This section will be available this Autumn.
Galerie Dina Vierny
Robert Couturier (Angoulême 1905-2008 Paris) Le soldat, 1967 Bronze H 184 x W 24 x D 24 cm Signed 'Couturier', numbered 'EA 1' and inscribed with the foundry mark 'Susse fondeur Paris' (under the foot) Conceived in plaster in 1967 and cast in bronze in an edition of 6 plus 4 EA and 2 HC. The present work is numbered 'EA 1' and was cast by Susse fondeur Paris in 2024 Provenance: Galerie Dina Vierny, Paris Literature: V. Da Costa, Catalogue raisonné de l'oeuvre sculptée de Robert Couturier, vol. II, 1998, n° 186, ill. (another cast); V. Da Costa, Robert Couturier, 2000, ill. p. 88 (another cast) Exhibitions: Paris, Salon de mai, 1968, n° 247, mentioned p. 12 (another cast); Paris, Musée Rodin, Robert Couturier, 1970, n° 51, ill. (another cast); Saint Etienne du Rouvray, Rodin, Couturier, César, Etienne-Martin, 1970, n° 19, mentioned p. 23 (another cast); Paris, Monnaie de Paris, Robert Couturier, 1975, n° 112, mentioned p. 10 and p. 26 (another cast); L'Isle sur la Sorgue, Campredon, Robert Couturier, 1996, ill. p. 40 (another cast); Paris, Galerie Dina Vierny, Robert Couturier. Silhouettes, 2024, n° 3, ill. p. 56
Romigioli Antichità
Standing Madonna with Child, circa 1290-1310 Polychrome sandstone (and restorations) Northern Spain (in particular the cultural area between Castilla and Léon, La Rioja, the Basque Country and Navarre) H 102 x W 65 x D 42 cm Provenance: collection Costantino Nigro, Genoa Condition: the lower part of the statue is missing Literature: attribution and critical reading by Professor Luca Mor Exhibition: Biaf-Biennale Internazionale di Firenze, 2022
De Wit Fine Tapestries
Fox and hare on a floral ground Southern Netherlands, possibly Sint-Truiden (Saint-Trond) Second quarter of the 16th century Wool and silk 103 x 236 cm In this composition, four abundant plants fill the space, all covered in flowers. From left to right: a tricolor violet (viola tricolora), a blue iris (iris germanica), a rose and a columbine (aquilegia vulgaris). A seated fox looks over at a hare, possibly his intended prey, and two pigeons fly above them. The borders are also decorated with flowers; marigolds, violets, lantern plants and vines. This splendidly decorative weaving refers to the many 'millefleurs' tapestries produced in Bruges and Enghien over several decades in the sixteenth century. These ancient tapestries, however, always present a varied background of flowers, where some animals occasionally appear. They were certainly highly valued for their decorative aspect, but probably also for a hidden symbolic meaning. A universe of flowers, where animals of all species live peacefully together, refers to the happiness of paradise before the Fall of Adam and Eve. But this peace could be disturbed at any moment: the fox is ready to attack and kill the hare, the pigeons are possibly warning the hare of the impending danger. The scheme of representing flowers in a row, as seen on this piece, is rarely applied in such weavings from the sixteenth century. A parallel can nevertheless be drawn with a contemporary 'millefleurs' Armorial with Arms by Christine de Lechy/ Lexhy, abbess of the convent of Herkenrode (private collection). She was born around 1440 in the nearby town of Sint-Truiden, Saint Trond, where several workshops were active during that period. Only a few weavings can be attributed to that provincial centre. The rather coarse aspect of the weaving may point to that production.
Chambre professionnelle belge de la Librairie Ancienne et Moderne (CLAM)
Pieter Bruegel the Elder (Brussels, 1525-1569) 'Everybody', 'Elck' or 'Nemonon', circa 1558 Engraving by Pieter van der Heyden (1530-1572) Published by Hiëronymus Cock (Antwerp, 1518-1570) 23.2 x 30 cm References: New Hollstein Dutch 35 1(2), first state. Text version C Lex Antiqua, Antiquarian bookseller
De Jonckheere
pieter brueghel the younger
Pieter Brueghel the Younger (Brussels 1564-1638 Antwerp) The Resurrection of Christ Oil on panel 47.20 x 34.30 cm Signed BRVEGHEL bottom left Provenance: Olive Dorothea Wentworth-Fitzwilliam, Countess Fitzwilliam (1911-1975); Christie’s, London, 12 December 1986, lot 37; private collection Literature: Klaus Ertz, Pieter Brueghel der Jüngere, Luca Verlag, Lingen 1998/2000, vol. I, pp. 439-440, cat. 435, fig. 318, repr.
A&R Fleury
Sam Francis (San Matteo 1923-1994 Santa Monica) The blue between the red and green, 1960 Acrylic and gouache on paper 85.8 x 58.7 cm - framed 102.5 x 76 cm Provenance: private collection, Switzerland; Galerie Kornfeld, Bern, 1990; André Emmerich Gallery, New York; Dina and Raphael Recanati Collection, New York Exhibitions: New York, André Emmerich Gallery, Sam Francis: Paintings on paper 1956-1964, October-November 1990, ill.; Los Angeles, Manny Silverman Gallery, Sam Francis : Selected works, April-May 1999, n°1, ill. Literature: D. Burchett-Lere, ed, Sam Francis Online Catalogue Raisonné Project, n° SF60-1116
Galerie BG Arts
rené lalique
René Lalique (Ay 1860-1945 Paris) 'Cluny' and 'Senlis' vases, circa 1925 Moulded glass with bronze handles H 26 cm Provenance: private collection, London; Galerie BG Arts; Paris Literature: Félix Marcilhac, René Lalique-Catalogue de l'Œuvre de Verre, Les Editions de l'Amateur, Paris, 2011, n° 961 and 962
Galerie Dina Vierny
Serge Poliakoff (Moscow 1900-1969 Paris) Composition abstraite, 1956 Oil on burlap 81 x 130 cm Signed lower left 'Serge Poliakoff' Provenance: Dr. Franz Meyer collection, Zürich; sale Perrin-Royère-Lajeunesse, Versailles, 10 December 1989, lot 113; private collection, Switzerland; sale Christie's, London, 29 June 2000, lot 343; private collection; Galerie Applicat-Prazan, Paris; private collection (acquired from the above in 2003); Galerie Dina Vierny, Paris Literature: J. Grenier, 'Poliakoff', in L'Oeil, March 1958, n° 39, ill. p. 31; G. Bernier, Modern Art Yesterday and Tomorrow, 1960, ill. p. 121; La Gazette de l'Hôtel Drouot, 30 September 1994, ill. p. XXIII; La Gazette de l'Hôtel Drouot, n° 41, 24 November 1994, ill. p. 291; A. Poliakoff, Serge Poliakoff: Catalogue raisonné, vol. II, 1955-1958, 2010, n° 56-38, ill. p. 128 Exhibitions: Paris, Galerie Bing, Serge Poliakoff, 1956; Künzelsau, Museum Würth, Serge Poliakoff, 1997-1998; Wien, Kunstlerhaus, Serge Poliakoff, 1998
Epoque Fine Jewels
cartier
Cartier Panther brooch, beginning of the 21st century Onyx, emerald and diamond A graceful, strolling panther set throughout with brilliant cut diamonds, highlighted with buff-top onyx dots and pear-shaped emerald eyes, mounted in platinum and 18 karat gold Signed Cartier and numbered Provenance: from an important estate Belgian blood runs through Cartier’s iconic Panther The Cartier onyx and diamond Panther brooch is an iconic piece of jewelry, symbolizing both elegance and boldness. This brooch features a meticulously crafted panther, its sleek body encrusted with sparkling diamonds, and its spots highlighted by black onyx. Emeralds accentuate the eyes, giving the panther a piercing gaze. The craftsmanship involved in this piece demonstrates Cartier's attention to detail and mastery of combining precious stones to create lifelike and sculptural representations of animals. The panther motif has become synonymous with Cartier, and much of this can be attributed to Belgian fashion and jewelry designer Jeanne Toussaint, who played a transformative role in the Cartier’s design evolution. Jeanne Toussaint was born in Charleroi in 1887 and raised in a family of lacemakers who made her aware of fashion and style from a young age. She moved to Paris where she was introduced to French society. She soon became acquainted with Coco Chanel, the illustrator George Barbier and, most importantly, Louis Cartier who was enthralled with Toussaint’s taste for fashion. In 1913, he hired her to coordinate his company's accessories, handbags and objects. After first being promoted to head Cartier's silver department in 1918, in 1933 Louis Cartier conferred on her full responsibility for artistic design, an area which until then he had directed himself. Jeanne Toussaint, also called ‘La Panthère’, was a visionary designer whose style pushed boundaries. Known for her boldness, independence, and exceptional taste, she introduced themes of nature and exoticism into Cartier’s collections, with the panther becoming her most famous symbol. In a historical context, Jeanne Toussaint’s influence extended beyond mere aesthetics; she redefined femininity in jewelry. At a time when women’s roles in high society were changing, Toussaint’s designs, like the Panther brooch, mirrored a new sense of power, freedom, and sophistication for women. The most famous panther was a brooch commissioned by Wallis Simpson, the Duchess of Windsor in 1948, a woman known for her daring fashion choices. This association cemented the panther’s status as a symbol of fierce femininity and strength. Toussaint’s contribution to Cartier and the world of luxury jewelry endures, with the panther motif becoming one of the most enduring and recognizable emblems in Cartier’s history. Through pieces like this onyx and diamond panther brooch, she left an indelible mark on 20th-century design, blending the opulence of diamonds with the mystery and power of the panther, embodying both grace and danger. Jeanne Toussaint retired from Cartier in 1970 and died in Paris on 7 May 1976.
Van Herck-Eykelberg
Georges Vantongerloo (Antwerp 1886-1965 Paris) Study for Variant 'Curves', 1939 Gouache on paper 17.6 x 17.8 cm Titled, located, dated, and signed on verso 'Paris 1939' Provenance: Max Bill Estate; Max Bill-Georges Vantongerloo Foundation Annely Juda Fine Art, London; private collection, New York; Galerie Harold t'Kint de Roodenbeke, Brussels; private collection, Belgium Literature: Jan Ceuleers, Georges Vantongerloo, Ronny Van de Velde - Pandora, Antwerp, 1996, p. 200; Naum Gabo, Georges Vantongerloo, Friedrich Vordemberge-Gildewart, exh. cat., Annely Juda Fine Art, London, cat. 57 (ill.); Angela Thomas Schmid, Georges Vantongerloo: A Retrospective, exh. cat., Annely Juda Fine Art, London, cat. 59 (ill.) Georges Vantongerloo (1886-1965) was one of the founding members of De Stijl in 1918 along with Theo Van Doesburg and Piet Mondrian, among others. The Antwerp-based artist created sculptures as well as paintings and gouaches and is considered one of the pioneers of abstract art. He was a member of the 'Cercle et Carré' group and founded the Abstraction-Création group in Paris in 1931 to promote abstract art. At first, his abstract works still followed the straight line and angle but from 1937, curves and circles entered Vantongerloo's work. With the curved line, his work becomes more lyrical and playful. Rational volumes and proportions are replaced by lines that reflect an expression of energy.
Galerie von Vertes
yayoi kusama
Yayoi Kusama (Matsumoto, 1929) Untitled, 1966 Mixed media H 21.5 x W 33 x D 28 cm On the bottom signed and dated 'KUSAMA 1966' Certificate of authenticity from the Yayoi Kusama Studio on 21 March 2017 Provenance: Gallery HAM, Nagoya; private collection, US (acquired from the above)
Galerie Flak
Outrigger canoe model Wuvulu (formerly Maty Island) Bismarck Archipelago, Papua New Guinea, Micronesia, Oceania, early 20th century Carved wood, fibre and pigments L 87 cm Provenance: former collection Serge Schoffel, Paris / Brussels; former collection Claude Meyer, Paris; Pierre Bergé & Associés, Paris, April 2nd, 2012, lot 78; former princely collection, acquired at the above sale
Whitford Fine Art
reinhold koehler
Reinhold Koehler (Germany, 1919-1970) Thorax contrecollage, 1963-64 Dessin trouvé Décollage with ink, paper and smashed glass laid down on canvas 72.5 x 50 cm Signed and dated lower right and signed, dated, titled and inscribed verso The work is included in the Koehler Archives as RK 58 Provenance: private collection, Germany
Montagut Gallery
Ngon mask Bekom people Cameroon, 19th century Wood and ritual patina H 44 cm Provenance: Marcial Bronzi collection, Brussels; Didier Claes, Brussels; Rachel Montagut collection, Barcelona Ngon masks are one of the many types that appear at commemorative ceremonies held for deceased persons in the kingdoms of Cameroon. These sets of masks, in the possession of various lineages, can include more than twenty masks, most of which represent different figures. Some of the masks are obligatory, such as the kam, the male head mask, and the ngon, which represents the woman.
d'Arschot & Cie
Molenbeker Engraved silver Maker’s mark: IM in a shield Flanders, circa 1610-1620 H 22 cm These curious mill cups were very fashionable in Flanders in the early 17th century. They were also produced by German silversmiths. The tall, flared goblet is topped by a windmill with a ladder climbed by two millers to give the whole a more realistic look. At the bottom, a tube, also known as a blowpipe, is used to set in motion the four wings of the windmill and a small needle turning around a numbered circular dial. The ingenious mechanism consists of toothed wheels that are cleverly concealed inside the mill itself. At a time when banquets were particularly long, these table games were designed to entertain guests. Each guest took it in turns to blow into the blowpipe and the needle, once stopped, told them how many glasses they had left to drink. Many Kunstkammer included an object of this type, and this type of windmills can be found in many still-life paintings from this period. Fragile by nature, few of these goblets have survived. Remarkably, this example is in perfect working order. An engraved silver goblet by the same master silversmith is in the Tienen municipal museum. It is reproduced in: Zilver uit de gouden eeuw van Antwerpen, Rockoxhuis, 1988, n° 105
Chambre professionnelle belge de la Librairie Ancienne et Moderne (CLAM)
Michel Leiris (Paris 1901-1990 Saint-Hilaire) and Francis Bacon (Dublin 1909-1992 Madrid) Miroir de la tauromachie Paris, Galerie Lelong, 1990 Folio, loose (as issued), original publisher’s wrappers and box 4 original colour lithographs by Francis Bacon, all signed in pencil by the artist Limited edition of 155 copies, all printed on vélin d'Arches Librairie Lardanchet, Antiquarian bookseller
Heutink Ikonen
In Thee Rejoiced All Creation Russia, second half of the 18th century Egg tempera on gesso on linen-covered wood 33.5 x 29 cm Provenance: private collection, Germany A special detail is that in the archway on the left, the prophet, king and psalmist David is depicted. In his arms he holds a triangular stringed instrument, with which he appears to provide musical accompaniment to the hymn. This rare iconography is based on the Marian hymn from the Liturgy of St Basil, which begins with the words: 'All of Creation rejoices in thee, O full of grace: the angels in heaven and the race of men' In the centre we see the Mother of God enthroned, with the infant Christ on her lap. Angels are gathered around the throne. Below, prophets, apostles, church fathers and other saints pay homage to the Mother of God. The hymn is attributed to the Church Father John of Damascus (676-749), who is depicted directly below the enthroned Mother of God on the left with a scroll of text in his hand and his distinctive white headscarf.
Galeries AB & BA
Uli ancestor figure Northern New Ireland, Papua New Guinea, Melanesia, Oceania, first half of 20th century Carved wood and pigments H 108 cm Provenance: Umlauff Museum, Hamburg. Inv. 163/35591; Gros & Deletrez sale, May 26th, 1983; Robert Lebel collection, Paris; Calmels Cohen sale, December 4th, 2006; private collection; Christie's Paris sale, June 11th, 2012; Galerie Monbrison, Alain de Monbrison lists Elie de Rothschild as former provenance; collection Georges Goldfayn Literature: I Surrealisti, Arturo Schwartz, éd. Mazzotta, 1989, p. 251; Uli, Powerful Ancestors from the Pacific, Jean-Philippe Beaulieu, éd. Primedia, 2021, p. 252 Depiction of a standing man with his hands positioned behind his ears. The head is surmounted by a tall, feather-shaped crest cap over a checkerboard-engraved skullcap.
DYS44 Lampronti Gallery
Giovanni Antonio Canal called Canaletto (Venice, 1697-1768) Capriccio of the Prisons of San Marco, circa 1744 Oil on canvas 105.5 x 127.5 cm Provenance: Venice, Palazzo Mangilli-Valmarana, commissioned by Joseph Consul Smith (circa 1674-1770); London, King George III, 1762; Dr. Grant David Yeats (1773–1836); London, Christie’s, 8 April 1815, lot 95; London, Christie’s, 13 January 1816, lot 57; London, the Earl of Annaly; Liverpool, John H. Paris, 15 & 17 Leece Street, early 20th century; Ireland, C.B. Ponsonby; New York, Koetser-Lilienfeld Galleries, 1948; Comte de Messay, London, Edward Speelman; London, Partridge Gallery, 1957; New York, Schaeffer Galleries, until 1964; Hans S. Schaeffer Literature: J. Smith, Manuscript Catalogue of his Paintings bought by George III (Windsor), among n° 85-97; 'Note apart', n° 9 'The Publick Prison at St. Mark's'; W.G. Constable, Canaletto, Oxford, 1962, I, pl. 68; II, p. 356, n° 374; M. Levey, The Later Italian Pictures in the Collection of Her Majesty the Queen, London, 1964, p. 35, fig. XII; T.J. McCormick, 'The Canaletto Exhibition in Canada', The Burlington Magazine, CVII, No. 742, January 1965, p. 29, fig. 34; L. Puppi, L'opera completa del Canaletto, Milan, 1968, no. 227, repr.; F. Vivian, Il Console Smith mercante e collezionista, Vicenza, 1971, p. 197; W.G. Constable, Canaletto, 2nd ed. revised by J.G. Links, Oxford, 1976, I, pl. 68; II, pp. 382, n° 374, 433, under n° 451, and 439, under n° 460; W.L. Barcham, The Imaginary View Scenes of Antonio Canaletto, New York/London, 1977, pp. 157-158 and 161, fig. 153; O. Millar, catalogue of the exhibition Canaletto. Paintings & Drawings, The Queen's Gallery, London, 1980-1981, p. 68, note 1; J.G. Links, Canaletto. The Complete Paintings, London, 1981, n° 186, repr.; A. Corboz, Canaletto. Una Venezia immaginaria, Milan, 1985, I, p. 333, fig. 399; II, p. 604, n° p. 123, repr.; W.G. Constable, Canaletto, 2nd ed. revised by J.G. Links reissued with supplement and additional plates, Oxford, 1989, I, pp. lv-lvi, pl. 68; II, pp. 382, n° 374, 433, under n° 451, 439, under n° 460, and 737; M. Levey, The Later Italian Pictures in the Collection of Her Majesty the Queen, 2nd ed., Cambridge, 1991, p. 43, under n° 408, fig. 13; The Splendours of Venice. View paintings from the Eighteenth Century, exh. cat. ed. by. V. Rossi and A. Hilliam, Lampronti Gallery London, December 1st-24th, 2014, Rome 2014, cat. 1 pp. 6-9; C. Beddington in Da Artemisia a Hackert. La collezione di un antiquario, exh. catalogue, Reggia di Caserta, Foligno 2019, cat. 49 pp. 106-107 Exhibitions: Louisville, Kentucky, The J.B. Speed Art Museum, Eighteenth Century Venetian Painting, 1948; Toronto, Art Gallery of Toronto, 17 October-15 November 1964; Ottawa, National Gallery of Canada, Canaletto, 4 December 1964-10 January 1965; Montreal, Museum of Fine Arts, Canaletto, 29 January-28 February 1965; Da Artemisia a Hackert. La collezione di un antiquario, Reggia di Caserta, 16 September-16 January 2020 Giovanni Antonio Canal, known as Canaletto, was born in 1697 and became a renowned Italian painter celebrated for his stunning depictions of Venetian landscapes and cityscapes. He gained popularity for his vedute - detailed and picturesque representations of city views - and capricci - imaginative architectural compositions that blended reality with fantasy. His work particularly resonated with British aristocrats on their grand tours of Venice. This extraordinary capriccio features the Public Prisons of San Marco, one of the most prominent structures on the Venetian Molo, adjacent to the Doge's Palace and connected by the iconic Bridge of Sighs. This painting has the most distinguished provenance a painting by Canaletto can have. It was painted for the artist's great patron and agent Joseph Consul Smith, being part of a series of thirteen canvases, presumably intended as overdoors to decorate the Palazzo Mangilli-Valmarana, Smith's house on the Grand Canal just above the Rialto Bridge. In 1762, Smith sold the cream of his collection to King George III of England, including this painting.
Galerie La Patinoire Royale Bach
joana vasconcelos
Joana Vasconcelos (Paris, 1971) Blue Rose, 2016 Stainless steel shower heads, handmade woollen crochet, fabric, ornaments, polyester H 246 x W 95 x D 47 cm Provenance: the artist's studio Courtesy Joana Vasconcelos and Galerie La Patinoire Royale Bach A group of works belonging to various series - Showers, Washbasins and Urinals - in which Joana Vasconcelos adds colourful crocheted elements to household sanitary ware. Resorting to crochet, Joana refers to the intimacy of the domestic realm through its link to female labour, who work from home and for the home. Textiles infiltrate and/or cover up ceramics. These coloured, smooth, and pliable additions contrast with the hard, sterile coldness of the porcelain. The disruptive process of transformation encourages a fresh look at these everyday objects and intimacy. "Water, for me, is synonymous with life and renewal. It is such a constant presence in our routine in Europe that I was only aware of its real importance when I traveled to Mexico. I remember walking into a pueblo house, which consisted of a single room, where everything happened, complete with a hammock and television, but there wasn't one single tap. That realisation awakened me. Gradually, water entered my body of work, through the shape of swimming pools, urinols or washbasins, for instance, where the aquatic representation is made through textile elements, often in blue colors with bright details simulating the water reflection. My work as an artist allows me to address pressing matters, such as the sustainability of the planet and the management of resources for the future. And the expression of water in my work is done through abundance, with elements that flow from the works, defining what water represents more and more: a luxury."
Willow Gallery
Bernard Buffet (Paris 1928-1999 Tourtour) Le Phare, 1955 Oil on canvas 114 x 146 cm - framed: 136 x 168 cm Signed and dated 'Bernard Buffet 55’ Provenance: Galerie Drouant-David, Paris; Galerie Hélios Art, Bruxelles; private collection, Japan Literature: Fonds de dotation Bernard Buffet, éd., Bernard Buffet, Catalogue raisonné de l'Œuvre peint, 1954-1958, Paris, 2024, vol. II, p. 90 (ill.)
VKD Jewels
Seaman Schepps (USA) Rock crystal, onyx and diamond 'buckle' bracelet, circa 2000 Comprising five carved rock crystal buckle-shaped links connected by bridge-shaped diamond set onyx links Diamond carat weight is approx. 6.00 carats total Maker's mark of Seaman Schepps and stamped 750 assay mark for 18k white gold .
Artimo Fine Arts
ulysses and his dog by joseph gott
Joseph Gott (UK, 1785–1860) Ulysses and his dog Life-size group in white Carrara marble H 185.5 cm Provenance: most certainly commissioned directly from the artist by Benjamin Rawson for the Nidd Hall Manor rebuilt in 1825; by descent: Elisabeth Rawson; by descent: Viscount Mountgarret (Sculpture still exhibited in 1902 in the Nidd Hall Manor); since 1989: property of Mr Alfred Brenner from the Brenner Verpackungen company in Germany Literature: T. Friedman and T. Stevens, Joseph Gott Sculptor, exh. cat., Temple Newsam House, Leeds and Walker Art Gallery, Liverpool, 1972, p. 40, n° G40, pl. 39; F.S. Bonfigli, Guide to the studios in Rome... 1860, p.32 It depicts Ulysses, in a loincloth and cap, being recognised by his loyal dog Arg after a 20-year absence. This group or a plaster of this group was seen in Gott's studio in Rome by Bonfigli in 1860. Joseph Gott (1785-1860) was one of the most esteemed British sculptors of the early nineteenth century, gaining international recognition. He maintained close ties to Yorkshire through his patrons, particularly his second cousin Benjamin Gott, a wealthy Leeds industrialist. After relocating to Rome in 1822, he became part of a vibrant British artistic community. Known for his unique interpretation of classicism, Gott’s works often depicted charming, intimate subjects such as playful children and animals. His style combined classical influences with a romantic sensitivity, setting him apart from his contemporaries in Rome.