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Romigioli Antichità
portrait of bona di savoia
Giovanni Cristoforo Ganti Detto Gian Cristoforo Romano (cerchia di) Roma ? 1460/5 – Loreto 1512 Portrait of a Lady (Bona di Savoia, Duchess of Milan?) 1490-5 White marble relief, diameter 50 cm Scientific profile by Alfredo Bellandi and Giancarlo Gentilini 2012 Published in A. Rinetti "The Duke's City, Ducal Portraits"
Galerie Flak
Yup'ik shaman mask Coastal Yup’ik - Eskimo, St Michael or Yukon river Delta, Alaska, 19th century Carved wood, pigments H 19.5 cm Provenance: Karin & Leo (1937-1987) Van Oosterom collection, The Hague, acquired in 1980 Yup’ik shamanic masks (from the Indigenous culture of the Arctic region of Alaska) bear witness to a spirituality and artistic power of remarkable depth. Exceptionally rare today - as most were destroyed or discarded after their ceremonial use - these works are imbued with mystery and poetry. Their evocative force and symbolism of metamorphosis deeply inspired Surrealist masters such as Max Ernst and Leonora Carrington, who discovered in them a new visual language of the unconscious. This striking mask represents a tunghak spirit - a powerful celestial being linked to the moon, the sun, and the balance between humans and nature.
Martos Gallery
keith haring
growing suite, 1988
Screen print on Lenox Museum board Signed and dated with edition in graphite along right edge of sheet; retains Martin Lawrence Limited Edition and printer's blind stamps lower left edge of sheet 40 x 30 in: 101.6 x 76.2 cm 47 x 37 in; 119.4 x 94 cm (framed)
Univers du Bronze
roger godchaux
Roger Godchaux (Vendôme 1878-1958 Paris) Toomai des éléphants or Le Retour de chasse au tigre (1928 or earlier) Circa 1932 H 57.5 x W 70.5 x D 22.7 cm Lifetime bronze signed 'Roger Godchaux' and numbered '2/15' Old edition by 'Susse Frères Éditeurs Paris' (mark and seal), inscribed 'cire perdue'
Galerie Capazza
éric antoine
Éric Antoine (France, 1974) Tidy V, 2024 Ambrotype 40 x 40 cm Provenance: the artist's studio Exhibition: La Fabrique des Éléments, 4 October-7 December 2025, Galerie Capazza, France In the Cerveaux (Brains) series, from which Tidy V originates, layers of leaves and stacked documents tell stories of real or imaginary lives. The ambrotype, one of the earliest photographic processes using a camera obscura, is created using wet collodion applied to a glass plate, resulting in a unique piece. With a contemporary approach, Eric Antoine uses wet collodion for its precision, deep blacks and silvery density. His work is closely linked to his place of residence and his memories. In the landscapes of the Alsatian Vosges, he developed a fascination for trees, which he studies in anthropomorphic portraits. Through a stationary journey, Eric Antoine often returns to the same places to capture their slow evolution. His work is organised into series in which destinies are recounted using layered still lifes, drowned flowers and accumulations of objects/symbols. These photographs without subjects challengethe very essence of this medium: light, optics, chemistry. The question of the materiality of the image remains at the heart of the artist's research. Far from any nostalgia, the wet collodion process here is an emancipatory discipline. In an almost sculptural approach, Eric Antoine delivers true photograph-objects, shimmering and silvery.
Grusenmeyer-Woliner
Portrait of a young boy Antonine Period, circa the end of the 2nd century Marble H 21 cm Provenance: Roger Peyrefitte (1907-2000) collection, Paris; sale of Roger Peyrefitte collection, Hôtel George V, Paris, 26 May 1977, lot n° 12; Art Market, 1978; Antiquities and Islamic Art, Sotheby’s, New York, 14 December 1993, lot n° 94; Dr. Anton Pestalozzi (1915-2007), Zurich, acquired from the previous owner; thence by descent Literature: Auction catalogue, Roger Peyrefitte Collection, Hôtel George V, Paris, May 26th, 1977, lot n° 12; Auction catalogue, Antiquities and Islamic Art, Sotheby’s, New York, December 14th, 1993, lot n° 94; I. Jucker, Skulpturen der Antiken-Sammlung Ennetwies, Mainz on the Rhine, 1995, Vol. 1, pp. 41-42, n° 24, pls. 49-50; K. Fittschen, Prinzenbildnisse Antoninischer Zeit, Mainz on the Rhine, 1999, p. 93, cat. n° 97
Galerie la Ménagerie
jacques froment-meurice
Jacques Froment-Meurice (Paris 1864-1946 Maisons-Lafitte) Bucking donkey, circa 1904 Model from 'Les gestes d'Ânes' Bronze A. A Hébrard foundry H 14.5 x W 18 x D 9 cm Signed on the base Provenance: collection New York, USA Literature: A strong love of all animals, but particularly of domestic breeds, especially donkeys, is evident in the character that Froment-Meurice captures in all his intimate portraits. Cast by Hebrard, they are always of the highest quality, Edward Horswell, Sculpture of Les Animaliers, 1900-1950, Scala Arts and Heritage Publishers Ltd, 2019, p. 136
Art et Patrimoine - Laurence Lenne
Potpourri vase in polychrome porcelain Tournai porcelain, second period, 1763-1775 H 36.5 cm Rare potpourri vase in soft-paste, polychrome Tournai porcelain. At its base, it depicts a gallant offering grapes to his lady Provenance: former du Bois de Roest collection Literature: a similar piece is published in Lucien Delplace, Considérations sur les porcelaines de Tournai, p. 25, plate 3; and in Soil de Moriamé & Delplace, La Manufacture Impériale et Royale de Porcelaine de Tournay, 1937, p. 341, n° 645, plate 79
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
Maison D'Art
François Perrier (Pontarlier, circa 1594-1649) The flight into Egypt, the Holy Family prepares to embark, circa 1640 Oil on canvas 100 x 90 cm Literature: M. A. Novelli, in T. Zennaro, ed., La Pittura Eloquente (exh. cat., Monte-Carlo, Maison d’Art), 2010, pp. 33-35, n° 5; A. Brogi, François Perrier e i ‘bolognesi’, Studi di Storia dell’Arte, 29, 2018, pp. 147-166: pp. 151-153 and colour plate XVI Exhibition: Maison d’Art, Monte-Carlo, June 16th-July 16th, 2010, n° 5
Galeria Bessa Pereira
Sergio Rodrigues (Rio de Janeiro, 1927–2014) 'Kilin' chair, 1970s Solid wood, leather H 68 x W 68 x D 68 cm Origin: Brasil Provenance: private collection, Rio de Janeiro; Galeria Bessa Pereira collection Literature: Vicente, A., & Vasconcellos, M. (Comps.), Móvel moderno brasileiro (1st edition), São Paulo: Olhares, 2017, p. 302; Cals, S, Sergio Rodrigues, Rio de Janeiro: Icatu, 2000, p. 142
Hartford Fine Art - Lampronti Gallery
Francesco Fracanzano (Monopoli 1612-1656 Naples) The incredulity of Saint Thomas Oil on canvas 143 x 205 cm Literature: R. Causa, La pittura del Seicento a Napoli. Dal naturalismo al barocco, Naples, 1972, S. 976, n° 74; G. De Vito, Fracanziano’s periphrasis in XVII century Neapolitan studies, 2003/2004, pp. 104-105, fig. 2; N. Spinosa, XVII c. paintings in Naples, from Caravaggio to Massimo Stanzione, Naples 2010, p. 281 cat. n° 212; A. Della Ragione, Francesco Fracanzano, 2011, p. 10, fig. 23; N. Spinosa, Da Artemisia a Hackert. La collezione di un antiquario, exh. cat., Reggia di Caserta, Foligno 2019, cat. 9, pp. 18-19; N. Spinosa, Il Maestro degli Annunci ai pastori e i pittori del 'tremendo impasto' (Napoli 1625-1650), Rome 2021, cat. C5, p. 193 (quoting further literature: Cairo, 2011, pp. 203-210. Forgione, p. 233, fig. 12) Exhibition: Da Artemisia a Hackert. La collezione di un antiquario, Reggia di Caserta, 2019-2020
TASCHEN
marc newson
Marc Newson (Australia, Sydney 1963) America’s Cup This limited edition unfurls the story of America’s Cup and celebrates its skippers, owners, defenders, and challengers. Packed with previously untold tales and unseen photographs, it features a case designed by Marc Newson, crafted from cotton sailcloth, and a custom-made closure by Louis Vuitton, the official partner of the 37th America's Cup. Copies 1-175 come with a numbered carbon fiber bookstand also designed by Newson.
Chambre professionnelle belge de la Librairie Ancienne et Moderne (CLAM)
Unique binding of incredible modernity, produced circa 1925 by the great architect and designer Josef Hoffmann (Pirnitz 1870-1956 Vienna), one of the founding members of the Wiener Werkstätte and the creator of the fabulous Palais Stoclet in Brussels. Large quarto, full fawn morocco on wooden boards with undulating decor, dark fuchsia silk doublure and endpapers, interior gilt signature Wiener Werkstätte with, above, Hoffmann's small gilt monogrammed mark. On: Henny Bauer & Wilhelm Kienzl, Sanctissimum (1924), first edition of the score for voice and piano. Signed by Josef Hoffmann Literature: Isabella Croÿ-Frick, Bookbinding and Leather in Christian Witt-Dörring & Janis Staggs, Wiener Werkstätte 1903-1932, The Luxury of Beauty, (2017), pp. 192-211; MAK Wien: Archiv der Wiener Werkstätte, Entwurfszeichnungen, Bucheinband, inventarnummer WWE 24-9; Yves Peyré, Histoire de la reliure de création, (2005), p. 138, p. 140; Ruperta Pichler, Wiener Werkstätte. Lederobjekte aus den Sammlungen des Österreichischen Museums für angewandte Kunst, (1992), pp. 77-92; Werner J. Schweiger, Wiener Werkstätte, art et artisanat, 1903-1932, (1982), p. 183 Pierre Coumans, Antiquarian bookseller
Maurice Verbaet Gallery
paul van hoeydonck
Paul Van Hoeydonck (Antwerp 1925-2025 Wijnegem) Untitled, 1958 Oil on unalit 80 x 80 cm Provenance: Maurice Verbaet collection, Belgium Literature: Jan Ceuleers, Paul Van Hoeydonck, Antwerpen, Pandora Publishers, 2011, p. 160 & p. 287 Exhibition: KMSKA, Antwerp, Belgium, Fallen Astronaut. Hommage aan Paul Van Hoeydonck, 12 September 2025-12 October 2025
De Zutter Art Gallery
corneille
Corneille (Liège 1922-2010 Auvers-sur-Oise) Le rouge itinéraire de l'été, 1964 Oil on canvas 73 x 92 cm Provenance: Galerie Delta, Rotterdam; kunsthandel Lambert Tegenbosch, Heusden; collection Dr. Johan B.W. Polak (1928-1992), Amsterdam; Christie's, Amsterdam, 10 December 1992, lot n° 325; private collection, Switzerland Literature: Catalogue Galerie Cimaise Bonaparte (Patrick d'Elme and Daniel Templon), 1967, Paris Exhibition: Galerie Cimaise Bonaparte (Patrick d'Elme and Daniel Templon), 1967, Paris
Galerie Greta Meert
carla accardi
Carla Accardi (Trapani 1924-2014 Rome) Frammenti, 1984 Acrylic on canvas 50 x 60 cm Frammenti, a work from 1984, ‘Fragments’; the work affirms Carla Accardi’s place as a voice of innovation in an Italian art scene dominated by male voices. In this 50 x 60 cm painting using only black paint on the untreated material of the canvas, the artist constructs a rhythmic interplay of signs animating recognition and illegibility, an evocation of a writing that dissolves into abstraction. The work embodies the tension that characterises her oeuvre: a subtle intertwining of classical painterly discipline and the radical openness of the avant-garde, resulting in a visual language that is as rigorous and experimental as it is personal.
Galerie Boulakia
Joan Miró (Barcelona 1893-1983 Palma) Des figures devant la lune, 1942 Pastel, gouache, wash, brush, ink, and pencil on paper 64.5 x 48.5 cm Signed 'Joan Miró' (lower right) Dated 'X Barcelone, 18-12-1942' and titled on reverse Certificate of authenticity from ADOM dated 13 July 2018 Provenance: Pierre Matisse Gallery, New York; Galleria Narciso, Turin Exhibitions: Traveling exhibition Japan, 1984, reproduced cat. n° 17; Ferrara, Palais des Diamants, Joan Miró, 1985, n° 81; Cherasco, Palazzo Salmatoris, Chagall, Miró, Magritte : La Poesia del Sogno, September-December 2005; Paris, Exhibition Jean Louis Prat-Galerie Lelong, Grand Palais, September-October 2018; Mons, Musée des Beaux-Arts de Mons, Belgium, Exposition Joan Miro : L’essence des choses passées et présentes, October 2022-January 2023, repr. in cat. Literature: Jacques Dupin, Ariane Lelong-Mainaud, Joan Miro : catalogue raisonné, Volume II, 1931-1941, Editions Maeght-Lelong, Paris, 2000; Joan Miró exhibition catalogue, L'essence des choses passées et présentes, Editions BAM, Musée des Beaux-Arts de Mons, Belgium, 2022
Dr. Nöth kunsthandel
peter leftwich
Peter Leftwich (Great Britain, 1913-?) Bawilele, 1937 Oil and tempera on canvas 102 x 77 cm Signed and dated lower right: Peter Leftwich 37 Verso inscribed on the canvas: No 2 'Bawilele' by Peter Leftwich and on the stretcher Provenance: Otto Rasmussen, Danish director of the East Asiatic Company Exhibition: Capetown, South African National Gallery: Annual Exhibition of Contemporary Art 1937-38, n° 107
