This section will be available this Autumn.
Repetto Gallery
Christo (Gabrovo 1935-2020 New York) and Jeanne-Claude (Casablanca 1935-2009 New York) The Pont Neuf, Wrapped (Project for Paris), 1985 Graphite, charcoal pastel, wax crayon, fabric, photograph collage on cardboard mounted on a stretcher 144.5 x 165 cm Upper element: 38 x 165 cm Lower element 106.5 x 165 cm Signed, dated and titled lower on the upper element The artwork’s details have been reviewed and confirmed by the Foundation Christo and Jeanne-Claude Provenance: Michael Cullen, London; Deutsche Bank collection, Frankfurt (acquired from the above in 1985)
Galerie Flak
Okvik 'Madonna' Okvik culture, Old Bering Sea, 250 BC-100 AD Archaic Eskimo, St. Laurent Island (Sivuqaq), Alaska Marine ivory 15.9 cm Provenance: Perry J. Lewis collection, USA; collection Galerie Flak, 2021; private collection, acquired from the above Exhibition & Literature: 'Espíritus del Agua', Fundación La Caixa, Madrid & Barcelone, 1999-2000, pl. 2, p. 76; Arctic Dreams, Parcours des Mondes, 2021 (Galerie Flak)
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.'
Stéphane Renard Fine Art
Maerten de Vos (Antwerp, 1532-1603) The Four Elements: Air, Earth, Water and Fire, 1579 Pen and brown ink wash on laid paper 10 x 13.8 cm (each drawing) The drawings of Earth, Water and Fire are signed and dated 1579 Provenance: private collection, Lyon, France These four previously unpublished drawings were used around 1585 to produce the series of four engravings by Johannes Sadeler (Hollstein 529-532). The success of this publication led, a few years later, to the production of a second, smaller series by Raphael Sadeler, Johannes’s brother (Hollstein Dutch and Flemish, Maerten de Vos, XLIV-XLVI, 1360-1364).
CKS Gallery
Sam Francis (San Mateo 1923-1994 Santa Monica) Composition, 1990 Acrylic and paper collage on paper 57.2 x 81.3 cm Stamped on the reverse with Sam Francis Estate logo stamp This work is registered in the archives of the Sam Francis Foundation under identification n° SF90-5PRS Provenance: private collection, the Netherlands; private collection, USA Exhibitions: St. Paul de Vence, Guy Pieters Gallery, Sam Francis, July-August 2003 (ill. in colour); Amsterdam, Museum Jan Van Der Togt, Sam Francis Remembering, November 2004-January 2005, pp. 138-139 (ill. in colour)
COLNAGHI
Robert Mapplethorpe (New York 1946-1989 Boston) Female torso, 1978 Silver gelatin photograph 50.8 x 40.6 cm Made in 1978, the photograph belongs to a life-long dialogue in Mapplethorpe’s work between photography and sculpture. The subject would later serve as the opening image of his 1989 volume Some Women, where its classical reference establishes a point of comparison for the contemporary women portrayed in the book. The photograph was produced in an edition of ten. Impressions of the image are held in major public collections, including the J. Paul Getty Museum and the Los Angeles County Museum of Art. The documented provenance of this impression begins with the Robert Mapplethorpe Foundation in New York, from which it passed into a private collection in Belgium.
Francis Janssens van der Maelen
Philippe Wolfers (Brussels, 1858-1929) Evocation, 1923 Granite H 39 cm Signed by engraving on the neck 'Ph. Wolfers.' Provenance: Wolfers family, created for the renowned Gioconda ensemble Art Deco bust of a woman with hair adorned with a diadem, sculpted in stone. Philippe Wolfers’ Evocation bust, created around 1923 in granite, was part of the emblematic Gioconda ensemble, designed for the 1925 International Exhibition of Decorative Arts in Paris. With this ensemble, Wolfers sought to create a true Gesamtkunstwerk - an integrated work of art in which sculpture, furniture, architecture, and silverware engage in dialogue around a unified aesthetic vision. Gioconda was awarded the prestigious Grand Prix at the exhibition.
Pron
Archizoom Associati Armchair and ottoman, "Mies" model, c. 1969 Chrome-plated steel, leather and cowhide Armchair: 76 x 74 x 130.5 cm Ottoman: 37 x 104.5 x 20 cm Poltronova edition. Literature: - G. Gramigna & P. Biondi, "Il design in Italia per l'arredamento domestico", Umberto Allemandi & C., Turin, 1999, p. 30. - The Museum of Modern Art, Italy: The New Domestic Landscape, New York, 1972, p. 103. - P. C. Santini, Facendo Mobile con Poltronova, Artigraf-Firenze, Italy, 1966, p.18-19.
Axel Vervoordt
William Turnbull (Dundee 1922-2012 London) Young Torso, 1981 Bronze 49 x 28.5 x 3 cm Edition of 6, AP 1/1 Provenance: the estate of the artist Literature: Amanda A. Davidson, The Sculpture of William Turnbull, The Henry Moore Foundation in association with Lund Humphries, 2005, cat. n° 205, ill. p. 154 William Turnbull (1922–2012) was one of the most distinctive sculptors and painters of post-war Britain. Throughout his career, he explored the enduring power of ancient and archaic art, seeking an elemental visual language that connects the distant past with the present. In Young Torso, Turnbull revisits the archetypal figures and totemic forms that fascinated him from the 1950s onwards. The simplified silhouette evokes prehistoric figurines and ancient idols, yet belongs to no specific culture or belief system. Both familiar and mysterious, the sculpture seems to speak a universal language whose meaning remains elusive. The warm brown patina and irregular surface suggest weathered stone, while delicate incisions recall tattoos or fragments of an unknown symbolic language. These markings animate the figure, hinting at lost rituals and traditions. Reflecting Turnbull’s sensitivity to surface, line and colour, the textured bronze combines tactile richness with formal simplicity. Neither an imitation of an ancient artefact nor a purely abstract form, Young Torso occupies a space between recognition and mystery. Through the encounter between archaic references and modern expression, Turnbull evokes humanity’s enduring desire to create forms that transcend time and preserve traces of our existence.
Laurent Schaubroeck
José Zanine Caldas (Belmonte 1919-2001 Vitória) Moveis Artisticos Z 2-21 Zeca armchair, circa 1949 Leather, plywood, hardware H 87 x W 67 x D 77 cm An early 2-21 'Zeca' armchair by José Zanine Caldas for Móveis Artísticos Z. Introduced circa 1949, the 2-21 represents the first edition of the model, before Zanine later adapted the design with Airfoam cushioning and renumbered it 2-24. Its sculptural plywood structure and leather upholstery fully represent Zanine’s pioneering approach to Brazilian modern furniture.
Snackers Antiques & Fine Art
Louis Philippe mantel clock Paris, circa 1835 Produced by the clockmaker Douyon Partially fire-gilt and partially patinated bronze H 70 x W 75.5 x D 27 cm The goddess Victoria is depicted seated on a cushion, leaning against the clock and holding a laurel wreath. At her feet lie a caduceus and an anchor. Beneath the clock are ears of corn and fruit. The ears of corn and fruit signify abundance; the anchor symbolises fidelity; and the laurel wreath represents victory.
Galerie Flak
Goli Glin Buffalo mask Baule, Ivory Coast, early 20th century Carved wood and pigments H 65.5 cm Provenance: Frank Crowninshield collection, New York, acquired before January 1936, presumably with the assistance of John D. Graham, New York; Jacques Seligmann Gallery, New York; collection of the Surrealist artist Enrico Donati (1909-2008), New York, acquired in the 1940s Exhibitions: Jacques Seligmann Gallery, New York, 'Exhibition of Sculptures of Old African Civilizations', 4-22 January 1936; Brooklyn Museum, New York, 'African Negro Art from the Collection of Frank Crowninshield', 20 March-25 April 1937
Lemaire
Japanese and Chinese porcelain potpourri Kangxi and Edo periods, circa 1760-1770 Porcelain mounted in gilt-bronze H 23 x Ø 16 cm The piece is composed of two distinct sections. The circular Japanese porcelain base is decorated with a vegetal motif and set within a finely chased gilt-bronze mount, from which rise three small feet. Above, three Chinese biscuit porcelain dogs support a globular potpourri vessel, surmounted by a flower-form finial in porcelain. This work is typical of the marchands-merciers active in Paris during the second half of the 18th century.
Galerie Flak
U’u Club Marquesas Islands, Polynesia, 18th or 19th century Carved wood and fibers H 138.5 cm Provenance: David Petty collection, London; Pierre-Richard Royer collection, Paris; Alexandre Bernand collection, Paris; private collection, acquired from the above in September 2016 Exhibition: TEFAF 2024, Maastricht, Serge Schoffel, catalogue T3, p. 28
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. This Japanese suzuribako is a remarkable example of mid-Edo-period craftsmanship. Few works of art from this period have survived in such fine condition, and even fewer display such a rich variety of lacquer techniques. A writing box of this kind was most likely commissioned by a high-ranking member of the aristocracy, perhaps a bushi (warrior) or even a regional warlord (daimyo).
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.