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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 Nicolas Bourriaud
André Bizette-Lindet (Savenay 1906-1998 Sèvres) Diane the Huntress, circa 1937-1938 Bronze with a nuanced brown-green patina, on a blackened wooden base H 64 x W 70 x D 20 cm Signed ‘Bizette-Lindet’ Cast by Susse, bears the foundry’s mark ‘SUSSE Fres / PARIS / CIRE PERDUE’ and the inscription ‘BRONZE’ Literature: Amandine Delcourt, Bruno Gaudichon and Fanny Legru, 'Faire le Beau. Le bestiaire de La Piscine', Ghent, Snoeck, 2017, p. 57 A similar example is held at the Musée de la Piscine in Roubaix (Inv.: FNAC 6463)
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)
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
LUDORFF
Gerhard Richter, Fuji 839-108, 1996 Oil on Alucobond 29 x 37 cm | 11 3/8 x 14 5/8 in Signed and numbered »839-108« on the verso Catalogue Raisonné Kunstsammlung Nordrhein-Westfalen 2005 no. 839-108; Catalogue Raisonné Butin/Gronert 2004 no. 89 Certificate of Authenticity by Hubertus Butin, Berlin 2010 Provenance: Galerie Hubertus Melsheimer, Cologne (-2011); Galerie Ludorff, Dusseldorf (2013); Private Collection Hesse (on permanent loan to the Mönchehaus Museum Goslar) Literature: Galerie Ludorff, »Neuerwerbungen Frühjahr 2024«, Dusseldorf 2024, p. 100; Galerie Ludorff, »Gerhard Richter«, Dusseldorf 2013, p. 51; Kunstsammlung Nordrhein-Westfalen (ed.), »Gerhard Richter mit dem Catalogue Raisonné 1993-2004«, Dusseldorf 2005, no. 839-108; Hubertus Butin/Stefan Gronert, »Gerhard Richter. Editionen 1965-2004. Catalogue Raisonné«, Ostfildern-Ruit 2004, no. 89 Exhibited: Galerie Ludorff, »Neuerwerbungen Frühjahr 2024«, Dusseldorf 2024; Galerie Ludorff, »Gerhard Richter. Abstrakte Bilder«, Dusseldorf 2013 Description: Gerhard Richter has been exploring abstraction in depth since the late 1960s. In the late 1990s, he developed the ‘Fuji’ series. As part of this series, Richter no longer applies paint to canvas, but to Alucobond, an aluminium composite panel. This highly durable panel with a smooth surface allows for the creation of particularly delicate colour structures. Richter applies the three colours that form the basis of the painting – a vibrant red, a rich green and a warm yellow-orange – to the substrate in three horizontal bands. Using a squeegee, a painting tool resembling a narrow plastic strip, the artist applies the white oil paint and draws it across the coloured surface in thin layers from the top to the bottom edge of the picture. The white paint blends with the tones of the background. This technique creates a highly complex, delicate structure on our panel, characterised by great painterly subtlety. Viewed from top to bottom, red, green and white alternate with one another. The orange, also used by Richter, is now only partially visible in the right-hand half of the composition. As the application of paint with a squeegee can only be controlled to a limited extent, the principle of chance comes into play. The title ‘Fuji’ allows for interpretation on two different levels, namely, ‘[…] the conical volcano on the island of Honshu, which, as Japan’s sacred mountain, is the country’s national symbol, and the Japanese film and photography manufacturer of the same name, whose products are also widely available in Germany. As a photographer, Richter sometimes uses Fuji film; furthermore, in 1991 he spent two weeks travelling through Japan, during which he saw the famous mountain. Some of the paintings, with their streaky, at times almost graphic structural elements, do indeed bear a distant resemblance to old-master Japanese or Chinese landscape depictions.” The background to the creation of the ‘Fuji’ paintings lies in the approach made to the artist by Helmut Friedel, director of the Städtische Galerie im Lenbachhaus. Richter’s ‘Atlas’ – a collection of photographs, sketches, documents and reference materials by the artist – was to be acquired for the Lenbachhaus collection. To finance the purchase, Richter agreed to paint a series of oil paintings for the museum. The proceeds from the sale of these ‘Fuji’ paintings played a key role in enabling the museum to acquire the ‘Atlas’ collection of documents. Much like the works in the ‘Green-Blue-Red’ series, the appearance of each individual painting in the ‘Fuji Edition’ varies considerably, as they were painted in portrait rather than landscape format. Furthermore, the varying degrees to which the base colours had dried by the time the white layer was applied result in the colours blending in ever-changing ways. Whilst some ‘Fujis’, with their extremely delicate colour blends, invite the viewer to discover their detailed textures, others, in stark contrast, exude a particularly strong sense of self-assurance. Although the ‘Fujis’ comprise a series of 110 works conceived along the same lines, each one is unique and wonderfully illustrates the principle of Gerhard Richter’s abstract painting, which treads the fine line between conceptual work and the principle of chance.
Caretto & Occhinegro
Lucas Gassel (Deurne circa 1488-1570 Brussels) Landscape with the penitent Saint Jerome, circa 1543-1545 Oil on oak panel 56 x 85 cm Signed with traces of the monogram LG (interlaced) lower left on the rock Expertise by Peter van den Brink and the gallery is grateful to Luc Serck for confirming the authorship of this work
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
Serge Schoffel - Art Premier
Pendant depicting a trophy head Konyak Naga Northeastern India 19th century Wood, glass beads H. 7 cm Provenance: - Alain Schoffel, Paris, France - Philipp Konzett, Vienna, Austria Published in: - Schoffel, Alain, Arts Primitifs de l'Asie du Sud-Est, Alain and Françoise Chaffin, eds., Meudon 1981, p. 30.
Franck Anelli Fine Art
Secretary Charles Topino (1742-1803), master in 1773 Transition period Oak, Breccia marble top, bronze and marquetry in rosewood, amaranth, holly, sycamore, lemonwood, stained woods and tobacco wood H 139 x W 92 x D 38 cm Stamped TOPINO and bearing the Jurande hallmark 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.
Douwes Fine Art b.v.
Jeronimus van Diest (The Hague, 1631-1684) Herring busses under the protection of 'Men of War', circa 1652-1654 Oil on canvas 105.5 x 161 cm Monogrammed ‘I VD’ on the barrel at bottom right Provenance: Baron van Dedem collection, The Netherlands; M. Wolff Gallery, Amsterdam, before 1940; private collection, The Netherlands; Hoogsteder Gallery, The Hague, 1991; Inder Rieden collection, since 1991 Literature: Gerlinde de Beer, 'The Golden Age of Dutch Marine Painting-The Inder Rieden Collection', edited by Charles Dumas, Primavera Pers, Leiden 2019, Catalogue II, n° 43, pp. 682-694; Charles Dumas, Gerlinde de Beer, 'In de ban van de zee-De Gouden Eeuw van de Nederlandse marineschilderkunst', De Inder Rieden Collectie, Museum Bredius, 2019, Wilco, Amersfoort, The Netherlands, n° 60, ill. in colour; E. Buijsen, in: Buijsen/Ekkart/Dumas 1998, p. 121, fig. 3 in colour Exhibitions: Charles Dumas, Gerlinde de Beer, 'In de ban van de zee-De Gouden Eeuw van de Nederlandse marineschilderkunst', De Inder Rieden Collectie, Museum Bredius, 2019, Wilco, Amersfoort, The Netherlands, n° 60, ill. colour; The Hague 1998/99, without n°
Brun Fine Art
Giovanni and Cosimo Castrucci Pair of Bohemian pietra dura panels Prague, late 16th-early 17th century 20.5 x 26.5 cm 25 x 31 cm (framed) Expertise by Enrico Colle Literature: E. Colle, Enrico Colle, Brueghel: the Spirit of CollectingPaintings. Sculptures. Wonders., Milan, 2026, pp. 100-107; A. M. Giusti, Pietre Dure. L'arte europea del mosaico negli arredi e nelle decorazioni dal 1500 al 1800, Florence, 1992; A. M. Massinelli, The Gilbert Collection: Hardstones, cat. Gilbert Collection, London, 2000, pp. 29-31; W. Koeppe and Annamaria Giusti (eds.), Art of the Royal Court: Treasures in Pietre Dure from the Palaces of Europe, exh. cat. Metropolitan Museum of Art, New York, 2008, pp. 219-225, n° 66-69 Exhibitions: Brun Fine Art and De Jonckheere, Brueghel: the Spirit of Collecting. Paintings. Sculptures. Wonders., Milan, 2026
Artimo Fine Art
Antonio Alberto Nunes (Lisbon, 1838-1912) 'La Primavera'(Spring), 1889 White Carrara marble H 163 cm Signed and dated on the base 'Alberto Nunes / 1889' Provenance: commission by João Maria Correia Ayres de Campos, later 1st Count of Ameal (1847–1920), Coimbra; collection of the Count of Ameal, Coimbra; sale of the Collection of the Count of Ameal, July 1921, lot 1 (Printemps) Literature: J. B. d’Oliveira, 'Alberto Nunes - Esculptor portuguez', O Occidente: Revista Illustrada de Portugal e do Estrangeiro, vol. XXXVI, n° 1253-1255, Lisbon, 20 October-10 November 1913, pp. 332-347; Vente d’Objets d’Art - Collections 'Comte d’Ameal', July 1921, lot 1, Printemps This important life-size marble figure represents Spring as a young woman crowning herself with flowers. With both arms raised, she ties the ribbon of a floral garland around her hair, while a finely carved drapery falls from her shoulder and is gathered around her waist. La Primavera was commissioned directly from Antonio Alberto Nunes by João Maria Correia Ayres de Campos, later 1st Count of Ameal (1847-1920), the distinguished Portuguese collector and humanist based in Coimbra. The circumstances surrounding the commission and the creation of the sculpture are documented in the contemporary Portuguese illustrated journal O Occidente. The article describes Ayres de Campos approaching Nunes to commission 'a statue of a woman' and subsequently identifies the completed composition as Primavera. It describes 'a beautiful young woman crowning herself with flowers', with her arms raised as she ties the ribbon of the garland, and records the importance of the commission for the sculptor’s career. The sculpture subsequently remained in the Collection of the Count of Ameal, Coimbra. It is documented in the catalogue of the sale of the Ameal Collection in July 1921 as lot 1, under its French title Printemps, where it is described as a statue in Carrara marble by Alberto Nunes, measuring 1.63 metres in height.
Galerie Jean-François Cazeau
Niki de Saint Phalle (Neuilly-sur-Seine 1930-2002 La Jolla, USA) La Force (Strenght), 1987 Painted polyester resin 35 x 53.3 x 29.2 cm Edition of 10, numbered 3/10 Artist's signature and number '3/10 Niki de Saint Phalle' (on a plaque fixed at the bottom) Provenance: the artist's studio; Gallery Gimpel Fils, Londres; private collection, acquired in 1989; private collection, France
Laurent Schaubroeck
Paul Evans (USA, Newtown 1931-1987 Nantucket Island) and 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 Provenance: Martin Brooks, Doylestown 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.