TEFAF Maastricht 2017

TEFAF MAASTRICHT MARCH 10-19 2017

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

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SPONSORS

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CONTENTS

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COMMITTEE OF HONOUR THE EUROPEAN FINE ART FOUNDATION BOARD AND MANAGEMENT 06 FOREWORD BY THE ACTING PRESIDENT OF THE EUROPEAN FINE ART FOUNDATION 10 FOREWORD FROM THE PRINCIPAL SPONSOR AXA ART 12 A TEMPLE TO THE SKY 14 TEFAF CURATED 2017 16 TEFAF SHOWCASE 2017 20 SPECIAL EXHIBITION GALLERIA BORGHESE 28 THE TEFAF RESTORATION FUND 32 PRINCE CLAUS FUND 34 VETTING GUIDELINES AND VETTING COMMITTEES 44 PAINTINGS 164 ANTIQUES 366 ANCIENT ART 390 LA HAUTE JOAILLERIE 406 DESIGN 434 PAPER 482 MODERN 582 ADVERTISEMENTS 608 EXHIBITOR LIST 05

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THE COMMITTEE OF HONOUR

MR. H. SALVADOR The Ambassador of Argentina MS. DR. H. GÜRER The Ambassador of Austria MR. C.L.C. HOORNAERT The Ambassador of Belgium MS. S. NÖLKE The Ambassador of Canada MR. O.E. MOESBY 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. P.A.I. HOLMSTRÖM The Ambassador of the Kingdom of Sweden MR. U. BREITER Ambassador of Switzerland MR. G. ADAMS The Ambassador of the United Kingdom MR. A.M. MOERZINGER PAGANI The Ambassador of the Eastern Republic of Uruguay MR. H. JAMAR The Governor of the Province of Liège (Belgium) MR. H. REYNDERS The Governor of the Province of Limburg (Belgium)

MR. A. PERUGINI The Ambassador of Italy

MR. DR. J. WILHELM The Chairman of the Landschaftsverband Rheinland (BRD)

MR. H. INOMATA The Ambassador of Japan

MS. G. WALSKEN The Governor of Cologne

MR. J. CHOE The Ambassador of the Republic of Korea

MR. O. PAASCH The Prime Minister of the German-speaking Community of Belgium

MME. S. THÉVENOUX The Ambassador of Monaco MR. M. SØRBY The Ambassador of the Kingdom of Norway MS. R. BATORÉU The Ambassador of Portugal

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)

MR. F. ARIAS GONZÁLEZ The Ambassador of Spain

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BOARD AND MANAGEMENT

BOARD OF TRUSTEES

EXECUTIVE COMMITTEE

WILLEM VAN ROIJEN Acting President

WILLEM VAN ROIJEN Chairman

BEN JANSSENS Chairman Antiquairs

KONRAD BERNHEIMER BEN JANSSENS FABRIZIO MORETTI JAMES ROUNDELL HIDDE VAN SEGGELEN JORGE WELSH

KONRAD BERNHEIMER Chairman Pictura JAMES ROUNDELL Vice Chairman Pictura GEORGE ABRAMS ROBERT ARONSON DAVID CAHN JONATHAN GREEN JOHNNY VAN HAEFTEN FABRIZIO MORETTI UGO PIERUCCI HIDDE VAN SEGGELEN PETER SUTTON CHRISTOPHE VAN DE WEGHE JORGE WELSH MICHEL WITMER

PATRICK VAN MARIS VAN DIJK CEO

ANTHONY BROWNE Consultant

MANON VAN DEN BEUKEN Project Coordination

HENK VAN OS ANTHONY SPEELMAN Advisors

FREDERIQUE VAN OORSCHOT Project Coordination PAN Amsterdam

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

TEFAF SHOWCASE COMMITTEE PIETER DREESMANN BEN JANSSENS RACHEL KAMINSKY DAVID KOWITZ CHRISTOPHE DE QUÉNETAIN AXEL RÜGER

TEFAF RESTORATION FUND COMMITTEE DAVID BULL RACHEL KAMINSKY KENSON KWOK HENK VAN OS

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MANAGEMENT

KARINE MANDEL Executive Assistant to the CEO and Board MICHEL DE JONG Managing Director EVELINE DE KONING Personal Assistant

YVONNE VAN DEN EERENBEEMT Printing & Design MADELON STRIJBOS COCO BANNENBERG CLAIRE VAN BEUZENKOM EVELINE VAN NIEKERK JAN PETER VERHAGEN PR & Marketing NIELS GLANDORFF TWAN VAN ASSELDONK Finance & Purchasing CÉCILE FENTENER VAN VLISSINGEN Vetting & Special Projects PIETER VERSTIJNEN Project Assistance INGRID LABADIE Sponsoring & Corporate Events

FOUNDERS

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

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FOREWORD

BY WILLEM VAN ROIJEN CHAIRMAN TEFAF

This is the catalogue of TEFAF Maastricht 2017. It is our thirtieth fair in Maastricht, an important milestone we hope to celebrate in a fitting way.

Just over one year ago we announced that through a joint venture with New York based Artvest, we were going to launch two annual TEFAF art fairs in New York at the Park Avenue Armory.

Now the first, extremely successful, edition of ‘TEFAF New York Fall’ is behind us. The announcement of the exhibitors for the inaugural edition of ‘TEFAF New York Spring’ has just been made and looks very promising.

In addition to these two new fairs, we have launched a new visual identity and relaunched www.tefaf.com. This renewed website will help us to better serve our community of art dealers, collectors, vetting experts, museums, students and other interested parties. It will grow over time with the input from many different contributors and will provide the digital home for our brand and a guide to our activities.

An important new activity is the TEFAF Art Market Chair at the University of Maastricht. Prof. Dr. Rachell Pownall will be the first TEFAF Professor of Art Market related Economics and author of the 2017 TEFAF Art Market Report.

Last year Johnny van Haeften decided to step down from the EC to make room for new blood on our Executive Committee. Johnny was the last member on the Executive Committee who was also a founding member of TEFAF. With his wit, diplomatic skills, and immense knowhow, he was an invaluable member of the Executive Committee. We are therefore very grateful he has accepted to remain on our Board.

This past year regretfully came with the deaths of our respected long time exhibitors Helmut Rumbler and Frans Jacobs. It was also with great sadness that we learned about the passing of our highly admired former President; Hans König, a true intellectual, diplomat and visionair. We feel honoured and thankful for his incessant belief in TEFAF and the support we received from him throughout a great number of years.

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TEFAF Maastricht 2017 is welcoming 19 new exhibitors. They are: Benjamin Proust Fine Art (UK), who participated in TEFAF Showcase in 2016 and is presenting Old Master sculpture and works of art; Medieval art specialists De Backker Medieval Art (Belgium); Native American works of art specialists Donald Ellis Gallery (USA); Frank C. Möller Fine Arts (Germany), who last participated in TEFAF Maastricht in 2015, specialists in 18th- and 19th-century furniture and objets d’art; Galerie Caratsch (Switzerland), specialists in modern and contemporary works of art; Galerie Bernard Dulon (France), specialists in African and Oceanic art; Rare and unusual antique ephemera is being presented by Galerie Delalande (France), who participated in TEFAF Showcase in 2013; Modern art specialists Galerie Haas (Switzerland); Galerie Jacques Barrère (France), specialists in Chinese and Japanese decorative arts; Galerie kreo (France), specialists in contemporary design objects; Gallo Fine Art (Italy), specialists in Venetian painting, sculpture and furniture from the 17th to the 19th centuries; Maruani Mercier Gallery (Belgium), specialists in works by contemporary American artists; 20th-century design specialists Jacksons (Sweden); also from Sweden Modernity, specialist in Scandinavian design; Matthiesen Gallery (UK), who will present French, Italian and Spanish Old Master Paintings, are returning to TEFAF Maastricht having last exhibited in 2015; Lyon based Galerie Michel Descours (France), specialists in paintings and drawings from the 16th to the 20th centuries; Mullany (UK), experts in continental sculpture, works of art, furniture and Old Master Paintings from 1200-1700; Salamon&C (Italy), specialists in both Old Master paintings & drawings and contemporary art; and finally, Sprovieri Gallery (UK), who participated in TEFAF Curated in 2016, is exhibiting contemporary art.

TEFAF Showcase was first initiated in 2008 to give recently established galleries the opportunity to participate in TEFAF Maastricht and to gain experience of being part of a major international art event. This year galleries from the UK, Belgium, France and Japan have been selected to take part. They present works across five different collecting disciplines jewellery by contemporary artists; Indian, Himalayan and South East Asian art; master paintings and sculpture; contemporary Japanese art; African and Oceanic art. You will find more information on these selected galleries on page 16-19 in this catalogue.

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TEFAF Maastricht is known for providing an unrivalled forum where historical connections are made and discovered. Designed to complement the fair’s modern and contemporary section, the third edition of TEFAF Curated ‘La Grande Horizontale’, will be curated

by Penelope Curtis, director of the Calouste Gulbenkian Museum, Lisbon. Under the unifying theme of the reclining figure, Curtis aims to reflect on periods from the Antique to the present. The section will host a selected group of galleries each exhibiting works by contemporary artists. You will find more information on Penelope Curtis, the artists, the objects and the galleries on page 14-15.

Another special exhibition can be found in the TEFAF PAPER section upstairs. This year’s special loan exhibition is from the Galleria Borghese. Contrary to all other objects at the fair the artworks in this exhibition are not for sale.

We owe much appreciation to the many loyal people and organisations who have supported TEFAF in the past 30 years.

Without them TEFAF would certainly not have been able to be where we are now.

Risking missing an important person or group of people, I would like to thank my fellow Board and Executive Committee members who put in many hours without any compensation, coming up with new ideas and giving direction to our fairs; the TEFAF staff, including our partners of Artvest, who work long hours with great enthusiasm to make our fairs a success, our sponsors who make our fairs financially feasible, and especially our exhibitors without whom we would have no fairs!

Yours sincerely, Willem van Roijen Chairman TEFAF

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In Memoriam Hans Kรถnig 1923-2016

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FOREWORD

BY KAI KUKLINSKI CEO AXA ART GROUP

TEFAF is a firmly established date on our calendar, just as it is for most leading international collectors. Like many of you, at this time of year I find myself looking forward once again to immersing myself in the whole sense of occasion that makes TEFAF so very special. Attending in my professional capacity as CEO of AXA ART Group, I try to see as many displays as possible. But the fair is so vast and the quality so high that sadly, I just don’t have time to take in everything. Nonetheless I’m eagerly anticipating the opportunity to renew acquaintance with so many of the business contacts and art world professionals whose expertise and appreciation makes this annual visit to Maastricht as much an education as it is a pleasure.

Our theme at the AXA ART stand this year focuses on a striking installation project that is very close to our hearts.

The Sky over Nine Columns by German artist Heinz Mack is a square grid of nine cleanly linear pillars, each nearly eight meters tall. Clad in no fewer than 850,000 golden mosaic tiles, the entire composition captures the light and energizes its environment with an ethereal, shimmering aura. In certain conditions, it can indeed appear literally to be holding up the sky. The installation itself, at once monumental and also extremely delicate, has an itinerant existence. Thus far it has been exhibited in Venice, Istanbul, Valencia and St. Moritz, with other international cities set to follow.

As the world’s leading fine art and collectibles insurance specialists, we understand that a creation of such resonance and magnitude is much more than a commodity. Its beauty has a worth that can’t be simply quantified – but is all too easily damaged and diminished, and requires individual care and protection. Through our own expertise, we are proud to help ensure this extraordinary work continues to magically transform skylines across different continents, and receive the global public attention it deserves. And while our display can’t compare with the real thing, a visit to stand 800 will give you at least an insight into what makes this project so worthy of support.

As always, I hope that you find TEFAF 2017 to be both a delight and a revelation, at once confirming expectations and also offering up much that is new, stimulating and surprising. I look forward to meeting you on our stand, and sharing with you our passion for protecting rare, beautiful and precious works of art, all over the world.

Yours sincerely Kai Kuklinski CEO AXA ART Group

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A TEMPLE TO THE SKY

BY VALERIA MACK

Comprised of 850,000 golden mosaic pieces applied to a grid of nine soaring pillars, Heinz Mack’s shimmering installation The Sky over Nine Columns has thus far transformed skylines and dazzled the public in Venice, Istanbul, Valencia and St. Moritz. This year, the AXA ART stand is devoted to showcasing this compelling work, which we are proud to be supporting in its further travels worldwide. Here, daughter Maria Valeria Mack shares her own thoughts on the artist’s passion, vision and creative philosophy.

Since the beginning of his artistic career Heinz Mack has been particularly fascinated by light and movement. They are physical phenomena in which the naturally occurring and manufactured worlds manifestly coincide and are interwoven. Sunlight as it is focused in several silver light reflectors at different times of the day (as recorded for the

Tele-Mack film in the Tunisian desert) manifests new dimensions of light and space for the artist.

It is about the artificial space that unfolds only in the reserves of nature.

As early as 1968, Heinz Mack installed four light stelae in the stony desert of Algeria; a sequence of stelae that suggests linear movement which in turn is indicative of the extraordinary dimension of the desert landscape. Due to the optical and physical effects, the autonomous objects radiate into space. Intersecting patterns of light and shadow surround the viewer and cannot be easily attributed to an obvious source. The fascination is based on the relationship between the solid artworks and the immaterial light. Through this interaction Heinz Mack creates immaterial effects from material form. Materiality seems to dissolve through the interplay with light.

Heinz Mack, The Sky Over Nine Columns Courtesy: Beck & Eggeling International Fine Art Photo left page: CAC Valencia, 2016 Alfonso Calza Photo right page: Istanbul, 2015 Murat Germen

The environmental installation The Sky Over Nine Columns functions as an overall surface for the play of light, reflection, movement, and vibration. The light that plays over the surfaces of the bright gold-plated mosaics is reflected to create vibrating and energetic light impulses.

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A multiplicity of appearances is possible, depending on the intensity and the incidence of light, as well as the viewing angle. Surfaces appear partly golden, partly transparent. The contours of the nine pillars blur, as if solid matter has become liquid. Light-energy fields emerge.

Visual movements are an expression of energy and occur even though the artwork itself is static.

Thanks to its energy, the intangible light itself transcends the materiality, reaching the full presence of its own, infinite entelechy. Moreover, the environment becomes part of the artwork, and is itself imbued with the appearance of immateriality. As this occurs in real time and is constantly changing, the rigid and fixed identity of the structure is abolished. In Heinz Mack’s own words, “...it has always been and still is my intention to make objects the appearance of which is immaterial; to reach this goal, above all light and motion are my means”.

Ever since antiquity, direct light has represented the pure, immaterial, sacral, and creative spirit in art. For the Pharaohs or the Aztecs inter alia, the glimmer of gold was a sun-like symbol of light.

Together, the optical and natural phenomenon of light and the material substance of The Sky Over Nine Columns form a perfect unity. Matter in movement manifests light in all of its essence across time and space, and is momentarily captured by the strict, linear geometry of the nine pillars (to quote the artist’s own example, ‘...something like the visible part of an invisible, endless line, which is why they can be turned upside down without actually being changed’).

As early as the 5th century BC, eight pillars of a temple consecrated to the Moon God were constructed in Yemen, Marib. The Sky Over Nine Columns is a contemporary temple without roof.

The reference to historical architecture is evident, alongside a simultaneous reference to human history and culture. Even if Heinz Mack always avoided figurative sculpture, the shape of the pillars remains in essence a manifestation of man, standing upright – with dignity – in the unlimited space. Moreover, the simple and continuous shape of pillars leading into the infinite space disregards terrestrial time. Presumed cultural, religious or historical boundaries seem to dissolve. These universal aspects are part of The Sky Over Nine Columns and very important for Heinz Mack who, inter alia, studied philosophy.

The constant voyage of the installation to different places in the world is fundamental.

Heinz Mack in his sculpture garden, 2008 Moenchengladbach, Photo: Archiv Atelier Mack

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TEFAF CURATED: LA GRANDE HORIZONTALE BETWEEN HEAVEN AND EARTH CURATED BY PENELOPE CURTIS

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This year’s curated section of the fair will bring together works of different periods, exploiting the unusual depth and range of TEFAF. Under the unifying theme of the reclining or recumbent figure, the section aims to represent periods from the Antique to the present.

By combining invited artists and galleries, with a range of works sourced through existing contributors, the curator Penelope Curtis aims to present a compelling slice through time, looking at the horizontal form as it moves through the figure to the land.

The reclining figure as a motif has been in continuous use since ancient times. One of its special characteristics is the way in which it has been reinvented to represent, variously, life and death, with images of fertility and fecundity as common as those of grief and commemoration.

SADIE MURDOCH Study for modelling Charlotte Perriand 3 Giclée print 33.7 x 48 cm

In 20th century art, the Reclining Figure, as a phrase, and as a form, became indelibly associated with the sculpture of Henry Moore, whose first ‘Reclining Figure’ dates back to 1929. The success of Moore’s reclining figures can be understood in terms of their deep roots in many cultures, Western and non-Western. In his own discussion of the stimuli for his work, Moore delineated some very simple and common visual and tactile experiences.

These included his mother’s body, tombs in a nearby church, the hills of Yorkshire, and the Mexican carvings he saw in the British Museum.

This short list does a lot to account for the form’s compelling attraction: it is human, it is natural, it is historical. It speaks of death, and of life: of things familiar, and of things unknown. The motif has also a range of interesting links with the elements, making it a feature of decorative schemes connected with parks and gardens, as well as the urban landscape.

A number of artists whose work features the reclining or horizontal motif will present works alongside examples from the historic past. The selection is striking in its diversity, moving from the apparently classic reclining figures of Ernst Wilhelm Nay or Thomas Schuette, to the unexpected explorations of Charlotte Dumas and Sadie Murdoch, to the view-finding horizons of Suchan Kinoshita, David Tremlett and Ettore Spalletti.

TEFAF Curated aims to highlight some of the most compelling and eloquent works of art, from the western and non- western traditions, all of which speak a language premised on the fundamental conditions of life and death.

About Penelope Curtis Penelope Curtis is best known as a curator and historian of sculpture, having created the Henry Moore Institute in Leeds, where she launched many innovative thematic exhibtions looking at the materials and forms of sculpture. As Director of Tate Britain between 2010 and 2015 Curtis was responsible for overseeing the Millbank Project (Caruso St John, 2013) in tandem with the complete rehang of the collection. Now at the Gulbenkian Museum, Curtis has the task of combining the 2 collections, the Founder’s and the Modern, under one direction, and within one programme, Trans-historical exhibitions have been a feature of Curtis’ curatorial work, beginning with ‘Private View’ at the Bowes Museum in 1996, continuing with shows looking at sculptursl subjects such as bronze, life-casting, the portrait bust and the image of Antinous. By contrast the rehang at Tate Britain was rigorously chronological, while a highlight of the Royal Academy exhibition was the conversation between ancient sculptures from the British Museum with early 20th century carving. Her Mellon lecture of 2015, ‘Sculpture on the Threshold’, given at the National Gallery, London, and at Yale, looked at forms common to sculpture in Britain over time, with a special focus on the vertical and horizontal.

The 7 invited galleries in contemporary art have been asked to present one single artist.

Andriese van Eyck - Amsterdam Charlotte Dumas

Galerie Jean Brolly - Paris David Tremlett / Michel Verjus Konrad Fischer Galerie - Düsseldorf Thomas Schuette

Roberto Polo Gallery - Brussels Sadie Murdoch Nadja Vilenne - Liège Suchan Kinoshita Vistamare di Benedetta Spaletti SRL - Pescara Ettore Spalletti Aurel Scheibler - Berlin Ernst Wilhelm Nay With special contributions by Sam Fogg, Daniel Katz, Marcel Nies and Rupert Wace.

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TEFAF SHOWCASE 2017

LULLO PAMPOULIDES FINE ART THE MASTER OF THE ANNUNCIATION TO THE SHEPHERDS (Active Naples, first half 17th century) Archimedes Oil on canvas 64 x 54 cm Circa 1630

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RENAUD MONTMÉAT ART D’ASIE Standing Bodhisattva Maitreya Schist Height 59 cm Pakistan, ancient region of Gandhara, circa 3rd century AD

‘When TEFAF Showcase was launched in March 2007, it added something new and refreshing to the Fair,’ reflects Ben Janssens of the initiative. ’I would say that it has become an irreplaceable element of TEFAF that is fruitful both for participants of Showcase and the Fair as a whole.’

TEFAF Showcase gives the opportunity to young and newly established dealers to participate in TEFAF at a relatively modest cost and also allows TEFAF to look at potential new talent and assess, at first hand, the quality of their stock and ability to create an interesting and exciting display within the limited space of a Showcase stand.

In the ten years since its inception, approximately 30% of Showcase exhibitors – eighteen in total - have moved on to become regular exhibitors within the Fair. Evidence of the popularity of TEFAF Showcase can be found in the high number of applications that are now received annually for a space in this sought-after section.

Showcase exhibitors are selected by a judging panel that is carefully balanced to reflect the different disciplines that can be found within the Fair. The panel is made up of museum staff, collectors, ex-Showcase participants and a member of the TEFAF Executive Committee.

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TRIBAL ART CLASSICS, BRUSSELS Adrian Schlag launched his current business Tribal Art Classics in 2005, after moving to Brussels in 2001. He was originally introduced to tribal art by an anthropologist and became involved with a group of collectors in Germany, eventually becoming its President. ‘As I became acquainted with collectors and museums all over Europe, what had started as an interest became a way of life. I feel very privileged to do what I do and thank God every morning that I can discover beautiful new things on a regular basis. In this field, it is still possible to find truly marvellous objects and that is terribly exciting.’ For TEFAF Showcase, Schlag is preparing an exhibition catalogue called Archetype, which will show a group of very archaic pieces that come from pre-contact Oceania and pre-Colonial Africa. The pieces that have been chosen represent original images that have gone on to influence later works and are of wide arthistorical interest and importance.

TRIBAL ART CLASSICS

ELISABETTA CAPRIANI

Kongo-Vili power figure Wood, nails, feathers, mirror Height 65 cm DR of Congo, Civilization Vili, late 19th century

ENRICO CASTELLANI Superficie 18 krt yellow satin gold bracelet 6.7 x 6.6 cm Signed and numbered Edition of 12 2012

ELISABETTA CIPRIANI, LONDON Through her work at the Museum of Contemporary Art in Rome (MACRO), Elisabetta Cipriano became friends with a number of contemporary artists and it was via this connection that she first invited artists to make jewellery. She started dealing in artists’ jewellery in 2009 and her first project was with Tatsuo Miyajima but as she says of her first exhibition, ‘…it was just one shelf and three pieces’. Eight years on, Cipriani has a dedicated permanent space within Sprovieri Gallery, London. ‘When I am working with an artist the only stipulation that I have is that all jewellery must be wearable – I do not interfere with the design’, says Cipriano. Much of the jewellery that Cipriano shows is made by a goldsmith in Rome, who took three years of research to find, but equally sometimes artists prefer to use their own craftsmen. Some pieces are unique, while others are editioned. At TEFAF, Elisabetta Cipriani will have an Italian corner showing work by three artists – Jannis Kounellis, Giulio Paolini and Enrico Castellani. She will also show a piece

by Frank Stella and three pieces by Rebecca Horne, which depict femininity, sexuality and sensuality, one of which uses a shell given to Horne by Miró.

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RENAUD MONTMÉAT ART D’ASIE, PARIS Asian Art specialist, Renaud Montméat, who works as a private dealer from his apartment in central Paris, started his career working in the flea-market in Clignancourt. After five years, he moved his business to a stand in Le Louvres des Antiquaires, where he stayed for a further five years before deciding to operate on private basis. Now, Montméat regularly takes part in leading Asian Art events in London, New York and Paris, through which he has built a solid client base of international collectors. His debut at TEFAF Showcase will be his first foray outside the specialist world of Asian Art. ‘I am keen to build my European client base and I think TEFAF Showcase will give me fantastic visibility.’ For TEFAF Showcase 2017, Montméat has put together a fine group of Gandhara objects, which has taken about a year to put together. This material will be supported by Indian and Himalayan work including two wooden Nepalese sculpture of female goddesses and the 11th/12th century. ‘I have concentrated on top quality pieces and objects with a good provenance because this has become increasingly important to collectors.’

LULLO PAMPOULIDES FINE ART, LONDON ‘Both Andrea and I view TEFAF as the greatest art Fair in the world and regard it as the brand that has the ability to engage with a new generation of collectors’, comments Andreas Pampoulides.

‘We are very happy to be taking part.’ Although Andrea Lullo and Andreas Pampoulides are both well-established in their chosen field of master paintings and sculpture, their joint business is a new venture, making Lullo Pampoulides is the youngest gallery to be taking part in

TEFAF Showcase 2017. The gallery specialises in painting from the Renaissance to circa 1900 and sculpture from later antiquity to circa 1900.

Andreas Pampoulides sees taking part in TEFAF Showcase as a fantastic opportunity to present their particular taste and look to a fresh audience as well as to old clients. For Showcase, Lullo Pampoulides is preparing a special exhibition that will juxtapose classicism and naturalism.

The exhibition will consist of a small number of sculptures influenced by antiquity that will be placed in contrast to the naturalism and abandonment of three or four baroque paintings.

SOKYO GALLERY, KYOTO Founded in 2012, Sokyo Gallery based in Kyoto, the former Imperial capital of Japan, specialises in contemporary ceramic sculptural work.

Although most of the work by the gallery’s mix of emerging and established artists is executed in ceramic, some artists also work in different materials including glass and lacquer. The gallery has a rolling programme of monthly exhibitions and works closely with museums to promote their artists to new collectors. The gallery has shown internationally and regularly deals with collectors in Japan, the US, Europe – particularly France and London - and Australia. ‘Our aim is to bring a selection of fresh work by our artists to Maastricht’, says Yoshika Yajima, ‘and we are delighted to have the opportunity to introduce these remarkable Japanese artists to a new international audience.’ At TEFAF Showcase, Sokyo Gallery will display a selection of new work

by Jun Matsumura, Tsubusa Kato, Satoshi Kino, Yuki Nara and Machiko Hashimoto.

SOKYO GALLERY SATOSHI KINO Fall Wind 16-20 Porcelain 50 × 69 × 8 cm 2016

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GALLERIA BORGHESE

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This year, the loan exhibition traditionally hosted in the Paper section of TEFAF Maastricht will feature the works from one of the most renowned Italian museums of the world, Rome’s Galleria Borghese.

The extraordinary Villa that hosts the Museum was conceived since the very beginning as an exhibition space, embodying the history and development of Italian collecting from the 17th century - when Cardinal Scipione Borghese started the collection, until the 19th century - when it took its final form. TEFAF Maastricht considers Galleria Borghese an exquisite example of collecting passion: the Museum’s collection ranges from antique to modern, from sculptures to bas-reliefs, ancient mosaics and paintings dating between the 15th and the 18th century.

Villa Borghese, which hosts the Gallery palace, was built in the early 17th century outside Rome’s Porta Pinciana, just around another property owned by the Borghese family.

The first part to be built included the Secret Gardens and the Uccelliera pavilion, then later the Meridiana pavilion too. Over time, new plots of land allowed the enlargement of the property, creating a massive urban Park with three different enclosures, which basically didn’t undergo any changes until the renovation in the late 18th century.

The Villa embodied the status of the Siena-based dynasty, whose success in Rome reached a new peak when Camillo (1605-1621) was elected Pope, under the name of Paul the Fifth. This led to a new phase of urbanistic and art projects aimed at strengthening the figure of the new Pope.

Once appointed Cardinal Nepote, the Pope’s nephew Scipione Caffarelli Borghese became the head of the ecclesiastic state, managing diplomatic relations and any pontifical ceremony. In 1613 the Cardinal commissioned the construction of the Villa and its Palazzina (villa) Pinciana to architect Flaminio Ponzio; the project was later completed by architect Giovanni Vasanzio, who was also a Flemish cabinetmaker. The Renaissance Villa was designed to host the Cardinal’s astonishing painting and sculpture collection, creating a perfect balance between art, architecture and nature.

Scipione Borghese was a very active collector, as owning art was his biggest passion: this led to the creation of one of the richest and most extraordinary collections of all time. It was first hosted in Borgo, where Scipione bought a property (which today goes by the name of Torlonia palace) in 1609. About ten years later, paintings and sculptures were moved to Villa Pinciana.

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The Villa featured a very consistent design between the estate and the artworks, creating what would later be defined as a museum model. The project perfectly fit in the natural environment, yet it looked as refined as the artworks on the inside, thanks to many statues and relief decorations on the outside.

Scipione loved to collect antique statues, therefore he bought many works from Della Porta’s and Ceoli’s collections; moreover, he owned many extraordinary ancient works unearthed in Rome. The Cardinal put together one of the best Roman archaeological collections, featuring extraordinary pieces such as Gladiatore (Gladiator), Centauro cavalcato da Amore (Centaur with Eros on its back) and Ermafrodito dormiente (Sleeping Hermaphroditus). These works are now displayed at the Louvre Museum, as Napoleon the First acquired them in 1807 from his brother in law Prince Camillo Borghese, married to the emperor’s sister Paolina Bonaparte.

To Napoleon, owning such an incredible archaeological collection was as important as his military conquests because it represented the magnificence of his empire.

Beyond collecting works of art, Scipione Borghese also commissioned many works to renowned contemporary artists, further enhancing the unique character of his collection with “modern” statues by Gian Lorenzo Bernini (still on display at the museum), who used to carve marble in a very innovative way. In the early 19th century the collection welcomed one of its most important pieces, the neo-Classical portrait sculpture Pauline Bonaparte as Venus Victrix by Antonio Canova.

The painting gallery of the Villa combined Renaissance and contemporary works, from Caravaggio to Guido Reni, from Domenichino to Lanfranco. Thanks to the seizure of the Cavalier (Knight) d’Arpino’s collection in 1607, the Cardinal gained about a hundred works, including some early paintings by Caravaggio. In 1608, he also bought Cardinal Sfondrato’s paintings, including Amor Sacro e Amor Profano (Sacred and Profane Love) by Titian.

In order to obtain a work of art, Scipione had a very unscrupulous attitude: the Palafrenieri Confraternity refused to buy the eponymous work Madonna dei Palafrenieri (Madonna and Child with St. Anne) by Caravaggio to probably please the Cardinal, so that he could acquire it; he arranged the smuggle of La Deposizione (The Entombment)

by Raphael from Saint Francis convent in Perugia; he threatened Domenichino with imprisonment to obtain his La Caccia di Diana (The Hunt of Diana).

The extraordinary personality of Scipione Borghese made him an outstanding prince collector: not only he was in charge of selecting any piece of his collection, he also used to decide where exactly to display them. The statues by Bernini, for instance, were designed together with the Cardinal in order to be consistent with the Villa.

For all of these reasons, Galleria Borghese offers the unique chance to see many extraordinary masterpieces right where they were conceived the place where everything, from decorations to furniture, was designed to be consistent with the artworks.

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A SELECTION OF WORKS THAT WILL BE SHOWN AT TEFAF MAASTRICHT 2017

BATTISTELLO (GIOVANNI BATTISTA) CARACCIOLO (Naples, circa 1570-1637) Davide con la testa di Golia (David with the Head of Goliath) Oil on canvas 202 x 112 cm inv. 2 The faces of the victim and the executioner emerge from the dark background. The massive head of Goliath lies on a marble base with a basrelief flower decoration, and it is also grasped by the adolescent David, wearing a plumed hat and holding the sword he used to behead his enemy.

The painting’s provenance is unknown, yet in 1650 the description of the Villa by Manilli precariously attributed it to Giulio Romano. The 1639 Inventory mistook the work with a painting by Caravaggio; later on, Roberto Longhi attributed the work first to Orazio Borgianni, then to an anonymous Caravaggesque painter.

On a documentary basis, the painting (1612) has now been attributed to Battistello Caracciolo, whose early works were influenced by the first stay of Caravaggio in Naples, in 1607. Later on Caracciolo, after staying in Rome in 1614, learnt about the Emilian painting style by the Caracci and their school, as well as the frescoes by Orazio Gentileschi in the Rospigliosi Pallavicini Palace.

After living almost one year in Florence, in 1618 his compositions started to feature just a few figures, bringing a monumental look to the pictures.

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NICOLAS CORDIER (FRANCIOSINO) (Lorrain 1567-Rome 1612)

Zingarella (Gypsy) Bronze, statuary marble and ‘bigio’ (dark) marble Height 140 cm inv. CCLXIII A polimateric statue, sculpted around a bigio fragment, as the French artist used to do in Rome. The upper part of the cape features eagles and dragons from the Borghese emblem.

When creating Sant’Agnese (Saint Agnes) for the Sant’Agnese Fuori le Mura church, Cordier employed an ancient alabaster torso, adding bronze to fill the missing parts. That work made it possible to attribute Zingarella to the artist. In 1650 the sculpture was hosted in the ‘Gypsy room’ of the Villa. Later it was moved to the ‘Egyptian room’ (room VII), where it was attributed to Tiburzio Vergelli. In 1638 there was another polimateric statue with the same subject, listed as Egyptian woman and probably consisting of the model of the piece by Cordier. In 1810 the sculpture was no longer in Rome; in 1820 it was on display at Paris’ Musée Royal. Today it is located in Versailles.

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ALESSANDRO ALGARDI (Bologna 1595-Rome 1654)

Il Sonno (The Sleep) Black ancient marble 48 x 90 cm inv. CLX A sleeping child Hellenistic prototype served as model for this naked cherub who dreamily lies on a bed sheet. The 17th and 18th century featured many replicas of ancient sculptures, which were particularly appreciated at that time. The right arm is reclined over the head; the left lies beside a few poppies, which belong to the sleep allegory together with the long-tailed badger nestling close to the cherub. The dark marble was chosen for iconographic reasons, as sleep is related to

the night, therefore to the colour black. An old fracture near the left shoulder is welded with a metal clamp located under the back of the figure.

In the beginning, the sculpture was located on the upper floor of the Villa, in the so-called ‘Sleep room’ (room X), between two urns designed by Algardi (room XIX, 14). According to Bernard de Montfaucon (1722), who reproduced the two urns in his book, such urns were meant to store soporific spirits. The sculpture was then moved to the ‘Gladiator room’ (room VI), then to the ‘Apollo and Daphne room’ (room III). Originally, as mentioned in the 1765 Inventory, the work was supported by a wood pedestal, which has been lost. The Spada Gallery owns a replica by the school of Algardi, representing the cherub sleeping in a wood crib.

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GIAN LORENZO BERNINI (Bologna 1595-1654 Rome)

Capra Amaltea (Amalthea Goat) White marble Height 45 cm inv. CXVIII A crouched goat lies between a satyr and the infant Zeus. Amalthea was the foster-mother of Zeus, so that his mother Rhea could save him from Cronus. The small-sized sculpture was already owned by Scipione Borghese in the first half of 1615, but there is no clear evidence of a direct commission of the work by the Cardinal.

It is also unknown whether the bucolic subject had an allegoric or moral meaning, neither if Bernini wanted to recall ancient sculpting, as the pagan-mythology-derived subject was inspired by Hellenistic art.

In his work Teutsche Akademie (1675), Joachim von Sandrart defines Capra Amaltea (Amalthea Goat) the first successful work by Bernini, yet by the half of the 17th century it was already mentioned

by Manilli, with no attribution to the artist (no attribution was given until the 19th century). Not only the work had no attribution, it also did not have a certain dating, as Ennio Quirino Visconti, at the end of the 18th century, considered the sculpture a work from the 16th century.

Capra Amaltea (Amalthea Goat) is the first early work by Bernini, therefore is a key element to understand the beginning of his career.

A document from August 18, 1615, related to the payment due to Giovanni Battista Soria for a wood base of the sculpture, offers a precious hint for the dating of the piece. Moreover, the first sculptures appear at the Villa in 1613, in the loggia facing the garden (which Giovanni Lanfranco decorated in 1624), and Capra Amaltea (Amalthea Goat) was immediately placed there.

The iconographic identification of the work can date back to the first half of the 17th century, when Manilli identified the two figures beside the goat as the infant Zeus and a satyr. According to other interpretations, it could be the infant Bacchus instead, as suggested by the shoot on his head. Bacchic scenes with infants, which go by the name of ‘cherub games’, are featured in many paintings since the Renaissance, whilst this kind of small Italian sculptures recalling Hellenistic works date back to the 16th century. The iconography of the sculpture hides an allegoric meaning linked to Borghese’s papacy: the Amalthea goat’s horn was the symbol of the Abundance Cornucopia under the papacy of Paul the Fifth; moreover, Zeus’ youth was interpreted as the comeback to the Golden age in the literary eulogies.

The work also displays a strong link between painting and Bernini’s sculpting, as many surfaces look similar to the surfaces from the paintings with the same theme: the goat’s fleece and its metal bell, the infant’s skin and his shoot garland.

In this work the artist basically competes with the painters to recall each material’s hue by weighing how much light they absorb or reflect.

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DOSSO DOSSI (GIOVANNI LUTERI) (? circa 1486-1542 Ferrara)

might be represented, in the painting, by the figures hanging from the tree on the left.

La maga Circe (o Melissa) The sorceress Circe (or Melissa) Oil on canvas 172 x 153 cm inv. 217

The painting (circa 1518) belonged to the group of works that Cardinal Enzo Bentivoglio sent to Scipione Borghese from Ferrara. It was described for the first time within Manilli’s collection, in 1650.

The pose and the colourful dress of the feminine figure wearing the turban make her stand out: beyond the torch, she also holds a tablet with cabalistic characters. She is interpreted as Homer’s Circe Witch, or Melissa from Ludovico Ariosto’s Orlando Furioso (canto VIII, 14-15) which describes the freeing of several paladins who

The recent restoration of the work emphasized its refined polychromy, but also revealed (just like Apollo and Daphne several changes of mind: in the left part of the painting, for instance, there was an upright masculine figure instead of the dog and the armour, and the witch looked at him.

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DETROIT INSTITUTE OF ART AND THE MUSÉE RODIN ARE AWARDED THE TEFAF MUSEUM RESTORATION FUND FOR 2017 TITIAN (1488-1576) Judith and the head of Holofernes Oil on canvas 113 x 95.3 cm Circa 1570

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Detail Judith X-ray

Detail Head of Holofernes

2017 is the sixth year that the TEFAF Restoration Fund has made a maximum of EUR 50,000 available towards the restoration of works in museums. It is a means of helping to conserve important cultural heritage. It is also a way for TEFAF to express its appreciation of the large number of museum representatives who visit our art and antiques fair every year. Through its financial support, the TEFAF Restoration Fund seeks to share knowledge about restoration with museums and, equally importantly, the public at large.

distinct projects either side of the Atlantic. One is the restoration and reconstruction of the never before seen work by Auguste Rodin (1840-1917) entitled Absolution (c.1900) in the Musée Rodin collection, France. The other is the conservation of Judith with the Head of Holofernes (c.1570)

by Titian (1488-1576), which has been on near constant display since entering the collection of the Detroit Institute of Arts, USA, in 1938.

The TEFAF Museum Restoration Fund was set up in 2012 to help museums and institutions worldwide restore and conserve works of art in their collections. It is one of a selection of initiatives run by the (not-for-profit) European Fine Art Foundation which demonstrates the Foundations ongoing dedication to supporting and protecting the arts. Museums and institutions that have attended TEFAF Maastricht are eligible to apply for the grants, which are awarded by an independent panel of experts.

The decision is made by an independent panel of experts, chaired by Professor Henk van Os, former director of the Rijksmuseum in Amsterdam, who also chairs the Antiques Vetting Committees at TEFAF. Its other members are 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 paintings restorer, and Dr Kenson Kwok, the former and founding director of the Asian Civilisations Museum and the Peranakan Museum in Singapore.

Presentations about each project will be displayed at TEFAF Maastricht 2017.

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DETROIT INSTITUTE OF ARTS Judith with the Head of Holofernes (c.1570) by Titian (1488-1576) is a work of major significance that has not been conserved in over 75 years.

Despite its condition, the painting is so important it has remained on view at the Detroit Institute of Arts for millions of museum visitors since it arrived in 1938. The ultimate treatment goal is the systematic preservation of the painting for future generations of visitors.

The aim of the research and conservation treatment is to improve the painting both physically and aesthetically. This will be done through the careful removal or reduction of discoloured varnish layers, which will allow for the evaluation of the painting’s condition and to better analyse its subject matter.

The funds given will enable the institute to utilise new technologies and imaging applications that have not previously been used at the Detroit Institute of Art. Through these techniques the institute will develop new scholarship and interpretations around Titian’s masterpiece enabling visitors and researchers to gain a more complete understanding of Titian’s remarkable

aesthetic achievements. The research will contribute invaluable new information about Titian’s artistic processes as well as to the organisation and structure of his workshop.

TEFAF Maastricht has welcomed a large number of international museums and institutions over the last 30 years. The TEFAF Museum Restoration Fund was created out of a desire to give something back to these institutions, who have supported TEFAF for many years. The Fund aims to support complex and challenging projects as well as to share widely conservation and restoration knowledge.

The international panel of experts which made the decision for the 2017 grant of the Fund was chaired by Professor Dr Henk van Os, former director of the Rijksmuseum in Amsterdam, who is Chairman of the Antiquairs Vetting Committees at TEFAF. Its other members are 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 paintings restorer, and Dr Kenson Kwok, the former and founding director of the Asian Civilisations Museum and the Peranakan Museum in Singapore.

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MUSÉE RODIN Absolution, a work blending sculpture and fabric, will be restored for the centenary of Rodin’s death and presented to the public for the first time in March 2017 at the Musée Rodin, Paris.

Although the work has not been precisely dated, its conception dates from around 1900; this is the first time it has been restored since its creation.

Absolution resembles no other work by Rodin and it testifies to his bold and modern outlook.

It is composed of three plaster sculptures: the large torso of the seated Ugoliono, the Martyr’s head, and the Earth, all created in the 1890s.

The complete work is partially covered by a large piece of plastered fabric.

The restoration of this work is particularly complex and will require two different kinds of expertise from two specialists: a painting restorer for the drapery and a sculpture restorer for the plaster elements. Currently, the three plaster sections have come apart, and need to be repositioned and fixed. The fabric pieces have lost their folds and shape and there are many losses in the plaster coating that held the drapery in place, with splinters that are in danger of breaking off.

Once the work has been restored, it will be presented to the public for the first time at the inauguration of the ‘Kiefer Rodin’ exhibition in March 2017, at the Musée Rodin in Paris. Following this, the work will be on permanent display at the Musée Rodin in Meudon.

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PRINCE CLAUS FUND

YEMEN: SALVAGING AND DOCUMENTING THE ATAQ MUSEUM COLLECTION INTRODUCTION ‘Support for cultural expression and protecting cultural heritage are more important now than ever…everywhere there are regimes that want to control expression and people who want to obliterate the past.’

Joumana El Zein Khoury, Director of The Prince Claus Fund for Culture and Development knows the dangers acutely. The Fund supports cultural production in areas where support for cultural expression is lacking or difficult and protects cultural heritage where it is threatened. But where and how to respond? The blowing up of the magnificent Bamiyan Buddha’s was shattering news that brought world attention to the threat, a dramatic attempt to obliterate history, the Fund had seen a need to protect cultural heritage.

The looting of the National Museum of Baghdad, Iraq, with its collection dating back millennia, prompted the Fund to set up the Cultural Emergency Response programme (CER) in 2003.

There were large organisations, like UNESCO, doing important work concerned with cultural heritage, but there was a no ‘ambulance service’, no institution able to give swift and urgent help when heritage was under imminent threat from

natural or man-made disasters. Ms El Zein Khoury says, since CER was set up, the need for urgent help has only increased.

Luckily, the Fund has found a natural partner in TEFAF. For the past eight years TEFAF has supported CER projects to preserve cultural heritage and rescue collections. Their latest collaboration has helped rescue a museum in the town Ataq in Yemen. A small museum by international standards, but it houses irreplaceable historical artefacts.

The ATAQ museum is located about 500 km east of Aden in southern Yemen, on the tip of the Arabian peninsula. It offers an invaluable source of information about the region’s rich culture and history, with a sizable collection of artefacts dating back to the pre-Islamic period.

War and poverty For more than a decade Yemen has been suffering from a simmering civil war. In the past few years, a very real threat of destruction has emerged by groups like ISIS and El Qaeda. Many museums and cultural sites have already been destroyed or heavily damaged. An irreplaceable record of history is being lost. And in the poverty and chaos of conflict, there is the ever-present temptation to loot historical treasures for a thirsty illegal market in antiquities.

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The success of such projects depends vitally on working closely with reliable local partners.

Two respected archaeologists at Aden University worked with the Director of the ATAQ Museum to supervise the project. Museum staff members affiliated with GOAM participated in the work.

These staff members are graduates in archaeology from Yemeni universities who have all previously worked documenting other museums in the province and some have taken part in local and foreign archaeological digs.

ATAQ’s whole collection was potentially at risk.

Nearly three thousand of its artefacts were particularly vulnerable. Undocumented and housed in two unguarded storage rooms about 400 meters away from the museum, they required urgent action.

Thanks to the collaboration between TEFAF, The Prince Claus Fund and local partners, the inscriptions, sculptures, bronze and silver coins, bronze artefacts and plaques that formed the collection have been transferred to safe storage.

Approximately 900 artefacts have been classified and documented so far. The project took 5 months in 2016 and the museum hopes to find more funding to continue documentation.

The nitty-gritty of protection Local craftsmen constructed metal and wooden shelves in a new, better protected storage room located below the museum’s administration building. The artefacts were then carefully transferred from the outside storage rooms to the newly refurbished storage area, where two museum staff technicians cleaned them. They removed dust and remains of salt, and they repaired damage where possible.

Four museum staff members affiliated with the General Organization for Antiquities and Museums (GOAM) in Ataq / Shabwa Governorate documented and classified the artefacts on cards and digitally. Documentation is vital because it makes the artefacts accessible for international research and future exhibition. Crucially, it also facilitates the tracing of any item that may be looted.

Persistent dangers, future hopes The situation in the city of Ataq is far from secure -some of the forces currently in control are said to be al-Qaeda. Like the Islamic State or Daesh, which is still active in the region, they have also targeted historical sites and objects. Transporting the artefacts any distance would have exposed them to even greater risk. The best option was to create a well-ventilated room located directly below the museum building, secured by a double steel gate and a resident security guard. For now, the artefacts are protected against looting and destruction. With documentation, they have been preserved for future generations and made available to international research, making an important contribution to the mapping of Yemeni inscriptive heritage that has been scattered around the globe. Moreover, it has given museum staff the opportunity to use and further develop their expertise.

The ATAQ Museum has been closed for several years. It doesn’t attract headlines - just a relatively small museum in a provincial town.

But preserving its collection is a gift to future generations. The museum has the potential to once again become a valuable center of information about the pre-Islamic period in southern Arabia and to attract tourists to the region. This project has set a positive example, both for local people and for potential donors, by showing that heritage can be protected, even where the risks make it difficult to find funds and to act.

About the Prince Claus Fund The Prince Claus Fund actively seeks cultural collaborations founded on equality and trust with partners of excellence, in spaces where resources and opportunities for cultural expression, creative production and research are limited and cultural heritage is threatened. The Prince Claus Fund’s Cultural Emergency Response (CER) Programme, acting immediately to save art and cultural heritage in the wake of natural disaster and conflict, is unique in the world. The Fund gives people and communities around the world the chance to secure precious art and historical cultural expression, and thereby helps them to rebuild their lives and build a better future.

For more information www.princeclausfund.org

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VETTING GUIDELINES

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CHAIRMAN VETTING COMMITTEES ANTIQUAIRS Prof. Dr H.W. van Os, University Amsterdam CHAIRMAN VETTING COMMITTEE PAINTINGS DUTCH, FLEMISH AND GERMAN OLD MASTER PAINTINGS Prof. Dr Chr. Brown, professor of Netherlandish Art, University of Oxford and director emeritus Ashmolean Museum, Oxford CO-CHAIRMAN VETTING COMMITEE PAINTINGS FRENCH, ITALIAN, SPANISH AND BRITISH OLD MASTER PAINTINGS Dr E. Peters Bowron, The Audrey Jones Beck curator emeritus, of European Art, The Museum of Fine Arts, Houston

INTRODUCTION The vetting process, one of the main pillars of TEFAF Maastricht’s success, aims to protect potential buyers and create an atmosphere in which they can buy with confidence.

The vetting committees draw their members from dealers, art historians, restorers and academics.

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.

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.

The exhibitor must present the

documentation to the vetting committee. Provenance must mention one previous owner, 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.

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 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.

3 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 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.

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

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.

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 35

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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 re-patinated. 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, 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. Minor restorations are allowed as long as they do not affect the artistic or antiquarian value. 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. A description giving an account of the condition, mentioning any incompleteness and any defects or restorations, must be available to the purchaser on request. 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.

6 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 6. Furniture.

Wrist watches are only permitted if made before 1960 and of exceptional mechanical or historical importance. Remontoire pocket watches are only permitted if made before 1920 and of exceptional mechanical or historical importance.

7 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.

8 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-century ceramics are allowed if they predate 1850 and if they are typically nineteenth century in appearance, i.e. they cannot be mistaken for

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earlier pieces. Pieces with post-1850 bronze mounts are not acceptable.

A thermoluminescence test result must be provided in the case of Italian Della Robbia.

9 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 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.

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.

10 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 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.

11 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.

This does not apply to exhibitors in the section ‘La Haute Joaillerie du Monde’.

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

13 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 37

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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.

14 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. 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.

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.

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: – 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.

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.

Labelling Each object should be clearly labeled. Labels should contain information on: title, date, place, artist’s name, physical state, provenance and if applicable on: material and technique, marks, seals, numbers and details of the edition.

15 PICTURA 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, taking into account 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.

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16 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.

17 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.

– 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 twentyfirst-century 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.

18 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.

19 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.

20 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.

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21 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.

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.

22 WALLPAPER Pieces must date from approximately the early seventeenth century to the end of the XXth 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. Acceptable restoration could include cleaning, consolidating and some in-painting retouches. Acceptable supports for these wallpapers are canvas, acidfree cardboard or paper.

23 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.

SCIENTIFIC RESEARCH 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.

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.

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VETTING COMMITTEES TEFAF MAASTRICHT 2017 CHAIRMAN VETTING COMMITTEES ANTIQUAIRS Prof. Dr H.W. van Os University Amsterdam Assistant C. Pottasch Senior restorer/conservator Mauritshuis, The Hague CHAIRMAN DUTCH, FLEMISH AND GERMAN OLD MASTER PAINTINGS Prof. Dr C. Brown, professor of Netherlandish Art, University of Oxford and director emeritus Ashmolean Museum, Oxford CHAIRMAN FRENCH, ITALIAN, SPANISH AND BRITISH OLD MASTER PAINTINGS Dr E. Peters Bowron, The Audrey Jones Beck curator emeritus of European Art, The Museum of Fine Arts, Houston ANCIENT ART Prof. Dr H. Brijder, expert, Vaals J. Billen, exhibitor, Brussels J.-D. Cahn, exhibitor, Basel Prof. Dr D. Kreikenbom, University Mainz Prof Dr. M. Pfanner, expert, Germany G. Sasson, director Sasson Ancient Art Ltd, Jerusalem Dr A Wiese, curator Egyptian Antiquities, Antikenmuseum,Basel Drs M. Zilverberg, exhibitor, Amsterdam ARMS AND ARMOUR D. Breiding, J. J. Medveckis Associate Curator Arms and Armour, Philadelphia Museum of Art D. Edge, armourer, Wallace Collection, London P. Finer, exhibitor, London APPLIED ARTS AND DESIGN FROM THE LATE 19TH CENTURY TO THE PRESENT DAY S. Andrews, International specialist, Christie’s London J.-M. Camard, chairman Camard & Associés, Paris L. Daenens, honorary director Design museum Gent F. Laffanour, owner Laffanour gallery Downtown, exhibitor, Paris F. Leidelmeijer, expert, Amsterdam

Dr T. G. Natter, director emeritus Leopold Museum, Vienna ASIAN EXPORT ART R. Fuchs, curator Reeves Collection, Lexington Dr J. van Campen, curator Asian export art, Rijksmuseum Amsterdam M. Cohen, exhibitor, Reigate (Surrey) Prof. Dr C. Jörg, University Leiden Dr. M. Kopplin, Direktorin Museum für Lackkunst, Muenster (G) Dr M. A. Pinto de Matos, director, Museu nacional do Azulejo, Lisbon Dr E. Ströber, former curator Asian Ceramics at the Porcelain Collection Dresden, Germany andthe Princessenhof Museum, Leeuwarden F. van der Ven, exhibitor, ’s-Hertogenbosch J. Welsh, exhibitor, London BOOKS, MANUSCRIPTS AND MAPS R. Wieck, Melvin R. Seiden curator and department head, medieval and renaissance manuscripts, Morgan Library and Museum, New York Dr A. Korteweg, curator emerita of medieval manuscripts, The Royal Library, The Hague Dr S. Panayotova, Keeper of Manuscripts and Printed Books, The Fitzwilliam Museum Cambridge University Dr D. Vanwijnsberghe, Royal Institute for Cultural Heritage, Brussels CLOCKS, WATCHES AND HOROLOGICAL INSTRUMENTS L. Van Cauwenbergh, expert, Brussels M. Crijns, exhibitor, Oosterhout M. Guryev, head clocks and musical machine restoration laboratory, State Hermitage Museum, St-Petersburg A. Roest, exhibitor, Ingen DRAWINGS Dr G. Abrams, expert, Boston Dr G. Luijten, director Fondation Custodia, Paris Th. Rassieur, John E. Andrus III curator of prints and drawings head department of Prints and drawings, Minneapolis Institute of Arts Dr W. Robinson, curator drawings emeritus, Harvard Art Museum, Cambridge Dr A. Robison, former Andrew W. Mellon senior curator prints & drawings, National Gallery of Art, Washington M. Royalton Kisch, former senior

curator prints and drawings, British Museum, London P. Schatborn, former head of the prints and drawings department Rijksmuseum, Amsterdam Drs C. van Tuyll van Serooskerken, research curator Teylers Museum, Haarlem EARLY ASIAN WORKS OF ART B. Janssens, exhibitor, London B. de Lavergne, director Gallery de Lavergne, Paris A. Lin, expert, Hong Kong EARLY FURNITURE & DECORATIVE ART L. van Aalst, expert, Breda A. Heginbotham, conservator decorative arts and sculpture The J. Paul Getty Museum, Los Angeles Dr M. Piera, head Estudi del Moble, consultant Design & Decorative Arts Museum Barcelona Dr P. Rem, curator furniture Paleis Het Loo Nationaal Museum, Apeldoorn M. Rullier, expert CNE-CNES, Poitiers EUROPEAN CERAMICS E. Manners, expert, London R. Aronson, exhibitor, Amsterdam M. Chilton, Director & Chief Curator George R. Gardiner Museum of Ceramic Art, Toronto B. Dragesco, expert CNES, Paris S. Kuhn, departmental director Bonhams, London M. Vandermeersch, expert, Paris GLASS Drs K. Laméris, expert, Amsterdam Dr. D. von Kerssenbrock-Krosigk, Head, Glasmuseum Hentrich, Düsseldorf J. P. Smith, independent scholar, chairman Glass Circle, London, Fellow The Corning Museum of Glass ICONS Drs D. Krikhaar, expert, The Hague RS Dir B. Bornheim, appointed and sworn judicial expert (Chambre of Commerce and Industry), Munich Mr S. Khodorkovskij, expert, Moscow Drs S. Morsink, exhibitor, Amsterdam F. Tóth, exhibitor, Huizen

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INDIAN AND SOUTH EAST ASIAN ART D. Weldon, senior consultant Sotheby’s, New York G. Béguin, Honorary conservator and former director Museum Cernuschi for Asian Art J. van den Bergh, exhibitor, London M. Fraser, expert, senior consultant Sotheby’s, London M. Nies, exhibitor, Antwerp JAPANESE ART M. Hinton, head Japanese Art Christie’s International, London V. Harris, expert, London R. Kennedy, expert, Richmond JEWELLERY H. Balian, expert CNE, Paris G. Chrischilles, expert ethnic and folk jewellery, Brussels V. Rakyan, expert, Idar Oberstein Ph. Serret, expert joaillier près la cour d’appel, Paris E. Stoehrer, Rita J. Kaplan and Susan B. Kaplan curator of Jewelry, Museum of Fine Arts, Boston LATER FURNITURE Y. Chastang, conservator furniture, Faversham (Kent) Prof. Dr R. Baarsen, senior curator furniture, Rijksmuseum Amsterdam Dr W. Burchard, furniture research curator, The National Trust, London P. van Duin, head furniture conservation Rijksmuseum, Amsterdam P. Hoogendijk, expert, Naarden R. Kern, co-director Hotspur, London M. Rädecke, head European furniture, Christie’s, London Dr A. Stiegel, curator furniture, Kunstgewerbemuseum Staatliche Museen, Berlin MODERN & CONTEMPORARY ART J. Bertz, consultant, Düsseldorf M. Erdman, consultant, Amsterdam G. Jennings, managing director, The Fine Art Fund Group, London T. Krasny, independent curator, London A. Lin, expert, Hong Kong J. Roundell, exhibitor, London 19TH CENTURY PAINTINGS A. van der Werff, expert, Oudeschild Drs W. Baars, art historian/freelance curator, gallery owner, Amsterdam Drs R. Bionda, lecturer art history Vrije Universiteit, Amsterdam Dr G. Frodl, director emeritus

Österreichische Galerie Belvedere, Vienna Dr M. Morton, curator French paintings, National Gallery of Art, Washington DC Drs J. Sillevis, former chief curator Gemeentemuseum, The Hague B. Tempel, director Gemeentemuseum, The Hague PHOTOGRAPHY D. Blau, expert, Munich Drs M. Boom, curator of photography Rijksmuseum, Amsterdam M. Jürgens, photograph conservator Rijksmuseum, Amsterdam L. Stewart, consultant photographs Bernard Quaritch Ltd, London Th. Walther, expert, Zurich PRE-COLUMBIAN ART Prof. J. Blazy, expert associated with ‘la Compagnie des commissairespriseurs de Paris’, Paris A. Bernand, consultant, Paris RUSSIAN WORKS OF ART, GOLD BOXES AND OBJECTS DE VERTU

Prof Dr G. von Habsburg, art historian, New York Dr M. Schaffer, exhibitor, New York A. von Solodkoff, expert Fabergé, Russian art & objects of vertu, Hemmelmark Archives, Barkelsby (DE) SCULPTURE FROM 1830 TO THE PRESENT DAY Dr A. Hartog, director GerhardMarcks-Haus, Bremen R. Bowman, exhibitor, London Dr P. Elliott, senior curator Scottish National Gallery of Modern Art, Edinburgh Prof. Dr J. Teeuwisse, director Museum Beelden aan Zee, Scheveningen SILVER Drs D.J. Biemond, curator silver department Rijksmuseum, Amsterdam D. Cawte, F.I.P.G. silver and goldsmith, member of the Antique Plate Committee Goldsmiths Hall, London H. Charteris, consultant silver departement Sotheby’s, London J. Endlich, exhibitor, Vogelenzang J. Estié, exhibitor, Amsterdam T. Martin, exhibitor, New York Dr W. Nys, curator - head collections

and research DIVA, Antwerp Dr J. Pijzel - Dommisse, former curator decorative arts, Gemeentemuseum, The Hague Dr T. Schroder, expert, London Dr K. Tebbe, curator decorative arts Kurpfälzisches Museum, Heidelberg TEXTILES B. Blondeel, expert, Brussels A. Deroyan, expert, Paris T. Halle, director Cora Ginsburg Inc, New York D. Sorgato, art dealer and curator, Milan TRADITIONAL ARTS FROM SUBSAHARAN AFRICA AND OCEANIA J. Van Witteloostuijn, expert Tribal Art, Delft L. Gat, president and principle conservator, Art Conservation Group, New York F. Herreman, expert, Antwerp L. Van de Velde, expert African art, Antwerp M. Thieme, expert, Amsterdam WALLPAPER V. de La Hougue, conservator and head department des papier peints, Musée des Arts décoratifs, Paris WORKS OF ART AND OLD MASTER SCULPTURE Prof. Dr F. Scholten, senior curator of Sculpture, Rijksmuseum Amsterdam Dr Ch. Avery, art consultant, Girton Cambridge A. Butterfield, president Andrew Butterfield Fine Arts, Pleasantville NY H. Defoer, director emeritus Museum Catherijneconvent, Utrecht Dr C. Kryza - Gersch, curator Skulpturensammlung Dresden J. Houbraken, restorer works of art/ expert, Veldhoven Dr R. van Langh, head conservation and scientific research Rijksmuseum, Amsterdam J. Polak, exhibitor, Amsterdam Dr J. Warren FSA, honorary curator of sculpture, Ashmolean Museum, Oxford Drs G. de Werd, director emeritus Museum Kurhaus Kleve, artistic director B.C. Koekkoek-Haus Kleve

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DUTCH, FLEMISH AND GERMAN OLD MASTER PAINTINGS Prof. Dr C. Brown, professor of Netherlandish Art, University of Oxford and director emeritus Ashmolean Museum, Oxford G. P. Boevé - Jones owner and director of Redivivus Studio for conservation and restoration of paintings, Wassenaar T-H. Borchert, director Museums Brugge Drs F. Duparc, director emeritus Mauritshuis, The Hague Prof. Dr I. Gaskell, professor of cultural history and museum studies, The Bard Graduate Centre, New York W. Kloek, former curator Rijksmuseum, Amsterdam Prof. Dr B. Lindemann, former director Gemälde Galery und Sculpturen Kollektion Staatliche Museen, Berlin Dr F. G. Meijer, senior curator Old Dutch and Flemish paintings, Netherlands Institute for Art History, The Hague Dr M. Neumeister, curator Flemish Baroque paintings, Bayerische Staatsgemäldesammlungen Alte Pinakothek, Munich Dr L. Nichols, William Hutton senior curator European and American paintings and sculpture before 1900, Toledo Museum of Art P. Noble, head paintings conservation, Rijksmuseum, Amsterdam A. Speelman, Director Edward Speelman Ltd, London Dr P. Sutton, The Susan E. Lynch executive director, Bruce Museum, Greenwich, Connecticut Prof Dr. G.J.M. Weber, head department of fine & decorative arts Rijksmuseum, Amsterdam Prof A. Wheelock jr, curator Northern Baroque paintings, National gallery of Art, Washington DC FRENCH, ITALIAN, SPANISH AND BRITISH OLD MASTER PAINTINGS Dr E. Peters Bowron, The Audrey Jones Beck curator emeritus of European Art, The Museum of Fine Arts, Houston Dr C. Bailey, director, the Morgan Library & Museum, New York Dr B. Allen, Chairman Hazlitt Ltd, London Dr. M. Brüggen Israëls, assistant professor art history University of Amsterdam Dr. D. Carr, The Janet and Richard

Geary Curator of European Art, The Portland Art Museum, Portland, Oregon Dr P. Cherry, Department History of Art Trinity College, Dublin S. Howell, managing director Shepherd Conservation Ltd, London I. Kennedy, independent scholar, Chapel Hall (USA) P. Kerber, assistant curator of paintings, The J. Paul Getty Museum, Los Angeles A. Laing, curator emeritus pictures and sculptures, The National Trust, London Prof. Dr R. Lattuada, DILBEC, History of Art of the Modern Age, Università degli Studi della Campania ‘Luigi Vanvitelli’ Santa Maria Capua Vetere (CE), Italy J.P. Marandel, The Robert H. Ahmanson chief curator of European art, County Museum of Art, Los Angeles Prof. Dr M. Natale, University of Geneva Salvador Salort-Pons, Director The Detroit Institute of Arts Dr E. Schleier, former curator paintings, Gemälde Galery, Berlin D. Scrase, assistant director collections, the Fitzwilliam Museum, Cambridge (retired) Dr E. Straussman-Pflanzer, head European art department and Elizabeth and Allan Sheldon curator European paintings, Detroit Institute of Arts Dr C. Strehlke, adjunct curator John G. Johnson Collection, Philadelphia Museum of Art Mag., Dr G. Swoboda, university lecturer and curator later Italian, Spanish and French paintings Kunsthistorisches Museum, Vienna A. Weston-Lewis, chief curator, Scottish National Gallery, Edinburgh

SCIENTIFIC RESEARCH TEAM Advisors Dr. R. van Langh, Head of Conservation & Scientific Research, Rijksmuseum, Amsterdam Prof. Dr. J. 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. Robert G. 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 Gerard de Koning Hirox Microscope Europe Emilien Leonhardt Portable XRF Arie Pappot Guus Verhaar UV en IR reflectography Rik Klein Gotink

(This list is provisional) 43

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PAINTINGS Didier Aaron & Cie

Jack Kilgore & Co., Inc.

Agnews

Koetser Gallery

Daphne Alazraki Fine Art

Lampronti Gallery

Kunstgalerij Albricht bv

Salomon Lilian

Åmells

Lowell Libson Ltd

Francesca Antonacci Damiano Lapiccirella Fine Art

Maas Gallery

Paolo Antonacci Antichità S.r.l.

Maison d’Art

Arnoldi-Livie Jean-Luc Baroni Ltd.

The Matthiesen GalleryMatthiesen Ltd.

Charles Beddington Ltd.

Moretti

Berko Fine Paintings

Carlo Orsi

Kunsthandel A.H. Bies

Robilant+Voena

Bijl-Van Urk BV

Kunsthandlung Helmut H. Rumbler

Kunsthandel P. de Boer bv

G. Sarti

Kunsthandel Ivo Bouwman

Xaver Scheidwimmer

Galerie Canesso

Rob Smeets Old Master Paintings

Galeria Caylus

Stair Sainty Gallery

Galerie Eric Coatalem

Lawrence Steigrad Fine Arts

Colnaghi

Stoppenbach & Delestre Ltd.

Daxer & Marschall Kunsthandel

Talabardon & Gautier

Dickinson

Tomasso Brothers Fine Art

Douwes Fine Art

David Tunick, Inc.

Sam Fogg

Rafael Valls Ltd

French & Company, LLC

Galerie Florence de Voldère

Giacometti Old Master Paintings SRL

The Weiss Gallery

MacConnal-Mason Gallery

Adam Williams Fine Art Ltd

Richard Green Martyn Gregory Haboldt • Pictura Johnny van Haeften Ltd Fergus Hall Derek Johns Ltd/Salomon&C De Jonckheere Kunsthandel Rob Kattenburg BV

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DIDIER AARON & CIE PARIS-LONDON-NEW YORK

PHILIPPE-JACQUES VAN BRÉE (Antwerp 1786-1871 Brussels) Concert in front of the Loggie, in the Vatican Oil on canvas 133.5 x 98 cm Signed lower left ‘P.VAN.BRÉE. / ROMA.’ Circa 1825

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PAINTINGS

JACQUES STELLA (Lyon 1596 -1657 Paris)

Provenance Nicolas Lejeune, his sale, Paris, Nov.15, 1791 ; Private collection, USA

Virgin and Child with Saints John the Baptist and Francis Oil on slate 38 x 43 cm Circa 1635

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AGNEWS LONDON

THEODORE ROMBOUTS (1597-Antwerp-1637) Card players in an interior Oil on canvas 147 x 186 cm Signed lower right ‘T. ROMBOVTS’

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PAINTINGS

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DAPHNE ALAZRAKI FINE ART NEW YORK

PIERRE-AUGUSTE RENOIR (Limoges 1841-1919 Cagnes-sur-Mer)

Provenance Galerie Charpentier, France; Private collection, France, 1958

Nature morte aux oranges Oil on canvas 21 x 34 cm Signed lower left ‘Renoir’ France, circa 1900

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PAINTINGS

HENRI MATISSE (Le Cateau-Cambrésis 1869-1954 Nice)

Provenance Galerie Daniel Malingue, Paris; Private collection, France

Femme assise (Michaela) Charcoal and estompe on paper 48 x 38 cm Signed and dated lower left ‘H.Matisse mai ‘43’ Nice, 1943

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KUNSTGALERIJ ALBRICHT BV OOSTERBEEK-LONDON

Photograph of the Nieuwe Kerk or New Church in The Hague around 1900 Provenance Historical picture The Hague

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PAINTINGS

V.W.(VINCENT) VAN GOGH (Zundert 1853 - 1890 Auvers sur Oise) The New Church and old houses in The Hague Oil on canvas laid down on panel 35 x 25 cm July–September 1883

Provenance Oldenzeel art dealer, Rotterdam; sold to Jan Smit, Alblasserdam in 1905; A. Mak auction, Amsterdam, 10 February 1919; L.J. Smit, Kinderdijk; L.C. Smit, Kinderdijk; Parke-Bernet auction, New York, 20 November 1968; Palais Galliéra auction, Paris, 22 June 1970; sold to a French collector, passed on to his descendants afterwards

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ÅMELLS STOCKHOLM

CARL LARSSON (Stockholm 1853-1919 Falun) Karin Watercolour on paper 53.5 x 74.5 cm Signed within circle ‘C.L.’ 1916

Provenance Carl August Strandman (1886 1963), owner of C.E. Fritzes Kungliga Hovbokhandel, Stockholm (purchased directly from the artist in 1917 for the then incredibly high price of SEK 18,000); sold by Strandman to a private individual within whose family it has been passed down until the present owner

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PAINTINGS

AKSELI GALLEN-KALLELA (Pori 1865-1931 Stockholm) Lake view Pastel on paper glued on panel 24.5 cm x 31 cm Signed ‘AXEL GALLEN’

Provenance Valdemar Kleis Kunsthandel, Vesterbrogade 58, Copenhagen; Gustav Falk (1874-1955), Director of the National Gallery of Denmark in Copenhagen; Private collection, Denmark

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FRANCESCA ANTONACCI DAMIANO LAPICCIRELLA FINE ART ROME

IPPOLITO CAFFI (Belluno 1809-1866 Lissa)

Provenance Private collection, New York; then by inheritance to the previous owner

Venice, the Grand Canal from the Ponte dell’Accademia with Santa Maria della Salute Oil on canvas 47 x 60.9 cm Signed lower right ‘CAFFI’

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PAINTINGS

JOHANN JAKOB FREY (Basel 1813-1865 Rome) Sunset Sunrise over the sea Oil on paper laid down on canvas 24 x 45 cm 30 x 44 cm Circa 1840

Provenance From the estate of the artist, then by decent to Marchesi Ferrari-Frey, then to one of the heirs of the previous owner

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PAOLO ANTONACCI SRL ROME

CARL MAX GERLACH ANTOON QUAEDVLIEG (Valkenburg 1823-1874 Rome) The German Artists’ Carnival in Rome Oil on canvas 61.5 x 99.5 cm Signed lower left Rome, 1856

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PAINTINGS

IPPOLITO CAFFI (Belluno 1809-1866 Lissa) At Villa Borghese Watercolour on paper 22.7 x 32.5 cm Signed lower right Rome, circa 1845

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ARNOLDI-LIVIE MUNICH

JOHANN WOLFGANG BAUMGARTNER (Ebbs near Kufstein 1702-1761 Augsburg)

Provenance Trauwitz Collection, Stuttgart; Private collection, Southern Germany

The Departure of the Prodigal Son Oil on canvas 30 x 40 cm

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PAINTINGS

LOVIS CORINTH (Tapiau 1858-1925 Zandvoort) Portrait of the Art Dealer Heinrich Thannhauser Oil on canvas 101.5 x 70 cm Signed and dated upper right ‘Lovis Corinth/1918’

Provenance Heinrich Thannhauser, Munich, until 1935; Justin Thannhauser, New York, until 1972; Trude Thannhauser Beyer, USA; Thence by descent, until 2016

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JEAN-LUC BARONI LTD. LONDON

HANS BALDUNG GRIEN (Schwabisch Gmund 1484/51545 Strasbourg) Head of a Bearded Man in Three Quarter Profile Black chalk and stumping 27.9 x 20.6 cm

Provenance From an album of drawings believed to have been assembled by Captain William Henry Shippard RN (1803-1865) and thereafter by descent

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PAINTINGS

GIOVANNI DOMENICO TIEPOLO (1727-Venice-1804) Saint Augustin Oil on canvas (unlined) 71.5 x 54 cm Provenance Private collection, France

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CHARLES BEDDINGTON LTD. LONDON

CARLO MARATTI (Camerano 1625–1713 Rome)

AND JAN FRANS VAN BLOEMEN, CALLED ORIZZONTE (Antwerp 1662–1749 Rome)

Diana and Actæon Oil on canvas 195 x 147 cm The figures are the work of Maratti (or Maratta), the leading figure painter of his day in Rome, and the landscape

by Orizzonte, the leading specialist painter of landscape

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PAINTINGS

REINIER NOOMS, CALLED ZEEMAN (circa 1623-Amsterdam-1664) Venice: The Molo from the Bacino di San Marco on Ascension Day Oil on canvas 45.5 x 78.4 cm Signed lower left ‘Zeeman’

Provenance Anon. Sale, Sotheby’s, London, 2 February 1927, lot 17, as ‘Zeeman’ (£24 to W. Duits); Anon. Sale, Drouot, Paris, 19 April 1928, lot 118, as ‘Régnier Zeeman’; Private collection, France, until 2015

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BERKO FINE PAINTINGS KNOKKE-HEIST

FRANS (FRANÇOIS DÉSIRÉ ANTOINE) GAILLIARD La Nouvelle Acquisition Oil on canvas 115 x 108.5 cm Signed lower right; signed and titled on the chassis: ‘Frans Gailliard, Bruxelles, Rue Royale, 41, La nouvelle acquisition’

Provenance Bought from the artist’s family by Galerie Willy D’HUYSSER, Brussels, 1985; Sold to Mr Bernard Kats; Sold to Jacques Schreuder, 2010; Bought at the Schneider succession by Mr Di Egidio of L’Egide Antiquités, Brussels

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PAINTINGS

FRANZ DVORAK

Provenance Private collection, Lebanon

Concert in Saragota Springs, New York; the Vanderbilt Family (detail) Oil on canvas 186 x 275 cm Signed, situated and dated lower left ‘Saratoga Spr. N.Y. 1890’

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KUNSTHANDEL A.H. BIES EINDHOVEN

HENDRIK WILLEM MESDAG (Groningen 1831-1915 The Hague)

Provenance Kunsthandel Pieter A. Scheen, The Hague, 1987

The return of the fishing fleet Oil on canvas 61.5 x 130.5 cm Signed lower right ‘HW Mesdag’

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PAINTINGS

BAREND CORNELIS KOEKKOEK (Middelburg 1803-1862 Cleves) A river landscape in summer with figures and cattle near a ferry Oil on canvas 69.7 x 85.7 cm Signed and dated lower left ‘B.C. Koekkoek ft 1838’

Provenance Collection J.E. Fordham, Melbourn Bury, Royston, UK; Sale Christie, Hanson & Woods, Ancient and modern pictures and drawings, part of the collection of the late J.E. Fordham, London, 9 April 1910, lot 117 (£ 60); W. W. Sampson & Son, London, 1910

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BIJL-VAN URK BV ALKMAAR

JACOB VAN RUISDAEL (1628-Haarlem-1682) Winter landscape with view on a town, probably Doesburg Oil on canvas 36 x 41 cm Signed lower right ‘Ruisda […]’

2nd half 1670s or later

Provenance Petr Petrovich Semenov-Tian-Shansky (1827-1914), St. Petersburg; Jacques Goudstikker, Amsterdam, 1932; D. Katz, Dieren, by 1934; sale Lucerne (Fischer), 3-7 September 1935, lot 2185, ill.; Gebr. Douwes, Amsterdam, 1938; Private collection, Bussum

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PAINTINGS

JACOB VAN RUISDAEL (1628-Haarlem-1682) River landscape with angler, beyond the ‘Grote Kerk’ of Naarden Oil on canvas 26.5 x 38 cm Signed lower left with monogram Circa 1649

Provenance Horutener collection, Rouen, 1781; Private collection, Switzerland; Kornfeld, Bern, 1992; Gebr. Douwes, Amsterdam & London, until 1994; Private collection, Boston, acquired from the above, until at least circa 2001; Private collection, the Netherlands; Noortman Master Paintings, Maastricht, circa 2007; Private collection, the Netherlands

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KUNSTHANDEL P. DE BOER AMSTERDAM

FERDINAND BOL (Dordrecht 1616-1680 Amsterdam) Portrait of a man Oil on panel 65.5 x 54.5 cm Signed ‘F Bol f’ 1647 Provenance Private collection, Europe

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PAINTINGS

JACOB DE VILLEERS (Leiden 1616-1667 Rotterdam) Panoramic landscape with a fortified town Oil on canvas 91.5 x 115 cm Provenance Private collection, Austria

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KUNSTHANDEL IVO BOUWMAN THE HAGUE

JOHAN BARTHOLD JONGKIND (Lattrop 1819-1891 La Côte-Saint-André) Le port de Rotterdam, le matin; vue sur la Bourse Oil on canvas 52 x 81 cm Signed lower left ‘Jongkind 1869’

Provenance Collection M. Ch. Viguier; Collection M.L.B. ; sale Galerie Georges Petit, Paris, 23 February 1918, no. 16; Galerie Bernheim Jeune & Cie; thence by descent

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PAINTINGS

RAOUL DUFY (Le Havre 1877-1953 Forcalquier) Nature morte à la coupe de citrons Watercolour on paper 48 x 63 cm Signed lower right

Provenance Collection Vinot, Paris; Ventes Hôtel Rameau, Versailles December 7, 1975, no. 75; Ventes Hôtel Rameau, June 2, 1976, no. 51

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GALERIE CANESSO PARIS

GIOACCHINO ASSERETO (1600-Genoa-1649) Joas saved from Athalia’s persecution Oil on canvas 147.5 × 195.5 cm Signed at lower center, next to the crown ‘AXERET’

Provenance Private collection, Turin, 1971; Aldo Zerbone collection, Genoa, during the 1980s

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PAINTINGS

WALLERANT VAILLANT (Lille 1623-1677 Amsterdam) Self-Portrait with a Turban Oil on canvas 74 x 59.5 cm

Provenance Mrs Campbell, Cambridge; London, Christie’s, 18 July 1910, lot 123; London, Christie’s, 7 August 1942, lot 102 (as ‘J. E. Liotard–A Moroccan soldier’, offered by Knoedler, unsold); London, Christie’s, 14 Dec. 1990, lot 121 (as Wallerant Vaillant); London, Colnaghi, The Grosvenor House Antiques Fair, 1991, purchased by its last owner

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GALERIA CAYLUS MADRID

JOSÉ CALLEJA (Active circa 1670–1700) Saint Francis in Meditation Polychrome wax and other materials 29.5 x 24.8 cm Signed ‘Joseph Callexo Esculptor de la Reina D.a Maria Ana de Neburg Ft 1697’

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PAINTINGS

JUAN BAUTISTA MAÍNO DE CASTRO (Pastrana 1581–1649 Madrid) Saint Matthew and the Angel Oil on canvas 122 x 88 cm Circa 1605-10

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GALERIE ERIC COATALEM PARIS

LOUIS-JEAN-FRANÇOIS LAGRENÉE (1724-Paris-1805)

Provenance Pierre Joseph Victor, Baron de Brunstaat and Baron de Besenval collection (17211791); Vigny collection

Young Woman at the River Oil on canvas 70.2 x 90.2 cm Signed and dated lower left ‘L. Lagrenée 1769’

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PAINTINGS

LAURENT LA HYRE (1606-Paris-1656) Hercules and Athena Oil on canvas 125.5 x 87 cm

Provenance J.C Preidel collection; perhaps Christie’s, London Sale, 8 April 1811, lot 30; Christie’s, London Sale, 8 November 1817, lot 135; perhaps Christie’s, London Sale, 10 January 1818, lot 76

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COLNAGHI LONDON-MADRID

JUAN VAN DER HAMEN Y LÉON (1596-Madrid-1631) A pair of still lifes Oil on canvas 79 x 99 cm Signed and dated

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PAINTINGS

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KUNSTHANDEL DAXER & MARSCHALL MUNICH

JOHAN CHRISTIAN CLAUSEN DAHL (Bergen 1788-1857 Dresden) The Bay of Naples with Mount Vesuvius Oil on canvas 44.5 x 67 cm Signed and dated lower left ‘Dahl Sept. 1820’

Provenance Crown Prince Christian Frederik of Denmark; King Frederik VII of Denmark; Oscar Johannessen collection, Oslo; Johannes Sejersted Bødtker, Oslo, 1937; Gallery Sinding-Larsen, Oslo; Georg Schäfer private collection, Schweinfurt; Private collection, Germany

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PAINTINGS

LOVIS CORINTH (Tapiau 1858-1925 Zandvoort) Flower Still Life Oil on panel 65.5 x 80 cm Signed and dated upper left ‘Lovis Corinth / 1921’

Provenance Dr. A. Cohn, Berlin and Basel (1862-1926); Galerie Carl Nicolai, Berlin-Bad Kohlgrub (1930 or before, until 1950 or later); Private collection, Braunschweig; Galerie Resch, Gauting near Munich; Georg Schäfer private collection, Schweinfurt, since 1968; Private collection, Germany

85

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DICKINSON LONDON

JUAN GRIS (1887-1927) Nature morte Oil on cradled panel 65.5 x 81.5 cm Signed and dated upper left ‘Juan Gris 7-16’ 1916

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PAINTINGS

FRANCESCO GUARDI (1712-Venice–1793) Capriccio with a ruined late Gothic arch, with fishermen on a bridge Capriccio with a classical ruined arch, river bank with fishermen, a temple beyond Oil on canvas (pair) 48.5 x 73.7 cm each

Provenance Seligman, Paris, 1935; His sale; Charpentier, Paris, 4-5 June 1935, nos. 76-77; Dimitri Tziracopoulo; Galleria Canesso, Rome; Agnew’s, London, 1967; The Hon. James Bruce, acquired from the above; Agnew’s, London, 1983

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DOUWES FINE ART AMSTERDAM

CORNELIS VAN HAARLEM (1562-Haarlem-1638) The discovery of the cup in Benjamin’s Sack Oil on panel 42 x 61 cm Signed lower right ‘CCH’ Circa 1594-96

Provenance Private collection Graf Joseph Franz Anton von Waldburg-Zeil-Wurzach; His Sale, 29 March 1806, no. 165; Private collection Frank Gattrell, Fordingbridge, England; sale Sotheby’s New York, 11 June 1981, no. 67 (ill.), Sale Sotheby’s New York, 21 January 1982, no. 119 (ill.); Sale Christie’s London, 11 December 1987, no. 71 (ill.);Private collection, France

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PAINTINGS

JAN SLUIJTERS (’s-Hertogenbosch 1881-1957 Amsterdam) Red haired nude against decorated background Oil on canvas 132 x 115 cm Circa 1934

Provenance Private collection Jan Sluijters jr., Hilversum; Art dealer G.J. Scherpel, Bussum 1987-circa 1987; acquired from the above in 1987 by the present owner

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SAM FOGG LONDON

JAN CROCQ (circa 1450/60-1510) John the Baptist Tonnerre limestone 163 x 59 x 40 cm France, Lorraine, Nancy or Bar-le-Duc, circa 1500-1510

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PAINTINGS

TOMĂ S GINER (before 1465-after 1510) The Martyrdom of Saint Vincent Oil and gilding on softwood panel 106 x 73 cm Spain, Aragon, Zaragoza, circa 1462-1466

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FRENCH & COMPANY, LLC NEW YORK

GUSTAVE COURBET (Ornans 1819 - 1877 La Tour-de-Peilz)

Provenance Claude Aubry, Paris

Effet de Neige Oil on canvas 72 x 92 cm Signed 1866

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PAINTINGS

FRANCESCO NOLETTI (Valletta, Malta circa 1611–1654 Rome)

Provenance Private collection, Italy from the 19th century

Still-life with a Turkish carpet, fruit and embroidered velvet drape Oil on canvas, unlined 98.6 x 135.5 cm Rome, 1650

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GIACOMETTI OLD MASTER PAINTINGS ROME

ANTONIO CAMPI (1523-Cremona-1587) Head of Christ Oil on panel 45 x 39 cm Provenance Private collection, Rome

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PAINTINGS

VINCENZO GEMITO (1852-Naples-1929)

Provenance Probably Duhamel, Naples; Private collection, London, until 2012

Portrait bust of Mathilde Duffaud Terracotta Height 55 cm Signed and dated ‘GEMITO / 1872’

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RICHARD GREEN LONDON

HENRI FANTIN-LATOUR (Grenoble 1836 -1904 Buré) Roses Oil on canvas 50.8 x 62.5 cm Signed and dated lower left ‘Fantin . 89 ‘

Provenance Mrs Edwin Edwards, London; Sir Harry Veitch (1840-1924), by whom bequeathed to The Royal Albert Memorial Museum, Exeter; Christie’s London, 22nd October 1954, lot 63; from where acquired by The Fine Art Society Ltd., London; Private collection, UK

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PAINTINGS

DAVID TENIERS THE YOUNGER (Antwerp 1610-1690 Brussels) Peasants playing nine-pins outside an inn, the city of Antwerp in the distance Oil on panel 47.6 x 59.7 cm Signed lower left ‘D.TENIERS’ Mid-1640s

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MARTYN GREGORY LONDON

SUNQUA The Hongs of Canton (Guangzhou) Oil on canvas 45.7 x 59.7 cm Inscribed lower right ‘SUNQUA’ Circa 1835

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PAINTINGS

ANONYMOUS CHINESE ARTIST Porcelain shop, Canton (Guangzhou) Gouache on card 47 x 32 cm Circa 1825 Provenance By descent in the family of the naturalist John Reeves (1774-1856)

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HABOLDT • PICTURA AMSTERDAM-PARIS-NEW YORK

JAN HACKAERT (1628-Amsterdam-1685) A Hawking Party in a wooded Landscape Oil on canvas 92 x 78.5 cm Signed lower left ‘HACKAERT’

Provenance Sale, H. Bingham Mildmay, London, Christie’s, June 24, 1893, no. 20; Private collection, France; Haboldt & Co., Paris, 1991; Private collection, Belgium until 2006

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PAINTINGS

SIMON LUTTICHUYS (London 1610-1661 Amsterdam) A Still Life with a Chinese porcelain Vase, a Wine Glass à la façon de Venise, Oysters and Bread on a stone Ledge Oil on canvas 44.5 x 37.5 cm Signed with initials ‘S•L•fc’

Provenance Collection Pierre-Louis Kuhnen (18121878), Brussels (L.1594); his sale, Brussels, 22 November 1880, lot 1320; Private collection, Belgium, until 2016

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JOHNNY VAN HAEFTEN LTD LONDON

JOACHIM ANTHONISZ. WTEWAEL (1566-Utrecht-1638) Maternal Charity Oil on panel 57.8 x 79.3 cm Signed and dated lower centre ‘Jo.wte.wael.fecit/Anno 1623’

Provenance (Possibly) Johan Pater and Antoinetta Pater-Wtewael, the artist’s daughter, Utrecht, until 1655; By descent to (Possibly) Johan van Nellesteyn and Hillegonda van Nellesteyn-Pater, Utrecht, from 1655; Private collection, France, 2012

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PAINTINGS

DANIEL SEGHERS (1590-Antwerp-1661) A Bouquet of Flowers in a glass Vase Oil on copper 56 x 40 cm Signed, lower left ‘D. Seghers. Soctis. JESV’ Circa 1640

Provenance La Douarière van Lith de Jeude, Antwerp (according to a note in the archive of Sam Segal); Jacques Goudstikker, Amsterdam; Private collection B. H. M. Lips, ­ Dordrecht, 1955; With Alfred Brod ­G allery, London, 1956; Anon. sale, Heyse, Ghent, 13 May 1963, lot. 349, ill.; ­Purchased by John Mitchell, London; Private collection, UK, 1976 to 2016

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FERGUS HALL LONDON

JAN VAN DER HEYDEN (Gorinchem 1637-1712 Amsterdam) A view of a town square, with a procession during the Feast of Corpus Christi Oil on canvas 21.9 x 27.6 cm Signed with monogram ‘VDH’

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PAINTINGS

JUSEPE DE RIBERA, CALLED LO SPAGNOLETTO (XÃ tiva 1591-1652 Napels) Hercules Oil on canvas 205.2 x 154.5 cm

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DEREK JOHNS LTD / SALAMON&C LONDON-MILAN

NICOLAS BERTIN (1668-Paris-1736) Moses defending the daughters of Jethro Oil on panel 49 x 70.8 cm

Provenance Baron de Vanballe sale Paris, 9th April 1781, lot 80 (‘Ce tableau est d’une grande finesse et du meilleur faire de ce Maî tre’); Williot sale Paris, 26th Feb. 1788, lot 6; Art market Paris and New York 1959; Private collection, UK

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PAINTINGS

FRANCESCO GUARDI (1712-Venice-1793) A View of the Piazzetta looking towards San Giorgio Maggiore Oil on canvas 70 x 94.7 cm

Provenance Von Schulthess Collection (see label on reverse); With Knoedler Galleries (inv. no. on reverse 1353); Private collection, Switzerland

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DE JONCKHEERE GENEVA - MONACO

PIETER BRUEGHEL (Brussels 1564-1638 Antwerp) Winter landscape with skaters Oil on panel 40 x 57 cm Signed lower right ‘P · BREVGHEL ·’

Provenance Galerie van Diemen, Berlin; Jacob Hartog, The Hague; his forced sale to Hitler for the Linz Museum, 18 August 1942, for 5,000 Dutch florins; restituted to the Dutch Government, 29 April 1946; returned to Jacob Hartog, New York, 1946; thence by family descent until sold New York, Sotheby’s, 25 January 2007, lot 20, for $2,900,000; Richard Green, London

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PAINTINGS

JAN BRUEGHEL THE ELDER (Brussels 1568-1625 Antwerp) Landscape with travellers on a country road Oil on copper 20.3 x 31.8 cm Signed and dated ‘Brveghel.1611’ and with the mark of Peeter Stas

Provenance Pieter de Boer, Amsterdam, before 1979; Collection Einer Perman, Stockholm, 1979; Johnny Van Haeften, London, 1990

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KUNSTHANDEL ROB KATTENBURG BV BERGEN

HENDRICK CORNELISZ. VROOM (1566-Haarlem-1640) Tempest (pair) Oil on canvas 98 x 183 cm Signed ‘VROOM’ and dated ‘1629’ Provenance Private collection, France

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PAINTINGS

WILLEM JANSZOON BLAEU (Uitgeest 1571-1638 Amsterdam) A pair of celestial and terrestrial table globes Diameter spheres 23 cm Height overall 38 cm Dated 1602 but after 1621

Het Licht der Zee-vaert 42 charts in contemporary brown calf binding 25.5 x 29 cm Amsterdam, 1630 Pascaarte van alle ZĂŠcusten van Europa Engraving on parchment 68.7 x 86.8 cm 1621 or later, but before 1650

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JACK KILGORE & CO., INC. NEW YORK

VICENTE LÓPEZ Y PORTAÑA (Valencia 1772-1850 Madrid)

Provenance Vicente Lassala, Valencia, by 1926; by descent in the Lassala family

Virgin of the Immaculate Conception Oil on canvas 185 x 107 cm Circa 1795-1800

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PAINTINGS

FERDINAND KNAB (Würzburg 1834–1902 Munich)

Provenance Sale Nagel Auktionen, Stuttgart, June 28, 2006, no. 192; private collection, UK

Roman Ruin at Twilight Oil on canvas 100 x 130 cm Signed, dated and inscribed lower right corner ‘F. KNAB/ Munchen 1894’

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KOETSER GALLERY ZURICH

ELIAS VAN DEN BROECK (Antwerp circa 1649-1708 Amsterdam)

Provenance Private collection, Europe

Vivat Rex (Long live the King) Oil on canvas 56.5 x 48.5 cm Signed upper left ‘Elias V. Den Broeck’ and inscribed lower centre ‘VIVAT / REX’

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PAINTINGS

JAN HAVICKSZ. STEEN (1626-Leiden-1679) Figures before an inn, merry-making and playing a game of kolfspel Oil on panel 49.7 x 67.5 cm Signed lower right ‘JS (in compendium) teen’

Provenance Prof. Dr. Jan Bieuland, Utrecht (17561838); his deceased sale, Utrecht, Lamme, 6 May 1839, lot 309 for 880 florins; Municks van Cleef, Utrecht; his deceased sale, Utrecht, Paris, 4 April 1864, lot 88, for 3.350 francs; D. Katz, Dieren; Mrs. A. Ongering-Schwarte (1890-1967), 1958; more provenance available on website

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LAMPRONTI GALLERY LONDON

ANNIBALE CARRACCI (Bologna 1560-1609 Rome) Head study of a bearded old man Oil on paper prepared with brown paint, laid down on canvas 41 x 28.5 cm Provenance Private collection, Austria

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PAINTINGS

FRANCESCO GUARDI Venice, a view of the Piazzetta looking south with the Palazzo Ducale Oil on canvas 47 x 65 cm Signed lower left, beneath the standard-bearer ‘F.CO GUARDI’

Provenance Eugène Fischhof collection, Paris; E. Arnholt, Berlin; H.G. Sohl collection, Düsseldorf

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SALOMON LILIAN AMSTERDAM

JAN WOUTERSZ STAP (1599-Amsterdam-1663) The Tax Collector and his Wife Oil on panel 120 x 90 cm Monogrammed lower right ‘IWS’

Provenance Collection The English National Trading Bank, London, 1975; Sale Sotheby’s, London, 12 July 1978, lot 225; John Hoogsteder art trade, The Hague, 1979; Private collection, UK; Collection Saul P. Steinberg, USA, 1939-2012; Christie’s, New York, 29 September 2008, lot 166; Private collection, Italy

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PAINTINGS

JAN WOUTERSZ STAP (1599 - Amsterdam-1663) Heraclitus and Democritus Oil on panel 48.5 x 64 cm Provenance George Wildenstein Gallery, New York, 1952; Private collection, France

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LOWELL LIBSON LTD LONDON

JOHN MARTIN (Hexham 1789-1854 Douglas) The city of God and the waters of life Oil on canvas 46 x 66 cm Circa 1850-51

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PAINTINGS

MARTIN BATTERSBY (London 1914-1982 Lewes) A detail from a set of six panels depicting chapters from the life of Alfred Duff Cooper, First Viscount Norwich and Lady Diana Cooper, Viscountess Norwich Acrylic on aluminium 254 x 107 cm Circa 1948

Provenance Duff Cooper, First Viscount Norwich and Lady Diana Cooper, commissioned circa 1948 for the Chateau de Saint Firmin, Chantilly; John Julius, Second Viscount Norwich, to 2016

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THE MAAS GALLERY LONDON

GLYN WARREN PHILPOT (1884-1937) The Little Dancer Oil on canvas 143 x 115 cm Signed London, 1923

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PAINTINGS

HILDA HECHLE (1886-1939) Nocturne des Alpes Oil on canvas 92 x 138 cm Signed Swtizerland, circa 1930

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MACCONNAL-MASON GALLERY LONDON

HENRI EUGÈNE AUGUSTIN LE SIDANER (1862-1939) Le Quai au Clair de Lune Oil on canvas 65.3 x 81 cm Signed lower right ‘LE SIDANER’ 1920

Provenance The Lefevre Gallery (Alex. Reid & Lefevre, Ltd.), London; Galerie Georges Petit, Paris (acquired from the artist, January 1920); M. de Campagna, Paris (acquired from the above, 1920); Galerías Witcomb, Buenos Aires; Dr. Raul T. Canevari, Buenos Aires (acquired from the above, June 1939); Private collection, USA

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PAINTINGS

EUGÈNE-LOUIS BOUDIN (1824-1898) Trouville, Scène de Plage Oil on panel 15.9 x 27.1 cm Signed lower centre ‘Boudin’ Inscribed and dated lower right ‘Trouville 1880’

Provenance Gustave Cahen, Paris; Galerie Schmit, Paris; French Art Gallery, New York; Raymond Bigar, New York; Collection of Guy and Marie-Hélène Weill

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MAISON D’ART MONTE-CARLO

FERNAND LÉGER (Argentan 1881-1955 Gif-sur-Yvette) Composition I Oil on canvas 65 x 50 cm Signed and dated lower right ‘38 F. LEGER’ Ttitled, signed and dated on the reverse ‘Composition I F. LEGER 38’ 1938

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PAINTINGS

GUIDO RENI (1575-Bologna-1642) Judith with the Head of Holofernes Oil on canvas 120 x 99 cm Circa 1637-38

Provenance The art historian Adolfo Venturi asserted that the Duke Francis I of Modena wished to buy this painting, which however remained in Genoa in the Pietro Maria Gentile Collection, in A. Venturi, La Regia Galleria Estense in Modena, Modena 1882-83, p.186; formerly Genoa, Cattaneo Adorno collection

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THE MATTHIESEN GALLERY-MATTHIESEN LTD. LONDON

WILLIAM BEECHEY (Burdford 1753-1839 London) Portrait of Kenneth Dixon playing shuttlecock Oil on canvas (unlined) 135 x 100 cm

Provenance Christie’s, London May 3rd 1902, lot 73, ‘An admirable portrait of Kenneth Dixon, son of John and Anne Dixon of Totteridge, Herts, when a young boy, in dark suit and white frills, large hat with feathers, in a landscape playing battledore’; Acquired at this sale by Mr. Home; Private collection, Paris

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PAINTINGS

GUSTAVE COURBET (Ornans 1819-1877 La Tour-de-Peilz)

Provenance Private collection, Paris; Private collection, Biarritz

Mother and child on a hammock Oil on canvas (unlined) 32 x 40.5 cm Period frame Signed lower left ‘G C’

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MORETTI FLORENCE-LONDON

COSIMO ROSSELLI (1439-Florence-1507) The Crucifixion with the Madonna and Mary Magdalene, Saint Andrew, Saint John the Baptist and Saint Francis Oil on panel 207 x 193.4 cm

Provenance Chiesa di San Simone, Cappella dei Santi Andrea e Francesco, Florence, commissioned in 1503; Monte di Pieta, Rome, probably after 1557; Ruffo della Scaletta Collection, Naples, 1884; Gino Galli Collection, Carate Brianza; Gilberto Algranti Collection, Milan; Private collection, New York

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PAINTINGS

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CARLO ORSI MILAN

MAERTEN DE VOS (1532-Antwerp-1603) The Annunciation Oil on panel 86 x 43.5 cm On the reverse the arms of Frederick II, King of Denmark

The Adoration of the Magi Oil on panel 86 x 43.5 cm On the reverse the arms of Sophie Mecklenburg-Güstrow, wife of the King of Denmark Provenance Frederick II, King of Denmark (1534-1588); Collection Taccone, Marquess di Sitizano

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PAINTINGS

THE MASTER OF THE UNRULY CHILDREN PROBABLY SANDRO DI LORENZO DI SMERALDO

Provenance Heirs of the Zalum family, Florence (probably Villa Gamberaia)

Bacchus Terracotta 25 x 29 x 20 cm Florence, circa 1523

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ROBILANT+VOENA LONDON - MILAN - ST. MORITZ

PIETRO LUCHINI (Bergamo 1800-1883 Bologna)

Provenance Private collection, Italy

La Sultana Oil on canvas 170 x 216 cm Signed and dated lower left ‘P.ro Luchini fece / Cos.poli 1860’ 1860

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PAINTINGS

GIORGIO MORANDI (1890-Bologna-1964)

Provenance Galleria Gian Ferrari, Milan, no. 2330; Private collection, Milan

Natura Morta Oil on canvas 22.3 x 30.3 cm Signed and dated 1943

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KUNSTHANDLUNG HELMUT H. RUMBLER FRANKFURT AM MAIN

GIOVANNI BATTISTA PIRANESI (Mojano di Mestre 1720-1778 Rome) The Staircase with Trophies Etching and engraving, first edition 54.4 x 39.9 cm Rome, circa 1749

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PAINTINGS

GIOVANNI BATTISTA PIRANESI (Mojano di Mestre 1720-1778 Rome) The Staircase with Trophies Etching and engraving, second edition 55 x 40.2 cm Rome, circa 1749-1761

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G. SARTI PARIS

LUCA GIORDANO (1632-Naples-1705) Portrait of Plato Oil on canvas 116.5 x 99 cm Circa 1660 Provenance Private collection, Germany

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PAINTINGS

GIROLAMO DI BENVENUTO Virgin and Child with Saints John the Baptist and Catherine of Siena Tempera on panel, gold ground 82.4 × 64.2 cm Circa 1510-1520 Provenance Private collection, Italy

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XAVER SCHEIDWIMMER MUNICH

ANTONIE CLAESZ. DE GREBBER (Haarlem circa 1621-after 1683 Amsterdam) Flowers in a niche Oil on panel 55 x 38 cm Signed and dated ‘Anthonie Claesz.fecit. 1641’

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PAINTINGS

JAN VAN GOYEN (Leiden 1596-1656 The Hague) Riverlandscape with Fisherboats Oil on panel 31 x 50 cm Signed by monogram ‘VG 1655’

Provenance Collection Thomas Patch; Alfred Brod, London 1959; P. de Boer, Amsterdam, 1959; Collection H. Girardet, Kettwig 1960; Galerie Noortman, Maastricht

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ROB SMEETS OLD MASTER PAINTINGS GENEVA

FRANCESCO LUPICINI David and Goliath Oil on copper 30.5 x 24 cm Circa 1620

Provenance Prince Tommaso Corsini (Florence 1835 -1919 Manciano, Grosseto); Marquis Neri Corsini (Florence 1805-1859 London); Marquis Pier Francesco di Alessandro Rinuccini (1788-Florence-1848)

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PAINTINGS

ANTONIO TEMPESTA The Israelites Attacking the Amalekites Oil on marble 42 x 66.5 cm Provenance Lord William Bentinck (Portland 1774-1839 Paris)

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STAIR SAINTY GALLERY LONDON

GABRIEL DE SAINT-AUBIN (1724-Paris-1780) A Lawyers’ Chambers: Two Children presented by a Maid Oil on canvas 104.8 x 94 cm Signed lower right ‘de Saint Aubin’

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PAINTINGS

PIERRE AMÉDÉE MARCELBERONNEAU (Bordeaux 1869-1937 Seyne-sur-Mer)

Provenance Galerie Alain Blondel, Paris; Private collection, New York

Salomé, Fleur Du Mal Oil on canvas 115.6 x 81.3 cm Signed lower left ‘P. Marcel-Beronneau’

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LAWRENCE STEIGRAD FINE ARTS NEW YORK

HERMAN MEINDERTSZ. DONCKER (Hoorn 1595-circa 1656) A Young Boy with his Horse Oil on panel 139 x 106.7 cm Signed and dated in the lower center ‘H. Doncker 1646’

Provenance Kunsthandel S. Nystad, The Hague, 1964; Christie’s, London, June 11, 1971, lot 116, where purchased by Sikora; Private collection, Vancouver

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PAINTINGS

SIR PETER LELY (Soest 1618-1680 London)

Provenance Lord Hyde; Bank of America Art Collection

Portrait of Elizabeth Capel Countess of Carnarvon (1633-1678) Oil on canvas 127 x 101 cm Inscribed on the stone wall to the right of the sitter ‘COVNTESS OF CANARVAN’ Circa 1662

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STOPPENBACH & DELESTRE LTD LONDON

ARMAND GUILLAUMIN (1841-Paris-1927)

Provenance Dr. Metadier, France; Wildenstein et Cie., France; Private collection, USA

Une rue en Ile-de-France Oil on canvas 73.2 x 59.1 cm Signed and dated lower left ‘A.Guillaumin 70’ 1870

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PAINTINGS

ANDRÉ DERAIN (Chatou 1880-1954 Garches) Le port de Collioure Oil on canvas 33 x 41.3 cm Signed lower left ‘a.derain’ 1905

Provenance Ambroise Vollard (?); Private collection Helene Caze; Georges de Braux; Sherburn M. Becker; Thence by descent to the present owner

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TALABARDON & GAUTIER PARIS

JOHANN KÖNIG Saint Christopher carrying the Christ Child in a landscape Oil on copper 15.3 x 21.2 cm Signed lower right ‘Jo: König. fec’

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PAINTINGS

ANICET-CHARLES-GABRIEL LEMONNIER The Genius of Commerce Oil on canvas 77 x 130 cm Signed and dated lower right ‘Lemonnier en 1791’

Provenance Monsieur Leverdier, according to an old label on the stretcher; Acquired about 1940 by the Rouen Chamber of Commerce for the Palais des Consuls

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TOMASSO BROTHERS FINE ART UK

ANNIBALE CARRACCI (Bologna 1560-1609 Rome) Portrait of an African Woman holding a clock Oil on canvas 60 x 39.5 cm 74.5 x 53 cm (incl. frame) Circa 1585

Provenance Carlo Maratti (1625-1713), mentioned in his inventory; Philip V of Spain, upon his death in 1745, mentioned in the Queen’s antechamber; Gifted to Arthur Wellesley, 1st Duke of Wellington, August 1812; Private collection, England until 2005

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ANTIQUES

FRANÇOIS GIRARDON (Troyes 1628-1715 Paris) Bust of Modios Asiatikos, after the Antique Bronze 43.8 x 34.4 cm Marked ‘TH’ and ‘TH 12 51’

Provenance François Girardon’s collection, Paris,1709; Chancellor Louis Phélypeaux (1643–1727), Marquis de Phélypeaux, Comte de Maurepas, Comte de Pontchartrain, cabinet of the Hôtel de la Chancellerie, Versailles, 1714; by descent Château de Pontchartrain, Le Tremblay-sur-Mauldre, France, 1747; Palais de Tuileries, Paris, 18th century

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DAVID TUNICK, INC. NEW YORK

REMBRANDT VAN RIJN (Leiden 1606-1669 Amsterdam) Woman Sitting Half Dressed Beside a Stove Etching, engraving, and drypoint on Japanese paper, an undescribed state 22 x 18.7 cm 1658

Provenance R.S., probably Lugt 1956 (unidentified); Private collection, Europe; to estate of same

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PAINTINGS

GUSTAV KLIMT (Baumgarten 1862-1918 Vienna) Portrait of a Woman in Blue, Seated, Facing Left Blue pencil on cream wove paper 55.5 x 37 cm Circa 1913-1918

Provenance Estate of the artist, with the estate stamp lower left verso, Lugt 1575 and Strobl vol. IV, p. 221; probably sold by Gustav Nebehay, Vienna, circa 1918 to Dr. Walter Schiller (1887-1960), Vienna and Chicago; 1960 to estate of the same; and by descent within the same family

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RAFAEL VALLS LTD LONDON

MELCHIOR DE HONDECOETER (Utrecht 1636-1695 Amsterdam)

Provenance Private collection, UK

A Still Life of a Grey Partridge, a Brambling and a Bullfinch beside a Green Velvet Game Bag and a Stone Capital Oil on canvas 43.4 x 38.4 cm Signed ‘M de Hondecoeter’

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PAINTINGS

ISAAC OUWATER (1748-Amsterdam-1793) A View of St Bavo Cathedral at the Grote Markt, Haarlem Oil on canvas 59 x 76 cm Signed ‘I. Ouwater’

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GALERIE FLORENCE DE VOLDÈRE PARIS

ABEL GRIMMER (1570-Antwerp-1619) August Oil on panel Diameter 25 cm Antwerp, 1609

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PAINTINGS

ABEL GRIMMER (1570-Antwerp-1619) A Village Kermesse Oil on panel 50 x 66.5 cm Signed Antwerp

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THE WEISS GALLERY LONDON

FRANS POURBUS THE YOUNGER (Antwerp 1569-1622 Paris)

Provenance Private collection, France, until Tajan, Paris, 15 June 2016, lot 48

An Unknown Bourbon Princess Oil on canvas 75 x 58.5 cm Circa 1615

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PAINTINGS

WILLIAM LARKIN (circa 1585-London-1619) Lady Jane Thornagh (circa 1600-1661) Oil on panel 113.8 x 83.8 cm Inscribed and dated lower left ‘Ætatis· SVÆ· 17/ANO: 1617’ 1617

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ADAM WILLIAMS FINE ART LTD NEW YORK

ANTONIO ZUCCHI (Venice 1726-1795 Rome) Portrait of James Adam (1732-1794), in an embroidered waistcoat and fur-lined blue coat, holding a pair of compasses and a scroll Oil on canvas 172.8 x 123.2 cm Signed and dated lower right ‘1763’

Provenance J. Lupton Lister, Deans Court, Doctors Commons, London; Christie’s, London, December 5, 1863, lot 67, as Pompeio Battoni [sic], Portrait of Sir William Chambers – admirably painted; Baron John Bonde (1918-2009), a descendent of the Adam family

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PAINTINGS

GAETANO GANDOLFI (San Matteo della Decima 1734-1802 Bologna) The Birth of Venus Oil on canvas 147.3 x 169.7 cm Provenance Commissioned by an unidentified

collector, possibly Prince Nicolay Borisovich Yusupov (1750-1831), Archangelskoe, near Moscow, after 1787; Private collection, Kromar, Lithuania, early 20th century, as Louis Jean François LagrenÊe, according to photographs in the archives of the Documentation du Louvre; Private collection, Brussels, 2002; Private collection, Europe

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ANTIQUES Shapero Rare Books

A La Vieille Russie

Van Gelder Traditional Indian Folk Jewellery

Luis Alegria lda

Ralph Gierhards Antiques-Fine Art

Somlo Antiques

Altomani & Sons srl

Michael Goedhuis

Marjan Sterk Antique Jewellery

Aronson Antiquairs

Bernard de Grunne Tribal Fine Arts

Salomon Stodel Antiquités

Galerie Aveline

Dr. Jörn Günther Rare Books AG

Riccardo Bacarelli

Hancocks

Antiquariat Bibermuehle AG Heribert Tenschert

De Backker Medieval Art

Carlton Hobbs

Gregg Baker Asian Art

Ben Janssens Oriental Art Ltd

Carolle Thibaut-Pomerantz/ Galerie Frans Leidelmeijer

Véronique Bamps

Janssens van der Maelen F

Tóth-Ikonen

Gallerie Jacques Barrère

Daniel Katz Ltd

Vanderven Oriental Art

Jan Beekhuizen Kunst- en Antiekhandel vof

Kollenburg Antiquairs BV

Kunstzalen A. Vecht

Koopman Rare Art

Axel Vervoordt

Michele Beiny Inc.

van Kranendonk Duffels

Wartski

BENAPPI

J. Kugel

Jorge Welsh Works of Art

H. Blairman & Sons Ltd

Kunstkammer Georg Laue

Joan Wijermars

Blumka Gallery

Longari arte Milano

Yufuku Gallery

Julius Böhler

López de Aragón

Botticelli Antichità

Helga Matzke

Brimo de Laroussilhe

S. Mehringer

Burzio

Mentink & Roest

Alberto Di Castro

Galerie Meyer-Oceanic Art

Alessandra Di Castro

Amir Mohtashemi Ltd

Alessandro Cesati

Frank C. Möller Fine Arts

Galerie Didier Claes

Morsink Icon Gallery

Cohen & Cohen

Sydney L. Moss

Daatselaar Fine Art & Antiques

Kunsthandel Peter Mühlbauer

Galerie Delalande

Mullany

Galerie Bernard Dulon

Galerie Neuse

Galerie Xavier Eeckhout

Marcel Nies Oriental Art

Jaime Eguiguren, Arte y Antigüedades

Galerie Perrin

Eguiguren Arte de Hispanoamérica

S.J. Phillips Ltd.

Donald Ellis Gallery

Piva & C srl

Deborah Elvira

Polak Works of Art

John Endlich Antiquairs

Benjamin Proust Fine Art Limited

Les Enluminures

Christophe de Quénetain

Entwistle

Lucas Ratton

Epoque Fine Jewels

Richard Redding Antiques Ltd.

Kunsthandel Jacques Fijnaut bv Silver & Works of Art

Jean Michel Renard

Peter Finer

Rossi & Rossi

Flore-sprl FAB

Rudigier

Galerie 1492

Adrian Sassoon

Gallo Fine Art

Senger Bamberg Kunsthandel

A. Aardewerk Antiquair Juwelier

S.J. Shrubsole, Corp.

Röbbig München

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A. AARDEWERK ANTIQUAIR JUWELIER THE HAGUE

GIACINTO MELILLO (Naples)

Provenance Private collection, the Netherlands

Archeological revival bracelet Gold, pearls and enamel Length 19 cm Weight 105 gr.

Naples, circa 1870

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ANTIQUES

FRANÇOIS LAMBREGTS A kettle on stand Silver Height 41 cm Total weight 2523 gr.

Marked with the Amsterdam assay mark, the Dutch lion, the date letter for 1731 and the maker’s mark ‘FL’ monogrammed Amsterdam, 1731

Provenance Private collection, Switzerland; Sotheby’s Geneva 1997; Private collection, Belgium

167

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A LA VIEILLE RUSSIE NEW YORK

CARL FABERGÉ (St. Petersburg 1846-1920 Lausanne) Pair of dolphin-form candlesticks Aventurine and silver Height 14 cm Workmaster Anders Nevaleinen St. Petersburg, circa 1890

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ANTIQUES

Old-mine tremblant floral spray Diamonds, approximately 18 cts., set in silver and gold Length 12.7 cm England, circa 1860

169

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LUIS ALEGRIA LDA PORTO

A large monteith Porcelain with famille verte decoration 56.4 x 37.5 x 31.3 cm China, Kangxi Period, 1662-1722

170

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ANTIQUES

A pair of large hawks Export porcelain with famille rose decoration 21 x 16 x 36.5 cm China, Qing Dynasty, Qianlong Period, 1736-1795

171

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ALTOMANI & SONS SRL MILAN - PESARO

GIANFRANCESCO SUSINI (1575 - 1653)

Provenance Private collection, New York

Walking horse with flowing mane and reins Bronze, mid-brown patina, on a wooden pedestal with architectural mouldings Height 16.2 cm Cast from a model by Giambologna (1529-1608)

172

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ANTIQUES

ALESSIO DI BENOZZO (Florence 1473-1528) Madonna and Child enthroned between St. John the Baptist, St. Francis, Angels and Donor Tempera on panel 193 x 173 cm

173

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ARONSON ANTIQUAIRS AMSTERDAM

FREDERIK VAN FRIJTOM (1632-1702) Blue and white rectangular plaque Delftware Length 26.5 cm Delft, circa 1680

Provenance Collection Voûte, no. 59 (paper label), probably Mari Paul Voûte, Jr. (1882–1955), Baarn, the Netherlands, whose collection was sold at Frederik Muller & Cie., Amsterdam, 17th-25th April, 1956; Christie’s Amsterdam, 14th November 2000, lot 274; The Joseph M. Morpurgo collection, Amsterdam

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ANTIQUES

Unique pair of polychrome groups of boys riding lions Delftware Height 21.4 cm Delft, circa 1775

Provenance Sold at Mak van Waay, Amsterdam, December 21-23, 1937, lot 20; Collection Nijstad, Lochem

175

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GALERIE AVELINE PARIS

Corbeil sofa in mahogany 110 x 208 x 96 cm Label underside reading ‘Sending of Miss Van de Putte, rue Armand 4 (...) to Mr Schwartz Molitor, Rue de la Station 49, Tariff II, Artan, Franco’ Probably Milan, circa 1780

176

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ANTIQUES

A Louis XV screen from a pair Wool and wood 145 x 65 cm (each panel) Manufacture Royale de la Savonnerie after drawings by Franรงois Desportes France, circa 1734-1738 Provenance Madame Dubernet-Douine; Hubert de Saint-Senoch

177

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RICCARDO BACARELLI FLORENCE

GAETANO MERCHI (Brescia 1747-1823 Agen)

Provenance A. Gonzàlez-Palacios collection

Bust of a Gentleman Terracotta Height 64.3 cm Signed and dated on the basement ‘Merchi fecit 1783’

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ANTIQUES

179

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DE BACKKER MEDIEVAL ART HOOGSTRATEN

The Virgin beneath the Cross Polychromed wood Height 130 cm Mosan, second half 13th century Provenance Private museum ‘Het Marianum’, the Netherlands

180

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ANTIQUES

Byzantine lintel or Tymphan Marble 125 x 91 cm Eastern Empire, 6th-7th century AD

181

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GREGG BAKER ASIAN ART LONDON

A figure of Amida Buddha standing on a lotus base Wood and gilt lacquer Height figure 77.5 cm Height incl. stand 88.5 cm Japan, Heian/Kamakura Period, 12th century

182

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ANTIQUES

YUICHI INOUE Shoku (Belonging) Ink on paper 120 x 221.5 cm Seal ‘Yuichi’ Japan, 1976

183

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VÉRONIQUE BAMPS MONACO

R.H. BLANCHARD Necklace Gold and antique Egyptian scarabs Cairo, circa 1900

184

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ANTIQUES

CARTIER Bracelet Gold and platinum, sapphires and diamonds Signed ‘Cartier’ Paris, circa 1945

185

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GALLERIE JACQUES BARRÈRE PARIS

Male torso Grey Sandstone 112 x 30 x 20 cm Cambodia, Khmer ArtBakeng period, 10th century Provenance Collection Dr. Vercreuse, aquired at the gallery Moreau-Gobbard in 1967, Paris

186

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ANTIQUES

Standing Buddha Limestone 96 x 38 x 15 cm China, Eastern Wei dynasty, 534-549 Provenance Collection Mr. de S., early 20th century

187

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JAN BEEKHUIZEN KUNST- EN ANTIEKHANDEL VOF AMSTERDAM

Brandy bowl and plate in original leather casket Pewter Length 27.7 cm Signed ‘Giovanni Battista Metra, Torino’ 1752-1773 Provenance Private collection, France

188

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ANTIQUES

‘Noli me tangere’ Christ, after his resurrection, with Maria Magdalene Ivory 8 x 5.6 cm France, 2nd half 14th century Provenance Private collection, the Netherlands

189

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MICHELE BEINY INC. NEW YORK

Chantilly figure of a magot Soft paste porcelain Height 28 cm Circa 1725-35

190

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ANTIQUES

LINO TAGLIAPIETRA (Murano, 1934) Fenice Blown and inciso glass 51.4 x 35.5 x 11.4 cm 2006

191

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BENAPPI LONDON-TURIN

LIBERO ANDREOTTI (Pexcia 1875-1933 Florence)

Provenance Private collection, Italy

Pleureuse Bronze, unique 87 x 50 x 27 cm Signed on the base ‘L. ANDREOTTI’ ‘cire/C. Valsuani/ perdue’ 1911

192

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ANTIQUES

GASPARE TRAVERSI (Naples 1722-1770 Rome) Music lesson Oil on canvas 103 x 77.2 cm Provenance Private collection, Italy

193

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H. BLAIRMAN & SONS LTD LONDON

EDWARD WILLIAM GODWIN (1833-1886) Circular eight-legged table Walnut Height 71 cm Diameter 84 cm London, circa 1877-85

194

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ANTIQUES

THOMAS JECKYLL (1827-1881) Pair of sunflower andirons Brass and iron 84 x 30 x 51 cm Norwich, circa 1876

195

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BLUMKA GALLERY NEW YORK

CHRISTOPH DANIEL SCHENCK (1633-Konstanz-1691) St. Joseph with Christ Linden wood 15 x 14 x 5 cm Konstanz, circa 1685

196

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ANTIQUES

Madonna and Child Linden wood with the original polychromy and gilding Height 27.2 cm Germany, Upper Rhine, circa 1500

197

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JULIUS Bร HLER STARNBERG

Saint Ursula Wood with the original polychromy and gilding Height 24 cm The city mark of Malines on the reverse Circa 1530

198

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ANTIQUES

Inkwell Bronze Height 13.5 cm Tuscany, early 17th century

199

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BOTTICELLI ANTICHITÀ FLORENCE

FILIPPO SCANDELLARI (1717-Bologna-1801) Hercules Resting Terracotta 53 x 30 x 8.5 cm Monogrammed and dated lower left ‘F.S. 1758’

Provenance Sestieri Brothers, Rome, 1965; David Daniels Collection, Minneapolis, USA, 1980; Private collection, Europe

200

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ANTIQUES

201

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BRIMO DE LAROUSSILHE PARIS

GIOVANNI ANGELO DEL MAINO (Milan, circa 1470-75-after 1539) Couple of Angels candelabra Gilded and polychromed wood Height 82 cm Lombardy, circa 1500 Provenance Carlo De Carlo collection, Florence

202

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ANTIQUES

Mirror with on the back a Lady and youth on horseback Ivory 10.2 x 10 cm Paris, circa 1320-1330 Provenance Maurice Sulzbach collection; Paul Garnier collection, sale, Paris, Dec. 1916, no. 48; E & M Kofler-Truniger collection, Lucerne

203

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BURZIO LONDON

Pair of Piedmontese light blue lacca console tables Carved and lacquered soft wood, ‘Alabastro Fiorito’ marble tops 163 x 63 x 89 cm Italy, Turin, circa 1700 Provenance Probably Villa della Regina; Gay di Montarsiolo; Beria Turin

204

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ANTIQUES

GINO NUNZIO

Provenance Private collection, Sicily

The pair of Marcello Papiniano Cusani chandeliers Silver and ormolu 90 x 110 cm Signed ‘Nunzio Gino’ Palermo, between June 1758June 1759

205

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ALBERTO DI CASTRO ROME

Alexander the Great Marble 72 x 54 x 6 cm Rome, mid-18th century

206

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ANTIQUES

Olympias Marble 72 x 54 x 6 cm Rome, mid-18th century

207

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ALESSANDRA DI CASTRO ROME

NICOLA MORELLI (1779-Rome-1838) Cameo with a profile portrait of Emperor Napoleon I Agate 4.9 x 3.7 cm Signed ‘MORELLI’ Rome, circa 1805–10

208

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ANTIQUES

GIUSEPPE GIROMETTI (1780-Rome-1851) Cameo with a portrait of Emperor Augustus Agate 3.9 x 2.9 cm Signed in Greek letters ‘GYPOMETTOY’ Rome, circa 1810–15

209

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ALESSANDRO CESATI MILAN

Pair of firedogs Wrought and engraved iron 48 x 60 x 20 cm France, late 15th century Provenance Private collection, USA

210

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ANTIQUES

Capital with sphinxes Carved marble 41 x 48 x 13 cm Italy, Puglia workshop, circa 1140-50 Provenance Private collection, Italy

211

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GALERIE DIDIER CLAES BRUSSELS

Songye Nkisi figure Wood, glass and horn Height 110 cm Democratic Republic of the Congo Provenance Private collection, Belgium

212

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ANTIQUES

Hemba figure Wood Height 66 cm Democratic Republic of the Congo Provenance Acquired in situ by Pierre Dartevelle, circa 1972-1973; Jacques Kerchache collection, Paris; Oliver and Pamela Cobb collection, Seattle, 1975

213

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COHEN & COHEN REIGATE

Vase Porcelain, decorated in iron red and gilt with a phoenix standing on a rock Height 104 cm China, Yongzheng period, circa 1725

214

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ANTIQUES

Pair of fish tanks Porcelain, octagonal form with four large side panels and four corner panels all decorated in famille rose with scenes from Chinese literature and historical sources Height 58 cm China, Qianlong period, circa 1750

215

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DAATSELAAR FINE ART & ANTIQUES ZALTBOMMEL

ATTRIBUTED TO MATTHIJS HORRIX (Lobberich 1735-1809 The Hague)

Provenance Private collection, the Netherlands

Transition commode Oak frame veneered with tulip-, rosewood- and amaranth. Gilt bronze and a Gris des Ardennes marble top 94 x 142 x 67 cm The Netherlands, circa 1770

216

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ANTIQUES

WILLIAM BOUGUEREAU (1825-La Rochelle-1905) A priestess of Bacchus Oil on canvas 171 x 91.4 cm Signed and dated lower left ‘W-BOUGUEREAU 1894’

Provenance Private collection, New York; sale Sotheby Parke Bernet, New York, May 31, 1945, lot 80, ill.; sale Sotheby Parke Bernet, Feb. 12, 1970, ill.; by descent

217

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CHRISTOPHE DE QUÉNETAIN PARIS

A plate with the portrait of Greek philosopher Metrodorus Hard paste porcelain, enamels and gold.

Part service from the second Service Iconographique Grec comprising thirty-two plates and two sugar bowls.

Diameter 23.8 cm With Empire period marks ‘M’ Imple de Sevres mark and 1812 printed in red; Restauration period marks printed in

blue interlaced ‘L’ enclosing a fleur-delis; various marks of painters and gilders.

Sèvres, Imperial-Royal Manufactory of Porcelain, 1812-1816 Provenance Collection Cécile Delessert, comtesse de Nadaillac (1825-1887); James B. Pooley, Philadelphia, 1888; Collection of William Weightman, ‘Ravenhill’, Germatown

318

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ANTIQUES

A standing mechanical universal equinoctial ring dial Giltered and silvered steel Height 40.6 cm Signed ‘Heath & Wing, Strand, London’ Circa 1760

219

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GALERIE BERNARD DULON PARIS

Charm or amulet Muswinga Wood, representing a mother with child Height 15.5 cm Lumbu people, Gabon, 19th century Provenance Collected in situ before 1923

220

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ANTIQUES

Harp Wood, skin and rope Height 65 cm Fang people, Gabon, 19th century Provenance Private collection, France

221

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GALERIE XAVIER EECKHOUT PARIS

FRANÇOIS POMPON (Saulieu 1855-1933 Paris) Black Panther Lithographic stone 19 x 39.5 x 8 cm Signed on the base 1925

Provenance Jacques André, bought directly from the artist at the Salon des Tuileries, 1928; Pierre André by descent

222

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ANTIQUES

EDOUARD MARCEL SANDOZ (Basel 1881-1971 Lausanne) The Hen Marble 30 x 23 x 17.5 cm Signed on the base 1928

Provenance Galerie Edgar Brandt, 1928; Edward C.Moore, 1929; Metropolitan Museum of Art, New York

223

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JAIME EGUIGUREN, ARTE Y ANTIGÃœEDADES BUENOS AIRES-MONTEVIDEO

GREGORIO BIGARNY (OR PARDO) (Active Burgos circa 1513-1551) Virgin with Child Alabaster with polychromy 26 x 25 cm Spain, Burgos, circa 1513-1551 Provenance Private collection, Spain

224

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ANTIQUES

ANDRES SEVILLANO (Active Madrid, circa 1662)

Provenance Private collection, Italy

Ewer Silver gilt 34 x 20 cm Base diameter 10 cm Weight 2,191 gr.

Madrid, circa 1662-1663

225

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EGUIGUREN ARTE DE HISPANOAMÉRICA BUENOS AIRES

A lion-perfume burner Silver Height 25.5 cm Viceyroyalty of Peru, circa 1760 Provenance Private collection, Europe

226

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ANTIQUES

A set of four candlesticks Silver Height 44,5 cm South America, mid 17th century

227

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DONALD ELLIS GALLERY NEW YORK

Dance mask Wood, paint, vegetal fibre and feathers (replaced) Height 86.4 cm Alaska, Kuskokwim River, circa 1890-1905

Provenance Adam Hollis Twitchell; National Museum of the American Indian, no. 9/3389; Julius Carlebach, New York, NY, 1944; Enrico Donati, New York, NY, 1944

228

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ANTIQUES

Dance mask Wood, paint and vegetal fibres Width 28.6 cm Alaska, Kuskokwim River, circa 1880

Provenance Adam Hollis Twitchel; National Museum of the American Indian, no. 9/3395; Julius Carlebach, New York; Enrico Donati, New York

229

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DEBORAH ELVIRA OROPESA DEL MAR

Bodice ornament Gold, emeralds, enamel and baroque pearl 8.5 x 7.5 cm Weight 36.96 gr.

Spain, 17th century Provenance Private collection, the Netherlands

230

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ANTIQUES

Pendant representing Saint John Ivory, gold and diamonds 3.7 x 2 cm Spain, circa 1700 Provenance Private collection, Spain

231

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JOHN ENDLICH ANTIQUAIRS HAARLEM

A Dolls’ house Walnut, silver, mother-of-pearl, glass, paper, porcelain, damast Cabinet 196 x 150 x 57 cm Cabinet, the Netherlands, circa 1690-1710 Interior, the Netherlands and China, circa 1600-circa 1750 Provenance Private collection, the Netherlands

232

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ANTIQUES

A Dolls’ house furnished with a collection of 200 17th-century Dutch silver miniatures

233

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LES ENLUMINURES PARIS-NEW YORK-CHICAGO

THE MASTER OF THE HARVARD HANNIBAL (active circa 1415-1430)

THE MASTER OF THE MUNICH GOLDEN LEGEND (active circa 1420-1460)

THE DUNOIS MASTER

The Hours of Isabeau de Croix In Latin and French, illuminated manuscript on parchment, 262 folios, with 69 large miniatures, bound in 19th-century French Jansenist dark brown crushed morocco Paris, circa 1430-50

(active circa 1435-1450’s)

234

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ANTIQUES

SANO DI PIETRO (1405-Siena-1481) Adoration of the Magi Tempera and gouache on parchment, historiated initial E 42.6 x 33.2 cm 15 x 15 cm (Initial) Siena, circa 1462-63

Provenance Choir Book of the Hospital of Santa Maria della Scala, Siena; Robert Lehman (18921969), acquired 1919, New York; Private collection, Europe

235

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ENTWISTLE LONDON-PARIS

Bamileke royal caryatid stool Wood Height 38 cm Cameroon, BatiĂŠ region, West Province, Bamileke peoples, 19th century

Provenance Sultan N’joja of Bamoum, Buea, Mt. Cameroon (by repute); Jesko von Puttkamer, German Governor of Cameroon [1895-1907]; Friedrich Wield, Hamburg (acquired from the above, 1905) Lore Kegel, Hamburg; Private collection, Germany (by descent from the above)

236

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ANTIQUES

Ceremonial shield Basketry, nautilus shell inlay, parinarium nut glue, applied red and black pigments Length 74.3 cm Melanesia, Santa Isabel Island, Solomon Islands peoples, 1840–1850

Provenance Charles Ratton, Paris ; Christie’s New York, May 5, 1995, lot 170; Private collection, USA (acquired at the above auction with advice from Entwistle, London)

237

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EPOQUE FINE JEWELS KORTRIJK

RENÉ LALIQUE A symbolist ‘swallows and maidens’ pendant Gold, enamel and pearl, finely cast with the profile of two maidens, their undulating tresses forming a whiplash surround. Six swallows are diving and swooping over and under the maidens.

On a rod and link blue enamel chain

Signed ‘Lalique’ Paris, 1898-1900 Provenance Minami Art Museum, Japan, sold at auction on November 20, 1996

238

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ANTIQUES

CARTIER A ‘Bird of Paradise’ brooch Sapphire, emerald and diamonds, mounted in platinum and gold.

Total sapphire weight circa 20 cts.

Total diamond weight circa 11,20 cts.

Signed ‘Cartier Paris’ and numbered Paris, circa 1950

239

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KUNSTHANDEL JACQUES FIJNAUT BV SILVER & WORKS OF ART AMSTERDAM

BY ALIUS A stipple-engraved glass Height 22 cm Holland, last quarter 18th century

Provenance J. van Buren, auction Scheurleer, The Hague, 11 December 1808, lot 98; Hultman Boom, Breda; J.G. Littledale, Weybridge; The Anthony Waugh collection, Wolverhampton, sold at Sotheby’s, 28 April 1980, lot 209; with Ward Lloyd, London

240

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ANTIQUES

An owl cup Silver Height 16 cm Probably Antwerp, dated 1547 Provenance A.C. Beeling & zoon until the late 1980s; Private collection, Belgium

241

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PETER FINER LONDON

A wheel-lock holster pistol from the personal collection of King Louis XIII of France Pearwood, steel, pewter and brass Length 70.5 cm France, circa 1635–40 Provenance King Louis XIII of France; this pistol, with its pair, is numbered 208 in the inventory

of the Royal Cabinet d’Armes in the Louvre, completed in 1673. The pair is again recorded under no. 208 in subsequent inventories completed in 1717 and 1775. The pair to the present pistol is today in the collection of the Walters Art Museum, Baltimore; Acquired by W. Keith Neal c. 1958, sold by him to the American collector Lenoir Josey, subsequently passing to his brother, Robert A. Josey II

242

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ANTIQUES

A massive two-hand bearing sword of the city of Brunswick Steel, wood, leather and brass.

Length 188 cm Width 65 cm With the heraldic and iconographic emblems of the city of Brunswick Brunswick, circa 1570

Provenance The Brunswick City Arsenal (Zeughaus); Armoury of the Dukes of BrunswickWolfenbĂźttel and their successors, the Kings and Princes of Hanover, housed successively in the WolfenbĂźttel Zeughaus, Schloss Blankenburg and Schloss Marienburg, Lower Saxony

243

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GALERIE FLORE BRUSSELS

ALOYS ZÖTL (1803-1887) Der kapische Schakal, Der Schakal vom Senegal (Tanis mesomelas, Tanis anthus) (The jackal ) Watercolour on paper 44 x 55.5 cm Signed, inscribed and dated lower right ‘A.Z. pinxit am 17 Aprill 1859’

244

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ANTIQUES

HERVE VAN DER STRAETEN Fusion cabinet Lacque, Padouk and golden bronze 150 x 90 x 36 cm Unique 2016

245

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GALERIE 1492 PARIS

Lid with incised design of a mayan ruler (Probably the king Chak Tok Ich’aak I of Tikal) Grey-beige ceramic Height 5.3 cm Diameter 46.5 cm Guatemala, North-East Peten, Tikal (?), Maya Culture, circa 350-500 AD

Provenance Edward H. Merrin Gallery, New York, 1960’s; Van Den Avenne Collection, Belgium

246

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ANTIQUES

A mace-head decorated with three heads of Jaguar Wood, haematite, copper, bones and shells inlays Height 116.5 cm North Coast, Peru, Mochica Culture, circa 531-665 AD Provenance Private collection, Paris

247

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GALLO FINE ART MILAN

BENEDETTO GENNARI (Cento 1633-1715 Bologna) Portrait of Marchese Francesco Fiaschi Oil on canvas 109 x 94 cm Signed on the letter ‘Benedetto Gennari’ and dated ‘1655’

Provenance Marchese Fiaschi Collection, inv. 1697, Ferrara; Mrs. Baillie Hamilton Collection, Langton, Berkshire (Scotland); Christie’s, London, sale 6 July 1917, lot 52; Sotheby’s, London, sale 28 May 1941, lot 111; Lucille Kaye Collection, New York

248

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ANTIQUES

DOMENICO POGGINI (Florence 1520-1590 Rome) Bust of a Youth in Cuirass Marble Height 59 cm

249

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VAN GELDER TRADITIONAL INDIAN FOLK JEWELLERY ‘S-HERTOGENBOSCH

Turban ornament 6.1 x 5 cm Weight 38 gr.

North India, probably West Bengal, late 19th century

250

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ANTIQUES

251

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RALPH GIERHARDS ANTIQUES-FINE ART DUSSELDORF

A marquetry writing table Amaranth wood, colored boxwood, mother of pearl, ivory inlays, bronze 75 x 74 x 43 cm Paris, circa 1780

252

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ANTIQUES

A pair of vases Spath Flour, rhodonit, green nephrit Height 28 cm Russia, circa 1800

253

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MICHAEL GOEDHUIS LONDON

An incense burner in the form of a lion Bronze Height 25 cm China, Ming Dynasty, 17th century

254

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ANTIQUES

YANPING YANG Autumn Dusk Ink and colour on paper 68.6 x 112.7 cm Signed and stamped China, 2001

255

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BERNARD DE GRUNNE TRIBAL FINE ARTS BRUSSELS

Sawos Hook Material? Wood?

Height 86.4 cm Circa 1820 Provenance Barmen Wappertal Van Heyt Collection, 1910; Reinische Mission

256

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ANTIQUES

Masque cimier Wood Height 61 cm Bamana, Mali Provenance Ancienne collection William Moore, Los Angeles, inv. no. 74, 1930; Merton Simpson, New York, 1980

257

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DR. JÖRN GÜNTHER RARE BOOKS AG BASEL-STALDEN

BRABANTINE ILLUMINATOR Psalter and Book of Hours Illuminated manuscript, 316 leaves, vellum, 13 large, historiated initials, 12 calendar miniatures, and 7 full-page miniatures, each formed of two pictures 13.1 x 9.5 cm Brabant, probably Brussels, circa 1270s

Provenance Adapted for the use of an Augustinian house at Cologne; The library of Prince Fürstenberg, Donaueschingen

258

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ANTIQUES

THE MASTER(S) OF THE GRANDES HEURES DE ROHAN, LIKELY THE GIAC MASTER Book of Hours Illuminated manuscript, with use of diocese Troyes, in Latin and French 15 x 11.5 cm, 214 leaves, vellum, 12 (out of possibly 14) large miniatures

France, Troyes, circa 1415-20 Provenance From the atelier of the Master(s) of the Grandes Heures de Rohan, for use of Troyes (Champagne); Collection Joel and Maxine Spitz, Glencoe, Illinois

259

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HANCOCKS LONDON

AMY BURTON Disorient bangle 18ct yellow gold with an antique cushion-cut amethyst 123.70 ct claw set in asymmetric, three dimensional sculptural maze London assay and makers marks London, 2016

260

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ANTIQUES

ERNESTO PIERRET (Paris 1824-?)

Revivalist intaglio suite Yellow gold necklace with pendant drops and a tortoiseshell hair comb, both set with circular onyx nicolo intaglios depicting classical figures between bar link spacers with floral centres. The intaglios in the necklace depict a variety

of classical figures including Ceres, Flora, Salacia, Minerva, Aphrodite and Bonus Eventus Circa 1860s

261

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CARLTON HOBBS NEW YORK

A model of the ‘Chariot a Munition’ after the design by General Jean-Baptiste Vaquette de Gribeauval Silver and vermeil 7.5 x 33 x 9 cm Stamped maker’s mark of Paris goldsmith Dominique Lorrain (fl. 1820-1828), ‘Le Vieillard’ silver standard mark, and an indiscernible assay mark Paris, circa 1820

Provenance Private collection, Paris

262

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ANTIQUES

ATTRIBUTED TO VICENTE NAVARRO

Provenance Bentley Angliss, Madrid

A tile picture depicting liveried servants carrying food laden platters Composed of 108 polychrome glazed tiles 197 x 262 cm Valencia, circa 1770

263

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BEN JANSSENS ORIENTAL ART LTD LONDON

Ritual wine vessel ‘hu’ Bronze Height 35.5 cm China, Eastern Zhou, late Spring and Autumn to early Warring States period, late 6th–early 5th century BC

264

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ANTIQUES

Square vase with ring handles ‘fanghu’ Cloisonné enamel on copper with gilt-bronze Height 36 cm With spurious Jing Tai mark, 1452-1457 China, Ming to Qing dynasty, mid-17th century

265

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JANSSENS VAN DER MAELEN BRUSSELS

JEAN DESPRES (Souvigny 1889-1980 Avallon) A large hammered pitcher Silvered pewter Height 32 cm Signed Paris, circa 1935

266

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ANTIQUES

MAISON RAVINET D’ENFERT A large Art Deco centerpiece Silver and mirror Height 12 cm 49.5 cm x 27 cm and 60 cm x 42 cm Paris, circa 1900

267

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DANIEL KATZ LTD LONDON

THÉODORE GÉRICAULT (Rouen 1791-1824 Paris) Le moribond Patinated plaster 11 x 34.5 cm Provenance Paul Huet’s heirs; Galerie André Lemaine, Paris

268

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ANTIQUES

AUGUSTE RODIN (Paris 1840–1917 Meudon)

Provenance Maurice Fenaille (1855-1937); thence by descent

Nude woman standing Graphite, stumping, watercolour and highlight with pen and brown ink on prepared paper 31.2 x 24.5 cm Signed ‘Aug. Rodin’ Circa 1898-1900

269

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KOLLENBURG ANTIQUAIRS BV OIRSCHOT

JEAN GRANDJEAN (Amsterdam 1752-1781 Rome) Celebration of Spring Oil on canvas 70 x 92 cm Signed ‘Jean Grandjean’ 1776-1777

Provenance Collection Jan Tersteeg (1750-1808) until 1808; His sale Amsterdam (Van der Schley and De Vries) 13 june 1808, lot. 57 to Van der Schley for 100 guilders; Private collection, Germany; Auction Cologne (Carola van Ham) 20 october 1971, lot 1454, pl. 79; Private collection, Germany

270

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ANTIQUES

ATTRIBUTED TO JEAN-PIERRE LATZ (1691-1754)

Provenance Private collection, Brussels; bought from L. Kraemer, Paris, 1949

Writing desk Oak carcas decorated with Japanese black lacquer and ‘Vernis Martin’, fire-gilt bronze mounts 84 x 75 x 42 cm France, circa 1740

271

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KOOPMAN RARE ART LONDON

DIGBY SCOTT & BENJAMIN SMITH The Foley wine coolers Silver-gilt, after a design by Jean-Jacques Boileau Height 29.2 cm Total weight 13,404 gr.

With the crest of Thomas Foley, 3rd Baron Foley of Kidderminster (1780-1833) London, 1805

272

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ANTIQUES

PAUL STORR A pair of George III four-light candelabra Silver Height 69.8 cm Weight 11,480 gr.

London, 1811

273

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VAN KRANENDONK DUFFELS MILAN-LONDON

VAN CLEEF & ARPELS

Provenance Private collection, Italy

A pair of earclips Yellow gold and diamond, of leaf design, adorned with diamonds set in white gold Each signed ‘VCA’ and numbered, French assay marks for gold, house maker’s mark Paris, 1960s

274

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ANTIQUES

FERDINANDO SANDI

Provenance Private collection, Italy

A demi-parure Yellow gold, pearl and diamond of abstract design, comprising a necklace embellished with pearls and diamonds, together with a pair of earclips en suite Each signed ‘Sandi’, assay marks for gold, maker’s mark Padova, 1972

275

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J. KUGEL PARIS

JACQUES HARDY A pair of Louis XV terrestrial and celestial library globes on their original carved, gilt and painted wooden base Height 52 cm Diameter 32.4 cm Dedicated to Louis Antoine de Brancas (1682-1760), Count de Maubec and Lauragais Paris, 1741

276

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ANTIQUES

LUIGI AND ANTONIO MANFREDINI A tripod Athenienne Gilt bronze and verde antico marble made after the antique Tripod of the Temple of Isis in Herculaneum Height 81.2 cm. Bowl’s diameter 37 cm Milan, circa 1811-1813

Provenance Most probably offered to Maximilian 1st of Bavaria by Eugene de Beauharnais Viceroy of Italy; Collection Léonce Rosenberg, sold in Paris, 4th of May 1932, lot 222

277

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KUNSTKAMMER GEORG LAUE MUNICH

A Renaissance pomander Fire-gilt silver, niello Height 7 cm Germany, circa 1620 Provenance Private collection, Switzerland

278

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ANTIQUES

CHRISTOPH DANIEL SCHENCK (1633-Constance-1691)

Provenance Private collection, UK

Memento Mori - St Magdalene Limewood Height 13 cm Monogrammed and dated ‘C.D.S. 1679‘ Constance, 1679

279

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LONGARI ARTE MILANO MILAN

SIENESE SCULPTOR FROM THE CIRCLE OF MARCO ROMANO (doc. in 1318, active from the late 13th century) Christ on the cross Polychromed fruitwood 29 x 21 x 5 cm 54 x 27 x 2 cm (cross) Circa 1310

280

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ANTIQUES

FRANCESCO CAZZANIGA (doc. 1470-1484)

TOMMASO CAZZANIGA (doc. 1481-1504) Madonna and Child Stone high relief with traces of polychromy 58 × 41 × 14 cm Milan, circa 1485

281

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LÓPEZ DE ARAGÓN MADRID

CLAUDIO BEISSONAT Christ Expiring Ivory Height 71.5 cm Late 17th century Provenance Private collection, Madrid

282

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ANTIQUES

TOMAS HIEPES (1610-Valencia-1674) Still Life Oil on canvas 71.5 x 110.5 cm Provenance Private collection, the Netherlands

283

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HELGA MATZKE GRÜNWALD

MATTHÄUS SCHMIDT (active 1659-96) A standing cup in shell form with Venus and Mars Silver, partly gilt, embossed, punched, partly cast Height 30.5 cm Weight 378 gr.

Marked with a ‘pyr’ for Augsburg and the maker’s mark ‘MS’ in a round shield

for Matthäus Schmidt. The marks are on the foot, the cup and the part which is formed as a wave.

Augsburg, 1660

284

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ANTIQUES

JOHANN KLINGE (active 1704-1737) Beaker with lid, inset coins and cityscape of Wroclaw (Breslau) Silver, partly gilt, embossed, engraved and coins Height 22.8 cm Weight 520 gr.

Marked with a Johannes head in a round shield for the city of Wroclaw (Breslau)

and the letter ‘K’ in a round shield for the maker Johann Klinge. The marks are on the cover and on the upper side of the body.

Coins, 17th and 18th century Wroclaw (Breslau) 1727-37

285

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S. MEHRINGER MUNICH

ANTONIO GIUSEPPE SARTORI Putto with stoup an skull Marble, sculpted fully in the round Height 135 cm Trent (?), circa 1750 Provenance Private collection, Rovereto

286

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ANTIQUES

FRANCISCO DE GIRALTE

Provenance Private collection, Spain

Head of a Nobleman Alabaster, carved fully in the round with traces of a partial polychrome and gilding Height 30.5 cm Madrid, circa 1545-50

287

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MENTINK & ROEST INGEN

CLAUDIUS DUCHESNE An very fine elaborate musical clock This clock plays every hour a tune and strikes the hours. The musical train can play 42 tunes on a nest of 12 bells and 24 hammers. The 21 exchangeable cylinders are placed in the base of the ebony case in two drawers. The clock is fitted with a pull quarter repeater on 6 bells

81 x 38.5 x 29 cm Signed ‘Claudius Duchesne Dean Street St Anns So’ho Londini Fecit’ England, circa 1715

288

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ANTIQUES

289

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GALERIE MEYER-OCEANIC ART PARIS

Ancestor figure Wood with a red ocher pigment and European glass trade beads Height 23 cm Melanesia, Papua New Guinea, Middle Sepik River, Iatmul People, 19th-20th century

290

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ANTIQUES

Head from an shamanic idol Mineralized walrus tusk 8.2 x 3.7 x 3.6 cm Alaska, Saint Lawrence Island, Bering Strait, Okvik Culture, 300 BC-200 AD Provenance Prince Sadruddin Aga Khan

291

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AMIR MOHTASHEMI LTD LONDON

Iznik dish Pottery Diameter 36 cm Turkey, 16th century Provenance Private collection, Europe

292

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ANTIQUES

Underglaze black and blue bowl Pottery Diameter 21.5 cm Iran, Kashan, 13th century Provenance Private collection, UK

293

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FRANK C. Mร LLER FINE ARTS HAMBURG

A pair of vases Alabaster, decorated with portraits of Homer and Heraklit Height 108 cm North-Italian, possibly Volterra, 1830-40

294

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ANTIQUES

Danaide Marble Height 79 cm By the workshop of Christian Daniel Rauch Berlin, late 1840s

295

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MORSINK ICON GALLERY AMSTERDAM

Christ Among the Doctors Double-sided Tabletka (front) Strengthened cloth, levkas and tempera 10.5 x 8.2 cm Russia, Novgorod or Moscow, third quarter 16th century Provenance Private collection, Germany, since 1990’s

296

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ANTIQUES

The Healing of the Blind Man Double-sided Tabletka (backside) Strengthened cloth, levkas and tempera 10.5 x 8.2 cm Russia, Novgorod or Moscow, third quarter 16th century

297

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SYDNEY L. MOSS LONDON

HOSHUNSAI MASAYUKI (active mid to late 19th century) An obi-hasami netsuke of a monkey Stag-antler Height 12.6 cm Signed on the reverse ‘Masayuki’ in a square reserve Mid to late 19th century, circa 1860s-80s

298

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ANTIQUES

DU JIN (active circa 1465-1509) The ‘befriending cranes’ painting for Shen Tianyu Handscroll, ink and colours on paper 27 x 85 cm Signed ‘Du Jin’ with one seal of the artist Circa 1490

299

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KUNSTHANDEL PETER MÜHLBAUER POCKING

GIOVANNI GIULIANI (Venice 1664-1774 Heiligenkreuz)

Provenance Noble collection, Austria

Mars and Minerva Pair of terracotta busts with original polychromy Height 72 cm Vienna, circa 1700

300

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ANTIQUES

JOHANN GEORG PLATZER (St. Michael 1704-1761 Eppan)

Provenance Aristocratic collection, Europe

In the painter´s studio In the sculptor´s studio Oil on copper 35.5 x 54.9 cm

301

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MULLANY LONDON

CORNEILLE DE LYON (The Hague circa 1510-1575 Lyon)

Provenance Private collection, USA

A Portrait of a Gentleman Oil on panel 18.4 x 14.6 cm Inscribed verso ‘Brontinus PINSIT ANNO M.D.L.XI’ 1561

302

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ANTIQUES

Virgin and Child Limestone, with traces of original polychrome 89 x 30 x 28 cm France, Mussy sur Seine (Aube), circa 1300-1325 Provenance Private collection, France

303

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GALERIE NEUSE BREMEN

ABRAHAM II DRENTWETT (Master circa 1675-1729)

Provenance Count Victor van den Steen de Jehay, Ghent (1822-1912)

Putto figures on leopard and lion Silver, parcel-gilt Height 24.5 cm and 26 cm Weight 1,060 gr. and 1,080 gr.

Augsburg, 1700-1705

304

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ANTIQUES

305

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MARCEL NIES ORIENTAL ART ANTWERP

Buddha Sakyamuni Bronze, cast in the lost wax method Height 98 cm Thailand, Sukhothai Kingdom circa 1300 Provenance Collection Mr R. Stephenson (1948-2012), Canada, circa 1982-2012

306

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ANTIQUES

Samurai Wood with lacquer and gilding, inlaid with precious stones Total height 155 cm, figure 125 cm Japan, Muromachi period circa 1400

Provenance Collection A. B. Freeman-Mitford (18371916), 1st Baron Redesdale, British diplomat, collector and writer; Collection Mrs D. Devonshire, Duchess of Devonshire, the youngest of the Mitford sisters (1920-2014) and by descent

307

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GALERIE PERRIN PARIS

Pair of vases Blue glass, ormolu, white and blue turquin marble 72 x 24 cm St. Petersburg, Imperial Glass Factory, late 18th century Provenance Private collection, France

308

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ANTIQUES

Four-poster bed Polished steel, copper and brass 155 x 206.5 x 169 cm Italy, circa 1800 Provenance Private collection, France

309

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S.J. PHILLIPS LTD. LONDONN

Tutti frutti jewels by Cartier Ruby, emerald and diamond tutti frutti bracelet-watch Length 18 cm Carved emerald, sapphire, ruby and diamond tutti futti bracelet Length 18.5 cm

310

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ANTIQUES

Four candlesticks Silver, circular knopped stems, the principal knop with four pomegranate motifs, broad round scrollunder drip pan above, bobbin sconce, on a stepped domed base Height 47 cm Inscribed to inner band ‘ANO 1662’ Spain, circa 1660

311

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PIVA & C SRL MILAN

GIOVACCHINO FORTINI (Settignano 1670-1736 Florence) Sleeping Cupid White marble on a carved giltwood base 32 x 73 x 34 cm Florence, early 18th century

312

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ANTIQUES

A banded writing desk Bois-de-rose, rosewood and boxwood, one side is fitted with three pull-out writing surfaces above three drawers, the other side is fitted with one long drawer and shaped legs 87 x 208 x 113 cm Venice, circa 1750-1775

313

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POLAK WORKS OF ART AMSTERDAM

Falcon hunt on cranes, with possibly Emperor Awrangzib (1618-1707) Miniature painting on paper 25.5 x 38 cm India, Mughal, circa 1660 Provenance Private collections, the Netherlands, before 1966

314

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ANTIQUES

Chief’s ceremonial raven rattle Wood and pigments Length 29.5 cm Canada, British Columbia, Tsimshian, 19th century Provenance Collection Kevin Conru; Collection Lemaire, circa 1990; Collection Pelt

315

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BENJAMIN PROUST FINE ART LIMITED LONDON

VADIM ANDROUSOV (St Petersburg 1895-1975 Paris) Ballerine et Cheval Terracotta 39 x 33 x 23 cm

316

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ANTIQUES

ROBERT LE LORRAIN (1666-Paris-1743) Andromeda Bronze 64 x 30 x 23 cm Circa 1695

Provenance Possibly collection Bonnier de la Mosson, Paris, 8 March 1745, no. 899; possibly Charles Cressent collection, sale 15 January 1749 no. 4, and 15 March 1757, no. 91, and 19 March 1765, no. 133; Chateau de Boigne, ChambĂŠry, France; Private collection, Paris, since 2003

317

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CHRISTOPHE DE QUÉNETAIN PARIS

A plate with the portrait of Greek philosopher Metrodorus Hard paste porcelain, enamels and gold.

Part service from the second Service Iconographique Grec comprising thirty-two plates and two sugar bowls.

Diameter 23.8 cm With Empire period marks ‘M’ Imple de Sevres mark and 1812 printed in red; Restauration period marks printed in

blue interlaced ‘L’ enclosing a fleur-delis; various marks of painters and gilders.

Sèvres, Imperial-Royal Manufactory of Porcelain,1812-1816 Provenance Collection Cécile Delessert, comtesse de Nadaillac (1825-1887); James B. Pooley, Philadelphia, 1888; Collection of William Weightman, ‘Ravenhill’, Germatown

318

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ANTIQUES

FRANÇOIS-AUGUSTE BIARD (Lyon 1798-1882 Les Plâteries)

Provenance Private collection, France

La garde nationale de campagne défilant devant le maire Oil on canvas 70.5 x 96.5 cm Signed lower center Circa 1836

319

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LUCAS RATTON PARIS

Luba caryatid seat Wood, beads, nails, fibers Height 46 cm Congo, Kabongo workshop, late 19th century Provenance Patricia Withofs collection, London

320

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ANTIQUES

321

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RICHARD REDDING ANTIQUES LTD. GÜNDISAU-MADETSWIL

FERDINAND BERTHOUD (Plancemont 1727-1807 Groslay) Louis XVI Pendule ‘à la Geoffrin’ Gilt bronze, white enamel and ebony, eight day duration, housed in an extremely fine case attributed to the fondeur Edme Roy after a model by Laurent Guiard, with base by the renowned ébéniste Balthazar Lieutaud

51 x 69 x 29 cm Signed on the white enamel dial and on the movement ‘Ferdinand Berthoud’ and stamped three times on the ebony base ‘B. Lieutaud’ Paris, circa 1770

322

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ANTIQUES

BENOÎT GÉRARD (1684-Paris-1758) Louis XV mantel clock representing Europa and the Bull Gilt bronze, white enamel and Meissen porcelain, fourteen day duration 48.5 x 31 x 26.5 cm Signed on the white enamel dial and also on the movement ‘Benoît Gérard à Paris’

and stamped on the porcelain with the Meissen crossed blue sword mark Meissen, circa 1750 (porcelain) Paris, circa 1750 (gilt bronze) Provenance Sotheby’s, London, May 16th 1958, lot 91

323

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JEAN MICHEL RENARD BELLENAVES

JEAN BAPTISTE VUILLAUME (Mirecourt 1798-1875 Paris)

Provenance Collection Charles Enel, Paris, (1880-1954)

Romantic guitar Spruce, maple and ebony Length 14.9 cm Labelled ‘Vuillaume Paris 1828’

324

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ANTIQUES

JEAN-FRANÇOIS SALOMON (1781-Besançon-1831)

Provenance Collection Raymond Zéliker, Le Mans

Harpolyre Spruce, mahogany, ebony and bone Engraved ‘Salomon breveté’ Paris, 1828

325

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RÖBBIG MÜNCHEN MUNICH

A tea and coffee service, painted with polychrome chinoiserie scenes Consisting of six coffee cups, ten teacups, sixteen saucers, coffee pot, teapot, milk pot, slop bowl. The chinoiserie scenes after engravings or etchings executed by Jacques Gabriel Huquier (1695–1772), Michel-Guillaume Aubert (1704–1757), Pierre Alexandre Avelin the Younger (1702–1760), and

Jean-Josephe Balchou (1716–1764) after François Boucher (1703–1770) and Antoine Watteau (1684–1721) Blue sceptre mark and various impressed numerals KPM Berlin, circa 1770-75

326

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ANTIQUES

A pair of long-necked AR bottle vases Decorated with early Chinoiserie scenes Height 25.5 cm Augustus Rex monogram in underglaze blue, impressed former’s mark for Johann Elias Grund the Elder Meissen, 1724-28

327

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ROSSI & ROSSI LONDON

Arhat Vanavasin Distemper on cotton 101.5 x 59.5 cm China, Sino-Tibetan, 17th century

328

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ANTIQUES

Chagan Sambhar-a Gilt copper with painted details Height 24 cm Mongolia, late 17th–early 18th century

329

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RUDIGIER MUNICH

ERNST FERDINAND OEHME (1797–Dresden–1855) Moonlit Landscape with a Castle Oil on canvas 89 x 135 cm Signed and dated ‘E. Oehme.1853’ Dresden, 1853

330

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ANTIQUES

Icon of the Mother of God the Unburnt Bush Carved wood, with original polychromy and gilding 12.3 x 9.8 x 0.5 cm Russia, Reign of Tsar Ivan Grozny, mid 16th century

Provenance Collection of a noble family, Europe, who is related to the House of Romanov since Tsar Peter the Great

331

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ADRIAN SASSOON LONDON

JUNKO MORI (Yokohama, 1974) Organism: Cananga Forged fine silver 999 13 x 13 x 14 cm 2016

332

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ANTIQUES

MICHAEL EDEN (Blackburn, 1955) Double-Louis Tureen High quality nylon material with a green soft mineral coating and gold leaf details 38 x 20.5 x 19.5 cm Unique object made by Additive Layer Manufacturing, 2016

333

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SENGER BAMBERG KUNSTHANDEL BAMBERG

Saint Sebastian Linden wood, carved full round, original polychromy Height 103 cm Tyrol, circa 1530 Provenance Private collection Dr. Lorenz, Vienna

334

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ANTIQUES

Virgin and Child Linden wood, reverse hollowed out, with traces of the original polychromy Height 62 cm Salzburg, circa 1420

335

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SHAPERO RARE BOOKS LONDON

CHARLES-NICOLAS COCHIN (1715-1790) Emperor Qianlong Pacifying the Western Regions The complete set of 16 large copper-plate engravings, commissioned by Qianlong, Emperor of China (1735-95), to celebrate his first campaign victory. Produced officially in an edition of 200 copies, for the

Emperor’s personal distribution. framed and glazed 97 x 64.5 cm (Sheet) Paris, circa 1765-1775

336

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ANTIQUES

HENRI MATISSE (1869-1954) Jazz The complete book, one of 250 copies, with Matisse’s autograph text lithographed throughout, and 20 stencilled colour plates, 15 of which double page, after collages and cut paper designs. All leaves loose as issued in the

original slipcase, in a modern fullleather box designed after one of Matisse’s creations 45.1 x 33.7 cm Paris, 1947 Provenance Private collection, USA

337

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S.J. SHRUBSOLE, CORP. NEW YORK

A James I Sardonyx tankard Silver-gilt Height 20.3 cm Fully hallmarked London, 1620

338

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ANTIQUES

CARLO GIULIANO (1831-1895) A Renaissance revival necklace 18K gold, diamond and enamel Length 33.7 cm Marked on the back of the central panel London, circa 1890

339

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SOMLO ANTIQUES LONDON

JAMES COX ‘The Goat’s Secret’ 18ct gold automaton verge watch featuring seven semi precious stone spinning ‘pin wheels’ surrounding the dial. The case back has an enamel scene depicting a family of goats.

Hidden within are a number of fine enamel erotic scenes.

Diameter 4.7 cm Signed ‘James Cox’ England, 1775

340

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ANTIQUES

Astronomical pocket watch 18ct gold hunter case pocket watch with fine enamel hunting scenes on the outer case attributed to Pierre-AmĂŠdĂŠe Champod (1834-1913). Presented to Maharaja Madhavrao Scindia of Gwalior.

Diameter 6 cm Signed by Vrard & Co, Calcutta Switzerland, 1890

341

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MARJAN STERK ANTIQUE JEWELLERY AMSTERDAM

VAN CLEEF & ARPELS Bracelet with matching pendant/brooch 18 carat yellow gold, coral and diamond Signed ‘Van Cleef & Arpels’ Paris, circa 1970

342

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ANTIQUES

FRANCESCO PAVAN (Padua, 1937) Gold necklace 18 carat yellow gold Signed ‘Pavan’ Padua, 2015

343

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SALOMON STODEL ANTIQUITÉS AMSTERDAM

Nautilus cup Oriental silver gilt mounts Height 32 cm Foot 12.8 x 10 cm Soapstone figures: China, Kangxi period Indo China, circa 1675

Provenance Private collection, the Netherlands; Acquired Bernhard Stodel, Amsterdam, 1970

344

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ANTIQUES

A figure of Pu-Tai-Ho-Shang (Bodhisattva) Black Delftware 12.7 x 13.4 cm Attributed to the Metaale Pot Factory, under the patronage of Lambertus van Eenhoorn active between 1691-1724 Delft, circa 1700

Provenance Nicolier, Paris; Joseph M. Morpurgo Amsterdam

345

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ANTIQUARIAT BIBERMUEHLE AG HERIBERT TENSCHERT RAMSEN

PERRIN REMIET Book of Hours, use of Rome Illuminated manuscipt on vellum with 12 large miniatures 17 x 12 cm Paris, circa 1380-1385

Provenance Ch. van der Elst, Sale II, 16.09.1988, 67; Private collection, USA, from whom privately acquired in 2015

346

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ANTIQUES

MASTER OF FRANÇOIS DE ROHAN Second Book of Hours of Anne Montmorency, connétable of King François Ier. Illuminated manuscript on fine vellum with 14 full-page and 21 smaller miniatures 23 x 13.5 cm Paris, dated 1539

Provenance Anne de Montmorency, Ch. Van der Elst, Sale, Paris, 18.09.1988, b. Pierre Beres; Private collection, Europe

347

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CAROLLE THIBAUT-POMERANTZ/ GALERIE FRANS LEIDELMEIJER PARIS - NEW YORK / AMSTERDAM

C.A. LION CACHET (1864 - 1945) Portfolio stand Oak, macassar, walnut, brass, woodcarving of lions and an inlaid decoration of a lyre bird 122 x 63 x 39 cm Amsterdam, E.J. van Wisselingh & Co., circa 1903

348

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ANTIQUES

Scene from panoramic ‘Monuments de Paris’ representing the Palais Royal, Saint-Jacques du Haut Pas, Pantheon, column and Place Vendôme, tower of Saint-Jacques Wood-block printed by Joseph Dufour 145 x 274 cm France, 1812-14

349

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TĂ“TH IKONEN HUIZEN

Saint Nicholas the Miracle Worker Egg tempera on gold leaf on gesso on wood 52.8 x 43.8 cm Russia, Palekh, second half 19th century Provenance Private collection, Belgium

350

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ANTIQUES

The Ascension of Christ Egg tempera on gesso on wood 71.3 x 52.4 cm Russia, second half 17th century Provenance Private collection, Germany

351

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VANDERVEN ORIENTAL ART ‘S-HERTOGENBOSCH

Large double gourd jars and covers Porcelain Height 111 cm China, Kangxi period 1662–1722, circa 1710 Provenance Private collection, Florida, USA

352

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ANTIQUES

Striding Horse Terracotta 78 x 85 cm China, Early Tang Dynasty (618-907) Provenance Private collection, the Netherlands (2005)

353

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KUNSTZALEN A. VECHT AMSTERDAM

ALEXANDER ARCHIPENKO (1887-1964) Floating Torso with Head Painted plaster 33 x 39.3 x 10.8 cm Signed on the front of the base ‘Archipenko’ Conceived circa 1935

Provenance Acquired by the family of the previous owner, circa 1950; Private collection, the Netherlands

354

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ANTIQUES

A goblet, honouring Hendrik Hooft, mair of Amsterdam The upper rim gilded, wheel-engraved with the portrait of burgomaster Hendrik Hooft DaniĂŤlsz. and the coat of arms of Amsterdam. Inscribed with two poems.

Height 25 cm The Netherlands or Germany, 1789

Provenance Kunstzalen A. Vecht untill 1980; Private collection, Amsterdam

355

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AXEL VERVOORDT WIJNEGEM

Head of Eros White marble Height 23.5 cm Roman Empire, 1st century BC1st century AD Provenance Collection Guérin, Paris, circa 2000; Private collection René Withofs, Brussels, circa 1970-1780

356

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ANTIQUES

KAZUO SHIRAGA (1924-Japan-2008) Hachikono-Ooji Oil paint on canvas 130 x 162 cm Signed on the front, titled and dated on the reverse 1984

357

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WARTSKI LONDON

RENÉ LALIQUE An unusually long necklace suspended with a pendant featuring a portrait of Lalique’s muse Augustine-Alice Ledru, who would become his wife Gold, enamel, pearls and glass Height of pendant 8.8 cm Signed ‘Lalique’ Paris, circa 1899-19

358

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ANTIQUES

LUCIEN FALIZE Two pendants in the Neo-Renaissance taste and a pair of hair ornaments Top pendant, gold, enamel, gem-set, suspended with pearls Height 7.2 cm Lower pendant, gold, grey pearls and diamonds Hair ornaments, gold, enamel and

tortoiseshell Paris, circa 1878-1882 Provenance Fellow-Japoniste and Director of La Gazette des Beaux Arts Louis Gonse (1846-1921) for his wife Anna (1856-1929)

359

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JORGE WELSH WORKS OF ART LONDON - LISBON

Figure of a Horse Porcelain decorated in overglaze polychrome enamels 13 x 20 x 8 cm China, Qing dynasty, Qianlong period 1736-1795

360

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ANTIQUES

Cistern Porcelain decorated in overglaze polychrome enamels, sepia and gold 40.5 x 43 x 26.5 cm China, Qing dynasty, Qianlong period 1735-1796, circa 1790 Provenance William Fitz Hugh; Rafi and Mildred Mottahedeh collection

361

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JOAN WIJERMARS AMSTERDAM

VINCENZO GEMITO (1852-Naples-1929) Self-portrait Bronze, dark brown over red-brown patina Height 25.5 cm Signed ‘Gemito’ Naples, circa 1915

362

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ANTIQUES

BERTEL THORVALDSEN (1770-Copenhagen-1844) Cupid with his bow White marble Height 101.5 cm Signed with initials on the backside of the tree trunk ‘AT’ Rome, 1826-1828

Provenance Purchased in Rome at Thorvaldsen’s studio by Sir Michael Shaw Stewart, 6th Baronet, on 17th April 1828; thence by descent, Ardgowan House, Renfrewshire

363

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YUFUKU GALLERY TOKYO

HISAO DOMOTO (1928-2013) Solution de Continuité #2 Acrylic on canvas 76 x 101.5 cm Signed 1966

364

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ANTIQUES

KEIZO SUGITANI Shadows Crossing Stoneware with glaze 70 x 37 x 30 cm Signed Japan, 2016

365

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366

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ANCIENT ART Cahn International AG Galerie Cybele Charles Ede Ltd Galerie Harmakhis Galerie Kevorkian Merrin Gallery Galerie RhĂŠa Royal-Athena Galleries Sycomore Ancient Art sa Rupert Wace Ancient Art Kunsthandel Mieke Zilverberg

367

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CAHN INTERNATIONAL AG BASEL

A portrait head of a Pergamene ruler with diadem Marble Height 30 cm Late Hellenistic, 2nd-1st century BC Provenance Private collection, South America, since the 1960s; in possession of the family until 2009

368

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ANCIENT ART

An early Corinthian helmet Bronze Height 24.3 cm Greece, 1st half of 7th century BC Provenance MuM AG, Basel, Auction Sale 51, 1957, lot 213; Thereafter private collection, Basel

369

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GALERIE CYBELE PARIS

Stele in the name of the head of the elders of the doorway to the Hathor Temple Pa-di-sĂŠna Limestone 34.7 x 110 cm Egypt, Late Period, 26th Dynasty, 664-525 BC

Provenance Collection Habib Tawadros; Private collection, Germany, acquired in 1970

370

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ANCIENT ART

Funerary model of a boat Painted wood Length 70 cm Egypt, Middle Kingdom, Dynasty XI-XII, circa 2087-1759 BC Provenance Sayed bey Kashaba Collection, 1913

371

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CHARLES EDE LTD LONDON

Shabti for Ity, vizier of Thebes Steatite Height 15.8 cm Egypt, New Kingdom, late 18th Dynasty, circa 1323-1295 BC Provenance Alton Edward Mills (1882-1970), Switzerland acquired prior to February 1958, thence by descent

372

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ANCIENT ART

Bust of Hermarchos Marble Height 25.5 cm Roman, 2nd century AD

Private collection, Europe, 18th century; Private collection, UK; acquired in the late 1970s-early 1980s; David Cambridge, Cheltenham, UK; Private collection, France; acquired 1999-2000

Provenance Fulvio Orsini (1529-1600), Palazzo Farnese, Rome, drawn by Theodoor Galle in Orsini’s studio in 1598 and inventoried in Orsini’s collection upon his death;

373

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GALERIE HARMAKHIS BRUSSELS

Statuette of a seated man Serpentine Height 12 cm Egypt, 12th Dynasty, circa 1842-1795 BC Provenance Acquired in Egypt prior to 1895; Sotheby’s New York, 1989, lot 38

374

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ANCIENT ART

Arm of an over-lifesize statue originally holding a spear Bronze Length 73 cm Roman Art, 2nd century AD Provenance Private collection, the Netherlands acquired in the 1980s

375

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GALERIE KEVORKIAN PARIS

Amlash female idol Terracotta Height 20 cm Kaluraz, Gilan province (North-western Iran), early first millennium BC Provenance Samuel Dubiner collection (1914-1993), Tel Aviv, acquired between 1962 and 1966

376

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ANCIENT ART

MUHAMMAD BAQIR A Purple Iris Gouache on paper 17.6 x 10.6 cm (Painting) 19.6 x 13.9 cm (Sheet) Signed ‘Muhammad Baqir’ Iran, Afsharid dynasty, circa 1750

Provenance Prof R.A. Dara, London (d.1966); Martin Orskey, London; Kenneth John Hewett, London, acquired in 1968; Sven Gahlin Collection

377

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MERRIN GALLERY NEW YORK

Seated were-jaguar figure Terracotta (kaolin white-ware) with red cinnabar 21.8 x 30 x 19.6 cm Mexico, Las Bocas, Preclassic Period, 1200-900 BC

Provenance Jay C. Leff, prior to 1965; Edward H. Merrin Gallery; Private collection, New York

378

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ANCIENT ART

Mask of Silenus Bronze Height 19.3 cm Hellenistic-Early Roman, 1st century BC-1st century AD Provenance Dr. Jacob Hirsch, prior to 1957; Melba Whatley, Texas

379

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GALERIE RHÉA ZURICH

Oxyrhynchos Long and lean bronze fish with tapering nose, bulging eyes, pectoral, ventral and anal fins, a small, forked tail and a long dorsal ridge. Set upright, cast in one piece with a sledge. Hathor’s attribute, the sun disk embraced by lyre-shaped horns crowns the fish. Heavy loop for suspension. The body decorated with incised details. Glass inlaid eyes. Dark red patina

with green spots. Intact.

8.5 x 17 cm Egypt, Saite Period, 26th dynasty, circa 650 BC Provenance Private collection A.B., Zurich; bought at Galerie Nefer, Zurich, 1987

380

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ANCIENT ART

Two archaic horses Terracotta, partially black glazed, the mane accentuated by black stripes, the neck decorated with three black dots Heights 10.2 and 10 cm Greece, Boeotia, 6th century BC

Provenance Private collection, France; from the heritage of Monsieur E., assembled in the 1950s in Greece

381

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ROYAL ATHENA GALLERIES NEW YORK

Statue of Alexander the Great as a Dioscuros He is holding a lance, a pilos helmet on his head.He stands in contrapposto with his weight on his left leg, his left hand on his hip, and his right knee slightly bent.

Bronze Height 40.5 cm Roman, circa 2nd century AD

Provenance Private collection, Belgium; Art market, Brussels, July 2005; Dr. H. collection, Germany, acquired from Royal-Athena in January 2006

382

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ANCIENT ART

Statue of Apollo Kitharoidos The youthful god, patron of music and poetry, standing in contrapposto, his centrally parted hair bound with a thick wreath, its long tendrils falling on his shoulders. At his left, on a thigh-high column or altar stands his kithara.

Marble Height 118.1 cm Roman, late 1st-early 2nd century AD

Provenance Art market, Zurich, 1992; Christie’s New York, June 2000; M.B. collection, Woodland Hills, California, acquired from Royal-Athena in October 2002; Dr. H. collection, Germany, acquired from Royal-Athena in March 2007

383

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SYCOMORE ANCIENT ART SA GENEVA

Inlay head representing the Goddess Nut Blue glass Width 4.6 cm Egypt, New Kingdom, 18th dynasty, circa 1570-1340 BC Provenance Private collection, Paris, acquired in 1970; Thereafter private collection, Switzerland

384

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ANCIENT ART

Seated greyhound Bronze Height 8.6 cm Greece, 4th century BC Provenance Private collection, Switzerland, 1950s-1990s

385

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RUPERT WACE ANCIENT ART LONDON

Head of bearded man, possibly Herakles Marble Height 23 cm Late Hellenistic, 1st century BC Provenance Private collection of Th. Debus, France; Simone de Monbrison, France; Collection of Dr. Michael Lewis, USA, acquired 1984

386

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ANCIENT ART

Relief with the head of a King Painted limestone 23.6 x 17 cm Egyptian, Ptolemaic Period, circa 332-30 BC Provenance Mathias Komor, New York; Private collection, USA, acquired prior to 1984

387

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KUNSTHANDEL MIEKE ZILVERBERG AMSTERDAM

Statue of a slender female Wood, figure wearing short wig, standing naked with het legs shown parallel; her arms separately attached, alongside her body, hands open with her fingers outstretched. Feet broken off at the ankles. Mounted on modern base.

Height 71 cm Egypt, 11th-12th Dynasty, circa 2100-1800 BC

Provenance Private collection J.R., the Netherlands before 1956; thence by descent

388

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ANCIENT ART

Sarcophagus lid Wood, depicting a man wearing tripartite wig and broad collar with falcon-head terminals; body decorated with sky goddess Nut with outspread wings, and three horizontal bands with hieroglyphs, kneeling figures mourning Height 182 cm Egypt, New Kingdom, 18th dynasty, circa 1386-1349 BC, reign of Amenhotep III

Provenance Private collection, Paris, 1950s; thence by descent; Private collection J.R., the Netherlands; acquired from Royal Athena Galleries, New York, 2007

389

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390

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LA HAUTE JOAILLERIE Wallace Chan Chopard & Cie SA Van Cleef & Arpels Hemmerle Otto Jakob REZA Verdura / Belperron

391

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WALLACE CHAN HONG KONG

Ruby Castle Titanium ring set with Burmese hexagonal-shaped ruby 17.58ct, pink sapphire 3.6 x 3.6 x 1.6 cm Signed China, 2016

392

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LA HAUTE JOAILLERIE

Birth and Blossom Earrings set with two emerald 30.88ct, pearl 30.13ct, yellow diamond, pink sapphire and conch shell 3 x 2.6 x 9.3 cm (each) Signed China, 2016

393

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CHOPARD & CIE SA GENEVA

L.U.C. Full Strike This watch strikes the hours, quarters and minutes on transparent sapphire crystal gongs. Thoroughly refined, the L.U.C Full Strike stands out by its extraordinary sound with a 42.5 mm-diameter in Fairmined rose gold, an open worked dial and bearing the Poinçon de Genève quality hallmark Ref. 161947-5001

394

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LA HAUTE JOAILLERIE

An emerald and gem-set ring Designed as a flower, set at the centre with a heart-shaped emerald weighing 19 carats, within a colourful overlapping gemstone surround, to the tsavorite and emerald-set hoop

395

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VAN CLEEF & ARPELS PARIS

Liane necklace The braided yellow gold culminates in golden tassels evoking passementerie.

The black of onyx contrasts with the violet of amethysts and the sparkle of diamonds. An adjustable clasp enables the piece to hug the neckline.

Paris, 2017

396

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LA HAUTE JOAILLERIE

MĂŠdaillons necklace and Etoiles earrings Round diamonds and sapphires highlight cabochon-cut turquoises. The motifs and the association of precious and hard stones reveal an Indian influence. The necklace is transformable and can be worn in a shorter version with a matching bracelet.

Paris, 1968 and 1971

397

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HEMMERLE MUNICH

Earrings Aquamarines, sapphires, silver, white gold 2016

398

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LA HAUTE JOAILLERIE

Bangle Aquamarines, sapphires, aluminium, silver, white gold 2016

399

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OTTO JAKOB KARLSRUHE

OTTO JAKOB Xuanas Yellow gold casts of St. John wort’s petals (Hypericum perforatum). The ovaries of white gold are micro pavé-set with diamonds and surrounded by stamens and pollen grains covered with dark red enamel 2016

400

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LA HAUTE JOAILLERIE

401

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REZA PARIS

Dune ring Featuring one oval Colombian emerald weighing 4.89 carats and 28 brilliant-cut diamonds weighing 2.22 carats Set on platinum

402

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LA HAUTE JOAILLERIE

DĂŠlhĂŠa Necklace Featuring a yellow cabochon Ceylon sapphire weighing 30.34 carats, a Troidia Brazilian emerald weighing 5.76 carats, 11 yellow oval Cabochon sapphires weighing 3.48 carats, 103 princess-cut diamonds weighing 16.17 carats and 28 brilliant-cut diamonds weighing 1.51 carat.

Set on white browned gold. Adjustable in bracelet.

403

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VERDURA / BELPERRON NEW YORK

VERDURA The Dogwood Brooch/Pendant Four cabochon pink tourmalines 296.90 carats, set in 18K gold petals, and six faceted cushion-cut Ceylon yellow sapphires, 37.23 carats. Shown on a gold Tendril Knot chain. Designed by Duke Fulco di Verdura in 1943, inspired by his collaboration with Salvador Dali.

404

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LA HAUTE JOAILLERIE

BELPERRON The Leaves Necklace 18K gray gold entwines seven carved blue chalcedony leaves, 274.50 carats, twelve sapphires, 29.74 carats and 73 old-mine cut diamonds, 9.37 carats. Originally designed by Suzanne Belperron circa 1935.

405

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406

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DESIGN GALERIE L’ARC EN SEINE bel etage Kunsthandel GmbH Dansk Møbelkunst Gallery Demisch Danant DIDIER LTD LAFFANOUR - Galerie Downtown Galerie Ulrich Fiedler Jackson Design AB Jason Jacques Gallery Galerie Kreo Yves Macaux Modernity Galerie Eric Philippe

407

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L’ARC EN SEINE PARIS

ALBERTO GIACOMETTI (Borgonovo 1901-1966 Chur) Masque aux serpents Bronze with a gilded patina Height with base 40 cm 1934

408

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DESIGN

DIEGO GIACOMETTI (Borgonovo 1902-1985 Paris) Pair of armchairs, Pommeaux de canne model Bronze with a brown and gold patina, patinated iron and leather 80.6 x 54 cm Circa 1975

409

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BEL ETAGE VIENNA

ATTRIBUTED TO ADOLF LOOS

Vienna, circa 1900

(BrĂźnn 1870-1933 Kalksburg-Vienna) A large hanging lamp Brass and bronze frame, original facetted and cut glass, 14 bulbs, original patina, newly rewired 182 x 49 x 49 cm Executed by Johannes Heeg attr. for F. O. Schmidt, model no. 2766, from 1900 on

410

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DESIGN

JOSEF URBAN

Vienna, executed by Sandor Jaray, 1905

A pair of armchairs Solid beech, pear wood veneer, stained and polished, inlay in mother-of-pearl and white metal, cast white metal cuffs, surface slightly restored and seats re-upholstered in suede leather approximate 30 years ago 105 x 64 x 58 cm Height seat 48 cm

411

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GALERIE DANSK MØBELKUNST COPENHAGEN-PARIS

FINN JUHL (1912-1989) Desk Rosewood, maple and brass 200 x 96 x 71 cm 1952

412

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DESIGN

Detail

413

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DEMISCH DANANT NEW YORK

Desk Lacquered pear wood, glass, bronze 77 x 138 x 79.5 cm 1953

414

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DESIGN

JOSEPH ANDRE MOTTE Les Elements 80 Bookcase Palissander, securit glass Edition Oscar 1960

415

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DIDIER LTD LONDON

MAX ERNST (Brühl 1891-1976 Paris)

Provenance Originally acquired through Joan Sonnabend, Boston

Poissons Gold pendant depicting a pufferfish, 23ct 12.3 x 16.5 cm Signed ‘Max Ernst, 5/6, 1348, 1742’, maker’s mark of François Hugo and hallmarks Aix-en-Provence, August 1971

416

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DESIGN

HARRY BERTOIA (Friuli-Venezia Giulia 19151978 Barto, Pennsylvania)

Provenance Clarence Haack of International Metals Corporation and Halaco Engineering, Ventura

Necklace with gong pendant Unique hand-hammered and riveted silver Height pendant 14 cm Length of chain 48 cm 1970-1976

417

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LAFFANOUR - GALERIE DOWNTOWN PARIS

CHARLOTTE PERRIAND (1903-Paris-1999) Serving hatch Makore, bamboo 254 x 337 x 86 cm Paris, 1952 Provenance Jean and Huguette Borot’s house, Paris

418

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DESIGN

CHARLOTTE PERRIAND (1903-Paris-1999)

Provenance Special commission for the Coquatrix family, Paris

Six sides table Pine 71 x 185 x 128 cm Paris, circa 1949

419

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GALERIE ULRICH FIEDLER BERLIN

GEORGE VANTONGERLOO (Antwerp 1886-1965 Paris) Constructivist Desk Wood, rectangular top with pull flap at either end,one frieze drawer overlapping and securing doors of pedastals, right door revealing four drawers, left revealing three shelves, projecting block base, grey painted wood, desk top frieze painted

black, white drawer projecting base blocks 1920 Provenance Estate of the artist; Max Bill; Gallery Ronnie van der Velde; Private collection, Belgium

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DESIGN

421

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JACKSON DESIGN AB STOCKHOLM

JOSEF FRANK (Baden bei Wien 1885-1967 Stockholm) Upholstered cabinet Mahogany cabinet, upholstered with floral chintz fabric Fatima 130 x 41 x 122 cm Stockholm, Svenskt Tenn, 1937

422

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DESIGN

ANNA PETRUS (Uppsala 1886-1949 Kalmar) Table Sculptured in oak, copper tray with engravings of stylized fishing scenes Height 66 cm Diameter 65 cm Base and tray signed ‘A. Petrus’ 1925

423

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JASON JACQUES GALLERY NEW YORK

ALFRED DAGUET (1875-1942) Witch Doctor Iron with patinated brass repoussé France, circa 1925

424

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DESIGN

KATSUYO AOKI (Tokyo, 1972) Predictive Dream XLVIX Porcelain 33.2 x 23 x 33 cm Japan, 2014

425

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GALLERY KREO PARIS

HELLA JONGERIUS Knots and Beads Curtain Handmade ceramic beads and cotton ropes 286 x 140 cm Signed and numbered Limited edition of 8 pieces + 2 A.P. + 2 Prototypes 2016

426

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DESIGN

GINO SARFATTI 1063 Floor Light Black metal ballast base, white and grey lacquered metal stems and tube, neon tube 215 x 38 x 44 cm Produced by Arteluce, 1954

427

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YVES MACAUX LONDON

KOLOMAN MOSER (1868-Vienna-1918) Pair of side chairs (detail) Various types of wood and mother of pearl 94 x 47 x 50 cm 1902-03

Provenance Made for the dining room of the apartment of Dr. Hans and Gerta Eisler von Terramare

428

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DESIGN

KOLOMAN MOSER (1868-Vienna-1918) Pair of mosaics Colorless glass with a variety of structure 69.5 x 70 cm 1902

Provenance Made for the reading room at the Beethoven exhibition of the Vienna Secession XIV

429

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MODERNITY STOCKHOLM

PEDER MOOS

Provenance Private collection, Denmark

Taboret Brazilian rosewood, ash with boxwood inlays 56 x 52 x 36.5 cm Height seat 40 cm Signed ‘P Moos’ Denmark, 1954

430

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DESIGN

POUL HENNINGSEN PH 2/2 rare adjustable piano lamp Bronze-patinated brass and original milk glass shades 33 x 50 cm Denmark, 1931-32

431

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GALERIE ERIC PHILIPPE PARIS

TYRA LUNDGREN Large white-enamelled terracotta urn With blue, brown, yellow and green relief ornamentation and motifs, depicting human figures, fish, a dolphin and waves.

The lid is surmounted by a Triton riding a fish Height 70 cm Diameter 35 cm

Signed and dated on the base ‘TL RÖRSTRAND 1930’ Sweden, 1930

432

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DESIGN

UNO ÅHRÉN The Garden of Eden Cabinet made with a marquetry of Brazil walnut, eucalyptus and tropical olive tree wood. Interior in ebony and coral leather.

Handles, keys and hinges in silvered metal.

202 x 92 x 27 cm (and depth 57 cm) Sweden, 1925

433

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PAPER E. H. Ariëns Kappers Emanuel von Baeyer-London James Butterwick Librairie Clavreuil Stéphane Clavreuil Rare Books Daniel Crouch Rare Books Day & Faber Galerie Michel Descours Galerie Johannes Faber Antiquariaat Forum BV Eric Gillis Fine Art Patrick Heide Contemporary Art Galleri K Christopher Kingzett Galerie Antoine Laurentin David Lévy & Associés Stephen Ongpin Fine Art Artur Ramon Art Galerie Tanakaya Nicolaas Teeuwisse OHG Galerie Utermann William Weston Gallery W&K-Wienerroither & Kohlbacher

435

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E. H. ARIËNS KAPPERS AMSTERDAM

PABLO PICASSO (Málaga 1881-1973 Mougins) Minotaure caressant une Femme Etching 29.53 x 36.83 cm Signed in pencil ‘Picasso’ Bloch 191, Geiser 350 II 1933

436

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PAPER

HIERONYMUS BOSCH (circa 1450-’s-Hertogenbosch-1516)

JOHANNES VAN DOETECUM (active Deventer 1551-1605 Haarlem)

LUCAS VAN DOETECUM (active 1559-1573 Deventer and Antwerp) After a follower of Bosch

The Temptation of St. Christopher Engraving 33.4 x 42.5 cm Inscribed in the plate ‘Hieronimus Bos inv.’ and ‘H. Cock exc. 1561’ Hollstein 10 (Bosch), Hollstein 133 (Cock)

437

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EMANUEL VON BAEYER-LONDON LONDON

SEBALD BEHAM (Nuremberg 1500-1550 Frankfurt am Main) Christ crowned with thorns, His face distorted in pain Iron etching 3.6 x 2.9 cm (Sheet) 1519

438

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PAPER

FRANCISCO DE GOYA Y LUCIENTES (Fuendetodos 1746-1828 Bordeaux ) Alegrias antruejo, que mañana seras ceniza (Rejoice, carnival, for tomorrow thou wilt be ashes) / Disparate de carnabal (Carnival folly) Etching and aquatint 23.6 × 35.2 cm Harris 261.II.1.

439

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JAMES BUTTERWICK LONDON

MARIA SINYAKOVA (1890 - 1984)

Provenance Gift of the artist to Dmitry Gorbachev, Kiev

Venus Watercolour on paper 36 x 28 cm 1971 version of the work painted in the 1920s

440

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PAPER

ALEXANDER ARCHIPENKO (1887 - 1964) Nature morte Watercolour, gouache and pencil on paper 31.1 x 40 cm Signed lower right ‘Archipenko’ Circa 1918

Provenance Erna Futter, New York; Christie’s, New York, October 2, 1990, lot 86; Collection of Lolo Sarnoff; Sothebys, New York, May 6th 2015

441

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LIBRAIRIE CLAVREUIL PARIS

GUILLAUME DUPAIX (Luxemburg 1746-1818 Mexico) Antiquités mexicaines, relation des trois expéditions du colonel Dupaix, ordonnées en 1805, 1806 et 1807, pour la Recherche des Antiquités du pays 3 volumes bound in 2, large folio, richly illustrated with one frontispiece, one map and 166 plates on 162 sheets, hand-

colored at the time; contemporary red morocco, richly tooled in gilt and in blind 53.8 x 35.2 cm Paris, Bureau des Antiquités mexicaines, printed by Jules Didot, 1834 Provenance Count Chambord, book plate of Maggs brothers, London, indicating purchase of the princely library-Sir A. Abdy

442

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PAPER

HENNING CHRISTIAN

Circa 1790

(Erfurt 1741-1822 Zeist) Het adlyk slot Biljoen, in Gelderland, by Arnhem. Voor Liefhebbers van Vaderlandsche Naturlyke Schoonheden.

In zes Gezichten Small folio, contemporary Dutch red morocco, richly tooled in gilt 28 x 21.6 cm

443

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STÉPHANE CLAVREUIL RARE BOOKS LONDON

RUDYARD KIPLING

35.5 x 25.8 cm Paris, Javal & Bourdeaux, 1930

La Chasse de Kaa 119 original drawings with body color and heightened with gold by Paul Jouve and Gustave Miklos. Unique copy of the original layout for the book, complete with all of the original hand-colored illustrations including 10 signed by Jouve (9 signed in full, 1 signed with initials)

444

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PAPER

Grolier’s numismatic trays Three morocco leather-covered coin trays, each bearing the famous inscription ‘Jo. Grolierii et Amicorum’ in gilt on red, blue, citron, black and brown morocco on one side 18 x 12 cm each France, 16th century

Provenance Jean Grolier, France

445

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DANIEL CROUCH RARE BOOKS LONDON-NEW YORK

JAIME DOSSAIGA

Portugal (?), 1590

Portolan Atlas Ten vellum leaves, four double page maps arranged on four bifolia pasted together with blank endpapers at front and rear.

Pen and ink, heightened in gold and silver.

In a French 19th-century brown morocco binding by Marcelin Lortic 37 x 24 cm

446

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PAPER

WILLEM BLAEU (Alkmaar 1571-1638 Amsterdam) Terrestrial globe 52 x 47 cm Diameter 34 cm After 1621

447

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DAY & FABER LONDON

GIUSEPPE MARIA ROLLI St Paul preaching in Athens Pen and brown ink and wash over black chalk, squared 41.1 x 26.8 cm Circa 1695

Provenance Johann Goll van Franckenstein, Amsterdam, 1722–1785; Giovanni Piancastelli, Rome; Edward and Mary Brandegee, Boston, circa 1904; Janos Scholtz, New York, 1963; Private collection, UK

448

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PAPER

DAVID HOCKNEY (Bradford, 1937) Peter running Pen and ink 13.2 x 17.8 cm Signed with initials and inscribed Santa Monica, 1968

Provenance Knoedler Kasmin; Purchased from the above by George Walker in 1987; By descent

449

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GALERIE MICHEL DESCOURS LYON

PHILIPPE-AUGUSTE HENNEQUIN (Lyon 1762-1833 Leuze) Venus at her bath Pen and brown ink and wash, over traces of black chalk 24.4 x 38 cm Signed lower right ‘Phi. Aug. hennequin’ and on the plinth ‘hennequin’

Provenance Collection des Garinières (collector’s stamp on mount, not in Lugt); sale in Lyon, 1909; Galerie Didier Aaron, 1993

450

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PAPER

BALTHUS (BALTHASAR KLOSSOWSKI DE ROLA) (Paris 1908-2001 Rossinière)

Provenance Galerie du Dragon, Paris; Barry Miller collection, London; Private collection, France

Study for La Chambre (The Room) Pencil on paper 35 x 52 cm Circa 1952-1953

451

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GALERIE JOHANNES FABER VIENNA

MAN RAY (Philadelphia 1890-1976 Paris)

Provenance Private collection, France

Marcel Herrand, dancer Vintage silver print 22.4 x 16.7 cm Signed recto, stamped verso Paris, 1924

452

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PAPER

BRASSAÏ (GYULA HALÁSZ) (Brasov 1899-1984 Nice)

Provenance Private collection, France

Georges Braque Vintage silver print 25.5 x 18.3 cm Stamped on verso twice Paris, 1946

453

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ANTIQUARIAAT FORUM BV ‘T GOY-HOUTEN

Pingding liang Jinchuan deshengtu (Views of the conquest of Jinchuan) Very large oblong 1mo album with 13 large engraved views. Later olive half sheepskin, marbled sides.

50.5 x 86.5 cm Beijing, Wu Ying Ting Press, 1778-1785

Provenance This album was commissioned by Qianlong, Emperor of China

454

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PAPER

CORNELIUS NOZEMAN MARTINUS HOUTTUYN JAN CHRISTIAAN SEPP Nederlandsche vogelen; volgens hunne huishouding, aert, en eigenschappen beschreeven.

5 volumes, imperial folio with 250 hand-coloured copper-engraved plates

(50 in each volume), and a hand-coloured engraved title-page to each volume. Contemporary half calf, gold-tooled spine.

52 x 35.5 cm Amsterdam, 1770-1829

455

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ERIC GILLIS FINE ART BRUSSELS

CHARLES LAVAL (1862-Paris-1894)

Provenance Maurise Savin, Paris; François Zunini, Chilly-Mazarin; Josefowitz collection

Bretonnes au repos Gouache, watercolour, chalk and pencil on thin board 49 x 63 cm Indistinctly signed and dated lower right ‘C Laval 1889’ 1889

456

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PAPER

GEORGES DORIGNAC (Bordeaux 1879-1925 Paris) Portrait de femme au turban Black stone and black wash on Canson Vincent Montgolfier paper 54 x 43 cm Signed and dated upper left ‘Georges Dorignac 1913’ 1913

457

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PATRICK HEIDE CONTEMPORARY ART LONDON

THOMAS MÃœLLER (Frankfurt am Main, 1959) Untitled Coloured pencil and oil on paper 29.7 x 21 cm 2016

458

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PAPER

MINJUNG KIM (Gwangju, Korea, 1962) The Street Mixed media on mulberry Hanji paper 130 x 162 cm 2016

459

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GALLERI K OSLO

FRANZ GERTSCH (Mörigen, 1930) Winter Woodcut, Blue: cobalt blue, lapis lazuli, ultramarine blue, cobalt blue turquoise, malachite, cherry black, burnt umber, ivory black, titanium white, zinc white on Kumohadamashi Japan paper by Heizaburo Iwano

190 x 255.6 cm (2 blocks) 215 x 276 cm (framed) Signed and numbered ‘11’ 2016

460

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PAPER

FRANZ GERTSCH (Mörigen, 1930) Maria Woodcut, turquoise: cobalt blue turquoise, cobalt blue medium, malachite, umber greenish, iron oxide yellow, clear ochre, brown ochre on Kumohadamashi Japan paper by Heizaburo Iwano

305 x 152 cm (3 blocks) 380 x 528 cm (framed) Signed and numbered ‘5’ 2001

461

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CHRISTOPHER KINGZETT LONDON

HENRY MOORE (Castleford 1898-1986 Much Hadham)

Provenance Lady Catherine Walston

Two women bathing a child Ink, charcoal and crayon 17.8 x 25.4 cm Signed 1946

462

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PAPER

GRAHAM SUTHERLAND (Streatham 1903-1980 Kent)

Provenance Pier Paolo and Marzia Ruggerini

Study of Sir Winston Churchill Black chalk and pencil 38 x 30 cm Signed and inscribed ‘W.S.C. (Chartwell) 9/ix/54’ 1954

463

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GALERIE ANTOINE LAURENTIN PARIS

ALEXANDER CALDER (Philadelphia 1898-1976 New York) Composition Gouache and ink 75 x 110 cm Signed and dated lower right ‘69’ and dedicated lower left ‘to Anne Marie Marteau’ 1969

464

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PAPER

BRAM VAN VELDE (Zoeterwoude 1895-1981 Grimaud)

Provenance Galerie Maeght Lelong; Collection Pierre Hebey

Composition Gouache on paper 101.5 x 74 cm Signed lower middle 1974

465

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DAVID LÉVY & ASSOCIÉS BRUSSELS

ANDRÉ MASSON (Balagny-sur-Thérain 1896-1987 Paris) La Dame au coeur fertile Gouache on cardboard 64.5 x 50 cm Signed lower left ‘André Masson’ and signed, entitled and dated on the reverse ‘La Dame au cœur fertile/Gouache.1969/ André Masson’

Provenance Private collection, Paris, acquired directly from the artist; David Lévy & Associés, Brussels; Private collection, New York

466

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PAPER

PABLO PICASSO (Málaga 1881-1973 Mougins) Portrait of Dora Maar Gouache and ink on paper 65 x 50 cm Signed lower right ‘Picasso’ and dated lower left ‘7 F 43’ 7 February 1943

Provenance Beurdeley collection, Paris; Saidenberg Gallery, New York; Simon Neuman, New York; Ernst Beyeler, Basel; Antoine Van de Beuque, Paris; Private collection, Paris

467

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STEPHEN ONGPIN FINE ART LONDON

EUGÈNE EMMANUEL VIOLLET-LE-DUC (Paris 1814-1879 Lausanne) The Artist Trapped in a Crevasse Watercolour heightened with gouache 22.9 x 13.3 cm Signed in brown ink at the lower left ’E Viollet le Duc’ and indistinctly dated in brown ink at the lower right ‘1 juill. 70(?)’

468

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PAPER

JEAN-BAPTISTE MARIE PIERRE The Head of a Female Figure wearing a Helmet Pastel and black chalk on blue paper 30.5 x 22.7 cm Signed in brown ink lower centre ‘Pierre’

469

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ARTUR RAMON ART BARCELONA

SALVATOR MUNDI Alonso Cano Ink on paper 8.8 x 7.6 cm Provenance Private collection, Madrid

470

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PAPER

FEDERICO ZUCCARO (Sant’Angelo in Vado 1539-1609 Ancona) Horseman Red and black chalk on tan paper 19 x 14.4 cm Provenance Private collection, Madrid

471

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GALERIE TANAKAYA PARIS

KATSUSHIKA HOKUSAI (1760-1849) Fugaku Sanjûrokkei (36 Views of Mount Fuji), Sumidagawa Sekiya no sato Nishiki-e woodblock print 25.5 x 38.5 cm Signed ‘Hokusai Iitsu hitsu’ Circa 1830-34, Tenpo Era 1-5

472

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PAPER

KITAGAWA UTAMARO (1753-1806) Mu Tamagawa (The Six Jewel Rivers), Kinuta Tamagawa Nishiki-e woodblock print 36.6 x 25 cm Signed ‘Utamaro hitsu’ Circa 1795-96, Kansei Era 7-8

473

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NICOLAAS TEEUWISSE OHG BERLIN

PAULUS MOREELSE (1571-Utrecht-1638) The reflecting Amor Etching and burin 16.3 x 12 cm Hollstein 3

474

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PAPER

ADOLFF SENFF (Halle an der Saale 1785-1863 Ostrau) Study sheet with mimosas, a tulip, two irises, pomegranate blossoms and convolvuli Oil on greyish-brown, grounded firm paper 55.3 x 40.3 cm Signed and inscribed ‘Adolf Senff. Rom.’ 1827

475

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W. UTERMANN KG DORTMUND

MAX BECKMANN (Leipzig 1884-1950 New York)

Provenance Gift of the artist to Dr. Georg Swarzenski or Dr. Hanns Swarzenski

Paar im Restaurant India Ink and pencil on paper 32 x 23.4 cm Signed bottom right with monogram and dated and inscribed ‘B. 5. März 1944 A.’

476

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PAPER

EMIL NOLDE (Nolde 1867-1956 Seebüll)

Provenance Dr. Otto Beyse, Hildesheim (gift by Ada and Emil Nolde, 1937)

Brandung Watercolour, India ink and tempera on Japan paper 18.2 x 12.9 cm Signed lower right ‘Nolde’ 1937

477

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WILLIAM WESTON GALLERY LONDON

KEITH HARING (Reading 1958-1990 New York)

Provenance Private collection, USA

Pop Shop III - No.3 Screenprint in colours 37.3 x 29.3 cm Signed and dated ‘89 in pencil Numbered from the edition of 200 Published by Martin Lawrence Editions, Los Angeles, 1989

478

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PAPER

PABLO PICASSO (Málaga 1881-1973 Mougins)

Provenance Private collection, USA

Tête de Jeune Fille (Head of a Girl) Lithograph in black ink 27 x 21.7 cm Signed in pencil Numbered from the edition of 50 Published by Galerie Leiris (previously Galerie Kahnweiler), Paris, 1945

479

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W&K-WIENERROITHER & KOHLBACHER VIENNA - NEW YORK

JEAN-MICHEL BASQUIAT (1960-New York-1988) Untitled (Head) Acrylic and oilstick on paper 76.2 x 55.9 cm 1983

Untitled (Frame) Wooden slats with nails, paper on wood, graphite, colored pencil and acrylic 120.7 x 101.4 cm 1987 Provenance Robert Miller Gallery, New York; Private collection, Vienna

480

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PAPER

EGON SCHIELE (Tulln 1890-1918 Vienna)

Provenance Sam Francis, Santa Monica; Private Collection, New York

Reclining nude, masturbating Pencil on paper 30.5 x 48.3 cm 1914

481

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482

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MODERN Applicat-Prazan

Kukje Gallery/Tina Kim Gallery

Bailly Gallery

Landau Fine Art, Inc.

Galerie Bastian

Ludorff

Beck & Eggeling GmbH

Maruani Mercier Gallery

Galerie de la Béraudière

The Mayor Gallery

Galerie Berès

Richard Nagy Ltd.

Borzo Gallery

Osborne Samuel Ltd

Galerie Boulakia

Pearl Lam Galleries

Bowman Sculpture

Rueb Modern & Contemporary Art

Brame & Lorenceau

Thomas Salis Art & Design

Ben Brown Fine Arts

Hidde van Seggelen, London

Galerie Caratsch

Smith-Davidson Gallery

Cardi Gallery

Sprovieri

Connaught Brown

Studio 2000 Art Gallery Blaricum

Gallery Delaive

Galeria Sur

Patrick Derom Gallery

Galerie Thomas

Gana Art

Tornabuoni Art

Thomas Gibson Fine Art

Galerie Patrice Trigano

Galerie Karsten Greve AG

Vedovi Gallery

Galerie Haas

Galerie von Vertes

Hammer Galleries

Waddington Custot Galleries

Galerie Henze & Ketterer

Waterhouse & Dodd

Galerie Hopkins

van de Weghe

Jaski

Alon Zakaim Fine Art

Keitelman Gallery

483

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APPLICAT-PRAZAN PARIS

JEAN DUBUFFET (Le Havre 1901-1985 Paris)

This work is proposed for sale on behalf of the Museum of Modern Art, New York (MoMA)

Topographie châtaine Oil and collage on paper mounted on canvas (assemblage) 77 x 64 cm Signed and dated upper right and signed, titled and dated on the reverse 1959

484

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MODERN

JEAN HÉLION (Couterne 1904-1987 Paris) L’Atelier Oil on canvas 81 x 100 cm Signed, titled and dated on the reverse 1953

485

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BAILLY GALLERY GENEVA

FRITZ GLARNER (Zurich 1899-1972 Locarno) Relational painting N°63 Oil on canvas 152.5 x 101.5 cm 165.5 x 122 cm (with frame) Signed and dated lower center ‘GLARNER 1953’

Provenance Aquired from the artist by Mr. and Mrs. Alfred H. Daniels, San Francisco; Gallery Washburn, New York; Private collection, Switzerland, 1998

486

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MODERN

KARL HOFER (1878-1955)

Provenance Private collection, Switzerland

Badendes Hindumädchen (Young bathing Indonesian) Oil on canvas 100.5 x 69.5 cm 134 x 105 cm (with frame) Signed and dated lower left ‘Hofer 1914’

487

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GALERIE BASTIAN BERLIN

HEINZ MACK (Lollar, 1931)

Provenance Galerie Lรถhrl, Mรถnchengladbach; Private collection, Berlin

Untitled Acrylic on canvas 90 x 110 cm Signed and dated on verso upper centre `mack 60` 1960

488

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MODERN

JOSEPH BEUYS (Krefeld 1921-1986 Dusseldorf)

Provenance The Estate of Joseph Beuys, Dusseldorf; Schellmann Art, Munich–New York

Untitled Collage: oil paint [Braunkreuz], pencil, light brown paper, cardboard, brochure, tissue paper, newspaper, metal, rubber on painted wood 90 x 180 cm 1984-1985

489

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BECK & EGGELING INTERNATIONAL FINE ART DUSSELDORF-VIENNA

MAGDALENA ABAKANOWICZ (Poland, 1930)

Provenance Acquired directly from the artist

Solitude Bronze 107 x 140 x 65 cm 2009

490

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MODERN

HEINZ MACK (Germany, 1931)

Provenance Acquired directly from the studio of the artist

Silber Stele (Silver-Stele) Circa 80.000 tesserae (mosaic stones in 2 x 2 cm with 24 ct. gold leaf) on a construction of composite 600 x 100 x 100 cm Series of 6 potential unique pieces 2016

491

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GALERIE DE LA BÉRAUDIÈRE BRUSSELS

REMBRANDT BUGATTI (Milan 1884-1916 Paris) Two small leopards, one behind the other Bronze with dark patina and brown undertones, lost wax bronze by A.A. Hébrard Height 37.5 cm (Leopards) 53 x 10.5 cm (Terrasse) Signed and numbered on the base

‘R. BUGATTI’ and ‘3’ Circa 1912-1913 Provenance Private collection, Europe

492

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MODERN

JOAN MIRÓ (Barcelona 1893-1983 Palma de Mallorca)

Provenance Private collection, Europe

Femme, oiseaux Oil, gouache and oil stick on scratched board 65.1 x 50.2 cm Signed lower right ‘Miró’, inscribed on verso ‘Miró/20/IV/75/Femme/oiseaux’ 1976

493

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GALERIE BERÈS PARIS

TURI SIMETI (Alcamo, 1929) Three grey ovals Acrylic on shaped canvas 100 x 100 cm Signed 1975

494

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MODERN

MAX ERNST (Cologne 1891-1976 Paris)

Provenance AndrĂŠ Pieyre de Mandiargues collection, Paris

Aeolian harp Oil and collage on paper laid down on cardboard 53 x 44 cm Signed lower right 1963

495

S55_Bere.indd 495

20/01/17 13:56

BORZO GALLERY AMSTERDAM

HERMAN DE VRIES (Alkmaar, 1931)

Provenance Directly from the artist

installation of zero works Wood, cardboard, paint and sand Different sizes Signed 1960-1962

496

S55_Borz.indd 496

20/01/17 13:56

MODERN

JAN J. SCHOONHOVEN (1914-Delft-1994) T 75-110 Ink on paper 65 x 50 cm Signed, titled and dated front and verso 1975

497

S55_Borz.indd 497

20/01/17 13:56

GALERIE BOULAKIA PARIS

TOM WESSELMANN (1931-2004)

Provenance Private collection, New York

Study for bedroom painting (Daniele) Oil on canvas 20.4 x 30.5 cm Signed, dated and titled on reverse ‘Wesselman, 1971, Study for bedroom painting (Daniele)’ 1971

498

S55_Boul.indd 498

23/01/17 15:39

MODERN

MARC CHAGALL (1887-1985) Les Mariés dans le ciel de Paris Oil and tempera on canvas 130 x 89 cm Signed with brush in black oil paint at lower right ‘Marc Chagall’ and signed on verso ‘Marc/Chagall’ 1980-1981

499

S55_Boul.indd 499

23/01/17 15:39

BOWMAN SCULPTURE LONDON

AUGUSTE RODIN (1840-1917) Le Penseur (The Thinker) Bronze Height 37.5 cm Signed ‘A. Rodin’ Inscribed ‘Alexis Rudier Fondeur Paris’ Conceived circa 1880-1881 This example cast 1927

500

S55_Bowm.indd 500

23/01/17 07:48

MODERN

MARINO MARINI (1901-1980) Piccolo Cavallo Hand finished bronze Height 52.5 cm Stamped ‘M.M’, marked ‘Fonderia MAF’ Edition of 6 Conceived and cast circa 1950

501

S55_Bowm.indd 501

23/01/17 07:48

BRAME & LORENCEAU PARIS

SAM SZAFRAN (Paris, 1934)

Provenance Claude Bernard Gallery, New York

L’escalier Watercolor on paper 73 x 47 cm Signed in the lower center 1986

502

S55_Bram.indd 502

23/01/17 15:46

MODERN

SONIA DELAUNAY (Odessa 1885-979 Paris)

Provenance Galerie Bing, Paris; Annie Ronchèse, Paris

Rythme coloré N°574 Gouache and collage on paper 56.5 x 76.9 cm Signed and dated lower right ‘Sonia Delaunay Terk 57’ 1957

503

S55_Bram.indd 503

23/01/17 15:47

BEN BROWN FINE ARTS LONDON - HONG KONG

VIK MUNIZ (São Paulo, 1961)

Provenance Directly from the artist

Verso ‘View of Delft’ (Vermeer) Mixed media 125.7 x 144.8 x 13 cm Edition of 5 + 3 AP 2016

504

S55_Brow.indd 504

23/01/17 15:48

MODERN

LUCIO FONTANA (Rosario 1899-1968 Varese) Donne sul Sofa Painted plaster 39 x 45 x 30 cm 1934

Provenance Giulio Carlo Argan Collection, Rome; Private collection, Acqui Terme; Private collection, Italy

505

S55_Brow.indd 505

23/01/17 15:48

GALERIE CARATSCH ST MORITZ

MAX BECKMANN (Leipzig 1884-1950 New York) Stilleben mit Paletten Oil on canvas 55.5 x 95 cm Signed, dated and inscribed lower centre ‘Beckmann A 44’ 1944

Provenance Dr. Helmuth Lütjens (Paul Cassirer & Co.), Amsterdam, 1945; Richard Feigen Gallery, Chicago, circa 1959; Eugene V. Klein, Beverly Hills, 1976; their sale, Christie’s, New York, 15 Nov. 1983, lot 81; Private collection, Berlin; Sotheby’s, London, 24 June 1997, lot 32. Jan Krugier, by whom acquired at the above sale; Galerie Andrea Caratsch, St. Moritz

506

S55_Cara.indd 506

23/01/17 15:49

MODERN

GIORGIO DE CHIRICO (Volos, Greece 1888-1978 Rome)

Provenance Galleria Brera, Milan, early ‘70s; Private collection, Europe

Frutta e Panini Oil on canvas 50 x 65 cm Signed upper right ‘G. de Chirico’, titled and signed on the reverse 1930

507

S55_Cara.indd 507

23/01/17 15:51

CARDI GALLERY MILAN-LONDON

GIULIO PAOLINI (Genova, 1940) Casa di Lucrezio Plaster works, fabrics and bases Variable dimensions Circa 1982-1984 Provenance Private collection, USA

508

S55_Card.indd 508

20/01/17 13:56

MODERN

GIUSEPPE PENONE (Garessio, 1947) Pantaloni Frottage on trousers, wooden trunk and an iron grid 160 x 80 x 12 cm 1987

Provenance The artist; Galleria Christian Stein, Milan; Private collection, Milan; Cardi Gallery, Milan and London

509

S55_Card.indd 509

20/01/17 13:56

CONNAUGHT BROWN LONDON

RAOUL DUFY (Le Havre 1877-1953 Forcalquier) La fenêtre Oil on canvas 92 x 73 cm Signed lower right ‘Raoul Dufy’ 1923

Provenance Galerie Bernheim-Jeune, Paris (acquired from the artist); Walter Taylor, London (purchased in 1924); Private collection, Europe

510

S55_Conn.indd 510

20/01/17 13:56

MODERN

FERNAND LÉGER (Argentan 1881-1955 Gif-sur-Yvette)

Provenance Aimé Maeght, Paris; Private collection, New York (purchased in July 1967)

Le Jongleur et L’Acrobate India ink, pencil and gouache on paper 25.5 x 33 cm Signed and dated lower right ‘F.L. 53’ 1953

511

S55_Conn.indd 511

20/01/17 13:56

GALLERY DELAIVE AMSTERDAM

SAM FRANCIS (San Mateo 1923-1994 Santa Monica)

Provenance The artist

Untitled Acrylic on paper 96 x 65 cm Signed on verso Venice, 1989

512

S55_Dela.indd 512

23/01/17 15:53

MODERN

KAREL APPEL (Amsterdam 1921-2006 Zürich) Untitled (‘Man’) Acrylic on paper 59 x 90 cm Signed and dated 1966

513

S55_Dela.indd 513

20/01/17 13:55

PATRICK DEROM GALLERY BRUSSELS

POL BURY (1922-2005) 21 tiges dans une forme courbe [21 Rods in a Curved Form] Brass, electric motor 56 x 69 x 32 cm Titled and dated 1967

Provenance Lefebre Gallery, New York, 1968; The Schulhof Collection, New York

514

S55_Dero.indd 514

23/01/17 15:56

MODERN

EVELYNE AXELL (1935-1972) Kiss Me (The Kiss / The Girls from Mytilene) Enamel on plexiglas, mounted on panel 67.5 x 42.5 cm Signed lower right 1969

515

S55_Dero.indd 515

23/01/17 15:56

GANA ART SEOUL

ROY LICHTENSTEIN (1923-New York-1997) Still Life with Attache Case Oil and magna on canvas 127 x 152 cm 1976

Provenance Leo Castelli Gallery; Richard Gray Gallery, Chicago, acquired January 1977; Paul Boudreau, Fon Du Lac, WI, acquired March 1977; Clement Stone, Chicago; James Goodman Gallery, New York acquired from Richard Gray Gallery, Feb. 1984; Private collection, Sweden, acquired 1984; Private collection, New York; Private collection, MA

516

S55_Gana_cor.indd 516

20/01/17 13:55

MODERN

SU-FAN OH (1946)

Provenance Private collection, Korea

God of Valley Oil on canvas 199 x 132.5 cm 1989

517

S55_Gana_cor.indd 517

23/01/17 15:57

THOMAS GIBSON FINE ART LONDON

EDOUARD VUILLARD (Cuiseaux 1868-1940 La Baule-Escoublac) Intérieur aux rocking-chairs Oil on board mounted on cradled panel 66.3 x 54 cm Signed lower right ‘E Vuillard’ 1902 Provenance Galerie Bernheim-Jeune, Paris, no. 12705,

acquired from the artist, 1902; Paul Cassirer, Berlin, 1903; Galerie Bernheim-Jeune, Paris, 1904; Galerie Druet, Paris, 1905; Eugène Blot, Paris; his sale, Hôtel Drouot, Paris, 10 May 1906, lot 84; Galerie Bernheim-Jeune, Paris; Albert Pra, Paris; his sale, Galerie Charpentier, Paris, 17 June 1938, lot 54; thence by descent; sale, Christie’s, London, 2 Feb. 2010, lot 4; Parnassus collection, Europe

518

S55_Gibs.indd 518

23/01/17 15:59

MODERN

PAUL GAUGUIN (Paris 1848-1903 Atuona) Jeune tahitienne assise Watercolour and pencil on paper 26 x 16 cm Stamped lower right with the artist’s initials 1891

Provenance Francisco Durrieu de Madron (Paco Durrio); Charles Gillet; Galerie ProutĂŠ, Paris; Marie Matisse; Private collection, USA

519

S55_Gibs.indd 519

23/01/17 16:00

GALERIE KARSTEN GREVE AG ST MORITZ-COLOGNE-PARIS

LOUISE BOURGEOIS (Paris 1911-2010 New York) Pregnant Woman II Bronze with polished patina 132 x 40.6 x 40.6 cm Stamped ‘LB 4/6 MAF 04’ Ed. 4/6 1947-1949

520

S55_Grev.indd 520

20/01/17 13:55

MODERN

WOLS (Berlin 1913-1951 Paris) Komposition Ink on paper 18 x 13 cm Signed recto lower right’ WOLS’ 1946

521

S55_Grev.indd 521

20/01/17 13:55

GALERIE HAAS ZURICH

PIET MONDRIAN (Amersfoort 1872 -1944 New York) Foxtail Lily Oil on cardboard on masonite 74 x 99 cm Signed lower left Circa 1909

Provenance Collection S.B. Slijper, BlaricumNetherlands (acquired directly from the artist) (inv. no. 759); Eugene Victor Thaw & Co. Inc., New York; John Blair Linn Goodwin, New York; Collection Anthony P. Russo, New York; Joseph P. Carroll, New York

522

S55_Haas.indd 522

20/01/17 13:55

MODERN

ANTONI TÀPIES (1923-Barcelona-2012)

Provenance Galerie Lelong, Paris; F. Bilotti, Palm Beach

Serpent Mixed media on canvas 81 x 100 cm Signed on verso 1988

523

S55_Haas.indd 523

20/01/17 13:55

HAMMER GALLERIES NEW YORK

WASSILY KANDINSKY (Moscow 1866-1944 Neuilly-sur-Seine) Loses im Rot (Loosely in Red) Oil on cardboard 69.3 x 49.5 cm Monogrammed and dated lower left ‘25’ Monogrammed, titled and numbered on reverse ‘Loses im Rot No. 298’ March 1925

524

S55_Hamm_cor.indd 524

20/01/17 13:55

MODERN

MARC CHAGALL (Vitebsk 1887-1985 Saint Paul de Vence) Les fiancés Gouache and watercolor over pencil on paper 32.5 x 19 cm Signed lower left ‘Marc Chagall’ Circa 1927

Provenance Private collection, Paris Private collection (acquired from the uncle of the previous owner in Paris in the 1950s) Acquired by the present owner in 1989

525

S55_Hamm_cor.indd 525

23/01/17 16:02

GALERIE HENZE & KETTERER WICHTRACH/BERN-RIEHEN/BASEL

ERNST LUDWIG KIRCHNER (Aschaffenburg 1880-1938 Davos) Sängerin am Piano (Singer at the Piano) Gordon 0943 Oil on canvas 120 x 150 cm Signed on the verso, dated ‘29’ and titled ‘Cantatrice au Piano’ Circa 1929-30

Provenance Private collection; collection Meshulam Riklis, New York; Galerie Grosshennig, Düsseldorf , 1976; Herbert Kurz, Wolframs-Eschenbach, 1953; Galerie Grosshennig, Düsseldorf, 1952; Familie Hagemann, 1940; Dr. Carl Hagemann, Frankfurt am Main, 1931

526

S55_Henz.indd 526

23/01/17 16:03

MODERN

KARL SCHMIDT-ROTTLUFF (Chemnitz 1884-1976 West-Berlin) Stillleben mit Holzplastik (Still-life with wooden sculpture) Oil on canvas 80 x 80 cm Signed lower left and signed, titled and numbered on the upper verso of the stretcher ‘498’ 1949

Provenance Galerie Ferdinand Möller, Cologne; Galerie Wolfgang Ketterer, Munich, 87; Auction, 27-11-1984, cat. no. 1324; Sammlung Roth, Möhrigen near Stuttgart

527

S55_Henz.indd 527

23/01/17 16:05

GALERIE HOPKINS PARIS

JEAN DUBUFFET (1901 - 1985) Paysage Pétrifié Oil on canvas pasted on hardboard panel 91 x 122 cm Signed and dated upper right ‘J. Dubuffet 52’ 1952

528

S55_Hopk.indd 528

20/01/17 13:54

MODERN

HENRY MOORE (Castleford 1898-1986 Much Hadham) Reclining figures against bank Pencil, wax crayon, watercolor, chalk, pen and ink on paper 55.6 x 43.8 cm Signed and dated lower right ‘Moore 42’ 1942

Provenance Curt Valentin, New York; James Johnson Sweeney, New York; Private collection, by descent

529

S55_Hopk.indd 529

20/01/17 13:55

JASKI AMSTERDAM

CONSTANT (1920-Amsterdam-2005) Portfolio 8 x La Guerre 8 lithographs 40 x 29 cm Signed ‘Constant’ on every single sheet Edition 18/50 1951

530

S55_Jask.indd 530

20/01/17 13:54

MODERN

KAREL APPEL (Amsterdam 1921-2006 Zurich) Vision Oil on canvas 140 x 100 cm Signed lower right ‘Appel ‘54’ 1954

Provenance Studio Paul Facchetti, Paris; Galerie Ariel, Paris; Nova Spectra, The Hague

531

S55_Jask.indd 531

20/01/17 13:54

KEITELMAN GALLERY BRUSSELS

FRANK STELLA (Malden ( Massachusetts) 12 May 1936)

Provenance Waddington Galleries, London

Hark!

Gouache, oil and crayon over silkscreen, lithograph, color linocut and collage on T.H. Saunders Paper 187.5 x 134.5 cm Signed, dated and inscribed lower right ‘F. Stella, ‘89, C.T.P.1’

532

S55_Keit.indd 532

20/01/17 13:54

MODERN

RENÉ MAGRITTE (1898-1967) Le Palais des souvenirs Gouache on paper 33 x 27.8 cm Signed lower right 1938-1939

Provenance Collection Langui, Brussels; Keitelman Gallery, Brussels; Private collection, Belgium

533

S55_Keit.indd 533

23/01/17 16:06

KUKJE GALLERY / TINA KIM GALLERY SEOUL-NEW YORK

ANISH KAPOOR Mirror Glow (Apple red/Organic green) Stainless steel and lacquer 135 x 135 x 24.5 cm 2015

534

S55_Kukj.indd 534

20/01/17 13:54

MODERN

PARK SEO-BO Ecriture No. 68-78-79-81 Pencil and oil on hemp cloth 131 x 162 cm 1968

535

S55_Kukj.indd 535

20/01/17 13:54

LANDAU FINE ART, INC. MONTREAL-MEGGEN

FERNAND LÉGER (Argentan 1881-1955 Gif-sur-Yvette) Les Femmes à la toilette Oil on canvas 65.3 x 46.5 cm Signed and dated lower right ‘FLEGER ‘20’ 1920

536

S55_Land.indd 536

23/01/17 16:08

MODERN

GINO SEVERINI (Cortana 1883-1966 Meudon) Danse de l’ours Pastel on sepia paper 49.5 x 43 cm 1914

537

S55_Land.indd 537

20/01/17 13:54

LUDORFF DUSSELDORF

MAX LIEBERMANN (1847-Berlin-1935) Sommer im Garten in Wannsee – Blumenterrasse im Wannseegarten nach Nordosten Oil on canvas 39.7 x 50 cm Signed also marked on the verso ‘Genia Ury’ 1927 (?)

Provenance Collection Genia Ury, San Francisco (sister of Lesser Ury); Galerie Ludorff, Dusseldorf, 1990-91; Private collection, North Rhine-Westphalia

538

S55_Ludo.indd 538

23/01/17 16:46

MODERN

GERHARD RICHTER (Dresden, 1932)

Provenance Private collection, Rhineland

Ohne Titel (17.4.89) Oil on cardboard 29.5 x 42 cm Signed and dated on the underlying cardboard ‘17.4.89’

539

S55_Ludo.indd 539

20/01/17 13:54

MARUANI MERCIER GALLERY BRUSSELS

ROSS BLECKNER (USA, 1949) Black Monet Oil on canvas 182 x 168 cm

540

S55_Maru.indd 540

20/01/17 13:54

MODERN

GERHARD RICHTER (Dresden, 1932)

Provenance Anthony D’Offay; Private collection, Italy; Private collection, Belgium

Abstraktes Bild de 1992 Oil on canvas 52 x 62 cm 1992

541

S55_Maru.indd 541

20/01/17 13:54

THE MAYOR GALLERY LONDON

SHINKICHI TAJIRI (Watts, CA, USA 1923-2009 Baarlo, the Netherlands)

Provenance Shinkichi Tajiri Estate

Tower of Babel Bronze Height 65 cm Diameter 25 cm Unique The Netherlands, Baarlo, 1972

542

S55_Mayo.indd 542

20/01/17 13:54

MODERN

TAADAKI KUWAYAMA (Japan, Nagoya, 1932) Untitled Acrylic on canvas 174.5 x 174.5 cm 1965 Provenance Acquired directly from the artist

543

S55_Mayo.indd 543

20/01/17 13:54

RICHARD NAGY LTD. LONDON

MAX ERNST (Brühl 1891-1976 Paris) Horse and cows Oil on board 36.8 x 50.7 cm Circa 1919

544

S55_Nagy.indd 544

20/01/17 14:16

MODERN

EGON SCHIELE (Tulln an der Donau 1890-1918 Vienna) Dr. Othmar Fritsch Watercolour, black crayon and pencil on paper 45.8 x 29.7 cm Signed, inscribed and dated 1917

545

S55_Nagy.indd 545

23/01/17 16:11

OSBORNE SAMUEL LTD LONDON

LYNN CHADWICK (Barnes 1914-2003 Gloucestershire) Stranger IV Bronze 57.5 x 82 x 18 cm Signed, numbered and inscribed on the base with the foundry mark ‘Fondeur Susse’ Edition of 3 Cast, 1959

Provenance Dominion Gallery, Montreal; Dr. and Mrs Max Stern; Private collection, UK

546

S55_Osbo.indd 546

23/01/17 16:13

MODERN

SAM FRANCIS (San Mateo 1923-1994 Santa Monica) Nous Acrylic on canvas 238.8 x 142.9 cm Signed and dated verso 1987

Provenance Heland ThordĂŠn Wetterling Galleries, Stockholm; Gana Art Gallery, Seoul (acquired from the above in 1991); Private collection, UK

547

S55_Osbo.indd 547

23/01/17 16:14

PEARL LAM GALLERIES HONG KONG-SHANGHAI-SINGAPORE

ZHU JINSHI (1954) Guanghua Temple Oil on canvas 180 x 160 cm Beijing, 2015 Provenance The artist’s studio

548

S55_Pear.indd 548

23/01/17 16:15

MODERN

KWANG YOUNG CHUN (Hongcheong County, South Korea 1944) Aggregation 15-FE010 (Dream3) Mixed media with Korean mulberry paper 101 x 101 cm 2015 Provenance The artist’s studio

549

S55_Pear.indd 549

23/01/17 16:16

RUEB MODERN AND CONTEMPORARY ART AMSTERDAM

AUGUSTE HERBIN (Quiévy 1882-1960 Paris) La Terrasse de café Oil on canvas 60 x 73 cm Signed lower right and on the reverse 1907

550

S55_Rueb.indd 550

23/01/17 16:17

MODERN

FLORIAN AND MICHAEL QUISTREBERT

Provenance Galerie Juliette Jongma, Amsterdam

(Nantes, 1976 and 1982) Overlight 2 Mixed media and ledlamps on canvas 200 x 150 cm Signed on the reverse 2013

551

S55_Rueb.indd 551

20/01/17 14:16

THOMAS SALIS ART & DESIGN SALZBURG

PIERRE BONNARD (Fontenay-aux-Roses 18671947 Le Cannet)

Provenance Estate of the artist; Private collection, France; Neffe-Degandt Fine Art, London; Private collection, UK

Le petit déjeuner, homme et femme Oil on board/wood 27 x 33 cm Signed lower left 1894

552

S55_Sali.indd 552

23/01/17 16:18

MODERN

PABLO PICASSO (Málaga 1881-1973 Mougins)

Provenance Waddington Gallery, London; Private collection, aquired 1973

Nus Gouache and ink on paper 60 x 76 cm Signed lower right and dated upper left ‘vendredi 4 août 1972’

553

S55_Sali.indd 553

23/01/17 16:19

HIDDE VAN SEGGELEN LONDON

THOMAS GRÃœNFELD (1956) Fireplace 1 Wood, foam, fabric, logs 240 x 88 x 40 cm 2016

Misfit (pheasant/ cat) Taxidermy 50 x 30 x 25 cm 2016

554

S55_Segg.indd 554

23/01/17 16:21

MODERN

555

S55_Segg.indd 555

20/01/17 14:15

SMITH-DAVIDSON GALLERY AMSTERDAM - MIAMI

LEE UFAN (Kyongsang-namdo 1936) From Point no. 760128 Oil and mineral pigments on canvas 60.6 x 72.7 cm Signed and dated lower right ‘L. Ufan 76’ Signed and titled on the reverse ‘Lee Ufan’ ‘From point 760128’ 1976

Provenance Private collection, Asia; Seoul Auction, 12 Dec. 1998; Private collection, Asia; Seoul Auction 1 May 2002; Aquired at this sale by the previous owner

556

S55_Smit.indd 556

23/01/17 16:22

MODERN

MARINO MARINI (Pistoia 1901-1980 Viareggio) Babilonia Oil and mixed media on canvas 99.1 x 80.1 cm Signed on reverse ‘Marino’ 1958

Provenance Mercedes Pedrazzini Marini, Milan; Christie’s London, 5 feb 2009, lot 459; Private collection, the Netherlands

557

S55_Smit.indd 557

23/01/17 16:23

SPROVIERI LONDON

JANNIS KOUNELLIS (Piraeus, 1936) Untitled Steel cable, hook and silk nightgown Dimensions variable 2010

558

S55_Spro.indd 558

20/01/17 14:15

MODERN

ILYA KABAKOV (Dnepropetrovsk, 1933) Quotations #2 Oil on canvas 190.5 x 284.5 cm Signed and dated on reverse 2012

559

S55_Spro.indd 559

20/01/17 14:15

STUDIO 2000 ART GALLERY BLARICUM

JEAN-FRANCOIS RAFFAELLI (1850-Paris-1924) The Grand Canal with the Santa Maria della Salute in Venice Oil on cardboard 65 x 86.5 cm Signed lower right ‘JF Raffaelli’

Provenance Private collection, Belgium; auction Paris, Hôtel Drouot, Me Morelle, June 8 1973, lot 38; private collection, Paris; auction Artcurial, Paris, June 2 2015, no. 54

560

S55_Stud.indd 560

20/01/17 14:15

MODERN

JAN TOOROP (Poerworedjo 1858-1928 The Hague) Studenten (Students) Oil on canvas 171 x 110.5 cm Signed and dated lower right ‘J. th. Toorop 1884 Bruxelles’ Brussels, 1884

Provenance Private collection, the Netherlands; Studio 2000 Art gallery; collection J. Nieuwenhuizen Segaar, The Hague; Amsterdam, Sotheby’s, November 10 1986, no. 183; Sale Amsterdam A. Mak, Atelier Jan Toorop, May 15 1928, no. 18; Collection Mrs. Charley Toorop

561

S55_Stud.indd 561

23/01/17 16:26

GALERIA SUR MONTEVIDEO

JULIO LE PARC (Argentina 1928) Mobile rouge Plexiglace and nylon 167 x 250 x 40 cm 1967-2015

562

S55_Sur.indd 562

20/01/17 14:15

MODERN

JOAQUÍN TORRES GARCÍA (1874-1949)

Provenance Estate of the artist; Augusto Torres, Barcelona; Private collection, New York

Estructura a cinco tonos con dos formas intercaladas Oil on cardboard 50 x 52 cm Signed and dated lower right ‘J.T.G 48’ 1948

563

S55_Sur.indd 563

23/01/17 16:27

GALERIE THOMAS MUNICH

NAM JUNE PAIK (Seoul 1932-2006 Miami)

Provenance Studio of the artist; Private collection, South Korea

Techno Dog Round TV, TV, 1 video player, 1 video tape (20 min.)

Contains 2 parts: 55 x 38 x 60 cm 40 x 50 x 60 cm Signed and dated on the side ‘PAIK 2000’

564

S55_Thom_cor.indd 564

23/01/17 16:47

MODERN

ALEXEJ VON JAWLENSKY (Torzjok 1864-1941 Wiesbaden) Frauenkopf (Woman’s Head) Oil on cardboard 53.3 x 49.8 cm Circa 1913

Provenance Kunstsalon Dr. Rusche, Cologne; Victor Achter, Mönchengladbach (acquired from the above in 1946); Private collection, (from 1981, by descent from the above); Private collection, USA

565

S55_Thom_cor.indd 565

20/01/17 14:15

TORNABUONI ART FLORENCE - MILAN - PARIS -LONDON

ALIGHIERO BOETTI (Turin 1940-1994 Rome) Tutto Embroidery on cloth 97 x 134.5 cm Signed ‘Alighiero e Boetti/Peshawar 88-89’ Afghanistan, 1988-89

566

S55_Torn.indd 566

20/01/17 14:15

MODERN

PAOLO SCHEGGI (Florence 1940-1971 Rome) Zone riflesse Acrylic on three superimposed canvases 60 x 80 x 6 cm Italy, 1965

567

S55_Torn.indd 567

20/01/17 14:15

GALERIE PATRICE TRIGANO PARIS

JULIAN OPIE (London, 1958) Boats. 1.

Continuous computer animation on 22� LCD screen 40 x 40 x 11 cm Signed and numbered 1/4 Edition of 4 + 1 AP 2015

568

S55_Trig.indd 568

20/01/17 14:15

MODERN

SÉRAPHINE LOUIS, CALLED SÉRAPHINE DE SENLIS

Provenance Mrs Raymond Vincy

(Assy 1864-1942 Clermont (Oise)) Grand Bouquet champêtre Oil on canvas 100.5 x 65 cm Signed lower right 1927

569

S55_Trig.indd 569

25/01/17 13:46

VEDOVI GALLERY LOCATION

GERMAINE RICHIER (1902-1959) Le Coureur (Moyen) Bronze 120 x 47 x 60 cm 1954

570

S55_Vedo.indd 570

20/01/17 14:15

MODERN

RUDOLF STINGEL (1956) Untitled Oil, enamel on canvas 210.8 x 170.2 cm Signed and dated 2013

571

S55_Vedo.indd 571

20/01/17 14:15

GALERIE VON VERTES ZURICH

ALEXANDER CALDER (1846-1923) The Black Mountain Oil on canvas 86.3 × 71.1 cm Signed lower right ‘Calder’ Signed, titled and dated on verso ‘A. Calder 1945 the Black Mountain’ 1945

Provenance Buchholz Gallery (Curt Valentin), New York; Perls Galleries, New York; The Arthur and Anita Kahn Collection, New York

572

S55_Vert.indd 572

20/01/17 14:15

MODERN

HENRY MOORE (1898–1986) Large Slow Form Bronze with brown patina 42 × 76.8 × 42.3 cm Signed and numbered on verso ‘Moore 3/9’ 1962 (cast in 1968)

Provenance Dominion Gallery, Montreal, May 1969 (acquired directly from the artist); Lotus International Trust, Hong Kong, 1980; Private collection, USA, August 1985; since then family owned

573

S55_Vert.indd 573

23/01/17 16:32

WADDINGTON CUSTOT GALLERIES LONDON

JEAN DUBUFFET (Le Havre 1901-1985 Paris) Jardin de souffle cor avril Oil on canvas (assemblage) 45 x 58 cm Signed and dated upper left ‘J. Dubuffet/56’ Titled, signed and dated on reverse ‘Jardin de/Souffle Cor/J. Dubuffet/avril 56’

Provenance Pierre Matisse Gallery, New York; Private Collection, New York, acquired Nov. 1968; Sotheby’s, New York: 16 May 2007 (lot no.114)

574

S55_Wadd.indd 574

23/01/17 16:33

MODERN

FAUSTO MELOTTI Le bacche/Berries Brass 41 x 45 x 20 cm 1976 Provenance Private collection, Barlassina

575

S55_Wadd.indd 575

20/01/17 14:14

WATERHOUSE & DODD LONDON-NEW YORK

FRANK STELLA (Malden, 1936)

Provenance Private collection, New York

K. 17 (lattice variation) Stainless steel and spray painted Alumide RPT 60 x 71 x 43 cm 2008

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MODERN

MANOLO VALDÉS (Valencia, 1942)

Provenance Marlborough Fine Art; Private collection, Spain

Vivianne II Oil on burlap 228.5 x 188 cm 2005

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VAN DE WEGHE FINE ART NEW YORK

ANDY WARHOL (Pittsburgh 1928-1987 New York) Dollar sign Synthetic polymer paint and silkscreen ink on canvas 25.5 x 20 cm 1981

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MODERN

JEAN-MICHEL BASQUIAT (1960-New York-1988) Toxic Acrylic, oilstick and Xerox collage on canvas 218.5 x 174.5 cm 1984

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ALON ZAKAIM FINE ART LONDON

WASSILY KANDINSKY (Moscow 1866-1944 Neuilly) Scharf Watercolour and gouache on paper 48 x 32 cm Signed with the initial and dated lower left ‘k/28’, numbered, dated and titled on the verso ‘No 253 / 1928 scharf’ 1928

Provenance Galerie Maeght, Paris, 1957; Galerie Chalette, New York, 1957; Collection of Louis and Julia Wasserman, Sandy Hook, Connecticut, 1957-2015; The Estate of Julia Wasserman

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MODERN

HENRI LE SIDANER (Port Louis 1862-1939 Paris) La table de la maison fleurie Oil on canvas 91.5 x 73.5 cm Signed lower right ‘Le Sidaner’ 1928

Provenance Galeries Georges Petit, Paris; J. J. Gillespie Fine Art Galleries, Pittsburgh; Theodore M. Lilienthal; Sale: Christie’s New York, 11 May 1995, lot 245; Richard Green, London; Private collection, UK, 1996; Private collection, UK

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EXHIBITOR LIST

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A A. AARDEWERK ANTIQUAIR JUWELIER The Hague-The Netherlands T +31 70 324 09 87 M +31 6 54 77 33 37 E silver@aardewerk.com I www.aardewerk.com Silver and jewellery Stand 240 pp. 166-167

LUIS ALEGRIA LDA Porto-Portugal T +351 22 618 80 86 M +351 91 76 00 126 E luis.alegria@iol.pt I www.luisalegria.com Chinese porcelain, fine furniture, tiles Stand 169 pp. 170-171

DIDIER AARON & CIE Paris-New York-London T +33 1 47 42 47 34 E contact@didieraaron-cie.com I www.didieraaron.com Old master and 19th-century paintings and drawings, 18th-century furniture Stand 347 pp. 46-47

ALTOMANI & SONS SRL Milan-Pesaro-Italy T +39 02 20 10 33 M +39 335 134 70 03 E mail@altomani.com I www.altomani.com Antiques, works of art, majolica, old master paintings, bronze and marble sculptures, glasses Stand 177 pp. 172-173

AGNEWS London-UK T +44 20 7491 9219 E agnews@agnewsgallery.com I www.agnewsgallery.com Stand 346 pp. 48-49 A LA VIEILLE RUSSIE New York-USA T +1 212 752 17 27 E alvr@alvr.com I www.alvr.com Fine European and American jewellery, Fabergé, gold snuffboxes and objets de vertu, Russian decorative and fine arts.

Established 1851.

Stand 110 pp.168-169 DAPHNE ALAZRAKI FINE ART New York-USA T +1 212 734 86 58 M +1 917 699 72 26 E fineart@alazraki.com I www.alazraki.com 19th-20th-century European paintings Stand 362 pp.50-51 KUNSTGALERIJ ALBRICHT BV Oosterbeek-The Netherlands London-UK T +31 26 361 18 76 E info@albricht.nl I www.albricht.nl 19th- and 20th-century master paintings Stand 360 pp. 52-53

ÅMELLS Stockholm-Sweden T +46 8 611 41 93 M +46 70 421 07 33 E info@amells.com I www.amells.com Old master paintings and Scandinavian art Stand 354 pp. 54-55 FRANCESCA ANTONACCI DAMIANO LAPICCIRELLA FINE ART Rome-Italy T +39 06 454 33 036 M +39 3 356 693 181 E info@al-fineart.com I www.al-fineart.com Old master paintings and drawings, 19th-century paintings, sculpture and objects of art Stand 369 pp. 56-57 PAOLO ANTONACCI SRL Rome-Italy T +39 06 32 65 16 79 E info@paoloantonacci.com I www.paoloantonacci.com 18th- and 19th-century European paintings and watercolours Stand 335 pp. 58-59

L´ARC EN SEINE Paris-France T +33 1 43 29 11 02 E Arc-en-seine.galerie@wanadoo.fr I www.arcenseine.com 20th-century decorative arts Stand 612 pp. 408-409 E. H. ARIËNS KAPPERS Amsterdam-The Netherlands T +31 20 623 53 56 M +31 6 54 75 86 69 E info@masterprints.nl I www.masterprints.nl Old master prints, artists working around 1900 Japanese woodblock prints Stand 710 pp. 436-437 ARNOLDI-LIVIE Munich-Germany T +49 89 22 59 20 M +49 173 38 93 256 M +49 172 82 67 370 E gallery@arnoldi-livie.de I www.arnoldi-livie.de Paintings and drawings, old master through classic modern Stand 339 pp. 60-61 ARONSON ANTIQUAIRS Amsterdam-The Netherlands T +31 20 623 31 03 M +31 6 54 37 67 26 E mail@aronson.com I www.aronson.com Dutch delftware and Continental furniture Stand 106 pp. 174-175 GALERIE AVELINE Paris-France T +33 1 42 66 60 29 M +33 6 12 26 62 26 E aveline@aveline.com I www.aveline.com 18th-century furniture and works of art Stand 108 pp. 176-177

APPLICAT-PRAZAN Paris-France T +33 1 43 25 39 24 M +33 6 80 04 05 87 E galerie@applicat-prazan.com I www.applicat-prazan.com European master painters from the 50´s Stand 444 pp. 484-485

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B RICCARDO BACARELLI Florence-Italy T +39 055 21 54 57 E bacarelli@bacarelli.com I www.bacarelli.com Italian paintings, sculptures and works of art from the Medieval to the early Neoclassical period Stand 154 pp. 178-179

JEAN-LUC BARONI LTD. London-UK T +44 20 79 30 53 47 M +44 780 14 19 445 E jlbaroni@jlbaroni.com I www.jlbaroni.com Old master and 19th-century paintings and drawings Stand 308 pp. 62-63

DE BACKKER MEDIEVAL ART Hoogstraten-Belgium T +32 3 314 90 34 M +32 476 963 483 E debackker@skynet.be I www.debackker.be Medieval art Stand 233 pp. 180-181

GALLERIE JACQUES BARRÈRE Paris-France T +33 1 43 26 57 61 E contact@barreresa.com I www.artasie.com Stand 124 pp. 186-187

EMANUEL VON BAEYER-LONDON London-UK T +44 207 372 16 68 E art@evbaeyer.com I www.evbaeyer.com European drawings, rare prints and selected paintings from the 15th to the early 20th century, artist autographs, contemporary art Stand 704 pp. 438-439 BAILLY GALLERY Geneva-Switzerland Paris-France T +41 22 827 24 24 T + 33 1 42 60 37 33 M +41 79 410 91 76 E info@baillygallery.com I www.baillygallery.com Modern and contemporary arts Stand 447 pp. 486-487 GREGG BAKER ASIAN ART London-UK T +44 20 72 21 35 33 M +44 79 61 11 90 67 E info@japanesescreens.com I www.japanesescreens.com Japanese and Chinese works of art, specialising in Japanese screens, Buddhist art and Post-war painting Stand 260 pp. 182-183 VÉRONIQUE BAMPS Monte Carlo-Monaco T +377 97 97 37 57 M +33 6 43 91 74 65 E info@veroniquebamps.com I www.veroniquebamps.com Antique jewellery Stand 274 pp. 184-185

GALERIE BASTIAN Berlin-Germany T +49 30 2067 38 40 E info@galeriebastian.com I www.galeriebastian.com Modern and contemporary art Stand 529 pp. 488-489 BECK & EGGELING INTERNATIONAL FINE ART Düsseldorf | Vienna Dusseldorf-Germany Vienna-Austria T +49 211 491 58 90 E info@beck-eggeling.de I www.beck-eggeling.de Impressionism and Expressionism, classic modern, international contemporary Stand 525 pp. 490-491 CHARLES BEDDINGTON LTD. London-UK T +44 20 74 39 49 59 M +44 77 74 27 18 20 E info@charlesbeddington.com I www.charlesbeddington.com Old master paintings Stand 378 pp. 64-65 JAN BEEKHUIZEN KUNST- EN ANTIEKHANDEL VOF Amsterdam-The Netherlands T +31 20 626 39 12 M +31 6 51 34 78 88 E info@janbeekhuizen.nl I www.janbeekhuizen.nl 15th- through 19th-century European pewter and works of art Stand 238 pp. 188-189

MICHELE BEINY INC. New York-USA T +1 212 794 93 57 M +1 917 319 71 02 E michele@michelebeiny.com I www.michelebeiny.com 18th- and 19th-century English and Continental porcelain and faience, objets du vertu, French furniture, Renaissance jewels, modern and contemporary glass, and ceramics Stand 272 pp. 190-191 BEL ETAGE Vienna-Austria T +43 1 512 23 79 E office@beletage.com I www.beletage.com Viennese Jugendstil Stand 606 pp. 410-411 BENAPPI London-UK T +39 011 88 32 62 E valentina@benappi.com I www.benappi.com Italian and European old master paintings and sculptures from the 14th to the 20th century Stand 261 pp. 192-193 GALERIE DE LA BÉRAUDIÈRE Brussels-Belgium T +32 2 646 92 15 M +32 478 82 30 13 E galerie@delaberaudiere.com I www.delaberaudiere.com Impressionist and modern masters, paintings, drawings and sculptures Stand 420 pp. 492-493 GALERIE BERÈS Paris-France T +33 1 42 61 27 91 M +33 6 07 01 50 41 E beres@galerieberes.com I www.galerieberes.com 19th- and 20th- century paintings, drawings and sculptures Stand 406 pp. 494-495 BERKO FINE PAINTINGS Knokke-Heist-Belgium T +32 50 60 57 90 M +32 475 85 00 61 E information@berkofinepaintings. com I www.berkofinepaintings.com 19th-century and early 20th-century European paintings Stand 361 pp. 66-67 611

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KUNSTHANDEL A.H. BIES Eindhoven-The Netherlands T +31 40 243 13 77 M +31 6 53 23 77 14 E info@biesgallery.com I www.biesgallery.com 19th-and early 20th-century paintings. Dutch Romantic School, Hague School and Impressionist paintings Stand 314 pp. 68-69

BORZOGALLERY Amsterdam-The Netherlands T +31 20 626 33 03 M +31 6 53 16 38 08 E info@borzo.com I www.borzo.com 20th-century art Stand 450 pp. 496-497

BIJL-VAN URK BV Alkmaar-The Netherlands M +31 6 53 42 54 32 E sander@bijlvanurk.com I www.bijlvanurk.com Master Paintings Stand 366 pp. 70-71

BOTTICELLI ANTICHITÁ Florence-Italy T +39 055 230 20 95 E botticelliantichita@ botticelliantichita.com I www.botticelliantichita.com Italian paintings, sculptures and works of art from the Medieval to the early Neoclassical period Stand 154 200-201

H. BLAIRMAN & SONS LTD London-UK T +44 207 493 04 44 E blairman@blairman.co.uk I www.blairman.co.uk Architect-designed furniture and works of art Stand 183 pp. 194-195

GALERIE BOULAKIA Paris-France T +33 1 56 59 66 55 M +33 6 11 85 58 55 E galerie@boulakia.net I www.boulakia.net Impressionist and modern art Stand 509 pp. 498-499

BLUMKA GALLERY New York-USA T +1 212 734 32 22 M +1 917 412 33 03 E info@blumkagallery.com I www.blumkagallery.com Medieval, Renaissance, and Baroque works of art Stand 212 pp. 196-197

KUNSTHANDEL IVO BOUWMAN The Hague-The Netherlands T +31 70 328 36 60 M +31 6 53 92 88 22 E info@ivobouwman.nl I www.ivobouwman.nl 19th- and 20th-century paintings Stand 333 pp. 74-75

KUNSTHANDEL P. DE BOER BV Amsterdam-The Netherlands T +31 20 623 68 49 M +31 6 21 52 00 44 M +31 6 29 01 61 60 E info@kunsthandelpdeboer.com I www.kunsthandelpdeboer.com info@kunsthandelpdeboer.com Stand 345 pp. 72-73 JULIUS BÖHLER Starnberg-Germany T +49 81 51 55 92 53 M +49 171 756 29 53 E info@boehler-art.com I www.boehler-art.com European sculpture and works of art from the early Middle Ages into the Baroque period Stand 212 pp. 198-199

BRIMO DE LAROUSSILHE Paris-France T +33 1 42 60 74 76 M +33 6 75 05 35 02 E galerie@brimodl.com I www.brimodelaroussilhe.com Antiques and works of art from the Middle Ages and Renaissance Stand 114 pp. 202-203 BEN BROWN FINE ARTS London-UK T +44 207 734 88 88 E info@benbrownfinearts.com I www.benbrownfinearts.com Modern and contemporary art Stand 524 pp. 504-505 BURZIO London-UK T +44 750 257 15 87 E info@lucaburzio.com I www.lucaburzio.com Dealers in antiques and works of art Stand 167 pp. 204-205 JAMES BUTTERWICK London-UK T +44 20 8748 7320 M +44 77 68 36 19 05 E james@jamesbutterwick.com I www.jamesbutterwick.com Russian and European fine art 18901930 Stand 709 pp. 440-441

BOWMAN SCULPTURE London-UK T +44 207 930 0277 M +44 774 049 3748 E gallery@bowmansculpture.com I www.bowmansculpture.com Auguste Rodin and 20th-century master sculptors Stand 449 pp. 500-501 BRAME & LORENCEAU Paris-France T +33 1 45 22 16 89 E galerie@gbl.fr I www.gbl.fr Impressionist, modern and contemporary art Stand 522 pp. 502-503

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C CAHN INTERNATIONAL AG Basel-Switzerland Münchenstein-Switzerland T +41 61 271 67 55 E mail@cahn.ch I www.cahn.ch Greek, Roman and Egyptian antiquities Stand 422 pp. 368-369 GALERIE CANESSO Paris-France T +33 1 40 22 61 71 E contact@canesso.com I www.canesso.art Italian old master paintings Stand 382 pp. 76-77 GALERIE CARATSCH St. Moritz-Switzerland T +41 81 734 00 00 E andrea@galeriecaratsch.com I www.galeriecaratsch.com Modern art Stand 523 pp. 506-507 CARDI GALLERY Milan-Italy London-UK T +39 02 454 78 189 M +39 33 564 00 998 E mail@cardigallery.com I www.cardigallery.com Italian modern and Post-War contemporary art Stand 443 pp. 508-509 ALBERTO DI CASTRO Rome-Italy T +39 06 679 22 69 T +39 06 699 15 47 M +39 335 42 08 80 E info@dicastro.com I www.dicastro.com Furniture, paintings and works of art from the 15th to the 19th century Stand 181 pp. 206-207 ALESSANDRA DI CASTRO Rome-Italy T +39 06 69 92 31 27 M +39 335 56 50 711 E info@alessandradicastro.com I www.alessandradicastro.com European sculpture and works of art Stand 234 pp. 208-209

GALERIA CAYLUS Madrid-Spain T +34 91 578 30 98 E info@galeriacaylus.com I www.galeriacaylus.com Old master paintings Stand 379 pp. 78-79 ALESSANDRO CESATI Milan-Italy T +39 02 86 46 09 28 M +39 33 36 52 55 76 E info@cesatiecesati.com I www.cesatiecesati.com European sculpture and works of art Stand 155 pp. 210-211 WALLACE CHAN Hong Kong-China T +852 2523 2788 E info@wallace-chan.com I www.wallace-chan.com Contemporary jewellery Stand 139 pp. 392-393 CHOPARD & CIE SA Geneva-Switzerland T +41 22 719 31 31 E info@chopard.com I www.chopard.com Contemporary jewellery Stand 145 pp. 394-395 GALERIE DIDIER CLAES Brussels-Belgium T +32 2 414 1929 M +32 477 66 02 06 E contact@didierclaes.com I www.didierclaes.com African art Stand 126 pp. 212-213 LIBRAIRIE CLAVREUIL Paris-France T +33 1 43 26 97 69 E basane@thomas-scheler.fr I www.franceantiq.fr/slam/clavreuil/ UK.asp Manuscripts, fine printed books, icunables, science, medicine, travel, bindings Stand 721 pp. 442-443

STÉPHANE CLAVREUIL RARE BOOKS / LONDON London-UK T +44 798 325 22 00 E stephane@clavreuil.co.uk First editions, incunabula, manuscripts, medicine, natural history, Renaissance, travel, philosophy, history of ideas, science, geographical discoveries Stand 721 pp. 444-445 VAN CLEEF & ARPELS London-UK T +44 20 74 93 74 13 E info@vancleefarpels.com I www.vancleefarpels.com Jewellery Stand 144 pp. 396-397 GALERIE ERIC COATALEM Paris-France T +33 1 42 66 17 17 M +33 6 09 16 64 24 E coatalem@coatalem.com I www.coatalem.com 17th- and 18th-century French and Italian paintings and drawings Stand 377 pp. 80-81 COHEN & COHEN Reigate-UK T +44 1737 24 21 80 E info@cohenandcohen.co.uk I www.cohenandcohen.co.uk Chinese export porcelain and works of art, 17th and 18th century Stand 244 pp. 214-215 COLNAGHI London-UK Madrid-Spain T +44 207 491 74 08 T + 34 91 310 05 82 E info@colnaghi.com I www.colnaghi.co.UK Old master paintings and sculpture from the 15th to the 19th century Stand 306 pp. 82-83 CONNAUGHT BROWN London-UK T +44 20 74 08 03 62 E art@connaughtbrown.co.uk I www.connaughtbrown.co.uk Impressionist and modern art Stand 448 pp. 510-511

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D DANIEL CROUCH RARE BOOKS London-UK New York-USA T +44 20 704 202 40 E info@crouchrarebooks.com I www.crouchrarebooks.com Printed books, maps, manuscripts and globes Stand 702 pp. 446-447 GALERIE CYBELE Paris-France T +33 1 43 54 16 26 M +33 6 03 03 29 45 E cybele5@wanadoo.fr I www.galerie-cybele.com Ancient Egyptian, Greek and Roman antiquities Stand 435 pp. 370-371

DAATSELAAR FINE ART & ANTIQUES Zaltbommel-The Netherlands T +31 418 71 23 00 M +31 6 54 39 41 08 E info@daatselaar.com I www.daatselaar.com General antiques dealer Stand 164 pp. 216-217 GALERIE DANSK MØBELKUNST Copenhagen-Denmark T +45 33 32 38 37 M +45 20 83 35 36 E info@dmk.dk I www.dmk.dk Scandinavian design 1920-1970 Stand 600 pp. 412-413 DAXER & MARSCHALL KUNSTHANDEL Munich-Germany T +49 89 28 06 40 M +49 172 890 8640 E info@daxermarschall.com I www.daxermarschall.com Paintings and sculptures, 16th to 20th century, with a special focus on the 19th century Stand 337 pp. 84-85 DAY & FABER London-UK T +44 207 629 29 91 M +44 78 50 30 84 89 E jf@dayfaber.com I www.dayfaber.com European drawings of the last five hundred years Stand 701 pp. 448-449 GALLERY DELAIVE Amsterdam-The Netherlands T +31 20 625 90 87 M +31 6 53 22 20 87 E info@delaive.com I www.delaive.com Modern art Stand 532 pp. 512-513 GALERIE DELALANDE Paris-France T +33 1 42 60 19 35 E domdelalande@hotmail.com I www.delalande-antiques.com Marine and sciences, curiosities including great canes, tobacco and opium objects of art Stand 151 pp. 218-219

DEMISCH DANANT New York-USA T +1 212 989 57 50 E info@demischdanant.com I www.demischdanant.com Design Stand 610 pp. 414-415 PATRICK DEROM GALLERY Brussels-Belgium T +32 2 514 08 82 E info@patrickderomgallery.com I www.patrickderomgallery.com Fine art from the late 19th century to the present. Modern movements from Symbolism to Pop Art, with occasional excursions into contemporary art Stand 451 pp. 514-515 GALERIE MICHEL DESCOURS Lyon-France T +33 4 78 37 34 54 E contact@gallery-descours.com I www.peintures-descours.fr Works on paper Stand 716 pp. 450-451 DICKINSON London-UK New York-USA T +44 20 74 93 03 40 E info@simondickinson.com I www.simondickinson.com Master paintings Stand 402 pp. 86-87 DIDIER LTD London-UK T +44 207 221 15 73 M +44 79 73 80 04 15 E info@didierltd.com I www.didierltd.com Jewellery by post-war painters and sculptors Stand 602 pp. 416-417 DOUWES FINE ART Amsterdam-The Netherlands T +31 20 664 63 62 M +31 6 55 11 77 92 E info@douwesfineart.com I www.douwesfineart.com 16th-20th-century Dutch, Flemish, French and Russian paintings, drawings and watercolours and early Rembrandt etchings Stand 334 pp. 88-89

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E LAFFANOUR - GALERIE DOWNTOWN / PARIS Paris-France T +33 1 46 33 82 41 E contact@ galeriedowntown.com I www.galeriedowntown.com 20th-century design Stand 605 pp. 418-419 GALERIE BERNARD DULON Paris-France T +33 1 43 25 25 00 M +33 648 55 68 20 E info@dulonbernard.fr I www.dulonbernard.fr Ancien Art from Africa, Oceania and the Americas Stand 122 pp. 220-221

CHARLES EDE LTD London-UK T +44 20 74 93 49 44 M +44 781 773 8495 E info@charlesede.com I www.charlesede.com Ancient Art from the Egyptian, Greek, and Roman worlds Stand 426 pp. 372-373 GALERIE XAVIER EECKHOUT Paris-France T +33 1 48 00 02 11 E aurelie@xaviereeckhout.com I www.xaviereeckhout.com Sculpture 1880-1950 Stand 431 pp. 222-223 JAIME EGUIGUREN, ARTE Y ANTIGÜEDADES Buenos Aires-Argentina T +54 11 48 16 27 87 M +54 911 4425 1181 geheim E jaimeeguiguren@jaimeeguiguren. com I www.jaimeeguiguren.com Old paintings, antiques and works of art Stand 140 pp. 224-225 EGUIGUREN ARTE DE HISPANOAMÉRICA Buenos Aires-Argentina T +54 11 48 06 75 46 E info@eguiguren.com I www.eguiguren.com Latinamerican art Stand 153 pp. 226-227 DONALD ELLIS GALLERY New York-USA T +1 212 581 30 90 E info@donaldellisgallery.com I www.donaldellisgallery.com Historical native American art Stand 128 pp. 228-229

JOHN ENDLICH ANTIQUAIRS Haarlem-The Netherlands T +31 6 48 27 89 63 E info@johnendlich.nl I www.johnendlich.nl Antique silver, gold and objects of vertu Stand 235 pp. 232-233 LES ENLUMINURES Paris-France New-York-USA Chicago-USA T + 33 1 42 60 15 58 E info@lesenluminures.com I www.lesenluminures.com Illuminated manuscripts, miniatures, rings from the ancient through Renaissance periods, and medieval works of art Stand 276 pp. 234-235 ENTWISTLE London-UK Paris-France T +44 20 74 99 69 69 E info@entwistlegallery.com I www.entwistlegallery.com The arts of Africa, Oceania and the Americas Stand 166 pp. 236-237 EPOQUE FINE JEWELS Kortrijk-Belgium T +32 475 61 68 31 M +32 475 61 68 31 E info@epoquefinejewels.com I www.epoquefinejewels.com Fine period and antique jewellery including Art Nouveau and Art Deco jewellery Stand 186 pp. 238-239

DEBORAH ELVIRA Oropesa del Mar-Spain T +34 964 31 34 50 M +34 629 64 72 79 E info@deborahelvira.com I www.deborahelvira.com European historic jewellery and works of art Stand 138 pp. 230-231

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F GALERIE JOHANNES FABER Vienna-Austria T +43 1 505 75 18 M +43 664 5151 517 E office@jmcfaber.at I www.jmcfaber.at Austrian, Czech, European and American classic modern and vintage photographs Stand 726 pp. 452-453 GALERIE ULRICH FIEDLER Berlin-Germany T +49 30 33 09 40 10 E fiedler@ulrichfiedler.com I www.ulrichfiedler.com Fine 20th-century design Stand 607 pp. 420-421 KUNSTHANDEL JACQUES FIJNAUT BV SILVER & WORKS OF ART Amsterdam-The Netherlands T +31 20 625 63 74 M +31 6 14 31 80 52 E jacques.fijnaut@gmail.com I www.kunsthandelfijnaut.nl 17th- and 18th-century Dutch silver, 18th-century Dutch furniture, Dutch and Flemish paintings: PostImpressionist, Fauvism Stand 176 pp. 240-241 PETER FINER London-UK T +44 207 839 56 66 E gallery@peterfiner.com I www.peterfiner.com Antique arms, armour and related objects Stand 216 pp. 242-243 GALERIE FLORE Brussels-Belgium M +32 473 34 45 43 E flore@flore.cc I www.galerieflore.com French furniture Stand 137 pp. 244-245 SAM FOGG London-UK T +44 20 75 34 21 00 M +44 77 66 05 44 31 E info@samfogg.com I www.samfogg.com The art of the European Middle Ages with departments also focusing on Ethiopian, Islamic and Asian art Stand 309 pp. 90-91

G ANTIQUARIAAT FORUM BV ´t Goy-Houten-The Netherlands T +31 30 601 19 55 M +31 6 54 68 03 66 E info@forumrarebooks.com I www.forumrarebooks.com Antiquarian and rare books, with special emphasis on the subjects of travel, natural history, coloured plate books, early printing and the Islamic world Stand 702 pp. 454-455 FRENCH & COMPANY, LLC New York-USA T +1 212 535 33 30 M +1 646 289 01 86 E info@frenchandcompanyart.com I www.frenchandcompanyart.com European paintings from the 16th through the 20th century Stand 312 pp. 92-93

GALERIE 1492 Paris-France T +33 1 43 26 89 82 M +33 6 47 96 15 30 E galerie1492@gmail.com I www.galerie1492.com Stand 160 pp. 246-247 GALLO FINE ART Milano-Italy T +39 02 35946370 M +39 3355248311 E galloarte@gmail.com E info@galloarte.com I www.galloarte.com Old master paintings and works of art Stand 180 pp. 248-249 GANA ART Seoul-Korea T +82 2 32 17 0235 E smlee@ganaart.com I www.ganaart.com Korean contemporary art, Korean antiques, Western contemporary and modern and Impressionist art Stand 510 pp. 516-517 VAN GELDER TRADITIONAL INDIAN FOLK JEWELLERY ´s-Hertogenbosch-The Netherlands T +31 73 657 28 13 M +31 6 53 88 35 60 E info@vangelderjewellery.com I www.vangelderjewellery.com Traditional Indian jewellery Stand 241 pp. 250-251 GIACOMETTI OLD MASTER PAINTINGS Rome-Italy T +39 06 68 13 49 28 M +39 320 372 04 92 M +39 388 849 65 54 E info@giacomettiomp.com I www.giacomettiomp.com Old master paintings Stand 338 pp. 94-95 THOMAS GIBSON FINE ART London-UK T +44 20 74 99 85 72 M +44 78 17 451 109 E info@tgfineart.com I www.thomasgibsonfineart.com Impressionist, modern and international contemporary art Stand 418 pp. 518-519

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H RALPH GIERHARDS ANTIQUES-FINE ART Dusseldorf-Germany T +49 211 32 04 64 E info@gierhards.com I www.gierhards.com General antiques Stand 158 pp. 252-253 ERIC GILLIS FINE ART Brussels-Belgium T +32 2 503 14 64 M +32 473 36 02 15 E eric@eg-fineart.com I www.eg-fineart.com Old and modern masters, paintings, drawings and sculptures Stand 717 pp. 456-457 MICHAEL GOEDHUIS London-UK T +44 207 823 13 95 E london@michaelgoedhuis.com I www.michaelgoedhuis.com Chinese and Japanese work of art and Chinese contemporary art Stand 246 pp. 254-255 RICHARD GREEN London-UK T +44 20 7493 39 39 E paintings@richardgreen.com I www.richardgreen.com Old master, British, sporting, marine, French Impressionist, modern British, 19th-century European and Victorian paintings Stand 302 pp. 96-97 MARTYN GREGORY London-UK T +44 20 78 39 37 31 E mgregory@dircon.co.uk I www.martyngregory.com British paintings and watercolours, China trade paintings and pictures relating to the Far East Stand 332 pp. 98-99 GALERIE KARSTEN GREVE AG St. Moritz-Switzerland Paris-France Cologne-Germany T +41 81 834 90 34 M +41 79 638 77 89 E info@galerie-karsten-greve.ch I www.galerie-karsten-greve.com International Avantgarde after 1945 Stand 412 pp. 520-521

BERNARD DE GRUNNETRIBAL FINE ARTS Brussels-Belgium T +32 2 502 31 71 M +32 475 61 62 14 E bernard@degrunne.com I www.bernarddegrunne.com Tribal fine arts of Africa, Oceania and Indonesia Stand 121 pp. 256-257 DR. JÖRN GÜNTHER RARE BOOKS AG Stalden-Basel-Switzerland T +41 61 275 75 75 E info@guenther-rarebooks.com I www.guenther-rarebooks.com Illuminated medieval and Renaissance manuscripts, miniatures and early printed books Stand 109 pp. 258-259

GALERIE HAAS AG Zurich-Switzerland T +41 43 497 20 26 E contact@galeriehaasag.ch I www.galeriehaasag.ch Expressionism, New Objectivity, classic modern Art , international Post-war and contemporary art Stand 452 pp. 522-523 HABOLDT· PICTURA Amsterdam-The Netherlands Paris-France New York-USA T +33 1 42 66 44 54 E oldmasters@haboldt.com Old master paintings and drawings Stand 343 pp. 100-101 JOHNNY VAN HAEFTEN LTD London-UK T +44 20 79 30 30 62 E paintings@johnnyvanhaeften.com I www.johnnyvanhaeften.com 17th-century Dutch and Flemish old master paintings Stand 304 pp. 102-103 FERGUS HALL London-UK T +44 207 493 42 20 E fergus@hallmasterpaintings.com I www.hallmasterpaintings.com Old master paintings Stand 367 pp. 104-105 HAMMER GALLERIES New York-USA T +1 212 644 4400 M +1 954 242 3535 E stephanie@hammergalleries.com I www.hammergalleries.com Specializing in 19th- and 20th-century European and American masters Stand 445 pp. 524-525 HANCOCKS London-UK T +44 20 74 93 89 04 M +44 78 50 555 555 E info@hancocks-london.com I www.hancocks-london.com Rare and collectable jewels Stand 243 pp. 260-261

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J GALERIE HARMAKHIS Brussels-Belgium T +32 2 511 65 39 M +32 475 65 02 85 E harmakhis@skynet.be I www.harmakhis.be Egyptian, Greek and Roman antiquities Stand 439 pp. 374-375 PATRICK HEIDE CONTEMPORARY ART London-UK T +44 20 77 24 55 48 E info@patrickheide.com I www.patrickheide.com International contemporary program with an emphasis on drawing and works on paper Stand 715 pp. 458-459 HEMMERLE Munich-Germany T +49 89 24 22 60 0 E info@hemmerle.com I hemmerle.com Contemporary jewellery Stand 141 pp. 398-399 THOMAS HENEAGE ART BOOKS London-UK T +44 20 79 30 92 23 M +31 62 97 08 095 E artbooks@heneage.com I www.heneage.com Art reference books; catalogues raisonnés, monographs and exhibition catalogues, worldwide Stand 386 GALERIE HENZE & KETTERER AG Wichtrach/Bern-Switzerland Riehen/Basel-Switzerland T +41 61 641 77 77 M +41 79 508 69 61 E ghkt@artgalleries.ch I www.henze-ketterer.ch Modern and contemporary art, specializing in Expressionism, mainly ´Brücke´. Representing the estate of Ernst Ludwig Kirchner Stand 446 526-527 CARLTON HOBBS New York-USA T +1 212 423 90 00 E enquiries@carltonhobbs.com I www.carltonhobbs.com 17th-, 18th- and 19th-century British and continental museum-quality furniture and works of art Stand 271 pp. 262-263

GALERIE HOPKINS Paris-France T +33 1 42 25 32 32 E hopkins@galeriehopkins.com I www.galeriehopkins.com Impressionist, modern and contemporary art Stand 408 pp. 528-529

JACKSON DESIGN AB Stockholm-Sweden T +46 70 54 54 54 1 E info@jacksons.se I www.jacksons.se Scandinavian and international vintage design 1900-2000 with main focus on Scandinavian classics Stand 601 pp. 422-423 JASON JACQUES GALLERY New York-USA T +1 212 535 7500 E info@jasonjacques.com I www.jasonjacques.com European Art Nouveau and Japonist fine art pottery Stand 604 pp. 424-425 OTTO JAKOB Karlsruhe-Germany T +49 721 855 911 M +49 175 24 52 738 E kontakt@ottojakob.de I www.ottojakob.de Contemporary jewellery Stand 147 pp. 400-401 BEN JANSSENS ORIENTAL ART LTD London-UK T +44 20 79 76 18 88 E info@benjanssens.com I www.benjanssens.com Chinese and Japanese works of art Stand 202 pp. 264-265 JANSSENS VAN DER MAELEN Brussels-Belgium T +32 2 502 71 80 M +32 475 48 62 00 E jvdm@fineartsilver.com I www.fineartsilver.com Silver and works of art Stand 266 pp. 266-267 JASKI Amsterdam-The Netherlands T +31 20 620 39 39 M +31 6 50 24 44 26 E info@jaski.nl I www.jaski.nl Contemporary and COBRA Stand 515 pp. 530-531

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K DEREK JOHNS LTD London-UK T +44 20 78 39 76 71 E fineart@derekjohns.co.uk I www.derekjohns.co.uk Old master paintings Stand 375 pp. 106-107 DE JONCKHEERE Geneva-Switzerland Monaco-France T +41 22 310 80 80 E geneve@dejonckheere-gallery.com I www.dejonckheere-gallery.com Old master paintings Stand 342 pp. 108-109

GALLERI K Oslo-Norway T +47 22 55 35 88 E gallerik@online.no I www.gallerik.com Modern art and contemporary (Norwegian/International) Soloshow Franz Gertsch 2017 Stand 718 pp. 460-461 KUNSTHANDEL ROB KATTENBURG BV Bergen-The Netherlands T +31 72 589 50 51 M +31 6 53 40 50 63 E info@robkattenburg.nl I www.robkattenburg.nl Dutch old master paintings, drawings and prints Stand 380 pp 110-111 DANIEL KATZ LTD London-UK T +44 20 749 306 88 E info@katz.co.uk I www.katz.art Fine art from antiquity to the 20th century Stand 100 pp. 268-269 KEITELMAN GALLERY Brussels-Belgium T +32 2 511 35 80 E keitelman@keitelmangallery.com I www.keitelmangallery.com Modern and contemporary art Stand 504 pp. 532-533 GALERIE KEVORKIAN Paris-France T +33 1 42 60 72 91 E contact@galeriekevorkian.com I www.galeriekevorkian.com Ancient art, Islamic art, Indian miniature painting Stand 432 pp. 376-377 JACK KILGORE & CO., INC. New York-USA T +1 212 650 11 49 E info@kilgoregallery.com I www.kilgoregallery.com European old master and 19thcentury paintings Stand 349 pp. 112-113

CHRISTOPHER KINGZETT London-UK T +44 77 71 78 39 18 E christopher@ christopherkingzettfineart.com I www.christopherkingzettfineart. com Drawings of all periods, 20th-century British art Stand 701 pp. 462-463 KOETSER GALLERY Zurich-Switzerland T +41 44 211 52 40 E info@koetsergallery.com I www.koetsergallery.com 17th-century Dutch and Flemish Master paintings,14th- through 18th-century Italian and Spanish paintings,14th through 18th-century Italian paintings Stand 340 pp. 114-115 KOLLENBURG ANTIQUAIRS BV Oirschot-The Netherlands T +31 49 95 78 037 E info@kollenburgantiquairs.com I www.kollenburgantiquairs.com Furnniture and works of art Stand 182 pp. 270-271 KOOPMAN RARE ART London-UK T +44 20 72 42 76 24 M +44 77 70 88 28 31 M +44 78 36 29 53 09 E info@koopmanrareart.com I www.koopmanrareart.com Fine English and Continental silver, gold boxes and object´s of vertu Stand 156 pp. 272-273 VAN KRANENDONK DUFFELS London-UK Milan-Italy T +44 75 95 24 58 19 E vankranendonkduffels@gmail.com I www.vkdjewels.com Antique jewellery, objets de vertu Stand 245 pp. 274-275 GALERIE KREO Paris-France T + 33 1 53 10 23 00 E info@galeriekreo.com I www.galeriekreo.com A ‘laboratory-space’ dedicated to producing limited edition contemporary design pieces, alongside exceptional vintage lighting Stand 614 pp. 426-427 619

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L J. KUGEL Paris-France T +33 1 42 60 86 23 E galerie@galeriekugel.com I www.galeriekugel.com Works of art from medieval and Renaissance up to the 1850s Stand 200 pp. 276-277 KUKJE GALLERY/TINA KIM GALLERY Seoul-Korea New York-USA T +82 2 735 84 49 E kukje@kukjegallery.com I www.kukjegallery.com T +1 212 716 11 00 E info@tinakimgallery.com I www.tinakimgallery.com Modern art Stand 505 pp. 534-535

LAMPRONTI GALLERY London-UK T+44 20 783 929 77 M +39 335 33 33 25 E info@cesarelampronti.co.uk I www.cesarelampronti.com European old master paintings (16th-18th century) Stand 381 pp. 116-117 LANDAU FINE ART, INC. Montreal-Canada Meggen-Switzerland T +1 514 849 33 11 M +41 79 777 47 89 E landau@landaufineart.ca I www.landaufineart.ca 20th-century international artworks Stand 416 pp. 536-537 KUNSTKAMMER GEORG LAUE Munich-Germany T +49 89 27 81 85 55 M +49 172 87 30 961 E kunstkammer@kunstkammer.com I www.kunstkammer.com Renaissance artworks made for Kunstkammer collections out of amber, ivory, coral, coconut, rock crystal, and other precious material Stand 204 pp. 278-279 GALERIE ANTOINE LAURENTIN Paris-France T +33 1 42 97 43 42 M +33 6 07 94 26 56 E contact@galerie-laurentin.com I www.galerie-laurentin.com Paintings, drawings, sculptures of the 20th century Stand 720 pp. 464-465 DAVID LÉVY & ASSOCIÉS Brussels-Belgium T +33 1 45 63 72 52 M +32 475 66 12 25 E info@levydavid.com I www.levydavid.com Modern art, Post-War art, 20th-century drawings, sculptures, paintings, Avant-Garde, Cubism, Surrealism Stand 725 pp. 466-467

SALOMON LILIAN Amsterdam-The Netherlands T +31 20 620 63 07 M +31 6 53 42 21 17 E info@salomonlilian.com I www.salomonlilian.com Old master paintings Stand 353 pp. 118-119 LONGARI ARTE MILANO Milan-Italy T +39 02 89 69 78 48 M +39 335 592 9301 E info@longariartemilano.com I www.longariartemilano.com Early Italian and European works of art Stand 184 pp. 280-281 LÓPEZ DE ARAGÓN Madrid-Spain T +34 629 22 98 72 M +34 629 22 98 72 E diego@lopezdearagon.com I www.lopezdearagon.com Works of art, old and modern master paintings Stand 175 pp. 282-283 LOWELL LIBSON LTD London-UK T +44 20 77 34 86 86 E lowell@lowell-libson.com I www.lowell-libson.com British paintings, watercolours, drawings and sculpture of the 17th to 20th centuries Stand 370 pp. 120-121 LUDORFF Dusseldorf-Germany T +49 211 32 65 66 M +49 173 282 72 27 E mail@ludorff.com I www.ludorff.com German Impressionism, Expressionism, modern and Post-War masters Stand 506 pp. 538-539

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M THE MAAS GALLERY London-UK T +44 20 77 34 23 02 E mail@maasgallery.com I www.maasgallery.com Pre-Raphaelite, Victorian, Romantic and Modern British paintings, drawings and watercolours Stand 336 pp. 122-123

HELGA MATZKE Grünwald-Germany T +49 89 649 36 92 M M +49 172 890 46 00 E art@helga-matzke.de I www.helga-matzke.de 16th- to early 19th-century European silver Stand 165 pp. 284-285

YVES MACAUX London-UK T +32 2 502 31 16 M +32 475 93 37 45 E yvesmacaux@gmail.com I www.secessions.com Viennese secession and Jugendstil Stand 603 pp. 428-429

THE MAYOR GALLERY London-UK T +44 20 77 34 35 58 E info@mayorgallery.com I www.mayorgallery.com Dada, Surrealism, Pop-Art, Group ZERO and Concrete Stand 453 pp. 542-543

MACCONNAL-MASON GALLERY London-UK T +44 20 78 39 76 93 E fineart@macconnal-mason.com I www.macconnal-mason.com 19th-and 20th-century paintings, including Dutch and Flemish Romantic Schools, Impressionist, Modern British, sporting and marine paintings Stand 330 pp. 124-125

S. MEHRINGER Munich-Germany T +49 89 98 74 31 M +49 171 49 24 263 E sascha.mehringer@web.de Sculptures and works of art Stand 261 pp. 286-287

MAISON D´ART Monte Carlo-Monaco T +377 97 97 11 60 E maison-dart@oldmasters.com I www.oldmasters.com Old master and modern paintings Stand 365 pp. 126-127 MARUANI MERCIER GALLERY Brussels-Knokke-Belgium T +32 2 512 50 10 E desk@maruanimercier.com I www.maruanimercier.com Contemporary art Stand 503 pp. 540-541 THE MATTHIESEN GALLERYMATTHIESEN LTD. London-UK T +44 207 930 24 37 E gallery@matthiesengallery.com I www.matthiesengallery.com Old master and 19th-century paintings Stand 351 pp. 128-129

MENTINK & ROEST Ingen-The Netherlands T +31 344 60 36 06 M +31 6 29 04 85 15 E info@mentinkenroest.com I www.mentinkenroest.com Clocks, watches and barometers Stand 172 pp. 288-289 MERRIN GALLERY New York-USA T +1 212 757 28 84 E info@merringallery.com I www.merringallery.com Egyptian, Near Eastern, Greek, and Roman antiquities, and Pre-Columbian art Stand 430 pp. 378-379 GALERIE MEYER-OCEANIC ART Paris-France T +33 1 43 54 85 74 M +33 6 80 10 80 22 E ajpmeyer@gmail.com I www.meyeroceanic.art Oceanic art from Melanesia, Polynesia, Micronesia and Australia.

Early Eskimo art from the Arctic circle Stand 135 pp. 290-291

MODERNITY Stockholm-Sweden T +46 8 20 80 25 M +46 708 39 34 31 E info@modernity.se I www.modernity.se 20th-century Scandinavian design Stand 535 pp. 430-431 AMIR MOHTASHEMI LTD London-UK T +44 20 7937 4422 E info@amirmohtashemi.com I www.amirmohtashemi.com Indian and Islamic works of art Stand 239 pp.292-293 FRANK C. MÖLLER FINE ARTS Hamburg-Germany T +49 40 450 350 47 E info@frankmoeller.eu I www.frankmoeller.eu 18th- and early 19th-century furniture and objects Stand 157 pp. 294-295 MORETTI London-UK T +44 20 74 91 05 33 E enquiries@morettigallery.com I www.morettigallery.com Italian old master paintings Stand 352 pp. 130-131 MORSINK ICON GALLERY Amsterdam-The Netherlands T +31 20 620 04 11 E info@morsink.com I www.morsink.com Russian and Greek icons Stand 136 pp. 296-297 SYDNEY L. MOSS London-UK T +44 20 7629 4670 E pasi@slmoss.com I www.slmoss.com Chinese and Japanese art Stand 268 pp. 298-299 KUNSTHANDEL PETER MÜHLBAUER Pocking-Germany T +49 85 31 18 15 M +49 171 620 32 20 E petermuehlbauer@t-online.de I www.kunsthandel-muehlbauer.com Continental, especially German furniture, paintings, clocks, sculpture and works of art Stand 264 pp. 300-301 621

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MULLANY London-UK T +44 20 75 92 02 76 M +44 77 96 30 30 81 E info@mullanyfineart.com I www.mullanyfineart.com Haute Epoque fine art Stand 170 pp. 302-303

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RICHARD NAGY LTD. London-UK T +44 207 262 64 00 E info@richardnagy.com I www.richardnagy.com Vienna Secession, German Expressionism Stand 410 pp. 544-545

PEARL LAM GALLERIES Hong Kong-China T +852 25 22 14 28 E info@pearllamgalleries.com I www.pearllam.com Contemporary art Stand 533 pp. 548-549

GALERIE NEUSE Bremen-Germany T +49 421 32 56 42 E contact@galerieneuse.com I www.galerieneuse.com European works of art, silver, sculpture, tapestries and furniture Stand 112 pp. 304-305 MARCEL NIES ORIENTAL ART Antwerp-Belgium T +32 3 226 74 55 M +32 475 65 10 85 E marcelnies@skynet.be I www.asianart.com Asian Antiques, Indian, Himalayan and South East Asian art Stand 148 pp. 306-307

O STEPHEN ONGPIN FINE ART London-UK T +44 207 930 88 13 M +44 77 10 32 86 27 E info@stephenongpinfineart.com I www.stephenongpinfineart.com Old master, 19th- and 20th-century drawings and watercolours Stand 724 pp. 468-469 CARLO ORSI Milan-Italy T +39 02 76 00 22 14 E info@galleriaorsi.com I www.galleriaorsi.com Old master paintings and sculpture Stand 344 pp. 132-133 OSBORNE SAMUEL LTD London-UK T +44 20 7493 79 39 M +44 78 31 40 71 20 E info@osbornesamuel.com I www.osbornesamuel.com Modern and contemporay paintings, sculpture, drawings and fine prints Stand 448 pp. 546-547

GALERIE PERRIN Paris-France T +33 1 42 65 01 38 M +33 6 08 71 27 60 E contact@galerieperrin.com I www.galerieperrin.com 18th-century French furniture, works of art and pictures Stand 104 pp. 308-309 S.J. PHILLIPS LTD. London-UK T +44 20 76 29 62 61 E enquiries@sjphillips.com I www.sjphillips.com Jewellery, bijouterie, snuff boxes, miniatures and silver Stand 118 pp. 310-311 GALERIE ERIC PHILIPPE Paris-France T +33 1 42 33 28 26 M +33 6 07 27 84 03 E ericphil@wanadoo.fr I www.ericphilippe.com 20th-century design Stand 608 pp. 432-433 PIVA & C SRL Milan-Italy T +39 02 76 00 06 78 M +39 34 87 81 67 89 E info@pivaec.it I www.pivaec.it 18th-century Italian furniture, paintings, sculpture, ceramics and works of art Stand 179 pp. 312-313 POLAK WORKS OF ART Amsterdam-The Netherlands T +31 20 627 90 09 M +31 6 53 26 21 53 E info@polakworksofart.com I www.polakworksofart.com Art and antiques dealer Stand 120 pp. 314-315

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R BENJAMIN PROUST FINE ART LIMITED London-UK T +44 20 7409 1901 M +44 7500 804 504 E info@benjaminproust.com I www.benjaminproust.com Sculptures and works of art from antiquity to the 20th century Stand 248 pp. 316-317

Q CHRISTOPHE DE QUÉNETAIN Paris-France T +33 1 47 27 29 71 M +33 6 19 02 32 80 E info@christophedequenetain.com I www.christophedequenetain.com Furniture and decorative arts Stand 108 pp. 318-319

ARTUR RAMON ART Barcelona-Spain T +34 93 302 59 70 M +34 6 26 36 43 67 E arturjr@arturamon.com I www.arturamon.com Works on paper and old and modern master pictures Stand 705 pp. 470-471 LUCAS RATTON Paris-France T +33 1 46 33 06 24 E contact@lucasratton.com I www.lucasratton.com Tribal art Stand 130 pp. 320-321 RICHARD REDDING ANTIQUES LTD. Gündisau-Switzerland T +41 44 212 00 14 M +41 79 333 40 19 E redding@reddingantiques.ch I www.richardreddingantiques.com Clocks, furniture, gilt bronzes, decorative objects, sculptures Stand 152 pp. 322-323 JEAN MICHEL RENARD Bellenaves-France T +33 470 583 306 M +33 6 64 91 33 06 E renard.musique@wanadoo.fr I www.renard-music.net Historical musical instruments Stand 168 pp. 324-325 REZA Paris-France T +33 1 42 61 51 21 E contact@alexandrereza.com I www.alexandrereza.com Jewellery Stand 142 pp. 402-403 GALERIE RHÉA Zurich-Switzerland T +41 44 252 06 20 E rhea@rheagallery.com I www.rheagallery.com Classical, Egyptian and Near Eastern antiquities Stand 436 pp. 380-381

RÖBBIG MÜNCHEN Munich-Germany T +49 89 29 97 58 M +49 171 65 00 456 E info@roebbig.de I www.roebbig.de Early German porcelain and 18th-century French and German furniture, paintings and objets d´art Stand 116 pp. 326-327 ROBILANT+VOENA, LONDON-MILAN-ST MORITZ London-UK Milan-Italy St Moritz-Switzerland T +44 20 74 09 15 40 M +44 77 70 47 14 10 E art@robilantvoena.com I www.robilantvoena.com Classic modern and contemporary art Stand 384 pp. 134-135 ROSSI & ROSSI London-UK T +44 20 77 34 64 87 E info@rossirossi.com I www.rossirossi.com Works of early classical art from the Himalayas, including Indian and Himalayan art, early Chinese and Central Asian textiles, as well as contemporary Asian Art from Iran to Tibet and South East Asia Stand 162 pp. 328-329 ROYAL-ATHENA GALLERIES New York-USA London-UK T +1 212 355 20 34 T +44 780 225 8000 M +44 77 71 78 75 97 E mail@royalathena.com I www.royalathena.com Art of the ancient world Stand 433 pp. 382-383 RUDIGIER Munich-Germany T +49 89 59 54 32 E info@rudigier.org 18th- and early 19th-century European porcelain, Kunstkammer works of art, sculptures, old master and early 19th-century paintings Stand 232 pp. 330-331

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S RUEB MODERN AND CONTEMPORARY ART Amsterdam-The Netherlands T +31 20 676 75 66 M +31 6 22 80 59 62 E info@rueb.nl I www.rueb.nl Modern and contemporary art Stand 521 pp. 550-551 KUNSTHANDLUNG HELMUT H. RUMBLER Frankfurt am Main-Germany T +49 69 29 11 42 M +49 17 55 22 91 10 E drweis@beham35.de Old master prints Stand 373 pp. 136-137

SALAMON&C T +39 02 76 01 31 42 E info@salamongallery.com I www.salamongallery.com Old master paintings Stand 375 pp. 106-107 THOMAS SALIS ART & DESIGN Salzburg-Austria T +43 66 284 45 23 M +43 664 431 02 85 E mail@thomassalis.com I www.thomassalis.com Art of the 20th century, focusing on German and French modern masters as well as selected contemporary positions Stand 404 pp. 552-553 G. SARTI Paris-France London-UK T +33 1 42 89 33 66 E giovanni.sarti@wanadoo.fr I www.sarti-gallery.com Italian paintings from 14th to 17th century, 17th- and 18th-century furniture and art objects Stand 372 pp. 138-139 ADRIAN SASSOON London-UK T +44 20 75 81 98 88 M +44 777 032 18 88 E email@adriansassoon.com I www.adriansassoon.com Contemporary studio ceramics, glass, silver, metal and jewellery Stand 269 pp. 332-333 XAVER SCHEIDWIMMER Munich-Germany T +49 89 59 49 79 M +49 17 28 47 29 45 E info@scheidwimmer.com I www.scheidwimmer.com Old master paintings Stand 376 pp. 140-141 HIDDE VAN SEGGELEN, LONDON London-UK T +44 203 441 36 52 M +44 7 952 78 38 53 E mail@hiddevanseggelen.com I www.hiddevanseggelen.com Contemporary art Stand 501 pp. 554-555

SENGER BAMBERG KUNSTHANDEL Bamberg-Germany T +49 951 54 030 M +49 172 8602 007 E senger-bamberg@t-online.de I www.senger-bamberg.de Medieval sculptures, sculptures, paintings, works of art, 18th-century furniture Stand 267 pp. 334-335 SHAPERO RARE BOOKS London-UK T +44 20 74 93 08 76 M +44 77 15 04 33 31 E rarebooks@shapero.com I www.shapero.com Rare and valuable books including travel, literature, natural history, history of ideas, fine bindings; decorative prints and atlases Stand 231 pp. 336-337 S.J. SHRUBSOLE, CORP. New York-USA T +1 212 753 89 20 E inquiries@shrubsole.com I www.shrubsole.com Antique English silver and jewellery Stand 270 pp. 338-339 ROB SMEETS OLD MASTER PAINTINGS Geneva-Switzerland Lugano-Switzerland T +41 022 301 55 19 M +41 792 85 92 62 E info@robsmeets.com I www.robsmeets.com Old master paintings Stand 383 pp. 142-143 SMITH-DAVIDSON GALLERY Amsterdam-The Netherlands Miami-USA T +31 20 626 59 45 M +1 786 397 5546 E info@smith-davidson.com I www.smith-davidson.com Modern and contemporary art Stand 531 pp. 556-557 SOMLO ANTIQUES London-UK T +44 20 74 99 65 26 E mail@somlo.com I www.somlo.com Vintage wristwatches and antique pocket watches Stand 247 pp. 340-341

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SPROVIERI London-UK T +44 20 77 34 20 66 E info@sprovieri.com I www.sprovieri.com Contemporary art Stand 355 pp. 558-559 STAIR SAINTY GALLERY London-UK T +44 207 493 45 42 M +44 79 14 623 968 E info@stairsainty.com I www.stairsainty.com Old master, 19th- and early 20thcentury paintings and sculpture Stand 348 pp. 144-145 LAWRENCE STEIGRAD FINE ARTS New York-USA T +1 212 517 36 43 M +1 917 509 14 29 E gallery@steigrad.com I www.steigrad.com Dutch and Flemish paintings and drawings, primarily from the 16th through 19th century Stand 363 pp. 146-147 MARJAN STERK ANTIQUE JEWELLERY Amsterdam-The Netherlands T +31 20 624 87 03 M +31 6 53 21 44 45 E info@marjansterk.nl I www.marjansterk.nl Antique jewellery and silver Stand 178 pp. 342-343 SALOMON STODEL ANTIQUITÉS Amsterdam-The Netherlands T +31 20 623 16 92 M +31 6 53 93 15 19 E stodel@wxs.nl I www.salomonstodel.com General antiques dealer Stand 134 pp. 344-345 STOPPENBACH & DELESTRE LTD. London-UK T +44 207 930 93 04 M +44 7812525078; +33 6 03 64 28 01 E contact@artfrancais.com I www.artfrancais.com 19th- and 20th-century French paintings, drawings and watercolours Stand 331 pp. 148-149

STUDIO 2000 ART GALLERY BLARICUM Blaricum-The Netherlands T +31 35 640 94 32 M +31 6 51 49 02 57 E blaricum@studio2000.nl I www.studio2000.nl 19th- and 20th-century paintings and drawings Stand 520 pp. 560-561 GALERIA SUR Montevideo-Uruguay T +59 82 71 01 25 04 M +598 99 68 40 99 E sur@montevideo.com.uy South-American modern vanguards of the 20s, 30s and 40s Stand 530 pp. 562-563 SYCOMORE ANCIENT ART SA Geneva-Switzerland T +41 22 310 43 80 M +41 78 658 92 00 E sycomore@bluewin.ch I www.sycomore-ancient-art.com Egyptian, Greek and Roman antiquities Stand 438 pp. 384-385

T TALABARDON & GAUTIER Paris-France T +33 1 43 59 13 57 M +33 6 13 26 21 66 E talabardon.gautier@wanadoo.fr 19th-century paintings Stand 374 pp. 150-151 GALERIE TANAKAYA Paris-France T +33 1 43 25 72 91 M +33 6 78 54 55 59 E tanakaya@orange.fr I www.tanakaya.fr Japanese fine prints and works of art Stand 727 pp. 472-473 NICOLAAS TEEUWISSE OHG Berlin-Germany T +49 30 893 80 29 19 E n.teeuwisse@t-online.de I www.teeuwisse.de Old master and modern prints and drawings Stand 723 pp.474-475

ANTIQUARIAT BIBERMUEHLE AG HERIBERT TENSCHERT Ramsen-Switzerland T +41 52 742 05 75 E mail@antiquariat-bibermuhle.ch I www.antiquariat-bibermuehle.com Illuminated medieval manuscripts, rare illustrated books, fine bindings Stand 214 pp. 346-347 CAROLLE THIBAUT-POMERANTZ/ GALERIE FRANS LEIDELMEIJER Paris-France New York-USA M +33 6 09 05 35 98 T +1 212 759 6048 E carolle@ctpdecorativearts.com I antique-wallpaper.com Antique ´Papiers Peints´ and 20th-century decorative art GALERIE FRANS LEIDELMEIJER Amsterdam-The Netherlands T +31 20 625 46 27 E frans@leidelmeijer.nl I www.leidelmeijer.nl European decorative arts of 19th and 20th centuries Stand 273 pp. 348-349 GALERIE THOMAS Munich-Germany T +49 89 29 000 80 E info@galerie-thomas.de I www.galerie-thomas.de German Expressionism, Classic Modernism, Post-War and contemporary art Stand 442 pp. 654-565 TOMASSO BROTHERS FINE ART UK T +44 113 275 5545 M +44 7798 888 988 E info@tomassobrothers.co.uk I www.tomassobrothers.co.uk European sculpture from early Renaissance to Neo-Classical periods with particular speciality in European Renaissance bronzes. Old master paintings, antiquities, fine furniture and objects Stand 310 pp. 152-153 TORNABUONI ART Paris-France Florence-Italy T +33 1 53 53 51 51 E info@tornabuoniart.fr I www.tornabuoniart.com International modern and contemporary art Stand 526 pp. 566-567 625

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V TÓTH-IKONEN Huizen-The Netherlands T +31 6 53 46 82 36 M +31 6 53 46 82 36 E info@tothikonen.com I www.tothikonen.com Antique Russian icons Stand 236 pp. 350-351

RAFAEL VALLS LTD London-UK T +44 20 79 30 11 44 E info@rafaelvalls.co.UK I www.rafaelvalls.co.UK Old masters and fine European paintings Stand 341 pp. 156-157

GALERIE PATRICE TRIGANO Paris-France T +33 1 46 34 15 01 M +33 6 08 80 85 87 E contact@galerietrigano.com I www.galeriepatricetrigano.com Modern and contemporary art Stand 511 pp. 568-569

VANDERVEN ORIENTAL ART ´s-Hertogenbosch-The Netherlands T +31 73 614 62 51 M +31 6 53 17 85 21 E info@vanderven.com I www.vanderven.com Oriental and Asian art Stand 102 pp. 352-353

DAVID TUNICK, INC. New York-USA T +1 212 570 00 90 M +1 203 921 73 48 E info@tunickart.com I www.tunickart.com Works of art on paper: old master and modern prints and drawings Stand 371 pp. 154-155

KUNSTZALEN A. VECHT Amsterdam-The Netherlands T +31 20 623 47 48 M +31 6 55 14 59 90 E a.vecht@planet.nl I www.vecht-worksofart.nl Sculptures and works of art, glass and ceramics, Impressionist and modern paintings Stand 149 pp. 354-355

U W. UTERMANN KG Dortmund-Germany T +49 231 47 64 37 37 E kunst@galerieutermann.de I www.galerieutermann.de German Expressionism and classical modern art, specialized in works on paper Stand 712 pp. 476-477

AXEL VERVOORDT Antwerp-Belgium Hong Kong-China T +32 3 355 33 00 E info@axel-vervoordt.com I www.axel-vervoordt.com Archaeology, Oriental art, furniture and works of art, ZERO- and Gutai Art Stand 424 pp. 356-357 GALERIE FLORENCE DE VOLDÈRE Paris-France T +33 1 40 15 93 26 M +33 6 80 38 85 37 E fdevoldere@orange.fr Flemish old master paintings Stand 368 pp. 158-159

VEDOVI GALLERY Brussels-Belgium T +32 2 513 38 38 E contact@vedovigallery.com I www.vedovigallery.com Modern and contemporary art Stand 507 pp. 570-571 VERDURA / BELPERRON New York-USA M +1 212 758 33 88 M +1 212 702 90 40 E info@verdura.com E info@belperron.com I www.verdura.com I www.belperron.com Vintage and modern fine jewelry from the archives of Duke Fulco di Verdura and Suzanne Belperron Stand 146 pp. 404-405 GALERIE VON VERTES Zurich-Switzerland T +41 44 211 12 13 M +41 79 476 64 96 E info@vonvertes.com I www.vonvertes.com German Expressionism, Fauvism, Post-War and contemporary art Stand 356 pp. 572-573

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W RUPERT WACE ANCIENT ART London-UK T +44 207 495 16 23 E info@rupertwace.co.UK I www.rupertwace.co.UK Ancient Egyptian, Greek and Roman, Near Eastern antiquities Stand 428 pp. 386-387 WADDINGTON CUSTOT GALLERIES London-UK T +44 20 78 51 22 00 E mail@waddingtoncustot.com I www.waddingtoncustot.com 20th-century and contemporary paintings, sculptures and works on paper Stand 500 pp. 574-575 WARTSKI London-UK T +44 20 74 93 11 41 E wartski@wartski.com I www.wartski.com Works by Carl Fabergé, fine jewellery, and objets de vertu Stand 242 pp. 358-359 WATERHOUSE & DODD London-UK T +44 207 734 78 00 M +44 78 60 31 36 33 E info@waterhousedodd.com I www.waterhousedodd.com Fine 20th-century and contemporary British, European and American art Stand 528 pp. 576-577 VAN DE WEGHE FINE ART New York-USA T +1 212 744 19 00 E pierre@vdwny.com I www.vdwny.com Modern and contemporary European and American art Stand 502 pp. 578-579 THE WEISS GALLERY London-UK T +44 20 74 09 00 35 M +44 77 70 69 46 96 E info@weissgallery.com I www.weissgallery.com Specialist dealer in 16th- and 17th-century North European portraiture Stand 350 pp. 160-161

Y JORGE WELSH WORKS OF ART London-UK Lisbon-Portugal T +44 20 72 29 21 40 E uk@jorgewelsh.com I www.jorgewelsh.com Chinese export porcelain and crosscultural works of art from Africa, India, China and Japan (15th to the 18th century) Stand 210 pp. 360-361

YUFUKU GALLERY Tokyo-Japan T +81 3 54 11 29 00 E kumiko@yufuku.net I www.yufuku.net Contemporary ceramics, metalwork, glass, lacquer and Japanese paintings Stand 237 pp. 364-365

WILLIAM WESTON GALLERY London-UK T +44 207 493 07 22 E ww@williamweston.co.uk I www.williamweston.co.uk Modern graphic works by European and British artists Stand 713 pp. 478-479

ALON ZAKAIM FINE ART London-UK T +44 20 7287 77 50 E gallery@alonzakaim.com I www.alonzakaim.com Impressionist, modern and contemporary art Stand 513 pp. 580-581

W&K-WIENERROITHER & KOHLBACHER Vienna-Austria New York-USA T +43 1 533 99 77 E office@austrianfineart.com I www.austrianfineart.com International modern art Stand 722 pp. 480-481

KUNSTHANDEL MIEKE ZILVERBERG Amsterdam-The Netherlands T +31 20 625 95 18 M +31 6 53 83 26 01 E info@miekezilverberg.com I www.miekezilverberg.com Egyptian and classical antiquities, Greek and Roman coins Stand 437 pp. 388-389

Z

JOAN WIJERMARS Amsterdam-The Netherlands T +31 6 51 32 17 17 M +31 6 51 32 17 17 E info@wijermars.com I www.wijermars.com 19th- and 20th-century sculpture Stand 150 pp. 362-363 ADAM WILLIAMS FINE ART LTD New York-USA T +1 212 249 49 87 E adammwilliams@msn.com I www.adam-williams.com Old master paintings Stand 354 pp. 162-163

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TEFAF SHOWCASE

TEFAF CURATED

ELISABETTA CIPRIANI London-UK T +44 7981 646790 E elisabetta@elisabettacipriani.com I www.elisabettacipriani.com Jewellery by contemporary artists Stand S3

ANDRIESSE EYCK GALERIE Amsterdam-Netherlands T +31 20 623 62 37 E info@andriesse-eyck.com I www.andriesse-eyck.com

LULLO PAMPOULIDES FINE ART London-UK T +44 20 74 94 2551 E ap@lullopampoulides.com I www.lullopampoulides.com Master paintings and sculpture Stand S1 RENAUD MONTMEAT ART D´ASIE Paris-France T +33 6 17 61 21 60 E montmeatartdasie@gmail.com I www.montmeat-asianart.com Indian, Himalayan and South East Asian Art Stand S2 SOKYO GALLERY Kyoto-Japan T +81 75 746 4456 E info@gallery-sokyo.jp I www.gallery-sokyo.jp Contemporary Japanese art Stand S5 TRIBAL ART CLASSICS Brussels-Belgium T +34 617 666 098 E Adrian@Schlag.net I www.tribalartclassics.com African and Oceanic Art Stand S4

GALERIE JEAN BROLLY Paris-France T +33 1 42 78 88 02 E galbrolly@wanadoo.fr I www.jeanbrolly.com KONRAD FISCHER GALERIE Dusseldorf-Germany T +49 211 685 908 E Thomas.rieger@ konradfishergalerie.de I www.konradfischergalerie.de ROBERTO POLO GALLERY Brussels-Belgium T +32 2 502 56 50 E gallery@robertopolo.com I www.robertopologallery.com AUREL SCHEIBLER Berlin-Germany T +49 302 593 86 07 E office@aurelscheibler.comoffice@ aurelscheibler.com I www.aurelscheibler.com NADJA VILENNE Liège-Belgium T +32 4 227 19 91 E info@nadjavilenne.com I www.nadjavilenne.com Stand VISTAMARE DI BENEDETTA SPALETTI SRL Pescara-Italy T +39 085 69 45 70 E info@vistamare.com I www.vistamare.com

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BUSINESS STANDS AON Amsterdam-The Netherlands T +31 20 430 56 93 E info@aon.nl I www.aon.nl Aon empowers human and economic possibility. Aon develops custom and comprehensive risk solutions for museums, art dealers, galleries, and private and corporate collectors.

Aon is a global expert in innovative fine art insurances.

Stand 808 APOLLO London-UK T +44 20 79 61 01 05 E nigel@apollomag.com I www.apollo-magazine.com The international art magazine Stand 801 THE ART LOSS REGISTER London-UK T +44 207 841 57 80 E info@artloss.cominfo@artloss.com I www.artloss.com International database of lost and stolen art, antiques and collectables, and items registered as in dispute or with reported authentication issues Stand 730 THE ART NEWSPAPER London-UK E subscribe@theartnewspaper.com I www.theartnewspaper.com The journal of record for the visual arts world, covering international news and events Stand 804 AXA ART VERSICHERUNG AG Cologne-Germany T +49 221 148 32 447 M +49 174 917 85 58 E info@axa-art.de I www.axa-art.com The only art insurance specialist in the world Stand 800 BRAND VAN EGMOND Amsterdam-The Netherlands T +31 35 692 12 59 E info@brandvanegmond.com I www.brandvanegmond.com A lighting design brand and an international trendsetter in exclusive handcrafted decorative lighting Stand 818

CHAPEAU! Maastricht-The Netherlands T +31 43 321 62 26 E info@chapeaumagazine.nl I www.chapeaumagazine.com Stand 707 ING ART MANAGEMENT Amsterdam-The Netherlands T +31 20 563 91 76 I www.ingartcollection.com Stand 814 INVALUABLE USA-Europe-UK-Australia-Asia T +1 617 746 9800 E info@invaluable.com I www.invaluable.com Online marketplace for the world’s finest art and antiques stand 804 SANDRA LIOTUS LIGHTING DESIGN, LLC Newport-USA T +1 401 845 92 36 E sandraliotus@cox.net I sandraliotuslightingdesign.com Fine art lighting solutions Stand 803 INTERNATIONAL NEW YORK TIMES Amsterdam-The Netherlands T +31 20 624 65 72 E iht@cemedia.nl I www.nytimes.com Stand 804 RED PENCIL Singapore T +65 62 21 22 17 E info@redpencil.org I www.redpencil.org Humanitarian Foundation Stand 810 RIJKSMUSEUM Amsterdam-The Netherlands T +31 20 674 70 00 E info@rijksmuseum.nl I www.rijksmuseum.nl Stand 814 RKD NETHERLANDS INSTITUTE FOR ART HISTORY The Hague-The Netherlands T +31 70 333 97 77 E info@rkd.nl I www.rkd.nl Stand 728

SCRIPTUM ART BOOKS Schiedam-The Netherlands M +31 6 54 28 25 38 E art@scriptumart.nl I www.scriptum.nl Art books Stand 830 TABLEAU Amsterdam-The Netherlands T +31 20 664 85 43 E tableaumedia@kpnmail.nl I www.tableaumagazine.nl Art magazine Stand 804 TASCHEN I www.taschen.com Publisher of exclusive books Stand 832 VASTARI London-UK T +44 787 635 3055 E team@vastari.com I www.vastari.com Touring exhibitions, museum exhibitions and exhibition loans from private collections stand 805 VERENIGING REMBRANDT The Hague-The Netherlands T +31 70 427 17 20 E bureau@verenigingrembrandt.nl I www.verenigingrembrandt.nl A group of almost 12.000 artlovers who contribute to the enrichment of the public art collection in the Netherlands Stand 729 VLASSAK VERHULST Schilde-Belgium T +32 3 685 07 00 E info@vlassakverhulst.be I www.vlassakverhulst.com Exclusive architecture Stand 820 WELTKUNST Zeit KunstverlagGMBH & Co. KG Berlin-Germany T +49 40 32 80-0 E info@weltkunst.de I www.weltkunst.de Stand 804 WIJN VERLINDEN/BOLLINGER ´s-Hertogenbosch-The Netherlands T +31 73 648 80 11 M +31 6 23 81 39 18 E info@wijnverlinden.nl I www.wijnverlinden.nl Wine sales Stand 703

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TEFAF HEAD OFFICE HELVOIRT–THE NETHERLANDS T +31 411 64 50 90 www.tefaf.com info@tefaf.com NEW YORK–USA T +1 212 202 59 50

PARTICIPATION Applications for participation in the 2018 Fair can only be done through www.tefaf.com.

Acceptance is solely at the discretion of TEFAF and only following an invitation from 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. While every care is taken by the publishers, the descriptions and attributions of the items illustrated are the sole responsibility of the individual firms. No part of this book may be reproduced in any form by print, photo print, microfilm or any other means without written permission from the publisher. Vetting of all objects will be done 2 days prior to the Fair.

DESIGN Wiedemann Lampe, London, UK PRINTING Graphius-DeckersSnoeck, Ghent, Belgium

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PUBLIC RELATIONS CONSULTANTS

CONTRACTORS

THE NETHERLANDS/GLOBAL The European Fine Art Foundation Broekwal 64 5268 HD Helvoirt The Netherlands T +31 411 64 64 40 E press@tefaf.com I www.tefaf.com

LATIN AMERICA Argentina Cultural Services Graciela Prosperi The Hague-The Netherlands T +31 70 383 98 79 M +31 6 52 60 00 55 E graciela@ argentinaculturalservices.nl

FAIR ARCHITECT Tom Postma Design Amsterdam-The Netherlands T +31 20 622 85 69 E tpd@tompostma.nl I www.tompostma.nl

BELGIUM/LUXEMBOURG Truuske Verloop Ranst-Belgium T +32 497 48 59 67 E verloop@telenet.be

SPAIN Oficina de Turismo y Congresos de Holanda Soraya Gabriel Madrid-Spain T +34 917 49 80 82 E sgabriel@holland.com I www.holland.com/es

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CATERING Maison van den Boer Veghel-The Netherlands T +31 413 31 83 18 E info@maisonvandenboer.com I www.maisonvandenboer.com

SCANDINAVIA Birgitta Lemmel Brussels-Belgium T +32 498 12 22 60 E birgitta.lemmel@skynet.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

UK Golden2 Consulting Diana Cawdell London-UK T +44 207 439 28 22 E info@goldensquared.com

STAND BUILDER Stabilo International bv Eindhoven-The Netherlands T +31 40 234 89 00 E info@stabiloworld.com I www.stabiloworld.com

USA/CANADA Sharp Communications Josh Schoenfelder New York-USA T + 1 212 829 00 02 E info@sharpthink.com I www.sharpthink.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

ITALY Studio Esseci Roberta Barbaro Sergio Campagnolo Padova-Italy T +39 049 663 499 E gestione3@studioesseci.net I www.studioesseci.net

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SEE YOU AT TEFAF NEW YORK SPRING 4-8 MAY, 2017 TEFAF NEW YORK FALL 27-31 OCTOBER, 2017 TEFAF MAASTRICHT 9-18 MARCH, 2018

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