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Epoque Fine Jewels
van cleef & arpels
Van Cleef & Arpels Panther brooch, last quarter of the 20th century Onyx, emerald and diamond A stalking panther set throughout with brilliant cut diamonds, highlighted with onyx dots, marquise-shaped emerald eyes and an onyx nose, mounted in 18 karat yellow gold Signed Van Cleef & Arpels and numbered Provenance: from an important estate
Floris van Wanroij Fine Art
abel grimmer
Abel Grimmer (Antwerp, circa 1570-circa 1618) Landscape symbolising the season of spring Oil on panel 25 x 36 cm Provenance: sale London, 1956; with Kunsthandel P. de Boer, Amsterdam, with label verso; private collection A. Heyn, Aerdenhout, 1961, by descent; private collection, The Netherlands Literature: Exh. cat., 1961, Kunsthandel P. de Boer. Amsterdam, cat. n° 28, with ill.; Exh. cat., 1965, De landman en de muze. Een tentoonstelling van schilderijen, aquarellen, tekeningen, grafiek, beeldhouwwerken en handschriften. Haarlem, with ill.; Berthier de Sauvigny, Reine de, Jacob et Abel Grimmer, Catalogue raisonné, Brussels, 1991, p. 302, n° 6 Exhibition: Frans Halsmuseum, Haarlem, 14 June 1965-29 August 1965, De landman en de muze. Een tentoonstelling van schilderijen, aquarellen, tekeningen, grafiek, beeldhouwwerken en handschriften, n° 16
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Univers du Bronze
raymond delamarre
torse du diadumene (1936)
Plaster exhibited at the Salon des Tuileries (cat. n°439). Bronze, richly dark black brown patina H : 119 cm, L : 51,5 cm, D : 27 cm Bronze cast for the patron M. Giron (commissioned in December 1937), signed "Raymond Delamarre", dated "1937", cast by "Bisceglia Cire Perdue Malakoff" (seal), only one bronze example currently identified. Cast circa 1937-1938
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.
robertaebasta
Gabriella Crespi (Saronno 1922-2017 Milan) Caleidoscopio table lamp Nickel-plated brass characterised by engraved profiles that emanate subtle effects of light Italy, circa 1970 H 87 x W 18 x D 18 cm Engraved signature on the base and on the diffuser Certificate of authenticity by Archivio Gabriella Crespi n° 040605075P Provenance: private collection, Italy
Romigioli Antichità
boraccine roses, gills, hibiscus, carnations and tulips in a glass vase
Juan de Arellano (Santorcaz 1614-1676 Madrid), attributed to Boraccine roses, gills, hibiscus, carnations and tulips in a glass vase Oil on canvas 78 x 63 cm Report by Professor Claudia Salvi Provenance: private collection, Florence
De Jonckheere
pieter brueghel the younger
Pieter Brueghel the Younger (Brussels 1564-1638 Antwerp) The Resurrection of Christ Oil on panel 47.20 x 34.30 cm Signed BRVEGHEL bottom left Provenance: Olive Dorothea Wentworth-Fitzwilliam, Countess Fitzwilliam (1911-1975); Christie’s, London, 12 December 1986, lot 37; private collection Literature: Klaus Ertz, Pieter Brueghel der Jüngere, Luca Verlag, Lingen 1998/2000, vol. I, pp. 439-440, cat. 435, fig. 318, repr.
Dr. Nöth kunsthandel + galerie
gustave loiseau
Gustave Loiseau (Paris, 1865-1935) Falaises d'Yport en hiver, 1924 Oil on canvas 54 x 65 cm Signed and dated lower left 'G Loiseau 1924' This work will be included in the forthcoming Gustave Loiseau catalogue raisonné which is currently being prepared by Didier Imbert Provenance: Galerie Durand-Ruel, Paris, by whom acquired directly from the artist on 31 May 1924; Marie Louise d'Alayer, by descent from the above in 1949; anonymous sale, Sotheby's, London, 30 November 1972, lot 46; private collection, Europe, by whom acquired at the above sale; private collection, Japan; acquired from the above by the present owner
Gallery Desmet
francesco fanelli
Pair of staggering and pacing horses Attributed to Francesco Fanelli (Italy, 1590-1653) Bronze, black lacquer patina Florence, second quarter of the 17th century H 15 x W 16.5 x D 5 cm H 16.5 x W 16 x D 5 cm Provenance: private collection, Italy To introduce these bronzes, there is no better way than the description made by the English antiquarian George Vertue (1684-1756). He depicted a number of statuettes by Fanelli at Welbeck: Fannelli the Forentine Sculptor who livd and dyd in England, made many small statues. models & cast them in brass (i.e. bronze). which he sold to persons that were Curious to sett on Tables cupboards shelves by way of Ornament - and irons. Many were bought by W. Duke of Newcastle, and left at Welbeck. where the Earl of Oxford. found them. This Fanelli had a particular genius for these works and was much esteemd in King Charles I time - and afterwards - so many of this little Statues as I have seen at Ld Oxfords - It shows us the impact and influence of yet another Florentine sculptor in England and this pair of bronzes is exactly what Fanelli is famous for: dark black lacquer patina, the subject of horses and the small size to appeal to the collector’s desire of the high nobility in England and beyond.
Galerie Cento Anni
andré lanskoy
André Lanskoy (Moscow 1903-1976 Paris) Abstract composition, 1961-1962 Oil on canvas 73 x 100 cm Signed Lanskoy Certificate of the Comité Lanskoy-Paris This work will be included in the artist's catalogue raisonné Provenance: Galerie E. Smith, Paris; Galerie Ivana de Gavardie, Paris
Repetto Gallery
kazuo shiraga
Kazuo Shiraga (Japan, Amagasaki 1924-2008) Ouichi, October 1973 Oil on canvas 32 x 41 cm Signed lower left; signed, titled and dated on the reverse Certificate of authenticity on photograph signed by David Juda, 15 June 2012 Provenance: Matsumoto Co. Ltd., Tokyo; Annely Juda Fine Art, London; private collection, Italy
DYS44 Lampronti Gallery
Bernardo Bellotto (Venice 1722-1780 Varsavia) Roma, veduta del Colosseo e dell’Arco di Costantino, 1743-1744 Oil on canvas 61 x 98.1 cm Provenance: private collection, New England; R. Birkedal, Seekonk, Massachusetts; T. Gilbert Brouillette (1906-1970), Falmouth, Massachusetts; Alicia Corchenuk de Buenfil, Città del Messico; Con Steven Juvenis e Firestone & Parson, Massachusetts, entro il 1976; Vendita anonima ('The Property of a Gentleman'), London, Sotheby's, 4 July 1990, lot 19 (as Canaletto); acquired from a private collection; Vendita anonima ('The Property of a European Collector'), London, Christie's, 7 July 2004, lot 98 (as Bellotto); private collection, by 2008; with Cesare Lampronti Gallery, London, by 2009 (as Bellotto); purchased privately from Hampel, Munich, by the current collector in 2019 Exhibitions: Gorizia, Palazzo della Torre, Le Meraviglie di Venezia, Dipinti del '700 in collezioni private, 14 marzo-27 luglio 2008, n° 92; Foligno, Palazzo Trinci, Giuseppe Piermarini, tra barocco e neoclassico, Roma, Napoli, Caserta, Foligno, 5 giugno-2 ottobre 2010, n° B2.22; Monaco, Alte Pinakothek, Canaletto, Bernardo Bellotto Paints Europe, 17 ottobre 2014-15 gennaio 2015, n° 21 Literature: W.G. Constable, Canaletto, Giovanni Antonio Canal, 1697-1768, J.G. Links (a cura di), Oxford 1976, vol. I, n° 388*, riprodotto in pl. 206, e vol. II, pp. 393–94, n° 388* (come Canaletto); W.G. Constable, Canaletto, Giovanni Antonio Canal, 1697–1768, J.G. Links (a cura di), Oxford 1989, vol. I, n° 388*, riprodotto in pl. 206, e vol. II, pp. 393–94, n° 388* (come Canaletto); J.G. Links, A Supplement to W.G. Constable's Canaletto, Giovanni Antonio Canal, 1697–1768, Londra 1998, p. 38, n° 388* (come Canaletto); C. Beddington, in Bernardo Bellotto and the Capitals of Europe, E.P. Bowron (a cura di), cat. mostra, Venezia e Houston 2001, pp. 112 e 114 n° 7, sotto il n° 26; B.A. Kowalczyk, in Bernardo Bellotto and the Capitals of Europe, E.P. Bowron (a cura di), cat. mostra, Venezia e Houston 2001, pp. 136 e 138 n° 13, sotto il n° 35, riprodotto a p. 136; D. Succi, in Le Meraviglie di Venezia, Dipinti del ’700 in collezioni private, D. Succi e A. Delneri (a cura di), cat. mostra, Gorizia 2008, pp. 264–65, n° 92, riprodotto a colori (come Bellotto); M. Fagiolo, in Giuseppe Piermarini, tra barocco e neoclassico, Roma, Napoli, Caserta, Foligno, M. Fagiolo e M. Tabarrini (a cura di), cat. mostra, Foligno 2010, pp. 52 e 55, riprodotto a colori fig. 10; C. Lollobrigida, in Giuseppe Piermarini, tra barocco e neoclassico, Roma, Napoli, Caserta, Foligno, M. Fagiolo e M. Tabarrini (a cura di), cat. mostra, Foligno 2010, pp. 190, 300 e 301, n° B2.22, un dettaglio riprodotto a colori p. 190; T. Wagner, in Canaletto, Bernardo Bellotto Paints Europe, A. Schumacher (a cura di), cat. mostra, Monaco 2014, pp. 192–93, n° 21, riprodotto a colori; B.A. Kowalczyk, in Bellotto and Canaletto. Wonder and Light, B.A. Kowalczyk (a cura di), cat. mostra, Milano 2016-2017, p. 150, sotto il n° 46; B.A. Kowalczyk, in Canaletto 1697–1768, B.A. Kowalczyk (a cura di), cat. mostra, Roma 2018, p. 150, sotto il n° 39
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
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.
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
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'.
Galeria Jordi Pascual
óscar domínguez
Óscar Domínguez (Spain, San Cristóbal de La Laguna 1906-1957 Paris, France) Téléphone et revolver, 1944 Oil on canvas 81 x 54 cm Certificate of authenticity by Asociación en defensa de Óscar Domínguez Provenance: private collection Literature: Fernando Castro, Óscar Domínguez y el Surrealismo, Madrid, 1978, p. 153, nº 244 Exhibitions: Marsella, Musée Cantini, La part du jeu et du rêve, Óscar Domínguez et le Surréalisme 1906-1957, June-October 2005, p. 150, nº 74
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
Montagut Gallery
Ngon mask Bekom people Cameroon, 19th century Wood and ritual patina H 44 cm Provenance: Marcial Bronzi collection, Brussels; Didier Claes, Brussels; Rachel Montagut collection, Barcelona Ngon masks are one of the many types that appear at commemorative ceremonies held for deceased persons in the kingdoms of Cameroon. These sets of masks, in the possession of various lineages, can include more than twenty masks, most of which represent different figures. Some of the masks are obligatory, such as the kam, the male head mask, and the ngon, which represents the woman.
Kunsthaus Kende
Classicist wine ewer Silver Ghent, 1780 Silversmith Joannes Paulus H 34 x Ø 11.4 cm (widest part) Weight 808.4 gr. Amphora-shaped body standing on a central baluster foot with a subtly curved spout and a lid following its shape. The circular body is adorned with classicist palmette decoration and a laurel wreath. The recessed shoulder is decorated with an acanthus frieze, completed by a beaded frieze at the top. The curved handle is connected to the laurel wreath at the bottom by a leaf-shaped spandrel and merges into the richly decorated socket at the top in the form of two leafy tendrils. This is a very elegant and generously proportioned classicist wine jug, outstandingly executed and presented in excellent, museum-quality condition. The original handle, presumably made of pear, is also completely undamaged. The visual decoration is in excellent condition throughout, and not overpolished in any areas. Due to the very representative design, as well as the details of the highest craftsmanship – note in particular the fine satin finish in the recesses of the acanthus leaves of the upper handle mount – a noble origin can definitely be attributed to this piece. The work of the Belgian silversmith Joannes Paulus can be traced back to between 1774 and 1784. The offer refers exclusively to the silver wine jug. Any other accessories shown serve solely to illustrate the proportions and are not included in the offer.
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.