This section will be available this Autumn.
Herwig Simons Fine Arts
Manierist Mascaron Italy, mid 16th century Istrian marble H 50 x W 40 cm An expressive Mascaron in Istrian marble of a lion's head holding a ring in his mouth. Istrian marble was widely used during the Renaissance, particularly in Venetian architecture, and its soft tones beautifully complement the intricate details of the lion's face and ring. This design is symbolic: lions represented strength, protection, and authority and gave the building grandeur, serving as a sculptural accent that elevates the aesthetic quality of the entrance or facade.
A&R Fleury
bernar venet
Bernar Venet (Château-Arnoux, 1941) 226.5° Arc x 4, 2004 Rolled steel H 128 x W 130 x D 24.5 cm Certificate of authenticity issued by the artist and registered in the Bernar Venet archives under inventory n° bv04s17 Provenance: Guy Pieters Gallery, Knokke-Heist; private collection, Belgium
Stern Pissarro Gallery
henri martin
Henri Martin (Toulouse 1860-1943 Labastide-du-Vert) Venise, palais et gondoliers sur le Grand Canal, circa 1909 Oil on canvas 68.5 x 96 cm Signed lower right 'Henri Martin' This work is accompanied by a certificate from Madame Marie-Anne Destrebecq-Martin and will be included in the forthcoming catalogue raisonné which is currently being prepared. Provenance: Jacques Martin-Ferrières, Paris (son of the artist); private collection, France, acquired from the above; sale Christie's, New York, 2018; private collection, acquired from the above
Philippe Heim
abie loy kemarre
Abie Loy Kemarre (Australia, 1972) Bush Leaves-Optic, 2018 Acrylic on canvas 137 x 137 cm Provenance: Utopia, Central Desert, Northern Territory, Australia Exhibition: 2024, Knokke Art Fair, Arts d’Australie • Stéphane Jacob, Knokke-Heist, Belgium Abie Loy is part of the new generation of artists living in the Utopia community, in the heart of the Australian desert. She began painting in 1994 on the advice of her grandmother, the famous Kathleen Petyarre, who guided her in her first works, inspired by the ‘dreams’ of which she is the ritual guardian: principally that of the Bush Leaves, of which this painting is a celebration. Remarkable for its variation on the theme of dot painting, the impression of breathing that emanates from it, the hypnotic character of the motifs animated by a movement that is both centrifugal and centripetal, this painting demonstrates the high degree of awareness and aesthetic success that Abie Loy has achieved - proof of the high quality and inventiveness of modern-day desert painting.
_BalthazarVanDenBossche_T638609709905078817.jpg?width=410&height=2000&qlt=90&scale=both&mode=max&format=jpeg)
Francis Maere Fine Arts
conrad willems
Conrad Willems (Belgium, 1983) Construction VII, 2022 977 Verde Levanto building blocks Black paper and white paint H 229 x W 148.5 x D 335 cm (sculpture) 3 x (110 x 75 cm) (drawings) The work consists of 977 Verde Levanto building blocks and three framed hand-drawn construction drawings. The blocks have been cut and sanded into 11 different basic shapes, based on wooden toy blocks. These are built into a construction, based on the construction drawings on black paper. The blocks are not affixed in any way, but placed on top of each other in a specific building order.
Sylvia Kovacek – Vienna
gustav klimt
Gustav Klimt (Baumgarten 1862-1918 Vienna) Standing nude, hands on the hips, 1911 Pencil on paper 57.1 x 37.5 cm Provenance: private collection, USA, courtesy Serge Sabarsky Gallery, New York; private collection, Japan; 110. auction Klipstein und Kornfeld, Bern 1963, n° 536 (pl. 69); private collection Hikonobu Ise, Japan Literature: The Ise Collection, Ise Lifedesign House, Japan 1984, ill. n° 12; Alice Strobl, Gustav Klimt. Die Zeichnungen 1904-1912, vol. II, Salzburg 1982, catalogue raisonné n° 2023, p. 252f
Patrick Derom Gallery
léon spilliaert
Léon Spilliaert (Ostend 1881-1946 Brussels) Wall-Mounted Cabinet with Cup and 'Le Carillon,' 1908 Indian ink, brush, watercolour, wax crayon on paper 73.4 x 52.2 cm (day) Signed and dated bottom left: LSpilliaert / 08 This work will be included in the forthcoming Léon Spilliaert catalogue raisonné currently being prepared by Dr. Anne Adriaens-Pannier Provenance: Madeleine Spilliaert collection; Frederik van Rossum collection; private collection Literature: Anne Adriaens-Pannier, Spilliaert. Le regard de l’âme, Ludion, Ghent, 2006, ill. 61, pp. 51-52; Anne Adriaens-Pannier, Léon Spilliaert. From the Depths of the Soul, Ludion, Antwerp, Brussels, 2019, ill. 61, p. 52; Anne Adriaens-Pannier, Léon Spilliaert: A Discerning Eye, London, 2020, ill., p. 16; Anne Adriaens-Pannier, Solitude féminine, intérieurs insolites, in Léon Spilliaert. Avec la mer du Nord… Snoeck, Lausanne, Ghent, 2023, p. 7, ill. p. 81; Norbert Hostyn, Léon Spilliaert, Museum voor Schone Kunsten, Ludion, Flammarion, Ghent, 1996, ill. 44a, p. 93; Fr.-Cl. Legrand, Léon Spilliaert et son époque, Fonds Mercator, Antwerp, 1981, cat. 68, ill., p. 67 Exhibitions: 1972, Brussels, Royal Museums of Fine Arts of Belgium, Hommage à Léon Spilliaert / Hulde aan Léon Spilliaert, cat. 28; 2006, Brussels, Royal Museums of Fine Arts of Belgium, Léon Spilliaert, Un esprit libre / Een vrije geest / A free spirit, cat. 79 (ill.); 2016, Ostend, Het Spilliaert Huis, Ontmoetingen met Spilliaert / Rencontres avec Spilliaert / Encounters with Spilliaert, cat. 1; 2019-2020, Lodève, Musée de Lodève, Ensor, Magritte, Alechinksy… Chefs-d’oeuvre du Musée d’Ixelles, cat. 44 (ill.); 2023, Lausanne, Fondation de L’Hermitage, Léon Spilliaert. Avec la Mer du Nord… cat. 43 (ill.), p. 81; 2023-2024, Neuss, Clemens Sels Museum, Gewagte Visionen. George Minne und Léon Spilliaert. Vom Symbolismus bis Expressionismus, cat. 45 (ill.), p. 43
_GertUweTobias_T638609741124903337.jpg?width=410&height=2000&qlt=90&scale=both&mode=max&format=jpeg)
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 de la Présidence
Albert Marquet (Bordeaux 1875-1947 Paris) Septembre à Porquerolles, 1939 Oil on canvas 46.4 x 61.3 cm - framed 67 x 82 cm Signed lower right This work will be included in the Marquet Digital catalogue raisonné, in preparation by the Wildenstein Plattner Institute Provenance: Marcelle Marquet collection, Paris (1947); Salvador collection, Paris; Galerie Couleur du Temps, Paris; Galerie Motte, Geneva; private collection, United Kingdom; private collection, France Exhibition: Albert Marquet. Rétrospective, Galerie des Granges, Geneva, 1974, n° 27 Let’s approach the shores of the Iles d’Or with the painter Albert Marquet (Iles d’Or or The Golden Islands, the group of three islands located near Saint-Tropez, in South-East France, Mediterranean Sea). In the early summer of 1939, he and his wife moved into a delightful villa on the island of Porquerolles. On a windy day, he captures the lapping of the Mediterranean Sea with astonishing modernity. Combining realism and poetry, in this subtle harmony of light greens, he conveys the essential, with his accurate perception of tones and contrast. In front of this idyllic landscape filled with light, Marquet 'painter of the suspended time' invites to enjoy the journey...
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.
Dalton Somaré
Pair of Headdresses, tchi–wara Bamana, Mali, early 20th century Wood H 85.5 cm and H 74 cm Provenance: Christian Duponcheel collection, Paris; private collection, Brussels, 1969; private collection, Belgium This extraordinary pair of Antelope Headdresses Bamana perfectly illustrates the astonishing modernity and vibrant dynamism of Bamana sculpture at the beginning of the twentieth century, when African traditional artists were able to move freely and smoothly from absolute abstraction to a delicate naturalism. Aware of the need to embody strength and grace at the same time, the artist who created these pair of sculptures, male and female to celebrate the efficacy of the union of these two principles, pushed himself to the extreme synthesis and purity of forms, creating slim, elegant silhouettes of pure living energy. Iconic sculptures in the panorama of African Art, the Antelope Headdresses played a prominent role in the discovery and appreciation by European avant-garde artists, introducing a revolutionary aesthetic language considered as one of the apex of African Art for its ability to amaze and consequently inspire the revolution of Modern Art.
Galeries AB & BA
jean degottex
Jean Degottex (Sathonay-Camp 1918-1988 Paris) Gidayu III, 1961 Oil on cardboard mounted on canvas 120 x 80 cm Signed and dated lower right Signed, dated and titled at the back Certificate of authenticity issued in 2021 Provenance: private collection Literature: Degottex, Jean Frémon, Editions du regard, 1986, p. 282 © Bertrand Michau. Courtesy Galerie Berthet-Aittouarès
Kunstconsult 20th century art I objects
barbara nanning
Barbara Nanning (The Hague, 1957) Ceramic sculpture 'Hydras' from the Botanica series, 1997 Stoneware with coating of sand and pigment Ø approx. 80 cm Unique piece Provenance: collection Snijder, Aerdenhout Literature: Thimo te Duits, Barbara Nanning_evolution, Publisher nanning, 2004, p. 63 and p. 133
Artimo Fine Arts
Magician question and answer automaton 'album amicorum' book with original leather case and instructions for use Meussel et Fils à Genève, March 1823 Gold, enamel and tortoiseshell H 20 x W 15 cm Unique piece Provenance: J.-G. & J.-C. Meüsel, Geneva, Jewellers at rue des Orfevres, 184 Geneva, dated 1823; Lydia Huber Strutt (1759-1832), Geneva acquired 1823 (?); Bernard Franck (1848-1924), 21 rue du Château d’Eau, Paris, exact date of acquisition unconfirmed, but likely before 1900; Henry & Sidney Hill, Berry-Hill Galleries, New York and London (formerly Frederick Berry & Sons of 25, Piccadilly), at the time specialists in gold boxes and objects, circa 1938; Maurice Sandoz, (1892-1958), Swiss nationality, resided variously in Burier, Switzerland, Rome, New York, Lisbon, Naples. Acquired the Magician, circa 1938; private collection, Europe Literature: A. Chapuis, E. Gelis, Le Monde des Automates, vol. II, Paris 1928, pp. 170-172, figs. 438/439; A. Chapuis, À travers les collections d’horlogerie: gens et choses, Neuchâtel, La Baconnière, 1942, ch. IX; Letter signed by Henry D. Hill of Berry-Hill, New York, 23 December 1947 to Alfred Chapuis confirming that they had purchased a part of the Bernard Franck Collection some years earlier. (Alfred Chapuis Archive held at the Musée d’Horlogerie, Chateau-des-Monts, Le Locle. Inv. G48.); A La Vieille Russie, Inc. A Loan Exhibition of Antique Automatons, 3 November-5 December 1950, Private Printing by Spinner Press, New York. p. 58, cat. n° 151; Maurice Sandoz collection, Watches and Automata, Fondation Maurice & Edouard Sandoz, 2012, vol. III, pp.201-202 Exhibition: A La Vieille Russie, Inc. A Loan Exhibition of Antique Automatons, 3 November-5 December 1950, New York
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
Maurice Verbaet Gallery
louis van lint
Louis Van Lint (Brussels, 1909-1986) Mirage marin, 1957 Oil on hardboard 109 x 274.5 cm Provenance: Belgian Nuclear Research Center (SCK-CEN), Mol, Belgium Literature: Delevoy, Robert L. Association pour la Diffusion Artistique et Culturelle. Quadrum 6: Revue Internationale d'Art Moderne (Brussels) 6 (1959), n° 1, ill. in b/w p. 141 Exhibitions: Centre for Fine Arts, Brussels, Belgium, Louis Van Lint, 1958; Palais des Beaux-Arts, Charleroi, Belgium, Hommage à Louis Van Lint; 32e Salon du Cercle Artistique et Littéraire, 8 March 1958-27 March 1958
Thomas Deprez Fine Arts
pieter braecke
Pieter Jan Braecke (Nieuwpoort 1858-1938 Nossegem) L'Humanité, before 1906 Marble H 220 cm Unique piece Signed on the base 'P. Braecke' Provenance: created for the grand hall of the Hôtel Aubecq (1903) by Victor Horta (1861-1947); private collection Octave Aubecq, Brussels (industrialist and founder of Le Cresuet); by descent into the family; sold following the demolition of the Hôtel Aubecq in 1949; possibly bought with part of the furniture by Louis Wittamer-De Camps, Brussels (?); circa 1979, in the collection of Mme Vanderperre, Antoing; private collection, New Jersey; private estate, Queens, New York Literature: Braecke's masterpiece ‘L'Humanité’ has been widely published and discussed, both at the time in the press, as well as in more recent art historical and architecture related publications up to the present day. A full literature and press list are available on request Exhibitions: Salon triennal de Gand, 1906 (cf. version in plaster); Pour L'Art, XVe exposition annuel, Brussels, 1908 (cf. cat. p. 11, plaster); Exposition universelle de Gand, 1913 (cf. cat. p. 66, n° 574, Hall 20, plaster) Related works: A plaster cast of a first version of the sculpture was given by the artist to his hometown of Nieuwpoort, Belgium in 1925, and has now been confirmed as having been destroyed during the Second World War. A single plaster version of the sculpture in its final conception survives today, and was gifted by the artist's widow, Elodea Roméo-Braecke, from the artist's studio to the city of Nieuwpoort, after the Second World War. It is currently held at the city's district court. Related documents: The present sculpture can be identified on several photographs taken at the Hôtel Aubecq during its painstaking demolition in 1949. The building's façade was saved by the Belgian government and awaits its reconstruction, while the original furniture was dispersed and is currently held in private collections as well as important institutions such as the Musée d'Orsay and the Musée Horta.
