This section will be available this Autumn.
Chambre professionnelle belge de la Librairie Ancienne et Moderne (CLAM)
Jean Clair, Considérations sur l’état des beaux-arts. Critique de la modernité. Paris, Gallimard, 16 février 1983, 8to, semi-flexible bluish-grey calf boards with sanded flower (found as such) with sharp edges in head and tail and bordered at edge with a strip in black elephant skin. Relief strip at the joints of the same calf skin, printed with the burnt vein of a pine board, attached with stainless steel eyelets. Board on two thongs of black elephant skin. Grey faux lizard spine cover, natural edges (J. de Gonet, dated 1984) First edition This essay by Jean Clair (Paris, 1940) is the first true critique of artistic modernity. There was no large paper edition. The copy is dedicated by the author to the aesthete and music lover Claude Bernard (1939-2022): Pour Claude Bernard, Ces Essais, au Prince des perversions, à l’aimable tyran des peintres et au dernier des grands mécènes, dont le règne s’étend de la Rue à l’empire des Beaux-Arts, en espérant qu’ils affirmeront son pouvoir, et en hommage très cordial Jean Clair 17 juil. LXXXIII To Claude Bernard, These Essays, to the Prince of perversions, to the amiable tyrant of painters and to the last of the great patrons, whose reign extends from the Rue to the empire of Fine Arts, hoping that they will assert his power, and in very cordial homage Jean Clair 17 July LXXXIII And with a watercolour by Sam Szafran (1934-2019), signed and dedicated to Claude Bernard, with whom he exhibited for the first time in 1965, an event organised by Jacques Kerchache (1942-2001). His encounters with Kerchache, Jean Clair and Claude Bernard profoundly influenced his life as a painter. Claude Bernard seemed to enjoy bookbinding and commissioned works to Jean de Gonet and Monique Mathieu. Watercolour: 203 x 197 mm Provenance: Claude Bernard, Paris Literature: Le Bars (F.), Jean de Gonet. Catalogue raisonné, t. II, 1983-1993, 0379 (from which the description of the binding was borrowed) Librairie Lardanchet, Antiquarian bookseller
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).
Cortesi Gallery
arnaldo pomodoro
Arnaldo Pomodoro (Morciano di Romagna, 1926) Disco, 2002 Bronze 24.8 x 21 cm Ed. of 8 + 2 AP Provenance: Imago Art Gallery, Lugano; Thomas B. Lemann, New Orleans; Private Collection, New York Literature: Flaminio Gualdoni, ed., Arnaldo Pomodoro: Catalogo ragionato della scultura, vol. II, Milan, 2007, n° 1039, p. 766 (another example ill.); Fondazione Arnaldo Pomodoro, ed., Arnaldo Pomodoro: Catalogue Raisonné, n° 1039 (AP 779), online (another example ill.) Exhibitions: 2006 Arnaldo Pomodoro: Sculture, Chiari, Galleria d'arte L'Incontro Arte Moderna e Contemporanea, October 7–November 30, 2006, p. 44 (another example exh. and ill.)
Claes Gallery
Dan Mask Ivory Coast, late 19th century Wood H 23 cm Provenance: Dr. Alexander Rafaeli collection (1910-1996), Israel Literature: Masks of Primitive Peoples from The Collection of Dr. Alex Rafaeli, written mention p. 6; n° 15; Back cover; Art of Primitive People. Masks from the collection of Dr. Alex Rafaeli. Sculptures from other Collections, written mention p. 4, n° 16 Exhibition: The National Museum Bezalel, Jerusalem, 7 February-7 March 1953; Museum of Modern Art, Haifa, November 1955
Epoque Fine Jewels
cartier
Cartier Garland style diamond feather brooch In the shape of an ostrich feather with a bow, set with approx. 23 carats of diamonds, mounted in platinum with 'mille grains' finish. Several joints along the frame give flexibility to the feather. With detachable brooch fitting. Paris, 1914 11.7 x 6.8 cm Signed CARTIER PARIS LONDRES NEW YORK with maker's mark of Henri Lavabre According to the Cartier archives, this brooch was a special order, designed in the 'Style Guirlande' at the request of the buyer, even though Art Deco had already made its appearance at Cartier by that time
Galerie von Vertes
yayoi kusama
Yayoi Kusama (Matsumoto, 1929) Hat (ATE), 2001 Acrylic on canvas 22 x 27.3 cm Signed, dated and titled on verso Provenance: private collection, Japan; Mallet Japan, January 25, 2008, lot 92; Opera Gallery, Geneva; private collection, Geneva Literature: Certificate of authenticity from the Yayoi Kusama Studio on 7 December 2007
Ralph Gierhards Antiques / Fine Art
A pietre dure cabinet Pietre dure: Florence, late 17th century Cabinet and stand: England, late 18th century Pietre dure, pietre tenere, ebonised oak, mahogany, brass, gilt metal Cabinet: H 65.1 x W 76.5 x D 41.9 cm Table: H 82.6 x W 81.3 x D 41.9 cm Provenance: Partridge Fine Arts, London 1985; This cabinet belonged to The Gilbert Collection, Victoria and Albert Museum, London 1991; private collection, Italy Literature: This cabinet is illustrated in Anna Maria Massinelli, The Gilbert Collection-Hardstones, Philip Wilson Publishers in association with The Gilbert Collection, fig. 5; Baldini, Giusti and Pampaloni Martelli 1979, fig. 164; Kreisel 1970, fig. 186; Kunsthistorisches Museum 1987, p. 33 Exhibition: Los Angeles (USA), 1991 A cabinet with eleven pietre dure and pietre tenere mosaic panels on the front, with Tuscan landscape views on a background of Albarese limestone. This cabinet was made in England in the late eighteenth century and is typical of the furniture inspired by the taste of travellers who, during their Grand Tour of Italy, bought Florentine mosaic work in the Grand Ducal workshops and had it set in made-to-measure cabinets on their return. The landscape panels are linked to those on a cabinet documented as being in the Villa del Poggio Imperiale after 1691. They demonstrate the interest in landscape subjects in the Grand Ducal workshops during the late seventeenth century. Similar types of panels can be found on early eighteenth-century German furniture. Examples include cabinets from Ambras castle, Braunschweig and a desk in the castle at Wiesentheid. This cabinet was exhibited in Los Angeles in 1991 and the cabinet is illustrated in the book The Gilbert Collection – Hardstones
F. Baulme Fine Arts
arnould de vuez
Arnould De Vuez (Saint-Omer 1644-1720 Lille) Jacob and Ésaü reconciliation, circa 1678 Oil on canvas 105 x 137 cm Provenance: private collection, Périgord since 1920; by inheritance, the artist's descendants; fonds d'atelier d'Arnould Vuez Arnould de Vuez, a key Flemish historical painter of the second half of the 17th century, was trained by Claude François in his Parisian studio, himself trained by Simon Vouet. The master sent his pupil to Italy so he could get the finest education surrounded by Old Master works. He won the first prize of the Roman Saint Luc Academy in 1677. In 1681, Arnould de Vuez was received at the Royal Academy of Paintings and Sculpture for the alliance between France and Bavaria allegory (Louvre Museum). A decade later, in 1692, he was commissioned by the brotherhood of goldsmiths to paint the « Mays » of Notre-Dame picturing the disbelief of Saint Thomas (Lyon, Saint Jean Primatial). In 1694, soon after Charles Le Brun’s death, with whom he collaborated in Versailles, Arnould de Vuez established himself in Lille where he was commissioned with great orders. He was in charge of the religious monuments, in which he blends Poussin’s classicism lessons, Le Brun inspiration and Rubens influence. His work is characterized by a structured composition, retained drapery and a taste for orthogonal lines. Poussin’s influence should be noted in this frieze composition, as well as the Italian Masters, such as the young men’s head copied from the Athen’s school by Raphael.
Galerie Jean-François Cazeau
Auguste Herbin (Quiévy 1882-1960 Paris) Le Vieux Pont à Bruges, 1906 Oil on canvas 46 x 55 cm Signed lower left Provenance: the artist’s studio; M. Rheims, Paris; Malborough Fine Art Ltd., London; private collection, Basel Exhibitions: 1914, Exposition Auguste Herbin, Galerie Clovis Sagot, 2 March–17 March 1914, n° 3; Bern 1963, Auguste Herbin, Kunsthalle Bern, 16 February–24 March 1963, n° 1 (ill.); Amsterdam 1963, Herbin, Stedelijk Museum, 7 June–22 July 1963, n° 2 (ill.); Zurich 1965, Auguste Herbin, City Galerie Bruno Bischofberger, 2 April–30 April 1965, n° 2; Paris 1975/76, Le Bateau-Lavoir, Musée Jacquemart-André, 31 October 1975-31 November 1976 (label on the back) Literature: Geneviève Claisse: Herbin. Catalogue raisonné de l'oeuvre peint, Paris 1993, p. 291, n° 70 (ill.)
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
Ascension of Christ Russia (Yaroslavl), 17th century Egg tempera with gold leaf on a wooden panel surfaced with gesso and linen 72 x 48.5 cm This monumental icon shows an unusual division of planes. In the upper register, Christ is depicted in a green mandorla that is carried to heaven by two angels. The footprints in the earth beneath the mandorla show how Christ was still standing on the earth shortly before. The disciples left beneath gaze and point upwards in wonder. Noticeably, the disciples are standing before the openings of a cave, a reminder of Christ's resurrection from the grave. Directly below Christ, the Mother of God is depicted, flanked by radiant white angels. She bows her head slightly and raises her hands in prayer and reception - a pose reminiscent of the Annunciation. Just as Mary received her divine child at that time, she now leaves him to return to his heavenly father.
Victor Werner
marcel-louis baugniet
Marcel-Louis Baugniet (Liege 1896-1995 Brussels) Marin américain, 1925 Oil on canvas 55 x 40 cm Signed and dated lower right: M-L Baugniet 1925 Two exhibition labels on reverse: (1) 'MUSÉE D'IXELLES, exposition Art déco' with name of exhibitor and title of work (2) Salon Annuel Des Amis, La Louvière Provenance: Galerie Maurice Tzwern, Antwerp; Galerie Ronny Van de Velde, Antwerp; private collection Literature: ART DECO BELGIQUE 1920-1940, Editions I.P.S., 1988, ill. p. 220, n° 7 Exhibition: ART DECO BELGIQUE 1920-1940, Musée d'Ixelles, October 6, 1988-December 18, 1988; Salon Annuel Des Amis, La Louvière
,1967_PabloPicasso_T638295934880618980.tif?width=410&height=2000&qlt=90&scale=both&mode=max&format=jpeg)
Helene Bailly
pablo picasso
Pablo Picasso (Malaga 1881-1973 Mougins) Le Peintre (Mousquetaire aux 2 visages), 1967 Oil on canvas 100 x 81 cm Signed: Picasso and dated: 21/2/67 at the top left Provenance: Louise Leiris Gallery; Galerie Taménaga (label on reverse); former Pierre and Jeannine Consten collection Literature: Christian Zervos, Pablo Picasso vol. 25 - oeuvres de 1965 et 1967, Editions Cahiers d'Art, Paris, 1972, n° 281, repr. in black and white pl. 126; Catalogue Exposition Internationale du Figuratif, 1971, ed. Tokyo ado banku, repr. in colour; Alan Wofsy, The Picasso's Project, Paintings, Watercolors, Drawings and Sculpture, The Sixties, Part II, 1964-1967, enlarged second edition, San Francisco, 2023, p. 302, n° 67-075
