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Gallery Sofie Van de Velde
james ensor
James Ensor (Ostend, 1860-1949) The Kingdom of Venus, 1921 Oil on canvas 50.5 x 61 cm – framed: 64.5 x 75 cm Signed bottom left corner Provenance: Gallery Sofie Van de Velde; private collection; sale Galerie des Beaux-Arts (Renaissance), Brussels, December 16th, 1941, n° 78 ('Le Bonheur'); sale G. Rosen, Frankfurt, October 11th, 1960, n° 408 ('Das Reich der Venus'); Galerie Wilhelm Grosshennig, Düsseldorf Literature: Xavier Tricot, James Ensor. Leven en werk. Oeuvrecatalogus van de schilderijen, Mercatorfonds, Brussels, 2009, n° 514, p. 357 repr. in colour
Samuel Vanhoegaerden Gallery
Panamarenko (Antwerp 1940-2019 Brakel) Archaeopterix III, 1990 Mixed media sculpture: balsa, strings, twelve servos, electronic chips ... H 36 x W 33 x D 25 cm Signed Certificate of authenticity by the Panamarenko Foundation dated 2 October 2024 Provenance: Ronald Feldman Gallery, New York Literature: Toyama-The Museum of Modern Art, Kamakura, 1992, n° 47, ill.; Moderne Museet, Stockholm, Metafor och Materia, Panamarenko, Rollof, Shannon, 1991, ill. p. 78; Museum Dhondt-Dhaenens, Deurle, Belgium, Selectie Belgische Kunstenaars voor Documenta IX, Deurle, 1992, ill. p. 114; H. Theys, Panamarenko: A book by Hans Theys, Brussels, 1992, ill. Exhibitions: Ronny Van de Velde Gallery, Antwerp, Belgium, Nam Jun Paik-Joseph Beuys-Panamarenko, 1990; Städtische Galerie im Lehnbachhaus, Munich, Paradoxe des Alltags, 1991; The Watari Museum of Contemporary Art, Tokyo, Irony by Vision, 1991; International Art Center, Hasselt, Panamarenko, 1991; Toyama-The Museum of Modern Art, Kamakura, 1992; The Bunkamura Museum of Art, Tokyo, 1992; The National Museum of Art, Osaka, 1993; Fukuyama Museum of Modern Art, Fukuyama, 1993
Claes Gallery
Songye Mask Democratic Republic of Congo, Katanga Presumed period: late 19th-early 20th century Wood, pigments H 31.8 cm Provenance: acquired in situ by John Henry (aka Jack) Sandground in Ebombo, 1934; passed on to descendants; American private collection, Washington Amongst Songye masks, a general distinction was made in reference to the function of male and female masks. Male masks (bifwebebalume) were involved in rites of passage. On the other hand, female masks (bifwebe bakashi), which appeared on the occasion of the death or investiture of a chief and during lunar rites, were an integral part of the symbolic composition of these rituals, animating benevolent spiritual forces through dance. This mask is a female ‘kikashi’ mask, as indicated by the two-tone white and black, the absence of a sagittal crest and the flat nose. According to Plasmans, ‘the female kifwebe animates the vital forces through dance, calling upon the benevolent spirits of the forest. The woman, as the bearer of children and thus of good fortune, perpetuates the lineage and simultaneously also the magical essence of buci. In this way, female masks represent the continuity of life and cultural tradition. The presence of the passive female mask in the composition of bwadi society accentuates and completes the dialectical opposition of the active force of the male masks'.
Gallery de Potter d’Indoye
Guéridon, circa 1790 Attributed to Pierre-Philippe Thomire (Paris, 1751-1843) Gilt and patinated bronze, with a marble top H 90.25 cm x Ø 62.25 cm Literature: Guillaume Janneau, Le Meuble Léger en France, Ed. Hartmann, Paris 1952, p. 242 This pedestal table, attributed to Pierre-Philippe Thomire, is one of a small group of similar ormolu pedestal tables with a patina finish on a griffin tripod base. One is in the Musée Nissim de Camondo in Paris, acquired from the supplier Seligmann, as being by Thomire, another was in the collection of Boniface de Castellane and Anna Gould at the Palais Rose, Paris, sold at Christie's Paris on 7 March 2017, lot 116. Another example was in the collection of Helena Rubinstein and John Dorrance and now belongs to Dalva Brothers, New York. A related but more elaborate model, whose legs are supported by winged female caryatids, formed part of Pierre Delbée's famous interior at Maison Jansen in Paris, was sold by Christie's in New York on 28 April 2017, lot 21 Born in Paris in 1751, the son of a chiseller, Pierre-Philippe Thomire studied sculpture at the Académie de St-Luc under Augustin Pajou and Jean-Antoine Houdon. He then joined the workshop of the bronzemaker Pierre Gouthière, who gave him a perfect knowledge of the trade, before opening his own workshop in 1776. His skills and talent were quickly recognised at court and won over the royal couple. In particular, he assisted Jean-Louis Prieur in creating the bronze ornaments for the coach dedicated to the coronation of Louis XVI. Succeeding Thomas Duplessis as bronzemaker at the Manufacture de Sèvres in 1783, he became the King's official chaser and gilder. The delivery of bronzes for a monumental vase from Sèvres now in the Louvre (inv. OA 9590) further enhanced his reputation, which was high on the eve of the Revolution. In 1804, in association with the Dutermes, he acquired the important collection of the merchant-merchant and bronzemaker Martin-Eloy Lignereux. In recognition of his merit, he was awarded a gold medal at the 1806 Exhibition of Industrial Products. His reputation enabled him to supply a prestigious clientele with some of the finest objects of the early 20th century, and to receive orders to refurbish imperial residences such as Fontainebleau and the Grand Trianon. The City of Paris also made use of his skills for gifts to sovereigns, such as a clock given to Marie-Louise in 1810 on the occasion of her marriage to Napoleon I, now in the Louvre (inv. OA 9511), or the King of Rome's cradle, works for which he collaborated with leading painters, cabinet-makers and silversmiths such as Jean-Baptiste-Claude Odiot and Pierre-Paul Prud'hon.
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)
Galerie Nathalie Obadia, Paris/Brussels
Shirley Jaffe (USA, Elizabeth 1923-2016 Louveciennes, France) Untitled, circa 1955 Oil on canvas 174.5 x 101.5 x 4 cm Provenance: the Artist’s studio; Estate of Shirley Jaffe; Galerie Nathalie Obadia Dated circa 1955, Shirley Jaffe's Untitled is a work that is both remarkable and characteristic of this decisive decade, for its composition of bursts of small, independent brushstrokes that coalesce into irregular blocks. These shapes, composed of countless brushstrokes and sometimes evoking natural forms, are inserted into surfaces that are more modulated than before, and in which patches of local color appear. Fine glazes and dramatic shifts from light to dark contribute to the luminous transparency of her works from the 1950s, which seem flooded with a beautiful, roborative clarity. At the time, Shirley Jaffe was looking for “the moment in a painting that was unusual”. The important thing, for her, was to “bring the forms out of the background, while constantly tilting the balance”. In her works from this period, she often succeeded in giving the impression that shapes emanate naturally from the application of paint, and that compositions become unstable, sometimes radically so. This text appears in Raphaël Rubinstein's 2014 catalog Les Formes de la Dislocation. This work has never been exhibited. Courtesy of Shirley Jaffe Estate / ADAGP, Paris 2024 and Galerie Nathalie Obadia Paris/Brussels © Bertrand Huet / tutti image
Galerie BG Arts
jean dunand
Jean Dunand (Switzerland, Lancy 1877-1942 Paris, France) Screen 'Swans and Water Lilies', circa 1932 Four-panel screen with black, ivory and gold lacquer H 180 x W 304 cm Provenance: collection M. B.-Paris; private collection, Paris; Galerie BG Arts, Paris Literature: Félix Marcilhac, Jean Dunand, Vie et Œuvre, Les Éditions de l’Amateur, Paris, 1991, p. 215 (ref. 121) Exhibition: Galerie Georges Petit, Paris, December 1932 Certificat d'Amélie Marcilhac
Galeries AB & BA
joan miró
Joan Miró (Barcelona 1893-1983 Palma de Mallorca) Untitled, 1949 Oil, watercolour, pastel crayon and charcoal on paper 32.5 x 25 cm Signed and dated on reverse, 1949 Provenance: Pierre Matisse Gallery, New York; J. Reiss collection, Wisconsin; private collection, Paris Literature: J. Dupin and A. Lelong-Mainaud, Joan Miró, Catalogue raisonné, Drawings II, Editions Daniel Lelong – Successió Miró, 2010, vol. II, p. 185, n° 1184 Exhibition: Milwaukee Art Center, Wisconsin Collects, 24 September-25 October 1964, p. 15, cat. 132
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
Florian Kolhammer
georg klimt
Georg Klimt (Vienna, 1867-1931) Jugendstil panel 'Nymph at the fountain', circa 1900 Chased and patinated copper H 57 x W 29 cm Literature: comp. Belvedere Museum Vienna, inventory n° 10862 The inspiration of the Symbolist painter Franz von Stuck is particularly evident in this relief. Based on the motif compositions of the famous artist, Klimt created an antique scene. An homage to Symbolism and the influence of antiquity on the young, revolutionary art movement.
Chambre professionnelle belge de la Librairie Ancienne et Moderne (CLAM)
Pieter Bruegel the Elder (Brussels, 1525-1569) 'Everybody', 'Elck' or 'Nemonon', circa 1558 Engraving by Pieter van der Heyden (1530-1572) Published by Hiëronymus Cock (Antwerp, 1518-1570) 23.2 x 30 cm References: New Hollstein Dutch 35 1(2), first state. Text version C Lex Antiqua, Antiquarian bookseller
Univers du Bronze
auguste rodin
Auguste Rodin (Paris 1840-1917 Meudon) Petite ombre de la Porte de l'enfer ou 'Petite Ombre n°1' Model of 1885, cast in 1943 Bronze, richly shaded green brown patina H 31.1 x W 13.8 x D 10.9 cm Bronze signed 'Rodin', cast by 'Alexis Rudier Fondeur Paris' (mark), 'A.Rodin' inside relief seal; 13 examples by this founder for Rodin between 1906 and 1911, then 4 by him for the Museum between 1919 and 1945 (completed edition by Georges Rudier between 1958 and 1966 with 7 bronzes) - Comité Rodin advice letter 2022-6677B
Victor Werner
luigi carrubba
Luigi Carrubba (Tunisia 1907-? Rome) Diana the Huntress, circa 1937 Bronze with black patina H 108 x L 100 x D 47 cm Signed 'Carrubba Luigi Roma Febbraio XV' Literature: E. Zorzi, Uno sguardo d'insieme alla XXI Biennale d'Arte di Venezia, in 'Le vie d'Italia turismo nazionale, movimento dei forestieri, prodotto italiano', XLIV, 6, 1938, p. 750 Luigi Carrubba, a Tunis-born sculptor who later settled in Rome, rose to prominence in the late 1930s, gaining recognition through major Italian art exhibitions. His works, including bas-reliefs and sculptures, were featured in events such as the Venice Biennale and regional exhibitions, where they were celebrated for their quality and scale. One of his notable sculptures, The Hunt, which may correspond to the work presented here (based on the similarity of subject and date) highlights Carrubba's mastery of dynamic forms and stylised bodies. This work exemplifies his skill in capturing movement and emotion through simple, refined lines. Carrubba continued to display works like Maternità and L’estate at the Venice Biennale, where he earned recognition amongst the emerging talents of the time.
Rueb Modern and Contemporary Art
hans bellmer
Hans Bellmer (German artist, Poland, Katowice 1902-1975 Paris, France) Untitled, circa 1945 Pencil on paper 16 x 10 cm Signed Provenance: private collection, London; Art historian John Richardson, New York Literature: J. Reginato, John Richardson at home, New York 2021, ill. p. 92
De Brock
austin eddy
Austin Eddy (USA, Boston, 1986) Consolation, 2024 Oil on canvas 203.2 x 142.2 cm Provenance: the artist's studio, Brooklyn, NY, USA; De Brock, Knokke, Belgium Exhibitions: Austin Eddy: Still Life, 21 September-24 November 2024, Kunstverein Heilbronn, Heilbronn, Germany; BRAFA Art Fair, 26 January-2 February 2025, Brussels Expo, Brussels, Belgium
A&R Fleury
Sam Francis (San Matteo 1923-1994 Santa Monica) The blue between the red and green, 1960 Acrylic and gouache on paper 85.8 x 58.7 cm - framed 102.5 x 76 cm Provenance: private collection, Switzerland; Galerie Kornfeld, Bern, 1990; André Emmerich Gallery, New York; Dina and Raphael Recanati Collection, New York Exhibitions: New York, André Emmerich Gallery, Sam Francis: Paintings on paper 1956-1964, October-November 1990, ill.; Los Angeles, Manny Silverman Gallery, Sam Francis : Selected works, April-May 1999, n°1, ill. Literature: D. Burchett-Lere, ed, Sam Francis Online Catalogue Raisonné Project, n° SF60-1116
Galerie La Patinoire Royale Bach
joana vasconcelos
Joana Vasconcelos (Paris, 1971) Blue Rose, 2016 Stainless steel shower heads, handmade woollen crochet, fabric, ornaments, polyester H 246 x W 95 x D 47 cm Provenance: the artist's studio Courtesy Joana Vasconcelos and Galerie La Patinoire Royale Bach A group of works belonging to various series - Showers, Washbasins and Urinals - in which Joana Vasconcelos adds colourful crocheted elements to household sanitary ware. Resorting to crochet, Joana refers to the intimacy of the domestic realm through its link to female labour, who work from home and for the home. Textiles infiltrate and/or cover up ceramics. These coloured, smooth, and pliable additions contrast with the hard, sterile coldness of the porcelain. The disruptive process of transformation encourages a fresh look at these everyday objects and intimacy. "Water, for me, is synonymous with life and renewal. It is such a constant presence in our routine in Europe that I was only aware of its real importance when I traveled to Mexico. I remember walking into a pueblo house, which consisted of a single room, where everything happened, complete with a hammock and television, but there wasn't one single tap. That realisation awakened me. Gradually, water entered my body of work, through the shape of swimming pools, urinols or washbasins, for instance, where the aquatic representation is made through textile elements, often in blue colors with bright details simulating the water reflection. My work as an artist allows me to address pressing matters, such as the sustainability of the planet and the management of resources for the future. And the expression of water in my work is done through abundance, with elements that flow from the works, defining what water represents more and more: a luxury."
Stéphane Renard Fine Art
giuseppe porta
Attributed to Giuseppe Porta (Tuscany 1520-1575 Venice) Allegory of Chastity Black chalk and white highlights on faded blue paper, lined with laid paper 15.5 x 12.8 cm 17th century Dutch frame in ebony veneer Provenance (of the drawing): Sir Peter Lely (1618-1680), his mark lower right (Lugt 2092), until its sale in April 1688, when our drawing was bought by William Gibson (1644-1702) from the inscription on the verso; Sir Lawrence Gowing (1918-1991), label on the original mounting board Provenance (of the frame): Marquis Carlo Camillo Visconti Venosta (1879-1942), from a stamped inscription on the verso of the frame; Cadres Lebrun