This section will be available this Autumn.
Kunsthaus Kende
Pair of George I Britannia silver tea caddies John Farnell, London, 1720 Engraved sterling silver H 12.5 cm 240.3 g and 237.4 g Provenance: private collection, North America The smooth, octagonal body merging into the correspondingly smooth shoulder. The lid finished with a twisted baluster. The base, which can be pulled out for filling, is only marked with a maker’s mark, the lid is unmarked. The bodies are hallmarked on the underside of the back. The contemporary coat of arms engraved on the front commemorates the marriage of a gentleman of the Dove family (who were based in East Burgholt in the county of Suffolk) and a lady of the Pierse family (whose family was based in Alston in the county of Warwickshire). An attractively preserved, early Britannia silver pair of tea caddies with a beautifully preserved, original surface.
Galerie Raf Van Severen
théo van rysselberghe
Théo Van Rysselberghe (Belgium, Ghent 1862-1926 Le Lavandou, France) Ile du Levant, circa 1904 Oil on panel 30 x 41.4 cm Signed with monogram bottom left Provenance: Foundation Catherine Gide; private collection, Brussels Literature: Feltkamp, 2003, réf. 1924-034, p. 441; Catalogue de l'exposition, Bruxelles, La Haye, 2006, p. 258; Théo Van Rysselberghe, l'instant sublimé, Museé de Lodève, 2012, p. 99; Théo Van Rysselberghe, Intime, 2005, p.65; Théo Van Rysselberghe, Bozar Books by Fonds Mercator & Palais Des Beaux-Arts, Belgian Art Research Institute, 2005, p. 229 Exhibitions: 2005, TVR, Intime, Espace Culturel, Le Lavandou, n° 37; 2006, Brussels, La Haye, without number, p. 229
Collectors Gallery
Arman (Nice 1928-2005 New York) Capricorn brooch in gold Zodiac collection, 1994 Certificate of authenticity and copy of the artist’s original drawing on the letterhead of the Hôtel Lutetia, where the artist resided and designed the models for this collection Provenance: Galerie Pierre-Alain Challier, successor to Editions Artcurial
unforget Decorative Arts
fulvio bianconi
Fulvio Bianconi (Padua 1915-1996 Milan) 'Sirena' vase model 4201 Designed in 1950, manufactured by Venini Murano, Italy Blown glass in amber color, iridescent, decoration in white glass called lattimo H 30.5 x W 20 x D 10 cm Acid signed on the reverse on 4 lines 'venini murano MADE IN ITALY' Provenance: Sotheby's London, Design, 16 October 2018, lot 88 Literature: Marc Heiremans, Art Glass from Murano 1910-1970, Stuttgart, 1993, p. 270, fig. 223 Franco Deboni, VENINI GLASS: Its history, artists and techniques, Volume I, Turin, 2007, n.p. for a drawing of the model in the Venini ‘Red’ catalogue; Franco Deboni, VENINI GLASS: Catalogue 1921-2007, Volume II, Turin, 2007, pl. 193; Marino Barovier, ed., FULVIO BIANCONI AT VENINI, exh. cat., Le Stanze del Vetro, San Giorgio Maggiore, Venice, 2015, p. 16 for a sketch from the Venini ‘Black’ notebook, p. 25 possibly illustrates the present lot, pp. 130, 144, 156 In 1950, Bianconi created a series of glass sculptures, some representing marine subjects (mermaids and fish) in a playful manner, and others exploring the theme of the female body. Several of these pieces were successfully exhibited at the major traveling exhibition Italy at Work, organized in the United States between 1950 and 1953. Many of these sculptures are characterized by a technique of applying 'lattimo' threads that stand out on a transparent surface. Other sculptures feature Phoenician decorations which, like 'lattimo' decorations, are also used on vases with soft baselines.
Galerie Flak
Hemba ancestor figure Singiti (commemorative portrait of a chief) Democratic Republic of Congo-Upper Congo River 19th century or early 20th century Carved wood H 86.5 cm Provenance: Mia van Bussel collection, Amsterdam; Kevin Conru collection, Brussels; Adrian Schlag collection, Brussels; Guilhem Montagut collection, Barcelona Literature: Lexikon der Afrikanischen Kunst, Karl-Ferdinand Schaedler, Munich, 1994, p. 242
TASCHEN
ralph gibson
Ralph Gibson (Los Angeles, 1939) Ralph Gibson. Photographs 1960-2024 The most comprehensive collection of this highly acclaimed and prolific American photographer's work offers the fruit of more than six decades of image-making. Available in two limited art editions of 100 copies, each accompanied by a gelatin silver print numbered and signed by Gibson.
Galerie Berès
louis marcoussis
Louis Marcoussis (Poland, Warsaw 1883-1921 Cusset, France) Nature morte au flacon d'opaline, circa 1927 Oil on canvas 73 x 100 cm Signed lower right 'Marcoussis' Certificate of authenticity n° 1200H143 by Solange Milet on 4 December 2000 Literature: Les Cahiers d'Art, 1927, n° 7-8, p. 5
Douwes Fine Art b.v.
rembrandt van rijn
Rembrandt van Rijn (Leiden 1606-1669 Amsterdam) Self-Portrait in a Cap, Wide-Eyed and Open-Mouthed, 1630 Etching and drypoint on laid paper 5.4 x 4.6 cm Signed in monogram and dated lower centre: RHL 1630 Plate not in existence – with Nowell-Usticke (1967): RRR – a very rare little plate Provenance: private collection, Germany; private collection, The Netherlands Literature: Bartsch 320; Hind 32; The New Hollstein Dutch n° 69: Second state (of II) This is a small masterpiece of Rembrandt's early etchings. The expression of this physiognomic study made by his etching needle could not be more livelike as the facial expression (perhaps "astonishment") is in perfect harmony with the round shape of the face. Rembrandt knows exactly how to hit every tonal gradation with fine, arching strokes. Of all the self-portraits in which Rembrandt depicts emotions, this one is probably the most engaging. He looks startled here, with pursed lips and wide-open eyes. You see him slightly from below, so that he seems to be recoiling. The etching is clearly executed and clever, with the contours of the shoulders and the cap fading into the edges. During his lifetime, Rembrandt's extraordinary skills as a printmaker were the main source of his international fame. Unlike his oil paintings, prints travelled light and were relatively cheap. For this reason, they soon became very popular with collectors not only within but also beyond the borders of the Netherlands. Rembrandt's etchings are remarkable for their high number of self-portraits (over 30 out of about 290). These are particularly collectible, perhaps due to the smaller number of states as well as the artist's compelling and powerful presence. Unlike his stately religious scenes, or regal, posed portraits of others, which exhibit his careful and calculating brilliance as an etcher, Rembrandt's self-portraits reveal him as an artist and a man. In them he assumes the role of the experimenting artist, approaching the most difficult of subjects - himself. These self-portraits are often described as ethereal and wistful for their notable contrasting areas of high and low etched space. A very fine impression of this famous small portrait in the second (final) state, printing clearly, just beginning to show a little wear on the tip of the nose, with narrow margins.
Pauline's Jewellery Box
Art Deco emerald & diamond necklace, circa 1920-1930 Platinum, emerald and diamond Provenance: France A beautiful Art Deco Colombian emerald & diamond pendant necklace, set with a pear shaped Colombian emerald weighing approximately 13.44 carats surrounded by old mine cut diamonds. Estimated total diamond weight is approximately 3.00 carats. Estimated colour H-I on average. Estimated clarity VS on average. The diamonds are bright & lively. Mounted in platinum.
Grusenmeyer-Woliner
Portrait of a young boy Antonine Period, circa the end of the 2nd century Marble H 21 cm Provenance: Roger Peyrefitte (1907-2000) collection, Paris; sale of Roger Peyrefitte collection, Hôtel George V, Paris, 26 May 1977, lot n° 12; Art Market, 1978; Antiquities and Islamic Art, Sotheby’s, New York, 14 December 1993, lot n° 94; Dr. Anton Pestalozzi (1915-2007), Zurich, acquired from the previous owner; thence by descent Literature: Auction catalogue, Roger Peyrefitte Collection, Hôtel George V, Paris, May 26th, 1977, lot n° 12; Auction catalogue, Antiquities and Islamic Art, Sotheby’s, New York, December 14th, 1993, lot n° 94; I. Jucker, Skulpturen der Antiken-Sammlung Ennetwies, Mainz on the Rhine, 1995, Vol. 1, pp. 41-42, n° 24, pls. 49-50; K. Fittschen, Prinzenbildnisse Antoninischer Zeit, Mainz on the Rhine, 1999, p. 93, cat. n° 97
Hartford Fine Art - Lampronti Gallery
Giovanni Antonio Canal, also called Canaletto (Venice, 1697-1768) Capriccio of Piazza San Marco from the Basin of San Marco with the Church of the Redeemer Oil on canvas 130 x 105 cm Written expertise by A. Morassi and by R. Pallucchini Provenance: Mrs. Van der Gucht collection; Christie’s sale, catalogue n° 78, November 1965; Fogg collection, acquired from the above sale; Sotheby’s sale, catalogue n° 110A, March 1968; Johnson collection, acquired from the above sale; Sotheby’s sale, catalogue n° 70, June 1970; Harlow collection, acquired from the above sale Literature: W. G. Constable, Canaletto, second edition, ed. J. G. Links, Volume II, n° 459, p. 438, pl. 208
HELENE BAILLY MARCILHAC
Henri Manguin (Paris 1874-1949 Saint Tropez) La Chemise Enlevée, 1908 Oil on canvas 100 x 81 cm Signed lower right Provenance: acquired from the artist by Eugène Druet in 1911 (Galerie Druet); collection Kritchvesky; private collection, France; private collection, Brasil Exhibitions: Paris, Galerie E. Druet, Manguin, Paris 1913, n° 42; Paris, Galerie de Paris, Manguin, 1964, n° 3; Nice, Palais de la Méditerranée, Henri Manguin, plus de cent cinquante oeuvres, 1969, n° 32; Okayama, Hiroshima, Tokyo, Gustave Moreau et ses éleves, 1974; Paris, Galerie de Paris, Centenaire, Henri Manguin, 1976, n° 49 Literature: Pierre Cabanne, Henri Manguin, Neuchätel, 1964, ill. n° 117, p.64; Marie-Caroline Sainsaulieu, Lucille & Claude Manguin, Jean-Pierre Manguin, Pierre Cabanne, Jacques Lassaigne (preface); Henri Manguin: Catalogue Raisonné de l'oeuvre peint, Neuchâtel, Switzerland, Ides et Calendes, 1980, ill. n° 298
Galerie Lowet de Wotrenge
frans pourbus the elder (bruges 1545/46 - 1581 antwerp)
Frans Pourbus the Elder (Bruges 1545-1581 Antwerp) Portrait of Peeter van Panhuys, alderman and treasurer of Antwerp, 1562 Oil on oak panel 105 x 75 cm Dated upper left 'A°. 1562' and inscribed below the date ‘Aetat: 34’ Provenance: private collection, Belgium Literature: R. Willmott, Antwerp and the Golden Age: Culture, Conflict and Commerce, Unicorn, 2025 (ill.) In an era when wealth and power increasingly resided not in hereditary titles but in commerce and banking, Frans I Pourbus captured the self-assured gaze of the new elite. This striking portrait depicts Peeter van Panhuys - merchant, banker's agent, and future treasurer of Antwerp - at a pivotal moment in his rise through one of Europe's most dynamic commercial centers. The work's contemporary resonance is unmistakable. Van Panhuys embodies the entrepreneurial spirit that still defines global finance, yet his story also reflects our modern anxieties: barely two decades after this portrait was painted, religious conflict forced him to flee Antwerp as a refugee, abandoning everything he had built. His biography encapsulates the precariousness of prosperity in times of social upheaval - a theme that speaks powerfully to today's world of political instability and forced migration. Pourbus renders his subject with remarkable psychological acuity. The prominent gold chain and exquisitely detailed black doublet announce van Panhuys' status, while the crisp white ruff - painted with virtuosic precision - frames a face of penetrating intelligence. In his left hand, he holds a pair of gloves, a refined accessory that signals his gentlemanly aspirations and membership in Antwerp's sophisticated mercantile elite. Recently rediscovered from a Belgian private collection, the sitter's identity is confirmed through his appearance in Maerten de Vos's monumental family portrait at the Mauritshuis, where van Panhuys stands among the interconnected dynasties that dominated Antwerp's Golden Age. This painting invites us to reconsider the origins of our modern world - built not by kings and generals, but by ambitious merchants whose portraits demanded the same dignity once reserved for nobility.
Repetto Gallery
valerio adami
Valerio Adami (Bologna, 1935) La firma del muro antico, Odisseo (per E. Pound), 1977 Acrylic on canvas 204 x 152 cm Signed, dated and titled on the reverse: Adami 8.8.77 17.11.77 La firma del muro antico. Odisseo (per E. Pound) Label on the reverse by Galerie Rive Gauche Marcel Strouk, Paris Certificate of authenticity by Archivio Valerio Adami n° 878 Provenance: Galerie Maeght, Paris; private collection, France (acquired from the above) Exhibition: Valerio Adami, 7 October-12 November 1978, Palais des Beaux-Arts, Charleroi; Valerio Adami. Ripensando la realtà, Dep Art Gallery, Milan, 6 March-17 May 2025
Maisonjaune Studio
ingo maurer
Ingo Maurer (Germany, 1932-2019) Hana Chandelier (Uchiwa collection), 1970s Bamboo, Japanese paper Provenance: Japan The Hana chandelier belongs to Ingo Maurer’s Uchiwa collection, created in the 1970s. Handmade in Japan from bamboo and Japanese paper fans, it radiates lightness and poetry. Its sculptural presence blends tradition with refined modernity. Exceptionally rare today, it stands as one of Maurer’s most iconic creations.
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.
Galerie Alexis Bordes
léon spillaert
Léon Spilliaert (Ostend 1881-1946 Brussels) Mères et enfants sur le quai du port d’Ostende, 1910 Wax crayon and Conté crayon on paper 50.2 x 32.2 cm Signed lower right 'L. Spilliaert' This work will be included in the catalogue raisonné of Léon Spilliaert being prepared by Dr. Anne Adriaens-Pannier Provenance: Louis Sneyers collection, Brussels; Mr. and Mrs. Marcel Thomas, Brussels (by descent); Henriette Thomas-Bodart, Brussels (by descent); Galerie Ronny Van de Velde, 1997; Onzea-Govaerts collection, Belgium Exhibitions: Brussels, Palais des Beaux-Arts, 41st Antiques Fair of Belgium, January-February 1996; Brussels, Palais des Beaux-Arts, 42nd Antiques Fair of Belgium, January-February 1997
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.
Jan Muller Antiques
Netherlandish School, circa 1500 Triptych with the Crucifixion and scenes from the Passion Oil on panel 51 x 36.5 cm (closed) 51 x 73 cm (open) The gallery is grateful to Dr. Didier Martens for his expertise The Crucifixion with Saint Jerome and Saint Dominic and Scenes from the Passion, Original frame. This triptych depicts Christ on the Cross, flanked by the sorrowful figures of the Virgin Mary and Saint John the Evangelist. Kneeling at the foot of the Cross are Saint Jerome and Saint Dominic, the latter holding a rosary. In the landscape beyond unfold several scenes from Christ’s Passion, culminating in the Crucifixion. This version follows the composition preserved in the Scottish National Gallery, Edinburgh, which originally formed one half of a diptych. Its companion panel, depicting The Coronation of the Virgin, is held in the Museum Boijmans Van Beuningen, Rotterdam. The distinctive iconography is closely associated with the Dominican devotion to the Rosary. Surrounding the central Crucifixion are smaller narrative scenes illustrating key moments from the Passion of Christ: • Christ in the Garden of Olives: Following the Last Supper, Christ withdraws to the Garden of Gethsemane on the Mount of Olives. In deep anguish, he prays to be spared his suffering, while ultimately submitting to God’s will. • The Circumcision: According to the Gospel of Luke, this event occurred eight days after Christ’s birth, during the Brit Milah ceremony at which he received his name. • The Flagellation: This scene depicts the scourging ordered by Pontius Pilate, the customary prelude to crucifixion under Roman law. • Christ on the Cold Stone: The pensive Christ sits, crowned with thorns and bearing the marks of his scourging, his head resting in contemplation. This image reflects the influence of the Devotio Moderna, a movement that emphasized Christ’s human suffering as a model for personal devotion.