TEFAF MAASTRICHT 2019 Catalogue by TEFAF

TEFAF MAASTRICHT MARCH 16â&#x20AC;&#x201C;24 2019

P R I N C I PA L S P O N S O R

SPONSORS

CONTENTS

COMMITTEE OF HONOUR THE EUROPEAN FINE ART FOUNDATION BOARD AND MANAGEMENT 006 FOREWORD BY THE CHAIRMAN OF THE EUROPEAN FINE ART FOUNDATION 011 FOREWORD FROM THE PRINCIPAL SPONSOR AXA ART 012 SAFE SPACES FROM AXA ART 014 TEFAF SHOWCASE 2019 018 SPECIAL EXHIBITION DRESDEN STATE ART COLLECTIONS - THE GREAT OPENINGS OF 2019 026 2019: REMBRANDT YEAR IN THE NETHERLANDS 030 THE TEFAF RESTORATION FUND 032 PRINCE CLAUS FUND 034 VETTING GUIDELINES AND VETTING COMMITTEES 048 PAINTINGS 162 ANTIQUES 354 ANCIENT ART 382 LA HAUTE JOAILLERIE 396 TRIBAL 410 DESIGN 448 PAPER 494 MODERN 609 ADVERTISEMENTS 637 EXHIBITOR LIST 004 005

THE COMMITTEE OF HONOUR

BOARD AND MANAGEMENT

MR. H. SALVADOR The Ambassador of Argentina

MR. H.E. WALKER Ambassador of Switzerland

MS. DR. H. GÜRER The Ambassador of Austria

MR. P.M.A. WILSON The Ambassador of the United Kingdom

MR. D. ACHTEN The Ambassador of Belgium

MS. L. DUPUY LASSERRE The Ambassador of the Eastern Republic of Uruguay

MS. S. NÖLKE The Ambassador of Canada MR. J.-O. HORSLUND The Ambassador of the Kingdom of Denmark MR. P.A. LALLIOT The Ambassador of France MR. D. BRENGELMANN The Ambassador of the Federal Republic of Germany MR. A. PERUGINI The Ambassador of Italy MR. H. INOMATA The Ambassador of Japan MR. LEE YUN YOUNG The Ambassador of the Republic of Korea MME. S. THÉVENOUX The Ambassador of Monaco MR. M. SØRBY The Ambassador of the Kingdom of Norway MS. R. BATORÉU The Ambassador of Portugal MS. M.J. ALONSO JIMÉNEZ The Ambassador of Spain MS. A.L. MARKOVIC The Ambassador of the Kingdom of Sweden

MR. H. JAMAR The Governor of the Province of Liège (Belgium) MR. H. REYNDERS The Governor of the Province of Limburg (Belgium) MS. A. HENK-HOLLSTEIN The Chair of the Landschaftsverband Rheinland (BRD) MS. G. WALSKEN The Governor of Cologne MR. O. PAASCH The Prime Minister of the German-speaking Community of Belgium MRS. J.M. PENN-TE STRAKE The Mayor of Maastricht MR. TH.J.F.M. BOVENS The King’s Commissioner (Governor) of the Province of Limburg (The Netherlands)

BOARD OF TRUSTEES

EXECUTIVE COMMITTEE

MANAGEMENT

NANNE DEKKING Chairman

PATRICK VAN MARIS VAN DIJK CEO

CHRISTOPHE DE QUÉNETAIN Chairman Antiquairs

CHRISTIAN HEMMERLE PETER KERBER HEIDI MCWILLIAMS CHRISTOPHE DE QUÉNETAIN PAUL SMEETS CHRISTOPHE VAN DE WEGHE

KARINE MANDEL Executive Assistant to the CEO and Board

FOUNDERS

MANON VAN DEN BEUKEN Head of Fair Operations TEFAF Maastricht

PAUL SMEETS Chairman Pictura CHRISTOPHE VAN DE WEGHE Chairman Modern GEORGE ABRAMS KONRAD BERNHEIMER BEN BROWN DAVID CAHN JORGE COLL JONATHAN GREEN CHRISTIAN HEMMERLE MARINA KELLEN FRENCH PETER KERBER GEORG LAUE HEIDI MCWILLIAMS UGO PIERUCCI WIM PIJBES FRANCK PRAZAN HIDDE VAN SEGGELEN DINO TOMASSO

TEFAF AMBASSADORS RACHEL KAMINSKY MICHEL WITMER ANA YTURBE DE SEPULVEDA CH’NG POH TIONG PAUL YANG

TEFAF RESTORATION FUND COMMITTEE DAVID BULL RACHEL KAMINSKY KENSON KWOK CAROL POTTASCH

JAN & JOSEPHINE DIRVEN-DUYNDAM EVERT DOUWES SR. JOHNNY VAN HAEFTEN DAVID KOETSER ROB NOORTMAN † EUGÈNE STENDER † JACOB STODEL † CLEMENS VAN DER VEN †

TEFAF SHOWCASE COMMITTEE PIETER DREESMANN PROFESSOR DAVID EKSERDJIAN BEN JANSSENS RACHEL KAMINSKY DAVID KOWITZ CHRISTOPHE DE QUÉNETAIN

STEVEN PIQUÉ CFO

FRÉDÉRIQUE VAN OORSCHOT Manager PAN Amsterdam DIANA CAWDELL LUCY BARRY Global Marketing & Communication COCO BANNENBERG CLAIRE VAN BEUZEKOM FREDERIQUE HANSSEN YVONNE VAN DEN EERENBEEMT JAN PETER VERHAGEN Marketing & Communication INGRID LABADIE Sponsorship & Corporate Events EVELINE VAN NIEKERK FREDERIEKE OUWERKERK Hospitality Specialist NIELS GLANDORFF Global Head of Build, Logistics & Security TWAN VAN ASSELDONK ED STRUIK Finance & Purchasing CÉCILE FENTENER VAN VLISSINGEN Global Head Vetting FLOORTJE JANSEN Vetting Assistant

FOREWORD BY NANNE DEKKING CHAIRMAN TEFAF

As Chairman of TEFAF, I see that the main task of our organization is to ensure that collectors and art lovers understand that they can buy works of art with confidence at all TEFAF Fairs. In addition to a whole range of critical, but subjective intangibles, provenance and authenticity are the main determinants of any artwork’s value. Every other concern is secondary if it cannot be ruled out that a piece could be a forgery, or that it may have been looted from its rightful owner in the past. The concept of transparency continues to be fundamental to how we drive our activities forward. One of the most notable changes over the last year has been to update our vetting procedures. As recommended by our vetting steering committee, we announced that vetting procedures were to be standardized across the organization, with the primary aim of removing potential conflicts of interest. I am very proud that our organization has the most stringent vetting procedures in place. Our global vetting committee is composed of international art specialists who are selected on the basis of their integrity, independence, and expertise, as specified in our vetting guidelines. To deny the vast expertise in the art dealer community would be a mistake, but to avoid any conflict of interest, dealers can only be part of vetting committees as non-voting members. Every object offered at a TEFAF Fair has been carefully studied by a group of specialists who are among the best in their field. We believe that our constant focus on vetting will create a level of confidence that will expand the art market as today’s buyers are more skeptical and more risk-averse than in the past. This year is the 350th anniversary of the death of one of the best known and loved artists of the Dutch Golden Age – Rembrandt van Rijn (1606–1669). Rembrandt has always been important to TEFAF. For many years, TEFAF Maastricht’s reputation was built on its extraordinary offering of important Dutch and Flemish Old Master pictures. The first painting by Rembrandt to be exhibited at TEFAF Maastricht, a portrait dating from 1632 that was painted when Rembrandt moved to Amsterdam, was exhibited by Otto Naumann in 1996. The American connection is an interesting one and highlights the extraordinary growth in interest in Dutch art in the

United States between 1880–1920, when Holland Mania took hold. At that time, the newly rich industrial barons of North America began collecting European pictures with gusto and Dutch and Flemish pictures found particular favor, perhaps because these wealthy American business people could identify with the powerful merchants of the 17th–century Dutch Republic. We all like to think that TEFAF has contributed to a revival of Holland Mania in the United States with the advent of TEFAF New York. Launched in 2016, the two annual New York fairs have set a new standard for art fairs in North America, which we hope will tempt collectors who are not yet familiar with TEFAF Maastricht to come and visit us here in The Netherlands. Europe is heading into, potentially, one of the most significant changes to its political infrastructure in recent history when the United Kingdom, the second largest economy within the EU, is scheduled to leave Europe. The third largest art market in the world is based in London, as are many of our exhibitors, and while we cannot guess the impact of Brexit, it highlights the need for TEFAF to be alive to geo-political and socioeconomic changes, and the implications that these have for the art market. TEFAF must constantly review what it does in order to continue to provide a relevant, forward-looking platform for its exhibitors and the wider art community. This is the first TEFAF Maastricht to take place since we implemented our new selection protocol. In line with other changes, the revised selection process was designed to make the procedure more transparent. We are indebted to our selection committees who worked extremely hard to implement the process fairly and make the best selection they could from the applications that were received for this year’s TEFAF Maastricht. Although the new process meant that we had to say farewell to a number of exhibitors, it also means that we are welcoming new exhibitors across all sections of the Fair; TEFAF Modern has seen the biggest changes where we welcome 13 from the total of 38 new exhibitors, including galleries such as Galerie Gmurzynska (USA), Simon Lee Gallery (UK), Pace Gallery (USA), Almine Rech (Belgium) and Sprüth Magers (UK).

We also have the great honor of hosting exceptional works from the Dresden State Art Collections (SKD) in our loan exhibition, housed in TEFAF Paper. The SKD will see two notable openings taking place this year – the opening of their State Apartments in the Residenzschloss in September, and the reopening of the Semperbau in December. It is a great privilege to be able to provide a preview of both of these openings. As we are heading into our third year of having staff on both sides of the Atlantic, we are committed more than ever to continuing to deliver the best possible service to our TEFAF community throughout the year. At TEFAF Maastricht 2018, we said goodbye to outgoing Board of Trustee members Ben Janssens, Willem van Roijen and James Roundell and this year we say farewell to Konrad Bernheimer. These four individuals have provided many years of outstanding service to TEFAF and we are deeply indebted to them for their tireless work and dedication. Thank you, Ben, Willem, James and Konrad. TEFAF is also delighted to welcome Wim Pijbes as our new Global Chairman of Vetting. Wim took up the role just prior to the Fair and will oversee our vetting procedures globally. Finally, let me end by welcoming you to TEFAF Maastricht 2019, the ultimate place to buy art across all disciplines and periods with confidence. Yours sincerely, Nanne Dekking Chairman TEFAF

Another notable change for 2019 is the movement of TEFAF Tribal and TEFAF Showcase within the Fair. Visitors can now find TEFAF Tribal near TEFAF Design and TEFAF Modern, while TEFAF Showcase now sits in TEFAF Antiques. The ambition is that these changes will allow collectors and visitors to make additional, unexpected connections between disciplines, further enriching the TEFAF experience.

FOREWORD BY CHRISTIAN MULLER COO AXA ART VERSICHERUNG AG AXA XL

Once again, I find myself greatly looking forward to my annual TEFAF Maastricht visit, this time at the conclusion of a very eventful few months. With AXA now joining forces with XL Catlin to launch AXA XL, the insurance world has a powerful new global player. From an AXA ART perspective, teaming up with XL Catlin to create XL Art & Lifestyle offers us a great opportunity to provide an even wider span of expertise and services to our clients and partners. In this very exciting period, it will be all the more a pleasure to take some time to relax and admire the astounding array of fine art which makes the TEFAF experience so special. Over more than 50 years we have built our reputation on providing expert protection for a demanding global high-end marketplace. Our new division strengthens our ability to deliver comprehensive art and lifestyle insurance to high-net worth customers and collectors whose cultural passions extend across many affiliated areas of luxury collectibles and lifestyle assets – such as cars, jewelry, household effects and international property. At a stroke, our global network of art experts has received a huge injection of fresh talent – creating one of the most complete teams of underwriting, claims, risk consulting and other professionals that our industry has to offer. It’s a very energizing time for everyone involved. TEFAF Maastricht is always an extraordinary occasion – one to savour and enjoy to the full. And while the future offers us exceptional scope to grow, innovate and diversify, our commitment as the Fair’s principal sponsors confirms that we are still at heart very much wedded to our core specialism: providing dedicated collectors with world-class art insurance. Yours sincerely, Christian Muller COO AXA ART Versicherung AG AXA XL, a division of AXA

SAFE SPACES

by Richard Serra (both extensively damaged by a long-term build-up of humidity behind their display wall) – is sadly unforgettable. And best not to dwell on the state of one inconsolable bibliophile’s incunabula, manuscripts and books after droplets from an ordinary bathroom water leak took full advantage of his absence to thoroughly permeate the ground floor wooden library of his mansion.

WHILE ALL COLLECTORS ARE DIFFERENT, THEY SHARE ONE MAIN CONCERN: SECURITY

PHILIPPE DE CHAMPAIGNE (Brussels 1602– 1674 Paris) Céphale et Procris Oil on canvas 73 × 155 cm (28.7 × 61 in.) 1630

How should we go about defining a collector: as a single-minded acquisitor of niche artefacts? An aesthetic connoisseur of rarefied beauty? Or a dispassionate student of investment values? Maybe even some mixture of all three? In truth, there are probably as many different types of collectors, aficionados, investors or fellow enthusiasts as there are personality types in the world – and some, incidentally, are not even conscious of being anyone’s idea of a collector at all. Devotees of any collectible genre – be it of Old Masters, modern and contemporary art and design, distinguished books, archaeology and antique objects, fine wine or classic cars – inevitably hold a degree of fascination in their own right. Time in the company of any such collector can offer a revealing insight into just what it was that initially launched them on such an extraordinary voyage of self-discovery, and what challenges they have confronted along the way. Paradoxically, the one thing that collectors and their collections universally have in common is that all are in their own way unique. If a collection 12

can be defined as a body of objects grouped according to aesthetic, historical or scientific interest, and perhaps also classified through topic or historic period, one can guarantee that even the most esoteric sub-genre will attract its share of adherents. Generally, these fall into three categories: the `passionates´ (informed amateurs, who regularly frequent museums, galleries and fairs in the process of assembling their collection); the `traditionalists´ (who have themselves inherited a tradition of collecting, and who acquire selectively, largely going by instinct); and `investors´ (who keenly follow new trends and see art primarily as a commercial commodity). In each case, the relationship between collector and collectible is very different – but this has no bearing on the risks (which are more numerous than might be supposed) that might threaten their precious assets. Understanding collectors – how they think, what drives their passion, and why they cherish the art they do – is absolutely integral to how we look after our clients and their treasured possessions. Personal dealings can elicit some unexpected

and surprising revelations. And while some may be amusing, others can be more painful – notably those that recall extraordinary situations surrounding artwork damage or loss. That such situations really can and do occur is worth a little sober reflection, as the following examples – all case-histories from our own archives – eloquently attest. First, spare a thought for the collector of Old Masters and proud possessor of a 16th century oil-on-panel, that at some point acquired a large surface chip – damage sustained probably as the result of some long-completed building work, and unnoticed at the time. Also the modern paintings lover who arrived home one evening to discover that one of the major artworks of his collection – a surrealist period Miró – had fallen from a loose nail on to a bronze sculpture directly beneath, thereby sustaining a tear of several centimetres. Lastly, imagine the distress of the collector whose fall down his own stairs was broken only by a strategically-placed glass showcase, containing a superb Attic oenochoe with red figures from the 5th century BC. The collector fortunately survived. Showcase and artwork unfortunately did not. Sometimes, in a high-density living environment such as a flat or condominium, the very proximity of neighbors introduces random elements of risk entirely outside of the collector’s control. Consider the cautionary tale of an exceptionally beautiful paperwork collection being ruined entirely by a 600-litre deluge from two upper-floor water heaters, which were perforated when their fixings broke. Less spectacular (but consequently much more prevalent), beware the every-day havoc that can be wrought by the humble loose seal, leaky plumbing or damaged roof a floor or two up. The sight presented by some examples – such as a remarkable Soulages walnut stain, or a work executed with tar on Japanese paper

Not to be out-done, fire also exacts a regular toll. To take but one national example, domestic incidents in France involving fire occur every two minutes – with one in three being due to faulty electrics. Short circuits, which not only cause power failures but also have the potential to generate dramatic fires, are a notable culprit. And again, even the most safety-conscious custodian cannot ever entirely rule out the possibility. In a casein- point, one usually goodhumored collector lost a fair proportion of his art objects to a fire in a supposedly secure storage facility (prompting the rueful observation that he’d have been better off taking out a contract indemnifying him only against fire). More ironic still, yet another collector had his apartment completely deluged by the runoff water from fire hoses being employed to control a blaze on the above floor. And a third, the owner of a pristine white penthouse devastated by thick smoke (caused by an exploding halogen bulb setting a carpet to a slow-burning smoulder) almost selfcombusted with rage at the blackened spectacle of his prized monochrome Yves Klein, its ultramarine blue luminosity (patented `IKB´) now seriously compromised. Lastly, a few words on theft. With today’s art market being in effect an international currency, we should bear in mind that art traffic takes third place behind drugs and arms as a channel of choice for money laundering worldwide. Every day brings fresh examples of the risk that valuable art runs – through a steady stream of collectors’ testimonies, some of which would stretch credulity in a movie plot but are nonetheless all too true. Some robbers climb building facades, some employ fraud and deceit, others prefer brute force. In short, thieves will look to exploit any flaw or weakness in your security precautions – but the good news is that it normally doesn’t take excessive measures to repel them. As passionate art lovers ourselves, we know from our own experience that collectible objects lead an existence so exotic and unusual that they acquire a compelling magnetism, which has the inexplicable capacity to challenge us and attract us simultaneously. In those moments of fascination, we catch a revealing glimpse into the soul of the true collector, consumed by the passion to own, cherish and protect these extraordinary objects of their devotion from all the many unpredictable events that threaten to befall them.

TEFAF SHOWCASE 2019

`When TEFAF Showcase was first launched in 2008, I don’t think we had any idea how successful it might be,´ says Ben Janssens, who has chaired the selection committee from the outset. `It is very gratifying to see how many Showcase exhibitors have graduated to becoming fully-fledged participants at the Fair. As the reputation for TEFAF Showcase has grown, so have the number of highquality applications to take part in this section as many younger dealerships realise what a strong platform it provides to try out TEFAF Maastricht and give exposure to a highly sophisticated audience of international collectors. Equally, from TEFAF’s perspective it gives an excellent opportunity to view new talent. Collectors love it too – so everybody wins!´. TEFAF Showcase was created to provide newer galleries the opportunity to experience a major international art Fair and, this year, is held in a new area of the Fair within TEFAF Antiques. The 2019 participants are Galerie Lowet de Wotrenge (S1), ArtAncient (S2), Mathieu Néouze (S3), Martin Doustar (S4), Santa Tecla Srl (S5) and Galerie Samantha Sellem (S6). Medicine was Costas Paraskevaides’ chosen profession and although he qualified as a

doctor, he always had an interest in ancient art. His Cypriot grandfather had a collection of early Cypriot pottery, which proved a fascination and he was exposed to the art market in his early teens when his father also began to collect ancient objects. Paraskevaides soon realised that what had started as an interest had grown into something much more profound and he decided to abandon medicine and make what had been a hobby into his full-time career. He started dealing online, buying and selling small objects and founded ArtAncient in 2009. In 2016 he moved from Cambridge to London and has since developed a loyal clientele and has grown the quality and variety of objects in which he deals. `Being selected for TEFAF Showcase, feels like a real honour – almost like being given a seal of approval. TEFAF’s standards are very high, so I hope to show some really great objects with fantastic provenance´ he says. Among the objects that he will show are a Syracusan decadrachm, a large medallic silver coin from 5th century BCE, which is signed three times by Kimon, one of the finest master engravers of the period; a rare, finely engraved and beautifully shaped Chalcidian helmet from the Peloponnes, 5th/6th century BCE and a 5th–6th Dynasty Egyptian limestone relief showing offering bearers that comes from an European collection with a provenance dating to beginning of the 20th century. `TEFAF Maastricht is the most exciting Fair in the world, and it has been a long-term goal to exhibit there, since I first visited in 2000´, says Martin Doustar. Based in Brussels, Doustar deals in African, Oceanic and pre-Columbian objects

Opposite page: MARTIN DOUSTAR

Chupicuaro Venus Polychrome ceramic Height 55 cm (21.7 in.) Chupicuaro culture, Michoacán, Guanajuato state, Mexico, 500–200 BC ARTANCIENT Statuette of Zeus Marble Height 20 cm (7.9 in.) Circa 2nd3rd century AD

GALERIE LOWET DE WOTRENGE FRANS II FRANCKEN (1581–Antwerp–1642) Death and the Miser Oil on copper 16.4 × 13 cm (6.6 × 5.1 in.)

MATHIEU NÉOUZE LUCIEN LÉVY-DHURMER (Alger 1865–1953 Le Vésinet) Regrets Oil on canvas 43.5 × 21 cm Signed and dated lower right 'LL DHURMER / JUILLET 99' 1899

as well as archaeological and Asian works of art. He has a particular taste for small objects and is planning to make his TEFAF Showcase stand feel `like a small temple´ – in order to achieve this, he plans to narrow the entrance and create a rich, dark interior that focuses the light onto his presentation of objects from different civilisations from around the world. When he began his career as a dealer, he specialised in modern art and collected the material that he now deals in privately. His fascination with objects from different societies and histories is both aesthetic and intellectual. During TEFAF Maastricht Martin Doustar plans to exhibit pieces that reflect his personal taste and aesthetic. These include several gold pieces made from a copper and gold alloy known as tumbaga from Columbia dating from between the 1st and 5th centuries CE, one such piece is a cheiftan’s pendant; a number of zooamorphic jade jewellery pieces dating from between 6th and 12th centuries CE from Costa Rica and Nicaragua; a nephrite Maori tiki and other personal adornments from Polynesia and Melanesia, which were worn by both men and women – the materials also include both whalebone and shell. Tyr Baudouin taught history and history of art for seven years before taking over Galerie Lowet de Wotrenge from his parents. Baudouin’s move into the business has been gradual and for a number of years he combined teaching with building up the business. `Being a teacher has undoubtedly informed my practice as a dealer and vice versa´, 16

comments Baudouin. `It helped me to understand the importance of elevating the conversation around works of art, giving context, building narrative and bringing everything to life. The way that people buy art has changed since my parents ran the gallery in the 60s and 70s and the gallery needed to change to reflect that. I hang more sparsely than my parents would have done, giving each picture its own space and lighting works very carefully.´ The gallery specialises in Old Master drawings, paintings and sculpture – paintings from 1550–1800, Dutch and Flemish drawings from the 16th–18th centuries and sculpture from the same period. Highlights on the stand for TEFAF Showcase will be a rare 17th–century Flemish large-scale Baroque terracotta sculpture that was intended as a finished piece and a small oilon-copper painting by Frans II Francken (Antwerp 1581–1642) entitled Death and the Miser. Classical European paintings, drawings and sculpture from 1880–1920, particularly works from the Symbolist Art movement, defines Mathieu Néouze’s speciality. Many of the artists, whose works are shown by the gallery, exhibited in Paris and the French influence is clear but the work itself belongs to a wider European rather than to a specifically French movement. Néouze is particularly interested in the influence that each of these artists had on one another. Having started his business ten years ago, this is Mathieu Néouze’s first Fair outside France and provides an opportunity for him to `show work that is not often seen in the international arena to wide

group of seasoned collectors.´ He adds, Ì am proud to be presenting a stand focused on this area at TEFAF Maastricht´. The highlight on his stand is a painting by Lucien Levy-Dhurmer (1865– 1953) entitled Regret, which is regarded as an icon of symbolist painting. This will be supported by other paintings, drawings and sculpture that have been carefully chosen to reflect the taste of the gallery and to demonstrate a unity between each of the objects on display at TEFAF Showcase. These include works by Achille Laugé (1866–1944); Odilon Redon (1840–1916); Emile Claus (1849–1924); Tamara de Lempicka (1898–1980) and pale green ceramic portrait of Richard Wagner, 1895, by Jeanne Itasse (1865–1941). Having worked for 20 years with Christie’s in London and Italy and also with the London Old Master painting gallery, Walpole Gallery, Tommaso Ferruda decided to make his dream a reality and open his own gallery. Ì am very happy to be able to do what I love´, he says of his decision to set up Santa Tecla in the Northern Italian city of Padua. `TEFAF’s reputation is formidable and through exhibiting in TEFAF Showcase, I am hoping to improve my connections with public collections and institutions´. As a dealer Ferruda specialises in Old Master paintings, predominantly Italian, from late 14th century until around 1800, and Old Master drawings. The gallery also holds work by French and Spanish artists, but its main focus and specialism continues to be Italian paintings and drawings. During TEFAF Showcase, the gallery will show 10 to 12 works including a large altarpiece depicting St Jerome by Girolamo Muziano (1532– 1592). Tommaso Ferruda is currently updating a monograph on the artist, who was considered one of the most important Mannerist artists working in Rome and whose work was collected by a number of leading Roman families. The painting will be flanked by two Roman marble columns. Ferruda will also exhibit a pair of predella panels showing St. Jerome and St. Francis by Lorenzo Costa (1460–1535), which were both once in the collection of Conte Giambatista Costabile, an important Ferrarese collection and framed in identical 19th–century Italian neo-classical frames as a picture from the same collection in the National Gallery, London. Ì studied literature and through literature, I discovered art criticism, which led me into the art world´, says Samantha Sellem, who founded her eponymous Parisian gallery in 2006. `Having first specialised in contemporary art, I found myself drawn more towards modern works and for the past six or seven years the business has been solely specialised in paintings and drawings created between 1920 and 1980.´ At TEFAF Maastricht, Sellem is planning an exhibition entirely devoted to the work of

women artists, for which she will publish a small catalogue. `I wanted to show the influence of women artists between 1920 and 1980´. Amongst the work being shown in the gallery’s exhibition at TEFAF Showcase will be works on paper by Louis Bourgeouis (1911–2010); Niki de Saint Phalle (1930– 2002); Valentine Hugo (1887–1968); Hannah Höch (1889–1978); Aurelie Nemours (1910–2005) and Sonia Delaunay (1885–1979). `I regard it as a great honour to have been invited to exhibit in TEFAF Showcase, I see it as a validation of my work and reputation and, of course, it provides a fantastic opportunity to meet new international clients and show what we do as a gallery´.

SANTA TECLA SRL GIROLAMO MUZIANO (1532–1592) Saint Jerome Oil on panel Circa 1520 GALERIE SAMANTHA SELLEM SONIA DELAUNAY (1885–1979) Trois femmes Watercolor and pencil on paper 33 × 28.5 cm (13 × 11.2 in.) Signed, dated and located lower left 'Sonia Delaunay-Terk, 1922, Paris'

DRESDEN STATE ART COLLECTIONS THE GREAT OPENINGS OF 2019 THE STATE APARTMENTS IN DRESDEN’S RESIDENZSCHLOSS September 2019 The opening of the State Apartments in September 2019 will be the glittering climax in the restoration and refurbishment of Dresden’s Electoral and Royal Palace, the Residenzschloss. This suite of rooms (fig. 1) was opened by August the Strong 300 years ago, during the month-long festival to celebrate the marriage of Electoral Prince Friedrich August to the daughter of the Emperor, Archduchess Maria Josepha, in September 1719. The Elector of Saxony and King of Poland designed these rooms as a display of his power and prestige. Thirty years earlier, as a young prince undertaking the Grand Tour, he had personally experienced the glory of Versailles at the high point of the reign of Louis XIV and had been profoundly impressed. “It has been a real 18

2 Justaucorps, France Dated 1719 (revised 1730), Length 102 cm SKD, Rüstkammer (Armoury), Inv. i. 0028.01

European project, involving many countries”, said Dirk Syndram, Director Grünes Gewölbe (Green Vault) and Rüstkammer (Armory Chamber), “We have worked with many highly skilled craftsmen to bring these restorations to life.” In 1997, the Saxon State Government decided that the State Apartments, which had been destroyed in the war, should, as far as possible, be recreated, especially since parts of the furnishings had been preserved. These include the throne and rare silver furniture, magnificent items of French furniture, as well as the precious gold pilasters from the Audience Chamber,

which had already been exceptionally valuable at the time they were created, as well as many of the paintings that formerly hung there. It was possible to reconstruct the rooms thanks to engravings and drawings of the 1719 wedding celebrations and on the basis of later photographs and other sources. Syndram describes the State Apartments as, “…the most precious and impressive part of the palace – and the aim is to return it to the splendor that it once knew.”

1 Reconstruction of the `Paradeschlafzimmer´ (State Bedroom) in the Royal Castle © Sächsisches Immobilien- und Baumanagement (mic-vis.de, Studio für Visualisierung)

The unique textiles that once adorned the walls had to be recreated on hand looms. Marion Ackermann, General Director, said “We considered making digital reproductions

of the tapestries but decided that the focus should be on quality and recreating the splendor of the original objects”. The two ceiling paintings in the Audience Chamber and the State Bedroom, which measured more than 70 square meters in total and were originally painted by Louis de Silvestre on canvas, could be recreated thanks to the 34 colour photographs taken of each one for documentary purposes in 1942/44. Also on exhibition are the original costumes worn by August the Strong at his coronation in 1697 and at the wedding of the Electoral Prince in 1719, as well as on other festive occasions – a treasure trove of Baroque textile art and European royalty that is unique in the world (fig. 2). 19

3 Reconstruction of the `Audienzgemach´ (Audience Chamber) in the Royal Castle © Sächsisches Immobilien- und Baumanagement (mic-vis.de, Studio für Visualisierung)

PORCELAIN CABINET IN THE TURMZIMMER September 2019 For a good two centuries, the Turmzimmer in the piano nobile of Dresden’s Residenzschloss was a prominent room used for displaying the electoral and royal porcelain. Alongside vases from China and Japan, August III exhibited, in particular, the best products of his unique and much-envied Meissen Manufactory, presenting them on gilt consoles set against walls in red lacquer. With only minor changes, the Baroque Porcelain Cabinet remained intact until the destruction of the Palace in 1945, and it is now being reconstructed. Among the outstanding masterpieces of the Meissen Manufactory that will be returning to the Palace after 75 years in the storerooms of the Porzellansammlung,

are the vases created by the court sculptor and modeller Johann Joachim Kändler as representations of the elements (fig. 6). Numerous empty wall consoles will act as reminders of the many porcelain items that were lost after being removed for safekeeping before the war. “The new State Rooms contain 20 examples of vases that come from the reserve collection of the Porzellanzammlung. The new porcelain display in the State Apartments restores the porcelain to its orginal scheme as a highlight of the Royal Collection”, said Julia Weber, Director of the Porzellansammlung (Porcelain collection) and interim director of the Kunstgewerbemuseum (Museum of Decorative Arts).

Of the conservation process, Syndram says “A lot of care and a lot of luck were needed to conserve the costume of August II the costumes are important monuments of history.” After passing the throne of August the Strong (fig. 3), visitors will in future be able to view the royal insignia (fig. 4) and the ceremonial flags and swords of Poland and Lithuania before reaching the `royal statua´, the figurine dressed in a replica of the coronation regalia worn by August the Strong in Kraków in 1697. The enfilade extending from the Corner State Hall to the State Bedroom has been reconstructed over a period of more than ten years, sparing no expense and involving a great deal of expertise and supreme craftsmanship. Using the original objects preserved in the Rüstkammer and Kunstgewerbemuseum (fig. 5), the rooms have now again been fitted out in accordance with their appearance in the 18th century.

6 Series of vases depicting the four elements, Meissen 1742 Modeller: Johann Joachim Kändler, Height approx 60–80 cm, Dresden, Porzellansammlung (Porcelain Collection), Inv. PE 101, 104, 107, 7789, 3735

4 Crown of August II the Strong, Elector of Saxony, King of Poland, Johann Friedrich Klemm, Dresden, 1697, Height 25 cm, SKD, Rüstkammer (Armoury), Inv. P 0343 5 Fireplace Screen, Albrecht and Lorenz II Biller, Augsburg, 1690–1695, 197 × 119 cm, iron gilded silver, SKD, Kunstgewerbemuseum (Museum of Applied Arts), Inv. 37534

GEMÄLDEGALERIE ALTE MEISTER AND SKULPTURENSAMMLUNG UP TO 1800 ZWINGER AND SEMPER BUILDING December 2019 After several years of reconstruction and refurbishment, the ceremonial reopening of the Gemäl-degalerie Alte Meister is set to take place on 7 December 2019. Since the construction work was divided into two phases, the Gallery’s most prominent works have remained on display throughout this time and two interim exhibitions with unusual juxtapositions have also revealed new connections. These experiences have been drawn upon in creating the completely redesigned new permanent exhibition. The design concept follows the principle of hanging paintings according to geographical origin and school, while also drawing attention to certain important themes in each period. World famous masterpieces, such as Raphael’s Sistine Madonna, Rembrandt‘s Ganymede (fig. 7) and the views of Dresden by Bernardo Bellotto will function as focal points, emphasising the unique status and significance of these painters and their works for European art history. Furthermore, the exhibition will highlight the mutual influences of painting and sculpture, as well as underlining the importance of antique sculpture for Renaissance and Baroque painting (fig. 8 and 9). In the Sculpture Hall in the east wing, the important collection of antiquities will again be on display. This hall was originally intended and planned by Gottfried Semper to house the historic plaster casts from the Mengs collection – however, these objects were removed from there in the late 19 th century.

7 REMBRANDT (1606–1669) The Abduction of Ganymede, 1635 Oil on canvas, 177 × 129 cm Dresden, Gemäldegalerie Alte Meister (Old Masters Picture Gallery), Gal.-Nr. 1558 8 Torso of a dancing Satyr Roman, 1st century, Marble, 65 cm SKD, Skulpturensammlung (Sculpture Collection), Inv. Hm 237

9 NICOLAS POUSSIN Pan and Syrinx, 1637 Oil on canvas, 107.5 × 82.5 cm SKD, Gemäldegalerie Alte Meister (Old Masters Picture Gallery), Gal.-Nr. 718

THE DRESDEN STATE ART COLLECTIONS – HISTORY AND PRESENT The museum complex comprises a total of fifteen museums, which are among the most important and oldest in Europe, and were the first to open their collections to the public. The origins of the SKD can be seen mainly in the sixteenth-century Kunstkammer of the Saxon electors. Set up initially as a universal collection, the emphasis was on technical devices, tools, instruments, clocks and automata. Here the desire for costly and unusual things met the enthusiasm for technological innovation.

10 Apollo and Daphne, after Bernini, France, around 1700, 76.7 cm, SKD, Skulpturensammlung (Sculpture Collection), Inv. H 4 153/6

In 2016, a selection of the plaster casts returned to the Gemäldegalerie and will be on show there in future. Small bronzes and marble sculptures from the Renaissance and Baroque periods complement the exhibition (fig. 10), many of them being directly juxtaposed with paintings. Dozens of paintings, sculptures and antique vases have undergone thorough restoration specifically for presentation in the new exhibition (fig. 11), and the famous uniform gallery frames from the 18th century have also been renovated. New coloured wall coverings and accent lighting will cast the paintings and sculptures in the best possible light. Interactive multimedia terminals will enrich the exhibition and provide background information about the individual works and the context in which they were created. Additional areas for changing exhibitions will provide space for numerous works that would otherwise lie dormant in the storerooms. 11 The Resurrection of Christ, Veronese, 1570–1575 SKD, Gemäldegalerie Alte Meister (Old Masters Picture Gallery), Gal.-Nr. 235

PASSION FOR ART It was above all August the Strong (1670–1733), Elector of Saxony and later King of Poland, who furthered the systematic development of the holdings. Having travelled to Versailles, he had become acquainted with the splendour of the Sun King, the absolute monarch, and had something similar in mind for his own residence. He established the Grünes Gewölbe (Green Vault), the Skulpturensammlung (Sculpture Collection) and the Kupferstich-Kabinett (Cabinet of Prints and Drawings), and passionately collected porcelain and precious objects. In this way, he laid the foundation stone for a museum structure, which can still be recognized today. His son August III greatly expanded the Gemäldegalerie (Picture Gallery) and, by the mid-eighteenth century, had turned it into one of the most significant collection of paintings in Europe. AN ONGOING PROCESS Saxony and its art collections survived the Seven Years’ War (1756–1763), but with great losses. Paintings had to be sold and silverwork was melted down. In 1831, the daily operations of the museums came to be financed by the public purse and two years later the Königliches Historisches Museum (Royal Historical Museum), which had developed from the armoury, was added to the collections shown at the Zwinger. By 1855, the gallery building designed by Gottfried Semper completed and closed off the Zwinger grounds towards the Elbe River, and even in those early days the Sistine Madonna by Raphael was presented prominently in a room of its own. In 1891, under the direction of archaeologist Georg Treu, the Albertinum was opened, showing ancient sculptures and plaster casts.

while numerous artworks were given to the House of Wettin as indemnification. At the same time, committed citizens were active even back then in associations that supported the collections, purchasing, for example works by Chagall, Klee and Kandinsky. These works, however, were largely removed from the collections in 1937 during the Nazis `degenerate art´ campaign: In total, the Kunstsammlungen lost 41 paintings, 28 drawings and 24 sculptures. Hans Posse, who had directed the Gemäldegalerie since 1910, became the director of the planned `Führermuseum´ in Linz in 1939 under Hitler, meaning that Dresden took on a central role in the Nazi’s art transaction system. As early as 1938, preparations for moving museum treasures got underway and by 1943 most of the artworks were safely stored in the region. After the devastating bomb attacks in February 1945, many of the museum buildings, including the Residenzschloss (Royal Palace) and the Zwinger were reduced to rubble. The majority of the objects outside Dresden survived the war; they were then taken by the Red Army to Moscow, Kiev and Leningrad as trophy art. In 1955, the masterworks of the Gemäldegalerie returned to Dresden, followed in 1958 by a large part of the remaining holdings. In difficult conditions, the buildings were reconstructed and the collections made accessible to the public again. In 1968, the Museum für Volkskunst (Museum of Folk Art) entered the family of the Kunstsammlungen and in 1999 the MathematischPhysikalischer Salon returned. In 2010, the ethnographical museums in Dresden, Leipzig and Herrnhut joined the museum network. With German reunification, it became possible to begin the reconstruction of the Dresden Residenzschloss as a residence for the arts and sciences, which had been initiated in East Germany. Work on the royal palace is expected to reach completion in 2021. Looking at some of the events of the past and present years gives a vivid impression of how the Staatliche Kunstsammlungen Dresden keep changing.

With war, capitulation, revolution and the abdication of the last king of Saxony, the year 1919 was the turning point, and for the Dresden art collections, this was no different: They were placed in the care of the Ministry of Culture,

2019: REMBRANDT YEAR IN THE NETHERLANDS JANE SHOAF TURNER HEAD OF THE RIJKSPRENTENKABINET AMSTERDAM

During the Rijksmuseum’s Late Rembrandt show (2015), a journalist expressed regret that he could not interview Rembrandt van Rijn (1606–1669) in person. Fortunately, we can learn much about the man through his art – even 350 years after his death. This year, as Rembrandt’s legacy is celebrated throughout the Netherlands, we can do just that.

Rembrandt’s parents feature in many etched or painted tronies in the Rijksmuseum’s, Amsterdam current exhibition, All the Rembrandts of the Rijksmuseum (15 February– 10 June 2019). This show assembles – for the first time – the museum’s unrivalled holdings of 22 paintings, 60 drawings and 320 top impressions of Rembrandt’s 1,300 etchings.

Any journalist wishing to interview Rembrandt would come armed with the basic biographical facts. The artist was born in Leiden on 15 July 1606, the son of Harmen Gerritsz van Rijn (1567/68–1630) and Cornelia (‘Neeltgen’) Willemsdr van Zuytbrouck (c. 1568–1640). His father was a Leiden miller, his mother the daughter of a prosperous baker. If Rembrandt cannot tell us directly whether his childhood was happy, his affection emerges in portraits of his parents, such as the Ashmolean Museum’s drawing of his snoozing father to be seen in the exhibition Young Rembrandt at the Museum De Lakenhal, Leiden (3 November 2019–9 February 2020), and later at the Ashmolean, Oxford (27 February–7 June 2020).

A new biography by Jonathan Bikker accompanying that show can supply our journalist with documented facts about Rembrandt’s education. After studying at Leiden’s Latin school and university, Rembrandt persuaded his parents to let him train as an artist, first (1621–23) under local figure painter Jacob van Swanenburg (1571– 1638). In Leiden, Rembrandt was closely associated with Jan Lievens (1607–1674), who suggested that he might learn more in Amsterdam from his former teacher, the history painter Pieter Lastman (1583–1633). In 1624 Rembrandt began a sixmonth apprenticeship with Lastman. Visitors to the Lakenhal will be able to look over shoulder, so to speak, of the ambitious young Rembrandt and see how his talent developed until he established himself as an independent artist in 1634.

Self-portrait in a Cap, Wide-eyed and Open-mouthed Etching 5 × 4.5 cm (2 × 1.8 in.) 1630 Rijksmuseum, Amsterdam

Besides formal training, how else did Rembrandt hone his artistic skills? Here, facts are of scant help. For answers, look to the art. Rembrandt started with himself! No other 17th-century artist produced as many self-portraits. He invented the concept of the ‘selfie’. As a rising talent in Leiden until just before his death, he rendered his own likeness with penetrating acumen. The choice was practical. What other model is as cheap, patient and readily available? Peering into a mirror, Rembrandt practised endlessly, until able to convey powerful contrasts of light and capture subtle shadows. He made funny faces and learned to express emotions – then portrayed himself in endless roles, dressed in old-fashioned or biblical costume. This year, we, too, come face-to-face with Rembrandt, especially in the first gallery of the Rijksmuseum’s show, where thirty etched, painted and drawn self-portraits are displayed.

Portrait of the Artist’s Father, Harmen Gerritsz van Rijn (1565–1630) Black and red chalk, with brown wash 18.9 × 24 cm (7.4 × 9.4 in.) 1630 Ashmolean Museum, Oxford

After mastering his own visage, Rembrandt stepped outside. Fascinated by picturesque daily life, he sympathetically drew and etched countless beggars and street folk in Leiden. In Amsterdam, where he settled permanently in 1631, he recorded soldiers, pedlars, maidservants and children. They served him well: such figures inspired characters in his biblical scenes – for example, St Peter in Prison (1631), soon on loan to the Jewish Historical Museum, Amsterdam (13 September–10 November 2019). A tabloid reporter would doubtless next wish to dig into Rembrandt’s private life. Not to be missed, then, are the final days of Rembrandt and Saskia: Love in the Dutch Golden Age, at the Fries Museum, Leeuwarden (24 November 2018– 17 March 2019). In 1634, Rembrandt married the love of his life, Saskia Uylenburgh (1612–1642), the daughter of Leeuwarden’s former mayor. The painter met her in 1633, when she was in Amsterdam visiting her cousin, Rembrandt’s art dealer Hendrick Uylenburgh (c. 1587–1661). Madly in love, the couple became engaged in June 1633. On view in Leeuwarden is Rembrandt’s intimate silverpoint drawing of Saskia from the Kupferstichkabinett, Berlin, a souvenir of their engagement, inscribed by Rembrandt with a text translatable as ‘This was made when my wife was 21 years old, the third day after our betrothal— the 8th of June 1633.’ A few weeks before Rembrandt’s marriage to Saskia in July 1634, he completed his monumental portraits of Marten Soolmans and Oopjen Coppit, the only couple Rembrandt ever painted life-

size, standing and full length. This prestigious commission – the highlight of the gallery devoted to portraits at the Rijksmuseum – testifies to the degree to which Rembrandt had already established himself as the best portraitist in Amsterdam, the go-to guy for the city’s well-to-do. After his marriage, Rembrandt enjoyed huge success. In 1639 he bought a house on the SintAntonisbreestraat (now the Jodenbreestraat, the home of the Rembrandthuis Museum). A couple years later, the arquebusiers’ guild commissioned him to paint the Night Watch (1642), his first – and only – militia company portrait. Famous for its energetic composition, with the musketeers depicted ‘in motion’ (rather than in static poses), this iconic masterpiece is the only work in the Rijksmuseum that could not be moved to the Philips Wing. Instead, it will undergo a comprehensive restoration programme starting in July, when it will be encased in a glass chamber so the public can follow the project on site and online. More about Rembrandt’s patrons can be gleaned by strolling over to the Rembrandthuis, Amsterdam, where their current show, Rembrandt’s Social Network (1 February–19 May 2019), focuses on the artist’s friends and acquaintances, who helped him, bought his paintings and lent him money. Even a great artist like Rembrandt was no isolated genius. A good networker, he exploited social contacts, such as Jan Six.

pay the mortgage on the Jodenbreestraat house. To avoid bankruptcy, he sold many of the paintings and precious artefacts he had collected. By 1656 he could not avoid insolvency, and the remaining collection was sold piecemeal until 1658. He, Titus and Hendrickje (and little Cornelia) moved into a smaller, rented house on the Rozengracht. In 1660 his art business was transferred into their names. This enabled him, as the sole employee, to live rent-free and continue working. His relief sparked a succession of great works of art. Yet the end was near. The toll taken on the painter is best seen in The Hague in the last of the selfies, the worldweary Self-portrait of 1669, now on view in the exhibition Rembrandt and the Mauritshuis, The Hague (31 January–15 September 2019). By this date, Hendrickje and Titus had both succumbed to the plague. Rembrandt himself died on 4 October 1669 and was buried four days later in the Westerkerk, next to Titus and Hendrickje.

3 Sheet of Studies, with Saskia Lying Ill in Bed Etching 13.7 × 15.2 cm (5.4 × 6 in.) Circa 1639 Rijksmuseum, Amsterdam 4 Militia Company of Capt. Frans Banninck Cocq (Night Watch) Oil on canvas 379.5 × 453.4 cm (149.4 × 178.5 in.) 1642 Rijksmuseum, Amsterdam

Rembrandt’s personal life is likewise the subject of The Private World of Rembrandt: Tales of Love, Money and Art, at the Stadsarchief, Amsterdam (7 December 2018–7 April 2019). The archive preserves many original documents related to Rembrandt’s work, clients and family – not to mention the financial problems that led to his bankruptcy in 1656. Images and sound form the basis of an interactive Augmented Reality (AR) experience that allows visitors to get to know Rembrandt ‘up-close and personal’. Rembrandt’s and Saskia’s marriage lasted less than a decade. And those years were tinged with sadness, despite Rembrandt’s success, which enabled him to spend vast sums at auction on prints and other artworks (which, in turn, inspired his own work). The couple buried three babies. Only the fourth child, Titus van Rijn (1641–1668), survived, but his mother did not see him grow up. Before her 30th birthday, Saskia died, probably from tuberculosis. If Rembrandt’s deep affection for his bride is evident in the Berlin drawing, his anxiety and grief is poignantly clear from later drawings and prints in the Rijksmuseum show. A pallid Saskia is seen in bed, before or after the births of their tragically short-lived children Rumbartus (bapt. 15 December 1635–15 February 1636), Cornelia (bapt. 22 July 1638–13 August 1638) and a second Cornelia (bapt. 29 July 1640–12 August 1640), both named for his mother. 28

business training game invites participants, instead of introducing themselves, to choose four words to describe the colleague seated in the next chair. What if one were restricted to four words for Rembrandt? Top of my list: Humanity. Tied for second place: Passion and Drama. Not to be forgotten: Light. These are the qualities that make Rembrandt’s art speak to us today. His drawings, in particular, are intimate, direct, honest, spontaneous and penetrating. We see who and how he loved, what attracted his attention, what made him laugh, what moved him, where he strolled, how he grieved. This is Rembrandt the man, full of humanity, both brilliant and flawed. A final question from our journalist, one that cannot be answered through the art: ‘Mr Van Rijn, how do you feel about being one of the world’s most loved and revered artists?’ Safe to assume he would have been proud.

These are the facts. Yet journalists usually seek some deeper insight into the person. A current

Titus was not yet eight months old when Saskia died. Needing a wet nurse, Rembrandt hired Geertje Dircx (c. 1610/15–c. 1656), a decision he came to regret. He had access to Titus’s inheritance from Saskia so long as he did not remarry. Geertje lived as Rembrandt’s in-house lover for several years and was given some of Saskia’s jewels. But the relationship ended bitterly when she accused him of breach of promise in 1649. Legal proceedings ensued, with increased demands for maintenance money. Rembrandt had her sent to a house of correction (which doubled as an insane asylum), but after her release in 1655 she again sued him, this time for wrongful imprisonment and slander. In the decade following Saskia’s death and the ‘Geertje troubles’, Rembrandt abandoned painting, focusing instead on drawing and etching. Perhaps as a distraction, he often recorded landscapes during walks in and around Amsterdam. By 1649 Rembrandt was involved with his housekeeper Hendrickje Stoffels (1626–1663) – possibly what motivated Geertje’s legal claim. In 1654 the couple welcomed the birth of a daughter, Cornelia, but Hendrickje was summoned before the church council to admit to her ‘fornication with the painter’. From about then, Rembrandt could no longer

5 Self-portrait Oil on canvas 65.4 × 60.2 cm (25.7 × 23.7 in.) 1669 Mauritshuis, The Hague

TEFAF MUSEUM RESTORATION FUND

THE NATIONAL GALLERY, UK

MUSEUM VOLKENKUNDE, THE NETHERLANDS

The National Gallery houses one of the world’s finest collections of paintings, attracting over 5 million visitors every year, who are taken on a journey through European art over seven centuries, from the 13th century to the early 20th century. The Equestrian Portrait of Charles I, by Anthony van Dyck, which requires a major programme of conservation and restoration, is a famous and much-loved work in the Gallery’s collection.

The Museum Volkenkunde is one part of the National Museum of World Cultures, alongside the Tropenmuseum in Amsterdam, and the Africa Museum in Berg en Dal. Together, the museums are custodians of the Dutch National Collection, with over 450,000 objects and 1,000,000 photographs from around the world. The National Museum of World Cultures recently discovered and acquired the unknown and unique screen, ‘View of Deshima in Nagasaki Bay’, by Japanese artist Kawahara Keiga.

The work is one of only two equestrian portraits of Charles I that have been firmly attributed to Van Dyck (the other, earlier portrait, is in the Royal Collection and hangs in Windsor Castle). Van Dyck was a successful Flemish portraitist, as well as an accomplished draughtsman and etcher; he is now remembered especially for his representations of Charles I and his Court. The artist’s choice of an equestrian portrait underlines the King’s horsemanship, often associated with virtue and courage, and is also deliberately reminiscent of statues of mounted emperors in Ancient Rome, asserting the King’s power. After restoration, the painting will return to display in the Van Dyck room (Room 21) at the National Gallery. The grant from TEFAF will support the cleaning and retouching of the painting, which is also currently undergoing structural treatment made possible by the Getty Foundation as part of its Conserving Canvas initiative. The structural treatment includes relining of this large-scale work by experts at the National Gallery, related training opportunities for mid-career professionals, and a culminating workshop to share project results with specialists in the field. 2019 marks the eighth year of TEFAF Museum Restoration Fund which, alongside TEFAF’s support of the Prince Claus Fund, seeks to conserve and preserve important cultural heritage around the world. Each year, the fund awards €50,000 between two museums anywhere in the world, that have visited TEFAF Maastricht the previous year. This money is made available specifically for the restoration of a chosen work or works within the museum’s collection. TEFAF Maastricht has welcomed countless international museums and institutions over the last 30 years, and the Museum Restoration Fund was created out of a desire to give something back to these institutions. The Fund aims to support complex and challenging projects as well as the sharing of conservation and restoration knowledge. The projects are decided by an independent panel of experts – the 2019 panel consists of Rachel Kaminsky, a private art dealer from New York who was formerly head of the Old Master paintings department at Christie’s; David Bull, a painting conservator and former Chairman of Painting Conservation at the National Gallery 30

of Art, Washington D.C.; Dr Kenson Kwok, the former founding director of the Asian Civilisations Museum and the Peranakan Museum in Singapore; and Carol Pottasch, senior conservator and restorer at the Mauritshuis, The Hague. Presentations about each project will be displayed at TEFAF Maastricht 2019. The recipients of TEFAF Museum Restoration Fund 2019 are the National Gallery, UK, and the Museum Volkenkunde, The Netherlands.

ANTHONY VAN DYCK (1599–1641) The Equestrian Portrait of Charles I Oil on canvas 367 × 292.1 cm (144.5 × 115 in.) Circa 1637–38

The screen, which dates from 1836 or shortly after, consists of eight panels. At the time of its production, the Dutch were the only Europeans permitted to trade with Japan and only from their base on the artificial island of Deshima. The Dutch ship Marij en Hillegonda, which features prominently in the painting, sailed to Japan just once. Keiga had the privilege of being able to enter Dehima freely, which enabled him to create a visual record of Japanese-Dutch relations. The work, a key record of Japanese-Dutch relations, cannot, in its current state, be shown to the public, nor can it travel. The condition of the screen requires a full restoration and, when the conservation process is complete, the screen will function as a gateway object introducing visitors to the full breadth of the Japan collections on Museum Volkenkunde, inviting them to gain a deeper understanding of life in Japan in the early 19th century and the unique role of the Dutch trade during that era.

The restoration of this imposing work will bring a new appreciation of Van Dyck’s artistic achievement to the widest possible audience. KAWAHARA KEIGA (1786–1860) View of Deshima in Nagasaki Bay Eight-fold folding screen, silk 171 × 470 cm (67.3 × 185 in.) Nagasaki, circa 1836

The two projects focus on distinct and complex restoration activities: in the UK, the fund will help conserve ‘The Equestrian Portrait of Charles I’ by Anthony van Dyck (1599–1641). The painting is a hugely significant work for the institution. Alongside this, in The Netherlands, the fund will contribute towards the restoration of ‘View of Deshima in Nagasaki Bay’, an 8-panel screen by Japanese artist Kawahara Keiga (1786 – c.1860). The work was recently discovered and acquired by the Museum Volkenkunde and will provide invaluable insight into Japanese-Dutch relations in the 19th century. 31

PRINCE CLAUS FUND

improvements to security, better storage and display conditions for collections and a training workshop on first aid to cultural heritage for museum staff and volunteers in each of the different regions.

PROTECTING THE TREASURES IN SMALL MUSEUMS IN SUDAN

Al Khalifa House in Omdurman, the Al Shaikan Museum in El Obeid with its historic Mudeira gateway, and the Darfur Museum in Nyala are each home to important artefacts, handicrafts, and documents that date back to the end of the Ottoman Empire, as well as the founding of the Sudanese nation. All three also have a strong ethnographic component that highlight local cultures. The collections are unique and important for a variety of reasons. For example, the building of Al Khalifa House is itself a cultural heritage site, one of the last remaining buildings of the Ottoman period. Among its collections are the records of the peoples who helped to form the country and create modern Sudan. This is particularly worth preserving since the education system in Sudan deemphasizes the nation’s founding in its history curriculum, and information on non-Arabic cultures is hard to come by. Al Khalifa House, Al Shaikan Museum and the Darfur Museum are hubs for educational activities. They document and display artefacts and organise cultural events, including festivals for refugees from Western Sudan as well as various local communities. These events encourage community interaction and participation, creating spaces for intangible heritage, like traditional forms of music and dance. Without these opportunities, the old traditions that are Sudan’s intangible heritage will be lost.

Sudan has a rich history that goes back thousands of years, with its links to Egypt in the north and situated at the eastern end of the great trade route that stretched along the open savannah south of the Sahara. Now, however, internal conflicts overshadow the past and pose a recurring threat to the country's cultural heritage.

their outreach to diverse communities, TEFAF was immediately interested. For more than a decade, TEFAF and the Prince Claus Fund have enjoyed a collaboration that has successfully rescued a priceless archive in Ecuador, repaired and exhibited a unique historic photographic collection that documents the independence struggle in Bangladesh, restored an ancient, iconic watchtower in Sichuan, China, a temple in Bhutan, a monastery in Myanmar and a flooded museum in Argentina, among others.

Clashes between rival nomadic groups, the conflict in the Darfur region, and ongoing civil unrest in South Sudan are continuing sources of instability that put the country’s cultural heritage at risk.

Sudan’s National Corporation for Antiquities and Monuments (NCAM) had reached out to the Prince Claus Fund with a request to help three museums in different parts of the country. NCAM explained that the collections were housed in vulnerable buildings, without adequate safety precautions or storage conditions. Most of the collections were neither catalogued nor conserved and the staffs of the museums lacked training or expertise. The project that was proposed combined

So when the Prince Claus Fund approached TEFAF with a project that could strengthen the capacity of three local museums to protect their collections and at the same time expand 32

Museums become sites for local celebrations © Prince Claus Fund

With support from TEFAF, the Prince Claus Fund responded to NCAM’s request. Together with ICCROM-ATHAR, the Prince Claus Fund organised a first aid to cultural heritage training in April 2018. The course emphasised the idea of the community museum as a platform for cultural exchange and peace building, especially in the Darfur region. It generated significant attention, not only among experts but also among regional and national government officials and was featured on national television, in newspapers and radio. Local parties offered additional logistical and financial support to the project, giving momentum to the next phase of securing the museum collections and organising events that promote community involvement.

`It’s essential to rescue cultural heritage, but the next step has to be informing and involving the communities around it. Closing it up in vaults may keep it safe, but the ultimate goal is for people to know about and feel invested in their heritage; that they are proud of it and commit to protecting and passing it on.´ Joumana El Zein Khoury, Director Prince Claus Fund

These three museums have faced particular challenges: Al Khalifa House museum was damaged when the government opposition group JEM invade the city in 2008. Nearby explosions targeting the city hall created cracks in the museum walls and its structure still has not fully recovered. The Al Khalifa House and the Darfur Museum are both structurally vulnerable, susceptible not only to leaks and rain damage but also to looting. Riots and unrest in El Obeid have posed a threat to the third museum, Al Shaikan. Derek Welsby, responsible for the Sudanese and Egyptian Nubian collections at the British Museum, was very positive about the project:

`There is frequently considerable local pride in peoples and places and the museums can provide a focus for community identity as well as an educational resource… there is much that well trained staff can achieve on a very limited budget.´

Building better storage safe from flooding © Prince Claus Fund

VETTING GUIDELINES

I INTRODUCTION The vetting process, one of the main pillars of TEFAF Maastricht’s success, aims to create an atmosphere in which buyers can buy with confidence. The Vetting Committees will be composed of academics, curators, conservators, conservation scientists and independent scholars. By the time the Fair opens, they have undertaken a meticulous examination of every piece on show. Neither exhibitors nor their representatives are admitted to the exhibition hall during the vetting so that committee members may express their opinions freely and complete impartiality is ensured. Exhibits are not accepted for display unless they have been approved by the relevant committee. All exhibitors are bound by the decisions of the committees. Moreover, based on its findings in previous years, the vetting committee gives non-binding advice to the selection committee regarding the quality of applicants mainly based on but not limited to the quality of the presented artworks. The global chairman vetting will be Wim Pijbes.

II DUE DILIGENCE To ensure the highest quality standards are maintained and in the interests of transparency, all exhibitors (participants to the fair organized by TEFAF) are expected to conduct their own due diligence investigations to establish the provenance and title of their exhibits prior to putting them up for sale at the fair. The following requirements therefore apply to exhibits on display at TEFAF: – All objects must be labelled, see pages 5 & 6 below – All labels must contain correct and complete information – All objects must be listed, and these lists must be available on the stand, see pages 6 & 7 of these vetting guidelines 34

– Maximum possible provenance verification and reporting must be available – A TEFAF exhibitor must check every object on display against the Art Loss Register database - which includes the Interpol database. Please see below – A TEFAF exhibitor must check every object on display against the ICOM Red Lists – Restoration and/or replacement using material listed in Appendix 1 of CITES (Convention on International Trade in Endangered Species of Wild Fauna and Flora), including ivory, tortoiseshell and rosewood is not allowed Art Loss Register In addition to being vetted for authenticity, attribution and condition, exhibits at TEFAF Fairs are checked against the Art Loss Register (ALR) database of 500,000 items subject to a claim. The ALR includes items reported as lost or stolen, subject to a dispute or lien, or with other issues. Any object found to be subject to a claim is removed from the fair immediately. Details of objects can be submitted directly to the ALR prior to the fair free-of-charge for exhibitors via email to will.korner@artloss.com Dutch Ministry of Education Culture and Science Please see the digital brochure from the Dutch Ministry of Education Culture and Science ‘Import and Export of Cultural Objects’ (www.erfgoedinspectie.nl).

III GENERAL The guidelines in this part apply to every object brought to the Fair. All objects must be of excellent quality and meet the standards expected at the Fair. Buyers must amongst others be protected from badly and/or over restored objects. Specific guidelines that relate to particular areas of collecting or types of object can be found in part V, Sections. So that the vetting committees can properly vet the stands, as an exhibitor you must: – Clearly label all objects – Ensure that all objects are listed,

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and that lists are available on the stand Display all objects on your stand, i.e. not in closed cupboards or storerooms Ensure that your stand and showcases are illuminated during vetting Have conservation and restoration documentation available (Examination, Condition and Treatment reports) at the stand (e.g. examination, condition and treatment reports illustrating all previous damage and reintegration/repairs including any test reports and historical documentation Literature references must relate to the specific object being shown at TEFAF and not to the general oeuvre of the artist in question Ensure that any storage on your stand is easily accessible to vetting members Ensure that any keys to showcases are deposited with the organizers, unless authorization for an exception has been requested well in advance

NO art objects in private rented storages until after vetting Not until after vetting, are you allowed to store (vetted) art objects in you rented private storage. All your art objects present in the MECC, must be unpacked and properly labelled in your stand during vetting. After vetting you are allowed to store your possible spare vetted objects in your private storage. Your private storage can be used for packing material, tools, ladders etc. at any time. Objects Refused in Previous Years An object that has been refused in previous years will only be allowed if new and conclusive information on this specific object has become available, for example two or more independent reports/opinions from reputed independent experts or independent scientific experts/ analyses, confirmed provenance or any other information that gives good grounds for changing the reason for refusal in the past. This information has to be provided at least three months before opening of the Fair. 35

In the Event of Refusal: Publications as ‘Proof’ During Appeals If an object is refused, an exhibitor may present published documentation such as catalogues raisonnés, exhibition catalogues, certificates, authentications or articles from accepted authorities during the appeal procedure. However, the fact that publications about an object exist does not prove the object is authentic, which means that vetting committees may set aside or ignore certain publications. Any documentation that was not available to the vetting committee during the vetting proces can and will not be considered. Labelling Guidelines Practical matters: bring a printer and label material Exhibitors must be prepared to relabel and reprint labels on the spot by using their own equipment and supplies. Therefore, please bring to the fair: 1. Provide a printer of your own (TEFAF has printers available in the exhibitors’ lounge also) 2. Provide label paper/cardboard, museum foam, transparent glueable printing paper. With regard to labelling, the exhibitor is obliged to: – Label all objects on display prior to vetting and throughout the fair – Adhere to the labelling guidelines – Print labels. Handwritten labels and adjustments are not allowed – Number particularly small objects (ie. certain pieces of jewelry, netsukes). These numbers should correspond to a catalogue available for vetting and the public – Present complete and correctly formatted labels. If not, they must be relabeled – In case of doubt, please contact the organisation for instructions before move-in – Mention all information as listed under part 1 (see below) of these labelling guidelines – Check if any information from part 2 (see below) might be applicable too – Follow up the rules for formatting meticulously (please see below) 36

Part 1: Labels should always contain information on: – Artist/designer/maker – Country of origin & date – Title – Material & techniques – Dimensions – Voluntarily: price This is based on a regular museum label: Pompeo Batoni Italian (Roman), 1708–1787 Holy Roman Emperor Francis I (1708–1765), 1770–71 Oil on canvas, 91 × 56 3/4 in. (231 × 144 cm) Condition Please mention any significant information with respect to condition ie: in case of specific restorations, missing and added/ renewed parts, colour fading, cracks, chips etc. Part 2: if applicable: – Artist’s name and dates – Country and period – Manufacturer – Date of conception of the model (precise or estimated to within 25 years) – Date of this example (precise or estimated to within 25 years) – Details of the edition – Marks, dates, seals, numbers, etc. – If an authentication certificate is available and which – If the object is mentioned in literature Label formatting and presentation – The language of the labels is English (also for abbreviations) – A clearly visible font (minimum size 12) for all information on the label – Same font, case, size, colour, and place for all information regarding the artist/designer/ maker (eg. workshop of, attributed to, etc.) – Labels may not contain value judgments, even regarding the condition (eg. excellent, superb, marvelous, rare etc.) Each object should be clearly labelled, all in the same font, type-face, and size. Not only during vetting but throughout the entire fair period. Also 'follower of' and

'attributed to' before the name of the artist, should all be in the same font, type-face, and size. If these requirements are not adhered to, the vetting committee may insist that the labels be reprinted, or the works withdrawn. Re-Labelling Checking Procedure There have been occasions in the past when labels were not amended in accordance with the vetting committees’ specific instructions before the Fair opened. It has been decided, in the interests of the Fair, to carry out far more rigorous checks in future to establish that objects have been correctly re-labelled. If an object is found not to have been re-labelled before the Fair opens, as required by the vetting committee, the object will be removed from the exhibitor’s stand immediately and the exhibitor forfeits his right to a further appeal. Vetting committee members will be instructed specifically to check relabelling after vetting and the TEFAF organization will also keep a close watch on compliance. Lists Apart from labelled, all objects must also be listed. These lists must be available on the stand during vetting and the entire fair. Provenance As international laws (and the UNESCO 1970 Convention) regarding provenance become ever more stringent, we would urge you to state any relevant provenance information relating to your objects on your labels. Should a vetting committee detect false or falsely constructed provenance, works will be removed. Exhibits need to be acquired with all the necessary due diligence Special attention should be given to the provenance of the object and whether due diligence has been applied when acquiring the object, particularly in – but not limited to – the situation that it recently left the region of origin. Regarding exhibits to be offered at the fair organized by TEFAF, an exhibitor is responsible for (re)

examination of the object’s existing export and / or authenticity certificates and / or other documentation, in particular relating to validity and applicability of such documentation. The aforementioned also applies in case an exhibitor acquires an object from a fellow exhibitor. Regarding exhibits to be offered at the fair organized by TEFAF, an exhibitor is required to observe the necessary due diligence as set forth in the UNESCO International Code of Ethics for Dealers in Cultural Property, as well as, if applicable, the ethics rules of the respective international trade association of which the exhibitor is a member. Additionally, and self-evidently, an exhibitor will follow the legislation and regulations that are in force, especially in the field of cultural heritage protection such as, but not limited to: – 1970 UNESCO Convention on the Means of Prohibiting and Preventing the Illicit Import, Export and Transfer of Ownership of Cultural Property – 1995 UNIDROIT Convention on stolen or illegally exported cultural objects 1998 Washington Principles on Nazi-looted Art – 2009 Terezin Declaration – 2014/60 EU Directive on the return of cultural objects unlawfully removed from the territory of a Member State (Recast) – The Dutch Cultural Heritage Act Aforementioned compliance also includes the General Data Protection Regulation (EU) 2016/679. An exhibitor takes note of the fact that falsification of export and / or authenticity certificates and / or other supporting documentation constitutes a criminal offense in the sense of the Dutch Criminal Code (Article 225). In case of such falsification, TEFAF has the right to exclude the exhibitor from future participation of any fair organized by TEFAF. Finally All the vetting committees’ decisions are taken in the interests of the Fair. In some cases, the vetting committees’ judgement may necessarily be subjective. However,

the acceptance and refusal of all objects is entirely at the vetting committees’ discretion and all exhibitors must agree to be bound by the committees’ decisions. A vetting committee’s opinion of an object is conveyed solely to the TEFAF organizing committee for the purposes of information and assistance in connection with the admission of the object concerned to the Fair and may not be used or relied upon by any other person or for any other purpose whatsoever. The opinions are given to the best of the vetting committees’ knowledge, and neither the vetting committees, The European Fine Art Foundation nor the MECC accept any liability whatsoever for the validity of these opinions. In the unlikely event of a dispute, Dutch law will prevail.

IV SCIENTIFIC RESEARCH & SUPPORT TEAM The TEFAF vetting committees include a Scientific Research Team (SRT). During the vetting process the SRT provides expertise on different analytical methods to investigate the material integrity of an artwork. The team will investigate individual objects at the request of the Vetting Committees, which hold overall responsibility for the entire vetting process. The analytical methods at the team's availability range from various forms of microscopy to elemental identification through X-ray fluorescence spectrometry. The SRT’s approach is entirely nondestructive, strictly excluding the removal and analysis of samples from an artwork. In addition, the SRT is limited to portable instrumentation that can be employed quickly, directly and in situ at TEFAF. In view of these limitations in time and technology, the SRT provides indicative analytical support. The SRT’s work does not present an in-depth material investigation of a specialised art technological laboratory. The SRT may refer the vetting committee, dealers or buyers to such laboratories.

The Scientific Research Team: Advisors: Dr. Robert van Langh, Head of Conservation & Scientific Research, Rijksmuseum, Amsterdam Prof. Dr. Joris Dik, Antoni van Leeuwenhoek Chair, Materials in Art and Archaeology, Dept. Of materials Science and Engineering, Delft University of Technology Prof. Dr. Arie Wallert, Rijksmuseum Amsterdam Artificial Visual Intelligence Prof. dr. Robert G. Erdmann, Senior Scientist, Rijksmuseum Professor of Conservation Science, Department of Conservation and Restoration and Institute of Physics University of Amsterdam Special Professor for Visualization Radboud University, Nijmegen X-Radiography techniques ApplusRtd, Rotterdam Hirox Microscope Europe Emilien Leonhardt Portable XRF Arie Pappot, Rijksmuseum Amsterdam Guus Verhaar, Rijksmuseum Amsterdam UV en IR reflectography Rik Klein Gotink, Rijksmuseum Amsterdam

V SECTIONS 1 ANCIENT ART All the antiquities exhibited must be described and dated to the period and attributed according to their culture. The exhibits at TEFAF Maastricht must have been checked by the Art Loss Register according to the rules of the International Association of Dealers in Ancient Art IADAA. All exhibits covering the cultural heritage (of cultural property and other goods of archaeological, historical, cultural, rare scientific or religious importance) originating from the territory of Iraq or Syria must show a documented evidence of provenance prior to respectively 6 August 1990 and March 2011. Objects from Egypt must have 37

written proof of provenance prior to 1983. The exhibitor must present the documentation to the vetting committee in any case. If the documentation is considered not sufficient, the piece will be withdrawn from the Fair.

made design history may all be exhibited. An important massproduced object such as an original Breuer Wassily chair or a Lalique car mascot is judged and evaluated using similar criteria to those used in fine art.

Provenance must mention previous owners, if possible by name or initials and/or location (country and/ or city), and state that the object was acquired with all the required due diligence. The condition of the exhibits must be described in a reasonable way.

The twentieth- and twenty-firstcentury decorative arts and design category covers sculpture, furniture, ceramics, glass, metalwork, textiles and jewellery.

Fillings and restorations of parts, resurfacing, repairs and cleaning must be described. Also, for other antiquities a provenance must be shown. Historical restorations and additions dating from the sixteenth to the early twentieth century must be described. If the repairs go beyond the nature, character and identity of the original, the vetting committee may refuse the object as being not in the interests of the Fair. The same applies to provenance, quality or excessive repairs. Reproductions and copies after the antique, even from the nineteenth century, are not admitted to the Fair if they were intentionally made to appear to be genuine antiquities. All antiquities exhibitors must comply with the standards set by the International Association of Dealers in Ancient Art IADAA. 2 APPLIED ARTS AND DESIGN FROM THE LATE NINETEENTH CENTURY TO THE PRESENT DAY This period embraces a multitude of different styles starting with the Aesthetic Movement in the 1860s and ending with Contemporary Decorative Arts and Design. The category includes the Arts and Crafts Movement, Art Nouveau, the Secessionists in their various countries, De Stijl and the Bauhaus, Art Deco, Modernism, the 1950s and the various styles that have come and gone in the last thirty years up to the present day. Unique pieces, limited series production pieces and some rare mass-produced pieces that have 38

Vetting criteria are similar for most objects that come into the categories referred to above: no reproductions, copies or unauthorized editions are allowed in any category. Vetting criteria include: – Aesthetic/artistic value – Authenticity – Condition – Extent of restoration – Date of creation or manufacture 3 ARMS AND ARMOUR In the case of firearms, only percussion systems or earlier are permissible. Modernizations of earlier systems should not have been changed back to the original system. Guns on which the barrels were shortened in about 1750 to accommodate stronger gunpowder and have then had their original barrel length restored are not acceptable. In the case of edged weapons, the blade and hilt must be homogeneous. Composite armour is acceptable; different parts do not necessarily have to be homogeneous, but they should give the appearance of being so and should be roughly coeval, i.e. within 15 years. 4 ASIAN ART As a general rule, all Chinese, Japanese and other Asian works of art should date from before 1900, unless an individual item is of particular merit, interest or exceptional scholarly or documentary value. Chinese ceramics and works of art from the nineteenth century or later will only be accepted if of particularly high quality. Pastiches, copies and imitations of earlier periods will not be accepted.

Pottery and Porcelain It is strongly recommended that a certificate of thermoluminescence testing issued by an internationally acknowledged laboratory or institution is provided for early pottery pieces. However, it should be noted that a positive thermoluminescence certificate does not guarantee unqualified admission of the object. Experience has shown that thermoluminescence tests for late Ming and Qing dynasty porcelain pieces cannot always be relied upon for authentication without additional evidence, and they are therefore no longer automatically accepted as proof of authenticity. Chinese ceramics of later periods with distinct patterns should be of those periods and not later pieces in that style. Bronzes and Metalwork All metalwork should be of good quality. Early Chinese bronzes should not be extensively restored or repatinated. A thermoluminescence certificate should be provided where a pottery core is in evidence. It is advisable to have early bronzes X-rayed. Sculpture Sculpture in stone, wood or metal must be of good quality and not extensively restored. Later sculpture in earlier styles is not permitted. ‘Marriages’, for instance a torso and head from the same period but originally from different sculptures, are not permissible. Later works of art All Chinese, Japanese, Korean and other Asian works of art of later periods, including objects in precious and semi-precious stones, lacquer and other natural materials, such as bamboo, ivory, rhinoceros horn carving, gold, silver, glass and other materials, should be of good quality and not have been extensively restored. Objects recovered from shipwrecks Chinese ceramics and porcelain recovered from shipwrecks are only acceptable in exceptional cases, where the items are of high quality, rarity, scholarly interest or documentary value.

5 BOOKS, MANUSCRIPTS AND MAPS As a general rule, printed books should be complete in text and illustrations with their contemporary binding, and in good condition. Incomplete books are only allowed when a bibliographic description proves the importance of the item. For manuscripts descriptions giving an account of the condition, mentioning any incompleteness and any defects or restorations, are required. Books, manuscripts and maps may not be later than 1850. The only post-1850 items permissible are those of sufficient antiquarian or artistic merit. Facsimile editions and reference works are not permitted. Decorative prints in frames that affect the original character and purpose of the prints are not allowed. Items about which there are any doubts as to authenticity or sufficient quality may not be accepted if the vetting committee considers their inclusion not to be in the best interests of the Fair. Labels Each object must be clearly labelled. Labels must contain information on the physical state, title, date, place, artist and provenance. Retouching and overpainting must always be mentioned. Labels may not contain value judgments. 6 CHINESE FURNITURE Ming style furniture should be of Ming date. Copies of an earlier style, no matter how old, will not be admitted. Restorations should be no more extensive than 30%. Pieces with replacements of structural members, for example legs and major decorative elements, will not be admitted unless the importance of the piece can be demonstrated such as to warrant acceptance of the imperfections. Seat form changes will not be accepted, for example, hard board seats changed to soft mat seats and vice versa. No reconstructed piece will be admitted, e.g. square tables reduced to side tables; canopy or couch beds to daybeds.

7 CLOCKS, WATCHES AND HOROLOGICAL INSTRUMENTS All these pieces should contain their original movements and the cases must be complete. Objects that have lost their original character, for instance cases with marquetry added in a later period, are not acceptable. Items reproducing styles of earlier periods are not acceptable. All restoration work must be in a style consistent with the original piece; it must have been responsibly executed and be limited in proportion. In particular, restoration of paintwork is acceptable provided it is professionally and tastefully done and is based on an original example. The extent of restoration work on pre-1700 clocks is less critical, but it should not predominate. There may be no doubt as to the originality of marks and signatures. Re-gilding is acceptable to a limited extent. Worn parts and hands may be replaced, provided they match the piece for which they are made. For rules on the acceptability of restoration work on cases see 10. Furniture. Wrist watches are only permitted if made before 1985 and of exceptional mechanical or historical importance. Remontoire pocket watches are only permitted if made before 1920 and of exceptional mechanical or historical importance. 8 COINS AND MEDALS Characteristics and technical information regarding each coin exhibited during the Fair must include its origin, the minting date, monetary authority including the reign dates if possible, denomination, metal and weight in grams and a succinct description of the recto and verso. Information on coins must also be backed up by references giving the specific page or plate number and reference number. Each coin must also be accompanied by a report on its condition. Alterations and other defects must be included in the description, for example pronounced minting defects such as broken dies, double struck, off centre or struck with rusty dies. Restoration traces and marks such as tooling, and traces of mechanical cleaning must also be mentioned. Defects brought about by the coin’s

circulation such as nicks, scratches, graffiti, hammering and those caused by chemical reactions such as metal crystallization, reticulation or corrosion must be stated. 9 EUROPEAN CERAMICS, GLASS AND CRYSTAL There may be no confusion; the object must be what it appears to be. Objects that were decorated/ painted in a later period are not acceptable. Objects with a degree of alteration or restoration so great as to have materially changed their original nature or function are not acceptable. Repairs/restorations must be stated. Nineteenth or twentieth-century ceramics which simply reproduce earlier examples are not allowed. Pieces with post-1850 bronze mounts are not acceptable. A thermoluminescence test result must be provided in the case of Italian Della Robbia. 10 FURNITURE Furniture restoration must be done such that the appearance and character of the piece is preserved. Table and chair legs may not have been replaced. Only minor restoration is acceptable. Re-veneering is not permitted. Replacement of small missing parts of veneer or lacquer is only permitted if the repair has been done professionally. Re-gilding is only permitted in those rare cases when the object is highly important and unique of its kind. The label must clearly state which part of the gilding has been restored. Acceptance or refusal of an object with re-gilding (or mounts with regilding) is entirely at the discretion of the vetting committee. Furniture with marquetry of a later date is not acceptable (for example, a Dutch burr walnut cabinet with floral marquetry decoration). Seat furniture is not acceptable if its original nature has been materially altered, e.g. a chair that was originally cane-seated and is now upholstered, or a fauteuil that has been transformed into a bergère. Seat furniture with covered 39

rails cannot be vetted and will be rejected. However, covered sitting rails are allowed. Mirrors with frames that are not original are not acceptable. Old frames may contain new mirror plates. Style copies are not permitted. Original designs by famous cabinetmakers, such as Lincke or Sormani, are permitted only if these items are of good quality. Embellished furniture may not be shown. Regarding restoration: The technical integrity of the object must be respected: – Restoration may not modify the original construction – There may be no major addition of modern veneer, plywood or any alien material to strengthen or modify the original construction – Finish/varnish must be in keeping with the age of the object, for example, varnish inside drawers that were not originally varnished will be questioned. The aged appearance and aesthetic of an antique object must be respected: – Minimal cleaning of gilding – Marquetry may not be scraped to revive colours – Marquetry may not be scraped to flatten it. The historical integrity of the object must be respected: – Documented alterations should be preserved if possible – Restorations or reconstructions should be fully documented with photographic documentation for visitors to examine. Buyers must be protected from badly restored objects: – Synthetic varnish, glue and any product that is not easily reversible or is unstable over time may not be used. 11 ICONS Icons must be of undisputed authenticity, which includes age, importance and artistic merit. As a general rule Greek and Balkan icons must date from before 1900 40

and Russian icons must date from before the 1917 Revolution. Icons of the later nineteenth and twentieth centuries are only admitted in exceptional cases if they have artistic or cultural merit. Icons covered with a metal oklad or riza must be completely painted under the metal. The amount of restoration accepted will be related to the age and importance of the object. Metal icons are not included in the vetting process.

be from the period. Compositions/ marriages are not allowed, even if the separate parts could be of the same period.

12 JEWELLERY Historical pieces should be of indisputable authenticity and unambiguously of the period. The following are not acceptable: – ‘Marriages’, e.g. composed necklaces – Pieces that have been too drastically restored – Pieces in which the original function has been altered, e.g. cufflinks altered into earrings – Renovations that have destroyed the original character of the object – Loose stones, minerals or pearls – Style copies.

All modern works (where relevant) lacking clear WWII era provenance must be checked by the Art Loss Register.

This does not apply to exhibitors in the section ‘La Haute Joaillerie du Monde'. La Haute Joaillerie du Monde Will be vetted and should be of indisputable authenticity. Loose stones, minerals or pearls are not acceptable. Stones: All mounted diamonds and precious colored stones (rubies, sapphires and emeralds) over 2.00 carats must be submitted to a qualified Lab for verification against their accompanying reports such as American Gemological Laboratories (AGL) in New York. 13 METAL WARE All objects must date from before 1870, with the exception of Jugendstil, Art Nouveau and Art Deco. Restorations must be stated on the label. Replacements and alterations of handles, lids and other important parts are not allowed. Objects that are signed must have the marks of the period. Engravings and decorations on the objects must

14 MODERN & CONTEMPORARY ART All the main movements in modern and contemporary art may be included in this section but works that are derivative or lacking in originality may be rejected by the vetting committee.

The vetting guidelines for the Pictura section apply here. Conservationrestoration documentation should be fully available (e.g. examination, condition and treatment reports illustrating all previous damages and reintegrations/repairs). References to published catalogues raisonnés or certificates/authentications from the accepted authorities on each artist must be provided. To this end fact sheets, exhibition catalogues, certificates, articles and in some cases catalogues raisonnés should be available to prospective buyers. Materials and techniques, particularly in the case of contemporary art, must be fully detailed. The vetting committee will generally only consider Russian twentieth-century avant-garde artworks for acceptance if they have verifiable provenance or exhibition history. 15 PHOTOGRAPHY This category includes photographs of all periods that are valued for their aesthetic and/or historical importance. Exhibitors should show predominantly ‘vintage prints’, i.e. photographs printed at the same time or within a few years of the creation of the negative. On rare occasions photographs printed later may be considered and accepted if they are, in the opinion of the vetting committee, of sufficient importance in the context of the artist’s oeuvre. Any non-vintage prints must be submitted to the vetting committee (in electronic form or as paper

facsimiles) not later than two months before the stand building for the Fair. All photographs, including those in numbered editions, must have been printed during the artist’s lifetime either by or under the instruction or direction of the artist. Posthumous or estate prints will not be accepted. The exhibitor may only exhibit photographs of undisputed and proven authenticity that the vetting committee is satisfied are genuine. Items about which there are any doubts as to authenticity will not be accepted if the committee considers their inclusion not to be in the best interests of the Fair. Documentary information, publication and exhibition histories that support attributions should be available to prospective buyers.

– Artist’s name, birth and death dates and/or nationality (if the artist is unknown this should be clearly stated) – Title of the work (‘untitled’ or a descriptive title may be used) – Date of the negative or of the work where no negative was used – If the print was printed more than a few years after the negative and the precise print date is unknown, ‘printed later’ must be stated – Printing process – Dimensions of the print (and mount if the print is on an original mount) – If the photograph has been printed in an edition, the edition size and number of the print; if other editions exist this must be clearly stated.

If a photograph has undergone restoration, the conservation history must be available to the vetting committee and prospective buyers. Photographs that have been restored or altered in a way that changes their original character, for example prints that have been chemically intensified, are not acceptable.

Additional information that must be included on the list and wall label: – If the provenance is known and offers a significant insight into the authenticity of the piece, it must be stated – If the photograph has undergone conservation, this must be clearly stated, and the conservation history must be available to the vetting committee and prospective buyers.

Where information essential to establishing the authenticity of the work is concealed by the frame, such photographs must either be accompanied by good quality copies of this information or be easily removable from their frames for inspection by the vetting committee and prospective buyers.

If the value of a photograph is such that an export licence was required at the time of export from the country where the photograph was acquired by the dealer, a photocopy or the original document must accompany the list.

Exhibitors in the photography section may show up to a maximum of six paintings or other works of art provided they are related or relevant to any photographs exhibited. Such works are subject to the same rules as those governing vetting of the section concerned and must be of a quality that would normally be acceptable in such a section of the Fair. During the vetting period each photograph, including those not intended for display on the walls, must be clearly described on a list. If exhibited, they must also have a wall label. The following information must be given on the list and wall label:

16 PAINTINGS For vetting, each exhibit must be clearly described on a list stating the name of the artist with life dates or the dates of the exhibited work. If the artist’s name is unknown, the school and approximate date must be given, e.g. ‘Dutch School, first half 17th century’. Items must be properly attributed and of such a standard and in such condition, considering their age and importance, that showing them is not contrary to the best interests of the Fair as a whole. The vetting committee will check that statements concerning attribution and condition are not presented in any way that might be misleading.

Paintings and drawings are not acceptable if the items have been so restored as to exclude evidence of serious or extensive damage, unless the conservation records are made available with all restored damage clearly described in the examination, condition and treatment report. Any exhibit with additions, subtractions, later embellishments or any alterations that change its original character or enhance its value will not be accepted. The exhibitor may only exhibit works that the vetting committee is satisfied are genuine. Ultra violet (UV) barrier varnishes Restoration designed to deceive is not allowed. A conservator should be able to see the extent of restoration/ repainting in UV light, magnification and adequate lighting. The varnish must not prevent UV light from penetrating to the paint film. Obviously, the vetting committee cannot allow damaged paintings to be obscured with UV barriers, since this hides the extent of previous damage. Maximum number of objects Exhibitors in the works of art section may show no more than six paintings on their stand (this restriction does not apply to exhibitors who specialise in medieval works of art). Any paintings shown will be subject to the same rules as those governing the vetting of paintings and must be of a quality that would normally be acceptable on a painting stand. Exhibitors of Old Master paintings may show no more than six modern paintings on their stand. Any modern paintings shown will be subject to the same rules as those governing vetting of paintings in the modern art section and must be of a quality that would normally be acceptable on a modern art stand. Exhibitors of works on paper may show up to a maximum of four nonpaper objects on their stand. These objects will be subject to the vetting rules governing vetting of similar objects in other sections and must be of a quality that would normally be acceptable in those specific sections.

17 PRE-COLUMBIAN ART All items must originate from before European contact, that is to say from before 1500—with some variations depending on the area of provenance—unless the object in question, although later, is of great cultural quality or interest. In case of doubt a thermoluminescence test is strongly recommended for fired pottery. Gold, silver and bronze objects of great value must have a metallurgical certificate from an accredited expert or laboratory and must be of good quality. Important wood and stone objects must be accompanied by a certificate from an accredited expert or laboratory. Restoration may under no circumstances account for more than 10% of the whole, and only minor corrections to essential parts of the head, face or attributes are allowed. Normal retouching of decoration on repaired fractured surfaces is allowed; painting and repainting are not. ‘Ensaladas’— sculptures made up of parts from different origins—are not allowed. Textiles must originate from the period indicated. Heavily restored pieces, fragments and snippets are not allowed, with the exception of items of great cultural or scientific interest. 18 SCULPTURE FROM 1830 TO THE PRESENT DAY All works must be in original condition, of the highest quality in which they are to be found, and in principle produced during the artist’s lifetime. Alterations, embellishments or incorrect/added signatures are not acceptable. Sympathetic restoration is allowed but may only be used to bring the object back to its original condition. The overall integrity of each work will be considered not just in terms of its quality but also its importance in the artist’s oeuvre. Exhibitors must state the following information on the label: – Artist’s name and dates – Date of conception of the model (precise or estimated to within 25 years) – Date of this example (precise or estimated to within 25 years) – Marks, dates, seals, numbers etc. 42

– Details of the edition (if applicable) – Provenance of this example (optional on the label but must be provided elsewhere) – History of the model (optional on the label but must be provided elsewhere). If these requirements are not met, the vetting committee may insist that the labels be reprinted, or the works withdrawn. For nineteenth-century editions This was a period of unlimited editions in bronze, marble, terracotta etc. and only lifetime examples produced by the sculptor, his studio or under his control are accepted. Where no lifetime edition exists, examples from the first posthumous edition are also accepted providing they meet the above conditions. For twentieth- and twenty-firstcentury editions All works should be from lifetime editions. The following exceptions are accepted, but must be clearly labelled as such: – Works that extend an edition begun by the artist or his editor; these must have been cast less than 25 years after the artist’s death – Works that come from an entirely posthumous edition by the copyright holders; this edition must be limited and have been started less than 25 years after the death of the artist, initiated by direct descendants or copyright holders. Both the above categories are subject to review by the vetting committee as to the overall integrity of each work, not just in terms of its quality but also its importance in the artist’s oeuvre. Maquettes, working models, unsigned works: All documents proving an association with an artist, a school or a period must be provided. The position of the exhibit in the creative process leading to a finished work must be included in the description whatever their material of manufacture, for example original clay/wax/plaster model, artist’s plaster, foundry

plaster, édition plaster, lifetime bronze or posthumous bronze. 19 SILVER, GOLD AND PLATINUM Pieces must be from the stated period. No copies of earlier periods are admitted under any circumstances, regardless of date or quality. Pieces that have been so extensively restored or altered such as to change or disguise their original nature or function are not acceptable. Any re-gilding or replating, where appropriate, or any necessary repairs must be clearly stated on the exhibition label. Any coats-of-arms or other blazons must be contemporaneous with the objects and may not have been added at a later date. Exceptions may be made at the discretion of the committee but in such instances any discrepancies between the date of the object and the arms or blazons must be clearly stated on the exhibition label. 20 TEXTILES All oriental carpets must have been woven before 1800 and be of sufficient artistic merit. Poor quality antique carpets are not acceptable by virtue of their age alone. Exceptions are made in the case of genuine tribal and village rugs and other weaves of sufficient merit, which may date from the nineteenth or early twentieth century. However, as a general rule, such rugs should not contain synthetic dyes. Factory carpets from the nineteenth and twentieth centuries are not acceptable. The same general rule applies to European carpets, tapestries and textiles. Exceptions are made in the case of weaving that illustrates major European nineteenth- and twentieth-century artistic movements such as Jugendstil, Art Nouveau, Arts and Crafts, the Aesthetic Movement, Bauhaus, Art Deco etc. 21 TRADITIONAL ARTS FROM SUB-SAHARAN AFRICA AND OCEANIA Only ritual and prestige objects, mainly sculptures, body ornaments, weapons and ornamented utensils of quality, will be accepted. They must have been used in their country

of origin in a religious context or have been made for particular and important occasions. They must be of sufficient age when collected and of high artistic merit to be allowed in the Fair.

Acceptable restoration could include cleaning, consolidating and some in-painting retouches. Acceptable supports for these wallpapers are canvas, acid-free cardboard or paper.

22 TRADITIONAL INDIAN FOLK JEWELLERY Folk, ethnographic and tribal jewels and objects must be of indisputable authenticity and unambiguously of sufficient age. Please refer to the criteria of Traditional Arts Sections. Only genuine, high quality pieces used in traditional life are acceptable. They must be unaltered and in their original shape. If an object/jewel has been refinished or restored, this must be stated.

24 WORKS OF ART AND OLD MASTER SCULPTURE This category is to include only sculptures of undisputed and proven authenticity. – Labels must include the artist, country and period of the sculpture, and must state fully the material and technique of the object described – Attributions must be supported by documentary information and must be available to the prospective buyer – Exhibitors must note that literature references and the expertise of third parties, including authorities outside the vetting committee, are not binding on the committee – The vetting committee will accept sculptures with a reasonable degree of restoration, later gilding and re-lacquering if removal proved impossible. – Any alterations must be evident and clearly described – The vetting committee will not accept sculpture with restoration that by its extent changes the original character of the object – Sculptures with recarved faces, hands or folds, or with wholesale modern polychromy, will be refused – Later engraving, patination or re-gilding, and sculpture comprising marriages (even of parts from the same period) will not be accepted. – Terracotta sculptures without a thermoluminescence test are not accepted. Terracotta sculptures dating from the eighteenth century do not require a thermoluminescence test because not all such tests are of reliable scientific quality and results are sometimes misleading – Picture dealers may have no more than six sculptures on their stands.

Mughal jewels and objects may date from no later than 1858. Jewels and objects of the British Period may date from no later than 1947. Textiles and objects made of terracotta, bronze, iron, wood, gold, stucco and stone dating from before 1500 must be accompanied by a laboratory report confirming the period by thermoluminescence, radiocarbon dating, microscope or X-ray examination. Works that meet one or more of the following criteria require certificates: – The work is considered of great importance – The work is of extremely high value – The work is open to possible dispute regarding authenticity. 23 WALLPAPER Pieces must date from approximately the early 17th century to the end of the 20th century. Date, edition, manufacturer and artist must be stated if known. Relevant information must be provided in cases where wall hangings and papers were printed in more than a limited edition and over time were passed on to later and different manufacturers. Few period papers are in perfect condition, unless they were never hung, so restoration is common. Restoration must have been done by professional paper conservators, the extent should be limited, and the style must be consistent with the original piece.

Bronzes The following must always be stated: – Artist or studio – In the circle of… or after… – Country of origin and period. The following are unacceptable: – Treatments such as polishing, later engravings, later patination, re-gilding – Marriages, even if the parts are from the same period.

TEFAF MAASTRICHT 2019 VETTING COMMITTEES GLOBAL CHAIRMAN VETTING – Wim Pijbes, former general director Rijksmuseum ASSISTANT – Carol Pottasch, senior restorer/ conservator Mauritshuis, The Hague ANCIENT ART – Prof. Dr Detlev Kreikenbom, University Mainz – Beryl Barr-Sharrar, adjunct professor Institute of Fine Arts, New York University – Agnes Benoit, general curator emeritus Near East, Musée du Louvre, Paris – Leslie Gat, president and principle conservator, Art Conservation Group, New York – Jasper Gaunt, Independent Scholar, Atlanta – Ariel Herrmann, independent scholar, New York – Dr. Christian E. Loeben, curator Egyptian & Islamic Collections, Museum August Kestner, Hanover – Olivier Perdu, Egyptologist, Collège de France, Paris – John Twilley, art conservation scientist, Hawthorne, New York – Prof Marc Walton, co-director for Scientific Studies in the Arts, Northwestern University, Evanston – Non-voting vetting expert: David Cahn, proprietor Cahn, Basel ARMS & ARMOUR – David Edge, armourer, Wallace Collection, London – Dr Stefan Krause, director, Imperial Armoury Kunsthistorisches Museum, Vienna APPLIED ARTS & DESIGN FROM THE LATE 19TH CENTURY TO THE PRESENT DAY – Lieven Daenens, honorary director Design museum Gent – Emmanuel Heyraud, expert, Paris – Marianne Lamonaca, associated gallery director and chief curator, Bard Graduate Center New York

– Prof. Dr Tobias Natter, director emeritus Leopold Museum, Vienna – Miguel Saco, furniture conservator, Long Island, New York – Non-voting vetting expert: François Laffanour, proprietor Laffanour gallery Downtown, Paris ASIAN EXPORT ART – Ron Fuchs, curator Reeves Collection, Lexington – Eline van den Berg, conservator Asian ceramics, Princessehof National Museum of Ceramics, Leeuwarden Holland – Dr Jan van Campen, curator Asian export art, Rijksmuseum Amsterdam – Prof. Dr Christian Jörg, University Leiden – Sebastiaan Ostkamp, Dutch archeologist, huge ceramics knowledge especially Asian 17th century – Dr Maria Pinto de Matos, director Museu Nacional do Azulejo, Lisbon – Dr Eva Ströber, former curator Asian Ceramics Porcelain Collection Dresden and Princessehof Museum, Leeuwarden – Dr Daniel Suebsman, conservator East Asian ceramics, Hetjens-German Museum of Ceramics, Dusseldorf – Non-voting vetting expert: Jorge Welsh, proprietor Jorge Welsh Works of Art, London/Lisbon BOOKS, MANUSCRIPTS & MAPS – Roger Wieck, Melvin R. Seiden curator and department head, medieval and renaissance manuscripts, Morgan Library and Museum, New York – Dr Anne Korteweg, curator emerita of medieval manuscripts, The Royal Library, The Hague – Dr Stella Panayotova, keeper of manuscripts and printed books, The Fitzwilliam Museum Cambridge University – Dr Dominique Vanwijnsberghe, Royal Institute for Cultural Heritage, Brussels

CLOCKS & WATCHES – Dr Helmut Crott, expert, Luxemburg – Michael Guryev, head clocks and musical machine restoration laboratory, State Hermitage Museum, St-Petersburg

– Prof. Dr. Willibald Veit, former director Museum fur Asiatische Kunst, Staatliche Museum zu Berlin – Non-voting vetting expert: Ben Janssens, proprietor Ben Jannsens Oriental Art, London

DRAWINGS UPTO 1800 & PRINTS UNTIL THE PRESENT DAY – Dr Ger Luijten, director Fondation Custodia, Paris – Dr George Abrams, expert, Boston – Dr Rhoda Eitel-Porter, editor Print Quarterly, former curator and department head drawings & prints, Morgan Library & Museum, London – Dr Margaret Morgan Grasselli, curator old master drawings, National Gallery of Art, Washington – Prof. Dr Fritz Koreny, former curator prints and drawings, Albertina, Vienna – Thomas Rassieur, John E. Andrus III curator prints and drawings head department of Prints and drawings, Minneapolis Institute of Arts – Dr Andrew Robison, former Andrew W. Mellon senior curator prints & drawings, National Gallery of Art, Washington – Martin Royalton-Kisch, former senior curator prints and drawings, British Museum, London – Dr Christian Rümelin, head of department prints and drawings Musées d’art et d’histoire, Cabinet d’arts graphique, Geneva – Peter Schatborn, former head department prints and drawings, Rijksmuseum, Amsterdam – Drs Carel van Tuyll van Serooskerken, research curator Teylers Museum, Haarlem

EUROPEAN CERAMICS – Erwan le Bideau, ceramics restorer, Paris – Antoinette Hallé, general conservator and honorary director national ceramics museum, Sèvres – Dr Elisa Sani, the Courtauld Gallery Research Fellow, London – Guilaum Séret, art historian, Paris – Professor Andrew Shortland, director Cranfield Forensic Institute, Cranfield University, Shrivenham UK

EARLY ASIAN WORKS OF ART – Dr Ching-Ling Wang, curator Asian Art, Rijksmuseum Amsterdam – Prof. Dr Monika Kopplin, director emeritus Museum für Lackkunst, Muenster – Dr Adele Schlombs, director Museum of East Asian Art, Cologne

GLASS – Dr Dedo von KerssenbrockKrosigk, head Glasmuseum Hentrich, Düsseldorf – Reino Liefkes, senior curator and head ceramics & glass, Victoria and Albert Museum, London – John P. Smith, independent scholar, chairman Glass Circle, London, Fellow The Corning Museum of Glass ICONS – Drs Desiree Krikhaar, expert, The Hague – Drs Léon van Liebergen, art historian, former director Museum for Religious Art Uden & provisor religious cultural heritage The Netherlands ISLAMIC, INDIAN & SOUTH EAST ASIAN ART – Marcus Fraser, honorary keeper, The Fitzwilliam Museum, Cambridge – Jan van Alphen, honorary curator, expert Indian & Himalayan art, director emeritus Rubin Museum of Art, New York and Ethnographic Museum, Antwerp – Gilles Béguin, honorary conservator and director emeritus Museum Cernuschi for Asian Art, Paris – Dr Sonya Rhie Mace, George P. Bickford curator of Indian & Southeast Asian Art & interim curator Islamic Art, Cleveland Museum of Art

– Non-voting vetting expert: Marcel Nies, proprietor Marcel Nies Oriental Art, Antwerp JAPANESE ART – Menno Fitski, head Asian Art, Rijksmuseum, Amsterdam – Dr Alexander Hofmann, curator Japanese Art, Asian Art Museum, National Museums, Berlin – Cora Würmell, curator East Asian Porcelain H, Porzelansammlung, Staatsliche Kunstsammlungen, Dresden JEWELLERY – Dr Emily Stoehrer, Rita J. Kaplan and Susan B. Kaplan curator of Jewelry, Museum of Fine Arts MFA, Boston – Dr Tonny Beentjes, jewelry conservator University Amsterdam – Héja Garcia – Guillerminet, director gemmological laboratory Paris – Suzanne van Leeuwen, jr juwelry curator and trained conservator, Rijksmuseum Amsterdam – Raymond Sanctoft-Baker FGA jewelry specialist, London – Joanna Whalley, senior metals conservator and gemmologist Victoria & Albert Museum London MODERN & CONTEMPORARY ART – Dr Carol S Eliel, curator modern art, Los Angeles County Museum of Art – Norman Kleeblatt, independent curator and critic, New York – Dr Eckhart Gillen, art historian & independent curator, Berlin – Ludo van Halem, curator of 20th century, Rijksmuseum Amsterdam – Teresa Krasny, independent curator, London – Alfred Pacquement, director emeritus Centre Pompidou – Non-votting vetting experts: Christophe Van de Weghe or Franck Prazan alternatively

*Dr Konstantin Akinsha, founding director the Russian avant-garde research project, London, guest curator the Ludwig Museum of Contemporary Art, Budapest and the Neue Galerie, New York

19TH CENTURY PAINTINGS – Dr Helga Kessler Aurisch, Curator of European Art, Museum of Fine Arts, Houston – Dr Emily Beeny, associate curator J. Paul Getty Museum Los Angeles – Drs Richard Bionda, former lecturer art history Vrije Universiteit, Amsterdam – Dr Gerhard Frodl, director emeritus Österreichische Galerie Belvedere, Vienna – Dr Leah Lehmbeck, curator and department head European paintings and sculpture, Los Angeles County Museum of Art – Dr Mary Morton, curator French paintings, National Gallery of Art, Washington – Drs John Sillevis, former chief curator Gemeentemuseum, The Hague – Benno Tempel, director Gemeentemuseum, The Hague PHOTOGRAPHY – Dr Mattie Boom, photograph curator Rijksmuseum, Amsterdam – Martin Jürgens, photograph conservator Rijksmuseum, Amsterdam PRECOLUMBIAN ART – Prof. Jacques Blazy, Pre-Columbien expert and curator, Paris – Alexander Bernand, expert, Paris – David Joralemon, Pre-Columbian scholar and curator, New York – Marie Mauzé, senior researcher (antropologist) CNRS, France RUSSIAN WORKS OF ART, GOLD BOXES, OBJECTS DE VERTU & KUNSTKAMMER OBJECTS – Prof. Dr Géza von Habsburg, author and independent scholar, New York – Ellen Bork, metal conservator, Rijksmuseum – Alexander von Solodkoff, independent scholar Hemmelmark, Germany

SILVER – Drs Dirk Jan Biemond, gold & curator silver Rijksmuseum, Amsterdam – David Cawte, F.I.P.G. silver and goldsmith, member Antique Plate Committee Goldsmith’s Company, London – Dr Kirsten Kennedy, curator Victoria & Albert Museum, London – Dr Wim Nys, curator head collections and research DIVA, Antwerp – Dr Jet Pijzel - Dommisse, former curator decorative arts, Gemeentemuseum, The Hague – Dr Timothy Schroder, chairman Antique Plate Committee, Goldsmith’s Company, London – Dr Karin Tebbe, curator decorative arts Kurpfälzisches Museum, Heidelberg TEXTILES & WALLPAPERS – Elisabeth Floret, European carpets and textiles, Paris – Geert Wisse, expert historical antique wall paper, Berchem Belgium – Helen Wyld, senior curator of historic textiles, National Museums Scotland, Edinburgh TRADITIONAL ARTS FROM SUBSAHARAN AFRICA AND OCEANIA – Ellen Howe, retired conservator Arts of Africa, Oceania and the Americas Department Metropolitan Museum of Art, New York – Valentin Boissonnas, conservator, senior lecturer in conservation, Haute Ecole Arc, Neuchatel – Frank Herreman, director emeritus Etnographic Museum, Antwerp, director emeritus exhibitions and publications, Museum for African Art, New York, lecturer African and Oceanic art history Antwerp – Dr Ph. Peltier, honorary senior curator, former curator Pacific and south east Asian islands, musée du quai BranlyJacques-Chirac, Paris

WESTERN FURNITURE & WORKS OF ART UPTO RENAISSANCE – Dr Monika Piera, head Estudi del Moble, consultant Design & Decorative Arts Museum Barcelona – Prof Clario Di Fabio, medieval art, Università di Genova – Dr Paul Rem, curator furniture Paleis Het Loo, Apeldoorn – Dr Megan Wheeler, Lead Collections cataloguer (furniture), National Trust, London WESTERN FURNITURE & WORKS OF ART FROM BAROQUE ONWARDS – Dr Sophie Mouquin, Charles de Gaulle University, Lille – Prof. Dr Reinier Baarsen, senior curator furniture, Rijksmuseum Amsterdam – Yannick Chastang, conservator furniture, Faversham (Kent) – Enrico Colle, director Stibbert Museum, Florence – Piere-Alain Le Cousin, conservator/restorer, Champagné – Paul van Duin, head furniture conservation Rijksmuseum Amsterdam – Arlen Heginbotham, conservator decorative arts and sculpture The J. Paul Getty Museum, Los Angeles – Christopher Rowell, curator furniture, National Trust London – Dr Achim Stiegel, curator furniture, Kunstgewerbemuseum Staatliche Museen, Berlin WESTERN SCULPTURES UP TO 1830 – Prof. Dr Frits Scholten, senior curator of sculpture, Rijksmuseum Amsterdam – Jens Burk, deputy director general, head European sculpture and paintings, Bayerisches Nationalmuseum Munich – Henry Defoer, director emeritus Museum Catherijneconvent, Utrecht – Dr Claudia Kryza - Gersch, curator Skulpturensammlung Dresden – Dr Robert van Langh, head conservation and scientific research Rijksmuseum, Amsterdam

– Prof. Michele Tomasi, medieval art University Lausanne – Dr Holly Trusted FSA, senior curator sculpture, Victoria and Albert Museum, London – Drs Guido de Werd, director emeritus Museum Kurhaus Kleve, artistic director B.C. Koekkoek-Haus Kleve WESTERN SCULPTURE FROM 1830 TO THE PRESENT DAY – Dr Arie Hartog, director Gerhard-Marcks-Haus, Bremen – Dr Patrick Elliott, senior curator Scottish National Gallery of Modern Art, Edinburgh – Dr Sharon Hecker, art historian and curator, Milan and Los Angeles – Dr Elisabeth Lebon, independent researcher 19th & 20st century European art bronze foundries, marks, history and processes, Elancourt, France – Prof. Dr Jan Teeuwisse, director Museum Beelden aan Zee, Scheveningen DUTCH, FLEMISH AND GERMAN OLD MASTER PAINTINGS – Prof. Dr Christopher Brown, professor Netherlandish Art, University Oxford and director emeritus Ashmolean Museum, Oxford – Gwendolyne Boevé – Jones, director Redivivus Studio for conservation and technical research of paintings, The Hague – Till Holger Borchert, director Museums Brugge – Drs Frits Duparc, director emeritus Mauritshuis, The Hague – Prof. Dr Ivan Gaskell, professor of cultural history and museum studies, The Bard Graduate Centre, New York – Wouter Kloek, former curator Rijksmuseum, Amsterdam – Prof. Dr Bernd Lindemann, director emeritus Gemälde Galery und Sculpturen Kollektion Staatliche Museen, Berlin – Dr Fred Meijer, independent art historian, former senior curator RKD, The Hague – Dr Mirjam Neumeister, curator Flemish Baroque paintings, Bayerische Staatsgemäldesammlungen Alte Pinakothek, Munich

– Dr Larry Nichols, William Hutton senior curator European and American paintings and sculpture before 1900, Toledo Museum of Art – Petria Noble, head paintings conservation, Rijksmuseum, Amsterdam – Dr Peter Sutton, The Susan E. Lynch executive director, Bruce Museum, Greenwich, Connecticut – Prof Dr. Gregor Weber, head department of fine & decorative arts Rijksmuseum, Amsterdam – Prof Arthur Wheelock jr, former curator Northern Baroque paintings, National Gallery of Art, Washington DC FRENCH, ITALIAN, SPANISH & BRITISH OLD MASTER PAINTINGS – Dr Edgar Peters Bowron, former Audrey Jones Beck Curator of European Art, The Museum of Fine Arts, Houston – Francesca Baldassari, University Padua – Dr Xavier Bray, director, The Wallace Collection, London – Dr Machteld Brüggen Israëls, lecturer art history University of Amsterdam – Dr Peter Cherry, Department History of Art Trinity College, Dublin – Simon Howell, managing director Shepherd Conservation Ltd, London – Ian Kennedy, independent scholar, Chapel Hill, North Carolina – Peter Kerber, curator, Dulwich Picture Gallery, London – Alastair Laing, curator emeritus, pictures and sculptures, The National Trust, London – Prof. Dr Riccardo Lattuada, DILBEC, History of Art of the Modern Age, Università degli Studi della Campania ‘Luigi Vanvitelli’ Santa Maria Capua Vetere (CE), Italy – Patrice Marandel, curator emeritus of European art, Los Angeles County Museum of Art – Prof. Dr Mauro Natale, University of Geneva – Dr Nicolas Penny, former director, National Gallery London

– Dr Martin Postle, Deputy Director, The Paul Mellon Centre for Studies in British Art, London – Nicole Ryder, freelance paintings conservator, London – Dr Salvador Salort-Pons, director, The Detroit Institute of Arts – Dr Scott Schaefer, senior curator emeritus, J. Paul Getty Museum, Los Angeles – Dr Erich Schleier, former curator paintings, Gemälde Staatsliche Galery, Berlin – Dr Carl Strehlke, adjunct curator, John G. Johnson Collection, Philadelphia Museum of Art – Dr Gudrun Swoboda, curator of later Italian, Spanish and French paintings Kunsthistorisches Museum, Vienna – Dr Aidan Weston-Lewis, chief curator, Scottish National Gallery, Edinburgh

Portable XRF – Arie Pappot MA, PhD candidate conservation science, Rijksmuseum Amsterdam – Dr Guus Verhaar, postdoctoral researcher, Rijksmuseum and University of Texas (Edith O ‘Donnell Institute of Art History), Coring Museum of Glass, Dallas UV en IR reflectography – Rik Klein Gotink

SCIENTIFIC RESEARCH & SUPPORT TEAM Advisors – Dr. Robert van Langh, Head of Conservation & Scientific Research, Rijksmuseum, Amsterdam. – Prof. Dr. Joris Dik, Antoni van Leeuwenhoek Chair, Materials in Art and Archaeology, Dept. Of materials Science and Engineering, Delft University of Technology; – Prof. Dr. Arie Wallert, Rijksmuseum Amsterdam. Imaging and Data Science – Prof. dr. Rob Erdmann, Senior Scientist, Rijksmuseum Professor of Conservation Science, Department of Conservation and Restoration and Institute of Physics University of Amsterdam X-Radiography techniques ApplusRtd Rotterdam – Ed Zonneveld Hirox Microscope Europe – Emilien Leonhradt – Nordin Trobradovic

PAINTINGS

Didier Aaron

De Jonckheere

Agnews

Jack Kilgore & Co., Inc.

Kunstgalerij Albricht

Koetser Gallery

Åmells

Lampronti Gallery

Paolo Antonacci Roma

Lowell Libson & Jonny Yarker Ltd

Antonacci Lapiccirella Fine Art

Salomon Lilian

Arnoldi-Livie

Lullo • Pampoulides

Charles Beddington Ltd

The Maas Gallery

Benappi Fine Art

MacConnal-Mason Gallery

Berko Fine Paintings

Carlo Orsi - Trinity Fine Art

Kunsthandel A.H. Bies

Piacenti

Bijl-Van Urk BV

Porcini

Kunsthandel P. de Boer BV

Robilant+Voena

Bottegantica

Kunsthandlung Helmut H. Rumbler

Galerie Canesso

Salamon&C

Caylus Gallery

Galerie Sanct Lucas

Galerie Eric Coatalem

Galerie G. Sarti

Colnaghi

Rob Smeets Gallery

Daxer & Marschall Kunsthandel

Stair Sainty Gallery

Galerie Michel Descours

Stoppenbach & Delestre

Dickinson

Talabardon & Gautier

Sam Fogg

Tomasso Brothers Fine Art

Fondantico di Tiziana Sassoli

David Tunick, Inc.

Giacometti Old Master Paintings

Rafael Valls Limited

Richard Green

Galleria Carlo Virgilio & C.

Haboldt & Co.

Galerie Florence de Voldère

Nicholas Hall

The Weiss Gallery

Heim Jean-François

Adam Williams Fine Art Ltd.

DIDIER AARON

PAINTINGS

PARIS–NEW YORK–LONDON

PIERRE-JACQUES VOLAIRE (Toulon 1729–1802 Naples) Afternoon Evening Oil on canvas (pair) 54 × 72 cm each Signed 'Le Chev.er Volaire fecit 1768' Signed 'Le chev.er pj. Volaire fecit in Roma 1767'

Provenance Probably Duc de Choiseul-Praslin (1712–1785); his sale, Paris, 18 February 1793, lot 178

JEAN-BAPTISTE OUDRY (Paris 1686–1755 Beauvais)

Provenance François de La Porte Collection, Château de l'Ansaudière; Private collection, UK, 1968

White Greyhound Oil on canvas 81.5 × 99 cm (32 × 39 in.) Signed 'JB. Oudry 1748'

AGNEWS

PAINTINGS

LONDON

LUIS DE MORALES (Badajoz circa 1509–20–1586 Alcántara) Ecce Homo Oil on panel 26.3 × 20.5 cm (10.3 × 8.2 in.)

Provenance Carlos Ceballos; Private collection, Madrid, by the late 19th century; Thence by decent until acquired by the previous owner

DAVID TENIERS THE YOUNGER (Antwerp 1610–1690 Brussels) The Fishmonger Oil on canvas 85 × 123 cm (33.5 × 48.5 in.) Signed and dated lower right 'D. TENIERS FE. / 1647'

KUNSTGALERIJ ALBRICHT

PAINTINGS

OOSTERBEEK

JAN SLUIJTERS ('s-Hertogenbosch 1881–1957 Amsterdam) Flowers in a Vase Oil on canvas 103 × 66 cm (40.5 × 26 in.) Signed upper left and lower right 'Jan Sluijters' Circa 1930

Provenance Private collection, The Netherlands

H.W. (HENDRIK WILLEM) MESDAG (Groningen 1831–1915 The Hague) Setting out to sea; Luggers setting sail from Scheveningen Oil on canvas 125 × 101 cm (49.2 × 39.7 in.) Signed lower right 'H.W.Mesdag'

Provenance Sale Mak van Waay, Amsterdam, 21 Dec. 1943, lot 316; Kunsthandel Gebr. Douwes, Amsterdam; Private collection, The Netherlands

ÅMELLS

PAINTINGS

STOCKHOLM

ALEXANDER ROSLIN (Malmö 1718–1793 Paris) Young lady with a pink ribbon Oil on canvas 73.5 × 59.5 cm (28.9 × 23.4 in.) Signed 'Pt. a paris p. le chev./ Roslin. 1784' Paris, 1784

Provenance Private collection, Paris (through aquisition on the French art market in 2004)

GÖSTA ADRIAN-NILSSON (Lund 1884–1965 Stockholm) The Sail Tour Oil on canvas 160 × 160 cm (63 × 63 in.) Signed 'G-A-N.' 1918

Provenance Edvin Ganborg, Norrköping; Architect Paul Andersson, Norrköping; Galerie Bel'Art, purchased straight from the above; Carl-Eric Björkegren's collection

PAOLO ANTONACCI ROMA

PAINTINGS

ROME

PLINIO NOMELLINI

VINCENZO CAMUCCINI

(Leghorn 1866–1943 Florence)

(1771–Rome–1844)

Lost in thought Oil and pastel on canvas 69.5 × 151.5 cm (27.4 × 59.6 in.) Signed lower right 'Nomellini'

The Conversion of St. Paul Oil on canvas 132 × 70 cm (52 × 27.6 in.)

Provenance Private collection, Rome

ANTONACCI LAPICCIRELLA FINE ART

PAINTINGS

ROME

HILDING WERNER (Kårud 1880–1944) Snowy Landschape Oil on canvas 131.4 × 117.3 cm (51.7 × 46.2 in.) Signed lower right 'H. Werner' Circa 1910

Provenance Private collection, Italy

GIOVANNI BOLDINI (Ferrara 1842–1931 Paris)

Provenance Private collection France; Private collection, Italy

Woman with a hat Nude Woman Seated (verso) Watercolor on paper 49 × 35.5 cm (19.3 × 14 in.) Signed lower left 'Boldini' Circa 1905

ARNOLDI-LIVIE

PAINTINGS

MUNICH

PABLO PICASSO (Málaga 1881–1973 Mougins) Still Life Pencil 24 × 31.5 cm (9.4 × 12.4 in.) Signed lower left and on verso 1909

Provenance Galerie Knoedler, Paris; Galerie Jan Krugier, Geneva; Private collection, Switzerland

HANS MAKART (Salzburg 1840–1884 Vienna) Portrait of a Lady, presumably Hanna Klinkosch (1848–1925), later Duchess of Liechtenstein Oil on canvas 87 × 62 cm (34.3 × 24.4 in.) 1873–74

Provenance Hofkunsthandlung H.L. Neumann, Munich; Galerie Fischer, Lucerne, 1947; Private collection, Switzerland; Schuler, Zurich, 2008; Private collection, England

CHARLES BEDDINGTON LTD

PAINTINGS

LONDON

JEAN BAPTISTE ADANSON

FRANS VERVLOET

(Paris 1732–1804 Tunis)

(Mechelen 1795–1872 Venice)

A Hoopoe Watercolour and brown ink on paper (one of a set of ten) 30.1 × 32.2 cm (11.8 × 12.7 in.) Inscribed and dated 'HUPPE OU PUTPUT DES ENVIRONS DE TUNIS ~ /Peint d’apres Nature Par J.B.teAdanfon L’An 5.e'

Venice: The Doge’s Palace and the Riva degli Schiavoni, looking East Oil on canvas, unlined 30 × 42 cm (11.8 × 16.5 in.) Signed and dated lower center 'F. vervloet venedig/1829'

Provenance Anon. Sale, Sotheby’s, London, 14 June 2005, lot 231

BENAPPI FINE ART

PAINTINGS

LONDON

TOMMASO SALINI (Rome, active first half 17th century) Portrait of a young Man as Bacchus Oil on canvas 76 × 61 cm (29.9 × 24 in.) Circa 1615–1625

Provenance Private collection, Italy

ANGELICA KAUFFMAN (Coira 1741–1807 Rome) Abraham drives Hagar and Ishmael into the Desert Oil on canvas 128.5 × 103 cm (50.6 × 40.2 in.) Rome, 1792

Provenance Turinetti di Piero collection; Filippo Giordano delle Lanze collection; Francesco Conrieri collection

BERKO FINE PAINTINGS

PAINTINGS

KNOKKE-HEIST

CHARLES THÉODORE FRERE (1814–Paris–1888) Sunset on the Nile Oil on canvas 110 × 180 cm (43.3 × 70.9 in.) Signed, situated and dated lower left 'Le Nil Egypte 1877' Paris, 1877

Provenance Paris Salon, 1877 (Cat. no. 872)

ROBERT CUTLER HINCKLEY (Northampton 1853–1941 Rehoboth Beach)

Provenance Paris Salon, 1880 (Cat. no. 1853)

Pygmalion and Galatea Oil on canvas 258.5 × 131.5 cm (101.8 × 51.8 in.) Signed lower left Paris, 1880

KUNSTHANDEL A.H. BIES

PAINTINGS

EINDHOVEN

ANDREAS SCHELFHOUT (1787–The Hague–1870) A Dutch Winter Landscape with Figures on the Ice Oil on panel 38.5 × 55.2 cm (15.2 × 21.7 in.) Signed and dated lower left 'A. Schelfhout 1866'

Provenance Sotheby’s Londen, sale 24 May 2018, lot 27

ISAAC ISRAELS (Amsterdam 1865–1934 The Hague) Carmen Oil on canvas 91 × 71.5 cm (35.8 × 28.1 in.) Signed lower right 'Isaac Israels' Provenance Collection Jan Michiel Pieter Glerum,

Amsterdam, ca. 1918; Sale Mak van Waay, Amsterdam, 28 February 1933, lot 110, as ‘Carmencita’; Collection Mrs Liesbeth Schokking-Ribbius Peletier, Doorn (ca. 1965); Sale Mak van Waay, 15 April 1975, lot 61, as ‘Portret van een jonge vrouw met bloemen in het haar gestoken, staande voor een schilderij’; Kunsthandel Rueb, Amsterdam, 2008; Private collection, The Netherlands

BIJL-VAN URK BV

PAINTINGS

ALKMAAR

DAVID TENIERS THE YOUNGER (Antwerp 1610–1690 Brussels) A Winter and Summer Landscape Oil on panel (both) 12 × 17.3 cm (4.7 × 6.8 in.) Signed (both)

Provenance Sir Thomas Beauchamp-Proctor, 2nd Bt. (1756–1827) of Langley Hall, Norfolk, and then by descent to Sir Christopher Radstock Proctor-Beauchamp, 9th Bt. (1935); Richard Green Galleries, London (catalogue 1975, pp. 32–33, no. 14, ill.); Private collection, Switzerland, then by descent; Sale Cologne (Lempertz), 16 May 2018, lot 1075

KUNSTHANDEL P. DE BOER BV

PAINTINGS

AMSTERDAM

ABRAHAM STORCK (1644–Amsterdam–1708) Dutch Shipping entering a Harbour Oil on canvas 57.2 × 70 cm (22.5 × 27.6 in.) Signed lower left 'A.Storck' Amsterdam, circa 1670

Provenance Hoogendijk & Co. (on a label at the reverse); Private collection, Vienna

MEINDERT HOBBEMA (1638–Amsterdam–1709) River Landscape with Fishermen Oil on panel 52.3 × 68 cm (20.6 × 26.7 in.) Signed lower right 'M.Hobbema' Amsterdam , circa 1660

Provenance Rt.Hon.John Ingles, Lord Glencorse 1810– 1891; Lord Justice General of Scotland; Lesley Hand, London 1959; Collection Sydney van den Bergh, Wassenaar; Leonard Koetser, London

BOTTEGANTICA

PAINTINGS

MILAN

GIACOMO BALLA (Turin 1871–1958 Rome) Futurist Blackbirds Oil on canvas 66 × 146 × 8 cm (26 × 57.5 × 3.1 in.) Signed lower right 'FUTUR BALLA' and on reverse, inscripted by Giacomo Balla 'Merli Futuristi / Balla/Via Paisiello Rome' Rome, circa 1924

Provenance Casa Balla, Rome; Private collection, Rome; Private collection, Florence

ANTONIO MANCINI (1852–Rome–1930)

Provenance Count Albert Cahen, Paris, 1881; Private collection, Paris

Acrobat with violin Oil in canvas 92 × 73.5 × 9 cm (36.2 × 28.9 × 3.5 in.) Signed and dated upper right 'Paris / A. Mancini 1878' Paris, 1878

GALERIE CANESSO

PAINTINGS

PARIS

GIOACCHINO ASSERETO (1600–Genoa–1649) Joseph sold by his Brothers Oil on canvas 150.5 × 170 cm (59.3 × 67 in.)

Provenance Aldo Zerbone collection, Genoa

TIBERIO TITI (1578–Florence–1627) Portrait of a Dog Oil on canvas 97.5 × 115 cm (38.3 × 45.3 in.)

CAYLUS GALLERY

PAINTINGS

MADRID

PEDRO GARCÍA DE BENABARRE (Documented in Aragon and Catalonia between 1445–1485)

88.5 × 121 × 13 cm (34.8 × 47.6 × 5.1 in.) (Saint James the Greater and Saint Anthony Abbot) Zaragoza, circa 1445–1450

Two predella panels depicting Saint Peter, Saint Paul, Saint James the Greater and Saint Anthony Abbot Tempera on panel 89 × 120 × 13 cm (35 × 47.2 × 5.1 in.) (Saint Peter and Saint Paul)

GALERIE ERIC COATALEM

PAINTINGS

PARIS

LOUYSE MOILLON

JEAN-HONORÉ FRAGONARD

(circa 1610–Paris–1696)

(Grasse 1732–1806 Paris)

Still Life of Peaches in a Porcelain Bowl Oil on panel 49 × 64 cm (19.3 × 25.2 in.)

The Hurdy-Gurdy Player Oil on canvas 43.3 × 30.8 cm (17 × 12 in.) Provenance (Probably) M...., Hôtel de Bullion, Paris, 9–10 January 1818, lot 16; (probably)

Simonet collection, Paris, Hôtel Drouot, Paris 7–8 May 1863, lot 34; Gustave Rothan (1822–1890), Paris, 1883; Galerie Georges Petit, Paris, 30 May 1890, lot 148; Albert Lehmann (1840–1922), Paris, 1897; Galerie Georges Petit, Paris, 8 June 1925, lot 201; Mrs. Edward Esmond, Paris, 1934; Private collection, France; Galerie Brame and Lorenceau, Paris

COLNAGHI

PAINTINGS

LONDON-NEW YORK-MADRID

FRANCISCO DE ZURBARÁN (Fuente de Cantos 1598–1664 Madrid) Virgin with sleeping Child Oil on canvas 120 × 98 cm (47.2 × 38.6 in.) Signed and dated lower left on the cartellino 'Fran dezurbaran / 1659' 1659

Provenance Pablo Reico y Tello, before 1815(?), Madrid; Collection of the marqués de Astorga, conde de Altamira, Madrid;José Velasco, marqués de Unzá del Valle, 1905, Madrid; Collection of marqués de Unzá del Valle, 1953, Madrid; Antonio Barnuevo, 1976, Madrid; Private collection, Spain

The Goddess Flora and Camillus (Youthful Attendant) Striated calcite alabaster, black marble and other colored stones 157 × 45 × 53 cm (62 × 17 × 21 in.) and 151 × 34 × 57 cm (59 × 13 × 22 in.) Roman, 2nd–3rd century AD, with 16th–century restorations and additions

Provenance Most likely acquired by Per Afán de Ribera, 1st Duke of Alcalá, in Naples before 1571; Subsequently recorded in 1751 in the Casa de Pilatos among the collections of the Dukes of Alcalá; Thence by descent

DAXER & MARSCHALL KUNSTHANDEL

PAINTINGS

MUNICH

MAX LIEBERMANN (1847–Berlin–1935) The Flower Terrace, Wannsee Garden to the North-West Oil on cardboard 64.5 × 81 cm (25.4 × 31.9 in.) Signed and dated lower left 'M. Liebermann 17' Berlin, 1917

Provenance Lily Christiansen-Agoston, Berlin and Bad Aussee, 1941/2–1950; Wolfgang Gurlitt, Bad Aussee, 1950; Galerie Wilhelm Grosshennig, Düsseldorf; Galerie Gans, Munich, 1959; Georg Schäfer private collection, Schweinfurt; Private collection, Germany

HONORÉ DAUMIER (Marseille 1808–1879 Valmondois) Homme sur un Cheval Blanc Oil on panel 38 × 25 cm (15 × 9,8 in.) Monogrammed lower left 'h.D.' Paris, circa 1860

Provenance James Staats Forbes, London; Eduard Fuchs, Berlin/Paris; Margarete Fuchs, Paris/New York; Michael N. Altman Fine Art, New York; Rolf and Margit Weinberg, Zurich/New York, 1986; Michael N. Altman Fine Art, New York; Private collection, UK, 2009; additional provenance on request

GALERIE MICHEL DESCOURS

PAINTINGS

LYON

JOSEPH CHINARD (1756–Lyon–1813) Self-Portrait Marble 100 × 33.5 × 29.5 cm (39.4 × 13.2 × 11.6 in.) 1800's

Provenance Remained in artist' family after his death at Greillon Estate; Placed by his heirs on his monument in the cemetery of Loyasse, Lyon, 1839; Sold by his descendants, 1909; Chatel collection, Lyon; Private collection, Stuttgart; Galerie Fabius, Paris, 1974; Koller, Zurich, 1995, lot 4153; Koller, Zurich, 1997, lot 710; Galerie Maurice Ségoura, Paris, 1997; Private collection, Paris

PIERRE PEYRON (Aix-en-Provence 1744–1814 Paris)

Provenance Private collection, France

The Death of Alcestis, or The Heroism of Conjugal Love Oil on canvas 96 × 107 cm (37.8 × 42.1 in.) 1790's

DICKINSON

PAINTINGS

LONDON-NEW YORK

PIETER BRUEGHEL THE YOUNGER

ODILON REDON

(Brussels 1564–1638 Antwerp)

(Bordeaux 1840–1916 Paris)

The Tax Collector’s Office Oil on panel 56.8 × 91.5 cm (22.4 × 36 in.) Signed and dated lower left '.P.BREVGHE(L) 1616(?)'

Soucis, bleuets et roses dans un vase blanc (Marigolds, cornflowers and roses in a white vase) Oil on board 56.8 × 91.5 cm (22.4 × 36 in.) Signed lower right 'Odilon Redon' Circa 1904–05

SAM FOGG

PAINTINGS

LONDON

The Virgin and Child with Angels Gilded, silvered, and polychromed limewood 105 × 58 × 26 cm (51.3 × 22.8 × 10.2 in.) Bavaria, circa 1520

Provenance Private collection, Germany

Tapestry with cardoons, coronets and peacock feathers Tapestry of wool and silk wefts on an undyed wool warp, 6.5 warps per cm 210 × 118.5 cm (82.7 × 46.6 in.) France or Southern Netherlands, Circa 1425–50

Provenance Private collection, France, since 1985, acquired from Juliette Niclausse

FONDANTICO DI TIZIANA SASSOLI

PAINTINGS

BOLOGNA

GIOVANNI ANTONIO BURRINI (1656–Bologna–1727) Christ among the Doctors Oil on copper 74 × 60 cm (29.1 × 23.6 in.) 1680

Provenance Prince Charles of Bavaria, Prince-Elector

GAETANO GANDOLFI (San Matteo della Decima 1734– 1802 Bologna)

Provenance Private collection, Italy

Hercules and Omphale Oil on canvas 54 × 37 cm (21.3 × 14.6 in.) 1780

GIACOMETTI OLD MASTER PAINTINGS

PAINTINGS

ROME

FRANCESCO GUARINO (Sant’Agata Irpina, Solofra 1611–1654 Gravina in Puglia) Saint Nicholas of Tolentino Oil on canvas 51 × 35 cm (20.1 × 13.8 in.) Circa 1640

Provenance Palazzo Orsini, Gravina in Puglia, according to the inventory of 15 February 1707, no. 23; Private collection, Rome

LUCA GIORDANO (1634–Naples–1705) Moses and the Brazen Serpent Oil on canvas 181 × 301 cm (71.3 × 118.5 in.) 1656–57

Provenance Vandeneynden collection, Naples, according to the inventory of 2 December 1688; Noble private collection, Naples, until the 20th century; Private collection, Milan, since 2013

RICHARD GREEN

PAINTINGS

LONDON

PIETER CLAESZ (Berchem 1597–1660 Haarlem) Still life with a pewter Jug, a peeled Lemon on a pewter Plate, Bread, a Knife, a Berkemeyer and Vine Leaves on a Table partly draped with a white Cloth Oil on panel 41.2 × 61 cm (16.3 × 24 in.)

Signed with monogram lower right 'PC' Circa 1632

ALBERT MARQUET

Provenance Joseph Morpurgo, Amsterdam, by the 1940s; by inheritance to a private collection, Europe

Le port des Sables-d’Olonne Oil on canvas 60.6 × 73.7 cm (23.9 × 29 in.) Signed lower right 'Marquet' 1921

(Bordeaux 1875–1947 Paris)

Provenance Galerie Duret, Paris, no. 9930; Crane Kalman Gallery, London; GR Kennerley, London, by whom acquired from the above in 1959; Mrs Vernon Sangster; her estate sale, Christie’s London, 26th June 1996, lot 166; Richard Green Gallery, London, 1996; Private collection, UK

HABOLDT & CO.

PAINTINGS

AMSTERDAM-PARIS-NEW YORK

EMANUEL DE WITTE (Alkmaar 1618–1692 Amsterdam) The Interior of the Oude Kerk in Amsterdam Oil on panel 42.5 × 31 cm (16.7 × 12.2 in.) Signed and dated 'Em. de Witte/16(70?)'

100

Provenance Collection Dr. C.J.K. van Aalst (1866–1939), Hoevelaken; Galerie Hans Cramer, The Hague, 1965–1967; Private collection, The Netherlands, until 2018

SÉBASTIEN STOSKOPFF (Strasbourg 1597–1657 Idstein) A Still Life with a Carp and two Oranges on a Stone Ledge Oil on canvas 40 × 54.5 cm (15.7 × 21.5 in.)

Provenance Private collection, Paris; Sale, Paris, Drouot, Ader, 12 April 1995, lot 44; Collection Pierre Bergé, Paris, until 2018

101

NICHOLAS HALL

PAINTINGS

NEW YORK

ANTONIO D'UBERTINO VERDI, CALLED BACCHIACCA (1499–Florence–1572) Portrait of a Young Lady Holding a Cat Oil on panel, possibly mixed with tempera 53.6 × 43.8 cm (21.1 × 17.2 in.)

102

SIR EDWIN HENRY LANDSEER, R.A. (1802–London–1873) A Deerhound with Two Roe Deer (detail) Oil on millboard 48.2 × 60.3 cm (19 × 23.7 in.) Circa late 1820s

Provenance The artist's studio sale, London, Christie's, 1874 (first day of sale), lot 108 for £367.10s; to Agnew's on behalf of Charles William Mansel Lewis (1845–1931); Stradey Castle, Llanelly, Carmarthenshire; By descent to Patrick Mansel Lewis, Stradey Castle, Llanelly; Sotheby's, London, Old Masters Evening Sale, 2017, lot 49; Acquired from the above by the present owner

103

HEIM JEAN-FRANÇOIS

PAINTINGS

BASEL

LOUIS-LÉOPOLD BOILLY (La Bassée 1761–1845 Paris) La Précaution Oil on canvas 29 × 19 cm (11.4 × 7.5 in.) 1789–1793

104

Provenance Salvatore Tresca (c. 1750–1815); Sale (Faucher, former préfet), Paris, 13 March 1815, postponed to 2–6 April 1816, no.10 (27.50 Frs.); Anon. sale, Paris (Me Ader), 12–13 March 1934, no. 52 (attr. to Boilly titled 'Le Rendez-Vous'); Galerie Cailleux, Paris, after 1945; Galerie Bernard Rosenthal, Paris, 1951; M. Philippar, 11 July 1951; Private collection, Neuilly

JEAN-BAPTISTE CAMILLE COROT (1796–Paris–1875) Les Évaux, near Château-Thierry, Path bordered with Trees Oil on canvas 40 × 28 cm (15.7 × 11 in.) Signed lower left 'Corot' 1855–1865

Provenance Mr. Léon Labbé, early 20th century (who owned three works by Corot); Thence by descent; Private collection, France

105

DE JONCKHEERE

PAINTINGS

GENEVA

JAN VERBEECK (circa 1520–Mechelen–1569/1579) The Temptation of Saint Anthony Oil on panel 75 × 106.5 cm (29.5 × 41.9 in.) Circa 1550–1560

106

Provenance Private collection, Belgium

LUCAS CRANACH THE ELDER (Kronach 1472–1553 Weimar) The Mocking of Christ Oil on panel 35.9 × 28 cm (14.1 × 11 in.) Signed with the artist's winged serpent Circa 1515–1520

Provenance Ludwig Wilhelm, Margrave of Baden-Baden (1655–1707) and his wife, Franziska Sibylle Augusta of Saxe-Lauenburg (1675–1733) (their stamp features on the back); Private collection, France

107

JACK KILGORE & CO., INC.

PAINTINGS

NEW YORK

LUIS JIMÉNEZ ARANDA (Seville 1845–1926 Pontoise) Washday on the Seine Oil on panel 61 × 44.5 cm (23 × 7.1 in.) Signed and inscribed lower right 'Luis Jimenez/Paris' Paris, 1890

108

Provenance Prendergast Bequest to the James Prendergast Library, Jamestown, New York, 1891; Sold in 2018

RAFFAELLO SORBI (1844–Florence–1931)

Provenance Mrs. S. Tolfrey, London, 1872; Private collection, England

The Evening Walk, Environs of Florence Oil on canvas 76 × 91 cm (29.9 × 35.9 in.) Signed and dated lower left 'Raffaello Sorbi 1870' Florence, 1870

109

KOETSER GALLERY

PAINTINGS

ZÜRICH

GOVAERT FLINCK (Cleves 1615–1660 Amsterdam) Portrait of a Lady in a turban, half-length Oil on canvas 74 × 59.7 cm (29.1 × 23.5 in.)

110

Provenance Private collection, Belgium

QUIRINGH VAN BREKELENKAM (Zwammerdam after 1622– after 1669 Leiden) Interior with a Gentleman pulling on his Boots, with his Page standing by Oil on canvas 70.5 × 53.5 cm (27.7 × 21 in.) Fully signed on top of the four poster 'Q. Brekelenkam 1663'

111

LAMPRONTI GALLERY

PAINTINGS

LONDON

112

GASPARE DIZIANI

LUCA GIORDANO

(Belluno 1689–1767 Venice)

(1634–Naples–1705)

The Last Supper Oil on canvas 170 × 408 cm (66.9 × 160.6 in.) 18th century

Diogenes Oil on canvas 77 × 104 cm (30.3 × 40.9 in.) 17th century

113

LOWELL LIBSON & JONNY YARKER LTD

PAINTINGS

LONDON

SIR DAVID WILKIE (Scotland 1785–1841 Malta) The Gentle Shepherd Oil on panel 29.5 × 39.5 cm (11 × 15 in.) Signed and dated 1823

114

Provenance Sir Robert Liston (1742–1836), commissioned from the artist; James T Gibson-Craig (1799–1886), 1856–1887; Charles Butler, 1896; Charles Fairfax Murray (1849–1919), 1902; A.J.Forbes-Leith, later Baron Leith of Fyvie, acquitted 1903; Sir Ian Forbes-Leith, 3rd Bt., by descent to 1988; Forbes-Leith sale, Sotheby’s 15 July 1988, lot 90; Richard Feigen, acquired at the above sale, to 2018

SIR THOMAS LAWRENCE (Bristol 1769–1830 London)

Provenance Private collection to 2018

Study of Hands Red and black chalks 35 × 24 cm (13 × 9 in.) Dated 'July 26, 1800' London, 1800

115

SALOMON LILIAN

PAINTINGS

AMSTERDAM-GENEVA

ADAM DE COSTER (Mechelen 1585/86–1643 Antwerp) The Denial of St Peter Oil on canvas 109 × 131.5 cm (42.9 × 51.7 in.)

116

Provenance Possibly identical with the Denial of St Peter sold by Adam de Coster to the Antwerp art dealer Jehan van Mechelen, mentioned in a notarial document dated 27 January 16271; Possibly Vienna, collection of the deceased art dealer Bartholomeus Floquet (c. 1650–1690); Said to have been in the Visconti collection during the 18th century; Milan, Koelliker collection, 2000

MICHAEL SWEERTS (Brussels 1618–1664 Goa)

Provenance Private collection, Italy

Self Portrait with a Pipe Oil on canvas 58 × 40 cm (22.8 × 15.7 in.)

117

LULLO • PAMPOULIDES

PAINTINGS

LONDON

MICHAEL RYSBRACK (Antwerp 1694–1770 London) Lord George Hamilton, first Earl of Orkney (1666–1737) Marble Height overall 83 cm (32.7 in.) 1733

118

Provenance Lord George Hamilton, 1st Earl of Orkney, 1733; by descent to Thomas, 5th Earl of Orkney, 1831, sold by him, c. 1852; Lord and Lady Ampthill, Bedford, probably before 1935

ALESSIO ISSUPOFF (Kirov 1889–1957 Rome) Self-portrait Oil on canvas 80 × 65 cm (31.5 × 25.6 in.) Signed lower right 'Alessio Issupof' 1928–1930

119

THE MAAS GALLERY

PAINTINGS

LONDON

120

JOHN ATKINSON GRIMSHAW

LEONARD CAMPBELL TAYLOR

(1836–1893)

(1874–1969)

At the Lakeside, Moonlight Oil on card 28 × 44.5 cm (11 × 17.5 in.) Signed verso and inscribed 'At the Lakeside-Moonlight. Atkinson Grimshaw. Leeds. 6072+' Leeds, circa 1872

June Roses Oil on panel 24.5 × 18.5 cm (9.6 × 7.3 in.) Signed, inscribed 'op. 33' and dated '1906'

121

MACCONNAL-MASON GALLERY

PAINTINGS

LONDON

GUILLAUME SEIGNAC (1870–1924) Virginité Oil on canvas 73 × 59.6 cm (28.8 × 23.5 in.) Signed upper right 'G-Seignac'

122

Provenance Private collection, France; MacConnalMason Gallery, 1999; Private collection, Belgium

HENRY MORET (1856–1913) La Terre de Cléden, Point du Raz, Finistère Oil on canvas 92.1 × 73.3 cm (36.3 × 28.8 in.) Signed and dated, lower right '1911. Henry Moret'

Provenance Durand-Ruel, Paris, acquired directly from the artist in 1912; Detroit Institute of Arts, Michigan, acquired from the above in 1920 and sold: Sotheby’s, New York, 30 September 1999, lot 27; Private collection, Louisiana, acquired at the above sale and sold: Sotheby’s, New York, 7 November 2012, lot 180; MacConnal-Mason Gallery, London; Private collection, USA

123

CARLO ORSI - TRINITY FINE ART

PAINTINGS

LONDON

DOMENICO DI BARTOLOMEO UBALDINI, CALLED DOMENICO PULIGO (1492–Florence–1527) Madonna and Child Oil on panel 64.6 × 49.5 cm (25.5 × 19.5 in.)

124

Provenance Principi Corsini Collection, Palazzo Corsini al Parione, Florence

GIOVANNI BATTISTA FOGGINI (1652–1725) Portrait of Marguerite-Louise d’Orléans Marble Height 77 cm (30 in.) 1683–1687

Provenance Cardinal Francesco Maria de’ Medici, Lappeggi Villa (Grassina, Florence), by whom commissioned in 1683; Congregazione di Carità di San Giovanni Battista, Florence; Capponi collection, Capponi Palace (later Covoni), Florence; Stefano Bardini, Florence; Count Alessandro Contini Bonacossi, Florence; Private collection, Florence

125

PIACENTI

PAINTINGS

LONDON

126

MARCO PALMEZZANO

GIOVANNI BATTISTA LANGETTI

(1459–Forli–1539)

(Genua 1635-1676 Venice)

Saint Sebastian Oil on poplar panel 84 × 52.7 cm (33 × 20.7 in.) Signed lower left 'Marchus Palmezanus pictor foroliviensis faciebat MCCCCCXXV' 1525

Job cursed by his Wife Oil on canvas 111.7 x 87.6 cm (44 x 34.5 in.) Provenance Charles Stuart, 12 th Lord Blantyre, Erskine House, Rewbrewshire, until 1900;

his estate sale, Christie’s, April 19, 1912, lot 45, as Ribera, 'Job and His Wife', £12-12 to Wagner; Alfred (1883-1961) and Hermine Stiassni (1889-1962), Brno, Czech Republic, 1925; Thence London, 1938-1940; Los Angeles, 1940-1962; Thence by descent to; Susanne Stiassni Martin and Leonard Martin, San Francisco, until 2005; Thence by descent to; Private collection, California, 2005-2019

127

PORCINI

PAINTINGS

NAPLES

JUSEPE DE RIBERA, CALLED LO SPAGNOLETTO (Xàtiva 1591–1652 Naples) St. John the Baptist Oil on canvas 180 × 124 cm (70.9 × 48.8 in.)

128

Provenance Romano Avezzano collection, Eboli; Private collection, Florence

FRANCESCO DE MURA (1696–Naples–1782) Raimondo di Sangro, Prince of Sansevero Oil on canvas 92 × 73 cm oval (36.2 × 28.7 in.)

129

ROBILANT+VOENA

PAINTINGS

LONDON-MILAN-ST MORITZ

BARTOLOMEO CAVAROZZI (Viterbo 1587–1625 Rome)

Provenance Private collection, Italy

Still Life of Fruit with Three Figures of Children Oil on canvas 73.5 × 144 cm (28.9 × 56.7 in.)

130

131

KUNSTHANDLUNG HELMUT H. RUMBLER

PAINTINGS

FRANKFURT AM MAIN

ISRAEL VAN MECKENEM (Meckenheim circa 1440/45–1503 Bocholt) Christ before Annas Engraving 21 × 14.5 cm (8.3 × 5.7 in.) Signed in the plate 'I.M.' Circa 1480

132

Provenance A.T. Gerstäcker, Leipzig; B. Hausmann, Hannover

JAKOB VAN RUISDAEL (1629–Haarlem–1682)

Provenance Duke of Portland, Welbeck Abbey, Nottinghamshire

The Tree Oaks Etching 12.8 × 14.8 cm (5 × 5.9 in.) Signed and dated in the plate 'Ruisdael. in. f. 1649'

133

SALAMON&C

PAINTINGS

MILAN

ANTONIO DI BENEDETTO DEGLI AQUILI, CALLED ANTONIAZZO ROMANO (1435–Rome–1508) Madonna and Young Saint John adoring the Child Tempera on poplar panel 57 × 35.5 cm (22.4 × 14 in.) circa 1495

134

Provenance Worcester Art Museum, Massachusetts, (inv. n. 1A), ante 1917; MacDuff Collection, USA, 1949; Sotheby, London, 27/3/1968, lot 59; London, Tobias and Fisher, 1968

VENTURA DI MORO (1399–Florence–1486) Madonna and Child enthroned with Saints Tempera on panel, gold ground 87.7 × 51.4 cm (34.5 × 20.2 in.) circa 1420

135

GALERIE SANCT LUCAS

PAINTINGS

VIENNA

JACOB VAN RUISDAEL (Haarlem 1628–1682 Amsterdam) A Water Mill Oil on panel 26 × 37.1 cm (10.2 × 14.6 in.) Signed with monogram lower right 'JvR' Provenance P. & D. Colnaghi, London; Anon. sale,

136

Frederik Muller & Cie, Amsterdam, 1928, lot 24 (Dfl. 10,000); Ant. W. M. Mensing (1866–1936), Amsterdam; His deceased sale, Frederik Muller & Cie, Amsterdam, 1938, lot 88; D. A. Hoogendijk, Amsterdam; Alois Miedl, Gallery Jacques Goudstikker, Amsterdam, 1940–1943 (inv. no. 5994); Duits, London; C. Berk, Burg Neu-Hemmerich, Frechen, Cologne; Alfred Brod Gallery, London; Private collection, UK, 1963–2018

DANIEL SEGHERS (1590–Antwerp–1661)

Provenance Private collection, Spain, until 2018

Garland of flowers suspended from two blue ribbons Oil on panel 34.6 × 49.2 cm (13.6 × 19.4 in.) Signed

137

GALERIE G. SARTI

PAINTINGS

PARIS

SANTE DI APOLLONIO DEL CELANDRO (doc. in Perugia 1475–1486) The Virgin and Child Tempera on panel 71.5 × 54.3 cm (28.1 × 21.4 in.) Date inscribed on the original frame '1486'

138

GIUSEPPE MARIA CRESPI (1665–Bologna–1747) The Arrest of Christ Oil on canvas 75 × 93.5 cm (29.5 × 36.8 in.) circa 1687–1690

139

ROB SMEETS GALLERY

PAINTINGS

GENEVA

CORRADO GIAQUINTO (Molfetta 1703–1766 Naples) Study for a standing Male Figure Oil on canvas 66.5 × 50 cm (26.2 × 19.7 in.)

140

Provenance Collection of the Counts Falletti di Villafalletto, Rome, until 1958

GIOVANNI FRANCESCO BARBIERI, CALLED IL GUERCINO (Cento 1591–1666 Bologna)

Provenance Commissioned by the count Benaduccio Benaducci of Tolentino (1601–43)

St.John the Evangelist Oil on canvas 97 × 78 cm (38.2 × 30.7 in.) circa 1636

141

STAIR SAINTY GALLERY

PAINTINGS

LONDON

LUCIEN LÉVY-DHURMER (Algiers 1865–1963 Le Vésinet) The Roses of Ispahan Oil on canvas 60 × 81 cm (23.6 × 31.8 in.) Signed lower left 'Lévy-Dhurmer' circa 1910

142

Provenance Stern Singer collection; Private collection, France

EUGÈNE DELACROIX (Charenton-Saint-Maurice 1798– 1863 Paris) Lion devouring a Goat Oil on canvas 27 × 35.5 cm (10.6 × 14 in.) Signed lower left 'Eugène Delacroix' circa 1847

Provenance Gustave Arosa to 1878; Achille Arosa, 1891; Richard Austin Robertson, New York, 1892; Richard & Co.; George I. Seney, 1894; Mr Pembroke Jones, New York; James McGrane, Ossining, New York, 1981; Stair Sainty Gallery, New York; Salander-O'Reilly Galleries, New York; Private collection, Minneapolis

143

STOPPENBACH & DELESTRE

PAINTINGS

LONDON

HENRY MORET (1856–1913) Port en Bretagne Oil on canvas 33.1 × 40.5 cm (13 × 15.9 in.) Signed and dated lower left 'Henry Moret 1910' Brittany, 1910

144

Provenance Private collection, France

EUGÈNE BOUDIN (Honfleur 1824–1898 Deauville) Trouville, scène de plage Oil on panel 14 × 26.6 cm (5 × 10.5 in.) Signed lower right 'E.Boudin' and inscribed lower left '85 Trouville' Normandy, 1885

Provenance Alfred Lindon Collection; Thence by descent to the previous owner; their sale, Christie’s Paris, 23 May 2007, lot 99; Professor Philip J.Parsons Collection, London

145

TALABARDON & GAUTIER

PAINTINGS

PARIS

PIERRE-ALEXANDRE WILLE (1748–Paris–1837) The Festival of Good People, or the Reward for Virtue Oil on canvas 102.3 × 129.9 cm (40.3 × 51.1 in.) Signed ‘P. A. Wille Filius Pxit. / 1776 n°26’ 1776

146

Provenance Collection M. Stevens, Paris; his sale, Paris, 1–4 March 1847, lot 322; Charles-GabrielJoseph Marette de Lagarenne (1822–1899); Robert Marette de Lagarenne (1853–1911), his son; Jeanne Marette de Lagarenne (1880–1862), his daugther, wife of Pierre Danloux (1878–1943), a direct descendant of painter Henri-Pierre Danloux (1753– 1809), remained in the family until now

EUGÈNE GRASSET (Lausanne 1845–1917 Sceaux)

ETIENNE TOURETTE (1858–Paris–1924)

HENRI VEVER (Metz 1854–1942 Noyers)

Histoire des quatre fils Aymon très nobles et très vaillans chevaliers Quarto, black Morocco, recessed on the first side large plaque of gold with cloisonné enamels after a composition by Eugène Grasset 28.4 × 22.9 × 3.6 cm (11.1 × 9 × 1.4 in.) 1883–1894

147

TOMASSO BROTHERS FINE ART

PAINTINGS

LONDON

THE CIECHANOWIECKI MASTER Dying Gaul Gilt bronze 10 × 18 × 9 cm (4 × 7.1 × 3.5 in.) Italy, 17th century

148

Provenance Private collection, France

GÉRARD VAN OPSTAL (1594–1668) A Procession of Putti with the Infant Bacchus riding a Panther, led by a young Satyr Ivory relief 12.5 × 26.5 cm (4.8 × 10.5 in.) Paris, circa 1633–1668

Provenance Francis Broderip, and sold by his executors, Christie’s London, 8 February 1872, lot 402, as ‘by Fiammingo'; Viscountess Hambleden, née Countess Maria Carmela Attolico di Adelfia (b. 1930), Hambleden Manor, UK

149

DAVID TUNICK, INC.

PAINTINGS

NEW YORK

ALBRECHT DÜRER (1471–1528) The Beast with Two Horns like a Lamb from 'The Apocalypse' Woodcut on paper 39 × 28.2 cm (15.4 × 11.1 in.) Proof before text 1498

150

Provenance Sotheby's New York, 13 May 1987, lot 22; David Tunick, Inc., New York; Private collection, USA, 1987; Estate of same

JEAN DUBUFFET (1901–1985) Trois Personnages Collage and gouache on paper 42.5 × 59.8 cm (16.8 × 23.5 in.) Signed and dated lower center 'J.D. 65' 1965

Provenance Galerie Jeanne Bucher, Paris; Saidenberg Gallery, New York; Private collection, USA, 1966; Estate of same

151

RAFAEL VALLS LIMITED

PAINTINGS

LONDON

ESAIAS VAN DE VELDE (Amsterdam 1587–1630 The Hague) A Winter Landscape with the Flight into Egypt Oil on panel 20 × 32 cm (7.9 × 12.6 in.) Signed 'E.VAN.DEN.VELDE' 1611–12

152

Provenance Collection of Marchese Raffaello; Mansi Orsetti, Lucca; Private collection, Spain

GIUSEPPE BORSATO (Venice 1771–1849 Venice)

Provenance Private collection, France; In the family of the owner since the 19th century

A View of Venice taken from the Riva degli Schiavoni, looking West Oil on canvas 54.8 × 64.2 cm (21.6 × 25.3 in.) Signed and dated verso 'Borsato F. L'anno 1829'

153

GALLERIA CARLO VIRGILIO & C.

PAINTINGS

ROME-LONDON

CARLO BONAVIA (active in Naples 1751–1788) Landscape Capriccio with the Temple of Diana at Baiae Oil on canvas 130 × 195 cm (51.2 × 76.7 in.) circa 1760–70

154

Provenance Private collection, France; Private collection, Rome

CARLO BONAVIA (active in Naples 1751–1788)

Provenance Private collection, Rome

View of Baiae with the Temple of Diana described by a Cicerone to Grand Tourists Oil on canvas (one of a pair of views) 80 × 159 cm (35 × 62.6 in.) Signed lower center 'Carlo Bonavia p.' circa 1760

155

GALERIE FLORENCE DE VOLDÈRE

PAINTINGS

PARIS

ISAAC SOREAU (Hanau 1604–1644 Frankfurt) Still life with plums, cherries, hazelnuts, nuts and a rose Oil on copper 32.5 × 40.6 cm (13 × 16 in.) Frankfurt, first half 17th century

156

Provenance Private collection, France

ROELANDT SAVERY (Kortrijk 1576–1639 Utrecht)

Provenance Private collection, Belgium

Summer Landscape with Leto Oil on panel 41 × 68.5 cm (16 × 27 in.) Signed and dated Amsterdam, 1603

157

THE WEISS GALLERY

PAINTINGS

LONDON

MICHIEL JANSZ. VAN MIEREVELT (1566–Delft–1641) Frederic-Maurice de la Tour d’Auvergne, Duc de Bouillon, later Governor of Maastricht and Prince of Sedan (1605–1652) Oil on panel 65 × 52.8 cm (25.6 × 20.6 in.)

158

Signed and dated center left 'Ao. 1626./M Mierevelt’

GIUSEPPE VERMIGLIO

Provenance Elizabeth Stuart, Queen of Bohemia (1596– 1662); gifted to William Craven, 1st Baron and Earl of Craven (1608–1697); thence by descent to Cornelia, née Martin, Countess of Craven (1877–1961);Dr. D.W.S. Sheldon, Repton, Derbyshire; Private collection, UK

The Sacrifice of Isaac Oil on canvas 132 × 162 cm (51 × 63 in.) Rome, circa 1616–1620

(1587–Lombardy-post 1635)

Provenance Giancarlo Peloso, Verona, 1966 and probably into the early 1970s; Private collection, Parma

159

ADAM WILLIAMS FINE ART LTD.

PAINTINGS

NEW YORK

BERNARDO STROZZI (Genoa 1581–1644 Venice) Holy Family with the Infant Saint John Oil on canvas 82.1 × 104.9 cm (32.4 × 41 in.) Provenance Anon. sale; Lepke, Berlin, 1929, lot 16; acquired by Federico Gentili di

160

Giuseppe (1868–1940), Paris; Forced sale of his Estate, Hôtel Drouot, Paris, 1941, lot 69 (125,500 F), to Karl Haberstock, on behalf of Hermann Göring); Transferred to the Wiesbaden Central Collecting Point (inv. no. 1818); On deposit in the Musée du Louvre, Paris, 1950–1999, (inv. no. MNR 290); Restituted to the heirs of Federico Gentili di Giuseppe, Paris Court of Appeal, 1999; Anon. sale, Christie’s New York, 2000, lot 81

CORNELIS BILTIUS (1653–The Hague–1685) Trompe L’ Oeil with a Brace of English Partridge Hanging before a Wall Oil on canvas 67 × 56.7 cm (26.4 × 22.4 in.) Signed lower center 'Corneliús. biltiús. f:e'

Provenance Anonymous sale, Cologne, Franz A. Menna, March 19–20, 1954, lot 1165; acquired by the grandmother of the former owner, and thence by descent

161

ANTIQUES

A La Vieille Russie

Dr. Jörn Günther Rare Books AG

Heribert Tenschert Antiquariat Bibermühle

Luis Alegria Lda

Hancocks

Carolle Thibaut-Pomerantz

Altomani & Sons

Ben Janssens Oriental Art

Tóth - Ikonen

Aronson Antiquairs

Fr. Janssens van der Maelen

Vanderven Oriental Art

AR-PAB / Álvaro Roquette Pedro Aguiar-Branco VOC Antiguidades Lda.

Daniel Katz Gallery

Kunstzalen A. Vecht

Kollenburg Antiquairs

Axel Vervoordt

Koopman Rare Art

VKD Jewels

Riccardo Bacarelli

J. Kugel

Wartski

De Backker Medieval Art

Kunstkammer Georg Laue

Jorge Welsh Works of Art

Gregg Baker

Galerie Léage

Joan Wijermars

Véronique Bamps

López de Aragón

Yufuku Gallery

Galerie Jacques Barrère

Helga Matzke

Michele Beiny

Kunsthandel Mehringer

H. Blairman & Sons Ltd

Mentink & Roest

Blumka Gallery

Galerie Mermoz

Julius Böhler Kunsthandlung

Amir Mohtashemi Ltd.

Botticelli Antichità

Sydney L. Moss Ltd.

Bowman Sculpture

Kunsthandel Peter Mühlbauer

Brimo de Laroussilhe

Mullany

Burzio.

Galerie Neuse

Alessandro Cesati

Marcel Nies Oriental Art

Daniel Crouch Rare Books

Walter Padovani

Daatselaar Fine Art & Antiques

Galerie Perrin

Galerie Delalande

S.J. Phillips Ltd

Alberto Di Castro

Piva&C

Alessandra Di Castro

Polak Works of Art

Galerie Xavier Eeckhout

Benjamin Proust Fine Art Ltd

Jaime EguigurenArte y Antigüedades

Christophe de Quénetain

Eguiguren Arte de Hispanoamérica

Richard Redding Antiques Ltd

A. Aardewerk Antiquair Juwelier

Deborah Elvira John Endlich Antiquairs Les Enluminures Epoque Fine Jewels FD Gallery Kunsthandel Jacques Fijnaut BV Peter Finer Galerie Flore S Franses Gallo Fine Art Ralph Gierhards Antiques / Fine Art Galerie Gismondi Michael Goedhuis 162

Artur Ramon Art Jean Michel Renard Röbbig München Rossi & Rossi Rudigier Adrian Sassoon Senger Bamberg Kunsthandel Shapero Rare Books Shibunkaku Siegelson Somlo London Marjan Sterk Fine Art Jewellery Salomon Stodel Antiquités Symbolic & Chase 163

A. AARDEWERK ANTIQUAIR JUWELIER

ANTIQUES

THE HAGUE

ALGER MENSMA (1682–Leeuwarden–after 1757) Ewer and basin Silver Lenght basin 44 cm (17.3 in.) Height ewer 22 cm (8.6 in.) Marked with maker's mark of Alger Mensma Amsterdam, 1728

164

Provcenance Private collection, Belgium

DONALD CLAFLIN (Massachusetts 1935–1979 New York) A Tiffany & Co. pine cone clip brooch 18 carat gold and diamonds Height 5.5 cm (2.2 in.) Signed 'Tiffany', numbered 'no.17397' and with maker’s mark of Donald Claflin New York, circa 1970

165

A LA VIEILLE RUSSIE

ANTIQUES

NEW YORK

DORRIE NOSSITER (1893–1977) Necklace and earrings Natural seed pearls and mixed gems, including citrine, aquamarine, topaz, and alexandrite, set in gold and gilded silver Necklace length 41 cm (16 in.) Earrings length 4.5 cm (1.8 in.)

166

With removable brooch/pendant England, circa 1930

CARL FABERGÉ (Saint Petersburg 1846–1920 Lausanne) Elephant-form match holder/striker Silver-mounted sandstone with garnet eyes Height 13.2 cm (5.2 in.) Workmaster J. Rappoport St. Petersburg, circa 1890

Provenance Estate of HRH The Prince Henry (1900–1974), Duke of Gloucester, son of King George V and Queen Mary; Constance Gwladys Robinson (1859–1917), Lady de Grey, later Marchioness of Ripon; Lady (Gladys Mary) Juliet Duff, née Lowther (1881–1965)

167

LUIS ALEGRIA LDA

ANTIQUES

PORTO

A complete set of six plates with scenes of 'Commedia dellÂ´Art' or 'South Sea Bubble' or 'The Great scene of Folly' Porcelain Diameter 21.5 cm (8.4 in.) China, Kangxi, circa 1720

168

A Chinese export 'European subject' plate Porcelain Diameter 23 cm (9 in.) China, Qianlong, circa 1740

169

ALTOMANI & SONS

ANTIQUES

MILANO

BARTOLOMEO DI GIOVANNI (active 1475–1500/05 Florence) The Virgin and Saint John the Baptist adoring the Christ Child Oil on panel 89 × 67 cm (35 × 26.3 in.) Florence, 1480–1490

170

Provenance Private collection, Rome

DOMENICO GUIDI (Torano 1612–1701 Rome) Monsignor Giacomo Franzone Terracotta Height 82 cm (32.3 in.) Rome, 1645–1676

171

ARONSON ANTIQUAIRS

ANTIQUES

AMSTERDAM

CORNELIS VAN DER KLOOT (1697–Delft–?) A 'Brown Delft' five-piece garniture Delftware Height 24 and 31 cm (9.5 and 12.2 in.) Marked 'CK' in yellow Delft, circa 1700

172

Provenance The Fuld Collection, Scheveningen, until 1920; the Jacob Lierens Collection, Amsterdam, until 1949; Private collection, Lille, until 2002; Aronson Antiquairs, Amsterdam, 2003; Private collection, Belgium, 2018

JACOB WEMMERSZ. HOPPESTEYN (1664–Delft–1686) The Stella Ewer Delftware Height 23.1 cm (9.1 in.) Marked 'IW' in blue Delft, circa 1680

Provenance The collection of Dr. F.H. Fentener van Vlissingen (1882–1962), Utrecht, and thence by family descent through 2007; Aronson Antiquairs, Amsterdam, 2008; Private collection, Belgium, 2018

173

AR-PAB / ÁLVARO ROQUETTE - PEDRO AGUIAR-BRANCO // VOC ANTIGUIDADES LDA.

ANTIQUES

PARIS

Mother-of-pearl tabletop (detail) Teak, mother-of-pearl, nielloed silver, tortoiseshell and brass 90.5 × 55 cm (35.6 × 21.6 in.) Gujarat, India, second half of the 16th century

174

Portable oratory Lacquered and gilded exotic wood with copper fittings, painting is oil on copper 50.5 × 36.5 (65 when open) × 5 cm (19.9 × 14.3 (25.6 when open) × 2 in.) South China, early 17th century

175

RICCARDO BACARELLI

ANTIQUES

FLORENCE

ROMOLO FERRUCCI DEL TADDA (1544–Florence–1621) The Villano White Carrara marble Height 144 cm (56.7 in.)

176

Provenance Fontana del Villano, Livorno (documented prior to 1737); Tamaro De Marinis collection, Florence, early 20th century

177

DE BACKKER MEDIEVAL ART

ANTIQUES

HOOGSTRATEN

Virgin and Child Boxwood Height 27 cm (10.6 in.) Paris, 3rd quarter 13th century

178

Provenance Private collection, USA

Diptych with Scenes from 'The life of Christ' Ivory with silver mounting 6 × 12 cm (2.4 × 4.7 in.) Southern German or Rhenish/Mosan, Circa 1220–1250

Provenance Collection E. Delattre, 19th century

179

GREGG BAKER

ANTIQUES

LONDON

KEY SATO (1906–1978) Ciel Figé, Gyoketsuten (Frozen Sky) Mixed media on canvas 116.5 × 88.6 cm (46 × 35 in.) Signed and dated lower left Paris, 1961

180

Amida Buddha Wood with traces of gilding, inlaid crystals 88 × 71 × 49.5 cm (34.8 × 28 × 19.5 in.) Japan, Heian period, 11th–12th century

Provenance An inscription on the interior of the figure refers to Nansho-in temple, Japan, 1729

181

VÉRONIQUE BAMPS

ANTIQUES

MONACO

SUZANNE BELPERRON

CARTIER

(Saint-Claude 1900–1983 Paris) Tonneau earclips Platinum, white gold, brilliant cut diamonds and pearls 3.3 × 2.3 cm (1.3 × 0.9 in.) Maker's mark for Darde et Fils Paris, circa 1955–69

182

Cuff bracelet 18krt yellow gold, platinum, brilliant cut diamonds Length 18 cm (7 in.) Signed 'Cartier' Paris, circa 1950

183

GALERIE JACQUES BARRÃ&#x2C6;RE

ANTIQUES

PARIS

Armillary sphere known as the 'Geneva Sphere' Copper Height 65 cm (25.6 in.) Diameter 37 cm (14.6 in.) Japan, Edo period, first half 17th century

184

Provenance The Givaudan collection, Geneva; Acquired at the Marguerite Gobard gallery, Paris, 1936

185

MICHELE BEINY

ANTIQUES

NEW YORK

Sèvres green ground Déjeuner Courteille Soft paste porcelain Tray: 1.9 × 35.9 × 26.4 cm (0.7 × 14 .1 × 10 .4 in.) Height of cup 6 cm. (2.4 in.) Interlaced Ls surrounding date letter 'f' for 1759, fleur-de-lis mark for painter Vincent Taillandier Sèvres, 1759

186

Provenance Collection H. Woody Brock.

NANCY CALLAN (1964) Quantum Graffiti Blown glass 55.9 × 38.1 × 22.9 cm (22 × 15 × 9 in.) Seattle, 2016

187

H. BLAIRMAN & SONS LTD

ANTIQUES

LONDON

188

THOMAS EDWARD COLLCUTT

W.A.S. BENSON

(1840–1924)

(1854–1924)

Cabinet Ebonised mahogany, with painted decoration 240 × 144 × 60 cm (94.5 × 56.8 × 23.8 in.) England, circa 1875

Three lanterns Glass and brass Height 55 cm (21.7 in.) England, circa 1910

189

BLUMKA GALLERY

ANTIQUES

NEW YORK

Lion aquamanile Copper alloy 28.5 × 33.5 cm (11.2 × 13.2 in.) North Germany, first half 14th century

190

Provenance Erholm, Denmark, until circa 1935; Mrs Major Brandt, Oslo by 1935; Ragnar Moltzaus collection; by whom loaned to the National Museum for Art, Architecture and Design, Oslo (inv. no. OK 307); Private collection, Switzerland

MASTER I.C. PROBABLY JEAN DE COURT Ewer with the Bacchanal and Procession of Sea Gods Grisaille and camaïeu enamels Height 27 cm (10.6 in.) Diameter 11 cm (4.3 in.) Monogrammed 'IC' Inv. no. 'G-R 772' on the underside

France, Limoges, 3rd quarter 16th century Provenance Collection of Maximilian von Goldschmidt– Rothschild, sold at auction at Parke-Bernet Galleries, New York, April 13, 1950; The Ernest Brummer Collection: Auction sale, 16–19 October 1979, Zurich, Galerie Koller & Spink & Son (sale no. 257, cat pp. 396–399); Private collection, USA

191

JULIUS BÖHLER KUNSTHANDLUNG

ANTIQUES

STARNBERG

Processional cross Gilt silver, repoussé and chased, enamel Height 25 cm (9.8 in.) France, 14th century

192

ATTRIBUTED TO CHRISTOPH DANIEL SCHENCK (1633–Constance–1691) Saint Sebastian Fruitwood relief with polychromy 15.5 × 11.3 cm (6.1 × 4.5 in.) Circa 1680

193

BOTTICELLI ANTICHITÀ

ANTIQUES

FLORENCE

ROMOLO FERRUCCI DEL TADDA (1544–Florence–1621)

Provenance Tamaro De Marinis collection, Florence, early 20th century

The Villana White Carrara marble Height 144 cm (56.7 in.)

194

195

BOWMAN SCULPTURE

ANTIQUES

LONDON

AUGUSTE RODIN (Paris 1840–1917 Meudon) Le Baiser (The Kiss), 3rd Reduction Bronze with rich brown patination Height 40 cm (15.8 in.) Signed 'Rodin', inscribed 'F. Barbedienne Foundeur', stamped 'F 23' underneath F. Barbedienne Foundry, Paris

196

Conceived in 1886 and cast (circa 105–109) between 1901 and 1918

AUGUSTE RODIN A.E. CARRIER-BELLEUSE

Provenance Thiery Family, Picardy, France; by descent

Jardinière des Titans (Vase of the Titans) Cast terracotta Height 39.1 cm (15 in.) Signed 'A.Carrier Belleuse' Edition 7 Conceived in 1877 and cast before 1887

197

BRIMO DE LAROUSSILHE

ANTIQUES

PARIS

Sedes Sapientiae Wood with traces of polychromy 75 × 29 × 23 cm (29.5 × 11.5 × 9 in.) Mosan, mid 13th century

198

Two plaques with half-length figure of Saint Champlevé enamel on copper gilt 9.6 × 9.9 cm (3.7 × 3.8 in.) Limoges, circa 1185–1195

Procvenance Victor Martin Le Roy collection; J.J. Marquet de Vasselot collection

199

BURZIO.

ANTIQUES

LONDON

GIUSEPPE MARIA BONZANIGO (Asti 1745–1820 Turin) The Bonzanigo self portrait Limewood, walnut, tulipwood, ebony and fruitwood 62.7 × 59 cm (24.7 × 19.7 in.) Turin, 1786

200

Provenance Bonzanigo's Atelier, Turin, since 1786 until mid 19th century; Art trade, Milan, late 19th century; Moisé Michelangelo Guggenheim (1837–1914), Venice; Sir George Donaldson, London, 1897; Sir Lionel Faudel-Phillips Bt., (1877–1941), Balls Park, Hertfordshire; His daughter Miss Jean Faudel-Phillips (1909–1992); Thence by family descent to the present owner

A japanned eight folders leather screen Painted and gilt leather 285 × 424 × 53 cm (112 × 167 × 21 in.) England, first half 18th century

Provenance Private collection, Paris; Private collection, Belgium

201

ALESSANDRO CESATI

ANTIQUES

MILAN

Casket Painted, gilded and punched wood 19 × 24 × 14.5 cm (7.5 × 9.5 × 5.7 in.) Siena, 1340–1350

202

CRISTOFORO MANTEGAZZA (circa 1429–Milan–1479) Madonna of the Book Angera stone 66.5 × 42 × 23 cm (26.1 × 16.5 × 9 in.) Milan, circa 1475

Provenance Marquis Emilio Visconti Venosta, Milan; Pietro Accorsi collection, Turin; Cyril Humphris collection, London; Dr. Gustav Rau collection; Private collection, Europe

203

DANIEL CROUCH RARE BOOKS

ANTIQUES

LONDON-NEW YORK

The Atlas Le Mire/Cobenzl Atlas, Novus, Selectus, Universalis et Topographicus, sive Geographia nova et vetus sacra et profana… 20 volumes, a unique atlas factice incorporating over 2000 hand-coloured engraved maps, contemporary blindstamped calf, gilt Folio 56 × 39 cm (22 × 15.4 in.) Brussels, 1753

204

Provenance Petri Joannis le Mire (d.1753), Canon of the Collegiate Church of Saint Vincent de Soignies, Hainaut; Charles-Jean-Philippe, Comte de Cobenzl (1712–1770), Minister Plenipotentiary of the Austrian Netherlands, Brussels under Empress Maria Theresia 1753–70

WILLEM BLAEU (Alkmaar 1571–1638 Amsterdam)

Provenance George Wyndham, 3rd Earl of Egremont (1751–1837) , Petworth House, West Sussex

A pair of globes, terrestrial and celestial In original furniture with an engraved horizon ring adumbrating scales, calendar, almanacs etc. Diameter 68 cm (26 in.) Amsterdam, circa 1645–48

205

DAATSELAAR FINE ART & ANTIQUES

ANTIQUES

ZALTBOMMEL

ARMAND GUILLAUMIN (Paris 1841–1927 Orly) Country Lane in Damiette Oil on canvas 72 × 90 cm (28.3 × 35.4 in.) Signed lower right Circa 1885–1887

206

Provenance Bernheim-Jeune Paris, before 1927; Collection Dreesmann, circa 1960–2018

A Chinese export lacquer bureau Cypress wood, black and gilt lacquer 118 × 102.5 × 63 cm (46.5 × 40.4 × 24.8 in.) China, circa 1730–40

Provenance Private collection, 1991; Collection J.K. Driessen Antiques, 1991–2018; Collection noble family, Flanders

207

GALERIE DELALANDE

ANTIQUES

PARIS

Walking stick Nephrite, gold and malacca wood Length 94.3 cm (37.1 in.) By Fabergé with the workmaster's mark 'EK' for Erik Kollin (1899–1908) St. Petersburg, circa 1899–1908

208

Provenance Private collection, Italy

A pair of miniature terrestrial and celestial globes Paper, brass and ivory Height 11.3 cm (4.4 in.) Diameter 9.3 cm (3.7 in.) Signed 'A New Globe of the Earth by N. Lane 1776' London, 1776

Provenance Private collection, France

209

ALBERTO DI CASTRO

ANTIQUES

ROME

Pair of console tables with mirrors Carved, painted and lacquered wood, top in Portoro marble Table 94 × 135 × 56 cm (37 × 53 × 22 in.) Mirror 248 × 129 cm (97.6 × 50.8 in.) Naples, late 18th century

210

Provenance Palazzo d'Ayala Valva, Taranto; Private collection, Rome

CASTELLANI

Provenance Private collection, UK

Sunflower-shaped brooch Gold Diameter 3.7 cm (1.5 in.) Signed 'Castellani', conjoined CC mark on the reverse Rome, second half 19th century

211

ALESSANDRA DI CASTRO

ANTIQUES

ROME

212

PIETRO GABRINI

FILIPPO TAGLIOLINI

(active Rome, 2nd quarter 19th century)

(Fogliano da Cascia 1745–1809 Naples)

Ideal landscape with the wedding of Isaac and Rebecca Micro-mosaic within a gilded frame 5.8 × 8.7 cm (2.3 × 3.4 in.) Rome, circa 1830–1835

Bust of Berenice Porcelain bisquit 31.5 × 24 × 21 cm (12.2 × 9.4 × 8.3 in.) Naples, circa 1781–1790

213

GALERIE XAVIER EECKHOUT

ANTIQUES

PARIS

REMBRANDT BUGATTI (Milan 1884–1916 Paris) Zebra and antelope Bronze 36.5 × 62 × 15 cm (14.4 × 24.4 × 5.9 in.) Edition 3 Signed 'R.BUGATTI', titled, numbered '1' and stamped by the foundry 'A.A.Hébrard'

214

Paris, model created circa 1909–1910, this one cast circa 1910

CHARLES ARTUS

Provenance M. Recoudo no. INV. 2207, en 1911, according to the archives of Hébrard

Indian Runner Duck Bronze with base in Portor marble 55.5 × 18.5 × 16 cm (21.9 × 7.3 × 6.3 in.) Signed 'CH. ARTUS' and stamped by the foundry 'C. Valsuani' Edition 5–6

(Etretat 1897–1978 Le Havre)

Paris, model created in 1926, this one cast between 1927 and 1929 Provenance Private collection, France

215

JAIME EGUIGUREN- ARTE Y ANTIGÜEDADES

ANTIQUES

BUENOS AIRES

Baptismal font Lead 27 × 60 cm (10.6 × 23.6 in.) Toulouse, 13th century

216

Provenance Private collection, Argentina, before 1950

BARTOLOMÉ ESTEBAN MURILLO (1617–Sevilla–1682) Ecce Homo Oil on canvas 56 × 44 cm (22 × 17.3 in.) 1675

Provenance G.P. Dudley Wallis Collection, Christie's Sale, London, 21 July 1972, lot 111; Christie's Sale, London, South Kensington, 19 April 2000, lot 172; Granados Collection, Madrid until 2017; Private collection, Spain

217

EGUIGUREN ARTE DE HISPANOAMÉRICA

ANTIQUES

BUENOS AIRES

Stove kettle Silver 33.5 × 27.8 cm (13.2 × 10.9 in.) Weight 3,115 gr. Marked 'F. Prieto' River Plate, late 18th century

218

Provenance Private collection, Argentina

Farinheira Gold Height 8.2 cm (3.2 in.) Diameter 17.2 cm (6.7 in.) Weight 274 gr. Marked 'VS' Brazil, probably Ouro Preto, mid 18th century

Provenance Carlos Alberto Cruz-The Apelles Collection, Chile and England

219

DEBORAH ELVIRA

ANTIQUES

OROPESA DEL MAR

Reliquary cross Gold, enamel, ebony, ivory, rock crystal 9 × 6.5 cm (3.5 × 2.6 in.) Weight 23.7 gr. Spain, circa 1600

220

Saint Vincent Ferrer pendant Gold and enamel 4 × 2.5 cm (1.6 × 1 in.) Spain, circa 1620

Provenance Private collection, Spain

221

JOHN ENDLICH ANTIQUAIRS

ANTIQUES

HAARLEM

The Anna Maria Trip Dolls’ house Mahogany, silver, porcelain, textiles, ivory, brass, glass 168 × 85 × 58 cm (66.1 × 33.5 × 22.8 in.) The Netherlands, circa 1750–1760

222

Provenance Anna Maria Trip (1712–1778), Groningen; Wicher van Swinderen (1745–1821); Oncko van Swinderen (1775–1850); Tjaard Anthony van Swinderen (1835–1847); Quirijn Pieter Anthoni de Marees van Swinderen (1854–1902); thence by inheritance to the present owners; On loan to Museum Landgoed Fraeylemaborg, 1979–2006; Amsterdam Museum, 2006–2018

HENDRIK VAN PRUYSEN

Provenance Private collection, Germany

A coffee urn Silver decorated with 'cut-card' technique 32.4 × 22.7 cm (12.8 × 8.9 in.) Marked 'HvP' City mark for Amsterdam, 'L' for 1697

223

LES ENLUMINURES

ANTIQUES

PARIS-NEW YORK-CHICAGO

MASTER OF PHILIPPE DE LÉVIS-MIREPOIX (ANTOINE OLIVIER?) (active 1510–1537) The Crucifixion, initial ‘N’ from an Antiphonal Tempera, shell gold and gold leaf on parchment

224

26.5 × 17.5 cm (10.4 × 6.9 in.) France, Mirepoix, 1533–1535 Provenance Private collection, France

The Hours of Marie (Use of Senlis) In Latin and French, with 22 historiated initials by the Reims Masters, and 2 illuminated borders by the Master of Johannes de Phylomena Illuminated manuscript on parchment 17.3 × 11.6 cm (6.8 × 4.6 in.) Northeastern France, probably Reims, circa 1270–1280

Provenance Possibly Marie de Brabant (1256–1321), Queen of France; Louis-Alexandre Barbet (1850–1931); Private collection, USA, on long term deposit Metropolitan Museum of Art, New York, 1990–2017 (MS L.1990.38.)

225

EPOQUE FINE JEWELS

ANTIQUES

KORTRIJK

RENÉ LALIQUE

CARTIER

(Aÿ 1860–1945 Paris) An Art Nouveau pansy bracelet Gold, sapphire, enamel, glass and pearl 18 × 3.5 cm (7 × 1.4 in.) Signed 'LALIQUE' Paris, circa 1901–1902

226

'Collier de chien' illustrating the perfection of the Garland style Platinum and diamond 30.5 × 3.5 cm (12 × 1.4 in.) Signed 'Cartier Paris Londres New York' Paris, circa 1910

227

FD GALLERY

ANTIQUES

NEW YORK

MAUBOUSSIN An Egyptian Revival ring Platinum, amethyst, sapphire, diamonds and onyx 2.5 × 1.9 × 1.9 cm (1 × 0.7 × 0.7 in.) Paris, circa 1925

228

'Snake' pendant necklace Antique Colombian emerald, diamonds and rubies set in gold 26 × 1.3 × 1.3 cm (10.2 × 0.5 × 0.5 in.) 19th century

Provenance Accompanied by a handwritten note stating ‘emerald, as a scarf pin presented by Victor Emanual, to The Rt Honorable Spencer H. Walpole on his visit to Cambridge.’

229

KUNSTHANDEL JACQUES FIJNAUT BV

ANTIQUES

AMSTERDAM

A pair of panels Scagliola 43 × 33 cm (16.9 × 13 in.) Florence, late 17th century

230

Provenance Sale Paris, Etude Couturier Nicolay, Nouveau Drouot, 2 April 1981, no. 49; Private collection, France

RUDOLF SONDAG A pair of tureens with covers and stands Silver Width 27.5 cm (10.8 in.) Rotterdam, 1766

Provenance Eleonora Helena Louisa Baroness van Brienen (1868–1931) and her spouse Philippe Charles Gerard Count d’Alsace d’Henin Lietard (1855–1914); Thence by decent

231

PETER FINER

ANTIQUES

LONDON

ATTRIBUTED TO JEAN HENEQUIN A wheel-lock gun from the Cabinet d’Armes of King Louis XIII of France Steel, gold damascene, gold wire, brass, pearwood Length 138 cm (54.3 in.) Metz, circa 1620–30

232

Provenance Made for Roger (II) de Saint-Lary de Termes, duc de Bellegarde (1562–1646); The gun presented by him to King Louis XIII of France and placed in the king’s personal Cabinet d’Armes; Acquired in the 1950’s by Peter Tillou, USA; Sold to Joe Kindig, Jnr. of York, Pennsylvania

233

GALERIE FLORE

ANTIQUES

BRUSSELS

HERVÉ VAN DER STRAETEN (Brétigny-sur-Orge, 1965) Chinese lantern Antic Coromandel panel lacquer, parchment, bronze, pearls, rock crystal 145 × 110 cm (57.1 × 43.3 in.) Base 22 × 22 cm (8.7 × 8.7 in.) Paris, 2018

234

Pair of large octagonal Famille rose vases Porcelain decorated with Chinese figures, flowers and insects. Knobs modelled as Fô dogs Height 67 cm (26.4 in.) China, Yongzheng period, circa 1730

235

S FRANSES

ANTIQUES

LONDON

WILLIAM MORRIS (Walthamstow 1834–1896 Hammersmith, London) The Large Swan House Carpet Hand knotted with coloured wools 445 × 328 cm (175.2 × 129.1 in.) England, circa 1886

236

Provenance Private collection, France

WILLEM VAN DE VELDE THE ELDER (Leiden 1611–1693 London)

Provenance Commissioned by King James II for George Legge, Baron Dartmouth (d.1691)

The Battle of Solebay Tapestry: The Fleets Drawn Up For Battle Woven with coloured wools and silks 331 × 592 cm (130.3 × 233 in.) Signed 'THOMAS POINTZ' (weaver) London, after 1685

237

GALLO FINE ART

ANTIQUES

MILAN

ALESSANDRO TURCHI CALLED L'ORBETTO (Verona 1578–1649 Rome) Loth and his Daughters Oil on canvas 112 × 144 cm (44 × 56.7 in.) Circa 1641

238

Provenance Marquis Gherardini a San Fermetto, Verona; Count Teodoro Lechi, Brescia; Private collection, Germany

FRANCESCO IGNAZIO MARABITTI (1719–Palermo–1797)

Provenance Private collection, Naples

Saint Rosalie Gilded terracotta 15 × 48 × 18 cm (5.9 × 18.9 × 7 in.) 1758

239

RALPH GIERHARDS ANTIQUES / FINE ART

ANTIQUES

DÜSSELDORF

A pair of Brûle Parfum Ostrich eggs mounted with gilt bronze, red painted inside 24 × 13 cm (9.5 × 5.1 in.) Paris, circa 1720–1730

240

Provenance Collection Thierry Feray; Private collection, Paris

A pair of flat chairs Mahogany, walnut, gilded bronze 77 × 49 × 45 cm (30.3 × 19.3 × 17.7 in.) St Petersburg, 1810–1825

Provenance Private collection, France

241

GALERIE GISMONDI

ANTIQUES

PARIS

Cabinet Inlaid with marquetry of semi precious hard stones 58 × 87.5 × 36 cm (22.8 × 34.4 × 14.2 in.) Rome, 17th century

242

Provenance Collection Marquis Patrizi Naro Montoro, Rome; The Barbara Piasecka Johnson collection since 1989

PIETRO TENERANI (1789–1869) Pair of Putti representing winged Cupids or Geniuses, one symbolizing Fishing (net and fish) the other symbolizing Hunting (spear and hare) White marble Hunting height 9 1 cm (35 in.) Fishing height 83.5cm (33 in.)

Signed Hunting 'Pietro Tenerani F.' Signed Fishing 'P. Tenerani' Provenance Auguste François Thomas Bertin de Vaux (1799–1879); Château de Villepreux

243

MICHAEL GOEDHUIS

ANTIQUES

LONDON

Hu Bronze inlaid in silver and gold Height 41 cm (16 in.) China, Qing Dynasty, circa 17th century or earlier

244

GUAN ZHI Light Through Rising Clouds Ink and colour on paper 107.4 × 231.8 cm (42.2 × 91.2 in) 2018

245

DR. JÖRN GÜNTHER RARE BOOKS AG

ANTIQUES

STALDEN

MAÎTRE HONORÉ AND WORKSHOP Comprehensive compilation of canon law issued by successive popes, including Gregory IX, Decretum Illuminated manuscript on vellum 44 × 27 cm (17.3 × 10.6 in.) Paris, after 1281–1300

246

MASTER OF WALTERS 219 AND AN ARTIST FROM THE CIRCLE OF THE MASTER OF THE COLLINS HOURS Fauquier Book of Hours, use of Besançon Illuminated manuscript on vellum 18 × 13 cm (7 × 5.1 in.) Besançon, circa 1420–1440

247

HANCOCKS

ANTIQUES

LONDON

Victorian bracelet 29.80cts old cut diamonds set in silver on gold Inner circumference 17.3 cm (6.8 in.) Width 1.3 cm (0.5 in.) Circa 1890

248

Marchak Box Rose quartz, mother-of-pearl, turquoise, coral, malachite, lapis lazuli and chalcedony 7.7 × 7.3 × 4.7 cm (3 × 2.9 × 1.9 in.) Signed 'A. Marchak & M' for Vladimir Makowsky (mosaic) France, circa 1925

249

BEN JANSSENS ORIENTAL ART

ANTIQUES

LONDON

Dish White marble with scalloped rim Diameter 34.2 × 3 cm (13.5 × 1.2 in.) China, Yuan dynasty, 1279–1368

250

Bi disc with 'grain'pattern Jade Diameter 17.1 × 1.2 cm (6.8 × 0.5 in.) China, Han dynasty, 2nd century BC

251

FR. JANSSENS VAN DER MAELEN

ANTIQUES

BRUSSELS

252

PHILIPPE WOLFERS

JEAN E. PUIFORCAT

(1858–Brussels–1929)

(1897–Paris–1945)

Atlas and Mercury Inkstand, silver and green marble 28 × 22 cm (11 × 8.7 in.) Marks for Wolfers Brussels, circa 1885–1897

'Meuble Argentier' holding a large Flatware-Model Papyrus Walnut and silver 107 × 58 × 44 cm (42 × 22.8 × 17.3 in.) Marks for Puiforcat Paris, circa 1930

253

DANIEL KATZ GALLERY

ANTIQUES

LONDON

JEAN JULES CAMBOS (1828–Castres–1917) Miniature full-length portrait of Henriette de Chateaubriand, Baronne de Carayon La Tour Marble Height 66 cm (26 in.) Signed and dated to right of base 'J.CAMBOS 1857'

254

Provenance Given by the artist to Baron de Carayon La Tour, Gironde; By descent in the family of the sitter, until 2018

ORAZIO ALBRIZZI (active Piacenza and Rome 1612–1651) Equestrian group of Marcus Aurelius Bronze 73.7 × 63.5 cm (29 × 25 in.) Inscribed on the side of the base '…copia de M. aurelio pio posto a Campidoglio … / … di bronzo fatto da modello di Horatio Albrizzi Romano … al(?) anno 1624'

Provenance Marchesi Spinola di Luigi, Genoa; Prince Trivulzio, Milan; Heim Gallery, London; Arthur M. Sackler collection, New York; Musée d’Art Classique de Mougins, Mougins

255

KOLLENBURG ANTIQUAIRS

ANTIQUES

OIRSCHOT

DIRCK VAN RIJSWIJCK (Cleve 1596–1679 Amsterdam) Floral still life Mother-of-pearl, inlaid in a domed rectangular panel of ebony and rosewood on oak, in a wooden frame 43.7 × 33.5 cm (17.2 × 13.2 in.) Signed 'Dirck van Ryeswyck, fct' Amsterdam, circa 1650

256

Provenance Probably acquired by Georg Theodor Osius in Berlin in 1840, his collection Hanau/ Kassel; Thence by descent; Major Georg Ludwig Osius Haus Tanneck Harleshausen near Kassel Germany; Thence by descent; R. Osius Harleshausen; Private collection Westphalia since 1995

MASTER OF THE FEMALE HALFLENGTHS

Provenance Private collection, Europe

Young Lady at the clavichord, Cecilia Oil on panel 26.4 × 21.2 cm (10.4 × 8.3 in.) Flanders, circa 1520–1530

257

KOOPMAN RARE ART

ANTIQUES

LONDON

WILLIAM FOWLE A Charles II tazza Silver Diameter 41.5 cm (16.3 in.) Fully hallmarked and maker's mark 'WF' London, 1683

258

Provenance Collection of Viscount Rothermere; Auctioned by Christie's London, 3 December 1941, lot 108; Auctioned by Christie's Geneva, 14 November 1978, lot 191

PHILLIP RUNDELL The Shield of Achilles Silver-gilt Diameter 89.7 cm (35.7 in.) Engraved on the reverse with a cypher, coat of arms for Ernst Augustus, King of Hanover and with the inscription 'THE SHIELD OF ACHILLES/ DESIGNED AND MODELLED BY THE LATE/ JOHN FLAXMAN

R.A./ EXECUTED AND PUBLISHED BY RUNDELL BRIDGE AND CO./ LONDON 1838' London, 1823 Provenance Ernst Augustus Duke of Cumberland, King of Hanover (1771â&#x20AC;&#x201C;1851); thence by descent in the Royal family until 1923; Josef van Mierlo, circa 1940; thence by descent; Private collection, 2007

259

J. KUGEL

ANTIQUES

PARIS

JOHANN HEINRICH KÖHLER (1669–Dresden–1736) A miniature clock Silver-gilt, silver, gemstones, carnelian, polychrome enamel in its original case 13.7 × 7.5 × 6.5 cm (5.4 × 2.9 × 2.6 in.) Dresden, circa 1720

260

Provenance John Pierpont Morgan Jr (1867–1943); his sale, Parke Bernet, New York, part II, 22–25 March 1944, lot 609, ill.

GIUSEPPE SARAO Table cabinet with scenes of hunters Tortoiseshell piqué, gold, mother-of-pearl 30.8 × 32.3 × 21.3 cm (12.1 × 12.7 × 8.4 in.) Naples, circa 1730–1740

Provenance Baron Mayer Carl von Rothschild, Frankfurt (1820–1886); his daughter, Marguerite de Rothschild (1855–1905); her husband, Agénor Duke de Gramont (1851–1925); Duke de Gramont sale, Paris, May 22, 1925, lot 33

261

KUNSTKAMMER GEORG LAUE

ANTIQUES

MUNICH

Court nautilus cup Etched nautilus shell, fire-gilt silver Height 32 cm (12.6 in.) Sweden, silver mount, circa 1670

262

Provenance Knutstorp Castle, collection family of the counts Wachtmeister, 1860–2017, last owner Countess Ebba Wachtmeister

The Creation of Eve The Fall Reverse glass paintings, original gilt frames 50 × 65 cm (19.7 × 25.6 in.) South German, probably Murnau, circa 1760

Provenance Private collection of a noble family, Europe

263

GALERIE LÉAGE

ANTIQUES

PARIS

Pair of boulle-marquetry caskets Tortoiseshell, brass, pewter, rosewood, gilt bronzes 12 × 32 × 25 cm (4.8 × 12.5 × 9.8 in.) A monogram with a ducal crown is set in the centre of each lid Louis XIV period, first quarter 18th century

264

Provenance Private collection, Paris

JEAN-JACQUES PAFRAT Commode Mahogany and ebony veneer, carved and gilt bronzes, top in veined white marble 117 × 62 × 84 cm (46 × 24.5 × 33 in.) Stamped 'J. Pafrat' Louis XVI period, last quarter 18th century

Provenance Sale at Sotheby’s, late 60’s; Private collection, Paris

265

LÓPEZ DE ARAGÓN

ANTIQUES

MADRID

Pair of grilles Wrought iron 192 × 74.5 cm (75.6 × 29.3 in.) Northern Italy, circa 1500

266

Provenance Private collection, Spain

LUIS DE MORALES (Badajoz circa 1509–1520–1586 Alcántara)

Provenance Private collection, Spain

The Virgin and Child with Saint John Oil on panel 34 × 25.5 cm (13.4 × 10 in.) Circa 1580

267

HELGA MATZKE

ANTIQUES

GRÜNWALD

FRANÇOIS DANIEL IMLIN (1757–Strasbourg –1827) Neoclassical travelling nécessaire Silver, gilt, cast, embossed service in its original wooden case covered with leather, lined walls with velvet and golden lace 24.5 × 27 × 20.5 cm (9.6 × 10.6 × 8 in.) Mark of François Daniel Imlin and

268

of the city of Strasbourg Strasbourg, circa 1790

CARL DAVID SCHRÖDEL

Provenance Private collection, Europe

Royal set of ten salt-cellars Silver from the Property of the House of Wettin, Frederick Augustus I/III (1750–1827), King and Elector of Saxony and Duke of Warsaw, gilt inside, cast 10 × 4.4 × 6.2 cm (4 × 1.7 × 2.4 in.) Weight 1.777 gr.

(circa 1712–Dresden–1773)

Mark of Carl David Schrödel and of the city of Dresden Dresden, circa 1770 Provenance King of Saxony and Duke of Warsaw Frederick Augustus III/I (1750–1827), House of Wettin, 20th century; Four in the Erich von Goldschmidt-Rothschild (1894–1987); Private collection, Europe

269

KUNSTHANDEL MEHRINGER

ANTIQUES

MUNICH

LORENZO BARTOLINI (Savignano di Prato 1777–1850 Florence) Portrait of Beatrice (Portrait of Juliette Récamier as Beatrice) Marble (bust, carved fully in the round) Height 47 cm (18.5 in.) Signed 'L.BARTOLINI' Rome, circa 1823

270

Provenance Private collection, Italy

JEAN DUNAND (Lancy 1877–1944 Paris) La Chasse, upper right section of the grand mural in the Smoking Salon on the ocean liner Normandie Carved gold lacquer and color lacquer 267 × 414 cm (105.1 × 163 in.) Paris, 1935

Provenance Ocean liner Normandie 1935–1941; Warehouse of the Compagnie Général Transatlantique, New York; Re-installed Ocean liner Liberté 1949–1961; Sold at auction, Le Havre 1962; Private collection, New York until 1992; Private collection, Austria

271

MENTINK & ROEST

ANTIQUES

INGEN

NICOLAUS SCHMIDT A quarter striking square table clock Fire-gilt brass 9 × 17 × 17 cm (3.5 × 6.7 × 6.7 in.) Signed 'N.S. Nicolaus Schmidt' Circa 1580

272

273

GALERIE MERMOZ

ANTIQUES

PARIS

Ceremonial scepter representing a sovereign Brown flint 60.2 × 18.5 × 2 cm (23.7 × 7.3 × 0.8 in.) Mexico, Maya, circa 550–950 AD

274

Provenance Former Mr. Yvon Collet collection, since 1968

Standing dignitary Green speckled serpentinite with inlays of pyrite 33.9 × 18.3 × 11.3 cm (13.3 × 7.4 × 4.4 in.) Mexico, Teotihuacan, circa 450–650 AD

Provenance Private collection, Europe, since 1968; Mrs. Monique Nordmann collection, since 1986

275

AMIR MOHTASHEMI LTD.

ANTIQUES

LONDON

The Triumph of Divine Over Profane Love Carved ivory plaque 19.5 × 13 × 4 cm (7.7 × 5.1 × 1.6 in.) Ceylon (present-day Sri Lanka), early 17th century

276

Safavid blue and white bowl Underglaze painted pottery Diameter 21.5 cm (8.5 in.) Iran, 17th century

277

SYDNEY L MOSS LTD.

ANTIQUES

LONDON

NAKAMURA HOCHU (?–1819) A detail of a two panel folding screen with ten fan paintings mounted on gold paper Ink and colours on paper 172.5 × 189.5 cm (67.9 × 74.6 in.) Signed 'Hochu', with seal of the artist Kyoto, 18th–19th century

278

Provenance Private collection, New York; Leighton R. Longhi, Inc., New York

MASATAMI (circa 1840–1870s) A netsuke of a recumbent boar Wood with horn inlays 2.8 × 4.8 cm (1.1 × 1.9 in.) Signed 'Masatami to' Nagoya, 19th century

Provenance Sold at Glendining & Co. Ltd., London, 1922; Purchased at Hauswedell & Nolte, Hamburg, 1962; Collection Julius and Arlette Katchen, France

279

KUNSTHANDEL PETER MÜHLBAUER

ANTIQUES

POCKING

MATHIEU CRIAERD (1689–Paris–1776) Louis XV ormolu-mounted Vernis Martin Commode 'en façon de la chine' Oak wood, Vernis Martin, ormolu, Brêche d´Alep marble 83.5 × 102.5 × 52 cm (32.9 × 40.3 × 20.5 in.) Paris, circa 1742

280

Provenance Private collection, France; Private collection, Germany

FRANÇOIS RÉMOND (1747–Paris–1812) Pair of Louis XVI three-light candelabra Gilded and patinated bronze, Carrara-marble socle 62.5 × 22.5 × 19 cm (24.6 × 8.9 × 7.5 in.) Paris, circa 1780

Provenance Most probably Palais Albertina, Vienna; Collection Hofstätter, Palais Strudelhof, Vienna

281

MULLANY

ANTIQUES

LONDON

JOSÉ DE MORA (Baza 1642–1724 Granada) Head of Saint John the Baptist Polychrome terracotta 18.4 × 26.7 × 24.1 cm (7.2 × 10.5 × 9.5 in.) Circa 1695–1724

282

Provenance Villaverde Collection, Uruguay

A Millefleurs tapestry Wool and silk 169 × 390 cm (66.5 × 153.5 in.) With the coat of arms and initials of Christine de Lechy Flanders, attributed to Bruges, 2nd quarter 16th century, before 1548

Provenance Almost certainly commissioned and gifted by Christine de Lechy to the Cistercian Abbey of Herkenrode, Sint-Truiden, circa 1521; Emile and Isaac Pereire Collection, Hôtel Pereire, Parc Monceau, Paris, late 19th century; Royal Manufacturers of Tapestry De Wit, Mechelen; Private collection, London

283

GALERIE NEUSE

ANTIQUES

BREMEN

HEINRICH WINTERSTEIN (1586–1634)

GEORGE MÜLLNER (1624–1659)

Four drinking cups in nef-form Silver-gilt Heights 31, 34, 35 and 45 cm (12.2, 13.4, 13.8 and 17.7 in.) Augsburg and Nuremberg, 1609–1629

Comb Ivory 10.5 × 13.5 cm (4.1 × 5.3 in.) Byzantine-Southern Italy, 11th century

Provenance Collection Alphonse Kann (Vienna 1870– 1948 London), Saint-Germain-en-Laye; Collection Hélène Bokanowski (1910–2000), niece of Alphonse Kann

ESAIAS ZUR LINDEN (1609–1632)

284

285

MARCEL NIES ORIENTAL ART

ANTIQUES

ANTWERPEN

Tirujnana Sambandar Bronze, cast in the lost wax method Height 56.2 cm (22.1 in.) India, Tamil Nadu, Pandya, 13th century

286

Provenance Collection Mr. J. Mahé, Paris, before 1972; Collection Mr. M. Gazan, Dilbeek, 1972–1986; Collection Prof. Dr. Fr. Adams, Ghent, 1986–2018

Buddha Sakyamuni Bronze, cast in lost wax method Height 54.6 cm (21.5 in.) Thailand, Dvaravati, 8th century

Provenance Collection Peng Seng Gallery, Bangkok, before 1968; Collection Mr. S. Josefowitz, Lausanne/New York, 1968–2016; Collection H. Shawcross, London, 2016–2018

287

WALTER PADOVANI

ANTIQUES

MILAN

POMPEO MARCHESI (Saltrio 1790–1858 Milan) L’Italia Madre delle Arti (Italy Mother of the Arts) Carrara marble 131 × 99 cm (51.6 × 39 in.) Signed 'C. P. Marchesi. F.'

288

Provenance Private collection, Europe

GAETANO GANDOLFI (San Matteo della Decima 1734– 1802 Bologna)

Provenance Private collection, Europe

Jupiter and Semele Oil on canvas 44 × 30.5 cm (17.3 × 12 in.)

289

GALERIE PERRIN

ANTIQUES

PARIS

LOUIS-LÉOPOLD BOILLY (La Bassée 1761–1845 Paris) Comparing little feet Oil on canvas 45.8 × 38.4 cm (18 × 15 in.) Signed lower left 'Boilly' Paris, circa 1791

290

Provenance M. Marcel Midy collection, 1939; Private collection, Belgium

ROBERT LE LORRAIN (1666–1743) Mars and Venus Bronze Height 38 cm (15 in.) Circa 1720

Provenance Anna Gould and Boniface de Castellane collection, acquired around 1895–1898; Louis Guiraud collection, Ader auction, Paris (Galliera palace), December 10, 1971, lot 116; Beistegui collection

291

S.J. PHILLIPS LTD

ANTIQUES

LONDON

Necklace and pair of earrings Gold, rubies and diamonds Length 36.5 cm (14.4 in.) Signed 'Cartier' 1950

292

LORENZ BILLER II Cup and cover Silver gilt set with emeralds, rubies and turquoise Height to top of finial 28 cm (11 in.) Augsburg, 1710

293

PIVA&C

ANTIQUES

MILAN

GIUSEPPE MAGGIOLINI

294

(1738–Parabiago–1814)

90 × 129.5 × 62 cm (35.4 × 51 × 24.4 in.) Milan, circa 1790

A pair of inlaid commodes With gilt bronze mounted Carrara marble top. Fir and walnut veneered structure inlaid in rosewood, burr walnut, maple, green dyed maple, boxwood and other woods

Provenance Marquis Giorgio Pio Pallavicini Trivulzio, Milan, up to 1803; Anna Besozzi Figliodoni Pallavicini Trivulzio, Milan; Marquis Giorgio Guido Pallavicini Trivulzio from 1858 to 1878; Counts Barbiano di Belgiojoso, San Fiorano

295

POLAK WORKS OF ART

ANTIQUES

AMSTERDAM

Head of Buddha Bronze Height 32 cm (12.6 in.) Thailand, Cheng Sen, circa 1400

296

Provenance Private collection, Switzerland; Private collection, California

CIRCLE OF THE SCULPTRESS MARIA FAYDHERBE (1587â&#x20AC;&#x201C;1643) Virgin and Child Boxwood Height 19 cm (7.5 in.) Southern Netherlands, Malines, first half 17th century

297

BENJAMIN PROUST FINE ART LTD

ANTIQUES

LONDON

AUGUSTE RODIN (Paris 1840–1917 Meudon) Femme Nue Allongée Pencil and stumping on paper 19.2 × 30 cm (7.6 × 11.8 in.) With artist's stamp lower right 'Rodin' Circa 1900

298

Provenance Galerie Max Moos, Geneva; Fritz Meyer-Fierz Collection, Zurich

GIOVANNI BONAZZA (Venice–1654–1736 Padua)

Provenance Private collection, France

Bacchus Marble 62 × 46 × 22.5 cm (24.4 × 18.1 × 8.9 in.) First quarter 18th century

299

CHRISTOPHE DE QUÉNETAIN

ANTIQUES

LONDON-PARIS

ANTOINE-FRANÇOIS VASSÉ (1681–1736), started circa 1728

LOUIS-CLAUDE VASSÉ (1717–1772), finished circa 1740–72 La Marine White marble Height 80 cm (31.5 in.) Mark in ink red '292' inv. no. from

300

the Rothschild family Paris, circa 1740–72 Provenance Presented on the 29th of may, 1723, by Antoine-François VASSÉ to the Académie Royale de Peinture et Sculpture; extensive provenance information available

Coupe Hémispherique a bouillon Hard-paste porcelain painted with mosaïques and coquillages Diameter cup 14.5 cm (5.7 in.) Diameter saucer 23.5 cm (9.3 in.) Sèvres, Imperial Manufactory of Porcelain, circa 1814

Provenance Almost certainly delivered to Jérôme Bonaparte (1784–1860), King of Westphalia between 1807 and 1813; Diane, Duchess of Württemberg, born princesse d’Orléans (b. 1940); Twinight collection, New York

301

ARTUR RAMON ART

ANTIQUES

BARCELONA

Dish Partially gilt silver, enamel Diameter 38 cm (14.9 in.) Town mark on the back Valladolid, late 16th century

302

Provenance Collection Daniel Carasso, Palau Sator, Spain

Virgin and Child Carved, polychromed and gilt wood 35.5 × 10.5 × 8.5 cm (14 × 4.1 × 3.4 in.) Stamped with the Malines three-bar mark, gilder's mark on the cloak Malines, circa 1500

303

RICHARD REDDING ANTIQUES LTD

ANTIQUES

GÜNDISAU

ROBERT ROBIN (1741–1799) A Louis XVI skeleton clock Gilt bronze, gilt brass and verde antico marble astronomical, month duration 74 × 40 × 16 cm (29.1 × 15.7 × 6.3 in.)

304

Signed on the white enamel chapter ring and also on a cartouche within the dial centre 'Robin au Louvre' Paris, circa 1790

ROBERT ROBIN (1741–1799) A Louis XVI mantel regulator Gilt bronze mounted mahogany, month duration with equation of time by Robert Robin with a polychrome painted dial by Henri-François Dubuisson, housed in a case attributed to Jean-FerdinandJoseph Schwerdfeger

45 × 26 × 21 cm (17.7 × 10.2 × 8.3 in.) Signed on the dial 'Robin aux Galeries du Louvre' and also Dubuisson below 6 o’clock and further signed and dated on the backplate ' Robin Hger du Roy 1790' Paris, 1790

305

JEAN MICHEL RENARD

ANTIQUES

BELLENAVES

FLORENTIN BAUDET Grand vertical piano Oak, spruce, ebony, ivory, iron, and brass 260 × 166 × 60.5 cm (102.4 × 65.4 × 23.8 in.) Signed 'Baudet, Paris' Paris, circa 1867

306

Provenance Collection Alain Vian, Paris

Child harp of the Princess Royal Victoria Adelaïde of the United Kingdom Mahogany, spruce, gilded wood, ivory and brass Height 95.5 cm (37.6 in.) Signed 'Alexandre Richard Blazdell' London, 1843

Provenance Private collection, London

307

RÖBBIG MÜNCHEN

ANTIQUES

MUNICH

GOTTLIEB KIRCHNER

JOHANN GREGORIUS HÖROLDT

(1706–1768)

(1696–1775) and

A pair of tea pots in shape of Japanese Bantam cocks Heights 15.6 cm and 16.4 cm (6.1 and 6.5 in.) Marked with underglaze blue crossed swords mark Meissen, circa 1732–1735

308

JOHANN EHRENFRIED STADLER (1701–1741) A pair of purple-ground baluster vases with polychrome chinoiserie scenes Height 37.5 cm (14.7 in.) Marked with underglaze blue 'AR' mark Meissen, circa 1728

309

ROSSI & ROSSI

ANTIQUES

HONG KONG-LONDON

Seated Tsongkhapa Gilt copper Height 19.5 cm (7.8 in.) Tibet, 16th century

310

Provenance Nyingjei Lam collection; On loan to the Rubin Museum of Art, New York, from 2005 until 2018, L2005.9.64; On loan to the Ashmolean Museum, Oxford, 1996–2005

Vajrapani Distemper on cloth 109.8 × 72.5 cm (43 × 28 in.) China, 18th century

Provenance Private collection, Sweden, acquired in the late 1930's

311

RUDIGIER

ANTIQUES

MUNICH

THE MASTER OF THE MORITZBURG ALTARPIECE Two panels with the knight-saints George and Maurice Tempera on conifer wood Each 170 × 71 cm (67 × 28 in.) Freiberg, Saxony, circa 1520

312

Provenance Saxon Royal House; from the chapel of the royal hunting lodge of Moritzburg near Dresden

313

ADRIAN SASSOON

ANTIQUES

LONDON

314

HIROSHI SUZUKI

ANGELA JARMAN

(Japan, 1963)

(England, 1971)

Aqua-Poesy VII Hammer raised and chased fine silver 999 Height 33.5 cm (13.3 in.) Diameter 22 cm (8.6 in.) 2018

Amber Geode and Sapphire Geode Cast lead crystal glass and gilding Height 34 and 46 cm (13.4 and 18.1 in.) Diameter 20 and 21 cm (7 .9 and 8.3 in.) 2018

315

SENGER BAMBERG KUNSTHANDEL

ANTIQUES

BAMBERG

CIRCLE OF VEIT STOSS (Horb am Neckar circa 1447– 1533 Nuremberg) Saint Peter Lime wood, reverse hollowed out Height 152 cm (59.9 in.) Nuremberg, circa 1500

316

BARBARA ROSINA LISIEWSKAMATTHIEU-DE GASC (Berlin 1713–1783 Dresden) Frederick Henry, Margrave of Brandenburg-Schwedt with his wife Leopoldine Marie, members of their household, dancing Barbarina and the self-portrait of the painter Oil on canvas

82 × 99 cm (32.3 × 38.6 in.) Signed 'peint par Rosine Matthieu née Lisiewska 174-' (last digit not legible) Berlin, circa 1747 Provenance House of Hohenzollern; Private collection, Austria

317

SHAPERO RARE BOOKS

ANTIQUES

LONDON

318

ROBERT FURBER

CLAES OLDENBURG

(1674–London–1756)

(Stockholm, 1929)

Twelve months of flowers Folio with hand-coloured engraved list of subscribers within a floral border serving as title-page, 12 hand-coloured plates designed by Pieter Casteels 58.7 × 46 cm (23.1 × 18.1 in.) Circa 1730–32

Profile Airflow Cast-polyurethane relief over lithograph in colours on Special Arjomari paper 114 × 192 × 15 cm (44.8 × 75.6 × 5.9 in.) Signed, titled and dated in pencil, numbered '68/75' Circa 1968–69

319

SHIBUNKAKU

ANTIQUES

KYOTO

ATTRIBUTED TO OGATA KORIN (1658–Kyoto–1716) Cypress Trees A pair of six-panel folding screens, colour on golden paper 180.5 × 354 cm each (71 × 139.4 in.) Japan, late 17th–early 18th century

320

Provenance Private collection, Japan

INOUE YUICHI (1916–Tokyo–1985)

Provenance Private collection, Japan

Tai (Tranquility) Ink on Japanese paper 146 × 243 cm (57.5 x 95.7 in.) Seal lower right Japan, 1966

321

SIEGELSON

ANTIQUES

NEW YORK

322

JEAN DESPRES

SUZANNE BELPERRON

(Souvigny 1889–1980 Avallon)

(Saint-Claude 1900–1983 Paris)

Art Moderne Bracelet Silver and black lacquer 6.6 × 7.4 × 6 cm (2.6 × 2.9 × 2.4 in.) Signed 'J. Després', with maker’s mark Paris, 1931

A 'Bande' ring Diamond and black lacquer, silver and platinum 3 × 2.3 × 2.3 cm (1.2 × 0.9 × 0.9 in.) Paris, circa 1934

323

SOMLO

ANTIQUES

LONDON

A pre-balance spring verge watch Silver and gilt metal with day, date, ages and phases of the moon 7 × 4.8 × 3.4 cm (2.8 × 1.9 × 1.4 in.) Signed 'M. FENIE' Circa 1625

324

8 Day mystery clock 18 carat yellow gold, set with round brilliant cut diamonds and inlaid with lapis lazuli, onyx and rock crystal. The time is indicated by the lapis lazuli and diamond set pointer at the top of the rotating dial. Innovative 'Mystérieuse' jumping hour mechanism displays all 12 hours sequentially in the quarters of the disc

24 × 13 × 9 cm (9.5 × 5.1 × 3.5 in.) Signed 'Paul Jones- SOLE of LONDON' London, 2018

325

MARJAN STERK FINE ART JEWELLERY

ANTIQUES

AMSTERDAM

SUZANNE BELPERRON

CARTIER

(Saint–Claude 1900–1983 Paris) Convertible cuff bracelet and brooch Platinum, white gold, ruby, diamond and rock crystal Paris, circa 1935

326

Braided gold rope necklace 18 carat yellow gold, platinum, citrine and diamond Signed 'Cartier Paris' Paris, circa 1950

327

SALOMON STODEL ANTIQUITÉS

ANTIQUES

AMSTERDAM

AERT SCHOUMAN (Dordrecht 1710–1792 The Hague) Birds in a Dutch river landscape near Dordrecht Oil on canvas Decorative (overmantel) painting in original carved and pale grey painted frame 198 × 110 cm incl. frame (78 × 43.3 in.)

328

Signed and dated 'A. Schouman, 1768' Signed 'A Schouman' 1768 Provenance Private collection, The Netherlands, since the early 1950s

FRANCOIS LAMBRECHTS

JAN DIEDERIK PONT

(1696–Amsterdam–1751) A set of four candlesticks Silver Height 22 cm (8.6 in.) Amsterdam, 1731

A pair of candlesticks Silver Height 22 cm (8.6 in.) Amsterdam, 1765

329

SYMBOLIC & CHASE

ANTIQUES

LONDON

330

MAUBOUSSIN

Art Deco transformable necklace Burmese ruby and diamond, can be worn in two lengths Signed 'Mauboussin Paris' Paris, 1930

Art Deco bracelet Jade, ruby, enamel and diamond 18.5 × 3 cm (7.3 × 1.2 in.) Certificate of authenticity from Mauboussin Paris, 1928

331

HERIBERT TENSCHERT - ANTIQUARIAT BIBERMÜHLE

ANTIQUES

RAMSEN

HAINCELIN DE HAGUENAU CALLED BEDFORD MASTER JEAN HAINCELIN CALLED DUNOIS MASTER Book of Hours Illuminated manuscript on vellum 22.8 × 15.5 cm (9 × 6.1 in.) Paris, circa 1425

332

Provenance The collections of Nanterre, Neufville de Villeroi, S. P. Avery, Grace Johnson, and Ritman

BOUCICAUT MASTER Book of Hours Illuminated manuscript on vellum 21 × 15 cm (8.3 × 5.9 in.) Paris, circa 1410

Provenance Made for a member of the Corlieu-Lusignan family, it has previously been unknown to scholarship

333

CAROLLE THIBAUT-POMERANTZ

ANTIQUES

PARIS – NEW YORK

Psyche and Cupid 4 neo-classical wallpaper panels, created by Dufour and designed by Laffitte and Blondel, 1816 Center panels 273 × 89 cm each (107.5 × 35 in.) Side panels 273 × 66 cm each (107.5 × 26 in.) Printed in grisaille by Defossé et Karth, Circa 1872

334

A panel from scenic panoramic Les Fetes de la Grèce et Jeux Olympiques Wood-block printed in grisaille by Joseph Dufour, original edition of 1818 191 × 207 cm (75.2 × 81.5 in.) Art Deco panel wood-block printed and designed by André Groult 71 × 60 cm (28 × 23.6 in.) Circa 1920

335

TÓTH - IKONEN

ANTIQUES

HUIZEN

Mother of God of Korsun Egg tempera on gesso on canvas on wood 53 × 45 cm (20.9 × 17.7 in.) Russia, Palekh, late 18th century

336

Provenance Private collection, Germany

Four icons from a vita icon of St Nicholas Egg tempera on gesso on canvas on wood 27 × 22 cm (10.6 × 8.7 in.) each Northern Russia, second half 16th century (vrezka)

Provenance Private collection, The Netherlands

337

VANDERVEN ORIENTAL ART

ANTIQUES

'S-HERTOGENBOSCH

5 piece garniture Blue and white porcelain Height 43 cm (16.9 in.) China, Kangxi period (1662–1722), circa 1700

338

Provenance Prince M. de Beauvau-Craon Collection, France

Large head of Guanyin Stucco Height 72 cm (28.3 in.) China, Ming Dynasty (1368–1644)

Provenance Private collection, France, acquired in the 1980s

339

KUNSTZALEN A. VECHT

ANTIQUES

AMSTERDAM

Neptune ravishing Caenis A silver plaque after engravings of Johann Sadeler I ( (1550–1600/01) and Hendrick Goltzius (1558–1617), and a drawing of Bartholomeus Spranger (1546–1611) Diameter 13.4 cm (5.3 in.) The Netherlands, first half 17th century

340

Provenance Frides Laméris, Amsterdam, till circa 2000; Private collection, Amsterdam

A thumb glass with cover, a Rummer and two Beakers (so called 'Krautstrunks') Glass Thumb glass height 30 cm (11.81 in.) Rummer height 29.5 cm (11.6 in.) Krautstrunks heights 8 cm and 10.5 cm (3.1 and 4.1 in.) Netherlands and Germany, Thumb glass and Rummer, 2nd half 17th century Krautstrunks, 15th century

Provenance Thumb glass: Private collection, Schagerbrug, the Netherlands Rummer: Collection Morpurgo, Amsterdam The smallest Krautstrunk: Private collection, Austria The largest Krautstrunk: Found in a lake in Bayern

341

AXEL VERVOORDT

ANTIQUES

ANTWERP

Head of Eros White marble Height 23.5 cm (9.3 in.) Western Europe, Roman Empire, 1st century BC–1st century AD

342

Provenance Collection Guérin, Paris, circa 2000; Private collection René Withofs, Brussels, circa 1970–1780

Ryuji Tanaka (Hyogo 1927–2014) Shizen '90, Shaku (Nature '90, Shining) Mineral pigment and mixed media on canvas 225 × 180.5 cm (88.6 × 71 in.) Japan, 1990

343

VKD JEWELS

ANTIQUES

UDEN

MASRIERA HERMANOS An Art Nouveau pendant 18 carat yellow gold, diamond, plique-àjour enamel, centering a woman's profile adorned with a decorative gold cap set with five small diamonds edged by a bird of prey on each side 3.8 × 3.5 cm (1.5 × 1.4 in.)

344

Signed 'Masriera Hs' Barcelona, circa 1900

CARTIER An Art Deco pendant Platinum and diamond links embellished with onyx accents 9.5 × 1.6 cm (3.7 × 0.6 in.) Numbered and signed 'Cartier, Paris' France, circa 1915

345

WARTSKI

ANTIQUES

LONDON

ALEXIS FALIZE (Liège 1811–1898 Moret-sur-Loing) The author's own volume 'Les Emaux Cloisonnés Anciens et Modernes' by Philippe Burty (1868) Inlaid with a specially commissioned enamelled plaque by Alexis Falize featuring the Shinto deity Jurojin holding a scroll depicting Burty's ex-libris.

346

The book contains 10 original paintings by Louis Régamey of cloisonné enamelled jewels in the Japanese taste by Alexis Falize Gold, cloisonné enamel 4.5 × 6 cm (1.7 × 2.4 in.) Paris, circa 1869

CARL FABERGÉ (St. Petersburg 1846–1920 Pully) A frame containing an original photograph of the Imperial couple with their first-born daughter Olga Red gold decorated with a pale blue banded guilloché enamel, the aperture surmounted with a chased green gold garland with red gold bow and cross ties

Gold and guilloché enamel 6.3 × 4.4 cm (2.5 × 1.7 in.) Signed 'Faberge' in full, with the initials of the chief workmaster Michael Perchin, bearing the '56' Russian gold zolotnik standard St. Petersburg, circa 1896

347

JORGE WELSH WORKS OF ART

ANTIQUES

LONDON-LISBON

Pair of Hares Porcelain decorated in overglaze polychrome enamels 13 × 17 × 8.5 cm (5.1 × 6.7 × 3.3 in.) China, Qing dynasty, Qianlong period (1736–1795), circa 1736

348

Dish depicting portrait of Jan van Leiden Porcelain decorated in grisaille and gold Diameter 32 cm (12.6 in.) China, Qing dynasty, Qianlong period (1736–1795)

349

JOAN WIJERMARS

ANTIQUES

AMSTERDAM

ADOLFO WILDT (1868–Milan–1931) Uomo Antico Bronze, dark green patina Height 55.5 cm (21.9 in.) Signed 'Wildt' Circa 1914

350

Provenance Ugo Weiss, Milan, until 1960; Thence by descent

RAFFAELLE MONTI (Milan 1818–1881 London) Bust of a veiled lady White marble Height 71 cm (28 in.) Circa 1860

Provenance By repute: The 6th Earl of Rosebery; The artist Gluck (Hannah Gluckstein); Raoul Casares; Christies, London, 24 February 2000; Private collection, Sweden

351

YUFUKU GALLERY

ANTIQUES

TOKYO

352

KEN MIHARA

TAKAFUMI ASAKURA

(1958)

(1978)

Kuon (Aetus) Multi-fired stoneware 70.5 × 42 × 20.5 cm (27.7 × 16.5 × 8 in.) Signed Japan, 2018

The Elements that Flow Black-ink on aluminum leaf, mounted on 2 panel folding screen 167 × 163 cm (65.7 × 64.1 in.) Signed Japan, 2018

353

ANCIENT ART

Cahn Galerie Chenel Gallery Cybele Galerie Eberwein Charles Ede Galerie David Ghezelbash Galerie Harmakhis Kallos Gallery Galerie Kevorkian The Merrin Gallery, Inc. Safani Gallery Inc. Sycomore Ancient Art Kunsthandel Mieke Zilverberg

354

355

CAHN

ANCIENT ART

BASEL

A torso of Aphrodite (Knidian Type) Marble frontal representation of the nude goddess with emphatically feminine, finely modelled body contours Height 50.5 cm (19.9 in.) Late Hellenistic, 2ndâ&#x20AC;&#x201C;1st century BC

356

Provenance Private collection M.M., near Rouen, prior to 1980

A Patera Handle in the shape of a Kouros Bronze standing youth with powerful musculature, holding two serpents aloft Height 21 cm (8.3 in.) Greece, Lakonian, circa 570 BC

Provenance Collection of Elsa Bloch-Diener, Bern, acquired prior to 1976

357

GALERIE CHENEL

ANCIENT ART

PARIS

Torso of Herakles Marble 80 × 70 × 33 cm (31.5 × 27.6 × 13 in.) Roman, 1st–2nd century AD

358

Provenance Collection of Wright S. Ludington (1900– 1992), Montecito, California, acquired on June 3rd 1965 from the Fallani gallery in Rome, Italy; Santa Barbara museum of Art, gifted from the above in 1993 (inv. no. 1993.1.87); Sold at Sotheby's New York, 'Antiquities: Santa Barbara Museum of Art', June 14th, 2000, lot 63

359

GALLERY CYBELE

ANCIENT ART

PARIS

Funerary mask of a bearded man Painted plaster, glass for the eyes Height 23.5 cm (9.3 in.) Egypt, Roman Period, 2nd–3rd century AD

360

Provenance Collection Me. Alexandre Nicolaï (1864– 1952), Lawyer at the Court of Appeal and Member of the Council of Jurisprudence of the city of Bordeaux, thence by descent

A mummy mask from an anthropoid coffin Wood, bronze and marble Height 30 cm (11.8 in.) Egypt, New Kingdom, early 19th dynasty 1292–1279 BC

Provenance Collection Sir Jacob Epstein (1880–1959), London; Carlo Monzino (1931–1996), Castagnola and Lugano, 1963

361

GALERIE EBERWEIN

ANCIENT ART

PARIS

Ram’s head amulet Gold and emerald, wearing a sun disk with Uraeus, probably made for a necklace worn by one of the Kushite kings. Representations show these pharaohs wearing a ram's-head amulet tied around the neck on a thick cord, the ends of which fall forward over the shoulders 3.2 × 2.3 cm (1.3 × .9 in.)

362

Provenance Private collection, Germany, acquired circa 1958

Fragment of funerary bas-relief Polychrome limestone with hieroglyphic inscription 36 × 15 cm (14.2 × 5.9 in.) Egypt, New Kingdom, Reign of Sethi I, 1290–1279 BC

Provenance Originally located in the sarcophagus chamber of the tomb of Sethi I; Private collection, UK, acquired on the London art market in the 1970s and then by succession to the current owner; Imported to Europe before 1883

363

CHARLES EDE

ANCIENT ART

LONDON

Relief with Amazonomachy Marble 86 × 87 × 16 cm (33.9 × 34.3 × 6.3 in.) Roman, circa 225–250 AD Provenance Ugo Jandolo (1873–1952), Rome; Joseph Brummer (1883–1947), New York; acquired from the above on 19th November 1936, inv. no. P13151, archived as 'Found in the

364

Sea, at Piraeus, in the beginning of the 19th Century'; The Cranbrook Academy of Art, Bloomfield Hills, Michigan; acquired from the above on 2nd June 1938 Sotheby Parke-Bernet, New York, The Cranbrook Collections, 2nd–5th May 1972, no.337 sold for $11,000; Private collection, Japan

Head of a cat Bronze Height 7.6 cm (3 in.) Egypt, circa 664–332 BC

Provenance Dr Hans Wendland, Lugano, Switzerland; acquired prior to 1931; Private collection, Germany; acquired from the above, thence by descent

365

GALERIE DAVID GHEZELBASH

ANCIENT ART

PARIS

Head of the lioness goddess Sekhmet Granite Height 33 cm (13 in.) Thebes, Egypt, New-Kingdom, Reign of Amenhotep III, 18th Dynasty, 1390–1352 BC

366

Provenance Formerly in the collection of Mr François Lang (1908–1944), France, from Royaumont Abbey inventoried by Mr Le Véel and Mr Despras, experts for the auction house Tajan, in 1989 (no. 447); Inventoried by the auction house Christie’s in 1989, no. 33

367

GALERIE HARMAKHIS

ANCIENT ART

BRUXELLES

Statuette of harpocrates Bronze, eyes inlaid with electrum Height 30.8 cm (12.1 in.) Text on the base 'May Harpocrates who resides in Mendes (?) give life, prosperity, health, long life, good and old age to Amenirdis son of the likewise Psamtik born to the mistress of the house Tekh...', Egypt, Late Period, 30th dynasty

368

Provenance Collection C., Brussels, acquired in the 1970â&#x20AC;&#x2122;s; Collection J. T., Brussels

Head of Jupiter Marble Height 19 cm (7.5 in.) Roman, 2nd century AD

Provenance Private collection, USA; Merrin Gallery, New York, 1984

369

KALLOS GALLERY

ANCIENT ART

LONDON

An Attic black figure eye-cup attributed to the Nikosthenic Workshop Ceramic Width 35 cm (13.7 in.) Athens, circa 550–510 BC

370

Provenance With D. J. Crowther Ltd, London, prior to 1968

An ovoid jar with lug handles Andesite porphyry Height 16.5 cm (6.5 in.) Egypt, Predynastic period, Nagada II, circa 3500–3000 BC

Provenance Nicolas Landau (1887–1979) collection, Paris, thence by descent

371

GALERIE KEVORKIAN

ANCIENT ART

PARIS

Head of a woman Alabaster Height 19.5 cm (7.7 in.) Kingdom of Qataban, Southern Arabia, circa 1st century BC–1st century AD

372

Provenance J. Frickel's collection, Cologne, acquired in 1964 from Francesca Artuner, Brussels

Two ladies in a landscape Opaque watercolor heightened with gold on paper Folio 14 × 11 cm (5.5 × 4.3 in.) Painting 11 × 8.4 cm (4.3 × 3.3 in.) Mughal India, circa 1730–1750

Provenance Private collection, Paris, 1960s

373

THE MERRIN GALLERY, INC.

ANCIENT ART

NEW YORK

Strap necklace with beechnut pendants Gold Length 31.8 cm (12.5 in.) Greece, circa 4th century BC

374

Copan style pendant in the form of a standing Maya lord Royal apple green jade with traces of cinnabar Height 10 cm (4 in.) Honduras, 600â&#x20AC;&#x201C;900 AD

375

SAFANI GALLERY INC.

ANCIENT ART

NEW YORK

Viking torque Electrum Width 19.7 cm (7.8 in.) Weight 633 gr. Circa 900–1000 AD

376

Footed vessel Marble Height 22.5 cm (8.9 in.) Cycladic, circa 3200–2700 BC

377

SYCOMORE ANCIENT ART

ANCIENT ART

GENEVA

Statuette representing a black Pharaoh in a kneeling position Bronze Height 8 cm (3.1 in.) Nubia, Kushite Period, 25th Dynasty, 751–656 BC

378

Provenance Private collection Monsieur J. C., France, established in the 1970s–1980s

Sarcophagus mask Wood, traces of stucco with yellow and blue polychromy Height 11.7 cm (4.6 in.) Egypt, Third intermediate Period, 1085–715 BC

Provenance Private collection UK, acquired in London in the 1950s, thence by descent on the UK art market, thereafter on the art market in Paris

379

KUNSTHANDEL MIEKE ZILVERBERG

ANCIENT ART

AMSTERDAM

Portrait mask of youth, pink painted chubby face, eyes inlaid with black and white glass, eyebrows and hair in black paint; drapery of mantle at back of head Polychrome stucco Height 20.3 cm ( 8 in.) Egypt, Roman Period, 100â&#x20AC;&#x201C;120 AD

380

Provenance Private collection, Europe, formed 1930s onward; Collection N. Koutoulakis

Figure of a girl, seated on bed or chest with two cushions next to her, on top of each other, holding cista in her left hand resting on her lap, her hair drawn into top-knot Terracotta Height 9.5 cm (3.7 in.) Greece, Corinthian, late 5thâ&#x20AC;&#x201C; 4th century BC

Provenance Private collection F. Z., Netherlands 2007; formerly with Galleria Serodine, Switzerland 1996

381

LA HAUTE JOAILLERIE

Wallace Chan Cindy Chao The Art Jewel G Hemmerle Otto Jakob Van Cleef & Arpels

382

383

WALLACE CHAN

LA HAUTE JOAILLERIE

HONG KONG

WALLACE CHAN (Fuzhou, 1956) The Wheel of Time/Twelve necklaces, one story – upon contemplation of the Chinese zodiac’s representation of time and our personal relationship to the greater universe, the creator sought to express such spiritual interconnectedness through a wearable work of art

384

South Sea pearl 152.12 ct, yellow diamond 6.01 ct, sapphire, diamond, titanium 7.4 × 19.8 × 22.3 cm (2.9 × 7.8 × 8.8 in.) Weight 300.7 gr. Signed 'Wallace Chan' Hong Kong, 2018

WALLACE CHAN (Fuzhou, 1956) Butterfly Nebula/On the Butterfly Planet, a pair of surreal butterflies with titanium bodies share a communicative frequency through the glittering patterns of gemstones on their wings Yellow diamond, diamond, tsavorite garnet, pink sapphire, amethyst,

ruby and titanium Left 8.6 × 10.3 × 18 cm (3.4 × 4 × 7 in.) Weight 47.1 gr. Right 7.7 × 9.6 × 19.4 cm (3 × 3.8 × 7.6 in.) Weight 47.3 gr. Signed 'Wallace Chan' Hong Kong, 2018

385

CINDY CHAO THE ART JEWEL

LA HAUTE JOAILLERIE

HONG KONG

Greenovia Brooch Black Label Masterpiece XVII Titanium, 18K white gold and silver set with 105-carat Chrysoberyl Cat's eye, diamonds and nearly 2,500 pieces of 6 varieties of green gemstones 17.3 × 8.9 cm (6.8 × 3.5 in.) 2018

386

387

LA HAUTE JOAILLERIE

LONDON

A pair of ‘Fan’ ear clips Mounted in titanium and set with 62 cts of natural old mine baroque-shaped purple sapphires and 25 cts of natural blue spinels incorporating two half-moon white diamonds 6 × 3.5 × 1 cm (2.4 × 1.4 × 0.4 in.) Signed 'G' London, 2018

388

A pair of 'Rose Petal' ear clips Mounted in titanium and set with rosecut diamonds, natural lavender briolette diamonds, and trimmed with natural spinels on the petals 4 × 4.5 × 2 cm (1.6 × 1.8 × 0.8 in.) Signed 'G' London, 2018

389

HEMMERLE

LA HAUTE JOAILLERIE

MUNICH

Ring Tsavorite, aluminium and white gold 2016

390

Earrings Jade, tsavorites, silver, aluminium and white gold 2017

391

OTTO JAKOB

LA HAUTE JOAILLERIE

KARLSRUHE

Sagano Ring with a cornflower blue star sapphire set in a bezel built from yellow gold bamboo stems. The ring hoop is a thick pillar-like stem with bamboo leaves as capitals. One of a kind. White gold, yellow gold, sapphire 2018

392

393

VAN CLEEF & ARPELS

LA HAUTE JOAILLERIE

PARIS

Joyaux de Madagascar set White gold, two cushion-cut sapphires for 28.35 carats (Madagascar), diamonds Signed ‘Van Cleef & Arpels’ Paris, 2019

394

Necklace with detachable clip Yellow gold, pink gold, white gold, yellow sapphires, amethysts, diamonds Signed ‘Van Cleef & Arpels’ New York, 1965

395

TRIBAL

Claes Gallery Galerie Bernard Dulon Bernard de Grunne Tribal Fine Arts Galerie Meyer Oceanic & Eskimo Art Galerie Monbrison Lucas Ratton

396

397

CLAES GALLERY

TRIBAL

BRUSSELS

Songye Kifwebe mask Wood with pigments Height 44 cm (17.3 in.) Republic Democratic of the Congo, late 19thâ&#x20AC;&#x201C;early 20th century

398

Provenance Pierre Dartevelle Collection, Belgium; Onghena Collection, Belgium

Bakongo statue Wood, metal, pigments and vegetal fibres Height 53 cm (20.9 in.) Democratic Republic of the Congo, late 19th century

Provenance Max Itzikovitz, France

399

GALERIE BERNARD DULON

TRIBAL

PARIS

A divination box Wood and metal 28 × 7 × 6.5 cm (11 × 2.4 × 2.6 in.) Democratic Republic of the Congo, 19th century

400

Provenance Private collection, Paris

Male ancestor figure Wood 70 × 19 × 17 cm (27.6 × 6.7 × 7.5 in.) Hemba people, Democratic Republic of the Congo, 19th century

Provenance Bob Burawoy collection, Paris; Jerry Solomon collection, USA

401

BERNARD DE GRUNNE - TRIBAL FINE ARTS

TRIBAL

BRUSSELS

Dan ceremonial ladle (Wakemia or Wunkirmian) Wood Height 40 cm (15.7 in.) Ivory Coast

402

Dogon large ritual communal vessel (Aduno Koro) Wood 40 × 154 cm (15.7 × 60.6 in.) Mali

Provenance Charles Ratton, Paris, circa 1958; Private collection, Paris

403

GALERIE MEYER - OCEANIC & ESKIMO ART

TRIBAL

PARIS

Head Hunters Drum Wood, cane, human hair, lizard skin, and vegetable resin. The body is decorated with four decapitated corpses carved in high relief within the champlevé zoomorphic decor. This depiction of headless victims is so far unique in the corpus of Asmat Art Height 105 cm (41.3 in.)

404

Indonesian New Guinea, Central Asmat, Area, possibly Yiwa River, 19th–20th century Provenance Private collection, the Netherlands

Ancestral headless torso The body is decorated with long vertical tattoo lines descending from the shoulders over the chest and dorsal area Mineralized walrus tusk (Odobenus rosmarus divergens). Height 14.2 cm (5.6 in.) Alaska, Okvik culture, 300 BC–200 AD

Provenance Collection E. Daniel and Martha L. Albrecht, Scottsdale, Arizona

405

GALERIE MONBRISON

TRIBAL

PARIS

Mask Wood, pigments and vegetal fibers Height 51 cm Papua New Guinea, Sepik region

406

Provenance Collected by the Captain Postamhofen, 1915; Loed Van Bussel collection, Amsterdam; Frank Reiter collection, Berlin

Fang, Ngumba female, reliquary statue Wood Height 41.9 cm (16.5 in.) Equatorial Guinea, Rio Muni Region

Provenance Reportedly collected by a civil engineer attached to the Spanish delegation to Rio Muni (Equatorial Guinea) before 1933; Christie's, London, March 31, 1982, lot 94; Merton D. Simpson, New York, acquired at the above auction; Private collection, USA; Myron Kunin, Minneapolis, acquired from the above on July 15, 1998

407

LUCAS RATTON

TRIBAL

PARIS

Kota Ndassa Wood and metal Height 54.5 cm (21.5 in.) Gabon, late 19th century

408

Provenance Brother D., missionary in Africa, circa 1930; Gift to AndrĂŠ Mary and his wife in 1935; Kept in the family since that time in Colmar, France

409

DESIGN

bel etage Alexandre Biaggi-Pierre Passebon Dansk MĂ¸belkunst Demisch Danant Didier Ltd Laffanour - Galerie Downtown Thomas Fritsch - Artrium Pierre Marie Giraud Oscar Graf Galerie Marc Heiremans Jackson Design AB Jason Jacques Gallery Jousse Entreprise Galerie kreo Yves Macaux Modernity Pierre Passebon-Alexandre Biaggi Galerie Eric Philippe

410

411

BEL ETAGE

DESIGN

VIENNA

412

OSKAR DIETRICH

ATTRIBUTED TO JOSEF HOFFMANN

(1853–Vienna–1940)

(Brtnice 1870–1956 Vienna)

A pair of Viennese girandoles Silver, chased and hammered, unique Height 26.5 cm (10.4 in.) Marked OD, 800, Austrian hallmark, head of Diana (A for Vienna, 3 for 800/1000), a (official hallmark for Vienna) Vienna, circa 1912

Showcase Solid oak and veneer 175 × 160 × 40 cm (68.9 × 63 × 15.7 in.) Vienna, circa 1903

413

ALEXANDRE BIAGGI-PIERRE PASSEBON

DESIGN

PARIS

CLAUDE LALANNE

ALBERTO GIACOMETTI

JEAN-MICHEL FRANK

Tête de femme Table lamp, plaster Height 52 cm (20.5 in.) France, circa 1935

Desk and armchair Desk, wrought iron, leather, oak, brass Armchair, wrought iron, leather Height desk 74.9 cm (29.5 in.) Height armchair 89.6 cm (35.3 in.) Desk, France, circa 1935 Armchair, France, circa 1930

(Paris, 1925) A set of four candelabras Bronze and galvanized copper 90 × 60 cm (35.5 × 23.6 in.) Each one monogrammed 'CL', signed 'LALANNE', numbered 1 to 4 and dated 95 France, 1995

414

Provenance Designed for Jean-Michel Frank; Private collection, Paris

415

DANSK MØBELKUNST

DESIGN

COPENHAGEN-PARIS

PEDER MOOS (Sønderborg 1906–1991 Tønder) Side chair Rosewood, boxwood, ebony and textile 82 × 43 × 47 cm (32.3 × 17 × 18.5 in.) Copenhagen, 1970's

416

417

DEMISCH DANANT

DESIGN

NEW YORK-PARIS

GENEVIÈVE DANGLES AND CHRISTIAN DEFRANCE

JANETTE LAVERRIÈRE (Switzerland 1909–2011 France)

(France, 1929) Desk Elm wood, Formica, nickel-plated steel 75 × 173 × 85 cm (29.5 × 68 × 33.5 in.) Paris, 1958

418

Pair of armchairs Cherry wood, foam, linen 73 × 84 × 70 cm (29 × 33 × 27.5 in.) France, 1961

419

DIDIER LTD

DESIGN

LONDON

420

JESÚS RAFAEL SOTO

SALVADOR DALI

(1923–2005)

(1904–Figueres–1989)

Penetrabile Pair of large silver and silver-gilt earrings with thin kinetic rods Silver, silver-gilt 13.3 × 6.9 cm (5.2 × 2.7 in.) Milan, 1968

La mite et la flamme Gold candlestick Height 61 cm (24 in.) Signed ' Dali, Wander et fils' Paris, 1964

Provenance Mafalda Davis, Paris; Étude BonduelleLancry, Collection Mafalda Davis, Paris, 10 October 1997, lot 125

421

LAFFANOUR - GALERIE DOWNTOWN

DESIGN

PARIS

422

JEAN PROUVÉ

JOSE ZANINE CALDAS

(Paris 1901–1984 Nancy)

(Belmonte 1919–2001 Vitória)

'Bridge Présidence' armchair Bent and tubular steel frame resting on a steel base, backrest and seat reulpholstered with light brown leather 76 × 59 × 67 cm (29.9 × 23.2 × 26.3 in.) Circa 1950

Sculptural entrance door Tropical wood 225 × 120 × 4 cm (87.4 × 47.2 × 1.5 in.) Signed on the bottom Brasil, circa 1970

Provenance Front door of a restaurant in Brasilia D.F.

423

THOMAS FRITSCH - ARTRIUM

DESIGN

PARIS

424

GEORGES JOUVE

(1910–1964)

Vase Pomme (Apple Vase) Black silver enamelled ceramic 26.5 × 24.5 cm (10.4 × 9.6 in.) Signed 'Jouve' and monogrammed 'Alpha' 1955

Sculpture Black silver enamelled ceramic, metal and nylon strings Height 97.5 cm (38.4 in.) Signed 'Jouve' and monogrammed 'Alpha' 1955

425

PIERRE MARIE GIRAUD

DESIGN

BRUSSELS

TAKURO KUWATA (Hiroshima, 1985) Bowl Porcelain, platinium 39 × 54.5 × 48 cm (15.3 × 21.4 × 18.9 in.) Toki, Japan, 2014

426

Provenance Directly from the artist

RITSUE MISHIMA (Tokyo, 1962)

Provenance Directly from the artist

Galassia Hand-blown glass 37 × 44 × 44 cm (14.6 × 17.3 × 17.3 in.) Venice, 2016

427

OSCAR GRAF

DESIGN

PARIS

TAXILE DOAT (1851–1939) Vase Glazed porcelain Height 17.4 cm (6.9 in.) Diameter 10.9 cm (4.3 in.) 1900

428

Provenance Taxile Doat workshop, until 1973; Maître Paul Renaud, Hôtel Drouot, Paris 11th May 1973, lot 17; Collection of Lillian Nassau, New York, acquired at the above sale, until 1992; Private collection, France

TAXILE DOAT (1851–1939) Vase Glazed porcelain Height 16.8 cm (6.6 in.) Diameter 12.4 cm (4.9 in.) 1903–1904

Provenance Private collection, Pittsburgh, USA; Collection of Robert and Susan Golashovsky, Pennsylvania, USA

429

GALERIE MARC HEIREMANS

DESIGN

BRUSSELS

ROGIER VANDEWEGHE (Ruiselede, 1923) Amphora Ceramic 91.5 × 25 × 17 cm (36 × 9.8 × 6.7 in.) Unmarked Sint Andries, near Bruges, 1963

430

Provenance Private collection, Bruges

GUIDO BALSAMO STELLA (Torino 1882–1941 Asolo)

Provenance Private collection, Milan

Le costellazioni, a covered urn Blown glass 49.5 × 17.5 cm (19.5 × 6.9 in.) Engraved 'Balsamo' and 'SALIR murano' Murano, Venice, 1925 (vessel) and 1928 (engraved decoration)

431

JACKSON DESIGN AB

DESIGN

STOCKHOLM

432

EINAR FORSETH

HARALD WADSJÖ

The God Apollo in a Chariot Glass mosaic and brass 38 × 144 × 144 cm (15 × 56.7 × 56.7 in.) Sweden, 1921

Floor candelabras Cast Iron 182 × 58 × 47 cm (71.6 × 22.8 × 18.5 in.) Sweden, 1920s

433

JASON JACQUES GALLERY

DESIGN

NEW YORK

434

JEAN-JOSEPH CARRIÈS

GARETH MASON

(Lyon 1855–1894 Paris)

(Pembroke, 1965)

Sleeping Faune Plaster with dark brown patina 35.5 × 34.2 × 22.8 cm (14 × 13.5 × 9 in.) Signed and dated 'Carriès 1882' and 'Fondeur Bingen' France, 1882

Horror Vacui Jingdezhen middle white porcelain, layered glazes, and copper cable 73.6 × 86.4 × 66 cm (29 × 34 × 26 in.) 2016

435

JOUSSE ENTREPRISE

DESIGN

PARIS

PIERRE JEANNERET

LE CORBUSIER

(1896–Geneva–1967)

(La Chaux-de-Fonds 1887– 1965 Roquebrune-Cap-Martin)

Kangourou armchair Teak and wicker 71 × 53 × 66 cm (28 × 21 × 26 in.) India, Chandigarh, circa 1960

436

'Tronc d’arbre' low table Wood and iron 45 × 90 cm (17.7 × 35.4 in.) India, Chandigarh, circa 1956

437

GALERIE KREO

DESIGN

PARIS

438

JAIME HAYON

RONAN AND ERWAN BOUROULLEC

Hymy Round coffee table black and white, marquetry marble top, wooden feet Height 40 cm (15.7 in.) Diameter 120 cm (47.2 in.) 2018

Console 'Y-120' Metal and leather 83 × 120 × 40 cm (32.7 × 47.2 × 157.4 in.) 2016

439

YVES MACAUX

DESIGN

BRUSSELS

GUSTAVE SERRURIER-BOVY (1858–1910) Sixteen-Light Chandelier Wrought iron and hammered gilt brass 237 × 264 × 258 cm (93.3 × 104 × 101.6 in.) Circa 1900

440

Provenance Albert Bauwens, Brussels; Baronne Anne-Marie Gillion-Crowet, Brussels

GUSTAVE SERRURIER-BOVY (1858–1910)

Provenance Private collection, Belgium

Desk 'Saint-Saëns' Mahogany, Loetz glass and brass 75 × 118 × 69 cm (29.5 × 46.5 × 27 in.) 1905

441

MODERNITY

DESIGN

STOCKHOLM

BØRGE MOGENSEN (Aalborg 1914–1972 Gentofte)

Provenance Ordered for a modern house in the Stockholm archipelago in the early 1950's

Sleigh chair model 160 and stool Wool upholstery, steel legs and rosewood runners 82 × 82 × 96 cm (32.3 × 32.3 × 37.8 in.) Denmark, 1953

442

443

PIERRE PASSEBON-ALEXANDRE BIAGGI

DESIGN

PARIS

CLAUDE LALANNE

EILEEN GRAY (Enniscorthy 1879–1976 Paris)

Chair and table 'aux branchettes' Golden bronze Chair 80 x 35 x 37 cm (31.5 x 13.8 x 14.6 in.) Table 74 x 70 x 45 cm (29.1 x 27.5 x 17.8 in.) Signed and dated 'Lalanne/98 and numbered '6A' (on an edition of 8) for the chair and 'EA 1/4' for the table Creation chair, 1998 and the table, 2006

444

Provenance Collection Jacques Grange

Coffee table Sanded and carved pine, chromium plated metal structure 46 × 98 × 51 cm (18.1 × 38.3 × 20 in.) Circa 1935

445

GALERIE ERIC PHILIPPE

DESIGN

PARIS

446

ERNEST BOICEAU

(Switzerland 1881–1950 France)

Pair of vases Nickeled bell metal, porphyrite bases in the shape of stars Height 29 cm (11.5 in.) Diameter 26.5 cm (10.5 in.) Signed 'EBoiceau' on one vase France, 1928

Chest of drawers Thuja burl veneer, inside of drawers in mahogany, crosspieces and handles in nickel silver, nickeled bronze feet 93 × 110 × 60 cm (36.8 × 43.3 × 23.8 in.) Engraved 'EBoiceau' on one foot France, 1930

447

PAPER

Emanuel von Baeyer Galerie Alexis Bordes James Butterwick Le Claire Kunst StĂŠphane Clavreuil Rare Books Day and Faber Eric Gillis Fine Art Martyn Gregory Patrick Heide Contemporary Art Galleri K Christopher Kingzett Galerie Antoine Laurentin Maurizio Nobile Stephen Ongpin Fine Art Galerie de la PrĂŠsidence Librairie Camille Sourget Galerie Tanakaya Nicolaas Teeuwisse OHG Galerie Utermann William Weston Gallery W&K-Wienerroither & Kohlbacher Galerie Zlotowski

448

449

EMANUEL VON BAEYER

PAPER

LONDON

450

KONRAD DINCKMUT

THOMAS FRYE

(Publisher)

(Dublin circa 1710–1762 London)

Purgatory, from Der Seelen-Wurzgarten Woodcut, hand-coloured in green and red Size of sheet 24.1 × 16.6 cm (9.5 × 6.5 in.) 1483

Young man with book and candlestick Mezzotint 53.6 × 38.7 cm (21.1 × 15.2 in.) 1760

451

GALERIE ALEXIS BORDES

PAPER

PARIS

JEAN-BAPTISTE GREUZE (Tournus 1725–1805 Paris) Young Boy with a Cap Red chalk on paper 28 × 21.7 cm (11 × 8.5 in.) Inscribed on verso 'Greuze' On verso a study of a foot in red chalk Circa 1775

452

Provenance Probably Sale in Paris, 12 March 1893, lot 8; Collection Alfred Normand (1910–1993), Paris (Lugt 153c lower right); Then by descent

ANNE-LOUIS GIRODET-TRIOSON (Montargis 1767–1824 Paris)

Provenance Artist's collection; his sale, 11–25 April 1825, lot 330; Private collection, France

Hero and Leander Black chalk and white highlights on blue paper On verso inventory after Girodet's death initials (Lugt 3005e) 18 × 15.5 cm (7 × 6.1 in.)

453

JAMES BUTTERWICK

PAPER

LONDON

ALEXANDER BOGOMAZOV (Yampol 1880–1930 Kiev) Wanda Monastyrska in Front of a New Year Tree Indian ink and whitener on paper 15 × 27 cm (5.9 × 10.6 in.) Signed lower centre-right 'AB' 1911

454

Provenance Artist’s Family, Kiev; E. Dymshyts, Kiev

ALEXANDER BOGOMAZOV (Yampol 1880–1930 Kiev)

Provenance The artist's widow, Kiev; Martin Muller, San Francisco

Study for a rhythmical relation of forms Charcoal on paper 39 × 34 cm (15.3 × 13.3 in.) Inscribed in Russian lower right 'Study for a rhythmical relation of forms' and signed and dated upper right 'AB 1915' 1915

455

LE CLAIRE KUNST

PAPER

HAMBURG

ÉDOUARD VUILLARD (Cuiseaux 1868–1940 La Baule) Sous la grande lampe à Saint-Jacut Glue-based distemper on paper 76.8 × 60 cm (30 × 23,5 in.) Stamped the lower right 'É Vuillard' Saint-Jacut de la Mer in Brittany, 1909

456

Provenance Antoine Salomon, Paris; Henri and Stella Fischbach, New York

FÉLICIEN ROPS (Namur 1833–1898 Essonnes) À un dîner d’athées Graphite and pencil with stomping, brown pastel, heightened with white on prepared paper 30.5 × 22 cm (12 × 8.7 in.)

Signed and inscribed 'F. Rops, 1er dessin' titled 'A UN DINER D’ATHÉES' Paris, circa 1879–85 Provenance Maurice Pereire, Paris (Lugt 3509); Jacques Odry, Brussels (Lugt 3486); Carlo De Poortere, Courtrai

457

STÉPHANE CLAVREUIL RARE BOOKS

PAPER

LONDON

JACQUES BASSANTIN (1504–1568) Astronomique Discours 42.8 × 30.4 cm (16.8 × 12 in.) Lyon, 1557

458

GEORGES-LOUIS LECLERC DE BUFFON (Montbard 1707–1788 Paris) Histoire naturelle des oiseaux 46.5 × 32 cm (18.3 × 12.6 in.) Paris, 1771–1786

459

DAY AND FABER

PAPER

LONDON

460

RICHARD MÜLLER

ANTONINA HOUBRAKEN

(Tschirtnitz 1874–1954 Dresden)

(Dordrecht 1686–1736 Amsterdam)

The Frauenkirche Black chalk and pencil 32.4 × 47.3 cm (12.8 × 18.6 in.) Signed, inscribed and dated lower right Dresden, 1928

Trompe l'oeil with silver medal celebrating the fourth term as mayor of Amsterdam for Dr. Nicolaes Tulp Pen and grey ink, grey wash, yellow wash, black ink framing lines 29.7 × 20.8 cm (11.7 × 8.9 in.) Signed lower right

461

ERIC GILLIS FINE ART

PAPER

BRUSSELS

GAETANO VANNICOLA (Offida 1859–1923 Grottammare) Portrait of a young man, turned right Black and white chalk on beige paper 47 × 38.5 cm (18.5 × 15.2 in.) Italy, circa 1881

462

Provenance Artist's heirs; thence by descent

ARMAND SEGUIN (Paris 1869–1903 Châteauneuf-du-Faou, Finistère) Young Breton Girl Watercolor on paper laid down on cardboard 18 × 22 cm (7 × 8.7 in.) Stamped lower left with the artist's monogram

Pont-Aven, Brittany, circa 1892–93 Provenance Olivier Saincaire, Paris; Private collection, USA

463

MARTYN GREGORY

PAPER

LONDON

TINGQUA (documented 1840–1870) Tingqua's studio Gouache on paper 17.8 × 26.7 cm (7 × 10.5 in.)

464

Provenance Martyn Gregory Gallery, London; Christopher Sargent, Washington DC

MICHAEL ANGELO ROOKER (London 1746–1801 London) The ruins of Leiston Abbey, Suffolk Watercolour on paper 31 × 26.5 cm (12.2 × 10.4 in.) Signed 'MA Rooker'

Provenance Baskett and Day, London; Mr and Mrs William Beale, by whom placed on long loan to the Ashmolean Museum, Oxford, in the 1990s

465

PATRICK HEIDE CONTEMPORARY ART

PAPER

LONDON

466

THOMAS MÜLLER

CAROLINE KRYZECKI

(Frankfurt am Main, 1959)

(Wickede, 1979)

Untitled (PH 455) Pencil and Indian ink on paper 30 × 21 cm (11.8 × 8.3 in.) 2018

KSZ 200/152-08 Ballpoint pen on paper 200 × 152 cm (78.7 × 59.8 in.) 2015

467

GALLERI K

PAPER

OSLO

468

FRANZ GERTSCH

(Mörigen, 1930)

Natascha IV Woodcut 276 × 217 cm (108.6 × 85.4 in.) Signed on verso 1988

Natascha II Woodcut 117 × 95 cm (46 × 37.4 in.) Signed on verso 1986

469

CHRISTOPHER KINGZETT

PAPER

LONDON

SIR PETER BLAKE (Dartford, 1932) Ms Super Watercolour, gouache and ink on paper, with printed collaged elements on a glitter prepared mount, laid down on board 46 × 30.5 cm (18 × 12 in.) Signed and dated verso, 1987

470

Provenance Frank and Lorna Dunphy

HENRY MOORE (Castleford 1898–1986 Much Hadham) Seated Woman with seated Figure in Background Pencil, wax crayon, watercolour and chalk on paper 58 × 49 cm (23 × 19 in.) Signed and dated lower right 1948

Provenance Buchholz Gallery (Curt Valentin),New York; Knoedlers, New York, when bought by the previous owner's family in 1961

471

GALERIE ANTOINE LAURENTIN

PAPER

PARIS

MAX ERNST (Bruhl 1891–1976 Paris) Oiseau en cage Oil on cardboard 24 × 19 cm (9.8 × 7.5 in.) Signed lower right 'max ernst' Paris, circa 1924–25

472

Provenance Collection Paul Éluard, Paris; Collection Jacques and Madeleine Matarasso, Paris (a gift from the above, 1939); Collection Alvarez de Toledo (acquired at the below-mentioned auction, 2000); Galerie de France, Paris

FRANTIŠEK KUPKA (Opocno 1871–1957 Puteaux) Composition Pastel on paper 33.5 × 28 cm (13.3 × 11 in.) Signed lower left Paris, circa 1920

473

MAURIZIO NOBILE

PAPER

BOLOGNA-PARIS

474

FRANCESCO CASANOVA

DONATO CRETI

(London 1727–1803 Bruhl, Vienna)

(Cremona 1671–1749 Bologna)

A Cavalry Battle Scene Pen and black ink, black and grey wash heightened with white on yellow paper 48 × 68.8 cm (18.9 × 27 in.) Signed and dated, lower right '... fe Roma 1768' Rome, 1768

Christ falling on the Way to Calvary Oil on copper 20 × 29 cm (7.9 × 11.4 in.) Bologna, 1687

475

STEPHEN ONGPIN FINE ART

PAPER

LONDON

476

WASSILY KANDINSKY

SAM SZAFRAN

(Moskow 1866–1944 Paris)

(Paris, 1934)

White Form (La Forme Blanche) Gouache on black paper, laid down on board 32.2 × 49.8 cm (12.7 × 19.6 in.) Signed and dated in white gouache lower left'K/39', numbered and dated in pencil on the back 'No.620/1939'

The Staircase at 54, rue de Seine, Paris Pastel and gouache on board 60.5 × 69.5 cm (23.7 × 27.3 in.) Signed in red chalk lower right centre 'Szafran'

477

GALERIE DE LA PRÉSIDENCE

PAPER

PARIS

PAUL SIGNAC (1863–Paris–1935) Saint-Tropez, la jetée Watercolor on paper 14 × 10 cm (5.5 × 4 in.) Circa 1905

478

Provenance Felix Fénéon collection; Sale, Paris, Hôtel Drouot, 1947, no. 45; Private collection, USA; Private collection, Paris

EUGÈNE BOUDIN (Honfleur 1824–1898 Deauville) Crinolines, scène de plage Watercolor on paper 15.5 × 26.5 cm (6 × 10.4 in.) Stamped with the initials lower right Circa 1864–1866

Provenance Studio of the artist; Collection Léon Bourgeois, Avize, France; Collection Jean Cau, Paris; Private collection, Paris

479

LIBRAIRIE CAMILLE SOURGET

PAPER

PARIS

GIOVANNI BATTISTA AND FRANCESCO PIRANESI

27 folio volumes, various sizes Paris, Tessier, 1804–1807

GEORGES-LOUIS LECLERC DE BUFFON (Montbard 1707–1788 Paris)

The collection of Piranesi’s works in a contemporary binding 27 volumes and 1189 engravings, 29 works bound in 27 volumes. Red quarter morocco, spines decorated with greeks and antique vases. Contemporary binding Signed 'Tessier'

480

5 folio volumes 45.3 × 32.5 cm (17.8 × 12.8 in.) Paris, 1771–1786

First edition of the 'Natural history of birds' Complete with the 1 008 etchings contemporary illuminated, preserved in its elegant contemporary binding.

481

GALERIE TANAKAYA

PAPER

PARIS

482

KATSUSHIKA HOKUSAI

KITAGAWA UTAMARO

(1760–1849)

(1753–1806)

The poem by Kakinomoto no Hitomaro from the series 'Hyakunin Isshu' Nishiki-e woodblock print Oban yoko-e 25.6 × 37.2 cm (10 × 14.6 in.) Signed 'Zen Hokusai', red seal 'Manji' Tenpo 6-7 (1835–36)

Asahiya Goke (The Widow Asahiya) From the series 'Kômei bijin rokkasen' Nishiki-e woodblock print Oban tate-e 38.2 × 25 cm (15 × 9.8 in.) Signed 'Utamaro hitsu' Kansei 7-8 (1795–96)

483

NICOLAAS TEEUWISSE OHG

PAPER

BERLIN

JOHAN FREDERIK CLEMENS

HENDRIK GIJSMANS

(Gollnow 1748–1831 Copenhagen)

(Mechelen circa 1544– circa 1611/12 Frankenthal)

Le Sort des Artistes Etching and engraving 17.5 × 22.8 cm (6.9 × 9 in.) 1786

484

View of the Town of Huy Pen and brown ink, framing line in pen and brown ink 14.8 × 34.4 cm (5.8 × 13.5 in.) Signed 'Henrick Ghys: F.', 'Huy' inscribed in the upper margin

485

GALERIE UTERMANN

PAPER

DORTMUND

EMIL NOLDE (Nolde, Schleswig 1867–1956 Seebüll) Zwei Männer (junger Mann und bärtiger Mann) Watercolour and black India ink on Japan paper 34.6 × 33.2 cm (13.6 × 13 in.) Signed lower right 'Nolde' Circa 1931–35

486

Provenance Curt Valentin Gallery, New York; Private collection, Baden-Wuerttemberg

ERNST LUDWIG KIRCHNER (Aschaffenburg 1880–1938 Davos)

Provenance Estate of the artist; Private collection, North-Rhine Westphalia

Boudoir-Szene Chalk and charcoal on cardboard 20.5 × 23.6 cm The estate mark on verso Circa 1908

487

WILLIAM WESTON GALLERY

PAPER

LONDON

488

MAN RAY

PABLO PICASSO

(Philadelphia 1890–1976 Paris)

(Malaga 1881–1973 Mougins)

Optic-Topic Gold plated sterling silver with original soft leather straps 15.2 × 10.2 cm (6 × 4 in.) Inscribed with the signature and dated on the reverse 1974

Tête de Jeune Fille-Portrait de Françoise Original lithograph drawn with brush and scraper in black ink 39.5 × 29.5 cm (15.6 × 11.6 in.) Signed in pencil 1949

489

W&K-WIENERROITHER & KOHLBACHER

PAPER

VIENNA-NEW YORK

GUSTAV KLIMT (Baumgarten 1862–1918 Vienna)

EGON SCHIELE

Provenance Private collection, Vienna

(Tulln an der Donau 1890–1918 Vienna)

Crouching Semi-Nude Pencil on Japan paper 55.7 × 37.2 cm (22 × 14.6 in.) 1917–18

Provenance Collection Ehrenzweig; Fischer Fine Art, London; Private collection, Austria

Girl Leaning on Her Elbow Charcoal on paper 50 × 33.4 cm (19.7 × 13.1 in.) Signed and dated lower left 'EGON SCHIELE 1915' 1915

Detail

490

491

GALERIE ZLOTOWSKI

PAPER

PARIS

JEAN ARP (Strasbourg 1886–1966 Bâle) Untitled Collage, oil, gouache and ink on cardboard 39.5 × 34.3 cm (15.5 × 13.5 in.) Signed on the reverse 1920

492

Provenance Galerie Beyeler, Basel, no. 9090; Jane Heap, Chicago; Helen Serger La Boetie Inc., New York

YVES KLEIN (Nice 1928–1962 Paris) Monochrome bleu (IKB 242 A), 1959 Blue pigment and resin on paper 21.5 × 18.1 cm (8.5 × 7.1 in.) Signed and dated on the reverse by Rotraut Klein-Moquay

493

MODERN

494

Applicat-Prazan

Simon Lee Gallery

Bailly Gallery

David Lévy & Associés

Beck & Eggeling International Fine Art

Galerie Ludorff

Galerie de la Béraudière

Maruani Mercier

Galerie Berès

The Mayor Gallery

BorzoGallery

Mayoral

Galerie Boulakia

Mazzoleni

Brame & Lorenceau

Fergus McCaffrey

Ben Brown Fine Arts

kamel mennour

Galerie Andrea Caratsch

Galerie Le Minotaure

Cardi

Richard Nagy Ltd.

Connaught Brown

Osborne Samuel

Cortesi Gallery

Pace Gallery

Massimo De Carlo

Almine Rech

Patrick Derom Gallery

Thomas Salis

Gana Art

Sprüth Magers

Thomas Gibson Fine Art

Galeria Sur

Galerie Gmurzynska

Galerie Thomas

Galerie Karsten Greve AG

Tornabuoni Arte

Galerie Haas

Leon Tovar Gallery

Hammer Galleries

Galerie Patrice Trigano

Galerie Henze & Ketterer Galerie Max Hetzler

Galerie Georges-Philippe & Nathalie Vallois

Galerie Hopkins

Vedovi Gallery

Gallery Hyundai

Galerie von Vertes

Jaski Gallery

Waddington Custot

Tina Kim Gallery/Kukje Gallery

Van de Weghe

Landau Fine Art

Alon Zakaim Fine Art

Galleria dArte Maggiore G.A.M.

495

APPLICAT-PRAZAN

MODERN

PARIS

ALFRED MANESSIER (Saint-Ouen 1911–1993 Orleans) Offrande du soir (or Litanies) Oil on canvas 300 × 150 cm (118 × 59 in.) Signed and dated lower right, initialed, dated and titled on the reverse 1960

496

Provenance Estate of the artist; Private collection, France

ANDRÉ MASSON (Balagny-sur-Thérain 1896–1987 Paris)

Provenance Estate of the artist

Fable des origines Oil, tempera and sand on canvas 146 × 114 cm (57.5 × 44.9 in.) Signed lower left, titled, dated and inscribed on the stretcher 'Collection de l'Artiste' 1964–1967

497

BAILLY GALLERY

MODERN

GENEVA-PARIS

PAUL GAUGUIN (1848–1903) Les falaises de la Bouille Oil on canvas 38 × 56 cm (15 × 22 in.) Signed, dated and inscribed lower right 'La Bouille 1884 / à mon amie Fru Manthey / P Gauguin-Souvenir' La Bouille, France, 1884

498

Provenance Mrs. Carl August Manthey, Rouen, gift from the artist in 1884; Moen Collection, Oslo, circa 1955; Auction, Sotheby's, London, April 1st, 1981, lot 15; Mr. Samuel Josefowitz Collection, Lausanne, 1981; Auction, Christie's, New York, May 8th, 2002, lot 205; Gallery Salis & Vertes, Switzerland, 2002; Private collection, North RhineWesphalia; Private collection, Switzerland

MARC CHAGALL (Liozna 1887–1985 Saint Paul de Vence) Bouquet de fleurs au livre rouge Oil on canvas 72 × 57 cm (28.3 × 22.5 in.) Signed lower left 'Marc Chagall' 1924

Provenance Max Gevers Collection (1884–1944), Antwerp; Baron de Schaetzen Collection, Belgium; Baron Léon Lambert Collection (1929–1987), Brussels; Christie's New York, sale, 12 May 1987, lot 6; Sotheby's London, 4 April 1989, lot 56; Galleria Marescalchi, Bologna, 1990; Galleria La Torre, Milan; Private collection, Europe; Private collection, Switzerland

499

BECK & EGGELING INTERNATIONAL FINE ART

MODERN

DÜSSELDORF-VIENNA

HEINZ MACK (Lollar, 1931) Lichtstele Plastic, aluminium and plexiglass, pedestal, unique 246 × 41 × 61 cm (97 × 16 × 24 in.) 1965

500

Provenance Private collection, Germany

GÜNTHER UECKER (Wendorf, 1930)

Provenance Private collection, Germany

Strömung Nails on canvas on wood 160 × 160 × 20 cm (63 × 63 x7.9 in.) Signed and dated upper right verso 'Uecker 1972' 1972

501

GALERIE DE LA BÉRAUDIÈRE

MODERN

BRUSSELS

GERMAINE RICHIER (Grans 1902–1959 Montpellier) Le couple Natural bronze 142 × 75 × 75 cm (54.7 × 29.4 × 29.5 in.) Signed and numbered on the terrasse 'G. Richier, 3/6' Conceived in 1956, cast in 1963

502

Provenance Galerie Creuzevault, Paris; Private collection, France; Galerie Cazeau-Béraudière, Paris; Private collection, France; Private collection, Switzerland

MAX ERNST (Bruhl 1891–1976 Paris) Colombe blanche Oil and graphite on canvas 65 × 50 cm (25.6 × 19.6 in.) Signed and dated lower right 'max ernst, 25' 1925

Provenance Paul Eluard, Paris (1938); Roland Penrose, London; E. L. T. Mesens, London; Nierendorf Gallery, New York; Frank Perls Gallery, Beverly Hills; Burt Kleiner, Beverly Hills; Richard Feigen Gallery, New York 1970; Galleria Galatea, Turin; Andrée Strassart, Paris; Paolo Marinotti, Milan; Private collection, Switzerland

503

GALERIE BERÈS

MODERN

PARIS

MARTIN BARRÉ (Nantes 1924–1993 Paris) Untitled Oil on canvas 92 × 73 cm (36.2 × 28.7 in.) Signed and dated lower left 'MARTIN BARRE, 1956'

504

Provenance Acquired directly from the artist’s studio

SIMON HANTAI (Bia 1922–2008 Paris)

Provenance Galerie Jean Fournier, Paris

Untitled Watercolour on canvas 75 × 59.5 cm (29.5 × 23.4 in.) Signed and dated ‘S.H.71’ 1971

505

BORZOGALLERY

MODERN

AMSTERDAM

JOSEF ONGENAE (Antwerp 1921–1993 Amsterdam) Chagra III Oil on board 174.5 × 174.5 cm (68.7 × 68.7 in.) Signed, dated and titled verso 1971

506

Provenance Private collection, The Netherlands (acquired directly from the artist)

JAN SCHOONHOVEN (1914–Delft–1994)

Provenance Collection Jean Leering (former director Van Abbemuseum, Eindhoven)

R70-21 Wood, cardboard, papier-mâché, white paint 33 × 33 cm (13 × 13 in.) Signed, dated and titled verso 1970

507

GALERIE BOULAKIA

MODERN

PARIS-LONDON

JEAN DUBUFFET (Le Havre 1901–1985 Paris) Head with hurted lip Oil on masonite 60.9 × 50 cm (24 × 19.7 in.) Signed and dated lower right 'J.Dubuffet 51' Titled, signed and dated on the back 'Tête à la lèvre blessée J. Dubuffet mars 1951'

508

Provenance John Craven, Paris; Galerie de l'Elysée, Paris; Zabriskie Gallery, New York; Pace Gallery, New York; Collection J. Salie New York; Galerie Eric Franck, Geneva; Nicola Jacobs Gallery, London; Collection of Lord and Lady Jacobs acquired from the above; Private collection, Europe

JOAN MIRÓ (Barcelona 1893–1983 Palma)

Provenance Galerie Maeght, Paris; Private collection, France

Oiseau s'envolant / Flying bird Oil on board 102,5 × 74,5 cm (40.4 × 29.4 in.) Signed lower left 'Miró' 1963

509

BRAME & LORENCEAU

MODERN

PARIS

HANS HARTUNG (Leipzig 1904–1989 Antibes) T1951-30 Oil on canvas 38 × 61 cm (14.8 × 24 in.) Signed and dated lower left 'Hartung 51' 1951

510

Provenance Roberta Gonzales, Paris; Galerie de France, Paris; Private collection, Belgium

DORA MAAR (1907–Paris–1997)

Provenance Estate of the artist; Private collection, France

Portrait de profil au chapeau bleu Pastel and gouache on paper 80 × 69 cm (31.4 × 27.1 in.) Stamp on the lower right 'Vente Atelier Dora Maar' Circa 1939

511

BEN BROWN FINE ARTS

MODERN

LONDON

WASSILY KANDINSKY (Moscow 1866–1944 Paris) Grau Oil on cardboard 70 × 60 cm (27.5 × 23.6 in.) Signed 1931

512

Provenance Nina Kandinsky; Galleria del Levante, Milan; Galerie Maeght, Paris; Galerie Editions Karl Flinker, Paris; Galerie Beyeler, Basel; Galerie Gmurzynska, Cologne; Private collection, Rhineland

CLAUDE LALANNE (Paris, 1925)

Provenance Acquired directly from the artist’s studio

Pomme de Jardin (Rouge) Bronze 102 × 90 × 83 cm (40.2 × 35.4 × 32.6 in.) Edition of 8 + 4 AP (#4/8 B) Signed, dated and numbered 2011-2017

513

GALERIE ANDREA CARATSCH

MODERN

ST. MORITZ

514

JIRI GEORG DOKOUPIL

GEORGE CONDO

(Czech Republic, 1954)

(Concord, 1957)

Luxury Bubbles Acrylic and soap bubbles on canvas 200 × 145 cm (78.8 × 57.2 in.) Signed, titled and dated 2013

Dionysis Patinated bronze 23.6 × 20.8 × 19.8 cm (9.3 × 8.2 × 7.8 in.) Stamped with initials, numbered '3/3' and dated '02' 2002

Provenance Caratsch de Pury & Luxembourg, Zurich

515

CARDI

MODERN

LONDON

MICHELANGELO PISTOLETTO (Italy 1933) Uomo dal cappello giallo e verde (Man with a Yellow and Green Hat) Silkscreen on polished stainless steel 230 × 120 cm (90.6 × 47.2 in.) 1973

516

Provenance Galleria dell’Ariete, Milan; Private collection, Milan; Cardi Gallery, Milan, London

JANNIS KOUNELLIS (1936–2017)

Provenance The Artist; The Estate of Ileana Sonnabend; Cardi Gallery, Milan-London

Mensola Steel, plaster, paint, glass, tape and cloth 121.9 × 59.8 × 14.6 cm (48 × 23.5 × 5.8 in.) 1980

517

CONNAUGHT BROWN

MODERN

LONDON

ALBERT MARQUET (1875–1947) Porquerolles Oil on canvas 60 × 81 cm (23.6 × 31.8 in.) Signed lower left 1938

518

Provenance Private collection, Paris; Private collection, New York

JEAN HELION (1904–1987)

Provenance John Ashbery, New York (acquired directly from the artist)

Homme au chapeau Oil on canvas 58.4 × 43.8 cm (23 × 17.3 in.) Signed and dated verso 'Hélion va 43' 1943

519

CORTESI GALLERY

MODERN

LONDON-MILAN-LUGANO

HEINZ MACK (Lollar, 1931) Erzengel Michael und Gabriel (Archangel Michael and Gabriel) Aluminum, acrylic glass and stainless steel 181.4 × 141.6 × 20.8 cm (71.4 × 55.7 × 8.2 in.) Signed and dated lower right corner 1972

Provenance Burda Collection, Baden Baden; Galerie Kronsbein, Munich

WALTER LEBLANC

Part 2 and 3 are signed and dated on the reverse 'Walter Leblanc 1977' 1976–1977

(Antwerp 1932–1986 Silly) Twisted Strings 130C X 450 Cotton strings and white latex on cotton canvas, rounded corners 130 × 130 cm each (51.2 × 51.2 in.) Total size 130 × 390 cm (51.2 × 153.6 in.) Part 1 is signed and dated on the reverse 'Walter Leblanc 1976–1977'

Provenance Galerie Denise René, Paris

Detail

520

521

MASSIMO DE CARLO

MODERN

MILAN

522

PAOLO PIVI

PIETRO ROCCASALVA

(Milan, 1971)

(Modica, 1970)

I wish you can touch me Natural pearls 26 × 26 × 19.5 cm (10.3 × 10.3 × 7.6 in.) 2017

From Just Married Machine Acrylic on canvas 194.6 × 160.1 × 6 cm (76.6 × 63 × 2.3 in.) 2018

523

PATRICK DEROM GALLERY

MODERN

BRUSSELS

EVELYNE AXELL (Namur 1935–1972 Zwijnaarde) La fille de feu Enamel on panel and cut out clartex 120 × 110 cm (47.2 × 43.3 in.) Signed lower center Circa 1967

524

Provenance Acquired from the family of the artist

NIKI DE SAINT PHALLE (Neuilly-sur-Seine 1930–2002 La Jolla)

Provenance Alexander Iolas Gallery, New York; Private collection, since 1964

Femme accouchement type Collage, pastel, felt pen, biro and pencil on paper 74.7 × 59.5 cm (29.4 × 23.4 in.) Signed on the left leg 1964

525

GANA ART

MODERN

SEOUL

LEE UNG NO (Korea, 1904–1989) People Ink on Korean paper 70 × 102.5 cm (27.6 × 40.4 in.) Signed and dated lower right 1983

526

Provenance Private collection, Korea

LEE UFAN (Korea, 1936)

Provenance Private collection, Japan (acquired from the artist); Private collection, Korea

From Line No.790186 Oil and mineral pigment on canvas 130.3 × 162.2 cm (51.3 × 63.9 in.) Signed and titled on the reverse 1979

527

THOMAS GIBSON FINE ART

MODERN

LONDON

ALFRED SISLEY (Paris 1839–1899 Moret-sur-Loing) La route des Verrières Oil on canvas 46 × 61 cm (18.2 × 24 in.) Signed and dated lower right 'Sisley '72' 1872

528

Provenance Galerie Durand-Ruel, Paris; Monsieur PicqVéron, Ermont-Eaubonne, 1892; Private collection, Germany; Alex Reid & Lefevre, London, 1930; G. Söderland, Stochholm, 1938; Bignou Gallery, New York, 1942; Private collection, New York; Wildenstein & Co., Inc., New York; Acquired from the above by the present owner; Sotheby’s London, 2014 [lot 42]; Private collection, UK

EDOUARD VUILLARD (Cuiseaux 1868–1940 La Baule) Sous le portique Oil on board 61 × 48.2 cm (24 × 19 in.) Signed lower right 'E. Vuillard' Circa 1899–1900

Provenance Galerie Bernheim-Jeune, Paris (acquired from the artist on 14th October 1905); Prince Alexandre de Wagram, Paris, 1905; Jean Laroche, Paris; Jacques Laroche, Paris, 1937; Pierre Berès, Paris, 1960; Sale Sotheby's, London, 30th November 1993, lot 12; Private collection, New York; Sotheby's London, 2004, lot 32; Private collection, UK

529

GALERIE GMURZYNSKA

MODERN

NEW YORK

BART VAN DER LECK (Utrecht 1876–1958 Blaricum) Design for interior decoration for Metz & Co. Pencil and gouache on parchment paper 67.5 × 77 cm (26.6 × 30.3 in.) Circa 1934

530

Provenance Collection of Henk de Leeuw

JOAN MIRO (Barcelona 1893–1983 Palma) Métamorphose Pencil, India ink, watercolor, decal and collage on paper 46 × 62 cm (18.1 × 24.4 in.) Signed lower center 'Miró' Signed, titled and dated on the reverse

'Joan Miró/'métamorphose'/23/3-4/4/36' March 23–April 4, 1936 Provenance Pierre Matisse Gallery, New York; Pierre-Noël Matisse, Paris

531

GALERIE KARSTEN GREVE AG

MODERN

ST. MORITZ-COLOGNE-PARIS

JOHN CHAMBERLAIN (Rochester 1927–2011 New York) Ramfeezled Shiggers Painted and chromium plated steel 269.2 × 182.9 × 139.7 cm (106 × 72 × 55 in.) 1991

532

Provenance The Artist; Pace Gallery, New York; Private collection, New York (acquired from the above in 1991)

PIERRE SOULAGES (Rodez,1919)

Provenance Directly acquired from the artist

Peinture 213 x 181 cm, 4 juin 2008 Acrylic on canvas, triptych 213 × 181 cm (83.8 × 71.3 in.) Signed, titled, dated and inscribed verso 'SOULAGES “Peinture, 213 × 181 cm“ triptyque-04.06.08' 2008

533

GALERIE HAAS

MODERN

ZÜRICH

JOAN MIRO (Barcelona 1893–1983 Palma) La boulangère Bronze 102 × 38 × 39 cm (40.2 × 15 × 15.4 in.) Signed, with foundry stamp 'Fundicio Parellada, Barcelona' Edition 3 of 6 1970

534

Provenance Galerie Lelong, Paris

RICHARD OELZE (Magdeburg 1900–1980 Gut Posteholz near Hameln) Lasmander Oil on canvas 80 × 100.5 cm (31.5 × 39.6 in.) Signed lower right 1959

535

HAMMER GALLERIES

MODERN

NEW YORK

FERNAND LÉGER (Argetan 1881–1955 Gif-sur-Yvette) Nature morte (Définitif) Oil on canvas 64.8 × 50 cm (25.5 × 19.6 in.) Signed lower right 'F. LÉGER' Signed, dated and titled on the reverse 'F. LÉGER 24 NATURE MORTE' 1924

536

Provenance Galerie de L'Effort moderne (Léonce Rosenberg), Paris; Douglas Cooper, London and Argilliers (by December 1937); William A. McCarty-Cooper, London and Los Angeles (by descent from the above); John McCarty, Miami (by descent from the above, until 2011); Private collection, Europe (2011–2015); Acquired by the present owner in 2015

JEAN DUBUFFET (Le Havre 1901–1985 Paris)

Provenance Galerie Baudoin Lebon, Paris (no. BL 7107); Acquired by the present owner in 1999

Site aléatoire avec 2 personnages Acrylic and collage on paper laid down on canvas 100 × 67 cm (39.4 × 26.4 in.) Signed and dated lower right 'J.D. 82' June 13, 1982

537

GALERIE HENZE & KETTERER

MODERN

WICHTRACH/BERNE & RIEHEN/BASEL

ERNST LUDWIG KIRCHNER (Aschaffenburg 1880–1938 Davos) Porträt Hugo (Hugo Biallowons) Oil on canvas 60 × 50 cm (23.6 × 19.7 in.) With the estate-stamp and the numbering 'KN-Be/Ba 5' on the verso Berlin, 1914

538

Provenance Kirchner-Estate (Davos 1938, Kunstmuseum Basel 1946, Stuttgarter Kunstkabinett Roman Norbert Ketterer 1954)

ERNST LUDWIG KIRCHNER (Aschaffenburg 1880–1938 Davos) Offizier und Kellnerin (Officer and Waitress) Oil on canvas 95 × 82 cm (37.4 × 32.3 in.) With the estate-stamp and the numbering 'KN-Be/Bi 6' on the verso Berlin, 1915

Provenance Kirchner Estate (Davos 1938, Kunstmuseum Basel 1946, Stuttgarter Kunstkabinett Roman Norbert Ketterer 1954)

539

GALERIE MAX HETZLER

MODERN

BERLIN-PARIS-LONDON

EDMUND DE WAAL (Nottingham, 1964) seeing things Five porcelain vessels and gilded porcelain shards on a gilded aluminium shelf 17 × 20 × 10 cm (3.7 × 7.6 × 4 in.) 2018

540

Provenance Directly from the artist

EDMUND DE WAAL (Nottingham, 1964)

Provenance Directly from the artist

mnemion, I Three porcelain vessels, porcelain shards, one Cor-Ten steel sheet and one gilded porcelain tile in an aluminium and plexiglass vitrine 84 × 63 × 13 cm (33 × 24.7 × 5.1 in.) 2018

541

GALERIE HOPKINS

MODERN

PARIS

EDOUARD VUILLARD (Cuiseaux 1868–1940 La Baule) Lucy Hessel sleeping on a Couch Glue based distemper on paper mounted on canvas 57 × 57.3 cm (22.4 × 22.6 in.) Stamped with signature lower right 'E Vuillard' Circa 1920

542

Provenance Estate of the artist; Renou et Poyet, Paris; Arthur Tooth & Sons, Ltd., London; Trustees of Helen Gertrude Chester Beatty Will Trust, Dublin, acquired November 1955; Sale Sotheby's London, 25 June 1991, lot no. 12; Galerie Hopkins-Thomas-Custot, Paris; Private collection acquired 1994

JEAN ARP (Strasbourg 1886–1966 Bâle) Rencontre dans l'oeuf I Painted wood relief laid down on panel in the artist's frame 45.5 × 43 cm (17.9 × 16.9 in.) Signed, dated and dedicated 'Arp Pour mes amis Lejwa en souvenir de leur visite à Meudon en 1959' (on the artist's label

affixed on the reverse); Signed and dated again and titled 'Arp Rencontre dans l'oeuf 1959' (on another label affixed to the reverse) 1959 Provenance Arthur Chalette Lejwa, New York (gift from the artist, 1959); Israel Museum Jerusalem (bequest of Arthur Chalette Lejwa, 1999)

543

GALLERY HYUNDAI

MODERN

SEOUL

CHUNG SANG-HWA (Yeongdeok, 1932) Untitled 76-8 Acrylic on canvas 227 × 181 cm (89.3 × 71.3 in.) 1976

544

Provenance Gallery Hyundai, Seoul; Private collection, Korea

LEE UFAN (Haman, 1936)

Provenance Directly from the artist

Correspondance Porcelain and cobalt Diameter 58.5 cm (23 in.) 2017

545

JASKI GALLERY

MODERN

AMSTERDAM

546

CONSTANT

PIERRE ALECHINSKY

(1920–Amsterdam–2005)

(Brussels, 1927)

L’amour s’envole Crayon, ink and watercolor on paper 41.4 × 32.2 cm (16.3 × 12.7 in.) Signed and dated lower left 1948

Astre et désastre Acrylic on paper marouflé on canvas 138 × 154 cm (54.3 × 60.6 in.) Signed lower right 1969

547

TINA KIM GALLERY/KUKJE GALLERY

MODERN

NEW YORK-SEOEL

ANISH KAPOOR (Mumbai, 1954) Mirror (Brandy Wine to Laser Red mix2 to Brandy Wine) Stainless steel and lacquer 131 × 131 cm (51.6 × 51.6 in.) Unique 2018

548

Provenance Acquired directly from the artist

HA CHONG-HYUN (Sancheong, 1935)

Provenance Acquired directly from the artist

Conjunction 16-385 Oil on hemp cloth 162 × 130 cm (63.8 × 51.3 in.) 2016

549

LANDAU FINE ART

MODERN

MONTREAL

ALBERTO GIACOMETTI (Borgonovo 1901–1966 Chur) Caroline Oil on canvas 98 × 73 cm (39.5 × 28.8 in.) 1963

550

Provenance Private collection, France; Private collection, Switzerland; Galerie Beyeler, Basel

FERNAND LÉGER (Argentan 1881–1955 Gif-sur-Yvette) Le grand déjeuner Oil on canvas 65.2 × 92 cm (25.8 × 36.2 in.) 1921

Provenance Galerie l’Effort Moderne (Léonce Rosenberg), Paris; Jacques Zoubaloff, Paris; Private collection, France; Galerie Beyeler, Basel; Private collection, USA; Stephen Hahn, New York; Private collection, France

551

SIMON LEE GALLERY

MODERN

LONDON

JEAN-MICHEL BASQUIAT (Brooklyn 1960–1988 New York) Vincent Van Gogh in a Wax Museum in Amsterdam Oilstick on paper 41.2 × 29.5 cm (16.2 × 11.6 in.) 1985

552

Provenance Robert Miller Gallery, New York; Private collection, New York; Christie's London, 7 March 2018, lot 118; Private collection, London

PABLO PICASSO (Malaga 1881–1973 Mougins) Tete de femme (Dora Maar) Gouache on paper 40.8 × 30.6 cm (16 × 12 in.) Signed upper left 'Picasso' Dated on the reverse '22.1.42' 1942

Provenance Galerie Simon, Paris; Galleria La Bussola, Turin; Private collection, Italy; Christie’s, London, 28 June 2017, lot 196; Acquired from the above by the present owner

553

DAVID LÉVY & ASSOCIÉS

MODERN

BRUSSELS-PARIS

MAURICE ESTÈVE (1904–2001) Montavent Oil on canvas 100 × 73 cm (39.4 × 28.7 in.) Signed and dated lower left 'Estève 63' 1963

554

Provenance Neue Galerie, Zürich; Private collection, Europe

LOUIS ANQUETIN (1861–1932)

Provenance Filloux collection, Nice; Private collection, Paris

Juliette Vary Gouache on paper 79.5 × 49.5 cm (31.3 × 19.5 in.) Signed lower right 'L. Anquetin' Circa 1890

555

LUDORFF

MODERN

DUSSELDORF

OTTO MUELLER (Liebau/Riesengebirge 1874– 1930 Obernigk/Breslau) Russisches Mädchenpaar Distemper on burlap, mounted on wood 90.5 × 71 cm (35.6 × 28 in.) Signed with the initials 'O.M.' 1919

556

Provenance The artist's studio; Städtisches Museum, Stettin (1928); 1937 removed by the Nazis as degenerate art (NS-Nr. 7581); Karl Buchholz, Berlin (purchased in 1939); Buchholz Gallery Curt Valentin, New York (since 1939); Collection Morton D. May (purchased in 1951); Thence by descent

ANSELM KIEFER (Donaueschingen, 1945) Die Ordnung der Engel Paint, clay, ash, chalk, iron, cotton and linen dresses on panel 285 × 140 cm (112.3 × 55.1 in.) Titled along the upper edge 2007

Provenance White Cube, London; Private collection, Berlin; Private collection; Sotheby's London, 15 February 2012, lot 55; Private collection Germany; Acquired from the above by the present owner

557

GALLERIA DARTE MAGGIORE G.A.M.

MODERN

BOLOGNA-MILAN-PARIS

GIORGIO MORANDI (1890–Bologna–1964) Natura morta Oil on canvas 20 × 30 cm (7.8 × 11.8 in.) Signed upper centre 'Morandi' Bologna, 1946

558

Provenance G. Raimondi Collection, Bologna; Private collection, Bologna

PAUL DELVAUX (Antheit 1897–1994 Furnes) Le Cloitre Oil in board 50 × 130 cm (19.6 × 51.2 in.) Signed and dated lower right 'P. Delvaux 2–57' Belgium, 1957

Provenance Galerie Krugier, Geneva; Mr. Hiroshi Ishizuka, The Ishizuka Research Instutute Ltd; Sotheby's, London; Private collection, London

559

MARUANI MERCIER

MODERN

BRUSSELS-KNOKKE

GEORGE CONDO (Concord, 1957) Toy Soldier Oil on canvas 193 × 92 cm (76 × 36.2 in.) Signed on the back 1992

560

Provenance Galeria Salvador Riera, Barcelona; Private collection, Barcelona

RON GORCHOV (Chicago, 1930)

Provenance Artist studio

Relic Oil on linen 167.5 × 140 × 32 cm (66 × 55 × 12.6 in.) Signed on the back 2018

561

THE MAYOR GALLERY

MODERN

LONDON

FRANCOIS MORELLET (1926–Cholet–2016) 4 trames de tirets 0° 45° 90° 135° (non quinconce) Silkscreen on wood 80 × 80 cm (31 × 31 in.) Signed, titled and dated on the reverse 1974

562

Provenance Galerie Swart, Amsterdam; Private collection, The Netherlands; Christie’s Amsterdam, 2000; Galerie ArtAffairs, Amsterdam; Private collection, France

WOJCIECH FANGOR (1922–Warsaw–2015) M70 Oil on canvas 132 × 132 cm (52 × 52 in.) Signed, dated and titled on reverse New Jersey, 1966

Provenance Collection Mrs Magdalena Fangor, Madison, New Jersey; Galerie Chalette, New York; Dane W. Akers, Chicago; Private collection, Los Angeles; Los Angeles Modern Auctions, 3 December 2006, lot 389; Private collection, Ohio

563

MAYORAL

MODERN

BARCELONA

ANTONI TÀPIES (1923–Barcelona–2012) Oval gris-morat Mixed media on canvas 162 × 162 cm (63.7 × 63.7 in.) Signed and dated on the reverse 1958

564

Provenance Martha Jackson Gallery, New York; Private collection, Milan

JOAN MIRO (Barcelona 1893–1983 Palma)

Provenance Galeria Greca, Barcelona; James Goodman Gallery, New York

Painting Oil on canvas 65 × 54 cm (25.6 × 21.2 in.) Signed lower left 'Miró' Signed on the reverse 'Miró' 1970

565

MAZZOLENI

MODERN

LONDON-TURIN

LUCIO FONTANA (Rosario Santa 1899–1968 Varese) Concetto Spaziale Oil, mixed media and glass on canvas 60.5 × 50 cm (23.8 × 19.7 in.) Signed and dated on the reverse 'l.fontana / 56' 1956

566

Provenance E. Moratti, Milan; Galleria Bergamini, Milan; Studio Casoli, Milan

GIORGIO DE CHIRICO (Volos 1888–1978 Rome)

Provenance Ferraris Collection, Valenza; Private collection, Italy

Ettore e Andromaca Oil on canvas 80 × 60 cm (31.5 × 23.6 in.) Signed lower left 1959

567

FERGUS MCCAFFREY

MODERN

NEW YORK

BARRY X BALL (California, 1955) Purity Translucent white Iranian onyx, stainless steel Overall 175.3 × 41.9 × 30.5 cm (69 × 16.5 × 12 in.) 2008–2018

568

Provenance Acquired directly from the artist

BARRY X BALL (California, 1955)

Provenance Acquired directly from the artist

Pietà Translucent white Iranian onyx, stainless steel, ABS plastic Overall 305.8 × 151.1 × 151.1 cm (120.4 × 59.5 × 59.5 in.) 2011–2018

569

KAMEL MENNOUR

MODERN

PARIS

JAMES LEE BYARS (Detroit 1932â&#x20AC;&#x201C;1997 Cairo)

Provenance Artist studio; Michael Werner Gallery, UK

Eros Marble Height 20 cm (7.9 in.) Diameter 40 cm (15.7 in.) 1990

570

571

GALERIE LE MINOTAURE

MODERN

PARIS

572

JOAN MIRÓ

ÉTIENNE BÉOTHY

(Barcelona 1893–1983 Palma)

(Heves, Hungary 1897–1961 Paris)

Composition Oil, scratching and gouache on paper mounted on canvas 50 × 65 cm (19.7 × 25.6 in.) 1937

Homme supérieur. Opus 032 Original plaster Height 260 cm (102.4 in.) 1928

573

RICHARD NAGY LTD.

MODERN

LONDON

574

RUDOLF SCHLICHTER

EGON SCHIELE

(Calw 1890–1955 Munich)

(Tulln an der Donau 1890–1918 Vienna)

Speedy Watercolour and gouache on paper 76 × 44 cm (30 × 17.3 in.) Circa 1938

Adele (Seated Woman with Crossed Legs) Crayon on paper 30 × 44.8 cm (11.8 × 17.7 in.) 1917

Provenance Heinrich Rieger; Robert Rieger; Galerie St Etienne, New York; Private collection, USA

575

OSBORNE SAMUEL

MODERN

LONDON

HENRY MOORE (Castleford 1898–1986 Much Hadham) Reclining Figure Bronze 8.3 × 19.1 × 7 cm (3.3 × 7.5 × 2.7 in.) Edition of 7 Conceived and cast in 1945

576

Provenance Louis and Charlotte Bergman, New York and Jerusalem (probably acquired from the artist, by 1967); Bequest to the Israel Museum, Jerusalem, 2005; Private Collection, UK

LYNN CHADWICK (London 1914–2003 Gloucestershire)

Provenance Private collection, USA, late 1950s; Private collection, USA

Three Standing Figures Iron and composition 53 × 31 × 31 cm (20.8 × 12.2 × 12.2 in.) Unique 1955

577

PACE GALLERY

MODERN

NEW YORK

MARK TOBEY (Centerville 1890–1976 Basel) White Tablet Tempera on board 58.4 × 44.5 cm (23 × 17.5 in.) 1959

578

Provenance Mr. and Mrs. Sheffield Phelps, Seattle; Private collection, New York

LOIE HOLLOWELL (Woodland, 1983)

Provenance Acquired from the artist

Stacked Lingams Grey, pink and yellow oil paint, acrylic medium, sawdust and high density foam on linen mounted on panel 71.1 × 53.3 × 5.1 cm (28 × 21 × 2 in.) 2018

579

ALMINE RECH

MODERN

PARIS-BRUSSELS-LONDON-NEW YORK

AGUSTÍN CÁRDENAS (Matanzas 1927–2001 Havana) Geod Ebony 55 × 19.5 × 14 cm (21.6 × 7.6 × 5.5 in.) Signed and dated by the Artist ‘AC 77’ 1977

580

Provenance The Estate of the artist

TOM WESSELMANN (Cincinnati 1931–2004 New York)

Provcenance The Estate of the artist

Face #5 Oil on canvas 130.8 × 190.5 cm (51.5 × 75 in.) Signed lower right edge 1967–68

581

THOMAS SALIS

MODERN

SALZBURG

MARINO MARINI (Pistoia 1901–1980 Viareggio) Cavallo e cavaliere Mixed media, crayon, ink and tempera on paper 44 × 32 cm (17.3 × 12.6 in.) Dated and signed 1946

582

Provenance Collection Hermann Haller (1889–1959), Zurich; Private collection, Switzerlandartist's gift; Private collection, Europe

SAM FRANCIS (San Mateo 1923–1994 Santa Monica)

Provenance Minami Gallery, Tokyo; Japanese Museum, Japan

New Gold Home Gouache and watercolour on paper 60.9 × 49.2 cm (24 × 19.4 in.) Initialled, titled, inscribed and dated on verso ‘SF New Gold Home Paris 1952’

583

SPRÜTH MAGERS

MODERN

BERLIN-LONDON-LOS ANGELES

ROSEMARIE TROCKEL (Schwerte, 1952) Marry Mood Ceramic, glazed 105 × 90 × 18 cm (41.4 × 35.4 × 7 in.) Unique 2016

584

Provenance Directly from the artist

ROSEMARIE TROCKEL (Schwerte, 1952)

Provenance Directly from the artist

Made in China Ceramic, glazed 38 × 40 × 33 cm (15 × 15.8 × 13 in.) Unique 2008

585

GALERIA SUR

MODERN

LA BARRA, PUNTA DEL ESTE

JOSÉ PEDRO COSTIGLIOLO (1902–Montevideo–1985) Rectángulos y Cuadrados CLX Oil on canvas 120 × 120 cm (47.3 × 47.3 in.) Signed 'Costigliolo-70' 1970

586

Provenance State of the family

JOAQUÍN TORRES GARCÍA (1874–Montevideo–1949)

Provenance Private collection, Montevideo

Puerto Metafísico Oil on canvas 190 × 275 cm (75.8 × 108.3 in.) Signed 'JTG 47' 1947

587

GALERIE THOMAS

MODERN

MUNICH

EMIL NOLDE (Schleswig 1867–1956 Seebüll) Autumn Sea XII (Blue Water, Orange Clouds) Oil on jute 74.3 × 90 cm (29.2 × 35.2 in.) Signed lower right inscribed on stretcher 'Emil Nolde: Herbstmeer XII' 1910

588

Provenance I. Feitler, Frankfurt, before 1930, emigrated to Brasil in 1936); Prof. Bettina BjorkstenOrsech (née Feitler), USA, by descent from the above, until 1972; Private collection, Germany; Fischer Fine Art, London, 1973, no. 50; Dresdner Bank, Frankfurt, 1976; Galerie Dr. Rathke, Frankfurt

ALEXANDER CALDER (Lawnton 1898–1976 New York) Untitled Sheet metal and wire, painted 38.1 × 111.7 × 111.7 cm (15 × 44 × 44 in.) Signed with monogram and dated on the largest red element 1966

Provenance Galerie Maeght, Paris; Galerie Marconi, Milan, 1979; Private collection, acquired from the above in 1979; Private collection, USA, since 2013

589

TORNABUONI ART

MODERN

FLORENCE

GIORGIO DE CHIRICO (Volos 1888–1978 Rome) Le muse inquietanti Oil on canvas 97 × 66 cm (38.2 × 26 in.) Signed lower right 'g. de Chirico' Late 1950s

590

Provenance Collezione Mario Rimoldi, Cortina d’Ampezzo; Galleria d’Arte Farsetti, Prato

ARNALDO POMODORO (Morciano di Romagna, 1926)

Provenance The artist's studio

Piramide Bronze 70 × 65 × 65 cm (27.6 × 25.6 × 25.6 in.) Signed on the base 'Arnaldo Pomodoro 06 p.a.' Edition of 6 (+2 A.P.) 1987

591

LEON TOVAR GALLERY

MODERN

NEW YORK

CARMELO ARDEN QUIN (Rivera 1913–2010 Savigny-sur-Orge) Sin título, escultura en madera Wood 40 × 10 cm (15.8 × 3.9 in.) Circa 1948–49

592

Provenance From the artists estate

JESÚS RAFAEL SOTO (Ciudad Bolivar 1923–2005 Paris) 1 Brique et 15 Noirs Mix media, acrylic and wood 108 × 108 × 16 cm (42.5 × 42.5 × 6.3 in.) Signed and dated on reverse 1964

Provenance Kootz Gallery, New York; Edificio Galipán, Caracas; Private collection, New York

593

GALERIE PATRICE TRIGANO

MODERN

PARIS

SÉRAPHINE LOUIS CALLED SÉRAPHINE DE SENLIS (1864–1942) Pommier Oil on canvas 146 × 114 cm (57.5 × 44.8 in.) Signed lower right 'S.Louis' Circa 1928–1930

594

Provenance Collection Wilhelm Uhde, Paris

GEORGES BRAQUE (Argenteuil 1882–1963 Paris) Carafe, raisin, citron Oil on canvas 31.1 × 65.1 cm (12.3 × 25.6 in.) Signed lower right 'G Braque' 1924

Provenance Dr. G.F. Reber, Lausanne, 1927; A.E. Van Saher, New York; Dalzell Hatfield Galleries, Los Angeles; Norton Simon, Los Angeles; sale, Sotheby Parke Bernet, Inc., New York, 1973, lot 10; Waddington Galleries Ltd, London; Galerie Rosengart, Lucerne, 1974; Dr. B. Sprengel, Hanover,1975; Anon. sale, Sotheby Parke Bernet & Co., London, 1981, lot 59; Acquired by the late owner, ca. 1985

595

GALERIE GEORGES-PHILIPPE & NATHALIE VALLOIS

MODERN

PARIS

GILLES BARBIER (Marseilles, 1965)

Provenance Artist's studio

The Treasure Room II Gouache on paper, 4 panels 140 × 250 cm (55.2 × 98.5 in.) (each panel) 300 × 520 cm (118.1 × 204.7 in.) (global dimensions, framed) 2018

596

597

VEDOVI GALLERY

MODERN

BRUSSELS

598

CY TWOMBLY

JOSEF ALBERS

(1928–2011)

(1888–1976)

Dionyso Pencil, wax crayon on paper 50 × 70.5 cm (19.7 × 27.8 in.) 1963

Homage to the Square Oil on masonite 40.6 × 40.6 cm (16 × 16 in.) 1968

599

GALERIE VON VERTES

MODERN

ZÜRICH

ALEXEJ VON JAWLENSKY (Torzjok 1864–1941 Wiesbaden) Mystischer Kopf: Erde Oil on canvasboard 35.7 × 29.6 cm (14.1 × 11.7 in.) Signed lower left 'A. Jawlensky'; Verso signed, dated and titled 'Nach dem Kopf "Erde" 19 A. v. Jawlensky' 1919

600

Provenance Galerie Egon Gunther, Mannheim); Galerie Otto Ralfs, Braunschweig; Galerie Hella Nebelung, Dusseldorf; Collection Karl Stroher (by 1954);Lempertz, 18 June 1962, lot 283; Private collection, Baden-Wurttemberg); Private collection, Germany (by descent from the above); Private collection, Germany (by descent from the above) Private collection, Europe

JEAN DUBUFFET (Le Havre 1901–1985 Paris) Homme au Chapeau Oil, gouache and Swedish putty on paper mounted on board 34 × 27 cm (13.4 × 10.6 in.) Signed, dated and located upper left 'J. Dubuffet New York 1951' New York, 1951

Provenance Collection Jacques Ulmann, Paris; Collection R. A. Augustinci, Paris; David B. Findlay Galleries, New York; Michel Cohen-Galerie Pentimento, Los Angeles; Cohen Gallery, New York; Elkon Gallery, New York; Private collection, USA; Christie's, London, 24 June 2004, lot 12; Private collection, USA; Private collection, Europe (acquired on 17 May 2018)

601

WADDINGTON CUSTOT

MODERN

LONDON

BARRY FLANAGAN (Prestatyn 1941–2009 Ibiza) Hare on Globe Form Bronze 35.5 × 14.3 × 11.5 cm (14 × 5.6 × 4.5 in.) Stamped with the artist's monogram, cast and edition number '9/12' and foundry mark 'AB' on base, left–hand side of hare

602

Cast edition 9/12 plus 1 AC 1993

JEAN DUBUFFET

Provenance Waddington Galleries, London (acquired directly from the artist); Private collection, Hong Kong (purchased from the above in 1993)

La chasse au biscorne (EG 77) 19 août 1963 Gouache on paper (with 7 pieces of collage) 57.7 × 75.2 cm (22.7 × 29.6 in.)

(Le Havre 1901–1985 Paris)

Signed and dated lower left 'J. Dubuffet I 63', inscribed on reverse 'EG 77 / La chasse au biscorne / aout 1963' 1963 Provenance Robert Elkon Gallery, New York; Collection Thomas C. Adler, Cincinnati, Ohio (acquired from the above c.1964–5); Dr. David Adler, USA (by descent)

603

VAN DE WEGHE

MODERN

NEW YORK

FRANK STELLA (Malden, 1936) Protractor Variation XIX Acrylic on canvas 152.5 × 305 cm (60 × 120 in.) Signed and dated on the overlap 'F Stella '68' 1968

604

Provenance Lawrence Rubin, New York; Mrs. Charles W. Engelhard; Private collection, USA

PABLO PICASSO (Malaga 1881–1973 Mougins)

Provenance Estate of the artist; Jacqueline Picasso; Catherine Hutin; Private collection, USA

Tête de Femme Oil on canvas 130 × 97 cm (51.1 × 38.1 in.) Signed on the reverse 1971

605

ALON ZAKAIM FINE ART

MODERN

LONDON

PABLO PICASSO (Málaga 1881–1973 Mougins) Polaire Brush, pen and India ink on paper 49.4 × 32.1 cm (19.6 × 12.5 in.) Signed, dated and inscribed upper right ‘Picasso 1901 Ruiz’ and titled lower left ‘Polaire’ 1901

606

Provenance Galerie Percier, Paris; Private collection, France (acquired from the above, 1934– 1935); Sale: Christie’s Paris, 11 April 2013, lot 41; Private collection, USA (acquired at the above sale)

KEES VAN DONGEN (Rotterdam 1877–1968 Monte Carlo) Cavaliers dans les bois Oil on canvas 41 × 33 cm (16.2 × 13 in.) Signed lower left 'van Dongen’

Provenance Madame Boris Kniaseff; Knoedler & Co, New York (acquired 30 July 1953, stock no. A 5405); J.H. Griffin (acquired on 4 Nov. 1953); Sale: Galerie Charpentier Paris, 9 Dec. 1959, no. 27 (ill. pl. X, titled Les Cavaliers au Bois de Boulogne); Private collection, France; Private collection, France (bequeathed by the above); Thence by descent

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BRUEGEL

ET SON TEMPS · EN ZIJN TIJD 20 FEB. – 23 JUNE ’19

BERNARD VAN ORLEY PRINTS in the Age of BRUEGEL PALAIS DES BEAUX-ARTS BRUXELLES PALEIS VOOR SCHONE KUNSTEN BRUSSEL Rue Ravensteinstraat 23 1000 Brussels +32 2 507 82 00 / bozar.be

Bruegel et son temps_TEFAF_200x250mm.indd 1

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1/25/19 11:28 AM

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EXHIBITOR LIST

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A A. AARDEWERK ANTIQUAIR JUWELIER The Hague T +31 70 324 09 87 M +31 6 54 77 33 37 E silver@aardewerk.com I www.aardewerk.com Antique Dutch silver and antique and period jewellery Stand 240 pp. 164–165 DIDIER AARON & CIE. Paris-New York-London T +33 1 4742 4734 M +33 6 3452 8357 E contact@didieraaron-cie.com I www.didieraaron.com Old master and 19th-century paintings, drawings and sculpture Stand 314 pp. 50–51 AGNEWS London T +44 20 7491 9219 E anna.cunningham @agnewsgallery.com I www.agnewsgallery.com European works of art and sculpture, 19th- and 20th-century paintings, old master paintings Stand 346 pp. 52–53 A LA VIEILLE RUSSIE New York T +1 212 752 1727 E alvr@alvr.com I www.alvr.com Jewellery, Fabergé, Russian works of art, gold boxes, and vertu Stand 110 pp. 166–167 KUNSTGALERIJ ALBRICHT Oosterbeek-London T +31 26 361 1876 M +31 6 5427 2227 E info@albricht.nl I www.albricht.nl 19th- and 20th-century paintings Stand 360 pp. 54–55

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STÉPHANE CLAVREUIL RARE BOOKS London T +44 79 8325 2200 E stephane@clavreuil.co.uk First editions, incunabula, manuscripts, medicine, natural history, Renaissance, travel, philosophy, history of ideas, science, geographical discoveries Stand 721 pp. 458–459 GALERIE ERIC COATALEM Paris T +33 1 4266 1717 M +33 6 0916 6424 E coatalem@coatalem.com I www.coatalem.com Old master paintings and drawings Stand 347 pp. 82–83 COLNAGHI London-Madrid T +44 20 7491 7408 M +44 74 4793 4008 E info@colnaghi.com I www.colnaghi.com Old master paintings, ancient art, European works of art and sculpture Stand 306 pp. 84–85 CONNAUGHT BROWN London T +44 20 7408 0362 M +44 779 860 0380 E art@connaughtbrown.co.uk I www.connaughtbrown.co.uk Impressionists, Post-Impressionists and modern masters Stand 446 pp. 518–519 CORTESI GALLERY London-Milan-Lugano T +44 207 493 6009 M +44 74 4708 4742 E ottavia@cortesigallery.com I www.cortesigallery.com European Postwar abnd contemporary art Stand 505 pp. 520–521 DANIEL CROUCH RARE BOOKS London-New York T +44 20 7042 0240 M +44 776 675 1391 E info@crouchrarebooks.com I www.crouchrarebooks.com Books, maps and manuscripts Stand 264 pp. 204–205

GALLERY CYBELE Paris T +33 1 4354 1626 M +33 6 0303 2945 E cybele5@wanadoo.fr I www.galeriecybele.com Ancient art Stand 435 pp. 360–361

D DAATSELAAR FINE ART & ANTIQUES Zaltbommel T +31 418 712 300 M +31 6 5439 4108 E info@daatselaar.com I www.daatselaar.com General antiques dealer Stand 164 pp. 206–207 DANSK MØBELKUNST Copenhagen-Paris T +45 33 32 3837 M +45 20 83 3536 E info@dmk.dk I www.dmk.dk Nordic furniture and decorative arts from 1900 onwards Stand 607 pp. 416–417 DAXER & MARSCHALL KUNSTHANDEL Munich T +49 89 28 0640 M +49 172 890 8640 E info@daxermarschall.com I www.daxermarschall.com 19th- and 20th-century paintings, old master paintings and sculpture Stand 332 pp. 86–87 DAY AND FABER London T +44 20 7629 2991 M +44 78 50 30 8489 E jf@dayfaber.com I www.dayfaber.com Old master and 19th-century drawings, oil sketches, 20th-century master drawings Stand 701 pp. 460–461 MASSIMO DE CARLO Milan-London-Hong Kong T +39 02 7000 3987 E milano@massimodecarlo.com I www.massimodecarlo.com Modern and contemporary European paintings, drawings and sculpture, American paintings and photography from 1870 onwards Stand 443 pp. 522–523

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GALERIE DELALANDE Paris T +33 1 4260 1935 M +33 6 6090 2159 E domdelalande@hotmail.com I www.delalande-antiques.com European works of art and sculpture Stand 138 pp. 208–209

DICKINSON London-New York T +44 20 7493 0340 E john@simondickinson.com I www.simondickinson.com Old masters, Impressionist and Modern, Post-War and contemporary Stand 402 pp. 90–91

DEMISCH DANANT New York T +1 212 989 5750 E info@demischdanant.com I www.demischdanant.com European paintings, drawings and sculpture, modern and contemporary design, furniture and decorative arts Stand 610 pp. 418–419

DIDIER LTD London T +44 20 7221 1573 M +44 79 7380 0415 E info@didierltd.com I www.didierltd.com Modern and contemporary design, sculpture and works of art (including jewelry, textiles, arms and armor, clocks, ceramics, glass and silver) Stand 611 pp. 420–421

PATRICK DEROM GALLERY Brussels T +32 2 514 0882 M +32 473 55 0687 E info@patrickderomgallery.com I www.patrickderomgallery.com Modern classics Stand 449 pp. 524–525

LAFFANOUR - GALERIE DOWNTOWN Paris T +33 1 4633 8241 E info@galeriedowntown.com I www.galeriedowntown.com Modern and contemporary design Stand 612 pp. 422–423

GALERIE MICHEL DESCOURS Lyon T +33 4 7837 3454 M +33 6 8006 5203 E contact@galerie-descours.com I www.peintures-descours.fr 16th-20th-century paintings and drawings Stand 365 pp. 88–89

GALERIE BERNARD DULON Paris T +33 1 4325 2500 M +33 6 0769 9122 E info@dulonbernard.fr I www.dulonbernard.fr Ethnographic art Stand 615 pp. 400–401

ALBERTO DI CASTRO Rome T +39 06 679 2269 M +39 33 542 0880 E info@dicastro.com I www.dicastro.com European works of art and sculpture, furniture and decorative arts, old master paintings Stand 181 pp. 210–211

ALESSANDRA DI CASTRO Rome T +39 06 6992 3127 M +39 33 556 50 711 E info@alessandradicastro.com I www.alessandradicastro.com European works of art and sculpture, old master paintings Stand 108 pp. 212–213

CHARLES EDE London T +44 20 7493 4944 M +44 78 1773 8495 E info@charlesede.com I www.charlesede.com Ancient art Stand 426 pp. 364–365

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GALERIE EBERWEIN Paris M +33 6 7290 4070 E antonia.eberwein@egypt-art.com I www.egypt-art.com Egyptian antiquities Stand 428 pp. 362–363

GALERIE XAVIER EECKHOUT Paris T +33 1 4800 0211 M +33 6 0918 8908 E xavier@xaviereeckhout.com I www.xaviereeckhout.com Animal sculpture since 1900 until 1950 Stand 170 pp. 214–215 JAIME EGUIGUREN, ARTE Y ANTIGÜEDADES Buenos Aires T +54 11 4816 2787 E jaimeeguiguren @jaimeeguiguren.com I www.jaimeeguiguren.com European works of art and sculpture, furniture and decorative arts, old master paintings, Spanish Colonial silver and decorative arts Stand 140 pp. 216–217 EGUIGUREN ARTE DE HISPANOAMÉRICA Buenos Aires T +54 11 4806 7554 E info@eguiguren.com I www.eguiguren.com Arms and armor, arts of Africa, Oceania, and the Americas, furniture and decorative arts, 19th- and 20th-century paintings, old master paintings and silver Stand 153 pp. 218–219

EPOQUE FINE JEWELS Kortrijk M +32 475 616 831 E info@epoquefinejewels.com I www.epoquefinejewels.com 19th- and 20th-century jewellery with emphasis on the Art Nouveau and Art Deco periods Stand 186 pp. 226–227

FONDANTICO DI TIZIANA SASSOLI Bologna T +39 05 126 5980 M +39 33 5545 1153 E info@fondantico.it I www.fondantico.it Emilian and Italian old master paintings Stand 372 pp. 94–95

S FRANSES London T +44 20 7976 1234 E gallery@franses.com I www.franses.com Historic tapestries, carpets and textile art from medieval to inter war modernism Stand 261 pp. 236–237

FD GALLERY New York T +1 212 772 2440 E Info@FD-Gallery.com I www.FD-Gallery.com Jewellery Stand 270 pp. 228–229 KUNSTHANDEL JACQUES FIJNAUT BV Amsterdam T +31 20 625 6374 M +31 6 1431 8052 E office@kunsthandelfijnaut.nl I www.kunsthandelfijnaut.nl Silver, works of art, old master and 19th- century and Post Impressionist paintings, sculpture, Chinese ceramics and furniture Stand 176 pp. 230–231

THOMAS FRITSCH-ARTRIUM Paris M +33 6 0391 4011 E contact@thomasfritsch.fr I www.thomasfritsch.fr French 20th-century decorative arts, especially French ceramics from 1945 to 1970 Stand 620 pp. 424–425

DEBORAH ELVIRA Oropesa del Mar M +34 62 964 7279 E info@deborahelvira.com I www.deborahelvira.com Historic jewellery and ironwork Stand 151 pp. 220–221

PETER FINER London T +44 20 7839 5666 E gallery@peterfiner.com I www.peterfiner.com Arms and armor and related objects Stand 216 pp. 232–233

G London T +44 20 7135 3535 M +44 77 3411 1588 E info@glennspiro.com I www.glennspiro.com The art of a jewel Stand 142 pp. 388–389

JOHN ENDLICH ANTIQUAIRS Haarlem M +31 6 4827 8963 E info@johnendlich.nl I www.johnendlich.nl Antique silver and gold Stand 235 pp. 222–223

GALERIE FLORE Brussels M +32 474 49 9112 E flore@flore.cc I www.galerieflore.com French furniture Stand 137 pp. 234–235

LES ENLUMINURES Paris-New York-Chicago T +33 1 4260 1558 M +33 6 6950 6332 E info@lesenluminures.com I www.lesenluminures.com Illuminated manuscripts, miniatures, medieval works of art, including rings Stand 276 pp. 224–225

SAM FOGG London T +44 20 7534 2100 M +44 77 3305 4431 E info@samfogg.com I www.samfogg.com Stand 312 pp. 92–93

GALLO FINE ART Milan T +39 02 3594 6370 M +39 33 5524 8311 E info@gallofineart.it I www.gallofineart.it Old master paintings and sculptures Stand 180 pp. 238–239 GANA ART Seoul T +82 2 3217 0235 M +82 10 8874 8338 E jelee@ganaart.com I www.ganaart.com Contemporary, modern and impressionist art Stand 520 pp. 526–527

GALERIE DAVID GHEZELBASH Paris M +33 6 8823 3911 E david.ghezelbash@orange.fr I www.davidghezelbash.com Ancient art Stand 425 pp. 366–367 GIACOMETTI OLD MASTER PAINTINGS Rome M +39 320 372 0492 E info@giacomettiomp.com I www.giacomettiomp.com Old master paintings, 19th- and 20th-century paintings, European works of art and sculpture Stand 376 pp. 96–97 THOMAS GIBSON FINE ART London T +44 20 7499 8572 M +44 78 4168 6167 E info@tgfineart.com I www.thomasgibsonfineart.com European paintings, sculpture and works on paper and international Post-War and contemporary art Stand 410 pp. 528–529 RALPH GIERHARDS ANTIQUES/ FINE ART Düsseldorf T +49 211 320 464 M +49 173 282 7527 E info@gierhards.com I www.gierhards.com 18th-century European furniture, impressionists, 19th-century European sculpture, works of art Stand 184 pp. 240–241 ERIC GILLIS FINE ART Brussels T +32 2 503 1464 M +32 470 951 777 E info@eg-fineart.com I www.eg-fineart.com 19th-century works on paper, paintings and sculptures Stand 716 pp. 462–463 PIERRE MARIE GIRAUD Brussels T +32 2 503 0351 E info@pierremariegiraud.com I www.pierremariegiraud.com Modern and contemporary ceramic, glass and decorative arts Stand 621 pp. 426–427

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GALERIE GISMONDI Paris M +33 6 8511 3878 E gismondi@wanadoo.fr I www.galeriegismondi.com 15th-19th-century French and Italian furniture, decorative arts, Pietra Dura, mounted objects, as well as marquetry furniture Stand 246 pp. 242-243 GALERIE GMURZYNSKA New York–Zurich-Zug T +41 44 226 7070 M +41 79 208 7669 E info@gmurzynskausainc.com I www.gmurzynska.com European paintings, drawings and sculpture from 1900 onwards Stand 404 pp. 530–531 MICHAEL GOEDHUIS London T +44 20 7823 1395 E london@michaelgoedhuis.com I www.michaelgoedhuis.com Asian art Stand 248 pp. 244–245 OSCAR GRAF Paris M +33 6 71 43 19 90 E info@oscar-graf.com I www.oscar-graf.com Furniture and decorative arts from 1870 onwards Stand 608 pp. 428–429 RICHARD GREEN London T +44 20 7493 3939 M +44 75 0848 4003 E paintings@richardgreen.com I www.richardgreen.com 19th- and 20th-century paintings, old master paintings Stand 302 pp. 98–99 MARTYN GREGORY London T +44 20 7839 3731 E info@martyngregory.com I www.martyngregory.com Historical paintings relating to the Far East, British pictures and drawings Stand 726 pp. 464–465

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GALERIE KARSTEN GREVE AG St. Moritz-Paris-Cologne T +41 81 834 9034 M +41 79 638 7789 E info@galerie-karsten-greve.ch I www.galerie-karsten-greve.com International Avant-Garde Stand 414 pp. 532–533 BERNARD DE GRUNNE – TRIBAL FINE ARTS Brussels T +32 2 502 3171 E info@degrunne.com I www.bernarddegrunne.com Tribal arts of Africa, Oceania and Indonesia Stand 619 pp. 402–403 DR. JÖRN GÜNTHER RARE BOOKS AG Stalden T +41 61 275 7575 E info@guenther-rarebooks.com I www.guenther-rarebooks.com Books, maps and manuscripts Stand 109 pp. 246–247

H GALERIE HAAS Zürich T +41 43 497 2026 E contact@galeriehaasag.ch I www.galeriehaasag.ch Paintings and sculptures by Modernist artists, art after 1945 and contemporary art Stand 452 pp. 534–535 HABOLDT & CO. Amsterdam-Paris-New York T +33 1 4266 4454 M +33 6 0788 3608 E oldmasters@haboldt.com I www.haboldtpictura.com Old master paintings and drawings Stand 351 pp. 100–101 NICHOLAS HALL New York T +1 212 772 9100 E info@nicholashjhall.com I www.nicholashjhall.com Old master and 19th-century paintings and sculpture Stand 342 pp. 102–103

HAMMER GALLERIES New York T +1 212 644 4400 M +1 917 797 1291 E info@hammergalleries.com I www.hammergalleries.com 19th- and 20th-century European and American masters Stand 406 pp. 536–537 HANCOCKS London T +44 20 7493 8904 M +44 785 055 5555 E info@hancockslondon.com I www.hancockslondon.com Rare and collectable jewels Stand 243 pp. 248–249 GALERIE HARMAKHIS Brussels M +32 475 650 285 E info@harmakhis.be I www.harmakhis.be Egyptian, Greek and Roman antiquities Stand 439 pp. 368–369 PATRICK HEIDE CONTEMPORARY ART London T +44 20 7724 5548 M +44 79 0021 5317 E info@patrickheide.com I www.patrickheide.com Works on paper and contemporary art Stand 714 pp. 466–467 HEIM JEAN-FRANÇOIS Basel T +41 61 681 3535 M +41 789 55 7777 E jean.f.heim@galerieheim.ch I www.galerieheim.ch Old master to 19th-century paintings and drawings Stand 370 pp. 104–105 GALERIE MARC HEIREMANS Brussels T +32 2 512 8058 M +32 478 280 308 E info@marcheiremans.com I www.marcheiremans.com 20th-century European glass with a focus on Murano glass and studio ceramics Stand 603 pp. 430–431

HEMMERLE Munich T +49 89 242 2600 E info@hemmerle.com I www.hemmerle.com Contemporary jewelry Stand 141 pp. 390–391 THOMAS HENEAGE ART BOOKS London T +44 20 7930 9223 M +31 6 2970 8095 E artbooks@heneage.com I www.heneage.com Stand 384 GALERIE HENZE & KETTERER Wichtrach/Berne-Riehen/Basel T +41 31 781 0601 M +41 79 508 6961 E m.triebold@henze-ketterer.com I www.henze-ketterer.ch Expressionism, Abstraction, New Figurative and contemporary art since 1960, Representation of the estate of Ernst Ludwig Kirchner Stand 444 pp. 538–539 GALERIE MAX HETZLER Berlin-Paris-London T +49 303 4649 7850 E info@maxhetzler.com I www.maxhetzler.com Contemporary art Stand 528 pp. 540–541 GALERIE HOPKINS Paris T +33 1 4225 3232 E hopkins@galeriehopkins.com I www.galeriehopkins.com Impressionist, modern art Stand 408 pp. 542–543 GALLERY HYUNDAI Seoul T +82 22 287 3500 E mail@galleryhyundai.com I www.galleryhyundai.com Asian art Stand 418 pp. 544–545

J JACKSON DESIGN AB Stockholm T +46 86 65 3350 E info@jacksons.se I www.jacksons.se Scandinavian and international vintage design 1900 - 2000 with main focus on Scandinavian classics Stand 617 pp. 432–433 JASON JACQUES GALLERY New York T +1 212 535 7500 E info@jasonjacques.com I jasonjacques.com Art Nouveau and Japonist pottery Stand 613 pp. 434–435 OTTO JAKOB Karlsruhe T +49 72 185 5911 M +49 175 245 2738 E tefaf@ottojakob.com I www.ottojakob.com Contemporary jewellery Stand 147 pp. 392–393 BEN JANSSENS ORIENTAL ART London T +44 20 7976 1888 M +44 77 7047 6122 E info@benjanssens.com I www.benjanssens.com Early Chinese sculpture, bronzes and ceramics, later Chinese and Japanese works of art Stand 202 pp. 250–251 FR. JANSSENS VAN DER MAELEN Brussels T +32 2 502 7180 M +32 475 486 200 E jvdm@fineartsilver.com I www.fineartsilver.com Antique silver and works of art, mostly Art Nouveau and Art Deco Stand 266 pp. 252–253 JASKI GALLERY Amsterdam T +31 20 620 3939 M +31 6 5024 4426 E info@jaski.nl I www.jaski.nl CoBrA and contemporary art Stand 524 pp. 546–547

DE JONCKHEERE Geneva T +41 22 310 8080 E geneve@dejonckheere-gallery.com I www.dejonckheere-gallery.com Old master paintings Stand 340 pp. 106–107 JOUSSE ENTREPRISE Paris T +33 1 5382 1360 E infos@jousse-entreprise.com I www.jousse-entreprise.com French architecture, furniture, and design from the mid-20th century Stand 600 pp. 436–437

K GALLERI K Oslo T +47 2255 3588 M +47 900 21 690 E gallerik@online.no I www.gallerik.com Modern art such as Edvard Munch, Pablo Picasso, Auguste Rodin among others, and Contemporary Art such as Becher School and German artists Stand 718 pp. 468–469 KALLOS GALLERY London T +44 20 7493 0806 M +44 7809 907 539 E info@kallosgallery.com I www.kallosgallery.com Antiquities, including ancient Greek, Roman, Egyptian, Western Asiatic and European masterpieces Stand 436 pp. 370–371 DANIEL KATZ GALLERY London T +44 20 7493 0688 M +44 78 7625 2115 E info@katz.art I www.katz.art Fine art, from antiquity to the 20th century Stand 100 pp. 254–255 GALERIE KEVORKIAN Paris T +33 1 4260 7291 E contact@galeriekevorkian.com I www.galeriekevorkian.com Ancient art from the Near East, Central Asia and Eastern Mediterranea, arts of the Islamic and Indian worlds Stand 432 pp. 372–373

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JACK KILGORE & CO., INC. New York T +1 212 650 1149 M +1 646 431 6773 E info@kilgoregallery.com I www.kilgoregallery.com 15th-20th-century European paintings of unusual character, Academic, Symbolist, and Expressionist works as well as old masters Stand 336 pp. 108–109 TINA KIM GALLERY/ KUKJE GALLERY New York-Seoul T +1 212 716 1100 E info@tinakimgallery.com I tinakimgallery.com Modern and contemporary art Stand 512 pp. 548–549 CHRISTOPHER KINGZETT London M +44 77 7178 3918 E christopher @christopherkingzettfineart.com I www.christopherkingzettfineart.com 20th-century British art Stand 701 pp. 470–471 KOETSER GALLERY Zürich T +41 44 211 5240 E info@koetsergallery.com I www.koetsergallery.com Old master paintings Stand 338 pp. 110–111 KOLLENBURG ANTIQUAIRS Oirschot M +31 6 5582 2218 E info@kollenburgantiquairs.com I www.kollenburgantiquairs.com General dealer in 17th-, and 18th-century applied arts Stand 182 pp. 256–257 KOOPMAN RARE ART London T +44 20 7242 7624 M 44 78 3629 5309 E info@koopman.art I www.koopman.art Jewelry, Russian works of art, gold boxes, silver and vertu Stand 156 pp. 258–259

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GALERIE KREO Paris T +33 1 5310 2300 E info@galeriekreo.com I www.galeriekreo.com Modern and contemporary design Stand 614 pp. 438–439 J. KUGEL Paris T +33 1 42 60 86 23 E galerie@galeriekugel.com I www.galeriekugel.com European works of art and sculpture, furniture and decorative arts, silver Stand 200 pp. 260–261

L LAMPRONTI GALLERY London T +39 06 321 8624 M +44 77 9636 3494 E info@cesarelampronti.co.uk I www.cesarelampronti.com Old master paintings Stand 377 pp. 112–113 LANDAU FINE ART Montreal T +1 514 849 3311 M +41 79 777 4789 E landau@landaufineart.ca I www.landaufineart.ca Modern masters first half 20th century Stand 416 pp. 550–551 KUNSTKAMMER GEORG LAUE Munich T +49 89 2781 8555 M +49 172 873 0961 E kunstkammer@kunstkammer.com I www.kunstkammer.com European works of art, sculpture, furniture, decorative arts, silver, cabinet of curiosity Stand 204 pp. 262–263

GALERIE ANTOINE LAURENTIN Paris T +33 1 42 97 43 42 M +33 6 07 94 26 56 E contact@galerie-laurentin.com I www.galerie-laurentin.com Modern art, 20th-century paintings, drawings, sculptures Stand 720 pp. 472–473

LÓPEZ DE ARAGÓN Madrid M +34 62 922 9872 E diego@lopezdearagon.com I www.lopezdearagon.com South European 17th- to 19thcentury old master paintings, sculptures and works of art Stand 175 pp. 266–267

GALERIE LÉAGE Paris T +33 1 4563 4346 E contact@francoisleage.com I www.francoisleage.com 18th-century French furniture and objects of art Stand 135 pp. 264–265

GALERIE LUDORFF Düsseldorf T +49 211 32 6566 M +49 173 282 7227 E mail@ludorff.com I www.ludorff.com Modern and contemporary art Stand 515 pp. 556–557

SIMON LEE GALLERY London T +44 20 7491 0100 E info@simonleegallery.com I www.simonleegallery.com Modern and contemporary art Stand 540 pp. 552-553

LULLO • PAMPOULIDES London T +44 20 7494 2551 M +44 79 3170 9359 E info@lullopampoulides.com I www.lullopampoulides.com Master paintings and sculpture Stand 368 pp. 118–119

DAVID LÉVY & ASSOCIÉS Brussels-Pari M +32 475 66 1225 E info@levydavid.com I www.davidlevy.art Modern and Post-War art Stand 519 pp. 554–555 LOWELL LIBSON & JONNY YARKER LTD London T +44 20 7734 8686 M 44 78 5005 8567 E pictures@libson-yarker.com I www.libson-yarker.com European works of art, sculpture and old master paintings Stand 456 pp. 114–115 SALOMON LILIAN Amsterdam-Geneva T +31 20 620 6307 M +31 6 2781 2629 E salomonlilian@aol.com I www.salomonlilian.com Old master paintings Stand 309 pp. 116–117

M THE MAAS GALLERY London T +44 20 7734 2302 M +44 77 8617 6514 E mail@maasgallery.com I www.maasgallery.com Pre-Raphaelite, Victorian, Romantic and modern British paintings, drawings and watercolours Stand 335 pp. 120–121 YVES MACAUX Brussels T +32 2 502 3116 M +32 475 933 745 E yvesmacaux@gmail.com I www.secessions.com Vienna Secession, design and early Modernism Stand 609 pp. 440–441 MACCONNAL-MASON GALLERY London T +44 20 7839 7693 E fineart@macconnal-mason.com I www.macconnal-mason.com 19th- and 20th-century paintings, sculpture from 1830 Stand 330 pp. 122–123

GALLERIA D'ARTE MAGGIORE Bologna T +39 05 123 5843 M +39 33 8533 7770 E info@maggioregam.com I www.maggioregam.com Modern and contemporary art Stand 536 pp. 558–559 MARUANI MERCIER Brussels-Knokke T +32 2 512 5010 M +32 475 25 1675 E desk@maruanimercier.com I maruanimercier.com American painters from the 80's Stand 513 pp. 560–561 HELGA MATZKE Grünwald T +49 89 649 3692 M +49 172 890 4600 E art@helga-matzke.de I www.helga-matzke.com Historical silver tableware, 16th- to early 19th-century silver collector's objects Stand 165 pp. 268–269 THE MAYOR GALLERY London T +44 20 7734 3558 M +44 7801 565 404 E info@mayorgallery.com I www.mayorgallery.com Modern art Stand 451 pp. 562–563 MAYORAL Barcelona T +34 93 488 0283 E info@galeriamayoral.com I www.galeriamayoral.com European paintings, drawings and sculpture from 1870 onwards, Spanish Post-War Art Stand 445 pp. 564–565 MAZZOLENI London T +44 20 7495 8805 M +39 33 3390 0395 E london@mazzoleniart.com I www.mazzoleniart.com Italian Post-War Stand 525 pp. 566–567

FERGUS MCCAFFREY New York T +1 212 988 2200 E info@fergusmccaffrey.com I fergusmccaffrey.com Asian art Stand 440 pp. 568–569 KUNSTHANDEL MEHRINGER Munich T +49 171 492 4263 E sascha.mehringer@web.de I www.saschamehringer.com European works of art and sculpture, old master paintings Stand 218 pp. 270–271 KAMEL MENNOUR Paris T +33 1 5624 0363 E mariesophie@kamelmennour.com I www.kamelmennour.com Contemporary art Stand 527 pp. 570–571 MENTINK & ROEST Ingen T +31 344 603 606 M +31 6 2904 8515 E info@mentinkenroest.com I www.mentinkenroest.com Clocks Stand 172 pp. 272–273 GALERIE MERMOZ Paris T +33 1 4225 8480 M +33 6 0993 6963 E info@galerie-mermoz.com I www.galerie-mermoz.com Archaeology and Pre-Columbian art Stand 134 pp. 274–275 THE MERRIN GALLERY, INC. New York T +1 212 757 2884 M +1 917 838 0500 E info@merringallery.com I www.merringallery.com Ancient and Pre-Colombian art Stand 430 pp. 374–375

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GALERIE MEYER-OCEANIC & ESKIMO ART Paris T +33 1 4354 8574 M +33 6 8010 8022 E ajpmeyer@gmail.com I www.meyeroceanic.art Ethnographic art Stand 605 pp. 404–405

KUNSTHANDEL PETER MÜHLBAUER Pocking T +49 85 31 1815 M +49 17 1620 3220 E petermuehlbauer@t-online.de I www.kunsthandel-muehlbauer.com European furniture, works of art and paintings from 16th to 19th century Stand 271 pp. 280–281

GALERIE LE MINOTAURE Paris T +33 1 4354 6293 M +33 6 0940 3007 E sapiro.benoit@wanadoo.fr I galerieleminotaure.net 1st and 2nd École de Paris, Avantgarde art of Central and Eastern Europe from the 1910s to the 1960s. Dada, Constructivism, AbstractionCréation, Suprematism, Geometric abstraction, Cubism, Expressionism, Futurism, Cubo-futurism Stand 521 pp. 572–573

MULLANY London T +44 77 9630 3081 M +44 77 9630 3081 E info@mullanyfineart.com I www.mullanyfineart.com Haute Epoque fine art Stand 157 pp. 282–283

MODERNITY Stockholm T +46 8 20 8025 M +46 708 39 3431 E info@modernity.se I www.modernity.se Modern design Stand 622 pp. 442–443 AMIR MOHTASHEMI LTD. London T +44 20 7937 4422 M +44 78 8913 1699 E info@amirmohtashemi.com I www.amirmohtashemi.com Indian and Islamic works of art Stand 239 pp. 276–277 GALERIE MONBRISON Paris T +33 1 4634 0520 E courrier@monbrison.com I www.monbrison.com African and Oceanic tribal art, antiquities Stand 618 pp. 406–407 SYDNEY L MOSS LTD. London T +44 20 7629 4670 E pasi@slmoss.com I www.slmoss.com Japanese sagemono and Chinese classical paintings Stand 268 pp. 278–279

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O STEPHEN ONGPIN FINE ART London T +44 20 7930 8813 E info@stephenongpinfineart.com I www.stephenongpin.com 16th- to 20th-century drawings and watercolours Stand 724 pp. 476–477

CARLO ORSI – TRINITY FINE ART London T +44 20 7493 4916 E info@trinityfineart.com I www.trinityfineart.com 15th- to 19th-century European old master paintings, sculpture and works of art Stand 379 pp. 124–125

RICHARD NAGY LTD. London T +44 20 7262 6400 M +44 79 3124 2407 E info@richardnagy.com I www.richardnagy.com Modern art, German Expressionism, Viennese Secession Stand 410 pp. 574–575

OSBORNE SAMUEL London T +44 20 7493 7939 M +44 79 4687 3192 E info@osbornesamuel.com I osbornesamuel.com Post War modern British art, European and international modern and contemporary masters Stand 446 pp. 576–577

GALERIE NEUSE Bremen T +49 42 132 5642 E contact@galerieneuse.com I www.galerieneuse.com 16th-17th-century goldwork, silverware and Kunstkammer objects, Medieval sculptures to the Classicist period, old master paintings, works of art, furniture Stand 112 pp. 284–285 MARCEL NIES ORIENTAL ART Antwerp T +32 3 226 7455 M +32 475 651 085 E marcelnies@skynet.be I www.marcelnies.com Oriental art Stand 148 pp. 286–287 MAURIZIO NOBILE Bologna T +33 06 2254 5189 E info@maurizionobile.com I www.maurizionobile.com 15th- to early 20th-century Italian old masters drawings, paintings and sculpture Stand 715 pp. 474–475

P PACE GALLERY New York T +1 212 421 3292 M +1 908 216 0938 E mhammer@pacegallery.com I www.pacegallery.com Modern and contemporary art Stand 441 pp. 578–579 WALTER PADOVANI Milan T +39 02 7631 8907 M +39 33 5603 4652 E galleria@walterpadovani.it I www.walterpadovani.it 17th- to 19th-century Italian sculpture and works of art Stand 234 pp. 288–289

PIERRE PASSEBONALEXANDRE BIAGGI Paris T +33 1 4236 0113 E mail@galeriedupassage.com I www.galeriedupassage.com 20th- and 21st-century decorative arts and furniture Stand 616 pp. 444–445 GALERIE PERRIN Paris T +33 1 4265 0138 M +33 6 0748 7041 E contact@galerieperrin.com I www.galerieperrin.com 18th-century furniture, works of art, sculptures and paintings Stand 102 pp. 290–291 S.J. PHILLIPS LTD London T +44 20 7629 6261 E shop@sjphillips.com I www.sjphillips.com Antique jewellery, gold boxes antique silver Stand 118 pp. 292–293 GALERIE ERIC PHILIPPE Paris T +33 1 4233 2826 M +33 6 0727 8403 E ericphil@wanadoo.fr I www.ericphilippe.com 20th-century historical European and American design Stand 623 pp. 446–447 PIACENTI London T +44 20 3696 5286 M +44 751 679 4527 E info@piacentiart.com I www.piacentiart.com Old master paintings and sculptures Stand 367 pp. 126–127 PIVA&C Milan T +39 02 7600 0678 M +39 34 8781 6789 E info@pivaec.it I www.pivaec.it 18th-century Italian sculpture, furniture, ceramics, paintings and works of art Stand 179 pp. 294–295

POLAK WORKS OF ART Amsterdam T +31 20 627 9009 M +31 6 5326 2153 E info@polakworksofart.com I www.polakworksofart.com One of the last generalists Stand 158 pp. 296–297

LUCAS RATTON Paris T +33 1 4633 0624 M +33 6 1538 1692 E contact@lucasratton.com I www.lucasratton.com Tribal art Stand 604 pp. 408–409

PORCINI Naples T +39 08 1764 3550 E info@porcinigallery.com I www.porcinigallery.com Old master paintings and sculpture Stand 345 pp. 128–129

ALMINE RECH Paris-Brussels-London-New York T +32 2 648 5684 E contact.brussels@alminerech.com I www.alminerech.com European paintings, drawings and sculpture and American paintings from 1870 onwards Stand 501 pp. 580–581

GALERIE DE LA PRÉSIDENCE Paris T +33 1 4265 4960 M + +33 6 0390 5831 E contact@presidence.fr I www.presidence.fr Late 19th- to 20th-century French paintings and drawings Stand 710 pp. 478–479 BENJAMIN PROUST FINE ART LTD London T +44 75 0080 4504 E info@benjaminproust.com I www.benjaminproust.com European works of art and sculpture Stand 168 pp. 298–299

Q CHRISTOPHE DE QUÉNETAIN London T +44 79 3486 2211 M +33 6 1902 3280 E info@christophedequenetain.com I christophedequenetain.com Furniture and decorative arts, European works of art, sculpture, ceramics, porcelain and glass Stand 107 pp. 300–301

R ARTUR RAMON ART Barcelona T +34 3 025 970 M +34 6 2636 4367 E art@arturamon.com I www.arturamon.com Paintings, drawings and works of art Stand 160 pp. 302–303

RICHARD REDDING ANTIQUES LTD Gündisau T +41 44 212 0014 M +41 79 333 4019 E redding@reddingantiques.ch I www.richardreddingantiques.com French antique clocks, bronzes, furniture and decorative objects Stand 152 pp. 304–305 JEAN MICHEL RENARD Bellenaves M +33 6 6491 3306 E renard.musique@wanadoo.fr I www.renard-music.com Old, rare and unusual musical instruments Stand 246 pp. 306–307 RÖBBIG MÜNCHEN Munich T +49 89 29 9758 M +49 17 1650 0456 E info@roebbig.de I www.roebbig.de European ceramics, porcelain, glass, works of art, sculpture, furniture and decorative arts Stand 116 pp. 308–309 ROBILANT+VOENA London T +44 20 7409 1540 E art@robilantvoena.com I www.robilantvoena.com European works of art and sculpture, 19th- and 20th-century paintings and old master paintings Stand 380 pp. 130–131

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ROSSI & ROSSI Wong Chuk Hang T +852 3 575 9417 M +44 20 7629 6888 E info@rossirossi.com I www.rossirossi.com Asian art, sculpture and works of art from 1870 onwards Stand 162 pp. 310–311 RUDIGIER Munich T +49 89 59 5432 M +49 16 2254 7357 E info@rudigier.org I www.rudigier.org Sculpture and works of art from the Middle Ages to the early 19th century, old master and early 19th-century painting Stand 238 pp. 312–313 KUNSTHANDLUNG HELMUT H. RUMBLER Frankfurt am Main T +49 69 29 1142 M +49 17 5522 9110 E drweis@beham35.de I www.helmutrumbler.com Old master prints Stand 369 pp. 132–133

S SAFANI GALLERY INC. New York T +1 212 570 6360 M +1 917 748 9656 E asafani@gmail.com I safani.com Ancient art Stand 433 pp. 376–377 SALAMON&C Milan T +39 02 7602 4638 M +39 33 5660 1022 E info@salamongallery.com I www.salamongallery.com Old master paintings and drawings Stand 375 pp. 134–135 THOMAS SALIS Salzburg T +43 6 2284 4523 M +43 664 431 0285 E mail@thomassalis.com I www.thomassalis.com 19th- and 20th-century paintings and works on paper, sculpture from 1870 Stand 447 pp. 582–583

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GALERIE SANCT LUCAS Vienna T +43 1 512 8237 E Info@sanctlucas.com I www.sanctlucas.com Old master paintings Stand 308 pp. 136–137

ROB SMEETS GALLERY Geneva M +41 79 285 9262 E info@robsmeets.com I www.robsmeets.com Old master paintings Stand 350 pp. 140–141

SALOMON STODEL ANTIQUITÉS Amsterdam M +31 6 5393 1519 E stodel@wxs.nl I www.salomonstodel.com Algemeen antiquair Stand 136 pp. 328–329

GALERIE G. SARTI Paris T +33 1 4289 3366 M +33 6 1230 4241 E giovanni.sarti@wanadoo.fr I www.sarti-gallery.com Old master paintings Stand 349 pp. 138–139

SOMLO LONDON London T +44 20 7499 6526 M +44 78 7969 2269 E mail@somlo.com I www.somlo.com Vintage wristwatches and antique pocket watches Stand 241 pp. 324–325

STOPPENBACH & DELESTRE London T +44 20 7930 9304 M +44 78 1252 5078 M +33 6 0364 2801 E contact@artfrancais.com I www.artfrancais.com 19th- and 20th-century paintings Stand 333 pp. 144–145

LIBRAIRIE CAMILLE SOURGET Paris T +33 1 4284 1668 M +33 6 1304 4072 E contact@camillesourget.com I www.camillesourget.com Incunabula, voyages and travels, first editions, science, manuscripts, fine illustrated books, literature Stand 703 pp. 480–481

GALERIA SUR La Barra, Punta del Este, Montevideo T +598 2710 2504 M +598 9968 4099 E sur@montevideo.com.uy I www.galeriasur.com.uy Latin American historical Avant-Garde and modern and contemporary art Stand 526 pp. 586–587

SPRÜTH MAGERS London T +49 30 2888 4030 E info@spruethmagers.com I www.spruethmagers.com Modern and contemporary art Stand 502 pp. 584–585

SYCOMORE ANCIENT ART Geneva T +41 2 2310 4380 M +41 7 8665 3908 E info@sycomoreancientart.com I www.sycomoreancientart.com Ancient art, especially Egyptian, Greek and Roman artworks Stand 438 pp. 378–379

ADRIAN SASSOON London T +44 20 7581 9888 M +44 78 2561 1888 E email@adriansassoon.com I www.adriansassoon.com Modern and contemporary design Stand 269 pp. 314–315 SENGER BAMBERG KUNSTHANDEL Bamberg T +49 49 9515 4030 M +49 17 2860 2007 E senger-bamberg@t-online.de I www.senger-bamberg.de Gothic and Renaissance sculptures and medieval art, old master paintings, 15th-20th-century paintings, 18th-20th- furniture Stand 267 pp. 316–317 SHAPERO RARE BOOKS London T +44 20 7493 0876 M +44 77 8511 4942 E rarebooks@shapero.com I www.shapero.com Books, maps and manuscripts Stand 231 pp. 318–319 SHIBUNKAKU Kyoto T +81 7 5531 0001 E info@shibunkaku.co.jp I www.shibunkaku.co.jp/english/ Japanese fine art Stand 166 pp. 320–321 SIEGELSON New York T +1 212 832 2666 E info@siegelson.com I www.siegelson.com Rare collectible jewels Stand 146 pp. 322–323

STAIR SAINTY GALLERY London T +44 20 7493 4542 M +44 78 4675 5287 E info@stairsainty.com I www.stairsainty.com 16th- to early 20th-century fine art Stand 344 pp. 142–143 MARJAN STERK FINE ART JEWELLERY Amsterdam T +31 20 624 8703 M +31 6 5321 4445 E info@marjansterk.nl I www.marjansterk.nl Stand 178 pp. 326–327

SYMBOLIC & CHASE London T +44 20 7499 9902 E enquiries@s-c.com I www.s-c.com Exceptional jewellery and objets d'art, placing an emphasis on education and research Stand 247 pp. 330–331

T TALABARDON & GAUTIER Paris T +33 1 4359 1357 M +33 6 1326 2166 E talabardon.gautier@wanadoo.fr European works of art and sculpture, 19th- and 20th-century paintings, old master paintings, sculpture from 1830 Stand 316 pp. 146–147

GALERIE TANAKAYA Paris T +33 1 4325 7291 M +33 6 7854 5559 E tanakaya@orange.fr I www.tanakaya.fr 17th-to 20th-century Japanese fine prints and works of art Stand 727 pp. 482–483 NICOLAAS TEEUWISSE OHG Berlin M +49 171 483 0486 E nicolaas@teeuwisse.de I www.teeuwisse.de Old master and modern prints and drawings Stand 723 pp. 484–485 HERIBERT TENSCHERT ANTIQUARIAT BIBERMÜHLE Ramsen T +41 5 2742 0575 M +49 17 7347 2160 E mail@antiquariat-bibermuehle.ch I www.antiquariat-bibermuehle.com Books, maps and manuscripts Stand 214 pp. 323–333 CAROLLE THIBAUT-POMERANTZ Paris-New York T +1 212 759 6048 M +33 6 0905 3598 E carolle@ctpdecorativearts.com I antique-wallpaper.com Vintage wallpaper panels/decors and decorative arts of the early 20th century Stand 273 pp. 334–335 GALERIE THOMAS Munich T +49 89 290 0080 M +49 17 9696 4742 E info@galerie-thomas.de I www.galerie-thomas.de European paintings, drawings and sculpture from 1870 onwards Stand 534 pp. 588–589 TOMASSO BROTHERS FINE ART London T +44 20 7839 9394 M +44 75 0077 1764 E info@tomassobrothers.co.uk I www.tomassobrothers.co.uk Ancient art, European works of art and sculpture, furniture and decorative arts, 19th- and 20thcentury paintings, old master paintings, sculpture from 1830 Stand 304 pp. 148–149

TORNABUONI ARTE Florence-Paris-London-Milan T +39 05 5681 2697 M +33 7 8551 3642 E info@tornabuoniarte.it I www.tornabuoniarte.it Post-War Italian art Stand 510 pp. 590–591 TÓTH-IKONEN Huizen M +31 6 5346 8236 E info@tothikonen.com I www.tothikonen.com Antique Russian icons Stand 244 pp. 336–337 LEON TOVAR GALLERY New York T +1 212 585 2400 M +1 917 388 3366 E info@leontovargallery.com I www.leontovargallery.com Modern Latin American art Stand 506 pp. 592–593 GALERIE PATRICE TRIGANO Paris T +33 1 4634 1501 M +33 6 0880 8587 E contact@galerietrigano.com I www.galerietrigano.com Modern and contemporary art Stand 518 pp. 594–595 DAVID TUNICK, INC. New York T +1 212 570 0090 M +1 203 921 7348 E info@tunickart.com I www.tunickart.com Works of art on paper dating from the 15th century to classic 20th century Stand 382 pp. 150–151

U GALERIE UTERMANN Dortmund T +49 231 4764 3737 E kunst@galerieutermann.de I www.galerieutermann.de Classical Modernism and Postwar art with a main focus on German expressionists Stand 712 pp. 486–487

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V RAFAEL VALLS LIMITED London T +44 20 7930 1144 E toby@rafaelvalls.co.uk I www.rafaelvalls.co.uk Old masters and fine European paintings Stand 341 pp. 152–153 GALERIE GEORGES-PHILIPPE & NATHALIE VALLOIS Paris T +33 1 4634 6107 E info@galerie-vallois.com I www.galerie-vallois.com European Avant-Gardes from the 1960s Stand 507 pp. 596–597 VAN CLEEF & ARPELS Paris T +33 1 7070 0263 E info@vancleefarpels.com I www.vancleefarpels.com Jewellery, high jewellery and timepieces Stand 144 pp. 394–395 VANDERVEN ORIENTAL ART 's-Hertogenbosch T +31 73 614 6251 M +31 6 5317 8521 E info@vanderven.com I www.vanderven.com Chinese porcelain and works of art Stand 104 pp. 338–339 KUNSTZALEN A. VECHT Amsterdam M +31 6 5514 5990 E a.vecht@planet.nl I www.kunstzalenavecht.com Glass, sculptures and works of art from medieval till modern, Impressionist and modern paintings Stand 149 pp. 340–341 VEDOVI GALLERY Brussels T +32 2 513 3838 E contact@vedovigallery.com I www.vedovigallery.com Modern and contemporary art Stand 530 pp. 598–599

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GALERIE VON VERTES Zurich T +41 44 211 1213 M +41 79 476 6496 E info@vonvertes.com I www.vonvertes.com Fauvism, German Expressionism, École de Paris, Pop Art and contemporary art Stand 522 pp. 600–601 AXEL VERVOORDT Antwerp T +32 3 355 3300 E info@axel-vervoordt.com I www.axel-vervoordt.com Ancient art, arts of Africa, Oceania, and the Americas, Chinese and European works of art, sculpture, furniture, decorative arts, old master paintings and contemporary art Stand 424 pp. 342–343 GALLERIA CARLO VIRGILIO & C. Rome T +39 06 687 1093 M 39 33 8242 7659 E info@carlovirgilio.it I www.carlovirgilio.it 18th-20th-century European painting and sculpture, old master works of art Stand 363 pp. 154–155 VKD JEWELS London-Milan T +44 75 9524 5819 M +39 33 5626 2252 E info@vkdjewels.com I www.vkdjewels.com Antique jewellery, objets de vertu Stand 245 pp. 344–345 GALERIE FLORENCE DE VOLDÈRE Paris M +33 6 8038 8537 E fdevoldere@orange.fr Old master paintings Stand 366 pp. 156–157

W WADDINGTON CUSTOT London T +44 20 7851 2200 E mail@waddingtoncustot.com I www.waddingtoncustot.com Modern and contemporary art Stand 538 pp. 602–603

WARTSKI London T +44 20 7493 1141 E wartski@wartski.com I www.wartski.com Jewellery, works of art by Carl Fabergé, antique silver, objets de vertu Stand 242 pp. 346–347 VAN DE WEGHE New York T +1 212 744 1900 M +1 917 602 8515 E info@vdwny.com I www.vdwny.com European paintings, drawings, sculpture and American paintings from 1870 onwards Stand 509 pp. 604–605 THE WEISS GALLERY London T +44 20 7409 0035 M +44 77 7069 4696 E info@weissgallery.com I www.weissgallery.com Tudor, Stuart and North European old master portraiture Stand 348 pp. 158–159 JORGE WELSH WORKS OF ART London-Lisbon T +44 20 7229 2140 M +44 78 3118 6224 E uk@jorgewelsh.com I www.jorgewelsh.com Arts of Africa, India, Chinese works of art, Japanese and South East Asian works of art Stand 210 pp. 348–349 WILLIAM WESTON GALLERY London T +44 20 7493 0722 E ww@williamweston.co.uk I www.williamweston.co.uk 20th-century European and British works on paper and threedimensional multiples/sculpture Stand 713 pp. 488–489 W&K-WIENERROITHER & KOHLBACHER Vienna T +43 1 533 9977 M +43 66 4105 6954 E office@w-k.art I www.w-k.art Early 20th-century Viennese art and German Expressionism Stand 722 pp. 490–491

JOAN WIJERMARS Amsterdam M +31 6 5132 1717 E info@wijermars.com I www.wijermars.com 19th- and early 20th-century sculpture Stand 150 pp. 350–351

GALERIE ZLOTOWSKI Paris T +33 1 4326 9394 E info@galeriezlotowski.fr I www.galeriezlotowski.fr European paintings, drawings and sculpture from 1870 onwards Stand 711 pp. 492–493

ADAM WILLIAMS FINE ART LTD. New York T +1 212 249 4987 M +1 917 495 9490 E adammwilliams@msn.com I www.adam-williams.com Old master paintings Stand 454 pp. 160–161

Y YUFUKU GALLERY Tokyo T +81 354112900 E gallery@yufuku.net I www.yufuku.net Japanese and international contemporary sculptures and paintings Stand 237 pp. 352–353

Z ALON ZAKAIM FINE ART London T +44 20 7287 7750 E gallery@alonzakaim.com I www.alonzakaim.com European paintings, drawings and sculpture from 1870 onwards and international Post-War and contemporary art Stand 504 pp. 606–607 KUNSTHANDEL MIEKE ZILVERBERG Amsterdam T +31 20 625 9518 M +31 6 5383 2601 E info@miekezilverberg.com I www.miekezilverberg.com Classical antiquities and ancient coins Stand 437 pp. 380–381

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BUSINESS STANDS AON Rotterdam T +31 10 448 8911 E info@aon.nl I www.aon.nl The international leader in art and collectables insurance Stand 804 APOLLO London T +44 20 7961 0105 E nigel@apollomag.com I www.apollo-magazine.com The international art magazine Stand 801 THE ART LOSS REGISTER London T +44 20 7841 5780 E info@artloss.com I www.artloss.com Database of art and antiques reported as stolen, lost or subject to a claim, now including 500,000 items Stand 730 THE ART NEWSPAPER (INTERNATIONAL EDITION) UK / USA T +44 (0)203 586 8054 E info@theartnewsaper.com I www.theartnewspaper.com The journal of record for the visual arts world, covering international news and events Stand 813 AXA ART VERSICHERUNG AG Cologne T +49 221 1483 2447 E info@axa-art.com I www.axa-art.com The leading insurance specialist for art and lifestyle Stand 800 BRAND VAN EGMOND Naarden T +31 35 692 1259 E info@brandvanegmond.com I www.brandvanegmond.com A lighting design brand and an International trendsetter in exclusive handcrafted decorative lighting Stand 821

TEFAF SHOWCASE CHAPEAU / MAASTRICHT REGION Maastricht T +31 43 321 6226 E info@chapeaumagazine.com I www.chapeaumagazine.com Glossy magazine Stand 708 FINANCIAL TIMES Global T +44 20 7873 3000 E help@ft.com I www.ft.com News, analysis and comment from the Financial Times, the world's leading global business publication, plus international economic and political insight, Companies & Markets, Life & Arts, House & Home and FT Weekend Magazine. Stand 802 ING / RIJKSMUSEUM Amsterdam I www.ingartcollection.com Stand 809 THE NEW YORK TIMES Global T +44 207 061 3510 E cwebb@nytimes.com I www.nytimes.com The New York Times is dedicated to helping people understand the world through on-the-ground, expert and deeply reported independent journalism. Stand 811 RED PENCIL Singapore T +65 6221 2217 E info@redpencil.org I www.redpencil.org Humanitarian foundation Stand 803 RKD - NETHERLANDS INSTITUTE FOR ART HISTORY The Hague T +31 70 333 9777 E info@rkd.nl I www.rkd.nl The global knowledge and documentation centre for the visual arts of the Netherlands Stand 728

VERENIGING REMBRANDT The Hague T +31 70 427 1720 E bureau@verenigingrembrandt.nl I www.verenigingrembrandt.nl An association with over 15.000 artlovers who contribute to the enrichment of the public art collection in the Netherlands Stand 729 VERBUNT VERLINDEN Tilburg T +31 13 549 84 00 E info@verbuntverlinden.nl I www.verbuntverlinden.nl Wine sales Stand 704 VLASSAK-VERHULST 's Gravenwezel T +32 3 685 0700 E info@vlassakverhulst.com I www.vlassakverhulst.com Exclusive architecture Stand 819 WELTKUNST T +49 40 5555 7868 I www.weltkunst.de German magazine for art and antiques Stand 815

ARTANCIENT London T +44 20 3621 0816 E costas@artancient.com I www.ArtAncient.com Ancient art Stand 2 MARTIN DOUSTAR Brussels M +32 497 45 7821 E doustar79@aol.com I www.martindoustar.com Classical ancient arts from Africa, Oceania, and the Americas, including pre-columbian art Stand 4 GALERIE LOWET DE WOTRENGE Antwerp M +32 498 46 81 68 E tyr@kd-art.be I www.kd-art.be 16th-18th-century Dutch and Flemish works of art with a focus on Flemish terracottas and works on paper Stand 1 MATHIEU NEOUZE Paris T +33 1 5334 8489 E mathieu.neouze@gmail.com I www.mathieu-neouze.com Paintings, drawings and sculpture from 1880 to 1920 Stand 3 SANTA TECLA SRL Padova T +39 04 9856 1460 E santateclaltd@gmail.com Old master paintings, drawings and sculpture Stand 5 GALERIE SAMANTHA SELLEM Paris T +33 1 5624 3474 E galeriesellem@gmail.com I www.galeriesellem.com Modern art Stand 6

TASCHEN Cologne M +32 489 076 688 E cdc@taschen.com I www.taschen.com Publisher of exclusive books Stand 823

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TEFAF AMSTERDAM – THE NETHERLANDS Barbara Strozzilaan 201 1083 HN Amsterdam The Netherlands T +31 20 303 6400 www.tefaf.com info@tefaf.com NEW YORK – USA 1 Rockefeller Plaza, 11th Floor New York, NY 10020 USA T +1 212 202 59 50 info@tefafny.com

PARTICIPATION Applications for participation in 2020 Fair can only be done through www.tefaf.com. Acceptance is solely at the discretion of TEFAF. The organisers reserve the right to refuse admission to the Fair without giving any reason and to remove any person whose conduct, in the opinion of the organisers, renders such action desirable. Canvassing orders by any unauthorised person is strictly prohibited and, should this occur, the right of expulsion will at once be exercised. The distribution or display of printed or other material, except by exhibitors at their stands, is also prohibited. Please also note that because of the early printing deadlines for the catalogue, it cannot be guaranteed that objects shown in the catalogue will pass TEFAF vetting. All rights reserved. No part of this publication may be reproduced, transmitted or stored electronically, in any form, without the prior permission in writing of the publisher, nor otherwise be circulated in any form other than in which it is published.

CONTRACTORS

PUBLIC RELATIONS CONSULTANTS

FAIR ARCHITECT Tom Postma Design Amsterdam-The Netherlands T +31 20 622 85 69 E tpd@tompostma.nl I www.tompostma.nl

PRESS OFFICE The European Fine Art Foundation Amsterdam-The Netherlands T +31 303 6400 E press@tefaf.com I www.tefaf.com

CATERING Maison van den Boer Veghel-The Netherlands T +31 413 31 83 18 E info@maisonvandenboer.com I www.maisonvandenboer.com

BELGIUM/LUXEMBOURG Truuske Verloop Ranst-Belgium T +32 497 48 59 67 E verloop@telenet.be

FLOWER DECORATIONS Ten Kate Flowers & Decorations Deventer-The Netherlands T +31 570 61 22 73 E info@tenkate-deventer.nl I www.tenkate-deventer.nl STAND BUILDER Stabilo International bv Eindhoven-The Netherlands T +31 40 234 89 00 E info@stabiloworld.com I www.stabiloworld.com VENUE MECC, Maastricht Exhibition and Congress Centre Maastricht-The Netherlands T +31 43 383 83 83 E info@mecc.nl I www.mecc.nl

CHINA The China Connector Monique Knapen Jessy van de Klundert Amsterdam – The Netherlands M +31 6 192 382 65 M +31 6 119 187 34 E monique@chinaconnector.nl E jessy@chinaconnector.nl I www.chinaconnector.nl FRANCE/MONACO/ SWITZERLAND GB Communication Gaëlle de Bernède Paris-France T +33 1 7543 4680 E gaelledebernede@gmail.com GERMANY/AUSTRIA/ SWITZERLAND Britta Fischer Public Relations Britta Fischer Wiesbaden-Germany T +49 611 30 0877 E bfpr@brittafischer-pr.com I www.brittafischer-pr.com

LATIN AMERICA Argentina Cultural Services Graciela Prosperi The Hague-The Netherlands T +31 70 383 9879 M +31 6 5260 0055 E graciela@ argentinaculturalservices.nl SPAIN Lumbre Comunicación Sonsoles Lumbreras M +34 617 106 776 E lumbre.comunicacion@gmail.com THE NETHERLANDS/ BELGIUM/LUXEMBOURG TEFAF Jan Peter Verhagen Amsterdam – The Netherlands T +31 20 303 6412 E jp.verhagen@tefaf.com UK/SCANDINAVIA Golden2 Consulting Annie McGrath London-UK T +44 207 439 28 22 E info@goldensquared.com USA/CANADA Sharp Communications Magda Grigorian Austin Durling New York-USA T + 1 212 829 00 02 E info@sharpthink.com I www.sharpthink.com

ITALY Studio Esseci Roberta Barbaro Sergio Campagnolo Padova-Italy T +39 049 663 499 E gestione3@studioesseci.net I www.studioesseci.net

PRINTING Graphius-DeckersSnoeck, Ghent, Belgium TEXT EDITING Coco Bannenberg PRODUCTION Yvonne van den Eerenbeemt

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TEFAF MAASTRICHT 2019 TEFAF GENERAL TERMS & CONDITIONS FOR VISITORS

ARTICLE 1 - DEFINITIONS

ARTICLE 4 – SALE OF TICKETS

In these Conditions for Visitors, the following terms are defined as set forth below:

1. TEFAF is not liable for any mistakes made by third parties in offers, communications or other information regarding the contents, duration, and organization of the Fair, or for mistakes of third parties in providing information about ticket prices, presale of tickets and/or other in correct or unclear information pertaining to any of the subject matter of this paragraph 1. 2. Tickets to the Fair are non-refundable. 3. TEFAF does not allow for the sale or resale of entrance tickets other than by TEFAF directly or by a TEFAF designated seller or distributor of entrance tickets. 4. Visitors may be denied access to the Fair if entrance tickets were obtained through other channels than through the ones as provided in paragraph 3 of this Article. 5. Tickets to the Fair are personal if the name of the Visitor is printed on the entrance ticket. Visitors may be asked to show valid proof of identity.

Article: an article of the Conditions for Visitors. Conditions for Visitors: these TEFAF General Terms & Conditions for Visitors. Executive Committee: the executive committee of TEFAF. Fair: a fair organized by TEFAF in the respective Hall. References to “the Fair” are deemed to be references to any applicable Fair. Hall: the premises where the Fair takes place, being MECC Maastricht, The Netherlands, or any other such place where the Fair may take place from time to time. Management: the CEO of TEFAF and his/her staff. Participant: an art gallery or other entity renting a stand from TEFAF at the Fair. TEFAF: The European Fine Art Foundation, with registered seat in Maastricht, The Netherlands. TEFAF Information Media: any media by which TEFAF publicly distributes information in respect of the Fair, including the online catalogue, a smartphone app, the TEFAF website, printed material and social media regarding the Fair. Vetting Committee: the committee that decides on the admission of works of art to the Fair. The Vetting Committee is composed of international art specialists, who are selected on the basis of their integrity, independence and art expertise. Visitor: a natural person or legal entity visiting the Fair in the Hall, unless such person or entity is present at the Fair as a Participant or contractor of TEFAF and only while acting in that capacity.

ARTICLE 2 – ROLE OF TEFAF 1. In organizing a Fair, TEFAF’s purpose is to serve as a platform and facilitator, and to create good conditions for Visitors and Participants at the Fair for viewing, exhibiting, buying and selling works of art. 2. TEFAF does not have any ownership interest in works of art exhibited at the Fair, and has no interest as either a seller or purchaser of works of art exhibited at the Fair. Moreover, TEFAF is not involved in any way in the process of buying and selling works of art during the Fair. Similarly, TEFAF does not provide transport services and is not responsible for transport of the works of art to and from the Fair. 3. In aiming to achieve the objectives as described in paragraph 1 of this Article, TEFAF facilitates the selection of the Participants permitted to exhibit art at the Fair, and makes all reasonable efforts to contribute to the selection of the works of art permitted to be exhibited at the Fair – through the Vetting Committee. However, responsibility for the whole process of selection, exhibiting, buying and selling works of art remains with the Participant selling and the Visitor buying a work of art. Visitors are urged to exercise care and to make appropriate enquiries to perform appropriate diligence and consult their own professional advisors. TEFAF shall not be liable in any way for any act or omission attributable to a Participant and/or on account of the works of art exhibited at the Fair.

ARTICLE 3 – ACCEPTANCE OF THE REGULATIONS The Conditions for Visitors apply to all legal relationships between TEFAF and the Visitor to the Fair, and to all actions related to the legal relationship. By purchasing a ticket, or accepting an invitation, and then visiting the Fair, the Visitor accepts the Conditions for Visitors.

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ARTICLE 5 - CANCELLATION, TERMINATION, POSTPONEMENT OR ADAPTATION OF THE FAIR 1. TEFAF may cancel the Fair, postpone it or adapt its operation (including but not limited to reducing the duration of the Fair or changing its venue), if TEFAF determines such action to be necessary. 2. Such actions could result, for example, from force majeure (including but not limited to war, political unrest, strike, flood, fire, robbery, breakdown of transportation facilities or unavailability of the Hall or a major part thereof), an order by governmental authorities or any other event not attributable to TEFAF that prevents or hinders TEFAF in organizing or operating the Fair in the normal course. 3. If the Fair is cancelled, postponed or adapted, TEFAF shall be released from its duty to perform the affected obligations and Visitors shall have no claim against TEFAF for performance or withdrawal from contract or compensation for any loss or damage.

ARTICLE 6 – DURING THE VISIT TO THE FAIR 1. By attending the Fair, Visitors accept and subject themselves to TEFAF’s rules and safety regulations. Visitors should comply with instructions given by security and other officials of TEFAF or parties engaged by TEFAF. 2. Visitors acting in a manner contrary to Dutch law and regulations, TEFAF’s rules and regulations as referred to in paragraph 1 of this Article, any other section of these Conditions for Visitors, and/or Visitors whose behavior at the Fair or otherwise gives rise to good faith complaints from other Visitors, Participants, the Executive Committee or the Management, may be removed immediately from the Fair by TEFAF, and may be denied further and/or future access to any Fair, without being entitled to restitution of the entrance fee or other costs, and may be held liable by TEFAF for any loss or damage incurred. TEFAF is entitled to remove a Visitor from the Fair and/or deny further access to any Fair, if a Visitor, while visiting the Fair or otherwise, violates one or more applicable statutory provisions, or if TEFAF has a good faith reason to anticipate such violation, it being TEFAF’s right to in all events protect the reputation of the Fair, TEFAF or any of the Participants. TEFAF may issue a press statement, or otherwise express itself in publicity, at any time as TEFAF sees fit, in order to maintain the orderly conduct of the Fair. TEFAF is not liable for any loss or damage sustained by Visitors as a result of actions taken by TEFAF consistent with the foregoing. 3. The general purpose of the Fair is to allow Visitors to view and purchase art objects as displayed by Participants in a legitimate manner, and in that context to develop business relations with Visitors and (prospect) participants to the fair. It is not allowed to enter the Fair as a Visitor in case this Visitor presents or demonstrates to have a different purpose. In that case paragraph 2 of this Article applies in full. 4. Among other things Visitors are not permitted to: a. offer goods for sale or distribute goods free of charge to third parties at the Fair; b. bring pets or other animals into the Fair, with the exception of service animals for Visitors with disabilities, but only with permission from TEFAF;

c. bring food and/or beverages into the Fair; d. bring large bags (larger than 30 ×40 centimeters), backpacks and umbrellas into the Fair; e. bring jewelry in bags or cases into the Fair without reporting the jewelry before entering the Fair; f. bring art or antiques into the Fair, for example for valuation, selling or offering for sale; g. organize or attend unofficial guided tours; h. bring objects or substances into the Fair that are, in the opinion of a TEFAF official, hazardous or may cause a nuisance to Visitors and other persons; i. smoke in the Fair outside the designated smoking areas; or j. bring professional recording equipment (photo/audio/ video) to the Fair or use such equipment at the Fair. 5. Insofar as no objection exists on the side of the relevant Participant, Visitors are permitted to make photos at the Fair for personal use only and in view of a considered acquisition of art, and in line with the purpose of the Fair. The Management may decide that the use of recording equipment (photo /audio/video) is only permitted by TEFAF if certain conditions are met, for example if the Visitor is escorted by a TEFAF employee or representative. No flashes, extendable camera devices or video recordings are permitted. TEFAF officials are authorized to demand that Visitors place any recording equipment in storage during their visit to the Fair if recording equipment is used contrary to these regulations. Visitors refusing to cooperate may be denied further and/or future access to the Fair without being entitled to restitution of the entrance fee or any other costs. TEFAF is not liable for loss or damage relating to any stored recording equipment. 6. TEFAF reserves the right to make or commission video, photographic and/or sound recordings of the Fair.

ARTICLE 7 – SAFETY AND SECURITY REGULATIONS

TEFAF Management may demand that Visitors show valid proof of identity and/or that bags and cases carried by Visitors be searched. Visitors may be asked to submit to a body search by specially trained staff. Visitors refusing to cooperate may be denied further access to the Fair without being entitled to a refund of the price of admission tickets or other costs.

ARTICLE 10 – LIABILITY OF TEFAF 1. Consistent with Article 2 above, and in addition to the limitation of liability as set out in Articles 2.3, 4.1, 6.2, 6.3, 6.5 and 8.2, TEFAF, its employees and representatives, including, without limitation, the members of the Vetting Committee shall not be liable in any way for claims, actions, proceedings, losses, liabilities, damages, expenses and costs in relation to the description, quality, authenticity, attribution, provenance, title, condition and/or entitlement of any work of art that was brought to the Hall and/or proposed at the Fair and/or exhibited by a Participant at the Fair and/or vetted by the Vetting Committee. This responsibility and liability remains solely with the Participant and with the Visitor buying a work of art. As noted above, TEFAF recommends that Visitors seek independent advice about these matters from their own professional advisors before making an art purchase. 2. Visitors attend the Fair at their own risk. TEFAF is not liable for physical or other loss or damage caused by force majeure or third parties, whether or not these third parties are contracted by TEFAF, including but not limited to stand builders, caterers, editors/ authors of TEFAF Information Media, security personnel, Participants, other Visitors and the Vetting Committee or its members. 3. Under no circumstances will TEFAF or any of its employees or agents be liable for consequential damages for any reason whatsoever. 4. In any event liability by TEFAF or any of its employees or agents is limited to the damages for which TEFAF is insured and up to the insured amount.

ARTICLE 11 – APPLICABLE LAW AND JURISDICTION 1. The relationship between the Visitor and TEFAF and all disputes arising therefrom are governed exclusively by the laws of The Netherlands. Parties will try to solve any dispute that may arise between TEFAF and a Visitor in connection with the present legal relationship, or further relationships or contracts resulting therefrom, through mediation in accordance with the rules of the Dutch Mediation Federation (Mediation Federatie Nederland) based in Rotterdam. Until mediation has ended, neither party shall submit the dispute to a court, with the exception of claims or requests with regard to precautionary measures of protection of rights. 2. If it is established that a dispute cannot be resolved through mediation, the dispute shall be settled exclusively by the competent court in Amsterdam in the Netherlands.

ARTICLE 8 – TEFAF INFORMATION MEDIA 1. Any information in TEFAF Information Media - in particular, but not limited to, information regarding the description, quality, authenticity, attribution, provenance, title, condition, authorship, origin, date, age and condition of a work of art - is given on behalf of, and is the sole responsibility of, the applicable Participant. Accordingly, TEFAF cannot guarantee the correctness of such information provided in the TEFAF Information Media. TEFAF recommends that Visitors seek independent advice regarding the subject matter referred to above in this paragraph 1 from their own professional art advisors before making a purchase from a Participant. 2. Additionally, TEFAF shall have no liability for incorrect, incomplete or missing entries or entries in TEFAF Information Media infringing third party rights.

ARTICLE 9 – COMPLAINTS AND CLAIMS

ARTICLE 12 – MISCELLANEOUS 1. All determinations not expressly provided for in these Conditions for Visitors are to be decided by TEFAF, alone, subject to applicable law. 2. Invalidity of one or more of the provisions as set out in these Conditions for Visitors will not have the effect of rendering any other provision hereof invalid. An invalid or unenforceable provision will - to the extent permitted by law - be converted into a valid, enforceable provision that most closely matches the intent of the original provision of TEFAF and which would have been stipulated by TEFAF if the original provision had been abandoned by TEFAF because of its inapplicability, invalidity or nullity. To the extent necessary, the Visitor agrees to this conversion. 3. The headings in these Conditions for Visitors have been included for easy reference only and are not intended for interpretation purposes of any clause of these Conditions for Visitors.

1. A claim by a Visitor will only be considered by TEFAF if received in writing by the Management in any event within four (4) weeks after occurrence of the event on which the claim is based. Complaints or claims received by the Management after this period will not be accepted by TEFAF. 2. Complaints and circumstances relating to acts or omissions of third parties or beyond the control of TEFAF shall not result in claims or in any obligation of TEFAF to pay compensation. Complaints regarding third parties should be addressed directly to the third party or parties concerned. TEFAF will supply the relevant name and address information of a Participant to a Visitor upon request.

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SEE YOU AT TEFAF NEW YORK SPRING 3–7 MAY, 2019 TEFAF NEW YORK FALL 2–6 NOVEMBER, 2019 TEFAF MAASTRICHT 14–22 MARCH, 2020

Image front cover courtesy of The Weiss Gallery

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