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Heutink Ikonen
Deesis and Apostle row (four panels) Asia Minor, possibly Smyrna (now Izmir), 17th century Egg tempera with gold leaf on a wooden panel surfaced with gesso and linen 28 x 59 cm, 27.5 x 92 cm, 27 x 102 cm, 27.5 x 67.5 cm A very rare and monumental Deësis ('intercession'), originally a Byzantine composition, in which Christ is depicted centrally as a judge while a number of selected saints are facing him in supplication. In this case, Christ is flanked by the Mother of God and John the Forerunner (the Baptist), with the Apostles at some distance from them. Remarkably, the apostles are not all positioned adjacent to each other, but are interspersed with ornamentation. The panels formed a part of the templon of a modest iconostasis of a church in the region of Asia Minor, possibly from the vicinity of Smyrna (present-day Izmir), where they were displayed directly above the royal doors.
Galerie Raf Van Severen
fernand léger
Fernand Léger (Argentan 1881-1955 Gif-sur-Yvette) Le Cordage Jaune, 1935 Oil on board 39 x 53 cm Signed and dated bottom right: F. Léger, 1935 Provenance: collection Robert Guiette; private collection, Belgium Literature: Zervos, C., Fernand Léger. Cahiers d'Art, Paris, 1935, n°1-4, repr. pp. 65 and 67; Bauquier, G., Fernand Léger. Catalogue raisonné de l'œuvre peint 1932-1937, 1996, repr. pp. 870-871
Galeria Jordi Pascual
joan miró
Joan Miró (Barcelona 1893-1983 Palma de Mallorca) Peinture, projet pour une tapisserie, 1973-1974 Paint, oil and wool on wood 197 x 122 cm Provenance: private collection Literature: Lelong, Daniel. Joan Miró. Catalogue raisonné. Paintings, vol. V, 1969-1975, Successió Miró, 2003; p. 238, fig. 1641
Osborne Samuel Gallery
henry moore
Henry Moore (Castleford 1898-1986 Much Hadham) Reclining Woman N° 2, 1980 Bronze H 15 x W 29 x D 15 cm Edition of 9 + 1, cast by Morris Singer Foundry Provenance: the artist's studio; The Goodman Gallery, Johannesburg, 1981; private collection, London (acquired from the above); Osborne Samuel, London Literature: John Hedgecoe, A Monumental Vision: The Sculpture of Henry Moore, Collins & Brown, London, 1998, p. 224, cat. n° 685 (ill. col. p. 245); A Bowness (ed), Henry Moore: Volume 6 Complete Sculpture 1980-86, Lund Humphries, London, 1988, p. 40, cat. n° 811 (ill. b&w p. 41)
Galerie Jean-François Cazeau
André Masson (Balagny-sur-Thérain 1896-1987 Paris) La Ville abandonnée, 1923-1924 Pastel, coloured wax and charcoal on paper 62.2 x 47 cm 98.5 x 83.3 cm (framed) Study for the final painting entitled La Ville abandonnée, 1923-1924 Signed lower left: André Masson Provenance: the Artist's studio; Collection T. Mesens, Belgian surrealist artist; Gallery Knoedler, New York; Galerie Odermatt-Cazeau, Paris; Private collection, Paris Literature: André Masson, oeuvres maîtresses, Galerie H. Odermatt - Ph. Cazeau, Paris, 1990, ill. in colour, p. 99, n° 43 Exhibition: New York, Surrealism in Art, M. Knoedler & Co., Inc., February-March 1975, catalogue n° 86 Study for the final painting entitled La Ville abandonnée, 1923-1924, oil on canvas, 73 x 60 cm, property of Galerie Louise Leiris, Paris. Literature: Paris, André Masson, oeuvres maîtresses, Galerie H. Odermatt - Ph. Cazeau, 5 December 1990-2 February 1991, p. 99; de Joinville, France, Château du Grand Jardin, Beauvais, Musée Départemental de l'Oise; Tchécoslovaquie, Sovinec, Ostrava, Bratislava, Prague: André Masson : Dessins Surréalistes 1925-1965. 17 April 1993-31 January 1994; Paris, André Masson: peintures et œuvres sur papier 1919-1927, Galerie Louise Leiris, 14 May-13 July 1996. Definitive painting after the drawing, ill. on the cover of the catalogue, p. n°9. Property of Galerie Louise Leiris. Illustrated on the cover of the catalogue; André Masson: Dessins Surréalistes 1925-1965, 1993. The catalogue is published by the AFAA (L'Association Française d'Action Artistique), Le Château du Grand Jardin (Conseil Général de la Haute Marne) and the Musée Départemental de l'Oise, Beauvais and produced by Soft Publicité Reims.
Stéphane Renard Fine Art
alessandro oliverio
Alessandro Oliverio (Bergamo or Venice, ante 1500-post 1544) Christ Carrying the Cross, 1505-1510 Oil on poplar panel H 49.5 x W 41.5 cm Provenance: collection Count Hubert Ludwig de la Fontaine and d'Harnoncourt-Unverzagt (1789-1846), from 1826 at Hrotovice Castle, Trebic, Czech Republic; purchased in 1836 with the entire collection and the castle by Georg Simon von Sina (1783-1856); transferred around 1847 by his son Simon Sina to Mysliborice Castle, Trebic, Czech Republic; by inheritance, in 1876, to Simon's daughter Iphigenie Sina (1847-1914), Duchess of Castries, sold in 1882 to Baron Anton Dreher of Schwechat; Mysliborice Castle; Antiqua auction sale, Prague, 1921, n° 12 (Italian Master of the 16th century)
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Guy Pieters Gallery
christo and jeanne-claude .
Christo (Gabrovo 1935-2020 New York) and Jeanne-Claude (Casablanca 1935-2009 New York) The Floating Piers (Project for Lake Iseo, Italy), 2014 Pencil, wax crayon, enamel paint, photographs by Wolfgang Volz, technical data and fabric sample 66 x 43 cm Provenance: private collection Linda and Guy Pieters Certificate of authenticity n°308-11 recorded in the archives of the Estate of Christo V. Javacheff
Floris van Wanroij Fine Art
Madonna and Child Malines, late Gothic, first quarter of the 16th century Walnut with original polychrome and gilding, marked with the ‘M’ mark in the front and Malines three-bar Guild mark on the reverse H 32.4 cm (incl. base) Recorded at KIK-IRPA, Brussels, object n° 11016890 Certificate of expertise by Mrs J. Zeberg, Vice-President of the Chambre Royale des Antiquaires de Belgique, dd. 1 February 1996 Provenance: J. Zeberg Antiques NV, Antwerp, TEFAF Maastricht 1996, acquired by private collection, Antwerp Literature: Exhibition catalogue 1996 TEFAF Maastricht. Den Bosch: The European Fine Art Foundation, p. 293, with ill.; F. Cayron & D. Steyaert, Made in Malines. Les statuettes malinoises ou poupées de Malines de 1500-1540. Étude matérielle et typologique, 2019; Brussels: KIK-IRPA, p. 150, ill. 3.55 Exhibition: TEFAF Maastricht, March 1996 This statuette of the Madonna and Child is a prime example of the Malines sculpture production of the early sixteenth century. The polychromy is attributed to the anonymous Maître aux fleurettes isolées (ca. 1501–ca. 1550). Cayron and Steyaert have identified three other sculptures with applied polychrome and gilding by this Malines master (2019, p. 150)
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
Marc Heiremans
ercole barovier
Ercole Barovier (Italy, 1889-1974) Zaffiro, gemmata series for Ferro Toso Barovier-Vetrerie artistiche riunite, Murano, 1936 Free-blown colourless glass with enclosed raw colouring oxides. Applied colourless details H 29.5 x W 21.5 cm Provenance: private collection, Paris Literature: Dorigato A. Ercole Barovier 1889-1974, vetraio Muranese. Venice 1989; Barovier M. L’arte dei Barovier, vetrai di Murano 1866-1972. Venice 1993; Heiremans M. Art glass from Murano. Stuttgart 1993; Heiremans M. Twentieth century Murano glass, from craft to design, Stuttgart 1997 Exhibitions: XXa Biennale internazionale d’arte, Venice 1936; Ercole Barovier 1899-1974, vetraio Muranese, Venice 1989; L’arte dei Barovier, vetrai di Murano 1866-1972, Venice 1993; Twentieth century Murano glass-From craft to Design, Ghent 1996
Ralph Gierhards Antiques / Fine Art
Marie Tassaert (Antwerp, 1642-after 1665) A garland of fruit surrounding a bust of Bacchus in a stone niche, 17th century Oil on canvas within a carved giltwood frame 85 x 69.5 cm Provenance: private collection, Namur (Belgium) Related works: A comparable oil on canvas of similar size (63.5cm x 53.5cm) and subject entitled 'A still life with a garland of fruit suspended from blue ribbons and a goblet in a niche', signed by Marie Tassaert, has recently been acquired by an important international Museum from the Rafael Valls gallery in London. It is interesting to note the similar composition of fruit garlands surrounding a central niche. The fruits and leaves on both paintings are identical and clearly painted by the same hand, as is the stone niche, up to and including the identical 'trompe l’oeil' cracks in the stone.
Willow Gallery
Eugène Boudin (Honfleur 1824-1898 Deauville) Pont sur La Touques, 1890 Oil on canvas, 46 x 66 cm - framed: 64 x 84 cm Signed, dated and inscribed lower left: Touques, E Boudin 90 Provenance: collection Panhard from 1899 Literature: Robert Schmit, Catalogue raisonné de l’œuvre peint d’Eugène; Boudin, Paris, 1973, vol. III, n° 3332, ill. p. 278, incorrectly dated 1894 Exhibition: Exposition des œuvres d’Eugène Boudin, Paris, École Nationale des Beaux-Arts, 1899, n° 43 (label verso)
Galerie Oscar De Vos
gustave van de woestyne
Gustave Van de Woestyne (Ghent 1881-1947 Brussels) Christ in the spring garden, 1907 Oil on board 58 x 40 cm Signed and dated top right: GUSTAVE / VAN DE WOESTYNE 1907 Provenance: René Van Herrewege, Ghent; André Vyncke-Van Eyck, Ghent; Galerie Vanlangenhove, Ghent; Galerie Oscar De Vos, Sint-Martens-Latem; private collection, Belgium Literature: Borchert e.a., Van Eyck. Een optische revolutie (2020), pp. 456-457, p. 497, cat. n° 19.9 (ill.); Boyens, Sint-Martens-Latem. Kunstenaarsdorp in Vlaanderen (1992), pp. 265-266; Boyens, Een zeldzame Weelde (2001), pp. 24-25, p. 69, p. 211, cat. n° 77 (ill.); Boyens, Symbolisme in Vlaanderen (2022), p. 70, n° 60 (ill.); De Geest e.a., Gustave Van de Woestyne 1881-1947 (1997), p. 107, cat. n° 7 (ill.); Gepts, Gustave Van de Woestyne 1881-1947 (1981), p. 76, cat. n° 6 (ill.); Haesaerts, L'Ecole de Laethem-Saint-Martin (1945), p. 162; Hoozee e.a., Gustave Van de Woestyne (2010), pp. 62-63, cat. n° 8 (ill.); Langui, Gustave Van de Woestyne (1967), cat. n° 10; Pauwels e.a., De eerste groep van Sint-Martens-Latem 1899-1914 (1988), p. 101, p. 176, cat. n° 52 (ill.); Pauwels, Als een fonkelenden spiegel (2019), 178 (ill.); Schoonbaert, Religieuze thematiek in de Belgische Kunst 1875-1985 (1986), p. 147, cat. n° 47 (ill); Stubbe, De Vlaamse schilderkunst van Van Eyck tot Permeke (1953), pp. 364-365; Van de Woestyne e.a., Gustave Van de Woestyne 1881-1947 (1970), p. 24, cat. n° 13; Van de Woestyne, Gustave Van de Woestyne (1929), p. 3, cat. n° 7; Van den Abeele, Albijn Van den Abeele (1993), p. 187 (ill.); Vanbeselaere, Vlaamse schilderkunst 1850-1950 (1960), p. 39, cat. n° 112 Exhibitions: 1929, Brussels, Palais des Beaux-Arts, Gustave Van de Woestyne, n° 7; 1953, Ghent, Museum voor Schone Kunsten, Schilderijen uit Gentse Verzamelingen; 1960, Laren, Singer Museum, Vlaamse schilderkunst 1850-1950, n° 112; 1967, Mechelen, Cultureel Centrum, Gustave Van de Woestyne, n° 10; 1981, Antwerp, KMSKA, Gustave Van de Woestyne 1881-1947, n° 6; 1986, Brussels, Galerij ASLK, Religieuze thematiek in de Belgische kunst (1875-1985), n° 47; 1988, Brussels, KMSKAB, De eerste groep van Sint-Martens-Latem, n° 52; 1997, Deinze, MuDeL, Gustave Van de Woestyne 1881-1947, n° 7; 2001, Ghent, Museum voor Schone Kunsten, Een zeldzame weelde n° 77; 2010, Ghent, Museum voor Schone Kunsten, Gustave Van de Woestyne, n° 8; 2012, Deinze, MuDeL, Ecce Homo: de Heilige Bloedprocessie van Meigem; 2020, Ghent, Museum voor Schone Kunsten, Van Eyck. Een optische revolutie, n° 19.9
Dr. Nöth kunsthandel + galerie
lotte laserstein
Lotte Laserstein (Preußisch Holland/Königsberg 1898-1993 Kalmar/Sweden) Young couple turned to the left (The Neumans), 1970 Oil on canvas 49 x 59 cm Signed and dated upper left: Lotte Laserstein 1970 Provenance: purchased directly from the artist by the present owner
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Samuel Vanhoegaerden Gallery
tom wesselmann
Tom Wesselmann (Cincinnati 1931-2004 New York) Wildflower bouquet (two handled vase), 1988 Enamel on laser-cut steel H 147.5 x W 223.5 cm Signed, dated and titled on the verso Provenance: Opera Gallery, Paris; private collection, Belgium Literature: Tom Wesselmann: a Pop Art Legend, Samuel Vanhoegaerden Gallery, Knokke, 2023, ill.
Kunsthaus Kende
hans bolek
Hans Bolek (Vienna, 1890-1978) An 800 grade silver coffee and tea service, Vienna, 1909-1912 Designed by Hans Bolek, executed by Franz Schediwy for Alfred Pollack silversmithy A five piece coffee and tea service Provenance: private collection, San Francisco Literature: In 1912, the Vienna Museum of Applied Arts (MAK) acquired the tea service, consisting of a teapot, a small milk jug and a sugar bowl on a tray. It is still in the museum’s collection under inventory number WI 1102. An identical composition can be found in the Bröhan Museum, Berlin and is ill. in: Kerssenbrock-Krosigk, D. von, Bröhan Museum, von Kerssenbrock-Krosigk, D. & Kanowski, C. (2001). Metallkunst der Moderne: Bröhan-Museum, Landesmuseum für Jugenstil, Art Deco und Funktionalismus (1889-1939), Berlin. P. 521, cat. n° 464 Exhibition: This tea service was designed prior to 1909 and exhibited for the first time by the silversmith Alfred Pollack in 1910/11 at the winter exhibition in the Vienna Museum of Applied Arts (currently the Museum der angewandten Kunst, Vienna, known as MAK)