This section will be available this Autumn.
Galeria Bessa Pereira
Carlo Hauner (Brescia 1927-1996 Salina) & Martin Eisler (Vienna 1913-1977 São Paulo) Coffee table, 1960s Jacarandá wood and glass H 46 cm - Ø 89 cm Origin: Brasil Provenance: private collection, Rio de Janeiro; Galeria Bessa Pereira collection, 2025 Literature: Vicente, A., & Vasconcellos, M. (Comps.), Móvel moderno brasileiro (1st edition), São Paulo: Olhares, 2017, p. 231
Galerie Raf Van Severen
théo van rysselberghe
Théo Van Rysselberghe (Belgium, Ghent 1862-1926 Le Lavandou, France) Ile du Levant, circa 1904 Oil on panel 30 x 41.4 cm Signed with monogram bottom left Provenance: Foundation Catherine Gide; private collection, Brussels Literature: Feltkamp, 2003, réf. 1924-034, p. 441; Catalogue de l'exposition, Bruxelles, La Haye, 2006, p. 258; Théo Van Rysselberghe, l'instant sublimé, Museé de Lodève, 2012, p. 99; Théo Van Rysselberghe, Intime, 2005, p.65; Théo Van Rysselberghe, Bozar Books by Fonds Mercator & Palais Des Beaux-Arts, Belgian Art Research Institute, 2005, p. 229 Exhibitions: 2005, TVR, Intime, Espace Culturel, Le Lavandou, n° 37; 2006, Brussels, La Haye, without number, p. 229
TASCHEN
salvador dalí
Salvador Dalí (Spain, Figueras 1904-1989) Dalí. BABY SUMO This collector’s edition of 10,000 numbered copies presents Salvador Dalí’s work in unprecedented size and detail and is accompanied by a chronology following his path from Catalonia through Paris to Hollywood and back, with photos, sketches, and magazine pages.
Maurice Verbaet Gallery
Jef Verheyen (Belgium, Itegem 1932-1984 Apt, France) Hommage à Fontana, 1959 Oil, collage on canvas 50 x 60.5 cm Provenance: Hans Liechti, Grenchen; private collection, Switzerland Literature: Willy Van den Bussche and Léonore Verheyen, Retrospective Jef Verheyen 1932–1984 (Ostend/Bruges: PMMK – Provincial Museum of Modern Art / Stichting Kunstboek, 1994), p. 76 Exhibitions: Retrospektive Jef Verheyen 1932-1984, Josef Albers Museum Quadrat, Bottrop, 10 July-4 September 1994; Retrospectieve Jef Verheyen 1932-1984, PMMK Museum voor Moderne Kunst Ostende, 26 March-13 June 1994
Grusenmeyer-Woliner
flute stopper Wunear Biwat (Mundugumor), Yuat River, late 19th - early 20th century Papua New Guinea Wood, feathers, shell H. 64 cm ( 85 cm including the base) Provenance: Charles Ratton; Kamer Gallery, acquired in 1966 by Emiel Veranneman; Emiel Veranneman; Thence by descent Literature: Rotary Club Sint-Niklaas, Oude Kunst uit Afrika en Oceanie, Exhibition catalogue, Sint-Niklaas, May 5-20, 1979, n° 31; Veranneman Emiel, Visie & Passie, 2002, pp. 72-73 Exhibition: Oude Kunst uit Afrika en Oceanië, Ex-Libriscentrum, Sint-Niklaas, 5–20 May 1979, Rotary Club Sint-Niklaas
Hartford Fine Art - Lampronti Gallery
Giovanni Antonio Canal, also called Canaletto (Venice, 1697-1768) Capriccio of Piazza San Marco from the Basin of San Marco with the Church of the Redeemer Oil on canvas 130 x 105 cm Written expertise by A. Morassi and by R. Pallucchini Provenance: Mrs. Van der Gucht collection; Christie’s sale, catalogue n° 78, November 1965; Fogg collection, acquired from the above sale; Sotheby’s sale, catalogue n° 110A, March 1968; Johnson collection, acquired from the above sale; Sotheby’s sale, catalogue n° 70, June 1970; Harlow collection, acquired from the above sale Literature: W. G. Constable, Canaletto, second edition, ed. J. G. Links, Volume II, n° 459, p. 438, pl. 208
Barbara Bassi
Arman (Nice 1928-2005 New York) Musical instruments bracelet, circa 1990 Diamonds and 18 kt yellow gold Unique piece signed and dedicated by Arman 'Arman for Janadine' Sonia Delaunay (Ukraine, Hradyz'k 1885-1979 Paris) Flamenco, 1979 Silver metal and enamel Limited edition Provenance: private collection, USA Literature: Cover of catalogue 'Bijoux d'artistes de Calder à Koons' by Diane Venet (Flammarion), Musée d'Art Décoratif, Paris, 2018
Victor Werner
constant permeke
Constant Permeke (Antwerp 1886-1952 Ostend) Head of farmer, 1926 Oil on canvas 80 x 55 cm Signed 'Permeke' lower right Bears a label on the reverse that likely indicates the artwork was part of an exhibition organised with the support or involvement of the Belgian Ministry of Public Education at the time
Galerie des Modernes
jean dubuffet
Jean Dubuffet (Le Havre 1901-1985 Paris) Terrain au Cheval 1, 1952 Indian ink (calame) on paper 30 x 22.5 cm Signed and dated lower right 'J. Dubuffet 52' Provenance: Pierre Matisse Gallery, New York, USA; Acquavella Modern Art, Reno, USA; Andrew and Christine Hall collection, Connecticut, USA; private collection, France; private collection, Belgium Literature: Max Loreau, Catalogue des Travaux de Jean Dubuffet, fascicule VII, Tables paysagées, paysages du mental, pierres philosophiques, Les Éditions de Minuit, Lausanne 1979, descr. and repr. on p. 109, n° 169 Exhibitions: Miro: early drawings collages 1919-1949 - Dubuffet: early drawings collages 1943-1959, Pierre Matisse Gallery, New York, November-December 1981; Dubuffet-Miro: selections from the Acquavella collection, Nevada Museum of Art, Reno, July-September 1997
Van Herck-Eykelberg
René Magritte (Lessiness 1898-1967 Brussels) Untitled (1945 - 1946) Coloured crayons on paper 23.2 cm x 30.3 cm Signed lower left With certificate from the comité Magritte Literature: Whitfield, S., René Magritte. Newly discovered works. Catalogue Raisonné VI. Menil Foundation, Houston, Mercatorfonds, Brussel, Magritte Foundation, Brussel. Cat. VI.76. Ill. p. 105, 158; Torczyner, H., René Magritte. Tekens en beelden. Amsterdam, Meulenhoff/Landshoff, 1988, ill. p. 108 Exhibition: Philadelphia Museum of Art, Philadelphia, 1970
Galerie AB - Agnès Aittouarès
jean-paul riopelle
Jean-Paul Riopelle (Montréal 1923-2002 Saint-Antoine-de-l'Isle-aux-Grues) Composition, 1964 Gouache on paper 46 x 67 cm Signed and dated lower right Provenance: French-Canadian private collection; private collection, Paris Literature: Pierre Schneider, Riopelle. Signes mêlés, Maeght éditeur, Paris, 1972, no. 124, p. 119; Catalogue of the exhibition 'Les Très riches heures de Jean Paul Riopelle', Musée Le Chafaud, Percée, 2000, reproduced on p. 23; Yseult Riopelle, Jean-Paul Riopelle. Catalogue raisonné, volume 3, Hibou Éditeurs, Montreal, 2004, p. 302, reproduced in colour under reference 1964.010P.1964 Exhibitions: Riopelle. Mixed Signs, Maeght Gallery, 1972; The Very Rich Hours of Jean Paul Riopelle, Le Chafaud Museum, Percée, 2000
robertaebasta
Alessandro Mendini (Milan, 1931-2019) 'Libreria scultura' prototype of modular bookcase/display for Swatch, Italy 1994 Lacquered wood, coloured, laminated, chromed and satin steel H 214 x W 250 x D 40 cm Unique piece Certificate of authenticity by Mrs Elisa Mendini and Mrs Fulvia Mendini Provenance: private collection, Italy
De Wit Fine Tapestries
victor vasarely
Victor Vasarely (Hungary 1906-1997 Paris) WA-4, circa 1970 Wool 156 x 156 cm Signed lower right corner Aubusson, atelier Pinton (Monogram lower left corner) Edition 1/6 The WA-4 tapestry consists of a large square divided into four squares, on top of which a fifth square is placed, itself divided into four squares. The inside of each of these squares is filled with rhombuses whose colour change from dark blue to purple and then to light beige. These rhombi are arranged on backgrounds of varying colours, ranging from charcoal grey to purple and pink, then from aqua green to pale pink and dark green. The different colour areas are clearly distinct from one another when viewed up close on the tapestry's very fine fabric. But when you step back and view the tapestry from a distance, the planes and shapes seem to interact with each other, and the colours appear to move. The optical effects are particularly striking here. Our gaze is captured by the illusion of movement created by the brain. Vasarely experimented with this fascinating relationship between vision and perception in his paintings, which he then transposed into various media, including glass, ceramics, metal, goldsmithing and tapestry. Vasarely relied on science, because he believed it was the only common language available to humanity. He developed a pictorial system based on the logic of algorithms and binary codes, a square background, coloured and filled with simple geometric shapes. A champion of geometric abstraction, he is best known as the inventor of op-kinetic art (the adjective kinetic derives from the Greek word κίνησις (kinesis), meaning “movement”). Op art or optical art was revealed to the general public by the sensational exhibition ‘Le Mouvement’ (1955), which Vasarely initiated at the Denise René gallery in Paris. In this exhibition he brought together younger artists such as Bury, Jacobsen, Soto and Tinguely alongside the leading figures of Marcel Duchamp and Alexander Calder. Alongside his work as a painter, Vasarely devoted a significant portion of his activity to transposing his art into other media. He promoted the reproduction of his works as tapestries, as he saw this as an opportunity for recreation, in contrast to the concept of a unique work. He envisioned a concept of art for all, based on a new aesthetic, leading to ‘the polychrome city of happiness’. He thought of his tapestries as prototypes, hand-woven in limited numbers and displayed in the comfortable homes of art lovers. He painted around a hundred tapestry cartoons, woven in various workshops. Furthermore, he played a pioneering role by inviting other artists to try their hand at this art form, including Léger, Jean Arp, Agam, Atlan, Dewasne and Josef Albers. This textile experimentation was the result of Vasarely's encounter with François Tabard, an Aubusson tapestry entrepreneur, and Denise René, an avant-garde gallery owner. According to the artist, kinetic art, often described as cold, is compatible with tapestry insofar as it results from a "technique that allows for flat areas to retain warmth. There is none of the monotony of flat areas applied with a brush to a surface." With Tabard, Vasarely developed a systematic method of creating cartoons, allowing infinite chromatic combinations to be obtained. Denise René was the publisher of these tapestries (1952-1970). From 1966 onwards, the national tapestry manufacturers of the Gobelins and Beauvais wove Vasarely's designs. Shortly afterwards, another industrialist from Aubusson, Olivier Pinton, began weaving Vasarely's designs. More than thirty cartoons were finely woven, including WA-4, created around 1970.
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
Galerie La Patinoire Royale Bach
alfredo jaar
Alfredo Jaar (Chili, Santiago 1956) Life Magazine, 19 April 1968 1995 Three lightboxes, analog C-print on Duratrans 183 x 360 cm (entire dimension) 183 x 120 cm (one lightbox) Unique piece Life Magazine, 19 April 1968 (1995) by Alfredo Jaar is one of the Chilean artist’s iconic lightbox works in which he pointillistically engages an image from the public archive, intervening with his signature cutting precision to highlight social inequities and the politics of image making. The source image for this work is a documentary photograph of Martin Luther King’s funeral printed in 1968 in Life Magazine, the magazine of reference for a generation of Americans. In the image, a horse drawn casket is surrounded by supporters, and behind, a crowd fills the boulevard, stretching into the vanishing point beyond. It is a powerful representation of the late civil rights leader’s influence. The source photograph is presented large scale on the left third of the lightbox. In the center, the image is whited over, and in the place of faces in the crowd are black dots, massing and overflowing the street. In the rightmost part of the triptych, the source image is similarly whited out, but this time only a smattering of red dots appear — a handful scattered across the crowd. The artist placed black dots on the faces of African Americans. The red dots highlight White attendees. Created while Jaar was researching the Life archives for another iconic lightbox work, Searching for Africa in Life (1996), in which the artist reprints every cover of the magazine, highlighting through the punctum of the title the glaring absence of adequate representation of the continent, Life Magazine, 19 April 1968 (1995) similarly makes manifest a glaring absence. Through the precision of the artist’s intervention, and rendered in the artist’s signature clean lines, a singular gesture evokes the imbroglia of lingering racism and inequality in contemporary society.
Galerie BA - Berthet Aittouarès
henri michaux
Henri Michaux (Namur 1899-1984 Paris) Untitled, 1964 Ink on paper 75 x 105 cm Monogrammed on the lower right This work is registered in the Henri Michaux archives under the number HM5891 Provenance: Galerie Daniel Cordier, Paris; private collection, France Exhibition: Henri Michaux, Musée national d'Art Moderne, Paris, 1965
WHITFORD
bram bogart
Bram Bogart (Delft 1921-2012 Sint-Truiden) Le chapeau de Rubens, 1983 Mixed media on canvas 200 x 220 cm Signed and dated on verso Certificate of authenticity by Bram Bogart Jr, n° 20 Provenance: corporate collection, UK Literature: Bram Bogart, Schilderijen 1950-1983. exh. cat., Museum Boijmans-Van Beuningen, Rotterdam and Museum van Hedendaagse Kunst, Ghent, 1984, ill. p. 2 and p. 36; Legrand, Francine-Claire; Bram Bogart, Tielt, 1988, ill. p. 97; Paquet, Marcel, Bram Bogart, Turin, 1990, ill. p. 241; Hermans, Nicole, Bram Bogart in Amerika, Beelding, maandblad voor Kunsten, p. 16; Bogart, Bram, Hoet, Jan, Lemesre, Marion, Paquet, Marcel and Gilbert Perlein, Bram Bogart, Fête de la matière, exh. cat., Hôtel de Ville de Bruxelles, Brussels and Musée d'Art Moderne et d'Art Contemporain de Nice, 1999, ill. p. 43 Exhibitions: 1984, Bram Bogart: Schilderijen 1950-1983, Museum Boijmans-Van Beuningen, Rotterdam and Museum van Hedendaagse Kunst, Gent, cat. n° 67; 1999, Bram Bogart, Fête de la matière, Hôtel de Ville de Bruxelles, Brussels and Musée d'Art Moderne et d'Art Contemporain de Nice
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
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'