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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
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
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.
Galerie Taménaga
marie laurencin
Marie Laurencin (Paris, 1883-1956) Deux fillettes et chien, 1942 Oil on canvas 46 x 55 cm Signed and dated lower left 'Marie Laurencin 1942' Provenance: private collection Literature: Beaux-Arts, Paris, 24-30 July 1952; Daniel Marchesseau, Marie Laurencin, Catalogue raisonné de l'œuvre peint, Tokyo: Marie Laurencin Museum, 1986, vol. I, n° 804, repr. p. 327
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.
Francis Janssens van der Maelen
Silver box in jade Paris, Art Deco Sterling silver, jade W 35 cm - 4400 gr (total weight) Bears retailer's stamp, Boin-Taburet and maker's mark, Henry & Fils Boin-Taburet were formed in 1873 and quickly established themselves as one of Paris's most noteworthy makers & retailers, winning a Gold medal at the 1889 Paris Exposition Universelle. Arguably their most distinctive work married silver and silver-gilt with other materials including porcelain, marble, and in the case of this stunning Art Deco tureen, jade. Jade was seemingly a less often used material - the only other piece found with a similarly carved jade element was a box that fetched an incredible amount at auction in 2012.
Barbara Bassi
afro, berrocal, bury, cesar
Afro: Bracelet in yellow gold 18 kt, red coral, diamonds and rubies, unique piece 1960's Miguel Berrocal: Microdavid - 1969/71 - Pendant/sculpture in bronze - Signed and numbered 17388 - cm. 6,5 x 2 Pol Bury: Ring hexagonal in silver - 2005 - Signed and numbered 3/8 - Silver 925 - gr. 20 ca - cm. 3 x 3,5 César: Brooch/pendant in yellow and white gold 18 kt - 1980's - Signed and numbered 1/4 PA - gr. 19 - cm. 5,3 x 4,5
Grusenmeyer-Woliner
Hariti, the Buddhist protectress of children Ancient region of Gandhara, Swat Valley, 3rd-4th century AD Grey schist stone H 125 cm Provenance: European private collection, before 1990 (by reputation); an important private collection, Japan, by 1990 Literature: I. Kurita. Gandharan Art, vol. II, Tokyo, 1990, p. 169, fig. 493; M. Akira. Gandharan Art and Bamiyan Site, Tokyo, 2006, p. 114, n° 86 Hariti, the Buddhist protectress of children Imbued with an aura of maternal guardianship, Hariti was originally a yakshi who devoured children to sustain her own large family. Converted by the Buddha into their protector, she is depicted in Graeco-Buddhist art of the ancient Gandhara region surrounded by children. Perhaps the most prominent female deity in Gandhara, Hariti embodies fertility, wealth, and maternal care. She assumes a commanding stance, offering protection to mothers and infants. Draped in a clinging tunic that reveals a robust, fecund body, she is accompanied by children at her feet and shoulders, while a fifth child once hung from her left breast, of which only fragments remain. Her distinctive headdress represents the fortified walls of a city, a motif also associated with Tyche/Fortuna, the Greco-Roman guardian of cities, thereby reflecting the syncretism of Buddhist and Greco-Roman iconography. A wealth-bestowing goddess, she is richly adorned with jewellery - a necklace, collar, substantial earrings, and a pair of coiled serpentine armlets, a favoured motif in Graeco-style ornamentation. The present large-scale figure is exceptionally rare in private hands and was published in the seminal Japanese study on Gandhara art, widely known within collectors’ circles as the Kurita, which adds significantly to its prestige and desirability.
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 Flak
Hemba ancestor figure Singiti (commemorative portrait of a chief) Democratic Republic of Congo-Upper Congo River 19th century or early 20th century Carved wood H 86.5 cm Provenance: Mia van Bussel collection, Amsterdam; Kevin Conru collection, Brussels; Adrian Schlag collection, Brussels; Guilhem Montagut collection, Barcelona Literature: Lexikon der Afrikanischen Kunst, Karl-Ferdinand Schaedler, Munich, 1994, p. 242
Francis Maere Fine Arts
eugène dodeigne
Eugène Dodeigne (Belgium, Rouvreux 1923-2015 Bondues, France) Angèle | Hommage à Michel-Ange, 1964 Soignies stone H 210 x W 60 x D 60 cm Provenance: studio Eugène Dodeigne, Bondues (France); private collection, Basel Literature: G. Hirselj, B. Gaudichon & A. Massé; 'Eugène Dodeigne - une rétrospective'; Musée la Piscine, Roubaix, 2020
Galerie de la Béraudière
jean fautrier
Jean Fautrier (Paris 1898-1964 Châtenay-Malabry) Les feuilles vertes, 1934 Oil on canvas 73 x 60 cm Signed lower left 'Fautrier' Provenance: Jean Paulhan collection, France; Dominique Aury collection, France; private collection, France (by descent); Tajan, Paris, November 23rd, 2022, lot 44; private collection, Belgium Literature: Marie-José Lefort, Catalogue Raisonné de l'oeuvre peint de Jean Fautrier, Norma éditions, 2023, p. 293, n° 478 (ill.); Palma Bucarelli, Jean Fautrier, Pittura e materia, édition Il Saggiatore, Milan, 1960, ill. n° 107 p. 306 Exhibitions: 1974, Paris, Galeries nationales du Grand Palais, Jean Paulhan à travers ses peintres, cat. n° 563, p. 218
Objects With Narratives
ben storms
Ben Storms (Ghent, 1983) Crushed room divider, 2024 H 195 x W 160 x D 45 cm Stainless steel, gold leaf Provenance: the artist's studio The purpose of this volume is deliberately ambiguous. The object is primarily sculptural, a monumental entity that redefines a space. Yet in doing so, it also reveals its potential function. In the way that the work structures a space, it turns out to be a divider that demarcates and defines compartments or areas. The starting point for this room divider and sculpture is essentially a provisional form. A composition of several sheets of metal welded together with air in between - think of Ben’s In Hale series, but in a different sense. The actual form is then created by subjecting this makeshift composition to external forces, crushing the surfaces until the volume finds its current state.
HELENE BAILLY MARCILHAC
Henri Manguin (Paris 1874-1949 Saint Tropez) La Chemise Enlevée, 1908 Oil on canvas 100 x 81 cm Signed lower right Provenance: acquired from the artist by Eugène Druet in 1911 (Galerie Druet); collection Kritchvesky; private collection, France; private collection, Brasil Exhibitions: Paris, Galerie E. Druet, Manguin, Paris 1913, n° 42; Paris, Galerie de Paris, Manguin, 1964, n° 3; Nice, Palais de la Méditerranée, Henri Manguin, plus de cent cinquante oeuvres, 1969, n° 32; Okayama, Hiroshima, Tokyo, Gustave Moreau et ses éleves, 1974; Paris, Galerie de Paris, Centenaire, Henri Manguin, 1976, n° 49 Literature: Pierre Cabanne, Henri Manguin, Neuchätel, 1964, ill. n° 117, p.64; Marie-Caroline Sainsaulieu, Lucille & Claude Manguin, Jean-Pierre Manguin, Pierre Cabanne, Jacques Lassaigne (preface); Henri Manguin: Catalogue Raisonné de l'oeuvre peint, Neuchâtel, Switzerland, Ides et Calendes, 1980, ill. n° 298
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
Heutink Ikonen
Christ, the fiery eye Russia, Moscow Early 16th century 32 x 25.5 cm The name 'Christ, the fiery eye' is based on a text from Mark: 'He looked at them angrily, but also deeply saddened by their stubbornness.' Whether you, as a viewer, think that this Christ really looks grim is not only dependent on what the painter wanted to emphasise in the icon. It also has to do with the viewer's relationship to the person of Christ. There are several explanations for the origin of this iconography, for example that a mosaic from the Chora Church in Constantinople (Istanbul) served as its source.
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)
