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Galerie Boulakia
Georges Mathieu (Boulogne-sur-Mer 1921-2012 Boulogne-Billancourt) Louis VII épouse Eléonore d'Aquitaine, 1958 Oil on canvas 97 x 162 cm Signed bottom left Provenance: Galerie Europe, Paris This artwork is referenced as an authentic artwork in the 'Archives by Jean-Marie Cusinberche on Georges Mathieu' and an attestation will be provided to the buyer
Argento Gallery
Gerard van Honthorst (Utrecht, 1592–1656) and workshop Four portraits of officers, 1637-1639 Oil on canvas 76.5 x 63.7 cm each Each signed and dated: two 1637, one 1638 and one 1639 Provenance: Charles Marsham collection, 4th Earl of Romney, Mote Park; acquired in 1895 by Marcus Samuel, later 1st Viscount Bearsted; by descent to his son, Colonel Walter Horace Samuel, 2nd Viscount Bearsted; Christie’s, London, 13 December 1929, lots 79, 80, 82 and 83; presumably inherited by his sister, Nellie Ionides, born Samuel; by descent in 1968 to her grandson, Toby Jessel, The Old Court House, Hampton Court; Sotheby’s, London, 30 April 2014, lots 725-728; private collection; Christie’s, London, 1 April 2026, lots 30-33 Literature: Upton House. The Bearsted Collection: Pictures, London: The National Trust, 1964, p. 41, n° 137; J.R. Judson and R.E.O. Ekkart, Gerrit van Honthorst, Doornspijk: Davaco, 1999, pp. 315-316, n° 475, 474, 478 and 479 Four unidentified military officers portrayed in armour with differently coloured sashes, each within a painted oval with a sculptural border. Originally belonging to a larger series, the portraits display Honthorst’s characteristic treatment of faces, fabrics and reflected light on metal. The identities of the officers and the original patron remain unknown.
Dries Criel
EOS Ring Sandblasted 18k yellow gold and natural white diamonds Inspired by Eos, the Greek goddess of the dawn. She who brings the first light of day, casting a golden glow across the horizon before the world awakens. A symbol of renewal, radiance, and quiet transformation. Crafted in sandblasted 18k yellow gold, the ring carries a serene warmth. Its matte surface evokes the first rays of morning light diffused through the atmosphere - gentle, luminous, and timeless. Rather than reflecting light sharply, the gold seems to hold it within, creating a subtle glow that feels both ancient and contemporary. At its centre rests an elongated, natural, step-cut diamond. Surrounding white diamonds accentuate the composition, enhancing the contrast between the softness of the gold and the crystalline purity of the central stone.
Dr. Nöth kunsthandel
Armand Guillaumin (Paris 1841-1927 Orly) Bords de l'Orge à Epinay, 1890 Oil on canvas 81 x 65 cm Signed lower right Certificate of authenticity from the Comité Guillaumin This work will be included in the second volume of the forthcoming catalogue raisonné currently in preparation Provenance: Galerie Durand-Ruel, Paris; Clara de Plessis Whelan, New York; Sale Parke-Bernet Galleries, New York, 7 November 1946, lot 65; Mr. Jussaume, Buenos Aires; Mr. Foret, Buenos Aires; private collection, France (acquired from the above in 1956); Christie's London 7 February 2001, lot 127; private collection, Texas
Floris van Wanroij Fine Art
Jacob Grimmer (Antwerp, 1525/6-1590) A landscape with travellers near a castle or an ALlegory of Spring Oil on panel 27.3 x 37 cm Signed lower left GRIMMER FECIT The present picture is recorded at the RKD in The Hague under n° 102433 as by Jacob Grimmer Provenance: René Gilbert collection, Geneva; thence by descent until znonymous sale (the property of a Lady), Sotheby’s, London, 14 December 2000, lot 3 (179.500 GBP); private collection, United Kingdom; anonymous sale, Sotheby’s | London, Old Masters evening sale, 5 July 2017, lot 49; private collection, The Netherlands Literature: Mander, K. van (1603/4). Schilder-boeck. Haarlem, Vol. II, fol. 256V; Bertier de Sauvigny, R. (1991). Jacob et Abel Grimmer. Brussels, p. 68, fig. 13; p. 81, fig. 28
Galerie Alexis Pentcheff
Carved wooden frame, gilded with gold leaf, fitted with its original mercury glass Spain, 17th century Symmetrical decoration featuring four cherubs, stylised scrolls, acanthus leaves and gemstones at the corners Provenance: Amedeo Montanari collection Literature: Amedeo Montanari and Roberto Lodi, Directory of European frales, editions Galleria Roberto Lodi, 2003, repr. n° 641, p. 323
Klaas Muller
Gerard Ter Borch (Zwolle 1617-1681 Deventer) Portrait of a man with a black hat, circa 1650 Oil on oval panel 19.9 x 16.5 cm The gallery is grateful to Marjorie Wieseman, who endorsed the attribution on the basis of a photograph, and to Guido Jansen, who confirmed the attribution after examining the painting in person Gerard ter Borch (1617-1681) was one of the most refined painters of the Dutch seventeenth century. Born in Zwolle, he received his first training from his father, Gerard ter Borch I, within a household where drawing and copying formed an essential part of daily artistic practice. Several of his siblings also became artists, contributing to a rich familial archive that documents the development of the Ter Borch workshop. After extensive travels through Amsterdam, Haarlem, London, Madrid and Münster, Ter Borch settled in Deventer, where he became a respected member of the city’s elite. Ter Borch is celebrated for his intimate genre scenes and portraits, distinguished by a subtle palette, delicate handling of light, and a keen sensitivity to gesture and expression. His paintings are marked by elegance, psychological depth, and exceptional technical skill, particularly in the rendering of skin and textiles. This portrait of a man wearing a black hat, painted on an oval panel, exemplifies these qualities. The sitter faces the viewer directly and meets our gaze with quiet self‑confidence, creating a sense of immediacy and silent dialogue. His restrained pose and understated attire suggest dignity without ostentation. The refined and harmonious colour scheme, composed of carefully balanced tones, is characteristic of Ter Borch’s portrait practice. The subtle fall of light gently models the face, giving the features clarity and depth without strong contrasts. The smooth surface of the panel enhances the precision of Ter Borch’s brushwork and contributes to the intimate character of the work. Rather than a display of status, the portrait becomes a concentrated study of presence and inner life.
Galerie BG Arts
René Lalique (Ay 1860-1945 Paris) 'Bacchantes' vase, 1927 Opalescent glass with blue patina Original illuminated bronze base H 24.5 cm (without base) x Ø 19 cm Provenance: private collection, London Literature: Félix Marcilhac, René Lalique-Catalogue de l’Œuvre de Verre, Les Editions de l’Amateur, Paris, 2011, n° 997
Mearini Fine Art
'In visceribus Christi' type crucifix Sicilian wax modeller, late 17th-early 18th century Polychromed wax H 30 x W 26 x D 3 cm Comparative literature: T. De Giorgio, L’invenzione dell’iconografia in visceribus Christi. Dai prodromi medievali della devozione cordicolare alla rappresentazione moderna delle viscere di Cristo, 'Mitteilungen des Kunsthistorischen Institutes in Florenz', LXI, 2019, 1, pp. 74-103; F. M. Gerbino, Civiltà plastica tra arte e manufatto: la ceroplastica in Sicilia tra ’700 e ’800, PhD thesis, Università degli Studi di Palermo 2013, pp. 147-156
Pauline Janssen
Diamond pendant necklace Belle Epoque, circa 1905 Bright and lively old cut diamonds, mounted in platinum and accompanied by a platinum chain set with natural seed pearls. Estimated centre diamond weight approximately 0.60 carats. Estimated total diamond weight approximately 5.00 - 6.50 carats. Estimated colour G-H-I on average. Estimated clarity VS on average.
COLNAGHI
Paul de Vos (Hulst 1595–1678 Antwerp) Deer hunt Oil on canvas 201 x 331 cm Signed lower right of centre, on a stone: P. De vos. fecit, this monumental canvas belongs to the large-scale hunting pictures for which Paul de Vos became known among seventeenth-century collectors. The picture’s scale and format place it within a group of large hunting compositions conceived for the principal rooms of aristocratic houses. Works of comparable dimensions by de Vos include the stag hunt now in the Royal Museums of Fine Arts of Belgium and the two hunts in the Museo del Prado. The latter are dated by the Prado to 1637–1640, when de Vos was working on the decoration of Philip IV’s hunting lodge, the Torre de la Parada. The present composition is distinguished within this group by its open diagonal movement and by the stag’s apparent escape: the animal runs towards the edge of the canvas, while the hounds are still negotiating the river. The absence of huntsmen, horns and weapons concentrates attention on the animals themselves. The painting is also characteristic of de Vos’s particular approach to animal subjects. His long-bodied hounds, their coats described in broken, light-catching strokes, and the comparatively open, atmospheric landscape distinguish his manner from that of Frans Snyders, with whom de Vos’s work was often confused. The two artists were closely connected: Snyders married de Vos’s sister Margaretha in 1611, and de Vos probably worked in his studio. De Vos also collaborated with leading Antwerp painters, supplying animal and still-life passages for compositions by Rubens, Van Dyck, Erasmus Quellinus and others. His independent reputation, however, rested chiefly on hunting scenes and animal pictures, many of them made for Spanish patrons. The early provenance of this canvas is well documented. It belonged to Diego Mexía Felípez de Guzmán, the first Marqués de Leganés, whose collection in Madrid comprised more than 1,300 paintings at his death in 1655 and was particularly rich in Flemish works. Leganés was an important patron of hunting pictures and a significant collector of de Vos. The painting is identifiable as no. 199 in inventories of his collection drawn up in 1637, 1642 and 1655. It is described there as a large painting of a stag fleeing from six dogs, by “Pedro de Vos”, the Spanish form of the artist’s name. Its dimensions in the inventory, two and a half Castilian varas high and four varas long, also correspond to the monumental scale of the surviving canvas. The inventory entry places it among a sequence of large hunts by de Vos, including works now known through the painting in Brussels and a boar hunt formerly in Aachen. Following the death of the third Marqués in 1711, the collection passed by inheritance to the Counts of Altamira. In their 1726 inventory, the painting is recorded in a room beside the oratory of the San Bernardo palace, between two boar hunts, as “un zieruo que ba huiendo de seis Perros” (“a stag fleeing from six dogs”). The Altamira collection was dispersed during the nineteenth century. By 1867 the canvas had entered the collection of José de Salamanca y Mayol, first Marqués de Salamanca, in Madrid. It appeared in the sale of his hôtel at 50 rue de la Victoire in Paris, held from 3 to 6 June 1867, as Chasse au cerf by Paul de Vos. Its documented association with the Leganés collection gives the painting particular historical importance. It is the only one of that collector’s great hunting scenes by de Vos known to survive apart from the related stag hunt now in Brussels.
Stéphane Renard Fine Art
Jean-Auguste-Dominique Ingres (Montauban 1780-1867 Paris) Portrait of a woman, 1802 Oil on canvas 29 x 21 cm 33 x 40.5 cm (framed) Provenance: purchased at a public auction in Asheville (North Carolina, USA) in January 2024 Exhibition: Museum Central des Arts (Salon de 1802), n° 719, Ingres, Portrait de femme This Portrait of a Woman by Jean-Auguste-Dominique Ingres is a discovery. The gallery would like to thank Mr. Eric Bertin, Mr. Sylvain Bédard, Lecturer at the University of Montreal, and Professor Andrew Carrington Shelton of Ohio State University, all three of whom confirmed the painting’s attribution to Jean-Auguste-Dominique Ingres after first hand examinations.
Beck & Eggeling International Fine Art
Manolo Valdés (Valencia, 1944) 'The Cartier', 2008 Oil and mixed media on canvas 188 x 188 cm H 200 x W 200 x D 10 cm (in artist's frame) Signed 'MAVALDES', dated '2008', titled 'The Cartier' and inscribed with measurements on the reverse Provenance: acquired directly from the artist's studio
Marty de Cambiaire
Denys Calvaert (Antwerp circa 1540-1619 Bologna) Holy Family with Saint Jerome and the Infant John the Baptist Oil on copper 50.4 cm x 39.6 cm Signed and dated CALVA ... T ... / ... CIT / 158 ? ... lower centre Provenance: Von Planta Family, Samedan, acquired in the 1920s according to the family tradition (although it could have been acquired earlier); London, Sotheby’s, 3 December 2014, lot 18; private collection, Brussels Flemish by birth, Calvaert settled in Bologna in 1562, where he became a leading artist and played a central role in training the foremost painters of the Bolognese school. Guido Reni, Francesco Albani and Domenichino were among his most celebrated pupils. A specialist in religious subjects, Calvaert excelled both in large altarpieces and in small, refined paintings for private devotion. This exquisite Holy Family, painted in the 1580s, belongs to the latter category. Conceived as a sacra conversazione, it invites meditation on Christ’s future sacrifice. In response to the scroll bearing the words “Ecce Agnus Dei”, which the young Saint John the Baptist fervently holds up, the Christ Child expresses gentle acceptance, raising his right hand in blessing and holding in his left an apple, a symbol of the redemptive purpose of the Passion to come. The Virgin and the two saints contemplate this symbolic dialogue in quiet adoration. Few works by Calvaert combine so successfully the elegance and refinement of Mannerism with the clarity of religious expression advocated by the Counter-Reformation. The poetic vista of landscape and architecture in the background lends depth to the composition and reflects Calvaert’s Flemish taste for an airy atmosphere and a sense of recession achieved through gradations of blue and green rather than geometry. It contributes to the gentleness, calm and balance that pervade the scene.
Repetto Gallery
Carla Accardi (Trapani 1924-2014 Rome) Carminio su tela grezza, 1997 Vinyl on raw canvas 50 x 70 cm Signed lower right; signed, titled, dated and archive number on the reverse Certificate of authenticity on b/w photograph signed by the artist, n° 18/98 Registered at Studio Accardi, Rome, archive n° 629A Provenance: Soffiantino Arte Contemporanea, Turin; private collection Literature: Germano Celant (edited by), 'Carla Accardi. Catalogo ragionato', (Charta, Milano) 1999, p. 419, ill. n° 1997 62 (B&N)
Galerie Édouard Ambroselli
Georges Aubert (Paris, 1866-1961) and Odilon Redon (Bordeaux 1840-1916 Paris) The Shadow, circa 1896-1900 Carved, engraved and painted wood H 25 x W 18.5 x D 2 cm Provenance: Ambroise Vollard collection (1866-1939) Plate for The Shadow, illustration from Gustave Flaubert’s Tentation de Saint Antoine, Paris, Éditions Ambroise Vollard, 1938, p. 21