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Kunsthaus Kende
Pair of George I Britannia silver tea caddies John Farnell, London, 1720 Engraved sterling silver H 12.5 cm 240.3 g and 237.4 g Provenance: private collection, North America The smooth, octagonal body merging into the correspondingly smooth shoulder. The lid finished with a twisted baluster. The base, which can be pulled out for filling, is only marked with a maker’s mark, the lid is unmarked. The bodies are hallmarked on the underside of the back. The contemporary coat of arms engraved on the front commemorates the marriage of a gentleman of the Dove family (who were based in East Burgholt in the county of Suffolk) and a lady of the Pierse family (whose family was based in Alston in the county of Warwickshire). An attractively preserved, early Britannia silver pair of tea caddies with a beautifully preserved, original surface.
COLNAGHI
Attributed to the Menzies group Red-figure epichysis in terracotta with Hermaphroditos and a woman Greek, Apulian, circa 330-310 B.C. H 21 cm Provenance: Eugène Piot collection (1812-1890); his sale, 3 May 1870, lot n° 21; private collection, France; purchased from the above, 2022 Literature: F. Lenormand, Collection d’Antiquités Grecques recueillies dans la Grande-Grèce, l’Attique et l’Asie Mineure par M. Eug. P., Paris 1870, p. 16, n° 21 This epichysis is noteworthy for its provenance, as it was once part of the prestigious collection of Eugène Piot (1812–1890) - the French art critic, journalist, publisher, collector, and photographer - and it still bears his collection label. The present example also stands out for its above-average size and exceptional quality. It is in excellent condition and is typical of 4th-century BC Apulian Greek pottery. This vessel, characterized by its elegant neck surmounting a coiled body, was probably used to contain precious liquids intended for sparing use. Its delicate mouth seems ill-suited for serving wine, as has sometimes been suggested in the past, with some even describing such vases as “low-shaped oinochoai with flat bottoms.” Rather, they were most likely used for oil or perfume. The dropper-like mouth is flanked by two small, stylized masks in relief. The wide, disc-like shoulder of the vase has been decorated with particular attention to detail and form. The border is adorned with a frieze of eggs. A hermaphroditic Eros kneels and presents a mirror to a seated young woman, who also holds a mirror and a crown. On the reverse, an elegant arrangement of palmettes unfolds from the base of the handle and frames the central scene. The concave sides of the body are decorated with a vegetal frieze, overpainted in white and incised. Comparable examples are held at the Getty Museum in Malibu and the Musée Saint-Raymond in Toulouse; both have been attributed to the Menzies Group, active during the third quarter of the 4th century BC.
Francis Janssens van der Maelen
Maurice Daurat (Bordeaux 1880-1969 Meulan-en-Yvelines) Art Deco table centrepiece Paris, circa 1927-1931 Sterling silver, Macassar ebony, marble H 42.5 x W 104 x D 20 cm This striking early 20th century French silver and alabaster centrepiece on a Macassar ebony base is a superb example of Art Deco design. Designed by Maurice Daurat in Paris, circa 1927-1931. Maurice Daurat was famous for his limited editions and large commissioned works. His style is characterised by geometrical, strict shaping, emphasising volume and material.
Romigioli Antichità
giuseppe piamontini
Giuseppe Piamontini (Florence, 1664-1744) Small Faun playing with a Satyr, 1710 Carrara marble H 79 cm Signed and dated 1710 Provenance: private collection, Florence Literature: Sandro Bellesi, I marmi di Giuseppe Piamontini, ed. Polistampa 2008 Ideal pendant 'Eros and Anteros' at the Money Museum in Palazzo Pitti, Florence
Galerie von Vertes
jean dubuffet
Jean Dubuffet (Le Havre 1901-1985 Paris) Site avec deux personnages, 10 September 1982 Acrylic and collage on paper, mounted on canvas 67 x 100 cm Monogrammed and dated lower right 'J.D. 82' Verso numbered on the stretcher 'F146' Provenance: Waddington Galleries, London (verso with label); James Corcoran Gallery, Santa Monica (verso with label); Karsten Greve Galerie, Cologne (verso with label); private collection, Switzerland (acquired from the above) Literature: Max Loreau, Catalogue des travaux de Jean Dubuffet, vol. XXXV: Sites aléatoires, Paris 1986, p. 73, n° 142 (ill.) Exhibition: London, Waddington Galleries, Jean Dubuffet. A retrospective, October 1983, n° 46 (ill.)
Barbara Bassi
Arman (Nice 1928-2005 New York) Musical instruments bracelet, circa 1990 Diamonds and 18 kt yellow gold Unique piece signed and dedicated by Arman 'Arman for Janadine' Sonia Delaunay (Ukraine, Hradyz'k 1885-1979 Paris) Flamenco, 1979 Silver metal and enamel Limited edition Provenance: private collection, USA Literature: Cover of catalogue 'Bijoux d'artistes de Calder à Koons' by Diane Venet (Flammarion), Musée d'Art Décoratif, Paris, 2018
Herwig Simons Fine Arts
Large Siena marble models from the Roman Forum Rome, circa 1800 H 87 cm Provenance: former noble collection, The Netherlands Fine and unusual large grand tour Siena marble models of the Temple of Castor and Pollux, and the Temple of Vespasian, from the Roman forum. Made as souvenirs for visitors on the Grand Tour in the eighteenth and nineteenth centuries.
Artimo Fine Arts
the fortuna
Alfred Boucher (Nogent-sur-Seine 1850-1934 Aix-les-Bains) La Fortune, circa 1905 White marble, base in peach blossom marble and gilt bronze H 93 cm (total height) H 8.5 x W 55 x D 34 cm (base) Provenance: private collection, France Literature: Jacques Piette, Alfred Boucher, l’oeuvre sculpté, Paris, 2014, p. 260, cat. A63 Listed in the artist’s catalogue raisonné but held in a private French collection until now, this marble sculpture depicts an allegorical composition of Fortuna, the mythological figure embodying fate and the wheel of fortune. The work portrays a nude young woman seated on a stylised chariot drawn by a winged cherub. The contrast between the woman’s serenity and the movement driven by the child evokes the unpredictable shifts of destiny — a central theme in European allegorical iconography since the Renaissance. The treatment of the marble reveals Boucher's virtuosity: the suppleness of the skin, the tension of the lines, the drapery undulating like a wave, and the luminous softness characteristic of perfectly polished white marble. A celebrated sculptor during his lifetime, Alfred Boucher studied under Paul Dubois and Augustin Dumont at the École des Beaux-Arts in Paris. His career took a decisive turn when he won the Grand Prix for Sculpture at the 1900 Exposition Universelle, marking the beginning of his most productive period. La Fortune or Allegory of the Wheel belongs to this decade (1900–1910), a time when the artist, at the height of his fame, alternated between official commissions and personal creations often inspired by mythological or symbolist themes.
Axel Vervoordt
Jef Verheyen (Belgium, Itegem 1932-1984 Apt, France) Untitled Matt lacquer on round board 100 x 100 cm - Ø 80 cm Provenance: private collection, Belgium; collection Axel Vervoordt, 2003; private collection, Belgium Exhibition: Jef Verheyen, Lux est Lex, Wijnegem, 2004, cat. n° 60, ill. p. 93
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Heutink Ikonen
Week Icon (Sedmitsa) Russia, Palekh Late 18th century 44.5 x 36 cm This icon depicts a rare iconography showing the seven days of the week. Each feast represents a day of the week, starting with Sunday. In order: the Anastasis, Synaxis of the Archangel Michael, the Beheading of John, the Annunciation, the Last Supper and the Crucifixion of Christ. The large image at the bottom is All Saints' Day. The icon's refined details, bright colour palette and complex composition make it a very fine example of Palekh icon painting.
Romigioli Antichità
portrait of bona di savoia
Giovanni Cristoforo Ganti Detto Gian Cristoforo Romano (cerchia di) Roma ? 1460/5 – Loreto 1512 Portrait of a Lady (Bona di Savoia, Duchess of Milan?) 1490-5 White marble relief, diameter 50 cm Scientific profile by Alfredo Bellandi and Giancarlo Gentilini 2012 Published in A. Rinetti "The Duke's City, Ducal Portraits"
Galerie BG Arts
René Lalique Vase 'Deux Anneaux Pigeons', 1919 Made in opalescent glass with grey patina H 33 cm Engraved signature Provenance: private collection, France Literature: Félix Marcilhac, René Lalique - Catalogue Raisonné de l'Œuvre de Verre, Les Éditions de l'Amateur, Paris, 2011, n° 880
Galerie Boulakia
Joan Miró (Barcelona 1893-1983 Palma) Des figures devant la lune, 1942 Pastel, gouache, wash, brush, ink, and pencil on paper 64.5 x 48.5 cm Signed 'Joan Miró' (lower right) Dated 'X Barcelone, 18-12-1942' and titled on reverse Certificate of authenticity from ADOM dated 13 July 2018 Provenance: Pierre Matisse Gallery, New York; Galleria Narciso, Turin Exhibitions: Traveling exhibition Japan, 1984, reproduced cat. n° 17; Ferrara, Palais des Diamants, Joan Miró, 1985, n° 81; Cherasco, Palazzo Salmatoris, Chagall, Miró, Magritte : La Poesia del Sogno, September-December 2005; Paris, Exhibition Jean Louis Prat-Galerie Lelong, Grand Palais, September-October 2018; Mons, Musée des Beaux-Arts de Mons, Belgium, Exposition Joan Miro : L’essence des choses passées et présentes, October 2022-January 2023, repr. in cat. Literature: Jacques Dupin, Ariane Lelong-Mainaud, Joan Miro : catalogue raisonné, Volume II, 1931-1941, Editions Maeght-Lelong, Paris, 2000; Joan Miró exhibition catalogue, L'essence des choses passées et présentes, Editions BAM, Musée des Beaux-Arts de Mons, Belgium, 2022
Desmet Fine Arts
Two fragments of a wooden sarcophagus corner post of the Priest Horudja re-united after 50 years Wood Egypt, late Dynastic period, 26th Dynasty, circa 664-525 BC H 92 x W 15 x D 5.5 cm Accompanied by Art Loss Register certificates: S00238635 & S00238636 Provenance: Fragment A: Chakib Slatine, Paris (acquired 1975); private collection, Paris (acquired 1977). Fragment B: Chakib Slatine, Paris (acquired 1975); private collection, Paris (acquired 1977); Ede Gallery, London (of which acquired in 2020)
Galerie von Vertes
pierre soulages
Pierre Soulages (Rodez, 1919-2022) Peinture 92 x 130 cm, 4 mai 2004 Acrylic on canvas 92 x 130 cm Verso signed and titled ‘SOULAGES 92 x 130 cm 4 Mai 2004’ On the stretcher, signed and inscribed 'soulages' Provenance: collection Essl, Klosterneuburg, Austria (acquired directly from the artist); Christie's, Paris, 23 October 2023, lot 358; private collection, Switzerland Literature: Pierre Encrevé, Soulages: l'œuvre complet, Peintures, vol. IV: 1997-2013, Paris, 2015, n° 1272, p. 148 (ill.)
N. Vrouyr
Kinheim rug Dutch rug produced in the workshops of Kinheim (Beverwijk), circa 1930, after 1926 Handknotted wool 530 x 405 cm Signed at the back 'KON. KINHEIM BEVERWYK' Provenance: Beverwijk, Holland Kinheim rugs, Beverwijk workshops, Holland (1910-1973) According to the trade register, Hendrik Godefridus Polvliet founded the carpet workshop “Kinheim” on September 1, 1910, at Zeestraat 104 in Beverwijk. The company was originally located on Vondellaan in Beverwijk, which at the time was called Spargielaan. His wife, Mrs. C.M. Polvliet–Van Hoogstraaten (1883–1966), had already started the handwoven carpet workshop “Kinheim” there in 1909. At first, carpets were woven by hand on a small scale. The couple became interested in carpet weaving during a stay in Morocco, where they lived for some time due to Mr. Polvliet’s health problems. Because of recurring asthma attacks, he had been advised to stay for extended periods in warm, dry climates. During this time, Mrs. Polvliet taught herself knotting and weaving techniques and drew many patterns. Initially, the carpets were sold to family and friends. Orders soon began to pour in, and thanks to Mrs. Polvliet–Van Hoogstraaten’s skill, the business grew rapidly. After just a year, in 1911, it moved to Zeestraat and employed about twelve girls. A major commission for 15 carpets for the Peace Palace in 1913 required a larger workshop. The couple had a 144-meter-long wooden workshop built behind their house at Zeestraat 104. This made it possible to weave large hand-knotted carpets behind the residence. Within ten years, the company was well known throughout the Netherlands for its quality and artistic originality. Their own designs, inspired by Oriental motifs, quickly found their way into ships, palaces, city halls, and council chambers. On May 19, 1926, the company was granted the title “Royal.” The founder did not live to see this honor, as he had died on June 17, 1923. His widow, Cornelia Maartina Polvliet–Van Hoogstraaten, continued the business under the new name “Royal Handwoven Carpet Workshop Kinheim.” In addition to private commissions, the company produced many carpets for Dutch passenger ships, such as the Johan de Witt (designed by Lion Cachet), the Nieuw Amsterdam, and many others. Municipal and provincial governments also commissioned important works. For instance, Kinheim carpets can be found in the council chamber of Amsterdam and in the council houses of Den Bosch, De Bilt, Enschede, Uithoorn, and Beverwijk, as well as in the provincial government buildings of Maastricht and Haarlem. In the latter, stair runners designed by Jo de Jong are among the works. Carpets were also supplied to offices such as those of the Netherlands Trading Society and the Shipping House. Highlights for the workshop included commissions from the Royal House. Kinheim made a dining room carpet for Soestdijk Palace designed by Mrs. Brom-Fischer and carpeting for the royal yacht Piet Hein. Notably, the Sultan of Deli (in 1938) and the Shah of Persia also placed orders with Kinheim. After an initial period of prosperity, the workshop suffered a setback due to World War I, but it flourished again in the 1920s. At that time, the many commissions provided employment for around 60 women and girls. During the economic crisis of the 1930s, the company survived by focusing on simpler techniques, producing the cheaper “konkit carpet,” woven with coarse knots and undyed materials. During World War II, the business, which had in 1941 passed into the hands of Mr. Keizer from Hilversum, came to a standstill. Work resumed after 1945 under the leadership of Mr. and Mrs. Mastenbroek. Many large commissions were once again completed for government buildings, ships, and businesses. The company then employed between 30 and 40 women on average, sometimes as many as 60. Later, changes in taste and economic conditions, particularly the decline in orders from shipping companies, caused a sharp drop in demand for hand-knotted carpets made with special patterns. These and even plain rugs were increasingly replaced by much cheaper, machine-made carpets. Kinheim completed its final commission in early 1973, and in April of that year, the Beverwijk workshop closed. Well-known designers who worked for Kinheim included Jac. van den Bosch, C.A. Lion Cachet, Theo Nieuwenhuis, and Dirk Verstraten. Kinheim was the only company in the Netherlands where carpets were knotted following the classical Oriental method. Each carpet required a vast number of working hours. The size of the carpet determined how many girls worked on it: a narrow runner or cushion cover was made by one girl, but a large carpet could involve 8 to 10 workers. The women ranged in age from 15 to 60. A carpet with 40 knots per square centimeter and a size of 2 by 3 meters contained about two and a half million knots. A skilled knotter made 5,000 to 8,000 knots a day, meaning that such a carpet required around 350 working days. The early carpets of the Kinheim Carpet Workshop (before 1926) were marked on the back with the words “Kinheim” and “Beverwijk,” along with an image of a swastika. After the company received the “Royal” title in 1926, the swastika mark was replaced by a crown or the abbreviation ‘KON.’.
Galerie BG Arts
Georges Clairin (Paris 1843-1919 Clohars-Carnoët) Portrait of Suzanne Lalique Oil on canvas 140 x 80 cm Signed 'Á Suzanne Lalique son ami G. Clairin' Provenance: property of Suzanne Lalique-Haviland; private collection, France Literature: Maritch-Haviland, N. de Léobardy, C., Lalique-Haviland-Burty Family Portraits, Limoges, 2009, p. 29, ill. in a group photograph, taken at Cours-la-Reine in Paris, showing Suzanne Lalique wearing this same dress for a costume ball to mark her birthday in about 1913 Georges Clairin is best remembered as an orientialist and portrait artist. He was a close friend and advisor to René Lalique. They regularly had dinner together and shared an interest in oriental objects, as well as travelling together to Venice. Clairin belonged to the bohemian world and painted Sarah Bernhardt, the celebrated actress of the day, in her different roles on numerous occasions. He also introduced her to Lalique, and she became one of Lalique’s most significant patrons for whom he designed jewellery. For both men, women were a constant theme of their work. As a family friend it is not surprising that Clairin should have painted Suzanne, René Lalique’s daughter, in costume for her birthday ball in 1913.
