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Grusenmeyer-Woliner
Hariti, the Buddhist protectress of children Ancient region of Gandhara, Swat Valley, 3rd-4th century AD Grey schist stone H 125 cm Provenance: European private collection, before 1990 (by reputation); an important private collection, Japan, by 1990 Literature: I. Kurita. Gandharan Art, vol. II, Tokyo, 1990, p. 169, fig. 493; M. Akira. Gandharan Art and Bamiyan Site, Tokyo, 2006, p. 114, n° 86 Hariti, the Buddhist protectress of children Imbued with an aura of maternal guardianship, Hariti was originally a yakshi who devoured children to sustain her own large family. Converted by the Buddha into their protector, she is depicted in Graeco-Buddhist art of the ancient Gandhara region surrounded by children. Perhaps the most prominent female deity in Gandhara, Hariti embodies fertility, wealth, and maternal care. She assumes a commanding stance, offering protection to mothers and infants. Draped in a clinging tunic that reveals a robust, fecund body, she is accompanied by children at her feet and shoulders, while a fifth child once hung from her left breast, of which only fragments remain. Her distinctive headdress represents the fortified walls of a city, a motif also associated with Tyche/Fortuna, the Greco-Roman guardian of cities, thereby reflecting the syncretism of Buddhist and Greco-Roman iconography. A wealth-bestowing goddess, she is richly adorned with jewellery - a necklace, collar, substantial earrings, and a pair of coiled serpentine armlets, a favoured motif in Graeco-style ornamentation. The present large-scale figure is exceptionally rare in private hands and was published in the seminal Japanese study on Gandhara art, widely known within collectors’ circles as the Kurita, which adds significantly to its prestige and desirability.
Galerie BG Arts
René Lalique Vase 'Deux Anneaux Pigeons', 1919 Made in opalescent glass with grey patina H 33 cm Engraved signature Provenance: private collection, France Literature: Félix Marcilhac, René Lalique - Catalogue Raisonné de l'Œuvre de Verre, Les Éditions de l'Amateur, Paris, 2011, n° 880
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
Gallery de Potter d’Indoye
Mantel clock depicting the fall of Phaeton Ormoulu bronze France, Consulat period, circa 1800 H 80 x W 53 x D 19 cm Provenance: collection of Robert de Balkany, Paris Literature: Hans Ottomeyer and Peter Pröschel, Vergoldete Bronzen, Munich, 1986, pp. 354-355, n° 5.9.4.; Marie-France Dupuis-Baylet, L’Heure, le Feu, la Lumière, les Bronzes du Mobilier National 1800-1870, 2010, Ed. Faton, p. 26 n° 1; Marie-France Dupuy-Baylet, Napoléon 1er et les Arts décoratifs. Trésors des palais impériaux, exh. cat. 2013, Macao, Museum of Art, n° 1, pp. 34-35; Thierry Sarmant, Palais disparus de Napoléon : Tuileries, Saint-Cloud, Meudon [exhibition, Paris, Galerie des Gobelins, 15 September 2021 to 15 January 2022], Paris : In fine, 2021; Adrien Goetz, Ambroise Tézenas, Résidences présidentielles, Paris : Flammarion, 2021, p.173 The subject of this clock illustrates the episode in which Jupiter strikes Phaeton with a thunderbolt. Phaeton wanted proof that he was the son of the Sun, (Helios). Phaeton then asked his father to let him drive his chariot. Terrified by the height and the sky, Phaeton veered off course and descended so low that he scorched the Earth. The maddened stars complained to Jupiter, who struck the chariot and Phaeton. 'The terrified horses leap in a large circular movement with pin-wheel escapement mounted on the backplate, the pendulum crutch with fine-screw beat adjustment, and outside countwheel strike on a bell, the canthmechanism showing seconds with original hands'. The bronzier Pierre-Etienne Romain (1765- after 1821) deposited the drawing of a Clock representing the same subject in the cabinet of drawings of the National Library in March 1800. Related works: The Mobilier National keeps three clocks representing this subject: one found at the Tuileries Palace in 1809, another at Ministry of Foreign Affairs, and the third at the Palace of Saint Cloud in 1818, then at the Elysée Palace.
CKS Gallery
nicolas de stael
Nicolas de Staël (Saint Petersburg 1914-1955 Antibes) Composition, 1949 Oil on canvas 200 x 100 cm Provenance: private collection of the artist Literature: Françoise de Staël, Nicolas de Staël, Catalogue Raisonné de l'oeuvre peint, Paris, 1997, n° 203 Exhibitions: Hôtel de Caumont, Aix-en-Provence, 27 April-23 September 2018, Nicolas de Staël en Provence; Château Grimaldi d’Antibes, 17 May-7 September 2014, exhibition La figure à nu, hommage à Nicolas de Staël; MuMa – Musée d’Art Moderne André Malraux, Lumières du Nord, Lumières du Sud, 7 June-9 November 2014; Académie Royale des Beaux-Arts de Bruxelles, Belgium, 2012, for the 300th anniversary of the Académie Royale where de Staël studied from 1931 to 1934, 9 May-2 June 2012; Fondation Gianadda de Martigny, Switzerland, retrospective of the work of Nicolas de Staël, 18 June-21 November 2010; Centre Pompidou, Nicolas de Staël 1945-1955, Paris, 12 March-30 June 2003; Musée d'Art Moderne, Paris, Retrospective Nicolas de Staël, 15 September 2023-21 January 2024; Fondation de l’Hermitage, Lausanne, Nicolas de Staël Exhibition, 9 February-9 June 2024
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.
Galerie Hadjer
fernand léger
Fernand Léger (Argantan 1881-1955 Gif-sur-Yevette) (after) & Yvette Cauquil-Prince (Belgium, Dampremy 1928-2005 Tresques, France) La parade sur fond rouge Created in 1975 Wool 280 x 400 cm Woven by Yvette Cauquil-Prince in Paris (pictogram lower right) Tapestry number 1/1 - Unique Piece Provenance: Yvette Cauquil-Prince; Paul Haim collection; private collection, USA Literature: Masters of the 20th century, KunstHausWien Exhibition: KunstHausWien, 10 February-14 May 2000, Vienna
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.
Virginie Devillez Fine Art
pierre-louis flouquet
Pierre-Louis Flouquet (Paris 1900-1967 Brussels) Féminités, circa 1923-1925 Oil on canvas 125 x 87 cm Signed lower right 'flouquet' Provenance: Galerie Patrick Derom, Brussels; private collection, Brussels; private collection, Brussels (by descent to the present owner) Literature: Serge Goyens de Heusch, Pierre-Louis Flouquet. 1900-1967, Brussels, Fondation pour l’Art belge, 1993, (ill. p. 56) Exhibitions: Brussels, Galerie Patrick Derom, The Avant-garde of the 1920s in Belgium, 1992, cat. n° 12 (ill.); Drogenbos, FeliXart Museum, L’Équerre / 7 Arts 1923, scenographic reconstruction of the fair stand of the publishing house L’Équerre, 2008-2011, no catalogue published Born in Paris, Pierre-Louis Flouquet was nine years old when his family moved to Brussels. Mainly self-taught, he received a brief artistic education at the Académie des Beaux-Arts in Brussels, where he met, among others, Victor Servranckx and René Magritte. The latter soon shared a studio with Flouquet, who began producing geometric works that represented a true synthesis of Cubism and Futurism. Throughout the 1920s, Flouquet exhibited frequently on the international stage - in Paris, Madrid, New York, Chicago, Buenos Aires, and Berlin, at the Galerie Der Sturm. For the gallery’s eponymous magazine, Flouquet even designed a large number of covers. During this period, he developed an art that evolved primarily through distinct series: Paysage plastique, Féminités, Composition, Formes, and Construction. The large-scale painting Féminités belongs to the series of the same name, begun in 1922, which explores geometric variations on the morphology of the female body. The rigor and purity that Flouquet infused into these anthropomorphic stylizations - further emphasized by his distinctive sense of composition - reveal his fascination with the formal perfection of the new technological creations of the modern age. Yet, in Flouquet’s work, as in that of Fernand Léger, such faith in mechanical forms does not lead to a total rejection of figuration, but rather to a search for plastic correspondences between the human and the machine. The composition Féminités is particularly harmonious, achieving a balance between line and color, enhanced by a marble-like background that lends warmth to the work.
Art et Patrimoine - Laurence Lenne
Potpourri vase in polychrome porcelain Tournai porcelain, second period, 1763-1775 H 36.5 cm Rare potpourri vase in soft-paste, polychrome Tournai porcelain. At its base, it depicts a gallant offering grapes to his lady Provenance: former du Bois de Roest collection Literature: a similar piece is published in Lucien Delplace, Considérations sur les porcelaines de Tournai, p. 25, plate 3; and in Soil de Moriamé & Delplace, La Manufacture Impériale et Royale de Porcelaine de Tournay, 1937, p. 341, n° 645, plate 79
DIE GALERIE
pierre alechinsky
Pierre Alechinsky (Brussels, 1927) Le Point du Jour, 1966 Oil on canvas 130 x 81 cm Signed lower right 'Alechinsky'; signed, dated and entitled verso Certificate by the artist from 19 March 2012 Provenance: Galerie Birch, Kopenhagen; DIE GALERIE, Frankfurt am Main Literature: Pierre Alechinsky, Galerie Birch, Kopenhagen 1966; CoBrA. Una grande avanguardia europea 1948-1951, exh. cat. Fondazione Roma Museo, Palazzo Cipolla, Rome 2015, p. 211 Exhibitions: Pierre Alechinsky, Galerie Birch, Kopenhagen 1966; CoBrA international – Momente einer Utopie, Museum für aktuelle Kunst, Sammlung Hurrle, Durbach, 2012-2013; CoBrA – Una grande avanguardia europea 1948-1951, Fondazione Roma Museo, Palazzo Cipolla, Rom, 2015-2016; 70 Years of CoBrA, DIE GALERIE, Frankfurt am Main, 2018; Pierre Alechinsky and his artist friends, DIE GALERIE, Frankfurt am Main, 2025
Galerie de la Béraudière
germaine richier
Germaine Richier (France, 1902-1959) Le Couple, 1956 Natural bronze Fonderie Susse, Paris Lost wax cast (except for the base and arms, sand casted) H 139 x W 74.5 x D 74.5 cm Signed and numbered on the terrasse: G. Richier, 3/6 Edition 3/6 out of 11 (1/6 - 6/6 + HC1-HC2-HC3 + EA + 0/6) Posthumous cast: 1963 Provenance: Galerie Creuzevault, Paris; private collection, France; Galerie Cazeau-Béraudière, Paris; private collection, France; private collection, Belgium Literature: Jean-Louis Prat et Françoise Guiter, Germaine Richier, Rétrospective, Saint-Paul-de-Vence, Fondation Maeght, 1996, p. 172, ill. (another cast); Maîtres des XIXe et XXe siècles, Galerie H. Odermatt-Ph. Cazeau, Paris, 1989, repr. n° 46; Eddie Wolfram et William Packer, London, art and artist, Londres, juillet 1973, n° 8, pp. 46-49; Germaine Richier, Galerie Creuzevault, Paris, 1966 Exhibitions: 2022, Brussels, Galerie de la Béraudière, Germaine Richier et la couleur (this cast); 1996, Saint-Paul-de-Vence, Maeght Fondation, Germaine Richier, Retrospective (another cast); 1957, Paris, Musée d'Art Moderne de la Ville de Paris, XIIIe Salon de Mai, n° 27, ill. (another cast); 1956, Paris, Musée National d'Art Moderne, Germaine Richier, n° 13, referred as 'Figures' (another cast); Jean Cassou, Richier, Editions du Temps, Paris, 1961; René de Solier, Germaine Richier, in Les Cahiers d'art, Paris, June 1953, n° 28, pp. 123-129 With Le Couple, Germaine Richier reached a point of fulfilment in her exploration of the human figure and its metamorphoses. The two figures, united by a skilful interplay of triangles and balances, seem caught in a silent movement where tension becomes harmony. The rigour of the construction is combined with an organic, almost primitive energy that animates the bronze with a vibrant presence. Le Couple embodies this rare alliance between construction and emotion, where the bronze material seems to be animated by a vital breath.
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, São 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
Galerie Boulakia
Joan Miró (Barcelona 1893-1983 Palma) Untitled, 1946 Pen and India ink, coloured pencils, and pencil on paper 30 x 24 cm Signed, dated and inscribed 'Miró. 23-7-1946 à mon cher Joan Gomis, le jour de son anniversaire' (to my dear Jean Gomis on the day of his birthday) Provenance: Pierre Matisse Gallery, New York; Joaquim Gomis i Serdañons, Barcelone Literature: Jacques Dupin, Ariane Lelong-Mainaud, Joan Miro : catalogue raisonné, Volume II, 1931-1941, Editions Maeght-Lelong, Paris, 2000, n° 1. 1078, ill. p. 144
Galerie BG Arts
jean dunand
Jean Dunand (Lancy 1877-1942 Paris) Cobra vase, circa 1913 Patinated and hammered copper, patinated bronze, wrought iron and lacquered wood base H 28.5 cm Signed Provenance: property of Bernard Laurent, France Literature: Art et Décoration, July 1914-December 1919, p. 121
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 BG Arts
Georges Clairin (Paris 1843-1919 Clohars-Carnoët) Portrait of Suzanne Lalique Oil on canvas 140 x 80 cm Signed 'Á Suzanne Lalique son ami G. Clairin' Provenance: property of Suzanne Lalique-Haviland; private collection, France Literature: Maritch-Haviland, N. de Léobardy, C., Lalique-Haviland-Burty Family Portraits, Limoges, 2009, p. 29, ill. in a group photograph, taken at Cours-la-Reine in Paris, showing Suzanne Lalique wearing this same dress for a costume ball to mark her birthday in about 1913 Georges Clairin is best remembered as an orientialist and portrait artist. He was a close friend and advisor to René Lalique. They regularly had dinner together and shared an interest in oriental objects, as well as travelling together to Venice. Clairin belonged to the bohemian world and painted Sarah Bernhardt, the celebrated actress of the day, in her different roles on numerous occasions. He also introduced her to Lalique, and she became one of Lalique’s most significant patrons for whom he designed jewellery. For both men, women were a constant theme of their work. As a family friend it is not surprising that Clairin should have painted Suzanne, René Lalique’s daughter, in costume for her birthday ball in 1913.
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 Capazza
Goudji (Georgia, Bordjomi 1941) Oryx à la robe diaprée, 2025 Silver 1st title, serpentine, pyrite, crystal, Armour stone H 49 x W 38 x D 10 cm Provenance: the artist's studio Exhibition: Goudji, L'or du temps, 5 July-28 September 2025, Galerie Capazza (France) This oryx, with its serpentine goatee and crystal-adorned tail, is an African antelope. It sports horns and a coat draped in Armour stone, and wears a silver bell around its pyrite neck, ready to ring. 'When viewing Goudji's works, one is overcome by a disturbing feeling, that of being faced with original, powerful, dazzling masterpieces that delicately resonate with so many symbols that shape our visual culture and our common heritage, from Persia to Athens, from Babylon to Rome, from the Tigris to the Danube, winged griffins of malachite and lapis lazuli, birds with bold and daring beaks, reassuring ex-votos, kantharoi and cups worthy of banquets of the gods. Modest, always secretive, born into goldsmithing because he ardently wanted to be, constantly devoted to his craft, constantly exploring forms, constantly telling stories, Goudji has definitely entered into history.' by Olivier Gabet, 2025 (General Curator of Heritage and Art Historian - Director of the Department of Decorative Arts at the Louvre Museum)
Virginie Devillez Fine Art
gustave de smet
Gustave De Smet (Ghent 1877-1943 Sint-Martens-Latem) Nu couché, 1928 Pencil, pastel and oil on paper 35 x 43 cm Signed lower right 'Gust. De Smet' Provenance: Walter Schwarzenberg, Brussels (Georges Giroux sale, Brussels, 1-2 February 1932, lot 43); Tony Herbert, Kortrijk; private collection, Belgium (by descent to the present owner) Literature: Piet Boyens, Gust. De Smet. Chronicle et Analysis of the Work, Antwerp, Fonds Mercator, 1989, CR 744 (p. 386); The Tony Herbert Collection, Deurle, Museum Dhondt-Dhaenens, 2011, p. 39 (ill.) Exhibitions: Brussels, Galerie Le Centaure, Gust. De Smet, 1928, cat. n° 69; Brussels, Galerie George Giroux, Gust. De Smet, 1929, cat. n° 160; Luxembourg, Musée d’Art et d’Histoire; Tony Herbert Collection, 1963-1964, cat. n° 38