This section will be available this Autumn.
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.”
Desmet Fine Arts
Egidius Van den Vliete, called Egidio della Riviera (Mechelen, circa 1535 – Rome, 1602) (Workshop of) ALLEGORY OF SLEEP Morpheus, Phobetor and Phantasos, the Oneiroi of Greek myth Marble Rome, late 16th – early 17th century Provenance: The Estate of Stanley Moss, New York Related versions: Galleria Borghese, Rome, inv. no. CLXXXIV (acquired by Cardinal Scipione Borghese by 1609) Formerly Giustiniani collection, Rome Formerly Palazzo Colonna, Rome A further group of this subject, photographed under the same title in the Palazzo Pitti, Florence H 25.4 x W 64.8 x D 59.7 cm H 10 x W 25 ½ x D 23 ½ inch
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 de la Présidence
Geer van VELDE (1898-1977) “Composition” Circa 1953 Oil on canvas 81 x 100 cm – 31.88 x 39.37 in. Signed with the initials “GvV” lower right Signed on the reverse “G. van Velde” Provenance - Collection Michel Guy, Paris - Private colletion, Paris - Private collection, France Bibliography - This work will be included in the “Catalogue Raisonné” of Geer van Velde Painted Work currently in preparation by Pierre François Moget son of Piet Moget, under the N°118 059. Certificate of Pierre François Moget.
Snackers Antiques & Fine Art
A pair of large bronze Empire candelabra depicting Mercury and Fortuna Period: Empire, 1820 A pair of large bronze Empire candlesticks. These impressive candlesticks are made of original gilded bronze and patinated bronze. An obelisk-shaped base with Mercury and Fortuna on it, symbolizing trade and prosperity. This candlestick design is rare due to its dimensions, the beautiful detached bronze figure and the details in the form of RAM heads and claw feet. H. 100 cm W. 27 cm D. 27 cm Literature: Marie-France Dupuy-Baylet, L’Heure, Le Feu, La Lumière, Les Bronzes du Mobilier National 1800-1870, 2010, pp. 254-255
Bernardini Milano
Rolex, Bienne. Rare yellow gold “oyster chronograph” in pristine condition, 1956 One of the 36 made of this version of chronographs in 18kt. gold in the late 50’s. The untouched case and extensible bracelet host a perfect creamy silvered dial. The watch is complete of its original box, papers, invoice and various communications between owner and the Swiss Maison.previously unknown to the market, it’s a benchmark in terms of rarity and conservation.
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
Francis Janssens van der Maelen
Sculpture ‘EVOCATION’ par Philippe Wolfers Granit H 39 cm Date : °1923 Ecole belge Buste de femme Art Déco aux cheveux garnis d'un diadème, sculptée dans la pierre. Signé par gravure sur le cou "Ph. Wolfers". Provenance: Famille Wolfers. Réalisée pour le célèbre ensemble Gioconda. Le buste « Evocation » de Philippe Wolfers, réalisé vers 1923 en granit, faisait partie de l’emblématique ensemble « Gioconda », conçu pour l’Exposition internationale des Arts décoratifs de Paris en 1925. Dans cet ensemble, Wolfers voulait créer une véritable œuvre d’art totale, où sculpture, mobilier, architecture et orfèvrerie dialoguent autour d’un même univers esthétique – Gioconda reçut d’ailleurs le Prestigieux Grand Prix de l’exposition.
Caretto & Occhinegro
The Master of Antwerp Adoration (Active in Antwerp first decades of XVI century) "The Annunciation to St Anne" Oil on panel cm 59x62 1525 c. Expertise Peter van den Brink Bibliography: Van den Brink 1997, pp. 32, 35 note 22, fig. 5 Van den Brink 2007, pp. 168, 175, 179 note 38, fig. 16b Cécile Scailliérez, in Paris 2017, pp. 84, 86, fig. 32
Willow Gallery
Henri Martin Toulouse, France 1860 - Labastide-du-Vert, France 1943 La Maison de Marie-Louise Oil on canvas, signed. Canvas size: 35.5 x 46 in / 90 x 117cm Frame size: 43 x 53.5in / 109 x 136cm Provenance: Private Collection, Argentina This painting is accompanied by a certificate of authenticity from Marie-Anne Destrebecq-Martin
Galerie Jean-François Cazeau
Niki de SAINT PHALLE (1930-2002) La Force (Strenght), 1987 Painted polyester resin Edition of 10, numbered 3/10 Artist's signature and number « 3/10 Niki de Saint Phalle » (on a plaque affixed to the underside) 35 x 53.3 x 29.2 cm Provenance: Artist's studio Gallery Gimpel Fils, Londres Private collection, acquired in 1989 Private collection, France
Almine Rech
Tom Wesselmann (b.1931, Cincinnati, OH, US. d.2004, New York, NY, US), 'Long Beach Seascape', 1991/95. Signed and dated on the back. Alkyd oil on cut-out aluminum, 99.1 x 190.5 cm - 39 x 75 in. Provenance: The Estate of the Artist. Tom Wesselmann’s creative approach was in constant evolution throughout his long and productive career. Never one to follow artistic convention, he continually sought new materials and formats. His fascination with innovative surfaces and technologically advanced techniques drove him to push aesthetic and formal frontiers, as seen in 'Long Beach Seascape'. In the 1980s, Wesselmann developed a laser cutting technique that opened up a new world of creative possibilities. Using this novel method, the artist delighted in transposing his bold visual vocabulary into works that challenged the boundaries between painting, drawing, and sculpture. Speaking to the New York Times in 1985, Wesselmann couldn’t contain his enthusiasm for the new medium: “I've just had the best year of my life [...] I always work in a kind of near ecstasy, anyway, but there's really been something about the new work that grabbed me.'' Centering dynamic line and vibrant color, 'Long Beach Seascape' demonstrates the artist’s endless pursuit of radical forms of creative expression.
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
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.
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.
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 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