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Dr. Nöth kunsthandel
Armand Guillaumin: "BORDS DE L´ORGE Á EPINAY", 1890, Oil on canvas, 81 x 65 cm, signed lower right, Certificate Comité Guillaumin, will be included in the second volume of the forthcoming catalogue raisonné , Provenance: Galerie Durand-Ruel, Paris; Clara de Plessis Whelan, New York; Sale Parke-Bernet Galleries, New York, 7th Nov 1946, lot 65; Mr. Jussaume, Buenos Aires; Mr. Foret, Buenos Aires; private collection , France (acquires from the above in 1956); sale: Christie`s London 7th Febr. 2001, lot 127; private collection Texas
Chambre professionnelle belge de la Librairie Ancienne et Moderne (CLAM)
PICASSO (P.) – PARMELIN (H.). Les Dames de Mougins. Paris, Imprimerie Union, 1964, presentation copy from Picasso to Dr. René-Albert Gutmann, one of his physicians, with an original drawing. PICASSO (P.). Felt-tip pen drawing. 298 x 270 mm. Signed and dated "Diego Picasso, 8.11.65, and Jacqueline [Picasso]". Librairie Lardanchet, Antiquarian bookseller
Rueb Modern and Contemporary Art
JAN SLUIJTERS (1881-1957) Greet van Kooten with headband signed and dated '10- oil on canvas 35.5x42 cm Provenance: Collection Salomon Beffie, Amsterdam Collection Willem Beffie, New York Galerie van Voorst van Beest, The Hague Collection Reens, Amsterdam Collection A.J. van Hillegondsberg, Blaricum Private Collection, Amsterdam Exhibited: The Hague, Pulchri Studio, Paintings, drawings and pointes-sèches of Jan Sluijters and Lodewijk Schelfhout, 7-3/7-25 1915 no. 40 Literature: On-line Catalogue Raisonné Jan Sluiters-www.rks.nl/images/100130
Galerie von Vertes
Patty Raynes and son 1985 Acrylic and silkscreen ink on canvas 40.2 × 40.2 in., 102 × 102 cm Verso signed and dated 'Andy Warhol 85' Provenance: · Patty Raynes, USA (1985 directly acquired from the artist) · Private collection, USA (2022 acquired from the above) Background information: In 1985, Patty Raynes commissioned two works, this one with a yellow background and a second one with a white background. ‘Patty Raynes and Son’ from 1985 is one of a series of portraits in which Warhol no longer exclusively depicted global celebrities, but increasingly portrayed members of his social environment - individuals whose social position exerted a symbolic aura, even if they remained outside the pop-cultural canon. Patty Raynes came from a respected family of American industrialists, socialite and daughter of oil tycoon Marvin Davis, a fact that inevitably lends the work the character of a status portrait. Warhol, who was always concerned with the relationship between appearance and identity, addresses the portrait here as an expression of social affiliation. The subject, the depiction of a mother and child, is immediately reminiscent of the archetypal motifof the Madonna and Child. Warhol adopts this traditional pictorial form but transforms it into a contemporary icon: the sacred content isdisrupted by the screen-printing technique, giving the scene a cool, distanced character. · Patty Haynes and son emerge from this mature period in Warhol’s oeuvre, when the artist extended his repertoire of subjects to include his panoply of famous friends, artists, actors, and socialites. A collection idolizing the who’s who of New York, Warhol intended for the 40 by 40-inch series to be exhibited together in a “Portrait of Society,” a dream eventually realized at the artist’s retrospective Andy Warhol—From A to B and Back Again at the Whitney Museum in New York in 2018.
Gallery Sofie Van de Velde
Victor Servranckx (1897 Diegem BE – 1965 Vilvoorde BE) Opus 20, (Calm Blocks Fallen from an Obscure Disaster), 1927 Signed and dated lower left: SERVRANCKX 1927 Oil on canvas 146 × 81 cm Thanks to a photograph showing the artist during his solo exhibition at the Palais des Beaux-Arts (Brussels) in January 1929, we know that the painting was exhibited there. Félix Carlier acquired the work at the group exhibition (featuring works by De Boeck, Flouquet, Gailliard, and Servranckx) at Galerie Le Centaure in Brussels in 1929. Provenance: Félix Carlier, Waermael-Boisfort (purchased from Galerie Le Centaure, Brussels, 1929) Galerie J.-P. Alaerts, Brussels London, Christie’s, 16 October 1990, lot no. 61 (illus.) Lokeren, De Vuyst, 6 October 2001, lot no. 489 Private collection, Brussels Galerie Ronny Van de Velde, Antwerp Exhibitions: Brussels, Palais des Beaux-Arts, 1929 (no catalogue) Brussels, Galerie Le Centaure, Exhibition De Boeck, Flouquet, Gailliard, Servranckx, 1929, no. 33 Brussels, Palais des Beaux-Arts, 1947, no. 45 “146 × 92 cm” Brussels, Musée d’Ixelles/Museum van Elsene, Retrospective Le Centaure. Homage to Walter Schwarzenberg, 1963, no. 117 Brussels, Musée d’Ixelles/Museum van Elsene, 1965, no. 107 Hasselt, Provinciaal Begijnhof, 1970, no. 57 (illus.) Literature: La Nation belge (Brussels), 12th year, no. 48, 17 February 1929, p. 3 (illus.) Le Peuple (Brussels), 5th year, no. 48, 17 February 1929, p. 1 (illus.)
Willow Gallery
André Lhote Bordeaux 1885 – Paris 1862 Pique-nique à Mirmande Oil on paper, laid down on canvas, signed. Painted in 1939 Paper size: 42 x 50in / 106 x 127cm Frame size: 50.5 x 58.5in / 128 x 149cm 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 Exhibited: New York, Soufer Gallery, André Lhote: Cubism and Later Periods, April-May 1988 (illustrated in color; dated 1927). Literature: This work is accompanied by a certificate of authenticity from Dominique Bermann Martin and will be included in her forthcoming Lhote catalogue raisonné.
Galerie Jean-François Cazeau
Armand Fernandez, known as ARMAN (1928–2005). ‘La grande nuit’, 1994 Acrylic and brushes on canvas, eight panels, signed on the edge, unique piece. Height: 292 – Width: 413 cm Provenance: Artist's studio Given by Arman to his daughter Anne Fernandez. Exhibitions: - Arman, "La Nuit Etoilée", Château Notre-Dame des Fleurs, Winter 1994/1995, Galerie Beaubourg, featured on the cover of the catalogue, illustrated across a double-page spread (pp. 28–29), illustrated on page 32 behind Arman. - "Arman s’installe aux Baux de Provence", 4 June to 16 October 2011, organised by the A.R.M.A.N Foundation, illustrated on page 22 of the catalogue. Bibliography: Illustrated in the Catalogue general of the official Arman website, Arman-Studio.
Galerie de la Présidence
Sonia DELAUNAY (1885-1979) “Rythme couleur” Paris 1972 Gouache on paper 54,5 x 38 cm – 21.45 x 14.96 in. Signed lower right Provenance - Private collection, Paris Certificate of Jean-Louis Delaunay and Richard Riss This is one of the preparatory gouaches for the Album Les Illuminations, containing 15 stencils, illustrating 9 poems by Arthur Rimbaud.
Snackers Antiques & Fine Art
Cross with Ivory corpus, Walter Pompe, Antwerp 1770 Cross with ivory corpus Crafted by Walter Pompe, Antwerp 1770, Signed Walter Pompe was a very well-known sculptor, especially of Buxus/Palm and Ivory carvings The Calvary richly decorated, also featuring ivory bones, skull, and the snake with apple. With CITES document. H. 57.5 cm W. 27 cm D. 11 cm
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
Willow Gallery
Jean Dufy Le Havre, France 1888 - La Boissière, Boussay, France 1964 Le Pont-Neuf Oil on canvas, signed. Painted c.1950 Canvas size: 18 x 21in / 46 x 53cm Frame size: 24 x 27in / 61 x 68cm Provenance: Private Collection, Neuilly-sur-Seine, France Literature: Jacques Bailly, Catalogue raisonné de l'œuvre de Jean Dufy, volume III, éditions Jacques Bailly, Paris, 2024, reproduced page 233 n°B 1850
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
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.
Desmet Fine Arts
Odoardo Fantacchiotti (1809 – 1877) MUSIDORA Inspired by the James Thomson’s poem ‘Summer’, originally published in 1727 Marble Firenze, 1859 Signed: PER COMMIS DEL MERITIS / … / ODOARDO FANTACHIOTTI / SCOLPIVA IN FIRENZE / L’ANNO 1859 Provenance: Commissioned by August Belmont (1813-1890) USA Randall family, Clarendon Court (Newport – USA) Published: Ricordi fotografici degli artisti contemporanei in Toscana : ‘La Musidora’(Firenze-1858). V. Lia Bernini, G. Moradei, Odoardo Fantacchiotti scultore (1811-1877): atti delle giornate di studio nel bicentenario della nascita 1811-2011, (Toscana 2021), Volume 227, pp. 37-41 Other verions: 1862: for Baron Belper, Edward Strutt (Israele collection) 1865: for the king of Portugal (Lisbon Palacio Nacional da Ajuda) Musidora H 167,6 x W 49 x D 49 cm H 66 x W 19 1/ x D 19 1/3 inch Plinth H 95,3 x D 63 cm (at base) H 37 1/2 x D 24 4/5 inch Total height H 262,9 cm (103 1/2 inch) Art Loss Register: S00258863
Chambre professionnelle belge de la Librairie Ancienne et Moderne (CLAM)
The last judgement Engraving after Pieter Bruegel de oude (1525-1569) Engraved in 1558 by Pieter van der Heyden (1530-1584) Published by Hieronymus Cock (1517-1570) References: New Hollstein Dutch first state of two 22.5 x 29.4 cm Lex Antiqua, Antiquarian bookseller
Gallery Sofie Van de Velde
Georges Vantongerloo (1886 Antwerp BE – 1965 Paris FR) Spiral with Certain Spots, 1946 Signed and dated: “Spirale avec certaines taches Paris 1946 G. Vantongerloo” (title / verso) Oil on masonite 738 × 588 mm Provenance: The artist Georges Baines Collection (acquired directly from the artist) Bernard Baines Private collection, Switzerland Galerie Ronny Van de Velde, Antwerp Exhibitions: Paris, Palais des Beaux-Arts de la Ville de Paris, 1st Salon des Réalités Nouvelles. Abstract Art, Concrete Art, Constructivism, Non-Figurative, July 1946 Zurich, Kunsthaus Zürich, Antoine Pevsner, Georges Vantongerloo, Max Bill, 15 October – 13 November 1949, no. 78 Washington, Corcoran Gallery of Art, Georges Vantongerloo. A Traveling Retrospective Exhibition, 22 April – 17 June 1980, no. 176 (later shown in Dallas and Los Angeles) Brussels, Royal Museums of Fine Arts of Belgium, Georges Vantongerloo 1886–1965, 23 January – 16 March 1981, no. 176 Zurich, Kunsthaus Zürich, Georges Vantongerloo, 3 April – 17 May 1981, no. 176 Antwerp, Ronny Van de Velde, Georges Vantongerloo 1886–1965, 15 December 1996 – 31 March 1997, OCNO no. 176 Barcelona, MACBA – Museu d’Art Contemporani de Barcelona, Force Fields: Phases of the Kinetic, 19 April – 18 June 2000, no. 232 (later at the Hayward Gallery) Le Cateau-Cambrésis, Musée Matisse, Georges Vantongerloo 1886–1965, A Pioneer of Modern Sculpture, 28 October 2007 – 2 March 2008 (later at Mu.ZEE) Madrid, Museo Nacional Centro de Arte Reina Sofía, Georges Vantongerloo: A Longing for Eternity, 3 November 2009 – 22 February 2010 Literature: Georges Vantongerloo, Paintings, Sculptures, Reflections, in Problems of Contemporary Art No. 5, New York, 1948, no. 176, Wittenborn, fig. 44 Georges Vantongerloo: A Traveling Retrospective Exhibition, Corcoran Gallery of Art / Dallas Museum of Fine Arts / Los Angeles County Museum of Art, Loiseau, Brussels 1980, p. 146 Jan Ceuleers, Ronny Van de Velde, Georges Vantongerloo 1886–1965, Antwerp, OCNO, 1996–1997, no. 176, p. 157 illustrated Serge Lemoine, Georges Vantongerloo (1886–1965). A Pioneer of Modern Sculpture, Musée Matisse, 2007, p. 148 illustrated Larkin Erdmann, Five Years, Zurich, 2019, pp. 83–84 Ostend, Mu.ZEE, Belgium–Argentina. Transatlantic Modernisms, 1910–1958, 2022
Galerie von Vertes
Repetition GL.A 1996 Collage and acrylic on canvas 16.1 × 12.5 in., 41 × 31,8 cm Verso signed, dated and titled Provenance: · Shinwa Auction, 23 November 2014, lot 145 · Private collection, Japan (acquired from the above) · Bonhams, Hong Kong, 11 June 2016, lot 26 · Private collection, Asia (acquired from the above) · Christie's, Hong Kong, 3 December 2020, lot 517 · Private collection, London (acquired from the above) Expertise: · Certificate of authenticity from the Yayoi Kusama Studio on 21 August 2012 Background information: Repetition or seriality would become her signature technique in everything that she created: “Repetition of the same patterns, an action which stems from my disease, is applied in my writing just as it is in my artwork. Dreams and hallucinations are actually occurring. This obsessional image is what I have transformed my disease into, and is therefore, to me, irreplaceable.”
Bernardini Milano
Patek Philippe, Genève. Rare waterproof chronograph in rose gold, 1945 Extremely rare and well preserved waterproof Patek Philippe Ref. 1463 chronograph in rose gold, made in 1945, bearing a uniquely spotless two-tone rose dial. The reference 1463, known in the collector’s community as “Tasti Tondi” (round pushers). This is a very sought after version of Patek’s chronograph produced between the early 40’s and mid 60’s. This watch is complete of its appropriate extensible Gay Frères bracelet. This example is one of the conditions ever appeared in the last years. [05/08/26, 16:39:03] Max bernardini: Patek Philippe, Geneve. Extremely rare and well preserved waterproof chronograph in rose gold, made in 1945, bearing a uniquely spotless two-tone rose dial. The watch is complete of its appropriate extensible Gay Frères. Previously unknown to the market. [05/08/26, 16:45:19] Max bernardini: Ref. 1463, known in the collector’s community as “Tasti Tondi”(round pushers) This is a very sought after version of Patek’s chronograph produced between the early 40’s and mid 60’s. This example is one of the conditions ever appeared in the last years.
Galerie de la Présidence
Hans HARTUNG (1904-1989) « T1966-E40 » 1966 Vinyl paint on canvas and scraping 27 x 35 cm – 10.62 x 13.77 in. Signed and dated lower left Titled on the reverse, dedicated and signed Provenance - Waintrob collection, USA - Galerie Applicat-Prazan, Paris - Private collection, Paris This work is registered in the Archives of the “Fondation Hans Hartung & Anna-Eva Bergman” under number : T 1966-E40