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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 Certificate of authenticity issued by the Yayoi Kusama Studio on 21 August 2012 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) 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.'
Galerie Hadjer
Fernand Léger (Argentan 1881-1955 Gif-sur-Yvette) Les Oiseaux dans les fleurs (mural composition), 1958 Aubusson tapestry, woven in wool 189 x 265 cm Signed 'F. LÉGER' Woven by the Pinton workshop, Aubusson, France Edition of 6 + 2 AP Accompanied by a certificate of authenticity 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 ill. p. 34; Georges Bauquier, Fernand Léger, Catalogue raisonné de l’œuvre peint, 1952-1953, Paris, 2013, n° 1492, the related painted version ill. p. 57.
Klaas Muller
Maarten Rijckaert (Antwerp, 1587-1611) Forest landscape with hunters, 17th century Oil on panel 32.4 x 49.5 cm This beautiful painting is a typical example of Maarten Ryckaert’s talent for creating atmospheric woodland scenes. The painting presents a dense forest filled with tall trees,a river, rough terrain and rocks. Soft light filters through the branches, creating contrasts between illuminated clearings and darker shadowed areas. In the foreground, a group of hunters on the left- and rightside accompanied by dogs: their small scale compared to the towering trees highlights the dominance of nature over human activity. The hunters add a sense of narrative and movement to the otherwise peaceful setting. Ryckaert uses earthy tones such as deep greens, browns, and golden highlights to create a rich and natural atmosphere. Fine details in the foliage, rocks, and tree trunks demonstrate his close observation of nature and his skill as a landscape painter. The scene evokes both tranquility and mystery, inviting the viewer to imagine the sounds and silence of the forest. The painting reflects the Baroque interest in dramatic natural scenery while also expressing a calm, contemplative mood. Through the balance of light, composition, and detail, Ryckaert transforms an ordinary hunting scene into a poetic vision of the natural world. Maarten Ryckaert was born in Antwerp and became especially known for his imaginative woodland scenes, rocky landscapes, and peaceful rural settings filled with travelers, hunters, and small groups of figures. Ryckaert studied painting in Antwerp and was strongly influenced by earlier Flemish landscape artists such as Joos de Momper and Jan Brueghel the Elder. Unlike many painters of his time who focused on religious or historical themes, Ryckaert specialized in landscapes, giving nature the leading role in his compositions. His works often combine realism with fantasy, creating dramatic forests, winding paths, and mysterious mountainous scenery.
Stern Pissarro Gallery
Pablo Picasso (Málaga 1881-1973 Mougins) Guitare, 1923 Pastel on paper 21 x 14 cm Signed upper right 'Picasso' Provenance: Galerie István Schlégl, Zurich; private collection, acquired from the above in 1988 Literature: C. Zervos, Pablo Picasso Oeuvres de 1923 à 1925, Vol. V, Editions Cahiers d'arts, Paris, 1952, n° 70 (ill. in b/w)
La Galerie URBAN
Camille Pissarro (Les Antilles, Saint-Thomas 1830-1903 Paris) Baigneuses, 1895 Oil on canvas 38.5 x 46 cm Signed and dated lower right 'C. Pissarro. 95' This work is listed in the artist's catalogue raisonné under n° 1102 Provenance: Jeanne Pissarro-Bonin, Paris (daughter of the artist); Georges Urion, Paris; sale collection d'un amateur, G. Urion, Paris, Hôtel Drouot, 16 May 1934, n° 15 (ill.); Bergaud collection (acquired at the above sale); Doctor Louis Boidin, Paris; Piasa Paris sale, 24 June 2009, p. 17, n° 15; private collection, Paris Literature: L.R. Pissarro, L. Venturi, Camille Pissarro: son art, son œuvre, Paris, 1939, vol. I, n° 902, vol. II, pl. 183; C. Kunstler, Camille Pissarro, Milan: Fabbri, 1974, p. 67; J. Pissarro, C. Durand-Ruel Snollaerts, Pissarro, Catalogue critique des peintures, Skira, Wildenstein Institute Publications, 2005, vol. III, p. 696, n° 1102. Exhibition: Pictures by Camille Pissarro, London, Stafford Gallery, October 1911, n° 21 or 27
Galerie Nicolas Bourriaud
Emile Monier (Paris, 1883-1970) Bust of a Peulh woman, 1930 Fine Swedish granite H 65.5 x W 43 x D 30.5 cm Signed ‘EMILE MONIER’, dated ‘1930’ and titled ‘KOUMBO’ Unique piece Provenance: private collection, France Exhibitions: Société coloniale des artistes français, 1930, n° 101; Office privée des colonies, 34 rue Pasquier, Paris 8th arrondissement, until 19 December 1930
Galerie Jean-François Cazeau
Victor Vasarely (Pecs 1908-1997 Paris) EG-2, 1965 Acrylic on canvas 160 x 160 cm Signed in the centre Countersigned, titled and dated on the reverse Certificate of authenticity issued by Pierre Vasarely dated 26 July 2020 Provenance: the artist’s studio; Galerie Denise René, Paris; private collection, France
WHITFORD
Joseph Lacasse (Tournai 1894-1975 Paris) Dominante Rouge (Dia 385), 1948-1950 Oil on canvas 130 x 89 cm Signed and dated upper left Signed, dated and inscribed on reverse Lacasse estate inventory Dia n° 385 Certificate of authenticity issued by Mme Joostens-Koob Provenance: the estate of the artist
Univers du Bronze
Rembrandt Bugatti (Milan 1884-1916 Paris) Deux antilopes Goudou or 'Deux Amis', circa 1911 Bronze, dark brown patina H 23.1 x L 43.2 x 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)' Edition cast in 1925
Galerie Jean-François Cazeau
Niki de Saint Phalle (Neuilly-sur-Seine 1930-2002 La Jolla, USA) La Force (Strenght), 1987 Painted polyester resin 35 x 53.3 x 29.2 cm Edition of 10, numbered 3/10 Artist's signature and number '3/10 Niki de Saint Phalle' (on a plaque fixed at the bottom) Provenance: the artist's studio; Gallery Gimpel Fils, Londres; private collection, acquired in 1989; private collection, France
Stern Pissarro Gallery
Glenn Brown (Hexham, 1966) Drawing 2 (after Delacroix/Raphaël), 2019 Acrylic on polyester film laid down on cardboard 109.2 x 94 cm Signed and dated lower right 'Glenn Brown 2019' The work bears the artist's signed label on the reverse Provenance: Galerie Max Hetzler, Berlin; private collection, Belgium; acquired from the above Exhibitions: Paris, Musée national Eugène Delacroix, Glenn Brown, 10 October-9 December 2019; Berlin, Galerie Max Hetzler, And Thus We Existed, 30 October 2020-23 January 2021, n° 6, pp. 40-41, 43-44, 125, 152 (ill., p. 41, detail ill., p. 43, exhibition view ill., pp. 44, 125)
F. Baulme Fine Arts
Godfried Maes (Antwerp, 1649-1700) Ceres Transforming the Old Woman’s Son into a Lizard Black chalk, pen and black ink, grey and brown wash on paper 18 x 24 cm Provenance: Maes’s widow sold to Jacob de Wit before 1717; Jacob de Wit sale, Amsterdam, 10 March 1755, n° 87; Cronenburgh sale, 22 March 1762, n° 1; anonymous sale, Mak van Waay collection, Sotheby’s, 15 January 1974, n° 1273; Dr. A. Dreesmann sale, Christie’s, 11 April 2002, n° 668-670 Related works: Engravings by Bernard Picart and Peter van Gunst for the 1732 edition of Ovid’s Metamorphoses translated and annotated by Abbé Banier, a member of the French Academy
F. Baulme Fine Arts
Claude-Marie Dubufe (Paris 1790-1864 La-Celle-Saint-Cloud) Expression Head: Modesty, circa 1827-1828 Oil on canvas 55.5 x 46.5 cm Provenance: private collection, England 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
Artimo Fine Art
Cesare Lapini (Florence, 1848-after 1890) La Sorpresa (Surprise) White Carrara marble H 128 x W 36 x D 48 cm Signed 'C. LAPINI' Provenance: private collection, Belgium Literature (related to the model): Torino e l’Esposizione italiana del 1884, Cronaca Illustrata, Part IV, Turin, Roux e Favale and Fratelli Treves, 1884, p. 45, model illustrated; Angelo De Gubernatis, Dizionario degli artisti italiani viventi, pittori, scultori e architetti, Florence, 1889, p. 580, model mentioned Exhibition: model presented in Turin at the Esposizione Generale Italiana, 1884 In La Sorpresa, Cesare Lapini captures the moment when a young woman, surprised in her intimacy, delicately gathers the folds of her nightdress. Her subtle smile and lowered gaze convey a delicate ambiguity between modesty and coquetry. When presented in Turin in 1884, the model was associated with the myth of Diana surprised bathing by Actaeon. The finely rendered lace, the fluidity of the drapery and the delicate treatment of the figure’s flesh tones demonstrate the sculptor’s virtuosity and the refinement of the Florentine school in the late 19th century.
Galerie Nicolas Bourriaud
André Bizette-Lindet (Savenay 1906-1998 Sèvres) Diane the Huntress, circa 1937-1938 Bronze with a nuanced brown-green patina, on a blackened wooden base H 64 x W 70 x D 20 cm Signed ‘Bizette-Lindet’ Cast by Susse, bears the foundry’s mark ‘SUSSE Fres / PARIS / CIRE PERDUE’ and the inscription ‘BRONZE’ Literature: Amandine Delcourt, Bruno Gaudichon and Fanny Legru, 'Faire le Beau. Le bestiaire de La Piscine', Ghent, Snoeck, 2017, p. 57 A similar example is held at the Musée de la Piscine in Roubaix (Inv.: FNAC 6463)
LUDORFF
Serge Poliakoff (Moscow 1900-1969 Paris) Composition abstraite, 1964-1965 Oil on canvas 73 x 60 cm Signed lower left The authenticity of this work is confirmed by Thaddée Poliakoff and the works is registered in the Archives Serge Poliakoff, Paris 2026 Literature: Alexis Poliakoff, 'Serge Poliakoff-Catalogue Raisonné', vol. II, 1955-1958, Paris 2010, n° 64-68 Provenance: Galerie Cavalero, Cannes; private collection, Europe (-1996); Sotheby's, London (26 June 1996, Lot 38); private collection (1996-2025)
Chambre professionnelle belge de la Librairie Ancienne et Moderne (CLAM)
Pieter Bruegel the Elder (Brussels, 1525-1569) (After) The last judgement Engraved in 1558 by Pieter van der Heyden (1530-1584) Published by Hiëronymus Cock (Antwerp, 1518-1570) 22.5 x 29.4 cm References: New Hollstein Dutch first state of two Lex Antiqua, Antiquarian bookseller
Repetto Gallery
Lucio Fontana (Rosario, Argentina 1899-1968 Varese, Italy) Madonna col Bambino, 1953-1954 Glazed and painted terracotta: white, light blue and blue H 24.5 x W 13.5 x D 9 cm Signed on the reverse 'L. F.' Certificate of authenticity on photograph by Fondazione Lucio Fontana, n° 2543/1 Provenance: Galleria Blu, Milan; private collection, Gorle (2543/1) Literature: L. M. Barbero, 'Catalogo ragionato delle sculture ceramiche', Tomo I, p. 212, n° 53-54 FMA 1
Galerie Alexis Pentcheff
Henri Le Sidaner (Maurice, Port Louis 1862-1939 Paris) La maison sous l'église, neige, Gerberoy, circa 1935 Oil on canvas 80 x 66 cm Signed lower left This work will be included in the forthcoming catalogue raisonné of the artist currently in preparation by Yann Farinaux-Le Sidaner Provenance: given by Le Sidaner to Henri Martin in the summer of 1935, during the visit of Henri Martin in Gerberoy; Henri Martin succession
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 Few images sum up Odilon Redon’s late manner as completely as this small panel. A woman’s profile, her head wrapped in a coif, rises from the heart of a flower as though she were its pistil; around her, reds, oranges and a pale, luminous ground dissolve the boundary between figure and bloom. Painted in oil on paper around 1901–1905, it belongs to the decisive decade in which Redon, after two decades of the charcoal noirs, turned to colour and transformed the hallucinatory visions of his youth into images of serene metamorphosis. The profile is Redon’s most personal format. Seen from the side and half-concealed, his faces never quite give themselves away: “At the centre of my work,” he wrote, “there is a small door that opens onto a mystery.” Here that door opens onto two motifs that run through his finest works of the period: the head within the flower, as in Fleur illuminée (Staatliche Museen zu Berlin, c. 1900), and the coif that reappears on male and female faces alike up to Moine lisant of 1914 (Kunst Museum Winterthur). Oil on paper, a support Redon used for some of his most intimate late pictures, gave him the velvety, floating surface of his pastels together with the depth of painting. The painting entered the collection of the Paris dealer Roger Imbert in 1930 alongside two Redons from the collection of Robert de Domecy, the patron for whom the artist painted the decorative panels now at the Musée d’Orsay, a provenance that places it in the circle of Redon’s closest early supporters. It will be included in the digital catalogue raisonné in preparation at the Wildenstein Plattner Institute. Coming to light as Redon’s colour works are being reassessed by major exhibitions in Winterthur, Gifu, Tokyo and at the Getty, Femme de profil offers what rarely reaches the market: a signed, intimately scaled Symbolist Redon in colour, in which the dream has become a flower.
Francis Janssens van der Maelen
Philippe Wolfers (Brussels, 1858-1929) Evocation, 1923 Granite H 39 cm Signed by engraving on the neck 'Ph. Wolfers.' Provenance: Wolfers family, created for the renowned Gioconda ensemble Art Deco bust of a woman with hair adorned with a diadem, sculpted in stone. Philippe Wolfers’ Evocation bust, created around 1923 in granite, was part of the emblematic Gioconda ensemble, designed for the 1925 International Exhibition of Decorative Arts in Paris. With this ensemble, Wolfers sought to create a true Gesamtkunstwerk - an integrated work of art in which sculpture, furniture, architecture, and silverware engage in dialogue around a unified aesthetic vision. Gioconda was awarded the prestigious Grand Prix at the exhibition.