This section will be available this Autumn.
![](https://images.brafa.art/brafamedia/brafa2021/artworks/Deprez_Dansuncabinetdetoilette_WillemPAERELS_T638336530158622689.jpg?width=410&height=2000&qlt=90&scale=both&mode=max&format=jpeg)
Thomas Deprez Fine Arts
willem paerels
Willem Paerels (Delft 1878-1962 Braine-l'Alleud) Dans un cabinet de toilette, circa 1910 Oil on canvas 72 x 53 cm Signed lower right: Paerels Provenance: former collection Anna Boch (1848-1936); by descent in the family, until; private collection, Belgium Literature: The present work figures in the 'inventaire mortuaire' established upon Anna Boch's death in 1936, as part of the prestigious stairwell hanging in her own home designed by Victor Horta (Liste Blondel, private archives, as transcribed in: Thérèse Thomas & Cécile Dulière, Anna Boch 1848-1936, Paris, La Renaissance du Livre, 2000, p. 147, n° 357
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Galerie de la Présidence
jean dubuffet
Jean Dubuffet (Le Havre 1901-1985 Paris) Tasse de thé, 18 mai 1967 Marker on paper 25 x 16.5 cm Signed with the initials and dated lower right Provenance: Galerie Jeanne Bucher Jaeger, Paris; private collection, Paris Literature: Max Loreau, Catalogue des Travaux de Jean Dubuffet: Cartes, Ustensiles, fascicule XXII, Suisse 1972, p. 53, n° 166 Exhibitions: Dubuffet, L’Hourloupe, Kunsthalle, Basel, 1970; Dubuffet, Paysages du mental, Galerie Jeanne-Bucher, Paris, 1989; Dubuffet, obras sobre papel, Fundaçao Arpad Szenes - Vieira da Silva, Lisbon, 2000; Dubuffet L’Hourloupe, Grand-Palais, Paris, 2006; Cent dessins de Jean Dubuffet, Galerie Jeanne-Bucher, Paris, 2009; Jean Dubuffet-Le Cours des choses, Jeanne Bucher Jaeger, Paris, 2022
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Franck Anelli Fine Art
Joost Cornelisz. Droochsloot (Utrecht, 1586-1666) Village scene, 1643 Oil on panel 71.8 x 106.5 cm 93 x 129 cm - framed Provenance: With Hans Trojanski, Dusseldorf, 1957; Private collection of Baroness Viktoria Dagmar von Rochow (1931–2022); By descent, private collection, Switzerland This painting is registered at the RKD, The Hague as by the hand of Joost Cornelisz. Droochsloot.
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Galerie Jean-François Cazeau
Auguste Herbin (Quiévy 1882-1960 Paris) Le Vieux Pont à Bruges, 1906 Oil on canvas 46 x 55 cm Signed lower left Provenance: the artist’s studio; M. Rheims, Paris; Malborough Fine Art Ltd., London; private collection, Basel Exhibitions: 1914, Exposition Auguste Herbin, Galerie Clovis Sagot, 2 March–17 March 1914, n° 3; Bern 1963, Auguste Herbin, Kunsthalle Bern, 16 February–24 March 1963, n° 1 (ill.); Amsterdam 1963, Herbin, Stedelijk Museum, 7 June–22 July 1963, n° 2 (ill.); Zurich 1965, Auguste Herbin, City Galerie Bruno Bischofberger, 2 April–30 April 1965, n° 2; Paris 1975/76, Le Bateau-Lavoir, Musée Jacquemart-André, 31 October 1975-31 November 1976 (label on the back) Literature: Geneviève Claisse: Herbin. Catalogue raisonné de l'oeuvre peint, Paris 1993, p. 291, n° 70 (ill.)
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Ralph Gierhards Antiques / Fine Art
A pietre dure cabinet Pietre dure: Florence, late 17th century Cabinet and stand: England, late 18th century Pietre dure, pietre tenere, ebonised oak, mahogany, brass, gilt metal Cabinet: H 65.1 x W 76.5 x D 41.9 cm Table: H 82.6 x W 81.3 x D 41.9 cm Provenance: Partridge Fine Arts, London 1985; This cabinet belonged to The Gilbert Collection, Victoria and Albert Museum, London 1991; private collection, Italy Literature: This cabinet is illustrated in Anna Maria Massinelli, The Gilbert Collection-Hardstones, Philip Wilson Publishers in association with The Gilbert Collection, fig. 5; Baldini, Giusti and Pampaloni Martelli 1979, fig. 164; Kreisel 1970, fig. 186; Kunsthistorisches Museum 1987, p. 33 Exhibition: Los Angeles (USA), 1991 A cabinet with eleven pietre dure and pietre tenere mosaic panels on the front, with Tuscan landscape views on a background of Albarese limestone. This cabinet was made in England in the late eighteenth century and is typical of the furniture inspired by the taste of travellers who, during their Grand Tour of Italy, bought Florentine mosaic work in the Grand Ducal workshops and had it set in made-to-measure cabinets on their return. The landscape panels are linked to those on a cabinet documented as being in the Villa del Poggio Imperiale after 1691. They demonstrate the interest in landscape subjects in the Grand Ducal workshops during the late seventeenth century. Similar types of panels can be found on early eighteenth-century German furniture. Examples include cabinets from Ambras castle, Braunschweig and a desk in the castle at Wiesentheid. This cabinet was exhibited in Los Angeles in 1991 and the cabinet is illustrated in the book The Gilbert Collection – Hardstones
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Willow Gallery
Eugène Boudin (Honfleur 1824-1898 Deauville) Pont sur La Touques, 1890 Oil on canvas, 46 x 66 cm - framed: 64 x 84 cm Signed, dated and inscribed lower left: Touques, E Boudin 90 Provenance: collection Panhard from 1899 Literature: Robert Schmit, Catalogue raisonné de l’œuvre peint d’Eugène; Boudin, Paris, 1973, vol. III, n° 3332, ill. p. 278, incorrectly dated 1894 Exhibition: Exposition des œuvres d’Eugène Boudin, Paris, École Nationale des Beaux-Arts, 1899, n° 43 (label verso)
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
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Galerie von Vertes
yayoi kusama
Yayoi Kusama (Matsumoto, 1929) Hat (ATE), 2001 Acrylic on canvas 22 x 27.3 cm Signed, dated and titled on verso Provenance: private collection, Japan; Mallet Japan, January 25, 2008, lot 92; Opera Gallery, Geneva; private collection, Geneva Literature: Certificate of authenticity from the Yayoi Kusama Studio on 7 December 2007
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Galerie Kevorkian
luristan
Two zoomorphic finials Finial with rampant ibexes and finial with confronted ibexes and pin with a double-headed feline framed by antelope protomes Bronze Luristan, Iron Age II, early 1st millennium BC H 14 and H 21 cm Provenance: former collection of M. & R. Stora, Paris, before 1938; collection of Dr. C. assembled between 1960 and 1993, Paris Literature: A.U. Pope, A survey of Persian Art, vol. VII, 1938, pl. 44 C
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Galerie Jean-François Cazeau
André Masson (Balagny-sur-Thérain 1896-1987 Paris) La Ville abandonnée, 1923-1924 Pastel, coloured wax and charcoal on paper 62.2 x 47 cm 98.5 x 83.3 cm (framed) Study for the final painting entitled La Ville abandonnée, 1923-1924 Signed lower left: André Masson Provenance: the Artist's studio; Collection T. Mesens, Belgian surrealist artist; Gallery Knoedler, New York; Galerie Odermatt-Cazeau, Paris; Private collection, Paris Literature: André Masson, oeuvres maîtresses, Galerie H. Odermatt - Ph. Cazeau, Paris, 1990, ill. in colour, p. 99, n° 43 Exhibition: New York, Surrealism in Art, M. Knoedler & Co., Inc., February-March 1975, catalogue n° 86 Study for the final painting entitled La Ville abandonnée, 1923-1924, oil on canvas, 73 x 60 cm, property of Galerie Louise Leiris, Paris. Literature: Paris, André Masson, oeuvres maîtresses, Galerie H. Odermatt - Ph. Cazeau, 5 December 1990-2 February 1991, p. 99; de Joinville, France, Château du Grand Jardin, Beauvais, Musée Départemental de l'Oise; Tchécoslovaquie, Sovinec, Ostrava, Bratislava, Prague: André Masson : Dessins Surréalistes 1925-1965. 17 April 1993-31 January 1994; Paris, André Masson: peintures et œuvres sur papier 1919-1927, Galerie Louise Leiris, 14 May-13 July 1996. Definitive painting after the drawing, ill. on the cover of the catalogue, p. n°9. Property of Galerie Louise Leiris. Illustrated on the cover of the catalogue; André Masson: Dessins Surréalistes 1925-1965, 1993. The catalogue is published by the AFAA (L'Association Française d'Action Artistique), Le Château du Grand Jardin (Conseil Général de la Haute Marne) and the Musée Départemental de l'Oise, Beauvais and produced by Soft Publicité Reims.
Galerie de la Présidence
geer van velde
Geer van Velde (Netherlands, Lisse 1898-1977 Cachan, France) Composition, 1960 Oil on canvas 162 x 162 cm Signed lower right with the artist's initials This work will be included in the forthcoming Geer van Velde catalogue raisonné currently being prepared by Pierre François Moget, son of Piet Moget Provenance: artist’s studio estate; private collection, France Literature: Viatte, Germain, 1989, Geer van Velde, Paris, Editions Cahiers d’Art, ill. col., p. 151 Exhibitions: 1981, La Haye, Haags Gemeentemuseum, Geer van Velde 1898-1977, schilderijen en tekeningen, n° 56 du cat., fig. 55, ill. col., p. 71; 1982, Høvikodden, Henie-Onstad Kunstsenter, Geer van Velde, n°17 du cat. (insert in the catalog of the exhibition of 1981 at Gemeente Museum, n° 56), fig. 55; 1982, Paris, Musée d’Art Moderne de la Ville de Paris, Geer van Velde 1898-1977. Peintures et œuvres sur papier, n° 54 du cat., fig. 55, ill. col., p. 71; 1982-Varberg, Museet I Varberg, Geer van Velde 1898-1977; 1986, Albi, Musée Toulouse-Lautrec, Geer van Velde 1898-1977, n° 22 du cat., ill. col., p. 26; 1991, Sigean, Lieu d’Art Contemporain, Geer van Velde. 1898-1977, n° 39 du cat., ill. col., p. 28; 2000, Antibes, Musée Picasso, Geer van Velde, n° 34 du cat., ill. col., p. 67; 2000, Colmar, Musée Unterlinden, Geer van Velde, n° 34 du cat., ill. col., p. 67; 2010, Lyon, Musée des Beaux-Arts, Bram et Geer van Velde, deux peintres un nom, n° 130 du cat., ill. col., p. 143
![](https://images.brafa.art/brafamedia/brafa2021/artworks/Cortes___T638301044522769163.jpg?width=410&height=2000&qlt=90&scale=both&mode=max&format=jpeg)
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
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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
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Galerie des Modernes
paul delvaux
Paul Delvaux (Belgium, Antheit 1897-1994 Veurne) Les deux Amies, 1972 Watercolour and ink on paper 35.5 x 27 cm Signed and dated lower right: P. DELVAUX 1972 Certificate of authenticity from Mr. Charles Van Deun of the Foundation Paul Delvaux Provenance: private collection, Brussels, acquired directly from the artist; Galerie Eric Gillis Fine Art, Belgium; private collection, France © Foundation Paul Delvaux, Belgium/SABAM, 2023
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Cabinet of Curiosities-Honourable Silver Objects
Circle Gerard Opstal (1605-1668) Carved relief with bacchanal scene, Bachus and five putti Ivory, tropical wood (frame) Southern Netherlands/Flanders, late 17th century 6.3 x 6.3 cm (relief) 11 x 11 cm (frame) Provenance: Stodel, Amsterdam Literature: Les Ivoires, Evolution décorative du Ier siècle à nos jours. Avec la collaboration de M. l'abbé P. Bidault, H. Levasseur, J. Joire, et de MM. les Conservateurs des Musées européens, Paris, Tardy, 1966, pp. 104-106, 109, 128; Elfenbein, Otto Pelka (Bibliothek für Kunst und Antiquitäten Sammler), p. 73, n° 262; Ivoires du Musée du Louvre 1480-1850, une collection inédite (Dieppe: Editions d’Art/Château-Musée de Dieppe, 2005), pp. 56, 220, n° 38; L’amour des ivoires, E. Mannoni, éd. Ch. Massin, Paris