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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
Dr. Lennart Booij Fine Art & Rare Items
emile gallé
Emile Gallé (Nancy, 1846-1904) Vase, circa 1895 Aquamarin enamelled and hand etched vase with applied handles H 25 cm Provenance: private collection, France Literature: Alistair Duncan, The Paris Salons 1895-1914, vol. IV, p. 228 for a similar model
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.
Galerie de la Présidence
jean dubuffet
Jean Dubuffet (Le Havre 1901-1985 Paris) Tasse de thé, 18 mai 1967 Marker on paper 25 x 16.5 cm Signed with the initials and dated lower right Provenance: Galerie Jeanne Bucher Jaeger, Paris; private collection, Paris Literature: Max Loreau, Catalogue des Travaux de Jean Dubuffet: Cartes, Ustensiles, fascicule XXII, Suisse 1972, p. 53, n° 166 Exhibitions: Dubuffet, L’Hourloupe, Kunsthalle, Basel, 1970; Dubuffet, Paysages du mental, Galerie Jeanne-Bucher, Paris, 1989; Dubuffet, obras sobre papel, Fundaçao Arpad Szenes - Vieira da Silva, Lisbon, 2000; Dubuffet L’Hourloupe, Grand-Palais, Paris, 2006; Cent dessins de Jean Dubuffet, Galerie Jeanne-Bucher, Paris, 2009; Jean Dubuffet-Le Cours des choses, Jeanne Bucher Jaeger, Paris, 2022
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
Galerie Oscar De Vos
emile claus
Emile Claus (Sint-Eloois-Vijve 1849-1924 Astene) Return from school/Girls in the field, 1892 Oil on canvas 132 x 99 cm Signed lower left: Emile Claus Provenance: collection Mrs. G.C., Brussels; Galerie Georges Giroux, Brussels, 1929, n° 28; collection Mrs. F. Soethoudt, Brussels; auction Guillaume Campo, Antwerp, 1982, n° 25; Galerie Oscar De Vos, Sint-Martens-Latem; private collection, Belgium Literature: G. Giroux, Catalogue de la collection de Madame G.C. (Brussels: Galerie Georges Giroux, 1929), n° 28, ill. n° 12 (ill.); P. Eeckhout, Retrospectieve tentoonstelling Emile Claus 1849-1924, cat. (Gent: MSK, 1974), p. 49, n° 49; R. Bombeke, e.a., Schilders van het Leieland, cat. (Deinze: MuDeL, 1991), n° 144; P. Boyens, Sint-Martens-Latem. Kunstenaarsdorp in Vlaanderen (Tielt: Lannoo, 1992), 535 (ill.); M. Ruyters, Campo 1897-1997 (Antwerpen: Stefan Campo, 1997), p. 85, n° 11 (ill.); J. De Smet, e.a., Emile Claus en het landleven, cat. (Gent: MSL, 2009), p. 145, p. 93 (ill.); R. Hoozee, e.a., Lights of Flanders. Images of a beautiful Belgian village, cat. (Tokyo: The Mainichi Newspapers, 2010), p. 71, n° 36 (ill.); J. De Smet, e.a., Emile Claus and Belgian Impressionism, cat. (Kobe: The Kobe Shimbun, 2013), p. 46, n° 6 (ill.) Exhibitions: 1929, Brussels, Galerie George Giroux, n° 28; 1974, Ghent, Museum voor Schone Kunsten, Retrospective Exhibition Emile Claus 1849-1924, n° 49; 1982, Antwerp, Guillaume Campo, 1982, n° 25; 1991, Deinze, Museum van Deinze en de Leiestreek, Schilders van het Leieland, n° 144; 2009, Ghent, Museum voor Schone Kunsten, Emile Claus and Rural Life, n° 93; 2010-2011, Himeji, City Museum of Art; Tokyo, The Bunkamura Museum of Art; Miyoshi, Okuda Genso Museum, Light of Flanders. Images of a beautiful Belgian village, n° 36; 2013, Himeji, City Museum of Art; Tokyo, Station Gallery; Ishikawa, Prefectural Museum of Art; Hekinan, City Tatsukichi Fuji Museum of Contemporary Art, Emile Claus and Belgian Impressionism, n° 6; 2021, Mechelen, Heilige Geestkapel, Het Kunstuur
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
Thomas Deprez Fine Arts
emile fabry
Emile Fabry (Verviers 1865-1966 Brussels) A monumental triptych, including: Le péché originel, Les Déesses de la Vie and Prométhée & Pygmalion, circa 1896 Oil on canvas 246 x 138 cm | 249 x 205.5 cm | 245 x 140 cm All canvases waxed and retouched The middle panel carrying a certificate by Edmond Delescluze, the artist's son-in-law, dated April 6th 1990 Provenance: by descent in the family of the artist, after his death in 1966; former collection Suzanne Fabry and Edmond Delescluze, the artist’s daughter and son-in-law; triptych dismantled and sold separately, with different provenances on request; United again for the first time under single ownership, 2023 Literature: a list of contemporary press critiques available on request; Jacqueline Guisset, Emile Fabry 1865-1966, Brussels, Fonds du Patrimoine de Woluwe-Saint-Pierre, 2000, ill. pp. 75, 77 & 78; Sébastien Clerbois, L’Esotérisme et le Symbolisme belge, Anvers, Pandora Publishers, 2012, ill. p. 104 Exhibitions: Exposition du Cercle Pour l'Art, Brussels, 1896; Retrospective Emile Fabry, Woluwe-Saint-Pierre, Centre culturel, 2000
Mearini Fine Art
Bartolomeo di Giovanni D'Astore called Baccio da Montelupo (Montelupo Fiorentino 1469-1536 Florence) Crucifix, circa 1515 Wood, plaster and paper 81.5 x 81.5 cm Provenance: private collection, Italy Literature: David Lucidi, Baccio da Montelupo, Tau, 2022, pp. 154, 342, 343, 413, 414
Floris van Wanroij Fine Art
adriaen van ostade
Adriaen van Ostade (Haarlem, 1610-1685) Interior of a barn with peasants-An allegory of smell Oil on panel 17 x 24 cm Signed and dated middle centre: Av ostade 1637 Provenance: private collection; Floris van Wanroij Fine Art; private collection, Remscheid, Germany Literature: Krol, A.E., Musée de l’Ermitage. Peinture de l’Europe occidentale. Leningrad (Hermitage), 1981, vol. II, p. 155 In his charming and amusing painting Adriaen van Ostade, like his contemporaries David Teniers the Younger and Adriaen Brouwer, depicted a scene from the everyday life of the peasant classes. At the same time it forms an allegory, that of the sense of smell. A variation on this composition by Van Ostade is kept in the collection of the Hermitage, Saint Petersburg (inv. n° 999)
Galerie Marc Maison
Gilded plaster statuette by Pierre Braecke (Belgium, 1858-1938) surmounting a sideboard made by Victor Horta (Ghent 1861-1947 Brussels) Four original gilded plaster statuettes by Pierre Braecke surmount the pair of sideboards This is part of a interior decor made of a suite of three paneled rooms designed by Victor Horta for a private owner in Kortrijk and including two fireplaces, a pair of sideboards, a stained-glass ceiling and windows, a screen with period fabric Circa 1903 Mahogany, oak and maple, bronze, marble, american glass, fabric: moiré damask Surface: approximately 80 sq meters, H 3.80 m Provenance: Kortrijk, Belgium
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
robertaebasta
Lucio Fontana (Argentina, Rosario 1899-1969 Comabbio, Italy) Concetto Spaziale Natura, 1967 Artwork made of two pieces in polished brass H 26 x W 20 x D 21 cm Both signed: Lucio Fontana on the reverse and numbered 186/500, cast by Berrocal founderies Provenance: private collection, Italy
Thomas Deprez Fine Arts
gisbert combaz
Gisbert Combaz (Antwerp 1869-1941 Brussels) Poster project for the 75th anniversary of Belgian independence, 1905 Oil, gouache, pencil and ink on canvas 102 x 62 cm Signed and dated middle right: Gisbert Combaz 1905 Provenance: the artist's studio by his death in 1941 (?); former collection Wittamer-Descamps, Brussels; former collection Wéry, Brussels; private collection, Brussels Literature: Jane Block, Gisbert Combaz (1869-1941)-Fin de siècle Artist, Antwerp, Pandora, 1999, cf. p. 99, n° 141 & 142 Unpublished as a poster, the design was taken up by Octave Maus as a chromolithography for the frontispiece of the section 'L'Art Appliqué en Belgique' in the milestone publication: 'L'Art et La Vie en Belgique 1830-1905', Bruxelles & Paris: Librairie Nationale d'Art et d'Histoire, G. Van Oest & Cie, 1921, p. 117. The design was later also used as the cover for Th. Quoidbach, 'Le Chansonnier de la Jeunesse belge', Brussels, Schott, 1934
Studio 2000 Art Gallery
willem paerels
Willem Paerels (Delft 1878-1962 Eigenbrakel) Scheveningen boulevard, 1907 Oil on canvas 70 x 70 cm Signed lower right: Paerels Provenance: private collection, The Netherlands; private collection, Belgium; Galerij Jeanne Buytaert, Antwerp; collection M. Jefferys, Brussels (before 1924) Literature: André A. Moerman, Willem Paerels 1878-1962: retrospectieve tentoonstelling georganiseerd in het raam van het Nederlands-Belgisch Cultureel Akkoord, Brussel [etc.] 1978, p. 21, n° 11: dated ’1907’ by the artist in his notes Exhibitions: Brussels (Palais des Beaux-Arts de Bruxelles), Willem Paerels, 17 September 1968-1 October 1968 and Amersfoort (Zonnehof), 5 October 1968-4 November 1968; Brussels (Koninklijke Musea voor Schone Kunsten van België), 3 March 1978-16 April 1978 and Laren (Singer Museum), 30 April 1978-11 June 1978, Willem Paerels 1878-1962: retrospectieve tentoonstelling georganiseerd in het raam van het Nederlands-Belgisch Cultureel Akkoord
De Jonckheere
jan brueghel the younger
Jan Brueghel The Younger (Antwerp, 1601-1678) Bouquet of flowers in a Wan-Li porcelain vase, late 1620s Oil on panel 56 x 40.5 cm Certificate from Dr. Klaus Ertz Provenance: De Jonckheere, 1985; private collection Symbolising the ties between China and Europe in the seventeenth century, this elegant floral composition bears witness to the talent of Jan Brueghel the Younger. One of the finest floral painters of his time, he combined an unaffected opulence with sober compositions. The finesse of the flowers and the harmonious colours are the hallmarks of his delicate hand and brilliant observation. Working for many years in the family workshop, which he took over upon his father's death, Jan Brueghel the Younger was able to familiarise himself with the various models. Although his style was influenced by his father, he nevertheless took liberties, as is the case here in this Bouquet of flowers in a Wan-Li Porcelain Vase.
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
Franck Anelli Fine Art
Joost Cornelisz. Droochsloot (Utrecht, 1586-1666) Village scene, 1643 Oil on panel 71.8 x 106.5 cm 93 x 129 cm - framed Provenance: With Hans Trojanski, Dusseldorf, 1957; Private collection of Baroness Viktoria Dagmar von Rochow (1931–2022); By descent, private collection, Switzerland This painting is registered at the RKD, The Hague as by the hand of Joost Cornelisz. Droochsloot.