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Herwig Simons Fine Arts
Armor box 'Daimyo Hitsu' Japan, Edo period (1603-1868), 18th century Black lacquered wood 'ro-iru-nori' with a decoration of Man type 'Kuyō' H 64.5 x W 145 x D 64 cm Quadrangular shape decorated with the coat arms of the Hosokawa clan, in gold and green polychrome and coral scrolls of peony flowers. The brass fittings are incised with scroll decorations and two brass side handles Provenance: Ariane Dandois gallery, Paris (purchased in the 1990's) Note: History of the Hosokawa clan, YouTube Related works: a lacquer box with the coat of arms of the Hosokawa clan is presented in the Metropolitan Museum (ref.2015.500.2.28). A Jinbaori with the coat of arms of the Hosokawa clan is presented in the Eisei Bunko Museum (Japan)
Stern Pissarro Gallery
marc chagall
Marc Chagall (Vitebsk 1887-1985 Saint-Paul de Vence) Les Glaïeuls, 1950 Gouache, watercolour, pastel and coloured wax crayons on paper 65 x 50.7 cm Signed lower left 'Marc Chagall' This work is accompanied by a certificate of authenticity from the Comité Marc Chagall Provenance: private collection, USA, circa 1985; thence by descent
Galeries AB & BA
jean degottex
Jean Degottex (Sathonay-Camp 1918-1988 Paris) Gidayu III, 1961 Oil on cardboard mounted on canvas 120 x 80 cm Signed and dated lower right Signed, dated and titled at the back Certificate of authenticity issued in 2021 Provenance: private collection Literature: Degottex, Jean Frémon, Editions du regard, 1986, p. 282 © Bertrand Michau. Courtesy Galerie Berthet-Aittouarès
Selected by BRAFA, designed by Gert Voorjans
corneille
Corneille (Guillaume Cornelis Van Beverloo, Liege 1922-2010 Auvers-sur-Oise) Untitled, Abstract blue, red and grey, 1960 Mixed media on canvas 28 x 35 cm Signed and dated upper right corner 'Corneille 1960' Certificate of authenticity issued by Fondation Guillaume Corneille in Brussels on 15 November 2024 Couck Art Gallery - Lucie Couck
Heutink Ikonen
In Thee Rejoiced All Creation Russia, second half of the 18th century Egg tempera on gesso on linen-covered wood 33.5 x 29 cm Provenance: private collection, Germany A special detail is that in the archway on the left, the prophet, king and psalmist David is depicted. In his arms he holds a triangular stringed instrument, with which he appears to provide musical accompaniment to the hymn. This rare iconography is based on the Marian hymn from the Liturgy of St Basil, which begins with the words: 'All of Creation rejoices in thee, O full of grace: the angels in heaven and the race of men' In the centre we see the Mother of God enthroned, with the infant Christ on her lap. Angels are gathered around the throne. Below, prophets, apostles, church fathers and other saints pay homage to the Mother of God. The hymn is attributed to the Church Father John of Damascus (676-749), who is depicted directly below the enthroned Mother of God on the left with a scroll of text in his hand and his distinctive white headscarf.
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.
Galerie Florence de Voldère
isaak soreau
Isaak Soreau (Frankfurt, 1604-1644) Still life Oil on panel 60 x 86 cm From a Tournai family settled in Hanau, Isaac Soreau was apprenticed to his father Daniel Soreau, whose workshop was taken over by Sébastien Stoskopff. At the age of 22, he left for Antwerp, where his encounter with Jacob van Hulsdonck and his work proved decisive. Could he have been his pupil? This remains a subject of debate for art historians.
Boon Gallery
günther uecker
Günther Uecker (Germany, Wendorf 1930) Wind, 2005 Nails and oil on canvas laid down on wood 200 x 160 cm Signed on reverse This artwork is registered in the Uecker Archive with the number GU.05.011 and will be included in the forthcoming catalogue raisonné Günther Uecker has for six decades developed his reliefs comprising dynamic arrangements of nails. Born in 1930 in Wendorf, Germany, Uecker studied at the Kunsthochschule Berlin Weissensee and Kunstakademie in Düsseldorf, where he lives and works today. In the 1950s, influenced by Eastern philosophy and Gregorian chanting, he began a ritual of hammering nails. These materials signify protection and creation to the artist, who remembers nailing planks over the windows of his home to deter Soviet troops after the Second World War. By 1957, he was hammering nails onto canvas to achieve a 'sundial' optical effect, casting light and shadow in ephemeral patterns. In 1961, Uecker joined Heinz Mack and Otto Piene in the anti-expressionist movement Group Zero, which prioritised expanding beyond the traditional dimensions of the canvas into kinetic, serial, and participatory realms. After the group's dissolution in 1966, Uecker's work incorporated aspects of conceptual and land art, and he began designing stage sets for operas. Uecker's work has been the subject of solo exhibitions at museums worldwide. Retrospectives of his work have been organised by the Central House of Artists, Moscow (1988) and Kunsthalle München (1993), and he participated in Documenta (1964, 1968, 1977) and the 1970 Venice Biennale. His work resides in such collections as the Art Institute of Chicago; Guggenheim and MoMa in New York; Museum Ludwig in Cologne; Centre Pompidou in Paris; Stedelijk Museum in Amsterdam; and Tate Modern in London.
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 Marc Maison
louis malard
Louis Malard, French cabinetmaker Monumental bed in Egyptomania style, 19th century Walnut with polychromy Presented at the 1889 Exposition Universelle in Paris. This bed is part of a complete bedroom set H 271 x W 232 x D 260 cm Provenance: formerly in the collection of Countess Bathilde Ducos (1851-1927) from 1889 to 1896; private collection of Charles Henri Duquesne and his descendants from 1896 to 2019 Literature: Le Figaro du 1er juillet 1889, 35th year, 3rd series, n° 182, p. 2; Alfred Picard (sous la direction de), Exposition universelle de 1889 à Paris. Rapports du Jury international, Groupe III - Mobilier et accessoires, classes 17 à 29, p. 68; Gazette de l’hôtel Drouot Saturday, Sunday, and Monday, June 1, 1896; Brissonneau, Livres, Tableaux anciens et modernes, Bijoux, Argenterie, Céramiques, Arts de l’Asie, Armes, Meubles et Objets d’art, auction catalogue from April 5, 2019, pp. 30-33, n° 182 Exhibition: Presented at the 1889 Exposition Universelle in Paris This style is associated at the time with the reign of Ramses II in ancient Egypt. Its deeply original decor embodies the 19th century’s fascination with ancient Egyptian art and caused a true uproar: both Le Figaro and the official jury report praised it in glowing terms.
Galerie Marc Maison
pierre-ferdinand duvinage
Pierre-Ferdinand Duvinage (France, 1823-1876) Guéridon with a marquetry top resting on three sacred ibises, circa 1874-1876 Gilt bronze, silver, copper, ivory, wood marquetry of various species (top); gilt wooden base with polychromy H 83 x Ø 77 cm Provenance: former Roberto Polo collection Literature: Marc Maison et Emmanuelle Arnauld, Marqueteries virtuoses au XIXe siècle. Brevets d’invention, Éditions Faton, 2012; Daniëlle Kisluk-Grosheide, Maison Giroux and its 'Oriental' Marquetry Technique. The Journal of the Furniture History Society, vol. XXXV, 1999; Roberto Polo. The Eye, Frances Lincoln Publisher Ltd., 2011; Bill Pallot, Marqueteries en cloisonné de la veuve Duvinage, dans L’Estampille-L’Objet d’art, September 2007 The top of this splendid pedestal table was crafted using a technique patented by Duvinage on May 6th, 1874, described as "a type of mosaic with metal cloisons for furniture and art objects." The ivory plaques covering the surface are separated by a network of gilt metal resembling branches, whilst the central motif is a delicate marquetry of multicoloured wood. To enhance the luxuriousness of the piece, some of the leaves are made of silver. This extraordinary marquetry work is combined with three majestic sacred ibises, birds characteristic of the Nile region in Antiquity, revered by the Egyptians as divine symbols.
Galerie La Patinoire Royale Bach
joana vasconcelos
Joana Vasconcelos (Paris, 1971) Blue Rose, 2016 Stainless steel shower heads, handmade woollen crochet, fabric, ornaments, polyester H 246 x W 95 x D 47 cm Provenance: the artist's studio Courtesy Joana Vasconcelos and Galerie La Patinoire Royale Bach A group of works belonging to various series - Showers, Washbasins and Urinals - in which Joana Vasconcelos adds colourful crocheted elements to household sanitary ware. Resorting to crochet, Joana refers to the intimacy of the domestic realm through its link to female labour, who work from home and for the home. Textiles infiltrate and/or cover up ceramics. These coloured, smooth, and pliable additions contrast with the hard, sterile coldness of the porcelain. The disruptive process of transformation encourages a fresh look at these everyday objects and intimacy. "Water, for me, is synonymous with life and renewal. It is such a constant presence in our routine in Europe that I was only aware of its real importance when I traveled to Mexico. I remember walking into a pueblo house, which consisted of a single room, where everything happened, complete with a hammock and television, but there wasn't one single tap. That realisation awakened me. Gradually, water entered my body of work, through the shape of swimming pools, urinols or washbasins, for instance, where the aquatic representation is made through textile elements, often in blue colors with bright details simulating the water reflection. My work as an artist allows me to address pressing matters, such as the sustainability of the planet and the management of resources for the future. And the expression of water in my work is done through abundance, with elements that flow from the works, defining what water represents more and more: a luxury."
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
Boon Gallery
Jean Dubuffet (Le Havre 1901-1985 Paris) Zône Habitée, 1980 Acrylic on canvas 100 x 81 cm Monogram lower right Literature: M. Loreau, Catalogue des travaux de Jean Dubuffet: Sites aux figurines, partitions, Fascicule XXXIII, Paris, 1982, p. 98, n° 238, ill. Exhibition: Waddington Galleries, Jean Dubuffet, London, 1981
A&R Fleury
bernar venet
Bernar Venet (Château-Arnoux, 1941) 226.5° Arc x 4, 2004 Rolled steel H 128 x W 130 x D 24.5 cm Certificate of authenticity issued by the artist and registered in the Bernar Venet archives under inventory n° bv04s17 Provenance: Guy Pieters Gallery, Knokke-Heist; private collection, Belgium
Galerie Ary Jan
Anto Carte (Mons 1886-1954 Bruxelles) L'homme au poulain Oil on canvas 140.8 x 110 cm Signed lower left Literature: The 1935 International exhibition of paintings, Carnegie Institute, Pittsburgh, repr. on plate 17, listed under n° 135; Anto Carte, monographie de l'art belge, published by the Ministère de l'Instruction Publique, 1950. Reproduced under n° 15; 'The Blue Sky Book, prose and poetry' repr. to illustrate ‘Man with colt’ p. 217 Exhibition: International Exhibition at Carnegie Institute 1935 Provenance: Private collection, Philadelphia Acquired directly from the artist by John H. Fraser in the early 1930s. Fraser was head of the art department at Marietta College, near Pittsburgh, Pennsylvania H 75 cm
