Pens, paperweights and inkwells

Maestro della Scuola Fiamminga del XVII secolo - Master of the 17th-century Flemish School Christ and the Adulteress Oil on canvas 137.5 x 195.5 cm The exceptional work can be attributed to the Flemish School of the 17th century. For a timely art historical reconstruction of the work, we believe it is essential to mention the existence of a watercolor on paper, now in a private Italian collection, which is almost identical and belonged to Sir Joshua Reynolds. He regarded the work as authentic by Antoon van Dyck (see attached photo) and as such it passed, after his death, into the hands of his niece, who hesitated it at auction at Phillips in March 1798. The as quick as it is precise brushwork, expertly measured even in thickness, gives well-founded reason to believe that we are dealing with a masterpiece by an important master, unfortunately still anonymous. Master of the Flemish School of the 17th century Christ and the Adulteress Oil on canvas 137.5 x 195.5 cm The exceptional artwork can be traced back to the 17th-century Flemish school. For a precise historical-artistic reconstruction of the artwork, we believe it is essential to mention the existence of a watercolour on paper, now in a private Italian collection, almost identical and belonging to Sir Joshua Reynolds. He considered the artwork to be authentic by Antoon van Dyck (you should see attached photo) and as such it passed, after his death, into the hands of his niece, who sold it at auction at Phillips in March 1798. The quick and precise brushstroke, expertly measured also in thicknesses, from well-founded reason to believe that we are faced with a masterpiece by an important master, unfortunately still anonymous.

Rosa Bonheur (1822-899), attributed to Study of a bovid Graphite on paper Monogrammed lower right R. B Size: 8.5 x 15 cm (view)

JOSÉ ARRÚE VALLE (Bilbao, 1885 - Llodio, Álava, 1977). "Paisanos". Gouache and ink on paper. Signed in the lower right corner. Measurements: 22 x 44 cm; 41 x 64 cm (frame). Gouache on paper whose format indicates that it has been conceived to be part of the country of a fan. José Arrué was an outstanding painter of Basque types, characterized with great intuition, as this fresh scene in watercolor attests. Arrúe was trained in Bilbao, and later extended his studies in Barcelona, Paris and Milan. In 1908 he returned to his homeland and began to combine his artistic practice with teaching, as a professor of figure drawing at the School of Arts and Crafts in Bilbao. That same year he collaborated in the foundation of the magazine "El Coiteao". A year later, his love for the bullfighting world led him to wear the bullfighter's costume, and he fought in eight bullfights. His presentation as a bullfighter took place in Bilbao on October 17, and according to the reviews of the time he defended himself well. Around this time he began to make himself known, and held exhibitions of his work in Bilbao in 1911, 1915, 1920 and 1925. The following year, in 1926, Arrúe moved to Paris, where he would continue to paint until finally showing in Buenos Aires in the company of his brother Ramiro, also a painter. This exhibition, inaugurated on July 10, 1928, was held at the Society of Friends of Art in the Argentine capital, and its success was such that it became itinerant, continuing its staging in Cordoba, in the hall of the newspaper "La Razon", with which Arrúe would collaborate artistically for several years. Subsequently, the exhibition was also shown at the Moretti, Catelli and Mazzuchelli gallery in Montevideo, to end its journey at the Wicomb Salon in Rosario, again in Argentina. During this trip, Arrúe participated in the Exhibition of Basque Artists held at the Gran Casino of San Sebastian on the occasion of the Great Basque Week, and was also awarded for his poster in the II International Work Contest. T

Soulages, Pierre. Eau-forte VI. Etching in black and gray on BFK-Rives. Signed and numbered in pencil and with watermark. Copy: 162/200. 1957. Plate dimensions: 59 x 43 cm. Sheet dimensions: 76.5 x 56 cm. Gatto 6 (incorrectly labeled as an edition of 100 copies). - Printed by Atelier Lacourière, Paris. Published by Galerie Berggruen, Paris. - Pierre Soulages (1919-2022) is considered one of the outstanding representatives of French Art Informel. The etching Eau-forte VI, one of his earliest etchings, skillfully transfers the movement of a brush on paper into the medium of etching. - Sheet browned and with some handling marks, foxing in lower right area, somewhat larger area on verso, corners and edges somewhat rubbed.

Panerai - Panerai 'Luminor Tourbillon GMT Lo Scienziato' titanium wristwatch, Ref. PAM00768 With Arabic numeral and baton hours, 6 day power reserve, tourbillon, and GMT functions Date: 2019 Dial: Skeletonized Movement: Manual wind Case material: Titanium Case size: 47 mm Bracelet/Strap: Leather Clasp/Buckle: Pin buckle Sold with: Box, papers and straps This work will ship from Lambertville, New Jersey.

Rolex - Rolex 'Explorer' stainless steel wristwatch, Ref. 114270 With Arabic numeral and baton hours Date: 2002 Serial no.: Y910498 Dial: Black Movement: Automatic Case material: Stainless steel Case size: 36 mm Bracelet/Strap: Stainless steel Clasp/Buckle: Deployant clasp Sold with: Box, papers and original receipt This work will ship from Lambertville, New Jersey.

KEITH HARING (Pennsylvania, 1958- New York, 1990). "Self portrait", 1987. Ink on paper. Features Tony Shafrazi Gallery label with Stock #1435 exempt to framing. Framed with museum glass. Signed and dated on the right side. Measurements: 26 x 32.5 cm; 43 x 49 cm (frame). Keith Haring portrayed himself on numerous occasions always with his iconic glasses as a seal of identity. In these self-portraits the artist offered a vision of himself, not only physical but also personal, thus revealing his opinion of himself to the viewer, as can be seen in the self-portrait as a sphinx. In this particular case it is not a single self-portrait but two, as he shows us his own bust being painted by one of his iconic monigots that are an alter ego of the artist himself. Considered as the visible head of urban art in the eighties, Haring's unstoppable professional career, which led him to become Warhol's colleague and media superstar, began with his work in the New York subway. The enormous popularity of Haring's urban work among the people of New York immediately caught the attention of the art establishment. Consequently, Andy Warhol adopted him into his circle, and the then emerging gallerist Tony Shafrazi organized a resounding solo exhibition for him in 1982 that was to be the launching pad for his unstoppable success. He soon exhibited his work at the gallery of the influential Leo Castelli and established himself as a professional art star. Keith Haring was an American artist whose pop art and graffiti emerged from the street culture of New York City in the 1980s. Haring's work grew in popularity thanks to his spontaneous drawings on the New York City subway in chalk on black and white advertising space backgrounds. After achieving public recognition, he created large-scale works as murals.His later work often addressed political and social issues, especially homosexuality and AIDS, through his own iconography. Today Haring's work is divided between major private and public collections, including the Museum of Modern Art and the Whitney Museum of American Art in New York City; Los Angeles County Museum of Art; the Art Institute of Chicago; the Bass Museum in Miami; Musée d'Art Moderne de la Ville de Paris; the Ludwig Museum in Cologne; and the Stedelijk Museum in Amsterdam. He also created a wide variety of public works, including the infirmary at Children's Village in Dobbs Ferry, New Yorkand the second-floor men's room at Lesbian, Gay, Bisexual & Transgender Community Center in Manhattan, which was later transformed into an office and is known as the Keith Haring Room. In January 2019, an exhibit called "Keith Haring New York" opened at New York Law School in the main building of its Tribeca campus. Features Tony Shafrazi Gallery label with Stock #1435 exempt from framing.

Omega X Swatch - Omega X Swatch 'Misson to Jupiter' moonswatch wristwatch The ever popular watch brands, Omega and Swatch, have collaborated to create an out of this world ‘Bioceramic Moonswatch Collection’. It combines Swatch’s bioceramic base material with the iconic elements of Omega’s Speedmaster Moonwatch. Each plant has their own distinct watch dial and features, the present lot ‘Mission to Jupiter’ includes a chronograph function, orange subdial hands, the ‘dot over 90’ detail on the tachymeter scaled bezel. Date: 2022 Dial: Brown Movement: Quartz Case material: Bioceramic Case size: 40 mm Bracelet/Strap: Velcro Sold with: Box and papers This work will ship from Lambertville, New Jersey.

JOSÉ ZAMORA (Madrid, 1892 - Sitges, 1971). "Leda and the swan", 1926. Watercolor and wax on paper. Signed and dated in the lower left area. Measurements: 32 x 24 cm; 43 x 36 cm (frame). José de Zamora, better known as Pepe or Pepito Zamora, participated fully in the artistic current known as art deco, a movement that produced an elegant, decorative and, in great part, ephemeral art. Within this trend, Zamora created a refined and original style of drawing, much imitated during his lifetime and yet almost forgotten today. On the fiftieth anniversary of his death, the Regional Library of Madrid wishes to contribute to the recovery of his memory by making known the artist's works preserved in its collection. Due to its beauty and historical importance, it is worth highlighting the set of costumes designed for the performance of the play Farsa y licencia de la reina castiza, written by Ramón del Valle-Inclán (1866-1936).

Men's Stainless Steel Rolex - GMT Pepsi 1 Stainless Steel Oyster Band. Lightly faded red and blue bezel. Model 16710 - comes with box and papers. Serial Number: P354663

Asia - China - Roche, Odilon. Chinese furniture. Fifty-four collotype plates with preface and index published by Odilon Roche. With 54 tinted collotype plates. Stuttgart, Hoffmann, 1924. 3 double leaves (title, preface and plate index). 33.5 x 26 cm. Loosely bound in half-cloth portfolio with rice paper cover and mounted cover label as well as binding (spine joints with small tears). First German edition. - The plates with antique Chinese furniture from the 15th to 17th century (Ming and Qing dynasties). The index (2 pp.) with a short description of each piece of furniture with size, date and provenance. - Some minor spotting, the plates mostly only in the margins. VAT: *

SONIA DELAUNAY (Odessa, 1885 - Paris, 1979). "Costume", 1922. Brush, pen and India ink on paper. Signed and dated in the lower right area. Measurements: 31 x 25 cm; 52 x 43 cm (frame). Bibliography - J. Damase, Sonia Delaunay, dessins en noir et blanc, Paris, 1978, p. 190 (illustrated on p. 112, with incorrect dimensions and dated "1926"). - E. Morano, Sonia Delauna, Art into Fashion, New York, 1986, p. 59 (illustrated). With her characteristic synthetic style in this piece Delaunay creates a figurative drawing, starring a woman. The piece in particular the clothing of the protagonist is reminiscent of some patterns that the artist made on canvas in the 1920s. Born Sonia Ilínichna Stern, Sonia Delaunay is better known by her married name, which she adopted after marrying Robert Delaunay. A French painter and designer of Ukrainian origin, she was, along with her husband, one of the main representatives of abstract art, as well as the creator of simultanism. She grew up in St. Petersburg, in contact with the collection of paintings of the Barbizon School of her uncle and with the cultural life of the city. In 1903 she moved to Germany to further her education, where she discovered contemporary painting and studied drawing with Schmidt-Reuter. Two years later he moved to Paris and enrolled in the Academie de la Palette, where he was also initiated in engraving by Grossman. During these years he approached the European avant-garde through German expressionism, with a work that also reveals echoes of post-impressionism. In 1908 he held his first exhibition, showing works from his recently initiated Fauvist period. Two years later he married Delaunay, with whom he shared aesthetic concerns. Their art then underwent a change of direction, towards abstraction. The artist will then move towards the decorative arts, always with a purely abstract colorist language that will attract the attention of her peers and also of the critics. Although in 1912 she returned to painting, her fame as a designer had already been established throughout Europe. From then on she would frequently participate in important European exhibitions, such as the Berlin Autumn Salon or the Salon des Indépendants in Paris. During the First World War she lived in Spain and Portugal, where she developed an intense creative activity, including collaboration with Diaghilev's ballet. In 1921 the couple returned to Paris, where Sonia Delaunay continued to work on important projects, in addition to exhibiting her work both in Europe and the United States. Already fully recognized from the fifties onwards, compilations of her work began to be published, and in fact in 1958 her first retrospective exhibition was dedicated to her in Bielefeld (Germany). In addition, in 1975 she was named officer of the French Legion of Honor. Currently Delaunay is represented in major collections around the world, including the MoMA in New York, the Hermitage in St. Petersburg, the Reina Sofia in Madrid, the Albertina in Vienna and Haifa in Israel.

Possibly JULIO FERRER SAMA (1901- 1984). "The oriental dance". Watercolor on paper. Signed in the lower left corner. Measurements: 29 x 45 cm; 43 x 59 cm (frame). The orientalism was born in the 19th century as a consequence of the romantic spirit of escape in time and space. The first orientalists sought to reflect the lost, the unattainable, in a dramatic journey destined from the beginning to failure. Like Flaubert in "Salambo", painters painted detailed portraits of the Orient and imagined pasts, recreated to the millimeter but ultimately unknown and idealized. During the second half of the 19th century, however, many of the painters who traveled to the Middle East in search of this invented reality discovered a different and new country, which stood out with its peculiarities above the clichés and prejudices of Europeans. Thus, this new orientalist school leaves behind the beautiful odalisques, the harems and the slave markets to paint nothing but what they see, the real Orient in all its daily dimension. Along with the change of vision comes a technical and formal change; since it is no longer a question of recreating an imagined world in all its details, the brushstroke acquires impressionistic fluency, and the artists focus not so much on the depiction of the types and customs as on the faithful reflection of the atmosphere of the place, of the very identity of the North African populations.

Zao Wou-Ki (1920-2013) - Annunciation, Moments Etching on paper signed lower right, numbered XVII/XX lower left 28 x 25 cm Condition report: Framed From the suite of 7 aquatints illustrating the book: [ZAO WOU-KI] - Henri MICHAUX. [Paris], Les Bibliophiles de l'Automobile Club de France, 1996.

A. Lange & Söhne - A. Lange & Söhne Arcade 18 ct yellow gold. Oval ladies' wristwatch with sapphire crystal. White metal dial with Roman and dot indices. Feuille hands. Long large date at 12 o'clock. Sub-dial with small seconds at six o'clock. Quick date correction via pusher at two o'clock. Case back with four screws. Solid link bracelet with folding clasp. Hand-wound movement. Movement No. 4283, Ref. 153, Cal. L911.4, case No. 111671, with box, papers, setting pin and bracelet links. Dial, crown, movement, case and clasp signed. Case 30 x 22 mm. L 17 cm. Weight 95.31 g. Glashütte, Germany, circa 2000.

Vacheron Constantin - Vacheron Constantin 'Overseas Dual-Time' gold wristwatch, Ref. 47450/B01J With sword hours, GMT, date, and power reserve functions Date: 2008 Serial no.: 1139954 Dial: Silver Movement: Automatic Case material: 18k yellow gold Case size: 42.5 mm Bracelet/Strap: 18k yellow gold Clasp/Buckle: 18k yellow gold deployant clasp Sold with: Box and papers This work will ship from Lambertville, New Jersey.

Posters - Vulliemin, Ernest John Alexis. Cycles Peugeot. Valentigney-Doubs. Représentant. Color lithographic poster on paper. Rebacked on canvas. Paris, G. Elleaume, around 1910, sheet dimensions: 149 x 109 cm. Magnificent and large-format poster. - Slightly browned, upper white margin with restored loss, with a few small restored marginal tears, overall in very good condition.

Peter Doig (né en 1959) - White Canoe 2008 Aquatint on paper signed and dated lower right, numbered 110/500 lower left 57.5 x 73.5 cm Condition report: Framed

MARIA HELENA VIEIRA DA SILVA - 1908-1992 - MARIA HELENA VIEIRA DA SILVA - 1908-1992, Untitled (c. 1953), Indian ink on paper, small defects on the paper, signed. Notes: included in WEELEN, Guy; JAEGER, Jean-François - "Vieira da Silva - Catalogue Raisonné". Geneva: Editions Skira, 1994, p.208, nº 1061., Dim. - 12 x 10,5 cm

Set of 5 resin and metal fountain pens. A cigarette lighter is included (wear).

Caballero, Luis. Untitled. (Standing male nude). Charcoal drawing on brown paper. Signed in pencil lower left, verso with gallery stamp "Gallerie Arts Louise Leiris", Paris. Sheet dimensions: 105 x 68 cm. Sheet somewhat rubbed, with studio traces and some creases.

Attributed to FEDERICO RIBAS MONTENEGRO (Vigo, 1890 - Madrid, 1952). "The Vampire. Graphite on paper. Signed in the lower right area. Measurements: 49 x 33 cm; 64 x 50 cm (frame). Draughtsman and publicist, Federico Ribas set the bases of the Spanish advertising with his advertisements and posters of the industry of perfumery Gal, realized from 1916. He worked at the beginning of the century for the most important magazines and publishing houses of the time in Madrid and Paris, charging up to 250 dollars for a woman's head to the "Pictorial Review" of New York at the end of the 1920s. With the outbreak of the Civil War she would leave for Argentina, where she continued to work and hold exhibitions, she collaborated with local magazines and also with anti-Francoist newspapers such as "España Republicana". At the end of 1949 he returned to Spain and died three years later.

Raymond MORETTI (1931-2005) Abstract composition Gouache on paper Signed and dated lower left 61 Size: 51 x 36 cm (view)

MIQUEL BARCELÓ ARTIGUES (Felanitx, Mallorca, 1957). "Crânes Papaie", 1999. Watercolor on paper. Signed and dated in the lower area. Measurements: 56 x 76 cm; 76 x 96 cm (frame). This work demonstrates totally personal aspects of Barceló, impossible to relate to his influences or predecessors, the most outstanding of which is his break with tradition through his tireless search for new formulas and his fascination with different aspects of nature. An example of this is this watercolor, since the artist starts from the traditional "vanitas", but his technique and the tendency towards the telluric bring us closer to a completely organic image that does not transmit the fleetingness of life, but a cyclical conception of it. In this work, the Mallorcan creates a work of great expressiveness, firmly rooted in nature and archaic tradition, which at the same time reveals a surprising and brilliant modernity. A painter and sculptor, Barceló began his training at the School of Arts and Crafts in Palma de Mallorca, where he studied between 1972 and 1973. In 1974 he made his individual debut, at the age of seventeen, at the Picarol Gallery in Mallorca. That same year he moved to Barcelona, where he enrolled at the Sant Jordi School of Fine Arts, and made his first trip to Paris. In the French capital he discovers the work of Paul Klee, Fautrier, Wols and Dubuffet, as well as the "art brut", a style that will exert an important influence on his first paintings. During these years he reads extensively, and enriches himself with works as diverse as the writings of Breton and the surrealists, the "White Manifesto" by Lucio Fontana or the "Social History of Literature and Art" by Arnold Hauser. In 1976 he holds his first solo exhibition in a museum: "Cadaverina 15" at the Museum of Mallorca, consisting of a montage of 225 wooden boxes with glass lids, with decomposing organic materials inside. That same year, back in Mallorca, he joined the Taller Lunàtic group and took part in its social, political and cultural events. In 1977 he makes a second trip to Paris, and also visits London and Amsterdam. That same year he exhibits for the first time in Barcelona, and meets Javier Mariscal, who will become one of his best friends in the city. Together with him and the photographer Antoni Catany he participates, as a member of the group "Neón de Suro", in exhibitions in Canada and California, and collaborates with the publication of the magazine of the same name. It was also in 1977 when he received his first large-format pictorial commission: a mural for the dining room of a hotel in Cala Millor, Mallorca. The following year, at the age of twenty-one, he sells his first works to some collectors and galleries, and finally moves to Barcelona. His international recognition begins in the early eighties, definitely boosting his career following his participation in the São Paulo Biennial (1981) and the Documenta de Kassel (1982). In 1986 he was awarded the National Prize for Plastic Arts, and since then his work has received numerous awards, such as the Prince of Asturias Award for the Arts (2003) and the Sorolla Prize from the Hispanic Society of America in New York (2007). Barceló is currently represented in the most important art museums in the world, such as the MoMA in New York, the Centre Pompidou in Paris, the Guggenheim in Bilbao, etc.

Panerai - Panerai 'Luminor 1950 8 Days' stainless steel wristwatch, Ref. PAM00203 With Arabic numeral and baton hours, 8 day power reserve and seconds sub-dial Dial: Brown Movement: Manual wind Case material: Stainless steel Case size: 47 mm Bracelet/Strap: Leather Clasp/Buckle: Pin buckle Sold with: Box, papers and extra straps This work will ship from Lambertville, New Jersey.

Federico Fellini - Space reserved for advertising, 1970s marker on paper 21 x 27.5 cm Original drawing created by Fellini during the 70s. The most immediate expression of Federico Fellini's extraordinary imagination has always been drawing, both during the preparation of the films and in those more intimate, carefree and therefore joyful moments in which, having discharged all his creative energies, he dived into the more relaxing and liberating that the drawing suggested to him. Signed.

Gaston SUISSE (1896-1988) "Tangaras in the blooming cactus". Mixed media drawing with grease pencil and pastel on paper Signed lower left 40 x 28 cm Framed under glass On the back of the frame: provenance labels Sale J.P Osenat 28/10/2022

MARK JENKINS (Virginia, 1970). "Like father like son," 2017. Pair of mixed media sculptures. Measurements: 180 x 90 x 50 cm (the largest). "Like father like son", could be the alternative title of "Like father like son", a pair of hyperrealistic sculptures representing a boy and a man who hide their identities behind a balaclava, wearing casual clothes and holding in one hand a metal bar. The black color that covers the figures turns them into metaphorical shadows, into mental projections of the collective fears that grip us in the cities. Mark Jenkins gained fame and notoriety for this type of street characters (vagrants, hooded, suspicious characters for their appearance or for adopting strange postures) that he placed in the public space without prior notice and that on numerous occasions brought into action the police, firemen or ambulance corps. Mark Jenkins is an American artist who creates street sculptural installations. He uses the "street as a stage", where his sculptures interact with the environment, including passers-by who unwittingly become actors. His installations often attract the attention of the police. His work has been described as whimsical, macabre, shocking and situationist. Jenkins cites Juan Muñoz as his initial inspiration. In addition to creating art, he also teaches his sculptural techniques and installation practices through workshops. He currently lives in Washington, DC. In 2005 he began working with Sandra Fernandez on the Storker Project, a series in which transparent casts of toy babies are installed in different cities to interact with the environment around them[10]. Jenkins and Fernandez went on to create other installations with ribbon animals: dogs playing in garbage, giraffes nibbling plastic bags from trees, and ducks swimming in ditches. Other outdoor projects exploring cultural interference include Meterpops, Traffic-Go-Round and Signs of Spring. In 2006 Jenkins began the Embed series. Tape casts were filled with newsprint and cement and dressed to create hyper-realistic sculptural duplicates of himself and Fernandez. These new highly realistic sculptural installations created confusion and caused some passersby to call 911, resulting in police and, on occasion, rescue units arriving on their "scene." In 2008 Jenkins collaborated with Greenpeace on an awareness campaign, Plight of the Polar Bears, to draw attention to the melting of the Arctic ice caps. Jenkins created realistic figures that looked like homeless people, but with stuffed polar bear heads. Jenkins has participated in public art events such as Interference (Barcelona, 2008), BELEF (Belgrade, 2009), Dublin Contemporary 2011, Inside Out(Southeastern Center for Contemporary Art, Winston-Salem, 2009), Living Layers (Rome, 2012), Les Vraisemblables(Nuit Blanche, Paris, 2014), Passages Insolites (Ex Muro, Quebec, 2021) Embed Bodies (Un Été au Havre, Le Havre, 2022). In interiors, Jenkins has exhibited internationally in galleries and museums, as well as continuing his Embed series in public settings such as cafes, schools and building lobbies. Solo exhibitions include Glazed Paradise at Diesel Gallery (Tokyo, 2008), Meaning is Overrated at Carmichael Gallery (Los Angeles, 2009), Terrible Horrible at Ruttkowski, Gallery (Cologne, 2014), Moment of Impact at Lazarides Gallery (London, 2015), and Remix at L'Arsenal (Montreal, 2016). In 2018, he and Fernandez created Project84, in London, England The work was designed to raise awareness of adult male suicide. Commercially, Jenkins collaborated with fashion brand Balenciaga.

Pierre Alechinsky (né en 1927) - Poèmes à voir Etching and lithograph on paper signed lower right and numbered 71/125 lower center 39 x 50 cm Condition report: Framed

Minnekästchen Lime with dark patina, forged iron. Of plank construction, nailed, with two hinges. Closed box lock with hasp on the front. Two opposing griffins on the lid, circumferential motto in Gothic letters. Older paper label with inventory number on the bottom. Minor traces of previous insect infestation, good condition in keeping with its age. H 8.5, W 17.5, D 13 cm. Upper Rhine, attributed to the first half of the 15th century. Literature Cf. Berger, Prunkkassetten. Masterpieces from the Hanns Schell Collection, Stuttgart-Graz 1998, cat. No. 21.

Montblanc- The Prince Regent - Limited Edition 4810 Fountain Pen - Montblanc Fountain pen - The Prince Regent - 4810 Limited edition. Blue with gold plated sterling silver overlay (Vermeil). Size: 5.5" (14.2 cm). 18K gold nib, M. Numbered 3956/4810. Mint, in original case with certificates. Never inked. Please note: the outer box and the certificate show a different number (3957/4810), probably a mix up of the original retailer.

Louis BOULANGER (1806-1867) Woman dressed in antique style and seated in an interior inspired by Greco-Roman Antiquity Pen and brown ink on paper H. 32 x L. 25 cm. Signed in pen and brown ink "Louis Boulanger" lower left Gilded wood frame

WILFREDO LAM (Sagua La Grande, Cuba, 1902 - Paris, 1982). Untitled, 1966. Ink on paper. Attached certificate issued by the Wilfredo Lam Foundation. Signed in the upper left corner. Dated and located (Paris), in the lower right area. Measurements: 29,5 x 40 cm; 48 x 59 cm (frame). In this work one can appreciate the artistic language developed by Wilfredo Lam, translated into a series of characters and aesthetic elements, which became his own iconography. During the forties Lam began an artistic activity based on the roots of a people that, in the painter's opinion, should recover its dignity. In this way, the autochthonous references were fused with the formal language learned in Europe to produce works where the characters of the Yoruba pantheon that would populate a large part of his later production already appeared. Wifredo Lam was trained in Havana, where he studied at the School of Fine Arts. He made his individual debut in the early 1920s, with an exhibition at the Salon of the Association of Painters and Sculptors of the Cuban capital. In 1923 he moved to Madrid, with a scholarship from the City Council of Sagua La Grande, where he continued his training in the workshop of Fernando Alvarez de Sotomayor, director of the Prado Museum and recognized for having been Salvador Dali's teacher. At the same time, he attended the Academia Libre del Pasaje de la Alhambra, and visited the Prado, where his preferences leaned towards the works of Bosch, Brueghel and Goya. Little by little, his painting assumed a modern language that combined a geometrical structure with a certain surrealist vein. In 1938 he traveled to Paris, with a letter of recommendation for Picasso written by Manolo Hugué. Lam, who had had the opportunity to attend the Picasso exhibition held in Madrid in 1936, defined this experience as "a shock". In 1939 he made his first personal exhibition in Paris, with Pierre Loeb. During World War II Lam remained in the Caribbean, in contact with representatives of the avant-garde such as Masson and Breton, who, fascinated by the Cuban's pictorial work, asked him to illustrate his poem "Fata Morgana" (1940). Back in Cuba, Lam began an artistic activity based on the roots of a people who, in the painter's opinion, had to recover their dignity. In this way, the autochthonous references were fused with the formal language learned in Europe to produce works where the characters of the Yoruba pantheon that would populate a large part of his later production already appeared. In the second half of the forties, Lam alternated his residence between Cuba, New York and Paris, where he settled in 1952. His international prestige grew progressively, and he held periodic exhibitions in galleries such as the Pierre Matisse Gallery in New York. He traveled intensely during the following years and, in 1960, he settled in Albisola Mare, on the Italian coast. In 1961 he received the Guggenheim International Prize, and between 1966 and 1967 multiple retrospectives of his work were held at the Kunsthalle in Basel, the Kestner-Gessellschaft in Hannover, the Stedelijk Museum in Amsterdam, the Museum of Modern Art in Stockholm and the Palais des Beaux-Arts in Brussels. Wifredo Lam is represented at the Guggenheim and MoMA in New York, the Museo Patio Herreriano in Valladolid, the Tate Gallery in London and the Museo Thyssen-Bornemisza, among others. Attached is a certificate issued by the Wilfredo Lam Foundation.

ARPAD SZENES - 1897-1985 - ARPAD SZENES - 1897-1985, "Pont du sud", oil on craft paper, signed. Notes: Private ciollection. Work included in JAEGER, Chiara Calzetta - "Arpad Szenes - Catalogue raisonné des dessins et des peintures". Paris: Skira, 2005, Tome II, p. 631, nº AS72-105, Dim. - 9 x 36 cm

Hans Bellmer (1902-1975)/Vladimir Veličković (1935-2019) - 3 lithographs > Hans Bellmer (1902-1975), Untitled, lithograph on paper signed lower right, numbered 77/100 lower left - 72 x 54 cm (foxing) > Hans Bellmer (1902-1975), Untitled, lithograph on paper signed lower right, numbered 4/100 lower left - 49.5 x 63 cm > Vladimir Veličković (1935-2019), Chute, 1975, lithograph on paper signed, titled, dated and numbered HC XIX/XXV lower right - 50 x 66 cm

A Colombian emerald cabochon on paper with many gardens. NET weight: 9.97 carats. GEM Paris gemological report number 2024 specifying Colombian origin, moderate oil. Expert : Emeric BUFFETAUD

Picasso, Pablo - Cocteau, Jean. Picasso de 1916 à 1961. Text volume and 2 folders. With 24 (7 folio-size, 2 double folio-size) original lithographs by Picasso, 2 separate extra suites of lithographs and 1 signed and numbered original lithograph enclosed. Monaco, Editions Du Rocher, 1962. 4 p., 113 p., 9 p. Loose sheets in illustrated original cardboard cover with die-cut (découpage), suites in original cardboard folders, in original black leather case (this somewhat rubbed). Goeppert-Cramer 117 - Bloch 1037-60 - Bloch, Livres 114 - Mourlot 358-381 - One of 10 (GA 255) Roman numbered copies of the special edition on "papier d'écorce de mûrier, à la main, Broussonetia papyrifera avec deux suites des illustrations, l'une sur pelure d'écorce de mûrier, l'autre sur pure chiffe de France." - Printed annotation signed by Picasso and Cocteau. - The suites with Picasso's signature as watermark, text band with Cocteau's and Picasso's signatures. - The enclosed signed original lithograph on a double sheet with printer's mark: 1 of 16 (GA 30) numbered copies only for the édition de tête. - The edition was created for Picasso's 80th birthday, the texts by Cocteau with direct reference to Picasso. Picasso's illustrations drawn in the manner of Cocteau. - Overall a beautiful and clean copy. VAT: *

Michel Charpentier (1927-2023) Erotic nude Pink gouache on paper Signed lower right Charpentier du Montel in the design, dated 1970.

attributable to CHARLES NICOLAS COCHIN (1715-1790), NATIVITY - attributable to CHARLES NICOLAS COCHIN (1715-1790), NATIVITY Pencil on paper. Dim.: 11x17 cm.

Collection of four prints and one watercolor. Various techniques on different papers. Each signed, mostly numbered, some dated. 1963-1970. sheet dimensions: between 32 x 48 cm and 99.5 x 69 cm. Including: Kurt Craemer, Fred Dahmen, Ossip Zadkine and Hans Behrens. Signature on the watercolor and illegible. - Some sheets browned and slightly rubbed, occasional creases and foxing, one sheet verso with residue from old mounting.

Kadar, Béla. Untitled. (Horse and male nude). Watercolor on thin paper. Signed lower right. Sheet dimensions: 21 x 29.5 cm. Verso with traces of an old mounting, partially visible on the front, sheet browned and light-stained, partially slightly stained, as well as handling marks.

LUIS FEITO (Madrid, 1929-2021). Untitled. Watercolor and oil on paper. Signed and stamped. Measurements: 40 x 50 cm; 58 x 68 cm (frame). Born and formed in Madrid, he was one of the founding members of the group El Paso. In 1954 he had his first individual exhibition, with non-figurative works, at the Buchholz gallery in Madrid. From that moment on Feito exhibited regularly in the most important cities of the world, such as Paris, Milan, New York, Helsinki, Tokyo and Rome. Appointed professor at the San Fernando School of Fine Arts in 1954, two years later he left teaching and went to Paris on a scholarship to study the current avant-garde movements. During this period he was influenced by automatism and matter painting. In 1962 he became a founding member of the El Paso group, with which he had lost contact during his years in Paris. His first works are inscribed within figurative painting, to then go through a phase in which he experiments with cubism, and finally fully enter into abstraction. At the beginning he only used black, ochre and white colors, but when he discovered the potential of light, he began to use more vivid colors and smooth planes. He evolved to use red as a counterpoint in his compositions (since 1962) and, in general, more intense colors. In his abstract phase, which includes the 1970s, Feito shows a clear tendency towards simplification, with the circle predominating in his compositions as a geometric form. Possibly, the influence of Japanese art can be seen in his preference for large bands of black. Most of his works are untitled, so they are usually recognized by a number assigned to them. Among his awards is his appointment as Officer of the Order of Arts and Letters of France in 1985. In 1998 he received the Gold Medal of Fine Arts in Madrid, and was appointed Full Member of the Royal Academy of Fine Arts of San Fernando. In 2000 he was awarded the Prize of the Spanish Association of Art Critics at the Estampa Salon, in 2002 the AECA Grand Prize for the best international artist at ARCO, in 2003 the prize for the most relevant artist at the Osaka Art Fair (Japan), in 2004 the Prize for the Culture of Plastic Arts of the Community of Madrid, in 2005 the Francisco Tomás Prieto Prize of the Fábrica Nacional de Moneda y Timbre, and in 2008 the Jorge Alió Foundation Prize and the Grand Prize for Spanish Contemporary Art CESMAI. Luis Feito is represented in the most important museums around the world, among which we will point out the Gallery of Modern Art in Rome, the Guggenheim, the MoMA and the Chase Manhattan Bank in New York, the Museums of Modern Art in Tokyo, Paris, Rio de Janeiro and Montreal, the Lissone in Italy, etc.

Pablo Picasso (1881-1973) - Still life with glass and apple 1944 Etching (drypoint and burin on zinc) in color on paper signed and dated in the plate 32 x 25 cm Bibliography: Picasso Baer n°725 Condition report : Framed

BERNHARD AND SUSANNE DESSECKER 'Cheerioh' table lamp for Design M Ingo Maurer 1988 - Metal, plastic, paper. Defects. 81.00 x 25.00 x 15.50 cm.

INDIAN SCHOOL (18TH/19TH CENTURY), ROYAL AUDIENCE - INDIAN SCHOOL (18TH/19TH CENTURY), ROYAL AUDIENCE Miniature on paper, Mughal style. Dim.: 33x23 cm.

David Roentgen - Multifunctional portable writing case by David Roentgen Maple burl on oak, solid oak, fire-gilded bronze, iron lock, replaced gold-stamped leather. On a rectangular base with a slightly protruding plinth and lid. Hinged, inside an angled writing desk with inkwell and grit container. The writing surface can be opened at the top and bottom, with compartments underneath. A secret drawer in the base that can be opened with a button on the underside. Stamped "D.ROENTGEN" on the base. In beautiful, age-appropriate, carefully restored condition. Minor scratches on the surfaces. A small replaced piece of veneer on each of the two narrow sides. H 18, W 45.5, D 28.5 cm. Neuwied, after 1780, for the Parisian store of David Roentgens In contrast to the earlier works of the Roentgen workshop from the 1760s and 1770s, the late furniture emphasizes the pure transparency of the wood. The forms are straightforward and simplified, the proportions remain elegant. Ornamentation gives way to pure surfaces. This was covered with selected veneer, in some cases in opposite directions on large surfaces, as here on the lid and the two long sides. In the spring of 1779, David Roentgen was awarded the title "Mécanicien privilégié du Roi et de la Reine" by the French King Louis XVI. A few months later, he moved into a property in Paris and employed Johann Gottlieb Frost (1751 - 1814) as managing director. In May 1780, David Roentgen bought the master craftsman's license from the Parisian guild of ebony makers and was then allowed to offer his own products on the Parisian market, all of which were presumably stamped with his name. However, he was not allowed to use the JME stamp, which was introduced by the Jurande des Maîtres Menuisiers Ebénistes in 1741 and had to be stamped next to his name. He called his store in the Rue de Grenelle "A La Ville De Neuwied". Ulrich Leben and Miriam Schefzyk published a business card, now lost, on which the "Magazin des plus beaux Meubles d'Ebénisteries fait de sa Fabrique, finie à la derniere perfection; et enteprend des commandes pour toutes sortes d'Ouvrages concernant l'Ebénisteries" is advertised under the city view of Neuwied. In December 1785, Jean Gottlieb Frost, who had meanwhile established himself in Paris, took over the business, but had to file for bankruptcy a few years later, after the Revolution of 1789. Provenance Formerly Bernard Montier, Munich. Literature Cf. Fabian, Abraham and David Roentgen. The still-found complete works of their furniture and clock art in connection with the Kinzing family of clockmakers in Neuwied. Life and work, list of works, sources, Bad Neustadt 1996, cat. No. 583, 584, 585. See also Leben/Schefzyk, Von der Spree an die Seine - Die Nachfolge der Roentgen-Werkstatt in Paris, in: Cornet/Willscheid (ed.), Möbel à la Roentgen. Inspirations from the Neuwied Manufactory, Neuwied 2023, p. 93 ff.

Vertès, Marcel. Gypsy Rose Lee. 2 colored pencil drawings over India ink on paper. Each signed lower right. Both works mounted on card, titled there by an unknown hand. Early 1950s. Sheet dimensions: 50.5 x 35 cm. Two drawings by Marcel Vertès (1895-1961) with erotic depictions of the actress Gypsy Rose Lee (1911-1970), who became the star of the Minsky brothers' New York burlesque shows. - Backing boards with small marginal tears and creases, the drawings in very good condition.

Jean MIOTTE (1926-2016) - Untitled. Color lithograph on paper. Signed lower right and numbered 97/100 lower left. 73 x 53 cm (view).

Spanish school; c. 1950. "The man in the street". Ink and watercolor on paper. Presents faults. Signed in the lower left area. Measurements: 35 x 23 cm; 63,5 x 47,5 cm (frame). Illustration made for the cover of the book El hombre de la calle, written by Abdón Rodríguez Santos, Spanish journalist and writer. He was a member of the Initiating and Protective Association of the Galician Academy, of which he was vice-secretary in 1911.

FERNANDO BOTERO - 1932-2023 - FERNANDO BOTERO - 1932-2023, Untitled, screen printing on paper, signed, marked T/3 (3rd test), Dim. - 45 x 35 cm