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F. Baulme Fine Arts
nicolas bertin
Nicolas Bertin (Paris, 1668-1736) Achilles entrusted by Thetis to the centaur Chiron, circa 1725 Oil on canvas 62 x 79.5 cm Provenance: private collection, Paris Literature: Thierry Lefrançois, Nicolas Bertin, 1668-1736, Paris, 1981 Nicolas Bertin has begun his career as a painter under the reign of Louis XIV and has ended it under Louis XV. He was part of this pivotal generation of 'Trianon painters' who switched from large historical painting, to smaller pictures – frequently easel paintings, which seduced a new generation of clients. Painting in the early years of the 18th century was ahead of the evolution of society, and it was only during the Regency that France freed itself from the rigorous artistic rules of the end of the reign of Louis XIV. The country undertook reforms and its morals evolved. It was just after this political and artistic revolution that Bertin painted this picture. The choice of theme itself is significant of lighter times: the nymph Thetis entrusts her son Achilles to the centaur Chiron.
Willow Gallery
Marc Chagall (Vitebsk 1887-1985 Saint-Paul de Vence) Flûtiste jaune et bouc dans l’arbre en fleurs, circa 1960-1964 Gouache, pastel, oil pastel and Indian Ink on paper 51 x 34 cm - framed: 70 x 53 cm Stamped with artist’s signature This painting is accompanied by a certificate of authenticity from the Comité Marc Chagall Provenance: estate of the artist; thence by descent
Gallery de Potter d’Indoye
Jean Prevel (Paris, 18th century) A Louis XVI Ormolu, blued metal and white marble 'Pendule au temple de l’amour', circa 1780 White marble, gilded bronze, blue patinated bronze H 78.7 x Ø 34.9 cm Signed: Prevel à Paris (clock maker, Cour abbatiale, St-Germain, France) Provenance: collection of Dr. & Mrs. Constantin Mamouris The white marble tempietto features an ormolu figure of Athena topped with a dome segmented by blue patinated bronze panels and applied ormolu stars surmounted by a spherical clock with revolving chapter rings. The time is indicated by an arrow held by a perched putto. The striking movement is signed Prevel [à Paris]. In the form of a rotunda, the design of this charming clock was inspired by the ancient Greek and Roman temples, often reproduced or reimagined by talented painters such as Hubert Robert throughout the second half of the eighteenth century. When searching for contemporaneous French buildings that could have influenced the maker of this clock, Richard Mique’s famous Temple of Love comes to mind, designed for Marie-Antoinette in her gardens of the Petit Trianon, see D. Ledoux-Lebard, Versailles, Le Petit Trianon: Le Mobilier Des Inventaires de 1807, 1810 et 1839, Paris, 1989, p. 31. A number of clocks of this popular design exist, although none are exactly the same as this clock. Comparable clocks include one in the Spanish Royal Collection, illustrated in J. Ramon Colon de Carvajal, Catalogo de Relojes del Patrimonio Nacional, Madrid, 1987, p. 90, n° 73; one in P. Kjellberg, Encyclopédie de la pendule française du Moyen Age au XXe siècle, Paris, 1997, p. 292, fig. B; and one is in the British Royal Collections, see C. Jagger, Royal Clocks, The British Monarchy and its Timekeepers 1300-1900, London, 1983, p. 150. Unlike this clock, the above examples have ormolu or pierced marble domes, making the star-studded and blue patinated bronze panels roof of this clock particularly interesting and unique.
Heutink Ikonen
The Ladder of Divine Ascent Russia (Vyg), circa 1800 Egg tempera with gold leaf on a wooden panel surfaced with gesso and linen 35 x 31 cm This rare iconography is based on the work 'The Ladder of Divine Ascent' by the hermit John Climacus, who lived in the Sinai Desert in the seventh century. The work was a major influence on Orthodox Christianity, comparable to 'The Following of Christ' by Thomas à Kempis in Roman Catholicism. The icon shows how monks may get closer to Christ through several stages of asceticism (steps on the ladder) and ultimately reach heaven. Angels encourage the monks and pray for succour, while to the left of the ladder demons are attempting to lure the monks into succumbing to earthly temptations. The steadfast monk who reaches the top of the ladder is welcomed with open arms by Christ in heaven. The monks who surrender to the temptations of the world fall into the devil's wide-open mouth. The icon was probably meant as a reminder and encouragement for monastics to live a virtuous life.
Claes Gallery
Dan Mask Ivory Coast, late 19th century Wood H 23 cm Provenance: Dr. Alexander Rafaeli collection (1910-1996), Israel Literature: Masks of Primitive Peoples from The Collection of Dr. Alex Rafaeli, written mention p. 6; n° 15; Back cover; Art of Primitive People. Masks from the collection of Dr. Alex Rafaeli. Sculptures from other Collections, written mention p. 4, n° 16 Exhibition: The National Museum Bezalel, Jerusalem, 7 February-7 March 1953; Museum of Modern Art, Haifa, November 1955
Florian Kolhammer
franz hagenauer
Franz Hagenauer (Vienna, 1906-1986) Pair of head sculptures, circa 1981 Designed by Franz Hagenauer and executed by Werkstatte Hagenauer Wien Cast, soldered, nickel-plated and polished brass H 46 x W 49.5 x D 11 cm Each sculpture is marked 'FRANZ', 'Handmade', 'HAGENAUER/WIEN', 'MADE IN/AUSTRIA' and 'wHw' in the circle Literature: Photograph of the female head in the Archiv Hagenauer in the Museum of Applied Arts Vienna, inv. n° HAF 1188
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Dr. Nöth kunsthandel + galerie
albert marquet
Albert Marquet (Bordeaux 1875-1947 Paris) Le Jardin à l'Estaque, 1918 Oil on board 32.8 x 41 cm Signed lower left: Marquet, titled and signed on the reverse: Jardin à l'Estaque d'Albert Marquet This work is accompanied by an original attestation of inclusion from the Wildenstein Plattner Institute, and it will be included in the forthcoming Albert Marquet Digital catalogue raisonné. WPI Reference n° 21.10.14/20934, 20 January 2022 Provenance: Galerie Druet, Paris; René Keller, Director of Galerie Druet, Paris; private collection, France, gift from the above; Galerie Couleur du Temps, Paris, circa 1944; Sale: Me Etienne Ader, Me Antoine Ader, Me Jean-Louis Picard, Me Jacques Tajan, Palais Galliera, Paris, Tableaux Modernes, Aquarelles et Dessins modernes, November 26, 1976, n° 104; private collection, Paris; Galerie Boulakia, Paris, acquired from the above, 1988; Galerie de la Présidence, Paris; private collection, Woodside, California, acquired from the above, 1989; thence by descent to the present owner, Carmel, California Exhibition: Galerie Couleur du Temps, Paris, Marquet et quelques maîtres contemporains [Exposition inaugurale], March 21-April 15, 1944, n° 6 (as Jardin de l'Estaque)
Willow Gallery
Henri Martin (Toulouse 1860-1943 Labastide-du-Vert) Jour de Pluie sur la Terrasse Fleurie de Marquayrol, circa 1920 Oil on canvas 79 x 108 cm - framed: 99 x 128 cm Signed This painting is accompanied by a certificate of authenticity from Cyrille Martin Provenance: Tajan Paris, 24 March 1999, lot 17; Richard Green Gallery, London; private collection, Canada
Boon Gallery
paul delvaux
Paul Delvaux (Belgium, Antheit 1897-1994 Veurne) La ville lunaire, 1944 Oil on canvas 144 x 200 cm Signed lower right Provenance: Private Collection, Europe; Jan Krugier Gallery, Geneva, 1976; Alex Salkin Collection, New York; G. Van Extergem Collection Literature: BATAILLE, G., Les larmes d’Eros, Paris, 1961, p. 202, ill.; BOSMANT, J., Trésors communaux : Cinquante peintures, Brussels, 1960, p. 297, ill.; BUTOR, M., Delvaux : catalogue de l’oeuvre peint, Brussels, 1975, p. 203, n° 134 ,ill.; DE BOCK, P.-A., Paul Delvaux, Brussels, 1967, pp. 292-293, n° 64, ill.; DE RIDDER, A., De levende kunst gezien te Venetië, Brussels, 1958, p. 295, ill.; JEAN, M., Histoire de la peinture surréaliste, Paris, 1959, p. 275, ill.; ROMBAUT, M., Paul Delvaux, Ediciones Poligrafa, 1999, n° 51, ill.; SOJCHER, J., Paul Delvaux, Ars Mundi, 1991, n° 42, ill.; SPAAK, C., Paul Delvaux, Antwerp, 1948, ill.; SYLVSTER, A., Architecture in Modern Painting, Vol. CIX, London, 1951, p. 83, n° 650, ill. Exhibitions: Palais des Beaux-Arts, Paul Delvaux, Brussels, 1944, n° 58; René Drouin Gallery, Paul Delvaux, Paris, 1948, n° 13; Venice Biennale, Biennale XXVII, Venice, 1954; Isy Brachot Gallery, Hommage à Paul Delvaux, Art Basel, 1977, n° 4 © Foundation Paul Delvaux, Belgium/SABAM, 2023-2024
Epoque Fine Jewels
rené lalique
René Lalique (Ay 1860-1945 Paris) Art Nouveau nymph pendant/brooch Designed as a winged nymph, part female, part butterfly, the naked nymph decorated with skin colour enamel, the outstretched wings in pale green ‘plique-à-jour’ enamel, edged with a dark green ‘plique-à-jour’ border, highlighted with old mine cut and rose cut diamonds, mounted in 18 karat gold. Greenish ‘contre-émail’ on the reverse. The nymph can also be worn as a pendant. With detachable brooch fitting Paris, circa 1900 8.3 x 4.1 cm Signed Lalique and Lalique maker's mark In fitted box marked R. LALIQUE, 40 Cours-La-Reine, Paris A similar nymph by Lalique is part of the collection of the Lalique Museum in Hakone, Japan
Röbbig München
johann joachim kaendler (1706-1775)
Johann Joachim Kaendler (Germany, 1706-1775) A pair of swans Porcelain models circa 1748, Meissen manufacture and decoration, circa 1750-1755 H 27.5 x W 23 cm and H 26.5 x W 22 cm Cobalt blue crossed swords mark Provenance: private collection With their majestic figure, swans were still considered royal animals in the eighteenth century and were modelled several times in the Meissen manufactory as table decorations, especially in connection with table fountains. They are also mentioned in the 1753 confectionery inventory of Count von Brühl, the Prime Minister of Saxony. In their timeless elegance, they may be seen as a design by the famous Meissen modeller Johann Joachim Kaendler, which he produced in porcelain together with his assistant Peter Reinicke around 1750. The minimalistic decoration of the reeds in a turquoise-green on-glaze colour suggests an early artistic style.
Van Herck-Eykelberg
james ensor
James Ensor (Ostend, 1860-1949) Roses, tanagras and boot, 1917 Oil on canvas 46.5 x 66 cm Signed and dated lower right Literature: G. Le Roy, James Ensor, G. Van Oest, Bruxelles/Paris 1922, p. 195; F. C. Legrand, Ensor cet inconnu, La Renaissance du Livre, Bruxelles 1971, n° 238; X. Tricot, James Ensor, Catalogue raisonné of the paintings. II, 1902-1941, Wienand, 1992 Anvers, n° 484; X. Tricot, James Ensor, Catalogue Raisonné of the paintings. Mercator, 2009, n° 495 Exhibition: XV Exposizione Internationale d’Arte della Cittá di Venezia (Venice Biennale), 1926; Partially legible label on the back: ‘XIVieme Exposition Internationale des Beaux-Arts’
Francis Janssens van der Maelen
henry van de velde
Henry van de Velde (Belgium, Antwerp 1863-1957 Oberägeri, Switzerland) Art Nouveau flat desk, circa 1898 Sycamore wood, double-sided, the top is covered with black leather in its centre 129.50 x 73 cm Certificate of authenticity from Professor Klaus-Jürgen Sembach This desk is a variation of a games table that was in the collection of Villa Esche Provenance: private collection, France Literature: Catalogue of the exhibition L'Art Nouveau en Belgique, Brussels, Palais des Beaux-Arts, 19 December 1980-15 February 1981, p. 266 n° 143; Wolf D. Percher, Henry van de Velde - Das Gesamtwerk, Edition Factum, p. 94, ref 1318, p. 151, ref. 3406, p. 229, ref. 1317. This desk will be presented in a book about Henry van de Velde written by Bea Maybach from the Bauhaus-Museum in Weimar in Germany Exhibition: L'Art Nouveau en Belgique, Brussels, Palais des Beaux-Arts, 19 December 1980-15 February 1981 This small lady’s desk or flat desk, designed by Henry van de Velde, is an emblematic piece of furniture from the Art Nouveau movement, conceived around 1898 and distinguished by its elegant, slightly organic aesthetic. Made from sycamore, a precious wood, it is adorned with delicate details such as the four reinforcements between the legs, which give the illusion of shortening and rebalancing the whole while appearing to support the drawer. The top is recessed by around one centimeter while the underside is bevelled, giving it an air of lightness. It lays on a belt within which is embedded on the front end a drawer whose upper line shape is slightly curved on the outer edges. On either side, a sculpture in the shape of the number two emphasises the bevelled sides and begins the square legs. Roughly square at the start, the legs are emphasised on the outside by a rib that melts as it descends, while their base becomes round. The same drawer keyways can be found in various works by van de Velde. This lady’s desk by Henry van de Velde is considered a functional and aesthetic piece of furniture. Its timeless lines are highly prized by art and design lovers. It is similar to the games table in the catalogue of the Société Henry van de Velde, 53 rue Gray, Brussels, pp. 279 and 322.
Harold t’Kint de Roodenbeke
Leopold Survage (Moscow 1879-1968 Paris) Surrealist composition, 1916 Gouache and pencil on paper 43 x 31 cm Signed lower right Survage, marked with his initials LS, stamped with the artist's studio stamp and dated 16 Anne-Marie Divieto has confirmed the authenticity of this work Provenance: Felix Landau, Paris; private collection, Germany (acquired from the above circa 1970)
Segoura Fine Art
jules georges clairin
Georges Jules Victor Clairin (France, 1843-1918) L'Epave, 1904 Oil on canvas 75.5 x 50.5 cm Signed lower right and dated on the back Provenance: private collection, France Painting donated by the artist at the tombola of the Salon des artistes français in aid of wounded Russians, April 1904
Mearini Fine Art
Pair of pseudo-Corinthian capitals with acanthus foliage and palmettes North Adriatic, second half of the 11th-first half of the 12th century White marble (possibly spolia marble) H 40 x W 40 x D 47 cm Diameter of the inferior bases 27/28 cm Condition: good, except for small losses at the tips of several leaves and larger losses on the abaci, at the corners and at certain points of the edges Provenance: private collection, Italy Literature: Full report by Prof. Guido Tigler, University of Florence