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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)
Galerie von Vertes
Henry Moore (Castleford 1898-1986 Much Hadham) Upright Motive, Maquette n° 4, 1955 Bronze with brown patina 30,8 x 6,4 x 7,9 cm Edition of 9 + 1 A.P. Conceived and cast between 1956 and 1962 by 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 This work is registered in the Henry Moore Foundation archives. Literature: Alan Bowness (ed.), Henry Moore, Sculpture and Drawings, vol. III: Sculpture 1955-64, London 1965, n° 381 (another cast ill. pl. 15b); Alan Bowness (ed.), Henry Moore, Sculpture and Drawings, vol. III: 1955-1964, London 1986, n° 381 (another cast ill. p. 21); Henry Moore Foundation (eds.), The Henry Moore Artwork Catalogue, online catalogue, n° 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.'
Spazio Nobile Gallery
Ann Beate Tempelhaug (Norway, Mosjøen, 1954) Like days, nights, years (Som dager, netter, ar), 2024 Stoneware porcelain, glaze 185 x 113 x 18 cm unique piece signed by the artist on the back Certificate of authenticity Literature: Ann Beate Tempelhaug, Nord, Artist Book, Spazio Nobile Editions, Brussels, 2024 Exhibitions: Ann Beate Tempelhaug, Nord, Solo Exhibition, Spazio Nobile, Brussels, 2024; Ann Beate Tempelhaug, I Should Have Not Used Blue, Solo Exhibition, Fondazione Officine Saffi, Milan, 2025; Ann Beate Tempelhaug, Umbra, Solo Exhibition, Kunstnerforbundet, Oslo, 2026
Finch & Co
Devotional crucifix of Christ Portuguese Goa, 17th Century Coromandel wood, gilded ivory, silver mounts H 107 x W 26 cm (Christ height 32 cm) Provenance: private collection, Ireland Belgium CITES: 2025/BE01024/CE A Fine and Large Portuguese Goa Devotional Crucifix the Polychromed and Gilded Ivory of Christ Crucified on a Coromandel Wood Cross Ornately Embellished with Baroque Silver Mounts standing on an integral Coromandel plinth The agonising Christ on the cross his head falling to his right with closed eyes mouth open in his call to God long hair carved in undulating locks to his shoulders the well defined torso with flexed muscles and rib cage the arms with veins threaded along their length his hands and feet pierced by silver nails his wounds polychromed red the edges of the perizonum gilded
Galerie Raf Van Severen
Elena Laverón (Spain, Ceuta, 1938) Pareja Sentada (Seating Couple), 1975 Cast bronze with dark patina H 170 x W 193 x D 116 cm Edition of 3 + 2 AP Literature: Antonio Abad, 'Elena Laverón, The flight of forms', 1987, p. 168; Juan Ibáñez Plaza (com.), 'de Elena Laverón', Roquetas de Mar (Almería), Ayuntamiento de Roquetas de Mar, 2008, p. 115; Real Academia de Bellas Artes de San Telmo de Málaga, Anuario 2016 (n° 16), Real Academia de Bellas Artes de San Telmo, 2016, p. 389; Tania Fernández de Toledo, Raya Fayad, Sotheby's France, 'UNESCO : La collection d'art', 2017, p. 431 Reference: In 1993, Pareja Sentada was installed at UNESCO's Bonvin building
Galerie Alexis Pentcheff
Henri Le Sidaner (1862-1939) La maison sous l'église, neige, Gerberoy, circa 1935 Huile sur toile, signée en bas à gauche, 80 x 66 cm. Provenance : Cédé par Le Sidaner à Henri Martin, été 1935, à l'occasion de la visite d'Henri Martin à Gerberoy Succession Henri Martin Attestation d'inclusion au catalogue raisonné de l'artiste établie par Yann Farinaux-Le Sidaner
Galeria Jordi Pascual
Joan Miró (Barcelona 1893-1983 Palma de Mallorca) Painting III, 1960 Acrylic and pastel pencil on canvas 92 x 65 cm Certificate of authenticity from ADOM Provenance: Galerie Maeght, Paris; Galerie Adrien Maeght, Paris; Private collection, Barcelona Literature: Dupin, J. Miró, Flammarion, 1961, nº 928, p. 554; Dupin, J., Lelong-Mainaud, A. Joan Miró, Catalogue Raisonné, paintings, volume IV: 1959–1968, Polígrafa, 2010, nº 1118; Weelen, G. Miró. Nouvelles Éditions Françaises, 1984, nº 8, p. 9 Exhibitions: Grand Palais, Paris, 1974, cat. nº 77; Villeneuve d'Ascq, Musée d'Art Moderne, cat. nº 16
Anthony Short Antiques Ltd.
An Exceptional 18th-Century George III Period Mahogany 6-Door Breakfront Secretaire Library Bookcase Stamped Gillows of Lancaster A magnificent late 18th-century George III period six-door breakfront library bookcase, in beautifully figured mahogany of exceptional quality. The moulded cornice sits above six astragal-glazed doors enclosing fully adjustable shelves, providing generous and elegant book storage. The lower breakfront centre section is fitted with a superb secretaire drawer, finely veneered and opening to reveal an arrangement of compartments beneath a sliding, tooled leather-inset writing surface, complete with concealed secret compartments. Below are six richly figured mahogany panelled doors, each opening to adjustable shelving, all raised on a moulded plinth base. The central drawer is stamped “Gillows of Lancaster,” as shown in the accompanying photograph. The bookcase displays outstanding colour and patina throughout, and its impressive scale, refined proportions, and the exceptional quality of the timber strongly suggest that it was made as a special commission. The Gillow family were among the most important British cabinetmakers of the 18th and 19th centuries, renowned for their superb craftsmanship, use of the finest woods, and designs that combined elegance with practicality and often ingenious mechanical details. Unusually, the firm operated both from Lancaster and from their London branch (opened in 1770), cementing their reputation and influence at the very forefront of British furniture making. A highly important, showstopping library piece for the serious collector. Height 252cm (99.2in) Width 340cm (133.9in) Depth 64cm (25.2in)
Bernardini Milano
Rolex, Bienne. Rare yellow gold “oyster chronograph” in pristine condition, 1956 One of the 36 made of this version of chronographs in 18kt. gold in the late 50’s. The untouched case and extensible bracelet host a perfect creamy silvered dial. The watch is complete of its original box, papers, invoice and various communications between owner and the Swiss Maison.previously unknown to the market, it’s a benchmark in terms of rarity and conservation.
LUDORFF
Heinz Mack (*1931) Karo-Stele 1987 Aluminium, geprägt and silberfarben eloxiert 188 × 25 × 25 cm | 74 × 9 13/16 × 9 13/16 in Catalogue Raisonné by Rüth 2003 no. 1191 B Provenance: The artist’s studio; Galerie Heinz Holtmann, Cologne (1987); Private Collection Cologne (1987–2026) Exhibitions: Galerie Ludorff, "Neuerwerbungen Herbst 2026", 4. Okt. - 16. Jan., Düsseldorf 2026 Literature: Galerie Ludorff, "Neuerwerbungen Herbst 2026", Düsseldorf 2026, S. 92Uwe Rüth, "Mack. Skulpturen 1986-2003", Mönchengladbach, 2003, Nr. 1191 B
Galerie Ary Jan
Moïse Kisling (Kraków 1891-1953 Sanary-sur-Mer) Landscape of Sanary-sur-Mer, 1932 Oil on canvas Signed lower left and dated 1932 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 Literature: J. Kisling, Kisling, 1891-1953, Turin, 1982, ill. vol. II, p. 273, n° 70
Laurent Schaubroeck
Paul Evans (USA, Newtown 1931-1987 Nantucket Island) & 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 Provanance: 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.
Pelgrims de Bigard
Anthonie Verstraelen (Gorinchem 1594-1641 Amsterdam) Winter landcape with ice skaters by the city edge Oil on panel 43 x 71 cm Provenance: with kunsthandel P. de Boer, Amsterdam, 1937-1938; collection Ir. J. Th. Berkemeijer, Rotterdam, 1938; collection F.N. Meuter, 1972 (according to the label of P. de Boer attached to the reverse); with kunsthandel Waterman, Amsterdam, by 1982; with Palm Court Galleries, Baarn, 1999; private collection, the Netherlands Literature: Rotterdam, Museum Boymans van Beuningen, ‘Meesterwerken uit vier eeuwen 1400-1800, tentoonstelling van schilderijen en teekeningen uit particuliere verzamelingen in Nederland bijeengebracht gedurende de veertigjarige regeering van H.M. Koningin Wilhelmina’, 25 June - 15 October 1938, cat. n° 160, ill. 57; Amsterdam, Kunsthandel Waterman, ‘Hendrick Avercamp 1585-1634, Barent Avercamp 1612-1679, Frozen silence, paintings from museums and private collections’, 1982, n° 32, ill. p. 149; and ill. in Tableau, 15 February 1982 Exhibition: Rotterdam, Museum Boymans van Beuningen, ‘Meesterwerken uit vier eeuwen 1400-1800, tentoonstelling van schilderijen en teekeningen uit particuliere verzamelingen in Nederland bijeengebracht gedurende de veertigjarige regeering van H.M. Koningin Wilhelmina’, 25 June - 15 October 1938; Amsterdam, Kunsthandel P. de Boer, ‘Nederland water/land, de relatie tussen land en water in de Nederlandse schilderkunst van 1500 tot nu’, 13 January - 19 February 1972, n° 38 (label attached to the reverse); Amsterdam, Kunsthandel Waterman, ‘Hendrick Avercamp 1585-1634, Barent Avercamp 1612-1679, Frozen silence, paintings from museums and private collections’, 1982, n° 32
Marjan Sterk Fine Art Jewellery
An eighteen carat yellow gold hinged bangle ‘Entrelacs’ designed as organically curling branches between which seven hydrangea flowers, with hinge and catch lock hidden in one of the flowers. Signed Claude Lalanne, numbered 19/50. Made in Paris, ca 1980-90. With signature of Artcurial, Paris.
Finch & Co
Ancient Celtic Bust of a Radiate Deity ‘Sol Invicta’ Wearing a Halo of the Rays of the Sun Limestone British, 1st Century BC - 1st Century AD H 42 x W 40 x D 20 cm Provenance: private collection West Country UK; Finch and Co, item number 1, catalogue number 30, Summer 2018; private collection Comparative reference: Dr Anne Ross ‘Pagan Celtic Britain’ n° 916, for a similar 'stone radiate deity'
Chambre professionnelle belge de la Librairie Ancienne et Moderne (CLAM)
Engraving after Pieter Bruegel de oude (Brussels, 1525-1569) The last judgement Engraved in 1558 by Pieter van der Heyden (1530-1584) 22.5 x 29.4 cm Published by Hiëronymus Cock (Antwerp, 1518-1570) References: New Hollstein Dutch first state of two Lex Antiqua, Antiquarian bookseller
Klaas Muller
Jan Boeckhorst (Münster 1604-1668 Antwerp) Henri IV at the Battle of Ivry, 17th century Pen and Brown ink, watercolour and gouache, heightened with whith and red wash on paper 20 x 29.1 cm In 1622, Maria de' Medici signed a contract with Rubens for two series of twenty-four paintings. The first series depicted her own life story, the other the heroic deeds of her husband: Henri IV. As was his custom, Rubens worked on this commission together with some of his pupils and assistants. The successful king had been assassinated 12 years earlier whilst riding through Paris in an open carriage. He had brought an end to the fierce civil war between Protestants and Catholics and did not shy away from doing the heavy lifting on the battlefield himself. What was intended to be a tribute to one of France’s bravest leaders turned out to be a damp squib. Due to turmoil at court, the series about the famous battle near Paris remained unfinished. This dynamic and finely worked drawing captures the dramatic moment of the Battle of Ivry (1590), where King Henri IV led his forces to a decisive victory during the French Wars of Religion. Executed in pen and brown ink and enriched with watercolour and gouache, the composition is animated by vigorous movement and strong contrasts of light and shadow. The artist heightens the scene with touches of white and red wash, emphasizing the glint of armour, the energy of the horses, and the intensity of the clash. The central figure of Henri IV, mounted and illuminated, commands the composition, surrounded by swirling troops and fallen adversaries. Ethereal figures above the battlefield introduce a sense of divine favour, a motif often associated with royal propaganda of the period. Despite its relatively intimate scale, the sheet conveys remarkable grandeur and narrative force, making it a compelling example of late 16th‑ to early 17th‑century battle imagery. We are grateful to Stijn Alsteens of the Fondation Custodia for his attribution of the drawing to Jan Boeckhorst.
Galerie Hadjer
FERNAND LÉGER (Argentan, France, 1881 – Gif-sur-Yvette, France, 1955) Les Oiseaux dans les fleurs (Composition murale) 1958 Aubusson tapestry, woven in wool by the Pinton workshop, Aubusson, France. 189 × 265 cm (74 3/8 × 104 3/8 in.) Signed “F. LÉGER” in the weave. Edition of six examples plus two artist’s proofs. Certificate: Accompanied by a certificate from the Comité Fernand Léger. Provenance: Atelier Pinton, Aubusson, France. Private collection, London. Exhibitions: F. Léger, tapisseries, céramiques, bronzes, lithographies, Palais de la Méditerranée, Nice, 20 July–30 September 1962. F. Léger et les arts décoratifs, Biot & Aubusson, 2002–2003. Literature: F. Léger et les arts décoratifs, exhibition catalogue, Biot & Aubusson, 2002–2003, another example from the edition illustrated p. 34. Georges Bauquier, Fernand Léger, Catalogue raisonné de l’œuvre peint, 1952–1953, Paris, 2013, no. 1492, the related painted version illustrated p. 57. Condition: The work is in very good overall condition.
Rueb Modern and Contemporary Art
Jan Sluijters (Hertogenbosch 1881-1957 Amsterdam) Greet van Kooten with headband, 1910 Oil on canvas 35,5 x 42 cm Signed and dated Provenance: Collection Salomon Beffie, Amsterdam; collection Willem Beffie, New York; Galerie van Voorst van Beest, The Hague; collection Reens, Amsterdam; collection A.J. van Hillegondsberg, Blaricum; private collection, Amsterdam Literature: On-line Catalogue Raisonné Jan Sluiters-www.rks.nl/images/100130 Exhibition: The Hague, Pulchri Studio, Paintings, drawings and pointes-sèches of Jan Sluijters and Lodewijk, Schelfhout, 3 July - 25 July 1915 n° 40
Galerie bei der Albertina ▪ Zetter
Egon Schiele (Tulln an der Donau 1890-1918 Vienna) Portrait of a Woman, 1918 Black crayon on paper 47 x 30 cm Signed and dated lower right Estate stamp on the reverse Kallir WV n° D 2223 Provenance: The artist’s estate (per stamp); Galerie St. Etienne, New York; Georges Simon, New York (acquired from the above, 1947); Lore Müller; Christie's, New York, 16 November 1983, sale 5442/Egon, lot 141 (consigned by the estate of the above) Galerie Würthle, Vienna; private collection, New York (acquired from the above, 1986) Literature: Jane Kallir, Egon Schiele: The Complete Works, Expanded Edition, New York 1998, ill. p. 609, D 2223; Exhibition catalogue 'Changing Times: Egon Schiele´s Last Years 1914-1918' ed. by Kerstin Jesse, Jane Kallir, Hans-Peter Wipplinger, Leopold Museum, Vienna 2025, ill. p. 253 Exhibitions: Tokyo, Tokyu Art Gallery, 'Gustav Klimt und Egon Schiele mit Werken von Alfred Kubin: Künstler der Jahrhundertwende'; Tochigi Prefectural Museum of Fine Arts, Utsunomiya; Chiba Parco, Chiba; Matsumoto Parco, Matsumoto; Shimoneseki City Art Museum, Shimoneseki, 1985; New York, Galerie St. Etienne, 'Egon Schiele's Women', 2012; Vienna, Leopold Museum, 'Changing Times: Egon Schiele’s Last Years, 1914-1918', 2025
