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Francis Janssens van der Maelen
Sculpture ‘EVOCATION’ par Philippe Wolfers Granit H 39 cm Date : °1923 Ecole belge Buste de femme Art Déco aux cheveux garnis d'un diadème, sculptée dans la pierre. Signé par gravure sur le cou "Ph. Wolfers". Provenance: Famille Wolfers. Réalisée pour le célèbre ensemble Gioconda. Le buste « Evocation » de Philippe Wolfers, réalisé vers 1923 en granit, faisait partie de l’emblématique ensemble « Gioconda », conçu pour l’Exposition internationale des Arts décoratifs de Paris en 1925. Dans cet ensemble, Wolfers voulait créer une véritable œuvre d’art totale, où sculpture, mobilier, architecture et orfèvrerie dialoguent autour d’un même univers esthétique – Gioconda reçut d’ailleurs le Prestigieux Grand Prix de l’exposition.
Franck Anelli Fine Art
Transition period secretary in wardrobe stamped Charles TOPINO (1742-1803) and Jurande hallmark Rectangular in shape, the front uprights with cut sides, the front legs arched, the hind legs straight, the oak frame, it opens with a drawer, two leaves and a flap revealing a compartmentalized interior of seven drawers and four compartments. Top of breccia marble from Aleppo. Inlaid decoration in rosewood, amaranth, holly, sycamore, lemon tree, stained wood, tobacco wood, drawing lattices on the uprights and the upper drawer, those of the latter, embellished with flowers, and trompe-l'oeil on the front and on the sides, a decoration of garlands of oval cartouches of stylised acanthus leaves uniting the panels of the toilet seat and the leaves, each also presenting, in the upper part, a leafy garland that can be found on the side panels. The latter are decorated with two gadrooned urns close to the flowered vases of the leaves. The toilet seat has a trompe-l'oeil perspective decoration, an orangery whose open shutters give a glimpse of a wooded landscape in the distance, a perspective accentuated by the checkerboard paving, also present on the leaves. Eight boxes of fruit trees are spread around a table on which are placed two flowered vases and under which is a watering can. The interior reveals six side drawers in three rows, inlaid with a floral vase pattern, as well as a central drawer. Stamped TOPINO and hallmark of Jurande Charles TOPINO received master in 1773 The art of marquetry The bronzes are discreet on our desk and this is intended to give pride of place to marquetry, qualified as wooden painting. If it is possible and tempting - rightly to link a cabinetmaker to his marquetry and this is regularly the case for Topino whose utensil marquetry inspired by the borders of Chinese Coromandel lacquer screens of the time is a characteristic of the artist - it turns out that the models circulated and that inlaid panels could be used by the same circle of cabinetmakers. If the vases, potiches, flowers, utensils reproduced, invented, associated, allow us to recognize Topino's art, it should be noted that the framing motif made up of oval reserves with quartefeuilles and spandrels can be found on secretaries, a chest of drawers and a dressing table stamped Jacques Bircklé. By this same cabinetmaker, a secretary also presents the same vases present on our furniture. Very similar marquetry panels. both in their compositions and in their frames can be found on a chest of drawers attributed to Jacques Bircklé, illustrated in the book by Pierre Kjellberg, who also defines the paving pattern as Bircklé's "almost exclusiveness". our secretary thus witnessed the circulation of drawn or engraved models -
Galerie Raf Van Severen
Elena Laverón (1938, Ceuta) "Pareja Sentada" (Seating Couple), dated 1975 cast bronze with dark patina edition of 3 + 2 AP H 170 x W 193 x D 116 cm Reference: In 1993, Pareja Sentada was installed at UNESCO's Bonvin building Literature: Antonio Abad, "Elena Laverón, The flight of forms", 1987, 168p.; Juan Ibáñez Plaza (com.), "de Elena Laverón", Roquetas de Mar (Almería), Ayuntamiento de Roquetas de Mar, 2008, 115p.; Real Academia de Bellas Artes de San Telmo de Málaga, Anuario 2016 (Número 16), Real Academia de Bellas Artes de San Telmo, 2016, 389p.; Tania Fernández de Toledo, Raya Fayad, Sotheby's France, "UNESCO : La collection d'art", 2017, 431p.;
Gallery Sofie Van de Velde
Georges Vantongerloo (1886 Antwerp BE – 1965 Paris FR) Spiral with Certain Spots, 1946 Signed and dated: “Spirale avec certaines taches Paris 1946 G. Vantongerloo” (title / verso) Oil on masonite 738 × 588 mm Provenance: The artist Georges Baines Collection (acquired directly from the artist) Bernard Baines Private collection, Switzerland Galerie Ronny Van de Velde, Antwerp Exhibitions: Paris, Palais des Beaux-Arts de la Ville de Paris, 1st Salon des Réalités Nouvelles. Abstract Art, Concrete Art, Constructivism, Non-Figurative, July 1946 Zurich, Kunsthaus Zürich, Antoine Pevsner, Georges Vantongerloo, Max Bill, 15 October – 13 November 1949, no. 78 Washington, Corcoran Gallery of Art, Georges Vantongerloo. A Traveling Retrospective Exhibition, 22 April – 17 June 1980, no. 176 (later shown in Dallas and Los Angeles) Brussels, Royal Museums of Fine Arts of Belgium, Georges Vantongerloo 1886–1965, 23 January – 16 March 1981, no. 176 Zurich, Kunsthaus Zürich, Georges Vantongerloo, 3 April – 17 May 1981, no. 176 Antwerp, Ronny Van de Velde, Georges Vantongerloo 1886–1965, 15 December 1996 – 31 March 1997, OCNO no. 176 Barcelona, MACBA – Museu d’Art Contemporani de Barcelona, Force Fields: Phases of the Kinetic, 19 April – 18 June 2000, no. 232 (later at the Hayward Gallery) Le Cateau-Cambrésis, Musée Matisse, Georges Vantongerloo 1886–1965, A Pioneer of Modern Sculpture, 28 October 2007 – 2 March 2008 (later at Mu.ZEE) Madrid, Museo Nacional Centro de Arte Reina Sofía, Georges Vantongerloo: A Longing for Eternity, 3 November 2009 – 22 February 2010 Literature: Georges Vantongerloo, Paintings, Sculptures, Reflections, in Problems of Contemporary Art No. 5, New York, 1948, no. 176, Wittenborn, fig. 44 Georges Vantongerloo: A Traveling Retrospective Exhibition, Corcoran Gallery of Art / Dallas Museum of Fine Arts / Los Angeles County Museum of Art, Loiseau, Brussels 1980, p. 146 Jan Ceuleers, Ronny Van de Velde, Georges Vantongerloo 1886–1965, Antwerp, OCNO, 1996–1997, no. 176, p. 157 illustrated Serge Lemoine, Georges Vantongerloo (1886–1965). A Pioneer of Modern Sculpture, Musée Matisse, 2007, p. 148 illustrated Larkin Erdmann, Five Years, Zurich, 2019, pp. 83–84 Ostend, Mu.ZEE, Belgium–Argentina. Transatlantic Modernisms, 1910–1958, 2022
Caretto & Occhinegro
The Master of Antwerp Adoration (Active in Antwerp first decades of XVI century) "The Annunciation to St Anne" Oil on panel cm 59x62 1525 c. Expertise Peter van den Brink Bibliography: 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
Dr. Nöth kunsthandel
Armand Guillaumin: "BORDS DE L´ORGE Á EPINAY", 1890, Oil on canvas, 81 x 65 cm, signed lower right, Certificate Comité Guillaumin, will be included in the second volume of the forthcoming catalogue raisonné , 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 (acquires from the above in 1956); sale: Christie`s London 7th Febr. 2001, lot 127; private collection Texas
W. Apolloni - Laocoon Gallery
Leoncillo Leonardi (Spoleto, 1915 - Rome, 1968) Plate with abstract design c. 1950 Glazed ceramic ø cm 28 Signed below on the edge "Leoncillo" Bibliography: M. F. Apolloni, M. Cardarelli (edited by), Leoncillo - Le Ceramiche, Rome 2018 Exhibitions: "Leoncillo: Earth, Fire and Colours. A retrospective exhibition 1939-1955" (coming soon)
Dei Bardi Art
Saint Peter Circle of Daniel Mauch Upper Rhine, circa 1490 Walnut bust 39,2 x 49,5 x 26 cm (with base) Provenance: private Rhenish collection Literature: Antlitz des Mittelalters Mittelalterliche Bildwerke aus rheinischem Privatbesitz, ed. Reinhard Karrenbrock and Claudia Lichte, with technical studies by Michael Rief and Ulrike Villwock, Rottweil/Aachen, 1999, n° 33, pp. 108–110 Exhibitions: Dominikanerforum, Rottweil, 31 October 1999 – 6 January 2000; Suermondt-Ludwig-Museum, Aachen, 4 March – 21 May 2000
Repetto Gallery
Artist: Carla Accardi (1924 - 2014) Title: Carminio su tela grezza Dates: 1997 Medium: Vinyl on raw canvas Dimensions: 50 × 70 cm Signature: Signed lower right; signed, titled, dated and archive number on the reverse Certificate of authenticity on b/w photograph signed by the artist, no. 18/98. Registered at Studio Accardi, Rome, archive no. 629A Provenance: Soffiantino Arte Contemporanea, Turin Private collection Literature: Germano Celant (edited by), "Carla Accardi. Catalogo ragionato", (Charta, Milano) 1999, p. 419, n. 1997 62 (B&N), ill.
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)
Galerie de la Présidence
Geer van VELDE (1898-1977) “Composition” Circa 1953 Oil on canvas 81 x 100 cm – 31.88 x 39.37 in. Signed with the initials “GvV” lower right Signed on the reverse “G. van Velde” Provenance - Collection Michel Guy, Paris - Private colletion, Paris - Private collection, France Bibliography - This work will be included in the “Catalogue Raisonné” of Geer van Velde Painted Work currently in preparation by Pierre François Moget son of Piet Moget, under the N°118 059. Certificate of Pierre François Moget.
Galerie Flak
Okvik “Madonna” An exceptional, large female figure Okvik culture, Old Bering Sea I Archaic Eskimo St. Laurent Island (Sivuqaq), Alaska Marine ivory 250 BC – 100 AD Height: 6 ¼ in. – 15.9 cm Provenance Collection Perry J. Lewis, USA Collection Galerie Flak, 2021 Private collection, acquired from the above Exhibition & Publication: “Espíritus del Agua”, Fundación La Caixa, Madrid & Barcelone, 1999 – 2000, planche 2, page 76 “Arctic Dreams”, Parcours des Mondes, 2021 (Galerie Flak)
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 - Florence, 1603) 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.
Rueb Modern and Contemporary Art
Jan Sluijters (Hertogenbosch 1881-1957 Amsterdam) Greet van Kooten with headband, 1910 Oil on canvas 35,5 x 42 cm Signed and dated Provenance: Collection Salomon Beffie, Amsterdam; collection Willem Beffie, New York; Galerie van Voorst van Beest, The Hague; collection Reens, Amsterdam; collection A.J. van Hillegondsberg, Blaricum; private collection, Amsterdam Literature: On-line Catalogue Raisonné Jan Sluiters-www.rks.nl/images/100130 Exhibition: The Hague, Pulchri Studio, Paintings, drawings and pointes-sèches of Jan Sluijters and Lodewijk, Schelfhout, 3 July - 25 July 1915 n° 40
Galerie bei der Albertina ▪ Zetter
Vally Wieselthier Female Head with Green Flower, 1928 Manufactured by the Wiener Werkstätte, model number 494 Red pottery, polychrome glaze H 28.5 cm, W 13.5 cm, D 14.5 cm Marks: monogram VW, WW, MADE IN AUSTRIA, 494, I Hörmann WV-K 587 Minor chips professionally restored Exhibitions: Kaiserslautern, Museum Pfalzgalerie, "Vally Wieselthier - Golden Girls No. 2", 2022/23 New York, Austrian Cultural Forum, Vally Wieselthier, Sculpting Modernism, 15. 10. 25 - 09. 02. 26 Literature: cf WW-Archives, MAK Vienna, Photo-Archives WWF 110-42-3 cf Marianne Hörmann, Vally Wieselthier, Wien 1999, ill. p. 165, no 77f and p. 286, WV-K 587
Klaas Muller
Jan Boeckhorst (Münster 1604 - Antwerp 1668) Henri IV at the Battle of Ivry 17th century Pen and Brown ink, watercolour and gouache, heightened with whith and red wash on paper 200 x 291 mm 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.
Almine Rech
Tom Wesselmann (b.1931, Cincinnati, OH, US. d.2004, New York, NY, US), 'Long Beach Seascape', 1991/95. Signed and dated on the back. Alkyd oil on cut-out aluminum, 99.1 x 190.5 cm - 39 x 75 in. Provenance: The Estate of the Artist. © 2026 The Estate of Tom Wesselmann / Artists Rights Society (ARS), New York. Tom Wesselmann’s creative approach was in constant evolution throughout his long and productive career. Never one to follow artistic convention, he continually sought new materials and formats. His fascination with innovative surfaces and technologically advanced techniques drove him to push aesthetic and formal frontiers, as seen in 'Long Beach Seascape'. In the 1980s, Wesselmann developed a laser cutting technique that opened up a new world of creative possibilities. Using this novel method, the artist delighted in transposing his bold visual vocabulary into works that challenged the boundaries between painting, drawing, and sculpture. Speaking to the New York Times in 1985, Wesselmann couldn’t contain his enthusiasm for the new medium: “I've just had the best year of my life [...] I always work in a kind of near ecstasy, anyway, but there's really been something about the new work that grabbed me.'' Centering dynamic line and vibrant color, 'Long Beach Seascape' demonstrates the artist’s endless pursuit of radical forms of creative expression.
Galerie von Vertes
Repetition GL.A 1996 Collage and acrylic on canvas 16.1 × 12.5 in., 41 × 31,8 cm Verso signed, dated and titled 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) Expertise: · Certificate of authenticity from the Yayoi Kusama Studio on 21 August 2012 Background information: 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.”
Bernardini Milano
Rolex, Bienne. Rare yellow gold “oyster chronograph” in pristine condition, 1956 One of the 36 made of this version of chronographs in 18kt. gold in the late 50’s. The untouched case and extensible bracelet host a perfect creamy silvered dial. The watch is complete of its original box, papers, invoice and various communications between owner and the Swiss Maison.previously unknown to the market, it’s a benchmark in terms of rarity and conservation.