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Pauline Janssen
Friedrich Kreuter for Koch Edwardian tiara, circa 1911 Diamond & Ceylon Sapphires Total weight 61.7 gr Set with old cut and rose cut diamonds and faceted sapphires. Estimated centre diamond weight approximately 3.70 carats. Estimated total diamond weight approximately 20.00 carats. Estimated centre sapphire weight approximately 6.50 carats. Estimated total sapphire weight approximately 12.00 carats. The sapphires are of Ceylon origin with no indications of heat treatment. Diamonds are bright & lively. Mounted in platinum. German work by Friedrich Kreuter for Koch. Weight 61.5 gr. Accompanied by a CGL laboratory certificate. Accompanied by the original fitted box.
Dr. Nöth kunsthandel
Armand Guillaumin (Paris 1841-1927 Orly) Les hauteurs de la Sedelle, Crozant, 1910 Pastel on paper 48 x 63 cm Signed lower left Certificate of authenticity from the Comité Guillaumin This pastel will be included in the second volume of the forthcoming catalogue raisonné currently in preparation Provenance: Galerie Marcel Bernheim, Paris (label on the reverse); collection F., Paris
Galerie Perrin
Odilon Redon (Bordeaux 1840-1916 Paris) Femme de profil, circa 1901-1905 Oil on paper mounted on panel 52 x 49.7 cm (unframed) 71 x 68 cm (framed) Signed lower right 'Odilon Redon' This work will be included in the forthcoming catalogue raisonné currently in preparation by the Wildenstein Plattner Institute Provenance: collection Roger Imbert
Galerie de la Présidence
Sonia Delaunay (Ukraine, Hradyzk 1885-1979 Paris) Rythme couleur, 1972 Gouache on paper 54.5 x 38 cm Signed lower right Certificate of authenticity issued by Jean-Louis Delaunay and Richard Riss Provenance: private collection, Paris This is one of the preparatory gouaches for the 'Album Les Illuminations', containing 15 stencils, illustrating 9 poems by Arthur Rimbaud
Caretto & Occhinegro
The Master of Antwerp Adoration (Active in Antwerp first decades of the 16th century) The Annunciation to Saint Anne, circa 1525 Oil on panel 59 x 62 cm Expertise by Peter van den Brink Literature: 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
robertaebasta
Mario Quarti (Milan, 1901-1974) Large sideboard in Italian walnut, circa 1940 Walnut and brass H 97.5 x W 322 x D 50 cm Provenance: private collection, Italy Main body raised from the floor by three elements show on the fron six doors decorated with an inlaid diamond pattern in walnut of different shades, brass handles.
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)
Labellov
DELVAUX Lady Gipset – Brillant Black Edition Box calf leather, Silk Pink, hand-embroidered with sequins and semi-precious stones: rose quartz, tourmaline, red jasper, sodalite and amazonite Entirely embroidered by hand, requiring approximately 100 hours of craftsmanship W 20.5 x H 36 x D 35 cm Limited edition of 9 pieces worldwide
Finch & Co
Devotional crucifix of Christ Portuguese Goa, 17th Century Coromandel wood, gilded ivory, silver mounts H 107 x W 26 cm (Christ height 32 cm) Provenance: private collection, Ireland Belgium CITES: 2025/BE01024/CE A Fine and Large Portuguese Goa Devotional Crucifix the Polychromed and Gilded Ivory of Christ Crucified on a Coromandel Wood Cross Ornately Embellished with Baroque Silver Mounts standing on an integral Coromandel plinth The agonising Christ on the cross his head falling to his right with closed eyes mouth open in his call to God long hair carved in undulating locks to his shoulders the well defined torso with flexed muscles and rib cage the arms with veins threaded along their length his hands and feet pierced by silver nails his wounds polychromed red the edges of the perizonum gilded
Gallery de Potter d’Indoye
Empire chandelier, circa 1810 Crystal, chiseled and gilded bronze H 117 x Ø 81 cm Chandelier with 18 lights in crystal and finely chiseled and gilded bronze. It is composed of two circles of fillets bordering a frieze of laurels and flowerets separated by eight arrows, joined at the centre by a blue enameled globe and scattered with gilt stars. The basket ends with a rose and a seed-shaped knob. A panache and small palm leaves crown the chandelier from which hang garlands of crystals. Crystal: by Ladoupède du Fougerais, entrepreneur and owner of the Manufacture de cristal du Mont-Cenis de leurs Majestés Impériales et Royales. Ladoupède du Fougerais delivered a very similar chandelier with 16 lights on 24 April 1810, for the small salon of the apartments of the Empress at the Petit Trianon in Versailles. This chandelier is illustrated in 'Versailles, le Petit Trianon', by Denise Ledoux-Lebard, published by Editions de l'Amateur, 1989, р. 95, n° 6l.
Heutink Ikonen
Two angels of the Lord Central Russia, circa 1800 Ø 44 cm Provenance: private collection, Germany This remarkable icon depicts two angels, each holding a ripidion - a ceremonial liturgical fan symbolising the constant presence of the seraphim around the altar, which is used during processions and other solemn occasions in the Eastern liturgy. Given its distinctive shape and subject, it is likely that the icon formed part of a church iconostasis, where it would probably have been positioned to the right of the royal doors, which provided access to the altar area.
Galerie von Vertes
Henry Moore (Castleford 1898-1986 Much Hadham) Upright Motive, Maquette n° 4, 1955 Bronze with brown patina 30.8 x 6.4 x 7.9 cm Edition of 9 + 1 A.P. Conceived and cast between 1956 and 1962 by 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 This work is registered in the Henry Moore Foundation archives Literature: Alan Bowness (ed.), Henry Moore, Sculpture and Drawings, vol. III: Sculpture 1955-64, London 1965, n° 381 (another cast ill. pl. 15b); Alan Bowness (ed.), Henry Moore, Sculpture and Drawings, vol. III: 1955-1964, London 1986, n° 381 (another cast ill. p. 21); Henry Moore Foundation (eds.), The Henry Moore Artwork Catalogue, online catalogue, n° 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.'
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 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.
