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Alexis Lartigue Fine Art
simon hantaï
Simon Hantaï (Hungary, Bia 1922-2008 Paris, France) Untitled, 1971 Watercolour on canvas 85 x 73 cm Monogrammed and dated Certificate from Daniel Hantaï Provenance: private collection, Paris This work on canvas is part of the series of watercolours presented by the Fournier gallery in 1971 in Paris. Simon Hantaï whitened the canvas beforehand with a filler, then he crumpled and pinched it. The visible parts were painted in several colours. Once deployed, we discover the whites held in reserve. The artist considered that the works must live, and undergo the onslaught of time and light, without particular protection and without frames. He went so far as to bury certain works in his garden, before taking them out and exhibiting them as they were, smeared with dust and organic waste. "The work exudes an aura of sensitive, sovereign light that is hard not to surrender rapturously to." Alain Delaunois
Herwig Simons Fine Arts
Sculpture representing Emperor Augustus of Prima Porta Italy, 19th century Bronze, roso levanto and nero Belgio marble base, smooth medal patina H 110 cm Signed by the foundry A. Röhrich Roma The original statue was discovered on April 20, 1863, during archaeological excavations directed by Giuseppe Gagliardi at the Villa of Livia owned by Augustus' third and final wife, Livia Drusilla in Prima Porta. The Augustus of Prima Porta is now displayed in the Braccio Nuovo (New Arm) of the Vatican Museums.
Stern Pissarro Gallery
auguste herbin
Auguste Herbin (Quiévy 1882-1960 Paris) VENUS I, 1945 Oil on canvas 100 x 81 cm Titled, signed and dated lower left, vénus-herbin 1945 Provenance: private collection, Stockholm; Galerie des Etats-Unis, S. Stoliar, Cannes; Sotheby's London, 2002; Dorval Gallery, Lille; private collection, France Literature: Geneviève Claisse, Herbin, Catalogue raisonné de l'Œuvre Peint, Paris, 1993, n° 846, (ill. in black and white p. 429) Exhibition: Cannes, Galerie des Etats-Unis, 1965, n° 29
Van Herck-Eykelberg
james ensor
James Ensor (Ostend, 1860-1949) Roses, tanagras and boot, 1917 Oil on canvas 46.5 x 66 cm Signed and dated lower right Literature: G. Le Roy, James Ensor, G. Van Oest, Bruxelles/Paris 1922, p. 195; F. C. Legrand, Ensor cet inconnu, La Renaissance du Livre, Bruxelles 1971, n° 238; X. Tricot, James Ensor, Catalogue raisonné of the paintings. II, 1902-1941, Wienand, 1992 Anvers, n° 484; X. Tricot, James Ensor, Catalogue Raisonné of the paintings. Mercator, 2009, n° 495 Exhibition: XV Exposizione Internationale d’Arte della Cittá di Venezia (Venice Biennale), 1926; Partially legible label on the back: ‘XIVieme Exposition Internationale des Beaux-Arts’
Osborne Samuel Gallery
henry moore
Henry Moore (Castleford 1898-1986 Much Hadham) Reclining Woman N° 2, 1980 Bronze H 15 x W 29 x D 15 cm Edition of 9 + 1, cast by Morris Singer Foundry Provenance: the artist's studio; The Goodman Gallery, Johannesburg, 1981; private collection, London (acquired from the above); Osborne Samuel, London Literature: John Hedgecoe, A Monumental Vision: The Sculpture of Henry Moore, Collins & Brown, London, 1998, p. 224, cat. n° 685 (ill. col. p. 245); A Bowness (ed), Henry Moore: Volume 6 Complete Sculpture 1980-86, Lund Humphries, London, 1988, p. 40, cat. n° 811 (ill. b&w p. 41)
Segoura Fine Art
jules georges clairin
Georges Jules Victor Clairin (France, 1843-1918) L'Epave, 1904 Oil on canvas 75.5 x 50.5 cm Signed lower right and dated on the back Provenance: private collection, France Painting donated by the artist at the tombola of the Salon des artistes français in aid of wounded Russians, April 1904
Bailly Gallery
henri le sidaner
Henri Le Sidaner (Maurice, Port Louis 1862-1939 Paris) Petite place au soleil couchant, 1901 Oil on canvas 57 x 80 cm Signed lower left: Le Sidaner Certificate of authenticity issued by Yann Farinaux-Le Sidaner, dated January 10th, 2023 Provenance: Galerie Georges Petit, Paris; private collection, Canada Literature: Notice of inclusion in the forthcoming supplément du catalogue raisonné, Le Sidaner-L'Oeuvre peint et gravé, currently being prepared by Yann Farinaux-Le Sidaner De son langage poétique à la musicalité feutrée de ses compositions, Henri Le Sidaner puise une grande partie de son inspiration dans les paysages ruraux. Au travers de pavés dorés par le coucher du soleil ou encore de toitures rougeâtres, l'artiste transforme des environnements architecturaux et domestiques en des portraits intimistes et mystérieux. « Petite place au Soleil couchant » en est un parfait exemple. Les nuances d'une lumière vécue au crépuscule s'imprègnent dans cette scène afin d'en ressortir les qualités oniriques et mystiques. Un langage visuel distinct, dans lequel Le Sidaner rend hommage à sa racine symboliste. Le traitement de la matière reste, quant à lui, fidèlement attaché aux techniques néo-impressionnistes. Les paysages qui l'entourent ont offert à Le Sidaner une inspiration considérable pour ses compositions. En mai 1900, le peintre rentrant du Bruges, se laisse influencer par les conseils d'Auguste Rodin, et s'installe au milieu de l'été à Beauvais. Il affirme alors sa conception de l'intimisme par des paysages d'évocation où la figure humaine n'a pratiquement plus sa place. C'est dans cette même période, le 21 avril 1901, Le Sidaner élabore les premiers motifs du tableau présenté et débuta la composition sur toile quatre jours plus tard. L'oeuvre est un hommage à la noblesse des bâtisses, ainsi qu'à la statue du docteur Ernest Gérard, ainsi maire de Beauvais. Achevée le 23 mai 1901, cette toile est livrée par l'artiste le 2 juin à son marchand Georges Petit pour un montant de 500 francs. Les paysages de Le Sidaner sont des manifestations intimes de l'artiste, qui possèdent une luminosités étonnante grâce à ses harmonies subtiles et l'application picturale des pigments. Une incroyable maitrise qui lui permet encore aujourd'hui d'être grandement reconnu par de nombreuses collections privées et institutionnelles. "Toute son oeuvre est influencée par un goût des atmosphères tendres, douces et silencieuses". (Y. Farinaux, Le Sidaner, L'oeuvre peint et gravé, Milan, 1989, p. 31)
Galerie Van den Bruinhorst
William Hendrik Gispen (Amsterdam 1890-1981 The Hague) Saturnuslamp, Giso n° 2055, 1931 Executed by N.V. Gispen, Culemborg The Netherlands, 1945-1957 Matte brass nickel-plated pendant with an opal glass sphere and two frosted glass discs with bright edges H 105 x Ø 60 cm William Hendrik Gispen was a Dutch designer and manufacturer of modernist furniture and lighting. He was an important representative of the functionalist movement, promoting and selling modern interior designs at the beginning of the 20th century through his salesrooms in Amsterdam, Rotterdam, Brussels, Paris, London and Nottingham. This design was introduced in his lighting-catalogue 29 as n° 66 in 1931. It changed to no. 2055 in 1936, and later on the pendant was called ‘Saturnuslamp’ which means ‘Saturn-lamp’. The possibility to move around the world at high speed in cars, planes, trains but also rockets and space traveling were an inspiration for designers creating futuristic designs at the beginning of the 20th century. W.H. Gispen designed a lamp with two glass disks around an opal glass sphere that looks like the planet Saturn. Lighting by W.H. Gispen is part of the permanent collections of The Rijksmuseum Amsterdam, Museum Boijmans van Beuningen Rotterdam, Stedelijk Museum Amsterdam, V&A Museum London, The MOMA in New York and the MFAH in Houston USA.
Victor Werner
marcel-louis baugniet
Marcel-Louis Baugniet (Liege 1896-1995 Brussels) Marin américain, 1925 Oil on canvas 55 x 40 cm Signed and dated lower right: M-L Baugniet 1925 Two exhibition labels on reverse: (1) 'MUSÉE D'IXELLES, exposition Art déco' with name of exhibitor and title of work (2) Salon Annuel Des Amis, La Louvière Provenance: Galerie Maurice Tzwern, Antwerp; Galerie Ronny Van de Velde, Antwerp; private collection Literature: ART DECO BELGIQUE 1920-1940, Editions I.P.S., 1988, ill. p. 220, n° 7 Exhibition: ART DECO BELGIQUE 1920-1940, Musée d'Ixelles, October 6, 1988-December 18, 1988; Salon Annuel Des Amis, La Louvière
Galerie Alexis Pentcheff
paul delvaux
Paul Delvaux (Belgium, Antheit 1897-1994 Veurne) La mise au tombeau, 1953 Oil, gouache, watercolour and ink on paper laid on canvas 68 x 120 cm Signed and dated lower right Certificate of authenticity issued by the Paul Delvaux Foundation dated 24 June 2017 Provenance: private collection, France Preparatory work for 'La mise au tombeau', kept at La Boverie, Musée des Beaux-Arts de Liège. A work on the same theme, La mise au tombeau, 1951, can also be found in the Musée d'Ixelles © Foundation Paul Delvaux, Belgium/SABAM, 2023-2024
Alexis Lartigue Fine Art
Sam Francis (San Mateo 1923-1994 Santa Monica) Celestial Insect (72-020), 1972 Acrylic on paper 45 x 55 cm Signed and dated Sam Francis Archive SF72-020 Provenance: private collection, Italy Exhibition: Falchi arte Moderna, Milano, 1974 From the end of the 1960s, Sam Francis carried out in-depth research on light. He wondered about the two contradictory states of the latter: "black, the original background from which the light springs, and white, the base of the light and the sum of the colours." He sought to obtain a good balance since, according to him, "an increase in light causes an increase in darkness." His painting is not fixed, the irregular shape of the spots and the arrangement of the colours come to rest and form a network that is both structured and disarticulated.
Kunsthaus Kende
hans bolek
Hans Bolek (Vienna, 1890-1978) An 800 grade silver coffee and tea service, Vienna, 1909-1912 Designed by Hans Bolek, executed by Franz Schediwy for Alfred Pollack silversmithy A five piece coffee and tea service Provenance: private collection, San Francisco Literature: In 1912, the Vienna Museum of Applied Arts (MAK) acquired the tea service, consisting of a teapot, a small milk jug and a sugar bowl on a tray. It is still in the museum’s collection under inventory number WI 1102. An identical composition can be found in the Bröhan Museum, Berlin and is ill. in: Kerssenbrock-Krosigk, D. von, Bröhan Museum, von Kerssenbrock-Krosigk, D. & Kanowski, C. (2001). Metallkunst der Moderne: Bröhan-Museum, Landesmuseum für Jugenstil, Art Deco und Funktionalismus (1889-1939), Berlin. P. 521, cat. n° 464 Exhibition: This tea service was designed prior to 1909 and exhibited for the first time by the silversmith Alfred Pollack in 1910/11 at the winter exhibition in the Vienna Museum of Applied Arts (currently the Museum der angewandten Kunst, Vienna, known as MAK)
Nicolás Cortés Gallery
francisco de goya y lucientes
Francisco de Goya y Lucientes (Spain, Fuendetodos 1746-1828 Bordeaux, France) Adoration of the Cross Oil on canvas 134 x 89 cm Provenance: Chapel of the Santa Cruz (now the chapel of San Roque) in the parish church of Nuestra Señora de la Asunción (Our Lady of the Assumption, formerly dedicated to St Anthony of Padua), Torrecilla de Valmadrid, near Zaragoza, until 1968-70; Don Jaime de Paraíso de Andéríz, Zaragoza, to 1971; private collection, Barcelona (now London) Literature: Gudiol, Goya, Barcelona, 1970, vol. I, p. 33 and 240, cat. 37 (image, vol II, pp. 50-51, figs. 52 and 53); A. Martínez Beltrán, Goya en Zaragoza, 1971, Ayuntamiento de Zaragoza; p. 155; J. Camón Aznar, Francisco de Goya, Zaragoza, 1981, vol 1, pp. 62-63, ill., p. 243; R. De Angelis., La obra pictórica completa de Goya, Noguer, 1975, p. 90, n° 40 (as Devotis al pie de una Cruz); José-Luis Morales y Marín, Goya, Pintor Religioso, Aragon, 1990, n° 11, p. 50; J. Gudiol, Goya, Barcelona, 1985, 2nd edition, vol. 1, p. 96, n° 34, fig. p. 168; P. E. Mangiante, Goya e l’Italia, Rome, 1992, pp. 20-21; A. Ansón Navarro, Goya y Aragón: Familia, amistades y encargos artísticos, Aragon, 1995, p. 93.; P.E. Mangiante, Goya e Italia, Zaragoza, 2007, p. 34 y 38; Fundación Goya, J.C. Lozano Llopis, J. Wilson-Bareau, and others, Museo de Zaragoza, La memoria de Goya, (1828-1978): [Museo de Zaragoza., 7 de febrero-6 de abril de 2008, Aragón, 2008, p. 126, fig. 89 [as attributed]; Dr Arturo Ansón Navarro, Goya. Un joven pintor en formación, Zaragoza, 2021; La Estella de Corrado Giaquinto en España-Da Antonio González Velázquez a Francisco Bayeu a Goya, Exhibition Catalogue, Museo de Zaragoza, 24 June-26 Sep 2021, pp. 110-111 (ill.) Exhibition: Zaragoza, Museo de Zaragoza, 2008 La memoria de Goya, (1828-1978), n° 117
Florian Kolhammer
johann loetz witwe
Johann Loetz Witwe Vase Phänomen Genre 356, circa 1900 Designed and executed by Johann Loetz Witwe, Klostermühle, Bohemia Mould-blown, freeform, reduced and iridescent glass H 23.5 x Ø 14 cm Signed underneath 'Loetz Austria' Literature: A. Adlerova, E. Ploil, H. Ricke, T. Vlcek (ed.), Loetz-Böhmisches Glas 1880-1940, vol. II, paper pattern catalogue, Prestel, Munich 1989, paper pattern 420, p. 95
Studio 2000 Art Gallery
theo van rysselberghe
Theo van Rysselberghe (Belgium, Ghent 1862-1926 Saint-Clair, France) Le ruban écarlate, 1906 Red chalk on paper 110 x 88 cm Signed with monogram and dated: Fev. 06 Provenance: private collection, Belgium; auction Christie’s, Amsterdam, 22 May 1991, lot 526; G. Gieseler (?), 1973; Galerie Druet, Paris Literature: A. Dreyfuss, Die Kunst fur Alle, 29, 1914, pp. 508-538; P. Fierens, TVR, Brussels, 1937; R. Feltkamp, Théo Van Rysselberghe. Catalogue raisonné, n° 1906-011 (ill.); R. Feltkamp, Théo Van Rysselberghe: Schilder van de zon, n° 59 (ill.). Exhibitions: Rotterdam, Rotterdamse Kunstkring, TVR (cat. n° 70) 23 October-21 November 1909; Groningen, Galerie Hofteenge, Picture TVR (cat. n° 56), 16 January–2 February 1910; Laren, Singermuseum, Théo van Rysselberghe. Schilder van de zon, 17 May–4 September 2022
Galerie Marc Maison
Gilded plaster statuette by Pierre Braecke (Belgium, 1858-1938) surmounting a sideboard made by Victor Horta (Ghent 1861-1947 Brussels) Four original gilded plaster statuettes by Pierre Braecke surmount the pair of sideboards This is part of a interior decor made of a suite of three paneled rooms designed by Victor Horta for a private owner in Kortrijk and including two fireplaces, a pair of sideboards, a stained-glass ceiling and windows, a screen with period fabric Circa 1903 Mahogany, oak and maple, bronze, marble, american glass, fabric: moiré damask Surface: approximately 80 sq meters, H 3.80 m Provenance: Kortrijk, Belgium
Artimo Fine Arts
enrico astorri
Enrico Astorri (Italy, 1859-1921) Saltimbanca, circa 1900 White Carrara marble H 122.5 cm (sculpture), total height with original column in Serpentine marble: 212 cm Signed Astorri E. co./Milano This exquisite marble sculpture showcases a young saltimbanca, or female street acrobat, and her monkey, poised atop an intricately wrought drum as they await their next performance. Her countenance radiates a playful innocence and every strand of her hair, carved with striking realism, cascades in a canopy of luxurious curls to frame her face. The girl's relaxed posture on the drum stands as a testament to the artist's mastery of the sculptors art and his attention to nuance in the playful inclusion of a cheeky monkey to accentuate the child's youthfulness and inherent sense of humour. The artist’s unparalleled artistry and expertise is evident in the drum's surface which boasts remarkable attention to detail. From the finely carved cords and the meticulously crafted escutcheons to the texture of the drumhead, particularly the stitching on an old tear, the precision of his work is exquisite. The texture of the girl's clothing and the intricate details of her physique are accentuated by a delicate play of light and shadow, bearing witness to the artist's deep anatomical understanding. The elegantly outstretched leg, lightly suspended in the drum strap, endows the figure with a dynamic, flowing quality which contrasts harmoniously with the tranquillity of her facial expression. The artist leads his audience on a contemplative journey of discovery full of the delight of uncovering subtle details such as the four classic card symbols. Astorri adds his characteristic touch of realism to this majestic piece through the skilfully crafted base. Representing a humble wooden crate resting on a finely sculpted yet rustic net, Astorri adds yet another layer of depth to this masterpiece. ASTORRI or ASTONI, ENRICO was an esteemed Italian sculptor. Born in San Lazzaro Alberoni on 10 March 1859, he passed away in Milan on 15 October 1921. Having initially studied in Parma before moving to Genoa, he ultimately honed his craft in Milan, where he took up residence at an impressively young age. His notable works include the monument to 'Vittorio Emanuele II' in Parma (1879), exhibitions in Turin (1884) featuring the marble statues 'La sérénade' and 'Attraction', and other significant contributions in Milan, Venice, and Bologna throughout the 1880s. His engagements extended to London exhibitions, and his prolificacy was evident in the latter part of the century, with extensive travels and commendations in Uruguay, Argentina, Russia, and beyond. His oeuvre can be found in public collections in Piacenza and Trieste.
Victor Werner
camille marc sturbelle
Camille Marc Sturbelle (Brussels 1873-1944 Sint-Lambrechts-Woluwe) Pair of outdoor sculptures of shepherd dogs, 1925 Bronze with green patina The dog in a standing position is signed and dated Sturbelle, 1925 - H 88 x W 115 x D 37 cm The dog in a seated position is signed and dated Sturbelle, 1902 - H 113 x W 59 x D 37 cm Both sculptures bear the name of the foundry Fonderie Nationale Des Bronzes, St. Gilles Bruxelles Provenance: private collection Literature: Pas, W. & G., ARTO 2000 Biografisch Lexicon Plastische Kunst in België, p. 370; Museum: A bronze sculpture made by the same artist (depicting an English bulldog) can be found in the collection of the Royal Museum of Fine Arts Antwerp (KMSKA)