This section will be available this Autumn.
robertaebasta
Alessandro Mendini (Milan, 1931-2019) 'Libreria scultura' prototype of modular bookcase/display for Swatch, Italy 1994 Lacquered wood, coloured, laminated, chromed and satin steel H 214 x W 250 x D 40 cm Unique piece Certificate of authenticity by Mrs Elisa Mendini and Mrs Fulvia Mendini Provenance: private collection, Italy
Beck & Eggeling International Fine Art
max ernst
Max Ernst (Brühl 1891-1976 Paris) Un Caprice de Neptune, 1959 Oil on canvas 27 x 35 cm Signed lower right 'max ernst' Provenance: Paolo Marinotti; Lawrence Rubin Greenberg Van Doren Fine Art, New York; private collection, Germany Literature: W. Spies, S. and G. Metgen: Max Ernst. Oeuvre-Katalog, Werke 1954-1963, Cologne, 1998, p. 194, n° 3425 (ill.) Exhibitions: 1961, June-July, Paris, Max Ernst sculptés, Galerie au Pont des Art Weill; 1966, 17 June-2 October, Venice, Max Ernst, Oltre la pittura, Palazzo Grassi, cat. n° 7 (ill.); 1979, Munich, Max Ernst, Retrospektiv, Haus der Kunst, cat. n° 296, ill. III (colour ill. n° 30, ill. 331)
Galerie des Modernes
max ernst
Max Ernst (Brühl 1891-1976 Paris) Fleur de coquillage, circa 1932 Gouache on paper 23 x 30.7 cm Signed lower right 'max ernst' Certificate of authenticity by Mr. Werner Spies dated 29 November 2007 Provenance: Edward Weston collection, Carmel Highlands; Galerie Tarica, Paris; Galerie Heyram-Mabel Semmler, Paris; Galerie des Modernes, Paris; private collection, France
DIE GALERIE
andré masson
André Masson (Balagny-sur-Thérain 1896-1987 Paris) La victime, 1942 Gouache and sand on wood 37.8 x 32.8 cm Monogrammed and dated lower left Provenance: the artist’s studio; Galleria Studio Due Ci, Rome Literature: Masson: Massaker, Metamorphosen, Mythologien. exh. cat. Kunstmuseum Bern, Bern 1996, p. 39; André Masson. Un Combat, exh. cat. Musées de la Cour d'Or, Metz 1999, p. 39, 181; André Masson. La mémoire du monde, exh. cat. DIE GALERIE, Frankfurt am Main 2025, p. 43. Exhibitions: Masson: Massaker, Metamorphosen, Mythologien. Kunstmuseum Bern, 1996; André Masson. Un Combat, Musées de la Cour d'Or, Metz, 1999; André Masson. Zwischen Welten – Entremondes, Kunstsammlungen Chemnitz, Chemnitz, 2019-2020; André Masson. La mémoire du monde, DIE GALERIE, Frankfurt am Main, 2024-2025
Galerie Cento Anni
andré lanskoy
André Lanskoy (Moscow 1903-1976 Paris) Un cas suspect, 1964 Oil on canvas 97 x 146 cm Signed and dated 'Lanskoy 64' Provenance: Galerie de Seine; private collection, Paris Certificate of authenticity from the Comité Lanskoy dated 4 April 2025 This work will be included in the forthcoming catalogue raisonné currently in preparation
Pelgrims de Bigard
pieter brueghel the younger
Pieter Brueghel the Younger (Brussels 1564-1638 Antwerp) A village scene with a horse-drawn cart and a goose keeper Oil on panel 25 x 31 cm Signed lower left 'P. BREUGHEL' Provenance: collection Kaufmann, before 1934; Kunsthandel P. de Boer, Amsterdam, 1934; collection Van Hees, The Netherlands, until 1969; private collection, The Netherlands Literature: P. de Boer, De Helsche en de Fluweelen Brueghel en hun invloed op de kunst in de Nederlanden, exhibition catalogue, Amsterdam 1934, ill. p. 9, p. 32, n° 32; Pantheon, Monatsschrift für Freunde und Sammler der Kunst, Munich, 1934, XIII, ill. p. 141; P. de Boer, Catalogus van oude schilderijen, exh. cat., Amsterdam, 1940, ill. n° 8; Singer Museum, Modernen van toen 1570-1630, Vlaamse schilderkunst en haar invloed, exhibition catalogue, Laren 1963, n° 53; Georges Marlier, Pierre Brueghel le Jeune, 1969, pp. 417-418, ill. n° 263; Klaus Ertz, Pieter Brueghel der Jüngere (1564-1637/38), die Gemälde mit kritischem Oeuvrekatalog, Lingen 2000, Vol. II, p. 821, ill. n° 667, p. 824, inv. n° E116 Exhibitions: Amsterdam, Kunsthandel P. de Boer, De Helsche en de Fluweelen Brueghel en hun invloed op de kunst in de Nederlanden, 10 February-26 March 1934, n° 32; Amsterdam, Kunsthandel P. de Boer, November-21 December 1940, n° 8; Laren (N.H.), Singer Museum, Modernen van toen 1570-1630, Vlaamse schilderkunst en haar invloed, 15 June-1 September 1963, n° 53
Galerie Flak
Yipwon hook figure Korewori river, Papua New Guinea, 19th century or earlier (C-14 test) Carved wood H 200 cm Provenance: Merrin Gallery, New York; Californian artist Tony Berlant collection; acquired from the above in the 1980s; Michael Hamson collection, USA; Dr. Jean-Philippe Beaulieu collection, France; acquired from the previous in 2022
Thomas Deprez Fine Arts
franz binjé
Franz Binjé (Liège 1835-1900 Brussels) Le feu, circa 1894 Watercolour and gouache on paper 42 x 27.5 cm Signed l.l.: 'F. Binjé'. Provenance: private collection, Belgium Exhibitions: Exposition Universelle des Beaux-Arts, section Société Royale belge des Aquarellistes, Antwerp, World Fair, 1894, cat. nr. 699, as: 'Le feu'; Internationale Kunst-Ausstellung, Berlin, World Fair, 1896, Gemälde cat. nr. 228, as: 'Das Feuer. Aquarell.'
Pauline's Jewellery Box
Art Deco emerald & diamond necklace, circa 1920-1930 Platinum, emerald and diamond Provenance: France A beautiful Art Deco Colombian emerald & diamond pendant necklace, set with a pear shaped Colombian emerald weighing approximately 13.44 carats surrounded by old mine cut diamonds. Estimated total diamond weight is approximately 3.00 carats. Estimated colour H-I on average. Estimated clarity VS on average. The diamonds are bright & lively. Mounted in platinum.
Epoque Fine Jewels
rené lalique
René Lalique (Ay 1860-1945 Paris) Art Nouveau thistle necklace Paris, circa 1905 Gold, diamond, enamel and glass Signed: Lalique The piece is housed in its original case, marked ‘Lalique, Place Vendôme 24, Paris’ Provenance: private collection, France An impressive Art Nouveau gold, diamond, enamel and glass thistle flower necklace by René Lalique, consisting of six pentagonal plaques made from moulded amber-coloured glass, each adorned with two intertwined thistle flowers facing outward, topped by three yellow enamel rods. Flanking the plaques are long curved thorns, set with diamonds and accented with yellow and brown enamel. Between the thorns are small thistle flower motifs in moulded orange glass, enhanced with diamonds. This exceptional Art Nouveau choker necklace by René Lalique (circa 1905, Paris) exemplifies his revolutionary use of glass in fine jewelry. The piece features six molded amber glass plaques decorated with intertwined thistle flowers, enhanced by diamonds and yellow and brown enamel on gold. The thistle flower motif, emblem of Lorraine and the Dukes of Lorraine, symbolizes courage and protection, reflecting the regional heritage of Nancy, where the original owner was a notable social figure likely to have commissioned it directly from Lalique. Created during the period when Lalique moved his shop to 24 Place Vendôme, the necklace illustrates his transition from Art Nouveau to early Art Deco, blending naturalistic design with modern aesthetics. Its autumnal hues, sunlit enamel details, and radiant diamonds evoke both poetic beauty and symbolic depth. Lalique drew inspiration from wild flora rather than cultivated blooms, favoring authenticity and imperfection as expressions of nature’s truth. This necklace, long preserved in a French private collection and once known only through drawings (including one published by Sigrid Barten), is a rare surviving example of Lalique’s innovation. It demonstrates his mastery in merging craftsmanship, symbolism, and modernity, affirming his reputation as the “inventor of modern jewelry.”
Florian Kolhammer
louis c. tiffany
Louis C. Tiffany (New York 1848-1933 New York) Jack-in-the-pulpit vase Tiffany, 1906 Yellow glass H 44 x 23.5 x 12.5 cm Marked 'L.C.T.' and '2210A' underneath Provenance: Christie's sale The 'Jack-in-the-pulpit' vases represent a special design category within the production of the Louis Comfort Tiffany company. These glasses were modeled after the Arisaema Triphyllum plant and are among the most iconic designs of this famous manufacturer. Our example shines in pure gold. It was made in 1906 and received as a wedding gift at the time.
Galerie Alexis Pentcheff
maurice utrillo
Maurice Utrillo (Paris 1883-1955 Dax) Belle Gabrielle, Montmartre, circa 1912-1914 Oil and gesso on cardboard mounted on panel, signed lower right 41 x 55.5 cm Provenance: London, Christie’s sale, 23 June 2004, lot n° 267; European private collection; Galerie Alexis Pentcheff; private collection, France Literature: Jean Fabris and Cédric Paillier, L’œuvre complet de Maurice Utrillo, Paris, 2009, repr. n° 332, p. 396; Maurice Utrillo, exhibition catalogue, Tokyo, Seiji Togo Memorial Sompo Japan Museum of Art, 2010, n° 1, p. 142 (ill. in colour in the section 'Works reproduced as archives') Exhibitions: Centenary of the Birth of Maurice Utrillo, Musée Jacquemart-André, Paris, May-August 1983, n° 13 (travelling exhibition to Liège, Musée Saint-Georges, and to Lille, Fondation Septentrion in Marcq-en-Barœul, until 15 January 1984); Maurice Utrillo, Tokyo, then Osaka, Kyoto, and Yamaguchi, Japan, 1 November 1985-5 May 1986, n° 17 (ill. cat. in colour); Maurice Utrillo: Solitude Urbaine, Galerie Alexis Pentcheff, Marseille, 22 September-4 November 2017, n° 3 (ill. cat. in colour)
Jan Muller Antiques
cornelis kick
Cornelis Kick (Amsterdam, 1634-1681) Flowers in a glass vase Oil on canvas 62 x 49 cm 78 x 69 cm (framed) Authenticity and identification confirmed by Dr. Fred Meijer Provenance: Percey B. Meyer, London, 1953 (as Jacob van Walscapelle) Literature: Jan Kelch and Ingeborg Becker, Holländische Malerei aus Berliner Privatbesitz, Kaiser-Friedrich-Museums-Vereins und der Gemäldegalerie (Berlin, 1984), pp. 170-171 (as Jacob van Walscapelle); Royal Academy of Arts, London, 1952-53: Dutch pictures 1450-1750, catalogue p. 103, n° 563; Gemäldegalerie der Staatlichen Museen Berlin, 1984: Hollandische Malerei aus Berliner Privatsbesitz, pp. 170-171, pl. n° 84
