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Galerie AB - Agnès Aittouarès
Sam Francis (California, 1923-1994) SF63-046, 1963 Acrylic on paper 90 x 63 cm Signed, dated and located Los Angeles on reverse Listed in the online catalogue raisonné of the artist under n° SF63-046 Provenance: Jean Fournier collection; private collection, Paris Exhibition: Paris, Galerie Jean Fournier, Sam Francis de 1947 à 1988 sur papier, October-November 1988
Arte-Fact Fine Art
chen yanning
Chen Yanning (Guangzhou, 1945) Portrait of two cheerful girls, 1994 Oil on canvas 81 x 65 cm Provenance: commissioned via Portraits Inc., Park Avenue, New York; private collection, USA; private collection, Belgium Chen Yanning is internationally celebrated; his works have been shown at the Guggenheim, the Paris Salon and beyond. In 1999, he painted Queen Elizabeth II, a portrait so well-received that it was later chosen for a postage stamp to mark the Queen’s Golden Jubilee in 2002. This tender and joyful portrait of two young sisters, commissioned in New York, is rendered with sparkling realism and warmth. The painting illustrates Yanning’s extraordinary international career and ability to infuse his portraits with life: a Chinese-born artist building a global reputation, bringing his distinctive sensitivity to subjects across cultures.
Grusenmeyer-Woliner
Hariti, the Buddhist protectress of children Ancient region of Gandhara, Swat Valley, 3rd-4th century AD Grey schist stone H 125 cm Provenance: European private collection, before 1990 (by reputation); an important private collection, Japan, by 1990 Literature: I. Kurita. Gandharan Art, vol. II, Tokyo, 1990, p. 169, fig. 493; M. Akira. Gandharan Art and Bamiyan Site, Tokyo, 2006, p. 114, n° 86 Hariti, the Buddhist protectress of children Imbued with an aura of maternal guardianship, Hariti was originally a yakshi who devoured children to sustain her own large family. Converted by the Buddha into their protector, she is depicted in Graeco-Buddhist art of the ancient Gandhara region surrounded by children. Perhaps the most prominent female deity in Gandhara, Hariti embodies fertility, wealth, and maternal care. She assumes a commanding stance, offering protection to mothers and infants. Draped in a clinging tunic that reveals a robust, fecund body, she is accompanied by children at her feet and shoulders, while a fifth child once hung from her left breast, of which only fragments remain. Her distinctive headdress represents the fortified walls of a city, a motif also associated with Tyche/Fortuna, the Greco-Roman guardian of cities, thereby reflecting the syncretism of Buddhist and Greco-Roman iconography. A wealth-bestowing goddess, she is richly adorned with jewellery - a necklace, collar, substantial earrings, and a pair of coiled serpentine armlets, a favoured motif in Graeco-style ornamentation. The present large-scale figure is exceptionally rare in private hands and was published in the seminal Japanese study on Gandhara art, widely known within collectors’ circles as the Kurita, which adds significantly to its prestige and desirability.
Romigioli Antichità
giuseppe piamontini
Giuseppe Piamontini (Florence, 1664-1744) Small Faun playing with a Satyr, 1710 Carrara marble H 79 cm Signed and dated 1710 Provenance: private collection, Florence Literature: Sandro Bellesi, I marmi di Giuseppe Piamontini, ed. Polistampa 2008 Ideal pendant 'Eros and Anteros' at the Money Museum in Palazzo Pitti, Florence
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)
Ars Antiqua
viviano codazzi and jan miel
Viviano Codazzi (Italy, Bergamo 1604-1670 Rome) and Jan Miel (Belgium, Beveren 1599-1663 Turin, Italy) Architectural Capriccio with a View of Saint Peter's Basilica and Classical Antiquities First half of the 17th century Oil on canvas 149 x 200 cm Authenticated by Professor Alessandro Agresti
Pauline's Jewellery Box
Art Deco emerald & diamond ring, circa 1920-1930 Platinum, emerald and diamond Provenance: New York collection An Art Deco emerald & diamond ring, set with a step cut Colombian emerald weighing 10.87 carats flanked by baguette shaped & old mine cut diamonds. The emerald has a deep colour and is minor oil. Estimated total diamond weight is approximately 1.55 carats. Estimated colour E-G on average. Estimated clarity VVS-VS on average. The diamonds are bright & lively. Mounted in platinum. Accompanied by a SSEF certificate for the emerald.
Pelgrims de Bigard
pieter brueghel the younger
Pieter Brueghel the Younger (Brussels 1564-1638 Antwerp) A village scene with a horse-drawn cart and a goose keeper Oil on panel 25 x 31 cm Signed lower left 'P. BREUGHEL' Provenance: collection Kaufmann, before 1934; Kunsthandel P. de Boer, Amsterdam, 1934; collection Van Hees, The Netherlands, until 1969; private collection, The Netherlands Literature: P. de Boer, De Helsche en de Fluweelen Brueghel en hun invloed op de kunst in de Nederlanden, exhibition catalogue, Amsterdam 1934, ill. p. 9, p. 32, n° 32; Pantheon, Monatsschrift für Freunde und Sammler der Kunst, Munich, 1934, XIII, ill. p. 141; P. de Boer, Catalogus van oude schilderijen, exh. cat., Amsterdam, 1940, ill. n° 8; Singer Museum, Modernen van toen 1570-1630, Vlaamse schilderkunst en haar invloed, exhibition catalogue, Laren 1963, n° 53; Georges Marlier, Pierre Brueghel le Jeune, 1969, pp. 417-418, ill. n° 263; Klaus Ertz, Pieter Brueghel der Jüngere (1564-1637/38), die Gemälde mit kritischem Oeuvrekatalog, Lingen 2000, Vol. II, p. 821, ill. n° 667, p. 824, inv. n° E116 Exhibitions: Amsterdam, Kunsthandel P. de Boer, De Helsche en de Fluweelen Brueghel en hun invloed op de kunst in de Nederlanden, 10 February-26 March 1934, n° 32; Amsterdam, Kunsthandel P. de Boer, November-21 December 1940, n° 8; Laren (N.H.), Singer Museum, Modernen van toen 1570-1630, Vlaamse schilderkunst en haar invloed, 15 June-1 September 1963, n° 53
Costermans
Slant-front desk in European red and gilt lacquer, veneered with kingwood and marquetry of satinwood, stained maple and ebonised wood, enriched with finely chased and gilt bronze mounts, Louis XV period Stamped DELORME, the fall-front decorated with a stag-hunting scene. Provenance: L. Morton, Partridge Fine Arts – Recent Acquisitions, London, 1997, pp. 92–97, n° 38 (ill); T. Wolvesperges, Le meuble français en laque au XVIIIe siècle, Paris, 1999, p. 119, n° 71 (ill.)
Herwig Simons Fine Arts
Game box with chess and backgammon Eger, 17th century 48 x 48 x 11.5 cm Provenance: Lothar Schmid (1928-2013), German chess Grandmaster Literature: publications World of Art: Art chamber games by the Kunsthistoriches Museum in Vienna Double-sided game box : one side shows a bas-relief depicting the meeting of Aeneas and Dido, accompanied by a Putto. The other side features a chessboard in finely executed marquetry. The interior reveals an elegant backgammon board decorated with double-tailed dolphins. Eger, a Bohemian Free City (now Cheb, Czech Republic), was well known in the 17th century for a specialised type of woodworking, particularly for intarsia panels. This set belonged to Lothar Schmid, the German chess Grandmaster and collector of chess books, boards and pieces. He is best known as the chief arbiter of the World Championship of chess in 1972 between Bobby Fisher and Boris Spassky in Reykjavik.
De Zutter Art Gallery
corneille
Corneille (Liège 1922-2010 Auvers-sur-Oise) Le rouge itinéraire de l'été, 1964 Oil on canvas 73 x 92 cm Provenance: Galerie Delta, Rotterdam; kunsthandel Lambert Tegenbosch, Heusden; collection Dr. Johan B.W. Polak (1928-1992), Amsterdam; Christie's, Amsterdam, 10 December 1992, lot n° 325; private collection, Switzerland Literature: Catalogue Galerie Cimaise Bonaparte (Patrick d'Elme and Daniel Templon), 1967, Paris Exhibition: Galerie Cimaise Bonaparte (Patrick d'Elme and Daniel Templon), 1967, Paris
Axel Vervoordt
Jef Verheyen (Belgium, Itegem 1932-1984 Apt, France) Untitled Matt lacquer on round board 100 x 100 cm - Ø 80 cm Provenance: private collection, Belgium; collection Axel Vervoordt, 2003; private collection, Belgium Exhibition: Jef Verheyen, Lux est Lex, Wijnegem, 2004, cat. n° 60, ill. p. 93
Almine Rech
tom wesselmann
Tom Wesselmann (USA, Ohio 1931-2004 New York) 'Smoker Study (For Smoker #11)', 1972 Oil on canvas 29.2 x 29.2 cm 46.4 x 46.4 x 3.8 cm (framed) Examined by the WPI's Wesselmann committee on 13 December 2023, for inclusion in the forthcoming catalogue raisonné Provenance: estate of the artist Courtesy of the Estate of Tom Wesselmann and Almine Rech / Photo: Thomas Barratt Smoker Study (For Smoker #11), 1972 belongs to Tom Wesselmann’s Smoker series, which the artist began in 1967. Born out of a desire to isolate and further investigate the representation of lips and the act of smoking, the Smoker series also found its origin in advertising, and stands as testament to the major role Wesselmann occupied in the birth and development of the Pop aesthetic. Today, Wesselmann’s Smoker paintings are among his most renowned works. The series began with Smoker, 1 (Mouth, 12), 1967, which is now held in the Museum of Modern Art in New York. Wesselmann found photography to be a useful medium to capture his models in poses he would later translate to larger scale works. On one occasion, his friend Peggy Sarno lit a cigarette during a modeling session. Wesselmann took some photographs of her as she inhaled, still posing in a reclined position. This moment inspired the Smoker series, which is characterised by the presence of vivid red lips juxtaposed with curling white smoke. Smoker Study (For Smoker #11) is both bold and intimate, capturing a single moment of pleasure in a complex and ambitious composition indicative of the artist’s experimentation with subject, form, and color. In mid-century America, cigarette advertisements were incredibly elaborate, among the most sophisticated forms of marketing. As well as standing as an example of Wesselmann’s fascination with popular culture and the female body, Smoker Study (For Smoker #11) also demonstrates the artist’s mastery of oil paint, attention to detail, and sophisticated compositional style. In the 1960s, Wesselmann had been developing his Great American Nudes series when he was inspired to focus on specific details of female figures. In an almost fetishistic act, he started isolating elements of the female figure, creating smaller preparatory pieces as well as larger scale works depicting hands, breasts, and lips. Out of this approach his Mouth paintings and Smoker Series, works such as Smoker Study (For Smoker #11) were born. Tom Wesselmann (1931–2004) was one of the leading American Pop artists of the mid-20th Century. Departing from Abstract Expressionism, he explored classical representations of the nude, still life, and landscape, while incorporating everyday objects and advertising ephemera. Wesselmann was born in Cincinnati, Ohio, on February 23, 1931. He attended Hiram College in Ohio from 1949 to 1951 before entering the University of Cincinnati. In 1953, his studies were interrupted by a two-year enlistment in the army, during which time he began drawing cartoons. He returned to the university in 1954 and received a bachelor’s degree in psychology in 1956. During this time, he decided to pursue a career in cartooning and enrolled at the Art Academy of Cincinnati. After graduation he moved to New York City, where he was accepted into the Cooper Union and where his focus shifted dramatically to fine art.
Almine Rech
vivian springford
untitled
Vivian Springford (USA, Wisconsin 1913-2003 New York) Untitled, circa 1973 Acrylic on canvas 182.9 x 183.5 x 3.2 cm Provenance: estate of the artist Exhibition: Almine Rech, 'Gesture & Form: Women in Abstraction', May 3rd - June 15th, 2024, New York, Upper East Side Vivian Springford’s 'Untitled', circa 1973, encapsulates the American painter’s expressive, vibrant style. During the late 1960s, Springford had come into her own as an artist. She had developed a signature visual vocabulary and a technique of stain painting to go with it, working with thinned paint to create kaleidoscopic, gestural works.
Objects With Narratives
ben storms
Ben Storms (Ghent, 1983) Crushed cast glass coffee table, 2024 Cast Glass H 35 x W 150 x D 112 cm Provenance: the artist's studio Ben Storms’ recently developed method, which extends his already acclaimed In Hale series. The result is an idiosyncratic, sculptural entity that makes the applied force palpable, yet pauses and thus withdraws from it.
Galerie Nicolas Bourriaud
emile gilioli
Emile Gilioli (Paris, 1911-1977) Obélisque, circa 1960 Marble sculpture H 88 x W 25.5 x D 24 cm Signed 'Gilioli' Unique piece Provenance: the artist's studio Literature: Pierre Descarges, La logique de Gilioli, XXe siècle, Juin 1970, n° 34, p. 70; Ionel Jianou, Hélène Lasalle, Gilioli, Paris, 1971
Galerie Bernard De Leye
Umbilicated dish and gadrooned basin in enameled copper Venise, circa 1500-1530 Ø 33 cm Provenance: collection Messel, Darmstadt; collection Ludwig and Anne Messel, London; collection Leonard and Maud Messel, London until 1953; Galerie Kugel, Paris; private collection, Switzerland Literature: Les cuivres émaillés dits Vénitiens, Corpus des œuvres en collections publiques et privées, Silvana Editoriale, 2018, Volume II, n° 34, p. 92 Twelve convex, curved white gadroons with blue highlights on a green background. This enamel production in Venice spans over a very short period within Venetian Decorative Arts. The basin is adorned with two rows of 24 concave, curved gadroons, then with scale-like motifs. The entirely blue reverse is richly decorated with gilded patterns.
Galerie Alexis Bordes
paolo anesi
Paolo Anesi (Rome, 1697-1773) View of the Ponte Cestio from the Tiber island Oil on canvas 28 x 48 cm Provenance: anonymous sale, Paris, Hôtel Drouot (Maître Baudoin), May 31st, 1919, lot n° 98 (Vanvitelli, View of a city-houses rise on both banks of a river crossed by a stone bridge. In the foreground, on the ground to the right, a fragment of a fluted column and a broken capital); private collection, France Literature: Olivier Michel, Biographical Research on Paolo Anesi, in Publications de l'École Française de Rome, Vivre à peindre à Rome au XVIIIe siècle, vol. 217, 1996, pp. 319–334 Praised during his lifetime as one of the most brilliant vedute painters of the eighteenth century in Italy, Paolo Antonio Anesi nevertheless remains a figure whose life and work are still little studied. Active in Rome, Anesi never left his native city. The panoramas offered by its hills provided him with a multitude of striking viewpoints. The Aventine, one of Rome’s seven hills, appears to have been a favourite subject. To produce his painting, Anesi positioned himself on the Isola Tiberina, a small island in the middle of the Tiber, connected to the left bank by the Ponte Cestio and to the right bank by the Ponte Fabricio.
CKS Gallery
Salvador Dalí (Spain, Figueras 1904-1989) Nude ascending the staircase, 1973 Brown patina bronze sculpture H 212 × W 139 × D 117 cm - Height with the base: 297 cm Signed & numbered 'Dalí 2/8', Foundry mark 'Fratelli Bonvicini, Italie' on the shell Certificate of authenticity by M. Robert Descharnes and listed in the Descharnes Archives under the n° 0-264 Provenance: private collection
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
Univers du Bronze
roger godchaux
Roger Godchaux (Vendôme 1878-1958 Paris) Toomai des éléphants or Le Retour de chasse au tigre (1928 or earlier) Circa 1932 H 57.5 x W 70.5 x D 22.7 cm Lifetime bronze signed 'Roger Godchaux' and numbered '2/15' Old edition by 'Susse Frères Éditeurs Paris' (mark and seal), inscribed 'cire perdue'
Floris van Wanroij Fine Art
rombout ‘pauli’ pauwels
Rombout ‘Pauli’ Pauwels (Mechelen circa 1625-1692 Ghent) The Virgin and Child Terracotta, sculpted on full round (contains restorations) H 52.5 x W 24 x D 23.5 cm Provenance: the Hulshoff Pol collection, Wassenaar, The Netherlands Literature: Neeffs, E. (1879), Histoire de la peinture et de la sculpture à Malines, Ghent, Vol. II, pp. 193-200; Nieuwdorp, H. (1977), De beeldhouwkunst in de eeuw van Rubens in de Zuidelijke Nederlanden en het prinsbisdom Luik, Brussels: KMKG, pp. 325-327 nrs. 294-298, p. 140, n° 103; Jacobs, A. & Vézilier, S. (2011), Fascination baroque: la sculpture baroque flamande dans les collections publiques françaises, Paris, pp. 116-121
Van Herck-Eykelberg
Asger Jorn (Denmark, Jutland 1914-1973 Aarhus) The girl and the bird, 1940 Oil on canvas 44 x 69 cm Signed and dated lower right Literature: Guy Atkins, Jorn in Scandinavia 1930-1953, London, 1968, n° 156, ill. p. 333 Exhibitions: 13 kunstnere i telt, Bellevue, Copenhagen, 17 May-8 June 1941, cat. n° 61; Jorn, Arken Museum for Moderne Kunst, Ishøj, Denmark, 14 September 2002-19 January 2003, Cobra Museum voor Moderne Kunst, Amstelveen, The Netherlands, 7 February-27 April 2003 and Kunsthalle zu Kiel, Germany, 17 May-10 August 2003, cat. n° 8, ill. cat. p. 56 (in colour); Jorn-Picasso. Myter og Møder. Myths & Meetings', Museum Jorn, Silkeborg, 7 September-8 December 2013, cat. n° 6, ill. cat. p. 72 (in colour); Cobra Museum voor Moderne kunst, Amstelveen, The Netherlands, 2013