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Herwig Simons Fine Arts
Large Siena marble models from the Roman Forum Rome, circa 1800 H 87 cm Provenance: former noble collection, The Netherlands Fine and unusual large grand tour Siena marble models of the Temple of Castor and Pollux, and the Temple of Vespasian, from the Roman forum. Made as souvenirs for visitors on the Grand Tour in the eighteenth and nineteenth centuries.
Galerie Nicolas Bourriaud
jacq orlande sinapi
Jacq Orlande Sinapi (Marseille, 1911-1989) Bison, circa 1940 Bronze with nuanced brown patina Cast by Leblanc-Barbedienne and bearing the foundry's stamp H 50 x W 57 x D 21 cm Signed ‘Jacq Orlande Sinapi’ Only two pieces known to date Provenance: private collection, France
Vagabond Antiques
Pair of Roman console tables Roman Neoclassical period, circa 1770 Veneer, Sienna marble, Breccia Africana marble H 90 x W 112 x D 56 cm Provenance: previously in the collection of Cardinal Vincenzo Vannutelli (1836-1930), Dean of the College of Cardinals; thence by descent; collection of the fashion designer Stefano Gabbana Each with a rectangular top butterfly veneer in richly figured Siena marble, edged in a contrasting band of Breccia Africana marble. The frieze is crisply carved with classical laurel swags, centres by rosettes and anthemion motifs and set against a punched ground to catch the light. The square corner blocks are decorated with stylised sunflowers. The tapering fluted legs are carved in three sections, with boldly gadrooned collars and stiff-leaf details above toupie feet. The carving is of sharp quality throughout, with well-preserved original gilding enhancing the architectural lines of the design.
Galerie Mathivet
claudius linossier
Claudius Linossier (Lyon, 1893-1953) Vase, circa 1930 Copper dinanderie on a fire-patinated ground with red tones in the central section and black shading at the top and bottom, decorated with an inlaid silver frieze and silver triangles H 18 cm - ∅ 18 cm Signed 'Linossier'
TASCHEN
marc newson
Marc Newson (Australia, Sydney 1963) America’s Cup This limited edition unfurls the story of America’s Cup and celebrates its skippers, owners, defenders, and challengers. Packed with previously untold tales and unseen photographs, it features a case designed by Marc Newson, crafted from cotton sailcloth, and a custom-made closure by Louis Vuitton, the official partner of the 37th America's Cup. Copies 1-175 come with a numbered carbon fiber bookstand also designed by Newson.
Dei Bardi Art
Marcus Aurelius (121-180 AD) Inspired by the Ancient Roman Type III bust of the Emperor Northern Italy, late 16th century Marble H 22.5 x W 16 x D 11 cm H 35 cm (with red marble base) Provenance: private collection, South of France Carved in Northern Italy in the late 16th century, this refined marble head portrays Marcus Aurelius, revered as the emblematic 'philosopher emperor'. Deliberately modeled on the ancient Roman Type III portrait created at the outset of his reign (161–180 AD), it reflects the Renaissance passion for reviving imperial imagery. Its intimate scale points to a cultivated humanist milieu - likely a private studiolo or collector’s cabinet. Responding to antiquarian collecting and humanist scholarship, the sculptor reinterprets the imperial model as an exemplum virtutis for early modern audiences. Throughout the 16th and 17th centuries, scholars and collectors, deeply engaged with ancient texts and material remains, regarded imperial portraiture as a privileged vehicle of moral exemplarity and aesthetic perfection.
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N. Vrouyr
mekhitar garabedian
Mekhitar Garabedian (Syria, Aleppo 1977) I copied this in a hurry and wrote in large letters (carpet) Pile: wool and silk, warp and weft: cotton 120 x 120 cm Provenance: handmade in Nepal For the design of this carpet, and the edges of the image in particular, Mekhitar Garabedian has reinterpreted Armenian medieval miniatures. The decorative patterns were the monks’ preferred place to improvise and deviate from the norm. By appropriating various visual and textual sources, Garabedian explores the fragility of heritage. Biography Deploying a variety of media such as drawing, video, photography and installation, many of Mekhitar Garabedian’s works draw from his experience as an immigrant and play on the humour and poetic qualities he finds between languages, cultures and histories. Just as his personal diasporic history is layered, his work echoes with a multiplicity of references to literature, music, philosophy and visual arts. Mekhitar Garabedian (°1977) was born in Aleppo and lives and works in Antwerp. In 2022, he was commissioned by Middelheimmuseum/Kunst in de Stad to create a public sculpture in the Antwerp Stadspark. Previously he had solo exhibitions at BOZAR in Brussels, S.M.A.K. in Ghent, Beursschouwburg in Brussels, BE-Part in Waregem and KIOSK in Ghent. In 2015 he was invited to present several works at the Venice Biennale in the Armenian pavilion, which was awarded with the Golden Lion. Garabedian participated in group exhibitions that were held at the New Museum in New York, Hamburger Kunsthalle, WIELS in Brussels, 5th Thessaloniki Biennial, Marta Herford, Villa Empain in Brussels, Gulbenkian Museum in Lisbon, Argos in Brussels, Haifa Biennial, BAM in Mons, M HKA in Antwerp, Drawing Room in London, Museum M in Leuven and Kunsthaus in Dresden, amongst many others.
Gilden's Art Gallery
Andy Warhol (Pittsburgh 1928-1987 New York) Campbell's Chicken Noodle Soup Box, 1986 Acrylic and ink on canvas 50.8 x 50.8 cm Signed in felt tip pen 'Andy Warhol' and dated '86' [1986] on the upper canvas overlap, verso Stamped by the Andy Warhol Authentication Board and numbered in ballpoint pen A104.056, on the lower canvas overlap, verso Provenance: Michael Kohn Gallery, Los Angeles; private collection, Arizona; Van de Weghe Fine Art, New York; Demisch Danant, New York; private collection, Atlanta; Sotheby’s New York, May 13th, 2010, lot 191; private collection, Hong Kong; Christie’s Shanghai, September 21st, 2019, lot 310; private collection, Asia Literature: exh. cat. (1986), Warhol. Campbell’s Soup Boxes 1986, Michael Kohn Gallery, Los Angeles, reference n° 153, pp. 19, 30, ill. in colour
Galerie BA - Berthet Aittouarès
mark tobey
Mark Tobey (USA, Centerville 1890-1976 Basel, Switzerland) Landscape, 1967 Tempera on paper 26.5 x 48.6 cm Signed and dated lower back, stamp on the back Certificate of authenticity by the Committee Mark Tobey dated 8 February 2007 Provenance: François Gaudard, pianist and friend of Mark Tobey
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 Jean-François Cazeau
martial raysse
Martial Raysse (Nice, 1936) Green on green, 1964 Spray paint, xerography, collage, oil and cardboard mounted on canvas 33 x 22 x 7 cm Signed Martial Raysse, dated 64 and titled Green on green (on the reverse) This work is registered in the inventory 'l'Oeuvre de Martial Raysse' under n° IMR-0193 Provenance: William Copley collection, USA; Christie's, New York, Contemporary Art - Including property from the collection of William Copley, 8 November 1993, lot 8; private collection, Paris; acquired from the above by the present owner Exhibition: New York, Galerie Luxembourg & Dayan, Martial Raysse: 1960-1974, 11 May-13 July 2013
Galerie Bernard De Leye
Enamel basin 'Adam and Eve Mourning the Death of Abel' L 47.5x W 38.7 cm Provenance: sale Tajan 17 juin 1977, n° 127; former collection of Henry Kravis, New York; gallery 'à la Façon de Venise', Paris; former private collection, Switzerland Most Limoges enamel pieces were created over a very short period, between 1540 and 1580, marking the peak of Limoges enameling art. They reflect the French Renaissance and the Fontainebleau School. These secular objects were cherished by court dignitaries and the wealthy bourgeoisie. Too precious and fragile to be used, they adorned the sideboards of reception rooms or the cabinets’ display shelves. Comparative pieces: Musée du Louvre, Paris, eight plates from 1540/1560 by Jean Miette in Limoges enamel; Victoria & Albert Museum, London, a closed cup and two plates, circa 1560 by Jean Miette in Limoges enamel; British Museum, London, three plates, circa 1570 by Jean Miette in Limoges enamel; State Hermitage Museum, Saint Petersbourg, five plates, mid-16th century by Jean Miette in Limoges enamel
Mearini Fine Art
Romano Alberti (Sansepolcro, 1502-1568) known as Nero Alberti da Sansepolcro o Maestro di Magione Sora Giulia Italy, 16th century Polychrome sculpture of stucco and paper mache constructed around a wooden core H 70 cm Provenance: private collection Literature: Sculture da vestire, Nero Alberti da Sansepolcro e la produzione di manichini lignei in una bottega del cinquecento. Cat. pp 69-70 and pp. 175-176 Exhibition: Museo di Santa Croce, Umbertide (Pg), 2005
Galerie Lowet de Wotrenge
david vinckboons (mechelen 1576 - 1629 amsterdam)
David Vinckboons (Mechelen 1576-1629 Amsterdam) The Triumph of Bacchus Pen and brown ink and grey wash over black chalk, within brown ink framing lines on laid paper 68 x 114 mm Provenance: Dr. Einar Perman (1893-1976), Stockholm; by descent to the previous owners; sale, New York, Sotheby's, 31 January 2024, lot 104 Literature: Laren, Singer Museum, Oude Tekeningen uit de Nederlanden. Verzameling Prof. E. Perman, Stockholm, 1962, cat. n° 121 (as Adriaen van de Venne)
Galerie Alexis Pentcheff
Regency period frame France, 18th century Carved oak, gilded with gold leaf 112.5 x 146 cm (sight size) Provenance: Montanari collection Sand-textured background decorated with acanthus scrolls, small flowers, drops, shells, and padded cartouches. Openwork acanthus leaves overflowing with playful movement in the corners.
Harold t’Kint de Roodenbeke
Englebert Van Anderlecht (Brussels, 1918-1961) Rome 1, 1960 Oil on canvas 150 x 122 cm Signed, dated and titled on the reverse Inventory number 664 on the reverse Provenance: private collection, Brussels Literature: Serge Goyens de Heusch, Englebert Van Anderlecht, Mercator, 1998, ill. p. 207; Englebert Van Anderlecht, exhibition catalogue, MRBAB, Brussels, 1990, ill. n° 79 Exhibitions: Galerij M.A.S. Astene, march-april 1969; Museum van Deinze, Englebert Van Anderlecht, March-May 1990; MRBAB, Englebert Van Anderlecht, Brussels, 1990 In the shadow of war and its aftermath, Englebert Van Anderlecht began his career as an artist in the early 1940s, right in the midst of the global conflict. After this tragedy, the “young Belgian painting” movement brought together a group of artists in a state of euphoria. Their style was colorful and optimistic - a form of rebirth, a way to forget and move toward new horizons. By the late 1940s, there was a desire to recreate new rules - or rather, to affirm that there were no longer any rules. Creativity alone mattered and had to prevail over any form of academicism. Thus, Englebert Van Anderlecht turned toward abstraction at the end of the 1940s and definitively embraced it by the mid-1950s. His palette grew stronger, his tones deeper, and he adhered to a form of abstract expressionism. This style of painting reflected a worldwide desire for rupture and emancipation. In the United States, the tone was set by Jackson Pollock and Franz Kline, from gestural to abstract expressionism. In France, a new generation emerged with Nicolas de Staël, Pierre Soulages, Simon Hantaï, and Judith Reigl. Belgium was no exception, with Antoine Mortier and Englebert Van Anderlecht, the latter being the most committed to the path of free or abstract expressionism. “I believe it is essential that there be men who do not accept established rules, who do not believe that truth is forever what a few moral leaders have decided it to be, who see that life is not merely the sum of all discoveries made so far. In this, I see a promise of freedom. We believe that everything remains to be done, that our earth is young, that we are not old men sunk into routine, and that the marvelous still awaits us tomorrow.” - Text by Englebert Van Anderlecht, 1960 Within this context, the large and striking canvas, Rome I, belongs to the period of maturity and recognition of this artist, who died prematurely in 1961 at the age of 43. The brush or paintbrush seems to whirl across the canvas like a ballet. The tones are deep, intense, applied with palpable strength and energy, while the final result bursts forth across the space. The work then takes on its full dimension, filling the surface with unmatched power - one of the finest works by this essential figure of Belgian painting.
HELENE BAILLY MARCILHAC
Henri Manguin (Paris 1874-1949 Saint Tropez) La Chemise Enlevée, 1908 Oil on canvas 100 x 81 cm Signed lower right Provenance: acquired from the artist by Eugène Druet in 1911 (Galerie Druet); collection Kritchvesky; private collection, France; private collection, Brasil Exhibitions: Paris, Galerie E. Druet, Manguin, Paris 1913, n° 42; Paris, Galerie de Paris, Manguin, 1964, n° 3; Nice, Palais de la Méditerranée, Henri Manguin, plus de cent cinquante oeuvres, 1969, n° 32; Okayama, Hiroshima, Tokyo, Gustave Moreau et ses éleves, 1974; Paris, Galerie de Paris, Centenaire, Henri Manguin, 1976, n° 49 Literature: Pierre Cabanne, Henri Manguin, Neuchätel, 1964, ill. n° 117, p.64; Marie-Caroline Sainsaulieu, Lucille & Claude Manguin, Jean-Pierre Manguin, Pierre Cabanne, Jacques Lassaigne (preface); Henri Manguin: Catalogue Raisonné de l'oeuvre peint, Neuchâtel, Switzerland, Ides et Calendes, 1980, ill. n° 298
Florian Kolhammer
hans bolek
Hans Bolek (Vienna, 1890-1978) Jugendstil ensemble, Gentleman's study, 1913 Solid spruce wood, solid oak (armchair), swamp oak veneer Provenance: bought on 06.11.1913 by the minister of public works, Freiherr Ottokar Trnka von Laberon; private collection, Austria Literature: Interior from the winter exhibition 1913/14 at MAK; photograph of a room design by Hans Bolek, executed by August Ungethüm, Möbelfabrik August Ungethüm, MAK Inv.nr. KI 7905-13; 'Innendekoration: mein Heim mein Stolz', Heft 25, 1914, S. 110; 'Kunst & Handwerk', Vol. 12, 1913, p. 629; 'Deutsches Volksblatt' 11. November 1913, S. 6; 'Neues Wiener Tagblatt', 22. November 1913, p. 33 / yearly report 1913 Austrian Museum of Art and Industry (ÖMKI), p. 4 Designed in 1913 by Hans Bolek, a student of Josef Hoffmann, and executed by August Ungethüm, this study was presented at the 1913/1914 Winter Exhibition of the Austrian Museum of Art and Industry and acquired on November 6th, 1913, by Baron Ottokar Trnka von Laberon. This rare Jugenstil ensemble combines elegant geometry, floral elements, and exceptional craftsmanship. The study consists of a representative desk with elegant fittings and a matching armchair made of solid oak, an impressive cabinet display case, and a stylish table display case or humidor. All the pieces of furniture, except for the chair, are made of solid spruce wood and covered with high-quality swamp oak veneer.
Kunsthaus Kende
Pair of Queen Anne tazze John Bache, London, 1703 Engraved Britannia silver Ø 23 cm, H 7 and 6.9 cm 513.1 gr and 504.8 gr Provenance: private collection, North America Standing on a central round foot, with moulded rim to the top side. The centre depicting an engraved coat of arms commemorating a marriage between two noble families. Outstandingly preserved and rare pair of Queen Anne tazze without repairs and showing their original preserved surface.
Philippe Heim
andré maire
André Maire (Paris, 1898-1984) Vue de Segovie, circa 1940 Oil on canvas 163 x 227 cm Signed lower right Certificate of authenticity issued by Philippe Heim Provenance: the artist's family Literature: André Maire (1898-1984), L'itinéraire décoratif d'un peintre voyageur, Éd. Gallimard, 16 October 2008, repr. p. 89 Exhibition: André Maire (1898-1984), L'itinéraire décoratif d'un peintre voyageur, Roubaix, La Piscine, 18 October 2008 to 1 February 2009
Galerie Taménaga
Maurice Denis (Granville 1870-1943 Paris) Les Bergers, à la chèvre noire, circa 1918 Oil on canvas 45.2 x 62.2 cm Signed lower left 'Maurice Denis' Provenance: Lang; Galerie Druet; Hirschler; private collection Literature: Paris, Galerie Druet, Exposition Maurice Denis, 1918, n° 27; Ploëzal, Château de la Roche-Jagu, Maurice Denis et la Bretagne. Les étés de Silencio, 2009, n° 59, repr. p. 157
