https://monetartadvisory.com/
2026-09-15
weekly
1.0
https://monetartadvisory.com/market
2026-09-15
monthly
0.8
https://storage.neonsky.app/4cbdcf19551f2/images/AAMfotoorizz_01.jpg
https://monetartadvisory.com/authentication
2026-09-15
monthly
0.8
https://storage.neonsky.app/4cbdcf19551f2/images/AAMfotoorizz_02.jpg
https://storage.neonsky.app/4cbdcf19551f2/images/AAMfotoquadr_04.jpg
https://storage.neonsky.app/4cbdcf19551f2/images/AAMfotoquadr_03.jpg
https://monetartadvisory.com/research
2026-09-15
monthly
0.8
https://storage.neonsky.app/4cbdcf19551f2/images/AAMfotoorizz_03.jpg
https://storage.neonsky.app/4cbdcf19551f2/images/AAMfotoquadr_05.jpg
https://monetartadvisory.com/analysis
2026-09-15
monthly
0.8
https://storage.neonsky.app/4cbdcf19551f2/images/AAMfotoquadr_06.jpg
https://storage.neonsky.app/4cbdcf19551f2/images/AAMfotoquadr_07.jpg
https://storage.neonsky.app/4cbdcf19551f2/images/AAMfotoquadr_08.jpg
https://monetartadvisory.com/neutrality
2026-09-15
monthly
0.8
https://monetartadvisory.com/akim-monet
2026-09-15
monthly
0.8
https://storage.neonsky.app/4cbdcf19551f2/images/AAMfotovert_01.jpg
https://monetartadvisory.com/services
2026-09-15
monthly
0.8
https://storage.neonsky.app/4cbdcf19551f2/images/AAMfotoorizz_04.jpg
https://monetartadvisory.com/photography
2026-09-15
monthly
0.8
https://storage.neonsky.app/4cbdcf19551f2/images/AAMfotoquadr_09.jpg
https://monetartadvisory.com/contact
2026-09-15
monthly
0.8
https://monetartadvisory.com/l-arbre-en-boule-argenteuil-1876-essay-from-the-nat-l-gal-catalogue
2026-09-15
monthly
0.8
https://storage.neonsky.app/4cbdcf19551f2/images/impressionists-at-argenteuil_Pagina_137-138WB.jpg
"The Ball-Shaped Trees, Argenteuil" by Pr. Tucker
<TEXTFORMAT LEADING="1"><P ALIGN="LEFT"><FONT FACE="_sans" SIZE="11" COLOR="#000099" LETTERSPACING="0" KERNING="0"><A HREF="http://monetartadvisory.com/larbre-en-boule-argenteuil-1876---essay-from-the-natl-gal-catalogue/" TARGET="_blank"><U>http://monetartadvisory.com/larbre-en-boule-argenteuil-1876---essay-from-the-natl-gal-catalogue/</U></A><FONT COLOR="#000000"></FONT></FONT></P></TEXTFORMAT>
https://storage.neonsky.app/4cbdcf19551f2/images/impressionists-at-argenteuil_Pagina_137-138WB.jpg
"The Ball-Shaped Trees, Argenteuil" by Pr. Tucker
<TEXTFORMAT LEADING="1"><P ALIGN="LEFT"><FONT FACE="_sans" SIZE="11" COLOR="#000099" LETTERSPACING="0" KERNING="0"><A HREF="http://monetartadvisory.com/larbre-en-boule-argenteuil-1876---essay-from-the-natl-gal-catalogue/" TARGET="_blank"><U>http://monetartadvisory.com/larbre-en-boule-argenteuil-1876---essay-from-the-natl-gal-catalogue/</U></A><FONT COLOR="#000000"></FONT></FONT></P></TEXTFORMAT>
https://monetartadvisory.com/shirazeh-houshiary
2026-09-15
monthly
0.8
https://cdn.neonsky.app/4cbdcf19551f2/images/SH-LM18915_String_Quintet_01__TEMP_.jpg
String Quintet
_binary '
SHIRAZEH HOUSHIARY
Asking price: £480,000.00 plus VAT
cast stainless steel
196.85 inches
500 cm
'
https://cdn.neonsky.app/4cbdcf19551f2/images/String_Quintet_SH12-1__Skyroom__72.jpg
String Quintet
_binary '
SHIRAZEH HOUSHIARY
Asking price: £480,000.00 plus VAT
cast stainless steel
196.85 inches
500 cm
'
https://cdn.neonsky.app/4cbdcf19551f2/images/SH-LM18849_New_Proposal_-_Untitled_01__TEMP_.jpg
New Proposal - Untitled
_binary 'SHIRAZEH HOUSHIARY
Asking price: £800,000.00
powder coated aluminum
314.96 inches height
800 cm
'
https://cdn.neonsky.app/4cbdcf19551f2/images/18518_offer.jpg
Dark Senses
_binary '
SHIRAZEH HOUSHIARY
Asking price: £300,000.00 plus VAT
pencil, pigments and black aquacryl on canvas and aluminum
74.8 x 106.3 inches
190 x 270 cm
'
https://cdn.neonsky.app/4cbdcf19551f2/images/SH-LM18518_Dark_Senses_det01.jpg
Dark Senses (Detail)
_binary '
SHIRAZEH HOUSHIARY
Asking price: £300,000.00 plus VAT
pencil, pigments and black aquacryl on canvas and aluminum
74.8 x 106.3 inches
190 x 270 cm
'
https://cdn.neonsky.app/4cbdcf19551f2/images/SH-LM18518_Dark_Senses_det02.jpg
Dark Senses (Detail)
_binary '
SHIRAZEH HOUSHIARY
Asking price: £300,000.00 plus VAT
pencil, pigments and black aquacryl on canvas and aluminum
74.8 x 106.3 inches
190 x 270 cm
'
https://monetartadvisory.com/richard-serra
2026-09-15
monthly
0.8
https://cdn.neonsky.app/4cbdcf19551f2/images/SERRA_2008_0015_Fernando_Pessoa__Photo_-_Helene_Binet_CROP.jpg
Fernando Pessoa
_binary '
RICHARD SERRA
Asking price: $8,000,000 plus VAT
Weatherproof steel
118 1/8 x 354 5/16 x 8 inches
300 x 900 x 20.3 cm
'
https://cdn.neonsky.app/4cbdcf19551f2/images/SERRA_2008_0015_Fernando_Pessoa_view_2__colour__CROP.jpg
Fernando Pessoa
_binary '
RICHARD SERRA
Asking price: $8,000,000 plus VAT
Weatherproof steel
118 1/8 x 354 5/16 x 8 inches
300 x 900 x 20.3 cm
'
https://cdn.neonsky.app/4cbdcf19551f2/images/SERRA_2008_0015_Fernando_Pessoa__detail___Photo_-_Helene_Binet_CROP.jpg
Fernando Pessoa
_binary '
RICHARD SERRA
Asking price: $8,000,000 plus VAT
Weatherproof steel
118 1/8 x 354 5/16 x 8 inches
300 x 900 x 20.3 cm
'
https://cdn.neonsky.app/4cbdcf19551f2/images/SERRA_2008_0015_Fernando_Pessoa_view_3__colour__CROP.jpg
Fernando Pessoa
_binary '
RICHARD SERRA
Asking price: $8,000,000 plus VAT
Weatherproof steel
118 1/8 x 354 5/16 x 8 inches
300 x 900 x 20.3 cm
'
https://cdn.neonsky.app/4cbdcf19551f2/images/SERRA_2013_0009_B_CROP.jpg
Counterweights
_binary '
RICHARD SERRA
Asking price: $5,000,000 plus VAT
Weatherproof steel
106 x 138 x 5 inches
269.2 x 350.5 x 12.7 cm
'
https://cdn.neonsky.app/4cbdcf19551f2/images/SERRA_2013_0009_D_CROP.jpg
Counterweights
_binary '
RICHARD SERRA
Asking price: $5,000,000 plus VAT
Weatherproof steel
106 x 138 x 5 inches
269.2 x 350.5 x 12.7 cm
'
https://cdn.neonsky.app/4cbdcf19551f2/images/SERRA_2013_0009_E_CROP.jpg
Counterweights
_binary '
RICHARD SERRA
Asking price: $5,000,000 plus VAT
Weatherproof steel
106 x 138 x 5 inches
269.2 x 350.5 x 12.7 cm
'
https://cdn.neonsky.app/4cbdcf19551f2/images/SERRA_2011_0024_CROP.jpg
Double Rift #2
_binary '
RICHARD SERRA
Asking price: $1,500,000 plus VAT
Paintstick on handmade paper
105 1/8 x 199 1/8 x 3 3/4 inches
267 x 505.8 x 9.5 cm (framed)
'
https://cdn.neonsky.app/4cbdcf19551f2/images/richard_serra_installation15_CROP.jpg
Double Rift #2
_binary '
RICHARD SERRA
Asking price: $1,500,000 plus VAT
Paintstick on handmade paper
105 1/8 x 199 1/8 x 3 3/4 inches
267 x 505.8 x 9.5 cm (framed)
'
https://cdn.neonsky.app/4cbdcf19551f2/images/Richard_Serra_-_labyrinth_n.jpg
Labyrinth Number Four
_binary '
Richard Serra
Weatherproof steel
Outer spiral approx. 415 x 1230 x 1100 cm
Inner spiral approx. 415 x 900 x 594 cm
'
https://cdn.neonsky.app/4cbdcf19551f2/images/Fiche_Richard_Serra_-_labyrinth_n2.jpg
Labyrinth Number Four
_binary '
Richard Serra
Weatherproof steel
Outer spiral approx. 415 x 1230 x 1100 cm
Inner spiral approx. 415 x 900 x 594 cm
'
https://monetartadvisory.com/master-of-the-lazzaroni-madonna-1
2026-09-15
monthly
0.8
https://cdn.neonsky.app/4cbdcf19551f2/images/master-of-the-lazzaroni-madonna-2-WEB.jpg
MASTER OF THE LAZZARONI MADONNA
_binary '
Madonna and Child enthroned with saints Barbara, Paul, Peter and another saint; Saints Anthony Abbot, Catherine, Nicholas of Tolentino; Annunciation; Crucifixion
Panel, 30 x 45 cm
Active in Florence, the Master of the Lazzaroni Madonna was a follower of Nardo di Cione and later Andrea di Bonaiuto, whose influence is most evident in the present triptych. His work was first isolated in print by Richard Offner (see A Legacy of Attributions, New York 1981, pp. 37-38) around a panel formerly in the Lazzaroni collection, Paris, and his oeuvre has been amplified by subsequent scholars (see, for example, M. Boskovits, La Pittura Fiorentina alla vigilia del Rinascimento, Florence 1975, pp. 239-240, footnote 169).
Prof. Miklòs Boskovits relates the composition of the present triptych to the two shutters formerly in the collection of The New-York Historical Society (see Boskovits, op. cit., fig. 415).
'
https://cdn.neonsky.app/4cbdcf19551f2/images/master-of-the-lazzaroni-madonna-2-Part1-WEB.jpg
Detail: MASTER OF THE LAZZARONI MADONNA
_binary '
Madonna and Child enthroned with saints Barbara, Paul, Peter and another saint; Saints Anthony Abbot, Catherine, Nicholas of Tolentino; Annunciation; Crucifixion
Panel, 30 x 45 cm
Prof. Miklòs Boskovits relates the composition of the present triptych to the two shutters formerly in the collection of The New-York Historical Society (see Boskovits, op. cit., fig. 415).
'
https://cdn.neonsky.app/4cbdcf19551f2/images/master-of-the-lazzaroni-58-WEB.jpg
Detail: MASTER OF THE LAZZARONI MADONNA
_binary '
Madonna and Child enthroned with saints Barbara, Paul, Peter and another saint; Saints Anthony Abbot, Catherine, Nicholas of Tolentino; Annunciation; Crucifixion
Panel, 30 x 45 cm
Prof. Miklòs Boskovits relates the composition of the present triptych to the two shutters formerly in the collection of The New-York Historical Society (see Boskovits, op. cit., fig. 415).
'
https://cdn.neonsky.app/4cbdcf19551f2/images/master-of-the-lazzaroni-madonna-2-Part2-WEB.jpg
Detail: MASTER OF THE LAZZARONI MADONNA
_binary '
Madonna and Child enthroned with saints Barbara, Paul, Peter and another saint; Saints Anthony Abbot, Catherine, Nicholas of Tolentino; Annunciation; Crucifixion
Panel, 30 x 45 cm
Prof. Miklòs Boskovits relates the composition of the present triptych to the two shutters formerly in the collection of The New-York Historical Society (see Boskovits, op. cit., fig. 415).
'
https://cdn.neonsky.app/4cbdcf19551f2/images/master-of-the-lazzaroni-27-WEB.jpg
Detail: MASTER OF THE LAZZARONI MADONNA
_binary '
Madonna and Child enthroned with saints Barbara, Paul, Peter and another saint; Saints Anthony Abbot, Catherine, Nicholas of Tolentino; Annunciation; Crucifixion
Panel, 30 x 45 cm
Prof. Miklòs Boskovits relates the composition of the present triptych to the two shutters formerly in the collection of The New-York Historical Society (see Boskovits, op. cit., fig. 415).
'
https://cdn.neonsky.app/4cbdcf19551f2/images/master-of-the-lazzaroni-41-WEB.jpg
Detail: MASTER OF THE LAZZARONI MADONNA
_binary '
Madonna and Child enthroned with saints Barbara, Paul, Peter and another saint; Saints Anthony Abbot, Catherine, Nicholas of Tolentino; Annunciation; Crucifixion
Panel, 30 x 45 cm
Prof. Miklòs Boskovits relates the composition of the present triptych to the two shutters formerly in the collection of The New-York Historical Society (see Boskovits, op. cit., fig. 415).
'
https://cdn.neonsky.app/4cbdcf19551f2/images/master-of-the-lazzaroni-madonna-2-Part3-WEB.jpg
Detail: MASTER OF THE LAZZARONI MADONNA
_binary '
Madonna and Child enthroned with saints Barbara, Paul, Peter and another saint; Saints Anthony Abbot, Catherine, Nicholas of Tolentino; Annunciation; Crucifixion
Panel, 30 x 45 cm
Prof. Miklòs Boskovits relates the composition of the present triptych to the two shutters formerly in the collection of The New-York Historical Society (see Boskovits, op. cit., fig. 415).
'
https://cdn.neonsky.app/4cbdcf19551f2/images/master-of-the-lazzaroni-15-WEB.jpg
Detail: MASTER OF THE LAZZARONI MADONNA
_binary '
Madonna and Child enthroned with saints Barbara, Paul, Peter and another saint; Saints Anthony Abbot, Catherine, Nicholas of Tolentino; Annunciation; Crucifixion
Panel, 30 x 45 cm
Prof. Miklòs Boskovits relates the composition of the present triptych to the two shutters formerly in the collection of The New-York Historical Society (see Boskovits, op. cit., fig. 415).
'
https://cdn.neonsky.app/4cbdcf19551f2/images/master-of-the-lazzaroni-31-WEB.jpg
Detail: MASTER OF THE LAZZARONI MADONNA
_binary '
Madonna and Child enthroned with saints Barbara, Paul, Peter and another saint; Saints Anthony Abbot, Catherine, Nicholas of Tolentino; Annunciation; Crucifixion
Panel, 30 x 45 cm
Prof. Miklòs Boskovits relates the composition of the present triptych to the two shutters formerly in the collection of The New-York Historical Society (see Boskovits, op. cit., fig. 415).
'
https://cdn.neonsky.app/4cbdcf19551f2/images/master-of-the-lazzaroni-33-WEB.jpg
Detail: MASTER OF THE LAZZARONI MADONNA
_binary '
Madonna and Child enthroned with saints Barbara, Paul, Peter and another saint; Saints Anthony Abbot, Catherine, Nicholas of Tolentino; Annunciation; Crucifixion
Panel, 30 x 45 cm
Prof. Miklòs Boskovits relates the composition of the present triptych to the two shutters formerly in the collection of The New-York Historical Society (see Boskovits, op. cit., fig. 415).
'
https://monetartadvisory.com/mona-hatoum-1
2026-09-15
monthly
0.8
https://cdn.neonsky.app/4cbdcf19551f2/images/Mona_Hatoum_Rest_Assured_2001-2005__screen_res__27.jpg
REST ASSURED
_binary 'Mona HATOUM (b. 1952)
ASKING PRICE: EURO 85.000,00 plus VAT
With White Cube Gallery, London
Silicone rubber, aluminum and wood
Dimensions variable
Edition of 6
'
https://cdn.neonsky.app/4cbdcf19551f2/images/Mona_Hatoum_Rest_Assured_2001-2005__screen_res__24.jpg
REST ASSURED (detail)
_binary 'Mona HATOUM (b. 1952)
'
https://cdn.neonsky.app/4cbdcf19551f2/images/Mona_Hatoum_Rest_Assured_2001-2005__screen_res__26.jpg
REST ASSURED (detail)
_binary 'Mona HATOUM (b. 1952)
'
https://cdn.neonsky.app/4cbdcf19551f2/images/Mona_Hatoum_Afghan__red_and_orange__2008__screen_res_.jpg
AFGHAN (RED AND ORANGE)
_binary 'Mona HATOUM (b. 1952)
ASKING PRICE: EURO 120.000,00 plus VAT
With White Cube Gallery, London
**Please note that this work is currently under discussion with another party
Wool
42 1/8 x 70 7/8 in. (107 x 180 cm)
'
https://cdn.neonsky.app/4cbdcf19551f2/images/Mona_Hatoum_Still_Life_2008-09__screen_res__2.jpg
STILL LIFE
_binary 'Mona HATOUM (b. 1952)
ASKING PRICE: EURO 175.000,00 plus VAT
With White Cube Gallery, London
Glazed ceramics, wood and painted steel
34 7/16 x 70 7/8 x 35 7/16 in. (87.5 x 180 x 90 cm)
Edition of 3
'
https://cdn.neonsky.app/4cbdcf19551f2/images/Mona_Hatoum_Still_Life_2008-09__screen_res_.jpg
STILL LIFE (detail)
_binary 'Mona HATOUM (b. 1952)
'
https://cdn.neonsky.app/4cbdcf19551f2/images/Mona_Hatoum_Still_Life_2008-09__screen_res__4.jpg
STILL LIFE (detail)
_binary 'Mona HATOUM (b. 1952)
'
https://cdn.neonsky.app/4cbdcf19551f2/images/Mona_Hatoum_Still_Life_2008-09__screen_res__1.jpg
STILL LIFE (detail)
_binary 'Mona HATOUM (b. 1952)
'
https://cdn.neonsky.app/4cbdcf19551f2/images/Mona_Hatoum_Untitled__Rack__2011__screen_res_.jpg
UNTITLED (RACK)
_binary 'Mona HATOUM (b. 1952)
ASKING PRICE: EURO 95.000,00 plus VAT
With White Cube Gallery, London
Mixed media
24 x 33 x 9 in. (61 x 84 x 23 cm)
Edition of 3
'
https://cdn.neonsky.app/4cbdcf19551f2/images/Mona_Hatoum_Projection__velvet__2013__screen_res_.jpg
PROJECTION (VELVET)
_binary 'Mona HATOUM (b. 1952)
ASKING PRICE: EURO 50.000,00 plus VAT
With White Cube Gallery, London
Silk velvet and mild steel
38 3/16 x 63 3/4 in. (97 x 162 cm)
Edition of 15
'
https://cdn.neonsky.app/4cbdcf19551f2/images/Mona_Hatoum_Projection__velvet__2013__screen_res__1.jpg
PROJECTION (VELVET) (detail)
_binary 'Mona HATOUM (b. 1952)
'
https://cdn.neonsky.app/4cbdcf19551f2/images/Mona_Hatoum_Projection__velvet__2013__screen_res__3.jpg
PROJECTION (VELVET) (detail)
_binary 'Mona HATOUM (b. 1952)
'
https://cdn.neonsky.app/4cbdcf19551f2/images/Mona_Hatoum_Hair_Necklace__wood__2013__screen_res__4.jpg
HAIR NECKLACE (WOOD)
_binary 'Mona HATOUM (b. 1952)
ASKING PRICE: EURO 145.000,00 plus VAT
With White Cube Gallery, London
Hair on wooden bust
11 7/16 x 8 7/16 x 6 1/2 in. (29 x 21.5 x 16.5 cm)
Edition of 3
'
https://cdn.neonsky.app/4cbdcf19551f2/images/Mona_Hatoum_Hair_Necklace__wood__2013__screen_res__7.jpg
HAIR NECKLACE (WOOD) (detail)
_binary 'Mona HATOUM (b. 1952)
'
https://monetartadvisory.com/constantin-brancusi-2
2026-09-15
monthly
0.8
https://cdn.neonsky.app/4cbdcf19551f2/images/AA024BrancusiFemmeVoil__e-copy.jpg
FEMME NUE VOILEE
_binary 'Constantin BRANCUSI (1876-1957)
ASKING PRICE: EURO 60.000,00.
With Jacques de la Béraudière, geneva
Feather and Ink on paper
43.1 x 27 cm - (17 x 10 5/8 in.)
Signed lower right: C Brancusi
Provenance
Maurice Lefebvre-Foinet, Paris
Private collection by descent
Reference
Certificate of authenticity established in 2010 by Margit Rowell
Exhibition
1960 Marseille, Musée Cantini, Sculpture contemporaine, March – April 1960, no.2
'
https://cdn.neonsky.app/4cbdcf19551f2/images/AA030_1-With-Pogany-copy.jpg
FEMME NUE VOILEE with sculpture Mlle POGANY
_binary 'Constantin BRANCUSI (1876-1957)
Bronze with black patina
17 1/4 x 8 1/2 x 12 1/2" (43.8 x 21.5 x 31.7 cm)
on limestone base
5 3/4 x 6 1/8 x 7 3/8" (14.6 x 15.6 x 18.7 cm)
The Museum of Modern Art, New York.
'
https://cdn.neonsky.app/4cbdcf19551f2/images/AA031_2-with-bird-copy.jpg
FEMME NUE VOILEE with sculpture MAIASTRA
_binary 'Constantin BRANCUSI (1876-1957)
Polished brass
28 3/4 inches (73.1 cm) high, including base.
The Solomon R. Guggenheim Foundation,
Peggy Guggenheim Collection, Venice
'
https://cdn.neonsky.app/4cbdcf19551f2/images/AA032_3-with-mirror-copy.jpg
FEMME NUE VOILEE with photograph FEMME AU MIROIR
_binary 'Constantin BRANCUSI (1876-1957)
Vintage gelatin silver print
30 x 23.4 cm
'
https://monetartadvisory.com/miro-in-dubai-facing-the-arabian-peninsula
2026-09-15
monthly
0.8
https://cdn.neonsky.app/4cbdcf19551f2/images/MIRO_title-01.jpg
MIRO title 01
MIRO title 01
https://cdn.neonsky.app/4cbdcf19551f2/images/MIRO_title-02-01.jpg
MIRO title 02 01
MIRO title 02 01
https://cdn.neonsky.app/4cbdcf19551f2/images/MIRO_title-03-01.jpg
MIRO title 03 01
MIRO title 03 01
https://cdn.neonsky.app/4cbdcf19551f2/images/JEDDAH-OPEN-AIR-MUSEUM-page.jpg
_binary 'Link HERE
'
_binary 'Link HERE
'
https://cdn.neonsky.app/4cbdcf19551f2/images/going_monumental_page-web.jpg
_binary 'Full article HERE
'
_binary 'Full article HERE
'
https://cdn.neonsky.app/4cbdcf19551f2/images/ABDUL-LATIF-JAMEEL-page.jpg
_binary 'Link HERE
'
_binary 'Link HERE
'
https://cdn.neonsky.app/4cbdcf19551f2/images/MIRO_THE-SEA-AND-THE-BEACH.jpg
MIRO THE SEA AND THE BEACH
MIRO THE SEA AND THE BEACH
https://cdn.neonsky.app/4cbdcf19551f2/images/MIRO_etoile-01.jpg
MIRO etoile 01
MIRO etoile 01
https://cdn.neonsky.app/4cbdcf19551f2/images/MIRO-COLLECTING-FLOTSAM-01.jpg
MIRO COLLECTING FLOTSAM 01
MIRO COLLECTING FLOTSAM 01
https://cdn.neonsky.app/4cbdcf19551f2/images/Carta-AkimMonet150305_web.jpg
Carta AkimMonet150305 web
Carta AkimMonet150305 web
https://cdn.neonsky.app/4cbdcf19551f2/images/MIRO_ON_THE_BEACH-01.jpg
MIRO ON THE BEACH 01
MIRO ON THE BEACH 01
https://cdn.neonsky.app/4cbdcf19551f2/images/MIRO_title-01A-01.jpg
MIRO title 01A 01
MIRO title 01A 01
https://cdn.neonsky.app/4cbdcf19551f2/images/67-Oiseau-solaire-_Solar-Bird_-1966.jpg
67. Oiseau solaire (Solar Bird)
_binary '
Bronze (sand casting). Susse Fondeur, Arcueil, Paris
120 x 180 x 102 cm / 47 1⁄5 x 70 9⁄10 x 40 1⁄5"
Edition: 8 casts signed and justified. 3 artist's proofs.
'
https://cdn.neonsky.app/4cbdcf19551f2/images/115-Femme-_Woman_-1968.jpg
115. Femme (Woman)
_binary '
Bronze (lost wax casting). Fundició Parellada, Barcelona
172 x 70 x 28 cm / 67 7⁄10 x 27 3⁄5 x 11"
Edition: 6 casts signed and justified. Executed from the ceramic Femme, 1968 (see Miró / Artigas. Catalogue Raisonné: Ceramics 1941-1983).
'
https://cdn.neonsky.app/4cbdcf19551f2/images/135-Conque-_Conch_-1969.jpg
135. Conque (Conch)
_binary '
Bronze (lost wax casting). Susse Fondeur, Arcueil, Paris
110 x 80 x 50 cm / 43 3⁄10 x 31 1⁄2 x 19 7⁄10"
Edition: 6 casts signed and justified.
'
https://cdn.neonsky.app/4cbdcf19551f2/images/138-Femme-_Femme-debout_-_Woman-_Standing-Woman__-1969.jpg
138. Femme (Femme debout) (Woman (Standing Woman))
_binary '
Bronze (lost wax casting). Susse Fondeur, Arcueil, Paris
192 x 122 x 110 cm / 75 3⁄5 x 48 x 43 3⁄10"
Edition: 7 casts signed and justified.
'
https://cdn.neonsky.app/4cbdcf19551f2/images/152-Maure-_Moor_-1969.jpg
152. Maure (Moor)
_binary '
Bronze (lost wax casting). Fundició Parellada, Barcelona
139 x 55 x 29 cm / 54 7⁄10 x 21 7⁄10 x 11 2⁄5"
Edition: 6 casts signed and justified.
'
https://cdn.neonsky.app/4cbdcf19551f2/images/192-Femme_-monument-_Woman_-monument_-1970.jpg
192. Femme, monument (Women, Monument)
_binary '
Bronze (lost wax casting). Fonderia Artistica Bonvicini, Verona.
250 x 110 x 50 cm / 98 2⁄5 x 43 3⁄10 x 19 7⁄10"
Edition: 9 casts signed and justified.
'
https://cdn.neonsky.app/4cbdcf19551f2/images/302-Le-Pere-Ubu-1973.jpg
302. Le Père Ubu
_binary '
Bronze (lost wax casting). Fonderia Artistica Bonvicini, Verona
122 x 100 x 80 cm / 48 x 39 2⁄5 x 31 1⁄2"
Edition: 4 casts signed and justified.
'
https://cdn.neonsky.app/4cbdcf19551f2/images/303-Maternit_-_Maternity_-1973.jpg
303. Maternité (Maternity)
_binary 'Bronze (sand casting). Susse Fondeur, Arcueil, Paris
105 x 195 x 195 cm / 41 3⁄10 x 76 4⁄5 x 76 4⁄5"
Edition: 4 casts signed and justified.
'
https://cdn.neonsky.app/4cbdcf19551f2/images/317-Personnage-et-oiseau-_Personage-and-Bird_-1974.jpg
317. Personnage et oiseau (Personage and Bird)
_binary '
Bronze (lost wax casting). Susse Fondeur, Arcueil, Paris
109 x 49 x 48 cm / 42 9⁄10 x 19 3⁄10 x 18 9⁄10"
Edition: 4 casts signed and justified.
'
https://cdn.neonsky.app/4cbdcf19551f2/images/332-Tete-_Head_-1975.jpg
332. Tête (Head)
_binary '
Bronze (lost wax casting). Fonderia Artistica Bonvicini, Verona
92 x 101 x 60 cm / 36 1⁄5 x 39 4⁄5 x 23 3⁄5"
Edition: 6 casts signed and justified.
'
https://cdn.neonsky.app/4cbdcf19551f2/images/337-Figure-1976.jpg
337. Figure
_binary '
Bronze (lost wax casting). Fonderia Artistica Bonvicini, Verona
205 x 62 x 38 cm / 80 7⁄10 x 24 2⁄5 x 15"
Edition: 6 casts signed and justified.
'
https://cdn.neonsky.app/4cbdcf19551f2/images/339-Personnage-gothique_-339-oiseau-_clair-_Gothic-Personage_-Bird-Flash_-1976.jpg
339. Personnage gothique, oiseau éclair (Gothic P
_binary '
Bronze (sand casting). Susse Fondeur, Arcueil, Paris
450 x 200 x 160 cm / 177 1⁄5 x 78 7⁄10 x 63"
Edition: 3 casts signed and justified.
'
https://cdn.neonsky.app/4cbdcf19551f2/images/345-Souvenir-de-la-Tour-Eiffel-_Souvenir-of-the-Eiffel-Tower_-1977.jpg
345. Souvenir de la Tour Eiffel (Souvenir of the E
_binary '
Bronze (lost wax casting). Fundició Parellada, Barcelona
334 x 54 x 80 cm / 131 1⁄2 x 21 3⁄10 x 31 1⁄2"
Edition: 6 casts signed and justified.
'
https://cdn.neonsky.app/4cbdcf19551f2/images/351-Homme-et-femme-_Man-and-Woman_-1977.jpg
351. Homme et femme (Man and Woman)
_binary '
Bronze (lost wax casting). Fundició Parellada, Barcelona
117 x 52 x 49 cm / 46 1⁄10 x 20 1⁄2 x 19 3⁄10"
Edition: 6 casts signed and justified.
'
https://cdn.neonsky.app/4cbdcf19551f2/images/358-Personnage-_Personage_-1978.jpg
358. Personnage (Personage)
_binary '
Bronze (sand casting). Susse Fondeur, Arcueil, Paris
220 x 100 x 75 cm / 86 3⁄5 x 39 2⁄5 x 29 1⁄2"
Edition: 6 casts signed and justified.
'
https://cdn.neonsky.app/4cbdcf19551f2/images/375-Figure-1981.jpg
375. Figure
_binary '
Bronze (sand and lost wax casting). Fundició Parellada, Barcelona
126 x 50 x 28 cm / 49 3⁄5 x 19 7⁄10 x 11"
Edition: 7 casts signed and justified.
'
https://cdn.neonsky.app/4cbdcf19551f2/images/386-Femme-_Woman_-1981.jpg
386. Femme (Woman)
_binary '
Bronze (lost wax casting). Fundició Parellada, Barcelona
202 x 105 x 76 cm / 79 1⁄2 x 41 3⁄10 x 29 9⁄10"
Edition: 8 casts signed and justified.
'
https://cdn.neonsky.app/4cbdcf19551f2/images/390-Project-pour-un-monument-_Project-for-a-Monument_-1981.jpg
390. Projet pour un monument (Project for a Monume
_binary '
Bronze (lost wax casting). Fundició Parellada, Barcelona
80 x 60 x 60 cm / 31 1⁄2 x 23 3⁄5 x 23 3⁄5"
Edition: 7 casts signed and justified.
'
https://cdn.neonsky.app/4cbdcf19551f2/images/392-Femme-et-oiseau-_Woman-and-Bird_-1982.jpg
392. Femme et oiseau (Woman and Bird)
_binary '
Bronze (lost wax casting). Susse Fondeur, Arcueil, Paris
330 x 73 x 60 cm / 129 9⁄10 x 28 7⁄10 x 23 3⁄5"
Edition: 4 casts signed and justified.
Executed from the ceramic Femme et oiseau, 1962 (see Miró / Artigas. Catalogue Raisonné: Ceramics 1941-1983).
'
https://cdn.neonsky.app/4cbdcf19551f2/images/396-Personnage-_Personage_-1982.jpg
396. Personnage (Personage)
_binary '
Bronze (lost wax casting). Fonderia Artistica Bonvicini, Verona
185 x 110 x 64 cm / 72 4⁄5 x 43 3⁄10 x 25 1⁄5"
Edition: 4 casts signed and justified.
'
https://monetartadvisory.com/antiquities
2026-09-15
monthly
0.8
https://monetartadvisory.com/selection-for-a-lady-frieze-2021
2026-09-15
monthly
0.8
https://cdn.neonsky.app/4cbdcf19551f2/images/Basquiat_Egyptian_combine.jpg
BASQUIAT & EGYPTIAN MIDDLE KINGDOM
_binary '
4,000 years separate these two exceptional works, yet their creators thrive to meet eternity with a similar verve; the Egyptian figure celebrates the elusive concept of 'KA' -a notion very appropriate to characterize the timeless art of Basquiat.
"The term 'KA' is usually translated as “spirit” or “double,” yet the all-encompassing meaning of the concept still eludes us. The ‘ka’ was an entity which secured the physical and mental activities of man. It could designate human individuality as a whole, referring to character, nature and disposition."
'
https://cdn.neonsky.app/4cbdcf19551f2/images/1_BASQUIAT_chair.jpg
Untitled (installed)
_binary '
JEAN-MICHEL BASQUIAT (1960-1988)
Oilstick on paper
76 × 56 cm
USD 1,850,000
'
https://cdn.neonsky.app/4cbdcf19551f2/images/2_BASQUIAT_frame.jpg
Untitled (framed)
_binary '
JEAN-MICHEL BASQUIAT (1960-1988)
Oilstick on paper
76 × 56 cm
USD 1,850,000
'
https://cdn.neonsky.app/4cbdcf19551f2/images/Wooden-Figure-02_WB.jpg
Wooden Figure of a Man
_binary '
MIDDLE KINGDOM EGYPT (2050-1710 B.C.)
Acacia wood, bronze, bone
H: 35.8cm
This exceptional wooden statue of a man is an exquisite example of the skill with which Egyptian sculptors executed their works. It is constructed from different elements, with the face and both arms being worked separately from the body. In the forehead a dowel is visible, used to connect the facial mask to the rest of the head. Originally, the figure would have been covered in a very thin layer of plaster stucco and brightly painted.
The slender figure is shown in a strong vertical pose, with his back straight and head held high. The short round wig the man is wearing, leaves his earlobes visible. The most striking feature of the delicately carved face are the carefully detailed eyes. Within a contour of bronze, the original bone inlay is preserved. Round pupils have been added in black paint. Both arms are held alongside the torso, the hands balled in fists. The right hand turns slightly outwards and is perforated to hold an attribute which is now missing. A short kilt or ‘shenti’ is fastened around the man's waist with a belt.
The forward motion of the left leg creates a sense of movement, this virtual movement is typical for ancient Egyptian wood figures and aims to create a sense of liveliness in order to allow the deceased to retain the functionality of his body.
Figures of this type were commonly included among the grave goods of aristocratic tombs. Their presence there was connected to the ancient Egyptian concept of the ‘ka’. The term is usually translated as “spirit” or “double”, yet the all-encompassing meaning of the concept still eludes us. The ‘ka’ was an entity which secured the physical and mental activities of man. It could designate human individuality as a whole, referring to character, nature and disposition.
Although the Egyptians desired their sculptures to be preserved for eternity, as these housed the spirits of gods and deceased ancestors, they considered wood to be an appropriate material to carve statuary and became highly skilled at sculpting. Each material used for sculpting had a particular meaning. Wood in general was sacred to the mother goddesses Nut, Hathor and Isis, who were often depicted as trees providing shade and sustenance for the deceased. In addition, wood sculpture was able to convey the idea of movement and was therefore commonly used for striding figures. Native species such the acacia, sycamore fig and tamarisk were often poor in quality, but carpenters developed a range of ever-improving techniques in order to make the most of the wood they had at their disposal. Imported varieties such as cedar and ebony were confined to temples and tombs of the pharaoh and highest officials due to their valuable nature.
GBP 245,000
'
https://cdn.neonsky.app/4cbdcf19551f2/images/2a_BASQUIAT_full.jpg
Untitled
_binary '
JEAN-MICHEL BASQUIAT (1960-1988)
Oilstick on paper
76 × 56 cm
USD 1,850,000
'
https://cdn.neonsky.app/4cbdcf19551f2/images/Wooden-Figure-03_WB.jpg
Wooden Figure of a Man
_binary '
MIDDLE KINGDOM EGYPT (2050-1710 B.C.)
Acacia wood, bronze, bone
H: 35.8cm
This exceptional wooden statue of a man is an exquisite example of the skill with which Egyptian sculptors executed their works. It is constructed from different elements, with the face and both arms being worked separately from the body. In the forehead a dowel is visible, used to connect the facial mask to the rest of the head. Originally, the figure would have been covered in a very thin layer of plaster stucco and brightly painted.
The slender figure is shown in a strong vertical pose, with his back straight and head held high. The short round wig the man is wearing, leaves his earlobes visible. The most striking feature of the delicately carved face are the carefully detailed eyes. Within a contour of bronze, the original bone inlay is preserved. Round pupils have been added in black paint. Both arms are held alongside the torso, the hands balled in fists. The right hand turns slightly outwards and is perforated to hold an attribute which is now missing. A short kilt or ‘shenti’ is fastened around the man's waist with a belt.
The forward motion of the left leg creates a sense of movement, this virtual movement is typical for ancient Egyptian wood figures and aims to create a sense of liveliness in order to allow the deceased to retain the functionality of his body.
Figures of this type were commonly included among the grave goods of aristocratic tombs. Their presence there was connected to the ancient Egyptian concept of the ‘ka’. The term is usually translated as “spirit” or “double”, yet the all-encompassing meaning of the concept still eludes us. The ‘ka’ was an entity which secured the physical and mental activities of man. It could designate human individuality as a whole, referring to character, nature and disposition.
Although the Egyptians desired their sculptures to be preserved for eternity, as these housed the spirits of gods and deceased ancestors, they considered wood to be an appropriate material to carve statuary and became highly skilled at sculpting. Each material used for sculpting had a particular meaning. Wood in general was sacred to the mother goddesses Nut, Hathor and Isis, who were often depicted as trees providing shade and sustenance for the deceased. In addition, wood sculpture was able to convey the idea of movement and was therefore commonly used for striding figures. Native species such the acacia, sycamore fig and tamarisk were often poor in quality, but carpenters developed a range of ever-improving techniques in order to make the most of the wood they had at their disposal. Imported varieties such as cedar and ebony were confined to temples and tombs of the pharaoh and highest officials due to their valuable nature.
GBP 245,000
'
https://cdn.neonsky.app/4cbdcf19551f2/images/3_BASQUIAT_cropp.jpg
Untitled (detail)
_binary '
JEAN-MICHEL BASQUIAT (1960-1988)
Oilstick on paper
76 × 56 cm
USD 1,850,000
'
https://cdn.neonsky.app/4cbdcf19551f2/images/Wooden-Figure-06_WB.jpg
Wooden Figure of a Man
_binary '
MIDDLE KINGDOM EGYPT (2050-1710 B.C.)
Acacia wood, bronze, bone
H: 35.8cm
This exceptional wooden statue of a man is an exquisite example of the skill with which Egyptian sculptors executed their works. It is constructed from different elements, with the face and both arms being worked separately from the body. In the forehead a dowel is visible, used to connect the facial mask to the rest of the head. Originally, the figure would have been covered in a very thin layer of plaster stucco and brightly painted.
The slender figure is shown in a strong vertical pose, with his back straight and head held high. The short round wig the man is wearing, leaves his earlobes visible. The most striking feature of the delicately carved face are the carefully detailed eyes. Within a contour of bronze, the original bone inlay is preserved. Round pupils have been added in black paint. Both arms are held alongside the torso, the hands balled in fists. The right hand turns slightly outwards and is perforated to hold an attribute which is now missing. A short kilt or ‘shenti’ is fastened around the man's waist with a belt.
The forward motion of the left leg creates a sense of movement, this virtual movement is typical for ancient Egyptian wood figures and aims to create a sense of liveliness in order to allow the deceased to retain the functionality of his body.
Figures of this type were commonly included among the grave goods of aristocratic tombs. Their presence there was connected to the ancient Egyptian concept of the ‘ka’. The term is usually translated as “spirit” or “double”, yet the all-encompassing meaning of the concept still eludes us. The ‘ka’ was an entity which secured the physical and mental activities of man. It could designate human individuality as a whole, referring to character, nature and disposition.
Although the Egyptians desired their sculptures to be preserved for eternity, as these housed the spirits of gods and deceased ancestors, they considered wood to be an appropriate material to carve statuary and became highly skilled at sculpting. Each material used for sculpting had a particular meaning. Wood in general was sacred to the mother goddesses Nut, Hathor and Isis, who were often depicted as trees providing shade and sustenance for the deceased. In addition, wood sculpture was able to convey the idea of movement and was therefore commonly used for striding figures. Native species such the acacia, sycamore fig and tamarisk were often poor in quality, but carpenters developed a range of ever-improving techniques in order to make the most of the wood they had at their disposal. Imported varieties such as cedar and ebony were confined to temples and tombs of the pharaoh and highest officials due to their valuable nature.
GBP 245,000
'
https://cdn.neonsky.app/4cbdcf19551f2/images/4_CHAGALL_full.jpg
La botte dans le ciel jaune
_binary '
MARC CHAGALL (1887-1985)
Oil on canvas, on stretcher bar
65 x 54 cm
With the estate signature stamp «Marc/Chagall» at lower left
Certificate from Comité Marc Chagall, Paris
$1,600,000
'
https://cdn.neonsky.app/4cbdcf19551f2/images/5_CHAGALL_crop2.jpg
La botte dans le ciel jaune (detail)
_binary '
MARC CHAGALL (1887-1985)
Oil on canvas, on stretcher bar
65 x 54 cm
With the estate signature stamp «Marc/Chagall» at lower left
Certificate from Comité Marc Chagall, Paris
$1,600,000
'
https://cdn.neonsky.app/4cbdcf19551f2/images/6_CHAGALL_crop3.jpg
La botte dans le ciel jaune (detail)
_binary '
MARC CHAGALL (1887-1985)
Oil on canvas, on stretcher bar
65 x 54 cm
With the estate signature stamp «Marc/Chagall» at lower left
Certificate from Comité Marc Chagall, Paris
$1,600,000
'
https://cdn.neonsky.app/4cbdcf19551f2/images/8_CHAGALL_crop5.jpg
La botte dans le ciel jaune (detail)
_binary '
MARC CHAGALL (1887-1985)
Oil on canvas, on stretcher bar
65 x 54 cm
With the estate signature stamp «Marc/Chagall» at lower left
Certificate from Comité Marc Chagall, Paris
$1,600,000
'
https://cdn.neonsky.app/4cbdcf19551f2/images/7_CHAGALL_crop4.jpg
La botte dans le ciel jaune (detail)
_binary '
MARC CHAGALL (1887-1985)
Oil on canvas, on stretcher bar
65 x 54 cm
With the estate signature stamp «Marc/Chagall» at lower left
Certificate from Comité Marc Chagall, Paris
$1,600,000
'
https://cdn.neonsky.app/4cbdcf19551f2/images/9_CHAGALL_crop1.jpg
La botte dans le ciel jaune (detail)
_binary '
MARC CHAGALL (1887-1985)
Oil on canvas, on stretcher bar
65 x 54 cm
With the estate signature stamp «Marc/Chagall» at lower left
Certificate from Comité Marc Chagall, Paris
$1,600,000
'
https://cdn.neonsky.app/4cbdcf19551f2/images/10_Daumier_WB.jpg
The Lawyer
_binary '
HONORÉ DAUMIER (1887-1879)
Watercolour and gouache, over an underdrawing in black chalk.
Inscribed H Daumier / Hier(?) biseau anglais - / [?] in pencil on verso.
17,1 x 13,1 cm
Watermark
[W]HATM[AN] / [TU]RKEY MI[LL] / 1859
GBP 150,000
'
https://cdn.neonsky.app/4cbdcf19551f2/images/11_MIRO-full_installed.jpg
Untitled (The Wind) - (installed)
_binary '
JOAN MIRÓ (1893-1983)
61 x 47 cm
Lead pencil, pencil, watercolor and silver paper collage on paper
USD 1,500,000
'
https://cdn.neonsky.app/4cbdcf19551f2/images/12_MIRO-full_framed.jpg
Untitled (The Wind) - (framed)
_binary '
JOAN MIRÓ (1893-1983)
61 x 47 cm
Lead pencil, pencil, watercolor and silver paper collage on paper
USD 1,500,000
'
https://cdn.neonsky.app/4cbdcf19551f2/images/13_MIRO-full.jpg
Untitled (The Wind)
_binary '
JOAN MIRÓ (1893-1983)
61 x 47 cm
Lead pencil, pencil, watercolor and silver paper collage on paper
USD 1,500,000
'
https://cdn.neonsky.app/4cbdcf19551f2/images/14_MIRO_crop1.jpg
Untitled (The Wind) - (detail)
_binary '
JOAN MIRÓ (1893-1983)
61 x 47 cm
Lead pencil, pencil, watercolor and silver paper collage on paper
USD 1,500,000
'
https://cdn.neonsky.app/4cbdcf19551f2/images/15_MIRO-_crop2.jpg
Untitled (The Wind) - (detail)
_binary '
JOAN MIRÓ (1893-1983)
61 x 47 cm
Lead pencil, pencil, watercolor and silver paper collage on paper
USD 1,500,000
'
https://cdn.neonsky.app/4cbdcf19551f2/images/16_MOORE_full2.jpg
Maquette for Seated Woman: Thin Neck
_binary '
HENRY MOORE (1898-1986)
Bronze, greenish black patina
25,7 × 11,7 × 13,3 cm
USD 100,000
'
https://cdn.neonsky.app/4cbdcf19551f2/images/17_MOORE_full1.jpg
Maquette for Seated Woman: Thin Neck
_binary '
HENRY MOORE (1898-1986)
Bronze, greenish black patina
25,7 × 11,7 × 13,3 cm
USD 100,000
'
https://cdn.neonsky.app/4cbdcf19551f2/images/18_MOORE_full3.jpg
Maquette for Seated Woman: Thin Neck
_binary '
HENRY MOORE (1898-1986)
Bronze, greenish black patina
25,7 × 11,7 × 13,3 cm
USD 100,000
'
https://cdn.neonsky.app/4cbdcf19551f2/images/19_MOORE_crop2.jpg
Maquette for Seated Woman: Thin Neck (detail)
_binary '
HENRY MOORE (1898-1986)
Bronze, greenish black patina
25,7 × 11,7 × 13,3 cm
USD 100,000
'
https://cdn.neonsky.app/4cbdcf19551f2/images/20_MOORE_crop1.jpg
Maquette for Seated Woman: Thin Neck (detail)
_binary '
HENRY MOORE (1898-1986)
Bronze, greenish black patina
25,7 × 11,7 × 13,3 cm
USD 100,000
'
https://cdn.neonsky.app/4cbdcf19551f2/images/21_PICASSO_matted.jpg
Peintre et Modèle (matted)
_binary '
PABLO PICASSO (1881-1973)
Ink wash on paper
24 x 32 cm
Signed and dated in ink: 23.1.54. II.
Literature:
Zervos Volume 16, 206.
Provenance:
Galerie Louise Leiris, Paris (stock 06261)
Herman C. Goldsmith, New York
GBP 210,000
'
https://cdn.neonsky.app/4cbdcf19551f2/images/22_PICASSO_full.jpg
Peintre et Modèle
_binary '
PABLO PICASSO (1881-1973)
Ink wash on paper
24 x 32 cm
Signed and dated in ink: 23.1.54. II.
Literature:
Zervos Volume 16, 206.
Provenance:
Galerie Louise Leiris, Paris (stock 06261)
Herman C. Goldsmith, New York
GBP 210,000
'
https://cdn.neonsky.app/4cbdcf19551f2/images/42777---Southern-Arabian-Head_Page_00_WB.jpg
Southern Arabian Head of a Woman
_binary '
SOUTHERN ARABIA (100 B.C. – 100 A.D.)
Calcite-Alabaster
H: 28.30 cm (11.14 inches)
A magnificent funerary head of a woman from Qataban, depicted with wonderfully stylized features. The nose is slender, and the small lips are gently smiling. The ears are positioned high on the head and the neck is long and elegant, possibly as a sign of the woman’s beauty. The high cheekbones have been subtly carved. The large, deeply recessed eyes and thin eyebrows would have once been inlaid. The top and back of the head are flat for insertion into a funerary niche or stela and the front has been polished to enhance the quality of the alabaster. The coiffure would have once been completed with plaster, which would have helped secure the head in place. Such heads are often referred to as being U-shaped. The people of South Arabia developed a unique visual culture which, thanks to its ingenious use of geometric and stylized forms, appears resolutely modern to our contemporary eyes. South Arabian artists notably excelled in carving beautiful funerary portraits in alabaster. The present head is a particularly delightful example of sculpture from the Classical period. Its style is characteristic of the funerary portraits found in Hayd ibn Aqil, the necropolis of Qataban’s capital Timna.
GBP 600,000
'
https://cdn.neonsky.app/4cbdcf19551f2/images/23_PICASSO_crop2.jpg
Peintre et Modèle (detail)
_binary '
PABLO PICASSO (1881-1973)
Ink wash on paper
24 x 32 cm
Signed and dated in ink: 23.1.54. II.
Literature:
Zervos Volume 16, 206.
Provenance:
Galerie Louise Leiris, Paris (stock 06261)
Herman C. Goldsmith, New York
GBP 210,000
'
https://cdn.neonsky.app/4cbdcf19551f2/images/42777---Southern-Arabian-Head_Page_06_WB.jpg
Southern Arabian Head of a Woman
_binary '
SOUTHERN ARABIA (100 B.C. – 100 A.D.)
Calcite-Alabaster
H: 28.30 cm (11.14 inches)A magnificent funerary head of a woman from Qataban, depicted with wonderfully stylized features. The nose is slender, and the small lips are gently smiling. The ears are positioned high on the head and the neck is long and elegant, possibly as a sign of the woman’s beauty. The high cheekbones have been subtly carved. The large, deeply recessed eyes and thin eyebrows would have once been inlaid. The top and back of the head are flat for insertion into a funerary niche or stela and the front has been polished to enhance the quality of the alabaster. The coiffure would have once been completed with plaster, which would have helped secure the head in place. Such heads are often referred to as being U-shaped. The people of South Arabia developed a unique visual culture which, thanks to its ingenious use of geometric and stylized forms, appears resolutely modern to our contemporary eyes. South Arabian artists notably excelled in carving beautiful funerary portraits in alabaster. The present head is a particularly delightful example of sculpture from the Classical period. Its style is characteristic of the funerary portraits found in Hayd ibn Aqil, the necropolis of Qataban’s capital Timna.
GBP 600,000
'
https://cdn.neonsky.app/4cbdcf19551f2/images/24_PICASSO_crop1.jpg
Peintre et Modèle (detail)
_binary '
PABLO PICASSO (1881-1973)
Ink wash on paper
24 x 32 cm
Signed and dated in ink: 23.1.54. II.
Literature:
Zervos Volume 16, 206.
Provenance:
Galerie Louise Leiris, Paris (stock 06261)
Herman C. Goldsmith, New York
GBP 210,000
'
https://cdn.neonsky.app/4cbdcf19551f2/images/42777---Southern-Arabian-Head_Page_01_WB.jpg
Southern Arabian Head of a Woman
_binary '
SOUTHERN ARABIA (100 B.C. – 100 A.D.)
Calcite-Alabaster
H: 28.30 cm (11.14 inches)
A magnificent funerary head of a woman from Qataban, depicted with wonderfully stylized features. The nose is slender, and the small lips are gently smiling. The ears are positioned high on the head and the neck is long and elegant, possibly as a sign of the woman’s beauty. The high cheekbones have been subtly carved. The large, deeply recessed eyes and thin eyebrows would have once been inlaid. The top and back of the head are flat for insertion into a funerary niche or stela and the front has been polished to enhance the quality of the alabaster. The coiffure would have once been completed with plaster, which would have helped secure the head in place. Such heads are often referred to as being U-shaped. The people of South Arabia developed a unique visual culture which, thanks to its ingenious use of geometric and stylized forms, appears resolutely modern to our contemporary eyes. South Arabian artists notably excelled in carving beautiful funerary portraits in alabaster. The present head is a particularly delightful example of sculpture from the Classical period. Its style is characteristic of the funerary portraits found in Hayd ibn Aqil, the necropolis of Qataban’s capital Timna.
GBP 600,000
'
https://cdn.neonsky.app/4cbdcf19551f2/images/Picasso_South-Arabian_combine-02.jpg
PICASSO & SOUTH ARABIAN
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Considering Picasso's insatiable appreciation for exceptional works from all periods, the present Southern Arabian Head of a Woman from circa 100 B.C. – 100 A.D. would surely have captured his imagination. More pointedly though, the Gosol period of 1906 is widely credited to be the watershed moment that led to Picasso’s creation of the first cubist masterpiece the following year: “Les Demoiselles d’Avignon.” Interestingly, there seem to be “affinities” between Picasso’s work of this period and medieval Romanesque art, mostly from churches in the Pyrenees built during the 11th to 13th centuries. One glance at the Gosol Madonna, for instance, reveals that it was a source for Picasso’s painting Woman with Loaves (1906). So perhaps loosely tying the Southern Arabian Head of a Woman to Picasso’s work, one could invoke the fact that the above mentioned medieval Romanesque churches up in the Pyrenees were erected during the golden age of Muslim Spain...
In an article discussing the relationship of Picasso with Islamic art, the author notes:
“Juxtaposing examples of premodern Islamic art with Picasso’s paintings de Lorey noted the abstract qualities of both, and suggested that “only a Spaniard descended from Moors” could have Picasso’s visual sensibilities, and (quoting Apollinaire) that there must be in his ancestry some distant Muslim given over “to the demon of abstraction.” Hence, the arabesque qualities of Picasso’s work were probably a “hereditary gift” of this purported Islamic heritage.”
Picasso the Muslim: Or, How the Bilderverbot became modern
Finbarr Barry Flood
Full article here
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