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Galerie la Ménagerie
Georges Collard (Antwerp, 1881-1961) Scimitar Oryx, 1926 Bronze with dark brown patina and gold rims H 31 x W 54 x D 21 cm Signed and dated 'Georges Collard 1926' on the base Foundry stamp 'Batardy Bruxelles cire perdue' Model created and cast circa 1926 This sculpture of two antelopes is a fine example of the work of Georges Collard. The artist was the brother-in-law of Josuë Dupon, the renowned animal sculptor and one of the founding members of the Antwerp Artists and Sculptors Circle. This reclining scene is the result of careful observation, drawing us into an intimate moment between the two animals. It is a beautiful expression of stylized, highly expressive realism. This bronze was created in 1926, based on a pair of scimitar-horned oryx that lived at Antwerp Zoo and originally came from the Sahara Desert. These antelopes are now extinct in the wild. Thanks to the artist's talent and this exceptional casting by Batardy, Brussels, their presence has been immortalized in bronze.
Willow Gallery
Georges Mathieu (Boulogne-sur-Mer 1921-2012 Boulogne-Billancourt) Forêts attentives, 1989 Alkyd on canvas 147 x 115 cm Signed and inscribed on the reverse Certificate of authenticity issued by Mr. Jean-Marie Cusinberche Provenance: Galerie Guy Pieters, Belgium; private collection, Brussels; private collection, Savoie; sale, Maison R&C, France, 17 July 2021, lot 93; private collection, Europe
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 (?)
Alexis Lartigue
Max Ernst (Brühl 1891-1976 Paris) Paysage, 1964 Tempera and pencil on paper 8.4 x 15.5 cm Signed ‘Max’ below right Provenance: estate of the artist; Galerie Bel’Art, Stockholm; Sotheby’s sale, London; private collection, New York; collection of Dr. Arthur Brandt, New York; Sotheby’s sale, New York; private collection, Paris Literature: Spies, Werner. Max Ernst Oeuvre-Katalog, Werke 1964-1969, Cologne, 2007, n° 4095, ill. p. 127 Exhibitions: Stockholm, Galerie Bel'Art, Max Ernst, Retrospective, 1979; Boone, Turchin Center for the Arts, The Omnipotent Dream: Man Ray, Confluences and Influences, 2003, ill. in the catalogue p. 23, listed p. 35; Ithaca, Herbert F. Johnson Museum of Art, A Private Eye: Dada, Surrealism and More from the Brandt Collection, 2006, illustrated in the catalogue p. 47
Gallery Sofie Van de Velde
Cy Twombly (USA, Lexington 1928-2011 Rome) Untitled, Captiva Island, Florida, 1974 Gouache and pastel on a collage of paper and graph paper, on paper 75 x 106 cm Signed, dated, and inscribed 'Captiva ‘Feb 74’ on the reverse Provenance: Galerie Yvon Lambert, Paris; Pierre Horay collection, Paris; Heiner Bastian Fine Art, Berlin; acquired from the above by the present owner Literature: Y. Lambert, Cy Twombly: Catalogue raisonné des œuvres sur papier, vol. VI, 1973-1976, Milan, 1979, n° 110 (ill. p. 115); N. Del Roscio, Cy Twombly Drawings, Catalogue raisonné, Vol. 6, 1972–1979, Munich, 2016, n° 114 (ill. in colour p. 108) Exhibitions: Paris, Galerie Yvon Lambert, Cy Twombly, April-May 1974; Seattle, Richard Hines Gallery, Cy Twombly: Paintings and Drawings, July-August 1980 This work, composed of a series of collages incorporating gouache and pastel on paper and graph paper, was created during his stay with Robert Rauschenberg on Captiva Island, Florida, in 1974. At first glance, the composition evokes the image of a lotus. Behind this seemingly botanical representation, however, lies a more complex symbolism. Whether viewed as a herbarium or an album, the work’s ambiguity seems to point more towards an erotic interpretation than a purely botanical one.
Argento Gallery
Master of the portrait of the Van Collen family Portrait of a family in a wood, circa 1660 Oil on canvas 95 x 108 cm Provenance: sale of the Dr F. Koser collection, Keller & Reiner, Berlin, 6-7 March 1906, lot 87; private collection, Stockholm, 1938; sale, Bukowskis, Stockholm, 19 April 1961, lot 136, ill. as Ferdinand Bol, signed and dated 1666; private collection Literature: Bukowskis, 100 Years, 1870-1970, Stockholm, 1970, pp. 36-37, ill. as Ferdinand Bol; Albert Blankert, Ferdinand Bol (1616-1680): Rembrandt’s Pupil, 1982, pp. 191-192, n° R276 (attribution to Bol rejected) Attributed to the unidentified artist known as the Master of the portrait of the Van Collen family, who also painted the portrait of Jeremias Van Collen, Susanna van Uffelen and their children in the Rijksmuseum, Amsterdam. Probably painted around 1660, the present work shows the influence of Jan Mijtens in its arrangement of the family within a wooded landscape.
F. Baulme Fine Arts
Claude-Marie Dubufe (Paris 1790-1864 La-Celle-Saint-Cloud) Expression head: Modesty, circa 1827-1828 Oil on canvas 55.5 x 46.5 cm Provenance: private collection, England Literature: Emmanuel Bréon, Claude-Marie, Édouard et Guillaume Dubufe, Portraits d’un siècle d’élégance parisienne, exh. cat., Paris, Délégation à l’Action Artistique de la Ville de Paris, 1988 (engraving after the present painting, p. 70, repr.) Related work: Claude-Marie Dubufe, Modesty, 1828, engraving
Harold t’Kint de Roodenbeke
René Magritte (Lessines 1898-1967 Brussels) Lilith Original pencil drawing 14.6 x 9.8 cm Signed upper right Provenance: private collection, Paris Literature: Les Lèvres nues, 'Le cache sexe des anges', 1978, ill. p. 9; René Magritte, 'A lab of ideas', 8 may-4 september 2022, Nordiska Akvarellmuseet, Skarhamn, Sweden, n° 164, ill. p. 123; Xavier Canonne, René Magritte, La ligne de vie, 15 November 2025-22 February 2026, KMSKA, Antwerp, Belgium, ill. p. 103. Exhibitions: René Magritte, 'A lab of ideas', 8 May-4 September 2022, Nordiska Akvarellmuseet, Skarhamn, Sweden, n° 164, ill. p. 123; 'René Magritte, La ligne de vie', 15 November 2025-22 February 2026, KMSKA, Antwerp, Belgium, ill. p. 103 Lilith is a complex mythological figure, often regarded in Jewish tradition as Adam’s first wife before Eve, created from the same earth as him. Refusing to submit, she left Eden to become, according to myth, a demoness or succubus of the night, a symbol of rebellion, female independence and the storm. This composition is reminiscent of ‘The Rape – Le viol’, the famous drawing used to illustrate the cover of André Breton’s publication What is Surrealism?
Gallery de Potter d’Indoye
An Empire writing table Jacob Frères, Paris, circa 1796-1803 Mahogany and gilded bronze H 73 x W 86.5 x D 54 cm Stamped JACOB FRÈRES Provenance: Ségoura collection, Paris Literature: Michel Beurdeley, Jacob et son temps, Saint-Rémy-en-l'Eau, 2002, p. 83, illustrated as belonging to the Ségoura collection The rectangular top is supported by four female caryatids in patinated and gilt bronze, modelled as canephorae, their bodies joined by an X-form stretcher. The table bears the stamp JACOB FRÈRES / RUE MESLÉE, used between 1796 and 1803 by the brothers Georges II Jacob (1768-1803) and François-Honoré-Georges Jacob, later known as Jacob-Desmalter (1770-1841). The brothers, sons of the celebrated Parisian menuisier Georges Jacob (1739–1814), took over their father's workshop in 1796 and produced furniture of marked neoclassical character, employing mahogany and richly chased gilt-bronze mounts in response to the developing Directoire and Consular taste.
Francis Janssens van der Maelen
Ravinet d'Enfert Art Deco centrepiece, Paris, circa 1930 Sterling Silver 950 Jardinière: H 9 x W 35 x D 23 cm Mirrored plateau: H 3 x W 50 x D 38 cm Total net silver weight: 4,990 gr Total gross weight: 9,210 gr French Minerva hallmark Important sterling silver centrepiece comprising a jardinière and its mirrored plateau. The jardinière, of geometric canted rectangular form, has a plain body highlighted by stepped moulded borders around the rim and base. It rests on small rectangular feet. Removable silver-plated metal liner bearing the square Ravinet d’Enfert maker’s mark in full. The plateau, of matching rectangular form with canted corners, echoes the geometric lines of the jardinière. It consists of a solid silver frame with stepped geometric mouldings, raised on small feet and enclosing a mirrored glass panel.
LUDORFF
Serge Poliakoff (Moscow 1900-1969 Paris) Composition abstraite, 1964-1965 Oil on canvas 73 x 60 cm Signed lower left The authenticity of this work is confirmed by Thaddée Poliakoff and the works is registered in the Archives Serge Poliakoff, Paris 2026 Literature: Alexis Poliakoff, 'Serge Poliakoff-Catalogue Raisonné', vol. II, 1955-1958, Paris 2010, n° 64-68 Provenance: Galerie Cavalero, Cannes; private collection, Europe (-1996); Sotheby's, London (26 June 1996, Lot 38); private collection (1996-2025)
Herwig Simons Fine Arts
Door lock with Christ and the Twelve Apostles Germany, 17th century Provenance: former private collection, Belgium Finely crafted 17th-century door lock, featuring an elaborate openwork design depicting Christ and the Twelve Apostles. The lock retains its original key and the lock is in good working order. A fascinating example of 17th-century decorative ironwork, combining historical significance religious iconography, and intricate craftsmanship.
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 Provenance: Atelier Pinton, private collection, 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.
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.