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Galerie von Vertes
Patty Raynes and son 1985 Acrylic and silkscreen ink on canvas 40.2 × 40.2 in., 102 × 102 cm Verso signed and dated 'Andy Warhol 85' Provenance: · Patty Raynes, USA (1985 directly acquired from the artist) · Private collection, USA (2022 acquired from the above) Background information: In 1985, Patty Raynes commissioned two works, this one with a yellow background and a second one with a white background. ‘Patty Raynes and Son’ from 1985 is one of a series of portraits in which Warhol no longer exclusively depicted global celebrities, but increasingly portrayed members of his social environment - individuals whose social position exerted a symbolic aura, even if they remained outside the pop-cultural canon. Patty Raynes came from a respected family of American industrialists, socialite and daughter of oil tycoon Marvin Davis, a fact that inevitably lends the work the character of a status portrait. Warhol, who was always concerned with the relationship between appearance and identity, addresses the portrait here as an expression of social affiliation. The subject, the depiction of a mother and child, is immediately reminiscent of the archetypal motifof the Madonna and Child. Warhol adopts this traditional pictorial form but transforms it into a contemporary icon: the sacred content isdisrupted by the screen-printing technique, giving the scene a cool, distanced character. · Patty Haynes and son emerge from this mature period in Warhol’s oeuvre, when the artist extended his repertoire of subjects to include his panoply of famous friends, artists, actors, and socialites. A collection idolizing the who’s who of New York, Warhol intended for the 40 by 40-inch series to be exhibited together in a “Portrait of Society,” a dream eventually realized at the artist’s retrospective Andy Warhol—From A to B and Back Again at the Whitney Museum in New York in 2018.
Galerie Alexis Bordes
Constant MONTALD (Ghent, 1862 – Woluwe-Saint-Lambert, 1944) View of Houses in Spring 1917 Gouache on paper laid down on card Signed and dated lower right “C. Montald 17” 70 × 88.5 cm Provenance: Belgium, private collection (acquired at public auction in 1993) ; France, private collection
Stern Pissarro Gallery
PABLO PICASSO (1881 – 1973) Guitare Executed in 1923 Pastel on paper 21 x 14 cm Signed upper right, Picasso Provenance: Galerie István Schlégl, Zürich Private collection, acquired from the above in 1988 Literature: C. Zervos, Pablo Picasso Oeuvres de 1923 à 1925, Vol. V, Editions cahier d'art, Paris, 1952, no. 70 (illustrated in black and white)
Galerie bei der Albertina ▪ Zetter
Adolf Loos Ladie´s Writing Desk, around 1903/04 Manufactured by Friedrich Otto Schmidt, Vienna Softwood, oil varnish, brass fittings, writing inlay with new leather H 106 cm (with top), H 80 cm (without top) W 113 cm, D 67.5 cm Company stamp on the underside: Friedrich Otto Schmidt / Wien / 1 Singerstrasse 16 / Schmidt Miksa / Budapest / 5. Lipotkorut 4 Provenienz: Private collection, Vienna Literature: Burkhardt Rukschcio/Roland Schachel, Adolf Loos. Leben und Werk, 1982, Salzburg/Vienna, ill. p. 115, no. 117 cf. Exhibition catalogue ‘Adolf Loos. Private Spaces’, Barcelona Design Museum, 2017, ill. p. 134 Exhibitions: Paris, ‘Adolf Loos – Exposition Du Cinquantenaire’, 1983 Karlsruhe, ‘Gründerzeit, Adolf Loos: Jahrhundertwende: Rückblick und Ausblick im Spiegel der Wiener Architektur’, 1987
Spazio Nobile Gallery
Didi Ng Wing Yin, Pleats Vase Cinnabar Red #19, 2026, Sculptural vessel, Spruce wood, Indian ink, brushed, split, carved, ink-dyed, and finished with shellac, unique piece, signed by the artist Certificate of authenticity Bibliographical references: Didi Ng Wing Yin, The Nature of Wood, Artist Book, Spazio Nobile Editions, 2026 Exhibitions: LOEWE FOUNDATION Craft Prize finalist, Madrid, 2025 Spazio Nobile Gallery, The Nature of Wood, Solo Exhibition, Brussels, 2025 Fine Arts Asia, Hong Kong, 2026 Homo Faber, Isola di San Giorgio Maggiore, Venice, 2026
Repetto Gallery
Artist: Carla Accardi (1924 - 2014) Title: Carminio su tela grezza Dates: 1997 Medium: Vinyl on raw canvas Dimensions: 50 × 70 cm Signature: Signed lower right; signed, titled, dated and archive number on the reverse Certificate of authenticity on b/w photograph signed by the artist, no. 18/98. Registered at Studio Accardi, Rome, archive no. 629A Provenance: Soffiantino Arte Contemporanea, Turin Private collection Literature: Germano Celant (edited by), "Carla Accardi. Catalogo ragionato", (Charta, Milano) 1999, p. 419, n. 1997 62 (B&N), ill.
Stern Pissarro Gallery
PIERRE-AUGUSTE RENOIR (1841 – 1919) Coco mangeant sa soupe Executed in 1905 Oil on canvas 46.3 x 37.9 cm Signed lower right, Renoir. Provenance: Ambroise Vollard, Paris Private collection, Zürich, circa 1930 Fine Arts Gallery of San Diego, March 1942 (on loan from a Private collection) Dalzell Hatfield Galleries, Los Angeles, 1943-1949 Van Diemen-Lilienfeld Galleries, New York, 1953 Chapin and Mary Alexander Riley, Malibu/Worcester, acquired in 1953 Worcester Art Museum, Massachusetts (inventory no. 1991.238) (one third gifted in 1992 and a second third gifted in 1997) Literature: Principales acquisitions des musées en 1992, Gazette des Beaux-Arts, 1993, p. 65 G.-P & M. Dasuberville, Renoir: Catalogue raisonné des tableaux pastels, dessins et aquarelles, no. 3415 Exhibitions: Amsterdam, Stedelijk Museum, Vincent van Gogh en zijn Tijdgenooten, 1930, no. 269 San Diego, Fine Arts Gallery, 1942 Los Angeles, Dalzell Hatfield Galleries, Renoir (1841-1919), 1943, no. 5 Los Angeles, Dalzell Hatfield Galleries, A Superb Exhibition: Modern French Masters, 1949, p. 5 (travelled to New York, Barbizon Plaza Hotel) Madrid, Museo Thyssen-Bornemisza, Renoir: Intimidad, 18 October 2016 - 22 January 2017, p. 149 (travelled to Bilbao, Museo de Gellas Artes de Bilbao, 7 February - 15 May 2017)
Dei Bardi Art
Saint Peter Circle of Daniel Mauch Upper Rhine, circa 1490 Walnut bust 39,2 x 49,5 x 26 cm (with base) Provenance: private Rhenish collection Literature: Antlitz des Mittelalters Mittelalterliche Bildwerke aus rheinischem Privatbesitz, ed. Reinhard Karrenbrock and Claudia Lichte, with technical studies by Michael Rief and Ulrike Villwock, Rottweil/Aachen, 1999, n° 33, pp. 108–110 Exhibitions: Dominikanerforum, Rottweil, 31 October 1999 – 6 January 2000; Suermondt-Ludwig-Museum, Aachen, 4 March – 21 May 2000
Galerie Flak
U’u Club Marquesas Islands, Polynesia 18th or 19th century Carved wood and fibers Height: 138.5 cm – 54 ½ in. Provenance Collection David Petty, London Collection Pierre-Richard Royer, Paris Collection Alexandre Bernand, Paris Private collection, acquired from the above in September 2016 Exhibition TEFAF 2024, Maastricht, Serge Schoeffel, catalogue T3, p. 28
Galerie Raf Van Severen
Rik Wouters (1882, Mechelen - 1916, Amsterdam) "Portrait de Rik Wouters, Chemise Blanche", dated 1912 oil on canvas on panel, 51.5 x 61.5 cm Annotated at the back: "Nr 99 Portrait de Rik Wouters par lui même toile collee sur panneau"; "Mme V: Rik Wouters"; "Portret van Rik Dhr Mevr. De Carnière" Provenance: Private collection, Brussels; Collection Leten, Ghent; Anc. collection Nel Wouters Literature: Roger Avermaete, Rik Wouters, Editions Arcade, Brussels, 1965
Galeria Jordi Pascual
Fernand Léger (Argentan 1881-1955 Gif-sur-Yvette) Paysage animé, 1937 Oil on canvas 92,1 x 60 cm Provenance: Galerie Simon, Paris; Galerie Louise Leiris, Paris; Kunsthalle Bern; Marlborough Gallery, London; Saidenberg Gallery, New York; Michelle Rosenfeld Gallery, New York; Nierendorf Gallery, New York; Samuel Berger, New York; private collection Literature: Cooper, Douglas, Fernand Léger et le nouvel espace, Lund Humphries / Éditions des Trois Collines, 1949, p. 130; Bauquier, Georges, Fernand Léger: Catalogue raisonné 1932–1937, 1996, pp. 238–39, fig. 938 Exhibitions: San Francisco Museum of Art, Art of Our Time, 1935–1945, 1945, cat. p. 33, fig. 39; Marlborough Gallery, London, Selected European Masters of the 19th and 20th Centuries, 1973, cat. pp. 78–79, fig. 39; Stad Mechelen, Cultureel Centrum, Belgium, Fernand Léger, 1979, fig. 60; Museo de Arte Contemporáneo, Caracas, Fernand Léger, 1982, cat. p. 74, fig. 46; Whitechapel Art Gallery, London, Fernand Léger: The Later Years, 1987–88, cat. p. 19, fig. 21; Staatsgalerie, Stuttgart. Fernand Léger: Zeichnungen, Bilder, Zyklen, 1930–1955, 1988, cat. p. 190, fig. 21; Michelle Rosenfeld Gallery, Léger: America’s Culture, 1998, cat. fig. 18; Fundació Joan Miró, Fernand Léger, 2002, cat. p. 129; Marlborough Fine Art, London, Jacques Lipchitz and the School of Paris, 2023
Laurent Schaubroeck
PAUL EVANS & PHILLIP LLOYD POWELL Monumental Wall Unit Unique piece ORIGIN: USA DATE: c. 1960 MATERIALS: Steel, wood, gold leaf DIMENSIONS: W236 × D51 × H282 cm PROVENANCE: Martin Brooks, Doylestown Extraordinary wall-mounted cabinet by Paul Evans and Phillip Lloyd Powell, two key figures in American postwar design. This one of a kind piece combines carved wood, torch-cut and enameled metal, and gold leaf. Features four floating shelves and a two-door lower cabinet with concealed storage. Rare in both scale and collaboration.
Galerie Nicolas Bourriaud
MEESTER Raymond de (1904–1995) Yawning Leopard Bronze with a nuanced brown patina, signed ‘Rd de Meester de B’, titled ‘Yawning Leopard’ and dated ‘1928–29’ Batardy cast, numbered I/III, bearing the stamp ‘BATARDY CIRE PERDUE BRUXELLES’, and the inscriptions ‘Épreuve d’Artiste’ and ‘cire perdue’ H. 45.2 x W. 41.6 x D. 15.5 cm. Circa 1928–1929 Bibliography: Léonard Dieleman, Raymond de Meester de Betzenbroeck, Animal Sculptor, Gallery Dieleman, Brussels 1989, reproduced under number 5 Xavier de Ghellinck Vaernewyck, ‘de Meester de Betzenbroeck’, Nouvelle Biographie Nationale, Part 6, Royal Academy of Belgium, Brussels, 2001, pp. 133–135
Gallery Sofie Van de Velde
Cy Twombly (1928 Lexington US – 2011 Rome IT) Untitled, Captiva Island, Florida, 1974 Signed, dated, and inscribed “Captiva ‘Feb 74’” on the reverse. Gouache and pastel on a collage of paper and graph paper, on paper. 750 × 1060 mm Provenance Galerie Yvon Lambert, Paris Collection of Pierre Horay, Paris Heiner Bastian Fine Art, Berlin Acquired from the above by the present owner Exhibitions Paris, Galerie Yvon Lambert, Cy Twombly, April–May 1974 Seattle, Richard Hines Gallery, Cy Twombly: Paintings and Drawings, July–August 1980 Literature Y. Lambert, Cy Twombly: Catalogue raisonné des œuvres sur papier, vol. VI, 1973–1976, Milan, 1979, no. 110 (illustrated p. 115) N. Del Roscio, Cy Twombly Drawings, Catalogue raisonné, Vol. 6, 1972–1979, Munich, 2016, no. 114 (illustrated in colour p. 108)
Galerie von Vertes
Upright Motive, Maquette No. 4 1955 (conceived and cast between 1956 and 1962) Bronze with brown patina (cast h) 12.1 × 2.5 × 3.1 in., 30,8 × 6,4 × 7,9 cm Casts: 9 + 1 A.P. Fiorini Ltd, London Provenance: · Zabriskie Gallery, New York City · B.C. Deane Collection, US · D.J. Rosenthal Collection, US · Dr. Phillip Cohen Collection, Washington, D.C. · Private collection, Washington, D.C. (by descent from the above) · Bonhams, New York, 20 November 2025, lot 119 · Private collection, Switzerland Expertise: · This work is recorded in the Henry Moore Foundation archives. Literature: · Alan Bowness (ed.), Henry Moore, Sculpture and Drawings, vol. III: Sculpture 1955-64, London 1965, no. 381 (another cast illustrated pl. 15b) · Alan Bowness (ed.), Henry Moore, Sculpture and Drawings, vol. III: 1955-1964, London 1986, no. 381 (another cast illustrated p. 21) · Henry Moore Foundation (eds.), The Henry Moore Artwork Catalogue, online catalogue, no. LH 381 Background information: Upright Motive was the first in a series of narrow vertical sculptures by Moore, which he compared to totem poles. The Upright Motives were part of a large commission for the courtyard of the new Olivetti building in Milan. When he visited the site, "a lone Lombardy poplar growing behind the building convinced me that a vertical work would act as the correct counterfoil to the horizontal rhythm of the building. This idea ultimately grew into the 'Upright Motifs'."
Galerie Ary Jan
Moïse Kisling (1891–1953) Landscape of Sanary-sur-Mer Oil on canvas Signed lower left and dated 1932 Dimensions: 64 x 73.5 cm Provenance: Acquired directly from the artist in the 1930s. Private collection, France Christie's Paris, sale of December 1, 2009 Private Collection, France Bibliography: J. Kisling, Kisling, 1891–1953, Turin, 1982, illustrated vol. II, p. 273, under no. 70
