This section will be available this Autumn.
Gallery Sofie Van de Velde
Cy Twombly (USA, Lexington 1928-2011 Rome) Untitled, Captiva Island, Florida, 1974 Gouache and pastel on a collage of paper and graph paper, on paper 75 x 106 cm Signed, dated, and inscribed 'Captiva ‘Feb 74’ on the reverse Provenance: Galerie Yvon Lambert, Paris; Pierre Horay collection, Paris; Heiner Bastian Fine Art, Berlin; acquired from the above by the present owner Literature: Y. Lambert, Cy Twombly: Catalogue raisonné des œuvres sur papier, vol. VI, 1973-1976, Milan, 1979, n° 110 (ill. p. 115); N. Del Roscio, Cy Twombly Drawings, Catalogue raisonné, Vol. 6, 1972–1979, Munich, 2016, n° 114 (ill. in colour p. 108) Exhibitions: Paris, Galerie Yvon Lambert, Cy Twombly, April-May 1974; Seattle, Richard Hines Gallery, Cy Twombly: Paintings and Drawings, July-August 1980
Laurent Schaubroeck
José Zanine Caldas (Belmonte 1919-2001 Vitória) Moveis Artisticos Z 2-21 Zeca Armchair, circa 1949 Leather, plywood, hardware H 87 x W 67 x D 77 cm An early 2-21 'Zeca' armchair by José Zanine Caldas for Móveis Artísticos Z. Introduced circa 1949, the 2-21 represents the first edition of the model, before Zanine later adapted the design with Airfoam cushioning and renumbered it 2-24. Its sculptural plywood structure and leather upholstery fully represent Zanine’s pioneering approach to Brazilian modern furniture.
Beck & Eggeling International Fine Art
Manolo Valdés (Valencia, 1944) 'The Cartier', 2008 Oil and mixed media on canvas 188 x 188 cm H 200 x W 200 x D 10 cm (in artist's frame) Signed 'MAVALDES', dated '2008', titled 'The Cartier' and inscribed with measurements on the reverse Acquired directly from the artist's studio
Gallery de Potter d’Indoye
Empire chandelier, circa 1810 Crystal, chiseled and gilded bronze H 117 x Ø 81 cm 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. 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.
Grusenmeyer-Woliner
Power figure (Nkisi) Democratic Republic of the Congo, Kongo, Mayombe region, late 19th century Wood, seeds, beads, metal, glass, and plant fibers (raffia) H 24.5 cm H 29.5 cm (including base) Provenance: Mathias Komor Gallery, New York, USA, 1960s; Elliot Picket (by 1974); Aaron and Joyce Furman, New-York, USA; Daniel Hourdé, Paris; Galerie Alain de Monbrison, Paris Publication: Picket, Elliot, 'L’art Africain congloméré', Arts d’Afrique noire, n° 10, Summer 1974, n° 19, p. 33
Galerie Hurtebize
Maurice Utrillo (Paris 1883-1955 Dax) 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, n° 2720 (ill. p. 239)
F. Baulme Fine Arts
Nicolas Vleughels (Paris 1668-1737 Rome) King Solomon Sacrificing to the Idols, 1721 Oil on canvas 38 x 52.5 cm Monogrammed and dated lower left 'N.V.F 1721' Provenance: Paris, de Troy sale, 9 April 1764, n° 123; Pierre Rémy collection, 1764 Literature: Bernard Hercenberg, Nicolas Vleughels, directeur de l’Académie de France à Rome, 1668-1737, Paris, Léonce Laget, 1975 (cat. n° 93, p. 89; engraving, fig. 100, repr.) Related works: Edme Jeaurat, after Nicolas Vleughels, King Solomon Sacrificing to the Idols, 1723, engraving; Nicolas Vleughels, King Solomon Sacrificing to the Idols, 1720, oil on panel, 21.5 x 30 cm, private collection; Nicolas Vleughels, Solomon and the Queen of Sheba, 1728-1729, oil on copper, 39 x 50.7 cm, Paris, Musée du Louvre (RF 1992 412)
Galerie Berès
Henri Hayden (Warschau 1883-1970 Paris) Le banjo, circa 1920 Gouache on paper 28 x 36.7 cm Signed lower left 'Hayden' Certificate of authenticity by Pierre Célice dated 15 April 2012 This work will be included in the forthcoming Henri Hayden catalogue raisonné currently in preparation Literature: Henri Hayden (1883-1970), Bibliothèque Polonaise de Paris, 12 June-12 July 2013, pp. 28 Exhibition: Henri Hayden, Soixante ans de peinture 1908-1968, Musée National d'Art Moderne de Paris, 3 May-2 June 1968
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 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
Stoppenbach & Delestre
PIERRE-AUGUSTE RENOIR (1841-1919) Nature morte aux pommes et à poire c.1889 Oil on canvas 22 x 31 cm 8 5/8 x 12 ¼ inches Signed ‘Renoir’ lower right Provenance Ambroise Vollard, Paris, by whom acquired from the artist before 1919. Madame de la Chapelle, Paris. Galerie Durand-Ruel, Paris, by whom acquired from the above on 30 March 1938. Dr Albert & Elvira Charpentier, Paris, by whom acquired from above on 14 March 1939. Roberto & Elena Germain-Ribon, by descent from the above. Jacqueline Pizarro, by descent from the above. Sale , Christie’s, London, June 22 2005, n.110 (color ill.) Private collection, Netherlands Literature Ambroise Vollard, Pierre-Auguste Renoir. Paintings, Pastels, and Drawings. Tableaux, Pastels et Dessins, rev. ed. (San Francisco: Alan Wofsy Fine Arts, 1918), p.306 (ill. fig. 1489) G.-P. & M. Dauberville, Renoir: Catalogue raisonné des tableaux, pastels, dessins et aquarelles, vol. II, 1882-1894, Paris, Bernheim-Jeune, 2009, no. 721, p. 26 (illustrated p.26 dated c.1889). The work is included in the Renoir Digital Catalogue Raisonné Project, n.20411.
DIE GALERIE
Christian Dotremont (Tervuren, 1922-1979) Zyzzling aardvark, 1972 Indian ink on Japanese paper 98 x 61 cm Signed and dated lower right 'Dotremont 1972' Titled lower left 'Zyzzling aardvark' Provenance: private collection Exhibition: Pierre Alechinsky and his artist friends, DIE GALERIE, Frankfurt am Main, 2025
Harold t’Kint de Roodenbeke
René Magritte (Lessines 1898-1967 Bruxelles) Lilith Original pencil drawing 14.6 x 9.8 cm Signed upper right Provenance: private collection, Paris Literature: Les Lèvres nues, 'Le cache sexe des anges', 1978, ill. p. 9; René Magritte, 'A lab of ideas', 8 may-4 september 2022, Nordiska Akvarellmuseet, Skarhamn, Sweden, n° 164, ill. p. 123; Xavier Canonne, René Magritte, La ligne de vie, 15 November 2025-22 February 2026, KMSKA, Antwerp, Belgium, ill. p. 103. Exhibitions: René Magritte, 'A lab of ideas', 8 May-4 September 2022, Nordiska Akvarellmuseet, Skarhamn, Sweden, n° 164, ill. p. 123; 'René Magritte, La ligne de vie', 15 November 2025-22 February 2026, KMSKA, Antwerp, Belgium, ill. p. 103
Anthony Short Antiques Ltd.
An Exceptional 18th-Century George III Period Mahogany 6-Door Breakfront Secretaire Library Bookcase Stamped Gillows of Lancaster A magnificent late 18th-century George III period six-door breakfront library bookcase, in beautifully figured mahogany of exceptional quality. The moulded cornice sits above six astragal-glazed doors enclosing fully adjustable shelves, providing generous and elegant book storage. The lower breakfront centre section is fitted with a superb secretaire drawer, finely veneered and opening to reveal an arrangement of compartments beneath a sliding, tooled leather-inset writing surface, complete with concealed secret compartments. Below are six richly figured mahogany panelled doors, each opening to adjustable shelving, all raised on a moulded plinth base. The central drawer is stamped “Gillows of Lancaster,” as shown in the accompanying photograph. The bookcase displays outstanding colour and patina throughout, and its impressive scale, refined proportions, and the exceptional quality of the timber strongly suggest that it was made as a special commission. The Gillow family were among the most important British cabinetmakers of the 18th and 19th centuries, renowned for their superb craftsmanship, use of the finest woods, and designs that combined elegance with practicality and often ingenious mechanical details. Unusually, the firm operated both from Lancaster and from their London branch (opened in 1770), cementing their reputation and influence at the very forefront of British furniture making. A highly important, showstopping library piece for the serious collector. Height 252cm (99.2in) Width 340cm (133.9in) Depth 64cm (25.2in)
Lemaire
Japanese and Chinese Porcelain Potpourri Kangxi and Edo Periods, circa 1760–1770 Porcelain mounted in gilt-bronze H 23 x Ø 16 cm The piece is composed of two distinct sections. The circular Japanese porcelain base is decorated with a vegetal motif and set within a finely chased gilt-bronze mount, from which rise three small feet. Above, three Chinese biscuit porcelain dogs support a globular potpourri vessel, surmounted by a flower-form finial in porcelain. This work is typical of the marchands-merciers active in Paris during the second half of the 18th century.