This section will be available this Autumn.
Galerie des Modernes
serge poliakoff
Serge Poliakoff (Moscow 1900-1969 Paris) Abstract composition, 1960 Gouache on paper 50 x 65.5 cm Signed lower left: SErgE PoliakoFF Provenance: private collection, Switzerland Literature: Catalogue raisonné de l’œuvre de Serge Poliakoff by Alexis Poliakoff, vol. III, 1959-1962, desc. and repr. in colour on p. 226, n° 60-202
Galerie Jean-François Cazeau
André Masson (Balagny-sur-Thérain 1896-1987 Paris) La Ville abandonnée, 1923-1924 Pastel, coloured wax and charcoal on paper 62.2 x 47 cm 98.5 x 83.3 cm (framed) Study for the final painting entitled La Ville abandonnée, 1923-1924 Signed lower left: André Masson Provenance: the Artist's studio; Collection T. Mesens, Belgian surrealist artist; Gallery Knoedler, New York; Galerie Odermatt-Cazeau, Paris; Private collection, Paris Literature: André Masson, oeuvres maîtresses, Galerie H. Odermatt - Ph. Cazeau, Paris, 1990, ill. in colour, p. 99, n° 43 Exhibition: New York, Surrealism in Art, M. Knoedler & Co., Inc., February-March 1975, catalogue n° 86 Study for the final painting entitled La Ville abandonnée, 1923-1924, oil on canvas, 73 x 60 cm, property of Galerie Louise Leiris, Paris. Literature: Paris, André Masson, oeuvres maîtresses, Galerie H. Odermatt - Ph. Cazeau, 5 December 1990-2 February 1991, p. 99; de Joinville, France, Château du Grand Jardin, Beauvais, Musée Départemental de l'Oise; Tchécoslovaquie, Sovinec, Ostrava, Bratislava, Prague: André Masson : Dessins Surréalistes 1925-1965. 17 April 1993-31 January 1994; Paris, André Masson: peintures et œuvres sur papier 1919-1927, Galerie Louise Leiris, 14 May-13 July 1996. Definitive painting after the drawing, ill. on the cover of the catalogue, p. n°9. Property of Galerie Louise Leiris. Illustrated on the cover of the catalogue; André Masson: Dessins Surréalistes 1925-1965, 1993. The catalogue is published by the AFAA (L'Association Française d'Action Artistique), Le Château du Grand Jardin (Conseil Général de la Haute Marne) and the Musée Départemental de l'Oise, Beauvais and produced by Soft Publicité Reims.
Franck Anelli Fine Art
charles topino
Charles Topino (France, 1742-1803) Oval writing table with white marble top Table in quatrefoil marquetry with rosewood surrounds, opens with a drawer and a sliding shelf, resting on curved uprights joined by a notched brace; white marble top with gallery Louis XVI period Stamped by Charles Topino, a cabinetmaker who became a master in 1773 H 72 x W 60 x D 41 cm Provenance: Neuilly sale, étude Ionesco, 7 July 1993, lot 63 Literature: this model is reproduced in Sylvain Barbier Sainte Marie, p. 57, fig 26
Galerie de la Présidence
geer van velde
Geer van Velde (Netherlands, Lisse 1898-1977 Cachan, France) Composition, 1960 Oil on canvas 162 x 162 cm Signed lower right with the artist's initials This work will be included in the forthcoming Geer van Velde catalogue raisonné currently being prepared by Pierre François Moget, son of Piet Moget Provenance: artist’s studio estate; private collection, France Literature: Viatte, Germain, 1989, Geer van Velde, Paris, Editions Cahiers d’Art, ill. col., p. 151 Exhibitions: 1981, La Haye, Haags Gemeentemuseum, Geer van Velde 1898-1977, schilderijen en tekeningen, n° 56 du cat., fig. 55, ill. col., p. 71; 1982, Høvikodden, Henie-Onstad Kunstsenter, Geer van Velde, n°17 du cat. (insert in the catalog of the exhibition of 1981 at Gemeente Museum, n° 56), fig. 55; 1982, Paris, Musée d’Art Moderne de la Ville de Paris, Geer van Velde 1898-1977. Peintures et œuvres sur papier, n° 54 du cat., fig. 55, ill. col., p. 71; 1982-Varberg, Museet I Varberg, Geer van Velde 1898-1977; 1986, Albi, Musée Toulouse-Lautrec, Geer van Velde 1898-1977, n° 22 du cat., ill. col., p. 26; 1991, Sigean, Lieu d’Art Contemporain, Geer van Velde. 1898-1977, n° 39 du cat., ill. col., p. 28; 2000, Antibes, Musée Picasso, Geer van Velde, n° 34 du cat., ill. col., p. 67; 2000, Colmar, Musée Unterlinden, Geer van Velde, n° 34 du cat., ill. col., p. 67; 2010, Lyon, Musée des Beaux-Arts, Bram et Geer van Velde, deux peintres un nom, n° 130 du cat., ill. col., p. 143
Galeries AB & BA
henri michaux
Henri Michaux (Namur 1899-1984 Paris) Composition, 1950 Gouache on canvas 48 x 62.5 cm Signed lower right This work is registered in the Michaux Archives by Franck Leibovici under n° hm4112 and will be included in the forthcoming catalogue raisonné currently in preparation Provenance: collection of M. Chatelus, Paris; collection of M. René Schneider; private collection, Paris Literature: Wieland Schmied, Hanovre (1972), p. 71; Wieland Schmied, Michaux (1973), p. 79; Marseille (1993), p. 124; Franck Leibovici, Henri Michaux, (2014), p. 31 Exhibitions: Retrospective, Musée Kestner-Gesellschaft, Hanover, 1972; Henri Michaux, peintures, Fondation Maeght, Saint-Paul-de-Vence, 3 April -10 June 1976; Galerie Baudoin Lebon, Paris, 1985; Henri Michaux, selected works 1927-1984, Musée Cantini, Marseille, 1993; Henri Michaux, selected works 1927-1984, Julio Gonzalez Art Center (i.v.a.m), Valencia, 1993; Henri Michaux, selected works 1927-1984, Musée Rath, Geneva, 1994; Henri Michaux, Whitechapel Gallery, London, 1999; Untitled passages by Henri Michaux, Drawing Center Art Center, New York, 2000
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
Galerie Boulakia
karel appel
Karel Appel (Amsterdam 1921-2006 Zurich) Untitled, 1960 Oil on canvas 81 x 116 cm Signed and dated lower right Written confirmation of the work's authenticity Provenance: private collection Karel Appel was a Dutch painter, avid sculptor, and one of the founders of the avant-garde CoBrA movement in 1948. Born in the Netherlands, he began painting at the age of fourteen. Recognised for his ironic imagery, bold brushstrokes and energetic use of colour, Appel’s work received both broad critical acclaim and unfavourable criticisms. Known for his figurative abstractions and expressive colours, Appel found inspiration in the artwork of children and the rejection of sophisticated aesthetic tastes. He was drawn to the animated, primitive style of Jean Dubuffet in the years following the isolated, repressive environment of WWII in Amsterdam. In a childlike manner, painted in thick, black lines against a background of primary colours, Appel's unique style is immediately discernible in Untitled, 1960.
Galerie Bertrand de Lavergne
Quadrangular Chinese ‘famille rose’ porcelain vase decorated with famous scenes from the ‘Romance of the Western Chamber’ that tells the story of a secret love affair between Zhang Sheng (张生), a young scholar, and Cui Yingying, the daughter of a chief minister of the Tang court China, Yongzheng period (1723-1735) H 29.5 cm
Galerie des Modernes
paul delvaux
Paul Delvaux (Belgium, Antheit 1897-1994 Veurne) Les deux Amies, 1972 Watercolour and ink on paper 35.5 x 27 cm Signed and dated lower right: P. DELVAUX 1972 Certificate of authenticity from Mr. Charles Van Deun of the Foundation Paul Delvaux Provenance: private collection, Brussels, acquired directly from the artist; Galerie Eric Gillis Fine Art, Belgium; private collection, France © Foundation Paul Delvaux, Belgium/SABAM, 2023
Nosbaum Reding
Manuel Ocampo (Philippines, 1965) Don't give them any puzzle, 2002 Oil on canvas 196 x 248 cm Provenance: the artist's studio Literature: Slow Paintings, ed. Markus Heinzelmann, Museum Morsbroich, Verlag für moderne Kunst Nürnberg, 2009; Manuel Ocampo. Fear of a Kitsch Existence, ed. Menene Gras Balaguer, Casa Asia, Barcelona, 2017, p. 215; Manuel Ocampo, Wunderkammer, Gesellschaft für Gegenwartskunst e. V., Augsburg, Munich, 2003, pp. 24-25 Exhibitions: Group exhibition, Slow Paintings, Museum Morsbroich, Leverkusen, Germany, 24.11.2009-7.2.2010; Solo exhibition, Sprüth Magers Projekte, Munich, Germany, 2003; Solo exhibition, Wunderkammer, Gesellschaft für Gegenwartskunst e. V., Augsburg, Germany, 7 May-15 June 2003
Samuel Vanhoegaerden Gallery
tom wesselmann
Tom Wesselmann (Cincinnati 1931-2004 New York) Study for great American nude #90, 1966 Liquitex on paper 46.4 x 55.2 cm Signed and dated Provenance: Sidney Janis Gallery, New York; David Janis Gallery, New York; Maxwell Davidson Gallery, New York Literature: Tom Wesselmann: a Pop Art Legend, Samuel Vanhoegaerden Gallery, Knokke, 2023, ill.
Gallery de Potter d’Indoye
Piat-Joseph Sauvage (Tournai, 1744-1818) and Sormany, Optician Empire oil on panel with barometer and thermometer, early 19th century Oil on panel, gilded bronze H 87 x W 112 cm Signed: Sauvage et de Sormany, Palais Égalité Provenance: collection of Hubert de Givenchy; Galerie Moatti, Paris, 1994 The rectangular panel painted in trompe l'oeil depicts the allegories of the four seasons beside a sheath surmounted by a globe flanked by two putti, the dial of the enamelled barometer is signed Sormany Palais Egalité, the thermometer inscribed in the sheath is signed Sormany Palais / Egalité n° 260, signed SAUVAGE in the plinth of the sheath, the frame is decorated with stars and stylised palmettes. This barometer-thermometer is a work of collaboration between Piat-Joseph Sauvage, painter and Sormany, optician. Piat-Joseph Sauvage, born in Tournai in Belgium, made a specialty of trompe-l'oeil paintingsat the end of the eighteenth and beginning of the nineteenth century. As a painter and decorator, he provided ornamentation for royal residences at the end of the reign of Louis XVI, such as Compiègne and Fontainebleau and the Hamlet of Marie Antoinette in Versailles, before turning to painting on porcelain and marble, working for the manufacture of Dihl and Guérhard then for that of Sèvres under the Empire. His compositions often represent friezes of putti, bacchanalia, mythological or allegorical scenes. The iconography of the Seasons developed here naturally refers to the function of this object, as a barometer and thermometer. Sormany was an optician installed in the Galerie de Bois of the Royal Palace (Palais Egalité under the Revolution and the Empire), as indicated by the inscriptions on the barometer and the thermometer. The old labels of this Sormany make it possible to describe its activity: "Palais Égalité n° 260 galerie de bois. / N° 260 Sormany opticien successeur de Catanyo vends toute sorte de lunettes (spectacle et autres) et tout ce qui concerne l’optique, mathématique physique et autres objets de curiosités, baromètres, thermomètres et pèse liqueurs. / Le tout à juste prix Paris." He seems to have been particularly recognised for his research on thermometers.
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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 Floating Piers (Project for Lake Iseo, Italy), 2014 Pencil, wax crayon, enamel paint, photographs by Wolfgang Volz, technical data and fabric sample 66 x 43 cm Provenance: private collection Linda and Guy Pieters Certificate of authenticity n°308-11 recorded in the archives of the Estate of Christo V. Javacheff
Galerie Kaléidoscope
antonio recalcati
Antonio Recalcati (Bresso 1938-2022 Milan) Slip, 1961 Oil on canvas 80 x 60 cm Provenance: estate Antonio Recalcati Literature: (non exhaustive list) Jouffroy Alain, Les empreintes de Recalcati 1960-1962, Christian Bourgois, 1975; Recalcati, Dall' impronta all'immagine, exhibition catalogue, Palazzo Reale, Comune di Milano, Gabriele Mazzotta, Milan, 1987; Antonio Recalcati, exhibition catalogue, Galleria d'Arte Moderna Farsetti, Milan, 1990; Antonio Recalcati, 1959/1999-Mano a Mano, exhibition cat., Villa Tamaris, La Seyne-sur-mer, 1999; Antonio Recalcati-La passione della libertà, exhibition catalogue, Galleria Gruppo Credit Valtellinese, Refettorio delle Stelline, Grafiche Aurora, Milan, 2004; Antonio Recalcati, exhibition catalogue, Guttklein Fine Art, Paris, 2018 Exhibitions: (non exhaustive list) 1976, Paris, Centre National d'Art Contemporain/Musée National d'Art Moderne, Recalcati, Empreintes; 1987, Milan, Palazzo Reale, Recalcati-Dall' impronta all'immagine; 1990, Milan, Galleria d'Arte Moderna Farsetti, Antonio Recalcati; 1999, La Seyne-sur-mer, Villa Tamaris, Antonio Recalcati, 1959/1999-Mano a Mano; 2004, Milan, Galleria Gruppo Credit Valtellinese, Refettorio delle Stelline, Antonio Recalcati-La passione della libertà; 2018, Paris, Guttklein Fine Art, Antonio Recalcati The Galerie Kaléidoscope stand is dedicated to three painters from the figurative avant-garde in Paris in the 1960s and 1970s. It will feature something exceptional in the history of art: the first Slip Print made in 1961 by Antonio Recalcati (1938-2022). After beginning to make prints of his own body in oil paint in 1960, the following year Antonio Recalcati placed traces of his own clothes (shirt, pants, socks, pants, T-shirt, etc.) at the centre of his paintings. At the same time, Yves Klein was producing his beautiful Anthropometries, done in public and using the bodies of naked women as paintbrushes. On the other side of the Atlantic, Pop Art artists were also incorporating everyday objects into their paintings. But the references and atmosphere of Recalcati's paintings are radically different. The fruit of a hand-to-hand encounter between the painter and his canvas, in the solitude of the studio, these works have a dramatic tension that is offset by a singular luminosity and a great deal of vitality. In 2022, Galerie Kaléidoscope and Antonio Recalcati decided to embark on an ambitious process of rediscovery in France and abroad. Since the artist's death a year ago, she has represented the Estate, and will shortly be contributing to the launch of a catalogue raisonné of 60 years of painting. Antonio Recalcati was at the forefront of the great figurative renewal of the second half of the twentieth century, while constantly engaging in dialogue with his elders: from Etruscan painting to Picasso, via of course the masters of the Italian Renaissance.
Cabinet of Curiosities-Honourable Silver Objects
cartier paris
Bracelet, circa 1960 Signed Cartier Paris, n° 114069 Stamped with French assay marks 18K yellow and white gold, designed with 13 carved fluted round lapis lazuli beads, on a slightly flexible gold shaft, terminating with a hook clasp set with 22 single and full-cut round diamonds, approximately 0.90 ct. Provenance: private collection, The Netherlands Ladybird brooch, circa 1930, signed Cartier Paris, n° 07544, stamped with French assay marks, platinum, designed with a head in enamel and a red coral body set with 8 full-cut round diamonds 22 x 19 x 11 mm Provenance: private collection, London Literature: N. Coleno, Etourdissant Cartier (Paris: Editions du Regards, 2008), pp. 44-45, 81
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...
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
Francis Maere Fine Arts
fernando botero
Fernando Botero (Medellin 1932-2023 Monaco) Lying nude, 1985 Bronze H 35 x W 60 x D 23 cm Signed and numbered: Botero 3/6 Provenance: collection Emile Veranneman, Kruishoutem; private collection, Belgium Literature: Exhibition catalogue, Botero, Emile Veranneman, Kruishoutem, 1990 Exhibition: 1990 Kruishoutem, Stichting Emile Veranneman, Fernando Botero