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Alexis Lartigue Fine Art
Sam Francis (San Mateo 1923-1994 Santa Monica) Celestial Insect (72-020), 1972 Acrylic on paper 45 x 55 cm Signed and dated Sam Francis Archive SF72-020 Provenance: private collection, Italy Exhibition: Falchi arte Moderna, Milano, 1974 From the end of the 1960s, Sam Francis carried out in-depth research on light. He wondered about the two contradictory states of the latter: "black, the original background from which the light springs, and white, the base of the light and the sum of the colours." He sought to obtain a good balance since, according to him, "an increase in light causes an increase in darkness." His painting is not fixed, the irregular shape of the spots and the arrangement of the colours come to rest and form a network that is both structured and disarticulated.
Heutink Ikonen
Deesis and Apostle row (four panels) Asia Minor, possibly Smyrna (now Izmir), 17th century Egg tempera with gold leaf on a wooden panel surfaced with gesso and linen 28 x 59 cm, 27.5 x 92 cm, 27 x 102 cm, 27.5 x 67.5 cm A very rare and monumental Deësis ('intercession'), originally a Byzantine composition, in which Christ is depicted centrally as a judge while a number of selected saints are facing him in supplication. In this case, Christ is flanked by the Mother of God and John the Forerunner (the Baptist), with the Apostles at some distance from them. Remarkably, the apostles are not all positioned adjacent to each other, but are interspersed with ornamentation. The panels formed a part of the templon of a modest iconostasis of a church in the region of Asia Minor, possibly from the vicinity of Smyrna (present-day Izmir), where they were displayed directly above the royal doors.
Galerie Christophe Gaillard
stéphane couturier
Stéphane Couturier (Neuilly-sur-Seine, 1957) Angers - Chant de l'Apocalypse n° 1, 2022 Tapestry: mixed technique - rag, wool, cotton, hemp, linen, acrylic, string, onion and citrus threads, sewing thread, nylon thread, sequins... 205 x 277 cm Edition of 3 Provenance: the artist's studio; Galerie Christophe Gaillard
Cabinet of Curiosities-Honourable Silver Objects
leysen frères
Pair of Art Deco silver ice buckets Marked at the bottom LEYSEN & FRERES in rectangle and silver mark A800 in oval (silvermarks for Leysen: before 1942) Brussels, circa 1930 H 14 x 16 Ø (top) x 13.5 cm Ø (bottom base) Provenance: private collection, Belgium Literature: R. Steel & W. Nijs, Art Deco Zilver. Antwerp-Brussels-Ghent, Sterckshof Studies 3 (1996), pp. 176-177, 282, n° M38 The smooth body, equipped with two semi-circular and silver mounted ivory handles, ends on round and constricted base, the top is decorated with a folded edge
Galerie La Patinoire Royale Bach
lita albuquerque
Lita Albuquerque (Santa Monica, 1946) On a sliver of sun, she travels toward the moon, 2021 24kt gold leaf on resin and pigment on panel 2.10 x 2.10 m Provenance: the artist's studio Exhibitions: Lita Albuquerque: Liquid Light; Collateral Event of 59th La Biennale di Venezia, Biennale Arte 2022; Presented by bardLA, Los Angeles, California. Curated by Elizabeta Betinski and Neville Wakefield
Nicolás Cortés Gallery
francisco de zurbarán
Francisco de Zurbarán (Fuente de Cantos, Badajoz 1598-1664 Madrid) Still Life of Lent Oil on canvas 62.5 x 82.5 cm Provenance: private collection, Madrid, Spain; collection of Cardinal Despuig (1745-1813), Palacio de Montenegro, Palma de Mallorca [inv. n° 71]; Truyols collection (from 1972), Palma de Mallorca Francisco de Zurbarán, one of the foremost figures of the Spanish Baroque is renowned for his masterful works. Among them, 'Still Life of Lent' stands as a testament to his artistic genius. In this intriguing composition, Zurbarán skillfully brings to life a multitude of objects emerging from the shadows of an enigmatic, undefined background- captivating the viewer in the interplay of light. This masterpiece, dating back to the 1600s, has a fascinating history. It was once part of the esteemed collection of Antonio Despuig Dameto (1745-1813), the son of the Count and Countess of Montenegro y Montoro. During the tumultuous era of Napoleon's annexation of the Pontifical States to the French Empire, Despuig faced arrest and was transported to Paris, leaving behind this remarkable artwork. Astonishingly, 'Still Life of Lent' remained within the Despuig family's collection throughout the centuries. Through intensive scientific examination, Zurbarán's hidden signature beneath layers of the canvas has been uncovered, offering us a unique glimpse into Zurbarán's mastery and the rich historical tapestry that surrounds it.
Osborne Samuel Gallery
Lynn Chadwick (London 1914-2003 Lypiatt Park) Short Horn, 1954 Iron and composition H 41 x W 61.5 x D 20.5 cm Unique piece Provenance: The artist; Mrs. Helen Lessore O.B.E.; Acquired by René Gaffé at the Venice Biennale, 15th September 1956; Private collection, The Netherlands; Osborne Samuel, London; Private collection, Canada Literature: J.P. Hodin, Lynn Chadwick, Werk, vol. 44 (n° 3), March 1957, p. 113; Dennis Farr & Eva Chadwick, Lynn Chadwick, Sculptor, With a Complete Illustrated Catalogue 1947-2003, Lypiatt Studio, Stroud, 1997 p. 92, cat. no. 143 (prepatory drawing illustrated; with incorrect dimensions height: 45 cm.) Dennis Farr & Eva Chadwick, Lynn Chadwick, Sculptor, With a Complete Illustrated catalogue 1947-2003, Lund Humphries, Farnham, 2014, p. 111, cat. n° 143 (ill. b&w) Exhibitions: London, New Burlington Galleries, 53rd London Group: British Painting and Sculpture, November-December 1954, n° 264; Venice, XXVIII Biennale, June-October 1956, p. 412, n° 51 (titled Vacca Shortorn), lent by Mrs H. Lessore
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Univers du Bronze
françois pompon
François Pompon (Saulieu 1855-1933 Paris) Grue couronnée au repos, 1926 Bronze with slate patina, specific to Pompon H 26.5 x W 10 x D 15.4 cm Artist's edition signed by Pompon in the wax, cast by Cire C.Valsuani perdue, confidential edition of few examples only, circa 1926-1933
Repetto Gallery
Christo (Gabrovo 1935-2020 New York) The Pont Neuf, Wrapped (Project for Paris), 1980 Quai du Louvre, Quai de la Megissérie, Île de la Cité, Quai de Conti, Quai des Grands Augustins Graphite, charcoal, wax crayon, oil pastel, fabric and thread, aerial photograph and architectural drawings on card collage, in artist's plexiglass box frame with tape 83.8 x 71 cm
Finch & Co
Headrest Kali Hahapo Patinated wood, sennet (coconut fibre), glass beads Tonga, late 18th-early 19th century H 19 x W 53 cm Provenance: Captain A.W.F. Fuller (1882-1961) given to Dr Roland Force, in recognition of Force’s work in cataloguing the Fuller collection (see below); Julian Harding collection; Wayne Heathcote; Patricia Withers collection (1934-1998), London; Sotheby’s London, 1988; Nasser Gallery, 2010; private collection Literature: The Mark and Carolyn Blackburn Collection, 2010, p. 246, ill. 146; The Fuller Collection of Pacific Artefacts, Lund Humphries, London, 1971; Pierre Loos, Bayet et Caltaux, La tête dans les étoiles. Appuis-nuque d’Afrique et d’ailleurs, BRUNEAF, 2012, p. 157 Exhibition: BRUNEAF, Bruxelles, Belgium, La tête dans les étoiles. Appuis-nuque d'Afrique et d’ailleurs, 6-10 June 2012 A comparable example in the Tongan National Museum, Tofoa. Also several neck-rests part of the collections in the National Museum of Australia, Canberra (inv. Oz 347 and inv. Oz 348) Of elegant arching form and carved in one piece from a dense, fine grained wood, possibly ‘Intsia bijuga’. Neck-rests of this type were used in Tonga as pillows to ensure that the elaborate coiffure of the owner would not be disturbed during sleep. ‘Kali’ acquired ‘mana’ (the spiritual force) by repeated contact with the owner’s head and in the case of a chief became objects of great prestige. This example, from the renowned Captain Fuller collection, is exceptional for the elegance and purity of its form, especially evident in the strongly curved legs ending in subtle horizontal flange feet. To each end of the ‘cross-bar’ glass beads have been inserted to enhance the decorative appeal and importance of this piece. In the opinion of George Ortiz no civilisation has equalled the Pacific Islanders’ superb furniture and domestic objects. Writing of Tongan neck-rests the great connoisseur of Polynesian Art Edward Dodd said: ‘What wonderful springing forms!’ For a comparable neck-rest (no. 689) in the James Hooper collection. Of classic Tongan form, it was however collected at Mbau, Fiji, in 1865. Compare also two ‘kali’ previously in the Fuller collection ( n° 274498 and 274499) and now in the Field Museum, Chicago.
Kunsthaus Kende
hans bolek
Hans Bolek (Vienna, 1890-1978) An 800 grade silver coffee and tea service, Vienna, 1909-1912 Designed by Hans Bolek, executed by Franz Schediwy for Alfred Pollack silversmithy A five piece coffee and tea service Provenance: private collection, San Francisco Literature: In 1912, the Vienna Museum of Applied Arts (MAK) acquired the tea service, consisting of a teapot, a small milk jug and a sugar bowl on a tray. It is still in the museum’s collection under inventory number WI 1102. An identical composition can be found in the Bröhan Museum, Berlin and is ill. in: Kerssenbrock-Krosigk, D. von, Bröhan Museum, von Kerssenbrock-Krosigk, D. & Kanowski, C. (2001). Metallkunst der Moderne: Bröhan-Museum, Landesmuseum für Jugenstil, Art Deco und Funktionalismus (1889-1939), Berlin. P. 521, cat. n° 464 Exhibition: This tea service was designed prior to 1909 and exhibited for the first time by the silversmith Alfred Pollack in 1910/11 at the winter exhibition in the Vienna Museum of Applied Arts (currently the Museum der angewandten Kunst, Vienna, known as MAK)
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
De Zutter Art Gallery
asger jorn
Asger Jorn (Denmark, 1914-1973) The Awakening II, 1953 Oil on panel 152 x 121 cm This work is included in the Catalogue Raisonné under n° 799 Provenance: R. Dahlmann Olson, Copenhagen Exhibitions: 1953, Copenhagen, ‘spiralen’; 1964, Kunsthalle Basel, 'Asger Jorn-Dodeigne'; 1965, 'Jorn', Stedelijk Museum Amsterdam; Louisiana Museum of Modern Art, Humblebaek, 'Jorn'; 2001-2023 long-term loan to the CoBrA-museum Amstelveen
Gioielleria Nardi
Letters from Venice ring Rose gold and 203 diamonds. The significance of this unique ring lies in the fact that it opens, containing a message. In fact it comes with two letters, one with a sentence by Virgil; Omnia Vincit Amor, whilst the second can be a personalised message by the customer
Galeria Jordi Pascual
joan miró
Joan Miró (Barcelona 1893-1983 Palma de Mallorca) Peinture, projet pour une tapisserie, 1973-1974 Paint, oil and wool on wood 197 x 122 cm Provenance: private collection Literature: Lelong, Daniel. Joan Miró. Catalogue raisonné. Paintings, vol. V, 1969-1975, Successió Miró, 2003; p. 238, fig. 1641
Alexis Lartigue Fine Art
simon hantaï
Simon Hantaï (Hungary, Bia 1922-2008 Paris, France) Untitled, 1971 Watercolour on canvas 85 x 73 cm Monogrammed and dated Certificate from Daniel Hantaï Provenance: private collection, Paris This work on canvas is part of the series of watercolours presented by the Fournier gallery in 1971 in Paris. Simon Hantaï whitened the canvas beforehand with a filler, then he crumpled and pinched it. The visible parts were painted in several colours. Once deployed, we discover the whites held in reserve. The artist considered that the works must live, and undergo the onslaught of time and light, without particular protection and without frames. He went so far as to bury certain works in his garden, before taking them out and exhibiting them as they were, smeared with dust and organic waste. "The work exudes an aura of sensitive, sovereign light that is hard not to surrender rapturously to." Alain Delaunois
Galerie Jean-François Cazeau
Auguste Herbin (Quiévy 1882-1960 Paris) Le Vieux Pont à Bruges, 1906 Oil on canvas 46 x 55 cm Signed lower left Provenance: the artist’s studio; M. Rheims, Paris; Malborough Fine Art Ltd., London; private collection, Basel Exhibitions: 1914, Exposition Auguste Herbin, Galerie Clovis Sagot, 2 March–17 March 1914, n° 3; Bern 1963, Auguste Herbin, Kunsthalle Bern, 16 February–24 March 1963, n° 1 (ill.); Amsterdam 1963, Herbin, Stedelijk Museum, 7 June–22 July 1963, n° 2 (ill.); Zurich 1965, Auguste Herbin, City Galerie Bruno Bischofberger, 2 April–30 April 1965, n° 2; Paris 1975/76, Le Bateau-Lavoir, Musée Jacquemart-André, 31 October 1975-31 November 1976 (label on the back) Literature: Geneviève Claisse: Herbin. Catalogue raisonné de l'oeuvre peint, Paris 1993, p. 291, n° 70 (ill.)
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Samuel Vanhoegaerden Gallery
tom wesselmann
Tom Wesselmann (Cincinnati 1931-2004 New York) Monica nude in robe and stockings (Var #8), 1986 Enamel on laser-cut steel H 83.5 x W 168 cm Signed, dated and titled on verso Provenance: OK Harris Gallery, New York; private collection, USA Literature: Tom Wesselmann: a Pop Art Legend, Samuel Vanhoegaerden Gallery, Knokke, 2023, ill.
Tobogan Antiques
charles de marnyhac (1840-1897)
Charles de Marnyhac (France, 1840-1897) 'African Venus', circa 1878 Two patina bronze figure H 168 x W 54 cm Life-size, representing a young African woman taming a snake, dressed with a feathered loincloth and a long drape in her hair, and wearing African jewels Literature: Great Exhibitions 1851-1900, Jonathan Meyer, Antique Collector’s Club, 2006, p. 241; L’Art et L’Industrie de tous les peuples à l’Exposition Universelle de 1878, Librairie Illustrée, Paris Similar model mounted as a floor lamp exhibited by Charles de Marnyhac at the World's Fair in Paris in 1878
Costermans & Pelgrims de Bigard
ernest louis jean cremer
Ernest Louis Jean Cremer (France, 1731-1793) Mahogany quartet table, circa 1780 Louis XVI period H 74.5 x W 53.5 x D 38 cm Stamped by Cremer, received Master on July 13, 1777 Literature: P. Kjellberg, Le Mobilier français du XVIIIe siècle, Les Editions de l'Amateur 2008, p. 218
Galerie von Vertes
sam francis
Sam Francis (San Mateo 1923-1994 Santa Monica) Untitled (SF52-015), 1952 Gouache and oil on paper 60.9 x 49.2 cm Signed twice, dated and inscribed on verso 'Sam Francis SF PARIS 1952' Sam Francis Online Catalogue Raisonné of the Works on Paper, n° SFF5.134 Provenance: Gimpel Fils, London (1957); Margo Leavin Gallery, Los Angeles; private collection, California (acquired from the above); Minami Gallery, Tokyo (October 1977); Idemitsu Museum, Tokyo (accession n° 3449, June 1978); Sotheby's, New York, 15 November 2018, lot 212; private collection, London Literature: Kodansha, Contemporary Great Masters: Sam Francis. Tokyo: Kodansha 1994, p. 89 (ill. in colour pl. 63) Exhibitions: Pavillon des Arts, Paris, L’oeuvre de Sam Francis dans les collections du Musée Idemitsu, 18 September-16 November 1986, n° 6 (ill. in colour), weitergereist nach: Louisiana Museum of Modern Art, Humlebaek, Denmark, 29 November 1986-18 January 1987; Yayoi Gallery, Ogawa Art Foundation, Tokyo, 5 October–5 December 1987; Museum of Modern Art, Toyama, Japan, Sam Francis: From the Idemitsu Collection, 10 August-16 September 2002, n° 10 (ill. in colour p. 35), travelled to: Kawamura Memorial Museum of Art, Chiba, Japan, 28 September-10 November 2002; Museum of Art Ehime, Ehime, Japan,16 November-23 December 2002; Museum of Contemporary Art, Tokyo, 5 April-25 May, 2003; Iwaki City Art Museum, Fukushima, Japan, 3 June-6 July 2003; Oita City Art Museum, Oita, Japan, 13 September-26 October 2003
