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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
Valerio Turchi
Diana Venatrix Roman, 2nd century AD Marble H 103 x W 45 x D 26 cm Accompanied by Art Loss Register certificate: S00217922 Provenance: the former collection of an art dealer, USA; Sotheby’s New York, Antiquities and Islamic Art, 1-2 March 1984, lot.73; then former collection of the explorer and adventurer J. Stephen Fosset (1944-2007); acquired in London, 21 October 1986
Boon Gallery
Jean Dubuffet (Le Havre 1901-1985 Paris) Zône Habitée, 1980 Acrylic on canvas 100 x 81 cm Monogram lower right Literature: M. Loreau, Catalogue des travaux de Jean Dubuffet: Sites aux figurines, partitions, Fascicule XXXIII, Paris, 1982, p. 98, n° 238, ill. Exhibition: Waddington Galleries, Jean Dubuffet, London, 1981
Romigioli Antichità
Michele Tosini, known as Michele di Ridolfo del Ghirlandaio (1503-1577) Portrait of Leonora Alvarez de Toledo as Judith, circa 1572-1576 Oil on panel 118 x 87 cm Study by Professor Antonio Geremicca Provenance: noble Florentine collection Wife of Pietro de Medici (1554-1604), son of Grand Duke Cosimo I (1519-1574), the girl in question was Eleonora Alvarez de Toledo (1555-1576), known as Leonora or Dionora, daughter of Garcia (1514-1577), Marquis of Villafranca, and niece of the more famous Eleonora di Toledo (1522-1562) Duchess of Florence
Van Herck-Eykelberg
leon spilliaert
Léon Spilliaert (Ostend 1881-1946 Brussels) Le rêve. Femmes dansantes et oiseaux, 1916 Pencil and chinese ink on paper 25 x 25 cm Signed and dated lower right This work will be included in the forthcoming catalogue raisonné being prepared by Dr. Anne Adriaens-Pannier
Philippe Heim
Kathleen Petyarre (Australia, circa 1930-2018) Devil Lizard Dreaming, 2010 Acrylic on canvas 137 x 137 cm Created and exhibited: Abbaye de Daoulas 'Grand Nord-Grand Sud. Artistes Inuits et Aborigènes', 2010; Chemins du patrimoine en Finistère in co-production with the Musée des Confluences - Département du Rhône Collections: The Metropolitan Museum, New York; Musée du Quai Branly, Paris; Musée des Confluences, Lyon; Art Gallery of South Australia, Adelaïde; National Gallery of Australia, Canberra; National Gallery of Victoria, Melbourne
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)
Giammarco Cappuzzo Fine Art
Ottavio Vannini (Florence, 1585-1644) Susanna and the Elders, circa 1615-1620 Oil on canvas 135 x 170 cm Provenance: private collection, Italy Literature: G. Papi, A New 'Susanna' by Ottavio Vannini, Paragone, 805 (3rd series, 132), 2017, pp. 30-33, col. pl. 34 Ottavio Vannini was born in Florence in 1585, as recorded in the city’s Baptismal Registers. According to the two scholars Dr. Gianni Papi and Dr. Filippo Gheri, this painting represents an important addition to Vannini’s catalogue, due to its brilliant pictorial quality and its embodiment of the painter's interests and ideas. The current work serves as a milestone for understanding Vannini’s Roman period, showcasing the impact that classicist artistic culture had on him after the second decade of the seventeenth century
Gallery de Potter d’Indoye
Pair of Empire period candelabras Attributed to Claude Galle (France, 1759-1815) Gilt and patinated bronze H 81 x W 31 x D 21 cm These candelabras from the Empire period, in the shape of winged figures of Victory carrying candlesticks in the hands and on the head, probably derive from the famous drawing in an album by Percier and Fontaine at the Metropolitan New York Museum of Art. The bronze stems take the form of women, who stand on tall plinths. These plinths are covered with a light brown patina and are decorated with gilt winged female figures, carrying baskets of fruit on their heads. Each woman strokes the heads of two dogs, who stand on their hind legs and lean against her. The sides and backs of the plinths are ornamented with gilt scrolled foliate motifs, topped by palmettes. The plinths are each set on four ormolu paw feet, placed on shaped, square gilt bronze bases. Above, patinated winged bronze women serve as the stems for the candelabra. They adopt monumental poses, reminiscent of ancient Egyptian or archaic sculpture. The winged women wear sheer dresses, which cling to their bodies. Each winged woman holds two gilt bronze lights in her outstretched hands and supports four more on her head. Those held in the women’s hands are conical shaped and are decorated around their tops with palmettes. The lights carried on their heads are raised up on slim stems and are crescent shaped in their arrangement. Three of the lights have cornucopia-shaped arms, which extend from open-mouthed dogs’ heads, and finish in urn-form palm leaf capitals. Stylised, curling leaves decorate the space above the dogs’ heads. On each, a cylindrical central light directly tops the stem, ending in a simple leafy capital. Claude Galle One of the foremost bronziers and fondeur-ciseleurs of the late Louis XVI and Empire periods, Claude Galle was born in Villepreux near Versailles. He served his apprenticeship in Paris under the fondeur Pierre Foy, and in 1784 married Foy’s daughter. In 1786 he became a maitre-fondeur. After the death of his father-in-law in 1788, Galle took over his workshop, soon turning it into one the finest. Galle moved to Quai de la Monnaie (later Quai de l’Unité), and then in 1805 to 60 Rue Vivienne. The Garde-Meuble de la Couronne, under the direction of sculptor Jean Hauré from 1786-88, entrusted him with many commissions. Galle collaborated with many excellent artisans, including Pierre-Philippe Thomire, and produced the majority of the furnishing bronzes for the Château de Fontainebleau during the Empire. He received many other Imperial commissions, including light fittings, figural clock cases, and vases for the palaces of Saint-Cloud, the Trianons, the Tuileries, Compiègne, and Rambouillet. He supplied several Italian palaces, such as Monte Cavallo, Rome and Stupinigi near Turin. In spite of his success, and due in part to his generous and lavish lifestyle, as well as to the failure of certain of his clients (such as the Prince Joseph Bonaparte) to pay what they owed, Galle often found himself in financial difficulty. Galle’s business was continued after his death by his son, Gérard-Jean Galle (1788-1846). Nowadays, his work can be found in the world’s most important museums and collections, those mentioned above, as well as the Musée National du Château de Malmaison, the Musée Marmottan in Paris, the Museo de Reloges at Jerez de la Frontera, the Residenz in Munich, and the Victoria and Albert Museum in London.
Floris van Wanroij Fine Art
jan mertens
Jan Mertens the Elder (active in Antwerp circa 1473-1509) Saint Anne Selbdritt, circa 1490-1500 Oak, carved in high relief H 85 cm Provenance: private collection, The Netherlands; anonymous sale, Christie’s, Amsterdam, 23 March 1983, lot 228, with ill.; With Limburg Antiquairs; Brouwershaven, Zierikzee and Düsseldorf, 1983-1984; private collection, Antwerp Literature: Stuurman-Aalbers, J & Stuurman, R., Internationaal Jaarboek Kunst en Antiek Veilingopbrengsten 1982, Utrecht/Antwerp, 1983, Spectrum, p. 180, n° 8, with ill.; Tableau (Dec 1983/Jan 1984). As Nether Rhine circa 1500, with ill.; Engelen, C., Jan Mertens en de laatgotiek, Confrontatie met Jan Borreman, Essay tot inzicht en overzicht van de laatgotiek, Leuven, 1993, p. 121, with ill. (chapter VII, Sint-Anna-Ten-Drieën, pp. 119-127). Reference literature: BRAFA catalogue, 2005, p. 362
Van der Meij Fine Arts
janus la cour
Janus la Cour (Denmark, Tim Parish 1837-1909 Odder) From Bordighera, 1898 Oil on canvas 45 x 73.5 cm Signed lower right: 5.I.98 janus la Cour Provenance: estate auction Janus la Cour, Charlottenborg Copenhagen, December 1909, lot 119; private collection, Copenhagen Literature: Rikard Magnussen, Landskabsmaleren Janus la Cour. 1837-1909 (Copenhagen, 1928), n° 780
Francis Maere Fine Arts
conrad willems
Conrad Willems (Belgium, 1983) Construction VII, 2022 977 Verde Levanto building blocks Black paper and white paint H 229 x W 148.5 x D 335 cm (sculpture) 3 x (110 x 75 cm) (drawings) The work consists of 977 Verde Levanto building blocks and three framed hand-drawn construction drawings. The blocks have been cut and sanded into 11 different basic shapes, based on wooden toy blocks. These are built into a construction, based on the construction drawings on black paper. The blocks are not affixed in any way, but placed on top of each other in a specific building order.
Galerie Dina Vierny
Serge Poliakoff (Moscow 1900-1969 Paris) Composition abstraite, 1956 Oil on burlap 81 x 130 cm Signed lower left 'Serge Poliakoff' Provenance: Dr. Franz Meyer collection, Zürich; sale Perrin-Royère-Lajeunesse, Versailles, 10 December 1989, lot 113; private collection, Switzerland; sale Christie's, London, 29 June 2000, lot 343; private collection; Galerie Applicat-Prazan, Paris; private collection (acquired from the above in 2003); Galerie Dina Vierny, Paris Literature: J. Grenier, 'Poliakoff', in L'Oeil, March 1958, n° 39, ill. p. 31; G. Bernier, Modern Art Yesterday and Tomorrow, 1960, ill. p. 121; La Gazette de l'Hôtel Drouot, 30 September 1994, ill. p. XXIII; La Gazette de l'Hôtel Drouot, n° 41, 24 November 1994, ill. p. 291; A. Poliakoff, Serge Poliakoff: Catalogue raisonné, vol. II, 1955-1958, 2010, n° 56-38, ill. p. 128 Exhibitions: Paris, Galerie Bing, Serge Poliakoff, 1956; Künzelsau, Museum Würth, Serge Poliakoff, 1997-1998; Wien, Kunstlerhaus, Serge Poliakoff, 1998
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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
Galerie Hadjer
alexander calder
Alexander Calder (Lawnton 1898-1976 New York) Autumn Leaves, 1971 Aubusson tapestry woven by the Pinton workshop, France Wool and silk Original cartoon from 1971 170 x 240 cm Edition of six + two artist proofs - AP Provenance: Pinton workshop; private collection, France Exhibition: Victoria and Albert Museum, Collection, London
Florian Kolhammer
Seating ensemble (pair of chairs and table) Moritz Herrgesell (Vienna, 1853-1952) School of Koloman Moser, Vienna, circa 1902 Lacquered beech Table H 77 x W 50.5 cm Chairs H 96 x W 55 x D 55 cm Provenance: private collection Vienna, Austria Literature: Hochschule für angewandte Kunst in Wien (ed.), Koloman Moser 1868–1918, exh. cat., Vienna 1979, p. 203; Leopold Museum (ed.), Koloman Moser 1868-1918, exh. cat., Prestel 2007, pp. 204-205, 206; Hochschule für angewandte Kunst (ed.), Koloman Moser. Graphik Kunstgewerbe Malerei, Salzburg and Vienna 1984, p. 163, 241; Christian Witt-Dörring (ed.), Koloman Moser. Designing Modern Vienna 1897–1907, Prestel Verlag, München, London, New York 2013, pp. 138, 144, 159, 185, 193 Moritz Herrgesell studied architecture at the Vienna School of Arts and Crafts from 1901 to 1905. His famous teacher was none other than Josef Hoffmann. Herrgesell benefited above all from the fact that the ties between the Vienna Secession, artisans and the School of Arts and Crafts were particularly close at this time and that there was frequent creative exchange between individual classes and their teachers. This special situation also brought Moritz Herrgesell into contact with other renowned artists during his studies. The most influential role model here was the famous Viennese universal artist Koloman Moser. Hoffmann attested to Herrgesell's 'great talent and taste' and recommended him 'as completely capable and skillful in all these tasks'. Moritz Herrgesell's particular style can already be seen in his early design from 1903. The influence of his teachers is initially omnipresent and clearly noticeable. In the years that followed, however, his personal interpretation of furniture design became tangible. Herrgesell also regularly took part quite successfully in exhibitions and competitions. After completing his studies, he worked in his parents' carpentry business and showed his designs with great success at national and international exhibitions and competitions. The seating group shown here can be regarded as one of Moritz Herrgesell's first completely independent works from his early creative period. The influences of his mentor Koloman Moser are clearly evident, but it is the fine details that clearly set Herrgesell's design apart. This ensemble from the heyday of Viennese furniture art around 1900 is a rare museum piece from the circle of the most important artists of the time.
Galerie Marc Maison
pierre-ferdinand duvinage
Pierre-Ferdinand Duvinage (France, 1823-1876) Guéridon with a marquetry top resting on three sacred ibises, circa 1874-1876 Gilt bronze, silver, copper, ivory, wood marquetry of various species (top); gilt wooden base with polychromy H 83 x Ø 77 cm Provenance: former Roberto Polo collection Literature: Marc Maison et Emmanuelle Arnauld, Marqueteries virtuoses au XIXe siècle. Brevets d’invention, Éditions Faton, 2012; Daniëlle Kisluk-Grosheide, Maison Giroux and its 'Oriental' Marquetry Technique. The Journal of the Furniture History Society, vol. XXXV, 1999; Roberto Polo. The Eye, Frances Lincoln Publisher Ltd., 2011; Bill Pallot, Marqueteries en cloisonné de la veuve Duvinage, dans L’Estampille-L’Objet d’art, September 2007 The top of this splendid pedestal table was crafted using a technique patented by Duvinage on May 6th, 1874, described as "a type of mosaic with metal cloisons for furniture and art objects." The ivory plaques covering the surface are separated by a network of gilt metal resembling branches, whilst the central motif is a delicate marquetry of multicoloured wood. To enhance the luxuriousness of the piece, some of the leaves are made of silver. This extraordinary marquetry work is combined with three majestic sacred ibises, birds characteristic of the Nile region in Antiquity, revered by the Egyptians as divine symbols.
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
Hoffmans Antiques
Chandelier in 'Retour d'Égypte' style Attributed to Benjamin Ladouèpe-Dufougerias (France, 1766-1821) and Manufacture de Cristaux de Montcenis For twelve candles. Patinated and ormolu bronze and crystal rockchains Paris, circa 1806 H 130 cm The centre of the chandelier is an amphora-shaped patinated vase, topped with a flame finial and finishing in a pinecone detail. Surrounding the vase, twelve curved and candle arms ornamented with leaves extend in tiers from four Egyptian masks. The chandelier is supported by four chains linked to an imposing crown adorned with lion mascarons and volute decorations embellished with floral motifs. A reference for this chandelier can be found in the collections at Versailles, located in Marie-Antoinette's inner cabinet at the Petit Trianon.
HELENE BAILLY Paris-Genève
henri martin
Henri Martin (Toulouse 1860-1943 Labastide-du-Vert) La Pergola de la cuisine à Marquayrol, un matin d'automne, circa 1920 Oil on canvas 67 x 99 cm Signed lower left 'Henri Martin' This work will be included in the forthcoming Catalogue Raisonné which is being prepared by Madame Marie-Anne Destrebecq-Martin. Notice of inclusion dated 26 March 2024
Galerie Sophie Scheidecker
Anton Henning (Berlin, 1964) Blumenstilleben n° 253 (AH 2004-196), 2004 Oil on canvas 220 x 189 cm Anton Henning, born in Berlin in 1964, is a contemporary German artist whose work includes painting, sculpture, photography and installations. A self-taught artist, he trained largely through direct observation of ancient and modern art during his travels in the United States and Europe in the 1980s. Henning is distinguished by a bold approach that fuses a variety of styles and influences, from the old masters to modern movements. He appropriated classic artistic genres such as still life, portraiture and landscape. His style is recognisable for its complex compositions, bright colours and taste for geometric and organic motifs. An important figure in contemporary European art, Anton Henning has exhibited in renowned galleries and museums in Europe, notably in Germany, Switzerland and the Netherlands, and his works are included in major public and private collections. In his series of paintings Blumenstilleben (Still Life of Flowers), Anton Henning explores the traditional theme of the floral still life with a singularly modern twist. Blumenstilleben No.253 (AH 2004-196), painted in 2004, is notable for its treatment of the floral motif with a palette of vibrant colours, interwoven with geometric motifs of exaggerated proportions, visible brushstrokes and juxtapositions of textures, giving it a particularly pop, modern feel. With this series, Henning also seems to be questioning the relationship between academic painting and contemporary art. He does not hesitate to break with the solemnity of traditional still lifes by introducing elements reminiscent of modern design, abstraction and even the aesthetics of comics. Inspired by the aesthetic codes of the old masters, Henning revisits the subject of flower bouquets and floral compositions in a style that oscillates between the abstract and the figurative.
Galerie Taménaga
pierre bonnard
Pierre Bonnard (Fontenay-aux-Roses 1867-1947 Cannet) Femme nue à la lampe, circa 1900 Oil on cardboard 53 x 33 cm Stamp of the signature at the lower right 'Bonnard' Provenance: Bonnard estate; private collection Literature: Jean et Henry Dauberville, Bonnard, catalogue raisonné de l’œuvre peint, supplément 1887-1947, n° 01830 repr. p. 207 Exhibitions: Musée de Lodève, Bonnard, guetteur sensible du quotidien, 20 June-1 November 2009, n° 14, p. 103; Musée national des Beaux-Arts de Quebec, Pierre Bonnard, La couleur radieuse, 6 October 2016-15 January 2017, édition Skira, ill. p.87
