Gregory van der Toorn (The Hague, 1715- probably 1771), Dutch soup tureen. Silver. Weight: 2635 gr. H 27 x W 36.2 x D 22 cm. Courtesy Honourable Silver Objects - Cabinet of Curiosities

Coat of arms of the family Van Lintelo tot Ehse found in the Heraldic collection Steenkamp-Damstra thanks to the Central office for Genealogy.

Gregory van der Toorn (The Hague, 1715- probably 1771), silversmith, master in 1738. One of the most prolific and best silversmiths in the Hague, his pieces exemplify his exceptional skill. 

Literature: J.W. Frederiks, Dutch silver, vol. 2, The Hague, 1958, p. 169

Saint Sebastian tied to a tree, South Europe, 18th century. Ivory and oak. H 54 x Ø 16 cm. Courtesy Honourable Silver Objects - Cabinet of Curiosities

Pottery tankard. Blue and white glazed earthenware adorned with a landscape. Silver gilt mounts. Maker’s mark: N.I.S. with a re-inspection of 1807. Austria, Salzburg, circa 1680. H 18 x Ø 10 cm. Courtesy Honourable Silver Objects - Cabinet of Curiosities

Notre nom pourrait laisser croire que nous ne vendons que de l’argenterie ancienne, mais avec le temps notre intérêt s’est élargi. Nous aimons les XVIIe et XVIIIe siècles et nous intéressons aux beaux meubles et objets rares dans les matières les plus diverses. Notre passion est de les assembler en une nature morte harmonieuse ou créer un intérieur de goût. C’est pour cette raison que nous avons ajouté‘Cabinet of Curiosities’ à notre nom. Beauté, sobriété, forme et couleur sont déterminantes lors de notre choix, mais bien sur l’authenticité reste primordiale. D’autre part nous aimons transmettre à nos clients l’histoire des objets qu’ils convoitent, sans oublier de parler de leur fonctionnalité car nous sommes convaincus que l’usage augmente le plaisir. Fondé en : 1988. 

Honourable Silver Objects - Cabinet of Curiosities. Stand 122b. Brafa Art Fair, 21-29 janvier 2017  

Coconut cup and cover. Silver mounted. Mechelen, 1602-1603. Silversmith: Thierry I van Eyck. H 27.5 cm. Courtesy Philippe d’Arschot.

German wager cup depicting St Margaret of Antioch. Silver-gilt. Nuremberg, 1629. Silversmith: Georg Koler. H 14 cm. Courtesy Philippe d’Arschot.

Wedding cutlery in a sheath. Silver and niello. Germany, circa 1610. W 16.3 cm. Courtesy Philippe d’Arschot.

La galerie ouverte depuis 1992 est située avenue Louise à Bruxelles. Philippe d’Arschot y présente un large choix d’orfèvrerie européenne allant du XVIe au XVIIIe siècle. Une section est également consacrée aux bijoux et bagues d’époque Renaissance. Les activités de la galerie se concentrent en Belgique et à l’étranger sur l’expertise, le conseil, l’achat et la vente que ce soit pour le compte de collectionneurs privés ou d’institutions publiques. Fondé en : 1992

Philippe d’Arschot. Stand 42b. Brafa Art Fair, 21-29 janvier 2017  

Mark Rothko, No.1, 1949, oil on canvas © Kate Rothko Prizel and Christopher Rothko/DACS 2016

Mark Rothko, Untitled 2, 1949, oil on canvas, 238.8 × 135.6 cm, Menil Collection © Kate Rothko Prizel and Christopher Rothko/DACS 2016

Mark Rothko, No.3/No.13 (Magenta, Black, Green On Orange), 1949,  oil on canvas, 216.5 x 164.8 cm, Museum of Modern Art (MoMA), New York City, NY, US © Kate Rothko Prizel and Christopher Rothko/DACS 2016

Mark Rothko, No.5, 1949, oil on canvas, 215.9 x 160 cm, The Chrysler Museum of Art, Norfolk, VA © Kate Rothko Prizel and Christopher Rothko/DACS 2016

Mark Rothko, No 7 - No.11, 1949, oil on canvas 173 x 111 cm © Kate Rothko Prizel and Christopher Rothko/DACS 2016

Mark Rothko, No.8, 1949, oil and mixed media on canvas, 228.3 x 167.3 cm, National Gallery of Art, Washington, DC © Kate Rothko Prizel and Christopher Rothko/DACS 2016

Mark Rothko, No.19, 1949, oil on canvas, 172.8 x 101.8 cm, Art Institute of Chicago, IL © Kate Rothko Prizel and Christopher Rothko/DACS 2016

Mark Rothko, No.21, 1949, oil on canvas, 101.6 x 76.5 cm. Private Collection © Kate Rothko Prizel and Christopher Rothko/DACS 2016

Mark Rothko, No.24, 1949, oil on canvas, 224 x 146.1 cm, Hirshhorn Art Collection, Washington, DC © Kate Rothko Prizel and Christopher Rothko/DACS 2016

Mark Rothko, Untitled (Violet, Black, Orange, Yellow on White and Red), 1949, oil on canvas, 207 x 167.6 cm, 
Guggenheim, New York City © Kate Rothko Prizel and Christopher Rothko/DACS 2016

Mark Rothko, Untitled, oil and acrylic with powdered pigments on canvas, 142.2 x 83.8 cm, Metropolitan Museum of Art, New York City © Kate Rothko Prizel and Christopher Rothko/DACS 2016

Mark Rothko, Untitled, oil on canvas, 162.6 x 109.2 cm, Akron Art Museum, Ohio © Kate Rothko Prizel and Christopher Rothko/DACS 2016

Mark Rothko, Untitled, oil on canvas, 204.2 x 168.3 cm,  National Gallery of Art, Washington, DC © Kate Rothko Prizel and Christopher Rothko/DACS 2016

Mark Rothko, Untitled, 1949, watercolour on paper, 104.1 x 69.2 cm, National Gallery of Art, Washington, DC © Kate Rothko Prizel and Christopher Rothko/DACS 2016

Mark Rothko, Yellow and Orange, 1949, oil on canvas, 140.6 x 111.8 cm, Museum of Contemporary Art, Los Angeles, CA © Kate Rothko Prizel and Christopher Rothko/DACS 2016

Mark Rothko, Untitled, 1949 © Kate Rothko Prizel and Christopher Rothko/DACS 2016

Diane Arbus, Lady on a bus, N.Y.C., 1957; courtesy The Metropolitan Museum of Art, New York / copyright © The Estate of Diane Arbus, LLC. All rights reserved/ 

SAN FRANCISCO, CA.- The San Francisco Museum of Modern Art presents the West Coast debut of the acclaimed exhibition diane arbus: in the beginning, on view January 21 through April 30, 2017. Organized by The Metropolitan Museum of Art, diane arbus: in the beginning considers the first seven years of the photographer’s career, from 1956 to 1962. Bringing together over 100 photographs from this formative period, many on display for the first time, the exhibition offers fresh insights into the distinctive vision of this iconic American photographer. The exhibition is on view in the museum’s new Pritzker Center for Photography, made possible by the Lisa and John Pritzker Family Fund. SFMOMA is the only American venue other than The Metropolitan Museum of Art to present this exhibition. 

A lifelong New Yorker, Diane Arbus (1923–1971) found the city and its citizens an endlessly rich subject for her art. Working in Times Square, the Lower East Side and Coney Island, she made some of the most powerful portraits of the 20th century, training her lens on the pedestrians and performers she encountered there. This exhibition highlights her early and enduring interest in the subject matter that would come to define her as an artist. It also reveals the artist’s evolution from a 35mm format to the now instantly recognizable and widely imitated look of the square format she adopted in 1962. 

Although this period was exceptionally fruitful—nearly half the photographs that Arbus printed during her lifetime were produced during these years—the work has remained little known. It was only after her death that much of it was brought to light. The exhibition includes many lesser-known published works, including Lady on a bus, N.Y.C. 1957; Boy stepping off the curb, N.Y.C. 1957–58; The Backwards Man in his hotel room, N.Y.C. 1961; and Jack Dracula at a bar, New London, Conn. 1961. It also highlights previously unknown additions to her body of work, including Taxicab driver at the wheel with two passengers, N.Y.C. 1956; Woman with white gloves and a pocket book, N.Y.C. 1956; and Man in hat, trunks, socks and shoes, Coney Island, N.Y. 1960. 

The majority of the photographs included in the exhibition are part of The Metropolitan Museum of Art’s vast Diane Arbus Archive, acquired in 2007 by gift and promised gift from the artist’s daughters, Doon Arbus and Amy Arbus.  

The exhibition has been complemented by a gallery featuring works by artists Arbus admired as well as by her contemporaries in New York including Walker Evans, Louis Faurer, Robert Frank, Lee Friedlander, William Klein, Helen Levitt, Lisette Model, August Sander, Weegee and Garry Winogrand, all drawn from SFMOMA’s photography collection. 

diane arbus: in the beginning builds on SFMOMA’s longstanding commitment to the artist, including the groundbreaking exhibition Diane Arbus Revelations, presented in San Francisco from October 2003 through February 2004. Co-organized by guest curator Elisabeth Sussman and Sandra S. Phillips, curator emerita of photography at SFMOMA, Diane Arbus Revelations brought together approximately 200 of the artist’s most significant photographs—making it the most complete presentation of her work ever assembled. The exhibition traveled to six additional venues in the United States and Europe.  

Diane Arbus, Fire Eater at a carnival, Palisades Park, NJ, 1957; gift of Danielle and David Ganek, 2005; courtesy The Metropolitan Museum of Art, New York / copyright © The Estate of Diane Arbus, LLC. All rights reserved/ 

“We’re so pleased to bring Arbus’s work back to the Bay Area,” said Corey Keller, curator of photography at SFMOMA. “Arbus made some of the most potent photographs of the 20th century, and this exhibition provides a unique opportunity to consider the origins of her vision and to explore a tremendously rich but largely unfamiliar body of early work.” 

SFMOMA has been collecting and exhibiting photography since its founding in 1935 and was one of the first American art museums to do so. An independent department was established under the direction of Van Deren Coke in 1980. Under the leadership of Sandra S. Phillips, who joined SFMOMA in 1987 and now serves as curator emerita of photography, the collection has grown exponentially in size and quality, and the program, based on a philosophy of collecting and interpreting the photographic medium in all its richness and complexity, has earned an international reputation. Clément Chéroux will join the department as senior curator of photography in early 2017.  

Diane Arbus, Female impersonator holding long gloves, Hempstead, LI, 1959; purchase, Joyce F. Menschel Gift, 2015; courtesy The Metropolitan Museum of Art, New York / copyright © The Estate of Diane Arbus, LLC. All rights reserved/ 

Today the photography collection numbers more than 17,000 objects, and is the largest collection at the museum. Its strengths include outstanding examples of work by West Coast modernist masters such as Ansel Adams, Edward Weston and their counterparts on the East Coast, most notably Alfred Stieglitz and Charles Sheeler. A small but important group of European modernist works by Hans Bellmer, Claude Cahun, László Moholy-Nagy and Man Ray, among others, represents another highlight of this period. The collection also demonstrates a deep commitment to the work of major 20th- and 21st-century figures, including Robert Adams, Diane Arbus, Lewis Baltz, Rineke Dijkstra, William Eggleston and Larry Sultan. 

SFMOMA is particularly renowned for its thematic exhibitions, presenting photography as a vital modern visual language. This strong interest in photography’s social and cultural importance and this pioneering commitment to examining the medium’s distinguishing—and changing—characteristics continues to grow in relevance, as newer generations and evolving technologies challenge the very definition of photography as never before.

Diane Arbus, Man in hat, trunks, socks and shoes, Coney Island, NY, 1960; promised gift of Doan Arbus and Amy Arbus, 2007; courtesy The Metropolitan Museum of Art, New York / copyright © The Estate of Diane Arbus, LLC. All rights reserved/ 

Diane Arbus, Stripper with bare breasts sitting in her dressing room, Atlantic City, NJ, 1961; purchase, Jade Lau Gift, 2015; courtesy The Metropolitan Museum of Art, New York / copyright © The Estate of Diane Arbus, LLC. All rights reserved/ 

Diane Arbus, Girl with a pointy hood and white schoolbag at the curb, N.Y.C., 1957; courtesy The Metropolitan Museum of Art, New York / copyright © The Estate of Diane Arbus, LLC. All rights reserved.

Salt Barrel (Saliera), Benvenuto Cellini (1540-1543, Paris). Gold, Email, Ebenholz, Elfenbein. H. 26,3 cm , L. 28,5 cm, B. 21,5 cm © Wien, Kunsthistorisches Museum

Krumauer Madonna, c. 1390-1400, Prague. Kalksandstein, polychromiert. H. 112 cm, B. 45 cm © Wien, Kunsthistorisches Museum

Aquamanile in the form of a griffin, workshop of Roger von Helmarshausen (?), 1st third of the 12th century, Lower Saxony. Bronze, gilded, silver, niello, garnet. H. 17,3 cm, L. 14,5 cm, B. 8,5 cm © Wien, Kunsthistorisches Museum

Venus felix, Pier Jacopo Alari-Bonacolsi, gen. Antico, c. 1500, Mantua. Bronze, partially fire-gilded; Base: Linden wood with inserted Roman coins. H. 29.8 cm (without base); Base: Dm 12.5 cm © Wien, Kunsthistorisches Museum

Young couple poets of his muse, preaching a love song (formerly Bacchus and Ariadne), Tullio Lombardo, c. 1505/10, Venice. Stone, marble, traces of painting. H. 56 cm, B. 71 cm, T. 20 cm
© Wien, Kunsthistorisches Museum

Dragon Bowl, Gasparo Miseroni, c. 1565-70, Milan. Lapis lazuli, set in enamelled gold, rubies, emeralds, pearls, 2. H. 17,2 cm, L. 18,9 cm, B. 10,9 cm © Wien, Kunsthistorisches Museum

Flying Mercury, Jean Boulogne, called Giambologna, c. 1585, Florence. Bronze. H. 62,7 cm © Wien, Kunsthistorisches Museum

Emperor Rudolf II, Adriaen de Vries, 1603, Prague. Bronze. H. 112 cm, B. 70 cm, T. 41 cm © Wien, Kunsthistorisches Museum

Automat with Diana on the Centaur, Hans Jakob I. Bachmann, 1598-1600, Augsburg. Silver, partially gilded, base plate Gold-plated, low-cutmail, pearls, grenade, black stained wood; Work: Iron. H. 39,5 cm © Wien, Kunsthistorisches Museum

Seychelles Cup, Anton Schweinberger, setting, attributed to Nikolaus Pfaff, 1602, Prague,.Seychelles nut, Silver, partly gold-plated. H. 38,5 cm © Wien, Kunsthistorisches Museum

Bear as Hunter, Gregor Bair, Valentin Drausch, Heinrich Wagner, 1580-1581, Augsburg and Munich. Silver, gold, enamel, emeralds, rubies, sapphire, pearls. H. 21,3 cm © Wien, Kunsthistorisches Museum

Vanitas, Michel Erhart, Jörg Syrlin the elder, c. 1470-1480, Ulm. Wood, lime wood with old frame. H. 46,5 cm. © Wien, Kunsthistorisches Museum

Narwalhornbecher, Miseroni workshop in Milan, late 16th century-early 17th century, Jan Vermeyen, 1600-05, Prague, Milan. Horn, Narval horn ("Einhorn"), Gold, Email, Diamonds, rubies, double agate from agate, ivory. H. 22,2 cm © Wien, Kunsthistorisches Museum

Ostrich Egg Cup, Clement Kicklinger, c. 1570-75, Augsburg. Ostrich egg, coral, silver, gilded, partially painted. H. 56,8 cm © Wien, Kunsthistorisches Museum

Large Tafelaufsatz in the shape of a heron (Rainer), Saracchi Workshop, 16th century, c. 1590, Milan; Rock crystal; Gold, partial enamel, emeralds, zircon, rubies, pearls, glass stone. H. 39,4 cm, L. ca. 50 cm, B. 23,3 cm © Wien, Kunsthistorisches Museum

Fury, Master of the Fury, ca. 1610-20, Salzburg ?. Ivory, 37,4 cm x 25,4cm x 25cm © Wien, Kunsthistorisches Museum

Apollo and Daphne, Jakob Auer, c. 1688-90, Vienna. Ivory. H. 43,9 cm © Wien, Kunsthistorisches Museum

Joseph I as a Roman king on horseback, Matthias Steinl, 1693, Vienna. Ivory. H. 47,5 cm © Wien, Kunsthistorisches Museum

Surtout of the Duke Karl Alexander of Lorraine, Pieter Jozef Fonson, Jakob van der Donck, 1755; Additions 1770, 1794, Brussels. Gold, wood, rass, porcelain. H. 54,5 cm, L. 63,2 cm, B. 46 cm © Wien, Kunsthistorisches Museum

Bust Emperor Franz I, Antonio Canova, 1805, Venice. Stone, Carrara marble. H. 87 cm, B. 68 cm, Original stone base © Wien, Kunsthistorisches Museum

Rhinoceros horn deckelpokal with warthog tusks, Nikolaus Pfaff, 1611, Prague. Horn of the African rhinoceros' (white rhino or broad-mouth horn, Ceratotherium simum), hauer of an African. Warthog; Socket: silver, gold plated, partly painted, 49,7 cm x 27,5 cm x 17,7 cm© Wien, Kunsthistorisches Museum

Kommunionkelch mit Patene und Saugröhrchen, so called 'Wiltener Kelch', Niedersachsen (?), c. 1160-70. Silver, partially gold plated, Niello © Kunsthistorisches Museum Wien

Natternzungen Credence, Nuremberg (?), c. 1450. Silver, gold plated, shark teeth, citrine. H. 27 cm; Base: B. 16,3cm, T. 15,6cm, Dm.: 17,5cm © Kunsthistorisches Museum Wien

Female Bust, Ideal Portrait of Laura (?), Francesco Laurana (1430–1502), Milan (?), c. 1490 (?). Marble, wax, partly painted. H. 44 cm, B. 42,5 cm © Kunsthistorisches Museum Wien

Prunkbecken with Snakes, Seond quarter 16th century. Total height 39 cm; Becken: H. 33 (26) cm, Dm. 62 (42,2) cm; Weight 38kg; Marble base: H. 6 cm, Weight 10kg © Kunsthistorisches Museum Wien

Jan Fabre (Antwerp, 1958), ‘One man's misfortune is another man's chocolate’, 2012. Jewel beetle wing-cases on wood, 227.5 x 173 cm. Courtesy Galerie Jamar 

Alechinsky (Brussels, 1928), ‘Duo de bassecour’, 1969. Acrylic on paper laid down on canvas, 64 x 95 cm. Courtesy Galerie Jamar

Henri Van Herwegen alias Panamarenko (Antwerp, 1940), ‘Japanese flying pack’, 2001. Motor, metal tubing, two leather belts, propellers, rubber bands. H 53.3 x W 157.5 x D 91 cm. Courtesy Galerie Jamar

Jos Jamar ouvre sa galerie en 1989. Dès le début, l’accent est mis sur l’art belge d’après-guerre, avec notamment des oeuvres de Jef Geys, Guillaume Bijl et Marcel Broodthaers. Entre-temps, il commence à réunir toute la collection de multiples de l’un des plus célèbres artistes flamands: Panamarenko. La galerie organise des expositions régulières de tous ces artistes et a aussi mis à l’honneur quatre autres icônes nationales de l’art: Léon Spilliaert, Pierre Alechinsky, James Ensor et Jan Fabre.  

Galerie Jamar. Stand 65a. Brafa Art Fair, 21-29 janvier 2017  

Head of a pharaoh wearing the Nemes with ram’s horns, Egypt, Ptolemaic period, circa 330-30 BC. Sculptor's mode.; White limestone. H 10 x W 10 x D 3 cm. Courtesy David Ghezelbash Archéologie

Provenance: former private collection of Mr Bernard Daydé (1921-1986), theatre designer and director of the National Lyrical Theatre from 1971 to 1977, Paris, France; given to him in 1950 by King Farouk

Funerary statuette of a servant or ‘Shabti’, Egypt, New Kingdom, Ramesside period, 1295 to 1069 BC. Tripartite wig, crossed arms and attributes on the chest. Wood with red, black and yellow pigments. H 26 cm. Courtesy David Ghezelbash Archéologie

Inscription in hieroglyphic characters engraved in eight registers mentioning
1. illuminating Osiris, the ? of the prison HAT true of voice
2. he says “O thou shabty
3. if one counts, if one
4. reckons the Osiris HAT true of voice
5. to perform all the works which are carried out
6. in the necropolis, you shall make
7. arable the fields, shall irr –
8. -igate the river banks’

Provenance: former private collection of a naval officer, acquired in Egypt at the end of the 19th century; former private collection of Mr Alfred Duringe, acquired in Lyon from a dealer who acquired it circa 1875, Marseille 

Literature: G. Maspero, ‘Recueil de travaux relatifs à la philologie et à l'archéologie égyptiennes et assyriennes pour servir de bulletin à la mission française du Caire’, 1897, p 86; Alfred Duringe, ‘Study of the Egyptian monuments in the archaeological museum of Cannes’, 1907.

Steatopygous feminine idol sitting cross-legged, Anatolia, Neolithic period, 6th-5th millennium BC. Black steatite. H 5.4 x W 4.2 x D 3.5 cm. Courtesy David Ghezelbash Archéologie

Smooth, curved body. Hands on the chest. Long almond-shaped eyes. Hairdo with headband and a plait

Provenance: former Swiss private collection, acquired circa 1960.

La galerie David Ghezelbash Archéologie a ouvert ses portes en 2008, au coeur de Saint-Germain-des-Prés. Elle présente une sélection d’oeuvres d’art archéologique du bassin Méditerranéen: Art Grec, Romain, Egyptien et Proche Oriental. Membre du Syndicat National des Antiquaires (SNA) et de la IADAA (International Association of Dealers in Ancient Art), elle participe à des salons en France et à l’étranger comme le Frieze Masters à Londres et Showcase à TEFAF Maastricht. Elle s’attache à offrir un choix d’oeuvres d’un intérêt non seulement archéologique mais aussi esthétique et publie chaque année un catalogue disponible sur demande ou visible sur son site: www.davidghezelbash.com (rubrique: catalogue).  Fondé en : 2008.

David Ghezelbash Archéologie. Stand 84c. Brafa Art Fair, 21-29 janvier 2017  

Head of a young woman, Greece, probably an Athenian workshop, late 5th-early 4th century BC. Marble with traces of rootlets. H 26 cm. Courtesy Galerie Gilgamesh

Provenance: Mikas collection, antique dealer in Paris; Bonn, acquired in the region before 1970

Large oinochoe or wine jug with lid, Greece, geometric period, mid 8th century BC. Terracotta beige to brown highlights. Adorned with geometric and zoomorphic designs. H 61 x Ø 39 cm. Courtesy Galerie Gilgamesh

Provenance: Professor A. collection before 1950

Female figure wearing a heavy wig ending in scrolls, Egypt, Middle Kingdom, 12th–13th Dynasty, 1991-1786 century BC. Greywacke sandstone. H 22.5 cm. Courtesy Galerie Gilgamesh

Certificate from the Véel Gallery, Paris, 7 April 1967

Provenance: Lefèvre collection, France, since 1965

Au sein de la galerie Gilgamesh au coeur du Carré Rive Gauche, Daniel Lebeurrier présente depuis 1998 un large choix d'antiquités. Expert en archéologie près de la cour d'appel de Paris, il est diplômé de l'Ecole du Louvre et de l'Université Paris I – Sorbonne et il propose une sélection d'oeuvres préhistoriques, égyptiennes, mésopotamiennes, grecques et romaines, provenant pour la plupart d'anciennes collections françaises. Fondé en : 1998.

Galerie Gilgamesh. Stand 52a. Brafa Art Fair, 21-29 janvier 2017  

Statue of Herieus, prophet of 'Harpocrates, the Great God who resides in Mendes', Egypt, Ptolemaic Period. Nummulitic limestone. H 103 cm. Courtesy Galerie Harmakhis

Provenance: Swiss collection, 1980s, then G.W., Germany, 1990s

Depuis 1988, la Galerie Harmakhis se spécialise en art de l’antiquité classique et égyptienne. Licencié en Histoire de l’Art et Archéologie, licencié en Philologie et Histoire orientales (égyptologie), Jacques Billen est membre de la Chambre Belge des Experts en Œuvres d’Art, de la Chambre Royale des Antiquaires et des Négociants en Œuvres d’Art de Belgique, du Syndicat National des Antiquaires (SNA) et de l’International Association of Dealers in Ancient Art (IADAA). Fondé en : 1988

Galerie Harmakhis. Stand 32c. Brafa Art Fair, 21-29 janvier 2017  

Leysen. Chrome tourmaline ring. Courtesy Leysen

Set with an exceptional 4.09 ct chrome tourmaline. Specially designed to highlight the special green shades of this stone that evoke emerald or tsavorite.

Leysen. Necklace and earrings set with 60 ct white and intense yellow pear-shaped diamonds. Courtesy Leysen

Leysen. Earrings set with rose-cut diamonds, Haveli collection. Courtesy Leysen

Leysen joaillier est une entreprise familiale fondée en 1855 et actuellement dirigée par Henri et Maxime Leysen, cinquième et sixième génération d´une institution incontournable dans le domaine de la haute joaillerie. Soucieux de la qualité et du savoir-faire belge, Sa Majesté le Roi Philippe a accordéà la joaillerie Leysen Frères, le titre de Fournisseur Breveté de la Cour de Belgique. Mélange subtil de tradition et de créativité, mariage d´art ancien et de modernité, elle conjugue l´art à tous les temps pour décliner des bijoux marqués du poinçon de la ‘fleur de lys’, symbole de pureté et de noblesse. Située au coeur de Bruxelles et de l´art, Place du Grand Sablon, elle bénéficie d´une clientèle belge (par tradition) et cosmopolite (par sa situation). Fondé en : 1855

Leysen. Stand 70b. Brafa Art Fair, 21-29 janvier 2017

Pair of large baluster-shaped jars with lids, China, Kangxi period (1662-1722). Blue and white porcelain painted with figures, flower pots and floral decorations.  H 56 cm. Courtesy Galerie Lamy.

Literature: exhibition catalogue 'The Age of Gallantry', The Chinese porcelain New York, 1995, n° 100 (similar pair)

Pair of spaniels, China, Qianlong period (1711-1799); Polychrome porcelain. H 16.5 cm and 17 cm. Courtesy Galerie Lamy.

Provenance: Hodroff collection 4041 

Literature: ‘The Copeland Collection’, The Peabody Museum of Salem, p.186, n° 89, (similar pieces)

Boy carrying a sheep, Sèvres biscuit figure after Boucher (Paris 1703-1770), by Fernex, 1754. H 23 cm.  Courtesy Galerie Lamy.

Literature: exhibition catalogue 'La sculpture à Sèvres, de Louis XV à la révolution', Museum of Sèvres, France, Ed. Faton, 2015 (similar model) 

Exhibition: 'La sculpture à Sèvres, de Louis XV à la révolution', Museum of Sèvres, France, 2015 (similar model)

La galerie, fondée en 1996, est spécialisée en Chine, Japon ainsi qu’en céramique et objets d’art européens. Elle a participéà de multiples foires tant en Belgique qu’à l’étranger comme l’ ‘International Ceramics Fair and Seminar’ de Londres, la Biennale des Arts Asiatiques de Paris, le Salon international de la Céramique ancienne d’Enghien etc ... Elle est membre du Syndicat National des Antiquaires (SNA) et de l’Association des Spécialistes en Céramique de Collection (ASCC). Fondé en : 1996.

Galerie Lamy. Stand 43b. Brafa Art Fair, 21-29 janvier 2017

Console by the Bâtiments du Roi (The King’s official builders and furnishers), Paris, late Louis XIV period, circa 1715. Sculpted and gilt wood, red Languedoc marble. H 72.5 x L 110 x D 42.5 cm. Courtesy Galerie Steinitz

Provenance: private collection

Exceptional chest of drawers, First 3rd of the 18th century. Hungarian oak, solid rosewood, chiseled and gilt bronze. H 85 x L 143 x P 67 cm. Courtesy Galerie Steinitz

Provenance: former collection of Sir Lionel Philips, 1st Baronet (1855-1936), and his wife Dorothea Sarah Florence Alexandra, Lady Phillips (1863-1940), held at their colonial manor Vergelegen in Capetown. Following the death of Lady Philips, Vergelegen and its collections were sold at auction to Punch and Cynthia Barlow on 9 June 1941. Thence by descent

 Mounted regulator clock. Attributed to Alexandre-Jean Oppenordt (1636-1715), master before 1668, official cabinetmaker to the King from 1684, and his workshop, Paris, Louis XIV period, circa 1700. Ebony, with brass and brown shell marquetry. Signed Gaudron, Paris. H 254 cm. Courtesy Galerie Steinitz

Provenance: private collection 

Invitation à un nouvel art de vivre, la galerie Steinitz occupe depuis 2009 un hôtel particulier rue du Faubourg Saint-Honoré. Benjamin Steinitz, qui préside désormais aux destinées de la galerie fondée en 1968 par son père, a créé un lieu où les boiseries d’époque et les décors anciens répondent à la diversité des meubles et objets d'art. Ces pièces exceptionnelles sont associées à une sélection plus moderne allant jusqu’à des créations contemporaines, reflet d’un style de vie plus personnel. Constituant un ensemble unique au monde dans une atmosphère éclectique témoignant d’un art de la mise en scène inégalé, ce nouveau lieu établit un dialogue entre objets anciens et pièces modernes, véritable signature du 'goût Steinitz'. 

Galerie Steinitz. Stand 6c. Brafa Art Fair, 21-29 janvier 2017

French Louis XV commode with two drawers ‘sans traverse’. Stamp of Mathieu Criaerd (Paris, 1689-1776), cabinetmaker who became master in Paris on 29 July 1738. Chinese and European lacquer, adorned with chiselled and gilt bronze mounts, Breche d’Alep marble top. H 88 x W 112 x D 58 cm. Courtesy Theunissen & de Ghellinck. 

Portrait of a gentleman, Louis René Vialy (Aix-en-Provence 1680-1770 Paris), pupil of Hyacinthe Rigaud (Perpignan 1659-1743 Paris), portrait painter and first master of Joseph Vernet (Avignon 1714-1789 Paris). Pastel drawing in its Louis XV carved and gilt frame. Signed 'L.R. Vialy pinxit 1749', 36 x 44 cm. Courtesy Theunissen & de Ghellinck. 

Florentine cabinet, Circa 1700. Rosewood veneer inlaid with ivory and semi-precious stones, adorned with marble columns and crowned with Corinthian capitals in chiselled gilt bronze. H 59 x W 62 x D 34 cm. Courtesy Theunissen & de Ghellinck. 

Installés à Bruxelles dans le quartier du Sablon depuis 1992, Olivier Theunissen et Nicolas de Ghellinck, tous deux membres de la Chambre Royale des Antiquaires et Négociants en Oeuvres d’Art de Belgique, sont spécialisés en mobilier français et objets d’art des XVIIe et XVIIIe siècles.  

Theunissen & de Ghellinck. Stand 137a. Brafa Art Fair, 21-29 janvier 2017

Three brooches representing ladybirds, Cartier Paris, 1970s. White gold with the bodies in coral and black enamel. Signed and numbered. Courtesy Galerie Montaigne

Beautiful bracelet, Van Cleef & Arpels, circa 1960. Yellow gold and horn with the central part in ivory with coral. Signed. Courtesy Galerie Montaigne

'Garland' style necklace, 1900-1905. Platinum, diamonds and natural pearls. Courtesy Galerie Montaigne

Work of great delicacy, elegance and lightness.

La galerie Montaigne est spécialisée en bijoux d’exception, signés, de styles, représentatifs des grandes époques de la joaillerie, XIXe, Art Déco, jusqu’aux années ’70. Elle présente des maisons telles que Cartier, van Cleef & Arpels, Boucheron, Chaumet, Buccelatti, Bvlgari, Belperron, Boivin, et bien d’autres grands noms. Fondée en 1997, elle est dotée d’une excellente réputation à Monaco pour son professionnalisme et sa confidentialité et est présente également sur les marchés très actifs de Genève, New York, Londres, Moscou et Hong Kong. Très rigoureuse en termes de provenance, de condition et de certification, la galerie Montaigne offre un service irréprochable destinéà une clientèle exigeante et esthète. Fondé en : 1997

Galerie Montaigne. Stand 44b. Brafa Art Fair, 21-29 janvier 2017

Archaic Li-type tripod vessel, China, Zhou dynasty, Spring and Autumn period (722-421 BC). Bronze with green patina, finely inlaid with malachite, cuprite and azurite. H 16 x D 16 cm. Courtesy Eric Pouillot

It was used to cook sacrificial food.

Seated watchdog, China, Sichuan region, Eastern Han dynasty (25-220 AD). Salmon earthenware with brown glaze. H 30 x W 30 cm. Courtesy Eric Pouillot

Musician on standing horse, China, Tang dynasty (618-907), 8th century. White clay coated with Sancaï three colour glaze. H 40 x W 36 cm. Courtesy Eric Pouillot

Passionné d'archéologie, spécifiquement de la Chine, Eric Pouillot a souhaité transmettre son amour pour les objets de fouille en devenant, après deux années consacrées à l'histoire de l'art, marchand spécialisé. Sa galerie, idéalement située au cœur du Carré Rive Gauche, est plus particulièrement dédiée aux objets de terre cuite, glacurés ou non, et de bronzes, qui constituent le mobilier funéraire chinois, illustré par des statuettes zoomorphes ou anthropomorphes, de la vaisselle et des modèles d'architecture.  

Eric Pouillot. Stand 26c. Brafa Art Fair, 21-29 janvier 2017

Conical Parade helmet, Urartian, 9th-8th century BC. Bronze. H 30 cm. Courtesy Phoenix Ancient Art

Relief decoration in repoussé of giant serpents with animal heads inclining downwards as if to protect the royal figures facing each other in the central heraldic composition, incised on each side of the winged sun disk of Shamash next to the Tree of Life. Around the band are smaller devotional figures. The iconography reflects Assyrian art, and the cultural exchanges of the time. Almost entirely preserved 

Provenance: formerly collection of G.Ligabue, collected before 1970; French Art Market, 2012

Literature: Aruz J., Graff S. & Rakic Ye, ‘Assyria to Iberia: at the Dawn of the Classical Age, New York, 2014, pp. 88-90, n° 30; Born H., Seidl U.,’ Schutzwaffen aus Assyrien und Urartu: Sammlung Axel Guttman IV’, Mainz, 1995, pp. 48-49, 107-134, 172-173, ill. IV-V AG424; Castellucia M., Dan R., ‘Urartian Bronze Helmets, in Ancient Civilizations from Scythia to Siberia 19 (2)’, 2013, pp 277-313; Frankel D., ‘The ancient kingdom of Urartu’, London, 1979: Merhavr R., ‘Urartu: a metalworking centre’, Jerusalem, 1991; Piotrovskii B., ‘Urartu: The Kingdom of Van and Its Art’, New York, 1967, pp 45-47, ill. 16-20

Exhibition: Frieze Masters London 2016

Steatopygic statuette, perhaps holding a child, Aegean, late Neolithic period, circa 3500-3000 BC. Marble, surface partially covered with concretions and a brownish patina. H 19.1 cm. Courtesy Phoenix Ancient Art

Representing a nude woman with generous proportions and rounded forms, standing upright with her arms placed on her belly, conveying a sense of plenitude. Overall good condition with losses on face, right arm and hand.

This sort of sculpture was very popular in the Anatolian, Greek and Balkan world throughout the Neolithic period and early Bronze Age. Two elements differentiate it from other known works: the incised lines on the skin, that are clearly visible on the thighs and belly, and the vaguely rounded shape the woman holds before her. These figures had religious value, for they were associated with the Mother Goddess who protected human fertility as well as the health of animals and crops 

Provenance: former Swiss private collection, 1950s

Literature: Getz-Gentle P., ‘Personal Style in Early Cycladic Sculpture’, Madison (Wisconsin), 2001, ill. 4-6; ‘In Pursuit of the Absolute, Art of the Ancient World’, The G. Ortiz Collection, Bern, 1994, n° 46; ‘The Anatolian Civilisations’, Istanbul, 1983, n° A.272, p 121; von Bothmer M. (ed.), ‘Glories of the Past, Ancient Art from the S. White and L. Lévy Collection’, New York, 1990, n° 8-9 

Exhibition: PAD London Art + Design 2016.

Nagada II Jar with handles, Egyptian, Predynastic period, 4th millennium BC. Charcoal-black basalt (?). H 27.6 cm. Courtesy Phoenix Ancient Art

Simple, elegant ogive-shaped body. Below the thick rounded lip, two small prominent handles for transport. Small trunconical foot. Virtually intact, with minor cracks and chips, smooth uniform surface. In Ancient Egypt such stone vases were luxury goods and only appear in royal tombs and in the graves of high-ranking individuals. They served as containers for ointments and cosmetic oils, used in daily life and in religious and funerary contexts. Their manufacture is a frequent theme on wall paintings in the Old Kingdom

Provenance: former Henry Blackmer collection, England; ex-American private collection, New York, acquired in 1991

Literature: Aston B.G.,’ Ancient Egyptian Stone Vessels, Materials and Form (SAGA 5)’, Heidelberg, 1994; El-Khoulia A., ’Egyptian Stone Vessels: Predynastic to Dynasty III’, 3 vol., Mainz/Rhine, 1978; Page-Gasser M. & Wiese A.B.,’ Egypte, Moments d’éternité’, Mainz/Rhine, 1997, pp. 26, n° 6

Exhibition: PAD London Art + Design 2016

Phoenix Ancient Art est spécialisée dans les œuvres d’art ancien qui constituent l’essence même de la civilisation occidentale, allant de la Mésopotamie à l’Egypte, la Grèce et la Rome classique, l’Europe centrale, l’Eurasie, et le Sud-Ouest asiatique, du VIe millénaire avant JC jusqu’au XIVe siècle. Chaque objet témoigne de la grande virtuosité des artisans de l’époque et du raffinement de ces glorieuses cultures disparues. Qu’il s’agisse de sculptures de divinités, de bronzes harmonieux et majestueux, de verreries fines et élégantes, d’exquises mosaïques ou de bijoux étincelants, tous ces objets sont à jamais uniques et font partie de l’Histoire de l’Humanité. 

Phoenix Ancient Art. Stand 8v. Brafa Art Fair, 21-29 janvier 2017

Jar (Ping) with Dragon and Clouds, Yuan dynasty, 1279-1368, Los Angeles County Museum of Art, , Purchased with funds provided by Jack G. Kuhrts (53.74). Photo © Museum Associates/LACMA

LOS ANGELES, CA.- The Los Angeles County Museum of Art announced today that works from the museum's Chinese art collection will be on view at the Vincent Price Art Museum in a special exhibition. Chinese Ceramics from the Los Angeles County Museum of Art, on view January 24–July 22, 2017, will present 50 ceramic masterpieces with examples from the Neolithic period to the 19th century that exhibit a variety of styles and techniques, including works made of low-fired earthenware and high-fired stoneware and porcelain. This exhibition is part of a new LACMA initiative that launched in summer 2016 called On-Site: Neighborhood Partnerships with the Los Angeles County Museum of Art. Supported by a grant from The James Irvine Foundation, On-Site is an example of LACMA’s commitment to making its collection and programs accessible to the communities of Los Angeles County, in the hopes of broadening participation in cultural experiences. By building on existing partnerships, establishing new relationships, and seeking community input, LACMA aims to create educational and shared experiences that resonate with community members. 

"This collaboration with the Vincent Price Art Museum and East Los Angeles College is the first time LACMA has presented an exhibition dedicated to Chinese ceramics from its permanent collection in another part of Los Angeles,” said Michael Govan, LACMA CEO and Wallis Annenberg Director. “This is an important component of our On-Site program—sharing the transformational power of art with the local community.” 

Tea Bowl (Chawan) with Hare's Fur Pattern, Southern Song dynasty, 1127-1279, Jian ware, wheel-thrown stoneware with mottled black glaze and banded metal rim. Height: 2 7/8 in. (7.3 cm); Diameter: 4 7/8 in. (12.4 cm). Los Angeles County Museum of Art, Mr. and Mrs. Allan C. Balch Collection (M.51.2.1). Photo © Museum Associates/LACMA.

Pilar Tompkins Rivas, director of the Vincent Price Art Museum, said, "We are thrilled to partner with LACMA to showcase these important works of Chinese ceramics at the Vincent Price Art Museum. We are embedded within an important and thriving Asian American cultural center in Los Angeles County, and we believe this exhibition will have deep resonance for our local community and for the diverse student populations that we serve at East Los Angeles College. This is an exciting opportunity to share these masterworks through the exhibition and its related educational programs.” 

"This is the first opportunity in over a decade to view a superb selection of LACMA’s Chinese ceramics ranging in date from the Neolithic period (c. 2500 BC) to the late Qing dynasty (1644–1911),” said exhibition curator Stephen Little, Florence and Harry Sloan Curator of Chinese Art and Department Head, Chinese & Korean Art at LACMA. “The ceramics on show include some of the first examples of Chinese art to enter LACMA’s collection in the 1920s and ’30s, presenting a chance to view some of the most important styles and techniques in Chinese ceramic history, a wide range of symbols commonly found in Chinese art, and a fine selection of ceramics designed to be exported to countries outside of China.”  

Jar (Ping) with Dragon and Clouds, Yuan dynasty, 1279-1368. Cizhou ware, wheel-thrown stoneware with cream slip, brown painted decoration, and clear glaze. Height: 12 1/4 in. (31.1 cm); Diameter: 9 5/8 in. (24.5 cm). Los Angeles County Museum of Art, Purchased with funds provided by Jack G. Kuhrts (53.74). Photo © Museum Associates/LACMA

This exhibition, comprising works from LACMA’s permanent collection, presents an introduction to Chinese ceramics, with examples from c. 2500 BC (Neolithic period) to the 19th century, and is curated by Stephen Little, Florence and Harry Sloan Curator of Chinese Art and Department Head, Chinese & Korean Art. 

Chinese Ceramics from the Los Angeles County Museum of Art is divided into three sections: The first provides a survey of the technical development of Chinese ceramics, including the three basic types of clay—earthenware, stoneware, and porcelain—and decorative techniques, such as glazing. The second section focuses on some of the symbols and narratives embedded in the decoration of Chinese ceramics, including designs key to understanding Chinese cosmology, religion, history, and society. The exportation of Chinese ceramics to other parts of Asia began as early as the seventh and eighth centuries, and to Europe in the 16th century. The third section presents ceramics exported to Japan, Southeast Asia, the Near East, Europe, and the Americas between the 14th and 19th centuries.

Brush Stand, China, late Qing Dynasty, circa 1800-1911. Shiwan ware, Guangdong, stoneware with thick opalescent grayish blue glaze, 7 1/2 x 5 3/4 x 2 1/8 in. (19.05 x 14.61 x 5.4 cm).  Los Angeles County Museum of Art, Los Angeles County Fund (30.2.55). Photo © Museum Associates/LACMA.

Storage Jar (Hu) with Linked Spirals, China, Gansu Province, Majiayao, Neolithic period, Banshan phase, about 2600-2300 B.C. Coil-built earthenware with painted decoration. Diameter: 15 3/8 in. (39.05 cm) Height: 14 5/8 in. (37.15 cm). Los Angeles County Museum of Art, Gift of Rita and Marc Seidner (M.86.333). Photo © Museum Associates/LACMA.

Jar (Guan) with Textured Surface, China, probably Zhejiang Province, Eastern Zhou dynasty, late Spring and Autumn period, or early Warring States period, 700-400 B.C. Coil-built stoneware with impressed decoration. Height: 8 1/4 in. (20.96 cm); Diameter: 10 1/4 in. (26.67 cm). Los Angeles County Museum of Art, Purchased with funds provided by Dr. and Mrs. Richard A. Simms (M.2002.143). Photo © Museum Associates/LACMA.

Funerary Sculpture of a Noble Lady, China, Western Han dynasty, 206 B.C.-A.D. 25. Molded earthenware with slip and traces of paint, 20 x 15 x 8 1/2 in. (50.8 x 38.1 x 21.59 cm). Los Angeles County Museum of Art, Gift of Nasli M. Heeramaneck (M.73.48.122). Photo © Museum Associates/LACMA.

Jar (Hu) with Birds, China, probably Zhejiang Province, late Western Han dynasty or early Eastern Han dynasty, about 100 B.C.-A.D. 100. Proto-Yue ware, wheel-thrown stoneware with applied and incised decoration and green glaze. Height: 16 1/2 in. (42.55 cm); Diameter: 13 1/2 in. (34.3 cm). Los Angeles County Museum of Art, Mr. and Mrs. Allan C. Balch Collection (M.52.2.1). Photo © Museum Associates/LACMA.

Funerary Sculpture of a Chimera (Bixie), China, Eastern Han dynasty, 25-220. Molded earthenware with traces applied decoration and paint, 16 5/8 x 15 5/8 x 10 1/2 in. (42.6 x 39 x 26.8 cm). Los Angeles County Museum of Art, Gift of Elly Nordskog and Family in memory of Bob Nordskog (AC1997.1.1). Photo © Museum Associates/LACMA.

Horse Head, China, Han dynasty, 206 B.C.- A.D. 220. Molded earthenware with painted decoration, 6 3/4 x 2 1/8 x 6 1/2 in. (17.15 x 5.4 x 16.51 cm). Los Angeles County Museum of Art, The Phil Berg Collection (M.71.73.104). Photo © Museum Associates/LACMA.

Vessel in the Form of a Bear, China, Western Jin dynasty, 265-316. Molded stoneware with incised decoration and green glaze, 3 7/8 x 3 x 3 1/2 in. (9.84 x 7.62 x 8.89 cm). Los Angeles County Museum of Art, Gift of Mr. Robert H. Blumenfield in honor of the museum's 40th anniversary (M.2005.68.1). Photo © Museum Associates/LACMA. 

Lamp Stand (Dengtai), China, probably Zhejiang Province, Three Kingdoms period, Eastern Jin dynasty, 317-420. Yue ware, wheel-thrown stoneware with molded and applied decoration and green glaze with brown spots, 5 x 5 1/2 in. (12.70 x 13.97 cm). Los Angeles County Museum of Art, Gift of Nasli M. Heeramaneck (M.73.48.124). Photo © Museum Associates/LACMA.

Horse Head, China, Six Dynasties period, 317-581. Molded earthenware with painted decoration, 6 x 3 3/8 x 7 1/4 in. (15.24 x 8.57 x 18.42 cm). Los Angeles County Museum of Art, The Phil Berg Collection (M.71.73.106). Photo © Museum Associates/LACMA.

Flask (Bianhu) with a Lion Attacking an Ox, China, Late Six Dynasties period, Northern Zhou dynasty or Sui dynasty, 556-618. Molded stoneware with incised decoration and green glaze. Height: 12 3/8 in. (31.43 cm). Los Angeles County Museum of Art, Given in memory of Dr. Joseph K. W. Li (AC1997.17.1). Photo © Museum Associates/LACMA.

Amphora (Ping) with Dragon Handles, China, early Tang dynasty, about 618-700. Wheel-thrown stoneware with molded, modeled, and applied decoration and cream glaze. Height: 21 1/4 in. (53.98 cm). Los Angeles County Museum of Art, Los Angeles County Fund (54.22). Photo © Museum Associates/LACMA.

Lidded Jar (Guan), China, Middle Tang dynasty, about 700-800. Wheel-thrown earthenware with yellow glaze, 11 1/4 x 8 in. (28.57 x 20.32 cm). Los Angeles County Museum of Art, Gift of Jo Ann and Julian Ganz, Jr., in memory of Alice and Joe M. Schaaf (AC1999.38.1.1-.2). Photo © Museum Associates/LACMA.

Funerary Sculpture of a Bactrian Camel, China, Chinese, middle Tang dynasty, about 700-800. Molded earthenware with molded, modeled, and applied decoration and polychrome (sancai) glaze, 35 1/2 × 30 1/2 × 10 in. (90.17 × 77.47 × 25.4 cm). Los Angeles County Museum of Art, William Randolph Hearst Collection (46.16.22). Photo © Museum Associates/LACMA.

Ewer in the Form of a Parrot, China, probably Hebei Province, early Northern Song dynasty, about 960-1000. Molded stoneware with carved and incised decoration, and green and brown glaze. Overall: 8 1/2 x 8 1/2 x 4 in. (21.59 x 21.59 x 10.16 cm). Los Angeles County Museum of Art, Purchased with funds provided by Simon K. C. Li, Ruth L. Eliel and William N. Cooney in memory of Dr. Joseph K. W. Li (AC1999.160.1). Photo © Museum Associates/LACMA.

Headrest (Zhen) with Floral Scrolls, China, Hebei Province, probably Julu County, middle Northern Song dynasty, about 1000-1100. Cizhou ware, slab-built stoneware with white and brown slips, carved decoration, and transparent glaze, 4 x 10 x 8 3/4 in. (10.2 x 25.4 x 22.2 cm). Los Angeles County Museum of Art, Far Eastern Art Council Fund (M.88.202). Photo © Museum Associates/LACMA.

Incense Burner (Lu) with Flower Petals, China, Henan Province, Baofeng County, middle Northern Song dynasty, about 1000-1100. Yaozhou ware, wheel-thrown stoneware with carved decoration and green glaze. Height: 5 in. (12.7 cm); Diameter: 5 7/8 in. (14.9 cm). Los Angeles County Museum of Art, Mr. and Mrs. Allan C. Balch Fund (M.57.13.3). Photo © Museum Associates/LACMA.

Incense Burner (Lu) in the Form of an Ancient Bronze Container (Lian), China, Hebei Province, Quyang County, Middle or late Northern Song Dynasty, circa 1000-1127. Ding ware, wheel-thrown stoneware with applied decoration and transparent glaze. Height: 4 1/2 in. (11.43 cm); Diameter: 7 3/8 in. (18.73 cm). Los Angeles County Museum of Art, Purchased with funds provided by the Far Eastern Art Council in celebration of the new Chinese Galleries (AC1998.90.1). Photo © Museum Associates/LACMA.

Tea Bowl (Chawan), inscribed '[Wishes for] Longevity, Prosperity, and Good Health', China, Jiangxi Province, Ji'an County, Southern Song dynasty, 1127-1279. Jizhou ware; wheel-thrown stoneware with paper-cut resist decoration and mottled brown glaze. Diameter: 4 1/2 in. (11.43 cm) Height: 2 3/8 in. (6.03 cm). Los Angeles County Museum of Art, Gift of Lynn B. Cayot and Frederick T. Fuller (52.13). Photo © Museum Associates/LACMA.

Tea Bowl (Chawan) with Leaf, Late Southern Song dynasty, about 1200-1279. Jizhou ware, wheel-thrown stoneware with natural leaf resist decoration and brown glaze. Height: 5 7/8 in. (14.92 cm). Los Angeles County Museum of Art, Gift of Carl Holmes (58.49.5). Photo © Museum Associates/LACMA

Lidded Funerary Urn (Lunghu Ping) with Dog and Dragon, China, Zhejiang Province, Longquan County, Southern Song dynasty, 1127-1279. Longquan ware, wheel-thrown stoneware with carved, modeled, and applied decoration and green glaze. Diameter: 5 in. (12.7 cm) Height: 9 in. (22.86 cm). Los Angeles County Museum of Art, The Ernest Larsen Blanck Memorial Collection (53.41.3a-b). Photo © Museum Associates/LACMA. 

Bottle (Ping) in the Form of an Ancient Bronze Arrow Vase (Jianhu), China, Zhejiang Province, Longquan County, Southern Song dynasty, 1127-1279. Longquan ware, wheel-thrown stoneware with molded decoration and green glaze. Diameter: 6 1/2 in. (16.51 cm) Height: 11 1/2 in. (29.21 cm). Los Angeles County Museum of Art, Gift of Nasli M. Heeramaneck (M.73.48.103). Photo © Museum Associates/LACMA.

Bowl (Wan), China, Henan Province, Jin dynasty, 1127-1234. Jun ware, wheel-thrown stoneware with blue glaze and purple splashes. Diameter: 3 in. (7.62 cm) Height: 1 1/2 in. (3.81 cm). Los Angeles County Museum of Art, Gift of Carl Holmes (58.49.14). Photo © Museum Associates/LACMA.

Headrest (Zhen) with Floral Scrolls, China, Jin dynasty, 1127-1234. Cizhou ware, slab-built stoneware with painted, incised, and wax-resist decoration and white and black glazes, 4 3/4 x 10 3/4 x 8 1/4 in. (12 x 27 x 21 cm). Los Angeles County Museum of Art, Museum Associates Purchase (M.49.12). Photo © Museum Associates/LACMA.

Dish (Pan) with Garden Landscape, China, Hebei Province, Quyang County, late Jin dynasty or early Yuan dynasty, about 1200-1300. Ding ware, molded stoneware with impressed decoration, white glaze, and banded metal rim. Height: 9/10 (2.2 cm); Diameter: 5 1/2 in. (14 cm). Los Angeles County Museum of Art, Gift of Nasli M. Heeramaneck (M.73.48.106). Photo © Museum Associates/LACMA.

Foliated Platter (Pan) with the Eight Buddhist Symbols (Bajixiang), Flowers, and Waves, China, Jiangxi Province, Jingdezhen, late Yuan dynasty, circa 1340-1368. Molded porcelain with blue painted decoration under clear glaze. Height: 2 1/4 in. (5.9 cm); Diameter: 17 3/4 in. (45.1 cm). Los Angeles County Museum of Art, Gift of the Francis E. Fowler, Jr., Foundation and the Los Angeles County Fund (55.40). Photo © Museum Associates/LACMA.

Prunus Jar (Meiping) with Pair of Peafowls in Floral Scrolls, China, Jiangxi Province, Jingdezhen, late Yuan dynasty, 1340-1368. Porcelain, Wheel-thrown porcelain with blue painted decoration under clear glaze, Height: 18 1/2 in. (46.99 cm). Los Angeles County Museum of Art, Gift of Carl Holmes (58.49.15). Photo © Museum Associates/LACMA.

Large Bowl (Wan) with Floral Scrolls, China, Jiangxi Province, Jingdezhen, Chinese, Early Ming dynasty, 1368-1450. Wheel-thrown porcelain with red painted decoration under clear glaze. Height: 3 3/8 in. (8.6 cm); Diameter: 16 3/16 in. (41.2 cm). Los Angeles County Museum of Art, Mr. and Mrs. Allan C. Balch Collection (M.52.2.2). Photo © Museum Associates/LACMA.

Bowl (Wan) with Lotus Petals (Lianzi) and Floral Scrolls, China, Jiangxi Province, Jingdezhen, Chinese, Early Ming dynasty, about 1368-1450. Wheel-thrown porcelain with blue painted decoration under clear glaze. Height: 4 1/16 in (10.2 cm); Diameter: 8 3/16 in. (20.9 cm). Los Angeles County Museum of Art, The Ernest Larsen Blanck Memorial Collection (53.41.5). Photo © Museum Associates/LACMA.

Monk's Cap Ewer (Sengmaohu), China, Jiangxi Province, Jingdezhen, Chinese, Ming dynasty, Yongle period, 1403-1424. Wheel-thrown porcelain with molded, modeled, applied, and engraved decoration under clear glaze, 8 x 8 x 4 1/2 in. (20.32 x 20.32 x 11.43 cm). Los Angeles County Museum of Art,Gift of Jo Ann and Julian Ganz, Jr., in memory of Alice and Joe M. Schaaf (AC1999.38.7). Photo © Museum Associates/LACMA.

Funerary Sculpture of a Double-Courtyard Residential Compound, China, probably Shanxi Province, Chinese, middle Ming dynasty, about 1450-1550. Molded and modeled earthenware with white slip, pigments, and green glaze. Assembled: 21 × 36 × 72 in. (53.34 × 91.44 × 182.88 cm). Los Angeles County Museum of Art, Gift of Mrs. Blanche Wilbur Hill (M.81.265.1-.8). Photo © Museum Associates/LACMA.

Jar (Ping) with the Eight Immortals (Baxian), China, Jiangxi Province, Jingdezhen, Chinese, Ming dynasty, Wanli mark and period, 1573-1620. Wheel-thrown porcelain with underglaze blue, clear glaze, and overglaze painted enamel decoration (doucai). Height: 4 1/4 in. (10.8 cm); Diameter: 6 in. (15.2 cm). Los Angeles County Museum of Art, The Ernest Larsen Blanck Memorial Collection (53.41.6a). Photo © Museum Associates/LACMA.

Avalokitésvara (Guanyin), the Bodhisattva of Mercy, China, Fujian Province, Dehua County, Chinese, early Qing dynasty, about 1644-1700. Dehua ware, Molded and modeled porcelain with incised decoration and cream glaze. Height: 6 3/4 in. (17.15 cm); Base width: 5 1/8 in. (13 cm). Los Angeles County Museum of Art, Gift of Carl Holmes (59.70.1). Photo © Museum Associates/LACMA.

 Lidded Ewer (Zhihu) in the Form of Happiness (Fu) Character with Deities of Prosperity (Lu) and Longevity (Shou), Qing dynasty, Kangxi period, 1662-1722. Molded porcelain with clear glaze and overglaze painted enamel decoration (susancai).,11 × 9 × 1 1/2 in. (27.94 × 22.86 × 3.81 cm). Los Angeles County Museum of Art, Los Angeles County Fund (30.2.88a-b). Photo © Museum Associates/LACMA.

Water Pot (Shuicheng) in the Form of an Apple, China, Jiangxi Province, Jingdezhen, Chinese, Qing dynasty, Kangxi mark and period, 1662-1772. Wheel-thrown porcelain with claire-de-lune glaze. Height: 2 3/4 in. (6.99 cm). Los Angeles County Museum of Art, Gift of Edwin C. Vogel (54.46.3). Photo © Museum Associates/LACMA.

Vase (Ping) in the Form of a Pomegranate, China, Jiangxi Province, Jingdezhen, Chinese, Qing dynasty, Yongzheng mark and period, 1723-1735. Wheel-thrown porcelain with claire-de-lune glaze. Height: 8 1/2, Diameter: 7 in. (21.59 × 17.78 cm). Los Angeles County Museum of Art, Los Angeles County Fund (30.2.106). Photo © Museum Associates/LACMA.

Jar (Ping) with Beast and Ring Handles, China, Jiangxi Province, Jingdezhen, Chinese, Qing dynasty, Qianlong mark and period, 1736-1795. Wheel-thrown ge-type porcelain with molded and applied decoration, 6 1/2 x 8 in. (16.51 x 20.32 cm). Los Angeles County Museum of Art, Gift of Jo Ann and Julian Ganz, Jr., in memory of Alice and Joe M. Schaaf (AC1999.38.8). Photo © Museum Associates/LACMA.

Vase (Ping) in the Form of an Ancient Ritual Wine Cup (Gu) with the Eight Buddhist Symbols (Bajixiang) and Floral Scrolls, China, Jiangxi Province, Jingdezhen, Qing dynasty, Jiaqing mark and period, 1796-1820. Wheel-thrown porcelain with clear glaze, overglaze painted enamel decoration (fencai), and gilding, 14 7/16 x 7 1/2 in. (36.67 x 19.05 cm). Los Angeles County Museum of Art, Purchased with funds provided by Mr. and Mrs. Harvey S. Dye (M.72.16). Photo © Museum Associates/LACMA.

Prunus Vase (Meiping) with Bamboo and Blossoming Plum Tree, China, Jiangxi Province, Jingdezhen, Chinese, Qing dynasty, Daoguang period, 1821-1850. Wheel-thrown porcelain with clear glaze and overglaze painted enamel decoration (wucai). Height: 17 in. (43.18 cm). Los Angeles County Museum of Art, James J. Watson Bequest (29.30.2). Photo © Museum Associates/LACMA.

Dish (Pan) with Longevity (Shou) Characters and Floral Scrolls, China, Jiangxi Province, Jingdezhen, Qing dynasty, Guangxu mark and period, 1874-1908. Wheel-thrown porcelain with underglaze blue, clear glaze, and overglaze painted enamel decoration (doucai). Overall (Diameter) (LE Inventory): 1 3/4 × 10 3/8 in. (4.45 × 26.35 cm). Los Angeles County Museum of Art, Gift of the Friends of Far Eastern Art (M.72.15). Photo © Museum Associates/LACMA.

Chen Guozhi (China, active 1821-1861), Brush Pot (Bitong) with Herd Boys and Oxen, China, Qing dynasty, 1858, molded porcelain with clear glaze, 5 3/16 x 6 3/16 in. (13.18 x 15.72 cm). Los Angeles County Museum of Art, Gift of Jo Ann and Julian Ganz, Jr., through the 1989 Collectors Committee (M.91.226). Photo © Museum Associates/LACMA.

Silver Tankard, Late 16th century. Silversmith: Hans auff der Burg, Nuremberg. Nuremberg town mark, assayer's mark ('Tremulierstich') on the inner brim of the lid and maker's mark (HA/DB). H circa 19 cm. Courtesy Porfirius Kunstkammer

Provenance: private collection, north Germany

Baroque table casket, Danzig (most probably) or south Germany, 1680. Ivory. 14 x 18.5 x 15 cm. Courtesy Porfirius Kunstkammer

Provenance: Kunstkammer Georg Laue, Munich

Ex Voto plate with Hymiarite inscriptions, Yemen, first century BC. Bronze. H 19 x W 12.5 cm. Courtesy Porfirius Kunstkammer

Provenance: former collection Brémart, Brussels, Belgium; Gallery Drees Archeo, Brussels, Belgium

‘Porfirius Kunstkammer’ est spécialisé en objets des XVIe et XVIIe siècles qui constituaient les cabinets de curiosités. Ceux-ci voulaient être une representation de tout l’univers connu d’un point de vue intellectuel et artistique. Ils étaient les précurseurs des musées et étaient organisés en 4 groupes: les ‘Preciosia' constitués d’objets précieux faits par l’homme, les ‘Scientifica’ rassemblant des instruments scientifiques, les ‘Naturalia’ tout ce que la nature offrait de rare et les 'Exotica’ tous les objets de pays et régions inconnus. Le Dr. Ir. Alex Van den Bossche collectionne depuis plus de 30 ans ce genre d’objets exceptionnels et rares et met son expertise à la disposition de ses clients pour construire avec eux un cabinet de curiosités. Fondé en : 2006.

Porfirius Kunstkammer. Stand 54a. Brafa Art Fair, 21-29 janvier 2017

Joseph van Bredael (Antwerp 1688-1739 Paris), Travellers on a crossroad in Flanders. Oil on copper , 21 x 29.6 cm. Signed by the monogram I.B. lower left. Courtesy Galerie Florence de Voldère

Literature : K. Ertz, 'Josef van Bredael', Lingen, 2006.

School of Jheronimus Bosch, Saint Christopher, mid 16th century. Oil on panel, 28 x 38 cm. Courtesy Galerie Florence de Voldère

The medieval influence of demonology is also present here.

School of Jheronimus Bosch, mid 16th century, The Temptations of Saint Anthony.Oil on panel, 28 x 38 cm. Courtesy Galerie Florence de Voldère

The medieval imagination gave rise to a demonology that was present in cathedrals of the period, and that became one of Jérôme Bosch's inspirations. This painting pursues this iconography with its devils and other grotesque and comic creatures. These phantasmagorical, hallucinatory visions evoke the power of evil and relate (long before Freud) to the collective unconscious. They continue to fascinate art lovers and their force can be traced in works by 20th century artists such as Dali, Marx Ernst and many more.

Pourquoi la peinture flamande? Parce qu’elle nous apporte la joie du quotidien, l’optimisme de la Renaissance, la confiance dans l’homme et un modèle d’esthétique. Être collectionneur, c’est découvrir des oeuvres, chercher le beau, aiguiser sa curiosité, 'parler peinture' au gré des rencontres, c’est la vie même. Parcourir une exposition ou un musée, c’est un plaisir d’émotions en émotions. Un nouveau tableau aux cimaises de la maison éveille le désir de savoir des enfants et des amis, il est une fête à partager. Être galeriste, c’est, de musées en bibliothèques et de bibliothèques en tableaux, être à la hauteur des questions et des attentes de l’amateur et tenter même de le surprendre, de l’étonner. Alors le bonheur de ce métier au service de la gloire des peintres s’exprime, s’échange et perdure encore dans les catalogues et dans les livres: La Peinture Flamande du XVI au XVIIIe siècle (Flammarion 2001, Allemandi 2011), récompensé par l’Institut de France, et L’Odyssée du Paradis (Citadelles et Mazenod 2012).  Fondé en : 1984

Galerie Florence de Voldère. Stand 2c. Brafa Art Fair, 21-29 janvier 2017