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Galerie de la Présidence
Sonia DELAUNAY (1885-1979) “Rythme couleur” Paris 1972 Gouache on paper 54,5 x 38 cm – 21.45 x 14.96 in. Signed lower right Provenance - Private collection, Paris Certificate of Jean-Louis Delaunay and Richard Riss This is one of the preparatory gouaches for the Album Les Illuminations, containing 15 stencils, illustrating 9 poems by Arthur Rimbaud.
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
Rueb Modern and Contemporary Art
JAN SLUIJTERS (1881-1957) Greet van Kooten with headband signed and dated '10- oil on canvas 35.5x42 cm 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 Exhibited: The Hague, Pulchri Studio, Paintings, drawings and pointes-sèches of Jan Sluijters and Lodewijk Schelfhout, 7-3/7-25 1915 no. 40 Literature: On-line Catalogue Raisonné Jan Sluiters-www.rks.nl/images/100130
Desmet Fine Arts
Egidius Van den Vliete, called Egidio della Riviera (Mechelen, circa 1535 – Rome, 1602) (Workshop of) ALLEGORY OF SLEEP Morpheus, Phobetor and Phantasos, the Oneiroi of Greek myth Marble Rome, late 16th – early 17th century Provenance: The Estate of Stanley Moss, New York Related versions: Galleria Borghese, Rome, inv. no. CLXXXIV (acquired by Cardinal Scipione Borghese by 1609) Formerly Giustiniani collection, Rome Formerly Palazzo Colonna, Rome A further group of this subject, photographed under the same title in the Palazzo Pitti, Florence H 25.4 x W 64.8 x D 59.7 cm H 10 x W 25 ½ x D 23 ½ inch
Bernardini Milano
Patek Philippe, Genève. Rare waterproof chronograph in rose gold, 1945 Extremely rare and well preserved waterproof Patek Philippe Ref. 1463 chronograph in rose gold, made in 1945, bearing a uniquely spotless two-tone rose dial. The reference 1463, known in the collector’s community as “Tasti Tondi” (round pushers). This is a very sought after version of Patek’s chronograph produced between the early 40’s and mid 60’s. This watch is complete of its appropriate extensible Gay Frères bracelet. This example is one of the conditions ever appeared in the last years. [05/08/26, 16:39:03] Max bernardini: Patek Philippe, Geneve. Extremely rare and well preserved waterproof chronograph in rose gold, made in 1945, bearing a uniquely spotless two-tone rose dial. The watch is complete of its appropriate extensible Gay Frères. Previously unknown to the market. [05/08/26, 16:45:19] Max bernardini: Ref. 1463, known in the collector’s community as “Tasti Tondi”(round pushers) This is a very sought after version of Patek’s chronograph produced between the early 40’s and mid 60’s. This example is one of the conditions ever appeared in the last years.
Galerie Hurtebize
Maurice Utrillo (Montmartre, Paris 1883-1955 Dax,France) Commune de Maixe (Meurthe-et-Moselle) 1924 Oil on canvas 98.4 x 131.3 cm Signed and dated lower left Certificate by Hélène Bruneau, President of the Utrillo-Valadon Committee Provenance : Private collection, France Literature : P. Pétridès, L’Œuvre complet de Maurice Utrillo, Paris, 1974, vol V, p. 238, no.2720 (illustrated p.239)
Galerie von Vertes
Patty Raynes and son 1985 Acrylic and silkscreen ink on canvas 40.2 × 40.2 in., 102 × 102 cm Verso signed and dated 'Andy Warhol 85' Provenance: · Patty Raynes, USA (1985 directly acquired from the artist) · Private collection, USA (2022 acquired from the above) Background information: In 1985, Patty Raynes commissioned two works, this one with a yellow background and a second one with a white background. ‘Patty Raynes and Son’ from 1985 is one of a series of portraits in which Warhol no longer exclusively depicted global celebrities, but increasingly portrayed members of his social environment - individuals whose social position exerted a symbolic aura, even if they remained outside the pop-cultural canon. Patty Raynes came from a respected family of American industrialists, socialite and daughter of oil tycoon Marvin Davis, a fact that inevitably lends the work the character of a status portrait. Warhol, who was always concerned with the relationship between appearance and identity, addresses the portrait here as an expression of social affiliation. The subject, the depiction of a mother and child, is immediately reminiscent of the archetypal motifof the Madonna and Child. Warhol adopts this traditional pictorial form but transforms it into a contemporary icon: the sacred content isdisrupted by the screen-printing technique, giving the scene a cool, distanced character. · Patty Haynes and son emerge from this mature period in Warhol’s oeuvre, when the artist extended his repertoire of subjects to include his panoply of famous friends, artists, actors, and socialites. A collection idolizing the who’s who of New York, Warhol intended for the 40 by 40-inch series to be exhibited together in a “Portrait of Society,” a dream eventually realized at the artist’s retrospective Andy Warhol—From A to B and Back Again at the Whitney Museum in New York in 2018.
Snackers Antiques & Fine Art
Cross with Ivory corpus, Walter Pompe, Antwerp 1770 Cross with ivory corpus Crafted by Walter Pompe, Antwerp 1770, Signed Walter Pompe was a very well-known sculptor, especially of Buxus/Palm and Ivory carvings The Calvary richly decorated, also featuring ivory bones, skull, and the snake with apple. With CITES document. H. 57.5 cm W. 27 cm D. 11 cm
Chambre professionnelle belge de la Librairie Ancienne et Moderne (CLAM)
PICASSO (P.) – PARMELIN (H.). Les Dames de Mougins. Paris, Imprimerie Union, 1964, presentation copy from Picasso to Dr. René-Albert Gutmann, one of his physicians, with an original drawing. PICASSO (P.). Felt-tip pen drawing. 298 x 270 mm. Signed and dated "Diego Picasso, 8.11.65, and Jacqueline [Picasso]". Librairie Lardanchet, Antiquarian bookseller
Dr. Nöth kunsthandel
Armand Guillaumin (1841 Paris - 1027 Orly, Val-de-Marne), LES HAUTEURS DE LA SEDELLE, CROZANT, 1910, pastel on paper, 48 x 63 cm, signed lower left, on the reverse a label of Galerie Marcel Bernheim, Paris; Certificate Comité Guillaumin, the pastel will be included in the second volume of the forthcoming catalogue raisonné, Provenance: Galerie Marcel Bernheim, Paris; Collection F., Paris
Dr. Nöth kunsthandel
Raoul Dufy, CERES AU BORD DE LA MER, 1928, Gouache on paper, 49, 5 x 63, 5 cm, signed lower middle, Certificate Fanny Guillon-Laffaille, will be published in catalogue raisonné des Aquarelles, gouaches and pastels , Provenance: Hartford, Wadsworth Atheneum 1959, No. 24; Fr. Gershwin Godowski collection, Sotheby´s New York, 12.05.1999, lot 373
Snackers Antiques & Fine Art
A pair of large bronze Empire candelabra depicting Mercury and Fortuna Period: Empire, 1820 A pair of large bronze Empire candlesticks. These impressive candlesticks are made of original gilded bronze and patinated bronze. An obelisk-shaped base with Mercury and Fortuna on it, symbolizing trade and prosperity. This candlestick design is rare due to its dimensions, the beautiful detached bronze figure and the details in the form of RAM heads and claw feet. H. 100 cm W. 27 cm D. 27 cm Literature: Marie-France Dupuy-Baylet, L’Heure, Le Feu, La Lumière, Les Bronzes du Mobilier National 1800-1870, 2010, pp. 254-255
Galerie von Vertes
Upright Motive, Maquette No. 4 1955 (conceived and cast between 1956 and 1962) Bronze with brown patina (cast h) 12.1 × 2.5 × 3.1 in., 30,8 × 6,4 × 7,9 cm Casts: 9 + 1 A.P. Fiorini Ltd, London Provenance: · Zabriskie Gallery, New York City · B.C. Deane Collection, US · D.J. Rosenthal Collection, US · Dr. Phillip Cohen Collection, Washington, D.C. · Private collection, Washington, D.C. (by descent from the above) · Bonhams, New York, 20 November 2025, lot 119 · Private collection, Switzerland Expertise: · This work is recorded in the Henry Moore Foundation archives. Literature: · Alan Bowness (ed.), Henry Moore, Sculpture and Drawings, vol. III: Sculpture 1955-64, London 1965, no. 381 (another cast illustrated pl. 15b) · Alan Bowness (ed.), Henry Moore, Sculpture and Drawings, vol. III: 1955-1964, London 1986, no. 381 (another cast illustrated p. 21) · Henry Moore Foundation (eds.), The Henry Moore Artwork Catalogue, online catalogue, no. LH 381 Background information: Upright Motive was the first in a series of narrow vertical sculptures by Moore, which he compared to totem poles. The Upright Motives were part of a large commission for the courtyard of the new Olivetti building in Milan. When he visited the site, "a lone Lombardy poplar growing behind the building convinced me that a vertical work would act as the correct counterfoil to the horizontal rhythm of the building. This idea ultimately grew into the 'Upright Motifs'."
Galerie Hurtebize
Marc CHAGALL (Belarus, Vitebsk 1887-1985 Saint-Paul de Vence, France) Lumière du Cirque 1969 Watercolor, pastel, gouache, colored inks, and pencil on a black print of lithograph M.566 38 x 52.3 cm Signed “Marc Chagall” at the bottom right Certificate of authenticity from the Comité Marc Chagall Provenance: Private Collection, France
N. Vrouyr
Etablissements veuve Guillon et fils, Belgium Before 1925 Warp and weft, cellulose, pile, wool 460 x 370 cm Numbered at the back Literature: Arthur De Rudder, International exhibition of modern decorative and industrial arts (Paris, 1925): official catalogue of the belgian section Exhibition: International exhibition of modern decorative and industrial arts, Paris, 1925, Belgian Pavilion, gallery of complete interiors, dining room by the Maison Gustave and Edouard Blondel
Bernardini Milano
Vacheron & Constantin, Genève. Rare and elegant pocket watch in platinum, 1938 Exquisite evening pocket watch in platinum from the late 1930’s. The very simple and rational design of the case contrast with the spectacular avant-garde dial in various tones of grey with ivory indexes.
Francis Janssens van der Maelen
Grand Vase Art Déco par Luigi Genazzi Matière : Argent 800/°°° 35 x 32 cm 2.900 gr Date : °1930 Milan Grand vase ou rafraîchissoir à vin en argent martelé, agrémenté de deux anses géométriques et rehaussé d’un décor aux détails d’une grande finesse. Œuvre-témoin de la ‘Milanesità’, l’orfèvrerie de Milan, élégante et intemporelle. Porte les poinçons de l’orfèvre Luigi Genazzi et sa signature.
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.
Desmet Fine Arts
Odoardo Fantacchiotti (1809 – 1877) MUSIDORA Inspired by the James Thomson’s poem ‘Summer’, originally published in 1727 Marble Firenze, 1859 Signed: PER COMMIS DEL MERITIS / … / ODOARDO FANTACHIOTTI / SCOLPIVA IN FIRENZE / L’ANNO 1859 Provenance: Commissioned by August Belmont (1813-1890) USA Randall family, Clarendon Court (Newport – USA) Published: Ricordi fotografici degli artisti contemporanei in Toscana : ‘La Musidora’(Firenze-1858). V. Lia Bernini, G. Moradei, Odoardo Fantacchiotti scultore (1811-1877): atti delle giornate di studio nel bicentenario della nascita 1811-2011, (Toscana 2021), Volume 227, pp. 37-41 Other verions: 1862: for Baron Belper, Edward Strutt (Israele collection) 1865: for the king of Portugal (Lisbon Palacio Nacional da Ajuda) Musidora H 167,6 x W 49 x D 49 cm H 66 x W 19 1/ x D 19 1/3 inch Plinth H 95,3 x D 63 cm (at base) H 37 1/2 x D 24 4/5 inch Total height H 262,9 cm (103 1/2 inch) Art Loss Register: S00258863
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.