This section will be available this Autumn.
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-1 st century AD H 42 x W 40 x D 20 cm Provenance: private collection, West Country, UK; Finch and Co, item n° 1, catalogue n° 30, Summer 2018; private collection Comparative reference: Dr Anne Ross, ‘Pagan Celtic Britain’ n° 916, for a similar 'stone radiate deity'
Gallery Sofie Van de Velde
Cy Twombly (USA, Lexington 1928-2011 Rome) Untitled, Captiva Island, Florida, 1974 Gouache and pastel on a collage of paper and graph paper, on paper 75 x 106 cm Signed, dated, and inscribed 'Captiva ‘Feb 74’ on the reverse Provenance: Galerie Yvon Lambert, Paris; Pierre Horay collection, Paris; Heiner Bastian Fine Art, Berlin; acquired from the above by the present owner Literature: Y. Lambert, Cy Twombly: Catalogue raisonné des œuvres sur papier, vol. VI, 1973-1976, Milan, 1979, n° 110 (ill. p. 115); N. Del Roscio, Cy Twombly Drawings, Catalogue raisonné, Vol. 6, 1972–1979, Munich, 2016, n° 114 (ill. in colour p. 108) Exhibitions: Paris, Galerie Yvon Lambert, Cy Twombly, April-May 1974; Seattle, Richard Hines Gallery, Cy Twombly: Paintings and Drawings, July-August 1980
Artimo Fine Art
Émile Jespers (Deurne 1862-1918 Antwerp) Reclining female nude on a wave, circa 1907 Model created in 1907 Carrara marble H 36 x W 70 cm Signed on the base 'E. Jespers' This refined Carrara marble depicts a reclining female nude stretched across a dynamically carved rocky form evocative of a breaking wave. Resting on her forearms, her head gently raised and turned towards the viewer, the figure follows a long, sinuous movement from the shoulders through the waist and hips to the crossed legs. Jespers exploits the contrasting treatment of the marble to reinforce the composition. The smooth, highly polished surface of the female body emerges from the vigorously worked base, whose rougher texture and irregular contours suggest the movement of water. The sweeping silhouette of the figure follows the rhythm of the wave beneath her, closely associating the female body with the natural element. The composition belongs to the Symbolist and Art Nouveau exploration of the relationship between the female figure and nature that developed in Belgian sculpture around the turn of the twentieth century. It may notably be considered in relation to Charles Van der Stappen’s La Mer of 1902, conceived for Victor Horta’s Hôtel Solvay in Brussels, in which the female figure is similarly associated with the imagery of the sea. The plaster model is documented in 1907 through signed and dated versions of the composition, described as a reclining female nude and, more explicitly, as a nude woman reclining on a wave. The present Carrara marble corresponds closely in composition and dimensions to this documented example.
Van Herck-Eykelberg
Jean Dubuffet (Le Havre 1901-1985 Paris) Personnage, 1964 India ink on paper 22 x 17.5 cm Signed with the artist's monogram and dated 'Mars 64' Provenance: Galerie Beyeler, Basel; Artel Galerie, Geneva; private collection, France Literature: Max Loreau, Catalogue des travaux de Jean Dubuffet, Fascicule XX: L'Hourloupe I, Paris 1966, p. 139, n° 283, ill b/w Exhibitions: Venice, Palazzo Grassi, Centro Internazionale delle Arti e del Costume, L'Hourloupe di Jean Dubuffet, 15 June-13 September 1964, n° 48; Amsterdam, Stedelijk Museum, Jean Dubuffet: Tekeningen, gouaches, 26 November 1964-11 January 1965, n° 192; Basel, Kunstmuseum, Jean Dubuffet, Zeichnungen, Aquarelle, Gouachen, Collagen, 6 June-10 August 1970, p. 133, n° 132
Marjan Sterk Fine Art Jewellery
Cartier A coral and diamond ring, circa 1960 Platinum, carved coral and diamonds Signed Cartier Paris and numbered Provided with the original case A platinum ring of bombé design, the upper part one half set with carved coral and the other half pavé set with briljant cut diamonds, on a ribbed shank.
Waddington Custot
Barry Flanagan (Prestatyn 1941-2009 Santa Eulària des Riu) Large Troubador, 2004 Bronze, cast 2019 185 x 140 x 114 cm Edition of 8 + 3 AP (AP 2) Stamped with the artist’s monogram, casting date and edition number ‘f-/19 AP 2/3’ and foundry mark Provenance: Plubronze Limited (the Estate of Barry Flanagan) Literature: Paintings, Sculpture and Works on Paper, Waddington Galleries, London, 2004, n° 29 (rep. in colour p. 63) (1/8 catalogued); Barry Flanagan, Clare Preston (ed.), Jo Melvin, Teresa Gleadowe, Mel Gooding and Bruce McLean, Waddington Custot in association with The Estate of Barry Flanagan, London, 2017 (repro. in colour pl 137) Exhibitions: ‘Barry Flanagan: Sculpture 1965–2005’, Irish Museum of Modern Art, Dublin, in collaboration with Dublin City Gallery The Hugh Lane, 28 June-24 September 2006, catalogue p. 160 (rep. in colour) (3/8 exhibited); ‘Barry Flanagan: Sculpture’, Paul Kasmin Gallery, New York, 23 February-31 March 2007 (3/8 exhibited); ‘Barry Flanagan: Sculptures 2001-2008’, Waddington Galleries, London, 30 April-23 May 2008, catalogue n° 7 (rep. in colour p.[23]; detail pp.[18–19]) (4/8 exhibited); ‘Beyond Limits’, Chatsworth House, Bakewell, Derbyshire, 7 September-28 October 2012 (AP 1/3 exhibited); ‘Barry Flanagan’, IKON, Birmingham, 18 September-24 November 2019 (rep. in colour in catalogue on p. 2-3, 5, 88) (another edition exhibited outside); ‘Mayfair Sculpture Trail’, London, 1-31 October 2020, catalogue n° 8 (rep. in colour p. 41) (AP 2/3exhibited)
Galerie Taménaga
Pierre-Auguste Renoir (Limoges 1841-1919 Cagnes-surMer) Paysage de Cagnes, 1900 Oil on canvas 24 x 54 cm Signed with initials lower left 'AR' This work will be included in the forthcoming catalogue raisonné of the work of Pierre-Auguste Renoir currently in preparation by the Wildenstein Plattner Institute Provenance: Ambroise Vollard, Paris; private collection, Japan Literature: Ambroise Vollard, Pierre-Auguste Renoir, Tableaux, pastels et dessins, Alan Wofsy Fine Arts, San Francisco, 1989, n° 612, 1185 and 1330, ill. pp. 155, 258 and 279
LUDORFF
Serge Poliakoff (Moscow 1900-1969 Paris) Composition abstraite, circa 1956 Oil on canvas 130 x 89 cm Signed lower left The authenticity of this work is confirmed by Alexis Poliakoff and is registered in the Archives Serge Poliakoff, Paris, under n° 95604 Provenance: Etta & Otto Stangl collection, Munich (1971); on permanent loan to Bayerische Staatsgemäldesammlung, Munich (1971-2001); Stangl collection estate, Munich (2001-2003); Sotheby's, London (auction 6 Februrary 2003, lot 21); Galerie Bernard Cats, Brussels; Willy d'Huysser Gallery, Brussels (2003); private collection Belgium; Frans Jacob Fine Art, Amsterdam; Galerie Interart, Geneva (2016); Galerie Pascal Lansberg, Paris (2024); private collection Hesse Literature: Alexis Poliakoff, 'Serge Poliakoff-Catalogue Raisonné', vol. II, 1955-1958, Paris 2010, n° 56-63; Connaissance des Arts (Hg.), 'Connaissance des Arts', n° 609, October 2003, p. 137; Marchiori, Giuseppe (Hg.), 'Serge Poliakoff. témoignages et textes critiques, Les Presses de la Connaissance', Paris, 1976, p. 62 Exhibitions: 'Documenta III', 27 June-5 October 1964, Kassel; 'Serge Poliakoff-Rétrospective', traveling exhibition: Kestner-Gesellschaft, Städtische Kunsthalle Bremen, Museum am Ostwall, Overbeck-Gesellschaft, Haus der Städtische Kunstsammlungen Bonn, Württembergischer Kunstverein, Städtisches Museum Trier, 1963-1964; Kunstverein für das Rheinland, 'Serge Poliakoff', 14 November-14 December 1958, Düsseldorf; Kunstverein Hamburg, 'Serge Poliakoff', 12 April-18 May 1958, Hamburg; Moderne Galerie Otto Stangl, 'Serge Poliakoff', 9 August-20 September 1957, Munich
Thomas Deprez Fine Arts
Gabrielle Montald (born Canivet) (Brussels, 1867-1942) Decorative bird, 1929 Gouache and ink over gold ground on paper 61.5 x 46 cm (sheet) 64 x 48 cm (framed) Signed and dated lower right ‘G. Montald 29’ Provenance: private collection, Belgium Related works: Among Gabrielle Montald’s most significant autonomous bodies of work, the so-called 'Oiseau décoratif series' occupies a central position. Although the motif appears as early as 1914, the majority of these works were produced between 1925 and the early 1930s. Following her international recognition at the 1925 'Exposition des Arts Décoratifs in Paris', where her imaginative bird drawings were prominently exhibited, the series expanded in both scope and refinement. In 1927, three of the works shown in Paris were acquired by the Belgian government, marking the beginning of an institutional recognition that endures to this day. Rarely appearing on the market, a large part of Gabrielle Montald’s known oeuvre, including her textiles and bookbindings, is now preserved in Belgian museum collections.
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 Nicolas Bourriaud
Raymond de Meester (Mechelen 1904-1995 Brussels) Yawning Leopard, circa 1928-1929 Bronze with a nuanced brown patina H 45.2 x W 41.6 x D 15.5 cm Signed ‘Rd de Meester de B’, titled ‘Yawning Leopard’ and dated ‘1928–29’ Batardy cast, edition of 3, numbered I/III, bearing the stamp ‘BATARDY CIRE PERDUE BRUXELLES’, and the inscriptions ‘Épreuve d’Artiste’ and ‘cire perdue’ Literature: Léonard Dieleman, Raymond de Meester de Betzenbroeck, Animal Sculptor, Gallery Dieleman, Brussels 1989, repr. n° 5; Xavier de Ghellinck Vaernewyck, ‘de Meester de Betzenbroeck’, Nouvelle Biographie Nationale, Part 6, Royal Academy of Belgium, Brussels, 2001, pp. 133–135
Klaas Muller
Jan Boeckhorst (Münster 1604-1668 Antwerp) Henri IV at the Battle of Ivry, 17th century Pen and brown ink, watercolour and gouache, heightened with white and red wash on paper 20 x 29.1 cm The gallery is grateful to Stijn Alsteens of the Fondation Custodia for his attribution of the drawing to Jan Boeckhorst In 1622, Maria de' Medici signed a contract with Rubens for two series of twenty-four paintings. The first series depicted her own life story, the other the heroic deeds of her husband: Henri IV. As was his custom, Rubens worked on this commission together with some of his pupils and assistants. The successful king had been assassinated 12 years earlier whilst riding through Paris in an open carriage. He had brought an end to the fierce civil war between Protestants and Catholics and did not shy away from doing the heavy lifting on the battlefield himself. What was intended to be a tribute to one of France’s bravest leaders turned out to be a damp squib. Due to turmoil at court, the series about the famous battle near Paris remained unfinished. This dynamic and finely worked drawing captures the dramatic moment of the Battle of Ivry (1590), where King Henri IV led his forces to a decisive victory during the French Wars of Religion. Executed in pen and brown ink and enriched with watercolour and gouache, the composition is animated by vigorous movement and strong contrasts of light and shadow. The artist heightens the scene with touches of white and red wash, emphasising the glint of armour, the energy of the horses, and the intensity of the clash. The central figure of Henri IV, mounted and illuminated, commands the composition, surrounded by swirling troops and fallen adversaries. Ethereal figures above the battlefield introduce a sense of divine favour, a motif often associated with royal propaganda of the period. Despite its relatively intimate scale, the sheet conveys remarkable grandeur and narrative force, making it a compelling example of late 16th‑ to early 17th‑century battle imagery.
Marjan Sterk Fine Art Jewellery
Hemmerle Pair of coral earrings 18k yellow gold, oxidised copper, corals and pink sapphires Signed Hemmerle, and made in Munich A pair of eighteen carat yellow gold earrings, each comprising a coral button on the ear, suspending a tassel of numerous strands of coral, mounted in a cap pavé-set with pink sapphires.
Herwig Simons Fine Arts
Blue John urn Late 18th century Square base with alabaster and Ashford marble, pedestal clad in Blue John, foot partially clad in blackened brass, ovoid bowl with transverse fluting in Blue John H 40 cm Engraved on the base with inventory n° 890126-0821 and inscribed Hedvig Piper (1746-1812) Born Hedvig Katharina Ekeblad, she married Count Carl Gustaf Piper in 1769 and she held senior positions at the Swedish Royal Court, including chief Lady-in-waiting from 1795-1805.
Victor Werner
Franz Barwig (Germany, Shönau 1868-1931 Vienna) Group of Fauns, circa 1900 Sculpted oak H 94 x W 99 x D 18 cm Signed 'F. BARWIG' on the base This large, sculpted-oak masterpiece perfectly captures the essence of the Vienna Secession. Created by one of Austria's most influential Art Nouveau sculptors, the piece showcases Barwig's signature mastery of wood, blending powerful forms with raw, natural texture.
Galerie Tiago
Rectangular lacquered wooden suzuribako (writing box) Japan, Edo period (1603-1868) Wood, lacquer, silver, gold, hiramaki-e, takamaki-e, kirigane, gyōbu-nashiji, tsumemaki nashiji H 4.7 x W 27 x D 23.5 cm Decorated in gold lacquer with a continuous design depicting a pavilion set in a karst landscape dotted with pine and maple trees. Complete with an inkstone, a silver water dropper, a blade and a set of brushes.
Alexis Lartigue
Max Ernst (Brühl 1891-1976 Paris) Paysage, 1964 Tempera and pencil on paper 8.4 x 15.5 cm Signed ‘Max’ below right Provenance: estate of the artist; Galerie Bel’Art, Stockholm; Sotheby’s sale, London; private collection, New York; collection of Dr. Arthur Brandt, New York; Sotheby’s sale, New York; private collection, Paris Literature: Spies, Werner. Max Ernst Oeuvre-Katalog, Werke 1964-1969, Cologne, 2007, n° 4095, ill. p. 127 Exhibitions: Stockholm, Galerie Bel'Art, Max Ernst, Retrospective, 1979; Boone, Turchin Center for the Arts, The Omnipotent Dream: Man Ray, Confluences and Influences, 2003, ill. in the catalogue p. 23, listed p. 35; Ithaca, Herbert F. Johnson Museum of Art, A Private Eye: Dada, Surrealism and More from the Brandt Collection, 2006, illustrated in the catalogue p. 47
Stern Pissarro Gallery
Glenn Brown (Hexham, 1966) Drawing 2 (after Delacroix/Raphaël), 2019 Acrylic on polyester film laid down on cardboard 109.2 x 94 cm Signed and dated lower right 'Glenn Brown 2019' The work bears the artist's signed label on the reverse Provenance: Galerie Max Hetzler, Berlin; private collection, Belgium; acquired from the above Exhibitions: Paris, Musée national Eugène Delacroix, Glenn Brown, 10 October-9 December 2019; Berlin, Galerie Max Hetzler, And Thus We Existed, 30 October 2020-23 January 2021, n° 6, pp. 40-41, 43-44, 125, 152 (ill., p. 41, detail ill., p. 43, exhibition view ill., pp. 44, 125)
Stoppenbach & Delestre
Pierre-Auguste Renoir (Limoges 1841-1919 Cagnes-sur-Mer) Nature morte aux pommes et à poire, circa 1889 Oil on canvas 22 x 31 cm Signed ‘Renoir’ lower right The work is included in the Renoir digital catalogue raisonné project, n° 20411 Provenance: Ambroise Vollard, Paris, by whom acquired from the artist before 1919; Madame de la Chapelle, Paris; Galerie Durand-Ruel, Paris, by whom acquired from the above on 30 March 1938; Dr Albert & Elvira Charpentier, Paris, by whom acquired from above on 14 March 1939; Roberto & Elena Germain-Ribon, by descent from the above; Jacqueline Pizarro, by descent from the above; Sale, Christie’s, London, 22 June 2005, n° 110 (ill. colour); private collection, The Netherlands Literature: Ambroise Vollard, Pierre-Auguste Renoir. Paintings, pastels, and drawings. Tableaux, pastels et dessins, rev. ed. (San Francisco: Alan Wofsy Fine Arts, 1918), p. 306 (ill. fig. 1489); G.-P. & M. Dauberville, Renoir: Catalogue raisonné des tableaux, pastels, dessins et aquarelles, vol. II, 1882-1894, Paris, Bernheim-Jeune, 2009, n° 721, p. 26 (ill. p. 26 dated circa 1889)