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Bailly Gallery
henri le sidaner
Henri Le Sidaner (Maurice, Port Louis 1862-1939 Paris) Petite place au soleil couchant, 1901 Oil on canvas 57 x 80 cm Signed lower left: Le Sidaner Certificate of authenticity issued by Yann Farinaux-Le Sidaner, dated January 10th, 2023 Provenance: Galerie Georges Petit, Paris; private collection, Canada Literature: Notice of inclusion in the forthcoming supplément du catalogue raisonné, Le Sidaner-L'Oeuvre peint et gravé, currently being prepared by Yann Farinaux-Le Sidaner De son langage poétique à la musicalité feutrée de ses compositions, Henri Le Sidaner puise une grande partie de son inspiration dans les paysages ruraux. Au travers de pavés dorés par le coucher du soleil ou encore de toitures rougeâtres, l'artiste transforme des environnements architecturaux et domestiques en des portraits intimistes et mystérieux. « Petite place au Soleil couchant » en est un parfait exemple. Les nuances d'une lumière vécue au crépuscule s'imprègnent dans cette scène afin d'en ressortir les qualités oniriques et mystiques. Un langage visuel distinct, dans lequel Le Sidaner rend hommage à sa racine symboliste. Le traitement de la matière reste, quant à lui, fidèlement attaché aux techniques néo-impressionnistes. Les paysages qui l'entourent ont offert à Le Sidaner une inspiration considérable pour ses compositions. En mai 1900, le peintre rentrant du Bruges, se laisse influencer par les conseils d'Auguste Rodin, et s'installe au milieu de l'été à Beauvais. Il affirme alors sa conception de l'intimisme par des paysages d'évocation où la figure humaine n'a pratiquement plus sa place. C'est dans cette même période, le 21 avril 1901, Le Sidaner élabore les premiers motifs du tableau présenté et débuta la composition sur toile quatre jours plus tard. L'oeuvre est un hommage à la noblesse des bâtisses, ainsi qu'à la statue du docteur Ernest Gérard, ainsi maire de Beauvais. Achevée le 23 mai 1901, cette toile est livrée par l'artiste le 2 juin à son marchand Georges Petit pour un montant de 500 francs. Les paysages de Le Sidaner sont des manifestations intimes de l'artiste, qui possèdent une luminosités étonnante grâce à ses harmonies subtiles et l'application picturale des pigments. Une incroyable maitrise qui lui permet encore aujourd'hui d'être grandement reconnu par de nombreuses collections privées et institutionnelles. "Toute son oeuvre est influencée par un goût des atmosphères tendres, douces et silencieuses". (Y. Farinaux, Le Sidaner, L'oeuvre peint et gravé, Milan, 1989, p. 31)
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
Galerie Kaléidoscope
fernand teyssier
Fernand Teyssier (Paris, 1937-1988) X-ray and breathing-sheep, circa 1966-67 Acrylic, graphite pencil, stampo and ink on canvas 98.4 x 81.5 cm Provenance: estate Fernand Teyssier Exhibition: Konstanz/FRG, 1968, Bilder, Graphik, Objekte, Der Asta-Konstanz Universität
Galerie Oscar De Vos
emile claus
Emile Claus (Sint-Eloois-Vijve 1849-1924 Astene) Return from school/Girls in the field, 1892 Oil on canvas 132 x 99 cm Signed lower left: Emile Claus Provenance: collection Mrs. G.C., Brussels; Galerie Georges Giroux, Brussels, 1929, n° 28; collection Mrs. F. Soethoudt, Brussels; auction Guillaume Campo, Antwerp, 1982, n° 25; Galerie Oscar De Vos, Sint-Martens-Latem; private collection, Belgium Literature: G. Giroux, Catalogue de la collection de Madame G.C. (Brussels: Galerie Georges Giroux, 1929), n° 28, ill. n° 12 (ill.); P. Eeckhout, Retrospectieve tentoonstelling Emile Claus 1849-1924, cat. (Gent: MSK, 1974), p. 49, n° 49; R. Bombeke, e.a., Schilders van het Leieland, cat. (Deinze: MuDeL, 1991), n° 144; P. Boyens, Sint-Martens-Latem. Kunstenaarsdorp in Vlaanderen (Tielt: Lannoo, 1992), 535 (ill.); M. Ruyters, Campo 1897-1997 (Antwerpen: Stefan Campo, 1997), p. 85, n° 11 (ill.); J. De Smet, e.a., Emile Claus en het landleven, cat. (Gent: MSL, 2009), p. 145, p. 93 (ill.); R. Hoozee, e.a., Lights of Flanders. Images of a beautiful Belgian village, cat. (Tokyo: The Mainichi Newspapers, 2010), p. 71, n° 36 (ill.); J. De Smet, e.a., Emile Claus and Belgian Impressionism, cat. (Kobe: The Kobe Shimbun, 2013), p. 46, n° 6 (ill.) Exhibitions: 1929, Brussels, Galerie George Giroux, n° 28; 1974, Ghent, Museum voor Schone Kunsten, Retrospective Exhibition Emile Claus 1849-1924, n° 49; 1982, Antwerp, Guillaume Campo, 1982, n° 25; 1991, Deinze, Museum van Deinze en de Leiestreek, Schilders van het Leieland, n° 144; 2009, Ghent, Museum voor Schone Kunsten, Emile Claus and Rural Life, n° 93; 2010-2011, Himeji, City Museum of Art; Tokyo, The Bunkamura Museum of Art; Miyoshi, Okuda Genso Museum, Light of Flanders. Images of a beautiful Belgian village, n° 36; 2013, Himeji, City Museum of Art; Tokyo, Station Gallery; Ishikawa, Prefectural Museum of Art; Hekinan, City Tatsukichi Fuji Museum of Contemporary Art, Emile Claus and Belgian Impressionism, n° 6; 2021, Mechelen, Heilige Geestkapel, Het Kunstuur
Thomas Deprez Fine Arts
gisbert combaz
Gisbert Combaz (Antwerp 1869-1941 Brussels) Poster project for the 75th anniversary of Belgian independence, 1905 Oil, gouache, pencil and ink on canvas 102 x 62 cm Signed and dated middle right: Gisbert Combaz 1905 Provenance: the artist's studio by his death in 1941 (?); former collection Wittamer-Descamps, Brussels; former collection Wéry, Brussels; private collection, Brussels Literature: Jane Block, Gisbert Combaz (1869-1941)-Fin de siècle Artist, Antwerp, Pandora, 1999, cf. p. 99, n° 141 & 142 Unpublished as a poster, the design was taken up by Octave Maus as a chromolithography for the frontispiece of the section 'L'Art Appliqué en Belgique' in the milestone publication: 'L'Art et La Vie en Belgique 1830-1905', Bruxelles & Paris: Librairie Nationale d'Art et d'Histoire, G. Van Oest & Cie, 1921, p. 117. The design was later also used as the cover for Th. Quoidbach, 'Le Chansonnier de la Jeunesse belge', Brussels, Schott, 1934
Artimo Fine Arts
alphons joseph strymans
Alphons Joseph Strymans (Belgium, 1866-1959) Le Vin, 1901 White Carrara marble H 130 cm Signed and dated: A. Jef. Strymans 1901 Provenance: 2001, Artimo Fine Arts Gallery; 2004, private collection, Belgium; 2021, Artimo Fine Arts Gallery Literature: Bénézit E. (1999), Dictionnaire des peintres, sculpteurs et graveurs (J. Buysse, Ed.) (nouvelle édition entièrement refondue). Gründ. p. 322; Engelen, C., & Marx, M. (2006). La Sculpture en Belgique à partir de 1830 (Tome VI), Louvain: Engelen-Marx. pp. 3328-3331; Joseph, Prof. Dr. D. (1897). Die Elfenbeinplastik auf des Brüsseler Weltausstellung von 1897. Zeitschrift für Bildende Kunst, 8, 281-288; Scherer, C. (n.d.). Monographien des Kunstgewerbes, Vol. 8, Elfenbeinplastik seit der Renaissance. pp. 122-141; Thieme, U., & Becker, F. (1999). Allgemeines Lexikon der bildenden Künstler von der Antike bis zur Gegenwart (Vol. 31/32). E.A. Seemann. p. 222 The sculptural work, masterfully executed in white Carrara marble, presents a refined figurative composition that reveals three human figures in dynamic interaction. The nuances and meticulously chiselled anatomical details attest to the exceptional talent and expertise of the sculptor Alphons Joseph Strymans. This grouping, comprised of two women and a man, all three nude, intertwine in a choreography evoking an ecstatic dance. Each figure holds a cluster of grapes, reproduced with remarkable precision, evidently symbolising the making of wine. A particularly striking note is the unconsciously dominant placement of a woman’s foot on the head the male figure serving as a point of support for the decadent trio. This composition, both graceful and intense, eloquently illustrates the effects of wine on the soul and human interactions. The silhouettes of the figures merge harmoniously with the botanical motifs of vines, thus suggesting an intrinsic union between man and nature in their mutual inebriation. This masterpiece poetically evokes the idea that man and nature share a common essence - a profound origin. Alphons Joseph Strymans Born on July 24, 1866, in Turnhout, Alphons Joseph Strymans passed away in 1959 in Antwerp. He distinguished himself as a cabinetmaker, draftsman, and above all as a sculptor. Trained at the art school of Turnhout, Strymans also benefited from the expertise of his father, a renowned cabinetmaker specialised in the creation of church furniture. This education bestowed upon him an exceptional mastery of sculpture in both wood and stone. His quest for excellence led him to pursue studies at the Antwerp Academy from 1886 to 1990, and then at the Higher Institute of Fine Arts in Brussels under the tutelage of Master Thomas Vinçotte. From 1898 to 1935, he shared his knowledge as a drawing teacher at the art school in Berchem. During this period, he also collaborated with eminent sculptors such as Frans Joris, Jules Weyns, and Josué Dupon, among others. His artistic repertoire is vast. Throughout his career, he designed various ornaments for Art Nouveau furniture as well as sculptural works in bronze, ivory, and marble. From the beginning of the twentieth century, his works found their place in Antwerp, exhibited in museums and during prestigious events. Besides his artworks, Strymans left his mark through various commemorative monuments and busts of notable personalities. Among his major accomplishments are the statues for the fishermen's house in Antwerp, busts of the music critic Guy Davenel, the poet Max Elskamp, and the mayor of Berchem, Mr. Van Oombeek. Numerous prestigious institutions preserve his works. The Museum of Central Africa in Tervueren houses the ivory "The Daughter of Eve" and other remarkable pieces. The sculpture "Despair," in bronze, can be found at the Dinant Museum, while one of his marble busts is proudly displayed at the Antwerp Museum
Zebregs&Röell Fine Art and Antiques
Jan van Mekeren (Tiel 1658-1733 Amsterdam) 't Blommenkabinet Dutch floral marquetry cabinet-on-stand Amsterdam, late 17th century H 206 x W 171 x D 61 cm The present and V&A cabinet were both possibly ordered by Jens Wijbergen, a Dutch merchant living in Copenhagen. According to the van Mekeren archives, an order was placed by Wijbergen in 1700, probably for two cabinets, because the price was comparable to other orders for a pair of van Mekeren cabinets. The previous owner of the present cabinet, living in Austria, is a descendant of a patrician family from Riga. Some members of the Danish Wijbergen family are known to have moved to Riga in the early eighteenth century. The cabinet and all its oak bases have been retained in their original state. The whole cabinet is covered with a floral marquetry veneer of various kinds of wood, including walnut, holly, laburnum, boxwood, satiné rubané, amaranth, tulipwood, barberry, elm, sycamore, olive wood, padouk and kingwood. A modest rectangular cornice over a frieze inlaid with marquetry of various flowers over two doors with marquetry depicting urns on a plinth issuing bouquets of tulips, bluebells, cornflowers, marigolds, irises, peonies, daffodils, crown imperials, roses, lilies, anemones, chrysanthemums and carnations; several different species of butterflies and moths, including Arctia caja, swallowtails, garden white, meadow brown, and a brimstone butterfly, at least three different bird species, including turtle dove, thrush, and warbler, and a garden snail, Cepaea hortencis. Jan van Mekeren, born in Tiel 1658, moved to Amsterdam in 1687, where he was recorded as ‘kabinetmaker’ or ‘kistenmaker’. Before moving to Amsterdam, he had been in London in 1682, where he had asked to be admitted to the Dutch Reformed Church. He apparently wanted to stay for some time in London, presumably to learn the art of furniture marquetry under Gerrit Jensen. In 1687, he was back and mentioned as a guildsman, a member of the St. Josef guild in Amsterdam. He was successful as a cabinetmaker because, in 1693, he bought a house in the expensive Kalverstraat and extended his business into the wood trade as well. Since the headquarters of the VOC was in Amsterdam, the city was the foremost European market for exotic woods in the seventeenth century. Despite a 1624 regulation stipulating that members of the Amsterdam cabinetmaker’s guild offer their wares for sale in the guild’s shop, furniture makers in seventeenth and eighteenth century Holland hardly ever marked their work. However, thanks to the inventory after Jan’s death, there is a good list of his workpieces with thorough descriptions, prices, and the names of his clientele. The estate included many finished and unfinished pieces of furniture, an extensive collection of cabinet woods, and, most interesting, a long list of claims with names of the debtors and the amounts due. Most debtors were well-known Amsterdam patricians; only a few were from outside Amsterdam, including Jens Wijbergen from Copenhagen, who still owed Jan van Mekeren fl. 33,13. Because of a very close resemblance, this cabinet possibly is the pendant of the Van Mekeren cabinet now in the Victoria & Albert Museum (W.5:1 to 14-1986). There are minor differences in the flower decorations on the doors and sides of the cabinet. Still, a pair of Van Mekeren cabinets in Amerongen Castle, ordered as a pair, look less like each other than the present cabinet and its possible pendant in the V&A. Only six other floral Van Mekeren cabinets are known: one in the Rijksmuseum Amsterdam (inv. R.B.K. 1964-12), one in the Metropolitan Museum New York (1995, 371a, b), one in the Victoria and Albert Museum, one in Charlecote Park, Warwickshire, and a pair in Amerongen Castle, the Netherlands.
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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
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Francis Janssens van der Maelen
henry van de velde
Henry van de Velde (Belgium, Antwerp 1863-1957, Oberägeri, Switzerland) Art Nouveau flat desk (detail), circa 1898 Sycamore wood, double-sided, the top is covered with black leather in its centre 129.50 x 73 cm Certificate of authenticity from Professor Klaus-Jürgen Sembach This desk is a variation of a games table that was in the collection of Villa Esche Provenance: private collection, France Literature: Catalogue of the exhibition L'Art Nouveau en Belgique, Brussels, Palais des Beaux-Arts, 19 December 1980-15 February 1981, p. 266 n° 143; Wolf D. Percher, Henry van de Velde - Das Gesamtwerk, Edition Factum, p. 94, ref 1318, p. 151, ref. 3406, p. 229, ref. 1317. This desk will be presented in a book about Henry van de Velde written by Bea Maybach from the Bauhaus-Museum in Weimar in Germany Exhibition: L'Art Nouveau en Belgique, Brussels, Palais des Beaux-Arts, 19 December 1980-15 February 1981
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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.
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.
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
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)
Galerie Christophe Gaillard
hélène delprat
Hélène Delprat (Amiens, 1957) Turritopsis nutricula, 2010 Pigments, silver pigment, acrylic and glitter on canvas 200 x 160 cm Signed Provenance: the artist's studio; Galerie Christophe Gaillard Literature: Hélène Delprat, Les Travaux et les Jours, Éditions Dilecta/Galerie Christophe Gaillard, 2017, p. 247 Exhibition: Hélène Delprat, I Did it My Way, La Maison Rouge, Paris, France, 2017
Galerie Taménaga
kees van dongen
Kees van Dongen (Delftshaven 1877-1968 Monaco) Place de la Concorde, 1920 Oil on canvas 81 x 100 cm Signed lower right: van Dongen Provenance: A. Rueff; Galerie Urban, Paris; Galerie Paul Pétridès, Paris; private collection Literature: Louis Chaumeil, Van Dongen Geneva, 1967, n° 160; Jean Melas Kyriazi, Van Dongen après le Fauvime, Lausanne, 1976, p. 105, ill. in colour p. 143; New York, Galerie Taménaga, Kees Van Dongen, mai 1990, n° 9; Tokyo, Panasonic Shiodome Museum of Art, Kees Van Dongen: From Fauvism to Les Années folles, 2022, n° 37 ill. in colour p. 70 Exhibitions: Munich, Ausstellung der Secession, n.d.; Venice, XVII Esposizione Internazionale d’Arte della Citta di Venezia, 1930, n° 18; Paris, Musée National d’Art Moderne, Van Dongen, 1967, n° 106; Rotterdam, Museum Boymans-van Beuningen, Van Dongen, 1967-1968, n° 106; Paris, Grand Palais, Salon d’Automne, Van Dongen, 1972, n° 35; Geneva, Musée de l’Athénée, Van Dongen, 1976, n° 20; New York, Galerie Taménaga, Kees Van Dongen, mai 1990, n° 9; Tokyo, Panasonic Shiodome Museum of Art, Kees Van Dongen: From Fauvism to Les Années folles, 2022, n° 37
Galerie von Vertes
pierre soulages
Pierre Soulages (Rodez, 1919-2022) Peinture 81 x 102 cm, 9 février 1987 Oil on canvas 81 x 102 cm Signed, dated and titled on verso Provenance: Galerie de France, Paris; Pierre Benveniste, Pierrefonds (acquired from the above in 1987); Sotheby's, Paris, 6 December 2022, Lot 4; private collection, Switzerland Literature: Pierre Encrevé, Soulages. L'Oeuvre Complet. Peintures, vol. III: 1979-1997, Paris 1995, p. 158, n° 933 (ill. in colour)
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
Artimo Fine Arts
enrico astorri
Enrico Astorri (Italy, 1859-1921) Saltimbanca, circa 1900 White Carrara marble H 122.5 cm (sculpture), total height with original column in Serpentine marble: 212 cm Signed Astorri E. co./Milano This exquisite marble sculpture showcases a young saltimbanca, or female street acrobat, and her monkey, poised atop an intricately wrought drum as they await their next performance. Her countenance radiates a playful innocence and every strand of her hair, carved with striking realism, cascades in a canopy of luxurious curls to frame her face. The girl's relaxed posture on the drum stands as a testament to the artist's mastery of the sculptors art and his attention to nuance in the playful inclusion of a cheeky monkey to accentuate the child's youthfulness and inherent sense of humour. The artist’s unparalleled artistry and expertise is evident in the drum's surface which boasts remarkable attention to detail. From the finely carved cords and the meticulously crafted escutcheons to the texture of the drumhead, particularly the stitching on an old tear, the precision of his work is exquisite. The texture of the girl's clothing and the intricate details of her physique are accentuated by a delicate play of light and shadow, bearing witness to the artist's deep anatomical understanding. The elegantly outstretched leg, lightly suspended in the drum strap, endows the figure with a dynamic, flowing quality which contrasts harmoniously with the tranquillity of her facial expression. The artist leads his audience on a contemplative journey of discovery full of the delight of uncovering subtle details such as the four classic card symbols. Astorri adds his characteristic touch of realism to this majestic piece through the skilfully crafted base. Representing a humble wooden crate resting on a finely sculpted yet rustic net, Astorri adds yet another layer of depth to this masterpiece. ASTORRI or ASTONI, ENRICO was an esteemed Italian sculptor. Born in San Lazzaro Alberoni on 10 March 1859, he passed away in Milan on 15 October 1921. Having initially studied in Parma before moving to Genoa, he ultimately honed his craft in Milan, where he took up residence at an impressively young age. His notable works include the monument to 'Vittorio Emanuele II' in Parma (1879), exhibitions in Turin (1884) featuring the marble statues 'La sérénade' and 'Attraction', and other significant contributions in Milan, Venice, and Bologna throughout the 1880s. His engagements extended to London exhibitions, and his prolificacy was evident in the latter part of the century, with extensive travels and commendations in Uruguay, Argentina, Russia, and beyond. His oeuvre can be found in public collections in Piacenza and Trieste.
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)
