This section will be available this Autumn.
Stern Pissarro Gallery
GLENN BROWN (b. 1966) Drawing 2 (after Delacroix/Raphaël) Executed in 2019 Acrylic on polyester film laid down on cardboard 109.2 x 94 cm Signed and dated lower right, Glenn Brown 2019 The work has 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, no. 6, pp. 40-41, 43-44, 125, 152 (illustrated, p. 41, detail illustrated, p. 43, exhibition view illustrated, pp. 44, 125) 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, no. 6, pp. 40-41, 43-44, 125, 152 (illustrated, p. 41, detail illustrated, p. 43, exhibition view illustrated, pp. 44, 125)
Willow Gallery
Georges Mathieu Boulogne-sur-Mer, France 1921 - Boulogne-Billancourt, France 2012 Forêts attentives Alkyd on canvas, signed. Inscribed verso. Painted 1989 Canvas size: 58 x 45in / 147 x 115cm Frame size: 63 x 50in / 160 x 128cm Provenance: Galerie Guy Pieters, Brussels Private Collection, Brussels Private Collection, Savoie Sale, Maison R&C, France, 17 July 2021, Lot 93 Private Collection, Europe This painting is accompanied by a certificate of authenticity from Mr. Jean-Marie Cusinberche
Maison D'Art
KAREL VAN VOGELAER called CARLO DEI FIORI (Maastricht 1653 – Rome 1695) Still Life with Flowers Oil on canvas, 64.5 x 46 cm Literature: From Light to Enlightenment, Exhibition catalogue, Shanghai Art Museum, 2005, N 30, pp. 114-116, 150. Exhibited: From Light to Enlightenment, Exhibition in the Shanghai Art Museum, China, 12 -17 November 2005.
Verdini Antiques
Vincenzo Raffaelli Rome, Via del Babuino 93 Performed between 1835 and 1845 ca. Round top in colored marbles "pebble" samples 200 ca. Diameter 91.2 cm = 3 Roman feet Thickness 5.2 cm = 2 Roman inches The round top in colored marble that we are dealing with, is a real "pebble" sample made of ancient "excavation" marble and modern marble, that is, used after the sixteenth century such as Malachite, Portoro or Napoleonic Orbicular Granite etc. The particularity and rarity of this table is given by the fact that the samples of marbles used, in addition to being rare then (and even more so today), were worked differently from all the other types of samples that were made between the eighteenth and nineteenth centuries. The sample tables of this period generally have a frame in black marble from Belgium or other fine marbles, which contains all the rare colored samples committed.
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
N. Vrouyr
Etablissements veuve Guillon et fils, Belgium Before 1925 Warp and weft, cellulose, pile, wool 460 x 370 cm Numbered at the back Literature: Arthur De Rudder, International exhibition of modern decorative and industrial arts (Paris, 1925): official catalogue of the belgian section Exhibition: International exhibition of modern decorative and industrial arts, Paris, 1925, Belgian Pavilion, gallery of complete interiors, dining room by the Maison Gustave and Edouard Blondel
Stern Pissarro Gallery
PABLO PICASSO (1881 – 1973) Guitare Executed in 1923 Pastel on paper 21 x 14 cm Signed upper right, Picasso Provenance: Galerie István Schlégl, Zürich Private collection, acquired from the above in 1988 Literature: C. Zervos, Pablo Picasso Oeuvres de 1923 à 1925, Vol. V, Editions cahier d'art, Paris, 1952, no. 70 (illustrated in black and white)
Galerie Nicolas Bourriaud
MEESTER Raymond de (1904–1995) Yawning Leopard Bronze with a nuanced brown patina, signed ‘Rd de Meester de B’, titled ‘Yawning Leopard’ and dated ‘1928–29’ Batardy cast, numbered I/III, bearing the stamp ‘BATARDY CIRE PERDUE BRUXELLES’, and the inscriptions ‘Épreuve d’Artiste’ and ‘cire perdue’ H. 45.2 x W. 41.6 x D. 15.5 cm. Circa 1928–1929 Bibliography: Léonard Dieleman, Raymond de Meester de Betzenbroeck, Animal Sculptor, Gallery Dieleman, Brussels 1989, reproduced under number 5 Xavier de Ghellinck Vaernewyck, ‘de Meester de Betzenbroeck’, Nouvelle Biographie Nationale, Part 6, Royal Academy of Belgium, Brussels, 2001, pp. 133–135
Maison D'Art
SANTI DI TITO (Borgo San Sepolcro, 1536 - Florence, 1603) Holy Family with Saint Joseph Reading and the Young Saint John the Baptist Oil on wood panel 93.4 x 68.3 cm Provenance: Property sold by Order of the Trustees of Mrs. Hue-William Property Settlement and The Executors of. Mrs. Hue-Williams Estate Sotheby's Old Master Paintings, 20th April 1994, as Florentine School, 16th Century, The Holy Family, lot 138.
Galerie Hurtebize
Marc CHAGALL (Belarus, Vitebsk 1887-1985 Saint-Paul de Vence, France) Lumière du Cirque 1969 Watercolor, pastel, gouache, colored inks, and pencil on a black print of lithograph M.566 38 x 52.3 cm Signed “Marc Chagall” at the bottom right Certificate of authenticity from the Comité Marc Chagall Provenance: Private Collection, France
Repetto Gallery
Artist: Carla Accardi (1924 - 2014) Title: Carminio su tela grezza Dates: 1997 Medium: Vinyl on raw canvas Dimensions: 50 × 70 cm Signature: Signed lower right; signed, titled, dated and archive number on the reverse Certificate of authenticity on b/w photograph signed by the artist, no. 18/98. Registered at Studio Accardi, Rome, archive no. 629A Provenance: Soffiantino Arte Contemporanea, Turin Private collection Literature: Germano Celant (edited by), "Carla Accardi. Catalogo ragionato", (Charta, Milano) 1999, p. 419, n. 1997 62 (B&N), ill.
Galerie Jean-François Cazeau
Guillaume Cornelis van Beverloo dit Corneille (1922-2010) et Michel Macréau (1935-1995) "Vendredi 14 novembre - Nous allons Corneille et moi essayer de travailler ensemble - A toi Cérès" 1968 Oil on canvas, collaborative work Signed « Corneille 68 » and « Macréau. M ». 100 x 200 cm Provenance: Artist's studio Collection Cérès Franco, collector and curator of Brazilian origin and patron of the Art Brut and CoBrA mouvements. Succession Cérès Franco. Private collection, France, acquired from the former. Exhibitions: - "En grand format, exposition inaugurale La Coopérative Musée Cérès Franco", Montolieu, 1er juillet – 31 octobre 2015. - "La Peau et les mots", La Coopérative - Musée Cérès Franco, Montolieu, 1er mai – 31 octobre 2016.
Repetto Gallery
Artist: Christo (1935 - 2020) Title: The Pont Neuf, Wrapped (Project for Paris) Dates: 1985 Medium: graphite, charcoal pastel, wax crayon, fabric, photograph collage on cardboard mounted on a stretcher Dimensions: 144,5 × 165 cm Upper element: 38 x 165 cm; lower element 106,5 x 165 cm Signed, dated and titled lower on the upper element The artwork’s details have been reviewed and confirmed by the Foundation Christo and Jeanne-Claude Provenance: Michael Cullen, London Deutsche Bank Collection, Frankfurt (acquired from the above in 1985)
Galerie Nicolas Bourriaud
BIZETTE-LINDET André (1906–1998) Diane the Huntress Bronze with a nuanced brown-green patina, signed ‘Bizette-Lindet’ Cast by Susse, bears the foundry’s mark ‘SUSSE Fres / PARIS / CIRE PERDUE’ and the inscription ‘BRONZE’. H. 64 x W. 70 x D. 20 cm. On a blackened wooden base Circa 1937–1938 A similar example is held at the Musée de la Piscine in Roubaix (Inv.: FNAC 6463) Bibliography: Amandine Delcourt, Bruno Gaudichon and Fanny Legru, "Faire le Beau. Le bestiaire de La Piscine", Ghent, Snoeck, 2017, p. 57
Klaas Muller
Maarten Rijckaert (Antwerp 1587 - Antwerp 1611) Forest Landscape with Hunters 17th century Oil on panel 32.4 x 49.5 cm This beautiful painting is a typical example of Maarten Ryckaert’s talent for creating atmospheric woodland scenes. The painting presents a dense forest filled with tall trees,a river, rough terrain and rocks. Soft light filters through the branches, creating contrasts between illuminated clearings and darker shadowed areas. In the foreground, a group of hunters on the left- and rightside accompanied by dogs: their small scale compared to the towering trees highlights the dominance of nature over human activity. The hunters add a sense of narrative and movement to the otherwise peaceful setting. Ryckaert uses earthy tones such as deep greens, browns, and golden highlights to create a rich and natural atmosphere. Fine details in the foliage, rocks, and tree trunks demonstrate his close observation of nature and his skill as a landscape painter. The scene evokes both tranquility and mystery, inviting the viewer to imagine the sounds and silence of the forest. The painting reflects the Baroque interest in dramatic natural scenery while also expressing a calm, contemplative mood. Through the balance of light, composition, and detail, Ryckaert transforms an ordinary hunting scene into a poetic vision of the natural world. Maarten Ryckaert was born in Antwerp and became especially known for his imaginative woodland scenes, rocky landscapes, and peaceful rural settings filled with travelers, hunters, and small groups of figures. Ryckaert studied painting in Antwerp and was strongly influenced by earlier Flemish landscape artists such as Joos de Momper and Jan Brueghel the Elder. Unlike many painters of his time who focused on religious or historical themes, Ryckaert specialized in landscapes, giving nature the leading role in his compositions. His works often combine realism with fantasy, creating dramatic forests, winding paths, and mysterious mountainous scenery.
Galerie von Vertes
Upright Motive, Maquette No. 4 1955 (conceived and cast between 1956 and 1962) Bronze with brown patina (cast h) 12.1 × 2.5 × 3.1 in., 30,8 × 6,4 × 7,9 cm Casts: 9 + 1 A.P. Fiorini Ltd, London Provenance: · Zabriskie Gallery, New York City · B.C. Deane Collection, US · D.J. Rosenthal Collection, US · Dr. Phillip Cohen Collection, Washington, D.C. · Private collection, Washington, D.C. (by descent from the above) · Bonhams, New York, 20 November 2025, lot 119 · Private collection, Switzerland Expertise: · This work is recorded in the Henry Moore Foundation archives. Literature: · Alan Bowness (ed.), Henry Moore, Sculpture and Drawings, vol. III: Sculpture 1955-64, London 1965, no. 381 (another cast illustrated pl. 15b) · Alan Bowness (ed.), Henry Moore, Sculpture and Drawings, vol. III: 1955-1964, London 1986, no. 381 (another cast illustrated p. 21) · Henry Moore Foundation (eds.), The Henry Moore Artwork Catalogue, online catalogue, no. LH 381 Background information: Upright Motive was the first in a series of narrow vertical sculptures by Moore, which he compared to totem poles. The Upright Motives were part of a large commission for the courtyard of the new Olivetti building in Milan. When he visited the site, "a lone Lombardy poplar growing behind the building convinced me that a vertical work would act as the correct counterfoil to the horizontal rhythm of the building. This idea ultimately grew into the 'Upright Motifs'."
Galerie Nicolas Bourriaud
MONIER Emile (1883–1970) Bust of a young Koumbo girl, 1930 Black veined marble, signed ‘EMILE MONIER’, dated ‘1930’ and titled ‘KOUMBO’ H. 65.5 x W. 43 x D. 30.5 cm. Circa 1930 Unique piece Possibly a Lobi girl from Burkina Provenance: public auction, Paris, 6 June 1984 Bibliography: E. Bénézit, Dictionnaire des peintres, sculpteurs, dessinateurs et graveurs, vol. 9, Paris, 1999, p. 756