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Franck Anelli Fine Art
Transition period secretary in wardrobe stamped Charles TOPINO (1742-1803) and Jurande hallmark Rectangular in shape, the front uprights with cut sides, the front legs arched, the hind legs straight, the oak frame, it opens with a drawer, two leaves and a flap revealing a compartmentalized interior of seven drawers and four compartments. Top of breccia marble from Aleppo. Inlaid decoration in rosewood, amaranth, holly, sycamore, lemon tree, stained wood, tobacco wood, drawing lattices on the uprights and the upper drawer, those of the latter, embellished with flowers, and trompe-l'oeil on the front and on the sides, a decoration of garlands of oval cartouches of stylised acanthus leaves uniting the panels of the toilet seat and the leaves, each also presenting, in the upper part, a leafy garland that can be found on the side panels. The latter are decorated with two gadrooned urns close to the flowered vases of the leaves. The toilet seat has a trompe-l'oeil perspective decoration, an orangery whose open shutters give a glimpse of a wooded landscape in the distance, a perspective accentuated by the checkerboard paving, also present on the leaves. Eight boxes of fruit trees are spread around a table on which are placed two flowered vases and under which is a watering can. The interior reveals six side drawers in three rows, inlaid with a floral vase pattern, as well as a central drawer. Stamped TOPINO and hallmark of Jurande Charles TOPINO received master in 1773 The art of marquetry The bronzes are discreet on our desk and this is intended to give pride of place to marquetry, qualified as wooden painting. If it is possible and tempting - rightly to link a cabinetmaker to his marquetry and this is regularly the case for Topino whose utensil marquetry inspired by the borders of Chinese Coromandel lacquer screens of the time is a characteristic of the artist - it turns out that the models circulated and that inlaid panels could be used by the same circle of cabinetmakers. If the vases, potiches, flowers, utensils reproduced, invented, associated, allow us to recognize Topino's art, it should be noted that the framing motif made up of oval reserves with quartefeuilles and spandrels can be found on secretaries, a chest of drawers and a dressing table stamped Jacques Bircklé. By this same cabinetmaker, a secretary also presents the same vases present on our furniture. Very similar marquetry panels. both in their compositions and in their frames can be found on a chest of drawers attributed to Jacques Bircklé, illustrated in the book by Pierre Kjellberg, who also defines the paving pattern as Bircklé's "almost exclusiveness". our secretary thus witnessed the circulation of drawn or engraved models -
Laurent Schaubroeck
Paul Evans (USA, Newtown 1931-1987 Nantucket Island) & Phillip Lloyd Powell (USA, Germantown 1919-2008 New Hope) Monumental Wall Unit, circa 1960 Steel, wood, gold leaf H 282 x W 236 x D 51 cm Unique piece Provanance: Martin Brooks, Doylestown Extraordinary wall-mounted cabinet by Paul Evans and Phillip Lloyd Powell, two key figures in American postwar design. This one of a kind piece combines carved wood, torch-cut and enameled metal, and gold leaf. Features four floating shelves and a two-door lower cabinet with concealed storage. Rare in both scale and collaboration.
Galerie Édouard Ambroselli
Jean-Baptiste Camille Corot (Paris, 1796-1875) Farm in Italy, circa 1843 Oil on paper mounted on canvas in a period gilt frame 18 x 24 cm Signed lower right ‘Corot’ Certificate of authenticity by Martin Dieterle and Claire Lebeau Provenance: Pottier collection, Paris; sale Artcurial, Paris, 19 June 2012, lot n° 81; private collection, Paris Literature: Martin Dieterle and Claire Lebeau, Sixième supplément à l'œuvre de Corot par A. Robaut et E. Moreau-Nélaton, Paris, 2018, repr. n° 46
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)
Willow Gallery
André Lhote (Bordeaux 1885-1962 Paris) Pique-nique à Mirmande, 1939 Oil on paper, laid down on canvas 106 x 127 cm Signed lower right Certificate of authenticity issued by Dominique Bermann Martin and will be included in the forthcoming Lhote catalogue raisonné currently in preparation Provenance: Simone Lhote, Paris (wife of the artist); Suzanne Bermann, Paris (by descent from the above); Soufer Gallery, New York (acquired from the above, 1988); acquired from the above by the late owner, March 1991; private collection, Chicago Exhibition: New York, Soufer Gallery, André Lhote: Cubism and Later Periods, April-May 1988 (ill. in colour; dated 1927)
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.
Marty de Cambiaire
DENYS CALVAERT Antwerp circa 1540 - Bologna 1619 Holy Family with saint Jerome and the Infant John the Baptist Oil on copper. Signed and dated CALVA ... T ... / ... CIT / 158 ? ... lower centre. 50.4 cm x 39.6 cm (19 15/16 x 15 5/8 in.) PROVENANCE Von Planta Family, Samedan, acquired in the 1920s according to the family tradition, although it could have been acquired earlier; London, Sotheby’s, 3 December 2014, lot 18; Private Collection, Brussels.
Galerie Édouard Ambroselli
Georges Aubert (Paris, 1866-1961) & Odilon Redon (Bordeaux 1840-1916 Paris) The Shadow, circa 1896-1900 Carved, engraved and painted wood H 25 x W 18.5 x D 2 cm Provenance: Ambroise Vollard Collection (1866-1939) Plate for The Shadow, illustration from Gustave Flaubert’s Tentation de Saint Antoine, Paris, Éditions Ambroise Vollard, 1938, p. 21.
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.
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)
Finch & Co
Devotional crucifix of Christ Portuguese Goa, 17th century Coromandel wood, gilded ivory, silver mounts H 107 x W 26 cm Christ height: 32 cm Provenance: private collection, Ireland Belgium CITES: 2025/BE01024/CE A fine and large Portuguese Goa devotional Crucifix. The polychromed and gilded ivory of Christ crucified on a Coromandel wood cross, ornately embellished with Baroque silver mounts, stands on an integral Coromandel plinth. The agonising Christ on the cross has his head falling to his right, with closed eyes and mouth open in his call to God. His long hair is carved in undulating locks falling to his shoulders. The well-defined torso has flexed muscles and a pronounced rib cage, while the arms have veins threaded along their length. His hands and feet are pierced by silver nails, his wounds are polychromed red, and the edges of the perizonium are gilded.
Stoppenbach & Delestre
Raoul Dufy (Le Havre 1877-1953 Forcalquier) Nu au papillons, 1930 Watercolour on paper 26 x 51 cm Signed lower left Provenance: sale Paris, Hôtel Drouot, 28 February 1951, lot 31; thence by descent to the previous owner, France Literature: F.Guillon-Laffaille, Raoul Dufy, catalogue raisonné des aquarelles, gouaches et pastels, Vol.II, Editions Louis Carré & Cie, Paris, 1982, n° 1853, rep. b/w
Galerie de la Présidence
Geer van Velde (Lisse 1898-1977 Cachan) Composition, circa 1953 Oil on canvas 81 x 100 cm Signed with the initials 'GvV' lower right Signed on the reverse 'G. van Velde' Certificate of authenticity issued by Pierre François Moget This work will be included in the forthcoming catalogue raisonné of Geer van Velde Painted Work currently in preparation by Pierre François Moget, son of Piet Moget, under the n°118 059 Provenance: Michel Guy collection, Paris; private collection, Paris; private collection, France
Marjan Sterk Fine Art Jewellery
Van Cleef & Arpels Lion brooch, 1972 18k yellow gold, green agates and onyx H 62 x W 43.3 mm Total weight 37.7 gr Signed Van Cleef & Arpels Manufactured in Paris, dated and numbered Provided with the original case An eighteen carat yellow gold brooch depicting a lion with wide-spreading mane, eyes of navette cabochon-cut green agates, and a nose carved from onyx.
Galerie Ary Jan
Moïse Kisling (Kraków 1891-1953 Sanary-sur-Mer) Landscape of Sanary-sur-Mer, 1932 Oil on canvas 64 x 73.5 cm Signed lower left and dated 1932 Provenance: acquired directly from the artist in the 1930s; private collection, France; Christie's Paris, sale of 1 December 2009; private collection, France Literature: J. Kisling, Kisling, 1891-1953, Turin, 1982, ill. vol. II, p. 273, n° 70
