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Galerie von Vertes
Yayoi Kusama (Matsumoto 1929-2026 Tokyo) Repetition GL.A, 1996 Collage and acrylic on canvas 41 x 31,8 cm Signed, dated and titled on the reverse 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) Certificate of authenticity from the Yayoi Kusama Studio on 21 August 2012 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.'
Desmet Fine Art
Odoardo Fantacchiotti (Rome 1809 – 1877 Florence) Musidora, Firenze 1859 Inspired by the James Thomson’s poem ‘Summer’, originally published in 1727 Marble H 167,6 x W 49 x D 49 cm Plinth: H 95,3 x D 63 cm (at base) Total height: H 262,9 cm Signed 'Per commis del meritis / ... / Odoardo Fantachiotti / Scolpiva in Firenze / l'anno 1859 Provenance: commissioned by August Belmont (1813-1890) USA; Randall family, Clarendon Court (Newport – USA) Art Loss Register: S00258863 Literature: Ricordi fotografici degli artisti contemporanei in Toscana : ‘La Musidora’(Firenze-1858); V. Lia Bernini, G. Moradei, Odoardo Fantacchiotti scultore (1811-1877): atti delle giornate di studio nel bicentenario della nascita 1811-2011, (Toscana 2021), Volume 227, pp. 37-41 Other verions: 1862, for Baron Belper, Edward Strutt (Israele collection); 1865, for the king of Portugal (Lisbon Palacio Nacional da Ajuda)
Galerie Boulakia
Georges Mathieu Louis VII épouse Eléonore d'Aquitaine, 1958 oil on canvas 97 x 162 cm 38 3/16 x 63 3/4 in signed bottom left This artwork is referenced among the authentic artworks of the « Archives by Jean-Marie Cusinberche on Georges Mathieu ». An attestation of the « Archives by Jean-Marie Cusinberche on Georges Mathieu » will be provided to the buyer. Provenance Galerie Europe, Paris
Caretto & Occhinegro
The Master of Antwerp Adoration (Active in Antwerp first decades of XVI century) The Annunciation to St Anne, circa 1525 Oil on panel 59 x 62 cm Expertise Peter van den Brink Literature: Van den Brink 1997, pp. 32, 35 note 22, fig. 5; Van den Brink 2007, pp. 168, 175, 179 note 38, fig. 16b; Cécile Scailliérez, in Paris 2017, pp. 84, 86, fig. 32
Galerie Raf Van Severen
Rik Wouters (Mechelen 1882-1916 Amsterdam) Portrait de Rik Wouters, Chemise Blanche, 1912 Oil on canvas mounted on panel 51,5 x 61,5 cm Annotated at the back: Nr 99 Portrait de Rik Wouters par lui même toile collee sur panneau; Mme V: Rik Wouters; Portret van Rik Dhr Mevr. De Carnière Provenance: previous collection of Nel Wouters; Leten collection, Ghent; private collection, Brussels Literature: Roger Avermaete, Rik Wouters, Editions Arcade, Brussels, 1965
DIE GALERIE
André Masson Les vieux souliers 1944 Oil on canvas 60 x 73 cm Signed lower middle The authenticity is confirmed by the Comité André Masson on October 7, 2002. Provenance: Galerie Simon, Paris et. al. Literature: André Masson (1896-1987), Exhibition catalogue Museo National Centro de Arte Reina Sofia, Madrid 2004, p. 240; André Masson. Petite rétrospective entre amis, Exhibition catalogue DIE GALERIE, Frankfurt am Main 2016, p. 67; André Masson. Zwischen Welten - Entremondes, Exhibition catalogue Kunstsammlungen Chemnitz, Köln 2019, p. 95; et. al. Exhibitions: Rétrospective Masson, Musée National d'Art Moderne, Paris 1965; André Masson (1896-1987), Museo National Centro de Arte Reina Sofia, Madrid 2004; André Masson. Zwischen Welten - Entremondes, Kunstsammlungen Chemnitz 2019/2020; Surreale Tierwesen, Max Ernst Museum Brühl, Brühl 2021/2022; André Masson. La mémoire du monde, DIE GALERIE, Frankfurt am Main 2024/2025 et. al.
Stern Pissarro Gallery
PABLO PICASSO (1881 – 1973) Guitare Executed in 1923 Pastel on paper 21 x 14 cm Signed upper right, Picasso Provenance: Galerie István Schlégl, Zürich Private collection, acquired from the above in 1988 Literature: C. Zervos, Pablo Picasso Oeuvres de 1923 à 1925, Vol. V, Editions cahier d'art, Paris, 1952, no. 70 (illustrated in black and white)
Harold t’Kint de Roodenbeke
Jane Graverol 60 x 73 cm Oil on canvas Signed and dated 1949 Provenance Collection of his friend and artist Tom Gutt Exhibited Le surréalisme en Belgique, Musée de Mons, march-august 2007 Histoire de ne pas rire, Bozar, Bruxelles, fev-june 2024, illustrated p. 221 An important work by Jane Graverol, created in the very year she met the painter René Magritte. In it, she depicts herself as if trapped in a cage, like a bird. Yet the door is open, like a breath of freedom and hope offered to the artist.
Galerie Perrin
EDUARD GAERTNER (1801 Berlin - 1877 Flecken Zechlin) RUE NEUVE-NOTRE-DAME IN PARIS German school, 1826 TECHNIQUE : oil on original canvas SIGNATURE : signed, localized and dated lower right E. Gaertner fec / Paris 1826 DIMENSIONS UNFRAMED : H. 44 cm (17 3/8 in.), L. 34,5 cm (13 5/8 in.) DIMENSIONS FRAMED : H. 65 cm (25 5/8 in.), L. 54 cm (21 ¼ in.) PROVENANCE : Jérôme Carcopino collection ; always stayed in the same family
N. Vrouyr
Etablissements veuve Guillon et fils, Belgium Before 1925 Warp and weft, cellulose, pile, wool 460 x 370 cm Numbered at the back Literature: Arthur De Rudder, International exhibition of modern decorative and industrial arts (Paris, 1925): official catalogue of the belgian section Exhibition: International exhibition of modern decorative and industrial arts, Paris, 1925, Belgian Pavilion, gallery of complete interiors, dining room by the Maison Gustave and Edouard Blondel
Galerie de la Présidence
Hans Hartung (Leipzig 1904-1989 Antibes) T1966-E40, 1966 Vinyl paint on canvas and scraping 27 x 35 cm 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
Thomas Deprez Fine Arts
Josuë DUPON 1864 | 1935 « FLANDRIA » 1914 (model) | pre-1916 (cast) 66 x 71 x 25 cm Patinated bronze, sand-cast Signed on the base: ‘Josuë Dupon’. Titled on the front end of the base: ‘FLANDRIA’. Stamped along the backside of the base: ‘Fonderie Nationale des Bronzes’. PROVENANCE Anonymous sale, Pictura, Ghent, 05/01/2007; Ancienne collection K. D., bought from the above ; Thence by descent. EXHIBITED 1914, Studio of the artist, March, cf. press; 1914, Exposition Henry Luyten et Josué Dupon, April; 1914, Salon Triennale, Brussels, as: nr. "1001. Flandria (plâtre)." 1920, Salon Triennale, Antwerp, as: "Flandria. Brons." 1922, Salon Triennale, Ghent, as: "Flandria. Brons." RELATED DOCUMENTS A letter from Dupon to art historian and collector Max Rooses, dated to 30 March 1914, discusses the sale of a bronze version for 1.800 francs as a special offer at a reduced price. Rooses passed away some 100 days later on July 15th 1914. (Letterenhuis, Antw’en, D922.) PRESS (Full print available on request) René Sancy, " "Flandria" chez M. Josué Dupon", in: Le Matin, 25/03/1914, p. 3. René Sancy, "Exposition Henry Luyten et Josué Dupon", in: Le Matin, 16/04/1916, p. 7. Arnold Goffin, “De driejaarlijksche tentoonstelling te Brussel, II Beeldhouw- en penningkunst”, in: Onze Kunst, Geïllustreerd maandschrift voor beeldende en decoratieve kunsten, Brussel, 13de jaargang, 1914, p. 103: D. Visu. “Driejaarlijksche Tentoonstelling (vervolg en slot)”, in: Het Handelsblad, 20/07/1920, p. 1. “Beeldende kunsten: Driejaarlijksche Tentoonstelling”, in: Gazette van Antwerpen, 08/08/1920, p. 2. “Kunstkroniek: 42e Driejaarlijksch Salon te Gent, XVIII”, in: Vooruit, 04/08/1922, p. 7. Karel Van de Woestyne, “Het driejaarlijksch salon te Gent. V.”, in: N.R.C., 20/09/1922.
Victor Werner
Franz Barwig (Shönau, Nordmähren 1868-1931 Vienna) Group of Fauns, ca. 1900 Sculpted oak Signed 'F. BARWIG' on the base H. 94 x L. 99 x D. 18 cm This amazing, 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.
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, 7th Nov 1946, lot 65; Mr. Jussaume, Buenos Aires; Mr. Foret, Buenos Aires; private collection , France (acquired from the above in 1956); Christie's London 7 Febuary 2001, lot 127; private collection, Texas
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
Maison D'Art
Santi di Tito (Borgo San Sepolcro 1536-1603 Florence) Holy Family with Saint Joseph Reading and the Young Saint John the Baptist Oil on wood panel 93.4 x 68.3 cm Provenance: Property sold by Order of the Trustees of Mrs. Hue-William Property Settlement and The Executors of. Mrs. Hue-Williams Estate Sotheby's Old Master Paintings, 20th April 1994, as Florentine School, 16th Century, The Holy Family, lot 138
Anthony Short Antiques
An Exceptional 18th-Century George III Period Mahogany 6-Door Breakfront Secretaire Library Bookcase Stamped Gillows of Lancaster A magnificent late 18th-century George III period six-door breakfront library bookcase, in beautifully figured mahogany of exceptional quality. The moulded cornice sits above six astragal-glazed doors enclosing fully adjustable shelves, providing generous and elegant book storage. The lower breakfront centre section is fitted with a superb secretaire drawer, finely veneered and opening to reveal an arrangement of compartments beneath a sliding, tooled leather-inset writing surface, complete with concealed secret compartments. Below are six richly figured mahogany panelled doors, each opening to adjustable shelving, all raised on a moulded plinth base. The central drawer is stamped “Gillows of Lancaster,” as shown in the accompanying photograph. The bookcase displays outstanding colour and patina throughout, and its impressive scale, refined proportions, and the exceptional quality of the timber strongly suggest that it was made as a special commission. The Gillow family were among the most important British cabinetmakers of the 18th and 19th centuries, renowned for their superb craftsmanship, use of the finest woods, and designs that combined elegance with practicality and often ingenious mechanical details. Unusually, the firm operated both from Lancaster and from their London branch (opened in 1770), cementing their reputation and influence at the very forefront of British furniture making. A highly important, showstopping library piece for the serious collector. Height 252cm (99.2in) Width 340cm (133.9in) Depth 64cm (25.2in)