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Cabinet of Curiosities-Honourable Silver Objects
leysen frères
Pair of Art Deco silver ice buckets Marked at the bottom LEYSEN & FRERES in rectangle and silver mark A800 in oval (silvermarks for Leysen: before 1942) Brussels, circa 1930 H 14 x 16 Ø (top) x 13.5 cm Ø (bottom base) Provenance: private collection, Belgium Literature: R. Steel & W. Nijs, Art Deco Zilver. Antwerp-Brussels-Ghent, Sterckshof Studies 3 (1996), pp. 176-177, 282, n° M38 The smooth body, equipped with two semi-circular and silver mounted ivory handles, ends on round and constricted base, the top is decorated with a folded edge
Klaas Muller
dutch school ca 1610
Dutch School Portrait of a Lady, circa 1610 Oil on panel, oval format H 62 cm To this day, no one has been able to identify the creator of this work. Based on the style of the clothes, we can date the work to around 1610 (the period when Rubens made his famous portrait 'The Honeysucle Bower' (circa 1609, Münich, Alte Pinakothek) showing himself together with his first wife Isabella Brant). Altough stylistically our portrait is closely related to Rubens double portrait, based on attire and jewellery, we should rather situate our portrait in the Northern Netherlands. The outstretched hairpin was meant to deter 'the evil eye'.
Romigioli Antichità
Giovanni Baratta (Italy, 1670-1747) Pair of cherubs, 1699 Carrara marble H 72 cm Fragment recovered from the lost high altar of Santa Trinita in Florence, studied by Francesco Freddolini Provenance: Florence, Church of Santa Trinita until 1892 Literature: Francesco Freddolini, Journal of visual art Predella n° 53, June 2023 Pair of large (H 72 cm) and splendid statuary marble Cherubs by Giovanni Baratta (Carrara 1670 - 1747), they are the best expression of Florentine Baroque. Baratta, an artist of European fame, worked not only for the clergy but also for the most important Florentine aristocracy, including the Medici family. The two Cherubim are of historical and artistic significance because of their provenance; in fact, they are the only surviving element of the altar in the Santa Trinita church in Florence, the original location of Cimabue's Maestà. Their large size is obviously due to the fact that they were placed at the highest part of the altar and are portrayed in the act of kissing each other.
Victor Werner
marcel-louis baugniet
Marcel-Louis Baugniet (Liege 1896-1995 Brussels) Marin américain, 1925 Oil on canvas 55 x 40 cm Signed and dated lower right: M-L Baugniet 1925 Two exhibition labels on reverse: (1) 'MUSÉE D'IXELLES, exposition Art déco' with name of exhibitor and title of work (2) Salon Annuel Des Amis, La Louvière Provenance: Galerie Maurice Tzwern, Antwerp; Galerie Ronny Van de Velde, Antwerp; private collection Literature: ART DECO BELGIQUE 1920-1940, Editions I.P.S., 1988, ill. p. 220, n° 7 Exhibition: ART DECO BELGIQUE 1920-1940, Musée d'Ixelles, October 6, 1988-December 18, 1988; Salon Annuel Des Amis, La Louvière
Harold t’Kint de Roodenbeke
Leopold Survage (Moscow 1879-1968 Paris) Surrealist composition, 1916 Gouache and pencil on paper 43 x 31 cm Signed lower right Survage, marked with his initials LS, stamped with the artist's studio stamp and dated 16 Anne-Marie Divieto has confirmed the authenticity of this work Provenance: Felix Landau, Paris; private collection, Germany (acquired from the above circa 1970)
Galerie Boulakia
pierre alechinsky
Pierre Alechinsky (Brussels, 1927) L'affaire du bois de Meillant, 1990 Acrylic on paper mounted on canvas 60 x 100 cm Signed and dated lower right: Alechinsky, signed, titled, and dated on the reverse: L’AFFAIRE DU BOIS DE MEILLANT 1990 Alechinsky Provenance: acquired directly from the artist Exhibitions: Alès, Musée Pierre André Benoit, Pierre Alechinsky, peinture - livres, June-October 1990, n° 42; Salzburg, Rupertinum, Pierre Alechinsky: Reisende Tusche, May-July 1991, n° 28 Born in 1927, Pierre Alechinsky moved to France in 1951 where he became a part of the CoBrA movement, sharing the same passion for the freedom of form and colour as other artists belonging to this group. After travelling around Japan in 1955, he became interested in Asian artistic techniques, ultimately adopting a style which incorporated the processes of Japanese calligraphy. The incorporation of calligraphic signage is apparent, set up against a blue border which elegantly frames the central composition. The title provides a playful backstory for the figures in the painting, whose wide eyes and claw-like hands draw us into a thrilling aesthetic narrative.
Osborne Samuel Gallery
Lynn Chadwick (London 1914-2003 Lypiatt Park) Short Horn, 1954 Iron and composition H 41 x W 61.5 x D 20.5 cm Unique piece Provenance: The artist; Mrs. Helen Lessore O.B.E.; Acquired by René Gaffé at the Venice Biennale, 15th September 1956; Private collection, The Netherlands; Osborne Samuel, London; Private collection, Canada Literature: J.P. Hodin, Lynn Chadwick, Werk, vol. 44 (n° 3), March 1957, p. 113; Dennis Farr & Eva Chadwick, Lynn Chadwick, Sculptor, With a Complete Illustrated Catalogue 1947-2003, Lypiatt Studio, Stroud, 1997 p. 92, cat. no. 143 (prepatory drawing illustrated; with incorrect dimensions height: 45 cm.) Dennis Farr & Eva Chadwick, Lynn Chadwick, Sculptor, With a Complete Illustrated catalogue 1947-2003, Lund Humphries, Farnham, 2014, p. 111, cat. n° 143 (ill. b&w) Exhibitions: London, New Burlington Galleries, 53rd London Group: British Painting and Sculpture, November-December 1954, n° 264; Venice, XXVIII Biennale, June-October 1956, p. 412, n° 51 (titled Vacca Shortorn), lent by Mrs H. Lessore
Chambre professionnelle belge de la Librairie Ancienne et Moderne (CLAM)
Pieter Bruegel the Elder (Brussels, 1525-1569) Invidia, Envy, one of the seven vices, circa 1558 Engraving by Pieter van der Heyden (1530-1572) Published by Hiëronymus Cock (Antwerp, 1518-1570) 29.7 x 22.6 cm References: New Hollstein Dutch 26 1(2), first state Lex Antiqua, Antiquarian Bookseller
Galerie Kaléidoscope
fernand teyssier
Fernand Teyssier (Paris, 1937-1988) X-ray and breathing-sheep, circa 1966-67 Acrylic, graphite pencil, stampo and ink on canvas 98.4 x 81.5 cm Provenance: estate Fernand Teyssier Exhibition: Konstanz/FRG, 1968, Bilder, Graphik, Objekte, Der Asta-Konstanz Universität
Artimo Fine Arts
jean de bay
Jean Baptiste Joseph De Bay (Nantes 1802-1862 Paris) Le Génie de la Marine, 1832 White Carrara marble, finely carved H 101 x W 48 x D 85 cm Signature engraved on the boat's anchor: JEAN DEBAY Executed in Rome in 1832 Provenance: 1832, Rome; 1832 (June, Paris, Exposition at Petits-Augustins; 1833, Paris, Exposition at Salon de Paris; 1833, Mr. Hoppe Collection, Amsterdam; 1833-2010, private collection Literature: S. Lami (1916). Dictionnaire des sculpteurs de l'école française au dix-neuvième siècle, Paris, Librairie Ancienne Honoré Champion Edouard Champion, tome 2, pp. 126-132; A. Lenormand (1981), La Tradition classique et l’Esprit romantique. Les Sculpteurs de l’Académie de France à Rome de 1824 à 1840, Rome, Edizioni dell'Elefante, 1981 Exhibitions: 1832, Rome; 1832 (June), Paris, Exposition at the Petits-Augustins; 1833, Paris, Exposition at the Salon de Paris This masterful work entitled 'Le Génie de la Marine' is the work of the talented French sculptor Jean Baptiste Joseph De Bay. An emblem of marine allegory, the sculpture depicts a daring Cupid, bravely sailing against the currents on a delicate shell-shaped craft. In a posture of determination, Cupid steers his boat with an oar while seated on a folded sail, which envelops an ink at his feet. This representation of the Cupid's determination to follow his own course and speed without wishing to stop may allude to the persistence of love against all odds. Designed in Rome in 1832, this exquisite marble sculpture was later exhibited, albeit unfinished, at the Petits-Augustins in Paris. It was finally presented in all its splendour at the Paris Salon the following year, where it attracted the attention of the famous Amsterdam banker, Monsieur Hoppe. Jean Baptiste Joseph De Bay, better known as Jean De Bay, was born in Nantes on 31 August 1802. The son of a renowned sculptor and a pupil of Baron Bosio, De Bay quickly established himself as an emblematic figure of nineteenth-century French sculpture. After training at the École des Beaux-Arts in 1820, where he won numerous awards including the prestigious Prix de Rome, the sculptor succeeded in establishing himself in the art of bas relief and ronde bosse. Equally at ease working in marble and bronze, Jean De Bay contributed to numerous national projects, notably for the Louvre Palace and the Hôtel de Ville in Paris. Several of his works are also preserved at the Musée de Versailles. Many of his works can be found in various French museums, testifying to his artistic genius. This great sculptor died a few years later at his home in Paris on 7 January 1862.
Galerie Berès
Georges Mathieu (Boulogne-sur-Mer 1921-2012 Boulogne-Billancourt) Vaillance d’un Gantois à la bataille de Gaure, 1957 Oil on paper 25 x 50 cm Signed and dated lower right: Mathieu 57 Certificate dated May 30th 2022, by Marc Ottavi, vice-president of the Archives Jean-Marie Cusinberche on Georges Mathieu; this work is referenced in the Maurice d’Arquian Archives under n° 12 Provenance: galerie Helios Art, Brussels; collection Nyst, and thence by descent; Clavé Fine Art, Paris Literature: G. Mathieu, Cycle des Grands Ducs d'Occident, galerie Helios Art, Brussels, 8-30 November 1957, n° 12 Exhibition: G. Mathieu, Cycle des Grands Ducs d'Occident, galerie Helios Art, Brussels, 8-30 November 1957
Galerie Florence de Voldère
Cornelis Van Cleve (et Atelier) (1527-Antwerp circa 1581) Adoration des Mages Oil on panel 101.5 x 77.5 cm Fils et élève du grand Maître Anversois Joos van Cleve (1485-1541), il a sans doute été très actif au sein de l’atelier paternel entre 1535 et 1540. Son style se rapprochant de celui de son père, il est encore difficile aujourd'hui pour certaines œuvres, de discerner la main du père de celle du fils. Maître à Anvers, il est doyen de la Gilde en 1541 au décès de Joos. Son caractère ombrageux et ses affinités protestantes le font quitter sa ville natale et émigrer en Angleterre où il recherche le patronage de Philippe II d’Espagne. Ses peintures sophistiquées et délicates témoignent aussi de l’influence de Léonard de Vinci. Cette composition dérive du tableau de Cornelis van Cleve aujourd’hui conservé au Musée des beaux-arts d’Anvers. MUSÉES: ANVERS, COLOGNE, DRESDE, PHILADELPHIE, ST P
