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Douwes Fine Art b.v.
Jeronimus van Diest (The Hague, 1631-1684) Herring busses under the protection of 'Men of War', circa 1652-1654 Oil on canvas 105.5 x 161 cm Monogrammed ‘I VD’ on the barrel at bottom right Provenance: Baron van Dedem collection, The Netherlands; M. Wolff Gallery, Amsterdam, before 1940; private collection, The Netherlands; Hoogsteder Gallery, The Hague, 1991; Inder Rieden collection, since 1991 Literature: Gerlinde de Beer, 'The Golden Age of Dutch Marine Painting-The Inder Rieden Collection', edited by Charles Dumas, Primavera Pers, Leiden 2019, Catalogue II, n° 43, pp. 682-694; Charles Dumas, Gerlinde de Beer, 'In de ban van de zee-De Gouden Eeuw van de Nederlandse marineschilderkunst', De Inder Rieden Collectie, Museum Bredius, 2019, Wilco, Amersfoort, The Netherlands, n° 60, ill. in colour; E. Buijsen, in: Buijsen/Ekkart/Dumas 1998, p. 121, fig. 3 in colour Exhibitions: De Inder Rieden Collectie, Museum Bredius, 2019, n° 60, ill. colour
N. Vrouyr
Handknotted rug Etablissements veuve Guillon et fils, Belgium Before 1925 Warp and weft, cellulose, pile, wool 460 x 370 cm Numbered at the back Literature: Arthur De Rudder, International exhibition of modern decorative and industrial arts (Paris, 1925): official catalogue of the belgian section Exhibition: International exhibition of modern decorative and industrial arts, Paris, 1925, Belgian Pavilion, gallery of complete interiors, dining room by the Maison Gustave and Edouard Blondel
Galerie Cento Anni
Philippe Wolfers (Brussels, 1858-1929) Surprise nymph, 1925 (sketch) Bonze and marble base H 18 x W 15.5 x D 9 cm Signed 'Ph. Wolfers' Lost-wax casting, Wolfers Studio Provenance: Wolfers' family Literature: Werner Adriaenssens and Raf Steel, The Wolfers Dynasty, p. 420, n° 306 Exhibitions: Brussels, 1925; Milan, 1926; Brussels, 1928; Antwerp, 1929; Brussels, 1972; Ghent, 1979
Galerie Berès
Henri Hayden (Warschau 1883-1970 Paris) Le banjo, circa 1920 Gouache on paper 28 x 36.7 cm Signed lower left 'Hayden' Certificate of authenticity by Pierre Célice dated 15 April 2012 This work will be included in the forthcoming Henri Hayden catalogue raisonné currently in preparation Literature: Henri Hayden (1883-1970), Bibliothèque Polonaise de Paris, 12 June-12 July 2013, pp. 28 Exhibition: Henri Hayden, Soixante ans de peinture 1908-1968, Musée National d'Art Moderne de Paris, 3 May-2 June 1968
Snackers Antiques & Fine Art
Walter Pompe (Lith 1703-1777 Antwerp) Cross with ivory corpus Antwerp, 1770 Carved wood and ivory H 57.5 x W 27 x D 11 cm Signed Accompanied by a CITES certificate Walter Pompe was a very well-known sculptor, especially of buxus/palm and ivory carvings. The richly decorated Calvary features ivory bones, skull, and the snake with apple.
CKS Gallery
Sam Francis (San Mateo 1923-1994 Santa Monica) Composition, 1990 Acrylic and paper collage on paper 57.2 x 81.3 cm Stamped on the reverse with Sam Francis Estate logo stamp This work is registered in the archives of the Sam Francis Foundation under identification n° SF90-5PRS Provenance: private collection, the Netherlands; private collection, USA Exhibitions: St. Paul de Vence, Guy Pieters Gallery, Sam Francis, July-August 2003 (ill. in colour); Amsterdam, Museum Jan Van Der Togt, Sam Francis Remembering, November 2004-January 2005, pp. 138-139 (ill. in colour)
Galerie Patrice Trigano
Pablo Picasso (Málaga 1881-1973 Mougins) Trois personnages et un oiseau, 1969 Ink on paper 30 x 53 cm Signed and dated 23 March 1969 Certificate of authenticity issued by Maya Widmaier Picasso, dated 23 November 2001 Provenance: private collection, Geneva Literature: reproduced in the Zervos catalogue raisonné, volume 31, n° 111
Floris van Wanroij Fine Art
Saint John the Baptist England, Midlands, traditionally Nottingham Gothic, mid 15th century, circa 1420-1460 Alabaster carved in high relief with original polychrome and gilding H 41 cm Provenance: Jan Dirven Works of Art collection, Eindhoven, 1997; acquired by Dr. J. Smit collection, Valkenswaard, The Netherlands; thence by descent Literature: Cheetham, F. (2003), Alabaster images of Medieval England. Woodbridge: The Boydell Press, p. 48, n° 205 (reference literature)
Victor Werner
Svend Rathsack (Fredericia 1885-1941 Frederiksberg) Eve with the Serpent, 1941 Bronze garden sculpture with natural green patina H 128 x W 47 x D 37 cm Signed with the artist's monogram, dated '1941', and inscribed 'n°1' on the base Bears the foundry mark 'Lauritz Rasmussen, broncestøber, København' Provenance: acquired by the previous owner's aunt in 1941, where it remained in a garden in Charlottenlund until 2016; thence by descent
Stern Pissarro Gallery
Pablo Picasso (Málaga 1881-1973 Mougins) Guitare, 1923 Pastel on paper 21 x 14 cm Signed upper right 'Picasso' Provenance: Galerie István Schlégl, Zurich; private collection, acquired from the above in 1988 Literature: C. Zervos, Pablo Picasso Oeuvres de 1923 à 1925, Vol. V, Editions Cahiers d'arts, Paris, 1952, n° 70 (ill. in b/w)
Marty de Cambiaire
Hans Rottenhammer (Munich 1564-1625 Augsburg) Minerva and the Muses, 1606 Oil on copper 32.8 x 39.4 cm Signed with a monogram and dated '1606/ HR' on the rock, centre right Provenance: said to have belonged to the Earl of Roseberry, Mentmore, Buckinghamshire; private collection, Danbury, Connecticut; Jean-Luc Baroni Ltd., London, 2011; Charles Petit collection, London, 2011; Sotheby’s, London, 8 July 2015, lot 39; private collection Literature: Bernard Aikema, in 'Hans Rottenhammer', exhibition catalogue, Munich, 2004, p. 38, repr. fig. 55; Jean-Luc Baroni, 'Master Paintings at the Tefaf Art and Antiques Fair', cat. 2011, n° 8 Painted on copper, signed and dated 1606 by Hans Rottenhammer, this work captivates through its delicate execution, distinctive palette and refined subject matter. It brings together two formative influences on the artist: the northern landscape tradition, absorbed through his association with Paul Bril and Jan Brueghel the Elder and evident in the finely delineated foliage and blue atmosphere of the distance; and Venetian culture, which provided the inspiration for the subject, notably through the work of Tintoretto. The subject of the painting, variously described in the sources as 'The Muses Tuning Their Instruments' or 'The Concert of the Muses', reflects Rottenhammer’s broad artistic culture and his familiarity with courtly life. The variety of instruments and the open mouth of the singing putto in the foreground convey the presence of sound within the image. Yet the painter also seems intent on suggesting his knowledge of music through the means proper to his own art: the harmonies and nuances of colour, the correspondences between the figures and the movements of their arms invite us to see the composition as a pictorial rendering of musical harmony. Rottenhammer frequently depicted the Muses and the arts, contributing to the development of an iconographic programme intended to elevate the status of artists.
Verdini Antiques
Vincenzo Raffaelli (Rome, 1783-1865) Circular tabletop in coloured marbles, circa 1835-1845 Approximately 200 specimens of coloured pebbles, Bardiglio marble and bronze Tabletop: Ø 91.2 cm - 5.2 cm Vincenzo Raffaelli Rome, Via del Babuino 93 performed between 1835 and 1845 ca. Round top in coloured marbles 'pebble' samples 200 ca. The round top in coloured marble that we are dealing with, is a real 'pebble' sample made of ancient 'excavation' marble and modern marble, that is, used after the sixteenth century such as Malachite, Portoro or Napoleonic Orbicular Granite etc. The particularity and rarity of this table is given by the fact that the samples of marbles used, in addition to being rare then (and even more so today), were worked differently from all the other types of samples that were made between the eighteenth and nineteenth centuries. The sample tables of this period generally have a frame in black marble from Belgium or other fine marbles, which contains all the rare colored samples committed.
Bernardini Milano
Patek Philippe, Geneva Rare waterproof chronograph in rose gold, 1945 Reference 1463, bearing a uniquely spotless two-tone rose dial Provenance: previously unknown to the market The reference 1463, known in the collector’s community as 'Tasti Tondi' (round pushers). This is a very sought after version of Patek’s chronograph produced between the early 40’s and mid 60’s. This watch is complete of its appropriate extensible Gay Frères bracelet. This is one of the best-preserved examples to have appeared in recent years.
Galerie Raf Van Severen
Jean Brusselmans (Brussels 1884-1953 Dilbeek) Decor for Erwartung, 1936 Mixed media on paper 60 x 90 cm Label at the back; Erwartung; Decor pour 'Erwartung', d’Arnold Schoenberg, 1936; Décor pour le 4e acte Literature: Paul Haesaerts, Jean Brusselmans, 1939, p. 67; Robert L. Delevoy, Jean Brusselmans: CR établi par Mme G. Brys-Schatan, 1972, 421.IV In 1936, the French-language premiere of the monodrama Erwartung by Arnold Schoenberg was organized in the Palais des Beaux Arts in Brussels. And it was Jean Brusselmans who was commissioned with the design of the sets. In “Decor for Erwartung” we see the study for the 4th scene of the drama. During this scene the female protagonist, who is desperately on search for her lover, encounters a road in the middle of the forest. To her horror, she can only discover his lifeless body by the edge of a lonely house. Brusselmans’ typical painting style, where he grabs back to simplicity and clearly alienated figures, remarkably makes it easier to visualize how the sets must have looked during the actual play. It gives the viewer an endless source of imagination. Together with the history behind the work it makes an absolute masterpiece of “Decor for Erwartung’.
Dr. Nöth kunsthandel
Raoul Dufy (Le Havre 1877-1953 Forcalquier) Cérès au bord de la mer, 1928 Gouache on paper 49.5 x 63.5 cm Signed lower center Certificate of authenticity by Fanny Guillon-Laffaille This work will be published in the forthcoming catalogue raisonné des 4Aquarelles, gouaches and pastels' currently in preparation Provenance: Hartford, Wadsworth Atheneum 1959, n° 24; Fr. Gershwin Godowski collection, Sotheby´s New York, 12 May 1999, lot 373
Galerie BG Arts
René Lalique (Ay 1860-1945 Paris) Beetle frieze vase, 1912 White, lost-wax cast-molded glass with a grey patina H 16 cm Unique piece Not signed Provenance: Georges Charbonneaux collection, Paris (acquired direclty from the artist for 1000 francs in 1912); David Weinstein, New York (acquired from the descendants); private collection, London (acquired from the above) Literature: Félix Marcilhac, René Lalique-Catalogue de l'Œuvre de Verre, Les Editions de l'Amateur, Paris, 2011, CP13ter
LUDORFF
Serge Poliakoff (Moscow 1900-1969 Paris) Composition abstraite, circa 1956 Oil on canvas 130 x 89 cm Signed lower left The authenticity of this work is confirmed by Alexis Poliakoff and is registered in the Archives Serge Poliakoff, Paris, under n° 95604 Provenance: Etta & Otto Stangl collection, Munich (1971); on permanent loan to Bayerische Staatsgemäldesammlung, Munich (1971-2001); Stangl collection estate, Munich (2001-2003); Sotheby's, London (auction 6 Februrary 2003, lot 21); Galerie Bernard Cats, Brussels; Willy d'Huysser Gallery, Brussels (2003); private collection Belgium; Frans Jacob Fine Art, Amsterdam; Galerie Interart, Geneva (2016); Galerie Pascal Lansberg, Paris (2024); private collection Hesse Literature: Alexis Poliakoff, 'Serge Poliakoff-Catalogue Raisonné', vol. II, 1955-1958, Paris 2010, n° 56-63; Connaissance des Arts (Hg.), 'Connaissance des Arts', n° 609, October 2003, p. 137; Marchiori, Giuseppe (Hg.), 'Serge Poliakoff. témoignages et textes critiques, Les Presses de la Connaissance', Paris, 1976, p. 62 Exhibitions: 'Documenta III', 27 June-5 October 1964, Kassel; 'Serge Poliakoff-Rétrospective', traveling exhibition: Kestner-Gesellschaft, Städtische Kunsthalle Bremen, Museum am Ostwall, Overbeck-Gesellschaft, Haus der Städtische Kunstsammlungen Bonn, Württembergischer Kunstverein, Städtisches Museum Trier, 1963-1964; Kunstverein für das Rheinland, 'Serge Poliakoff', 14 November-14 December 1958, Düsseldorf; Kunstverein Hamburg, 'Serge Poliakoff', 12 April-18 May 1958, Hamburg; Moderne Galerie Otto Stangl, 'Serge Poliakoff', 9 August-20 September 1957, Munich
DIE GALERIE
André Masson (Balagny-sur-Thérain 1896-1987 Paris) Les vieux souliers, 1944 Oil on canvas 60 x 73 cm Signed lower middle The authenticity is confirmed by the Comité André Masson on 7 October 2002 Provenance: Galerie Simon, Paris et. al. Literature: André Masson (1896-1987), Exhibition catalogue Museo National Centro de Arte Reina Sofia, Madrid, 2004, p. 240; André Masson. Petite rétrospective entre amis, Exhibition catalogue DIE GALERIE, Frankfurt am Main 2016, p. 67; André Masson. Zwischen Welten-Entremondes, Exhibition catalogue Kunstsammlungen Chemnitz, Köln 2019, p. 95; et. al. Exhibitions: Rétrospective Masson, Musée National d'Art Moderne, Paris, 1965; André Masson (1896-1987), Museo National Centro de Arte Reina Sofia, Madrid, 2004; André Masson. Zwischen Welten-Entremondes, Kunstsammlungen Chemnitz 2019/2020; Surreale Tierwesen, Max Ernst Museum Brühl, Brühl 2021/2022; André Masson. La mémoire du monde, DIE GALERIE, Frankfurt am Main 2024/2025 et. al.
DIE GALERIE
Christian Dotremont (Tervuren, 1922-1979) Zyzzling aardvark, 1972 Indian ink on Japanese paper 98 x 61 cm Signed and dated lower right 'Dotremont 1972' Titled lower left 'Zyzzling aardvark' Provenance: private collection Exhibition: Pierre Alechinsky and his artist friends, DIE GALERIE, Frankfurt am Main, 2025
Lemaire
Bust depicting Honoré-Gabriel Riqueti de Mirabeau Manufacture of the Comte d’Artois in Paris Paris, circa 1792 Hard-paste porcelain H 27 cm Honoré-Gabriel Riqueti de Mirabeau (1749-1791), was a French writer, diplomat, journalist, and politician, and a prominent figure of the French Revolution
COLNAGHI
Paul de Vos (Hulst 1595–1678 Antwerp) Deer hunt Oil on canvas 201 x 331 cm Signed lower right of centre, on a stone: P. De vos. fecit, this monumental canvas belongs to the large-scale hunting pictures for which Paul de Vos became known among seventeenth-century collectors. The picture’s scale and format place it within a group of large hunting compositions conceived for the principal rooms of aristocratic houses. Works of comparable dimensions by de Vos include the stag hunt now in the Royal Museums of Fine Arts of Belgium and the two hunts in the Museo del Prado. The latter are dated by the Prado to 1637–1640, when de Vos was working on the decoration of Philip IV’s hunting lodge, the Torre de la Parada. The present composition is distinguished within this group by its open diagonal movement and by the stag’s apparent escape: the animal runs towards the edge of the canvas, while the hounds are still negotiating the river. The absence of huntsmen, horns and weapons concentrates attention on the animals themselves. The painting is also characteristic of de Vos’s particular approach to animal subjects. His long-bodied hounds, their coats described in broken, light-catching strokes, and the comparatively open, atmospheric landscape distinguish his manner from that of Frans Snyders, with whom de Vos’s work was often confused. The two artists were closely connected: Snyders married de Vos’s sister Margaretha in 1611, and de Vos probably worked in his studio. De Vos also collaborated with leading Antwerp painters, supplying animal and still-life passages for compositions by Rubens, Van Dyck, Erasmus Quellinus and others. His independent reputation, however, rested chiefly on hunting scenes and animal pictures, many of them made for Spanish patrons. The early provenance of this canvas is well documented. It belonged to Diego Mexía Felípez de Guzmán, the first Marqués de Leganés, whose collection in Madrid comprised more than 1,300 paintings at his death in 1655 and was particularly rich in Flemish works. Leganés was an important patron of hunting pictures and a significant collector of de Vos. The painting is identifiable as no. 199 in inventories of his collection drawn up in 1637, 1642 and 1655. It is described there as a large painting of a stag fleeing from six dogs, by “Pedro de Vos”, the Spanish form of the artist’s name. Its dimensions in the inventory, two and a half Castilian varas high and four varas long, also correspond to the monumental scale of the surviving canvas. The inventory entry places it among a sequence of large hunts by de Vos, including works now known through the painting in Brussels and a boar hunt formerly in Aachen. Following the death of the third Marqués in 1711, the collection passed by inheritance to the Counts of Altamira. In their 1726 inventory, the painting is recorded in a room beside the oratory of the San Bernardo palace, between two boar hunts, as “un zieruo que ba huiendo de seis Perros” (“a stag fleeing from six dogs”). The Altamira collection was dispersed during the nineteenth century. By 1867 the canvas had entered the collection of José de Salamanca y Mayol, first Marqués de Salamanca, in Madrid. It appeared in the sale of his hôtel at 50 rue de la Victoire in Paris, held from 3 to 6 June 1867, as Chasse au cerf by Paul de Vos. Its documented association with the Leganés collection gives the painting particular historical importance. It is the only one of that collector’s great hunting scenes by de Vos known to survive apart from the related stag hunt now in Brussels.
HELENE BAILLY MARCILHAC
Henri Martin (Toulouse 1860-1943 Labastide-du-Vert) La terrasse de Marquayrol au soleil du matin Oil on original canvas 65.4 x 92.4 cm Signed lower left 'Henri Martin' This work will be included in the forthcoming catalogue raisonné of Henri Martin’s work, currently in preparation by Marie-Anne Destrebecq-Martin