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Galeria Jordi Pascual
josé guerrero
José Guerrero (Granada 1914-1991 Barcelona) El Alba, 1967 Oil on canvas 146 x 114 cm Certificate of authenticity by Comité José Guerrero Provenance: Elliot M. Katz Living Trust, EE.UU; Galería Juana Mordó, Madrid; Galeria Buchholz, Lisbon Literature: Francisco Baena, Serge Guibault, Juan Antonio Ramírez, Yolanda Romero and Inés Vellejo Ulecia, José Guerrero Catálogo Razonado, Vol I 1931-1969, Ed. Diputación de Granada, 2008, p. 564, fig. 460 Exhibition: Galería Buchholz, Lisbon, 'José Guerrero', April 1967
Christophe Perlès
Set of Chantilly porcelain with Kakiemon decoration, 18th century The set consists of one jar, one covered ewer, three cachepots, one cup and one saucer The term 'Kakiemon' is attributed to a group of Japanese porcelains whose characteristics are a subtle decoration in fine translucent overglaze enamels and a milky white unblemished body called 'nigoshide' in Japanese. Kakiemon porcelains were exported to Europe in large numbers where they were extremely popular. Compared with blue and white porcelains, Kakiemon was very expensive
Willow Gallery
Bernard Buffet (Paris 1928-1999 Tourtour) Le Phare, 1955 Oil on canvas 114 x 146 cm - framed: 136 x 168 cm Signed and dated 'Bernard Buffet 55’ Provenance: Galerie Drouant-David, Paris; Galerie Hélios Art, Bruxelles; private collection, Japan Literature: Fonds de dotation Bernard Buffet, éd., Bernard Buffet, Catalogue raisonné de l'Œuvre peint, 1954-1958, Paris, 2024, vol. II, p. 90 (ill.)
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Univers du Bronze
edouard-marcel sandoz
Edouard-Marcel Sandoz (Basel 1881-1971 Lausanne) Le pas de l'oie, 1920-1921 Bronze, rich dark brown patina H 34.9 x W 70.3 x D 24.5 cm Bronze signed 'Ed M Sandoz', cast by 'C. Valsuani Cire perdue Paris' (seal), repr. in the reference catalogue by F. Marcilhac (picture n° 1057), on its original Griotte marble base Cast 1920 or before Exhibitions: 'La Cimaise' exhibition (Galerie Devambez, 1920); Galerie Malesherbes exhibition (circa 1933)
Galerie Dina Vierny
Serge Poliakoff (Moscow 1900-1969 Paris) Composition abstraite, 1956 Oil on burlap 81 x 130 cm Signed lower left 'Serge Poliakoff' Provenance: Dr. Franz Meyer collection, Zürich; sale Perrin-Royère-Lajeunesse, Versailles, 10 December 1989, lot 113; private collection, Switzerland; sale Christie's, London, 29 June 2000, lot 343; private collection; Galerie Applicat-Prazan, Paris; private collection (acquired from the above in 2003); Galerie Dina Vierny, Paris Literature: J. Grenier, 'Poliakoff', in L'Oeil, March 1958, n° 39, ill. p. 31; G. Bernier, Modern Art Yesterday and Tomorrow, 1960, ill. p. 121; La Gazette de l'Hôtel Drouot, 30 September 1994, ill. p. XXIII; La Gazette de l'Hôtel Drouot, n° 41, 24 November 1994, ill. p. 291; A. Poliakoff, Serge Poliakoff: Catalogue raisonné, vol. II, 1955-1958, 2010, n° 56-38, ill. p. 128 Exhibitions: Paris, Galerie Bing, Serge Poliakoff, 1956; Künzelsau, Museum Würth, Serge Poliakoff, 1997-1998; Wien, Kunstlerhaus, Serge Poliakoff, 1998
Galerie BG Arts
rené lalique
René Lalique (Ay 1860-1945 Paris) Necklace 'Couple of Dragonflies', circa 1905 Yellow gold, tourmalines, diamonds, enamel and plique-a-jour Provenance: Sotheby's sale, London, 3 December 1998, lot 102; private collection, London; Galerie BG Arts, Paris Literature: For a similar model: Sigrid Barten, René Lalique Schmuk und Objects d'Art 1890-1910, Munich, 1977, ill. p. 344, n° 733
Philippe Heim
abie loy kemarre
Abie Loy Kemarre (Australia, 1972) Bush Leaves-Optic, 2018 Acrylic on canvas 137 x 137 cm Provenance: Utopia, Central Desert, Northern Territory, Australia Exhibition: 2024, Knokke Art Fair, Arts d’Australie • Stéphane Jacob, Knokke-Heist, Belgium Abie Loy is part of the new generation of artists living in the Utopia community, in the heart of the Australian desert. She began painting in 1994 on the advice of her grandmother, the famous Kathleen Petyarre, who guided her in her first works, inspired by the ‘dreams’ of which she is the ritual guardian: principally that of the Bush Leaves, of which this painting is a celebration. Remarkable for its variation on the theme of dot painting, the impression of breathing that emanates from it, the hypnotic character of the motifs animated by a movement that is both centrifugal and centripetal, this painting demonstrates the high degree of awareness and aesthetic success that Abie Loy has achieved - proof of the high quality and inventiveness of modern-day desert painting.
Samuel Vanhoegaerden Gallery
james ensor
James Ensor (Ostend, 1860-1949) Coquilles et Statuettes, 1934 Oil on wood panel 40 x 50 cm Signed lower right ‘Ensor’ , signed and titled on verso This work is included in the catalogue raisonné of the complete paintings of James Ensor by Xavier Tricot, n° 641 Provenance: private collection, Belgium (acquired ca. 1970); by descent from the above to the present owner; sale Sotheby’s London, February 2012, lot 187; Samuel Vanhoegaerden Gallery, Knokke; private collection, Brussels Literature: X. Tricot, James Ensor, The complete paintings, Mercatorfonds, Brussels, 2009, p. 383, n° 641
Gallery de Potter d’Indoye
Pair of Empire period candelabras Attributed to Claude Galle (France, 1759-1815) Gilt and patinated bronze H 81 x W 31 x D 21 cm These candelabras from the Empire period, in the shape of winged figures of Victory carrying candlesticks in the hands and on the head, probably derive from the famous drawing in an album by Percier and Fontaine at the Metropolitan New York Museum of Art. The bronze stems take the form of women, who stand on tall plinths. These plinths are covered with a light brown patina and are decorated with gilt winged female figures, carrying baskets of fruit on their heads. Each woman strokes the heads of two dogs, who stand on their hind legs and lean against her. The sides and backs of the plinths are ornamented with gilt scrolled foliate motifs, topped by palmettes. The plinths are each set on four ormolu paw feet, placed on shaped, square gilt bronze bases. Above, patinated winged bronze women serve as the stems for the candelabra. They adopt monumental poses, reminiscent of ancient Egyptian or archaic sculpture. The winged women wear sheer dresses, which cling to their bodies. Each winged woman holds two gilt bronze lights in her outstretched hands and supports four more on her head. Those held in the women’s hands are conical shaped and are decorated around their tops with palmettes. The lights carried on their heads are raised up on slim stems and are crescent shaped in their arrangement. Three of the lights have cornucopia-shaped arms, which extend from open-mouthed dogs’ heads, and finish in urn-form palm leaf capitals. Stylised, curling leaves decorate the space above the dogs’ heads. On each, a cylindrical central light directly tops the stem, ending in a simple leafy capital. Claude Galle One of the foremost bronziers and fondeur-ciseleurs of the late Louis XVI and Empire periods, Claude Galle was born in Villepreux near Versailles. He served his apprenticeship in Paris under the fondeur Pierre Foy, and in 1784 married Foy’s daughter. In 1786 he became a maitre-fondeur. After the death of his father-in-law in 1788, Galle took over his workshop, soon turning it into one the finest. Galle moved to Quai de la Monnaie (later Quai de l’Unité), and then in 1805 to 60 Rue Vivienne. The Garde-Meuble de la Couronne, under the direction of sculptor Jean Hauré from 1786-88, entrusted him with many commissions. Galle collaborated with many excellent artisans, including Pierre-Philippe Thomire, and produced the majority of the furnishing bronzes for the Château de Fontainebleau during the Empire. He received many other Imperial commissions, including light fittings, figural clock cases, and vases for the palaces of Saint-Cloud, the Trianons, the Tuileries, Compiègne, and Rambouillet. He supplied several Italian palaces, such as Monte Cavallo, Rome and Stupinigi near Turin. In spite of his success, and due in part to his generous and lavish lifestyle, as well as to the failure of certain of his clients (such as the Prince Joseph Bonaparte) to pay what they owed, Galle often found himself in financial difficulty. Galle’s business was continued after his death by his son, Gérard-Jean Galle (1788-1846). Nowadays, his work can be found in the world’s most important museums and collections, those mentioned above, as well as the Musée National du Château de Malmaison, the Musée Marmottan in Paris, the Museo de Reloges at Jerez de la Frontera, the Residenz in Munich, and the Victoria and Albert Museum in London.
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.
J. Baptista
Silver salver Portugal, late 16th century Weight 1050 gr. Ø 33 cm Literature: Reynaldo Dos Santos; Irene Quilho. Ourivesaria portuguesa nas colecções particulares. Lisbon: 1974. pp. 139-140; Gonçalo Vasconcelos e Sousa, Pratas Portuguesas em Colecções Particulares: séc. XV ao séc. XX. Oporto: 1998. pp. 54-55 This concave silver salver is a remarkable example of Portuguese silverwork from the late 16th century, often serving a utilitarian function in the households of prominent families of the time. Pieces like this, richly decorated with geometric elements, volutes, and shell motifs, demonstrate the artistic sophistication and craftsmanship of Portuguese artisans during that period. The base of the piece is divided into eight dotted trapezoidal frames adorned with floral elements, while the engraved central medallion features a stylized open flower, highlighting the intricate ornamentation. The historical and artistic value of this salver is further attested by its presence in the collections of prestigious museums such as the Museu Nacional de Arte Antiga in Lisbon (Legado de Barros e Sá), the Lázaro Galdiano Foundation in Madrid (inventory n° 2484, room 11), and the Metropolitan Museum of Art in New York (accession n° 13.23.1), as well as in the private collection of Dr. Miguel Pereira de Abreu in Oporto. These pieces not only represent the excellence of Portuguese silverwork but also illustrate the cultural and social roles that utilitarian objects played in the households of important families during this period.
Brame & Lorenceau
salvo
Salvo (Italy, 1947–2015) Primavera tramonto, 1985 Oil on cardboard 30 x 23 cm Signed, dated and titled on the back with a ball point pen ‘Salvo 85 Primavera Tramonto' Provenance: private collection, Spain; private collection, Spain Exhibitions: 1986, November-December, Genoa, Galería Chisel, Salvo, p. 14, ill. col.; 1989, May-June, Valencia, Galería Ferrán Cano, Salvo, 1979-1987, p. 13, ill. col.
DIE GALERIE
lucebert
Lucebert (Amsterdam 1924-1994 Alkmaar) De laatste goeroe, 1978 Acrylic on canvas 80 x 100 cm Provenance: acquired directly from the artist’s estate Literature: Lucebert. Schilder/Dichter. Gemälde und Arbeiten auf Papier, exh. cat. DIE GALERIE, Frankfurt am Main 2005, p. 15 Exhibitions: Lucebert. Schilder/Dichter. Gemälde und Arbeiten auf Papier, DIE GALERIE, Frankfurt am Main, 2005; Lucebert, 100 Jahre Licht/100 Years of Light, DIE GALERIE, Frankfurt am Main, 2024
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Galerie Nicolas Bourriaud
Céline Lepage (Warsaw 1882-1928 Paris) Femme de Marrakech, circa 1920 Bronze with double shaded brown-green and medal patina H 80.5 x W 22 x D 22 cm Weight 12.7 kg Signed 'Céline Lepage' Sand casting probably made by the Rudier foundry. Publisher's stamp 'La Stèle', the artist's stamp with number 6 Literature: Paul Camille Lepage, 'Les conceptions artistiques de Céline Lepage', L’Art et les artistes, March 1933, model repr. p. 185
Epoque Fine Jewels
cartier
Cartier Panther brooch, beginning of the 21st century Onyx, emerald and diamond A graceful, strolling panther set throughout with brilliant cut diamonds, highlighted with buff-top onyx dots and pear-shaped emerald eyes, mounted in platinum and 18 karat gold Signed Cartier and numbered Provenance: from an important estate Belgian blood runs through Cartier’s iconic Panther The Cartier onyx and diamond Panther brooch is an iconic piece of jewelry, symbolizing both elegance and boldness. This brooch features a meticulously crafted panther, its sleek body encrusted with sparkling diamonds, and its spots highlighted by black onyx. Emeralds accentuate the eyes, giving the panther a piercing gaze. The craftsmanship involved in this piece demonstrates Cartier's attention to detail and mastery of combining precious stones to create lifelike and sculptural representations of animals. The panther motif has become synonymous with Cartier, and much of this can be attributed to Belgian fashion and jewelry designer Jeanne Toussaint, who played a transformative role in the Cartier’s design evolution. Jeanne Toussaint was born in Charleroi in 1887 and raised in a family of lacemakers who made her aware of fashion and style from a young age. She moved to Paris where she was introduced to French society. She soon became acquainted with Coco Chanel, the illustrator George Barbier and, most importantly, Louis Cartier who was enthralled with Toussaint’s taste for fashion. In 1913, he hired her to coordinate his company's accessories, handbags and objects. After first being promoted to head Cartier's silver department in 1918, in 1933 Louis Cartier conferred on her full responsibility for artistic design, an area which until then he had directed himself. Jeanne Toussaint, also called ‘La Panthère’, was a visionary designer whose style pushed boundaries. Known for her boldness, independence, and exceptional taste, she introduced themes of nature and exoticism into Cartier’s collections, with the panther becoming her most famous symbol. In a historical context, Jeanne Toussaint’s influence extended beyond mere aesthetics; she redefined femininity in jewelry. At a time when women’s roles in high society were changing, Toussaint’s designs, like the Panther brooch, mirrored a new sense of power, freedom, and sophistication for women. The most famous panther was a brooch commissioned by Wallis Simpson, the Duchess of Windsor in 1948, a woman known for her daring fashion choices. This association cemented the panther’s status as a symbol of fierce femininity and strength. Toussaint’s contribution to Cartier and the world of luxury jewelry endures, with the panther motif becoming one of the most enduring and recognizable emblems in Cartier’s history. Through pieces like this onyx and diamond panther brooch, she left an indelible mark on 20th-century design, blending the opulence of diamonds with the mystery and power of the panther, embodying both grace and danger. Jeanne Toussaint retired from Cartier in 1970 and died in Paris on 7 May 1976.
Thomas Deprez Fine Arts
théo van rysselberghe
Théo van Rysselberghe (Ghent 1862-1926 Saint-Clair) Portrait d’une dame lisant, circa 1884 Oil on mahogany 51.5 x 37 cm - framed 55 x 40 cm Signed lower right 'Théo van Rysselberghe' This recent rediscovery is accompanied by a certificate from Olivier Bertrand and will be included in the forthcoming catalogue raisonné of the artist Provenance: private collection, Brussels
Galerie Patrice Trigano
césar
César Baldaccini alias Cesar (Marseille 1921-1998 Paris) Fanny Fanny, 1990 Welded bronze H 245 x W 123 x D 235 cm Signed and numbered, Bocquel foundry Registered in the archives of Denyse Durand-Ruel, n° 4136 Provenance: acquired from the artist Literature: B.H. Lévy, César, les bronzes, éd. de la Différence, Galerie Beaubourg, Paris, 1991, p. 41; César, oeuvre de 1947 à 1993, Musées de Marseilles, Réunion des Musées Nationaux, Marseille, 1993, p. 25; César, Galerie Enrico Navarra, Paris, 1996, pp.74-75
Gallery de Potter d’Indoye
Guéridon, circa 1790 Attributed to Pierre-Philippe Thomire (Paris, 1751-1843) Gilt and patinated bronze, with a marble top H 90.25 cm x Ø 62.25 cm Literature: Guillaume Janneau, Le Meuble Léger en France, Ed. Hartmann, Paris 1952, p. 242 This pedestal table, attributed to Pierre-Philippe Thomire, is one of a small group of similar ormolu pedestal tables with a patina finish on a griffin tripod base. One is in the Musée Nissim de Camondo in Paris, acquired from the supplier Seligmann, as being by Thomire, another was in the collection of Boniface de Castellane and Anna Gould at the Palais Rose, Paris, sold at Christie's Paris on 7 March 2017, lot 116. Another example was in the collection of Helena Rubinstein and John Dorrance and now belongs to Dalva Brothers, New York. A related but more elaborate model, whose legs are supported by winged female caryatids, formed part of Pierre Delbée's famous interior at Maison Jansen in Paris, was sold by Christie's in New York on 28 April 2017, lot 21 Born in Paris in 1751, the son of a chiseller, Pierre-Philippe Thomire studied sculpture at the Académie de St-Luc under Augustin Pajou and Jean-Antoine Houdon. He then joined the workshop of the bronzemaker Pierre Gouthière, who gave him a perfect knowledge of the trade, before opening his own workshop in 1776. His skills and talent were quickly recognised at court and won over the royal couple. In particular, he assisted Jean-Louis Prieur in creating the bronze ornaments for the coach dedicated to the coronation of Louis XVI. Succeeding Thomas Duplessis as bronzemaker at the Manufacture de Sèvres in 1783, he became the King's official chaser and gilder. The delivery of bronzes for a monumental vase from Sèvres now in the Louvre (inv. OA 9590) further enhanced his reputation, which was high on the eve of the Revolution. In 1804, in association with the Dutermes, he acquired the important collection of the merchant-merchant and bronzemaker Martin-Eloy Lignereux. In recognition of his merit, he was awarded a gold medal at the 1806 Exhibition of Industrial Products. His reputation enabled him to supply a prestigious clientele with some of the finest objects of the early 20th century, and to receive orders to refurbish imperial residences such as Fontainebleau and the Grand Trianon. The City of Paris also made use of his skills for gifts to sovereigns, such as a clock given to Marie-Louise in 1810 on the occasion of her marriage to Napoleon I, now in the Louvre (inv. OA 9511), or the King of Rome's cradle, works for which he collaborated with leading painters, cabinet-makers and silversmiths such as Jean-Baptiste-Claude Odiot and Pierre-Paul Prud'hon.
Galerie Marc Maison
louis malard
Louis Malard, French cabinetmaker Monumental bed in Egyptomania style, 19th century Walnut with polychromy Presented at the 1889 Exposition Universelle in Paris. This bed is part of a complete bedroom set H 271 x W 232 x D 260 cm Provenance: formerly in the collection of Countess Bathilde Ducos (1851-1927) from 1889 to 1896; private collection of Charles Henri Duquesne and his descendants from 1896 to 2019 Literature: Le Figaro du 1er juillet 1889, 35th year, 3rd series, n° 182, p. 2; Alfred Picard (sous la direction de), Exposition universelle de 1889 à Paris. Rapports du Jury international, Groupe III - Mobilier et accessoires, classes 17 à 29, p. 68; Gazette de l’hôtel Drouot Saturday, Sunday, and Monday, June 1, 1896; Brissonneau, Livres, Tableaux anciens et modernes, Bijoux, Argenterie, Céramiques, Arts de l’Asie, Armes, Meubles et Objets d’art, auction catalogue from April 5, 2019, pp. 30-33, n° 182 Exhibition: Presented at the 1889 Exposition Universelle in Paris This style is associated at the time with the reign of Ramses II in ancient Egypt. Its deeply original decor embodies the 19th century’s fascination with ancient Egyptian art and caused a true uproar: both Le Figaro and the official jury report praised it in glowing terms.
Victor Werner
bert de leeuw
Bert De Leeuw (Antwerp, 1926-2007) Gedenksteen voor een Onbekende, 1955 Mixed media on canvas H 128 x W 96 cm Titled, signed and dated on reverse of canvas 'Gedenksteen voor een Onbekende 55' Literature: Bert De Leeuw, Monografie, Antwerpen, uitgeverij Pandora, 1997, ill. p. 51 Bert De Leeuw was a self-taught artist, excelling as a painter, draughtsman, sculptor, and engraver. He began his career in advertising but switched to art full-time in 1962. Known for his abstract and informal style, De Leeuw's early works used thick, textured materials to evoke interstellar spaces. He was a co-founder of the influential ‘G58’ artist group in Antwerp, which played a pivotal role in post-war abstract art. Over time, he transitioned from painting to sculpture, focusing on geometric forms and public art. De Leeuw exhibited internationally, including at the Paris and Tokyo Biennales, and won multiple awards, including a 2nd prize from 'De Beers' for jewellery design. He was later honoured as a 'Knight of the Order' by Leopold II.