This section will be available this Autumn.
Montagut Gallery
Ngon mask Bekom people Cameroon, 19th century Wood and ritual patina H 44 cm Provenance: Marcial Bronzi collection, Brussels; Didier Claes, Brussels; Rachel Montagut collection, Barcelona Ngon masks are one of the many types that appear at commemorative ceremonies held for deceased persons in the kingdoms of Cameroon. These sets of masks, in the possession of various lineages, can include more than twenty masks, most of which represent different figures. Some of the masks are obligatory, such as the kam, the male head mask, and the ngon, which represents the woman.
Galerie des Modernes
pablo picasso
Pablo Picasso (Malaga 1881-1973 Mougins) Moustachu, Paris, 1915 Graphite on paper 32 x 24 cm Pencil sketch on reverse Handwritten inscriptions on reverse Provenance: succession Picasso (Inv. 01666); Marina Picasso, granddaughter of the artist; Galerie Jan Krugier, Geneva (Inv. 1666), entrusted by Marina Picasso; Marina Picasso Literature: Christian Zervos, Pablo Picasso, vol. 6, Supplément aux volumes 1 à 5, Paris, Éditions Cahiers d'Art, Paris, 1954, described (with dimensions 31.7 x 23.7 cm) and reproduced p. 152 under n° 1276; Pablo Picasso Sammlung Marina Picasso, catalogue of the travelling exhibition in Germany and Switzerland, by Werner Spies with the collaboration of Eduard Beaucamp, Giovanni Carandente, Klauss Gallwitz, Siegfried Gohr, Reinhold Hohl and Günter Metken, Prestel-Verlag, Munich, 1981, described in the catalogue by Reinhold Hohl on p. 284 and reproduced on p. 285 under n° 103; Picasso: Opere dal 1895 al 1971 dalla Collezione Marina Picasso, exh. cat. of the Centro di Cultura di Palazzo Grassi, Venice, 1981, described (with the title Studio per un uomo seduto and the date Avignon 1914?) on p. 246 and reproduced on p. 247 under n° 123; Picasso, catalogue of the Australian exhibition, by Patrick Mc Caughey, Margaret Plant, Memory Holloway, Ruth Pullin, Judith Ryan, The International Cultural Corporation of Australia Limited, 1984, described and reproduced on p. 82 as n° 75 Exhibitions: Pablo Picasso Sammlung Marina Picasso, Eine Ausstellung zum hundertsten Geburtstag, travelling exhibition in Germany and Switzerland, under n° 103; Haus des Kunst München, Munich, February 14 to April 20, 1981; Joseph-Haubricht-Kunsthalle, Cologne, in cooperation with Museum Ludwig, Cologne, August 11-October 11, 1981; Städtische Galerie in the Städelschen Kunstinstitut, Frankfurt am Main, October 22, 1981-January 10, 1982; Kunsthaus, Zürich, January 29, 1982-March 28, 1982; Picasso: Opere dal 1895 al 1971 dalla Collezione Marina Picasso, Centro di Cultura di Palazzo Grassi, Venice, May-June 1981, under n° 123; Picasso. Works from the Marina Picasso Collection in collaboration with Galerie Jan Krugier, Geneva with loans from museums in Europe and the United States of America and private collections, in Australia, under n° 75; National Gallery of Victoria, Melbourne, July 28-September 23, 1984; Art Gallery of New South Wales, Sidney, from October 10 to December 2, 1984; Michel Charzat, Derain et ses amis. La Pléiade prodigieuse, Editions Gourcuff Gradenigo, Montreuil, 2024, described and reproduced in colour under the figure n° 11, p. 63
_BalthazarVanDenBossche_T638609709905078817.jpg?width=410&height=2000&qlt=90&scale=both&mode=max&format=jpeg)
Stern Pissarro Gallery
henri martin
Henri Martin (Toulouse 1860-1943 Labastide-du-Vert) Venise, palais et gondoliers sur le Grand Canal, circa 1909 Oil on canvas 68.5 x 96 cm Signed lower right 'Henri Martin' This work is accompanied by a certificate from Madame Marie-Anne Destrebecq-Martin and will be included in the forthcoming catalogue raisonné which is currently being prepared. Provenance: Jacques Martin-Ferrières, Paris (son of the artist); private collection, France, acquired from the above; sale Christie's, New York, 2018; private collection, acquired from the above
Heutink Ikonen
The Transfiguration of Christ Russia, Kaluga region, late 18th century Egg tempera on gesso on linen-covered wood 54 x 44.5 cm This finely painted and colourful icon, with late Baroque and Rococo influences, depicts the miracle of the Transfiguration of Christ. Remarkably, not only the Transfiguration of Christ itself is depicted, but also the preceding and subsequent events, as described in the gospels of Matthew, Mark and Luke, are captured in one and the same composition. Christ and his three disciples are each portrayed four times, each at a different moment of the narrative, and in a different state of mind. On the left, we see Christ telling the disciples Peter, John and James to follow him up the mountain. Once on the mountain, Christ changes shape: his clothes turn white like light and his countenance becomes radiant like a sun. Next to Christ, the prophets Moses and Elijah appear, being brought to the mountain by angels. When the voice of God sounds from heaven, the disciples become fearful and fall face down to earth. Christ touches them and reassures them. Then, as they descend from the mountain, Christ urges his disciples not to tell anyone what they had seen.
Galerie Lowet de Wotrenge
jacques jordaens
Jacques Jordaens (Antwerp, 1593-1678) An academy of a seated male nude, circa 1635 Black chalk and sanguine, heightened with white, on laid paper 27.3 x 19.7 cm Provenance: Marquis Charles-Ferdinand-Louis de Valori, Paris (1820-1883), Paris (L. 2500); Hôtel Drouot, Paris, 25-26 November 1907, lot 136 (80 fcs to Mathey); Henry Nanteuil de La Norville (1876-1941), thence by descent Jacob (or Jacques) Jordaens was born in Antwerp in 1593. Little is known about his early life. At age fourteen he became an apprentice of Adam van Noort, who had also taught painters like Sebastiaen Vrancx and Peter Paul Rubens. He stayed with van Noort for eight years and joined the Guild of St Luke as a 'waterpainter' in 1615. The following year, he married van Noort's daughter Anna Catharina. The couple had three children, one of whom, Jacob II, went on to become a painter himself. Jordaens' clientele consisted mostly of well-to-do burghers and clergymen, although after the death of Rubens and van Dyck he was given several courtly commissions too, including a set of eight paintings for Charles I of England and a series of commissions for Christina of Sweden. He also producted numerous designs for tapestries. Apart from a few trips up in the Northern Netherlands, Jordaens lived and worked in Antwerp his whole life. He became a wealthy man and a prolific artist, remaining productive until the end of his life. Between 1621 and 1667, the records list fifteen official pupils, but the actual number of students and assistants that passed through his studio must have been much higher, especially given his sizeable output of often large-scale works. Stylistically, Jordaens was enormously influenced by Rubens, especially in his early work, although the influence of Italian painters such as Veronese and Barocci - whom he studied through prints and copies, having never been to Italy - can also readily be felt, for example in his use of vibrant colours. Until about 1618, his work clearly shows a mannerist touch. Caravaggism certainly also left its mark on his artistic development, as did the work by his contemporary Abraham Janssens. Gradually, Jordaens developed a style that was more his own, fusing the monumental figures of Rubens and Janssens with the brilliant colours of the Italians, combined with a sense of realism. Later on, his figures became somewhat more crudely painted, his compositions marked by a folksy exuberance and a more restriced, darker colour palette. From the 1650's onwards, the quality of his work deteriorated visibly; his later work often shows crowded compositions - albeit with less monumental figures - and at times an almost monochrome use of colour, often restricted to thinly applied blue-grey or earth tones. Jordaens was a somewhat gifted portrait painter, who also produced religious, mythological and history paintings as well as illustrations of Flemish proverbs. He is especially famous for the latter, following in the footsteps of Pieter Bruegel the Elder's genre tradition, depicting Flemish life with honesty and authenticity and staging common people in celebratory expressions of life. These humourous, albeit sometimes also somewhat coarse pictures, are amongst his best known work. Jordaens also etched a number of plates and was a prolific draughtsman, producing many excellent drawings either as preparatory sketches or as artworks in their own right. This drawing, not recorded in print or reproduced since the catalogue of the 1907 sale (see Provenance), is a new addition to three groups of important nude studies by Jordaens, all depicting middle-aged or older men (for a recent discussion, see N. Van Hout in Jordaens et l’antiquité, exhib. cat., Brussels, Musées Royaux des Beaux-Arts de Belgique, and Kassel, Museumslandschaft Hessen Kassel, 2012-2013, pp. 54-59, nos. 18-27, ill.). The majority can be dated to the 1620s, early in the artist’s career, and are divided between the collections of the Museum Kunstpalast in Düsseldorf and the Hessisches Landesmuseum Darmstadt (R.-A. d’Hulst, Jordaens Drawings, Brussels, 1974, I, nos. A8-A20, III, figs. 8-20); an additional sheet is held at the British Museum (inv. Gg,2.228; see ibid., I, no. A21, III, fig. 21). All seem to depict the same strong, bearded, curly-haired man. Of the same model, but markedly superior than the drawings in Darmstadt, Düsseldorf and London, is a sheet in a private collection that was sold at Christie’s, New York, January 26th, 2011, lot 282. Dated to the early 1640s are four studies of an older, bald, and corpulent man – the ‘Silenus type’ – of which two are untraced, and the others are in the print room of the university library in Leiden (inv. PK-T-AW-249) and in the Louvre (inv. RF 674; see D’Hulst, op. cit., I, nos. A148-A151, III, figs. 161-163). Although more accomplished, the present work seems to belong to a third group, drawn from the same model as a study that can be dated to the second half of the 1630s at the State Hermitage Museum, Saint Petersburg (inv. OR-14234; see D’Hulst, op. cit., I, A123, III, fig. 135); a third drawing should perhaps be related to these two sheets, although in the past it has been dated later (Frits Lugt Collection, Paris, inv. 5172; see D’Hulst, op. cit., I, no. A154, III, fig. 166). At least some of these drawings, certainly the earlier ones, seem to have been made in the context of an informal academy, where artists would gather to draw from a life model. None can be considered direct studies for paintings by Jordaens, but the best of them, including the drawing under discussion, display the powerful realism and bold use of media that distinguishes the artist’s most accomplished works. Interestingly, the verso of our drawing depicts a study of a sheep in sanguine, as well as a study of a sheep's head in sanguine and black chalk, also by Jordaens (see illustration). Since the artist presumably kept the present sheet in his studio as study material for a longer period, it is possible that these studies can be dated to a later period in Jordaens' career, as their style seems to suggest.
__T638616462436249655.JPG?width=410&height=2000&qlt=90&scale=both&mode=max&format=jpeg)
Galerie Nicolas Bourriaud
Céline Lepage (Warsaw 1882-1928 Paris) Femme de Marrakech, circa 1920 Bronze with double shaded brown-green and medal patina H 80.5 x W 22 x D 22 cm Weight 12.7 kg Signed 'Céline Lepage' Sand casting probably made by the Rudier foundry. Publisher's stamp 'La Stèle', the artist's stamp with number 6 Literature: Paul Camille Lepage, 'Les conceptions artistiques de Céline Lepage', L’Art et les artistes, March 1933, model repr. p. 185
Galerie Oscar De Vos
george minne
George Minne (Ghent 1866-1941 Sint-Martens-Latem) Kneeling youth with shell, 1923 Bronze H 70 x W 25 x D 45 cm Signed 'G MINNE' Bronze mark: Fondery Batardy / Bruxelles Provenance: Galerie Georges Giroux, Brussels (n° 3627) Literature: Berg, B. e.a., George Minne. Voorbode van de moderne kunst (2013), p. 20, p. 65, n° 10 (ill.); Boyens, P., Sint-Martens-Latem. Kunstenaarsdorp in Vlaanderen (1992), p. 569 (ill.); Devigne, M., La sculpture belge 1830-1930 (1930), n° 66 (ill.); Hoozee, R. e.a., George Minne en de kunst rond 1900, cat. (1982), p. 246, n° 209 (ill.); Poulain, N. e.a., Groeten uit 1926 (Gent: VDK Spaarbank, 1991), p. 88, n° 54 (ill.); Van de Woesyne, K., George Minne als teekenaar, in: Elseviers Geïllustreerd Maandtijdschrift (1924), pp. 289-292 (ill.); Van Puyvelde, L., George Minne (1930), n° 85, pl. 100-101 (ill.) Exhibitions: comparable copies in museum collections: MuDeL, Deinze, inv. 1032/MIN.g-9; Kunsthalle Manheim, Germany
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
Cortesi Gallery
Agostino Bonalumi (Vimercate 1935-2013 Monza) Rosso, 1965-1971 Shaped canvas and vinyl tempera H 100 x W 80 x D 3.5 cm Signed and dated on the reverse: 'Bonalumi / 71'; size on the stretcher '80 x 100' Certificate of Authenticity Archivio Agostino Bonalumi, Milano, n° 71-014, technical report by Archivio Agostino Bonalumi Provenance: private collection, Milano Literature: M. Meneguzzo, F. Bonalumi (curators) Agostino Bonalumi, Catalogo ragionato, Milano, Skira, 2015, vol. II, p. 446, n° 492 Exhibitions: 2008, Agostino Bonalumi, Loggiato di San Bartolomeo, Palermo, (ill. 7); 2021, Agostiono Bonalumi. Ricucire la tela, curated by Marco Meneguzzo, Cortesi Gallery, Milano
Francis Maere Fine Arts
conrad willems
Conrad Willems (Belgium, 1983) Construction VII, 2022 977 Verde Levanto building blocks Black paper and white paint H 229 x W 148.5 x D 335 cm (sculpture) 3 x (110 x 75 cm) (drawings) The work consists of 977 Verde Levanto building blocks and three framed hand-drawn construction drawings. The blocks have been cut and sanded into 11 different basic shapes, based on wooden toy blocks. These are built into a construction, based on the construction drawings on black paper. The blocks are not affixed in any way, but placed on top of each other in a specific building order.
Dei Bardi Art
The Martyrdom of Saint Barbara Flemish tapestry, probably Bruges, circa 1525-1550 Wool and silk 270 x 198 cm The Flemish tapestry depicting the Martyrdom of Saint Barbara stands out as a remarkable example of 16th-century craftsmanship, distinguished by its exceptionally well-preserved color palette. The vibrant brick reds and striking bluish-green leaves create a stunning visual impact, showcasing the artistry of its creators and the outstanding state of conservation. Professor Guy Delmarcel links this tapestry to a series of textiles produced in Bruges after 1530, characterized by their fantastical nature scenes and populated by imaginative creatures. This tapestry exemplifies the rich decorative style of the time, merging naturalistic and poetic elements with exotic animals that spark the imagination. Bruges was a preeminent weaving center during this period, with numerous tapestries documented in contemporary inventories. However, very few have survived, making this piece particularly rare and valuable. Notable examples include two millefleurs tapestries featuring the arms of Paolo Giovio, found in the collections of the Victoria and Albert Museum in London and the Princes of Liechtenstein in Vaduz. The absence of the town mark on our tapestry indicates that it was woven before May 2, 1547, when the guild mandated its use, further enhancing its historical significance. The exquisite craftsmanship of Bruges tapestries, such as this one, has left a lasting impact on textile production throughout Europe, establishing high standards of artistic innovation and technical skill that subsequent generations would aspire to emulate. Particularly striking is the intricate border design, adorned with floral motifs and goldsmith-inspired elements like incense burners and small bells against a warm brick-red background. This style, often associated with heraldic imagery, can be traced back to Bruges around 1530, underscoring the tapestry's connection to the city’s rich artistic heritage. The dramatic depiction of the executioner brandishing a curved sabre serves as a powerful reminder of the historical context of the time, reflecting the Ottoman incursions into Central Europe. This detail not only situates the tapestry within a specific moment in history but also aids in dating it to the second quarter of the 16th century. In summary, this tapestry is not just a work of art; it is a rare and significant artifact from Bruges, showcasing an extraordinary preservation of color and design that captures the essence of its era.
Whitford Fine Art
reinhold koehler
Reinhold Koehler (Germany, 1919-1970) Thorax contrecollage, 1963-64 Dessin trouvé Décollage with ink, paper and smashed glass laid down on canvas 72.5 x 50 cm Signed and dated lower right and signed, dated, titled and inscribed verso The work is included in the Koehler Archives as RK 58 Provenance: private collection, Germany
Galerie Hurtebize
serge poliakoff
Serge Poliakoff (Moscow 1900-1969 Paris) Composition, 1946 Oil on canvas 50 x 61.5 cm Signed and dated on the back Certificate of authenticity by Alexis Poliakoff, work referenced under archive n° 946017 Provenance: private collection, France Literature: Catalogue raisonné de Serge Poliakoff, vol. I, n° 46-41, p. 254
Kunsthaus Kende
Ane Christensen (Copenhagen, 1972) Dented bowl Sterling silver London, 2000 H 10.3 x W circa 35 x D circa 30.1 cm Weight 966.2 gr. The body with a fully frosted surface, divided in the centre. A decorative, modern fruit bowl in sterling silver by one of Britain’s most important modern female designers and silversmiths. The silversmith and designer Ane Christensen, born in 1972 in Copenhagen, studied at the Royal College of Art, London and London Guildhall University, whilst also working as an assistant to Howard Fenn and Alfred Pain. Since 1999, she has worked as a professional artist silversmith in London. The incomparable formal language of her objects quickly brought her international renown as well as numerous exhibition participations and awards. Her artworks can be found in the Victoria & Albert Museum, London, the Koldinghus Museum, Kolding (Denmark) and in the Birmingham Museum Collection.
Floris van Wanroij Fine Art
hendrick de meijer
Hendrick de Meijer (Rotterdam circa 1620-after 1689/before 1698 Rotterdam (?)) Sailing vessels and a ferry on the calm Oude Maas river as seen from the North, with a view of Dordrecht and the Grote Kerk beyond Oil on panel H 74 x 104 cm Signed and dated ‘H.D. M … 16 . 9’, lower middle on the side of ferry The present picture is recorded at the RKD in The Hague under n° 534728 Provenance: European noble collection, with collector's seal on the reverse; private collection, Mr. Gustave Rothan (1822-1890), Paris; his sale at Paul Chevallier ‘Tableaux anciens des écoles flamande, hollandaise, française, espagnole, italienne et allemande formant l’important collection de M.G. Rothan’, Galerie Georges Petit, Paris, May 29th, 1890, lot 25 (as by Aelbert Cuyp); collection Charles Pierre de Frédy, Baron de Coubertin, Lausanne, 1935; private collection, Switzerland Literature: Beck, H.U., Jan van Goyen 1596-1656, Ein Oeuvreverzeichnis, Amsterdam, 1972/1991, Van Gendt, vol. VI, pp. 268-271; Beer, Gerlinde de, The Golden Age of Dutch Marine Painting, The Inder Rieden Collection, Leiden, 2019, Primavera Pers, pp. 648-654; Bernt, W., The Netherlandish Painters of the Seventeenth Century, vol. II, New York, 1970, Phaidon, p. 78; Bol, L.J., Die Holländische Marinemalerei des 17. Jahrhunderts, Braunschweig, 1973, Klinkhardt & Biermann, pp. 269-270; Schadee, N., Rotterdamse meesters uit de Gouden Eeuw, Zwolle, 1994, Waanders, p. 288
Samuel Vanhoegaerden Gallery
Panamarenko (Antwerp 1940-2019 Brakel) Archaeopterix III, 1990 Mixed media sculpture: balsa, strings, twelve servos, electronic chips ... H 36 x W 33 x D 25 cm Signed Certificate of authenticity by the Panamarenko Foundation dated 2 October 2024 Provenance: Ronald Feldman Gallery, New York Literature: Toyama-The Museum of Modern Art, Kamakura, 1992, n° 47, ill.; Moderne Museet, Stockholm, Metafor och Materia, Panamarenko, Rollof, Shannon, 1991, ill. p. 78; Museum Dhondt-Dhaenens, Deurle, Belgium, Selectie Belgische Kunstenaars voor Documenta IX, Deurle, 1992, ill. p. 114; H. Theys, Panamarenko: A book by Hans Theys, Brussels, 1992, ill. Exhibitions: Ronny Van de Velde Gallery, Antwerp, Belgium, Nam Jun Paik-Joseph Beuys-Panamarenko, 1990; Städtische Galerie im Lehnbachhaus, Munich, Paradoxe des Alltags, 1991; The Watari Museum of Contemporary Art, Tokyo, Irony by Vision, 1991; International Art Center, Hasselt, Panamarenko, 1991; Toyama-The Museum of Modern Art, Kamakura, 1992; The Bunkamura Museum of Art, Tokyo, 1992; The National Museum of Art, Osaka, 1993; Fukuyama Museum of Modern Art, Fukuyama, 1993
Galerie Nicolas Bourriaud
Eva Aeppli (Switzerland, Zofingen 1925-2015 Honfleur, France) Taureau Floréal, 1991 Bronze with shaded brown patina H 36 x W 23 x D 24.5 cm Titled 'Taureau Floréal' and numbered 6/8 Cast by Susse Frères Paris, stamped 'Resygram' This proof, number 6, was commissioned by the artist and cast by the Susse foundry in July 1991 Pursuing her questioning of humanity by linking it to the cosmos, Eva Aeppli found in astrology a spiritual and formal repertoire in which she could work tirelessly for almost two decades. After the Planets (1975-1976), then the Erinyes (1977), goddesses of vengeance from Greek mythology, whom she associated with Pluto, Neptune and Uranus, she tackled the Zodiac (1979-1980), each of the 12 heads expressing the character of the astrological signs; such is the case of Taurus, with its heavy sensory appetites. The result is a striking head sewn in fabric and partly cast in bronze, with refined yet eminently expressive features, the scars drawn by the seams on the surface. It's a confrontation that leaves no viewer untouched. From a private collection in France, this head is remarkably in keeping with her tormented path as a creator who cannot be assigned to any particular artistic movement, which is what makes it so exceptional.