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Herwig Simons Fine Arts
Napoleon in the guise of Mars the Peacemaker, 1812 Francesco (Italy, 1749-1819) and his son Luigi Righetti (Italy, 1780-1852) Bronze H 95 cm A 19th century small version of the heroic 3m45 high bronze statue located in the courtyard of the Pinacoteca in Milan. The bronze statue was made from a cast of the marble sculpture created between 1802 and 1806 by Antonio Canova, now on display in the stairwell at Apsley House, the Duke of Wellington's London residence
Thomas Deprez Fine Arts
james ensor
James Ensor (Ostend, 1860-1949) Portrait of Léon Rinskopf, Futur Baron du Rat Mort, 1903 Conté crayon, coloured pencils, watercolour and gouache on laid cream paper 16.6 x 13.4 cm - framed: 36 x 32 cm Signed, annotated, located and dated: ‘Portrait de Léon Rinskoff [sic]/futur baron du Rat Mort/Ostende 1903/James Ensor’ This drawing is accompanied by a certificate from the official Ensor Advisory Committee, 2023 Provenance: private collection, Belgium Exhibition: Joodse sporen in Oostende, Ostend and Antwerp, organised by Zahava Seewald, 2000 Literature: Laurence Madeline et al., Ensor, Paris: Musée d’Orsay, New York: The Museum of Modern Art, 2009, ill. fig. 60, pp. 78-79 Related Literature: James Ensor, Discours en noble languaige de chevalerie, in: Les Écus, Ostende : G. Daveluy ed., Le Rat Mort, 1904, p. 16. Reprinted and re-edited in many forms Related works: James Ensor, Au conservatoire, 1902, oil on canvas laid down on board, 56.5 x 71.5 cm, Musée d’Orsay, Paris (inv. RF 2009 4), given by the artist to Léon Rinskopf Portrait of Léon Rinskopf (1862-1915), artistic director of the Kursaal in Ostend and conductor of its symphonic orchestra. Dressed in smoking and wearing a crown, he is represented with an asparagus between the teeth in reference to a conducting baton. Ensor projected himself on the figure of his friend, by affiliating his likeness to his own, and by pinning a prominent medal of the Ordre de Léopold on his chest and baton, which Ensor received himself that same year. In the top right corner a dead rat is a direct reference to the Compagnie du Rat Mort, of which Ensor was a founding member and which was legendary for its masked balls and its burlesque character.
Douwes Fine Art b.v.
rembrandt van rijn
Rembrandt van Rijn (Leiden 1606-1669 Amsterdam) The Angel appearing to the Shepherds, 1634 Etching, engraving and drypoint on laid paper 26.4 x 22.1 cm Signed and dated lower right ‘Rembrandt f. 1634’ With a 3-4 mm wide margin around the borderlines On laid paper with watermark: 'Seven Provinces' (sub-variant D.a.), cf. Erik Hinterding, Rembrandt as an etcher. Catalogue of watermarks (words), vol. II, p. 253 (1634) Provenance: private collection, Germany; Karl & Faber, Munich; private collection, The Netherlands; Douwes Fine Art, Amsterdam Literature: Bartsch 44; White/Boon 44; The New Hollstein Dutch 125 Third state (of VI); Nowell-Usticke C 2; plate in existence in the Thrivent Collection of Religious Art in Minneapolis, MN, USA
Alexis Lartigue
pierre soulages
Pierre Soulages (Rhodez 1919-2022 Nîmes) Sans titre, 1967 Oil on canvas 97 x 130 cm Signed lower left This work is included in the catalogue raisonné vol. II, n° 601 Provenance: Knoedler and Co, New York; private collection, USA; private collection, Paris Literature: Soulages, L'oeuvre complet, Peintures vol. 2, 1959-1978, n° 60, p. 187 Buffalo, Knox Art Gallery, 1968, n° 16 Exhibitions: Soulages paintings since 1963, Knoedler and Co, New York; Museum of Art, Carnegie Institute, Pittsburgh; Albright-Knox Art Gallery, Buffalo 'In the hundred or so paintings created between the fall of 1963 and the end of 1967, the evolution of Soulages' painting is evident in several essential aspects: the much greater fluidity of the paint; the treatment of blacks in large flat areas; the brief reappearance of blacks on unpainted white backgrounds. Finally, note the return of very large formats and virtual polyptychs. From mid-63 onwards, there is almost a disappearance of scraping. This technique was technically linked to the thick quality of the layer deposited by the painter, to its paste-like character. On the contrary, the canvases now show large swathes of dark, black, or brown-black paint, where the much more liquid coloured material is no longer deposited and removed with the blade, but spread with a brush, in a movement that leaves practically no trace. The fluidity is such that some paintings have streaks of black paint running down'.
Klaas Muller
Frans Snijders (Antwerp, 1579-1659) Kitchen interior with two dogs, offal and a basket with fruits and vegetables, circa 1620 Oil on canvas 113 x 183 cm Signed upper left: F. SNIJDERS. Fecit Provenance: sale Campo, Antwerp, 13-15 December 1966, lot 90; sale Sotheby’s, London, 7 October 1981, lot 123, ill. p. 89; sale Sotheby’s, London, 7 July 1982, lot 233, ill.; private collection, Belgium In a kitchen, a dog (a Friesian Wetterhound) guards its booty from another dog that appears on the left. Apparently, he has pulled away from his chain and is not giving up his booty (entrails) lightly. On the right of the painting, we see an overturned basket with artichokes, asparagus, a lemon and apples. At the top left, the painting is proudly signed 'F. SNIJDERS.FECIT'. Frans Snijders had a predilection for depicting dogs and they appear frequently in his oeuvre. About seven -mostly larger works as is the case here- can be named as scenes in larders or front rooms of kitchens. The theme is usually similar: a dog defends its stolen loot against another dog (e.g. a painting on loan with a similar theme among others in the Snijders-Rockoxhuis 'Larder with dogs and a cows head'). It remains conjecture whether Snijders was pursuing a metaphor or deeper symbolism with this theme. However: each time, he shows himself to be a fantastic cinematographer and manages to render a scene just before the climax through which he builds the tension. Also typical is the dog's head on the left, which is only partially depicted (cut off from the composition it seems) which generates even more movement. The textures of the fur, meat, vegetables and fruit are fantastically rendered.
Kovacek Spiegelgasse
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
Giammarco Cappuzzo Fine Art
Jusepe Ribera (Jativa 1591-1652 Napoli) An Apostle, circa 1635-1638 Oil on canvas 76 x 62 cm With gratitude to Dr. Nicola Spinosa, Dr. Riccardo Lattuada and Dr. Viviana Farina, leading experts of Jusepe Ribera to have confirmed the attribution. Provenance: private collection, France; private collection, Italy This Apostle is part of the cycle of portraits of the Apostles by the same artist, housed in the Prado Museum in Madrid. Diagnostic analyses conducted on the canvas have confirmed its full compatibility with works executed around 1630 by the painter, also revealing the presence of preparatory drawing, a method he frequently employed.
Galerie Boulakia
marc chagall
Marc Chagall (Vitebsk 1887-1985 Saint-Paul de Vence) Les fiancés au cirque, 1982 Oil, tempera and pastel on canvas 100 x 73 cm Signed ‘Marc Chagall’ in blue oil paint (lower right), signed and dated 'Marc/Chagall/1982’ in oil paint on the reverse This work is accompanied by a certificate of authenticity issued by the Comité Marc Chagall, Paris Provenance: artist's estate; private collection, Europe
Harold t’Kint de Roodenbeke
Raoul Dufy (Le Havre 1877-1953 Forcalquier) Régate sur la Marne, 1925 Watercolour on paper 50 x 65 cm Signed lower right Provenance: collection of the Belgian artist Jean Milo; acquired in 1943 Literature: Fanny Guidon-Lafaille, Catalogue raisonné, tome II, n° 1227, ill. p. 63 Exhibition: Brussels, 1943, n° 72
Romigioli Antichità
Standing Madonna with Child, circa 1290-1310 Polychrome sandstone (and restorations) Northern Spain (in particular the cultural area between Castilla and Léon, La Rioja, the Basque Country and Navarre) H 102 x W 65 x D 42 cm Provenance: collection Costantino Nigro, Genoa Condition: the lower part of the statue is missing Literature: attribution and critical reading by Professor Luca Mor Exhibition: Biaf-Biennale Internazionale di Firenze, 2022
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
Galerie La Forest Divonne
krjst
KRJST Studio (Belgian artist duo founded in 2012 and composed by Justine Moriamé (1987) and Erika Schillebeeckx (1989)) SAND IS THE BODY OF THE TREES TO COME, 2024 Jaquard weaving and hand embroidery Organic cotton, paper, mohair, merino, polymer, lurex, metalic yarns, polyester, linen, silk H 250 x W 250 cm Serie Omen, edition 1/4
De Jonckheere
Pieter Neefs The Elder (Antwerp 1578/1590-after 1656/1661), and the participation of Frans Francken The Younger (Antwerp, 1581-1642) for the figures Church Interior, inspired by Antwerp Cathedral Oil on panel 41.5 x 71 cm Signed Peeter De Neef Franck In. Stamped on the back with the mark MV of the manufacturer Michiel Vriendt, active in Antwerp between 1615 and 1637, and the arms of the City of Antwerp Provenance: Letizia Bonaparte Collection (1750-1836); Charles Talbot Collection (1753-1827), through Lucien Bonaparte; Bertram Arthur Talbot Collection, 17th Earl of Shrewsbury, 17th Earl of Waterford (1832-1856) Alton Towers, Stafford; Sale, Shrewsbury, Christie & Manson, London, 4 July, 1857, lot 300; Sholto Charles John Hay Douglas Collection, 20th Earl of Morton (1906-1976); Sotheby’s, London Belgravia, 28 July 1976, lot 42; private collection, Spain
Willow Gallery
Raoul Dufy (Le Havre 1877-1953 Forcalquier) Le Bal, 1920 Oil on canvas 55 x 65 cm - framed: 70 x 80 cm Signed lower right 'Raoul Dufy' Provenance: Galerie Bernheim-Jeune, Paris (in March 1924); Max Pellequer, Paris (acquired from the latter in January 1925); Marcel Kapferer, Paris (before 1928); Doctor Alexandre Rudinesco, Paris (before 1951); its sale, Parke-Bernett Galleries Inc., New York, October 10, 1968, lot 22 (titled 'Le Bal du quatorze Juillet à Antibes', dated '1910'); B. Gerald Cantor, New York (before 1970); private collection; private collection, France Literature: C. Zervos, Raoul Dufy, Paris, 1928, n° 29 (ill.; titled 'Antibes'; dated '1921'); M. Gauthier, Raoul Dufy, Paris, 1949 (ill., pl. VIII; dated '1912'); P. Courthion, Raoul Dufy, Geneva, 1951, p. XII, n° 62 (ill., pl. 62; titled 'Le Bal à Antibes'; dated '1910'); M. Brion, Raoul Dufy, Paintings and Watercolors, London, 1958, pl. 13 (ill.: titled 'Ball at Antibes, 14 July'; dated '1910'); Maurice Laffaille, Raoul Dufy, Catalogue Raisonné de l’Oeuvre Peint, Tome IV, Editions Motte, Geneva, 1977, p. 147 n° 1581 Exhibitions: Paris, Galerie Charpentier, Plaisir de France, June 1951, n° 62 (titled 'July 14'); Paris, Galerie Charpentier, Plaisirs de la campagne, June 1954, n° 61 (titled 'July 14'); Albi, Toulouse-Lautrec Museum, Raoul Dufy Exhibition, Paintings, watercolors, drawings, tapestries, July-September 1955, p. 24, n° 11 (ill., pl. VIII; titled 'The Ball in Antibes, July 14'; dated '1910'); Paris, Galerie Bernheim-Jeune-Dauberville, Masterpieces of Raoul Dufy, For the benefit of mutual aid of intellectual workers, April-July 1959, n° 9 (ill., pl. 5; titled 'Antibes'; dated '1910'); Paris, Galerie Charpentier, Les Fauves, 1962, n° 55 (titled 'July 14'); Mexico, Museo Nacional de Arte Moderno, Cien años de pintura en Francia, De 1850 a nuestros dias, October-November 1962, p. 118, n° 47 (titled '14 de Julio'); Des Moines, Art Center; Indianapolis, Indianapolis Museum of Art; Albuquerque, University of New Mexico Art Museum; Santa Barbara, Santa Barbara Museum of Art and Fort Worth, Fort Worth Art Center Museum, Selections from the B. Gerald Cantor Collection, December 1970-August 1971, n° 4 (ill. in colour, titled 'Fourteenth of July Dance at Antibes'; dated '1910') Born in 1877 in Le Havre, Dufy entered the Ecole Nationale des Beaux-Arts in Paris in 1900. During this period, he was heavily influenced by Impressionism. He exhibited his work for the first time at the 1901 Salon des Artistes, and then at the Salon des Indépendants in 1903. He also met Berthe Weill in 1902, and began to show his work in her gallery. Dufy received a boost to his confidence when the artist Maurice Denis was one of the first buyers of his work. For the next few years, Dufy painted in the vicinity of Le Havre, made famous by Eugène Boudin and Claude Monet. In 1905 Dufy saw Matisse’s painting ‘Luxe, Calme et Volupté’ in the Salon des Indépendants and his work became influenced by the Fauves until about 1909 when exposure to the work of Paul Cézanne led him to adopt a more subtle technique. In 1911, he and the couturier Paul Poiret founded the ‘Petite Usine’, a company that printed fashion and decorative textiles. Initially interested in engraving, he then began to work in lithographs and watercolours before moving into ceramics alongside the Catalan artist Llorens Artigas. He also illustrated books. After also showing interest in cubism, Dufy finally began to develop his own distinctive approach in 1920. Skeletal structures, foreshortened perspective, and thin, quickly-applied washes of colour became his trademark, in a manner he referred to as stenographic. As subject matter, he chose yachting scenes, views of the French Riviera, parties, and musical events. He had also become fascinated with horseracing, which developed into one of his main subjects. Dufy initially focused on the fashionable racegoers, but soon also became fascinated by the racing itself. The colour and atmosphere of horseracing gave Dufy the opportunity to use and explore his ‘colour-light’ technique, which put the focus on using colour rather than black and white to imply light and shade. Throughout his career, the colour blue was a constant presence in his work. As he once remarked, ‘Blue is the only colour which maintains its own character in all its tones…it will always stay blue…whereas yellow is blackened in its shades and fades away when lightened: red when darkened becomes brown, and diluted with white is no longer red, but another colour – pink’. During this period, Dufy was prolific, working in a variety of materials producing ceramics, tapestry hangings, and large-scale architectural decorations. Dufy’s success continued to grow, and in 1937 he (with the help of his brother Jean) was asked to create what was then the largest painting in the world for the Electricity Pavilion at the Universal Exhibition. ‘La Fée Electricité’ covers over 600 square meters, and was donated the Musée d’Art Moderne by Électricité de France and installed in 1964. Despite the onset of rheumatoid arthritis, Dufy exhibited in the annual Salon des Tuileries during the late 1940s and early 1950s and was awarded the grand prize for painting at the 26th Venice Biennale in 1952, the year before his death. Today, Dufy’s work is held in the collections of the Musée D’Orsay in Paris, the Hermitage Museum in St Petersburg, and the Museum of Modern Art in New York, and many others. An explosion of colour with a dense yet carefully organized patchwork of lines and shapes convey the almost electric atmosphere of this festive dance scene painted by Raoul Dufy. Sometimes referred to as the 14th July, or the 14th July in Antibes, other times just as a dance or ball, Le Bal, is one of the most ambitious renderings of those two subjects combined into one that Dufy explored several times throughout his career. For example, Dufy painted a Bal Populaire in his Fauvist years in 1906, much less constructed and dominated by the green tones of the scene’s setting in park. In 1912, his interpretation of the 14th July festivities seems the closest in terms of composition to Le Bal, with its interlocked diagonals in the upper part – referring to the ball’s tent and flag garlands – and its animated dancing floor in the lower part rendered through spontaneous and vibrant brushstrokes suggesting the figures and their movements. In 1920, Raoul Dufy appears to have painted two very different dancing scenes, both titled Le Bal: the present work and another painting now in a private collection. Dufy opted for a setting in a park for the latter – closer to that of the 1906 painting – as opposed to setting the ball in a colourful almost circus-like tent, as seen in this example, recalling the painting of the 14th July (corresponding to ‘Bastille Day’, the national French public holiday marking the beginning of the French Revolution on 14 July 1789) dating from 1912. These similarities and differences with other works from Dufy’s oeuvre explain the ambiguity of the present work’s dating, given it was exhibited at Galerie Charpentier’s themed exhibition on Fauvism in 1962 and there dated ‘1908’. In other bibliographical references, it is often dated 1910, yet Fanny Guillon-Laffaille adamantly dated Le Bal of 1920 in the corresponding entry of her catalogue raisonné. The daring colour code and combinations, and the broad brushstrokes barely defining the figures are reminiscent of his Fauvist years. The wide bands of colours covering more than half of the composition show Dufy’s awareness of the slightly later avant-gardist movements steering towards abstraction, such as Orphism. Whether or not Le Bal depicts one of the traditional festivities of Bastille Day, and whether or not it is effectively set in Antibes, its vibrant composition is so full of life that it translates a sort of timelessness. Dufy presents us with a snapshot of modern life – it is colourful, dynamic and never stops – and there is no doubt that the 14th July was a perfect pretext to stage and glorify this exhilarating modern life. Judi Freeman wrote that Dufy ‘shared the Impressionist enthusiasm for the annual transformation of cities and towns for Bastille Day on July 14th and other flag-waving celebrations. Whereas Manet and Monet occasionally painted Parisian boulevards adorned with flags for patriotic holidays, Dufy and Marquet regularly depicted the festivities. For the Impressionist the flag-draped streets provided an opportunity to show a colorful festival of modern life, occasionally tinged with political overtones. For Dufy and Marquet the holiday provided motifs that could be situated within the Impressionist tradition but more loosely rendered, with the sketchier brushworks and scattered, almost random color ('The Distant Cousins in Normandy: Braque, Dufy and Friesz', in The Fauve Landscape, New York, 1990, p. 221-222).
Galerie von Vertes
georges braque
Georges Braque (Argenteuil 1882-1963 Paris) Les oiseaux dans le paulownia, 1957 Oil and sand on canvas 87 x 107.2 cm Claude Laurens confirmed the authenticity on 5 February 1990 Provenance: Galerie Louise Leiris (Daniel-Henry Kahnweiler), Paris; Lake collection, Osaka (ca. 1989); private collection, Japan (ca. 2001 acquired from the above); iArt Co., Ltd., Tokyo, sale 28 September 2019, lot 83; private collection (acquired from the above) Exhibitions: Bordeaux, Galerie des Beaux-Arts and Strasbourg, Musée d'Art Moderne, Georges Braque en Europe, May-November 1982, p. 240, n° 84 (ill. p. 241); Osaka, Honobono Gallery, Exhibition of Georges Braque, 20 March-20 April 1990, n° 42 (ill. in colour)
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.
Galerie Alexis Pentcheff
Moïse Kisling (Krakow 1891-1953 Sanary-sur-Mer) Portrait of a woman with a lace collar Oil on canvas 48 x 37 cm Signed upper right Certificate of authenticity signed by Marc Ottavi on 16 December 2019 in Paris. This work will be included in the 'Volume IV et Additifs aux Tomes, I, II, et III' of the Catalogue raisonné de l'Oeuvre de Moise Kisling currently in preparation Provenance: private collection
Galeries AB & BA
Uli ancestor figure Northern New Ireland, Papua New Guinea, Melanesia, Oceania, first half of 20th century Carved wood and pigments H 108 cm Provenance: Umlauff Museum, Hamburg. Inv. 163/35591; Gros & Deletrez sale, May 26th, 1983; Robert Lebel collection, Paris; Calmels Cohen sale, December 4th, 2006; private collection; Christie's Paris sale, June 11th, 2012; Galerie Monbrison, Alain de Monbrison lists Elie de Rothschild as former provenance; collection Georges Goldfayn Literature: I Surrealisti, Arturo Schwartz, éd. Mazzotta, 1989, p. 251; Uli, Powerful Ancestors from the Pacific, Jean-Philippe Beaulieu, éd. Primedia, 2021, p. 252 Depiction of a standing man with his hands positioned behind his ears. The head is surmounted by a tall, feather-shaped crest cap over a checkerboard-engraved skullcap.
Cortesi Gallery
Agostino Bonalumi (Vimercate 1935-2013 Monza) Rosso, 1965-1971 Shaped canvas and vinyl tempera H 100 x W 80 x D 3.5 cm Signed and dated on the reverse: 'Bonalumi / 71'; size on the stretcher '80 x 100' Certificate of Authenticity Archivio Agostino Bonalumi, Milano, n° 71-014, technical report by Archivio Agostino Bonalumi Provenance: private collection, Milano Literature: M. Meneguzzo, F. Bonalumi (curators) Agostino Bonalumi, Catalogo ragionato, Milano, Skira, 2015, vol. II, p. 446, n° 492 Exhibitions: 2008, Agostino Bonalumi, Loggiato di San Bartolomeo, Palermo, (ill. 7); 2021, Agostiono Bonalumi. Ricucire la tela, curated by Marco Meneguzzo, Cortesi Gallery, Milano