This section will be available this Autumn.
_KeithHaring_T638618282919270749.png?width=410&height=2000&qlt=90&scale=both&mode=max&format=jpeg)
QG Gallery
keith haring
Keith Haring (Reading 1958-1990 New York) Plate 13 Photostat (from the Blueprint Drawings portfolio), 1981 Photostat on paper 105 x 125 cm Signed lower right ‘K. Haring’, signature and date stamped lower right ‘Jan 16 1981 Keith Haring’ Unique work Provenance: gift from the artist circa 1981; private collection, USA; private collection, USA; Wright, May 2024; private collection, Belgium Literature: Keith Haring: Editions On Paper 1982-1990, Littmann, p. 174 discusses series, p. 181 illustrates realized screenprint
Harold t’Kint de Roodenbeke
Raoul Dufy (Le Havre 1877-1953 Forcalquier) Régate sur la Marne, 1925 Watercolour on paper 50 x 65 cm Signed lower right Provenance: collection of the Belgian artist Jean Milo; acquired in 1943 Literature: Fanny Guidon-Lafaille, Catalogue raisonné, tome II, n° 1227, ill. p. 63 Exhibition: Brussels, 1943, n° 72
Floris van Wanroij Fine Art
jan mertens
Jan Mertens the Elder (active in Antwerp circa 1473-1509) Saint Anne Selbdritt, circa 1490-1500 Oak, carved in high relief H 85 cm Provenance: private collection, The Netherlands; anonymous sale, Christie’s, Amsterdam, 23 March 1983, lot 228, with ill.; With Limburg Antiquairs; Brouwershaven, Zierikzee and Düsseldorf, 1983-1984; private collection, Antwerp Literature: Stuurman-Aalbers, J & Stuurman, R., Internationaal Jaarboek Kunst en Antiek Veilingopbrengsten 1982, Utrecht/Antwerp, 1983, Spectrum, p. 180, n° 8, with ill.; Tableau (Dec 1983/Jan 1984). As Nether Rhine circa 1500, with ill.; Engelen, C., Jan Mertens en de laatgotiek, Confrontatie met Jan Borreman, Essay tot inzicht en overzicht van de laatgotiek, Leuven, 1993, p. 121, with ill. (chapter VII, Sint-Anna-Ten-Drieën, pp. 119-127). Reference literature: BRAFA catalogue, 2005, p. 362
Thomas Deprez Fine Arts
james ensor
James Ensor (Ostend, 1860-1949) Portrait of Léon Rinskopf, Futur Baron du Rat Mort, 1903 Conté crayon, coloured pencils, watercolour and gouache on laid cream paper 16.6 x 13.4 cm - framed: 36 x 32 cm Signed, annotated, located and dated: ‘Portrait de Léon Rinskoff [sic]/futur baron du Rat Mort/Ostende 1903/James Ensor’ This drawing is accompanied by a certificate from the official Ensor Advisory Committee, 2023 Provenance: private collection, Belgium Exhibition: Joodse sporen in Oostende, Ostend and Antwerp, organised by Zahava Seewald, 2000 Literature: Laurence Madeline et al., Ensor, Paris: Musée d’Orsay, New York: The Museum of Modern Art, 2009, ill. fig. 60, pp. 78-79 Related Literature: James Ensor, Discours en noble languaige de chevalerie, in: Les Écus, Ostende : G. Daveluy ed., Le Rat Mort, 1904, p. 16. Reprinted and re-edited in many forms Related works: James Ensor, Au conservatoire, 1902, oil on canvas laid down on board, 56.5 x 71.5 cm, Musée d’Orsay, Paris (inv. RF 2009 4), given by the artist to Léon Rinskopf Portrait of Léon Rinskopf (1862-1915), artistic director of the Kursaal in Ostend and conductor of its symphonic orchestra. Dressed in smoking and wearing a crown, he is represented with an asparagus between the teeth in reference to a conducting baton. Ensor projected himself on the figure of his friend, by affiliating his likeness to his own, and by pinning a prominent medal of the Ordre de Léopold on his chest and baton, which Ensor received himself that same year. In the top right corner a dead rat is a direct reference to the Compagnie du Rat Mort, of which Ensor was a founding member and which was legendary for its masked balls and its burlesque character.
Galerie Nicolas Bourriaud
Eva Aeppli (Switzerland, Zofingen 1925-2015 Honfleur, France) Taureau Floréal, 1991 Bronze with shaded brown patina H 36 x W 23 x D 24.5 cm Titled 'Taureau Floréal' and numbered 6/8 Cast by Susse Frères Paris, stamped 'Resygram' This proof, number 6, was commissioned by the artist and cast by the Susse foundry in July 1991 Pursuing her questioning of humanity by linking it to the cosmos, Eva Aeppli found in astrology a spiritual and formal repertoire in which she could work tirelessly for almost two decades. After the Planets (1975-1976), then the Erinyes (1977), goddesses of vengeance from Greek mythology, whom she associated with Pluto, Neptune and Uranus, she tackled the Zodiac (1979-1980), each of the 12 heads expressing the character of the astrological signs; such is the case of Taurus, with its heavy sensory appetites. The result is a striking head sewn in fabric and partly cast in bronze, with refined yet eminently expressive features, the scars drawn by the seams on the surface. It's a confrontation that leaves no viewer untouched. From a private collection in France, this head is remarkably in keeping with her tormented path as a creator who cannot be assigned to any particular artistic movement, which is what makes it so exceptional.
Kunstconsult 20th century art I objects
lino tagliapietra
Lino Tagliapietra (Murano, 1934) Samarcande vase with filigree in clear and pink glass, 1989 Designed in 1981 and made for Effetre International 1989 H 15 x Ø 24 cm Provenance: collection Snijder, Aerdenhout Literature: Giovanni Sarpellon, Lino Tagliapietra Glass, Publisher Arsenale, p. 44
Philippe Heim
Kathleen Petyarre (Australia, circa 1930-2018) Devil Lizard Dreaming, 2010 Acrylic on canvas 137 x 137 cm Created and exhibited: Abbaye de Daoulas 'Grand Nord-Grand Sud. Artistes Inuits et Aborigènes', 2010; Chemins du patrimoine en Finistère in co-production with the Musée des Confluences - Département du Rhône Collections: The Metropolitan Museum, New York; Musée du Quai Branly, Paris; Musée des Confluences, Lyon; Art Gallery of South Australia, Adelaïde; National Gallery of Australia, Canberra; National Gallery of Victoria, Melbourne
Galerie Cento Anni
edouard marcel sandoz
Edouard Marcel Sandoz (Basel 1881-1971 Lausanne) Fennec assis, circa 1922 Bronze H 13 cm Signed Ed. Sandoz, foundry stamp Susse frères, Paris Lost wax Provenance: private collection, Belgium Literature: Félix Marcilhac, Sandoz sculpteur figuriste et animalier, Les Éditions de l'Amateur, Paris, 1993. Model repr. p. 365
Stéphane Renard Fine Art
giuseppe porta
Attributed to Giuseppe Porta (Tuscany 1520-1575 Venice) Allegory of Chastity Black chalk and white highlights on faded blue paper, lined with laid paper 15.5 x 12.8 cm 17th century Dutch frame in ebony veneer Provenance (of the drawing): Sir Peter Lely (1618-1680), his mark lower right (Lugt 2092), until its sale in April 1688, when our drawing was bought by William Gibson (1644-1702) from the inscription on the verso; Sir Lawrence Gowing (1918-1991), label on the original mounting board Provenance (of the frame): Marquis Carlo Camillo Visconti Venosta (1879-1942), from a stamped inscription on the verso of the frame; Cadres Lebrun
Claes Gallery
Songye Mask Democratic Republic of Congo, Katanga Presumed period: late 19th-early 20th century Wood, pigments H 31.8 cm Provenance: acquired in situ by John Henry (aka Jack) Sandground in Ebombo, 1934; passed on to descendants; American private collection, Washington Amongst Songye masks, a general distinction was made in reference to the function of male and female masks. Male masks (bifwebebalume) were involved in rites of passage. On the other hand, female masks (bifwebe bakashi), which appeared on the occasion of the death or investiture of a chief and during lunar rites, were an integral part of the symbolic composition of these rituals, animating benevolent spiritual forces through dance. This mask is a female ‘kikashi’ mask, as indicated by the two-tone white and black, the absence of a sagittal crest and the flat nose. According to Plasmans, ‘the female kifwebe animates the vital forces through dance, calling upon the benevolent spirits of the forest. The woman, as the bearer of children and thus of good fortune, perpetuates the lineage and simultaneously also the magical essence of buci. In this way, female masks represent the continuity of life and cultural tradition. The presence of the passive female mask in the composition of bwadi society accentuates and completes the dialectical opposition of the active force of the male masks'.
Willow Gallery
marc chagall
Marc Chagall (Vitebsk 1887-1985 Saint-Paul de Vence) Esquisse pour ‘Le Shofar’, 1976 Pastel, gouache and graphite on paper 48 x 31 cm - framed 76 x 59 cm Signed. Executed Sils, winter 1973 This painting is accompanied by a certificate of authenticity from the Comité Marc Chagall Provenance: estate of the artist; thence by descent
Van der Meij Fine Arts
janus la cour
Janus la Cour (Denmark, Tim Parish 1837-1909 Odder) From Bordighera, 1898 Oil on canvas 45 x 73.5 cm Signed lower right: 5.I.98 janus la Cour Provenance: estate auction Janus la Cour, Charlottenborg Copenhagen, December 1909, lot 119; private collection, Copenhagen Literature: Rikard Magnussen, Landskabsmaleren Janus la Cour. 1837-1909 (Copenhagen, 1928), n° 780