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Epoque Fine Jewels
marcel bing
Marcel Bing (1875-1920) Art Nouveau gold, ivory, opal and enamel brooch, designed as an woman’s ivory face in profile, her long hair in billowing waves of gold, her headdress set with two cabochon opals, decorated with green iridescent enamel and dark red enamel highlights Paris, circa 1900 3.6 x 3.2 cm Maker’s mark of Marcel Bing Marcel Bing (1875-1920) was the fourth child of Siegfried Bing (1838-1905), the great collector of Japanese art and founder of the gallery 'La Maison Art Nouveau Bing', located at 22 rue de Provence in Paris. Marcel trained as a jeweller, creating jewelry and vase mounts for the gallery, and took over its management upon his father's death in 1905. The shop and its owners were so influential in their day that it was from the name of this Parisian Shop 'La Maison Art Nouveau Bing' that the entire 'Art Nouveau' movement got its name. Bing(s importance in the development of the Art Nouveau movement cannot be over-stated.
Montagut Gallery
Baule figure Baule people, Ivory Coast, 19th century Wood H 60 cm Provenance: André Blandin (1930-2015), France; Lucien Van de Velde, Antwerp, Belgium, end 1960s-1970; Marc Sherman, New York, acquired in 1982; Pace Gallery, New York; collection Patrick & Béatrice Caput, France, 1999; private collection, France Literature: Boyer (Alain-Michel), Miroirs de l'invisible: la statuaire baoulé. Arts d'Afrique Noire, nº 45; Exhibition catalogue: Objetos-Signos de Africa, Zaragoza, 2000: #27; François Neyt, Trésors de Côte d'Ivoire, Fonds Mercator, 2014 #174; Patrick Caput & Valentine Plisnier, Arts d'Afrique. Portraits d'une Collection, Milan: 5 Continents, 2016 Exhibition: Zaragoza, Spain: Objetos-Signos de Africa, Centro de Exposiciones y Congresos, 11 April-24 June 2000
Galerie La Patinoire Royale Bach
lita albuquerque
Lita Albuquerque (Santa Monica, 1946) On a sliver of sun, she travels toward the moon, 2021 24kt gold leaf on resin and pigment on panel 2.10 x 2.10 m Provenance: the artist's studio Exhibitions: Lita Albuquerque: Liquid Light; Collateral Event of 59th La Biennale di Venezia, Biennale Arte 2022; Presented by bardLA, Los Angeles, California. Curated by Elizabeta Betinski and Neville Wakefield
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)
Gallery Sofie Van de Velde
jean brusselmans
Jean Brusselmans (Brussels 1884-1953 Dilbeek) Les Roses, 1948 Oil on canvas 122.5 x 112.5 cm Signed and dated lower right: Jean Brusselmans 1948 Literature: La Collection Tony Herbert, Brussel, 1957, n° 51; Robert-L Delevoy, Jean Brusselmans, ed. Laconti 1972, p. 403 n° 568 ill.; Dirk De Vos, Retrospectieve Jean Brusselmans, Groeningenmuseum, 1980; Hans Janssen, Jean Brusselmans 1884-1953, Den Haag, 2018, p 115 ill. Exhibitions: Den Haag, Groningen, Charleroi, Oostende, Hasselt, Gent, Collection Tony Herbert, 1957; Luxemburg, Musée d’Art et d’Histoire, Collection Tony Hebert, 1963; Brussels, Paleis van Schone Kunsten, n° 53, 1979; Brugge, Groeningenmuseum, 1980, retrospectieve Jean Brusselmans, 1980; Den Haag, Jean Brusselmans 1884-1953, Gemeentemuseum Den Haag, 2018
Galerie Van den Bruinhorst
Gerrit Thomas Rietveld (Utrecht, 1888-1964) Metz & Co sideboard ‘r54', 1936 Executed in The Netherlands, circa 1941 White laquered beech wood and plywood, metal and wire glass H 93 x W 200 x D 51.5 cm Provenance: Mr and Mrs Montagne-Van Lommel, Rotterdam 1941; Mrs. H.H. Van Domisse-Van Lommel, 1947 the Hague; Mrs. Foss-Montagne 1991; Sotheby’s Amsterdam 1995; private collection, Amsterdam Exhibition: Bas van Pelt, The Netherlands, The Hague, 1960 Commissioned by the avant-garde department store Metz & Co in Amsterdam, the Dutch architect Gerrit Rietveld designed a small sideboard in 1932 consisting of wire glass sliding doors on a chromed steel base that could be combined with a separate drawer unit. With this design as a starting point he created sideboard r54 in 1936 which is a combination of the small sideboard and the drawer unit in one piece. The first owners bought this sideboard in 1941.
Dr. Lennart Booij Fine Art & Rare Items
pablo picasso
Pablo Picasso (Malaga 1881-1973 Mougins) Bull in the Arena plate, 1948 White earthenware with engobes H 32 x W 39 cm Edition Picasso Madoura, from the unnumbered edition of 450 Provenance: private collection, France Literature: A. Ramié, Picasso, Catalogue of the edited ceramic works 1947-1971, p. 52, n° 80
Brame & Lorenceau
sol lewitt
Sol LeWitt (Hartford 1928-2007 New York) Asymmetrical pyramids, 1985 Gouache on paper 55.4 x 74.8 cm Signed and dated on the lower right: S. LEWITT 1985 Provenance: private collection, Oslo; Jörg Maass Kunsthandel, Berlin; private collection, USA; private collection, Paris
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Dr. Nöth kunsthandel + galerie
lotte laserstein
Lotte Laserstein (Preußisch Holland/Königsberg 1898-1993 Kalmar/Sweden) Young couple turned to the left (The Neumans), 1970 Oil on canvas 49 x 59 cm Signed and dated upper left: Lotte Laserstein 1970 Provenance: purchased directly from the artist by the present owner
Gallery de Potter d’Indoye
Jean Prevel (Paris, 18th century) A Louis XVI Ormolu, blued metal and white marble 'Pendule au temple de l’amour', circa 1780 White marble, gilded bronze, blue patinated bronze H 78.7 x Ø 34.9 cm Signed: Prevel à Paris (clock maker, Cour abbatiale, St-Germain, France) Provenance: collection of Dr. & Mrs. Constantin Mamouris The white marble tempietto features an ormolu figure of Athena topped with a dome segmented by blue patinated bronze panels and applied ormolu stars surmounted by a spherical clock with revolving chapter rings. The time is indicated by an arrow held by a perched putto. The striking movement is signed Prevel [à Paris]. In the form of a rotunda, the design of this charming clock was inspired by the ancient Greek and Roman temples, often reproduced or reimagined by talented painters such as Hubert Robert throughout the second half of the eighteenth century. When searching for contemporaneous French buildings that could have influenced the maker of this clock, Richard Mique’s famous Temple of Love comes to mind, designed for Marie-Antoinette in her gardens of the Petit Trianon, see D. Ledoux-Lebard, Versailles, Le Petit Trianon: Le Mobilier Des Inventaires de 1807, 1810 et 1839, Paris, 1989, p. 31. A number of clocks of this popular design exist, although none are exactly the same as this clock. Comparable clocks include one in the Spanish Royal Collection, illustrated in J. Ramon Colon de Carvajal, Catalogo de Relojes del Patrimonio Nacional, Madrid, 1987, p. 90, n° 73; one in P. Kjellberg, Encyclopédie de la pendule française du Moyen Age au XXe siècle, Paris, 1997, p. 292, fig. B; and one is in the British Royal Collections, see C. Jagger, Royal Clocks, The British Monarchy and its Timekeepers 1300-1900, London, 1983, p. 150. Unlike this clock, the above examples have ormolu or pierced marble domes, making the star-studded and blue patinated bronze panels roof of this clock particularly interesting and unique.
Opera Gallery
Paul Delvaux (Belgium, Antheit 1897-1994 Veurne) La Fin du Voyage, 1968 Oil on canvas 165.1 x 145 cm Signed: P. DELVAUX and dated 10-68 on the lower right; signed again, titled and dated: 1968 on the stretcher Provenance: Mr. and Mrs. Morton D. May, St. Louis, USA, by 1969; Marlborough Gallery, London; Don Bartolomé March, Madrid (until at least 1991); Christie's London, 3 February 2003, lot 168; Collection of Paul Yeou Chichong Literature: Jerrold Lanes, New York, The Burlington Magazine, vol. CXI, n° 794, May 1969, p. 325, ill.; Michel Butor, Jean Clair, Suzanne Houbart-Wilkin, Delvaux, Catalogue de l'oeuvre peint, Brussels, 1975, n° 309, p. 271, ill.; Jacques Sojcher, Paul Delvaux ou la passion puérile, Paris, 1991, p. 78, ill. Exhibitions: New York, Staempfli Gallery, Paul Delvaux, 1969, n° 15; Madrid, Fundacion Juan March; Barcelona, Funacio Caixa Catalunya and Florence, Pallazzo Corsini, Delvaux, 1998, n° 72, p. 113, ill. in colour © Foundation Paul Delvaux, Belgium/SABAM, 2023-2024
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
Giammarco Cappuzzo Fine Art
Giuseppe Vermiglio (Milan, circa 1587-circa 1635/1636) The sacrifice of Isaac, circa 1610-1618 Oil on canvas 132 x 162 cm Provenance: private collection, Italy Literature: Alessandro Morandotti, Gli anni romani di Giuseppe Vermiglio, in Giuseppe Vermiglio. Un pittore caravaggesco tra Roma e la Lombardia, exhibition catalogue Campione d’Italia, Galleria Civica, 10 September-3 December 2000, ed. by D. Pescarmona, Milan 2000, p. 45, fig. 23; Ferdinando Bologna, Tre note caravaggesche, Prospettiva, 33-36, 1983-1984 (Studi in onore di Luigi Grassi), pp. 204-207, fig. 5; Mina Gregori, Il Sacrificio di Isacco: un inedito e considerazioni su una fase savoldesca del Caravaggio, Artibus et Historiae, X, 1989, p. 141, note 16
Franck Anelli Fine Art
charles topino
Charles Topino (France, 1742-1803) Oval writing table with white marble top Table in quatrefoil marquetry with rosewood surrounds, opens with a drawer and a sliding shelf, resting on curved uprights joined by a notched brace; white marble top with gallery Louis XVI period Stamped by Charles Topino, a cabinetmaker who became a master in 1773 H 72 x W 60 x D 41 cm Provenance: Neuilly sale, étude Ionesco, 7 July 1993, lot 63 Literature: this model is reproduced in Sylvain Barbier Sainte Marie, p. 57, fig 26
Thomas Deprez Fine Arts
emile fabry
Emile Fabry (Verviers 1865-1966 Brussels) A monumental triptych, including: Le péché originel, Les Déesses de la Vie and Prométhée & Pygmalion, circa 1896 Oil on canvas 246 x 138 cm | 249 x 205.5 cm | 245 x 140 cm All canvases waxed and retouched The middle panel carrying a certificate by Edmond Delescluze, the artist's son-in-law, dated April 6th 1990 Provenance: by descent in the family of the artist, after his death in 1966; former collection Suzanne Fabry and Edmond Delescluze, the artist’s daughter and son-in-law; triptych dismantled and sold separately, with different provenances on request; United again for the first time under single ownership, 2023 Literature: a list of contemporary press critiques available on request; Jacqueline Guisset, Emile Fabry 1865-1966, Brussels, Fonds du Patrimoine de Woluwe-Saint-Pierre, 2000, ill. pp. 75, 77 & 78; Sébastien Clerbois, L’Esotérisme et le Symbolisme belge, Anvers, Pandora Publishers, 2012, ill. p. 104 Exhibitions: Exposition du Cercle Pour l'Art, Brussels, 1896; Retrospective Emile Fabry, Woluwe-Saint-Pierre, Centre culturel, 2000