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Dr. Nöth kunsthandel + galerie
albert marquet
Albert Marquet (Bordeaux 1875-1947 Paris) Le Jardin à l'Estaque, 1918 Oil on board 32.8 x 41 cm Signed lower left: Marquet, titled and signed on the reverse: Jardin à l'Estaque d'Albert Marquet This work is accompanied by an original attestation of inclusion from the Wildenstein Plattner Institute, and it will be included in the forthcoming Albert Marquet Digital catalogue raisonné. WPI Reference n° 21.10.14/20934, 20 January 2022 Provenance: Galerie Druet, Paris; René Keller, Director of Galerie Druet, Paris; private collection, France, gift from the above; Galerie Couleur du Temps, Paris, circa 1944; Sale: Me Etienne Ader, Me Antoine Ader, Me Jean-Louis Picard, Me Jacques Tajan, Palais Galliera, Paris, Tableaux Modernes, Aquarelles et Dessins modernes, November 26, 1976, n° 104; private collection, Paris; Galerie Boulakia, Paris, acquired from the above, 1988; Galerie de la Présidence, Paris; private collection, Woodside, California, acquired from the above, 1989; thence by descent to the present owner, Carmel, California Exhibition: Galerie Couleur du Temps, Paris, Marquet et quelques maîtres contemporains [Exposition inaugurale], March 21-April 15, 1944, n° 6 (as Jardin de l'Estaque)
Zebregs&Röell Fine Art and Antiques
Indo-Portuguese colonial mother-of-pearl veneered casket with silver mounts India, Gujarat, 2nd half of the 16th century, the silver mounts Goa or probably Lisbon H 16 x W 24.6 x D 16.1 cm An exceptional Gujarati casket with a rectangular box and truncated pyramidal lid (with slopes on each side and a flat top) made from exotic wood, probably teak (Tectona grandis), covered with a mother-of-pearl mosaic. The tesserae, cut from the shell of the green turban sea snail (Turbo marmoratus, a marine gastropod) in the shape of fish scales, are pinned to the wooden structure with silver ball-headed nails. The casket is set on bracket feet on the corners. The masterfully engraved decoration of the silver mounts follows the most refined and erudite Mannerist repertoire of rinceaux and ferroneries dating from the mid-sixteenth century. The high quality and refinement of the silver mounts and, likewise, the silver nails that replaced the original brass pins used to hold the mother-of-pearl tesserae in place indicate the work of a silversmith probably working in Lisbon in the second half of the sixteenth century. The Indian origin of this production, namely from Cambay (Khambhat) and Surat in the present state of Gujarat in north India, has been consensual and fully demonstrated for the last three decades, not only by documentary and literary evidence - such as descriptions, travelogues and contemporary archival documentation - but also by the survival in situ of sixteenth-century wooden structures covered in mother-of-pearl tesserae. A fine example is a canopy decorating the tomb (dargah) of the Sufi saint, Sheik Salim Chisti (1478-1572) in Fatehpur Sikri in Agra district in the state of Uttar Pradesh, north India. This is an artistic production, geometric in character and Islamic in nature, where usually the mother-of-pearl tesserae form complex designs of fish scales or, similar to the dishes also made using the same technique with thin brass sheets and pins, stylised lotus flowers. The truncated pyramidal shape corresponds, like their contemporary tortoiseshell counterparts also made in Gujarat, to a piece of furniture used in the Indian subcontinent within the Islamic world prior to the arrival of the first Portuguese. This shape is very old and specific to East-Asian caskets, chests or boxes used to contain and protect Buddhist texts, the sutras. A similar chest is the famous and large reliquary chest from Lisbon Cathedral that once contained the relics of the city's patron saint, Saint Vincent. Both match in shape, having the same kind of pedestal and bracket feet, and in their engraved silver mountings, featuring the same type of refined, erudite decoration. Their differences lie in the silver borders that frame the entire length of the edges of the chest (both the box and the lid), pinned with silver nails, and on the lock plate, shaped like a coat of arms in the Lisbon example. Given the exceptional dimensions of the reliquary casket from Lisbon Cathedral (48 x 65 x 42 cm), the goldsmith responsible for its mounting opted to place two bracket-shaped side handles instead of a top handle, as in our casket. Another similar example, probably mounted in the same Lisbon workshop as the other examples from this small group, belongs to the Seville Cathedral and still needs to be discovered. It shares many features in common with the one in the Lisbon cathedral, namely the use of engraved silver borders running along the edges, protecting the casket. An aspect that distinguished it from the others is the use of tesserae cut from Turbo marmoratus, which show a higher iridescence but also cut from the shell of the pearl oyster, probably Pinctada radiata or Pinctada maxima, given the whitish hue of the base colour. Nevertheless, the type of square-like lock plate is similar to our casket. Another example, slightly larger but with fewer silver mounts, is in the collection of the Kunstkammer Wien in the Kunsthistorischen Museums in Vienna (inv.no. GS Kap 5) and belonged to the Habsburger Family. The same type of large silver ball-headed nails seems to be characteristic of this small, rare and important group, of which the present example is the second known example in private hands, given that the others have been in their current place since the time they entered their collections in the late sixteenth century or the first years of the seventeenth century.
A&R Fleury
alicia penalba
Alicia Penalba (1913-1982) Grande annonciatrice, 1965 Bronze with patina 90 x 140 x 70 cm Signed and numbered “APenalba 1/5” The work is referenced in the catalogue raisonné during the exhibition 'Alicia Penalba, escultora', MALBA, Buenos Aires, 2016-2017, under n° 48b p. 107
Galerie Oscar De Vos
gustave van de woestyne
Gustave Van de Woestyne (Ghent 1881-1947 Brussels) Christ in the spring garden, 1907 Oil on board 58 x 40 cm Signed and dated top right: GUSTAVE / VAN DE WOESTYNE 1907 Provenance: René Van Herrewege, Ghent; André Vyncke-Van Eyck, Ghent; Galerie Vanlangenhove, Ghent; Galerie Oscar De Vos, Sint-Martens-Latem; private collection, Belgium Literature: Borchert e.a., Van Eyck. Een optische revolutie (2020), pp. 456-457, p. 497, cat. n° 19.9 (ill.); Boyens, Sint-Martens-Latem. Kunstenaarsdorp in Vlaanderen (1992), pp. 265-266; Boyens, Een zeldzame Weelde (2001), pp. 24-25, p. 69, p. 211, cat. n° 77 (ill.); Boyens, Symbolisme in Vlaanderen (2022), p. 70, n° 60 (ill.); De Geest e.a., Gustave Van de Woestyne 1881-1947 (1997), p. 107, cat. n° 7 (ill.); Gepts, Gustave Van de Woestyne 1881-1947 (1981), p. 76, cat. n° 6 (ill.); Haesaerts, L'Ecole de Laethem-Saint-Martin (1945), p. 162; Hoozee e.a., Gustave Van de Woestyne (2010), pp. 62-63, cat. n° 8 (ill.); Langui, Gustave Van de Woestyne (1967), cat. n° 10; Pauwels e.a., De eerste groep van Sint-Martens-Latem 1899-1914 (1988), p. 101, p. 176, cat. n° 52 (ill.); Pauwels, Als een fonkelenden spiegel (2019), 178 (ill.); Schoonbaert, Religieuze thematiek in de Belgische Kunst 1875-1985 (1986), p. 147, cat. n° 47 (ill); Stubbe, De Vlaamse schilderkunst van Van Eyck tot Permeke (1953), pp. 364-365; Van de Woestyne e.a., Gustave Van de Woestyne 1881-1947 (1970), p. 24, cat. n° 13; Van de Woestyne, Gustave Van de Woestyne (1929), p. 3, cat. n° 7; Van den Abeele, Albijn Van den Abeele (1993), p. 187 (ill.); Vanbeselaere, Vlaamse schilderkunst 1850-1950 (1960), p. 39, cat. n° 112 Exhibitions: 1929, Brussels, Palais des Beaux-Arts, Gustave Van de Woestyne, n° 7; 1953, Ghent, Museum voor Schone Kunsten, Schilderijen uit Gentse Verzamelingen; 1960, Laren, Singer Museum, Vlaamse schilderkunst 1850-1950, n° 112; 1967, Mechelen, Cultureel Centrum, Gustave Van de Woestyne, n° 10; 1981, Antwerp, KMSKA, Gustave Van de Woestyne 1881-1947, n° 6; 1986, Brussels, Galerij ASLK, Religieuze thematiek in de Belgische kunst (1875-1985), n° 47; 1988, Brussels, KMSKAB, De eerste groep van Sint-Martens-Latem, n° 52; 1997, Deinze, MuDeL, Gustave Van de Woestyne 1881-1947, n° 7; 2001, Ghent, Museum voor Schone Kunsten, Een zeldzame weelde n° 77; 2010, Ghent, Museum voor Schone Kunsten, Gustave Van de Woestyne, n° 8; 2012, Deinze, MuDeL, Ecce Homo: de Heilige Bloedprocessie van Meigem; 2020, Ghent, Museum voor Schone Kunsten, Van Eyck. Een optische revolutie, n° 19.9
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Francis Janssens van der Maelen
henry van de velde
Henry van de Velde (Belgium, Antwerp 1863-1957, Oberägeri, Switzerland) Art Nouveau flat desk (detail), circa 1898 Sycamore wood, double-sided, the top is covered with black leather in its centre 129.50 x 73 cm Certificate of authenticity from Professor Klaus-Jürgen Sembach This desk is a variation of a games table that was in the collection of Villa Esche Provenance: private collection, France Literature: Catalogue of the exhibition L'Art Nouveau en Belgique, Brussels, Palais des Beaux-Arts, 19 December 1980-15 February 1981, p. 266 n° 143; Wolf D. Percher, Henry van de Velde - Das Gesamtwerk, Edition Factum, p. 94, ref 1318, p. 151, ref. 3406, p. 229, ref. 1317. This desk will be presented in a book about Henry van de Velde written by Bea Maybach from the Bauhaus-Museum in Weimar in Germany Exhibition: L'Art Nouveau en Belgique, Brussels, Palais des Beaux-Arts, 19 December 1980-15 February 1981
Brame & Lorenceau
sol lewitt
Sol LeWitt (Hartford 1928-2007 New York) Asymmetrical pyramids, 1985 Gouache on paper 55.4 x 74.8 cm Signed and dated on the lower right: S. LEWITT 1985 Provenance: private collection, Oslo; Jörg Maass Kunsthandel, Berlin; private collection, USA; private collection, Paris
Galerie Bertrand de Lavergne
Set of seven Chinese pendants for Court Ladies Turquoise, agate, amethyst, carnelian, smoked and citrinated rock crystal, jadeite and bi-colored tourmaline depicting a goddess, different animals, fruits or aquatic plants, some with their original mounts China, late Qing dynasty (1644-1912) From 4 to 5.5 cm
Claes Gallery
Dan Mask Ivory Coast, late 19th century Wood H 23 cm Provenance: Dr. Alexander Rafaeli collection (1910-1996), Israel Literature: Masks of Primitive Peoples from The Collection of Dr. Alex Rafaeli, written mention p. 6; n° 15; Back cover; Art of Primitive People. Masks from the collection of Dr. Alex Rafaeli. Sculptures from other Collections, written mention p. 4, n° 16 Exhibition: The National Museum Bezalel, Jerusalem, 7 February-7 March 1953; Museum of Modern Art, Haifa, November 1955
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HELENE BAILLY Paris-Genève
pablo picasso
Pablo Picasso (Malaga 1881-1973 Mougins) Le Peintre (Mousquetaire aux 2 visages), 1967 Oil on canvas 100 x 81 cm Signed: Picasso and dated: 21/2/67 at the top left Provenance: Louise Leiris Gallery; Galerie Taménaga (label on reverse); former Pierre and Jeannine Consten collection Literature: Christian Zervos, Pablo Picasso vol. 25 - oeuvres de 1965 et 1967, Editions Cahiers d'Art, Paris, 1972, n° 281, repr. in black and white pl. 126; Catalogue Exposition Internationale du Figuratif, 1971, ed. Tokyo ado banku, repr. in colour; Alan Wofsy, The Picasso's Project, Paintings, Watercolors, Drawings and Sculpture, The Sixties, Part II, 1964-1967, enlarged second edition, San Francisco, 2023, p. 302, n° 67-075
Thomas Deprez Fine Arts
emile fabry
Emile Fabry (Verviers 1865-1966 Brussels) A monumental triptych, including: Le péché originel, Les Déesses de la Vie and Prométhée & Pygmalion, circa 1896 Oil on canvas 246 x 138 cm | 249 x 205.5 cm | 245 x 140 cm All canvases waxed and retouched The middle panel carrying a certificate by Edmond Delescluze, the artist's son-in-law, dated April 6th 1990 Provenance: by descent in the family of the artist, after his death in 1966; former collection Suzanne Fabry and Edmond Delescluze, the artist’s daughter and son-in-law; triptych dismantled and sold separately, with different provenances on request; United again for the first time under single ownership, 2023 Literature: a list of contemporary press critiques available on request; Jacqueline Guisset, Emile Fabry 1865-1966, Brussels, Fonds du Patrimoine de Woluwe-Saint-Pierre, 2000, ill. pp. 75, 77 & 78; Sébastien Clerbois, L’Esotérisme et le Symbolisme belge, Anvers, Pandora Publishers, 2012, ill. p. 104 Exhibitions: Exposition du Cercle Pour l'Art, Brussels, 1896; Retrospective Emile Fabry, Woluwe-Saint-Pierre, Centre culturel, 2000
Galerie La Patinoire Royale Bach
michel mouffe
Michel Mouffe (Brussels, 1957) Tous les matins du monde, 2015 Mixed technique on canvas (9x) H 70 x W 43 cm, in total: H 70 x W 495 cm Provenance: the artist's studio Literature: Alphabet, 2017, Conversation Joel Benzakin and Michel Mouffe; Tous les matins du monde, exhibition catalogue, Galerie La Patinoire Royale Bach Exhibition: Michel Mouffe: Tous les matins du monde, Galerie La Patinoire Royale Bach, 2023
Kunsthaus Kende
Ryuhei Sako (Japan, Okayama Prefecture 1976) Mokume-gane Mizusashi, 2021 Silver, copper, shakudo, shibuichi, kuromido H 16.5 cm x Ø 18.5 cm Provenance: the artist's property Works by Ryuhei Sako form part of the inventory of the Victoria & Albert Museum, London, as well as of the Metropolitan Museum of Art, New York
Galerie Taménaga
kees van dongen
Kees van Dongen (Delftshaven 1877-1968 Monaco) Place de la Concorde, 1920 Oil on canvas 81 x 100 cm Signed lower right: van Dongen Provenance: A. Rueff; Galerie Urban, Paris; Galerie Paul Pétridès, Paris; private collection Literature: Louis Chaumeil, Van Dongen Geneva, 1967, n° 160; Jean Melas Kyriazi, Van Dongen après le Fauvime, Lausanne, 1976, p. 105, ill. in colour p. 143; New York, Galerie Taménaga, Kees Van Dongen, mai 1990, n° 9; Tokyo, Panasonic Shiodome Museum of Art, Kees Van Dongen: From Fauvism to Les Années folles, 2022, n° 37 ill. in colour p. 70 Exhibitions: Munich, Ausstellung der Secession, n.d.; Venice, XVII Esposizione Internazionale d’Arte della Citta di Venezia, 1930, n° 18; Paris, Musée National d’Art Moderne, Van Dongen, 1967, n° 106; Rotterdam, Museum Boymans-van Beuningen, Van Dongen, 1967-1968, n° 106; Paris, Grand Palais, Salon d’Automne, Van Dongen, 1972, n° 35; Geneva, Musée de l’Athénée, Van Dongen, 1976, n° 20; New York, Galerie Taménaga, Kees Van Dongen, mai 1990, n° 9; Tokyo, Panasonic Shiodome Museum of Art, Kees Van Dongen: From Fauvism to Les Années folles, 2022, n° 37
Costermans & Pelgrims de Bigard
ernest louis jean cremer
Ernest Louis Jean Cremer (France, 1731-1793) Mahogany quartet table, circa 1780 Louis XVI period H 74.5 x W 53.5 x D 38 cm Stamped by Cremer, received Master on July 13, 1777 Literature: P. Kjellberg, Le Mobilier français du XVIIIe siècle, Les Editions de l'Amateur 2008, p. 218
Galerie de la Béraudière
jean fautrier
Jean Fautrier (Paris 1898-1964 Châtenay-Malabry) Les feuilles vertes, 1934 Oil on canvas 73 x 60 cm Signed lower left: Fautrier Provenance: collection Jean Paulhan, France; collection Dominique Aury, France; private collection, France (by descent); Tajan, Paris, November 2022, lot 44; private collection, Belgium This work will be included in the catalogue raisonné of Jean Fautrier’s painted work currently being prepared by Madame Marie-José Lefort Literature: Palma Bucarelli, Jean Fautrier, Pittura e materia, ed. Il Saggiatore, Milano 1960, Ill. 107, p. 306 Exhibition: 1974, Paris, Galeries Nationales du Grand Palais, Jean Paulhan à travers ses peintres, cat. 563, p. 218
Chambre professionnelle belge de la Librairie Ancienne et Moderne (CLAM)
Pieter Bruegel the Elder (Brussels, 1525-1569) Invidia, Envy, one of the seven vices, circa 1558 Engraving by Pieter van der Heyden (1530-1572) Published by Hiëronymus Cock (Antwerp, 1518-1570) 29.7 x 22.6 cm References: New Hollstein Dutch 26 1(2), first state Lex Antiqua, Antiquarian Bookseller
Victor Werner
carl max kruse
Carl Max Kruse (Berlin, 1854-1942) Messenger of Victory on Marathon, circa 1900 Life-size bronze with green patina of an athlete carrying the Olympic palm H 210 x W 120 x D 50 cm Signed Max Kruse Literature: Amtsblatt Lutherstadt Eisleben, ill. p.17; Carl-Peter Steinmann: Sonntagsspaziergänge 2. Entdeckungen in Charlottenburg, Friedrichshain, Gesundbrunnen, Grunewald, Karlshorst, Prenzlauer Berg, Transit Verlag Berlin 2010, ISBN 978-3-88747-286-3; Fritz Stahl: Max Kruse. Wasmuth, Berlin 1924 Other examples can be found in the collection of the museum 'Alte Nationalgalerie Berlin', in Lutherstadt Eisleben (a town in the German state of Saxony-Anhalt) and at the sports facility in 'Gladbacher Straße', Krefeld (a town in the German state of North Rhine-Westphalia)
Franck Anelli Fine Art
jacob van hulsdonck
Jacob Van Hulsdonck (Antwerp, 1582-1647) Still life with peaches and grapes Oil on panel 64 x 50 cm Provenance: collection Grasset Exhibitions: Brueghel to Canaletto, European Masterpieces from the Grasset Collection at the San Diego Museum of Art, San Diego. 2 April-2 August 2016; A Feast for the Eyes: European Masterpieces from the Grasset Collection at the Museum of Fine Arts, St Petersburg, Florida, 23 March-2 September 2019
Studio 2000 Art Gallery
willem paerels
Willem Paerels (Delft 1878-1962 Eigenbrakel) Scheveningen boulevard, 1907 Oil on canvas 70 x 70 cm Signed lower right: Paerels Provenance: private collection, The Netherlands; private collection, Belgium; Galerij Jeanne Buytaert, Antwerp; collection M. Jefferys, Brussels (before 1924) Literature: André A. Moerman, Willem Paerels 1878-1962: retrospectieve tentoonstelling georganiseerd in het raam van het Nederlands-Belgisch Cultureel Akkoord, Brussel [etc.] 1978, p. 21, n° 11: dated ’1907’ by the artist in his notes Exhibitions: Brussels (Palais des Beaux-Arts de Bruxelles), Willem Paerels, 17 September 1968-1 October 1968 and Amersfoort (Zonnehof), 5 October 1968-4 November 1968; Brussels (Koninklijke Musea voor Schone Kunsten van België), 3 March 1978-16 April 1978 and Laren (Singer Museum), 30 April 1978-11 June 1978, Willem Paerels 1878-1962: retrospectieve tentoonstelling georganiseerd in het raam van het Nederlands-Belgisch Cultureel Akkoord