This section will be available this Autumn.
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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.
Galerie des Modernes
pablo picasso
Pablo Picasso (Malaga 1881-1973 Mougins) Moustachu, Paris, 1915 Graphite on paper 32 x 24 cm Pencil sketch on reverse Handwritten inscriptions on reverse Provenance: succession Picasso (Inv. 01666); Marina Picasso, granddaughter of the artist; Galerie Jan Krugier, Geneva (Inv. 1666), entrusted by Marina Picasso; Marina Picasso Literature: Christian Zervos, Pablo Picasso, vol. 6, Supplément aux volumes 1 à 5, Paris, Éditions Cahiers d'Art, Paris, 1954, described (with dimensions 31.7 x 23.7 cm) and reproduced p. 152 under n° 1276; Pablo Picasso Sammlung Marina Picasso, catalogue of the travelling exhibition in Germany and Switzerland, by Werner Spies with the collaboration of Eduard Beaucamp, Giovanni Carandente, Klauss Gallwitz, Siegfried Gohr, Reinhold Hohl and Günter Metken, Prestel-Verlag, Munich, 1981, described in the catalogue by Reinhold Hohl on p. 284 and reproduced on p. 285 under n° 103; Picasso: Opere dal 1895 al 1971 dalla Collezione Marina Picasso, exh. cat. of the Centro di Cultura di Palazzo Grassi, Venice, 1981, described (with the title Studio per un uomo seduto and the date Avignon 1914?) on p. 246 and reproduced on p. 247 under n° 123; Picasso, catalogue of the Australian exhibition, by Patrick Mc Caughey, Margaret Plant, Memory Holloway, Ruth Pullin, Judith Ryan, The International Cultural Corporation of Australia Limited, 1984, described and reproduced on p. 82 as n° 75 Exhibitions: Pablo Picasso Sammlung Marina Picasso, Eine Ausstellung zum hundertsten Geburtstag, travelling exhibition in Germany and Switzerland, under n° 103; Haus des Kunst München, Munich, February 14 to April 20, 1981; Joseph-Haubricht-Kunsthalle, Cologne, in cooperation with Museum Ludwig, Cologne, August 11-October 11, 1981; Städtische Galerie in the Städelschen Kunstinstitut, Frankfurt am Main, October 22, 1981-January 10, 1982; Kunsthaus, Zürich, January 29, 1982-March 28, 1982; Picasso: Opere dal 1895 al 1971 dalla Collezione Marina Picasso, Centro di Cultura di Palazzo Grassi, Venice, May-June 1981, under n° 123; Picasso. Works from the Marina Picasso Collection in collaboration with Galerie Jan Krugier, Geneva with loans from museums in Europe and the United States of America and private collections, in Australia, under n° 75; National Gallery of Victoria, Melbourne, July 28-September 23, 1984; Art Gallery of New South Wales, Sidney, from October 10 to December 2, 1984; Michel Charzat, Derain et ses amis. La Pléiade prodigieuse, Editions Gourcuff Gradenigo, Montreuil, 2024, described and reproduced in colour under the figure n° 11, p. 63
Giammarco Cappuzzo Fine Art
Bartolomeo Manfredi (Ostiano 1582-1622 Rome) The Denial of Saint Peter, circa 1618-1620 Oil on canvas 125 x 183 cm Provenance: private collection, Belgium This unpublished Denial of Saint Peter (fig. 1) is an important autograph work by Bartolomeo Manfredi, painted during his mature years. The evident elements of style and quality of this new Denial of Saint Peter, especially in its best preserved places, affirms Manfredi’s authorship, which has been confirmed by leading expert Dr. Gianni Papi.
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
Galerie Berès
Olivier Debré (Paris, 1920-1999) 'Tout vert, taches violettes et jaunes', 1986 Oil on canvas 113.4 x 162 cm Signed, titled, situated and dated on the back 'O.DEBRÉ 'Tout vert, taches violettes et jaunes' Touraine 86' Certificate of authenticity COD.23.490 issued by Sylvie Debré-Huerre dated 20 November 2023 Exhibition: Lausanne, Fondation de l'Hermitage, Basquiat, Dubuffet, Soulages... une collection privée, June-October 2016, p. 195, n° 115
Galerie de la Présidence
albert marquet
Albert Marquet (Bordeaux 1875-1947 Paris) Stockholm, Strandvägen ciel clair, 1938 Oil on panel 33.2 x 41.2 cm Signed lower left This work will be included in the Marquet digital catalogue raisonné, in preparation by the Wildenstein Plattner Institute Provenance: Albert Marquet collection, Paris; on consignment with Gösta Olson, Svensk-Franska Konstgalleriet, Stockholm; returned to Albert Marquet, Paris June 21, 1938; Madame Albert Marquet collection, Paris, by descent from above, (1947); Alex Maguy collection, Galerie de l’Elysée, Paris; sale Sotheby’s & Co, London, March 31, 1965, n° 110; private collection, Switzerland Exhibition: Utställning Albert Marquet, Svensk-Franska Konstgalleriet, Stockholm, April-May 1938, n° 38, p. 11
Galerie Cento Anni
andré lanskoy
André Lanskoy (Moscow 1903-1976 Paris) Abstract composition, 1961-1962 Oil on canvas 73 x 100 cm Signed Lanskoy Certificate of the Comité Lanskoy-Paris This work will be included in the artist's catalogue raisonné Provenance: Galerie E. Smith, Paris; Galerie Ivana de Gavardie, Paris
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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
Galerie Oscar De Vos
george minne
George Minne (Ghent 1866-1941 Sint-Martens-Latem) Kneeling youth with shell, 1923 Bronze H 70 x W 25 x D 45 cm Signed 'G MINNE' Bronze mark: Fondery Batardy / Bruxelles Provenance: Galerie Georges Giroux, Brussels (n° 3627) Literature: Berg, B. e.a., George Minne. Voorbode van de moderne kunst (2013), p. 20, p. 65, n° 10 (ill.); Boyens, P., Sint-Martens-Latem. Kunstenaarsdorp in Vlaanderen (1992), p. 569 (ill.); Devigne, M., La sculpture belge 1830-1930 (1930), n° 66 (ill.); Hoozee, R. e.a., George Minne en de kunst rond 1900, cat. (1982), p. 246, n° 209 (ill.); Poulain, N. e.a., Groeten uit 1926 (Gent: VDK Spaarbank, 1991), p. 88, n° 54 (ill.); Van de Woesyne, K., George Minne als teekenaar, in: Elseviers Geïllustreerd Maandtijdschrift (1924), pp. 289-292 (ill.); Van Puyvelde, L., George Minne (1930), n° 85, pl. 100-101 (ill.) Exhibitions: comparable copies in museum collections: MuDeL, Deinze, inv. 1032/MIN.g-9; Kunsthalle Manheim, Germany
Cabinet of Curiosities-Honourable Silver Objects
Van Cleef & Arpels brooch, Paris, 18K with 201 brilliant and 40 cabochon onyx stones, signed and numbered, circa 1960 Cartier bracelet, Paris, 18K trinity yellow gold with brilliant approx. 6.45 ct, signed and numbered Cartier earrings, Paris, 18K trinity yellow gold with 90 diamonds 1.80 ct, signed and numbered Provenance: private collection
Gilden's Art Gallery
rene magritte
René Magritte (Lessines 1898-1967 Brussels) Le Bouchon d'Epouvante from 'L'Aube à l'Antipode', 1966 Etching on wove paper Paper size: 38.4 x 28.6 cm Image size: 17.8 x 13 cm Hand signed in pencil lower right margin 'Magritte' and numbered in pencil lower left margin, edition of 17 This work was printed in 1966 at the studio of J. Rigal, Paris and published in a limited edition of 17 hand signed and numbered impressions for the series 'L'Aube à l'Antipode' (Dawn of the Antipode). It is from the rare suite of 17 hand signed etchings. There is also a suite of 77 where only two of the etchings (La Comtesse de Monte Cristo and Les Deux Mystères (Ceci n'est pas une pipe) are signed in pencil Literature: Gilbert E. Kaplan & Timothy Baum, 1982. The Graphic Work of René Magritte. New York: II Editions Reference: Kaplan & Baum 11
Klaas Muller
Frans Snijders (Antwerp, 1579-1659) Kitchen interior with two dogs, offal and a basket with fruits and vegetables, circa 1620 Oil on canvas 113 x 183 cm Signed upper left: F. SNIJDERS. Fecit Provenance: sale Campo, Antwerp, 13-15 December 1966, lot 90; sale Sotheby’s, London, 7 October 1981, lot 123, ill. p. 89; sale Sotheby’s, London, 7 July 1982, lot 233, ill.; private collection, Belgium In a kitchen, a dog (a Friesian Wetterhound) guards its booty from another dog that appears on the left. Apparently, he has pulled away from his chain and is not giving up his booty (entrails) lightly. On the right of the painting, we see an overturned basket with artichokes, asparagus, a lemon and apples. At the top left, the painting is proudly signed 'F. SNIJDERS.FECIT'. Frans Snijders had a predilection for depicting dogs and they appear frequently in his oeuvre. About seven -mostly larger works as is the case here- can be named as scenes in larders or front rooms of kitchens. The theme is usually similar: a dog defends its stolen loot against another dog (e.g. a painting on loan with a similar theme among others in the Snijders-Rockoxhuis 'Larder with dogs and a cows head'). It remains conjecture whether Snijders was pursuing a metaphor or deeper symbolism with this theme. However: each time, he shows himself to be a fantastic cinematographer and manages to render a scene just before the climax through which he builds the tension. Also typical is the dog's head on the left, which is only partially depicted (cut off from the composition it seems) which generates even more movement. The textures of the fur, meat, vegetables and fruit are fantastically rendered.
Christophe Perlès
Set of Chantilly porcelain with Kakiemon decoration, 18th century The set consists of one jar, one covered ewer, three cachepots, one cup and one saucer The term 'Kakiemon' is attributed to a group of Japanese porcelains whose characteristics are a subtle decoration in fine translucent overglaze enamels and a milky white unblemished body called 'nigoshide' in Japanese. Kakiemon porcelains were exported to Europe in large numbers where they were extremely popular. Compared with blue and white porcelains, Kakiemon was very expensive
Galerie Florence de Voldère
pierre brueghel le jeune
Peter Brueghel the Younger (Brussels 1564-1638 Antwerp) Winter Landscape with Skaters - The Bird Trap Oil on panel 39 x 57 cm Among the strong, committed subjects that make up the oeuvre of Peter Brueghel the Elder, The Bird Trap is like a gift in the form of a poem all its own. The very different subject at the heart of this work is pure emotion. Whether provoked by the silence of nature, or by an awareness of the human scale in the macrocosm, or for any other reason, it remains a masterpiece out of time.
Galerie Boulakia
marc chagall
Marc Chagall (Vitebsk 1887-1985 Saint-Paul de Vence) Les fiancés au cirque, 1982 Oil, tempera and pastel on canvas 100 x 73 cm Signed ‘Marc Chagall’ in blue oil paint (lower right), signed and dated 'Marc/Chagall/1982’ in oil paint on the reverse This work is accompanied by a certificate of authenticity issued by the Comité Marc Chagall, Paris Provenance: artist's estate; private collection, Europe
COLNAGHI
wilhelm leibl
Wilhelm Leibl (Cologne 1844-1900 Würzburg) Study of a skull, circa 1868 Oil on canvas 34.4 x 31.4 cm Provenance: Johann Sperl (1840-1914), Munich; Karl Zitzmann (1871-1956); His sale, Hugo Helbing, Frankfurt am Main, November 16th, 1926, lot 12 [repr. table 5]; Galerie Heinemann, Munich, with the gallery's labels on the back, until at least May 10th, 1929; Georg Schäfer (1896-1975) Schweinfurt (with Inventory n° 0123 on the back); private collection, Southern Germany Literature: Emil Waldmann, Wilhelm Leibl. Eine Darstellung seiner Kunst, Gesamtverzeichnis seiner Gemälde, 2, Berlin, 1930, cat. n° 81 Exhibitions: Wilhelm Leibl. Gemälde, Zeichnungen, Radierungen (Akademie der Künste, Berlin, Wallraf-Richartz Museum, Cologne, and Galerie Matthiesen, Berlin, Cologne-Berlin: 1929), p. 43, cat. n° 29a; Vor hundert Jahren: Dänemark und Deutschland 1846-1900. Gegner und Nachbarn. (Statens Museum for Kunst, Copenhagen, Kunstmuseum Århus, Kunsthalle zu Kiel, Orangerie Schloss Charlottenburg, Berlin, 1981). p. 372, cat. n° 144 D
Galerie Dina Vierny
Robert Couturier (Angoulême 1905-2008 Paris) Le soldat, 1967 Bronze H 184 x W 24 x D 24 cm Signed 'Couturier', numbered 'EA 1' and inscribed with the foundry mark 'Susse fondeur Paris' (under the foot) Conceived in plaster in 1967 and cast in bronze in an edition of 6 plus 4 EA and 2 HC. The present work is numbered 'EA 1' and was cast by Susse fondeur Paris in 2024 Provenance: Galerie Dina Vierny, Paris Literature: V. Da Costa, Catalogue raisonné de l'oeuvre sculptée de Robert Couturier, vol. II, 1998, n° 186, ill. (another cast); V. Da Costa, Robert Couturier, 2000, ill. p. 88 (another cast) Exhibitions: Paris, Salon de mai, 1968, n° 247, mentioned p. 12 (another cast); Paris, Musée Rodin, Robert Couturier, 1970, n° 51, ill. (another cast); Saint Etienne du Rouvray, Rodin, Couturier, César, Etienne-Martin, 1970, n° 19, mentioned p. 23 (another cast); Paris, Monnaie de Paris, Robert Couturier, 1975, n° 112, mentioned p. 10 and p. 26 (another cast); L'Isle sur la Sorgue, Campredon, Robert Couturier, 1996, ill. p. 40 (another cast); Paris, Galerie Dina Vierny, Robert Couturier. Silhouettes, 2024, n° 3, ill. p. 56
J. Baptista
Silver salver Portugal, late 16th century Weight 1050 gr. Ø 33 cm Literature: Reynaldo Dos Santos; Irene Quilho. Ourivesaria portuguesa nas colecções particulares. Lisbon: 1974. pp. 139-140; Gonçalo Vasconcelos e Sousa, Pratas Portuguesas em Colecções Particulares: séc. XV ao séc. XX. Oporto: 1998. pp. 54-55 This concave silver salver is a remarkable example of Portuguese silverwork from the late 16th century, often serving a utilitarian function in the households of prominent families of the time. Pieces like this, richly decorated with geometric elements, volutes, and shell motifs, demonstrate the artistic sophistication and craftsmanship of Portuguese artisans during that period. The base of the piece is divided into eight dotted trapezoidal frames adorned with floral elements, while the engraved central medallion features a stylized open flower, highlighting the intricate ornamentation. The historical and artistic value of this salver is further attested by its presence in the collections of prestigious museums such as the Museu Nacional de Arte Antiga in Lisbon (Legado de Barros e Sá), the Lázaro Galdiano Foundation in Madrid (inventory n° 2484, room 11), and the Metropolitan Museum of Art in New York (accession n° 13.23.1), as well as in the private collection of Dr. Miguel Pereira de Abreu in Oporto. These pieces not only represent the excellence of Portuguese silverwork but also illustrate the cultural and social roles that utilitarian objects played in the households of important families during this period.
Galerie Ary Jan
Anto Carte (Mons 1886-1954 Bruxelles) L'homme au poulain Oil on canvas 140.8 x 110 cm Signed lower left Literature: The 1935 International exhibition of paintings, Carnegie Institute, Pittsburgh, repr. on plate 17, listed under n° 135; Anto Carte, monographie de l'art belge, published by the Ministère de l'Instruction Publique, 1950. Reproduced under n° 15; 'The Blue Sky Book, prose and poetry' repr. to illustrate ‘Man with colt’ p. 217 Exhibition: International Exhibition at Carnegie Institute 1935 Provenance: Private collection, Philadelphia Acquired directly from the artist by John H. Fraser in the early 1930s. Fraser was head of the art department at Marietta College, near Pittsburgh, Pennsylvania H 75 cm
Chambre professionnelle belge de la Librairie Ancienne et Moderne (CLAM)
Michel Leiris (Paris 1901-1990 Saint-Hilaire) and Francis Bacon (Dublin 1909-1992 Madrid) Miroir de la tauromachie Paris, Galerie Lelong, 1990 Folio, loose (as issued), original publisher’s wrappers and box 4 original colour lithographs by Francis Bacon, all signed in pencil by the artist Limited edition of 155 copies, all printed on vélin d'Arches Librairie Lardanchet, Antiquarian bookseller
Gallery Desmet
Head of Goddess Marble Roman, 1st century AD H 21 x W 14 x D 15 cm Certificat d'un bien culturel: 242734 Accompanied by Art Loss Register certificate: S00236852 Provenance: the attics of Château de Monty Saint-Eloi (Oise), bought in 1896 (collection of Alfred Dailly 1848-1929); by descent to the Dugardin family, sold in their succession in 2023
Kunsthaus Kende
Yoshiko Okamoto (Japan, Yamaguchi 1976) Hagiawase jardinière, 2014 Silver, copper, shakudo, shibuichi H 11.4 x W 26.8 x D 8.4 cm A navette-shaped form, with the wall subtly tapering towards the ends and the base sloping upwards, analogous to the ends. The upper rim terminates in a square moulding. The body is adorned with an abstract frieze of foliage in alternating colours at alternating heights, which is subdivided by a subtle linear decoration. The pattern has been obtained using the traditional Japanese hagiawase technique. A masterfully crafted jardinière or flower planter of outstanding quality, brilliant finesse and unobtrusive elegance. The Japanese artist-silversmith and designer Yoshiko Okamoto (born in 1976 in Yamaguchi) began his career as an illustrator in Yamaguchi Prefecture, her favourite themes being the four seasons and depictions of the beauty of Japanese nature. She took part in arts and crafts courses under the guidance of the metal artist and living national treasure Akira Yamamoto (also from Yamaguchi Prefecture) while still at school, which awakened her interest in traditional Japanese metalworking techniques. After leaving school, she became a master student of Yamamoto, learning the special techniques of hagiawase (hot soldering with metal forging) and kiribame-zogan (heat-welding of cut-out inlays). Her preferred subject has remained unchanged throughout her artistic career: the endless story of nature, woven from the four seasons, into which she incorporates her artistic perspectives, represented by masterful colour gradations of several layers of metal. The traditional Japanese forging technique known as hagiawase (Japanese for ‘brazing’) consists of joining together different types of metal sheets. This technique makes it possible to create metalwork with striped or patchwork patterns. After joining, the artist shapes the metal with a hammer. The work often consists of silver (white), different types of shibuichi (a copper-silver alloy that appears grey) and shakudo (a copper-gold alloy that appears black). The surface of shibuichi becomes light grey when silver is added, the addition of copper makes the colour appear progressively darker depending on the quantity, and the addition of gold makes it dark grey. These metal alloy plates are cut with a fine saw to produce the desired pattern. These plates are joined together with silver and then melted with a gas burner to bond the pieces together. Alternatively, hotter flames are used to bond the different metals together directly. Since it is not possible to produce the pattern exactly as designed each time, Yoshiko Okamoto performs this hagiawase process several times until she has produced the desired number of patterns. When the pattern plates are finished, she grinds the inside to smooth out the unevenness caused by the soldering. She then begins to mould the metal by driving it with a hammer. Once the basic shape has been created, the pattern of white dots is incorporated: for this purpose she drills holes with a drill of maximum 1 mm diameter, inserts a short-cut round wire made of pure silver into the hole and fixes the protruding part of the silver by hammering. The protruding part is then removed to make it level with the surface. This technique is known in Japanese as Kiribame-zogan. The surface is then hand-sanded using coarser abrasive media, the grain of which becomes progressively finer during the sanding process, ultimately resulting in a high lustre. Once all the sections have been completed, the inner surface of the piece is sanded again with coarse sandpaper and the edges of the individual parts are harmonised. The metal plates are then assembled to form the three-dimensional workpiece, fixed together with wire and the segments soldered together. Finally, the surface is preserved using the traditional Japanese patination technique Niiro.
Galerie Jean-François Cazeau
andré masson
André Masson (Balagny-sur-Thérain 1896-1987 Paris) Fête (Festival), 1956 Oil on canvas 90 x 81 cm Signed lower left ‘André Masson' Provenance: the artist’s studio; Galerie Louise Leiris, Paris, 1956; Galerie Beyeler, Basel; Galerie Cleto Polcina, Rome; private collection, Paris (since 1996) Literature: André Masson, une mythologie de l’être et de la nature, éd. Silvana, Musée d’art moderne de Céret, 22 June-27 October 2019, p 197; André Masson, 29 January-19 April 2004, Musée National de la Reina Sofia, éd Armero, Madrid, 2004, p 250 Exhibitions: XXIX Exposition biennale internationale des Beaux-Arts, Venice, 1958; 5th International Art Exhibition, Japan, 1959; Madrid, André Masson, Armero Ediciones, Nacional Centro de Arte Reina Sofia, 29 January-19 April 2004, cat. n° 250