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Giammarco Cappuzzo Fine Art
Bartolomeo Manfredi (Ostiano 1582-1622 Rome) The Denial of Saint Peter, circa 1618-1620 Oil on canvas 125 x 183 cm Provenance: private collection, Belgium This unpublished Denial of Saint Peter (fig. 1) is an important autograph work by Bartolomeo Manfredi, painted during his mature years. The evident elements of style and quality of this new Denial of Saint Peter, especially in its best preserved places, affirms Manfredi’s authorship, which has been confirmed by leading expert Dr. Gianni Papi.
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
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
Galerie Patrice Trigano
césar
César Baldaccini alias Cesar (Marseille 1921-1998 Paris) Fanny Fanny, 1990 Welded bronze H 245 x W 123 x D 235 cm Signed and numbered, Bocquel foundry Registered in the archives of Denyse Durand-Ruel, n° 4136 Provenance: acquired from the artist Literature: B.H. Lévy, César, les bronzes, éd. de la Différence, Galerie Beaubourg, Paris, 1991, p. 41; César, oeuvre de 1947 à 1993, Musées de Marseilles, Réunion des Musées Nationaux, Marseille, 1993, p. 25; César, Galerie Enrico Navarra, Paris, 1996, pp.74-75 The Fanny Fanny is the most spectacular and largest of César's hens. The artist used the technique of welded bronzes that he invented to create the series of his famous hens.
TEMPLON
françois rouan
François Rouan (Montpellier, 1943) Pavane IV, 2018-2019 Oil on braided canvases 200.5 x 170 cm - framed 206 x 175 cm Unique piece Provenance: the artist's studio Literature: Exhibition catalogue François Rouan, Odalisques et Pavanes, 2009-2020, TEMPLON, 2023 (illustrated p. 23), published by TEMPLON 2023
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
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.
Thomas Deprez Fine Arts
james ensor
James Ensor (Ostend, 1860-1949) Portrait of Léon Rinskopf, Futur Baron du Rat Mort, 1903 Conté crayon, coloured pencils, watercolour and gouache on laid cream paper 16.6 x 13.4 cm - framed: 36 x 32 cm Signed, annotated, located and dated: ‘Portrait de Léon Rinskoff [sic]/futur baron du Rat Mort/Ostende 1903/James Ensor’ This drawing is accompanied by a certificate from the official Ensor Advisory Committee, 2023 Provenance: private collection, Belgium Exhibition: Joodse sporen in Oostende, Ostend and Antwerp, organised by Zahava Seewald, 2000 Literature: Laurence Madeline et al., Ensor, Paris: Musée d’Orsay, New York: The Museum of Modern Art, 2009, ill. fig. 60, pp. 78-79 Related Literature: James Ensor, Discours en noble languaige de chevalerie, in: Les Écus, Ostende : G. Daveluy ed., Le Rat Mort, 1904, p. 16. Reprinted and re-edited in many forms Related works: James Ensor, Au conservatoire, 1902, oil on canvas laid down on board, 56.5 x 71.5 cm, Musée d’Orsay, Paris (inv. RF 2009 4), given by the artist to Léon Rinskopf Portrait of Léon Rinskopf (1862-1915), artistic director of the Kursaal in Ostend and conductor of its symphonic orchestra. Dressed in smoking and wearing a crown, he is represented with an asparagus between the teeth in reference to a conducting baton. Ensor projected himself on the figure of his friend, by affiliating his likeness to his own, and by pinning a prominent medal of the Ordre de Léopold on his chest and baton, which Ensor received himself that same year. In the top right corner a dead rat is a direct reference to the Compagnie du Rat Mort, of which Ensor was a founding member and which was legendary for its masked balls and its burlesque character.
Harold t’Kint de Roodenbeke
Raoul Dufy (Le Havre 1877-1953 Forcalquier) Régate sur la Marne, 1925 Watercolour on paper 50 x 65 cm Signed lower right Provenance: collection of the Belgian artist Jean Milo; acquired in 1943 Literature: Fanny Guidon-Lafaille, Catalogue raisonné, tome II, n° 1227, ill. p. 63 Exhibition: Brussels, 1943, n° 72
Christophe Perlès
Set of Chantilly porcelain with Kakiemon decoration, 18th century The set consists of one jar, one covered ewer, three cachepots, one cup and one saucer The term 'Kakiemon' is attributed to a group of Japanese porcelains whose characteristics are a subtle decoration in fine translucent overglaze enamels and a milky white unblemished body called 'nigoshide' in Japanese. Kakiemon porcelains were exported to Europe in large numbers where they were extremely popular. Compared with blue and white porcelains, Kakiemon was very expensive
DYS44 Lampronti Gallery
Bernardo Bellotto (Venice 1722-1780 Varsavia) Roma, veduta del Colosseo e dell’Arco di Costantino, 1743-1744 Oil on canvas 61 x 98.1 cm Provenance: private collection, New England; R. Birkedal, Seekonk, Massachusetts; T. Gilbert Brouillette (1906-1970), Falmouth, Massachusetts; Alicia Corchenuk de Buenfil, Città del Messico; Con Steven Juvenis e Firestone & Parson, Massachusetts, entro il 1976; Vendita anonima ('The Property of a Gentleman'), London, Sotheby's, 4 July 1990, lot 19 (as Canaletto); acquired from a private collection; Vendita anonima ('The Property of a European Collector'), London, Christie's, 7 July 2004, lot 98 (as Bellotto); private collection, by 2008; with Cesare Lampronti Gallery, London, by 2009 (as Bellotto); purchased privately from Hampel, Munich, by the current collector in 2019 Exhibitions: Gorizia, Palazzo della Torre, Le Meraviglie di Venezia, Dipinti del '700 in collezioni private, 14 marzo-27 luglio 2008, n° 92; Foligno, Palazzo Trinci, Giuseppe Piermarini, tra barocco e neoclassico, Roma, Napoli, Caserta, Foligno, 5 giugno-2 ottobre 2010, n° B2.22; Monaco, Alte Pinakothek, Canaletto, Bernardo Bellotto Paints Europe, 17 ottobre 2014-15 gennaio 2015, n° 21 Literature: W.G. Constable, Canaletto, Giovanni Antonio Canal, 1697-1768, J.G. Links (a cura di), Oxford 1976, vol. I, n° 388*, riprodotto in pl. 206, e vol. II, pp. 393–94, n° 388* (come Canaletto); W.G. Constable, Canaletto, Giovanni Antonio Canal, 1697–1768, J.G. Links (a cura di), Oxford 1989, vol. I, n° 388*, riprodotto in pl. 206, e vol. II, pp. 393–94, n° 388* (come Canaletto); J.G. Links, A Supplement to W.G. Constable's Canaletto, Giovanni Antonio Canal, 1697–1768, Londra 1998, p. 38, n° 388* (come Canaletto); C. Beddington, in Bernardo Bellotto and the Capitals of Europe, E.P. Bowron (a cura di), cat. mostra, Venezia e Houston 2001, pp. 112 e 114 n° 7, sotto il n° 26; B.A. Kowalczyk, in Bernardo Bellotto and the Capitals of Europe, E.P. Bowron (a cura di), cat. mostra, Venezia e Houston 2001, pp. 136 e 138 n° 13, sotto il n° 35, riprodotto a p. 136; D. Succi, in Le Meraviglie di Venezia, Dipinti del ’700 in collezioni private, D. Succi e A. Delneri (a cura di), cat. mostra, Gorizia 2008, pp. 264–65, n° 92, riprodotto a colori (come Bellotto); M. Fagiolo, in Giuseppe Piermarini, tra barocco e neoclassico, Roma, Napoli, Caserta, Foligno, M. Fagiolo e M. Tabarrini (a cura di), cat. mostra, Foligno 2010, pp. 52 e 55, riprodotto a colori fig. 10; C. Lollobrigida, in Giuseppe Piermarini, tra barocco e neoclassico, Roma, Napoli, Caserta, Foligno, M. Fagiolo e M. Tabarrini (a cura di), cat. mostra, Foligno 2010, pp. 190, 300 e 301, n° B2.22, un dettaglio riprodotto a colori p. 190; T. Wagner, in Canaletto, Bernardo Bellotto Paints Europe, A. Schumacher (a cura di), cat. mostra, Monaco 2014, pp. 192–93, n° 21, riprodotto a colori; B.A. Kowalczyk, in Bellotto and Canaletto. Wonder and Light, B.A. Kowalczyk (a cura di), cat. mostra, Milano 2016-2017, p. 150, sotto il n° 46; B.A. Kowalczyk, in Canaletto 1697–1768, B.A. Kowalczyk (a cura di), cat. mostra, Roma 2018, p. 150, sotto il n° 39
Galerie de la Béraudière
germaine richier
Germaine Richier (Grans 1902-1959 Montpellier) La Sauterelle, moyenne, 1945 Bronze with dark patina H 54 x W 44 x D 65 cm Signed, numbered and stamped on the base: G. Richier, HC3, C. Valsuani cire perdue. Edition HC3 out of 12 (1/8 - 8/8 + HC1-HC2-HC3 + EA) Posthumous cast Provenance: collection Henri Creuzevault, Paris; collection Colette Creuzevault, Paris (by descent); De Baecque & Associés, 19 November 2021, lot 2; private collection, Belgium Literature: Peggy Guggenheim collection, Germaine Richier, exhibition catalogue, Venice, 2007, p. 70; Jean-Louis Prat et Françoise Guiter, Germaine Richier, Rétrospective, Saint-Paul de Vence, Fondation Maeght, 1996, n° 15, pp. 46-47, ill. (another cast); Peter Selz, New Images of Man, New York, 1959, ill. p. 129 (another cast) Exhibitions: 1997, Berlin, Akademie der Künste, Germaine Richier, p. 77, n° 15, p. 85, n° 20, ill. (another cast); 1996, Saint-Paul de Vence, Fondation Maeght, Germaine Richier, Rétrospective, p. 46, n° 15, ill. (another cast); 1976, Japan, Tokyo, Contemporary Sculpture Center and Osaka, Contemporary Sculpture Center, Exposition Richier, n°7; 1955, London, The Hanover Gallery, Germaine Richier, np., n° 10 (another cast) A key figure in the history of modern art, Germaine Richier remains unclassifiable. Trained by Bourdelle to sculpt from live models, her work took on an anthropomorphic character after the war, with the human body remaining at the centre of her preoccupations, but from then on taking on an allegorical and fantastic character, in the image of this Sauterelle, whose tormented material takes on a dramatic character of existentialist essence. Charged with a primitive force that, as André Pieyre de Mandiargues points out, is ‘as much rock or stump as flayed man’, La Sauterelle is undoubtedly one of the artist's masterpieces, a sculpture that has evolved towards an unprecedented baroque and expressive naturalism. The Sauterelles are among Germaine Richier's most emblematic creations, the artist produced three different versions. La Sauterelle, petite (1944), La Sauterelle, moyenne (1945) and La Sauterelle grande (1955-1956) offer astonishing variations on the strangeness of this hybrid being, both woman and animal, and impose a remarkable questioning of form and balance through a play of juxtaposed squares, fostering the ambiguity of a work that is both frozen and in motion, ready to leap.
Repetto Gallery
kazuo shiraga
Kazuo Shiraga (Japan, Amagasaki 1924-2008) Ouichi, October 1973 Oil on canvas 32 x 41 cm Signed lower left; signed, titled and dated on the reverse Certificate of authenticity on photograph signed by David Juda, 15 June 2012 Provenance: Matsumoto Co. Ltd., Tokyo; Annely Juda Fine Art, London; private collection, Italy
Kunsthaus Kende
Ane Christensen (Copenhagen, 1972) Dented bowl Sterling silver London, 2000 H 10.3 x W circa 35 x D circa 30.1 cm Weight 966.2 gr. The body with a fully frosted surface, divided in the centre. A decorative, modern fruit bowl in sterling silver by one of Britain’s most important modern female designers and silversmiths. The silversmith and designer Ane Christensen, born in 1972 in Copenhagen, studied at the Royal College of Art, London and London Guildhall University, whilst also working as an assistant to Howard Fenn and Alfred Pain. Since 1999, she has worked as a professional artist silversmith in London. The incomparable formal language of her objects quickly brought her international renown as well as numerous exhibition participations and awards. Her artworks can be found in the Victoria & Albert Museum, London, the Koldinghus Museum, Kolding (Denmark) and in the Birmingham Museum Collection.
Rueb Modern and Contemporary Art
hans bellmer
Hans Bellmer (German artist, Poland, Katowice 1902-1975 Paris, France) Untitled, circa 1945 Pencil on paper 16 x 10 cm Signed Provenance: private collection, London; Art historian John Richardson, New York Literature: J. Reginato, John Richardson at home, New York 2021, ill. p. 92
Floris van Wanroij Fine Art
hendrick de meijer
Hendrick de Meijer (Rotterdam circa 1620-after 1689/before 1698 Rotterdam (?)) Sailing vessels and a ferry on the calm Oude Maas river as seen from the North, with a view of Dordrecht and the Grote Kerk beyond Oil on panel H 74 x 104 cm Signed and dated ‘H.D. M … 16 . 9’, lower middle on the side of ferry The present picture is recorded at the RKD in The Hague under n° 534728 Provenance: European noble collection, with collector's seal on the reverse; private collection, Mr. Gustave Rothan (1822-1890), Paris; his sale at Paul Chevallier ‘Tableaux anciens des écoles flamande, hollandaise, française, espagnole, italienne et allemande formant l’important collection de M.G. Rothan’, Galerie Georges Petit, Paris, May 29th, 1890, lot 25 (as by Aelbert Cuyp); collection Charles Pierre de Frédy, Baron de Coubertin, Lausanne, 1935; private collection, Switzerland Literature: Beck, H.U., Jan van Goyen 1596-1656, Ein Oeuvreverzeichnis, Amsterdam, 1972/1991, Van Gendt, vol. VI, pp. 268-271; Beer, Gerlinde de, The Golden Age of Dutch Marine Painting, The Inder Rieden Collection, Leiden, 2019, Primavera Pers, pp. 648-654; Bernt, W., The Netherlandish Painters of the Seventeenth Century, vol. II, New York, 1970, Phaidon, p. 78; Bol, L.J., Die Holländische Marinemalerei des 17. Jahrhunderts, Braunschweig, 1973, Klinkhardt & Biermann, pp. 269-270; Schadee, N., Rotterdamse meesters uit de Gouden Eeuw, Zwolle, 1994, Waanders, p. 288
Alexis Lartigue
pierre soulages
Pierre Soulages (Rhodez 1919-2022 Nîmes) Sans titre, 1967 Oil on canvas 97 x 130 cm Signed lower left This work is included in the catalogue raisonné vol. II, n° 601 Provenance: Knoedler and Co, New York; private collection, USA; private collection, Paris Literature: Soulages, L'oeuvre complet, Peintures vol. 2, 1959-1978, n° 60, p. 187 Buffalo, Knox Art Gallery, 1968, n° 16 Exhibitions: Soulages paintings since 1963, Knoedler and Co, New York; Museum of Art, Carnegie Institute, Pittsburgh; Albright-Knox Art Gallery, Buffalo 'In the hundred or so paintings created between the fall of 1963 and the end of 1967, the evolution of Soulages' painting is evident in several essential aspects: the much greater fluidity of the paint; the treatment of blacks in large flat areas; the brief reappearance of blacks on unpainted white backgrounds. Finally, note the return of very large formats and virtual polyptychs. From mid-63 onwards, there is almost a disappearance of scraping. This technique was technically linked to the thick quality of the layer deposited by the painter, to its paste-like character. On the contrary, the canvases now show large swathes of dark, black, or brown-black paint, where the much more liquid coloured material is no longer deposited and removed with the blade, but spread with a brush, in a movement that leaves practically no trace. The fluidity is such that some paintings have streaks of black paint running down'.
