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Romigioli Antichità
portrait of bona di savoia
Giovanni Cristoforo Ganti Detto Gian Cristoforo Romano (cerchia di) Roma ? 1460/5 – Loreto 1512 Portrait of a Lady (Bona di Savoia, Duchess of Milan?) 1490-5 White marble relief, diameter 50 cm Scientific profile by Alfredo Bellandi and Giancarlo Gentilini 2012 Published in A. Rinetti "The Duke's City, Ducal Portraits"
Hoffmans Antiques
Chandelier in the 'Retour d’Égypte' style Paris, early 19th century Attributed to Benjamin Ladouèpe-Dufougerias and the 'Manufacture de Cristaux de Montcenis' Ormoulu, patinated and fire-gilt bronze for twelve candles H 130 cm - Ø circa 80 cm Provenance: private European collection This magnificent chandelier exemplifies the short-lived yet influential 'Retour d’Égypte' style, which emerged in the wake of Napoleon’s Egyptian campaign (1798–1801). At its centre stands an amphora-shaped patinated urn, crowned with a flaming finial and surmounted by a pinecone. From the urn’s body spring twelve elegantly curved candle arms arranged in two tiers, richly ornamented with foliage motifs and set between four stylised Egyptian masks. The chandelier is suspended by four chains leading to an imposing corona adorned with leonine masks and voluted floral decoration. The style was largely shaped by the architects Charles Percier and Pierre François Léonard Fontaine, whose neoclassical designs laid the foundation for this decorative vocabulary. It endured only briefly before giving way to the Empire style with the establishment of Napoleon and the First French Empire. Provenance and Comparanda: A closely related chandelier for twelve lights, attributed to the Manufacture de Cristaux de la Reine, is preserved in the collections at Versailles, formerly installed in Marie-Antoinette’s inner cabinet at the Petit Trianon.
Gilden's Art Gallery
pablo picasso
Pablo Picasso (Malaga 1881-1973 Mougins) Le bain de pieds, 1960 Brush and India ink drawing on wove paper 20.9 x 26.9 cm This ink drawing is dated 26.1.60.II in ink in the upper image. Picasso created this work on Tuesday 26 January 1960 Provenance: Forum Fine Art, Zurich; private collection, Switzerland; Christie's, London, 10 February 2005, lot 685 Literature: C. Zervos (1968), Pablo Picasso - Œuvres de 1959 à 1961, Paris, vol. 19, reference n° 137 (ill., pl. 32)
Pron
fausto melotti
Fausto Melotti (Rovereto 1901-1986 Milan) Il meridiano delle campane, 1979 Brass H 97.5 x W 74 x D 38 cm Literature: Milan, Galleria Stendhal, Cascella Consagra Melotti, 1980; Padua, Stevenson Arte Contemporanea, Fausto Melotti. Sculture, tecniche miste e incisioni, 1982; Intra, Galleria Corsini, Fausto Melotti. Sculture e Acquarelli. Un'opera d'arte è un'oasi, 1982; Busto Arsizio, Galleria Il Punto Sette, Fausto Melotti, 1984; Parma, Galleria La Sanseverina, Fausto Melotti, 1986, pp. 29, 47, n° 29, ill. Exhibitions: Gianni Cavazzini, Poetiche sosprese di Fausto Melotti, in Gazzetta di Parma, May 23rd, 1986, ill.; Germano Celant, Melotti, Catalogo generale, Tomo secondo, Sculture 1973-1986 e Bassorilievi, Milan 1996, p. 512, 1979 n° 21, ill.
Kunsthaus Kende
Pair of Queen Anne tazze John Bache, London, 1703 Engraved Britannia silver Ø 23 cm, H 7 and 6.9 cm 513.1 gr and 504.8 gr Provenance: private collection, North America Standing on a central round foot, with moulded rim to the top side. The centre depicting an engraved coat of arms commemorating a marriage between two noble families. Outstandingly preserved and rare pair of Queen Anne tazze without repairs and showing their original preserved surface.
Stone Gallery
Woolly rhinoceros skull Approx. 50.000 years old 100 x 100 x 35 cm Origin: Siberia This woolly rhinoceros skull is approximately 50,000 years old, belonging to one of the most impressive mammals in the recent history of Northern Europe and Northern Asia. There were even people who lived alongside these giants between around 30,000 and 15,000 years ago! Stone gallery has previously conducted expeditions in various countries but recently acquired this skull through a swap with a local museum. Roy says, 'It is the best-preserved and most complete skull I’ve ever seen. Even the teeth are all original.' Researchers and students from Maastricht University have digitised mammoth and rhinoceros fossils from the Ice Age, including this skull. With this technique, it’s possible to bring these extinct species back to life in motion and conduct new studies. 'We’re investigating how strong the bone structure is. For this, we use Finite Element Analyses, a method commonly applied in the construction of buildings and bridges. The study explores the forces exerted on the bones, such as during chewing. This helps us predict how and what the animal ate, as well as how well it was adapted to its enormous size.' - Paleontologist Dr. Jesse Hennekam, Assistant Professor, Maastricht University -
Galerie BG Arts
René Lalique Vase 'Deux Anneaux Pigeons', 1919 Made in opalescent glass with grey patina H 33 cm Engraved signature Provenance: private collection, France Literature: Félix Marcilhac, René Lalique - Catalogue Raisonné de l'Œuvre de Verre, Les Éditions de l'Amateur, Paris, 2011, n° 880
Guy Pieters Gallery
karel appel
Karel Appel (Amsterdam 1921-2006 Zurich) Polderkoe, 1952 Oil on canvas 82 x 116 cm This work is registered in the archives of the Karel Appel estate Provenance: Martha Jackson Gallery, New York; private collection, Belgium; Galerie Krikhaar, Amsterdam; private collection, Brussels
HELENE BAILLY MARCILHAC
Henri Manguin (Paris 1874-1949 Saint Tropez) La Chemise Enlevée, 1908 Oil on canvas 100 x 81 cm Signed lower right Provenance: acquired from the artist by Eugène Druet in 1911 (Galerie Druet); collection Kritchvesky; private collection, France; private collection, Brasil Exhibitions: Paris, Galerie E. Druet, Manguin, Paris 1913, n° 42; Paris, Galerie de Paris, Manguin, 1964, n° 3; Nice, Palais de la Méditerranée, Henri Manguin, plus de cent cinquante oeuvres, 1969, n° 32; Okayama, Hiroshima, Tokyo, Gustave Moreau et ses éleves, 1974; Paris, Galerie de Paris, Centenaire, Henri Manguin, 1976, n° 49 Literature: Pierre Cabanne, Henri Manguin, Neuchätel, 1964, ill. n° 117, p.64; Marie-Caroline Sainsaulieu, Lucille & Claude Manguin, Jean-Pierre Manguin, Pierre Cabanne, Jacques Lassaigne (preface); Henri Manguin: Catalogue Raisonné de l'oeuvre peint, Neuchâtel, Switzerland, Ides et Calendes, 1980, ill. n° 298
Gallery de Potter d’Indoye
Mantel clock depicting the fall of Phaeton Ormoulu bronze France, Consulat period, circa 1800 H 80 x W 53 x D 19 cm Provenance: collection of Robert de Balkany, Paris Literature: Hans Ottomeyer and Peter Pröschel, Vergoldete Bronzen, Munich, 1986, pp. 354-355, n° 5.9.4.; Marie-France Dupuis-Baylet, L’Heure, le Feu, la Lumière, les Bronzes du Mobilier National 1800-1870, 2010, Ed. Faton, p. 26 n° 1; Marie-France Dupuy-Baylet, Napoléon 1er et les Arts décoratifs. Trésors des palais impériaux, exh. cat. 2013, Macao, Museum of Art, n° 1, pp. 34-35; Thierry Sarmant, Palais disparus de Napoléon : Tuileries, Saint-Cloud, Meudon [exhibition, Paris, Galerie des Gobelins, 15 September 2021 to 15 January 2022], Paris : In fine, 2021; Adrien Goetz, Ambroise Tézenas, Résidences présidentielles, Paris : Flammarion, 2021, p.173 The subject of this clock illustrates the episode in which Jupiter strikes Phaeton with a thunderbolt. Phaeton wanted proof that he was the son of the Sun, (Helios). Phaeton then asked his father to let him drive his chariot. Terrified by the height and the sky, Phaeton veered off course and descended so low that he scorched the Earth. The maddened stars complained to Jupiter, who struck the chariot and Phaeton. 'The terrified horses leap in a large circular movement with pin-wheel escapement mounted on the backplate, the pendulum crutch with fine-screw beat adjustment, and outside countwheel strike on a bell, the canthmechanism showing seconds with original hands'. The bronzier Pierre-Etienne Romain (1765- after 1821) deposited the drawing of a Clock representing the same subject in the cabinet of drawings of the National Library in March 1800. Related works: The Mobilier National keeps three clocks representing this subject: one found at the Tuileries Palace in 1809, another at Ministry of Foreign Affairs, and the third at the Palace of Saint Cloud in 1818, then at the Elysée Palace.
Galerie Bernard De Leye
Enamel basin 'Adam and Eve Mourning the Death of Abel' L 47.5x W 38.7 cm Provenance: sale Tajan 17 juin 1977, n° 127; former collection of Henry Kravis, New York; gallery 'à la Façon de Venise', Paris; former private collection, Switzerland Most Limoges enamel pieces were created over a very short period, between 1540 and 1580, marking the peak of Limoges enameling art. They reflect the French Renaissance and the Fontainebleau School. These secular objects were cherished by court dignitaries and the wealthy bourgeoisie. Too precious and fragile to be used, they adorned the sideboards of reception rooms or the cabinets’ display shelves. Comparative pieces: Musée du Louvre, Paris, eight plates from 1540/1560 by Jean Miette in Limoges enamel; Victoria & Albert Museum, London, a closed cup and two plates, circa 1560 by Jean Miette in Limoges enamel; British Museum, London, three plates, circa 1570 by Jean Miette in Limoges enamel; State Hermitage Museum, Saint Petersbourg, five plates, mid-16th century by Jean Miette in Limoges enamel
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Van Pruissen Asian Art
tokuda yasokichi iii
Tokuda Yasokichi III alias Kutani Masahiko (Japan, 1933-2009) Porcelain vase Japan, late 20th century H 29.5 cm Signed ‘Kutani Masahiko’ on the base Literature: Yosai - Tokuda Yasokichi Sakuhinshu (The works of Tokuda Yasokichi), Kodansha 1995, Japan This elegant Kutani porcelain vase by Tokuda Yasokichi III - designated a Living National Treasure in 1997 - exemplifies his groundbreaking approach to traditional ceramic art. The slender, tapering body is enveloped in a rich aubergine glaze, punctuated by a single iridescent blue stripe flowing vertically from the mouth to the base. This striking effect was created using Yasokichi’s innovative saiyū (polychrome overglaze) technique, which brought new luminosity and abstraction to Kutani ware. Born Masahiko, Yasokichi III redefined the possibilities of Kutani ceramics, elevating them into a modern art form. Today, his works are held in leading international museum collections, including the Metropolitan Museum of Art and the British Museum.
Galerie von Vertes
jean dubuffet
Jean Dubuffet (Le Havre 1901-1985 Paris) Site avec deux personnages, 10 September 1982 Acrylic and collage on paper, mounted on canvas 67 x 100 cm Monogrammed and dated lower right 'J.D. 82' Verso numbered on the stretcher 'F146' Provenance: Waddington Galleries, London (verso with label); James Corcoran Gallery, Santa Monica (verso with label); Karsten Greve Galerie, Cologne (verso with label); private collection, Switzerland (acquired from the above) Literature: Max Loreau, Catalogue des travaux de Jean Dubuffet, vol. XXXV: Sites aléatoires, Paris 1986, p. 73, n° 142 (ill.) Exhibition: London, Waddington Galleries, Jean Dubuffet. A retrospective, October 1983, n° 46 (ill.)
Art et Patrimoine - Laurence Lenne
Potpourri vase in polychrome porcelain Tournai porcelain, second period, 1763-1775 H 36.5 cm Rare potpourri vase in soft-paste, polychrome Tournai porcelain. At its base, it depicts a gallant offering grapes to his lady Provenance: former du Bois de Roest collection Literature: a similar piece is published in Lucien Delplace, Considérations sur les porcelaines de Tournai, p. 25, plate 3; and in Soil de Moriamé & Delplace, La Manufacture Impériale et Royale de Porcelaine de Tournay, 1937, p. 341, n° 645, plate 79
Galerie von Vertes
tony cragg
Tony Cragg (Liverpool, 1949) Nea Relatives, 2020 Bronze Conceived and cast in 2020 6 casts H 77 x W 44 x D 47 cm Signature and foundry stamp on the base Certificate of authenticity by the artist on 10 April 2025 Provenance: Buchmann Galerie, Berlin (acquired directly from the artist)
Edouard Simoens Gallery
walter leblanc
Walter Leblanc (Antwerp 1932-1986 Silly) Torsions, 1977-1978 Black and white enamelled steel sculpture 200 x 130 cm Provenance: Walter & Nicole Leblanc Foundation; private collection; André Simoens Collection Literature: Linea Catalogue raisonné, 1997, Ludion, Brussels, CR 1271, p. 282 Exhibitions: Brussels, Tecno, Walter Leblanc Integratie, 1983; Gent, Floraliapaleis, Linea ’83, 1983
Pelgrims de Bigard
joachim beuckelaer
Joachim Beuckelaer (Antwerp, circa 1533-1574/75) and studio A young female seller at a fish market Oil on panel 103 x 76 cm Certificate of authenticity by Dr. Fred Meijer Provenance: possibly Christie’s sale London, 25 November 1966, lot 12; sale London, Bonhams Knightsbridge, 31 October 1996, lot 354; private collection, Spain, until 2023
Van Herck-Eykelberg
Asger Jorn (Denmark, Jutland 1914-1973 Aarhus) The girl and the bird, 1940 Oil on canvas 44 x 69 cm Signed and dated lower right Literature: Guy Atkins, Jorn in Scandinavia 1930-1953, London, 1968, n° 156, ill. p. 333 Exhibitions: 13 kunstnere i telt, Bellevue, Copenhagen, 17 May-8 June 1941, cat. n° 61; Jorn, Arken Museum for Moderne Kunst, Ishøj, Denmark, 14 September 2002-19 January 2003, Cobra Museum voor Moderne Kunst, Amstelveen, The Netherlands, 7 February-27 April 2003 and Kunsthalle zu Kiel, Germany, 17 May-10 August 2003, cat. n° 8, ill. cat. p. 56 (in colour); Jorn-Picasso. Myter og Møder. Myths & Meetings', Museum Jorn, Silkeborg, 7 September-8 December 2013, cat. n° 6, ill. cat. p. 72 (in colour); Cobra Museum voor Moderne kunst, Amstelveen, The Netherlands, 2013
De Jonckheere
pieter brueghel the younger
Pieter Brueghel the Younger (Brussels 1564-1638 Antwerp) The Payment of the Tithe or the Village Lawyer, 1622 Oil on panel 78.9 x 123.2 cm Signed and dated: P. BREVGHEL, 1622 Provenance: private collection, Belgium; Galerie Legenhoek, Paris, 1991; private collection, France Literature: Ertz, Klaus, Pieter Brueghel der Jüngere: Die Gemälde mit kritischem Oeuvrekatalog, Lingen, Luca Verlag, Vol. I, 2000, p. 513, cat. E 507, repr.; Curie, Christina, Allart, Dominique, The Brue[H]el Phenomenon, Brussels, Royal Institute for Cultural Heritage, vol. III, p. 1030-1031 This Payment of the Tithe, or The Village Lawyer, is marked by Pieter Brueghel the Younger’s verve, meticulous execution, and vibrant colours. The satirical subject mocks the profession of the lawyer responsible for collecting the heavy tax that the poorest peasants struggled to pay. The grotesque faces of the petitioners, as well as the lawyer’s prognathous jaw - associating him with the Spanish authorities then in power - fascinate through their caricatural force. This original composition by Pieter Brueghel the Younger stimulated the market of the time, generating strong demand. The success of this still-relevant satire has endured to the present day.
