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Galerie Taménaga
Pierre-Auguste Renoir (Limoges 1841-1919 Cagnes-surMer) 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 currently in preparation by the Wildenstein Plattner Institute Provenance: Ambroise Vollard, Paris; private collection, Japan Literature: Ambroise Vollard, Pierre-Auguste Renoir, Tableaux, pastels et dessins, Alan Wofsy Fine Arts, San Francisco, 1989, n° 612, 1185 and 1330, ill. pp. 155, 258 and 279
Galerie von Vertes
Marino Marini (Pistoia 1901-1980 Viareggio) Composizione, 1956 (conceived and cast before 1970) Bronze with brown and green patina (6/6) 20 x 14 x 8.5 cm Stamped on the base plate 'MM' Casts: 6 + 1 A.P. Provenance: Dominion Gallery, Montréal (after 1970); private collection, Canada; Finartis Kunsthandels AG, Zug; collection Gerard Valkier (acquired June 2004 from the above); Christie's, Paris, 20 October 2021, lot 15; private collection, Switzerland (acquired from the above) Literature: Franco Russoli, Marino Marini, pitture e disegni, Milan, 1963, n° 5 (ill., titled 'Der Sturz (kleine Bronze)'; Abraham M. Hammacher, Marino Marini: Sculpture, Paintings, Drawings, London, 1970, n° 245; Patrick Waldberg, Herbert Read and Gualtieri di San Lazzaro, Marino Marini, Complete Works, New York, 1970, n° 337; C. Pirovano, Marino Marini, Scultore, Milan, 1972, n° 343; 'Hommage à Marino Marini', in XXe siècle, Paris 1974, pp. 56-57 (another cast is illustrated); Mercedes Precerutti-Garberi, Marino Marini Alla Galleria D'Arte Moderna Di Milano, Milan 1973, p. 31; Cat. Omaggio a Marino Marini, XX. Siecolo, Milan 1974, pp. 56-57; Mercedes Precerutti-Garberi, Marino Marini, Guida al Museo-Galleria d'Arte Moderna, Milan 1984, p. 32 (ill. p. 164); Mario Meneguzzo, Marino Marini, Cavalli e cavalieri, Milan 1997, p. 227, n° 89 (ill.); M. Meneguzzo, Marino Marini, Il Museo alla Villa Reale di Milano, Milan 1997, n° 30; Giovanni Carandente, Marino Marini, Catalogo ragionato della scultura, Milan 1998, p. 424, n° 422 (ill. p. 292)
Gallery Sofie Van de Velde
Georges Vantongerloo (Antwerp 1886-1965 Paris) Spiral with Certain Spots, 1946 Oil on masonite 73.8 x 58.8 cm Signed and dated 'Spirale avec certaines taches Paris 1946 G. Vantongerloo' (title/verso) Provenance: Georges Baines collection (acquired directly from the artist); Bernard Baines; private collection, Switzerland; Galerie Ronny Van de Velde, Antwerp Literature: Georges Vantongerloo, Paintings, Sculptures, Reflections, in Problems of Contemporary Art n° 5, New York, 1948, n° 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, n° 176, ill. p. 157; Serge Lemoine, Georges Vantongerloo (1886-1965). A Pioneer of Modern Sculpture, Musée Matisse, 2007, ill. p. 148; Larkin Erdmann, Five Years, Zurich, 2019, pp. 83-84; Ostend, Mu.ZEE, Belgium-Argentina. Transatlantic Modernisms, 1910–1958, 2022 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, n° 78; Washington, Corcoran Gallery of Art, Georges Vantongerloo. A Traveling Retrospective Exhibition, 22 April-17 June 1980, n° 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, n° 176; Zurich, Kunsthaus Zürich, Georges Vantongerloo, 3 April-17 May 1981, n° 176; Antwerp, Ronny Van de Velde, Georges Vantongerloo 1886-1965, 15 December 1996-31 March 1997, OCNO n° 176; Barcelona, MACBA-Museu d’Art Contemporani de Barcelona, Force Fields: Phases of the Kinetic, 19 April-18 June 2000, n° 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
Van Herck-Eykelberg
Jean Dubuffet (Le Havre 1901-1985 Paris) Personnage, 1964 India ink on paper 22 x 17.5 cm Signed with the artist's monogram and dated 'Mars 64' Provenance: Galerie Beyeler, Basel; Artel Galerie, Geneva; private collection, France Literature: Max Loreau, Catalogue des travaux de Jean Dubuffet, Fascicule XX: L'Hourloupe I, Paris 1966, p. 139, n° 283, ill. b/w Exhibitions: Venice, Palazzo Grassi, Centro Internazionale delle Arti e del Costume, L'Hourloupe di Jean Dubuffet, 15 June-13 September 1964, n° 48; Amsterdam, Stedelijk Museum, Jean Dubuffet: Tekeningen, gouaches, 26 November 1964-11 January 1965, n° 192; Basel, Kunstmuseum, Jean Dubuffet, Zeichnungen, Aquarelle, Gouachen, Collagen, 6 June-10 August 1970, p. 133, n° 132
LUDORFF
Serge Poliakoff (Moscow 1900-1969 Paris) Composition abstraite, circa 1956 Oil on canvas 130 x 89 cm Signed lower left The authenticity of this work is confirmed by Alexis Poliakoff and is registered in the Archives Serge Poliakoff, Paris, under n° 95604 Provenance: Etta & Otto Stangl collection, Munich (1971); on permanent loan to Bayerische Staatsgemäldesammlung, Munich (1971-2001); Stangl collection estate, Munich (2001-2003); Sotheby's, London (auction 6 Februrary 2003, lot 21); Galerie Bernard Cats, Brussels; Willy d'Huysser Gallery, Brussels (2003); private collection Belgium; Frans Jacob Fine Art, Amsterdam; Galerie Interart, Geneva (2016); Galerie Pascal Lansberg, Paris (2024); private collection, Hesse Literature: Alexis Poliakoff, 'Serge Poliakoff-Catalogue Raisonné', vol. II, 1955-1958, Paris 2010, n° 56-63; Connaissance des Arts (Hg.), 'Connaissance des Arts', n° 609, October 2003, p. 137; Marchiori, Giuseppe (Hg.), 'Serge Poliakoff. témoignages et textes critiques, Les Presses de la Connaissance', Paris, 1976, p. 62 Exhibitions: 'Documenta III', 27 June-5 October 1964, Kassel; 'Serge Poliakoff-Rétrospective', traveling exhibition: Kestner-Gesellschaft, Städtische Kunsthalle Bremen, Museum am Ostwall, Overbeck-Gesellschaft, Haus der Städtische Kunstsammlungen Bonn, Württembergischer Kunstverein, Städtisches Museum Trier, 1963-1964; Kunstverein für das Rheinland, 'Serge Poliakoff', 14 November-14 December 1958, Düsseldorf; Kunstverein Hamburg, 'Serge Poliakoff', 12 April-18 May 1958, Hamburg; Moderne Galerie Otto Stangl, 'Serge Poliakoff', 9 August-20 September 1957, Munich
Galerie Patrice Trigano
Pablo Picasso (Málaga 1881-1973 Mougins) Trois personnages et un oiseau, 1969 Ink on paper 30 x 53 cm Signed and dated 23 March 1969 Certificate of authenticity issued by Maya Widmaier Picasso, dated 23 November 2001 Provenance: private collection, Geneva Literature: reproduced in the Zervos catalogue raisonné, volume 31, n° 111
Laurent Schaubroeck
Rick Owens (USA, Porterville, 1961) Small Plug Table, 2013 Black stained plywood H 41 x W 140 x D 75 cm Stamped Rick Owens 02/08 Edition of 8 + 4 AP Produced in France A monolithic composition in black plywood, the Plug Table reflects Rick Owens’ uncompromising approach to furniture: reduced geometry, architectural weight and an almost brutalist sense of proportion.
Sceners Gallery
Marcel Kammerer (Vienna 1878-1959 Montreal) Set of one sofa, a pair of armchairs and a pedestal table, circa 1905 Stained beechwood, metal, and dyed winter cowhide Sofa: H 74 x W 165 x D 80 cm Armchairs: H 74 x W 88 x D 80 cm Pedestal table: H 77.5 x Ø 70 cm Signed Mundus For Gebrüder Thonet / Mundus
Galerie Boulakia
Hans Hartung (Leipzig 1904-1989 Antibes) T-1972-H5, 1972 Acrylic on canvas 65 x 92 cm Signed and dated lower right This work is registered in the Archives of the Fondation Hans Hartung & Anna-Eva Bergman under n° T 1972-H5, and will be included in the forthcoming catalogue raisonné currently in preparation Provenance: Galerie Maeght, Zurich, 1973; private collection, Geneva Literature: Peter Althaus, Hans Hartung Peintures récentes, Exhibition catalogue for Galerie Maeght, Zurich, 1973 Exhibition: Hans Hartung Peintures récentes, Galerie Maeght, Zurich, 1973
Galerie Édouard Ambroselli
Artus Quellinus the Younger (Sint-Truiden 1625-1700 Antwerp) Virgin and Child, circa 1650-1665 Terracotta, stone H 81.2 x W 42.5 x D 34 cm Born into a dynasty of sculptors in the Southern Netherlands, Arthus Quellinus theYounger, became one of the leading artists of the region. He followed his cousin, Artus Quellinus the Elder, to work on the Amsterdam Town Hall, a landmark of European sculpture. Back in Antwerp, he ran a workshop that trained a successful generation of sculptors, and he exported his works across Europe. Our Virgin and Child, is a preparatory model for a larger statue. The Virgin’s elongated face and elaborate hairstyle, the Child’s plump belly and slender legs, and the crisp, flowing drapery are all hallmarks of the artist’s refined style. The throne is decorated with cherub heads and volutes that differ on each side, a way of offering the patron a choice between two decorative solutions. Spontaneous and intimate, this terracotta gives us the intimacy of a working model, a glimpse of the sculptor’s creative process.
Caretto & Occhinegro
Jan Provoost (Mons 1465-1529 Bruges) Crucifixion with a view of the city of Bruges, circa 1512-1515 Oil on panel 31.5 x 25 cm Expertise by Peter van den Brink Active primarily in Bruges between the late 15th and early 16th centuries, Provoost centered his art on a formidable capacity for aesthetic synthesis, marked by highly intellectual nuances and an unmistakable solemn style capable of blending diverse influences, from Van Eyck to Antonello da Messina. A shining example of this is this small Calvary, where three modernly minimalist figures are arranged with skillful geometry against a meticulously detailed view of the city of Bruges stretching out behind them. While Provoost explored this subject in other versions, always incorporating detailed cities in the background, none features such a precise and topographical view of Bruges. Indeed, one can readily recognize the belfry of the Church of Our Lady, the now-lost architectural structure of the Jerusalem Chapel of Bruges (still intact at the time), and the tower of the city's town hall.
Desmet Fine Art
Pietro Simoni da Barga (Florence, active 1574-1588) (Attributed) A fallen man-A Titan Florence, circa 1570-1590 Bronze, All’Antica patina H 11 x W 20 x D 12 cm Art Loss Register: S00213873 Provenance: probably Cardinal Ferdinando de ’Medici, later Grand Duke Ferdinando I of Tuscany (1549-1609); Hugo Finaly (1844-1915); Madame Jenny Finaly (1850-1938); Villa Landau Finaly, Florence, by 1916; private collection, UK; private collection, The Netherlands Published: G. de Nicola, 'Notes on the Museo Nazionale of Florence-II', in: The Burlington Magazine, (December 1916, Vol. XXIX), pp. 368-69 In the second half of the 16th century, Cardinal Ferdinando de’ Medici was one of the most renowned collectors in Rome. He created one of the greatest collections of Antiquities for his villa on the Pincian hill in Rome. When certain highly acclaimed sculptures ended up in the papal collection or other important collections which he couldn’t acquire, he contented himself with having copies made. These weren’t full-size copies, but rather fine statuettes on a reduced scale, intended for his studiolo. His passion for antiquity is mirrored in the collection of small bronzes he had. He kept in his service an artist called Pietro da Barga; a sculptor known to us only by the references in cardinal Ferdinando’s inventory. One of the main characteristics of his bronzes is the green all’antica patina he used to resemble the surface of the newly discovered ancient Roman bronze statues. Not only did he make reduced copies of ancient roman sculpture, he also used famed Renaissance models like Giambologna’s Mars or Michelangelo’s standing Christ.
Argento Gallery
Master of the portrait of the Van Collen family Portrait of a family in a wood, circa 1660 Oil on canvas 95 x 108 cm Provenance: sale of the Dr F. Koser collection, Keller & Reiner, Berlin, 6-7 March 1906, lot 87; private collection, Stockholm, 1938; sale, Bukowskis, Stockholm, 19 April 1961, lot 136, ill. as Ferdinand Bol, signed and dated 1666; private collection Literature: Bukowskis, 100 Years, 1870-1970, Stockholm, 1970, pp. 36-37, ill. as Ferdinand Bol; Albert Blankert, Ferdinand Bol (1616-1680): Rembrandt’s Pupil, 1982, pp. 191-192, n° R276 (attribution to Bol rejected) Attributed to the unidentified artist known as the Master of the portrait of the Van Collen family, who also painted the portrait of Jeremias Van Collen, Susanna van Uffelen and their children in the Rijksmuseum, Amsterdam. Probably painted around 1660, the present work shows the influence of Jan Mijtens in its arrangement of the family within a wooded landscape.
Grusenmeyer-Woliner
Figure of a winged atlas Gandhara, ancient Greco-Buddhist region Pakistan or Afghanistan, 3rd-4th century Grey schist H 34.3 cm Provenance: Shirley Day, New York, 30 January 1992; collection of Martha Sharp Joukowsky, Rhode Island, USA; Christie’s, Paris, property from the Joukowsky collection (sale), 27 September 2023
Van Pruissen Asian Art
Ban'ura Shogo (Nanao 1901-1982 Kyoto) Paper and writing box with pea plant design Japan, 1950-1960 H 20.8 x W 32 cm Signed Shogo saku Provenance: Ben Janssens collection, UK Literature: Jan Dees, Splendour in detail-20th century Japanese lacquer from the Ben Janssens collection, 2021 Exhibition: Japan museum SieboldHuis, 2021
Galerie Oscar De Vos
Rik Wouters (Mechelen 1882-1916 Amsterdam) Rik with a patch, 1916 Brush drawing with Chinese ink on paper 40 x 29 cm Provenance: Nel Wouters, Overijse; Marcel Mabille, Brussels Literature: Avermaete, Rik Wouters, 1962, pp. 145, 242; De Pesseroey & Langui, Honderd zelfportretten, 1976, pp. 46-47; Van den Bussche et.al., Rik Wouters (1882-1916), pp. 20, 234; Hautekeete, Simon & De Nijn, Rik Wouters, De menselijke figuur, 1999, n° 74b, p. 100; Damman et.al., Ik of een ander. Zelfportretten van Belgische kunstenaars, 2003, pp. 148-149 Exhibitions: Palais des Beaux-Arts, Exposition Rik Wouters, 1935, Brussels; Gemeentemuseum & Museum Boijmans, exhibition Rik Wouters, 1946, Den Haag & Rotterdam; Feestzaal, Retrospectieve Rik Wouters, 1946, Mechelen; KMSKA, Rik Wouters, 1947, Antwerp; Seconda Rassegna Internazionale di Scultura all'aperto, 1953, Varese; 1957, Antwerp, KMSKA, Retrospectieve Rik Wouters; Musée National d'Art Moderne, Rétrospective Rik Wouters, 1957, Paris; Smithsonian Institution, National Collection of Fine Arts, Smithsonian Traveling Exhibition Service, Belgian Drawings: From Ensor to Delvaux (Le dessin belge), n° 61; 1999, Mechelen, CC Antoon Spinoy, Rik Wouters. De Menselijke figuur, n° 74b
Artimo Fine Art
Jean-Baptiste Auguste Clésinger (Besançon 1814-1883 Paris) Lucrèce mourante (The Death of Lucretia), 1868 White Carrara marble H 165 x W 206 x D 82 cm Signed and dated 'J. Clésinger Rome 1868' Provenance: Émile de Girardin (1802–1881), Paris; sale of the Émile de Girardin collection, Hôtel Drouot, Paris, December 1887, lot 176; private collection, Château de Vallière, Mortefontaine (Oise), France Literature: Catalogue des marbres, bronzes et terres cuites composant l’atelier de M. Clésinger, Paris, sale of 5 June 1868, lot 2, with a preface by Théophile Gautier; Catalogue de la vente des œuvres de M. Clésinger, Paris, Hôtel Drouot, 6 April 1870, lot 2; Catalogue de la vente de la Société des marbres et bronzes artistiques de Paris, 2-3 April 1883, lot 17 (mentioning the original marble belonging to M. de Girardin); Alexandre Estignard, Clésinger, sa vie, ses œuvres, Paris, 1900 Created in Rome between 1863 and 1867, Lucrèce mourante ranks among Jean-Baptiste Auguste Clésinger’s most ambitious monumental compositions. The sculptor depicts the Roman heroine at the moment when, having revealed the outrage committed against her, she has just taken her own life. Seated, her body abandoned, her eyelids half-open and her gaze turned upwards, Lucretia lets the dagger fall as her drapery reveals the fatal wound. Her loosened chignon, with several strands falling onto the nape of her neck, heightens the sense of abandonment that pervades the composition. The work combines a particularly sensitive observation of human anatomy with the nobility of a composition inspired by classical sculpture. In his preface to the 1868 sale catalogue, Théophile Gautier emphasised the expressive power of this figure, whose inner suffering is conveyed with remarkable restraint. Listed in the catalogues of the Clésinger sales of 1868 and 1870, the sculpture subsequently belonged to Émile de Girardin, the celebrated French journalist and politician. Its presence in his collection is confirmed by the 1883 catalogue devoted to Clésinger’s models, which explicitly states that the original marble belonged to M. de Girardin. The work reappeared in December 1887 at the Hôtel Drouot sale of the Girardin collection, before entering, at an as yet undetermined date, the collections housed at the Château de Vallière in Mortefontaine.
Spazio Nobile
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
