This section will be available this Autumn.
TASCHEN
marc newson
Marc Newson (Australia, Sydney 1963) America’s Cup This limited edition unfurls the story of America’s Cup and celebrates its skippers, owners, defenders, and challengers. Packed with previously untold tales and unseen photographs, it features a case designed by Marc Newson, crafted from cotton sailcloth, and a custom-made closure by Louis Vuitton, the official partner of the 37th America's Cup. Copies 1-175 come with a numbered carbon fiber bookstand also designed by Newson.
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
DIE GALERIE
pierre alechinsky
Pierre Alechinsky (Brussels, 1927) Le Point du Jour, 1966 Oil on canvas 130 x 81 cm Signed lower right 'Alechinsky'; signed, dated and entitled verso Certificate by the artist from 19 March 2012 Provenance: Galerie Birch, Kopenhagen; DIE GALERIE, Frankfurt am Main Literature: Pierre Alechinsky, Galerie Birch, Kopenhagen 1966; CoBrA. Una grande avanguardia europea 1948-1951, exh. cat. Fondazione Roma Museo, Palazzo Cipolla, Rome 2015, p. 211 Exhibitions: Pierre Alechinsky, Galerie Birch, Kopenhagen 1966; CoBrA international – Momente einer Utopie, Museum für aktuelle Kunst, Sammlung Hurrle, Durbach, 2012-2013; CoBrA – Una grande avanguardia europea 1948-1951, Fondazione Roma Museo, Palazzo Cipolla, Rom, 2015-2016; 70 Years of CoBrA, DIE GALERIE, Frankfurt am Main, 2018; Pierre Alechinsky and his artist friends, DIE GALERIE, Frankfurt am Main, 2025
Galeria Bessa Pereira
Carlo Hauner (Brescia 1927-1996 Salina) & Martin Eisler (Vienna 1913-1977 São Paulo) Coffee table, 1960s Jacarandá wood and glass H 46 cm - Ø 89 cm Origin: Brasil Provenance: private collection, Rio de Janeiro; Galeria Bessa Pereira collection, 2025 Literature: Vicente, A., & Vasconcellos, M. (Comps.), Móvel moderno brasileiro (1st edition), São Paulo: Olhares, 2017, p. 231
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.
Galerie des Modernes
max ernst
Max Ernst (Brühl 1891-1976 Paris) Fleur de coquillage, circa 1932 Gouache on paper 23 x 30.7 cm Signed lower right 'max ernst' Certificate of authenticity by Mr. Werner Spies dated 29 November 2007 Provenance: Edward Weston collection, Carmel Highlands; Galerie Tarica, Paris; Galerie Heyram-Mabel Semmler, Paris; Galerie des Modernes, Paris; private collection, France
Herwig Simons Fine Arts
Game box with chess and backgammon Eger, 17th century 48 x 48 x 11.5 cm Provenance: Lothar Schmid (1928-2013), German chess Grandmaster Literature: publications World of Art: Art chamber games by the Kunsthistoriches Museum in Vienna Double-sided game box : one side shows a bas-relief depicting the meeting of Aeneas and Dido, accompanied by a Putto. The other side features a chessboard in finely executed marquetry. The interior reveals an elegant backgammon board decorated with double-tailed dolphins. Eger, a Bohemian Free City (now Cheb, Czech Republic), was well known in the 17th century for a specialised type of woodworking, particularly for intarsia panels. This set belonged to Lothar Schmid, the German chess Grandmaster and collector of chess books, boards and pieces. He is best known as the chief arbiter of the World Championship of chess in 1972 between Bobby Fisher and Boris Spassky in Reykjavik.
Stéphane Renard Fine Art
Workshop of Benedetto da Maiano (Maiano 1442-1497 Florence) Bas-relief of the Virgin and Child with Saint John the Baptist as a child Polychrome and gilded stucco in its original carved and gilded wooden frame H 76 x W 64 x D 13 cm (framed) Provenance: Coat of arms with the alliance arms of two Florentine families: the Compagni (on the left) and the Tornaquinci (on the right) We can estimate that around thirty copies of this bas-relief were probably made, half of which are in public collections (including the Bode Museum in Berlin (Germany – Inv. 1581), the Victoria & Albert Museum in London (United Kingdom – two copies), the Bargello and Stefano Bardini Museums in Florence (Italy), and the Hermitage Museum in Saint Petersburg (Russia) but this one is the only one bearing the coat of arms of its commissioners.
Galerie Cento Anni
philippe wolfers
Philippe Wolfers (Brussels, 1858-1929) Fiançailles (Engagement), circa 1911 Bronze with brown patina and original marble base H 50.5 cm Signed Ph. Wolfers Lost-wax cast n° 1 Provenance: private collection, France Literature: La Dynastie Wolfers–de l’Art nouveau à l’Art déco, Werner Adriaenssens & Raf Steel, p. 396
Galerie Greta Meert
carla accardi
Carla Accardi (Trapani 1924-2014 Rome) Frammenti, 1984 Acrylic on canvas 50 x 60 cm Frammenti, a work from 1984, ‘Fragments’; the work affirms Carla Accardi’s place as a voice of innovation in an Italian art scene dominated by male voices. In this 50 x 60 cm painting using only black paint on the untreated material of the canvas, the artist constructs a rhythmic interplay of signs animating recognition and illegibility, an evocation of a writing that dissolves into abstraction. The work embodies the tension that characterises her oeuvre: a subtle intertwining of classical painterly discipline and the radical openness of the avant-garde, resulting in a visual language that is as rigorous and experimental as it is personal.
Francis Janssens van der Maelen
Silver box in jade Paris, Art Deco Sterling silver, jade W 35 cm - 4400 gr (total weight) Bears retailer's stamp, Boin-Taburet and maker's mark, Henry & Fils Boin-Taburet were formed in 1873 and quickly established themselves as one of Paris's most noteworthy makers & retailers, winning a Gold medal at the 1889 Paris Exposition Universelle. Arguably their most distinctive work married silver and silver-gilt with other materials including porcelain, marble, and in the case of this stunning Art Deco tureen, jade. Jade was seemingly a less often used material - the only other piece found with a similarly carved jade element was a box that fetched an incredible amount at auction in 2012.
Beck & Eggeling International Fine Art
heinz mack
Heinz Mack (Germany, Lollar 1931) Weisse Vibration, 1958 Synthetic resin in wood (relief) H 28 x W 68 x D 4 cm Signed and dated lower middle 'Mack 58', verso titled 'Weiße Vibration' Provenance: estate of Franz Swetec, Düsseldorf (acquired from the artist)
Brame & Lorenceau
julio gonzález
Julio González (Spain, Barcelona 1876-1942 Arcueil, France) Personnage au cornet, 1937 China ink and coloured pencil on paper 29 x 21 cm Signed and dated lower centre Provenance: private collection Literature: J. Gibert, Catalogue raisonné des dessins de Julio González, Projets pour sculptures personnages, Paris, 1975, vol. 9, p. 47 (ill.) Exhibition: New York, The Museum of Modern Art, Julio González, Drawings and Sculpture, February-April 1956, Minneapolis
Collectors Gallery
ettore sottsass
Ettore Sottsass (Austria, Innsbruck 1917-2007 Milan, Italy) 18ct gold ring, 1984-1986 Ring with a long rectangular table featuring a black onyx disc and diamonds Designed by Sottsass for Cleto Munari, Milan Produced in an edition of 9 Provenance: private collection, London Literature: Radice 1987, p. 78; Vezzosi 1990, p. 105
Samuel Vanhoegaerden Gallery
Bram Bogart (Delft 1921-2012 Sint Truiden) Hooigang, September 1964 Mixed media on canvas, mounted on wooden panel 106 x 124 cm Signed, dated and titled on reverse Provenance: D & R Hughes, London, 1989; private collection, Belgium Literature: Bram Bogart, The early years, 1951-1965, D & R Hughes, 1989, ill. n° 49
Galerie Nicolas Bourriaud
emile gilioli
Emile Gilioli (Paris, 1911-1977) Obélisque, circa 1960 Marble sculpture H 88 x W 25.5 x D 24 cm Signed 'Gilioli' Unique piece Provenance: the artist's studio Literature: Pierre Descarges, La logique de Gilioli, XXe siècle, Juin 1970, n° 34, p. 70; Ionel Jianou, Hélène Lasalle, Gilioli, Paris, 1971
Repetto Gallery
valerio adami
Valerio Adami (Bologna, 1935) La firma del muro antico, Odisseo (per E. Pound), 1977 Acrylic on canvas 204 x 152 cm Signed, dated and titled on the reverse: Adami 8.8.77 17.11.77 La firma del muro antico. Odisseo (per E. Pound) Label on the reverse by Galerie Rive Gauche Marcel Strouk, Paris Certificate of authenticity by Archivio Valerio Adami n° 878 Provenance: Galerie Maeght, Paris; private collection, France (acquired from the above) Exhibition: Valerio Adami, 7 October-12 November 1978, Palais des Beaux-Arts, Charleroi; Valerio Adami. Ripensando la realtà, Dep Art Gallery, Milan, 6 March-17 May 2025
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.