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Art et Patrimoine - Laurence Lenne
Reliquary 'in the form of a sarcophagus with a hinged roof' Limoges, mid-13th century Gilt copper plates, champlevé enamels H 11.8 x W 27.5 x D 9.5 cm Literature: Inventaire général des monuments et des richesses artistiques de la France. Emaux limousins du Moyen Age. Correze/Creuse/Haute-Vienne, under the direction of Paul-Édouard Robinne, Éditions de l’Inventaire, Images du Patrimoine, 1995; Emaux de Limoges XIIè-XIXè siècle, under the direction of Jacques Toussaint, Museum of Ancient Arts of Namur, 1996; Valérie & Thomas Becket, De l'influence des princes Plantagenêt dans l'Oeuvre de Limoges, Municipal Museum of the Bishop’s Palace-Museum of Enamel, Limoges, 1999 A reliquary, without a wooden core, taking the shape of a sarcophagus with a hinged roof. It is made of gilt copper plates and decorated with champlevé enamels depicting sixteen half-length angels emerging from clouds against a white enamel background. The decoration consists of two superimposed registers of three engraved gilt angels set within round medallions. The medallions stand out against a blue enamel ground adorned with gilded Gothic foliage and interlace patterns. This reliquary belongs to a series of standardised reliquaries known from the Limousin region, all dating from the 13th century. Its dimensions make it one of the largest examples of this 'sarcophagus with movable roof' type. It is closely related to the exceptional large reliquary of Saint-Yrieix-la-Perche, classified as part of the Treasure of the French Historic Monuments.
Van Pruissen Asian Art
yoshitsugu
Hattori Taira Yoshitsugu Yagami School Tsuba with 'Thousand Monkeys' Carved iron Japan, late 18th century Ø 7.1 cm Signed 'Yoshitsugu' An iron tsuba intricately carved in openwork (nikubori ji-sukashi) with a lively multitude of monkeys, including the famous Three Wise Monkeys. Their eyes and the rim are accented in gold using nunome-zōgan. The maker, Hattori Taira Yoshitsugu, was a pupil of Yagami school founder Noda Mitsuhiro and teacher of Onitake Toshiyoshi. The Yagami school, active in Nagasaki in the late 18th century, is renowned for its 'Thousand Monkeys' motif, as also seen in a comparable example in the Metropolitan Museum of Art (inv. n° 91.1.751).
Galerie Nicolas Bourriaud
jacq orlande sinapi
Jacq Orlande Sinapi (Marseille, 1911-1989) Bison, circa 1940 Bronze with nuanced brown patina Cast by Leblanc-Barbedienne and bearing the foundry's stamp H 50 x W 57 x D 21 cm Signed ‘Jacq Orlande Sinapi’ Only two pieces known to date Provenance: private collection, France
De Jonckheere
pieter brueghel the younger
Pieter Brueghel the Younger (Brussels 1564-1638 Antwerp) The Payment of the Tithe or the Village Lawyer, 1622 Oil on panel 78.9 x 123.2 cm Signed and dated: P. BREVGHEL, 1622 Provenance: private collection, Belgium; Galerie Legenhoek, Paris, 1991; private collection, France Literature: Ertz, Klaus, Pieter Brueghel der Jüngere: Die Gemälde mit kritischem Oeuvrekatalog, Lingen, Luca Verlag, Vol. I, 2000, p. 513, cat. E 507, repr.; Curie, Christina, Allart, Dominique, The Brue[H]el Phenomenon, Brussels, Royal Institute for Cultural Heritage, vol. III, p. 1030-1031 This Payment of the Tithe, or The Village Lawyer, is marked by Pieter Brueghel the Younger’s verve, meticulous execution, and vibrant colours. The satirical subject mocks the profession of the lawyer responsible for collecting the heavy tax that the poorest peasants struggled to pay. The grotesque faces of the petitioners, as well as the lawyer’s prognathous jaw - associating him with the Spanish authorities then in power - fascinate through their caricatural force. This original composition by Pieter Brueghel the Younger stimulated the market of the time, generating strong demand. The success of this still-relevant satire has endured to the present day.
Galerie Hadjer
fernand léger
Fernand Léger (Argantan 1881-1955 Gif-sur-Yevette) (after) & Yvette Cauquil-Prince (Belgium, Dampremy 1928-2005 Tresques, France) La parade sur fond rouge Created in 1975 Wool 280 x 400 cm Woven by Yvette Cauquil-Prince in Paris (pictogram lower right) Tapestry number 1/1 - Unique Piece Provenance: Yvette Cauquil-Prince; Paul Haim collection; private collection, USA Literature: Masters of the 20th century, KunstHausWien Exhibition: KunstHausWien, 10 February-14 May 2000, Vienna
Galerie Alexis Bordes
paolo anesi
Paolo Anesi (Rome, 1697-1773) View of the Ponte Cestio from the Tiber island Oil on canvas 28 x 48 cm Provenance: anonymous sale, Paris, Hôtel Drouot (Maître Baudoin), May 31st, 1919, lot n° 98 (Vanvitelli, View of a city-houses rise on both banks of a river crossed by a stone bridge. In the foreground, on the ground to the right, a fragment of a fluted column and a broken capital); private collection, France Literature: Olivier Michel, Biographical Research on Paolo Anesi, in Publications de l'École Française de Rome, Vivre à peindre à Rome au XVIIIe siècle, vol. 217, 1996, pp. 319–334 Praised during his lifetime as one of the most brilliant vedute painters of the eighteenth century in Italy, Paolo Antonio Anesi nevertheless remains a figure whose life and work are still little studied. Active in Rome, Anesi never left his native city. The panoramas offered by its hills provided him with a multitude of striking viewpoints. The Aventine, one of Rome’s seven hills, appears to have been a favourite subject. To produce his painting, Anesi positioned himself on the Isola Tiberina, a small island in the middle of the Tiber, connected to the left bank by the Ponte Cestio and to the right bank by the Ponte Fabricio.
Maurice Verbaet Gallery
Jef Verheyen (Belgium, Itegem 1932-1984 Apt, France) Hommage à Fontana, 1959 Oil, collage on canvas 50 x 60.5 cm Provenance: Hans Liechti, Grenchen; private collection, Switzerland Literature: Willy Van den Bussche and Léonore Verheyen, Retrospective Jef Verheyen 1932–1984 (Ostend/Bruges: PMMK – Provincial Museum of Modern Art / Stichting Kunstboek, 1994), p. 76 Exhibitions: Retrospektive Jef Verheyen 1932-1984, Josef Albers Museum Quadrat, Bottrop, 10 July-4 September 1994; Retrospectieve Jef Verheyen 1932-1984, PMMK Museum voor Moderne Kunst Ostende, 26 March-13 June 1994
Objects With Narratives
ben storms
Ben Storms (Ghent, 1983) Ex Hale coffee table, 2024 Miel onyx H 32 x W 180 x D 90 cm Provenance: the artist's studio Ex Hale is a marble table that mimics the shape of a monumental cushion, resulting from a transformation of materials. Two metal sheets are blown up with the same technique that Ben Storms first used for his In Vein and In Hale tables. The resulting cushion shape is then scanned in 3D, after which a CNC machine mills the same shape from a block of marble. Ex Hale plays with our common notions of materiality: the hard stone looks soft instead, an impression that is further enhanced by the delicate surface treatment.
Franck Anelli Fine Art
claude corneille de lyon
Claude Corneille de Lyon (The Netherlands, The Hague 1500-1575 Lyon, France) Portrait of a wealthy merchant wearing a fur-lined coat and gold chain, circa 1560 Oil on panel 15 x 18 cm Certificate from Dr. Alexandra Zvereva This painting will be included in the supplement to the artist's forthcoming Catalogue Raisonné This unpublished small portrait fits naturally into the later works of one of the most illustrious portraitists of the French Renaissance. Referred to in contemporary documents by the name of his hometown, La Haye, he later became known simply as 'Corneille' until André Félibien, who believed him to be from the banks of the Rhône, added the name 'Lyon' in the index of his Entretiens. Born and trained in the Netherlands, probably in Flanders, the artist settled in Lyon as early as 1533. There, he succeeded Jean Perréal, the portraitist of Charles VIII and Louis XII, renowned for his intimate portraits with coloured backgrounds. By the mid-1530s, Corneille had gained such fame that he found himself painting the courtiers accompanying the king to Lyon, as well as the Sons and Daughters of France. However, unlike Perréal, his career was not that of a royal artist following the court. He never left Lyon, and his titles of "painter to the Dauphin" and later "painter and ordinary valet to the king" were purely honorary, primarily granting him the privileges of royal officers. The prominent citizens of Lyon, wealthy French and foreign merchants, high-ranking royal officers, well-to-do bourgeois, and magistrates made up the bulk of his clientele. Corneille created small-scale portraits for them, painted in just a few sitting sessions directly onto panels. Intended for family and close associates, these works had no official circulation and existed in only one unique copy, unlike portraits of the nobility, of which Corneille often made replicas that were widely circulated. The subject of this portrait is not a nobleman, despite his evident wealth. His attire is simple, a dark brown-black without any ornamentation, slashing, or jewels. The white ruff of his shirt is not starched. His high cap, fashionable in the 1550s-1560s, lacks a plume, a privilege reserved for the nobility, as it was associated with the feathers adorning knights' helmets. However, the man does possess a certain fortune, as evidenced by his fur-lined cloak of marten with wide lapels and a large gold chain with three rows of links, favoured by the Flemish. The medallion on the chain is cropped by the frame. This is almost certainly a prosperous merchant, eager to demonstrate his success and preserve the memory of his features for his family. The absence of any inscription on the reverse, giving the name of the subject, makes identification impossible, since no replica or engraving exists. Despite previous restorations, particularly to the face and background, the distinctive characteristics of Corneille’s art are clearly visible here, such as the rough sketching of the ear, the sloping shoulders that make the head appear slightly disproportionate to the torso, the treatment of the hair with individual strands, the brilliant irises crossed by an oblique ray of light, and the broader brushstrokes in the clothing.
Samuel Vanhoegaerden Gallery
Bram Bogart (Delft 1921-2012 Sint Truiden) Hooigang, September 1964 Mixed media on canvas, mounted on wooden panel 106 x 124 cm Signed, dated and titled on reverse Provenance: D & R Hughes, London, 1989; private collection, Belgium Literature: Bram Bogart, The early years, 1951-1965, D & R Hughes, 1989, ill. n° 49
Claes Gallery
Dan 'deangle' Mask Ivory Coast, Dan people Presumed early 20th century Wood and pigment H 25 cm Provenance: Hubert Goldet (1945–2000), Paris, until 1972; Lucien Van de Velde (1933-), Antwerp, from 1972 to 1975; René (1901-1998) & Odette (1925–2012) Delenne, Brussels Literature: Arts d’Afrique Noire 34, 1988, p. 49; Utotombo, Kunst uit Zwart-Afrika in Belgisch privé-bezit, de Heusch, Brussels, 1988, p. 148, fig. 59; A ‘Harley Mask’ at the Cleveland Museum of Art: More on Masks among the Mano and Dan Peoples, Petridis, African Arts, Vol. 45, n° 1, 2012, p. 31, fig. 8; Trésors de Côte d’Ivoire, Neyt, Fonds Mercator, Brussels, 2014, p. 44-45, fig. 18 (indication: H. 26 cm); The Language of Beauty in African Art, Petridis, The Art Institute of Chicago, 2022, p. 207, fig. 164 Exhibitions: Utotombo. Kunst uit Zwart-Afrika in Belgisch privé-bezit, Palais des Beaux Arts, Brussels, 25 March-5 June 1988; The Language of Beauty in African Art, The Art Institute of Chicago, Chicago, 20 January 2022-27 March 2023 Originating from the northwest of Côte d’Ivoire, near the borders of Liberia and Guinea, the Dan are an agricultural people who primarily cultivate rice and cassava. Their way of life, complemented by hunting, fishing, and gathering, is rooted in a patrilineal society without a central authority, structured around clans led by chiefs chosen for their prestige, bravery, or agricultural success. Relations between clans, often marked by rivalries, gave rise to a rigorous social organization: young warriors ensured the group’s defense, while chiefs reinforced their influence through feasts and gifts. Local power rested on a balance between the chief, the council of elders, and the male associations, which upheld discipline, guided the initiation of young men, and preserved community cohesion. The Dan distinguish between two worlds: that of the village - a humanized and social space - and that of the forest, the realm of spirits and natural forces. It is within this duality that their art takes root, renowned for its independence and for the diversity of its styles from one village to another. In their pursuit of formal perfection, Dan artists express through their works an ideal of beauty that is both spiritual and harmonious. A symbol of this aesthetic quest, the Dan 'deangle' mask is characterized by its regular oval shape, polished surface, narrow eyes, short nose, and full, slightly parted lips. The raised scarifications emphasize the geometry and graphic strength of the composition. Of an elegance imbued with softness and femininity, it embodies the Dan ideal of beauty. Used within the Leopard secret society (go), associated with the pacifying spirit zlan, this mask served as an intermediary between young initiates and the village community. First exhibited and published for the general public in 1988, this exceptional work was most recently presented (in 2022) at the Chicago Museum. The mask’s deep gaze, highlighted by a fine band across the eyes, captures the viewer’s attention. Its patina, with warm brown reflections, and its concave form lend it a presence that is both powerful and serene.
Galerie Nicolas Bourriaud
emile gilioli
Emile Gilioli (Paris, 1911-1977) Obélisque, circa 1960 Marble sculpture H 88 x W 25.5 x D 24 cm Signed 'Gilioli' Unique piece Provenance: the artist's studio Literature: Pierre Descarges, La logique de Gilioli, XXe siècle, Juin 1970, n° 34, p. 70; Ionel Jianou, Hélène Lasalle, Gilioli, Paris, 1971
Galerie Nicolas Bourriaud
marcelle delcour - guinard
Marcelle Delcour-Guinard (Switzerland, Meyrin 1896-1978 France) Bather, 1931 Marble sculpture H 172 x W 45.5 x D 46 cm Signed ‘M Delcour-Guinard’ and dated 1931 Unique piece Provenance: the artist's family collection Exhibition: Salon des Artistes Français, 1932, Baigneuse, statue de marbre, n° 3675 Born in Cointrain (Canton of Geneva), Marcelle Delcour trained at the Regional School of Fine Arts in Rennes and studied under the sculptors Laurent Marqueste (1848–1920) and Victor Ségoffin (1867–1925), the head of the sculpture studio for female students at the École nationale supérieure des beaux-arts in Paris. In 1920, she married the painter Robert Raoul André Guinard (1896–1989), with whom she spent two years in Morocco in 1934. Upon returning to France in 1936, the couple settled in a small village called Crécey, in the commune of Saint-Pair-sur-Mer: he painted, she sculpted. Benefiting from the post–Second World War reconstruction projects, she received numerous commissions from Canon Pinel to restore works of art preserved in the churches of the Manche region. Anne Delcour-Guinard exhibited regularly at the Salon des Artistes Français from 1924 to 1932. In 1924, the committee of the Association des artistes peintres, sculpteurs, architectes, graveurs et dessinateurs (Fondation Taylor) awarded her the Prix Galimard-Jaubert on May 27. In 1925, she received an honourable mention, and in 1932, a bronze medal for La Baigneuse, a marble sculpture. The work was then displayed in a place of honour at the centre of the nave of the Grand Palais. The sculpture is indeed remarkable for its life-size proportions and its distinctive 1930s style, which, in the spirit of Art Deco, celebrates the female form - elongated, elegant, and liberated. She is embodied here as the garçonne: short-haired, athletic, and modern, asserting her nudity without false modesty, revealed through the graceful gesture of her folded arm and offered to the viewer’s gaze.
Galerie Flak
Hemba ancestor figure Singiti (commemorative portrait of a chief) Democratic Republic of Congo-Upper Congo River 19th century or early 20th century Carved wood H 86.5 cm Provenance: Mia van Bussel collection, Amsterdam; Kevin Conru collection, Brussels; Adrian Schlag collection, Brussels; Guilhem Montagut collection, Barcelona Literature: Lexikon der Afrikanischen Kunst, Karl-Ferdinand Schaedler, Munich, 1994, p. 242
Gallery de Potter d’Indoye
georges jacob
Pair of bergères 'à la Reine' Georges Jacob (Cheny 1739-1814 Paris) France, Louis XVI period Carved and gilded wood H 100 x W 69 x D 61 cm Stamped Georges Jacob Provenance: Jacques Perrin, Paris, 1997 Pair of carved and gilded wood Bergères with rounded backs, decorated with acanthus leaves and an interlacing frieze. Tapered and caned legs with gadroons. The arched crest surmounts padded armrests, the frames carved with guilloche patterns and foliage, resting on turned fluted legs, stamped G. Jacob. Georges Jacob, received as master on the July 5th, 1765, is the most famous of all the 18th-century French menuisiers. Unlike his colleagues, Jacob founded his company from scratch in 1765 and moved his workshops to Rue Meslée in 1775. This is where the most brilliant period of his career took place and where the major royal commissions were produced. From 1773 he was solicited by the Garde-Meuble de la Couronne, for which he continued to work until the Revolution. In addition to the Queen and, to a lesser extent, the King, his clientele included the main members of the royal family and its entourage. As ordinary carpenter to Monsieur, Count of Provence and brother of the King, the future Louis XVIII, he furnished most of his homes. He also worked for the Count of Artois, another brother of the King and future Charles X, Madame Élisabeth, sister of Louis XVI, the Prince of Condé, the Duke of Penthièvre, the Duke of Bavaria and Deux-Ponts Charles-Théodore, etc.
