This section will be available this Autumn.
Dei Bardi Art
Saint Jérôme Burgundy, last quarter of the 15th century Limestone H 60.5 cm Literature: J. Baudoin, La sculpture flamboyante en Bourgogne et Franche-Comté, Nonette, 1993 This exquisite sculpture of Saint Jerome, carved from soft, nearly white limestone typical of eastern France, exemplifies the exceptional craftsmanship of 15th-century Burgundian art. What makes this piece particularly remarkable is its deep connection to the distinctive Burgundian sculptural tradition. It reflects the enduring influence of the renowned Spanish sculptor Jean de la Huerta (1413-1462), who served as the artist for Duke Philip the Good of Burgundy. The artistic quality and stylistic features of the sculpture are strikingly evident in Saint Jerome's broad, angular face and powerfully square jawline. The low forehead—accentuated by the wide brim of the hat—along with his large, flattened cheeks and small mouth that forms a circumflex accent, adds to the character of the piece. His crescent-shaped eyes, defined by prominent eyelids and well-formed eyebrows, further enhance the expressive quality of the sculpture. These traits draw parallels to other notable works, such as Richard de Plaine’s praying figure from the Jacobins Chapel in Poligny and the Saint Jean from the Calvary in the Saint-Anatoile Church in Salins, attributed to Jean de Blany, follower of de la Huerta. Despite its relatively small size, the sculpture possesses a monumental presence. The meticulous representation of the clothing illustrates a blend of Flemish and Germanic influences, reminiscent of some of de la Huerta’s later works. Given its close ties to the artistic milieu of the Burgundian ducal court, it is likely that this piece was commissioned by an individual of high political or ecclesiastical status, further underscoring its significance within the cultural context of the time.
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.
Van der Meij Fine Arts
janus la cour
Janus la Cour (Denmark, Tim Parish 1837-1909 Odder) From Bordighera, 1898 Oil on canvas 45 x 73.5 cm Signed lower right: 5.I.98 janus la Cour Provenance: estate auction Janus la Cour, Charlottenborg Copenhagen, December 1909, lot 119; private collection, Copenhagen Literature: Rikard Magnussen, Landskabsmaleren Janus la Cour. 1837-1909 (Copenhagen, 1928), n° 780
Douwes Fine Art b.v.
melchior d'hondecoeter
Melchior d'Hondecoeter (Utrecht 1636-1695 Amsterdam) The bird concert, a family of ducks near a pond with a farm in the background, circa 1666 Oil on canvas 102.5 x 87.5 cm Traces of signature at lower right: M. With thanks to Dr Fred Meijer who wrote a certificate for the work on 9 August 2024, confirming the authenticity of the artwork Provenance: sale collection Konstantin Tifoxilos, Vienna, Wawra, 28 November 1904, lot 75, b&w ill. opposite title page; Galerie Arnot, London 1919; Heirs to Minister Dr. H. Sulzer, Winterthur; Gebr. Douwes Fine Art, Amsterdam, n° 8377, 1968 shown at the Delftse Antique Fair; private collection, The Netherlands; thence by descent to the current owners Exhibition: Kunstmuseum Winterthur, Der unbekannte Winterthurer Privatbesitz 1500-1900, September-October 1942 (Kunstverein Winterthur), cat. n° 145
J. Baptista
'Minas Novas' necklace Silver and quartz Portugal, 18th century Weight 100.5 gr. 9.5 x 33.5 cm Articulated links studded with 'Minas Novas' (colourless quartz) with a large bow in the centre, applications of stylised botanical elements and a removable dove Literature: similar pieces illustrated in Orey, Leonor d'-Cinco Séculos de Joalharia-Museu Nacional de Arte Antiga, Instituto Português de Museus/Zwemmer, Lisbon/London, 1995, pp. 92-94
Gallery Sofie Van de Velde
james ensor
James Ensor (Ostend, 1860-1949) The Kingdom of Venus, 1921 Oil on canvas 50.5 x 61 cm – framed: 64.5 x 75 cm Signed bottom left corner Provenance: Gallery Sofie Van de Velde; private collection; sale Galerie des Beaux-Arts (Renaissance), Brussels, December 16th, 1941, n° 78 ('Le Bonheur'); sale G. Rosen, Frankfurt, October 11th, 1960, n° 408 ('Das Reich der Venus'); Galerie Wilhelm Grosshennig, Düsseldorf Literature: Xavier Tricot, James Ensor. Leven en werk. Oeuvrecatalogus van de schilderijen, Mercatorfonds, Brussels, 2009, n° 514, p. 357 repr. in colour
Montagut Gallery
Baule statue Baule people, Ivory Coast, 19th century Wood H 40.5 cm Provenance: Galerie Olivier Le Corneur, Paris; Marceau Rivière collection, Paris, France; Alberto Costa Romero de Tejada, Barcelona, Spain; Javier Lentini collection, Barcelona, Spain Literature: África. La Figura Imaginada. Fundació LaCaixa, Barcelona, 2004. nº 44, p. 9 Unique within the corpus, this masterpiece destabilises, fascinates, and intrigues with its beauty and singularity. Its powerful serenity is magnified by its stature, refinement, gesture, and adornment. The sculpted forms, robust and vigorous due to its accentuated musculature, paradoxically suggest lightness, enhanced by its missing feet. The represented dignitary seems to be weightless, levitating, with its remarkably imposing elevated presence. The ideal of beauty and perfection amongst the Baule, representing moral perfection through its traits, is embodied here. Prestige is revealed in its details. Animated by combined energy and tranquility, its authority and dignity vibrate with admirable majesty. The distinctly rounded shoulders reinforce its stature, symbolising power, whilst the finely sculpted beard collar emphasises wisdom and maturity. Emerging from the torso are two nascent, flattened circular breasts with a dark brown patina, giving the figure an androgynous character and suggesting completeness through the union of both sexes. The finesse of the minute details enhances its gesture and adornment. The surface of its emaciated torso is adorned with subtly carved scarifications in slight relief, revealing or suggesting an armour, a necklace, an insignia of prestige and high rank. With fluidity, its delicate gesture attracts and guides the gaze to its slender fingers, which, on either side of the navel—slightly rounded, symbolising wealth and high social status—evoke a sign of welcome and esteem that spirits make when they encounter a diviner with whom they will form a future alliance. This gesture and the very particular treatment of the hands are unparalleled but can be closely associated in finesse with the treatment of the fingers in a work by the Master of Truth. Framed in a gentle oval, the strikingly peaceful face is sublimated by its crusty patina and the subtle interplay of forms between concave curves and reliefs. Slightly hollowed, the impact of its traits, carefully and clearly drawn, is accentuated. Its fine nasal ridge extends in a gentle continuity to the curved brow arches, intensifying the contours of the hollowed eyes, enhancing the circular shape of the gaze, revealing both its closed eyelids and the depth of introspection and meditation. The exceptional sophistication of its hairstyle, a testament to the Baule's sculptural finesse, contributes to this quest for perfection. This statue has been held in a collection for more than forty years and is now fresh on the market.
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.
A&R Fleury
hans hartung
Hans Hartung (Leipzig 1904-1989 Antibes) T1965-R16, 1965 Vinyl and scratch on canvas 54 x 81 cm Certificate of authenticity from the Fondation Hartung Bergman on 28 June 2022 Provenance: Fondation Hartung Bergman, Antibes; private collection, France Exhibitions: Città di Castello, La luce del Nero, Fondation Burri, 15 April-13 November 2022
J. Baptista
Joana Vasconcelos (Paris, 1971) Enamorados (In Love), 2005 Glazed ceramic and hand-crocheted cotton Signed and dated H 48 x W 58 x D 30 cm Literature : Joana Vasconcelos, ADIAC - Associação para a Difusão Internacional da Arte Contemporânea, Lisbon, 2007 (p. 181) Exhibition: A Tribute to Women. Artists in the São Roque Collection, São Roque Too, Lisbon, 2021 (catalogue, p. 76)
Artimo Fine Arts
ulysses and his dog by joseph gott
Joseph Gott (UK, 1785–1860) Ulysses and his dog Life-size group in white Carrara marble H 185.5 cm Provenance: most certainly commissioned directly from the artist by Benjamin Rawson for the Nidd Hall Manor rebuilt in 1825; by descent: Elisabeth Rawson; by descent: Viscount Mountgarret (Sculpture still exhibited in 1902 in the Nidd Hall Manor); since 1989: property of Mr Alfred Brenner from the Brenner Verpackungen company in Germany Literature: T. Friedman and T. Stevens, Joseph Gott Sculptor, exh. cat., Temple Newsam House, Leeds and Walker Art Gallery, Liverpool, 1972, p. 40, n° G40, pl. 39; F.S. Bonfigli, Guide to the studios in Rome... 1860, p.32 It depicts Ulysses, in a loincloth and cap, being recognised by his loyal dog Arg after a 20-year absence. This group or a plaster of this group was seen in Gott's studio in Rome by Bonfigli in 1860. Joseph Gott (1785-1860) was one of the most esteemed British sculptors of the early nineteenth century, gaining international recognition. He maintained close ties to Yorkshire through his patrons, particularly his second cousin Benjamin Gott, a wealthy Leeds industrialist. After relocating to Rome in 1822, he became part of a vibrant British artistic community. Known for his unique interpretation of classicism, Gott’s works often depicted charming, intimate subjects such as playful children and animals. His style combined classical influences with a romantic sensitivity, setting him apart from his contemporaries in Rome.
Mearini Fine Art
Presbytery fence pillar with ribbon, interlacing relief and recesses for pluteo on the sides White marble Central Italy (Lazio or Umbria), late 8th-early 9th century H 46 x W 27 x D 16 cm Expertise by Professor Guido Tigler Provenance: private collection, Italy Comparative literature: M. Salmi, la Basilica di San Salvatore di Spoleto, Firenze 1951, p. 37, tavv. XXIIId; L. Pani Ermini, (la Diocesi di Roma: La quarta regione Ecclesiastica (Corpus della scultura alto medievale, VII, 1), Spoleto 1974. pp.91-92 cat. 40); R. Krautheimer, S. Corbett, W. Frankl, Corpus Basilicarum Christianarum Romae. The Early Christian Basilicas of Rome (IV-IX century), Città del Vaticano 1959, p. 91 fig. 86
Galerie Marc Maison
alexandre sandier
Alexandre Sandier (France, 1843-1916) Decorative panel depicting Queen Cleopatra, circa 1880 Sarreguemines earthenware with painted decoration H 161.5 x W 202.7 x D 2.5 cm Literature: Alain Benedick, La Faïencerie de Sarreguemines, Éditions ABM 57, 2009; Figures décoratives par Alex. Sandier, Éditions A. Calava, Paris, undated; Guide du visiteur […]. 8e Exposition de l’Union centrale des arts décoratifs, Paris, Imprimerie Chaix, 1884 Exhibitions: Exhibition of the Union centrale des arts décoratifs in 1884; 1889 Paris Exposition In the 1880s, the Sarreguemines pottery factory began creating earthenware panels for interior and exterior decoration. This magnificent panel depicting Cleopatra, painted by Alexandre Sandier, is one such example. Its vivid yet soft and pleasing colours combine with a meticulous sense of archaeological detail to produce a masterly lesson in Egyptomania, bearing witness to the fascination that Egypt still exerted at the end of the century for artists and audiences alike.
MARUANI MERCIER
ross bleckner
Ross Bleckner (New York City, 1949) Deep Below Our Violence, 2023 Oil on linen 182.9 x 243.8 cm Provenance: the artist's studio Literature: Ross Bleckner: Paralipsis, exh. cat. MARUANI MERCIER Gallery, Belgium Exhibition: Ross Bleckner: Paralipsis, MARUANI MERCIER Gallery, Belgium, 3 September-9 October, 2021
Valerio Turchi
Diana Venatrix Roman, 2nd century AD Marble H 103 x W 45 x D 26 cm Accompanied by Art Loss Register certificate: S00217922 Provenance: the former collection of an art dealer, USA; Sotheby’s New York, Antiquities and Islamic Art, 1-2 March 1984, lot.73; then former collection of the explorer and adventurer J. Stephen Fosset (1944-2007); acquired in London, 21 October 1986
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
