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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
carl max kruse
Carl Max Kruse (Berlin, 1854-1942) Messenger of Victory on Marathon, circa 1900 Life-size bronze with green patina of an athlete carrying the Olympic palm H 210 x W 120 x D 50 cm Signed Max Kruse Literature: Amtsblatt Lutherstadt Eisleben, ill. p.17; Carl-Peter Steinmann: Sonntagsspaziergänge 2. Entdeckungen in Charlottenburg, Friedrichshain, Gesundbrunnen, Grunewald, Karlshorst, Prenzlauer Berg, Transit Verlag Berlin 2010, ISBN 978-3-88747-286-3; Fritz Stahl: Max Kruse. Wasmuth, Berlin 1924 Other examples can be found in the collection of the museum 'Alte Nationalgalerie Berlin', in Lutherstadt Eisleben (a town in the German state of Saxony-Anhalt) and at the sports facility in 'Gladbacher Straße', Krefeld (a town in the German state of North Rhine-Westphalia)
Zebregs&Röell Fine Art and Antiques
Indo-Portuguese colonial mother-of-pearl veneered casket with silver mounts India, Gujarat, 2nd half of the 16th century, the silver mounts Goa or probably Lisbon H 16 x W 24.6 x D 16.1 cm An exceptional Gujarati casket with a rectangular box and truncated pyramidal lid (with slopes on each side and a flat top) made from exotic wood, probably teak (Tectona grandis), covered with a mother-of-pearl mosaic. The tesserae, cut from the shell of the green turban sea snail (Turbo marmoratus, a marine gastropod) in the shape of fish scales, are pinned to the wooden structure with silver ball-headed nails. The casket is set on bracket feet on the corners. The masterfully engraved decoration of the silver mounts follows the most refined and erudite Mannerist repertoire of rinceaux and ferroneries dating from the mid-sixteenth century. The high quality and refinement of the silver mounts and, likewise, the silver nails that replaced the original brass pins used to hold the mother-of-pearl tesserae in place indicate the work of a silversmith probably working in Lisbon in the second half of the sixteenth century. The Indian origin of this production, namely from Cambay (Khambhat) and Surat in the present state of Gujarat in north India, has been consensual and fully demonstrated for the last three decades, not only by documentary and literary evidence - such as descriptions, travelogues and contemporary archival documentation - but also by the survival in situ of sixteenth-century wooden structures covered in mother-of-pearl tesserae. A fine example is a canopy decorating the tomb (dargah) of the Sufi saint, Sheik Salim Chisti (1478-1572) in Fatehpur Sikri in Agra district in the state of Uttar Pradesh, north India. This is an artistic production, geometric in character and Islamic in nature, where usually the mother-of-pearl tesserae form complex designs of fish scales or, similar to the dishes also made using the same technique with thin brass sheets and pins, stylised lotus flowers. The truncated pyramidal shape corresponds, like their contemporary tortoiseshell counterparts also made in Gujarat, to a piece of furniture used in the Indian subcontinent within the Islamic world prior to the arrival of the first Portuguese. This shape is very old and specific to East-Asian caskets, chests or boxes used to contain and protect Buddhist texts, the sutras. A similar chest is the famous and large reliquary chest from Lisbon Cathedral that once contained the relics of the city's patron saint, Saint Vincent. Both match in shape, having the same kind of pedestal and bracket feet, and in their engraved silver mountings, featuring the same type of refined, erudite decoration. Their differences lie in the silver borders that frame the entire length of the edges of the chest (both the box and the lid), pinned with silver nails, and on the lock plate, shaped like a coat of arms in the Lisbon example. Given the exceptional dimensions of the reliquary casket from Lisbon Cathedral (48 x 65 x 42 cm), the goldsmith responsible for its mounting opted to place two bracket-shaped side handles instead of a top handle, as in our casket. Another similar example, probably mounted in the same Lisbon workshop as the other examples from this small group, belongs to the Seville Cathedral and still needs to be discovered. It shares many features in common with the one in the Lisbon cathedral, namely the use of engraved silver borders running along the edges, protecting the casket. An aspect that distinguished it from the others is the use of tesserae cut from Turbo marmoratus, which show a higher iridescence but also cut from the shell of the pearl oyster, probably Pinctada radiata or Pinctada maxima, given the whitish hue of the base colour. Nevertheless, the type of square-like lock plate is similar to our casket. Another example, slightly larger but with fewer silver mounts, is in the collection of the Kunstkammer Wien in the Kunsthistorischen Museums in Vienna (inv.no. GS Kap 5) and belonged to the Habsburger Family. The same type of large silver ball-headed nails seems to be characteristic of this small, rare and important group, of which the present example is the second known example in private hands, given that the others have been in their current place since the time they entered their collections in the late sixteenth century or the first years of the seventeenth century.
Epoque Fine Jewels
marcel bing
Marcel Bing (1875-1920) Art Nouveau gold, ivory, opal and enamel brooch, designed as an woman’s ivory face in profile, her long hair in billowing waves of gold, her headdress set with two cabochon opals, decorated with green iridescent enamel and dark red enamel highlights Paris, circa 1900 3.6 x 3.2 cm Maker’s mark of Marcel Bing Marcel Bing (1875-1920) was the fourth child of Siegfried Bing (1838-1905), the great collector of Japanese art and founder of the gallery 'La Maison Art Nouveau Bing', located at 22 rue de Provence in Paris. Marcel trained as a jeweller, creating jewelry and vase mounts for the gallery, and took over its management upon his father's death in 1905. The shop and its owners were so influential in their day that it was from the name of this Parisian Shop 'La Maison Art Nouveau Bing' that the entire 'Art Nouveau' movement got its name. Bing(s importance in the development of the Art Nouveau movement cannot be over-stated.
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.
Finch & Co
Headrest Kali Hahapo Patinated wood, sennet (coconut fibre), glass beads Tonga, late 18th-early 19th century H 19 x W 53 cm Provenance: Captain A.W.F. Fuller (1882-1961) given to Dr Roland Force, in recognition of Force’s work in cataloguing the Fuller collection (see below); Julian Harding collection; Wayne Heathcote; Patricia Withers collection (1934-1998), London; Sotheby’s London, 1988; Nasser Gallery, 2010; private collection Literature: The Mark and Carolyn Blackburn Collection, 2010, p. 246, ill. 146; The Fuller Collection of Pacific Artefacts, Lund Humphries, London, 1971; Pierre Loos, Bayet et Caltaux, La tête dans les étoiles. Appuis-nuque d’Afrique et d’ailleurs, BRUNEAF, 2012, p. 157 Exhibition: BRUNEAF, Bruxelles, Belgium, La tête dans les étoiles. Appuis-nuque d'Afrique et d’ailleurs, 6-10 June 2012 A comparable example in the Tongan National Museum, Tofoa. Also several neck-rests part of the collections in the National Museum of Australia, Canberra (inv. Oz 347 and inv. Oz 348) Of elegant arching form and carved in one piece from a dense, fine grained wood, possibly ‘Intsia bijuga’. Neck-rests of this type were used in Tonga as pillows to ensure that the elaborate coiffure of the owner would not be disturbed during sleep. ‘Kali’ acquired ‘mana’ (the spiritual force) by repeated contact with the owner’s head and in the case of a chief became objects of great prestige. This example, from the renowned Captain Fuller collection, is exceptional for the elegance and purity of its form, especially evident in the strongly curved legs ending in subtle horizontal flange feet. To each end of the ‘cross-bar’ glass beads have been inserted to enhance the decorative appeal and importance of this piece. In the opinion of George Ortiz no civilisation has equalled the Pacific Islanders’ superb furniture and domestic objects. Writing of Tongan neck-rests the great connoisseur of Polynesian Art Edward Dodd said: ‘What wonderful springing forms!’ For a comparable neck-rest (no. 689) in the James Hooper collection. Of classic Tongan form, it was however collected at Mbau, Fiji, in 1865. Compare also two ‘kali’ previously in the Fuller collection ( n° 274498 and 274499) and now in the Field Museum, Chicago.
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
Galerie Kevorkian
mughal art / art moghol
Portrait of nawab 'Ali Mardan Khan Mughal art Opaque watercolour and gold on paper, gold speckled margins Illuminated panel written in nasta'liq script: 'tasvir-e nawab 'Ali Mardan Khan' Mughal India, 18th century Folio: 32 x 22.8 cm, painting: 21 x 12.4 cm Provenance: probably collection of Sir Elijah Impey, chief justice of Bengal from 1774 to 1789; former collection of Jean Pozzi (1884-1967), French diplomat and collector; French private collection (1975-2000) Exhibition: Indian and Oriental Miniatures, Palais Galliera, Paris, 5 December 1970, n° 24
Galerie Kaléidoscope
antonio recalcati
Antonio Recalcati (Bresso 1938-2022 Milan) Slip, 1961 Oil on canvas 80 x 60 cm Provenance: estate Antonio Recalcati Literature: (non exhaustive list) Jouffroy Alain, Les empreintes de Recalcati 1960-1962, Christian Bourgois, 1975; Recalcati, Dall' impronta all'immagine, exhibition catalogue, Palazzo Reale, Comune di Milano, Gabriele Mazzotta, Milan, 1987; Antonio Recalcati, exhibition catalogue, Galleria d'Arte Moderna Farsetti, Milan, 1990; Antonio Recalcati, 1959/1999-Mano a Mano, exhibition cat., Villa Tamaris, La Seyne-sur-mer, 1999; Antonio Recalcati-La passione della libertà, exhibition catalogue, Galleria Gruppo Credit Valtellinese, Refettorio delle Stelline, Grafiche Aurora, Milan, 2004; Antonio Recalcati, exhibition catalogue, Guttklein Fine Art, Paris, 2018 Exhibitions: (non exhaustive list) 1976, Paris, Centre National d'Art Contemporain/Musée National d'Art Moderne, Recalcati, Empreintes; 1987, Milan, Palazzo Reale, Recalcati-Dall' impronta all'immagine; 1990, Milan, Galleria d'Arte Moderna Farsetti, Antonio Recalcati; 1999, La Seyne-sur-mer, Villa Tamaris, Antonio Recalcati, 1959/1999-Mano a Mano; 2004, Milan, Galleria Gruppo Credit Valtellinese, Refettorio delle Stelline, Antonio Recalcati-La passione della libertà; 2018, Paris, Guttklein Fine Art, Antonio Recalcati The Galerie Kaléidoscope stand is dedicated to three painters from the figurative avant-garde in Paris in the 1960s and 1970s. It will feature something exceptional in the history of art: the first Slip Print made in 1961 by Antonio Recalcati (1938-2022). After beginning to make prints of his own body in oil paint in 1960, the following year Antonio Recalcati placed traces of his own clothes (shirt, pants, socks, pants, T-shirt, etc.) at the centre of his paintings. At the same time, Yves Klein was producing his beautiful Anthropometries, done in public and using the bodies of naked women as paintbrushes. On the other side of the Atlantic, Pop Art artists were also incorporating everyday objects into their paintings. But the references and atmosphere of Recalcati's paintings are radically different. The fruit of a hand-to-hand encounter between the painter and his canvas, in the solitude of the studio, these works have a dramatic tension that is offset by a singular luminosity and a great deal of vitality. In 2022, Galerie Kaléidoscope and Antonio Recalcati decided to embark on an ambitious process of rediscovery in France and abroad. Since the artist's death a year ago, she has represented the Estate, and will shortly be contributing to the launch of a catalogue raisonné of 60 years of painting. Antonio Recalcati was at the forefront of the great figurative renewal of the second half of the twentieth century, while constantly engaging in dialogue with his elders: from Etruscan painting to Picasso, via of course the masters of the Italian Renaissance.
Galeria Jordi Pascual
manolo valdés
Manolo Valdés (Valencia, 1942) Matisse como pretexto, 1987 Mixed media on burlap 170 x 240 cm Provenance: collection Guillermo Caballero de Luján, Valencia Literature: Fundación Museo Guggenheim Bilbao, Art of this Century, 2022. Manolo Valdés. Painting and sculpture, 18 October 2002-19 January 2003, p. 105; de Barañano, Kosme, 1999, Manolo Valdés. Ediciones Polígrafa and Caja de Ahorros del Mediterráneo, p. 51
Nosbaum Reding
Manuel Ocampo (Philippines, 1965) Don't give them any puzzle, 2002 Oil on canvas 196 x 248 cm Provenance: the artist's studio Literature: Slow Paintings, ed. Markus Heinzelmann, Museum Morsbroich, Verlag für moderne Kunst Nürnberg, 2009; Manuel Ocampo. Fear of a Kitsch Existence, ed. Menene Gras Balaguer, Casa Asia, Barcelona, 2017, p. 215; Manuel Ocampo, Wunderkammer, Gesellschaft für Gegenwartskunst e. V., Augsburg, Munich, 2003, pp. 24-25 Exhibitions: Group exhibition, Slow Paintings, Museum Morsbroich, Leverkusen, Germany, 24.11.2009-7.2.2010; Solo exhibition, Sprüth Magers Projekte, Munich, Germany, 2003; Solo exhibition, Wunderkammer, Gesellschaft für Gegenwartskunst e. V., Augsburg, Germany, 7 May-15 June 2003
Herwig Simons Fine Arts
Sculpture representing Emperor Augustus of Prima Porta Italy, 19th century Bronze, roso levanto and nero Belgio marble base, smooth medal patina H 110 cm Signed by the foundry A. Röhrich Roma The original statue was discovered on April 20, 1863, during archaeological excavations directed by Giuseppe Gagliardi at the Villa of Livia owned by Augustus' third and final wife, Livia Drusilla in Prima Porta. The Augustus of Prima Porta is now displayed in the Braccio Nuovo (New Arm) of the Vatican Museums.
Cabinet of Curiosities-Honourable Silver Objects
Circle Gerard Opstal (1605-1668) Carved relief with bacchanal scene, Bachus and five putti Ivory, tropical wood (frame) Southern Netherlands/Flanders, late 17th century 6.3 x 6.3 cm (relief) 11 x 11 cm (frame) Provenance: Stodel, Amsterdam Literature: Les Ivoires, Evolution décorative du Ier siècle à nos jours. Avec la collaboration de M. l'abbé P. Bidault, H. Levasseur, J. Joire, et de MM. les Conservateurs des Musées européens, Paris, Tardy, 1966, pp. 104-106, 109, 128; Elfenbein, Otto Pelka (Bibliothek für Kunst und Antiquitäten Sammler), p. 73, n° 262; Ivoires du Musée du Louvre 1480-1850, une collection inédite (Dieppe: Editions d’Art/Château-Musée de Dieppe, 2005), pp. 56, 220, n° 38; L’amour des ivoires, E. Mannoni, éd. Ch. Massin, Paris
Gallery de Potter d’Indoye
Jean Prevel (Paris, 18th century) A Louis XVI Ormolu, blued metal and white marble 'Pendule au temple de l’amour', circa 1780 White marble, gilded bronze, blue patinated bronze H 78.7 x Ø 34.9 cm Signed: Prevel à Paris (clock maker, Cour abbatiale, St-Germain, France) Provenance: collection of Dr. & Mrs. Constantin Mamouris The white marble tempietto features an ormolu figure of Athena topped with a dome segmented by blue patinated bronze panels and applied ormolu stars surmounted by a spherical clock with revolving chapter rings. The time is indicated by an arrow held by a perched putto. The striking movement is signed Prevel [à Paris]. In the form of a rotunda, the design of this charming clock was inspired by the ancient Greek and Roman temples, often reproduced or reimagined by talented painters such as Hubert Robert throughout the second half of the eighteenth century. When searching for contemporaneous French buildings that could have influenced the maker of this clock, Richard Mique’s famous Temple of Love comes to mind, designed for Marie-Antoinette in her gardens of the Petit Trianon, see D. Ledoux-Lebard, Versailles, Le Petit Trianon: Le Mobilier Des Inventaires de 1807, 1810 et 1839, Paris, 1989, p. 31. A number of clocks of this popular design exist, although none are exactly the same as this clock. Comparable clocks include one in the Spanish Royal Collection, illustrated in J. Ramon Colon de Carvajal, Catalogo de Relojes del Patrimonio Nacional, Madrid, 1987, p. 90, n° 73; one in P. Kjellberg, Encyclopédie de la pendule française du Moyen Age au XXe siècle, Paris, 1997, p. 292, fig. B; and one is in the British Royal Collections, see C. Jagger, Royal Clocks, The British Monarchy and its Timekeepers 1300-1900, London, 1983, p. 150. Unlike this clock, the above examples have ormolu or pierced marble domes, making the star-studded and blue patinated bronze panels roof of this clock particularly interesting and unique.
Francis Maere Fine Arts
paul delvaux
Paul Delvaux (Antheit 1879-1994 Veurne) Femmes devant la mer, 1928 Oil on canvas 80 x 100 cm Signed and dated upper right: P. DELVAUX 28 Provenance: Jean Giron, Brussels; private collection, Belgium Literature: A. Eggermont, Les arts plastiques in Le Thyrse, Brussels, March 1931, p. 104; M. Butor, J. Clair, S. Houbart-Wilkin, Paul Delvaux-catalogue de l'oeuvre peint, Cosmos Monographies, Brussels, 1975, cat. n° 35, p. 156 Exhibitions: 1928 Brussels Galerie Manteau, Paul Delvaux et Robert Giron, 1931 Brussels Palais des Beaux-Arts, Paul Delvaux, 1969 Paris, Musée des Arts décoratifs; 1974, Sint Martens Latem, Georges Buysse Gallery, Delvaux, Spilliaert, Pérot; 1985 Paris, Centre Culturel Wallonie-Bruxelles, Hommage à Paul Delvaux © Foundation Paul Delvaux, Belgium/SABAM, 2023-2024