BRUSSELS.- In January, the combined art world turn their focus and attention towards Brussels and the annual edition of BRAFA, whose sixty-fourth edition will be held between Saturday, 26 January and Sunday, 3 February 2019 at the Tour & Taxis exhibition site. The 133 participating galleries and art dealers from sixteen countries have selected their most important, rarest and valuable works from their respective art specialities in order to meet the great variety of expectations from a large audience with high levels of connoisseurship and specialist knowledge. In this manner BRAFA plays host to a ten day exhibition of artworks that traces many millennia of art history and archaeology down to present day, criss-crossing various periods, styles and continents to pay homage to artistic creation in all its forms.
When I get older losing my hair, many years from now
Will you still need me, will you still need me, when I’m sixty-four?
It was with these slightly anxious words that Paul McCartney wondered about his future in this famous song, which he wrote for the now mythical Beatles album Sergeant Pepper’s Lonely Hearts Club Band in 1967. Since then, Sir Paul has long reached and surpassed that venerable age, and is most likely reassured by the unflagging success he continues to enjoy among millions of fans worldwide.
A happy premonition? BRAFA will launch its 64th edition next January, and it, too, seems more creative and appreciated than ever. So attests the new record attendance reached at its most recent edition: more than 65,000 visitors, and the enthusiastic participation of many of the best Belgian and European galleries. The leitmotif of its organisers – quality / eclecticism / conviviality – appears convincing to ever more exhibitors as well as art lovers, both of whom find every reason to remain faithful.
Rather than break with a tried and tested tradition, the Board of Directors wishes to continue to see the art fair move forwards in its gently evolving positive direction. That is, an ‘evolution’ rather than a ‘revolution’, in the words of its Chairman, Harold t’Kint de Roodenbeke. The aim is to refine the offer by making it even more complete, more specialised; to demand ever more rigour in the selection criteria for both the galleries and the works of art exhibited, in order to guarantee the highest possible quality. The fair seeks always to engage new audiences and remain attentive to the trends in an art market that is in perpetual transformation.
Exhibitors in 2019: a fine balance between tradition and novelty
Among the 133 Belgian and international exhibitors taking part in this 64th edition, sixteen new names are making their appearance:
• David Aaron (London, UK) - Ancient Egyptian and Near Eastern works of art. Classical and Islamic art;
Rhyton protome in the shape of a winged ibex, Anonymous, Central Asia, 5th-4th century BC. Bronze. H 13.3 x W 14.5 cm. © David Aaron at BRAFA 2019, Stand 92d.
Provenance: Sauerborn and Maurer family collection, Koblenz, Germany, early 19th century; private collection of Prof. Dr. Heinz Hungerland (1905–1987) and Dr Gisela Hungerland, Andernach, Germany; estate of Prof. Dr. Heinz Hungerland; Gordian Weber, 2011-2018, Germany
Accompanied by German export license.
'Rockefeller' bas relief, Anonymous, Egypt, 19th Dynasty, New Kingdom, circa 1300 BC.Limestone. H 31.1 cm. © David Aaron at BRAFA 2019, Stand 92d.
Provenance: with Dikran G. Kelekian (1868-1951), New York; Abby Aldrich Rockefeller, New York, acquired from the above, circa 1924-1925; estate of Abby Aldrich Rockefeller (with a life interest to John D. Rockefeller, Jr.), 1948-1961; Winthrop Rockefeller, Petit Jean Mountain, Arkansas, 1961-1973; estate of Winthrop Rockefeller, 1973-1974; David Rockefeller, New York, acquired from the above, 1974
Literature: R. Ellsworth, The David and Peggy Rockefeller collection: arts of Asia and neighbouring cultures, New York, 1993, vol III, pp. 368-369, n° 274.
Roman Torso of Dionysus, Anonymous, Roman, 1st-2nd century AD. Marble. H 59 cm. © David Aaron at BRAFA 2019, Stand 92d.
Provenance: private collection of H. Röpp originally acquired in the 1930s; private collection, Zeulenroda; private collection, Schleiz; private collection, Germany, 2006-2018
Accompanied by German Export License.
• Bowman Sculpture (London, UK) - 19th- and 20th-century and contemporary European sculpture;
Auguste Rodin (Paris 1840-1917 Meudon), Le Baiser, 1886. Bronze with brown and lighter brown patination. Inscribed: F. Barbedienne Foundeur. Conceived in 1886 and cast within the artist's lifetime. H 40 cm. Signed: Rodin. © Bowman Sculpture at BRAFA 2019, Stand 17d.
Marino Marini (Pistoia 1901-1980 Viareggio), Piccolo Cavallo. Hand finished patinated bronze. Monogrammed and stamped: Fonderia MAF. Conceived and cast circa 1950. Part of an edition of 6. H 52.5 cm. © Bowman Sculpture at BRAFA 2019, Stand 17d.
Emily Young (London, 1951), Lunar Torso, 2018. Bronze with a light green patina. Edition of 9. H 59 cm. Signed: E.Young. © Bowman Sculpture at BRAFA 2019, Stand 17d.
• Brame & Lorenceau (Paris, FR) - Impressionist, modern and contemporary art;
Victor Brauner (Romania, Piatra Neamț 1903-1966 Paris), L'air Solaire, 1962. Huile sur toile, , 73 x 60 cm, 28"5/8 x 23"1/2 inches. Signé and daté en bas à gauche: Victor Brauner XI 62, 1962. © Brame & Lorenceau at BRAFA 2013, Stand 84c.
Maurice Estève (Culan, 1904-2001), Composition, 1971. Charcoal, colour pencils and pastel on paper, 47.5 x 38.5 cm. Signed et dated lower left: Estève 71. © Brame & Lorenceau at BRAFA 2013, Stand 84c.
Le Corbusier (Charles-Edouard Jeanneret) (La Chaux-de-Fonds 1887-1965 Roquebrune-Cap-Martin), Two women lying down, 1938. Gouache, ink, watercolour, graphite and collage on paper laid on cardboard, 20.7 x 30.4 cm. Signed and dated lower right. © Brame & Lorenceau at BRAFA 2013, Stand 84c.
• Cortesi Gallery (London, UK) – Post-war European art;
Walter Leblanc (Antwerp 1936-1986 Silly), Torsions TQ 9, 1965-69. White polyvinyl on a masonite panel, 60 x 60 cm. Courtesy of the Cortesi Gallery London, Milano, Lugano at BRAFA 2019, Stand 134a.
Herman de Vries (Alkmaar, 1931), From earth: kreta and gavdos, 2017. Earth rubbings on paper, 73 x 103 cm. Courtesy of the artist and the Cortesi Gallery London, Milano, Lugano at BRAFA 2019, Stand 134a.
Heinz Mack (Lollar, 1931), Dynamische Struktur in Schwarz, 1962. Synthetic resin on nettle, 129.5 x 170 cm. Courtesy of the Cortesi Gallery London, Milano, Lugano at BRAFA 2019, Stand 134a.
• Martin Doustar (Brussels, BE) – Ancient and tribal art;
Royal head-crest, Northwest Cameroon, Grasslands, Fumban, Bamum people, 19th century. Wood. H 65 cm. © Martin Doustar at BRAFA 2019, Stand 124b.
Provenance: Paul Gebauer, circa 1931-1961; Arnaud Harty de Pierrebourg, Douala; Mireille de Pierreboug, Paris; Bernd Muhlack, Kiel; Nicole and John Dintenfass, New York; Paul Kasmin, New York.
Atwonzen, beaded head, Cameroon, Dschang region, Bamileke people, 19th century. Wood, natural fiber, glass beads. H 22 cm. © Martin Doustar at BRAFA 2019, Stand 124b.
Provenance: collection Herz, Germany; Sotheby's London, 2 July 1990, lot 116; The William B. Ziff. collection, New York
Literature: P. Harter, 'Arts Anciens du Cameroun', 1986, p. 121, fig. 150.
Vili fetish, Democratic Republic of the Congo, 19th century. Wood, nails. H 32.5 cm. © Martin Doustar at BRAFA 2019, Stand 124b.
Provenance: Dimondstein collection, San Francisco; Galerie Ratton-Hourdé, Paris; private collection, Barcelona; Liliane and Michel Durand-Dessert, Paris
Literature: L.G. Guardiola, 'Africa, colecciones privadas de Barcelona', 2003, p. 69, n° 44; F. Pujol, 'Art africà', Girona, Spain, 2005, p. 77, n° 45
Exhibitions: 'África, colecciones privadas de Barcelona', Museo Fundacion Francisco Godia, Barcelona, 27 February-30 June 2003; 'Art africà', Fundació Caixa de Girona, Spain, 22 July-18 September 2005.
• Heritage Gallery (Moscow, RU) – Modern Russian art and Soviet design;
Table on rifle legs, Soviet Union, 1930s. Wood, metal, 78 x 118 x 65 cm. © Heritage Gallery at BRAFA 2019, Stand 128b.
The metal barrels of the 8 rifles are cut out, therefore clearly referring to the shortened guns which were widespread after the Revolution, most part illegally, as a handy arms for those who intended to fight for various believes. The tabletop is decorated in austere stylish marquetry with the symbols of the new Soviet state – hummers and sickles
Exhibition: New Art of a New State, Heritage Gallery, Moscow, 2017; Design Miami/Basel, 2018.
Note: The Russian Revolution of 1917 and its consequences were for the most part dramatic, but for a couple of decades these included unprecedented opportunities for artists – propaganda art one of the new paths open to them. Not only was such art commissioned by the state, it was also explored by artists as a new creative method that enabled them to communicate directly with the public. The table on rifle legs is a brilliant example of this style and state of mind. Despite the fact that artists in 1920s-1930s Soviet Russia were often limited to low-cost materials, unique opportunities for experiment opened up in the domain of the applied arts and design. This table brings the thrill of Revolution into mundane life – for it is still a practical part of interior design, intended for reading and writing. The metal barrels of the eight rifles are cut out, therefore clearly referring to the shortened guns which were widespread after the Revolution (most illegally), intended as handy weapons for those intending to fight for their various beliefs. The table-top is decorated in austere marquetry with the symbols of the new Soviet state – hammers and sickles. The table glorifies the Revolution and its people. ‘Work hard, gun alongside’, as Vladimir Mayakovsky put it.
Vladimir Bogatyrev (1903-1990) and Galina Stolbova (1908-1996), Lamp for the 'Youth festival of peoples’ friendship’, 1957, Soviet Union, 1950s. Biscuit porcelain. H 79 cm. © Heritage Gallery at BRAFA 2019, Stand 128b.
The VIth ‘Youth Festival of Peoples’ Friendship’ in 1957 marked the beginning of the ‘Thaw’ period after Stalin’s death in 1953. It was one of the first big international state events after the Cold War and welcomed guests from 131 countries – a sign of unprecedented openness. The Festival’s motto was ‘For Peace and Friendship’. This exquisite white lamp by the renowned artistic duo Vladimir Bogatyrev and Galina Stolbova was made in honour of this union of peoples. It combines the heroic style of the preceding period with the lightness and new hopefulness of the ‘Thaw’. Perfectly formed in delicate white biscuit porcelain, it is as much a sculptural object as a unique design piece
Exhibition: Soviet Design. From Constructivism to Modernism. 1920-1960, Schusev State Museum of Architecture, Moscow, 2015.
Alexander Dmitriev (Soviet Union, 1878-1959), Folding screen, 1934. Oak, 134 х 216 х 2 cm. Designed for the LENOBLONO (Leningrad regional department for the peoples’ education) children’s military labour camp. © Heritage Gallery at BRAFA 2019, Stand 128b.
• Charles-Wesley Hourdé (Paris, FR) – African, Oceanian and American art;
Nimba shoulder mask, Republic of Guinea, Baga people, late 19th-early 20th century. Wood. H 120 cm. © Charles-Wesley Hourdé at BRAFA 2019, Stand 72b.
Provenance: private collection, USA, acquired in the 1970s; Bonhams New York, 14 November 2013, lot 152; private collection, Paris
Literature: C.W. Hourdé, L’Emprise des Masques, Montreuil, 2017, exhibition catalogue n° 2; M.Y. Curtis Baga, Visions d’Afrique, Milan, 2018, cat. 10
Exhibition: 'L’Emprise des Masques', Galerie Charles-Wesley Hourdé, 12-30 September 2017.
Baule mask, Ivory Coast, 19th century. Wood. H 35 cm. © Charles-Wesley Hourdé at BRAFA 2019, Stand 72b.
Provenance: collected by a Governor in the 1920s; Ader Picard Tajan, Paris, 27 February 1989, lot 7; private collection, Paris.
Maori statue, New Zealand, 19th century. Wood and haliotis. H 51.5 cm. © Charles-Wesley Hourdé at BRAFA 2019, Stand 72b.
Provenance: collected in 1876; Merton Simpson, New York, circa 1965; George and Rosemary Lois, New York; Jean-Baptiste Bacquart, Paris; private collection.
• Galerie l’Ibis (Marrakesh, MA) – Archaeology, Egyptian art
Queen or goddess statuette, Egypt, third intermediate period, Kushite period, 25th dynasty, 719-656 BC. Bronze. H 16.5 cm. © Galerie l’Ibis at BRAFA 2019, Stand 44b.
Provenance: John Garstang, probably excavated at the 'Royal City' of Meroe, Sudan, circa 1912; Christie’s London, 9 December 2012 sale, lot n° 185; C. Duponchelle collection, 2012
Literature: Salon de Mars, Bernard Dulon, exhibition catalogue, 31 March-5 April 1993, Paris, p. 101.
Stele of Amenhotep II making an offering to Amun-Re, Egypt, New Kingdom, 18th dynasty, circa 1450-1423 BC. Quartzite. H 36 x W 6.5 x D 40 cm. © Galerie l’Ibis at BRAFA 2019, Stand 44b.
Provenance: Paul Mallon (1884-1975) by descent to Milton Girod-Mallon; acquired from the above in the 1970s
Literature: J. Malek, Topographical Bibliography of Ancient Egyptian Hieroglyphic Texts, Statues, Reliefs and Paintings VIII: Objects of Provenance Not Known. Part 4: Stelae, Oxford, 2012, n° 803-044-700; A. Klug, 'Königliche Stelen in der Zeit von Ahmose bis Amenophis II', Monumenta Aegyptiaca 8, Turnhout, 2002, p. 293; P. Piacentini, C. Orsenigo, 'Egitto, La straordinaria scoperta del faraone Amenofi II', exhibition catalogue, p. 76-79
Exhibition: 'Egitto, La straordinaria scoperta del faraone Amenofi II', MUDEC, Museo Delle Culture, Milan, 13 September 2017-7 January 2018.
Head of the goddess Sekhmet, Egypt, New Kingdom, 18th dynasty, circa 1410-1372 BC. Black stone, probably diorite. H 43 cm. © Galerie l’Ibis at BRAFA 2019, Stand 44b.
Provenance: M. Nahman, before 1948; A. Domergue, by descent, France, 1948-49; R. Viola, 1960s, then by descent
Exhibition: 'La Galerie d’Antiques', 1960s, Deauville, France.
• Sandro Morelli (Florence, ITA) - Haute Epoque;
Atelier de Lorenzo Ghiberti, Vierge à l'Enfant, Florence, circa. 1420-1430. Haut relief en stuc polychromé et doré. H 84 x L 70.5 x P 21 cm. © Sandro Morelli at BRAFA 2019, Stand 63a.
Analytical study by Proff. Giancarlo Gentilini and Alfredo Bellandi
Provenance: private collection, Italy.
Processional cross with dovetail arms, Tuscany, second quarter of the 12th century. Cross: engraved gilded copper. Corpus: gilded bronze. Cross: H 25.5 x W 20 cm, with ferrule H 38.5. Corpus: H 15 x W 13 cm. © Sandro Morelli at BRAFA 2019, Stand 63a.
Provenance: private collection, Italy
Literature: A. Del Grosso, ‘Piccoli bronzi romanici’ in ‘Visibile parlare. Le arti nella Toscana medievale’, Edifir Firenze, 2013, p. 152, n° 8; Comparative literature: A. Del Grosso, ‘Croci processionali toscane’, CB Edizioni, Firenze, 2010.
Circle of Romolo Ferrucci del Tadda, Couple of seated lions, Italy, circa 1614-1620. Gray sandstone (pietra serena). H 106 x W 56 x D 36 cm . © Sandro Morelli at BRAFA 2019, Stand 63a.
Literature: For similar works by the artist: G. Capecchi, ‘I cani in pietra bigia di Romolo Ferrucci del Tadda. Simbolismo e capriccio nel giardino di Boboli’, Firenze 1998; F. Gurrieri and J. Chatfield, ‘Boboli Gardens’, Firenze,1972, pp. 136-137.
• Morentz (The Netherlands) - 20th Century Design;
George Nakashima (1905-1990), Triple sliding door cabinet, 1970. Walnut, pandanus cloth. W 213.5 x D 50 x H 84.5 cm. © Morentz at BRAFA 2019, Stand 86d.
Provenance: copy of original order
Cabinet with three sliding doors and several compartments behind each door, executed in walnut with traditional and archetypical dovetail Nakashima wood-joints. The credenza features thin solid walnut slats with pandanus cloth. The top of the credenza, with its iconic organic walnut plank, ends at the corners of the credenza itself. The cabinet rests on one solid slab of walnut. The credenza has no decoration or non-functional elements but takes its aesthetics solely from the construction work and the use of the best quality walnut wood.
Phillip Lloyd Powell (1920-2008), ‘New Hope’ Lounge chair, 1960’s. American walnut, velvet upholstery. W 73 x D 80 x H 75 cm. © Morentz at BRAFA 2019, Stand 86d.
The name 'New Hope' is a reference to the place Powell opened his workshop in 1953. This chair has a soft, sensuous, biomorphic frame. The organic, hand-carved armrests create a sculptural contrast with the boomerang or L-shaped seating. Lovely details include the round wood-joints with a black stripe on the side of the frame and the small indentations on the points of the frame. The cross connections on the back form a satisfying link between the organic and straight lines. The down-filled cushions make this a highly comfortable chair.
Kaare Klint (1888-1954), Variation on sofa model 4118, 1929. Manufactured by Rad Rasmussen. Leather, mahogany. W 200 x D 80 x H 86 x SH 38 cm. © Morentz at BRAFA 2019, Stand 86d.
Provenance: Erik Zahle, the late director of the Danish Design museum from 1949 to 1966
Scandinavian custom-made three-seat sofa by Kaare Klint for the residence of Erik Zahle, the late director of the Danish Design museum (from 1949 to 1966). The sides are upholstered with patinated cognac Niger leather. The edges are finished with brass nails. The base consists of eight mahogany legs.
• Röbbig München (Munich, DE) – Meissen porcelain, furniture, objets d’art;
Johann Joachim Kaendler (Fischbach 1706-1775 Meissen), Japanese figure holding a parasol next to a pool with putto and dragon. Model, December 1769.Manufacture and decoration, Meissen, circa 1770. Underglaze blue crossed swords mark with dot. H 22.5 x W 27 x D 11.5 cm. © Röbbig München at BRAFA 2019, Stand 5c.
Literature: U. Pietsch, The work reports of Meissen porcelain modeller Johann Joachim Kaendler 1706-1775, Leipzig, 2002, p. 184
Attributed to Jacques Dubois (Paris, 1694-1763), Master in 1742, Pair of ormolu mounted encoignures with Chinese laquer panels and European aventurine lacquer, Paris, Louis XV period, circa 1750. Carcase in oak, European aventurine lacquer, Chinese export black lacquer panels. Inside veneered in cherry and ebony. Mounts in bronze, cast, chased and fire-gilt, marble top in campan mélangé. H 94 x W 83 x D 60 cm. © Röbbig München at BRAFA 2019, Stand 5c.
Provenance: Didier Aaron, Paris.
Johann Friedrich Eberlein (Dresden 1695-1749 Meissen), A Chinese lady with a parrot and a Chinese man with a monkey. Models, December 1735. Manufacture and decoration, Meissen, circa 1735. Underglaze blue swords mark. H 16 and H 17 cm. © Röbbig München at BRAFA 2019, Stand 5c.
• Rosenberg & Co (New York, USA) - Impressionism, modern and contemporary art;
Giacomo Balla (Turin 1871-1958 Rome); Forze Spaziali (Project for a lampshade), circa 1925. Tempera on cardboard, 11.5 x 36.8 cm. © Rosenberg & Co at BRAFA 2019, Stand 64a.
Certificate of authenticity issued by Elena Gigli
Provenance: Atelier Balla, Rome; Galleria DueCi, Rome; private collection, Italy; Dorotheum, Modern Art Sale, lot n° 5, Vienna, 15 May 2018; Rosenberg & Co., New York.
Robert Adams (England, Northampton 1917-1984 England, Essex), Single Curve with Triangles, 1957. Steel. H 74.93 x W 52.07 x D 24.13 cm. Unique piece. © Rosenberg & Co at BRAFA 2019, Stand 64a.
Provenance: Gimpel Fils Gallery, London; private collection; Osborne Samuel, London; Rosenberg & Co., New York.
Joseph Csáky (Hungary, Szeged 1888-1971 France, Paris), Composition cubiste, 1919. India ink and watercolour on paper, 34 x 25.4 cm. © Rosenberg & Co at BRAFA 2019, Stand 64a.
Provenance: private collection, Paris; Galerie Berès, Paris; Rosenberg & Co., New York
Literature: F. Marcilhac, ‘Joseph Csáky: du cubisme historique à la figuration réaliste catalogue raisonné des sculptures’, 2007, p. 33, p. 47; 'Gustave Miklos-Joseph Csáky', Makláry Fine Arts, Budapest, 2010, p. 73; Au temps des cubistes, Galerie Berès, Paris, 2007, p. 109.
• Simon Studer Art Associés (Geneva, CH) – Impressoinist, modern and contemporary art;
Bram Van Velde (1895-1981), Sans titre, La Chapelle-sur-Carouge, 1963. Gouache on paper, 101.8 x 72.7 cm. Unsigned. © Simon Studer Art Associés at BRAFA 2019, Stand 16d.
Provenance: the artist's studio; Mrs. Maillard collection, Geneva; Jacques Benador Gallery, Geneva, acquired in 1977; private collection, Geneva
Literature: R. Michael Mason, ‘Bram van Velde 1895-1981, Rétrospective du centenaire’, exhibition catalogue, Musée Rath, Musées d'art et d'histoire, Geneva, 1996, p. 173, n° 107, illustrated in colour; Bram Van Velde & Philippe Djian, Paris, Editions Flohic, Coll. Musées secrets, 1993, p. 49; Jacques Putman, Charles Juliet, Bram van Velde, Paris, Maeght, 1975, ill
Exhibition: ‘Bram Van Velde, 1895-1981: rétrospective du centenaire’, Geneva, Musée Rath, 25 January-7 April 1996, n° 107.
Fernand Léger (Argentan 1881-1995 Gif-sur-Yvette), Les six plongeurs, composition en largeur, 1941. Gouache and ink on paper, 33 x 42.5 cm. Signed and dated lower right: F.L.41. © Simon Studer Art Associés at BRAFA 2019, Stand 16d.
Provenance: the artist's studio; private collection, USA; private collection, France; Galerie Lionel Prejger, Paris; private collection, Switzerland
This work is accompanied by a certificate of authenticity established by Sylvain Durand on 4 July 1989. It will be included in the repertoire of works currently in preparation. This document was signed by Mrs. Irus Hansma on 3 September 2013.
Jean Dubuffet (Le Havre 1901-1985 Paris), Sans titre (paysage grotesque), August 1949. Indian ink and watercolour on paper , 24.5 x 32.5 cm. Signed and dated 'Jean Dubuffet VIII 49' on the lower right, dedicated 'pour Maria souvenir' on upper right and '22 sept 50' on the upper left. © Simon Studer Art Associés at BRAFA 2019, Stand 16d.
The work is included in the revised edition of the fascicule V of the ‘Catalogue des travaux de Jean Dubuffet’, edited in 1990. Authenticated by the Fondation Dubuffet, Paris, 5 February 1987
Provenance: the artist's studio; Galerie Ariel, Paris; Galerie Daniel Varenne, Geneva; Galerie Bernard Cats, Brussels; private collection, Paris; Sale Christie's London, 26 May 1994, lot n° 40; Galerie Erker, Saint-Gall; private collection, Switzerland
Literature: M. Loreau, ‘Catalogue des travaux de Jean Dubuffet, fascicule V: paysages grotesques’, Éditions de Minuit, 1990 (new edition), p. 99, n° 208 (illustrated in b/w)
Exhibition: J. Dubuffet, Galerie Bernard Cats Brussels, September 1989.
• Gallery Sofie Van de Velde (Antwerp, BE) – Modern and contemporary art;
Frida Kahlo (Coyoacán, 1907-1954), Frida’s plaster corset with a hammer and sickle (and unborn baby), circa 1950. Dry plaster and mixed media, 56 cm hip x 44 cm waist x 52 cm chest x 42 cm height. © Gallery Sofie Van de Velde at BRAFA 2019, Stand 18d.
Provenance: from the artist to Francisco González de la Fuente, Granja, Mexico; by descent to Jesús Gonzáles Vaquero; by bequest to a private collection; acquired from the above by Fransisco Javier Lumbreras, Artemundi; acquired from the above by private collection-Miami.
Andy Warhol (Pittsburgh 1928-1987 New York), Fashion, circa 1983. Original collage and screenprint on paper, 83.8 x 132.1 cm. Signed with the stamp of the legacy of Andy Warhol, with the stamp of the Andy Warhol Foundation for the Visual Arts, Inc. and numbered 78,001 on the back. © Gallery Sofie Van de Velde at BRAFA 2019, Stand 18d.
Provenance: the Andy Warhol Foundation for the Visual Arts, Inc., New York.
Dadamaino (Milan, 1930-2004), Constellazione, 1984. Pen on pink paper mounted on canvas, 52 x 78 cm. © Gallery Sofie Van de Velde at BRAFA 2019, Stand 18d.
Provenance: Matteo Lampertico, Arte Antica e Moderna, Milan; private collection, Zurich.
• Galerie von Vertes (Zurich, CH) – Paintings, works on paper and sculpture of the 20th-21st centuries;
Odilon Redon (Bordeaux 1840-1916 Paris), Coucher de Soleil, circa 1902. Oil on wood, 28.5 x 46 cm. Signed lower right. © Galerie von Vertes at BRAFA 2019, Stand 7c.
Provenance: Hotel Drouot, Vente Odilon Redon, Paris, 11 March 1907, lot 21; Galerie Bernheim-Jeune et Cie., Paris; Marcel Kapferer, Paris, 1956; Wildenstein & Co. Ltd., Paris; private collection, Japan (acquired in the 1990s from the above); Christie's, New York, 9 November 2006, lot 327; private collection, Germany
Literature: K. Berger, Odilon Redon, Fantasy and Colour, London 1965, p. 198, n° 219; J. Selz, Odilon Redon, Paris 1971, p. 90 (illustrated in colour); A. Wildenstein, Odilon Redon, ‘Catalogue raisonné de l'oeuvre peint et dessiné, vol III: Fleurs et paysages’, Paris 1996, p. 304, n° 1873 ill.
Exhibitions: Galerie E. Druet, Odilon Redon, July 1908, n° 11 (titled ‘Soleil couchant’), Paris; Galerie Bernheim-Jeune et Cie, Odilon Redon, Paysages d'après nature (peinture à l'huile), aquarelles et dessins, April 1917, n° 20 (titled ‘Landes de Medoc, soleil couchant’), Paris; Orangerie des Tuileries, Odilon Redon, October 1956-January 1957, n° 153, Paris; Kunsthalle, Odilon Redon, August-October 1962, n° 175, Bern; XXXI Biennale, n° 33, Venice; Galerie Bernheim-Jeune et Cie, Odilon Redon, au profit de l'Orphelinat des Arts, May-June 1963, n° 17, Paris.
Serge Poliakoff (Moscow 1900-1969 Paris), Composition abstraite, 1966. Oil on canvas, 81 x 65 cm . Signed lower left: Serge Poliakoff. © Galerie von Vertes at BRAFA 2019, Stand 7c.
Provenance: Galerie Moos, Toronto; private collection, Geneva
Literature: A. Poliakoff, ‘Serge Poliakoff, catalogue raisonné, vol. V: 1966-1969’, Paris, 2016, p. 149, n° 66-186 (illustrated in colour).
Pierre Soulages (Rodez, 1919), Peinture, 8 May 1997. Oil on canvas, laid on board, 43 x 43 cm. Signed and dated on the back. © Galerie von Vertes at BRAFA 2019, Stand 7c.
Provenance: Lévy-Gorvy, New York (acquired directly from the artist); Archeus/Post-Modern Ltd., London (acquired from the above)
Literature: P. Encrevé, ‘Soulages, l’oeuvre complet Peintures’, vol. IV: 1997-2013, Galimard, Paris 2015, pp. 19 and 57, n° 1181 (illustrated in colour).
• Willow Gallery (London, UK) – Impressionist and European paintings.
Marc Chagall (Vitebsk 1887-1985 Saint Paul de Vence), Fleurs à la Fenêtre, 1959. Oil on canvas, 33 x 24 cm. Stamped with artist’s signature. © Willow Gallery at BRAFA 2019, Stand 89d.
Provenance: the estate of the artist, Switzerland; Pascal Robagilla, Paris
Certificate of authenticity issued by the Comité Marc Chagall, number 2 000 076.
Henri Martin (Toulouse 1860-1943 Labastide-du-Vert), Paysage à Labastide-du-Vert. Oil on canvas, 91 x 81cm. Signed. © Willow Gallery at BRAFA 2019, Stand 89d.
Certificate of authenticity issued by Marie-Anne Destrebecq-Martin.
Provenance: Kaplan Gallery, London; Christie's, London, 14 April 1970, lot n° 38; private collection, United Kingdom and Monaco.
Literature: will be included in the forthcoming catalogue raisonné.
Montague Dawson (London, 1890–1973), The Privateer 'Virginian' capturing the 'Petit Madelon'. Oil on canvas, 51 x 76 cm. Signed. © Willow Gallery at BRAFA 2019, Stand 89d.
Provenance: With Frost & Reed, London, by 10 July 1940; Sotheby's, London, 1 April 1998, lot n° 205, as The 'Virginian' capturing the 'Petit Madelon'; private collection, Houston; Gifted by the above to James Camp (1946-2014), Columbus, Ohio; Montgomery Gallery, San Francisco.
Two galleries are making a return:
• Maison Rapin (Paris, FR) – 20th-century decorative arts and contemporary creations;
Robert Goossens (Paris, 1927-2016), Crown of wheat mirror made for Coco Chanel, France, circa 1970. Gilded bronze, brass, mirrored glass, Ø 50 cm. © Maison Rapin at BRAFA 2019, Stand 113c.
Provenance: Robert Goossens private collection
Literature: 'Robert Goossens, artiste et designer', Edition Maison Rapin, Paris, 2018, p. 17.
Archizoom Associati (Florence, 1966-1974), 'Safari' sofa, Italy, circa 1968. Fiberglass and fabric. H 64 x W 254 x D 214 cm. © Maison Rapin at BRAFA 2019, Stand 113c.
Pierre Vandel (Roubaix, 1939), 'Vertebra' armchair, 1972. Aluminium and original fabric. H 97 x W 70 x D 70 cm. First edition. © Maison Rapin at BRAFA 2019, Stand 113c.
• Pierre Segoura (Paris, FR) – Paintings, drawings, objets d’art, antique furniture and photographs.
Moïse Kisling (Kraków 1891-1953 Sanary-sur-Mer), Bleuets, 1928. Oil on canvas, 65 x 46 cm. Signed lower left. © Pierre Segoura at BRAFA 2019, Stand 56a.
Provenance: private collection, Paris; collection Jacques Baumer, Paris
Literature: J.Kisling, Kisling 1995, Vol III, p. 226, n° 36. Will be included in the volume IV of the catalogue raisonné in preparation by Jean Kisling and Marc Ottavi.
Georges-Jules-Victor Clairin (Paris 1843-1919 Clohars-Carnoët), Claudea Flegans. Pastel, watercolour and gouache on paper, 50.8 x 23.5 cm. Signed and dedicated lower left: a Mad lle de Villers, hommage respectueux, de son ami. © Pierre Segoura at BRAFA 2019, Stand 56a.
Provenance: Tanagra Gallery, Paris, 1974; Galerie Mona, Paris, 1986; Coligny Gallery, Paris, 1993
Exhibition: 'Le symbolisme et la femme', Delegation for the artistic action of the city of Paris, 1986, n° 8; 'Terres d’inspiration des peintres de Pont-Aven, Nabis et Symbolistes', Isetan Art Museum, Tokyo, 1987, n° 126.
Claude-Joseph Vernet (Avignon 1714-1789 Paris), Paysage d’Italie. Oil on canvas, 41 x 32 cm. Signed and dated lower left. © Pierre Segoura at BRAFA 2019, Stand 56a.
Provenance: private collection, Cailleux; private collection, Paris
Literature: Connaissance des Arts, October 1955, p. 76; F. Ingersoll-Smouse, 'Joseph Vernet, peintre de marines', Paris, 1926, Tome II, p. 84, n° 1799
Exhibition: Le XVIIIème siècle français, Paris, 1956, p. 22.
“It’s always with great pride that we unveil our list of our participants”, stated Harold t’Kint de Roodenbeke, Chairman of BRAFA, “for it is indicative of the health and attractiveness of our event. With sixteen new names, we are consistent with the previous editions, and from my point of view this is an ideal percentage. It means we are able to bring in novelty without calling into question the internal equilibrium among the various specialities, and without shaking everything up. I think it is important that we can offer our visitors a form of continuity, with galleries who have been faithful to the fair for many years and whom our visitors enjoy seeing each time, while also offering a touch of novelty. For it is thanks to this fine balance that our event retains its strength and attests to its openness.”
A layout of stands in line with the contemporary manner of collecting
For a generalist fair like Brafa, which comprises more than twenty different art disciplines, it is also important to be able to satisfy the expectations of its varied audience. For alongside experienced collectors and art lovers searching for very specific works to add to their collection, it is important to be able also to awaken interest in a public that is perhaps less specialist, but who would like nothing more than to be won over by the beauty or interest of a work. The manner of collecting or acquiring works of art has evolved considerably in recent years, and the current trend is “cross-collecting”. By its insistence from the very beginning on a non-sectoral arrangement of the stands, and by placing side by side specialities that are in principle alien to each other, Brafa seeks to enhance that diversity, constantly refreshing the viewer’s gaze and inviting harmony. And this is in the fair’s very DNA!
Guest of honour 2019 - Gilbert & George, British eccentricity in the land of surrealism
This desire to refresh the viewer’s gaze is given particular resonance by the guest of honour for the 2019 edition: the internationally renowned duo Gilbert & George. Having started out as performance artists, they became famous for their large-scale photo pieces. These are often in very bright colours with superimposed black gridlines evoking the windows of yesteryear. The images are contemporary and immediately recognisable, with most placing portraits of both artists in the picture. Although their art draws inspiration from (their) daily life, the vision they offer is in turns metaphysical, mystical, or polemical, but always with a touch of humour and conveying a message. At Brafa they will present five recent large-scale works that will be placed at various spots throughout the fair. Their quirky vision of the world is sure to be a hit in the land of surrealism!
Centenary of the Belgian Royal Chamber of Antiques and Art Dealers
2019 also marks the centenary of the Belgian Royal Chamber of Antiques and Art Dealers. Thanks to their historically close ties, what better place than Brafa to host a prestigious exhibition made up of works from private collections all of which were bought by members of the Chamber? This exhibition will be accompanied by the publication of a book that will address different aspects of the art dealer’s trade, peppered with thousands of anecdotes collected and edited by the journalist Thijs Demeulemeester, and by a lecture at Brafa on Sunday, 27 January, as part of the cycle of Brafa Art Talks.
The Brafa Art Talks 2019 – Pieter, Peggy, Bernard and Soviet art deco
An indispensable supplement to any visit to Brafa, the cycle of Brafa Art Talks offers daily lectures addressing a wide range of topics about the art world. On the occasion of the anniversary year, Pieter Bruegel the Elder will be the subject of two separate lectures, one in French and the other in Dutch, examining in particular the state of the recent discoveries made in the course of restoration work done on several of his paintings, including the famous ‘Dulle Griet’. The lecturer and art historian Christiane Struyven will focus on the criteria by which a piece is considered a major work, and a round table organised with CINOA (International Federation of Dealer Associations) will take stock of various themes currently in the forefront of the art market. Other topics include a passionate view of the great collector Peggy Guggenheim, and a fascinating plunge into Soviet Art Deco.