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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
F. Baulme Fine Arts
Nicolas Vleughels (Paris 1668-1737 Rome) King Solomon Sacrificing to the Idols, 1721 Oil on canvas 38 x 52.5 cm Monogrammed and dated lower left 'N.V.F 1721' Provenance: Paris, de Troy sale, 9 April 1764, n° 123; Pierre Rémy collection, 1764 Literature: Bernard Hercenberg, Nicolas Vleughels, directeur de l’Académie de France à Rome, 1668-1737, Paris, Léonce Laget, 1975 (cat. n° 93, p. 89; engraving, fig. 100, repr.) Related works: Edme Jeaurat, after Nicolas Vleughels, King Solomon Sacrificing to the Idols, 1723, engraving; Nicolas Vleughels, King Solomon Sacrificing to the Idols, 1720, oil on panel, 21.5 x 30 cm, private collection; Nicolas Vleughels, Solomon and the Queen of Sheba, 1728-1729, oil on copper, 39 x 50.7 cm, Paris, Musée du Louvre (RF 1992 412)
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
Galerie Jean-François Cazeau
Victor Vasarely (Pecs 1908-1997 Paris) EG-2, 1965 Acrylic on canvas 160 x 160 cm Signed in the centre Countersigned, titled and dated on the reverse Certificate of authenticity by Pierre Vasarely dated 26 July 2020 Provenance: the artist’s studio; Galerie Denise René, Paris; private collection, France
Galerie Édouard Ambroselli
Jean-Baptiste Camille Corot (Paris, 1796-1875) Farm in Italy, circa 1843 Oil on paper mounted on canvas in a period gilt frame 18 x 24 cm Signed lower right ‘Corot’ Certificate of authenticity by Martin Dieterle and Claire Lebeau Provenance: Pottier collection, Paris; sale Artcurial, Paris, 19 June 2012, lot n° 81; private collection, Paris Literature: Martin Dieterle and Claire Lebeau, Sixième supplément à l'œuvre de Corot par A. Robaut et E. Moreau-Nélaton, Paris, 2018, repr. n° 46
Repetto Gallery
Christo (Gabrovo 1935-2020 New York) and Jeanne-Claude (Casablanca 1935-2009 New York) The Pont Neuf, Wrapped (Project for Paris), 1985 Graphite, charcoal pastel, wax crayon, fabric, photograph collage on cardboard mounted on a stretcher 144.5 x 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)
Stéphane Renard Fine Art
Maerten de Vos (Antwerp 1532 – 1603) The Four Elements: Air, Earth, Water and Fire Pen and brown ink wash on laid paper 100 x 138 mm for each drawing The drawings of Earth, Water and Fire are signed and dated 1579 Provenance: private collection, Lyon – France These four previously unpublished drawings were used around 1585 to produce the series of four engravings by Johannes Sadeler (Hollstein 529–532). The success of this publication led, a few years later, to the production of a second, smaller series by Raphael Sadeler, Johannes’s brother (Hollstein Dutch and Flemish, Maerten de Vos, XLIV–XLVI, 1360–1364, copy d.).
HELENE BAILLY MARCILHAC
Henri Martin (Toulouse 1860-1943 Labastide-du-Vert) La terrasse de Marquayrol au soleil du matin Oil on original canvas 65.4 x 92.4 cm Signed lower left 'Henri Martin' This work will be included in the forthcoming catalogue raisonné of Henri Martin’s work, currently in preparation by Marie-Anne Destrebecq-Martin
Thomas Deprez Fine Arts
Evariste Carpentier (Kuurne 1845-1922 Liege) Sous les rochers de Logne, 1908-1909 Oil on canvas 129.5 x 195.5 cm Signed lower right ‘Evte Carpentier’ Provenance: by descent in the family of the artist; anonymous sale, HdV Horta, Brussels, 4 December 2006, lot 110 as 'Sous les rochers de Logne'; private collection K.D., Belgium; thence by descent Literature: Annick Lemoine, Evariste Carpentier (1845-1922), Brussels: Mecenart, 1994, ill. p. 119, as 'Langs de rotsen van Logne-Sous les roches de Logne (ca. 1906)'; Fritz Carpentier, quoted in: Jacques Goijen, L'École liégeoise du paysage: ma merveilleuse aventure, Stavelot, Éditions Chauveheid, 1991, p. 27 Exhibitions: Salon triennal de Gand, 1909, as 'Paisible hameau de Logne', cf. Sander Pierron; Exposition Evariste Carpentier & Armand Apol, Brussels, Cercle Artistique & Littéraire, 1909-1910, as 'Paisible hameau de Logne', cf. press; Exposition Evariste Carpentier, Huy, Cercle Artistique, 1910, as 'Paisible hameau de Logne', cf. press; Exposition M. Romiée, Evariste Carpentier & R. de Baugnies, Liège, Cercle des Beaux-Arts, February 1911, as 'Paisible hameau de Logne', cf. press; Esposizione Internazionale di Roma, 1911, Padiglione del Belgio, cat. n° 10, as 'La capanna pacifica'; Logne Autrefois: Sur les traces d’Evariste Carpentier et de l’École Liégeoise du Paysage, Musée du Château fort de Logne, 2019, p. 6, 24-25, ill. cat. n° 9, as 'Sous les rochers de Logne' Sander Pierron, 'Les Lettres et les Arts: Le Salon de Gand, II' in 'L'Indépendance Belge', 1 September 1909, p. 3. 'Evariste Carpentier nous oblige à quitter ce coin hivernal du Brabant, pour admirer l’estival et Paisible hameau de Logne ; ceci est une page radieuse, la meilleure qu’ait signé ce maître fécond et divers. En ce site, d’un pittoresque fermement établi, l’ombre transparente des premiers plans s’opposent à l’ardent et léger ensoleillement des fonds. L’observation interprétative est accusée par la vérité des plans, obtenus par la ligne des éléments aussi bien que par les valeurs du coloris et la distribution de la lumière, qui se répète dans l’onde vive d’un ruisseau dont deux vaches suivent le bord. Une impression heureuse se dégage de cette œuvre qu’on peut considérer comme un beau poème pastoral.' Related documents: Letter from the artist to the renowned art critic Sander Pierron, dated 28 October 1909, in which he thanks him for the praising article about his painting. (Algemeen Rijksarchief, Fonds Sander Pierron, inv. I286-73.)
Gallery Sofie Van de Velde
Georges Vantongerloo (Antwerp 1886-1965 Paris) Spiral with Certain Spots, 1946 Oil on masonite 73.8 x 58.8 cm Signed and dated: 'Spirale avec certaines taches Paris 1946 G. Vantongerloo' (title / verso) Provenance: Georges Baines collection (acquired directly from the artist); Bernard Baines; private collection, Switzerland; Galerie Ronny Van de Velde, Antwerp Literature: Georges Vantongerloo, Paintings, Sculptures, Reflections, in Problems of Contemporary Art n° 5, New York, 1948, n° 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, n° 176, ill. p. 157; Serge Lemoine, Georges Vantongerloo (1886-1965). A Pioneer of Modern Sculpture, Musée Matisse, 2007, ill. p. 148; Larkin Erdmann, Five Years, Zurich, 2019, pp. 83-84; Ostend, Mu.ZEE, Belgium-Argentina. Transatlantic Modernisms, 1910–1958, 2022 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, n° 78; Washington, Corcoran Gallery of Art, Georges Vantongerloo. A Traveling Retrospective Exhibition, 22 April-17 June 1980, n° 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, n° 176; Zurich, Kunsthaus Zürich, Georges Vantongerloo, 3 April-17 May 1981, n° 176; Antwerp, Ronny Van de Velde, Georges Vantongerloo 1886-1965, 15 December 1996-31 March 1997, OCNO n° 176; Barcelona, MACBA-Museu d’Art Contemporani de Barcelona, Force Fields: Phases of the Kinetic, 19 April-18 June 2000, n° 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
Willow Gallery
André Lhote (Bordeaux 1885-1962 Paris) Pique-nique à Mirmande, 1939 Oil on paper, laid down on canvas 106 x 127 cm Signed lower right Certificate of authenticity issued by Dominique Bermann Martin and will be included in the forthcoming Lhote catalogue raisonné currently in preparation 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 Exhibition: New York, Soufer Gallery, André Lhote: Cubism and Later Periods, April-May 1988 (ill. in colour; dated 1927)
Maison D'Art
Santi di Tito (Borgo San Sepolcro 1536-1603 Florence) 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; sale Sotheby's Old Master Paintings, 20 April 1994, as Florentine School, 16th century, The Holy Family, lot 138
Douwes Fine Art b.v.
KEES van DONGEN (Rotterdam 1877 - Monte Carlo 1968) ‘La Rotonde’, c. 1949 Unique Watercolour over litho on paper: 24 x 21,5 cm signed 'van Dongen.' (lower right) Provenance - Kloppart Collections - Private collection, The Netherlands Literature - Roland Dorgelès, ‘Au beaux-temps de la Butte’, Paris 1949.
Galerie von Vertes
Yayoi Kusama (Matsumoto 1929-2026 Tokyo) Repetition GL.A, 1996 Collage and acrylic on canvas 41 x 31.8 cm Signed, dated and titled on the reverse Certificate of authenticity issued by the Yayoi Kusama Studio on 21 August 2012 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) 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.'
Galerie bei der Albertina ▪ Zetter
Vally Wieselthier (Vienna 1895-1945 New York) Female head with green flower, 1928 Red pottery, polychrome glaze H 28.5 x W 13.5 x D 14.5 cm Manufactured by the Wiener Werkstätte, model n° 494 Monogram VW, WW, MADE IN AUSTRIA, 494, I Hörmann WV-K 587 Minor chips professionnally restored Literature: cf WW-Archives, MAK Vienna, Photo-Archives WWF 110-42-3; cf Marianne Hörmann, Vally Wieselthier, Wien 1999, ill. p. 165, n° 77f and p. 286, WV-K 587 Exhibitions: Kaiserslautern, Museum Pfalzgalerie, 'Vally Wieselthier-Golden Girls n° 2', 2022/23; New York, Austrian Cultural Forum, Vally Wieselthier, Sculpting Modernism, 15 October 2025-9 February 2026
Stern Pissarro Gallery
Pablo Picasso (Málaga 1881-1973 Mougins) Guitare, 1923 Pastel on paper 21 x 14 cm Signed upper right 'Picasso' Provenance: Galerie István Schlégl, Zurich; private collection, acquired from the above in 1988 Literature: C. Zervos, Pablo Picasso Oeuvres de 1923 à 1925, Vol. V, Editions Cahiers d'arts, Paris, 1952, n° 70 (ill. in b/w)
Univers du Bronze
Antonin Mercié (Toulouse 1845-1916 Paris) Gloria Victis, circa 1880-1912 Bronze with richly shaded brown patina and gilt highlights H 187 x W 112 x D 91 cm Reduction n° 1 (3/5 from the original) Signed 'A.Mercié' and bears the founder's mark 'F. Barbedienne Fondeur' Presented as chief-model with assembly and mounting pins parts, like the one described in the Barbedienne catalogue raisonné (Rionnet, 2016): 'En janvier 1912, le sculpteur autorise l’éditeur à monter en épreuve et à mettre en vente le modèle n°1' (In January 1912, the sculptor authorised the publisher to produce a proof and put Model n° 1 on the market). A second example in this size is currently on display at the Musée des Augustins in Toulouse.
Edouard Simoens Gallery
Pierre Alechinsky Le trou du souffleur , 1997 Signed and dated on the back Acryl and ink on paper laid on canvas 146 x 113 cm 57 1/2 x 44 1/2 in Provenance "Pierre Alechinsky: Olie, acryl, aquarel, ets, litho..." Atelier 22, Schilde 2004 Literature/Press Wordt opgenomen in de oeuvrecatalogus in voorbereiding door de heer Frédéric Charron onder nr. 3216
Rueb Modern and Contemporary Art
Alighiero Boetti (Turin 1940-1994 Rome) Cinque x Cinque Venticinque, 1988 Embroidery 21 x 22 cm Signed and inscribed n° 82769 on the reverse Certificate of authenticity issued by the Archive Boetti n° 10891 dated May 2026 Provenance: kunsthandel E.J, van Wisselingh & Co, Haarlem, the Netherlands
W. Apolloni - Laocoon Gallery
Leoncillo Leonardi (Spoleto 1915-1968 Rome) Plate with abstract design, circa 1950 Glazed ceramic Ø 28 cm Signed below on the edge 'Leoncillo' Literature: M. F. Apolloni, M. Cardarelli (edited by), Leoncillo - Le Ceramiche, Rome 2018 Exhibition: Leoncillo: Earth, Fire and Colours. A retrospective exhibition 1939-1955