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Van Pruissen Asian Art
tokuda yasokichi iii
Tokuda Yasokichi III alias Kutani Masahiko (Japan, 1933-2009) Porcelain vase Japan, late 20th century H 29.5 cm Signed ‘Kutani Masahiko’ on the base Literature: Yosai - Tokuda Yasokichi Sakuhinshu (The works of Tokuda Yasokichi), Kodansha 1995, Japan This elegant Kutani porcelain vase by Tokuda Yasokichi III - designated a Living National Treasure in 1997 - exemplifies his groundbreaking approach to traditional ceramic art. The slender, tapering body is enveloped in a rich aubergine glaze, punctuated by a single iridescent blue stripe flowing vertically from the mouth to the base. This striking effect was created using Yasokichi’s innovative saiyū (polychrome overglaze) technique, which brought new luminosity and abstraction to Kutani ware. Born Masahiko, Yasokichi III redefined the possibilities of Kutani ceramics, elevating them into a modern art form. Today, his works are held in leading international museum collections, including the Metropolitan Museum of Art and the British Museum.
Galerie Haesaerts-le Grelle
Gustave Serrurier-Bovy (Liège, 1858-1910) Coat rack, circa 1905 Painted iron, brass, and enameled cast iron H 204 cm – Ø 63 cm Literature: Bigot du Mesnil du Buisson, F. & du Mesnil du Buisson, E., Serrurier-Bovy – un créateur précurseur – 1858–1910, Paris, Faton, 2008, p.166-167; Jacques-Grégoire Watelet, Serrurier-Bovy, Ateliers Vokaer, Brussels, 1986, p. 109 Designed in 1905 for the former Marchal confectionery shop on rue de l’Écuyer in Brussels, this sculptural work in iron and brass, measuring over two metres in height, embodies the very essence of the artist’s genius as a leading figure of Belgian Art Nouveau.
Collectors Gallery
Arman (Nice 1928-2005 New York) Capricorn brooch in gold Zodiac collection, 1994 Certificate of authenticity and copy of the artist’s original drawing on the letterhead of the Hôtel Lutetia, where the artist resided and designed the models for this collection Provenance: Galerie Pierre-Alain Challier, successor to Editions Artcurial
Serge Schoffel - Art Premier
Sitting male figure Timoto-Cuica, 900-1300 AD Trujillo State, Venezuela Terracotta, pigments H 29 x W 23 x D 17.5 cm Datation: TL test n° 481z12 by the Research Laboratory for Archaeology, Oxford University, United Kingdom, on 7 May 1991 Provenance: Galerie Ferrero, Geneva, 1968; collection Barbier-Mueller, Geneva, Inv. n° 530-2; Sotheby's auction, Paris, collection Barbier-Mueller-Art Précolombien, on 22 and 23 March 2013, n° 265 Literature: Paz, Octavio, Butor, Michel, Barbier, Jean-Paul, Stierlin, Henri, Lavallée, Danièle, Conceição G., Corrêa, Barry, Iris, 1992, Art millénaire des Amériques : de la découverte à l'admiration, 1492-1992, Arthaud, fig. 130, p. 178 & 179; Conceição G., Corrêa, Barry, Iris, 2002, Amazonie précolombienne, Museo Barbier-Mueller de Arte Precolombino, Barcelona, 5 Continents, fig. 4, p. 17; Benson, Elizabeth P., 2003, Trésors de la céramique précolombienne du Museo Barbier-Mueller de Arte Precolombino de Barcelona, Musée Barbier-Mueller et Somogy éditions d’art, fig. 44, p. 52
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
Victor Werner
constant permeke
Constant Permeke (Antwerp 1886-1952 Ostend) Head of farmer, 1926 Oil on canvas 80 x 55 cm Signed 'Permeke' lower right Bears a label on the reverse that likely indicates the artwork was part of an exhibition organised with the support or involvement of the Belgian Ministry of Public Education at the time
TASCHEN
salvador dalí
Salvador Dalí (Spain, Figueras 1904-1989) Dalí. BABY SUMO This collector’s edition of 10,000 numbered copies presents Salvador Dalí’s work in unprecedented size and detail and is accompanied by a chronology following his path from Catalonia through Paris to Hollywood and back, with photos, sketches, and magazine pages.
Galerie La Patinoire Royale Bach
alfredo jaar
Alfredo Jaar (Chili, Santiago 1956) Life Magazine, 19 April 1968 1995 Three lightboxes, analog C-print on Duratrans 183 x 360 cm (entire dimension) 183 x 120 cm (one lightbox) Unique piece Life Magazine, 19 April 1968 (1995) by Alfredo Jaar is one of the Chilean artist’s iconic lightbox works in which he pointillistically engages an image from the public archive, intervening with his signature cutting precision to highlight social inequities and the politics of image making. The source image for this work is a documentary photograph of Martin Luther King’s funeral printed in 1968 in Life Magazine, the magazine of reference for a generation of Americans. In the image, a horse drawn casket is surrounded by supporters, and behind, a crowd fills the boulevard, stretching into the vanishing point beyond. It is a powerful representation of the late civil rights leader’s influence. The source photograph is presented large scale on the left third of the lightbox. In the center, the image is whited over, and in the place of faces in the crowd are black dots, massing and overflowing the street. In the rightmost part of the triptych, the source image is similarly whited out, but this time only a smattering of red dots appear — a handful scattered across the crowd. The artist placed black dots on the faces of African Americans. The red dots highlight White attendees. Created while Jaar was researching the Life archives for another iconic lightbox work, Searching for Africa in Life (1996), in which the artist reprints every cover of the magazine, highlighting through the punctum of the title the glaring absence of adequate representation of the continent, Life Magazine, 19 April 1968 (1995) similarly makes manifest a glaring absence. Through the precision of the artist’s intervention, and rendered in the artist’s signature clean lines, a singular gesture evokes the imbroglia of lingering racism and inequality in contemporary society.
Samuel Vanhoegaerden Gallery
Bram Bogart (Delft 1921-2012 Sint Truiden) Topgroen, August 1963 Mixed media on canvas laid on wooden panel 161 x 201 cm Signed, dated and titled on reverse Provenance: private collection, London In August 1963, Bram Bogart created a powerful and iconic work: Topgroen (August 1963). The painting – executed with homemade paint on a board/canvas made by the artist himself – measures approximately 161 x 201 cm and testifies to Bogart's radically innovative approach to matter and colour. The work Topgroen is at the heart of Bogart's most highly regarded period, in which he experimented with imposing layers of paint, sculptural reliefs and a colour palette that transcends the surface and becomes almost tangible. In this work, he combines powerful fields of colour with monumental texture: an intense red surface is directly framed by thick, almost architecturally shaped green and yellow accents. The paint is hardly imagination anymore, but matter – as if the paint itself is the object. Topgroen marks a turning point in Bogart's oeuvre: colour and volume become one, the painting resists classical painting through an enormous physical presence of the matter. The work invites tactile viewing: the depth of the paint layers, the shadow effects between reliefs, and the tension between surface and volume make it a masterpiece of material painting. Bogart thus confirms his pioneering role in European post-war abstraction.
Galerie von Vertes
jean dubuffet
Jean Dubuffet (Le Havre 1901-1985 Paris) Site avec deux personnages, 10 September 1982 Acrylic and collage on paper, mounted on canvas 67 x 100 cm Monogrammed and dated lower right 'J.D. 82' Verso numbered on the stretcher 'F146' Provenance: Waddington Galleries, London (verso with label); James Corcoran Gallery, Santa Monica (verso with label); Karsten Greve Galerie, Cologne (verso with label); private collection, Switzerland (acquired from the above) Literature: Max Loreau, Catalogue des travaux de Jean Dubuffet, vol. XXXV: Sites aléatoires, Paris 1986, p. 73, n° 142 (ill.) Exhibition: London, Waddington Galleries, Jean Dubuffet. A retrospective, October 1983, n° 46 (ill.)
Claes Gallery
Dan 'deangle' Mask Ivory Coast, Dan people Presumed early 20th century Wood and pigment H 25 cm Provenance: Hubert Goldet (1945–2000), Paris, until 1972; Lucien Van de Velde (1933-), Antwerp, from 1972 to 1975; René (1901-1998) & Odette (1925–2012) Delenne, Brussels Literature: Arts d’Afrique Noire 34, 1988, p. 49; Utotombo, Kunst uit Zwart-Afrika in Belgisch privé-bezit, de Heusch, Brussels, 1988, p. 148, fig. 59; A ‘Harley Mask’ at the Cleveland Museum of Art: More on Masks among the Mano and Dan Peoples, Petridis, African Arts, Vol. 45, n° 1, 2012, p. 31, fig. 8; Trésors de Côte d’Ivoire, Neyt, Fonds Mercator, Brussels, 2014, p. 44-45, fig. 18 (indication: H. 26 cm); The Language of Beauty in African Art, Petridis, The Art Institute of Chicago, 2022, p. 207, fig. 164 Exhibitions: Utotombo. Kunst uit Zwart-Afrika in Belgisch privé-bezit, Palais des Beaux Arts, Brussels, 25 March-5 June 1988; The Language of Beauty in African Art, The Art Institute of Chicago, Chicago, 20 January 2022-27 March 2023 Originating from the northwest of Côte d’Ivoire, near the borders of Liberia and Guinea, the Dan are an agricultural people who primarily cultivate rice and cassava. Their way of life, complemented by hunting, fishing, and gathering, is rooted in a patrilineal society without a central authority, structured around clans led by chiefs chosen for their prestige, bravery, or agricultural success. Relations between clans, often marked by rivalries, gave rise to a rigorous social organization: young warriors ensured the group’s defense, while chiefs reinforced their influence through feasts and gifts. Local power rested on a balance between the chief, the council of elders, and the male associations, which upheld discipline, guided the initiation of young men, and preserved community cohesion. The Dan distinguish between two worlds: that of the village - a humanized and social space - and that of the forest, the realm of spirits and natural forces. It is within this duality that their art takes root, renowned for its independence and for the diversity of its styles from one village to another. In their pursuit of formal perfection, Dan artists express through their works an ideal of beauty that is both spiritual and harmonious. A symbol of this aesthetic quest, the Dan 'deangle' mask is characterized by its regular oval shape, polished surface, narrow eyes, short nose, and full, slightly parted lips. The raised scarifications emphasize the geometry and graphic strength of the composition. Of an elegance imbued with softness and femininity, it embodies the Dan ideal of beauty. Used within the Leopard secret society (go), associated with the pacifying spirit zlan, this mask served as an intermediary between young initiates and the village community. First exhibited and published for the general public in 1988, this exceptional work was most recently presented (in 2022) at the Chicago Museum. The mask’s deep gaze, highlighted by a fine band across the eyes, captures the viewer’s attention. Its patina, with warm brown reflections, and its concave form lend it a presence that is both powerful and serene.
Galerie de la Béraudière
joan miró
Joan Miró (Barcelona 1893-1983 Palma de Majorque) Femme, oiseaux, 1976 Oil, gouache and oil stick on scratched board 65.1 x 50.2 cm Signed lower right 'Miró' Signed, dated and titled on the reverse: MIRÓ., 20/IV/76., Femme, oiseaux Provenance: estate of Joan Miró; Sotheby's, Madrid, 42 works by Joan Miró, 9 December 1986, lot 4 (in aid of the Fundaciò Pilar i Joan Miró, Palma de Mallorca); Quitana Fine Arts, New York; Ramis Barquet Gallery, Mexico City; private collection; Christie's, New York, 9 November 2000, lot 460; Waddington Galleries, London; private collection, Portugal (acquired from the above in 2004); Phillips, New York, 8 November 2015, lot 14; private collection, Europe Literature: Jacques Dupin, Ariane Lelong, Joan Miró, Catalogue raisonné. Paintings, vol. VI: 1976-1981, Paris, Gallery Lelong and the Miró Succession, 2004, ill. n° 1737, p. 49 Exhibitions: 2018, Brussels, Galerie de la Béraudière, Calder, Miró et leurs rencontres parisiennes; 2017, Brussels, Galerie de la Béraudière, La figure animalière; 2016, Brussels, Galerie de la Béraudière, Chefs-d'oeuvre de la galerie et Surréalisme In Woman, Birds, Joan Miró unfolds a free and vibrant universe, where colour and line become forces in motion. Against a deep black background, reds, yellows and whites burst forth with an almost musical intensity. The artist condenses the essence of his language into this work: the spontaneity of gesture, the simplicity of form and the poetry of symbolism. The woman and the bird, emblematic motifs in his work, merge into a space that is both controlled and spontaneous. Created at the end of his life, this composition expresses the supreme freedom of an artist at the height of his powers.
Herwig Simons Fine Arts
Large Siena marble models from the Roman Forum Rome, circa 1800 H 87 cm Provenance: former noble collection, The Netherlands Fine and unusual large grand tour Siena marble models of the Temple of Castor and Pollux, and the Temple of Vespasian, from the Roman forum. Made as souvenirs for visitors on the Grand Tour in the eighteenth and nineteenth centuries.
Galerie Oscar De Vos
emile claus
Emile Claus (Waregem 1849-1924 Astene) Villa Zonneschijn (Sunshine) and the Lys, 1893 Oil on canvas 83 x 73 cm Signed lower left: Emile Claus Dated and monogrammed on reverse: Juli 1893 / E.C. Provenance: private collection, Belgium Literature: Buysse, C., Emile Claus. Mijn broeder in Vlaanderen (1925); De Smet, J., Retrospectief Emile Claus (1997); De Smet, J., Emile Claus en het landleven (2009); De Smet, J., Emile Claus. Prins van het luminisme (2024); Lemonnier, C., Emile Claus (1908)
Finch & Co
Turned standing cup and cover on knopped foot Germany, late Renaissance, first half 17th century Rhinoceros horn and ivory, old smooth patina, age cracks to foot H 33 cm - Ø 11 cm Belgium CITES: 2025/BE01678/CE Provenance: Finch and Co, item n° 77, catalogue n° 20, summer 2013; private collection Comparative literature: a cup and cover of similar shape engraved with the inscription ‘the exalted Roman Emperor Rudolf II’s goblet which protects against poison – the unconquerable Emperor’s hand shaped this ingenious goblet’ D 406.766 / 339 Royal Danish Kunstkammer, Copenhagen, National Museum A fine and large late Renaissance turned standing cup and cover on knopped foot of impressive size The Milanese master instructor of turning Giovanni Ambrogio Maggiore visited Bavaria on various occasions between 1574 and 1593 to teach the Duke Wilhelm this newly invented form of art, creating marvellous objects from natural substances. Maggiore also trained the artist Georg Wecker who went on to become Dresden’s ‘court turner for life’ to the elector Augustus of Saxony in 1578. Regarded at the time as a form of advanced mechanical technology, the art of turning in ivory, ebony and rhinoceros horn became a princely pastime for ‘Drechselnder souverän’. Rhinoceros horn objects were regarded as items of great rarity and prestige in Renaissance Europe, but they had been seen as objects of great value with inherent magical properties for well over one thousand years before this time in China, and by the early 17th century Chinese cups and vessels of carved rhino horn were being exported to Europe to meet the demand for exotic curiosities for the cabinets of wealthy collectors.