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Van Herck-Eykelberg
Asger Jorn (Denmark, Jutland 1914-1973 Aarhus) The girl and the bird, 1940 Oil on canvas 44 x 69 cm Signed and dated lower right Literature: Guy Atkins, Jorn in Scandinavia 1930-1953, London, 1968, n° 156, ill. p. 333 Exhibitions: 13 kunstnere i telt, Bellevue, Copenhagen, 17 May-8 June 1941, cat. n° 61; Jorn, Arken Museum for Moderne Kunst, Ishøj, Denmark, 14 September 2002-19 January 2003, Cobra Museum voor Moderne Kunst, Amstelveen, The Netherlands, 7 February-27 April 2003 and Kunsthalle zu Kiel, Germany, 17 May-10 August 2003, cat. n° 8, ill. cat. p. 56 (in colour); Jorn-Picasso. Myter og Møder. Myths & Meetings', Museum Jorn, Silkeborg, 7 September-8 December 2013, cat. n° 6, ill. cat. p. 72 (in colour); Cobra Museum voor Moderne kunst, Amstelveen, The Netherlands, 2013
Collectors Gallery
Arman (Nice 1928-2005 New York) Capricorn brooch in gold Zodiac collection, 1994 Certificate of authenticity and copy of the artist’s original drawing on the letterhead of the Hôtel Lutetia, where the artist resided and designed the models for this collection Provenance: Galerie Pierre-Alain Challier, successor to Editions Artcurial
Douwes Fine Art b.v.
rembrandt van rijn
Rembrandt van Rijn (Leiden 1606-1669 Amsterdam) Self-Portrait in a Cap, Wide-Eyed and Open-Mouthed, 1630 Etching and drypoint on laid paper 5.4 x 4.6 cm Signed in monogram and dated lower centre: RHL 1630 Plate not in existence – with Nowell-Usticke (1967): RRR – a very rare little plate Provenance: private collection, Germany; private collection, The Netherlands Literature: Bartsch 320; Hind 32; The New Hollstein Dutch n° 69: Second state (of II) This is a small masterpiece of Rembrandt's early etchings. The expression of this physiognomic study made by his etching needle could not be more livelike as the facial expression (perhaps "astonishment") is in perfect harmony with the round shape of the face. Rembrandt knows exactly how to hit every tonal gradation with fine, arching strokes. Of all the self-portraits in which Rembrandt depicts emotions, this one is probably the most engaging. He looks startled here, with pursed lips and wide-open eyes. You see him slightly from below, so that he seems to be recoiling. The etching is clearly executed and clever, with the contours of the shoulders and the cap fading into the edges. During his lifetime, Rembrandt's extraordinary skills as a printmaker were the main source of his international fame. Unlike his oil paintings, prints travelled light and were relatively cheap. For this reason, they soon became very popular with collectors not only within but also beyond the borders of the Netherlands. Rembrandt's etchings are remarkable for their high number of self-portraits (over 30 out of about 290). These are particularly collectible, perhaps due to the smaller number of states as well as the artist's compelling and powerful presence. Unlike his stately religious scenes, or regal, posed portraits of others, which exhibit his careful and calculating brilliance as an etcher, Rembrandt's self-portraits reveal him as an artist and a man. In them he assumes the role of the experimenting artist, approaching the most difficult of subjects - himself. These self-portraits are often described as ethereal and wistful for their notable contrasting areas of high and low etched space. A very fine impression of this famous small portrait in the second (final) state, printing clearly, just beginning to show a little wear on the tip of the nose, with narrow margins.
Repetto Gallery
jean dubuffet
Jean Dubuffet (Le Havre 1901-1985 Paris) Topographie, January 1959 Oil on paper collage applied on paper [assemblage d’empreintes (huile noire)] 47 x 59 cm Certificate of authenticity by Galerie de l’Ile-de-France, Paris Provenance: Galerie de l’Ile-de-France, Paris; private collection, Italy Literature: Max Loreau (Ed.), Catalogue des travaux de Jean Dubuffet. Fascicule XIX : Célébration du sol II, texturologies, topographies, Weber éditeur, Paris, n° 173
Mearini Fine Art
Capital with column from a Ciborio or Pergula Rome, late 8th-early 9th century White marble H 41 x Ø 20 cm Provenance: formerly in the collection of Elda Francia Gasparrini in Rome Literature: U. Broccoli, Marmi tardo antichi di una collezione privata a Roma, LV 1979, pp. 183-199, ill. p. 193 fig. 10
Galerie Alexis Pentcheff
Regency period frame France, 18th century Carved oak, gilded with gold leaf 112.5 x 146 cm (sight size) Provenance: Montanari collection Sand-textured background decorated with acanthus scrolls, small flowers, drops, shells, and padded cartouches. Openwork acanthus leaves overflowing with playful movement in the corners.
Carlucci Gallery
Roman Cabinat, circa 1780 Ebony veneered, marble and various polychrome stones H 208 x W 105 x D 62 cm Provenance: private collection Cabinet veneered in ebony, marble, and polychrome stones, with an architectural design. The upper section features a tympanum surmounted by Hercules holding the globe in flowering alabaster. A pierced balustrade is crowned with figures of a winged lion bearing a heraldic shield. The façade is articulated with a central door and two lateral doors, each concealing interior disappearing drawers. Materials include jasper, lapis lazuli, breccia, alabaster, and antique green marble.
Floris van Wanroij Fine Art
rombout ‘pauli’ pauwels
Rombout ‘Pauli’ Pauwels (Mechelen circa 1625-1692 Ghent) The Virgin and Child Terracotta, sculpted on full round (contains restorations) H 52.5 x W 24 x D 23.5 cm Provenance: the Hulshoff Pol collection, Wassenaar, The Netherlands Literature: Neeffs, E. (1879), Histoire de la peinture et de la sculpture à Malines, Ghent, Vol. II, pp. 193-200; Nieuwdorp, H. (1977), De beeldhouwkunst in de eeuw van Rubens in de Zuidelijke Nederlanden en het prinsbisdom Luik, Brussels: KMKG, pp. 325-327 nrs. 294-298, p. 140, n° 103; Jacobs, A. & Vézilier, S. (2011), Fascination baroque: la sculpture baroque flamande dans les collections publiques françaises, Paris, pp. 116-121
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.
Desmet Fine Arts
giovanni & giacomo zoffoli
Giacomo (Italy, 1731-1785) & Giovanni Zoffoli (Italy, 1745-1805) Capitoline Flora, late 18th century Bronze H 34 x W 10 x D 7 cm Signed 'G.Z.F' (base) After the antique model (Capitoline Musea, Rome) Accompanied by Art Loss Register certificate: S00247973 Other versions: Victoria & Albert: Museum inv. n° A.14-1974; Saltram, National Trust, 871621.4; Philadelphia Museum of Art, Acc # 1978-70-139; Oxford, Ashmolean Museum: Acc # WA1899.CDEF.B449
Galerie Berès
Georges Lemmen (Brussels, 1865-1916) Vue sur l'église de Dadizele, circa 1891 Oil on panel 16 x 24 cm Monogram lower right GL This work will be included in the forthcoming catalogue raisonné being prepared by Olivier Bertrand Literature: Roger Cardon, Georges Lemmen 1865-1916, Brussels, 1997, 40 p. 104
Thomas Deprez Fine Arts
george minne
George Minne (Ghent 1866-1941 Sint-Martens-Latem) Baigneuse I, 1899 Boxwood (composite) H 40 cm Signed on the base: ‘G. MINNE’ Provenance: private collection by family descent, Belgium Exhibitions: La Libre Esthétique, Brussels, 1902, cat. 139, as: ‘Figure de femme. boxwood.' Related literature: Arthur Roesler, George Minne, in: Deutsche Kunst und Dekoration, 1910, 14th year, IV, 2, ill. article frontispiece, p. 240 (cf. Waerndorfer marble); Léo Van Puyvelde, George Minne, Brussels : Edition 'Cahiers de Belgique', 1930, cat. n° 31, p. 78, ill. pl. 31 (bronze); Robert Hoozee et al., George Minne en de kunst rond 1900, Gent: Museum voor Schone Kunsten, 1982, cf. cat. 95 & 96 (bronze and alabaster). Related exhibitions: Berliner Secession V, Berlin, 1902, cat. 319, as: ‘Badende’ (plaster); Wiener Secession XIV, Vienna, 1902, as: ‘Badendes Mädchen’ (plaster); Tento. Jozef Israëls & George Minne, Rotterdam, 1903, as: ‘Badende vrouw’ (marble); Berliner Secession XI, Berlin, 1906, cat. 332, as: ‘Junge Frau’ (plaster); Mücsarnok, Teli, Nemzetkozi Kiallitas, Budapest, 1908-09, cat. 285 (marble); Esposizione Internazionale d’Arte, Venice, 1909, cat. 3, as: ‘Bagnante’ (marble); Sonderbund westdeutscher K., Dusseldorf, 1910, cat. 237, as: ‘Die Badende’ (marble); Leipziger Jahresaustellung, Leipzig, 1912, cat. 895c, as: ’Baigneuse’ (bronze); Sonderbund internationale Kunstaustellung Köln, 1912, cat. 611, as: ‘Badende’ (marble). Related works: It has been said that George Minne, with the present sculpture, directly influenced Gustav KLIMT (1862-1918) for the painting 'Wasserschlangen I' (1904/07), cf. Hoozee. Its appeal, however, has never faded, as can be seen in several variations on the pose which have been an integral part of the famous Belgian contemporary choreographer Anne Teresa De Keersmaeker’s so-called 'Attitudes'. Note on versions: Van Puyvelde mentions editions in marble, wood and bronze. In addition, several fine plaster casts with family provenances can be identified, amongst others at the MSK Gent and at the Museum Gevaert-Minne. Among the early collectors of bronze versions we find Hélène Kröller-Müller and Karl Ernst Osthaus, partly due to the fact that Minne’s ‘Baigneuse I’ has been a favourite for the inclusion in decorative settings designed by Henry Van de Velde (1863-1959). Versions in marble are held at the Royal Museums of Art & History and at the Belvedere in Vienna. We have been unable to find records of any other versions of Minne’s ‘Baigneuse I’ in wood. Executed in a fine composite of boxwood, it is likely a unique piece in the material and can therefore be identified as entry n° 139 at La Libre Esthétique in 1902; where both a bronze version and a version in boxwood of Minne's 'Baigneuse' were exhibited under the title 'Figure de femme'. Interestingly, the 1902 exhibition of La Libre Esthétique in Brussels also marked the model's public debut, ranking the present version as one of the earliest in existance and one of the first two shown publicly.
Galerie Hurtebize
pierre-auguste renoir
Pierre-Auguste Renoir (Limoges 1841-1919 Cagnes-sur-Mer) Composition, Paysages et Fleurs, circa 1910 Oil on canvas 15 x 25.5 cm Initial R bottom left Certificate of authenticity from the Wildenstein Institute n°24.05.29/21585 dated 12 June 2024 Provenance: private collection, France
Martos Gallery
keith haring
Keith Haring (USA, Pennsylvania 1958-1990 New York) Untitled, May 23, 1981 Marker on plastic 53.3 x 57.3 cm Provenance: Ellen Meyer collection, acquired directly from the artist; New York; Christie’s Auction, 1 May 1991, lot 313; private collection, Italy; Martos Gallery, New York Exhibition: Keith Haring: Surface to Air, Martos Gallery, New York, 6 May–25 July 2025
Galerie de la Présidence
geer van velde
Geer van Velde (The Netherlands, Lisse 1898-1977 Cachan, France) Composition - atelier, circa 1951 Oil on canvas 134 x 148 cm Signed lower right with initials This work will be included in the forthcoming catalogue raisonné of Geer van Velde - Painted Work, currently in preparation by Pierre François Moget, son of Piet Moget Provenance: Galerie Hautefeuille, Paris; private collection, Brussels
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
DIE GALERIE
pierre alechinsky
Pierre Alechinsky (Brussels, 1927) Le Point du Jour, 1966 Oil on canvas 130 x 81 cm Signed lower right 'Alechinsky'; signed, dated and entitled verso Certificate by the artist from 19 March 2012 Provenance: Galerie Birch, Kopenhagen; DIE GALERIE, Frankfurt am Main Literature: Pierre Alechinsky, Galerie Birch, Kopenhagen 1966; CoBrA. Una grande avanguardia europea 1948-1951, exh. cat. Fondazione Roma Museo, Palazzo Cipolla, Rome 2015, p. 211 Exhibitions: Pierre Alechinsky, Galerie Birch, Kopenhagen 1966; CoBrA international – Momente einer Utopie, Museum für aktuelle Kunst, Sammlung Hurrle, Durbach, 2012-2013; CoBrA – Una grande avanguardia europea 1948-1951, Fondazione Roma Museo, Palazzo Cipolla, Rom, 2015-2016; 70 Years of CoBrA, DIE GALERIE, Frankfurt am Main, 2018; Pierre Alechinsky and his artist friends, DIE GALERIE, Frankfurt am Main, 2025
