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Stern Pissarro Gallery
auguste herbin
Auguste Herbin (Quiévy 1882-1960 Paris) VENUS I, 1945 Oil on canvas 100 x 81 cm Titled, signed and dated lower left, vénus-herbin 1945 Provenance: private collection, Stockholm; Galerie des Etats-Unis, S. Stoliar, Cannes; Sotheby's London, 2002; Dorval Gallery, Lille; private collection, France Literature: Geneviève Claisse, Herbin, Catalogue raisonné de l'Œuvre Peint, Paris, 1993, n° 846, (ill. in black and white p. 429) Exhibition: Cannes, Galerie des Etats-Unis, 1965, n° 29
Röbbig München
nicolas petit (1732–1791, maître in 1761)
Nicolas Petit (France, 1732-1791) Ormolu mounted floral marquetry table "en chiffonnière" Paris, Louis XV/Louis XVI (Transition) period, circa 1770 H 68.5 x W 32.5 x D 25.5 cm Stamped 'N.PETIT' maître in 1761 and 'JME' Provenance: the Lesley and Emma Sheafer collection, Bequest of Emma A. Sheafer, 1973
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.
Gallery de Potter d’Indoye
Pair of ornamental columns, late 18th century Black marble with matte and polished gilt bronze mounts and applications, decorated with vases and toupie feet H 57.5 x W 17.5 x D 14.5 cm Provenance: European private collection A comparable pair of obelisk-shaped black and white marble ornaments had been part of Jacqueline Kennedy Onassis's collection, having been acquired from Vladimir Barjanasky. Mrs. Kennedy Onassis had graciously loaned these pieces to the White House during her husband's presidency, where they adorned the mantel in the Red Room. Subsequently, these items were included in the estate sale held at Sotheby's New York from April 23 to 26, 1996.
DIE GALERIE
max ernst
Max Ernst (Brühl 1891-1976 Paris) Corps enseignant pour une école de tueurs, 1967/2020 1967 - ensemble of sculptures in limestone (roche dure de Vilhonneur) 2020 - ensemble of sculptures in bronze Bronze, Susse Fondeur Paris Ex. 8/8 Ensemble consisting of: Big Brother, H 150 x W 100 x D 94 cm (without plinth) Séraphin le néophyte, H 198 x W 75 x D 75 cm (figure without eyes) Séraphine-Cherubin, H 200 x W 80 x D 75 cm (figure with eyes) Provenance: estate Max Ernst Literature: Werner Spies, Max Ernst-Skulpturen, Häuser, Landschaften, Köln, 1998, p. 192, p. 210ff, p. 273; Jürgen Pech. Max Ernst. Plastische Werke, Köln, 2005, p. 194-201
Alexis Lartigue Fine Art
alexander calder
Alexander Calder (Lawnton 1898-1976 New York) Untitled, 1967 Gouache on paper 77 x 110.5 Signed and dated N° Archive A18199 Provenance: private collection, Paris Calder's gouaches are spontaneous and simple, suffused with poetry. A poetry without artifice born from minimal means, such as elementary symbols, basic figures and a palette reduced to primary colours, arranged in solid colours that do not blend with each other. The gouaches are not that different from his "mobiles," except that here, the movement is imagined: a way of projecting time in space. In 1953, Calder moved to Saché where he created "la Gouacherie," where he made all his works on paper until 1976, as well as his mobiles and stabiles. "Alexander Calder possesses a clear gift of observation and the ability to draw a single stroke."
Galerie Hurtebize
alfred sisley
Alfred Sisley (Paris 1839-1899 Moret-sur-Loing) Matinée d'octobre près de Port-Marly, 1876 Oil on canvas 46.5 x 54.3cm Signed lower left: Sisley Provenance: Durand-Ruel and Co. Gallery, Paris; Feder & Picq, Paris; Galerie Durand-Ruel et Cie., Paris, June 1892; Martin A. Ryerson, Chicago, August 1892; Durand-Ruel Galleries, New York, March 1893; J.M. Schley, New York, February 1899; Katherine Schley Variell, New York by descent from previous owner, August 1915; Brick Store Museum, Kennebunk, Maine by bequest of previous owner, 1960; sale, Sotheby's, London, April 24, 1963; O'Hana Gallery, London; acquired from the latter by the family of the last owner, October 1963 Literature: F. Daulte, Alfred Sisley: Catalogue raisonné of the painted work, Lausanne, 1959, n° 224 (ill. titled Morning of October); S. Brame and F. Lorenceau, Alfred Sisley: Critical catalogue of paintings and pastels, Paris, 2021, p. 118, n° 236, ill. p. 43 Exhibitions: New York, Galeries Durand-Ruel, Works by Alfred Sisley, February-March 1899, n° 23; Waterville, Colby College Bixler Art and Music Center, 1961-62 (on extended loan); London, O'Hana Gallery, Summer Exhibition of French Paintings and Sculpture of the Nineteenth and Twentieth Centuries, June-September 1963, n° 52
Ralph Gierhards Antiques / Fine Art
A pietre dure cabinet Pietre dure: Florence, late 17th century Cabinet and stand: England, late 18th century Pietre dure, pietre tenere, ebonised oak, mahogany, brass, gilt metal Cabinet: H 65.1 x W 76.5 x D 41.9 cm Table: H 82.6 x W 81.3 x D 41.9 cm Provenance: Partridge Fine Arts, London 1985; This cabinet belonged to The Gilbert Collection, Victoria and Albert Museum, London 1991; private collection, Italy Literature: This cabinet is illustrated in Anna Maria Massinelli, The Gilbert Collection-Hardstones, Philip Wilson Publishers in association with The Gilbert Collection, fig. 5; Baldini, Giusti and Pampaloni Martelli 1979, fig. 164; Kreisel 1970, fig. 186; Kunsthistorisches Museum 1987, p. 33 Exhibition: Los Angeles (USA), 1991 A cabinet with eleven pietre dure and pietre tenere mosaic panels on the front, with Tuscan landscape views on a background of Albarese limestone. This cabinet was made in England in the late eighteenth century and is typical of the furniture inspired by the taste of travellers who, during their Grand Tour of Italy, bought Florentine mosaic work in the Grand Ducal workshops and had it set in made-to-measure cabinets on their return. The landscape panels are linked to those on a cabinet documented as being in the Villa del Poggio Imperiale after 1691. They demonstrate the interest in landscape subjects in the Grand Ducal workshops during the late seventeenth century. Similar types of panels can be found on early eighteenth-century German furniture. Examples include cabinets from Ambras castle, Braunschweig and a desk in the castle at Wiesentheid. This cabinet was exhibited in Los Angeles in 1991 and the cabinet is illustrated in the book The Gilbert Collection – Hardstones
Van Herck-Eykelberg
james ensor
James Ensor (Ostend, 1860-1949) Roses, tanagras and boot, 1917 Oil on canvas 46.5 x 66 cm Signed and dated lower right Literature: G. Le Roy, James Ensor, G. Van Oest, Bruxelles/Paris 1922, p. 195; F. C. Legrand, Ensor cet inconnu, La Renaissance du Livre, Bruxelles 1971, n° 238; X. Tricot, James Ensor, Catalogue raisonné of the paintings. II, 1902-1941, Wienand, 1992 Anvers, n° 484; X. Tricot, James Ensor, Catalogue Raisonné of the paintings. Mercator, 2009, n° 495 Exhibition: XV Exposizione Internationale d’Arte della Cittá di Venezia (Venice Biennale), 1926; Partially legible label on the back: ‘XIVieme Exposition Internationale des Beaux-Arts’
Floris van Wanroij Fine Art
Relief with the The Flight into Egypt and Miracles during the Journey (Matthew 2:13) Low countries, possibly Antwerp, Renaissance, last quarter of the 16th century, circa 1590 Pear-wood, carved in high relief, on later brass base H 19.6 x W. 16.8 cm (excl. base) Provenance: Jan Dirven Works of Art, Eindhoven, The Netherlands; collection Dreesmann-Houtkooper, The Netherlands; thence by decent private collection, Breda, The Netherlands Literature: Schuckman, Christiaan (1996). Hollstein's Dutch & Flemish Etchings, Engravings and Woodcuts 1450-1700, vol. XLIV: Maarten De Vos. Rotterdam, p. 65, cat. n° 263 This relief, probably carved in Antwerp, is based on a design by the influential Renaissance artist Maerten de Vos (Antwerp, 1532-1603). The original drawing is kept now in the collection of the Herzog Anton Ulrich-Museum, Braunschweig (inv./cat. n° Z. 1086) and is dated shortly before 1579. The drawing was published in engraving by Johannes Sadeler I, as the eighth prints of a twelve-part series on the birth and the first years of Christ. The series was published between 1579-1582 and the current sculpture probably originated shortly afterwards, ca. 1590, which indicates a date of the current sculpture around 1590. The Flight the Holy Family to Egypt, here represented as Joseph on foot and Mary sitting on a donkey with the Christ Child in her arms was, according to tradition, surrounded by miracles. At the top right in a chapel on a tree, a statue of a pegan god breaks in two. At the top left a group of accompanying Angels in the Heavens is depicted and trees bow down their branches in reverence to Christ.
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
Montagut Gallery
Jukun figure Jukun people, Nigeria, 17th century Wood, metal H 96 cm Provenance: Roger Azar collection, Paris; private collection, USA; Adrian Schlag collection, Brussels; Dr. Tibor Kiss collection, Vienna Literature: Liliana Albertazzi, Roger Azar. Galeries Magazine, nº 30, April-May 1989; Kevin Conru, Anonymous Collectors, Brussels, 2007; Exhibition catalogue: Suintante, Adrian Schlag, Brussels, 2015
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
robertaebasta
André Sornay (France, 1902-2000) Pair of armchairs in black lacquered wood with brass details, upholstered seat and backrest covered in silk velvet France, circa 1935 H 72 x W 62.5 x D 78 cm Provenance: Galerie Alain Marcelpoil, Paris Literature: Alain Marcelpoil, Annik Béras Sornay, Olivier Lassalle, André Sornay designer d'avanguardia, Edizioni, Galerie Alain Marcelpoil, Paris, 2010
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.
Dalton Somaré
Androgynous figure with twins Dogon, Mali, 1406-1512 AD (C14 tested) Wood H 48 cm Provenance: Henri Kamer, Paris; René Rasmussen, Paris; Merton Simpson, New York; Reginald Groux, Paris; private collection, France; private collection, Brussels Literature: Les Mondes Dogon, ed. M. Konaté and M. Le Bris, 2002, p. 167
Heutink Ikonen
Ascension of Christ Russia (Yaroslavl), 17th century Egg tempera with gold leaf on a wooden panel surfaced with gesso and linen 72 x 48.5 cm This monumental icon shows an unusual division of planes. In the upper register, Christ is depicted in a green mandorla that is carried to heaven by two angels. The footprints in the earth beneath the mandorla show how Christ was still standing on the earth shortly before. The disciples left beneath gaze and point upwards in wonder. Noticeably, the disciples are standing before the openings of a cave, a reminder of Christ's resurrection from the grave. Directly below Christ, the Mother of God is depicted, flanked by radiant white angels. She bows her head slightly and raises her hands in prayer and reception - a pose reminiscent of the Annunciation. Just as Mary received her divine child at that time, she now leaves him to return to his heavenly father.
De Jonckheere
denijs van alsloot
Denijs van Alsloot (Mechelen 1568-1625 Brussels) Wooded Landscape opening onto a Mountain Range With the participation of the workshop of Jan Brueghel The Elder (Brussels 1568-1625 Antwerp) for the figures First decade of the 17th century Oil on panel 117 x 173 cm Provenance: Fournier Art Gallery, Rouen, 1984; Heim Gallery; De Jonckheere, 1984; private collection Literature: S. van Sprang, Denijs Van Alsloot (vers 1568 – 1625/26). Peintre paysagiste au service de la cour des archiducs Albert et Isabelle, Turnhout, Brepols, 2014, p. 104, ill. 25, repr. Denijs Van Alsloot's mastery of nature must be considered from the point of view of the overall effect it produces. The artist knew how to adapt his compositions to his subjects. While the forest can be a frightening place, in the artist's imagination, it is a space that shelters nymphs and humans. This large painting, whose deep, luminous colours have been preserved, provides a vivid example of its marvels, captured by the bluish line of the mountains nestled in a forest opening. It is one of the rare 20 or so landscapes that can currently be attributed to his body of work.
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.