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Galerie des Modernes
mark tobey
Mark Tobey (USA, Centerville, Wisconsin, 1890-1976 Basel, Switzerland) Untitled (Abstract composition) or 'Tout le Monde', 1956 Tempera on paper 20.2 x 24.9 cm Signed and dated lower right 'Tobey 56' The Mark Tobey Project LLC, under the identification n° MT (456-05-15-25). Authentication letter signed by Achim Moeller for Moeller Fine Art Projects dated May 15th, 2025 Provenance: private collection, Belgium Exhibitions: Exhibited at Kunsthalle Basel under n° 0131 (label on back of montage annotated: ‘Tout le monde’)
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Heutink Ikonen
Week Icon (Sedmitsa) Russia, Palekh Late 18th century 44.5 x 36 cm This icon depicts a rare iconography showing the seven days of the week. Each feast represents a day of the week, starting with Sunday. In order: the Anastasis, Synaxis of the Archangel Michael, the Beheading of John, the Annunciation, the Last Supper and the Crucifixion of Christ. The large image at the bottom is All Saints' Day. The icon's refined details, bright colour palette and complex composition make it a very fine example of Palekh icon painting.
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Galerie Capazza
georges jeanclos
Georges Jeanclos (Paris, 1933-1997) Kamakura, 1991 Terracotta H 30 x W 45 x D 40 cm Provenance: the artist's studio Exhibition: Georges Jeanclos, Élévation, Abbaye Royale de Fontevraud, 25 November 2023-4 March 2024 The Kamakura series was inspired by Georges Jeanclos' trip to Japan, which took him to the country's ancient medieval capital, home to the oldest Japanese Zen gardens. Jeanclos was deeply moved by the beauty and serenity that emanated from these meditative and contemplative landscapes. Upon his return to Paris, these characters were born, sculptures of resilience, ‘monks in meditation, spectators of their inner gardens’ (Tzvetan Todorov). Georges Jeanclos (1933–1997) was one of the great French sculptors of the 20th century. His work was inspired by the traumatic events of the Second World War. To escape the roundups threatening Jews in France, his family had to hide in the woods; he himself, aged around ten, learned to live with the danger of death. In the aftermath of the Liberation, he saw the bodies of former collaborators hanging from lampposts; shortly afterwards, he discovered the skeletal beings who had survived the camps. Decades later, Jeanclos would respond to this formative experience: not by withdrawing into his own experiences, but by opening himself up to the universal, listening to all suffering, past and present; not by depicting horror, but by finding within himself the strength to create beauty. Jeanclos transforms the earth he works with into thin sheets, which he uses to form figures with similar faces, both children and adults, men and women. They are sleepers lying under a sheet of earth; beings enclosed in urns stamped with Hebrew letters taken from prayers for the dead; figures loaded onto boats bound for the other world; kamakuras, meditating monks. Later, he would add Pietàs, Adam and Eve in love, couples brushing against or embracing each other. Jeanclos' images reveal both the insignificance of our person and the indomitable strength of our love; by their mere existence, they help us to live. Tzvetan Todorov
Gallery Sofie Van de Velde
wassily kandinsky
Wassily Kandinsky (Moscow 1866-1944 Neuilly-sur-Seine) Kleine Welten, 1922 The Little Worlds consists of twelve prints, including six colour lithographs, four etchings (drypoint), and two woodcuts on Japanese paper, accompanied by a title page and a colophon page Each print is signed and numbered on the colophon page 30/30 (12 prints) 36.4 x 27.8 cm (sheet size) Produced in 1922, this is one of 30 deluxe copies on Japanese paper, published by Propyläen Verlag, Berlin, and printed at the Staatliches Bauhaus in Weimar Literature: Hans Konrad Roethel, 'Kandinsky: Das Graphische Werk', Dumont, Cologne, 1970, ill. pp. 164-175; Helmut Friedel et Annegret Hoberg, Kandinsky. 'Das druckgraphische Werk, Complete Prints, Städtische Galerie im Lenbachhaus und Kunstbau', Munich, 2008-2009, ill. pp. 225-23
Pelgrims de Bigard
joachim beuckelaer
Joachim Beuckelaer (Antwerp, circa 1533-1574/75) and studio A young female seller at a fish market Oil on panel 103 x 76 cm Certificate of authenticity by Dr. Fred Meijer Provenance: possibly Christie’s sale London, 25 November 1966, lot 12; sale London, Bonhams Knightsbridge, 31 October 1996, lot 354; private collection, Spain, until 2023
Galeria Jordi Pascual
Victor Brauner (Romania, Piatra Neamt 1903-1966 Paris, France) Frémissement, 1956 Oil on canvas 54.5 x 46 cm Signed and dated lower right This work is accompanied by a photo-certificate of authenticity issued by Samy Kinge, Paris, in 2025 Provenance: Galleria Lorenzelli, Bergamo; private collection, Italy
Gilden's Art Gallery
Andy Warhol (Pittsburgh 1928-1987 New York) Campbell's Chicken Noodle Soup Box, 1986 Acrylic and ink on canvas 50.8 x 50.8 cm Signed in felt tip pen 'Andy Warhol' and dated '86' [1986] on the upper canvas overlap, verso Stamped by the Andy Warhol Authentication Board and numbered in ballpoint pen A104.056, on the lower canvas overlap, verso Provenance: Michael Kohn Gallery, Los Angeles; private collection, Arizona; Van de Weghe Fine Art, New York; Demisch Danant, New York; private collection, Atlanta; Sotheby’s New York, May 13th, 2010, lot 191; private collection, Hong Kong; Christie’s Shanghai, September 21st, 2019, lot 310; private collection, Asia Literature: exh. cat. (1986), Warhol. Campbell’s Soup Boxes 1986, Michael Kohn Gallery, Los Angeles, reference n° 153, pp. 19, 30, ill. in colour
Samuel Vanhoegaerden Gallery
Bram Bogart (Delft 1921-2012 Sint Truiden) Topgroen, August 1963 Mixed media on canvas laid on wooden panel 161 x 201 cm Signed, dated and titled on reverse Provenance: private collection, London In August 1963, Bram Bogart created a powerful and iconic work: Topgroen (August 1963). The painting – executed with homemade paint on a board/canvas made by the artist himself – measures approximately 161 x 201 cm and testifies to Bogart's radically innovative approach to matter and colour. The work Topgroen is at the heart of Bogart's most highly regarded period, in which he experimented with imposing layers of paint, sculptural reliefs and a colour palette that transcends the surface and becomes almost tangible. In this work, he combines powerful fields of colour with monumental texture: an intense red surface is directly framed by thick, almost architecturally shaped green and yellow accents. The paint is hardly imagination anymore, but matter – as if the paint itself is the object. Topgroen marks a turning point in Bogart's oeuvre: colour and volume become one, the painting resists classical painting through an enormous physical presence of the matter. The work invites tactile viewing: the depth of the paint layers, the shadow effects between reliefs, and the tension between surface and volume make it a masterpiece of material painting. Bogart thus confirms his pioneering role in European post-war abstraction.
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Edouard Simoens Gallery
christo and jeanne-claude
Christo (Bulgaria 1935-2020 New York) and Jeanne-Claude (Casablanca 1935-2009 New York) The Pont Neuf Wrapped (Project for Paris), 1985 Pencil, charcoal, pastel, wax crayon, and technical data 144 x 165 cm (overall) Provenance: Wolfgang Volz collection; private collection Literature: Christo and Jeanne-Claude: Water Projects, Silvana 2016, p. 167
Galerie BA - Berthet Aittouarès
mark tobey
Mark Tobey (USA, Centerville 1890-1976 Basel, Switzerland) Landscape, 1967 Tempera on paper 26.5 x 48.6 cm Signed and dated lower back, stamp on the back Certificate of authenticity by the Committee Mark Tobey dated 8 February 2007 Provenance: François Gaudard, pianist and friend of Mark Tobey
d'Arschot & Cie
Perfume bottle and case Germany, circa 1620 Anonymous silversmith Chased, engraved, and partially gilded silver. Case in boiled leather. H 9 cm – Weight: 58 g This elegant perfume bottle stands out for the exceptional preservation of its original boiled leather case, a testament to the care taken in protecting and transporting such precious objects in the 17th century. The bottle features a finely engraved vegetal motif enlivened with small exotic birds, typical of the work of silversmiths from southern Germany during the first third of the century. At a time when the distillation of essences was still in its infancy, such bottles accompanied the daily life of the elite, allowing the frequent application of fleeting perfumes. This model, fitted with a screw cap ensuring perfect sealing, illustrates both the practical function and the symbolic value of perfume as a marker of social distinction.
Kunsthaus Kende
Pair of Queen Anne tazze John Bache, London, 1703 Engraved Britannia silver Ø 23 cm, H 7 and 6.9 cm 513.1 gr and 504.8 gr Provenance: private collection, North America Standing on a central round foot, with moulded rim to the top side. The centre depicting an engraved coat of arms commemorating a marriage between two noble families. Outstandingly preserved and rare pair of Queen Anne tazze without repairs and showing their original preserved surface.
Almine Rech
vivian springford
untitled
Vivian Springford (USA, Wisconsin 1913-2003 New York) Untitled, circa 1973 Acrylic on canvas 182.9 x 183.5 x 3.2 cm Provenance: estate of the artist Exhibition: Almine Rech, 'Gesture & Form: Women in Abstraction', May 3rd - June 15th, 2024, New York, Upper East Side Vivian Springford’s 'Untitled', circa 1973, encapsulates the American painter’s expressive, vibrant style. During the late 1960s, Springford had come into her own as an artist. She had developed a signature visual vocabulary and a technique of stain painting to go with it, working with thinned paint to create kaleidoscopic, gestural works.
Galerie Jean-François Cazeau
kees van dongen
Kees Van Dongen (Rotterdam 1877-1968 Monaco) La Chemise or Femme penchée sur un coussin jaune Oil on canvas 48.5 x 55 cm Signed lower right This work will be included in the forthcoming catalogue raisonné of Kees Van Dongen compiled by the Wildenstein Plattner Institute Provenance: studio of the artist, Paris; private collection, France (Marquise de X); Palais Galliera, 18 May 1964, Paris; Jacques Pignet, Neuilly-sur-Seine, France; Galerie Koller, Zurich, November 1981; Paul Petridès, Paris, France Ader-Picard-Tajan, 25 June 1987, Paris; acquired by the current owner at the above sale Exhibitions: Paris, Galerie de Paris, La Cage aux Fauves, Salon d'Automne, 1905; Paris, Musée National d'Art Moderne, Van Dongen, 13 October-26 November 1967, n° 68; Rotterdam, Museum Boymans van Beuningen, Van Dongen, 8 December 1967-28 January, n° 20; Monaco, Nouveau Musée de Monaco, Kees Van Dongen, 25 June-7 September 2008, n° 139
Desmet Fine Arts
Two fragments of a wooden sarcophagus corner post of the Priest Horudja re-united after 50 years Wood Egypt, late Dynastic period, 26th Dynasty, circa 664-525 BC H 92 x W 15 x D 5.5 cm Accompanied by Art Loss Register certificates: S00238635 & S00238636 Provenance: Fragment A: Chakib Slatine, Paris (acquired 1975); private collection, Paris (acquired 1977). Fragment B: Chakib Slatine, Paris (acquired 1975); private collection, Paris (acquired 1977); Ede Gallery, London (of which acquired in 2020)
DIE GALERIE
andré masson
André Masson (Balagny-sur-Thérain 1896-1987 Paris) La victime, 1942 Gouache and sand on wood 37.8 x 32.8 cm Monogrammed and dated lower left Provenance: the artist’s studio; Galleria Studio Due Ci, Rome Literature: Masson: Massaker, Metamorphosen, Mythologien. exh. cat. Kunstmuseum Bern, Bern 1996, p. 39; André Masson. Un Combat, exh. cat. Musées de la Cour d'Or, Metz 1999, p. 39, 181; André Masson. La mémoire du monde, exh. cat. DIE GALERIE, Frankfurt am Main 2025, p. 43. Exhibitions: Masson: Massaker, Metamorphosen, Mythologien. Kunstmuseum Bern, 1996; André Masson. Un Combat, Musées de la Cour d'Or, Metz, 1999; André Masson. Zwischen Welten – Entremondes, Kunstsammlungen Chemnitz, Chemnitz, 2019-2020; André Masson. La mémoire du monde, DIE GALERIE, Frankfurt am Main, 2024-2025
Maison D'Art
Benvenuto Tisi called Il Garofalo (Ferrara, circa 1476–1559) The Nativity, circa 1525/1540 (Adoration of the Christ Child/Adoration of the Shepherds) Oil on wooden panel 38.1 x 33 cm Literature: A. Bliznukov, Ludovico Mazzolino: catalogo delle opere, Florence (forthcoming; as Garofalo, circa 1525/1540)