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Epoque Fine Jewels
René Lalique (Ay 1860-1945 Paris) Art Nouveau dragonfly brooch, Paris circa 1903 18 k yellow gold, 'plique-à-jour' enamel and polychrome enamel, old mine cut diamonds, citrine and pearls 11.6 x 4.4 cm Signed Lalique Accompanied by its original fitted case marked R. Lalique, 40, Cours-la-Reine, Paris, monogrammed 'E.A.' An important Art Nouveau dragonfly brooch by René Lalique, in 18-karat gold, designed as two opposing dragonflies with delicate wings of translucent plique-à-jour enamel, accented with old mine-cut diamonds. At the centre, the dragonflies clasp a cushion-shaped orange citrine, their bodies and legs enhanced with polychrome enamel. Graduated pearls trace the extremities of the wings, lending the composition a graceful sense of movement and lightness, characteristic of Lalique’s jewellery at the height of the Art Nouveau period.
Vagabond Antiques
Wall Lights Attributed to Giocondo Albertolli (1742-1839) Milan, Late 18th Century Height: 72cm Width: 45cm Depth: 37cm These elegant gilt-metal wall sconces are attributed to the Milanese architect, designer and ornamentist Giocondo Albertolli, one of the leading figures of Italian Neo-classicism. Their design closely relates to the engraved ornament published in Albertolli's celebrated pattern books, particularly Ornamenti Diversi (Milan, 1782), which played a central role in disseminating the new classical taste throughout Lombardy and Northern Italy. The sconces display many of the motifs associated with Albertolli's ornamental vocabulary, including scrolling acanthus brances, finely fluted candle sockets and radiating drip pans. Their unusually tall proportions and boldly projecting arms give them a distinctly sculptural character, creating a sense of movement and depth rarely encountered in wall lights of the period. The open voluted arms, enriched with naturalistic foliage, closely resemble a number of Albertolli's published designs for girandoles and wall lights. Born in Bedano, near Lugano, Albertolli settled in Milan in 1774 at the invitation of the architect Giuseppe Piermarini. As Professor of Ornament at the Brera Academy he exerted a profound influence on the decorative arts of Northern Italy, providing designs for architecture, furniture, metalwork and interior decoration. His published engravings became an important source for craftsmen working in the Neoclassical style throughout the late eighteenth century. The present sconces are attributed to Giocondo Albertolli and were almost certainly produced by craftsmen working within the circle of artists and decorators associated with him in late eighteenth century Milan. Their refined design and high quality of execution reflect the sophisticated decorative arts tradition that flourished in Lombardy during the Neoclassical period. Height: 72cm Width: 45cm Depth: 37cm
Waddington Custot
Barry Flanagan (1941–2009) Large Troubador, 2004 bronze 72 7/8 x 55 1/8 x 44 7/8 in / 185 x 140 x 114 cm (cast 2019) AC2 from an edition of 8 plus 3 ACs stamped with the artist’s monogram, casting date and edition number ‘f-/19 AC 2/3’ and foundry mark PROVENANCE Plubronze Limited (The Estate of Barry Flanagan) EXHIBITED ‘Barry Flanagan: Sculpture 1965–2005’, Irish Museum of Modern Art, Dublin, in collaboration with Dublin City Gallery The Hugh Lane, 28 June–24 September 2006, catalogue p.160 (repro. in colour) (3/8 exhibited) ‘Barry Flanagan: Sculpture’, Paul Kasmin Gallery, New York, 23 February–31 March 2007 (3/8 exhibited) ‘Barry Flanagan: Sculptures 2001–2008’, Waddington Galleries, London, 30 April–23 May 2008, catalogue no.7 (repro. in colour p.[23]; detail pp.[18–19]) (4/8 exhibited) ‘Beyond Limits’, Chatsworth House, Bakewell, Derbyshire, 7 September–28 October 2012 (AC1/3 exhibited) ‘Barry Flanagan’, IKON, Birmingham, 18 September–24 November 2019 (repro. in colour in catalogue on p.2–3, 5, 88) (another edition exhibited outside) ‘Mayfair Sculpture Trail’, London, 1–31 October 2020, catalogue no.8 (repro. in colour p.41) (AC2/3 exhibited) LITERATURE Paintings, Sculpture and Works on Paper, Waddington Galleries, London, 2004, no.29 (repro. in colour p.63) (1/8 catalogued) Barry Flanagan, Clare Preston (ed.), Jo Melvin, Teresa Gleadowe, Mel Gooding and Bruce McLean, Waddington Custot in association with The Estate of Barry Flanagan, London, 2017 (repro. in colour pl.137)
Waddington Custot
Hans Hartung (1904–1989) T1982–R18, 1982 acrylic on canvas 70 7/8 x 43 3/4 in / 180 x 111 cm signed and dated lower left ‘Hartung 82’; on reverse, signed and dated lower right ‘Hartung 82’; inscribed on the top stretcher ‘Faite le 8–3–82 HARTUNG T1982–R18’ PROVENANCE Collection Béatrice and Daniel Gervis, Paris (acquired directly from the artist in 1985) Private Collection, Paris EXHIBITED ‘Hans Hartung Painter • Photographer’, Waddington Custot, London, 22 April–1 July 2022 (repro. in colour in catalogue p.43, pp.[44–45] [detail], p.89) ‘Regards croisés’, Waddington Custot, Paris, 11 June–26 September 2026 LITERATURE Hartung, Pierre Daix, Bordas / Daniel Gervis and Éditions de Grenelle, Paris, 1991, catalogue no.400 (repro. in colour p.325) This artwork is accompanied by a photo-document signed by Daniel Gervis and dated 10 November 2020. This artwork is recorded in the archive of the Foundation Hartung-Bergman, Antibes.
Galerie Boulakia
KENNY SCHARF Infinitum, 1996 Huile et acrylique sur toile 81.7 x 107 cm 32 1/8 x 42 1/8 in Signé, titré et daté 'Kenny Scharf Infinitum '96' (au dos) Provenance Tony Shafrazi Gallery, New York Dennis Hopper Collection (acquis auprès de ce qui précède en 1999). Christie's NY, 2011 Acquis à la vente par l'actuel propriétaire
Thomas Deprez Fine Arts
Gabrielle MONTALD ♀ Née CANIVET, 1867 | 1942 Oiseau décoratif - Decorative bird - 1929 615 × 460 mm (sheet) | 64 × 48 cm (framed) Guoache and ink over gold ground on paper. Signed and dated l.r.: ‘G. Montald 29’. PROVENANCE Private collection, Belgium. RELATED WORKS Among Gabrielle Montald’s most significant autonomous bodies of work, the so-called Oiseau décoratif series occupies a central position. Although the motif appears as early as 1914, the majority of these works were produced between 1925 and the early 1930s. Following her international recognition at the 1925 Exposition des Arts Décoratifs in Paris, where her imaginative bird drawings were prominently exhibited, the series expanded in both scope and refinement. In 1927, three of the works shown in Paris were acquired by the Belgian government, marking the beginning of an institutional recognition that endures to this day. Rarely appearing on the market, a large part of Gabrielle Montald’s known oeuvre — including her textiles and bookbindings — is now preserved in Belgian museum collections.
LUDORFF
Otto Piene (1928-2014) Ohne Titel (Feuergouache) 1965 Gouache, fire, soot on cardboard 68 × 95.4 cm | 26 3/4 × 37 9/16 in Signed and dated "65" Provenance: Galerie Heseler, Munich (1977); Private Collection Southern Germany (1977–2026) Exhibitions: Galerie Ludorff, "Neuerwerbungen Herbst 2024", 4. Okt. - 16. Jan., Düsseldorf 2026 Literature: Galerie Ludorff, "Neuerwerbungen Herbst 2026", Düsseldorf 2026, S. 134
Klaas Muller
Jan Boeckhorst (Münster 1604-1668 Antwerp) Henri IV at the Battle of Ivry, 17th century Pen and Brown ink, watercolour and gouache, heightened with whith and red wash on paper 20 x 29.1 cm In 1622, Maria de' Medici signed a contract with Rubens for two series of twenty-four paintings. The first series depicted her own life story, the other the heroic deeds of her husband: Henri IV. As was his custom, Rubens worked on this commission together with some of his pupils and assistants. The successful king had been assassinated 12 years earlier whilst riding through Paris in an open carriage. He had brought an end to the fierce civil war between Protestants and Catholics and did not shy away from doing the heavy lifting on the battlefield himself. What was intended to be a tribute to one of France’s bravest leaders turned out to be a damp squib. Due to turmoil at court, the series about the famous battle near Paris remained unfinished. This dynamic and finely worked drawing captures the dramatic moment of the Battle of Ivry (1590), where King Henri IV led his forces to a decisive victory during the French Wars of Religion. Executed in pen and brown ink and enriched with watercolour and gouache, the composition is animated by vigorous movement and strong contrasts of light and shadow. The artist heightens the scene with touches of white and red wash, emphasizing the glint of armour, the energy of the horses, and the intensity of the clash. The central figure of Henri IV, mounted and illuminated, commands the composition, surrounded by swirling troops and fallen adversaries. Ethereal figures above the battlefield introduce a sense of divine favour, a motif often associated with royal propaganda of the period. Despite its relatively intimate scale, the sheet conveys remarkable grandeur and narrative force, making it a compelling example of late 16th‑ to early 17th‑century battle imagery. We are grateful to Stijn Alsteens of the Fondation Custodia for his attribution of the drawing to Jan Boeckhorst.
Heutink Ikonen
‘Weep not for Me, Mother’ Russia, middle of the 17th century Egg tempera on gesso on linen-covered wood 31 x 26 cm Provenance: private collection, Belgium; Morsink Ikonen, Amsterdam Among the most moving images of Orthodox art is the icon known as ‘Weep Not for Me, Mother’. Its title is drawn from the liturgy of Holy Saturday, where Christ addresses his grieving mother from the tomb: “Weep not for Me, O Mother... for I shall arise and be glorified…” The icon depicts a moment between the crucifixion and the Resurrection: the profound silence of Holy Saturday. Christ stands or rises from the tomb, whilst the Mother of God tenderly embraces him and mourns for him. The intensity of their encounter lends the image an extraordinary emotional power. Although the scene may remind Western viewers of the Pietà, its spiritual focus is different. Whilst the Pietà centres on the grief of the Blessed Virgin, ‘Weep Not for Me, Mother’ looks forward to Easter and the promise that death does not have the final say.
Galerie Berès
Édouard Vuillard (Cuiseaux 1868-1940 La Baule-Escoublac) La couseuse, 1893 Gouache and watercolour on a lithographic background 19 x 23,8 cm Monogrammed lower left, EV Provenance: Thomas Justice, Dundee; the Lefevre gallery, London Literature: Les peintres graveurs 1890-1900, galerie Berès, Paris, 10 October - 14 December 2002, n° 222; Édouard Vuillard, Staatliche Kunsthalle Karlsruhe, 18 October 2008 - 25 January 2009, p. 59, n° 13; Vuillard et l'art du Japon, Fondation de l'Hermitage, Lausanne, 23 June - 29 October 2023, p. 60, n° 8
Galerie Alexis Pentcheff
Henri Le Sidaner (1862-1939) La maison sous l'église, neige, Gerberoy, circa 1935 Huile sur toile, signée en bas à gauche, 80 x 66 cm. Provenance : Cédé par Le Sidaner à Henri Martin, été 1935, à l'occasion de la visite d'Henri Martin à Gerberoy Succession Henri Martin Attestation d'inclusion au catalogue raisonné de l'artiste établie par Yann Farinaux-Le Sidaner
Repetto Gallery
Christo (Gabrovo 1935-2020 New York) and Jeanne-Claude (Casablanca 1935-2009 New York) The Pont Neuf, Wrapped (Project for Paris), 1985 Graphite, charcoal pastel, wax crayon, fabric, photograph collage on cardboard mounted on a stretcher 144.5 × 165 cm Upper element: 38 x 165 cm; lower element 106,5 x 165 cm Signed, dated and titled lower on the upper element The artwork’s details have been reviewed and confirmed by the Foundation Christo and Jeanne-Claude Provenance: Michael Cullen, London; Deutsche Bank Collection, Frankfurt (acquired from the above in 1985)
Victor Werner
Svend Rathsack (Fredericia 1885-1941 Frederiksberg) Eve with the Serpent, 1941 Bronze garden sculpture with natural green patina H 128 x W 47 x D 37 cm Signed with the artist's monogram, dated '1941', and inscribed 'n°1' on the base Bears the foundry mark 'Lauritz Rasmussen, broncestøber, København' Provenance: acquired by the previous owner's aunt in 1941, where it remained in a garden in Charlottenlund until 2016; thence by descent
Gallery de Potter d’Indoye
EMPIRE CHANDELIER Chandelier with 18 lights in crystal and finely chiseled and gilded bronze. It is composed of two circles of fillets bordering a frieze of laurels and flowerets separated by eight arrows, joined at the centre by a blue enameled globe and scattered with gilt stars. The basket ends with a rose and a seed-shaped knob. A panache and small palm leaves crown the chandelier from which hang garlands of crystals. Period: Empire, circa 1810 Crystal: by Ladoupède du Fougerais, entrepreneur and owner of the Manufacture de cristal du Mont-Cenis de leurs Majestés Impériales et Royales. Ladoupède du Fougerais delivered a very similar chandelier with 16 lights on 24 April 1810, for the small salon of the apartments of the Empress at the Petit Trianon in Versailles. This chandelier is illustrated in Versailles, le Petit Trianon", by Denise Ledoux-Lebard, published by Editions de l'Amateur, 1989, р. 95, n° 6l. Height 117 cm 3 ft 10 in Diameter 81 cm 32 in
Galerie Jean-François Cazeau
Niki de Saint Phalle (1930-2002) La Force (Strenght), 1987 Painted polyester resin 35 x 53,3 x 29,2 cm Edition of 10, numbered 3/10 Artist's signature and number '3/10 Niki de Saint Phalle' (on a plaque fixed at the bottom) Provenance: artist's studio; Gallery Gimpel Fils, Londres; private collection, acquired in 1989; private collection, France
Anthony Short Antiques Ltd.
Very Fine Late 18th-Century George III Satinwood Rosewood Cross Banded Marquetry Secrétaire Bureau Bookcase An exceptional late 18th-century George III Sheraton period satinwood secrétaire bureau bookcase, beautifully crossbanded in rosewood and richly inlaid throughout. The upper section features a finely shaped, moulded and inlaid cornice, surmounted by turned finials to the domed top. Below sit two elegant glazed doors with rosewood crossbanding and intricate inlaid astragal mouldings, complete with brass escutcheons, key and working lock. The doors open to reveal three adjustable shelves, perfect for displaying books, porcelain or other treasured pieces. The lower bureau section has an impressive cylinder front, the finely figured satinwood fall with detailed inlays, rosewood crossbanding and profuse floral marquetry. The fall opens to reveal a beautifully arranged fitted interior with a pull-out sliding tray, drawers, pigeonholes and an adjustable writing slope, a superb combination of practicality and elegance. Beneath this are a pair of well figured satinwood cupboard doors, again crossbanded and richly inlaid with floral marquetry, opening to an adjustable shelf for additional storage. The whole piece stands on its original, elegant rosewood crossbanded splayed feet, and retains its original panelled oak backboards. From the cornice to the sides, glazed section, bureau front, cupboards and feet, the entire bookcase is inlaid and crossbanded, a clear mark of its quality. Made in England circa 1790, this bureau bookcase displays a wonderful rich satinwood colour and a superb original condition. The figured satinwood, combined with the delicate inlays and marquetry, has developed a warm, mellow patina that speaks of age and refinement. A distinguished example of Georgian cabinetmaking, this very fine bureau bookcase combines exceptional craftsmanship, architectural presence and practical function. It would make a superb focal point in a drawing room, library or study, and is an ideal choice for any refined interior seeking a statement piece of genuine period quality. Height 243cm (95.7in) Width 116cm (45.7in) Depth 54cm (21.3in)