This section will be available this Autumn.
Galerie von Vertes
Repetition GL.A 1996 Collage and acrylic on canvas 16.1 × 12.5 in., 41 × 31,8 cm Verso signed, dated and titled Provenance: · Shinwa Auction, 23 November 2014, lot 145 · Private collection, Japan (acquired from the above) · Bonhams, Hong Kong, 11 June 2016, lot 26 · Private collection, Asia (acquired from the above) · Christie's, Hong Kong, 3 December 2020, lot 517 · Private collection, London (acquired from the above) Expertise: · Certificate of authenticity from the Yayoi Kusama Studio on 21 August 2012 Background information: Repetition or seriality would become her signature technique in everything that she created: “Repetition of the same patterns, an action which stems from my disease, is applied in my writing just as it is in my artwork. Dreams and hallucinations are actually occurring. This obsessional image is what I have transformed my disease into, and is therefore, to me, irreplaceable.”
Chambre professionnelle belge de la Librairie Ancienne et Moderne (CLAM)
PICASSO (P.) – PARMELIN (H.). Les Dames de Mougins. Paris, Imprimerie Union, 1964, presentation copy from Picasso to Dr. René-Albert Gutmann, one of his physicians, with an original drawing. PICASSO (P.). Felt-tip pen drawing. 298 x 270 mm. Signed and dated "Diego Picasso, 8.11.65, and Jacqueline [Picasso]". Librairie Lardanchet, Antiquarian bookseller
Klaas Muller
Gerard Ter Borch (Zwolle 1617 - Deventer 1681) Portrait of a Man with a Black Hat Around 1650 Oil on Oval Panel 19.9 × 16.5 cm 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. We are 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.
Gallery Sofie Van de Velde
Victor Servranckx (1897 Diegem BE – 1965 Vilvoorde BE) Opus 20, (Calm Blocks Fallen from an Obscure Disaster), 1927 Signed and dated lower left: SERVRANCKX 1927 Oil on canvas 146 × 81 cm Thanks to a photograph showing the artist during his solo exhibition at the Palais des Beaux-Arts (Brussels) in January 1929, we know that the painting was exhibited there. Félix Carlier acquired the work at the group exhibition (featuring works by De Boeck, Flouquet, Gailliard, and Servranckx) at Galerie Le Centaure in Brussels in 1929. Provenance: Félix Carlier, Waermael-Boisfort (purchased from Galerie Le Centaure, Brussels, 1929) Galerie J.-P. Alaerts, Brussels London, Christie’s, 16 October 1990, lot no. 61 (illus.) Lokeren, De Vuyst, 6 October 2001, lot no. 489 Private collection, Brussels Galerie Ronny Van de Velde, Antwerp Exhibitions: Brussels, Palais des Beaux-Arts, 1929 (no catalogue) Brussels, Galerie Le Centaure, Exhibition De Boeck, Flouquet, Gailliard, Servranckx, 1929, no. 33 Brussels, Palais des Beaux-Arts, 1947, no. 45 “146 × 92 cm” Brussels, Musée d’Ixelles/Museum van Elsene, Retrospective Le Centaure. Homage to Walter Schwarzenberg, 1963, no. 117 Brussels, Musée d’Ixelles/Museum van Elsene, 1965, no. 107 Hasselt, Provinciaal Begijnhof, 1970, no. 57 (illus.) Literature: La Nation belge (Brussels), 12th year, no. 48, 17 February 1929, p. 3 (illus.) Le Peuple (Brussels), 5th year, no. 48, 17 February 1929, p. 1 (illus.)
Anthony Short Antiques
Exceptional and Very Rare 18th-Century George III Thomas Chippendale Period Mahogany Bookcase *English, circa 1770 – all original and highly authentic* An outstanding and extremely rare 18th-century George III period mahogany bookcase, in the manner of Thomas Chippendale, a true statement piece that combines refined architectural design, exceptional craftsmanship and superb, entirely original condition. The upper section is crowned by an impressive broken arch pediment above a finely carved blind fret frieze, giving the bookcase great presence and elegance. Below, a pair of beautifully panelled cupboard doors, retaining their original brass escutcheons, key and fully working lock, open to reveal generous shelving, ideal for books or treasured objects. The lower section is equally distinguished, fitted with two short and three long graduated oak lined drawers, all retaining their original swan neck brass handles. The whole is raised on classic original blocked ogee bracket feet, which, together with the original panelled oak backboards, confirm the authenticity and integrity of this important piece. Made in England circa 1770, this bookcase displays a superb, rich mahogany colour and a warm, mellow patina developed over more than two centuries. The surfaces, proportions and details are all in remarkable original condition, clearly reflecting the skill of the Georgian cabinetmaker and the careful stewardship it has enjoyed throughout its life. Bookcases of this calibre, period and originality are exceptionally scarce on the market. A very fine example of Georgian library furniture in the Chippendale tradition, this piece offers a rare opportunity to acquire a genuinely period, all authentic masterpiece that unites grandeur, elegance and practicality. A superb focal point for a drawing room, library or study, and an ideal choice for any serious collector or refined interior seeking a museum quality statement piece of outstanding 18th?century craftsmanship. Height 197cm (77.6in) Width 108cm (42.5in) Depth 54cm (21.3in)
Galerie des Modernes
Jean Dubuffet (Le Havre 1901-1985 Paris) Personnage (buste) M. 406, 29 March 1967 Marker pen and gouache on paper with cut and pasted elements 45,5 x 26 cm Signed with the artist’s initials and dated lower right Annotated lower right Provenance: Jean Dubuffet collection, Paris; Ludovic Massé collection (1900–1982), Perpignan (gift from the artist, March 1968); private collection, France Literature: Max Loreau, 'Catalogue des Travaux de Jean Dubuffet, Fascicule XXII: Cartes, Ustensiles', Weber Publisher, Lausanne, 1972, pp. 145 and 188, ill. p. 145, n° 371
Galerie Jean-François Cazeau
Yayoi Kusama (1929 - 2026) Uchu/Universe, 1994 Acrylic on canvas 91 x 73 cm 35 7/8 x 28 3/4 in. Signed, titled and dated in Japanese on the reverse, « Yayoi Kusama 1994 » Provenance Ota Fine Art, Tokyo Private collection Sotheby’s Londres, 2022, Lot 318 Acquired by the current owner at Sotheby’s London Collection privée, France This work is registered in the Archives of Yayoi Kusama Studio as N° 1518.
Galerie Ary Jan
Moïse Kisling (1891–1953) Landscape of Sanary-sur-Mer Oil on canvas Signed lower left and dated 1932 Dimensions: 64 x 73.5 cm Provenance: Acquired directly from the artist in the 1930s. Private collection, France Christie's Paris, sale of December 1, 2009 Private Collection, France Bibliography: J. Kisling, Kisling, 1891–1953, Turin, 1982, illustrated vol. II, p. 273, under no. 70
Galerie de la Présidence
Hans HARTUNG (1904-1989) « T1966-E40 » 1966 Vinyl paint on canvas and scraping 27 x 35 cm – 10.62 x 13.77 in. Signed and dated lower left Titled on the reverse, dedicated and signed Provenance - Waintrob collection, USA - Galerie Applicat-Prazan, Paris - Private collection, Paris This work is registered in the Archives of the “Fondation Hans Hartung & Anna-Eva Bergman” under number : T 1966-E40
Verdini Antiques
Vincenzo Raffaelli Rome, Via del Babuino 93 Performed between 1835 and 1845 ca. Round top in colored marbles "pebble" samples 200 ca. Diameter 91.2 cm = 3 Roman feet Thickness 5.2 cm = 2 Roman inches The round top in colored marble that we are dealing with, is a real "pebble" sample made of ancient "excavation" marble and modern marble, that is, used after the sixteenth century such as Malachite, Portoro or Napoleonic Orbicular Granite etc. The particularity and rarity of this table is given by the fact that the samples of marbles used, in addition to being rare then (and even more so today), were worked differently from all the other types of samples that were made between the eighteenth and nineteenth centuries. The sample tables of this period generally have a frame in black marble from Belgium or other fine marbles, which contains all the rare colored samples committed.
Finch & Co
A Rare Ancient Celtic Bust of a Radiate Deity ‘Sol Invicta’ Wearing a Halo of the Rays of the Sun Limestone British 1st Century BC - 1st Century AD Size: 42cm high, 40cm wide, 20cm deep - 16½ ins high, 15¾ ins wide, 8 ins deep Provenance: Ex Private collection West Country U.K. Ex Finch and Co, item number 1, catalogue number 30, Summer 2018 Ex Private collection cf: Dr Anne Ross ‘Pagan Celtic Britain’ no. 916, for a similar Stone Radiate Deity
Dr. Nöth kunsthandel
Armand Guillaumin: "BORDS DE L´ORGE Á EPINAY", 1890, Oil on canvas, 81 x 65 cm, signed lower right, Certificate Comité Guillaumin, will be included in the second volume of the forthcoming catalogue raisonné , Provenance: Galerie Durand-Ruel, Paris; Clara de Plessis Whelan, New York; Sale Parke-Bernet Galleries, New York, 7th Nov 1946, lot 65; Mr. Jussaume, Buenos Aires; Mr. Foret, Buenos Aires; private collection , France (acquires from the above in 1956); sale: Christie`s London 7th Febr. 2001, lot 127; private collection Texas
Almine Rech
Tom Wesselmann (b.1931, Cincinnati, OH, US. d.2004, New York, NY, US), 'Long Beach Seascape', 1991/95. Signed and dated on the back. Alkyd oil on cut-out aluminum, 99.1 x 190.5 cm - 39 x 75 in. Provenance: The Estate of the Artist. © 2026 The Estate of Tom Wesselmann / Artists Rights Society (ARS), New York. Tom Wesselmann’s creative approach was in constant evolution throughout his long and productive career. Never one to follow artistic convention, he continually sought new materials and formats. His fascination with innovative surfaces and technologically advanced techniques drove him to push aesthetic and formal frontiers, as seen in 'Long Beach Seascape'. In the 1980s, Wesselmann developed a laser cutting technique that opened up a new world of creative possibilities. Using this novel method, the artist delighted in transposing his bold visual vocabulary into works that challenged the boundaries between painting, drawing, and sculpture. Speaking to the New York Times in 1985, Wesselmann couldn’t contain his enthusiasm for the new medium: “I've just had the best year of my life [...] I always work in a kind of near ecstasy, anyway, but there's really been something about the new work that grabbed me.'' Centering dynamic line and vibrant color, 'Long Beach Seascape' demonstrates the artist’s endless pursuit of radical forms of creative expression.
Galeria Jordi Pascual
Fernand Léger (Argentan 1881-1955 Gif-sur-Yvette) Paysage animé, 1937 Oil on canvas 92,1 x 60 cm Provenance: Galerie Simon, Paris; Galerie Louise Leiris, Paris; Kunsthalle Bern; Marlborough Gallery, London; Saidenberg Gallery, New York; Michelle Rosenfeld Gallery, New York; Nierendorf Gallery, New York; Samuel Berger, New York; private collection Literature: Cooper, Douglas, Fernand Léger et le nouvel espace, Lund Humphries / Éditions des Trois Collines, 1949, p. 130; Bauquier, Georges, Fernand Léger: Catalogue raisonné 1932–1937, 1996, pp. 238–39, fig. 938 Exhibitions: San Francisco Museum of Art, Art of Our Time, 1935–1945, 1945, cat. p. 33, fig. 39; Marlborough Gallery, London, Selected European Masters of the 19th and 20th Centuries, 1973, cat. pp. 78–79, fig. 39; Stad Mechelen, Cultureel Centrum, Belgium, Fernand Léger, 1979, fig. 60; Museo de Arte Contemporáneo, Caracas, Fernand Léger, 1982, cat. p. 74, fig. 46; Whitechapel Art Gallery, London, Fernand Léger: The Later Years, 1987–88, cat. p. 19, fig. 21; Staatsgalerie, Stuttgart. Fernand Léger: Zeichnungen, Bilder, Zyklen, 1930–1955, 1988, cat. p. 190, fig. 21; Michelle Rosenfeld Gallery, Léger: America’s Culture, 1998, cat. fig. 18; Fundació Joan Miró, Fernand Léger, 2002, cat. p. 129; Marlborough Fine Art, London, Jacques Lipchitz and the School of Paris, 2023
W. Apolloni - Laocoon Gallery
Leoncillo Leonardi (Spoleto, 1915 - Rome, 1968) Plate with abstract design c. 1950 Glazed ceramic ø cm 28 Signed below on the edge "Leoncillo" Bibliography: M. F. Apolloni, M. Cardarelli (edited by), Leoncillo - Le Ceramiche, Rome 2018 Exhibitions: "Leoncillo: Earth, Fire and Colours. A retrospective exhibition 1939-1955" (coming soon)
Victor Werner
Svend Rathsack (Fredericia 1885-1941 Frederiksberg) Eve with the Serpent, 1941 Large garden sculpture with natural green patina Signed with the artist's monogram, dated '1941', and inscribed 'n°1' on the base Bears the foundry mark 'Lauritz Rasmussen, broncestøber, København' H. 128 x W. 47 x D. 37 cm Provenance: Acquired by the previous owner's aunt in 1941, where it remained in a garden in Charlottenlund until 2016; subsequently inherited within the family.