This section will be available this Autumn.
Galerie Nicolas Bourriaud
Emile Monier (Paris, 1883-1970) Bust of a young Koumbo girl, 1930 Black veined marble H 65.5 x W 43 x D 30.5 cm Signed ‘EMILE MONIER’, dated ‘1930’ and titled ‘KOUMBO’ Unique piece Possibly a Lobi girl from Burkina Provenance: public auction, Paris, 6 June 1984 Literature: E. Bénézit, Dictionnaire des peintres, sculpteurs, dessinateurs et graveurs, vol. 9, Paris, 1999, p. 756
Dei Bardi Art
Daniel Mauch (Circle of) Saint Peter Upper Rhine, circa 1490 Walnut bust 39.2 x 49.5 x 26 cm (with base) Provenance: private Rhenish collection Literature: Antlitz des Mittelalters Mittelalterliche Bildwerke aus rheinischem Privatbesitz, ed. Reinhard Karrenbrock and Claudia Lichte, with technical studies by Michael Rief and Ulrike Villwock, Rottweil/Aachen, 1999, n° 33, pp. 108–110 Exhibitions: Dominikanerforum, Rottweil, 31 October 1999-6 January 2000; Suermondt-Ludwig-Museum, Aachen, 4 March-21 May 2000
Beck & Eggeling International Fine Art
Manolo Valdés (born 1944 in Valencia/Spain) "The Cartier" 2008 oil and mixed media on canvas 188 x 188 cm; 200 x 200 x 10 cm in artist's frame signed 'MAVALDES', dated '2008', titled 'The Cartier' and inscribed with measurements verso acquired directly from the artist's studio
Vagabond Antiques
A Neoclassical painted and parcel-gilt console table Italy, late 18th century Marble and painted wood H 90 x W 110 x D 54 cm Italian neoclassical console table retaining its beautifully faded original painted and parcel-gilt decoration. The original shaped solid Breccia Violette marble top rests on a panelled frieze decorated with scrolling acanthus, flower-filled classical urns and carved paterae. The table is raised on four beautifully proportioned fluted legs, tapering to an unusually fine point and giving the table a particularly elegant and refined profile.
Klaas Muller
Gerard Ter Borch (Zwolle 1617-1681 Deventer) Portrait of a man with a black hat, circa 1650 Oil on oval panel 19.9 x 16.5 cm Gerard ter Borch (1617-1681) was one of the most refined painters of the Dutch seventeenth century. Born in Zwolle, he received his first training from his father, Gerard ter Borch I, within a household where drawing and copying formed an essential part of daily artistic practice. Several of his siblings also became artists, contributing to a rich familial archive that documents the development of the Ter Borch workshop. After extensive travels through Amsterdam, Haarlem, London, Madrid and Münster, Ter Borch settled in Deventer, where he became a respected member of the city’s elite. Ter Borch is celebrated for his intimate genre scenes and portraits, distinguished by a subtle palette, delicate handling of light, and a keen sensitivity to gesture and expression. His paintings are marked by elegance, psychological depth, and exceptional technical skill, particularly in the rendering of skin and textiles. This portrait of a man wearing a black hat, painted on an oval panel, exemplifies these qualities. The sitter faces the viewer directly and meets our gaze with quiet self‑confidence, creating a sense of immediacy and silent dialogue. His restrained pose and understated attire suggest dignity without ostentation. The refined and harmonious colour scheme, composed of carefully balanced tones, is characteristic of Ter Borch’s portrait practice. The subtle fall of light gently models the face, giving the features clarity and depth without strong contrasts. The smooth surface of the panel enhances the precision of Ter Borch’s brushwork and contributes to the intimate character of the work. Rather than a display of status, the portrait becomes a concentrated study of presence and inner life. The gallery is grateful to Marjorie Wieseman, who endorsed the attribution on the basis of a photograph, and to Guido Jansen, who confirmed the attribution after examining the painting in person.
Finch & Co
Ancient Celtic Bust of a Radiate Deity ‘Sol Invicta’ Wearing a Halo of the Rays of the Sun Limestone British, 1st Century BC - 1st Century AD H 42 x W 40 x D 20 cm Provenance: private collection West Country UK; Finch and Co, item number 1, catalogue number 30, Summer 2018; private collection Comparative reference: Dr Anne Ross ‘Pagan Celtic Britain’ n° 916, for a similar 'stone radiate deity'
Dr. Nöth kunsthandel
Armand Guillaumin (Paris 1841-1927 Orly) Les hauteurs de la Sedelle, Crozant, 1910 Pastel on paper 48 x 63 cm Signed lower left Certificate of authenticity from the Comité Guillaumin This pastel will be included in the second volume of the forthcoming catalogue raisonné currently in preparation Provenance: Galerie Marcel Bernheim, Paris (label on the reverse); collection F., Paris
Lemaire
Pot-pourri en porcelaine du Japon et de Chine, époque Kangxi et Edo. La pièce se compose de deux parties bien distinctes. Une base circulaire en Japon à décor végétal qui est sertie d'une moulure finement ciselée en bronze doré d'où s'élancent trois petits pieds. Ensuite trois chiens en biscuit de Chine portent le pot-pourri de forme boule surmonté d'une fleur en porcelaine. H. 23 cm, L. 16 cm. Il s'agit là d'un travail typique des marchands-merciers. Vers 1760-1770.
Waddington Custot
Hans Hartung (Lepzig 1904-1989 Antibes) T1982–R18, 1982 Acrylic on canvas 180 x 111 cm Signed and dated lower left ‘Hartung 82’ On the reverse, signed and dated lower right ‘Hartung 82’ Inscribed on the top stretcher ‘Fait le 8-3-82 HARTUNG T1982-R18’ This artwork is accompanied by a photo-document signed by Daniel Gervis and dated 10 November 2020 This artwork is recorded in the Archives of the Fondation Hans Hartung & Anna-Eva Bergman, Antibes Provenance: Béatrice and Daniel Gervis collection, Paris (acquired directly from the artist in 1985); private collection, Paris Exhibition: ‘Hans Hartung Painter - Photographer’, Waddington Custot, London, 22 April-1 July 2022 (repro. in colour in catalogue p. 43, pp. [44–45] [detail], p.89); ‘Regards croisés’, Waddington Custot, Paris, 11 June-26 September 2026 Literature: Hartung, Pierre Daix, Bordas / Daniel Gervis and Éditions de Grenelle, Paris, 1991, catalogue n° 400 (rep. in colour p. 325)
Galerie Raf Van Severen
Rik Wouters (Mechelen 1882-1916 Amsterdam) Portrait of Rik Wouters, Chemise Blanche, 1912 Oil on canvas mounted on panel 51.5 x 61.5 cm Annotated at the back: Nr 99 Portrait de Rik Wouters par lui même toile collee sur panneau; Mme V: Rik Wouters; Portret van Rik Dhr Mevr. De Carnière Provenance: previous collection of Nel Wouters; Leten collection, Ghent; private collection, Brussels Literature: Roger Avermaete, Rik Wouters, Editions Arcade, Brussels, 1965
Argento Gallery
Gerard van Honthorst (Utrecht, 1592–1656) and workshop Four portraits of officers, 1637-1639 Oil on canvas 76.5 x 63.7 cm each Each signed and dated: two 1637, one 1638 and one 1639 Provenance: Charles Marsham collection, 4th Earl of Romney, Mote Park; acquired with Mote Park in 1895 by Marcus Samuel, later 1st Viscount Bearsted; by descent to his son, Colonel Walter Horace Samuel, 2nd Viscount Bearsted; Christie’s, London, 13 December 1929, lots 83, 82, 80 and 79; presumably inherited by his sister, Nellie Ionides, born Samuel; by descent in 1968 to her grandson, Toby Jessel, The Old Court House, Hampton Court; Sotheby’s, London, 30 April 2014, lots 725-728; private collection; Christie’s, London, 1 April 2026, lots 30-33 Literature: Upton House. The Bearsted Collection: Pictures, London: The National Trust, 1964, p. 41, n° 137; J.R. Judson and R.E.O. Ekkart, Gerrit van Honthorst, Doornspijk: Davaco, 1999, pp. 315-316, n° 475, 474, 478 and 479 Four unidentified military officers portrayed in armour with differently coloured sashes, each within a painted oval with a sculptural border. Originally belonging to a larger series, the portraits display Honthorst’s characteristic treatment of faces, fabrics and reflected light on metal. The identities of the officers and the original patron remain unknown.
Galerie Boulakia
KENNY SCHARF Infinitum, 1996 Huile et acrylique sur toile 81.7 x 107 cm 32 1/8 x 42 1/8 in Signé, titré et daté 'Kenny Scharf Infinitum '96' (au dos) Provenance Tony Shafrazi Gallery, New York Dennis Hopper Collection (acquis auprès de ce qui précède en 1999). Christie's NY, 2011 Acquis à la vente par l'actuel propriétaire
Mearini Fine Art
Corinthian capital (variation on a Roman type from the 3rd/4th century) Central-southern Italy, late 12th - early 13th century Greek Marble H 52 x W 50 x D 50 cm In this unusual variation on the Corinthian there are three orders of acanthus leaves, finelly indented with drill holes in evidence, which reach up to the top of the kalathos. Already in ancient times this type of capital was exported to Aquileia (Udine) a city destroyed by Attila in 452 and temporarily abandoned upon the arrival of the longboards in 568, as shown by a fragmentary example in the national Archeological Museum datable between the 3rd and 4th century.
Galerie von Vertes
Yayoi Kusama (Matsumoto 1929-2026 Tokyo) Repetition GL.A, 1996 Collage and acrylic on canvas 41 x 31.8 cm Signed, dated and titled on the reverse Certificate of authenticity issued by the Yayoi Kusama Studio on 21 August 2012 Provenance: Shinwa Auction, 23 November 2014, lot 145; private collection, Japan (acquired from the above); Bonhams, Hong Kong, 11 June 2016, lot 26; private collection, Asia (acquired from the above); Christie's, Hong Kong, 3 December 2020, lot 517; private collection, London (acquired from the above) Repetition or seriality would become her signature technique in everything that she created: 'Repetition of the same patterns, an action which stems from my disease, is applied in my writing just as it is in my artwork. Dreams and hallucinations are actually occurring. This obsessional image is what I have transformed my disease into, and is therefore, to me, irreplaceable.'
Galerie Capazza
GOUDJI (1941-) Cabriolet 2025 Argent 1er titre (300 g) - jaspe, cristal rutile (silver 1st title, jasper, rutile crystal) Poids total (total weight) : 3 130 g 24 x 58 x 19 cm Poinçon de maître (master's mark) Atelier de l'artiste (artist's studio) Exposée à la galerie Capazza - Exhibited at galerie Capazza
F. Baulme Fine Arts
Nicolas Vleughels (Paris 1668-1737 Rome) King Solomon Sacrificing to the Idols, 1721 Oil on canvas 38 x 52.5 cm Monogrammed and dated lower left 'N.V.F 1721' Provenance: Paris, de Troy sale, 9 April 1764, n° 123; Pierre Rémy collection, 1764 Literature: Bernard Hercenberg, Nicolas Vleughels, directeur de l’Académie de France à Rome, 1668-1737, Paris, Léonce Laget, 1975 (cat. n° 93, p. 89; engraving, fig. 100, repr.) Related works: Edme Jeaurat, after Nicolas Vleughels, King Solomon Sacrificing to the Idols, 1723, engraving; Nicolas Vleughels, King Solomon Sacrificing to the Idols, 1720, oil on panel, 21.5 x 30 cm, private collection; Nicolas Vleughels, Solomon and the Queen of Sheba, 1728-1729, oil on copper, 39 x 50.7 cm, Paris, Musée du Louvre (RF 1992 412)