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Galerie Nicolas Bourriaud
André Bizette-Lindet (Savenay 1906-1998 Sèvres) Diane the Huntress, circa 1937-1938 Bronze with a nuanced brown-green patina, on a blackened wooden base H 64 x W 70 x D 20 cm Signed ‘Bizette-Lindet’ Cast by Susse, bears the foundry’s mark ‘SUSSE Fres / PARIS / CIRE PERDUE’ and the inscription ‘BRONZE’ Literature: Amandine Delcourt, Bruno Gaudichon and Fanny Legru, 'Faire le Beau. Le bestiaire de La Piscine', Ghent, Snoeck, 2017, p. 57 A similar example is held at the Musée de la Piscine in Roubaix (Inv.: FNAC 6463)
Marty de Cambiaire
Denys Calvaert (Antwerp circa 1540-1619 Bologna) Holy Family with Saint Jerome and the Infant John the Baptist Oil on copper 50.4 cm x 39.6 cm Signed and dated CALVA ... T ... / ... CIT / 158 ? ... lower centre Provenance: Von Planta Family, Samedan, acquired in the 1920s according to the family tradition (although it could have been acquired earlier); London, Sotheby’s, 3 December 2014, lot 18; private collection, Brussels Flemish by birth, Calvaert settled in Bologna in 1562, where he became a leading artist and played a central role in training the foremost painters of the Bolognese school. Guido Reni, Francesco Albani and Domenichino were among his most celebrated pupils. A specialist in religious subjects, Calvaert excelled both in large altarpieces and in small, refined paintings for private devotion. This exquisite Holy Family, painted in the 1580s, belongs to the latter category. Conceived as a sacra conversazione, it invites meditation on Christ’s future sacrifice. In response to the scroll bearing the words “Ecce Agnus Dei”, which the young Saint John the Baptist fervently holds up, the Christ Child expresses gentle acceptance, raising his right hand in blessing and holding in his left an apple, a symbol of the redemptive purpose of the Passion to come. The Virgin and the two saints contemplate this symbolic dialogue in quiet adoration. Few works by Calvaert combine so successfully the elegance and refinement of Mannerism with the clarity of religious expression advocated by the Counter-Reformation. The poetic vista of landscape and architecture in the background lends depth to the composition and reflects Calvaert’s Flemish taste for an airy atmosphere and a sense of recession achieved through gradations of blue and green rather than geometry. It contributes to the gentleness, calm and balance that pervade the scene.
Galerie Taménaga
Pierre-Auguste Renoir (Limoges 1841-1919 Cagnes-surMer) Paysage de Cagnes, 1900 Oil on canvas 24 x 54 cm Signed with initials lower left 'AR' This work will be included in the forthcoming catalogue raisonné of the work of Pierre-Auguste Renoir currently in preparation by the Wildenstein Plattner Institute Provenance: Ambroise Vollard, Paris; private collection, Japan Literature: Ambroise Vollard, Pierre-Auguste Renoir, Tableaux, pastels et dessins, Alan Wofsy Fine Arts, San Francisco, 1989, n° 612, 1185 and 1330, ill. pp. 155, 258 and 279
Galerie des Modernes
Jean Dubuffet (Le Havre 1901-1985 Paris) Personnage (buste) M. 406, 29 March 1967 Marker pen and gouache on paper with cut and pasted elements 45.5 x 26 cm Signed with the artist’s initials and dated lower right Annotated lower right Provenance: Jean Dubuffet collection, Paris; Ludovic Massé collection (1900–1982), Perpignan (gift from the artist, March 1968); private collection, France Literature: Max Loreau, 'Catalogue des Travaux de Jean Dubuffet, Fascicule XXII: Cartes, Ustensiles', Weber Publisher, Lausanne, 1972, pp. 145 and 188, ill. p. 145, n° 371
Galerie Hadjer
Fernand Léger (Argentan 1881-1955 Gif-sur-Yvette) Les Oiseaux dans les fleurs (mural composition), 1958 Aubusson tapestry, woven in wool 189 x 265 cm Signed 'F. LÉGER' Woven by the Pinton workshop, Aubusson, France Edition of 6 + 2 AP Accompanied by a certificate of authenticity from the Comité Fernand Léger Provenance: Atelier Pinton, Aubusson, France; private collection, London Exhibitions: F. Léger, tapisseries, céramiques, bronzes, lithographies, Palais de la Méditerranée, Nice, 20 July-30 September 1962; F. Léger et les arts décoratifs, Biot & Aubusson, 2002-2003; Literature: F. Léger et les arts décoratifs, exhibition catalogue, Biot & Aubusson, 2002-2003, another example from the edition ill. p. 34; Georges Bauquier, Fernand Léger, Catalogue raisonné de l’œuvre peint, 1952-1953, Paris, 2013, n° 1492, the related painted version ill. p. 57.
Snackers Antiques & Fine Art
Louis Philippe mantel clock Paris, circa 1835 Produced by the clockmaker Douyon Partially fire-gilt and partially patinated bronze H 70 x W 75.5 x D 27 cm The goddess Victoria is depicted seated on a cushion, leaning against the clock and holding a laurel wreath. At her feet lie a caduceus and an anchor. Beneath the clock are ears of corn and fruit. The ears of corn and fruit signify abundance; the anchor symbolises fidelity; and the laurel wreath represents victory.
Finch & Co
Devotional crucifix of Christ Portuguese Goa, 17th century Coromandel wood, gilded ivory, silver mounts H 107 x W 26 cm Christ height: 32 cm Provenance: private collection, Ireland Belgium CITES: 2025/BE01024/CE A fine and large Portuguese Goa devotional Crucifix. The polychromed and gilded ivory of Christ crucified on a Coromandel wood cross, ornately embellished with Baroque silver mounts, stands on an integral Coromandel plinth. The agonising Christ on the cross has his head falling to his right, with closed eyes and mouth open in his call to God. His long hair is carved in undulating locks falling to his shoulders. The well-defined torso has flexed muscles and a pronounced rib cage, while the arms have veins threaded along their length. His hands and feet are pierced by silver nails, his wounds are polychromed red, and the edges of the perizonium are gilded.
Dr. Nöth kunsthandel
Armand Guillaumin (Paris 1841-1927 Orly) Bords de l'Orge à Epinay, 1890 Oil on canvas 81 x 65 cm Signed lower right Certificate of authenticity from the Comité Guillaumin This work will be included in the second volume of the forthcoming catalogue raisonné currently in preparation Provenance: Galerie Durand-Ruel, Paris; Clara de Plessis Whelan, New York; Sale Parke-Bernet Galleries, New York, 7 November 1946, lot 65; Mr. Jussaume, Buenos Aires; Mr. Foret, Buenos Aires; private collection, France (acquired from the above in 1956); Christie's London 7 February 2001, lot 127; private collection, Texas
Maurice Verbaet Collection (MVC)
Marcel Mariën (Antwerp 1920-1993 Brussels) La Mire, circa 1981-83 Gelatin silver print on paper 18 x 12.5 cm (unframed) 33 x 43 cm (framed) Edition 2/6 Even before meeting the Brussels surrealists at the age of 17, Marcel Mariën (1920-1993) had taken his first steps in photography, having begun an apprenticeship with a photographer in Hoboken at the age of 15. During the 1940s, he began to use photography to create images with the bodies of the women he loved, but it was mainly from the 1980s onwards that he made frequent use of it. The photograph La Mire highlights the remarkable effectiveness of his creations, which, whilst appearing simple, reveal a wealth of meanings the moment one takes a closer look. It also demonstrates the extent to which photography enables Mariën to explore in greater depth the themes he develops in his objects, collages and writings. Indeed, his entire body of work is a reflection on the status of art. In this respect, he builds upon not only the concerns of the surrealists but also those of Marcel Duchamp. The Mona Lisa, the quintessential masterpiece of Western painting, was notably appropriated by Duchamp, who drew a moustache on it and added the inscription ‘L.H.O.O.Q.’ (‘Elle a chaud au cul’ or ‘She’s got a hot arse’) in 1919. Mariën takes this provocative critique of the mythicization surrounding this artwork a step further. The pubic hair encapsulates the moustache and inscription. It emphasizes the distance between the real woman and the painted one, whose identity has been forgotten whilst her depiction has become ubiquitous. The title refers to ‘la mire’ – that is, the image shown on television when channels were off the air –, an ever-present image that nobody looks at, much like the Mona Lisa, of which we have seen so many reproductions that we can no longer truly appreciate the real painting. But it also implies that ‘elle la mire’, which means ‘she is gazing at her’: it echoes Duchamp’s inscription, which can also be read as ‘look’. Furthermore, it plays on the belief that the Mona Lisa follows viewers with her gaze. Mariën presents the Mona Lisa as looking intently at the sex of the flesh-and-blood woman lying in front of her – in a perspective reminiscent of L’Origine du monde by Courbet. Perhaps his photograph enables us to better understand the reason behind the Mona Lisa’s famous mischievous smile?
Franck Anelli Fine Art
Antwerp school of the 16th century Mary Magdalene, circa 1540 Oil on wooden panel 47.7 x 32.7 cm Provenance: private collection, France Bust-length portrait, the sitter’s face slightly turned to the left, holding a gold cup. She wears a red dress with puffed sleeves and a green ribbon, adorned with gemstones and pearls, with ribbons set into the neckline and a necklace. Her blue-violet hat is trimmed with a ribbon decorated with a diadem motif.
Ars Antiqua
Jan van den Hecke (Kwaremont 1620-1684 Antwerp) Still life of fruit and flowers with a boy and a monkey in a garden landscape Oil on canvas 107.5 x 141 cm 143 x 176 cm (framed) Published in RKD (n° 118274 (formerly as Jan van Huijsum)) Provenance: sale Charles Sedelmeyer, Paris, 25-28 May 1907, lot 87 (as Jan van Huysum); O. Jamart sale, Fiévez, Brussels, 11 December 1922, lot 65; European private collection Literature: C. Hofstede de Groot, A Catalogue Raisonné of the Works of the Most Eminent Dutch Painters of the Seventeenth Century. Based on the Work of John Smith, vol. 10, London 1928, p. 385, n° 237 (as Jan van Huysum); M. H. Grant, Jan van Huysum. 1682-1749, Leigh 1954, p. 30, n° 195 (as Jan van Huysum)