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Galerie de la Présidence
Hans Hartung (Leipzig 1904-1989 Antibes) T1966-E40, 1966 Vinyl paint on canvas and scraping 27 x 35 cm Signed and dated lower left Titled on the reverse, dedicated and signed This work is registered in the Archives of the Fondation Hans Hartung & Anna-Eva Bergman under n° T 1966-E40 Provenance: Waintrob collection, USA; Galerie Applicat-Prazan, Paris; private collection, Paris
Galeria Jordi Pascual
Joan Miró (Barcelona 1893-1983 Palma de Mallorca) Painting III, 1960 Acrylic and pastel pencil on canvas 92 x 65 cm Certificate of authenticity issued by ADOM Provenance: Galerie Maeght, Paris; Galerie Adrien Maeght, Paris; private collection, Barcelona Literature: Dupin, J. Miró, Flammarion, 1961, nº 928, p. 554; Dupin, J., Lelong-Mainaud, A. Joan Miró, Catalogue raisonné, paintings, volume IV: 1959-1968, Polígrafa, 2010, nº 1118; Weelen, G. Miró. Nouvelles Éditions Françaises, 1984, nº 8, p. 9 Exhibitions: Grand Palais, Paris, 1974, cat. nº 77; Villeneuve d'Ascq, Musée d'Art Moderne, cat. nº 16
Univers du Bronze
Antonin Mercié (Toulouse 1845-1916 Paris) Gloria Victis, circa 1880-1912 Bronze with richly shaded brown patina and gilt highlights H 187 x W 112 x D 91 cm Reduction n° 1 (3/5 from the original) Signed 'A.Mercié' and bears the founder's mark 'F. Barbedienne Fondeur' Presented as chief-model with assembly and mounting pins parts, like the one described in the Barbedienne catalogue raisonné (Rionnet, 2016): 'En janvier 1912, le sculpteur autorise l’éditeur à monter en épreuve et à mettre en vente le modèle n°1' (In January 1912, the sculptor authorised the publisher to produce a proof and put Model n° 1 on the market). A second example in this size is currently on display at the Musée des Augustins in Toulouse.
Galerie Tiago
Wood and lacquer reading stand (kendai) with a drawer at the base. The piece features a takamaki-e (raised maki-e) design depicting an eagle perched on a rocky outcrop, surrounded by vegetation. The kendai is a traditional stand used for reading books, poetry, or musical scores. Its use is documented as early as the Nara period (710–794). Developed during the Muromachi period (1336–1573), takamaki-e ("raised maki-e") is one of the three main techniques of maki-e decoration. It involves building up patterns above the lacquered surface using a mixture of metal powder, lacquer, charcoal, or clay dust. Japon – Edo era (1600-1868) Height: 20 in. (51 cm) – width: 17 in. (43 cm) – depth: 8.2 in. (21 cm)
Galerie Cento Anni
Philippe Wolfers (Brussels, 1858-1929) Surprise nymph, 1925 (sketch) Bonze and marble base H 18 x W 15.5 x D 9 cm Signed 'Ph. Wolfers' Lost-wax casting, Wolfers Studio Provenance: Wolfers' family Literature: Werner Adriaenssens and Raf Steel, The Wolfers Dynasty, p. 420, n° 306 Exhibitions: Brussels, 1925; Milan, 1926; Brussels, 1928; Antwerp, 1929; Brussels, 1972; Ghent, 1979
LUDORFF
Heinz Mack (Lollar, 1931) Couleur et lumière, 2004 Acrylic on canvas 317 x 292 cm Signed and dated Signed, dated and titled on the reverse Provenance: the artist’s studio; Park Hyatt Zurich collection Exhibitions: Galerie Ludorff, 'Recent Acquisitions Fall 2026', 4 October-16 January, Düsseldorf 2026 Literature: Galerie Ludorff, 'Recent Acquisitions Fall 2026', Düsseldorf 2026, p. 96; Heinz Mack, 'Ars urbana-Kunst für die Stadt: 1952-2008', München 2008, n° 276, p. 314
Douwes Fine Art b.v.
JERONIMUS VAN DIEST (1631 - The Hague - 1684) “Herring Busses under the Protection of Men-of-War”, c. 1652-1654 Oil on canvas: 105,5 x 161 cm; Monogrammed ‘I VD’ on the barrel at bottom right Provenance - Collection of Baron van Dedem, Netherlands - M. Wolff Gallery, Amsterdam, before 1940 - Private collection, The Netherlands - Hoogsteder Gallery, The Hague, 1991 - Inder Rieden Collection, since 1991 Literature: - Gerlinde de Beer, “The Golden Age of Dutch Marine Painting – The Inder Rieden Collection”, edited by Charles Dumas, Primavera Pers, Leiden 2019, Catalogue II, no. 43, page 682-694. - Charles Dumas, Gerlinde de Beer, “In de ban van de zee – De Gouden Eeuw van de Nederlandse marineschilderkunst”, De Inder Rieden Collectie, Museum Bredius, 2019, Wilco, Amersfoort, The Netherlands, no. 60, with colour ill. - E. Buijsen, in: Buijsen/Ekkart/Dumas 1998, p. 121, fig. 3 in colour Exhibition: - Charles Dumas, Gerlinde de Beer, “In de ban van de zee – De Gouden Eeuw van de Nederlandse marineschilderkunst”, De Inder Rieden Collectie, Museum Bredius, 2019, Wilco, Amersfoort, The Netherlands, no. 60, with colour ill. - The Hague 1998/99, without no.
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
LUDORFF
Günther Uecker (Wendorf 1930-2025 Düsseldorf) Kopf, 1955-1956 Nails on wood H 60 x W 34 x D 38 cm Signed and dated '56' Registered in the Uecker Archive under n° GU.56.001 and earmarked for inclusion in the forthcoming catalogue raisonné of Günther Uecker / Honisch catalogue raisonné 1983, n° 1 Provenance: the artist’s studio; private collection Nordrhein-Westfalen (purchased directly from the artist’s family 1987-2026) Literature: Galerie Ludorff, 'Recent Acquisitions Fall 2026', Düsseldorf 2026, S. 158; Dieter Honisch, 'Günther Uecker. Werkverzeichnis', Stuttgart 1983, n° 1, S. 169; Kestner-Gesellschaft, 'Günther Uecker', Hannover 1972, n° 53; Kunst- und Museumsverein, 'Exotisches und Moderne Kunst', Wuppertal 1968, n° 41 Exhibitions: Galerie Ludorff, 'Recent Acquisitions Fall 2026', 4 October-16 January, Düsseldorf 2026; Kestner-Gesellschaft, 'Günther Uecker', 5 May-18 June, Hannover 1972
Klaas Muller
Maarten Rijckaert (Antwerp, 1587-1611) Forest landscape with hunters, 17th century Oil on panel 32.4 x 49.5 cm This beautiful painting is a typical example of Maarten Ryckaert’s talent for creating atmospheric woodland scenes. The painting presents a dense forest filled with tall trees,a river, rough terrain and rocks. Soft light filters through the branches, creating contrasts between illuminated clearings and darker shadowed areas. In the foreground, a group of hunters on the left- and rightside accompanied by dogs: their small scale compared to the towering trees highlights the dominance of nature over human activity. The hunters add a sense of narrative and movement to the otherwise peaceful setting. Ryckaert uses earthy tones such as deep greens, browns, and golden highlights to create a rich and natural atmosphere. Fine details in the foliage, rocks, and tree trunks demonstrate his close observation of nature and his skill as a landscape painter. The scene evokes both tranquility and mystery, inviting the viewer to imagine the sounds and silence of the forest. The painting reflects the Baroque interest in dramatic natural scenery while also expressing a calm, contemplative mood. Through the balance of light, composition, and detail, Ryckaert transforms an ordinary hunting scene into a poetic vision of the natural world. Maarten Ryckaert was born in Antwerp and became especially known for his imaginative woodland scenes, rocky landscapes, and peaceful rural settings filled with travelers, hunters, and small groups of figures. Ryckaert studied painting in Antwerp and was strongly influenced by earlier Flemish landscape artists such as Joos de Momper and Jan Brueghel the Elder. Unlike many painters of his time who focused on religious or historical themes, Ryckaert specialized in landscapes, giving nature the leading role in his compositions. His works often combine realism with fantasy, creating dramatic forests, winding paths, and mysterious mountainous scenery.
Vagabond Antiques
After the antique, Chiurazzi Foundry (Attributed to) Naples, second half of the 19th century Bronze head of a man (possibly Dionysus) Bronze on original Rosso Antico marble socle H 70 cm Provenance: private collection at Château De Pesselières, France Literature: Fonderia Chiurazzi, Napoli, catalogue n° 1 'Dionisio o Platone-Bronzo da Ercolano 1741' A finely cast bronze by the Chiurazzi Foundry, Naples, after the celebrated antique excavated at Herculaneum in 1741 and now preserved in the Museo Nazionale di Napoli (inv. 5618). The model is recorded in the Chiurazzi Foundry catalogue as 'n° 1 - Dionisio o Platone - Bronzo da Ercolano 1741', indicating both the foundry’s internal model number and the Naples museum inventory of the original. The figure’s soft modelling, elaborate curls and bound taenia are characteristic of Hellenistic representations of Dionysus, though early scholars, struck by the introspective expression, also proposed identifications with Plato or other philosophers. Modern scholarship accepts the Dionysian attribution. Chiurazzi held exclusive rights to reproduce works from the Naples collections, issuing casts directly from museum models for export to collectors and institutions across Europe and America. This example, with its even dark patination and original Rosso Antico marble socle, reflects the exceptional quality for which the foundry became renowned.
Galerie Patrice Trigano
Pablo Picasso (Málaga 1881-1973 Mougins) Trois personnages et un oiseau, 1969 Ink on paper 30 x 53 cm Signed and dated 23 March 1969 Certificate of authenticity issued by Maya Widmaier Picasso, dated 23 November 2001 Provenance: private collection, Geneva Literature: reproduced in the Zervos catalogue raisonné, volume 31, n° 111