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Gilden's Art Gallery
pablo picasso
Pablo Picasso (Malaga 1881-1973 Mougins) Le bain de pieds, 1960 Brush and India ink drawing on wove paper 20.9 x 26.9 cm This ink drawing is dated 26.1.60.II in ink in the upper image. Picasso created this work on Tuesday 26 January 1960 Provenance: Forum Fine Art, Zurich; private collection, Switzerland; Christie's, London, 10 February 2005, lot 685 Literature: C. Zervos (1968), Pablo Picasso - Œuvres de 1959 à 1961, Paris, vol. 19, reference n° 137 (ill., pl. 32)
Costermans
Slant-front desk in European red and gilt lacquer, veneered with kingwood and marquetry of satinwood, stained maple and ebonised wood, enriched with finely chased and gilt bronze mounts, Louis XV period Stamped DELORME, the fall-front decorated with a stag-hunting scene. Provenance: L. Morton, Partridge Fine Arts – Recent Acquisitions, London, 1997, pp. 92–97, n° 38 (ill); T. Wolvesperges, Le meuble français en laque au XVIIIe siècle, Paris, 1999, p. 119, n° 71 (ill.)
Victor Werner
thierry van ryswyck
Thierry Van Ryswyck (Antwerp 1911-1958 Vallauris, France) Walking panther, 1929 Patinated plaster H 53 x W 133.5 cm x D 23 cm Name and address of the mould maker inscribed on the underside of the base: A. Hoefnagels, mouleur, Quai Cockerill 19, Anvers Signed and dated Th. Van Ryswyck 1929 Provenance: private collection
TASCHEN
salvador dalí
Salvador Dalí (Spain, Figueras 1904-1989) Dalí. BABY SUMO This collector’s edition of 10,000 numbered copies presents Salvador Dalí’s work in unprecedented size and detail and is accompanied by a chronology following his path from Catalonia through Paris to Hollywood and back, with photos, sketches, and magazine pages.
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
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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.
Hoffmans Antiques
Chandelier in the 'Retour d’Égypte' style Paris, early 19th century Attributed to Benjamin Ladouèpe-Dufougerias and the 'Manufacture de Cristaux de Montcenis' Ormoulu, patinated and fire-gilt bronze for twelve candles H 130 cm - Ø circa 80 cm Provenance: private European collection This magnificent chandelier exemplifies the short-lived yet influential 'Retour d’Égypte' style, which emerged in the wake of Napoleon’s Egyptian campaign (1798–1801). At its centre stands an amphora-shaped patinated urn, crowned with a flaming finial and surmounted by a pinecone. From the urn’s body spring twelve elegantly curved candle arms arranged in two tiers, richly ornamented with foliage motifs and set between four stylised Egyptian masks. The chandelier is suspended by four chains leading to an imposing corona adorned with leonine masks and voluted floral decoration. The style was largely shaped by the architects Charles Percier and Pierre François Léonard Fontaine, whose neoclassical designs laid the foundation for this decorative vocabulary. It endured only briefly before giving way to the Empire style with the establishment of Napoleon and the First French Empire. Provenance and Comparanda: A closely related chandelier for twelve lights, attributed to the Manufacture de Cristaux de la Reine, is preserved in the collections at Versailles, formerly installed in Marie-Antoinette’s inner cabinet at the Petit Trianon.
Galerie Oscar De Vos
frits van den berghe
Frits Van den Berghe (Ghent, 1883-1939) Ooidonk alley, 1923 Oil on canvas 48.5 x 55 cm Signed lower right: FVBerghe Provenance: Galerie Campo, Antwerp Literature: Boyens, P., Frits Van den Berghe 1883-1939 (1999), 396, n° 309 (ill.); Servaes, W., V. Van Doorne & R. Van Lerberghe, 1924 Honderd jaar later, exh. cat. (2024), 56-57 (ill. & cover) Exhibition: 2024, Sint-Martens-Latem, Latemse Kunstkring/ Gemeentehuis, 1924 Honderd jaar later, s.n. Ooidonk Alley belongs to the key works of Van den Berghe’s short but decisive stay in Bachte-Maria-Leerne (1922–1923). He lived there at the entrance of the quadruple beech-lined avenue leading directly to Ooidonk Castle. That place was an actual re-grounding – a breakthrough towards a new way of painting that no longer records, but constructs. Here, the Lys landscape is no longer seen ‘from the outside’, but becomes an inner building site. The trunks become cylindrical volumes, the soft bend of the road becomes a carrier of rhythm. The colour language definitively abandons the sombre earth tones of his Ostend years: a new clarity emerges, a ‘new spring’, in which light assumes a plastic role. Ooidonk Alley is thus a document of the moment in which Van den Berghe finds his modernity: pure form, condensed space, a landscape as architecture. This work shows how, at the end of 1922–1923, Van den Berghe redefined the Lys region: as an ordered space of line, colour and spirit – rather than a piece of nature.
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.
Univers du Bronze
Emile-Antoine Bourdelle (France, 1861-1929) Beethoven à la colonne aux yeux fermés (1901) Studio plaster as 'à bon creux' H 62.4 x W 32 x D 28.3 cm Signed in relief 'Bourdelle' in the mould. Artist example detailled on the front in autograph writing '"Moi, je suis Bacchus... le nectar délicieux, Beethoven", dedicated on the base on the left " A Mlle Henriette Charasson, très sympathiquement, E.A.Bourdelle", example reworked by him (with letters from the sculptor to the patron). Cast in 1910
Jan Muller Antiques
Netherlandish School, circa 1500 Triptych with the Crucifixion and scenes from the Passion Oil on panel 51 x 36.5 cm (closed) 51 x 73 cm (open) The gallery is grateful to Dr. Didier Martens for his expertise The Crucifixion with Saint Jerome and Saint Dominic and Scenes from the Passion, Original frame. This triptych depicts Christ on the Cross, flanked by the sorrowful figures of the Virgin Mary and Saint John the Evangelist. Kneeling at the foot of the Cross are Saint Jerome and Saint Dominic, the latter holding a rosary. In the landscape beyond unfold several scenes from Christ’s Passion, culminating in the Crucifixion. This version follows the composition preserved in the Scottish National Gallery, Edinburgh, which originally formed one half of a diptych. Its companion panel, depicting The Coronation of the Virgin, is held in the Museum Boijmans Van Beuningen, Rotterdam. The distinctive iconography is closely associated with the Dominican devotion to the Rosary. Surrounding the central Crucifixion are smaller narrative scenes illustrating key moments from the Passion of Christ: • Christ in the Garden of Olives: Following the Last Supper, Christ withdraws to the Garden of Gethsemane on the Mount of Olives. In deep anguish, he prays to be spared his suffering, while ultimately submitting to God’s will. • The Circumcision: According to the Gospel of Luke, this event occurred eight days after Christ’s birth, during the Brit Milah ceremony at which he received his name. • The Flagellation: This scene depicts the scourging ordered by Pontius Pilate, the customary prelude to crucifixion under Roman law. • Christ on the Cold Stone: The pensive Christ sits, crowned with thorns and bearing the marks of his scourging, his head resting in contemplation. This image reflects the influence of the Devotio Moderna, a movement that emphasized Christ’s human suffering as a model for personal devotion.
Giammarco Cappuzzo Fine Art
Giovanni Giacomo Sementi (Bologna 1584-1636 Rome) The Triumph of David, circa 1630 Oil on canvas 137 x 159 cm Provenance: private collection, Italy Literature: M. Francucci, Giovanni Giacomo Sementi, Un dipinto di soggetto insolito, in Arte Cristiana, n° 869, 2012, pp. 143-148; M. Pulini, Rimini per Simone Cantarini, opere da raccolte private, Rimini 2012, pp. 20-21, fig. 20; A. Pellicciari, I'Eredita’ di Guido Reni, in la pittura in Emilia e in Romagna. The Seventeenth Century, edited by Andrea Emiliani, Milano, 1992; G. Puglia, Il Bastaro, fig. 36, pag. 79; M. Francucci, il naturalismo classicizzato nella Roma di Urbano VIII, LibroCo Italy, Florence, 2013; Ariccia, Gian Giacomo Sementi, Quaderni del Barocco, 2021, p. 8 fig. 14
Van Herck-Eykelberg
René Magritte (Lessiness 1898-1967 Brussels) Untitled (1945 - 1946) Coloured crayons on paper 23.2 cm x 30.3 cm Signed lower left With certificate from the comité Magritte Literature: Whitfield, S., René Magritte. Newly discovered works. Catalogue Raisonné VI. Menil Foundation, Houston, Mercatorfonds, Brussel, Magritte Foundation, Brussel. Cat. VI.76. Ill. p. 105, 158; Torczyner, H., René Magritte. Tekens en beelden. Amsterdam, Meulenhoff/Landshoff, 1988, ill. p. 108 Exhibition: Philadelphia Museum of Art, Philadelphia, 1970
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
Virginie Devillez Fine Art
pierre-louis flouquet
Pierre-Louis Flouquet (Paris 1900-1967 Brussels) Féminités, circa 1923-1925 Oil on canvas 125 x 87 cm Signed lower right 'flouquet' Provenance: Galerie Patrick Derom, Brussels; private collection, Brussels; private collection, Brussels (by descent to the present owner) Literature: Serge Goyens de Heusch, Pierre-Louis Flouquet. 1900-1967, Brussels, Fondation pour l’Art belge, 1993, (ill. p. 56) Exhibitions: Brussels, Galerie Patrick Derom, The Avant-garde of the 1920s in Belgium, 1992, cat. n° 12 (ill.); Drogenbos, FeliXart Museum, L’Équerre / 7 Arts 1923, scenographic reconstruction of the fair stand of the publishing house L’Équerre, 2008-2011, no catalogue published Born in Paris, Pierre-Louis Flouquet was nine years old when his family moved to Brussels. Mainly self-taught, he received a brief artistic education at the Académie des Beaux-Arts in Brussels, where he met, among others, Victor Servranckx and René Magritte. The latter soon shared a studio with Flouquet, who began producing geometric works that represented a true synthesis of Cubism and Futurism. Throughout the 1920s, Flouquet exhibited frequently on the international stage - in Paris, Madrid, New York, Chicago, Buenos Aires, and Berlin, at the Galerie Der Sturm. For the gallery’s eponymous magazine, Flouquet even designed a large number of covers. During this period, he developed an art that evolved primarily through distinct series: Paysage plastique, Féminités, Composition, Formes, and Construction. The large-scale painting Féminités belongs to the series of the same name, begun in 1922, which explores geometric variations on the morphology of the female body. The rigor and purity that Flouquet infused into these anthropomorphic stylizations - further emphasized by his distinctive sense of composition - reveal his fascination with the formal perfection of the new technological creations of the modern age. Yet, in Flouquet’s work, as in that of Fernand Léger, such faith in mechanical forms does not lead to a total rejection of figuration, but rather to a search for plastic correspondences between the human and the machine. The composition Féminités is particularly harmonious, achieving a balance between line and color, enhanced by a marble-like background that lends warmth to the work.
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.
Galerie Cento Anni
andré lanskoy
André Lanskoy (Moscow 1903-1976 Paris) Un cas suspect, 1964 Oil on canvas 97 x 146 cm Signed and dated 'Lanskoy 64' Provenance: Galerie de Seine; private collection, Paris Certificate of authenticity from the Comité Lanskoy dated 4 April 2025 This work will be included in the forthcoming catalogue raisonné currently in preparation
Objects With Narratives
ben storms
Ben Storms (Ghent, 1983) Crushed cast glass coffee table, 2024 Cast Glass H 35 x W 150 x D 112 cm Provenance: the artist's studio Ben Storms’ recently developed method, which extends his already acclaimed In Hale series. The result is an idiosyncratic, sculptural entity that makes the applied force palpable, yet pauses and thus withdraws from it.
Beck & Eggeling International Fine Art
max ernst
Max Ernst (Brühl 1891-1976 Paris) Un Caprice de Neptune, 1959 Oil on canvas 27 x 35 cm Signed lower right 'max ernst' Provenance: Paolo Marinotti; Lawrence Rubin Greenberg Van Doren Fine Art, New York; private collection, Germany Literature: W. Spies, S. and G. Metgen: Max Ernst. Oeuvre-Katalog, Werke 1954-1963, Cologne, 1998, p. 194, n° 3425 (ill.) Exhibitions: 1961, June-July, Paris, Max Ernst sculptés, Galerie au Pont des Art Weill; 1966, 17 June-2 October, Venice, Max Ernst, Oltre la pittura, Palazzo Grassi, cat. n° 7 (ill.); 1979, Munich, Max Ernst, Retrospektiv, Haus der Kunst, cat. n° 296, ill. III (colour ill. n° 30, ill. 331)