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Dr. Nöth kunsthandel + galerie
erich heckel
Erich Heckel (Döbeln 1883-1970 Radolfzell/Bodensee) Chinese artists, 1928 Watercolour, gouache, Indian ink, brown and grey wash on paper 54.5 x 70 cm Titled, signed and dated lower right: Chines. Artisten, Heckel 28 The Erich Heckel Foundation in Hemmenhofen has confirmed that the watercolour is authentic and has been registered in the archives of the estate. Certificate of authenticity by Hans Geissler and Renate Ebner from January 2014 Provenance: acquired directly from the artist in 1930 by Arthur Drey, Wiesbaden and Frankfurt. Drey (1890-1965) was a playwright and writer and an early collector of German Expressionism; thence by descent
Dalton Somaré
Guardian Head Tsogho, Gabon Wood, metal H 23 cm Provenance: Georges Vidal collection, Paris; Alain Bovis, Paris; private collection, Paris Literature: Tsogho. Les icônes du Bwiti, Paris, 2016, n° 178, p. 212; Art primitif, Loudmer-Poulain, Paris, 21 juin 1976, lot 182; Statuaire de l'Afrique Noire, ABC Collection, 1979, p. 16
A&R Fleury
alicia penalba
Alicia Penalba (1913-1982) Grande annonciatrice, 1965 Bronze with patina 90 x 140 x 70 cm Signed and numbered “APenalba 1/5” The work is referenced in the catalogue raisonné during the exhibition 'Alicia Penalba, escultora', MALBA, Buenos Aires, 2016-2017, under n° 48b p. 107
Francis Maere Fine Arts
paul delvaux
Paul Delvaux (Antheit 1879-1994 Veurne) Femmes devant la mer, 1928 Oil on canvas 80 x 100 cm Signed and dated upper right: P. DELVAUX 28 Provenance: Jean Giron, Brussels; private collection, Belgium Literature: A. Eggermont, Les arts plastiques in Le Thyrse, Brussels, March 1931, p. 104; M. Butor, J. Clair, S. Houbart-Wilkin, Paul Delvaux-catalogue de l'oeuvre peint, Cosmos Monographies, Brussels, 1975, cat. n° 35, p. 156 Exhibitions: 1928 Brussels Galerie Manteau, Paul Delvaux et Robert Giron, 1931 Brussels Palais des Beaux-Arts, Paul Delvaux, 1969 Paris, Musée des Arts décoratifs; 1974, Sint Martens Latem, Georges Buysse Gallery, Delvaux, Spilliaert, Pérot; 1985 Paris, Centre Culturel Wallonie-Bruxelles, Hommage à Paul Delvaux © Foundation Paul Delvaux, Belgium/SABAM, 2023-2024
Mearini Fine Art
Bartolomeo di Giovanni D'Astore called Baccio da Montelupo (Montelupo Fiorentino 1469-1536 Florence) Crucifix, circa 1515 Wood, plaster and paper 81.5 x 81.5 cm Provenance: private collection, Italy Literature: David Lucidi, Baccio da Montelupo, Tau, 2022, pp. 154, 342, 343, 413, 414
Harold t’Kint de Roodenbeke
Paul Delvaux (Belgium, Antheit 1897-1994 Veurne) La danse macabre, 1934 Watercolour and ink on paper 59.5 x 75 cm Signed and dated lower right: Spy 2-34 Provenance: Walter Delvaux, artist family; sale Sotheby's, 6 February 2014, lot 469; private collection Important and early composition from 1934, a key year for Delvaux's development of his surrealist world © Foundation Paul Delvaux, Belgium/SABAM, 2023-2024
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.
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')
Finch & Co
Headrest Kali Hahapo Patinated wood, sennet (coconut fibre), glass beads Tonga, late 18th-early 19th century H 19 x W 53 cm Provenance: Captain A.W.F. Fuller (1882-1961) given to Dr Roland Force, in recognition of Force’s work in cataloguing the Fuller collection (see below); Julian Harding collection; Wayne Heathcote; Patricia Withers collection (1934-1998), London; Sotheby’s London, 1988; Nasser Gallery, 2010; private collection Literature: The Mark and Carolyn Blackburn Collection, 2010, p. 246, ill. 146; The Fuller Collection of Pacific Artefacts, Lund Humphries, London, 1971; Pierre Loos, Bayet et Caltaux, La tête dans les étoiles. Appuis-nuque d’Afrique et d’ailleurs, BRUNEAF, 2012, p. 157 Exhibition: BRUNEAF, Bruxelles, Belgium, La tête dans les étoiles. Appuis-nuque d'Afrique et d’ailleurs, 6-10 June 2012 A comparable example in the Tongan National Museum, Tofoa. Also several neck-rests part of the collections in the National Museum of Australia, Canberra (inv. Oz 347 and inv. Oz 348) Of elegant arching form and carved in one piece from a dense, fine grained wood, possibly ‘Intsia bijuga’. Neck-rests of this type were used in Tonga as pillows to ensure that the elaborate coiffure of the owner would not be disturbed during sleep. ‘Kali’ acquired ‘mana’ (the spiritual force) by repeated contact with the owner’s head and in the case of a chief became objects of great prestige. This example, from the renowned Captain Fuller collection, is exceptional for the elegance and purity of its form, especially evident in the strongly curved legs ending in subtle horizontal flange feet. To each end of the ‘cross-bar’ glass beads have been inserted to enhance the decorative appeal and importance of this piece. In the opinion of George Ortiz no civilisation has equalled the Pacific Islanders’ superb furniture and domestic objects. Writing of Tongan neck-rests the great connoisseur of Polynesian Art Edward Dodd said: ‘What wonderful springing forms!’ For a comparable neck-rest (no. 689) in the James Hooper collection. Of classic Tongan form, it was however collected at Mbau, Fiji, in 1865. Compare also two ‘kali’ previously in the Fuller collection ( n° 274498 and 274499) and now in the Field Museum, Chicago.
Harold t’Kint de Roodenbeke
Leopold Survage (Moscow 1879-1968 Paris) Surrealist composition, 1916 Gouache and pencil on paper 43 x 31 cm Signed lower right Survage, marked with his initials LS, stamped with the artist's studio stamp and dated 16 Anne-Marie Divieto has confirmed the authenticity of this work Provenance: Felix Landau, Paris; private collection, Germany (acquired from the above circa 1970)
Serge Schoffel - Art Premier
Bamileke Ku n'gan society mask Cameroon, 19th-early 20th century Wood, hair, cowrie shells, St. Christopher's medal H 33 cm (with the hair: circa 110 cm) Provenance: collected in situ circa 1960 by Klaus Paysan, photographer and author from Stuttgart, Germany (1930-2011); the mask was a gift from King Fon Happi III of Bana; Boris Kegel-Konietzko, Hamburg, Germany Literature: published in Kosmos magazine, 1961
Cabinet of Curiosities-Honourable Silver Objects
cartier paris
Bracelet, circa 1960 Signed Cartier Paris, n° 114069 Stamped with French assay marks 18K yellow and white gold, designed with 13 carved fluted round lapis lazuli beads, on a slightly flexible gold shaft, terminating with a hook clasp set with 22 single and full-cut round diamonds, approximately 0.90 ct. Provenance: private collection, The Netherlands Ladybird brooch, circa 1930, signed Cartier Paris, n° 07544, stamped with French assay marks, platinum, designed with a head in enamel and a red coral body set with 8 full-cut round diamonds 22 x 19 x 11 mm Provenance: private collection, London Literature: N. Coleno, Etourdissant Cartier (Paris: Editions du Regards, 2008), pp. 44-45, 81
Victor Werner
carl max kruse
Carl Max Kruse (Berlin, 1854-1942) Messenger of Victory on Marathon, circa 1900 Life-size bronze with green patina of an athlete carrying the Olympic palm H 210 x W 120 x D 50 cm Signed Max Kruse Literature: Amtsblatt Lutherstadt Eisleben, ill. p.17; Carl-Peter Steinmann: Sonntagsspaziergänge 2. Entdeckungen in Charlottenburg, Friedrichshain, Gesundbrunnen, Grunewald, Karlshorst, Prenzlauer Berg, Transit Verlag Berlin 2010, ISBN 978-3-88747-286-3; Fritz Stahl: Max Kruse. Wasmuth, Berlin 1924 Other examples can be found in the collection of the museum 'Alte Nationalgalerie Berlin', in Lutherstadt Eisleben (a town in the German state of Saxony-Anhalt) and at the sports facility in 'Gladbacher Straße', Krefeld (a town in the German state of North Rhine-Westphalia)
Douwes Fine Art b.v.
Paul Delvaux (Antheit 1897-1994 Veurne) Portrait of a young woman, 1966 Pen and watercolour 17 x 12 cm Signed and dated: P.DELVAUX 24-12-1966 stuck on a sheet of paper filigree Wattman England. Provenance: Sale Auction house L’homme, Liège, 24 September 2016, cat. n° 40 Expertise: Certificate of authenticity of the Paul Delvaux Foundation, St-Idesbald, June 10, 2016 Notes In the work of Paul Delvaux we frequently find the female figure, a favorite subject of the artist. He stages the body of the women in antique setting or in scenes of everyday life. Often calm and mysterious, the women Delvaux focusses to represent are the reflection of the complex relationship that he maintains towards them. Indeed, already at a young age, the possessive and authoritarian mother of the artist warned him against women. Since then, the artist nurtured a fascination with the women he places on a pedestal. The woman represented in his work, are the image of his feminine ideal. Always young and beautiful, they are often naked, draped or preciously dressed. They symbolize the fascination and intrigue that Delvaux feels towards them and their bodies. The female figure occupies different roles in his work, from femme fatale to the mythological creature. In the present watercolour Delvaux integrates a contradictory image of the woman as being dangerous, free and independent but also valuable and untouchable. The chosen tones, from the aubergine color of the dress to the blue of the background, are very lively. Part of the bodice remained white, as well as the lighting in the upper left corner, which allows the chiaroscuro effect of the composition. In the same year as he made this drawing, he had a retrospective at the Lille Museum of Fine Arts and the Museum of Ixelles. A few years before, in 1959, he executed the mural decoration of the Palais des Congrès in Brussels and in 1965 he received the Five-Year Award for the dedication of his career and is appointed President and Director of the Class of Fine Arts of the Royal Academy of Belgium. Delvaux’s love life has not been without complication and this reflected in his art. When Delvaux fell in love with his first and great love Anne-Marie De Martelaere, known as Tam, at the age of thirty, the mother of Delvaux fiercely opposed this relationship, and he married someone else. This great sorrow of a lost love will permeate the image of the woman Delvaux depicts in his work: she is inaccessible and very often the man is excluded. At the death of his mother, the sadness felt by the artist is great but her death was also liberating for the future of his work. Delvaux now represents the woman in a much more libertine way. In 1947 he met Tam again in Sint-Idesbald. This chance meeting leads the two lovers to get married. The following decade will then mark a loss of creativity of the artist, his beloved imposes some constraints on Delvaux. He can no longer use models or represent them the way he desires. Later, Delvaux marries Suzanne Purnal and maintains a platonic love towards her.
Victor Werner
camille marc sturbelle
Camille Marc Sturbelle (Brussels 1873-1944 Sint-Lambrechts-Woluwe) Pair of outdoor sculptures of shepherd dogs, 1925 Bronze with green patina The dog in a standing position is signed and dated Sturbelle, 1925 - H 88 x W 115 x D 37 cm The dog in a seated position is signed and dated Sturbelle, 1902 - H 113 x W 59 x D 37 cm Both sculptures bear the name of the foundry Fonderie Nationale Des Bronzes, St. Gilles Bruxelles Provenance: private collection Literature: Pas, W. & G., ARTO 2000 Biografisch Lexicon Plastische Kunst in België, p. 370; Museum: A bronze sculpture made by the same artist (depicting an English bulldog) can be found in the collection of the Royal Museum of Fine Arts Antwerp (KMSKA)
Segoura Fine Art
jules georges clairin
Georges Jules Victor Clairin (France, 1843-1918) L'Epave, 1904 Oil on canvas 75.5 x 50.5 cm Signed lower right and dated on the back Provenance: private collection, France Painting donated by the artist at the tombola of the Salon des artistes français in aid of wounded Russians, April 1904
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Tobogan Antiques
giuseppe ghedina (1825-1896)
Giuseppe Ghedina (Italy, 1825-1896) The music lesson, circa 1860 Oil on canvas H 141 x W 179 cm Signed: G. Ghedina Painting representing a music lesson, composed of a group of three elegantly dressed ladies, listening to a musician playing the lute and accompanied on vocals by a man holding a musical score in hand. This artist’s genre scene is distinguished by the softness of the eyes, the romanticism of the attitudes and the harmony of the tones used Provenance: Château de Prépinson, Sologne
Galerie Oscar De Vos
gustave van de woestyne
Gustave Van de Woestyne (Ghent 1881-1947 Brussels) Christ in the spring garden, 1907 Oil on board 58 x 40 cm Signed and dated top right: GUSTAVE / VAN DE WOESTYNE 1907 Provenance: René Van Herrewege, Ghent; André Vyncke-Van Eyck, Ghent; Galerie Vanlangenhove, Ghent; Galerie Oscar De Vos, Sint-Martens-Latem; private collection, Belgium Literature: Borchert e.a., Van Eyck. Een optische revolutie (2020), pp. 456-457, p. 497, cat. n° 19.9 (ill.); Boyens, Sint-Martens-Latem. Kunstenaarsdorp in Vlaanderen (1992), pp. 265-266; Boyens, Een zeldzame Weelde (2001), pp. 24-25, p. 69, p. 211, cat. n° 77 (ill.); Boyens, Symbolisme in Vlaanderen (2022), p. 70, n° 60 (ill.); De Geest e.a., Gustave Van de Woestyne 1881-1947 (1997), p. 107, cat. n° 7 (ill.); Gepts, Gustave Van de Woestyne 1881-1947 (1981), p. 76, cat. n° 6 (ill.); Haesaerts, L'Ecole de Laethem-Saint-Martin (1945), p. 162; Hoozee e.a., Gustave Van de Woestyne (2010), pp. 62-63, cat. n° 8 (ill.); Langui, Gustave Van de Woestyne (1967), cat. n° 10; Pauwels e.a., De eerste groep van Sint-Martens-Latem 1899-1914 (1988), p. 101, p. 176, cat. n° 52 (ill.); Pauwels, Als een fonkelenden spiegel (2019), 178 (ill.); Schoonbaert, Religieuze thematiek in de Belgische Kunst 1875-1985 (1986), p. 147, cat. n° 47 (ill); Stubbe, De Vlaamse schilderkunst van Van Eyck tot Permeke (1953), pp. 364-365; Van de Woestyne e.a., Gustave Van de Woestyne 1881-1947 (1970), p. 24, cat. n° 13; Van de Woestyne, Gustave Van de Woestyne (1929), p. 3, cat. n° 7; Van den Abeele, Albijn Van den Abeele (1993), p. 187 (ill.); Vanbeselaere, Vlaamse schilderkunst 1850-1950 (1960), p. 39, cat. n° 112 Exhibitions: 1929, Brussels, Palais des Beaux-Arts, Gustave Van de Woestyne, n° 7; 1953, Ghent, Museum voor Schone Kunsten, Schilderijen uit Gentse Verzamelingen; 1960, Laren, Singer Museum, Vlaamse schilderkunst 1850-1950, n° 112; 1967, Mechelen, Cultureel Centrum, Gustave Van de Woestyne, n° 10; 1981, Antwerp, KMSKA, Gustave Van de Woestyne 1881-1947, n° 6; 1986, Brussels, Galerij ASLK, Religieuze thematiek in de Belgische kunst (1875-1985), n° 47; 1988, Brussels, KMSKAB, De eerste groep van Sint-Martens-Latem, n° 52; 1997, Deinze, MuDeL, Gustave Van de Woestyne 1881-1947, n° 7; 2001, Ghent, Museum voor Schone Kunsten, Een zeldzame weelde n° 77; 2010, Ghent, Museum voor Schone Kunsten, Gustave Van de Woestyne, n° 8; 2012, Deinze, MuDeL, Ecce Homo: de Heilige Bloedprocessie van Meigem; 2020, Ghent, Museum voor Schone Kunsten, Van Eyck. Een optische revolutie, n° 19.9