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Cortesi Gallery
lucio fontana
Lucio Fontana (Argentina, Rosario 1899-1969 Comabbio, Italy) Concetto spaziale, Teatrino, 1965-1966 Waterpaint on canvas and lacquered wood 110 x 110 x 6.5 cm Signed and titled on the reverse: L. Fontana/Concetto spaziale; on the frame label of Galerie Bonnier, Genève, n° 73017 Provenance: Gallery Art Point, Tokyo; Galerie Pierre, Stockholm; Private collection, Milan; Private collection Literature: E. Crispolti, Lucio Fontana, catalogue raisonné des peintures, sculptures et environnement spatiaux, vol. II, La Connaissance, Bruxelles, 1974, pp.174-175, n° 65-66 TE 11; E. Crispolti, Fontana. Catalogo generale volume secondo, Electa, Miano, 1986, p. 615, n° 65-66 TE 11; E. Crispolti, Lucio Fontana. Catalogue raisonné des peintures, sculptures et environnement spatiaux, vol. II, in collaboration with N. Ardemagni Laurini, V. Ernesti, Skira editore, Milano 2006, p. 802, n° 65-66 TE 11; Sotheby’s, Aste: Londra, 27 giugno 1985, n° 540 Exhibitions: 1984, Lugano; 1990, Lucio Fontana, Spatial conception, Tokyo, Tama Art University Museum, 1 June-4 September 1990, cat. p. 55, n° 50; 1992, Lucio Fontana, la penetrazione dello spazio, mostra itinerante in giappone, April-November 1992, cat. p. 119, n° 88; 2014, Il fantasma dell'Opera. Grandi maestri tra mito e mistero, Cortina d'Ampezzo, Farsettiarte, December-January, ill. on the exhibition leaflet; 2014, Cinquant'anni di Farsettiarte a Cortina, Cortina d'Ampezzo, Farsettiarte, August 2014, cat. n° 31, ill.
Galerie Berès
Georges Mathieu (Boulogne-sur-Mer 1921-2012 Boulogne-Billancourt) Vaillance d’un Gantois à la bataille de Gaure, 1957 Oil on paper 25 x 50 cm Signed and dated lower right: Mathieu 57 Certificate dated May 30th 2022, by Marc Ottavi, vice-president of the Archives Jean-Marie Cusinberche on Georges Mathieu; this work is referenced in the Maurice d’Arquian Archives under n° 12 Provenance: galerie Helios Art, Brussels; collection Nyst, and thence by descent; Clavé Fine Art, Paris Literature: G. Mathieu, Cycle des Grands Ducs d'Occident, galerie Helios Art, Brussels, 8-30 November 1957, n° 12 Exhibition: G. Mathieu, Cycle des Grands Ducs d'Occident, galerie Helios Art, Brussels, 8-30 November 1957
Cabinet of Curiosities-Honourable Silver Objects
leysen frères
Pair of Art Deco silver ice buckets Marked at the bottom LEYSEN & FRERES in rectangle and silver mark A800 in oval (silvermarks for Leysen: before 1942) Brussels, circa 1930 H 14 x 16 Ø (top) x 13.5 cm Ø (bottom base) Provenance: private collection, Belgium Literature: R. Steel & W. Nijs, Art Deco Zilver. Antwerp-Brussels-Ghent, Sterckshof Studies 3 (1996), pp. 176-177, 282, n° M38 The smooth body, equipped with two semi-circular and silver mounted ivory handles, ends on round and constricted base, the top is decorated with a folded edge
QG Gallery
christo
Christo Javacheff (Gabrovo 1935-2020 New York) Wrapped Reichstag (Project for Deutsche Reichstag-West Berlin) Pencil, charcoal, wax crayon, map, photographs by Wolfgang Volz and glue, in artist's Plexiglas frame, in two parts H 39.4 x W 166.5 cm H 108 x W 166.5 cm Provenance: Otto Wolff von Amerongen, Germany (gifted by the artist for being instrumental in facilitating the wrapping of the Reichstag); Sotheby's London, June 2023; private collection, Belgium
Galerie Bertrand de Lavergne
Chinese Blanc de Chine porcelain group Representation of a gallant scene of Dutch characters holding glasses in their hands, seated on each side of a table on which a checkerboard is placed; their servants on both sides and in front of them, a dog, a monkey and a plant China, Dehua kilns (Fujian province), Kangxi period (1662-1722) H 14.5 x W 15.5 x D 8 cm
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.
Galerie La Patinoire Royale Bach
michel mouffe
Michel Mouffe (Brussels, 1957) Tous les matins du monde, 2015 Mixed technique on canvas (9x) H 70 x W 43 cm, in total: H 70 x W 495 cm Provenance: the artist's studio Literature: Alphabet, 2017, Conversation Joel Benzakin and Michel Mouffe; Tous les matins du monde, exhibition catalogue, Galerie La Patinoire Royale Bach Exhibition: Michel Mouffe: Tous les matins du monde, Galerie La Patinoire Royale Bach, 2023
Marc Heiremans
Fulvio Bianconi (Padua 1915-1996 Milan) Pezzame (aka Spicchi) vase for Venini, Murano, 1951 Free-blown and hand-formed colourless glass with applied fused glass pieces H 22.5 x W 20.5 cm Provenance: private collection, Sweden Literature: Domus 272, August 1952; Bossaglia R. I vetri di Fulvio Bianconi, Allemandi 1993, n° 36; Heiremans M. Art glass from Murano 1910-1970; Arnoldsche 1993, n° 221 p. 268; Deboni F. Venini glass, Allemandi 1996, n° 109; Barovier M./Sonego C. Fulvio Bianconi at Venini, Skira 2015, p. 178 Exhibitions: IX Triennale di Milano in 1951; XXIV Biennale di Venezia 1952; Fulvio Bianconi at Venini, Venice 2015
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Floris van Wanroij Fine Art
Relief with the The Flight into Egypt and Miracles during the Journey (Matthew 2:13) Low countries, possibly Antwerp, Renaissance, last quarter of the 16th century, circa 1590 Pear-wood, carved in high relief, on later brass base H 19.6 x W. 16.8 cm (excl. base) Provenance: Jan Dirven Works of Art, Eindhoven, The Netherlands; collection Dreesmann-Houtkooper, The Netherlands; thence by decent private collection, Breda, The Netherlands Literature: Schuckman, Christiaan (1996). Hollstein's Dutch & Flemish Etchings, Engravings and Woodcuts 1450-1700, vol. XLIV: Maarten De Vos. Rotterdam, p. 65, cat. n° 263 This relief, probably carved in Antwerp, is based on a design by the influential Renaissance artist Maerten de Vos (Antwerp, 1532-1603). The original drawing is kept now in the collection of the Herzog Anton Ulrich-Museum, Braunschweig (inv./cat. n° Z. 1086) and is dated shortly before 1579. The drawing was published in engraving by Johannes Sadeler I, as the eighth prints of a twelve-part series on the birth and the first years of Christ. The series was published between 1579-1582 and the current sculpture probably originated shortly afterwards, ca. 1590, which indicates a date of the current sculpture around 1590. The Flight the Holy Family to Egypt, here represented as Joseph on foot and Mary sitting on a donkey with the Christ Child in her arms was, according to tradition, surrounded by miracles. At the top right in a chapel on a tree, a statue of a pegan god breaks in two. At the top left a group of accompanying Angels in the Heavens is depicted and trees bow down their branches in reverence to Christ.
Röbbig München
johann joachim kaendler (1706-1775)
Johann Joachim Kaendler (Germany, 1706-1775) A pair of swans Porcelain models circa 1748, Meissen manufacture and decoration, circa 1750-1755 H 27.5 x W 23 cm and H 26.5 x W 22 cm Cobalt blue crossed swords mark Provenance: private collection With their majestic figure, swans were still considered royal animals in the eighteenth century and were modelled several times in the Meissen manufactory as table decorations, especially in connection with table fountains. They are also mentioned in the 1753 confectionery inventory of Count von Brühl, the Prime Minister of Saxony. In their timeless elegance, they may be seen as a design by the famous Meissen modeller Johann Joachim Kaendler, which he produced in porcelain together with his assistant Peter Reinicke around 1750. The minimalistic decoration of the reeds in a turquoise-green on-glaze colour suggests an early artistic style.
Stéphane Renard Fine Art
alessandro oliverio
Alessandro Oliverio (Bergamo or Venice, ante 1500-post 1544) Christ Carrying the Cross, 1505-1510 Oil on poplar panel H 49.5 x W 41.5 cm Provenance: collection Count Hubert Ludwig de la Fontaine and d'Harnoncourt-Unverzagt (1789-1846), from 1826 at Hrotovice Castle, Trebic, Czech Republic; purchased in 1836 with the entire collection and the castle by Georg Simon von Sina (1783-1856); transferred around 1847 by his son Simon Sina to Mysliborice Castle, Trebic, Czech Republic; by inheritance, in 1876, to Simon's daughter Iphigenie Sina (1847-1914), Duchess of Castries, sold in 1882 to Baron Anton Dreher of Schwechat; Mysliborice Castle; Antiqua auction sale, Prague, 1921, n° 12 (Italian Master of the 16th century)
Galerie de la Présidence
geer van velde
Geer van Velde (Netherlands, Lisse 1898-1977 Cachan, France) Composition, 1960 Oil on canvas 162 x 162 cm Signed lower right with the artist's initials This work will be included in the forthcoming Geer van Velde catalogue raisonné currently being prepared by Pierre François Moget, son of Piet Moget Provenance: artist’s studio estate; private collection, France Literature: Viatte, Germain, 1989, Geer van Velde, Paris, Editions Cahiers d’Art, ill. col., p. 151 Exhibitions: 1981, La Haye, Haags Gemeentemuseum, Geer van Velde 1898-1977, schilderijen en tekeningen, n° 56 du cat., fig. 55, ill. col., p. 71; 1982, Høvikodden, Henie-Onstad Kunstsenter, Geer van Velde, n°17 du cat. (insert in the catalog of the exhibition of 1981 at Gemeente Museum, n° 56), fig. 55; 1982, Paris, Musée d’Art Moderne de la Ville de Paris, Geer van Velde 1898-1977. Peintures et œuvres sur papier, n° 54 du cat., fig. 55, ill. col., p. 71; 1982-Varberg, Museet I Varberg, Geer van Velde 1898-1977; 1986, Albi, Musée Toulouse-Lautrec, Geer van Velde 1898-1977, n° 22 du cat., ill. col., p. 26; 1991, Sigean, Lieu d’Art Contemporain, Geer van Velde. 1898-1977, n° 39 du cat., ill. col., p. 28; 2000, Antibes, Musée Picasso, Geer van Velde, n° 34 du cat., ill. col., p. 67; 2000, Colmar, Musée Unterlinden, Geer van Velde, n° 34 du cat., ill. col., p. 67; 2010, Lyon, Musée des Beaux-Arts, Bram et Geer van Velde, deux peintres un nom, n° 130 du cat., ill. col., p. 143
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Samuel Vanhoegaerden Gallery
tom wesselmann
Tom Wesselmann (Cincinnati 1931-2004 New York) Wildflower bouquet (two handled vase), 1988 Enamel on laser-cut steel H 147.5 x W 223.5 cm Signed, dated and titled on the verso Provenance: Opera Gallery, Paris; private collection, Belgium Literature: Tom Wesselmann: a Pop Art Legend, Samuel Vanhoegaerden Gallery, Knokke, 2023, ill.
De Brock
antoni tàpies
Antoni Tàpies (Barcelona 1923-2012) Ocre Amb Cinc Entallats, 1964 Marble dust and oil on canvas 162 x 130 cm Signed and dated on the reverse: Tàpies 1964 Provenance: the artist's studio, Barcelona, Spain; Galerie Stadler, Paris, France; private collection, Madrid, Spain; Josep Suñol Soler collection, Barcelona, Spain; Christie’s, London, UK; private collection; De Brock, Knokke, Belgium Literature: A. Cirici, Tàpies: Witness of Silence, Barcelona, 1972, p. 273, n° 268 (ill. and titled 'Ochre with five incisions'); A. Agustí, ed., Antoni Tàpies: The Complete Works, vol. 2, 1961-1968, Barcelona, 1996, p. 211, n° 1301 (ill. in colour); Fundació Josep Suñol, Col·lecció Josep Suñol Catàleg raonat, Barcelona, 2004, p. 110, n° 736 (ill. in colour); Fundació Josep Suñol, Col·lecció Josep Suñol Les Escales, Barcelona, 2004, pp. 79 and 164 (installation view ill. in colour) Exhibitions: Cannes, Galerie Jacques Verrière, Tàpies. Oeuvres récentes, September 1966, n° 6; Barcelona, Fundació Antoni Tàpies; Valencia, Institut Valencià d’art Modern Centro Julio González; London, Serpentine Gallery, Tàpies. Comunicació sobre el mur, January-August 1992; Barcelona, Fundació Suñol, Col·lecció Josep Suñol 1915-1995, May 2007-January 2008
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Rueb Modern and Contemporary Art
bram bogart
Bram Bogart (Delft 1921-2012 Sint Truiden) GeelBaanGroen, 1970 Cement and oil on panel H 101 x W 107 x D 12 cm Signed and dated: Juli 1970 twice Provenance: private collection, The Netherlands Exhibition: Sweden, Södertälje Konsthall, 28 March-18 April 1971, cat. ill. p. 2
Gilden's Art Gallery
Marc Chagall (Vitebsk 1887-1985 Saint-Paul de Vence) Study for Commedia dell’arte (Foyer of Frankfurt Opera House), 1958 Brush and India ink with charcoal and pencil on wove paper 36.5 x 56.5 cm Signed lower right: Marc Chagall The work is accompanied by a certificate of authenticity from the Chagall Committee from 27 February 2023 The composition is a study for the largest painting undertaken for a project in the foyer of Frankfurt Opera House, Germany Provenance: estate Marc Chagall
Florian Kolhammer
johann loetz witwe
Johann Loetz Witwe Vase Phänomen Genre 356, circa 1900 Designed and executed by Johann Loetz Witwe, Klostermühle, Bohemia Mould-blown, freeform, reduced and iridescent glass H 23.5 x Ø 14 cm Signed underneath 'Loetz Austria' Literature: A. Adlerova, E. Ploil, H. Ricke, T. Vlcek (ed.), Loetz-Böhmisches Glas 1880-1940, vol. II, paper pattern catalogue, Prestel, Munich 1989, paper pattern 420, p. 95
Rueb Modern and Contemporary Art
pablo picasso
Pablo Picasso (Malaga 1881-1973 Mougins) Personnage assis dans un fauteuil, 1915 Pencil on paper 32.5 x 23.5 cm Dated and numbered 178 on verso Provenance: studio of the artist; collection of Marina Picasso Literature: Christian Zervos, Pablo Picasso, vol. 29, Paris 1975, ill. n° 177 p. 78 Exhibition: Genève, with Galerie Jan Krugier, Pablo Picasso, 1986
Gokelaere & Robinson
hans-christian hansen
Hans Christian Hansen & Viggo Jørgensen (Denmark, 1901-1978 & 1902-1981) Pair of armchairs, 1936 Oak and fabric H 92 x W 80 x D 80 cm Manufactured by Johannes Hansen, Denmark Exhibition: Cabinetmaker Guild, Copenhague, 1936; Exposition Universelle, Paris, 1937
