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Repetto Gallery
Carla Accardi (Trapini 1924-2014 Rome) Carminio su tela grezza, 1997 Vinyl on raw canvas 50 x 70 cm Signed lower right; signed, titled, dated and archive number on the reverse Certificate of authenticity on b/w photograph signed by the artist, n° 18/98 Registered at Studio Accardi, Rome, archive n° 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.
Gallery de Potter d’Indoye
EMPIRE CHANDELIER Chandelier with 18 lights in crystal and finely chiseled and gilded bronze. It is composed of two circles of fillets bordering a frieze of laurels and flowerets separated by eight arrows, joined at the centre by a blue enameled globe and scattered with gilt stars. The basket ends with a rose and a seed-shaped knob. A panache and small palm leaves crown the chandelier from which hang garlands of crystals. Period: Empire, circa 1810 Crystal: by Ladoupède du Fougerais, entrepreneur and owner of the Manufacture de cristal du Mont-Cenis de leurs Majestés Impériales et Royales. Ladoupède du Fougerais delivered a very similar chandelier with 16 lights on 24 April 1810, for the small salon of the apartments of the Empress at the Petit Trianon in Versailles. This chandelier is illustrated in Versailles, le Petit Trianon", by Denise Ledoux-Lebard, published by Editions de l'Amateur, 1989, р. 95, n° 6l. Height 117 cm 3 ft 10 in Diameter 81 cm 32 in
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.
Galerie Raf Van Severen
Elena Laverón (Spain, Ceuta, 1938) Pareja Sentada (Seating Couple), 1975 Cast bronze with dark patina H 170 x W 193 x D 116 cm Edition of 3 + 2 AP Literature: Antonio Abad, 'Elena Laverón, The flight of forms', 1987, p. 168; Juan Ibáñez Plaza (com.), 'de Elena Laverón', Roquetas de Mar (Almería), Ayuntamiento de Roquetas de Mar, 2008, p. 115; Real Academia de Bellas Artes de San Telmo de Málaga, Anuario 2016 (n° 16), Real Academia de Bellas Artes de San Telmo, 2016, p. 389; Tania Fernández de Toledo, Raya Fayad, Sotheby's France, 'UNESCO : La collection d'art', 2017, p. 431 Reference: In 1993, Pareja Sentada was installed at UNESCO's Bonvin building
Bernier/Eliades
Tindara SPARTÀ Born 1994, St Rémy, France Lives and works in Dijon, France Title work: La course des Lèvriers (01), 2026 Watercolour on plaster and wood Painting 80 x 122 x 7,5 cm Photo credits: Boris Kirpotin Education 2018 DNSEP – Diplôme National Supérieur d’Expression Plastique, Option Art, École Nationale Supérieure d’art de Dijon, France 2015 DNAP – Diplôme National d’Arts Plastiques, Option Art with honours, École Nationale Supérieure d’Art de Dijon, France Solo Exhibitions 2026 MAD HOUSE, Bernier/Eliades Gallery, Athens, Greece 2024 Coup de chien, Bernier/Eliades Gallery, Brussels, Belgium 2023 Butch’s car, Atelier White Cubi, Dijon, France 2022 Le bain – Installation and performance, Les bains du Nord, Frac Bourgogne, Dijon, France Selected Group Exhibitions 2026 Canin.e, Ateliers Vauban, hosted by Maeva Totolehibe, Besançon, France Ceux qui vacillent, Atelier White Cubi, Dijon, France 2024 Les dodos n’ont jamais froid, double show with Eva Pelzer, Saint-Nazaire Museum, Bourbon- Lancy, France 2023 Après-midi de chien, Collectif Portail, Chagny, France 2022 Y’a de l’orage, Collectif Portail, Chagny, France Y’en a un peu plus, je vous le mets quand même?, Atelier White Cubi, Dijon, France 2021 Confluents, Residence in Labastide, Artistes & Associés, Labastide Villefranche, France Des trous dans les murs, Collectif Portail Création du Collectif Portail, Chagny, France 2020 Capitale des Alentours, Chagny, France 2019 Pas besoin de constat, Chagny, France 2018 Les oiseaux ont cessés de chanter, Interface Gallery, Dijon, France 2014 Disons Dijon, Entrepôt 9, Dijon, France
Mearini Fine Art
Master of Torcello Venetian Master active in the second half of the XV century. Crucifix. popolar wood with polychromy. Higth cm 40 x 38 x 3,5 An exceptional masterpiece of the Venetian Renaissance, this small, carved, polychrome wooden Crucifix is certainly attributable to the Master of Torcello, active in Venice in the second half of the 15th century. Work created for private use and devotion, certainly to be included in an "Altarolo", but absolutely similar to the larger known Crucifixes of the same manufacture, such as the one on the island of Torcello (Venice) in the Basilica of Santa Maria Assunta.
Rueb Modern and Contemporary Art
Alighiero Boetti (Turin 1940-1994 Rome) Cinque x Cinque Venticinque, 1988 Embroidery 21 x 22 cm Signed and inscribed n° 82769 on the reverse Provenance: kunsthandel E.J, van Wisselingh & Co, Haarlem, the Netherlands This work is accompanied by the certificate of Archive Boetti n° 10891 dd May 2026
Galerie des Modernes
Geer Van Velde (Lisse 1898-1977 Cachan) Composition, circa 1950 Oil on canvas 80 x 85 cm Signed lower right with the artist’s initials Provenance: artist’s studio, Cachan; private collection, The Netherlands; private collection, France Certificate of authenticity by Pierre-François Moget To be included in the forthcoming Catalogue Raisonné of the works of Geer van Velde currently in preparation by Pierre-François Moget.
W. Apolloni - Laocoon Gallery
Leoncillo Leonardi (Spoleto 1915-1968 Rome) Plate with abstract design, circa 1950 Glazed ceramic ø 28 cm Signed below on the edge 'Leoncillo' Literature: M. F. Apolloni, M. Cardarelli (edited by), Leoncillo - Le Ceramiche, Rome 2018 Exhibition: Leoncillo: Earth, Fire and Colours. A retrospective exhibition 1939-1955
Klaas Muller
Jan Boeckhorst (Münster 1604-1668 Antwerp) Henri IV at the Battle of Ivry, 17th century Pen and Brown ink, watercolour and gouache, heightened with whith and red wash on paper 20 x 29.1 cm 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.
Vagabond Antiques
A Neoclassical Painted and Parcel-Gilt Console Table. Italy Late 18th Century An elegant Italian neoclassical console table retaining its beautifully faded original painted and parcel-gilt decoration. The original shaped solid Breccia Violette marble top rests voce a panelled frieze decorated with scrolling acanthus, flower-filled classical urns and carved paterae. The table is raised on four beautifully proportioned fluted legs, tapering to an unusually fine point and giving the table a particularly elegant and refined profile. Height: 90cm Width: 110cm Depth: 54cm
Galerie Taménaga
Jean Fautrier (Paris 1898–1964 Châtenay-Malabry) Tête, 1927 Oil on canvas 35 x 27 cm Signed upper right: 'Fautrier' Provenance: Jean-Paul Ledeur, Paris Literature: Marcel-André Stalter, Recherches sur la vie et l'œuvre de Jean Fautrier (1898-1964) de leurs commencements à 1940. Essai de catalogue méthodique et d'interprétation, doctoral thesis, Université de la Sorbonne, Paris IV, 1982, n° 319; Marie-José Lefort, Fautrier. Catalogue raisonné de l'œuvre peint, Éditions Norma, Paris, 2023, n° 256, illustrated p. 199 Exhibitions: Hamburg, Kunstverein, Jean Fautrier, 19 May–17 June 1973, n° 16; Amsterdam, Stedelijk Museum / Zurich, Kunsthaus, Jean Fautrier, 11 January - 4 May 1986, n° 35, ill. p. 25; Paris, Galerie Jeanne Castel, 1986
Victor Werner
Louis Tuaillon (Berlin 1862-1919) Stag, ca. 1912 Bronze garden sculpture with natural green patina Signed ‘Louis Tuaillon’ on the base Bears the foundry ‘Martin u. Piltzing Hofbildgiesser Berlin’ H. 110 x L. 90 x D. 32 cm A neoclassical bronze sculpture depicting a stag in a standing sentinel pose. This design was acquired in 1912 by the prominent art philanthropist Eduard Arnhold for his private estate in Hirschfelde (Brandenburg), where a large-scale version still stands today as a public monument.
Dr. Nöth kunsthandel
Armand Guillaumin (Paris 1841-1927 Orly) Bords de l'Orge à Epinay, 1890 Oil on canvas 81 x 65 cm Signed lower right Certificate of authenticity from the Comité Guillaumin. This work will be included in the second volume of the forthcoming catalogue raisonné currently in preparation. 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 (acquired from the above in 1956); Christie's London 7 Febuary 2001, lot 127; private collection, Texas
Maison D'Art
Santi di Tito (Borgo San Sepolcro 1536-1603 Florence) 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
Gallery de Potter d’Indoye
An Empire Writing Table, Stamped Jacob Frères A Mahogany and gilded bronze writing table by Jacob Frères, stamped Jacob Freres. Resting on four caryatids of canephorus gilded bronze, they are traced by a spacer in X. The stamp of Jacob Fréres Rue Meslée was used from 1796-1803 during the collaboration of Georges Jacob and his brother François-Honoré-Georges Jacob. Provenance: Colection Ségoura Paris. This reading table is illustrated in the book: Jacob and his Time, by Michel Beurdey, Saint-Rémy-en-l'Eau, 2002, p 83, as belonging to the Ségoura collection. Dimensions: height 73 cm; width 86,5 cm; depth 54 cm 28 3/4 in.; 34 in.; 21 1/4 in
Almine Rech
Tom Wesselmann (Cincinnati 1931-2004 New York) Long Beach Seascape, 1991/95 Alkyd oil on cut-out aluminum 99,1 x 190,5 cm Signed and dated on the back Provenance: estate of the artist 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 colour, 'Long Beach Seascape' demonstrates the artist’s endless pursuit of radical forms of creative expression.
Van Pruissen Asian Art
Ban'ura Shogo (1901 - 1982) Paper and Writing Box with pea plant design Japan, 1950-1960 H 20.8 x W 32 x D Signature: Shogo saku Provenance: Ben Janssens collection, UK Literature: Jan Dees, Splendour in detail - 20th century Japanese lacquer from the Ben Janssens Collection, 2021 Exhibited at Japan museum SieboldHuis 2021
Willow Gallery
Georges Mathieu (Boulogne-sur-Mer 1921-2012 Boulogne-Billancourt) Forêts attentives, 1989 Alkyd on canvas 147 x 115cm Signed and inscribed on the reverse Provenance: Galerie Guy Pieters, Brussels; private collection, Brussels; private collection, Savoie; sale, Maison R&C, France, 17 July 2021, Lot 93; private collection, Europe This painting is accompanied by a certificate of authenticity from Mr. Jean-Marie Cusinberche