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De Wit Fine Tapestries
victor vasarely
Victor Vasarely (Hungary 1906-1997 Paris) WA-4, circa 1970 Wool 156 x 156 cm Signed lower right corner Aubusson, atelier Pinton (Monogram lower left corner) Edition 1/6 The WA-4 tapestry consists of a large square divided into four squares, on top of which a fifth square is placed, itself divided into four squares. The inside of each of these squares is filled with rhombuses whose colour change from dark blue to purple and then to light beige. These rhombi are arranged on backgrounds of varying colours, ranging from charcoal grey to purple and pink, then from aqua green to pale pink and dark green. The different colour areas are clearly distinct from one another when viewed up close on the tapestry's very fine fabric. But when you step back and view the tapestry from a distance, the planes and shapes seem to interact with each other, and the colours appear to move. The optical effects are particularly striking here. Our gaze is captured by the illusion of movement created by the brain. Vasarely experimented with this fascinating relationship between vision and perception in his paintings, which he then transposed into various media, including glass, ceramics, metal, goldsmithing and tapestry. Vasarely relied on science, because he believed it was the only common language available to humanity. He developed a pictorial system based on the logic of algorithms and binary codes, a square background, coloured and filled with simple geometric shapes. A champion of geometric abstraction, he is best known as the inventor of op-kinetic art (the adjective kinetic derives from the Greek word κίνησις (kinesis), meaning “movement”). Op art or optical art was revealed to the general public by the sensational exhibition ‘Le Mouvement’ (1955), which Vasarely initiated at the Denise René gallery in Paris. In this exhibition he brought together younger artists such as Bury, Jacobsen, Soto and Tinguely alongside the leading figures of Marcel Duchamp and Alexander Calder. Alongside his work as a painter, Vasarely devoted a significant portion of his activity to transposing his art into other media. He promoted the reproduction of his works as tapestries, as he saw this as an opportunity for recreation, in contrast to the concept of a unique work. He envisioned a concept of art for all, based on a new aesthetic, leading to ‘the polychrome city of happiness’. He thought of his tapestries as prototypes, hand-woven in limited numbers and displayed in the comfortable homes of art lovers. He painted around a hundred tapestry cartoons, woven in various workshops. Furthermore, he played a pioneering role by inviting other artists to try their hand at this art form, including Léger, Jean Arp, Agam, Atlan, Dewasne and Josef Albers. This textile experimentation was the result of Vasarely's encounter with François Tabard, an Aubusson tapestry entrepreneur, and Denise René, an avant-garde gallery owner. According to the artist, kinetic art, often described as cold, is compatible with tapestry insofar as it results from a "technique that allows for flat areas to retain warmth. There is none of the monotony of flat areas applied with a brush to a surface." With Tabard, Vasarely developed a systematic method of creating cartoons, allowing infinite chromatic combinations to be obtained. Denise René was the publisher of these tapestries (1952-1970). From 1966 onwards, the national tapestry manufacturers of the Gobelins and Beauvais wove Vasarely's designs. Shortly afterwards, another industrialist from Aubusson, Olivier Pinton, began weaving Vasarely's designs. More than thirty cartoons were finely woven, including WA-4, created around 1970.
Stern Pissarro Gallery
Pierre-Auguste Renoir (Limoges 1841-1919 Cagnes-sur-Mer) Femme dans un paysage, 1917 Oil on canvas 25.3 x 39.7 cm Stamped lower right: Renoir Provenance: the artist's estate; Palais Galliera, Paris, 18 March 1964, (titled 'Gabrielle au jardin'); Hôtel George V, Paris, 10 December 1996, (titled 'Paysage'); private collection, Italy Literature: Marc Elder, L'Atelier de Renoir, vol. II, L'Atelier de Renoir (n.p.: MM. Bernheim-Jeune, Editeurs d'Art, 1931), n° 59 (ill. pl. 187, first state, titled as 'Paysage, bouquet'); Albert André, Marc Elder, and Messrs. Bernheim-Jeune, Renoir's Atelier / L'Atelier de Renoir, Rev. ed. (Paris: MM. Bernheim-Jeune, Éditeurs d'Art, Paris; San Francisco: Alan Wofsy Fine Arts, 1989), n° 599, p. 243 (ill. pl. 187, first state, titled as 'Paysage, bouquet'); Guy-Patrice Dauberville and Michel Dauberville, Renoir: Catalogue raisonné des tableaux, pastels, dessins et aquarelles, vol. V, 1911-1919 (Paris: Éditions Bernheim-Jeune, 2014), no. 3981, p. 204 (ill. p. 204, present state, as "Paysage du Midi") Exhibitions: Paris, Galerie Jean Charpentier, Beautés de la Provence, 17 December 1947-7 March 1948, n° 129 (titled as "Gabrielle au jardin," dated circa 1915) This work is accompanied by letter from the Wildenstein-Plattner Institute confirming the work will be included in the forthcoming Renoir digital catalogue raisonné.
Carlucci Gallery
Roman Cabinat, circa 1780 Ebony veneered, marble and various polychrome stones H 208 x W 105 x D 62 cm Provenance: private collection Cabinet veneered in ebony, marble, and polychrome stones, with an architectural design. The upper section features a tympanum surmounted by Hercules holding the globe in flowering alabaster. A pierced balustrade is crowned with figures of a winged lion bearing a heraldic shield. The façade is articulated with a central door and two lateral doors, each concealing interior disappearing drawers. Materials include jasper, lapis lazuli, breccia, alabaster, and antique green marble.
Herwig Simons Fine Arts
Game box with chess and backgammon Eger, 17th century 48 x 48 x 11.5 cm Provenance: Lothar Schmid (1928-2013), German chess Grandmaster Literature: publications World of Art: Art chamber games by the Kunsthistoriches Museum in Vienna Double-sided game box : one side shows a bas-relief depicting the meeting of Aeneas and Dido, accompanied by a Putto. The other side features a chessboard in finely executed marquetry. The interior reveals an elegant backgammon board decorated with double-tailed dolphins. Eger, a Bohemian Free City (now Cheb, Czech Republic), was well known in the 17th century for a specialised type of woodworking, particularly for intarsia panels. This set belonged to Lothar Schmid, the German chess Grandmaster and collector of chess books, boards and pieces. He is best known as the chief arbiter of the World Championship of chess in 1972 between Bobby Fisher and Boris Spassky in Reykjavik.
Galerie AB - Agnès Aittouarès
jean-paul riopelle
Jean-Paul Riopelle (Montréal 1923-2002 Saint-Antoine-de-l'Isle-aux-Grues) Composition, 1964 Gouache on paper 46 x 67 cm Signed and dated lower right Provenance: French-Canadian private collection; private collection, Paris Literature: Pierre Schneider, Riopelle. Signes mêlés, Maeght éditeur, Paris, 1972, no. 124, p. 119; Catalogue of the exhibition 'Les Très riches heures de Jean Paul Riopelle', Musée Le Chafaud, Percée, 2000, reproduced on p. 23; Yseult Riopelle, Jean-Paul Riopelle. Catalogue raisonné, volume 3, Hibou Éditeurs, Montreal, 2004, p. 302, reproduced in colour under reference 1964.010P.1964 Exhibitions: Riopelle. Mixed Signs, Maeght Gallery, 1972; The Very Rich Hours of Jean Paul Riopelle, Le Chafaud Museum, Percée, 2000
Serge Schoffel - Art Premier
Sitting male figure Timoto-Cuica, 900-1300 AD Trujillo State, Venezuela Terracotta, pigments H 29 x W 23 x D 17.5 cm Datation: TL test n° 481z12 by the Research Laboratory for Archaeology, Oxford University, United Kingdom, on 7 May 1991 Provenance: Galerie Ferrero, Geneva, 1968; collection Barbier-Mueller, Geneva, Inv. n° 530-2; Sotheby's auction, Paris, collection Barbier-Mueller-Art Précolombien, on 22 and 23 March 2013, n° 265 Literature: Paz, Octavio, Butor, Michel, Barbier, Jean-Paul, Stierlin, Henri, Lavallée, Danièle, Conceição G., Corrêa, Barry, Iris, 1992, Art millénaire des Amériques : de la découverte à l'admiration, 1492-1992, Arthaud, fig. 130, p. 178 & 179; Conceição G., Corrêa, Barry, Iris, 2002, Amazonie précolombienne, Museo Barbier-Mueller de Arte Precolombino, Barcelona, 5 Continents, fig. 4, p. 17; Benson, Elizabeth P., 2003, Trésors de la céramique précolombienne du Museo Barbier-Mueller de Arte Precolombino de Barcelona, Musée Barbier-Mueller et Somogy éditions d’art, fig. 44, p. 52
Pauline's Jewellery Box
Art Deco emerald & diamond ring, circa 1920-1930 Platinum, emerald and diamond Provenance: New York collection An Art Deco emerald & diamond ring, set with a step cut Colombian emerald weighing 10.87 carats flanked by baguette shaped & old mine cut diamonds. The emerald has a deep colour and is minor oil. Estimated total diamond weight is approximately 1.55 carats. Estimated colour E-G on average. Estimated clarity VVS-VS on average. The diamonds are bright & lively. Mounted in platinum. Accompanied by a SSEF certificate for the emerald.
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Heutink Ikonen
Week Icon (Sedmitsa) Russia, Palekh Late 18th century 44.5 x 36 cm This icon depicts a rare iconography showing the seven days of the week. Each feast represents a day of the week, starting with Sunday. In order: the Anastasis, Synaxis of the Archangel Michael, the Beheading of John, the Annunciation, the Last Supper and the Crucifixion of Christ. The large image at the bottom is All Saints' Day. The icon's refined details, bright colour palette and complex composition make it a very fine example of Palekh icon painting.
Galerie BG Arts
Georges Clairin (Paris 1843-1919 Clohars-Carnoët) Portrait of Suzanne Lalique Oil on canvas 140 x 80 cm Signed 'Á Suzanne Lalique son ami G. Clairin' Provenance: property of Suzanne Lalique-Haviland; private collection, France Literature: Maritch-Haviland, N. de Léobardy, C., Lalique-Haviland-Burty Family Portraits, Limoges, 2009, p. 29, ill. in a group photograph, taken at Cours-la-Reine in Paris, showing Suzanne Lalique wearing this same dress for a costume ball to mark her birthday in about 1913 Georges Clairin is best remembered as an orientialist and portrait artist. He was a close friend and advisor to René Lalique. They regularly had dinner together and shared an interest in oriental objects, as well as travelling together to Venice. Clairin belonged to the bohemian world and painted Sarah Bernhardt, the celebrated actress of the day, in her different roles on numerous occasions. He also introduced her to Lalique, and she became one of Lalique’s most significant patrons for whom he designed jewellery. For both men, women were a constant theme of their work. As a family friend it is not surprising that Clairin should have painted Suzanne, René Lalique’s daughter, in costume for her birthday ball in 1913.
Galerie de la Béraudière
jean fautrier
Jean Fautrier (Paris 1898-1964 Châtenay-Malabry) Les feuilles vertes, 1934 Oil on canvas 73 x 60 cm Signed lower left 'Fautrier' Provenance: Jean Paulhan collection, France; Dominique Aury collection, France; private collection, France (by descent); Tajan, Paris, November 23rd, 2022, lot 44; private collection, Belgium Literature: Marie-José Lefort, Catalogue Raisonné de l'oeuvre peint de Jean Fautrier, Norma éditions, 2023, p. 293, n° 478 (ill.); Palma Bucarelli, Jean Fautrier, Pittura e materia, édition Il Saggiatore, Milan, 1960, ill. n° 107 p. 306 Exhibitions: 1974, Paris, Galeries nationales du Grand Palais, Jean Paulhan à travers ses peintres, cat. n° 563, p. 218
Beck & Eggeling International Fine Art
heinz mack
Heinz Mack (Germany, Lollar 1931) Weisse Vibration, 1958 Synthetic resin in wood (relief) H 28 x W 68 x D 4 cm Signed and dated lower middle 'Mack 58', verso titled 'Weiße Vibration' Provenance: estate of Franz Swetec, Düsseldorf (acquired from the artist)
Galerie Florence de Voldère
frederik bouttats l'ancien
Frédérik Bouttats the Elder (Antwerp, 1590-1661) Earthly paradise Oil on canvas 55.5 x 83 cm A painter of landscapes, paradises, and animals, he was also an engraver. He joined the Antwerp Guild as early as 1612. He had two pupils, as well as his sons Frédérik the Younger and Jacob. Founder of a famous family of artists, he contributed, along with his followers, to the influence and richness of Flemish painting through brilliant works under the influence of Velvet Brueghel, Jan van Kessel, and Roelandt Savery. To the great delight of naturalists and humanist scholars, the Breughels and their painter friends such as the Bouttats multiplied the themes of the Earthly Paradise, celebrating the beauty and diversity of creation. Like the Bird Traps, these paradises met with great success, and different versions can now be seen in the world’s greatest museums.
Laurent Schaubroeck
Sergio Rodrigues (Rio de Janeiro, 1927-2014) Mucki bench, 1960s Jacaranda, Brazilian rosewood H 29 x W 300 x D 80 cm Produced by Oca Provenance: private home, Brazil First conceived in 1958 and produced by Oca, the Mucki bench is among Sergio Rodrigues’ most versatile and emblematic designs. Its low, rectangular structure with latitudinal slats and rhythmically placed wooden buttons reflects the refined balance between simplicity and sophistication that characterises Rodrigues’ work. This exceptional example, measuring three metres in length and an unusual 80 cm in depth, was made to measure in the 1960s - an extremely rare proportion that highlights the adaptability of Rodrigues’ design to specific commissions. Crafted in solid rosewood, the bench showcases the rich tonal variations and expressive veins of the wood, underscoring its sculptural quality. A remarkable and rare original, it remains in excellent vintage condition, bearing witness to the enduring relevance of Rodrigues’ vision.
Maison D'Art
François Perrier (Pontarlier, circa 1594-1649) The flight into Egypt, the Holy Family prepares to embark, circa 1640 Oil on canvas 100 x 90 cm Literature: M. A. Novelli, in T. Zennaro, ed., La Pittura Eloquente (exh. cat., Monte-Carlo, Maison d’Art), 2010, pp. 33-35, n° 5; A. Brogi, François Perrier e i ‘bolognesi’, Studi di Storia dell’Arte, 29, 2018, pp. 147-166: pp. 151-153 and colour plate XVI Exhibition: Maison d’Art, Monte-Carlo, June 16th-July 16th, 2010, n° 5
Gallery de Potter d’Indoye
Mantel clock depicting the fall of Phaeton Ormoulu bronze France, Consulat period, circa 1800 H 80 x W 53 x D 19 cm Provenance: collection of Robert de Balkany, Paris Literature: Hans Ottomeyer and Peter Pröschel, Vergoldete Bronzen, Munich, 1986, pp. 354-355, n° 5.9.4.; Marie-France Dupuis-Baylet, L’Heure, le Feu, la Lumière, les Bronzes du Mobilier National 1800-1870, 2010, Ed. Faton, p. 26 n° 1; Marie-France Dupuy-Baylet, Napoléon 1er et les Arts décoratifs. Trésors des palais impériaux, exh. cat. 2013, Macao, Museum of Art, n° 1, pp. 34-35; Thierry Sarmant, Palais disparus de Napoléon : Tuileries, Saint-Cloud, Meudon [exhibition, Paris, Galerie des Gobelins, 15 September 2021 to 15 January 2022], Paris : In fine, 2021; Adrien Goetz, Ambroise Tézenas, Résidences présidentielles, Paris : Flammarion, 2021, p.173 The subject of this clock illustrates the episode in which Jupiter strikes Phaeton with a thunderbolt. Phaeton wanted proof that he was the son of the Sun, (Helios). Phaeton then asked his father to let him drive his chariot. Terrified by the height and the sky, Phaeton veered off course and descended so low that he scorched the Earth. The maddened stars complained to Jupiter, who struck the chariot and Phaeton. 'The terrified horses leap in a large circular movement with pin-wheel escapement mounted on the backplate, the pendulum crutch with fine-screw beat adjustment, and outside countwheel strike on a bell, the canthmechanism showing seconds with original hands'. The bronzier Pierre-Etienne Romain (1765- after 1821) deposited the drawing of a Clock representing the same subject in the cabinet of drawings of the National Library in March 1800. Related works: The Mobilier National keeps three clocks representing this subject: one found at the Tuileries Palace in 1809, another at Ministry of Foreign Affairs, and the third at the Palace of Saint Cloud in 1818, then at the Elysée Palace.
Galerie Alexis Pentcheff
pierre bonnard
Pierre Bonnard (Fontenay-aux-Roses 1867-1947 Le Cannet) Promenade à Paris, circa 1911 Oil on canvas 40 x 60 cm Estate stamp lower left Provenance: collection of Pierre and Marie-Françoise Vernon Literature: Dauberville Jean et Henry, Bonnard, Vol. IV, Paris, Bernheim-Jeune, 1974, repr. p. 312 under n° 01992 Exhibitions: Pierre Bonnard, A. Tooth & Sons, London, 17 June-12 July 1969, repr. in exh. cat. n° 8; Matisse e Bonnard. Viva la pittura!, Rome, 2006, repr. in exh. cat. (ed. Skira) p. 340 under n° 125; Bonnard, Le Cannet, une évidence, Musée Bonnard, Le Cannet, 2020, repr. in exh. cat. p. 42 The creation of this work by Pierre Bonnard reminds us that the artist was also a photographer, experimenting with daring compositions. Though his painting captures the fleeting moment, it shares little with the tentative realism of early photography. Made entirely of color and sensation, it constructs a fragile world of subtle harmony. Just before embracing the South - before letting the Mediterranean light burst into color across his canvases - Bonnard explored a quieter, more muted sensuality in the early 1910s, while working in a studio in Paris, not far from the avenue depicted here. The “very Japanese Nabi,” as his friends from the group of his youth liked to call him, knew how to let color whisper on the canvas, how to conjure the intimacy of a letter. On one side of the painting, cool tones — blues and violets placed side by side - contrast with the russet hues of this autumnal Parisian avenue, bringing to the foreground, beneath a hat bathed in light like a reinvented halo, the lowered face of a woman reading. Her eyes are hidden, absorbed in the text. Though she has removed her gloves, she surely no longer feels the sharp chill of that November afternoon… Elegant silhouettes glide through the landscape; yet they endure — along with this hat-wearing heroine - on our retinas and in our memories, as companions to a shared intimacy, lasting only the time it takes to read a love letter. Unseen on the art market since the 1960s, this painting has been shown in several museum exhibitions, the most recent in 2020 at the Musée du Cannet, dedicated to the artist.
Gallery de Potter d’Indoye
Pair of oil lamps Ormoulu and patinated bronze Embossed gilt bronze and patinated bronze, representing the allegory of Philosophy and Study, each seated on an antique oil lamp, with an edge in gadroon motif, on a square footed base France, Consulat period, circa 1800 H 31 x W 36 cm Based on a model by Louis-Simon Boizot Comparative literature: H. Ottomeyer et P. Pröschel et al., Vergoldete Bronzen, Munich, 1986, vol. I, p. 294, fig. 4.17.1. I, p. 294, fig. 4.17.1. This pair of oil lamps is clearly designed in a neoclassical style, and, more specifically, in the 'Etruscan' style which came into vogue in the 1780s. This style draws its inspiration from antique forms rediscovered in archaeological digs, in particular those at Pompeii and Herculaneum, and manifested in the decorative arts by simple lines and ornamentation inspired by Antiquity. The allegorical figures of Philosophy and Study, which decorate these lamps, are taken from models created by Louis-Simon Boizot (1743-1809), then sculptor for the King. Boizot designed them for the first time in 1780 for a lamp in the antique style. He sold the model to the Sèvres factory, which then reproduced it in biscuit porcelain until 1786. These two figures were also used in the famous clock model, 'To Study and to Philosophy', created based on a drawing by François Rémond for the decorative arts merchant Dominique Daguerre. It is important to note that Pierre-Philippe Thomire (1751–1843), a reputed bronze worker, collaborated with Boizot in Sèvres beginning in 1783, the date when he succeeded Jean-Claude Thomas Duplessis (1730-1783) as the official bronze worker for the factory. The involvement of Thomire in the production of bronzes of this type is widely acknowledged. Comparable oil lamps include: - a pair kept at the J. Paul Getty Museum in Los Angeles (inv. 88.SB.113.1 et 88.SB.113.2), attributed to Thomire; - another from the former collection of Sir Robert Abdy, sold at Christie's London on June 9th, 1994, lot 65,; - a pair offered for sale at Christie's London on December 13th, 2001, lot 430. - finally, a pair presented in the Madame Simone Steinitz collection at Christie's in Paris on June 19th, 2025, Paris lot 126. A drawing attributed to Thomire, kept at the Museum of Decorative Arts in Paris, depicts a very similar lamp placed to the right of a fireplace (cf. J. Bourne et V. Brett, L’art du luminaire, Paris, 1992, p. 156, fig. 530). In addition, two sketches found in an album of drawings analysed by P. Rosenberg and B. Peronnet (Revue de l’Art, n° 142, 2003-2004) bear witness to the distribution and success of these models. They perfectly illustrate the taste for Antiquity, which dominated French decorative arts in the late eighteenth century.