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Wed 24 Apr

A large collection of jewels, comprising: an opal and diamond ring and pair of opal pendants; an opal and diamond pendant on a gold chain, stamped 375; a zodiac pendant for Scorpio, stamped 750, chain stamped 375; a synthetic colour-change sapphire necklace in gold, stamped 585; three rings and a bracelet set with synthetic colour-change sapphires; two pairs of sapphire and paste earrings; a pair of sapphire and diamond cluster earrings; a 9ct gold 'screw you' ring with a screw and letter U, British hallmarks; two gold pendants and a pair of stud earrings set with green pastes; a pair of faceted aquamarine earrings; a 9ct gold propelling pencil on a chain, British hallmarks; a Victorian turquoise and diamond ring; a chalcedony bar brooch; a synthetic goldstone ring mounted in gold; a skeletonised coin demi-parure; a cultured pearl necklace; a three silver pendants; a loose paste; three paste earrings; two garnet links; a ring mount; two amethyst rings; one earring and a necklace and pendant set with purple pastes; three cultured pearl rings, one stamped 9ct; a blue topaz ring in 9ct gold, British hallmark; seven gold rings including a 9ct gold puzzle ring, British hallmark; a mother of pearl ring in 9ct gold, British hallmark; two rings set with simulant diamonds, one with British hallmark for 18ct gold; three diamond rings in gold, one with British hallmarks; a pair of mother of pearl earrings; a cultured pearl necklace; and a gilt metal chain

Estim. 1 000 - 2 000 GBP

Sat 27 Apr

Honoré de Balzac, Autograph letter signed. February 16 [1848], 2p in-8, autograph address, wax seal "AVE". To Louis Wolf, King's antiquarian in Dresden: "I beg you, Sir, to include in the shipment you are going to send me of 1° the vase, 2° the trictrac, and 3° the statue, 2 of the 3 arms with two porcelain candles that I wanted to take only after having checked the measurements you gave me, but do not send me anything broken, nor mended, give me of the 3, the 2 best, you owe me that much; see to the packing [...] So, if you send me 1° the vase, 2° the trictrac, 3° the wooden statuette, and you add the 2 porcelain arms and the dish, I'll owe you 12 louis more; later, in 3 months, I'll tell you if I can take the 2 vermeil objects and at what price. [...] These 12 louis and the 6 louis for the alarm clock will be paid when I pass through Dresden in July, and if I do not pass through Dresden or do not travel, I will send you a bill for 18 louis or 360 f. payable in Paris. I didn't examine your invoice when you brought it to me, the vase is only 10 louis and the lady's set 6 louis, and you put 18 louis, it's an error of two louis, but we'll hear about it." Balzac and Madame Hanska's first purchases from this Dresden antique dealer seem to date back to May 1847 (see LHB, II, p. 554 and 556); numerous acquisitions followed, right up to 1848. This beautiful, long letter bears witness to the numerous purchases of antiques and objets d'art made by Balzac and Madame Hanska to furnish and decorate their house on rue Fortunée in Paris. Paper edges frayed, bifeuillet detached at the fold, paper missing from the sheet with the address. (Correspondance, III, n°48-6).

Estim. 1 600 - 1 800 EUR

Sat 27 Apr

Covens, J. u. C. Mortier L'Utrecht suivant les nouvelles observations de Messrs. de l'Academie des Sciences etc. Augmentées de nouveau. Amsterdam, Covens und Mortier, um 1770. Grenzkol. Kupferstich-Karte auf Papier. Auf Holz aufgezogen, rückseitig mit b - Netherlands - Utrecht Covens, J. and C. Mortier L'Utrecht suivant les nouvelles observations de Messrs. de l'Academie des Sciences etc. Augmentées de nouveau. Amsterdam, Covens and Mortier, about 1770. border col. Copper engraved map on paper. Mounted on wood, backed with blue paste paper. Divided into 19 pieces as a puzzle. Dimensions when assembled 30 x 22 cm. All pieces loose in contemporary wooden box with sliding lid and handwritten title "Utrecht" on the top With decorative figurative cartouche. - A very early and rare example of this type of game. Complete and in very good overall condition. Netherlands - Utrecht - Border colored copper engraved map on paper. Mounted on wood, backed with blue paste paper. Divided into 19 pieces as a puzzle. Loose in contemporary wooden box with sliding lid and handwritten title "Utrecht" on the top. - With decorative figurative cartouche. - A very early and rare example of this type of game. Complete and in very good overall condition. * 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.

Estim. 1 500 EUR

Sat 27 Apr

Jeu de Patiene (sic). Puzzle aus 66 Teilen. Wohl Frankreich, um 1780. Handkolorierter Kupferstich, auf Holz aufgezogen. 31 x 22,5 cm. In grünem Pappschuber d. Zt., auf dem Vorderdeckel gestochenes ovales Etikett, umrahmt von einem handgezeichneten Blumen - Puzzle Jeu de Patiene (sic). Puzzle of 66 pieces. Probably France, around 1780. Hand-colored copperplate engraving, mounted on wood. 31 x 22.5 cm. In a green cardboard slipcase of the period, engraved oval label on the front cover, framed by a hand-drawn floral wreath in gouache (stained, occasional scribbles, small losses in the margins, overall signs of wear). The depiction shows a Cupid with a raised index finger, apparently giving advice to a woman kneeling before him beneath two arching rosebushes. - Old overpaste in the lower white margin. A few brown spots. The puzzle in excellent condition with bright and fine coloring. Jigsaw-puzzle consisting of 66 pieces (= complete). Handcolored engraving mounted on thin wood. Probably France around 1780. In cont. green paste-paper slip-case, mounted engraved oval label to front cover, framed by an original wash-colour wreath of flowers (slipcase with traces of wear, occasional scribbles, extremeties worn). - The image shows a cupido his fore-finger held up and obviously giving welcome (?) advice to a kneeling woman in front of him under two arch-shaped rose bushes. - Lower white margin with old paste-over. A few brown spots else fine. The jigsaw-puzzle in excellent condition with bright and delicate coloring. * 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.

Estim. 1 000 EUR

Sat 27 Apr

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.

Estim. 1 000 EUR

Sat 27 Apr

Trentsensky, M. Die Erstürmung der Batterie auf der Eisenbahnbrücke vor Venedig. Wien, Trentsenskys Artistische Anstalt, (1849). Zerlegbild mit handkolorierter Kreidelithographie von Trentsensky nach Franz Kollarz, mit Gummiarabikum gehöht und dekorati - Puzzle Trentsensky, M. The storming of the battery on the railroad bridge before Venice. Vienna, Trentsensky's Artistic Institute, (1849). Disassembled image with hand-colored chalk lithograph by Trentsensky after Franz Kollarz, heightened with gum arabic and with decorative mounted border. Mounted on wood. 30.5 x 44 cm. Laid in original marbled P. box with mounted border and label: "Neue mit der Maschine geschnittene Zerleg-Bilder. Kriegs-Scenen No." (rubbed and somewhat worn). Inside of the lid with a printed label with title and description. Cf. catalog: Die kleine Welt des Bilderbogens. Vienna 1977, no. 92-94 - Franz Kollarz (1825-1894) was a lithographer based in Vienna. - Interesting and unusual motif for such a children's game, depicting the scene of an important nocturnal attack in the Italian War of Independence, representing the capture of Venice by Austrian troops on the night of July 6-7, 1849. - Minimal chipping lower left. Overall in very good condition. Hand-colored chalk lithograph heightened with gum arabic by Trentsensky after Franz Kollarz, with decorative mounted border. Mounted on wood. Laid in original marbled cardboard box with mounted decorative band and label (rubbed and somewhat worn). - Inside of the lid with a printed label with title and description. - Franz Kollarz (1825-1894) was a lithographer based in Vienna. - Interesting and unusual motif for such a children's game, depicting the scene of an important nocturnal attack in the Italian War of Independence, representing the capture of Venice by Austrian troops on the night of 6-7 July 1849. - Minimal chipping lower left. Overall in very good condition. * 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.

Estim. 1 000 EUR

Sun 28 Apr

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.

Estim. 48 000 - 96 000 EUR

Sun 28 Apr

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.

Estim. 5 000 - 10 000 EUR

Sun 28 Apr

Lafont Spéciale (G.A.R.) Circa 1928 - Chassis n°1 Engine n°18819 Type CST4 Gearbox n°3947 French registration number The birth of this Lafont Spéciale remains a mystery for the time being. That said, following a lengthy investigation and numerous testimonials, we have been able to put together the various pieces of the jigsaw and imagine what happened at the end of the 1920s. Emile Lafont was a key player in the G.A.R. (Gardahaut) adventure. The brand made a name for itself in the early 1920s by building cyclecars powered by Chapuis-Dornier, with a sporting vocation, and many GARs were entered in races, notably the Bol d'Or. Emile Lafont was an engineer and driver for GAR, and took part in many races with them until 1928. It was then that the company took a turn that it would never recover from. Mr Gardahaut decided to design his own engine and launch a new range of cars. But the company began to decline and closed its doors in 1934. Lafont, sensing that the deal was coming to an end, decided to leave in 1928. For his departure, he negotiated several chassis and Chapuis-Dornier 12-valve engines in order to build his own cars. He took part in the Armistice Cup in 1930 as an independent (not affiliated to a car manufacturer) and won the race. We can deduct from this that the car in the photo is one of his creations, with an angled chassis (a modified GAR chassis?). The first photo of the Lafont Spéciale that we can identify with certainty is from the end of the 1950s. At that time, the car was part of the Pozzoli collection, stored under the Montlhéry ring. It was used by a well-known Bugatti collector during his leave from the Algerian war. Pozzoli wrote about his two GARs, the Blue Elephant and the Lafont (see text), so it's highly likely that he mentioned our Lafont Spéciale, as it was fitted with a 12-valve at the time and belonged to him. Next we find an undated photo of our Lafont Spéciale, where time has unfortunately taken its toll... We can see the same plate number as on the photo from the 1950s, which leaves no doubt as to its origin. It is thought that the Chapuis-Dornier 12-valve had already disappeared by this time. Why and how did this car end up at the bottom of a field? This question remains unanswered. It was then recovered in the 1970s by a collector in Burgundy, who undertook a complete restoration, dressing it in bodywork inspired by the GAR B5 roadster, our man probably recognising in the car the special features of the GAR. Next came a collector in the South of France, who, intrigued by this counter-angled chassis, and it has to be said, because it was fashionable, fitted it with a bordino tip. He sold it over twenty years ago to its current owner, but after taking part in a few historic events, the car fell asleep at the back of the garage. So here's an opportunity to acquire a cyclecar with quite a history, and one that hasn't yet revealed all its secrets. The car was woken from its deep sleep in the proper manner and the engine is running perfectly smoothly, and the few kilometres we drove it gave us a lot of pleasure. The car still deserves the usual checks before setting off on long road trips. This G.A.R. Lafont Spéciale vice et versa is a real alternative for driving something different, and at a reasonable price compared to the other Bordino Pointes of the 1920s. Note the specific front axle of the second-generation G.A.R., used on some racing G.A.R.s. Emile Lafont after winning the 1930 Armistice Cup. The dashboard contains the essentials: rev counter, speedometer, clock and oil pressure. The Chapuis-Dornier CST4 1100cm2 on the admission side. Less advanced than the 12-valve model, it is also more reliable. Our example is fitted with a tailor-made exhaust pipe to gain a few more horsepower. The gearbox and pedal assembly. The clutch pedal has been modified to fit a starter motor. This photo, taken at the home of a collector in the Burgundy region, shows that the car still has its original bonnet, recognisable by the interruption in the bonnet louvres. The chassis plate shows the manufacturer's address, the chassis number and a Chapuis-Dornier engine number that does not match the current one. Perhaps this is the number of the 12-valve engine originally fitted! It is important to note that GAR made both straight and curved chassis, see Pozzoli Auto passion 1989. The special mounting of the leaf springs at the rear allows the car to be lowered as much as possible, leaving space for the axle to be positioned as low as possible.

Estim. 60 000 - 80 000 EUR

Mon 13 May

JAVIER CALLEJA (Málaga, 1971). "Puzzle", 2023. Wood. Presents drawing on the back in gold ink. Signed with ink on the back. Measurements: 14.5 x 14.5 x 4 cm. Puzzle of 9 pieces that allows to create six different works. This is a limited edition created exclusively for his exhibition held in Malaga in 2023. Javier Calleja is an artist from Malaga, artistically trained at the University of Granada, where he graduated in Fine Arts in 2000. Since the beginning of his artistic career his works have attracted the attention of critics and the public, thus becoming one of the most sought after artists nationally and internationally. He held his first exhibition in 2002, participating in the group show Arte más joven, "Instituto Andaluz de la Juventud (IAJ)" Almeria, Jaen and Seville, Spain IAJ Granada, and only a year later (2003) held his first solo exhibition entitled "Recuperar la mirada", Carmen de la Victoria, University of Granada. These exhibitions were followed by many others, both nationally and internationally, highlighting among them; 'Play room' held at the CAC Malaga, held in 2008, Fast food, at Galerie Zink, Germany (2015), No cartoons tonight, Art on paper Fair (solo project), at Castor Gallery, New York (2016), Do not touch, at Nanzuka Gallery, Tokyo (2018), F*ck You, Nanzuka EchoOne, Nanzuka Gallery, in Bangkok (2018), Javier Calleja, Solo exhibition, at Aisho/Nanzuka, Hong Kong (2019) and Those Little things, Artist residency, Dio Horia, in Mykonos. In addition, Calleja, has participated in several of the most important fairs in Spain, such as; ARCO (2020), Estampa (2019) and Urbanity Art (2020). His work has been acquired by numerous private collectors, and also by relevant institutions such as Banco Sabadell, the Diputación de Málaga, DKV Collection, Marset Collection, the CAB of Burgos, the CAC of Málaga, Unicaja, the Junta de Andalucía and the University of Granada. It should be noted that during the COVID, Calleja offered for sale several figures known with Art toy, in order to donate the proceeds to those affected by the pandemic. Calleja's work is characterized by a naïf language, which is influenced by a certain surrealist and pop character. In it one can appreciate the interest in the childish presence, accompanied in many of the occasions of text. This characteristic invites the viewer to reflect on the images she proposes, delving into a conceptual meaning that goes beyond the obvious. At first his works were focused on installation and mural painting, although he also works in other smaller formats such as sculpture and drawing.

Estim. 800 - 900 EUR
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