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TASCHEN
ralph gibson
Ralph Gibson (Los Angeles, 1939) Ralph Gibson. Photographs 1960-2024 The most comprehensive collection of this highly acclaimed and prolific American photographer's work offers the fruit of more than six decades of image-making. Available in two limited art editions of 100 copies, each accompanied by a gelatin silver print numbered and signed by Gibson.
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 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
WHITFORD
bram bogart
Bram Bogart (Delft 1921-2012 Sint-Truiden) Le chapeau de Rubens, 1983 Mixed media on canvas 200 x 220 cm Signed and dated on verso Certificate of authenticity by Bram Bogart Jr, n° 20 Provenance: corporate collection, UK Literature: Bram Bogart, Schilderijen 1950-1983. exh. cat., Museum Boijmans-Van Beuningen, Rotterdam and Museum van Hedendaagse Kunst, Ghent, 1984, ill. p. 2 and p. 36; Legrand, Francine-Claire; Bram Bogart, Tielt, 1988, ill. p. 97; Paquet, Marcel, Bram Bogart, Turin, 1990, ill. p. 241; Hermans, Nicole, Bram Bogart in Amerika, Beelding, maandblad voor Kunsten, p. 16; Bogart, Bram, Hoet, Jan, Lemesre, Marion, Paquet, Marcel and Gilbert Perlein, Bram Bogart, Fête de la matière, exh. cat., Hôtel de Ville de Bruxelles, Brussels and Musée d'Art Moderne et d'Art Contemporain de Nice, 1999, ill. p. 43 Exhibitions: 1984, Bram Bogart: Schilderijen 1950-1983, Museum Boijmans-Van Beuningen, Rotterdam and Museum van Hedendaagse Kunst, Gent, cat. n° 67; 1999, Bram Bogart, Fête de la matière, Hôtel de Ville de Bruxelles, Brussels and Musée d'Art Moderne et d'Art Contemporain de Nice
Grusenmeyer-Woliner
flute stopper Wunear Biwat (Mundugumor), Yuat River, late 19th - early 20th century Papua New Guinea Wood, feathers, shell H. 64 cm ( 85 cm including the base) Provenance: Charles Ratton; Kamer Gallery, acquired in 1966 by Emiel Veranneman; Emiel Veranneman; Thence by descent Literature: Rotary Club Sint-Niklaas, Oude Kunst uit Afrika en Oceanie, Exhibition catalogue, Sint-Niklaas, May 5-20, 1979, n° 31; Veranneman Emiel, Visie & Passie, 2002, pp. 72-73 Exhibition: Oude Kunst uit Afrika en Oceanië, Ex-Libriscentrum, Sint-Niklaas, 5–20 May 1979, Rotary Club Sint-Niklaas
Artimo Fine Arts
charles-auguste fraikin
Charles-Auguste Fraikin (Herentals 1817-1893 Brussels) Emerging from the Sea Bath White Carrara marble H 123 x W 37 x D 33 cm Provenance: Francis Meyer collection, Switzerland Literature: Fraikin, Charles-Auguste. Catalogue de la galerie. Musée Fraikin de Herenthals offert par l'artiste à sa ville natale l'an 1891. Herentals: Typ. L. Bongaerts-Verbeeck, 1891; Engelen & Marx. La sculpture en Belgique à partir de 1830. Tome III: Devreese-Hecq. Bruxelles : Éditions Ars 2006, pp. 1550-1557 With this work, Charles-Auguste Fraikin celebrates feminine beauty captured in the intimacy of a daily gesture: that modest and natural act of a young woman emerging from the water and wringing out her long hair. The sculptor excels here in the art of suggestion rather than revelation. The delicately fitted drapery clings to the body’s contours whilst gracefully concealing them, playing on the translucency of the marble and the softness of the volumes. The work bears witness to the dual influence of classical ideals and the romantic taste for a sensitive evocation of femininity. Through his treatment of surfaces - silken, clean, almost vibrant - Fraikin achieves a remarkable degree of refinement whilst preserving a clear narrative: that of a moment suspended in time, poised between genre scene and allegory. Emerging from the Sea Bath brilliantly illustrates Fraikin’s ability to combine modesty with sensuality, simplicity with virtuosity, in a sculpture that speaks both to the eye and to the imagination.
Chambre professionnelle belge de la Librairie Ancienne et Moderne (CLAM)
Hieronymus Bosch ('s-Hertogenbosch, circa 1450-1516) Parable of the two blind men, circa 1540-1570 Engraving by Pieter van der Heyden (circa 1530-1572) Published by Hieronymus Cock (Antwerp, 1518-1570) 22.2 x 22.5 cm References: New Hollstein Dutch 20 1(5), first state Lex Antiqua, Antiquarian printseller
Pauline's Jewellery Box
Art Deco emerald & diamond necklace, circa 1920-1930 Platinum, emerald and diamond Provenance: France A beautiful Art Deco Colombian emerald & diamond pendant necklace, set with a pear shaped Colombian emerald weighing approximately 13.44 carats surrounded by old mine cut diamonds. Estimated total diamond weight is approximately 3.00 carats. Estimated colour H-I on average. Estimated clarity VS on average. The diamonds are bright & lively. Mounted in platinum.
Galerie Boulakia
jean dubuffet
Jean Dubuffet (Le Havre 1901-1985 Paris) Lampe et Balance 1, 1964 Oil on canvas 97 x 130 cm Signed and dated bottom centre; signed, titled and dated 'juillet 64' on reverse Provenance: Dr. Jacqueline Porret-Forel, Paris (gift from the artist in 1966); collection in the United Arab Emirates; European collection Literature: Max Loreau, Catalogue des travaux de Jean Dubuffet, Fascicule XX: L'Hourloupe I, Paris, 1966, cat. no. 367 (ill. p. 168). Exhibition: Jean Dubuffet, Galerie Georges Moss, Geneva, Nov. 1969-Jan. 1970, cat. n° 8
Galerie Lowet de Wotrenge
frans pourbus the elder (bruges 1545/46 - 1581 antwerp)
Frans Pourbus the Elder (Bruges 1545-1581 Antwerp) Portrait of Peeter van Panhuys, alderman and treasurer of Antwerp, 1562 Oil on oak panel 105 x 75 cm Dated upper left 'A°. 1562' and inscribed below the date ‘Aetat: 34’ Provenance: private collection, Belgium Literature: R. Willmott, Antwerp and the Golden Age: Culture, Conflict and Commerce, Unicorn, 2025 (ill.) In an era when wealth and power increasingly resided not in hereditary titles but in commerce and banking, Frans I Pourbus captured the self-assured gaze of the new elite. This striking portrait depicts Peeter van Panhuys - merchant, banker's agent, and future treasurer of Antwerp - at a pivotal moment in his rise through one of Europe's most dynamic commercial centers. The work's contemporary resonance is unmistakable. Van Panhuys embodies the entrepreneurial spirit that still defines global finance, yet his story also reflects our modern anxieties: barely two decades after this portrait was painted, religious conflict forced him to flee Antwerp as a refugee, abandoning everything he had built. His biography encapsulates the precariousness of prosperity in times of social upheaval - a theme that speaks powerfully to today's world of political instability and forced migration. Pourbus renders his subject with remarkable psychological acuity. The prominent gold chain and exquisitely detailed black doublet announce van Panhuys' status, while the crisp white ruff - painted with virtuosic precision - frames a face of penetrating intelligence. In his left hand, he holds a pair of gloves, a refined accessory that signals his gentlemanly aspirations and membership in Antwerp's sophisticated mercantile elite. Recently rediscovered from a Belgian private collection, the sitter's identity is confirmed through his appearance in Maerten de Vos's monumental family portrait at the Mauritshuis, where van Panhuys stands among the interconnected dynasties that dominated Antwerp's Golden Age. This painting invites us to reconsider the origins of our modern world - built not by kings and generals, but by ambitious merchants whose portraits demanded the same dignity once reserved for nobility.
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.
De Brock
ethan cook
Ethan Cook (USA, Texas 1893) Untitled, 2014 Hand woven cotton canvas and industrial canvas, framed 193 x 193 cm Provenance: the artist's studio, Brooklyn, NY, USA; T293 Gallery, Rome, Italy; private collection, Europe; Phillips, London, 26 June 2018, lot 276; private collection, UK; Phillips, London, 5 December 2018, lot 71; De Brock, Knokke, Belgium (acquired at the above sale)
MassModernDesign
jorge zalszupin
Jorge Zalszupin (Warsaw 1922-2020 São Paulo) Guanabara table and Senior chairs, 1960 Rosewood, leather, velvet upholstery H 75 x W 400 x D 130 cm (table) Produced by l'Atelier, Brazil Provenance: private collection, São Paulo Literature: Jorge Zalszupin, Modern Design in Brazil Maria Cecilia Loschiavo dos Santos 2014, pp. 142-143
Galerie La Patinoire Royale Bach
alfredo jaar
Alfredo Jaar (Chili, Santiago 1956) Life Magazine, 19 April 1968 1995 Three lightboxes, analog C-print on Duratrans 183 x 360 cm (entire dimension) 183 x 120 cm (one lightbox) Unique piece Life Magazine, 19 April 1968 (1995) by Alfredo Jaar is one of the Chilean artist’s iconic lightbox works in which he pointillistically engages an image from the public archive, intervening with his signature cutting precision to highlight social inequities and the politics of image making. The source image for this work is a documentary photograph of Martin Luther King’s funeral printed in 1968 in Life Magazine, the magazine of reference for a generation of Americans. In the image, a horse drawn casket is surrounded by supporters, and behind, a crowd fills the boulevard, stretching into the vanishing point beyond. It is a powerful representation of the late civil rights leader’s influence. The source photograph is presented large scale on the left third of the lightbox. In the center, the image is whited over, and in the place of faces in the crowd are black dots, massing and overflowing the street. In the rightmost part of the triptych, the source image is similarly whited out, but this time only a smattering of red dots appear — a handful scattered across the crowd. The artist placed black dots on the faces of African Americans. The red dots highlight White attendees. Created while Jaar was researching the Life archives for another iconic lightbox work, Searching for Africa in Life (1996), in which the artist reprints every cover of the magazine, highlighting through the punctum of the title the glaring absence of adequate representation of the continent, Life Magazine, 19 April 1968 (1995) similarly makes manifest a glaring absence. Through the precision of the artist’s intervention, and rendered in the artist’s signature clean lines, a singular gesture evokes the imbroglia of lingering racism and inequality in contemporary society.
Maisonjaune Studio
Piero Palange (Italy, 1931-1975) Werther Toffoloni (Udine 1930-2017) Pair of '536' armchairs Rattan, foam, mohair velvet H 70 cm - Ø 95 cm Palange studied industrial design at the University of the Arts in Milan and worked with several leading Italian design firms (Motina, Gervasoni, Germa). Toffoloni trained in architecture at the Univeristy of Rome, specialised in industrial design with a focus on ergonomics and functionality. These two Italian designers played an important role in shaping postwar industrial design.