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Chambre professionnelle belge de la Librairie Ancienne et Moderne (CLAM)
Hieronymus Bosch ('s-Hertogenbosch, circa 1450-1516) Parable of the two blind men, circa 1540-1570 Engraving by Pieter van der Heyden (circa 1530-1572) Published by Hieronymus Cock (Antwerp, 1518-1570) 22.2 x 22.5 cm References: New Hollstein Dutch 20 1(5), first state Lex Antiqua, Antiquarian printseller
Van Herck-Eykelberg
Asger Jorn (Denmark, Jutland 1914-1973 Aarhus) The girl and the bird, 1940 Oil on canvas 44 x 69 cm Signed and dated lower right Literature: Guy Atkins, Jorn in Scandinavia 1930-1953, London, 1968, n° 156, ill. p. 333 Exhibitions: 13 kunstnere i telt, Bellevue, Copenhagen, 17 May-8 June 1941, cat. n° 61; Jorn, Arken Museum for Moderne Kunst, Ishøj, Denmark, 14 September 2002-19 January 2003, Cobra Museum voor Moderne Kunst, Amstelveen, The Netherlands, 7 February-27 April 2003 and Kunsthalle zu Kiel, Germany, 17 May-10 August 2003, cat. n° 8, ill. cat. p. 56 (in colour); Jorn-Picasso. Myter og Møder. Myths & Meetings', Museum Jorn, Silkeborg, 7 September-8 December 2013, cat. n° 6, ill. cat. p. 72 (in colour); Cobra Museum voor Moderne kunst, Amstelveen, The Netherlands, 2013
Kunsthaus Kende
Pair of Queen Anne tazze John Bache, London, 1703 Engraved Britannia silver Ø 23 cm, H 7 and 6.9 cm 513.1 gr and 504.8 gr Provenance: private collection, North America Standing on a central round foot, with moulded rim to the top side. The centre depicting an engraved coat of arms commemorating a marriage between two noble families. Outstandingly preserved and rare pair of Queen Anne tazze without repairs and showing their original preserved surface.
Stéphane Renard Fine Art
Workshop of Benedetto da Maiano (Maiano 1442-1497 Florence) Bas-relief of the Virgin and Child with Saint John the Baptist as a child Polychrome and gilded stucco in its original carved and gilded wooden frame H 76 x W 64 x D 13 cm (framed) Provenance: Coat of arms with the alliance arms of two Florentine families: the Compagni (on the left) and the Tornaquinci (on the right) We can estimate that around thirty copies of this bas-relief were probably made, half of which are in public collections (including the Bode Museum in Berlin (Germany – Inv. 1581), the Victoria & Albert Museum in London (United Kingdom – two copies), the Bargello and Stefano Bardini Museums in Florence (Italy), and the Hermitage Museum in Saint Petersburg (Russia) but this one is the only one bearing the coat of arms of its commissioners.
HELENE BAILLY MARCILHAC
raoul dufy
Raoul Dufy (Le Havre 1877-1953 Forcalquier) Le Pêcheur, 1907 Oil on canvas 46 x 55 cm Dedicated and signed lower right, to André Robert, Raoul Dufy Certificate of authenticity issued by Madame Fanny Guillon-Laffaille, dated December 17th, 2003 Provenance: private collection Literature: M. Laffaille, Raoul Dufy, Catalogue Raisonné de l'Oeuvre Peint, vol. I, Geneva, 1972, ill. n° 152, p. 136
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
Hartford Fine Art - Lampronti Gallery
Giovanni Antonio Canal, also called Canaletto (Venice, 1697-1768) Capriccio of Piazza San Marco from the Basin of San Marco with the Church of the Redeemer Oil on canvas 130 x 105 cm Written expertise by A. Morassi and by R. Pallucchini Provenance: Mrs. Van der Gucht collection; Christie’s sale, catalogue n° 78, November 1965; Fogg collection, acquired from the above sale; Sotheby’s sale, catalogue n° 110A, March 1968; Johnson collection, acquired from the above sale; Sotheby’s sale, catalogue n° 70, June 1970; Harlow collection, acquired from the above sale Literature: W. G. Constable, Canaletto, second edition, ed. J. G. Links, Volume II, n° 459, p. 438, pl. 208
Francis Janssens van der Maelen
Silver box in jade Paris, Art Deco Sterling silver, jade W 35 cm - 4400 gr (total weight) Bears retailer's stamp, Boin-Taburet and maker's mark, Henry & Fils Boin-Taburet were formed in 1873 and quickly established themselves as one of Paris's most noteworthy makers & retailers, winning a Gold medal at the 1889 Paris Exposition Universelle. Arguably their most distinctive work married silver and silver-gilt with other materials including porcelain, marble, and in the case of this stunning Art Deco tureen, jade. Jade was seemingly a less often used material - the only other piece found with a similarly carved jade element was a box that fetched an incredible amount at auction in 2012.
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Laurent Schaubroeck
George Nakashima (USA, Washington 1905-1990 Pennsylvenia) Cushion chair with arms, 1960s Black American cherry, upholstery 77.5 x 74.3 x 86.4 cm Produced by George Nakashima Studio Includes a digital copy of the order card Provenance: Craighead family Produced by the Nakashima Studio in the 1960s, this lounge chair exemplifies George Nakashima’s refined craftsmanship and harmony between form and material. Its spindled back recalls Windsor traditions, while the tapered legs and clean geometry express his modern sensibility. Upholstered in white linen, the chair combines warmth and elegance, standing as a rare and timeless piece from one of the most influential American designers of the 20th century.
Van Pruissen Asian Art
yoshitsugu
Hattori Taira Yoshitsugu Yagami School Tsuba with 'Thousand Monkeys' Carved iron Japan, late 18th century Ø 7.1 cm Signed 'Yoshitsugu' An iron tsuba intricately carved in openwork (nikubori ji-sukashi) with a lively multitude of monkeys, including the famous Three Wise Monkeys. Their eyes and the rim are accented in gold using nunome-zōgan. The maker, Hattori Taira Yoshitsugu, was a pupil of Yagami school founder Noda Mitsuhiro and teacher of Onitake Toshiyoshi. The Yagami school, active in Nagasaki in the late 18th century, is renowned for its 'Thousand Monkeys' motif, as also seen in a comparable example in the Metropolitan Museum of Art (inv. n° 91.1.751).
De Brock
ethan cook
Ethan Cook (USA, Texas 1893) Untitled, 2014 Hand woven cotton canvas and industrial canvas, framed 193 x 193 cm Provenance: the artist's studio, Brooklyn, NY, USA; T293 Gallery, Rome, Italy; private collection, Europe; Phillips, London, 26 June 2018, lot 276; private collection, UK; Phillips, London, 5 December 2018, lot 71; De Brock, Knokke, Belgium (acquired at the above sale)
Desmet Fine Arts
Pietra dura table top Coloured marble, alabaster and onyx Roman workshop, circa 1565-1600 H 6 x W 104.5 x D 83 cm Accompanied by Art Loss Register certificate: S00253658 Provenance: private collection, Lombardy (Italy) The pietra dura tabletop represents a symbiosis that evokes the rediscovery of the ancient world. The colored marbles used all originate from ancient Roman marble, brought to Rome from across the Roman Empire as early as the 3rd century BCE. In late 16th-century Rome, artists repurposed columns and all manner of these ancient Roman artifacts, reshaping them into sumptuous tabletops to decorate the grand palazzi. This work visualizes how 16th-century Rome sought to reclaim the identity and power of the great Roman Empire, and it must be fully understood within the context of the decoration of St. Peter’s Basilica, when Rome was once again regarded as the center of the world. The patterns are architecturally and geometrically designed to showcase the rarest marbles to their fullest effect. In this specific example, around 1800, the edge underwent restoration, during which the finest artists of the time added a black decorative band. Their aim was to frame what was already spectacular with a dignified restoration. Although created in the late 16th century, this piece radiates two millennia of superiority—politically, socially, artistically, and art historically.
Univers du Bronze
jean-baptiste carpeaux
Jean-Baptiste Carpeaux (Valencienne 1827-1875 Courbevoie) Toilette de Vénus, 1855 Circa 1862-1865 Bronze H 66.8 x W 23.5 x D 14.8 cm Chief model in bronze from the Carpeaux Studio, unsigned Provenance: Carpeaux sale (31 May, 1-2 June 1894, lot n° 541); sale 8-9 December 1913 (lot n°1) (...) and assembled as an example; former A. R. collection
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)
Francis Janssens van der Maelen
Saint Cosmas bust in gold, rock crystal, skull Flamboyant Gothic, in the style of Viollet-le-Duc, circa 1845–1870 H. 27 × W. 20 × D. 8 cm Weight: 1.468 g Provenance: private collection Solid gold reliquary bust in 22-carat yellow gold with a movable headdress opening onto a rock crystal cabochon magnifying glass covering fragments of cranial calvaria. Work in the Flamboyant Gothic style (Viollet-le-Duc), set with quartz and garnet cabochons. On the front, a cartouche bears a Latin inscription engraved on two lines: “Sanctus Cosmas Ora pro nobis” (“Saint Cosmas, pray for us”), surmounted by an oval rock crystal cabochon surrounded by eight alternating quartz and garnet cabochons. The piece is unhallmarked, which is not unusual for a reliquary. Beneath the base, an old label bears the handwritten inscription in ink: “No. 1”.