This section will be available this Autumn.
Samuel Vanhoegaerden Gallery
tom wesselmann
Tom Wesselmann (Cincinnati 1931-2004 New York) Study for great American nude #90, 1966 Liquitex on paper 46.4 x 55.2 cm Signed and dated Provenance: Sidney Janis Gallery, New York; David Janis Gallery, New York; Maxwell Davidson Gallery, New York Literature: Tom Wesselmann: a Pop Art Legend, Samuel Vanhoegaerden Gallery, Knokke, 2023, ill.
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
Galerie Van den Bruinhorst
William Hendrik Gispen (Amsterdam 1890-1981 The Hague) Saturnuslamp, Giso n° 2055, 1931 Executed by N.V. Gispen, Culemborg The Netherlands, 1945-1957 Matte brass nickel-plated pendant with an opal glass sphere and two frosted glass discs with bright edges H 105 x Ø 60 cm William Hendrik Gispen was a Dutch designer and manufacturer of modernist furniture and lighting. He was an important representative of the functionalist movement, promoting and selling modern interior designs at the beginning of the 20th century through his salesrooms in Amsterdam, Rotterdam, Brussels, Paris, London and Nottingham. This design was introduced in his lighting-catalogue 29 as n° 66 in 1931. It changed to no. 2055 in 1936, and later on the pendant was called ‘Saturnuslamp’ which means ‘Saturn-lamp’. The possibility to move around the world at high speed in cars, planes, trains but also rockets and space traveling were an inspiration for designers creating futuristic designs at the beginning of the 20th century. W.H. Gispen designed a lamp with two glass disks around an opal glass sphere that looks like the planet Saturn. Lighting by W.H. Gispen is part of the permanent collections of The Rijksmuseum Amsterdam, Museum Boijmans van Beuningen Rotterdam, Stedelijk Museum Amsterdam, V&A Museum London, The MOMA in New York and the MFAH in Houston USA.
Galeries AB & BA
henri michaux
Henri Michaux (Namur 1899-1984 Paris) Composition, 1950 Gouache on canvas 48 x 62.5 cm Signed lower right This work is registered in the Michaux Archives by Franck Leibovici under n° hm4112 and will be included in the forthcoming catalogue raisonné currently in preparation Provenance: collection of M. Chatelus, Paris; collection of M. René Schneider; private collection, Paris Literature: Wieland Schmied, Hanovre (1972), p. 71; Wieland Schmied, Michaux (1973), p. 79; Marseille (1993), p. 124; Franck Leibovici, Henri Michaux, (2014), p. 31 Exhibitions: Retrospective, Musée Kestner-Gesellschaft, Hanover, 1972; Henri Michaux, peintures, Fondation Maeght, Saint-Paul-de-Vence, 3 April -10 June 1976; Galerie Baudoin Lebon, Paris, 1985; Henri Michaux, selected works 1927-1984, Musée Cantini, Marseille, 1993; Henri Michaux, selected works 1927-1984, Julio Gonzalez Art Center (i.v.a.m), Valencia, 1993; Henri Michaux, selected works 1927-1984, Musée Rath, Geneva, 1994; Henri Michaux, Whitechapel Gallery, London, 1999; Untitled passages by Henri Michaux, Drawing Center Art Center, New York, 2000
Röbbig München
johann joachim kaendler (1706-1775)
Johann Joachim Kaendler (Germany, 1706-1775) A pair of swans Porcelain models circa 1748, Meissen manufacture and decoration, circa 1750-1755 H 27.5 x W 23 cm and H 26.5 x W 22 cm Cobalt blue crossed swords mark Provenance: private collection With their majestic figure, swans were still considered royal animals in the eighteenth century and were modelled several times in the Meissen manufactory as table decorations, especially in connection with table fountains. They are also mentioned in the 1753 confectionery inventory of Count von Brühl, the Prime Minister of Saxony. In their timeless elegance, they may be seen as a design by the famous Meissen modeller Johann Joachim Kaendler, which he produced in porcelain together with his assistant Peter Reinicke around 1750. The minimalistic decoration of the reeds in a turquoise-green on-glaze colour suggests an early artistic style.
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Van Herck-Eykelberg
alexander calder
Alexander Calder (Lawnton 1898-1976 New York) La Grande Cravate, 1969 Gouache on paper 109 x 23 cm Signed and dated Registered at the Calder Foundation under the archive n° A24180 Literature: Alexander Calder, Château de Tours, 2008, exhibition catalogue, ill. p. 181 Exhibition: Alexander Calder, Château de Tours, 6 June-19 October 2008
VKD Jewels
Angela Cummings (Austrian-American, 1944) Mother-of-pearl and 18k yellow gold necklace Composed of oval-shaped gold links inlaid with mother-of-pearl USA, circa 1980 Signed Angela Cummings Provenance: private collection Literature: Juliet Weir-de La Rochefoucauld, Women Jewellery Designers, pp. 134-139
Galerie von Vertes
sam francis
Sam Francis (San Mateo 1923-1994 Santa Monica) Untitled (SF52-015), 1952 Gouache and oil on paper 60.9 x 49.2 cm Signed twice, dated and inscribed on verso 'Sam Francis SF PARIS 1952' Sam Francis Online Catalogue Raisonné of the Works on Paper, n° SFF5.134 Provenance: Gimpel Fils, London (1957); Margo Leavin Gallery, Los Angeles; private collection, California (acquired from the above); Minami Gallery, Tokyo (October 1977); Idemitsu Museum, Tokyo (accession n° 3449, June 1978); Sotheby's, New York, 15 November 2018, lot 212; private collection, London Literature: Kodansha, Contemporary Great Masters: Sam Francis. Tokyo: Kodansha 1994, p. 89 (ill. in colour pl. 63) Exhibitions: Pavillon des Arts, Paris, L’oeuvre de Sam Francis dans les collections du Musée Idemitsu, 18 September-16 November 1986, n° 6 (ill. in colour), weitergereist nach: Louisiana Museum of Modern Art, Humlebaek, Denmark, 29 November 1986-18 January 1987; Yayoi Gallery, Ogawa Art Foundation, Tokyo, 5 October–5 December 1987; Museum of Modern Art, Toyama, Japan, Sam Francis: From the Idemitsu Collection, 10 August-16 September 2002, n° 10 (ill. in colour p. 35), travelled to: Kawamura Memorial Museum of Art, Chiba, Japan, 28 September-10 November 2002; Museum of Art Ehime, Ehime, Japan,16 November-23 December 2002; Museum of Contemporary Art, Tokyo, 5 April-25 May, 2003; Iwaki City Art Museum, Fukushima, Japan, 3 June-6 July 2003; Oita City Art Museum, Oita, Japan, 13 September-26 October 2003
VKD Jewels
gold, diamond, ruby and sapphire earclips
Van Cleef & Arpels Pair of 18k gold earclips, each set with three small flower elements of diamonds, rubies and sapphires France, circa 1960 Signed VCA USA, Made in France, 750, French assay marks for gold and numbered 18695 Provenance: private collection
Franck Anelli Fine Art
jacob van hulsdonck
Jacob Van Hulsdonck (Antwerp, 1582-1647) Still life with peaches and grapes Oil on panel 64 x 50 cm Provenance: collection Grasset Exhibitions: Brueghel to Canaletto, European Masterpieces from the Grasset Collection at the San Diego Museum of Art, San Diego. 2 April-2 August 2016; A Feast for the Eyes: European Masterpieces from the Grasset Collection at the Museum of Fine Arts, St Petersburg, Florida, 23 March-2 September 2019
Chambre professionnelle belge de la Librairie Ancienne et Moderne (CLAM)
Pieter Bruegel the Elder (Brussels, 1525-1569) Invidia, Envy, one of the seven vices, circa 1558 Engraving by Pieter van der Heyden (1530-1572) Published by Hiëronymus Cock (Antwerp, 1518-1570) 29.7 x 22.6 cm References: New Hollstein Dutch 26 1(2), first state Lex Antiqua, Antiquarian Bookseller
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 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)
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
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.
Willow Gallery
Marc Chagall (Vitebsk 1887-1985 Saint-Paul de Vence) Flûtiste jaune et bouc dans l’arbre en fleurs, circa 1960-1964 Gouache, pastel, oil pastel and Indian Ink on paper 51 x 34 cm - framed: 70 x 53 cm Stamped with artist’s signature This painting is accompanied by a certificate of authenticity from the Comité Marc Chagall Provenance: estate of the artist; thence by descent
Zebregs&Röell Fine Art and Antiques
Indo-Portuguese colonial mother-of-pearl veneered casket with silver mounts India, Gujarat, 2nd half of the 16th century, the silver mounts Goa or probably Lisbon H 16 x W 24.6 x D 16.1 cm An exceptional Gujarati casket with a rectangular box and truncated pyramidal lid (with slopes on each side and a flat top) made from exotic wood, probably teak (Tectona grandis), covered with a mother-of-pearl mosaic. The tesserae, cut from the shell of the green turban sea snail (Turbo marmoratus, a marine gastropod) in the shape of fish scales, are pinned to the wooden structure with silver ball-headed nails. The casket is set on bracket feet on the corners. The masterfully engraved decoration of the silver mounts follows the most refined and erudite Mannerist repertoire of rinceaux and ferroneries dating from the mid-sixteenth century. The high quality and refinement of the silver mounts and, likewise, the silver nails that replaced the original brass pins used to hold the mother-of-pearl tesserae in place indicate the work of a silversmith probably working in Lisbon in the second half of the sixteenth century. The Indian origin of this production, namely from Cambay (Khambhat) and Surat in the present state of Gujarat in north India, has been consensual and fully demonstrated for the last three decades, not only by documentary and literary evidence - such as descriptions, travelogues and contemporary archival documentation - but also by the survival in situ of sixteenth-century wooden structures covered in mother-of-pearl tesserae. A fine example is a canopy decorating the tomb (dargah) of the Sufi saint, Sheik Salim Chisti (1478-1572) in Fatehpur Sikri in Agra district in the state of Uttar Pradesh, north India. This is an artistic production, geometric in character and Islamic in nature, where usually the mother-of-pearl tesserae form complex designs of fish scales or, similar to the dishes also made using the same technique with thin brass sheets and pins, stylised lotus flowers. The truncated pyramidal shape corresponds, like their contemporary tortoiseshell counterparts also made in Gujarat, to a piece of furniture used in the Indian subcontinent within the Islamic world prior to the arrival of the first Portuguese. This shape is very old and specific to East-Asian caskets, chests or boxes used to contain and protect Buddhist texts, the sutras. A similar chest is the famous and large reliquary chest from Lisbon Cathedral that once contained the relics of the city's patron saint, Saint Vincent. Both match in shape, having the same kind of pedestal and bracket feet, and in their engraved silver mountings, featuring the same type of refined, erudite decoration. Their differences lie in the silver borders that frame the entire length of the edges of the chest (both the box and the lid), pinned with silver nails, and on the lock plate, shaped like a coat of arms in the Lisbon example. Given the exceptional dimensions of the reliquary casket from Lisbon Cathedral (48 x 65 x 42 cm), the goldsmith responsible for its mounting opted to place two bracket-shaped side handles instead of a top handle, as in our casket. Another similar example, probably mounted in the same Lisbon workshop as the other examples from this small group, belongs to the Seville Cathedral and still needs to be discovered. It shares many features in common with the one in the Lisbon cathedral, namely the use of engraved silver borders running along the edges, protecting the casket. An aspect that distinguished it from the others is the use of tesserae cut from Turbo marmoratus, which show a higher iridescence but also cut from the shell of the pearl oyster, probably Pinctada radiata or Pinctada maxima, given the whitish hue of the base colour. Nevertheless, the type of square-like lock plate is similar to our casket. Another example, slightly larger but with fewer silver mounts, is in the collection of the Kunstkammer Wien in the Kunsthistorischen Museums in Vienna (inv.no. GS Kap 5) and belonged to the Habsburger Family. The same type of large silver ball-headed nails seems to be characteristic of this small, rare and important group, of which the present example is the second known example in private hands, given that the others have been in their current place since the time they entered their collections in the late sixteenth century or the first years of the seventeenth century.