This section will be available this Autumn.
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Univers du Bronze
raymond delamarre
torse du diadumene (1936)
Plaster exhibited at the Salon des Tuileries (cat. n°439). Bronze, richly dark black brown patina H : 119 cm, L : 51,5 cm, D : 27 cm Bronze cast for the patron M. Giron (commissioned in December 1937), signed "Raymond Delamarre", dated "1937", cast by "Bisceglia Cire Perdue Malakoff" (seal), only one bronze example currently identified. Cast circa 1937-1938
Hoffmans Antiques
Pair of Gustavian armchairs Ephraim Ståhl (Sweden, 1768-1820) Parcel gilt and bronzed wood Stockholm, circa 1810 H 85 x W 63 x D 50 cm Each armchair has a scrolled back and armrests decorated with carved laurels. The side rails are adorned with griffin heads and a palmette frieze; the fluted, tapered front legs with leaf-tip carvings. The sabre-shaped back legs end in lion's paw feet. The pair of armchairs is attributed to Ephraim Ståhl and made around 1805. Ephraim Ståhl a renowned Swedish craftsman who was a prominent furniture maker from the late 18th century to the early 19th century. Known for the high quality of his work and as well his bold, innovative designs. Ståhl became a favorite of the Swedish Royal family, with his pieces featured in nearly every royal castle. This model however featuring griffins beneath the armrests, is one of Ståhl’s more unusual designs, rarely seen on the open market. It was likely a special commission, possibly by Duke Karl, the brother of Gustav III, who had a particular fondness for the griffin motif, incorporating it throughout the interiors of Rosersberg Castle.
Romigioli Antichità
Michele Tosini, known as Michele di Ridolfo del Ghirlandaio (1503-1577) Portrait of Leonora Alvarez de Toledo as Judith, circa 1572-1576 Oil on panel 118 x 87 cm Study by Professor Antonio Geremicca Provenance: noble Florentine collection Wife of Pietro de Medici (1554-1604), son of Grand Duke Cosimo I (1519-1574), the girl in question was Eleonora Alvarez de Toledo (1555-1576), known as Leonora or Dionora, daughter of Garcia (1514-1577), Marquis of Villafranca, and niece of the more famous Eleonora di Toledo (1522-1562) Duchess of Florence
Chambre professionnelle belge de la Librairie Ancienne et Moderne (CLAM)
Aventuras de Juan Esparraguito o el niño casi legumbre. Cuchicheos de un abuelo Paris (Argenteuil, R. Coulouma & Le Coloris Moderne), 1930. Folio, publisher’s white pictorial wrappers in pochoir colour, (in modern box) (8) pp. 145 pp. 1 unnumbered leaf. Spanish text. 22 full-page plates, 25 text illustrations, and 14 initials by the South American artist A. Gómez-Palacios, all in superb pochoir colour, several with gold or silver highlights. Complete. First and only edition. Literature: Catalogue of the Cotsen Children’s Library, 2000, 3006 / Manuel Peña Muñoz, Historia de la Literatura infantil chilena, 1982, pp. 31-32 / Not in Bilderbuch im Kinderwelt & Olivier Piffault, Babar, Harry Potter & Cie (BnF) A monument of Chilean children’s literature that embodies the spirit of “realismo mágico” (magical realism) usually associated with South American art and literature, a mixture of world history, religion, and fantasy. It is a fairy tale about a little boy who dreams of being a fully-fledged asparagus someday. The illustrations show his journey and the people and creatures he meets along the way. The book was written by Agustín Edwards McClure (1878-1941), a rich Chilean businessman, lawyer, press tycoon, minister, and president of the League of Nations between 1922 and 1923, during his exile in Paris; it is dedicated to his grandchildren. “Los años 30 se inician con una publicación para niños que es una exclusividad y una joya para el coleccionista de libros infantiles chilenos antiguos. El libro chileno, aunque impreso en París, está lleno de imágenes caprichosas y originalidades, como llamar cascabeles a los capítulos. La primera lámina representa un hermoso gato negro que ostenta un lujoso collar de 14 cascabeles, uno por cada capítulo. La historia transcurre “en una tarde bañada de sol, como ias que solo se ven en Viña del Mar, rincón privilegiado de la Costa del Pacífico y en un sitio llamado desde tiempos remotos “Los Canelos”. Allí está el abuelo contándoles una historia maravillosa y extravagante a sus nietos Cuchito y Sonia. Y la historia abunda en fantasía y en descripciones de otros países como India, China, y tambien de nuestra cordillera. Contiene asimismo descripciones poéticas, muy modernistas. En suma, un libro delicado, fino, exquisito, de gran formato y pieza clave en la historia de la literatura infantil chilena” (Manuel Peña Muñoz). Although the colophon states that 1000 copies were produced, the book is very rare, and the cost of production may have precluded printing more than a couple of hundred copies. One of 900 numbered copies on vélin Lafuma. This copy was specially printed for the printer’s wife. A pristine copy, very uncommon in this condition. Pierre Coumans, Antiquarian bookseller
Gallery Sofie Van de Velde
Pierre-Louis Flouquet (Paris 1900-1967 Dilbeek) Compositie, 1920-1922 Oil on canvas 131 x 91 cm Signed 'Flouquet' left bottom corner Provenance: Bernard Davis/Miami Museum of Modern Art; Collection of Harvey Probber; thence by descent The work Composition (1920-1922) by Pierre-Louis Flouquet marks a significant turning point in the art history of the early 20th century, through its bold exploration of abstraction and the visual language of geometry. Flouquet, a pioneer of constructivism, creates in this work a dynamic interplay of shapes and lines that blur the line between figuration and abstraction. The composition is both a reflection on the technological advancements of his time and a creative expression of the artist’s drive to reinvent the visual perception of reality. The clean, geometric forms and the stark contrasts in the work create a visual energy that is characteristic of the post-World War I period, when artists were seeking a new language to depict the devastations of the war and the changes in society. Flouquet’s use of color and line emphasizes the power of abstract compositions, presenting the artistic freedom of geometry not only as an aesthetic medium but also as a way to articulate the intellectual and emotional response to the modern age. What makes Composition so remarkable is how it emphasizes unity and order through the use of the purest visual elements: line, shape, and color. It is a subtle and refined response to the experimental nature of the early 20th-century avant-garde, where the search for new forms of expression was both liberating and innovative. This work reflects Flouquet’s ability to challenge the artistic norms of his time while also touching on a deeper, universal experience of order and chaos. Composition is therefore not just a work of art; it is a visual manifesto symbolizing the pursuit of modernity in art, encapsulating the fundamental principles of abstraction and the role of geometric shapes in constructivism. It remains a powerful example of the shift from traditional visual language to new forms of visual expression, which continues to serve as an inspiration for many today.
Alexis Lartigue
pierre soulages
Pierre Soulages (Rhodez 1919-2022 Nîmes) Sans titre, 1967 Oil on canvas 97 x 130 cm Signed lower left This work is included in the catalogue raisonné vol. II, n° 601 Provenance: Knoedler and Co, New York; private collection, USA; private collection, Paris Literature: Soulages, L'oeuvre complet, Peintures vol. 2, 1959-1978, n° 60, p. 187 Buffalo, Knox Art Gallery, 1968, n° 16 Exhibitions: Soulages paintings since 1963, Knoedler and Co, New York; Museum of Art, Carnegie Institute, Pittsburgh; Albright-Knox Art Gallery, Buffalo 'In the hundred or so paintings created between the fall of 1963 and the end of 1967, the evolution of Soulages' painting is evident in several essential aspects: the much greater fluidity of the paint; the treatment of blacks in large flat areas; the brief reappearance of blacks on unpainted white backgrounds. Finally, note the return of very large formats and virtual polyptychs. From mid-63 onwards, there is almost a disappearance of scraping. This technique was technically linked to the thick quality of the layer deposited by the painter, to its paste-like character. On the contrary, the canvases now show large swathes of dark, black, or brown-black paint, where the much more liquid coloured material is no longer deposited and removed with the blade, but spread with a brush, in a movement that leaves practically no trace. The fluidity is such that some paintings have streaks of black paint running down'.
Galerie Hadjer
alexander calder
Alexander Calder (Lawnton 1898-1976 New York) Autumn Leaves, 1971 Aubusson tapestry woven by the Pinton workshop, France Wool and silk Original cartoon from 1971 170 x 240 cm Edition of six + two artist proofs - AP Provenance: Pinton workshop; private collection, France Exhibition: Victoria and Albert Museum, Collection, London
Galerie Hadjer
joan miró
Joan Miró (Barcelona 1893-1983 Palma de Mallorca) Hirondelle d'Amour Aubusson tapestry woven by the Pinton workshop/ Mobilier National, France Wool Based on original tapestry cartoon from 1979 200 x 160 cm Edition 2/8 - Project with the Miro Foundation in 2024 Provenance: Atelier Pinton Aubusson - French National collection / Miró Foundation Literature: Le Monde Nouveau de Charlotte Perriand, Fondation Louis Vuitton; K. L. H. Wells, Weaving Modernism. Postwar Tapestry Between Paris and New York, Yale University Press, 2019; The Fabric of Modernity. Matisse, Lurçat, Miró and French tapestry, 2020 Exhibitions: Joan Miró, Hirondelle d’Amour was presented as part of the Louis Vuitton Foundation exhibition, Le Monde Nouveau de Charlotte Perriand, October 2nd, 2019-February 24th, 2020; The Fabric of Modernity. Matisse, Lurçat, Miró and French tapestry, 2020
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Guy Pieters Gallery
christo and jeanne-claude .
Christo (Gabrovo 1935-2020 New York) and Jeanne-Claude (Casablanca 1935-2009 New York) The Mastaba (Project for Abu Dhabi, United Arab Emirates), 2013 Pencil, charcoal, wax crayon, pastel, hand-drawn technical data and map, enamel paint, wash and tape Left part: H 165 x W 38 cm Right part: H 165 x W 106 cm
Dalton Somaré
Pair of Headdresses, tchi–wara Bamana, Mali, early 20th century Wood H 85.5 cm and H 74 cm Provenance: Christian Duponcheel collection, Paris; private collection, Brussels, 1969; private collection, Belgium This extraordinary pair of Antelope Headdresses Bamana perfectly illustrates the astonishing modernity and vibrant dynamism of Bamana sculpture at the beginning of the twentieth century, when African traditional artists were able to move freely and smoothly from absolute abstraction to a delicate naturalism. Aware of the need to embody strength and grace at the same time, the artist who created these pair of sculptures, male and female to celebrate the efficacy of the union of these two principles, pushed himself to the extreme synthesis and purity of forms, creating slim, elegant silhouettes of pure living energy. Iconic sculptures in the panorama of African Art, the Antelope Headdresses played a prominent role in the discovery and appreciation by European avant-garde artists, introducing a revolutionary aesthetic language considered as one of the apex of African Art for its ability to amaze and consequently inspire the revolution of Modern Art.
Chambre professionnelle belge de la Librairie Ancienne et Moderne (CLAM)
Michel Leiris (Paris 1901-1990 Saint-Hilaire) and Francis Bacon (Dublin 1909-1992 Madrid) Miroir de la tauromachie Paris, Galerie Lelong, 1990 Folio, loose (as issued), original publisher’s wrappers and box 4 original colour lithographs by Francis Bacon, all signed in pencil by the artist Limited edition of 155 copies, all printed on vélin d'Arches Librairie Lardanchet, Antiquarian bookseller
Montagut Gallery
Dan mask Dan people, Ivory Coast, 19th century Wood, nails, pigments H 23 cm Provenance: private collection, New York, USA; Pace Primitive, New York, USA; Martin Lerner collection, Curator of Asian Art, Metropolitan Museum of Art, New York Pace primitive, New York (Inv. n° 53-0602); Richard E. Anderson, Director Emeritus of the Aldrige Museum, USA; private collection, Florida
Whitford Fine Art
reinhold koehler
Reinhold Koehler (Germany, 1919-1970) Thorax contrecollage, 1963-64 Dessin trouvé Décollage with ink, paper and smashed glass laid down on canvas 72.5 x 50 cm Signed and dated lower right and signed, dated, titled and inscribed verso The work is included in the Koehler Archives as RK 58 Provenance: private collection, Germany
Rueb Modern and Contemporary Art
hans bellmer
Hans Bellmer (German artist, Poland, Katowice 1902-1975 Paris, France) Untitled, circa 1945 Pencil on paper 16 x 10 cm Signed Provenance: private collection, London; Art historian John Richardson, New York Literature: J. Reginato, John Richardson at home, New York 2021, ill. p. 92
Kunsthaus Kende
Classicist wine ewer Silver Ghent, 1780 Silversmith Joannes Paulus H 34 x Ø 11.4 cm (widest part) Weight 808.4 gr. Amphora-shaped body standing on a central baluster foot with a subtly curved spout and a lid following its shape. The circular body is adorned with classicist palmette decoration and a laurel wreath. The recessed shoulder is decorated with an acanthus frieze, completed by a beaded frieze at the top. The curved handle is connected to the laurel wreath at the bottom by a leaf-shaped spandrel and merges into the richly decorated socket at the top in the form of two leafy tendrils. This is a very elegant and generously proportioned classicist wine jug, outstandingly executed and presented in excellent, museum-quality condition. The original handle, presumably made of pear, is also completely undamaged. The visual decoration is in excellent condition throughout, and not overpolished in any areas. Due to the very representative design, as well as the details of the highest craftsmanship – note in particular the fine satin finish in the recesses of the acanthus leaves of the upper handle mount – a noble origin can definitely be attributed to this piece. The work of the Belgian silversmith Joannes Paulus can be traced back to between 1774 and 1784. The offer refers exclusively to the silver wine jug. Any other accessories shown serve solely to illustrate the proportions and are not included in the offer.
Edouard Simoens Gallery
Antoni Tàpies (Barcelona, 1923-2012) Cap de gos, 1967 Acrylic, gouache and chalk on firm paper 48 x 63 cm Signed lower right: tàpies This work is registered in the Archives of the Comissio Tàpies under n° 1797 Provenance: Galerie Maeght, Paris; Galeria Dau al Set, Barcelona; Erker-Galerie, St. Gallen; private collection, Switzerland
Galeries AB & BA
jean degottex
Jean Degottex (Sathonay-Camp 1918-1988 Paris) Gidayu III, 1961 Oil on cardboard mounted on canvas 120 x 80 cm Signed and dated lower right Signed, dated and titled at the back Certificate of authenticity issued in 2021 Provenance: private collection Literature: Degottex, Jean Frémon, Editions du regard, 1986, p. 282 © Bertrand Michau. Courtesy Galerie Berthet-Aittouarès
A&R Fleury
bernar venet
Bernar Venet (Château-Arnoux, 1941) 226.5° Arc x 4, 2004 Rolled steel H 128 x W 130 x D 24.5 cm Certificate of authenticity issued by the artist and registered in the Bernar Venet archives under inventory n° bv04s17 Provenance: Guy Pieters Gallery, Knokke-Heist; private collection, Belgium
Herwig Simons Fine Arts
Napoleon in the guise of Mars the Peacemaker, 1812 Francesco (Italy, 1749-1819) and his son Luigi Righetti (Italy, 1780-1852) Bronze H 95 cm A 19th century small version of the heroic 3m45 high bronze statue located in the courtyard of the Pinacoteca in Milan. The bronze statue was made from a cast of the marble sculpture created between 1802 and 1806 by Antonio Canova, now on display in the stairwell at Apsley House, the Duke of Wellington's London residence
Galerie BG Arts
jean dunand
Jean Dunand (Switzerland, Lancy 1877-1942 Paris, France) Screen 'Swans and Water Lilies', circa 1932 Four-panel screen with black, ivory and gold lacquer H 180 x W 304 cm Provenance: collection M. B.-Paris; private collection, Paris; Galerie BG Arts, Paris Literature: Félix Marcilhac, Jean Dunand, Vie et Œuvre, Les Éditions de l’Amateur, Paris, 1991, p. 215 (ref. 121) Exhibition: Galerie Georges Petit, Paris, December 1932 Certificat d'Amélie Marcilhac