This section will be available this Autumn.
Almine Rech
Tom Wesselmann (Cincinnati 1931-2004 New York) Long Beach Seascape, 1991/95 Alkyd oil on cut-out aluminum 99.1 x 190.5 cm Signed and dated on the back Provenance: the estate of the artist Tom Wesselmann’s creative approach was in constant evolution throughout his long and productive career. Never one to follow artistic convention, he continually sought new materials and formats. His fascination with innovative surfaces and technologically advanced techniques drove him to push aesthetic and formal frontiers, as seen in 'Long Beach Seascape'. In the 1980s, Wesselmann developed a laser cutting technique that opened up a new world of creative possibilities. Using this novel method, the artist delighted in transposing his bold visual vocabulary into works that challenged the boundaries between painting, drawing, and sculpture. Speaking to the New York Times in 1985, Wesselmann couldn’t contain his enthusiasm for the new medium: 'I've just had the best year of my life [...] I always work in a kind of near ecstasy, anyway, but there's really been something about the new work that grabbed me.'' Centering dynamic line and vibrant colour, 'Long Beach Seascape' demonstrates the artist’s endless pursuit of radical forms of creative expression.
Galerie Taménaga
Pierre-Auguste Renoir (Limoges 1841-1919 Cagnes-surMer) Paysage de Cagnes, 1900 Oil on canvas 24 x 54 cm Signed with initials lower left 'AR' This work will be included in the forthcoming catalogue raisonné of the work of Pierre-Auguste Renoir currently in preparation by the Wildenstein Plattner Institute. Provenance: Ambroise Vollard, Paris; private collection, Japan Literature: Ambroise Vollard, Pierre-Auguste Renoir, Tableaux, pastels et dessins, Alan Wofsy Fine Arts, San Francisco, 1989, n° 612, 1185 and 1330, ill. pp. 155, 258 and 279
Dr. Nöth kunsthandel
Armand Guillaumin (Paris 1841-1927 Orly) Bords de l'Orge à Epinay, 1890 Oil on canvas 81 x 65 cm Signed lower right Certificate of authenticity from the Comité Guillaumin This work will be included in the second volume of the forthcoming catalogue raisonné currently in preparation. Provenance: Galerie Durand-Ruel, Paris; Clara de Plessis Whelan, New York; Sale Parke-Bernet Galleries, New York, 7 November 1946, lot 65; Mr. Jussaume, Buenos Aires; Mr. Foret, Buenos Aires; private collection, France (acquired from the above in 1956); Christie's London 7 February 2001, lot 127; private collection, Texas
CKS Gallery
Edwin Lord Weeks (Boston 1849-1903 Paris) A game of chess on a Cairo street, 1879 Oil on canvas 72 x 100 cm (unframed) 110 x 137 cm (framed) Signed and dated lower left 'E.L. Weeks 1879' Letter of authentification issued by Mrs Ellen K. Morris, dated 20 May 2010 This painting will be included in the forthcoming catalogue raisonné of the artist currently in preparation by the Edwin Lord Weeks’ expert, Mrs Ellen K. Morris
Stern Pissarro Gallery
Glenn Brown (Hexham, 1966) Drawing 2 (after Delacroix/Raphaël), 2019 Acrylic on polyester film laid down on cardboard 109.2 x 94 cm Signed and dated lower right 'Glenn Brown 2019' The work bears the artist's signed label on the reverse Provenance: Galerie Max Hetzler, Berlin; private collection, Belgium; acquired from the above Exhibitions: Paris, Musée national Eugène Delacroix, Glenn Brown, 10 October-9 December 2019; Berlin, Galerie Max Hetzler, And Thus We Existed, 30 October 2020-23 January 2021, n° 6, pp. 40-41, 43-44, 125, 152 (ill., p. 41, detail ill., p. 43, exhibition view ill., pp. 44, 125)
Galerie Perrin
Odilon Redon (Bordeaux 1840-1916 Paris) Femme de profil, circa 1901-1905 Oil on paper mounted on panel 52 x 49.7 cm (unframed) 71 x 68 cm (framed) Signed lower right 'Odilon Redon' This work will be included in the forthcoming catalogue raisonné currently in preparation by the Wildenstein Plattner Institute Provenance: collection Roger Imbert
Galerie de la Présidence
Sonia Delaunay (Ukraine, Hradyzk 1885-1979 Paris) Rythme couleur, 1972 Gouache on paper 54.5 x 38 cm Signed lower right Certificate of authenticity issued by Jean-Louis Delaunay and Richard Riss Provenance: private collection, Paris This is one of the preparatory gouaches for the 'Album Les Illuminations', containing 15 stencils, illustrating 9 poems by Arthur Rimbaud
Bernardini Milano
Rolex, Bienne Rare yellow gold 'oyster chronograph', 1956 18k yellow gold, watch in prestine condition Provenance: previously unknown to the market Edition of 36 made made in 18k yellow gold (edition of the late 50s) The untouched case and extensible bracelet host a perfect creamy silvered dial. The watch is complete of its original box, papers, invoice and various communications between owner and the Swiss Maison. It is a benchmark in terms of rarity and conservation.
Artimo Fine Arts
Émile Jespers (Deurne 1862-1918 Antwerp) Reclining Female Nude on a Wave, circa 1907 Model created in 1907 Carrara marble H 36 x W 70 cm Signed on the base 'E. Jespers' This refined Carrara marble depicts a reclining female nude stretched across a dynamically carved rocky form evocative of a breaking wave. Resting on her forearms, her head gently raised and turned towards the viewer, the figure follows a long, sinuous movement from the shoulders through the waist and hips to the crossed legs. Jespers exploits the contrasting treatment of the marble to reinforce the composition. The smooth, highly polished surface of the female body emerges from the vigorously worked base, whose rougher texture and irregular contours suggest the movement of water. The sweeping silhouette of the figure follows the rhythm of the wave beneath her, closely associating the female body with the natural element. The composition belongs to the Symbolist and Art Nouveau exploration of the relationship between the female figure and nature that developed in Belgian sculpture around the turn of the twentieth century. It may notably be considered in relation to Charles Van der Stappen’s La Mer of 1902, conceived for Victor Horta’s Hôtel Solvay in Brussels, in which the female figure is similarly associated with the imagery of the sea. The plaster model is documented in 1907 through signed and dated versions of the composition, described as a reclining female nude and, more explicitly, as a nude woman reclining on a wave. The present Carrara marble corresponds closely in composition and dimensions to this documented example.
Verdini Antiques
Domenico Morelli (Naples, 1823-1901) Cesare Borgia in Capua, 1854 Oil on canvas 131 x 183.5 cm Provenance: Count Tasca d'Almerita of Palermo Literature: Almerinda Di Benedetto, 'The painted history: Domenico Morelli and the Sack of Capua' in Rosanna Cioffi, Ornella Scogliamiglio, MOSAIC, Themes and methods of art and criticism for Gianni Carlo Sciolla, vol. 2, Luciano Editore, 2012 Exhibition: Exhibition of Fine Arts in Palermo, 1856, presented as: Cesare Borgia after the siege of Capua makes women who had taken refuge in a basement of the castle draw It is above all through the letters to his friend Pasquale Villari that we know the various moments of the work that allow the painter Domenico Morelli to complete the painting 'Cesare Borgia in Capua', commissioned by the wealthy German entrepreneur Ettore Giulio Marstaller. On September 26, 1849 Domenico Morelli wrote to Villari that Marstaller had been very interested in a 'drawing sketch representing Cesare Borgia after the capture of Capua who chooses among the women locked up in a tower 40 of the most beautiful and we agreed that he will execute the painting of the same size as the bodies, with torchlight'. The relationship between the painter and the client was somewhat troubled, to the point that Domenico Morelli proposed the painting to another buyer. Completed in the spring of 54, due to Marsteller's death, the painting was sold in January of the following year to Count Tasca d'Almerita of Palermo. In 1856 the painting was thus presented at the Exhibition of Fine Arts in Palermo with the title 'Cesare Borgia after the siege of Capua makes women who had taken refuge in a basement of the castle draw', obtaining enthusiastic judgments to such an extent that in the magazine 'Il Poligrafo' the regret of not being able to grant the Neapolitan painter a diploma of gratitude, as the regulation provided for it only for Sicilian artists. The certain motivations for Morelli's choice of this dramatic historical event are not known, but, as Almerinda Di Benedetto points out, it is shown 'certain, however, that the identification of an event so historically full of meaning, both for the terribleness with which the events took place, and for the very strong symbolic message transmitted by the behavior of the Capuans, strenuous and indomitable defenders of their own land and of the moral and civil values linked to it, appears more than appropriate in an era permeated by deep Risorgimento and patriotic moods'. In relation to the terrible decision of the ruthless Duke Valentino to perpetrate an unprecedented massacre in Capua to the detriment of the helpless population, which came to count a few thousand victims, the professor and researcher Almerinda Di Benedetto recommends the 'very recent publication by Giancarlo Bova, Il sacco di Capua, July 24, 1501, in which the author contributes, with the contribution of unpublished documents, to make greater clarity on the chilling story of the memorable massacre'. As far as the purely pictorial aspect is concerned, in the year 1925 Vittorio Spinazzola would have condensed the description of the work in the following lines: 'the lush canvas, in which all the virtues of his imagination, his brush, the wise research, the sensuality of the forms, the tumultuous yet Latinally contained impetus of the composition were employed, connecting to our Venetian or seventeenth-century Neapolitan tradition, in which the wonderful bottom of battlemented walls and towers glimpsed in a gold dust and the mastery of the groupings, the glimpses, the nudes, would be enough to show how much his mastery of the drawing, the brush, the form would be enough'.
Gallery Sofie Van de Velde
Georges Vantongerloo (Antwerp 1886-1965 Paris) Spiral with Certain Spots, 1946 Oil on masonite 73.8 x 58.8 cm Signed and dated: 'Spirale avec certaines taches Paris 1946 G. Vantongerloo' (title / verso) Provenance: Georges Baines collection (acquired directly from the artist); Bernard Baines; private collection, Switzerland; Galerie Ronny Van de Velde, Antwerp Literature: Georges Vantongerloo, Paintings, Sculptures, Reflections, in Problems of Contemporary Art n° 5, New York, 1948, n° 176, Wittenborn, fig. 44; Georges Vantongerloo: A Traveling Retrospective Exhibition, Corcoran Gallery of Art / Dallas Museum of Fine Arts / Los Angeles County Museum of Art, Loiseau, Brussels 1980, p. 146; Jan Ceuleers, Ronny Van de Velde, Georges Vantongerloo 1886-1965, Antwerp, OCNO, 1996-1997, n° 176, ill. p. 157; Serge Lemoine, Georges Vantongerloo (1886-1965). A Pioneer of Modern Sculpture, Musée Matisse, 2007, ill. p. 148; Larkin Erdmann, Five Years, Zurich, 2019, pp. 83-84; Ostend, Mu.ZEE, Belgium-Argentina. Transatlantic Modernisms, 1910–1958, 2022 Exhibitions: Paris, Palais des Beaux-Arts de la Ville de Paris, 1st Salon des Réalités Nouvelles. Abstract Art, Concrete Art, Constructivism, Non-Figurative, July 1946; Zurich, Kunsthaus Zürich, Antoine Pevsner, Georges Vantongerloo, Max Bill, 15 October-13 November 1949, n° 78; Washington, Corcoran Gallery of Art, Georges Vantongerloo. A Traveling Retrospective Exhibition, 22 April-17 June 1980, n° 176 (later shown in Dallas and Los Angeles); Brussels, Royal Museums of Fine Arts of Belgium, Georges Vantongerloo 1886-1965, 23 January-16 March 1981, n° 176; Zurich, Kunsthaus Zürich, Georges Vantongerloo, 3 April-17 May 1981, n° 176; Antwerp, Ronny Van de Velde, Georges Vantongerloo 1886-1965, 15 December 1996-31 March 1997, OCNO n° 176; Barcelona, MACBA-Museu d’Art Contemporani de Barcelona, Force Fields: Phases of the Kinetic, 19 April-18 June 2000, n° 232 (later at the Hayward Gallery); Le Cateau-Cambrésis, Musée Matisse, Georges Vantongerloo 1886-1965, A Pioneer of Modern Sculpture, 28 October 2007-2 March 2008 (later at Mu.ZEE); Madrid, Museo Nacional Centro de Arte Reina Sofía, Georges Vantongerloo: A Longing for Eternity, 3 November 2009-22 February 2010
Galerie Jean-François Cazeau
Victor Vasarely (Pecs 1908-1997 Paris) EG-2, 1965 Acrylic on canvas 160 x 160 cm Signed in the centre Counter-signed, titled and dated on the reverse Provenance: artist’s studio; Galerie Denise René, Paris; private collection, France Certificate of Authenticity by Pierre Vasarely dated 26 July 2020
Harold t’Kint de Roodenbeke
Pol Bury (La Louvière 1922-2005 Paris) L’étourdie, 1945 Oil on canvas 60 x 70 cm Signed lower right and dated 1945 Provenance: collection C. Matisse, La Louvière; sale Horta, Brussels, 12 October 2009, lot 208; private collection, Liège This work is listed in the Catalogue raisonné of the Pol Bury paintings under n° PO 46 Literature: José Vovelle, 'Le surréalisme en Belgique', Brussels, André De Rache éditeur, 1972, p. 248, ill. p. 308; Viviane Baras-Flament, 'Pol Bury, 2014', bibliographical reference, 1974, ill. pl III; Philippe Roberts-Jones, Naissance et triomphe du surréalisme en Wallonie', 1975, ill. p. 297; Robert Hoozee, Piet Boyens, Inge Henneman, Monique Tahon-Vanroose, Helke Lauwaert, Serge Goyens de Heusch, Ronny Gobyn, 'L’art moderne en Belgique 1900-1945', Antwerp, Fonds Mercator, 1992, ill. p. 312; Rosemarie E. Pahlke, 'Pol Bury', Ghent, Crédit communal, 1994, pp. 102-103, cat 45-6, ill. p. 103; Histoire de ne pas rire, le surréalisme en Belgique, Bozar et Fonds Mercator, 2024, ill. p. 152 Exhibitions: Galerie Lou Cosyn, Brussels, Pol Bury, Juin 1946, n° 9; Musée des Beaux Arts de Liège, 'L’apport Wallon au surréalisme', October-November 1955, ill. n° 4; La Louvière, 'Introduction au surréalisme en Belgique, community hall, April-May 1969, n° 8; Kunstverein Hamburg, 'René Magritte et le surréalisme en Belgique', January-March 1982, n° 3, ill. p. 229; Galleria Nazionale d’Arte Moderna, Rome, April-July 1982; Musées Royaux des Beaux-Arts de Belgique, September-December 1982; Château de Waroux, Alleur, 'Pol Bury, du surréalisme aux ramollissements', April-June 2010; Château de Waroux, Alleur, 'De Dali à Magritte, l’aventure surréaliste', March-July 2011
Vagabond Antiques
After the antique, Chiurazzi Foundry (Attributed to) Naples, second half of the 19th century Bronze head of a man (possibly Dionysus) Bronze on original Rosso Antico marble socle H 70 cm Provenance: private collection at Chateau De Pesselières, France Literature: Fonderia Chiurazzi, Napoli, catalogue n° 1 'Dionisio o Platone-Bronzo da Ercolano 1741' A finely cast bronze by the Chiurazzi Foundry, Naples, after the celebrated antique excavated at Herculaneum in 1741 and now preserved in the Museo Nazionale di Napoli (inv. 5618). The model is recorded in the Chiurazzi Foundry catalogue as 'n° 1 - Dionisio o Platone - Bronzo da Ercolano 1741', indicating both the foundry’s internal model number and the Naples museum inventory of the original. The figure’s soft modelling, elaborate curls and bound taenia are characteristic of Hellenistic representations of Dionysus, though early scholars, struck by the introspective expression, also proposed identifications with Plato or other philosophers. Modern scholarship accepts the Dionysian attribution. Chiurazzi held exclusive rights to reproduce works from the Naples collections, issuing casts directly from museum models for export to collectors and institutions across Europe and America. This example, with its even dark patination and original Rosso Antico marble socle, reflects the exceptional quality for which the foundry became renowned.