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Carlucci Gallery
Roman Cabinat, circa 1780 Ebony veneered, marble and various polychrome stones H 208 x W 105 x D 62 cm Provenance: private collection Cabinet veneered in ebony, marble, and polychrome stones, with an architectural design. The upper section features a tympanum surmounted by Hercules holding the globe in flowering alabaster. A pierced balustrade is crowned with figures of a winged lion bearing a heraldic shield. The façade is articulated with a central door and two lateral doors, each concealing interior disappearing drawers. Materials include jasper, lapis lazuli, breccia, alabaster, and antique green marble.
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.
Stern Pissarro Gallery
Pierre-Auguste Renoir (Limoges 1841-1919 Cagnes-sur-Mer) Femme dans un paysage, 1917 Oil on canvas 25.3 x 39.7 cm Stamped lower right: Renoir Provenance: the artist's estate; Palais Galliera, Paris, 18 March 1964, (titled 'Gabrielle au jardin'); Hôtel George V, Paris, 10 December 1996, (titled 'Paysage'); private collection, Italy Literature: Marc Elder, L'Atelier de Renoir, vol. II, L'Atelier de Renoir (n.p.: MM. Bernheim-Jeune, Editeurs d'Art, 1931), n° 59 (ill. pl. 187, first state, titled as 'Paysage, bouquet'); Albert André, Marc Elder, and Messrs. Bernheim-Jeune, Renoir's Atelier / L'Atelier de Renoir, Rev. ed. (Paris: MM. Bernheim-Jeune, Éditeurs d'Art, Paris; San Francisco: Alan Wofsy Fine Arts, 1989), n° 599, p. 243 (ill. pl. 187, first state, titled as 'Paysage, bouquet'); Guy-Patrice Dauberville and Michel Dauberville, Renoir: Catalogue raisonné des tableaux, pastels, dessins et aquarelles, vol. V, 1911-1919 (Paris: Éditions Bernheim-Jeune, 2014), no. 3981, p. 204 (ill. p. 204, present state, as "Paysage du Midi") Exhibitions: Paris, Galerie Jean Charpentier, Beautés de la Provence, 17 December 1947-7 March 1948, n° 129 (titled as "Gabrielle au jardin," dated circa 1915) This work is accompanied by letter from the Wildenstein-Plattner Institute confirming the work will be included in the forthcoming Renoir digital catalogue raisonné.
Galerie Berès
simon hantai
Simon Hantaï (Hungary, Bia 1922-2008 Paris, France) Étude en noir et blanc pour Pierre Reverdy, circa 1969 Oil on canvas 96 x 75.5 cm Certificate of authenticity n° 2024-16 from the archives Simon Hantai on October 12th, 2024 Provenance: gifted by the artist to Peter Stuyvesant Foundation in 1969 Exhibition: Tilburg, Kultureel Centrum, Peter Stuyvesant collectie, 1979
Galerie la Ménagerie
edouard-marcel sandoz
Edouard-Marcel Sandoz (Basel 1881-1971 Lausanne) Duckling, circa 1925 Brown-green patinated bronze Bears the inscription of the foundry Susse Frères Paris H 9.5 x W 9 x D 6 cm Signed 'Ed M Sandoz' on the base Literature: Model with the reference 862 from the catalogue raisonné of the artist, Félix Marcilhac, Sandoz, sculpteur figuriste et animalier, Les éditions de l'amateur, 1993
Victor Werner
thierry van ryswyck
Thierry Van Ryswyck (Antwerp 1911-1958 Vallauris, France) Walking panther, 1929 Patinated plaster H 53 x W 133.5 cm x D 23 cm Name and address of the mould maker inscribed on the underside of the base: A. Hoefnagels, mouleur, Quai Cockerill 19, Anvers Signed and dated Th. Van Ryswyck 1929 Provenance: private collection
Douwes Fine Art b.v.
rembrandt van rijn
Rembrandt van Rijn (Leiden 1606-1669 Amsterdam) Self-Portrait in a Cap, Wide-Eyed and Open-Mouthed, 1630 Etching and drypoint on laid paper 5.4 x 4.6 cm Signed in monogram and dated lower centre: RHL 1630 Plate not in existence – with Nowell-Usticke (1967): RRR – a very rare little plate Provenance: private collection, Germany; private collection, The Netherlands Literature: Bartsch 320; Hind 32; The New Hollstein Dutch n° 69: Second state (of II) This is a small masterpiece of Rembrandt's early etchings. The expression of this physiognomic study made by his etching needle could not be more livelike as the facial expression (perhaps "astonishment") is in perfect harmony with the round shape of the face. Rembrandt knows exactly how to hit every tonal gradation with fine, arching strokes. Of all the self-portraits in which Rembrandt depicts emotions, this one is probably the most engaging. He looks startled here, with pursed lips and wide-open eyes. You see him slightly from below, so that he seems to be recoiling. The etching is clearly executed and clever, with the contours of the shoulders and the cap fading into the edges. During his lifetime, Rembrandt's extraordinary skills as a printmaker were the main source of his international fame. Unlike his oil paintings, prints travelled light and were relatively cheap. For this reason, they soon became very popular with collectors not only within but also beyond the borders of the Netherlands. Rembrandt's etchings are remarkable for their high number of self-portraits (over 30 out of about 290). These are particularly collectible, perhaps due to the smaller number of states as well as the artist's compelling and powerful presence. Unlike his stately religious scenes, or regal, posed portraits of others, which exhibit his careful and calculating brilliance as an etcher, Rembrandt's self-portraits reveal him as an artist and a man. In them he assumes the role of the experimenting artist, approaching the most difficult of subjects - himself. These self-portraits are often described as ethereal and wistful for their notable contrasting areas of high and low etched space. A very fine impression of this famous small portrait in the second (final) state, printing clearly, just beginning to show a little wear on the tip of the nose, with narrow margins.
Virginie Devillez Fine Art
pierre-louis flouquet
Pierre-Louis Flouquet (Paris 1900-1967 Brussels) Féminités, circa 1923-1925 Oil on canvas 125 x 87 cm Signed lower right 'flouquet' Provenance: Galerie Patrick Derom, Brussels; private collection, Brussels; private collection, Brussels (by descent to the present owner) Literature: Serge Goyens de Heusch, Pierre-Louis Flouquet. 1900-1967, Brussels, Fondation pour l’Art belge, 1993, (ill. p. 56) Exhibitions: Brussels, Galerie Patrick Derom, The Avant-garde of the 1920s in Belgium, 1992, cat. n° 12 (ill.); Drogenbos, FeliXart Museum, L’Équerre / 7 Arts 1923, scenographic reconstruction of the fair stand of the publishing house L’Équerre, 2008-2011, no catalogue published Born in Paris, Pierre-Louis Flouquet was nine years old when his family moved to Brussels. Mainly self-taught, he received a brief artistic education at the Académie des Beaux-Arts in Brussels, where he met, among others, Victor Servranckx and René Magritte. The latter soon shared a studio with Flouquet, who began producing geometric works that represented a true synthesis of Cubism and Futurism. Throughout the 1920s, Flouquet exhibited frequently on the international stage - in Paris, Madrid, New York, Chicago, Buenos Aires, and Berlin, at the Galerie Der Sturm. For the gallery’s eponymous magazine, Flouquet even designed a large number of covers. During this period, he developed an art that evolved primarily through distinct series: Paysage plastique, Féminités, Composition, Formes, and Construction. The large-scale painting Féminités belongs to the series of the same name, begun in 1922, which explores geometric variations on the morphology of the female body. The rigor and purity that Flouquet infused into these anthropomorphic stylizations - further emphasized by his distinctive sense of composition - reveal his fascination with the formal perfection of the new technological creations of the modern age. Yet, in Flouquet’s work, as in that of Fernand Léger, such faith in mechanical forms does not lead to a total rejection of figuration, but rather to a search for plastic correspondences between the human and the machine. The composition Féminités is particularly harmonious, achieving a balance between line and color, enhanced by a marble-like background that lends warmth to the work.
Art et Patrimoine - Laurence Lenne
Transport case, for Louis XV at the Château de Versailles France, made between 1745-1749 Gilt-tooled leather, copper hinges H 11 cm - Ø 26.5 cm Provenance: Louis XV in Versailles Carrying and protective case for a silver porringer. The lid of the case is decorated with the coat of arms of Louis XV and the three facing crowns of the Château de Versailles, both gilt-tooled. All copper hinges are stamped with the crowned 'C' mark. The case was made between March 5th, 1745 and February 4th, 1749.
Galerie Alexis Pentcheff
maurice utrillo
Maurice Utrillo (Paris 1883-1955 Dax) Belle Gabrielle, Montmartre, circa 1912-1914 Oil and gesso on cardboard mounted on panel, signed lower right 41 x 55.5 cm Provenance: London, Christie’s sale, 23 June 2004, lot n° 267; European private collection; Galerie Alexis Pentcheff; private collection, France Literature: Jean Fabris and Cédric Paillier, L’œuvre complet de Maurice Utrillo, Paris, 2009, repr. n° 332, p. 396; Maurice Utrillo, exhibition catalogue, Tokyo, Seiji Togo Memorial Sompo Japan Museum of Art, 2010, n° 1, p. 142 (ill. in colour in the section 'Works reproduced as archives') Exhibitions: Centenary of the Birth of Maurice Utrillo, Musée Jacquemart-André, Paris, May-August 1983, n° 13 (travelling exhibition to Liège, Musée Saint-Georges, and to Lille, Fondation Septentrion in Marcq-en-Barœul, until 15 January 1984); Maurice Utrillo, Tokyo, then Osaka, Kyoto, and Yamaguchi, Japan, 1 November 1985-5 May 1986, n° 17 (ill. cat. in colour); Maurice Utrillo: Solitude Urbaine, Galerie Alexis Pentcheff, Marseille, 22 September-4 November 2017, n° 3 (ill. cat. in colour)
Repetto Gallery
jean dubuffet
Jean Dubuffet (Le Havre 1901-1985 Paris) Topographie, January 1959 Oil on paper collage applied on paper [assemblage d’empreintes (huile noire)] 47 x 59 cm Certificate of authenticity by Galerie de l’Ile-de-France, Paris Provenance: Galerie de l’Ile-de-France, Paris; private collection, Italy Literature: Max Loreau (Ed.), Catalogue des travaux de Jean Dubuffet. Fascicule XIX : Célébration du sol II, texturologies, topographies, Weber éditeur, Paris, n° 173
Arte-Fact Fine Art
chen yanning
Chen Yanning (Guangzhou, 1945) Portrait of two cheerful girls, 1994 Oil on canvas 81 x 65 cm Provenance: commissioned via Portraits Inc., Park Avenue, New York; private collection, USA; private collection, Belgium Chen Yanning is internationally celebrated; his works have been shown at the Guggenheim, the Paris Salon and beyond. In 1999, he painted Queen Elizabeth II, a portrait so well-received that it was later chosen for a postage stamp to mark the Queen’s Golden Jubilee in 2002. This tender and joyful portrait of two young sisters, commissioned in New York, is rendered with sparkling realism and warmth. The painting illustrates Yanning’s extraordinary international career and ability to infuse his portraits with life: a Chinese-born artist building a global reputation, bringing his distinctive sensitivity to subjects across cultures.
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.
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Van Pruissen Asian Art
tokuda yasokichi iii
Tokuda Yasokichi III alias Kutani Masahiko (Japan, 1933-2009) Porcelain vase Japan, late 20th century H 29.5 cm Signed ‘Kutani Masahiko’ on the base Literature: Yosai - Tokuda Yasokichi Sakuhinshu (The works of Tokuda Yasokichi), Kodansha 1995, Japan This elegant Kutani porcelain vase by Tokuda Yasokichi III - designated a Living National Treasure in 1997 - exemplifies his groundbreaking approach to traditional ceramic art. The slender, tapering body is enveloped in a rich aubergine glaze, punctuated by a single iridescent blue stripe flowing vertically from the mouth to the base. This striking effect was created using Yasokichi’s innovative saiyū (polychrome overglaze) technique, which brought new luminosity and abstraction to Kutani ware. Born Masahiko, Yasokichi III redefined the possibilities of Kutani ceramics, elevating them into a modern art form. Today, his works are held in leading international museum collections, including the Metropolitan Museum of Art and the British Museum.
Galerie AB - Agnès Aittouarès
pablo picasso
Pablo Picasso (Malaga 1881-1973 Mougins) Two characters, séduction, 1953 Produced in Cannes on 16 December 1953 Ink on paper 20.9 x 26.4 cm Signed upper left and dated upper right Provenance: Scheffel Gallery, Bad Homburg, Germany; private collection, acquired from the Scheffel Gallery in 1989; private collection; private collection, Paris Literature: Christian Zervos, Pablo Picasso. Œuvres de 1953 à 1955, vol. 16, Paris, 1965, n° 57, p. 20; Dore Ashton, Picasso on Art: A Selection of Views, New York, 1972, p. 125
Univers du Bronze
Emile-Antoine Bourdelle (France, 1861-1929) Beethoven à la colonne aux yeux fermés (1901) Studio plaster as 'à bon creux' H 62.4 x W 32 x D 28.3 cm Signed in relief 'Bourdelle' in the mould. Artist example detailled on the front in autograph writing '"Moi, je suis Bacchus... le nectar délicieux, Beethoven", dedicated on the base on the left " A Mlle Henriette Charasson, très sympathiquement, E.A.Bourdelle", example reworked by him (with letters from the sculptor to the patron). Cast in 1910
Desmet Fine Arts
giovanni & giacomo zoffoli
Giacomo (Italy, 1731-1785) & Giovanni Zoffoli (Italy, 1745-1805) Capitoline Flora, late 18th century Bronze H 34 x W 10 x D 7 cm Signed 'G.Z.F' (base) After the antique model (Capitoline Musea, Rome) Accompanied by Art Loss Register certificate: S00247973 Other versions: Victoria & Albert: Museum inv. n° A.14-1974; Saltram, National Trust, 871621.4; Philadelphia Museum of Art, Acc # 1978-70-139; Oxford, Ashmolean Museum: Acc # WA1899.CDEF.B449