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MasterArt

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From Old Masters to Picasso, from Louis XI silverware to Art Deco cutlery, what you will find on MasterArt.com is a cut above the rest. MasterArt is a website that showcases more than 15,000 works of art from 300 of the world’s leading art dealers and galleries. Our portal invites users to search for artworks by keyword (artist or maker), category or gallery, and set email alerts about new acquisi

tions based on their specific search criteria. MasterArt enjoys a solid reputation in the art market thanks to our deep-rooted commitment to excellence and integrity. Our carefully selected art dealers represent the very best in fine art. They are all long-established dealers, and participate in the most prestigious international art fairs such as TEFAF (Maastricht and New York), BRAFA (Brussels), BADA fair (London), Munich Highlights (Munich), Masterpiece (London), PAN (Amsterdam) and PAD (Paris and London). In addition to showcasing the world’s most exquisite pieces, our portal reports news about ongoing developments as well as upcoming events in the art world. MasterArt also produces the MasterArt Directory, which is distributed at international art fairs, prestige events and luxury hotels. The MasterArt Directory lists the world’s leading galleries and dealers, along with other useful information. MasterArt is an initiative created by ArtSolution (www.artsolution.net). A leading presence in the art market for more than 10 years, ArtSolution is an international organisation of innovation and technological specialists dedicated to providing premium IT services to the finest art dealers, galleries, fairs and institutions. Collect from the finest on www.masterart.com

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17/04/2026

Pair of altar candlesticks

Provenance: Private chapel of Vorselaar Castle.

Literature: Literature : Anne-Marie Claessens-Peré, Antwerpse goud-en zilvermerken 1456-1798, 2023, n°274, P. 106
Courtesy of

22/09/2025

A LATE 17TH CENTURY SPANISH DEVOTIONAL PENDANT.

A late 17thcentury Spanish devotional pendant.

4 cm (1⁵/₈ inches), London

The gilded silver pendant in the shape of a bell and surmounted by a crown. The central part is set with a large convex amethyst, surrounded by garnets and diamonds. The reverse worked with a highly intricate openworked decoration.
Spain, circa 1690.

Courtesy of

28/08/2025

Basset debout (tête tournée gauche), Antoine-Louis Barye

1840, 15.5 x 29.5 x 9.6 cm (6¹/₈ x 11⁵/₈ x 3³/₄ inches)

Bronze à patine brun vert richement nuancé

Courtesy of

22/08/2025

The earl Camden soup tureen, Paul Storr

1794, 45.6 cm (18 inches)

England, London

This soup tureen on stand was made for the 2nd Earl of Camden (1759-1840) in 1794. It formed part of an extensive silver dinner service made by Storr and was almost certainly used for the 2nd Earls tenure as Lord Lieutenant of Ireland from 1795-1798. This commission represents the first highly important service that Storr produced and it was arguably from this that he was to get much of his subsequent patronage. Pratt went on to become Secretary of State for War and the Colonies from 1804-1805, and Lord President of the Council, 1807-1812. He became a Knight of the Garter in 1799 and was created Marquess Camden in 1812.
Weight: 5,731 g, 184 oz

Courtesy of

12/08/2025

Self-portrait, circa 1690

Oil on card, 7.5 cm (3% inches)

Recently discovered in Toulouse, where the artist worked for much of his career, this newly identified self-portrait by the Anglo-Dutch landscape painter Henry Ferguson is now the only known example of his foray into portraiture.

Likely painted when the artist was working in the studio of Sir Godfrey Kneller (1646-1723) during his formative years as an artist in London, it must have been considered an important keepsake for the artist, presumably travelling with him from England to France, where it would remain for over 300 years.

Henry Ferguson (or ‘Vergazon’ as he was known in Europe was almost certainly the son of the Scottish emigrée artist William Gouw Ferguson (1632-1695) who spent most of his career in the Netherlands after being admitted to the Guild of St Luke in Utrecht in
1648. A migratory artist like William, Henry was one of several Anglo-Dutch artists working in late 17th-century London, where he painted backgrounds for Kneller’s portraits, but later settled in Toulouse. While William specialised in still-lifes of dead game, Henry was best known for his darkly atmospheric capriccio compositions of architectural ruins, often with fragments of monumental sculpture.

This self-portrait could easily be confused for a work by the artist’s master Kneller, with its strong colouring and effective use of chiaroscuro. The confidence in its handling - especially considering its miniature scale - and the immediacy of the subject’s gaze would suggest that it was an exercise purely for the artist’s own use.

Its historic Toulouse-based provenance would also indicate that this remained with the artist until his death there in 1730, suggesting it was of great sentimental value to him.

Courtesy

08/08/2025

Polygonal head, Franz Hagenauer

Vienna, 1977

Nickel-plated brass, 45 x 26 x 20 cm (17³/₄ x 10¹/₄ x 7⁷/₈ inches)

Executed by: Werkstätte Hagenauer, model no. 1029
Marked: WHW in circle, HAGENAUER WIEN

Among the most impressive and best-known works by Professor Franz Hagenauer are his depictions of human heads. These sculptures remain a consistent feature of this important designer’s oeuvre from the mid-1920s until his death in 1986. The artist’s continuous further development and related modifications to his style are clearly reflected in his works. While his early oeuvre still featured elements also shared by contemporary works by Amedeo Modigliani or Constantin Brancusi, Franz Hagenauer started to develop his individual style in the mid-1930s – a completely unique style, which was to remain a hallmark of all his future works.

Hagenauer’s teaching assignment as a professor of creative design at the Academy of Fine Arts in Vienna also inspired his own creativity, with the new impulses clearly reflected in his oeuvre. While his figural objects were initially fully sculptural, he moved to designing almost two-dimensional heads from the end of the 1960s. These heads were also executed in a new technique: a nickel-plated brass plate served as the base, onto which he soldered tubes and other metal elements. Using only a few materials, he thus succeeded by applying only a few sophisticated production steps in creating highly individual art objects of outstanding expressive intensity.

Sincere thanks to Dr Maria-Luise Jesch, Austrian Museum of Applied Arts Vienna, Hagenauer archive, for this information.

Victor-Arthur Poupault

08/08/2025

Malekula Archers bracelet

Reportedly collected by Gaston CRINON who lived in Vanuatu and New Caledonia from 1898 to1957. Sold at auction by CHAYETTE & CHEVAL SARL: Charlotte van GAVER, December 14, 2017, Hotel Drouot, Paris.

Literature: Mikluho-Maklay, N. N., Collected Works, Ethnographic Collections. Drawings and photographs (2nd ed.), St Petersburg, Mikluho-Maklay Foundation, vol.6, 2020.

Courtesy of

06/08/2025

Le Paradisier, Umberto

21st century, Bronze, Black-brown patina

68 x 66 x 50 cm (26³/₄ x 26 x 19⁵/₈ inches)

Courtesy of

05/08/2025

Virgin and Child, 2nd half of the 15th century

59 x 24 x 8 cm (23¹/₄ x 9¹/₂ x 3¹/₈ inches), Art market France

Courtesy of Courtesy of De Backker Art Belgium

01/08/2025

A stunning Victorian mourning gold brooch with a banded agate shell

1870 circa, London stock

15k gold, 3.9 cm (1¹/₂ inches)

The beauty of this brooch lies in the naturalistic shape of a cockle shell and the choice of stone with this three layered agate enhancing the grooves of the shell. The gold setting therefore follows the shape of the shell and is embellished with an inner border of scallops and darts.

A locket compartment on the reverse appears to contain silk-like material but close scrutiny reveals finely woven hair.
Shells are a charming motif in the mid 19th century jewellery design.

Courtesy of

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