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Galerie von Vertes
pierre soulages
Pierre Soulages (Rodez, 1919-2022) Peinture 92 x 130 cm, 4 mai 2004 Acrylic on canvas 92 x 130 cm Verso signed and titled ‘SOULAGES 92 x 130 cm 4 Mai 2004’ On the stretcher, signed and inscribed 'soulages' Provenance: collection Essl, Klosterneuburg, Austria (acquired directly from the artist); Christie's, Paris, 23 October 2023, lot 358; private collection, Switzerland Literature: Pierre Encrevé, Soulages: l'œuvre complet, Peintures, vol. IV: 1997-2013, Paris, 2015, n° 1272, p. 148 (ill.)
Artimo Fine Arts
charles-auguste fraikin
Charles-Auguste Fraikin (Herentals 1817-1893 Brussels) Emerging from the Sea Bath White Carrara marble H 123 x W 37 x D 33 cm Provenance: Francis Meyer collection, Switzerland Literature: Fraikin, Charles-Auguste. Catalogue de la galerie. Musée Fraikin de Herenthals offert par l'artiste à sa ville natale l'an 1891. Herentals: Typ. L. Bongaerts-Verbeeck, 1891; Engelen & Marx. La sculpture en Belgique à partir de 1830. Tome III: Devreese-Hecq. Bruxelles : Éditions Ars 2006, pp. 1550-1557 With this work, Charles-Auguste Fraikin celebrates feminine beauty captured in the intimacy of a daily gesture: that modest and natural act of a young woman emerging from the water and wringing out her long hair. The sculptor excels here in the art of suggestion rather than revelation. The delicately fitted drapery clings to the body’s contours whilst gracefully concealing them, playing on the translucency of the marble and the softness of the volumes. The work bears witness to the dual influence of classical ideals and the romantic taste for a sensitive evocation of femininity. Through his treatment of surfaces - silken, clean, almost vibrant - Fraikin achieves a remarkable degree of refinement whilst preserving a clear narrative: that of a moment suspended in time, poised between genre scene and allegory. Emerging from the Sea Bath brilliantly illustrates Fraikin’s ability to combine modesty with sensuality, simplicity with virtuosity, in a sculpture that speaks both to the eye and to the imagination.
Galerie des Modernes
mark tobey
Mark Tobey (USA, Centerville, Wisconsin, 1890-1976 Basel, Switzerland) Untitled (Abstract composition) or 'Tout le Monde', 1956 Tempera on paper 20.2 x 24.9 cm Signed and dated lower right 'Tobey 56' The Mark Tobey Project LLC, under the identification n° MT (456-05-15-25). Authentication letter signed by Achim Moeller for Moeller Fine Art Projects dated May 15th, 2025 Provenance: private collection, Belgium Exhibitions: Exhibited at Kunsthalle Basel under n° 0131 (label on back of montage annotated: ‘Tout le monde’)
Pauline's Jewellery Box
Art Deco emerald & diamond necklace, circa 1920-1930 Platinum, emerald and diamond Provenance: France A beautiful Art Deco Colombian emerald & diamond pendant necklace, set with a pear shaped Colombian emerald weighing approximately 13.44 carats surrounded by old mine cut diamonds. Estimated total diamond weight is approximately 3.00 carats. Estimated colour H-I on average. Estimated clarity VS on average. The diamonds are bright & lively. Mounted in platinum.
Galerie Hurtebize
pierre-auguste renoir
Pierre-Auguste Renoir (Limoges 1841-1919 Cagnes-sur-Mer) Composition, Paysages et Fleurs, circa 1910 Oil on canvas 15 x 25.5 cm Initial R bottom left Certificate of authenticity from the Wildenstein Institute n°24.05.29/21585 dated 12 June 2024 Provenance: private collection, France
Galerie Flak
Yipwon hook figure Korewori river, Papua New Guinea, 19th century or earlier (C-14 test) Carved wood H 200 cm Provenance: Merrin Gallery, New York; Californian artist Tony Berlant collection; acquired from the above in the 1980s; Michael Hamson collection, USA; Dr. Jean-Philippe Beaulieu collection, France; acquired from the previous in 2022
Galerie Alexis Bordes
léon spillaert
Léon Spilliaert (Ostend 1881-1946 Brussels) Mères et enfants sur le quai du port d’Ostende, 1910 Wax crayon and Conté crayon on paper 50.2 x 32.2 cm Signed lower right 'L. Spilliaert' This work will be included in the catalogue raisonné of Léon Spilliaert being prepared by Dr. Anne Adriaens-Pannier Provenance: Louis Sneyers collection, Brussels; Mr. and Mrs. Marcel Thomas, Brussels (by descent); Henriette Thomas-Bodart, Brussels (by descent); Galerie Ronny Van de Velde, 1997; Onzea-Govaerts collection, Belgium Exhibitions: Brussels, Palais des Beaux-Arts, 41st Antiques Fair of Belgium, January-February 1996; Brussels, Palais des Beaux-Arts, 42nd Antiques Fair of Belgium, January-February 1997
Galerie Jean-François Cazeau
martial raysse
Martial Raysse (Nice, 1936) Green on green, 1964 Spray paint, xerography, collage, oil and cardboard mounted on canvas 33 x 22 x 7 cm Signed Martial Raysse, dated 64 and titled Green on green (on the reverse) This work is registered in the inventory 'l'Oeuvre de Martial Raysse' under n° IMR-0193 Provenance: William Copley collection, USA; Christie's, New York, Contemporary Art - Including property from the collection of William Copley, 8 November 1993, lot 8; private collection, Paris; acquired from the above by the present owner Exhibition: New York, Galerie Luxembourg & Dayan, Martial Raysse: 1960-1974, 11 May-13 July 2013
Galerie Florence de Voldère
frederik bouttats l'ancien
Frédérik Bouttats the Elder (Antwerp, 1590-1661) Earthly paradise Oil on canvas 55.5 x 83 cm A painter of landscapes, paradises, and animals, he was also an engraver. He joined the Antwerp Guild as early as 1612. He had two pupils, as well as his sons Frédérik the Younger and Jacob. Founder of a famous family of artists, he contributed, along with his followers, to the influence and richness of Flemish painting through brilliant works under the influence of Velvet Brueghel, Jan van Kessel, and Roelandt Savery. To the great delight of naturalists and humanist scholars, the Breughels and their painter friends such as the Bouttats multiplied the themes of the Earthly Paradise, celebrating the beauty and diversity of creation. Like the Bird Traps, these paradises met with great success, and different versions can now be seen in the world’s greatest museums.
Victor Werner
thierry van ryswyck
Thierry Van Ryswyck (Antwerp 1911-1958 Vallauris, France) Walking panther, 1929 Patinated plaster H 53 x W 133.5 cm x D 23 cm Name and address of the mould maker inscribed on the underside of the base: A. Hoefnagels, mouleur, Quai Cockerill 19, Anvers Signed and dated Th. Van Ryswyck 1929 Provenance: private collection
Art et Patrimoine - Laurence Lenne
Transport case, for Louis XV at the Château de Versailles France, made between 1745-1749 Gilt-tooled leather, copper hinges H 11 cm - Ø 26.5 cm Provenance: Louis XV in Versailles Carrying and protective case for a silver porringer. The lid of the case is decorated with the coat of arms of Louis XV and the three facing crowns of the Château de Versailles, both gilt-tooled. All copper hinges are stamped with the crowned 'C' mark. The case was made between March 5th, 1745 and February 4th, 1749.
Floris van Wanroij Fine Art
jan josefsz. van goyen
Jan Josefsz. van Goyen (Leiden 1596-1656 The Hague) Winter landscape with skaters, elegant figures and kolf players on the ice in a village Oil on panel 13.6 x 26.8 cm Signed and indistinctly dated lower left ‘I.V. GOYEN. 162.‘ Provenance: anonymous sale, Drouot, Paris, 21 March 1874, lot 23 (Frs. 510), erroneously as a pendant to the consecutive lot; collection Comte de Camondo, Galerie Georges Petit, Paris, 1 February 1893, Lot 6 (Frs. 1.700), were acquired by W. Gretor; anonymous sale, Drouot, Paris, 18 February 1895, Lot 13 (Frs. 750), were acquired by Lange; collection G. Forbes, London (according to Dayot and Hofstede de Groot); sale Jules Cronier, Galerie Georges Petit, Paris, 11 March 1908, Lot 88 (Frs. 1,200); with Kleinberger, Paris; collection Eugène Max, Paris, from 1911 to 1927; Grange, Paris; private collection, Paris, from 1965; anonymous sale, Sotheby’s, London, 1 March 1992, lot 36 (£ 101,200); John Mitchell, London, from 1993; anonymous sale, Christie’s, Amsterdam, 20 November 2012, lot nr. 68 (211.000 Euro); Johnny van Haeften Ltd., London, from 2014 (ref. VP4577), acquired from the previous owner; private collection, The Netherlands Literature: Dayot, A. (1911), Grands & petits maîtres hollandais, exhibition publication, Paris, n° 42; Martin, W. (1918), Alt-Holländische Bilder, Berlin, p. 51, fig. 25; Hofstede de Groot, C. (1927), A catalogue raisonné of the works of the most eminent Dutch painters of the seventeenth century, London, Vol. VIII, p. 294, n° 1170; Beck, H.-U. (1972), Jan van Goyen 1597-1656, Amsterdam, Vol. II, p. 46, n° 88 (illustrated, erroneously as a pendant to n° 244) Exhibitions: Paris, Salle du Jeu de Paume, Grands & petits maîtres hollandais, 28 April-10 July 1911, n° 40 bis; TEFAF Maastricht, 2014
Stéphane Renard Fine Art
Workshop of Benedetto da Maiano (Maiano 1442-1497 Florence) Bas-relief of the Virgin and Child with Saint John the Baptist as a child Polychrome and gilded stucco in its original carved and gilded wooden frame H 76 x W 64 x D 13 cm (framed) Provenance: Coat of arms with the alliance arms of two Florentine families: the Compagni (on the left) and the Tornaquinci (on the right) We can estimate that around thirty copies of this bas-relief were probably made, half of which are in public collections (including the Bode Museum in Berlin (Germany – Inv. 1581), the Victoria & Albert Museum in London (United Kingdom – two copies), the Bargello and Stefano Bardini Museums in Florence (Italy), and the Hermitage Museum in Saint Petersburg (Russia) but this one is the only one bearing the coat of arms of its commissioners.
Galerie Greta Meert
carla accardi
Carla Accardi (Trapani 1924-2014 Rome) Frammenti, 1984 Acrylic on canvas 50 x 60 cm Frammenti, a work from 1984, ‘Fragments’; the work affirms Carla Accardi’s place as a voice of innovation in an Italian art scene dominated by male voices. In this 50 x 60 cm painting using only black paint on the untreated material of the canvas, the artist constructs a rhythmic interplay of signs animating recognition and illegibility, an evocation of a writing that dissolves into abstraction. The work embodies the tension that characterises her oeuvre: a subtle intertwining of classical painterly discipline and the radical openness of the avant-garde, resulting in a visual language that is as rigorous and experimental as it is personal.
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Galerie Dina Vierny
aristide maillol
Aristide Maillol (Banyuls-sur-Mer, 1861-1944) Léda, 1901-02 Bronze H 28.3 cm Artist's monogram (on the back of the base) Ambroise Vollard edition from 1902 Foundry Florentin Godard, executed between 1907 and 1937 Provenance: private collection, New York; private collection, London: Galerie Dina Vierny, Paris (acquired from the above in 2025) Litrature: W. George, Les albums d'art Druet, vol. II, Maillol, Paris, 1927, another cast illustrated; J. Rewald, Maillol, Paris, 1939, p. 166 and another cast ill. pp. 110-111 (dated 'circa 1902'); W. George, Aristide Maillol, Berlin, 1965, pp. 137 & 232, another cast ill. p. 137; W. George, Maillol et l'âme de la sculpture, Neuchâtel, 1977, p. 128, another cast and terracotta version ill. pl. 139; B. Lorquin, Aristide Maillol, London, 1995, p. 52, another cast ill. p. 53
Galerie Berès
louis marcoussis
Louis Marcoussis (Poland, Warsaw 1883-1921 Cusset, France) Nature morte au flacon d'opaline, circa 1927 Oil on canvas 73 x 100 cm Signed lower right 'Marcoussis' Certificate of authenticity n° 1200H143 by Solange Milet on 4 December 2000 Literature: Les Cahiers d'Art, 1927, n° 7-8, p. 5
