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Waddington Custot
Jean Hélion (Couterne, Rives-d'Andaine 1904–1987 Paris) Homme au chapeau, 1943 Oil on canvas 58.1 x 43.1 cm Signed and dated on reverse ‘Hélion va 43’ This work is recorded in the online catalogue raisonné de l’oeuvre peint de Jean Hélion, no. 876 (http://www.helion-cat-rais.com/moteur/pop.php?id=1216) Provenance: John Ashbery, New York (directly from the artist); Connaught Brown, London Exhibitions: ‘Jean Hélion’, Spencer A. Samuels & Co., Ltd, New York, 7 April–22 May 1976, catalogue no. 8 (repro. In b&w); ‘Works from the Collection of John Ashbery’, Kasmin Gallery, New York, 1 November–22 December 2018; ‘Regards croisés’, Waddington Custot, Paris, 11 June–26 September 2026
Galerie Taménaga
Pierre-Auguste Renoir (Limoges 1841-1919 Cagnes-surMer) Paysage de Cagnes, 1900 Oil on canvas 24 x 54 cm Signed with initials lower left 'AR' This work will be included in the forthcoming catalogue raisonné of the work of Pierre-Auguste Renoir currently in preparation by the Wildenstein Plattner Institute Provenance: Ambroise Vollard, Paris; private collection, Japan Literature: Ambroise Vollard, Pierre-Auguste Renoir, Tableaux, pastels et dessins, Alan Wofsy Fine Arts, San Francisco, 1989, n° 612, 1185 and 1330, ill. pp. 155, 258 and 279
La Galerie URBAN
Camille Pissarro (Charlotte Amalie 1830 - 1903 Paris) Baigneuses 1895 Oil on canvas 38.5 x 46 cm Signed and dated lower right "C. Pissarro. 95" This work is listed in the artist's Catalogue raisonné under n° 1102. Provenance: Jeanne Pissarro-Bonin, Paris (daughter of the artist); Georges Urion, Paris; Sale Collection d'un amateur, G. Urion, Paris, Hôtel Drouot, 16 May 1934, n° 15 (ill.); Bergaud Collection (acquired at the above sale); Doctor Louis Boidin, Paris; Piasa Paris sale, 24 June 2009, p. 17, n° 15; Private collection, Paris. Exhibition: Pictures by Camille Pissarro, London, Stafford Gallery, October 1911, n° 21 or 27 Literature: L.R. Pissarro, L. Venturi, Camille Pissarro: son art, son œuvre, Paris, 1939, vol. I, n° 902, vol. II, pl. 183; C. Kunstler, Camille Pissarro, Milan: Fabbri, 1974, p. 67; J. Pissarro, C. Durand-Ruel Snollaerts, Pissarro, Catalogue critique des peintures, Skira, Wildenstein Institute Publications, 2005, vol. III, p. 696, n° 1102.
Serge Schoffel - Art Premier
Ngoin mask Bamileke Cameroon 19th century Wood, pigments, crusty deposits H. 65 cm; W. 45 cm Provenance: - Jacques Ulmann, Paris, France - Galerie Ratton-Hourdé, Paris, France - Michel Périnet, Paris, France - Christie’s Paris, Michel Périnet Collection, on June 23rd, 2021, lot 59
Galerie von Vertes
Andy Warhol (Pittsburgh 1928-1987 New York) Patty Raynes and son, 1985 Acrylic and silkscreen ink on canvas 102 x 102 cm Signed on the reverse and dated 'Andy Warhol 85' Provenance: Patty Raynes, USA (1985 directly acquired from the artist); private collection, USA (2022 acquired from the above) 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 idolising 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.
Galerie Alexis Pentcheff
Carved wooden frame, gilded with gold leaf, fitted with its original mercury glass Spain, 17th century Symmetrical decoration featuring four cherubs, stylised scrolls, acanthus leaves and gemstones at the corners Provenance: Amedeo Montanari collection Literature: Amedeo Montanari and Roberto Lodi, Directory of European frales, editions Galleria Roberto Lodi, 2003, repr. n° 641, p. 323
Galerie Haesaerts-le Grelle
Gustave Serrurier-Bovy (Liège 1858-1910 Antwerp) Pair of armchairs ('ouvrier' series), circa 1904 Oak, black-painted iron and woven straw H 93 x W 50 x D 50 cm Produced by 'Serrurier et Cie' Literature: F. Bigot du Mesnil du Buisson & E. du Mesnil du Buisson, Serrurier-Bovy 'un créateur précurseur' 1858-1910, Paris, Faton, 2008 p. 150; Jacques-Grégoire Watelet, Serrurier-Bovy, Ateliers Vokaer, Bruxelles, 1986, pp. 88-89 A true manifesto of Gustave Serrurier-Bovy’s principles, this pair of armchairs, illustrated in Art Décoratif in 1904, embodies the foundations of the artist’s thinking. Functionality, clarity, simplicity of materials and lines - the use of oak and a backrest secured with simple iron screws, initially functional and subsequently decorative, together with a rush seat - are all characteristic of his approach. His commitment to serial production, allowing his work to reach a wider audience, further demonstrates his progressive vision. Together, these elements place Gustave Serrurier-Bovy at the forefront of modernity.
Gallery de Potter d’Indoye
An Empire writing table Jacob Frères, Paris, circa 1796-1803 Mahogany and gilded bronze H 73 x W 86.5 x D 54 cm Stamped JACOB FRÈRES Provenance: Ségoura collection, Paris Literature: Michel Beurdeley, Jacob et son temps, Saint-Rémy-en-l'Eau, 2002, p. 83, illustrated as belonging to the Ségoura collection The rectangular top is supported by four female caryatids in patinated and gilt bronze, modelled as canephorae, their bodies joined by an X-form stretcher. The table bears the stamp JACOB FRÈRES / RUE MESLÉE, used between 1796 and 1803 by the brothers Georges II Jacob (1768-1803) and François-Honoré-Georges Jacob, later known as Jacob-Desmalter (1770-1841). The brothers, sons of the celebrated Parisian menuisier Georges Jacob (1739–1814), took over their father's workshop in 1796 and produced furniture of marked neoclassical character, employing mahogany and richly chased gilt-bronze mounts in response to the developing Directoire and Consular taste.
Victor Werner
Louis Tuaillon (Berlin, 1862-1919) Stag, circa 1912 Bronze garden sculpture with natural green patina H 110 x W 90 x D 32 cm Signed ‘Louis Tuaillon’ on the base Bears the foundry ‘Martin u. Piltzing Hofbildgiesser Berlin’ 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.
robertaebasta
Mario Quarti (Milan, 1901-1974) Large sideboard in Italian walnut, circa 1940 Walnut and brass H 97.5 x W 322 x D 50 cm Provenance: private collection, Italy Main body raised from the floor by three elements show on the fron six doors decorated with an inlaid diamond pattern in walnut of different shades, brass handles.
Dries Criel
NYX Ring 18kt yellow gold, diamonds, orange spessartine and red enamel At the heart of the Nyx Ring, a vivid natural spessartine appears almost illuminated from within, its intense orange colour emerging against deep red enamel, natural white diamonds and 18kt yellow gold. Named after Nyx, the primordial Greek goddess of night, the ring explores the tension between darkness and light.
Galerie Jean-François Cazeau
Niki de Saint Phalle (Neuilly-sur-Seine 1930-2002 La Jolla, USA) La Force (Strenght), 1987 Painted polyester resin 35 x 53.3 x 29.2 cm Edition of 10, numbered 3/10 Artist's signature and number '3/10 Niki de Saint Phalle' (on a plaque fixed at the bottom) Provenance: the artist's studio; Gallery Gimpel Fils, Londres; private collection, acquired in 1989; private collection, France
Galerie Édouard Ambroselli
Georges Aubert (Paris, 1866-1961) and Odilon Redon (Bordeaux 1840-1916 Paris) The Shadow, circa 1896-1900 Carved, engraved and painted wood H 25 x W 18.5 x D 2 cm Provenance: Ambroise Vollard collection (1866-1939) Plate for The Shadow, illustration from Gustave Flaubert’s Tentation de Saint Antoine, Paris, Éditions Ambroise Vollard, 1938, p. 21
Anthony Short Antiques Ltd.
Large Antler Coat Stand by J. Parker of Woodstock. England, circa 1850 A striking and rare antler and oak hall stand attributed to J. Parker of Woodstock, noted cabinetmaker and upholsterer active in the 1850s. The central pole bears a diamond registration plaque, dating the original design to 15 January 1852, when it would have been registered with the National Patent Office. Given the close proximity of Woodstock to the Blenheim Park Estate and its historic deer herd, it is highly likely that the antlers used in this piece originate from Blenheim. A closely related, documented example is held in the collection of the National Trust at Speke Hall, England. This wonderfully sculptural stand is composed of interlaced antlers and oak, forming an elegant rack for hats and coats. The lower section incorporates a basin for umbrellas and walking sticks, retaining its original tole liner, all raised on bun feet. The whole is mounted on a solid oak barley twist column, topped by a turned finial, lending both movement and architectural presence. Darkly toned with a rich, well developed patina, the stand embodies the lodge style aesthetic so prized in the late 19th-century. Robust hardwood construction and finely worked antlers demonstrate high quality craftsmanship and enduring stability. Antler furniture rose to prominence following the Great Exhibition of the Works of Industry of All Nations, London, 1851, where such pieces were presented as fashionable novelties of modern living. Designers such as the German horn carver and furniture maker H. F. C. Rampendahl helped to establish this distinctive genre, which was soon produced in series for an aspiring European middle class. Both practical and highly decorative, this unusual 19th-century antler and oak hall stand is ideal for an entrance hall, where it serves not only as a functional piece for coats, hats and umbrellas, but also as a true conversation piece and a statement of refined country house style. Height 210cm (82.7in) Diameter 57cm (22.4in)
Thomas Deprez Fine Arts
Evariste Carpentier (Kuurne 1845-1922 Liege) Sous les rochers de Logne, 1908-1909 Oil on canvas 129.5 x 195.5 cm Signed lower right ‘Evte Carpentier’ Provenance: by descent in the family of the artist; anonymous sale, HdV Horta, Brussels, 4 December 2006, lot 110 as 'Sous les rochers de Logne'; private collection K.D., Belgium; thence by descent Literature: Annick Lemoine, Evariste Carpentier (1845-1922), Brussels: Mecenart, 1994, ill. p. 119, as 'Langs de rotsen van Logne-Sous les roches de Logne (circa 1906)'; Fritz Carpentier, quoted in: Jacques Goijen, L'École liégeoise du paysage: ma merveilleuse aventure, Stavelot, Éditions Chauveheid, 1991, p. 27 Exhibitions: Salon triennal de Gand, 1909, as 'Paisible hameau de Logne', cf. Sander Pierron; Exposition Evariste Carpentier & Armand Apol, Brussels, Cercle Artistique & Littéraire, 1909-1910, as 'Paisible hameau de Logne', cf. press; Exposition Evariste Carpentier, Huy, Cercle Artistique, 1910, as 'Paisible hameau de Logne', cf. press; Exposition M. Romiée, Evariste Carpentier & R. de Baugnies, Liège, Cercle des Beaux-Arts, February 1911, as 'Paisible hameau de Logne', cf. press; Esposizione Internazionale di Roma, 1911, Padiglione del Belgio, cat. n° 10, as 'La capanna pacifica'; Logne Autrefois: Sur les traces d’Evariste Carpentier et de l’École Liégeoise du Paysage, Musée du Château fort de Logne, 2019, p. 6, 24-25, ill. cat. n° 9, as 'Sous les rochers de Logne' Sander Pierron, 'Les Lettres et les Arts: Le Salon de Gand, II' in 'L'Indépendance Belge', 1 September 1909, p. 3. 'Evariste Carpentier nous oblige à quitter ce coin hivernal du Brabant, pour admirer l’estival et Paisible hameau de Logne ; ceci est une page radieuse, la meilleure qu’ait signé ce maître fécond et divers. En ce site, d’un pittoresque fermement établi, l’ombre transparente des premiers plans s’opposent à l’ardent et léger ensoleillement des fonds. L’observation interprétative est accusée par la vérité des plans, obtenus par la ligne des éléments aussi bien que par les valeurs du coloris et la distribution de la lumière, qui se répète dans l’onde vive d’un ruisseau dont deux vaches suivent le bord. Une impression heureuse se dégage de cette œuvre qu’on peut considérer comme un beau poème pastoral.' Related documents: Letter from the artist to the renowned art critic Sander Pierron, dated 28 October 1909, in which he thanks him for the praising article about his painting. (Algemeen Rijksarchief, Fonds Sander Pierron, inv. I286-73.)
Stern Pissarro Gallery
Pierre-Auguste Renoir (Limoges 1841-1919 Cagnes-sur-Mer) Coco mangeant sa soupe, 1905 Oil on canvas 46.3 x 37.9 cm Signed lower right 'Renoir' Provenance: Ambroise Vollard, Paris; private collection, Zurich, circa 1930; Fine Arts Gallery of San Diego, March 1942 (on loan from a private collection); Dalzell Hatfield Galleries, Los Angeles, 1943-1949; Van Diemen-Lilienfeld Galleries, New York, 1953; Chapin and Mary Alexander Riley, Malibu/Worcester, acquired in 1953; Worcester Art Museum, Massachusetts (inventory n° 1991.238) (one third gifted in 1992 and a second third gifted in 1997) Literature: Principales acquisitions des musées en 1992, Gazette des Beaux-Arts, 1993, p. 65; Guy-Patrice Dauberville and Michel Dauberville, Renoir: Catalogue raisonné des tableaux, pastels, dessins et aquarelles, vol. IV, 1903-1910, n° 3415, p. 435 Exhibitions: Amsterdam, Stedelijk Museum, Vincent van Gogh en zijn Tijdgenooten, 1930, n° 269; San Diego, Fine Arts Gallery, 1942; Los Angeles, Dalzell Hatfield Galleries, Renoir (1841-1919), 1943, n° 5; Los Angeles, Dalzell Hatfield Galleries, A Superb Exhibition: Modern French Masters, 1949, p. 5 (travelled to New York, Barbizon Plaza Hotel); Madrid, Museo Thyssen-Bornemisza, Renoir: Intimidad, 18 October 2016-22 January 2017, p. 149 (travelled to Bilbao, Museo de Gellas Artes de Bilbao, 7 February-15 May 2017)