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LUDORFF
Heinz Mack (Lollar, 1931) Couleur et lumière, 2004 Acrylic on canvas 317 x 292 cm Signed and dated Signed, dated and titled on the reverse Provenance: the artist’s studio; Park Hyatt Zurich collection Exhibitions: Galerie Ludorff, 'Recent Acquisitions Fall 2026', 4 October-16 January, Düsseldorf 2026 Literature: Galerie Ludorff, 'Recent Acquisitions Fall 2026', Düsseldorf 2026, p. 96; Heinz Mack, 'Ars urbana-Kunst für die Stadt: 1952-2008', München 2008, n° 276, p. 314
Waddington Custot
Hans Hartung (Lepzig 1904-1989 Antibes) T1982–R18, 1982 Acrylic on canvas 180 x 111 cm Signed and dated lower left ‘Hartung 82’ On the reverse, signed and dated lower right ‘Hartung 82’ Inscribed on the top stretcher ‘Fait le 8-3-82 HARTUNG T1982-R18’ This artwork is accompanied by a photo-document signed by Daniel Gervis and dated 10 November 2020 This artwork is recorded in the Archives of the Fondation Hans Hartung & Anna-Eva Bergman, Antibes Provenance: Béatrice and Daniel Gervis collection, Paris (acquired directly from the artist in 1985); private collection, Paris Exhibition: ‘Hans Hartung Painter-Photographer’, Waddington Custot, London, 22 April-1 July 2022 (repro. in colour in catalogue p. 43, pp. [44–45] [detail], p.89); ‘Regards croisés’, Waddington Custot, Paris, 11 June-26 September 2026 Literature: Hartung, Pierre Daix, Bordas / Daniel Gervis and Éditions de Grenelle, Paris, 1991, catalogue n° 400 (rep. in colour p. 325)
Galerie Cento Anni
PHILIPPE WOLFERS (1858-1929- “SURPRISE NYMPH” 1925 SKETCH BRONZE SCULPTURE ON A MARBLE BASE (VPORTOR) 18 CM X 15.5 CM X 9 CM SIGNED PH. WOLFERS LOST-WAX CASTING - WOLFERS STUDIO PROVENANCE: WOLFERS FAMILY REFERENCES: “THE WOLFERS DYNASTY” by Werner Adriaenssens and Raf Steel: PAGE 420, No. 306 EXHIBITIONS: BRUSSELS 1925, MILAN 1926, BRUSSELS 1928, ANTWERP 1929, BRUSSELS 1972, GHENT 1979
F. Baulme Fine Arts
Claude-Marie Dubufe (Paris 1790-1864 La-Celle-Saint-Cloud) Expression Head: Modesty, circa 1827-1828 Oil on canvas 55.5 x 46.5 cm Provenance: private collection, England Literature: Emmanuel Bréon, Claude-Marie, Édouard et Guillaume Dubufe, Portraits d’un siècle d’élégance parisienne, exh. cat., Paris, Délégation à l’Action Artistique de la Ville de Paris, 1988 (engraving after the present painting, p. 70, repr.) Related work: Claude-Marie Dubufe, Modesty, 1828, engraving
Axel Vervoordt
William Turnbull (Dundee 1922-2012 London) Young Torso, 1981 Bronze 49 x 28.5 x 3 cm Edition of 6, AP 1/1 Provenance: the estate of the artist Literature: Amanda A. Davidson, The Sculpture of William Turnbull, The Henry Moore Foundation in association with Lund Humphries, 2005, cat. n° 205, ill. p. 154
Stoppenbach & Delestre
PIERRE-AUGUSTE RENOIR (1841-1919) Nature morte aux pommes et à poire c.1889 Oil on canvas 22 x 31 cm 8 5/8 x 12 ¼ inches Signed ‘Renoir’ lower right Provenance Ambroise Vollard, Paris, by whom acquired from the artist before 1919. Madame de la Chapelle, Paris. Galerie Durand-Ruel, Paris, by whom acquired from the above on 30 March 1938. Dr Albert & Elvira Charpentier, Paris, by whom acquired from above on 14 March 1939. Roberto & Elena Germain-Ribon, by descent from the above. Jacqueline Pizarro, by descent from the above. Sale , Christie’s, London, June 22 2005, n.110 (color ill.) Private collection, Netherlands Literature Ambroise Vollard, Pierre-Auguste Renoir. Paintings, Pastels, and Drawings. Tableaux, Pastels et Dessins, rev. ed. (San Francisco: Alan Wofsy Fine Arts, 1918), p.306 (ill. fig. 1489) G.-P. & M. Dauberville, Renoir: Catalogue raisonné des tableaux, pastels, dessins et aquarelles, vol. II, 1882-1894, Paris, Bernheim-Jeune, 2009, no. 721, p. 26 (illustrated p.26 dated c.1889). The work is included in the Renoir Digital Catalogue Raisonné Project, n.20411.
Galerie von Vertes
Henry Moore (Castleford 1898-1986 Much Hadham) Upright Motive, Maquette n° 4, 1955 Bronze with brown patina 30.8 x 6.4 x 7.9 cm Edition of 9 + 1 A.P. Conceived and cast between 1956 and 1962 by Fiorini Ltd, London This work is registered in the Henry Moore Foundation archives Provenance: Zabriskie Gallery, New York City; B.C. Deane collection, US; D.J. Rosenthal collection, US; Dr. Phillip Cohen collection, Washington, D.C.; private collection, Washington, D.C. (by descent from the above); Bonhams, New York, 20 November 2025, lot 119; private collection, Switzerland Literature: Alan Bowness (ed.), Henry Moore, Sculpture and Drawings, vol. III: Sculpture 1955-64, London 1965, n° 381 (another cast ill. pl. 15b); Alan Bowness (ed.), Henry Moore, Sculpture and Drawings, vol. III: 1955-1964, London 1986, n° 381 (another cast ill. p. 21); Henry Moore Foundation (eds.), The Henry Moore Artwork Catalogue, online catalogue, n° LH 381 Background information: Upright Motive was the first in a series of narrow vertical sculptures by Moore, which he compared to totem poles. The Upright Motives were part of a large commission for the courtyard of the new Olivetti building in Milan. When he visited the site, 'a lone Lombardy poplar growing behind the building convinced me that a vertical work would act as the correct counterfoil to the horizontal rhythm of the building. This idea ultimately grew into the: Upright Motifs.'
Galerie Perrin
Odilon Redon (Bordeaux 1840-1916 Paris) Femme de profil, circa 1901-1905 Oil on paper mounted on panel 52 x 49.7 cm (unframed) 71 x 68 cm (framed) Signed lower right 'Odilon Redon' This work will be included in the forthcoming catalogue raisonné currently in preparation by the Wildenstein Plattner Institute Provenance: collection Roger Imbert
Galerie Perrin
Eduard Gaertner (Berlin 1801-1877 Flecken Zechlin) Rue Neuve, Notre Dame in Paris, 1826 Oil on canvas 44 x 34.5 cm (unframed) 65 x 54 cm (framed) Signed, located and dated lower right 'E. Gaertner fec / Paris 1826' Provenance: collection Jérôme Carcopino; thence by descent (in the same family)
Galerie Raf Van Severen
Jean Brusselmans (Brussels 1884-1953 Dilbeek) Decor for Erwartung, 1936 Mixed media on paper 60 x 90 cm Label at the back; Erwartung; Decor pour 'Erwartung', d’Arnold Schoenberg, 1936; Décor pour le 4e acte Literature: Paul Haesaerts, Jean Brusselmans, 1939, p. 67; Robert L. Delevoy, Jean Brusselmans: CR établi par Mme G. Brys-Schatan, 1972, 421.IV
Dr. Nöth kunsthandel
Raoul Dufy (Le Havre 1877-1953 Forcalquier) Cérès au bord de la mer, 1928 Gouache on paper 49.5 x 63.5 cm Signed lower center Certificate of authenticity by Fanny Guillon-Laffaille This work will be published in the forthcoming catalogue raisonné des Aquarelles, gouaches and pastels currently in preparation. Provenance: Hartford, Wadsworth Atheneum 1959, n° 24; Fr. Gershwin Godowski collection, Sotheby´s New York, 12 May 1999, lot 373
Galerie Flak
U’u Club Marquesas Islands, Polynesia, 18th or 19th century Carved wood and fibers H 138.5 cm Provenance: David Petty collection, London; Pierre-Richard Royer collection, Paris; Alexandre Bernand collection, Paris; private collection, acquired from the above in September 2016 Exhibition: TEFAF 2024, Maastricht, Serge Schoffel, catalogue T3, p. 28
Anthony Short Antiques Ltd.
Very Fine Mid 18th Century George II Period Burr Walnut Secretaire Chest-on-Chest or Tallboy A very fine mid 18th century George II period burr walnut secretaire chest-on-chest, also known as a Tallboy. This stunning piece of early Georgian furniture is cross and feather banded throughout, showcasing matched veneers of exceptional colour and patina. The Tallboy is divided into two sections by a cross-grain moulding. The upper section features a complex cross-grain cornice over three short drawers and three long, graduating cockbeaded, cross banded, and feather banded oak lined drawers, all flanked by reeded canted corners. The lower section boasts a secretaire drawer above three long graduating drawers, also cockbeaded, cross banded, and feather banded, with beautiful oak lining. It stands proudly on its original shaped bracket feet. All drawers are fitted with the original swan neck brass handles and escutcheons, enhancing its historical authenticity. This piece is a testament to exceptional craftsmanship and is a stunning example of early Georgian design, making it an ideal addition to any refined interior. Height 192cm (75.6in) Width 103cm (40.6in) Depth 55cm (21.7in)
Ars Antiqua
Jan van den Hecke (Kwaremont 1620-1684 Antwerp) Still life of fruit and flowers with a boy and a monkey in a garden landscape Oil on canvas 107.5 x 141 cm 143 x 176 cm (framed) Published in RKD (n° 118274 (formerly as Jan van Huijsum)) Provenance: sale, Charles Sedelmeyer, Paris, 25-28 May 1907, lot 87 (as Jan van Huysum); O. Jamart sale, Fiévez, Brussels, 11 December 1922, lot 65; private European collection Literature: C. Hofstede de Groot, A Catalogue Raisonné of the Works of the Most Eminent Dutch Painters of the Seventeenth Century. Based on the Work of John Smith, vol. 10, London 1928, p. 385, n° 237 (as Jan van Huysum); M. H. Grant, Jan van Huysum. 1682-1749, Leigh 1954, p. 30, n° 195 (as Jan van Huysum)
Marjan Sterk Fine Art Jewellery
Hemmerle Pair of coral earrings 18k yellow gold, oxidised copper, corals and pink sapphires Signed Hemmerle, and made in Munich A pair of eighteen carat yellow gold earrings, each comprising a coral button on the ear, suspending a tassel of numerous strands of coral, mounted in a cap pavé-set with pink sapphires.
Galerie Hurtebize
Marc Chagall (Vitebsk 1887-1985 Saint-Paul de Vence) Lumière du Cirque, 1969 Watercolour, pastel, gouache, coloured inks, and pencil on a black print lithograph M.566 38 x 52.3 cm Signed 'Marc Chagall' lower right Certificate of authenticity from the Comité Marc Chagall Provenance: private collection, France
Virginie Devillez Fine Art
Théo VAN RYSSELBERGHE (1862-1926) Baie de Saint-Brélade [St Brelade’s Bay] Oil on canvas Monogrammed and dated “07” (lower left) titled “La Baie de Saint Brelade (Jersey)” (on the stretcher) 65,5 x 81 cm Painted in 1907 Provenance Private Collection, Belgium (by descent to the present owner) Exhibitions Paris, Bernheim-Jeune, Théo van Rysselberghe, 1908, cat. no. 43 Rotterdam, Rotterdamse Kunstkring, Théo van Rysselberghe, 1909, cat. no. 29 Groningue, Galerie Hofsteenge, Pictura Théo van Rysselberghe, 1910, cat. no. 24 Berlin, Ausstellungshaus Kurfürstendam, Sezession, 1912, cat. no. 231 (?) Literature Ronald Feltkamp, Théo Van Rysselberghe. Catalogue raisonné, les éditions de l’amateur/Éditions Racine, 2003, CR 1907-003 (ill. p. 363)
Galerie Hadjer
Sonia Delaunay (Ukraine, Gradizhsk 1885-1979 Paris) Rythmes Ondulatoires, circa 1970 Handwoven Aubusson wool tapestry 165 x 225 cm Woven by Pinton Frères, Felletin-Aubusson, France, after Sonia Delaunay’s original design Signed 'Sonia Delaunay' in the weave, lower left, and bearing the Pinton workshop monogramme Edition of 6 + 2 AP Accompanied by a certificate of authenticity from the Pinton workshops, Felletin-Aubusson, France Rythmes Ondulatoires is an important example of Sonia Delaunay’s exploration of colour, rhythm and movement translated into the medium of tapestry. The composition is structured through an intricate interplay of circles, semicircles, concentric arcs and intersecting geometric planes. Vivid fields of red, blue, green, yellow and orange are set against black, white and grey, generating a powerful sense of optical vibration and continuous movement across the woven surface. The composition reflects Delaunay’s lifelong investigation into simultaneous colour contrasts, developed from the early twentieth century onwards. Together with Robert Delaunay, she explored the capacity of juxtaposed colours and geometric forms to create rhythm, luminosity and movement. These principles became fundamental to her distinctive contribution to the development of abstraction. The Collection Société Générale similarly describes Delaunay’s work in terms of her investigations into light, the movement of colours and “simultaneous contrast,” through vivid geometric forms organised into rhythmic compositions. The tapestry also reflects Delaunay’s longstanding commitment to dissolving the traditional distinction between fine and applied arts. Throughout her career, her abstract vocabulary extended beyond painting into textiles, fashion, interior decoration and other forms of applied art. Her use of pure colour and simultaneous contrasts remained central across these different media. In Rythmes Ondulatoires, the translation of Delaunay’s composition into wool by the Pinton workshops, one of the leading modern tapestry manufacturers in the Aubusson tradition, gives physical substance and texture to her chromatic language. The concentric curves and repeated arcs create an almost musical rhythm, while the juxtaposition of geometric forms produces a composition that appears to expand and contract across the surface. References and comparable examples Another Rythmes Ondulatoires, dated 1970, is documented as a handwoven Aubusson wool tapestry in scholarly lecture material devoted to Robert and Sonia Delaunay. The Société Générale Art Collection also holds a work entitled Rythmes ondulatoires, measuring 167 × 225 cm, closely corresponding in dimensions and composition. The collection describes the work through its geometric lines and forms, interwoven vivid colours and characteristic rhythmic harmony. Another Pinton-woven Rythmes Ondulatoires was publicly presented by Galleria Antonio Verolino at ArtePadova in 2024, documenting the continued presence of this composition within the art market and exhibition context. The tapestry is in very good overall condition, with strong and well-preserved colours, with no known restorations.
