This section will be available this Autumn.
Boon Gallery
Jean Dubuffet (Le Havre 1901-1985 Paris) Zône Habitée, 1980 Acrylic on canvas 100 x 81 cm Monogram lower right Literature: M. Loreau, Catalogue des travaux de Jean Dubuffet: Sites aux figurines, partitions, Fascicule XXXIII, Paris, 1982, p. 98, n° 238, ill. Exhibition: Waddington Galleries, Jean Dubuffet, London, 1981
Samuel Vanhoegaerden Gallery
Panamarenko (Antwerp 1940-2019 Brakel) Archaeopterix III, 1990 Mixed media sculpture: balsa, strings, twelve servos, electronic chips ... H 36 x W 33 x D 25 cm Signed Certificate of authenticity by the Panamarenko Foundation dated 2 October 2024 Provenance: Ronald Feldman Gallery, New York Literature: Toyama-The Museum of Modern Art, Kamakura, 1992, n° 47, ill.; Moderne Museet, Stockholm, Metafor och Materia, Panamarenko, Rollof, Shannon, 1991, ill. p. 78; Museum Dhondt-Dhaenens, Deurle, Belgium, Selectie Belgische Kunstenaars voor Documenta IX, Deurle, 1992, ill. p. 114; H. Theys, Panamarenko: A book by Hans Theys, Brussels, 1992, ill. Exhibitions: Ronny Van de Velde Gallery, Antwerp, Belgium, Nam Jun Paik-Joseph Beuys-Panamarenko, 1990; Städtische Galerie im Lehnbachhaus, Munich, Paradoxe des Alltags, 1991; The Watari Museum of Contemporary Art, Tokyo, Irony by Vision, 1991; International Art Center, Hasselt, Panamarenko, 1991; Toyama-The Museum of Modern Art, Kamakura, 1992; The Bunkamura Museum of Art, Tokyo, 1992; The National Museum of Art, Osaka, 1993; Fukuyama Museum of Modern Art, Fukuyama, 1993
Galerie Marc Maison
alexandre sandier
Alexandre Sandier (France, 1843-1916) Decorative panel depicting Queen Cleopatra, circa 1880 Sarreguemines earthenware with painted decoration H 161.5 x W 202.7 x D 2.5 cm Literature: Alain Benedick, La Faïencerie de Sarreguemines, Éditions ABM 57, 2009; Figures décoratives par Alex. Sandier, Éditions A. Calava, Paris, undated; Guide du visiteur […]. 8e Exposition de l’Union centrale des arts décoratifs, Paris, Imprimerie Chaix, 1884 Exhibitions: Exhibition of the Union centrale des arts décoratifs in 1884; 1889 Paris Exposition In the 1880s, the Sarreguemines pottery factory began creating earthenware panels for interior and exterior decoration. This magnificent panel depicting Cleopatra, painted by Alexandre Sandier, is one such example. Its vivid yet soft and pleasing colours combine with a meticulous sense of archaeological detail to produce a masterly lesson in Egyptomania, bearing witness to the fascination that Egypt still exerted at the end of the century for artists and audiences alike.
Galerie Jean-François Cazeau
andré masson
André Masson (Balagny-sur-Thérain 1896-1987 Paris) Fête (Festival), 1956 Oil on canvas 90 x 81 cm Signed lower left ‘André Masson' Provenance: the artist’s studio; Galerie Louise Leiris, Paris, 1956; Galerie Beyeler, Basel; Galerie Cleto Polcina, Rome; private collection, Paris (since 1996) Literature: André Masson, une mythologie de l’être et de la nature, éd. Silvana, Musée d’art moderne de Céret, 22 June-27 October 2019, p 197; André Masson, 29 January-19 April 2004, Musée National de la Reina Sofia, éd Armero, Madrid, 2004, p 250 Exhibitions: XXIX Exposition biennale internationale des Beaux-Arts, Venice, 1958; 5th International Art Exhibition, Japan, 1959; Madrid, André Masson, Armero Ediciones, Nacional Centro de Arte Reina Sofia, 29 January-19 April 2004, cat. n° 250
Galerie Nicolas Bourriaud
Georges Lucien Guyot (Paris, 1885-1972) Panther sharpening its claws, circa 1925 Brown, green nuanced patina bronze H 76.5 x W 16.8 x D 67 cm Signed ‘Guyot’, bears the inscription ‘lost wax’ and ‘BRONZE’ Cast by Susse, stamped ‘Susse Frères Editeurs Paris’ and numbered 2 Provenance: private collection, Bordeaux Literature: G. Dornand, Georges-Lucien Guyot, Paris, 1963; J. Dorst, 'Georges-Lucien Guyot', Le club français de la médaille, n° 68, second quarter of 1980, pp. 12-14; J. Cottel, 'Georges-Lucien Guyot sculpteur et peintre', ABC Antiquités Beaux-Arts Curiosités, n° 224, September 1983, pp. 54-58
Giammarco Cappuzzo Fine Art
Jusepe Ribera (Jativa 1591-1652 Napoli) An Apostle, circa 1635-1638 Oil on canvas 76 x 62 cm With gratitude to Dr. Nicola Spinosa, Dr. Riccardo Lattuada and Dr. Viviana Farina, leading experts of Jusepe Ribera to have confirmed the attribution. Provenance: private collection, France; private collection, Italy This Apostle is part of the cycle of portraits of the Apostles by the same artist, housed in the Prado Museum in Madrid. Diagnostic analyses conducted on the canvas have confirmed its full compatibility with works executed around 1630 by the painter, also revealing the presence of preparatory drawing, a method he frequently employed.
Stone Gallery
Pallasite meteorite slice on metal base Weight: 3.030 gr. H 56 x W 32 x D 7 cm Provenance: from outer space, found in Seymchan, Russia Pallasites are a rare type of stony/iron meteorite, widely considered to be the most beautiful known otherworldly substance. Extraterrestrial olivine and peridot are suspended in the highly-polished iron-nickel matrix originating from an asteroid’s core. This complete slice of a Seymchan meteorite is delimited by the meteorite’s external surface. The combination of part iron and part iron with olivine crystals in this specimen are a superior example of a transitional pallasite. Modern cutting. Classified as a pallasite, it is composed of dark crystals of the silicate mineral olivine in a spongelike network of nickel-iron alloy. Meteorites are pieces of stone or iron that fell to Earth from outer space. They are often small chunks of planetoids, but sometimes can be pieces up to kilometres in diameter. Like the planets, the planetoids orbit around our Sun. While meteorites are among the rarest substances on Earth — all the world’s meteorites weigh less than the world’s annual output of gold — pallasites are rarer still as they represent less than 0.2% of all known meteorites. Pallasites formed at the core-mantle boundary of an asteroid when some of the mantle’s olivine, which is in proximity to the molten metallic core, crystallised. As a result of the asteroid having been shattered following a collision with another asteroid, inner sections of this asteroid became liberated with a bit of it having found its way to Earth. Gem-quality olivine or peridot (the August birthstone) is found in some pallasites — including the current offering. About Meteorites in general: A typical meteorite hits the surface of the Earth at a rate of approximately 100 metres per second (about 350 km per hour). Obviously even a small meteorite at such a speed may cause great damage. Depending on its size and where the meteorite falls, it might cause an impact crater with a depth of between a few centimetres and up to many metres deep.
Giammarco Cappuzzo Fine Art
Ottavio Vannini (Florence, 1585-1644) Susanna and the Elders, circa 1615-1620 Oil on canvas 135 x 170 cm Provenance: private collection, Italy Literature: G. Papi, A New 'Susanna' by Ottavio Vannini, Paragone, 805 (3rd series, 132), 2017, pp. 30-33, col. pl. 34 Ottavio Vannini was born in Florence in 1585, as recorded in the city’s Baptismal Registers. According to the two scholars Dr. Gianni Papi and Dr. Filippo Gheri, this painting represents an important addition to Vannini’s catalogue, due to its brilliant pictorial quality and its embodiment of the painter's interests and ideas. The current work serves as a milestone for understanding Vannini’s Roman period, showcasing the impact that classicist artistic culture had on him after the second decade of the seventeenth century
Artimo Fine Arts
Magician question and answer automaton 'album amicorum' book with original leather case and instructions for use Meussel et Fils à Genève, March 1823 Gold, enamel and tortoiseshell H 20 x W 15 cm Unique piece Provenance: J.-G. & J.-C. Meüsel, Geneva, Jewellers at rue des Orfevres, 184 Geneva, dated 1823; Lydia Huber Strutt (1759-1832), Geneva acquired 1823 (?); Bernard Franck (1848-1924), 21 rue du Château d’Eau, Paris, exact date of acquisition unconfirmed, but likely before 1900; Henry & Sidney Hill, Berry-Hill Galleries, New York and London (formerly Frederick Berry & Sons of 25, Piccadilly), at the time specialists in gold boxes and objects, circa 1938; Maurice Sandoz, (1892-1958), Swiss nationality, resided variously in Burier, Switzerland, Rome, New York, Lisbon, Naples. Acquired the Magician, circa 1938; private collection, Europe Literature: A. Chapuis, E. Gelis, Le Monde des Automates, vol. II, Paris 1928, pp. 170-172, figs. 438/439; A. Chapuis, À travers les collections d’horlogerie: gens et choses, Neuchâtel, La Baconnière, 1942, ch. IX; Letter signed by Henry D. Hill of Berry-Hill, New York, 23 December 1947 to Alfred Chapuis confirming that they had purchased a part of the Bernard Franck Collection some years earlier. (Alfred Chapuis Archive held at the Musée d’Horlogerie, Chateau-des-Monts, Le Locle. Inv. G48.); A La Vieille Russie, Inc. A Loan Exhibition of Antique Automatons, 3 November-5 December 1950, Private Printing by Spinner Press, New York. p. 58, cat. n° 151; Maurice Sandoz collection, Watches and Automata, Fondation Maurice & Edouard Sandoz, 2012, vol. III, pp.201-202 Exhibition: A La Vieille Russie, Inc. A Loan Exhibition of Antique Automatons, 3 November-5 December 1950, New York
Dr. Nöth kunsthandel + galerie
André Lhote (Bordeaux 1985-1962 Paris) Fillette, 1909-1910 Oil on paper laid down on board 48.8 x 31.8 cm Signed upper right; inscribed on the reverse: Fillette, 1909, 59 x 32, 343, I The painting will be included in forthcoming catalogue raisonné which is being prepared by Dominique Bermann Martin Provenance: the artist's studio; Simone André Lhote, France (by decent); Suzanne Bermann, France (by decent); anonymous sale Me Ferri, 15 December 1994, lot 126; anonymous sale Me Loudmer, Paris, 1 April 1996, lot 57; private collection, France Exhibitions: Paris, Artcurial, Centre d'art plastique contemporain, André Lhote Rétrospective 1907-1962, Peintures, aquarelles, dessins, October-November 1981 ill. in situ p. 27
Boon Gallery
Pablo Picasso (Málaga 1881-1973 Mougins) Le peintre et son modèle, 1963 Oil on canvas 65 x 100 cm Signed lower right Provenance: private collection, Europe; private collection, 1982; Alexander Lolas Collection, Paris; Louise Leiris Gallery, Paris Literature: C. Zervos, Pablo Picasso: catalogue raisonné, Vol. XXIII, Paris, 1971, plate 120, n° 253, ill.
A&R Fleury
Sam Francis (San Matteo 1923-1994 Santa Monica) The blue between the red and green, 1960 Acrylic and gouache on paper 85.8 x 58.7 cm - framed 102.5 x 76 cm Provenance: private collection, Switzerland; Galerie Kornfeld, Bern, 1990; André Emmerich Gallery, New York; Dina and Raphael Recanati Collection, New York Exhibitions: New York, André Emmerich Gallery, Sam Francis: Paintings on paper 1956-1964, October-November 1990, ill.; Los Angeles, Manny Silverman Gallery, Sam Francis : Selected works, April-May 1999, n°1, ill. Literature: D. Burchett-Lere, ed, Sam Francis Online Catalogue Raisonné Project, n° SF60-1116
Stern Pissarro Gallery
tom wesselmann
Tom Wesselmann (Cincinnati 1931-2004 New York) Study for bedroom painting #31, 1972 Oil on canvas 20.3 x 26 cm Signed, dated twice and titled on the reverse This work is registered under n° 72-9 in the archive of the Tom Wesselmann Estate, New York Provenance: Sidney Janis Gallery, New York; private collection, USA, acquired from the above Exhibitions: Paris, Galerie Des 4 Mouvements, Tom Wesselmann: Peintures, 7-31 March 1974, n° 13 (ill.)
Giammarco Cappuzzo Fine Art
Bartolomeo Manfredi (Ostiano 1582-1622 Rome) The Denial of Saint Peter, circa 1618-1620 Oil on canvas 125 x 183 cm Provenance: private collection, Belgium This unpublished Denial of Saint Peter (fig. 1) is an important autograph work by Bartolomeo Manfredi, painted during his mature years. The evident elements of style and quality of this new Denial of Saint Peter, especially in its best preserved places, affirms Manfredi’s authorship, which has been confirmed by leading expert Dr. Gianni Papi.
Stoppenbach & Delestre
Henri-Edmond Cross (Douai 1856-1910 Saint-Clair) La jeune femme et le cygne, circa 1905 Oil on paper laid on board 31.1 x 48.1 cm Signed lower right HE CROSS This work is accompanied by a copy of the original Letter of Authenticity by André Schoeller, dated 13 May 1986 Provenance: Ambroise Vollard, personal collection, Paris (n° 350); Galerie Druet, Paris; Armand Hammer, New York; sale Christie's, London, 2 July 1974, lot 36; Alan I. and Dianne Kay Collection, Bethesda, Maryland; The Armand Hammer collection, Brooks Memorial Art Gallery, Memphis, Tennessee, 2 October-30 December 1969, n° 56; Hammer Galleries, 50th Anniversary Southern Exhibition, High Point Theater and Exhibition Center, High Point, North Carolina, 23 July-20 August 1978; The Mint Museum, Charlotte, North Carolina, 27 August-17 September 1978; Federal Reserve Bank of Richmond, Richmond, Virginia, 26 September-15 October 1978, n° 14 (as Leda and the Swan) Literature: Henri-Edmond Cross Catalogue Raisonné de l’oeuvre peint, Patrick Offenstadt, ill. n° 315, p. 347 The 1890’s would see Cross and his close friend and confrère Signac with a predilection for pastoral themes – employing picturesque locations in the south of France, depicting an Arcadian golden age where humanity and nature co-exist peacefully. These ideas, rooted in ancient mythology and Renaissance painting, can also be seen against the political background of the time and the leanings owards an anarchist utopian ideology that many artists favoured at the time, where humans could live harmoniously in nature. Whilst the Impressionists had eschewed depictions from mythology, opting for the real, modern, and changing landscapes of their own time, there had been a trend increasingly to look back on the art of the 18th century, and the Neo-Impressionists started to look back to these myths for inspiration. In this painting, from 1905, Cross uses the theme of the mythological Leda and the swan in a contemporary setting. At this time, Cross was interested in Friedrich Nietzsche’s writing, especially his theories on Dionysian revelry and abandon. Using Leda and the swan, he explored a myth often portrayed in classical art, seen in paintings by Michelangelo, Leonardo da Vinci (both lost), Tintoretto and Rubens. Cezanne had made his version of the theme in 1882 (now in the Barnes Foundation). The swan is a subject that Cross had painted several times prior to this (Including Three Swans, c.1899-1900, Fogg Museum ; Family of Swans c.1899 -1900., Private collection; The Swan, 1893, Private Collection), among others. It would seem that the bird fascinated him, perhaps as it lives on the water, affording an opportunity to paint the effects of light reflecting on the water. In this painting, he unites the swan and an opportunity to paint a nude, using pale pink, fleshy tones. Cross’s Leda is aboard a small rowing boat, leaning on the edge, watching the swan intently. The swan, just left of the centre, forms a heart shape with its wings arched. Cross’s brushstrokes are larger, broader, and quite impasto in places. As was typical for him during this period, he leaves significant spaces between strokes, especially to the right of Leda and in the sky, bringing our eye down to the more densely painted area of water, the figure of Leda and the swan itself. The pinks used for Leda’s body are echoed in the sky and again in dashes around the swan, linking the two protagonists of this story. Dashes of turquoise blue we see in the sky and the interior of the boat. At the almost central part of the painting, the dense use of pale colours for the water, the swan seems to come out of the water, as if camouflaged, unfurling its wings. From the early to mid 1890’s Cross’s paintings were more characteristically Pointillist, a technique originated by Seurat and Signac, using small and regularly positioned dots of colour harmoniously. However, following Seurat’s early death, in 1891 both Cross and Signac evolved their technique from around 1895 into using broader, longer brushstrokes, in contrasting colours, leaving small areas of exposed canvas between the strokes, placing the paint like mosaics on the canvas. This approach, where he favoured keeping the colours separate, resulted in vibrant, shimmering visual effects through contrast. This painting is a wonderful example of this period and style of Cross’s work. 1905 was the culmination of a vibrant and fertile stretch of work, seeing him access a freedom within to seek expression and style, and a bold use of colour. That year, he was rewarded by an important solo exhibition at the Galerie Druet in Paris.
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