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Galerie de la Présidence
Geer van Velde (Lisse 1898-1977 Cachan) Composition, circa 1952 Oil on canvas 104 x 122 cm Signed with the initials 'GvV' lower right Signed on the reverse 'G. van Velde' with dimensions Certificate of authenticity issued by Pierre François Moget This work will be included in the forthcoming 'Catalogue Raisonné of Geer van Velde Painted Work' currently in preparation by Pierre François Moget, son of Piet Moget Provenance: private collection, Paris
De Jonckheere
Pieter Brueghel the Younger (Brussels 1564-1638 Antwerp) The Payment of the Tithe or The Village Lawyer Oil on panel 78.9 x 123.2 cm Signed and dated lower left P.BREVGHEL 1622 Provenance: private collection, Belgium; J. Leegenhoek Gallery, Paris, 1991; private collection, France Literature: K. Ertz, Pieter Brueghel der Jüngere (1564-1637/38). Die Gemälde mit kritischem Oeuvrekatalog, Lingen, 1988/2000, Vol. I, p. 513, cat. E507, repr.; C. Currie, D. Allart (dir.), The Brueg(H)el Phenomenon. Paintings by Pieter Bruegel the Elder and Pieter Brueghel the Younger with a Special Focus on Technique and Copying Practice, 3 vols. in a box set, Scientia artis 8, Brussels, 2012, vol. III, pp. 1030-1031
De Jonckheere
Herri met de Bles (Dinant or Bouvignes-sur-Meuse circa 1510-active in Antwerp between 1533 and 1566) The Ascent to Calvary Oil on panel 41.5 x 69 cm Signed bottom right with the owl, the artist's symbol, on the drum of one of the peasants Provenance: Franz Haverda-Werlandt collection, Vienna; Count Filip Kolowrat-Krakowski collection, Vienna; Count Ernst Kolowrat-Krakowski collection, Vienna; Oscar Bondy collection, Vienna; confiscated in Vienna for the Kunstmuseum Linz, listed in the inventory of 31 July 1940; returned to the Republic of Austria on 25 April 1946; returned to Oscar Bondy in 1948; sold by Kende Galleries Inc, New York, 3 March 1949, n° 68; private collection, New York; Bob P. Habolt & Co., New York; De Jonckheere, Brussels-Paris, 1990; private collection, France Literature: M. J. Friedländer, Die Altniederlandische Malerei, Berlin, 1937, vol. XII, p. 131, n° 65; R. A. Koch, A Rediscovered Painting, 'The Road to Calvary', by Herri met de Bles, in Record of the Art Museum. Princeton University, 1955, vol. 14, n° 2, p. 37, note 4; M. J. Friedländer, Early Netherlandish Painting. Jan van Scorel and Pieter Coeck van Aelst, Leiden and Brussels, 1975, vol. XIII, p. 107; W. S. Gibson, 'Mirror of the Earth': The World Landscape in Sixteenth-Century Flemish Painting, Princeton, 1989, p. 101, n° 108, p. 103, n° 139; L. Serck, Henri Bles et la peinture de paysage dans les Pays-Bas méridionaux avant Bruegel, unpublished doctoral thesis, Université Catholique de Louvain, 1990, n° 33, p. 709, vol. II, p. 711, vol. III; De Jonckheere, Rencontre de Maîtres. XVIIIe exposition. Paysages et Natures mortes, spring 1992, n° 6; L. Serck, 'La Montée au Calvaire d'Henri Bles: Création et composition', in N. E. Muller (dir.), Herri met de Bles. Studies and Explorations of the World Landscape Tradition, exh. cat., Princeton University, 10 October 1995-10 November 1995], Princeton, 1998, p. 63, n° 5; J. Toussaint, Autour de Henri Bles, exh. cat., TreM.a-Musée des Arts anciens du Namurois, 13 May 2000-1 November 2000, Namur, 2000, p. 23, n° 23, repr.; C. Currie, L. Serck, La Montée au Calvaire d'Henri Bles du Musée de Namur, in Guide du visiteur, n° 11, TreM.a-Musée provincial des Arts anciens du Namurois, J. Toussaint (ed.), 2007, p. 39, fig. 23, repr.; B. Schwarz, Hitlers Museum. Die Fotoalben. Gemäldegalerie Linz, Horn, 2004, p. 97, album I/42a, p. 203 repr. Exhibition: New York, Colnaghi Gallery, in association with Alexander Gallery, New York, The Northern Renaissance: 15th and 16th Century Netherlandish Paintings, 6 April-14 May 1983, n° 13
Galerie bei der Albertina ▪ Zetter
Dagobert Peche (Sankt Michael im Lungau 1887-1923 Mödling) Lamp, Design 1921 Manufactured by the Wiener Werkstätte, model number M 3494-M la 24 Brass, embossed, floral decoration, foot with beaded decoration, one flame, lamp shade renewed, new electrification H 87 cm - Ø 46 cm (lamp shade) Marks: WIENER / WERK / STÄTTE, monogram DP According to the MAK only two lamps were manufactured in the year 1923 Provenance: collection Schedlmayer Literature: cf. WW Archive, MAK Vienna, design sketch lamp base KI 12649-5-2, photo archive inventory n° WWF 98-116-1 as well as entry in the book of commissions of the Wiener Werkstätte model book WWKA 679; cf. Exhibition catalogue ‘Die Überwindung der Utilität. Dagobert Peche und die Wiener Werkstätte’, ed. by Peter Noever, MAK, Vienna 1998, ill. p. 221, n° 51; cf. Exhibition catalogue ‘Dagobert Peche and the Wiener Werkstätte’, ed. by Peter Noever, MAK, Vienna 1998, Neue Galerie, New York 2002, ill. p. 228, n° 45; Exhibition catalogue ‘Die Sammlung Schedlmayer. Die Entdeckung’, ed. by Ivan Ristic, Hans-Peter Wipplinger, Leopold Museum, Vienna 2021, ill. p. 72 Exhibition: Vienna, Leopoldmuseum, 'Die Sammlung Schedlmayer. Eine Entdeckung', 2021
Labellov
Delvaux Lady Gipset, Brillant black edition Box calf leather, silk pink, hand-embroidered with sequins and semi-precious stones: rose quartz, tourmaline, red jasper, sodalite and amazonite H 36 x W 20.5 x D 35 cm Limited edition of 9 pieces worldwide Entirely embroidered by hand, requiring approximately 100 hours of craftsmanship
Stoppenbach & Delestre
Raoul Dufy (Le Havre 1877-1953 Forcalquier) Nu aux papillons, 1930 Watercolour on paper 26 x 51 cm Signed lower left Provenance: sale Paris, Hôtel Drouot, 28 February 1951, lot 31; thence by descent to the previous owner, France Literature: F. Guillon-Laffaille, Raoul Dufy, catalogue raisonné des aquarelles, gouaches et pastels, Vol. II, Editions Louis Carré & Cie, Paris, 1982, n° 1853, repr. b/w
Victor Werner
Franz Barwig (Germany, Shönau 1868-1931 Vienna) Group of Fauns, circa 1900 Sculpted oak H 94 x W 99 x D 18 cm Signed 'F. BARWIG' on the base This large, sculpted-oak masterpiece perfectly captures the essence of the Vienna Secession. Created by one of Austria's most influential Art Nouveau sculptors, the piece showcases Barwig's signature mastery of wood, blending powerful forms with raw, natural texture.
Galerie Patrice Trigano
Pablo Picasso (Málaga 1881-1973 Mougins) Trois personnages et un oiseau, 1969 Ink on paper 30 x 53 cm Signed and dated 23 March 1969 Certificate of authenticity issued by Maya Widmaier Picasso, dated 23 November 2001 Provenance: private collection, Geneva Literature: reproduced in the Zervos catalogue raisonné, volume 31, n° 111
Galerie Patrice Trigano
Philippe Hiquily (Paris 1925-2013 Villejuif) La Maja délurée, 1987 Patined bronze H 50 x W 46 x D 14 cm Signed and numbered Edition of 8 + 1 AP + 3 HC Bocquel Foundry Literature: Beaux-Arts n° 72, October 1989; Georges Marti, Les Nouvelles de Tahiti, 'Le sculpteur Hiquily doit son succès aux américains', 10 March 1990; Pierre Cabanne, (ed.), Hiquily-Bronzes et mobilier, De la Différence, 2005, pp. 32 and 47; Catalogue raisonné: Philippe Hiquily, 1948-2011, vol. 1, 2012, p. 304 Exhibitions: FIAC 89, 7 to 15 October 1989, Grand Palais, Paris, presented by the Galerie Patrice Trigano; 'Paris-Concrémiers, le chemin de la mémoire et de l’inspiration, quatre expositions personnelles de Philippe Hiquily, Colette Portal, Michel Lebrun et François Leteuil', Espace Art Brenne, Prigny-Concrémiers, Le Blanc, 8 June-8 September 1991
Francis Janssens van der Maelen
Ravinet d'Enfert Art Deco centrepiece, Paris, circa 1930 Sterling Silver 950 Jardinière: H 9 x W 35 x D 23 cm Mirrored plateau: H 3 x W 50 x D 38 cm Total net silver weight: 4,990 gr Total gross weight: 9,210 gr French Minerva hallmark Important sterling silver centrepiece comprising a jardinière and its mirrored plateau. The jardinière, of geometric canted rectangular form, has a plain body highlighted by stepped moulded borders around the rim and base. It rests on small rectangular feet. Removable silver-plated metal liner bearing the square Ravinet d’Enfert maker’s mark in full. The plateau, of matching rectangular form with canted corners, echoes the geometric lines of the jardinière. It consists of a solid silver frame with stepped geometric mouldings, raised on small feet and enclosing a mirrored glass panel.
Verdini Antiques
Enrico Podio (Active 1840-1890 between Rome and Venice) Micromosaic centre table, 1873 Polychrome micromosaic, patinated, cast and chased bronze H 100 x Ø 125 cm Signed and dated 'Enrico Podio fece Venezia 1873' A highly accomplished Venetian micromosaic conceived as a complete decorative programme of Classical imagery, centred on a dramatic head of Medusa.
Ars Antiqua
Santi di Tito (Florence, 1536-1603) Portrait of Domenico di Lorenzo Passerini with his son Lorenzo Oil on panel 115 x 82.5 cm 130 x 100 cm (framed) Passerini family seal on the reverse Literature: Capolavori che si incontrano. Bellini, Caravaggio, Tiepolo e i Maestri della pittura toscana e veneta nella collezione della Banca Popolare di Vicenza, exhibition catalogue edited by Fernando Rigon, Geneva-Milan, 2014, pp. 168-69, 171-72; L. Scanu, Santi di Tito e l’arte del ritratto. Una nuova effige e una possibile serie dei senatori fiorentini, 'Bollettino Telematico dell’Arte', 11 September 2025, n° 983; N. Bastogi, Due ritratti femminili di Santi di Tito, 'Paragone Arte', 60, 2009, pp. 58-66
Galerie des Modernes
Geer Van Velde (Lisse 1898-1977 Cachan) Composition, circa 1950 Oil on canvas 80 x 85 cm Signed lower right with the artist’s initials Certificate of authenticity by Pierre-François Moget To be included in the forthcoming catalogue raisonné of the works of Geer van Velde currently in preparation by Pierre-François Moget Provenance: the artist’s studio, Cachan; private collection, The Netherlands; private collection, France