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Galerie des Modernes
jean dubuffet
Jean Dubuffet (Le Havre 1901-1985 Paris) Terrain au Cheval 1, 1952 Indian ink (calame) on paper 30 x 22.5 cm Signed and dated lower right 'J. Dubuffet 52' Provenance: Pierre Matisse Gallery, New York, USA; Acquavella Modern Art, Reno, USA; Andrew and Christine Hall collection, Connecticut, USA; private collection, France; private collection, Belgium Literature: Max Loreau, Catalogue des Travaux de Jean Dubuffet, fascicule VII, Tables paysagées, paysages du mental, pierres philosophiques, Les Éditions de Minuit, Lausanne 1979, descr. and repr. on p. 109, n° 169 Exhibitions: Miro: early drawings collages 1919-1949 - Dubuffet: early drawings collages 1943-1959, Pierre Matisse Gallery, New York, November-December 1981; Dubuffet-Miro: selections from the Acquavella collection, Nevada Museum of Art, Reno, July-September 1997
DIE GALERIE
pierre alechinsky
Pierre Alechinsky (Brussels, 1927) Le Point du Jour, 1966 Oil on canvas 130 x 81 cm Signed lower right 'Alechinsky'; signed, dated and entitled verso Certificate by the artist from 19 March 2012 Provenance: Galerie Birch, Kopenhagen; DIE GALERIE, Frankfurt am Main Literature: Pierre Alechinsky, Galerie Birch, Kopenhagen 1966; CoBrA. Una grande avanguardia europea 1948-1951, exh. cat. Fondazione Roma Museo, Palazzo Cipolla, Rome 2015, p. 211 Exhibitions: Pierre Alechinsky, Galerie Birch, Kopenhagen 1966; CoBrA international – Momente einer Utopie, Museum für aktuelle Kunst, Sammlung Hurrle, Durbach, 2012-2013; CoBrA – Una grande avanguardia europea 1948-1951, Fondazione Roma Museo, Palazzo Cipolla, Rom, 2015-2016; 70 Years of CoBrA, DIE GALERIE, Frankfurt am Main, 2018; Pierre Alechinsky and his artist friends, DIE GALERIE, Frankfurt am Main, 2025
Galerie BG Arts
Georges Clairin (Paris 1843-1919 Clohars-Carnoët) Portrait of Suzanne Lalique Oil on canvas 140 x 80 cm Signed 'Á Suzanne Lalique son ami G. Clairin' Provenance: property of Suzanne Lalique-Haviland; private collection, France Literature: Maritch-Haviland, N. de Léobardy, C., Lalique-Haviland-Burty Family Portraits, Limoges, 2009, p. 29, ill. in a group photograph, taken at Cours-la-Reine in Paris, showing Suzanne Lalique wearing this same dress for a costume ball to mark her birthday in about 1913 Georges Clairin is best remembered as an orientialist and portrait artist. He was a close friend and advisor to René Lalique. They regularly had dinner together and shared an interest in oriental objects, as well as travelling together to Venice. Clairin belonged to the bohemian world and painted Sarah Bernhardt, the celebrated actress of the day, in her different roles on numerous occasions. He also introduced her to Lalique, and she became one of Lalique’s most significant patrons for whom he designed jewellery. For both men, women were a constant theme of their work. As a family friend it is not surprising that Clairin should have painted Suzanne, René Lalique’s daughter, in costume for her birthday ball in 1913.
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.
unforget Decorative Arts
line vautrin
Line Vautrin (Paris, 1913-1997) Crète de coq mirror, circa 1965 Talosel inlaid with mirror fragments H 50 x W 41.5 cm Diameter at sight of the central witch: 10 cm This work is accompanied by a certificate of authenticity issued by the Line Vautrin Committee “Crète de Coq”, mirror in black Talosel inlaid with mirror fragments, by Line Vautrin. This convex “witch mirror” features a radiant decoration of incised Talosel inlaid with polychrome mirror tesserae in shades of red, gold, copper, and silver. The spiral composition evokes the bristling energy and dynamic movement of a cockscomb, its form at once organic and architectural. A rare and technically demanding creation, Crète de Coq exemplifies Vautrin’s experimental mastery of Talosel - a material she both discovered and transformed into a medium of pure artistic expression. In this piece, she chose a warm palette of reds, oranges, golden ambers, and bronzed tones, creating a striking contrast with the deep black of the Talosel structure. The frame itself unfolds in six spiraling curves, each extending into a series of radiant, gently curved points that seem to shimmer and vibrate with light. Singular within her oeuvre, this asymmetrical spiral composition differs from Vautrin’s more familiar series, revealing her ability to reinvent form and rhythm through subtle variations. Crète de Coq is not merely a mirror, but a luminous, poetic sculpture - an enchanting testament to Line Vautrin’s imagination and her genius for turning humble materials into magical, living art.
Galerie Taménaga
Maurice Denis (Granville 1870-1943 Paris) Les Bergers, à la chèvre noire, circa 1918 Oil on canvas 45.2 x 62.2 cm Signed lower left 'Maurice Denis' Provenance: Lang; Galerie Druet; Hirschler; private collection Literature: Paris, Galerie Druet, Exposition Maurice Denis, 1918, n° 27; Ploëzal, Château de la Roche-Jagu, Maurice Denis et la Bretagne. Les étés de Silencio, 2009, n° 59, repr. p. 157
Galerie AB - Agnès Aittouarès
jean-paul riopelle
Jean-Paul Riopelle (Montréal 1923-2002 Saint-Antoine-de-l'Isle-aux-Grues) Composition, 1964 Gouache on paper 46 x 67 cm Signed and dated lower right Provenance: French-Canadian private collection; private collection, Paris Literature: Pierre Schneider, Riopelle. Signes mêlés, Maeght éditeur, Paris, 1972, no. 124, p. 119; Catalogue of the exhibition 'Les Très riches heures de Jean Paul Riopelle', Musée Le Chafaud, Percée, 2000, reproduced on p. 23; Yseult Riopelle, Jean-Paul Riopelle. Catalogue raisonné, volume 3, Hibou Éditeurs, Montreal, 2004, p. 302, reproduced in colour under reference 1964.010P.1964 Exhibitions: Riopelle. Mixed Signs, Maeght Gallery, 1972; The Very Rich Hours of Jean Paul Riopelle, Le Chafaud Museum, Percée, 2000
CKS Gallery
nicolas de stael
Nicolas de Staël (Saint Petersburg 1914-1955 Antibes) Composition, 1949 Oil on canvas 200 x 100 cm Provenance: private collection of the artist Literature: Françoise de Staël, Nicolas de Staël, Catalogue Raisonné de l'oeuvre peint, Paris, 1997, n° 203 Exhibitions: Hôtel de Caumont, Aix-en-Provence, 27 April-23 September 2018, Nicolas de Staël en Provence; Château Grimaldi d’Antibes, 17 May-7 September 2014, exhibition La figure à nu, hommage à Nicolas de Staël; MuMa – Musée d’Art Moderne André Malraux, Lumières du Nord, Lumières du Sud, 7 June-9 November 2014; Académie Royale des Beaux-Arts de Bruxelles, Belgium, 2012, for the 300th anniversary of the Académie Royale where de Staël studied from 1931 to 1934, 9 May-2 June 2012; Fondation Gianadda de Martigny, Switzerland, retrospective of the work of Nicolas de Staël, 18 June-21 November 2010; Centre Pompidou, Nicolas de Staël 1945-1955, Paris, 12 March-30 June 2003; Musée d'Art Moderne, Paris, Retrospective Nicolas de Staël, 15 September 2023-21 January 2024; Fondation de l’Hermitage, Lausanne, Nicolas de Staël Exhibition, 9 February-9 June 2024
Edouard Simoens Gallery
walter leblanc
Walter Leblanc (Antwerp 1932-1986 Silly) Torsions, 1977-1978 Black and white enamelled steel sculpture 200 x 130 cm Provenance: Walter & Nicole Leblanc Foundation; private collection; André Simoens Collection Literature: Linea Catalogue raisonné, 1997, Ludion, Brussels, CR 1271, p. 282 Exhibitions: Brussels, Tecno, Walter Leblanc Integratie, 1983; Gent, Floraliapaleis, Linea ’83, 1983
Pauline's Jewellery Box
Art Deco emerald & diamond necklace, circa 1920-1930 Platinum, emerald and diamond Provenance: France A beautiful Art Deco Colombian emerald & diamond pendant necklace, set with a pear shaped Colombian emerald weighing approximately 13.44 carats surrounded by old mine cut diamonds. Estimated total diamond weight is approximately 3.00 carats. Estimated colour H-I on average. Estimated clarity VS on average. The diamonds are bright & lively. Mounted in platinum.
Van Pruissen Asian Art
yoshitsugu
Hattori Taira Yoshitsugu Yagami School Tsuba with 'Thousand Monkeys' Carved iron Japan, late 18th century Ø 7.1 cm Signed 'Yoshitsugu' An iron tsuba intricately carved in openwork (nikubori ji-sukashi) with a lively multitude of monkeys, including the famous Three Wise Monkeys. Their eyes and the rim are accented in gold using nunome-zōgan. The maker, Hattori Taira Yoshitsugu, was a pupil of Yagami school founder Noda Mitsuhiro and teacher of Onitake Toshiyoshi. The Yagami school, active in Nagasaki in the late 18th century, is renowned for its 'Thousand Monkeys' motif, as also seen in a comparable example in the Metropolitan Museum of Art (inv. n° 91.1.751).
Costermans
Jacques Dubois (Pontoise 1694-1763 Paris) Slant-front desk in Chinese lacquer, Louis XV period Chinese lacquer and bronze-guilded mounts H 93 x W 85 x D 54.5 cm Stamped Jacques Dubois, Parisian cabinetmaker, received master in 1742 Literature: P. Kjellberg, Le Mobilier Français du XVIIIe siècle, Paris, 1989, ill. p. 269, fig. G
Galerie Capazza
Goudji (Georgia, Bordjomi 1941) Oryx à la robe diaprée, 2025 Silver 1st title, serpentine, pyrite, crystal, Armour stone H 49 x W 38 x D 10 cm Provenance: the artist's studio Exhibition: Goudji, L'or du temps, 5 July-28 September 2025, Galerie Capazza (France) This oryx, with its serpentine goatee and crystal-adorned tail, is an African antelope. It sports horns and a coat draped in Armour stone, and wears a silver bell around its pyrite neck, ready to ring. 'When viewing Goudji's works, one is overcome by a disturbing feeling, that of being faced with original, powerful, dazzling masterpieces that delicately resonate with so many symbols that shape our visual culture and our common heritage, from Persia to Athens, from Babylon to Rome, from the Tigris to the Danube, winged griffins of malachite and lapis lazuli, birds with bold and daring beaks, reassuring ex-votos, kantharoi and cups worthy of banquets of the gods. Modest, always secretive, born into goldsmithing because he ardently wanted to be, constantly devoted to his craft, constantly exploring forms, constantly telling stories, Goudji has definitely entered into history.' by Olivier Gabet, 2025 (General Curator of Heritage and Art Historian - Director of the Department of Decorative Arts at the Louvre Museum)
Galerie Oscar De Vos
albijn van den abeele
Albijn Van den Abeele (Sint-Martens-Latem 1835-1918 Aldaar) Last rays of sunshine and rising moon, 1904 Oil on canvas 80.5 x 110.5 cm Signed lower right: Albijn Van den Abeele Provenance: A. Van den Abeele, Sint-Marten-Latem; P. De Rijckere, Ghent; R. Van den Abeele, Sint-Martens-Latem; E. Van den Abeele, Sint-Martens-Latem Literature: Boyens, P., Sint-Martens-Latem. Kunstenaarsdorp in Vlaanderen (1992), 176-177 (ill.); Boyens, P., In de voetsporen van de Latemse kunstenaars (2003), 76-77 (ill.); Devoghelaere, H., Albijn Van den Abeele (1935), 39, 45, no. 33; D'Haese, J. & H. Lampo, Albijn Van den Abeele en de schilders van de Leie (1973), cat. 28 (ill.); Haesaerts, P., Sint-Martens-Latem. Gezegend oord van de Vlaamse kunst (1965), 76 (ill.); Hoozee, R., Veertig kunstenaars rond Karel Van den Woestijne (1979), 43-44, cat. 58 (ill.); Pauwels, H., De eerste groep van Sint-Martens-Latem 1899-1914 (1980), 96, 148, cat. 5 (ill.); Pauwels, P.J.H. & V. Van Doorne, Leie. Rimpeloze eenvoud (2010), 35, 106, cat. 8 (ill.); Van den Abeele, R., Albijn Van den Abeele. De stamvader van de Latemse kunstenaars (1993), 98-99, 135-138, 211, cat. 117 (ill.); Van den Abeele, E. e.a., Albijn Van den Abeele (2019), 34 (ill.); Van Doorne, V. e.a., Retrospectieve tentoonstelling Albijn Van den Abeele (1835-1918) (1985), 98-99, 211, 226, cat. 117 (ill.); Van Doorne, V. e.a., Sint-Martens-Latem - Worpswede 1880-1914. Twee kunstenaarskolonies (1996), 13, 65, 72, cat. 5 (ill.); Van Lerberghe, J., Belgische kunst van 1890-heden (1966), 21, cat. 7 Exhibitions: 1924, Ghent, Kunstgalerij Brabantdam, Albijn van den Abeele, cat. 8; 1966, Utrecht, Centraal Museum, Belgische kunst van 1890 tot heden, cat. 7; 1973, Venlo, Cultureel Centrum, Albijn Van den Abeele en de schilders van de Leie, cat. 28; 1974, Sint-Martens-Latem, Latemse Galerij, Kunstenaars zien Latem, cat. 156; 1976, Brussels, Passage 44, Tentoonstelling Oost-Vlaanderen, s.n.; 1978, Antwerp, AMVC Letterenhuis, Karel Van de Woestyne, s.n.; 1979, Brussels, Koninklijke Bibliotheek, Karel Van de Woestyne 1879-1929, cat. 183; 1979, Ghent, MSK, 40 Kunstenaars rond Karel Van de Woestyne, cat. 58; 1980, Ingelheim (Duitsland), Villa Schneider, Von Ensor bis Delvaux, cat. 9; 1985, Deinze, MuDeL, Retrospectieve tentoonstelling Albijn Van den Abeele (1835-1918), cat. 58; 2010, Deinze, MuDeL, Leie. Rimpeloze eenvoud, cat. 8; 2019, Sint-Martens-Latem, Gemeentehuis, Albijn Van den Abeele, s.n.
Galerie de la Béraudière
germaine richier
Germaine Richier (France, 1902-1959) Le Couple, 1956 Natural bronze Fonderie Susse, Paris Lost wax cast (except for the base and arms, sand casted) H 139 x W 74.5 x D 74.5 cm Signed and numbered on the terrasse: G. Richier, 3/6 Edition 3/6 out of 11 (1/6 - 6/6 + HC1-HC2-HC3 + EA + 0/6) Posthumous cast: 1963 Provenance: Galerie Creuzevault, Paris; private collection, France; Galerie Cazeau-Béraudière, Paris; private collection, France; private collection, Belgium Literature: Jean-Louis Prat et Françoise Guiter, Germaine Richier, Rétrospective, Saint-Paul-de-Vence, Fondation Maeght, 1996, p. 172, ill. (another cast); Maîtres des XIXe et XXe siècles, Galerie H. Odermatt-Ph. Cazeau, Paris, 1989, repr. n° 46; Eddie Wolfram et William Packer, London, art and artist, Londres, juillet 1973, n° 8, pp. 46-49; Germaine Richier, Galerie Creuzevault, Paris, 1966 Exhibitions: 2022, Brussels, Galerie de la Béraudière, Germaine Richier et la couleur (this cast); 1996, Saint-Paul-de-Vence, Maeght Fondation, Germaine Richier, Retrospective (another cast); 1957, Paris, Musée d'Art Moderne de la Ville de Paris, XIIIe Salon de Mai, n° 27, ill. (another cast); 1956, Paris, Musée National d'Art Moderne, Germaine Richier, n° 13, referred as 'Figures' (another cast); Jean Cassou, Richier, Editions du Temps, Paris, 1961; René de Solier, Germaine Richier, in Les Cahiers d'art, Paris, June 1953, n° 28, pp. 123-129 With Le Couple, Germaine Richier reached a point of fulfilment in her exploration of the human figure and its metamorphoses. The two figures, united by a skilful interplay of triangles and balances, seem caught in a silent movement where tension becomes harmony. The rigour of the construction is combined with an organic, almost primitive energy that animates the bronze with a vibrant presence. Le Couple embodies this rare alliance between construction and emotion, where the bronze material seems to be animated by a vital breath.
Franck Anelli Fine Art
charles topino
Charles Topino (Arras, circa 1742-1803) Louis XVI period demi-lune commode, circa 1780 Oak, Parisian varnish, gilt-bronze mounts, Aleppo breccia marble top H 91 x W 131 x D 58 cm Stamped 'C. TOPINO' and 'JME', with a CD mark Provenance: private collection, Paris Literature: Forray-Carlier et M. Kopplin, Les secrets de la laque française: Le Vernis Martin, Paris, 2014 This demi-lune commode is decorated with chinoiserie motifs in gold on a green background,. It opens with two side doors and three drawers. The gold chinoiserie decoration on green varnish is quite rare, especially on Louis XVI furniture. The chinoiserie theme is executed here in a decorative style from the 1780s, with framed scenes surrounded by tied garlands. This exotic theme remained in vogue during the Louis XVI period, as evidenced by the lacquered Japanese furniture favoured by Marie-Antoinette, as well as the marquetry furniture by Roentgen. Jean Pillement (1728-1808) popularised chinoiserie designs through his 1776 book 'Œuvres de Fleurs, ornements, cartouches et figures et sujets chinois…etc.,' which spread throughout the courts of Europe. The green varnish décor is especially known for works by René Dubois, such as the small demi-lune commode housed at Waddesdon Manor in England (Inv. WI/23/2). René Dubois, however, was more inclined towards neoclassical scenes, a style that is well-documented in his stock from 1772, which lists around twenty pieces, thus helping to date his production. At this time, the workshop of the Frères Martin was still active, with Jean-Alexandre, the son of Robert Martin, having taken over his father’s workshop in 1767 and acquired that of his cousin Etienne-François in 1772, following his cousin's death the year before. It is clear that Jean-Alexandre benefited from the strong connections his family had with Parisian marchand-merciers and cabinetmakers, one of the most renowned of whom was Charles Topino. This production unfortunately did not survive the French Revolution, and this commode is one of the last examples of this inventive period. Charles Topino settled in Rue du Faubourg Saint-Antoine and counted aristocratic clients and marchand-ébénistes such as Delorme and Tuart amongst his customers. His pieces were described as 'à l'antique,' an expression referring to the neoclassical taste that dominated the late 18th century. His journal, covering the years 1771 to 1779, has survived, providing insight into the names of bronziers who supplied him, including Jean-Baptiste Dubuisson, a master founder since 1765, who created some of the finest bronze mounts of the period. It is known that the gilt bronze mounts adorning Topino’s furniture were cast by Viret, chased by Chamboin and Dubuisson, and gilded by Bécard, Gérard, and Vallet. Charles Topino produced several demi-lune commodes of this type, many decorated with marquetry and several with varnish decorations. Notable examples include: -A commode from the Prince Radziwill collection, sold at the Château d'Ermenonville auction, Ader study, March 8th, 1933 -A writing desk sold by Christie's London from the Rechnitzer collection, May 19th, 1955, illustrated in Connaissance des Arts n° 41, July 15th, 1955 -A writing desk decorated with European black and gold varnish in the Chinese style, sold at Paris’s Hôtel Drouot, Cornette de Saint-Cyr study, January 31st, 1994 -A writing desk with Coromandel lacquer decoration, from the Princess A. de Broglie collection, ill. in P. Verlet, Les ébénistes du XVIIIe siècle français, Connaissance des arts, Hachette, Paris, 1963, p. 268
Beck & Eggeling International Fine Art
heinz mack
Heinz Mack (Germany, Lollar 1931) Weisse Vibration, 1958 Synthetic resin in wood (relief) H 28 x W 68 x D 4 cm Signed and dated lower middle 'Mack 58', verso titled 'Weiße Vibration' Provenance: estate of Franz Swetec, Düsseldorf (acquired from the artist)
Univers du Bronze
jean-baptiste carpeaux
Jean-Baptiste Carpeaux (Valencienne 1827-1875 Courbevoie) Toilette de Vénus, 1855 Circa 1862-1865 Bronze H 66.8 x W 23.5 x D 14.8 cm Chief model in bronze from the Carpeaux Studio, unsigned Provenance: Carpeaux sale (31 May, 1-2 June 1894, lot n° 541); sale 8-9 December 1913 (lot n°1) (...) and assembled as an example; former A. R. collection
Art et Patrimoine - Laurence Lenne
Transport case, for Louis XV at the Château de Versailles France, made between 1745-1749 Gilt-tooled leather, copper hinges H 11 cm - Ø 26.5 cm Provenance: Louis XV in Versailles Carrying and protective case for a silver porringer. The lid of the case is decorated with the coat of arms of Louis XV and the three facing crowns of the Château de Versailles, both gilt-tooled. All copper hinges are stamped with the crowned 'C' mark. The case was made between March 5th, 1745 and February 4th, 1749.