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Snackers Antiques & Fine Art
Flemish art or collection cabinet with paintings of Biblical scenes. Belgium, circa 1650. Flemish Cabinet on later base with torsted legs. Biblical scenes. A flap at the top with a mirror in the middle. Behind the door a tiled floor and pillars of ivory and mirrors. This art or collection cabinet is a good example of a luxury piece of furniture such as that manufactured in Flanders and especially in Antwerp in the 17th century. In these types of cabinets were collectibles such as coins, perfume bottles, shells, jewelry etc. keep. Many of these art cabinets not only have many drawers but also a so-called ‘aedicula’. This Latin word means "little house" or " House of God." Made from native fruit wood, probably pear wood which is then polished to make it black and look like Ebony. The paintings on the doors and drawers represent the following New Testament stories or persons: (behind the relevant story there is always one reference to a gospel text; in some cases the same story is in several Gospels) if there is no textual reference, this means that the scene in question is a biblical concept but not a story in a certain chapter. The base of the art cabinet was manufactured in the 19th century. Provenance: Private collection, The Netherlands With CITES document. H. 127 cm W. 63 cm D. 38 cm
Galerie Nicolas Bourriaud
MEESTER Raymond de (1904–1995) Yawning Leopard Bronze with a nuanced brown patina, signed ‘Rd de Meester de B’, titled ‘Yawning Leopard’ and dated ‘1928–29’ Batardy cast, numbered I/III, bearing the stamp ‘BATARDY CIRE PERDUE BRUXELLES’, and the inscriptions ‘Épreuve d’Artiste’ and ‘cire perdue’ H. 45.2 x W. 41.6 x D. 15.5 cm. Circa 1928–1929 Bibliography: Léonard Dieleman, Raymond de Meester de Betzenbroeck, Animal Sculptor, Gallery Dieleman, Brussels 1989, reproduced under number 5 Xavier de Ghellinck Vaernewyck, ‘de Meester de Betzenbroeck’, Nouvelle Biographie Nationale, Part 6, Royal Academy of Belgium, Brussels, 2001, pp. 133–135
N. Vrouyr
Etablissements veuve Guillon et fils, Belgium Before 1925 Warp and weft, cellulose, pile, wool 460 x 370 cm Numbered at the back Literature: Arthur De Rudder, International exhibition of modern decorative and industrial arts (Paris, 1925): official catalogue of the belgian section Exhibition: International exhibition of modern decorative and industrial arts, Paris, 1925, Belgian Pavilion, gallery of complete interiors, dining room by the Maison Gustave and Edouard Blondel
Bernardini Milano
Vacheron & Constantin, Genève. Rare and elegant pocket watch in platinum, 1938 Exquisite evening pocket watch in platinum from the late 1930’s. The very simple and rational design of the case contrast with the spectacular avant-garde dial in various tones of grey with ivory indexes.
Galerie Jean-François Cazeau
VICTOR VASARELY (1906–1997) EG-2, 1965 acrylic on canvas 160 x 160 cm Signed in the centre Counter-signed, titled and dated on the reverse Provenance: The artist’s studio Galerie Denise René, Paris Private collection, France Bibliography: Certificate by Pierre Vasarely, 26 July 2020.
Galerie Jean-François Cazeau
Yayoi Kusama (1929 - 2026) Uchu/Universe, 1994 Acrylic on canvas 91 x 73 cm 35 7/8 x 28 3/4 in. Signed, titled and dated in Japanese on the reverse, « Yayoi Kusama 1994 » Provenance Ota Fine Art, Tokyo Private collection Sotheby’s Londres, 2022, Lot 318 Acquired by the current owner at Sotheby’s London Collection privée, France This work is registered in the Archives of Yayoi Kusama Studio as N° 1518.
Snackers Antiques & Fine Art
Cross with Ivory corpus, Walter Pompe, Antwerp 1770 Cross with ivory corpus Crafted by Walter Pompe, Antwerp 1770, Signed Walter Pompe was a very well-known sculptor, especially of Buxus/Palm and Ivory carvings The Calvary richly decorated, also featuring ivory bones, skull, and the snake with apple. With CITES document. H. 57.5 cm W. 27 cm D. 11 cm
Galerie von Vertes
Upright Motive, Maquette No. 4 1955 (conceived and cast between 1956 and 1962) Bronze with brown patina (cast h) 12.1 × 2.5 × 3.1 in., 30,8 × 6,4 × 7,9 cm Casts: 9 + 1 A.P. Fiorini Ltd, London Provenance: · Zabriskie Gallery, New York City · B.C. Deane Collection, US · D.J. Rosenthal Collection, US · Dr. Phillip Cohen Collection, Washington, D.C. · Private collection, Washington, D.C. (by descent from the above) · Bonhams, New York, 20 November 2025, lot 119 · Private collection, Switzerland Expertise: · This work is recorded in the Henry Moore Foundation archives. Literature: · Alan Bowness (ed.), Henry Moore, Sculpture and Drawings, vol. III: Sculpture 1955-64, London 1965, no. 381 (another cast illustrated pl. 15b) · Alan Bowness (ed.), Henry Moore, Sculpture and Drawings, vol. III: 1955-1964, London 1986, no. 381 (another cast illustrated p. 21) · Henry Moore Foundation (eds.), The Henry Moore Artwork Catalogue, online catalogue, no. LH 381 Background information: Upright Motive was the first in a series of narrow vertical sculptures by Moore, which he compared to totem poles. The Upright Motives were part of a large commission for the courtyard of the new Olivetti building in Milan. When he visited the site, "a lone Lombardy poplar growing behind the building convinced me that a vertical work would act as the correct counterfoil to the horizontal rhythm of the building. This idea ultimately grew into the 'Upright Motifs'."
Gallery Sofie Van de Velde
Cy Twombly (1928 Lexington US – 2011 Rome IT) Untitled, Captiva Island, Florida, 1974 Signed, dated, and inscribed “Captiva ‘Feb 74’” on the reverse. Gouache and pastel on a collage of paper and graph paper, on paper. 750 × 1060 mm Provenance Galerie Yvon Lambert, Paris Collection of Pierre Horay, Paris Heiner Bastian Fine Art, Berlin Acquired from the above by the present owner Exhibitions Paris, Galerie Yvon Lambert, Cy Twombly, April–May 1974 Seattle, Richard Hines Gallery, Cy Twombly: Paintings and Drawings, July–August 1980 Literature Y. Lambert, Cy Twombly: Catalogue raisonné des œuvres sur papier, vol. VI, 1973–1976, Milan, 1979, no. 110 (illustrated p. 115) N. Del Roscio, Cy Twombly Drawings, Catalogue raisonné, Vol. 6, 1972–1979, Munich, 2016, no. 114 (illustrated in colour p. 108)
Willow Gallery
André Lhote Bordeaux 1885 – Paris 1862 Pique-nique à Mirmande Oil on paper, laid down on canvas, signed. Painted in 1939 Paper size: 42 x 50in / 106 x 127cm Frame size: 50.5 x 58.5in / 128 x 149cm Provenance: Simone Lhote, Paris (wife of the artist). Suzanne Bermann, Paris (by descent from the above). Soufer Gallery, New York (acquired from the above, 1988). Acquired from the above by the late owner, March 1991. Private Collection, Chicago Exhibited: New York, Soufer Gallery, André Lhote: Cubism and Later Periods, April-May 1988 (illustrated in color; dated 1927). Literature: This work is accompanied by a certificate of authenticity from Dominique Bermann Martin and will be included in her forthcoming Lhote catalogue raisonné.
Galerie bei der Albertina ▪ Zetter
Vally Wieselthier Female Head with Green Flower, 1928 Manufactured by the Wiener Werkstätte, model number 494 Red pottery, polychrome glaze H 28.5 cm, W 13.5 cm, D 14.5 cm Marks: monogram VW, WW, MADE IN AUSTRIA, 494, I Hörmann WV-K 587 Minor chips professionally restored Exhibitions: Kaiserslautern, Museum Pfalzgalerie, "Vally Wieselthier - Golden Girls No. 2", 2022/23 New York, Austrian Cultural Forum, Vally Wieselthier, Sculpting Modernism, 15. 10. 25 - 09. 02. 26 Literature: cf WW-Archives, MAK Vienna, Photo-Archives WWF 110-42-3 cf Marianne Hörmann, Vally Wieselthier, Wien 1999, ill. p. 165, no 77f and p. 286, WV-K 587
Repetto Gallery
Artist: Christo (1935 - 2020) Title: The Pont Neuf, Wrapped (Project for Paris) Dates: 1985 Medium: graphite, charcoal pastel, wax crayon, fabric, photograph collage on cardboard mounted on a stretcher Dimensions: 144,5 × 165 cm Upper element: 38 x 165 cm; lower element 106,5 x 165 cm Signed, dated and titled lower on the upper element The artwork’s details have been reviewed and confirmed by the Foundation Christo and Jeanne-Claude Provenance: Michael Cullen, London Deutsche Bank Collection, Frankfurt (acquired from the above in 1985)
Univers du Bronze
Jean-Baptiste CARPEAUX (1827-1875) LES TROIS GRÂCES (Trial example, variant). (1873-1874) Bacchant crowned with ivy, Bacchant with roses et Bacchant with laurels. Terracotta with pinkish patina, "Atelier-Dépôt à Auteuil, 71 rue Boileau, Paris". H. 79,2 cm L. 44,5 cm D. 36 cm Trial example, earlier version prior to the final composition, signed ‘J B-te Carpeaux’ and dated “1873” with "Propriété Carpeaux" seal : variations in the respective positioning of the Bacchantes with laurel and ivy, and a variation in the right leg of the latter; vibrations in the particularly subtle modelling of the figures; sketch-like modelling, rough indications in the central plant stem, the quiver, and the laurel, ivy and rose leaves crowning the Bacchants, with an improvised rose in a different position than the edited examples. Artist’s intervention. Kilned in 1873
Maison D'Art
SANTI DI TITO (Borgo San Sepolcro, 1536 - Florence, 1603) Holy Family with Saint Joseph Reading and the Young Saint John the Baptist Oil on wood panel 93.4 x 68.3 cm Provenance: Property sold by Order of the Trustees of Mrs. Hue-William Property Settlement and The Executors of. Mrs. Hue-Williams Estate Sotheby's Old Master Paintings, 20th April 1994, as Florentine School, 16th Century, The Holy Family, lot 138.
Galerie Hurtebize
Maurice Utrillo (Montmartre, Paris 1883-1955 Dax,France) Commune de Maixe (Meurthe-et-Moselle) 1924 Oil on canvas 98.4 x 131.3 cm Signed and dated lower left Certificate by Hélène Bruneau, President of the Utrillo-Valadon Committee Provenance : Private collection, France Literature : P. Pétridès, L’Œuvre complet de Maurice Utrillo, Paris, 1974, vol V, p. 238, no.2720 (illustrated p.239)
Repetto Gallery
Artist: Carla Accardi (1924 - 2014) Title: Carminio su tela grezza Dates: 1997 Medium: Vinyl on raw canvas Dimensions: 50 × 70 cm Signature: Signed lower right; signed, titled, dated and archive number on the reverse Certificate of authenticity on b/w photograph signed by the artist, no. 18/98. Registered at Studio Accardi, Rome, archive no. 629A Provenance: Soffiantino Arte Contemporanea, Turin Private collection Literature: Germano Celant (edited by), "Carla Accardi. Catalogo ragionato", (Charta, Milano) 1999, p. 419, n. 1997 62 (B&N), ill.
Galerie Taménaga
Jean Fautrier (1898–1964) Tête 1927 Oil on canvas 35 x 27 cm Signed upper right: “Fautrier” Provenance Jean-Paul Ledeur, Paris Exhibitions Hamburg, Kunstverein, Jean Fautrier, 19 May–17 June 1973, no. 16. Amsterdam, Stedelijk Museum / Zurich, Kunsthaus, Jean Fautrier, 11 January–4 May 1986, no. 35, illustrated p. 25. Paris, Galerie Jeanne Castel, 1986. Bibliography Marcel-André Stalter, Recherches sur la vie et l'œuvre de Jean Fautrier (1898–1964) de leurs commencements à 1940. Essai de catalogue méthodique et d'interprétation, doctoral thesis, Université de la Sorbonne, Paris IV, 1982, no. 319. Marie-José Lefort, Fautrier. Catalogue raisonné de l'œuvre peint, Éditions Norma, Paris, 2023, no. 256, illustrated p. 199.
Galerie de la Présidence
Geer van VELDE (1898-1977) “Composition” Circa 1953 Oil on canvas 81 x 100 cm – 31.88 x 39.37 in. Signed with the initials “GvV” lower right Signed on the reverse “G. van Velde” Provenance - Collection Michel Guy, Paris - Private colletion, Paris - Private collection, France Bibliography - This work will be included in the “Catalogue Raisonné” of Geer van Velde Painted Work currently in preparation by Pierre François Moget son of Piet Moget, under the N°118 059. Certificate of Pierre François Moget.
Desmet Fine Arts
Egidius Van den Vliete, called Egidio della Riviera (Mechelen, circa 1535-1602, Rome) (Workshop of) Allegory of Sleep (Morpheus, Phobetor and Phantasos, the Oneiroi of Greek myth) Rome, late 16th - early 17th century Marble H 25,4 x W 64,8 x D 59,7 cm Provenance: the Estate of Stanley Moss, New York; Related versions: Galleria Borghese, Rome, inv. n° CLXXXIV (acquired by Cardinal Scipione Borghese by 1609); Formerly Giustiniani collection, Rome; Formerly Palazzo Colonna, Rome A further group of this subject, photographed under the same title in the Palazzo Pitti, Florence
