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Montagut Gallery
Dan mask Dan people, Ivory Coast, 19th century Wood, nails, pigments H 23 cm Provenance: private collection, New York, USA; Pace Primitive, New York, USA; Martin Lerner collection, Curator of Asian Art, Metropolitan Museum of Art, New York Pace primitive, New York (Inv. n° 53-0602); Richard E. Anderson, Director Emeritus of the Aldrige Museum, USA; private collection, Florida
Galerie von Vertes
yayoi kusama
Yayoi Kusama (Matsumoto, 1929) Untitled, 1966 Mixed media H 21.5 x W 33 x D 28 cm On the bottom signed and dated 'KUSAMA 1966' Certificate of authenticity from the Yayoi Kusama Studio on 21 March 2017 Provenance: Gallery HAM, Nagoya; private collection, US (acquired from the above)
New Hope Gallery
lucio fontana
Lucio Fontana (Argentine, Rosario 1899-1969 Comabbio, Italy) Concetto Spaziale, 1962 Oil on canvas 113 x 100 cm Signed lower right ‘L. Fontana’ Signed and titled on the reverse ‘L. Fontana Concetto Spaziale' Provenance: Belgian private collection Literature: Enrico Crispolti, Lucio Fontana Catalogue raisonné des peintures, sculptures et environnements spatiaux rédigé par Enrico Crispolti, Vol. II, Brussels, 1974, cat. no. 62-O-96, p. CCXIII, illustrated
Objects With Narratives
vladimir slavov
Vladimir Slavov (Bulgaria, Sofia, 1980) Evolution Chandelier, 2023 The first composition from the Evolution series Three bronze strokes form an ensemble, creating a theatrical lighting experience Unique piece Provenance: the artist's studio, Belgium Exhibition: PAD London, 2024
DYS44 Lampronti Gallery
Artemisia Gentileschi (Rome 1593-1656 Naples) Bathsheba at her bath, circa 1636-1638 Oil on canvas 185.2 x 145.4 cm Provenance: private collection, UK; Matthiesen Gallery, London Literature: M. Nicolaci, catalogue entry 41, in Artemisia Gentileschi: Storia di una Passione, R. Contini and F. Solinas (eds.), exh. cat., Palazzo Reale, Milan, 2011-2012, p. 228; M. Nicolaci, catalogue entry 52, in Artemisia, 1593-1654, R.P. Ciardi, R. Contini, and F. Solinas (eds.), exh. cat., Fondation Dina Vierny-Musée Maillol, Paris, 2012, pp. 184-185; N. Spinosa, Grazia e Tenerezza in Posa: Bernardo Cavallino e il Suo Tempo, 1616-1656 (Rome, 2013), p. 403, ill. A3.a; R. Lattuada, "Unknown Paintings by Artemisia in Naples and New Insights into Her Daily Life and 'Bottega'," in Artemisia Gentileschi in a Changing Light, ed. S. Baker, London-Turnhout, 2015, pp. 203-205, figs. 34–39 Exhibitions: Artemisia Gentileschi: Storia di una passione, Palazzo Reale, Milan, 22 September 2011-29 January 2012, curated by R. Contini and F. Solinas; Artemisia, 1593–1654, Fondation Dina Vierny-Musée Maillol, Paris, 14 March-15 July 2012, curated by R. P. Ciardi, R. Contini, and F. Solinas; Artemisia, Vrouw & Macht, Rijksmuseum Twente, Enschede, 26 September 2021-23 January 2022
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
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 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 Berès
maurice denis
Maurice Denis (Granville 1870-1943 Paris) Les Fées, circa 1891 Oil on cardboard 23 x 30.3 cm Signed lower left 'MAVD'; titled upper right 'LES FEES' Provenance: Arthur Huc Literature: Le Talisman de Serusier, une prophétie de la couleur, Musée Pont-Aven, 30 June 2018-6 January 2019, p. 98, n° 42 Exhibitions: Au temps des Nabis, Paris, Huguette Berès, 29 May-20 July 1990, n° 46; Maurice Denis, Paris, Huguette Berès, 4 June-22 July 1992, n° 14; Le Talisman de Serusier, une prophétie de la couleur, Musée Pont-Aven, 30 June 2018-6 January 2019, p. 98, n° 42 1891 was a pivotal year in the life of the young French painter Maurice Denis. Painted in 1891, Les fées dates from the key moment when Denis's art was becoming more synthetic. He belonged to the young Nabis group, which was mainly concerned with decorative paintings. This scene, which is the 2nd version of the subject, is considered to be one of the most faithful to the spirit of Pont-Aven. The emerald of the meadow, the black of the forest edge, their counterpoint of ochres and yellows of the path, the black of four silhouettes, are they not echoes of Gauguin saying: ‘of colour alone as the language of the listening eye...’? In this painting, executed in Brittany, Maurice Denis illustrates the tradition according to which ‘The Fairies’ made wishes when a child was born. The scene, set on the edge of the forest, their domain par excellence, shows, on the right, the young mother dressed in red and the nannies dressed in black and white presenting a small child to a group of four fairies dressed in black; two of them are wearing white headdresses. By using pure colours in large flat areas, Maurice Denis put into practice the theories he had made his own, ... the watchword, the common principle is to exalt colour and simplify form. Arthur HUC, a French politician and journalist, was director of La Dépêche du Midi and organised the famous Nabis exhibition in Toulouse in 1894. In 1892, Maurice Denis produced the only advertising poster he ever did for his newspaper.
Galerie des Modernes
jean dubuffet
Jean Dubuffet (Le Havre 1901-1985 Paris) Chien errant, 1957 'Assemblage d'empreintes' series Ink and cut paper collage on paper mounted on cardboard 105 x 67 cm Signed and dated lower left 'J. Dubuffet 57' Provenance: Galerie René Drouin, Paris; collection Madame F. Montel, Paris; the Redfern Gallery, London; Waddington Galleries, London; Andrew Crispo Galleries Inc, New York; Sid Deutsch Gallery, New York; private collection, New York; private collection, Belgium Literature: Max Loreau, Catalogue des Travaux de Jean Dubuffet, Fascicule XII: Tableaux d'assemblages, Weber éditeur, Lausanne, 1969, described p. 99 and p. 130 and reproduced p. 99, n° 119; Andreas Franzke, Dubuffet Zeichnungen, Rogner & Bernhard, Munich, 1980, repr. in black and white on p. 175 Exhibition: Summer Exhibition 1972, The Redfern Gallery, London, Summer 1972
Kunstconsult 20th century art I objects
barbara nanning
Barbara Nanning (The Hague, 1957) Ceramic sculpture 'Hydras' from the Botanica series, 1997 Stoneware with coating of sand and pigment Ø approx. 80 cm Unique piece Provenance: collection Snijder, Aerdenhout Literature: Thimo te Duits, Barbara Nanning_evolution, Publisher nanning, 2004, p. 63 and p. 133
Heutink Ikonen
The Transfiguration of Christ Russia, Kaluga region, late 18th century Egg tempera on gesso on linen-covered wood 54 x 44.5 cm This finely painted and colourful icon, with late Baroque and Rococo influences, depicts the miracle of the Transfiguration of Christ. Remarkably, not only the Transfiguration of Christ itself is depicted, but also the preceding and subsequent events, as described in the gospels of Matthew, Mark and Luke, are captured in one and the same composition. Christ and his three disciples are each portrayed four times, each at a different moment of the narrative, and in a different state of mind. On the left, we see Christ telling the disciples Peter, John and James to follow him up the mountain. Once on the mountain, Christ changes shape: his clothes turn white like light and his countenance becomes radiant like a sun. Next to Christ, the prophets Moses and Elijah appear, being brought to the mountain by angels. When the voice of God sounds from heaven, the disciples become fearful and fall face down to earth. Christ touches them and reassures them. Then, as they descend from the mountain, Christ urges his disciples not to tell anyone what they had seen.
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.
Pauline's Jewellery Box
Belle Epoque diamond Boucheron tiara, circa 1915 Early 20th century diamond Boucheron tiara, set with three central pear-shaped diamonds weighing 3.14 carats each, with a colour grade of E and clarity grade of IF. The second pear-shaped diamond weighs 2.65 carats, with a colour grade of H and clarity grade of SI. The third pear-shaped diamond weighs 2.94 carats, with a colour grade of F and clarity grade of VS2. The estimated total diamond weight is 28.00 - 30.00 carats. The tiara is mounted in platinum. Each pear-shaped diamond is accompanied by a Lab certificate from GIA Provenance: France
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
Florian Kolhammer
josef hoffmann
Josef Hoffmann (Brtnice 1870-1956 Vienna) Vase with etched decoration 'Orange Opal Aussen Schwarz' Mould-blown glass, etched decoration H 8 x Ø 11.5 cm Designed by Josef Hoffmann and executed by Johann Loetz Witwe, one of only two pieces, executed either in 1911 or 1914 Provenance: private collection Prague, Czechia Literature: A. Adlerova, E. Ploil, H. Ricke, T. Vlcek (ed.), Loetz-Böhmisches Glas 1880-1940, vol. I, Werkmonographie, Prestel publ., Munich 1989, p. 271 (similar vase in the museum Bergreichenstein); A. Adlerova, E. Ploil, H. Ricke, T. Vlcek (ed.), Loetz-Böhmisches Glas 1880-1940, vol. II, paper pattern catalogue, Prestel, Munich 1989, paper pattern 8031, p. 218; Jitka Lnenickova, Loetz/Series II. Paper Patterns for Glass from 1900 to 1914, Museum Sumavy, Susice 2011, n° II-8031, p. 755; Waltraud Neuwirth, Loetz Austria 1905-1918, Glass, self-published Dr. Waltraud Neuwirth, Vienna 1986, depiction 303, p. 323 In the early 1910s, Josef Hoffmann had reached the peak of his creative powers. He was very well connected in the art scene of the time and carried out commissions for both private individuals and the state. The etched glass vases that he had made by the Loetz glass manufactory for the winter exhibition at the Austrian Museum of Art and Industry in 1911 are certainly amongst his most important decorative arts designs from this period.
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.
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.)