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Sceners Gallery
Marcel Kammerer (Vienna 1878-1959 Montreal) Set of one sofa, a pair of armchairs and a pedestal table, circa 1905 Stained beechwood, metal, and dyed winter cowhide Sofa: H 74 x W 165 x D 80 cm Armchairs: H 74 x W 88 x D 80 cm Pedestal table: H 77.5 x Ø 70 cm Signed Mundus For Gebrüder Thonet / Mundus
Grusenmeyer-Woliner
Power figure (Nkisi) Democratic Republic of the Congo, Kongo, Mayombe region, late 19th century Wood, seeds, beads, metal, glass, and plant fibers (raffia) H 24.5 cm H 29.5 cm (including base) Provenance: Mathias Komor Gallery, New York, USA, 1960s; Elliot Picket (by 1974); Aaron and Joyce Furman, New-York, USA; Daniel Hourdé, Paris; Galerie Alain de Monbrison, Paris Publication: Picket, Elliot, 'L’art Africain congloméré', Arts d’Afrique noire, n° 10, Summer 1974, n° 19, p. 33 Standing just 24.5 cm tall, this exceptional female nkisi from the Mayombe region of the Democratic Republic of the Congo possesses a presence far greater than its size suggests. Its piercing, wide-open eyes, finely modelled features and harmonious proportions reveal the remarkable quality of the carving, while the striking accumulation of black seeds surrounding the body adds to the intensity of its beautifully balanced composition. In Kongo tradition, nkisi figures were created to protect, heal and mediate between the visible and invisible worlds. Activated by a nganga, a ritual specialist and healer, they embodied spiritual forces believed to influence human life. This female figure, with her hands holding her breasts, evokes fertility, motherhood and the continuity of the lineage, while also fulfilling a protective function. At the centre of her abdomen, a mirror conceals a ritual cavity containing bilongo, a potent combination of plant, mineral and animal substances. The mirror establishes a symbolic connection with the spirit world, while the small cowrie shell adorning her forehead evokes prosperity and fertility. What makes this sculpture particularly compelling is the exceptional preservation of its ritual attributes. The abdominal receptacle, its mirror and ritual contents have survived, offering valuable insight into the figure's original spiritual function. Its richly layered, time-worn patina, thick and encrusted in places, bears witness to its ritual history. Equally fascinating are the numerous glossy black seeds, probably from a tropical vine of the Dioclea genus, which have survived along with the cords securing them. Combining sculptural refinement, spiritual significance and a rich assemblage of preserved ritual elements, this intimate yet commanding figure stands as a remarkable testament to the artistic traditions of the Mayombe region.
Bernardini Milano
Rolex, Bienne Rare yellow gold 'oyster chronograph', 1956 18k yellow gold, watch in prestine condition Provenance: previously unknown to the market Edition of 36 made in 18k yellow gold (edition of the late 50s) The untouched case and extensible bracelet host a perfect creamy silvered dial The watch is complete of its original box, papers, invoice and various communications between owner and the Swiss Maison. It is a benchmark in terms of rarity and conservation
Galerie Cento Anni
Philippe Wolfers (Brussels, 1858-1929) Salomé Drapée, 1928 Bonze and marble base H 52.5 x W 49.5 x D 17.5 cm Signed 'Ph. Wolfers' Bears the foundry mark Montagutelli Provenance: Wolfers' family Literature: Werner Adriaenssens and Raf Steel, The Wolfers Dynasty, p. 426, n° 324 Exhibitions: Antwerp, 1929; Ghent, 1979
Repetto Gallery
Christo (Gabrovo 1935-2020 New York) and Jeanne-Claude (Casablanca 1935-2009 New York) The Pont Neuf, Wrapped (Project for Paris), 1985 Graphite, charcoal pastel, wax crayon, fabric, photograph collage on cardboard mounted on a stretcher 144.5 x 165 cm Upper element: 38 x 165 cm Lower element 106.5 x 165 cm Signed, dated and titled lower on the upper element The artwork’s details have been reviewed and confirmed by the Foundation Christo and Jeanne-Claude Provenance: Michael Cullen, London; Deutsche Bank collection, Frankfurt (acquired from the above in 1985)
Grusenmeyer-Woliner
Figure of a winged atlas Gandhara, ancient Greco-Buddhist region Pakistan or Afghanistan, 3rd-4th century Grey schist H 34.3 cm Provenance: Shirley Day, New York, 30 January 1992; collection of Martha Sharp Joukowsky, Rhode Island, USA; Christie’s, Paris, property from the Joukowsky collection (sale), 27 September 2023
Alexis Lartigue
Pablo Picasso (Malaga 1881-1973 Mougins) Le peintre et son modèle IV, 1970 Pencil on paper 31.6 x 49 cm Signed and dated upper right Provenance: Sala Gaspar, Barcelona; Galerie Louis Leiris, Paris; private collection, Barcelona Literature: Zervos, Christian. Pablo Picasso, Oeuvres de 1970. Vol. 32. Éditions Cahiers d’Art, París, p. 71, n° 214; Wofsy, Alan. The Picasso Project. Picasso’s Paintings, Watercolors, Drawings and Sculpture: The Final Years. 1970-1973. Alan Wofsy Fine Arts, San Francisco 2002, p. 71, fig. 70-245
Galerie Alexis Pentcheff
Carved wooden frame, gilded with gold leaf, fitted with its original mercury glass Spain, 17th century Symmetrical decoration featuring four cherubs, stylised scrolls, acanthus leaves and gemstones at the corners Provenance: Amedeo Montanari collection Literature: Amedeo Montanari and Roberto Lodi, Directory of European frales, editions Galleria Roberto Lodi, 2003, repr. n° 641, p. 323
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
Dries Criel
EOS Earrings Sandblasted 18k yellow gold and natural white diamonds Inspired by Eos, the Greek goddess of the dawn. The earrings radiate a soft, sunlit warmth. Their matte surface captures light with subtlety, creating a gentle and enduring glow. At the heart of each piece rests a natural, white, step-cut diamond. Framed by flowing lines and delicate pavé diamonds, its architectural brilliance recalls the moment dawn first appears on the horizon: quiet, luminous and full of promise.
Artimo Fine Art
Jean-Baptiste Auguste Clésinger (Besançon 1814-1883 Paris) Lucrèce mourante (The Death of Lucretia), 1868 White Carrara marble H 165 x W 206 x D 82 cm Signed and dated 'J. Clésinger Rome 1868' Provenance: Émile de Girardin (1802–1881), Paris; sale of the Émile de Girardin collection, Hôtel Drouot, Paris, December 1887, lot 176; private collection, Château de Vallière, Mortefontaine (Oise), France Literature: Catalogue des marbres, bronzes et terres cuites composant l’atelier de M. Clésinger, Paris, sale of 5 June 1868, lot 2, with a preface by Théophile Gautier; Catalogue de la vente des œuvres de M. Clésinger, Paris, Hôtel Drouot, 6 April 1870, lot 2; Catalogue de la vente de la Société des marbres et bronzes artistiques de Paris, 2-3 April 1883, lot 17 (mentioning the original marble belonging to M. de Girardin); Alexandre Estignard, Clésinger, sa vie, ses œuvres, Paris, 1900 Created in Rome between 1863 and 1867, Lucrèce mourante ranks among Jean-Baptiste Auguste Clésinger’s most ambitious monumental compositions. The sculptor depicts the Roman heroine at the moment when, having revealed the outrage committed against her, she has just taken her own life. Seated, her body abandoned, her eyelids half-open and her gaze turned upwards, Lucretia lets the dagger fall as her drapery reveals the fatal wound. Her loosened chignon, with several strands falling onto the nape of her neck, heightens the sense of abandonment that pervades the composition. The work combines a particularly sensitive observation of human anatomy with the nobility of a composition inspired by classical sculpture. In his preface to the 1868 sale catalogue, Théophile Gautier emphasised the expressive power of this figure, whose inner suffering is conveyed with remarkable restraint. Listed in the catalogues of the Clésinger sales of 1868 and 1870, the sculpture subsequently belonged to Émile de Girardin, the celebrated French journalist and politician. Its presence in his collection is confirmed by the 1883 catalogue devoted to Clésinger’s models, which explicitly states that the original marble belonged to M. de Girardin. The work reappeared in December 1887 at the Hôtel Drouot sale of the Girardin collection, before entering, at an as yet undetermined date, the collections housed at the Château de Vallière in Mortefontaine.
Stéphane Renard Fine Art
Pierre Bonnard (Fontenay-aux-Roses 1867-1947 Le Cannet) Paysage, arbres fruitiers (1909) Oil on paper 47.7 x 63 cm Stamped with signature 'Bonnard' (Lugt 3886, lower left) Provenance: the artist's estate; private collection, Paris; anonymous sale, Koller Auktionen, Zurich, 2 December 2016, lot 3226; private collection, Europe Literature: J. & H. Dauberville, Bonnard, Catalogue raisonné de l’œuvre peint, vol. IV, 1940-1947 et Supplément, Paris, 1974, n° 1949, (ill.) p. 285
WHITFORD
Joseph Lacasse (Tournai 1894-1975 Paris) Dominante Rouge (Dia 385), 1948-1950 Oil on canvas 130 x 89 cm Signed and dated upper left Signed, dated and inscribed on reverse Lacasse estate inventory Dia n° 385 Certificate of authenticity issued by Mme Joostens-Koob Provenance: the estate of the artist
Galerie bei der Albertina ▪ Zetter
Egon Schiele (Tulln an der Donau 1890-1918 Vienna) Portrait of a woman, 1918 Black crayon on paper 47 x 30 cm Signed and dated lower right Estate stamp on the reverse: Kallir WV n° D 2223 Provenance: the artist’s estate (per stamp); Galerie St. Etienne, New York; Georges Simon, New York (acquired from the above, 1947); Lore Müller; Christie's, New York, 16 November 1983, sale 5442/Egon, lot 141 (consigned by the estate of the above); Galerie Würthle, Vienna; private collection, New York (acquired from the above, 1986) Literature: Jane Kallir, Egon Schiele: The Complete Works, Expanded Edition, New York 1998, ill. p. 609, D 2223; Exhibition catalogue 'Changing Times: Egon Schiele´s Last Years 1914-1918' ed. by Kerstin Jesse, Jane Kallir, Hans-Peter Wipplinger, Leopold Museum, Vienna 2025, ill. p. 253 Exhibitions: Tokyo, Tokyu Art Gallery, 'Gustav Klimt und Egon Schiele mit Werken von Alfred Kubin: Künstler der Jahrhundertwende'; Tochigi Prefectural Museum of Fine Arts, Utsunomiya; Chiba Parco, Chiba; Matsumoto Parco, Matsumoto; Shimoneseki City Art Museum, Shimoneseki, 1985; New York, Galerie St. Etienne, 'Egon Schiele's Women', 2012; Vienna, Leopold Museum, 'Changing Times: Egon Schiele’s Last Years, 1914-1918', 2025