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Stéphane Renard Fine Art
henri-pierre danloux
Henri-Pierre Danloux (Paris, 1753-1809) Pair of portraits: Portrait of the Duc d'Angoulême & Portrait of the Duc de Berry Oil on canvas pasted on wood panels Duc d'Angoulême: oval canvas 25 x 21 cm - framed: 35.5 x 30 cm Duc de Berry: oval canvas 26.5 x 21 cm - framed: 35.5 x 30.3 cm Rectangular frames in the neoclassical style with pearl and rais-de-coeurs motif surrounding an oval medallion. The frames are surmounted by cartouches reading 'Donné par S.A.R. le Mgr Le Duc d'Angoulême à Lord Adam Gordon' and 'Donné par S.A.R. le Mgr Le Duc d'Berri à Lord Adam Gordon' Signed 'HP Danloux 1797' on the portrait of the Duc d'Angoulême Provenance: gifted by the models to Lord Adam Gordon and then by family descent
Bailly Gallery
henri le sidaner
Henri Le Sidaner (Maurice, Port Louis 1862-1939 Paris) Petite place au soleil couchant, 1901 Oil on canvas 57 x 80 cm Signed lower left: Le Sidaner Certificate of authenticity issued by Yann Farinaux-Le Sidaner, dated January 10th, 2023 Provenance: Galerie Georges Petit, Paris; private collection, Canada Literature: Notice of inclusion in the forthcoming supplément du catalogue raisonné, Le Sidaner-L'Oeuvre peint et gravé, currently being prepared by Yann Farinaux-Le Sidaner De son langage poétique à la musicalité feutrée de ses compositions, Henri Le Sidaner puise une grande partie de son inspiration dans les paysages ruraux. Au travers de pavés dorés par le coucher du soleil ou encore de toitures rougeâtres, l'artiste transforme des environnements architecturaux et domestiques en des portraits intimistes et mystérieux. « Petite place au Soleil couchant » en est un parfait exemple. Les nuances d'une lumière vécue au crépuscule s'imprègnent dans cette scène afin d'en ressortir les qualités oniriques et mystiques. Un langage visuel distinct, dans lequel Le Sidaner rend hommage à sa racine symboliste. Le traitement de la matière reste, quant à lui, fidèlement attaché aux techniques néo-impressionnistes. Les paysages qui l'entourent ont offert à Le Sidaner une inspiration considérable pour ses compositions. En mai 1900, le peintre rentrant du Bruges, se laisse influencer par les conseils d'Auguste Rodin, et s'installe au milieu de l'été à Beauvais. Il affirme alors sa conception de l'intimisme par des paysages d'évocation où la figure humaine n'a pratiquement plus sa place. C'est dans cette même période, le 21 avril 1901, Le Sidaner élabore les premiers motifs du tableau présenté et débuta la composition sur toile quatre jours plus tard. L'oeuvre est un hommage à la noblesse des bâtisses, ainsi qu'à la statue du docteur Ernest Gérard, ainsi maire de Beauvais. Achevée le 23 mai 1901, cette toile est livrée par l'artiste le 2 juin à son marchand Georges Petit pour un montant de 500 francs. Les paysages de Le Sidaner sont des manifestations intimes de l'artiste, qui possèdent une luminosités étonnante grâce à ses harmonies subtiles et l'application picturale des pigments. Une incroyable maitrise qui lui permet encore aujourd'hui d'être grandement reconnu par de nombreuses collections privées et institutionnelles. "Toute son oeuvre est influencée par un goût des atmosphères tendres, douces et silencieuses". (Y. Farinaux, Le Sidaner, L'oeuvre peint et gravé, Milan, 1989, p. 31)
Floris van Wanroij Fine Art
adriaen van ostade
Adriaen van Ostade (Haarlem, 1610-1685) Interior of a barn with peasants-An allegory of smell Oil on panel 17 x 24 cm Signed and dated middle centre: Av ostade 1637 Provenance: private collection; Floris van Wanroij Fine Art; private collection, Remscheid, Germany Literature: Krol, A.E., Musée de l’Ermitage. Peinture de l’Europe occidentale. Leningrad (Hermitage), 1981, vol. II, p. 155 In his charming and amusing painting Adriaen van Ostade, like his contemporaries David Teniers the Younger and Adriaen Brouwer, depicted a scene from the everyday life of the peasant classes. At the same time it forms an allegory, that of the sense of smell. A variation on this composition by Van Ostade is kept in the collection of the Hermitage, Saint Petersburg (inv. n° 999)
Galerie Alexis Pentcheff
Henri Martin (Toulouse 1860-1943 Labastide-du-Vert) L’Eglise de Labastide-du-Vert un matin de printemps Oil on canvas 101 x 79 cm Signed lower right Notice of inclusion in the archives for the Catalogue Raisonné of Henri Martin drawn up by Madame Marie-Anne Destrebecq-Martin dated 18 September 2020 © Foundation Paul Delvaux, Belgium/SABAM, 2023
Lemaire
Two Vincennes porcelain jardinières fitted with porcelain flowers France, Louis XVI period Soft paste porcelain jardinière with pink monochrome decoration holding porcelain flowers on painted metal stems H 9.3 and H 9.5 cm; overall 26.8 cm Marked with a double L in blue bearing the letter-date C for 1755-56 Marked by the painters Jean-Charles Sioux l'aîné (French, active from 1752 to 1792) and Mutel (active from 1754 to 1759). 3rd size A flower jardinière with the same decoration has been published by GWILT (J.), Vincennes and Early Sèvres Porcelain from de Belvedere Collection, V & A Publishing, 2014, p. 147
Francis Maere Fine Arts
fernando botero
Fernando Botero (Medellin 1932-2023 Monaco) Lying nude, 1985 Bronze H 35 x W 60 x D 23 cm Signed and numbered: Botero 3/6 Provenance: collection Emile Veranneman, Kruishoutem; private collection, Belgium Literature: Exhibition catalogue, Botero, Emile Veranneman, Kruishoutem, 1990 Exhibition: 1990 Kruishoutem, Stichting Emile Veranneman, Fernando Botero
Artimo Fine Arts
enrico astorri
Enrico Astorri (Italy, 1859-1921) Saltimbanca, circa 1900 White Carrara marble H 122.5 cm (sculpture), total height with original column in Serpentine marble: 212 cm Signed Astorri E. co./Milano This exquisite marble sculpture showcases a young saltimbanca, or female street acrobat, and her monkey, poised atop an intricately wrought drum as they await their next performance. Her countenance radiates a playful innocence and every strand of her hair, carved with striking realism, cascades in a canopy of luxurious curls to frame her face. The girl's relaxed posture on the drum stands as a testament to the artist's mastery of the sculptors art and his attention to nuance in the playful inclusion of a cheeky monkey to accentuate the child's youthfulness and inherent sense of humour. The artist’s unparalleled artistry and expertise is evident in the drum's surface which boasts remarkable attention to detail. From the finely carved cords and the meticulously crafted escutcheons to the texture of the drumhead, particularly the stitching on an old tear, the precision of his work is exquisite. The texture of the girl's clothing and the intricate details of her physique are accentuated by a delicate play of light and shadow, bearing witness to the artist's deep anatomical understanding. The elegantly outstretched leg, lightly suspended in the drum strap, endows the figure with a dynamic, flowing quality which contrasts harmoniously with the tranquillity of her facial expression. The artist leads his audience on a contemplative journey of discovery full of the delight of uncovering subtle details such as the four classic card symbols. Astorri adds his characteristic touch of realism to this majestic piece through the skilfully crafted base. Representing a humble wooden crate resting on a finely sculpted yet rustic net, Astorri adds yet another layer of depth to this masterpiece. ASTORRI or ASTONI, ENRICO was an esteemed Italian sculptor. Born in San Lazzaro Alberoni on 10 March 1859, he passed away in Milan on 15 October 1921. Having initially studied in Parma before moving to Genoa, he ultimately honed his craft in Milan, where he took up residence at an impressively young age. His notable works include the monument to 'Vittorio Emanuele II' in Parma (1879), exhibitions in Turin (1884) featuring the marble statues 'La sérénade' and 'Attraction', and other significant contributions in Milan, Venice, and Bologna throughout the 1880s. His engagements extended to London exhibitions, and his prolificacy was evident in the latter part of the century, with extensive travels and commendations in Uruguay, Argentina, Russia, and beyond. His oeuvre can be found in public collections in Piacenza and Trieste.
Nicolás Cortés Gallery
francisco de goya y lucientes
Francisco de Goya y Lucientes (Spain, Fuendetodos 1746-1828 Bordeaux, France) Adoration of the Cross Oil on canvas 134 x 89 cm Provenance: Chapel of the Santa Cruz (now the chapel of San Roque) in the parish church of Nuestra Señora de la Asunción (Our Lady of the Assumption, formerly dedicated to St Anthony of Padua), Torrecilla de Valmadrid, near Zaragoza, until 1968-70; Don Jaime de Paraíso de Andéríz, Zaragoza, to 1971; private collection, Barcelona (now London) Literature: Gudiol, Goya, Barcelona, 1970, vol. I, p. 33 and 240, cat. 37 (image, vol II, pp. 50-51, figs. 52 and 53); A. Martínez Beltrán, Goya en Zaragoza, 1971, Ayuntamiento de Zaragoza; p. 155; J. Camón Aznar, Francisco de Goya, Zaragoza, 1981, vol 1, pp. 62-63, ill., p. 243; R. De Angelis., La obra pictórica completa de Goya, Noguer, 1975, p. 90, n° 40 (as Devotis al pie de una Cruz); José-Luis Morales y Marín, Goya, Pintor Religioso, Aragon, 1990, n° 11, p. 50; J. Gudiol, Goya, Barcelona, 1985, 2nd edition, vol. 1, p. 96, n° 34, fig. p. 168; P. E. Mangiante, Goya e l’Italia, Rome, 1992, pp. 20-21; A. Ansón Navarro, Goya y Aragón: Familia, amistades y encargos artísticos, Aragon, 1995, p. 93.; P.E. Mangiante, Goya e Italia, Zaragoza, 2007, p. 34 y 38; Fundación Goya, J.C. Lozano Llopis, J. Wilson-Bareau, and others, Museo de Zaragoza, La memoria de Goya, (1828-1978): [Museo de Zaragoza., 7 de febrero-6 de abril de 2008, Aragón, 2008, p. 126, fig. 89 [as attributed]; Dr Arturo Ansón Navarro, Goya. Un joven pintor en formación, Zaragoza, 2021; La Estella de Corrado Giaquinto en España-Da Antonio González Velázquez a Francisco Bayeu a Goya, Exhibition Catalogue, Museo de Zaragoza, 24 June-26 Sep 2021, pp. 110-111 (ill.) Exhibition: Zaragoza, Museo de Zaragoza, 2008 La memoria de Goya, (1828-1978), n° 117
Gilden's Art Gallery
alexander calder
Alexander Calder (Lawnton 1898-1976 New York) Eclipse, 1961 Gouache on wove paper 55 x 74.5 cm Signed and dated lower right: Calder 61 This work is registered in the archive of the Calder Foundation with the application n° A11010 Provenance: Nicholas Guppy (1925-2012); acquired directly from the artist; Sotheby's Parke Barnet, 3 December 1981, lot 535; Renton Family, Thaxted, Essex, United Kingdom (after 1981) Exhibition: Calder, 12 July-10 August 1980, Kettle's Yard, Cambridge, cat. n° 17 (incorrectly titled Red moon)
Secher Fine Art & Design
karel appel
Karel Appel (Amsterdam 1921-2006 Zurich) The Cobra bird, 1950 Patinated bronze sculpture H 42 x W 51 x D 34 cm Signed and dated: K. Appel 1950 H. C. Edition of 6 plus 2 HC which this is one of the two Provenance: collection Karel van Stuijvenberg, Caracas, Venezuela Literature: Karel Appel, The Complete Sculptures 1936-1990, p. 242; Exhibition catalogue, El movimiento Cobra en la colección Karel van Stuijvenberg, Museo de Arte Contemporáneo de Caracas, Venezuela, 1984, cat. n° 23 ill. pp. 44-45; Exhibition catalogue, Cobra Liège 93, Coll. Karel P. van Stuijvenberg, Musée d'Art Moderne, Liège, Belgique, 1993, ill. p. 67 Exhibitions: Cobra en la colección Karel van Stuijvenberg, 1984, Museo de Arte Contemporáneo de Caracas, Venezuela; Cobra, 9 avril-31 mai 1993, Musée d'Art Moderne, Liège, Belgique
Galeries AB & BA
henri michaux
Henri Michaux (Namur 1899-1984 Paris) Composition, 1950 Gouache on canvas 48 x 62.5 cm Signed lower right This work is registered in the Michaux Archives by Franck Leibovici under n° hm4112 and will be included in the forthcoming catalogue raisonné currently in preparation Provenance: collection of M. Chatelus, Paris; collection of M. René Schneider; private collection, Paris Literature: Wieland Schmied, Hanovre (1972), p. 71; Wieland Schmied, Michaux (1973), p. 79; Marseille (1993), p. 124; Franck Leibovici, Henri Michaux, (2014), p. 31 Exhibitions: Retrospective, Musée Kestner-Gesellschaft, Hanover, 1972; Henri Michaux, peintures, Fondation Maeght, Saint-Paul-de-Vence, 3 April -10 June 1976; Galerie Baudoin Lebon, Paris, 1985; Henri Michaux, selected works 1927-1984, Musée Cantini, Marseille, 1993; Henri Michaux, selected works 1927-1984, Julio Gonzalez Art Center (i.v.a.m), Valencia, 1993; Henri Michaux, selected works 1927-1984, Musée Rath, Geneva, 1994; Henri Michaux, Whitechapel Gallery, London, 1999; Untitled passages by Henri Michaux, Drawing Center Art Center, New York, 2000
Gilden's Art Gallery
Marc Chagall (Vitebsk 1887-1985 Saint-Paul de Vence) Study for Commedia dell’arte (Foyer of Frankfurt Opera House), 1958 Brush and India ink with charcoal and pencil on wove paper 36.5 x 56.5 cm Signed lower right: Marc Chagall The work is accompanied by a certificate of authenticity from the Chagall Committee from 27 February 2023 The composition is a study for the largest painting undertaken for a project in the foyer of Frankfurt Opera House, Germany Provenance: estate Marc Chagall
Heutink Ikonen
Deesis and Apostle row (four panels) Asia Minor, possibly Smyrna (now Izmir), 17th century Egg tempera with gold leaf on a wooden panel surfaced with gesso and linen 28 x 59 cm, 27.5 x 92 cm, 27 x 102 cm, 27.5 x 67.5 cm A very rare and monumental Deësis ('intercession'), originally a Byzantine composition, in which Christ is depicted centrally as a judge while a number of selected saints are facing him in supplication. In this case, Christ is flanked by the Mother of God and John the Forerunner (the Baptist), with the Apostles at some distance from them. Remarkably, the apostles are not all positioned adjacent to each other, but are interspersed with ornamentation. The panels formed a part of the templon of a modest iconostasis of a church in the region of Asia Minor, possibly from the vicinity of Smyrna (present-day Izmir), where they were displayed directly above the royal doors.
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Zebregs&Röell Fine Art and Antiques
Indo-Portuguese colonial mother-of-pearl veneered casket with silver mounts India, Gujarat, 2nd half of the 16th century, the silver mounts Goa or probably Lisbon H 16 x W 24.6 x D 16.1 cm An exceptional Gujarati casket with a rectangular box and truncated pyramidal lid (with slopes on each side and a flat top) made from exotic wood, probably teak (Tectona grandis), covered with a mother-of-pearl mosaic. The tesserae, cut from the shell of the green turban sea snail (Turbo marmoratus, a marine gastropod) in the shape of fish scales, are pinned to the wooden structure with silver ball-headed nails. The casket is set on bracket feet on the corners. The masterfully engraved decoration of the silver mounts follows the most refined and erudite Mannerist repertoire of rinceaux and ferroneries dating from the mid-sixteenth century. The high quality and refinement of the silver mounts and, likewise, the silver nails that replaced the original brass pins used to hold the mother-of-pearl tesserae in place indicate the work of a silversmith probably working in Lisbon in the second half of the sixteenth century. The Indian origin of this production, namely from Cambay (Khambhat) and Surat in the present state of Gujarat in north India, has been consensual and fully demonstrated for the last three decades, not only by documentary and literary evidence - such as descriptions, travelogues and contemporary archival documentation - but also by the survival in situ of sixteenth-century wooden structures covered in mother-of-pearl tesserae. A fine example is a canopy decorating the tomb (dargah) of the Sufi saint, Sheik Salim Chisti (1478-1572) in Fatehpur Sikri in Agra district in the state of Uttar Pradesh, north India. This is an artistic production, geometric in character and Islamic in nature, where usually the mother-of-pearl tesserae form complex designs of fish scales or, similar to the dishes also made using the same technique with thin brass sheets and pins, stylised lotus flowers. The truncated pyramidal shape corresponds, like their contemporary tortoiseshell counterparts also made in Gujarat, to a piece of furniture used in the Indian subcontinent within the Islamic world prior to the arrival of the first Portuguese. This shape is very old and specific to East-Asian caskets, chests or boxes used to contain and protect Buddhist texts, the sutras. A similar chest is the famous and large reliquary chest from Lisbon Cathedral that once contained the relics of the city's patron saint, Saint Vincent. Both match in shape, having the same kind of pedestal and bracket feet, and in their engraved silver mountings, featuring the same type of refined, erudite decoration. Their differences lie in the silver borders that frame the entire length of the edges of the chest (both the box and the lid), pinned with silver nails, and on the lock plate, shaped like a coat of arms in the Lisbon example. Given the exceptional dimensions of the reliquary casket from Lisbon Cathedral (48 x 65 x 42 cm), the goldsmith responsible for its mounting opted to place two bracket-shaped side handles instead of a top handle, as in our casket. Another similar example, probably mounted in the same Lisbon workshop as the other examples from this small group, belongs to the Seville Cathedral and still needs to be discovered. It shares many features in common with the one in the Lisbon cathedral, namely the use of engraved silver borders running along the edges, protecting the casket. An aspect that distinguished it from the others is the use of tesserae cut from Turbo marmoratus, which show a higher iridescence but also cut from the shell of the pearl oyster, probably Pinctada radiata or Pinctada maxima, given the whitish hue of the base colour. Nevertheless, the type of square-like lock plate is similar to our casket. Another example, slightly larger but with fewer silver mounts, is in the collection of the Kunstkammer Wien in the Kunsthistorischen Museums in Vienna (inv.no. GS Kap 5) and belonged to the Habsburger Family. The same type of large silver ball-headed nails seems to be characteristic of this small, rare and important group, of which the present example is the second known example in private hands, given that the others have been in their current place since the time they entered their collections in the late sixteenth century or the first years of the seventeenth century.
