Board games

Serge Poliakoff (1906 Moscow - 1969 Paris) "Composition grise et noire" (Composition in gray and black). Original title This asymmetrical composition, created in 1959, is representative of Poliakoff's oeuvre and consists of graduated, light silver-grey to almost black surfaces. Poliakoff's works consist of simple, juxtaposed, almost structureless, pure areas of color, whereby their free arrangement and renunciation of geometric strictness corresponded entirely to the artist's lyrical and musical personality. In our composition, too, the surfaces harmonize with each other; although formally separate, they are inseparably linked in a remarkable, intrinsic balance. Poliakoff, one of the most important representatives of the "École des Paris", emigrated to Paris in 1923. From 1935 onwards, he gradually moved towards abstraction, with color and surface becoming his sole means of expression. He was decisively influenced by Kandinsky, whom he met in 1937. Through Sonja and Robert Delaunay he recognized the emotive effect of color and simultaneous contrasts, Otto Freundlich inspired him with his curved "colour-form compositions". In 1938 Poliakoff exhibited at the Salon des Indépendants for the first time, in 1945 the Galerie l'Esquisse held its first exhibition of Poliakoff's abstract paintings, and in 1946 Poliakoff took part in the first Salon des Réalités nouvelles. In the following years, Poliakoff achieved his international breakthrough with his puzzle-like and carpet-like compositions of adjacent, vibrating color surfaces. In 1959 and 1964 he took part in documenta I and II; in 1960 Poliakoff was given a solo exhibition in the Bern Kunsthalle with 137 pictures; in 1962 he even had his own room dedicated to him at the Venice Biennale. By the mid-1960s, Poliakoff was one of the most famous and important painters of his generation. Gouache/paper. Signed lower right; 47 cm x 63 cm. Frame. Provenance: Galerie Sacchetti, Ascona; Galerie Bonnier, Geneva, and Svensk-Franska Konstgalleriet, Stockholm (merged in 1973); auction "Contemporary Art", Sotheby's, London, 03.07.1998, lot 226; Galerie Neher, Essen; German private collection. Enclosed: Certificate of authenticity by Alexis Poliakoff, Archives Serge Polikakoff, Paris, 01.09.2000 (dated 1958). The authenticity was confirmed by Thadée Poliakoff, Archives Serge Poliakoff, Paris, in a recent e-mail on 16.02.2024; it is registered in the archive under no. 858083 and listed in the Catalogue raisonné, vol. III (1959-1962), with no. 59-196 for the year 1959. Gouache on paper. Signed. Accompanied by a certificate of authenticity from Alexis Poliakoff, 1st of September 2000. The artwork is published in the catalogue raisonné, volume III, no. 59-196. It is registrated by the Archives Serge Poliakoff, Paris, under no. 858083. The authenticity was recently confirmed by the Archives Serge Poliakoff in a mail from 16th of February 2024.

Relique de la quatrième Bugatti 57 SC Atlantic #57453,1936, « La Voiture Noire » - The original chassis plate of the missing Bugatti Atlantic 57SC. For several decades, the "black car" as it was nicknamed has been the subject of much ink. It was only thanks to brand historian Pierre-Yves Laugier that its existence came to light (we invite you to purchase his book on the Bugatti 57 Sport). Since then, every classic car enthusiast has fantasized about discovering it, deep in a barn, under thick blankets. It has made, still makes and will continue to make many enthusiasts dream, and its quest, like that of the Santa Maria, has become legendary. Some say that if it ever appeared, it would become the most desired car in the world. The chassis plate shown here is the one affixed to the car when it left the factory on October 3, 1936. The black car would later be photographed with different registrations (very common with Bugatti) and the last written trace, in February 1941 in Bordeaux, mentions it as #57454, so the original plate #57453 was already separated from the car just before it disappeared. But when and why were the plate and car separated? One theory caught our attention: In June 1937, chassis number #57453 was assigned to a Gangloff Sedan. We can therefore assume that the chassis plate was taken from the Atlantic and installed on the Sedan. This theory is all the more plausible given that in June 1939, the Atlantic was loaned to the King of Belgium as #57454. The black car was photographed one last time in Molsheim in 1939, before leaving for Bordeaux. The Berline with original plate #57453 continued on its way and passed into the hands of Jean De Dobbeleer around 1958, surely unaware that he had in his hands the plate of the factory Atlantic. Decades later, the plate would be found on another car, known to have passed through De Dobbeleer's hands. In any case, this is a significant piece of the puzzle that has kept the classic car world on its toes for decades. It is also, to our knowledge, the only piece of the black factory car whose authenticity and ownership are beyond doubt.

Trentsensky, M. America. Handkolorierte Kupferstichkarte von Nord- und Südamerika von T. Mollo nach Dominic Biller. Wien, M. Trentsensky's Artistische Anstalt, um 1840. Auf Holz aufgezogen. 41 x 33,5 cm. Eingelegt in marmorierter Original P.-Schachtel mi - Puzzle Trentsensky, M. America. Hand-colored copper engraving map of North and South America by T. Mollo after Dominic Biller. Vienna, M. Trentsensky's Artistische Anstalt, around 1840. Mounted on wood. 41 x 33.5 cm. Laid in original marbled P. box with mounted label: "Neue mit der Maschine geschnittene Zerleg-Bilder. America No." (rubbed, edges and label with losses). A fine example of a disassembled map, complete and with only a few brown spots, from one of the leading manufacturers in the German-speaking world. Colors in very good condition. Hand-colored engraved map of North and South America by T. Mollo after Dominic Biller. Loosely contained in publisher's cardboard box with oval engraved label "Neue mit Maschine geschnittene Zerleg-Bilder America" pasted onto top lid (rubbed, label and sides with missing parts). - A fine example of a dissected map, complete and with only a few brown spots, by one of its leading manufacturers in German speaking countries. * This work is taxed. The hammer price is subject to a 23.95% surcharge and the final invoice amount is subject to 7% (books only) or 19% VAT in the European Union. This work is subject to the regular margin scheme. There is a 23.95% buyer's premium on the hammer price and 7% (Books only) or 19% VAT on the final invoice amount in the European Union.

Cubic card case in stained walnut veneer, with four compartments. 17.5 x 17.5 x 19 cm. Slight wear, key missing.

A large slipware puzzle jug, dated 1831, inscribed 'J + ny 1831' in cream slip on a rich treacle ground, the tall neck pierced with an elaborate design, the neck with three conical spouts, some restoration to the rim, 26cm.

A Yorkshire slipware puzzle jug, probably 19th century, inscribed 'TW 1758' in cream slip, the neck pierced with tulips and an elaborate star, a Halifax slipware model of a rocking chair, inscribed 'LP' and dated 1865, and a slipware tankard with stylised motifs, minor faults, 20cm max. (3)

A delftware puzzle jug, c.1760, probably Liverpool, painted with flower sprays flanking a four line verse inviting drinkers to try their luck, the tall neck pierced with hearts and ovals, the rim with three small spouts, some good restoration to one spout, some glaze chipping, 18.5cm high.

A slipware puzzle jug of agateware type, dated 1901, decorated in cream and treacle slip to simulate hardstone, inscribed 'T. Smith Clitheroe', the tall neck cut with triangles, the rim set with three pointed spouts, one spout broken and restuck, 18cm.