This section will be available this Autumn.
Univers du Bronze
Rembrandt BUGATTI (1884-1916) DEUX ANTILOPES GOUDOU or "DEUX AMIS" (c. 1911) Bronze, richly dark brown patina à patine brun richement soutenu. H : 23.1 cm, L : 43.2 cm, D : 11.9 cm Signed "R. Bugatti", original cast and edition by "A.-A. Hébrard cire perdue Paris" (seal and inscribed in the wax "Fondu en 1925"), engraved "(13)". Cast in 1925.
Galerie Nicolas Bourriaud
BIZETTE-LINDET André (1906–1998) Diane the Huntress Bronze with a nuanced brown-green patina, signed ‘Bizette-Lindet’ Cast by Susse, bears the foundry’s mark ‘SUSSE Fres / PARIS / CIRE PERDUE’ and the inscription ‘BRONZE’. H. 64 x W. 70 x D. 20 cm. On a blackened wooden base Circa 1937–1938 A similar example is held at the Musée de la Piscine in Roubaix (Inv.: FNAC 6463) Bibliography: Amandine Delcourt, Bruno Gaudichon and Fanny Legru, "Faire le Beau. Le bestiaire de La Piscine", Ghent, Snoeck, 2017, p. 57
Klaas Muller
Gerard Ter Borch (Zwolle 1617 - Deventer 1681) Portrait of a Man with a Black Hat Around 1650 Oil on Oval Panel 19.9 × 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. We are 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.
Collectors Gallery
Pablo Picasso (1881–1973), after “Rond” medallion in 23-karat gold, 1975 Circular 23-karat gold medallion, decorated with a stylised face. Stamped with Picasso’s signature and Pierre Hugo’s maker’s mark, numbered 7/20. Hugo workshop no. 1678–2143, dated 5 October 1975. Provenance : COLLECTION NAILA DE MONBRISON
Gallery Sofie Van de Velde
Victor Servranckx (1897 Diegem BE – 1965 Vilvoorde BE) Opus 20, (Calm Blocks Fallen from an Obscure Disaster), 1927 Signed and dated lower left: SERVRANCKX 1927 Oil on canvas 146 × 81 cm Thanks to a photograph showing the artist during his solo exhibition at the Palais des Beaux-Arts (Brussels) in January 1929, we know that the painting was exhibited there. Félix Carlier acquired the work at the group exhibition (featuring works by De Boeck, Flouquet, Gailliard, and Servranckx) at Galerie Le Centaure in Brussels in 1929. Provenance: Félix Carlier, Waermael-Boisfort (purchased from Galerie Le Centaure, Brussels, 1929) Galerie J.-P. Alaerts, Brussels London, Christie’s, 16 October 1990, lot no. 61 (illus.) Lokeren, De Vuyst, 6 October 2001, lot no. 489 Private collection, Brussels Galerie Ronny Van de Velde, Antwerp Exhibitions: Brussels, Palais des Beaux-Arts, 1929 (no catalogue) Brussels, Galerie Le Centaure, Exhibition De Boeck, Flouquet, Gailliard, Servranckx, 1929, no. 33 Brussels, Palais des Beaux-Arts, 1947, no. 45 “146 × 92 cm” Brussels, Musée d’Ixelles/Museum van Elsene, Retrospective Le Centaure. Homage to Walter Schwarzenberg, 1963, no. 117 Brussels, Musée d’Ixelles/Museum van Elsene, 1965, no. 107 Hasselt, Provinciaal Begijnhof, 1970, no. 57 (illus.) Literature: La Nation belge (Brussels), 12th year, no. 48, 17 February 1929, p. 3 (illus.) Le Peuple (Brussels), 5th year, no. 48, 17 February 1929, p. 1 (illus.)
Mearini Fine Art
Corinthian capital. Variation on a Roman type from the 3rd - 4th Century Greek Marble Central-southern Italy, Late 12 th - Early 13 th Century Hight cm 52 x 50 x 50 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.
Edouard Simoens Gallery
Pierre Alechinsky Le trou du souffleur , 1997 Signed and dated on the back Acryl and ink on paper laid on canvas 146 x 113 cm 57 1/2 x 44 1/2 in Provenance "Pierre Alechinsky: Olie, acryl, aquarel, ets, litho..." Atelier 22, Schilde 2004 Literature/Press Wordt opgenomen in de oeuvrecatalogus in voorbereiding door de heer Frédéric Charron onder nr. 3216
Maison D'Art
KAREL VAN VOGELAER called CARLO DEI FIORI (Maastricht 1653 – Rome 1695) Still Life with Flowers Oil on canvas, 64.5 x 46 cm Literature: From Light to Enlightenment, Exhibition catalogue, Shanghai Art Museum, 2005, N 30, pp. 114-116, 150. Exhibited: From Light to Enlightenment, Exhibition in the Shanghai Art Museum, China, 12 -17 November 2005.
Klaas Muller
Jan Boeckhorst (Münster 1604 - Antwerp 1668) Henri IV at the Battle of Ivry 17th century Pen and Brown ink, watercolour and gouache, heightened with whith and red wash on paper 200 x 291 mm 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, emphasizing 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. We are grateful to Stijn Alsteens of the Fondation Custodia for his attribution of the drawing to Jan Boeckhorst.
Desmet Fine Arts
Egidius Van den Vliete, called Egidio della Riviera (Mechelen, circa 1535-1602, Rome) (Workshop of) Allegory of Sleep (Morpheus, Phobetor and Phantasos, the Oneiroi of Greek myth) Rome, late 16th - early 17th century Marble H 25,4 x W 64,8 x D 59,7 cm Provenance: the Estate of Stanley Moss, New York; Related versions: Galleria Borghese, Rome, inv. n° CLXXXIV (acquired by Cardinal Scipione Borghese by 1609); Formerly Giustiniani collection, Rome; Formerly Palazzo Colonna, Rome A further group of this subject, photographed under the same title in the Palazzo Pitti, Florence
Franck Anelli Fine Art
Transition period secretary in wardrobe stamped Charles TOPINO (1742-1803) and Jurande hallmark Rectangular in shape, the front uprights with cut sides, the front legs arched, the hind legs straight, the oak frame, it opens with a drawer, two leaves and a flap revealing a compartmentalized interior of seven drawers and four compartments. Top of breccia marble from Aleppo. Inlaid decoration in rosewood, amaranth, holly, sycamore, lemon tree, stained wood, tobacco wood, drawing lattices on the uprights and the upper drawer, those of the latter, embellished with flowers, and trompe-l'oeil on the front and on the sides, a decoration of garlands of oval cartouches of stylised acanthus leaves uniting the panels of the toilet seat and the leaves, each also presenting, in the upper part, a leafy garland that can be found on the side panels. The latter are decorated with two gadrooned urns close to the flowered vases of the leaves. The toilet seat has a trompe-l'oeil perspective decoration, an orangery whose open shutters give a glimpse of a wooded landscape in the distance, a perspective accentuated by the checkerboard paving, also present on the leaves. Eight boxes of fruit trees are spread around a table on which are placed two flowered vases and under which is a watering can. The interior reveals six side drawers in three rows, inlaid with a floral vase pattern, as well as a central drawer. Stamped TOPINO and hallmark of Jurande Charles TOPINO received master in 1773 The art of marquetry The bronzes are discreet on our desk and this is intended to give pride of place to marquetry, qualified as wooden painting. If it is possible and tempting - rightly to link a cabinetmaker to his marquetry and this is regularly the case for Topino whose utensil marquetry inspired by the borders of Chinese Coromandel lacquer screens of the time is a characteristic of the artist - it turns out that the models circulated and that inlaid panels could be used by the same circle of cabinetmakers. If the vases, potiches, flowers, utensils reproduced, invented, associated, allow us to recognize Topino's art, it should be noted that the framing motif made up of oval reserves with quartefeuilles and spandrels can be found on secretaries, a chest of drawers and a dressing table stamped Jacques Bircklé. By this same cabinetmaker, a secretary also presents the same vases present on our furniture. Very similar marquetry panels. both in their compositions and in their frames can be found on a chest of drawers attributed to Jacques Bircklé, illustrated in the book by Pierre Kjellberg, who also defines the paving pattern as Bircklé's "almost exclusiveness". our secretary thus witnessed the circulation of drawn or engraved models -
Galerie Flak
Okvik “Madonna” An exceptional, large female figure Okvik culture, Old Bering Sea I Archaic Eskimo St. Laurent Island (Sivuqaq), Alaska Marine ivory 250 BC – 100 AD Height: 6 ¼ in. – 15.9 cm Provenance Collection Perry J. Lewis, USA Collection Galerie Flak, 2021 Private collection, acquired from the above Exhibition & Publication: “Espíritus del Agua”, Fundación La Caixa, Madrid & Barcelone, 1999 – 2000, planche 2, page 76 “Arctic Dreams”, Parcours des Mondes, 2021 (Galerie Flak)
Galerie Raf Van Severen
Elena Laverón (1938, Ceuta) "Pareja Sentada" (Seating Couple), dated 1975 cast bronze with dark patina edition of 3 + 2 AP H 170 x W 193 x D 116 cm Reference: In 1993, Pareja Sentada was installed at UNESCO's Bonvin building Literature: Antonio Abad, "Elena Laverón, The flight of forms", 1987, 168p.; Juan Ibáñez Plaza (com.), "de Elena Laverón", Roquetas de Mar (Almería), Ayuntamiento de Roquetas de Mar, 2008, 115p.; Real Academia de Bellas Artes de San Telmo de Málaga, Anuario 2016 (Número 16), Real Academia de Bellas Artes de San Telmo, 2016, 389p.; Tania Fernández de Toledo, Raya Fayad, Sotheby's France, "UNESCO : La collection d'art", 2017, 431p.;
Galerie Nicolas Bourriaud
BUGATTI Rembrandt (1884–1916) Small Elephant at Rest (1912) Bronze with a nuanced brown patina, signed ‘R. Bugatti’ Cast by Hébrard, numbered ‘11’, bears the mark ‘CIRE PERDUE A.A. HEBRARD’. H. 20.3 x W. 20.5 x D. 12.5 cm Circa 1923 Only twenty examples have been recorded to date. A certificate by Véronique Fromanger will be provided to the buyer Provenance: Cahier Hébrard inv. no. 3717, formerly in the collection of the Countess de V, Toulouse, acquired in 1923 or 1924; private collection, Marseille Bibliography: Véronique Fromanger, "Rembrandt Bugatti, Sculptor: A Monographic Catalogue: A Meteoric Career", Paris, Les éditions de l’Amateur, 2016, model listed under no. 300, p. 364.
robertaebasta
Mario Quarti ( 1901-1974) Large sideboard in italian walnut. Main body raised from the floor by three elements show on the fron six doors decorated with an inlaid diamond pattern in walnut of different shades, brass handles. Italy, around 1940. Dimensions:cm 322 x 50 x 97,5 H. Provenance: private collection, Italy.
Caretto & Occhinegro
The Master of Antwerp Adoration (Active in Antwerp first decades of XVI century) "The Annunciation to St Anne" Oil on panel cm 59x62 1525 c. Expertise Peter van den Brink Bibliography: Van den Brink 1997, pp. 32, 35 note 22, fig. 5 Van den Brink 2007, pp. 168, 175, 179 note 38, fig. 16b Cécile Scailliérez, in Paris 2017, pp. 84, 86, fig. 32
Galerie Raf Van Severen
Jean Brusselmans (1884, Brussels - 1953, Dilbeek) "Decor pour Erwartung", dated 1936 mixed media on paper, 60 x 90 cm Label at the back; Erwartung; Decor pour “Erwartung”, d’Arnold Schoenberg, 1936; Decor pour le 4e acte Literature: Paul Haesaerts, Jean Brusselmans, 1939, p.67; Robert L. Delevoy, Jean Brusselmans: CR établi par Mme G. Brys-Schatan, 1972, 421.IV
Laurent Schaubroeck
JOSÉ ZANINE CALDAS, Moveis Artisticos Z 2-21 Zeca Armchair ORIGIN: Brazil DATE: c. 1949 MATERIALS: Leather, plywood , hardware DIMENSIONS: W67 × D77 × H87 cm An early 2-21 “Zeca” armchair by José Zanine Caldas for Móveis Artísticos Z. Introduced circa 1949, the 2-21 represents the first edition of the model, before Zanine later adapted the design with Airfoam cushioning and renumbered it 2-24. Its sculptural plywood structure and leather upholstery fully represent Zanine’s pioneering approach to Brazilian modern furniture.
Maison D'Art
SANTI DI TITO (Borgo San Sepolcro, 1536 - Florence, 1603) 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, 20th April 1994, as Florentine School, 16th Century, The Holy Family, lot 138.
Bernardini Milano
Vacheron & Constantin, Genève. Rare and elegant pocket watch in platinum, 1938 Exquisite evening pocket watch in platinum from the late 1930’s. The very simple and rational design of the case contrast with the spectacular avant-garde dial in various tones of grey with ivory indexes.
