Thomas Deprez Fine Arts

théo van rysselberghe

Théo van Rysselberghe (Ghent 1862-1926 Saint-Clair) Portrait d’une dame lisant, circa 1884 Oil on mahogany 51.5 x 37 cm - framed 55 x 40 cm Signed lower right 'Théo van Rysselberghe' This recent rediscovery is accompanied by a certificate from Olivier Bertrand and will be included in the forthcoming catalogue raisonné of the artist Provenance: private collection, Brussels

Univers du Bronze

raymond delamarre

torse du diadumene (1936)

Plaster exhibited at the Salon des Tuileries (cat. n°439). Bronze, richly dark black brown patina H : 119 cm, L : 51,5 cm, D : 27 cm Bronze cast for the patron M. Giron (commissioned in December 1937), signed "Raymond Delamarre", dated "1937", cast by "Bisceglia Cire Perdue Malakoff" (seal), only one bronze example currently identified. Cast circa 1937-1938

Cortesi Gallery

Agostino Bonalumi (Vimercate 1935-2013 Monza) Rosso, 1965-1971 Shaped canvas and vinyl tempera H 100 x W 80 x D 3.5 cm Signed and dated on the reverse: 'Bonalumi / 71'; size on the stretcher '80 x 100' Certificate of Authenticity Archivio Agostino Bonalumi, Milano, n° 71-014, technical report by Archivio Agostino Bonalumi Provenance: private collection, Milano Literature: M. Meneguzzo, F. Bonalumi (curators) Agostino Bonalumi, Catalogo ragionato, Milano, Skira, 2015, vol. II, p. 446, n° 492 Exhibitions: 2008, Agostino Bonalumi, Loggiato di San Bartolomeo, Palermo, (ill. 7); 2021, Agostiono Bonalumi. Ricucire la tela, curated by Marco Meneguzzo, Cortesi Gallery, Milano

Hoffmans Antiques

Pair of candelabras, 'Night & Day' Attributed to Pierre Philippe Thomire (Paris, 1751-1843) Patinated and ormolu bronze Paris, early 19th century H 100 cm The pair of candelabras, 'Night & Day', were made of patinated and ormolu bronze of outstanding quality after a design by C. Percier and P.F.L. Fontaine in the Recueil de Décorations Intérieures from 1801. This model, which is very unusual, was commissioned for Emperor Napoleon Bonaparte's decoration of the Elysée Palace in the early 19th century.

rodolphe janssen

gert & uwe tobias

Gert & Uwe Tobias (Romania, 1973) Untitled (GUT/H 3243/01), 2024 Coloured woodcut on canvas 200 x 168 cm (unframed) 205 x 173 cm (framed) Ed. 1/2

Dalton Somaré

Dan Mano mask Ivory Coast/Liberia Wood, vegetable fibre, teeth H 24 cm Provenance: William Holden collection, Los Angeles; John Giltsoff, Aigua Blava; Patrick De Backer collection, Temse; private collection, Brussels

Boon Gallery

Pablo Picasso (Málaga 1881-1973 Mougins) Le peintre et son modèle, 1963 Oil on canvas 65 x 100 cm Signed lower right Provenance: private collection, Europe; private collection, 1982; Alexander Lolas Collection, Paris; Louise Leiris Gallery, Paris Literature: C. Zervos, Pablo Picasso: catalogue raisonné, Vol. XXIII, Paris, 1971, plate 120, n° 253, ill.

Samuel Vanhoegaerden Gallery

Panamarenko (Antwerp 1940-2019 Brakel) Archaeopterix III, 1990 Mixed media sculpture: balsa, strings, twelve servos, electronic chips ... H 36 x W 33 x D 25 cm Signed Certificate of authenticity by the Panamarenko Foundation dated 2 October 2024 Provenance: Ronald Feldman Gallery, New York Literature: Toyama-The Museum of Modern Art, Kamakura, 1992, n° 47, ill.; Moderne Museet, Stockholm, Metafor och Materia, Panamarenko, Rollof, Shannon, 1991, ill. p. 78; Museum Dhondt-Dhaenens, Deurle, Belgium, Selectie Belgische Kunstenaars voor Documenta IX, Deurle, 1992, ill. p. 114; H. Theys, Panamarenko: A book by Hans Theys, Brussels, 1992, ill. Exhibitions: Ronny Van de Velde Gallery, Antwerp, Belgium, Nam Jun Paik-Joseph Beuys-Panamarenko, 1990; Städtische Galerie im Lehnbachhaus, Munich, Paradoxe des Alltags, 1991; The Watari Museum of Contemporary Art, Tokyo, Irony by Vision, 1991; International Art Center, Hasselt, Panamarenko, 1991; Toyama-The Museum of Modern Art, Kamakura, 1992; The Bunkamura Museum of Art, Tokyo, 1992; The National Museum of Art, Osaka, 1993; Fukuyama Museum of Modern Art, Fukuyama, 1993

Galerie de la Béraudière

jean dubuffet

Jean Dubuffet (Le Havre 1901-1985 Paris) Barbe de la sentence inique, 1959 Prints collage and India ink on paper 51 x 33.5 cm Signed and dated upper right: J. Dubuffet 59 Dated and inscribed on the reverse: Barbe de la sentence inique, juin 59 Provenance: Galerie Daniel Cordier, Paris; collection Claude Hersaint, Paris; collection Hélène Anavi, Paulhiac (acquired in 1965); sale Sotheby’s, New York, 27 March 1984, lot 50; Richard L. Feigen & Co., New York; private collection (acquired from the above in 1987); sale Christie's, Paris, 20 October 2022, lot 10; private collection, Belgium Literature: Max Loreau, Catalogue des travaux de Jean Dubuffet, As-tu cueilli la fleur de barbe, Fascicule XV, Paris, 1985, n° 53, ill. p. 36

Kunsthaus Kende

Classicist wine ewer Silver Ghent, 1780 Silversmith Joannes Paulus H 34 x Ø 11.4 cm (widest part) Weight 808.4 gr. Amphora-shaped body standing on a central baluster foot with a subtly curved spout and a lid following its shape. The circular body is adorned with classicist palmette decoration and a laurel wreath. The recessed shoulder is decorated with an acanthus frieze, completed by a beaded frieze at the top. The curved handle is connected to the laurel wreath at the bottom by a leaf-shaped spandrel and merges into the richly decorated socket at the top in the form of two leafy tendrils. This is a very elegant and generously proportioned classicist wine jug, outstandingly executed and presented in excellent, museum-quality condition. The original handle, presumably made of pear, is also completely undamaged. The visual decoration is in excellent condition throughout, and not overpolished in any areas. Due to the very representative design, as well as the details of the highest craftsmanship – note in particular the fine satin finish in the recesses of the acanthus leaves of the upper handle mount – a noble origin can definitely be attributed to this piece. The work of the Belgian silversmith Joannes Paulus can be traced back to between 1774 and 1784. The offer refers exclusively to the silver wine jug. Any other accessories shown serve solely to illustrate the proportions and are not included in the offer.

Gallery Sofie Van de Velde

james ensor

James Ensor (Ostend, 1860-1949) The Kingdom of Venus, 1921 Oil on canvas 50.5 x 61 cm – framed: 64.5 x 75 cm Signed bottom left corner Provenance: Gallery Sofie Van de Velde; private collection; sale Galerie des Beaux-Arts (Renaissance), Brussels, December 16th, 1941, n° 78 ('Le Bonheur'); sale G. Rosen, Frankfurt, October 11th, 1960, n° 408 ('Das Reich der Venus'); Galerie Wilhelm Grosshennig, Düsseldorf Literature: Xavier Tricot, James Ensor. Leven en werk. Oeuvrecatalogus van de schilderijen, Mercatorfonds, Brussels, 2009, n° 514, p. 357 repr. in colour

Van Herck-Eykelberg

leon spilliaert

Léon Spilliaert (Ostend 1881-1946 Brussels) Le rêve. Femmes dansantes et oiseaux, 1916 Pencil and chinese ink on paper 25 x 25 cm Signed and dated lower right This work will be included in the forthcoming catalogue raisonné being prepared by Dr. Anne Adriaens-Pannier

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

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

Galerie Raf Van Severen

paul klee

Paul Klee (Münchenbuchsee 1879-1940 Locarno) Kronen-Narr (Crown Fool), 1938 Gouache, brush and ink on newsprint laid on board 48.9 x 32.4 cm Signed bottom right ‘Klee’ Titled and dated on the paper backing, bottom centre Provenance: Hans and Erika Meyer-Bentelli, Bern until 1955; Berggruen & Cie, Paris, 1955-58; Saidenberg Gallery, Inc., New York, 1958-59; James Wise, Geneva, New York and Nice from 1959; Nahum Goldman, Jerusalem until 1983; collection of Sidney Rothberg, Philadelphia, Pennsylvania Literature: Paul Klee-Stiftung, Kunstmuseum Bern, Paul Klee: Catalogue Raisonné, Band 7, 1934-1938, Thames and Hudson, London, 1998-2004, p. 344, n° 7250 (ill.) Exhibitions: 1957, Amsterdam, Stedelijk Museum, Paul Klee; 1957, Brussels, Palais des Beaux-Arts, n° 97a

Galerie Bernard De Leye

Madonna and Child, 1774 Silver Master silversmith, François-Joseph Baudoux (France, 1720-1788), Lille hallmarks H 69 x W 26 x D 21 cm Literature: Master silversmith listed in Nicole Cartier-Les orfèvres de Lille, Cahier du Patrimoine vol. II pp. 671-691 Renowned for his talents, François-Joseph Baudoux obtained the most prestigious commissions in Lille, mainly for the Church of Sainte Madeleine. He was a member of the Lille Academy of Arts when it was founded in 1773. Under the fold of the robe are the Poinçon de Reconnaissance, Poinçon de Jurande, Poinçon de Maître Orfèvre.

Cortesi Gallery

heinz mack

Heinz Mack (Lollar, Germany 1931) Untitled, 2017 Glazed ceramic, burnished gold H 20 x W 37 x D 4.5 cm Signed, dated central on reverse 'mack 17' Provenance: the artist's studio

Herwig Simons Fine Arts

Armor box 'Daimyo Hitsu' Japan, Edo period (1603-1868), 18th century Black lacquered wood 'ro-iru-nori' with a decoration of Man type 'Kuyō' H 64.5 x W 145 x D 64 cm Quadrangular shape decorated with the coat arms of the Hosokawa clan, in gold and green polychrome and coral scrolls of peony flowers. The brass fittings are incised with scroll decorations and two brass side handles Provenance: Ariane Dandois gallery, Paris (purchased in the 1990's) Note: History of the Hosokawa clan, YouTube Related works: a lacquer box with the coat of arms of the Hosokawa clan is presented in the Metropolitan Museum (ref.2015.500.2.28). A Jinbaori with the coat of arms of the Hosokawa clan is presented in the Eisei Bunko Museum (Japan)

Galeria Jordi Pascual

josé guerrero

José Guerrero (Granada 1914-1991 Barcelona) El Alba, 1967 Oil on canvas 146 x 114 cm Certificate of authenticity by Comité José Guerrero Provenance: Elliot M. Katz Living Trust, EE.UU; Galería Juana Mordó, Madrid; Galeria Buchholz, Lisbon Literature: Francisco Baena, Serge Guibault, Juan Antonio Ramírez, Yolanda Romero and Inés Vellejo Ulecia, José Guerrero Catálogo Razonado, Vol I 1931-1969, Ed. Diputación de Granada, 2008, p. 564, fig. 460 Exhibition: Galería Buchholz, Lisbon, 'José Guerrero', April 1967

De Jonckheere

Pieter Neefs The Elder (Antwerp 1578/1590-after 1656/1661), and the participation of Frans Francken The Younger (Antwerp, 1581-1642) for the figures Church Interior, inspired by Antwerp Cathedral Oil on panel 41.5 x 71 cm Signed Peeter De Neef Franck In. Stamped on the back with the mark MV of the manufacturer Michiel Vriendt, active in Antwerp between 1615 and 1637, and the arms of the City of Antwerp Provenance: Letizia Bonaparte Collection (1750-1836); Charles Talbot Collection (1753-1827), through Lucien Bonaparte; Bertram Arthur Talbot Collection, 17th Earl of Shrewsbury, 17th Earl of Waterford (1832-1856) Alton Towers, Stafford; Sale, Shrewsbury, Christie & Manson, London, 4 July, 1857, lot 300; Sholto Charles John Hay Douglas Collection, 20th Earl of Morton (1906-1976); Sotheby’s, London Belgravia, 28 July 1976, lot 42; private collection, Spain

Galerie Raf Van Severen

gustave van de woestyne

Gustave Van de Woestyne (Ghent 1881-1947 Brussels) Adrienne De Zutter au violon, 1920 Oil on canvas 208 x 110 cm Signed bottom left Dedicated 'To Adrienne De Zutter', signed with the artist's initials and dated on the back Provenance: collection of the model, Adrienne De Zutter (1905-1989), future Mrs. Paul Van de Woestyne (1905-1963), himself the son of the writer Karel Van de Woestyne (1878-1929) and nephew of the painter; private collection, Europe (by descent to the current owners, grandchildren of the model and great-grandnephews of the painter) Literature: Kultureel Centrum Mechelen, Gustave Van de Woestyne, 1881-1947, 1967; Museum Voor Schone Kunsten, Ghent, Gustave Van de Woestyne, 2010, n° 78 “Adrienne De Zutter au violon” is a masterclass by the Belgian painter Gustave Van de Woestyne (1881–1947). Van de Woestyne was a prominent member of the first group of the ‘School of Latem’, and this portrait is a beautiful example of his very distinctive and own personal style. On a first and quick look, we see a majestic lady, gracefully rising above the landscape, painted in peaceful duff coloring. Her violin in hand and modestly dressed, she is depicted in a fairytale landscape composed of two trees with graceful silhouettes, perhaps umbrella pines, rising from stylized valleys, and a rose, worthy of Saint Exupéry's Little Prince, in the foreground on the right. The upper part of the sky is simply described by means of a royal blue band in the manner of Hiroshige prints. How do we analyze this? Where does this come from? First, for his technique, we need to go back to Van de Woestyne’s youth. In 1902, a young Gustave went to an exhibition for the first time, one of the Flemish Primitives, like Jan van Eyck and Pieter Bruegel. It would leave an eternal mark on him. Gustave uses a sharp outline of the figures in his works, resulting in a sober and symbolic representation of the model. Secondly, regarding the color palette, we take a little step in Gustave’s life. At the time of the execution of the painting, Gustave had huge admiration for Douanier Rousseau. However, the actual inspiration for the coloring lies in Italy. In 1913, he toured Florence and Tuscany with Valerius De Saedeleer. The many fresco’s and mural paintings have a typical softer and lighter use of colors. So, we can say that, regarding coloring he leaned less towards the warm and dark coloring of the Flemish Primitives and more to the works of their Italian contemporaries. At the outbreak of the First World War, the Van de Woestynes fled the country, only to return in 1919. Around that time, Van de Woestyne soon settled with his family in in the Rozenhuis (or House of Roses) in Waregem, belonging to art lovers and philanthropists Charles De Zutter and his wife Marguerite Taelman. It was here, Van de Woestyne made a portrait of their daughter Adrienne De Zutter. The ties between the De Zutter and Van de Woestyne families predate the Great War. Beyond these friendly relations, the couple played a genuine role as patrons for the artist, as is evident from the booklet of the Van de Woestyne retrospective in Brussels (Palais des Beaux-Arts, 1929). In an unpublished supplication that the painter addressed, on February 5, 1929, to Marguerite Taelman to encourage her to lend her works after an initial refusal, he also stated: 'Without your paintings I must not show those of other collections because, as you know as well as I do, yours are the best.' If it is therefore very likely that the portrait of Adrienne was commissioned by the De Zutters, it is also possible to imagine that Gustave was touched by the languid and pale beauty of his model, who would marry the eldest son of his brother Karel in 1929. The exceptional quality of this painting and detailed story behind it, elevates it to the status of an absolute masterpiece.

Whitford Fine Art

joseph lacasse

Joseph Lacasse (Tournai 1894-1975 Paris) Balancement, 1948 Oil on canvas 81 x 100 cm Signed and dated lower right and signed, dated and inscribed verso Lacasse Estate inventory number dia n° 390 Provenance: the estate of the artist

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.

Marc Heiremans

dino martens

Dino Martens (Venice, 1894-1970) For Aureliano Toso Murano, Italy, 1953 Oriente Rubinio (model 5242) Free-blown glass decorated with enclosed ground glass, flattened zanfirico pieces and transparent coloured glass squares H 34 x Ø 14.5 cm Provenance: acquired from an important German collection Literature: Heiremans M, Dino Martens, Muranese glass designer, Stuttgart, 1999; Heiremans M, Vetreria Aureliano Toso, Murano 1938-1968, Stuttgart, 2016 Exhibitions: XXVIa Espoizione Biennale Internazionale d'Arte, Venice 1952; Vidros de Murano em Lisboa, Lisbon 1961 The present object represents not only the Muranese fifties in full splendor by the combination of bold primary colors but is on its own also emblematic for the glass designs of the Venetian painter Dino Martens. Technically seen, it is the culmination of Martens experiments in coloring glass through ground glass. This series was presented as the 'Oriente', named after their vivid coloring - at the time a novelty on Murano - which reminded Martens of his years in East Africa. The line was firstly presented at the XXVI Biennial of Venice in 1952. Though seemingly arbitrarily, the composition - which consists of ground glass, transparent colored glass squares, flattened zanfirico canes and fragments of broken reticello vessels - was first carefully arranged on a flat surface before being heated and picked-up with a colorless blown form. Iconic because designed by a painter, alien to glass making.

Douwes Fine Art b.v.

rembrandt van rijn

Rembrandt van Rijn (Leiden 1606-1669 Amsterdam) The Angel appearing to the Shepherds, 1634 Etching, engraving and drypoint on laid paper 26.4 x 22.1 cm Signed and dated lower right ‘Rembrandt f. 1634’ With a 3-4 mm wide margin around the borderlines On laid paper with watermark: 'Seven Provinces' (sub-variant D.a.), cf. Erik Hinterding, Rembrandt as an etcher. Catalogue of watermarks (words), vol. II, p. 253 (1634) Provenance: private collection, Germany; Karl & Faber, Munich; private collection, The Netherlands; Douwes Fine Art, Amsterdam Literature: Bartsch 44; White/Boon 44; The New Hollstein Dutch 125 Third state (of VI); Nowell-Usticke C 2; plate in existence in the Thrivent Collection of Religious Art in Minneapolis, MN, USA

Guy Pieters Gallery

christo and jeanne-claude .

Christo (Gabrovo 1935-2020 New York) and Jeanne-Claude (Casablanca 1935-2009 New York) The Mastaba (Project for Abu Dhabi, United Arab Emirates), 2013 Pencil, charcoal, wax crayon, pastel, hand-drawn technical data and map, enamel paint, wash and tape Left part: H 165 x W 38 cm Right part: H 165 x W 106 cm

Francis Maere Fine Arts

emile claus

Emile Claus (Sint Eloois-Vijve 1849-1924 Astene) Clearing over London, 1918 Oil on canvas 76.5 x 63.5 cm Signed and dated lower left 'Emile Claus Londen 18' and on the back 'Emile Claus maert 1918' Provenance: Family Carpentier, Ghent

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.

Galerie Lowet de Wotrenge

Frans Francken I or Frans Francken the Elder (Antwerp, 1542-1616) The Amazons fighting at Troy, circa 1600 Oil on copper 34 x 41.5 cm With thanks to Dr. Ursula Häerting for confirming the attribution to Frans I Francken and for providing a written certificate Provenance: sale, Christie's London, 13 March 1987, lot 31; private collection, Mallorca Frans I 'the Elder' Francken was born in Herentals in 1542. His father, Nicolaas Francken, was an obscure painter whose oeuvre remains unknown, but can be seen as the founding father of one of the most important dynasties of artists in the Southern Netherlands. Both Frans and his siblings Ambrosius and Hieronymus - who were to become painters as well - were first taught by their father. Karel van Mander mentions in his Schilder-boeck that Frans was later a pupil of the leading Antwerp Romanist painter Frans Floris. He became a member of the Antwerp guild of St Luke in 1567, and served several times as its dean. Frans Francken married Elisabeth Mertens; the couple had many children, of whom six were still alive at the time of his death in 1616: Thomas, Frans ('the Younger'), Hieronymus, Ambrosius, Magdalena and Elisabeth. The four sons all became painters and received their initial training from their father, who also taught several other pupils, such as Gortzius Geldorp. Much like his teacher Frans Floris, Frans Francken was one of the principal painters in Antwerp in the initial decades of the Counter-Reformation, working on many altar pieces which were commissioned to replace the ones that had been destroyed by the iconoclasm of the Calvinists. For these projects he regularly collaborated with his brothers; for example, for an Adoration of the Magi triptych (Brussels, Royal Museums of Fine Arts of Belgium and London, Brompton Oratory), which bears his monogram as well as that of his brother Hieronymus (along with both brothers' portraits in profile, which they impishly included in the wings of the tryptich). Stylistically, Frans' early work was clearly indebted to Frans Floris; later on he developed his own, more classicising style, although he remained first and foremost a mannerist painter. He seems to have been skilled at portraiture, too. Besides large-scale pictures, he also produced small-size cabinet pictures, often painted on copper - a genre in which his son Frans II would excel. The present work is a beautiful example of such production, and a valuable addition to the small body of work that can be attributed to him in this genre, as has been confirmed by Dr. Ursula Härting in a written certificate dated October 4th, 2023. She dates the present work to around 1600, or possibly a bit earlier. This small oil on copper depicts the Amazons fighting in front of the city of Troy, which can be seen in the background. According to Homer's Iliad, the Amazon queen Penthesilea had led her troops to Troy in support of King Priam in his fight against the Greeks. The queen, who can be seen in the foreground spearing a hapless Greek, was a fearless warrior who could best any man (according to one version of the story, she even killed Achilles, who was however subsequently brought back to life by Zeus). Ultimately, however, Penthesilea was slain by Achilles, who - according to some authors - fell deeply in love with her at the very moment of her death.

Galerie de la Présidence

geer van velde

Geer van Velde (Netherlands, Lisse 1898-1977 Cachan, France) Composition-L'atelier, circa 1953 Oil on canvas 100 x 100 cm Signed lower right with the initials 'GvV' Signed on the reverse 'G. van Velde' Certificate of authenticity by Pierre François Moget This work will be included in the catalogue raisonné of Geer van Velde Painted Work currently in preparation by Pierre François Moget. Provenance: private collection, France