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Chambre professionnelle belge de la Librairie Ancienne et Moderne (CLAM)
Pablo Picasso (Malaga 1881-1973 Mougins) and Hélène Parmelin (Nancy 1915-1998 Paris) Woman portrait in 'Les Dames de Mougins', 1965 Feltpen drawing on paper 29.8 x 27 cm Copy of the doctor René Gutmann Signed and dated 'pour mon cher ami Gutmann. Diego Picasso, le 8.11.65' Provenance: Dr. René-Albert Gutmann (1885-1981); thence by descent Librairie Lardanchet, Antiquarian bookseller
Alexis Lartigue
Victor Vasarely (Pecs 1906-1997 Paris) Untitled, circa 1958, Oil on masonite 120 x 100 cm Signed lower center Provenance: private collection, USA; Christie’s sale, London; Lo Guidice Gallery, Chicago; Sotheby's sale, London; private collection, London; Christie’s sale, London; Galerie Zlotowski, Paris; private collection, Europe; Sotheby's sale, Paris; private collection, Switzerland Exhibition: Philadelphia, Philadelphia Museum of Art, Summer Loans, 1970
Stoppenbach & Delestre
Raoul Dufy (Le Havre 1877-1953 Forcalquier) Nu aux papillons, 1930 Watercolour on paper 26 x 51 cm Signed lower left Provenance: sale Paris, Hôtel Drouot, 28 February 1951, lot 31; thence by descent to the previous owner, France Literature: F. Guillon-Laffaille, Raoul Dufy, catalogue raisonné des aquarelles, gouaches et pastels, Vol. II, Editions Louis Carré & Cie, Paris, 1982, n° 1853, repr. b/w
Serge Schoffel - Art Premier
Ngoin mask Bamileke, Cameroon, 19th century Wood, pigments, crusty deposits H 65 x W 45 cm Provenance: Jacques Ulmann, Paris, France; Galerie Ratton-Hourdé, Paris, France; Michel Périnet, Paris, France; Christie’s Paris, Michel Périnet collection, on 23 June 2021, lot 59
Anthony Short Antiques Ltd.
Burr walnut secretaire chest-on-chest or Tallboy England, George II period, circa 1760 Chestnut and brass handles H 192 x W 103 x D 55 cm A very fine mid 18th century George II period burr walnut secretaire chest-on-chest, also known as a Tallboy. This stunning piece of early Georgian furniture is cross and feather banded throughout, showcasing matched veneers of exceptional colour and patina. The Tallboy is divided into two sections by a cross-grain moulding. The upper section features a complex cross-grain cornice over three short drawers and three long, graduating cockbeaded, cross banded, and feather banded oak lined drawers, all flanked by reeded canted corners. The lower section boasts a secretaire drawer above three long graduating drawers, also cockbeaded, cross banded, and feather banded, with beautiful oak lining. It stands proudly on its original shaped bracket feet. All drawers are fitted with the original swan neck brass handles and escutcheons, enhancing its historical authenticity. This piece is a testament to exceptional craftsmanship and is a stunning example of early Georgian design, making it an ideal addition to any refined interior.
Marjan Sterk Fine Art Jewellery
Hemmerle Pair of coral earrings 18k yellow gold, oxidised copper, corals and pink sapphires Signed Hemmerle, and made in Munich A pair of eighteen carat yellow gold earrings, each comprising a coral button on the ear, suspending a tassel of numerous strands of coral, mounted in a cap pavé-set with pink sapphires.
Galerie Hurtebize
Henri Lebasque (Champigné 1865-1937 Le Cannet) Femme au chapeau fleuri dans un jardin, 1900 Oil on canvas 65 x 54.3 cm Signed lower right Certificate of authenticity issued by Denise Bazetoux Painted in 1900, this remarkable composition reflects Henri Lebasque’s artistic explorations at the turn of the 20th century. Fascinated by the paintings of Renoir and Pissarro, the artist was part of the Post-Impressionist movement. Through his interactions with Maximilien Luce and Paul Signac, he developed a technique with Pointillist elements, particularly evident in this work. In the heart of a lush garden, an elegant young woman, wearing a flowered hat and a light blue dress, is shown from behind, immersed in an intimate scene. The richness of the brushwork, composed of small, juxtaposed touches of color, brings the vegetation to life and seems to animate the figure under the shifting effects of light. The particularly vibrant color palette creates a dialogue between the luminous blues of the dress, the deep greens of the garden, the brilliant yellows of the foliage, and the delicate pinkish hues of the background. This painting brings together several of Lebasque’s favorite themes: the female figure, the intimacy of everyday life, and lush nature. Through its rich color palette and sensitivity to light, it illustrates a pivotal period in his artistic evolution, foreshadowing the luminous style imbued with a gentle zest for life that would make him famous.
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.
Galerie Alexis Pentcheff
Henri Le Sidaner (Maurice, Port Louis 1862-1939 Paris) La maison sous l'église, neige, Gerberoy, circa 1935 Oil on canvas 80 x 66 cm Signed lower left This work will be included in the forthcoming catalogue raisonné of the artist currently in preparation by Yann Farinaux-Le Sidaner Provenance: given by Le Sidaner to Henri Martin in the summer of 1935, during the visit of Henri Martin in Gerberoy; Henri Martin succession
Rueb Modern and Contemporary Art
Jan Sluijters ('s-Hertogenbosch 1881-1957 Amsterdam) Greet van Cooten with headband, 1910 Oil on canvas 35.5 x 42 cm Signed and dated Provenance: Salomon Beffie collection, Amsterdam; Willem Beffie collection, New York; Galerie van Voorst van Beest, The Hague; Reens collection, Amsterdam; A.J. van Hillegondsberg collection, Blaricum; private collection, Amsterdam Literature: online catalogue raisonné Jan Sluijters - www.rkd.nl/images/100130 Exhibition: The Hague, Pulchri Studio, Paintings, drawings and pointes-sèches of Jan Sluijters and Lodewijk, Schelfhout, 3 July-25 July 1915, n° 40 After winning the prestigious Prix de Rome, Jan Sluijters received a grant that enabled him to travel to Rome and later to Paris. There, he encountered Fauvism, an avant-garde movement that emerged in the early 20th century. The Fauves revolutionised the use of colour, applying vivid, unmixed colours directly to the canvas. Their bold approach challenged artistic conventions and initially provoked criticism. The art critic Louis Vauxcelles famously nicknamed them les fauves (“the wild beasts”). Together with Piet Mondrian and Leo Gestel, Sluijters became one of the leading representatives of Dutch Luminism, a movement that developed around 1909 and embraced the expressive power of light and intense colour. Painted in 1910, Greet van Cooten with Headband is an early example of Sluijters’s exploration of this vibrant new style. Its striking colours reflect the influence of Fauvism, while demonstrating his own distinctive approach to colour and light. Greet van Cooten was Sluijters’s favourite model; she later became his wife in 1913.
Univers du Bronze
Auguste Rodin (Paris 1840-1917 Meudon) Saint John the Baptist preaching, cast in 1899 Bronze, richly dark brown patina H 19.6 x W 12.5 x D 5.3 cm Reduction n° 3 (1/10 of original size) Signed Rodin and marked 'Thiebaut frères, Fumière et Gavignot Successeurs' Edition of 4 (in this size) Provenance: Knoedler and Co collection; sale Sotheby’s New York (6 October 1989) Lifetime cast signed 'Rodin', old cast and edition by Thiébaut with the engraved mark 'Thiebaut frères, Fumière et Gavignot Successeurs' (purchase of the funds and Thiébaut rights by Fumière et Gavignot in 1898). This example is probably the first, maybe the second of an edition of 4 cast in 1899 (prime account from 4 February to 9 December 1899), stamped '200' under the base (sale price 200 frs?) and engraved '4' (number of casts?) Rodin began work on his Saint John the Baptist in 1878, while conceiving La Porte de l’Enfer, the monumental project from which some of his most celebrated sculptures would emerge, including Le Penseur, Le Baiser and Ugolino. The inspiration came from his encounter with an Italian model, César Pignatelli, known as Bevilacqua, whose powerful physique and expressive features immediately struck the sculptor. Rodin recognised in him the image of Saint John the Baptist: a man of nature, a visionary and a prophet. This encounter marked the beginning of a collaboration lasting over twenty years, during which Pignatelli became one of Rodin’s favourite models. The original plaster was conceived larger than life, exceeding two metres in height, and exhibited at the Salon in 1880. The following year, the bronze version was presented and subsequently acquired by the French State. In 1898, Rodin signed an edition contract with Fumières et Cie, leading to the production of three reduced versions measuring 80, 50 and 20 cm. The present Saint John the Baptist belongs to the rarest, third-scale version, of which only four examples were produced: two in 1899 and two in 1903. Its simple engraved foundry inscription, rather than a stamp, suggests that it may be the earliest cast. Through the exceptional finesse of its modelling and chiselling, the sculpture recalls the splendour of Renaissance bronzes. Depicted nude and stripped of his traditional attributes, Saint John embodies the prophet’s asceticism. His raised finger evokes his preaching in the desert, while Rodin’s powerful interpretation and striking musculature give the figure an unprecedented expressive force. A seminal work of modern sculpture, Saint John the Baptist profoundly influenced later generations of artists, notably Alberto Giacometti, whose studio contained numerous books, postcards and photographs documenting his fascination with Rodin’s masterpiece.
Galerie Berès
Fernand Léger (Argentan 1881-1955 Gif-sur-Yvette) 'Composition pour les Illuminations d'Arthur Rimbaud', 1949 Gouache and ink on paper 33 x 24 cm Monogrammed and dated lower right 'F.L.49' Certificate of authenticity by the Comité Fernand Léger Certificate of authenticity by Irus Hansma Provenance: private collection, Paris
Stern Pissarro Gallery
Glenn Brown (Hexham, 1966) Drawing 2 (after Delacroix/Raphaël), 2019 Acrylic on polyester film laid down on cardboard 109.2 x 94 cm Signed and dated lower right 'Glenn Brown 2019' The work bears the artist's signed label on the reverse Provenance: Galerie Max Hetzler, Berlin; private collection, Belgium; acquired from the above Exhibitions: Paris, Musée national Eugène Delacroix, Glenn Brown, 10 October-9 December 2019; Berlin, Galerie Max Hetzler, And Thus We Existed, 30 October 2020-23 January 2021, n° 6, pp. 40-41, 43-44, 125, 152 (ill., p. 41, detail ill., p. 43, exhibition view ill., pp. 44, 125)
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
LUDORFF
Serge Poliakoff (Moscow 1900-1969 Paris) Composition abstraite, 1964-1965 Oil on canvas 73 x 60 cm Signed lower left The authenticity of this work is confirmed by Thaddée Poliakoff and the works is registered in the Archives Serge Poliakoff, Paris 2026 Literature: Alexis Poliakoff, 'Serge Poliakoff-Catalogue Raisonné', vol. II, 1955-1958, Paris 2010, n° 64-68 Provenance: Galerie Cavalero, Cannes; private collection, Europe (-1996); Sotheby's, London (26 June 1996, Lot 38); private collection (1996-2025)
Maurice Verbaet Collection (MVC)
Marcel Mariën (Antwerp 1920-1993 Brussels) La Mire, circa 1981-83 Gelatin silver print on paper 18 x 12.5 cm (unframed) 33 x 43 cm (framed) Edition 2/6 Even before meeting the Brussels surrealists at the age of 17, Marcel Mariën (1920-1993) had taken his first steps in photography, having begun an apprenticeship with a photographer in Hoboken at the age of 15. During the 1940s, he began to use photography to create images with the bodies of the women he loved, but it was mainly from the 1980s onwards that he made frequent use of it. The photograph La Mire highlights the remarkable effectiveness of his creations, which, whilst appearing simple, reveal a wealth of meanings the moment one takes a closer look. It also demonstrates the extent to which photography enables Mariën to explore in greater depth the themes he develops in his objects, collages and writings. Indeed, his entire body of work is a reflection on the status of art. In this respect, he builds upon not only the concerns of the surrealists but also those of Marcel Duchamp. The Mona Lisa, the quintessential masterpiece of Western painting, was notably appropriated by Duchamp, who drew a moustache on it and added the inscription ‘L.H.O.O.Q.’ (‘Elle a chaud au cul’ or ‘She’s got a hot arse’) in 1919. Mariën takes this provocative critique of the mythicization surrounding this artwork a step further. The pubic hair encapsulates the moustache and inscription. It emphasizes the distance between the real woman and the painted one, whose identity has been forgotten whilst her depiction has become ubiquitous. The title refers to ‘la mire’ – that is, the image shown on television when channels were off the air –, an ever-present image that nobody looks at, much like the Mona Lisa, of which we have seen so many reproductions that we can no longer truly appreciate the real painting. But it also implies that ‘elle la mire’, which means ‘she is gazing at her’: it echoes Duchamp’s inscription, which can also be read as ‘look’. Furthermore, it plays on the belief that the Mona Lisa follows viewers with her gaze. Mariën presents the Mona Lisa as looking intently at the sex of the flesh-and-blood woman lying in front of her – in a perspective reminiscent of L’Origine du monde by Courbet. Perhaps his photograph enables us to better understand the reason behind the Mona Lisa’s famous mischievous smile?