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Floris van Wanroij Fine Art
jan mertens
Jan Mertens the Elder (active in Antwerp circa 1473-1509) Saint Anne Selbdritt, circa 1490-1500 Oak, carved in high relief H 85 cm Provenance: private collection, The Netherlands; anonymous sale, Christie’s, Amsterdam, 23 March 1983, lot 228, with ill.; With Limburg Antiquairs; Brouwershaven, Zierikzee and Düsseldorf, 1983-1984; private collection, Antwerp Literature: Stuurman-Aalbers, J & Stuurman, R., Internationaal Jaarboek Kunst en Antiek Veilingopbrengsten 1982, Utrecht/Antwerp, 1983, Spectrum, p. 180, n° 8, with ill.; Tableau (Dec 1983/Jan 1984). As Nether Rhine circa 1500, with ill.; Engelen, C., Jan Mertens en de laatgotiek, Confrontatie met Jan Borreman, Essay tot inzicht en overzicht van de laatgotiek, Leuven, 1993, p. 121, with ill. (chapter VII, Sint-Anna-Ten-Drieën, pp. 119-127). Reference literature: BRAFA catalogue, 2005, p. 362
Galerie Taménaga
georges rouault
Georges Rouault (Paris, 1871-1958) Pierrot accoudé, 1932-1939 Oil on paper laid on canvas 65 x 55.5 cm Provenance: Galerie Jean-Claude Bellier; private collection Literature: Olivier Nouaille et Olivier Rouault, Rouault L’Oeuvre Peint, vol. 3, Fondation Georges Rouault, 2022, n° 3751-3233, ill. p. 203
Galeries AB & BA
joan miró
Joan Miró (Barcelona 1893-1983 Palma de Mallorca) Untitled, 1949 Oil, watercolour, pastel crayon and charcoal on paper 32.5 x 25 cm Signed and dated on reverse, 1949 Provenance: Pierre Matisse Gallery, New York; J. Reiss collection, Wisconsin; private collection, Paris Literature: J. Dupin and A. Lelong-Mainaud, Joan Miró, Catalogue raisonné, Drawings II, Editions Daniel Lelong – Successió Miró, 2010, vol. II, p. 185, n° 1184 Exhibition: Milwaukee Art Center, Wisconsin Collects, 24 September-25 October 1964, p. 15, cat. 132
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.
Galerie de la Béraudière
félix labisse
Félix Labisse (Marchiennes 1905-1982 Neuilly-sur-Seine) Histoire naturelle, 1943 Oil on canvas 72.7 x 59.4 cm Provenance: Jacques Arnold Croquez, Paris; Galerie Isy Brachot, Brussels and Paris (acquired from the above); collection Jean-Luc Lagardère, Paris; sale Christie's, London, 6 February 2007, lot 127; private collection Literature: Robert Desnos, Félix Labisse, Paris, 1945, (not paginated); Newsweek, New York, 10 February 1947 (ill.); C'est Paris, June 1950 (ill.); Louis Pauwels, Gurdjieff, Isle of Man, 1963; Patrick Waldberg, Félix Labisse, Brussels, 1970, (ill. p. 129; in its first state); Jean Cassou, Isy Brachot (eds.), Labisse, Catalogue de l'oeuvre peint, 1927-1979, Brussels, 1979, n° 164, ill. p. 92; Véronique Prat, A Félix Labisse, cent mille diables reconnaissants, in Figaro Magazine, 11 September 1982, p. 87 (ill.) Exhibitions: 2017, Brussels, Galerie de la Béraudière, La figure animalière; 2016, Brussels, Galerie de la Béraudière, Chefs d'œuvre de la galerie et Surréalisme; 2005-2006, Douai, Musée de la Chartreuse, Félix Labisse, 1905-1982, Exhibition rétrospective du centenaire de sa naissance, n° 23, ill. pp. 93 and 139 (this exhibition later travelled to Carcassone, Musée des Beaux-Arts, February-May 2006); 1986, Douai, Musée de la Chartreuse, Hippodrome, Rétrospective Félix Labisse, n° 14, ill. p. 49; 1979, Ostend, Casino Kursaal, Labisse, 50 ans de peinture, n° 51; 1978, Paris, Grand Palais, Salon des artistes français, Magritte, Delvaux, Labisse; 1960, Knokke, Casino, Rétrospective Félix Labisse, n° 9; 1953, Ostend, Kursaal, Art fantastique, n° 59; Brussels, Palais des Beaux-Arts, Félix Labisse, n° 9; Liège, Musée des Beaux-Arts, Félix Labisse, n° 6; 1947, New York, Whitney Museum, Painting in France; 1945, Brussels, Palais des Beaux-Arts, Jeune peinture française, n° 29; 1944, Paris, Galerie René Drouin, Le nu dans la peinture contemporaine
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Galerie Berès
Jean Degottex (Sathonay-Camp 1918-1988 Paris) IMPA-VIDE (II), 1959 Oil on canvas 199 x 130 cm Signed lower right ‘Degottex’; signed, titled and dated on the back: Degottex IMPA-VIDE (II) 1959 This work will be included in the catalogue raisonné of Jean Degottex Inclusion certificate n°2023-34 issued by Comité Jean Degottex dated 21 November 2023 Provenance: private collection Exhibitions: Les Alliances, Les Dix-huit vides, Galerie internationale d'Art contemporain, séquences sonores de Pierre Henry, Paris, 26 November-31 December 1959 Jean Degottex was born in Sathonay-Camp on 25 February 1918 and died in Paris on 6 December 1988. Degottex was a French abstract painter, best known for his initial proximity to the lyrical abstraction movement of the 1950s and 1960s. In his own words, his work gradually moved from gesture and sign to writing, and then from writing to line. Considered a major artist of abstraction in the second half of the 20th century, he drew inspiration from Far Eastern calligraphy and Zen philosophy to achieve the obliteration of the creative subject. In 1958, he joined the Galerie internationale d'art contemporain, directed by Maurice d'Arquian. There he rubbed shoulders with Pierre Henry, Yves Klein and Maurice Béjart. He became better known abroad, particularly in Belgium, Switzerland, Italy and Germany. The period from 1956 to 1963 was particularly productive. He worked in series/suites: suite Ashkénazi (1957), suite Serto (March-April, November 1957), suite des Hagakure (November 1957), les 18 Vides (1959), suite des Roses (1960), suite des Alliances (1960), les 7 Métasignes (1961), Jshet (1962). Many of his works were then entitled Écriture, Suite Écriture. EXHIBITION Les Alliances, Les Dix-huit vides, Galerie internationale d'Art contemporain, sound sequences by Pierre Henry, Paris, 26 November-31 December 1959 Jean Degottex joined Maurice d'Arquian's Galerie Internationale d'Art Contemporain in 1958. Maurice d'Arquian was particularly keen on the confrontation between different forms of creation. He organised performances in his gallery and brought the composer Pierre Henry into contact with the painter. In 1959, the artist exhibited Alliances, eighteen empty forms, and Pierre Henry produced sound sequences inspired by the 18 empty spaces on display. The music will be played throughout the exhibition. The title ‘IMPA-Vide’ (II) corresponds to the eighteen forms of emptiness listed in the Mahâ-prajnâpâramitâ (The Treatise on the Great Virtue of Wisdom).
Galerie von Vertes
George Condo (New Hampshire, Concord 1957) Female composition, 2006 Oil on canvas 165.1 x 152.4 cm Verso signed and dated 'Condo 06' George Condo, Female Portrait, 2006 'Deep into that darkness peering, long I stood there, wondering, fearing, doubting, dreaming dreams no mortal ever dared to dream before'. Edgar Allan Poe Like the ‘Manichini’ or metaphysical mannequins of Giorgio de Chirico that reject a face as a symbol of status and identity, Female Composition is created as a hand puppet on a stick wearing a distinguished cloak, mocking the traditional depictions of the female portrait as seen in the works by Parmigianino, Rembrandt, and Picasso. This ironic interpretation depicts the woman as a faceless puppet with breasts, a cape, neckless and head topped with a carrot. Condo simultaneously offers a deep respect for art history and a blatant disregard for conventional narratives. In his own words: “As far as I’m concerned, the Renaissance was yesterday, and Cubism was a hundred years before it.” (George Condo quoted in Simon Baker, George Condo: Painting Reconfigured, New York 2015, p. 104). Female portrait perfectly encapsulates Condo’s concept of Artificial Realism. Exploring the carefully constructed conventions of traditional portraiture and how our reality is made up of artificial components, this majestic dystopian portrait ingeniously challenges the artificiality of visual representation.
Samuel Vanhoegaerden Gallery
james ensor
James Ensor (Ostend, 1860-1949) Coquilles et Statuettes, 1934 Oil on wood panel 40 x 50 cm Signed lower right ‘Ensor’ , signed and titled on verso This work is included in the catalogue raisonné of the complete paintings of James Ensor by Xavier Tricot, n° 641 Provenance: private collection, Belgium (acquired ca. 1970); by descent from the above to the present owner; sale Sotheby’s London, February 2012, lot 187; Samuel Vanhoegaerden Gallery, Knokke; private collection, Brussels Literature: X. Tricot, James Ensor, The complete paintings, Mercatorfonds, Brussels, 2009, p. 383, n° 641
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
Galerie Dina Vierny
Serge Poliakoff (Moscow 1900-1969 Paris) Composition abstraite, 1956 Oil on burlap 81 x 130 cm Signed lower left 'Serge Poliakoff' Provenance: Dr. Franz Meyer collection, Zürich; sale Perrin-Royère-Lajeunesse, Versailles, 10 December 1989, lot 113; private collection, Switzerland; sale Christie's, London, 29 June 2000, lot 343; private collection; Galerie Applicat-Prazan, Paris; private collection (acquired from the above in 2003); Galerie Dina Vierny, Paris Literature: J. Grenier, 'Poliakoff', in L'Oeil, March 1958, n° 39, ill. p. 31; G. Bernier, Modern Art Yesterday and Tomorrow, 1960, ill. p. 121; La Gazette de l'Hôtel Drouot, 30 September 1994, ill. p. XXIII; La Gazette de l'Hôtel Drouot, n° 41, 24 November 1994, ill. p. 291; A. Poliakoff, Serge Poliakoff: Catalogue raisonné, vol. II, 1955-1958, 2010, n° 56-38, ill. p. 128 Exhibitions: Paris, Galerie Bing, Serge Poliakoff, 1956; Künzelsau, Museum Würth, Serge Poliakoff, 1997-1998; Wien, Kunstlerhaus, Serge Poliakoff, 1998
Stéphane Renard Fine Art
giuseppe porta
Attributed to Giuseppe Porta (Tuscany 1520-1575 Venice) Allegory of Chastity Black chalk and white highlights on faded blue paper, lined with laid paper 15.5 x 12.8 cm 17th century Dutch frame in ebony veneer Provenance (of the drawing): Sir Peter Lely (1618-1680), his mark lower right (Lugt 2092), until its sale in April 1688, when our drawing was bought by William Gibson (1644-1702) from the inscription on the verso; Sir Lawrence Gowing (1918-1991), label on the original mounting board Provenance (of the frame): Marquis Carlo Camillo Visconti Venosta (1879-1942), from a stamped inscription on the verso of the frame; Cadres Lebrun
Floris van Wanroij Fine Art
abel grimmer
Abel Grimmer (Antwerp, circa 1570-circa 1618) Landscape symbolising the season of spring Oil on panel 25 x 36 cm Provenance: sale London, 1956; with Kunsthandel P. de Boer, Amsterdam, with label verso; private collection A. Heyn, Aerdenhout, 1961, by descent; private collection, The Netherlands Literature: Exh. cat., 1961, Kunsthandel P. de Boer. Amsterdam, cat. n° 28, with ill.; Exh. cat., 1965, De landman en de muze. Een tentoonstelling van schilderijen, aquarellen, tekeningen, grafiek, beeldhouwwerken en handschriften. Haarlem, with ill.; Berthier de Sauvigny, Reine de, Jacob et Abel Grimmer, Catalogue raisonné, Brussels, 1991, p. 302, n° 6 Exhibition: Frans Halsmuseum, Haarlem, 14 June 1965-29 August 1965, De landman en de muze. Een tentoonstelling van schilderijen, aquarellen, tekeningen, grafiek, beeldhouwwerken en handschriften, n° 16
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Univers du Bronze
rembrandt bugatti
Rembrandt Bugatti (Milan 1884-1916 Paris) Deux grands léopards, circa 1913-1914 Bronze, richly shaded black brown patina H 32.5 x W 108.7 x D 16.7 cm Bronze signed 'R.Bugatti', cast by Albino Palazzolo for 'A.A Hébrard cire perdue, Paris' (seal), second example inscribed (2) from an identified edition at 8 examples (circa 1914-1934) Cast in 1918 This model is typical of Bugatti’s way of depicting couples in a peaceful attitude, insisting on the fluidity of the line and the delicacy of the modelling: the first Leopard's barely raised left foreleg – a hesitation to walk ? – and the tail of the second, extending the scene to the rear, are the signatures of his work. The group belongs to the sculptor’s so-called Cubist period, when volumes become as if mathematised; and finally, of the patinas known for this model, the naturalistic red-brown colour is the most suited to the subject and also the one most sought-after by collectors. In Rembrandt Bugatti’s 326-issues in the catalogue raisonné, the 'Deux grands léopards' are one of the most imposing groups of beasts in this collection, after 'Les trois panthères marchant' from Bonhams in 2024 and the 'Deux panthères' from Rouillac in 2020. The edition is identified at 8 examples, all cast between 1915 and 1934. Ours is the second, cast in 1918.
Maurice Verbaet Gallery
louis van lint
Louis Van Lint (Brussels, 1909-1986) Mirage marin, 1957 Oil on hardboard 109 x 274.5 cm Provenance: Belgian Nuclear Research Center (SCK-CEN), Mol, Belgium Literature: Delevoy, Robert L. Association pour la Diffusion Artistique et Culturelle. Quadrum 6: Revue Internationale d'Art Moderne (Brussels) 6 (1959), n° 1, ill. in b/w p. 141 Exhibitions: Centre for Fine Arts, Brussels, Belgium, Louis Van Lint, 1958; Palais des Beaux-Arts, Charleroi, Belgium, Hommage à Louis Van Lint; 32e Salon du Cercle Artistique et Littéraire, 8 March 1958-27 March 1958
Galerie Sophie Scheidecker
Philip Pearlstein (USA, 1924-2022) Seated Models on red and orange drapes, 1968 153.5 x 184 cm Oil on canvas Signed and dated 'Pearlstein 68' Exhibitions: Allan Frumkin Gallery, New York (with two labels on stretcher); Georgia Museum of Art, Georgia 1970; Massachusetts Institute of technology, Heyden Gallery 1971 (with label on reverse); Galerie M. E. Thelen, Köln; Galleri Östergren, Malmö (also printed three times on reverse)
Galerie Bernard De Leye
Circle of Franz Pourbus the Younger (1569-1622) Portrait of the Countess of Egmont, early 17th century Oil on canvas 206 x 130 cm Provenance: Berlaymont Monastery, Belgium Frans Pourbus, known as Le Jeune, came from a family of painters whose father Frans the Elder and grandfather Peter were also portraitists. As a master in the Antwerp guild of Saint Luke in 1591, he moved to Brussels a few years later, where he joined the court of the Archdukes Albert and Isabella. Frans Pourbus was commissioned to paint portraits of Marie de Médicis, Louis XIII and Marie-Marguerite de Berlaymont, Countess of Egmont. Marie-Marguerite de Berlaymont was the daughter of Count Florent de Berlaymont and Marguerite de Lalaing, founder of the Berlaymont Convent. She celebrated her first marriage with great pomp in 1610, but was widowed three years later. In 1621, she married Louis, Count of Egmont, Prince of Gavre, Grand Duke of Spain and Knight of the Golden Fleece. He was the grandson of the famous Count of Egmont, who was beheaded by order of Philip II in 1568 in the Grand-Place in Brussels. Marie-Marguerite died in 1654.
Galerie Cento Anni
gaston le borgeois
Gaston Le Bourgeois (France, 1880-1956) Pigeon voyageur, circa 1924 Dark brown patinated bronze H 20.5 x W 28.5 x D 10 cm Model created in 1924, old-fashioned cast, most probably by Colin, foundryman Signed with the monogram stamp GLB and numbered 12/20 (in the monogram) on the left leg With thanks to Noël Cailly, the artist's grandson and successor, for confirming the authenticity of this piece Provenance: Lucienne Lazon (1910-2007) collection Lucienne Lazon was a painter, engraver and jeweller, the creator of the first Golden Palm at the Cannes Film Festival in 1955. Lucienne Lazon and Gaston Le Bourgeois both lived in Rambouillet. In addition to their professional encounters at exhibitions, notably those of the Société des Artistes Décorateurs, of which they were members, they saw each other regularly in Rambouillet, and the sculptor gifted some of his work to the jeweller on several occasions.
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Marc Heiremans
dino martens
Dino Martens (Venice, 1894-1970) For Aureliano Toso Murano, Italy, 1953 Oriente Rubinio (model 5242) Free-blown glass decorated with enclosed ground glass, flattened zanfirico pieces and transparent coloured glass squares H 34 x Ø 14.5 cm Provenance: acquired from an important German collection Literature: Heiremans M, Dino Martens, Muranese glass designer, Stuttgart, 1999; Heiremans M, Vetreria Aureliano Toso, Murano 1938-1968, Stuttgart, 2016 Exhibitions: XXVIa Espoizione Biennale Internazionale d'Arte, Venice 1952; Vidros de Murano em Lisboa, Lisbon 1961 The present object represents not only the Muranese fifties in full splendor by the combination of bold primary colors but is on its own also emblematic for the glass designs of the Venetian painter Dino Martens. Technically seen, it is the culmination of Martens experiments in coloring glass through ground glass. This series was presented as the 'Oriente', named after their vivid coloring - at the time a novelty on Murano - which reminded Martens of his years in East Africa. The line was firstly presented at the XXVI Biennial of Venice in 1952. Though seemingly arbitrarily, the composition - which consists of ground glass, transparent colored glass squares, flattened zanfirico canes and fragments of broken reticello vessels - was first carefully arranged on a flat surface before being heated and picked-up with a colorless blown form. Iconic because designed by a painter, alien to glass making.