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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.
Sylvia Kovacek – Vienna
Goblet-shaped lidded cup Gilded, cold-painted, diamond-point glass decoration Tyrol, 1570-1591 H 31.5 cm (with lid) Provenance: private collection, United Kingdom Literature: Erich Egg, Die Glashütten zu Hall und Innsbruck im 16. Jahrhundert, Innsbruck 1962, plate XIV, fig. 27-comparable lidded goblet from Ambras Castle at KHM (Museum of Art History) Vienna; Anna Elisabeth Theuerkauff-Liederwald, Venezianisches Glas der Veste Coburg. Sammlung Herzog Alfreds von Sachsen Coburg, Coburg 1994, pp. 240-243-comparable goblet, and p. 271, fig. 256 -comparable shape, decorated in diamond-point, without painting; Brigitte Klesse, Hans Mayr, Veredelte Gläser aus Renaissance und Barock, Ernesto Wolf Collection, Vienna 1990, p. 28, fig. 33, n° 35 in catalogue-comparable, very similar object in blue glass; The Mühleib Collection of European Glass, sale Bonhams, 2 May 2013, London 2013, pp. 20 and 21-similar lidded goblet (without lion's head baluster); Strasser/ Spiegl, Dekoriertes Glas, Munich 1989, pp. 163 and 164-similar lidded goblets; Strasser/Baumgärtner, Light and Colour. Licht und Farbe. Die Sammlung Rudolf von Strasser, KHM, Vienna 2002, fig. n° 8 and fig. n° 9
De Brock
ethan cook
Ethan Cook (USA, Texas 1983) Memory, Speak, 2024 Hand woven cotton canvas 157.5 x 228.6 cm Provenance: the artist's studio, Brooklyn, NY, USA; De Brock, Knokke, Belgium Literature: Ethan Cook, published by De Brock (2024) Exhibitions: Ethan Cook: Soup to Nuts, 12-15 September 2024, Lempertz, Brussels, Belgium; BRAFA Art Fair, 26 January-2 February 2025, Brussels Expo, Brussels, Belgium
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Herwig Simons Fine Arts
Armor box 'Daimyo Hitsu' Japan, Edo period (1603-1868), 18th century Black lacquered wood 'ro-iru-nori' with a decoration of Man type 'Kuyō' H 64.5 x W 145 x D 64 cm Quadrangular shape decorated with the coat arms of the Hosokawa clan, in gold and green polychrome and coral scrolls of peony flowers. The brass fittings are incised with scroll decorations and two brass side handles Provenance: Ariane Dandois gallery, Paris (purchased in the 1990's) Note: History of the Hosokawa clan, YouTube Related works: a lacquer box with the coat of arms of the Hosokawa clan is presented in the Metropolitan Museum (ref.2015.500.2.28). A Jinbaori with the coat of arms of the Hosokawa clan is presented in the Eisei Bunko Museum (Japan)
Cortesi Gallery
Agostino Bonalumi (Vimercate 1935-2013 Monza) Rosso, 1965-1971 Shaped canvas and vinyl tempera H 100 x W 80 x D 3.5 cm Signed and dated on the reverse: 'Bonalumi / 71'; size on the stretcher '80 x 100' Certificate of Authenticity Archivio Agostino Bonalumi, Milano, n° 71-014, technical report by Archivio Agostino Bonalumi Provenance: private collection, Milano Literature: M. Meneguzzo, F. Bonalumi (curators) Agostino Bonalumi, Catalogo ragionato, Milano, Skira, 2015, vol. II, p. 446, n° 492 Exhibitions: 2008, Agostino Bonalumi, Loggiato di San Bartolomeo, Palermo, (ill. 7); 2021, Agostiono Bonalumi. Ricucire la tela, curated by Marco Meneguzzo, Cortesi Gallery, Milano
Edouard Simoens Gallery
Antoni Tàpies (Barcelona, 1923-2012) Cap de gos, 1967 Acrylic, gouache and chalk on firm paper 48 x 63 cm Signed lower right: tàpies This work is registered in the Archives of the Comissio Tàpies under n° 1797 Provenance: Galerie Maeght, Paris; Galeria Dau al Set, Barcelona; Erker-Galerie, St. Gallen; private collection, Switzerland
Galerie Oscar De Vos
frits van den berghe
Frits Van den Berghe (Ghent, 1883-1939) The poor, 1925 Oil on canvas 177 x 115 cm Signed lower right 'FVBerghe' Provenance: collection Paul-Gustave Van Hecke, Brussels; collection Walter Schwarzenberg, Brussels; collection Victor Sevranck, Brussels; collection Maurice & Yvonne Naessens, Meise (Brussels) Literature: P. Boyens, Sint-Martens-Latem. Kunstenaars dorp in Vlaanderen (Tielt: Lannoo, 1992), p. 443, p. 525, n° 160 (ill.); Boyens, P., G. Marquenie & W. Van den Bussche, Retrospectieve Frits Van den Berghe, exh. cat. (Ostend: PMMK, 1999), p. 104, n° 64 (ill.); Boyens, P., Frits Van den Berghe. Oeuvre catalogue (Ghent: SDZ, 1999), p. 203, n° 385 (ill.); Boyens, P., Een zeldzame weelde. Kunst van Latem en Leiestreek 1900-1930, exh. cat. (Ghent/Amsterdam: Ludion, 2001), p. 191, n° 229 (ill.); Carpentier-Lebeer, G., P. Baert-Jaspers, J. D'Haese e.a., Maurits ter ere van het Vlaams expressionisme (Antwerp: Bank van Parijs en de Nederlanden/Mercatorfonds, 1983), n° 143 (ill.); De Jonge, C.H., K.G. Boon, J.V.C. Hefting e.a., Vlaamse kunstenaars van de Leie 1890-1940, exh. cat. (Utrecht: Centraal Museum, 1947), p. 28, cat. n° 10 (ill.); Denninger-Schreuder, C., Vlaamse expressionisten, exh. cat. (Kortenhoef: 1993), p. 20, p. 23 (ill.); De Ridder, A., Les expositions à Bruxelles. Le Salon des IX, in: Sélection VI, n° 1 (Brussels: 1926), p. 40 (ill.); De Ridder, A., L'Evolution de Frits Van den Berghe, in: Sélection, cahier 12 (Brussels: 1931), p. 74 (ill.); De Ridder, A., In memoriam Frits Van den Berghe, de kunstenaar (Ghent: Vooruit, 15.10.1939); De Ridder, A., Frits Van den Berghe, exh. cat. (Brussels: Palais des Beaux-Arts, 1962), cat. n° 33 (ill.); Exh. cat. Brussels (1960), n° 7, pl. 39 (ill.); Fierens, P. & J. Cassou, Laethem-Saint-Martin, colonie d'artistes en Flandre 1890-1940, exh. cat. (Paris: Musée National d'Art Moderne, 1948), n° 52 (ill.); Fierens, P. & N. Margue, Laethem-Saint-Martin, colonie d'artistes en Flandre, exh. cat. (Luxembourg: Musées de l'Etat, 1948), n° 52 (ill.); Hoozee, R., M. Tahon-Vanroose & S. Bown-Taevenier, Frits Van den Berghe (Ghent: Gemeentekrediet/Stad Gent, 1983), p. 115, p. 408, n° 69 (ill.); Hoozee, R., W. Van den Bussche, P. Boyens e.a., Expressions Flamandes 1900-1930, exh. cat. (Villeneuve d'Ascq: Musée d'Art Moderne, 1988), p. 99, p. 123 (ill.); Hoozee, R., P. Boyens & W. Van den Bussche, Pioniers van het Vlaams Expressionisme, exh. cat. (Groningen: Groninger Museum, 2004), p. 81 (ill.); Hoozee, R., M. Miyazawa, Light of Flandres. Images of a beautiful Belgian Village, exh. cat. (Japan: Himeji City Museum of Art, Bunkamura Museum of Art & Okuda Genso Sayume Art Museum, 2010), p. 131, p. 147, n° 87 (ill.); Langui, E., Frits Van den Berghe (Ghent: Vooruit, 1933) 12 (ill.); Langui, E., Frits Van den Berghe 1883-1939. Beschrijvende catalogus van zijn geschilderd oeuvre (Brussels: Laconti, 1966), n° 195 (ill.); Langui, E., Frits Van den Berghe 1883-1939 (Antwerp: Mercatorfonds, 1968), p. 81, p. 307, n° 195 (ill.); Langui, E., Het expressionisme in België (Brussels: 1970), p. 105, 62 (ill.); Langui, E. Espressionisti fiamminghi - Da Ensor a Permeke, exh. cat. (Rome: Galleria Nazionale d'Arte Moderna, 1977), n° 79; Pauwels, P.J.H., Als een fonkelenden spiegel (Sint-Martens-Latem: Galerie Oscar De Vos, 2019), p. 256 (ill.); Schimmel, P. & H. van Leuven, Flemish expressions, representional painting in the twentieth century (Tielt/Newport: Lannoo/Newport Art Museum, 1986), p. 169, n° 113 (ill.); Sosset, L.-L., Un peintre insolite, Frits Van den Berghe, in: Les Beaux-Arts (Brussels: 4 May 1962), p. 5; Schoonbaert, L.M.A. & K. Peereboom, Flemish Expressionism, exh. cat. (Tampa & Antlanta: The Tampa Museum & High Museum of Art, 1980), n° 64 (ill.); Vanbeselaere, W., De Vlaamse Schilderkunst van 1850 tot 1950. Van Leys tot Permeke (Brussels: 1959), p. 259, p. 262, n° 87 (ill.); Van Cauteren, K. e.a., OER. De wortels van Vlaanderen, exh. cat. (Antwerp: The Phoebus Foundation, 2017), pp. 244-245 (ill.); Van Cauteren, K. e.a., Coming home. Flemish art 1880-1930 (Antwerp: The Phoebus Foundation, 2017), pp. 348-349 (ill.); Van Hecke, P.-G. (1947), pl. 50 (ill.) Exhibitions: Brussels 1925, n° 123; Antwerp 1926, n° 17; Brussels 1927, n° 18; Antwerp 1940, n° 61; Brussels 1946, n° 153; Utrecht & The Hague 1947, n° 10; Luxembourg 1948, n° 52; Paris 1948, n° 52; Charleroi 1958, n° 11; Antwerp 1959, n° 37; Brussels 1960, n° 7, pl. 39; Brussels 1962, n° 33; Rome 1977, n° 79; Tampa & Atlanta 1980, n° 64; Antwerp 1983, n° 143 (ill.); Ghent 1983, n° 69; Newport Beach 1986-1987, n° 113; Fort Lauderdale 1987, n° 113; Sint-Martens-Latem 1987 (ill.); Villeneuve d'Ascq 1988, p. 99; Kortenhoef 1993, p. 23; Ghent/Deurle/Deinze, 2001, n° 229; Groningen 2004, n° 1; Japan 2010, n° 85; Ghent 2017, p. 244 ‘The Poor’ (1925) is the expressionist masterpiece by renowned Belgian artist Frits Van den Berghe to be presented. This painting, from the prestigious collections of Paul-Gustave Van Hecke, Walter Schwarzenberg, Victor Sevranckx, and Maurice & Yvonne Naessens, is a powerful social pamphlet and one of Van den Berghe's most important works. ‘The Poor’ features a telling double scene, centring on the stark contrast between wealth and poverty. Outside in the snow, a skinny wanderer wanders, while inside a beneficent woman wallows in abundance, illustrated by the image of her breastfeeding a piglet. The colours in the painting - the chilly blue versus the warm red-pink - reinforce the emotional charge of this contrast. Van den Berghe's work from 1922-1925 reflects his fascination with Flemish rural life, imbued with irony and social commentary. In Afsnee, where he worked with artists such as Gustave De Smet and Constant Permeke, he painted ‘The Poor’ in 1925, a work that expresses deep human sympathy with the harsh reality of the Flemish countryside. The painting is characterised by its narrative power and shows Van den Berghe's keen observation of social inequality. The tramp in the snow, accompanied by his faithful dog, symbolises the hopelessness of poverty, while the woman in her warm, rosy surroundings symbolises opulence and waste. Van den Berghe thus offers a philosophical reflection on the human condition, in which wealth and poverty exist side by side. Frits Van den Berghe (1883-1939) was a prominent Belgian artist and a key figure within Flemish expressionism. His work is characterised by strong colours, dramatic contrasts and emotionally charged scenes that often reflect the hard existence of man in the Flemish countryside. Van den Berghe began his career as a symbolist, but found his true voice in expressionism, in which he depicted themes such as loneliness, poverty and alienation. His masterpieces, such as ‘The Poor’ (1925), show his deep compassion for ordinary people and his sharp social criticism.
Galerie von Vertes
yayoi kusama
Yayoi Kusama (Matsumoto, 1929) Untitled, 1966 Mixed media H 21.5 x W 33 x D 28 cm On the bottom signed and dated 'KUSAMA 1966' Certificate of authenticity from the Yayoi Kusama Studio on 21 March 2017 Provenance: Gallery HAM, Nagoya; private collection, US (acquired from the above)
Lemaire
Tournai porcelain ornithological teapot from the Duc d'Orléans service, circa 1787 This teapot forms part of a service made for Philippe Duc d'Orléans in 1787. The ornithological designs were taken from the comte de Buffon's Histoire Naturelle des Oiseaux, published in ten volumes between 1770 and 1786. The painting of the panels for the service is attributed to Jean-Ghislain-Joseph Mayer Soft paste porcelain H 14.3 cm The shape is a Tournai interpretation of the Calabre teapots from Sèvres and was created especially for the service of the Duc d'Orléans. Birds reproduced on the teapot: Coraya de Cayenne (Buffon vol. IV, pp 484-485) and Hirondelle d’Amérique (Buffon vol. VI, pp. 669-670)
Galerie Berès
maurice denis
Maurice Denis (Granville 1870-1943 Paris) Les Fées, circa 1891 Oil on cardboard 23 x 30.3 cm Signed lower left 'MAVD'; titled upper right 'LES FEES' Provenance: Arthur Huc Literature: Le Talisman de Serusier, une prophétie de la couleur, Musée Pont-Aven, 30 June 2018-6 January 2019, p. 98, n° 42 Exhibitions: Au temps des Nabis, Paris, Huguette Berès, 29 May-20 July 1990, n° 46; Maurice Denis, Paris, Huguette Berès, 4 June-22 July 1992, n° 14; Le Talisman de Serusier, une prophétie de la couleur, Musée Pont-Aven, 30 June 2018-6 January 2019, p. 98, n° 42 1891 was a pivotal year in the life of the young French painter Maurice Denis. Painted in 1891, Les fées dates from the key moment when Denis's art was becoming more synthetic. He belonged to the young Nabis group, which was mainly concerned with decorative paintings. This scene, which is the 2nd version of the subject, is considered to be one of the most faithful to the spirit of Pont-Aven. The emerald of the meadow, the black of the forest edge, their counterpoint of ochres and yellows of the path, the black of four silhouettes, are they not echoes of Gauguin saying: ‘of colour alone as the language of the listening eye...’? In this painting, executed in Brittany, Maurice Denis illustrates the tradition according to which ‘The Fairies’ made wishes when a child was born. The scene, set on the edge of the forest, their domain par excellence, shows, on the right, the young mother dressed in red and the nannies dressed in black and white presenting a small child to a group of four fairies dressed in black; two of them are wearing white headdresses. By using pure colours in large flat areas, Maurice Denis put into practice the theories he had made his own, ... the watchword, the common principle is to exalt colour and simplify form. Arthur HUC, a French politician and journalist, was director of La Dépêche du Midi and organised the famous Nabis exhibition in Toulouse in 1894. In 1892, Maurice Denis produced the only advertising poster he ever did for his newspaper.
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Galerie Nicolas Bourriaud
Céline Lepage (Warsaw 1882-1928 Paris) Femme de Marrakech, circa 1920 Bronze with double shaded brown-green and medal patina H 80.5 x W 22 x D 22 cm Weight 12.7 kg Signed 'Céline Lepage' Sand casting probably made by the Rudier foundry. Publisher's stamp 'La Stèle', the artist's stamp with number 6 Literature: Paul Camille Lepage, 'Les conceptions artistiques de Céline Lepage', L’Art et les artistes, March 1933, model repr. p. 185
COLNAGHI
willem adriaensz key
Willem Adriaensz Key (Breda 1515/16-1568 Antwerp) The Crucifixion, circa 1550 Oil on panel 102 x 74 cm Signed on the cross: W. KAY Provenance: private collection, Belgium, until 2023; acquired from the above Literature: Koenraad Jonckheere, Willem Key (1516-1568): Portrait of a Humanist Painter, Turnhout, 2011 This signed panel is a recently rediscovered work by Willem Key. Key is most known for his portrait paintings, which account for roughly two-thirds of his known output. However, he was also a gifted painter of historical and religious subjects - this picture is a testament to Key’s powerful religious achievements, several of which were destroyed during the Iconoclastic Fury, or Beeldenstorm, that swept the Low Countries and famously struck Antwerp in 1566. Willem Key was a prominent sixteenth-century painter from Antwerp, then one of the greatest commercial and artistic centres of Europe. Recognised for his exceptional talents, Key enjoyed high social and artistic status, earning the admiration of both local nobility and international figures, including Don Fernando Álvarez de Toledo, Duke of Alba, and Antoine Perrenot, Cardinal Granvelle.
Gilden's Art Gallery
marc chagall
Marc Chagall (Vitebsk 1887-1985 Saint-Paul de Vence) Peintre, Ange et Amoureux, 1980 Tempera on masonite 40.6 x 34.9 cm Signed lower right corner 'Marc Chagall' Inscribed, signed and dated verso 'Tempera/Marc Chagall/1980' The work is accompanied by a certificate of authenticity from the Chagall Committee from 31 March 1992 issued by Jean-Louis Prat Provenance: Sotheby's New York, Sale 7132, 14 May 1998, lot 366; Collection of Bridget & Jerome Dobson, Atlanta, Georgia, USA
Van Herck-Eykelberg
Georges Vantongerloo (Antwerp 1886-1965 Paris) Study for Variant 'Curves', 1939 Gouache on paper 17.6 x 17.8 cm Titled, located, dated, and signed on verso 'Paris 1939' Provenance: Max Bill Estate; Max Bill-Georges Vantongerloo Foundation Annely Juda Fine Art, London; private collection, New York; Galerie Harold t'Kint de Roodenbeke, Brussels; private collection, Belgium Literature: Jan Ceuleers, Georges Vantongerloo, Ronny Van de Velde - Pandora, Antwerp, 1996, p. 200; Naum Gabo, Georges Vantongerloo, Friedrich Vordemberge-Gildewart, exh. cat., Annely Juda Fine Art, London, cat. 57 (ill.); Angela Thomas Schmid, Georges Vantongerloo: A Retrospective, exh. cat., Annely Juda Fine Art, London, cat. 59 (ill.) Georges Vantongerloo (1886-1965) was one of the founding members of De Stijl in 1918 along with Theo Van Doesburg and Piet Mondrian, among others. The Antwerp-based artist created sculptures as well as paintings and gouaches and is considered one of the pioneers of abstract art. He was a member of the 'Cercle et Carré' group and founded the Abstraction-Création group in Paris in 1931 to promote abstract art. At first, his abstract works still followed the straight line and angle but from 1937, curves and circles entered Vantongerloo's work. With the curved line, his work becomes more lyrical and playful. Rational volumes and proportions are replaced by lines that reflect an expression of energy.
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Mearini Fine Art
Venetian Master (Michele Linder from Hamburg?) Crucifix, circa 1490 Alder wood H 115 x W 92 x D 16 cm Recto and verso hollowed out and juxtaposed to recompose the figure Expertise Prof.ssa Serenella Castri Provenance: private collection, Italy Exhibition: 'Sculptura' Capolavori Italiani dal XIII al XX secolo, Modena 2023 This is an absolute masterpiece in the corpus of wooden Crucifixes of the late fifteenth century in Venice. This is a sculpture of exceptional technical skill. The ‘construction’ technique is unique: the figure of the Christ has been obtained from two alder wood valves hollowed out and then fitted together more then perfectly. Even more emblematic is the dramatic introspection of its carving, whose executive value is comparable to that of ivories, and, above all we can date it to circa 1490, the apex of the Venetian Renaissance. In Venice, the reference model for the production of wooden crucifixes was the famous monumental Crucifix (ca.1468/75) of the basilica of Santa Maria Gloriosa dei Frari, from which a varied series of examples derived until the first decades of the sixteenth century. The expressive suggestion of ‘German’ models certainly contributed to the very original characteristic of these sculptures, especially thanks to the presence in Venice of skilled carvers from Northen Europe. The attribution to Michele Linder from Hamburg, resident in the district of Santi Marcuola and Fortunato, has been strongly corroborated. Linder was one of the most estemeed wood carvers in Venice and the most famous sculptor of ivory crucifixes.
Thomas Deprez Fine Arts
pieter braecke
Pieter Jan Braecke (Nieuwpoort 1858-1938 Nossegem) L'Humanité, before 1906 Marble H 220 cm Unique piece Signed on the base 'P. Braecke' Provenance: created for the grand hall of the Hôtel Aubecq (1903) by Victor Horta (1861-1947); private collection Octave Aubecq, Brussels (industrialist and founder of Le Cresuet); by descent into the family; sold following the demolition of the Hôtel Aubecq in 1949; possibly bought with part of the furniture by Louis Wittamer-De Camps, Brussels (?); circa 1979, in the collection of Mme Vanderperre, Antoing; private collection, New Jersey; private estate, Queens, New York Literature: Braecke's masterpiece ‘L'Humanité’ has been widely published and discussed, both at the time in the press, as well as in more recent art historical and architecture related publications up to the present day. A full literature and press list are available on request Exhibitions: Salon triennal de Gand, 1906 (cf. version in plaster); Pour L'Art, XVe exposition annuel, Brussels, 1908 (cf. cat. p. 11, plaster); Exposition universelle de Gand, 1913 (cf. cat. p. 66, n° 574, Hall 20, plaster) Related works: A plaster cast of a first version of the sculpture was given by the artist to his hometown of Nieuwpoort, Belgium in 1925, and has now been confirmed as having been destroyed during the Second World War. A single plaster version of the sculpture in its final conception survives today, and was gifted by the artist's widow, Elodea Roméo-Braecke, from the artist's studio to the city of Nieuwpoort, after the Second World War. It is currently held at the city's district court. Related documents: The present sculpture can be identified on several photographs taken at the Hôtel Aubecq during its painstaking demolition in 1949. The building's façade was saved by the Belgian government and awaits its reconstruction, while the original furniture was dispersed and is currently held in private collections as well as important institutions such as the Musée d'Orsay and the Musée Horta.
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 BG Arts
jean dunand
Jean Dunand (Switzerland, Lancy 1877-1942 Paris, France) Screen 'Swans and Water Lilies', circa 1932 Four-panel screen with black, ivory and gold lacquer H 180 x W 304 cm Provenance: collection M. B.-Paris; private collection, Paris; Galerie BG Arts, Paris Literature: Félix Marcilhac, Jean Dunand, Vie et Œuvre, Les Éditions de l’Amateur, Paris, 1991, p. 215 (ref. 121) Exhibition: Galerie Georges Petit, Paris, December 1932 Certificat d'Amélie Marcilhac