This section will be available this Autumn.
Galerie Hadjer
Sonia Delaunay (Gradizjsk, Ukraine 1885-1979 Paris) Syncopé, 1971 Wool 197 x 172 cm Tapestry workshop Atelier Pinton Frères, Felletin, France Sonia Delaunay referenced on reverse bolduc, the artist's name and the monogram for the ateliers woven in the corner left, hand signed by Sonia Delaunay on the back Numbered 3/6 Exhibition: Sonia Delaunay tapestry was exhibited in 1972 as part of her first retrospective at the Museum of Modern Art in Paris
Simon Studer Art Associés
Pierre-Louis de La Rive (Geneva 1753-1817 Presinge) Paysage idyllique (Lac Léman et Grammont), 1792 Oil on canvas 85 x 114.5 cm, framed: 98 x 128 cm Signed and dated lower right Provenance: the artist's studio; Boissier family, Geneva; private collection, Geneva (by descent)
Costermans & Pelgrims de Bigard
Sebastien Vrancx (Antwerp, 1573-1647) Allegory of winter Oil on panel 51.8 x 66 cm Provenance: Comte François de Robiano, Senateur; his sale, Brussels, Barbé, 1 May 1837, lot 72 (as Pierre Brueghel); General van der Meeren; Alexandre van der Beeken Pasteel; his sale, Eindhoven, 1869 (as Pierre Brueghel); Edmond de Ryckman de Betz; thence by descent to the present owners
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Artimo Fine Arts
Exceptional bronze sculpture in lost wax by the Belgian artist Albéric Collin (1886 - 1962), stamped by the Valsuani foundry. This sculpture is impressive because of the rarity of its model, the quality of its casting and its large size. According to our research, this model has never been offered on the art market until now. The sculpture was purchased by Mr Jules Van De Putte directly from the artist and remained in the family of Mr Van De Putte until 2018. It is being offered for the first time on the occasion of the BRAFA. Albéric Collin is considered one of the greatest Belgian animal sculptors of all time and this sculpture may be considered one of his masterpieces. Model dated 1918-1921 The present bronze sculpture : 1922 Dimensions: 66.5 x 84 x 40 cm Provenance : Purchased from the artist by Mr Jules Van De Putte between 1922 and 1926. Stays four generations in Mr Van De Putte's family until 2018.
Bailly Gallery
Pablo Picasso (Malaga 1881-1973 Mougins) Jeune garçon et femme assise, 5.10.67 Colour oil crayon and pencil on paper 32.5 x 50.2 cm Signed and dated upper right Picasso 5.10.67 Certificate of authenticity issued by the Galerie Beyeler Basel, dated 2 September 1980 and a second one dated 15 November 1988. Photo certificate of authenticity issued by Maurice Jardot from Galerie Louise Leiris in Paris, dated 2 September 1980 Provenance: Galerie Louise Leiris, Paris (acquired from the artist and listed under n° 12457/62143); Galerie Beyeler, Basel (1988); private collection, Baden-Württemberg/Germany (acquired from above in 1988)
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Stern Pissarro Gallery
Christo Javacheff (Gabrovo 1935-2020 New York) The Gates (Project for Central Park, New York City), 1983 Pencil, wax crayon, charcoal, enamel paint, pastel with fabric and map collage Upper part: 28 x 71 cm Lower part: 56 x 71 cm Signed and dated upper right: Christo 1983 Provenance: private collection, Madrid (acquired directly from the artist’s studio in 1984)
Cortesi Gallery
Walter Leblanc (Antwerp 1932-1986 Silly) Torsions Mobilo-Statique, 1963 Polyvinyl on board in artist's frame 130 x 127 cm Signed on the reverse Walter Leblanc and label of the artist 'a real Walter LEBLANC mobile static' Provenance: private collection, Europe Literature: F. Pola (curator), Walter Leblanc. Sensorial Geometries, catalogue of the exhibition, Mousse Publishing, (1st of June-21st of July, Cortesi Gallery, London), p. 41, n° 11; Walter Leblanc. Addendum to the catalogue raisonné: II, Ludion, 2019, cat. 591, bis, p. 54, p. 74 (ill.)
Finch & Co
‘Kolo’ throwing club Wood with rich patina (ancient traces of ‘shellac’) Tonga, late 18th-early 19th century H 40 cm Small marks to the top of the head indicate possible ‘kills’ Provenance: private collection, UK Literature: for a similar example see Art and Artefacts of the Pacific, Africa and the Americas, The James Hooper Collection; Steven Phelps, 1976, pl. n° 89, n° 736, p. 167; The Art of Tonga ‘Ko E Ngaahi ‘Aati’ O Tonga’ Keith St Cartmail, University of Hawaii Press, Honolulu, AIM 31861 In the 18th century an extensive exchange network existed between Tonga, Samoa and Fiji. Cook arrived in the 1770’s on his second and third voyages as well as other European explorers and named Tonga the ‘Friendly Islands’. Valuable information on the area came from the account by William Mariner of his four year stay on Tonga between 1806 and 1810, and by the 1820s the London Missionary Society and the Methodist Mission were stationed on the Islands. Within ten years they had converted the Tongan chiefs to Christianity. The Fijian term ‘kolo’ was used in Tonga to refer to the throwing clubs that were generally referred to as i ula in Fiji. The name, which has no meaning in Tongan, is one of several indications that throwing clubs spread from Fiji to Tonga and Samoa, where they were known as ‘olo’. Whilst many Tongan ‘kolo’ are almost, if not wholly, indistinguishable from Fijian i ula, there is a small corpus of distinctly Tongan throwing clubs, such as this example, that pursue the greater refinement and symmetry of form, which is characteristic of Tongan art. On Tonga the quality of a warriors weapon was a symbol of his rank. Chiefs often possessed finely finished and decorated war clubs that were symbolic of their social status. The favourite weapons of the Tongan warrior was the club and the spear. They were fierce fighters and highly respected for their bravery in battle even by the ferocious Fijians.
David Aaron
Torso of Hermes 2nd century AD, Roman Marble H 82 cm Accompanied by Art Loss Register certificate S00208409, and IADDA certificate, this item has been checked against the Interpol database Provenance: formerly in the collection of Mr Ugo Donati (1891-1967), Molinazzo di Monteggio (1891-1967), Lugano, Switzerland, acquired in the 1950’s; thence by descent to Mr Carlo Donati, Switzerland, in 1967 (accompanied by photographs dated February 1985); Paris Art market, acquired from the above The piece was on display at the front entrance of the family home of Ugo Donati and photographed February 1985
Theatrum Mundi
Original Alien 'Grid' costume from the movie 'Alien Vs. Predator' The costume was used in production for the first movie of the Alien vs. Predator franchise in 2004, directed by Paul W. S. Anderson and produced by 20th Century Fox Foam rubber H 197 x W 54 x D 110 cm Provenance: private collection, USA 'Alien Vs predator' is a 2004 science fiction action film written and directed by Paul W. S. Anderson, and starring Sanaa Lathan, Raoul Bova, Lance Henriksen and Ewen Bremner. It is the first film installment of the Alien vs. Predator franchise, adapting a crossover bringing together the eponymous creatures of the Alien and Predator series. This costume was made for the Xenomorph known as "Grid" that acted as the alpha of the Xenomorphs and was born in a Yautja pyramid beneath Bouvet Island in 2004. Its name was given due to net wounds when getting constricted in the net of one of the Predators' net, Celtic. Grid was responsible for killing the Yautja Chopper and Celtic, who had come to the Pyramid to hunt Xenomorphs as part of an initiation hunt, and also helped to free the Queen held captive by the Predators deep within the pyramid. Grid was killed when Scar destroyed the entire pyramid with his Self-Destruct Device. It is clear that the design is the well-known design of all the Xenomorphs of the Alien franchise that came from the visionary mind of the Swiss artist H.R. Giger. During the preliminary work of the first "Alien" movie artist H.R. Giger and the concept artist Ron Cobb worked to realize the first Xenomorph. About the final outcome director Ridley Scott said to Giger " You wanted to make the most terrifying creature you can and yet it's also very beautiful". He also recalls that "in those days we had no technology whatsoever to do anything at all, it was going to boil down to some very thin person in a rubber suit, that was the only way of doing it". And yet even in the 2004 movie and in all the other Alien movies the Xenomorphs are always played by real actor in a costume. The new costumes for the AVP movie were created by Amalgamated Dynamics inc. a special effect studio founded by Alec Gillis and Tom Woodruff Jr, both former employees of the famous Stan Winston Studio with which they keep collaborating.
Galerie Jean-François Cazeau
André Masson (Balagny-sur-Thérain 1896-1987 Paris) La Ville Abandonnée, 1923-1924 Pastel, wax pencil and charcoal on paper 62.2 x 47 cm, 98.5 x 83.3 cm (framed) Signed lower left: André Masson Provenance: the artist’s studio; collection T. Mesens, Belgian Surrealist artist; Gallery Knoedler, New York; Galerie Odermatt-Cazeau, Paris; private collection, Paris Literature: Galerie H. Odermatt-Ph. Cazeau, André Masson, oeuvres maîtresses, Paris, 1990, ill. in colour p. 99, n° 43; Catalogue André Masson: Surrealist Drawings 1925-1965, edited by l’AFAA (L’Association Française d’action artistique), Le Chateau du Grand Jardin (Conseil Général de la Haute Marne) and le Musée départemental de l'Oise Beauvais and published by Soft Publicité Reims, 1993, ill. on the cover of the catalogue
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Univers du Bronze
Henri Laurens (Paris, 1885-1954) Femme accroupie aux bras levés, 1930 Bronze, richly dark black-brown patina H 43.5 x W 27.5 x D 24.2 cm Lifetime cast signed with the monogram HL, made during the Daniel-Henri Kahnweiller-Galerie Simon period (1907-1940) One other example is exhibited at the Musée d'art moderne, Centre Georges Pompidou
Rosenberg & Co.
Albert Gleizes (Paris 1881-1953 Avignon) Danseur, 1915 Oil on board laid on canvas 68.5 x 49.7 cm Signed and dated lower right: Alb Gleizes 15 Provenance: Walter Pach, New York; acquired directly from the above; Nikifora Iliopolus, Athens, Greece (his wife); private collection, New York; Rosenberg & Co., New York Literature: Photo-certificate authentication of Anne Varichon, co-author with Albert Gleizes of ALBERT GLEIZES: CATALOGUE RAISONNE, dated 28 May 2011
Van der Meij Fine Arts
Kristian Zahrtmann (Rønne 1843-1917 Frederiksberg) Still life with four tulips, 1912 Oil on cardboard 40 x 48 cm Signed lower right KZ 1912 (in ligature) Provenance: collection E. Th. Jensen, Denmark; private collection, Denmark Literature: H. Chr. Christensen, Kr. Zahrtmann 31 Marts 1843-22 juni 1917. Fortegnelse over hans Malerier, Copenhagen 1917, n° 676; S. Danneskjold-Samsøe, Kristian Zahrtmann, Copenhagen, 1942, p. 572, n° 1069 (as Fire tulipaner i glas)
Galerie Schifferli
Raoul Ubac (Malmedy 1919-1985 Dieudonné) Untitled (Head), cicra 1969 Sculpture in stoneware covered with an amalgam of resin and slate powder H 22 x W 21 x D 15 cm Signed with the monogram 'U' on the back of the work Provenance: Maître Maurice Rheims' collection This piece is registered in the Raoul Ubac archives under n° 10 30 and is accompanied by a photographic certificate established by Anne Ubac Delfieu, daughter of the artist and holder of the moral rights
Studio 2000 Art Gallery
Mané-Katz (Ukraine, Krementsjoek 1894-1962 Tel Aviv, Israël) Flower bouquet, 1936 Oil on canvas 149.6 x 74.5 cm Signed and dated lower right: Mané-Katz 36 Provenance: private collection, The Netherlands; sale Christie's London, 7 Feb 2014, lot n° 99; private collection; Hanina Gallery, London
