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Galerie de la Béraudière
pablo picasso
Pablo Picasso (Malaga 1881-1973 Mougins) Le Bandillero, 1959 Colour linocut on Arches wove paper 53.4 x 66.3 cm Printed by Arnéra, Vallauris, published by Galerie Louise Leiris, Paris 1960 Signed in pencil lower right: Picasso Numbered lower left: 40/50, edition 40/50 Provenance: Galerie Michael Hertz, Bremen; private collection, North Rhine-Westphalia, Germany (until 2013); private collection, Germany (since 2013, inherited from the above); Ketterer Kunst, June 12, 2022, lot 469; private collection, Belgium Literature: Enrique Mallen, ed., Online Picasso Project, Sam Houston State University, 1997-2023, OPP.59:076; Bernhard Geiser, Brigitte Baer, Picasso peintre graveur, Catalogue raisonné de l'oeuvre gravé et des monotypes, Berne, Kornfeld, 1986-1994, n° 1225 IV B a; Georges Bloch, Pablo Picasso, catalogue de l'oeuvre gravé et lithographié, 4 vol., Berne, Kornfeld and Klipstein, 1968-1979, n° 940 (titré Les Banderilles)
Willow Gallery
Marc Chagall (Vitebsk 1887-1985 Saint-Paul de Vence) Flûtiste jaune et bouc dans l’arbre en fleurs, circa 1960-1964 Gouache, pastel, oil pastel and Indian Ink on paper 51 x 34 cm - framed: 70 x 53 cm Stamped with artist’s signature This painting is accompanied by a certificate of authenticity from the Comité Marc Chagall Provenance: estate of the artist; thence by descent
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Opera Gallery
Paul Delvaux (Belgium, Antheit 1897-1994 Veurne) La Fin du Voyage, 1968 Oil on canvas 165.1 x 145 cm Signed: P. DELVAUX and dated 10-68 on the lower right; signed again, titled and dated: 1968 on the stretcher Provenance: Mr. and Mrs. Morton D. May, St. Louis, USA, by 1969; Marlborough Gallery, London; Don Bartolomé March, Madrid (until at least 1991); Christie's London, 3 February 2003, lot 168; Collection of Paul Yeou Chichong Literature: Jerrold Lanes, New York, The Burlington Magazine, vol. CXI, n° 794, May 1969, p. 325, ill.; Michel Butor, Jean Clair, Suzanne Houbart-Wilkin, Delvaux, Catalogue de l'oeuvre peint, Brussels, 1975, n° 309, p. 271, ill.; Jacques Sojcher, Paul Delvaux ou la passion puérile, Paris, 1991, p. 78, ill. Exhibitions: New York, Staempfli Gallery, Paul Delvaux, 1969, n° 15; Madrid, Fundacion Juan March; Barcelona, Funacio Caixa Catalunya and Florence, Pallazzo Corsini, Delvaux, 1998, n° 72, p. 113, ill. in colour © Foundation Paul Delvaux, Belgium/SABAM, 2023-2024
Ralph Gierhards Antiques / Fine Art
A pair of Turkish-style perfume vaporisers Paris, Louis XVI period, circa 1780-1785 Finely chased gilded bronze, glass, enamel. Over stepped base. Openwork cover with drapery decoration and foliage ornaments in the Turkish style. Removable lid. Azure transparent lacquer on copper alloy body (bronze or brass), white marble H 42.5 cm
Harold t’Kint de Roodenbeke
Leopold Survage (Moscow 1879-1968 Paris) Surrealist composition, 1916 Gouache and pencil on paper 43 x 31 cm Signed lower right Survage, marked with his initials LS, stamped with the artist's studio stamp and dated 16 Anne-Marie Divieto has confirmed the authenticity of this work Provenance: Felix Landau, Paris; private collection, Germany (acquired from the above circa 1970)
Galerie Van den Bruinhorst
Gerrit Thomas Rietveld (Utrecht, 1888-1964) Original ‘Red Blue chair’ Designed in 1919/1923 Executed by G.A. van de Groenekan, circa 1970, De Bilt, The Netherlands Frame; solid beech wood slats with beech wood dowels, stained dark brown/black, the ends finished with chromate yellow paint. Seat; plywood, finished monochrome with ultramarine blue paint. Back: plywood finished monochrome with vermilion red paint H 86 x W 65.9 x D 82.5 cm The chair is marked with the paper label of Rietveld’s regular cabinet maker, Gerard van de Groenekan Provenance: from the first owner Architect Ruud Wilmink from Amsterdam. At the end of his architecture studies, he personally ordered the chair from Gerard van de Groenekan in De Bilt around 1970 for the furnishing of his first home In 1919, architect Gerrit Rietveld joined the legendary ‘De Stijl’ group, an esthetic movement founded by Dutch artists and architects two years earlier. Inspired by the work of his fellow ‘De Stijl’ member Bart van der Leck, Rietveld started experimenting with the use of primary colors in the designs for furniture around 1921-1922. Probably about 1923 – a hundred years ago! – he made the first copy of his wooden-slat easy-chair using Red Yellow and Blue, the color scheme that would bring the chair its world fame as an icon of De Stijl movement.
Segoura Fine Art
charles revel
Charles Revel (France, 1829-1880) Allégories de la Force et du Droit, circa 1872 Oil on canvas 66 x 54.5 cm Signed lower right Provenance: private collection, France With this painting, Charles Revel illustrates the words given to the German Chancellor Otto von Bismarck: 'Strength prevails over Law'
Galerie Kaléidoscope
fernand teyssier
Fernand Teyssier (Paris, 1937-1988) X-ray and breathing-sheep, circa 1966-67 Acrylic, graphite pencil, stampo and ink on canvas 98.4 x 81.5 cm Provenance: estate Fernand Teyssier Exhibition: Konstanz/FRG, 1968, Bilder, Graphik, Objekte, Der Asta-Konstanz Universität
VKD Jewels
Angela Cummings (Austrian-American, 1944) Mother-of-pearl and 18k yellow gold necklace Composed of oval-shaped gold links inlaid with mother-of-pearl USA, circa 1980 Signed Angela Cummings Provenance: private collection Literature: Juliet Weir-de La Rochefoucauld, Women Jewellery Designers, pp. 134-139
Klaas Muller
joris van son
Joris Van Son (Antwerp, 1623-1667) Flower and fruit garland around a cartouche Oil on canvas 65 x 50 cm Provenance: Queen Desideria of Sweden (1777-1860) Joris Van Son was a seventeenth-century Antwerp painter who was strongly influenced by the work of Jan Davidsz. De Heem (a Northern Netherlandish painter who was active in Antwerp in the 1630'ies). Together with Nicolaes Veerendael, Jan Van Kessel and Daniël Seghers, he was one of the main protagonists of Flemish (Antwerp) floral still life art from the mid-seventeenth century. Amongst his pupils were Frans van Everbroeck, Jan Pauwel Gillemans the Younger, Cornelis van Huynen, Norbert Montalie and Abraham Herderwijn. Van Sons preferred two important categories in the genre of flower and fruit still lifes: garlands ('cartouches') and so-called 'pronkstillevens' ('showy still lifes'). The 'cartouche' was often filled with the image of a Saint or a portrait. This by another painter, usually specialised in figures (for example Cornelis Schut, Erasmus Quellinus or Frans II Francken). The fact that our 'cartouche' remained empty in the center indicates that Van Son created this work as a coastal work 'in itself'. The quality is excellent and Van Son not only shows off his in-depth knowledge of the flora and fruits, but also his great sense of sensitivity, detail and colour. Striking is the powerful sculpted cartouche (with a male head bellow) in grisaille, in contrast with the bright fruits and flowers. This work has an interesting provenance: in the early nineteenth century it was owned by Desideria, Queen of Sweden and Norway (1777-1860).
Pauline's Jewellery Box
Edwardian fancy yellow cushion cut diamond ring Ring set with a fancy yellow cushion cut diamond weighing 7.80 carats. Clarity is VS2. Surrounded by bright and lively white diamonds and mounted in platinum. Accompanied by a GIA certificate Provenance: private collection, London
Galerie Florence de Voldère
Cornelis Van Cleve (et Atelier) (1527-Antwerp circa 1581) Adoration des Mages Oil on panel 101.5 x 77.5 cm Fils et élève du grand Maître Anversois Joos van Cleve (1485-1541), il a sans doute été très actif au sein de l’atelier paternel entre 1535 et 1540. Son style se rapprochant de celui de son père, il est encore difficile aujourd'hui pour certaines œuvres, de discerner la main du père de celle du fils. Maître à Anvers, il est doyen de la Gilde en 1541 au décès de Joos. Son caractère ombrageux et ses affinités protestantes le font quitter sa ville natale et émigrer en Angleterre où il recherche le patronage de Philippe II d’Espagne. Ses peintures sophistiquées et délicates témoignent aussi de l’influence de Léonard de Vinci. Cette composition dérive du tableau de Cornelis van Cleve aujourd’hui conservé au Musée des beaux-arts d’Anvers. MUSÉES: ANVERS, COLOGNE, DRESDE, PHILADELPHIE, ST P
Galerie Mathivet
Claude Lalanne (Paris 1925-2019 Fontainebleau) Pomme d'Or, 1970 18k yellow gold H 10.5 cm Monogrammed CL, numbered 3/5, guarantee hallmark Provenance: André Mourgues; Alexandre Iolas collection (Alexandre Iolas, a dealer who was a great supporter of the Surrealists and the New Realists) Claude Lalanne's world is poetic. She moulds bodies, leaves, apples and cabbages, then combines them. Her creations include L'Homme à tête de chou, La Pommebouche and L'Escargot doigt. These pieces are dreamlike, reminiscent of the Baroque world. Yves Saint Laurent, one of her most loyal customers, said: "What moves me about her is that she has managed to combine craftsmanship and poetry in the same exacting way. Her beautiful sculptor's hands seem to push aside the mists of mystery to reach the shores of art". This 'pomme bouche' could also be reminiscent of the world of Magritte...
Galerie von Vertes
pierre soulages
Pierre Soulages (Rodez, 1919-2022) Peinture 81 x 102 cm, 9 février 1987 Oil on canvas 81 x 102 cm Signed, dated and titled on verso Provenance: Galerie de France, Paris; Pierre Benveniste, Pierrefonds (acquired from the above in 1987); Sotheby's, Paris, 6 December 2022, Lot 4; private collection, Switzerland Literature: Pierre Encrevé, Soulages. L'Oeuvre Complet. Peintures, vol. III: 1979-1997, Paris 1995, p. 158, n° 933 (ill. in colour)
Galerie Berès
Georges Mathieu (Boulogne-sur-Mer 1921-2012 Boulogne-Billancourt) Vaillance d’un Gantois à la bataille de Gaure, 1957 Oil on paper 25 x 50 cm Signed and dated lower right: Mathieu 57 Certificate dated May 30th 2022, by Marc Ottavi, vice-president of the Archives Jean-Marie Cusinberche on Georges Mathieu; this work is referenced in the Maurice d’Arquian Archives under n° 12 Provenance: galerie Helios Art, Brussels; collection Nyst, and thence by descent; Clavé Fine Art, Paris Literature: G. Mathieu, Cycle des Grands Ducs d'Occident, galerie Helios Art, Brussels, 8-30 November 1957, n° 12 Exhibition: G. Mathieu, Cycle des Grands Ducs d'Occident, galerie Helios Art, Brussels, 8-30 November 1957
Galerie de la Béraudière
jean fautrier
Jean Fautrier (Paris 1898-1964 Châtenay-Malabry) Les feuilles vertes, 1934 Oil on canvas 73 x 60 cm Signed lower left: Fautrier Provenance: collection Jean Paulhan, France; collection Dominique Aury, France; private collection, France (by descent); Tajan, Paris, November 2022, lot 44; private collection, Belgium This work will be included in the catalogue raisonné of Jean Fautrier’s painted work currently being prepared by Madame Marie-José Lefort Literature: Palma Bucarelli, Jean Fautrier, Pittura e materia, ed. Il Saggiatore, Milano 1960, Ill. 107, p. 306 Exhibition: 1974, Paris, Galeries Nationales du Grand Palais, Jean Paulhan à travers ses peintres, cat. 563, p. 218
Galerie La Patinoire Royale Bach
michel mouffe
Michel Mouffe (Brussels, 1957) Tous les matins du monde, 2015 Mixed technique on canvas (9x) H 70 x W 43 cm, in total: H 70 x W 495 cm Provenance: the artist's studio Literature: Alphabet, 2017, Conversation Joel Benzakin and Michel Mouffe; Tous les matins du monde, exhibition catalogue, Galerie La Patinoire Royale Bach Exhibition: Michel Mouffe: Tous les matins du monde, Galerie La Patinoire Royale Bach, 2023
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