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Whitford Fine Art
reinhold koehler
Reinhold Koehler (Germany, 1919-1970) Thorax contrecollage, 1963-64 Dessin trouvé Décollage with ink, paper and smashed glass laid down on canvas 72.5 x 50 cm Signed and dated lower right and signed, dated, titled and inscribed verso The work is included in the Koehler Archives as RK 58 Provenance: private collection, Germany
Stone Gallery
180 million year old pregnant Ichthyosaur A pregnancy of 180 million years ago, captured in rock, preserved forever Provenance: Holzmaden, Germany Besides being an extraordinary fossil, 'Mutti' (the nickname for this Ichthyosaur, German for Mommy) can be seen as a symbol for motherhood, fertility and femininity. This female ichthyosaur is unique because she was carrying two offspring that can be seen clearly in her abdomen, making her a symbol of femininity and motherhood. Ichthyosaur was an ancient sea monster that ruled the oceans approximately 251 million years ago, 20 million years before dinosaurs came about. Icthyosaur means “Fish Lizards” in Greek. They existed for 100 million years. They were at the top of the marine food chain.
Edouard Simoens Gallery
Antoni Tàpies (Barcelona, 1923-2012) Cap de gos, 1967 Acrylic, gouache and chalk on firm paper 48 x 63 cm Signed lower right: tàpies This work is registered in the Archives of the Comissio Tàpies under n° 1797 Provenance: Galerie Maeght, Paris; Galeria Dau al Set, Barcelona; Erker-Galerie, St. Gallen; private collection, Switzerland
De Wit Fine Tapestries
Fox and hare on a floral ground Southern Netherlands, possibly Sint-Truiden (Saint-Trond) Second quarter of the 16th century Wool and silk 103 x 236 cm In this composition, four abundant plants fill the space, all covered in flowers. From left to right: a tricolor violet (viola tricolora), a blue iris (iris germanica), a rose and a columbine (aquilegia vulgaris). A seated fox looks over at a hare, possibly his intended prey, and two pigeons fly above them. The borders are also decorated with flowers; marigolds, violets, lantern plants and vines. This splendidly decorative weaving refers to the many 'millefleurs' tapestries produced in Bruges and Enghien over several decades in the sixteenth century. These ancient tapestries, however, always present a varied background of flowers, where some animals occasionally appear. They were certainly highly valued for their decorative aspect, but probably also for a hidden symbolic meaning. A universe of flowers, where animals of all species live peacefully together, refers to the happiness of paradise before the Fall of Adam and Eve. But this peace could be disturbed at any moment: the fox is ready to attack and kill the hare, the pigeons are possibly warning the hare of the impending danger. The scheme of representing flowers in a row, as seen on this piece, is rarely applied in such weavings from the sixteenth century. A parallel can nevertheless be drawn with a contemporary 'millefleurs' Armorial with Arms by Christine de Lechy/ Lexhy, abbess of the convent of Herkenrode (private collection). She was born around 1440 in the nearby town of Sint-Truiden, Saint Trond, where several workshops were active during that period. Only a few weavings can be attributed to that provincial centre. The rather coarse aspect of the weaving may point to that production.
Christophe Perlès
Set of Chantilly porcelain with Kakiemon decoration, 18th century The set consists of one jar, one covered ewer, three cachepots, one cup and one saucer The term 'Kakiemon' is attributed to a group of Japanese porcelains whose characteristics are a subtle decoration in fine translucent overglaze enamels and a milky white unblemished body called 'nigoshide' in Japanese. Kakiemon porcelains were exported to Europe in large numbers where they were extremely popular. Compared with blue and white porcelains, Kakiemon was very expensive
Galerie Berès
Olivier Debré (Paris, 1920-1999) 'Tout vert, taches violettes et jaunes', 1986 Oil on canvas 113.4 x 162 cm Signed, titled, situated and dated on the back 'O.DEBRÉ 'Tout vert, taches violettes et jaunes' Touraine 86' Certificate of authenticity COD.23.490 issued by Sylvie Debré-Huerre dated 20 November 2023 Exhibition: Lausanne, Fondation de l'Hermitage, Basquiat, Dubuffet, Soulages... une collection privée, June-October 2016, p. 195, n° 115
Cortesi Gallery
lucio fontana
Lucio Fontana (Argentine, Rosario 1899-1969 Comabbio, Italy) Concetto spaziale, Attese, 1959 Water-based paint on canvas 81 x 99 cm Signed and inscribed on the reverse 'l. fontana attese 1+1-AE2' Provenance: Marlborough Galleria d'Arte, Rome, Italy; Martha Jackson Gallery, New York, USA; Galleria Levi, Milan, Italy; Studio La Città, Verona, Italy; Galleria Corvucci, Forlì, Italy; private collection; private collection, New York, USA Literature: E. Crispolti, Lucio Fontana Catalogue raisonné des peintures, sculptures et environnements spatiaux, vol. II, Brussels, 1974, n° 59 T 87 (ill. p. 86); E. Crispolti, Lucio Fontana Catalogo Generale, vol. I, Milan, 1986, n° 59 T 87 (ill. p. 295); E. Crispolti, Lucio Fontana, Catalogo ragionato di sculture, dipinti, ambientazioni, vol. I, Milan, 2006, n° 59 T 87 (ill. p. 461) Exhibition: 1959, Lucio Fontana (opere dal 1931 al 1959), Galleria Notizie, Turin, ill. p. 8 The present work, Concetto spaziale, Attese from 1959 is an extremely rare example in Fontana’s production owing to its rhomboid-shaped canvas and high number of unmistakably elegant slashes - fourteen - incised in three discrete bands over white. The movement and distribution of these cuts is a measure of energy and dispersion. Irregularly shaped, the power of the present work is bound in its rejection of painterly norms and the boldness to suggest a new form of art. This unique shaped work could be seen as an anticipation to his series called 'Quanta', a group of works which Fontana created between 1959 and 1960. Each example of this cycle consists of a different number of elements, related in constellations of different geometric profile, and arranged freely in space. In 1959, Lucio Fontana realized two twin artworks, one white and one black (as seen in the image below in the artist's studio in Corso Monforte). Both pieces were exhibited the same year, first at Galleria Notizie in Turin and later at Marlborough Gallery in Rome.
Van Herck-Eykelberg
Georges Vantongerloo (Antwerp 1886-1965 Paris) Study for Variant 'Curves', 1939 Gouache on paper 17.6 x 17.8 cm Titled, located, dated, and signed on verso 'Paris 1939' Provenance: Max Bill Estate; Max Bill-Georges Vantongerloo Foundation Annely Juda Fine Art, London; private collection, New York; Galerie Harold t'Kint de Roodenbeke, Brussels; private collection, Belgium Literature: Jan Ceuleers, Georges Vantongerloo, Ronny Van de Velde - Pandora, Antwerp, 1996, p. 200; Naum Gabo, Georges Vantongerloo, Friedrich Vordemberge-Gildewart, exh. cat., Annely Juda Fine Art, London, cat. 57 (ill.); Angela Thomas Schmid, Georges Vantongerloo: A Retrospective, exh. cat., Annely Juda Fine Art, London, cat. 59 (ill.) Georges Vantongerloo (1886-1965) was one of the founding members of De Stijl in 1918 along with Theo Van Doesburg and Piet Mondrian, among others. The Antwerp-based artist created sculptures as well as paintings and gouaches and is considered one of the pioneers of abstract art. He was a member of the 'Cercle et Carré' group and founded the Abstraction-Création group in Paris in 1931 to promote abstract art. At first, his abstract works still followed the straight line and angle but from 1937, curves and circles entered Vantongerloo's work. With the curved line, his work becomes more lyrical and playful. Rational volumes and proportions are replaced by lines that reflect an expression of energy.
Galeria Jordi Pascual
óscar domínguez
Óscar Domínguez (Spain, San Cristóbal de La Laguna 1906-1957 Paris, France) Téléphone et revolver, 1944 Oil on canvas 81 x 54 cm Certificate of authenticity by Asociación en defensa de Óscar Domínguez Provenance: private collection Literature: Fernando Castro, Óscar Domínguez y el Surrealismo, Madrid, 1978, p. 153, nº 244 Exhibitions: Marsella, Musée Cantini, La part du jeu et du rêve, Óscar Domínguez et le Surréalisme 1906-1957, June-October 2005, p. 150, nº 74
Galeries AB & BA
Uli ancestor figure Northern New Ireland, Papua New Guinea, Melanesia, Oceania, first half of 20th century Carved wood and pigments H 108 cm Provenance: Umlauff Museum, Hamburg. Inv. 163/35591; Gros & Deletrez sale, May 26th, 1983; Robert Lebel collection, Paris; Calmels Cohen sale, December 4th, 2006; private collection; Christie's Paris sale, June 11th, 2012; Galerie Monbrison, Alain de Monbrison lists Elie de Rothschild as former provenance; collection Georges Goldfayn Literature: I Surrealisti, Arturo Schwartz, éd. Mazzotta, 1989, p. 251; Uli, Powerful Ancestors from the Pacific, Jean-Philippe Beaulieu, éd. Primedia, 2021, p. 252 Depiction of a standing man with his hands positioned behind his ears. The head is surmounted by a tall, feather-shaped crest cap over a checkerboard-engraved skullcap.
Epoque Fine Jewels
chaumet
a magnificent art deco diamond tiara by chaumet.
This tiara was made in Paris in 1909 as a wedding tiara for the daughter of Count and Countess de Heeren. Chaumet retains all the original drawings, as well as the nickel silver model created as a preliminary design for the final piece, which is preserved in the Chaumet archives. The tiara features a series of rounded Greek motifs, set with 2096 diamonds, mounted in platinum and gold, showcasing the typical ‘mille-grain’ finish. Founded in 1780, Chaumet has designed over 2,000 unique tiaras. While most tiaras from that era adhered to the Garland style or traditional 19th-century floral and scroll motifs, this particular piece is an early example of the geometric aesthetics that would come to define the Art Deco period, which reached its zenith in the 1920s. The tiara was featured in the ‘Chaumet en Majesté’ exhibition at the Grimaldi Forum in Monaco in 2019, where the nickel silver model was also displayed. The tiara is currently housed in a special Chaumet case, created for the Monaco exhibition. Total diamond weight: 28,10 carats Collection Epoque Fine Jewels, Belgium.
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 by 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
Douwes Fine Art b.v.
melchior d'hondecoeter
Melchior d'Hondecoeter (Utrecht 1636-1695 Amsterdam) The bird concert, a family of ducks near a pond with a farm in the background, circa 1666 Oil on canvas 102.5 x 87.5 cm Traces of signature at lower right: M. With thanks to Dr Fred Meijer who wrote a certificate for the work on 9 August 2024, confirming the authenticity of the artwork Provenance: sale collection Konstantin Tifoxilos, Vienna, Wawra, 28 November 1904, lot 75, b&w ill. opposite title page; Galerie Arnot, London 1919; Heirs to Minister Dr. H. Sulzer, Winterthur; Gebr. Douwes Fine Art, Amsterdam, n° 8377, 1968 shown at the Delftse Antique Fair; private collection, The Netherlands; thence by descent to the current owners Exhibition: Kunstmuseum Winterthur, Der unbekannte Winterthurer Privatbesitz 1500-1900, September-October 1942 (Kunstverein Winterthur), cat. n° 145
Galerie Cento Anni
andré lanskoy
André Lanskoy (Moscow 1903-1976 Paris) Abstract composition, 1961-1962 Oil on canvas 73 x 100 cm Signed Lanskoy Certificate of the Comité Lanskoy-Paris This work will be included in the artist's catalogue raisonné Provenance: Galerie E. Smith, Paris; Galerie Ivana de Gavardie, Paris
Giammarco Cappuzzo Fine Art
Bartolomeo Manfredi (Ostiano 1582-1622 Rome) The Denial of Saint Peter, circa 1618-1620 Oil on canvas 125 x 183 cm Provenance: private collection, Belgium This unpublished Denial of Saint Peter (fig. 1) is an important autograph work by Bartolomeo Manfredi, painted during his mature years. The evident elements of style and quality of this new Denial of Saint Peter, especially in its best preserved places, affirms Manfredi’s authorship, which has been confirmed by leading expert Dr. Gianni Papi.
Patrick Derom Gallery
léon spilliaert
Léon Spilliaert (Ostend 1881-1946 Brussels) Wall-Mounted Cabinet with Cup and 'Le Carillon,' 1908 Indian ink, brush, watercolour, wax crayon on paper 73.4 x 52.2 cm (day) Signed and dated bottom left: LSpilliaert / 08 This work will be included in the forthcoming Léon Spilliaert catalogue raisonné currently being prepared by Dr. Anne Adriaens-Pannier Provenance: Madeleine Spilliaert collection; Frederik van Rossum collection; private collection Literature: Anne Adriaens-Pannier, Spilliaert. Le regard de l’âme, Ludion, Ghent, 2006, ill. 61, pp. 51-52; Anne Adriaens-Pannier, Léon Spilliaert. From the Depths of the Soul, Ludion, Antwerp, Brussels, 2019, ill. 61, p. 52; Anne Adriaens-Pannier, Léon Spilliaert: A Discerning Eye, London, 2020, ill., p. 16; Anne Adriaens-Pannier, Solitude féminine, intérieurs insolites, in Léon Spilliaert. Avec la mer du Nord… Snoeck, Lausanne, Ghent, 2023, p. 7, ill. p. 81; Norbert Hostyn, Léon Spilliaert, Museum voor Schone Kunsten, Ludion, Flammarion, Ghent, 1996, ill. 44a, p. 93; Fr.-Cl. Legrand, Léon Spilliaert et son époque, Fonds Mercator, Antwerp, 1981, cat. 68, ill., p. 67 Exhibitions: 1972, Brussels, Royal Museums of Fine Arts of Belgium, Hommage à Léon Spilliaert / Hulde aan Léon Spilliaert, cat. 28; 2006, Brussels, Royal Museums of Fine Arts of Belgium, Léon Spilliaert, Un esprit libre / Een vrije geest / A free spirit, cat. 79 (ill.); 2016, Ostend, Het Spilliaert Huis, Ontmoetingen met Spilliaert / Rencontres avec Spilliaert / Encounters with Spilliaert, cat. 1; 2019-2020, Lodève, Musée de Lodève, Ensor, Magritte, Alechinksy… Chefs-d’oeuvre du Musée d’Ixelles, cat. 44 (ill.); 2023, Lausanne, Fondation de L’Hermitage, Léon Spilliaert. Avec la Mer du Nord… cat. 43 (ill.), p. 81; 2023-2024, Neuss, Clemens Sels Museum, Gewagte Visionen. George Minne und Léon Spilliaert. Vom Symbolismus bis Expressionismus, cat. 45 (ill.), p. 43
COLNAGHI
willem adriaensz key
Willem Adriaensz Key (Breda 1515/16-1568 Antwerp) The Crucifixion, circa 1550 Oil on panel 102 x 74 cm Signed on the cross: W. KAY Provenance: private collection, Belgium, until 2023; acquired from the above Literature: Koenraad Jonckheere, Willem Key (1516-1568): Portrait of a Humanist Painter, Turnhout, 2011 This signed panel is a recently rediscovered work by Willem Key. Key is most known for his portrait paintings, which account for roughly two-thirds of his known output. However, he was also a gifted painter of historical and religious subjects - this picture is a testament to Key’s powerful religious achievements, several of which were destroyed during the Iconoclastic Fury, or Beeldenstorm, that swept the Low Countries and famously struck Antwerp in 1566. Willem Key was a prominent sixteenth-century painter from Antwerp, then one of the greatest commercial and artistic centres of Europe. Recognised for his exceptional talents, Key enjoyed high social and artistic status, earning the admiration of both local nobility and international figures, including Don Fernando Álvarez de Toledo, Duke of Alba, and Antoine Perrenot, Cardinal Granvelle.
HELENE BAILLY Paris-Genève
henri martin
Henri Martin (Toulouse 1860-1943 Labastide-du-Vert) La Pergola de la cuisine à Marquayrol, un matin d'automne, circa 1920 Oil on canvas 67 x 99 cm Signed lower left 'Henri Martin' This work will be included in the forthcoming Catalogue Raisonné which is being prepared by Madame Marie-Anne Destrebecq-Martin. Notice of inclusion dated 26 March 2024
Romigioli Antichità
Standing Madonna with Child, circa 1290-1310 Polychrome sandstone (and restorations) Northern Spain (in particular the cultural area between Castilla and Léon, La Rioja, the Basque Country and Navarre) H 102 x W 65 x D 42 cm Provenance: collection Costantino Nigro, Genoa Condition: the lower part of the statue is missing Literature: attribution and critical reading by Professor Luca Mor Exhibition: Biaf-Biennale Internazionale di Firenze, 2022
Dr. Nöth kunsthandel + galerie
George Grosz (Berlin, 1893-1959) Moonlight, 1936 Oil on canvas 41.3 x 51.4 cm Signed lower right Ralph Jentsch will include the painting in his forthcoming catalogue raisonné of paintings by George Grosz Provenance: the artist's studio, Douglaston, NY 1936; Contemporary Galleries, New York; Sale, Sotheby's, New York, June 22nd, 1984, lot 329; private collection, estate of Robert H. Arnow
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
Victor Werner
bert de leeuw
Bert De Leeuw (Antwerp, 1926-2007) Gedenksteen voor een Onbekende, 1955 Mixed media on canvas H 128 x W 96 cm Titled, signed and dated on reverse of canvas 'Gedenksteen voor een Onbekende 55' Literature: Bert De Leeuw, Monografie, Antwerpen, uitgeverij Pandora, 1997, ill. p. 51 Bert De Leeuw was a self-taught artist, excelling as a painter, draughtsman, sculptor, and engraver. He began his career in advertising but switched to art full-time in 1962. Known for his abstract and informal style, De Leeuw's early works used thick, textured materials to evoke interstellar spaces. He was a co-founder of the influential ‘G58’ artist group in Antwerp, which played a pivotal role in post-war abstract art. Over time, he transitioned from painting to sculpture, focusing on geometric forms and public art. De Leeuw exhibited internationally, including at the Paris and Tokyo Biennales, and won multiple awards, including a 2nd prize from 'De Beers' for jewellery design. He was later honoured as a 'Knight of the Order' by Leopold II.
