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N. Vrouyr
Kinheim rug Dutch rug produced in the workshops of Kinheim (Beverwijk), circa 1930, after 1926 Handknotted wool 530 x 405 cm Signed at the back 'KON. KINHEIM BEVERWYK' Provenance: Beverwijk, Holland Kinheim rugs, Beverwijk workshops, Holland (1910-1973) According to the trade register, Hendrik Godefridus Polvliet founded the carpet workshop “Kinheim” on September 1, 1910, at Zeestraat 104 in Beverwijk. The company was originally located on Vondellaan in Beverwijk, which at the time was called Spargielaan. His wife, Mrs. C.M. Polvliet–Van Hoogstraaten (1883–1966), had already started the handwoven carpet workshop “Kinheim” there in 1909. At first, carpets were woven by hand on a small scale. The couple became interested in carpet weaving during a stay in Morocco, where they lived for some time due to Mr. Polvliet’s health problems. Because of recurring asthma attacks, he had been advised to stay for extended periods in warm, dry climates. During this time, Mrs. Polvliet taught herself knotting and weaving techniques and drew many patterns. Initially, the carpets were sold to family and friends. Orders soon began to pour in, and thanks to Mrs. Polvliet–Van Hoogstraaten’s skill, the business grew rapidly. After just a year, in 1911, it moved to Zeestraat and employed about twelve girls. A major commission for 15 carpets for the Peace Palace in 1913 required a larger workshop. The couple had a 144-meter-long wooden workshop built behind their house at Zeestraat 104. This made it possible to weave large hand-knotted carpets behind the residence. Within ten years, the company was well known throughout the Netherlands for its quality and artistic originality. Their own designs, inspired by Oriental motifs, quickly found their way into ships, palaces, city halls, and council chambers. On May 19, 1926, the company was granted the title “Royal.” The founder did not live to see this honor, as he had died on June 17, 1923. His widow, Cornelia Maartina Polvliet–Van Hoogstraaten, continued the business under the new name “Royal Handwoven Carpet Workshop Kinheim.” In addition to private commissions, the company produced many carpets for Dutch passenger ships, such as the Johan de Witt (designed by Lion Cachet), the Nieuw Amsterdam, and many others. Municipal and provincial governments also commissioned important works. For instance, Kinheim carpets can be found in the council chamber of Amsterdam and in the council houses of Den Bosch, De Bilt, Enschede, Uithoorn, and Beverwijk, as well as in the provincial government buildings of Maastricht and Haarlem. In the latter, stair runners designed by Jo de Jong are among the works. Carpets were also supplied to offices such as those of the Netherlands Trading Society and the Shipping House. Highlights for the workshop included commissions from the Royal House. Kinheim made a dining room carpet for Soestdijk Palace designed by Mrs. Brom-Fischer and carpeting for the royal yacht Piet Hein. Notably, the Sultan of Deli (in 1938) and the Shah of Persia also placed orders with Kinheim. After an initial period of prosperity, the workshop suffered a setback due to World War I, but it flourished again in the 1920s. At that time, the many commissions provided employment for around 60 women and girls. During the economic crisis of the 1930s, the company survived by focusing on simpler techniques, producing the cheaper “konkit carpet,” woven with coarse knots and undyed materials. During World War II, the business, which had in 1941 passed into the hands of Mr. Keizer from Hilversum, came to a standstill. Work resumed after 1945 under the leadership of Mr. and Mrs. Mastenbroek. Many large commissions were once again completed for government buildings, ships, and businesses. The company then employed between 30 and 40 women on average, sometimes as many as 60. Later, changes in taste and economic conditions, particularly the decline in orders from shipping companies, caused a sharp drop in demand for hand-knotted carpets made with special patterns. These and even plain rugs were increasingly replaced by much cheaper, machine-made carpets. Kinheim completed its final commission in early 1973, and in April of that year, the Beverwijk workshop closed. Well-known designers who worked for Kinheim included Jac. van den Bosch, C.A. Lion Cachet, Theo Nieuwenhuis, and Dirk Verstraten. Kinheim was the only company in the Netherlands where carpets were knotted following the classical Oriental method. Each carpet required a vast number of working hours. The size of the carpet determined how many girls worked on it: a narrow runner or cushion cover was made by one girl, but a large carpet could involve 8 to 10 workers. The women ranged in age from 15 to 60. A carpet with 40 knots per square centimeter and a size of 2 by 3 meters contained about two and a half million knots. A skilled knotter made 5,000 to 8,000 knots a day, meaning that such a carpet required around 350 working days. The early carpets of the Kinheim Carpet Workshop (before 1926) were marked on the back with the words “Kinheim” and “Beverwijk,” along with an image of a swastika. After the company received the “Royal” title in 1926, the swastika mark was replaced by a crown or the abbreviation ‘KON.’.
Alexis Lartigue
jean-paul riopelle
Jean-Paul Riopelle (Montreal 1923-2002 Saint-Antoine-de-l'Isle-aux-Grues) Untitled, 1955 Watercolour and ink on paper 64 x 49 cm Signed lower right 'Riopelle 55' Provenance: Claude Duthuit private collection Literature: Catalogue raisonné Jean Paul Riopelle, tome 2, 1954-1959, p. 368
Heutink Ikonen
Anastasis Russia, circa 1600 32.5 x 26.5 cm The Anastasis (resurrection) of Christ and the victory over the realm of death are central to this icon. Christ, surrounded by a radiant mandorla, tramples the gates of the underworld and pulls Adam up from a stone coffin by his wrist. Behind Adam stands John, pointing to Christ with his hand and addressing a group of Old Testament prophets and forefathers. To the right of Christ are Eve, Kings David and Solomon, and the prophet Daniel, amongst others. At the bottom right, Christ can be seen rising from his own tomb
Galeria Bessa Pereira
Sergio Rodrigues (Rio de Janeiro, 1927–2014) 'Kilin' chair, 1970s Solid wood, leather H 68 x W 68 x D 68 cm Origin: Brasil Provenance: private collection, Rio de Janeiro; Galeria Bessa Pereira collection Literature: Vicente, A., & Vasconcellos, M. (Comps.), Móvel moderno brasileiro (1st edition), São Paulo: Olhares, 2017, p. 302; Cals, S, Sergio Rodrigues, Rio de Janeiro: Icatu, 2000, p. 142
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Van Pruissen Asian Art
tokuda yasokichi iii
Tokuda Yasokichi III alias Kutani Masahiko (Japan, 1933-2009) Porcelain vase Japan, late 20th century H 29.5 cm Signed ‘Kutani Masahiko’ on the base Literature: Yosai - Tokuda Yasokichi Sakuhinshu (The works of Tokuda Yasokichi), Kodansha 1995, Japan This elegant Kutani porcelain vase by Tokuda Yasokichi III - designated a Living National Treasure in 1997 - exemplifies his groundbreaking approach to traditional ceramic art. The slender, tapering body is enveloped in a rich aubergine glaze, punctuated by a single iridescent blue stripe flowing vertically from the mouth to the base. This striking effect was created using Yasokichi’s innovative saiyū (polychrome overglaze) technique, which brought new luminosity and abstraction to Kutani ware. Born Masahiko, Yasokichi III redefined the possibilities of Kutani ceramics, elevating them into a modern art form. Today, his works are held in leading international museum collections, including the Metropolitan Museum of Art and the British Museum.
Mearini Fine Art
Romano Alberti (Sansepolcro, 1502-1568) known as Nero Alberti da Sansepolcro o Maestro di Magione Sora Giulia Italy, 16th century Polychrome sculpture of stucco and paper mache constructed around a wooden core H 70 cm Provenance: private collection Literature: Sculture da vestire, Nero Alberti da Sansepolcro e la produzione di manichini lignei in una bottega del cinquecento. Cat. pp 69-70 and pp. 175-176 Exhibition: Museo di Santa Croce, Umbertide (Pg), 2005
Galerie Raf Van Severen
anne-pierre de kat
Anne-Pierre De Kat (The Netherlands, Delft 1881-1968 La Frette-sur-Seine, France) Femme à la cigarette, 1921 Oil on canvas 102 x 80 cm Signed bottom left Provenance: private collection, Knokke-Heist Literature: Paul Caso, Anne-Pierre De Kat, Une vive intelligence visuelle, Les Editeurs d'Art Associés Exhibition: Guillaume Campo, Meir 47-55 Antwerpen, Exposition n° 121 (label at the back)
Objects With Narratives
ben storms
Ben Storms (Ghent, 1983) Crushed room divider, 2024 H 195 x W 160 x D 45 cm Stainless steel, gold leaf Provenance: the artist's studio The purpose of this volume is deliberately ambiguous. The object is primarily sculptural, a monumental entity that redefines a space. Yet in doing so, it also reveals its potential function. In the way that the work structures a space, it turns out to be a divider that demarcates and defines compartments or areas. The starting point for this room divider and sculpture is essentially a provisional form. A composition of several sheets of metal welded together with air in between - think of Ben’s In Hale series, but in a different sense. The actual form is then created by subjecting this makeshift composition to external forces, crushing the surfaces until the volume finds its current state.
Almine Rech
tom wesselmann
Tom Wesselmann (USA, Ohio 1931-2004 New York) 'Smoker Study (For Smoker #11)', 1972 Oil on canvas 29.2 x 29.2 cm 46.4 x 46.4 x 3.8 cm (framed) Examined by the WPI's Wesselmann committee on 13 December 2023, for inclusion in the forthcoming catalogue raisonné Provenance: estate of the artist Courtesy of the Estate of Tom Wesselmann and Almine Rech / Photo: Thomas Barratt Smoker Study (For Smoker #11), 1972 belongs to Tom Wesselmann’s Smoker series, which the artist began in 1967. Born out of a desire to isolate and further investigate the representation of lips and the act of smoking, the Smoker series also found its origin in advertising, and stands as testament to the major role Wesselmann occupied in the birth and development of the Pop aesthetic. Today, Wesselmann’s Smoker paintings are among his most renowned works. The series began with Smoker, 1 (Mouth, 12), 1967, which is now held in the Museum of Modern Art in New York. Wesselmann found photography to be a useful medium to capture his models in poses he would later translate to larger scale works. On one occasion, his friend Peggy Sarno lit a cigarette during a modeling session. Wesselmann took some photographs of her as she inhaled, still posing in a reclined position. This moment inspired the Smoker series, which is characterised by the presence of vivid red lips juxtaposed with curling white smoke. Smoker Study (For Smoker #11) is both bold and intimate, capturing a single moment of pleasure in a complex and ambitious composition indicative of the artist’s experimentation with subject, form, and color. In mid-century America, cigarette advertisements were incredibly elaborate, among the most sophisticated forms of marketing. As well as standing as an example of Wesselmann’s fascination with popular culture and the female body, Smoker Study (For Smoker #11) also demonstrates the artist’s mastery of oil paint, attention to detail, and sophisticated compositional style. In the 1960s, Wesselmann had been developing his Great American Nudes series when he was inspired to focus on specific details of female figures. In an almost fetishistic act, he started isolating elements of the female figure, creating smaller preparatory pieces as well as larger scale works depicting hands, breasts, and lips. Out of this approach his Mouth paintings and Smoker Series, works such as Smoker Study (For Smoker #11) were born. Tom Wesselmann (1931–2004) was one of the leading American Pop artists of the mid-20th Century. Departing from Abstract Expressionism, he explored classical representations of the nude, still life, and landscape, while incorporating everyday objects and advertising ephemera. Wesselmann was born in Cincinnati, Ohio, on February 23, 1931. He attended Hiram College in Ohio from 1949 to 1951 before entering the University of Cincinnati. In 1953, his studies were interrupted by a two-year enlistment in the army, during which time he began drawing cartoons. He returned to the university in 1954 and received a bachelor’s degree in psychology in 1956. During this time, he decided to pursue a career in cartooning and enrolled at the Art Academy of Cincinnati. After graduation he moved to New York City, where he was accepted into the Cooper Union and where his focus shifted dramatically to fine art.
Alexis Lartigue
victor vasarely
Victor Vasarely (Pecs 1908-1997 Paris) Dell-Yell, 1972 Acrylic on panel 48 x 48 cm (in square) 68 x 68 cm (in diamond shape) Signed lower center, signed, dated and titled at the back Authenticity confirmed by the Vasarely Foundation Provenance: succession from the Paris region (in their collection since the early 70s)
Galerie AB - Agnès Aittouarès
jean-paul riopelle
Jean-Paul Riopelle (Montréal 1923-2002 Saint-Antoine-de-l'Isle-aux-Grues) Composition, 1964 Gouache on paper 46 x 67 cm Signed and dated lower right Provenance: French-Canadian private collection; private collection, Paris Literature: Pierre Schneider, Riopelle. Signes mêlés, Maeght éditeur, Paris, 1972, no. 124, p. 119; Catalogue of the exhibition 'Les Très riches heures de Jean Paul Riopelle', Musée Le Chafaud, Percée, 2000, reproduced on p. 23; Yseult Riopelle, Jean-Paul Riopelle. Catalogue raisonné, volume 3, Hibou Éditeurs, Montreal, 2004, p. 302, reproduced in colour under reference 1964.010P.1964 Exhibitions: Riopelle. Mixed Signs, Maeght Gallery, 1972; The Very Rich Hours of Jean Paul Riopelle, Le Chafaud Museum, Percée, 2000
Galerie Nicolas Bourriaud
marcelle delcour - guinard
Marcelle Delcour-Guinard (Switzerland, Meyrin 1896-1978 France) Bather, 1931 Marble sculpture H 172 x W 45.5 x D 46 cm Signed ‘M Delcour-Guinard’ and dated 1931 Unique piece Provenance: the artist's family collection Exhibition: Salon des Artistes Français, 1932, Baigneuse, statue de marbre, n° 3675 Born in Cointrain (Canton of Geneva), Marcelle Delcour trained at the Regional School of Fine Arts in Rennes and studied under the sculptors Laurent Marqueste (1848–1920) and Victor Ségoffin (1867–1925), the head of the sculpture studio for female students at the École nationale supérieure des beaux-arts in Paris. In 1920, she married the painter Robert Raoul André Guinard (1896–1989), with whom she spent two years in Morocco in 1934. Upon returning to France in 1936, the couple settled in a small village called Crécey, in the commune of Saint-Pair-sur-Mer: he painted, she sculpted. Benefiting from the post–Second World War reconstruction projects, she received numerous commissions from Canon Pinel to restore works of art preserved in the churches of the Manche region. Anne Delcour-Guinard exhibited regularly at the Salon des Artistes Français from 1924 to 1932. In 1924, the committee of the Association des artistes peintres, sculpteurs, architectes, graveurs et dessinateurs (Fondation Taylor) awarded her the Prix Galimard-Jaubert on May 27. In 1925, she received an honourable mention, and in 1932, a bronze medal for La Baigneuse, a marble sculpture. The work was then displayed in a place of honour at the centre of the nave of the Grand Palais. The sculpture is indeed remarkable for its life-size proportions and its distinctive 1930s style, which, in the spirit of Art Deco, celebrates the female form - elongated, elegant, and liberated. She is embodied here as the garçonne: short-haired, athletic, and modern, asserting her nudity without false modesty, revealed through the graceful gesture of her folded arm and offered to the viewer’s gaze.
Ars Antiqua
viviano codazzi and jan miel
Viviano Codazzi (Italy, Bergamo 1604-1670 Rome) and Jan Miel (Belgium, Beveren 1599-1663 Turin, Italy) Architectural Capriccio with a View of Saint Peter's Basilica and Classical Antiquities First half of the 17th century Oil on canvas 149 x 200 cm Authenticated by Professor Alessandro Agresti
Galerie Flak
Yipwon hook figure Korewori river, Papua New Guinea, 19th century or earlier (C-14 test) Carved wood H 200 cm Provenance: Merrin Gallery, New York; Californian artist Tony Berlant collection; acquired from the above in the 1980s; Michael Hamson collection, USA; Dr. Jean-Philippe Beaulieu collection, France; acquired from the previous in 2022
Galerie BA - Berthet Aittouarès
pierre tal coat
Pierre Tal Coat (Clohars-Carnoët 1905-1985 Saint-Pierre-de-Bailleul) Untitled, 1968-1969 Oil on paint tube lid H 18.5 x W 9.5 x D 4.5 cm This work is listed in Tal Coat's online catalogue raisonné under number XD-1969-017 Provenance: private collection Literature: Rodari Florian, Pierre Tal Coat Biographie commentée par les textes, edited by the Domaine de Kerguéhennec, Département du Morbihan, 2017; Marc Donnadieu, Anne de Staël, Pierre Tal Coat - Surgissement de la peinture, exhibition's catalogue, Galerie Berthet-Aittouarès, 2023 Exhibitions: Pierre Tal Coat - Surgissement de la peinture, Galerie Berthet-Aittouarès, Paris, 2023; Tal Coat - L'image est émergence, 21 bis Mirabeau, espace culturel départemental, Aix-en-Provence, 2025
Collectors Gallery
ettore sottsass
Ettore Sottsass (Austria, Innsbruck 1917-2007 Milan, Italy) 18ct gold ring, 1984-1986 Ring with a long rectangular table featuring a black onyx disc and diamonds Designed by Sottsass for Cleto Munari, Milan Produced in an edition of 9 Provenance: private collection, London Literature: Radice 1987, p. 78; Vezzosi 1990, p. 105