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TASCHEN
ralph gibson
Ralph Gibson (Los Angeles, 1939) Ralph Gibson. Photographs 1960-2024 The most comprehensive collection of this highly acclaimed and prolific American photographer's work offers the fruit of more than six decades of image-making. Available in two limited art editions of 100 copies, each accompanied by a gelatin silver print numbered and signed by Gibson.
Florian Kolhammer
joseph maria olbrich
Joseph Maria Olbrich (Czech Republic 1867-1908 Germany) & Josef Hoffmann (Czech Republic 1870-1956 Austria) Secessionist side table, circa 1900 Solid maple, inlaid ebony and white metal H 70 x W 56 x D 56 cm Provenance: private collection, Austria Literature: Josef Maria Olbrich, Ideen von Olbrich, 2nd edition, Leipzig 1904, p. 67; Association of Austrian Visual Artists (ed.), Ver Sacrum.Vereinigung Bildender Künstler Österreichs (Hrsg.), Ver Sacrum. Mittheilungen der Vereinigung Bildender Künstler Österreichs, 1900, 1st issue, pp. 4, 9 & 15 Exhibition: displayed at the fifth exhibition of the Vienna Secession 1899 This elegant Secessionist side table was created around 1900 through the collaboration of two influential artists of Viennese Modernism: Joseph Maria Olbrich and Josef Hoffmann. The design of the table's body by Olbrich was first published in 1899 in 'Ideen von Olbrich'. The characteristic ornament was originally designed by Hoffmann as a decorative frieze for the fifth Secession Exhibition and documented in the magazine 'Ver Sacrum' (1900). It is highly probable that this furniture piece was specially created for this exhibition. Particularly noteworthy are the original design drawing by Olbrich and the ornament by Hoffmann. The exceptional quality and characteristic fittings strongly suggest production by the renowned Viennese art furniture workshop Portois & Fix, famous for numerous designs associated with the Vienna Secession, predominantly by Hoffmann.
Galerie Boulakia
Joan Miró (Barcelona 1893-1983 Palma) Untitled, 1946 Pen and India ink, coloured pencils, and pencil on paper 30 x 24 cm Signed, dated and inscribed 'Miró. 23-7-1946 à mon cher Joan Gomis, le jour de son anniversaire' (to my dear Jean Gomis on the day of his birthday) Provenance: Pierre Matisse Gallery, New York; Joaquim Gomis i Serdañons, Barcelone Literature: Jacques Dupin, Ariane Lelong-Mainaud, Joan Miro : catalogue raisonné, Volume II, 1931-1941, Editions Maeght-Lelong, Paris, 2000, n° 1. 1078, ill. p. 144
CKS Gallery
Salvador Dalí (Spain, Figueras 1904-1989) Nude ascending the staircase, 1973 Brown patina bronze sculpture H 212 × W 139 × D 117 cm - Height with the base: 297 cm Signed & numbered 'Dalí 2/8', Foundry mark 'Fratelli Bonvicini, Italie' on the shell Certificate of authenticity by M. Robert Descharnes and listed in the Descharnes Archives under the n° 0-264 Provenance: private collection
Floris van Wanroij Fine Art
jan josefsz. van goyen
Jan Josefsz. van Goyen (Leiden 1596-1656 The Hague) Winter landscape with skaters, elegant figures and kolf players on the ice in a village Oil on panel 13.6 x 26.8 cm Signed and indistinctly dated lower left ‘I.V. GOYEN. 162.‘ Provenance: anonymous sale, Drouot, Paris, 21 March 1874, lot 23 (Frs. 510), erroneously as a pendant to the consecutive lot; collection Comte de Camondo, Galerie Georges Petit, Paris, 1 February 1893, Lot 6 (Frs. 1.700), were acquired by W. Gretor; anonymous sale, Drouot, Paris, 18 February 1895, Lot 13 (Frs. 750), were acquired by Lange; collection G. Forbes, London (according to Dayot and Hofstede de Groot); sale Jules Cronier, Galerie Georges Petit, Paris, 11 March 1908, Lot 88 (Frs. 1,200); with Kleinberger, Paris; collection Eugène Max, Paris, from 1911 to 1927; Grange, Paris; private collection, Paris, from 1965; anonymous sale, Sotheby’s, London, 1 March 1992, lot 36 (£ 101,200); John Mitchell, London, from 1993; anonymous sale, Christie’s, Amsterdam, 20 November 2012, lot nr. 68 (211.000 Euro); Johnny van Haeften Ltd., London, from 2014 (ref. VP4577), acquired from the previous owner; private collection, The Netherlands Literature: Dayot, A. (1911), Grands & petits maîtres hollandais, exhibition publication, Paris, n° 42; Martin, W. (1918), Alt-Holländische Bilder, Berlin, p. 51, fig. 25; Hofstede de Groot, C. (1927), A catalogue raisonné of the works of the most eminent Dutch painters of the seventeenth century, London, Vol. VIII, p. 294, n° 1170; Beck, H.-U. (1972), Jan van Goyen 1597-1656, Amsterdam, Vol. II, p. 46, n° 88 (illustrated, erroneously as a pendant to n° 244) Exhibitions: Paris, Salle du Jeu de Paume, Grands & petits maîtres hollandais, 28 April-10 July 1911, n° 40 bis; TEFAF Maastricht, 2014
Galerie Oscar De Vos
frits van den berghe
Frits Van den Berghe (Ghent, 1883-1939) Ooidonk alley, 1923 Oil on canvas 48.5 x 55 cm Signed lower right: FVBerghe Provenance: Galerie Campo, Antwerp Literature: Boyens, P., Frits Van den Berghe 1883-1939 (1999), 396, n° 309 (ill.); Servaes, W., V. Van Doorne & R. Van Lerberghe, 1924 Honderd jaar later, exh. cat. (2024), 56-57 (ill. & cover) Exhibition: 2024, Sint-Martens-Latem, Latemse Kunstkring/ Gemeentehuis, 1924 Honderd jaar later, s.n. Ooidonk Alley belongs to the key works of Van den Berghe’s short but decisive stay in Bachte-Maria-Leerne (1922–1923). He lived there at the entrance of the quadruple beech-lined avenue leading directly to Ooidonk Castle. That place was an actual re-grounding – a breakthrough towards a new way of painting that no longer records, but constructs. Here, the Lys landscape is no longer seen ‘from the outside’, but becomes an inner building site. The trunks become cylindrical volumes, the soft bend of the road becomes a carrier of rhythm. The colour language definitively abandons the sombre earth tones of his Ostend years: a new clarity emerges, a ‘new spring’, in which light assumes a plastic role. Ooidonk Alley is thus a document of the moment in which Van den Berghe finds his modernity: pure form, condensed space, a landscape as architecture. This work shows how, at the end of 1922–1923, Van den Berghe redefined the Lys region: as an ordered space of line, colour and spirit – rather than a piece of nature.
Brame & Lorenceau
julio gonzález
Julio González (Spain, Barcelona 1876-1942 Arcueil, France) Personnage au cornet, 1937 China ink and coloured pencil on paper 29 x 21 cm Signed and dated lower centre Provenance: private collection Literature: J. Gibert, Catalogue raisonné des dessins de Julio González, Projets pour sculptures personnages, Paris, 1975, vol. 9, p. 47 (ill.) Exhibition: New York, The Museum of Modern Art, Julio González, Drawings and Sculpture, February-April 1956, Minneapolis
Samuel Vanhoegaerden Gallery
Hans Hartung (Leipzig 1904-1989 Antibes) P1971-20, 1971 Crayon and acrylic on baryta board 50 x 73 cm Signed and dated lower right This work is registered in The Hans Hartung and Anna-Eva Bergman Foundation archive with number P1971-20 and will be included in the forthcoming catalogue raisonné of Hans Hartung Provenance: Galerie Ludorff, Germany; Sotheby's London, July 2020; private Collection, Brussels; acquired from the above by the present owner
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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.
Romigioli Antichità
Pair of marble plates with semi-precious stones and soft polychromes Florence, early 19th century 44 x 38 cm (plates) 62.5 x 55 cm (frames) Provenance: Florentine workshop Oval plate depicting a naturalistic composition with a basket, flower buds, fruit and birds, one with a bird's nest, the other with a nest and eggs, in an antique carved and gilded wooden frame.
