This section will be available this Autumn.
Labellov
Delvaux Lady Gipset, Brillant black edition Box calf leather, silk pink, hand-embroidered with sequins and semi-precious stones: rose quartz, tourmaline, red jasper, sodalite and amazonite H 36 x W 20.5 x D 35 cm Limited edition of 9 pieces worldwide Entirely embroidered by hand, requiring approximately 100 hours of craftsmanship
Victor Werner
Franz Barwig (Germany, Shönau 1868-1931 Vienna) Group of Fauns, circa 1900 Sculpted oak H 94 x W 99 x D 18 cm Signed 'F. BARWIG' on the base This large, sculpted-oak masterpiece perfectly captures the essence of the Vienna Secession. Created by one of Austria's most influential Art Nouveau sculptors, the piece showcases Barwig's signature mastery of wood, blending powerful forms with raw, natural texture.
CKS Gallery
Jean Gabriel Domergue (Bordeaux 1889-1962 Paris) Grand Gala Oil on canvas 100 x 80 cm (unframed) 126 x 107 cm (framed) Signed, titled and inscribed 'A Madame G.' Inscriptions on the stretcher: A Jacky Grasseau 'Ce coin de la vie parisienne' Provenance: private collection Exhibition: Galerie Goya, 28 allées de Tourny, Bordeaux, Domergue n° 1
Marjan Sterk Fine Art Jewellery
Van Cleef & Arpels Lion brooch, 1972 18k yellow gold, green agates and onyx H 62 x W 43.3 mm Total weight 37.7 gr Signed Van Cleef & Arpels Manufactured in Paris, dated and numbered Provided with the original case An eighteen carat yellow gold brooch depicting a lion with wide-spreading mane, eyes of navette cabochon-cut green agates, and a nose carved from onyx.
Almine Rech
Tom Wesselmann (Cincinnati 1931-2004 New York) Long Beach Seascape, 1991/95 Alkyd oil on cut-out aluminum 99.1 x 190.5 cm Signed and dated on the back Provenance: the estate of the artist Tom Wesselmann’s creative approach was in constant evolution throughout his long and productive career. Never one to follow artistic convention, he continually sought new materials and formats. His fascination with innovative surfaces and technologically advanced techniques drove him to push aesthetic and formal frontiers, as seen in 'Long Beach Seascape'. In the 1980s, Wesselmann developed a laser cutting technique that opened up a new world of creative possibilities. Using this novel method, the artist delighted in transposing his bold visual vocabulary into works that challenged the boundaries between painting, drawing, and sculpture. Speaking to the New York Times in 1985, Wesselmann couldn’t contain his enthusiasm for the new medium: 'I've just had the best year of my life [...] I always work in a kind of near ecstasy, anyway, but there's really been something about the new work that grabbed me.'' Centering dynamic line and vibrant colour, 'Long Beach Seascape' demonstrates the artist’s endless pursuit of radical forms of creative expression.
W. Apolloni - Laocoon Gallery
Leoncillo Leonardi (Spoleto 1915-1968 Rome) Plate with abstract design, circa 1950 Glazed ceramic Ø 28 cm Signed below on the edge 'Leoncillo' Literature: M. F. Apolloni, M. Cardarelli (edited by), Leoncillo - Le Ceramiche, Rome 2018 Exhibition: Leoncillo: Earth, Fire and Colours. A retrospective exhibition 1939-1955
Maison D'Art
Santi di Tito (Borgo San Sepolcro 1536-1603 Florence) Holy Family with Saint Joseph reading and the Young Saint John the Baptist Oil on wood panel 93.4 x 68.3 cm Provenance: property sold by Order of the Trustees of Mrs. Hue-William Property Settlement and The Executors of. Mrs. Hue-Williams estate Sotheby's Old Master Paintings, 20 April 1994, as Florentine School, 16th Century, The Holy Family, lot 138
Klaas Muller
Jan Boeckhorst (Münster 1604-1668 Antwerp) Henri IV at the Battle of Ivry, 17th century Pen and brown ink, watercolour and gouache, heightened with whith and red wash on paper 20 x 29.1 cm In 1622, Maria de' Medici signed a contract with Rubens for two series of twenty-four paintings. The first series depicted her own life story, the other the heroic deeds of her husband: Henri IV. As was his custom, Rubens worked on this commission together with some of his pupils and assistants. The successful king had been assassinated 12 years earlier whilst riding through Paris in an open carriage. He had brought an end to the fierce civil war between Protestants and Catholics and did not shy away from doing the heavy lifting on the battlefield himself. What was intended to be a tribute to one of France’s bravest leaders turned out to be a damp squib. Due to turmoil at court, the series about the famous battle near Paris remained unfinished. This dynamic and finely worked drawing captures the dramatic moment of the Battle of Ivry (1590), where King Henri IV led his forces to a decisive victory during the French Wars of Religion. Executed in pen and brown ink and enriched with watercolour and gouache, the composition is animated by vigorous movement and strong contrasts of light and shadow. The artist heightens the scene with touches of white and red wash, emphasising the glint of armour, the energy of the horses, and the intensity of the clash. The central figure of Henri IV, mounted and illuminated, commands the composition, surrounded by swirling troops and fallen adversaries. Ethereal figures above the battlefield introduce a sense of divine favour, a motif often associated with royal propaganda of the period. Despite its relatively intimate scale, the sheet conveys remarkable grandeur and narrative force, making it a compelling example of late 16th‑ to early 17th‑century battle imagery. The gallery is grateful to Stijn Alsteens of the Fondation Custodia for his attribution of the drawing to Jan Boeckhorst.
Galerie de la Présidence
Sonia Delaunay (Ukraine, Hradyzk 1885-1979 Paris) Rythme couleur, 1972 Gouache on paper 54.5 x 38 cm Signed lower right Certificate of authenticity issued by Jen-Louis Delaunay and Richard Riss Provenance: private collection, Paris This is one of the preparatory gouaches for the 'Album Les Illuminations', containing 15 stencils, illustrating 9 poems by Arthur Rimbaud.
Galerie Hadjer
Sonia Delaunay (Ukraine, Gradizhsk 1885-1979 Paris) Rythmes Ondulatoires, circa 1970 Handwoven Aubusson wool tapestry 165 x 225 cm Woven by Pinton Frères, Felletin-Aubusson, France, after Sonia Delaunay’s original design Signed 'Sonia Delaunay' in the weave, lower left, and bearing the Pinton workshop monogramme Edition of 6 + 2 AP Accompanied by a certificate of authenticity from the Pinton workshops, Felletin-Aubusson, France Rythmes Ondulatoires is an important example of Sonia Delaunay’s exploration of colour, rhythm and movement translated into the medium of tapestry. The composition is structured through an intricate interplay of circles, semicircles, concentric arcs and intersecting geometric planes. Vivid fields of red, blue, green, yellow and orange are set against black, white and grey, generating a powerful sense of optical vibration and continuous movement across the woven surface. The composition reflects Delaunay’s lifelong investigation into simultaneous colour contrasts, developed from the early twentieth century onwards. Together with Robert Delaunay, she explored the capacity of juxtaposed colours and geometric forms to create rhythm, luminosity and movement. These principles became fundamental to her distinctive contribution to the development of abstraction. The Collection Société Générale similarly describes Delaunay’s work in terms of her investigations into light, the movement of colours and “simultaneous contrast,” through vivid geometric forms organised into rhythmic compositions. The tapestry also reflects Delaunay’s longstanding commitment to dissolving the traditional distinction between fine and applied arts. Throughout her career, her abstract vocabulary extended beyond painting into textiles, fashion, interior decoration and other forms of applied art. Her use of pure colour and simultaneous contrasts remained central across these different media. In Rythmes Ondulatoires, the translation of Delaunay’s composition into wool by the Pinton workshops, one of the leading modern tapestry manufacturers in the Aubusson tradition, gives physical substance and texture to her chromatic language. The concentric curves and repeated arcs create an almost musical rhythm, while the juxtaposition of geometric forms produces a composition that appears to expand and contract across the surface. References and comparable examples Another Rythmes Ondulatoires, dated 1970, is documented as a handwoven Aubusson wool tapestry in scholarly lecture material devoted to Robert and Sonia Delaunay. The Société Générale Art Collection also holds a work entitled Rythmes ondulatoires, measuring 167 × 225 cm, closely corresponding in dimensions and composition. The collection describes the work through its geometric lines and forms, interwoven vivid colours and characteristic rhythmic harmony. Another Pinton-woven Rythmes Ondulatoires was publicly presented by Galleria Antonio Verolino at ArtePadova in 2024, documenting the continued presence of this composition within the art market and exhibition context. The tapestry is in very good overall condition, with strong and well-preserved colours, with no known restorations.
DIE GALERIE
Christian Dotremont (Tervuren, 1922-1979) Zyzzling aardvark, 1972 Indian ink on Japanese paper 98 x 61 cm Signed and dated lower right 'Dotremont 1972' Titled lower left 'Zyzzling aardvark' Provenance: private collection Exhibition: Pierre Alechinsky and his artist friends, DIE GALERIE, Frankfurt am Main, 2025
N. Vrouyr
Etablissements veuve Guillon et fils, Belgium Before 1925 Warp and weft, cellulose, pile, wool 460 x 370 cm Numbered at the back Literature: Arthur De Rudder, International exhibition of modern decorative and industrial arts (Paris, 1925): official catalogue of the belgian section Exhibition: International exhibition of modern decorative and industrial arts, Paris, 1925, Belgian Pavilion, gallery of complete interiors, dining room by the Maison Gustave and Edouard Blondel
Galerie Perrin
Eduard Gaertner (Berlin 1801-1877 Flecken Zechlin) Rue Neuve, Notre Dame in Paris, 1826 Oil on canvas 44 x 34.5 cm (unframed) 65 x 54 cm (framed) Signed, located and dated lower right 'E. Gaertner fec / Paris 1826' Provenance: collection Jérôme Carcopino; thence by descent (in the same family)
Epoque Fine Jewels
René Lalique (Ay 1860-1945 Paris) Art Nouveau dragonfly brooch Paris, circa 1903 18 k yellow gold, 'plique-à-jour' enamel and polychrome enamel, old mine cut diamonds, citrine and pearls 11.6 x 4.4 cm Signed Lalique Accompanied by its original fitted case marked R. Lalique, 40, Cours-la-Reine, Paris, monogrammed 'E.A.' An important Art Nouveau dragonfly brooch by René Lalique, in 18-karat gold, designed as two opposing dragonflies with delicate wings of translucent plique-à-jour enamel, accented with old mine-cut diamonds. At the centre, the dragonflies clasp a cushion-shaped orange citrine, their bodies and legs enhanced with polychrome enamel. Graduated pearls trace the extremities of the wings, lending the composition a graceful sense of movement and lightness, characteristic of Lalique’s jewellery at the height of the Art Nouveau period.
Klaas Muller
Gerard Ter Borch (Zwolle 1617-1681 Deventer) Portrait of a man with a black hat, circa 1650 Oil on oval panel 19.9 x 16.5 cm Gerard ter Borch (1617-1681) was one of the most refined painters of the Dutch seventeenth century. Born in Zwolle, he received his first training from his father, Gerard ter Borch I, within a household where drawing and copying formed an essential part of daily artistic practice. Several of his siblings also became artists, contributing to a rich familial archive that documents the development of the Ter Borch workshop. After extensive travels through Amsterdam, Haarlem, London, Madrid and Münster, Ter Borch settled in Deventer, where he became a respected member of the city’s elite. Ter Borch is celebrated for his intimate genre scenes and portraits, distinguished by a subtle palette, delicate handling of light, and a keen sensitivity to gesture and expression. His paintings are marked by elegance, psychological depth, and exceptional technical skill, particularly in the rendering of skin and textiles. This portrait of a man wearing a black hat, painted on an oval panel, exemplifies these qualities. The sitter faces the viewer directly and meets our gaze with quiet self‑confidence, creating a sense of immediacy and silent dialogue. His restrained pose and understated attire suggest dignity without ostentation. The refined and harmonious colour scheme, composed of carefully balanced tones, is characteristic of Ter Borch’s portrait practice. The subtle fall of light gently models the face, giving the features clarity and depth without strong contrasts. The smooth surface of the panel enhances the precision of Ter Borch’s brushwork and contributes to the intimate character of the work. Rather than a display of status, the portrait becomes a concentrated study of presence and inner life. The gallery is grateful to Marjorie Wieseman, who endorsed the attribution on the basis of a photograph, and to Guido Jansen, who confirmed the attribution after examining the painting in person.