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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, ill. 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
Bernardini Milano
Patek Philippe, Geneva Rare waterproof chronograph in rose gold, 1945 Reference 1463, 'Tasti Tondi', bearing a uniquely spotless two-tone rose dia Provenance: previously unknown to the market 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 is one of the best-preserved examples to have appeared in recent years.
Thomas Deprez Fine Arts
Josuë Dupon (Ichtegem 1864-1935 Antwerp) Flandria, 1914 (model), pre-1916 (cast) H 66 x W 71 x D 25 cm Patinated bronze, sand-cast Signed on the base ‘Josuë Dupon’ Titled on the front end of the base ‘FLANDRIA’ Stamped along the backside of the base: 'Fonderie Nationale des Bronzes’. Provenance: anonymous sale, Pictura, Ghent, 5 January 2007; former collection K. D., bought in the sale; thence by descent Exhibition: studio of the artist, March, cf. press, 1914; Exhibition Henry Luyten et Josué Dupon, April 1914; Salon Triennale, Brussels, 1914 as: n° 1001. 'Flandria (plaster)'; Salon Triennale, Antwerp, 1920 as: 'Flandria (bronze)'; Salon Triennale, Ghent, 1922 as: 'Flandria (bronze).' Related documents: A letter from Dupon to art historian and collector Max Rooses, dated to 30 March 1914, discusses the sale of a bronze version for 1,800 francs as a special offer at a reduced price. Rooses passed away some 100 days later on 15 July 1914. (Letterenhuis, Antwerpen, D922) Press: René Sancy 'Flandria chez M. Josué Dupon', in: Le Matin, 25 March 1914, p. 3; René Sancy, 'Exhibition Henry Luyten et Josué Dupon', in: Le Matin, 16 April 1916, p. 7; Arnold Goffin, 'De driejaarlijksche tentoonstelling te Brussel, II Beeldhouw- en penningkunst', in: Onze Kunst; Geïllustreerd maandschrift voor beeldende en decoratieve kunsten, Brussel, 13de jaargang, 1914, p. 103: D. Visu. 'Driejaarlijksche Tentoonstelling (vervolg en slot)', in: Het Handelsblad, 20 July 1920, p. 1; 'Beeldende kunsten: Driejaarlijksche Tentoonstelling', in: Gazette van Antwerpen, 8 August 1920, p. 2; 'Kunstkroniek: 42e Driejaarlijksch Salon te Gent, XVIII', in: Vooruit, 4 August 1922, p. 7; Karel Van de Woestyne, 'Het driejaarlijksch salon te Gent. V.', in: N.R.C., 20 September 1922 Full press articles available on request.
Galerie Hadjer
Fernand Léger (Argentan 1881-1955 Gif-sur-Yvette) Les Oiseaux dans les fleurs (mural composition), 1958 Aubusson tapestry, woven in wool 189 x 265 cm Signed 'F. LÉGER' Woven by the Pinton workshop, Aubusson, France Edition of 6 + 2 AP Accompanied by a certificate of authenticity from the Comité Fernand Léger Provenance: atelier Pinton, Aubusson, France; private collection, London Exhibitions: F. Léger, tapisseries, céramiques, bronzes, lithographies, Palais de la Méditerranée, Nice, 20 July - 30 September 1962; F. Léger et les arts décoratifs, Biot & Aubusson, 2002-2003; Literature: F. Léger et les arts décoratifs, exhibition catalogue, Biot & Aubusson, 2002-2003, another example from the edition ill. p. 34; Georges Bauquier, Fernand Léger, Catalogue raisonné de l’œuvre peint, 1952-1953, Paris, 2013, n° 1492, the related painted version ill. p. 57.
Chambre professionnelle belge de la Librairie Ancienne et Moderne (CLAM)
Pablo Picasso (Malaga 1881-1973 Mougins) and Hélène Parmelin (Nancy 1915-1998 Paris) Woman portrait in 'Les Dames de Mougins', 1965 Feltpen drawing on paper 29.8 x 27 cm Copy of the doctor René Gutmann Signed and dated 'pour mon cher ami Gutmann. Diego Picasso, le 8.11.65' Provenance: Dr. René-Albert Gutmann (1885-1981); thence by descent Librairie Lardanchet, Antiquarian bookseller
Vagabond Antiques
Giocondo Albertolli (Bedano 1742-1839 Milan) (Attributed to) Milan, late 18th century Wall lights H 72 x W 45 x D 37 cm These elegant gilt-metal wall sconces are attributed to the Milanese architect, designer and ornamentist Giocondo Albertolli, one of the leading figures of Italian Neo-classicism. Their design closely relates to the engraved ornament published in Albertolli's celebrated pattern books, particularly Ornamenti Diversi (Milan, 1782), which played a central role in disseminating the new classical taste throughout Lombardy and Northern Italy. The sconces display many of the motifs associated with Albertolli's ornamental vocabulary, including scrolling acanthus brances, finely fluted candle sockets and radiating drip pans. Their unusually tall proportions and boldly projecting arms give them a distinctly sculptural character, creating a sense of movement and depth rarely encountered in wall lights of the period. The open voluted arms, enriched with naturalistic foliage, closely resemble a number of Albertolli's published designs for girandoles and wall lights. Born in Bedano, near Lugano, Albertolli settled in Milan in 1774 at the invitation of the architect Giuseppe Piermarini. As Professor of Ornament at the Brera Academy he exerted a profound influence on the decorative arts of Northern Italy, providing designs for architecture, furniture, metalwork and interior decoration. His published engravings became an important source for craftsmen working in the Neoclassical style throughout the late eighteenth century. The present sconces are attributed to Giocondo Albertolli and were almost certainly produced by craftsmen working within the circle of artists and decorators associated with him in late eighteenth century Milan. Their refined design and high quality of execution reflect the sophisticated decorative arts tradition that flourished in Lombardy during the Neoclassical period.
LUDORFF
Günther Uecker (Wendorf 1930-2025 Düsseldorf) Kopf, 1955-1956 Nails on wood H 60 x W 34 x D 38 cm Signed and dated '56' Registered in the Uecker Archive under n° GU.56.001 and earmarked for inclusion in the forthcoming catalogue raisonné of Günther Uecker / Honisch catalogue raisonné 1983, n° 1 Provenance: the artist’s studio; private collection Nordrhein-Westfalen (purchased directly from the artist’s family 1987-2026) Literature: Galerie Ludorff, 'Recent Acquisitions Fall 2026', Düsseldorf 2026, S. 158; Dieter Honisch, 'Günther Uecker. Werkverzeichnis', Stuttgart 1983, n° 1, S. 169; Kestner-Gesellschaft, 'Günther Uecker', Hannover 1972, n° 53; Kunst- und Museumsverein, 'Exotisches und Moderne Kunst', Wuppertal 1968, n° 41 Exhibitions: Galerie Ludorff, 'Recent Acquisitions Fall 2026', 4 October-16 January, Düsseldorf 2026; Kestner-Gesellschaft, 'Günther Uecker', 5 May-18 June, Hannover 1972
Galerie Hadjer
Sonia Delaunay (Ukraine, Gradizhsk 1885-1979 Paris) Rythmes Ondulatoires, circa 1970 Handwoven Aubusson wool tapestry 165 x 225 cm Woven by Pinton Frères, Felletin-Aubusson, France, after Sonia Delaunay’s original design Signed 'Sonia Delaunay' in the weave, lower left, and bearing the Pinton workshop monogramme Edition of 6 + 2 AP Accompanied by a certificate of authenticity from the Pinton workshops, Felletin-Aubusson, France Rythmes Ondulatoires is an important example of Sonia Delaunay’s exploration of colour, rhythm and movement translated into the medium of tapestry. The composition is structured through an intricate interplay of circles, semicircles, concentric arcs and intersecting geometric planes. Vivid fields of red, blue, green, yellow and orange are set against black, white and grey, generating a powerful sense of optical vibration and continuous movement across the woven surface. The composition reflects Delaunay’s lifelong investigation into simultaneous colour contrasts, developed from the early twentieth century onwards. Together with Robert Delaunay, she explored the capacity of juxtaposed colours and geometric forms to create rhythm, luminosity and movement. These principles became fundamental to her distinctive contribution to the development of abstraction. The Collection Société Générale similarly describes Delaunay’s work in terms of her investigations into light, the movement of colours and “simultaneous contrast,” through vivid geometric forms organised into rhythmic compositions. The tapestry also reflects Delaunay’s longstanding commitment to dissolving the traditional distinction between fine and applied arts. Throughout her career, her abstract vocabulary extended beyond painting into textiles, fashion, interior decoration and other forms of applied art. Her use of pure colour and simultaneous contrasts remained central across these different media. In Rythmes Ondulatoires, the translation of Delaunay’s composition into wool by the Pinton workshops, one of the leading modern tapestry manufacturers in the Aubusson tradition, gives physical substance and texture to her chromatic language. The concentric curves and repeated arcs create an almost musical rhythm, while the juxtaposition of geometric forms produces a composition that appears to expand and contract across the surface. References and comparable examples Another Rythmes Ondulatoires, dated 1970, is documented as a handwoven Aubusson wool tapestry in scholarly lecture material devoted to Robert and Sonia Delaunay. The Société Générale Art Collection also holds a work entitled Rythmes ondulatoires, measuring 167 × 225 cm, closely corresponding in dimensions and composition. The collection describes the work through its geometric lines and forms, interwoven vivid colours and characteristic rhythmic harmony. Another Pinton-woven Rythmes Ondulatoires was publicly presented by Galleria Antonio Verolino at ArtePadova in 2024, documenting the continued presence of this composition within the art market and exhibition context. The tapestry is in very good overall condition, with strong and well-preserved colours, with no known restorations.
Stéphane Renard Fine Art
Maerten de Vos (Antwerp 1532 – 1603) The Four Elements: Air, Earth, Water and Fire Pen and brown ink wash on laid paper 100 x 138 mm for each drawing The drawings of Earth, Water and Fire are signed and dated 1579 Provenance: private collection, Lyon – France These four previously unpublished drawings were used around 1585 to produce the series of four engravings by Johannes Sadeler (Hollstein 529–532). The success of this publication led, a few years later, to the production of a second, smaller series by Raphael Sadeler, Johannes’s brother (Hollstein Dutch and Flemish, Maerten de Vos, XLIV–XLVI, 1360–1364, copy d.).
HELENE BAILLY MARCILHAC
Pierre-Auguste Renoir (Limoges 1841-1919 Cagnes-sur-Mer) Les colettes à Cagnes Oil on canvas 27 x 46 cm Signed lower right 'Renoir' This work will be included in the forthcoming digital catalogue raisonné currently in preparation by the Wildenstein Plattner Institute. Notice of inclusion dated 14 March 2000
Argento Gallery
Gerard van Honthorst (Utrecht, 1592–1656) and workshop Four portraits of officers, 1637-1639 Oil on canvas 76.5 x 63.7 cm each Each signed and dated: two 1637, one 1638 and one 1639 Provenance: Charles Marsham collection, 4th Earl of Romney, Mote Park; acquired with Mote Park in 1895 by Marcus Samuel, later 1st Viscount Bearsted; by descent to his son, Colonel Walter Horace Samuel, 2nd Viscount Bearsted; Christie’s, London, 13 December 1929, lots 83, 82, 80 and 79; presumably inherited by his sister, Nellie Ionides, born Samuel; by descent in 1968 to her grandson, Toby Jessel, The Old Court House, Hampton Court; Sotheby’s, London, 30 April 2014, lots 725-728; private collection; Christie’s, London, 1 April 2026, lots 30-33 Literature: Upton House. The Bearsted Collection: Pictures, London: The National Trust, 1964, p. 41, n° 137; J.R. Judson and R.E.O. Ekkart, Gerrit van Honthorst, Doornspijk: Davaco, 1999, pp. 315-316, n° 475, 474, 478 and 479 Four unidentified military officers portrayed in armour with differently coloured sashes, each within a painted oval with a sculptural border. Originally belonging to a larger series, the portraits display Honthorst’s characteristic treatment of faces, fabrics and reflected light on metal. The identities of the officers and the original patron remain unknown.
Galerie Berès
Fernand Léger (Argentan 1881-1955 Gif-sur-Yvette) 'Composition pour les Illuminations d'Arthur Rimbaud', 1949 Gouache and ink on paper 33 x 24 cm Monogrammed and dated lower right 'F.L.49' Certificate of authenticity by the Comité Fernand Léger Certificate of authenticity by Irus Hansma Provenance: private collection, Paris
Verdini Antiques
Domenico Morelli (Naples, 1823-1901) Cesare Borgia in Capua, 1854 Oil on canvas 131 x 183.5 cm Provenance: Count Tasca d'Almerita of Palermo Literature: Almerinda Di Benedetto, 'The painted history: Domenico Morelli and the Sack of Capua' in Rosanna Cioffi, Ornella Scogliamiglio, MOSAIC, Themes and methods of art and criticism for Gianni Carlo Sciolla, vol. 2, Luciano Editore, 2012 Exhibition: Exhibition of Fine Arts in Palermo, 1856, presented as: Cesare Borgia after the siege of Capua makes women who had taken refuge in a basement of the castle draw It is above all through the letters to his friend Pasquale Villari that we know the various moments of the work that allow the painter Domenico Morelli to complete the painting 'Cesare Borgia in Capua', commissioned by the wealthy German entrepreneur Ettore Giulio Marstaller. On September 26, 1849 Domenico Morelli wrote to Villari that Marstaller had been very interested in a 'drawing sketch representing Cesare Borgia after the capture of Capua who chooses among the women locked up in a tower 40 of the most beautiful and we agreed that he will execute the painting of the same size as the bodies, with torchlight'. The relationship between the painter and the client was somewhat troubled, to the point that Domenico Morelli proposed the painting to another buyer. Completed in the spring of 54, due to Marsteller's death, the painting was sold in January of the following year to Count Tasca d'Almerita of Palermo. In 1856 the painting was thus presented at the Exhibition of Fine Arts in Palermo with the title 'Cesare Borgia after the siege of Capua makes women who had taken refuge in a basement of the castle draw', obtaining enthusiastic judgments to such an extent that in the magazine 'Il Poligrafo' the regret of not being able to grant the Neapolitan painter a diploma of gratitude, as the regulation provided for it only for Sicilian artists. The certain motivations for Morelli's choice of this dramatic historical event are not known, but, as Almerinda Di Benedetto points out, it is shown 'certain, however, that the identification of an event so historically full of meaning, both for the terribleness with which the events took place, and for the very strong symbolic message transmitted by the behavior of the Capuans, strenuous and indomitable defenders of their own land and of the moral and civil values linked to it, appears more than appropriate in an era permeated by deep Risorgimento and patriotic moods'. In relation to the terrible decision of the ruthless Duke Valentino to perpetrate an unprecedented massacre in Capua to the detriment of the helpless population, which came to count a few thousand victims, the professor and researcher Almerinda Di Benedetto recommends the 'very recent publication by Giancarlo Bova, Il sacco di Capua, July 24, 1501, in which the author contributes, with the contribution of unpublished documents, to make greater clarity on the chilling story of the memorable massacre'. As far as the purely pictorial aspect is concerned, in the year 1925 Vittorio Spinazzola would have condensed the description of the work in the following lines: 'the lush canvas, in which all the virtues of his imagination, his brush, the wise research, the sensuality of the forms, the tumultuous yet Latinally contained impetus of the composition were employed, connecting to our Venetian or seventeenth-century Neapolitan tradition, in which the wonderful bottom of battlemented walls and towers glimpsed in a gold dust and the mastery of the groupings, the glimpses, the nudes, would be enough to show how much his mastery of the drawing, the brush, the form would be enough'.
Galerie Jean-François Cazeau
Niki de Saint Phalle (1930-2002) 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: artist's studio; Gallery Gimpel Fils, Londres; private collection, acquired in 1989; private collection, France