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Stéphane Renard Fine Art
henri-pierre danloux
Henri-Pierre Danloux (Paris, 1753-1809) Pair of portraits: Portrait of the Duc d'Angoulême & Portrait of the Duc de Berry Oil on canvas pasted on wood panels Duc d'Angoulême: oval canvas 25 x 21 cm - framed: 35.5 x 30 cm Duc de Berry: oval canvas 26.5 x 21 cm - framed: 35.5 x 30.3 cm Rectangular frames in the neoclassical style with pearl and rais-de-coeurs motif surrounding an oval medallion. The frames are surmounted by cartouches reading 'Donné par S.A.R. le Mgr Le Duc d'Angoulême à Lord Adam Gordon' and 'Donné par S.A.R. le Mgr Le Duc d'Berri à Lord Adam Gordon' Signed 'HP Danloux 1797' on the portrait of the Duc d'Angoulême Provenance: gifted by the models to Lord Adam Gordon and then by family descent
Galerie de la Béraudière
germaine richier
Germaine Richier (Grans 1902-1959 Montpellier) L'Ogre, 1949 Bronze with black patina H 81.2 x W 45 x D 40.3 cm Signed and stamped on the base: G Richier, C. Valsuani cire perdue Foundry: Claude Valsuani, Paris, conceived in 1949, cast in 1951 Edition of 12 (1/8 – 8/8 + 4 AP ) Original certificate of authenticity by Francoise Guiter, dated 5 March 2014 Provenance: Galerie Creuzevault, Paris (1962); Galerie Odermatt, Paris; Sale Prescheteau-Badin, Paris, 20 March 2006; private collection Literature: P. Levy, London's Frenetic Gallery Scene: O'Keeffe sinks; Freud is missing, in The Wall Street Journal Europe, 11 June 1993; Brassaï, Germaine Richier, in Les artistes de ma vie, Paris, 1982, pp. 194-197; R. Barotte, A la rencontre de Germaine Richier (1904-1959), le sculpteur qui va... au-delà de, in Vision sur les arts, Béziers, November 1978; G. Marchiori, Modern French Sculpture, London 1964, pp. 52-53; M. Seuphor, XXIII. Biographies: Richier, Germaine, in La sculpture de ce siècle, dictionnaire de la sculpture moderne, Neuchâtel, 1959, p. 322; M. H. Vieira da Silva, Tribune de Paris - Adieu à Germaine Richier: Son atelier était plein d'une étrange musique, in Tribune de Lausanne, Lausanne, 9 August 1959, n° 7; A. Giacometti, Tribune de Paris - Adieu à Germaine Richier: Assise parmi ses sculptures, in Tribune de Lausanne, Lausanne, 9 August 1959, n° 7; C. Roger-Marx, Cette héritière, inspirée des grands maîtres: Germaine Richier, in Le Figaro littéraire, Paris, 8 August 1959; R. Couturier, Tribune de Paris - Adieu à Germaine Richier: La force de son œuvre, in Tribune de Lausanne, Lausanne, 9 August 1959, n° 7; M. Conil-Lacoste, Chroniques: Germaine Richier ou la confusion des règnes in Cahiers du sud, Marseille, February 1957, pp. 307-311; D. Chevalier, Sculpture encore: dans son atelier, vaste forêt de plâtres et de bronzes, Germaine Richier, chef d'école sculpte les grands mythes sylvestres, in Femme, Paris, October-November 1956, pp. 71-83 (another cast ill.); A. Chastel, Germaine Richier: la puissance et le malaise, in Le Monde, Paris, 13 October 1956; B. Milleret, Envoûtement de Germaine Richier, in Les Nouvelles littéraires, Paris, 11 October 1956; D. Chevalier, Un grand sculpteur: Germaine Richier, in Prestige français et Mondanités, Paris, September 1956, pp. 60-65, n° 19 (another cast ill.); G. Waldemar, Germaine Richier, in Prisme des arts, Paris, April 1956, n° 2; J. Grenier, Germaine Richier, Sculpteur du terrible, in L'Oeil, Paris, September 1955, pp. 26-31, n° 9 (another cast ill.); R. M. Claude, Venise XXVI Biennale: Présence française, in Arts, Paris, 26 June 1952, n° 365 (another cast ill.) Exhibitions: 2014-2015 Genève, Galerie Jacques de la Béraudière, Germaine Richier, Retrospective, p.32; 2013 Berne, Kunstmuseum, Germaine Richier Rétropective, ill. n° 43 p. 146 (another cast exhibited); 2007 Venice, Peggy Guggenheim Collection, Richier pp. 131-135 (another cast exhibited and ill.); 2000-2001 Saint-Paul-de-Vence, Fondation Maeght, Le Nu au XXe siècle, n° 129 (another cast exhibited and ill.); 1996-1997 Lausanne, Musée cantonal des Beaux-arts, De Vallotton à Dubuffet p. 46, n° 28 (another cast exhibited and ill.); 1997 Berlin, Akademie der Künste, Germaine Richier, n° 39 (another cast exhibited and ill.); 1996 Saint-Paul-de-Vence, Fondation Maeght, Germaine Richier, Rétrospective, n° 36 (another cast exhibited and ill.); 1993 London, Tate Gallery, Paris Post War: Art and Existentialism 1945-55, n° 98 (another cast exhibited and ill.); 1993 Paris, Centre Wallonie-Bruxelles, Dominique Rolin, le temps approuvé, (another cast exhibited); 1988 Humlebaeck, Louisiana Museum of Modern Art, Germaine Richier, n° 12 (another cast exhibited); 1966 Paris, Galerie Creuzevault, Germaine Richier 1902- 1959 (another cast exhibited); 1964 Arles, Musée Réattu, Germaine Richier, no. 22 (another cast exhibited and ill.); 1963 Zurich, Kunsthaus, Germaine Richier, n° 46 (another cast exhibited); 1959 New York, Museum of Modern Art, New Images of Man, n° 90 (another cast exhibited and ill.); 1959 Antibes, Musée Picasso, Germaine Richier, n° 67 (another cast exhibited); 1959 Boston, University School of Fine and Applied Arts, Sculptures by Germaine Richier, n° 30 (another cast exhibited); 1959 Paris, Musée Grimaldi, Créations et récréations de Germaine Richier, exhibition cat.; 1958 Minneapolis, Walker Art Center, Sculpture by Germaine Richier, n° 10 (another cast exhibited); 1956 Paris, Musée national d'art moderne, Germaine Richier, n° 16, pl. XIV (another cast exhibited and ill.); 1955 London, The Hanover Gallery, Germaine Richier, n° 7 (another cast exhibited); 1955 Lille, Galerie Marcel Evrard, Germaine Richier, Roger Vieillard, n° 5 (another cast exhibited and ill.); 1955 Amsterdam, Stedelijk Museum, Vieira da Silva, Germaine Richier, n° 35 (another cast exhibited and ill.); 1954 Bienne, Collège des Près Ritter, Exposition Suisse de sculpture en plein air, n° 170 (another cast exhibited); 1954 Basel, Kunsthalle, Germaine Richier, Bissière, H. R. Schiess, Vieira da Silva, Raoul Ubac, n° 9 (another cast exhibited); 1954 Chicago, The Allan Frumkin Gallery, The Sculpture of Germaine Richier, n° 11 (ill.); 1952 São Paulo, Museu de Arte Moderna, II Biennale, n° 3 (another cast exhibited); 1952 Venice, French Pavilion, XXVI Biennale Internazionale dell'Arte, n° 151 (another cast exhibited)
Repetto Gallery
Christo (Gabrovo 1935-2020 New York) The Pont Neuf, Wrapped (Project for Paris), 1980 Quai du Louvre, Quai de la Megissérie, Île de la Cité, Quai de Conti, Quai des Grands Augustins Graphite, charcoal, wax crayon, oil pastel, fabric and thread, aerial photograph and architectural drawings on card collage, in artist's plexiglass box frame with tape 83.8 x 71 cm
Francis Maere Fine Arts
paul delvaux
Paul Delvaux (Antheit 1879-1994 Veurne) Femmes devant la mer, 1928 Oil on canvas 80 x 100 cm Signed and dated upper right: P. DELVAUX 28 Provenance: Jean Giron, Brussels; private collection, Belgium Literature: A. Eggermont, Les arts plastiques in Le Thyrse, Brussels, March 1931, p. 104; M. Butor, J. Clair, S. Houbart-Wilkin, Paul Delvaux-catalogue de l'oeuvre peint, Cosmos Monographies, Brussels, 1975, cat. n° 35, p. 156 Exhibitions: 1928 Brussels Galerie Manteau, Paul Delvaux et Robert Giron, 1931 Brussels Palais des Beaux-Arts, Paul Delvaux, 1969 Paris, Musée des Arts décoratifs; 1974, Sint Martens Latem, Georges Buysse Gallery, Delvaux, Spilliaert, Pérot; 1985 Paris, Centre Culturel Wallonie-Bruxelles, Hommage à Paul Delvaux © Foundation Paul Delvaux, Belgium/SABAM, 2023-2024
Galerie Alexis Pentcheff
Henri Martin (Toulouse 1860-1943 Labastide-du-Vert) L’Eglise de Labastide-du-Vert un matin de printemps Oil on canvas 101 x 79 cm Signed lower right Notice of inclusion in the archives for the Catalogue Raisonné of Henri Martin drawn up by Madame Marie-Anne Destrebecq-Martin dated 18 September 2020 © Foundation Paul Delvaux, Belgium/SABAM, 2023
Thomas Deprez Fine Arts
emile fabry
Emile Fabry (Verviers 1865-1966 Brussels) A monumental triptych, including: Le péché originel, Les Déesses de la Vie and Prométhée & Pygmalion, circa 1896 Oil on canvas 246 x 138 cm | 249 x 205.5 cm | 245 x 140 cm All canvases waxed and retouched The middle panel carrying a certificate by Edmond Delescluze, the artist's son-in-law, dated April 6th 1990 Provenance: by descent in the family of the artist, after his death in 1966; former collection Suzanne Fabry and Edmond Delescluze, the artist’s daughter and son-in-law; triptych dismantled and sold separately, with different provenances on request; United again for the first time under single ownership, 2023 Literature: a list of contemporary press critiques available on request; Jacqueline Guisset, Emile Fabry 1865-1966, Brussels, Fonds du Patrimoine de Woluwe-Saint-Pierre, 2000, ill. pp. 75, 77 & 78; Sébastien Clerbois, L’Esotérisme et le Symbolisme belge, Anvers, Pandora Publishers, 2012, ill. p. 104 Exhibitions: Exposition du Cercle Pour l'Art, Brussels, 1896; Retrospective Emile Fabry, Woluwe-Saint-Pierre, Centre culturel, 2000
VKD Jewels
gold, diamond, ruby and sapphire earclips
Van Cleef & Arpels Pair of 18k gold earclips, each set with three small flower elements of diamonds, rubies and sapphires France, circa 1960 Signed VCA USA, Made in France, 750, French assay marks for gold and numbered 18695 Provenance: private collection
Epoque Fine Jewels
rené lalique
René Lalique (Ay 1860-1945 Paris) Art Nouveau nymph pendant/brooch Designed as a winged nymph, part female, part butterfly, the naked nymph decorated with skin colour enamel, the outstretched wings in pale green ‘plique-à-jour’ enamel, edged with a dark green ‘plique-à-jour’ border, highlighted with old mine cut and rose cut diamonds, mounted in 18 karat gold. Greenish ‘contre-émail’ on the reverse. The nymph can also be worn as a pendant. With detachable brooch fitting Paris, circa 1900 8.3 x 4.1 cm Signed Lalique and Lalique maker's mark In fitted box marked R. LALIQUE, 40 Cours-La-Reine, Paris A similar nymph by Lalique is part of the collection of the Lalique Museum in Hakone, Japan
F. Baulme Fine Arts
ermano stroiffi
Ermanno Stroiffi (Padua 1616-1693 Venice) Saint Peter and Saint John in adoration in front of the infant Jesus Oil on slate 48.5 x 26 cm Provenance: collection Lars Ericsson; Galerie Canesso, Paris This notable slate painting blends two iconographic traditions: the Virgin from a painting by Lelio Orsi, and the image of the profile of the Virgin receiving the blessing of the infant Jesus. The association of these two evangelists is quite unusual, linked to the devotion of the patron. The original figures of the two saints and the child’s traits connected this painting to Ermano Stroiffi’s work, a well-established artist from Padova. He worked under Bernardo Strozzi's guidance in his Venice studio. The researcher Cristante (1997, p. 109) states that he was Giovanni Stroiffi’s son, a renowned Flemish painter established in Padova.
Galerie La Patinoire Royale Bach
michel mouffe
Michel Mouffe (Brussels, 1957) Tous les matins du monde, 2015 Mixed technique on canvas (9x) H 70 x W 43 cm, in total: H 70 x W 495 cm Provenance: the artist's studio Literature: Alphabet, 2017, Conversation Joel Benzakin and Michel Mouffe; Tous les matins du monde, exhibition catalogue, Galerie La Patinoire Royale Bach Exhibition: Michel Mouffe: Tous les matins du monde, Galerie La Patinoire Royale Bach, 2023
Giammarco Cappuzzo Fine Art
Giuseppe Vermiglio (Milan, circa 1587-circa 1635/1636) The sacrifice of Isaac, circa 1610-1618 Oil on canvas 132 x 162 cm Provenance: private collection, Italy Literature: Alessandro Morandotti, Gli anni romani di Giuseppe Vermiglio, in Giuseppe Vermiglio. Un pittore caravaggesco tra Roma e la Lombardia, exhibition catalogue Campione d’Italia, Galleria Civica, 10 September-3 December 2000, ed. by D. Pescarmona, Milan 2000, p. 45, fig. 23; Ferdinando Bologna, Tre note caravaggesche, Prospettiva, 33-36, 1983-1984 (Studi in onore di Luigi Grassi), pp. 204-207, fig. 5; Mina Gregori, Il Sacrificio di Isacco: un inedito e considerazioni su una fase savoldesca del Caravaggio, Artibus et Historiae, X, 1989, p. 141, note 16
Heutink Ikonen
Ascension of Christ Russia (Yaroslavl), 17th century Egg tempera with gold leaf on a wooden panel surfaced with gesso and linen 72 x 48.5 cm This monumental icon shows an unusual division of planes. In the upper register, Christ is depicted in a green mandorla that is carried to heaven by two angels. The footprints in the earth beneath the mandorla show how Christ was still standing on the earth shortly before. The disciples left beneath gaze and point upwards in wonder. Noticeably, the disciples are standing before the openings of a cave, a reminder of Christ's resurrection from the grave. Directly below Christ, the Mother of God is depicted, flanked by radiant white angels. She bows her head slightly and raises her hands in prayer and reception - a pose reminiscent of the Annunciation. Just as Mary received her divine child at that time, she now leaves him to return to his heavenly father.
Tobogan Antiques
machauld (né en 1835) et eug. cornu (1827-1899)
Machauld (France, born in 1835) and Eugène Cornu (France, 1827-1899) Bust of a Greek goddess, circa 1867 Silvered and gilded bronze, enamel, red marble H 64 cm; base 22 x 21 cm Signed: Machauld et Eug. Cornu, G. Viot et Cie Fondeurs The tiara and collar necklace that adorn the bust are finely decorated with stylised floral motifs of polychrome champlevé enamel. It rests on a molded base and square plinth made of Antique red marble Literature: Rapport du Jury International, Exposition Universelle de 1867 à Paris, 1868, t. III, groupe III, classe XV, chapitre II, § 2, pp. 45-46; 1851-1900, Le arti decorative alle grandi esposizioni universali, Daniel Alcouffe, Marc Bascou, Anne Dion-Tenenbaum et Philippe Thiébaut, Idealibri, 1988, pp. 136-138; Les merveilles de l’Exposition de 1878, Paris, p. 561
Gallery Sofie Van de Velde
jean brusselmans
Jean Brusselmans (Brussels 1884-1953 Dilbeek) Les Roses, 1948 Oil on canvas 122.5 x 112.5 cm Signed and dated lower right: Jean Brusselmans 1948 Literature: La Collection Tony Herbert, Brussel, 1957, n° 51; Robert-L Delevoy, Jean Brusselmans, ed. Laconti 1972, p. 403 n° 568 ill.; Dirk De Vos, Retrospectieve Jean Brusselmans, Groeningenmuseum, 1980; Hans Janssen, Jean Brusselmans 1884-1953, Den Haag, 2018, p 115 ill. Exhibitions: Den Haag, Groningen, Charleroi, Oostende, Hasselt, Gent, Collection Tony Herbert, 1957; Luxemburg, Musée d’Art et d’Histoire, Collection Tony Hebert, 1963; Brussels, Paleis van Schone Kunsten, n° 53, 1979; Brugge, Groeningenmuseum, 1980, retrospectieve Jean Brusselmans, 1980; Den Haag, Jean Brusselmans 1884-1953, Gemeentemuseum Den Haag, 2018
Francis Janssens van der Maelen
henry van de velde
Henry van de Velde (Belgium, Antwerp 1863-1957 Oberägeri, Switzerland) Art Nouveau flat desk, circa 1898 Sycamore wood, double-sided, the top is covered with black leather in its centre 129.50 x 73 cm Certificate of authenticity from Professor Klaus-Jürgen Sembach This desk is a variation of a games table that was in the collection of Villa Esche Provenance: private collection, France Literature: Catalogue of the exhibition L'Art Nouveau en Belgique, Brussels, Palais des Beaux-Arts, 19 December 1980-15 February 1981, p. 266 n° 143; Wolf D. Percher, Henry van de Velde - Das Gesamtwerk, Edition Factum, p. 94, ref 1318, p. 151, ref. 3406, p. 229, ref. 1317. This desk will be presented in a book about Henry van de Velde written by Bea Maybach from the Bauhaus-Museum in Weimar in Germany Exhibition: L'Art Nouveau en Belgique, Brussels, Palais des Beaux-Arts, 19 December 1980-15 February 1981 This small lady’s desk or flat desk, designed by Henry van de Velde, is an emblematic piece of furniture from the Art Nouveau movement, conceived around 1898 and distinguished by its elegant, slightly organic aesthetic. Made from sycamore, a precious wood, it is adorned with delicate details such as the four reinforcements between the legs, which give the illusion of shortening and rebalancing the whole while appearing to support the drawer. The top is recessed by around one centimeter while the underside is bevelled, giving it an air of lightness. It lays on a belt within which is embedded on the front end a drawer whose upper line shape is slightly curved on the outer edges. On either side, a sculpture in the shape of the number two emphasises the bevelled sides and begins the square legs. Roughly square at the start, the legs are emphasised on the outside by a rib that melts as it descends, while their base becomes round. The same drawer keyways can be found in various works by van de Velde. This lady’s desk by Henry van de Velde is considered a functional and aesthetic piece of furniture. Its timeless lines are highly prized by art and design lovers. It is similar to the games table in the catalogue of the Société Henry van de Velde, 53 rue Gray, Brussels, pp. 279 and 322.
A&R Fleury
alicia penalba
Alicia Penalba (1913-1982) Grande annonciatrice, 1965 Bronze with patina 90 x 140 x 70 cm Signed and numbered “APenalba 1/5” The work is referenced in the catalogue raisonné during the exhibition 'Alicia Penalba, escultora', MALBA, Buenos Aires, 2016-2017, under n° 48b p. 107
Montagut Gallery
Jukun figure Jukun people, Nigeria, 17th century Wood, metal H 96 cm Provenance: Roger Azar collection, Paris; private collection, USA; Adrian Schlag collection, Brussels; Dr. Tibor Kiss collection, Vienna Literature: Liliana Albertazzi, Roger Azar. Galeries Magazine, nº 30, April-May 1989; Kevin Conru, Anonymous Collectors, Brussels, 2007; Exhibition catalogue: Suintante, Adrian Schlag, Brussels, 2015
Stéphane Renard Fine Art
alessandro oliverio
Alessandro Oliverio (Bergamo or Venice, ante 1500-post 1544) Christ Carrying the Cross, 1505-1510 Oil on poplar panel H 49.5 x W 41.5 cm Provenance: collection Count Hubert Ludwig de la Fontaine and d'Harnoncourt-Unverzagt (1789-1846), from 1826 at Hrotovice Castle, Trebic, Czech Republic; purchased in 1836 with the entire collection and the castle by Georg Simon von Sina (1783-1856); transferred around 1847 by his son Simon Sina to Mysliborice Castle, Trebic, Czech Republic; by inheritance, in 1876, to Simon's daughter Iphigenie Sina (1847-1914), Duchess of Castries, sold in 1882 to Baron Anton Dreher of Schwechat; Mysliborice Castle; Antiqua auction sale, Prague, 1921, n° 12 (Italian Master of the 16th century)