This section will be available this Autumn.
Galerie de la Présidence
Hans HARTUNG (1904-1989) « T1966-E40 » 1966 Vinyl paint on canvas and scraping 27 x 35 cm – 10.62 x 13.77 in. Signed and dated lower left Titled on the reverse, dedicated and signed Provenance - Waintrob collection, USA - Galerie Applicat-Prazan, Paris - Private collection, Paris This work is registered in the Archives of the “Fondation Hans Hartung & Anna-Eva Bergman” under number : T 1966-E40
Galerie Flak
Goli Glin Buffalo Mask Baule Ivory Coast Carved wood and pigments Early 20th century Height: 65.5 cm – 25 ¾ in. Provenance Collection Frank Crowninshield, New York, acquired before January 1936, presumably with the assistance of John D. Graham, New York Jacques Seligmann Gallery, New York, acquired from the above Collection of the Surrealist artist Enrico Donati (1909-2008), New York, acquired in the 1940s Exhibitions Jacques Seligmann Gallery, New York, “Exhibition of Sculptures of Old African Civilizations”, January 4 – January 22, 1936 Brooklyn Museum, New York, “African Negro Art from the Collection of Frank Crowninshield”, March 20 – April 25, 1937
Galerie Taménaga
Pierre-Auguste Renoir (1841–1919) Paysage de Cagnes 1900 Oil on canvas 24 x 54 cm Signed with initials lower left: “AR” This work will be included in the forthcoming catalogue raisonné of the work of Pierre-Auguste Renoir being prepared by the Wildenstein Plattner Institute. Provenance Ambroise Vollard, Paris Private Collection, Japan Bibliography Ambroise Vollard, Pierre-Auguste Renoir. Tableaux, pastels et dessins, Alan Wofsy Fine Arts, San Francisco, 1989, nos. 612, 1185 and 1330, illustrated pp. 155, 258 and 279.
Anthony Short Antiques
Exceptional and Very Rare 18th-Century George III Thomas Chippendale Period Mahogany Bookcase *English, circa 1770 – all original and highly authentic* An outstanding and extremely rare 18th-century George III period mahogany bookcase, in the manner of Thomas Chippendale, a true statement piece that combines refined architectural design, exceptional craftsmanship and superb, entirely original condition. The upper section is crowned by an impressive broken arch pediment above a finely carved blind fret frieze, giving the bookcase great presence and elegance. Below, a pair of beautifully panelled cupboard doors, retaining their original brass escutcheons, key and fully working lock, open to reveal generous shelving, ideal for books or treasured objects. The lower section is equally distinguished, fitted with two short and three long graduated oak lined drawers, all retaining their original swan neck brass handles. The whole is raised on classic original blocked ogee bracket feet, which, together with the original panelled oak backboards, confirm the authenticity and integrity of this important piece. Made in England circa 1770, this bookcase displays a superb, rich mahogany colour and a warm, mellow patina developed over more than two centuries. The surfaces, proportions and details are all in remarkable original condition, clearly reflecting the skill of the Georgian cabinetmaker and the careful stewardship it has enjoyed throughout its life. Bookcases of this calibre, period and originality are exceptionally scarce on the market. A very fine example of Georgian library furniture in the Chippendale tradition, this piece offers a rare opportunity to acquire a genuinely period, all authentic masterpiece that unites grandeur, elegance and practicality. A superb focal point for a drawing room, library or study, and an ideal choice for any serious collector or refined interior seeking a museum quality statement piece of outstanding 18th?century craftsmanship. Height 197cm (77.6in) Width 108cm (42.5in) Depth 54cm (21.3in)
Verdini Antiques
Vincenzo Raffaelli Rome, Via del Babuino 93 Performed between 1835 and 1845 ca. Round top in colored marbles "pebble" samples 200 ca. Diameter 91.2 cm = 3 Roman feet Thickness 5.2 cm = 2 Roman inches The round top in colored marble that we are dealing with, is a real "pebble" sample made of ancient "excavation" marble and modern marble, that is, used after the sixteenth century such as Malachite, Portoro or Napoleonic Orbicular Granite etc. The particularity and rarity of this table is given by the fact that the samples of marbles used, in addition to being rare then (and even more so today), were worked differently from all the other types of samples that were made between the eighteenth and nineteenth centuries. The sample tables of this period generally have a frame in black marble from Belgium or other fine marbles, which contains all the rare colored samples committed.
robertaebasta
Mario Quarti ( 1901-1974) Large sideboard in italian walnut. Main body raised from the floor by three elements show on the fron six doors decorated with an inlaid diamond pattern in walnut of different shades, brass handles. Italy, around 1940. Dimensions:cm 322 x 50 x 97,5 H. Provenance: private collection, Italy.
Univers du Bronze
Rembrandt BUGATTI (1884-1916) DEUX ANTILOPES GOUDOU or "DEUX AMIS" (c. 1911) Bronze, richly dark brown patina à patine brun richement soutenu. H : 23.1 cm, L : 43.2 cm, D : 11.9 cm Signed "R. Bugatti", original cast and edition by "A.-A. Hébrard cire perdue Paris" (seal and inscribed in the wax "Fondu en 1925"), engraved "(13)". Cast in 1925.
Klaas Muller
Gerard Ter Borch (Zwolle 1617 - Deventer 1681) Portrait of a Man with a Black Hat Around 1650 Oil on Oval Panel 19.9 × 16.5 cm Gerard ter Borch (1617–1681) was one of the most refined painters of the Dutch seventeenth century. Born in Zwolle, he received his first training from his father, Gerard ter Borch I, within a household where drawing and copying formed an essential part of daily artistic practice. Several of his siblings also became artists, contributing to a rich familial archive that documents the development of the Ter Borch workshop. After extensive travels through Amsterdam, Haarlem, London, Madrid and Münster, Ter Borch settled in Deventer, where he became a respected member of the city’s elite. Ter Borch is celebrated for his intimate genre scenes and portraits, distinguished by a subtle palette, delicate handling of light, and a keen sensitivity to gesture and expression. His paintings are marked by elegance, psychological depth, and exceptional technical skill, particularly in the rendering of skin and textiles. This portrait of a man wearing a black hat, painted on an oval panel, exemplifies these qualities. The sitter faces the viewer directly and meets our gaze with quiet self‑confidence, creating a sense of immediacy and silent dialogue. His restrained pose and understated attire suggest dignity without ostentation. The refined and harmonious colour scheme, composed of carefully balanced tones, is characteristic of Ter Borch’s portrait practice. The subtle fall of light gently models the face, giving the features clarity and depth without strong contrasts. The smooth surface of the panel enhances the precision of Ter Borch’s brushwork and contributes to the intimate character of the work. Rather than a display of status, the portrait becomes a concentrated study of presence and inner life. We are grateful to Marjorie Wieseman, who endorsed the attribution on the basis of a photograph, and to Guido Jansen, who confirmed the attribution after examining the painting in person.
Chambre professionnelle belge de la Librairie Ancienne et Moderne (CLAM)
The last judgement Engraving after Pieter Bruegel de oude (1525-1569) Engraved in 1558 by Pieter van der Heyden (1530-1584) Published by Hieronymus Cock (1517-1570) References: New Hollstein Dutch first state of two 22.5 x 29.4 cm Lex Antiqua, Antiquarian bookseller
Galerie Jean-François Cazeau
Niki de SAINT PHALLE (1930-2002) La Force (Strenght), 1987 Painted polyester resin Edition of 10, numbered 3/10 Artist's signature and number « 3/10 Niki de Saint Phalle » (on a plaque affixed to the underside) 35 x 53.3 x 29.2 cm Provenance: Artist's studio Gallery Gimpel Fils, Londres Private collection, acquired in 1989 Private collection, France
Gallery Sofie Van de Velde
Georges Vantongerloo (1886 Antwerp BE – 1965 Paris FR) Spiral with Certain Spots, 1946 Signed and dated: “Spirale avec certaines taches Paris 1946 G. Vantongerloo” (title / verso) Oil on masonite 738 × 588 mm Provenance: The artist Georges Baines Collection (acquired directly from the artist) Bernard Baines Private collection, Switzerland Galerie Ronny Van de Velde, Antwerp Exhibitions: Paris, Palais des Beaux-Arts de la Ville de Paris, 1st Salon des Réalités Nouvelles. Abstract Art, Concrete Art, Constructivism, Non-Figurative, July 1946 Zurich, Kunsthaus Zürich, Antoine Pevsner, Georges Vantongerloo, Max Bill, 15 October – 13 November 1949, no. 78 Washington, Corcoran Gallery of Art, Georges Vantongerloo. A Traveling Retrospective Exhibition, 22 April – 17 June 1980, no. 176 (later shown in Dallas and Los Angeles) Brussels, Royal Museums of Fine Arts of Belgium, Georges Vantongerloo 1886–1965, 23 January – 16 March 1981, no. 176 Zurich, Kunsthaus Zürich, Georges Vantongerloo, 3 April – 17 May 1981, no. 176 Antwerp, Ronny Van de Velde, Georges Vantongerloo 1886–1965, 15 December 1996 – 31 March 1997, OCNO no. 176 Barcelona, MACBA – Museu d’Art Contemporani de Barcelona, Force Fields: Phases of the Kinetic, 19 April – 18 June 2000, no. 232 (later at the Hayward Gallery) Le Cateau-Cambrésis, Musée Matisse, Georges Vantongerloo 1886–1965, A Pioneer of Modern Sculpture, 28 October 2007 – 2 March 2008 (later at Mu.ZEE) Madrid, Museo Nacional Centro de Arte Reina Sofía, Georges Vantongerloo: A Longing for Eternity, 3 November 2009 – 22 February 2010 Literature: Georges Vantongerloo, Paintings, Sculptures, Reflections, in Problems of Contemporary Art No. 5, New York, 1948, no. 176, Wittenborn, fig. 44 Georges Vantongerloo: A Traveling Retrospective Exhibition, Corcoran Gallery of Art / Dallas Museum of Fine Arts / Los Angeles County Museum of Art, Loiseau, Brussels 1980, p. 146 Jan Ceuleers, Ronny Van de Velde, Georges Vantongerloo 1886–1965, Antwerp, OCNO, 1996–1997, no. 176, p. 157 illustrated Serge Lemoine, Georges Vantongerloo (1886–1965). A Pioneer of Modern Sculpture, Musée Matisse, 2007, p. 148 illustrated Larkin Erdmann, Five Years, Zurich, 2019, pp. 83–84 Ostend, Mu.ZEE, Belgium–Argentina. Transatlantic Modernisms, 1910–1958, 2022
Galerie Jean-François Cazeau
Yayoi Kusama (1929 - 2026) Uchu/Universe, 1994 Acrylic on canvas 91 x 73 cm 35 7/8 x 28 3/4 in. Signed, titled and dated in Japanese on the reverse, « Yayoi Kusama 1994 » Provenance Ota Fine Art, Tokyo Private collection Sotheby’s Londres, 2022, Lot 318 Acquired by the current owner at Sotheby’s London Collection privée, France This work is registered in the Archives of Yayoi Kusama Studio as N° 1518.
Galerie Hurtebize
Maurice Utrillo (Paris 1883-1955 Dax) Commune de Maixe (Meurthe-et-Moselle), 1924 Oil on canvas 98,4 x 131,3 cm Signed and dated lower left Certificate by Hélène Bruneau, President of the Utrillo-Valadon Committee Provenance : private collection, France Literature : P. Pétridès, L’Œuvre complet de Maurice Utrillo, Paris, 1974, vol V, p. 238, n° 2720 (ill. p.239)
Stéphane Renard Fine Art
Pierre Bonnard (Fontenay-aux-Roses 1867 – Le Cannet 1947) Paysage, arbres fruitiers (1909) Oil on paper Dimensions : 18 ¾ x 24 ¾ in. (47.7 x 63 cm) – Framed : 27 3/8 x 33 in. (69.5 x 84 cm) Stamped with signature « Bonnard » (Lugt 3886, lower left) Provenance : The artist's estate Private collection, Paris Anonymous sale, Koller Auktionen, Zurich, 2 December 2016, lot 3226 European private collection Literature : J. & H. Dauberville, Bonnard, Catalogue raisonné de l’œuvre peint, vol. IV, 1940-1947 et Supplément, Paris, 1974, no. 1949, p. 285 (illustrated)
Almine Rech
Tom Wesselmann (b.1931, Cincinnati, OH, US. d.2004, New York, NY, US), 'Long Beach Seascape', 1991/95. Signed and dated on the back. Alkyd oil on cut-out aluminum, 99.1 x 190.5 cm - 39 x 75 in. Provenance: The Estate of the Artist. © 2026 The Estate of Tom Wesselmann / Artists Rights Society (ARS), New York. Tom Wesselmann’s creative approach was in constant evolution throughout his long and productive career. Never one to follow artistic convention, he continually sought new materials and formats. His fascination with innovative surfaces and technologically advanced techniques drove him to push aesthetic and formal frontiers, as seen in 'Long Beach Seascape'. In the 1980s, Wesselmann developed a laser cutting technique that opened up a new world of creative possibilities. Using this novel method, the artist delighted in transposing his bold visual vocabulary into works that challenged the boundaries between painting, drawing, and sculpture. Speaking to the New York Times in 1985, Wesselmann couldn’t contain his enthusiasm for the new medium: “I've just had the best year of my life [...] I always work in a kind of near ecstasy, anyway, but there's really been something about the new work that grabbed me.'' Centering dynamic line and vibrant color, 'Long Beach Seascape' demonstrates the artist’s endless pursuit of radical forms of creative expression.