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Douwes Fine Art b.v.
henri fantin-latour
Henri Fantin-Latour (Grenoble 1836-1904 Bure) Fleurs d'Automne, 1861 Oil on canvas 46.4 x 36.5 cm Signed and dated lower left: Fantin Oct. 1861 Provenance: private collection, Europe; Galerie Hopkins-Custot, Paris, 2004; private collection, Belgium; Douwes Fine Art, Amsterdam, 2023
Galerie Hadjer
fernand léger
Fernand Léger (Argentan 1881-1955 Gif-sur-Yvette) Shell composition Conceived in 1938, realised in 1965 Wool Workshop Gisèle Glaudin-Brivet, Tapestry Aubusson/Savonnerie, Aubusson, France Fernand Leger on the back, bolduc workshop Unique piece H 262 x W 220 cm Certificate from the Comité Leger Provenance: private collection, USA
Studio 2000 Art Gallery
theo van rysselberghe
Theo van Rysselberghe (Ghent 1862-1926 Saint-Clair, Var) Portrait of Mrs. H. Aubry, 1907 Oil on canvas 81 x 65 cm Signed and dated middle left with monogram 'April 07' Provenance: private collection, The Netherlands; Sotheby's, Amsterdam, 13 December 1999; Campo & Campo, Antwerpen, 18 October 1998; Me Cousin, Les Andelys, France, 9 December 1990 Literature: Ronald Feltkamp, Théo van Rysselberghe Catalogue raisonné, Editions Racine, Brussels, 2003, p. 367, n° 032 (ill.); G. Van Zype, Notice Théo van Rysselberghe, in: Annuaire de l'Académie Royale de Belgique, Bruxelles, 1932 Exhibitions: Théo van Rysselberghe, Bernheim-Jeune, Paris, 27 April-9 May 1908
Galerie de la Béraudière
germaine richier
Germaine Richier (Grans 1902-1959 Montpellier) L'Ogre, 1949 Bronze with black patina H 81.2 x W 45 x D 40.3 cm Signed and stamped on the base: G Richier, C. Valsuani cire perdue Foundry: Claude Valsuani, Paris, conceived in 1949, cast in 1951 Edition of 12 (1/8 – 8/8 + 4 AP ) Original certificate of authenticity by Francoise Guiter, dated 5 March 2014 Provenance: Galerie Creuzevault, Paris (1962); Galerie Odermatt, Paris; Sale Prescheteau-Badin, Paris, 20 March 2006; private collection Literature: P. Levy, London's Frenetic Gallery Scene: O'Keeffe sinks; Freud is missing, in The Wall Street Journal Europe, 11 June 1993; Brassaï, Germaine Richier, in Les artistes de ma vie, Paris, 1982, pp. 194-197; R. Barotte, A la rencontre de Germaine Richier (1904-1959), le sculpteur qui va... au-delà de, in Vision sur les arts, Béziers, November 1978; G. Marchiori, Modern French Sculpture, London 1964, pp. 52-53; M. Seuphor, XXIII. Biographies: Richier, Germaine, in La sculpture de ce siècle, dictionnaire de la sculpture moderne, Neuchâtel, 1959, p. 322; M. H. Vieira da Silva, Tribune de Paris - Adieu à Germaine Richier: Son atelier était plein d'une étrange musique, in Tribune de Lausanne, Lausanne, 9 August 1959, n° 7; A. Giacometti, Tribune de Paris - Adieu à Germaine Richier: Assise parmi ses sculptures, in Tribune de Lausanne, Lausanne, 9 August 1959, n° 7; C. Roger-Marx, Cette héritière, inspirée des grands maîtres: Germaine Richier, in Le Figaro littéraire, Paris, 8 August 1959; R. Couturier, Tribune de Paris - Adieu à Germaine Richier: La force de son œuvre, in Tribune de Lausanne, Lausanne, 9 August 1959, n° 7; M. Conil-Lacoste, Chroniques: Germaine Richier ou la confusion des règnes in Cahiers du sud, Marseille, February 1957, pp. 307-311; D. Chevalier, Sculpture encore: dans son atelier, vaste forêt de plâtres et de bronzes, Germaine Richier, chef d'école sculpte les grands mythes sylvestres, in Femme, Paris, October-November 1956, pp. 71-83 (another cast ill.); A. Chastel, Germaine Richier: la puissance et le malaise, in Le Monde, Paris, 13 October 1956; B. Milleret, Envoûtement de Germaine Richier, in Les Nouvelles littéraires, Paris, 11 October 1956; D. Chevalier, Un grand sculpteur: Germaine Richier, in Prestige français et Mondanités, Paris, September 1956, pp. 60-65, n° 19 (another cast ill.); G. Waldemar, Germaine Richier, in Prisme des arts, Paris, April 1956, n° 2; J. Grenier, Germaine Richier, Sculpteur du terrible, in L'Oeil, Paris, September 1955, pp. 26-31, n° 9 (another cast ill.); R. M. Claude, Venise XXVI Biennale: Présence française, in Arts, Paris, 26 June 1952, n° 365 (another cast ill.) Exhibitions: 2014-2015 Genève, Galerie Jacques de la Béraudière, Germaine Richier, Retrospective, p.32; 2013 Berne, Kunstmuseum, Germaine Richier Rétropective, ill. n° 43 p. 146 (another cast exhibited); 2007 Venice, Peggy Guggenheim Collection, Richier pp. 131-135 (another cast exhibited and ill.); 2000-2001 Saint-Paul-de-Vence, Fondation Maeght, Le Nu au XXe siècle, n° 129 (another cast exhibited and ill.); 1996-1997 Lausanne, Musée cantonal des Beaux-arts, De Vallotton à Dubuffet p. 46, n° 28 (another cast exhibited and ill.); 1997 Berlin, Akademie der Künste, Germaine Richier, n° 39 (another cast exhibited and ill.); 1996 Saint-Paul-de-Vence, Fondation Maeght, Germaine Richier, Rétrospective, n° 36 (another cast exhibited and ill.); 1993 London, Tate Gallery, Paris Post War: Art and Existentialism 1945-55, n° 98 (another cast exhibited and ill.); 1993 Paris, Centre Wallonie-Bruxelles, Dominique Rolin, le temps approuvé, (another cast exhibited); 1988 Humlebaeck, Louisiana Museum of Modern Art, Germaine Richier, n° 12 (another cast exhibited); 1966 Paris, Galerie Creuzevault, Germaine Richier 1902- 1959 (another cast exhibited); 1964 Arles, Musée Réattu, Germaine Richier, no. 22 (another cast exhibited and ill.); 1963 Zurich, Kunsthaus, Germaine Richier, n° 46 (another cast exhibited); 1959 New York, Museum of Modern Art, New Images of Man, n° 90 (another cast exhibited and ill.); 1959 Antibes, Musée Picasso, Germaine Richier, n° 67 (another cast exhibited); 1959 Boston, University School of Fine and Applied Arts, Sculptures by Germaine Richier, n° 30 (another cast exhibited); 1959 Paris, Musée Grimaldi, Créations et récréations de Germaine Richier, exhibition cat.; 1958 Minneapolis, Walker Art Center, Sculpture by Germaine Richier, n° 10 (another cast exhibited); 1956 Paris, Musée national d'art moderne, Germaine Richier, n° 16, pl. XIV (another cast exhibited and ill.); 1955 London, The Hanover Gallery, Germaine Richier, n° 7 (another cast exhibited); 1955 Lille, Galerie Marcel Evrard, Germaine Richier, Roger Vieillard, n° 5 (another cast exhibited and ill.); 1955 Amsterdam, Stedelijk Museum, Vieira da Silva, Germaine Richier, n° 35 (another cast exhibited and ill.); 1954 Bienne, Collège des Près Ritter, Exposition Suisse de sculpture en plein air, n° 170 (another cast exhibited); 1954 Basel, Kunsthalle, Germaine Richier, Bissière, H. R. Schiess, Vieira da Silva, Raoul Ubac, n° 9 (another cast exhibited); 1954 Chicago, The Allan Frumkin Gallery, The Sculpture of Germaine Richier, n° 11 (ill.); 1952 São Paulo, Museu de Arte Moderna, II Biennale, n° 3 (another cast exhibited); 1952 Venice, French Pavilion, XXVI Biennale Internazionale dell'Arte, n° 151 (another cast exhibited)
Klaas Muller
joris van son
Joris Van Son (Antwerp, 1623-1667) Flower and fruit garland around a cartouche Oil on canvas 65 x 50 cm Provenance: Queen Desideria of Sweden (1777-1860) Joris Van Son was a seventeenth-century Antwerp painter who was strongly influenced by the work of Jan Davidsz. De Heem (a Northern Netherlandish painter who was active in Antwerp in the 1630'ies). Together with Nicolaes Veerendael, Jan Van Kessel and Daniël Seghers, he was one of the main protagonists of Flemish (Antwerp) floral still life art from the mid-seventeenth century. Amongst his pupils were Frans van Everbroeck, Jan Pauwel Gillemans the Younger, Cornelis van Huynen, Norbert Montalie and Abraham Herderwijn. Van Sons preferred two important categories in the genre of flower and fruit still lifes: garlands ('cartouches') and so-called 'pronkstillevens' ('showy still lifes'). The 'cartouche' was often filled with the image of a Saint or a portrait. This by another painter, usually specialised in figures (for example Cornelis Schut, Erasmus Quellinus or Frans II Francken). The fact that our 'cartouche' remained empty in the center indicates that Van Son created this work as a coastal work 'in itself'. The quality is excellent and Van Son not only shows off his in-depth knowledge of the flora and fruits, but also his great sense of sensitivity, detail and colour. Striking is the powerful sculpted cartouche (with a male head bellow) in grisaille, in contrast with the bright fruits and flowers. This work has an interesting provenance: in the early nineteenth century it was owned by Desideria, Queen of Sweden and Norway (1777-1860).
Galerie Raf Van Severen
fernand léger
Fernand Léger (Argentan 1881-1955 Gif-sur-Yvette) Le Cordage Jaune, 1935 Oil on board 39 x 53 cm Signed and dated bottom right: F. Léger, 1935 Provenance: collection Robert Guiette; private collection, Belgium Literature: Zervos, C., Fernand Léger. Cahiers d'Art, Paris, 1935, n°1-4, repr. pp. 65 and 67; Bauquier, G., Fernand Léger. Catalogue raisonné de l'œuvre peint 1932-1937, 1996, repr. pp. 870-871
F. Baulme Fine Arts
nicolas bertin
Nicolas Bertin (Paris, 1668-1736) Achilles entrusted by Thetis to the centaur Chiron, circa 1725 Oil on canvas 62 x 79.5 cm Provenance: private collection, Paris Literature: Thierry Lefrançois, Nicolas Bertin, 1668-1736, Paris, 1981 Nicolas Bertin has begun his career as a painter under the reign of Louis XIV and has ended it under Louis XV. He was part of this pivotal generation of 'Trianon painters' who switched from large historical painting, to smaller pictures – frequently easel paintings, which seduced a new generation of clients. Painting in the early years of the 18th century was ahead of the evolution of society, and it was only during the Regency that France freed itself from the rigorous artistic rules of the end of the reign of Louis XIV. The country undertook reforms and its morals evolved. It was just after this political and artistic revolution that Bertin painted this picture. The choice of theme itself is significant of lighter times: the nymph Thetis entrusts her son Achilles to the centaur Chiron.
Heutink Ikonen
Deesis and Apostle row (four panels) Asia Minor, possibly Smyrna (now Izmir), 17th century Egg tempera with gold leaf on a wooden panel surfaced with gesso and linen 28 x 59 cm, 27.5 x 92 cm, 27 x 102 cm, 27.5 x 67.5 cm A very rare and monumental Deësis ('intercession'), originally a Byzantine composition, in which Christ is depicted centrally as a judge while a number of selected saints are facing him in supplication. In this case, Christ is flanked by the Mother of God and John the Forerunner (the Baptist), with the Apostles at some distance from them. Remarkably, the apostles are not all positioned adjacent to each other, but are interspersed with ornamentation. The panels formed a part of the templon of a modest iconostasis of a church in the region of Asia Minor, possibly from the vicinity of Smyrna (present-day Izmir), where they were displayed directly above the royal doors.
Galerie des Modernes
paul delvaux
Paul Delvaux (Belgium, Antheit 1897-1994 Veurne) Les deux Amies, 1972 Watercolour and ink on paper 35.5 x 27 cm Signed and dated lower right: P. DELVAUX 1972 Certificate of authenticity from Mr. Charles Van Deun of the Foundation Paul Delvaux Provenance: private collection, Brussels, acquired directly from the artist; Galerie Eric Gillis Fine Art, Belgium; private collection, France © Foundation Paul Delvaux, Belgium/SABAM, 2023
Thomas Deprez Fine Arts
willem paerels
Willem Paerels (Delft 1878-1962 Braine-l'Alleud) Dans un cabinet de toilette, circa 1910 Oil on canvas 72 x 53 cm Signed lower right: Paerels Provenance: former collection Anna Boch (1848-1936); by descent in the family, until; private collection, Belgium Literature: The present work figures in the 'inventaire mortuaire' established upon Anna Boch's death in 1936, as part of the prestigious stairwell hanging in her own home designed by Victor Horta (Liste Blondel, private archives, as transcribed in: Thérèse Thomas & Cécile Dulière, Anna Boch 1848-1936, Paris, La Renaissance du Livre, 2000, p. 147, n° 357
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Stéphane Renard Fine Art
henri-pierre danloux
Henri-Pierre Danloux (Paris, 1753-1809) Pair of portraits: Portrait of the Duc d'Angoulême & Portrait of the Duc de Berry Oil on canvas pasted on wood panels Duc d'Angoulême: oval canvas 25 x 21 cm - framed: 35.5 x 30 cm Duc de Berry: oval canvas 26.5 x 21 cm - framed: 35.5 x 30.3 cm Rectangular frames in the neoclassical style with pearl and rais-de-coeurs motif surrounding an oval medallion. The frames are surmounted by cartouches reading 'Donné par S.A.R. le Mgr Le Duc d'Angoulême à Lord Adam Gordon' and 'Donné par S.A.R. le Mgr Le Duc d'Berri à Lord Adam Gordon' Signed 'HP Danloux 1797' on the portrait of the Duc d'Angoulême Provenance: gifted by the models to Lord Adam Gordon and then by family descent
Stern Pissarro Gallery
pierre-auguste renoir
Pierre-Auguste Renoir (Limoges 1841-1919 Cagnes-sur-Mer) La Cueillette des fruits, circa 1905 Oil on canvas 46 x 56 cm Signed lower left: Renoir This work is accompanied by letter from the Wildenstein-Plattner Institute confirming the work will be included in the forthcoming Renoir digital catalogue raisonné Provenance: Dr. Fritz and Barbara Thurneyssen, Germany, acquired from the artist; Dr. Fritz Thurneyssen, Germany; Karl Levi, Berlin, 1927; Galerie Thannhauser, Berlin, 1929, acquired from above; Henry Lévy, Strasbourg,1933, acquired from above; Hélène Lucie Lévy, France, by descent, 1937; Bertrand-Charles Leary, France, by descent; private collection, Paris, by descent from the above Literature: Julius Meier-Graefe, Renoir, Leipzig, 1929, p. 300, n° 307; Guy-Patrice and Michel Dauberville, Renoir: Catalogue raisonné des Tableaux, Pastels, Dessins et Aquarelles, 1903-1910, Vol. 4, Éditions Bernheim-Jeune, Paris, n° 3066 (ill. p. 222 as 'Vendanges (Cagnes)') Exhibitions: Berlin, Galerie Thannhauser at Berliner Künstlerhaus, Erste Sonderausstellung in Berlin, January-February 1927, n° 204, p. 136 (ill. 'Obsternte')
De Jonckheere
jan brueghel the younger
Jan Brueghel The Younger (Antwerp, 1601-1678) Bouquet of flowers in a Wan-Li porcelain vase, late 1620s Oil on panel 56 x 40.5 cm Certificate from Dr. Klaus Ertz Provenance: De Jonckheere, 1985; private collection Symbolising the ties between China and Europe in the seventeenth century, this elegant floral composition bears witness to the talent of Jan Brueghel the Younger. One of the finest floral painters of his time, he combined an unaffected opulence with sober compositions. The finesse of the flowers and the harmonious colours are the hallmarks of his delicate hand and brilliant observation. Working for many years in the family workshop, which he took over upon his father's death, Jan Brueghel the Younger was able to familiarise himself with the various models. Although his style was influenced by his father, he nevertheless took liberties, as is the case here in this Bouquet of flowers in a Wan-Li Porcelain Vase.