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Galerie Berès
Henri Hayden (Warschau 1883-1970 Paris) Le banjo, circa 1920 Gouache on paper 28 x 36.7 cm Signed lower left 'Hayden' Certificate of authenticity by Pierre Célice dated 15 April 2012 This work will be included in the forthcoming Henri Hayden catalogue raisonné currently in preparation Literature: Henri Hayden (1883-1970), Bibliothèque Polonaise de Paris, 12 June-12 July 2013, pp. 28 Exhibition: Henri Hayden, Soixante ans de peinture 1908-1968, Musée National d'Art Moderne de Paris, 3 May-2 June 1968
Waddington Custot
Jean Hélion (Couterne, Rives-d'Andaine 1904–1987 Paris) Homme au chapeau, 1943 Oil on canvas 58.1 x 43.1 cm Signed and dated on reverse ‘Hélion va 43’ This work is recorded in the online catalogue raisonné de l’oeuvre peint de Jean Hélion, no. 876 (http://www.helion-cat-rais.com/moteur/pop.php?id=1216) Provenance: John Ashbery, New York (directly from the artist); Connaught Brown, London Exhibitions: ‘Jean Hélion’, Spencer A. Samuels & Co., Ltd, New York, 7 April–22 May 1976, catalogue no. 8 (repro. In b&w); ‘Works from the Collection of John Ashbery’, Kasmin Gallery, New York, 1 November–22 December 2018; ‘Regards croisés’, Waddington Custot, Paris, 11 June–26 September 2026
Laurent Schaubroeck
Rick Owens (USA, Porterville, 1961) Small Plug Table, 2013 Black stained plywood H 41 x W 140 x D 75 cm Stamped Rick Owens 02/08 Edition of 8 + 4 AP Produced in France A monolithic composition in black plywood, the Plug Table reflects Rick Owens’ uncompromising approach to furniture: reduced geometry, architectural weight and an almost brutalist sense of proportion.
Floris van Wanroij Fine Art
Anna Ruysch (The Hague 1666-1754 Amsterdam) Flowers in a glass vase on a partly draped marble ledge Oil on canvas 47 x 37.5 cm Signed Anna Ruysch lower left The present picture is recorded at the RKD in The Hague under n° 194147 as by Anna Ruysch Provenance: sale Piasa, Paris, 27 July 2008, lot 16; Kunsthandel P. de Boer, Amsterdam, 2008; Kunsthandel Xaver Scheidwimmer, Munich, 2009; private collection, Ohé en Laak, The Netherlands; thence by decent Exhibitions: Kunsthandel Xaver Scheidwimmer, TEFAF Maastricht, 13-22 March 2009; Rachel Ruysch. Artist, Naturalist and Pioneer (traveling exhibition) Munich, Alte Pinakothek, 26 november 2024-16 March 2025; Toledo OH, Toledo Museum of Art, 13 April-27 July 2025; Boston, Museum of Fine Arts, 23 August-7 December 2025 Literature: Schindler, R., Ebert, B. & Knaap, A. C. (2025). Rachel Ruysch. Nature into Art. Boston: MFA Publications, exh. cat., p. 24, ill. n° 12, identified as by Anna Ruysch
Galerie von Vertes
Andy Warhol (Pittsburgh 1928-1987 New York) Patty Raynes and son, 1985 Acrylic and silkscreen ink on canvas 102 x 102 cm Signed on the reverse and dated 'Andy Warhol 85' Provenance: Patty Raynes, USA (1985 directly acquired from the artist); private collection, USA (2022 acquired from the above) In 1985, Patty Raynes commissioned two works, this one with a yellow background and a second one with a white background. ‘Patty Raynes and Son’ from 1985 is one of a series of portraits in which Warhol no longer exclusively depicted global celebrities, but increasingly portrayed members of his social environment - individuals whose social position exerted a symbolic aura, even if they remained outside the pop-cultural canon. Patty Raynes came from a respected family of American industrialists, socialite and daughter of oil tycoon Marvin Davis, a fact that inevitably lends the work the character of a status portrait. Warhol, who was always concerned with the relationship between appearance and identity, addresses the portrait here as an expression of social affiliation. The subject, the depiction of a mother and child, is immediately reminiscent of the archetypal motifof the Madonna and Child. Warhol adopts this traditional pictorial form but transforms it into a contemporary icon: the sacred content isdisrupted by the screen-printing technique, giving the scene a cool, distanced character. Patty Haynes and son emerge from this mature period in Warhol’s oeuvre, when the artist extended his repertoire of subjects to include his panoply of famous friends, artists, actors, and socialites. A collection idolising the who’s who of New York, Warhol intended for the 40 by 40-inch series to be exhibited together in a 'Portrait of Society', a dream eventually realized at the artist’s retrospective Andy Warhol - From A to B and Back Again at the Whitney Museum in New York in 2018.
Galerie Édouard Ambroselli
Artus Quellinus the Younger (Sint-Truiden 1625-1700 Antwerp) Virgin and Child, circa 1650-1665 Terracotta, stone H 81.2 x W 42.5 x D 34 cm Born into a dynasty of sculptors in the Southern Netherlands, Arthus Quellinus theYounger, became one of the leading artists of the region. He followed his cousin, Artus Quellinus the Elder, to work on the Amsterdam Town Hall, a landmark of European sculpture. Back in Antwerp, he ran a workshop that trained a successful generation of sculptors, and he exported his works across Europe. Our Virgin and Child, is a preparatory model for a larger statue. The Virgin’s elongated face and elaborate hairstyle, the Child’s plump belly and slender legs, and the crisp, flowing drapery are all hallmarks of the artist’s refined style. The throne is decorated with cherub heads and volutes that differ on each side, a way of offering the patron a choice between two decorative solutions. Spontaneous and intimate, this terracotta gives us the intimacy of a working model, a glimpse of the sculptor’s creative process.
Galerie Jean-François Cazeau
Victor Vasarely (Pecs 1908-1997 Paris) EG-2, 1965 Acrylic on canvas 160 x 160 cm Signed in the centre Countersigned, titled and dated on the reverse Certificate of authenticity issued by Pierre Vasarely dated 26 July 2020 Provenance: the artist’s studio; Galerie Denise René, Paris; private collection, France
CKS Gallery
Jean Gabriel Domergue (Bordeaux 1889-1962 Paris) Grand Gala Oil on canvas 100 x 80 cm (unframed) 126 x 107 cm (framed) Signed, titled and inscribed 'A Madame G.' Inscriptions on the stretcher: A Jacky Grasseau 'Ce coin de la vie parisienne' Provenance: private collection Exhibition: Galerie Goya, 28 allées de Tourny, Bordeaux, Domergue n° 1
Galerie Nicolas Bourriaud
Rembrandt Bugatti (Milan 1884-1916 Paris) Small Elephant at Rest (1912), circa 1923 Bronze with a nuanced brown patina H 20.3 x W 20.5 x D 12.5 cm Signed ‘R. Bugatti’ Cast by Hébrard, numbered ‘11’, bears the mark ‘CIRE PERDUE A.A. HEBRARD’ Only twenty examples have been recorded to date. Certificate of authenticity by Véronique Fromanger Provenance: Cahier Hébrard inv. n° 3717, formerly in the collection of the Countess de V, Toulouse, acquired in 1923 or 1924; private collection, Marseille Literature: Véronique Fromanger, 'Rembrandt Bugatti, Sculptor: A Monographic Catalogue: A Meteoric Career', Paris, Les éditions de l’Amateur, 2016, model listed under n° 300, p. 364 All of Rembrandt Bugatti’s talent as an animal sculptor is evident in his Little Elephant at Rest, depicted standing upright, somewhat ungainly, leaning on his trunk to maintain his balance. Through the sensitive yet dynamic treatment of its modelling, the sculpture beautifully reveals the Master’s ability to convey a palpable sense of life through the medium of sculpture. This endearing model was produced in an edition of only 20 examples. This particular example, numbered 11, is distinguished by the beauty of its patina, with its particularly nuanced and delicate shades of brown enhanced by touches of green, as well as by the exceptional quality of its casting, executed by Albino Palazzolo at the Hébrard foundry. So finely rendered is the bronze that the artist’s fingerprints remain visible in numerous places.
Galerie bei der Albertina ▪ Zetter
Johann Lötz Witwe, Klostermühle and Gustave Serrurier-Bovy (attributed to) Table Lamp, around 1900 Metal with hammered décor, square-shaped lampshade, twelve square-shaped glasses, in blue and violet, with melted splashes in silver-yellow, iricised, by Johann Lötz Witwe, Klostermühle, single light, electrification renewed H 55 cm, D 25 cm Gustave Serrurier-Bovy was one of the most acclaimed architects and designers of Belgian art nouveau, next to Victor Horta or Henry van de Velde. After a trip to London in 1884, he was strongly influenced by the British Arts and Crafts movement, as well as by William Morris and John Ruskin. His asymmetrical and organic furniture and lighting designs alternated between curvilinear, plant-inspired motifs and a highly functional, almost industrial simplicity that is considered a precursor to modern industrial design. As with objects designed by Josef Hoffmann or Adolf Loos, this lamp combines an architectural composition with functional finesse and a uniquely modern aesthetic. Around 1900 Lötz Witwe maintained an extensive international distribution network of sample warehouses - including one located directly in Brussels. While Serrurier-Bovy provided the structural designs (often made of wood or metal), Lötz Witwe contributed the brilliance of color and materials. This makes the lamp a good example for the international exchange happening in the design world from the late 19th century onwards and the extension of art nouveau ideas. Lamps in this style with the original glass inlays are extremely rare on the market. Works by Serrurier-Bovy are on display at the Musée d'Orsay in Paris and the Metropolitan Museum of Art, among other places.
Stéphane Renard Fine Art
Maerten de Vos (Antwerp, 1532-1603) The Four Elements: Air, Earth, Water and Fire, 1579 Pen and brown ink wash on laid paper 10 x 13.8 cm (each drawing) The drawings of Earth, Water and Fire are signed and dated 1579 Provenance: private collection, Lyon, France These four previously unpublished drawings were used around 1585 to produce the series of four engravings by Johannes Sadeler (Hollstein 529-532). The success of this publication led, a few years later, to the production of a second, smaller series by Raphael Sadeler, Johannes’s brother (Hollstein Dutch and Flemish, Maerten de Vos, XLIV-XLVI, 1360-1364).
Dalton Somaré
Chokwe chair Angola, late 19th century Wood, metal, and leather H 68 x W 31 x D 38 cm Provenance: collection of Joyce and Donald Doyle, diamond mine directors for the Compagnie de la Forminière in the Belgian Congo in the 1920s. The majority of their collection was donated to the Princeton University Art Museum. Thence by descent to their daughter Suzanne "Sue" Miers, née Doyle (1922–2016), Africanist historian and professor at Ohio University. Thence by descent to her children Charles Miers and Caroline Farrington, New York Literature: Narrative Wisdom and African Arts (Exhibition catalogue), St. Louis Art Museum, 19 October-16 February, 2025, pp. 74, 75, 81 Exhibition: Narrative Wisdom and African Arts, St. Louis Art Museum, 19 October-16 February, 2025 This leather-seated chair belongs to a tradition of Chokwe seats of authority, commonly described as ngundja. Its refined decoration transforms a functional furnishing into a visual expression of chiefly prestige. Such seats formed part of a wider repertoire of objects associated with leadership, alongside ceremonial weapons, staffs and elaborately carved pipes. The combination of a backrest, a leather-covered seat and metal tacks reflects the adaptation of European furniture encountered through trade from the seventeenth century onward. Chokwe artists reworked these features within their own sculptural language, making the chair an expression of local political and spiritual values. At the centre of the back is a sculpted female face, which must be identified as Pwo. Pwo honours female ancestors and has particular significance within a society that traces descent through women. Her imagery also belongs to the wider world of masquerade and initiation. The lower stretchers carry small sculptural groups as musicians playing handheld drums and a slit drum, and a mounted pombeiro, or long-distance trader. It must be noted the unusual prominence of a female subject in these carved scenes. These scenes can be read within the broader Chokwe tradition of presenting ritual and everyday activities as aspects of the social world entrusted to a leader. Extremely sophisticated geometric carving and rows of metal studs enrich the back and supports, contrasting with the leather seat and the varied tones of the wood. The combination of carved figures, the monumentality of the composition and the rigour of the geometric decoration in high relief lend this sculpture the dignity and authority of a true throne.
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
Finch & Co
Devotional crucifix of Christ Portuguese Goa, 17th century Coromandel wood, gilded ivory, silver mounts H 107 x W 26 cm Christ height: 32 cm Provenance: private collection, Ireland Belgium CITES: 2025/BE01024/CE A fine and large Portuguese Goa devotional Crucifix. The polychromed and gilded ivory of Christ crucified on a Coromandel wood cross, ornately embellished with Baroque silver mounts, stands on an integral Coromandel plinth. The agonising Christ on the cross has his head falling to his right, with closed eyes and mouth open in his call to God. His long hair is carved in undulating locks falling to his shoulders. The well-defined torso has flexed muscles and a pronounced rib cage, while the arms have veins threaded along their length. His hands and feet are pierced by silver nails, his wounds are polychromed red, and the edges of the perizonium are gilded.
