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Galerie des Modernes
Geer Van Velde (Lisse 1898-1977 Cachan) Composition, circa 1950 Oil on canvas 80 x 85 cm Signed lower right with the artist’s initials Provenance: artist’s studio, Cachan; private collection, The Netherlands; private collection, France Certificate of authenticity by Pierre-François Moget To be included in the forthcoming Catalogue Raisonné of the works of Geer van Velde currently in preparation by Pierre-François Moget.
Bernier/Eliades
Tony CRAGG (b. 1949, UK) lives and works in Wuppertal, Germany. Title work: Stand, 2025 Corten steel 115 x 36 x 108 cm Photo credits: GRAYSC He was a professor and the Universität der Künste Berlin (2001-2006), taught at the Kunstakademie Düsseldorf (1978-2001) before serving as its Director (2009-2013), and held the Chaire de Création Artistique at the Collège de France in Paris (2013-2014). Cragg was elected a Royal Academician in 1994, represented the United Kingdom at the Venice Biennale in 1988, and received the Turner Prize the same year. He was appointed Commander of the Order of the British Empire in 2002, received the Praemium Imperiale for Sculpture in Tokyo in 2007, was awarded the First Class Order of Merit of the Federal Republic of Germany in 2012, and was knighted in 2016. This year, Cragg is set to receive the European Culture Prize 2026 at the Royal Concertgebouw in Amsterdam. He is also the founder of Waldfrieden Sculpture Park in Wuppertal, where he exhibits works from different artists and different generations, such as Rebecca Horn, Berta Fischer, Anthony Caro, Heinz Mack, and Joseph Beuys, among others.
Gallery de Potter d’Indoye
EMPIRE CHANDELIER 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. Period: Empire, circa 1810 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. Height 117 cm 3 ft 10 in Diameter 81 cm 32 in
Galerie Alexis Pentcheff
Henri Le Sidaner (1862-1939) La maison sous l'église, neige, Gerberoy, circa 1935 Huile sur toile, signée en bas à gauche, 80 x 66 cm. Provenance : Cédé par Le Sidaner à Henri Martin, été 1935, à l'occasion de la visite d'Henri Martin à Gerberoy Succession Henri Martin Attestation d'inclusion au catalogue raisonné de l'artiste établie par Yann Farinaux-Le Sidaner
Maison D'Art
Karel van Vogelaer called Carlo dei Fiori (Maastricht 1653-1695 Rome) Still Life with Flowers Oil on canvas 64.5 x 46 cm Literature: From Light to Enlightenment, Exhibition catalogue, Shanghai Art Museum, 2005, n° 30, pp. 114-116, 150 Exhibition: From Light to Enlightenment, Exhibition in the Shanghai Art Museum, China, 12 -17 November 2005
Argento Gallery
Portrait of a family in a wood Master of the portrait of the Van Collen family Circa 1660 Oil on canvas 95 × 108 cm Attributed to the unidentified artist known as the Master of the portrait of the Van Collen family, who also painted the portrait of Jeremias van Collen, Susanna van Uffelen and their children in the Rijksmuseum, Amsterdam. Probably painted around 1660, the present work shows the influence of Jan Mijtens in its arrangement of the family within a wooded landscape. Provenance: • Sale of the collection of Dr F. Koser, Keller & Reiner, Berlin, 6–7 March 1906, lot 87. • Private collection, Stockholm, 1938. • Sale, Bukowski, Stockholm, 19 April 1961, lot 136, illustrated, as Ferdinand Bol, signed and dated 1666. • Private collection. Literature: Bukowskis: 100 Years, 1870–1970, Stockholm, 1970, pp. 36–37, illustrated as Ferdinand Bol; Albert Blankert, Ferdinand Bol (1616–1680): Rembrandt’s Pupil, 1982, pp. 191–192, no. R276 (attribution to Bol rejected).
Chambre professionnelle belge de la Librairie Ancienne et Moderne (CLAM)
Engraving after Pieter Bruegel de oude (Brussels, 1525-1569) The last judgement Engraved in 1558 by Pieter van der Heyden (1530-1584) 22,5 x 29,4 cm Published by Hiëronymus Cock (Antwerp, 1518-1570) References: New Hollstein Dutch first state of two Lex Antiqua, Antiquarian bookseller
Maison D'Art
Santi di Tito (Borgo San Sepolcro 1536-1603 Florence) Holy Family with Saint Joseph Reading and the Young Saint John the Baptist Oil on wood panel 93.4 x 68.3 cm Provenance: Property sold by Order of the Trustees of Mrs. Hue-William Property Settlement and The Executors of. Mrs. Hue-Williams Estate Sotheby's Old Master Paintings, 20th April 1994, as Florentine School, 16th Century, The Holy Family, lot 138
Epoque Fine Jewels
René Lalique (1860 – 1945) Materials: 18-karat yellow gold, 'plique-à-jour' enamel and polychrome enamel, old mine cut diamonds, citrine and pearls. Description: An important Art Nouveau dragonfly brooch by René Lalique, in 18-karat gold, designed as two opposing dragonflies with delicate wings of translucent plique-à-jour enamel, accented with old mine-cut diamonds. At the centre, the dragonflies clasp a cushion-shaped orange citrine, their bodies and legs enhanced with polychrome enamel. Graduated pearls trace the extremities of the wings, lending the composition a graceful sense of movement and lightness, characteristic of Lalique’s jewellery at the height of the Art Nouveau period. Signed Lalique. Paris, circa 1903. Dimensions: 11.6 x 4.4 cm Accompanied by its original fitted case marked R. Lalique, 40, Cours-la-Reine, Paris, monogrammed 'E.A.'
Bernardini Milano
Vacheron & Constantin, Genève. Rare and elegant pocket watch in platinum, 1938 Exquisite evening pocket watch in platinum from the late 1930’s. The very simple and rational design of the case contrast with the spectacular avant-garde dial in various tones of grey with ivory indexes.
Spazio Nobile Gallery
Pao Hui Kao, Urushi Black in Red Lacquer Leaf, 2023, Crepe paper, rice glue, Urushi lacquer, red and black pigments, gold kinstsugi, 114 x 70 x 16 cm, unique piece, signed by the artist at the back /Black Urushi Paper Pleats, 2023 tracing paper, rice glue, Urushi lacquer, black pigment, sideboard (70 x 33 x 135 cm), low stool (45 x ø 32 cm), low bench (35 x 130 x 29 cm), side table (60 x ø 32 cm), unique pieces, signed and dated by the artist Certificates of authenticity Bibliographical references: Pao Hui Kao, 25 Seasons, Artist Book, Spazio Nobile Editions, Brussels, 2024 Exhibitions: Fondation POC, Brussels, 2020 Jewish Museum, Brussels, 2021 LOEWE FOUNDATION Craft Prize Finalist, Seoul, 2022 Pao Hui Kao, 25 Seasons, Solo Exhibition, Spazio Nobile, Brussels, 2023-2024 Fondazione Dries Van Noten, Venice, 2026
Dr. Nöth kunsthandel
Armand Guillaumin (Paris 1841-1927 Orly) Bords de l'Orge à Epinay, 1890 Oil on canvas 81 x 65 cm Signed lower right Certificate of authenticity from the Comité Guillaumin. This work will be included in the second volume of the forthcoming catalogue raisonné currently in preparation. 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 (acquired from the above in 1956); Christie's London 7 Febuary 2001, lot 127; private collection, Texas
Galerie Hurtebize
Maurice Utrillo (Paris 1883-1955 Dax) Commune de Maixe (Meurthe-et-Moselle), 1924 Oil on canvas 98,4 x 131,3 cm Signed and dated lower left Certificate by Hélène Bruneau, President of the Utrillo-Valadon Committee Provenance : private collection, France Literature : P. Pétridès, L’Œuvre complet de Maurice Utrillo, Paris, 1974, vol V, p. 238, n° 2720 (ill. p.239)
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.'
Galeria Jordi Pascual
Fernand Léger (Argentan 1881-1955 Gif-sur-Yvette) Paysage animé, 1937 Oil on canvas 92,1 x 60 cm Provenance: Galerie Simon, Paris; Galerie Louise Leiris, Paris; Kunsthalle Bern; Marlborough Gallery, London; Saidenberg Gallery, New York; Michelle Rosenfeld Gallery, New York; Nierendorf Gallery, New York; Samuel Berger, New York; private collection Literature: Cooper, Douglas, Fernand Léger et le nouvel espace, Lund Humphries / Éditions des Trois Collines, 1949, p. 130; Bauquier, Georges, Fernand Léger: Catalogue raisonné 1932–1937, 1996, pp. 238–39, fig. 938 Exhibitions: San Francisco Museum of Art, Art of Our Time, 1935–1945, 1945, cat. p. 33, fig. 39; Marlborough Gallery, London, Selected European Masters of the 19th and 20th Centuries, 1973, cat. pp. 78–79, fig. 39; Stad Mechelen, Cultureel Centrum, Belgium, Fernand Léger, 1979, fig. 60; Museo de Arte Contemporáneo, Caracas, Fernand Léger, 1982, cat. p. 74, fig. 46; Whitechapel Art Gallery, London, Fernand Léger: The Later Years, 1987–88, cat. p. 19, fig. 21; Staatsgalerie, Stuttgart. Fernand Léger: Zeichnungen, Bilder, Zyklen, 1930–1955, 1988, cat. p. 190, fig. 21; Michelle Rosenfeld Gallery, Léger: America’s Culture, 1998, cat. fig. 18; Fundació Joan Miró, Fernand Léger, 2002, cat. p. 129; Marlborough Fine Art, London, Jacques Lipchitz and the School of Paris, 2023
Galerie Lowet de Wotrenge
Nicolaas Struyck (Amsterdam, 1686-1769) Insect Studies Bodycolour, watercolour and pencil on laid paper 44.5 x 28.2 cm Provenance: 'Verschyden Uyt-lansche Insecten, getekeent na het cabinet van Hn. Seba, J. ten Kate, & C, versamelt door N. Strüyck, Junior', 1719 (an album of drawings by Struyck, disassembled in the XIXth century); private collection, Belgium
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
Mearini Fine Art
Corinthian capital. Variation on a Roman type from the 3rd - 4th Century Greek Marble Central-southern Italy, Late 12 th - Early 13 th Century Hight cm 52 x 50 x 50 In this unusual variation on the Corinthian there are three orders of acanthus leaves, finelly indented with drill holes in evidence, which reach up to the top of the kalathos. already in ancient times this type of capital was exported to Aquileia (Udine) a city destroyed by Attila in 452 and temporarily abandoned upon the arrival of the longboards in 568, as shown by a fragmentary example in the national Archeological Museum datable between the 3rd and 4Th century.
