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HELENE BAILLY MARCILHAC
raoul dufy
Raoul Dufy (Le Havre 1877-1953 Forcalquier) Le Pêcheur, 1907 Oil on canvas 46 x 55 cm Dedicated and signed lower right, to André Robert, Raoul Dufy Certificate of authenticity issued by Madame Fanny Guillon-Laffaille, dated December 17th, 2003 Provenance: private collection Literature: M. Laffaille, Raoul Dufy, Catalogue Raisonné de l'Oeuvre Peint, vol. I, Geneva, 1972, ill. n° 152, p. 136
Galerie Alexis Pentcheff
Regency period frame France, 18th century Carved oak, gilded with gold leaf 112.5 x 146 cm (sight size) Provenance: Montanari collection Sand-textured background decorated with acanthus scrolls, small flowers, drops, shells, and padded cartouches. Openwork acanthus leaves overflowing with playful movement in the corners.
Gilden's Art Gallery
Gino Severini (Italy, Cortona 1883-1966 Paris, France) The dancer, 1959 Tempera painting on wove paper 39.5 x 28.5 cm Signed lower right 'G. Severini' and dedicated in pencil ‘al caro vecchio amico Raffaele Carrieri, affectuoso riccordi di Gino Severini’ [to a dear old friend Raffaelle Carrieri, with affectionate memories, Gino Severini] in the lower right corner The work comes with a photo-certificate of authenticity by Romana Severini Brunori dated 13 May 2025 Provenance: the celebrated poet Raffaele Carrieri (1905-1984); private collection, Milan
Pron
fausto melotti
Fausto Melotti (Rovereto 1901-1986 Milan) Il meridiano delle campane, 1979 Brass H 97.5 x W 74 x D 38 cm Literature: Milan, Galleria Stendhal, Cascella Consagra Melotti, 1980; Padua, Stevenson Arte Contemporanea, Fausto Melotti. Sculture, tecniche miste e incisioni, 1982; Intra, Galleria Corsini, Fausto Melotti. Sculture e Acquarelli. Un'opera d'arte è un'oasi, 1982; Busto Arsizio, Galleria Il Punto Sette, Fausto Melotti, 1984; Parma, Galleria La Sanseverina, Fausto Melotti, 1986, pp. 29, 47, n° 29, ill. Exhibitions: Gianni Cavazzini, Poetiche sosprese di Fausto Melotti, in Gazzetta di Parma, May 23rd, 1986, ill.; Germano Celant, Melotti, Catalogo generale, Tomo secondo, Sculture 1973-1986 e Bassorilievi, Milan 1996, p. 512, 1979 n° 21, ill.
Galerie Berès
Georges Lemmen (Brussels, 1865-1916) Vue sur l'église de Dadizele, circa 1891 Oil on panel 16 x 24 cm Monogram lower right GL This work will be included in the forthcoming catalogue raisonné being prepared by Olivier Bertrand Literature: Roger Cardon, Georges Lemmen 1865-1916, Brussels, 1997, 40 p. 104
Vagabond Antiques
Pair of carved Heraldic stone lions Central European, Hapsburg Territories, late 17th century Carved limestone H 90 x W 57 x D 77 cm A striking pair of limestone lions, carved in full relief and designed as true opposites. Each is seated upright, with bared teeth, strong haunches and tightly curled manes. Both wear a crown and hold an oval cartouche carved in bold relief with an interlaced monogram. They were made to flank the formal entrance of a major estate. The form and detailing are typical of high-status Baroque culture in Central Europe and the crown design is especially telling. Each features a repeating pattern of fleur-de-lis and crosses, closely following the design of imperial crowns used in Habsburg heraldry - particularly in the realms of Austria and Bohemia. A crucial distinction is the placement of such a crown directly on the animal - not merely above the cipher - which indicates an emblem of royal standing. Comparable examples can be seen on the monumental lions at Prince Eugene of Savoy's Upper Belvedere Palace in Vienna and others across Bavaria and Austria, where lions were used as heraldic supporters for noble or imperial arms. The monograms are hard to decipher but are almost certainly ciphers for the original owners or patrons. They likely stood at the gates of a major estate or seat of power under Habsburg rule or allegiance, marking out territories and status.
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
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
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
Van Pruissen Asian Art
yoshitsugu
Hattori Taira Yoshitsugu Yagami School Tsuba with 'Thousand Monkeys' Carved iron Japan, late 18th century Ø 7.1 cm Signed 'Yoshitsugu' An iron tsuba intricately carved in openwork (nikubori ji-sukashi) with a lively multitude of monkeys, including the famous Three Wise Monkeys. Their eyes and the rim are accented in gold using nunome-zōgan. The maker, Hattori Taira Yoshitsugu, was a pupil of Yagami school founder Noda Mitsuhiro and teacher of Onitake Toshiyoshi. The Yagami school, active in Nagasaki in the late 18th century, is renowned for its 'Thousand Monkeys' motif, as also seen in a comparable example in the Metropolitan Museum of Art (inv. n° 91.1.751).
Douwes Fine Art b.v.
henri fantin-latour
Henri Fantin-Latour (Grenoble 1836-1904 Buré) Vase de Pivoines, 1902 Oil on canvas 41 x 37 cm Signed lower left 'Fantin' The authenticity of this work has been confirmed by Sylvie Brame Provenance: Tempelaere, Paris; Tavernier, Paris; Colnaghi, London; Galerie Brame, Paris, 1978; Sotheby's London, 1978, lot 205; private collection, Europe; Sotheby’s London, 1989, lot 2; private collection, Europe; Sotheby’s London, 1996, lot 24; Noortman Master Paintings, Maastricht, bought at TEFAF 2004; private collection, Belgium; Douwes Fine Art, Amsterdam Literature: Mme Fantin-Latour, Catalogue de l'oeuvre complet de Fantin-Latour, Paris, 1911, n° 1937, p. 206
Galerie BA - Berthet Aittouarès
henri michaux
Henri Michaux (Namur 1899-1984 Paris) Untitled, 1964 Ink on paper 75 x 105 cm Monogrammed on the lower right This work is registered in the Henri Michaux archives under the number HM5891 Provenance: Galerie Daniel Cordier, Paris; private collection, France Exhibition: Henri Michaux, Musée national d'Art Moderne, Paris, 1965
Franck Anelli Fine Art
charles topino
Charles Topino (Arras, circa 1742-1803) Louis XVI period demi-lune commode, circa 1780 Oak, Parisian varnish, gilt-bronze mounts, Aleppo breccia marble top H 91 x W 131 x D 58 cm Stamped 'C. TOPINO' and 'JME', with a CD mark Provenance: private collection, Paris Literature: Forray-Carlier et M. Kopplin, Les secrets de la laque française: Le Vernis Martin, Paris, 2014 This demi-lune commode is decorated with chinoiserie motifs in gold on a green background,. It opens with two side doors and three drawers. The gold chinoiserie decoration on green varnish is quite rare, especially on Louis XVI furniture. The chinoiserie theme is executed here in a decorative style from the 1780s, with framed scenes surrounded by tied garlands. This exotic theme remained in vogue during the Louis XVI period, as evidenced by the lacquered Japanese furniture favoured by Marie-Antoinette, as well as the marquetry furniture by Roentgen. Jean Pillement (1728-1808) popularised chinoiserie designs through his 1776 book 'Œuvres de Fleurs, ornements, cartouches et figures et sujets chinois…etc.,' which spread throughout the courts of Europe. The green varnish décor is especially known for works by René Dubois, such as the small demi-lune commode housed at Waddesdon Manor in England (Inv. WI/23/2). René Dubois, however, was more inclined towards neoclassical scenes, a style that is well-documented in his stock from 1772, which lists around twenty pieces, thus helping to date his production. At this time, the workshop of the Frères Martin was still active, with Jean-Alexandre, the son of Robert Martin, having taken over his father’s workshop in 1767 and acquired that of his cousin Etienne-François in 1772, following his cousin's death the year before. It is clear that Jean-Alexandre benefited from the strong connections his family had with Parisian marchand-merciers and cabinetmakers, one of the most renowned of whom was Charles Topino. This production unfortunately did not survive the French Revolution, and this commode is one of the last examples of this inventive period. Charles Topino settled in Rue du Faubourg Saint-Antoine and counted aristocratic clients and marchand-ébénistes such as Delorme and Tuart amongst his customers. His pieces were described as 'à l'antique,' an expression referring to the neoclassical taste that dominated the late 18th century. His journal, covering the years 1771 to 1779, has survived, providing insight into the names of bronziers who supplied him, including Jean-Baptiste Dubuisson, a master founder since 1765, who created some of the finest bronze mounts of the period. It is known that the gilt bronze mounts adorning Topino’s furniture were cast by Viret, chased by Chamboin and Dubuisson, and gilded by Bécard, Gérard, and Vallet. Charles Topino produced several demi-lune commodes of this type, many decorated with marquetry and several with varnish decorations. Notable examples include: -A commode from the Prince Radziwill collection, sold at the Château d'Ermenonville auction, Ader study, March 8th, 1933 -A writing desk sold by Christie's London from the Rechnitzer collection, May 19th, 1955, illustrated in Connaissance des Arts n° 41, July 15th, 1955 -A writing desk decorated with European black and gold varnish in the Chinese style, sold at Paris’s Hôtel Drouot, Cornette de Saint-Cyr study, January 31st, 1994 -A writing desk with Coromandel lacquer decoration, from the Princess A. de Broglie collection, ill. in P. Verlet, Les ébénistes du XVIIIe siècle français, Connaissance des arts, Hachette, Paris, 1963, p. 268
Claes Gallery
Reliquary Figure 'Mbulu-ngulu' Kota Kota-Obamba People Gabon, presumed late 19th-early 20th century Wood, copper and brass H 43 cm Provenance: private collection, Los Angeles, until 1979; private collection, Geneva Literature: L’Art Kota. Les figures de reliquaire, Chaffin, Meudon, 1979, pp. 234-235, fig. 133 (written height: 43.5 cm)
Heutink Ikonen
Christ, the fiery eye Russia, Moscow Early 16th century 32 x 25.5 cm The name 'Christ, the fiery eye' is based on a text from Mark: 'He looked at them angrily, but also deeply saddened by their stubbornness.' Whether you, as a viewer, think that this Christ really looks grim is not only dependent on what the painter wanted to emphasise in the icon. It also has to do with the viewer's relationship to the person of Christ. There are several explanations for the origin of this iconography, for example that a mosaic from the Chora Church in Constantinople (Istanbul) served as its source.
Galeria Jordi Pascual
Serge Poliakoff (Moscow 1900-1969 Paris) Abstract Composition, 1967 Oil on canvas 92 x 73 cm Signed lower left This work includes a photo-certificate of authenticity issued by the archives Serge Poliakoff in 2024 Provenance: Studio Bellini, Milan Literature: Poliakoff, Alexis, 'Serge Poliakoff – Catalogue Raisonné', Volume V, 1966-1969, Munich 2016, p. 236, n° 67-101
Galerie Mathivet
claudius linossier
Claudius Linossier (Lyon, 1893-1953) Vase, circa 1930 Copper dinanderie on a fire-patinated ground with red tones in the central section and black shading at the top and bottom, decorated with an inlaid silver frieze and silver triangles H 18 cm - ∅ 18 cm Signed 'Linossier'
Galerie Boulakia
Joan Miró (Barcelona 1893-1983 Palma) Untitled, 1946 Pen and India ink, coloured pencils, and pencil on paper 30 x 24 cm Signed, dated and inscribed 'Miró. 23-7-1946 à mon cher Joan Gomis, le jour de son anniversaire' (to my dear Jean Gomis on the day of his birthday) Provenance: Pierre Matisse Gallery, New York; Joaquim Gomis i Serdañons, Barcelone Literature: Jacques Dupin, Ariane Lelong-Mainaud, Joan Miro : catalogue raisonné, Volume II, 1931-1941, Editions Maeght-Lelong, Paris, 2000, n° 1. 1078, ill. p. 144
Galerie des Modernes
jean dubuffet
Jean Dubuffet (Le Havre 1901-1985 Paris) Terrain au Cheval 1, 1952 Indian ink (calame) on paper 30 x 22.5 cm Signed and dated lower right 'J. Dubuffet 52' Provenance: Pierre Matisse Gallery, New York, USA; Acquavella Modern Art, Reno, USA; Andrew and Christine Hall collection, Connecticut, USA; private collection, France; private collection, Belgium Literature: Max Loreau, Catalogue des Travaux de Jean Dubuffet, fascicule VII, Tables paysagées, paysages du mental, pierres philosophiques, Les Éditions de Minuit, Lausanne 1979, descr. and repr. on p. 109, n° 169 Exhibitions: Miro: early drawings collages 1919-1949 - Dubuffet: early drawings collages 1943-1959, Pierre Matisse Gallery, New York, November-December 1981; Dubuffet-Miro: selections from the Acquavella collection, Nevada Museum of Art, Reno, July-September 1997
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.
Patrick Derom Gallery
jean arp
Jean Arp (Strasbourg 1887-1966 Basel) Untitled, circa 1930 pencil and gouache on paper 30 x 25.8 cm Signed lower right on the reverse Certificate of authenticity of the Arp Foundation, Clamart, dated 24 March 2009 Provenance: Marguerite Arp-Hagenbach, Meudon (widow of the artist); Hans Arp and Sophie Taeuber-Arp Foundation, Remagen-Rolandswerth, Germany (since 1977); Galerie Mitchell-Innes & Nash, New York; private collection Exhibitions: 1990, Moscow, Puschkin Museum, Hans Arp 1886-1966: Sculpture, Reliefs, Drawings, Collages; 1994, Munich, Haus der Kunst, Elan Vital oder Auge des Eros; 1996, Rolandseck, Stiftung Hans Arp und Sophie Taeuber-Arp, Hans Arp/Sophie Taeuber-Arp, cat. 41 1997-2000, Saint-Petersburg, Hermitage Museum, Thessaloniki, Altes Archäologisches Museum, Mantoue, Palazzo Te, Toyota, Municipal Museum of Art, Krakow, Galerie Bunkier Sztuki, Heino, Stichting Hannema-de Stuers, Hans Arp und Sophie Taeuber-Arp; 2003, Palma de Majorque, Fundacion Sa Nostra, Diverse Explorations: Hans Arp and Sophie Taeuber-Arp
Florian Kolhammer
louis c. tiffany
Louis C. Tiffany (New York 1848-1933 New York) Jack-in-the-pulpit vase Tiffany, 1906 Yellow glass H 44 x 23.5 x 12.5 cm Marked 'L.C.T.' and '2210A' underneath Provenance: Christie's sale The 'Jack-in-the-pulpit' vases represent a special design category within the production of the Louis Comfort Tiffany company. These glasses were modeled after the Arisaema Triphyllum plant and are among the most iconic designs of this famous manufacturer. Our example shines in pure gold. It was made in 1906 and received as a wedding gift at the time.
Herwig Simons Fine Arts
Wooden chef-d'oeuvre of the Compagnonnage France, 19th century Walnut, maple and mohogany wood H 185 cm Provenance: former private collection, France A fine, rare and large nineteenth-century wooden exhibition model, the chef-d'oeuvre of a master carpenter of the Compagnonnage. These models were made to show the technical expertise and skill of the master carpenter. The Compagnonnage is an old French guild with roots in the 12th century. In the eighteenth century, they incorporated symbols and rituals, many of which were borrowed from Freemasonry to create an initiatory progression for its members.