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Art et Patrimoine - Laurence Lenne
Transport case, for Louis XV at the Château de Versailles France, made between 1745-1749 Gilt-tooled leather, copper hinges H 11 cm - Ø 26.5 cm Provenance: Louis XV in Versailles Carrying and protective case for a silver porringer. The lid of the case is decorated with the coat of arms of Louis XV and the three facing crowns of the Château de Versailles, both gilt-tooled. All copper hinges are stamped with the crowned 'C' mark. The case was made between March 5th, 1745 and February 4th, 1749.
Willow Gallery
Bernard Buffet (Paris 1928-1999 Tourtour) Chevalier d'Henri III, 1998 Oil on canvas 130 x 89 cm Signed and dated This painting is sold with a photo-certificate of authenticity from the Galerie Maurice Garnier, Paris Provenance: Galerie Maurice Garnier, Paris; private collection, Germany (acquired from the above 2000); sale, Christie's London, 21 June 2012; private collection, Hong Kong Literature: Y. Le Pichon & M. Garnier, Bernard Buffet, 1982-1999, vol. III, 2007, Switzerland, n° 1261 (ill. p. 552)
Dr. Nöth kunsthandel
peter leftwich
Peter Leftwich (Great Britain, 1913-?) Bawilele, 1937 Oil and tempera on canvas 102 x 77 cm Signed and dated lower right: Peter Leftwich 37 Verso inscribed on the canvas: No 2 'Bawilele' by Peter Leftwich and on the stretcher Provenance: Otto Rasmussen, Danish director of the East Asiatic Company Exhibition: Capetown, South African National Gallery: Annual Exhibition of Contemporary Art 1937-38, n° 107
Pauline's Jewellery Box
Art Deco emerald & diamond ring, circa 1920-1930 Platinum, emerald and diamond Provenance: New York collection An Art Deco emerald & diamond ring, set with a step cut Colombian emerald weighing 10.87 carats flanked by baguette shaped & old mine cut diamonds. The emerald has a deep colour and is minor oil. Estimated total diamond weight is approximately 1.55 carats. Estimated colour E-G on average. Estimated clarity VVS-VS on average. The diamonds are bright & lively. Mounted in platinum. Accompanied by a SSEF certificate for the emerald.
Galerie Nicolas Bourriaud
emile gilioli
Emile Gilioli (Paris, 1911-1977) Obélisque, circa 1960 Marble sculpture H 88 x W 25.5 x D 24 cm Signed 'Gilioli' Unique piece Provenance: the artist's studio Literature: Pierre Descarges, La logique de Gilioli, XXe siècle, Juin 1970, n° 34, p. 70; Ionel Jianou, Hélène Lasalle, Gilioli, Paris, 1971
De Jonckheere
pieter brueghel the younger
Pieter Brueghel the Younger (Brussels 1564-1638 Antwerp) The Payment of the Tithe or the Village Lawyer, 1622 Oil on panel 78.9 x 123.2 cm Signed and dated: P. BREVGHEL, 1622 Provenance: private collection, Belgium; Galerie Legenhoek, Paris, 1991; private collection, France Literature: Ertz, Klaus, Pieter Brueghel der Jüngere: Die Gemälde mit kritischem Oeuvrekatalog, Lingen, Luca Verlag, Vol. I, 2000, p. 513, cat. E 507, repr.; Curie, Christina, Allart, Dominique, The Brue[H]el Phenomenon, Brussels, Royal Institute for Cultural Heritage, vol. III, p. 1030-1031 This Payment of the Tithe, or The Village Lawyer, is marked by Pieter Brueghel the Younger’s verve, meticulous execution, and vibrant colours. The satirical subject mocks the profession of the lawyer responsible for collecting the heavy tax that the poorest peasants struggled to pay. The grotesque faces of the petitioners, as well as the lawyer’s prognathous jaw - associating him with the Spanish authorities then in power - fascinate through their caricatural force. This original composition by Pieter Brueghel the Younger stimulated the market of the time, generating strong demand. The success of this still-relevant satire has endured to the present day.
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
Gilden's Art Gallery
Gino Severini (Italy, Cortona 1883-1966 Paris, France) The dancer, 1959 Tempera painting on wove paper 39.5 x 28.5 cm Signed lower right 'G. Severini' and dedicated in pencil ‘al caro vecchio amico Raffaele Carrieri, affectuoso riccordi di Gino Severini’ [to a dear old friend Raffaelle Carrieri, with affectionate memories, Gino Severini] in the lower right corner The work comes with a photo-certificate of authenticity by Romana Severini Brunori dated 13 May 2025 Provenance: the celebrated poet Raffaele Carrieri (1905-1984); private collection, Milan
Galerie Alexis Pentcheff
pierre bonnard
Pierre Bonnard (Fontenay-aux-Roses 1867-1947 Le Cannet) Promenade à Paris, circa 1911 Oil on canvas 40 x 60 cm Estate stamp lower left Provenance: collection of Pierre and Marie-Françoise Vernon Literature: Dauberville Jean et Henry, Bonnard, Vol. IV, Paris, Bernheim-Jeune, 1974, repr. p. 312 under n° 01992 Exhibitions: Pierre Bonnard, A. Tooth & Sons, London, 17 June-12 July 1969, repr. in exh. cat. n° 8; Matisse e Bonnard. Viva la pittura!, Rome, 2006, repr. in exh. cat. (ed. Skira) p. 340 under n° 125; Bonnard, Le Cannet, une évidence, Musée Bonnard, Le Cannet, 2020, repr. in exh. cat. p. 42 The creation of this work by Pierre Bonnard reminds us that the artist was also a photographer, experimenting with daring compositions. Though his painting captures the fleeting moment, it shares little with the tentative realism of early photography. Made entirely of color and sensation, it constructs a fragile world of subtle harmony. Just before embracing the South - before letting the Mediterranean light burst into color across his canvases - Bonnard explored a quieter, more muted sensuality in the early 1910s, while working in a studio in Paris, not far from the avenue depicted here. The “very Japanese Nabi,” as his friends from the group of his youth liked to call him, knew how to let color whisper on the canvas, how to conjure the intimacy of a letter. On one side of the painting, cool tones — blues and violets placed side by side - contrast with the russet hues of this autumnal Parisian avenue, bringing to the foreground, beneath a hat bathed in light like a reinvented halo, the lowered face of a woman reading. Her eyes are hidden, absorbed in the text. Though she has removed her gloves, she surely no longer feels the sharp chill of that November afternoon… Elegant silhouettes glide through the landscape; yet they endure — along with this hat-wearing heroine - on our retinas and in our memories, as companions to a shared intimacy, lasting only the time it takes to read a love letter. Unseen on the art market since the 1960s, this painting has been shown in several museum exhibitions, the most recent in 2020 at the Musée du Cannet, dedicated to the artist.
HELENE BAILLY MARCILHAC
raoul dufy
Raoul Dufy (Le Havre 1877-1953 Forcalquier) Le Pêcheur, 1907 Oil on canvas 46 x 55 cm Dedicated and signed lower right, to André Robert, Raoul Dufy Certificate of authenticity issued by Madame Fanny Guillon-Laffaille, dated December 17th, 2003 Provenance: private collection Literature: M. Laffaille, Raoul Dufy, Catalogue Raisonné de l'Oeuvre Peint, vol. I, Geneva, 1972, ill. n° 152, p. 136
Collectors Gallery
Arman (Nice 1928-2005 New York) Capricorn brooch in gold Zodiac collection, 1994 Certificate of authenticity and copy of the artist’s original drawing on the letterhead of the Hôtel Lutetia, where the artist resided and designed the models for this collection Provenance: Galerie Pierre-Alain Challier, successor to Editions Artcurial
Almine Rech
vivian springford
untitled
Vivian Springford (USA, Wisconsin 1913-2003 New York) Untitled, circa 1973 Acrylic on canvas 182.9 x 183.5 x 3.2 cm Provenance: estate of the artist Exhibition: Almine Rech, 'Gesture & Form: Women in Abstraction', May 3rd - June 15th, 2024, New York, Upper East Side Vivian Springford’s 'Untitled', circa 1973, encapsulates the American painter’s expressive, vibrant style. During the late 1960s, Springford had come into her own as an artist. She had developed a signature visual vocabulary and a technique of stain painting to go with it, working with thinned paint to create kaleidoscopic, gestural works.
Kunsthaus Kende
Satoshi Hara (Japan, Yokohama, 1962) Flower vase with inlaid Chrysanthemum design (mujinagiku) Ishikawa, 2018 Gold, silver and iron H 18 cm - Ø 20 cm Provenance: artist’s estate Satoshi Hara, who was born in Yokohama, Kanagawa Prefecture in 1962, specialises in creating hammered metalworks embellished with intricate and labour-intensive decorations in gold and silver. This highly developed inlay technique makes the decorations appear as if they were drawn with a thin pen. The artist has created his own technique, which he calls ‘Nanako Zogan.’ With this technique, he is able to inlay patterns into the vessels using 0.3 mm-thick silver wires. Each individual line is created in five different steps. One piece of work contains an average of 50 metres of silver wire, meaning that the artist has to work with approximately 200 metres of silver wire throughout the various stages. There is no room for error in this highly complex and time-consuming process, since it is impossible to rectify any mistakes. The artist has been teaching metalworking at Kanazawa College of Art, Department of Craft, since 2003. His work can be found in numerous museums in Japan and abroad.
Galerie Perrin
oskar bergman
Oskar Bergman (Stockholm 1879-1963 Saltsjöbaden) The Lagan from Laholm, 1925 Watercolour and gouache on paper 19 x 30.5 cm Signed and dated lower right: Oskar Bergman, Lagan Fran Lahollni, April 1925 Provenance: private collection There are artists who throw themselves wholeheartedly into the various currents during the course of their lives, following the frenetic rhythm of fashions, becoming the icons of an historical moment or a particular group. Others, conversely, take a vow of fidelity to their nature, far removed from the ephemeral unfolding of art, working and meditating as if in a kind of reclusion on a subject to which they devote their entire work. Oskar Bergman belongs to the latter category. His long and prolific career was nothing more than a variation on the theme of landscape, interpreted in a highly personal style that is instantly recognisable, the result of his self-taught training and few outside influences.
Galerie Patrice Trigano
césar
César, alias César Baldaccini (Marseille 1921-1998 Paris) Hommage à Eiffel, 1989 Welded bronze Bocquel foundry 280 x 200 x 55 cm Signed and numbered Provenance: acquired from the artist in 1990 Literature: P. Restany, César, éd. De la Différence, Paris, 1988, p. 65 and p. 328 (Monumental version of Cartier Foundation, photography in progress); B.-H. Lévy, César, les bronzes, Éditons de la Différence, Galerie Baubourg, Paris, 1991, p. 24; César, Oeuvres de 1947 à 1993, Musée de Marseille, Réunion des Musées Nationaux, Marseille, 1993, p. 159; César, Galerie Enrico Navarra, Paris, 1996, pp. 76-77; César, Museu Brasileiro da Escultura Marilisa Rathsam, Sao Paulo, 1999, p. 212; Paris, Centre Georges Pompidou, César la rétrospective, December 2017- March 2018, p. 173; Archives Denyse Durand-Ruel, n° 4499 Exhibitions: Marseille, centre de la Vieille Charité, César, oeuvres de 1947 à 1993, July-September 1993, p. 159; Monte-Carlo, César à Monte-Carlo, May-September 1993, (unnumbered); Luxembourg, Dexia Banque Internationale, Hommage à César, October-December 2000, p. 70; Cannes, La Malmaison, César, l’oeuvre de bronze, July-October 2002, p. 86; Travelling exhibition: Cannes, parvis du palais des Festivals, July-September 2002; Geneviève, Galerie Artrium, September-December 2002; Rabat, Musée Mohammed VI d’Art Moderne et Contemporain, César, une histoire méditerranéenne, December 2015-March 2016, reproduced in colour p. 68 and p. 70
Thomas Deprez Fine Arts
george minne
George Minne (Ghent 1866-1941 Sint-Martens-Latem) Baigneuse I, 1899 Boxwood (composite) H 40 cm Signed on the base: ‘G. MINNE’ Provenance: private collection by family descent, Belgium Exhibitions: La Libre Esthétique, Brussels, 1902, cat. 139, as: ‘Figure de femme. boxwood.' Related literature: Arthur Roesler, George Minne, in: Deutsche Kunst und Dekoration, 1910, 14th year, IV, 2, ill. article frontispiece, p. 240 (cf. Waerndorfer marble); Léo Van Puyvelde, George Minne, Bruxelles : Editions des 'Cahiers de Belgique', 1930, cat. n° 31, p. 78, ill. pl. 31 (bronze); Robert Hoozee et al., George Minne en de kunst rond 1900, Gent: Museum voor Schone Kunsten, 1982, cf. cat. 95 & 96 (bronze and alabaster). Related exhibitions: Berliner Secession V, Berlin, 1902, cat. 319, as: ‘Badende’ (plaster); Wiener Secession XIV, Vienna, 1902, as: ‘Badendes Mädchen’ (plaster); Tento. Jozef Israëls & George Minne, Rotterdam, 1903, as: ‘Badende vrouw’ (marble); Berliner Secession XI, Berlin, 1906, cat. 332, as: ‘Junge Frau’ (plaster); Mücsarnok, Teli, Nemzetkozi Kiallitas, Budapest, 1908-09, cat. 285 (marble); Esposizione Internazionale d’Arte, Venice, 1909, cat. 3, as: ‘Bagnante’ (marble); Sonderbund westdeutscher K., Dusseldorf, 1910, cat. 237, as: ‘Die Badende’ (marble); Leipziger Jahresaustellung, Leipzig, 1912, cat. 895c, as: ’Baigneuse’ (bronze); Sonderbund internationale Kunstaustellung Köln, 1912, cat. 611, as: ‘Badende’ (marble). Related works: It has been said that George Minne, with the present sculpture, directly influenced Gustav KLIMT (1862-1918) for the painting 'Wasserschlangen I' (1904/07), cf. Hoozee. Its appeal, however, has never faded, as can be seen in several variations on the pose which have been an integral part of the famous Belgian contemporary choreographer Anne Teresa De Keersmaeker’s so-called 'Attitudes'. Note on versions: Van Puyvelde mentions editions in marble, wood and bronze. In addition, several fine plaster casts with family provenances can be identified, amongst others at the MSK Gent and at the Museum Gevaert-Minne. Among the early collectors of bronze versions we find Hélène Kröller-Müller and Karl Ernst Osthaus, partly due to the fact that Minne’s ‘Baigneuse I’ has been a favourite for the inclusion in decorative settings designed by Henry VAN DE VELDE (1863-1959). Versions in marble are held at the Royal Museums of Art & History and at the Belvedere in Vienna. We have been unable to find records of any other versions of Minne’s ‘Baigneuse I’ in wood. Executed in a fine composite of boxwood, it is likely a unique piece in the material and can therefore be identified as entry nr. 139 at La Libre Esthétique in 1902; where both a bronze version and a version in boxwood of Minne's 'Baigneuse' were exhibited under the title 'Figure de femme'. Interestingly, the 1902 exhibition of La Libre Esthétique in Brussels also marked the model's public debut, ranking the present version as one of the earliest in existance and one of the first two shown publicly.
Galerie de la Béraudière
joan miró
Joan Miró (Barcelona 1893-1983 Palma de Majorque) Femme, oiseaux, 1976 Oil, gouache and oil stick on scratched board 65.1 x 50.2 cm Signed lower right 'Miró' Signed, dated and titled on the reverse: MIRÓ., 20/IV/76., Femme, oiseaux Provenance: estate of Joan Miró; Sotheby's, Madrid, 42 works by Joan Miró, 9 December 1986, lot 4 (in aid of the Fundaciò Pilar i Joan Miró, Palma de Mallorca); Quitana Fine Arts, New York; Ramis Barquet Gallery, Mexico City; private collection; Christie's, New York, 9 November 2000, lot 460; Waddington Galleries, London; private collection, Portugal (acquired from the above in 2004); Phillips, New York, 8 November 2015, lot 14; private collection, Europe Literature: Jacques Dupin, Ariane Lelong, Joan Miró, Catalogue raisonné. Paintings, vol. VI: 1976-1981, Paris, Gallery Lelong and the Miró Succession, 2004, ill. n° 1737, p. 49 Exhibitions: 2018, Brussels, Galerie de la Béraudière, Calder, Miró et leurs rencontres parisiennes; 2017, Brussels, Galerie de la Béraudière, La figure animalière; 2016, Brussels, Galerie de la Béraudière, Chefs-d'oeuvre de la galerie et Surréalisme In Woman, Birds, Joan Miró unfolds a free and vibrant universe, where colour and line become forces in motion. Against a deep black background, reds, yellows and whites burst forth with an almost musical intensity. The artist condenses the essence of his language into this work: the spontaneity of gesture, the simplicity of form and the poetry of symbolism. The woman and the bird, emblematic motifs in his work, merge into a space that is both controlled and spontaneous. Created at the end of his life, this composition expresses the supreme freedom of an artist at the height of his powers.
