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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.
Objects With Narratives
ben storms
Ben Storms (Ghent, 1983) Crushed cast glass coffee table, 2024 Cast Glass H 35 x W 150 x D 112 cm Provenance: the artist's studio Ben Storms’ recently developed method, which extends his already acclaimed In Hale series. The result is an idiosyncratic, sculptural entity that makes the applied force palpable, yet pauses and thus withdraws from it.
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
Galerie Alexis Bordes
jacques-emile blanche
Jacques-Emile Blanche (Paris 1861-1942 Offranville) View of a longère at the end of a tree-lined path, near Offranville Oil on canvas 38.3 x 46.2 cm Signed lower right: J E Blanche Certificate of authenticity by Mrs. Jane Roberts, a specialist on the artist Provenance: private collection, France Literature: Jane Roberts, Jacques-Émile Blanche, Paris: Gourcuff-Gradenigo, 2012; Mireille Bialek, Michel Ciry, Félicien Cacan, Jacques-Émile Blanche à Offranville: peintre-écrivain, Offranville: Mairie d’Offranville, 2006
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Edouard Simoens Gallery
christo and jeanne-claude
Christo (Bulgaria 1935-2020 New York) and Jeanne-Claude (Casablanca 1935-2009 New York) The Pont Neuf Wrapped (Project for Paris), 1985 Pencil, charcoal, pastel, wax crayon, and technical data 144 x 165 cm (overall) Provenance: Wolfgang Volz collection; private collection Literature: Christo and Jeanne-Claude: Water Projects, Silvana 2016, p. 167
De Wit Fine Tapestries
After David Teniers II The Fish Quay–Return of Fishermen Brussels, 1725-1750 Wool and silk 264 x 390 cm Celebrated for their lively depictions of rural life, sets of tapestries inspired by the famous peasant scenes of David Teniers II (1610–1690) formed some of the most popular tapestry series in late 17th- and early 18th-centuries. Their extraordinary appeal is reflected in the sheer number of workshops that produced them. In Brussels alone, seven ateliers wove this distinctly Flemish genre, while so-called Teniers tapestries were also produced in other European centres such as Amsterdam, Aubusson, Beauvais, Lille, London, Madrid, and Oudenaarde. Owing to this widespread production and the enduring commercial success of the genre, attributing individual designs can often be challenging. The present example, however, belongs to a distinguished series that laid the foundation for the genre and was designed by David Teniers II himself. Description The tapestry depicts a bustling quay where fishermen unload and sort their catch. On the left, a boat carrying five men arrives, still hauling in its nets, while one fisherman on the bow hands a line to a man standing at the end of the quay. In the foreground, a fisherman empties a barrel of fish and shellfish, while three men nearby appear to be negotiating. Further along the quay, another sorts his catch, two men converse, and a man leans casually on a donkey. Behind them, a figure with his back turned adds a touch of unvarnished realism. In the background, a bay stretches out, framed by a wooded coast to the left and a fortified structure to the right, complete with patrolling figures and a tall, three-tiered tower. Through the central passageway, two additional boats are visible. One hauling in its nets, the other lowering its mast. Attribution The Fish Quay was executed in the Brussels workshop of Hieronymus Le Clerc (1643-1722) or that of his associate Gaspar van der Borcht (1675-1742). Several editions of the scene are known, some bearing the signature of one of these associated tapissiers: Le Clerc or Van der Borcht’s Latinized form, A Castro. A now-lost edition formerly in Dresden bore Van der Borcht’s signature along with an extensive inscription identifying David Teniers II – the court painter to Archduke Leopold Wilhelm of Austria (1614-1662) and Don John Joseph of Austria (1629-1679), governors of the Southern Netherlands from 1648 to 1656 and 1656 to 1658 respectively – as the designer. Teniers is also cited as the designer in a 1701 archival document recording that Le Clerc and Van der Borcht sold a six-part edition of the series, including a tapestry described as “un port de mer, où l’on pesche le poisson” (a seaport, where fish are caught). Dating the collaborative production of this particular example is difficult. The earliest known editions of the series were likely produced in the 1680s, with production continuing until Le Clerc’s death in 1722. The Fish Quay lacks the usual outer border, suggesting it was intended for mounting on wainscoting.
Galeria Jordi Pascual
Victor Brauner (Romania, Piatra Neamt 1903-1966 Paris, France) Frémissement, 1956 Oil on canvas 54.5 x 46 cm Signed and dated lower right This work is accompanied by a photo-certificate of authenticity issued by Samy Kinge, Paris, in 2025 Provenance: Galleria Lorenzelli, Bergamo; private collection, Italy
Galerie Jean-François Cazeau
martial raysse
Martial Raysse (Nice, 1936) Green on green, 1964 Spray paint, xerography, collage, oil and cardboard mounted on canvas 33 x 22 x 7 cm Signed Martial Raysse, dated 64 and titled Green on green (on the reverse) This work is registered in the inventory 'l'Oeuvre de Martial Raysse' under n° IMR-0193 Provenance: William Copley collection, USA; Christie's, New York, Contemporary Art - Including property from the collection of William Copley, 8 November 1993, lot 8; private collection, Paris; acquired from the above by the present owner Exhibition: New York, Galerie Luxembourg & Dayan, Martial Raysse: 1960-1974, 11 May-13 July 2013
Galerie AB - Agnès Aittouarès
Sam Francis (California, 1923-1994) SF63-046, 1963 Acrylic on paper 90 x 63 cm Signed, dated and located Los Angeles on reverse Listed in the online catalogue raisonné of the artist under n° SF63-046 Provenance: Jean Fournier collection; private collection, Paris Exhibition: Paris, Galerie Jean Fournier, Sam Francis de 1947 à 1988 sur papier, October-November 1988
Galerie Alexis Bordes
léon spillaert
Léon Spilliaert (Ostend 1881-1946 Brussels) Mères et enfants sur le quai du port d’Ostende, 1910 Wax crayon and Conté crayon on paper 50.2 x 32.2 cm Signed lower right 'L. Spilliaert' This work will be included in the catalogue raisonné of Léon Spilliaert being prepared by Dr. Anne Adriaens-Pannier Provenance: Louis Sneyers collection, Brussels; Mr. and Mrs. Marcel Thomas, Brussels (by descent); Henriette Thomas-Bodart, Brussels (by descent); Galerie Ronny Van de Velde, 1997; Onzea-Govaerts collection, Belgium Exhibitions: Brussels, Palais des Beaux-Arts, 41st Antiques Fair of Belgium, January-February 1996; Brussels, Palais des Beaux-Arts, 42nd Antiques Fair of Belgium, January-February 1997
Alexis Lartigue
victor vasarely
Victor Vasarely (Pecs 1908-1997 Paris) Dell-Yell, 1972 Acrylic on panel 48 x 48 cm (in square) 68 x 68 cm (in diamond shape) Signed lower center, signed, dated and titled at the back Authenticity confirmed by the Vasarely Foundation Provenance: succession from the Paris region (in their collection since the early 70s)
Objects With Narratives
ben storms
Ben Storms (Ghent, 1983) Crushed room divider, 2024 H 195 x W 160 x D 45 cm Stainless steel, gold leaf Provenance: the artist's studio The purpose of this volume is deliberately ambiguous. The object is primarily sculptural, a monumental entity that redefines a space. Yet in doing so, it also reveals its potential function. In the way that the work structures a space, it turns out to be a divider that demarcates and defines compartments or areas. The starting point for this room divider and sculpture is essentially a provisional form. A composition of several sheets of metal welded together with air in between - think of Ben’s In Hale series, but in a different sense. The actual form is then created by subjecting this makeshift composition to external forces, crushing the surfaces until the volume finds its current state.
Heutink Ikonen
Anastasis Russia, circa 1600 32.5 x 26.5 cm The Anastasis (resurrection) of Christ and the victory over the realm of death are central to this icon. Christ, surrounded by a radiant mandorla, tramples the gates of the underworld and pulls Adam up from a stone coffin by his wrist. Behind Adam stands John, pointing to Christ with his hand and addressing a group of Old Testament prophets and forefathers. To the right of Christ are Eve, Kings David and Solomon, and the prophet Daniel, amongst others. At the bottom right, Christ can be seen rising from his own tomb
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.
Grusenmeyer-Woliner
Portrait of a young boy Antonine Period, circa the end of the 2nd century Marble H 21 cm Provenance: Roger Peyrefitte (1907-2000) collection, Paris; sale of Roger Peyrefitte collection, Hôtel George V, Paris, 26 May 1977, lot n° 12; Art Market, 1978; Antiquities and Islamic Art, Sotheby’s, New York, 14 December 1993, lot n° 94; Dr. Anton Pestalozzi (1915-2007), Zurich, acquired from the previous owner; thence by descent Literature: Auction catalogue, Roger Peyrefitte Collection, Hôtel George V, Paris, May 26th, 1977, lot n° 12; Auction catalogue, Antiquities and Islamic Art, Sotheby’s, New York, December 14th, 1993, lot n° 94; I. Jucker, Skulpturen der Antiken-Sammlung Ennetwies, Mainz on the Rhine, 1995, Vol. 1, pp. 41-42, n° 24, pls. 49-50; K. Fittschen, Prinzenbildnisse Antoninischer Zeit, Mainz on the Rhine, 1999, p. 93, cat. n° 97
Florian Kolhammer
hans bolek
Hans Bolek (Vienna, 1890-1978) Jugendstil ensemble, Gentleman's study, 1913 Solid spruce wood, solid oak (armchair), swamp oak veneer Provenance: bought on 06.11.1913 by the minister of public works, Freiherr Ottokar Trnka von Laberon; private collection, Austria Literature: Interior from the winter exhibition 1913/14 at MAK; photograph of a room design by Hans Bolek, executed by August Ungethüm, Möbelfabrik August Ungethüm, MAK Inv.nr. KI 7905-13; 'Innendekoration: mein Heim mein Stolz', Heft 25, 1914, S. 110; 'Kunst & Handwerk', Vol. 12, 1913, p. 629; 'Deutsches Volksblatt' 11. November 1913, S. 6; 'Neues Wiener Tagblatt', 22. November 1913, p. 33 / yearly report 1913 Austrian Museum of Art and Industry (ÖMKI), p. 4 Designed in 1913 by Hans Bolek, a student of Josef Hoffmann, and executed by August Ungethüm, this study was presented at the 1913/1914 Winter Exhibition of the Austrian Museum of Art and Industry and acquired on November 6th, 1913, by Baron Ottokar Trnka von Laberon. This rare Jugenstil ensemble combines elegant geometry, floral elements, and exceptional craftsmanship. The study consists of a representative desk with elegant fittings and a matching armchair made of solid oak, an impressive cabinet display case, and a stylish table display case or humidor. All the pieces of furniture, except for the chair, are made of solid spruce wood and covered with high-quality swamp oak veneer.
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Galerie Capazza
georges jeanclos
Georges Jeanclos (Paris, 1933-1997) Kamakura, 1991 Terracotta H 30 x W 45 x D 40 cm Provenance: the artist's studio Exhibition: Georges Jeanclos, Élévation, Abbaye Royale de Fontevraud, 25 November 2023-4 March 2024 The Kamakura series was inspired by Georges Jeanclos' trip to Japan, which took him to the country's ancient medieval capital, home to the oldest Japanese Zen gardens. Jeanclos was deeply moved by the beauty and serenity that emanated from these meditative and contemplative landscapes. Upon his return to Paris, these characters were born, sculptures of resilience, ‘monks in meditation, spectators of their inner gardens’ (Tzvetan Todorov). Georges Jeanclos (1933–1997) was one of the great French sculptors of the 20th century. His work was inspired by the traumatic events of the Second World War. To escape the roundups threatening Jews in France, his family had to hide in the woods; he himself, aged around ten, learned to live with the danger of death. In the aftermath of the Liberation, he saw the bodies of former collaborators hanging from lampposts; shortly afterwards, he discovered the skeletal beings who had survived the camps. Decades later, Jeanclos would respond to this formative experience: not by withdrawing into his own experiences, but by opening himself up to the universal, listening to all suffering, past and present; not by depicting horror, but by finding within himself the strength to create beauty. Jeanclos transforms the earth he works with into thin sheets, which he uses to form figures with similar faces, both children and adults, men and women. They are sleepers lying under a sheet of earth; beings enclosed in urns stamped with Hebrew letters taken from prayers for the dead; figures loaded onto boats bound for the other world; kamakuras, meditating monks. Later, he would add Pietàs, Adam and Eve in love, couples brushing against or embracing each other. Jeanclos' images reveal both the insignificance of our person and the indomitable strength of our love; by their mere existence, they help us to live. Tzvetan Todorov
Florian Kolhammer
joseph maria olbrich
Joseph Maria Olbrich (Czech Republic 1867-1908 Germany) & Josef Hoffmann (Czech Republic 1870-1956 Austria) Secessionist side table, circa 1900 Solid maple, inlaid ebony and white metal H 70 x W 56 x D 56 cm Provenance: private collection, Austria Literature: Josef Maria Olbrich, Ideen von Olbrich, 2nd edition, Leipzig 1904, p. 67; Association of Austrian Visual Artists (ed.), Ver Sacrum.Vereinigung Bildender Künstler Österreichs (Hrsg.), Ver Sacrum. Mittheilungen der Vereinigung Bildender Künstler Österreichs, 1900, 1st issue, pp. 4, 9 & 15 Exhibition: displayed at the fifth exhibition of the Vienna Secession 1899 This elegant Secessionist side table was created around 1900 through the collaboration of two influential artists of Viennese Modernism: Joseph Maria Olbrich and Josef Hoffmann. The design of the table's body by Olbrich was first published in 1899 in 'Ideen von Olbrich'. The characteristic ornament was originally designed by Hoffmann as a decorative frieze for the fifth Secession Exhibition and documented in the magazine 'Ver Sacrum' (1900). It is highly probable that this furniture piece was specially created for this exhibition. Particularly noteworthy are the original design drawing by Olbrich and the ornament by Hoffmann. The exceptional quality and characteristic fittings strongly suggest production by the renowned Viennese art furniture workshop Portois & Fix, famous for numerous designs associated with the Vienna Secession, predominantly by Hoffmann.
Almine Rech
vivian springford
untitled
Vivian Springford (USA, Wisconsin 1913-2003 New York) Untitled, circa 1973 Acrylic on canvas 182.9 x 183.5 x 3.2 cm Provenance: estate of the artist Exhibition: Almine Rech, 'Gesture & Form: Women in Abstraction', May 3rd - June 15th, 2024, New York, Upper East Side Vivian Springford’s 'Untitled', circa 1973, encapsulates the American painter’s expressive, vibrant style. During the late 1960s, Springford had come into her own as an artist. She had developed a signature visual vocabulary and a technique of stain painting to go with it, working with thinned paint to create kaleidoscopic, gestural works.
Galerie Flak
Yipwon hook figure Korewori river, Papua New Guinea, 19th century or earlier (C-14 test) Carved wood H 200 cm Provenance: Merrin Gallery, New York; Californian artist Tony Berlant collection; acquired from the above in the 1980s; Michael Hamson collection, USA; Dr. Jean-Philippe Beaulieu collection, France; acquired from the previous in 2022
Art et Patrimoine - Laurence Lenne
Transport case, for Louis XV at the Château de Versailles France, made between 1745-1749 Gilt-tooled leather, copper hinges H 11 cm - Ø 26.5 cm Provenance: Louis XV in Versailles Carrying and protective case for a silver porringer. The lid of the case is decorated with the coat of arms of Louis XV and the three facing crowns of the Château de Versailles, both gilt-tooled. All copper hinges are stamped with the crowned 'C' mark. The case was made between March 5th, 1745 and February 4th, 1749.
Galerie Cento Anni
andré lanskoy
André Lanskoy (Moscow 1903-1976 Paris) Un cas suspect, 1964 Oil on canvas 97 x 146 cm Signed and dated 'Lanskoy 64' Provenance: Galerie de Seine; private collection, Paris Certificate of authenticity from the Comité Lanskoy dated 4 April 2025 This work will be included in the forthcoming catalogue raisonné currently in preparation
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Van Pruissen Asian Art
tokuda yasokichi iii
Tokuda Yasokichi III alias Kutani Masahiko (Japan, 1933-2009) Porcelain vase Japan, late 20th century H 29.5 cm Signed ‘Kutani Masahiko’ on the base Literature: Yosai - Tokuda Yasokichi Sakuhinshu (The works of Tokuda Yasokichi), Kodansha 1995, Japan This elegant Kutani porcelain vase by Tokuda Yasokichi III - designated a Living National Treasure in 1997 - exemplifies his groundbreaking approach to traditional ceramic art. The slender, tapering body is enveloped in a rich aubergine glaze, punctuated by a single iridescent blue stripe flowing vertically from the mouth to the base. This striking effect was created using Yasokichi’s innovative saiyū (polychrome overglaze) technique, which brought new luminosity and abstraction to Kutani ware. Born Masahiko, Yasokichi III redefined the possibilities of Kutani ceramics, elevating them into a modern art form. Today, his works are held in leading international museum collections, including the Metropolitan Museum of Art and the British Museum.