This section will be available this Autumn.
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.
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.
Galerie de la Béraudière
jean fautrier
Jean Fautrier (Paris 1898-1964 Châtenay-Malabry) Les feuilles vertes, 1934 Oil on canvas 73 x 60 cm Signed lower left 'Fautrier' Provenance: Jean Paulhan collection, France; Dominique Aury collection, France; private collection, France (by descent); Tajan, Paris, November 23rd, 2022, lot 44; private collection, Belgium Literature: Marie-José Lefort, Catalogue Raisonné de l'oeuvre peint de Jean Fautrier, Norma éditions, 2023, p. 293, n° 478 (ill.); Palma Bucarelli, Jean Fautrier, Pittura e materia, édition Il Saggiatore, Milan, 1960, ill. n° 107 p. 306 Exhibitions: 1974, Paris, Galeries nationales du Grand Palais, Jean Paulhan à travers ses peintres, cat. n° 563, p. 218
Galerie AB - Agnès Aittouarès
pablo picasso
Pablo Picasso (Malaga 1881-1973 Mougins) Two characters, séduction, 1953 Produced in Cannes on 16 December 1953 Ink on paper 20.9 x 26.4 cm Signed upper left and dated upper right Provenance: Scheffel Gallery, Bad Homburg, Germany; private collection, acquired from the Scheffel Gallery in 1989; private collection; private collection, Paris Literature: Christian Zervos, Pablo Picasso. Œuvres de 1953 à 1955, vol. 16, Paris, 1965, n° 57, p. 20; Dore Ashton, Picasso on Art: A Selection of Views, New York, 1972, p. 125
Desmet Fine Arts
Two fragments of a wooden sarcophagus corner post of the Priest Horudja re-united after 50 years Wood Egypt, late Dynastic period, 26th Dynasty, circa 664-525 BC H 92 x W 15 x D 5.5 cm Accompanied by Art Loss Register certificates: S00238635 & S00238636 Provenance: Fragment A: Chakib Slatine, Paris (acquired 1975); private collection, Paris (acquired 1977). Fragment B: Chakib Slatine, Paris (acquired 1975); private collection, Paris (acquired 1977); Ede Gallery, London (of which acquired in 2020)
Beck & Eggeling International Fine Art
heinz mack
Heinz Mack (Germany, Lollar 1931) Weisse Vibration, 1958 Synthetic resin in wood (relief) H 28 x W 68 x D 4 cm Signed and dated lower middle 'Mack 58', verso titled 'Weiße Vibration' Provenance: estate of Franz Swetec, Düsseldorf (acquired from the artist)
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
Hartford Fine Art - Lampronti Gallery
Giovanni Antonio Canal, also called Canaletto (Venice, 1697-1768) Capriccio of Piazza San Marco from the Basin of San Marco with the Church of the Redeemer Oil on canvas 130 x 105 cm Written expertise by A. Morassi and by R. Pallucchini Provenance: Mrs. Van der Gucht collection; Christie’s sale, catalogue n° 78, November 1965; Fogg collection, acquired from the above sale; Sotheby’s sale, catalogue n° 110A, March 1968; Johnson collection, acquired from the above sale; Sotheby’s sale, catalogue n° 70, June 1970; Harlow collection, acquired from the above sale Literature: W. G. Constable, Canaletto, second edition, ed. J. G. Links, Volume II, n° 459, p. 438, pl. 208
Hoffmans Antiques
A Gustavian console table Stockholm, circa 1790 Gilt wood, Carrara marble H 83.5 x W 110 x D 54 cm This console table belongs to a small yet exclusive group of furniture of the highest class, preserved mainly within the royal collections. The model relates to drawings by Louis Masreliez (Paris 1748-1810 Sweden). The table was likely made by his brother, Jean-Baptiste (Stockholm, 1753-1801), or possibly by Pehr Ljung (Stockholm, 1743-1819). The decoration is masterfully carved in wood with exceptional precision. A vine motif runs along the apron, while the frieze above the front legs is adorned with palmette leaves and volutes. The table rests on six tapering, fluted legs and is crowned with a Carrara marble top.
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.”
Giammarco Cappuzzo Fine Art
Giovanni Giacomo Sementi (Bologna 1584-1636 Rome) The Triumph of David, circa 1630 Oil on canvas 137 x 159 cm Provenance: private collection, Italy Literature: M. Francucci, Giovanni Giacomo Sementi, Un dipinto di soggetto insolito, in Arte Cristiana, n° 869, 2012, pp. 143-148; M. Pulini, Rimini per Simone Cantarini, opere da raccolte private, Rimini 2012, pp. 20-21, fig. 20; A. Pellicciari, I'Eredita’ di Guido Reni, in la pittura in Emilia e in Romagna. The Seventeenth Century, edited by Andrea Emiliani, Milano, 1992; G. Puglia, Il Bastaro, fig. 36, pag. 79; M. Francucci, il naturalismo classicizzato nella Roma di Urbano VIII, LibroCo Italy, Florence, 2013; Ariccia, Gian Giacomo Sementi, Quaderni del Barocco, 2021, p. 8 fig. 14
Herwig Simons Fine Arts
Game box with chess and backgammon Eger, 17th century 48 x 48 x 11.5 cm Provenance: Lothar Schmid (1928-2013), German chess Grandmaster Literature: publications World of Art: Art chamber games by the Kunsthistoriches Museum in Vienna Double-sided game box : one side shows a bas-relief depicting the meeting of Aeneas and Dido, accompanied by a Putto. The other side features a chessboard in finely executed marquetry. The interior reveals an elegant backgammon board decorated with double-tailed dolphins. Eger, a Bohemian Free City (now Cheb, Czech Republic), was well known in the 17th century for a specialised type of woodworking, particularly for intarsia panels. This set belonged to Lothar Schmid, the German chess Grandmaster and collector of chess books, boards and pieces. He is best known as the chief arbiter of the World Championship of chess in 1972 between Bobby Fisher and Boris Spassky in Reykjavik.
Galerie de la Présidence
Nicolas de Staël (Saint Petersbourg 1913-1955 Antibes) Composition, 1949 Oil on canvas 38 x 46 cm Signed lower left Provenance: Henriette Gomès collection, Paris; private collection, Paris; private collection, Luxembourg Literature: J-P Jouffroy, Nicolas de Staël, p. 161; Jacques Dubourg and Françoise de Staël, Nicolas de Staël, Catalogue Raisonné des peintures, ed. Le temps, Paris, n° 195, p. 121; Françoise de Staël, Nicolas de Staël, Catalogue Raisonné des peintures, ed. Ides et Calendres, Switzerland, n° 189, p. 259; Françoise de Staël, Nicolas de Staël, Catalogue Raisonné des peintures, ed. Ides et Calendres, Switzerland, revised and expanded by Marie du Bouchet and Gustave de Staël, n° 189, p. 209 Exhibition: Nicolas de Staël, Musée Réattu, Arles, June-September 1958, n° 18 The year 1949 was a crucial period for Nicolas de Staël: he continued to explore and refine his style, marking an important transition towards painting that would become more fluid and expressive. Among his notable works this year is this 'Composition', which reflects his continued use of thick layers of paint and his extensive play with materials, moving from impasto to knife painting. For Nicolas de Staël, although abstract his paintings are 'images of life', his coloured masses generate vibrations. Lastly, this painting has always been kept in private hands until now, and was never presented at auctions.
Almine Rech
tom wesselmann
Tom Wesselmann (USA, Ohio 1931-2004 New York) 'Smoker Study (For Smoker #11)', 1972 Oil on canvas 29.2 x 29.2 cm 46.4 x 46.4 x 3.8 cm (framed) Examined by the WPI's Wesselmann committee on 13 December 2023, for inclusion in the forthcoming catalogue raisonné Provenance: estate of the artist Courtesy of the Estate of Tom Wesselmann and Almine Rech / Photo: Thomas Barratt Smoker Study (For Smoker #11), 1972 belongs to Tom Wesselmann’s Smoker series, which the artist began in 1967. Born out of a desire to isolate and further investigate the representation of lips and the act of smoking, the Smoker series also found its origin in advertising, and stands as testament to the major role Wesselmann occupied in the birth and development of the Pop aesthetic. Today, Wesselmann’s Smoker paintings are among his most renowned works. The series began with Smoker, 1 (Mouth, 12), 1967, which is now held in the Museum of Modern Art in New York. Wesselmann found photography to be a useful medium to capture his models in poses he would later translate to larger scale works. On one occasion, his friend Peggy Sarno lit a cigarette during a modeling session. Wesselmann took some photographs of her as she inhaled, still posing in a reclined position. This moment inspired the Smoker series, which is characterised by the presence of vivid red lips juxtaposed with curling white smoke. Smoker Study (For Smoker #11) is both bold and intimate, capturing a single moment of pleasure in a complex and ambitious composition indicative of the artist’s experimentation with subject, form, and color. In mid-century America, cigarette advertisements were incredibly elaborate, among the most sophisticated forms of marketing. As well as standing as an example of Wesselmann’s fascination with popular culture and the female body, Smoker Study (For Smoker #11) also demonstrates the artist’s mastery of oil paint, attention to detail, and sophisticated compositional style. In the 1960s, Wesselmann had been developing his Great American Nudes series when he was inspired to focus on specific details of female figures. In an almost fetishistic act, he started isolating elements of the female figure, creating smaller preparatory pieces as well as larger scale works depicting hands, breasts, and lips. Out of this approach his Mouth paintings and Smoker Series, works such as Smoker Study (For Smoker #11) were born. Tom Wesselmann (1931–2004) was one of the leading American Pop artists of the mid-20th Century. Departing from Abstract Expressionism, he explored classical representations of the nude, still life, and landscape, while incorporating everyday objects and advertising ephemera. Wesselmann was born in Cincinnati, Ohio, on February 23, 1931. He attended Hiram College in Ohio from 1949 to 1951 before entering the University of Cincinnati. In 1953, his studies were interrupted by a two-year enlistment in the army, during which time he began drawing cartoons. He returned to the university in 1954 and received a bachelor’s degree in psychology in 1956. During this time, he decided to pursue a career in cartooning and enrolled at the Art Academy of Cincinnati. After graduation he moved to New York City, where he was accepted into the Cooper Union and where his focus shifted dramatically to fine art.
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 von Vertes
jean dubuffet
Jean Dubuffet (Le Havre 1901-1985 Paris) Site avec deux personnages, 10 September 1982 Acrylic and collage on paper, mounted on canvas 67 x 100 cm Monogrammed and dated lower right 'J.D. 82' Verso numbered on the stretcher 'F146' Provenance: Waddington Galleries, London (verso with label); James Corcoran Gallery, Santa Monica (verso with label); Karsten Greve Galerie, Cologne (verso with label); private collection, Switzerland (acquired from the above) Literature: Max Loreau, Catalogue des travaux de Jean Dubuffet, vol. XXXV: Sites aléatoires, Paris 1986, p. 73, n° 142 (ill.) Exhibition: London, Waddington Galleries, Jean Dubuffet. A retrospective, October 1983, n° 46 (ill.)
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.
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.
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
Francis Janssens van der Maelen
Silver box in jade Paris, Art Deco Sterling silver, jade W 35 cm - 4400 gr (total weight) Bears retailer's stamp, Boin-Taburet and maker's mark, Henry & Fils Boin-Taburet were formed in 1873 and quickly established themselves as one of Paris's most noteworthy makers & retailers, winning a Gold medal at the 1889 Paris Exposition Universelle. Arguably their most distinctive work married silver and silver-gilt with other materials including porcelain, marble, and in the case of this stunning Art Deco tureen, jade. Jade was seemingly a less often used material - the only other piece found with a similarly carved jade element was a box that fetched an incredible amount at auction in 2012.
