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Dr. Nöth kunsthandel + galerie
albert marquet
Albert Marquet (Bordeaux 1875-1947 Paris) Le Jardin à l'Estaque, 1918 Oil on board 32.8 x 41 cm Signed lower left: Marquet, titled and signed on the reverse: Jardin à l'Estaque d'Albert Marquet This work is accompanied by an original attestation of inclusion from the Wildenstein Plattner Institute, and it will be included in the forthcoming Albert Marquet Digital catalogue raisonné. WPI Reference n° 21.10.14/20934, 20 January 2022 Provenance: Galerie Druet, Paris; René Keller, Director of Galerie Druet, Paris; private collection, France, gift from the above; Galerie Couleur du Temps, Paris, circa 1944; Sale: Me Etienne Ader, Me Antoine Ader, Me Jean-Louis Picard, Me Jacques Tajan, Palais Galliera, Paris, Tableaux Modernes, Aquarelles et Dessins modernes, November 26, 1976, n° 104; private collection, Paris; Galerie Boulakia, Paris, acquired from the above, 1988; Galerie de la Présidence, Paris; private collection, Woodside, California, acquired from the above, 1989; thence by descent to the present owner, Carmel, California Exhibition: Galerie Couleur du Temps, Paris, Marquet et quelques maîtres contemporains [Exposition inaugurale], March 21-April 15, 1944, n° 6 (as Jardin de l'Estaque)
Galerie Van den Bruinhorst
Gerrit Thomas Rietveld (Utrecht, 1888-1964) Metz & Co sideboard ‘r54', 1936 Executed in The Netherlands, circa 1941 White laquered beech wood and plywood, metal and wire glass H 93 x W 200 x D 51.5 cm Provenance: Mr and Mrs Montagne-Van Lommel, Rotterdam 1941; Mrs. H.H. Van Domisse-Van Lommel, 1947 the Hague; Mrs. Foss-Montagne 1991; Sotheby’s Amsterdam 1995; private collection, Amsterdam Exhibition: Bas van Pelt, The Netherlands, The Hague, 1960 Commissioned by the avant-garde department store Metz & Co in Amsterdam, the Dutch architect Gerrit Rietveld designed a small sideboard in 1932 consisting of wire glass sliding doors on a chromed steel base that could be combined with a separate drawer unit. With this design as a starting point he created sideboard r54 in 1936 which is a combination of the small sideboard and the drawer unit in one piece. The first owners bought this sideboard in 1941.
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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
Pauline's Jewellery Box
Edwardian fancy yellow cushion cut diamond ring Ring set with a fancy yellow cushion cut diamond weighing 7.80 carats. Clarity is VS2. Surrounded by bright and lively white diamonds and mounted in platinum. Accompanied by a GIA certificate Provenance: private collection, London
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
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Galerie Mathivet
carlo bugatti (1856-1940)
Carlo Bugatti (Milan 1856-1940 Molsheim) Side table, circa 1902 Parchment stool with polychrome decoration of dragonflies, enhanced with gilding and stamped copper with rectangular top. Lateral X-shaped base with a large circular lower part in copper and stamped brass H 39 x W 44 x D 44 cm Signed with the stamp: Marca depositata Bugatti Carlo Provenance: French collection Literature: Fabbrica italiana mobili artistici-A. De Vecchi e C. (gia C. Bugatti & C.), trade catalogue, Milan, circa 1902-1905, repr. under n° 699 (n.p.); M-M Massé, Carlo Bugatti au Musée d'Orsay-Catalogue sommaire illustré du fonds d'archives et des collections, Musée d'Orsay & RMN, Paris, 2001, repr. pp. 72 and 99
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Guy Pieters Gallery
christo and jeanne-claude .
Christo (Gabrovo 1935-2020 New York) and Jeanne-Claude (Casablanca 1935-2009 New York) The Floating Piers (Project for Lake Iseo, Italy), 2014 Pencil, wax crayon, enamel paint, photographs by Wolfgang Volz, technical data and fabric sample 66 x 43 cm Provenance: private collection Linda and Guy Pieters Certificate of authenticity n°308-11 recorded in the archives of the Estate of Christo V. Javacheff
Kunsthaus Kende
Josef Hoffmann (Czech Republic, Brtnice 1870-1956 Vienna, Austria) For the Wiener Werkstätte Decorative basket in 'Cloverleaf' pattern, Vienna, 1910 900 grade silver basket H 12.1 x W 18.7 x D 12.5 cm The design drawing for the object is in the inventory of the MAK, Vienna under the number KI 12031-26. According to the calculation book of the Wiener Werkstätte, seven examples of this basket were made in 1910 Provenance: American private collection
Francis Janssens van der Maelen
henry van de velde
Henry van de Velde (Belgium, Antwerp 1863-1957 Oberägeri, Switzerland) Art Nouveau flat desk, 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 This small lady’s desk or flat desk, designed by Henry van de Velde, is an emblematic piece of furniture from the Art Nouveau movement, conceived around 1898 and distinguished by its elegant, slightly organic aesthetic. Made from sycamore, a precious wood, it is adorned with delicate details such as the four reinforcements between the legs, which give the illusion of shortening and rebalancing the whole while appearing to support the drawer. The top is recessed by around one centimeter while the underside is bevelled, giving it an air of lightness. It lays on a belt within which is embedded on the front end a drawer whose upper line shape is slightly curved on the outer edges. On either side, a sculpture in the shape of the number two emphasises the bevelled sides and begins the square legs. Roughly square at the start, the legs are emphasised on the outside by a rib that melts as it descends, while their base becomes round. The same drawer keyways can be found in various works by van de Velde. This lady’s desk by Henry van de Velde is considered a functional and aesthetic piece of furniture. Its timeless lines are highly prized by art and design lovers. It is similar to the games table in the catalogue of the Société Henry van de Velde, 53 rue Gray, Brussels, pp. 279 and 322.
Galerie Bernard De Leye
Head of Saint Janvier known as San Gennaro Naples, (Italy), 18th century Silver gilt H 15 x W 11.8 cm - Weight: 696 gr. Saint Janvier is the patron saint of the city of Naples. The head is made from a thick sheet of silver that is entirely hammered, embossed and chased. The pathos of the face expresses the mystical vision typical of Italian Baroque taste. The rendering of the face is highly expressive. This head is executed in the purest tradition of the reliquary busts found in Naples at the beginning of the eighteenth century in the treasury of the cathedral of San Gennaro (Treasure of Saint Janvier). Comparative pieces in The Treasure of Naples, The Jewels of San Gennaro, Gallimard, Musée Maillol, 2014
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 La Patinoire Royale Bach
michel mouffe
Michel Mouffe (Brussels, 1957) Tous les matins du monde, 2015 Mixed technique on canvas (9x) H 70 x W 43 cm, in total: H 70 x W 495 cm Provenance: the artist's studio Literature: Alphabet, 2017, Conversation Joel Benzakin and Michel Mouffe; Tous les matins du monde, exhibition catalogue, Galerie La Patinoire Royale Bach Exhibition: Michel Mouffe: Tous les matins du monde, Galerie La Patinoire Royale Bach, 2023
Galerie Alexis Pentcheff
albert marquet
Albert Marquet (Bordeaux 1875-1947 Paris) L'Estaque, 1918 Oil on canvas 46 x 65.5 cm Signed lower right Certificate of inclusion in the digital catalogue raisonné being prepared by the Wildenstein Plattner Institute dated 2 February 2018 Provenance: sale Champain-Lombrail, Enghien-les-Bains, November 1979; private collection, Switzerland; Galerie Pentcheff, Marseille, 2015; private collection
Tobogan Antiques
charles de marnyhac (1840-1897)
Charles de Marnyhac (France, 1840-1897) 'African Venus', circa 1878 Two patina bronze figure H 168 x W 54 cm Life-size, representing a young African woman taming a snake, dressed with a feathered loincloth and a long drape in her hair, and wearing African jewels Literature: Great Exhibitions 1851-1900, Jonathan Meyer, Antique Collector’s Club, 2006, p. 241; L’Art et L’Industrie de tous les peuples à l’Exposition Universelle de 1878, Librairie Illustrée, Paris Similar model mounted as a floor lamp exhibited by Charles de Marnyhac at the World's Fair in Paris in 1878
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
Galerie Cento Anni
Philippe Wolfers (Brussels, 1858-1929) Eternelle idylle, circa 1911 Sketch in patinated bronze on a burgundy marble base H 30 cm Signed Philippe Wolfers with monogram Lost wax, Foundry Ateliers Wolfers Provenance: private collection, Belgium Literature: La Dynastie Wolfers, Ed. Pandora, p. 394 Exhibitions: Brussels 1911, n° 3; Milan 1926, n° 42; Brussels 1928, n° 31, Antwerp 1929, n° 30; Brussels 1972, n° 69
Secher Fine Art & Design
karel appel
Karel Appel (Amsterdam 1921-2006 Zurich) The Cobra bird, 1950 Patinated bronze sculpture H 42 x W 51 x D 34 cm Signed and dated: K. Appel 1950 H. C. Edition of 6 plus 2 HC which this is one of the two Provenance: collection Karel van Stuijvenberg, Caracas, Venezuela Literature: Karel Appel, The Complete Sculptures 1936-1990, p. 242; Exhibition catalogue, El movimiento Cobra en la colección Karel van Stuijvenberg, Museo de Arte Contemporáneo de Caracas, Venezuela, 1984, cat. n° 23 ill. pp. 44-45; Exhibition catalogue, Cobra Liège 93, Coll. Karel P. van Stuijvenberg, Musée d'Art Moderne, Liège, Belgique, 1993, ill. p. 67 Exhibitions: Cobra en la colección Karel van Stuijvenberg, 1984, Museo de Arte Contemporáneo de Caracas, Venezuela; Cobra, 9 avril-31 mai 1993, Musée d'Art Moderne, Liège, Belgique
Artimo Fine Arts
jean de bay
Jean Baptiste Joseph De Bay (Nantes 1802-1862 Paris) Le Génie de la Marine, 1832 White Carrara marble, finely carved H 101 x W 48 x D 85 cm Signature engraved on the boat's anchor: JEAN DEBAY Executed in Rome in 1832 Provenance: 1832, Rome; 1832 (June, Paris, Exposition at Petits-Augustins; 1833, Paris, Exposition at Salon de Paris; 1833, Mr. Hoppe Collection, Amsterdam; 1833-2010, private collection Literature: S. Lami (1916). Dictionnaire des sculpteurs de l'école française au dix-neuvième siècle, Paris, Librairie Ancienne Honoré Champion Edouard Champion, tome 2, pp. 126-132; A. Lenormand (1981), La Tradition classique et l’Esprit romantique. Les Sculpteurs de l’Académie de France à Rome de 1824 à 1840, Rome, Edizioni dell'Elefante, 1981 Exhibitions: 1832, Rome; 1832 (June), Paris, Exposition at the Petits-Augustins; 1833, Paris, Exposition at the Salon de Paris This masterful work entitled 'Le Génie de la Marine' is the work of the talented French sculptor Jean Baptiste Joseph De Bay. An emblem of marine allegory, the sculpture depicts a daring Cupid, bravely sailing against the currents on a delicate shell-shaped craft. In a posture of determination, Cupid steers his boat with an oar while seated on a folded sail, which envelops an ink at his feet. This representation of the Cupid's determination to follow his own course and speed without wishing to stop may allude to the persistence of love against all odds. Designed in Rome in 1832, this exquisite marble sculpture was later exhibited, albeit unfinished, at the Petits-Augustins in Paris. It was finally presented in all its splendour at the Paris Salon the following year, where it attracted the attention of the famous Amsterdam banker, Monsieur Hoppe. Jean Baptiste Joseph De Bay, better known as Jean De Bay, was born in Nantes on 31 August 1802. The son of a renowned sculptor and a pupil of Baron Bosio, De Bay quickly established himself as an emblematic figure of nineteenth-century French sculpture. After training at the École des Beaux-Arts in 1820, where he won numerous awards including the prestigious Prix de Rome, the sculptor succeeded in establishing himself in the art of bas relief and ronde bosse. Equally at ease working in marble and bronze, Jean De Bay contributed to numerous national projects, notably for the Louvre Palace and the Hôtel de Ville in Paris. Several of his works are also preserved at the Musée de Versailles. Many of his works can be found in various French museums, testifying to his artistic genius. This great sculptor died a few years later at his home in Paris on 7 January 1862.
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Repetto Gallery
Christo (Gabrovo 1935-2020 New York) The Pont Neuf, Wrapped (Project for Paris), 1980 Quai du Louvre, Quai de la Megissérie, Île de la Cité, Quai de Conti, Quai des Grands Augustins Graphite, charcoal, wax crayon, oil pastel, fabric and thread, aerial photograph and architectural drawings on card collage, in artist's plexiglass box frame with tape 83.8 x 71 cm