This section will be available this Autumn.
Repetto Gallery
valerio adami
Valerio Adami (Bologna, 1935) La firma del muro antico, Odisseo (per E. Pound), 1977 Acrylic on canvas 204 x 152 cm Signed, dated and titled on the reverse: Adami 8.8.77 17.11.77 La firma del muro antico. Odisseo (per E. Pound) Label on the reverse by Galerie Rive Gauche Marcel Strouk, Paris Certificate of authenticity by Archivio Valerio Adami n° 878 Provenance: Galerie Maeght, Paris; private collection, France (acquired from the above) Exhibition: Valerio Adami, 7 October-12 November 1978, Palais des Beaux-Arts, Charleroi; Valerio Adami. Ripensando la realtà, Dep Art Gallery, Milan, 6 March-17 May 2025
Galerie la Ménagerie
edouard-marcel sandoz
Edouard-Marcel Sandoz (Basel 1881-1971 Lausanne) Duckling, circa 1925 Brown-green patinated bronze Bears the inscription of the foundry Susse Frères Paris H 9.5 x W 9 x D 6 cm Signed 'Ed M Sandoz' on the base Literature: Model with the reference 862 from the catalogue raisonné of the artist, Félix Marcilhac, Sandoz, sculpteur figuriste et animalier, Les éditions de l'amateur, 1993
robertaebasta
Alessandro Mendini (Milan, 1931-2019) 'Libreria scultura' prototype of modular bookcase/display for Swatch, Italy 1994 Lacquered wood, coloured, laminated, chromed and satin steel H 214 x W 250 x D 40 cm Unique piece Certificate of authenticity by Mrs Elisa Mendini and Mrs Fulvia Mendini Provenance: private collection, Italy
MassModernDesign
pierre weckx lougne chair brazil 1950s
Low lounge chair designed by Pierre Weckx and manufactured in Brazil 1950s. This low lounge chair is an expressive example of Brazilian modernism, revealing Pierre Weckx’s refined understanding of structure, material, and repose. Designed in the 1950s, the chair embodies a period in which Brazilian designers began to reinterpret international modernist ideas through local materials, craftsmanship, and climate driven lifestyles. The low, reclining posture reflects a relaxed approach to seating, prioritising the body at rest while maintaining a sculptural presence within the interior. The frame is executed in solid caviuna wood, a dense and richly grained Brazilian hardwood prized for its durability and warm tonal depth. Weckx uses the material with confidence, shaping the structure into a continuous, angled silhouette that feels both grounded and fluid. The extended rear legs and subtly inclined seat create a dynamic profile that is visually light despite the solidity of the wood. The armrests are integrated seamlessly, reinforcing the sense of cohesion between form and function. A system of rope supports the original golden toned cowhide cushion, allowing the seat and back to respond gently to the body. This construction not only enhances comfort but also introduces a tactile contrast between the smooth wood, the tensioned rope, and the supple cowhide. The cushion, with its natural patina, contributes significantly to the character of the piece and speaks to its authenticity. This chair has been published several times in Casa e Jardim, underscoring its importance within the canon of mid century Brazilian design. Preserved in fully original condition, it stands as a rare and compelling example of Pierre Weckx’s work, where craftsmanship, material honesty, and an effortless sense of leisure converge into a timeless modern object.
Brame & Lorenceau
marie laurencin
Marie Laurencin (Paris, 1883-1956) Jeune fille au bouquet de fleurs, circa 1935-1940 Oil on canvas 61 x 50 cm Signed upper left Provenance: private collection Literature: Daniel Marchesseau, 'Marie Laurencin, Catalogue raisonné de l’Œuvre Peint', 1986, Éditions du Musée Marie Laurencin, Japan, 1986, n° 1150, repr. B&W
Galerie Alexis Bordes
jacques-emile blanche
Jacques-Emile Blanche (Paris 1861-1942 Offranville) View of a longère at the end of a tree-lined path, near Offranville Oil on canvas 38.3 x 46.2 cm Signed lower right: J E Blanche Certificate of authenticity by Mrs. Jane Roberts, a specialist on the artist Provenance: private collection, France Literature: Jane Roberts, Jacques-Émile Blanche, Paris: Gourcuff-Gradenigo, 2012; Mireille Bialek, Michel Ciry, Félicien Cacan, Jacques-Émile Blanche à Offranville: peintre-écrivain, Offranville: Mairie d’Offranville, 2006
Galerie Bernard De Leye
Enamel basin 'Adam and Eve Mourning the Death of Abel' L 47.5x W 38.7 cm Provenance: sale Tajan 17 juin 1977, n° 127; former collection of Henry Kravis, New York; gallery 'à la Façon de Venise', Paris; former private collection, Switzerland Most Limoges enamel pieces were created over a very short period, between 1540 and 1580, marking the peak of Limoges enameling art. They reflect the French Renaissance and the Fontainebleau School. These secular objects were cherished by court dignitaries and the wealthy bourgeoisie. Too precious and fragile to be used, they adorned the sideboards of reception rooms or the cabinets’ display shelves. Comparative pieces: Musée du Louvre, Paris, eight plates from 1540/1560 by Jean Miette in Limoges enamel; Victoria & Albert Museum, London, a closed cup and two plates, circa 1560 by Jean Miette in Limoges enamel; British Museum, London, three plates, circa 1570 by Jean Miette in Limoges enamel; State Hermitage Museum, Saint Petersbourg, five plates, mid-16th century by Jean Miette in Limoges enamel
De Zutter Art Gallery
corneille
Corneille (Liège 1922-2010 Auvers-sur-Oise) Le rouge itinéraire de l'été, 1964 Oil on canvas 73 x 92 cm Provenance: Galerie Delta, Rotterdam; kunsthandel Lambert Tegenbosch, Heusden; collection Dr. Johan B.W. Polak (1928-1992), Amsterdam; Christie's, Amsterdam, 10 December 1992, lot n° 325; private collection, Switzerland Literature: Catalogue Galerie Cimaise Bonaparte (Patrick d'Elme and Daniel Templon), 1967, Paris Exhibition: Galerie Cimaise Bonaparte (Patrick d'Elme and Daniel Templon), 1967, Paris
Martos Gallery
keith haring
growing suite, 1988
Screen print on Lenox Museum board Signed and dated with edition in graphite along right edge of sheet; retains Martin Lawrence Limited Edition and printer's blind stamps lower left edge of sheet 40 x 30 in: 101.6 x 76.2 cm 47 x 37 in; 119.4 x 94 cm (framed)
COLNAGHI
Gillis Neyts (Ghent 1623-1687 Antwerp) A winter cityscape of Antwerp, 1666 Oil on panel 54 x 86 cm Signed and dated lower left: g. nyts. f. / 1666 Provenance: sale Fievez, Brussels (16 June 1931), lot 113; sale of the F. Stuyck collection, Brussels, Palais des Beaux-Arts (7-8 December 1960), lot 91; Galerie P. de Boer, Amsterdam (1961) n° 54; Laboratoria Tupens, Sint-Niklaas (?); with Rafael Valls, London; with De Jonckheere, from whom acquired by the present owner Literature: P. Gustot, Gillis Neyts. Un paysagiste brabançon en vallée mosane au XVIIe siècle, Namur, 2008, p. 69, n° P13, repr. Exhibition: Brussels, Musées Royaux des Beaux-Arts de Belgique, Le siècle de Rubens, 15 October-12 December 1965, n° 157, repr.
De Jonckheere
lucas van valckenborch
Lucas van Valckenborch (Leuven 1535/6-1597 Frankfurt am Main) The Kermesse of St. George, 1595 Oil on panel 22.5 x 38.5 cm Signed and dated 1595 LVV on the fountain Provenance: collection of Charles Theodore of Bavaria (1724-1799), Elector of the Palatinate and Bavaria, Munich, inv. n° 138 (according to a label in brown ink on the back dating from 1799, n° 138); collection of Maximilian de Beauharnais, Duke of Leuchtenberg (1835-1852) (fragmentary label); Almas Gallery, Munich, 1941; private collection, South Germany Literature: Pantheon, September 1941, supplement V, repr.; Bernt, Walter, Die niederländischen Maler des 17. Jahrhunderts, Munich, 1948, n° 865 (1960 edition, n° 1216, repr.); Wied, Alexander, Lucas und Marten van Valckenborch. Das Gesamtwerk mit kritischem Oeuvrekatalog, Freren, Luca Verlag, 1990, pp. 176-77, n° 81, repr. Lucas van Valckenborch was undoubtedly introduced to painting by his father Laureys van Valckenborch, before being accepted as a master of the Mechelen painters' guild in 1564. Following the religious persecution inflicted by the Duke of Alba's troops on supporters of the Reformation, he fled the city in 1567 to take refuge in Liège, then in Aachen from 1570 to 1573, where he was reunited with his brother Marten and Hans Vredeman de Vries (1527-1609). He settled temporarily in Antwerp from 1575 to 1577. He was then employed in Brussels by Matthias, the then Governor-General of the Netherlands. In 1581, he accompanied the latter to Austria, staying in Vienna and Prague, as well as in Linz and Nuremberg. As of 1593, he shared his workshop in Frankfurt am Main with his brother Marten; he was granted citizenship on 10 January, 1594, encouraged by Archduke Ernest of Austria (1553-1595). He worked actively in the family workshop until his death in 1597. Considered one of the greatest landscape painters of the 16th century, Lucas van Valckenborch's concept of landscape was derived from Joachim Patinir and Pieter Bruegel the Elder. His very detailed portrayals of the seasons, village kermesses, romantic scenes and townscapes, stand out owing to the meticulous care employed in their execution and the precise structure of the planes leading to the horizon. His panoramic landscapes are a careful observation of the Meuse valley; his anecdotal scenes are painted with the delicacy of a miniaturist, while his landscapes are presented with topographical accuracy. At the end of his life, his deep landscapes with their luminous, refined nuances, bear witness to a creative approach that sought to go beyond the Bruegelian concept, which was never surpassed by his contemporaries.
Stern Pissarro Gallery
maurice estève
Maurice Estève (Culan, 1904-2001) Untitled, circa 1953-1955 Gouache, watercolour and charcoal on paper 52.6 x 69.3 cm Signed lower left 'Estève' This work is registered in the archives of Mrs Monique Prudhomme-Estève under n° A.78 Provenance: private collection, UK This vibrant work by Maurice Estève dates from a pivotal moment in his career, when he was refining the style that would come to define his mature practice. A master of watercolor, this medium allowed him to develop a visual language characterized by subtle transparencies and rich chromatic nuances. The work features the bold colors and interlocking geometric forms that have made his oeuvre renowned, and its appealing format and quality make it a particularly attractive choice.
Desmet Fine Arts
Two fragments of a wooden sarcophagus corner post of the Priest Horudja re-united after 50 years Wood Egypt, late Dynastic period, 26th Dynasty, circa 664-525 BC H 92 x W 15 x D 5.5 cm Accompanied by Art Loss Register certificates: S00238635 & S00238636 Provenance: Fragment A: Chakib Slatine, Paris (acquired 1975); private collection, Paris (acquired 1977). Fragment B: Chakib Slatine, Paris (acquired 1975); private collection, Paris (acquired 1977); Ede Gallery, London (of which acquired in 2020)
Galerie Taménaga
marie laurencin
Marie Laurencin (Paris, 1883-1956) Deux fillettes et chien, 1942 Oil on canvas 46 x 55 cm Signed and dated lower left 'Marie Laurencin 1942' Provenance: private collection Literature: Beaux-Arts, Paris, 24-30 July 1952; Daniel Marchesseau, Marie Laurencin, Catalogue raisonné de l'œuvre peint, Tokyo: Marie Laurencin Museum, 1986, vol. I, n° 804, repr. p. 327
Galerie Alexis Pentcheff
pierre bonnard
Pierre Bonnard (Fontenay-aux-Roses 1867-1947 Le Cannet) Promenade à Paris, circa 1911 Oil on canvas 40 x 60 cm Estate stamp lower left Provenance: collection of Pierre and Marie-Françoise Vernon Literature: Dauberville Jean et Henry, Bonnard, Vol. IV, Paris, Bernheim-Jeune, 1974, repr. p. 312 under n° 01992 Exhibitions: Pierre Bonnard, A. Tooth & Sons, London, 17 June-12 July 1969, repr. in exh. cat. n° 8; Matisse e Bonnard. Viva la pittura!, Rome, 2006, repr. in exh. cat. (ed. Skira) p. 340 under n° 125; Bonnard, Le Cannet, une évidence, Musée Bonnard, Le Cannet, 2020, repr. in exh. cat. p. 42 The creation of this work by Pierre Bonnard reminds us that the artist was also a photographer, experimenting with daring compositions. Though his painting captures the fleeting moment, it shares little with the tentative realism of early photography. Made entirely of color and sensation, it constructs a fragile world of subtle harmony. Just before embracing the South - before letting the Mediterranean light burst into color across his canvases - Bonnard explored a quieter, more muted sensuality in the early 1910s, while working in a studio in Paris, not far from the avenue depicted here. The “very Japanese Nabi,” as his friends from the group of his youth liked to call him, knew how to let color whisper on the canvas, how to conjure the intimacy of a letter. On one side of the painting, cool tones — blues and violets placed side by side - contrast with the russet hues of this autumnal Parisian avenue, bringing to the foreground, beneath a hat bathed in light like a reinvented halo, the lowered face of a woman reading. Her eyes are hidden, absorbed in the text. Though she has removed her gloves, she surely no longer feels the sharp chill of that November afternoon… Elegant silhouettes glide through the landscape; yet they endure — along with this hat-wearing heroine - on our retinas and in our memories, as companions to a shared intimacy, lasting only the time it takes to read a love letter. Unseen on the art market since the 1960s, this painting has been shown in several museum exhibitions, the most recent in 2020 at the Musée du Cannet, dedicated to the artist.
Gallery de Potter d’Indoye
georges jacob
Pair of bergères 'à la Reine' Georges Jacob (Cheny 1739-1814 Paris) France, Louis XVI period Carved and gilded wood H 100 x W 69 x D 61 cm Stamped Georges Jacob Provenance: Jacques Perrin, Paris, 1997 Pair of carved and gilded wood Bergères with rounded backs, decorated with acanthus leaves and an interlacing frieze. Tapered and caned legs with gadroons. The arched crest surmounts padded armrests, the frames carved with guilloche patterns and foliage, resting on turned fluted legs, stamped G. Jacob. Georges Jacob, received as master on the July 5th, 1765, is the most famous of all the 18th-century French menuisiers. Unlike his colleagues, Jacob founded his company from scratch in 1765 and moved his workshops to Rue Meslée in 1775. This is where the most brilliant period of his career took place and where the major royal commissions were produced. From 1773 he was solicited by the Garde-Meuble de la Couronne, for which he continued to work until the Revolution. In addition to the Queen and, to a lesser extent, the King, his clientele included the main members of the royal family and its entourage. As ordinary carpenter to Monsieur, Count of Provence and brother of the King, the future Louis XVIII, he furnished most of his homes. He also worked for the Count of Artois, another brother of the King and future Charles X, Madame Élisabeth, sister of Louis XVI, the Prince of Condé, the Duke of Penthièvre, the Duke of Bavaria and Deux-Ponts Charles-Théodore, etc.
Galerie von Vertes
tony cragg
Tony Cragg (Liverpool, 1949) Nea Relatives, 2020 Bronze Conceived and cast in 2020 6 casts H 77 x W 44 x D 47 cm Signature and foundry stamp on the base Certificate of authenticity by the artist on 10 April 2025 Provenance: Buchmann Galerie, Berlin (acquired directly from the artist)
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.
Vagabond Antiques
Monumental carved marble Sundial Portugal, Oporto region, mid-18th century H 357 x W 130 x D 62 cm Portugal has a rich tradition of country houses and manors indigenously known as solares or quintas. Some were modelled on the great 18th century gardens of Le Notre and other landscape architects in France. Under King João, himself a great patron of the arts, began the great 18th century period of Portuguese baroque. The previous austere architectural style, albeit heavily influenced by Renaissance Italy, was replaced with exuberance. With great profits from its colonies and especially gold and precious stones from Minas Gerais and the Sertão of São Paulo in Brazil, it was the golden era of Portuguese architecture and ornament. From it there emerged a new artistic language. Named the Joanine, in honour of the King, it was an architectural style that transformed quintas not only in Portugal but also in the nation’s Atlantic provinces and overseas colonies. This spectacular sundial, monumental in scale, incorporates many architectural elements synonymous with the baroque architecture of the mid-18th century. It was a highly creative Italian who created a form of this style of architecture perfectly suited to Northern Portugal. Born in 1691 and trained in Sienna, Nicolau Nasoni arrived in Oporto in 1725. Having established his reputation by modernising the city’s cathedral, he was commissioned by Jeronimo de Tavora e Noronha to build the Church of Clerigos, one of Oporto’s great 18th century churches. Commissions for other churches and quintas followed, the most famous of which being the grand solar de Mateus, known all over the world for the rose wine that bears its name. The architectural composition of this sundial probably owes more to the façade of the Cas dos Porto Carreiro. Similar works was commissioned by Antonio de Vasconcelos Carvalho e Menezes, a wealthy Portuguese noble who made part of his wealth in Brazil, it was constructed by a Spanish architect but heavily influenced by Nasoni’s work. The volute scrolls and the foliate elements as well as the stylised lambrequins all echo Nasoni’s designs for the gilt woodwork of Oporto churches.