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Art et Patrimoine - Laurence Lenne
Large ceremonial covered vase Castelli, first half of the 18th century Polychrome tin-glazed earthenware H 52.5 cm It depicts an animated landscape representing a camp of Roman soldiers Literature: Fernando Filipponi, Aurelio Anselmo Grue. La Maiolica nel Settecento fra Castelli e Atri, Ed. Verdone, 2015; Luciana Arbace, Francesco Antonio Saverio Grue (1686-1746). L'attivita del Dottore maiolicaro da Castelli a Napoli, Ed. Andromeda, 2005
Gallery Sofie Van de Velde
jean brusselmans
Jean Brusselmans (Brussels 1884-1953 Dilbeek) Les Roses, 1948 Oil on canvas 122.5 x 112.5 cm Signed and dated lower right: Jean Brusselmans 1948 Literature: La Collection Tony Herbert, Brussel, 1957, n° 51; Robert-L Delevoy, Jean Brusselmans, ed. Laconti 1972, p. 403 n° 568 ill.; Dirk De Vos, Retrospectieve Jean Brusselmans, Groeningenmuseum, 1980; Hans Janssen, Jean Brusselmans 1884-1953, Den Haag, 2018, p 115 ill. Exhibitions: Den Haag, Groningen, Charleroi, Oostende, Hasselt, Gent, Collection Tony Herbert, 1957; Luxemburg, Musée d’Art et d’Histoire, Collection Tony Hebert, 1963; Brussels, Paleis van Schone Kunsten, n° 53, 1979; Brugge, Groeningenmuseum, 1980, retrospectieve Jean Brusselmans, 1980; Den Haag, Jean Brusselmans 1884-1953, Gemeentemuseum Den Haag, 2018
Floris van Wanroij Fine Art
adriaen van ostade
Adriaen van Ostade (Haarlem, 1610-1685) Interior of a barn with peasants-An allegory of smell Oil on panel 17 x 24 cm Signed and dated middle centre: Av ostade 1637 Provenance: private collection; Floris van Wanroij Fine Art; private collection, Remscheid, Germany Literature: Krol, A.E., Musée de l’Ermitage. Peinture de l’Europe occidentale. Leningrad (Hermitage), 1981, vol. II, p. 155 In his charming and amusing painting Adriaen van Ostade, like his contemporaries David Teniers the Younger and Adriaen Brouwer, depicted a scene from the everyday life of the peasant classes. At the same time it forms an allegory, that of the sense of smell. A variation on this composition by Van Ostade is kept in the collection of the Hermitage, Saint Petersburg (inv. n° 999)
Gilden's Art Gallery
Marc Chagall (Vitebsk 1887-1985 Saint-Paul de Vence) Study for Commedia dell’arte (Foyer of Frankfurt Opera House), 1958 Brush and India ink with charcoal and pencil on wove paper 36.5 x 56.5 cm Signed lower right: Marc Chagall The work is accompanied by a certificate of authenticity from the Chagall Committee from 27 February 2023 The composition is a study for the largest painting undertaken for a project in the foyer of Frankfurt Opera House, Germany Provenance: estate Marc Chagall
Dr. Lennart Booij Fine Art & Rare Items
emile gallé
Emile Gallé (Nancy, 1846-1904) Vase, circa 1895 Aquamarin enamelled and hand etched vase with applied handles H 25 cm Provenance: private collection, France Literature: Alistair Duncan, The Paris Salons 1895-1914, vol. IV, p. 228 for a similar model
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
Florian Kolhammer
johann loetz witwe
Johann Loetz Witwe Vase Phänomen Genre 356, circa 1900 Designed and executed by Johann Loetz Witwe, Klostermühle, Bohemia Mould-blown, freeform, reduced and iridescent glass H 23.5 x Ø 14 cm Signed underneath 'Loetz Austria' Literature: A. Adlerova, E. Ploil, H. Ricke, T. Vlcek (ed.), Loetz-Böhmisches Glas 1880-1940, vol. II, paper pattern catalogue, Prestel, Munich 1989, paper pattern 420, p. 95
Victor Werner
marcel-louis baugniet
Marcel-Louis Baugniet (Liege 1896-1995 Brussels) Marin américain, 1925 Oil on canvas 55 x 40 cm Signed and dated lower right: M-L Baugniet 1925 Two exhibition labels on reverse: (1) 'MUSÉE D'IXELLES, exposition Art déco' with name of exhibitor and title of work (2) Salon Annuel Des Amis, La Louvière Provenance: Galerie Maurice Tzwern, Antwerp; Galerie Ronny Van de Velde, Antwerp; private collection Literature: ART DECO BELGIQUE 1920-1940, Editions I.P.S., 1988, ill. p. 220, n° 7 Exhibition: ART DECO BELGIQUE 1920-1940, Musée d'Ixelles, October 6, 1988-December 18, 1988; Salon Annuel Des Amis, La Louvière
QG Gallery
christo
Christo Javacheff (Gabrovo 1935-2020 New York) Wrapped Reichstag (Project for Deutsche Reichstag-West Berlin) Pencil, charcoal, wax crayon, map, photographs by Wolfgang Volz and glue, in artist's Plexiglas frame, in two parts H 39.4 x W 166.5 cm H 108 x W 166.5 cm Provenance: Otto Wolff von Amerongen, Germany (gifted by the artist for being instrumental in facilitating the wrapping of the Reichstag); Sotheby's London, June 2023; private collection, Belgium
Galerie Raf Van Severen
fernand léger
Fernand Léger (Argentan 1881-1955 Gif-sur-Yvette) Le Cordage Jaune, 1935 Oil on board 39 x 53 cm Signed and dated bottom right: F. Léger, 1935 Provenance: collection Robert Guiette; private collection, Belgium Literature: Zervos, C., Fernand Léger. Cahiers d'Art, Paris, 1935, n°1-4, repr. pp. 65 and 67; Bauquier, G., Fernand Léger. Catalogue raisonné de l'œuvre peint 1932-1937, 1996, repr. pp. 870-871
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
Thomas Deprez Fine Arts
emile fabry
Emile Fabry (Verviers 1865-1966 Brussels) A monumental triptych, including: Le péché originel, Les Déesses de la Vie and Prométhée & Pygmalion, circa 1896 Oil on canvas 246 x 138 cm | 249 x 205.5 cm | 245 x 140 cm All canvases waxed and retouched The middle panel carrying a certificate by Edmond Delescluze, the artist's son-in-law, dated April 6th 1990 Provenance: by descent in the family of the artist, after his death in 1966; former collection Suzanne Fabry and Edmond Delescluze, the artist’s daughter and son-in-law; triptych dismantled and sold separately, with different provenances on request; United again for the first time under single ownership, 2023 Literature: a list of contemporary press critiques available on request; Jacqueline Guisset, Emile Fabry 1865-1966, Brussels, Fonds du Patrimoine de Woluwe-Saint-Pierre, 2000, ill. pp. 75, 77 & 78; Sébastien Clerbois, L’Esotérisme et le Symbolisme belge, Anvers, Pandora Publishers, 2012, ill. p. 104 Exhibitions: Exposition du Cercle Pour l'Art, Brussels, 1896; Retrospective Emile Fabry, Woluwe-Saint-Pierre, Centre culturel, 2000
Klaas Muller
joris van son
Joris Van Son (Antwerp, 1623-1667) Flower and fruit garland around a cartouche Oil on canvas 65 x 50 cm Provenance: Queen Desideria of Sweden (1777-1860) Joris Van Son was a seventeenth-century Antwerp painter who was strongly influenced by the work of Jan Davidsz. De Heem (a Northern Netherlandish painter who was active in Antwerp in the 1630'ies). Together with Nicolaes Veerendael, Jan Van Kessel and Daniël Seghers, he was one of the main protagonists of Flemish (Antwerp) floral still life art from the mid-seventeenth century. Amongst his pupils were Frans van Everbroeck, Jan Pauwel Gillemans the Younger, Cornelis van Huynen, Norbert Montalie and Abraham Herderwijn. Van Sons preferred two important categories in the genre of flower and fruit still lifes: garlands ('cartouches') and so-called 'pronkstillevens' ('showy still lifes'). The 'cartouche' was often filled with the image of a Saint or a portrait. This by another painter, usually specialised in figures (for example Cornelis Schut, Erasmus Quellinus or Frans II Francken). The fact that our 'cartouche' remained empty in the center indicates that Van Son created this work as a coastal work 'in itself'. The quality is excellent and Van Son not only shows off his in-depth knowledge of the flora and fruits, but also his great sense of sensitivity, detail and colour. Striking is the powerful sculpted cartouche (with a male head bellow) in grisaille, in contrast with the bright fruits and flowers. This work has an interesting provenance: in the early nineteenth century it was owned by Desideria, Queen of Sweden and Norway (1777-1860).
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