, Paris, Galerie Bernheim-Jeune, 19-30 June 1916, n° 13; French Paintings 1789-1929 from the collection of Walter P. Chrysler Jr., Dayton Art Institute, 25 March-22 May 1960, p. 102, n° 94 (ill.)