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Heutink Ikonen
Week Icon (Sedmitsa) Russia, Palekh Late 18th century 44.5 x 36 cm This icon depicts a rare iconography showing the seven days of the week. Each feast represents a day of the week, starting with Sunday. In order: the Anastasis, Synaxis of the Archangel Michael, the Beheading of John, the Annunciation, the Last Supper and the Crucifixion of Christ. The large image at the bottom is All Saints' Day. The icon's refined details, bright colour palette and complex composition make it a very fine example of Palekh icon painting.
Dr. Nöth kunsthandel
peter leftwich
Peter Leftwich (Great Britain, 1913-?) Bawilele, 1937 Oil and tempera on canvas 102 x 77 cm Signed and dated lower right: Peter Leftwich 37 Verso inscribed on the canvas: No 2 'Bawilele' by Peter Leftwich and on the stretcher Provenance: Otto Rasmussen, Danish director of the East Asiatic Company Exhibition: Capetown, South African National Gallery: Annual Exhibition of Contemporary Art 1937-38, n° 107
Martos Gallery
keith haring
Keith Haring (USA, Pennsylvania 1958-1990 New York) Untitled, May 23, 1981 Marker on plastic 53.3 x 57.3 cm Provenance: Ellen Meyer collection, acquired directly from the artist; New York; Christie’s Auction, 1 May 1991, lot 313; private collection, Italy; Martos Gallery, New York Exhibition: Keith Haring: Surface to Air, Martos Gallery, New York, 6 May–25 July 2025
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)
Carlucci Gallery
Roman Cabinat, circa 1780 Ebony veneered, marble and various polychrome stones H 208 x W 105 x D 62 cm Provenance: private collection Cabinet veneered in ebony, marble, and polychrome stones, with an architectural design. The upper section features a tympanum surmounted by Hercules holding the globe in flowering alabaster. A pierced balustrade is crowned with figures of a winged lion bearing a heraldic shield. The façade is articulated with a central door and two lateral doors, each concealing interior disappearing drawers. Materials include jasper, lapis lazuli, breccia, alabaster, and antique green marble.
Galeria Bessa Pereira
Abraham Palatnik (Brasil, Natal 1928-2020 Rio de Janeiro) Cupboard, 1950s Iron, wood and painted glass H 90 x W 150 x D 49 cm Origin: Brasil Provenance: private collection, Rio de Janeiro; Galeria Bessa Pereira collection Literature: Vicente, A., & Vasconcellos, M. (Comps.), Móvel moderno brasileiro (1st edition), São Paulo: Olhares, 2017, pp. 244-245; Vasconcellos, M., Móvel brasileiro moderno (1st edition), Rio de Janeiro: Aeroplano, 2012, p. 193
Galerie Boulakia
jean dubuffet
Jean Dubuffet (Le Havre 1901-1985 Paris) Lampe et Balance 1, 1964 Oil on canvas 97 x 130 cm Signed and dated bottom centre; signed, titled and dated 'juillet 64' on reverse Provenance: Dr. Jacqueline Porret-Forel, Paris (gift from the artist in 1966); collection in the United Arab Emirates; European collection Literature: Max Loreau, Catalogue des travaux de Jean Dubuffet, Fascicule XX: L'Hourloupe I, Paris, 1966, cat. no. 367 (ill. p. 168). Exhibition: Jean Dubuffet, Galerie Georges Moss, Geneva, Nov. 1969-Jan. 1970, cat. n° 8
Willow Gallery
Sam Francis (San Mateo 1923-1994 Santa Monica) Untitled (SF90-491), 1990 Acrylic on paper 63 x 56 cm 81 x 74 cm (framed) Signed and dated 'Sam Francis 1990' (on the reverse) Provenance: Phillip Kirkeby Collection, California (a gift from the artist); private collection, Spain (acquired from the above); private collection, (acquired from the above) Literature: D. Burchett-Lere (ed.), Sam Francis: Unique Works on Paper and Expanded Version of Canvas and Panel Paintings from the online Catalogue Raisonné Project, n° SF90-491 (ill.) Exhibition: California, San Rafael, Smith Anderson North, Sam Francis: The Spirit of the Shadow: Paintings and Etchings, 25 June-29 July 2009
De Jonckheere
Attributed to the Master of the Antwerp Adoration (active in Antwerp in the early 16th century) Saint Michael the Archangel defeating the Devil Oil on panel 72.1 x 55.1 cm Provenance: private collection, Belgium Literature: Peter van den Brink (ed.), ExtravagAnt! A forgotten chapter of Antwerp Painting 1500-1530, exh. cat. [Antwerp, Koninklijk Museum voor Schone Kunsten Antwerpen, 15 October-31 December 2005; Maastricht, Bonnefantenmuseum Maastricht, 22 January-9 April 2006, Antwerp, 2005], Wommelgem, Blondé 2005; Peter van den Brink, A Shattered Jigsaw Puzzle: On a Partly Reconstructed Altarpiece by the Master of the Antwerp Adoration, in Wallraf-Richartz-Jahrbuch 68 (2007), pp. 161-80
Vagabond Antiques
Pair of carved Heraldic stone lions Central European, Hapsburg Territories, late 17th century Carved limestone H 90 x W 57 x D 77 cm A striking pair of limestone lions, carved in full relief and designed as true opposites. Each is seated upright, with bared teeth, strong haunches and tightly curled manes. Both wear a crown and hold an oval cartouche carved in bold relief with an interlaced monogram. They were made to flank the formal entrance of a major estate. The form and detailing are typical of high-status Baroque culture in Central Europe and the crown design is especially telling. Each features a repeating pattern of fleur-de-lis and crosses, closely following the design of imperial crowns used in Habsburg heraldry - particularly in the realms of Austria and Bohemia. A crucial distinction is the placement of such a crown directly on the animal - not merely above the cipher - which indicates an emblem of royal standing. Comparable examples can be seen on the monumental lions at Prince Eugene of Savoy's Upper Belvedere Palace in Vienna and others across Bavaria and Austria, where lions were used as heraldic supporters for noble or imperial arms. The monograms are hard to decipher but are almost certainly ciphers for the original owners or patrons. They likely stood at the gates of a major estate or seat of power under Habsburg rule or allegiance, marking out territories and status.
d'Arschot & Cie
Perfume bottle and case Germany, circa 1620 Anonymous silversmith Chased, engraved, and partially gilded silver. Case in boiled leather. H 9 cm – Weight: 58 g This elegant perfume bottle stands out for the exceptional preservation of its original boiled leather case, a testament to the care taken in protecting and transporting such precious objects in the 17th century. The bottle features a finely engraved vegetal motif enlivened with small exotic birds, typical of the work of silversmiths from southern Germany during the first third of the century. At a time when the distillation of essences was still in its infancy, such bottles accompanied the daily life of the elite, allowing the frequent application of fleeting perfumes. This model, fitted with a screw cap ensuring perfect sealing, illustrates both the practical function and the symbolic value of perfume as a marker of social distinction.
Galeria Bessa Pereira
Carlo Hauner (Brescia 1927-1996 Salina) & Martin Eisler (Vienna 1913-1977 São Paulo) Coffee table, 1960s Jacarandá wood and glass H 46 cm - Ø 89 cm Origin: Brasil Provenance: private collection, Rio de Janeiro; Galeria Bessa Pereira collection, 2025 Literature: Vicente, A., & Vasconcellos, M. (Comps.), Móvel moderno brasileiro (1st edition), São Paulo: Olhares, 2017, p. 231
Samuel Vanhoegaerden Gallery
Hans Hartung (Leipzig 1904-1989 Antibes) P1971-20, 1971 Crayon and acrylic on baryta board 50 x 73 cm Signed and dated lower right Provenance: Galerie Ludorff, Germany; Sotheby's London, July 2020; private Collection, Brussels; acquired from the above by the present owner
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.
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.
Gallery de Potter d’Indoye
Pair of oil lamps Ormoulu and patinated bronze Embossed gilt bronze and patinated bronze, representing the allegory of Philosophy and Study, each seated on an antique oil lamp, with an edge in gadroon motif, on a square footed base France, Consulat period, circa 1800 H 31 x W 36 cm Based on a model by Louis-Simon Boizot Comparative literature: H. Ottomeyer et P. Pröschel et al., Vergoldete Bronzen, Munich, 1986, vol. I, p. 294, fig. 4.17.1. I, p. 294, fig. 4.17.1. This pair of oil lamps is clearly designed in a neoclassical style, and, more specifically, in the 'Etruscan' style which came into vogue in the 1780s. This style draws its inspiration from antique forms rediscovered in archaeological digs, in particular those at Pompeii and Herculaneum, and manifested in the decorative arts by simple lines and ornamentation inspired by Antiquity. The allegorical figures of Philosophy and Study, which decorate these lamps, are taken from models created by Louis-Simon Boizot (1743-1809), then sculptor for the King. Boizot designed them for the first time in 1780 for a lamp in the antique style. He sold the model to the Sèvres factory, which then reproduced it in biscuit porcelain until 1786. These two figures were also used in the famous clock model, 'To Study and to Philosophy', created based on a drawing by François Rémond for the decorative arts merchant Dominique Daguerre. It is important to note that Pierre-Philippe Thomire (1751–1843), a reputed bronze worker, collaborated with Boizot in Sèvres beginning in 1783, the date when he succeeded Jean-Claude Thomas Duplessis (1730-1783) as the official bronze worker for the factory. The involvement of Thomire in the production of bronzes of this type is widely acknowledged. Comparable oil lamps include: - a pair kept at the J. Paul Getty Museum in Los Angeles (inv. 88.SB.113.1 et 88.SB.113.2), attributed to Thomire; - another from the former collection of Sir Robert Abdy, sold at Christie's London on June 9th, 1994, lot 65,; - a pair offered for sale at Christie's London on December 13th, 2001, lot 430. - finally, a pair presented in the Madame Simone Steinitz collection at Christie's in Paris on June 19th, 2025, Paris lot 126. A drawing attributed to Thomire, kept at the Museum of Decorative Arts in Paris, depicts a very similar lamp placed to the right of a fireplace (cf. J. Bourne et V. Brett, L’art du luminaire, Paris, 1992, p. 156, fig. 530). In addition, two sketches found in an album of drawings analysed by P. Rosenberg and B. Peronnet (Revue de l’Art, n° 142, 2003-2004) bear witness to the distribution and success of these models. They perfectly illustrate the taste for Antiquity, which dominated French decorative arts in the late eighteenth century.