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Epoque Fine Jewels
René Lalique (Ay 1860-1945 Paris) Art Nouveau dragonfly brooch, Paris circa 1903 18 k yellow gold, 'plique-à-jour' enamel and polychrome enamel, old mine cut diamonds, citrine and pearls 11.6 x 4.4 cm Signed Lalique Accompanied by its original fitted case marked R. Lalique, 40, Cours-la-Reine, Paris, monogrammed 'E.A.' An important Art Nouveau dragonfly brooch by René Lalique, in 18-karat gold, designed as two opposing dragonflies with delicate wings of translucent plique-à-jour enamel, accented with old mine-cut diamonds. At the centre, the dragonflies clasp a cushion-shaped orange citrine, their bodies and legs enhanced with polychrome enamel. Graduated pearls trace the extremities of the wings, lending the composition a graceful sense of movement and lightness, characteristic of Lalique’s jewellery at the height of the Art Nouveau period.
Galerie Hadjer
SONIA DELAUNAY (Gradizhsk, Russian Empire [present-day Ukraine], 1885 – Paris, France, 1979) Rythmes Ondulatoires Circa 1970 Handwoven Aubusson wool tapestry, woven by Pinton Frères, Felletin-Aubusson, France, after Sonia Delaunay’s original design. 165 × 225 cm 65 × 88 5/8 in. Signed “Sonia Delaunay” in the weave, lower left, and bearing the Pinton workshop monogram. Edition of six examples plus two artist’s proofs. Certificate Accompanied by a certificate from the Pinton workshops, Felletin-Aubusson, France. About the work Rythmes Ondulatoires is an important example of Sonia Delaunay’s exploration of colour, rhythm and movement translated into the medium of tapestry. The composition is structured through an intricate interplay of circles, semicircles, concentric arcs and intersecting geometric planes. Vivid fields of red, blue, green, yellow and orange are set against black, white and grey, generating a powerful sense of optical vibration and continuous movement across the woven surface. The composition reflects Delaunay’s lifelong investigation into simultaneous colour contrasts, developed from the early twentieth century onwards. Together with Robert Delaunay, she explored the capacity of juxtaposed colours and geometric forms to create rhythm, luminosity and movement. These principles became fundamental to her distinctive contribution to the development of abstraction. The Collection Société Générale similarly describes Delaunay’s work in terms of her investigations into light, the movement of colours and “simultaneous contrast,” through vivid geometric forms organised into rhythmic compositions. The tapestry also reflects Delaunay’s longstanding commitment to dissolving the traditional distinction between fine and applied arts. Throughout her career, her abstract vocabulary extended beyond painting into textiles, fashion, interior decoration and other forms of applied art. Her use of pure colour and simultaneous contrasts remained central across these different media. In Rythmes Ondulatoires, the translation of Delaunay’s composition into wool by the Pinton workshops, one of the leading modern tapestry manufacturers in the Aubusson tradition, gives physical substance and texture to her chromatic language. The concentric curves and repeated arcs create an almost musical rhythm, while the juxtaposition of geometric forms produces a composition that appears to expand and contract across the surface. References and comparable examples Another Rythmes Ondulatoires, dated 1970, is documented as a handwoven Aubusson wool tapestry in scholarly lecture material devoted to Robert and Sonia Delaunay. The Société Générale Art Collection also holds a work entitled Rythmes ondulatoires, measuring 167 × 225 cm, closely corresponding in dimensions and composition. The collection describes the work through its geometric lines and forms, interwoven vivid colours and characteristic rhythmic harmony. Another Pinton-woven Rythmes Ondulatoires was publicly presented by Galleria Antonio Verolino at ArtePadova in 2024, documenting the continued presence of this composition within the art market and exhibition context. Condition The tapestry is in very good overall condition, with strong and well-preserved colours. Restoration No restoration documented. Laboratory examination None undertaken.
Couck Art Gallery
Fernand Khnopff (Grembergen 1858 - Brussels 1921) Titre : “Etude de femme” Date : N.D. Circa 1914 Drawing on paper Dim : 22 x 16,4 cm Signature en bas à gauche : Fernand / Khnopff (Répertorié dans : “Fernand Khnopff ; Catalogue de l’oeuvre ; Bruxelles, Lebeer-Hossmann- La Bibliotheque des Arts, 1979 : N°541)
Vagabond Antiques
After the antique, attributed to the Chiurazzi Foundry, Naples, second half 19th century. Bronze on original Rosso Antico marble socle Chiurazzi model no. 1, after the antique in the Museo Nazionale di Napoli (inv. 5618) – “Bronzo da Ercolano 1741” Previously misidentified as Plato Height: 70cm After the antique, Chiurazzi Foundry, Naples, second half 19th century A finely cast bronze by the Chiurazzi Foundry, Naples, after the celebrated antique excavated at Herculaneum in 1741 and now preserved in the Museo Nazionale di Napoli (inv. 5618). The model is recorded in the Chiurazzi Foundry catalogue as “N. 1 – Dionisio o Platone – Bronzo da Ercolano 1741”, indicating both the foundry’s internal model number and the Naples museum inventory of the original. The figure’s soft modelling, elaborate curls and bound taenia are characteristic of Hellenistic representations of Dionysus, though early scholars, struck by the introspective expression, also proposed identifications with Plato or other philosophers. Modern scholarship accepts the Dionysian attribution. Chiurazzi held exclusive rights to reproduce works from the Naples collections, issuing casts directly from museum models for export to collectors and institutions across Europe and America. This example, with its even dark patination and original Rosso Antico marble socle, reflects the exceptional quality for which the foundry became renowned. Provenance: Private collection at Chateau De Pesselières, France. Reference: Fonderia Chiurazzi, Napoli, catalogue no. 1 “Dionisio o Platone - Bronzo da Ercolano 1741.”
Waddington Custot
Barry Flanagan (1941–2009) Large Troubador, 2004 bronze 72 7/8 x 55 1/8 x 44 7/8 in / 185 x 140 x 114 cm (cast 2019) AC2 from an edition of 8 plus 3 ACs stamped with the artist’s monogram, casting date and edition number ‘f-/19 AC 2/3’ and foundry mark PROVENANCE Plubronze Limited (The Estate of Barry Flanagan) EXHIBITED ‘Barry Flanagan: Sculpture 1965–2005’, Irish Museum of Modern Art, Dublin, in collaboration with Dublin City Gallery The Hugh Lane, 28 June–24 September 2006, catalogue p.160 (repro. in colour) (3/8 exhibited) ‘Barry Flanagan: Sculpture’, Paul Kasmin Gallery, New York, 23 February–31 March 2007 (3/8 exhibited) ‘Barry Flanagan: Sculptures 2001–2008’, Waddington Galleries, London, 30 April–23 May 2008, catalogue no.7 (repro. in colour p.[23]; detail pp.[18–19]) (4/8 exhibited) ‘Beyond Limits’, Chatsworth House, Bakewell, Derbyshire, 7 September–28 October 2012 (AC1/3 exhibited) ‘Barry Flanagan’, IKON, Birmingham, 18 September–24 November 2019 (repro. in colour in catalogue on p.2–3, 5, 88) (another edition exhibited outside) ‘Mayfair Sculpture Trail’, London, 1–31 October 2020, catalogue no.8 (repro. in colour p.41) (AC2/3 exhibited) LITERATURE Paintings, Sculpture and Works on Paper, Waddington Galleries, London, 2004, no.29 (repro. in colour p.63) (1/8 catalogued) Barry Flanagan, Clare Preston (ed.), Jo Melvin, Teresa Gleadowe, Mel Gooding and Bruce McLean, Waddington Custot in association with The Estate of Barry Flanagan, London, 2017 (repro. in colour pl.137)
Finch & Co
Ancient Celtic Bust of a Radiate Deity ‘Sol Invicta’ Wearing a Halo of the Rays of the Sun Limestone British, 1st Century BC - 1st Century AD H 42 x W 40 x D 20 cm Provenance: private collection West Country UK; Finch and Co, item number 1, catalogue number 30, Summer 2018; private collection Comparative reference: Dr Anne Ross ‘Pagan Celtic Britain’ n° 916, for a similar 'stone radiate deity'
Gallery Sofie Van de Velde
Georges Vantongerloo (Antwerp 1886-1965 Paris) Spiral with Certain Spots, 1946 Oil on masonite 73,8 x 58,8 cm Signed and dated: 'Spirale avec certaines taches Paris 1946 G. Vantongerloo' (title / verso) Provenance: collection Georges Baines (acquired directly from the artist); Bernard Baines; private collection, Switzerland; Galerie Ronny Van de Velde, Antwerp Literature: Georges Vantongerloo, Paintings, Sculptures, Reflections, in Problems of Contemporary Art n° 5, New York, 1948, n° 176, Wittenborn, fig. 44; Georges Vantongerloo: A Traveling Retrospective Exhibition, Corcoran Gallery of Art / Dallas Museum of Fine Arts / Los Angeles County Museum of Art, Loiseau, Brussels 1980, p. 146; Jan Ceuleers, Ronny Van de Velde, Georges Vantongerloo 1886-1965, Antwerp, OCNO, 1996-1997, n° 176, ill. p. 157; Serge Lemoine, Georges Vantongerloo (1886-1965). A Pioneer of Modern Sculpture, Musée Matisse, 2007, ill. p. 148; Larkin Erdmann, Five Years, Zurich, 2019, pp. 83-84; Ostend, Mu.ZEE, Belgium-Argentina. Transatlantic Modernisms, 1910–1958, 2022 Exhibitions: Paris, Palais des Beaux-Arts de la Ville de Paris, 1st Salon des Réalités Nouvelles. Abstract Art, Concrete Art, Constructivism, Non-Figurative, July 1946; Zurich, Kunsthaus Zürich, Antoine Pevsner, Georges Vantongerloo, Max Bill, 15 October - 13 November 1949, n° 78; Washington, Corcoran Gallery of Art, Georges Vantongerloo. A Traveling Retrospective Exhibition, 22 April - 17 June 1980, n° 176 (later shown in Dallas and Los Angeles); Brussels, Royal Museums of Fine Arts of Belgium, Georges Vantongerloo 1886-1965, 23 January - 16 March 1981, n° 176; Zurich, Kunsthaus Zürich, Georges Vantongerloo, 3 April - 17 May 1981, n° 176; Antwerp, Ronny Van de Velde, Georges Vantongerloo 1886-1965, 15 December 1996 - 31 March 1997, OCNO n° 176; Barcelona, MACBA - Museu d’Art Contemporani de Barcelona, Force Fields: Phases of the Kinetic, 19 April - 18 June 2000, n° 232 (later at the Hayward Gallery); Le Cateau-Cambrésis, Musée Matisse, Georges Vantongerloo 1886-1965, A Pioneer of Modern Sculpture, 28 October 2007 - 2 March 2008 (later at Mu.ZEE); Madrid, Museo Nacional Centro de Arte Reina Sofía, Georges Vantongerloo: A Longing for Eternity, 3 November 2009 - 22 February 2010
Repetto Gallery
Christo (Gabrovo 1935-2020 New York) and Jeanne-Claude (Casablanca 1935-2009 New York) The Pont Neuf, Wrapped (Project for Paris), 1985 Graphite, charcoal pastel, wax crayon, fabric, photograph collage on cardboard mounted on a stretcher 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)
Galerie Alexis Pentcheff
Henri Le Sidaner (1862-1939) La maison sous l'église, neige, Gerberoy, circa 1935 Huile sur toile, signée en bas à gauche, 80 x 66 cm. Provenance : Cédé par Le Sidaner à Henri Martin, été 1935, à l'occasion de la visite d'Henri Martin à Gerberoy Succession Henri Martin Attestation d'inclusion au catalogue raisonné de l'artiste établie par Yann Farinaux-Le Sidaner
Gallery de Potter d’Indoye
An Empire bronze carousel automaton clock French, circa 1815 Chased and fire gilded bronze H 51 x W 26 x D 17 cm This rare clock, entirely composed of chased and fire gilded bronze, takes the form of a hexagonal pedestal with chamfered corners, housing a movement with a circular white enamel dial on its front. A rich repertoire inspired by antiquity adorns this pedestal: winged griffins, musical putti, cornucopias, scrolled palmettes and rosettes, and, flanking the short sides, two horse heads, chased in the round, each supporting a 'pike' enriched at the base with a corolla of lanceolate water leaves, and punctuated by a ringed tablet for one, and a laurel wreath. An imposing carousel, structured around a richly chased central column ending in a ball, distinguishes the clock. Three putti riding swans—one winged, the second wearing Mercury's helmet, and the third dressed as a court jester—each attempt to grasp the tablet's ring with a curved object. The clock rests on a projecting hexagonal base decorated with a frieze of alternating stylized palmettes and fleurons. A spring mechanism, wound with a key accessible on the rear right-hand chamfered edge of the pedestal, sets the carousel in motion. This mechanism is activated either when the clock strikes or, at other times, by operating a small lever visible beneath the keyhole. A very similar model is held in the clock collection of the François Duesberg Museum in Mons, Belgium. It differs only in its dial and, most notably, in the inscription 'Nicolas Esterhazy, SOUVENIR D’ENFANCE' (Nicolas Esterhazy, Childhood Memory), visible on the front of the base. Also noteworthy is a clock of the same type, signed VAILLANT A PARIS, which was part of the collection of Countess Valtesse de La Bigne Ville d’Avray (1859-1910) and is now in private hands. Another similar example was presented at Drouot on September 15, 2016 (Mac-Arthur Kohn lot 83). It came from the former collection of the Marchioness of Tweeddale.
Victor Werner
Louis Tuaillon (Berlin, 1862-1919) Stag, circa 1912 Bronze garden sculpture with natural green patina H 110 x W 90 x D 32 cm Signed ‘Louis Tuaillon’ on the base Bears the foundry ‘Martin u. Piltzing Hofbildgiesser Berlin’ A neoclassical bronze sculpture depicting a stag in a standing sentinel pose. This design was acquired in 1912 by the prominent art philanthropist Eduard Arnhold for his private estate in Hirschfelde (Brandenburg), where a large-scale version still stands today as a public monument.
Vagabond Antiques
Wall Lights Attributed to Giocondo Albertolli (1742-1839) Milan, Late 18th Century Height: 72cm Width: 45cm Depth: 37cm These elegant gilt-metal wall sconces are attributed to the Milanese architect, designer and ornamentist Giocondo Albertolli, one of the leading figures of Italian Neo-classicism. Their design closely relates to the engraved ornament published in Albertolli's celebrated pattern books, particularly Ornamenti Diversi (Milan, 1782), which played a central role in disseminating the new classical taste throughout Lombardy and Northern Italy. The sconces display many of the motifs associated with Albertolli's ornamental vocabulary, including scrolling acanthus brances, finely fluted candle sockets and radiating drip pans. Their unusually tall proportions and boldly projecting arms give them a distinctly sculptural character, creating a sense of movement and depth rarely encountered in wall lights of the period. The open voluted arms, enriched with naturalistic foliage, closely resemble a number of Albertolli's published designs for girandoles and wall lights. Born in Bedano, near Lugano, Albertolli settled in Milan in 1774 at the invitation of the architect Giuseppe Piermarini. As Professor of Ornament at the Brera Academy he exerted a profound influence on the decorative arts of Northern Italy, providing designs for architecture, furniture, metalwork and interior decoration. His published engravings became an important source for craftsmen working in the Neoclassical style throughout the late eighteenth century. The present sconces are attributed to Giocondo Albertolli and were almost certainly produced by craftsmen working within the circle of artists and decorators associated with him in late eighteenth century Milan. Their refined design and high quality of execution reflect the sophisticated decorative arts tradition that flourished in Lombardy during the Neoclassical period. Height: 72cm Width: 45cm Depth: 37cm
Galeria Jordi Pascual
Joan Miró (Barcelona 1893-1983 Palma de Mallorca) Painting III, 1960 Acrylic and pastel pencil on canvas 92 x 65 cm Certificate of authenticity from ADOM Provenance: Galerie Maeght, Paris; Galerie Adrien Maeght, Paris; Private collection, Barcelona Literature: Dupin, J. Miró, Flammarion, 1961, nº 928, p. 554; Dupin, J., Lelong-Mainaud, A. Joan Miró, Catalogue Raisonné, paintings, volume IV: 1959–1968, Polígrafa, 2010, nº 1118; Weelen, G. Miró. Nouvelles Éditions Françaises, 1984, nº 8, p. 9 Exhibitions: Grand Palais, Paris, 1974, cat. nº 77; Villeneuve d'Ascq, Musée d'Art Moderne, cat. nº 16
Bernardini Milano
Rolex, Bienne. Rare yellow gold “oyster chronograph” in pristine condition, 1956 One of the 36 made of this version of chronographs in 18kt. gold in the late 50’s. The untouched case and extensible bracelet host a perfect creamy silvered dial. The watch is complete of its original box, papers, invoice and various communications between owner and the Swiss Maison.previously unknown to the market, it’s a benchmark in terms of rarity and conservation.
Galerie Hadjer
FERNAND LÉGER (Argentan, France, 1881 – Gif-sur-Yvette, France, 1955) Les Oiseaux dans les fleurs (Composition murale) 1958 Aubusson tapestry, woven in wool by the Pinton workshop, Aubusson, France. 189 × 265 cm (74 3/8 × 104 3/8 in.) Signed “F. LÉGER” in the weave. Edition of six examples plus two artist’s proofs. Certificate: Accompanied by a certificate from the Comité Fernand Léger. Provenance: Atelier Pinton, Aubusson, France. Private collection, London. Exhibitions: F. Léger, tapisseries, céramiques, bronzes, lithographies, Palais de la Méditerranée, Nice, 20 July–30 September 1962. F. Léger et les arts décoratifs, Biot & Aubusson, 2002–2003. Literature: F. Léger et les arts décoratifs, exhibition catalogue, Biot & Aubusson, 2002–2003, another example from the edition illustrated p. 34. Georges Bauquier, Fernand Léger, Catalogue raisonné de l’œuvre peint, 1952–1953, Paris, 2013, no. 1492, the related painted version illustrated p. 57. Condition: The work is in very good overall condition.
Galerie de la Présidence
Hans Hartung (Leipzig 1904-1989 Antibes) T1966-E40, 1966 Vinyl paint on canvas and scraping 27 x 35 cm Signed and dated lower left Titled on the reverse, dedicated and signed Provenance: Waintrob collection, USA; Galerie Applicat-Prazan, Paris; Private collection, Paris This work is registered in the Archives of the 'Fondation Hans Hartung & Anna-Eva Bergman' under number : T 1966-E40
Galerie Alexis Pentcheff
Cadre en bois sculpté doré à la feuille, monté avec sa glace au mercure. Ornements symétriques avec quatre chérubins, rinceaux stylisés, feuilles d'acanthe et gemmes aux angles. Espagne, XVIIème siècle. Provenance : Collection Amedeo Montanari Bibliographie : Amedeo Montanari et Roberto Lodi, Répertoire du cadre européen, éditions Galleria Roberto Lodi, 2003, reproduit sous le n°641, p. 323.
HELENE BAILLY MARCILHAC
Pierre-Auguste Renoir (Limoges 1841-1919 Cagnes-sur-Mer) Les colettes à Cagnes Oil on canvas 27 x 46 cm Signed lower right 'Renoir' This work will be included in the forthcoming digital catalogue raisonné currently in preparation by the Wildenstein Plattner Institute. Notice of inclusion dated 14 March 2000
W. Apolloni - Laocoon Gallery
Leoncillo Leonardi (Spoleto 1915-1968 Rome) Plate with abstract design, circa 1950 Glazed ceramic Ø 28 cm Signed below on the edge 'Leoncillo' Literature: M. F. Apolloni, M. Cardarelli (edited by), Leoncillo - Le Ceramiche, Rome 2018 Exhibition: Leoncillo: Earth, Fire and Colours. A retrospective exhibition 1939-1955