Jean-Michel Frank (1895-1941), Lamp, Circa 1930. Cross-shaped entirely covered with mica. Stamped and numbered. L'Arc en Seine at TEFAF 2016 © TEFAF Maastricht, 2015

François-Xavier Lalanne (1927-2008), Oiseau de Marbre, 1978. White marble coffee-table, feet in black lacquered metal, unique piece. L'Arc en Seine at TEFAF 2016 © TEFAF Maastricht, 2015

L'Arc en Seine (stand 612) - Directors: RAFAEL ORTIZ, CHRISTIAN BOUTONNET

Contact: 27 et 31 rue de Seine
75006 Paris
France
T  +33 1 43 29 11 02
F  +33 1 43 29 97 66
www.arcenseine.com
arc-en-seine.galerie@wanadoo.fr

Harmensz. van Rijn Rembrandt (Leiden 1606 - Amsterdam 1669), Cottages and farm buildings with a man sketching, Circa 1641. Etching, 13 x 20.9 cm (with small margin). Printed on heavy paper, probably a part of a sheet of large Imperial paper. E.H. Ariëns Kappers at TEFAF 2016 © TEFAF Maastricht, 2015

Excellent impression. Untouched (except for removing old hinges). Some light spots primarily to the right. The type of farm is found near the Amstel river in the vicinity of Amsterdam. Boudewijn Bakker identified it as a ‘langhuisstolp’ used to make butter and cheese. According to some scholars it could have been drawn on the plate straight from nature. The addition of the artist sketching falls also in a kind of tradition. The date of the print used to be ca. 1645. Hinterding links the watermark in an early impression to that found in the first edition of the Windmill, which is dated 1641 on the plate. Looking at the watermarks found he identifies two editions, the second around 1650. The Aylesford collection is especially famous for the group of Rembrandt etchings. A large part of these came originally from the collections of Röver, and Ploos van Amstel and also from the famous albums of Zomer, collected in the 17th century. We found no marks proving that our impression comes from these collections. The impression is however very good. Some scratches, in particular the stroke near the right upper corner is still visible. 

Provenance: 4th Earl of Aylesbury ?, Heneage Finch, 5th Earl of Aylesford (1786-1859)(Lugt 58); Hermann Weber (1817-1854). Some annotations in pencil verso suggest other collections as well

Literature: Bartsch 219, White-Boon 219, Hinterding and Rutgers, New Hollstein Dutch & Flemish Etching, Engravings and Woodcuts 1450-1700, Rembrandt, no. 201 (only state), Erik Hinterding, Rembrandt Etchings from the Frits Lugt Collection, Volume I, Paris 2008, no. 171, p.403-405

Hendrik Spilman (Amsterdam 1721-1784 Haarlem), View of Noordwijk. Pen, brown ink and watercolour. The sketch verso is in black chalk. Framing lines in black ink, 19.1 x 29.2 cm. Signed right lower border 'H Spilman ad viv.' and on Verso in pencil 'Noordwijk'. E.H. Ariëns Kappers at TEFAF 2016 © TEFAF Maastricht, 2015

Watermark; LVG and Strasburg bend. Lubertus van Gerrevink (mill act. 1690 - 1819). Hendrik Spilman is foremost known for his topographical drawings and etchings. In 1742 he became a member of the St. Lucas Guild in Haarlem. He made 800 prints for ‘Het Verheerlijkt Nederland’ partly after his own designs. A few paintings are known. Our watercolour as a finished drawing stands out in his work. 

Provenance: Collection Engelbrechts, A.G. de Visser, annotation verso, Frederik Muller, Amsterdam 16-18 May 1881, Lot 404; Baron Adelbert von Lanna (no mark), Gutekunst, Stuttgart 6 May 1910, Lot 517; Oscar von zur Mühlen, Amsler und Ruthardt, Berlin, 5-7 June 1912, lot 456; Stefan von Licht coll. Stamp verso (Lugt 789b) (not in the collection files); Collection Goldschmidt (no mark); from which collection it was purchased by I.Q. van Regteren Altena in Spring 1933. (20 guilders) Inventory book '1161. t. Spilman Noordwijk'; Collection stamp verso (Lugt 4617)

E.H. Ariëns Kappers (stand 710) - Director: Drs. E.H. Ariëns Kappers

Founded in 1980 by art historian Erik Ariëns Kappers in the now famous Spiegelkwartier in Amsterdam, neighbour of the Rijksmuseum. He is dealing mainly in masterprints ranging from the 15th to the 20th century. Since 2011 he also sells Japanese prints. 
By appointment only. 

Contact: E.H.Ariëns Kappers - Masterprints
Keizersgracht 208A
1016 DX Amsterdam
Netherlands
T  0031206235356
M   0031654758669
www.masterprints.nl
info@masterprints.nl

Buccellati Milan. A hint of white into your life with Buccellati Ghirlanda earrings, featured on Harrods magazine, February 2016.

The Buccellati Romanza collection, now on Harrods magazine, February 2016.

Blue-and-white vase with scholars in a landscape, Chongzheng Period, 1620 - 1630, Jingdezhen kilns, Netherlands, porcelain, slab-built, with underglaze painting in cobalt-blue; silver stopper, 31.4 x 12.4 x 12.1 cm (height x width x depth). Gift of Gerald Reitlinger, 1978. EA1978.863. © Ashmolean Museum, University of Oxford.

Blue-and-white dish with prawns, Ming Dynasty, Tianqi-Chongzhen Period, 1620 - 1640, Jingdezhen kilns, porcelain, with underglaze painting in cobalt-blue, 3.7 cm (height), 20 cm (diameter), at foot 12 cm (diameter). Gift of Gerald Reitlinger, 1978. EA1978.2022 © Ashmolean Museum, University of Oxford.

Coat of purple silk brocad with floral spray pattern; waistcoat of pink silk brocad with flower and fur serpentine motif; breeches of red silk velvet. Mid 18th century, France. AC8940 93-29-AC4867 84-21-3-AC5916 88-55-35 © The Kyoto Costume Institute, photo by Taishi Hirokawa.

Mid-18th century menswear. The coat has large cuffs and deep pleats from both sides of the waist to the hem at the rear. The waistcoat is long enough to fully conceal the wearer's back. Both have gorgeous weave patterns, with silver thread used for the coat, and the waistcoat using gold thread and various colors of silk thread.

Before the modern period, Men's clothing worn by Western royalty and nobles was at least as splendid and gorgeous as that for women, as men dressed in a manner that would maintain class distinctions, flaunting their privileged status.

Brocade looms were able to manufacture patterns as required, but weaving took a long time and the weaver had to have an assistant to manipulate the harness cord that adjusted the warp threads. Manufacture of figured textiles only became more mechanized with the arrival of the Jacquard loom in 1804.

Men’s suit (Jacket, Waistcoat, Breeches), First half of 18th Century, Italia. Jacket and waistcoat of green silk gros-de-Tours moiré; trimmed with braids and tasseled frog of gold thread; breeches of yellow and white silk brocade with floral motif. AC11336 2005-15-1AD, AC11337 2005-15-2. ©The Kyoto Costume Institute, photo by Taishi Hirokawa.

Sumptuous eighteenth-century men’s suit. The glossy moiré effect that stands out from the green textile is produced using a horizontally-ribbed material called “gros-de-Tours” by folding the material repeatedly and passing it through a calender under pressure. The resulting textile gained a reputation of being indisputably beautiful.

Gold thread is used lavishly for the braid trimmings and frog fastenings. In addition to its rarity value, gold is highly resistant to oxidation, retaining its gleam almost indefinitely. Since ancient times, these properties have made it a valuable tool for flaunting the power and wealth of the wearer. Gold thread also has a long history, and is mentioned in the Old Testament of the Bible, written long before the start of the Christian era. Gold thread takes many forms, but this particular garment includes gold flat strips and gold strips wound around yellow silk thread.

The fabric used for the breeches has “bizarre” patterning. Such woven patterns were popular in England, France, and Italy around the end of the 17th Century and beginning of the 18th Century. They use asymmetric arrangements of combinations of plant patterns with elements having an oriental flavor.

François-André Vincent (1746-1816), Couple walking with a little girl, study for 'The Agriculture Lesson', Circa 1797-1798. Oil on canvas, 66 x 55 cm. Didier Aaron & Cie at TEFAF 2016 © TEFAF Maastricht, 2015

Study for 'The Agriculture Lesson' exhibited at the Musée des Beaux-Arts in Bordeaux

Provenance: Sale, Galerie Georges Petit, Paris, June 23, 1922, lot 15 (as English School); Ernesta Stern (1854-1926); François de Chasseloup-Laubat (1904-1968); then by descent in his family

Literature: J. P. Cuzin, 'Autour de l'enlèvement d'Orythie. Esquisses de Vincent dans les musées français', in Revue du Louvre, 1980, no. 2, p. 87, note 27; J. P. Cuzin, 'Vincent reconstitué' in Connaissance des Arts, March 1986, no. 409, p. 43; M. P. Bault, 'La leçon de labourage par François-André Vincent (1746-1816)', in Gazette des Beaux-Arts, August 1987, p. 15, note 5, ill. 5; J. P. Cuzin, Vincent entre Fragonard et David, Paris, 2013, p. 480, no. 549P, ill. p. 214

Hilaire Ledru (1769-1840), Indigence and Honor. Oil on canvas, 212 x 280 cm. Signed lower left 'Hilaire Ledru. 1804'. Didier Aaron & Cie at TEFAF 2016 © TEFAF Maastricht, 2015

Provenance: Private collection, France

Exhibitions: Salon, Paris, no. 231, 1804

Didier Aaron & Cie (stand 347) - Director: Desmarest Bruno

Didier Aaron & Cie was founded in Paris in 1923. It now extends to the three major capitals of the artistic world and the art market: London, New York, and Paris. 
Hervé Aaron, directs everything from New York, still pursuing the eclectic tradition which has always prevailed in the company. One finds unique pieces of XVIIIth century French "Grand Goût" furniture and important works from 19th century, as well as French and Italian paintings and drawings. Although the pieces in the gallery may span centuries, styles, and origins, they are all chosen for their quality. 

Contact: Didier Aaron & Cie
152 Boulevard Haussmann
75008 Paris
France
T  + 33 1 47 42 47 34
F  + 33 1 42 66 24 17
www.didieraaron.com
ldesmarest@didieraaron-cie.com 

Didier Aaron Inc.
32 East 67th Street
New-York, New York NY 10065 
United States
T  +1 212 988 52 48
F  +1 212 737 35 13
www.didieraaron.com
info@didieraaron.com 

Didier Aaron Ltd.
Clifford House
15 Clifford Street
London, W1S 4JY 
United Kingdom
T  + 44 20 7534 91 00
F  + 44 20 7494 94 37
www.didieraaron.com
contact@didieraaronltd.com

Deep emerald green translucent jadeite 'Guan Yin' and diamond pendant. Photo Sotheby's

The translucent jadeite of deep emerald green colour carved as a Guan Yin resting on a lotus pedestal, decorated with baguette diamonds, mounted in 18 karat white gold. Guan Yin approximately 52.43 x 28.99 x 2.80mm. Estimate 180,000 — 280,000 HKD. Lot 1330 sold 1,460,000 HKD

Accompanied by Hong Kong Jade & Stone Laboratory certificate numbered KJ 638, dated 10 April 2002, stating that the jadeite is natural, known in the trade as "A Jade".

Sotheby's. MAGNIFICENT JEWELS & JADEITE, Hong Kong,  07 Apr 2010

Dish in the form of a peach with willow, butterfly, and peaches, Ming Dynasty, Chongzheng Period, 1630 - 1644, Jingdezhen kilns for Japanese market, porcelain, with underglaze painting in cobalt-blue, and polychrome overglaze enamels; iron-brown painting on the rim; 1.9 cm (height), 14.5 cm max. (diameter), at foot 6.5 cm (diameter). Gift of Gerald Reitlinger, 1978. EA1978.1061 © Ashmolean Museum, University of Oxford

Hexagonal dish with hydrangea and cicada, Ming Dynasty, Tianqi-Chongzhen Period, 1621-1644, Jingdezhen kilns, porcelain, with underglaze painting in cobalt-blue, and polychrome overglaze enamels; 2.7 cm (height), 14.2 cm max. (diameter), at foot 7.7 cm (diameter). Gift of Gerald Reitlinger, 1978. EA1978.1151. © Ashmolean Museum, University of Oxford

Maria Magdalena Hispano-Flamenco, Circa 1500-1525. Lime wood. Height 70 cm. Jan Beekhuizen Kunst- en Antiekhandel vof at TEFAF 2016 © TEFAF Maastricht, 2015

Provenance: Collection Kunsthandel J. Dirven, Eindhoven; Private collection, the Netherlands

Literature: Exh. cat., Oude Kunst- en Antiekbeurs, Delft, 1967, stand 29

A so-called Fontaine à l'impérial, 1st half 18th century. Pewter. With the controle mark of Toulouse with date 1709. Jan Beekhuizen Kunst- en Antiekhandel vof at TEFAF 2016 © TEFAF Maastricht, 2015

Literature: Compare: Catalogue PAN Amsterdam, 1995, p. 49; J.F.H.H. Beekhuizen, De schoonheid van het oude Tin, 's-Hertogenbosch, 1998, p. 163 and 164, fig. 246

Jan Beekhuizen Kunst- en Antiekhandel vof (stand 238) - Directors: Jan Beekhuizen, Lydia Beekhuizen - Verhoeven 

Jan Beekhuizen is the author of three books about European pewter. In 1979: ´Pewter from European Countries´ and in 1998 ´The Beauty of the old Pewter´ and in 2006 '19th and 20th century stock pots, a collection'. In his shop you will also find: metalware (for example: bronze mortars),furniture and other collector items. 
Jan Beekhuizen is co-founder and president of The Dutch Pewter Society (founded in 1993) and a member of The Pewter Society (England) and the Flemish Pewter Society. 
He is since 1995 member of the expert team of the TV programm TUSSEN KUNST & KITSCH.

Contact: Nieuwe Spiegelstraat 49
1017 DD Amsterdam
Netherlands
T  +31 20 626 39 12
M   +31 6 51347888
www.janbeekhuizen.nl
info@janbeekhuizen.nl 

Frédéric Auguste Bartholdi (1834-1904), La libertééclairant le monde. Bronze. Height 133 cm. Signed and dated lower right 'Bartholdi 1875'. Bailly Gallery at TEFAF 2016 © TEFAF Maastricht, 2015

Provenance: Collection Frédéric Auguste Bartholdi

Literature: Exh. cat., La statue de la liberté, Musée de Arts Décoratifs, Paris; New York, Public Library, 1986. Reproduced in the catalogue under no.195, p. 107, p. 141, p. 104, p. 106, p. 310, p. 328

Exhibitions: Paris, Musée de Arts Décoratifs, La statue de la liberté, year?

Pablo Picasso (Malaga 1881-1973 Mougins), Paysage méditerranéen. Oil on canvas. Bailly Gallery at TEFAF 2016 © TEFAF Maastricht, 2015

Provenance: Alex Maguy, Galerie de l'Elysée, Paris, 1969; Aquired by Bo and Margareta Lindh, Stockholm, Sweden, 1969

Literature: Christian Zervos, Pablo Picasso, vol. 23 Oeuvres de 1962-1963, no. 214, ill. pl. 214, p. 101; The Picasso Project, ed., Picasso's Painting, Watercolours, Drawing and Sculpture: The sixties I, 1960-1963 2009, ill. p. 359, no. 63-103

Exhibitions: Stockholm, Moderna Museet, Pablo Picasso, from October 15, 1988 to January 8, 1989

Bailly Gallery (stand 447) - Directors: Charly Bailly, Charly Lagouy, Hanna Bailly

Contact: 10, rue de l'Hôtel de Ville 
1204 Geneva
Switzerland
T  +41 22 827 24 24
www.baillygallery.com
info@baillygallery.com

Head of Tyche-Fortuna, Roman, 1st century BC. Marble, Height 17.5 cm. Charles Ede Ltd at TEFAF 2016 © TEFAF Maastricht, 2015

Provenance: Private collection, Europe, 19th century; Private collection, Switzerland; acquired 1974

Sarcophagus panel, Egypt, Third Intermediate Period, 21st-22nd Dynasty, circa 1070-750 BC. Wood and polychromy, 26.6 x 34.5 cm. Charles Ede Ltd at TEFAF 2016 © TEFAF Maastricht, 2015

Provenance: Private collection, Westchester County, USA; Christie’s New York, Antiquities, sale 8568, 18th December 1996, lot 81; Private collection, The Netherlands

Charles Ede Ltd (stand 426) - Directors: Martin Clist, James Ede

Established in 1971, Charles Ede Limited is one of the leading international dealers in Antiquities from Egypt, Greece and the Roman Empire.

Contact: Charles Ede Ltd
1 Three Kings' Yard
London, W1K 4JP 
United Kingdom
T  +44 20 7493 4944
M   +44 7817738495
www.charlesede.com
info@charlesede.com 

Van Cleef & Arpels. Iolanta ballerina clip, Paris, 2015. Van Cleef & Arpels at TEFAF 2016 © TEFAF Maastricht, 2015

Represented by a rose-cut diamond the ballerina’s face is enhanced by a hair ornament set with a ruby, diamonds and pink sapphires. Round and pear-shaped rubies along with a mauve and pink sapphire gradation adorn the pink gold tutu.

Van Cleef & Arpels. Necklace, New York, 1970. Van Cleef & Arpels at TEFAF 2016 © TEFAF Maastricht, 2015

A set of 6 cabochon-cut sapphires highlighted by round diamonds and faceted sapphires adorn this nature-inspired creation. Twisted yellow gold underlines the petal motifs.

The necklace is transformable and can be worn as two bracelets.

Van Cleef & Arpels (stand 146) 

Contact: 9 New Bond street
London, W1S 3SW 
United Kingdom
T  +44 20 74 93 74 13
www.vancleefarpels.com
info@vancleefarpels.com

Hans Wegner (Tønder 1914-2007 Copenhagen), Pair of deck chairs. Oak, halyard, steel and canvas, 73-91 x 187 x 62 cm (adjustable in height). Made by cabinetmaker Johannes Hansen, Denmark, 1958. Galerie Dansk Møbelkunst at TEFAF 2016 © TEFAF Maastricht, 2015

Literature: Christian Holmsted Olesen, Wegner - Just one good chair, Hatje Cantz, 2014, p. 192

Hans Wegner (Tønder 1914-2007 Copenhagen), Architect's desk. Teak, oak and steel, 195 x 89.5 x 72.5 cm. Made by cabinetmaker Johannes Hansen, Denmark, 1953. Galerie Dansk Møbelkunst at TEFAF 2016 © TEFAF Maastricht, 2015

Literature: Grete Jalk, 40 Years of Danish Furniture Design, The Copenhagen Cabinetmakers’ Guild Exhibitions 1927-1966, Vol. 3. Teknologisk Instituts Forlag, 1987, p. 281

Galerie Dansk Møbelkunst (stand 600) - Director: Ole Høstbo

Dansk Møbelkunst Gallery specializes in rare, original works of Danish furniture that were created during 1920-70, when a circle of craftsmen, architects and designers erased the distinction between works of art and functional equipment for everyday life. Established by Ole Høstbo in 1992, Dansk Møbelkunst takes its name from the Danish word for Furniture Art, a term that is rooted in the handicraft tradition and signifies a synthesis of aesthetics, utility and craftsmanship. During the twentieth century, møbelkunst evolved from the reproduction of historical styles to the creation of truly modern furniture that relied on beautiful materials, rather than applied decoration, and finely-crafted details for its aesthetic value. The gallery's expertise encompasses both handcrafted masterpieces and iconic works of industrial design. 

Contact: Aldersrogade 6C
2100 Copenhagen
Denmark
T  +45 33 32 38 37
F  +45 33 32 38 35
www.dmk.dk
info@dmk.dk 

53bis, Quai des Grands Augustins
75006 Paris
France
T  +33 (1) 4325 1165
F  +33 (1) 4325 1174
www.dmk.dk
paris@dmk.dk 

Alexander Bogomazov (1880-1930), Portrait of Wanda in a coat, Kiev, 1914. Charcoal on paper, 40 x 30 cm. Signed and dated lower right 'AB 1914'. James Butterwick, London at TEFAF 2016 © TEFAF Maastricht, 2015

Provenance: The artist's family, Kiev

Exhibitions: Toulouse, Musee d'Art Moderne, Alexander Bogomazov, 21 June-28 Aug. 1991; Kiev, National Museum of Ukrainian Art, Alexander Bogomazov, Dec. 1991-Jan. 1992

Alexander Bogomazov (1880-1930), Bouquet, Kiev, 1917. Watercolour on paper, 35 x 30 cm. Signed and dated lower left 'A Bogomazov 17'. James Butterwick, London at TEFAF 2016 © TEFAF Maastricht, 2015

Provenance: The artist's family, Kiev

Literature: Tanya and Sasha Popov, Painting and Elements, Kiev, 1996, ill.

Exhibitions: Writers' Union of Ukrainian SSR, Alexander Bogomazov, Nov. 1966, no. 32; Toulouse, Musee d'Art Moderne, Alexander Bogomazov, 21 June-28 Aug. 1991; Kiev, National Museum of Ukrainian Art, Alexander 

James Butterwick, London (stand 709) - Directors: James Butterwick, Natasha Butterwick

Contact: James Butterwick Gallery
34 Ravenscourt Road
London, W6 OUG 
United Kingdom
T  +44 7768361905
M   +44 20 8748 7320
M   +44 7748835357
By appointment only
www.jamesbutterwick.com
james@jamesbutterwick.com 

Sir Joshua Reynolds, P.R.A (Plympton 1723-1792 London), Portrait of Sir Gerard Napier, 6th Bt. (1739-1765), three-quarter-length, in the uniform of the Dorsetshire Militia, in a landscape, his hand resting on a balustrade. Oil on canvas, 127.5 x 101.5 cm. Agnew's at TEFAF 2016 © TEFAF Maastricht, 2015

Sir Gerard Napier, 6th Bt. was a soldier, and the son of Sir Gerard Napier, 5th Bt. (d.1759), and his wife Bridget, daughter of Edward Phelips of Montacute, and a descendant of the prominent royalist of the same name. This picture is one of two versions of the sitter by Reynolds, which Napier and his wife sat for in 1762. Joshua Reynolds is widely regarded as one of the greatest portraitists of the 18th century. Celebrated for capturing the leading figures of society of his day, he also helped establish a distinctive British school of painting. Reynolds’s portraits not only depicted the colourful society in which he lived, but were often the product of a collaborative relationship between artist and sitter, drawing on their biographies to personalise their portraits. In his attempt to raise the status of portraiture, he created the 'Grand Manner' which borrowed from classical antiquity and the Old Masters to fill his portraits with moral and heroic symbolism. An incredible socialite, social climber and self-promoter, Reynolds used his contacts to advance himself. Appointed President of the newly established Royal Academy in 1768, his annual lectures - or Discourses on Art - had a lasting impact on the contemporary theory of art and practice. 

Provenance: Phelips of Montacute; sale, 29 Nov 1929, lot 45; Vicars Bros. 1936

Literature: D. Mannings and M.Postle, Sir Joshua Reynolds, A Complete Catalogue of his Paintings, New Haven and London, 2000, no.1329, as untraced 

Exhibitions: London, 1932, no.1364

Jules Desbois, A satyr and a nymph. Terracotta worked in the round. Height 71cm. Signed and dated to the reverse 'DESBOIS. 1886'. Agnew's at TEFAF 2016 © TEFAF Maastricht, 2015

Provenance: Private collection, Rhineland

Jean Pierre Granger (1779-1840), Portrait of a Lady. Oil on canvas, 65 x 45 cm. Agnew's at TEFAF 2016 © TEFAF Maastricht, 2015

Agnew's (stand 369) - Director: Anthony Crichton-Stuart

Thomas Agnew & Sons was established by Thomas Agnew in Manchester in 1817, and opened its London gallery in 1860, where the firm soon established itself as one of Mayfair’s leading dealerships. Since then Agnew’s has held a pre-eminent position in the world of Old Master paintings, and was instrumental in promoting contemporary British art in the late 19th century. 
Over generations, Agnew’s has acted as principal agents and advisors to some of the most important collectors of their time, including Edward Cecil Guinness, 1st Earl of Iveagh, Alfred Beit, Alfred and Ferdinand de Rothschild and more recently Paul Mellon, Norton Simon and the Samuel Kress Foundation. Agnew’s also often served as agent for the National Gallery, London in the auction rooms and has been involved in placing masterpieces in major museums around the world. The gallery has handled works by, amongst others, Caravaggio, Van Dyck, El Greco, Frans Hals, Poussin, Rembrandt, Rubens, Vermeer, Titian, Turner and Velázquez, including the latter’s Rokeby Venus in the National Gallery, London. 
In 2013, after nearly two centuries of family ownership, Agnew’s was purchased privately and is now run by Lord Anthony Crichton-Stuart, a former head of Christie’s Old Master paintings department, New York.

Contact: 6 St. James's Place
London
London, SW1A 1NP 
United Kingdom
T  0044 (0)20 7491 9219
M   0044 (0)778 468 4416
www.agnewsgallery.com
anna.cunningham@agnewsgallery.co.uk 

Meissen porcelain manufactory. Plate from the 'Yellow Hunting Service', Meissen , circa 1730. Hard paste porcelain. Diameter 24.8 cm. Marked with crossed swords in underglaze-blue, incised and incised Japanese Palace inventory number N-148-/ W. Michele Beiny at TEFAF 2016 © TEFAF Maastricht, 2015

Sèvres porcelain manufactory. Pair of vases (vases griffes de Lyon), 1775. Hard paste porcelain. Height 38.8 and 38.3 cm. Height with base 42.3 and 41.8 cm. Width 22 cm. Marked on one vase, in overglaze red crowned interlaced L’s, date-letter 'x' for 1775, painter’s mark 'LB' for Jean-Nicolas Le Bel (op. 1765-93), gilder’s mark 'LL' for Louis-François Lécot (op. 1761-64 and 1772-1800); on the other, crowned interlaced L’s in underglaze blue, gilder’s mark 'LL' in overglaze red. Michele Beiny at TEFAF 2016 © TEFAF Maastricht, 2015

Michele Beiny (stand 272) - Director: Michele Beiny

18th- and 19th-century English and Continental porcelain and faience, objets du vertu, French furniture, modern and contemporary sculpture, and jewelled works of art 

Contact: Michele Beiny Inc.
53 East 82nd Street
New York City, NY 10028 
United States
T  +1 212 794 9357
M   +1 917 319 7102
F  +1 212 772 0119
By appointment

New-York, 10028
United States
T  +1 212 794 93 57
F  +1 212 772 01 19

Pablo Picasso (Málaga 1881-1973 Mougins), Tête d'homme (Man's head), 1972. Oil on canvas, 92 x 73 cm. Inscribed verso upper left in red '19.1.72. III'. Galerie Bastian at TEFAF 2016 © TEFAF Maastricht, 2015

Provenance: The artist's estate; Galerie Boulakia, Paris, 1984; Habsburg, Impressionst and Modern Paintings, Drawings, Sculpture, Geneva, 12 Nov. 1989, lot 85; Private collection, France; Loudmer, Importants Tableaux et Sculptures Modernes, Paris, 13 June 1994, lot 69

Literature: Tent. cat., Pablo Picasso 1970-1972, Avignon, 1973, cat.157, ill. p.182; Rafael Alberti, Picasso, Le rayon ininterrompu, Paris, 1974, cat. 94, ill. n.p.; Christian Zervos, Pablo Picasso, Œuvres de 1971-1972, vol. 33, Paris, 1978, cat. 280, ill. p.97; Tent. cat., Picasso 1963-1973, Su última decada, Mexico City, 1984, cat.35, ill. p.28; Alan Wofsy (ed.), The Picasso P...

Exhibitions: Avignon, Palais des Papes, Pablo Picasso, 1970-1972, 1973; Mexico City, Museo Rufino Tamayo, Picasso 1963-1973, Su última decada, 1984 

Pablo Picasso (Málaga 1881-1973 Mougins), Minotaure aveugle guidé par une fillette dans la nuit(Blind Minotaur Led by a Little Girl in the Night), circa 1934-35. Aquatint worked with scraper to resemble mezzotint, drypoint and burin engraving, 24.7 x 34.5 cm. Inscribed recto lower right in pencil 'Picasso'. Galerie Bastian at TEFAF 2016 © TEFAF Maastricht, 2015

Provenance: Ambroise Vollard, Paris; Henri Petiet, Paris

Literature: Brigitte Baer and Bernhard Geiser, Picasso peintre-graveur, catalogue raisonné de l’oeuvre gravé et lithographié et des monotypes, vol. IV, Bern, 1986-1992, cat. nr. 437; Georges Bloch, Pablo Picasso, katalog des graphischen Werkes 1904-1967, vol. I, Bern, 1975, cat. no. 225

Exhibitions: Chemnitz, Kunstsammlungen, Pablo Picasso, Suite Vollard, 2012 

Galerie Bastian (stand 529) - Directors: Dr Aeneas Bastian, Heiner Bastian

Located in a building facing museum island in the historical city centre of Berlin, Galerie Bastian focuses on post-war European and American artists such as Joseph Beuys, Anselm Kiefer, Cy Twombly, Andy Warhol as well as works by Pablo Picasso. 

Contact: www.galeriebastian.com
info@galeriebastian.com