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Gallery de Potter d’Indoye
georges jacob
Pair of bergères 'à la Reine' Georges Jacob (Cheny 1739-1814 Paris) France, Louis XVI period Carved and gilded wood H 100 x W 69 x D 61 cm Stamped Georges Jacob Provenance: Jacques Perrin, Paris, 1997 Pair of carved and gilded wood Bergères with rounded backs, decorated with acanthus leaves and an interlacing frieze. Tapered and caned legs with gadroons. The arched crest surmounts padded armrests, the frames carved with guilloche patterns and foliage, resting on turned fluted legs, stamped G. Jacob. Georges Jacob, received as master on the July 5th, 1765, is the most famous of all the 18th-century French menuisiers. Unlike his colleagues, Jacob founded his company from scratch in 1765 and moved his workshops to Rue Meslée in 1775. This is where the most brilliant period of his career took place and where the major royal commissions were produced. From 1773 he was solicited by the Garde-Meuble de la Couronne, for which he continued to work until the Revolution. In addition to the Queen and, to a lesser extent, the King, his clientele included the main members of the royal family and its entourage. As ordinary carpenter to Monsieur, Count of Provence and brother of the King, the future Louis XVIII, he furnished most of his homes. He also worked for the Count of Artois, another brother of the King and future Charles X, Madame Élisabeth, sister of Louis XVI, the Prince of Condé, the Duke of Penthièvre, the Duke of Bavaria and Deux-Ponts Charles-Théodore, etc.
Guy Pieters Gallery
karel appel
Karel Appel (Amsterdam 1921-2006 Zurich) Polderkoe, 1952 Oil on canvas 82 x 116 cm This work is registered in the archives of the Karel Appel estate Provenance: Martha Jackson Gallery, New York; private collection, Belgium; Galerie Krikhaar, Amsterdam; private collection, Brussels
Thomas Deprez Fine Arts
jean delville
Jean Delville (Leuven 1867-1953 Brussels) Aveugle, 1888 Oil on canvas 65 x 81 cm Signed and dated l.l.: 'Jean Delville / 1888' Relined, with a fair amount of retouching Provenance: private collection, Brussels, since three generations. Exhibitions: Salon de Gand, XXXIVe Exposition Triennale, Ghent, 1889, cat. n° 166, as: 'Aveugle'; L'Essor, XIIIe exposition annuelle, Brussels, 1889, cat. n° 4, as: 'Aveugle' PRESS F.N., 'Chronique Artistique', dans: Journal de Bruxelles, 24/03/1889, p. 5 (Supplément au Journal de Bruxelles du 24 mars 1889): 'L'Aveugle, la femme si visiblement plongée en des pensées lourdes et étroites, qui se chauffe [...]'
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 BA - Berthet Aittouarès
mark tobey
Mark Tobey (USA, Centerville 1890-1976 Basel, Switzerland) Landscape, 1967 Tempera on paper 26.5 x 48.6 cm Signed and dated lower back, stamp on the back Certificate of authenticity by the Committee Mark Tobey dated 8 February 2007 Provenance: François Gaudard, pianist and friend of Mark Tobey
Chambre professionnelle belge de la Librairie Ancienne et Moderne (CLAM)
Unique binding of incredible modernity, produced circa 1925 by the great architect and designer Josef Hoffmann (Pirnitz 1870-1956 Vienna), one of the founding members of the Wiener Werkstätte and the creator of the fabulous Palais Stoclet in Brussels. Large quarto, full fawn morocco on wooden boards with undulating decor, dark fuchsia silk doublure and endpapers, interior gilt signature Wiener Werkstätte with, above, Hoffmann's small gilt monogrammed mark. On: Henny Bauer & Wilhelm Kienzl, Sanctissimum (1924), first edition of the score for voice and piano. Signed by Josef Hoffmann Literature: Isabella Croÿ-Frick, Bookbinding and Leather in Christian Witt-Dörring & Janis Staggs, Wiener Werkstätte 1903-1932, The Luxury of Beauty, (2017), pp. 192-211; MAK Wien: Archiv der Wiener Werkstätte, Entwurfszeichnungen, Bucheinband, inventarnummer WWE 24-9; Yves Peyré, Histoire de la reliure de création, (2005), p. 138, p. 140; Ruperta Pichler, Wiener Werkstätte. Lederobjekte aus den Sammlungen des Österreichischen Museums für angewandte Kunst, (1992), pp. 77-92; Werner J. Schweiger, Wiener Werkstätte, art et artisanat, 1903-1932, (1982), p. 183 Pierre Coumans, Antiquarian bookseller
Galeria Jordi Pascual
Serge Poliakoff (Moscow 1900-1969 Paris) Abstract Composition, 1967 Oil on canvas 92 x 73 cm Signed lower left This work includes a photo-certificate of authenticity issued by the archives Serge Poliakoff in 2024 Provenance: Studio Bellini, Milan Literature: Poliakoff, Alexis, 'Serge Poliakoff – Catalogue Raisonné', Volume V, 1966-1969, Munich 2016, p. 236, n° 67-101
Galerie Alexis Pentcheff
Regency period frame France, 18th century Carved oak, gilded with gold leaf 112.5 x 146 cm (sight size) Provenance: Montanari collection Sand-textured background decorated with acanthus scrolls, small flowers, drops, shells, and padded cartouches. Openwork acanthus leaves overflowing with playful movement in the corners.
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
Stern Pissarro Gallery
Pierre-Auguste Renoir (Limoges 1841-1919 Cagnes-sur-Mer) Femme dans un paysage, 1917 Oil on canvas 25.3 x 39.7 cm Stamped lower right: Renoir Provenance: the artist's estate; Palais Galliera, Paris, 18 March 1964, (titled 'Gabrielle au jardin'); Hôtel George V, Paris, 10 December 1996, (titled 'Paysage'); private collection, Italy Literature: Marc Elder, L'Atelier de Renoir, vol. II, L'Atelier de Renoir (n.p.: MM. Bernheim-Jeune, Editeurs d'Art, 1931), n° 59 (ill. pl. 187, first state, titled as 'Paysage, bouquet'); Albert André, Marc Elder, and Messrs. Bernheim-Jeune, Renoir's Atelier / L'Atelier de Renoir, Rev. ed. (Paris: MM. Bernheim-Jeune, Éditeurs d'Art, Paris; San Francisco: Alan Wofsy Fine Arts, 1989), n° 599, p. 243 (ill. pl. 187, first state, titled as 'Paysage, bouquet'); Guy-Patrice Dauberville and Michel Dauberville, Renoir: Catalogue raisonné des tableaux, pastels, dessins et aquarelles, vol. V, 1911-1919 (Paris: Éditions Bernheim-Jeune, 2014), no. 3981, p. 204 (ill. p. 204, present state, as "Paysage du Midi") Exhibitions: Paris, Galerie Jean Charpentier, Beautés de la Provence, 17 December 1947-7 March 1948, n° 129 (titled as "Gabrielle au jardin," dated circa 1915) This work is accompanied by letter from the Wildenstein-Plattner Institute confirming the work will be included in the forthcoming Renoir digital catalogue raisonné.
Galerie Berès
louis marcoussis
Louis Marcoussis (Poland, Warsaw 1883-1921 Cusset, France) Nature morte au flacon d'opaline, circa 1927 Oil on canvas 73 x 100 cm Signed lower right 'Marcoussis' Certificate of authenticity n° 1200H143 by Solange Milet on 4 December 2000 Literature: Les Cahiers d'Art, 1927, n° 7-8, p. 5
Galerie de la Présidence
Nicolas de Staël (Saint Petersbourg 1913-1955 Antibes) Composition, 1949 Oil on canvas 38 x 46 cm Signed lower left Provenance: Henriette Gomès collection, Paris; private collection, Paris; private collection, Luxembourg Literature: J-P Jouffroy, Nicolas de Staël, p. 161; Jacques Dubourg and Françoise de Staël, Nicolas de Staël, Catalogue Raisonné des peintures, ed. Le temps, Paris, n° 195, p. 121; Françoise de Staël, Nicolas de Staël, Catalogue Raisonné des peintures, ed. Ides et Calendres, Switzerland, n° 189, p. 259; Françoise de Staël, Nicolas de Staël, Catalogue Raisonné des peintures, ed. Ides et Calendres, Switzerland, revised and expanded by Marie du Bouchet and Gustave de Staël, n° 189, p. 209 Exhibition: Nicolas de Staël, Musée Réattu, Arles, June-September 1958, n° 18 The year 1949 was a crucial period for Nicolas de Staël: he continued to explore and refine his style, marking an important transition towards painting that would become more fluid and expressive. Among his notable works this year is this 'Composition', which reflects his continued use of thick layers of paint and his extensive play with materials, moving from impasto to knife painting. For Nicolas de Staël, although abstract his paintings are 'images of life', his coloured masses generate vibrations. Lastly, this painting has always been kept in private hands until now, and was never presented at auctions.
Collectors Gallery
Arman (Nice 1928-2005 New York) Capricorn brooch in gold Zodiac collection, 1994 Certificate of authenticity and copy of the artist’s original drawing on the letterhead of the Hôtel Lutetia, where the artist resided and designed the models for this collection Provenance: Galerie Pierre-Alain Challier, successor to Editions Artcurial
Galerie Boulakia
Joan Miró (Barcelona 1893-1983 Palma) Untitled, 1946 Pen and India ink, coloured pencils, and pencil on paper 30 x 24 cm Signed, dated and inscribed 'Miró. 23-7-1946 à mon cher Joan Gomis, le jour de son anniversaire' (to my dear Jean Gomis on the day of his birthday) Provenance: Pierre Matisse Gallery, New York; Joaquim Gomis i Serdañons, Barcelone Literature: Jacques Dupin, Ariane Lelong-Mainaud, Joan Miro : catalogue raisonné, Volume II, 1931-1941, Editions Maeght-Lelong, Paris, 2000, n° 1. 1078, ill. p. 144
Gallery de Potter d’Indoye
Pair of oil lamps Ormoulu and patinated bronze Embossed gilt bronze and patinated bronze, representing the allegory of Philosophy and Study, each seated on an antique oil lamp, with an edge in gadroon motif, on a square footed base France, Consulat period, circa 1800 H 31 x W 36 cm Based on a model by Louis-Simon Boizot Comparative literature: H. Ottomeyer et P. Pröschel et al., Vergoldete Bronzen, Munich, 1986, vol. I, p. 294, fig. 4.17.1. I, p. 294, fig. 4.17.1. This pair of oil lamps is clearly designed in a neoclassical style, and, more specifically, in the 'Etruscan' style which came into vogue in the 1780s. This style draws its inspiration from antique forms rediscovered in archaeological digs, in particular those at Pompeii and Herculaneum, and manifested in the decorative arts by simple lines and ornamentation inspired by Antiquity. The allegorical figures of Philosophy and Study, which decorate these lamps, are taken from models created by Louis-Simon Boizot (1743-1809), then sculptor for the King. Boizot designed them for the first time in 1780 for a lamp in the antique style. He sold the model to the Sèvres factory, which then reproduced it in biscuit porcelain until 1786. These two figures were also used in the famous clock model, 'To Study and to Philosophy', created based on a drawing by François Rémond for the decorative arts merchant Dominique Daguerre. It is important to note that Pierre-Philippe Thomire (1751–1843), a reputed bronze worker, collaborated with Boizot in Sèvres beginning in 1783, the date when he succeeded Jean-Claude Thomas Duplessis (1730-1783) as the official bronze worker for the factory. The involvement of Thomire in the production of bronzes of this type is widely acknowledged. Comparable oil lamps include: - a pair kept at the J. Paul Getty Museum in Los Angeles (inv. 88.SB.113.1 et 88.SB.113.2), attributed to Thomire; - another from the former collection of Sir Robert Abdy, sold at Christie's London on June 9th, 1994, lot 65,; - a pair offered for sale at Christie's London on December 13th, 2001, lot 430. - finally, a pair presented in the Madame Simone Steinitz collection at Christie's in Paris on June 19th, 2025, Paris lot 126. A drawing attributed to Thomire, kept at the Museum of Decorative Arts in Paris, depicts a very similar lamp placed to the right of a fireplace (cf. J. Bourne et V. Brett, L’art du luminaire, Paris, 1992, p. 156, fig. 530). In addition, two sketches found in an album of drawings analysed by P. Rosenberg and B. Peronnet (Revue de l’Art, n° 142, 2003-2004) bear witness to the distribution and success of these models. They perfectly illustrate the taste for Antiquity, which dominated French decorative arts in the late eighteenth century.
Galerie von Vertes
tony cragg
Tony Cragg (Liverpool, 1949) Nea Relatives, 2020 Bronze Conceived and cast in 2020 6 casts H 77 x W 44 x D 47 cm Signature and foundry stamp on the base Certificate of authenticity by the artist on 10 April 2025 Provenance: Buchmann Galerie, Berlin (acquired directly from the artist)
Objects With Narratives
ben storms
Ben Storms (Ghent, 1983) Ex Hale coffee table, 2024 Miel onyx H 32 x W 180 x D 90 cm Provenance: the artist's studio Ex Hale is a marble table that mimics the shape of a monumental cushion, resulting from a transformation of materials. Two metal sheets are blown up with the same technique that Ben Storms first used for his In Vein and In Hale tables. The resulting cushion shape is then scanned in 3D, after which a CNC machine mills the same shape from a block of marble. Ex Hale plays with our common notions of materiality: the hard stone looks soft instead, an impression that is further enhanced by the delicate surface treatment.
Willow Gallery
henri le sidaner
la neige
Henri Le Sidaner (Mauritius, Port Louis 1862-1939 Versailles) La Neige, 1899 Oil on canvas 66 x 75 cm Signed, dated and inscribed ‘Le Sidaner Bruges 1899’ Provenance: James Fulton, Paisley; Paisley Art Institute, Paisley, a bequest from the above in 1933 Literature: W. Philip Mayes, Illustrated Catalogue of Paintings, Drawings, Sculpture in the Collections of Paisley Corporation and Paisley Art Institute, Paisley, 1948, n° A189au., p. 49 (titled 'The Red House'); Y. Farinaux-le Sidaner, Le Sidaner: L'oeuvre peint et gravé, Milan, 1989, ill. p. 70, n° 86
COLNAGHI
Attributed to the Menzies group Red-figure epichysis in terracotta with Hermaphroditos and a woman Greek, Apulian, circa 330-310 B.C. H 21 cm Provenance: Eugène Piot collection (1812-1890); his sale, 3 May 1870, lot n° 21; private collection, France; purchased from the above, 2022 Literature: F. Lenormand, Collection d’Antiquités Grecques recueillies dans la Grande-Grèce, l’Attique et l’Asie Mineure par M. Eug. P., Paris 1870, p. 16, n° 21 This epichysis is noteworthy for its provenance, as it was once part of the prestigious collection of Eugène Piot (1812–1890) - the French art critic, journalist, publisher, collector, and photographer - and it still bears his collection label. The present example also stands out for its above-average size and exceptional quality. It is in excellent condition and is typical of 4th-century BC Apulian Greek pottery. This vessel, characterized by its elegant neck surmounting a coiled body, was probably used to contain precious liquids intended for sparing use. Its delicate mouth seems ill-suited for serving wine, as has sometimes been suggested in the past, with some even describing such vases as “low-shaped oinochoai with flat bottoms.” Rather, they were most likely used for oil or perfume. The dropper-like mouth is flanked by two small, stylized masks in relief. The wide, disc-like shoulder of the vase has been decorated with particular attention to detail and form. The border is adorned with a frieze of eggs. A hermaphroditic Eros kneels and presents a mirror to a seated young woman, who also holds a mirror and a crown. On the reverse, an elegant arrangement of palmettes unfolds from the base of the handle and frames the central scene. The concave sides of the body are decorated with a vegetal frieze, overpainted in white and incised. Comparable examples are held at the Getty Museum in Malibu and the Musée Saint-Raymond in Toulouse; both have been attributed to the Menzies Group, active during the third quarter of the 4th century BC.
Romigioli Antichità
portrait of bona di savoia
Giovanni Cristoforo Ganti Detto Gian Cristoforo Romano (cerchia di) Roma ? 1460/5 – Loreto 1512 Portrait of a Lady (Bona di Savoia, Duchess of Milan?) 1490-5 White marble relief, diameter 50 cm Scientific profile by Alfredo Bellandi and Giancarlo Gentilini 2012 Published in A. Rinetti "The Duke's City, Ducal Portraits"