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New Hope Gallery
jean dubuffet
Jean Dubuffet (Le Havre 1901-1985 Paris) Figure. Bust. 29 March 1967 Marker with collage 30.5 x 20 cm Provenance: Collection Ernst Beyeler; Private collection, Belgium Exhibitions: Kunstmuseum Basel, 6. June 1970- 2 August 1970, Catalogue n° 188; Galerie Beyeler Basel, February-April 1968, Catalogue n° 55
VKD Jewels
Seaman Schepps (USA) Rock crystal, onyx and diamond 'buckle' bracelet, circa 2000 Comprising five carved rock crystal buckle-shaped links connected by bridge-shaped diamond set onyx links Diamond carat weight is approx. 6.00 carats total Maker's mark of Seaman Schepps and stamped 750 assay mark for 18k white gold .
COLNAGHI
wilhelm leibl
Wilhelm Leibl (Cologne 1844-1900 Würzburg) Study of a skull, circa 1868 Oil on canvas 34.4 x 31.4 cm Provenance: Johann Sperl (1840-1914), Munich; Karl Zitzmann (1871-1956); His sale, Hugo Helbing, Frankfurt am Main, November 16th, 1926, lot 12 [repr. table 5]; Galerie Heinemann, Munich, with the gallery's labels on the back, until at least May 10th, 1929; Georg Schäfer (1896-1975) Schweinfurt (with Inventory n° 0123 on the back); private collection, Southern Germany Literature: Emil Waldmann, Wilhelm Leibl. Eine Darstellung seiner Kunst, Gesamtverzeichnis seiner Gemälde, 2, Berlin, 1930, cat. n° 81 Exhibitions: Wilhelm Leibl. Gemälde, Zeichnungen, Radierungen (Akademie der Künste, Berlin, Wallraf-Richartz Museum, Cologne, and Galerie Matthiesen, Berlin, Cologne-Berlin: 1929), p. 43, cat. n° 29a; Vor hundert Jahren: Dänemark und Deutschland 1846-1900. Gegner und Nachbarn. (Statens Museum for Kunst, Copenhagen, Kunstmuseum Århus, Kunsthalle zu Kiel, Orangerie Schloss Charlottenburg, Berlin, 1981). p. 372, cat. n° 144 D
Epoque Fine Jewels
chaumet
a magnificent art deco diamond tiara by chaumet.
This tiara was made in Paris in 1909 as a wedding tiara for the daughter of Count and Countess de Heeren. Chaumet retains all the original drawings, as well as the nickel silver model created as a preliminary design for the final piece, which is preserved in the Chaumet archives. The tiara features a series of rounded Greek motifs, set with 2096 diamonds, mounted in platinum and gold, showcasing the typical ‘mille-grain’ finish. Founded in 1780, Chaumet has designed over 2,000 unique tiaras. While most tiaras from that era adhered to the Garland style or traditional 19th-century floral and scroll motifs, this particular piece is an early example of the geometric aesthetics that would come to define the Art Deco period, which reached its zenith in the 1920s. The tiara was featured in the ‘Chaumet en Majesté’ exhibition at the Grimaldi Forum in Monaco in 2019, where the nickel silver model was also displayed. The tiara is currently housed in a special Chaumet case, created for the Monaco exhibition. Total diamond weight: 28,10 carats Collection Epoque Fine Jewels, Belgium.
Galerie de la Présidence
geer van velde
Geer van Velde (Netherlands, Lisse 1898-1977 Cachan, France) Composition-L'atelier, circa 1953 Oil on canvas 100 x 100 cm Signed lower right with the initials 'GvV' Signed on the reverse 'G. van Velde' Certificate of authenticity by Pierre François Moget This work will be included in the catalogue raisonné of Geer van Velde Painted Work currently in preparation by Pierre François Moget. Provenance: private collection, France
Galerie Nicolas Bourriaud
Georges Lucien Guyot (Paris, 1885-1972) Panther sharpening its claws, circa 1925 Brown, green nuanced patina bronze H 76.5 x W 16.8 x D 67 cm Signed ‘Guyot’, bears the inscription ‘lost wax’ and ‘BRONZE’ Cast by Susse, stamped ‘Susse Frères Editeurs Paris’ and numbered 2 Provenance: private collection, Bordeaux Literature: G. Dornand, Georges-Lucien Guyot, Paris, 1963; J. Dorst, 'Georges-Lucien Guyot', Le club français de la médaille, n° 68, second quarter of 1980, pp. 12-14; J. Cottel, 'Georges-Lucien Guyot sculpteur et peintre', ABC Antiquités Beaux-Arts Curiosités, n° 224, September 1983, pp. 54-58
Romigioli Antichità
boraccine roses, gills, hibiscus, carnations and tulips in a glass vase
Juan de Arellano (Santorcaz 1614-1676 Madrid), attributed to Boraccine roses, gills, hibiscus, carnations and tulips in a glass vase Oil on canvas 78 x 63 cm Report by Professor Claudia Salvi Provenance: private collection, Florence
Klaas Muller
Frans Snijders (Antwerp, 1579-1659) Kitchen interior with two dogs, offal and a basket with fruits and vegetables, circa 1620 Oil on canvas 113 x 183 cm Signed upper left: F. SNIJDERS. Fecit Provenance: sale Campo, Antwerp, 13-15 December 1966, lot 90; sale Sotheby’s, London, 7 October 1981, lot 123, ill. p. 89; sale Sotheby’s, London, 7 July 1982, lot 233, ill.; private collection, Belgium In a kitchen, a dog (a Friesian Wetterhound) guards its booty from another dog that appears on the left. Apparently, he has pulled away from his chain and is not giving up his booty (entrails) lightly. On the right of the painting, we see an overturned basket with artichokes, asparagus, a lemon and apples. At the top left, the painting is proudly signed 'F. SNIJDERS.FECIT'. Frans Snijders had a predilection for depicting dogs and they appear frequently in his oeuvre. About seven -mostly larger works as is the case here- can be named as scenes in larders or front rooms of kitchens. The theme is usually similar: a dog defends its stolen loot against another dog (e.g. a painting on loan with a similar theme among others in the Snijders-Rockoxhuis 'Larder with dogs and a cows head'). It remains conjecture whether Snijders was pursuing a metaphor or deeper symbolism with this theme. However: each time, he shows himself to be a fantastic cinematographer and manages to render a scene just before the climax through which he builds the tension. Also typical is the dog's head on the left, which is only partially depicted (cut off from the composition it seems) which generates even more movement. The textures of the fur, meat, vegetables and fruit are fantastically rendered.
Galerie des Modernes
jean dubuffet
Jean Dubuffet (Le Havre 1901-1985 Paris) Chien errant, 1957 'Assemblage d'empreintes' series Ink and cut paper collage on paper mounted on cardboard 105 x 67 cm Signed and dated lower left 'J. Dubuffet 57' Provenance: Galerie René Drouin, Paris; collection Madame F. Montel, Paris; the Redfern Gallery, London; Waddington Galleries, London; Andrew Crispo Galleries Inc, New York; Sid Deutsch Gallery, New York; private collection, New York; private collection, Belgium Literature: Max Loreau, Catalogue des Travaux de Jean Dubuffet, Fascicule XII: Tableaux d'assemblages, Weber éditeur, Lausanne, 1969, described p. 99 and p. 130 and reproduced p. 99, n° 119; Andreas Franzke, Dubuffet Zeichnungen, Rogner & Bernhard, Munich, 1980, repr. in black and white on p. 175 Exhibition: Summer Exhibition 1972, The Redfern Gallery, London, Summer 1972
Dei Bardi Art
The Martyrdom of Saint Barbara Flemish tapestry, probably Bruges, circa 1525-1550 Wool and silk 270 x 198 cm The Flemish tapestry depicting the Martyrdom of Saint Barbara stands out as a remarkable example of 16th-century craftsmanship, distinguished by its exceptionally well-preserved color palette. The vibrant brick reds and striking bluish-green leaves create a stunning visual impact, showcasing the artistry of its creators and the outstanding state of conservation. Professor Guy Delmarcel links this tapestry to a series of textiles produced in Bruges after 1530, characterized by their fantastical nature scenes and populated by imaginative creatures. This tapestry exemplifies the rich decorative style of the time, merging naturalistic and poetic elements with exotic animals that spark the imagination. Bruges was a preeminent weaving center during this period, with numerous tapestries documented in contemporary inventories. However, very few have survived, making this piece particularly rare and valuable. Notable examples include two millefleurs tapestries featuring the arms of Paolo Giovio, found in the collections of the Victoria and Albert Museum in London and the Princes of Liechtenstein in Vaduz. The absence of the town mark on our tapestry indicates that it was woven before May 2, 1547, when the guild mandated its use, further enhancing its historical significance. The exquisite craftsmanship of Bruges tapestries, such as this one, has left a lasting impact on textile production throughout Europe, establishing high standards of artistic innovation and technical skill that subsequent generations would aspire to emulate. Particularly striking is the intricate border design, adorned with floral motifs and goldsmith-inspired elements like incense burners and small bells against a warm brick-red background. This style, often associated with heraldic imagery, can be traced back to Bruges around 1530, underscoring the tapestry's connection to the city’s rich artistic heritage. The dramatic depiction of the executioner brandishing a curved sabre serves as a powerful reminder of the historical context of the time, reflecting the Ottoman incursions into Central Europe. This detail not only situates the tapestry within a specific moment in history but also aids in dating it to the second quarter of the 16th century. In summary, this tapestry is not just a work of art; it is a rare and significant artifact from Bruges, showcasing an extraordinary preservation of color and design that captures the essence of its era.
Lemaire
Japanese porcelain statuette Representation of a Bijin ('beautiful lady') Imari decoration of cherry blossoms and gilt bronze for various elements Arita porcelain (1690-1730) and gilt bronze (18th century) H 42.5 cm The statuette was transformed in the 18th century with a removable head that moves gently on a pivot like the Buddha in Meissen porcelain. It holds a chased bronze parasol in its left hand and stands on a gilded bronze gadrooned base An identical but larger figure can be found in the collection of Charles III, AYERS (J.), Chinese and Japanese Works of Art in the Collection of Her Majesty the Queen, t. II, p. 686
Chambre professionnelle belge de la Librairie Ancienne et Moderne (CLAM)
Michel Leiris (Paris 1901-1990 Saint-Hilaire) and Francis Bacon (Dublin 1909-1992 Madrid) Miroir de la tauromachie Paris, Galerie Lelong, 1990 Folio, loose (as issued), original publisher’s wrappers and box 4 original colour lithographs by Francis Bacon, all signed in pencil by the artist Limited edition of 155 copies, all printed on vélin d'Arches Librairie Lardanchet, Antiquarian bookseller
Mearini Fine Art
Presbytery fence pillar with ribbon, interlacing relief and recesses for pluteo on the sides White marble Central Italy (Lazio or Umbria), late 8th-early 9th century H 46 x W 27 x D 16 cm Expertise by Professor Guido Tigler Provenance: private collection, Italy Comparative literature: M. Salmi, la Basilica di San Salvatore di Spoleto, Firenze 1951, p. 37, tavv. XXIIId; L. Pani Ermini, (la Diocesi di Roma: La quarta regione Ecclesiastica (Corpus della scultura alto medievale, VII, 1), Spoleto 1974. pp.91-92 cat. 40); R. Krautheimer, S. Corbett, W. Frankl, Corpus Basilicarum Christianarum Romae. The Early Christian Basilicas of Rome (IV-IX century), Città del Vaticano 1959, p. 91 fig. 86
Galerie Florence de Voldère
isaak soreau
Isaak Soreau (Frankfurt, 1604-1644) Still life Oil on panel 60 x 86 cm From a Tournai family settled in Hanau, Isaac Soreau was apprenticed to his father Daniel Soreau, whose workshop was taken over by Sébastien Stoskopff. At the age of 22, he left for Antwerp, where his encounter with Jacob van Hulsdonck and his work proved decisive. Could he have been his pupil? This remains a subject of debate for art historians.
Pauline's Jewellery Box
Belle Epoque sapphire & diamond Chaumet bow brooch, circa 1910 Set with sapphires and diamonds. Estimated total sapphire weight 10.00 carats. Estimated total diamond weight 15.00 carats. The diamonds are bright and lively, mounted in platinum and 18kt yellow gold. Stamped with French hallmarks and maker’s marks: 280-470-4320 / 89834 Provenance: France
