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Galerie von Vertes
Yayoi Kusama (Matsumoto 1929-2026 Tokyo) Repetition GL.A, 1996 Collage and acrylic on canvas 41 x 31,8 cm Signed, dated and titled on the reverse Provenance: Shinwa Auction, 23 November 2014, lot 145; private collection, Japan (acquired from the above); Bonhams, Hong Kong, 11 June 2016, lot 26; Private collection, Asia (acquired from the above); Christie's, Hong Kong, 3 December 2020, lot 517; private collection, London (acquired from the above) Certificate of authenticity from the Yayoi Kusama Studio on 21 August 2012 Repetition or seriality would become her signature technique in everything that she created: 'Repetition of the same patterns, an action which stems from my disease, is applied in my writing just as it is in my artwork. Dreams and hallucinations are actually occurring. This obsessional image is what I have transformed my disease into, and is therefore, to me, irreplaceable.'
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
Galerie bei der Albertina ▪ Zetter
Egon Schiele Portrait of a Woman, 1918 Black crayon on paper 47 x 30 cm Signed and dated lower right: EGON / SCHIELE / 1918 Estate stamp on the reverse Kallir WV Nr. 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, Nov. 16, 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) 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 Literatur: Jane Kallir, Egon Schiele: The Complete Works, Expanded Edition, New York 1998, ill. p. 609, D 2223 Exhibtion 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
F. Baulme Fine Arts
Claude-Marie DUBUFE (Paris, 1790 – La-Celle-Saint-Cloud, 1864) Expression Head: Modesty Circa 1827-1828 Oil on canvas 55.5 x 46.5 cm Provenance: England, private collection. Literature: Emmanuel Bréon, Claude-Marie, Édouard et Guillaume Dubufe, Portraits d’un siècle d’élégance parisienne, exh. cat., Paris, Délégation à l’Action Artistique de la Ville de Paris, 1988 (engraving after the present painting, p. 70, repr.). Related work: Claude-Marie Dubufe, Modesty, 1828, engraving.
Edouard Simoens Gallery
Pierre Alechinsky Le trou du souffleur , 1997 Signed and dated on the back Acryl and ink on paper laid on canvas 146 x 113 cm 57 1/2 x 44 1/2 in Provenance "Pierre Alechinsky: Olie, acryl, aquarel, ets, litho..." Atelier 22, Schilde 2004 Literature/Press Wordt opgenomen in de oeuvrecatalogus in voorbereiding door de heer Frédéric Charron onder nr. 3216
Univers du Bronze
Jean-Baptiste CARPEAUX (1827-1875) LES TROIS GRÂCES (Trial example, variant). (1873-1874) Bacchant crowned with ivy, Bacchant with roses et Bacchant with laurels. Terracotta with pinkish patina, "Atelier-Dépôt à Auteuil, 71 rue Boileau, Paris". H. 79,2 cm L. 44,5 cm D. 36 cm Trial example, earlier version prior to the final composition, signed ‘J B-te Carpeaux’ and dated “1873” with "Propriété Carpeaux" seal : variations in the respective positioning of the Bacchantes with laurel and ivy, and a variation in the right leg of the latter; vibrations in the particularly subtle modelling of the figures; sketch-like modelling, rough indications in the central plant stem, the quiver, and the laurel, ivy and rose leaves crowning the Bacchants, with an improvised rose in a different position than the edited examples. Artist’s intervention. Kilned in 1873
Willow Gallery
Georges Mathieu (Boulogne-sur-Mer 1921-2012 Boulogne-Billancourt) Forêts attentives, 1989 Alkyd on canvas 147 x 115cm Signed and inscribed on the reverse Provenance: Galerie Guy Pieters, Brussels; private collection, Brussels; private collection, Savoie; sale, Maison R&C, France, 17 July 2021, Lot 93; private collection, Europe This painting is accompanied by a certificate of authenticity from Mr. Jean-Marie Cusinberche
Galerie de la Présidence
Sonia Delaunay (Ukraine, Hradyzk 1885-1979 Paris) Rythme couleur, 1972 Gouache on paper 54,5 x 38 cm Signed lower right Provenance: private collection, Paris Certificate of Jean-Louis Delaunay and Richard Riss This is one of the preparatory gouaches for the Album Les Illuminations, containing 15 stencils, illustrating 9 poems by Arthur Rimbaud.
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.
Victor Werner
Franz Barwig (Shönau, Nordmähren 1868-1931 Vienna) Group of Fauns, ca. 1900 Sculpted oak Signed 'F. BARWIG' on the base H. 94 x L. 99 x D. 18 cm This amazing, large, sculpted-oak masterpiece perfectly captures the essence of the Vienna Secession. Created by one of Austria's most influential Art Nouveau sculptors, the piece showcases Barwig's signature mastery of wood, blending powerful forms with raw, natural texture.
Victor Werner
Louis Tuaillon (Berlin 1862-1919) Stag, ca. 1912 Bronze garden sculpture with natural green patina Signed ‘Louis Tuaillon’ on the base Bears the foundry ‘Martin u. Piltzing Hofbildgiesser Berlin’ H. 110 x L. 90 x D. 32 cm A neoclassical bronze sculpture depicting a stag in a standing sentinel pose. This design was acquired in 1912 by the prominent art philanthropist Eduard Arnhold for his private estate in Hirschfelde (Brandenburg), where a large-scale version still stands today as a public monument.
Snackers Antiques & Fine Art
Louis Philippe mantel clock Paris, circa 1835 Partially fire-gilt and partially patinated bronze H 70 x W 75,5 x D 27 cm Produced by the clockmaker Douyon The goddess Victoria is depicted seated on a cushion, leaning against the clock and holding a laurel wreath. At her feet lie a caduceus and an anchor. Beneath the clock are ears of corn and fruit. The ears of corn and fruit signify abundance; the anchor symbolises fidelity; and the laurel wreath represents victory.
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 Guy-Patrice Dauberville and Michel Dauberville, Renoir: Catalogue raisonné des tableaux, pastels, dessins et aquarelles, vol. IV, 1903-1910, no. 3415, p. 435 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)
Bernier/Eliades
RATHER NOT BE USED FOR CATALOGUE JUST FOR PRESS / WEBSITE Martin MARGIELA Untitled, 2024 Carpet on canvas on wooden frame 102 x 72 x 6,5 cm Photo credits: Sebastiano Pellion di Persano Martin Margiela was born in 1957 in Leuven, Belgium. After attending the Sint-Lukas Kunsthumaniora art school in Hasselt, he entered the fashion department of the Royal Academy of Fine Arts in Antwerp in 1977. In 1988, he founded Maison Martin Margiela. Right after the twentieth anniversary of his eponymous brand in 2009, Martin Margiela decided to leave the fashion world. Ever since, he has devoted himself exclusively to the visual arts. Solo Exhibitions 2024 Martin Margiela, Gallery Bernier/Eliades Brussels, Martin Margiela, Gallery Bernier/Eliades Athens 2022 Martin Margiela, Lotte Museum, Lotte Museum of Art, Seoul, The Republic of Korea Martin Margiela, M WOODS Hutong, Beijing, China Martin Margiela: Self-Portraits Eenwerk, Amsterdam, The Netherlands 2021 Martin Margiela, Lafayette Anticipations, Paris, France Group Exhibitions 2025 Fashion & Interiors. A Gendered Affair., MOMu, Antwerp, Belgium 2024 The City Collection Antwerp: In/Sight, M HKA, Antwerp, Belgium 2023 Echo. Wrapped in Memory, MoMu, Antwerp, Belgium No Angels, Wilhelm Hallen, Berlin, Germany Man Ray en mode, MoMu, Antwerp, Belgium 2022 40 Years Zeno X Gallery – the two-thousands , Zeno X Gallery Antwerp South, Antwerp, Belgium 2019 L’homme qui marche / Verkorperung des sperrigen, Kunsthalle Bielefeld, Bielefeld, Germany Projects 2024 “Blinds” Permanent Public Artwork, Antwerp Public Art Collection, Antwerp, Belgium
Finch & Co
A Rare 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 Size: 42cm high, 40cm wide, 20cm deep - 16½ ins high, 15¾ ins wide, 8 ins deep Provenance: Ex Private collection West Country U.K. Ex Finch and Co, item number 1, catalogue number 30, Summer 2018 Ex Private collection cf: Dr Anne Ross ‘Pagan Celtic Britain’ no. 916, for a similar Stone Radiate Deity
Desmet Fine Arts
Egidius Van den Vliete, called Egidio della Riviera (Mechelen, circa 1535-1602, Rome) (Workshop of) Allegory of Sleep (Morpheus, Phobetor and Phantasos, the Oneiroi of Greek myth) Rome, late 16th - early 17th century Marble H 25,4 x W 64,8 x D 59,7 cm Provenance: the Estate of Stanley Moss, New York; Related versions: Galleria Borghese, Rome, inv. n° CLXXXIV (acquired by Cardinal Scipione Borghese by 1609); Formerly Giustiniani collection, Rome; Formerly Palazzo Colonna, Rome A further group of this subject, photographed under the same title in the Palazzo Pitti, Florence
Almine Rech
Farah Atassi (Brussels, 1981) The Shadow, 2026 Oil on canvas 195,3 x 114,3 cm Signed and dated on the back Provenance: artist's studio Exhibitions: Farah Atassi, 'Metamorphosis', 26 June - 31 July 2026, Almine Rech New York 'The Shadow' comes from a recent body of work in which Farah Atassi explored themes of metamorphosis and freedom. The central figure is a chimeric half woman-half flower that appears to flourish before our very eyes. Daphne– the nymph turned into a laurel tree to escape the god Apollo– comes to mind, a representation of transformation and transcendence. In 'The Shadow' the flower woman is organic, yet sculptural, retaining a distinct humanity that the artist has simplified, symbolised. While the composition is dreamlike and ethereal, a bold shadow brings a touch of realism, anchoring the twisting form to the pictorial plane. This work is a painting within a painting, a formal choice that allows Atassi to contrast two distinct realms while also interrogating the metamorphic potential of art. Notes of Magritte’s uncanny, atmospheric beauty emerge as the flower woman in 'The Shadow' is captured in the act of liberating herself from a canvas, striking out into the rosy dawn.
Galerie Nicolas Bourriaud
BIZETTE-LINDET André (1906–1998) Diane the Huntress Bronze with a nuanced brown-green patina, signed ‘Bizette-Lindet’ Cast by Susse, bears the foundry’s mark ‘SUSSE Fres / PARIS / CIRE PERDUE’ and the inscription ‘BRONZE’. H. 64 x W. 70 x D. 20 cm. On a blackened wooden base Circa 1937–1938 A similar example is held at the Musée de la Piscine in Roubaix (Inv.: FNAC 6463) Bibliography: Amandine Delcourt, Bruno Gaudichon and Fanny Legru, "Faire le Beau. Le bestiaire de La Piscine", Ghent, Snoeck, 2017, p. 57