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Galerie Raf Van Severen
Elena Laverón (Spain, Ceuta, 1938) Pareja Sentada (Seating Couple), 1975 Cast bronze with dark patina H 170 x W 193 x D 116 cm Edition of 3 + 2 AP Literature: Antonio Abad, 'Elena Laverón, The flight of forms', 1987, p. 168; Juan Ibáñez Plaza (com.), 'de Elena Laverón', Roquetas de Mar (Almería), Ayuntamiento de Roquetas de Mar, 2008, p. 115; Real Academia de Bellas Artes de San Telmo de Málaga, Anuario 2016 (n° 16), Real Academia de Bellas Artes de San Telmo, 2016, p. 389; Tania Fernández de Toledo, Raya Fayad, Sotheby's France, 'UNESCO : La collection d'art', 2017, p. 431 Reference: In 1993, Pareja Sentada was installed at UNESCO's Bonvin building
Galerie de la Présidence
Sonia Delaunay (Ukraine, Hradyzk 1885-1979 Paris) Rythme couleur, 1972 Gouache on paper 54,5 x 38 cm Signed lower right Provenance: private collection, Paris Certificate of Jean-Louis Delaunay and Richard Riss This is one of the preparatory gouaches for the Album Les Illuminations, containing 15 stencils, illustrating 9 poems by Arthur Rimbaud.
Anthony Short Antiques Ltd.
An Exceptional 18th-Century George III Period Mahogany 6-Door Breakfront Secretaire Library Bookcase Stamped Gillows of Lancaster A magnificent late 18th-century George III period six-door breakfront library bookcase, in beautifully figured mahogany of exceptional quality. The moulded cornice sits above six astragal-glazed doors enclosing fully adjustable shelves, providing generous and elegant book storage. The lower breakfront centre section is fitted with a superb secretaire drawer, finely veneered and opening to reveal an arrangement of compartments beneath a sliding, tooled leather-inset writing surface, complete with concealed secret compartments. Below are six richly figured mahogany panelled doors, each opening to adjustable shelving, all raised on a moulded plinth base. The central drawer is stamped “Gillows of Lancaster,” as shown in the accompanying photograph. The bookcase displays outstanding colour and patina throughout, and its impressive scale, refined proportions, and the exceptional quality of the timber strongly suggest that it was made as a special commission. The Gillow family were among the most important British cabinetmakers of the 18th and 19th centuries, renowned for their superb craftsmanship, use of the finest woods, and designs that combined elegance with practicality and often ingenious mechanical details. Unusually, the firm operated both from Lancaster and from their London branch (opened in 1770), cementing their reputation and influence at the very forefront of British furniture making. A highly important, showstopping library piece for the serious collector. Height 252cm (99.2in) Width 340cm (133.9in) Depth 64cm (25.2in)
Galerie Jean-François Cazeau
Victor Vasarely (Pecs 1908-1997 Paris) EG-2, 1965 Acrylic on canvas 160 x 160 cm Signed in the centre Counter-signed, titled and dated on the reverse Provenance: artist’s studio; Galerie Denise René, Paris; private collection, France Certificate of Authenticity by Pierre Vasarely dated 26 July 2020
Galerie Nicolas Bourriaud
Emile Monier (Paris, 1883-1970) Bust of a young Koumbo girl, 1930 Black veined marble H 65.5 x W 43 x D 30.5 cm Signed ‘EMILE MONIER’, dated ‘1930’ and titled ‘KOUMBO’ Unique piece Possibly a Lobi girl from Burkina Provenance: public auction, Paris, 6 June 1984 Literature: E. Bénézit, Dictionnaire des peintres, sculpteurs, dessinateurs et graveurs, vol. 9, Paris, 1999, p. 756
Caretto & Occhinegro
The Master of Antwerp Adoration (Active in Antwerp first decades of the 16th century) The Annunciation to Saint Anne, circa 1525 Oil on panel 59 x 62 cm Expertise by Peter van den Brink Literature: Van den Brink 1997, pp. 32, 35 note 22, fig. 5; Van den Brink 2007, pp. 168, 175, 179 note 38, fig. 16b; Cécile Scailliérez, in Paris 2017, pp. 84, 86, fig. 32
Rueb Modern and Contemporary Art
Jan Sluijters (Hertogenbosch 1881-1957 Amsterdam) Greet van Kooten with headband, 1910 Oil on canvas 35,5 x 42 cm Signed and dated Provenance: Collection Salomon Beffie, Amsterdam; collection Willem Beffie, New York; Galerie van Voorst van Beest, The Hague; collection Reens, Amsterdam; collection A.J. van Hillegondsberg, Blaricum; private collection, Amsterdam Literature: On-line Catalogue Raisonné Jan Sluiters-www.rks.nl/images/100130 Exhibition: The Hague, Pulchri Studio, Paintings, drawings and pointes-sèches of Jan Sluijters and Lodewijk, Schelfhout, 3 July - 25 July 1915 n° 40
Galerie Taménaga
Pierre-Auguste Renoir (Limoges 1841-1919 Cagnes-surMer) Paysage de Cagnes, 1900 Oil on canvas 24 x 54 cm Signed with initials lower left: 'AR' This work will be included in the forthcoming catalogue raisonné of the work of Pierre-Auguste Renoir currently in preparation by the Wildenstein Plattner Institute. Provenance: Ambroise Vollard, Paris; private collection, Japan Literature: Ambroise Vollard, Pierre-Auguste Renoir, Tableaux, pastels et dessins, Alan Wofsy Fine Arts, San Francisco, 1989, n° 612, 1185 and 1330, ill. pp. 155, 258 and 279.
Galerie Ary Jan
Moïse Kisling (Kraków 1891-1953 Sanary-sur-Mer) Landscape of Sanary-sur-Mer, 1932 Oil on canvas 64 x 73.5 cm Signed lower left and dated 1932 Provenance: acquired directly from the artist in the 1930s; private collection, France; Christie's Paris, sale of 1 December 2009; private collection, France Literature: J. Kisling, Kisling, 1891-1953, Turin, 1982, ill. vol. II, p. 273, n° 70
Klaas Muller
Maarten Rijckaert (Antwerp, 1587-1611) Forest Landscape with Hunters, 17th century Oil on panel 32.4 x 49.5 cm This beautiful painting is a typical example of Maarten Ryckaert’s talent for creating atmospheric woodland scenes. The painting presents a dense forest filled with tall trees,a river, rough terrain and rocks. Soft light filters through the branches, creating contrasts between illuminated clearings and darker shadowed areas. In the foreground, a group of hunters on the left- and rightside accompanied by dogs: their small scale compared to the towering trees highlights the dominance of nature over human activity. The hunters add a sense of narrative and movement to the otherwise peaceful setting. Ryckaert uses earthy tones such as deep greens, browns, and golden highlights to create a rich and natural atmosphere. Fine details in the foliage, rocks, and tree trunks demonstrate his close observation of nature and his skill as a landscape painter. The scene evokes both tranquility and mystery, inviting the viewer to imagine the sounds and silence of the forest. The painting reflects the Baroque interest in dramatic natural scenery while also expressing a calm, contemplative mood. Through the balance of light, composition, and detail, Ryckaert transforms an ordinary hunting scene into a poetic vision of the natural world. Maarten Ryckaert was born in Antwerp and became especially known for his imaginative woodland scenes, rocky landscapes, and peaceful rural settings filled with travelers, hunters, and small groups of figures. Ryckaert studied painting in Antwerp and was strongly influenced by earlier Flemish landscape artists such as Joos de Momper and Jan Brueghel the Elder. Unlike many painters of his time who focused on religious or historical themes, Ryckaert specialized in landscapes, giving nature the leading role in his compositions. His works often combine realism with fantasy, creating dramatic forests, winding paths, and mysterious mountainous scenery.
Mearini Fine Art
Corinthian capital (variation on a Roman type from the 3rd/4th century) Central-southern Italy, late 12th - early 13th century Greek Marble H 52 x W 50 x D 50 cm In this unusual variation on the Corinthian there are three orders of acanthus leaves, finelly indented with drill holes in evidence, which reach up to the top of the kalathos. Already in ancient times this type of capital was exported to Aquileia (Udine) a city destroyed by Attila in 452 and temporarily abandoned upon the arrival of the longboards in 568, as shown by a fragmentary example in the national Archeological Museum datable between the 3rd and 4th century.
Van Herck-Eykelberg
JEAN DUBUFFET (1901-1985) Personnage, 1964 India ink on paper 22 x 17.5 cm. Signed with the artist's monogram and dated Mars 64 Expositions Venise, Palazzo Grassi, Centro Internazionale delle Arti e del Costume, L'Hourloupe di Jean Dubuffet, 15 juin - 13 septembre 1964, n°48 Amsterdam, Stedelijk Museum, Jean Dubuffet: Tekeningen, gouaches, 26 novembre 1964 - 11 janvier 1965, n°192 Bâle, Kunstmuseum, Jean Dubuffet, Zeichnungen, Aquarelle, Gouachen, Collagen, 6 juin - 10 août 1970, p. 133, n°132 Bibliographie Max Loreau, Catalogue des travaux de Jean Dubuffet, Fascicule XX : L'Hourloupe I, Paris 1966, p. 139, n°283, illustré en noir et blanc Provenance Galerie Beyeler, Bâle Artel Galerie, Genève Collection particulière, France
CKS Gallery
Edwin Lord Weeks (Boston 1849-1903 Paris) A game of chess on a cairo street, 1879 Oil on canvas 72 x 100cm (unframed) 110 x 137 cm (framed) Signed and dated lower left 'E.L. Weeks 1879' Letter of authentification by Mrs Ellen K. Morris, dated May 20th 2010 This painting will be included in the forthcoming catalogue raisonné of the artist currently in preparation by the Edwin Lord Weeks’ Expert, Mrs Ellen K. Morris
Gallery de Potter d’Indoye
An Empire Writing Table Jacob Frères, Paris, circa 1796-1803 A Mahogany and gilded bronze writing table H 73 x W 86.5 x D 54 Stamped Jacob Freres. Provenance: collection Ségoura, Paris Literature: Michel Beurdeley, Jacob et son temps, Saint-Rémy-en-l'Eau, 2002, p. 83, illustrated as belonging to the Ségoura Collection The rectangular top is supported by four female caryatids in patinated and gilt bronze, modelled as canephorae, their bodies joined by an X-form stretcher. The table bears the stamp JACOB FRÈRES / RUE MESLÉE, used between 1796 and 1803 by the brothers Georges II Jacob (1768-1803) and François-Honoré-Georges Jacob, later known as Jacob-Desmalter (1770-1841). The brothers, sons of the celebrated Parisian menuisier Georges Jacob (1739–1814), took over their father's workshop in 1796 and produced furniture of marked neoclassical character, employing mahogany and richly chased gilt-bronze mounts in response to the developing Directoire and Consular taste.
Willow Gallery
Georges Mathieu (Boulogne-sur-Mer 1921-2012 Boulogne-Billancourt) Forêts attentives, 1989 Alkyd on canvas 147 x 115cm Signed and inscribed on the reverse Provenance: Galerie Guy Pieters, Brussels; private collection, Brussels; private collection, Savoie; sale, Maison R&C, France, 17 July 2021, Lot 93; private collection, Europe This painting is accompanied by a certificate of authenticity from Mr. Jean-Marie Cusinberche
Repetto Gallery
Lucio Fontana (Santa Fe 1999 - 1968 Varese) Madonna col Bambino, 1953-1954 Glazed and painted terracotta: white, light blue and blue H 24.5 x W 13.5 x D 9 cm Signed on the reverse: 'L. F.' Certificate of authenticity on photograph by Fondazione Lucio Fontana, n° 2543/1 Provenance: Galleria Blu, Milan; private collection, Gorle (2543/1) Literature: L. M. Barbero, 'Catalogo ragionato delle sculture ceramiche', Tomo I, p. 212, n° 53-54 FMA 1