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Guy Pieters Gallery
karel appel
Karel Appel (Amsterdam 1921-2006 Zurich) Polderkoe, 1952 Oil on canvas 82 x 116 cm This work is registered in the archives of the Karel Appel estate Provenance: Martha Jackson Gallery, New York; private collection, Belgium; Galerie Krikhaar, Amsterdam; private collection, Brussels
Galerie Boulakia
Joan Miró (Barcelona 1893-1983 Palma) Untitled, 1946 Pen and India ink, coloured pencils, and pencil on paper 30 x 24 cm Signed, dated and inscribed 'Miró. 23-7-1946 à mon cher Joan Gomis, le jour de son anniversaire' (to my dear Jean Gomis on the day of his birthday) Provenance: Pierre Matisse Gallery, New York; Joaquim Gomis i Serdañons, Barcelone Literature: Jacques Dupin, Ariane Lelong-Mainaud, Joan Miro : catalogue raisonné, Volume II, 1931-1941, Editions Maeght-Lelong, Paris, 2000, n° 1. 1078, ill. p. 144
Galerie Jean-François Cazeau
kees van dongen
Kees Van Dongen (Rotterdam 1877-1968 Monaco) La Chemise or Femme penchée sur un coussin jaune Oil on canvas 48.5 x 55 cm Signed lower right This work will be included in the forthcoming catalogue raisonné of Kees Van Dongen compiled by the Wildenstein Plattner Institute Provenance: studio of the artist, Paris; private collection, France (Marquise de X); Palais Galliera, 18 May 1964, Paris; Jacques Pignet, Neuilly-sur-Seine, France; Galerie Koller, Zurich, November 1981; Paul Petridès, Paris, France Ader-Picard-Tajan, 25 June 1987, Paris; acquired by the current owner at the above sale Exhibitions: Paris, Galerie de Paris, La Cage aux Fauves, Salon d'Automne, 1905; Paris, Musée National d'Art Moderne, Van Dongen, 13 October-26 November 1967, n° 68; Rotterdam, Museum Boymans van Beuningen, Van Dongen, 8 December 1967-28 January, n° 20; Monaco, Nouveau Musée de Monaco, Kees Van Dongen, 25 June-7 September 2008, n° 139
De Zutter Art Gallery
corneille
Corneille (Liège 1922-2010 Auvers-sur-Oise) Le rouge itinéraire de l'été, 1964 Oil on canvas 73 x 92 cm Provenance: Galerie Delta, Rotterdam; kunsthandel Lambert Tegenbosch, Heusden; collection Dr. Johan B.W. Polak (1928-1992), Amsterdam; Christie's, Amsterdam, 10 December 1992, lot n° 325; private collection, Switzerland Literature: Catalogue Galerie Cimaise Bonaparte (Patrick d'Elme and Daniel Templon), 1967, Paris Exhibition: Galerie Cimaise Bonaparte (Patrick d'Elme and Daniel Templon), 1967, Paris
Thomas Deprez Fine Arts
franz binjé
Franz Binjé (Liège 1835-1900 Brussels) Le feu, circa 1894 Watercolour and gouache on paper 42 x 27.5 cm Signed l.l.: 'F. Binjé'. Provenance: private collection, Belgium Exhibitions: Exposition Universelle des Beaux-Arts, section Société Royale belge des Aquarellistes, Antwerp, World Fair, 1894, cat. nr. 699, as: 'Le feu'; Internationale Kunst-Ausstellung, Berlin, World Fair, 1896, Gemälde cat. nr. 228, as: 'Das Feuer. Aquarell.'
Galerie Raf Van Severen
théo van rysselberghe
Théo Van Rysselberghe (Belgium, Ghent 1862-1926 Le Lavandou, France) Ile du Levant, circa 1904 Oil on panel 30 x 41.4 cm Signed with monogram bottom left Provenance: Foundation Catherine Gide; private collection, Brussels Literature: Feltkamp, 2003, réf. 1924-034, p. 441; Catalogue de l'exposition, Bruxelles, La Haye, 2006, p. 258; Théo Van Rysselberghe, l'instant sublimé, Museé de Lodève, 2012, p. 99; Théo Van Rysselberghe, Intime, 2005, p.65; Théo Van Rysselberghe, Bozar Books by Fonds Mercator & Palais Des Beaux-Arts, Belgian Art Research Institute, 2005, p. 229 Exhibitions: 2005, TVR, Intime, Espace Culturel, Le Lavandou, n° 37; 2006, Brussels, La Haye, without number, p. 229
Galerie Oscar De Vos
emile claus
Emile Claus (Waregem 1849-1924 Astene) Villa Zonneschijn (Sunshine) and the Lys, 1893 Oil on canvas 83 x 73 cm Signed lower left: Emile Claus Dated and monogrammed on reverse: Juli 1893 / E.C. Provenance: private collection, Belgium Literature: Buysse, C., Emile Claus. Mijn broeder in Vlaanderen (1925); De Smet, J., Retrospectief Emile Claus (1997); De Smet, J., Emile Claus en het landleven (2009); De Smet, J., Emile Claus. Prins van het luminisme (2024); Lemonnier, C., Emile Claus (1908)
De Jonckheere
lucas van valckenborch
Lucas van Valckenborch (Leuven 1535/6-1597 Frankfurt am Main) The Kermesse of St. George, 1595 Oil on panel 22.5 x 38.5 cm Signed and dated 1595 LVV on the fountain Provenance: collection of Charles Theodore of Bavaria (1724-1799), Elector of the Palatinate and Bavaria, Munich, inv. n° 138 (according to a label in brown ink on the back dating from 1799, n° 138); collection of Maximilian de Beauharnais, Duke of Leuchtenberg (1835-1852) (fragmentary label); Almas Gallery, Munich, 1941; private collection, South Germany Literature: Pantheon, September 1941, supplement V, repr.; Bernt, Walter, Die niederländischen Maler des 17. Jahrhunderts, Munich, 1948, n° 865 (1960 edition, n° 1216, repr.); Wied, Alexander, Lucas und Marten van Valckenborch. Das Gesamtwerk mit kritischem Oeuvrekatalog, Freren, Luca Verlag, 1990, pp. 176-77, n° 81, repr. Lucas van Valckenborch was undoubtedly introduced to painting by his father Laureys van Valckenborch, before being accepted as a master of the Mechelen painters' guild in 1564. Following the religious persecution inflicted by the Duke of Alba's troops on supporters of the Reformation, he fled the city in 1567 to take refuge in Liège, then in Aachen from 1570 to 1573, where he was reunited with his brother Marten and Hans Vredeman de Vries (1527-1609). He settled temporarily in Antwerp from 1575 to 1577. He was then employed in Brussels by Matthias, the then Governor-General of the Netherlands. In 1581, he accompanied the latter to Austria, staying in Vienna and Prague, as well as in Linz and Nuremberg. As of 1593, he shared his workshop in Frankfurt am Main with his brother Marten; he was granted citizenship on 10 January, 1594, encouraged by Archduke Ernest of Austria (1553-1595). He worked actively in the family workshop until his death in 1597. Considered one of the greatest landscape painters of the 16th century, Lucas van Valckenborch's concept of landscape was derived from Joachim Patinir and Pieter Bruegel the Elder. His very detailed portrayals of the seasons, village kermesses, romantic scenes and townscapes, stand out owing to the meticulous care employed in their execution and the precise structure of the planes leading to the horizon. His panoramic landscapes are a careful observation of the Meuse valley; his anecdotal scenes are painted with the delicacy of a miniaturist, while his landscapes are presented with topographical accuracy. At the end of his life, his deep landscapes with their luminous, refined nuances, bear witness to a creative approach that sought to go beyond the Bruegelian concept, which was never surpassed by his contemporaries.
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.
Edouard Simoens Gallery
walter leblanc
Walter Leblanc (Antwerp 1932-1986 Silly) Torsions, 1977-1978 Black and white enamelled steel sculpture 200 x 130 cm Provenance: Walter & Nicole Leblanc Foundation; private collection; André Simoens Collection Literature: Linea Catalogue raisonné, 1997, Ludion, Brussels, CR 1271, p. 282 Exhibitions: Brussels, Tecno, Walter Leblanc Integratie, 1983; Gent, Floraliapaleis, Linea ’83, 1983
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 la Ménagerie
jacques froment-meurice
Jacques Froment-Meurice (Paris 1864-1946 Maisons-Lafitte) Bucking donkey, circa 1904 Model from 'Les gestes d'Ânes' Bronze A. A Hébrard foundry H 14.5 x W 18 x D 9 cm Signed on the base Provenance: collection New York, USA Literature: A strong love of all animals, but particularly of domestic breeds, especially donkeys, is evident in the character that Froment-Meurice captures in all his intimate portraits. Cast by Hebrard, they are always of the highest quality, Edward Horswell, Sculpture of Les Animaliers, 1900-1950, Scala Arts and Heritage Publishers Ltd, 2019, p. 136
De Wit Fine Tapestries
After David Teniers II The Fish Quay–Return of Fishermen Brussels, 1725-1750 Wool and silk 264 x 390 cm Celebrated for their lively depictions of rural life, sets of tapestries inspired by the famous peasant scenes of David Teniers II (1610–1690) formed some of the most popular tapestry series in late 17th- and early 18th-centuries. Their extraordinary appeal is reflected in the sheer number of workshops that produced them. In Brussels alone, seven ateliers wove this distinctly Flemish genre, while so-called Teniers tapestries were also produced in other European centres such as Amsterdam, Aubusson, Beauvais, Lille, London, Madrid, and Oudenaarde. Owing to this widespread production and the enduring commercial success of the genre, attributing individual designs can often be challenging. The present example, however, belongs to a distinguished series that laid the foundation for the genre and was designed by David Teniers II himself. Description The tapestry depicts a bustling quay where fishermen unload and sort their catch. On the left, a boat carrying five men arrives, still hauling in its nets, while one fisherman on the bow hands a line to a man standing at the end of the quay. In the foreground, a fisherman empties a barrel of fish and shellfish, while three men nearby appear to be negotiating. Further along the quay, another sorts his catch, two men converse, and a man leans casually on a donkey. Behind them, a figure with his back turned adds a touch of unvarnished realism. In the background, a bay stretches out, framed by a wooded coast to the left and a fortified structure to the right, complete with patrolling figures and a tall, three-tiered tower. Through the central passageway, two additional boats are visible. One hauling in its nets, the other lowering its mast. Attribution The Fish Quay was executed in the Brussels workshop of Hieronymus Le Clerc (1643-1722) or that of his associate Gaspar van der Borcht (1675-1742). Several editions of the scene are known, some bearing the signature of one of these associated tapissiers: Le Clerc or Van der Borcht’s Latinized form, A Castro. A now-lost edition formerly in Dresden bore Van der Borcht’s signature along with an extensive inscription identifying David Teniers II – the court painter to Archduke Leopold Wilhelm of Austria (1614-1662) and Don John Joseph of Austria (1629-1679), governors of the Southern Netherlands from 1648 to 1656 and 1656 to 1658 respectively – as the designer. Teniers is also cited as the designer in a 1701 archival document recording that Le Clerc and Van der Borcht sold a six-part edition of the series, including a tapestry described as “un port de mer, où l’on pesche le poisson” (a seaport, where fish are caught). Dating the collaborative production of this particular example is difficult. The earliest known editions of the series were likely produced in the 1680s, with production continuing until Le Clerc’s death in 1722. The Fish Quay lacks the usual outer border, suggesting it was intended for mounting on wainscoting.
Galerie Nicolas Bourriaud
jacq orlande sinapi
Jacq Orlande Sinapi (Marseille, 1911-1989) Bison, circa 1940 Bronze with nuanced brown patina Cast by Leblanc-Barbedienne and bearing the foundry's stamp H 50 x W 57 x D 21 cm Signed ‘Jacq Orlande Sinapi’ Only two pieces known to date Provenance: private collection, France
Maison D'Art
François Perrier (Pontarlier, circa 1594-1649) The flight into Egypt, the Holy Family prepares to embark, circa 1640 Oil on canvas 100 x 90 cm Literature: M. A. Novelli, in T. Zennaro, ed., La Pittura Eloquente (exh. cat., Monte-Carlo, Maison d’Art), 2010, pp. 33-35, n° 5; A. Brogi, François Perrier e i ‘bolognesi’, Studi di Storia dell’Arte, 29, 2018, pp. 147-166: pp. 151-153 and colour plate XVI Exhibition: Maison d’Art, Monte-Carlo, June 16th-July 16th, 2010, n° 5
Harold t’Kint de Roodenbeke
pierre alechinsky
Pierre Alechinsky (Brussels, 1927) Le Nid, 1965 Oil on canvas 130 x 91 cm Signed lower right Signed and titled on reverse Certificate of authenticity by Pierre Alechinsky dated 14 March 1995 Provenance: Lefebre Gallery, New York; private collection, Monaco