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Galerie bei der Albertina ▪ Zetter
Vally Wieselthier (Vienna 1895-1945 New York) Female head with green flower, 1928 Red pottery, polychrome glaze H 28.5 x W 13.5 x D 14.5 cm Manufactured by the Wiener Werkstätte, model n° 494 Monogram VW, WW, MADE IN AUSTRIA, 494, I Hörmann WV-K 587 Minor chips professionnally restored Literature: cf WW-Archives, MAK Vienna, Photo-Archives WWF 110-42-3; cf Marianne Hörmann, Vally Wieselthier, Wien 1999, ill. p. 165, n° 77f and p. 286, WV-K 587 Exhibitions: Kaiserslautern, Museum Pfalzgalerie, 'Vally Wieselthier-Golden Girls n° 2', 2022/23; New York, Austrian Cultural Forum, Vally Wieselthier, Sculpting Modernism, 15 October 2025-9 February 2026
Virginie Devillez Fine Art
Théo Van Rysselberghe (Ghent 1862-1926 Saint-Clair) Baie de Saint-Brélade, 1907 OIl on canvas 65.5 x 81 cm Monogrammed and dated '07' lower left Titled on the stretcher Provenance: private collection, Belgium; thence by descent to the present owner Literature: Ronald Feltkamp, 'Théo Van Rysselberghe. Catalogue raisonné', les éditions de l’amateur/Éditions Racine, 2003, CR 1907-003 (ill. p. 363) Exhibitions: Paris, Bernheim-Jeune, 'Théo van Rysselberghe', 1908, cat. n° 43; Rotterdam, Rotterdamse Kunstkring, 'Théo van Rysselberghe', 1909, cat. n° 29; Groningen, Galerie Hofsteenge, 'Pictura Théo van Rysselberghe', 1910, cat. n° 24; Berlin, Ausstellungshaus Kurfürstendam, 'Sezession', 1912, cat. n° 231 (?)
Floris van Wanroij Fine Art
Jacob Grimmer (Antwerp, 1525/6-1590) A landscape with travellers near a castle or an ALlegory of Spring Oil on panel 27.3 x 37 cm Signed lower left GRIMMER FECIT The present picture is recorded at the RKD in The Hague under n° 102433 as by Jacob Grimmer Provenance: René Gilbert collection, Geneva; thence by descent until znonymous sale (the property of a Lady), Sotheby’s, London, 14 December 2000, lot 3 (179.500 GBP); private collection, United Kingdom; anonymous sale, Sotheby’s | London, Old Masters evening sale, 5 July 2017, lot 49; private collection, The Netherlands Literature: Mander, K. van (1603/4). Schilder-boeck. Haarlem, Vol. II, fol. 256V; Bertier de Sauvigny, R. (1991). Jacob et Abel Grimmer. Brussels, p. 68, fig. 13; p. 81, fig. 28
Galerie Édouard Ambroselli
Jean-Baptiste Camille Corot (Paris, 1796-1875) Farm in Italy, circa 1843 Oil on paper mounted on canvas in a period gilt frame 18 x 24 cm Signed lower right ‘Corot’ Certificate of authenticity issued by Martin Dieterle and Claire Lebeau Provenance: Pottier collection, Paris; sale Artcurial, Paris, 19 June 2012, lot n° 81; private collection, Paris Literature: Martin Dieterle and Claire Lebeau, Sixième supplément à l'œuvre de Corot par A. Robaut et E. Moreau-Nélaton, Paris, 2018, repr. n° 46
Galerie Oscar De Vos
Rik Wouters (Mechelen 1882-1916 Amsterdam) Rik with a patch, 1916 Brush drawing with Chinese ink on paper 40 x 29 cm Provenance: Nel Wouters, Overijse; Marcel Mabille, Brussels Literature: Avermaete, Rik Wouters, 1962, pp. 145, 242; De Pesseroey & Langui, Honderd zelfportretten, 1976, pp. 46-47; Van den Bussche et.al., Rik Wouters (1882-1916), pp. 20, 234; Hautekeete, Simon & De Nijn, Rik Wouters, De menselijke figuur, 1999, n° 74b, p. 100; Damman et.al., Ik of een ander. Zelfportretten van Belgische kunstenaars, 2003, pp. 148-149 Exhibitions: Palais des Beaux-Arts, Exposition Rik Wouters, 1935, Brussels; Gemeentemuseum & Museum Boijmans, exhibition Rik Wouters, 1946, Den Haag & Rotterdam; Feestzaal, Retrospectieve Rik Wouters, 1946, Mechelen; KMSKA, Rik Wouters, 1947, Antwerp; Seconda Rassegna Internazionale di Scultura all'aperto, 1953, Varese; 1957, Antwerp, KMSKA, Retrospectieve Rik Wouters; Musée National d'Art Moderne, Rétrospective Rik Wouters, 1957, Paris; Smithsonian Institution, National Collection of Fine Arts, Smithsonian Traveling Exhibition Service, Belgian Drawings: From Ensor to Delvaux (Le dessin belge), n° 61; 1999, Mechelen, CC Antoon Spinoy, Rik Wouters. De Menselijke figuur, n° 74b
Galerie Tiago
Rectangular lacquered wooden suzuribako (writing box) Japan, Edo period (1603-1868) Wood, lacquer, silver, gold, hiramaki-e, takamaki-e, kirigane, gyōbu-nashiji, tsumemaki nashiji H 4.7 x W 27 x D 23.5 cm Decorated in gold lacquer with a continuous design depicting a pavilion set in a karst landscape dotted with pine and maple trees. Complete with an inkstone, a silver water dropper, a blade and a set of brushes.
Galerie de la Présidence
Geer van Velde (Lisse 1898-1977 Cachan) Composition, circa 1952 Oil on canvas 104 x 122 cm Signed with the initials 'GvV' lower right Signed on the reverse 'G. van Velde' with dimensions Certificate of authenticity issued by Pierre François Moget This work will be included in the forthcoming 'Catalogue Raisonné of Geer van Velde Painted Work' currently in preparation by Pierre François Moget, son of Piet Moget Provenance: private collection, Paris
Vagabond Antiques
Giocondo Albertolli (Bedano 1742-1839 Milan) (Attributed to) Milan, late 18th century Wall lights H 72 x W 45 x D 37 cm These elegant gilt-metal wall sconces are attributed to the Milanese architect, designer and ornamentist Giocondo Albertolli, one of the leading figures of Italian Neo-classicism. Their design closely relates to the engraved ornament published in Albertolli's celebrated pattern books, particularly Ornamenti Diversi (Milan, 1782), which played a central role in disseminating the new classical taste throughout Lombardy and Northern Italy. The sconces display many of the motifs associated with Albertolli's ornamental vocabulary, including scrolling acanthus brances, finely fluted candle sockets and radiating drip pans. Their unusually tall proportions and boldly projecting arms give them a distinctly sculptural character, creating a sense of movement and depth rarely encountered in wall lights of the period. The open voluted arms, enriched with naturalistic foliage, closely resemble a number of Albertolli's published designs for girandoles and wall lights. Born in Bedano, near Lugano, Albertolli settled in Milan in 1774 at the invitation of the architect Giuseppe Piermarini. As Professor of Ornament at the Brera Academy he exerted a profound influence on the decorative arts of Northern Italy, providing designs for architecture, furniture, metalwork and interior decoration. His published engravings became an important source for craftsmen working in the Neoclassical style throughout the late eighteenth century. The present sconces are attributed to Giocondo Albertolli and were almost certainly produced by craftsmen working within the circle of artists and decorators associated with him in late eighteenth century Milan. Their refined design and high quality of execution reflect the sophisticated decorative arts tradition that flourished in Lombardy during the Neoclassical period.
Almine Rech
Farah Atassi (Brussels, 1981) The Shadow, 2026 Oil on canvas 195.3 x 114.3 cm Signed and dated on the back Provenance: the artist's studio Exhibitions: Farah Atassi, 'Metamorphosis', 26 June-31 July 2026, Almine Rech New York 'The Shadow' comes from a recent body of work in which Farah Atassi explored themes of metamorphosis and freedom. The central figure is a chimeric half woman-half flower that appears to flourish before our very eyes. Daphne - the nymph turned into a laurel tree to escape the god Apollo - comes to mind, a representation of transformation and transcendence. In 'The Shadow' the flower woman is organic, yet sculptural, retaining a distinct humanity that the artist has simplified, symbolised. While the composition is dreamlike and ethereal, a bold shadow brings a touch of realism, anchoring the twisting form to the pictorial plane. This work is a painting within a painting, a formal choice that allows Atassi to contrast two distinct realms while also interrogating the metamorphic potential of art. Notes of Magritte’s uncanny, atmospheric beauty emerge as the flower woman in 'The Shadow' is captured in the act of liberating herself from a canvas, striking out into the rosy dawn.
Galerie von Vertes
Andy Warhol (Pittsburgh 1928-1987 New York) Patty Raynes and son, 1985 Acrylic and silkscreen ink on canvas 102 x 102 cm Signed on the reverse and dated 'Andy Warhol 85' Provenance: Patty Raynes, USA (1985 directly acquired from the artist); private collection, USA (2022 acquired from the above) In 1985, Patty Raynes commissioned two works, this one with a yellow background and a second one with a white background. ‘Patty Raynes and Son’ from 1985 is one of a series of portraits in which Warhol no longer exclusively depicted global celebrities, but increasingly portrayed members of his social environment - individuals whose social position exerted a symbolic aura, even if they remained outside the pop-cultural canon. Patty Raynes came from a respected family of American industrialists, socialite and daughter of oil tycoon Marvin Davis, a fact that inevitably lends the work the character of a status portrait. Warhol, who was always concerned with the relationship between appearance and identity, addresses the portrait here as an expression of social affiliation. The subject, the depiction of a mother and child, is immediately reminiscent of the archetypal motifof the Madonna and Child. Warhol adopts this traditional pictorial form but transforms it into a contemporary icon: the sacred content isdisrupted by the screen-printing technique, giving the scene a cool, distanced character. Patty Haynes and son emerge from this mature period in Warhol’s oeuvre, when the artist extended his repertoire of subjects to include his panoply of famous friends, artists, actors, and socialites. A collection idolising the who’s who of New York, Warhol intended for the 40 by 40-inch series to be exhibited together in a 'Portrait of Society', a dream eventually realized at the artist’s retrospective Andy Warhol - From A to B and Back Again at the Whitney Museum in New York in 2018.
Galerie Nicolas Bourriaud
Raymond de Meester (Mechelen 1904-1995 Brussels) Yawning Leopard, circa 1928-1929 Bronze with a nuanced brown patina H 45.2 x W 41.6 x D 15.5 cm Signed ‘Rd de Meester de B’, titled ‘Yawning Leopard’ and dated ‘1928–29’ Batardy cast, edition of 3, numbered I/III, bearing the stamp ‘BATARDY CIRE PERDUE BRUXELLES’, and the inscriptions ‘Épreuve d’Artiste’ and ‘cire perdue’ Literature: Léonard Dieleman, Raymond de Meester de Betzenbroeck, Animal Sculptor, Gallery Dieleman, Brussels 1989, repr. n° 5; Xavier de Ghellinck Vaernewyck, ‘de Meester de Betzenbroeck’, Nouvelle Biographie Nationale, Part 6, Royal Academy of Belgium, Brussels, 2001, pp. 133–135
Rueb Modern and Contemporary Art
Alighiero Boetti (Turin 1940-1994 Rome) Cinque x Cinque Venticinque, 1988 Embroidery 21 x 22 cm Signed and inscribed n° 82769 on the reverse Certificate of authenticity issued by the Archive Boetti n° 10891 dated May 2026 Provenance: kunsthandel E.J, van Wisselingh & Co, Haarlem, the Netherlands
Pelgrims de Bigard
Anthonie Verstraelen (Gorinchem 1594-1641 Amsterdam) Winter landcape with ice skaters by the city edge Oil on panel 43 x 71 cm Provenance: with kunsthandel P. de Boer, Amsterdam, 1937-1938; collection Ir. J. Th. Berkemeijer, Rotterdam, 1938; collection F.N. Meuter, 1972 (according to the label of P. de Boer attached to the reverse); with kunsthandel Waterman, Amsterdam, by 1982; with Palm Court Galleries, Baarn, 1999; private collection, the Netherlands Literature: Rotterdam, Museum Boymans van Beuningen, ‘Meesterwerken uit vier eeuwen 1400-1800, tentoonstelling van schilderijen en teekeningen uit particuliere verzamelingen in Nederland bijeengebracht gedurende de veertigjarige regeering van H.M. Koningin Wilhelmina’, 25 June-15 October 1938, cat. n° 160, ill. 57; Amsterdam, Kunsthandel Waterman, ‘Hendrick Avercamp 1585-1634, Barent Avercamp 1612-1679, Frozen silence, paintings from museums and private collections’, 1982, n° 32, ill. p. 149; and ill. in Tableau, 15 February 1982 Exhibitions: Rotterdam, Museum Boymans van Beuningen, ‘Meesterwerken uit vier eeuwen 1400-1800, tentoonstelling van schilderijen en teekeningen uit particuliere verzamelingen in Nederland bijeengebracht gedurende de veertigjarige regeering van H.M. Koningin Wilhelmina’, 25 June-15 October 1938; Amsterdam, Kunsthandel P. de Boer, ‘Nederland water/land, de relatie tussen land en water in de Nederlandse schilderkunst van 1500 tot nu’, 13 January-19 February 1972, n° 38 (label attached to the reverse); Amsterdam, Kunsthandel Waterman, ‘Hendrick Avercamp 1585-1634, Barent Avercamp 1612-1679, Frozen silence, paintings from museums and private collections’, 1982, n° 32
Galerie Cento Anni
Philippe Wolfers (Brussels, 1858-1929) La source, 1908 White marble and green marble for the base H 60 cm Signed 'Ph. Wolfers' Provenance: Wolfers' family Literature: Werner Adriaenssens and Raf Steel, The Wolfers Dynasty, pp. 154 and 392, n° 223 Exhibitions: Brussels, 1908; Brussels, 1928; Ghent, 1979
CKS Gallery
Sam Francis (San Mateo 1923-1994 Santa Monica) Composition, 1990 Acrylic and paper collage on paper 57.2 x 81.3 cm Stamped on the reverse with Sam Francis Estate logo stamp This work is registered in the archives of the Sam Francis Foundation under identification n° SF90-5PRS Provenance: private collection, the Netherlands; private collection, USA Exhibitions: St. Paul de Vence, Guy Pieters Gallery, Sam Francis, July-August 2003 (ill. in colour); Amsterdam, Museum Jan Van Der Togt, Sam Francis Remembering, November 2004-January 2005, pp. 138-139 (ill. in colour)
Artimo Fine Art
Cesare Lapini (Florence, 1848-after 1890) La Sorpresa (Surprise), White Carrara marble H 128 x W 36 x D 48 cm Signed 'C. LAPINI' Provenance: private collection, Belgium Literature (related to the model): Torino e l’Esposizione italiana del 1884, Cronaca Illustrata, Part IV, Turin, Roux e Favale and Fratelli Treves, 1884, p. 45, model illustrated; Angelo De Gubernatis, Dizionario degli artisti italiani viventi, pittori, scultori e architetti, Florence, 1889, p. 580, model mentioned Exhibition: model presented in Turin at the Esposizione Generale Italiana, 1884 Description: In La Sorpresa, Cesare Lapini captures the moment when a young woman, surprised in her intimacy, delicately gathers the folds of her nightdress. Her subtle smile and lowered gaze convey a delicate ambiguity between modesty and coquetry. When presented in Turin in 1884, the model was associated with the myth of Diana surprised bathing by Actaeon. The finely rendered lace, the fluidity of the drapery and the delicate treatment of the figure’s flesh tones demonstrate the sculptor’s virtuosity and the refinement of the Florentine school in the late 19th century.
Mearini Fine Art
Corinthian capital (variation on a Roman type from the 3rd-4th century) Central-southern Italy, late 12th-early 13th century Greek marble H 52 x W 50 x D 50 cm In this unusual variation on the Corinthian there are three orders of acanthus leaves, finelly indented with drill holes in evidence, which reach up to the top of the kalathos. Already in ancient times this type of capital was exported to Aquileia (Udine) a city destroyed by Attila in 452 and temporarily abandoned upon the arrival of the longboards in 568, as shown by a fragmentary example in the national Archeological Museum datable between the 3rd and 4th century.
