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F. Baulme Fine Arts
Claude-Marie Dubufe (Paris 1790-1864 La-Celle-Saint-Cloud) Expression head: Modesty, circa 1827-1828 Oil on canvas 55.5 x 46.5 cm Provenance: private collection, England Literature: Emmanuel Bréon, Claude-Marie, Édouard et Guillaume Dubufe, Portraits d’un siècle d’élégance parisienne, exh. cat., Paris, Délégation à l’Action Artistique de la Ville de Paris, 1988 (engraving after the present painting, p. 70, repr.) Related work: Claude-Marie Dubufe, Modesty, 1828, engraving
Beck & Eggeling International Fine Art
Pablo Picasso (Málaga 1881-1973 Mougins) Femme au fauteuil I (Le manteau polonais), 1949 (16 January) Lithograph on Arches vellum 75.5 x 56.6 cm Signed lower right, numbered lower left, inscribed on the reverse '148, Pablo Picasso, Femme au Fauteuil I' Edition 45/50 (Mourlot, Paris) Provenance: Zürcher Kunstgesellschaft, Kunsthaus, Zurich; private collection, Switzerland (acquired 1954 during the exhibition 'Pablo Picasso im Kunsthaus Zürich', mentioned above); private collection (by descent); Germann Auktionen, Zurich, 25 June 2025, Lot 894; private collection, Berlin Literature: L.G. Buchheim, Pablo Picasso-aus dem graphischen Werk. Abbildungen nach Radierungen und Lithographien, Leipzig 1950, p. 42 (ill. full page b/w ill.); Fernand Mourlot, Picasso. Lithographie II, 1947-1949, Monte Carlo 1950, n° 134, p. 104, (ill. b/w p. 113); Pablo Picasso. Das graphische Werk, exhib. cat. Kunsthaus Zürich, Geneve 1954, n° 362 (not ill.); Fernand Mourlot, Picasso Lithograph, Éditions du livre, Paris 1970, n° 134, p. 109 (ill. b/w); Georges Bloch, Picasso. Catalogue de l'oeuvre gravé et lithographié 1904-1967, vol. I, Bern 1975, n° 586, p. 142 (b/w); Bernd Rau, Pablo Picasso. Die Lithographien, Stuttgart 1988, n° 386, p. 241 (ill. b/w); Ulrike Gauss (ed.), Pablo Picasso. Die Lithographie, Ostfldern-Ruit 2000, n° 413/134, p. 146 (ill. full page b/w)
Galerie Oscar De Vos
Frits Van den Berghe (Ghent, 1883-1939) The companions, 1932 Oil on canvas 150 x 130 cm Signed lower right 'FVBerghe 32' Provenance: Alla and Bénédict Goldschmidt collection, Brussels Literature: Langui, Frits Van den Berghe en de jongere generatie, in: Kunst-Kultuur, yr. 1, 1940, p. 4; Van Hecke, Frits Van den Berghe, in: Les Peintres Contemporains, 1948, pp. 99-110, cat. 55; Van Hecke, A propos des deux expositions de Frits Van den Berghe, in: Les Arts plastiques, n° 5-6, 1948, pp. 240-242, pl. 55; Haesaerts, Sint-Martens-Latem. Gezegend oord van de Vlaamse kunst, 1965, n° 689; Langui, Frits Van den Berghe. Catalogue raisonné de son oeuvre peint (Bruxelles: Laconte, 1966), n° 396; Langui, Het Expressionisme in België, 1970, pl. 81, p. 128; Hoozee, Tahon-Vanroose & Bown-Taevenier, Frits Van den Berghe, 1983, p. 164; Boyens, Frits Van den Berghe, 1999, pp. 161, 233, n° 132; Boyens, Frits Van den Berghe, 1999, p. 290, n° 753; Pauwels, Als een fonkelenden spiegel, 2019, pp. 296-297 Exhibitions: Frits Van den Berghe en Joseph Cantré, 1933, Ghent, n° 6; Belgisk Konst, 1934, Stockholm, n° 204; Belgisk kunst - Belgisk utstillung av moderne kunst i Norge ordnet ved L'art contemporain i Antwerpen, 1934, Oslo, n° 204; Hedendaagse Belgische Kunst, 1937, Moscow & Leningrad, n° 9; Les Compagnons de l'Art, 1938, Brussels, n° 187; Deurle 6 July 1997 (The Deurle Conversation), 1997, Deurle; 1999, Ostend, Retrospectieve Frits Van den Berghe, n° 132
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
Galerie Boulakia
Georges Mathieu (Boulogne-sur-Mer 1921-2012 Boulogne-Billancourt) Louis VII épouse Eléonore d'Aquitaine, 1958 Oil on canvas 97 x 162 cm Signed bottom left Provenance: Galerie Europe, Paris This artwork is referenced as an authentic artwork in the 'Archives by Jean-Marie Cusinberche on Georges Mathieu' and an attestation will be provided to the buyer
Galerie Tiago
Rectangular lacquered wooden suzuribako (writing box) Japan, Edo period (1603-1868) Wood, lacquer, silver, gold, hiramaki-e, takamaki-e, kirigane, gyōbu-nashiji, tsumemaki nashiji H 4.7 x W 27 x D 23.5 cm Decorated in gold lacquer with a continuous design depicting a pavilion set in a karst landscape dotted with pine and maple trees. Complete with an inkstone, a silver water dropper, a blade and a set of brushes. This Japanese suzuribako is a remarkable example of mid-Edo-period craftsmanship. Few works of art from this period have survived in such fine condition, and even fewer display such a rich variety of lacquer techniques. A writing box of this kind was most likely commissioned by a high-ranking member of the aristocracy, perhaps a bushi (warrior) or even a regional warlord (daimyo).
Douwes Fine Art b.v.
Andreas Schelfhout (The Hague, 1787-1870) A wooded winter landscape with figures on and along a frozen river, 1856 Oil on panel 37 x 50 cm Signed and dated lower right 'A. Schelfhout '56' Provenance: private collection, United Kingdom; MacConnal Mason, 2003, sold at TEFAF; private collection, The Netherlands; thence by descent
Willow Gallery
Eugène Boudin Honfleur 1824 – Deauville 1898 Bordeaux, le port Oil on canvas, signed, dated and inscribed 'E. Boudin 74 Bordeaux' Canvas size: 16 x 25in / 41 x 64cm Frame size: 22 x 31in / 56 x 79cm Provenance: Louis Bernard Collection; its sale, Me Chevallier, Paris, May 11, 1901, lot 19. Jules Chédeville, Paris and Honfleur. Michel Durnerin, Paris (by descent). Then by descent Literature: R. Schmit, Eugène Boudin, Paris, 1973, vol. I, p. 347, no. 978. G. de Knyff, Eugène Boudin raconté par lui-même, Sa vie, son atelier, son œuvre, Paris, 1976, p. 130 (illustrated). R. and M. Schmit, Eugène Boudin, Premier supplément, Paris, 1984, p. 150, no. 978 (illustrated)
Galerie Patrice Trigano
Philippe Hiquily (Paris 1925-2013 Villejuif) La Maja délurée, 1987 Patined bronze H 50 x W 46 x D 14 cm Signed and numbered Edition of 8 + 1 AP + 3 HC Bocquel Foundry Literature: Beaux-Arts n° 72, October 1989; Georges Marti, Les Nouvelles de Tahiti, 'Le sculpteur Hiquily doit son succès aux américains', 10 March 1990; Pierre Cabanne, (ed.), Hiquily-Bronzes et mobilier, De la Différence, 2005, pp. 32 and 47; Catalogue raisonné: Philippe Hiquily, 1948-2011, vol. 1, 2012, p. 304 Exhibitions: FIAC 89, 7 to 15 October 1989, Grand Palais, Paris, presented by the Galerie Patrice Trigano; 'Paris-Concrémiers, le chemin de la mémoire et de l’inspiration, quatre expositions personnelles de Philippe Hiquily, Colette Portal, Michel Lebrun et François Leteuil', Espace Art Brenne, Prigny-Concrémiers, Le Blanc, 8 June-8 September 1991
Stoppenbach & Delestre
Pierre-Auguste Renoir (Limoges 1841-1919 Cagnes-sur-Mer) Nature morte aux pommes et à poire, circa 1889 Oil on canvas 22 x 31 cm Signed ‘Renoir’ lower right The work is included in the Renoir digital catalogue raisonné project, n° 20411 Provenance: Ambroise Vollard, Paris, 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, 22 June 2005, n° 110 (ill. colour); private collection, The 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, n° 721, p. 26 (ill. p. 26 dated circa 1889)
Univers du Bronze
Auguste Rodin (Paris 1840-1917 Meudon) Saint John the Baptist preaching, cast in 1899 Bronze, richly dark brown patina H 19.6 x W 12.5 x D 5.3 cm Reduction n° 3 (1/10 of original size) Signed Rodin and marked 'Thiebaut frères, Fumière et Gavignot Successeurs' Edition of 4 (in this size) Provenance: Knoedler and Co collection; sale Sotheby’s New York (6 October 1989) Lifetime cast signed 'Rodin', old cast and edition by Thiébaut with the engraved mark 'Thiebaut frères, Fumière et Gavignot Successeurs' (purchase of the funds and Thiébaut rights by Fumière et Gavignot in 1898). This example is probably the first, maybe the second of an edition of 4 cast in 1899 (prime account from 4 February to 9 December 1899), stamped '200' under the base (sale price 200 frs?) and engraved '4' (number of casts?) Rodin began work on his Saint John the Baptist in 1878, while conceiving La Porte de l’Enfer, the monumental project from which some of his most celebrated sculptures would emerge, including Le Penseur, Le Baiser and Ugolino. The inspiration came from his encounter with an Italian model, César Pignatelli, known as Bevilacqua, whose powerful physique and expressive features immediately struck the sculptor. Rodin recognised in him the image of Saint John the Baptist: a man of nature, a visionary and a prophet. This encounter marked the beginning of a collaboration lasting over twenty years, during which Pignatelli became one of Rodin’s favourite models. The original plaster was conceived larger than life, exceeding two metres in height, and exhibited at the Salon in 1880. The following year, the bronze version was presented and subsequently acquired by the French State. In 1898, Rodin signed an edition contract with Fumières et Cie, leading to the production of three reduced versions measuring 80, 50 and 20 cm. The present Saint John the Baptist belongs to the rarest, third-scale version, of which only four examples were produced: two in 1899 and two in 1903. Its simple engraved foundry inscription, rather than a stamp, suggests that it may be the earliest cast. Through the exceptional finesse of its modelling and chiselling, the sculpture recalls the splendour of Renaissance bronzes. Depicted nude and stripped of his traditional attributes, Saint John embodies the prophet’s asceticism. His raised finger evokes his preaching in the desert, while Rodin’s powerful interpretation and striking musculature give the figure an unprecedented expressive force. A seminal work of modern sculpture, Saint John the Baptist profoundly influenced later generations of artists, notably Alberto Giacometti, whose studio contained numerous books, postcards and photographs documenting his fascination with Rodin’s masterpiece.
Samuel Vanhoegaerden Gallery
Karel Appel (Amsterdam 1921-2006 Zurich) People, Birds and Sun, 1951 Gouache and pastel on paper, mounted on canvas 65 x 100 cm Signed and dated lower right Provenance: the estate of the artist; Galerie Max Hetzler, London Exhibition: Karel Appel-Cobra/Non Cobra, Galerie Max Hetzler, London, January-February 2024
Galerie Perrin
Odilon Redon (Bordeaux 1840-1916 Paris) Femme de profil, circa 1901-1905 Oil on paper mounted on panel 52 x 49.7 cm 71 x 68 cm (framed) Signed lower right 'Odilon Redon' This work will be included in the forthcoming catalogue raisonné currently in preparation by the Wildenstein Plattner Institute Provenance: Roger Imbert collection Few images sum up Odilon Redon’s late manner as completely as this small panel. A woman’s profile, her head wrapped in a coif, rises from the heart of a flower as though she were its pistil; around her, reds, oranges and a pale, luminous ground dissolve the boundary between figure and bloom. Painted in oil on paper around 1901–1905, it belongs to the decisive decade in which Redon, after two decades of the charcoal noirs, turned to colour and transformed the hallucinatory visions of his youth into images of serene metamorphosis. The profile is Redon’s most personal format. Seen from the side and half-concealed, his faces never quite give themselves away: “At the centre of my work,” he wrote, “there is a small door that opens onto a mystery.” Here that door opens onto two motifs that run through his finest works of the period: the head within the flower, as in Fleur illuminée (Staatliche Museen zu Berlin, c. 1900), and the coif that reappears on male and female faces alike up to Moine lisant of 1914 (Kunst Museum Winterthur). Oil on paper, a support Redon used for some of his most intimate late pictures, gave him the velvety, floating surface of his pastels together with the depth of painting. The painting entered the collection of the Paris dealer Roger Imbert in 1930 alongside two Redons from the collection of Robert de Domecy, the patron for whom the artist painted the decorative panels now at the Musée d’Orsay, a provenance that places it in the circle of Redon’s closest early supporters. It will be included in the digital catalogue raisonné in preparation at the Wildenstein Plattner Institute. Coming to light as Redon’s colour works are being reassessed by major exhibitions in Winterthur, Gifu, Tokyo and at the Getty, Femme de profil offers what rarely reaches the market: a signed, intimately scaled Symbolist Redon in colour, in which the dream has become a flower.
Alexis Lartigue
Victor Vasarely (Pecs 1906-1997 Paris) Untitled, circa 1958, Oil on masonite 120 x 100 cm Signed lower center Provenance: private collection, USA; Christie’s sale, London; Lo Guidice Gallery, Chicago; Sotheby's sale, London; private collection, London; Christie’s sale, London; Galerie Zlotowski, Paris; private collection, Europe; Sotheby's sale, Paris; private collection, Switzerland Exhibition: Philadelphia, Philadelphia Museum of Art, Summer Loans, 1970
Virginie Devillez Fine Art
Théo Van Rysselberghe (Ghent 1862-1926 Saint-Clair) Baie de Saint-Brélade, 1907 OIl on canvas 65.5 x 81 cm Monogrammed and dated '07' lower left Titled on the stretcher Provenance: private collection, Belgium; thence by descent to the present owner Literature: Ronald Feltkamp, 'Théo Van Rysselberghe. Catalogue raisonné', les éditions de l’amateur/Éditions Racine, 2003, CR 1907-003 (ill. p. 363) Exhibitions: Paris, Bernheim-Jeune, 'Théo van Rysselberghe', 1908, cat. n° 43; Rotterdam, Rotterdamse Kunstkring, 'Théo van Rysselberghe', 1909, cat. n° 29; Groningen, Galerie Hofsteenge, 'Pictura Théo van Rysselberghe', 1910, cat. n° 24; Berlin, Ausstellungshaus Kurfürstendam, 'Sezession', 1912, cat. n° 231 (?)
Galerie Flak
Okvik 'Madonna' Okvik culture, Old Bering Sea, 250 BC-100 AD Archaic Eskimo, St. Laurent Island (Sivuqaq), Alaska Marine ivory 15.9 cm Provenance: Perry J. Lewis collection, USA; collection Galerie Flak, 2021; private collection, acquired from the above Exhibition & Literature: 'Espíritus del Agua', Fundación La Caixa, Madrid & Barcelone, 1999-2000, pl. 2, p. 76; Arctic Dreams, Parcours des Mondes, 2021 (Galerie Flak)
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