This section will be available this Autumn.
Gallery Sofie Van de Velde
Pierre-Louis Flouquet (Paris 1900-1967 Dilbeek) Compositie, 1920-1922 Oil on canvas 131 x 91 cm Signed 'Flouquet' left bottom corner Provenance: Bernard Davis/Miami Museum of Modern Art; Collection of Harvey Probber; thence by descent The work Composition (1920-1922) by Pierre-Louis Flouquet marks a significant turning point in the art history of the early 20th century, through its bold exploration of abstraction and the visual language of geometry. Flouquet, a pioneer of constructivism, creates in this work a dynamic interplay of shapes and lines that blur the line between figuration and abstraction. The composition is both a reflection on the technological advancements of his time and a creative expression of the artist’s drive to reinvent the visual perception of reality. The clean, geometric forms and the stark contrasts in the work create a visual energy that is characteristic of the post-World War I period, when artists were seeking a new language to depict the devastations of the war and the changes in society. Flouquet’s use of color and line emphasizes the power of abstract compositions, presenting the artistic freedom of geometry not only as an aesthetic medium but also as a way to articulate the intellectual and emotional response to the modern age. What makes Composition so remarkable is how it emphasizes unity and order through the use of the purest visual elements: line, shape, and color. It is a subtle and refined response to the experimental nature of the early 20th-century avant-garde, where the search for new forms of expression was both liberating and innovative. This work reflects Flouquet’s ability to challenge the artistic norms of his time while also touching on a deeper, universal experience of order and chaos. Composition is therefore not just a work of art; it is a visual manifesto symbolizing the pursuit of modernity in art, encapsulating the fundamental principles of abstraction and the role of geometric shapes in constructivism. It remains a powerful example of the shift from traditional visual language to new forms of visual expression, which continues to serve as an inspiration for many today.
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.
Dr. Nöth kunsthandel + galerie
George Grosz (Berlin, 1893-1959) Moonlight, 1936 Oil on canvas 41.3 x 51.4 cm Signed lower right Ralph Jentsch will include the painting in his forthcoming catalogue raisonné of paintings by George Grosz Provenance: the artist's studio, Douglaston, NY 1936; Contemporary Galleries, New York; Sale, Sotheby's, New York, June 22nd, 1984, lot 329; private collection, estate of Robert H. Arnow
Florian Kolhammer
workshop august ungethüm
Workshop August Ungethüm / Georg Klimt Display cabinet, circa 1900 August Ungethüm workshop, copper fittings by Georg Klimt (Vienna, 1867-1931) Beech wood with mahogany veneer, hand-cut glass, copper and brass details H 206 x W 144 x D 59 cm Around 1900, Georg Klimt worked for some of the most renowned cabinetmakers in Vienna. The workshops particularly appreciated his design skills and the quality of his metalwork. In addition to the Niedermoser and Fritz Nagl workshops, Klimt also produced metal details for August Ungethüm. The August Ungethüm carpentry workshop also executed designs for Koloman Moser, Josef Hoffmann and other important designers of the time. The zeitgeist and influence of the Vienna Secession can be seen particularly clearly in our display cabinet: the ornamentation shows great stylistic parallels to the work of Koloman Moser and that of the artists of the Glasgow School. The influence of Japanese furniture is also clearly evident in this cabinet. The reliefs by Georg Klimt successfully round off the asymmetry of the display cabinet. This piece of furniture exemplifies a new, revolutionary style of Viennese furniture design.
Artimo Fine Arts
albéric collin
Albéric Collin (Antwerp, 1886-1962) Elephant of the Indies Bronze, reddish-brown patina with golden undertones H 37.5 x W 36.5 x D 18 cm Model created in 1924, lost-wax, signed 'Alberic Collin' and stamped in the wax 'Claude Valsuani foundry' in Paris Provenance: Van Weert family for three generations; acquired by Mrs. Magier in 2001
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Cortesi Gallery
lucio fontana
Lucio Fontana (Argentine, Rosario 1899-1969 Comabbio, Italy) Concetto spaziale, Attese, 1959 Water-based paint on canvas 81 x 99 cm Signed and inscribed on the reverse 'l. fontana attese 1+1-AE2' Provenance: Marlborough Galleria d'Arte, Rome, Italy; Martha Jackson Gallery, New York, USA; Galleria Levi, Milan, Italy; Studio La Città, Verona, Italy; Galleria Corvucci, Forlì, Italy; private collection; private collection, New York, USA Literature: E. Crispolti, Lucio Fontana Catalogue raisonné des peintures, sculptures et environnements spatiaux, vol. II, Brussels, 1974, n° 59 T 87 (ill. p. 86); E. Crispolti, Lucio Fontana Catalogo Generale, vol. I, Milan, 1986, n° 59 T 87 (ill. p. 295); E. Crispolti, Lucio Fontana, Catalogo ragionato di sculture, dipinti, ambientazioni, vol. I, Milan, 2006, n° 59 T 87 (ill. p. 461) Exhibition: 1959, Lucio Fontana (opere dal 1931 al 1959), Galleria Notizie, Turin, ill. p. 8 The present work, Concetto spaziale, Attese from 1959 is an extremely rare example in Fontana’s production owing to its rhomboid-shaped canvas and high number of unmistakably elegant slashes - fourteen - incised in three discrete bands over white. The movement and distribution of these cuts is a measure of energy and dispersion. Irregularly shaped, the power of the present work is bound in its rejection of painterly norms and the boldness to suggest a new form of art. This unique shaped work could be seen as an anticipation to his series called 'Quanta', a group of works which Fontana created between 1959 and 1960. Each example of this cycle consists of a different number of elements, related in constellations of different geometric profile, and arranged freely in space. In 1959, Lucio Fontana realized two twin artworks, one white and one black (as seen in the image below in the artist's studio in Corso Monforte). Both pieces were exhibited the same year, first at Galleria Notizie in Turin and later at Marlborough Gallery in Rome.
Galerie Florence de Voldère
pierre brueghel le jeune
Peter Brueghel the Younger (Brussels 1564-1638 Antwerp) Winter Landscape with Skaters - The Bird Trap Oil on panel 39 x 57 cm Among the strong, committed subjects that make up the oeuvre of Peter Brueghel the Elder, The Bird Trap is like a gift in the form of a poem all its own. The very different subject at the heart of this work is pure emotion. Whether provoked by the silence of nature, or by an awareness of the human scale in the macrocosm, or for any other reason, it remains a masterpiece out of time.
Kunsthaus Kende
Classicist wine ewer Silver Ghent, 1780 Silversmith Joannes Paulus H 34 x Ø 11.4 cm (widest part) Weight 808.4 gr. Amphora-shaped body standing on a central baluster foot with a subtly curved spout and a lid following its shape. The circular body is adorned with classicist palmette decoration and a laurel wreath. The recessed shoulder is decorated with an acanthus frieze, completed by a beaded frieze at the top. The curved handle is connected to the laurel wreath at the bottom by a leaf-shaped spandrel and merges into the richly decorated socket at the top in the form of two leafy tendrils. This is a very elegant and generously proportioned classicist wine jug, outstandingly executed and presented in excellent, museum-quality condition. The original handle, presumably made of pear, is also completely undamaged. The visual decoration is in excellent condition throughout, and not overpolished in any areas. Due to the very representative design, as well as the details of the highest craftsmanship – note in particular the fine satin finish in the recesses of the acanthus leaves of the upper handle mount – a noble origin can definitely be attributed to this piece. The work of the Belgian silversmith Joannes Paulus can be traced back to between 1774 and 1784. The offer refers exclusively to the silver wine jug. Any other accessories shown serve solely to illustrate the proportions and are not included in the offer.
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.
Gokelaere & Robinson
bodil kjaer
Bodil Kjaer (Denmark, 1932) President desk, 1959 Rosewood, steel H 72 x W 210 x D 100 cm Manufactured by E. Pedersen & Son, Denmark Bodil Kjær is a Danish architect, furniture designer, professor and researcher. Kjær’s furniture creations mainly date from 1959 to 1964. Her first commission was a series of upholstered sofas for Paul Rudolph, the dean of the Yale School of Architecture. She also designed a building for Harvard University for Josep Lluís Sert, the head of the Harvard Graduate School of Design. The architect and furniture designer Marcel Breuer installed 28 of her upholstered sofas in a building he had designed in New York. Examples of her furniture are still visible today at Harvard University, Massachusetts Institute of Technology and Boston University. In the notes she prepared in 1995 for an exhibition in Berlin, Kjær commented: "I often had problems finding furniture that could express the same ideas as those we used in the buildings we designed and which could, at the same time, express the ideas of Modern management."
Whitford Fine Art
reinhold koehler
Reinhold Koehler (Germany, 1919-1970) Thorax contrecollage, 1963-64 Dessin trouvé Décollage with ink, paper and smashed glass laid down on canvas 72.5 x 50 cm Signed and dated lower right and signed, dated, titled and inscribed verso The work is included in the Koehler Archives as RK 58 Provenance: private collection, Germany
DYS44 Lampronti Gallery
Artemisia Gentileschi (Rome 1593-1656 Naples) Bathsheba at her bath, circa 1636-1638 Oil on canvas 185.2 x 145.4 cm Provenance: private collection, UK; Matthiesen Gallery, London Literature: M. Nicolaci, catalogue entry 41, in Artemisia Gentileschi: Storia di una Passione, R. Contini and F. Solinas (eds.), exh. cat., Palazzo Reale, Milan, 2011-2012, p. 228; M. Nicolaci, catalogue entry 52, in Artemisia, 1593-1654, R.P. Ciardi, R. Contini, and F. Solinas (eds.), exh. cat., Fondation Dina Vierny-Musée Maillol, Paris, 2012, pp. 184-185; N. Spinosa, Grazia e Tenerezza in Posa: Bernardo Cavallino e il Suo Tempo, 1616-1656 (Rome, 2013), p. 403, ill. A3.a; R. Lattuada, "Unknown Paintings by Artemisia in Naples and New Insights into Her Daily Life and 'Bottega'," in Artemisia Gentileschi in a Changing Light, ed. S. Baker, London-Turnhout, 2015, pp. 203-205, figs. 34–39 Exhibitions: Artemisia Gentileschi: Storia di una passione, Palazzo Reale, Milan, 22 September 2011-29 January 2012, curated by R. Contini and F. Solinas; Artemisia, 1593–1654, Fondation Dina Vierny-Musée Maillol, Paris, 14 March-15 July 2012, curated by R. P. Ciardi, R. Contini, and F. Solinas; Artemisia, Vrouw & Macht, Rijksmuseum Twente, Enschede, 26 September 2021-23 January 2022