This section will be available this Autumn.
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)
Argento Gallery
Jacob Fransz. van der Merck ('s-Gravendeel circa 1610-1664 Leiden) Portrait of a man with a skullcap, 1646 Oil on panel 72.5 x 56.5 cm Signed and dated upper right Provenance: private collection; Chorley’s Auctioneers, Cotswolds, 26 November 2025, lot 993 A portrait of an older man with a grey moustache, goatee and a skullcap. The painting is identified as a work by Jacob van der Merck on the basis of its style and signature. It closely resembles his signed male portraits from 1642-1648, painted during the period when he was principally based in The Hague.
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.
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
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
Galerie Berès
Henri Hayden (Warschau 1883-1970 Paris) Le banjo, circa 1920 Gouache on paper 28 x 36.7 cm Signed lower left 'Hayden' Certificate of authenticity by Pierre Célice dated 15 April 2012 This work will be included in the forthcoming Henri Hayden catalogue raisonné currently in preparation Literature: Henri Hayden (1883-1970), Bibliothèque Polonaise de Paris, 12 June-12 July 2013, pp. 28 Exhibition: Henri Hayden, Soixante ans de peinture 1908-1968, Musée National d'Art Moderne de Paris, 3 May-2 June 1968
Douwes Fine Art b.v.
Kees van Dongen (Rotterdam 1877-1968 Monte Carlo) La Rotonde, circa 1949 Unique watercolour over litho on paper 24 x 21.5 cm Signed lower right 'van Dongen.' Provenance: Kloppart collection; private collection, The Netherlands Literature: Roland Dorgelès, ‘Au beaux-temps de la Butte’, Paris, 1949
Klaas Muller
Gerard Ter Borch (Zwolle 1617-1681 Deventer) Portrait of a man with a black hat, circa 1650 Oil on oval panel 19.9 x 16.5 cm The gallery is grateful to Marjorie Wieseman, who endorsed the attribution on the basis of a photograph, and to Guido Jansen, who confirmed the attribution after examining the painting in person. Gerard ter Borch (1617-1681) was one of the most refined painters of the Dutch seventeenth century. Born in Zwolle, he received his first training from his father, Gerard ter Borch I, within a household where drawing and copying formed an essential part of daily artistic practice. Several of his siblings also became artists, contributing to a rich familial archive that documents the development of the Ter Borch workshop. After extensive travels through Amsterdam, Haarlem, London, Madrid and Münster, Ter Borch settled in Deventer, where he became a respected member of the city’s elite. Ter Borch is celebrated for his intimate genre scenes and portraits, distinguished by a subtle palette, delicate handling of light, and a keen sensitivity to gesture and expression. His paintings are marked by elegance, psychological depth, and exceptional technical skill, particularly in the rendering of skin and textiles. This portrait of a man wearing a black hat, painted on an oval panel, exemplifies these qualities. The sitter faces the viewer directly and meets our gaze with quiet self‑confidence, creating a sense of immediacy and silent dialogue. His restrained pose and understated attire suggest dignity without ostentation. The refined and harmonious colour scheme, composed of carefully balanced tones, is characteristic of Ter Borch’s portrait practice. The subtle fall of light gently models the face, giving the features clarity and depth without strong contrasts. The smooth surface of the panel enhances the precision of Ter Borch’s brushwork and contributes to the intimate character of the work. Rather than a display of status, the portrait becomes a concentrated study of presence and inner life.
Gallery Sofie Van de Velde
Cy Twombly (USA, Lexington 1928-2011 Rome) Untitled, Captiva Island, Florida, 1974 Gouache and pastel on a collage of paper and graph paper, on paper 75 x 106 cm Signed, dated, and inscribed 'Captiva ‘Feb 74’ on the reverse Provenance: Galerie Yvon Lambert, Paris; Pierre Horay collection, Paris; Heiner Bastian Fine Art, Berlin; acquired from the above by the present owner Literature: Y. Lambert, Cy Twombly: Catalogue raisonné des œuvres sur papier, vol. VI, 1973-1976, Milan, 1979, n° 110 (ill. p. 115); N. Del Roscio, Cy Twombly Drawings, Catalogue raisonné, Vol. 6, 1972–1979, Munich, 2016, n° 114 (ill. in colour p. 108) Exhibitions: Paris, Galerie Yvon Lambert, Cy Twombly, April-May 1974; Seattle, Richard Hines Gallery, Cy Twombly: Paintings and Drawings, July-August 1980
Galerie Flak
Goli Glin Buffalo Mask Baule, Ivory Coast, early 20th century Carved wood and pigments H 65.5 cm Provenance: Frank Crowninshield collection, New York, acquired before January 1936, presumably with the assistance of John D. Graham, New York; Jacques Seligmann Gallery, New York; collection of the Surrealist artist Enrico Donati (1909-2008), New York, acquired in the 1940s Exhibitions: Jacques Seligmann Gallery, New York, 'Exhibition of Sculptures of Old African Civilizations', 4-22 January 1936; Brooklyn Museum, New York, 'African Negro Art from the Collection of Frank Crowninshield', 20 March-25 April 1937
Desmet Fine Art
Odoardo Fantacchiotti (Rome 1809-1877 Florence) Musidora, Firenze, 1859 Inspired by the James Thomson’s poem ‘Summer’, originally published in 1727 Marble H 167.6 x W 49 x D 49 cm Plinth: H 95.3 x D 63 cm (at base) Total height: 262.9 cm Signed 'Per commis del meritis / ... / Odoardo Fantachiotti / Scolpiva in Firenze / l'anno 1859 Art Loss Register: S00258863 Provenance: commissioned by August Belmont (1813-1890) USA; Randall family, Clarendon Court (Newport, USA) Literature: 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)
Galerie Hurtebize
Marc Chagall (Vitebsk 1887-1985 Saint-Paul de Vence) Lumière du Cirque, 1969 Watercolour, pastel, gouache, coloured inks, and pencil on a black print lithograph M.566 38 x 52.3 cm Signed 'Marc Chagall' lower right Certificate of authenticity from the Comité Marc Chagall Provenance: private collection, France
Galerie des Modernes
Pierre Alechinsky (Brussels, 1927) Signes, 1951 Oil on canvas 19.5 x 30 cm Signed lower right, countersigned, dated and titled on stretcher A CoBrA-period work executed in May 1951 Certificate of authenticity by Myriam Prévot-Douatte, director of Galerie de France This document bears the following handwritten note by Pierre Alechinsky: 'P. Alechinsky, who would like to be able to borrow this small painting for a forthcoming retrospective' To be included in the Pierre Alechinsky catalogue raisonné, currently in preparation by the artist and Frédéric Charron, under n° 110 Provenance: Galerie de France, Paris; private collection, France
Epoque Fine Jewels
Van Cleef & Arpels Art Deco bracelet, circa 1925 Platinum and diamonds Total diamond weight: approx. 30 ct Signed Van Cleef & Arpels and numbered The rhythmic, continuous wave motif creates a strong sense of movement and symmetry, characteristic of the refined geometric elegance of the Art Deco period. The dynamic repetition of the wave forms evokes the era’s fascination with speed, progress and technological innovation, reflecting the visual language of the Machine Age, in which streamlined motion and modern engineering inspired both architecture and the decorative arts. This impression of forward movement is reinforced by the uninterrupted horizontal flow of the design, giving the bracelet a distinctly modern and energetic presence. Executed in platinum, the bracelet displays exceptional craftsmanship and meticulous stone setting, allowing maximum brilliance while preserving the lightness of the openwork structure. The scroll-like abstraction of natural forms into repeating patterns exemplifies the Art Deco ideal of transforming organic movement into elegant modern geometry.
Anthony Short Antiques Ltd.
Large Antler Coat Stand by J. Parker of Woodstock. England, circa 1850 A striking and rare antler and oak hall stand attributed to J. Parker of Woodstock, noted cabinetmaker and upholsterer active in the 1850s. The central pole bears a diamond registration plaque, dating the original design to 15 January 1852, when it would have been registered with the National Patent Office. Given the close proximity of Woodstock to the Blenheim Park Estate and its historic deer herd, it is highly likely that the antlers used in this piece originate from Blenheim. A closely related, documented example is held in the collection of the National Trust at Speke Hall, England. This wonderfully sculptural stand is composed of interlaced antlers and oak, forming an elegant rack for hats and coats. The lower section incorporates a basin for umbrellas and walking sticks, retaining its original tole liner, all raised on bun feet. The whole is mounted on a solid oak barley twist column, topped by a turned finial, lending both movement and architectural presence. Darkly toned with a rich, well developed patina, the stand embodies the lodge style aesthetic so prized in the late 19th-century. Robust hardwood construction and finely worked antlers demonstrate high quality craftsmanship and enduring stability. Antler furniture rose to prominence following the Great Exhibition of the Works of Industry of All Nations, London, 1851, where such pieces were presented as fashionable novelties of modern living. Designers such as the German horn carver and furniture maker H. F. C. Rampendahl helped to establish this distinctive genre, which was soon produced in series for an aspiring European middle class. Both practical and highly decorative, this unusual 19th-century antler and oak hall stand is ideal for an entrance hall, where it serves not only as a functional piece for coats, hats and umbrellas, but also as a true conversation piece and a statement of refined country house style. Height 210cm (82.7in) Diameter 57cm (22.4in)
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
Snackers Antiques & Fine Art
Louis Philippe mantel clock Paris, circa 1835 Produced by the clockmaker Douyon Partially fire-gilt and partially patinated bronze H 70 x W 75.5 x D 27 cm The goddess Victoria is depicted seated on a cushion, leaning against the clock and holding a laurel wreath. At her feet lie a caduceus and an anchor. Beneath the clock are ears of corn and fruit. The ears of corn and fruit signify abundance; the anchor symbolises fidelity; and the laurel wreath represents victory.
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
Galerie Boulakia
Georges Mathieu (Boulogne-sur-Mer 1921-2012 Boulogne-Billancourt) Louis VII épouse Eléonore d'Aquitaine, 1958 Oil on canvas 97 x 162 cm Signed bottom left Provenance: Galerie Europe, Paris This artwork is referenced as an authentic artwork in the 'Archives by Jean-Marie Cusinberche on Georges Mathieu' and an attestation will be provided to the buyer
Argento Gallery
Master of the portrait of the Van Collen family Portrait of a family in a wood, circa 1660 Oil on canvas 95 x 108 cm Provenance: sale of the Dr F. Koser collection, Keller & Reiner, Berlin, 6-7 March 1906, lot 87; private collection, Stockholm, 1938; sale, Bukowskis, Stockholm, 19 April 1961, lot 136, ill. as Ferdinand Bol, signed and dated 1666; private collection Literature: Bukowskis, 100 Years, 1870-1970, Stockholm, 1970, pp. 36-37, ill. as Ferdinand Bol; Albert Blankert, Ferdinand Bol (1616-1680): Rembrandt’s Pupil, 1982, pp. 191-192, n° R276 (attribution to Bol rejected) Attributed to the unidentified artist known as the Master of the portrait of the Van Collen family, who also painted the portrait of Jeremias van Collen, Susanna van Uffelen and their children in the Rijksmuseum, Amsterdam. Probably painted around 1660, the present work shows the influence of Jan Mijtens in its arrangement of the family within a wooded landscape.
Galerie de la Présidence
Hans Hartung (Leipzig 1904-1989 Antibes) T1966-E40, 1966 Vinyl paint on canvas and scraping 27 x 35 cm Signed and dated lower left Titled on the reverse, dedicated and signed This work is registered in the Archives of the Fondation Hans Hartung & Anna-Eva Bergman under n° T 1966-E40 Provenance: Waintrob collection, USA; Galerie Applicat-Prazan, Paris; private collection, Paris
F. Baulme Fine Arts
Claude-Marie Dubufe (Paris 1790-1864 La-Celle-Saint-Cloud) Expression Head: Modesty, circa 1827-1828 Oil on canvas 55.5 x 46.5 cm Provenance: private collection, England Literature: Emmanuel Bréon, Claude-Marie, Édouard et Guillaume Dubufe, Portraits d’un siècle d’élégance parisienne, exh. cat., Paris, Délégation à l’Action Artistique de la Ville de Paris, 1988 (engraving after the present painting, p. 70, repr.) Related work: Claude-Marie Dubufe, Modesty, 1828, engraving
