Voorjaarsveiling Kunst en Antiek 2017
Een greep uit deze veiling
Marc Mendelson (1915-2013)
'Le guerrier dépité'/ The spitefull warrior
signed with the artist's monogram lower left and signed, titled and dated 1964 on the stretcher
oil on canvas, 155x195 cm
Literature: 'Marc Mendelson', Ulb/Gram (Publisher) 1995, page 128, illus. in colour.
- Museum of Art-Carnegie Institute, Pittsburgh, 'The 1964 Pittsburgh International Exhibition of contemporary Painting and Sculpture', 30.10.1964-10.01.1965.
- Museo de Arte Moderno, Rio de Janeiro, 'La pintura Belga contemporanea de 1920 a nossos dias', November-December 1965.
- Haus der Kunst, München, 'Grosse Kunstaussstellung', 13.6-29.9.1968, no. 12.
- Koninklijk Museum voor Schone Kunsten, Antwerpen, 'Contrasten 1947-1967', 18.2.-12.5.1968.
Jo Delahaut (1911-1992)
signed lower right and signed, titled and dated 'Fevr 1953' on the reverse
oil on canvas, 75x58 cm
Jo Delahaut (1911-1992) is one of the key figures of Belgium’s Post-War geometric art.
After studying sculpture and archiving a doctorate in Art History he joined in the 1940‘s the artists group ‘La Jeune Peinture Belge’ (Young Belgium Painting) and began abstract painting. In the 50’s and early 60’s he co-founded the avant-garde groups ‘Art Abstrait’ (1952), ‘Formes’ (1956) and ‘Art Construit’ (1960). In 1954 he became co-author, together with Pol Bury and others, of the ‘Manifeste Spatialiste’ (spatial manifesto). The oeuvre of Delahaut is varied and includes beside painting, drawings and prints, sculptures, ceramics as well as jewellery, book covers and theoretic writings.
Antonio Blanco (1911-1999)
Antonio Blanco (1911-1999)
Balinese boy with hibiscus / Kebang Spatu
signed upper left
oil on canvas, 51x43 cm
Provenance: Blanco Studio of Art, 47 West 12 Street, New York
Antonio Blanco was born on September 15, 1911, in Manila, the capital of the Philippines. Both of his parents were Spanish, a fact that Blanco believed linked him geographically and spiritually to Miro and Salvador Dali. His father settled in Manila during the Spanish - American War, where he attained prominence as a physician. Blanco was educated at the American Central School in Manila. During his high school years he loved the arts, literature and language classes. It is no wonder that he spoke six languages - Spanish, French, English, Tagalog, Indonesian and a bit of Balinese. After completing high school in Manila, Blanco studied at the National Academy of Art in New York under Sidney Dickinson. During those early formative years, Blanco concentrated on the human form, fascinated by the female body more than any other subject matter. To further his studies and ignite his traveling spirit, he traveled extensively throughout the world before he finally landed in Bali in 1952.The King of Ubud gave Blanco a piece of land to set up his home and studio in Campuan, Ubud, at the confluence of two sacred rivers. Blanco and his Balinese wife, the celebrated dancer Ni Ronji, lived in their mountain retreat, barely leaving it for the world outside. Following a brief trip to the United States, where Blanco acquired many new collectors, the couple never left their fantasy home again.
Living in serene surroundings with his four children, Tjempaka, Mario, Orchid and Maha Devi, Bali became Blanco's center. He was fascinated by the island and completely captivated by its charm.
Blanco lived and worked in his magical hilltop home until his death in 1999, feverishly creating his fantasy portraits of beautiful women. Surrounded by lush gardens, rice fields and with a Banyan tree standing over his family's temple, Antonio Blanco proceeded to create a new reality for himself. His artistic outpourings of this isolated world became much sought after by eager art lovers, collectors and promoters. Within a few years, Blanco became the most famous foreign artist to make Bali his home. He was recognized in both Indonesia and abroad, receiving numerous awards and commanding huge prizes at international auctions.
By the end of his life, Blanco had begun building his museum at his studio in Campuan. Dramatically, he died just before its inauguration. His funeral was marked by a very important cremation in Ubud. It was Blanco's dream to turn his studio-mansion into a museum. His son, Mario, fulfilled this dream by following his path to become a painter.
Antoni Piotrowski (1853-1924)
Antoni Piotrowski (1853-1924)
'L'arrestation d'un gentilhomme polonais, 1863' / The arrest of a Polish nobleman
signed lower right and dated 1882 'Paris'
oil on canvas, 48x98 cm
Auction: Venduehuis der Notarissen, Pulchri, The Hague, 28 Nov. 1928, lot 93 with ill., vlg. van Citters e.a.
Antoni Piotrowski (1853-1924) was a Polish romanticist painter who worked as war correspondent and illustrator for various Western European weeklies and periodicals in late-19th century during the Liberation of Bulgaria.
Piotrowski was born in 1853 into a family of sheet iron workers in Nietulisko Duże near Kunów, then in the Russian sector of the partitioned Poland. From 1869 on, Piotrowski studied painting with professor Wojciech Gerson in Warsaw. Between 1875 and 1877 he studied in Munich with Wilhelm Lindenschmit the Younger. From 1877 to 1879 he studied with Poland's painter Jan Matejko at the Academy of Fine Arts in Kraków. In 1879, Piotrowski travelled to the newly liberated Principality of Bulgaria as a correspondent of the British weekly newspapers The Graphic and The Illustrated London News as well as the French newsmagazines Illustration and Le Monde Illustré. He moved back to Paris only to return to Bulgaria in 1885 to join the Serbo-Bulgarian War as a Bulgarian volunteer. For his merits during the fighting he was honoured with an Order of Bravery.
In 1900 Piotrowski returned to Poland and settled in Warsaw. In 1905, he was a war correspondent in Manchuria. He died in 1924 in Warsaw.
Depicted in the present painting is an important event in the history of Poland which is known as the ‘January Uprising of 1863’. This was an uprising in the former Polish-Lithuanian Commonwealth (present-day Poland, Lithuania, Belarus, Latvia, parts of Ukraine, and western Russia) against the Russian Empire. It began on 22 January 1863 and lasted until the last insurgents were captured in 1864.
The uprising began as a spontaneous protest by young Poles against conscription into the Imperial Russian Army. It was soon joined by high-ranking Polish-Lithuanian officers and various politicians. The insurrectionists, severely outnumbered and lacking serious outside support, were forced to resort to guerrilla warfare tactics.
Public executions and deportations to Siberia led many Poles to abandon armed struggle and turn instead to the idea of "organic work": economic and cultural self-improvement.
Nicaise de Keyser (1813-1887)
Nicaise de Keyser (1813-1887)
Horse of King William II
signed lower left in initials NDK and dated 1846
oil on canvas, 69x53 cm
In the estate auction of N. de Keyser (Lugt no. 48155), auction Antwerp (Leclef et al), 11-12 April o1889, various studies of horses were auctioned: under nr. 73 'Cheval blanc pommelé' of 70x54 cm. Whether it concerns the same painting is, of course, not to say for sure, but given the sizes and the description is fairly certain.
The horse is an example for the painting in 1846 by Nicaise the Keyser: 'William II, King of the Netherlands (1792-1849) when Prince of Orange, on the battlefield of Waterloo'. That painting belongs to the collection of the Koninklijke Verzamelingen (Royal Collections of the Netherlands) and is located in Museum Paleis Het Loo, Apeldoorn, The Netherlands.
A silver large beaker, Groningen
Trumpet-shaped on domed circular foot cast with winged putto-masks within scrolling strapwork and rosettes rising to a band engraved with lozenges and rosettes beneath a moulded girdle of thorns, the upper section engraved with ovals depicting Faith, Hope and Charity scrolling strapwork and foliage, the rim engraved with stylized leaves and rosettes, the body engraved with initials HW TH 1699. A coin, Reichsthaler 1624, is placed at the base. On one side depicting the Holy Andrew with cross and on the other side the coat of arms of Braunschweig, Lunenburg Celle. Provenance: Premsela & Hamburger, Antiquairs Amsterdam, this beaker was given in exchange of Frysian silver for the Frysian museum in Leeuwarden to add to their collection in the Sixties, since then the beaker has been in a private collection. H. ca. 19 cm. D. ca. 11 cm. We would like to thank Mr. J. Kuin of Rietdijk Auctions for the verification of the coin.
A Dutch silver filigree casket with silver tea caddies
Rectangular, filigree, with hinged cover, the sides engraved scrollwork within bands and with heart-shaped grips and shaped filigree footrim and plain bands. The front with excutcheon in shape of a cross. The plain cube-shaped caddies with hinged covers engraved with beaded borders and on the corners square rozettes. Maker: Cornelis Rudolph Stolting, Amsterdam, 1788. 8,8 cm height, 8,4 x 13,6 cm.
A rare and important aluminium necklace, by Emmy van Leersum
Designed as a double twisted aluminium band, connected by two hinges one of which opens by releasing a metal pin. So-called "halskraag", this neckpiece is probably one of two hand hammered in Aluminium. The other known example is in the collection of the Stedelijk Museum in 's-Hertogenbosch. 29 x 18 cm.
Gross weight 281 grams.
Provenance: a Dutch collector, who bought this in 1974.
For reference see catalogue "Broken lines", Emmy van Leersum, p. 83.
An 18k gold emerald and ruby dress ring, monture Cartier
The substantial foliate pierced gold mount set at points with circular-cut rubies, centring a cushion-shaped emerald of bright green colour, the mount signed Monture Cartier.
Accompanied by a IGL certificate no. J82213000EN stating the emerald to weigh approximately 9.8 cts., of Columbian origin and the rubies with no indication of heat treatment.
Gross weight 15 grams.
A 'Bois de Spa' jewellery box
A rectangular box with a curved lid and with mother of pearl and brass inlay of flower, birds, insects and a central roundel with a castle in a landscape. the interior painted red.
Some cracks in the lid, overall in quite good condition.
An Louis XVI style ebonized cabinet, mounted with gilt metal trellis railing and embellished with gilt bronze ornaments and bands. The upper section with a door, flanked by three paneled drawers on each side. The lower section with two secret drawers and resting on tapering legs. The mechanism of one drawer missing, both drawers adorned with gilt ornaments and marble stone cartouches.
19th century, France.
A wall cabinet, Carlo Bugatti (1856-1940)
With pierced railing above an ebony frieze, two mahogany doors with ebony, ivory and mother-of-pearl intarsia in an oriental manner. The doors are flanked by two columns with ivory details, a leaf on one side with pierced railing and asymmetrical ornamentation below with copper and ivory. Carlo Bugatti was heir to the Bugatti family fortune. Bugatti studied firstly at the Brera Academy in Milan, and subsequently, from 1875, at the Académie des Beaux Arts in Paris. An identical piece is in the collection of the Mullin Automotive Museum.
Ca. 1898, Italy.