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De Brock
austin eddy
Austin Eddy (USA, Boston, 1986) Consolation, 2024 Oil on canvas 203.2 x 142.2 cm Provenance: the artist's studio, Brooklyn, NY, USA; De Brock, Knokke, Belgium Exhibitions: Austin Eddy: Still Life, 21 September-24 November 2024, Kunstverein Heilbronn, Heilbronn, Germany; BRAFA Art Fair, 26 January-2 February 2025, Brussels Expo, Brussels, Belgium
DYS44 Lampronti Gallery
Artemisia Gentileschi (Rome 1593-1656 Naples) Bathsheba at her bath, circa 1636-1638 Oil on canvas 185.2 x 145.4 cm Provenance: private collection, UK; Matthiesen Gallery, London Literature: M. Nicolaci, catalogue entry 41, in Artemisia Gentileschi: Storia di una Passione, R. Contini and F. Solinas (eds.), exh. cat., Palazzo Reale, Milan, 2011-2012, p. 228; M. Nicolaci, catalogue entry 52, in Artemisia, 1593-1654, R.P. Ciardi, R. Contini, and F. Solinas (eds.), exh. cat., Fondation Dina Vierny-Musée Maillol, Paris, 2012, pp. 184-185; N. Spinosa, Grazia e Tenerezza in Posa: Bernardo Cavallino e il Suo Tempo, 1616-1656 (Rome, 2013), p. 403, ill. A3.a; R. Lattuada, "Unknown Paintings by Artemisia in Naples and New Insights into Her Daily Life and 'Bottega'," in Artemisia Gentileschi in a Changing Light, ed. S. Baker, London-Turnhout, 2015, pp. 203-205, figs. 34–39 Exhibitions: Artemisia Gentileschi: Storia di una passione, Palazzo Reale, Milan, 22 September 2011-29 January 2012, curated by R. Contini and F. Solinas; Artemisia, 1593–1654, Fondation Dina Vierny-Musée Maillol, Paris, 14 March-15 July 2012, curated by R. P. Ciardi, R. Contini, and F. Solinas; Artemisia, Vrouw & Macht, Rijksmuseum Twente, Enschede, 26 September 2021-23 January 2022
Galerie Jean-François Cazeau
jean metzinger
Jean Metzinger (France, 1883-1956) Danseuse au café, 1912 Ink and watercolour on paper 45 x 37 cm Signed lower right 'Metzinger' Certificate of authenticity issued by M. Philippe Cézanne and Ms. Bozena Nikiel This work will be reproduced in the forthcoming catalogue raisonné of Jean Metzinger's work Provenance: private collection, France; Galerie Odermatt-Cazeau, Paris; private collection, Paris (acquired from the latter); Galerie Jean-François Cazeau, Paris This work represents the study for the painting 'Danseuse au café', 1912, currently in the collections of the Albright Knox Museum in Buffalo, USA. The painting was exhibited by the artist at the Salon d'Automne in 1912.
MARUANI MERCIER
ross bleckner
Ross Bleckner (New York City, 1949) Deep Below Our Violence, 2023 Oil on linen 182.9 x 243.8 cm Provenance: the artist's studio Literature: Ross Bleckner: Paralipsis, exh. cat. MARUANI MERCIER Gallery, Belgium Exhibition: Ross Bleckner: Paralipsis, MARUANI MERCIER Gallery, Belgium, 3 September-9 October, 2021
Galerie BG Arts
jean dunand
Jean Dunand (Switzerland, Lancy 1877-1942 Paris, France) Screen 'Swans and Water Lilies', circa 1932 Four-panel screen with black, ivory and gold lacquer H 180 x W 304 cm Provenance: collection M. B.-Paris; private collection, Paris; Galerie BG Arts, Paris Literature: Félix Marcilhac, Jean Dunand, Vie et Œuvre, Les Éditions de l’Amateur, Paris, 1991, p. 215 (ref. 121) Exhibition: Galerie Georges Petit, Paris, December 1932 Certificat d'Amélie Marcilhac
Philippe Heim
abie loy kemarre
Abie Loy Kemarre (Australia, 1972) Bush Hen Dreaming, 2019 Acrylic on canvas 122 x 183 cm Provenance: Utopia, Central Desert, Northern Territory, Australia Collections: The Metropolitan Museum, New York; Bridgestone Museum of Art, Tokyo; Seattle Art Museum, Seattle; Musée des Confluences, Lyon; The Art Gallery of South Australia, Adélaïde; The Adelaide University Art Collection, Adélaïde; The National Gallery of Victoria, Melbourne, etc. The 'Bush Hen Dreaming', for which Abie Loy Kemarre has custodial rights inherited from her grandfather, was the first story Abie was allowed to paint. The bush hen, also referred to as a bush turkey or Australian bustard (Ardeotis australis), is Abie’s Dreaming Ancestor, an association commonly but erroneously referred to as a ‘totem’. These paintings refer to women’s sacred ceremonies, including a sacred waterhole site, and narrative elements from the peripatetic habits of the bush hen as it searches for food. The geometry in Abie’s Bush Hen Dreaming compositions is generated from her intimate familiarity with the hen, its habitat, and what we would recognise as the science of ethology - the study of animal behaviour.
Patrick Derom Gallery
lucio fontana
Lucio Fontana (Rosario 1899-1969 Comabbio) Concetto spaziale, Teatrino, 1964 Water-based paint on canvas, lacquered wood 102 x 83 cm Signed and titled on the back Provenance: Serge de Bloe, Brussels; private collection, Brussels Literature: M. Van Lier-Lottefier, Fontana: au seuil du Land Art, in Clés pour les arts, 27 September 1972, p. 27 (ill.); Enrico Crispolti, Lucio Fontana, 1974, vol. II, p. 168; Enrico Crispolti, Fontana. Catalogo Generale, Milan, 1986, 64TE2, p. 588 (ill.) Exhibition: 1972, Brussels, Palais des Beaux-Arts, Lucio Fontana, n. 78 (ill.)
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QG Gallery
keith haring
Keith Haring (Reading 1958-1990 New York) Plate 13 Photostat (from the Blueprint Drawings portfolio), 1981 Photostat on paper 105 x 125 cm Signed lower right ‘K. Haring’, signature and date stamped lower right ‘Jan 16 1981 Keith Haring’ Unique work Provenance: gift from the artist circa 1981; private collection, USA; private collection, USA; Wright, May 2024; private collection, Belgium Literature: Keith Haring: Editions On Paper 1982-1990, Littmann, p. 174 discusses series, p. 181 illustrates realized screenprint
Galerie Raf Van Severen
gustave van de woestyne
Gustave Van de Woestyne (Ghent 1881-1947 Brussels) Adrienne De Zutter au violon, 1920 Oil on canvas 208 x 110 cm Signed bottom left Dedicated 'To Adrienne De Zutter', signed with the artist's initials and dated on the back Provenance: collection of the model, Adrienne De Zutter (1905-1989), future Mrs. Paul Van de Woestyne (1905-1963), himself the son of the writer Karel Van de Woestyne (1878-1929) and nephew of the painter; private collection, Europe (by descent to the current owners, grandchildren of the model and great-grandnephews of the painter) Literature: Kultureel Centrum Mechelen, Gustave Van de Woestyne, 1881-1947, 1967; Museum Voor Schone Kunsten, Ghent, Gustave Van de Woestyne, 2010, n° 78 “Adrienne De Zutter au violon” is a masterclass by the Belgian painter Gustave Van de Woestyne (1881–1947). Van de Woestyne was a prominent member of the first group of the ‘School of Latem’, and this portrait is a beautiful example of his very distinctive and own personal style. On a first and quick look, we see a majestic lady, gracefully rising above the landscape, painted in peaceful duff coloring. Her violin in hand and modestly dressed, she is depicted in a fairytale landscape composed of two trees with graceful silhouettes, perhaps umbrella pines, rising from stylized valleys, and a rose, worthy of Saint Exupéry's Little Prince, in the foreground on the right. The upper part of the sky is simply described by means of a royal blue band in the manner of Hiroshige prints. How do we analyze this? Where does this come from? First, for his technique, we need to go back to Van de Woestyne’s youth. In 1902, a young Gustave went to an exhibition for the first time, one of the Flemish Primitives, like Jan van Eyck and Pieter Bruegel. It would leave an eternal mark on him. Gustave uses a sharp outline of the figures in his works, resulting in a sober and symbolic representation of the model. Secondly, regarding the color palette, we take a little step in Gustave’s life. At the time of the execution of the painting, Gustave had huge admiration for Douanier Rousseau. However, the actual inspiration for the coloring lies in Italy. In 1913, he toured Florence and Tuscany with Valerius De Saedeleer. The many fresco’s and mural paintings have a typical softer and lighter use of colors. So, we can say that, regarding coloring he leaned less towards the warm and dark coloring of the Flemish Primitives and more to the works of their Italian contemporaries. At the outbreak of the First World War, the Van de Woestynes fled the country, only to return in 1919. Around that time, Van de Woestyne soon settled with his family in in the Rozenhuis (or House of Roses) in Waregem, belonging to art lovers and philanthropists Charles De Zutter and his wife Marguerite Taelman. It was here, Van de Woestyne made a portrait of their daughter Adrienne De Zutter. The ties between the De Zutter and Van de Woestyne families predate the Great War. Beyond these friendly relations, the couple played a genuine role as patrons for the artist, as is evident from the booklet of the Van de Woestyne retrospective in Brussels (Palais des Beaux-Arts, 1929). In an unpublished supplication that the painter addressed, on February 5, 1929, to Marguerite Taelman to encourage her to lend her works after an initial refusal, he also stated: 'Without your paintings I must not show those of other collections because, as you know as well as I do, yours are the best.' If it is therefore very likely that the portrait of Adrienne was commissioned by the De Zutters, it is also possible to imagine that Gustave was touched by the languid and pale beauty of his model, who would marry the eldest son of his brother Karel in 1929. The exceptional quality of this painting and detailed story behind it, elevates it to the status of an absolute masterpiece.
DIE GALERIE
max ernst
Max Ernst (Brühl 1891-1976 Paris) La grande tortue, 1944/1967/2021 Bronze H 105 x W 80 x D 115 cm Cast number 4/8; Amy Ernst, the granddaughter of Max Ernst, held the rights to cast this sculpture, produced by Susse Fondeur Provenance: Max Ernst estate, Amy Ernst Literature: Spies/Metken Nr./n° 2469 (1944, original form in plaster); Spies/Metken/Pech Nr./n° 4591,I (another cast); Werner Spies, Fabrice Hergott, Doris Krystof, Gunter Metken, Jurgen Pech: Max Ernst, sculptures, maisons, paysages, exh. cat., Centre national d'art et de culture Georges Pompidou, Paris and Kunstsammlung Nordrhein-Westfalen, Düsseldorf, 1998, p. 272 (another cast)
Valerio Turchi
Diana Venatrix Roman, 2nd century AD Marble H 103 x W 45 x D 26 cm Accompanied by Art Loss Register certificate: S00217922 Provenance: the former collection of an art dealer, USA; Sotheby’s New York, Antiquities and Islamic Art, 1-2 March 1984, lot.73; then former collection of the explorer and adventurer J. Stephen Fosset (1944-2007); acquired in London, 21 October 1986
HELENE BAILLY Paris-Genève
henri martin
Henri Martin (Toulouse 1860-1943 Labastide-du-Vert) La Pergola de la cuisine à Marquayrol, un matin d'automne, circa 1920 Oil on canvas 67 x 99 cm Signed lower left 'Henri Martin' This work will be included in the forthcoming Catalogue Raisonné which is being prepared by Madame Marie-Anne Destrebecq-Martin. Notice of inclusion dated 26 March 2024
Galerie Flak
Outrigger canoe model Wuvulu (formerly Maty Island) Bismarck Archipelago, Papua New Guinea, Micronesia, Oceania, early 20th century Carved wood, fibre and pigments L 87 cm Provenance: former collection Serge Schoffel, Paris / Brussels; former collection Claude Meyer, Paris; Pierre Bergé & Associés, Paris, April 2nd, 2012, lot 78; former princely collection, acquired at the above sale
Repetto Gallery
giorgio de chirico
Giorgio de Chirico (Greece, Volos 1888-1978 Rome, Italy) Venezia, Palazzo Ducale, 1955 Oil on canvas cardboard 50 x 60 cm Signed lower left Label by Galleria d’Arte Sianesi, Milan Inscribed: 'Questa Venezia / Palazzo Ducale è opera / autentica da me eseguita e / firmata / Giorgio de Chirico / Milano, 1- 3- 3 1956' Certificate of authenticity signed by the artist on 2 March 1956 Provenance: private collection, Italy; Galleria d’Arte Sianesi, Milan Literature: Claudio Bruni Sakraischik, Giorgio de Chirico: Catalogo Generale, vol. 2, opere dal 1951-1971, Electa, Milan, 1983, n° 180 Exhibitions: Giorgio de Chirico, Galleria Gussoni, Milan, 30 October-10 November 1958; Giorgio de Chirico. Nello specchio del Novecento/Warhol, Schifano, Paolini, Ghirri, Salvo, Repetto Gallery, Lugano, 25 September-16 December 2023
