This section will be available this Autumn.
Galerie Raf Van Severen
paul klee
Paul Klee (Münchenbuchsee 1879-1940 Locarno) Kronen-Narr (Crown Fool), 1938 Gouache, brush and ink on newsprint laid on board 48.9 x 32.4 cm Signed bottom right ‘Klee’ Titled and dated on the paper backing, bottom centre Provenance: Hans and Erika Meyer-Bentelli, Bern until 1955; Berggruen & Cie, Paris, 1955-58; Saidenberg Gallery, Inc., New York, 1958-59; James Wise, Geneva, New York and Nice from 1959; Nahum Goldman, Jerusalem until 1983; collection of Sidney Rothberg, Philadelphia, Pennsylvania Literature: Paul Klee-Stiftung, Kunstmuseum Bern, Paul Klee: Catalogue Raisonné, Band 7, 1934-1938, Thames and Hudson, London, 1998-2004, p. 344, n° 7250 (ill.) Exhibitions: 1957, Amsterdam, Stedelijk Museum, Paul Klee; 1957, Brussels, Palais des Beaux-Arts, n° 97a
Galerie von Vertes
George Condo (New Hampshire, Concord 1957) Female composition, 2006 Oil on canvas 165.1 x 152.4 cm Verso signed and dated 'Condo 06' George Condo, Female Portrait, 2006 'Deep into that darkness peering, long I stood there, wondering, fearing, doubting, dreaming dreams no mortal ever dared to dream before'. Edgar Allan Poe Like the ‘Manichini’ or metaphysical mannequins of Giorgio de Chirico that reject a face as a symbol of status and identity, Female Composition is created as a hand puppet on a stick wearing a distinguished cloak, mocking the traditional depictions of the female portrait as seen in the works by Parmigianino, Rembrandt, and Picasso. This ironic interpretation depicts the woman as a faceless puppet with breasts, a cape, neckless and head topped with a carrot. Condo simultaneously offers a deep respect for art history and a blatant disregard for conventional narratives. In his own words: “As far as I’m concerned, the Renaissance was yesterday, and Cubism was a hundred years before it.” (George Condo quoted in Simon Baker, George Condo: Painting Reconfigured, New York 2015, p. 104). Female portrait perfectly encapsulates Condo’s concept of Artificial Realism. Exploring the carefully constructed conventions of traditional portraiture and how our reality is made up of artificial components, this majestic dystopian portrait ingeniously challenges the artificiality of visual representation.
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
Van Herck-Eykelberg
James Ensor (Ostend, 1860-1949) Rotundités (1936-1937) Oil on canvas 51 x 61 cm Signed lower right Literature: X. Tricot, James Ensor, Catalogue Raisonné of the paintings. II 1902-1941, Wienand, 1992 Anvers, n° 695; X. Tricot, James Ensor, Catalogue Raisonné of the paintings. Mercator, 2009, n° 713 Exhibitions: Brussels, Galerie Robert Finck, Exposition de peinture belge moderne, 1961; Ostend, Venetiaanse Gaanderijen, Ensors denkbeeldige paradijs, 2024
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Marc Heiremans
dino martens
Dino Martens (Venice, 1894-1970) For Aureliano Toso Murano, Italy, 1953 Oriente Rubinio (model 5242) Free-blown glass decorated with enclosed ground glass, flattened zanfirico pieces and transparent coloured glass squares H 34 x Ø 14.5 cm Provenance: acquired from an important German collection Literature: Heiremans M, Dino Martens, Muranese glass designer, Stuttgart, 1999; Heiremans M, Vetreria Aureliano Toso, Murano 1938-1968, Stuttgart, 2016 Exhibitions: XXVIa Espoizione Biennale Internazionale d'Arte, Venice 1952; Vidros de Murano em Lisboa, Lisbon 1961 The present object represents not only the Muranese fifties in full splendor by the combination of bold primary colors but is on its own also emblematic for the glass designs of the Venetian painter Dino Martens. Technically seen, it is the culmination of Martens experiments in coloring glass through ground glass. This series was presented as the 'Oriente', named after their vivid coloring - at the time a novelty on Murano - which reminded Martens of his years in East Africa. The line was firstly presented at the XXVI Biennial of Venice in 1952. Though seemingly arbitrarily, the composition - which consists of ground glass, transparent colored glass squares, flattened zanfirico canes and fragments of broken reticello vessels - was first carefully arranged on a flat surface before being heated and picked-up with a colorless blown form. Iconic because designed by a painter, alien to glass making.
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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)
rodolphe janssen
sanam khatibi
Sanam Khatibi (Belgian with Iranian heritage, 1979) A few more crimes, 2018 Oil, pastel and pencil on panel 24 x 31 cm Sanam Khatibi (b. 1979, Belgium, of Iranian heritage) is a Belgian artist whose multifaceted practice spans painting, tapestry, sculpture, and installation. Based between Brussels and Paris, Khatibi’s work explores the delicate and complex balance between beauty, violence, and vulnerability. Her practice engages with themes of human imperfection, the tension between domination and submission, and the chaotic forces that shape our lives. Through a distinctive use of color and form, she draws attention to the fragility of the human experience and the unspoken violence that often lies beneath surface appearances. In her work, Khatibi delves into the darker aspects of human nature, exploring our struggles with excess, control, and the breakdown of social and moral boundaries. These explorations are framed in landscapes that juxtapose natural beauty with underlying violence and destruction, invoking a timeless tension between civilization and primal instincts. Her figures -whether human, animal, or mythical-are often presented as fragile, vulnerable, and engaged in various states of conflict, emphasizing the stark realities of human survival and the consequences of unchecked desire. These small-scale vanitas paintings from the 'murders serie' are introspective works, conceived as protection charms, invite the viewer into an intimate reflection on life's transience and human vulnerability.
Galeries AB & BA
jean degottex
Jean Degottex (Sathonay-Camp 1918-1988 Paris) Gidayu III, 1961 Oil on cardboard mounted on canvas 120 x 80 cm Signed and dated lower right Signed, dated and titled at the back Certificate of authenticity issued in 2021 Provenance: private collection Literature: Degottex, Jean Frémon, Editions du regard, 1986, p. 282 © Bertrand Michau. Courtesy Galerie Berthet-Aittouarès
Romigioli Antichità
Standing Madonna with Child, circa 1290-1310 Polychrome sandstone (and restorations) Northern Spain (in particular the cultural area between Castilla and Léon, La Rioja, the Basque Country and Navarre) H 102 x W 65 x D 42 cm Provenance: collection Costantino Nigro, Genoa Condition: the lower part of the statue is missing Literature: attribution and critical reading by Professor Luca Mor Exhibition: Biaf-Biennale Internazionale di Firenze, 2022
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Galeria Jordi Pascual
óscar domínguez
Óscar Domínguez (Spain, San Cristóbal de La Laguna 1906-1957 Paris, France) Téléphone et revolver, 1944 Oil on canvas 81 x 54 cm Certificate of authenticity by Asociación en defensa de Óscar Domínguez Provenance: private collection Literature: Fernando Castro, Óscar Domínguez y el Surrealismo, Madrid, 1978, p. 153, nº 244 Exhibitions: Marsella, Musée Cantini, La part du jeu et du rêve, Óscar Domínguez et le Surréalisme 1906-1957, June-October 2005, p. 150, nº 74
Montagut Gallery
Ngon mask Bekom people Cameroon, 19th century Wood and ritual patina H 44 cm Provenance: Marcial Bronzi collection, Brussels; Didier Claes, Brussels; Rachel Montagut collection, Barcelona Ngon masks are one of the many types that appear at commemorative ceremonies held for deceased persons in the kingdoms of Cameroon. These sets of masks, in the possession of various lineages, can include more than twenty masks, most of which represent different figures. Some of the masks are obligatory, such as the kam, the male head mask, and the ngon, which represents the woman.
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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
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