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Galerie Taménaga
Jean Fautrier (Paris 1898–1964 Châtenay-Malabry) Tête, 1927 Oil on canvas 35 x 27 cm Signed upper right: 'Fautrier' Provenance: Jean-Paul Ledeur, Paris Literature: Marcel-André Stalter, Recherches sur la vie et l'œuvre de Jean Fautrier (1898-1964) de leurs commencements à 1940. Essai de catalogue méthodique et d'interprétation, doctoral thesis, Université de la Sorbonne, Paris IV, 1982, n° 319; Marie-José Lefort, Fautrier. Catalogue raisonné de l'œuvre peint, Éditions Norma, Paris, 2023, n° 256, ill. p. 199 Exhibitions: Hamburg, Kunstverein, Jean Fautrier, 19 May-17 June 1973, n° 16; Amsterdam, Stedelijk Museum / Zurich, Kunsthaus, Jean Fautrier, 11 January-4 May 1986, n° 35, ill. p. 25; Paris, Galerie Jeanne Castel, 1986
Argento Gallery
Master of the portrait of the Van Collen family Portrait of a family in a wood, circa 1660 Oil on canvas 95 x 108 cm Provenance: sale of the Dr F. Koser collection, Keller & Reiner, Berlin, 6-7 March 1906, lot 87; private collection, Stockholm, 1938; sale, Bukowskis, Stockholm, 19 April 1961, lot 136, ill. as Ferdinand Bol, signed and dated 1666; private collection Literature: Bukowskis, 100 Years, 1870-1970, Stockholm, 1970, pp. 36-37, ill. as Ferdinand Bol; Albert Blankert, Ferdinand Bol (1616-1680): Rembrandt’s Pupil, 1982, pp. 191-192, n° R276 (attribution to Bol rejected) Attributed to the unidentified artist known as the Master of the portrait of the Van Collen family, who also painted the portrait of Jeremias van Collen, Susanna van Uffelen and their children in the Rijksmuseum, Amsterdam. Probably painted around 1660, the present work shows the influence of Jan Mijtens in its arrangement of the family within a wooded landscape.
HELENE BAILLY MARCILHAC
Pierre-Auguste Renoir (Limoges 1841-1919 Cagnes-sur-Mer) Les colettes à Cagnes Oil on canvas 27 x 46 cm Signed lower right 'Renoir' This work will be included in the forthcoming digital catalogue raisonné currently in preparation by the Wildenstein Plattner Institute. Notice of inclusion dated 14 March 2000
Galerie Hadjer
Sonia Delaunay (Ukraine, Gradizhsk 1885-1979 Paris) Rythmes Ondulatoires, circa 1970 Handwoven Aubusson wool tapestry 165 x 225 cm Woven by Pinton Frères, Felletin-Aubusson, France, after Sonia Delaunay’s original design Signed 'Sonia Delaunay' in the weave, lower left, and bearing the Pinton workshop monogramme Edition of 6 + 2 AP Accompanied by a certificate of authenticity from the Pinton workshops, Felletin-Aubusson, France Provenance: Atelier Pinton, private collection, France Rythmes Ondulatoires is an important example of Sonia Delaunay’s exploration of colour, rhythm and movement translated into the medium of tapestry. The composition is structured through an intricate interplay of circles, semicircles, concentric arcs and intersecting geometric planes. Vivid fields of red, blue, green, yellow and orange are set against black, white and grey, generating a powerful sense of optical vibration and continuous movement across the woven surface. The composition reflects Delaunay’s lifelong investigation into simultaneous colour contrasts, developed from the early twentieth century onwards. Together with Robert Delaunay, she explored the capacity of juxtaposed colours and geometric forms to create rhythm, luminosity and movement. These principles became fundamental to her distinctive contribution to the development of abstraction. The Collection Société Générale similarly describes Delaunay’s work in terms of her investigations into light, the movement of colours and “simultaneous contrast,” through vivid geometric forms organised into rhythmic compositions. The tapestry also reflects Delaunay’s longstanding commitment to dissolving the traditional distinction between fine and applied arts. Throughout her career, her abstract vocabulary extended beyond painting into textiles, fashion, interior decoration and other forms of applied art. Her use of pure colour and simultaneous contrasts remained central across these different media. In Rythmes Ondulatoires, the translation of Delaunay’s composition into wool by the Pinton workshops, one of the leading modern tapestry manufacturers in the Aubusson tradition, gives physical substance and texture to her chromatic language. The concentric curves and repeated arcs create an almost musical rhythm, while the juxtaposition of geometric forms produces a composition that appears to expand and contract across the surface. References and comparable examples Another Rythmes Ondulatoires, dated 1970, is documented as a handwoven Aubusson wool tapestry in scholarly lecture material devoted to Robert and Sonia Delaunay. The Société Générale Art Collection also holds a work entitled Rythmes ondulatoires, measuring 167 × 225 cm, closely corresponding in dimensions and composition. The collection describes the work through its geometric lines and forms, interwoven vivid colours and characteristic rhythmic harmony. Another Pinton-woven Rythmes Ondulatoires was publicly presented by Galleria Antonio Verolino at ArtePadova in 2024, documenting the continued presence of this composition within the art market and exhibition context. The tapestry is in very good overall condition, with strong and well-preserved colours, with no known restorations.
Verdini Antiques
Domenico Morelli (Naples, 1823-1901) Cesare Borgia in Capua, 1854 Oil on canvas 131 x 183.5 cm Provenance: Count Tasca d'Almerita of Palermo Literature: Almerinda Di Benedetto, 'The painted history: Domenico Morelli and the Sack of Capua' in Rosanna Cioffi, Ornella Scogliamiglio, MOSAIC, Themes and methods of art and criticism for Gianni Carlo Sciolla, vol. 2, Luciano Editore, 2012 Exhibition: Exhibition of Fine Arts in Palermo, 1856, presented as: Cesare Borgia after the siege of Capua makes women who had taken refuge in a basement of the castle draw It is above all through the letters to his friend Pasquale Villari that we know the various moments of the work that allow the painter Domenico Morelli to complete the painting 'Cesare Borgia in Capua', commissioned by the wealthy German entrepreneur Ettore Giulio Marstaller. On September 26, 1849 Domenico Morelli wrote to Villari that Marstaller had been very interested in a 'drawing sketch representing Cesare Borgia after the capture of Capua who chooses among the women locked up in a tower 40 of the most beautiful and we agreed that he will execute the painting of the same size as the bodies, with torchlight'. The relationship between the painter and the client was somewhat troubled, to the point that Domenico Morelli proposed the painting to another buyer. Completed in the spring of 54, due to Marsteller's death, the painting was sold in January of the following year to Count Tasca d'Almerita of Palermo. In 1856 the painting was thus presented at the Exhibition of Fine Arts in Palermo with the title 'Cesare Borgia after the siege of Capua makes women who had taken refuge in a basement of the castle draw', obtaining enthusiastic judgments to such an extent that in the magazine 'Il Poligrafo' the regret of not being able to grant the Neapolitan painter a diploma of gratitude, as the regulation provided for it only for Sicilian artists. The certain motivations for Morelli's choice of this dramatic historical event are not known, but, as Almerinda Di Benedetto points out, it is shown 'certain, however, that the identification of an event so historically full of meaning, both for the terribleness with which the events took place, and for the very strong symbolic message transmitted by the behavior of the Capuans, strenuous and indomitable defenders of their own land and of the moral and civil values linked to it, appears more than appropriate in an era permeated by deep Risorgimento and patriotic moods'. In relation to the terrible decision of the ruthless Duke Valentino to perpetrate an unprecedented massacre in Capua to the detriment of the helpless population, which came to count a few thousand victims, the professor and researcher Almerinda Di Benedetto recommends the 'very recent publication by Giancarlo Bova, Il sacco di Capua, July 24, 1501, in which the author contributes, with the contribution of unpublished documents, to make greater clarity on the chilling story of the memorable massacre'. As far as the purely pictorial aspect is concerned, in the year 1925 Vittorio Spinazzola would have condensed the description of the work in the following lines: 'the lush canvas, in which all the virtues of his imagination, his brush, the wise research, the sensuality of the forms, the tumultuous yet Latinally contained impetus of the composition were employed, connecting to our Venetian or seventeenth-century Neapolitan tradition, in which the wonderful bottom of battlemented walls and towers glimpsed in a gold dust and the mastery of the groupings, the glimpses, the nudes, would be enough to show how much his mastery of the drawing, the brush, the form would be enough'.
Klaas Muller
Gerard Ter Borch (Zwolle 1617-1681 Deventer) Portrait of a man with a black hat, circa 1650 Oil on oval panel 19.9 x 16.5 cm The gallery is grateful to Marjorie Wieseman, who endorsed the attribution on the basis of a photograph, and to Guido Jansen, who confirmed the attribution after examining the painting in person Gerard ter Borch (1617-1681) was one of the most refined painters of the Dutch seventeenth century. Born in Zwolle, he received his first training from his father, Gerard ter Borch I, within a household where drawing and copying formed an essential part of daily artistic practice. Several of his siblings also became artists, contributing to a rich familial archive that documents the development of the Ter Borch workshop. After extensive travels through Amsterdam, Haarlem, London, Madrid and Münster, Ter Borch settled in Deventer, where he became a respected member of the city’s elite. Ter Borch is celebrated for his intimate genre scenes and portraits, distinguished by a subtle palette, delicate handling of light, and a keen sensitivity to gesture and expression. His paintings are marked by elegance, psychological depth, and exceptional technical skill, particularly in the rendering of skin and textiles. This portrait of a man wearing a black hat, painted on an oval panel, exemplifies these qualities. The sitter faces the viewer directly and meets our gaze with quiet self‑confidence, creating a sense of immediacy and silent dialogue. His restrained pose and understated attire suggest dignity without ostentation. The refined and harmonious colour scheme, composed of carefully balanced tones, is characteristic of Ter Borch’s portrait practice. The subtle fall of light gently models the face, giving the features clarity and depth without strong contrasts. The smooth surface of the panel enhances the precision of Ter Borch’s brushwork and contributes to the intimate character of the work. Rather than a display of status, the portrait becomes a concentrated study of presence and inner life.
Dr. Nöth kunsthandel
Raoul Dufy (Le Havre 1877-1953 Forcalquier) Cérès au bord de la mer, 1928 Gouache on paper 49.5 x 63.5 cm Signed lower center Certificate of authenticity by Fanny Guillon-Laffaille This work will be published in the forthcoming catalogue raisonné des 4Aquarelles, gouaches and pastels' currently in preparation Provenance: Hartford, Wadsworth Atheneum 1959, n° 24; Fr. Gershwin Godowski collection, Sotheby´s New York, 12 May 1999, lot 373
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)
Stoppenbach & Delestre
Raoul Dufy (Le Havre 1877-1953 Forcalquier) Nu aux 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, repr. b/w
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.
Galerie Patrice Trigano
Pablo Picasso (Málaga 1881-1973 Mougins) Trois personnages et un oiseau, 1969 Ink on paper 30 x 53 cm Signed and dated 23 March 1969 Certificate of authenticity issued by Maya Widmaier Picasso, dated 23 November 2001 Provenance: private collection, Geneva Literature: reproduced in the Zervos catalogue raisonné, volume 31, n° 111
DIE GALERIE
Christian Dotremont (Tervuren, 1922-1979) Zyzzling aardvark, 1972 Indian ink on Japanese paper 98 x 61 cm Signed and dated lower right 'Dotremont 1972' Titled lower left 'Zyzzling aardvark' Provenance: private collection Exhibition: Pierre Alechinsky and his artist friends, DIE GALERIE, Frankfurt am Main, 2025
Chambre professionnelle belge de la Librairie Ancienne et Moderne (CLAM)
Pieter Bruegel the Elder (Brussels, 1525-1569) (After) The last judgement Engraved in 1558 by Pieter van der Heyden (1530-1584) Published by Hiëronymus Cock (Antwerp, 1518-1570) 22.5 x 29.4 cm References: New Hollstein Dutch first state of two Lex Antiqua, Antiquarian bookseller
Dries Criel
NYX Ring 18kt yellow gold, diamonds, spessartine and red enamel At the heart of the Nyx Ring, a vivid natural spessartine appears almost illuminated from within, its intense orange colour emerging against deep red enamel, natural white diamonds and 18kt yellow gold. Named after Nyx, the primordial Greek goddess of night, the ring explores the tension between darkness and light.
Univers du Bronze
Auguste Rodin (Paris 1840-1917 Meudon) Saint John the Baptist preaching, cast in 1899 Bronze, richly dark brown patina H 19.6 x W 12.5 x D 5.3 cm Reduction n° 3 (1/10 of original size) Signed Rodin and marked 'Thiebaut frères, Fumière et Gavignot Successeurs' Edition of 4 (in this size) Provenance: Knoedler and Co collection; sale Sotheby’s New York (6 October 1989) Lifetime cast signed 'Rodin', old cast and edition by Thiébaut with the engraved mark 'Thiebaut frères, Fumière et Gavignot Successeurs' (purchase of the funds and Thiébaut rights by Fumière et Gavignot in 1898). This example is probably the first, maybe the second of an edition of 4 cast in 1899 (prime account from 4 February to 9 December 1899), stamped '200' under the base (sale price 200 frs?) and engraved '4' (number of casts?)
Herwig Simons Fine Arts
Door lock with Christ and the Twelve Apostles 17th-century Provenance: former private collection, Belgium Finely crafted 17th-century door lock, featuring an elaborate openwork design depicting Christ and the Twelve Apostles. The lock retains its original key and the lock is in good working order. A fascinating example of 17th-century decorative ironwork, combining historical significance religious iconography, and intricate craftsmanship.
Almine Rech
Tom Wesselmann (Cincinnati 1931-2004 New York) Long Beach Seascape, 1991/95 Alkyd oil on cut-out aluminum 99.1 x 190.5 cm Signed and dated on the back Provenance: the estate of the artist © 2026 The estate of Tom Wesselmann / Artists Rights Society (ARS), New York Tom Wesselmann’s creative approach was in constant evolution throughout his long and productive career. Never one to follow artistic convention, he continually sought new materials and formats. His fascination with innovative surfaces and technologically advanced techniques drove him to push aesthetic and formal frontiers, as seen in 'Long Beach Seascape'. In the 1980s, Wesselmann developed a laser cutting technique that opened up a new world of creative possibilities. Using this novel method, the artist delighted in transposing his bold visual vocabulary into works that challenged the boundaries between painting, drawing, and sculpture. Speaking to the New York Times in 1985, Wesselmann couldn’t contain his enthusiasm for the new medium: 'I've just had the best year of my life [...] I always work in a kind of near ecstasy, anyway, but there's really been something about the new work that grabbed me.'' Centering dynamic line and vibrant colour, 'Long Beach Seascape' demonstrates the artist’s endless pursuit of radical forms of creative expression.