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Chambre professionnelle belge de la Librairie Ancienne et Moderne (CLAM)
miquel barceló – josé bergamín la solitude sonore du toreo paris : éditions du solstice, 2015
Folio (40 x 38 cm), Coptic binding, original publisher's printed wrappers, publisher’s chemise and slipcase. An artist’s book presenting multiple challenges, resulting in an exceptional work. Text by José Bergamín, translated from Spanish by Florence Delay, who also wrote the preface. 8 full-page engravings by Miquel Barceló. Edition limited to 140 copies. One of 20 artist’s copies on papier vélin BFK Rives des papeteries Antalis, signed by the artist. With an additional signed suite of the 8 engravings on papier Hahnemühle. "A print is a major undertaking, involving fifteen different stages. There are fewer hours of work in a large painting than in a small print; it demands willpower, precision, and hours upon hours of concentration" Miquel Barceló. Painter, sculptor, and ceramist, Miquel Barceló has shown from the beginning a keen curiosity for printmaking techniques. He has experimented with them at various stages of his career, both alone and in collaboration with renowned printers, and continues to practice in a dedicated space in his studio. Ingert - Antiquarian Bookseller
Maisonjaune Studio
Piero Palange (Italy, 1931-1975) Werther Toffoloni (Udine 1930-2017) Pair of '536' armchairs Rattan, foam, mohair velvet H 70 cm - Ø 95 cm Palange studied industrial design at the University of the Arts in Milan and worked with several leading Italian design firms (Motina, Gervasoni, Germa). Toffoloni trained in architecture at the Univeristy of Rome, specialised in industrial design with a focus on ergonomics and functionality. These two Italian designers played an important role in shaping postwar industrial design.
Hoffmans Antiques
Pair of side cabinets Paris, circa 1800 Walnut, mahogany, and mahogany veneer with gilt-bronze mounts, grey Bardiglio marble tops H 88 x W 45 x D 44 cm In the manner of Luigi and Antonio Manfredini, Paris Provenance: private European collection This pair of neoclassical cabinets reflects the refined elegance of early 19th-century Parisian design. Each cabinet combines function with ornament, comprising drawers, a cupboard, and a concealed drawer. The gilt-bronze mounts feature central lion masks and Egyptian-inspired motifs, a reference to the vogue sparked by Napoleon’s Egyptian campaign. Topped with slabs of grey Bardiglio marble, the cabinets blend practicality and decorative sophistication.
Philippe Heim
andré maire
André Maire (Paris, 1898-1984) Vue de Segovie, circa 1940 Oil on canvas 163 x 227 cm Signed lower right Certificate of authenticity issued by Philippe Heim Provenance: the artist's family Literature: André Maire (1898-1984), L'itinéraire décoratif d'un peintre voyageur, Éd. Gallimard, 16 October 2008, repr. p. 89 Exhibition: André Maire (1898-1984), L'itinéraire décoratif d'un peintre voyageur, Roubaix, La Piscine, 18 October 2008 to 1 February 2009
Galerie Hadjer
fernand léger
Fernand Léger (Argantan 1881-1955 Gif-sur-Yevette) (after) & Yvette Cauquil-Prince (Belgium, Dampremy 1928-2005 Tresques, France) La parade sur fond rouge Created in 1975 Wool 280 x 400 cm Woven by Yvette Cauquil-Prince in Paris (pictogram lower right) Tapestry number 1/1 - Unique Piece Provenance: Yvette Cauquil-Prince; Paul Haim collection; private collection, USA Literature: Masters of the 20th century, KunstHausWien Exhibition: KunstHausWien, 10 February-14 May 2000, Vienna
Galerie AB - Agnès Aittouarès
Sam Francis (California, 1923-1994) SF63-046, 1963 Acrylic on paper 90 x 63 cm Signed, dated and located Los Angeles on reverse Listed in the online catalogue raisonné of the artist under n° SF63-046 Provenance: Jean Fournier collection; private collection, Paris Exhibition: Paris, Galerie Jean Fournier, Sam Francis de 1947 à 1988 sur papier, October-November 1988
Galerie Patrice Trigano
césar
César, alias César Baldaccini (Marseille 1921-1998 Paris) Hommage à Eiffel, 1989 Welded bronze Bocquel foundry 280 x 200 x 55 cm Signed and numbered Provenance: acquired from the artist in 1990 Literature: P. Restany, César, éd. De la Différence, Paris, 1988, p. 65 and p. 328 (Monumental version of Cartier Foundation, photography in progress); B.-H. Lévy, César, les bronzes, Éditons de la Différence, Galerie Baubourg, Paris, 1991, p. 24; César, Oeuvres de 1947 à 1993, Musée de Marseille, Réunion des Musées Nationaux, Marseille, 1993, p. 159; César, Galerie Enrico Navarra, Paris, 1996, pp. 76-77; César, Museu Brasileiro da Escultura Marilisa Rathsam, São Paulo, 1999, p. 212; Paris, Centre Georges Pompidou, César la rétrospective, December 2017- March 2018, p. 173; Archives Denyse Durand-Ruel, n° 4499 Exhibitions: Marseille, centre de la Vieille Charité, César, oeuvres de 1947 à 1993, July-September 1993, p. 159; Monte-Carlo, César à Monte-Carlo, May-September 1993, (unnumbered); Luxembourg, Dexia Banque Internationale, Hommage à César, October-December 2000, p. 70; Cannes, La Malmaison, César, l’oeuvre de bronze, July-October 2002, p. 86; Travelling exhibition: Cannes, parvis du palais des Festivals, July-September 2002; Geneviève, Galerie Artrium, September-December 2002; Rabat, Musée Mohammed VI d’Art Moderne et Contemporain, César, une histoire méditerranéenne, December 2015-March 2016, reproduced in colour p. 68 and p. 70
Galerie Raf Van Severen
théo van rysselberghe
Théo Van Rysselberghe (Belgium, Ghent 1862-1926 Le Lavandou, France) Ile du Levant, circa 1904 Oil on panel 30 x 41.4 cm Signed with monogram bottom left Provenance: Foundation Catherine Gide; private collection, Brussels Literature: Feltkamp, 2003, réf. 1924-034, p. 441; Catalogue de l'exposition, Bruxelles, La Haye, 2006, p. 258; Théo Van Rysselberghe, l'instant sublimé, Museé de Lodève, 2012, p. 99; Théo Van Rysselberghe, Intime, 2005, p.65; Théo Van Rysselberghe, Bozar Books by Fonds Mercator & Palais Des Beaux-Arts, Belgian Art Research Institute, 2005, p. 229 Exhibitions: 2005, TVR, Intime, Espace Culturel, Le Lavandou, n° 37; 2006, Brussels, La Haye, without number, p. 229
Axel Vervoordt
Jef Verheyen (Belgium, Itegem 1932-1984 Apt, France) Untitled Matt lacquer on round board 100 x 100 cm - Ø 80 cm Provenance: private collection, Belgium; collection Axel Vervoordt, 2003; private collection, Belgium Exhibition: Jef Verheyen, Lux est Lex, Wijnegem, 2004, cat. n° 60, ill. p. 93
Galerie Greta Meert
carla accardi
Carla Accardi (Trapani 1924-2014 Rome) Frammenti, 1984 Acrylic on canvas 50 x 60 cm Frammenti, a work from 1984, ‘Fragments’; the work affirms Carla Accardi’s place as a voice of innovation in an Italian art scene dominated by male voices. In this 50 x 60 cm painting using only black paint on the untreated material of the canvas, the artist constructs a rhythmic interplay of signs animating recognition and illegibility, an evocation of a writing that dissolves into abstraction. The work embodies the tension that characterises her oeuvre: a subtle intertwining of classical painterly discipline and the radical openness of the avant-garde, resulting in a visual language that is as rigorous and experimental as it is personal.
Kunsthaus Kende
Pair of Queen Anne tazze John Bache, London, 1703 Engraved Britannia silver Ø 23 cm, H 7 and 6.9 cm 513.1 gr and 504.8 gr Provenance: private collection, North America Standing on a central round foot, with moulded rim to the top side. The centre depicting an engraved coat of arms commemorating a marriage between two noble families. Outstandingly preserved and rare pair of Queen Anne tazze without repairs and showing their original preserved surface.
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Van Pruissen Asian Art
tokuda yasokichi iii
Tokuda Yasokichi III alias Kutani Masahiko (Japan, 1933-2009) Porcelain vase Japan, late 20th century H 29.5 cm Signed ‘Kutani Masahiko’ on the base Literature: Yosai - Tokuda Yasokichi Sakuhinshu (The works of Tokuda Yasokichi), Kodansha 1995, Japan This elegant Kutani porcelain vase by Tokuda Yasokichi III - designated a Living National Treasure in 1997 - exemplifies his groundbreaking approach to traditional ceramic art. The slender, tapering body is enveloped in a rich aubergine glaze, punctuated by a single iridescent blue stripe flowing vertically from the mouth to the base. This striking effect was created using Yasokichi’s innovative saiyū (polychrome overglaze) technique, which brought new luminosity and abstraction to Kutani ware. Born Masahiko, Yasokichi III redefined the possibilities of Kutani ceramics, elevating them into a modern art form. Today, his works are held in leading international museum collections, including the Metropolitan Museum of Art and the British Museum.
WHITFORD
bram bogart
Bram Bogart (Delft 1921-2012 Sint-Truiden) Le chapeau de Rubens, 1983 Mixed media on canvas 200 x 220 cm Signed and dated on verso Certificate of authenticity by Bram Bogart Jr, n° 20 Provenance: corporate collection, UK Literature: Bram Bogart, Schilderijen 1950-1983. exh. cat., Museum Boijmans-Van Beuningen, Rotterdam and Museum van Hedendaagse Kunst, Ghent, 1984, ill. p. 2 and p. 36; Legrand, Francine-Claire; Bram Bogart, Tielt, 1988, ill. p. 97; Paquet, Marcel, Bram Bogart, Turin, 1990, ill. p. 241; Hermans, Nicole, Bram Bogart in Amerika, Beelding, maandblad voor Kunsten, p. 16; Bogart, Bram, Hoet, Jan, Lemesre, Marion, Paquet, Marcel and Gilbert Perlein, Bram Bogart, Fête de la matière, exh. cat., Hôtel de Ville de Bruxelles, Brussels and Musée d'Art Moderne et d'Art Contemporain de Nice, 1999, ill. p. 43 Exhibitions: 1984, Bram Bogart: Schilderijen 1950-1983, Museum Boijmans-Van Beuningen, Rotterdam and Museum van Hedendaagse Kunst, Gent, cat. n° 67; 1999, Bram Bogart, Fête de la matière, Hôtel de Ville de Bruxelles, Brussels and Musée d'Art Moderne et d'Art Contemporain de Nice
De Wit Fine Tapestries
victor vasarely
Victor Vasarely (Hungary 1906-1997 Paris) WA-4, circa 1970 Wool 156 x 156 cm Signed lower right corner Aubusson, atelier Pinton (Monogram lower left corner) Edition 1/6 The WA-4 tapestry consists of a large square divided into four squares, on top of which a fifth square is placed, itself divided into four squares. The inside of each of these squares is filled with rhombuses whose colour change from dark blue to purple and then to light beige. These rhombi are arranged on backgrounds of varying colours, ranging from charcoal grey to purple and pink, then from aqua green to pale pink and dark green. The different colour areas are clearly distinct from one another when viewed up close on the tapestry's very fine fabric. But when you step back and view the tapestry from a distance, the planes and shapes seem to interact with each other, and the colours appear to move. The optical effects are particularly striking here. Our gaze is captured by the illusion of movement created by the brain. Vasarely experimented with this fascinating relationship between vision and perception in his paintings, which he then transposed into various media, including glass, ceramics, metal, goldsmithing and tapestry. Vasarely relied on science, because he believed it was the only common language available to humanity. He developed a pictorial system based on the logic of algorithms and binary codes, a square background, coloured and filled with simple geometric shapes. A champion of geometric abstraction, he is best known as the inventor of op-kinetic art (the adjective kinetic derives from the Greek word κίνησις (kinesis), meaning “movement”). Op art or optical art was revealed to the general public by the sensational exhibition ‘Le Mouvement’ (1955), which Vasarely initiated at the Denise René gallery in Paris. In this exhibition he brought together younger artists such as Bury, Jacobsen, Soto and Tinguely alongside the leading figures of Marcel Duchamp and Alexander Calder. Alongside his work as a painter, Vasarely devoted a significant portion of his activity to transposing his art into other media. He promoted the reproduction of his works as tapestries, as he saw this as an opportunity for recreation, in contrast to the concept of a unique work. He envisioned a concept of art for all, based on a new aesthetic, leading to ‘the polychrome city of happiness’. He thought of his tapestries as prototypes, hand-woven in limited numbers and displayed in the comfortable homes of art lovers. He painted around a hundred tapestry cartoons, woven in various workshops. Furthermore, he played a pioneering role by inviting other artists to try their hand at this art form, including Léger, Jean Arp, Agam, Atlan, Dewasne and Josef Albers. This textile experimentation was the result of Vasarely's encounter with François Tabard, an Aubusson tapestry entrepreneur, and Denise René, an avant-garde gallery owner. According to the artist, kinetic art, often described as cold, is compatible with tapestry insofar as it results from a "technique that allows for flat areas to retain warmth. There is none of the monotony of flat areas applied with a brush to a surface." With Tabard, Vasarely developed a systematic method of creating cartoons, allowing infinite chromatic combinations to be obtained. Denise René was the publisher of these tapestries (1952-1970). From 1966 onwards, the national tapestry manufacturers of the Gobelins and Beauvais wove Vasarely's designs. Shortly afterwards, another industrialist from Aubusson, Olivier Pinton, began weaving Vasarely's designs. More than thirty cartoons were finely woven, including WA-4, created around 1970.
Martos Gallery
keith haring
growing suite, 1988
Screen print on Lenox Museum board Signed and dated with edition in graphite along right edge of sheet; retains Martin Lawrence Limited Edition and printer's blind stamps lower left edge of sheet 40 x 30 in: 101.6 x 76.2 cm 47 x 37 in; 119.4 x 94 cm (framed)
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Galerie Berès
simon hantai
Simon Hantaï (Hungary, Bia 1922-2008 Paris, France) Étude en noir et blanc pour Pierre Reverdy, circa 1969 Oil on canvas 96 x 75.5 cm Certificate of authenticity n° 2024-16 from the archives Simon Hantai on October 12th, 2024 Provenance: gifted by the artist to Peter Stuyvesant Foundation in 1969 Exhibition: Tilburg, Kultureel Centrum, Peter Stuyvesant collectie, 1979
Galerie La Patinoire Royale Bach
alfredo jaar
Alfredo Jaar (Chili, Santiago 1956) Life Magazine, 19 April 1968 1995 Three lightboxes, analog C-print on Duratrans 183 x 360 cm (entire dimension) 183 x 120 cm (one lightbox) Unique piece Life Magazine, 19 April 1968 (1995) by Alfredo Jaar is one of the Chilean artist’s iconic lightbox works in which he pointillistically engages an image from the public archive, intervening with his signature cutting precision to highlight social inequities and the politics of image making. The source image for this work is a documentary photograph of Martin Luther King’s funeral printed in 1968 in Life Magazine, the magazine of reference for a generation of Americans. In the image, a horse drawn casket is surrounded by supporters, and behind, a crowd fills the boulevard, stretching into the vanishing point beyond. It is a powerful representation of the late civil rights leader’s influence. The source photograph is presented large scale on the left third of the lightbox. In the center, the image is whited over, and in the place of faces in the crowd are black dots, massing and overflowing the street. In the rightmost part of the triptych, the source image is similarly whited out, but this time only a smattering of red dots appear — a handful scattered across the crowd. The artist placed black dots on the faces of African Americans. The red dots highlight White attendees. Created while Jaar was researching the Life archives for another iconic lightbox work, Searching for Africa in Life (1996), in which the artist reprints every cover of the magazine, highlighting through the punctum of the title the glaring absence of adequate representation of the continent, Life Magazine, 19 April 1968 (1995) similarly makes manifest a glaring absence. Through the precision of the artist’s intervention, and rendered in the artist’s signature clean lines, a singular gesture evokes the imbroglia of lingering racism and inequality in contemporary society.
Samuel Vanhoegaerden Gallery
Hans Hartung (Leipzig 1904-1989 Antibes) P1971-20, 1971 Crayon and acrylic on baryta board 50 x 73 cm Signed and dated lower right This work is registered in The Hans Hartung and Anna-Eva Bergman Foundation archive with number P1971-20 and will be included in the forthcoming catalogue raisonné of Hans Hartung Provenance: Galerie Ludorff, Germany; Sotheby's London, July 2020; private Collection, Brussels; acquired from the above by the present owner
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Galerie Dina Vierny
aristide maillol
Aristide Maillol (Banyuls-sur-Mer, 1861-1944) Léda, 1901-02 Bronze H 28.3 cm Artist's monogram (on the back of the base) Ambroise Vollard edition from 1902 Foundry Florentin Godard, executed between 1907 and 1937 Provenance: private collection, New York; private collection, London: Galerie Dina Vierny, Paris (acquired from the above in 2025) Litrature: W. George, Les albums d'art Druet, vol. II, Maillol, Paris, 1927, another cast illustrated; J. Rewald, Maillol, Paris, 1939, p. 166 and another cast ill. pp. 110-111 (dated 'circa 1902'); W. George, Aristide Maillol, Berlin, 1965, pp. 137 & 232, another cast ill. p. 137; W. George, Maillol et l'âme de la sculpture, Neuchâtel, 1977, p. 128, another cast and terracotta version ill. pl. 139; B. Lorquin, Aristide Maillol, London, 1995, p. 52, another cast ill. p. 53
