This section will be available this Autumn.
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.
Bernardini Milano
Rolex, Bienne Rare yellow gold 'oyster chronograph', 1956 18k yellow gold, watch in prestine condition Provenance: previously unknown to the market Edition of 36 made in 18k yellow gold (edition of the late 50s) The untouched case and extensible bracelet host a perfect creamy silvered dial The watch is complete of its original box, papers, invoice and various communications between owner and the Swiss Maison. It is a benchmark in terms of rarity and conservation
Galerie Hurtebize
Maurice Utrillo (Paris 1883-1955 Dax) Commune de Maixe (Meurthe-et-Moselle), 1924 Oil on canvas 98.4 x 131.3 cm Signed and dated lower left Certificate by Hélène Bruneau, President of the Utrillo-Valadon Committee Provenance: private collection, France Literature: P. Pétridès, L’Œuvre complet de Maurice Utrillo, Paris, 1974, vol V, p. 238, n° 2720 (ill. p. 239)
Stern Pissarro Gallery
Glenn Brown (Hexham, 1966) Drawing 2 (after Delacroix/Raphaël), 2019 Acrylic on polyester film laid down on cardboard 109.2 x 94 cm Signed and dated lower right 'Glenn Brown 2019' The work bears the artist's signed label on the reverse Provenance: Galerie Max Hetzler, Berlin; private collection, Belgium; acquired from the above Exhibitions: Paris, Musée national Eugène Delacroix, Glenn Brown, 10 October-9 December 2019; Berlin, Galerie Max Hetzler, And Thus We Existed, 30 October 2020-23 January 2021, n° 6, pp. 40-41, 43-44, 125, 152 (ill., p. 41, detail ill., p. 43, exhibition view ill., pp. 44, 125)
Victor Werner
Louis Tuaillon (Berlin, 1862-1919) Stag, circa 1912 Bronze garden sculpture with natural green patina H 110 x W 90 x D 32 cm Signed ‘Louis Tuaillon’ on the base Bears the foundry ‘Martin u. Piltzing Hofbildgiesser Berlin’ A neoclassical bronze sculpture depicting a stag in a standing sentinel pose. This design was acquired in 1912 by the prominent art philanthropist Eduard Arnhold for his private estate in Hirschfelde (Brandenburg), where a large-scale version still stands today as a public monument.
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
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.
Galerie de la Présidence
Geer van Velde (Lisse 1898-1977 Cachan) Composition, circa 1952 Oil on canvas 104 x 122 cm Signed with the initials 'GvV' lower right Signed on the reverse 'G. van Velde' with dimensions 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 Provenance: private collection, Paris
BOON GALLERY
Kim Tschang Yeul (North Korea, Maengsan County 1929-2021 Seoul) Water Drop, 1983 Oil and sand on canvas 24 x 19 cm Signed on reverse Certificate of authenticity by the Kim Tschang Yeul estate, Paris, 2026 The Poetry of Transparency, Matter & Memory Kim Tschang-Yeul’s Water Drop (1983) is an iconic work of modern Korean art. It transforms a simple droplet into a meditation on existence, memory, and time. Set against a rough, earthy surface, the transparent drop appears luminous and delicate. Its subtle golden reflections contrast with the dense texture beneath it. This opposition evokes the tension between permanence and impermanence. Kim Tschang-Yeul (1929–2021) devoted nearly five decades to painting water drops. His artistic vision was shaped by the Japanese occupation and the Korean War. These experiences inspired reflections on suffering, remembrance, and reconciliation. For Kim, the droplet symbolized purification, inner peace, and spiritual renewal. The meticulous act of painting became a form of meditation. The textured background represents the material world, while water suggests fragility. Its reflections and shadows create a remarkable illusion of reality. The surrounding emptiness enhances the composition’s silence and contemplative power. Kim’s work resonates with Buddhist and Taoist ideas of emptiness and impermanence. It also explores the interconnectedness and transience of all existence. By 1983, he had gained international recognition, particularly in Paris. His art bridges Eastern philosophical traditions and Western pictorial techniques. Although related to Dansaekhwa, his water drops express a distinctive artistic identity. Today, his paintings remain emblematic of Korean modernism. Ultimately, Water Drop transforms a fleeting moment into a timeless meditation on beauty, memory, and transcendence.
Victor Werner
Franz Barwig (Germany, Shönau 1868-1931 Vienna) Group of Fauns, circa 1900 Sculpted oak H 94 x W 99 x D 18 cm Signed 'F. BARWIG' on the base This 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.
Guy Pieters Gallery
Pierre Alechinsky (Brussels, 1927) Paysage impressionné, 1959 Oil on canvas 205 x 289 cm Pierre Alechinsky’s ‘Paysage impressionné’, executed in 1959, is a large oil painting from an important early period in the artist’s career. Painted after the CoBrA movement had dissolved, it reflects his interest in spontaneous, expressive forms, a vivid sense of movement and the freedom of the brush. The lively brushwork and interplay of colours give the painting a sense of movement, while the broad composition feels balanced and harmonious. This combination of energy and control makes the work especially engaging.
Bernier/Eliades
Tony Cragg (Liverpool, 1949) Stand, 2025 Corten steel 115 x 36 x 108 cm He was a professor and the Universität der Künste Berlin (2001-2006), taught at the Kunstakademie Düsseldorf (1978-2001) before serving as its Director (2009-2013), and held the Chaire de Création Artistique at the Collège de France in Paris (2013-2014). Cragg was elected a Royal Academician in 1994, represented the United Kingdom at the Venice Biennale in 1988, and received the Turner Prize the same year. He was appointed Commander of the Order of the British Empire in 2002, received the Praemium Imperiale for Sculpture in Tokyo in 2007, was awarded the First Class Order of Merit of the Federal Republic of Germany in 2012, and was knighted in 2016. This year, Cragg is set to receive the European Culture Prize 2026 at the Royal Concertgebouw in Amsterdam. He is also the founder of Waldfrieden Sculpture Park in Wuppertal, where he exhibits works from different artists and different generations, such as Rebecca Horn, Berta Fischer, Anthony Caro, Heinz Mack, and Joseph Beuys, among others.
Willow Gallery
Eugène Boudin Honfleur 1824 – Deauville 1898 Bordeaux, le port Oil on canvas, signed, dated and inscribed 'E. Boudin 74 Bordeaux' Canvas size: 16 x 25in / 41 x 64cm Frame size: 22 x 31in / 56 x 79cm Provenance: Louis Bernard Collection; its sale, Me Chevallier, Paris, May 11, 1901, lot 19. Jules Chédeville, Paris and Honfleur. Michel Durnerin, Paris (by descent). Then by descent Literature: R. Schmit, Eugène Boudin, Paris, 1973, vol. I, p. 347, no. 978. G. de Knyff, Eugène Boudin raconté par lui-même, Sa vie, son atelier, son œuvre, Paris, 1976, p. 130 (illustrated). R. and M. Schmit, Eugène Boudin, Premier supplément, Paris, 1984, p. 150, no. 978 (illustrated)
Galerie des Modernes
Pierre Alechinsky (Brussels, 1927) Signes, 1951 Oil on canvas 19.5 x 30 cm Signed lower right, countersigned, dated and titled on stretcher A CoBrA-period work executed in May 1951 Certificate of authenticity by Myriam Prévot-Douatte, director of Galerie de France This document bears the following handwritten note by Pierre Alechinsky: 'P. Alechinsky, who would like to be able to borrow this small painting for a forthcoming retrospective' To be included in the Pierre Alechinsky catalogue raisonné, currently in preparation by the artist and Frédéric Charron, under n° 110 Provenance: Galerie de France, Paris; private collection, France
LUDORFF
Serge Poliakoff (Moscow 1900-1969 Paris) Composition abstraite, 1964-1965 Oil on canvas 73 x 60 cm Signed lower left The authenticity of this work is confirmed by Thaddée Poliakoff and the works is registered in the Archives Serge Poliakoff, Paris 2026 Literature: Alexis Poliakoff, 'Serge Poliakoff-Catalogue Raisonné', vol. II, 1955-1958, Paris 2010, n° 64-68 Provenance: Galerie Cavalero, Cannes; private collection, Europe (-1996); Sotheby's, London (26 June 1996, Lot 38); private collection (1996-2025)
Verdini Antiques
Enrico Podio (Active 1840-1890 between Rome and Venice) Micromosaic centre table, 1873 Polychrome micromosaic, patinated, cast and chased bronze H 100 x Ø 125 cm Signed and dated 'Enrico Podio fecit' and 'Venezia 1873' This exceptional table is one of the most ambitious expressions of nineteenth-century Venetian micromosaic. Its distinction lies in the rare combination of monumental scale, extraordinary technical refinement, documented authorship and a fully integrated sculptural bronze base. Micromosaic is more often associated with small cabinet objects. Here, Enrico Podio expands the technique to a table, transforming a traditionally intimate art into a commanding architectural statement. The head of Medusa is modelled through minute glass tesserae with subtle changes of flesh tone, shadow, hair and serpent scales. The optical blending approaches the effects of painting while remaining unmistakably mosaic. The inscriptions 'ENRICO PODIO FECIT' and 'VENEZIA 1873' give the work unusual documentary precision, securely identifying the maker, place and date and anchoring the table within the mature Venetian revival of mosaic art. The patinated, cast and chased bronze pedestal is conceived as an integral part of the design. Its classical heads, masks, architectural members and zoomorphic details create a powerful counterpoint to the brilliant colour of the micromosaic top. The synthesis of rarity, scale, technical mastery, documented authorship and visual impact places this table among the most impressive examples of nineteenth-century Italian decorative arts.
Galerie Boulakia
Hans Hartung (Leipzig 1904-1989 Antibes) T-1972-H5, 1972 Acrylic on canvas 65 x 92 cm Signed and dated lower right This work is registered in the Archives of the Fondation Hans Hartung & Anna-Eva Bergman under n° T 1972-H5, and will be included in the forthcoming catalogue raisonné currently in preparation Provenance: Galerie Maeght, Zurich, 1973; private collection, Geneva Literature: Peter Althaus, Hans Hartung Peintures récentes, Exhibition catalogue for Galerie Maeght, Zurich, 1973 Exhibition: Hans Hartung Peintures récentes, Galerie Maeght, Zurich, 1973