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Galerie Jean-François Cazeau
martial raysse
Martial Raysse (Nice, 1936) Green on green, 1964 Spray paint, xerography, collage, oil and cardboard mounted on canvas 33 x 22 x 7 cm Signed Martial Raysse, dated 64 and titled Green on green (on the reverse) This work is registered in the inventory 'l'Oeuvre de Martial Raysse' under n° IMR-0193 Provenance: William Copley Collection, USA; Christie's, New York, Contemporary Art - Including property from the collection of William Copley, 8 November 1993, lot 8; private collection, Paris; acquired from the above by the present owner Exhibition: New York, Galerie Luxembourg & Dayan, Martial Raysse: 1960-1974, 11 May-13 July 2013
Van Pruissen Asian Art
nagai ikka
Nagai Ikka (Japan, 1869–1940) Pair of six-panel folding screens with crows, 1930s Ink on paper H 137 x W 268 cm (each) Signed in the bottom corner Provenance: private collection, Japan Nagai Ikka (also known by the art names Zuiunan and Hanpo) was born in 1869 in Suibara, Niigata Prefecture, during the early Meiji period. He trained under leading masters of the Maruyama and Shijō schools, including Suzuki Shōnen, Nakano Kimei, and Hirafuku Hoan, and later absorbed stylistic influences from Kawanabe Kyōsai. This grounding in careful observation and naturalistic rendering provided the foundation for a personal style that balanced precision with expressive freedom. He began painting crow paintings after helping Ernest Francisco Fenollosa create 'One Hundred Crows', a painting he had commissioned from Kyosai. The late Meiji and Taishō periods were marked by profound change in Japanese art, as artists navigated between traditional aesthetics and the growing influence of Western naturalism. Ikka embraced this dialogue, drawing on classical ink painting techniques whilst expanding his horizons abroad. From 1903 to 1908, he lived in the United States, exhibiting at international events such as the Portland Expo, where he won a silver medal, and later at the Italian Expo. His crow paintings, admired both in Japan and overseas, earned him the affectionate nickname 'Doctor of Crows' from statesman Ōkuma Shigenobu. The crow (karasu) has a long symbolic tradition in Japanese culture, appearing in classical poetry, Buddhist imagery, and Shintō cosmology, most famously as Yatagarasu, the mythical three-legged crow. Ikka revitalised this motif, transforming it from a minor decorative element into the central subject of bold, dynamic compositions. This pair of six-panel folding screens demonstrates his command of movement and atmosphere. Painted in ink with sparing touches of colour, the crows appear in varied postures—perched, in flight, or interacting—creating a rhythm that guides the viewer’s eye across the expansive surface. Bold, calligraphic brushstrokes define wings and feathers, while softer washes evoke wind, mist, and shifting light. The result is a scene that is both naturalistic and poetic, combining the restraint of traditional ink painting with a striking modern vitality. Ikka’s crows are not static symbols but living presences, conveying alertness, intelligence, and social energy. His lifelong study of corvid behavior, informed by travels across Japan, Korea, China, Taiwan, and the United States, gave his work an observational depth rare among his contemporaries. At the same time, his art reflects a broader ambition: to elevate the ordinary into the emblematic, merging natural accuracy with expressive force. Today, Ikka’s crow paintings are prized by collectors and studied as important examples of Meiji-period nihonga, where fidelity to nature combines with enduring Japanese aesthetic ideals. These folding screens stand as a testament to his originality and his ability to transform a humble subject into a powerful symbol of vitality and freedom.
Douwes Fine Art b.v.
rembrandt van rijn
Rembrandt van Rijn (Leiden 1606-1669 Amsterdam) Self-Portrait in a Cap, Wide-Eyed and Open-Mouthed, 1630 Etching and drypoint on laid paper 5.4 x 4.6 cm Signed in monogram and dated lower centre: RHL 1630 Plate not in existence – with Nowell-Usticke (1967): RRR – a very rare little plate Provenance: private collection, Germany; private collection, The Netherlands Literature: Bartsch 320; Hind 32; The New Hollstein Dutch n° 69: Second state (of II) This is a small masterpiece of Rembrandt's early etchings. The expression of this physiognomic study made by his etching needle could not be more livelike as the facial expression (perhaps "astonishment") is in perfect harmony with the round shape of the face. Rembrandt knows exactly how to hit every tonal gradation with fine, arching strokes. Of all the self-portraits in which Rembrandt depicts emotions, this one is probably the most engaging. He looks startled here, with pursed lips and wide-open eyes. You see him slightly from below, so that he seems to be recoiling. The etching is clearly executed and clever, with the contours of the shoulders and the cap fading into the edges. During his lifetime, Rembrandt's extraordinary skills as a printmaker were the main source of his international fame. Unlike his oil paintings, prints travelled light and were relatively cheap. For this reason, they soon became very popular with collectors not only within but also beyond the borders of the Netherlands. Rembrandt's etchings are remarkable for their high number of self-portraits (over 30 out of about 290). These are particularly collectible, perhaps due to the smaller number of states as well as the artist's compelling and powerful presence. Unlike his stately religious scenes, or regal, posed portraits of others, which exhibit his careful and calculating brilliance as an etcher, Rembrandt's self-portraits reveal him as an artist and a man. In them he assumes the role of the experimenting artist, approaching the most difficult of subjects - himself. These self-portraits are often described as ethereal and wistful for their notable contrasting areas of high and low etched space. A very fine impression of this famous small portrait in the second (final) state, printing clearly, just beginning to show a little wear on the tip of the nose, with narrow margins.
Galerie Berès
louis marcoussis
Louis Marcoussis (Poland, Warsaw 1883-1921 Cusset, France) Nature morte au flacon d'opaline, circa 1927 Oil on canvas 73 x 100 cm Signed lower right 'Marcoussis' Certificate of authenticity n° 1200H143 by Solange Milet on 4 December 2000 Literature: Les Cahiers d'Art, 1927, n° 7-8, p. 5
MassModernDesign
jorge zalszupin
Jorge Zalszupin (Warsaw 1922-2020 São Paulo) Guanabara table and Senior chairs, 1960 Rosewood, leather, velvet upholstery H 75 x W 400 x D 130 cm (table) Produced by l'Atelier, Brazil Provenance: private collection, São Paulo Literature: Jorge Zalszupin, Modern Design in Brazil Maria Cecilia Loschiavo dos Santos 2014, pp. 142-143
Stone Gallery
Quartz crystal cluster Weight: 350 kg 87 x 135 x 75 cm Origin: quarries of Mount Ida, Arkansas, USA, discovered in 1993 Provenance: Paul Membrini collection until 2023 Rock crystal is the crystallised, colourless variety of quartz, also known as clear quartz. All the crystals with their countless facets are 100% natural. With its transparent and colourless appearance, it is revered for its purity and clarity. This giant group of quartz crystals weighs approximately 350kg and is 87 x 135 x 75 cm. It displays remarkably perfect and water-clear crystals on all sides. Discovered in one of the famous crystal quarries of Mount Ida, Arkansas, USA, in 1993. The piece was once part of the Membrini Collection from Switzerland, a phenomenal museum-quality crystal collection, meticulously assembled over the years by Membrini Kristall, a firm based in Chur, Switzerland. Founder Paul Membrini was a renowned “strahler,” a professional crystal hunter who explored the Alps. Stone Gallery acquired the Membrini Collection in early 2023. Martin Garrix Stone Gallery proudly announces that the larger sibling of this piece, a great cluster weighing an impressive 4500 lbs, is now on display at the Naturalis Biodiversity Center in Leiden, in part thanks to Dutch DJ Martin Garrix.
Almine Rech
hans op de beeck
Hans Op de Beeck (Turnhout, 1969) Crow, 2025 MDF, metal, polyamide, coating and bronze H 160 x W 80 x D 56 cm - Weight 39 kg Edition of 5 plus 2 APs Provenance: Studio of the Artist 'Crow' is a kinetic sculpture of a life-size flying crow. Powered by a mechanical system, the crow's flight creates the illusion of forward motion, although it remains suspended in place. 'Crow' evokes the world of fables and classic animated films, in which animals take on human traits. The work also alludes to the age-old tradition of mechanically animated figures, whose repetitive, joyless movements often inspire a quiet melancholy. At the same time, it is striking how lifelike and fluid such mechanically simplified movements can sometimes appear.
Epoque Fine Jewels
rené lalique
René Lalique (Ay 1860-1945 Paris) Art Nouveau thistle necklace Paris, circa 1905 Gold, diamond, enamel and glass Signed: Lalique The piece is housed in its original case, marked ‘Lalique, Place Vendôme 24, Paris’ Provenance: private collection, France An impressive Art Nouveau gold, diamond, enamel and glass thistle flower necklace by René Lalique, consisting of six pentagonal plaques made from moulded amber-coloured glass, each adorned with two intertwined thistle flowers facing outward, topped by three yellow enamel rods. Flanking the plaques are long curved thorns, set with diamonds and accented with yellow and brown enamel. Between the thorns are small thistle flower motifs in moulded orange glass, enhanced with diamonds. This exceptional Art Nouveau choker necklace by René Lalique (circa 1905, Paris) exemplifies his revolutionary use of glass in fine jewelry. The piece features six molded amber glass plaques decorated with intertwined thistle flowers, enhanced by diamonds and yellow and brown enamel on gold. The thistle flower motif, emblem of Lorraine and the Dukes of Lorraine, symbolizes courage and protection, reflecting the regional heritage of Nancy, where the original owner was a notable social figure likely to have commissioned it directly from Lalique. Created during the period when Lalique moved his shop to 24 Place Vendôme, the necklace illustrates his transition from Art Nouveau to early Art Deco, blending naturalistic design with modern aesthetics. Its autumnal hues, sunlit enamel details, and radiant diamonds evoke both poetic beauty and symbolic depth. Lalique drew inspiration from wild flora rather than cultivated blooms, favoring authenticity and imperfection as expressions of nature’s truth. This necklace, long preserved in a French private collection and once known only through drawings (including one published by Sigrid Barten), is a rare surviving example of Lalique’s innovation. It demonstrates his mastery in merging craftsmanship, symbolism, and modernity, affirming his reputation as the “inventor of modern jewelry.”
Galerie de la Présidence
Nicolas de Staël (Saint Petersbourg 1913-1955 Antibes) Composition, 1949 Oil on canvas 38 x 46 cm Signed lower left Provenance: Henriette Gomès collection, Paris; private collection, Paris; private collection, Luxembourg Literature: J-P Jouffroy, Nicolas de Staël, p. 161; Jacques Dubourg and Françoise de Staël, Nicolas de Staël, Catalogue Raisonné des peintures, ed. Le temps, Paris, n° 195, p. 121; Françoise de Staël, Nicolas de Staël, Catalogue Raisonné des peintures, ed. Ides et Calendres, Switzerland, n° 189, p. 259; Françoise de Staël, Nicolas de Staël, Catalogue Raisonné des peintures, ed. Ides et Calendres, Switzerland, revised and expanded by Marie du Bouchet and Gustave de Staël, n° 189, p. 209 Exhibition: Nicolas de Staël, Musée Réattu, Arles, June-September 1958, n° 18 The year 1949 was a crucial period for Nicolas de Staël: he continued to explore and refine his style, marking an important transition towards painting that would become more fluid and expressive. Among his notable works this year is this 'Composition', which reflects his continued use of thick layers of paint and his extensive play with materials, moving from impasto to knife painting. For Nicolas de Staël, although abstract his paintings are 'images of life', his coloured masses generate vibrations. Lastly, this painting has always been kept in private hands until now, and was never presented at auctions.
Franck Anelli Fine Art
charles topino
Charles Topino (Arras, circa 1742-1803) Louis XVI period demi-lune commode, circa 1780 Oak, Parisian varnish, gilt-bronze mounts, Aleppo breccia marble top H 91 x W 131 x D 58 cm Stamped 'C. TOPINO' and 'JME', with a CD mark Provenance: private collection, Paris Literature: Forray-Carlier et M. Kopplin, Les Secrets de la Laque française: Le Vernis Martin, Paris, 2014 This demi-lune commode is decorated with chinoiserie motifs in gold on a green background,. It opens with two side doors and three drawers. The gold chinoiserie decoration on green varnish is quite rare, especially on Louis XVI furniture. The chinoiserie theme is executed here in a decorative style from the 1780s, with framed scenes surrounded by tied garlands. This exotic theme remained in vogue during the Louis XVI period, as evidenced by the lacquered Japanese furniture favoured by Marie-Antoinette, as well as the marquetry furniture by Roentgen. Jean Pillement (1728-1808) popularised chinoiserie designs through his 1776 book 'Œuvres de Fleurs, ornements, cartouches et figures et sujets chinois…etc.,' which spread throughout the courts of Europe. The green varnish décor is especially known for works by René Dubois, such as the small demi-lune commode housed at Waddesdon Manor in England (Inv. WI/23/2). René Dubois, however, was more inclined towards neoclassical scenes, a style that is well-documented in his stock from 1772, which lists around twenty pieces, thus helping to date his production. At this time, the workshop of the Frères Martin was still active, with Jean-Alexandre, the son of Robert Martin, having taken over his father’s workshop in 1767 and acquired that of his cousin Etienne-François in 1772, following his cousin's death the year before. It is clear that Jean-Alexandre benefited from the strong connections his family had with Parisian marchand-merciers and cabinetmakers, one of the most renowned of whom was Charles Topino. This production unfortunately did not survive the French Revolution, and this commode is one of the last examples of this inventive period. Charles Topino settled in Rue du Faubourg Saint-Antoine and counted aristocratic clients and marchand-ébénistes such as Delorme and Tuart amongst his customers. His pieces were described as 'à l'antique,' an expression referring to the neoclassical taste that dominated the late 18th century. His journal, covering the years 1771 to 1779, has survived, providing insight into the names of bronziers who supplied him, including Jean-Baptiste Dubuisson, a master founder since 1765, who created some of the finest bronze mounts of the period. It is known that the gilt bronze mounts adorning Topino’s furniture were cast by Viret, chased by Chamboin and Dubuisson, and gilded by Bécard, Gérard, and Vallet. Charles Topino produced several demi-lune commodes of this type, many decorated with marquetry and several with varnish decorations. Notable examples include: -A commode from the Prince Radziwill collection, sold at the Château d'Ermenonville auction, Ader study, March 8th, 1933 -A writing desk sold by Christie's London from the Rechnitzer collection, May 19th, 1955, illustrated in Connaissance des Arts n° 41, July 15th, 1955 -A writing desk decorated with European black and gold varnish in the Chinese style, sold at Paris’s Hôtel Drouot, Cornette de Saint-Cyr study, January 31st, 1994 -A writing desk with Coromandel lacquer decoration, from the Princess A. de Broglie collection, ill. in P. Verlet, Les ébénistes du XVIIIe siècle français, Connaissance des arts, Hachette, Paris, 1963, p. 268
TEMPLON
Martial Raysse (Nice, 1936) Now, 2017 Acrylic on canvas 209 x 175.5 cm Unique Provenance: the artist’s studio Literature: exhibition catalogue Martial Raysse: œuvres récentes, Musée Paul Valéry, Sète, France; Ed. Loubatières 2023, ill. p. 151 Exhibition: Martial Raysse: œuvres récentes, Musée Paul Valéry, Sète France, 2023
COLNAGHI
Gillis Neyts (Ghent 1623-1687 Antwerp) A winter cityscape of Antwerp, 1666 Oil on panel 54 x 86 cm Signed and dated lower left: g. nyts. f. / 1666 Provenance: sale Fievez, Brussels (16 June 1931), lot 113; sale of the F. Stuyck collection, Brussels, Palais des Beaux-Arts (7-8 December 1960), lot 91; Galerie P. de Boer, Amsterdam (1961) n° 54; Laboratoria Tupens, Sint-Niklaas (?); with Rafael Valls, London; with De Jonckheere, from whom acquired by the present owner Literature: P. Gustot, Gillis Neyts. Un paysagiste brabançon en vallée mosane au XVIIe siècle, Namur, 2008, p. 69, n° P13, repr. Exhibition: Brussels, Musées Royaux des Beaux-Arts de Belgique, Le siècle de Rubens, 15 October-12 December 1965, n° 157, repr.
Galerie von Vertes
tony cragg
Tony Cragg (Liverpool, 1949) Nea Relatives, 2020 Bronze Conceived and cast in 2020 6 casts H 77 x W 44 x D 47 cm Signature and foundry stamp on the base Certificate of authenticity by the artist on 10 April 2025 Provenance: Buchmann Galerie, Berlin (acquired directly from the artist)
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Galerie Jean-François Cazeau
zao wou-ki
Zao Wou-Ki (China, Beijing 1920-2013 Nyon, Switzerland) Untitled (Composition), 1978 Ink on paper 70 x 70 cm Dedicated, dated and signed on the lower bord Certificate from the Zao Wou-Ki Foundation Provenance: the artist's studio, Paris; Robert Rousseau collection, Belgium, gift from the artist (curator of the Zao Wou-Ki monographic exhibition at the Musée des Beaux-Arts in Charleroi in 1980); private collection, by succession, Belgium
