This section will be available this Autumn.
robertaebasta
Mario Quarti ( 1901-1974) Large sideboard in italian walnut. Main body raised from the floor by three elements show on the fron six doors decorated with an inlaid diamond pattern in walnut of different shades, brass handles. Italy, around 1940. Dimensions:cm 322 x 50 x 97,5 H. Provenance: private collection, Italy.
Repetto Gallery
Artist: Lucio Fontana (1999 - 1968) Title: Madonna col Bambino Dates: 1953-1954 Medium: glazed and painted terracotta: white, light blue and blue Dimensions: 24,5 × 13,5 × 9 cm Signed on the reverse: “L. F.” COA on photograph by Fondazione Lucio Fontana, no. 2543/1 Provenance: Galleria Blu, Milan Private collection, Gorle (2543/1) Literature: L. M. Barbero, "Catalogo ragionato delle sculture ceramiche", Tomo I, p. 212, no. 53-54 FMA 1
Laurent Schaubroeck
PAUL EVANS & PHILLIP LLOYD POWELL Monumental Wall Unit Unique piece ORIGIN: USA DATE: c. 1960 MATERIALS: Steel, wood, gold leaf DIMENSIONS: W236 × D51 × H282 cm PROVENANCE: 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.
Marjan Sterk Fine Art Jewellery
An eighteen carat yellow gold hinged bangle ‘Entrelacs’ designed as organically curling branches between which seven hydrangea flowers, with hinge and catch lock hidden in one of the flowers. Signed Claude Lalanne, numbered 19/50. Made in Paris, ca 1980-90. With signature of Artcurial, Paris.
Laurent Schaubroeck
JOSÉ ZANINE CALDAS, Moveis Artisticos Z 2-21 Zeca Armchair ORIGIN: Brazil DATE: c. 1949 MATERIALS: Leather, plywood , hardware DIMENSIONS: W67 × D77 × H87 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.
Finch & Co
A Rare 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 Size: 42cm high, 40cm wide, 20cm deep - 16½ ins high, 15¾ ins wide, 8 ins deep Provenance: Ex Private collection West Country U.K. Ex Finch and Co, item number 1, catalogue number 30, Summer 2018 Ex Private collection cf: Dr Anne Ross ‘Pagan Celtic Britain’ no. 916, for a similar Stone Radiate Deity
Desmet Fine Arts
Odoardo Fantacchiotti (Rome 1809 – 1877 Florence) Musidora, Firenze 1859 Inspired by the James Thomson’s poem ‘Summer’, originally published in 1727 Marble H 167,6 x W 49 x D 49 cm Plinth: H 95,3 x D 63 cm (at base) Total height: H 262,9 cm Signed 'Per commis del meritis / ... / Odoardo Fantachiotti / Scolpiva in Firenze / l'anno 1859 Provenance: commissioned by August Belmont (1813-1890) USA; Randall family, Clarendon Court (Newport – USA) Art Loss Register: S00258863 Literature: Ricordi fotografici degli artisti contemporanei in Toscana : ‘La Musidora’(Firenze-1858); V. Lia Bernini, G. Moradei, Odoardo Fantacchiotti scultore (1811-1877): atti delle giornate di studio nel bicentenario della nascita 1811-2011, (Toscana 2021), Volume 227, pp. 37-41 Other verions: 1862, for Baron Belper, Edward Strutt (Israele collection); 1865, for the king of Portugal (Lisbon Palacio Nacional da Ajuda)
Klaas Muller
Jan Boeckhorst (Münster 1604 - Antwerp 1668) Henri IV at the Battle of Ivry 17th century Pen and Brown ink, watercolour and gouache, heightened with whith and red wash on paper 200 x 291 mm 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, emphasizing 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. We are grateful to Stijn Alsteens of the Fondation Custodia for his attribution of the drawing to Jan Boeckhorst.
Galerie Flak
Goli Glin Buffalo Mask Baule Ivory Coast Carved wood and pigments Early 20th century Height: 65.5 cm – 25 ¾ in. Provenance Collection Frank Crowninshield, New York, acquired before January 1936, presumably with the assistance of John D. Graham, New York Jacques Seligmann Gallery, New York, acquired from the above 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”, January 4 – January 22, 1936 Brooklyn Museum, New York, “African Negro Art from the Collection of Frank Crowninshield”, March 20 – April 25, 1937
Galerie von Vertes
Andy Warhol (Pittsburgh 1928-1987 New York) Patty Raynes and son, 1985 Acrylic and silkscreen ink on canvas 102 a 102 cm Signed on the reverse and dated 'Andy Warhol 85' Provenance: Patty Raynes, USA (1985 directly acquired from the artist); private collection, USA (2022 acquired from the above) In 1985, Patty Raynes commissioned two works, this one with a yellow background and a second one with a white background. ‘Patty Raynes and Son’ from 1985 is one of a series of portraits in which Warhol no longer exclusively depicted global celebrities, but increasingly portrayed members of his social environment - individuals whose social position exerted a symbolic aura, even if they remained outside the pop-cultural canon. Patty Raynes came from a respected family of American industrialists, socialite and daughter of oil tycoon Marvin Davis, a fact that inevitably lends the work the character of a status portrait. Warhol, who was always concerned with the relationship between appearance and identity, addresses the portrait here as an expression of social affiliation. The subject, the depiction of a mother and child, is immediately reminiscent of the archetypal motifof the Madonna and Child. Warhol adopts this traditional pictorial form but transforms it into a contemporary icon: the sacred content isdisrupted by the screen-printing technique, giving the scene a cool, distanced character. Patty Haynes and son emerge from this mature period in Warhol’s oeuvre, when the artist extended his repertoire of subjects to include his panoply of famous friends, artists, actors, and socialites. A collection idolizing the who’s who of New York, Warhol intended for the 40 by 40-inch series to be exhibited together in a “Portrait of Society,” a dream eventually realized at the artist’s retrospective Andy Warhol—From A to B and Back Again at the Whitney Museum in New York in 2018.
Galerie Raf Van Severen
Jean Brusselmans (1884, Brussels - 1953, Dilbeek) "Decor pour Erwartung", dated 1936 mixed media on paper, 60 x 90 cm Label at the back; Erwartung; Decor pour “Erwartung”, d’Arnold Schoenberg, 1936; Decor pour le 4e acte Literature: Paul Haesaerts, Jean Brusselmans, 1939, p.67; Robert L. Delevoy, Jean Brusselmans: CR établi par Mme G. Brys-Schatan, 1972, 421.IV
Galerie Jean-François Cazeau
Armand Fernandez, known as ARMAN (1928–2005). ‘La grande nuit’, 1994 Acrylic and brushes on canvas, eight panels, signed on the edge, unique piece. Height: 292 – Width: 413 cm Provenance: Artist's studio Given by Arman to his daughter Anne Fernandez. Exhibitions: - Arman, "La Nuit Etoilée", Château Notre-Dame des Fleurs, Winter 1994/1995, Galerie Beaubourg, featured on the cover of the catalogue, illustrated across a double-page spread (pp. 28–29), illustrated on page 32 behind Arman. - "Arman s’installe aux Baux de Provence", 4 June to 16 October 2011, organised by the A.R.M.A.N Foundation, illustrated on page 22 of the catalogue. Bibliography: Illustrated in the Catalogue general of the official Arman website, Arman-Studio.
Victor Werner
Franz Barwig (Shönau, Nordmähren 1868-1931 Vienna) Group of Fauns, ca. 1900 Sculpted oak Signed 'F. BARWIG' on the base H. 94 x L. 99 x D. 18 cm This amazing, 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.
Chambre professionnelle belge de la Librairie Ancienne et Moderne (CLAM)
Pablo Picasso (Malaga 1881-1973 Mougins) and Hélène Parmelin (Nancy 1915-1998 Paris) Woman portrait in 'Les Dames de Mougins', 1965 Feltpen drawing on paper 29,8 x 27 cm Copy of the doctor René Gutmann Signed and dated 'pour mon cher ami Gutmann. Diego Picasso, le 8.11.65' Provenance: Dr. René-Albert Gutmann (1885-1981); thence by descent Librairie Lardanchet, Antiquarian bookseller
Galerie Taménaga
Pierre-Auguste Renoir (1841–1919) 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 being prepared by the Wildenstein Plattner Institute. Provenance Ambroise Vollard, Paris Private Collection, Japan Bibliography Ambroise Vollard, Pierre-Auguste Renoir. Tableaux, pastels et dessins, Alan Wofsy Fine Arts, San Francisco, 1989, nos. 612, 1185 and 1330, illustrated pp. 155, 258 and 279.
Rueb Modern and Contemporary Art
Jan Sluijters (Hertogenbosch 1881-1957 Amsterdam) Greet van Kooten with headband, 1910 Oil on canvas 35,5 x 42 cm Signed and dated Provenance: Collection Salomon Beffie, Amsterdam; collection Willem Beffie, New York; Galerie van Voorst van Beest, The Hague; collection Reens, Amsterdam; collection A.J. van Hillegondsberg, Blaricum; private collection, Amsterdam Literature: On-line Catalogue Raisonné Jan Sluiters-www.rks.nl/images/100130 Exhibition: The Hague, Pulchri Studio, Paintings, drawings and pointes-sèches of Jan Sluijters and Lodewijk, Schelfhout, 3 July - 25 July 1915 n° 40