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COLNAGHI
willem adriaensz key
Willem Adriaensz Key (Breda 1515/16-1568 Antwerp) The Crucifixion, circa 1550 Oil on panel 102 x 74 cm Signed on the cross: W. KAY Provenance: private collection, Belgium, until 2023; acquired from the above Literature: Koenraad Jonckheere, Willem Key (1516-1568): Portrait of a Humanist Painter, Turnhout, 2011 This signed panel is a recently rediscovered work by Willem Key. Key is most known for his portrait paintings, which account for roughly two-thirds of his known output. However, he was also a gifted painter of historical and religious subjects - this picture is a testament to Key’s powerful religious achievements, several of which were destroyed during the Iconoclastic Fury, or Beeldenstorm, that swept the Low Countries and famously struck Antwerp in 1566. Willem Key was a prominent sixteenth-century painter from Antwerp, then one of the greatest commercial and artistic centres of Europe. Recognised for his exceptional talents, Key enjoyed high social and artistic status, earning the admiration of both local nobility and international figures, including Don Fernando Álvarez de Toledo, Duke of Alba, and Antoine Perrenot, Cardinal Granvelle.
Valerio Turchi
Torso of Mercury 1st-2nd century AD Marble H 29 x W 21 x D 13 cm Accompanied by Art Loss Register certificate: S00217924 Provenance: English private collection, acquired in 1988; Bonhams, London, 21 April 2005, lot 203; Axel Vervoordt Gallery, Belgium; American private collection, acquired from the above
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Stern Pissarro Gallery
tom wesselmann
Tom Wesselmann (Cincinnati 1931-2004 New York) Study for bedroom painting #31, 1972 Oil on canvas 20.3 x 26 cm Signed, dated twice and titled on the reverse This work is registered under n° 72-9 in the archive of the Tom Wesselmann Estate, New York Provenance: Sidney Janis Gallery, New York; private collection, USA, acquired from the above Exhibitions: Paris, Galerie Des 4 Mouvements, Tom Wesselmann: Peintures, 7-31 March 1974, n° 13 (ill.)
Galerie Boulakia
marc chagall
Marc Chagall (Vitebsk 1887-1985 Saint-Paul de Vence) Les fiancés au cirque, 1982 Oil, tempera and pastel on canvas 100 x 73 cm Signed ‘Marc Chagall’ in blue oil paint (lower right), signed and dated 'Marc/Chagall/1982’ in oil paint on the reverse This work is accompanied by a certificate of authenticity issued by the Comité Marc Chagall, Paris Provenance: artist's estate; private collection, Europe
A&R Fleury
Sam Francis (San Matteo 1923-1994 Santa Monica) The blue between the red and green, 1960 Acrylic and gouache on paper 85.8 x 58.7 cm - framed 102.5 x 76 cm Provenance: private collection, Switzerland; Galerie Kornfeld, Bern, 1990; André Emmerich Gallery, New York; Dina and Raphael Recanati Collection, New York Exhibitions: New York, André Emmerich Gallery, Sam Francis: Paintings on paper 1956-1964, October-November 1990, ill.; Los Angeles, Manny Silverman Gallery, Sam Francis : Selected works, April-May 1999, n°1, ill. Literature: D. Burchett-Lere, ed, Sam Francis Online Catalogue Raisonné Project, n° SF60-1116
Sylvia Kovacek – Vienna
gustav klimt
Gustav Klimt (Baumgarten 1862-1918 Vienna) Standing nude, hands on the hips, 1911 Pencil on paper 57.1 x 37.5 cm Provenance: private collection, USA, courtesy Serge Sabarsky Gallery, New York; private collection, Japan; 110. auction Klipstein und Kornfeld, Bern 1963, n° 536 (pl. 69); private collection Hikonobu Ise, Japan Literature: The Ise Collection, Ise Lifedesign House, Japan 1984, ill. n° 12; Alice Strobl, Gustav Klimt. Die Zeichnungen 1904-1912, vol. II, Salzburg 1982, catalogue raisonné n° 2023, p. 252f
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Univers du Bronze
raymond delamarre
torse du diadumene (1936)
Plaster exhibited at the Salon des Tuileries (cat. n°439). Bronze, richly dark black brown patina H : 119 cm, L : 51,5 cm, D : 27 cm Bronze cast for the patron M. Giron (commissioned in December 1937), signed "Raymond Delamarre", dated "1937", cast by "Bisceglia Cire Perdue Malakoff" (seal), only one bronze example currently identified. Cast circa 1937-1938
HELENE BAILLY Paris-Genève
pierre-auguste renoir
Pierre-Auguste Renoir (Limoges 1841-1919 Cagnes-sur-Mer) Vase de roses, 1909-1910 Oil on canvas 55.5 x 46 cm Signed middle left 'Renoir' This work will be included in the Pierre-Auguste Renoir digital catalogue which is being prepared by the Wildenstein Plattner Insitute, Inc. Notice of inclusion dated February 29th, 2024 Provenance: Friedrich and Barbara Thurneyssen, Munich, acquired from the artist (from 1911); Rudolf von Simolin, Bavaria; private collection Literature: Ingrid Mössinger and Karen Sanger, Pierre-Auguste Renoir: Wie Seide Gemalt/L'Effet de la Soie, cat. ex. (Chemnitz: Kunstsammlungen Chemnitz, 2011) (ill. fig. 2, p. 111, installation view, Le salon de la famille Thurneyssen at Franz-Joseph-Strasse 36 in Munich. Undated photo showing Renoir's painting Alexandre Thurneyssen, 1911, near the door) Exhibitions: Berlin, Galerie Alfred Flechtheim, Pierre-Auguste Renoir: Peintures provenant des possessions de ses fils et ses sculptures, November 20th-December 22nd, 1927, n° 37 (titled Roses, dated 1914)
Van Herck-Eykelberg
Georges Vantongerloo (Antwerp 1886-1965 Paris) Study for Variant 'Curves', 1939 Gouache on paper 17.6 x 17.8 cm Titled, located, dated, and signed on verso 'Paris 1939' Provenance: Max Bill Estate; Max Bill-Georges Vantongerloo Foundation Annely Juda Fine Art, London; private collection, New York; Galerie Harold t'Kint de Roodenbeke, Brussels; private collection, Belgium Literature: Jan Ceuleers, Georges Vantongerloo, Ronny Van de Velde - Pandora, Antwerp, 1996, p. 200; Naum Gabo, Georges Vantongerloo, Friedrich Vordemberge-Gildewart, exh. cat., Annely Juda Fine Art, London, cat. 57 (ill.); Angela Thomas Schmid, Georges Vantongerloo: A Retrospective, exh. cat., Annely Juda Fine Art, London, cat. 59 (ill.) Georges Vantongerloo (1886-1965) was one of the founding members of De Stijl in 1918 along with Theo Van Doesburg and Piet Mondrian, among others. The Antwerp-based artist created sculptures as well as paintings and gouaches and is considered one of the pioneers of abstract art. He was a member of the 'Cercle et Carré' group and founded the Abstraction-Création group in Paris in 1931 to promote abstract art. At first, his abstract works still followed the straight line and angle but from 1937, curves and circles entered Vantongerloo's work. With the curved line, his work becomes more lyrical and playful. Rational volumes and proportions are replaced by lines that reflect an expression of energy.
Montagut Gallery
Dan mask Dan people, Ivory Coast, 19th century Wood, nails, pigments H 23 cm Provenance: private collection, New York, USA; Pace Primitive, New York, USA; Martin Lerner collection, Curator of Asian Art, Metropolitan Museum of Art, New York Pace primitive, New York (Inv. n° 53-0602); Richard E. Anderson, Director Emeritus of the Aldrige Museum, USA; private collection, Florida
Van Herck-Eykelberg
James Ensor (Ostend, 1860-1949) Rotundités (1936-1937) Oil on canvas 51 x 61 cm Signed lower right Literature: X. Tricot, James Ensor, Catalogue Raisonné of the paintings. II 1902-1941, Wienand, 1992 Anvers, n° 695; X. Tricot, James Ensor, Catalogue Raisonné of the paintings. Mercator, 2009, n° 713 Exhibitions: Brussels, Galerie Robert Finck, Exposition de peinture belge moderne, 1961; Ostend, Venetiaanse Gaanderijen, Ensors denkbeeldige paradijs, 2024
Gilden's Art Gallery
marc chagall
Marc Chagall (Vitebsk 1887-1985 Saint-Paul de Vence) Peintre, Ange et Amoureux, 1980 Tempera on masonite 40.6 x 34.9 cm Signed lower right corner 'Marc Chagall' Inscribed, signed and dated verso 'Tempera/Marc Chagall/1980' The work is accompanied by a certificate of authenticity from the Chagall Committee from 31 March 1992 issued by Jean-Louis Prat Provenance: Sotheby's New York, Sale 7132, 14 May 1998, lot 366; Collection of Bridget & Jerome Dobson, Atlanta, Georgia, USA
Florian Kolhammer
Seating ensemble (pair of chairs and table) Moritz Herrgesell (Vienna, 1853-1952) School of Koloman Moser, Vienna, circa 1902 Lacquered beech Table H 77 x W 50.5 cm Chairs H 96 x W 55 x D 55 cm Provenance: private collection Vienna, Austria Literature: Hochschule für angewandte Kunst in Wien (ed.), Koloman Moser 1868–1918, exh. cat., Vienna 1979, p. 203; Leopold Museum (ed.), Koloman Moser 1868-1918, exh. cat., Prestel 2007, pp. 204-205, 206; Hochschule für angewandte Kunst (ed.), Koloman Moser. Graphik Kunstgewerbe Malerei, Salzburg and Vienna 1984, p. 163, 241; Christian Witt-Dörring (ed.), Koloman Moser. Designing Modern Vienna 1897–1907, Prestel Verlag, München, London, New York 2013, pp. 138, 144, 159, 185, 193 Moritz Herrgesell studied architecture at the Vienna School of Arts and Crafts from 1901 to 1905. His famous teacher was none other than Josef Hoffmann. Herrgesell benefited above all from the fact that the ties between the Vienna Secession, artisans and the School of Arts and Crafts were particularly close at this time and that there was frequent creative exchange between individual classes and their teachers. This special situation also brought Moritz Herrgesell into contact with other renowned artists during his studies. The most influential role model here was the famous Viennese universal artist Koloman Moser. Hoffmann attested to Herrgesell's 'great talent and taste' and recommended him 'as completely capable and skillful in all these tasks'. Moritz Herrgesell's particular style can already be seen in his early design from 1903. The influence of his teachers is initially omnipresent and clearly noticeable. In the years that followed, however, his personal interpretation of furniture design became tangible. Herrgesell also regularly took part quite successfully in exhibitions and competitions. After completing his studies, he worked in his parents' carpentry business and showed his designs with great success at national and international exhibitions and competitions. The seating group shown here can be regarded as one of Moritz Herrgesell's first completely independent works from his early creative period. The influences of his mentor Koloman Moser are clearly evident, but it is the fine details that clearly set Herrgesell's design apart. This ensemble from the heyday of Viennese furniture art around 1900 is a rare museum piece from the circle of the most important artists of the time.
Galerie Nathalie Obadia, Paris/Brussels
Shirley Jaffe (USA, Elizabeth 1923-2016 Louveciennes, France) Untitled, circa 1955 Oil on canvas 174.5 x 101.5 x 4 cm Provenance: the Artist’s studio; Estate of Shirley Jaffe; Galerie Nathalie Obadia Dated circa 1955, Shirley Jaffe's Untitled is a work that is both remarkable and characteristic of this decisive decade, for its composition of bursts of small, independent brushstrokes that coalesce into irregular blocks. These shapes, composed of countless brushstrokes and sometimes evoking natural forms, are inserted into surfaces that are more modulated than before, and in which patches of local color appear. Fine glazes and dramatic shifts from light to dark contribute to the luminous transparency of her works from the 1950s, which seem flooded with a beautiful, roborative clarity. At the time, Shirley Jaffe was looking for “the moment in a painting that was unusual”. The important thing, for her, was to “bring the forms out of the background, while constantly tilting the balance”. In her works from this period, she often succeeded in giving the impression that shapes emanate naturally from the application of paint, and that compositions become unstable, sometimes radically so. This text appears in Raphaël Rubinstein's 2014 catalog Les Formes de la Dislocation. This work has never been exhibited. Courtesy of Shirley Jaffe Estate / ADAGP, Paris 2024 and Galerie Nathalie Obadia Paris/Brussels © Bertrand Huet / tutti image
Kunsthaus Kende
Yoshiko Okamoto (Japan, Yamaguchi 1976) Hagiawase jardinière, 2014 Silver, copper, shakudo, shibuichi H 11.4 x W 26.8 x D 8.4 cm A navette-shaped form, with the wall subtly tapering towards the ends and the base sloping upwards, analogous to the ends. The upper rim terminates in a square moulding. The body is adorned with an abstract frieze of foliage in alternating colours at alternating heights, which is subdivided by a subtle linear decoration. The pattern has been obtained using the traditional Japanese hagiawase technique. A masterfully crafted jardinière or flower planter of outstanding quality, brilliant finesse and unobtrusive elegance. The Japanese artist-silversmith and designer Yoshiko Okamoto (born in 1976 in Yamaguchi) began his career as an illustrator in Yamaguchi Prefecture, her favourite themes being the four seasons and depictions of the beauty of Japanese nature. She took part in arts and crafts courses under the guidance of the metal artist and living national treasure Akira Yamamoto (also from Yamaguchi Prefecture) while still at school, which awakened her interest in traditional Japanese metalworking techniques. After leaving school, she became a master student of Yamamoto, learning the special techniques of hagiawase (hot soldering with metal forging) and kiribame-zogan (heat-welding of cut-out inlays). Her preferred subject has remained unchanged throughout her artistic career: the endless story of nature, woven from the four seasons, into which she incorporates her artistic perspectives, represented by masterful colour gradations of several layers of metal. The traditional Japanese forging technique known as hagiawase (Japanese for ‘brazing’) consists of joining together different types of metal sheets. This technique makes it possible to create metalwork with striped or patchwork patterns. After joining, the artist shapes the metal with a hammer. The work often consists of silver (white), different types of shibuichi (a copper-silver alloy that appears grey) and shakudo (a copper-gold alloy that appears black). The surface of shibuichi becomes light grey when silver is added, the addition of copper makes the colour appear progressively darker depending on the quantity, and the addition of gold makes it dark grey. These metal alloy plates are cut with a fine saw to produce the desired pattern. These plates are joined together with silver and then melted with a gas burner to bond the pieces together. Alternatively, hotter flames are used to bond the different metals together directly. Since it is not possible to produce the pattern exactly as designed each time, Yoshiko Okamoto performs this hagiawase process several times until she has produced the desired number of patterns. When the pattern plates are finished, she grinds the inside to smooth out the unevenness caused by the soldering. She then begins to mould the metal by driving it with a hammer. Once the basic shape has been created, the pattern of white dots is incorporated: for this purpose she drills holes with a drill of maximum 1 mm diameter, inserts a short-cut round wire made of pure silver into the hole and fixes the protruding part of the silver by hammering. The protruding part is then removed to make it level with the surface. This technique is known in Japanese as Kiribame-zogan. The surface is then hand-sanded using coarser abrasive media, the grain of which becomes progressively finer during the sanding process, ultimately resulting in a high lustre. Once all the sections have been completed, the inner surface of the piece is sanded again with coarse sandpaper and the edges of the individual parts are harmonised. The metal plates are then assembled to form the three-dimensional workpiece, fixed together with wire and the segments soldered together. Finally, the surface is preserved using the traditional Japanese patination technique Niiro.
Pauline's Jewellery Box
Belle Epoque sapphire & diamond Chaumet bow brooch, circa 1910 Set with sapphires and diamonds. Estimated total sapphire weight 10.00 carats. Estimated total diamond weight 15.00 carats. The diamonds are bright and lively, mounted in platinum and 18kt yellow gold. Stamped with French hallmarks and maker’s marks: 280-470-4320 / 89834 Provenance: France