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Willow Gallery
Eugène Boudin Honfleur 1824 – Deauville 1898 Bordeaux, le port Oil on canvas, signed, dated and inscribed 'E. Boudin 74 Bordeaux' Canvas size: 16 x 25in / 41 x 64cm Frame size: 22 x 31in / 56 x 79cm Provenance: Louis Bernard Collection; its sale, Me Chevallier, Paris, May 11, 1901, lot 19. Jules Chédeville, Paris and Honfleur. Michel Durnerin, Paris (by descent). Then by descent Literature: R. Schmit, Eugène Boudin, Paris, 1973, vol. I, p. 347, no. 978. G. de Knyff, Eugène Boudin raconté par lui-même, Sa vie, son atelier, son œuvre, Paris, 1976, p. 130 (illustrated). R. and M. Schmit, Eugène Boudin, Premier supplément, Paris, 1984, p. 150, no. 978 (illustrated)
Galerie Édouard Ambroselli
Georges Aubert (Paris, 1866-1961) and Odilon Redon (Bordeaux 1840-1916 Paris) The Shadow, circa 1896-1900 Carved, engraved and painted wood H 25 x W 18.5 x D 2 cm Provenance: Ambroise Vollard collection (1866-1939) Plate for The Shadow, illustration from Gustave Flaubert’s Tentation de Saint Antoine, Paris, Éditions Ambroise Vollard, 1938, p. 21
Douwes Fine Art b.v.
Jeronimus van Diest (The Hague, 1631-1684) Herring busses under the protection of 'Men of War', circa 1652-1654 Oil on canvas 105.5 x 161 cm Monogrammed ‘I VD’ on the barrel at bottom right Provenance: Baron van Dedem collection, The Netherlands; M. Wolff Gallery, Amsterdam, before 1940; private collection, The Netherlands; Hoogsteder Gallery, The Hague, 1991; Inder Rieden collection, since 1991 Literature: Gerlinde de Beer, 'The Golden Age of Dutch Marine Painting-The Inder Rieden Collection', edited by Charles Dumas, Primavera Pers, Leiden 2019, Catalogue II, n° 43, pp. 682-694; Charles Dumas, Gerlinde de Beer, 'In de ban van de zee-De Gouden Eeuw van de Nederlandse marineschilderkunst', De Inder Rieden Collectie, Museum Bredius, 2019, Wilco, Amersfoort, The Netherlands, n° 60, ill. in colour; E. Buijsen, in: Buijsen/Ekkart/Dumas 1998, p. 121, fig. 3 in colour Exhibitions: Charles Dumas, Gerlinde de Beer, 'In de ban van de zee-De Gouden Eeuw van de Nederlandse marineschilderkunst', De Inder Rieden Collectie, Museum Bredius, 2019, Wilco, Amersfoort, The Netherlands, n° 60, ill. colour; The Hague 1998/99, without n°
Laurent Schaubroeck
Paul Evans (USA, Newtown 1931-1987 Nantucket Island) and Phillip Lloyd Powell (USA, Germantown 1919-2008 New Hope) Monumental wall unit, circa 1960 Steel, wood, gold leaf H 282 x W 236 x D 51 cm Unique piece Provenance: Martin Brooks, Doylestown 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 bei der Albertina ▪ Zetter
Johann Lötz Witwe, Klostermühle and Gustave Serrurier-Bovy (attributed to) Table Lamp, around 1900 Metal with hammered décor, square-shaped lampshade, twelve square-shaped glasses, in blue and violet, with melted splashes in silver-yellow, iricised, by Johann Lötz Witwe, Klostermühle, single light, electrification renewed H 55 cm, D 25 cm
Spazio Nobile
Pao Hui Kao (Taiwan, 1987) Urushi Black in Red Lacquer Leaf, 2023 Crepe paper, rice glue, Urushi lacquer, red and black pigments, gold kinstsugi 114 x 70 x 16 cm Unique piece Signed by the artist at the back Black Urushi Paper Pleats, 2023 Tracing paper, rice glue, Urushi lacquer, black pigment Sideboard H 70 x W 135 x D 33 cm Low stool H 45 x Ø 32 cm Low bench H 35 x W 130 x D 29 cm Side table H 60 x Ø 32 cm Unique pieces Signed and dated by the artist Certificates of authenticity Literature: Pao Hui Kao, 25 Seasons, Artist Book, Spazio Nobile Editions, Brussels, 2024 Exhibitions: Fondation POC, Brussels, 2020; Jewish Museum, Brussels, 2021; LOEWE FOUNDATION Craft Prize Finalist, Seoul, 2022; Pao Hui Kao, 25 Seasons, Solo Exhibition, Spazio Nobile, Brussels, 2023-2024; Fondazione Dries Van Noten, Venice, 2026
Beck & Eggeling International Fine Art
Manolo Valdés (Valencia, 1944) 'The Cartier', 2008 Oil and mixed media on canvas 188 x 188 cm H 200 x W 200 x D 10 cm (in artist's frame) Signed 'MAVALDES', dated '2008', titled 'The Cartier' and inscribed with measurements on the reverse Provenance: acquired directly from the artist's studio
Franck Anelli Fine Art
Secretary Charles Topino (1742-1803), master in 1773 Transition period Oak, Breccia marble top, bronze and marquetry in rosewood, amaranth, holly, sycamore, lemonwood, stained woods and tobacco wood H 139 x W 92 x D 38 cm Stamped TOPINO and bearing the Jurande hallmark Transition period secretary in wardrobe stamped Charles TOPINO (1742-1803) and Jurande hallmark. Rectangular in shape, the front uprights with cut sides, the front legs arched, the hind legs straight, the oak frame, it opens with a drawer, two leaves and a flap revealing a compartmentalized interior of seven drawers and four compartments. Top of breccia marble from Aleppo. Inlaid decoration in rosewood, amaranth, holly, sycamore, lemon tree, stained wood, tobacco wood, drawing lattices on the uprights and the upper drawer, those of the latter, embellished with flowers, and trompe-l'oeil on the front and on the sides, a decoration of garlands of oval cartouches of stylised acanthus leaves uniting the panels of the toilet seat and the leaves, each also presenting, in the upper part, a leafy garland that can be found on the side panels. The latter are decorated with two gadrooned urns close to the flowered vases of the leaves. The toilet seat has a trompe-l'oeil perspective decoration, an orangery whose open shutters give a glimpse of a wooded landscape in the distance, a perspective accentuated by the checkerboard paving, also present on the leaves. Eight boxes of fruit trees are spread around a table on which are placed two flowered vases and under which is a watering can. The interior reveals six side drawers in three rows, inlaid with a floral vase pattern, as well as a central drawer. Stamped TOPINO and hallmark of Jurande Charles TOPINO received master in 1773 The art of marquetry The bronzes are discreet on our desk and this is intended to give pride of place to marquetry, qualified as wooden painting. If it is possible and tempting - rightly to link a cabinetmaker to his marquetry and this is regularly the case for Topino whose utensil marquetry inspired by the borders of Chinese Coromandel lacquer screens of the time is a characteristic of the artist - it turns out that the models circulated and that inlaid panels could be used by the same circle of cabinetmakers. If the vases, potiches, flowers, utensils reproduced, invented, associated, allow us to recognize Topino's art, it should be noted that the framing motif made up of oval reserves with quartefeuilles and spandrels can be found on secretaries, a chest of drawers and a dressing table stamped Jacques Bircklé. By this same cabinetmaker, a secretary also presents the same vases present on our furniture. Very similar marquetry panels. both in their compositions and in their frames can be found on a chest of drawers attributed to Jacques Bircklé, illustrated in the book by Pierre Kjellberg, who also defines the paving pattern as Bircklé's 'almost exclusiveness'. our secretary thus witnessed the circulation of drawn or engraved models.
Caretto & Occhinegro
Lucas Gassel (Deurne circa 1488-1570 Brussels) Landscape with the penitent Saint Jerome, circa 1543-1545 Oil on oak panel 56 x 85 cm Signed with traces of the monogram LG (interlaced) lower left on the rock Expertise by Peter van den Brink and the gallery is grateful to Luc Serck for confirming the authorship of this work
LUDORFF
Gerhard Richter (Dresden, 1932) Fuji 839-108, 1996 Oil on alucobond 29 x 37 cm Signed and numbered '839-108' on the reverse Certificate of authenticity issued by Hubertus Butin, Berlin 2010 Provenance: Galerie Hubertus Melsheimer, Cologne (2011); Galerie Ludorff, Dusseldorf (2013); private collection, Hesse (on permanent loan to the Mönchehaus Museum Goslar) Literature: Galerie Ludorff, 'Neuerwerbungen Frühjahr 2024', Dusseldorf 2024, p. 100; Galerie Ludorff, 'Gerhard Richter', Dusseldorf 2013, p. 51; Kunstsammlung Nordrhein-Westfalen (ed.), 'Gerhard Richter mit dem Catalogue Raisonné 1993-2004', Dusseldorf 2005, n° 839-108; Hubertus Butin/Stefan Gronert, 'Gerhard Richter. Editionen 1965-2004. Catalogue Raisonné', Ostfildern-Ruit 2004, n° 89 Exhibitions: Galerie Ludorff, 'Neuerwerbungen Frühjahr 2024', Dusseldorf 2024; Galerie Ludorff, 'Gerhard Richter. Abstrakte Bilder', Dusseldorf 2013 Gerhard Richter has been exploring abstraction in depth since the late 1960s. In the late 1990s, he developed the ‘Fuji’ series. As part of this series, Richter no longer applies paint to canvas, but to Alucobond, an aluminium composite panel. This highly durable panel with a smooth surface allows for the creation of particularly delicate colour structures. Richter applies the three colours that form the basis of the painting - a vibrant red, a rich green and a warm yellow-orange - to the substrate in three horizontal bands. Using a squeegee, a painting tool resembling a narrow plastic strip, the artist applies the white oil paint and draws it across the coloured surface in thin layers from the top to the bottom edge of the picture. The white paint blends with the tones of the background. This technique creates a highly complex, delicate structure on the panel, characterised by great painterly subtlety. Viewed from top to bottom, red, green and white alternate with one another. The orange, also used by Richter, is now only partially visible in the right-hand half of the composition. As the application of paint with a squeegee can only be controlled to a limited extent, the principle of chance comes into play. The title ‘Fuji’ allows for interpretation on two different levels, namely, ‘[…] the conical volcano on the island of Honshu, which, as Japan’s sacred mountain, is the country’s national symbol, and the Japanese film and photography manufacturer of the same name, whose products are also widely available in Germany. As a photographer, Richter sometimes uses Fuji film; furthermore, in 1991 he spent two weeks travelling through Japan, during which he saw the famous mountain. Some of the paintings, with their streaky, at times almost graphic structural elements, do indeed bear a distant resemblance to old-master Japanese or Chinese landscape depictions.' The background to the creation of the ‘Fuji’ paintings lies in the approach made to the artist by Helmut Friedel, director of the Städtische Galerie im Lenbachhaus. Richter’s ‘Atlas’ - a collection of photographs, sketches, documents and reference materials by the artist - was to be acquired for the Lenbachhaus collection. To finance the purchase, Richter agreed to paint a series of oil paintings for the museum. The proceeds from the sale of these ‘Fuji’ paintings played a key role in enabling the museum to acquire the ‘Atlas’ collection of documents. Much like the works in the ‘Green-Blue-Red’ series, the appearance of each individual painting in the ‘Fuji Edition’ varies considerably, as they were painted in portrait rather than landscape format. Furthermore, the varying degrees to which the base colours had dried by the time the white layer was applied result in the colours blending in ever-changing ways. Whilst some ‘Fujis’, with their extremely delicate colour blends, invite the viewer to discover their detailed textures, others, in stark contrast, exude a particularly strong sense of self-assurance. Although the ‘Fujis’ comprise a series of 110 works conceived along the same lines, each one is unique and wonderfully illustrates the principle of Gerhard Richter’s abstract painting, which treads the fine line between conceptual work and the principle of chance.
Galerie Perrin
Odilon Redon (Bordeaux 1840-1916 Paris) Femme de profil, circa 1901-1905 Oil on paper mounted on panel 52 x 49.7 cm (unframed) 71 x 68 cm (framed) Signed lower right 'Odilon Redon' This work will be included in the forthcoming catalogue raisonné currently in preparation by the Wildenstein Plattner Institute Provenance: collection Roger Imbert
Beck & Eggeling International Fine Art
Pablo Picasso (Málaga 1881-1973 Mougins) Femme au fauteuil I (Le manteau polonais), 1949 (16 January) Lithograph on Arches vellum 75.5 x 56.6 cm Signed lower right, numbered lower left, inscribed on the reverse '148, Pablo Picasso, Femme au Fauteuil I' Edition 45/50 (Mourlot, Paris) Provenance: Zürcher Kunstgesellschaft, Kunsthaus, Zurich; private collection, Switzerland (acquired 1954 during the exhibition 'Pablo Picasso im Kunsthaus Zürich', mentioned above); private collection (by descent); Germann Auktionen, Zurich, 25 June 2025, Lot 894; private collection, Berlin Literature: L.G. Buchheim, Pablo Picasso-aus dem graphischen Werk. Abbildungen nach Radierungen und Lithographien, Leipzig 1950, p. 42 (ill. full page b/w ill.); Fernand Mourlot, Picasso. Lithographie II, 1947-1949, Monte Carlo 1950, n° 134, p. 104, (ill. b/w p. 113); Pablo Picasso. Das graphische Werk, exhib. cat. Kunsthaus Zürich, Geneve 1954, n° 362 (not ill.); Fernand Mourlot, Picasso Lithograph, Éditions du livre, Paris 1970, n° 134, p. 109 (ill. b/w); Georges Bloch, Picasso. Catalogue de l'oeuvre gravé et lithographié 1904-1967, vol. I, Bern 1975, n° 586, p. 142 (b/w); Bernd Rau, Pablo Picasso. Die Lithographien, Stuttgart 1988, n° 386, p. 241 (ill. b/w); Ulrike Gauss (ed.), Pablo Picasso. Die Lithographie, Ostfldern-Ruit 2000, n° 413/134, p. 146 (ill. full page b/w)
